September 30, October 1-2, 2011 by New Orleans Auction Galleries, Inc.

Cover: Lot 1568 - Important American Monumental Carved Mahogany and Cherry Aesthetic Movement Cabinet, New York ca. 1875-1880 Collection of English Parian Porcelain Back Cover: Lot 1492 - Large and Elaborately Modeled Gothic Revival Oak Doorway Surround, mid-19th century

2011 Auction Schedule: October 1-2 December 3-4

Auction Time Chart Friday September 30, 2011 Lots 1-388 1:00-2:00 2:00-3:00 3:00-4:00 4:00-5:00

1-99 100-199 200-299 300-388

Saturday October 1, 2011 Lots 389-1217 10:00-11:00 11:00-12:00 12:00-1:00 1:00-2:00 2:00-3:00 3:00-4:00 4:00-5:00 5:00-6:00 6:00-6:30

389-488 489-588 589-688 689-788 789-888 889-988 989-1088 1089-1188 1189-1217

Sunday October 2, 2011 Lots 1218-1971

801 Magazine Street at 510 Julia New Orleans, Louisiana 70130 (800) 501-0277 â&#x20AC;˘ (504) 566-1849 Fax (504) 566-1851

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

11:00-12:00 12:00-1:00 1:00-2:00 2:00-3:00 3:00-4:00 4:00-5:00 5:00-6:00 6:00-6:30

1218-1317 1318-1417 1418-1517 1518-1617 1618-1717 1718-1817 1818-1917 1918-1971

Major Three-Day Estates Auction Friday. September 30, 2011 1:00 p.m. – Lots 1-388 Saturday, October 1, 2011 10:00 a.m. – Lots 389-1217 Sunday, October 2, 2011 11:00 a.m. – Lots 1218-1971

Two-Week Exhibition Begins Saturday, September 18 Through Thursday, September 29, 8:00 p.m. (Excluding Sundays) 9:00 a.m. to 5:00 p.m. Late-Evening Preview Thursday, September 29, 2011 5:30 p.m. to 8:00 p.m.

The Inventory of one of America’s Premier Antique Shops, The Antique Room, Brooklyn, New York together with Items from the Personal Collection of David Marshall, its Proprietor New Orleans Auction Galleries is honored to offer the contents of one of America’s premier antique stores: The Antique Room of Brooklyn , New York. Since its opening in the early 1970’s, the Antique Room has offered peerless museum-quality furniture and decorative objects comprising the finest works of 19th century America. Incorporating every major style from Classical through the Aesthetic Movement, the shop is particularly noted for its extensive inventory of the Gothic Revival, Neo-Grec and Modern Gothic styles. The furniture inventory has always included examples from such renowned cabinetmakers as Thomas Brooks, George Hunzinger, John Jelliff, John Needles, Daniel Pabst, Alexander Roux, Herter Brothers, J and J. W. Meeks and Pottier and Stymus. A number of the store’s pieces have found their way into major museum collections, including the recent acquisition by the Museum of Fine Arts, Boston, of a Gothic Revival desk for their new Art of the Americas Wing which opened last November. The Antique Room has also placed items in the collections of the Metropolitan Museum of Art and The Victorian Mansion in Portland, Maine. Proprietor David Marshall is at the helm of the Antique Room’s operation. Born in Atlantic City, New Jersey, David came to Brooklyn to study advertising at the Pratt Institute, and later design at Cooper Union. At age 40, he left a successful career in advertising on Madison Avenue to enter the antique business, bringing his advertising savvy and designer’s eye to the antique business. The present offering includes not only the entire inventory of Marshall’s Antique Room, but a selection from his private collection as well: an evolving compendium of Gothic Revival and Eyptian Revival antiques which has been illustrated in Victorian Homes, Old House Interiors, and House Beautiful.

Featuring Property From and Including: Jewelry and Gold Coins from the Estate of Fernando Jimenez-Torres, Laredo, Texas, Estate of Mr. and Mrs. Harvey Houck, Jr., Houston, Texas Highly Important Furniture and Decorative Arts from the Collection of a Discriminating Baton Rouge, Louisiana Couple Estate of Annie Ray Strange, Houston Texas Vintage and Couture from the Succession of Elizabeth Turnbull, New Orleans, Louisiana A Santa Cruz, California Collection The Collection of Noted Art Dealer and Connoisseur Luba Glade, New Orleans, Louisiana Estate of Richard Keaveney and Collection of Dan Peck, Breaux Bridge, Louisiana A Baton Rouge, Louisiana Collector of Fine Art Helen Hudson Snowden, a Hattiesburg, Mississippi Collector Another Hattiesburg, Mississippi Collector Wesley D. Love Family Estate, West Virginia Stylish Vintage Items from a New York Fashion Editor The Inventory of one of Americaâ&#x20AC;&#x2122;s Premier Antique Shops, The Antique Room, Brooklyn, New York together with Items from the Personal Collection of David Marshall, its Proprietor The Collection of a Lady, Houston, Texas Friends of the New Orleans Public Library Vintage and Couture from a Denver Colorado Collector

Session I

Friday, September 30, 2011 1:00 p.m. (Lots 1-388)

Special Afternoon Session of All Asian Art and Antiques

Bid Live Online

1 Chinese Polychrome Porcelain Novelty Box, 20th century, of rectangular-form in two parts, modeled as a stack of Chinese books with simulated brocade covers, ivory clasps and paged end sheets, the top stack with a calligraphy label, fitted wooden stand, l. 5‑1/2”. [1000/1500] Illustrated

2 Chinese Famille Rose Porcelain Ruyi Scepter, modeled as a gnarled tree branch with a ling-chih fungus head and the body with an entwined branch of flowering and fruiting peaches and the figures of two bats, fitted box, l. 14”. [500/800] Illustrated 3 Large Chinese Polychrome Enamel Saucer Dish, 20th century, heavily decorated on the interior with a central medallion of confronting dragons and phoenix birds bordered on the interior and exterior with borders of dragons, phoenix birds and flowers, the base with a six-character Kangxi reign mark in underglaze blue, dia. 12‑3/4”. [1000/1500] Illustrated 4 Pair Chinese Doucai Decorated Double-Gourd Vases, each of traditional-form decorated in overglaze enamels and underglaze blue, the base with fretwork and lappet borders, the body with stylized flowers with a celadon border in the center and a ruyi border at the lip rim, the base with a six-character Qianlong seal mark in underglaze blue, h. 11”. [900/1200] Illustrated 5 Chinese Carved Boxwood Ruyi Scepter, first half 20th century, the blond wood body with arched staff having a ling-chih head carved with a lotus plant springing from an open basket, a dwarfed pomegranate tree on the shaft and a bat at the terminal, l. 12‑1/2”. [1400/1800]

6 Pair Chinese Famille Rose Bottle Vases, Republic Period (1908‑1949), each of bottle shape with slightly flared lip rim decorated in famille rose enamels with three male figures against a white glazed ground, the recessed base with a double circle in underglaze blue, h. 8‑3/4”. [500/800] 7 Pair Chinese Carved Agate Figures of Maidens, each standing figure carved in smoky agate and mounted on a green fluorite rockwork base, the figures each holding a lotus blossom, h. 7‑1/2”. [700/1000] Illustrated

8 Pair Chinese Cloisonne Table Ornaments, 20th century, each modeled as a drum mounted on a stand and topped by the figure of a long-tailed cockerel, enameled in polychrome enamels on a rust-colored ground and a yellow ground, h. 9‑3/4”. [1400/1800]

9 Chinese Famille Jaune Porcelain Incense Burner and Cover, 19th century, now wired as a lamp, the rectangular body resting on four “monster” feet and having a pierced conforming cover with a Foo Dog finial, decorated in polychrome enamels with floral and dragon decor, carved fretwork wooden base, h. 30”. [400/700] 10 Chinese Enameled Yixing Covered Teapot, 20th century, of squared outline with rounded corners, the zisha clay body with applied decoration of the Three Friends of Winter, pine, bamboo and prunus, along with figures of a bat and a squirrel, the Three Friends, handle, spout and bat enameled in polychrome enamels, h. 4”, l. 7”. [300/500] 11 Pair Chinese Polychrome Enamel Vases, late 19th century, each of yen-yen shape decorated with figures of ladies and children in garden settings and calligraphic inscriptions in black and iron-red on a white ground, h. 14‑1/4”. [150/250] 12 Chinese Famille Verte Glazed Porcelain Double-Sided Tile, late 19th century, the rectangular tile glazed on both sides in famille verte enamels with birds, butterflies and flowers on one side and three figures on a pavilion’s terrace on the other, each surrounded by a framing border, h. 9‑1/2”, d. 2‑1/2”, l. 12‑3/4”. [400/700] 13 Chinese Famille Rose Export Saucer Dish and Spoon Rest, 18th century, the dish of circular form with scalloped rim decorated with alternating panels of figures and flowers separated by panels of diamond ground with floral centers, dia. 4‑3/4”, together with a porcelain spoon rest in iron red and gilding, w. 3‑2/3”, l. 4‑2/3”. Provenance: ex coll. Henry Stern Antiques, New Orleans, Louisiana. [75/125]

14 Unusual Chinese Famille Rose Conical Porcelain Bowl, Republic Period (1911‑1949), the flared sides rising from a small foot and ending in a shaped lip rim, decorated on the exterior with two shaped reserve panels of birds among flowers and rockwork executed with delicate shading and two reserve panels of calligraphy, all against a ground of “T” frets, the interior with a central medallion of a bird on a flowering plum branch and the wall divided into six panels of alternating floral and landscape designs, the base with a four-character Yongzheng seal mark in blue on a turquoise ground, dia. 7‑3/4”. [500/800] 15 Fine Pair Chinese Famille Rose Rice Bowls, Guangxu mark and period (1875‑1908), each decorated on the exterior with four circular reserve panels of antiques against a yellow ground with flowering and fruiting vines, the interior enameled with dense decoration of flowering and fruiting gourd vines edged by a fretwork border at the lip rim, the base with a six-character Guangzu reign mark in iron-red, dia. 5”. [800/1200] Illustrated 16 Rare, Unusual Chinese Famille Rose Sgraffito Bowl, Republic Period (1911‑1949), decorated on the exterior with shaped reserve floral panels on a yellow sgraffito ground with lotus and foliage enameling, the interior decorated with a central medallion of two sparrows and a flowering plum branch surrounded by a pale yellow ground and a foliate and geometric band at the scalloped lip rim, the base with a four-character Yongzheng mark in raised blue enamel, dia. 6‑1/2”. [900/1200] Illustrated 17 Chinese Famille Jaune Rotating Vase, the globularbaluster-form body pierced with the Eight Trigrams and having shaped handles and a rotating neck and interior vase, decorated in famille rose enamels with flowers and ruyi heads on a sgraffito yellow ground, the base with a six-character Qianlong seal mark, h. 7-/2”. [1000/1500] Illustrated

18 Fine and Elegant Chinese Porcelain Incense Vase, Republic period (1908‑1949), of elegant form, thinly potted and finely enameled on a turquoise ground in Famille Rose enamels with lotus blossoms, bats, peaches and double Shou characters under a ruyi head border, the flared neck with decoration en suite, the turquoise glazed base with a sixcharacter Jiaqing seal mark in iron red, h. 3‑1/2”, dia. 3‑3/8”. [3000/5000] Illustrated previous page

19 Chinese Famille Rose and Turquoise-Glazed Serving Bowl, 20th century, of stylized lotus-leaf form with splayed foot, the exterior decorated in famille rose enamels with women and children in a fenced garden against a turquoise ground, the interior with a plain turquoise ground, with a Jiaqing mark on the base, dia. 9‑1/4”. [100/200] 20 Fine Chinese Famille Rose Decorated Bowl, Daoguang (1821‑1850) six-character seal mark and possibly of the period, of inverted-bell-shape, enameled on the exterior with two-colored peony blooms among trailing foliage, birds and partially open blooms on a yellow ground, interior plain, dia. 4‑11/16”. [250/400] 21 Chinese Carved Fortification Agate Bowl, carved as a flared bowl in cafe-au-lait agate with white and gray fortification markings of flared shape above a ringed foot, wooden stand, dia. 4‑1/8”. [300/500] 22 Good Chinese Yellow and Green Glazed Bowl, Republic Period (1908‑1949), the thinly potted bowl with steep sides, decorated on the exterior in green with five-clawed dragons and phoenix birds among clouds on a yellow ground, the interior decorated in green with a stylized character against a yellow ground, the base with a six-character Daoguang seal mark in underglaze blue, dia. 4‑11/16”. [250/400] 23 Chinese Carved Green Quartz Figure of Guanyin, first quarter 20th century, now mounted as a lamp, the figure of the Bodhisatva seated before a flaming mandorla and holding a vase in offering, wooden and brass base, accompanied by an ecru shantung silk shade with tassel, overall h. 28‑3/4”. [400/700] 24 Chinese Carved Jade Figure of the Laughing Buddha, the bare-chested seated figure with protruding belly clad in loose robes in a traditional seated position with a lotus leaf at one side, the stone appears to have been color enhanced, h. 7‑1/4”, w. 8”. [300/500]

25 Chinese Carved Feicui Jadeite Figure of a Maiden, the standing figure clad in flowing robes and having a high chignon, the figure holding a peach and flowers on one shoulder, the pale mint green stone with bright green inclusions, wooden stand, h. 4‑3/4”, including stand. [150/300] 26 Chinese Carved Jadeite Figure of a Courtier, 20th century, the mottled green and white stone carved as a standing figure in informal robes holding a vase with lotus in one hand and a fly whisk in the other, fitted wooden stand, h,. 8‑1/4”, including stand. [400/700] Illustrated 27 Chinese Carved Jadeite Miniature Archaic-Style Vase, the mint-green stone with emerald splashes carved with a bird-head top and writhing hydra dragons in relief, fitted wooden stand, h. 5‑1/4”, including stand. [250/400] 28 Chinese Carved Jadeite Miniature Group, 20th century, the mint-green stone with emerald splashes carved in intricate relief as antique vases with a dragon climbing the side of one and a Shou plaque at the rear, h. 2‑3/4”. [200/400] 29 Chinese Carved Jadeite Covered Small Vase, the apple-green stone with a few russet inclusions carved as a flattened vase with low relief carving of phoenix birds and peonies, the shoulders with rose handles, h. 5”. [300/500] 30 Chinese Carved Jade Equestrian Group, 20th century, the mottled green and russet stone carved as a bannerman holding his banner aloft while seated on his horse, h. 7‑1/2”. [250/400] 31 Chinese Carved Jadeite Archaic-Style Covered Vase, 20th century, the variegated apple-green stone carved in the archaicstyle as a squared vase with tapered body with stylized dragon handles with loose rings and conforming cover with stylized dragons, h. 7”. [250/400] 32 Chinese Carved Celadon Jade Hanging Vase, 20th century, the even celadoncolored stone carved as a vase in the form of co-joined fish with a wave base suspended on a jade linkchain with a two-confronting fish plaque at the top, custom wooden suspension stand, h. 17‑1/4”. [600/900] Illustrated

33 Large Chinese Carved Shoushan Stone Seal, well-carved as a figure of a Buddhistic lion resting atop a boulder, which retains the natural shape of the pebble, the well-carved lion seated on its haunches with back-turned head and open mouth with bared teeth, the base with carved seal, h. 4”. [400/700] Illustrated 34 Large Chinese Carved Shoushan Stone Seal, retaining the shape of the original pebble and carved in low relief with scholars in mountainous landscapes utilizing the pebble’s skin and folds, the base with a seal, h. 3‑3/4”. [400/700] Illustrated

35 Large, Chinese Carved Soapstone Dragon Seal, first half 20th century, the square base engraved with designs of landscapes with trees, the upper portion intricately carved as a horned dragon with flared whiskers emitting vapors with the Pearl of Wisdom and surrounded by eight writhing auxiliary dragons, the stone of rich brown color, the base uncarved, h. 10‑1/4”, w. 6”, l. 6”. [2000/4000] Illustrated 36 Good, Aesthetic Chinese Tianhuang Seal, of pebble shape carved in low relief with figures in mountainous landscape, the darkish stone with black skin and inclusions finely carved in low relief, the base with a seal, h. 2‑5/8”. [700/1000] Illustrated

37 Charming Chinese Carved Tianbai Stone Fondling Stone, the creamy colored stone carved as a recumbent figure of a Buddhistic lion laying down and nibbling at his toes, the piece fitting comfortably into one’s palm, w. 2”, l. 2‑1/2”. [250/400] Illustrated 38 Good Chinese Carved Tianhuang Seal, of squared rectangular form with slightly domed top, carved in low relief with a continuous diorama of scholars in mountainous scenes, the bright golden stone with darker veining carved in delicate detail, base uncarved, h. 4”, w. 1‑7/8”, d. 1‑3/4”. [1400/1800] Illustrated 39 Large, Fine Chinese Carved Tianhuang Seal, of squared base topped with two finely carved figures of winged dragons confronting the Pearl of Wisdom, each figure carved in great detail, the dark golden colored stone of even color, the base with a seal, h. 5”. [3000/5000] Illustrated 40 Large Chinese Carved Shoushan Seal, of flattenedrectangular-form in mottled brown/orange colored stone, carved in low relief with figures in a mountainous landscape and having an engraved calligraphic inscription on the face, the base carved with a seal, h. 4‑1/2”. [250/400] 41 Group of Six Chinese Carved Pieces, composed of a gray jade pendant of a boy on a sack, a green jade dragon pendant, a brown jade figure of a boy with a lotus leaf, a brown jade figure of a horse, a golden jasper figure of Buddha and a carved cinnabar circular pendant, l. 2” to 2‑1/2”. [100/200] 42 Framed Small Chinese Portrait of an Ancestress, 19th century, executed in gouache on paper, depicting the wife of an official in court robes with rank badge and elaborate headdress seated on a draped horseshoe chair, matted, glazed and framed in a giltwood frame, h. 27”, w. 16‑1/2”. [600/900] Illustrated

43 Framed Chinese Assembled Embroidery Fragments, 18th century, composed of five pieces of embroidery, the central panel from a court robe depicting a five-clawed dragon in satin stitch above mountains and clouds surrounded by Buddhistic symbols in “Forbidden Stitch”, the four auxiliary panels depicting phoenix birds in flight, presented together in a linen-matted giltwood frame and glazed, h. 18‑3/4”, w. 26”. [400/700] 44 Good Chinese Carved Bamboo and Rosewood Brush Pot, 19th century, of slightly oval outline, the bamboo body carved in high relief with very detailed carving in a continuous scene of three men playing “Go” with three ladies and a servant in attendance and two men approaching on horseback, the entire scenario in a forest of twisted and gnarled pine trees and weathered rockwork, the base and lip rim in rosewood, h. 7‑1/2”. [500/800]

49 Chinese Carved Tortoiseshell Snuff Box, the circular box with fitted cover, topped by a carved applied plaque of a coiled dragon, dia. 2‑3/4”. [250/400] 50 Chinese Covered Tortoiseshell Snuff Box, 20th century, the oval shaped box with fitted cover topped with an oval carved applied plaque of a coiled fierce dragon, dia. 3‑3/4”. [250/400]

45 Two Chinese Brown Glazed Bowls, 19th century, each of inverted bell shape, glazed on both the interior and exterior in a cinnamon brown glaze, thinning at the lip rim, both marked in underglaze blue with reign marks, one marked Jiajing (1522‑1566), the other marked Wanli (1573‑1619), dia. 4” to 4‑5/8”. [300/500] 46 Chinese Finely Carved Boxwood Ruyi Scepter, 19th century, of conventional form, delicately carved in low relief with a Shou character on the head bordered by dragons and Buddhistic symbols on the body, with a gemstone, glass and silk tassel at the end, l. 13‑3/4”. [3500/5000] Illustrated 47 Good Chinese Bamboo and Rosewood Wrist Rest, first quarter 20th century, composed of a bowed section of bamboo bound in a border of rosewood, the bamboo carved in low relief with an elaborate scene of figures in a lakeside panorama with pavilions, a bridge, a walled compound with a pagoda, a mountainous peak in the distance and a calligraphic inscription, w. 3‑7/8”, l. 10”. [600/900] 48 Chinese Polychromed Porcelain Foo Dog, 19th century, now mounted as a lamp, modeled as the figure of a male Fo dog with a vase on his back and standing on a plinth base, the Foo dog mounted on a Dennis Poupart wooden base with a silk and bamboo shade, h. 22‑1/2”. [600/900]

54 51 Chinese Burled Paduk Wood Brush Pot, 20th century, of cylindrical form with thick walls carved from a single piece of nicely patterned burled wood, carved wooden stand, h. 7‑5/8”, including stand. [900/1200]

52 Chinese Bronze Figure of Guan Di, 19th century, now mounted as a lamp, the seated figure dressed in armor with traces of painted details, mounted on a copper and wooden base with a post at the back for electricity, fitted with a custom pleated raw silk shade, overall h. 27”. [400/700] 53 Interesting Chinese Carved and Gilded Wooden Statue of Guanyin, 19th century, now mounted as a lamp on a shaped wooden base by Dennis Poupart, the carved wooden statue of the seated goddess with gilt decoration probably from a temple screen, pleated shade, h. 15”. [250/400]

59 54 Chinese Framed Gouache on Paper Scroll, 18th/19th century, with an elaborate depiction of the judge of Hell seated at his desk in a pavilion with clerks and attendants, below the dais are enforcers meeting out assorted punishments to condemned sinners, framed in a giltwood frame and glazed, h. 59‑1/2”, w. 37‑5/8”. [1800/2500] Illustrated

60 Rare Southeast Asian Pottery Brown and Celadon Glazed Jar, Khmer Empire, ca. 11th/12th century, the baluster-form body with fluted lip rim and ringed everted base, the body with a brown glaze and having a band of incised hatched mesh design at the neck and concentric rings at the base, the fluted lip rim glazed in celadon, h. 9‑3/4”. [500/800] Illustrated

55 Chinese Glazed Pottery Figure of a Court Official, Ming Dynasty (1368‑1644) or later, the standing figure clad in informal robes and tall official hat, standing on a hexagonal plinth base, the figure with green glazed robes and painted facial details and hat, h. 15‑3/8”. [500/800] 56 Chinese Painted Pottery Tomb Figure of an Infantryman, Han Dynasty (206 B.C.-A.D. 220), the standing figure clad in a long tunic, one hand raised to hold a bow, the other at his side to hold a spear (both now lacking), red and black painted details, lucite base, h. 18”. [800/1200] 57 Chinese Painted Pottery Tomb Figure of a Warrior, Han Dynasty (206 B.C.-A.D. 550), the standing figure clad in short tunic and pantaloons, one hand raised to hold a bow, the other at his side to hold a spear (both now lacking), red, cream and black patinated details, lucite stand, h. 19”, including stand. [1000/1500] 58 Two Rare Mid-Eastern Gray Pottery Vessels, Sialk, Iran, ca. 1000‑100 BC, each of bulbous-form with everted lip rims, one with a loop handle, each in gray pottery and having earth encrustation, one with a museum accession number on base, h. 4‑3/8” to 5‑3/8”. [250/400] Illustrated 59 Fine Large Chinese Grayware Painted Pottery Urn and Cover, Western Han Dynasty (206BC‑200AD), of squared baluster-form with conforming cover and having two molded mock-ring handles, the body cold-painted in white with stylized archaic designs, h. 15‑1/2”. [400/700] Illustrated

61 Rare, Large Chinese Pottery Guan, Zhou Dynasty, Warring States Period (475‑221 BC), of globular-form with tapering base, decorated with very rare double-impressed decoration with an impressed mesh pattern on the upper section and a linear impressed pattern on the lower section, h. 11‑1/2”. [1200/1800] Illustrated 62 Chinese Cizhou-Style Bottle Vase, Yuan Dynasty (1279‑1368) or later, of conventional bottle-form with flared lip rim, the white glazed body with incised floral decoration with a band of wavy lines at the shoulder, the incised decoration revealing the rust colored body, 9‑1/4”. [200/400] 63 Chinese Glazed Pottery Feline-Form Pillow, 19th/20th century, molded in the form of a recumbent cat on a base, glazed in a cream colored crackled glaze with brown spotting and unusual painted floral decoration on its back, l. 10‑1/2”. [300/500] 64 Chinese Yingqing Glazed Pottery Bowl, Song/Yuan Dynasty (1127‑1368) or later, of conical-form resting on a straight foot, glazed in a gray/green glaze, the interior with combed cloud decoration, the exterior plain, the inside of the foot unglazed revealing the white stoneware body, dia. 6‑3/4”. [100/200] 65 Two Korean Celadon Pieces, 19th century, composed of a lotus bud cup with inlaid slip decoration of flowers within vertical bands and a small, lobed celadon sauce dish with a molded central floral medallion and flattened lip rim, h. 3‑3/4”, dia. 4”. [200/400] 66 Group of Fine Chinese Carved Jade and Stone Scholar’s Articles, composed of a brush washer with three bats in low relief, the figure of a recumbent camel, and three figures of recumbent Foo dogs, the pieces varying in color from white to brown, l. 2‑1/4” to 3‑7/8”. [400/700]

73 72 Rare Pair Large Chinese Carved Dense Rosewood Buddhistic Lions, 19th/20th century, each carved in the round as a recumbent figure of a lion, one with a pup, both with a curled and flowing man, feathered tail and open mouth with bared teeth and glass eyes, each lion grasping an openwork ball with a loose ball on the inside, signed, h. 7”, l. 14”. [2000/4000] Illustrated

72 74

73 Chinese Carved Hardwood Statue of Guan Yu, 20th century, also known as Guan Ti, the God of War and Literature, the standing figure depicted in Imperial armor holding his beard in one hand and a halberd in the other, on a rockwork and pine tree base, h. 23”. [500/800] Illustrated

67 Elaborate Pair of Chinese Jumu Wood Doors, second half 19th century, each of rectangular outline with solid lower sections, a relief-carved central panel of a Kylin on an altar with Buddhistic symbols and an intricately carved openwork upper panel composed of a central plaque of a scholar and attendant in a garden framed by two floral openwork panels, two floral side panels and a fretwork over-panel, each panel h. 85‑1/8”, w. 29‑3/4”. [900/1200] Illustrated

74 Good Chinese Carved Soapstone Group, 19th century, the mottled beige colored stone carved as the figure of the Immortal Li Tieguai in the body of a homeless beggar, seated upon the back of an elephant with his crutch and gourd slung across his back, carved and fitted wooden stand, h. 8‑3/4”, including stand. [500/800] Illustrated

68 Unusual Carved, Painted and Glazed Pottery Storage Jar, possibly Indian, of waisted-form with four horizontal bands of relief decoration, depicting bands of floral, animals and people, floral and avian and a top band of circle decoration, the relief areas glazed and the background painted, h. 12‑1/4”. [250/400] 69 Good Southeast Asian Incised Celadon Bowl, Thailand, 15th century, the heavily potted pottery bowl with flattened rim having incised floral banding on the interior and incised rib decoration on the exterior, the even glaze puddling in the well and having typical crackling, probably Sukhothai Province, dia. 9‑1/8’. [300/500] 70 Good Thai Sawankhalok Celadon Glazed Storage Jar, probably 15th century, of globular-form with incised horizontal decoration at the top of the body, a ridged circular lip with two strap handles and glazed in a rich, crackled celadon glaze, h. 6”, dia. 7”. [125/250] 71 Unusual Chinese Yixing Teapot, the circular zisha clay body with slightly contrasting color applique of bats and inlaid slip decoration, an arched handle with applied bat above a conforming cover, h. 5”. [125/250]

75 Chinese Carved White Jade and Rosewood Table Screen, 20th century, composed of a central white jade circular plaque carved in relief with the Eight Immortals in a garden setting, the jade mounted in a conforming fretwork frame, the reverse with a calligraphic inscription, the jade and frame on a carved stand, h. 19‑1/2”, w. 11‑1/2”. [1800/2500] Illustrated

76 Two Chinese Bronze Pieces, 19th/20th century, composed of a group of a figure atop a camel on a rockwork base and a baluster-form vase with fluted lip rim, the body with raised figures of a dragon and a phoenix and having a cast Xuande reign mark in the base, h. 6‑1/2” and 9‑1/4”. [250/400] 77 Two Chinese Bronze Pieces, 19th/20th century, composed of a standing figure of Shoulao and attendant, the deity holding a peach in one hand and a staff in the other, and a covered incense burner on tripod ogre-head legs, lion head handles and a pierced dome cover with a Buddhistic lion finial, h. 6‑1/2” and 6‑3/4”. [250/400]

78 Chinese Carved Jade Archaic-Style Pendant, the near black stone carved in the shape of a bell with dragons alongside the suspension hoop and flanges along the sides, the face and reverse carved with a dragon within a circle and etched archaic designs near the base, w. 4”, l. 5‑3/4”. [300/500] 79 Tibetan Bronze Model of a Galleried Stupa, composed of a bulbous chamber and tower topped with a flaming finial and resting on a galleried base above a squared lotus petal foundation and supported by four crowned demons, the dark patinated body with gilt details, h. 15‑1/2”. [400/700] 82

81 Chinese Mottled Stone Bi Disk, probably Neolithic, the circular stone with central opening of flattened shape, the pale green stone with dendritic inclusions and brown coloring probably from burial encrustation, dia. 6‑1/4”. [100/200] 82 Chinese Carved White Jade Table Screen, first half 20th century, composed of a central rectangular white jade plaque carved in low relief with sages and attendants unrolling a scroll in a garden setting, mounted in a fretwork frame and stand, h. 12‑3/4”, l. 13‑3/4”. [800/1200] Illustrated 83 Three Chinese Painted and Lacquered Serving Trays, two of octagonal outline, the other of scalloped outline, all with painted and gilded figural decoration and resting on conforming bases, dia. 15”. [400/700] Illustrated

80 Tibetan Patinated Metal Temple Style Prayer Wheel, of cylindrical form on domed base and having conforming hat-form cover, cast in relief with the eight Buddhist Symbols and Tibetan characters, the body revolves and the interior having printed rolls of prayers, h. 8‑1/4”. [150/250]

84 Decorative Pair Chinese Cast-Bronze Figures of Pigs, each standing four-square with slightly turned heads, one depicting a boar, the other depicting a lactating sow, the boar with a cast character on his forehead, both with medium brown patina and gilt highlights depicting body markings, h. 9”, l. 15”. [900/1200] Illustrated

85 Unusual Chinese Dark Green Jade Scholars Calligraphy Set, composed of a carved covered wooden box with fitted slots for the following jade implements: a jade calligraphy brush, l. 7‑1/2”, a jade wrist rest, l. 6”, a jade brush rest in the form of a fine peaked mountain, l. 3‑1/4” ,a scroll shaped jade stand, l. 3‑3/4”, a circular jade water coupe, dia. 2‑3/4”, a jade inkstone, l. 3‑3/4”, and jade seal with a seal base, h. 2”, each piece, with the exception of the inkstone and brush rest, engraved with designs of dragons filled in with gilt highlights. [900/1200]

86 Good Pair of Chinese Carved Spinach Jade Pricket Candlesticks, each of columnar shape with splayed base, central knop and lotus blossom form carved cups with central metal spikes, the bodies and bases with engraved calligraphic inscriptions, the knops decorated with engraved dragons, the stone of even dark spinach green color, h. 9”. [2000/4000] Illustrated

89 Chinese Carved Celadon Jade Wrist Rest, 19th century, the lightly mottled celadon colored stone of rectangular outline with in-curved scroll edges, carved in low relief with a sage on a bridge in a rocky landscape with a pine tree, flowers and clouds, w. 3‑1/4”, l. 7‑1/2”. [600/900]

90 Chinese White Jade Table Screen, composed of an elaborately carved base and stand of branches and lingchih fungus heads, the stand inset with a white jade carved plaque depicting two confronting four-clawed dragons on clouds pursuing the Pearl of Wisdom, h. 9”, l. 12”. [700/1000] 91 Chinese Carved White and Yellow Onyx Bok Choy, 20th century, realistically carved as the famous Chinese cabbage with the stalk topped with fluted foliage, the layered stone in tones of white and greenish-yellow, fitted wooden display stand, l. 10‑1/2”. [600/900] Illustrated

87 Chinese Carved Celadon Jade Cylindrical Box and Cover, first half 20th century, the celadon colored stone carved in low relief with orchids and chrysanthemum plants growing from rocky outcrops, the cover carved with a Shou character, h. 3‑1/4”, dia. 2‑3/4”. [500/800] Illustrated 88 Pair of Chinese Carved Celadon Jade Wrist Rests, 19th century, each in celadon-colored stone carved in low relief with bamboo and pine among rockwork with the figure of a crane at the top, l. 8‑1/4”. [4500/7000] Illustrated

92 Large, Dramatic Chinese Rosewood and Applique Floor Screen, composed of a shaped plaque with jade applique of pomegranates and branches on a carved fretwork ground and bordered by jade Buddha’s Hand citrons, above a plaque of fine jade bats and a central Shou character on a cloud ground, the reverse with applied characters in boxwood above a cloud panel, all seated in a multilevel galleried stand, h. 58‑1/2”, w. 40‑1/2”. [18000/25000] Illustrated

93 Chinese Famille Rose Export Porcelain Vase, 19th century, now wired as a lamp, the baluster-form vase decorated as a dragon and a phoenix among flowers, wooden base and cap by Dennis Poupart, pleated shade, 24”. [500/800]

103

95 Delicate Chinese Miniature Porcelain Vase, Republic Period (1912‑1949), of baluster form and decorated in iron red and overglaze blue and white enamels as five Mingstyle horned dragons cavorting among swirling clouds, the recessed base with a four-character Qianlong reign mark in black on a gold-ground square bordered in red, h. 3‑1/4”. [250/400]

94 Delicate Pair Chinese Porcelain Tea Cups, Republic Period (1908‑1949), each of inverted bell shape, the thinly potted bodies decorated in iron-red with three bats each clutching pendant ribbons, the base with a six-character Qianlong seal mark, wooden box, dia. 3”. [500/800]

96 Fine Pair Chinese Porcelain Wine Cups, Tongzhi (1862‑1874) mark and probably of the period, each of inverted bell shape, finely decorated in rouge-de-fer enamels with two five-clawed dragons pursuing the Flaming Pearl among flames over cresting waves, the base with six-character Tongzhi reign marks in underglaze blue, dia. 2‑1/4”. [400/700] 97 Good Chinese Rouge-de-Fer Decorated Saucer Dish, Republic Period (1911‑1949), of conventional saucer shape, decorated in iron-red with a central medallion of a horned, five-clawed dragon pursuing the Pearl of Wisdom among clouds and flames, the interior and exterior walls each decorated with two dragons among clouds and flames, the base with a six-character Kangxi reign mark in underglaze blue within a double circle, dia. 10”. [700/1000] 98 Chinese Ink and Color Scroll Painting, 20th century, painted in black ink on paper as two birds perched on a branch among foliage, their eyes and beaks picked out in color, signed, seal, h. 70”. w. 22‑1/2”. [500/800]

99 Subtle Chinese Carved Zitan Wrist Rest, carved in outline as a section of bamboo, the surface with engraved decoration of a stem of bamboo and a cluster of bamboo foliage along with a twelve-character poem, w. 2‑1/2”, l. 10‑1/4”. [500/800]

108

100 Unusual Chinese Enameled Porcelain Wrist Rest, Republic Period (1908‑1949), molded in the form of an open book, decorated on the open pages with an encre-dechine landscape and a sixty-character poem with signature and seal, the reverse decorated with a grove of bamboo and a view of flowering prunus growing out of a rocky outcrop with a calligraphic inscription, w. 4‑1/2”, l. 7‑3/8”. [300/500] 101 Group of Five Chinese Cast-Silver Articles, composed of four rectangular hand scroll weights cast in low relief with figures of boys and calligraphy, together with a small ruyi scepter cast in low relief with bats and Shou characters, l. 8” to 9’. [200/400]

107

105 Continental Gilt-Metal and Blanc-de-Chine Encrier, 19th century, the gilt-metal frame mounted with Chinese blanc-de-chine cups as inkwells and a Chinese figure of a deity beneath a gilt-metal trellis with white porcelain flowers, h. 7”, w. 6‑1/4”, d. 4‑3/4”. [300/500]

112

102 Good Chinese Carved Zitan and Ivory Game Counter Holder, of circular outline with in-curved rim opening to a circular well, the edge of the rim inlaid with six circular ivory cabochons, the base with a four-character engraved seal, dia. 4‑3/4”. [400/700] 103 Good Chinese Rosewood and “Dreamstone” Table Screen, 20th century, the elaborate rosewood fretcarved stand with a circular piece of “Dreamstone” marble depicting a clouded mountainscape in gray, russet and white colors, h. 20‑3/4”. [1400/1800] Illustrated previous pagw 104 Chinese Export Blanc-de-Chine Porcelain Guanyin, 19th century, the dehua porcelain with white glaze modeled as a figure of Guanyin seated on rockwork wearing a cowled robe and holding an infant, the goddess seated between a vase and a bird and accompanied by two attendant youths, h. 9‑1/2”. [300/500]

106 Chinese Blanc-de-Chine Figure of Laozi, the figure of the standing deity with high domed head holding a peach in one hand and his staff with gourd and books in the other and standing on a base of clouds, glazed all over in a slightly green, white glaze, h. 11‑3/4”. [200/400] 107 Good Chinese Carved Ivory Fan-Shaped Tray, 19th century, the slightly fan-shaped tray with canted corners carved in the center in high relief with a finely carved magnolia soulangiana in full flower above low growing plants, the high relief carving of superior quality, d. 4‑3/8”, l. 7‑1/8”. [600/900] Illustrated

108 Chinese Carved Ivory Model of a Dragon Boat, 20th century, impressively-carved as the scaly body of a dragon with fierce horned-head and body of overlapping scales, riding cresting waves, the back of the dragon with a twostoried pavilion sprouting a single mast, the first story of the pavilion filled with musicians, the second story filled with revelers celebrating the Dragon Boat Festival, the entire model carved with intricate detail, fitted wooden stand, h. 25”, including stand, l. 29”. [3500/5000] Illustrated

111

111 Chinese Carved Ivory Model of a Phoenix Boat, 20th century, the boat with engraved details on the sides, a phoenix-head prow with wings and a single mast with two sails, the galleried deck with figures and moveable rudder at the rear, h. 17‑1/2”, l. 18”. [1500/2500] Illustrated 112 Good Chinese Carved Ivory Figure of an Emperor, first-half 20th century, the solid tusk end-carved as the standing figure clad in court robes, wearing a multi-tiered cap and holding a spirit tablet, stained details and traces of polychrome decoration, h. 12‑1/4”. [1000/1500] Illustrated 113 Chinese Carved Spinach Jade Lidded Cylindrical Storage Jar, 20th century, the dark green slightly mottled stone with engraved decoration of orchids and flowering prunus trees separated by lengthy inscriptions in archaic script, the fitted cover with a carved character, h. 7‑1/2”, w. 4‑1/4”. [700/1000] 114 Good Chinese Engraved Monochrome Bottle Vase, Republic Period (1908‑1949), the pear-shaped body with elegant elongated neck, with engraved decoration of fiveclawed dragons among clouds and flames pursuing the Pearl of Wisdom, glazed all over in an even raspberry red monochrome glaze, the base with an engraved Jiaqing sixcharacter seal mark, h. 12”. [800/1200] 115 Large Asian Glazed Stoneware Planter, the low circular body glazed on the exterior in a rich oxblood glaze extending to the low foot, the interior unglazed, h. 7‑1/4”, dia. 16‑1/2”. [200/400]

109 Chinese Carved and Laminated Ivory and Bone Incense Holder, first half 20th century, the inner core of bone overlaid in carved ivory depicting a bird in flight among lotus, pine trees and rockwork, h. 3‑5/8”, including stand. [50/80] 110 Chinese Carved and Engraved Ivory Wrist Rest, 20th century, carved in the form of an open book, the page on one side engraved and stained as a picture of two ladies on a garden terrace, the opposite page engraved and stained as text, signed on the reverse, h. 4”, l. 4‑1/4”. [250/400]

116 Chinese Export Porcelain Armorial-Style Mounted, Covered Vase, 20th century, the vase, base and cover mounted in European-style mounts, the body glazed in polychrome enamels with continental-style armorial motifs on an orange and blue ground with decorations of griffins, putti, armor and classical faces, the base with pseudo-European factory mark, h. 20‑1/2”. [700/1000] 117 Chinese Framed Embroidered Silk Garment Band, 19th century, the red silk ground embroidered in satin stitch, forbidden stitch and metallic threads with scenes of figures in lush garden settings, framed in a pierced and carved wooden frame, glazed, h. 22‑1/4”, w. 6‑1/2”. [100/200] 118 Pair Chinese Export Porcelain Figures of Cranes, 20th century, each depicting the figure of a crane standing on a rockwork base, the cranes glazed in turquoise with yellow beaks and feet, the rockwork glazed aubergine, h. 16‑3/4”. [400/700]

119

123 Fine Chinese Enameled Porcelain Wine Cup, Republic Period (1908‑1949), of inverted-bell-shape, delicately decorated in underglaze blue and overglaze enamels with rockwork and flowering plants, the recessed conical base with a six-character Guangxu mark in underglaze blue, elaborate fitted leather box, h. 2”. [250/400] 124 Pair Chinese Blue and White Porcelain Rouleau Vases, late 19th century, each decorated in rich sapphire blue with continuous designs of officials on a screened pavilion accepting tribute, all in a garden setting, the bases with six-character Kangxi reign marks, h. 18‑1/4”. [600/900] Illustrated

125

119 Chinese Elaborately Carved Lapis Lazuli Sculpture, 20th century, depicting two immortals (Baxian) and attendants among clouds with a pavilion above rockwork, among the clouds is a male immortal, probably Wangzi Qiao riding a crane, a female deity riding a deer, two acolytes and a deer carrying a basket of peaches, the entire piece intricately carved in the round making best use of the richly colored stone and giving a lifelike feeling to the ribboned clothing, h. 12”, including stand. [1800/2500] Illustrated 120 Good Chinese Famille Verte and Mazarin Blue Saucer Dish, Kangzi Reign (1662‑1722), the saucer-shaped dish with a central iron-red floral medallion surrounded by four floral shaped reserve panels decorated in famille verte enamels with floral decoration, all against a Mazarin blue ground with traces of gilt scrolling foliage, the white glazed base with a double circle in underglaze blue, dia. 8‑3/4”. [250/400] 121 Pair of Fine Chinese Enameled Porcelain Saucer Dishes, Republic Period (1908‑1949), each decorated in underglaze blue and iron-red with a central five-clawed dragon among clouds pursuing the Flaming Pearl, the exterior with the same motif but with two dragons, dia. 6‑3/8”. [600/900] 122 Chinese Mazarin Blue and Famille Verte Porcelain Ginger Jar, mid‑19th century, now wired as a lamp, the large globular body glazed in a slightly speckled Mazarin blue with famille verte enamel reserve panel decoration of landscapes, people, birds and insects among flowers, overall h. 28‑1/2”. [400/700]

124

125 Good Chinese Blue and White Porcelain Saucer Dish, in the Qianlong style and probably of the period, decorated in underglaze blue on the interior and exterior with flowers on a ground of vines and foliage, the base unglazed, dia. 11‑1/4”. [900/1200] Illustrated

130 Set of Four Chinese Provincial Hardwood Side Chairs, 19th century, each with a slight yoke back above a shaped back splat, the seat with a central floating panel above squared legs and splats, h. 42”, w. 21”, d. 16‑3/4”. [400/700]

126 Good Chinese Blue and White Porcelain Saucer Dish, Qianlong mark and probably of the period, decorated in underglaze blue with a central five-clawed dragon cavorting among flames on the interior, the exterior decorated in underglaze blue with two five-clawed dragons pursuing the Flaming Pearl among flames, the base with a six-character seal mark, dia. 6‑3/4”. [1400/1800] Illustrated

131 Pair of Framed Chinese Ancestor Portraits, 20th century, each painted in opaque colors on paper as idealized figures of a mandarin and his wife in official robes and seated on horseshoe chairs with drapery, triple-matted, glazed and black-and-gilt-frames, h. 48”, w. 33‑1/2”. [400/700]

127 Chinese Blue and White Porcelain Covered Storage jar, ca 1900, of ovate-form with conforming cover, decorated with reserve panels of Double Happiness characters on a field of prunus blossoms between borders of ruyi heads at the top and lappets at the base, h. 12’. [125/250]

126

128 Good Chinese Blue and White Porcelain Plaque in Hardwood Frame, 19th century, well painted with a scene of the Immortal Li Tieguai with his crutch and double-gourd seated on rockwork beneath a gnarled pine tree while his acolyte tends a fire in a stove for heating water for making tea, the underglaze cobalt blue of rich color, h. 17”, w. 12”. [700/1000]

129 132 Two Japanese Imari Plates, late 19th/early 20th century, each decorated in polychrome enamels and underglaze blue, one with a central mon surrounded by shaped reserve panels of flowers and butterflies, the second with a central medallion of a maple tree and reserve panels of birds among flowers, dia. 12” to 12‑1/2”. [300/500] 133 Large Group of Twenty-Four Japanese Blue and White Porcelain Saucer Dishes, 20th century, each of lightly scalloped outline decorated in underglaze blue with circular reserve panels on a ground of aster blossoms and foliage, dia. 8‑5/8”. [200/400] 134 Two Japanese Imari Scalloped Dishes, 20th century, each decorated in polychrome enamels with a central medallion of a basket of flowers surrounded by reserve panels of flowers with opposing panels of cash and fruit, dia. 8‑3/4”. [200/400] 129 Good Chinese Blue and White Porcelain Moon Flask, Republic Period (1908‑1949), of traditional-flattened-form with two strap handles, the front and reverse with a lightly raised peach-form medallion decorated with peaches and bats, surrounded by a border of lotus blossoms and scrolling foliage, the base with a six-character Qianlong seal mark in underglaze blue, h. 10”. [1000/1500] Illustrated

135 Large Chinese Blue and White Porcelain Vase, 20th century, of baluster-form with open rockwork handles and flared lip rim, decorated on the front with a peacock perched among flowering peonies, h. 22‑3/4”. [300/500]

136 Group of Three Japanese Blue and White Porcelain Article, 20th century, composed of a tripodal incense burner with pierced cover modeled after a Chinese original and two long-necked wine bottles, each decorated in underglaze blue, h. 4‑1/4” to 5”. [100/200] 137 Large Set of Japanese Imari Dinner Ware first half 20th century, composed of five saki cups, seven small saucers, eight rice bowls with covers, eight soup bowls, eight plates and seven tea bowls, all decorated in polychrome enamels and underglaze blue with floral decoration, saki cups h. 1‑1/2”, dia. 2‑1/8”, small saucers dia. 4‑3/8”, rice bowls h. 3‑1/2”, dia. 4‑1/4”, soup bowls dia. 6”. plates dia. 8‑1/2”, tea bowls h. 2‑1/2”, dia. 3‑1/4”. [400/700]

139

141 Japanese Imari Small Scalloped Bowl, 20th century, of circular outline with a scalloped lip rim, decorated in underglaze blue and polychrome enamels with a stylized central floral medallion surrounded on the interior walls with alternating floral reserve panels, the exterior decorated with the floral sprays, dia. 6‑1/4”. [100/200] 142 Pair Japanese Imari Scalloped Bowls, 20th century, each of classic-form, decorated in underglaze blue and polychrome enamels with central floral medallions, the interior and exterior walls decorated with floral designs, wooden stand, dia. 9‑3/4”. [700/1000] 143 Chinese Blue and White Covered “Ginger” Jar, 19th century, of bulbous shape with domed cover, decorated with a continuous figures in a southern Chinese garden, the base with a double ring in underglaze blue, wooden stand, h. 12‑1/2”. [250/400] 144 Set of Three Chinese Rosewood Nesting Side Tables, first half 20th century, each with squared top and slightly raised gallery above carved grape vine galleries, supported on round shaped legs with matching splats and turned ball feet, h. 21” to 29”. [300/500] 145 Tall Chinese Blue and White Porcelain Vase, 20th century, of baluster-form with double Foo Dog handles and flared lip rim, decorated in underglaze blue with Double Happiness characters against a ground of scrolling vines, h. 23‑1/2”. [300/500] 146 Pair Chinese Blue and White Porcelain Bowls, 20th century, each of circular outline with plain interiors and decorated on the outside with four reserve panels of double circular designs within stylized borders, the bases with four character marks within a double square, dia. 3‑5/8”. [100/200]

138 Large Japanese Underglaze Blue, Iron-Red and Gilt Charger, 20th century, the deep charger with scalloped edge decorated in the central well with flowering narcissus and prunus branches with birds in flight, the rim decorated with a cross hatch border, dia. 16”. [200/400] 139 Chinese Blue and White-Decorated Gourd Vase, 20th century, potted with a dome-shaped base with a gourdshaped neck, decorated in underglaze blue with a ground of “mille fleur” design and three reserve panels on the base with a landscape, bamboo with peony flowers and a boy with a butterfly in a garden, the base with a six-character Kangxi mark within a double circle, h. 10‑1/2”. [500/800] Illustrated 140 Two Japanese Imari Scalloped Chargers, 20th century, each decorated in underglaze blue and polychrome enamels with central medallions of floral arrangements and bordered by alternating reserve panels of flowers and mon designs, dia. 12‑1/4”. [400/700]

147 Japanese Polychromed Porcelain Figure of a Geisha, 20th century, the standing figure of a plump cheeked geisha clad in a flowing open robe over a kimono and holding a Noh mask of a long nosed demon, h. 11‑1/2”. [200/400] 148 Large Pair Chinese Blue, White and Celadon Floor Vases, 20th century, each of baluster-form with flared lip rims and monster-head handles with loose rings, the body decorated with a band of blue and white scenes of figures and plants between areas of crackled celadon glazed bands and brown unglazed bands and handles, h. 28”. [2500/4000] 149 Good Chinese Export Blue and White Porcelain Covered Tureen and Stand, 20th century bombe shaped body with entwined strap handles and splayed foot, fitted cover with strawberry finial and oval stand, all decorated in underglaze blue with a “Nanking” design and a “Fitzhugh”style border, h. 9”, l. 14‑1/2”. [1800/2500]

150 Chinese Doucai Porcelain Bowl with Rim, Republic Period (1908‑1949), the circular bowl with wide flared rim with an interior single flower spray and exterior decoration of flowering branches with a water lily border, the recessed base with a six-character Yongzheng mark in a double circle in underglaze blue, dia. 7‑1/2”. [250/400] 151 Pair Chinese Doucai Porcelain Rice Bowls, Republic Period (1908‑1949), each of invertedbell-form decorated in underglaze blue and polychrome enamels with an interior floral medallion and exterior decoration of four floral medallions among lotus flowers and foliage, the bases with six-character Chenghua marks within double circles in underglaze blue, dia. 5‑1/2”. [400/700]

157 159

156

152 Chinese Rosewood, Burlwood and Motherof-Pearl Display Stand, first half 20th century, modeled after a Kang tea table, the rosewood frame with mother-of-pearl inlay of dragons and lotus on the apron, the top inset with a floating panel of burlwood, h. 3‑1/2”, d. 7‑1/4”, l. 12/1/4”. [125/250]

153 Unusual Chinese Framed Rice Paper Painting, 19th century, painted in gouache on rice paper depicting the unusual subject of a glass blower at work, matted in a green bookbinder’s paper mat in a giltwood frame, glazed, h. 16‑1/4”, w. 13‑1/8”. [300/500] 154 Framed, Finely Embroidered Chinese Sleeve Band, 19th century, consisting of a central scene of peacocks among flowers and peonies bordered by a shaped border of applied woven fabrics on a white ground with embroidered blue flowers, framed in a silvered wood frame, glazed, h. 14”, l. 28‑1/2”. [400/700] 155 Fine Small Chinese “Mirror Black” Vase, ca 1780‑1850, of bulbous shape with elongated neck, glazed all over in a rich, deep black with painted gilt decoration of sinuous dragons encircling a rider and attendant in a landscape, the shoulder with a band of stylized plantain leaves, h. 5‑1/4”. [800/1200] 156 Fine, Elegant Pair Chinese Famille Rose Rice Bowls, Daoguang (1821‑1850) mark and period, each bowl decorated on the exterior in famille rose enamels with delicate shading depicting flowering chrysanthemum plants and a single branch of dead leaves, the base with a six-character Daoguang reign mark in underglaze blue, dia. 4‑5/8”. [1000/1500] Illustrated

158

157 Rare Chinese Famille Rose Moon Flask, Republic Period (1911‑1949), the traditional flattened circular body with splayed foot, dragon handles and flared neck finely enameled in famille rose enamels with circular plaques of exotic birds, the face depicting a male and a female pheasant perched in flowering shrubbery growing out of rockwork and a calligraphic inscription with seals, the reverse depicting a peacock, peahen and two long-tailed birds perched on rockwork with flowering magnolia and cherry trees, the sides, foot and neck decorated with floral designs on a yellow ground, the base with a four-character Qianlong seal mark in raised overglaze blue within a double square, h. 9‑3/4”. [1500/2500] Illustrated 158 Fine Chinese Famille Rose Saucer Dish, Yongzheng mark and probably of the period (1723‑1735), of conventional saucer shape, decorated in famille rose enamels with fine delicate decoration of flowers and foliage against a white ground, the thinly potted body with an underglaze blue six-character Yongzheng mark within a double circle, dia. 5‑1/2”. [1200/1800] Illustrated 159 Fine, Rare Chinese Famille Rose and Gilt Enamel Incense Burner, Republic Period (1911‑1949), modeled as an elongated cylindrical body with three elephant head feet, archaic-style strap handles and a pierced dome top with a flame finial, the body and pierced cover each with two shaped reserve panels, finely enameled depicting male and female pheasants on rockwork among flowering shrubs on the body and reserve panels of flowering plants and a butterfly on the cover, the body with molded geometric designs under gilt enamels, the base with a four-character Qianlong seal mark, h. 9‑1/2”. [500/800] Illustrated

160 Fine Japanese Six-Panel Folding Floor Screen, Meiji period (1868‑1912), the painting depicting a fall scene of a red maple along side a flowing stream, a heron, bluebird, mocking bird and a pair of sparrows enlivening a landscape of elegant grasses and native flowers, the background with scattered areas of gold foil as clouds and mist against a yellow ground, h. 67”, w. 148‑1/2”. [1400/1800] Illustrated

162

161 Good Japanese Satsuma Pottery Bowl, Meiji Period (1868‑1911), beautifully decorated in polychrome enamels and gilding on a crackled cream ground, decorated on the interior with two immortals and two attendants in brocade robes searching for ling-chih among rockwork, dia. 5‑1/4”. [100/200] Illustrated

161

162 Fine Pair Japanese Satsuma Vases, Meiji Period (1868‑1911), each of cylindrical shaped bodies with splayed feet and domed tops with straight lip rims, each finely decorated in polychrome enamels and gilding with immortals in reserve panels against a brocade ground, h. 7‑1/2”. [300/500] Illustrated

163

163 Small Japanese Multi-Metal Vase, Meiji Period (1868‑1911), of baluster shape with small, flared lip rim, the patinated body with decoration of two confronting long-tailed roosters posed in fighting stances, h. 4”. [1800/2500] Illustrated

165 Pair of Chinese Mineral Trees in Serpentine Pots, 20th century, each with simulated wooden stems with flowers of amethyst, carnelian and green serpentine, h. 11‑1/2” [75/125]

164 Japanese Satsuma Double Gourd Vase, late 19th century, now wired as a lamp, the double-gourd-form vase delicately enameled in polychrome enamels on a crackled cream ground with shaped reserve panels of figural and floral designs on a ground of stylized flower patterns, wooden base, shaped shade, h. 19”. [150/300]

166 Chinese Silk Hanging Scroll Painting, 18th/19th century, painted in opaque colors on silk depicting a scene of a palace in a mountainous landscape, composed of numerous pavilions and courtyards scattered across a cloud-filled landscape, signed, collectors seal, h. 78‑1/4”, w. 21‑1/2”. [400/700]

167 Large, Impressive Chinese Carved Spinach Jade Brush Pot, of cylindrical-form, carved from a single piece of spinach jade, carved in deep relief with three five-clawed, horned dragons pursuing the Flaming Pearl, each dragon sinuously coiled among clouds and waves, the stone of even dark green and the carved design and background with well-polished finish, h. 9‑1/2”, dia. 6”. [15000/25000] Illustrated 168 Rare, Unusual Chinese Carved Zitan Brush Rest, carved as three mountain peaks rising above cresting waves, each of the mountain peaks topped by the figure of a hydra dragon, each with a pendant bifurcated tail draped around the mountain peak, l. 9‑1/4”. [500/800] Illustrated 160

171 Chinese Carved Mottled Jade Scholar’s Mountain, 19th century, the mottled green and white stone carved in high relief as a flattened top peak with two sages in a grove of pine trees with deeply cut dimensional details, wood stand, h. 6”, l. 7‑1/2”. [1400/1800] Illustrated

167

170

172 Good Chinese Nanyang Jade Scholar’s Mountain, the dark green and white stone delicately carved as cresting mountains in dark green with a sage and detailed carving of pine and prunus trees in the contrasting white veins of the stone, the carving taking the best advantage of the color variations in the stone, h. 5”, l. 8‑1/2”. [800/1200]

169

168

171

173 Group of Three Chinese Carved Jade Articles, composed of a rectangular white jade plaque carved in relief as a dragon among clouds, a celadon carving of a Buddha’s hand and a dark celadon carving of a shallow brush washer, all have wooden stands, h. 3‑3/4”, L. 3‑3/4” TO 6”. [300/500] 174 Chinese Carved Green Jade Figure of a Lion, the mottled dark green stone carved standing on four feet with one paw on a ball, the head turned to the side and having a curled mane and tail, l. 5”. [250/400] 175 Elaborate Chinese Carved Jadeite Avian Group, 20th century, the variegated white and multi-toned green stone carved as a prunus tree with buds and open flowers with five birds perched in its branches and at its base, h. 12‑1/4”. [600/900] Illustrated

169 Two Good Chinese Carved Jadeite Calligraphy Brushes, each with carved jadeite shafts of mint green color with emerald splashes and each with engraved cloud designs, the tops with bamboo bands and white bristles, l. 10‑1/4” to 11”. [400/700] Illustrated 170 Fine Chinese Carved Pale Celadon Jade Brush Pot, of cylindrical-form carved in deep relief with a continuous scene of three sages in a forested rocky landscape with pine trees, bamboo and leafy prunus trees with a crane in flight among clouds and mountains and a distant lakeside, the even pale-celadon-colored stone with a single brown vertical streak carved as a seven-storied pagoda and extending to a spot on the rim, the base with a fourcharacter Qianlong seal mark within a key-fret border and encircled at the outer base and lip rim with further key-fret borders, h. 6‑1/8”. [9000/12000] Illustrated

176 Chinese Carved Jadeite Group, 20th century, the mottled pale green and black stone elaborately carved in the round as a group of three immortals wearing ribboned robes among clouds, h. 7‑1/2”. [250/400]

175

177 Good Chinese White Jade Covered Vase, 19th/20th century, of flattenedbaluster-shape with conforming cover, elaborate lion head handles with loose rings and low relief carving of figures and pavilions in a rocky landscape on the front and deer in a landscape with a bridge on the reverse, the creamy white stone with scattered light brown inclusions, the body very well hollowed interior, h. 8‑1/4”. [4000/7000] Illustrated

179 177 181

180

178

178 Chinese White and Russet Jade Carved Figure of a Horse, 19th century, the mottled white and russet jade carved as a playful horse rolling on its back with in-curved tail, possibly one of the eight horses of Wangmu, fitted wooden stand, l. 4‑1/2”. [7000/10000] Illustrated 179 Chinese Carved Mottled Celadon and Russet Jade Group, probably made as a gift for student taking the Imperial examinations, carved in relief as a large leaping carp rising from waves into clouds and the figure of a hydra dragon climbing the carp’s body, carved, fitted wooden stand of lotus, h. 7‑1/4”, excluding stand. [9000/12000] Illustrated 180 Chinese Carved White Jade Figure of a Kylin, 19th century, the grayish white stone with russet inclusions carved as a recumbent kylin with back-turned head with two horns emitting vapors and having a group of books tied with a ribbon on its back, l. 6”. [5000/8000] Illustrated 181 Chinese Carved Yellow/Celadon Jade Covered Box, of circular-form with conforming cover, the cover with a low relief carved Shou character surrounded by an engraved border of dragons in clouds, the body engraved all around with archaic characters under a fretwork border, all the engraved designs and characters filled in with gilding, h. 3‑1/4”, dia. 3‑1/2”. [7000/10000] Illustrated 182 Two Chinese Brass Boxes With White Jade Tops, fourth quarter 19th century, one of oval outline, the oval box set with an oval plaque of white jade carved in low relief with peaches and a bat, the rectangular box set with a piece of white jade carved in low relief with figures in a landscape, l. 4-/4” to 5‑1/2”. [300/500]

183 Chinese Carved Celadon Jade Plaque, 19th century, of rectangular outline, carved in low relief on one side with a child holding a vase emitting vapors, the reverse carved with lotus emerging from a pond, the reticulated borders carved as two opposing dragons with pendant bodies extending down the sides and to the base, h. 3”, w. 2‑3/8”. [250/400]

184 Chinese Carved White Jade Pendant Plaque, 20th century, of rectangular outline with an openwork border of two phoenix birds with pendant plumage, the center of the plaque carved in relief with a dragon confronting a horse, the stone of even white color, h. 2‑5/8”, w. 1‑7/8”. [300/500] 185 Chinese Carved Celadon Jade Pendant Plaque, 20th century, of rectangular outline with openwork border of two confronting phoenix birds with pendant plumage, with a bat at the base, the center of the plaque carved in relief with a sinuous dragon, the stone of even celadon color, h. 2‑3/4”, w. 1‑5/8”. [250/400] 186 Chinese Carved Celadon Jade Pendant Plaque, 20th century, of rectangular outline with openwork border of two confronting phoenix birds with pendant plumage, the center of the plaque carved in relief with a kylin emitting a vapor fountain holding a book, the stone of even celadon color, h. 2‑1/2”, w. 1‑7/8”. [250/400] 187 Pair Chinese Carved Jade Figures of Phoenix Birds, first quarter 20th century, now made into lamps, the mottled green and white jade figures of long tailed phoenix birds on wooden bases now mounted on cloisonne stepped bases and wired as lamps, topped with shaped silk shades with fringe, one lamp with jade finial, h. 18” to 20‑1/2”. [500/800] 188 Chinese Carved Spinach Jade Incense Burner, first half 20th century, the flattened bulbous body on three lion-head feet and having dragon-head handles with loose rings, the pierced cover with a dragon finial and loose ring handles, h. 6‑1/4”. [300/500] 189 Chinese Carved Jade Two-Color Avian Group, 20th century, composed of grayish-white and dark green jade carved as a group of cranes in a magnolia tree in white jade and a pine tree in dark green jade, h. 8‑1/4”. [200/400]

190 Chinese Two Color Jade Sculpture, 20th century, composed of light and dark green jade, with the light green jade carved as a figure of a sage standing on a lyre-shaped base, next to a dark green jade flattened vase containing a scepter, plaque and bamboo pole, h. 7”. [300/500]

201

191 Good Chinese Carved Jade Pendant Plaque, the dark green, near black stone carved as a rectangular plaque in low relief depicting Guandi, the god of war and literature, holding a halberd, dressed in loose robes and seated upon a lion, h. 2‑7/8”, w. 2”. [250/400] 192 Pair Chinese Enameled Porcelain Boxes, 20th century, each modeled in the form of a seated duck enameled in famille verte enamels, the bodies opening along a center line with an open interior, h. 7‑1/2”, l. 11”. [250/400] 193 Chinese Export Porcelain Figure of a Duck, modeled as an alert figure with side-turned head and decorated in famille rose enamels with a brown body, presented on a wooden platform seat, overall l. 8‑1/4”. [50/80]

194 Chinese Famille Rose Porcelain Plaque, late 19th century, now mounted in a later frame as a table screen, depicting a bare-chested official in a naturalistic setting, seated at a low table and attended by two physicians and a servant at a stove, h. 20‑3/4”, l. 24‑3/4”. [600/900] Illustrated 195 Chinese Export Porcelain Mounted Covered Bowl, 20th century, the porcelain body decorated in polychrome enamels with a continuous scene of the hongs of Canton, the bowl and cover mounted in European-style mounts, the base with a pseudo-European factory mark, h. 14”. [800/1200] 196 Good Chinese Qiangbai Celadon Bowl, 19th century, the thinly potted bowl with interior decoration of incised clouds and the exterior with overlapping petal decoration, the glaze of even pale green with blue tones with light thinning at the lip rim, dia. 5‑7/8”. [150/300]

194

198

197 Chinese Celadon Glazed Storage Jar, 20th century, now wired as a lamp, the bulbous body with low relief molding of clouds and scrolling foliage under an even pale celadon glaze, fitted wooden stand, h. 20”. [250/400] 198 Unusual Pair Chinese Export Porcelain Dishes, 19th century, each decorated in the rose medallion pattern with central figural medallions and unusual borders of Buddhistic symbols and pseudo-European designs, dia. 7‑3/4”. [500/800] Illustrated

202 Chinese Famille Rose Mounted Covered Vase, 20th century, the flared vase and conforming cover of ovate outline with European-style gilt-metal mounts, decorated in famille rose enamels in the rose medallion pattern with figural reserve panels against a ground of Buddhistic symbols, h. 16”. [700/1000]

206

203 Chinese Export Porcelain Mounted Plate, first half 20th century, composed of a famille rose plate decorated in the rose medallion pattern in a gilt metal frame and fourlegged stand with acorn mounted handles, dia. 13‑3/4”, across handles. [200/400] 204 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”. [75/125] 205 Chinese Export Porcelain Milk Jug, 18th century, of barrel shape with strainer spout and metal strap handles decorated in famille rose enamels with figures of ladies in a garden scene, h. 9‑1/4”. [300/500]

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199 Chinese Famille Rose Export Porcelain Seafood Plate, 19th/20th century, of shaped outline with flattened border at one end, decorated in the rose medallion pattern with gilt details, now mounted for hanging, l. 10-3/4", w. 10". 1”. [250/400] 200 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”. [300/500] 201 Chinese Export Porcelain Punch Bowl, 19th century, decorated in famille rose enamels in the rose medallion pattern with a central divided medallion of floral and figural designs, the interior and exterior decorated with alternating panels of floral and figural themes alternating with panels of domestic scenes, dia. 14‑1/2”. [600/900] Illustrated previous page

206 Chinese Women’s Outer Coat, ca 1920, the royalblue satin coat with bronze button closures, beautifully appliqued with embroidered figures of women on a bridge with flower and butterflies, metallic gold thread floral sprays and three rondels with men and women in each of the back circles, each sleeve with a rondel and are delicately embroidered in silk and metallic threads with women doing daily activities surrounded by local flora, size, medium, l. 38”, from shoulder to hem. [300/500] Illustrated

207 Chinese Cloisonne Altar Vase, first half 20th century, of yen-yen shape, decorated in polychrome enamels with continuous scenes of Foo dogs playing with ribbons among clouds in multi-colored enamels against a blue ground, the base with a four-character Qianlong mark in enamels, h. 18‑1/4”. [400/700] 208 Pair Chinese Cloisonne and Goldstone Vases, late 19th/early 20th century, each of tapered-baluster-form with flared lip rims, decorated in polychrome enamels with reserve pendant panels of dragons and phoenix birds with goldstone infused grounds on the dragon panels and a border of stylized flowers on the shoulders and neck, h. 11‑3/4”. [1200/1800]

216

213 Chinese Oval Carved Jade Pendant, first quarter 20th century, of oval outline with silver metal bezel, the openwork plaque carved as the figure of a dragon, the stone of even light colored celadon jade, h. 3‑5/8”. [200/400] 214 Unusual Chinese Eighteen Karat Yellow Gold, Jade and Garnet Brooch, composed of a white jade doubleflower brooch with delicate scrolling foliage, set with two green-jade five-petaled flowers and an oval cabochon-cut garnet in between, mounted on a yellow gold frame with pin back. Provenance: Virginia Lee Leveau, St. Simons Island, Georgia. [800/1200] Illustrated 215 Large Fourteen Karat Yellow Gold and Jade Pendant, of rectangular outline with domed ends, the yellow gold mount set with a dimensional celadon jade plaque carved as a dragon among flowering peonies chasing the Pearl of Wisdom, l. 4‑1/2”. [500/800] 216 Good Pair Chinese Champleve Enamel-and-GiltCovered Urns, 20th century, the pair with raised enamel decoration of lotus, scrolling foliage, lappet borders at the foot and ruyi borders at the shoulders and lip, all against a gilt-ground, the conforming covers with finials of Buddhistic lions, wooden stand, h. 11‑1/2, including stands. [600/900] Illustrated 217 Pair Chinese Cloisonne Covered Boxes, 20th century, each in the form of a seated quail, the upper body being the cover, enameled in yellow, green, blue and gold with accents in red, pink and black, l. 6‑3/4”. [300/500]

209 Chinese Lady’s Evening Purse, first quarter 19th century, made from two panels of cloud design with a fretwork border and attached to two ivory colored celluloid bars with pierced designs of dragons, each end with two silk tassels and suspended on a black cord strap, h. 8‑3/4”, w. 8‑1/2”. [250/400] 210 Unusual Chinese Red and White Jade Pendant, carved as a leaping carp among waves and emitting a spray of vapor from its mouth all in the white section of the stone and the red section carved as a lotus leaf, h. 3‑1/8”, w. 1‑5/8” [150/300]

218 Group of Three Chinese Calligraphy Brushes, two made from hardstone pieces shaped as archer’s rings and one made from hardstone disks, each with bone bases and tops and horsehair bristles, l. 14‑1/2” to 17”. [500/800] Illustrated

218

211 Chinese Archaic-Style Carved Jade Bracelet, of solid circular outline, the stone of green and red mottled color carved in low relief with two dragons with archaic characters interspersed with stylized scroll clouds, dia. 2‑1/2”, inside. [300/500] 212 Chinese Eighteen Karat Yellow Gold Disk Pendant, of circular outline with a central character flanked by raised figures of a dragon and a phoenix on a Florentine gold ground and bordered by a fretwork floral border, dia. 2‑5/8”. [1400/1800] Illustrated

219 Group of Four Chinese Hardstone Calligraphy Brushes, each composed of hardstone beads or spheres with bone bases and tops and horsehair bristles, l. 11” to 12”. [300/500]

222 pair

220 Chinese Carved Hardwood Statue of Guanyin (Goddess of Mercy), 19th/20th century, the well carved wooden figure depicting the standing goddess clad in loose robes, tiara, high chignon and pendant tresses, one hand hidden in her robes, the other posed in a mudra, h. 21”. [400/700] 221 Good Pair Japanese Kutani Vases, 19th century, of tapered-form with four reserve panels against an ironred ground with brocade decoration, the reserve panels with figural and floral decoration finely detailed, the bases signed, wooden covers, h. 13‑1/2”, including wooden top. [600/900] Illustrated 222 Pair Chinese Applique Lacquered Panels, first half 20th century, depicting the figures of a mandarin and his wife in relief-carved and painted soapstone on a lacquered ground, each dressed in official robes and seated on draped thrones, wooden frames with cast-metal hangers, h. 39”, w. 24”. [500/800] Illustrated

221 225 Good Chinese Export Brass-Mounted and Lavishly Gilded Black-Lacquer Work Box, in “Lakeside Pavilions” decor, second quarter 19th century, the interior of the lid fitted with a black silk-covered, compartmented scriptor flap, the facade fitted with a pair of shallow transverse drawers, each having a separate key, h. 5‑3/4”, w. 17”, d. 11‑1/4”. [400/700] Illustrated 226 Chinese Wood and Ivory Carved Fan and Stand, the traditional-shaped fan with a central plaque of redcrested cranes standing on a rocky ground with plants surrounded by an intricate pierced ground with blue cabochon decoration, a pierced ivory panel at the top, the darker wood frame with ivory panel decoration, supported by a dark wood stand and having a silk tassel pendant at its base, h. 25”. [400/700] 223 Elegant Chinese Lacquered Export Tea Caddy, 19th century, of casket-form with indented panels, shaped cover and resting on winged monster head feet, the entire surface beautifully decorated in gilt on black lacquer with details of Chinese figures in garden settings and scrolling foliate borders, interior paktong covered liner, h. 6‑1/4”, d. 6‑3/4”, l. 9‑1/8”. [800/1200] Illustrated 224 Chinese Export Miniature Lacquered Cabinet, 19th century, modeled after a European original, the front with two doors opening to an interior with five drawers, the exterior decorated with gilt on black ground with chinoiserie designs and floral borders, h. 15‑1/2”, w. 14”, d. 8”. [500/800] Illustrated

227 Chinoiserie Red-Lacquered Cabinet on Stand, second quarter 20th century, the cabinet with a pair of doors opening to an interior fitted with a central cabinet and flanked by drawers and open cubbyholes, the base with a carved, textured frame and tall cabriole legs, h. 65”, w. 45”, d. 23”. [500/800] 228 Chinese Carved Amber Snuff Bottle, of thick, squared outline carved all over in low relief with lotus surrounded by clouds, the sides with mock mask ring handles, amber top, h. 3‑1/2”. [1000/1500] Illustrated

232 Chinese Carved Rock Crystal Snuff Bottle, of flattened outline with a flat polished foot, the stone with a natural fissure incorporated by the carver into the etched design of plants and Buddhist symbols, h. 2‑1/2”. [150/300]

224

225

233 Two Chinese Carved Jadeite Snuff Bottles, 20th century, each of flattenedform with low relief carved panels of floral decoration, the mint green stone bodies with dark green inclusions, matching jadeite stoppers, h. 2‑1/2’. [200/400] 234 Chinese Cloisonne Enamel Snuff Bottle, of flattened-flask-form, enameled in polychrome enamels with stylized phoenix birds on a ground of flowers and scrolling foliage, the base with a cast seal mark, h. 2‑3/4”. [300/500]

223

229

235 Chinese Carved Marble Snuff Bottle, of flattened, circular shape with flattened foot, the gray matrix with black and brown amorphous shapes, composition turquoise top, h. 2‑5/8”. [500/800] 236 Chinese Hair Crystal Snuff Bottle, of flattened, rectangular outline with rounded shoulders and flattened foot, the smoky crystal with included black tourmaline needles, coral bead top, h. 2‑1/2”. [400/700] 237 Chinese Carved Celadon Jade Belt Hook, the mottled celadon jade carved as the head of a dragon with twin horns rising from the arched body of the hook, the reverse with a near circular plug, l. 3‑3/4”. [500/800]

229 Good Chinese White Jade Snuff Bottle, (1750‑1820), of flattened rectangular outline, the face well-carved in low relief with two monkeys beneath a pine tree, one monkey holding a peach, the other holding a stick and hitting a bee nest suspended from a branch, the trunk of the pine tree and the bee nest picked out in the ochre skin of the outside of the original pebble, well-hollowed and raised on a neat foot, the stone of slightly green white jade, h. 3‑1/4”. [4000/7000] Illustrated 230 Chinese Carved Jadeite Snuff Bottle, of flattenedpurse-form with flattened foot, the stone of icy-green color with darker green veining, silver and jade cabochon top, h. 2‑1/2”. [700/1000]

228 238 Chinese Bronze and Cloisonne Vase, 20th century, cast in spreading balusterform with dragon head handles, the body cast with wave patterns and two horizontal bands of cloisonne decoration, one of lotus the other of archaic designs, h. 9‑1/2”. [75/125]

231 Chinese Carved Rock Crystal Snuff Bottle, of hexagonal-baluster-form, the nearly flawless stone carved with flattened sides and flared lip rim, tiger’s eye quartz top, h. 3‑1/8”. [300/500]

244

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241

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243

239 Japanese Cast-Bronze Jardiniere, 19th century, the globular body resting on a cast footed base, bamboo shape handles and cast in relief with alternating avian and Buddhistic reserve panels against a geometric ground, h. 9‑1/2”, w. 11‑3/4”. [300/500] 240 Large Japanese Cast-Bronze Umbrella Stand, ca. 1900, of tubular form with high relief casting of birds, plants and a pine tree, the integral base with a band of Buddhist symbols and having a key-fret border at the lip rim, h. 24‑1/2”. [400/700] 241 Fine Classic Small Scholar’s Table Incense Burner, 17th century, of circular outline with two twisted loop handles and resting on three feet, the base with a cast six-character Xuande (1426‑1435) reign mark within a square, the base of each foot each with a cast commendation character, a rare unusual piece for the scholar’s desk, dia. 3‑1/4”. [1500/2500] Illustrated 242 Good Chinese Cast Bronze Food Vessel and Cover (DOU), Qianlong mark and period (1736‑1795), of an archaic vessel, the circular body with conforming cover resting on a splayed base, the outer rim of the base and the inside of the cover each with cast six-character Qianlong reign marks, h. 10”. [2000/4000] Illustrated 243 Chinese Carved Shoushan Stone Seal, of squared outline, the lightly mottled orange stone deepening to dark orange on the sides, an engraved calligraphic inscription on one side and a carved seal in the base, fitted wooden stand, w. 2”, l. 2”. [200/400] Illustrated

244

244 Excellent Chinese Cloisonne Vase, Qianlong mark and period (1736‑1795), possibly Imperial, of baluster-form with tapered shoulders, tubular neck with gilded dragon handles and loose rings, the body decorated in polychrome enamels with design of lotus, scrolling vines and flowers on a blue ground, the raised areas with rich gilding, the recessed base with a six-character Qianlong reign mark within a double square, h. 8‑3/4”. [4000/7000] Illustrated

245 Fine Chinese Cast-Bronze Bell, dated 9th Year Qianlong reign (1749), finely cast in barrel-form topped by two horned dragons forming the hanger, the body cast in sharp relief with a band of clouds, above a wide band with two horned dragons clasping pearls and an inscribed, dated scroll and an engraved plaque with the reign mark, encircled at the base with circular bosses for striking, h. 8‑1/4”. [2500/4000]

246

263

246 Pair Chinese Cloisonne Figures of Cranes, 20th century, each modeled as the figure of a red-cap crane standing on a rockwork base and holding a plant spring in their mouths, enameled in polychrome enamels with white feathers, brown rockwork and gilt details, h. 17”. [500/800] Illustrated

247 Chinese Mirror Black and Gilt Decorated Vase, late 19th century, now mounted as a lamp, the baluster-form body enameled in mirror black with extensive painted gilt decoration of reserve floral panels against a geometric ground, the lower section with a border of Shou characters and plantain leaves, fitted wooden base, and carved serpentine finial, h. 22”. [200/400] 248 Chinese Cast-Bronze and Cloisonne Vase, first half 20th century, now wired as a lamp, the baluster-form body with bird-form handles and archaic details enameled with cloisonne floral and dragon decoration in horizontal bands and leaf shaped pendants, wooden base, and shade, h. 24”. [200/400] 249 Japanese Cloisonne Incense Burner, 19th century, of squat bulbous form on three feet and having loop handles, the body enameled with shi-shi among flowers on a white ground, h. 6”, dia. 8”. Provenance: ex coll. Henry Stern Antiques, New Orleans, Louisiana. [100/200] 250 Charming Japanese Carved and Stained Ivory Okimono, 20th century, carved in the round as a mother drying her hair after her bath with her kimono lowered revealing her nude upper torso and having her child clinging to her, signed, h. 4‑1/2”. [250/400] 251 Small Japanese Carved and Stained Ivory Okimono, 20th century, depicting a robed, seated musician with his instrument across his lap and having both hands poised to play, stained details, signed, h. 3‑1/4”. [150/300]

252 Japanese Carved Bone Sheathed Dagger, first quarter 20th century, the hilt and scabbard carved all over in low relief with armored soldiers, officials and a courtesan gathered in preparation for battle, l. 10‑1/4”. [200/400] 253 Three Small Japanese Carved Ivory Okimono, 20th century, each well-carved depicting a vendor carrying their wares, one a basket seller, one a fruit seller and one a bowl seller, each with stained details, h. 3‑1/4”. [250/400] 254 Finely Carved Ivory Japanese Okimono, Meiji period (1868‑1911), carved as the standing figure of a fruit vendor, the figure clad in a short robe holding a sickle in one hand and carrying a basket of fruit balanced over his opposite shoulder with a bunch of fruit, standing on a carved base simulating a tree trunk section, signed, h. 5‑3/8”. [500/800] 255 Good Japanese Carved Ivory Okimono, Meiji Period (1868‑1911), carved as the standing figure of a seashell gatherer, the man wearing a short tunic and carrying a basket of shells at his back, standing on a base with scattered seashells, h. 7‑1/2”. [600/900] 256 Japanese Carved and Tinted Ivory Figural Group, 20th century, carved as the standing figure of a geisha attended by a young boy with a stove and a wicker storage basket, wooden base, h. 4‑1/2”. [250/400]

267

269

261 Asian Erotic Carved Ivory Group, 20th century, carved as a woman in amorous pursuits with a horned satyr, both in supine position, with red paste stone accents, shaped wooden base, l. 5‑3/4”. [400/700]

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257 Well-Carved Japanese Ivory Okimono, 19th/20th century, carved as a smiling figure of a fisherman holding his net, a large fish and eleven wicker baskets, probably for bait, h. 4‑1/2”. [300/500]

262 Good Japanese Carved Ivory Erotic Netsuke, 20th century, carved and stained as a tender amorous couple engaged in an embrace while coupling, both figures well and lively carved, signed, h. 2‑1/4”. [250/400] 263 Impressive Japanese Carved Ivory Model of a Pagoda, 20th century, modeled as a five-storied pagoda, each level with a galleried rail, low relief carved panel doors and carved sloped roof overhang, the top with a triple gourd shaped pierced finial, h. 26‑1/4”. [2500/4000] Illustrated previous page 264 Japanese Painted Ivory Figural Group, 20th century, carved as the figures of two geishas, one seated applying makeup, the other standing with a musical instrument, on an oval base with pots and a music stand, polychrome details, wooden stand, h. 7‑3/4”. [300/500] 271

258 Japanese Carved Ivory Figural Group, 20th century, carved as a seated figure of a man in a patterned short robe and trousers holding two children aloft, carved black stone stand, h. 4‑1/4”, excluding stand. [300/500] 259 Good Japanese Carved Ivory Okimono of a Farmer, Meiji/Taisho period (1868‑1926), carved as a standing male figure clad in a brocade design haori, holding a hoe in one hand and carrying a woven basket on a pole over his opposite shoulder, on a cloud shaped base with a signature on the base, h. 5‑1/2”. [400/700] 260 Group of Five Japanese Carved Ivory Erotic Netsuke, 20th century, each carved and stained depicting couples in amorous pursuits in a variety of positions, carving is of good quality, h. 1‑1/4” to 1‑1/2”. [300/500]

265 Two Japanese Carved and Tinted Ivory Figures of Farm Workers, 20th century, each wearing patterned winter outer coats, one holding a rake and a fan, the other holding a broom, both signed, h. 4” to 4‑1/4”. [250/400]

266 Japanese Carved and Painted Ivory Okimono, 20th century, depicting two capped and robed fisherman with fishing poles and woven basket standing on the back of a great golden carp rising from cresting waves, h. 4‑3/4”. [250/400] 267 Unusual Pair Japanese pottery Shi-Shi, Probably Bizenware, Meiji Period (1868‑1911), each figure in dark pottery with a mottled glaze, the figures each seated on its haunches with fierce faces, manes and tails, one with a single horn, both with calligraphic inscriptions etched in the clay of the bases and seals, h. 7”. [500/800] Illustrated 268 Japanese Multi-Colored Lacquer Covered Box, Meiji Period (1868‑1911), of squared outline with indented corners, the cover and sides decorated in gold and silver lacquer on a black ground with designs of morning glory vines and sprigs of mimosa foliage, w. 5‑3/4”, l. 6‑1/4”. [900/1200] Illustrated 269 Japanese Lacquer Rectangular Document Box, Meiji Period (1868‑1911), the rectangular shaped box with rounded corners, lacquered all over in a red-gold speckled ground with gold lacquer decoration on the cover of bamboo, flowering prunus branches and two red capped cranes, silk cord, l. 16‑1/4”. [900/1200] Illustrated 270 Japanese Carved Wooden Inro and Netsuke, 20th century, carved in the form of a woven wicker basket with rats and a snake, the netsuke carved as a coiled serpent, h. 3”. [100/200] 271 Good Japanese Multi-Metal Small Tray, first half 20th century, cast in the form of a woven sifting basket with fruit, foliage and a monkey playing with a dragonfly, the reverse cast as a fruiting grape branch and a snail, dia. 4‑1/2”. [800/1200] Illustrated 272 Fine Chinese Carved Zitan Figure of the Bodhisatva Guanyin, first half 20th century, the seated figure of the goddess enfolded in copious robes and cowl, her hands wrapped in her robes, the outline of her robes detailed in gold leaf, h. 9‑1/4”. [2000/4000] Illustrated

273 Fine Chinese Carved Zitan Incense Stick Container, 19th century, of tall cylindrical form with fitted cover, the body with incised decoration of a flowering prunus tree and an incised calligraphic poem with the artist’s seal, h. 14‑3/4”. [700/1000]

275

274 Unusual Chinese Carved Zitan Incense Stick Holder, 19th century, of tubular form carved as a ribbed section of a bamboo cane, the fitted top disappearing into the bamboo design, h. 11”. [600/900] 275 Chinese Carved Ivory Figure of a Court Official, 20th century, the elaborately carved standing figure with a long beard dressed in a mandarin’s hat with long que and an elaborate dragon robe, holding a sword in his left hand and a halberd in his right hand, standing on a carved octagonal plinth base, h. 9”. [3000/5000] Illustrated 276 Chinese Carved Ivory Figure of a Dragon, 20th century, carved horizontally from the tip of a tusk as a horned, scaly dragon with open-whiskered-mouth swallowing the Pearl of Wisdom, fitted wooden stand, l. 21”. [600/900] 277 Elegant Chinese Carved Zitan Brush Rest, well carved as three mountainous peaks rising above violently cresting waves on both front and reverse, the reverse with the carver’s seal, l. 9”. [600/900] 278 Chinese Carved Ivory Figure of a Dragon, 20th century, the nearly two dimensional figure carved as a horned, scaly figure of a dragon grasping the Pearl of Wisdom, mounted on a carved blackwood stand, l. 7”. [200/400] 279 279 Chinese Carved Zitan Brush Rest, 20th century, the rare, dense wood carved in open high relief as a horned dragon with scaly body and feathered tail, coiled with head turned backward gazing at a Flaming Pearl among coiled clouds, h. 11”. [600/900] Illustrated

280 Chinese Carved Ivory Figure of a Tantric Demon, 20th century, the bare-chested fierce figure wearing a crown and holding a double varja scepter, seated on a gold painted lion on a wooden plinth base with a chain gallery, h. 8‑1/4”, d. 3‑1/2”, l. 6”. [250/400] 281 Chinese Carved Rosewood Brush Washer, late 19th century, carved in high relief as an in-curved lotus leaf with incised veins enclosing the figure of a crab, the edge decorated with lotus flowers, leaves, a bamboo stem and the figure of a snail, l. 10‑1/2”. [500/800] 282 Japanese Enameled Silver Tulip Bowl, probably Taisho Period (1912‑1926), of hexagonally lobed form with shaped rim and flaring foot ring, decorated with applied enameled medallions of chrysanthemums, wisteria and butterflies, h. 2‑3/4”, dia. 5”, 5.20 t. oz. [2500/4000] Illustrated

282

287

283 Chinese Black Glazed Hu Vase, 19th century, of conventional Hu shape with antlered deer handles, glazed all over with a rich black glaze, the recessed foot glazed in a crackled gray glaze, h. 10‑3/4”. [300/500]

286

284 Chinese Carved Ivory Belt Slide, now with rings for use as a pendant, the nearly square slide with two slide openings on the reverse, the face carved in delicate deep relief with a dragon pursuing the Pearl of Wisdom, h. 1‑1/2”, w. 1‑5/8”. [500/800] 285 Chinese Carved Ivory “Puzzle” Ball and Stand, 20th century, composed of a five-layered puzzle ball with floral decoration resting atop a tall pedestal stand with a phoenix at the bottom on a floral stand, h. 8‑1/2”. [300/500] 286 Large, Rare and Impressive Chinese Carved Statue of the Bodhisatva Guanyin, first half 20th century, the exceptionally large solid piece of zitan carved as the standing figure of the goddess clad in loose robes and a cowl holding a ruyi scepter in one hand, the other hand raised in blessing and standing on a lotus petaled based with cresting waves, a truly exceptional statue, h. 23‑1/2”. [3000/5000] Illustrated 287 Elaborate, Large Chinese Three-Color Soapstone Carving, 19th century, composed of an outer layer of brown and green soapstone composed of dragons and a dragon tortoise among swirling clouds, the dragons pursuing the Pearl of Wisdom and the dragon tortoise emitting vapors, the reverse carved in two shades of brown with dragons pursuing the pearl, the surface of the carving pierced revealing two interior green soapstone pearls, the soapstone sculpture mounted on a carved wooden base carved as a dragon tortoise and small dragons among clouds, h. 21”, including stand. [1500/2500] Illustrated 288 Rare Chinese Zitan Carved Water Coupe, the dense wood carved in an oval outline and carved in relief with ling-chih fungus heads surrounding the shaped well opening, the base with an engraved five-character inscription and seal, d. 5”, l. 6”. [700/1000] Illustrated

292 Exceptional, Large Chinese Carved Zitan Mountain and Stand, 18th/19th century, the unusually large zitan piece carved as a doublepeaked mountain with intricate carving of craggy peaks with pine trees and pavilions, the lower section carved with scholars examining a scroll, holding a wine jug and contemplating the natural landscape, the carving executed in fine detail and carved in the round with the reverse depicting the craigy folds of the two peaks, fitted zitan stand, h. 18‑1/2”, including stand. [3000/5000] Illustrated

289

291

288

290 289 Fine Chinese Carved Zitan Brush Pot, the heavy brush pot of oval outline well-carved in high relief depicting a sage seated on a rocky ledge with a teapot and stove under a banana tree and surrounded by craigy rockwork with the ledge above a stream with cresting waves, the reverse carved as a section of a tree trunk with scars of lost branches, h. 7‑1/2”, dia. 6”. [1400/1800] Illustrated 290 Elegant Pair Chinese Carved Zitan Cups, each carved in the shape of a ling-chih fungus and stem resting on feet of the fungus shape, the open wells conforming to the outline of the ling-chih heads, l. 4‑1/4” [500/800] Illustrated

293 Chinese Carved Multi-Colored Jade Group, the green and brown colored stone carved in high relief with green rockwork and two birds at the base and the top carved in brown colored jade as an intricate chrysanthemum flower with in-curved petals, h. 4‑7/8”, l. 5”. [600/900] Illustrated

292

291 Rare Chinese Carved Zitan Libation Cup, carved as the head of a mythical creature emitting vapor from its mouth which forms the handle, the head carved in relief with bulging eyes, a porcine nose and open mouth, the cup of tapered oval outline, l. 6‑1/2”. [600/900] Illustrated

293

294 Chinese Dark Green Jade Carved Seal, of rectangularform, the top carved in the round with two confronting Buddhistic lions both with a forepaw vying for a ball, the front with engraved characters, the base with a seal, the stone of dark green Siberian jade, l. 3”. [250/400]

295

297

298 Chinese Carved Dark Celadon Jade Plaque, 19th/20th century, the plaque carved as a feathered dragon and a Kylin among scrolling clouds, the details carved in low relief and the body reticulated with openwork, h. 5‑3/4”, l. 10‑1/2”. [300/500]

300

296

295 Superb Chinese Carved Jade Figure of Guanyin, the near-white stone carved as a standing figure of the goddess clad in a caped flowing cloak over an informal robe, her hair dressed in a bun with loose streaming strands across her shoulders, the figure holding a ruyi scepter in her left hand across her forearm and her right hand raised in a mudra of blessing, carved wooden doublelotus stand, h. 8‑1/4”, including stand. [8000/12000] Illustrated 296 Elaborate Chinese Carved Celadon Jade Brush Washer, 19th century, of elongated oval outline, the lip with in-curved and out-curved edge with plain polished interior, the outside carved in high relief with lotus buds, leaves, seed pod, vining stems and fancy goldfish, the stone of thinly finished even celadon color with a few russet skin areas incorporated as highlights to the design, carved open rockwork fitted stand, l. 6‑1/2”. [3000/5000] Illustrated 297 Fine Pair Chinese Carved Jade Joss Stick Holders, the even-colored celadon jade bodies with dark green spinach jade fretwork bases and covers, the cylindrical bodies carved in relief with continuous scenes of forested mountains with figures, pavilions and pagodas among pine, oak, bananas and bamboo, the carving going down to a thin, even-colored ground with scattered piercings to the interior, a fine, well-carved example of this elegant form, h. 10‑3/4”. [15000/25000] Illustrated

299 Chinese Carved Celadon Jade Group, carved in high relief depicting two facing Mandarin ducks swimming among lotus leaves and buds and a spray of millet, the stone of even celadon color with a brown inclusion in the base, h. 3‑1/8”, l. 4‑1/4”. [400/800]

300 Chinese Carved Celadon and Russet Jade Figural Group, 19th century, the pale celadon stone with russet inclusions carved in relief as a standing figure holding a giant lotus leaf over his back and attended by a seated attendant, fitted fretwork wooden stand, h. 5‑3/4”, excluding stand. [6000/9000] Illustrated

310

301 Chinese Carved Jadeite Brush Washer, 20th century, the stone mottled in green, olive-green and apple-green splashes carved as a low-edged double gourd with relief carving of pine tree branches and a spider at the rim, earlier carved wooden stand, l. 5‑1/4”. [400/700] 302 Chinese Carved White Marble Vase, first half 20th century, carved and pierced in high relief with flowering prunus, pine trees and bamboo above rockwork, against a hollowed tree trunk with the opening as a vase, h. 5‑1/8”, l. 6”. [200/400]

311

305 Chinese Carved Olive Green Jade Pendant, 19th century, carved on both sides as the coiled figure of an archaic dragon biting its own tail, the body with incised details, the stone of olive green color, h. 3‑1/8”, w. 2‑3/4”. [200/400] 306 Group of Three Chinese Carved Jade Pieces, 19th century, composed of a white jade rectangular plaque with two monkeys, a bi disk in celadon jade surrounded by two hydra dragons and a celadon jade plaque in the form of a bat, l. 2‑1/8” to 3‑1/2”. [150/250] 307 Good Chinese Carved Creamy White Jade Group of Three Goats, the detailed, dimensional group of two long horned goats and a kid grouped around a sphere with engraved yin-yang symbol, the creamy white stone finely carved revealing open spaces between the animals, h. 2‑1/4”, l. 3”. [500/800] 308 Chinese Miniature Carved Jadeite Group, 20th century, the mottled green and russet stone carved as the seated figure of the Happy Buddha holding a fan and having the figure of a dragon climbing his shoulder, fitted wooden stand, h. 2”, including stand. [600/900] 309 Chinese Carved Jadeite Statue, the even-colored celadon stone with a side of russet skin, carved as the seated figure of a bald male wearing loose robes with his arms around one crooked leg, the russet skin on the side carved as two bats among cloud vapors, h. 2‑1/2”. [600/900] 310 Good Chinese Famille Rose Rice Bowl, Republic Period (1911‑1949), enameled on the exterior with flowering stylized lotus flowers with scrolling foliage, bats and Buddhistic swastikas and bordered at the lip rim with a border of ruyi heads, the interior plain, the base with a six-character Qianlong seal mark in underglaze blue, dia. 4‑5/8”. [300/500] Illustrated

303 Chinese Carved White Jade Circular Pendant, the creamy white stone carved as a circular bamboo shaped border with a pierced center carved as an exotic bird perched on a leafy branch, dia. 2‑1/2”. [900/1200] 304 Chinese Carved White Jade Pendant, first half 20th century, of triangular outline carved and pierced as a bird nesting among foliage and flowers, h. 3‑1/8”, w. 2‑1/2”. [200/400]

311 Good Chinese Famille Rose Bottle Vase, six-character underglaze blue Guangxu mark on the base (1875‑1908) and probably of the period, finely painted with a gnarled maple tree with red crested cranes above flowering peonies and a spotted deer with ling-chih fungus, h. 14”. [1500/2500] Illustrated 312 Delicately Decorated Pair of Octagonal Chinese Export Plates, 18th century, each sparsely decorated with a central design of a cowherd and water buffalo with calf on an outcrop, willow trees and flowers, scrolling foliate border, dia. 8‑3/4”. [400/700]

314

316

313

315 313 Fine Pair Chinese Blue and White Famille Rose Bowls, Guangxu (1875‑1908) mark and probably of the period, the exteriors finely enameled with two katydids among mallow blossoms, foliage and flowering sweet pea vines, the interiors decorated in rich cobalt blue with lotus blossoms, buds and foliage, the base with a sixcharacter Guangxu reign mark in underglaze blue, dia. 6”. [700/1000] Illustrated 314 Good Pair Chinese Famille Rose Baluster Vases, Republic Period (1908‑1949), finely enameled depicting Zhi Nu, daughter of the Jade emperor, and Niu Lang, a cowherd, and his ox in a scene from China’s famous love story, the base with a four-character Yonzheng mark in raised blue enamels within a double square, 11”. This tale is part of the tradition of Qi Xi, the Night of Sevens, also known as the Magpie Festival which falls on the seventh day of the seventh lunar month. [600/900] Illustrated 315 Fine Chinese Famille Rose Rice Bowl, Republic Period (1911‑1949), thinly potted in the shape of an inverted bell, the interior plain, the exterior with delicate enameling depicting entwined willow and plum trees, two magpies in flight and a calligraphic poetic inscription with seals, the base with a four-character Qianlong reign mark in raised blue enamel within a square, dia. 4‑3/8”. [500/800] Illustrated 316 Pair Chinese Famille Rose Saucer Dishes, 20th century, each enameled on a white ground with a leafy branch with flowers, five peaches and three bats in flight, the exterior with similar decoration, the base with a sixcharacter Yongzheng mark in underglaze blue, dia. 8‑1/8”. [1000/1500] Illustrated 317 Pair Chinese Famille Rose Saucer Dishes, 19th century, each decorated in famille rose enamels with the figure of a sage seated among the branches of a flowering peony tree, dia. 8‑1/8”. Provenance: ex coll. Henry Stern Antiques, New Orleans, Louisiana. [200/400]

318 Group of Three Chinese Famille Rose Plates, Guangxu (1875‑1908) mark and period, each finely enameled on the face with a stand of bamboo, the stalks entwined with flowering and fruiting vines with curly tendrils, the reverse with four iron-red and white enamel bats, the base with a six-character Guangxu mark in iron-red, dia. 7‑3/4” to 9‑1/4”. [600/900]

330

319 Large Chinese Famille Rose Saucer Shape Charger, first half 20th century, decorated in famille rose enamels with flowering peonies bordered by reserve panels of peonies against a ground of asters, the base with a six-character Kangxi reign mark in underglaze blue, dia. 14‑3/8”. [400/700] 320 Good Japanese Kakiemon Bowl, 19th century, of ribbed body with picket lip rim, decorated in polychrome enamels against a white ground with floral sprays and a central character in rouge-de-fer, dia. 8‑1/4”. Provenance: ex coll. Henry Stern Antiques, New Orleans, Louisiana. [200/400]

321 Chinese Export Porcelain Ale Mug, 19th century, of cylindrical form with strap handle, decorated in Famille Rose and rouge-de-fer enamels with figures of ladies, children and birds, h. 5‑3/4”. Provenance: ex coll. Henry Stern Antiques, New Orleans, Louisiana. [100/200] 322 Two Chinese Glass Snuff Bottles, one a plain white glass bottle imitating jade, h. 3”, and the other a blue goldstone example with hardstone embellishment of a woman holding a lotus with a child by her side, h. 2‑1/2”. [1200/1800] 323 Group of Nine Chinese Snuff Bottles, 20th century, composed of an intricately carved amberoid specimen and eight overlay glass examples, three in blue over milk glass, two in red on milk and clear glass, one in green on milk glass and one in orange on milk glass, h. 2‑1/2” to 3”. [500/800] Illustrated 324 Chinese Inside-Painted Glass Snuff Bottle, the clear glass bottle painted on the interior, the face with three scholars in a forest landscape, the reverse with a waterfall in a mountainous landscape, sodalite top, h. 3‑1/2”. [700/1000] 325 Chinese Carved Monochrome Glass Snuff Bottle, of tapered-cylindrical-form in opaque yellow glass carved in relief as two confronting dragons, glass top, h. 3”. [400/700]

329 Chinese Carved Shadow Agate Snuff Bottle, the mushroom colored stone with layered black inclusions carved on the front as a scholar seated on rockwork picked out in black with a moon, fungus and rockwork in the mushroom color, agate top, h. 2‑1/2”. [900/1200] 330 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 331 Chinese Export Porcelain Part Garniture Set, 18th century, composed of two trumpet vases and two baluster vases, each decorated in Famille Rose enamels with alternating figural and naturalistic reserves against an underglaze blue ground and an iron-red “T” fret ground, h. 7‑1/2”. [200/400] 332 Chinese Rectangular Rosewood Occasional or Side Table, 19th century, the rectangular top inset with a floating panel above for cylindrical legs, the apron of “cloud” design, the bottom with three shaped stretchers and the legs ending in bun feet, h. 22”, d. 10‑1/4”, l. 15‑1/2”. [200/400]

326 Chinese Overlay Glass Snuff Bottle, the milk glass body overlaid in wine-red and blue carved as hydra dragons with ling-chih sprays in their mouths and mock mask ring handles, serpentine top, h. 2‑1/4”. [600/900]

333 Pair of Chinese Famille Rose Porcelain Vases, third quarter 19th century, now mounted as lamps in giltmetal, the baluster-form vases decorated with reserve figural panels against a floral ground with double Foo Dog handles and molded dragons on the shoulders, h. 22‑3/4”. [2000/4000]

327 Pair Chinese Covered “Tobacco Leaf” Vases, each of squared-baluster-form with conforming domed covers and gilt finials, decorated in famille rose enamels with tobacco leaves, fruiting trees, flowers, birds and squirrels, h. 15‑3/4”. [300/500]

334 Chinese Canton-Style Enamel Vase, 20th century, the copper base in the form of a squared Gu vase, the body with painted enamel decoration of figures and floral decoration within geometric borders against a white ground, h. 12‑3/8”. [600/900]

323 328 Chinese Imari Export Porcelain Chamber Pot, 19th century, of squatbulbous-form with flared lip and loop handle, decorated on the exterior with flowers, trees and cranes, the lip decorated with reserve floral panels and stylized chrysanthemums on an underglaze blue stylized floral ground, dia. 8”. [700/1000]

336 335 Elaborate Chinese Carved Coral Dragon Group, first half 20th century, the horizontal group carved in intricate detail as a scaly horned dragon clasping an elaborately carved pearl over a base of clouds and flames, the stone of pale orange color, fitted wooden stand, h. 5”, including stand, l. 10‑1/4”. [1200/1800] Illustrated

337 335

336 Chinese Carved Jadeite Scholar’s Mountain, the pale green stone with lavender suffusions carved as a mountain peak with pine trees growing from rockwork overhanging a bridge crossing a stream and a scholar and attendant seated on rockwork, fitted wooden stand, h. 9‑1/2”, including stand. [1400/1800] Illustrated

342

338

345

337 Chinese Carved Coral Group, first half 20th century, the orange coral carved as a female musician holding a stringed instrument and clad in flowing robes, the musician with a child attendant holding a lotus blossom, attached to a carved wooden base, h. 6‑3/4”. [2000/4000] Illustrated 338 Good Pair of Chinese Carved Jadeite Seals, each of richly mottled green color, the squared columnar bases topped with intricately carved figures of Buddhistic lions, each with open mouths and clutching a ball in their front feet, the bases uncarved, h. 3‑5/8”. [400/700] 339 Chinese Carved Jadeite Slender Vase, 19th century, of tapered-baluster-form with slightly everted lip rim and indented foot with carved fretwork band, the body carved in low relief with flowering prunus branches, the stone of icy-mint color with scattered rivering, h. 6‑1/2”. [400/700]

348 344 Pair Chinese Export Porcelain Plates, 19th century, each decorated in Famille rose enamels with a central design of peonies and butterflies and bordered with flowers on a coiled scroll ground, dia. 9‑1/8”. [300/500] 345 Pair of Chinese Famille Rose Sgraffito Lobed Vases, 20th century, each of tall baluster-form with vertical ribbing with petal-shaped bottoms, enameled with decoration of flowers and butterflies on a rose colored sgraffito ground and a bored of lotus and flowers at the neck, the base with a four-character Yongzheng mark in a square, h. 15‑1/2”. [2000/4000] Illustrated

346

346 Good Pair Chinese Famille Rose Sgraffito Bowls, Republic Period (1911‑1949), each of inverted bell shape, decorated on the exterior with flowers and scrolling foliage on a ruby-colored sgraffito ground, the interior glazed in turquoise, the base with a six-character Yongzheng mark in underglaze blue within a double circle, dia. 4‑1/2”. [900/1200] Illustrated

347

340 Group of Three Chinese Carved Jadeite Items, first half 20th century, composed of a lotus leaf shaped brush washer with seed pods and flowers at the rim, together with a pair of standing elephants, each piece in mottled green and white jadeite with emerald colored splashes, each with a wooden stand, l. 3‑1/2” to 6”. [400/700] 341 Good Chinese Carved Lavender Jadeite Group, 20th century, the lavender and white stone carved in relief as an immortal accompanied by deer and surrounded by clouds on the front and a sinuous dragon among clouds on thee reverse, fitted wooden stand with silver inlay, h. 4‑1/2”, including stand. [300/500] 342 Pair Chinese Porcelain Shaped Narcissus Bowls, 20th century, each of five-lobed outline on semi-circular feet, decorated on the exterior with birds among flowering branches on a lavender ground, the interior glazed in monochrome turquoise and bordered at the lip rim with key-fret border in underglaze blue, h. 2”, dia. 7”. [600/900] Illustrated 343 Large Chinese Export Porcelain Charger, 19th century, decorated in Famille Rose enamels with a central spray of peonies, orchids and dianthus flowers and bordered by a shaped border of lilies and peonies with a coiled scrollwork ground, dia. 15‑1/8”. [600/900]

350-356

347 Large, Impressive Pair Chinese Famille Rose “Palace” Vases, 20th century, each of baluster-form with molded Foo dog handles and sinuous dragons on the shoulders, decorated in famille rose enamels with large figural reserve panels and small floral reserve panels against a gilt ground decorated with Buddhist symbols and flowers, the molded decoration with bright gold highlights, h. 37”. [2000/4000] Illustrated 348 Pair Chinese Blue and White Porcelain Garden Seats, 20th century, each of barrel-form with molded Foo Dog handles and horizontal rows of bosses, decorated with a central band of lotus and scrolling foliage between borders of foliate ruyi heads, the top with scrolling lotus around a pierced “cash” symbol, h. 19”. [2500/4000] Illustrated 349 Large Pair Chinese Blue and White Porcelain Vases, 20th century, each of tapered-baluster-form with flattened rims, decorated in underglaze blue with reserve panels of avian design against a ground of flowers and foliage, h. 31‑1/2”. [500/800] 350 Blue and White Chinese Export Soap dish, second quarter 19th century, with a strawberry knop,h. 2”, w. 4”, l. 5”, together with a small Nanking platter, l. 8”, w. 6”. [300/500] Illustrated 351 Set of Six Chinese Export Blue and White Canton Pots-de-Creme, second quarter 19th century, with strawberry finials and twisted handles, h. 3‑1/2”. [300/500] Illustrated 352 Pair of Chinese Export Blue and White Canton Salad Bowls, second quarter 19th century, with notched corners, probably associated, h. 5”, w. 9‑1/2”. [500/800] Illustrated 353 Group of Chinese Export Blue and White Canton Serving Bowls, second-into-third quarter 19th century, consisting of four bowls, dia. 10‑1/4”, and one rimmed bowl, dia. 8‑1/4”. [250/400] Illustrated

354 Pair of Chinese Export Blue and White Canton Candlesticks, second quarter 19th century, in the “willow” pattern, probably associated, h. 8”. [200/400] Illustrated 355 Chinese Export Blue and White Canton “Guglet” or Water Bottle, third quarter 18th century, h. 9”m dia, 4‑1/2”. Provenance: Matthew and Elizabeth Sharpe, Conshohocken, Pennsylvania. [400/700] Illustrated 356 Large Group of Chinese Export Blue and White Canton Dinnerware, second and third quarters 19th century, including eleven soup plates, dia. 10”, a square notched-corner covered vegetable dish with fruit finial, w. 11”, an octagonal deep dish, l. 9‑1/2”, an octagonal platter, 9‑3/4”, a pair of octagonal platters, l. 11”, twelve dessert dishes, dia. 6‑1/2”, six luncheon plates, dia. 9”, a pair of rice bowls, dia. 5”, with a pair of Nanking teabowls dia. 4‑1/4”, with an associated saucer, dia. 5”, four mismatched teacups, dia. 3‑1/2” to 4‑1/4”and saucers, dia. 5‑3/4” to 6”, and a handle-less teabowl, dia, 4‑1/2”, and saucer, dia. 6‑1/8”. (49 pieces total.) [1800/2500] Illustrated 357 Pair of Chinese Export Blue and White Canton Hot Water Dishes, second quarter 19th century, of octagonal form, in “willow” pattern, dia. 9”. [300/500]

360

358 Pair of Chinese Export Blue and White Canton Covered Oval Vegetable Dishes, with pine cone knops, h. 4‑1/4”, w. 9‑1/2”, l. 11‑1/2”. [200/400]

367

359 Ten Japanese Blue and White FishShaped Bone Dishes, fourth quarter 19th century, l. 4‑1/2” to 5‑1/2”. [150/3000] 360 Six Pieces of Blue and White Chinese Export Canton, second quarter 19th century, comprised of a round canister, h. 4‑1/4”, dia. 4”, a trumpet-shaped candlestick, h. 8”, a Chinese-style square teapot, h. 5‑1/2”, two round trivet, dia. 4‑1/2” to 5”, and an octagonal trivet, dia. 5‑1/4”. [1000/1500] Illustrated 361 Chinese Export Blue and White Canton Wash Basin and Pitcher, second quarter 19th century, in the “willow” pattern, basin h. 4”, dia. 11”, pitcher h. 9‑1/2”, dia. 4‑1/2” [700/1000]

364

362 Three Blue and White Chinese Export Canton Cream Jugs, second quarter 19th century, h. 3” to 3‑1/2”, w. 5” to 6‑1/2”. [400/700]

363 Five Pieces of Chinese Export Blue and White Porcelain, including a pair of spoon trays, first quarter 19th century, 5” x 7”, a fruit bowl, 13” x 7”, a plate, fourth quarter 18th century, dia, 9”, and another plate, first quarter 19th century, dia. 8”. [500/800] 364 Thirteen Pieces of Blue and White Canton Chinese Export Porcelain, second quarter 19th century, comprised of a handled jug,h. 6‑1/2”, a twisted-handle oblong gravy boat, h. 3”, w. 3‑1/4”, l. 7”, a pair of scalloped-edge sauce boats, h. 2‑1/2”, l. 7”, a pair of pickle leaves, w. 5”, l. 7”, a handled cover pickle leaf, w. 5‑1/4”, l. 7‑1/4”, two small square dishes, w. 3” to 3‑3/4”, l. 3” to 3‑3/4”, an egg cup, h. 2‑1/4”, a miniature serpentine dish, w. 3‑3/4”, l. 2‑1/2”, a miniature saucer, dia. 2‑3/4”, and an inkpot, h. 2”. [600/900] Illustrated 365 Three Pieces of Chinese Export Blue and White Canton, second quarter 19th century, including a lobed fruit bowl, dia. 10‑1/2” and a notched-corner hot water platter, l. 15”, and associated cover, l. 11”. [500/800] 366 Eight Chinese Export Blue and White Canton Serving Pieces, second quarter 19th century, including a serpentine-sided dish, 10‑1/2” x 8”, a deep notched-corner dish, 12” x 9‑3/4”, an oval covered vegetable dish, l. 9”, a boar’s head-handled sauce tureen, l. 7”, with matching stand, l. 7‑1/4” a boar’s head tureen missing its lid, l. 7” and an octagonal vegetable dish, l. 8”, plus and additional vegetable dish lid, 8” [400/700]

367 Large Group of Blue and White Canton Chinese Export Dinnerware, second-into-third quarter 19th century, comprised of a shell-shaped shrimp dish, w. 9‑1/4”, d. 10‑1/4”, a lobed fruit bowl, dia. 9‑1/2”, an oblong platter, w. 11”, d. 8”, six coffee cups, h. 2‑1/2”, six saucers, dia. 4‑1/2” to 6”, twenty salad plates, dia. 7‑1/2”, six soup plates, dia. 9”, and four dinner plates, dia. 10‑1/4”. [1200/1800] Illustrated 368 Two Chinese Export Blue and White Canton Patty Pans, second quarter 19th century, one dia. 5‑1/2”, the other dia 7”, the smaller in the “willow” pattern. [200/400] 369 Pair of Chinese Export Blue and White Canton Moon Vases, fourth quarter 19th century, with painted rondels of an old man and a boy with a village and mountain in the background, the sides decorated with a vine pattern, with molded foo dogs flanking the mouth h, 11‑1/2”, w. 7‑1/2”. [200/400] 370 Three Pieces of Chinese Export Blue and White Canton Porcelain, second quarter 19th century, including a twisted-handle can, h. 4‑1/2”, dia, 3‑3/4”, a trumpet-shaped candlestick, h. 10‑1/4”, dia. 4”, and a cylindrical vase, h. 8‑1/4”, dia. 2‑1/4”, [200/400]

373

371 Twenty-Piece Chinese Export Blue and White Canton Partial Coffee Set, second and third quarter, 19th century, including a twisted handle lighthouse coffeepot with strawberry finial, h. 7”, a cream jug, h. 4”, and ten associated handled teacups, dia. 3‑1/8” to 4”, with eight associated saucers, dia. 5‑1/4” to 6”. [400/700] 372 Chinese Export Blue and White Canton Porcelain Partial Tea and Coffee Set. third quarter 19th century, composed of a round teapot, h. 5”, l. 9”, a tall pear-shaped coffee pot, h. 7‑1/2”, a cream jug, h. 5‑1/2”, and twelve associated cups, dia. 3‑1/2” to 4”, and saucers, 5‑3/8” to 6”, and one gold-rim teacup, dia. 3‑1/2”, and saucer, dia. 5‑3/8”. (29 pieces total.) [700/1000] 373 Nice Pair Chinese Flambe Glazed Vases, 19th century, each of baluster-form, well potted and glazed with an attractive streaked blue, red and mushroom glaze thinning to celadon at the neck, fitted wooden stand, h. 14‑1/2”, including stands. [800/1200] Illustrated

376 Rare Pair Chinese “Golden Bricks” (Jingzhuan) Mounted on Rosewood Stands, dated to 1404 and 1408 in the reigns of Yongle and Xuande, each brick approximately measures, l. 26”, w. 26”, d. 3”. The tiles were made in an area near Suzhou in a very complicated process of using specially selected clay, molding and drying in the shade and then subjected to being smoked with smoldering husks for a month, fired with wood chips for the second month, fired with twigs for the third month and finally, fired with pine branches for forty days for a total firing of one hundred and thirty days for cooling. The estimated cost of each brick was nearly one tael of silver. The resulting bricks, while fired stoneware, have the heft and appearance of being made of black jade. The two tiles each having impressed marks on their sides. One having the name of the maker Xiao Hui Jia Xun Qin Sheng, Suzhou Jiangnan House Deputy Jia Yan Hui, made in the second year of Yongle (1404). The second having impressions reading Suzhou Jiangnan Fu Changzhou House Deputy Ten Jun Pei, third year Xuande square gold brick (1428). This pair of golden bricks were apparently salvaged from the Grand Canal and sold to the personal physician of Chiang Kai Shek, whose daughter gave them to the present consignor, h. 19”, w. 26‑1/4”, l. 26‑1/4”, overall. [30000/50000] Illustrated 377 Chinese Export Lacquered Writing Box, ca 1900, the rectangular top centered by a gilt-and-mother-of-pearl inlaid figural Oriental landscape, the lid with a mountainform letter holder on the inside and fitted with a fold-out writing slope, both sides opening to storage areas, also with a pen tray and two lidded compartments, one side fitted with a drawer, h. 6”, w. 12”, d. 8‑1/2”. [300/500] 378 Ivory Carving of Hunter, the hunter shown carrying his bow and kill, his dog at his side, h. 9”, w. 2‑3/4”. [200/400] 379 Chinese Glass Scholar’s Table Vase, 18th century, of tapering form with flattened lip, the mottled glass made to imitate realgar (arsenic sulfide), a substance much admired by Chinese scholars but due to its poisonous nature was imitated in glass, h. 4”. [200/400] 380 Chinese Glazed Pottery Pillow, 20th century, modeled in the shape of a kneeling child with cream crackled-glaze and black glazed details, l 10”. [150/300]

374 Chinese Blue and White Porcelain Saucer, 18th century, possibly Kangxi, the small saucer decorated in underglaze blue with a scholar asleep against a rock beneath a pine tree and an attendant nearby, the reverse with a commendation mark and a museum number, dia. 4‑3/8”. [700/1000] 375 Chinese Blue and White Porcelain Conical Bowl, 18th/19th century, probably Jiaqing, decorated in underglaze blue with a central floral medallion on the interior and Buddhistic lions and peonies on the exterior, the base with a six-character Jiaqing mark in underglaze blue within a double circle, dia. 6‑3/4”. [2500/4000] Illustrated

375

376

381 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”. [300/500] 382 Chinese Oval Carved Jade Pendant, the oval flattened pebble of white jade with russet skin carved in relief to the white interior with a pair of coins against a foliate background, suspended on a silk cord, h. 1‑3/4”. [100/200] 383 Good Pair of Chinese Yellow-Glazed Saucer Dishes, Guangxu mark and probably of the period, each of shallow circular form and glazed all over in an egg-yolk yellow glaze, the base with a six-character Guangxu mark in brown, dia. 7”. [1000/1500]

387 Two Serpentine Floral-Shaped Brush Washers, 20th century, one in the form of an up-curved lotus leaf with brass frame and carnelian feet, the other as a cupped lotus leaf with seed pod, flower bud and star flower, l. 5‑1/2”. [200/400] 388 Chinese Famille Rose “Hundred Deer” Vase, 20th century, of Hu form with antlered deer head handles, the body decorated with a continuous scene of deer in a pine forest with rockwork and high peaked mountains in the background, the base with a six-character Qianlong reign mark in red within a double lined square, h. 14”. [2000/4000]

388

384 Good Chinese Partially Straw Glazed Tang Tomb Figure, (618‑907), molded as the standing figure of an attendant wearing a short tunic and standing on a flat base, the degraded straw glaze with a fine metallic iridescence, h. 8‑5/8”. [150/300] 385 Chinese Coral Colored Composite Figure of Guanyin, 20th century, now mounted as a lamp, the seated figure delicately molded seated in the lotus position in a meditative pose, wooden base, shade, h. 16”, including shade. [200/400] 386 Good Chinese Carved Jadeite Seal, 20th century, the slightly mottled icy mint green stone carved with a cylindrical base, the knob carved in good detail as a fierce Kylin standing on four feet with open mouth, bulging eyes and single horn, h. 3‑1/2”. [400/700]

Session II

Saturday, October 1, 2011 10:00 a.m. (Lots 389-1217)

View this entire catalogue online:

www.neworleansauction.com

390 Louis XVI-Style Giltwood Looking Glass, third quarter 19th century, the broad rectangular plate surmounted by a floral wreath and ribbon crest, within an annulated and foliate-carved frame with acanthine pendants, h. 64”, w. 47”. [1500/2500] Illustrated 391 Pair of Louis XVI-Style Polychrome Fauteuils, each with a domed and padded back within a molded frame, joined by padded ribbed arms to the cushioned seat, raised on fluted circular legs headed by floral-block-carving and ending in toupie feet, h. 41‑1/4”. [600/900] 392 Louis XV-Style Polychromed Bed, early 20th century, the headboard padded and with a floral-carved 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”. [300/500]

390

389

389 Louis XVI-Style Mahogany and Marquetry MarbleTop Secretaire Abattant, late 19th century, the rectangular Sainte Anne des Pyrennes marble top with projecting canted-corners, above a conforming case fitted with a single drawer over a drop-front opening to an inset leather writing surface and a variety of drawers and cubbyholes, over two cabinet doors, the whole with inlaid geometric marquetry patterns, raised on block feet, h. 54‑1/2”, w. 32”, d. 15‑1/2”. [2500/4000] Illustrated

393 Pair of Louis XV-Style Onyx and Bronze Table Lamps, second quarter 20th century, in the rococo taste, the baluster-turned onyx bases mounted with bronze handles in the form of putti supporting bronze floral swags, h. 19” (29” to finial), w. 8”. [2000/4000] 394 Diminutive French Gilt-Brass-Mounted Cut Glass Six-Light Chandelier, in the Louis XVI style, elaborately dressed with faceted cut bead chains and cut pendalogues, h. 23”. [600/900] 395

395 Louis XV-Style Kingwood Games Table, third quarter 19th century, the rectangular top banded and quarter-veneered, hinged and opening to a baize-lined interior, above a conforming chevronveneered frieze fitted with two small drawers, raised on cabriole legs ending in sabots, h. 28”, w. 29”, d. 14”. [1200/1800] Illustrated

397

398 Italian Giltwood and Marble-Top Console Table, fourth quarter 19th century, the bowed variegated sarrancolin Ilnet marble top with projecting corners, above an arched pierced frieze centered by a carved female masque, raised on acanthine- and imbricatecarved scrolling supports joined by a floral basketcarved stretcher and ending in scrolled toes, h. 36‑3/4”, w. 41‑3/4”, d. 18”. [1400/1800] Illustrated 399 Pair of Louis XVI-Style Polychrome Fauteuils, each with a padded rectangular back surrounded by a ribboncarved frame and surmounted by a floral crest, joined by padded foliate arms to the padded seat, raised on turned and fluted tapering circular legs ending in toupie feet, h. 39”,. [700/1000]

396 Louis XVI-Style ThreePiece Screen, each panel with a troup l’oeil niche holding a floral-filled urn, the lower section with a faux-marble panel, h. 84‑1/2”, w. 72”. [400/700]

400 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”. [500/800] 401 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”. [700/1000] 402 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 acanthine-carved 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”. [700/1000]

404

397 Belle Epoque Covered Urn in the Sevres-Style, fourth quarter 19th century, the lid painted with musical trophies and mounted with a bronze knop, the body hand painted with women in 18th century costume in a pastoral setting, the handles in the form of goat’s heads holding ring pulls, retaining the fire-gilt, as does the Louis-XV-style bronze base, marked with Sevres-style mark, h. 18”. [1200/1800] Illustrated

398

5 4

407 Set of Ten Dusty Peach Chintz and Ecru Drapery Panels, each lined with ecru cotton flannel and black-out fabric, h. 113‑1/2”, w. 36”. [500/800]

403 Pair of Louis XVIStyle Polychrome Stools, each with a padded rectangular leather top above a conforming molded frieze, raised on tapering circular top-fluted legs ending in toupie feet, h. 12‑1/2”, w. 25‑1/2”, d. 20‑1/2”. [600/900]

408 Suite of Eight Scalamandre Ivory Silk Panels, l. 125”, w. 48”. [1000/1500] 409 Pair of Louis XV-Style Fruitwood and Marquetry Occasional Tables, second quarter 20th century, each with a rounded, rectangular top with a 3/4” heart-pierced gallery surrounding a banded and scrolling-foliate-inlaid panel, above a conforming frieze fitted with a single drawer, joined by shaped supports to a galleried quarterveneered lower shelf, raised on splayed feet ending in sabots, h. 28‑1/2”, w. 18”, d. 12”. [800/1200] Illustrated

404 Louis XVI-Style Polychrome Trumeau, early 20th century, the molded cornice above an oil on canvas scene of frolicking putti, the rectangular plate within a foliatecarved frame, h. 86”, w. 47”. [1500/2500] Illustrated previous page

410 Attractive Small Pair of Meissen Porcelain Malabar Figures, third quarter 19th century, after the 1755 model by J. J. Kaendler, the “Malabar” and “Malabarin” figures both marked with the underglaze blue Meissen crossed swords with full impressed numerals underglaze, h. 6‑3/4”. [1000/1500] Illustrated 411 Suite of Eight Louis XVI-Style Polychrome Side Chairs, all with an oval caned back within a molded frame, the padded seat raised on tapering fluted circular legs ending in toupie feet, h. 37”. [1500/2500]

405 ten-piece suite 409

405 Suite of Two Cornices and Eight Drapery Panels, possibly Schumacher, of peach, gold and light green striped fabric, the cornices with pleated edges and a flat central section, finished with a rolled edge at the top, cornices w. 60”, h. 28”, panels w. 38”, l. 125”. [1200/1800] Illustrated 406 Impressive Suite of Two Tasseled Cornices and Two Panels, of light peach and gold design Lee Jofa fabric, the cornices beautifully swaged and pleated, backed with gold silk, also featured in the central swag, the fabric decorated with birds, baby angels, flowers and foliage, featuring several scenes of a courtyard, cornice l. 70”, w. 55”, panels l. 118”, w. 54”. [800/1200] Illustrated

412 Louis XV-Style Wall Clock, the case formed of giltbronze rococo scrollwork, with lattice piercing in the base, the works fitted with a blue enameled dial, h. 22”, w. 5”, d. 3‑1/2”. [800/1200] Illustrated

406 four-piece suite

413 Diminutive Pair of Tung Chih Blue Porcelain Vases, third quarter 19th century, of baluster form, mounted in gilt-brass in the Louis XVI style to form a pair of twohandled garniture vases, the porcelain of sky-blue ground with cobalt floral decoration and butterflies on the reverse, h. 9”, w. 5”. [200/400]

412 419 French Gilt-Brass and Tole-Peinte ThreeLight 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”. [600/900]

414 Pair of Chinoiserie Polychrome Occasional Tables, late 19th century and later, each with a hinged hexagonal top with a decorative gilt border and centered by two Oriental figures, opening to a storage space, the paneled tapering base with two handles and raised on a tripartite scrolling base, h. 22‑1/2”, dia. 21”. [1500/2500]

410

415 Continental Rococo-Style Polychrome Wooden Fan, fourth quarter 19th century, opening to reveal scenes of figures in 18th century dress, on one side playing cards, on the other singing and playing the harpsichord, h. 6‑3/4”, w. 11‑1/2”. [75/125] 416 Pair of Louis XV-Style Bronze Three-Light Sconces, the scroll-form backplate supporting rococo arms holding bobeches and candle cups molded to match, h. 21”, w. 15”, d. 6”. [500/800]

421

417 Italian Rococo-434Style Giltwood Looking Glass, the rectangular plate surmounted by a pierced and foliate floral basket crest and surrounded by an annulated and molded frame with applied foliate designs, h. 53”, w. 26”. [400/700] 418 Maryse Ducaire-Roque (French, 1911‑1992) “Nude”, oil on canvas, signed lower left “M.Ducaire”, titled on an exhibition label on the reverse, 21‑3/4” x 18”. Presented in a giltwood frame with a linen liner. Provenance: Estate of Dr. David and Mrs. Annie Kimball, Shreveport, Louisiana. [400/700] 420

423 420 Regence-Style Kingwood and Parquetry Marble-Top Commode, early 20th century, with a rectangular Violet Brocatella marble top with molded edge above a case fitted with a plain frieze drawer over two lower bombe drawers, all with banded parquetry panels, the whole raised on splayed feet ending in sabots, h. 35‑1/2”, w. 49”, d. 21”. [1200/1800] Illustrated previous page

423 Louis XVI-Style Giltwood Mantle Mirror, the shellcarved crest flanked by floral sprays, the beveled mirror plate with gently curved upper corners, set in a deeply molded frame, h. 63”, w. 35‑1/2”. [1000/1500] Illustrated 424 Charles-Emile Jacque (French, 1813‑1894) “The Repentant Prodigal in the Pigsty”, black crayon on paper, signed lower right “Ch. Jacque”, reverse with a Shephed Gallery exhibition label, sight 9‑5/8” x 13‑5/8”.Glazed, French matted and presented in a molded giltwood frame. Exhibition and Literature: Christian Imagery in French Nineteenth Century Art, 1789‑1906. Spring 1980, Shepherd Gallery, New York. [800/1200] Illustrated 425 Mary Cassatt (American, 1844‑1926) “Study of a Woman’s Profile”, graphite on paper, bearing a “Collection Mary Cassatt, Mathilde x”, stamp in lower right corner, sight 5” x 6”. Glazed, matted and framed. [1000/1500] Illustrated 426 Ludwig Kainer (German, 1885‑1967) “Dressing for a Bal Masque”, gouache on paper in grisaille, signed upper left “Kainer”, sight 19‑1/2” x 15‑3/4”. Glazed, matted and framed. [400/700] 427 Felicien Joseph Victor Rops (Belgian, 1822‑1898) “Female Nude with Pigeons”, graphite on paper, initialed lower left “FR”, inscribed upper right “Vie Parisienne”, reverse with a Shepherd Gallery exhibition label, sight 5” x 8‑5/8”. Glazed, attractively matted and framed. Exhibition and Literature: Nineteenth Century European Drawing, Paintings and Sculpture, Winter 1979‑1980, Shepherd Gallery, New York. [400/700] 428 Paul Wieghardt (American, 1897‑1969) “Girl in a Bathing Suit”, ink and watercolor on paper, signed and dated lower left “P. Wieghardt 1950”, titled on reverse, sheet size 18” x 24”. Glazed and framed. [400/700]

424 421 Regence-Style Kingwood and Parquetry Marble-Top Commode, early 20th century, with a rectangular Violet Brocatella marble top with molded edge above a case fitted with a plain frieze drawer over two lower bombe drawers, all with banded parquetry panels, the whole raised on splayed feet ending in sabots, h. 35‑1/2”, w. 49”, d. 21”. [1200/1800] Illustrated previous page 422 French Gilt-Brass-Mounted Cut-Glass Chandelier, of corbeille form, c. 1900, dressed with graduated facet-cut bead chains, large brilliant cut prisms and pendalogues, the interior fitted with three radiating bulb sockets, electrified, h. 29‑1/2”, dia. 12”. [700/1000]

425

433

432 Ludwig Kainer (German, 1885‑1967) “The Aviator”, watercolor and gouache on paper, signed and dated lower right “Kainer 10”, sight 19” x 15‑3/4”. Glazed, attractively matted and framed. [400/700] 433 Pair of Louis XVI-Style Fruitwood Bergeres, late 19th century, each with a shaped and padded back surmounted by a foliate crest, joined by closed outscrolled arms to the cushioned seat, raised on molded cabriole legs ending in scrolled toes, h. 33”. [700/1000] Illustrated

429 Henri Matisse (French, 1864‑1954) “Notre Dame”, etching, signed in the plate, sight 15‑1/4” x 11”. Glazed, matted and presented in a Beaux-Arts-style frame. [700/1000] 430 Pierre Auguste Renoir (French, 1841‑1919) “Femme Nue Couchee”, black and white etching, unsigned, sheet size 10‑1/4” x 12‑3/4”. Glazed and attractively framed. [600/900]

434 Transitional Louis-XV-into Louis-XVI-Style Kingwood Armoire, early 20th century, the stepped cornice above a case fitted with two doors, each quarter -veneered and centered by circular pattern, raised on cabriole feet ending in sabots, h. 73”, w. 48”, d. 19‑1/2”. [600/900] 435 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-and-claw feet, h. 28” (39” to finial), w. 7‑3/4”. [75/125] 436 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”. [800/1200] Illustrated 437 Louis XVI-Style Mahogany Partner’s Desk, early 20th century, the inset leather-top above a conforming frieze fitted with two long frieze drawers over two short graduated drawers to each end, the other side fitted with a central frieze drawer flanked to either side by an all paneled and with brass banding bank of three drawers, raised on paneled tapering square legs banded en suite, ending in block feet, h. 37”, w. 54‑1/2”. [1000/1500]

436

431 Madeleine-Jeanne Lemaire (French, 1845‑1928) “Still Life of Jars”, watercolor and crayon on paper, signed lower left “M. Lemaire”, reverse with a Shepherd gallery exhibition label, sight 4‑3/8” x 6‑5/16”. Glazed, attractively French matted and presented in a giltwood and gesso frame. Exhibition and Literature: French and Other European Drawings, Paintings and Sculpture of the Nineteenth Century, Winter 1980‑1981, Shepherd Gallery, New York. [400/700]

438 Belle Epoque Gilt-Brass-Mounted 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”. [200/400] 439 Suite of Six Dutch Mahogany Sidechairs, late 19th century, each with a shaped and padded back surmounted by a floral crest, the padded seat above a like-carved shaped apron, raised on cabriole legs and ending in pad feet on pegs, h. 39‑1/2”. [700/1000]

440 Pair of Louis XV-Style Polychrome Child’s Fauteuils, early 20th century, each with a padded and shaped back surmounted by a polychrome floral bouquet crest, joined by scrolling padded arms to the like seat, raised on molded cabriole legs headed by floral carving and ending in foliate toes, h. 26‑1/4”. [800/1200]

447

441 Pair of Louis XVI-Style Polychrome Fauteuils, early 20th century, each with a padded rectangular back surmounted by end finials and flanked by fluted uprights, joined to the padded seat by turned uprights, raised on tapering circular fluted legs ending in toupie feet, the underside bearing the label, “L. Alavoine and Cie, 9 Rue Caumartin, 9 Paris”, h. 37‑1/2”. [1500/2500] Illustrated

446

442 Louis XVI-Style Mahogany and Marble Top Cabinet, early 20th century, the bowed violet jura brocatelle marble-top with molded edge above a conforming case fitted with a central drawer with applied scrolling ormolu over two long drawers, with marquetry inlay in the form of a classical floral garden, flanked to either side by a like applied drawer over a cupboard door inlaid in a floral lattice pattern, raised on tapering circular legs ending in caps, the whole with decorative ormolu mounts, h. 39”, w. 51‑1/2”, d. 21”. [3000/5000] 443 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”. [150/300] 441

444 Gilt and Argente Firescreen in the Orientalist Taste, with three folds, all with shaped molded crests, the central panel with a floral branch with two birds, the branches continuing to the side panels, h. 36”, w. 48”. [150/300] 445 Silk and Ivory Ladies Fan From the Belle Epoque Era, fourth quarter 19th century, painted with a lady on a swing among foliage, being rocked by a floating cupid, the pleated silk supported on a pierced ivory frame, the whole framed in a modern silver-leaf shadowbox, h. 19”, w. 30”. [100/200]

8 50

454

452 Belle Epoque Gilt-Brass Rococo-Style Candlestick, first quarter 20th century, in the manner of Juste-Aurele Meissonnier (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”. [75/125] 453 Good Pair of Franco-Belgian Pressed and ParcelSatine Glass “Quadruple Dolphins” Hurricane Candlestick, second quarter 19th century, the hurricane shades floral-engraved and fitted with copper footings, h. 16‑1/2”, dia. 5‑1/2”. [400/700]

446 Gilt-Bronze and Porcelain Mantle Clock, third quarter 19th century, in the Louis XVI taste, finely cast retaining its original fire-gilt surface, set with Sevres-style parcel-gilt rose pompadour plaques, the movement stamped, “JBD” for Jean-Baptiste Delettrez (French, 1816‑1887), the case stamped on the reverse: “40683” below an indistinct set of numerals: “__021”, presented on the original conforming giltwood base having in graphite the numerals: “40683” underneath, clock h. 11‑3/4”, w. 13‑1/2”, overall h. 13‑3/4”, w. 14‑3/4”. [1500/2500] Illustrated 447 Continental Biscuit Porcelain Figural Clock, third quarter 19th century, the clock set in a drum carried by Cupid on a band of sculpted flowers, held aloft by sculpted clouds containing a pair of love birds, a quiver of arrows, a harp and a sheaf of music, on an associated glazed Old Limoges porcelain stand, of the same period, h. 18”, w. 16”, d. 8”. [2000/4000] Illustrated

449

454 Eighteen-Light Crystal and PrismHung Chandelier in the Maria TheresaStyle, with six arms above twelve arms, draped with beaded swags and faceted pear shaped pendalogues,^ h. 27”, dia. 32”. [800/1200] Illustrated

448 Continental Whimsical Liqueur Set, first quarter 20th century, in the form if a hot air balloon, the decanter the balloon, blown in pink glass and enameled with daisies, the brass basket holding the glasses, h. 12”, w. 5”, d. 5”. [400/700] 449 Kingwood Veneered Reverse Serpentine Perfume Casket, first quarter 20th century, the lock signed “Vervelle Paris”, containing opaline perfume bottles with gilt caps containing images of L’ Arc de Triomphe and a large public building, h. 3‑1/2”, w. 5‑1/2”, . 3”. [1000/1500] Illustrated 450 Large Napoleon III Giltwood Oval Looking Glass, third quarter 19th century, of ovolo-carved and parcelebonized giltwood with a boldly modeled cresting in the form of a furled bowknot in the Louis XVI taste, retaining the period tastefully aged and clouded plate, h. 41‑1/2”, w. 32”. [400/700] 451 Pair of Continental Circular 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”. [200/400]

455

455 Baccarat Three Light Candelabrum, the acid etched ribbon molded base supporting a raped putti standard holding the prism-hung threebranch candelabrum, signed “Baccarat” with both a molded signature and an acid etched “Baccarat France” mark, h. 21”, w. 11”, d. 6‑1/2”. [300/500] Illustrated

456 Pair of Louis XVI-Style Polychrome Bergeres, late 19th century, each with a domed and padded back within a rosette-carved frame, joined by padded downswept arms to the cushioned seat, raised above a dentillated apron on tapering fluted circular legs ending in peg feet, h. 33”. [600/900] 457 Continental Oval Bisque Tureen in the NeoclassicalStyle, the body supported by four full-bodied eagles and festooned with gilt swags, the acanthus-leaf-molded lid is surmounted with a pair of putti sitting in a bed of roses, h. 12‑1/2”, l. 15”, d. 8‑1/2”. [500/800]

458

459 Good, Large Meissen Blanc de Chine Porcelain Figure of a Louis XV Courtier, depicted standing in front of a scrolled garden pedestal, fourth quarter 19th century, the figure’s waistcoat, basket, proper right hand and the base adorned with relief floral sprays or grape clusters, h. 18‑1/2”. [700/1000] Illustrated

459

460 R. and E. Haidinger, Elbogen, Porcelain Covered Toilette Jar, 1873‑1885, decorated in the early Meissen style and marked with a pseudoMeissen AR monogram in underglaze blue, h. 3‑1/2”. [125/250]

461

461 Diminutive Louis XVI-Style Crystal and Gilt-Metal Four-Light Chandelier, early 20th century, the central shaft richly dressed with faceted crystal flowers and drop pendants, with gilt foliate accents, issuing four candle arms with faceted crystal and amethyst glass drops, h. 17”, dia. 11‑1/2”. [400/700] Illustrated 462 Continental Louis XV-Style Giltwood Mirror, first quarter 20th century, the serpentine crest crowned with a pierced rocaille opening containing a gilt basket of flowers issuing garlands of flowers, mouthed with scroll-form sidearms and pierced scroll-form feet, h. 65”, w. 31”. [500/800] 463 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”. [1500/2500]

458 Schwarza-Saale Gilt-Brass-Mounted White Biscuit Porcelain Mantel Clock, fourth quarter 19th century, in the Empire taste, featuring Cupid’s chariot drawn by the Three Graces, the convex-glazed clock dial forming the facade wheel of the chariot, the crowned SchwarzaSaale mark in blue on the base interior, h. 10”, w. 15‑1/2”, d. 5‑1/2 [600/900] Illustrated

464 Transitional Louis XV-into Louis XVI-Style Mahogany and Marble-Top Vitrine, early 20th century, the canted rectangular top with a full pierced gallery and Paloma marble top above a conforming case fitted with swag and guilloche ormolu banding over a single glazed door, opening to a shelved interior, the sides also glazed, raised on cabriole legs ending in sabots, h. 55‑1/2”, w. 26‑1/2”, d. 11‑1/2”. [400/700]

468 Pair of Transitional Louis-XVinto-XVI-Style Kingwood and Marble-Top Commodes, each with a shaped bowfront Carrara marble top above a conforming case fitted with a single cupboard door with elaborate scrolling foliate-inlay, the sides inlaid en suite, the whole with ormolu millwork, raised on shaped legs ending in sabots, h. 32”, w. 28”, d. 16‑3/4”. [1200/1800] Illustrated 469 Louis XV-Style Mahogany, Fruitwood and Marble-Top Commode, mid‑20th century, the 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”. [800/1200] Illustrated

470

466

470 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”. [1800/2500] Illustrated

465 Diminutive R. and E. Haidinger, Elbogen, Porcelain Coffee Cup and Saucer, of quatrefoil form and in the Meissen style, 1873‑1885, both pieces with an underglaze blue pseudo-Meissen AR mark, h. 1‑1/2”, w. 4‑1/4”. [200/400] 469

466 Set of Twelve Minton Plates, fourth quarter 19th century, hand painted with fish, seaweed and coral, with floral raised gilt rims, retailed by Davis Collamore and Company, New York, transferprinted with the Minton and retailer’s mark, dia. 9”. [1500/2500] Illustrated

468

467 Set of Eleven Limoges Oyster Plates, first quarter 20th century, each plate naturalistically hand painted in swirling acquatic designs, each gold rimmed and signed “Haviland France” or “JP L France” in underglaze green, dia. 9”. [400/700]

474 After Demetre Haralamb Chiparus (Romanian/ French, 1886‑1947), “Butterfly Dancer”, a contemporary patinated and cold-painted bronze figure after the ca. 1925 original, depicting an exotic “butterfly” dancer, her costume cold-painted in dark green, red and gold, above a stand of tapering rhomboid section on a polished black slate and white onyx base; signed on the stand “D. H. Chiaprus” and “Etling Paris”, the base with applied brass label “Chiparus”, overall h. 18”, w. 7‑3/4”. [400/700]

472

471 Louis XVI Mahogany and Marble-Top Commode, late 18th century and later, the rectangular Sainte Anne des Pyrennes marble top with turreted corners, above a conforming case fitted with three short drawers over two long graduated drawers, all paneled, raised on tapering circular legs ending in ormolu pegs, h. 33”, w. 48‑1/2”, d. 22”. [1400/1800] 472 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”. [1000/1500] Illustrated

477

473 Enameled French Dresser Tray, second quarter 20th century, rococo-style enameled in polychrome on brass with a mirror center, signed, “Made in France Exclusively For Paris Decorators”, d. 9‑1/4”, l. 14‑1/4”. [250/400]

476

475 Pair of Limoges Baluster Shaped Covered Ginger Jars, first quarter 20th century, decorated with a rich blue and gilt all over pattern of rocaille scrolls and flowers, each covered with a domed top and acorn finial and signed, “B. and Co., Limoges, France”, in an overglaze green printed mark, h. 16”, dia. 5/14”. [500/800]

482

476 Louis XVI-Style Mahogany Bureau Plat, early 20th century, the rectangular top within a molded ormolu band and with an inset leather writing surface, above a frieze with applied ormolu guilloche-patterned banding, fitted with two drawers to one side, raised on tapering fluted circular legs headed by a foliate capital and ending in peg feet, h. 28‑1/2”, w. 52”, d. 26‑1/4”. [1500/2500] Illustrated 477 Henri II-Style Oak Buffet a Deux Corps, early 20th century, the molded cornice above a foliate-carved frieze, above a case fitted with two glazed doors flanked to either side by fluted turned and acanthine pilasters, the lower section fitted with two drawers, with lion’s head pulls over two cupboard doors, each centered by a highly-carved bunch of grapes, flanked en suite, raised on squat bun feet, h. 98‑1/2”, w. 57‑1/2”, d. 23’. [1500/2500] Illustrated

479

478 Continental Renaissance-Style Oak Library Table, fourth quarter 19th century, the rectangular top with molded edge and canted corners above a heavily reliefcarved frame, the corners with lion’s heads and the aprons with animal masks, raised on barley-twist legs and joined by similar stretchers, h. 30‑1/2”, w. 57”, d. 32”. [1500/2500] Illustrated 479 Pair of Italian Renaissance Revival Carved Mahogany Corner Chairs, fourth quarter 19th century, each with a curved back rail and carved putto face above pierced splats depicting opposing griffins, the seats upholstered in floral needlepoint, h. 31‑1/2”, w. 26”, d. 25”. [700/1000] Illustrated 480 Continental Four-Panel Leather Screen, first quarter 20th century, the upper portion of each panel decorated with sailing ships, globes, sextants, maps and heraldic motifs, the lower section painted with yellow fleurs-de-lis on a red field, h. 69”, w. 72”. [1000/1500] 481 Continental Oak Coffer, 18th century, the planked rectangular top opening to a void interior, the front tri-paneled, each panel with carved stylized foliate patterns, the sides also paneled, with two lower drawers, each with a like-carved front, raised on block feet, h. 29”, w. 49”, d. 29”. [300/500]

478

482 Portuguese Blonde Mahogany Settee, mid19th century, in the rococo taste, the triple back with earred-and-foliate-carved crests above an interlacing back and shaped splats, joined by scrolling arms to the padded seat, raised above a shaped foliate apron on cabriole legs headed by shell-carving and ending in ball-and-claw feet, h. 46”, w. 48”, d. 19”. [1000/1500] Illustrated

487 Unusual Neoclassical-Style Rosewood Commode, mid‑19th century, the rectangular top with turreted ends above a case fitted with four long drawers, all with unusual barrel-form fronts, flanked to either side by pilasters terminating in molded feet, h. 36”, w. 43”, d. 23‑3/4”. [2500/4000] Illustrated 488 Settimio Giampietri (Italian, 1852‑1924) “Portrait of Two Fashionable Ladies in a Renaissance Interior”, watercolor on paper, signed lower right “S. Giampietri, Roma, 1882”, 28” x 19‑1/2”. Glazed, matted and presented in a giltwood and gesso frame. [600/900]

483 483 Julius Rolshoven (American, 1858‑1930) “Venetian Canal Scene”, oil on canvas, signed lower right “J. Rolshoven, Venice, 1880”, 19‑1/2” x 24”. Framed. [800/1200] Illustrated 484 Pair of Italian Neoclassical-Style Carved Wood Brackets, the half-rung shelf supported by the fluted-andleaf-carved bracket, h. 11‑3/4”, w. 10”, d. 5”. [100/200] 485 Impressive Pair of Continental Bronze Chenets, fourth quarter 19th century, with opposing neoclassical figures, one of a god with a staff, the other of a goddess, probably Diana, carrying a quiver of arrows, the body consisting of a satyr’s mask flanked with dolphins sitting on feet in the form of turtles, h. 27”, w. 14”. [700/1000] 486 Pair of Empire-Style Gilt Composition Ram’s Horns, on black and gilt bases, now mounted as table lamps, h. 21”. [250/400] 489

489 Continental Oak Armoire, early 20th century, the heavily molded cornice canted above a conforming foliatecarved frieze with corner portrait busts, over two long doors, each with four upper panels carved with portrait medallions centering scrolling dragon patterns and two lower linen-fold panels, with a central engaged turned and carved upright, flanked to either side by canted urn and foliate uprights, raised on block feet, h. 109”, w. 69”, d. 23”. [5000/8000] Illustrated 490 Paul De Longpre (American/French, 1855‑1911) “Still Life with Roses”, oil on canvas laid on masonite, signed and dated lower right “Paul De Longpre 1892”, 37” x 28‑3/4”. Presented in a contemporary giltwood frame. [7000/10000] Illustrated 487

491 Continental School (Fourth 20th Century) “Floral Still Life in a Glass Vase”, oil on panel, unsigned, 8” x 9‑1/2”. Framed. [150/300] 492 Renaissance-Style Carved French Walnut Decorative Panel, of rectangular form, depicting a grotesque masque in high relief within a circular band, 13‑1/2” x 14”. [100/200] 493 Small Sword, late 18th century, probably English, with cut steel hilt, etched triangular glade, the pommel in the form of an Adams urn, h. l. 36‑3/4”. [200/400] 494 Italian Oak Savanarola Armchair, early 19th century, the padded rectangular back joined by shaped arms to the cushioned seat, raised on an “X”-form base centered by a carved floral medallion, h. 35”. [200/400] 495 Giuseppe Simonetti (Italian, 19th Century) “View of an Italian Coastal Town”, watercolor on paper, signed lower right “G.Simonetti”, sight 4‑1/2” x 12‑3/4”. Glazed and presented in a period frame. [300/500] 496 Regence Oak Commode, 18th century, the rectangular top with a molded and highly shaped edge above a conforming case fitted with three long drawers, all with heavily molded fronts, raised on scrolled toes, h. 37”, w. 47”, d. 28”. [800/1200]

490

497 Tall Pair of Italian Candlesticks, in the baluster-form, turned and polychromed, h. 26”. [75/125] 498 Mettlach Stoneware Jug, last quarter 19th century, molded in renaissance motifs and glazed in blue, terracotta and brown, marked with impressed “Mettlach” stamp, h. 5‑1/2”. [50/80] 499 Pair of Modern Metal Table Lamps, in the form of an ancient amphora supported on an iron frame, lamp shades painted to match, h. 39”. [500/800] 500 Two Ancient Small Pottery Vessels, probably Southern Italian, ca 100 BC, composed of a dark gray small oil ewer with lipped spout and strap handle and a small brown pottery oil container with baluster-form body, elongated neck and flared lip rim, both with burial encrustation, h. 4‑1/2” to 5”. [300/500]

507

501 Terracotta Continental Grand Tour Souvenir, third quarter 19th century, depicting a robed seated man, executed in the Helenistic-style, h. 5‑1/4”, w. 2‑1/2”, d. 1‑3/4”. [200/400]

515

504 Pair of Imposing Continental Altar Candlesticks, fourth quarter 19th century, each with a tripartite base sitting on paw feet, the twisted an embossed standards rising to meet cast gargoyles and a flaring scalloped bobeche molded with fleur de lis, h. 25”, w. 9”, d. 9”. [900/1200] 505 Latin American carved and Painted Wood Santos, third quarter 19th century, in form of St. Vincent of Ferrer, now mounted as a lamp on a contemporary black lacquer base, h. 26”, w. 8’, d. 5‑3/4”. [400/700] 506 Italian Gilt-Brass Altar Stick, late 19th century, now converted to a floor lamp, the stick with a turned and fluted standard to a tripartite base, each of the three sides with a portrait bust, raised on scrolled toes, with a burlap and embroidered drum shade, h. 67‑1/4”. [150/300]

520 pair

507 After Raphael (Rafaello Sanzio da Urbino, 1483‑1520) “Madonna del Granduca”, oil on canvas, 19th century, unsigned, 30” x 21”. Presented in a giltwood and gesso frame. [2000/4000] Illustrated previous page 508 Pair of Continental Carved, Painted and Gilded Altar Sticks, first quarter 19th century, the tapered, fluted shafts on tripartite bases, ornamented with gilt-acanthus leaves, sitting on paw feet attached to black platforms on ball feet, now mounted as lamps, h. 38”. [800/1200] Illustrated 509 20th Century Offset Print of “Crucifixion and Fourteen Auxiliary Saints”, after the 16th century original, attributed to unknown Swabian artist, sight 13” x 9‑1/2”. Glazed, matted and framed. [75/125]

502 Baroque Style Ebonized Looking Glass, the rectangular beveled plate with a scalloped top and surmounted by a heavily modeled foliate shell crest, within a floral garland-entwined frame, h. 50”, w. 27”. [1500/2500] 503 Collection of Six Patinated Cast-Metal Plaques, fourth quarter 19th century,probably removed from a parlor cabinet, including a plaque containing an image of autumn, in the form of a putti carrying a sheaf of wheat, an oval brass plated copper plaque set in an ebonized frame decorated with gilt-incised corners, five matching smaller plaques containing rondels of cupids playing musical instruments, two warming themselves at fire symbolizing winter, two with the grape harvest symbolizing autumn, two with flowers symbolizing spring, and one of two cupids sleeping in a glade, with an old partial inscription on rear inscribed “H. Cornelius”, largest h. 14”, w. 11”, smaller h. 10‑1/2”, w. 10‑1/2”. [800/1200]

508

510 Spanish Colonial School (fourth Quarter, 18th Century) “Madonna and Child with a Crescent”, oil on canvas laid on board, unsigned, 25‑1/2” x 19‑1/2”. Framed. [600/900]

515 Collection of Five Embossed Sterling Silver “Ikons”, contemporary, probably central European, depicting a variety of subjects, a small oval example of Christ Pantocrator, two rectangular examples of the Tikhvin Virgin, a rectangular example Christ’s entry in Jerusalem, and a large example of Lohengrin’s departure, h. 3‑1/8” to 10”. [1000/1500] Illustrated 516 Large Continental Figural-Carved Walnut Mirror and Console, late 19th century, in the neo-renaissance taste, in two parts, the arched and beveled mirror plate in a molded and floral-carved frame with a cartouche flanked by winged griffin, on a base with straight front and canted sides, the frieze centered by a carved fleur-de-lis, with griffin-carved front columns on paw feet, the columns joined by a concave shelf and backed by a carved panel, h. 129”, w. 57‑1/2”, d. 19‑3/4”. [2500/4000] 517 Spanish Brass Rococo-Style Chandelier, the leaf molded baluster standard supporting four brass sockets and a central socket filled with milk glass globes trimmed in brass, h. 25”, dia. 14”. [400/700] 518 Gilded Composition Winged Putti, poised in flight and suspended from a back chain, h. 18”, w. 12”, d. 8”. [300/500]

524

511 Continental School (18th Century) “Mary Magdalene Washing the Feet of Christ”, oil on canvas, unsigned, 27‑1/2” x 34‑1/4”. Presented in a giltwood frame. [1000/1500] 512 After Fra Angelico (Italian, 1387‑1455) “Trumpeting Cherubim”, oil and gold leaf on an arched panel, dated on reverse “1870”, 16” x 6”. [125/250]

519 Pair of Gilt-Lacquered Tubular and Wrought Metal Five-Light Appliques, 20th century, in the Italian Neoclassical taste, each with a tubular stem mounted with two over three S-form arms and mounted with wrought flower and foliate with vine swags, h. 31”, w. 18‑1/2”, d. 7‑3/4”. [250/400] 520 Pair of Italian Polychromed and Argente Wood Looking Glasses, late 19th century, in the rococo taste, with later inventory numbers stenciled on the reverse, h. 34‑1/2”, w. 24‑1/2”. [1200/1800] Illustrated 521 Persian Sultanabad Carpet, 4’ x 5’10”. [700/1000]

513 Tall Pair of Brass Tripodal Single-Light Candlesticks, each with a large circular candleholder mounted to a tapered fluted column and triangular footed base with embossed portraits, h. 31‑1/2”. [150/300]

522 Agra Serapi Carpet, 8’ x 10’1”. [1200/1800]

514 Cast-Iron Wall or Garden Cross, the cross centered by a figure of Mary, the arms all pierced with floral patterns, h. 65”, w. 38”. [300/500]

524 Pair of Verdure Hand Woven Wool/Silk Tapestries, 2’7” x 7’. [2500/4000] Illustrated

523 Kerman Carpet, 4’ x 6’7”. [300/500]

525 Turkish Angora Oushak Carpet, 8’3” x 10’. [1200/1800]

534 English Design Wool Needlepoint Carpet, 12’ x 18’. [3000/5000]

526 526 Semi-Antique Persian Kerman Carpet, 9’2” x 13’5”. [3000/5000] Illustrated

535

527 Persian Sultanabad Carpet, 5’ x 7’5”. [1000/1500]

535 Oushak Carpet, 10’ x 14’. [4000/7000] Illustrated

528 Semi-Antique Persian Heriz Carpet, 9’6” x 13’. [3000/5000]

536 Angora Oushak Carpet, 7’8” x 9’5”. [4000/7000]

529 Semi-Antique Persian Tabriz Carpet, 9’2” x 12’6”. [1800/2500]

537 Semi-Antique Persian Karajan Carpet, 3’ x 12’3”. [700/1000]

530 Angora Oushak Carpet, 6’ x 9’. [3000/5000]

538 Persian Kerman Carpet, 9’9” x 18’. [1400/1800]

531 Antique Caucasian Seichour Carpet, 4’8” x 3’6”. [300/500]

539 Agra Serapi Runner, 2’7” x12”. [500/800]

532 Peshawar Sultanabad Carpet, 12’ x 15’2”. [2000/4000]

540 Turkish Prayer Carpet, 3’10” x 6’. [300/500] 541 Angora Oushak Carpet, 9’2” x 12’. [6000/9000] Illustrated

533 Angora Oushak Carpet, 5’ x 7’. [2000/4000] 541

542 Fine Dutch Neoclassical Seaweed Marquetry Inlaid and Ebonized Tallcase Cock, ca. 1800, the projecting cornice over a fret-work frieze, the glazed door with foliate, floral and scroll inlay, flanked by engaged inlaid columns with brass capitals and base, the elaborately inlaid door with a brass-trimmed blown glass window at the pendulum, the broader lower section with a like inlaid panel, the plinth base with a similarly inlaid face, the returns with lightened and ebony staining, the works signed: “John Cotton, London”, the clock face with a smaller second hand dial, and calendar, h. 87”, w. 20”, d. 10‑1/4”. [5000/8000] 543 William and Mary Walnut and Ebonized Center Table, late 17th century and later, the rectangular top with a ribbon-inlaid banding surrounding a foliate marquetry-inlaid panel with inlaid circular patterns, above a recessed frieze fitted with a single drawer, raised on barley-twist legs joined by an H-form stretcher, the base with marquetry inlays, raised on bun feet, h. 28”, w. 47”, d. 32‑1/2”. [1500/2500] Illustrated 544 After Jean Louis Ernest Meissonier (French, 1815 1891) “Cavaliers”, pair of copper engravings of a single cavalier standing within an engraved cartouche border, plate signed “Meissonier”, engraved by Eugene Decisy, pencil signed “Decisy”, published by Harry Dickins, London, sight 15‑3/4” x 11‑1/4”. Glazed, matted and framed en suite. [75/125]

543

550 Follower of Pieter Casteels III (Flemish, 1684‑1708) “A Rooster, Hen and Ducks in a Classical Landscape”, oil on canvas, unsigned, 20th/21st century, 20” x 24”. Presented in a Rococo-style giltwood and gesso frame. [300/500] 551 Pair of English Staffordshire Mantel Garnitures, mid-19th century, in the form if white spaniels with black noses and brown eyes, h. 8‑1/2”, w. 6”, d. 2‑1/2”. [300/500]

545 Senior N.C.O. Sword of the Coldstream Guards (2nd Regiment of Foot Guards), the blade finely etched with regimental battle honors and bearing the cypher of King George V (1910‑1938), brass milt with garter star and fish skin grip, l. 38‑1/4”, overall. [200/400] 546 Pair of Diminutive Cast-Iron and Stenciled Replica Cannons, each mounted to a wooden base with wheels and line stenciled, one example stenciled “no. 1” and the other “no. 2”, h. 16‑1/2”, w. 12”, l. 24”. [600/900] 547 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. [1000/1500] 548 Continental School (Fourth Quarter 19th Century) “View of a Riverside Village with Figures Walking on a Snow Covered Road”, oil on canvas, unsigned, 26‑1/2” x 39‑1/2” Handsomely framed. [300/500] 549 English Oak Side Chair, ca. 1800, in the Queen Anne taste, the shaped and back-scrolled crest above a baluster-form splat, the wooden seat raised on cabriole legs, headed by “C”-scrolls and ending in pad feet, h. 39”. [200/400]

547 pair 552 Two-Piece Staffordshire Figure Group, mid‑19th century, the first a flatback figure of a courting couple with their dog, seated under a bower, decorated with bocage, together with a standing flatback couple, he in a tamishanter carrying a water jug, she carrying a basket of flowers, h. 14”, w. 6‑1/2”, d. 2‑1/2”. [400/700] 553 Pair of Staffordshire-Style Mantel Garnitures, in the form of black and white seated spaniels held with gold chains, h. 11‑1/2”, w. 9”, d. 3‑1/4”. [300/500]

554 George III Mahogany Looking Glass, fourth quarter 18th century, in the Chippendale taste, with an old mirror plate and parcel-gilt liner, h. 37‑1/2”, w. 23”. [400/700] 555 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. [800/1200] Illustrated

555 556 Albert Jean Adolphe (American, 1865‑194) “Isabella Brandt”, oil on board, after a painting by Peter Paul Rubens titled “Self Portrait with Isabella Brandt”, reverse inscribed with the title and artist’s name, 15‑3/4” x 12”. Framed. [300/500] 557 Flemish School (18th Century) “Portrait of a Bearded Man”, oil on canvas, unsigned, 19‑1/4” x 22”. Presented in a handsome giltwood and ebonized frame. [900/1200] 558 Continental School (19th Century) “Portrait of a Bearded Man Wearing a Turban”, oil on canvas in grisaille, unsigned, 17” x 13‑1/2”. Framed. [300/500]

565

559 Good “Dr. Wall” Worcester Blue and White Porcelain Teapot, 1751‑1783, of spherical form, the domed cover with a flowerhead finial, the base marked with a blue crescent, h. 5‑1/2”, w. 7”. [200/400] 560 Rare Blue Transfer-Printed Earthenware Basin, by John Rogers and Son (active ca. 1814‑1836), Dale Hall, Longport Staffordshire, of elliptical form in “Chinese Fruits and Flowers” decor, with the impressed mark “Rogers” underglaze, h. 4”, w. 14”, l. 19”. [500/800] 561 Staffordshire Well-and-Tree-Transfer Printed Platter, second quarter 19th century, in the Chinese Marine pattern, depicting the oriental shoreline with boats, bridges and boat men, signed with transfer printed pattern name and “Opaque China”, l. 14‑1/4”, d. 11-/2”. [100/200]

562

562 Dutch Marquetry Inlaid Mixed Woods Dressing Table of Queen-Anne-Form, fourth quarter 19th century, the top with a raised molded edge and prolifically inlaid surface with a central flower basket and birds, the front with a pair of long drawers with floral inlays and raised on cabriole legs with pad feet, h. 28‑1/2”, w. 30‑1/2”, d. 19”. [700/1000] Illustrated

563 Provincial Fruitwood Armchair, late 19th century, the pierced crest centered by a floral carving, above two like horizontal splats, joined by padded downswept arms to the padded seat, raised on tapering fluted square legs, h. 35‑1/2”. [300/500] 564 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. [300/500] 565 After Rembrandt van Rijn (Dutch, 1606‑1669) “The Adoration of the Shepherds”, oil on canvas, 19th century, unsigned, verso with ex-collection label from the Dallas Museum of Fine Arts, Dallas, Texas, 24” x 20”. Handsomely framed. Provenance: Clarence Hoblitzelle, St. Louis, Missouri; Hoblitzelle Foundation Art Collection, Dallas, Texas; Dallas Museum of Fine Arts, Dallas, Texas; Christie’s New York, Old Master Paintings, October 7, 1993, lot 66; to a private collector, Austin, Texas. Exhibited: “Greater Texas and Pan American Exposition: Paintings from Texas Collections”, Museum of Fine Arts, Dallas, June 12 - October 31, 1937, page 45, catalogue no. 368. [6000/9000] Illustrated 566 English Scroddled Redware Still bank, second quarter 19th century, molded to resemble an Empire chest of drawers, having molded knobs, paw feet and spiral reeded columns, the coin slot cut in the top of the back, h. 5‑1/2”, w. 6”, d. 3‑1/2”. [500/800] Illustrated 567 Two Salt-Glazed Gothic Jugs, mid‑19th century, English, the larger is a scarce Charles Meigh, Madonna and Child jug, signed with pad mark containing registry, with Madonna and Child in a gothic niche, the base molded with gothic quatrefoils, gothic trefolds molded in handle, h. 10”, the second, the Eglinton Joust jug, made by Ridgway, depicts an 1839 recreation of a medieval joust at Eglinton Castle, h. 8”. [300/500]

572

570 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”. [400/700] 571 Twenty-One Pieces of Copeland Spode, first quarter 20th century, consisting of ten dinner plates, dia. 10‑1/4”, and eleven soup plates, dia. 9”, retailed by W.H. Plummer and Company in New York, impressed “Copeland”, and marked in a transfer printed black mark, “Copeland Spode England, New Store”. [200/400]

566

568 Two Graduated Tan Salt-Glazed Apostle Ware Jugs, second quarter 19th century, the larger jug unsigned with pattern numbers, 59 over 12, the smaller with a pad mark for “Charles Meigh”, each is molded with apostles in gothic arches on the body, with relief molded gothic trim around the rim and foot and a mask molded handle, h. 7‑1/2” to 9”. [200/400] 569 English Provincial Oak Armchair, second quarter 19th century, the shaped and pierced crest above a double-galleried spindled back, joined to the padded seat by outscrolled arms, raised on square legs joined by an H-form stretcher and ending in peg feet, h. 32‑1/2”. [250/400]

572 George III-Style Mahogany Triple-Door Bookcase, late 19th century, the doors with applied grillwork arches above a row of three drawers and mounted to a scalloped bracket base, h. 51”, w. 66”, d. 16”. [800/1200] Illustrated

584 573 A Heavy Brass Colander, probably British, first quarter 19th century, with brass handles and copper riveted body, h. 7‑1/2”, dia. 12”. [125/250] Illustrated

580 Pair of Louis XV Silvered Brass Candlesticks, third quarter 18th century, the molded rococo forms engraved with flora, shells and leaves in the panels, h. 10”. [500/800] Illustrated

574 Early Single-Handled Brass Seamed and Dovetailed Milk Jug probably Continental, second quarter 18th century, ornamented with a copper armorial, the flaring foot decorated with raised rondels, h. 19‑1/2”, w. 16”. [300/500] Illustrated 575 Brass Bed Warmer, probably English, fourth quarter 18th century, with a turned brass handle and a pierced cover decorated with a coat of arms and a worn Latin inscription, worked in repousse, dia. 14”, l. 42”. [300/500] Illustrated

581 Pair of Louis XVI Silvered Brass Candlesticks, fourth quarter 18th century, the round scalloped bases engraved with armorials, the tripartite standards shell-molded with imbricate panels, h. 9‑3/4”, dia. 5‑1/4”. [400/700] Illustrated 582 Wool on Linen Needlework Sampler, dated 1901, English or Continental, containing the alphabet, animals, and the name “Marie”, 28” x 23”. [200/400] 583 Scandinavian Bent Pine Tine Box, late 19th century, of traditional-oval-form, the lid with a central handle, the case with various incised geometric patterns, h. 5‑1/2”, w. 8‑3/4”, d. 5”. [200/400]

574

576 Pierced Middle Eastern Copper Bed Warmer with Turned Wooden Handle, in the 18th/19th century style, pierced with concentric arches, retaining lid latch to keep it open while filling, l. 37”. [100/200]

575

573

577 Two Pieces of French Copper Kitchen Utensils, 20th century, comprised of a tapering cylindrical chocolate pot with wooden handle, h. 7‑1/4” and an ovoid basin with brass hoop handles, h. 10‑1/2”. [100/200] 578 Pair of Heavy Cast-Brass Georgian-Style Door Knockers, the oval knocks suspended from a bell-shaped backplate, h. 10‑3/4”, w. 7‑3/4”. [250/400] 579 Pairs of Georgian Seamed Petal-Base Brass Candlesticks, third quarter 18th century, h. 5‑3/4”, together with Pair of GeorgianStyle Tapersticks, fourth quarter 19th century, h. 5‑1/4”, both dia. 3”. [400/700] Illustrated

581

579

580

584 Georgian Mahogany Tallcase Clock, fourth quarter 18th century, the bonnet fitted with a swan-neck pediment and brass finials with glazed door over a finely engraved brass face by James Nemess, Johnshaven, Scotland, the case with a flame-mahogany door over a plinth base with a fine line onf inlay over bracket feet, h. 85”, w, 18”, d. 8”. [2500/4000] Illustrated 585 Diminutive Hepplewhite-Style Walnut Side Table, early 20th century, the front with a row of three drawers above a scalloped apron and raised on slender square tapering legs, h. 29”, w. 26‑1/4”, d. 14‑1/2”. [300/500] 586 British School (Fourth Quarter 19th Century) “Landscape with a Mill and Two Figures in a Boat”, oil on canvas, unsigned, 29‑1/2” x 39”. Presented in a period giltwood and gesso frame. [1000/1500] Illustrated 587 Swiss School (Second Quarter 19th Century) “A Country Dance”, oil on canvas, unsigned, 24” x 33”. Presented in a contemporary giltwood frame. [500/800]

586 588 Anglo Colonial School (Fourth Quarter 19th Century) “The Hunting Party”, oil on canvas laid on board, unsigned, 29” x 48‑1/2”. Framed. [1500/2500] 589 British School (First Quarter 20th Century) “Farmyard Scene” oil on paper laid on board, unsigned, sight 8‑1/2” x 10‑1/2”. Presented in a carved hardwood frame. [75/125] 590 Follow of Augustus Wall Calcott (British, 1779‑1844) “Life on a Farm”, oil on canvas, unsigned, 25” x 30”. Presented in a giltwood frame. [600/900] 591 British School (Fourth Quarter 19th Century) “View Near Eyam, Derby”, oil on board, unsigned, titled onthe reverse, 13‑1/2” x 20”. Presented in a rococo-style giltwood and gesso frame. [400/700] 592 Georgian Walnut Veneer Tea Caddy, fourth quarter 18th century, the cove-molded lid, mounted with a post-and-ball-handle, the front mounted with a pierced escutcheon, line-inlaid and raised on low bracket feet, the oak line interior divided into three compartments, h. 5‑1/4”, d. 5‑1/4”, l. 9”. [125/250]

593

593 George III Oak Lowboy, late 18th century, the rectangular top above a case fitted with a single long drawer over two short drawers flanking a small central drawer, raised on cabriole legs ending in pad feet, h. 30”, w. 44”, d. 25‑1/2”. [700/1000] Illustrated 594 Queen Anne Mahogany Swing-Leg Drop-Leaf Dining Table, third quarter 18th century, the top and leaves of single-board construction and supported by swing-out cabriole legs ending in pad feet, h. 28”, d. 44‑1/2”, ext. l. 50”. [700/1000] Illustrated 594

595 Relief-Molded English Jug, first quarter 19th century, decorated with portraits of Prince Charlotte, daughter of George IV, and Prince Leopold, to commemorate their marriage on May 2, 1816, decorated in pink lustre and overglaze polychrome enamels, h. 6‑1/2”, w. 8”, d. 5”. [125/250]

612

596 Three English Lustre Jugs, first quarter 19th century, the first example relief-molded with hunt scenes and a mask-molded handle, decorated in pink lustre with green foliage, h. 5”, the second example relief-molded with patterns of grapes decorated in pink lustre with green and orange highlights, h. 5‑3/4”, and the third example decorated with three masks in lifelike colors with silver lustre trim h. 5‑1/4”. [125/250] 597 Staffordshire “Gothic Scenery” Soup Tureen and Pair of Covered Vegetable Dishes, printed in patterns of gothic follies in a pastoral landscape, all three crowned with lily molded knops, with eagle handles on the tureen, all sitting on scrolled feet, signed with printed pattern name, h. 12”, w. 16”, d. 9”, tureen, h. 8”, w. 13”, d. 10”, vegetable dishes. [300/500]

602 After John Pettie (British, 1839‑1893) “Treason”, oil on panel, signed illegibly and dated lower left “1914”, 17‑1/2” x 30”. Presented in a giltwood and gesso frame affixed with a plaque inscribed with the painting title. [600/900] 603 British School (Fourth Quarter 17th Century) “Half Length Oval Portrait of a Reverend”, oil on canvas, unsigned, 29” x 24”. Presented in a giltwood liner with an oval window. [500/800]

604

605

598 Collection of Two Victorian Staffordshire Figural Groups, mid-19th century, including a table figure of Bonnie Prince Charlie and Marie-Louise, white, picked out in gold with enameled toes, and a spillvase decorated with bocage depicting two women sleeping under a tree, h. 9”, dia. 3”. [300/500] 599 VIctorian Staffordshire Watch Hutch, mid-19th century, depicting a content couple, the female holding a lamb, male holding a horn, their dog between them, enameled grapes surround the watch opening, h. 12”, w. 6‑1/2”, d. 2‑1/2”. [200/400] 600 Pair of English Stafford Mantel Ornaments, mid‑19th century, in the form of white spaniels with black noses and yellow eyes, h. 9”, w. 5”, d. 3”. [300/500]

601 Pair of Queen Anne-Style Ebonized Mirrors, each with a double-domed beveled plate within a molded frame with gilt and gesso accents in the Oriental taste, h. 48”, w. 21”. [900/1200]

604 Rare Alexander I 84 Zolotnik (.875) Silver Gilt Teapot, marked Moscow, 1813, the maker’s mark rubbed, of oval form, decorated with a rich band of cast and chased scrolling grapevines on the shoulder and a chased and engraved acanthus calyx, with a palmette-mounted “gooseneck” spout and double scrolling serpent handle, the steeply waisted, fitted lid with acanthus-mounted vasiform finial, the whole raised on a conforming foot with gadrooned knop and chased and engraved acanthus band, h. 7‑1/4”, l. 8‑1/4”, w. 4”, 20.64 t. oz. Provenance: Carlo Teardo, Antiquario, Milan, whose accompanied by Certificate of Authenticity No. 92301 issued February 1992 accompanies this lot. [10000/15000] Illustrated 605 Alexander III 84 Zolotnik (.875) Silver Gilt and Cloisonne Enamel Spoon, marked Moscow, 1888, by Gustav Klingert, the slightly elliptical bowl decorated with elaborate enamel arabesques and flowers white, red violet and several shades of blue, the spiral-twist handle with enameled imbricate band and geometric finial, l. 7”, 2.51 t. oz. [250/400] Illustrated 606 Maria I Portuguese .750 Silver Sugar Tongs, 1810‑1818, Porto, by “IAL”, the threaded bow-style tongs with acorn grips, l. 5‑3/8”, 1.54 t. oz. Although the maker “IAL” is not identified, the tongs can be narrowly dated by the mark of assayer Alexandre Pinto da Cruz, working in Porto 1810‑1818, which guaranteed the minimum fineness of 9 dinheiros (.750). Ref: Manuel Golcalves Vidal & Fernando Moitinho de Almeida, Marcas de Contraste e Ourives Portugueses, v. I: 15 S.‑1887, (Lisbon: Impresa Nacional, 1997, 4th ed.), pp. 10 & 256. [100/200]

607 Large French First Empire Fused Plate Coffeepot, first quarter 19th century, the ovoid body decorated and waisted neck joined by a narrow leaf-and-dart band, with rosette-mounted crested wooden handle, hinged, shallow-domed lid with wooden ovoid finial, ram’s head spout and raised on three palmette-crested flat legs with hoof feet, [250/400]

618

608 French Restauration First Standard (.950) Silver Beaker, marked Paris, 1819‑1838, by Theodor Tonnelier, of plain cylindrical form with slightly everted rim, engraved, near the rim, “Lewis B. Horne”, h. 3‑1/4”, dia. 3”, 2.83 t. oz. [75/125] 609 Set of Eight French First Standard (.950) Silver Gilt Demitasse Spoons, second quarter 20th century, the maker’s mark rubbed, in the traditional “Double Filet Coquille” [“Fiddle Thread and Shell”] pattern, l. 4‑1/8” 3.92 total t. oz. [250/400]

613 614

612 Swiss .875 Silver Four-Piece Coffee and Tea Set, first quarter 20th century, by Bossard & Sohn, Lucerne, including a coffeepot, h. 7”, a teapot, h. 6‑1/4”, a cream jug, h. 3‑3/4”, and covered sugar bowl, h.4‑1/2”, each with a pear-shaped body decorated with panels alternately chased with framed shells and scrolls on a matte ground, the pots with hinged, domed lids, “gooseneck” spouts and wooden crested “S”-scroll handles, cream jug with “duck’s beak” spout and arched reeded handle, the sugar bowl with a fitted lid and opposing reeded handles, 42.89 t. oz. (including wooden handles). [3000/5000] Illustrated 613 Unusual German .800 Silver-Mounted Engraved Glass Claret Jug, first quarter 20th century, by J. D. Schleissner Soehne, Hanau, the glass body of cornucopia form, wheel-engraved with rural architecture and rococo scrolls, with up-pulled arched handle, the base and neck clad in silver decorated with embossed openwork rococo scrolls, the hinged lid embossed with fruit and opening by means of a pair of chains operated by a putto standing on the handle, h. 13‑3/4”, l. 7‑1/2”, dia 5”. [1500/2500] Illustrated

610 French First Standard (.950) Silver Soupoudreuse, fourth quarter 19th century, by Henri Soufflot, working Paris, 1884‑1910, the “King’s” shape handle in the rococo taste, the circular bowl spiral gadrooned and intricately pierced, no monograms, l. 8”, 2.25 t. oz. [75/125] 611 Napoleon III First Standard (.950) Silver Mug, third quarter 19th century, no maker’s mark, of melon form, the lobes decorated with engraved arabesques, with applied acanthus-crested scroll handle and raised on lobed foot en suite, the interior gilt, engraved, on the body, “Perry Belmont”, h. 4‑3/4”, dia. 3‑3/4”, 6.75 t. oz. [400/700]

614 Continental .875 Silver-Mounted Cut-Glass Claret Jug, first quarter 20th century, with Russian import mark 1908‑1925, the tapering glass body of rounded square section and cut in a palm-and-diamond pattern, with the cylindrical silver collar decorated with chased acanthus fronds between an annulated band above and a reed-andribbon band below, with a hinged, domed lid with pyriform finial, triangular spout and an arched threaded square handle, h. 12‑1/4”, w. 3‑1/2”, l. 6‑1/4”. [3500/5000] Illustrated 615 German Thirteen-Piece .800 Silver-Mounted Dessert Service, first quarter 20th century, including six dessert forks, l. 7”, six dessert knives, l. 7‑1/2” and a serving spade, l. 11”, each with a filled silver spaten-shaped handle embossed with vertical reeding with laurel accents, with stainless steel fittings. [300/500]

616 Cased Set of Twelve German .800 Silver Gilt Demitasse Spoons, ca. 1900, by Franz Bahner, Dusseldorf, retailed by Wilhelm Range, Kassel, each with a spiral-twist handle and openwork addorsed rococo scroll handle, l. 3‑3/4”, 2.89 total t. oz., presented in the original gilt-tooled faux leather case, opening to a beige shantung and ruched velvet-fitted interior, the interior lid with the stamp of Wilhelm Range, 5‑3/4” x 11‑1/2”. Wilhelm Range served as court jeweler to Kaiser Wilhelm II, and was succeeded in the appointment by his son Fritz Range. The firm still exists today under the direction of the sixth generation of the Range family. [100/200]

625 626

624

621

619 German .800 Silver-Mounted Four-Piece Dresser Set, first quarter 20th century, by Johann Beck, Schwaebisch-Gmuend, including a hand mirror, l. 11‑1/4”, a hairbrush, l. 9‑1/4”, a faux tortoise comb, l. 8”, and a clothes brush, l. 7”, each in a silver mount with shaped and molded “Chippendale” style rim. [150/300] 620 Pair of Austrian Fourth Standard (.800) Silver Candelabra, second quarter 20th century, by Alexander Sturm, Vienna, each with a slightly tapering standard decorated with molded panels, surmounted by a vasiform finial and flanked by a pair of scrolling arms, each ending in a circular drip pan and inverted bell-form nozzle paneled en suite, the whole raised on a cavetto-canted square based with torus and acanthus threading, monogrammed, on the standard, “C”, h. 8”, w. 7‑1/8”, d. 3‑3/4”, 22.96 total t. oz. [1200/1800]

617 German .800 Silver Fruit Bowl, first quarter 20th century, by Jean L. Schlingloff, Hanau, in the Louis XVI taste, of shaped oval form, the plateau embossed with a scene of 18th century courtiers, the reticulated sides decorated with floral swags and cartouches on a rococoscroll ground, with embossed laurel-and-ribbon rim, l. 10‑3/4”, w. 7‑5/8”, 8.94 t. oz. [350/500] 618 German .800 Silver Jardiniere, first quarter 20th century, M. H. Wilkens, Bremen, in the Rococo taste, of shaped navette form, decorated with elaborate embossed rococo scrolls and reticulated latticework panels, with the narrow ends with openwork double “C”-scroll handlees, each surmounted by a putto holding a laurel wreath, the whole raised on four rococo scroll feet and fitted with the original conforming gilt copper liner, h. 7”, l. 15”, w. 7‑1/4”, 20.22 t. oz. (excluding liner). [1200/1800] Illustrated

621 WMF Silverplate Art Nouveau Shaving Stand, first quarter 20th century, by the Wurttemburgische Metallwarenfabrik, Geislingen, Germany, in the form of a lavabo, the spout an armored lion’s head above a detachable basin, fitted to an openwork cenotaph-shaped backplate with reeded uprights, flanked by a pair of up-scrolling supports holding a palmette-mounted circular beveled mirrored plate, all before a second basin at the projecting rectangular base joined by scrolling arms to the backplate, h. 30”, w. 20‑3/4”, d. 10”. [1500/2500] Illustrated

630

629

622 Assembled Silver Havdalah Set, second half, 20th century, possibly Netafim, Jerusalem, including a sterling silver besamim of inverted baluster form decorated with applied floral medallions, h. 8‑3/4”, and an .800 silver Havdalah candle holder embossed with grapevine banding and pierced with the traditional blessing “borei m’orei ha’eish” [“Creator of fire”], h. 4‑1/2”, 5.66 total t. oz. [200/400] 623 Ninety-Five Pieces of Georg Jensen Sterling Silver “Acorn” Pattern Flatware, the pattern designed in 1915 by Johan Rhode (1856‑1935), Copenhagen, Denmark, complete for twelve persons, including twelve dinner forks, 7‑3/4”, twelve luncheon forks, l. 6‑1/2”, twelve salad forks, l. 5‑1/2”, eighteen teaspoons, 5‑5/8”, twelve soup spoons, 5‑1/8”, twelve dinner knives with stainless steel “Modern”shaped blades, l. 9‑3/4”, twelve butter spreaders, 5‑3/4”, a two-piece carving set with stainless steel fittings, including a carving fork, l. 10‑3/4”, and knife, l. 12‑1/4”, a cake knife with stainless steel scimitar-shaped blade, l. 10‑1/2”, sugar tongs, l. 3‑3/4” and a lemon fork, l. 4‑1/4”, no monograms, each piece marked “GI” or “Georg Jensen” in a pricked oval, 90.73 total t. oz. (excluding items with stainless steel fittings). [4000/7000]

629 Buccellati Sterling Silver Nautilus Shell-Form Spoon Warmer, fourth quarter 20th century, by Ilario Pradella, Milan, the realistically-detailed shell supported by a pair of whelk-shell feet, h. 4”, w. 3‑1/4”, l. 5‑3/4”, 9.65 t. oz. [4000/7000] Illustrated 630 Large Buccellati Sterling Silver Leaf-Form Dish, fourth quarter 20th century, Milan, the realisticallydetailed maple leaf raised on a pair of curled leaf feet, l. 12‑1/2”, w. 12‑1/2”, 21.93 t. oz. [7000/10000] Illustrated

624 Four Georg Jensen Sterling Silver “Acorn” Pattern Serving pieces, the pattern designed in 1915 by Johan Rhode (1856‑1935), Copenhagen, Denmark, with the post‑1945 Jensen mark, including a tomato server, l. 8‑7/8”, a bonbon server, l. 4‑1/2”, a sugar spoon, l. 4”, and a cream ladle, l. 5‑1/4”, 6.24 total t. oz. [400/700] Illustrated 625 Rare Set of Twelve Georg Jensen Sterling Silver “Acorn” Pattern Ice Cream Forks, the pattern designed in 1915 by Johan Rhode (1856‑1935), Copenhagen, Denmark, with the post‑1945 Jensen mark, l. 5‑1/2”, 11.96 total t. oz.. [400/700] Illustrated 626 Three Georg Jensen Sterling Silver “Acorn” Pattern Serving Pieces, the pattern designed in 1915 by Johan Rhode (1856‑1935), Copenhagen, Denmark, with the post‑1945 Jensen mark, including a small tart server, l. 7‑3/4”, a large cake/pie server, l. 10‑1/2”, and a cake knife with stainless steel “scimitar”-shaped blade, l. 10‑1/2”, 6.14 total t. oz. (excluding the cake knife). [400/700] Illustrated 627 Seven Unusual Pieces of Georg Jensen Sterling Silver “Acorn” Pattern Tableware, the pattern designed in 1915 by Johan Rhode (1856‑1935), Copenhagen, Denmark, with the post‑1945 Jensen mark, including six pepperettes, h. 1‑3/4”, dia 1‑1/8”, and a mustard spoon with steel bowl, l,. 4‑1/4”, 3.15 total t. oz. (excluding mustard spoon). [200/400] 628 Twelve Evald Nielsen (1879‑1958) .830 Silver Spoons, 1923‑1929, Copenhagen, in Nielsen’s pattern No. 3, with hammered finish and foliate finial, including demitasse spoons, l. 4‑1/4”, three teaspoons, l. 5‑1/4”, and a sugar spoon, l. 5‑1/8”, 6.75 total t. oz. [150/300]

633

631 Bulgari Silverplate Pen, ca. 1980, l. 5‑1/2”, in the original brushed-aluminum Bulgari case, l.6‑1/4”. [150/300] 632 Set of Eleven Spanish Silverplate Goblets, third quarter 20th century, including six water goblets, h. 7”, dia. 3‑1/8”, and five wine goblets with gilt interior, h. 5‑1/4”, dia. 2‑3/4”, each with an inverted bell-shaped bowl raised on a foliate rope-twist stem and a circular foot. [100/200] 633 Empire-Style Walnut Pier Mirror, 19th century, the heavily foliate-molded cornice above a domed recessed panel featuring an applied classical figural scene, the rectangular plate above a lower frieze with an applied drum and flag design, h. 77‑1/2”, w. 34‑3/4”. [2500/4000] Illustrated

635

637 Pair of Empire-Style Mahogany-andBrass-Mounted Leather Arm Chairs, early 20th century, each with a padded green leather back, seat and arm rests and cast female busts at the arm fronts, raised on square tapering legs ending in cast-brass paw feet, h. 37‑1/2”, w. 25”, d. 20”. [1000/1500] 638 Empire-Style Mahogany Looking Glass, early 20th century, the beveled rectangular plate surmounted by a pyramidal pediment and flanked to either side by ormolu-mounted uprights, h. 67”, w. 42”. [900/1200]

634

639 Pair of Five-Light Grand Tour Souvenir Candelabras, fourth quarter 19th century, bronze finished white metal on marble and metal bases, sitting on paw feet, molded anthemia appear on base and in form of drops hanging from arms, each central candle cup contains a removable bas-relief molded finial, allowing them to function as either four or five light, h. 25”, w. 8”. [700/1000] Illustrated

636 634 Pair of Bronze and Marble Continental Mantel Garnitures, fourth quarter 19th century, with opposing male and female bronze figures resting on black marble bases trimmed in bronze swag-and-tassel decoration, h. 7‑3/4”, w. 6”, d. 4‑1/2”. [700/1000] Illustrated 635 Pair of Empire-Style Gilt-Metal-Mounted Mahogany Arm Chairs, early 20th century, each of generous proportions, the back centered by an ormolu mount, and joined to upswept armrests on scroll supports, the arm supports each with urn-and-laurel leaf modeled mounts, raised on block feet, h. 37”, w. 34‑1/2” d. 26‑1/2”. [1800/2500] Illustrated 636 Empire-Style Mahogany Dressing Table, third quarter 19th century, the oval mirror within an ormolu ribbon garland applied frame and with a swan’s neck form support, over a rounded rectangular dished Carrara marble top above a single frieze drawer, raised on exaggerated cabriole legs joined by an “H”-form stretcher and ending in casters, the whole with decorative ormolu mounts, h. 59”, w. 31‑1/2”, d. 18‑1/2”. [1200/1800] Illustrated

642 Empire-Style Mahogany and Marble-Top Side Table, mid‑19th century, the rectangular cream marble top above a conforming frieze fitted with a single drawer, raised on ormolu-mounted lyre-form supports, joined by a bulbous stretcher and ending in block feet, the whole richly ornamented and with ormolu mounts in wreath, patera and other Empire motifs, h. 34”, w. 50‑1/2”, d. 23‑1/4”. [5000/8000] Illustrated

642

641

640 Elegant, Diminutive Pair of French Double Wall Hooks, in the form of bronze-patinated elephant masques on gilt-lacquered brass backplates, in the Louis XVI style, the elephants’ trunks raised to form hoods, each backplate with a scrolled hook at its lower terminus, h. 7”. [1000/1500] Illustrated

639

641 Empire-Style Mahogany Dressing Mirror, third quarter 19th century, the domed crest with ormolu floral urn finials, above a double-tiered frieze with projecting ends, the rectangular plate within a patera-mounted frame and flanked to either side by engaged ormolu-mounted ebonized columns, over three short drawers, the concave base fitted with three drawers and raised on paw feet, the whole with decorative ormolu mounts and inlaid-brass stringing, h. 52”, w. 28‑1/2”, d. 14‑1/2”. [900/1200] Illustrated

640

648 Continental Fin-de-Siecle Gilt Bronze and Rouge Royale Marble Encrier, fourth quarter 19th century, composed of a bust of Napoleon, flanked by a pair of ink pots mounted on a rouge marble carved stand, mounted with scroll feet and a center drop, dia. 12‑1/2”. [500/800] Illustrated 649 English Parian Porcelain Bust of Apollo Belvedere, the bust made in two parts, stamped, “Art Union of London, 1861”, produced by Brown Westhead, Moore and Company, published February 1, 1861 and illustrated in, “The Parian Phenomenon”, page 240, figure 797, h. 13‑1/2”, w. 9‑1/2”, d. 6”. [800/1200] Illustrated

643

643 Rare and Fine Restauration Gilt-and-PatinatedBronze and Rouge Royale Marble Tripodal Music Stand, first quarter 19th century, the openwork rack of four crossed cornets centered with a gilt-bronze Apollo masque, the support edge mounted in a pair of gilt-bronze addorsed foliate scrolls, the tripodal base of satin-polished rouge royale marble, h. 17‑1/2”, w. 13‑1/2”. [1500/2500] Illustrated

644 pair

644 Pair of Louis Philippe Gilt-and-Patinated-Bronze Four-Light Appliques, second quarter 19th century, h. 10”, w. 9”. [1000/1500] Illustrated 645 Napoleon III Giltwood Looking Glass, third quarter 19th century, the rectangular plate with canted-corners within a conforming annulated and egg-and-dart molded frame, h. 60”, w. 42”. [500/800] 646 Continental Belle Epoque Porcelain Table Figure, c. 1900, executed in gilt and white, depicting a Napoleon asleep in a chair while the King of Rome plays nearby on a curule footstool, marked, “Chois Pap Dort” (Shhh, Papa Sleeps), h. 8”, d. 5”, l. 8”. [150/300] 647 Continental Three-Piece Napoleon Bust Group, first quarter 20th century, the first example, an Italian brass bust of Napoleon, mounted on an onyx base and stamped, “Made in Italy” on reverse, the second example, a bisque bust of Napoleon on an integral black glazed sock and the third example, a patinated bronze statue of Napoleon standing on a signed plinth, h. 6‑3/4” to 10‑1/2”. [400/700] Illustrated

647

648

652 Empire Mahogany and Granite-Topped Occasional Table, early 19th century and later, the later circular charcoal-gray granite top above a plain frieze, raised on three ormolu-mounted columnar supports to a turreted circular base centered by a carved-foliate finial, h. 34‑1/2”, dia. 18”. [600/900] Illustrated

656

649

652

650 Pair Continental Louis-XVI-Style Rouge Marble and Bronze Two-Light Candelabras, fourth quarter 19th century, the round marble plinth sits on bronze feet and supports the fluted, acanthus-molded base supporting molded candle arms and an acorn finial, h. 10”, w. 8”. d. 4‑1/4”. [150/300] 651 Good French Third Republic Bronze and Marble Mantel Clock, fourth quarter 19th century, H. Houdelin, Paris, the bronze after Jean-Louis Gregoire (French, 1840‑1890), the mechanism by Japy Freres, Paris, featuring a patinated and parcel-gilt bronze bust of a flower girl above an oval rouge de Langueduc marble base of waisted and molded rounded rectangular form with a block-front projection, the integral marble dial with applied gilt-bronze chapters and glazed frame, the whole with applied gilt-bronze beaded and laurel banding and raised on six squat gilt-bronze toupie feet, signed on the reverse of the bronze “L. Gregoire / Hi. Houdelin, Bronzier, Paris / 52832”, the works with the Japy Freres “Medaille d’Or” stamp, h. 26”, w. 16‑3/4”, d. 9‑1/4”. [2000/4000]

653 Baltic Neoclassical Mahogany Settee, second quarter 19th century, the domed rectangular top centered by a wreath-andpalmetto-ormolu-mount, joined by broad domed arms and bolstered sides to the padded seat, the front with a domed apron flanked to either side by reeded cornucopia issuing ebonized acanthus leaves, raised on block feet, h. 42”, d. 26‑1/2”, l. 88”. [1500/2500] 654 Empire Mahogany and Marble-Top Side Table, early 19th century, the rectangular Bleu Turquin marble top above a conforming frieze fitted with a single long drawer, joined by ormolu-mounted columnar supports to a concave stretcher shelf, raised on turret feet, h. 35‑3/4”, w. 41”, d. 17‑1/2”. [1800/2500]

659 Continental Classical-Style Bronze Statue of Diana, first quarter 20th century, wearing her tiara, partially clad and standing on a stepped brown stone plinth, h. 25‑1/2”, w. 11”, d. 8”. [300/500]

663

660 Pair of Restauration Cast-Iron Vases, of attenuated campana form, second quarter 19th century, presently painted in an old matte dark hunter green finish, h. 12‑1/2”. [200/400] 655 Pair of Polished Bronze and Sienna Marble Portrait Busts of Frenchmen, second quarter 19th century, each wearing the Legion d’Honneur and the Croix de la Chevalier, presented on a two-step sienna marble plinth with a leaf-form bronze banding, h. 14‑1/2”, w. 5”, d. 5”. [2000/4000]

661

656 Swedish Style Basket-Form Neoclassical Chandelier, consisting of eight lights with molded candle cups, vertical gilt metal leaves support drapes of prisms around the main body which is etched at the top, h. 37”, dia. 30”. By oral tradition, the present chandelier hung in former Governor Huey P. Long’s home. [1400/1800] Illustrated previous page 657 Pair of Onyx and Bronze Continental Mantel Garnitures, fourth quarter 19th century, urn-form vases with egg-and-dart bronze rims are mounted on square plinths with bronze feet, the plinth ornamented in bronze trim, h. 13‑1/4”. [300/500] 658 Empire Revival Mahogany Bergere, third quarter 19th century, the padded scrolled back joined to the cushioned seat by ribbed arm rests raised on ormolu-palmettobanded uprights, raised on tapering circular legs ending in lotus caps, h. 38”, w. 26”, d. 24”. [300/500]

666

661 After Charles Valton (French, 1851‑1918), “Lionne Blessee”, first quarter 20th century, a patinated bronze feline figure after the 1888 model, depicting a lioness pierced by a pair of arrows, with dark greenish-brown patination, signed on the base “C. Valton”, h. 11”, l. 18”, w. 4‑3/4”. A native of Gascony, Valton was the student of two of the great animaliers: Anton Louis Barye (1796‑1875) and Emmanuel Fremiet (1824‑1910). He studied the anatomy of big cats at the Jardin des Plantes in Paris (where both his teachers were directors), and became widely admired for his sculptures of these graceful animals. This particular model is perhaps his most famous: a very faithful three-dimensional depiction of a 7th century B.C. bas-relief panel from the “Lion Hunt of Ashurbanipal” found at the North Palace at Nineveh (Kuyunjik, Iraq), now housed at the British Museum in London. Valton’s interpretation - one of the most direct expressions of the Assyrian influence on the animaliers - was exhibited outside the City of Paris pavilion at the 1889 Exposition Universelle, where it was awarded a first-class medal. (Rodin served on the jury.) The lifesized bronze was then moved to Monceau Park in the 8th arrondissement, where it remained until World War II, when it was melted down by the Vichy government. Later in his career, Valton served as Professor of Sculpture at the Germain Pilon School and was awarded the Cross of the Legion of Honor in 1906. He died in Chinon, near Tours, on May 29, 1918. [800/1200] Illustrated

662 Art Deco Bronze Lion, first quarter 20th century, with mouth open and ready to strike, on a pale green glass plinth, h. 5”, w. 5‑3/4”. [75/125] 663 After Louis Vidal (French, 1831‑1892), a bicolor patinated bronze group depicting a pair of lionesses on the hunt, depicted on a plain bronze base above a marble plinth, the edge of the plinth with a brass plaque identifying the artist, overall h. 13”, w. 7”, l. 33”. [600/900] Illustrated 664 Directoire Mahogany Writing Table, late 18th century and later, the rectangular top with a slanted leather inset surface, hinged and opening to an open interior, one side fitted with an unusual hinged double-compartmented drawer, joined by columnar uprights to two lower galleried rectangular shelves, raised on tapering circular legs, h. 31”, w. 22”, d. 14”. [400/700]

669

666 Empire-Style Mahogany Games Table, mid 19th century, the demilune top with a brass edge, hinged and opening to a dished baize-lined surface, above a conforming frieze with ormolu Empire style mounts, raised on tapering circular legs ending in brass paw feet, h. 29‑1/4”, w. 44”, d. 22”. [1200/1800] Illustrated

667

667 Pair of Continental Bronze and Marble Statues, fourth quarter 19th century, the male depicts Mercury on one foot, wearing his winged helmet and carrying a caduceus, his female companion strikes a similar pose and carries a small cornucopia in one hand a shovel in the other, each sitting on a round bronze plinth cast in Bacchanalian themes, topped with black marble caps, h. 34”, w. 6‑1/4”, d. 6‑1/4”. [2500/4000] Illustrated 668 Pair of Neoclassical-Style Faux Marble and Ebonized Pedestals, each with a stepped square top and molded frieze, the square standard to a gilt acanthine banded plinth base, the backs open, h. 32”, w. 20”, d. 20”. [500/800]

665 Pair of Louis XVI-Style Fruitwood and Marble-Top Center Tables, mid‑20th century, each with a circular Verde Antico marble top within a brass banding, above a conforming frieze, joined by tapering square supports, headed by ormolu pharonic heads, to an annulated tripartite stretcher, the whole raised on splayed legs ending in sabots, h. 29‑3/4”, dia. 27”. [2500/4000]

669 French Bronze Figure of Aeschines (389‑314 B.C.), ca. 1900, probably from the foundry of Ferdinand Barbedienne, Paris, after the Antique, h. 24‑1/4”, w. 8‑1/4”. While this figure does not bear Barbedienne’s signature, it does have the seal of his collaborator Achille Collas; whole reduction apparatus enabled the faithful reproduction of statuary in multiple sizes. Moreover, this figure is listed on page 11 of Barbedienne’s 1886 catalogue as available in five sizes of which this, the three-tenths reduction, was the next-to-largest. The catalogue calls the figure “Aristide”, or Aristides the Just (530‑468 B.C.), as the figure was known at the time, having been uncovered at the so-called “House of Aristides” at Herculaneum. The figure has subsequently been identified as the Greek statesman Aeschines, one of the ten Attic Orators. The original is housed at the Muzeo Nationale in Naples. [1800/2500] Illustrated

670 detail

674 Regency Rosewood and Marquetry Inlaid Sofa, second quarter 19th century, the back with an arched frame and foliate inlaid crest rail, having curved arms with inlaid panels of foliage, serpents and birds, the seat frame and legs also inlaid with the same motifs, h. 38”, d. 25‑1/2”, l. 88”. [1000/1500] 675 Good Pair of Charles X Gilt-Brass SpiralRibbed 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”. [300/500] 676 Pair of Continental Cerise Ground Garniture Vases, second quarter 19th century, decorated with a gilt meandering vine, and gilt anthemia and bellflowers, h. 6‑1/2”, w. 4”. [300/500]

670

670 Good Italian Neoclassical Walnut Cheval Mirror, third quarter 18th century, surmounted by a gilded-andpierced palmetto crest, flanked by gilt-urn finials, the plate surrounded by a floral, urn-and-griffin inlaid frame and supported to each side by two columns, inlaid en suite, raised on like inlaid splayed end supports, h. 85”, w. 45”. [2500/4000] Illustrated 671 Pair of Rouge and Black Marble Mantel Garnitures, fourth quarter 19th century, probably English, alternating marbles decorate the low compote-form tops standing on raised footed plinths, h. 8‑1/2”, dia. 6‑1/2”. [400/700] 672 Diminutive Gilt-Brass, Ruby Glass and Cut-Glass Four-Light Chandelier, in the Swedish neoclassical style, the center with a pendant gilt-brass-mounted ruby glass bowl above a ruby glass plate, dressed with facet-cut bead chains and cut spears, fitted with four custom redbanded ivory silk shades, 21”, dia. 18”. [700/1000] 673 Diminutive Gilt-Brass, Ruby Glass and Cut-Glass Four-Light Chandelier, in the Swedish neoclassical style, the center with a pendant gilt-brass-mounted ruby glass bowl above a ruby glass plate, dressed with facetcut bead chains and cut spears, fitted with four custom red-banded ivory silk shades, 21”, dia. 18”. [700/1000] Illustrated

673

677 Biedermeier Oak Secretary, mid‑19th century, the central stepped plinth above a griffin-and-urn-inlaid frieze, over a paneled cupboard door, flanked to either side by a slightly-bowed and paneled cupboard door, the lower section with a roll-top opening to a variety of drawers and cupboards, the central ones inlaid, and a pull-out fitted with a leather writing surface with an easel-back, flanked by covered storage compartments, over three long drawers, raised on bracket feet, h. 81‑1/2”, w. 46‑1/2”, d. 22‑1/2”. [2500/4000] Illustrated

678 Giovanni Ottaviani (Italian, 1735‑1808) Pair of hand colored engravings of architectural panels of the Raphael’s Vatican Loggia, after the drawings by Pietro Camporesi and Gaetano Savorelli, published ca. 1776‑1782, sight 42” x 15”. Both glazed, attractively matted and framed. [600/900] Illustrated

677

682 Continental Architect’s Model of a Domed Baroque Chapel, composed of fruitwood and mahogany, of octagonal form, the attenuated domed roof with registers of arched and oculus windows surmounted by an arcaded cupola, h. 24‑1/2”, dia. 10”. [300/500] Illustrated

678 pair 681 679 Joannes Volpato (Italian, 18th Century) Pair of hand colored engravings of architectural panels of the Raphael’s Vatican Loggia, plate 1 dated 1774, plate 6 dated 1775, sight 44‑1/2” x 18‑1/2”. Both glazed and framed. [400/700] 680 Architect’s Model of a Winged Staircase, composed of fruitwood and mahogany, the staircase modeled within a demi-lune domed bay in the Renaissance style, h. 16”, w. 18”, d. 10”. [250/400] Illustrated

682

680

681 Continental Architect’s Model of a Spiraled Domed Tower Staircase, composed of fruitwood and mahogany in the Renaissance style, the domed ribbed roof with a tall cupola, the whole supported on a stepped circular base, h. 35‑1/2”, dia. 14‑1/4”. [300/500] Illustrated

683 Empire-Style Ebonized and Giltwood Looking Glass, the foliate-modeled crest above an applied floral basket spray, the rectangular plate within a molded giltwood frame and flanked to either side by engaged variously-carved pilasters, h. 52‑1/2”, w. 40”. [700/1000]

684

684 Twenty-Four Piece Set of Paris Porcelain Empire Cups and Saucers, second quarter 19th century, including twelve cups, h. 4”, dia. 3”, and twelve saucers, dia. 5.5”, the vase-shaped cups each with a medallion-molded handles and gilt vine decoration on a matte blue body with gilt interior, the saucers en suite. [800/1200] Illustrated

685 Pair of Similar Continental Bread and Milk Cups and Saucers, first quarter 19th century, one example contains a border of gilt-biscuit anthemia and a gilt wreath against a dark blue body, the handle molded with a bird’s head, the other has gilt swags hanging from a two-color gilt dentsde-loup border, h.3‑1/2” - 3‑3/4”, dia. 4‑1/8”. [200/400] 686 Neoclassical-Style Table Lamp, first quarter 20th century, probably continental, urn-form gilded in Greek keys and wreaths, sitting on gilt bronze paw feet, h. 30”. [200/400] 687 Attractive Northern European Gilt-Brass and CutGlass Six-Light Chandelier, in the neoclassical taste, second quarter 19th century, dressed with graduated jewel-cut glass chains and alternating ornamental link chains in brass, not electrified, h. 41‑3/4”, dia. 26‑3/4”. [700/1000] Illustrated

688 LouisPhilippe Mahogany Revolving Adjustable Piano Stool, second quarter 19th century, the circular top raised on a reeded vasiform standard to three splayed scrolling legs, h. 19‑1/4”, dia. 14”. [300/500]

687

689 Louis Phlippe Mahogany Marble-Top Commode, second quarter 19th century, the rounded rectangular petit graniti beige marble top above a conforming case fitted with a cushion frieze drawer over three long drawers and a concealed plinth drawer, raised on molded block feet, h. 38”, w. 49‑1/2”, d. 23”. [1800/2500] Illustrated 690 Trio of Graduated Fruitwood and Ebonized Obelisks, the largest and smallest with fruitwood shaft and base with ebonized accents, the medium the reverse, h. 13” to 20”. [150/250] Illustrated

689

691 Italian Architect’s Model of an Arcaded Loggia, composed of fruitwood and mahogany in the Renaissance style, the paved floor stenciled in deep brown and birch, h. 9‑1/2”, w. 16”, d. 7”. [250/40] Illustrated

690

692 691

696 Continental Neoclassical Style Bronze Ewers, fourth quarter 19th century, molded with a bacchanalian theme, and putti at artistic pursuits, the scroll handles terminate in a devil’s head mask and a putti holding a wine goblet sits on each, now mounted as lamps, h. 35”. [700/1000] Illustrated

696 692 Pair of Crystal Spheres, each mounted on a custom turned and bulbous standard to a circular base, h. 9”. [150/250] Illustrated 693 Napoleon III Giltwood Looking Glass, third quarter 19th century, the slightly domed crest with in a molded egg-and-dart carved frame, h. 47”, w. 35‑1/2”. [500/800] 694 Empire Mahogany and Granite-Top Center Table, early 19th century and later, the circular charcoal granite top above a conforming plain frieze, raised on ormolumounted columnar supports joined by a concave tripartite base, h. 27‑1/2”, dia. 32”. [600/900] 695 Neoclassical-Style Bronze-Finish Metal Urn, decorated with women in diaphanous gowns, cupids and palmettes, mounted on a Chinese-style base and wired as a lamp, h. 30‑1/2”. [200/400]

697

697 Charles X Mahogany Library Table, second quarter 19th century, the highly figured oval top quarter-veneered and above a frieze fitted with a single long drawer, raised on end supports each with two ormolu-mounted columnar standards, joined by a turned stretcher and ending in runner feet, h. 30‑1/2”, d. 28”, l. 71‑1/4”. [800/1200] Illustrated

702

700 Isidore Konti (Austrian/American, 1862‑1938), “Eros”, a patinated bronze figure after the 1914 model, the winged, wistful figure depicted nearly nude and reclining, on an integral base, signed on the base “[copyright] 1914 I. Konti”, h. 5‑3/4”, w. 8‑1/4”, d. 8‑1/4”. Ref: Mary Jane Smith Madigan, et al., Sculpture of Isidore Konti, 1862‑1938, (Yonkers, NY: Hudson River Museum, 1975), ex. cat. Hudson River Museum, January 29-March 30, 1974, item 59. While his name may not be familiar to most New Orleanians, Isidore Konti’s sculpture assuredly is. He created the figures for both the Sophie and Simon Gumbel Memorial Fountains at The St. Charles Avenue entrance to Audubon Park (1918), as well as those for the Sara Lavinia Hyams Fountain and Wading Pool at the Carousel Gardens entrance in City Park (1921). An identical Hyams wading pool is hidden in plain sight near the Magazine Street entrance to the Audbon Zoo; both it and the one at City Park were cast by the Roman Bronze Works in New York. [300/500] 701 Baltic Empire-Style Ebonized Occasional Table, mid‑19th century and later, the circular top above a conforming frieze, raised on splayed supports and a central support headed by gilt-eagle’s heads and resting on a circular plinth base, h. 27‑1/2”, dia. 22”. [1400/1800] 702 After Mather Brown (American/British, 1761‑1831) “King Louis XVI of France Saying Farewell to his Family”, oil on canvas, 19th century, unsigned, 40” x 49‑1/2”. Presented in a contemporary ebonized frame. An engraving of the painting was published by Fisher of London in 1846, in The Gallery of Engravings, edited by C.H. Timperley. [2500/4000] Illustrated 703 Follower of Jean-Baptiste Greuze (French, 1725‑1895) “Portrait of Gentleman”, possibly of Pierre Vergniaud, oil on canvas, unsigned, 24” x 19‑1/2”. Presented in a molded giltwood frame. [700/1000] Illustrated

703 698 Louis Philippe Walnut and Gilt-Bronze Mounted Recamier, second quarter 19th century, the long-cushioned seat flanked to one side by a high padded in-scrolled arm, to the other by an outscrolled footboard, raised on block feet with two conforming bolsters,h . 39‑1/2”, w. 28‑1/2”, l. 89”. [1500/2500] Illustrated 699 Pair of Empire-Style Mahogany Fauteuils, early 19th century, each with a padded square back within a molded frame, joined by flat foliate-carved arms and gilt winged swan uprights to the padded seat, raised on tapering square legs ending in gilt paw feet, h. 35”. [800/1200]

698

709 Group of Four Louis XVI-Style Lacquered Brass Three-Light Appliques, each with a beribboned and beaded backplate with laurel and berry swags and mounted with an urn with flame finial, h. 18”, w. 11‑1/2”, d. 8‑1/2”. [600/900] 710 Pair of Continental Bronze Candelabras in the Charles X-Style, the raised base holds reeded columns sitting on scroll feet and support three molded arms along with a central candle cup support, h. 20‑1/2”. [300/500]

704 704 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. [7000/10000] Illustrated

706 pair

705 Napoleon III Giltwood Looking Glass, third quarter 19th century, the slightly molded plate within an annulated molded frame with incised foliate and floral accents, h. 62‑1/2”, w. 36‑1/2”. [500/800] 706 Pair of Charles X Gilt- and Patinated Bronze FourLight Appliques, second quarter 19th century, each foliate wall mounting joined by a scrolled branch, the upper branches and central branch issuing circular wax pans and urn-form candle nozzles, h. 12”, w. 9”, d. 11”. [1000/1500] Illustrated 707 Louis-Philippe Reticulated Gilt-and-PatinatedBronze Six-Light Hexagonal Chandelier, in the Troubadour taste, second quarter 19th century, the gilding and dark-chocolate patination renewed, not electrified, h. 62”, dia. 22”. [1000/1500] Illustrated 708 Continental Tole-Peinte Tray, second quarter 19th century, of rounded rectangular form, decorated with black rondels of monuments and imposing buildings alternating with images of early 19th century soldiers all on a pale orange ground, presented on a custom-made black lacquer bamboo-turned stand, h. 22”, w. 29”, d. 23”. [700/1000]

707 711 Neoclassical Style Giltwood Looking Glass, the beveled rectangular plate surmounted by a waisted foliate crest with a foliate garland, surrounded by a molded and incised frame with pendant toupie accents, h. 47‑1/2”, w. 30”. [300/500]

712 Restauration Mahogany and Marble-Top Secretaire Abattant, second quarter 19th century, the rounded rectangular Sainte Anne des Pyrennes marble top above a case fitted with an ogee-molded drawer over a drop-front opening to a large cubbyhole over various drawers, with three long drawer below, raised on block feet, h. 59‑1/4”, w. 38‑1/2”, d. 16‑3/4”. [800/1200]

713

718 716 French Empire-Style Gilt Bronze and Tole Bouillote Lamp, the lower base made with engine-turnedrim, the central shaft supporting three swan-form candle branches, fitted with green tole lamp shade, topped with an arrow feather form finial, electrified with faux candles in each socket, h. 28‑1/2”, w. 9”, d.9”. [400/700] 717 French Empire-Style Bouilliote Lamp, the pan base decorated with engine-turned decoration, the turned standard supporting three cast-brass candle arms holding palmette-molded cups, mounted with a red painted tole shade and a brass ring finial, h. 23”. [300/500] 718 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. [400/700] Illustrated 713 Neoclassical-Style Giltwood Mirror in the Louis XVI Taste, the crest consists of molded laurel leaves encircling a lute and a horn, with molded bellflowers dropping down each side, the molded frame resting on three-part turned and molded giltwood feet, h. 39”, w. 24”. [1200/1800] Illustrated 714 Biedermeier Walnut Work Table, second quarter 19th century, the canted rectangular top quarter-veneered and opening to a variety of lidded compartments centering a central storage section, raised on a waisted paneled standard issuing scrolling patterns to the shaped base on stylized hoof feet, h. 29”, w. 21‑3/4”, d. 16”. [400/700] Illustrated 715 French Empire-Style Gilt Bronze and Tole Bouillote Lamp, the lower base made with engine-turned rim, the central shaft supporting three swan-form candle branches, fitted with green tole lamp shade, topped with an arrow feather form finial, electrified with faux candles in each socket, h. 28‑1/2”, w. 9”, d.9”. [400/700]

714

719 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. [400/700] Illustrated

722 Pair of Third Republic Gilt-Bronze and Rock Crystal Candlestick in the Louis XVI Taste, ca. 1900, each with a fluted leaf and berry-modeled candle-cup supported by a fluted rock crystal standard joined to a stepped circular crystal base, trimmed with foliate and bead rings, h. 7‑1/2”. [1000/1500] Illustrated 723 Large Malachite Egg, beautifully figured , h. 6”, l. 8”. [400/700] 724 Tall and Attractive French Polychromed Eglomise Panel, featuring a trophee of game birds, fourth quarter 19th century, presented in a matte blanc-de-Trianon painted frame, h. 84”, w. 27”. [1000/1500] Illustrated

719

720 Neoclassical-Style Giltwood Recamier, the long padded seat with a partial shaped back and outscrolled armrest to one end and an in-scrolled rest to the other, all within a molded and annulated frame, raised on splayed legs, h. 35”, d. 28”, l. 71”. [800/1200] Illustrated

722

720 724 721 Pair of Continental Brass Garniture Urns, decorated with blue and red champleve enamel on the feet, the handles scrolled and molded in the neoclassical taste, h. 8‑1/4”, w. 5”, d. 3‑1/4”. [200/400]

728 Unusual Regency Style Carved Giltwood, Concave or Reverse Bull’s-Eye Glass Mirror, fourth quarter 19th century, the frame boldly carved with bound laurel leaves and berries, the inner molding reeded and ebonized, dia. 30‑1/2”. [700/1000] Illustrated 729 Group of Eight Chinese Export Desk Accessories, late 19th century to early 20th century, consisting of a black-lacquered box-form segmented letter holder, h. 6”, w. 6‑3/4, d. 3”, a black-lacquered papier- mache folding bracket shelf, h. 4”, w. 6‑3/4”, d. 3‑1/2”, a small chinoiserie desk clock, h. 4”, w. 5‑1/2”, d. 2‑1/4”, two ovoid pen trays, one blacklacquered papier-mache, l. 10‑1/2”, and the other red-lacquered, l. 9‑1/2”, two pencil or brush cups, one h. 4‑3/4”, the other, h. 3‑1/4”, and a polychrome and gesso page turner, l. 11”. [300/500] Illustrated 726 725 Pair of Polychrome Cast-Stone Urns, in the neoclassical taste, each of circular-form and emanating a flame, the body with a band of foliate designs, raised on a waisted ribbed base, h. 27”, dia. 16”. [400/700] Illustrated 726 Regency Rosewood Credenza, first quarter 19th century, the double-tiered superstructure with an upper pierced-brass gallery and mirrored back, joined by bulbous brass supports, the lower section with a recessed central section fitted with two grilled cupboard doors, flanked to either side by a paneled door, raised on a plinth base, h. 62”, w. 72”, d. 15‑3/4”. [2000/4000] Illustrated 727 William IV Ebonized Center Table, mid‑19th century and later, in the chinoiserie taste, the circular tilting top with an elaborate gilt and polychrome oriental figural landscape, within a border featuring panels with likedesigns, raised on a paneled and graduated standard to a concave tripartite base, raised on gilt bun feet, h. 30”, dia. 58”. [3000/5000] Illustrated 727

725

730 Six Victorian Articles, third quarter 19th century, consisting of a Chinese export black-lacquered desk box, of shaped-rectangular-form, opening to a gilt-decorated interior with a lift-out storage tray, four black lacquered Chinese export napkin rings, all of ribbed-circular-form with gilt-figural accents, and a Victorian black-lacquered writing box, the top bi-sected and centered by a brass handle, opening to an interior fitted with a pan tray and two lidded glass ink bottles and a central lidded compartment, the top with a central mother-of-pearl floral inlay and decorative polychrome corner accents, dia. 2”, napkin rings, h. 4”, w. 11”, d. 5‑1/2”, box, h. 5‑1/4”, w. 9‑1/4”, d. 6”, writing box. [300/500]

731 English Elaborately Japanned and Gilded Red Lacquered Papier-Mache Crumber Set, third quarter 19th century, in the Chinese taste, the crumb brush of modified crescent form, l. 13‑1/2”, the tray of stylized shell form, l. 11‑1/2”, w. 10‑1/2”. [250/400] 732 Group of Three Chinese Export Black-Lacquered Objects, fourth quarter 19th century, consisting of a papier-mache shell-form crumber, w, 12”, d. 11”, and conforming curved brush, l. 13‑1/2”, and a box-form divided letter holder, h. 6”, w. 6‑1/2”, d. 3”, all with elaborate gilt and polychrome designs in the Oriental taste. [200/400] 733 Pair of Regency Mahogany Side Chairs, first quarter 19th century, each with a wide curved and rolled back crest rail mounted to curved and chamfered back posts, the front legs turned and reeded, h. 33”. [200/400]

728

735

734 Regency Ebonized Papier Mache Tray, first quarter 19th century, of ovoid-form, the edge raised and with an elaborately patterned grapevine border, w. 32”, d. 25‑1/2”. [300/500] 735 Arthur Drummond (British, 1871‑1951) “The Flower Seller”, oil on canvas, signed and dated lower right “Arthur Drummond 1889”, 27‑1/2” x 22”. Presented in a giltwood and gesso frame. [5000/8000] Illustrated

729

740

741

738

739

742 Edwardian Tortoiseshell and Ivory Ink Pot Box, first quarter 20th century, containing a square cut-glass and silver ink pot conforming to the interior, h. 2”, w. 1‑1/2”, d. 1‑1/2”. [200/400] Illustrated 743 Early Regency Mahogany SecretaryBookcase, first quarter 19th century, the shaped floral-inlaid crest above a dentillated frieze and two astragal-glazed doors, the lower section fitted with a paneled drop-front secretary drawer opening to a variety of drawers and cubbyholes, over three graduated long drawers, raised on bracket feet, h. 93”, w. 43‑1/2”, d. 21‑1/2”. [1500/2500]

742

736 James John Hill (British, 1811‑1882) “Mother with a Sleeping Child”, pastel on card paper, signed lower right “J.J. Hill”, sight 24” x 20”. Glazed and framed. [500/800] Illustrated 737 William IV Mahogany Sideboard, second quarter 19th century, the rectangular top with molded edge and a recessed center section, above a conforming case fitted with a central compartmented cutlery drawer over two paneled cupboard doors, flanked to either side by tall like-paneled cupboard doors, raised on a plinth base,h. 35‑1/2”, w. 82‑1/2”, d. 24”. [1200/1800] 738 Regency Tortoiseshell Tea Caddy, first quarter 19th century, of broadly-canted-rectangular-form, the rounded and domed lid opening to a single lidded compartment, the front with an inlaid mother-of-pearl escutcheon, h. 3‑1/4”, w. 4‑1/2”, d. 2‑3/4”. [800/1200] Illustrated 739 Group of Three Georgian Horn and Tortoiseshell Snuff Boxes, fourth quarter 18th century, one of rounded-rectangular-form, the lid with a decorative ivory inlay, h. 1”, w. 3‑3/4”, d. 1‑1/2”, the other of ovoid-form, h. 1/2”, w. 3”, d. 1‑1/2”, together with a tortoiseshell trinket box of like date, of slightly-domed-rectangular-form and raised on ivory bun feet, h. 1”, w. 2‑3/4”, d. 1‑1/2”. [500/800] Illustrated 740 Edwardian Tortoiseshell Miniature Portrait Frame, first quarter 20th century, fitted with a gilt engine-turned brass line and containing a portrait of a woman in classical dress, signed, “C. Kanz Cop Cop/ Joa”, h. 5”, w. 4‑1/2”. [250/400] Illustrated

736

749

747 749

741 Regency Tortoiseshell Necessaire, first quarter 19th century, in the form of a knife box, the interior now open, the case with inlaid silvered accents, h. 4”, w. 2‑1/2”, d. 2”. [500/800] Illustrated

748

751

744 Regency-Style Mahogany Games Table, the tilting circular top with an inset and segmented leather surface with six recessed trays for gaming pieces, raised on a turned columnar standard to four reeded legs ending in brass caps on casters, h. 28‑1/2”, dia. 57‑1/2”. [1800/2500]

759

745 Regency Rosewood Tea Caddy, first quarter 19th century, of sarcophagusform, the lid centered by a gadroonedged panel and opening to two lidded compartments flanking an opening for a mixing bowl, a later pressed glass bowl present, h. 5‑1/2”, w. 10‑3/4”, d. 6”. [300/500] 746 Regency Rosewood Tea Caddy, first quarter 19th century, of sarcophagus-form, the lid opening to two lidded compartments flanking an opening for a mixing bowl, the tapering body raised on ebonized bun feet, h. 6”, w. 10‑3/4”, d. 5‑3/4”. [300/500] 747 Pair of Fruitwood-Mounted Polished Nautilus Shells, in the Edwardian style, the wooden mounts spiral turned, h. 12‑1/4”. [200/400] Illustrated 748 Victorian Walnut and Tunbridge-Ware Desk Box, third quarter 19th century, the lid centered by a hexagonal mother-of-pearl inlay, flanked to either side by Tunbridgeware bands, the escutcheon inlaid en suite, the interior open and paper-lined, h. 5‑1/2”, w. 9‑3/4”, d. 6‑3/4’. [200/400] Illustrated 749 Victorian Walnut Lap Desk, third quarter 19th century, of rectangular-form, the lid centered by an inset brass shield, opening to a sloped leather-inset writing surface, each end opening to a storage well, with a front pen tray and compartment, h. 5‑1/2”, w. 10‑1/4”, d. 8‑1/4”. [150/300] Illustrated

753 Regency Walnut Tea Caddy, first quarter 19th century, of rectangular-form, the domed lid opening to a single paktong-lined compartment, the case with satinwood stringing and a diamond-form escutcheon, h. 5”, w. 4‑3/4”, d. 3‑1/4”. [150/300] 754 Regency Rosewood Tea Caddy, first quarter 19th century, of sarcophagus-form, the lid opening to two lidded compartments, the body tapering, h. 5‑1/4”, w. 8”, d. 4‑3/4”. [200/400]

759 detail

750 Turned Fruitwood Garniture Centered by Ostrich Egg, garniture with a tall turned “spire” finial, h. 20”. [100/200] Illustrated

755 Regency Mahogany Tea Caddy, first quarter 19th century, of sarcophagus-form, opening to two lidded compartments, the tapering rectangular case raised on brass ball feet, h. 4‑1/4”, w. 8”, d. 4‑1/2”. [150/300]

751 Victorian Rosewood Desk Box, third quarter 19th century, of rectangular-form, the top with an elaborate marquetry inlay of various woods, opening to a void interior, the interior of the lid with an inlaid elephant, h. 5‑1/2”, w. 12‑1/4”, d. 9‑1/4”. [150/300] Illustrated

756 Continental Ivory Box, second quarter 19th century, of circular form, decorated with lithographs of a cloudviewing hot-air balloon in a cityscape, with gilt-on-black meaders decorating the sides, h. 1‑1/4”, dia. 3‑1/2”. [600/900]

752 Regency Rosewood Tea Caddy, first quarter 19th century, of modified-sarcophagus-form, the domed lid opening to two lidded paktong-lined compartments, the tapering rectangular case raised on bun feet, h. 4‑3/4’, w. 8”, d. 4‑1/4”. [250/400]

757 Regency Mahogany Bowfront Chest, first quarter 19th century, the bowed top above a conforming case fitted with two short drawers over three long graduated drawers, raised on bracket feet, h. 37‑1/2”, w. 40‑1/4”, d. 21”. [700/1000]

760

758 English Regency Silk Embroidered Oval Panel, depicting a young girl with two cats, first quarter 19th century, sight 11‑1/2” x 8‑5/8”. Glazed and presented within a eglomise mat and a polychrome frame. [75/125]

760 detail

759 Pair of Regency Walnut Cabinets,early 19th century, each with a rectangular top with an inlaid Greek-key banding, above a conforming case fitted with a single grilled door, flanked to either side by paneled and likebanded uprights, raised on a plinth base, h. 35‑1/2”, w. 35”, d. 14‑1/2”. [2500/4000] Illustrated previous page 760 One Hundred and Twenty-Five Pieces of Royal Crown Derby “Old Avesbury” Pattern Porcelain Dinnerware, the pattern introduced in 1933, Derby, variously dated 1947‑1980 (most 1951‑1954), in the “Ely Chelsea” shape, including fourteen dinner plates, dia. 10‑3/8”, fourteen salad/dessert plates, dia. 8‑5/8”, fourteen cream soup bowls, dia, 4‑3/4”, and underplates, dia. d. 6‑1/4”, twelve teacups, dia. 3‑5/8”, and saucers, dia. 5‑3/4”, seven coffee cups, dia. 3‑1/4”, and fourteen coffee saucers, dia. 3‑1/4”, eight demitasse cups, dia. 2‑1/4”, with fifteen demitasse saucers, dia. 4‑3/4”, and an egg cup, h. 2‑1/4”, each fully marked in the reverse in red/sepia with the Derby trademark and date cypher. [1200/1800] Illustrated

761 William IV Mahogany Cellarette, second quarter 19th century, of sarcophagus form, the stepped-top opening to a velvet-lined interior, the canted corners headed by acanthus leaves, on well-scrolled feet, h. 23”, w. 34”, d. 22”. [700/1000] Illustrated 762 Regency Mahogany Drop-Leaf Table, first quarter 19th century, the rectangular top with rounded ends and two ovoid drop leaves, above a frieze fitted with a single end drawer, raised on ring-turned, tapering circular legs ending in brass caps and casters, h. 29‑1/2”, w. 38‑3/4”, d. 22‑7/8”, extended l. 44”. [600/900] 763 Regency-Style Mahogany Credenza, first half 20th century, having a pair of figured mahogany cabinet doors in the center and flanked by recessed open-shelf cavities (shelves lacking), h. 31”, w. 83”, d. 19”. [300/500]

761

764 Exuberantly Decorated Classical Revival Mantle Mirror, fourth quarter 19th century, the upper tablet with a swag and tassels under a basket of flowers, flanked with wreaths, the arched mirror flanked with arched eglomise tablets decorated with boys fishing in a landscape, panels of molded flower pots beneath each, the base bracketed with molded scrolls, h. 29”, w. 54’. [1500/2500] Illustrated

764

765 Regency-Style Cut-Glass and Bronze-Mounted Footed Centerpiece Bowl, ca 1900, of elongated-form with serpent handles, on an acanthine-molded plinth, h. 7‑1/2”, w. 4‑1/2”. [300/500] 766 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 like-carved toes, h. 27‑1/2”, w. 17‑1/2”, l. 44”. [500/800] 767

770

767 Impressive Pair of Anglo-Irish Lamps, third quarter 19th century and later, the notch-cut bases support baluster-cut stems decorated with cut-crosshatching and panels, mounted later with silverplate nozzles fitted with blown hurricane shades, h. 24”, dia. 9‑1/2”. [600/900] Illustrated 768 Pair of Anglo-Irish Cut-Glass Compotes, second quarter 19th century, with down-turned rims, with a honeycomb-pattern stem and a square star-cut base, h. 7‑1/2”, w. 8‑1/2”. [400/700] 769 Pair of English Wedgwood Blue Jasperware UrnForm Table Lamps, second quarter 20th century, decorated with white applied sprigging of acanthus leaves, flora, and palmettes, mounted on a footed brass base, h. 22”. [400/700]

772

773

772 George III Old Sheffield Plate Salver, fourth quarter 18th century, of octagonally serpentine-lobed circular form, with gadrooned rim and raised on four ball-andclaw feet, the plateau engraved with the palm-mantled arms of Gwatkin with Lovell quartering Jones on an escutcheon, dia. 16‑1/4”. The arms here are those of Ann Lovell Gwatkin (1729‑1809) daughter of Robert Lovell (ca. 1702‑1770), the captain of a West Indies packet ship, and his wife Anne Jones (1705- ca. 1732). She married, as his third wife, Bristol merchant Edward Gwatkin (ca. 1707‑1764) in 1753; her dowry was 20,000 pounds, roughly equivalent to about 2.7 million US dollars today. She retained most of this after the death of her husband, and it was augmented by the inheritance of the bulk of her father’s estate in 1770. She died in Gloucestershire in 1809, diving her fortune among her four children, one of whom - Robert Lovell Gwatkin (1757‑1843) - married Theophilia Palmer (1757‑1848), the adored niece and favorite subject of Sir Joshua Reynolds (1823‑1792). [700/1000] Illustrated

775 770 George III Sterling Silver Two-Handled Cup and Cover, hallmarked London, 1776‑1777, by Parker & Wakelin, in the neoclassical taste, of campana form, decorated with a band of applied laurel swags centering opposing circular cartouches, the lower half with a chased acanthus frond calyx, with a dramatic pair of scrolling handles, each comprising two serpents meeting at the cartouche and at ram’s masque mounts on the shoulder, raised on a domed circular foot decorated and fitted with a steeply domed lid decorated with acanthus and laurel en suite with a pyriform finial, engraved on the cartouches with a crest of Cludde or Carnaby (a bull’s head per chevrons), h. 15‑1/2”, w. 10‑1/2”, dia. 6‑1/2”, 83.66 t. oz. [14000/18000] Illustrated previous page 771 Unusual George III Silverplate Hot Water Urn, probably fourth quarter 18th century and later, the urn-form body with steeply-arched palmette-mounted handles, with down-turned spout and turned ivory spigot, raised on a stepped square base and annular ball feet, the steeply waisted lid ventilated and with urniform finial, the interior retaining the original iron billet, h. 22‑1/2”, w. 10‑1/2”. While style of this unusual urn is resolutely from the 1780s, it does show peculiar anachronisms. Some of its eccentric construction details (the riveted handles and spout, the old-fashioned billet chamber, the tinsmith-lapped lid flange) suggest an earlier piece, while others (the solid copper feet, the lack of any lapped edges or wired seams) suggest a later Victorian piece of electroplate. The urn may be an early experimental work of electroplate or, more likely, a genuine Georgian piece of “Old Sheffield” plate extensively restored in the 19th century by a talented tinker. [300/500]

773 Pair of George III Old Sheffield Plate Sauce Tureens, first quarter 19th century, each of navette form, with opposing ringed lion masque handles and a fitted domed lid with conforming finial, raised on four flat reeded legs with lion’s paw feet above a cavetto canted plinth and four spherical feet, h. 6”, l. 6‑1/2”, w. 3‑3/4”. [900/1200] Illustrated 774 George III Old Sheffield Plate Bachelor Teapot, fourth quarter 18th century, the ovoid body with crested wooden handle and right-angle “gooseneck” spout, the tall waisted led with vasiform finial, raised on a circular foot, h. 8‑1/2”, w. 7‑1/4”, d. 5‑3/4”, [125/250] 775 Regency Old Sheffield Plate Meat Dome, first quarter 19th century, of oval form, with molded rim and gadrooned banding, the come with radiant gadrooning centering a reeded handle, engraved on one side with the crest and on the other side the arms and motto of Montgomery of Stanhope, co. Peebles, h. 8‑1/2”, l. 15‑1/2”, w. 11‑1/2”. [200/400] Illustrated

781 781 Good Set of Four Early Victorian Sterling Silver Gilt Decanter Labels, hallmarked London, 1844‑1845, by Rawlings & Summers, each in the form of a realistically detailed grape leaf, with a rolo chain, with pierced titles “Claret”, “Sherry”, “Madeira”, and “Bucellas”, h. 2‑1/4”, w. 2‑1/2”, l. (with chain) 5‑1/2”, 3.47 total t. oz. [2000/4000] Illustrated

776 Regency Sterling Silver Punch Ladle, hallmarked London, 1812‑1813, by Eley, Fearn & Chawner, in the traditional “Fiddle Thread and Shell” pattern, with coquille bowl, the handle engraved with the crest of Holt (a squirrel holding a hazel branch), l. 13‑1/4”, 8.1 t. oz. [500/800] 777 Regency Sterling Silver Marrow Scoop, hallmarked London, 1816‑1817, by Solomon Hougham, in the traditional “Hourglass” pattern, l. 9”, 2.25 t. oz. [200/400] 778 Pair of William IV Sterling Silver Gilt Berry Spoons, hallmarked London, 1835‑1836, by William Theobalds and Lockington Bunn, in the traditional “Chased Vine” pattern, with coquille bowls, engraved on the bowl with a crest of an eagle displayed, l. 10‑1/4”, 9.007 total t. oz. [1500/2500] Illustrated

785

779 William IV Sterling Silver Gilt Sugar Sifter, hallmarked London, 1835‑1836, by William Theobalds and Lockington Bunn, in the traditional “Chased Vine” pattern, the serpentine quarter-lobed bowl intricately pierced and engraved with a crest of an eagle displayed, l. 6‑1/4”, 2.83 t. oz. En suite with the previous lot. [300/500] Illustrated

780 Set of Four Regency Sterling Silver Gilt Salt Cellars, hallmarked Sheffield, 1813‑1814, by Robert Gainsford, of rounded concave rectangular form, with shaped rocaille border and raised on a conforming gadrooned foot, h. 1‑3/4”, l. 3‑3/4”, w. 3‑1/4”, 13.37 total t. oz. [900/1200] Illustrated

780

779

778

786 Victorian Silverplate Tray, fourth quarter 19th century, by Robert Pringle and Co., London, of navette form, with gadrooned rim and edge, the conforming plateau engraved with ovolo banding and floral garlands, with integral handles on the narrow ends, l. 18‑1/2”, w. 13‑1/2”. [100/200]

788

789

782 Three William IV or Victorian Cased Sterling Silver Serving Sets, including a William IV sugar sifter, hallmarked London, 1833‑1834, by Charles Shipway, with engraved “Old English” handle and repousse bowl, l. 7‑1/2”, 1.54 t. oz., a mother-of-pearl-handled fish serving set, hallmarked Birmingham, 1860‑1861, by George Unite, with a fish serving fork, l. 8‑1/2” and knife, l. 11”, with elaborately carved tines and blade, the handle etched with conjoined monogram “IO”, and a pair of mother-of-pearl-handled butter knives, hallmarked Sheffield, 1875‑1876, by Martin & Hall, with wriggleworkengraved, scimitar-shaped blades and calyx-carved mother-of-pearl handles, l. 7‑1/2”, each in its original fitted case, l. 8‑1/4”, 13‑1/2” and 8‑3/4”, respectively. (Five total pieces in three cases.) [300/500] 783 Victorian Sterling Silver Christening Cup, hallmarked London, 1856‑1857, by Edward & John Barnard, in the Gothic taste, of cylindrical form, decorated with six recessed vertical panels engraved with trefoil scrolls, separated by engraved lozenges and trefoils, with molded rim and flared base with “C”-scroll edging, with stepcrested squared handle, engraved, on one panel, “WCS / 1858”, h. 3‑3/4”, dia. 3‑1/4”, 5.59 t. oz. [400/700] 784 Victorian Sterling Silver Japonaise Goblet, hallmarked London, 1877‑1878, by Frederick Elkington, with an ovoid body, waisted stem and know and circular foot, the body elaborately engraved in the Japonaise taste with bamboo, ferns and a crane among wide geometric ribbons, engraved with a crest (out a tower embattled, a demi-greyhound holding a halberd) and the motto “Semper Fidelis”, h. 7‑1/2”, dia. 3”, 7.26 t. oz. [150/300] 785 Victorian Silverplate and Cut-Glass Centerpiece, third quarter 19th century, in the manner of Elkington & Co., in the form a spray of realistically detailed ferns springing from a rocky base and surmounted by a fitted glass bowl with scalloped rim and cut in a star-anddiamond pattern, h. 19‑1/2”, dia. 10”. [1500/2500] Illustrated previous page

787 Victorian Electroplate Tureen, third quarter 19th century, by Smith, Sissons & Co., Sheffield, of bulbous oval form, with annulated rim, a pair of crested and beaded handles with four feet en suite, the fitted, domed lid engraved with floral cartouches and surmounted by an acanthus mounted, beaded ring handle, h. 10‑3/4”, l. 14‑1/4”, w. 9”. [150/300] 788 Victorian Silverplate Salver, fourth quarter 19th century, of serpentine hexagonal form, with applied floral scroll rim, the plateau engraved with a wide band of rococo scrolls, flowers and diapered cartouches, the whole raised on three addorsed acanthus scroll feet, dia. 16‑1/2” [200/400] Illustrated 789 Victorian Silverplate Tripartite Folding Bisuit Box, fourth quarter 19th century, by William Adams, Birmingham, each bowl of coquille form, joined to an "oak branch" frame with spherical finial and opening to reveal a peaked, hinged grille, h. 10", w. 8-3/4" (open 14") [200/400] Illustrated 790 Victorian Silverplate Coffeepot, fourth quarter 19th century, the ovoid body with tall waisted neck and decorated with a wide band of repousse scrolls centering opposing rococo cartouches, with an ivory-insulated crested handle, hinged lid and reeded “gooseneck” spout, h. 12”, dia. 5‑1/4”, l. 10”. [200/400] 791 Pair of Victorian Silverplate Sauceboats and Ladles, third quarter 19th century, the unmarked boats in the Georgian taste, each with gadroon rim, crested handle and three shell-mounted pad feet, h. 4‑1/2”, l. 7‑1/2”, w. 3‑1/2”, the ladles by William Hutton and Sons, Sheffield, in the traditional “Fiddle Thread” pattern, l. 6‑3/4”. [125/250] 792 Unusual Victorian Two-Piece Sterling Silver Carving Set, hallmarked London, 1863‑1866, by John Gilbert & Co., including a carving fork with four tines, l. 9‑1/2” and pointed blade knife, l. 11‑1/2”, engraved with trailing vines and berries, each with filled handle decorated en suite. The specific purpose of this set is not immediately apparent; the sterling blade (which cannot be honed or sharpened) is useless for carving beef or poultry, while the sharp, narrow tines and blade would be equally ineffective for serving fish. Indeed, the pieces in both form and decoration resemble nothing more closely than an oversized fruit or dessert set, probably for peeling and serving large fruit such as pineapple or melon. [250/400] 793 Two 19th Century English “Fiddle”-Pattern Spoons, both London, including a Regency platter spoon, hallmarked 1812‑1813, by Charles Fox, l. 12‑1/8”, and a Victorian egg spoon, hallmarked 1850‑1851, by Robert Wallis, monogrammed W.H.G”, l. 5‑1/8”, 4.82 total t. oz. [100/200]

794 Three Pieces of Victorian Sterling and Silverplate “Fiddle” Pattern Flatware, including a pair of sterling silver teaspoons hallmarked Sheffield, 1874‑1875, by Martin, Hall & Co., monogrammed “EG”, l. 5‑3/4”, 1.8 total t. oz., and a silverplate sauce ladle, fourth quarter 19th century, by William Page & Co., Birmingham, monogrammed “MB”, l. 6‑1/2” [75/125] 795 Set of Six Edwardian Sterling Silver Lobster Picks, hallmarked London, 1905‑1906, by Norman Marshall, with a curved pick at one end and a scoop at the other joined by a central medallion, the medallion engraved with a double crest, one a savage’s head, couped at the breast and charged with a cross crosslet, the other the head of a peacock erased holding a trefoil slipped in it’s beak, l. 8”, 8.87 t. oz. [800/1200]

798 Five-Piece Ellis-Barker Silverplate Fruit Bowl Set, third quarter 20th century, Birmingham, England, including a large footed fruit bowl, h. 9”, dia. 9‑3/4”, and four individual fruit bowls, dia. 5”, all of shallow saucer form with gadrooned rim. [75/125] 799 Pair of Ellis-Barker Silverplate Short Candelabra, third quarter 20th century, Birmingham, each with a short mushroom-knopped standard above a lobed circular foot and surmounted a central inverted bell-shaped nozzle flanked by a pair of scrolling reeded arms, each ending in a nozzle en suite, the nozzles fitted with detachable bobeches, the whole decorated with embossed “vintage” banding, h. 6‑1/2”, w. 11‑1/2”, base dia. 4‑1/2”, together with four later gadrooned glass bowls which fit into the outer nozzles, permitting the the candelabra to be used as small epergnes. En suite with the previous lot. [100/200] 800 Ellis-Barker Silverplate Punch Bowl, second quarter 20th century, Birmingham, in the Regency Taste, the hemispherical bowl spiral gadrooned on the lower half with gadrooned rim and raised on an ogee-domed circular foot, h. 7”, dia. 10”. [300/500] 801 Good Ellis-Barker Silverplate Epergne, third quarter 20th century, Birmingham, with central trumpeting standard above a circular knop and lobed circular foot, the knop fitted with four scrolling reeded arms each ending in a receptacle which can be fitted with either an inverted bell-shaped candle nozzle or a fruit bowl (four of each), the standard fitted with candle nozzle fitted with a large detachable fruit bowl, the bowls engraved with elaborate rococo scrolls, the whole decorated with embossed “vintage” banding, h. 6‑1/2” to 9‑1/2”, w. 17‑3/4” to 20”, accompanied by four later glass bowls which fit into the candle nozzles. [300/500]

804

802 Three Pieces of English Silverplate Tableware, second half 20th century, including an Israel Freeman sauce warmer in the Regency taste, with domed lid and wooden side handle and raised three flat-column legs with lion’s paw feet centering a spirit burner, h. 9”, dia. 4‑3/4”, l. 9‑1/2”, a silverplate mounted “diamond” pattern pressed glass claret jug, h. 11‑1/2”, dia. 4‑3/4”, and wine coaster with pierced gallery and turned wooden base, h. 1‑7/8”, dia. 4‑5/8”. [75/125]

796 Good Edwardian Art Nouveau Sterling Silver Tray, hallmarked Sheffield, 1901‑1902, by William Hutton & Sons, Ltd., of oval form, the raised gallery embossed with a band of “whiplash” berries and leaves, l. 23‑1/2”, w. 18‑3/4”, 120.88 t. oz.. [7000/10000]

803 Contemporary English Sterling Silver Table Box, hallmarked London, 2006, by Penhaligon’s of London, of rectangular form, the lid engraved in a sunburst pattern extending to the sides, w. 8‑1/4”, d. 4”, 31.32 t. oz. [2500/4000]

797 Edwardian Sterling Silver Jewelry Box, hallmarked London, 1905‑1906, by William Comyns & Son, in the form of a small bureau plat, the hinged lid embossed with a large cartouche of a courting couple in a garden, opening to reveal the beige velvet-lined padded interior with seven ring slots, the whole raised on four foliate cabriole legs, h. 5‑1/4”, w. 9‑1/4”, d. 6‑3/4”. [1200/1800]

804 George III-Style Mahogany Chest-on-Chest, late 19th century, the molded and dentillated cornice above two short drawers over three graduated long drawers, all flanked by a fluted, canted pilaster, the lower section fitted with a brushing slide over three graduated long drawers, raised on bracket feet, h. 74”, w. 44”, d. 20‑3/4”. [2000/4000] Illustrated

811

806

805 Victorian Mahogany Apothecary Box, third quarter 19th century, of square form, the interior compartmented and fitted with three stoppered bottles, one labeled “Paregoric”, also with three stoppers, fitted with a lower drawer containing a boxed balance, including two pans and various weights, h. 8”, w. 8‑1/4”, d. 6‑1/2”. [250/400] 806 Georgian Mahogany Tester Bed, 19th century, the molded tester supported by ribbed bulbous uprights with foliate carving, the frame supported on square legs ending in block feet, h. 99”, inside w. 44, l. 73‑1/2”, outside w. 56”, l. 84”. [800/1200] Illustrated

809 Early Victorian Mahogany Chest, mid‑19th century, the rectangular top with molded edge above a conforming case fitted with two short drawers over four long graduated drawers, raised on bracket feet, h. 47‑1/2”, w. 46‑1/2”, d. 19‑3/4”. [1000/1500]

807 George III Mahogany Desk Box, ca. 1800, of rectangular form, the cove-molded top with a central brass handle, opening to a velvet-lined interior, the case with a decorative escutcheon and raised on an ebonized plinth, h. 5‑1/4”, w. 9‑1/2”, d. 5”. [250/400] 808 English Regency Five Glass Banjo Barometer, first quarter 19th century, the five glass case signed by B. Mazzuchi, Gloucester on lower level dial, the mahogany case veneered and inlaid with lightwood and ebony and topped with a swan’s neck pediment, h. 38”, w. 10”. [600/900] Illustrated 810

808

810 George III-Style Mahogany Triple-Top Games Table, mid‑19th century, the demi-lune top hinged and opening to a wooden surface and further opening to an inset leather surface, all with floral modeled edges, above a plain frieze, raised on tapering, circular legs headed by foliate-carving and ending in ball-and-claw feet, h. 30”, w. 32”, d. 16”. [1800/2500] Illustrated

818

811 Colonia Revival Constitution Mirror, first quarter 20th century, in the Georgian taste, mahogany-veneered with a gilt swan’s neck pediment flanking a gilt phoenix, the main body outlined in gilt-leaf molding, with oak leaves and acorns molded on the side drapes, h. 60‑1/2”, w. 26”. [1000/1500] Illustrated

819

812 George III-Style Walnut and Parcel-Gilt Looking Glass, late19th 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”. [700/1000] 813 English Georgian-Style Walnut Looking Glass, second quarter 19th century, topped with a Prince-ofWales feather finial, with candlearms applied to the base, h. 41‑1/2”, w. 22‑1/2”. [500/800] 814 George III-Style Mahogany Cabinet, the shaped rectangular top with guilloche-carved edge, above a conforming case fitted with two doors, each with decorative banding, raised above a floral ogee-molded apron on cabriole legs ending in scrolled toes, h. 39”, w. 38‑1/2”, d. 21”. [700/1000] 815 Suite of Twelve George III-Style Mahogany Dining Chairs, late 19th century, consisting of two arm chairs and ten side chairs, each with a shaped-and-foliate-earred crest above a pierced and interlacing splat, the padded seat raised on cabriole legs headed by foliate scrolls and ending in ball-and-claw feet, h. 38‑1/2”. [3000/5000]

817

816 English Slant-Top Serpentine-Front Knife Box, first quarter 19th century and later, fitted with an oval ivory escutcheon and barber pole-inlaid edges, h. 14”, w. 8‑1/4”, d. 11”. [250/400] 817 George III-Style Mahogany Dining Table, the rounded rectangular top with a reeded edge, raised on three pedestals, each with a bobbin-turned standard to three splayed legs headed by foliate carving and ending in brass paws on casters, h. 29‑1/2”, d. 45”, l. 102”. [2000/4000]

818 Seventy-One Piece Royal Crown Derby Breakfast Service, 1920‑1940, richly decorated in Old Imari pattern 1128, some pieces retailed at tiffany and Co., New York, the set includes twelve 9” lunch/breakfast plates, twelve 4” tea cups and saucers, nine 12” demitasse cups and saucers, 8‑1/2” in diameter covered dish, 5‑1/2” in diameter open waste bowl, 6” tall milk jug, 4‑1/2” tall cream jug, 8” tall coffee pot of pear shape, 7‑1/2” tall teapot and twelve 6” bread and butter plates. [2500/4000]

819 Extensive Colorless Cut-Glass Luncheon and Stemware Service, including a one hundred and twelve piece set of Stuart, England cut-glass, comprised of twenty-four luncheon plates, dia. 8‑3/4”, twenty-one finger bowls, dia. 4‑1/4”, twenty-two champagne saucers, h. 4‑1/2”, sixteen red wine stems, h. 7‑1/4”, seven white wine stems, h. 6‑1/4”, a pair of toasting stems, h. 6”, six sherry stems, h. 5‑1/4”, and fourteen cordials, h. 4”, together with an unmarked set of eight similar white wine stems, h. 6‑1/4”, and four water glasses, h. 6”. [500/800] Illustrated previous page

824

820 A Set of Twenty-One Colorless Pattern Glass Stems in pineapple decor, comprised of ten champagne/sorbet stems and eleven cordials, champagne/sorbet stems h. 5”, dia. 3‑3/4”, cordials h. 4‑1/2”, dia. 3”. [200/400] 822

821 George III-Style Mahogany Etagere, early 20th century, fitted with four rectangular string-inlaid shelves, over a single drawer, raised on square legs ending in casters, h. 44‑1/2”, w. 18‑3/4”, d. 16”. [700/1000] 822 Rare George III Gilt Bronze Hall Lantern, fourth quarter 18th century, of hexagonal form, the gilt paneled sides held aloft by rococo-molded gilt bronze supports forming a gothic crown, the feet and corners molded with cabochons and “C”-scrolls, with the original hand-shaped latch and retaining the original gilt surface, h. 24”, w. 12”. [1800/2500] Illustrated 823 George III-Style Satinwood and Giltwood Side Table, the double-banded demi-lune top with a central half patera inlay, above a conforming giltwood lotuscarved giltwood frieze, raised on tapering bellflowercarved square legs, ending in spade feet, h. 33”, w. 57”, d. 21”. [1400/1800] Illustrated

824 George III-Style Mahogany Sofa, early 20th century, in the Hepplewhite taste, the domed and padded back joined by like arms on reeded bulbous uprights to the padded seat, raised on tapering circular ribbed legs ending in toupie feet, h. 36”, l. 80”, d. 26”. [800/1200] Illustrated 825 Pair of George III-Style Mahogany Master and Lady’s Arm Chair, mid‑19th century, each with a scalloped crest above a slatted urn-form splat, joined to the padded seat by shaped arms, the master’s chair wider, raised on square legs joined by a “H”-form stretcher, h. 3.5”. [600/900] 823

826 Impressive Musical Irish Regency Bracket Clock first quarter 19th century, the gothicarched-case, in a style inspired by Horace Walpole’s, Strawberry Hill, is brass-inlaid and crowed with four obelisks mounted with brass finials in the shape of pineapples, while a larger pineapple finial adorns the central gothic arch, the corners of the case adorned with brass Egyptian Revival themes, ebonyinlaid with hieroglyphic ornament, painted sheet-iron dial, with a silent/strike setting and slow/ fast setting, containing a musical setting with, Bluebells of Scotland, Over the Water to Charley, Scots Come Over the Border, Highland Laddie, Meeting of the Waters, I’ll Gang No Mort to Yon Towne, and Rule Britannia, the case sides are fitted with period brass-ring pulls decorated with torches and flowers, h. 32”, w. 17”, d. 10”. [2500/4000] Illustrated

826

826 detail

827 George III Mahogany Bedside Commode, fourth quarter 18th century, the rounded rectangular top with a three-quarter gallery, above a conforming case fitted with a single cupboard over a drawer fitted with a lifttop cupboard, raised on square legs, h. 30‑1/2”, w. 21”, d. 17‑1/4”. [250/400] 828 Pair of George III Mahogany Side Chairs, fourth quarter 18th century, each with a double-domed crest and back-scrolled, ribbed ears, above an elaborately pierced and interlacing splat, the padded slip-in seats raised on paneled tapering square legs joined by a pierced H-form stretcher and ending in turned block feet, Provenance: ex-collection Mistletoe, Natchez Mississippi h. 37‑1/2”. [1400/1800] Illustrated

828

826 detail

829 George III-Style Mahogany Dumbwaiter, mid‑19th century, with three graduated tiers, all circular with dished edge, supported by turned and spiral-reeded supports, raised on an urn-form standard to three splayed cabriole legs headed by foliate-carving and ending in ball-and-claw feet, h. 44‑1/2”, dia. 23‑1/2”. [400/700] 830 George III Anglo-Irish Mahogany Center Table, fourth quarter 18th century, the banded rectangular top with a string inlay of interlacing geometric patterns, above a plain frieze, raised on cabriole legs headed by bellflower carving and ending in pad feet, h. 30‑1/2”, w. 54”, d. 28‑1/2”. [1000/1500] Illustrated 831 Pair of George III-Style Mahogany Pedestal Tables, 19th century, each with a dished shaped square top above a turned and bulbous standard to three splayed cabriole legs headed by foliate carving and ending in ball-and-claw feet, h. 34‑1/2”, w. 9”, d. 9”. [600/900] 832 George III Mahogany Chest-on-Chest, fourth quarter 18th century, the molded cornice above a case fitted with two short drawers over three long graduated drawers, the lower section fitted with three long graduated drawers, raised on tall shaped bracket feet, Provenance: Herbert Schiffer Antiques, West Chester PA h. 72‑1/2”, w. 41”, d. 19‑3/4”. [2500/4000] Illustrated 832

833 George III Mahogany Bedside Commode, fourth quarter 19th century, the rectangular top with a three quarter gallery above an open shelf, the lower commode now converted to a pull-out shelf, raised on square legs, h. 30”, w. 21‑1/2”, d. 19‑1/2”. [125/250] 834 Hepplewhite Mahogany Side Chair, first quarter 19th century, the arched back rail above a central pierced and carved splat depicting a classical urn and flanked by drapery swags, raised on square tapered legs, h. 36”, w. 21”, d. 18”. [250/400]

830

835 835 Good George III-Style Mahogany Camelback Sofa, faithfully reproduced and bearing the label of “Southwood Furniture, Hickory, North Carolina”, the arched back and outscrolled arms joined to a serpentine seat frame with reversible cushion, having four Marlborough legs across the front and joined by stretchers, h. 38”, d. 33”, l. 80”. [500/800] Illustrated

835A 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”. [200/400] 836 English Black Transfer-Printed Creamware Coffeepot, third quarter 18th century, probably Leeds, with entwined double-handle and floral terminals, h. 11”, w. 9”. [125/250] 837 Brass and Leather Sleigh Bells, in the 19th century style, mounted on a large brass ring, each bell graduating from largest at the top, largest l. 27‑1/2”. [100/200]

839

838

839 George III Mahogany Bureau, late18th/early 19th century, in the Chinese Chippendale taste, the slant front opening to a variety of drawers and cubbyholes flanking a central paneled cupboard, over four graduated long drawers, all surrounded by blind-fret carving, raised on like-carved bracket feet, h. 41”, w. 36”, d. 20”. [2000/4000] Illustrated 840 Frank Lewis Emanuel (British, 1866‑1948) “Edinboro Castle”, graphite on paper, signed and dated lower left “E. L. Emanuel, Edinboto, 1935”, sheet size 13‑3/4” x 8‑1/4”. Glazed, matted and framed. [200/400]

838 Good George III Mahogany Birdcage Tilt-Top Tea Table, third quarter 18th century, the circular dished top mounted to the birdcage apparatus and supported by a turned-and-stop-fluted standard, and having a tripodal base with acanthine-carved knees and ending in ball and claw feet, h. 27‑1/2”, dia. 27‑1/2”. [1200/1800] Illustrated

841 After Thomas Chippendale (British, 1718‑1779) “Chinese Chairs”, “Library Bookcase” and “Three Chairs”, suite of three copperplate engraving from The Gentleman’s and Cabinet-Maker’s Director, sight 9‑1/2” x 14”. All glazed, attractively matted and framed en suite. [300/500] 842 George III-Style Mahogany Gainsborough Chair, 19th century, the padded,domed and tufted back joined to the like-seat by padded fret-carved arms, raised on fret-carved square legs joined by an open-work H-form stretcher, h. 41‑1/2”. [700/1000]

843

845 Scottish George III Brass-Mounted Mahogany Tallcase Clock, ca. 1800, the face with the plate “Matt Wylie Paisley 282”, with hour, second and date dials, the face flanked by fluted columns with brass capital and base, the cornice with a broken-arch pediment, the waist with canted corners with reeded pilasters, on bracket feet, h. 68‑1/2”, w. 18”, d. 9‑1/2”. [1500/2500] Illustrated 846 George III-Style Mahogany Hanging Corner Cabinet, ca 1900, the canted and molded cornice with an inlaid dentillated crown above a stringinlaid frieze, above a conforming case fitted with a single astragal-glazed door flanked to either side by string-inlaid panels, on a molded base, h. 42”, w. 27”, d. 16‑1/2”. [1000/1500] Illustrated

843 detail

847 Continental School (Fourth Quarter 19th Century) “Still Life with a Lidded Dish and Carrots”, oil on canvas, signed lower right “A. Marial”, 12” x 15”. Framed. [500/800] 848 Circle of Gerrit Dou (Dutch, 1613‑1675) “Woman in a Niche, Watering a Flower Pot”, oil on panel, unsigned, 14” x 11”. Presented in a contemporary giltwood frame. [600/900] Illustrated

843 Handsome Rococo-Style Mahogany Settee, possibly Portugese, third quarter 18th century, the triple splat back with domed crests above pierced and interlacing splats, with unusual lattice-pierced dividers, joined by padded shepherd’s crook arms to the padded seat, raised above a shaped and pierced shell-carved apron on cabriole legs ending in pad feet, h. 44”, d. 20‑1/2”, l. 67”. [5000/8000] Illustrated 844 George III-Style Mahogany Hanging Shelf, in the Chippendale gothic taste, fitted with three graduated shelves, all with a bowed center section and pierced arched gallery, joined by pierced and carved sides in gothic patterns, h. 38”, w. 31‑1/2”, d. 10”. [300/500]

100

849 French School (Late 18th Century) “Young Lovers Holding a Basket of Grapes, Sitting Beside a Monkey and Two Parrots”, oil on canvas, 16” x 12‑3/4”. Presented in an antique giltwood exhibition frame. Provenance: The estate of Foy C. Casper, Jr. (1939‑2002), Essex, England and Norfolk, Virginia. [1000/1500] Illustrated 850 Suite of Eight Hepplewhite Mahogany Dining Armchairs, six first quarter 19th century, with two early 20th century additions, each with a domed back above a modified wheat-sheaf splat, the padded seat raised on chamfered tapering square legs joined by an H-form stretcher, h. 36”. [1400/1800]

845

851 George III Mahogany Linen Press, fourth quarter 18th century, the molded 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 graduated drawers, raised on shaped bracket feet, h. 84”, w. 48‑1/2”, d. 20‑1/2”. [1500/2500] 852 George III Mahogany Chest, fourth quarter 18th century, the rectangular top with a molded edge above a case fitted with two short drawers over three long graduated drawers, raised on bracket feet, h. 37”, w. 37‑1/2”, d. 20‑1/2”. [1500/2500] Illustrated

849

848

846

853 George III-Style Mahogany Tripod Table, third quarter 19th century, the tilting circular top with a piecrust edge, raised on a turned columnar standard to three splayed legs ending in pad feet, h. 29”, dia. 23”. [1000/1500] 852

101

856 Pair of Gilt-Bronze and Etched Glass Hall Lanterns, early 20th century, each with an open-domed top with four foliate finial accents, the body centered by a four-light suspended socket and encased in etched glass panels with a foliate urn pendant, h. 35”, dia. 19”. [1200/1800] Illustrated 857 George II Walnut-Veneer and Parcel-Gilt Looking Glass, third quarter 18th century, retaining the beveled mercury mirror plate, the pedimented-crest ornamented with a gilt mask set on a shell in the baroque taste, the swan’s neck pediment and draped side ornaments are lined with gilt egg-and-dart molding, h. 51”, w. 27”. [2500/4000] Illustrated

857

861

854 George III-Style Mahogany Arm Chair, late 19th century, the shaped and earred crest above the pierced and interlacing foliate-carved splat, joined by slender scrolling arms to the padded seat, raised on chamfered legs joined by an H-form stretcher, h. 38‑1/2”. [250/400]

856 pair

102

855 Hepplewhite Mahogany-andString-Inlaid BowFronted Hanging Corner Cabinet, early 19th century, the top with a molded cornice above an inlaid frieze with a central urn with flowers, above a pair of long doors with brass “H” hinges, h. 44‑1/2”, w. 28”, d. 18”. [600/900]

858 George III Mahogany Side Table, fourth quarter 18th century, the rounded, rectangular top with molded edge above a plain frieze fitted with a single drawer, raised on square legs headed by a fret-carved corner bracket and ending in block feet, A nearly identical table with similar corner brackets is illustrated in Thomas Chippendale’s Director, plate LVI. Provenance, Herbert Schiffer Antiques, West Chester County PA h. 31”, w. 60‑1/2”, d. 25‑1/2”. [2000/4000] 859 Hepplewhite Mahogany Swing-Leg Drop-Leaf Dining Table, first quarter 19th century, having a single-board top and leaves supported by square tapering legs, h. 29”, d. 49‑1/2”, ext. l. 51‑1/2”. [400/700]

860 Pair of George III Mahogany Side Chairs, fourth quarter 18th century, each with a domed-and-foliatecarved crest above three like-shaped horizontal splats, all pierced and with foliate carving, the padded seat raised on chamfered square legs joined by an H-form stretcher, h. 38”. [500/800] 861 Eugene Petit (French, 1839‑1886) “Bouquet of Flowers in a Vase”, oil on canvas laid down on panel, signed lower right “E. Petit”, 26‑3/4” x 19‑1/2”. Presented in a late 19th-century giltwood frame. [1400/1800] Illustrated 862 Henry George Todd (British, 1846‑1898) “Still Life with Grapes, Peaches and Plums” and “Still Life with Grapes, Peaches, Plums and a Strawberry”, pair of oils on canvas, the former signed and dated lower right “HG Todd 1895” and with canvas stamp on the reverse “J. Tibbenham”, the other example signed and dated lower right “HG Todd 1894”, 12” x 10”. Presented in matching period giltwood frames. [900/1200] 863 William Hough (British, 1819‑1897) “Still Life with Grapes and a Peach”, watercolor on paper, signed lower left “W. Hough”, sight 6” x 8”. Glazed, matted and framed. [400/700]

867 868 869

866

870

869 Unsigned Carriage Clock, fourth quarter 19th century, probably French, with a platform escapement and an enamel dial, h. 6”, w. 3”, d. 2‑1/2”. [200/400] Illustrated

864 George III-Style Mahogany Pembroke Table, 19th century, the rectangular top with a two like-leaves, above a frieze fitted with a single drawer, raised on chamfered square legs, h. 28”, w. 33‑1/2”, d. 18‑1/2”, ext. l. 37”. [600/900]

870 Leroy et Fils Carriage Clock, fourth quarter 19th century, retailed by Tiffany and Company, base stamped, “Leroy and Fils, Paris, Tiffany and Co.”, the clock retains fire-gilt surface and has an enameled dial and platform escapement, h. 2‑1/2”, w. 1‑1/2”, d. 1‑1/4”. [300/500] Illustrated

865 Waterbury Carriage Clock first quarter 20th century, marked, “Manufactured by Waterbury Clock Co., USA”, on enameled dial, works marked, “Waterbury Clock Co., USA”, h. 5‑1/4”, w. 3”, d. 2”. [200/400]

871 Unsigned French Carriage Clock, first quarter 20th century, the enamel dial is signed, France, the clock with a platform escapement, h. 4‑3/4”, w. 3”, d. 2‑1/4”. [200/400]

866 French Brass and Enamel Bedside Clock, first quarter 20th century, works are stamped, France, brass case has an enamel dial and beveled glass, h.4”, w. 3‑1/4”. d. 2‑1/2”. [200/400] Illustrated

872 Waterbury Carriage Clock, fourth quarter 20th century, patented December 23, 1890 to January 13, 1891, and signed, “Waterbury Clock Co., USA” on works, h. 5‑3/4”, w. 3”, d. 2‑1/2”. [200/400]

867 Nickel-Plated Brass Carriage Clock, fourth quarter 19th century, with a moon phase dial, alarm and date on an enamel dial, case is molded with Corinthian pilasters on all corners, h. 5‑3/4”, w. 4”, d. 3‑1/2”. [800/1200] Illustrated

873 American Hepplewhite Mahogany-and-String-Inlaid Arm Chair, first quarter 19th century, the arched back with a central pierced and carved splat flanked by slender fan-carved spindles, having turned baluster-form arm supports and raised on square tapered legs with stringinlaid borders, h. 36‑1/2”, w. 22”, d. 19”. [300/500]

868 Waterbury Rococo Revival Carriage Clock, fourth quarter 19th century, clock is stamped, “Waterbury Clock Co.” on rear and several patent dates: May 6, 1890, November 11, 1890, December 23, 1890 and January 13, 1891, the case has a rococo-molded handle and applied rococo ornament on the corners, cornice and base, sitting on scroll feet, h. 5‑1/4”, w. 3‑1/2”, d. 3”. [200/400] Illustrated

874 George III-Style Mahogany Pembroke Table, mid‑19th century, the rectangular top with two drop leaves above a frieze fitted with one end drawer and one faux drawer raised on square tapering legs, h. 28”, w. 18‑1/2”, ext. 31”, d. 29”. [300/500]

103

878 Adams-Style Urn-Form Knife Boxes, fourth quarter 19th century, attributed to Potthast, Baltimore, Maryland, mahoganyveneered-and-inlaid, the tops with acorn finials, raised on a ratcheted standards to reveal the interior, h. 26”, dia. 10”. [700/1000] Illustrated 879 George III Mahogany Drop-Leaf Table, early 19th century, the rectangular top with two drop-leaves, raised on tapering square legs, h. 28‑1/2”, w. 42”, d. 20”, ext. l. 56”. [250/400]

877

877 detail

880 George III Mahogany Chest, early 19th century, the rectangular top with molded edge above a case fitted with three long graduated drawers, raised on shaped bracket feet, h. 31‑1/2”, w. 38”, d. 19‑1/2”. [600/900] 881 Manner of Abraham Brueghel (Flemish, 1631‑1690) “Still Life with Grapes, Melon and Pomegranates on a Stone Ledge in a Landscape”, oil on canvas, unsigned, retains remnants of an old paper label, stenciled letters on stretcher “4SEY”, 26” x 20”. Presented in a handsome giltwood frame. [1200/1800] Illustrated

878

875 George III Oak Slant-Lid Writing Desk, fourth quarter 18th century and later, the slant-lid opening to a fitted interior, the case with four graduated long drawers and brass batwing pulls, the feet lacking, h. 35‑1/2”, w. 37”, d. 21”. [400/700] 876 George III Mahogany Game Table, ca 1800, the bowed top with earred corners and rosewood banding, hinged and opening to a baize-lined interior, tapering square legs ending in ringed feet, h. 29”, w. 35”, d. 17‑1/2”. [800/1200] 877 Suite of Eight George III Style Mahogany Dining Chairs, consisting of two armchairs and six side chairs, each with a shaped crest above a pierced and interlacing splat, the padded seat raised on square legs joined by an H-form stretcher, h. 38”. [2000/4000] Illustrated

104

882 Two Meissen Blue and White Porcelain Platters, first quarter 20th century, one in “Onion” decor, of oval-form, marked on the underside with the underglaze blue crossed swords of Meissen, w. 13”, l. 18”, the other C. Teichert (active 1882-ca. 1930) a poultry platter in “Onion” decor, of oval-form, marked with the starred Teichert ellipse centered with the word “Meissen”, w. 11‑1/2”, l. 17”. [400/700] 883 George III Mahogany Armchair, first quarter 19th century, the shaped crest above three like-shaped ladderback splats, joined to the padded seat by outscrolled arms, raised on square legs joined by an H-form stretcher, h. 37”, w. 24‑1/2”, d. 23‑1/2”. [300/500]

881 887 George III-Style Giltwood and Mahogany Looking Glass, ca. 1900, in the Rococo taste, of tripartite form and fitted with beveled mirror plates, the scalloped crest centered by a giltwood phoenix, h. 34”, w. 47‑1/2”. [150/300] 888 George II-Style Mahogany Stool, late 19th century, the padded rectangular top raised on cabriole legs headed by shell carving and ending in pad feet, h. 19‑1/2”, w. 23‑1/2”, d. 17”. [250/400]

885 884 Pair of George III-Style Mahogany Chests, mid‑20th century, each with a stepped rectangular banded top above a conforming case fitted with three long drawers, raised on bracket feet, h. 36”, w. 43”, d. 22‑1/2”. [1000/1500] 885 George III Mahogany Chest-on-Chest, fourth quarter 18th century, the molded cornice above a case fitted with two short drawers over three long graduated drawers, all flanked by canted uprights, the lower section fitted with three long graduated drawers, raised on shaped bracket feet, h. 74‑1/4”, w. 44”, d. 23”. [2500/4000] Illustrated 886 Edwardian Burled Walnut Tripartite Looking Glass in the Queen Anne Taste, ca. 1900, with a scalloped crests over shaped and segmented mirror plates, the lower edge also scalloped, h. 27”, w. 30”. [150/300]

894

105

905

896 Queen Anne-Style Mahogany Drop-Leaf Table, ca 1900, the rectangular top with two like-leaves with shaped corners, raised on tapering circular legs ending in pad feet, h. 29‑1/2”, w. 38”, ext. l. 41‑1/2”, d. 15‑1/2”. [700/1000]

903

906

904

889 Two English Coalport Porcelain Cup and Saucer Sets in the Imari-Taste, first quarter 19th century, h. 2‑5/8”, cup, dia. 6‑3/8”, saucer. [100/200] 890 Good Pair of Derby Porcelain Grilled Meats Platters, first quarter 19th century, in the “Japan” pattern, of oval form, each example marked in iron-red on the reverse with the Derby crowned batons and script “D”, w. 10”, l. 13‑1/2”. [300/500] 891 English Royal Crown Derby Platter, c. 1877‑1890, decorated in the Imari taste and marked with the underglaze blue mark for the period, d. 11”, l. 13”. [200/400] 892 Queen Anne-Style Walnut Gainsborough Armchair, 19th century, the padded rounded rectangular back joined by outscrolled arms to the padded seat, raised on cabriole legs ending in pad feet, upholstered in black leather, h. 41”. [300/500]

897 Good Set of Eight John Ridgeway & Co., Shelton, Hanley, Ironstone Dinner Plates, 1830‑1855, elaborately enameled in the “Imari” taste, each marked on the reverse with a green royal coat-of-arms mark over “J.R.” in a ribbon and “John Allsup/16 St. Paul’s Church Yard/London”, dia. 10”. [125/250]

898 Set of Ten Ridgway Dinner Plates, 1830‑1841, comprised of nine dinner plates in an Imari-style pattern, dia. 10”, together with one plate in a similar pattern, dia. 9‑1/2”, marked by “John, Rose and Company, Shropshire”. [200/400] 899 Suite of Two George III-Style Mahogany Child’s Chairs, in the Chippendale taste, one a highchair, the other a small arm chair, each with a foliate-carved and earred crest above a like-carved pierced splat, joined by scrolling arms to the padded seat, raised on cabriole legs headed by acanthine-carving and ending in ball-and-claw feet, h. 26” to 37”. [600/900] 900 George III Walnut Tea Caddy, fourth quarter 18th century, of rectangular-form, the lid opening to a single compartment, the case with inlaid satinwood stringing and an ivory diamond for escutcheon, h. 4‑1/2”, w. 4‑3/4”, d. 3‑3/4”. [150/300]

893 Queen Anne-Style Mahogany Tripod Table, mid‑19th century, the tilting circular top raised on a baluster-form standard to three splayed cabriole legs ending in pad feet, h. 28‑1/2”, dia. 29”. [300/500] 894 George III Mahogany Tea Table, fourth quarter 19th century, the rectangular top with shaped corners and a dished edge, above a frieze fitted with a single long drawer, raised on cabriole legs ending in pad feet, h. 29”, w. 31”, d. 20”. [700/1000] Illustrated previous page 895 George III Walnut Chest, fourth quarter 18th century and later, the rectangular top banded and quarterveneered above a conforming case fitted with two short drawers over two long graduated drawers, all banded, raised on shaped bracket feet, h. 33”, w. 35”, d. 20”. [1000/1500] Illustrated 895

106

901 Regency Rosewood Tea Caddy, first quarter 19th century, of sarcophagus-form, the paneled lid opening to two lidded compartments with ivory handles, the tapering rectangular case raised on brass feet, h. 6”, w. 7”, d. 4‑1/4”. [250/400]

907 George III Mahogany Tea Caddy, fourth quarter 18th century, of rectangular-form, opening to two lidded compartments, the front with a bat-wing-form escutcheon, h. 4”, w. 6”, d. 3‑3/4”. [150/300] 908 George III Mahogany Tea Caddy, fourth quarter 18th century, of rectangular-form, opening to two lidded paktong-lined compartments, the front with a circular brass escutcheon, raised on brass bun feet, h. 4‑1/4”, w. 7‑3/4”, d. 4‑1/2”. [100/200] 909 George III Mahogany Tea Caddy, fourth quarter 18th century, of rectangular-form, the lid opening to two lidded paktong-lined compartments, the front inlaid with diamond bone escutcheon, h. 5”, w. 8‑1/4”, d. 4‑1/2”. [150/300] 910 Kazak Carpet, 4’6” x 6’11”. [200/400] 911 Peshawar Sultanabad Carpet,8’2” x 9’11”. [3000/5000] Illustrated 912 Peshawar Sultanabad Carpet, 10’ x 13’6”. [4500/7000] 913 Peshawar Zeiglar Mahal Carpet, 4’2” x 16’3”. [1200/1800]

911 902 George III Mahogany Tea Caddy, fourth quarter 18th century, of rectangular-form, the lid centered by a handle and opening to a now void interior, h. 6”, w. 12”, d. 6”. [200/400]

914 Persian Sultanabad Carpet,9’ x 11’8”. [4000/7000]

915 Empire-Style Hand-Woven Aubusson Carpet, 10’ x 14’. [4000/7000] Illustrated

903 Pair of Mounted Sea Urchins in the Edwardian Taste, each surmounted by a turned spire and with a molded circular base, h. 7‑1/2”. [200/400] Illustrated 904 George III Mahogany and Oak Tea Caddy, fourth quarter 18th century, of rectangular-form, the steppedlid centered by a brass handle and with satinwood banding, opening to three lidded compartments and a back implement tray, the front with a brass bat’s wing escutcheon, raised on bracket feet, h. 6”, w. 9‑1/2’, d. 5‑1/4”. [300/500] Illustrated

916 Semi-Antique Caucasin Kurd Carpet, 3’1” x 4’3”. [400/700] 917 Turkish Angora Oushak Carpet, 8'1" x 10"3". [1400/1800]

905 George III Mahogany Tea Caddy, fourth quarter 18th century, of rectangular-form, the top with central brass handle and molded edge, opening to an interior fitted with three lidded compartments, the front with a brass bat’s wing escutcheon, h. 5‑1/4”, w. 9‑1/4”, d. 5”. [200/400] Illustrated 906 Good George III Mahogany Tea Caddy, fourth quarter 18th century, of rectangular-form, the lid centered by an oval urn-inlaid panel and opening to a single compartment, the front with an inlaid oval shell panel, h. 4‑1/4”, w. 4‑3/4”, d. 3‑3/4”. [250/400] Illustrated

918 Semi-Antique Karaja Carpet, 3’ x 4’4”. [200/400] 915

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921 Persian Heriz Carpet, 6’9” x 9’6”. [1400/1800] 922 Angora Oushak Carpet, 10’ x 14’3”. [7000/10000] Illustrated 923 Angora Oushak Carpet, 4’9” x 6’6”. [1500/2500] 924 Oushak Carpet, 12’ x 16’. [5000/8000] 925 Turkish Angora Oushak Carpet, 8’10” x 11’. [1800/2500] 926 Agra Sultanabad Carpet, 8’1” x 9’10”. [1200/1800]

920 919 Agra Sultanabad Carpet, 8’10” x 11’8”. [1500/2500] 920 Verdure Hand-Woven Wool/Silk Tapestry, 6’8” x 7’9”. [3000/5000] Illustrated

928 927 Bijar Runner, 2’7” x 17’6”. [700/1000] 928 Oushak Carpet, 12’ x 16’. [5000/8000] Illustrated 929 Semi-Antique Kazak Runner, 3’6” x 11’4”. [400/700] 930 Semi-Antique Tabriz Carpet, 3’10” x 5’2”. [300/500] 931 Angora Oushak Carpet, 9’1” x 10’3”. [5000/8000] Illustrated

922

108

932 Edwardian Satinwood Cabinet, ca 1900, the shaped and bowed top with turreted corners and doublebanding, one band with polychrome floral accents, above a conforming case fitted with a single cupboard door centered by a figural medallion surmounted by floral garlands, flanked by rounded pilasters to either side, the shaped sides with floral sprays, raised on turned tapering circular legs ending in bulb feet, h. 36”, w. 33”, d. 17”. [2000/4000] Illustrated 933 Adam-Style Satinwood Demi Lune Cabinet, the faninlaid and banded demi-lune top above a conforming case fitted with four doors, all banded and with a central ovalpatera-inlay, raised on tapering square legs, h. 35”, w. 52”, d. 24”. [1400/1800] Illustrated 933

934

934 Group of Two Victorian Tortoiseshell Card Cases, fourth quarter 19th century, each with banding centering an inlaid mother-of-pearl floral spray, to each side, h. 3‑3/4” to 4‑1/4”, w. 2‑3/4” to 3”. [400/700] Illustrated 935 Group of Four Continental Tortoiseshell Tour Souvenirs, mid-late 19th century, consisting of three mandolins and a guitar, all with ivory and mother-of-pearl inlaid accents, l, 5‑1/4” to 7‑1/4”. [600/900]

932

936 Three-Piece Group of Tortoiseshell and Shell Accessories, consisting of a cigarette holder, l. 4”, a shell coin purse, h. 2”, w. 2”, and a mirrored compact, h. 3”, w. 2‑1/2”. [200/400]

931

937 Two-Piece Edwardian Tortoiseshell Dresser Set, ca 1900, consisting of a hairbrush and clothes brush, each with an inlaid elaborate gilt-monogram, l. 5” to 7‑3/4”. [200/400]

109

938 Group of Two Georgian Horn and Tortoiseshell Snuff Boxes, fourth quarter 18th century, one of rectangularform, h. 1”, w. 3‑1/4”, d. 1‑1/4”, the other of cushionoval-form, h. 1/2”, w. 2‑1/2”, d. 1‑3/4”, together with an Edwardian partially patinated match safe, ca 1890, in the Egyptian Revivalist taste, featuring lizard figures paying homage to Egyptian-garbed figures, h. 2”, w. 1‑1/2”. [400/700] 939 Edwardian Mahogany Pedestal Desk, ca. 1900, the rectangular top with inset leather writing surface, above a conforming frieze fitted with three drawers, raised on two pedestals, each fitted with three short graduated drawers, all drawer fronts with inlaid marquetry floral garlands, raised on bracket feet, h. 28”, w. 51”, d. 26‑1/2”. [600/900] 940 Edwardian Mahogany Pole Screen, ca 1900, in the Georgian taste, the adjustable oval panel with an embroidered floral panel within a beaded frame, raised on an annulated and foliate-carved standard to three splayed cabriole legs headed by foliate carving and ending in paw feet, h. 57”, w. 15”. [800/1200]

946 Victorian Ink and Watercolor Greeting Card and Illustration, double-sided, one side depicting a girl standing on a bridge, inscribed lower right “Black Cat 1888”, reverse inscribed with an ode to friendship surrounded by flower sprigs, sight 3‑1/8” x 4‑1/4”. Glazed, attractively French matted and presented in an ebonized contemporary frame. [100/200] 947 After Thomas Cantrell Dugdale (British, 1880‑1952) “Posies”, oil on canvas, signed lower right “T. C. Dogdale”, 39” x 27‑1/2”. Presented in a giltwood and gesso frame. [600/900]

953

941 George III-Style Mahogany Pedestal Desk, ca 1900, the rectangular top with reeded edge above a frieze fitted with three drawers, raised on pedestals, each fitted with a single paneled cupboard door raised on shaped bracket feet, h. 30”, w. 59‑1/2”, d. 21‑1/2”. [600/900] 942 Victorian Mahogany Dressing Mirror, third quarter 19th century, the beveled rectangular plate within a molded frame with corner medallion accents, raised on shaped supports, the base fitted with a central long drawer flanked to either side by a deep small drawer, raised on ball feet, h. 34”, w. 27‑1/4”, d. 8‑1/4”. [100/200] 943 Edwardian Two-Piece Tortoiseshell and Sterling Silver Mounted Dressing Set, 1919‑1920, consisting of a hairbrush and a clothes brush, the sterling mounts hallmarked London, 1919‑1920 by Collett and Anderson, l. 10”, hairbrush, l. 6‑1/2”, clothes brush. [200/400] 944 Group of Two Victorian Tortoiseshell Notepads, third quarter 19th century, one example with an elaborate fleur-de-lis pique design opening to an ivory notecard and mechanical pencil, with two spring action card holders, h. 4”, w. 2‑1/2”, the other fitted with an ivory note card and two spring action card holders, h. 3‑3/4”, w. 2‑1/2”. [300/500] 945 Victorian Marquetry Inlaid Mahogany and BurledWalnut Davenport, third quarter 19th century, the top with a recessed bin with a lift top with brass gallery, opening to reveal an interior with niches, fronted by a slant lid with inset leather top, the lid opening to reveal a maple well backed by a band of drawers, on a base fitted with a side bank of drawers fronted by turned columns on bun feet, h. 32‑1/4”, w. 21”, d. 20”. [300/500]

110

948 Victorian Cast-Iron and Onyx Conservatory Table, third quarter 19th century, the circular onyx top above a pierced foliate-patterned frieze, raised on three shaped supports joined by ring stretchers and ending in a tripartite base centered by a polychrome floral spray, h. 30”, dia. 18‑1/2”. [450/700] 949 Pair of Victorian-Style Polychrome Iron Portico Lanterns, early 20th century, each consisting of a scrolling foliate designed wall-mounted bracket an two pendant hexagonal lantern with a central socket and applied foliate patterns and gilt ball pendant, l. 38”, w. 14‑1/2”, d. 11”. [700/1000]

950 Edwardian Iron and Marble-Top Side Table, early 20th century, the demilune Portor marble top above a conforming scrolling frieze, raised on tapering doubled legs joined by a stretcher centered by a floral spray, ending in up-scrolled toes, h. 30”, w. 31”, d. 12”. [300/500]

970

951 After Fanny Corbaux (British 1812‑1883) “Flowers of Loveliness”, pair of hand-carved engravings, titled on reverse label, sight 8‑3/4” x 9‑1/2”. Both glazed, matted and presented in Rococo-style giltwood and gesso frames. [300/500] 952 Near Pair of Victorian “Decal-o-mania” Pots-auCheminee, third quarter 19th century, made from earlier French apothecary jars, each lined on the interior with printed cloth swatches of rural seaside scenes and backed with whitewash, h. 11‑1/4” and 12‑1/4”. [50/80] 953 William IV-Style Oak Library Ladder, mid‑20th century, fitted with five rungs flanked to either side by a hand rail, raised on square legs joined by a box stretcher, the back legs raised on casters, h. 87”, w. 40‑1/2”, d. 21”. [700/1000] Illustrated 954 Spode “Woodland” Partial Dinner Service, date mark for 2000, decorated with brown transfer floral borders, the bowl decorate with deer, the other pieces with various game birds, the set consists of eighteen 10‑1/2” dinner plates, twelve 7‑3/4” salad/dessert plates, a 9” square open vegetable bowl, an 11‑3/4” low open bowl, and a 15” x 11‑3/4” platter. [800/1200] 955 Mahogany Floor Lamp, the standard in the form of a spiral staircase with banister, fitted with a custom embossed shade, h. 69‑1/2”. [2000/4000] 960

957 Edwardian Inlaid Neoclassical Style Serving Tray, first quarter 20th century, inlaid with a green stained patera, and fitted with a nickel-plated gallery and handles, h. 2”, w. 27‑1/2”, d. 13”. [150/300] 958 Satinwood and Fruitwood Work Box, early 20th century, of square form, the banded top with a beveled mirrored interior and drop front, fitted with a compartmented shelf with a variety of manicure implements, over two drawers, raised on square legs, ending in splayed feet, h. 32”, w. 10‑1/2”, d. 10”. [300/500] 959 Graduated Set of Two Victorian Mother-of-Pearl and Abalone Trinket Boxes, fourth quarter 19th century, each of hexagonal-form, with an inlaid star-pattern on the lid, opening to a fabric-lined interior, the sides of one diamond-quilted, the other paneled, h. 3”, dia. 6‑1/2”, larger, h. 2‑1/2”, dia. 6”, smaller. [300/500] 960 Group of Three Victorian Tortoiseshell and Motherof-Pearl Objects, third quarter 19th century, consisting of a small brush with abalone accents, l. 7‑1/2”, a card case with a diamond-patterned mother-of-pearl and abalone border, h. 4”, w. 2‑3/4”, and a card case centered by a silver heraldic device and opening to accordian card storage, h. 4‑1/4”, w. 3”. [400/700] Illustrated 961 Group of Two Victorian Mother-of-Pearl Dresser Boxes, late 19th century, one of canted-rectangular-form, the lid with two abalone-inlaid stars, opening to a tufted interior, h. 32‑1/2”, w. 10‑1/2”, d. 3‑1/2”, the other also of canted-rectangular-form, the lid with a single star inlay, h. 3”, w. 5‑1/2”, d. 3‑3/4”. [300/500]

956 English Oak and Walnut Floor Lamp, early 20th century, the two sockets raised on a turned and bulbous standard to a dished octagonal table surface, raised on a barley-twist support to a rounded concave square base on squat bun feet, h. 62”. [200/400]

962 Group of Three Mother-of-Pearl Boxes, fourth quarter 19th century, one of square-form, the lid centered by an abalone star, the interior fabric-lined, raised on gilt feet, h. 2”, w. 3‑1/4”. d. 2‑1/2”, the second of domed-trunkform, with diamond-quilted-inlays, raised on ivory bun feet, h. 3”, w. 5‑1/4”, d. 2”, together with an Art Deco-style mother-of-pearl and ebonized music box, ca 1950, of canted-rectangular-form and playing “Swan Lake”, h. 3”, w. 6‑1/4”, d. 4”. [300/500]

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968 Two Cast-Iron Painted Door-Stops, first quarter 20th century, in the form of Boston terriers, h. 10”, d. 5”, l. 8”. [300/500] 969 Group of Three Painted Cast-Iron Figures, consisting of a bull terrier, h. 7‑3/4”, together with a smaller bull terrier, h. 3”, and a painted lead scottie, h. 2”. [200/400] 970 Pair of Large Molded Terracotta Bulldogs, glazed in mottled brown and tan, standing with their tails in a wagging position, h. 22”, w. 5”, l. 22”. [900/1200] Illustrated 971 Diminutive Pair of Cold-Painted Cast-Metal Fox Terriers, presented on a mahogany plinth, h. 2”, w. 2”, l. 4”. [100/200] 973

963 Three-Piece Group of Victorian Mother-of-Pearl Items, two card cases, fourth quarter 19th century, the first example with quilted-diamond-patterning, each panel with incised designs, h. 4”, w. 3”, the second example, also with quilted-diamond-patterning, with diamond abalone border accents, h. 4”, w. 3”, and together with a gilt-metal compact, ca 1950, the lid with incised foliate and rhinestone accents, opening to a mirrored interior and covered powder compartment, h. 2‑3/4”, w. 2‑1/2”. [200/400] 964 Near Pair of Victorian Mother-of-Pearl Card Cases, fourth quarter 19th century, each with quilted-diamondpatterning and a velvet-lined interior, h. 4”, w. 3”. [200/400] 965 Near Pair of Victorian Mother-of-Pearl Card Cases, fourth quarter 19th century, each with quilted-diamondpatterning and opening to a velvet-lined interior, h. 4”, w. 2‑3/4” to 3”. [200/400]

977

966 Group of Three Victorian Mother-of-Pearl Objects, fourth quarter 19th century, consisting of a diamond-quilted-patterned card case, h. 4”, w. 3”, a smaller like-patterned card case with a central diamond silver monogrammed panel, h. 3‑1/2”, w. 2‑1/4”, and a paper knife with a palmetto-patterned handle, possibly German, l. 6‑1/4”. [150/300] 967 Victorian Mahogany Tripod Table, third quarter 19th century, in the Georgian taste, the circular tilting top with a central brass inlay and a full fret-pierced gallery, raised on a brass-band columnar support to three splayed legs ending in hairy paw feet, h. 29‑1/4”, dia. 26”. [600/900]

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979

976 Victorian Mahogany Lap Desk, third quarter 19th century, in the Campaign taste, the rectangular top now opening to open interior fitted with a pan tray, h. 5‑1/2”, w. 10‑1/2”, d. 8”. [150/300] 977 Set of Four Middle Eastern Tiles, second quarter 20th century, depicting Adam and Eve in the Garden of Eden, in the Persian style, overall h. 18‑3/4”, s. 18‑1/2”. [900/1200] Illustrated 978 Pair of Middle Eastern Molded Architectural Tiles, second quarter 20th century, showing a man on horseback feeding a phoenix, one tile decorated with a dark brown body, the other in blue, h. 8‑1/2”, w. 6‑1/2”. [200/400] 979 Victorian Pine and Faux-Bamboo Marble-Top Writing Table, late 19th century, the rectangular Granite Beige marble top above a frieze fitted with two drawers, each with decorative banding, raised on circular legs joined by a concave stretcher shelf and ending in toupie feet, h. 31”, w. 50”, d. 23”. [600/900] Illustrated

984 pair

972 English Mahogany Desk, early 20th century, the superstructure with a three-quarter spindled gallery above three drawers over two end drawers and a central open storage space, over the rectangular top with a pullout inset leather writing surface, above a conforming frieze fitted with two drawers over a short drawer to one end, the other end with one deep faux-front drawer containing a slide-covered lockable well and a shallow lift-out four compartment tray over a void well, raised on turned circular legs joined by an H-form stretcher and ending in bun feet, h. 43‑1/2”, w. 51”, d. 26‑1/2”. Provenance: Antique Collection, Baton Rouge, Louisiana. [1000/1500] 973 Pair of Victorian Faux-Bamboo and Marble-Top Chests, late 19th century, each with a rectangular rouge Royale marble top with molded edge and turreted corners, above a conforming case fitted with five drawers, all with faux-bamboo banding and diamond patterns, flanked to either side by a faux-bamboo upright to ring-turned feet, h. 38‑1/2”, w. 21‑1/2”, d. 20”. [2000/4000] Illustrated 974 Anglo-Indian Regency-Style Engraved Glass Hall Lantern, decorated with grapes and flowers on both body and smoke-bell, which is suspended from chains above the body, with candle cups that remove from the base, h. 29”, dia. 12”. [500/800] 975 Edwardian Rosewood Dressing Box, ca 1900, of rectangular-form, the top with inlaid central and corner mother-of-pearl accents, opening to a fabric-lined interior fitted with a letter folder on the inside lid and a lift-out compartmented tray, the front inlaid en suite, h. 4‑1/2”, w. 12”, d. 8‑1/2”. [300/500]

980 Moorish-Domed Continental Brass Birdcage, first quarter 20th century, decorated with applied brass leaves on the base, with a brass ring at the top, h. 24‑1/2”, dia. 12”. [800/1200] Illustrated 981 Three Middle Eastern Copper and Brass Objects, all chased in regional patterns, the octagonal brass tobacco box has a lobed lid and brass ring handles, the coffee pot and hot milk jug each have brass handles and knops, h. 6”, w. 6‑1/2”, d. 5”, tobacco box, h. 9”, dia. 4‑1/2”, coffee pot, h. 8‑1/2”, dia. 3‑1/4”, milk jug. [200/400]

980

982 Middle Eastern Copper and Brass Tea Kettle in the 18th-Century-Style, both lid and body are decorated with bands of incised ornament, the brass lid, handle and swan’s neck spout echo American and British examples, h. 14‑1/2”, dia. 7”, l. 13”. [200/400] 983 Brass-Inlaid Rosewood and Mahogany Center Table, mid‑20th century, of near-Eastern influence, the circular top richly inlaid in scrolling foliate patterns, above a like inlaid frieze, raised on square tapering legs ending in brass caps, h. 31”, w. 23‑3/4”. [250/400]

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984 Pair of Eglomise Panels, depicting portraits of Middle-Eastern men, one holding a scimitar, wearing a headdress and kneeling on an oriental carpet, the other carrying a sword and shield, with an attendant at his side, both presented in red-painted wood frames, overall, 22‑1/2” x 16‑1/2”. [1000/1500] Illustrated previous page 985 Asian Carved Elephant Ivory Tusk, 20th century, the arched tusk with an attached ivory stand at the tip carved as a series of four figures of elephants with their trunks resting on the figure in front of them, the wider base carved in low relief with two hands offering a gift and bordered by the engraved dedication “From the Wenchi Hene To Major JSR Robertson”, l. 25”. [1000/1500] 986 Unusual Indian Carved Bone Specimen, the piece retaining the shape of the original bone with one arc exhibiting the bone’s internal structure, well-carved all over with myriad figures, flowers and foliage, probably a practice piece for a student carved to show they were ready to be allowed to carve ivory pieces, l. 12”. [150/300] 987 Tin-Glazed Middle Eastern Ginger Jar, second quarter 20th century, with trefoil-enframed panels depicting two women taking refreshments, on a painted floral background in the Persian manner, now mounted as a lamp, h. 23”, w. 9”. [600/900] Illustrated 988 Pair of Middle Eastern Architectural Tiles, in the Persian manner, into form of flora and foliage on a cobalt ground, presented in a contemporary ebony frame, sight h. 7‑1/2”, w. 3‑3/4”, overall 8‑1/2” x 13‑1/2”. [700/1000] Illustrated

987

991 Southeast Asian Multi-tiered Silver Necklace, composed of seven crescent-shaped hollow bands with repousse decoration of animals each separated by a vertical band, the clasp, a flattened strap with three coiled conical bosses. [100/200] 992 Chinese Export Carved Rosewood Curule Bench, 19th century, the body carved in relief with peaches, bamboo leaves and scrolling foliage, the upper and lower stretchers carved as sections of bamboo with fruiting vines, the wood stained overall to a near black finish, h. 21”, w. 28‑1/2”, d. 15”. [400/700]

993 Decorative Southeast Asian Tray, early 20th century, the oval tray with a stepped raised edge surrounding an elaborate figural interior, raised on a later polychrome faux-bamboo stand with gilt accents, h. 20‑1/2”, w. 23”, d. 19‑1/4”. [250/400]

988

989 Zebra Rug, 60” x 111”. [800/1200] Illustrated 990 Asian Scenic-Relief Carved Mahogany Arm Chair, first half 20th century, the back depicting a line of elephants in a forest landscape and joined by carved arms with the same scene, the seat frame in floral relief and raised on short cabriole legs, h. 34”, w. 28”, d. 24”. [500/800]

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997

999 French Faience and Bronze Card Tray, fourth quarter 19th century, the predominately turquoise plaque, depicting a rondel containing flowers, set in a larger panel of scrolling flowers, mounted in a renaissance revival bronze frame sitting on scrolled feet with swan’s head handles, w. 13‑1/4”, d. 10‑3/4”. [250/400] 1000 French Provincial Fruitwood Bureau Plat, mid‑19th century, in the Restauration taste, the banded rectangular top above a frieze fitted with two small end drawers, raised on turned and tapering circular legs ending in bulb feet, h. 30”, w. 57”, d. 25‑3/4”. [400/700]

994 Tall French Provincial Long Case Carved Oak and Fruitwood Clock, second quarter 19th century, the circular enameled convex dial with a brass enframement centered by a chanticleer surmounting a pair of clasped hands and flanked by two displayed doves, the dial signed in mulberry script “Veizy Frères”, retains the period brass long pendulum, h. 75”, w. 12‑1/2”, d. 12”. [700/1000] 995 French Provincial Oak Armoire, early 20th century and later, Brittany, the domed and foliate crest centered by a spindled demi-lune, above a case fitted with a floral guilloche-carved frieze above a single door, the upper portion with a carved panel of a courting couple with corner spindled accents, the lower panel with a carved foliate design, the whole raised on bun feet, h. 84”, w. 36‑1/4”, d. 15‑1/2”. [250/400]

1001 Provincial Walnut Games Table, early 19th century, in the Louis XVI-style, the rectangular dished top with an inlaid gaming board, removing and flipping to a padded fabric panel, the interior fitted with a recessed backgammon board, raised on tapering square legs ending in brass caps, h. 29”, w. 34”, d. 23”. [1200/1800] Illustrated 1002 Louis XVI-Style Fruitwood Day Bed, third quarter 19th century, the headboard and footboard each padded and surmounted by a domed fluted and gadroon-carved crest, flanked to either side by stop-fluted square uprights, joined by fluted rails and raised on tapering fluted square legs, h. 42”, inside w. 41‑1/2”, inside l. 72”, outside w. 47”, outside l. 78”. [500/800] 1003 Suite of Four Provincial Louis XV-Style Fruitwood Sidechairs, early 20th century, the shaped and padded back surmounted by a floral crest, the padded seat above a like-carved apron, raised on molded cabriole legs ending in peg feet, h. 36”. [400/700]

996 Flemish Walnut Fauteuil a la Reine, late 19th century, the padded rectangular back surmounted by a carved shell and acanthine crest, joined by scrolling downswept arms to the padded seat, raised on turned and block legs joined by a foliate-front stretcher and ending in ball feet, h. 46‑1/2”. [500/800] 997 Pair of Provincial Louis XV-Style Oak and Caned Bergeres, mid‑19th century, each with a domed and caned back surmounted by a shield crest and joined by caned and padded arms to the cushioned cane seat, above a shield-and-lotus-carved apron, raised on cabriole legs ending in scrolled toes, h. 35‑1/2”. [700/1000] Illustrated 998 Louis XVI-Style Walnut and Marble Top Console and Mirror, early 20th century, the domed and beveled plate within a molded frame and surmounted by a floral crest, the table with a variegated shaped marble top above a conforming pierced foliate carved frieze, raise on molded C-scroll legs joined by a shield pierced stretcher and ending in in-scrolled toes, h, 50‑1/4”, w. 21”, d. 31”, table, h. 61”, w. 43”, mirror. [2000/4000]

1001

115

1007 French Provincial Fruitwood Center Table, early 20th century, the shaped rectangular top banded and quarter-veneered and with a molded edge, above a shaped frieze centered by foliate-shell-carving, raised on molded cabriole legs ending in scrolled toes, h. 29”, w. 39”, d. 23‑1/2”. [300/500] 1008 Albertus Seba (Dutch, 1665‑1736) “Snakes Illustrations”, suits of four hand colored engravings from the Thesaurus, published in 1734, sight 19” x 24”. All glazed, attractively matted and framed en suite. [400/700] Illustrated 1010

1009 After Francois-Michel Roziere (French, 1775‑1842) suite of six illustrations of the “Minerals of Egypt”, from the Description de L’Egypte, sight 22” x 16”. All glazed, matted and framed. [500/800] Illustrated 1010 French Provincial Fruitwood Side Table, late 18th century, the rectangular top with molded edge above a conforming scalloped frieze fitted with a single drawer, raised on cabriole legs, h. 26”, w. 36‑1/2”, d. 23”. [1000/1500] Illustrated 1011 Pair of Louis XV-Style Walnut Fauteuils, early 19th century, the shaped and padded back surmounted by a floral crest, joined by scrolling arms to the padded seat, raised on molded cabriole legs ending in peg feet, h. 34‑1/2”. [200/400] 1012 Louis XVI-Style Stained Fruitwood and Oak Trumeau, 19th century, the rectangular plate surmounted by a scene of a courting couple in a pastoral scene, within a molded frame with a shield-form crest issuing a bellflower garland, h. 55”, w. 26”. [300/500]

1008 suite of four 1004 Set of Twelve Haviland Limoges Cabinet Plates, fourth quarter 19th century, hand painted with birds in landscapes, the scalloped borders with finely detailed meandering gilt-leaves, signed, “Haviland and Co., Limoges, and H.&C.”, dia. 9”. [300/500] Illustrated 1005 British School (Second Quarter 19th Century) “Floral Studies”, suite of three hand-colored lithographs, by Mrs. Badger, one example is sight 13” x 9‑1/2”, the other two are sight 15‑1/2” x 11”. Glazed, matted and framed en suite. [200/400] 1006 Provincial Louis-Philippe Cherrywood Buffet, mid‑19th century, the rounded rectangular top above a case fitted with an ogee-molded frieze drawer over two paneled cupboard doors, raised on block feet, h. 39”, w. 52”, d. 23”. [500/800]

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1004

1013 Continental Two-Piece Faience-Style Lavabo and Matching Bracket Shelf, the components richly decorated with floral prays and grape motifs, tank h. 18”, w. 16”, d. 8”, bracket h. 10”, w. 15”, d. 5”. [150/300] 1014 Neoclassical-Style Iron Garden Bench, the pierced lattice-patterned seat flanked by two low outscrolled arms, raised on a curule-form base joined by X-form stretchers, h. 21‑1/2”, w. 32‑1/2”, d. 16‑1/4”. [200/400] 1015 Helen Hyde (American/Japanese, 1868‑1919) “The Bath”, color woodcut, initialed in print lower left, dated “1905” upper right, sight 16” x 10‑1/4”. Glazed, matted and framed. [300/500] 1016 French School (First Quarter 20th Century) “Birch Trees”, color lithograph, initialed lower left “TC”, sight 10” x 14”. Glazed, matted and framed. [75/125]

1023 1017 French School (First Quarter 20th Century) “Woman Weeping”, color lithograph, unsigned, sight 12” x 11”. Glazed, linen matted and presented in a polychrome and parcel-gilt frame. [75/125] 1018 French Provincial Fruitwood Side Table, mid‑18th century, in the Louis XV-form, the top with a molded edge mounted to a frame with shallow arched aprons and raised on slender cabriole legs, wooden peg construction throughout, h. 29‑1/2”, w. 34‑1/2”, d. 20”. [400/700]

1019 Provincial Louis XV-Style Elm and Fruitwood Desk, early 20th century, the rectangular top with molded edge and canted corners, above a frieze fitted with a central drawer flanked to either side by a short deeper drawer, the back paneled, raised on cabriole legs ending in pointed toes, h. 30”, w. 68‑1/2”, d. 30”. [500/800] 1020 Biedermeier Fruitwood Commode, mid‑19th century, the rounded rectangular top above a case fitted with three long drawers, raised on squat feet, h. 33”, w. 48‑1/2”, d. 22‑3/4”. [1400/1800] Illustrated 1021 Turned Walnut Furniture Fragment, now on a modern Chinese black lacquer base and mounted as a lamp, h 35”. [250/400] 1022 Group of Eight Gilt and Steel Keys, consisting of four pairs of blanks, all with decorative gilt tops, l. 3‑1/4” to 3‑3/4”. [100/200] 1023 Constantine Kluge (French/Russian, 1912‑2003) “Olivier et Lavande, Riez”, oil on canvas, signed lower right “C. Kluge”, titled on an exhibition label on the reverse, 29” x 29”. Framed. Provenance: Estate of Dr. David and Mrs. Annie Kimball, Shreveport, Louisiana. [4000/7000] Illustrated

1020

117

1024 Charles Cerny (American/French/Czech, 1892‑1965) “Landscape with Figures in an Orchard”, watercolor on paper, signed lower right “Charles Cerny”, sight 17‑1/2” x 21”. Glazed, matted and framed. Provenance: Estate of Dr. David and Mrs. Annie Kimball, Shreveport, Louisiana. [150/300] 1025 Roger Delaporte (French, 1907‑1969) “Le Rocher de Blajoux (Lozere)”, oil on canvas, signed lower right “R. Delaporte”, titled on artist’s label on the reverse, 16” x 13”. Framed. [250/400] 1026 Roger Delaporte (French, 1907‑1969) “Les Gurges du Tarn a Blajoux”, oil on canvas, signed lower right “R. Delaporte”, titled on artist’s label on the reverse, 16” x 13”. Framed. [250/400] 1027 Yves Brayer (French, 1907‑1990) “Le Fort de Villeneuve-les-Avignon”, oil on canvas, 1958, signed lower right “Yves Brayer”, titled and dated on canvas verso, 24” x 32”. Presented in a ebonized and parcel-gilt frame. Provenance: Estate of Dr. David and Mrs. Annie Kimball, Shreveport, Louisiana. [7000/10000] Illustrated 1028 Foussa Itaya (Japanese/French, b. 1919) “Village Street Scene with a Bridge”, oil on canvas, signed and dated lower left “F. Itaya 1964”, 18” x 15”. Framed. Provenance: Estate of Dr. David and Mrs. Annie Kimball, Shreveport, Louisiana. [300/500] 1029 Louis Neillot (French, 1898‑1973) “Saulcet”, oil on canvas, signed lower left “L. Neillot”, titled on reverse with an exhibition label on stretcher, 15” x 18”. Framed. Provenance: Estate of Dr. David and Mrs. Annie Kimball, Shreveport, Louisiana. [700/1000]

118

1027

1030 Jean Despujols (French/American, 1886‑1965) “Mountain Brook”, oil on canvas, signed lower right “Despujols”, 16” x 20”. Framed. Provenance: Estate of Dr. David and Mrs. Annie Kimball, Shreveport, Louisiana. [300/500] 1031 Regence Walnut Fauteuil a la Reine, 18th century, the padded rectangular back surmounted by a shaped crest and joined by downswept scrolled arms to the padded seat, raised on scrolled legs joined by a shaped X-form stretcher and ending in in-scrolled toes, h. 43‑3/4”. [500/800] 1032 Louis XV-Style Fruitwood Fauteuil, early 19th century, the domed and caned back within a molded frame, joined by padded arms to the cushioned caned seat, raised on molded cabriole legs ending in scrolled toes, h. 35”. [300/500] 1033 Louis XV-Style Fruitwood Bombe Commode, the shaped front with a molded edge above a conforming bombe case, raised on scrolled feet, the inside bearing the label, “Dixon-Powdermaker, Jacksonville, Florida”, h. 34”, w. 38”, d. 21”. [800/1200] Illustrated 1034 Pair of Louis XVI-Style Fruitwood Bergeres, early 20th century, each with a low concave caned back surmounted by a floral-and-ribbon-carved crest, joined by caned sides and acanthine arms, the cushioned caned seat raised on tapering circular spiral-reeded legs ending in toupie feet, h. 30”. [300/500]

1035 Provincial Louis XV Walnut Writing Table, late 18th century and later, the rounded rectangular top with an inset tooled-leather writing surface, above a shaped frieze fitted with a single central drawer, raised on cabriole legs ending in hoof feet, h. 28‑1/2”, w. 43‑1/2”, d. 24‑1/2”. [2500/4000] Illustrated

1036

1036 Group of Two Good Meissen Porcelain Covered “Chicken” Boxes, second quarter 19th century, one in the form of a nesting hen, the base with the underglaze blue crossed swords of Meissen, h. 5‑1/2”, w. 5”, l. 8”, and the other in the form of a cockerel, the base marked with the underglaze blue crossed swords of Meissen, h. 7‑1/2”, w. 4‑1/2”, l. 6”. [1400/1800] Illustrated 1037 Large French Provincial Partially Ochre-Glazed Buff Terra Cotta Two-Handled Confit Jar, of the traditional type, first quarter 20th century, h. 12”. [100/200] 1038 Group of Three Polychrome Hardwood Hanging Shelves, each with a rectangular shelf with molded edge above a pendant frieze of scrolling patterns with knop finials, h. 8‑1/2”, w. 28‑1/2”, d. 5”. [200/400] 1039 Provincial Pine and Polychrome Cabinet, 19th century, the rectangular ebonized top above a conforming case fitted with two cupboard doors, each inset with a highly molded arched panel, raised on a plinth base, h. 39”, w. 47”, d. 15‑1/2”. [400/700]

1035

1040 Louis XV-Style Fruitwood Fauteuil a la Reine, 20th century, the padded and domed back joined by shaped foliate-carved arms to the padded seat, raised on molded cabriole legs ending in scrolled toes, upholstered in floral pattern needlework, h. 44”. [200/400] 1041 Continental School (Fourth Quarter 19th Century) “Portrait of a Beauty in a White Dress with Ruffled Collar”, 1875, oil on canvas, initialed and dated middle right “H. X. G. 1875”, 24” x 19‑3/4”. Presented in a period giltwood frame. [800/1200] 1042 After William-Adolphe Bouguereau (French, 1825‑1905) “The Knitting Girl”, oil on canvas, signed lower left “John Bouen”, fourth quarter century, 36” x 24”. Presented in a Belle Epoque style giltwood and gesso frame. [400/700] 1043 Continental School (Fourth Quarter 19th Century) “Portrait of a Woman with a White Shawl”, oil on board, initialed upper right “LR”, 17‑1/2” x 14”. Presented in a giltwood frame. [300/500]

1033

119

1044 Adrien Henri Tanoux (French, 1865‑1923) “An Apple for You”, oil on canvas, signed lower right “Tanoux”, 21‑1/2” x 15”. presented in a molded and pierced giltwood frame. [1000/1500] Illustrated 1045 Carlos Fui (French/Contemporary) “Figure in Red in a Wooded Clearing”, oil on canvas, signed lower right “Fui”, with artist’s studio label on the reverse, 9” x 13”. Handsomely framed. [250/400] 1046 French School (Third Quarter 19th Century) “Young Woman in Black, Sewing by an Open Window”, oil on tin, unsigned, reverse with a label illegibly inscribed in ink, 15” x 12‑1/2”. Presented in a giltwood and gesso frame. [300/500] 1047 Geza Szontagh (Czech Republic, 1841‑1891) “Woman on a Country Lane”, oil on canvas, signed lower right “Szontagh”, stretcher inscribed “Szontho F.”, 22” x 27”. Presented in a ebonized molded frame. [500/800]

1051

1048 Provincial Fruitwood Drop-Leaf Table, 19th century, the rounded rectangular top with two ovoid leaves, raised on paneled tapering circular legs, h. 30‑1/2”, w. 39‑1/2”, d. 231/2”, ext. l. 39‑1/2”. [700/1000] 1049 Pair of French Majolica Plates, first quarter 20th century, each with an annulated and Greek-key border around a fern, daisy and grape leaf spray, dia. 9”. [75/125] 1050 Seven-Piece French Majolica Oyster Set, early 20th century, consisting of a master plate, segmented to hold twelve oysters, dia. 14‑1/2” and six smaller plates, holding six oysters each, dia. 10”, underside signed, “Sarrequmines, France”. [300/500]

1044

1051 Provincial Regence-Style Oak and Marble-Top Cabinet, late 18th century and later, the rectangular Sainte Anne des Pyrennes marble top with molded edge above a case fitted with two small end drawers over two arched and paneled cupboard doors, each door doublehinged, the whole on a plinth base, h. 36”, w. 55‑1/2”, d. 26”. [3000/5000] Illustrated

1053

120

1052 French Provincial Oak Farmhouse Table, early 19th century, the rectangular top above a conforming deep frieze, raised on tapering square legs, h. 31”, l. 56‑1/2”, d. 31”. [1000/1500]

1054 Joao Barbosa Rodrigues (Brazilian, 1842‑1909) “Various Views of Brazilian Palm Trees”, suite of six chromolithographs from the Sertum palmarum Brasiliensium ou relation des palmiers nouveaux du Brasil decouverts, decrits et dessines d’apres nature, published in Brussels, 1903, sheet size 24” x 16‑1/2”. All attractively glazed, matted and framed en suite. [1200/1800] Illustrated 1055 Robert Thornton (British, 1768‑1837) “American Bog-Plants”, hand colored etching, legend lower margin, sight 19” x 14‑1/2”. Glazed, attractively double-matted and presented in a parcel-gilt ebonized frame. [700/1000] Illustrated 1056 British School (Second Quarter 19th Century) “Botanicals”, suite of six hand colored copper engravings, published by J. Ridgway, London, sight 8‑1/2” x 5‑1/2”. All glazed, handsomely matted and framed en suite. [400/700]

1054 suite of six 1053 Suite of Six Louis XVI-Style Fruitwood Side Chairs, 19th century, each with a tall domed and padded rectangular back, the padded seat raised on shaped legs joined by a like H-form stretcher, h. 40”. [1000/1500] Illustrated

1055 1057 After Henry John Elwes (British, 1846‑1922) “Lilium Japonicum” and “Northolirion Thomsonianum”, pair of chromolithographs, 20th century, sight 20‑1/2” x 13‑3/4”. Both glazed, attractively matted and framed en suite. [250/400] 1058 British School (Second Quarter 19th Century) “Botanicals”, suite of four hand colored copper engravings, published by J. Ridgway, London, sight 8‑1/2” x 5‑1/2”. All glazed, handsomely matted and framed en suite. [300/500] 1054 suite of six

121

1059 Group of Four Pieces of Copper Kitchenware, 19th century, consisting of three graduated iron-handled saucepans, h.3” to 4‑1/2”, dia. 6‑1/2” to 9”, and a handled water pitcher, h. 8‑3/4”. [200/400] 1060 Group of Four Copper Sauce Pans, 19th century, all with applied long iron handles, h. 4” to 5‑3/4”, dia. 8‑1/2” to 10”. [200/400] 1061 Group of Eight Pieces of Copper Kitchenware, 19th century, consisting of a wooden side-handled Scottish coffee pot, h. 7”, a sauce pan with long copper handle, dia. 7”, a large funnel, h. 7‑1/2”, dia. 7‑1/4”, a small oval footed waiter, w. 7”, d. 6”, a brass accented kettle, h. 10”, dia. 7‑1/2”, a lidded graduated cylindrical pitcher, h. 8‑14/2”, an iron-handled skimmer, l. 21”, and a large circular curd strainer, h. 4‑1/4”, dia. 15‑1/2”. [300/500] 1062 Group of Five Pieces of Brass Kitchenware, late 19th to early 20th century, consisting of a hot water kettle, with insulated top and side handles, h. 9‑1/2”, three ladles, l. 18”, and a spring balance labeled, “Salter’s Improved Spring Balance”, h. 11‑1/2”. [200/400] 1063 Provincial Oak Server, early 19th century, the rounded rectangular top above a case fitted with three drawers over two cupboard doors, each with an inset panel, raised on block feet, h. 33‑1/2”, w, 70‑1/2”, d. 20‑1/2”. [1500/2500] Illustrated 1064 Provincial Pine Metamorphic Chair, early 20th century, the back with four bulbous spindles, the wooden seat hinged and opening to a three-step ladder, raised on slightly bobbin-turned legs, h. 34‑1/2”. [300/500] 1065 Persian Hamadan Carpet, 2’6” x 4’4”. [100/200] 1066 Persian Sultanabad Carpet, 4’ x 6’1”. [600/900]

1067 1067 Wool and Silk Pictoral Rug, signed, 3’6” x 5’11”. [1500/2500] Illustrated 1068 Antique Bakhtiari Carpet, 4’ x 6’4”. [300/500] 1069 Antique Silk Kashan Carpet, 4’6” x 7’. [2000/4000] 1070 Oushak Carpet, 10’ x 10’. [4000/7000]

1071 Angora Oushak Carpet, 10’1” x 14’2”. [7000/10000] Illustrated 1072 Semi-Antique Cuacasian Carpet, 9’4” x 3’7”. [300/500] 1073 Antique Bakshaish Carpet, 9’2” x 12’6”. [3000/5000] Illustrated 1074 Agra Serapi Carpet, 8’10” x 12’2”. [1500/2500] 1063

122

1075 Antique Silk Tabriz Carpet, 5’ x 7’. [1200/1800] 1076 Agra Serapi Carpet, 6’ x 9’. [800/1200] 1077 Angora Oushak Carpet, 10’ x 14’1”. [7000/10000] Illustrated

1071

1077

1078 Angora Oushak Carpet, 5’ x 7’. [2000/4000] 1079 Angora Oushak Carpet, 9’ x 11’6”. [6000/9000]

1073

123

1087 Napoleon III Ebonized and Boulle Cabinet, third quarter 19th century, the rectangular top above a conforming case fitted with a single cupboard door with an applied oval Boulle work panel, the whole elaborately ornamented with ormolu mounts and millwork and Boulle accents, h. 44”, w. 32‑1/4”, d. 15’. [1400/1800] Illustrated

1080

1080 Antique Mahal Carpet, 9’6” x 16’. [4000/7000] Illustrated 1081 Turkish Oushak Carpet, 8’2” x 10’5”. [1200/1800] 1082 Semi-Antique Persian Mahal Runner, 3’7” x 13’. [600/900]

1083 Antique Kirman Carpet, 11’3 x 22’11”. [7000/10000] Illustrated 1084 Uzbeck Kazak Runner, 3’2” x 10’2”. [300/500] 1085 Bokara Carpet, 4’3” x 6’4”. [200/400] 1086 Antique Persian Laver Kerman Carpet, 9’ x 12’. [4000/7000] Illustrated

124

1086

1083

1088 Louis XV Giltwood Looking Glass, mid‑18th century, the rectangular plate within a band of paneled mirrors, surrounded by a molded giltwood frame with elaborate foliate patterns, h. 36, w. 29”. [300/500]

1095 Napoleon III Ebonized and Walnut Bureau de Dame, third quarter 19th century, in the Louis XV-style, the superstructure fitted with a central domed mirror over a small drawer, flanked to either side by a glazed cupboard, above a slant-front opening to an interior fitted with an inset leather writing surface, storage well and a variety of drawers and cubbyholes, above a shaped frieze, raised on cabriole legs ending in sabots, h.55”, w. 32”, d. 21”. [1500/2500] 1096 Metal Jewel Casket, first quarter 20th century, in the neoclassical taste, painted with faux bois in a kingwood veneer pattern and molded to imitate, bronze mounts, the lid centered by an enamel mount of a couple in Elizabethan dress riding a gondola opening to reveal the green watered-silk-lined interior, h. 4‑1/4”, w. 13‑1/2”, d. 10‑3/4”. [3500/5000] Illustrated

1094

1089 Napoleon III Ebonized and Boulle Writing Cabinet, third quarter 19th century, the superstructure fitted with a three quarter brass gallery top above two cupboard doors and two small drawers, the shaped rectangular top above a single frieze drawer opening to a retractable baize-inset writing surface, raised on cabriole legs ending in sabots, the whole elaborately ornamented with ormolu mounts and millwork and Boulle work panels, h. 53”, w. 29”, d. 18”. [1000/1500] 1090 Francois Gerome (French 1895 -?) “L’ Avenue Champs Elysees, Paris”, oil on canvas, signed and titled lower left, 8” x 10”. Presented in a Louis XV-style gilt wood and gesso frame. [800/1200] 1091 Francois Gerome (French 1895-?) “Le Pantheon, Paris”, oil on canvas, signed and titled lower left, 8” x 10”. Presented in a Louis XV-style parcel gilt polychrome frame. [800/1200] 1087

1092 Jean Germain (French, b.1900) “Place Blanche, Paris”, 1951, oil on canvas, signed, titled and dated lower left, 18” x 21‑1/2”. Presented in a classical-style polychrome frame. [500/800] 1093 Francois Gerome (French, 1895-?) “Porte St-Denis, Paris”, oil on canvas, signed and titled lower left, 8” x 10”. Presented in a Louis XV-style parcel gilt and polychrome frame. [800/1200] 1094 Francois Gerome (French 1895-?) “Porte St. Martin, Paris”, oil on canvas, signed and titled lower left, 9‑1/4” x 12”. Presented in a Louis XV-style parcel gilt polychrome frame. [1000/1500] Illustrated 1096

125

1105 1101 Pair of Sevres-Style Plates Mounted as Sconces, fourth quarter 19th century and later, the plates with scenes of 18th century courtiers in a garden, within cobalt blue borders decorated with floral reserves trimmed in gilt, now mounted as sconces with brass rims and candlearms, the acanthus-molded brass rims molded with a ribbon and bow knot, the backplate molded with a classical masque, h. 14”, w. 10‑1/2”, d. 5‑1/2”. [1200/1800]

1097 Brass and Motherof-Pearl Opera Glasses, fourth quarter 19th century, probably Continental, presented in their original leather case, l. 3‑1/2”, w. 4‑1/2”. [150/300]

1099

1098 Pair of Louis XIVStyle Three-Arm Appliques c. 1900, each with turning foliate molded arms, the backplates adorned with floral clusters, l. 19”, w. 12”, d. 6‑1/2”. [700/1000]

1099 Louis XV-Style Cast-Bronze Wall Clock, the blue enamel clock dial mounted in a rococo-style case above a cupid in a chariot pulled by a pair of love birds, h. 26”, w. 16”, d. 5”. [1200/1800] Illustrated 1100 Pair of Louis XVI-Style Mahogany Side Chairs, late 19th century, each with an oval padded and tufted back surmounted by a ribbon crest, the tufted seat raised on turned and tapering fluted circular legs ending in toupie feet, h. 36”. [300/500]

126

1102 Good Pair of Chamberlain’s Worcester Cobalt Blue-Bordered Porcelain Grilled Meats Platters, 1811‑1820, of oval form with well-painted floral centers, each with the Chamberlain’s “Royal Arms” mark in underglaze lavender transfer-print, including the address of the London store, w. 9”, l. 10‑1/2”. [300/500] 1103 Napoleon III Ebonized Writing Table, third quarter 19th century, in the Louis XV-style, the shaped rectangular top with a brass-banding and centered by an elaborate Boulle-work medallion, hinged and opening to a mirror and compartmented lift-out tray, above a frieze fitted with a single drawer, raised on cabriole legs headed by ormolu-mounts and ending in sabots, the lock signed, “Tahan Ebeniste de S.M. L’Empereur”,h. 28”, w. 24‑1/2”, d. 17‑1/2”. [700/1000] 1104 Samson Punch Bowl, in the Chien Lung taste, with polychromed floral interior and a puce diapered rim containing floral cartouches, the exterior painted with an armorial coat of arms and the entire bowl highlighted in raised white decoration, with wooden stand, h. 7‑1/4”, including stand, dia. 11‑3/4”. [250/400]

1106

1106 Pair of Samson Armorial Cachepots and Underplates, second quarter 20th century, in the Chinese Export style, decorated with a large armorial and sprigs of pink flowers, the pots marked with underglaze blue Samson signature, overall h. 10”, dia. 12‑1/4”. [1200/1800] Illustrated

1108

1107 Louis XVI-Style Giltwood Looking Glass, the rectangular plate surmounted by a floral and bow wreath crest, surrounded by an annulated and ribbon-carved frame, h. 57”, w. 35”. [600/900] Illustrated 1108 Pair of Louis XV-Style Polychrome Fauteuils, early 19th century, each with a padded domed back surmounted by a floral crest, joined by padded scrolling arms to the cushioned seat, raised on molded cabriole legs headed by foliate-shield-carving and ending in scrolled toes, h. 34”. [700/1000] Illustrated

1107

1109 Louis XV-Style Ebonized and Marble Top Commode, late 19th century, the shaped rectangular Rouge Royale marble top with molded edge above a conforming bombe case fitted with two drawers, with a polychrome scene in the Orientalist taste, raised on splayed legs ending in sabots, h. 35”, w. 51”, d. 23‑1/2”. [2000/4000] Illustrated 1110 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”. [900/1200] Illustrated following page 1111 Louis XV-Style Nine-Light Gilt-Bronze Chandelier, early 20th century, the central bulbous foliate-molded standard issuing two tiers of candlearms, the upper tier with three lights, the lower tier with six lights, the whole richly dressed with large shaped pendalogues and applied stars, h. 25”, dia. 26”. [700/1000]

1105 Samson Five-Piece Garniture Set, second quarter 20th century, in the Chinese Export taste, comprising a large pair of ovoid covered urns with fluted bodies and square bases, h. 17”, dia. 7‑1/4”, a pair of covered baluster vases with foo dog finials, h. 13”, dia. 5”, and a covered hexagonal vase, h. 11‑1/2”, dia. 4‑1/2”, all decorated with pink diapered panels with flowers and white raised ornament. [1800/2500] Illustrated

1109

127

1112 Louis XV-Style Mahogany Bureau Plat, early 20th century, the shaped rectangular top with an inset leather writing surface and an ormolu banded edge, above a conforming frieze fitted with a central drawer flanked to either side by a shorter drawer, all banded and with burl panels within ormolu millwork, the sides and back paneled en suite, raised on cabriole legs headed by ormolu espagnolettes and ending in sabots, h. 32”, w. 64‑1/2”, d. 35‑1/2”. [1500/2500] Illustrated

1110

1115 Continental Wall Pocket, first quarter 20th century, gilt-brass with applied enameled flora and rondels, with a pierced backplate formed of turned brass, trimming all edges of the pocket, both back and bottom are tufted and covered in old gold silk, h. 11‑1/2”, w. 11‑3/4”, d. 5‑3/4”. [500/800] 1116 Pair of Louis XV-Style Mahogany-and-RosewoodInlaid Marble-Top Side Tables, mid‑20th century, each with a conforming breche d’alep marble top above a single drawer and raised on slender cabriole legs ending in polished brass sabots, h. 27‑1/2”. w. 18”, d. 14‑1/2”. [500/800] 1117 French Louis XVI-Style Decorative Wall Panel, fourth quarter 19th century, consisting of an oil on canvas depicting figures in a garden, within a creme-peinte and parcel-gilt frame, overall h. 59”, w. 35”. [500/800] Illustrated 1118 Louis XVI-Style Giltwood Looking Glass, early 20th century, the broadly-beveled plate with canted corners and surmounted by a shield and floral garland crest, with in a reeded-and-foliate-carved frame, h. 77”, w. 61”. [500/800]

1113

1113 Pair of Austrian Cabinet Plates in the Royal-ViennaStyle, each with maroon borders decorated with raised gilt classical ornament, one decorated with three hand painted classical figures, artist signed, “Willower”, the other with the dance of the nymphs, each signed with a blue underglaze beehive, overglaze Austria, dia. 7‑3/4”. [500/800] Illustrated

1114 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”. [500/800]

128

1112

1119 Johann Weinmann (German, 1683‑1741) “Momordica Indica”, hand colored engraving Phytanthoza Iconographia, inscribed lower center margin “ J. W. Weinmann 1742”, sight 14” x 9”. Glazed, matted and framed. [200/400] 1120 Mark Catesby (British, 1679‑1749) “The Mahogany Tree”, hand colored engraving from The Natural History of Carolina, Florida and the Bahama Islands: Containing of Birds, Beasts, Fishes, Serpents, Insects and Plants, margins inscribed in pencil “M. Catesby-London‑1754 The Mahogany Tree”, sight 14” x 10‑1/2”. Glazed, matted and framed. [150/300] 1121 Cornelius Nozeman (Dutch, 1721‑1786) “Motacilla Flava”, “Caprimulgus”, “Lanius, Excabitor” and “Lanius Collyrio”, suite of four hand colored engravings, reverse affixed with a page from the manuscript describing each bird, sight 17” x 11‑3/4”. All glazed, linen matted and presented in Baroque style giltwood and gesso frames en suite. [600/900] 1122 Pair of Louis XVI-Style Giltwood Bergeres, early 20th century, the padded back with a scrolling crest joined by outscrolled arms to the cushioned seat, raised on molded cabriole legs ending in scrolled toes, h. 32”. [500/800]

1123

1123 Lucien Delarue (French, born 1925) “Toits a Montmartre”, oil of canvas, signed lower right “Delarue”, signed and titled on the reverse canvas, 28‑1/2” x 23‑1/2”. Presented in a Louis XV style silvered frame with a linen liner. [1200/1800] Illustrated 1124 Pair of Provincial Polychrome Stools, early 20th century, each with a padded oval top above a floralpainted frieze, raised on cabriole legs ending in pad feet, h. 19‑1/2”, w. 19‑1/2”, d. 14”. [1200/1800] 1125 Neoclassical-Style Miniature Portrait, fourth quarter 19th century, portraying a woman in 18th century costume, carrying a bouquet of flowers, mounted in an engine-turned brass and tortoiseshell frame in the Charles X-style, signed, “Drouais”, dia. 4‑1/2”. [300/500] 1126 Ivory Portrait Miniature of a Lady in the Romantic Style, with a scarf in her hair, mounted in an oval gold locket frame inscribed, “Countess of Asaph”, [250/400] 1127 Miniature Portrait of a Woman in Regency Dress, second quarter 20th century, mounted in a pierced neoclassical style gilt-brass frame with a red velvet line, signed, “Dimarch”, h. 7‑1/2”, w. 7‑1/2”. [200/400] 1117

129

1128 W. T. William Taylor (English, fl. c. 1770‑1850), Fine Circular Portrait Miniature of Lady Elizabeth Harcourt, signed: “W.T.”, c. 1810‑1815, presented in a conforming gold pendant frame set with split pearls and glazed, contained in an antique gilt-tooled burgundy morocco case lined in deep-blue velvet and white silk, the silk gilt-stamped: “Fattorini & Sons/ Goldsmiths/ Bradford,” the glazed reverse of the frame set with a curled lock of blonde hair, sight dia. 1”. [400/700] Illustrated

1133

1129 Napoleon III Giltwood Looking Glass, third quarter 19th century, the slightly molded plate within an annulated molded frame with incised foliate and floral accents, h. 62‑1/2”, w. 36‑1/2”. [500/800] 1130 Suite of Eight Louis XV-Style Giltwood Sidechairs, each with a shaped and padded back surmounted by a floral crest, the padded seat above a floral-carved apron and raised on cabriole legs ending in scrolled toes, h. 38”. [600/900] 1131 Attractive Rudolstadt (Ernest Bohne Sohne) Blueand-White Porcelain Posy Vase, fourth quarter 19th century, in the rococo taste and featuring a pair of lads drawing a hand cart, the interior of the base with the blue Ernest Bohne Sohne anchor and the impressed initials “EBS”, h. 5‑1/2”, w. 3‑1/2”, l. 7‑1/2”. [125/250]

1136

1128 1132 Pair of Meissen Blue and White Porcelain Figural Double Salts, fourth quarter 19th century, respectively featuring a seated boy in a tricorne hat and a girl carrying a nosegay, each salt compartment modeled as a gilt archhandled basket, each figure marked on the base with the underglaze blue crossed swords of Meissen, h. 5”, w. 5‑1/2”, d. 3‑1/4”. [500/800]

130

1133 Pair of Meissen Blue and White Lattice-Reticulated Porcelain Tiered Dessert Stands, first quarter 20th century, in “Blue Onion” decor, each example with a finial in the form of a child bearing a floral wreath or an apron of flowers, h. 16”, dia. 9‑3/4”. [1200/1800] Illustrated 1134 Meissen-Style Carl Thieme Footed Bowl, fourth quarter 19th century, of lobed shape, supported by three putti, the bowl decorated with painted flora in the center, bordered by enameled and painted floral decoration on a gilt lattice background, bearing the company signature over a Dresden mark in underglaze blue, h. 6”, w. 16‑3/4”, d. 11‑3/4”. [300/500]

1139 1135 Louis XV-Style Mahogany Occasional Table, early 20th century, the banded oval top with a three-quarter pierced brass gallery and central inlay of various vessels, above a conforming frieze fitted with a single like-inlaid drawer, joined to a concave oval stretcher shelf by cabriole legs ending in sabots, h. 25”, w. 21‑1/2”, d. 16‑3/4’. [300/500]

1136 Dutch Kingwood Marquetry and Marble-Top Cabinet, late 18th century, the bowed St. Anne des Pyrennes marble top above a conforming case fitted with a single drawer over a tambour cupboard, the sides with elaborate floral inlays, raised on shaped legs to sabots, the whole with floral marquetry accents, h. 34‑1/2”, w. 35‑1/2”, d. 18”. [2000/4000] Illustrated

1141 Continental Bronze and Porcelain Gueridon, fourth quarter 19th century, composed of a rococo style bronze pierced scroll footed base decorated with swags of flowers, and inset with a bleu celeste ground porcelain baluster standard, set with a bleu celeste porcelain top bearing a Sevres-style mark and decorated with a bucolic scene of a courting couple with onlookers, h. 29‑1/2”, dia. 17‑3/4”. [1800/2500] Illustrated 1142 Louis XVI-Style Gilt-Brass and Crystal Ten-Light Chandelier, early 20th century, the etched cup above a standard encased in etched glass bulbs, the brass base issuing ten reeded arms terminating in bobeches, the whole richly dressed in faceted spear drops and pendalogues, h. 29”, dia. 20‑1/2”. [1200/1800] Illustrated following page

1141

1137 Louis XVI-Style Polychrome Bench, the long padded rectangular seat above a carved frieze, raised on tapering circular fluted legs headed by a foliate carved cap, joined by stretchers and ending in toupie feet, h. 19”, w. 47”, d. 15‑1/2”. [150/300] 1138 Sevres-Style Porcelain and Bronze Jewel Casket, decorated with musical instruments and flowers on raised panels with bleu-de-roi borders, lined in white satin sitting on scrolled bronze feet, marked Sevres style, h. 5”, w. 9”, d. 6”. [300/500] 1139 Sevres-Style Porcelain Clock in the Rococo Taste, decorated with bisque cupids holding sheaves of wheat and wine, the bleu-de-roi ground set with painted panels of putti and flowers, raised on gilt scrolled feet, h. 16‑1/2”, w. 9”, d. 6‑1/2”. [500/800] Illustrated

1140

1140 Good Royal Berlin (KPM) Porcelain Soup Tureen and Matching Platter, third quarter 19th century, in the rococo taste, the domed ribbed cover of the oval covered two-handled tureen with a finial of a seated putto with a captive game bird, the platter of deep ovoid form, both pieces with the underglaze blue Berlin “scepter” mark, overall h. 11‑1/2”, w. 12‑3/4”, d. 8”. [1000/1500] Illustrated

131

1143 Suite of Four Louis XVI-Style Polychrome Sidechairs, late 19th century, each with a padded medallion back within a ribbon-carved frame and surmounted by a floral crest, the padded seat raised on tapering fluted circular legs ending in toupie feet, h. 37”. [300/500]

1146

1144 French Polychrome Three-Fold Screen, 20th century, the upper portion with a scene of the Place de la Bastille on a rainy day, the lower thirds and reverse with trompe l’oeil panels, h. 68‑1/4”, w. 57”. [500/800]

1142

1149 Louis XV-Style Satinwood Vitrine Table, ca. 1900, the ovoid hinged top inset with a glazed panel and opening to a velvet-lined interior, the highly figured frieze raised on cabriole legs ending in pegged toes, h. 29‑3/4”, w. 20‑1/4”, d. 14‑1/2”. [300/500] 1145 Louis XV-Style Polychrome Canape, the low shaped and padded back surmounted by a molded and floralfoliate carved crest, joined by down-swept arms to the cushioned seat, raised on molded cabriole legs ending in foliate in-scrolled toes, h. 35”, d, 28”, l. 73”. [700/1000] 1146 Louis XVI-Style Giltwood Looking Glass, mid‑20th century, the rectangular plate surmounted by an urnform crest joined by foliate swags to like-finials, within an annulated molded frame with ribbed laurel leaf pendants, h. 50”, w. 34”. [400/700] Illustrated 1147 Transitional Louis XV-into-Louis-XVI-Style Mahogany and Marble-Top Cabinet, late 19th century, the bowed Breche Africaine marble top above a conforming case fitted with two double-banded drawers, flanked to either side by an urn-inlaid panel, raised on cabriole legs ending in sabots, h. 30”, w. 26”, d. 14”. [500/800] 1148 Louis XVI-Style Walnut Dining Table, mid‑20th century, the ovoid top with molded edge and bisected to accommodate leaves, above a plain frieze, raised on turned and tapering fluted circular legs ending in toupie feet, h. 29‑1/2’, w. 42”, d. 34” [800/1200]

132

1151

1150 Louis XVIStyle Giltwood Looking Glass, the beveled rectangular plate surmounted by a pierced foliate modeled crest, surrounded by a molded and annulated frame with corner acanthine accents and a pierced pendant apron, h. 52”, w. 30‑1/2”. [400/700]

1156 1157

1158

1155

1151 Louis XVI-Style Gilt-Bronze and Crystal Eight-Light Chandelier, early 20th century, the crown with faceted bead swags and pendalogues above a glass-encased standard to a cage-form body with eight candlearms interspersed with faceted crystal mounts, the whole richly dressed with swags and pendalogues, h. 30‑1/2”, dia. 21”. [700/1000] Illustrated 1152 Meissen-Style Rococo Figure of a Male, the figure in 18th century costume standing on a scrolled base against a brocade background of sculpted flowers, marked in the Meissen-style with crossed swords on base, h. 9‑1/2”, w. 5”. [300/500] 1153 Continental Punch Ladle, fourth quarter 18th century, decorated with hand painted florals set in raised rococo panels, attached to a fruitwood handle, l. 16”. [300/500]

1156 Two Meissen Porcelain Figures, fourth quarter 19th century, the first a Meissen porcelain figural group of “The Love Letter”, featuring a male figure sending off a carrier pigeon with a love letter about its neck with a gentle lamb at the base, the interior of the circular neoclassical base with incised and impressed underglaze numerals, the underglaze blue crossed swords of Meissen, and the overglaze gray numeral “45”, and the second a Meissen porcelain figure of a gleaning girl bearing a scythe after the model ca. 1752‑1755, the interior of the base with the underglaze blue crossed swords of Meissen, full incised and impressed numerals underglaze, h. 7‑1/2”. [1500/2500] Illustrated

1154

1154 Meissen “Lace” Porcelain Group of a Contemplative 18th-Century Lady of Fashion, fourth quarter 19th century, the figure holding a bible and seated next to a tabletop spinning wheel, the interior of the base with the underglaze blue crossed swords of Meissen and impressed and incised numerals underglaze, presented on a later elliptical walnut display stand, h. 7”, w. 7‑1/2”, d. 6”. [1400/1800] Illustrated 1155 Meissen Porcelain Group of “The Dancing Couple”, third quarter 19th century, after the 1742 model by Johann Gottlieb Ehder, the base with incised and impressed numerals underglaze and the underglaze blue crossed swords of Meissen, h. 6”, w. 5”, d. 4‑1/2”. [700/1000] Illustrated

133

1157 Pair of Meissen Porcelain Galants Figures of a Flower Vendor and His Lady, fourth quarter 19th century, in the Louis XVI style, the interiors of the circular neoclassical bases with incised and impressed underglaze numerals, the underglaze blue crossed swords of Meissen, and, respectively, the overglaze rouge de fer numeral “67”, and the overglaze gray numeral “48”, h. 7”, dia. 2‑1/4”. [1400/1800] Illustrated previous page

1163

1163A

1162

1158 Meissen “Lace” Porcelain Figure of a Fruit Seller, ca. 1840, after the model by Michel Victor Acier, the interior of the circular neoclassical base with the underglaze blue crossed swords of Meissen and the overglaze gray numeral “19”, h. 6‑3/4”, dia. 2‑1/2”. [600/900] Illustrated previous page 1159 Chelsea Porcelain “Bocage” Figure of a Seated Putto Allegorical of Autumn, third quarter 18th century, in the rococo taste, presented on an integral scroll-footed base embellished with applied flowerheads, retailed at one time by Neiman Marcus’ antique department and bearing its partial iron-red overglaze stenciled mark, h. 7‑1/2”, w. 6”. [400/700]

1160

1162 Meissen Porcelain Figure, third quarter 19th century, depicting a seated child with a book and a clock (Fillette avec livre et montre), after the 1776 model by MichelVictor Avier, the interior of the base with the underglaze blue crossed swords of Meissen, and full incised and impressed numerals underglaze, h. 5‑3/4”, dia. 3”. [600/900] Illustrated 1163 Meissen “Lace” Porcelain Allegorical Group of “The Sense of Touch”, fourth quarter 19th century, after the 1772 model by Johann Carl Schonheit, featuring a seated lady-of-fashion playing with a caged bird, the interior of the base with incised and impressed numerals underglaze, the underglaze blue crossed swords of Meissen, and the overglaze rouge de fer numeral “38”, h. 6”, w. 3‑3/4”, d. 3‑1/4”. [800/1200] Illustrated

1160 Elaborate Meissen Porcelain Group of “Europa and the Bull”, third quarter 19th century, the bull bedecked with a floral garland, the figure of Europa attended by two scantily clad females, the whole presented on an integral elliptical base with white and gold rococo detailing, the interior of the base with incised numerals underglaze and the underglaze blue crossed swords of Meissen, h. 8‑1/2”, w. 8”, d. 4‑1/2”. [1400/1800] Illustrated 1161 Meissen Reticulated Porcelain Wine Bottle Trolley, third quarter 19th century, in the rococo taste, the porcelain wheels fitted to revolve, the base with the underglaze blue crossed swords of Meissen, h. 6‑1/2”, w. 4‑1/2”, l. 10”. [500/800]

134

1169

1163A Meissen “Lace” Porcelain Figure of a Seated Ladyof-Fashion Tatting, ca. 1840, the reticulated base’s interior with incised and impressed underglaze numerals, the underglaze blue crossed swords of Meissen, and overglaze gray numeral “62”, h. 5‑1/4”, dia. 3‑1/4”. [600/900] Illustrated

1171

1164 Italian Kingwood and Parquetry Marble-Top Commode, early 20th century, the rectangular cerand antoine du nord marble top above a conforming case fitted with two long drawers, each banded and with diamond patterned parquetry inlays, raised on cabriole legs ending in sabots, the whole accented with ormolu mounts and millwork, h. 34‑1/2”, w. 40”, 17”. [600/900] 1165 Pair of Italian Walnut and Mahogany Parquetry Commodes, early 20th century, in the Louis XV taste, each with a shaped rectangular top above a conforming bombe case fitted with two drawers, the case entirely inlaid in a parquetry lattice pattern, raised on cabriole legs ending in sabots, h. 28‑1/2”, w. 21‑1/2”, d. 14‑1/2”. [800/1200] 1172

1168 Old Paris Porcelain Encrier, second quarter 19th century, the cut-corner body sitting on scrolled feet, the conforming lid covering an opening for an ink pot surrounded with quill openings, overall decorated with a hand painted pattern of coral on a green and yellow background, h. 4‑3/4”, w. 4”, d. 4”. [200/400] 1169 Sevres Style Jewel Casket, composed of floral panels framed -n raised gilt, mounted in a rococo style bronze frame, raised on scrolled feet and handles, lined in white satin and marked within a Sevres style mark, h. 7‑3/4”, d. 8‑3/4”, l. 13‑1/2”. [450/700] Illustrated 1170 Franco-Bohemian Baluster Vase fourth quarter 19th century, now mounted as a lamp, the floral panel framed in raised gilt is set against an apple green background and mounted in a modern brass base in the neoclassical-style, h. 30”, dia. 17”. [300/500]

1166 Louis XVI-Style Polychrome Canterbury, early 20th century, fitted with four lattice-patterned dividers centered by a gilt-accented lyre, above a single fluted drawer, raised on toupie feet ending in brass caps and casters, h. 24”, w. 22”, d. 16”. [1500/2500] 1167 Louis XVI-Style Mahogany Desk, late 19th century, the rectangular top with an inset leather writing surface, above a case fitted with a central drawer flanked to either side by two smaller drawers, raised on tapering square legs ending in ring-turned feet, h. 29‑3/4”, w. 44‑1/2”, d. 22‑1/2”. [1500/2500]

1171 Art-Deco-Style Rosewood and Chrome-Mounted “Duke” Dry Bar by Ralph Lauren, the top with a removable stainless steel serving tray, the front with a storage drawer above a pull-out serving counter with folddown drawer front and another drawer below, the lower section with a pair of cabinet doors, the interiors lined in maple, the sides with hinged cabinets opening to built-in shelving for stemware and bottles, h. 48”, w. 57”, d. 20”. [1500/2500] Illustrated 1172 Piero Fornasetti (Italian, 1913‑1988) TransferPrinted and Polychromed Metal Umbrella Stand, third quarter 20th century, depicting a musical trophee and bearing a paper label, “Fornasetti Milano/Made in Italy”, h. 25‑1/2”, w. 16”. [700/1000] Illustrated

135

1176 1173 Pair of Edwardian Brass Salon Chairs, ca 1900, each with a shaped crest above a turned spindled back, the padded seat raised on bulbous tapering circular legs ending in peg feet, h. 41‑1/2”. [300/500] 1174 Venetian-Style Beveled and Engraved Mirror, the round beveled central mirror plate is encircled with mirrored panels engraved with leaves and flora, topped with a scrolled and pierced oval-cut mirror crest, h. 29”, w. 23”. [500/800] 1175 Pair of Art Deco-Style Mirrored Demi-lune Console Tables, in the manner of Serge Roche (French, 1898‑1988), each with a mirrored demi-lune top above a conforming paneled frieze, raised on a tri-form support to a conforming ebonized base, h. 34”, w. 28‑1/2”, d. 14‑1/4”. [1000/1500]

136 136

1176 Raoul Dufy (French, 1877‑1953) “Still Life”, gouache on paper, signed lower left “Raoul Dufy”, reverse with a McRoberts and Tunnard Limited, London gallery label, sight 19” x 24”. Glazed, linen matted and presented in a giltwood and gesso frame. Provenance: Sotheby’s, London, October 23, 2001, lot 275. Private collection, Baton Rouge, Louisiana. [6000/9000] Illustrated 1177 Italian Frosted and Clear Glass Six-Light Chandelier, mid‑20th century, possibly Murano, with a tubular and bulbous standard issuing two tiers of white glass foliate fronds, the circular base with six scrolling clear arms terminating in frosted floriform sockets, h. 39”, dia. 52”. [1200/1800] Illustrated 1178 Two Daum Allegorical Pate de Verve Glass Plaques, designed by Raymond Corbin, the cobalt example titles, “Hiver” and dated 1970, the amethyst example titled, “Automne” and dated 1969, dia. 10‑1/2”. [125/250]

1179 Two Finely Carved Gemstone Boxes, the first of polished lapis lazuli of rich blue color with gray inclusions, the second of polished malachite in deep green with growth lines, both with gilt-sterling silver hardware and velvet lining, d. 2‑3/4” to 3”, l. 3‑7/8” to 4‑1/8”. [250/400] 1180 Two Fine Carved Gemstone Boxes, the first of polished rhodochrosite in deep pink with banded growth lines, the second in polished jasper in red with brown inclusions, both with gilt sterling silver hardware and velvet lining, d. 4”, l. 5‑3/4”. [250/400] 1181 Joan Miro (Spanish/French 1893‑1983) “Fusees”, color etching on Japan paper, pencil signed lower right “Miro”, numbered lower left “XI/XV”, sheet size 11‑1/4” x 14‑1/2”. Glazed and framed. [2500/4000] Illustrated

1181

1177

1185 After Jules Cheret (French, 1836‑1932) “Halle aux Chapeaux”, poster, sight 15” x 11”. Glazed, matted and framed. [125/250] 1186 Three Blown-Glass Paperweights, one round with millefiori decoration in blue, red and green, the second with a green and white interior, in the form of an egg and the third, cased glass-cut, revealing the enamel-flowered center, largest h. 2”, dia. 3”. [75/125] 1187 Art-Deco-Style Two-Light Table Lamp, the rosewoodveneered U-shaped lamp standard attached to an oval rosewood base with a conforming shade, h. 23”, w. 18”, d. 10”. [400/700]

1182 Joan Miro (Spanish/French 1893‑1983) “Erik Satie”, etching and aquatint in color on Arches paper, 1969, pencil signed lower right, sight 9‑1/2” x 17‑3/4”. Glazed, matted and framed. [2000/4000] Illustrated 1183 Salvator Dali (Spanish, 1904‑1989) “Divina Commedia”, color woodcut, unsigned, sheet size 13‑1/4” x 10‑1/4”. Glazed and framed. [300/500] 1184 French School (Contemporary) “Balcony Scenes”, pair of chromolithographs, indistinctly signed, numbered “247/375” and “267/375”, sight 35” x 15‑1/2”. Glazed, matted and framed en suite. [150/300]

1182

137

1188 Constantin Brancusi (Romanian/French, 1876‑1957) “Mademoiselle Pogany III”, bronze on a stepped marble base, signed “C. Brancusi”, h. 10‑1/2”, w. 4”, d. 4‑1/2”. [5000/8000] Illustrated 1188

1189 Chaim Gross (Austrian/American, 1904‑1991), “Girl Pole Vaulter”, a patinated-bronze after the 1940 carved wood original, this cast fourth quarter 20th century by Bedi-Makky, New York, depicting the abstract figure of a female acrobat at the height of her vault, above an integral trapezoidal base, signed on the upper edge of the base “Chaim Gross”, stamped on the lower edge “Bedi-Makky / N.Y.C.”, h. 7‑1/4”, w. 3‑1/4”, d. 2‑3/4”. The original wood sculpture of this bronze is housed at The Renee and Chaim Gross Foundation, 526 LaGuardia Place, New York. New Orleans Auction Galleries would like to thank Ms. Susan Greenberg Fisher, Executive Director of the Foundation, for her kind assistance in the identification of this and the other Chaim Gross sculpture in this sale. For more information about the foundation and an extensive biography of the artist, see their website: www.rcgrossfoundation.org [800/1200] Illustrated 1190 Loren David Schumann (American/Florida, b. 1959), “Head to Toe”, 1986, a patinated bronze figure of a female nude, presented on a turned mahogany base, overall h. 8‑1/4”, w. 3‑1/4”. Affixed to the underside of this lot is the original bill of sale from the Chase Gallery in Houston, Texas. Schumann now specializes in stained and etched glass at his studio, Schumann Glass Art in Sarasota, Florida. [100/200] 1191 Patinated Bronze Figure of a Female Nude, first quarter 20th century, by the Roman Bronze Works, New York City, New York, the figure depicted walking, with her hand held over her head, h. 13”. [150/300] 1192 Chaim Gross (Austrian/American, 1904‑1991), “Baby Acrobat”, patinated-alvastone after the 1957 bronze model, third quarter 20th century, Alva Studios, New York, depicting the abstract figure of an acrobat doing a handstand and balancing a young acrobat on her feet, patinate- alvastone (a gypsum and granite/ marble composite) above a circular black base, signed on the reverse “Chaim Gross”, h. 15‑1/4”, base dia. 4‑1/4”. New Orleans Auction Galleries would like to thank Ms. Susan Greenberg Fisher, Executive Director of The Renee and Chaim Gross Foundation, for her kind assistance in the identification of this and the other Chaim Gross sculpture in this sale. The foundation, dedicated to furthering the understanding of Gross’ life and work, is located at 526 LaGuardia Place in New York; for more information about the foundation and an extensive biography of the artist, see their website: www.rcgrossfoundation.org [700/1000]

138

1193

1193 Willard Dryden Paddock (American, 1873‑1956), a patinated bronze Art Nouveau figural candelabrum, after the 1911 model, cast by the Gorham Foundry, Providence, Rhode Island, depicting an Empire-robed female figure figure, her arms outstretched and each holding a candlesocket, her vision obscured by a child whose arms are wrapped around her eyes, the figure raised above a tall, thin standard and circular base, signed, dated and numbered along the basal edge “Willard D. Paddock 1911” and “Edit 25, No. 16”, the latter partially obscuring the rubbed Gorham mark, h. 28‑1/2”, w. 6‑1/2”, base dia. 5”. [700/1000] Illustrated

1194

1194 Emilio Greco (Italian, 1913‑1995) “Piccola Bagnante”, patinated bronze, signed and dated on base “Greco 1958”, 22” x 8”. [5000/8000] Illustrated

1189

1194 detail

139

1195 1195 Bernard Buffet (French, 1928‑1999) “Les Soucis”, oil on canvas, signed “Bernard Buffet”, 29” x 21‑1/4”. Presented in an ebonized frame with a linen liner. Provenance: Sotheby’s London, October 23, 2001, Lot 283. Private collection, Baton Rouge, Louisiana. [25000/40000] Illustrated

140 140

1196 Large and Unusual Gilt-Metal Sunburst Mirror, mid‑20th century, the beveled circular mirrored plate surrounded by organically rendered interlacing rays, dia. 52”. [400/700]

1203 Marc Chagall (American/ French/ Russian, 1887‑1985) “Brown Still Life”, lithograph, unsigned, reverse with a partially legible gallery label, sight 8‑1/2” x 7‑1/4”. Glazed, matted and framed. [300/500]

1197 Diminutive Daum, Nancy, Acid Etched, CameoCut and Enameled Landscape Cabinet Vase , first quarter 20th century, the rim parcel-gilt, the dimpled body with a tiny reserve depicting lakeshore trees, signed in gilt script “Daum/the cross of Lorraine/ Nancy”, h. 1‑1/4”, w. 1‑1/2”. [500/800] Illustrated 1198 Five Blown-Glass Modern Iridescent Ball Ornaments, one with a clear base, three in shades of purple and one with an ivory base color, all fluted and ribbed by hand, dia. 3”. [50/80]

1197

1204 1204 Pablo Picasso (Spanish, 1881‑1973) “Monkey & Model”, black and white heliogravure, 1954, pencil signed upper left “Picasso”, dated in print upper left “3‑1‑54”, sheet size 13‑7/8” x 10‑1/4”. Glazed, matted and framed. Accompanied with a Certificate of Authenticity by National Art Guild. [1200/1800] Illustrated 1205 Pablo Picasso (Spanish/French, 1881‑1973) “La Colombe Volant”, chromolithograph on Arches paper, signed in pencil lower right, numbered lower left “71/200”, sight 20‑1/4 x 25‑3/4”. Glazed, matted and framed. Reference: Block 712, Mourlot 214. [7000/10000] Illustrated

1199 Steuben Glass Vase, designed in 1959 by George Thompson, model number 8090, h. 11‑3/4”, dia. 6‑1/8”. [150/300] 1200 Turkish Revival Style Upholstered Side Chair, the padded and tufted scrolled-back above the generously padded seat, the bottom skirted, h. 33‑1/2”. [400/700] 1201 Pablo Picasso (Spanish, 1881‑1973) “Two Nudes”, black and white heliogravure, bearing a blind stamp lower right “Picasso", dated in print lower right “12‑8‑42”, numbered in pencil lower left “158/500”, sheet size 16” x 20”. Glazed, mounted on linen and framed. [600/900] 1202 Pablo Picasso (Spanish, 1811‑1973) “Artist and Model”, black an white heliogravure, dated in print upper right “21‑12‑58”, sight 13” x 10”. Glazed, attractively matted and framed. [400/700] 1205

141

1209 Classical Style Iron and Brass Sling Chair and Matching Ottoman, the iron chair frame, fit with leather arm rests, with brass clad sides terminating in brass rondels, the ottoman made to match, both upholstered in tan cotton, h. 32”, w. 24”, d. 31”, chair, h. 18”, w. 24”, d. 23”, ottoman. [1000/1500] Illustrated 1210 French Carved Giltwood Faux-Bamboo Looking Glass, the plate broadly beveled throughout, h. 48‑1/4”, w. 40‑1/4”. [500/800] 1211 After Amedeo Modigliani (Italian/French, 1884‑1920), “Tete”, a painted plaster musem replica of the original 1911‑1913 limestone model acquired by Solomon R. Guggenheim Museum, New York City, New York, in 1955, impressed on rear basal edge “[copyright] SRGF”, h. 11‑1/4”, w. 2‑3/4”, d. 4”. [100/200]

1206 1206 Pablo Picasso (Spanish/French, 1881‑1973) “Musee Municipal d’Art Moderne Ceret”, 1958, linocut printed in colors on thin wove paper, signed lower right margin, sheet size 26‑3/8” x 19‑5/8”. Glazed and framed. [2000/4000] Illustrated

1216

1207 Victor Vasarely (French/Hungarian, 1906‑1997) “Kezpi-Ga Year”, ca. 1970, color seriograph, signed lower right, numbered lower left “199/250”, sight 28‑3/4” x 26‑3/4”. Glazed and framed. [800/1200] 1208 Jacques Villon (French, 1875‑1963) “Abstract Composition”, 1955, hand colored lithograph on woven paper, 18” x 24”, signed and dated on the plate lower right. Presented in a contemporary blue and white wood frame. [900/1200]

1209

1212 Very Rare and Unusually Large Split Fossilized Ammonite Specimen, Cretaceous Period, 100 million years old, the interior chambers showing crystalline structure of mineralized deposits, with a nicely polished finish on both sides, l. 32‑1/2”. [3000/5000] Illustrated 1213 Baule Cast Copper Alloy Mask, 20th century, well cast in high relief with wide, narrow eye slits, partially open mouth, facial scarification and braided facial hair, the head topped with a ribboned headdress with decoration of birds attacking serpents, the ears doubling as attachment hoops, h. 7‑1/2”, w. 5‑1/2”. [600/900]

142

1214 Akan Ashanti Antelope-Form Gold Weight, cast as a standing figure of a horned antelope on four legs, the body decorated with a series of coiled circles, h. 4‑1/4”, l. 5‑1/2”. [75/125] 1215 South American Pottery Funerary Figure in the Form of a Seated Male, the seated figure holding a skull in its lap and wearing a ceremonial head dress, the glazed pottery body with remains of red ochre decoration, w. 3”, l. 5‑1/8”. [30/50]

1212

1216 Rare Carved Stone Egyptian Bust of a Female Ruler, Middle Period (2030‑1640 BC) or later, the black stone carved as a female bust crowned with a royal headdress, the stone with pitting and encrustation, h. 3‑3/8”. [200/400] Illustrated 1217 Ettore Sottsass (Italian, 1917-2007) Polychrome-Lacquered Metal and Chrome "Ashoka" Lamp, 1981, bearing a metal label, "Memphis/Milano/Ettore Sottsass, 1981", h. 33-1/2", w. 29-1/2". [700/1000]

143

Session III

Sunday, October 2, 2011 11:00 a.m. (Lots 1218-1971)

Over 300 Mexican 22 kt Gold Coins

1221 Four Mexican Five Peso Gold Coins, total coin weight 16.68 grams (approximately 15.0 grams pure gold), dia. 19mm. [600/900] Illustrated

1218 Three Mexican Fifty Peso Gold Coins, .90 purity, total coin weight 166.7 grams (approximately 112.5 grams pure gold), dia. 37mm. [4000/7000] Illustrated 1219 Three Mexican Fifty Peso Gold Coins, .90 purity, total coin weight 166.7 grams (approximately 112.5 grams pure gold), dia. 37mm. [4000/7000]

1222 One United States Gold One Dollar Open-Wreath Liberty Head Coin, 1849, low mintage of only 688,567 coins, total coin weight approximately 1.67 grams (approximately 1.5 grams pure gold), dia. 13mm. [150/300] Illustrated

1220 Mexican One Peso Gold Coin, 1896, .90 purity, total coin weight 1.69 grams (approximately 1.52 grams pure gold), dia. 13‑1/4mm. [50/80] Illustrated

1223 Five Mexican Twenty Peso Gold Coins, of various dates, .90 purity, total coin weight 83.38 grams (approximately 75 grams pure gold), dia. 27‑1/2mm. [3000/5000] 1224 Five Mexican Twenty Peso Gold Coins, of various dates, .90 purity, total coin weight 83.38 grams (approximately 75 grams pure gold), dia. 27‑1/2mm. [3000/5000] 1225 Five Mexican Twenty Peso Gold Coins, of various dates, .90 purity, total coin weight 83.38 grams (approximately 75 grams pure gold), dia. 27‑1/2mm. [3000/5000]

1221

1218

1226 Five Mexican Twenty Peso Gold Coins, of various dates, .90 purity, total coin weight 83.38 grams (approximately 75 grams pure gold), dia. 27‑1/2mm. [3000/5000] 1220

146

1227 Five Mexican Twenty Peso Gold Coins, of various dates, .90 purity, total coin weight 83.38 grams (approximately 75 grams pure gold), dia. 27‑1/2mm. [3000/5000]

1235 Five Mexican Twenty Peso Gold Coins, of various dates, .90 purity, total coin weight 83.38 grams (approximately 75 grams pure gold), dia. 27‑1/2mm [3000/5000]

1228 Five Mexican Twenty Peso Gold Coins, of various dates, .90 purity, total coin weight 83.38 grams (approximately 75 grams pure gold), dia. 27‑1/2mm. [3000/5000]

1236 Five Mexican Twenty Peso Gold Coins, of various dates, .90 purity, total coin weight 83.38 grams (approximately 75 grams pure gold), dia. 27‑1/2mm [3000/5000]

1223

1237 Five Mexican Twenty Peso Gold Coins, of various dates, .90 purity, total coin weight 83.38 grams (approximately 75 grams pure gold), dia. 27‑1/2mm. [3000/5000] 1238 Five Mexican Twenty Peso Gold Coins, of various dates, .90 purity, total coin weight 83.38 grams (approximately 75 grams pure gold), dia. 27‑1/2mm. [3000/5000]

1222

1229 Five Mexican Twenty Peso Gold Coins, of various dates, .90 purity, total coin weight 83.38 grams (approximately 75 grams pure gold), dia. 27‑1/2mm. [3000/5000] 1230 Five Mexican Twenty Peso Gold Coins, of various dates, .90 purity, total coin weight 83.38 grams (approximately 75 grams pure gold), dia. 27‑1/2mm [3000/5000] 1231 Five Mexican Twenty Peso Gold Coins, of various dates, .90 purity, total coin weight 83.38 grams (approximately 75 grams pure gold), dia. 27‑1/2mm [3000/5000] 1232 Five Mexican Twenty Peso Gold Coins, of various dates, .90 purity, total coin weight 83.38 grams (approximately 75 grams pure gold), dia. 27‑1/2mm. [3000/5000]

1239 Five Mexican Twenty Peso Gold Coins, of various dates, .90 purity, total coin weight 83.38 grams (approximately 75 grams pure gold), dia. 27‑1/2mm. [3000/5000]

1240

1233 Five Mexican Twenty Peso Gold Coins, of various dates, .90 purity, total coin weight 83.38 grams (approximately 75 grams pure gold), dia. 27‑1/2mm [3000/5000] 1234 Five Mexican Twenty Peso Gold Coins, of various dates, .90 purity, total coin weight 83.38 grams (approximately 75 grams pure gold), dia. 27‑1/2mm [3000/5000]

147

1240 Ten Mexican Twenty Peso Gold Coins, of various dates, .90 purity, total coin weight 166.7 grams (approximately 150 grams pure gold), dia. 27‑1/2mm. [6000/9000] Illustrated previous page 1241 Ten Mexican Twenty Peso Gold Coins, of various dates, .90 purity, total coin weight 166.7 grams (approximately 150 grams pure gold), dia. 27‑1/2mm. [6000/9000] 1242 Ten Mexican Twenty Peso Gold Coins, of various dates, .90 purity, total coin weight 166.7 grams (approximately 150 grams pure gold), dia. 27‑1/2mm. [6000/9000] 1243 Ten Mexican Twenty Peso Gold Coins, of various dates, .90 purity, total coin weight 166.7 grams (approximately 150 grams pure gold), dia. 27‑1/2mm. [6000/9000] 1244 Ten Mexican Twenty Peso Gold Coins, of various dates, .90 purity, total coin weight 166.7 grams (approximately 150 grams pure gold), dia. 27‑1/2mm. [6000/9000] 1245 Ten Mexican Twenty Peso Gold Coins, of various dates, .90 purity, total coin weight 166.7 grams (approximately 150 grams pure gold), dia. 27‑1/2mm. [6000/9000] 1246 Ten Mexican Twenty Peso Gold Coins, of various dates, .90 purity, total coin weight 166.7 grams (approximately 150 grams pure gold), dia. 27‑1/2mm. [6000/9000] 1247 Ten Mexican Twenty Peso Gold Coins, of various dates, .90 purity, total coin weight 166.7 grams (approximately 150 grams pure gold), dia. 27‑1/2mm. [6000/9000] 1248 Ten Mexican Twenty Peso Gold Coins, of various dates, .90 purity, total coin weight 166.7 grams (approximately 150 grams pure gold), dia. 27‑1/2mm. [6000/9000] 1249 Ten Mexican Twenty Peso Gold Coins, of various dates, .90 purity, total coin weight 166.7 grams (approximately 150 grams pure gold), dia. 27‑1/2mm. [6000/9000] 1250 Ten Mexican Twenty Peso Gold Coins, of various dates, .90 purity, total coin weight 166.7 grams (approximately 150 grams pure gold), dia. 27‑1/2mm. [6000/9000] 1251 Ten Mexican Twenty Peso Gold Coins, of various dates, .90 purity, total coin weight 166.7 grams (approximately 150 grams pure gold), dia. 27‑1/2mm. [6000/9000]

148

1252 Ten Mexican Twenty Peso Gold Coins, of various dates, .90 purity, total coin weight 166.7 grams (approximately 150 grams pure gold), dia. 27‑1/2mm. [6000/9000] 1253 Ten Mexican Twenty Peso Gold Coins, of various dates, .90 purity, total coin weight 166.7 grams (approximately 150 grams pure gold), dia. 27‑1/2mm. [6000/9000] 1254 Ten Mexican Twenty Peso Gold Coins, of various dates, .90 purity, total coin weight 166.7 grams (approximately 150 grams pure gold), dia. 27‑1/2mm. [6000/9000] 1255 Ten Mexican Twenty Peso Gold Coins, of various dates, .90 purity, total coin weight 166.7 grams (approximately 150 grams pure gold), dia. 27‑1/2mm. [6000/9000] 1256 Ten Mexican Twenty Peso Gold Coins, of various dates, .90 purity, total coin weight 166.7 grams (approximately 150 grams pure gold), dia. 27‑1/2mm. [6000/9000] 1257 Ten Mexican Twenty Peso Gold Coins, of various dates, .90 purity, total coin weight 166.7 grams (approximately 150 grams pure gold), dia. 27‑1/2mm. [6000/9000] 1258 Ten Mexican Twenty Peso Gold Coins, of various dates, .90 purity, total coin weight 166.7 grams (approximately 150 grams pure gold), dia. 27‑1/2mm. [6000/9000] 1259 Ten Mexican Twenty Peso Gold Coins, of various dates, .90 purity, total coin weight 166.7 grams (approximately 150 grams pure gold), dia. 27‑1/2mm. [6000/9000] 1260 Ten Mexican Twenty Peso Gold Coins, of various dates, .90 purity, total coin weight 166.7 grams (approximately 150 grams pure gold), dia. 27‑1/2mm. [6000/9000] 1261 Four Mexican Twenty Peso Gold Coins, of various dates, .90 purity, total coin weight 66.68 grams (approximately 60 grams pure gold), dia. 27‑1/2mm. [2500/4000] 1262 Five Small Pieces of Fourteen Karat Gold Jewelry and Findings, including a “shamrock” charm, w. 3/4”, a “bow”style watch pin, w. 3/4”, a tiny “hummingbird” charm, l. 5/8”, a tiny “dove” charm, l. 5‑1/8”, and circular charm suspension ring, dia. 5-/8”, 7.6 gr. total weight [125/250]

1263

1263 Spectacular Eighteen Karat White Gold, Aquamarine and Diamond Pendant, the white gold frame pave-set with 1.08 carats of round brilliantcut diamonds, the top portion set with a 41.17 carat shield-cut aquamarine, suspended from the shield-cut is a 11.3 carat elongated pearcut aquamarine, the reverse with wire hoops for suspension from a chain. [12000/18000] Illustrated

1266 Good Lady’s Eighteen Karat Yellow Gold, Diamond and Emerald Chain, the eighteen karat yellow gold link chain with eight bezel-set round brilliant-cut white diamonds and nine bezel-set round-cut emeralds, fourteen karat yellow gold clasp, total diamond weight is 1.73 carats and 2.0 carats of emeralds. [5000/8000] Illustrated

1265

1264 Lady’s Eighteen Karat White Gold, Opal and Diamond Ring, composed of an oval cabochon of precious opal weighing 9.68 carats surrounded by .62 carats of round brilliant-cut white diamonds in a lattice-work mounting. [5000/8000] Illustrated 1265 Lady’s Eighteen Karat Yellow Gold, Emerald and Diamond Ring, composed of a central heart-cut natural emerald weighing 6.45 carats, surrounded by a doublerow of thirty-three round brilliant-cut diamonds weighing 2.99 carats, all in a heart-shaped mounting with a polished shank. [6000/9000] Illustrated

1264

1266

1267 Good Tiffany and Company Eighteen Karat Yellow Gold, Emerald and Diamond Lady’s Ring, designed as a band ring set diagonally with bands of roundcut diamonds and emeralds in alternating channels. [500/800]

149

1268 Lady’s Eighteen Karat Yellow Gold and Diamond Flexible Link Bracelet, composed of hourglass links alternating with single bulge links, each set with ovals set with four round brilliant-cut white diamonds with an estimated total weight of 21.0 carats, l. 7‑1/2”. [25000/40000] Illustrated

1277

1269 Lady’s Eighteen Karat Rose Gold Embellished Mesh Bracelet, ca 1960, the body of interwoven mesh, the top decorated with raised mesh borders at the edges, the center decorated with an angled line with raised decoration between the peaks, safety chain, l. 7‑1/2”. [1000/1500]

1270

1272 Lady’s Fourteen Karat Yellow Gold, Sapphire and Diamond Cluster Ring, composed of seven roundcut blue sapphires and eight round brilliant-cut white diamonds in a ribbed mounting of a heart-shaped and two tubular ribs. [300/500]

1270 Striking Eighteen Karat White Gold, Tanzanite and Diamond Lady’s Ring, composed of a central cushion-cut Tanzanite weighing 12.66 carats of intense lavender/blue color in a mounting with bands of baguette-cut diamonds with borders of round brilliant-cut diamonds with a total weight of 2.55 carats. [15000/25000] Illustrated 1271 Lady’s Eighteen Karate White Gold, Ruby and Diamond Cluster Ring, composed of a central oval-cut ruby with an estimated weight of .60 carats, surrounded by nineteen round brilliant-cut white diamonds with an estimated total weight of .75 carats. [500/800]

1268

1273 Lady’s Fourteen Karat Yellow Gold and Diamond Cocktail Ring, with a Tree-of-Life mounting composed of an estimated 1.15 carats old European-cut diamonds, an estimated 1.0 carats round brilliant-cut diamonds, an estimated 1.25 carats round brilliant-cut diamonds and nineteen round brilliant-cut diamonds with an estimated total weight of 2.0 carats. [3500/5000] 1274 Extreme Lady’s Fourteen Karat Yellow Gold, Diamond and Emerald Custom Ring, cast as a piece of fabric with overlapping scale surface set on a Florentine finish shank, the top of the ring set with eleven round brilliant-cut diamonds and eight pear-cut emeralds. [200/400] 1275 Unusual Fourteen Karat Yellow Gold, Diamond and Jade Ring, the mounting cast as abstract rockwork and set on the top with an old European-cut diamond and a square of green jade both set in bezel settings. [500/800] 1276 Vintage Lady’s Stainless Steel and Fourteen Karat Gold Rolex Oyster Perpetual “Ladydate” Wristwatch, the stainless steel case with fluted gold bezel and crown on a Rolex stainless steel and fourteen karat rose gold riveted Oyster bracelet, model #6517, serial #720226, the case, dial and movement signed “Rolex”, 31 mm x 25 mm (excluding crown). [400/700] 1277 Magnificent Eighteen Karat White Gold and Diamond Ring, composed of a central prong-set emerald-cut diamond weighing an estimated 7.13 carats (SI‑1 clarity, J-K color), set on either side of the mounting with a grouping of Asher,-baguette-and-round-cut diamonds with a total weight of 1.94 carats, accompanied by an EGL diamond certificate. [60000/90000] Illustrated

150

1281 Vintage Fourteen Karat Yellow Gold and Diamond Stickpin, first quarter 20th century, set with a single Old European-cut diamond weighing approximately 0.26 carats, I color/VS1 clarity, in a gold six-prong “buttercup” mounting on a long pin, l. 2‑3/4”, 1.8 gr., with later friction clutch. [100/200] 1282 Lady’s Platinum and Diamond Engagement-Style Ring by Sophia D, retailed by Neiman Marcus, composed of a central 3.02 carat emerald-cut diamond, VS‑1 clarity, J color, flanked on either side by an elongated keystoneshaped diamond, estimated .60 carat total weight in a polished platinum mount, wooden box, accompanied by a GIA certificate. [35000/50000] Illustrated

1278

1278 Dramatic Eighteen Karat White Gold, Pearl and Diamond Lady’s Bib-Style Necklace, the white gold link body flowing into six entwined branches terminating into six bell-caps with large white South Seas pearls, the links and frame pave-set with diamonds and the six set with additional prong-set diamonds, the South Seas pearls of white/rose color and measuring 14.0mm to 14.5mm in diameter. [15000/25000] Illustrated

1282

1279 Fine Lady’s Platinum and Diamond Long Chain, composed of a five-link platinum chain set with thirtyfive round brilliant-cut white diamonds in bezel settings with a total weight of 9.80 carats, lobster claw clasp, l. 36”. [15000/25000] Illustrated

1283 Dramatic Eighteen Karat White Gold, Black Tahitian Pearl and Diamond Earrings, each composed of a stylized question mark set with round brilliantcut diamonds weighing .85 carat (total weight) and suspending a 10.3mm round black Tahitian pearl of dense black color. [1500/2500] 1284 Large Round Brilliant Diamond Pendant, the diamond weighing approximately 5.02 carats, L color/SI1 clarity, diameter 11.2, depth 6.7 mm, mounted in a four-prong fourprong fourteen karat gold “rabbit ear” mounting suspended from an eighteen karat white gold boxlink chain, chain l. 15”, total weight 6 gr. [8000/12000] Illustrated

1284

1279

1280 Lady’s Fourteen Karat White Gold and Diamond Engagement-Style Ring, composed of a prong-set Asher-cut diamond weighing 1.0 carats, flanked by four round brilliant-cut diamonds with a total weight of 1.50 carats, all set in a lotus-flower mount. [1500/2500]

151

1289 Strand of Multicolored Large Baroque Pearls, graduated in size from approximately 16mm to 21mm, the baroque shaped pearls in colors from pale cream to brown with high luster and light peacock orient, l. 32”. [700/1000]

1292

1285 Pair of Fourteen Karat White Gold and Diamond Drop Earrings, mid-20th century, each with a single round brilliant- cut diamond weighing approximately 0.75 carats. K color/SI1‑2 clarity, set in a six-prong “buttercup: setting and suspended from two geometric plaques set with eight single cut diamonds totaling approximately .10 carats, with “French” backs, l. 1‑1/4”, 3.3 gr. total weight (2 large diamonds = 1.50 cts. est. TW; 16 small diamonds = 0.20 cts. est. TW) [800/1200] 1288

1290 Good Eighteen Karat White Gold, Pearl and Diamond Pendant Necklace, composed of a double-strand link chain necklace suspending a crescent white gold drop set with .75 carats of round brilliant-cut white diamonds and centered with a 10.5mm white South Seas pearl. [1500/2500]

1291 Unusual Pair Eighteen Karat White Gold Pearl and Diamond Earrings, each composed of three crossed white gold bands set with .90 carats of round brilliant-cut diamonds (total weight) and each centered with a 10.2mm white South Seas pearl, omega clip backs. [1800/2500] Illustrated 1292 Good Graduated Single-Strand of South Seas Pearls, composed of thirty-seven round white South Seas pearls measuring from 10.0mm to 13.8mm diameter with highluster and a fourteen karat yellow gold openwork ball-clasp set with .04 carats of diamonds. [4000/7000] Illustrated 1293 Good Eighteen Karat White Gold, Pearl and Diamond Ring, composed of a central 10.8mm white South Seas pearl set in an openwork mounting pave-set with .41 carats of white diamonds, the central pearl with good luster. [1000/1500]

1291

1286 Fourteen-Karat White Gold and Diamond Bow Pendant Necklace, composed of a fine fourteen-karate white gold link chain suspending a white gold fixed bowshaped pendant in the form of a knotted bow, set with an estimated .90 carats of round white diamonds, l. 16”. [250/400] 1287 Opera Length Strand of White/Cream Pearls, averaging approximately 10mm in diameter, the spherical white/cream colored pearls with good luster forming a dramatic, long strand, l. 72”. [600/900] 1288 Fine Pair of Eighteen Karat White Gold, Pearl and Diamond Earrings, each of oval outline set with a central South Seas white pearl measuring 12.2mm in diameter and pave-set with 274 round brilliant-cut white diamonds with a total weight of 7049 carats, the backs with omega clips and swing-out posts. [10000/15000] Illustrated

8 152

1294 Good Strand of Spherical Pink Pearls, slightly graduated from approximately 12.5mm to 15.5mm in diameter, the color of soft pink with good luster and spherical shape, l. 24”. [1200/1800] Illustrated

1295 Eighteen Karat Yellow Gold, Pearl and Emerald Bee Pin, mid‑20th century, with two small ruby eyes, each dia. 1.4 mm, a collet-set emerald thorax, dia. 2.9 mm., and a pear-shaped pearl thorax, 11.2 mm x 8.5 mm, the wings set with a total forty seed pearls, the reverse fitted with a barrel-catch pin and suspension bail, w. 1‑1/2”, 7.4 gr. [200/400]

1294

1296 Good Strand of White and Peach Colored Pearls, averaging 10mm in diameter, the pearls alternating with peach and white pearls throughout the strand, of spherical shape with high luster, l. 32”. [800/1200] Illustrated

1296

1297 Pair Eighteen Karat White Gold, Diamond and South Seal Pearl Earrings, each of chandelier-style with white gold diamond-shaped frames set with .88 carats (total weight) of round brilliant-cut diamonds, each suspending to white South Seas pearls measuring 9.7mm and one golden South Seas pearl measuring 10.5mm. [2000/4000] Illustrated

1297

1298 Rare Graduated Strand of Golden South Seas Pearls, composed of thirty-five round golden South Seas pearls ranging in size from 11.2mm to 13.0mm diameter with a fourteen karat yellow gold openwork ball-clasp set with round brilliant-cut diamonds. [3000/5000] Illustrated 1299 Dramatic Strand of Freshwater Stick Pearls, composed of baroque finish freshwater stick pearls of cream/white color with high luster arranged in a dramatic strand, l. 27”. [500/800] 1300 Good Strand of Peach Colored Freshwater Stick Pearls, composed of large freshwater stick pearls resembling the shape of coral twigs, the pearls in shades of pale to intense peach color with medium to high luster, h. 29”. [500/800] 1301 New Age Crystal and Stick Pearl Single-Strand Necklace, composed of natural rock crystal interspersed with high-luster freshwater stick pearls, an unusual and striking necklace, sterling silver clasp. [125/250] 1302 Single Strand of Freshwater Baroque Pearls, composed of fifteen large white baroque freshwater pearls with high luster and multicolored iridescence, l. 18”. [200/400]

1298

1303 Subtle Single Strand Moonstone Necklace and Earring Set, each piece faceted and polished unusual geometric shapes with subtle iridescence giving the necklace an ever-changing look depending on light and clothing color, sterling silver clasp, l. 17‑1/2”, necklace, l. 2”, earrings. [125/250]

153

1304 Interesting Six-Strand Crystal and Quartz Necklace, composed of six strands of faceted crystal beads interspersed with large faceted quartz beads in various colors, sterling silver bar and hoop clasp, l. 16‑1/2”. [150/300]

1316

1305 Delicate Four-Strand Iolite Necklace, composed of four strands of minute spherical iolite beads interspersed with pyramidal faceted and polished iolite beads, silver heart shaped clasp, a delicate, youthful necklace of lovely color. [150/300] 1306 Triple-Strand Natural Amethyst Necklace, the strands of different lengths and composed of oblong faceted beads of varicolored amethyst beads, the various depths of color creating an ever-changing look, l. 17”. [150/300] 1307 Faceted Aquamarine Bead Necklace, comprised of graduated groups of pendaloqueshaped aquamarine beads, l. 10 mm, 7.5 mm and 6 mm, all separated by aquamarine rondels, with a fourteen karat gold navette-shaped clasp, l. 16”. [200/400] 1308 Three-Strand Aquamarine and Silver Necklace, composed of three varied length strands of tumbled and faceted aquamarine crystals of good color, the strands lay very well forming a bib display, with sterling silver bar and hoop clasp, h. 16”. [250/400]

1312 Innovative Agate and Jasper Single Strand Drop Necklace, composed of a strand of transparent faceted agate of flattened round shape, the center of the necklace with fifteen varicolored jasper pendants of spherical and teardrop shape, bar and sphere clasp. [150/300] 1313 Unusual Six-Strand Peridot and Coral Necklace, each strand strung with medium green peridot flattened beads separated by pieces of deep red branch coral creating a dramatic, well-draped necklace, sterling silver clasp, l. 16‑1/2”. [200/400]

1319 1315

1309 Two-Strand Aquamarine and Pearl Necklace, composed of large faceted and polished aquamarine freeform pebbles separated by spherical white pearls and silver doughnut beads, with oval filigree sterling silver clasp. [150/300] 1310 Dramatic Turquoise Pebble Necklace, composed of flattened oval turquoise pebbles, with each bead separated by two silver doughnuts and terminating in a sterling silver bar and hoop clasp, h. 20”. [125/250] 1311 Large Included Quartz Necklace, composed of a single strand of large, flattened and polished varicolored quartz pieces, each with various inclusions giving each bead a distinctive look, but creating a harmonious graduated necklace, l. 18”. [125/250]

154

1314 Group of Two Agate Bead Necklaces, each composed of faceted abstract agate beads, the shorter of rich carnelian color, some with banding, the larger of varicolored green, gray, black and beige strung creating an interesting a compatible strand of color, l. 28” to 31”. [150/300]

1315 Victorian Fifteen Karat Yellow Gold and Turquoise Brooch, third quarter 19th century, in the Etruscan Revival manner, of circular form, set with a central dome pave- set with split small turquoise cabochons centering a tiny star-set rose-cut diamond chip and surrounded by eight larger collet-set turquoise cabochons on a gold field decorated with wire-work and suspending a “fox-tail” fringe, the reverse fitted with an open face hair-and wirework locket and scroll catch, w. 1‑3/8”, h. 2‑3/8’ (including fringe), 15.7 gr. [400/700] Illustrated

1320

1317 Fine Victorian Jet Mourning Pendant Necklace, ca. 1800, composed of a double strand necklace of alternating faceted and beaded plaques of Whitby jet with a large pendant in the shape of a Baltic cross with central sunburst, beaded rims and sprays at the top and bottom of the cross. [400/700]

1325

1318 Victorian Jet Mourning Necklace with Pendant Drop, ca. 1880, composed of a long necklace of oval faceted beads with a cruciform drop overlaid with faceted rays having circular terminals. [150/300] 1316 Victorian Fifteen Karat Yellow Gold and Carved Coral Brooch and Earring Suite, third quarter 19th century, in the Etruscan Revival taste, each centered with a realistically carved coral “rose”, the brooch with a beaded geometric crest suspending a scroll-mantled hoop with “torpedo” fringe and encircling a smaller hoop, the reverse with scroll catch, w. 1‑1/2”, h. 2‑1/2” (including fringe), the earrings suspending a small hoop and single “torpedo” en suite, with “fish hook” backs, l. 2”, 18.4 gr. [500/800] Illustrated

1319 Silver Gray Fox Stole, four pelts across with tapered ends, lined with black satin, interior shoulder straps, labeled, “Koslows”, w. 12”, l. 100”. [400/700] Illustrated 1320 Rhinestone Belt with Buckle, with twelve European cut stones mounted on one edge, flexible rhinestone rows alternate with brilliant baguettes, with a tapered end, w. 1‑1/4”, l. 34”. [200/400] Illustrated

1321 Lynx Evening Stole, silk stole with silk overlay trimmed with lynx pelts on either edge, w. 20”, l. 92”. [300/500]

1326

1322 Ungaro Two-Piece Cocktail Suit, ca. 2000, of metallic lame in a Renoir print, jacket and skirt, piped around collar and lapel, two front pockets and cuffs with gold cord, the skirt has a waistband 31”, l. 25”, size 12, labeled “Ungaro Made in Italy”. [100/200]

155

1323 French Seed Pearl, Needlework and Amethyst-Set Gilt-Metal Evening Clutch, first half 20th century, the gilt-metal frame set with tiny pink foil-backed enamel and cut-amethyst flowers having a hinged flip closure, the bag exterior of seed pearls surrounding pastel chain-stitched flowers and gathered at the frame, the interior lined in candlelight satin with two slip pockets, one holding a satincovered fold over with a beveled mirror and slip pocket stamped in gilt: “PARIS/GS within a maker mark/ New York”, h. 5”, w. 8‑1/4”. [200/400]

1332

1326 Three-Piece Metal and Enamel Mesh Bag Group, the first a metal mesh bag with chain handle and pressed metal, ca 1930, labeled, “Whiting Davis, Made is USA”, and stamped, “2912”, h. 5‑1/2”, w. 9‑1/2”, the second with gold mesh in a deco design, incised metal frame with gold chain, h. 6‑1/2”, w. 3‑3/4”, and the third a German mesh and white enamel check patterned bag, incised metal frame and clasp, h. 5‑3/4”, w. 3‑1/2”. [125/250] Illustrated previous page 1327 Two German Silver Metal Mesh Bags, ca 1900, the first with an art nouveau clasp and with a woven metal body trimmed with seven metal pendant weights, h. 5”, w. 5”, with a twisted metal handle, together with a metal pierced frame, the beaded body with clear crystal beads and trimmed with six-inch beaded fringe, h. 12”, w. 6‑1/2”. [125/250] 1328 Two Piece Evening Bag, a small mother-of-pearl evening bag, ca 1940, the rectangular purse with a rolled metal hand, with compartments for rouge, powder, lipstick, mirror and cigarettes on the interior, h. 3”, w. 5‑1/4”, together with a black gabardine cover bag with a braided handle. [100/200]

1334 1324 Satin “Housewife” Fold-Over Bag, ca 1786, in silk satin and lined with silk, hand-stitched and embroidered overall, with pockets and areas for storing needle and thread, small paper and pencil, keys and a small clock, inscribed, “Chere Souvenance”, w. 5‑3/4”, l. 4‑3/4”. [100/200] 1325 Light Gray Fox Evening Stole, silk chiffon overlay over silk, with fur edges the width of one pelt, w. 17”, l. 90”. [300/500] Illustrated previous page

1333

1329 Two Vintage Evening Bags, 1930‑1940, one of black silk with flip-over enamel flap clasp, interior lining missing, chain measures 5”, the other of black garbardine silk with fold-over flap, embroidered bow over the top and sides, one section of the bow forming a handle, with floral embroidery, embellished with pearls and beads, labeled “Zita Original Rio”. [125/250] 1330 Vanity Case “American Beauty” Brushed Metal Compact, with three compartments for make-up and one for change, together with a black gabardine carrying case with change pocket on outside with snap enclosure, h. 2‑3/4”, w. 4‑3/4”. [100/200] 1331 Black Bakelite Wrist Compact, ca 1920. with exterior recessed clock, small art deco clasp opens to reveal area for rouge, powder and lipstick, crystal tasseled, h. 4”, w. 2‑1/2”. [100/200]

156

1337

1332 Natural Ranch Mink Stroller with Black Fox Trim, 1986, with two pockets liked with black suede, and fosx trim around the collar and front lapels, labeled “Sakowitz”, complete with certificate and cotton hanging bag, size: small. [900/1200] Illustrated

1336 Pauline Trigere Jacket, 1960‑1970, the black, unlined crepe V-neck evening jacket with set-in sleeves, trimmed with fur starting below bust area and extending to flared front and around back, wide fur cuffs trim unlined sleeves, has been remade with shoulder pads, labeled, “Pauline Trigere”, l. 25”, from shoulder on large sleeves. [200/400] Illustrated 1337 Two-Piece Black Velvet Suit, the velvet jacket with front zipper and satin collar, two breast pocket flaps with rhinestone buttons and pocket flaps with same buttons, with quilted sleeves and draw string waist, the skirt slightly flared in quilted velvet, fully lined, labeled, “Christian Lacroix, Amen Wardy Aspen”. [200/400] Illustrated

1333 Adolfo Cocktail Hat, ca. 1960, black felt cap with black spray of feathers and rhinestone front ornament, labeled “Adolpho II New York/ Paris 100% wool felt Escello Made in USA”, dia. 7”. [100/200] Illustrated

1334 Oscar de la Renta Two-Piece Evening Suit, ca. 1980‑1990, including a black velvet v-neck top trimmed with rhinestones around the neck, the hem and sleeves, the back fitted with a central zipper, and a long skirt, waist 28”, size 8‑10. [150/300] Illustrated

1338 Three-Piece Group of Evening Bags, the first, a black knitted bag with double-knitted handles, the top edge bordered with German lead beads and fringe, the body embroidered and beaded in a diamond pattern, the circular bottom trimmed with a tassel, l. 9” w. 5‑1/2”, the second, with an adjustable neck with rings and chain and a fold-over flap, beaded and tasseled, in a mosaic pattern embellished with German lead beads in center, formerly lined, l. 11”, w. 6”, the third example, an Art-Deco-style with a motif of stylized beaded apples on a cord in vertical rows alternating with diamond beaded pattern, fringed at the bottom, two handles both knitted and beaded with German lead beads, l. 11”, w. 7”, including fringe, all measurements excluding straps. [100/200]

1336

1343

1335 Maple Leaf Marcasite Brooch and Paste, shaded inset stones from silver to clear, stamped, “Kenneth Jay Lane”, d. 2‑1/2”, l. 3”. [100/200]

1339 Two HandKnitted Purses, ca 1880‑1900, the first, navy blue with two compartments decorated with German lead beads worked in a lozengepattern, trimmed with four tassels, l. 35”, including tassels, the second example, a black knitted evening purse with German lead beads worked in a lozenge-pattern and trimmed with beaded macrame-type fringe, l. 16‑1/2”, including tassels. [100/200]

157

1357

1340 Lenell Sterling Silver Tea Cup Bag, ca. 1990‑2000, fitted with patterned fabric on suede embellished with multicolored rhinestones and drawstring with twisted cord and black tassels, also with a silver snake link strap that is detachable, h. 5”. [50/80] 1341 French Metal Evening Bag, ca 1890‑1900, the beautiful golden meshed metal frame with metallic and crystal beaded body, with an image of a vase with flowers and a checked background, the bottom with iridescent beaded fringe, completely lined, with vanity mirror, labeled, “Olette, Made in France”, w. 5‑1/2”, l. 10‑1/2”. [100/200] 1342 Four Celluloid Hair Combs, first quarter 20th century, including a pierced “Contessa” style stand-up comb vaguely following a tortoise pattern in color, an Art Moderne fan-style comb with nine leaves embedded with green rhinestones, an Egyptian Revival comb with three Egyptian lotus pierced with brown rhinestones, and a black overlay bakelite comb with blue rhinestones with nine leaves in an eye and teardrop motif, h. 6” to 7‑3/4”, w. 4‑1/2” to 6‑3/4”. [200/400] 1343 Collection of Three Glenny Label Couture, 1970‑1980, labeled “Glenny Label/American Wardy/Aspen”, including a evening wear black fine wool three-quarter length coat, with emerald green collar snap-front closure, two-pocket flaps, together with a fine black wool cocktail jacket with Kelley green stitched collar, lapels and facing, size 14, the last a cerise satin skirt with a waistband, waist 32”, length 21‑1/2”, size 10‑12. [250/400] Illustrated previous page 1344 Black Chiffon Cocktail Dress, 1987, the long-sleeved dress with lettuce-edged tricot-flounced ruffles on dropped shoulders, with a dainty hem treatment in front, scattered hand-stitched blue brilliants are scattered throughout, center back zipper and fully lined throughout, labeled, “Holly Harp” for Bergdorf Goodman, size, 10‑12. [100/200]

158

1345 Six-Piece Group of Zoo-to-Do Apparel, consisting of a bustier with metallic gold lace over turquoise silk, boned and with tiny gold satin spaghetti straps, labeled “Josephine Sasso New York”, size small; a turquoise silk organza skirt with gold lining and center back zipper, size 6; a whimsical Duke and Duchess of Windsor yellow silk damask-print vest with rhinestone buttons commemorating their marriage; a matching silk organza full skirt with gathered waistband; a matching slip with elastic waist, labeled “Adelaide of Chicago”, size 8‑10, ca. 1994; and a cerulean blue velvet Empire gown with deep decolletage, gathered long skirt, and center back zipper, labeled “Norma Kamali”, ca. 1970. Jacqueline Sasso is a New York-based fashion designer who regularly creates dresses for Oprah Winfrey and other celebrities. She works with Martha Stewart weddings and her dresses are regularly shown in “Town and Country”, “Glamour”, “InStyle” and “Lucky”. As a 1964 graduate of the Fashion Institute in New York, Kamali made her name quickly by designing clothing from real silk parachutes. In 1978 she launched OMO (On My Own) label and went on to win several Coty awards; she was inducted into its Hall of Fame. She subsequently designed film, dance (Twyla Tharp Co.), and movie costumes (Lumet’s “The Wiz”). Her own designer exclusive private collection was unveiled in Europe in 1987 and she was among the first designers to use videos of her clothing for advertisement. [400/700] 1346 Three Silver Compacts, mid‑20th century, including a large American sterling example by Elgin, circular, with brushed finished and parcel-gilt stylized wave-and-flower decoration, dia, 3‑7/8”, an English sterling example hallmarked London, 1963‑1964, Kigu Ltd., of scalloped oval form with engine-engraved decoration, l. 3‑1/2”, and an Austro-Czech .800 silver example with rococo engraved decoration, the interior with unusual “roulette” action: a canvas screen which rolls back and forth to uncover/cover the powder as the compact is opened or closed, w. 2‑5/8”. [300/500]

1358

1347 Collection of Four Small Enamel and Pique Boxes, including a handsome Victorian ivory pique toothpick box, ca. 1870, l. 3‑3/8”, an Art Deco enamel silverplate compact with marcasite-framed, carved bakelite medallion, ca. 1940, l. 3”, a polychrome enamel silverplate pillbox in the Orientalist taste, ca. 1950, w. 2‑3/8”, a green guilloche enamel and gilt metal trinket box in the Louis XVI taste, ca. 1970, l. 3‑1/2”, [300/500] 1348 Three Small Silver Cases, mid‑20th century, including an American sterling silver card case, ca. 1930, by the Watrous Mfg. Co., rounded rectangular, the lid inlaid with fourteen karat rose and yellow gold banding, l. 4‑1/4”, a German .830 silver soap box, ca. 1930, of rectangular form with gadrooned body, l. 4‑1/4”, and an Italian .800 silver compact, ca. 1955, by Fratelli Fossi, Florence, of square form, with engine-turned decoration and scrollworkmounted faux emerald closure, w. 2‑3/4”. [300/500] 1349 Collection of Four Silver and Silverplate Lady’s Accessories, late 19th and early 20th centuries, including a rectangular German .800 silver box dated 1891, with engine engraving and presentation inscription “A.F. Seidel / zur Erinnerung / Trier 1891”, l. 3‑3/8”, a bulbous circular Gorham sterling silver pillbox, ca. 1900, dia. 1‑3/4”, a rectangular silverplate vanity case, ca. 1925, l. 3‑3/8”, and a circular sterling silver compact, hallmarked Birmingham, 1932‑33, by Asprey & Co, with black enamel lid, dia, 1‑7/8”. [300/500] 1350 Collection of Four Blue Enameled and Jeweled Compacts, mid- to late 20th century, including a large circular gilt metal example with light blue Viennese-style floral enamel, dia. 3”, a small circular silverplate example with light blue guilloche enamel, dia. 2”, a rectangular silverplate example with translucent cobalt blue enamel and applied rhinestone flowers, and an Estee Lauder gilt metal example with blue crystals, dia. 2” [300/500] 1351 Vintage Caron, Paris “Nuit de Noel” Black Glass Perfume Bottle and Original Faux-Shagreen-Printed Paper Box, second quarter 20th century, the fragrance introduced in 1922, the bottle designed by Felicie Vanpouille and Francoise Bergaud, bottle h. 4‑1/4”, box h. 4‑1/2”, the tassel lacking. [50/80]

1352 Magnum One Liter Guerlain, Paris, “L’Heure Bleue” Eau de Cologne Flacon,mid‑20th century, the “Montre” flacon designed in 1936 by the French glassmaker, Pochet et du Courval, the stopper glass, retains the two original paper labels underneath, h. 11‑3/4”, w. 8”. [100/200] 1353 Floppy Style Mink Beret, with grosgrain ribbon interior hat band, lined with cotton net, dia. 21‑1/2”. Provenance: Tamara de Lempicka (1898‑1980), by bequest to her granddaughter. [50/80] 1354 Two Pieces of Vintage Clothing, ca 1930‑1940, consisting of a linen crewel embroidered caftan with inset long sleeves and long front zipper, size large, and a black Caen French lace “V” neck dress with inset sleeves, empire-style with gored skirt, size 12‑14. [150/300] 1355 Ralph Rupley Sable Stole, second quarter 20th century, with a stand up pelt at collar, five pelts across, tapered at the ends, pocket, labeled, “Ralph Rupley Furs, Houston”, w. 20”, l. 40”. Provenance: Tamara de Lempicka (1898‑1980), by bequest to her granddaughter. [250/400] 1356 Mink Collar Pelts, toggle fastening and openings for wearing as a stole, lined, w. 10”, l. 78”. [200/400] 1357 Two Vintage Feather Hats, one of pheasant laid leather cloche, ca. 1950 dia. 7”, the other feathered velvet headband with cock feathers laid in forward toward the face, ca. 1960, dia. 4”. [150/300] Illustrated 1358 Basque Black Wove Beret, ca. 1960, lined with satin and leather interior, labeled “Beret Basque Pure Laine Impermeable Splendio’s Grand Luxe”, dia. 23”. [75/125] Illustrated 1359 Collection of Two Gage Hats, ca. 1930, including a black velvet scooped-front hat with an Art Deco rhinestone embellishment, labeled “Gage Handcraft”, and a russet felt folded in half forward form hat with back strap, labeled “Gage”. [125/250] 1360 Group of Three Vintage Hats, ca 1930‑1950, the first a velvet with bakelite trim, and a cockade on the left side, labeled, “Designed by Lillian”, the second a black fine straw “perch” of crushed straw on top with adjustable strap and comb, labeled, “Germaine Montabert”, and the last a brilliant iridescent cocktail hat with art deco rows of sequins and two small fastening flaps. [250/400] 1361 Fox and Leather Winter Hat, gray fox trim with brown leather dome, wool felt lining, labeled, “Frank Olive Private Collection”, dia. 20”, inside measurement. [50/80]

159

1362

1362 Valentino Boutique Coat Dress, ca. 1970, of wool animal print, zip-front dress, three gold Celtic brooch buttons, set in sleeves with turn back cuffs, lined, labeled “Valentino Boutique Made in Italy”, size 6‑8. [150/300] Illustrated 1363 Two-Piece Beaded Black Suit, ca. 1980, bodice of silk with jewel neckline and hook closure, set-in sleeves and palazzo pants with side zipper and beaded waistaband, lined throughout, size 12. [150/300] Illustrated

1366 Mimi di Niscemi Gilt-Metal Chunky Link Necklace, late 20th century, the links highly textured, bearing an applied oval metal tag stamped: “Mimi di N”, an interpretation of an earlier Verdura model, l. 16‑3/4”. [100/200] 1367 Charming Suite of Costume Jewelry, composed of a gilt-silver bracelet, brooch and earrings, all set with green paste cabochons, the bracelet and brooch additionally set with faux-pearls. Provenance: Virginia Lee Leveau, St. Simons Island, Georgia. [250/400] 1368 Two Pieces of Vintage Miriam Haskell Costume Jewelry, the necklace featuring a round pendant with a central baroque pearl surrounded by smaller pearls and a box-link chain design, the box-link chain embellished with seed pearls, l. 14”, together with a stick pin with a central pearl surrounded by crystals and seed pearls, the rosette clutch also with seed pearls, both done in Haskell’s signature, antique Russian gold finish, 3”. [75/125] 1369 Watch Fob Necklace with Amber Drop, ca 1920‑1930, the amber drop with gold casing and bale, together with a gold watch fob chain with ring closure, ten carat gold filled, l. 18”, chain, l. 1‑1/2”, amber drop. [150/300]

1363

1364 Two Items of Yves Saint Laurent, Paris, Costume Jewelry, fourth quarter 20th century, comprised of a bold pair of gilt-metal shaped and fluted clip earrings, stamped: “YSL” and “MADE IN FRANCE”, h. 2”, and a cabochon fauxamethyst-set linked gilt-metal disc “gypsy” bracelet, w. 1”, unsigned. [200/400] Illustrated

1364

1365 Gerard Yosca, New York, Gilt-Metal Link Toggle Bracelet, ca. 1980, bearing an oval disc stamped: “YOSCA”. [50/80]

160

1370 Pair of Chanel GiltMetal and Horn Disc Clip Earrings and Faux-Ivory and Gilt-Metal Necklace, fourth quarter 20th century, the earrings stamped: “CHANEL”, the necklace with interlocked “C”s around the center ball, accompanied by a black and white Chanel box, earring dia. 1‑3/4”, necklace l. 21‑1/4”. [100/200]

1371 Two Jean-Louis Scherer Boutique Ensembles, including a blouse of cerise and cheetah print chiffon with yoke and set-in sleeves and frame placket closure, lined, affixed with a chiffon scarf to tie in front plants are same print in taffeta, with a skirt in corresponding taffeta with a waistband and a back zipper together with a raincoat of corresponding fabric with collar, lapels and two pockets, lined throughout, labeled “jean-Louis Scherer”, waist 30”, size 12‑14, ca. 1990‑2000. [250/400] Illustrated

1375 Collection of Three Kenneth Jay Lane Costume Jewelry Items, 1970s, comprised of a salmon-enameled faux-bamboo magnetized bangle, stamped: “KENNETH/ LANE” within an oval, interior h. 2‑1/8”, w. 2‑3/8”, a pair of red “strawberry” clip earrings, stamped: “KJL” within an oval, h. 1‑3/8” and a pair of “rope”-bound caramel “cushion “ clip earrings, unsigned, h. 1”. [75/125]

1377

1372 Cine Coin-Set Goldtone Link Necklace, ca 1980, in the Bulgari style, centered with an “ancient” coin within a linked faux-bamboo bezel, the clasp stamped: “CINE”, l.15‑1/2”. [100/200] Illustrated 1371

1376 Group of Extasia Colored Glass and Silverplate Costume jewelry,20th century, comprised of a pin centered with an intaglio, h. 3/4”, w. 2‑3/8”, and a pair of teardrop earrings for pierced ears, overall h. 1”. [75/125]

1373 Four Pair of Assorted Costume Earrings, ca. 1980, one pair an elongated knot clip and stamped 14K, h. 1‑1/4”, a pair of goldtone bows for pierced ears stamped: “KORET”, w. 1‑3/8”, a pair of goldtone traditional knots, dia. 1”, and a pair of elongated twist multi-hoops, h. 1‑3/8”, both styles for pierced ears. [50/80] 1374 Diminutive Steven Lagos Sterling Silver and 18K Gold Butterfly Pin, late 20th century, presented in the original aubergine and gilt-stamped box complete with aubergine suede pouch and special polishing cloth, the pin stamped: “925”, “USA” and “LAGOS”, h. 5/8”, w. 1‑3/8”. [100/200]

1372

1377 Pair of Yves Saint Laurent, Paris, Gilt-Metal Coin “Gypsy” Dangle Earrings, late 20th century, each coin stamped “YVES ST. LAURENT” within elaborately embossed designs, h. 3‑5/8”. [100/200] Illustrated 1378 Pair of Karl Lagerfeld, Paris, Gilt-Metal Beaded and Banded Inverted Triangle Clip Earrings, late 20th century, each signed in script: “KL” within a circle, h. 1”, w. 1‑1/4”. [100/200]

161

1383 Six Volumes on Fashion and Couture, including Le Corset, Ernest Leoty, Paris, 1893, 9‑1/4” x 7‑1/4”; The French Woman of the Century: Fashion, Manners, Usages, Octave Uzanne, London, 1886, color plates, 11” x 7‑1/2”; Histoire de la Mode en France: La Toilette des Femmes, Paris, 1875, color plates, 10‑3/4” x 7”; Les Modes Parisiennes, Paris, 1861, with 23 prints, 11” x 8”; Dame Fashion, 1786‑1912, Julius Price, New York, 1913, color plates, 10” x 8”; and Histoire du Costume en France, J. Quicherat, Paris, 1875, with black and white engravings, 11” x 7‑1/2”. Deaccessioned by and sold for the benefit of the Friends of the New Orleans Public Library. [125/250]

1379

1384 Two Volumes on French Costume, Costumes Anciens et Modernes / Habiti Antichi et Moderni di Tutto Il Mondo, by Cesare Vechellio, Paris, 1860, illustrated with black and white engravings, with later library buckram binding, h. 9”, w. 5‑1/2”.Deaccessioned by and sold for the benefit of the Friends of the New Orleans Public Library. [50/80]

1379 Three-Piece Evening Jacket Group, 1980‑1990, the first example a mellow-gold tricot weave polyester and silk jacket with heavy metallic and velvet embroidery trim, lined in silk, with a matching shell with a squared-off neck embellished with the same embroidery, size, 10‑12, labeled, “Amen Wardy”, the second example, a purple twill jacket with heavy gold braid trim and eight lionfaced closures, fully lined, size 10‑12, labeled, “Amen Wardy/Isabelle Allard, Paris”. [150/300] Illustrated

1385 Two Volumes on French Costume, including Maurice Leloir, ed. Histoire du Costume de l’Antiquite a 1914, vol VIII: Epoque Louis XIII, 1610‑1643 Paris: Henri Ernst, 1933, in a blue buckram library binding, 13‑1/4” x 10”, and Paul Louis de Giafferi, The History of French Masculine Costume New York: Foreign Publications, 1927, one hundred and nineteen color plates in ten glassinewrapped folios in a buckram library folio case, 16” x 12”. Deaccessioned by and sold for the benefit of the Friends of the New Orleans Public Library. [50/80]

1381

1380 Three Decorative Bindings, including a leather-bound copy of Ideals of Life in France: Women in French Art, D. Appleton & Co., New York and London, 1890, a leather bound edition of Iconographie de La Reine Marie Antoinette, 1883, and a cloth bound volume of The Life of Benvenuto Cellini printed at the Officina Bodoni in Verona for the Members of the Limited Editions Club, 1937, the largest h. 15”, w. 12”. [500/800] Illustrated 1381 Iconographie Generale et Methode de IV au IX Siecle (315‑1815), two of three volumes. by Raphael Jacquemin, Paris, 1869, with 204 color plates, in a buckram library binding, 17‑1/4” x 12”. Deaccessioned by and sold for the benefit of the Friends of the New Orleans Public Library. [100/200] Illustrated 1382 Le Costume Historique, six volumes on historic costume, M. A. Racinet, Paris, 1888, considered the definitive work on the history of dress, lavishly illustrated with many color plates, in a buckram library binding, 16‑1/2” x 12”. Deaccessioned by and sold for the benefit of the Friends of the New Orleans Public Library. [125/250]

162

1380

1386 Two Volumes on Russian Dress, including William Miller, Costume of the Russian Empire London, 1803, the 1818 re-issue, with 73 hand-colored plates, in a later tooled leather binding, 14‑1/2” x 11”, and William Alexander, Picturesque Representation of the Dress and Manners of the Russians, London: John Murray, 1814, with 64 color plates, with marbleized boards and later buckram spine, 9‑1/2” x 6‑1/4”. Deaccessioned by and sold for the benefit of the Friends of the New Orleans Public Library. [100/200]

1390 Ruth Klein, Lexikon der Mode, Baden-Baden: W. Klein, 1950, with illustrations by Marietta Riederer, large octavo, in a buckram binding with paper jacket with mylar sleeve, 10‑3/4” x 8‑1/2”. Deaccessioned by and sold for the benefit of the Friends of the New Orleans Public Library. [50/80]

1391

1387 Three Bound Volumes of Italian Costume Illustrations, 1846, including Costumi della Corte Pontificia illustrating Vatican dress, Costumi degli Ordini Religiosi, illustrating ordinate and clerical dress, and Costumi Militari Pontifici illustrating Vatican military dress, the illustrations mounted on linen. Deaccessioned by and sold for the benefit of the Friends of the New Orleans Public Library. [100/200] 1388 Eight Books of Textiles and Interior Design, including Susan Meller and Joost Elffers, Textile Designs; Federico Rocca, Embroidery Italian Fashion; Tricia Foley, The Romance of British Colonial Style; Estelle Ellis, et al., At Home With Books; Chester Jones, Colefax and Fowler: The Best in English Interior Decoration; John Stefanidis, Rooms: Design and Decoration; Brian D. Coleman, Extraordinary Interiors: Decorating with Architectural Salvage and Antiques; and Bobby McAlpine, The Home Within Us. [100/200] Illustrated 1389 Les Accessories du Costume et du Mobilier, in three volumes, by Henri Rene d’Allemagne, Paris: Chez Schmeidt, 1928, in a buckram library binding, illustrating a vast array of personal objects including jewelry, shoebuckles, opera glasses, bodkin cases, inkwell, card handles, fans snuffboxes, card cases, writing boxes, coffeepots and many, many other items, 13” x 10‑1/2”. Deaccessioned by and sold for the benefit of the Friends of the New Orleans Public Library. [150/300]

1388

1391 Four-Piece Chanel Clothing Group, consisting of a wool gabardine coat and matching skirt, the coat with a rolled collar and dolman sleeves, with a pleat running to the three-button cuff with Chanel double-button, logo buttons, pleating also found on front, yolk and center back, l. 34”, from shoulder, the matching skirt with two front darts at waistband, invisible zipper and buttoned kick-pleat with logo buttons, 29” waistband, 39” hip, the leather belt with a gold “Chanel” buckle, together with a cashmere cardigan, 1980‑1900, with set-in sleeves, two front pockets, turned back cuff with logo buttons, with black 1” piping on collar, cuffs, front and pockets, labeled, “Chanel Boutique Bergdorf Goodman on the Plaza, New York”, size, 12. [300/500] Illustrated 1392 Vintage La Bagagerie, France, Black Leather and Leopard-Printed Sueded-Fabric Handbag, the gusseted trapezoidal body leopard-printed overall, the fold-over top with an oval turn clasp, the interior black leather-lined with a zippered pocket having an applied leather label stamped in gilt: “LA BAGAGERIE/Jean Marlaix/ Made in France”, the tapering black leather swivel hoop handle with two applied self “buttons” at each side, bag h. 4‑3/4”, w. 8‑1/4”, strap drop 6”. [200/400] Illustrated following page

163

1395 1393 1392

1393A 1394

1399

1393 Bulgari Leather and Nylon Shoulder Bag, ca 2005, with three gussets, logo on the zipper pull, closure hardware and imprinted fabric, w. 24”, l. 24”. [200/400] Illustrated

1393A Vintage Carlos Falchi Ecru Leather and Black Snake Fold-Over Clutch/Shoulder Bag, the textured ecru leather with applied black snake geometrics, the magnetic closure stamped: “TOWAWAY USA PAT. 4021891”, the ecru leather lining having a long zippered pocket with an applied silk Carlos Falchi label, the narrow stowaway leather strap knotted in place, bag h. 8‑3/4”, w. 13”. [250/400] Illustrated

164

1394 Chanel Black Quilted Nappa Leather Shoulder Pouch, fourth quarter 20th century, having a self-bound leather multi-strap issuing from a “quilted” gilt-metal clasp, the frame leather-covered, the pouch gathered at the frame and quilted throughout, the underside with trapunto interlocked “Cs”, the black leather-lined interior with one zippered pocket, the owner serial number attached inside and stamped on the exterior in gilt: “CHANEL”, the opposing side stamped in gilt: “MADE IN ITALY”, overall h. 26‑1/2”, w. 8‑1/2”, strap drop: 18‑3/4”. [400/700] Illustrated

1395 Vintage Ronay Black Leather Bucket Bag, the slightly tapering body with an applied oval leather disc mounted with a patinated-brass armorial, having a slip cover held in place across the top with a matching cross strap ending in brass grommets, the leather handle padded and stitched, the black faille-lined interior stamped in faded script: “Ronay” above an applied Bonwit Teller label, bag h. 9”, w. 9”, handle drop 7‑1/4”. [200/400] Illustrated

1398

1396 Nettie Rosenstein Black Handbag, ca 1940‑1950, patent straps, trim and closure, embellished with vertical rows of black sequins, stamped inside, “Nettie Rosenstein”, Made in Florence, Italy, w. 3/1‑4”, l. 6‑3/4”. Nettie Rosenstein designed clothes and accessories for five stores in America. In 1937, Life magazine described her as the most successful designer in America and she was also the first recipient of the Neiman Marcus Fashion Award. She also designed Mamie Eisenhower’s dress for the 1953 Inaguaration Ball. [200/400]

1401

1402 Moo Roo Gilt-Metal-Mounted Ecru and Pink Plastic or Lucite Box Handbag, 2000, the ecru pearlized ground with applied gilt-infused and molded pink squares, having a rigid gilt-metal hoop handle and a removable gilt-metal snake link strap, the closure an elongated swivel loop, signed in gilt script on the ecru silk-lined interior: “Mary K. Norton, 2000” and bearing a black and white fabric label: “MOO/ROO/CHARLESTON”, top of handle h. 5‑5/8”, w. 6‑1/2”, strap drop 22‑5/8”. [150/300] 1403 Akris Coctail Suit, 1980‑1990, including a off-white silk gabardine v-neck jacket with two invisible pockets and five self-covered buttons, iridescent “crystal” sequin rondels on fabric, and a slightly flared skirt with waistband size 31‑1/2” and a kick pleat, lined throughout, labeled ‘Akris made in Switzerland”, size 12. [150/300]

1397 Three-Piece Collection of Vintage Bags, the first a convertible black leather clutch, ca 1960’s, featuring a convertible handle with original tag, “Garay”, h. 6‑1/4”, l. 11”, the second a black leather clutch with wrist handle and oval mirror, ca 1960, signed in metal mirror frame “Lou Taylor”, h. 7” , l. 10‑1/2”, and a black alligator shoulder bag, ca 1970’s, with fold-over flap and retractable handle, labeled “Susan Bennis” and “Warren Edwards”, h. 7‑1/4”, l. 9‑3/4”. They were the hottest designers of shoes, boots and matching accessories in 1973 and today would compete with Manolo Blahnik. They retired in the mid‑1990’s. [200/400] 1398 Two-Piece Valentino Cocktail Suit, the V-neck ribbed silk jacket in off-white and black polka dot with black and gray floral print silk trim, black buttons matching the size of the polka dots, size, 10, together with a matching skirt with a concealed zipper, l. 22” from waistband, 28”, waist, labeled, “Valentino Boutique, Made in Italy”. [200/400] Illustrated 1399 Galanos Dress with Belt, 1990‑2000, the subtle wide black-striped satin and wool dress with a satin notched collar and invisible placket at waist, with a slightly gathered waistline and buttons on the back, the waistline featuring diagonal pleats for walking ease, set-in sleeves with covered invisible button back, the matching belt composed of suede and crocodile, with a crocodile covered buckle, labeled, “Galanos”, size, 12‑14. [100/200] Illustrated

1404 Hermes, Paris, Box Calf and Linen “Kelly” Handbag, 1980’s, stamped in gilt under the fold-over flap above the closure mechanism: “HERMES/PARIS”, hardware on one overlapping front strap stamped: “HERMES/PARIS”, both leather tab ends with impressed: “S”, resting on four brass cone feet, the leather-lined interior with a large slip pocket on one side, two side-gusseted slip pockets on the opposing side, the strap lacking, h. 10”, w. 14”. Provenance: Purchased by the consignor at the Whittier Drive, Los Angeles, California, home of Ella Fitzgerald. The handbag contains and includes a gold note card engraved in script: “Ella/Thanks for your thoughtfulness and good wishes”, a guest card for the Jockey Club in Miami, Florida for October 10-November1, 1983, a business card of William Warfield, president of The National Association of Negro Musicians, Inc. and a gift card printed: “Mrs. Hart” inscribed in ink: “For Ella Fitzgerald/Kitty Carlisle Hart/32 East 64th St./New York City/N.Y. 10021” [250/400] Illustrated 1404

1400 Black Crocodile Handbag, ca 1940‑1950, with fine fittings and handle with art deco clasp, a pocket change purse with snap interior and zipper change area, lined in black leather, made in France, h. 6‑1/2”, w. 9”. [100/200] 1401 Chanel, Paris, Gilt-Brass-Mounted Quilted Nappa Leather Handbag, the bag quilted overall with trapunto interlocking “C”s underneath, with two leather-woven gilt-brass chain handles, the ball clasp with embossed interlocking “C”s, the black leather-lined interior with a zippered pocket bearing the serial number, the zipper with a gilt-brass interlocking “C”s charm, stamped below the zipper in gilt: “CHANEL” and a slip pocket on the opposing side containing a Chanel care manual and a numbered plastic authentication card, includes a Chanel drawstring cloth dust pouch, h. 6‑1/2”, w. 10”, handle drop 6‑1/2”. [500/800] Illustrated

1405 Loro Piano Cardigan and Shell, ca. 2000, of ribbed yellow cashmere, collar and front button placket and turnback cuffs, labeled “Loro Piano Italy”, size 48. [150/300] 1406 Vintage Issey Miyake Ultrasuede Mid-Calf Skirt, early 1970s, labeled ‘Issey Miyake # 50374 polyester, Made in Japan”, l. 28”, size 6. Provenance: Theodor, New Orleans, Louisiana. [100/200]

165

1408

1411 Louis Vuitton Folding Garment Bag, with two outer compartments one inner compartment and hanging chamber, with leather handle, the sides with leather strapand-buckle closure, the bottom with snap closure and hanging hook, with monogrammed leather cartouche and Saks Fifth Avenue brass retailer’s plaque, h. 17”, w. 23‑1/2”, d. 8”. [200/400] 1412 Three Assorted Leather Belts, including and an alligator steer hide lined example with gold buckle, l. 38”, w. 1”, a man’s black imprinted crocodile example, labeled “Made in Spain”, l. 36”, w. 1”, a cordovan caiman crocodile example labeled “Made in Italy”, l. 34”, w. 7/8” [100/200] 1413 Three Lady’s Alligator Belts, the first Donna Karan Caiman crocodile, made in Italy, size, medium, w. 1‑1/8”, the second a black genuine crocodile belt, l. 30”, w. 7-/8”, and the third a brown “domestic alligator” belt, l. 36”, w. 3/4”. [100/200]

1407 Whiting and Davis Pearlized Beadlite Mesh, Goldtone Metal and Lucite Handbag, second quarter 20th century, with an amber lucite hoop handle, the goldtone frame with both elements stamped: “WHITING & DAVIS CO./MESH BAGS” and “MADE IN USA”, the bag of ecru pearlized-metal mesh, the interior lined in aubergine faille having two slip pockets, containing a matching coin purse and small beveled mirror, one pocket with an attached fabric Whiting & Davis label, overall h. 11”, w. 8‑1/2”, handle drop: 4”. [100/200] 1408 Collection of Two Galanos Two-Piece Suits, ca. 1990‑2000, one a cocktail suit with a jacket of white boucle wool lined with checkered silk, satin stitched collar and lapels, with toggle closures, with a straight skirt , fully lined, labeled “Galanos/Neiman Marcus, waist 32”, size 12‑14, and a daytime suit of beige and brown houndstooth pattern silk with button-front placket skirt, fully lined, waistband 37”, size 12‑14, labeled “Galanos for American Wardy/Aspen”. [300/500] Illustrated 1409 Rena Lange Two-Piece Winter Suit, the wool jacket with checked vest with patchwork across the front in beige and brown tones, fur trimmed on the front placket, neckline and cuffs, together with pants in a matching wool tweed with two pockets and waistband, size, 14. [100/200] 1410 Louis Vuitton Suitcase, with traditional “LV” fabric exterior, with buckled leather straps and brass fittings, the interior lined with two pockets, l. 32”, w. 20‑1/4”, d. 11”. [250/400] Illustrated

166

1414 Hermes, Paris Reversible Leather “H” Belt, with gilt-brass “H” buckle stamped at the cross bar edge: “Hermes” and the square Hermes mark, the stitched strap bottlegreen reversing to Hermes tan, the tan side gilt-stamped: “HERMES/ PARIS/MADE IN FRANCE” and stamped at the tab end: a small circle, “P”, “M” and “100”, strap w. 1‑1/4”, l. 33‑3/4”. [100/200]

1415

1410

1415 Fold-Over Crocodile Clutch, with fold-over bow handle and separate clasp, four interior pockets, lined, h. 6‑1/2”, w. 7”. [200/400] Illustrated 1416 Fendi, Rome, Burgundy Nappa Leather Drawstring Shoulder Bag, late 20th century, the bag trapuntostitched with a doubled leather cord drawstring, the strap with tubular metal decoration at both sides, the detachable strap can be doubled to create a handbag, one large giltmetal ring with a removable padded leather disc bearing a gilt-metal Fendi “coin”, the black satin-lined interior bearing an oblong gilt-metal label stamped : “FENDI ROMA ITALY 1925 and FF within a circle and FENDI SAS/ROMA MADE IN ITALY” above a slip pocket, the opposing side stamped in gilt: “D‑13168”, accompanied with a mustard Fendi drawstring fabric pouch, bag h. 10”, w. 10‑1/4”, shoulder strap drop 19”. [250/400]

1420 Caiman Crocodile Clutch and Wallet, a fold-ver clutch with pointed snap trim, two pockets inside with mirror, labeled, “ Caiman Croc. / Argentina Marion Alyala de Brewer”, h. 5”, w. 9‑3/4”, together with a crocodile wallet, fully lined with taffeta and paper, h. 7”, w. 4‑3/4”. [300/500] 1421 Brown Alligator Clutch, ca 1950‑1960, with outside strap, lined interior with size zipper and security pocket, h. 6‑1/2”, w. 9‑1/2”. [50/80]

1422

1417 Dark Brown Caiman Crocodile Handbag, ca 1940, with gold fittings and toss-up clasp, three exterior pockets and security zipper, labeled, “Industria Argentina Caiman E1062”, h. 7‑1/2”, w. 10”. [100/200] 1418 Lady’s Crocodile Handbag, ca 1940‑1950, gold fittings and clasp with outside pocket, inside zipper, with wallet pocket and snap pocket on interior, h. 10”, w. 13‑1/2”. [100/200] Illustrated

1418

1422 Crocodile Lady’s Handbag, ca 1940‑1950, V-shaped fold-over flap with gold fittings and replacement gold chain handle, with outside hidden pocket under flap for security, three interior pockets, with zipper and fully lined, h. 9‑1/2”, w. 13”. [100/200] Illustrated 1423 Brown Crocodile Bag, with gold fittings and clasp, two security pockets and one zipper, lined with leather, h. 10”, w. 13”. [100/200] 1424 “Sterling” Lizard Handbag, ca 1950, the brown lizard handbag with self handle and brass fittings, and one interior compact pocket, lined with leather and stamped, “Sterling”, h. 6”, l. 14”. [100/200]

1419 Judith Leiber Burgundy Suede and Patent-Leather Shoulder Bag, late 20th century, the bag exterior with gilt-edged patent-leather squares on a sude ground, gathered with a knotted leather self-toggle drawstring strap, the magnetic tab closure stamped: “USA PAT. 4821891 TOWAWAY”, the burgundy leather-lined flap bearing a gilt-brass tag stamped in script: “Judith Leiber” and “New York”, the interior lined with burgundy faille, having a scalloped slip pocket with a matching coin purse, the leather strap with a buckle, bag h. 9”, w. 9”, strap drop at the first hole 19‑1/2”, accompanied with a drawstring Judith Leiber cloth bag. [250/400]

1425 Jean Paul Gaultier Black Patent Tote Bag, with stitched and braided handles, the patent humorously decorated with woven “guarantee yellow” tape, center zipper and interior pocket, labeled, “Jean Paul Gaultier, Paris”, h. 16”, w. 14”. [75/125] 1426 Three-Piece Fendi Wool Knit Suit, ca 2000‑2010, consisting of a wool knit animal print with red knitted trim, the cardigan with six brown “Fendi” buttons and a collar, long-sleeved with two front pockets, the pullover tee shirt with short sleeves and the skirt with an elasticized waistband, measuring 23” in length from the waist, size 8, labeled “Fendi”, Maglio, Made in Italy. [100/200] Illustrated following page

167

1427 Bottega Veneta Burgundy Woven Nappa Leather and Faux-Tortoise Lucite Shoulder Pouch, late 20th century, the bag comprised of the signature woven leather gathered at the faux-tortoise lucite hoop frame having a swivel clasp, the interior lined with black nappa leather and bearing a giltbrass label stamped: “ BOTTEGA VENETA/ MADE IN ITALY”, with a “BOTTEGA VENETA”embossed faux-tortoise mirror, the 1/4” stitched leather strap attached within the frame, accompanied with a brown cloth Bottega Veneta drawstring cloth dust pouch, bag h. 8‑1/2”, w. 9”, strap drop 20‑3/4”. [400/700] Illustrated

1426

1427

1430 Four Silver and Silverplate Pocket Articles, mid‑20th century, including a Danish silverplate pillbox, the lid embossed with a rural scene, w. 2”, a very unusual sterling silver vanity-chained miniature cigarette case, l. 2” with cigarette holder, l. 1‑3/8”, a sterling silver card case embossed with rococo scrolls, l. 3‑1/2”, and a .950 doublepicture pocket photo frame, l. 3‑1/4”, 5.14 total t. oz. (excluding pillbox). [300/500] 1431 Three “Viennese” Style Floral Guilloche Enamel Compacts, second quarter 20th century, including a shield-shaped yellow guilloche on silvertone example with engine-turned decoration and vanity chain, l. 2‑3/8”, a good Elgin Art Deco shield-shaped white guilloche on goldtone example with ivory-colored enamel body, l. 2‑1/2”, and a La Mode scalloped circular yellow guilloche on goldtone example with bakelite reverse, dia. 2‑1/4”. [200/400] 1432 Collection of Three Gold-Tone Compacts, second quarter 20th century, including a rare example with petit point cover, l. 3‑1/4”, and two with pink and white “Viennese”-style enamel medallion, one square with black enamel ground, w. 1‑3/4”, the other oval with parcelsilvered machine engraved ground and vanity chain, w. 4” [200/400] 1433 Three Small Gold Plated and “Jeweled” Lady’s Accessories, second and third quarters 20th century including a German engraved “pocketwatch”-style compact, , dia. 2‑1/8”, a French Louis XVI-style pillbox with floral enamel plaque and faux aquamarine cabochons, dia. 2”, and a compact with intricate floral rhinestone and glass “seed pearl” lid, w. [200/400] 1434 Three Continental Silver Lady’s Accessories, second quarter 20th century, including a Czech .800 silver card case, ca. 1925, rectangular with rounded ends, l. 3” a German .835 silver card case, ca. 1930, by Robert Kraft, Pforzheim, rectangular, l. 3‑1/8” and a German .800 silver compact, ca. 1950, w. 2‑3/8”, all engraved with rococo scrolls, 3.85 t. oz. (excluding compact). [300/500]

1428 Three-Piece Group of Vintage Clothing, ca 1950, consisting of a red satin brocade smoking jacket with sash, the jacket with shoulder darts and front semi-circular raced pockets, five gold satin elaborate frog closures, the cuffs faced with gold satin piping, size 8, labeled “Ying Tai Co.”, Hong Kong, and a two-piece toreador outfit, the pink and black satin polka-dot cropped top with dolman sleeves and five self-covered buttons in back, scoop neck with elbow-length sleeves, together with black satin capri-style pants with satin waistband, front darts and side zipper, notched hem, waist measures, 24‑1/2”, size 4, purchased at Gus Mayer, New Orleans. [100/200] 1429 Brass Elsa Peretti For Tiffany, New York, Cigarette Lighter, 1982, presented in a blue Tiffany drawstring pouch, h. 2‑1/2”. [100/200]

168

1435 Navy Wool Twill Weave Swing Coat, ca. 1940, attributed to Balenciaga, with a stand-up collar and covered snap closure, darts at the neck with two button closure, cropped sleeves and two slash pockets, with acetate lining, l. 34”, size 10‑12. Provenance: Tamara de Lempicka (1898‑1980), by bequest to her granddaughter. [75/125] 1436 Harris Paisley Shawl, ca. 1860, in red boteh pattern with pieced border, 75‑1/2” x 68”. [500/800] 1437 Egyptian White Net Shawl, ca. 1920, made of white net and embellished with triangular metallic embroidery, 25” x 94”. [75/125]

1438 Two Pieces of Vintage Textiles, consisting of an uncut couture black lace bodice front, ca 1930‑1940, embellished with ribbon, beads and jet, embroidered on Point d’Esprit net, made in France, together with a fine Battenburg handmade lace “lotus” pattern table cover, ca 1900, the lace 10” wide and would make an exquisite Bertha collar for a wedding dress, dia. 36”. [100/200] 1439 Chinese Fringed Shawl, ca. 1880‑1900, of yellow silk with embroidered cherry blossoms and trailing leaves, made for export, 69” x 69”. [300/500] 1440 Three-Piece Bill Blass Collection, ca 1980‑1990, consisting of a navy and white silk jacket with a checked pattern, the fitted jacket with a collared sweetheart neckline, diagonal front darts and pearl buttons, the skirt features the same fabric with companion floral satin appliques, back zipper, both satin-lined, size 8, labeled “Bill Blass”, made in USA of imported fabric; ca 1990, and a wool jacket with a stand-up collar, comprised of gray and black pieced suiting fabrics, with five stamped leather-look buttons and front placket, set in sleeves, two in-set front pockets (never opened), size 12, labeled “Bill Blass”, made in USA of imported fabric. [100/200] 1441 Four-Piece Designer Sportswear Collection, consisting of a pair of black cotton five-pocket jeans, size 10, labeled “Christian Lacroix”, a pair of black cotton capri five-pocket jeans, size 12, labeled “Roberto Cavalli, Class”; a blue and white floral cotton pair of trousers with a side zipper, size 8, labeled “Ines de la Fressange”; and a red and white plaid cotton pleated skirt with side zip, size 10, labeled “Burburry”, London. [100/200] 1442 Five-Piece Collection of American Designer Couture, consisting of a Mary McFadden mini dress in signature black silk fabric with lapped “V” neck and long sleeves, trimmed with renaissance gold braid diagonally across neckline, at cuffs and two double bands at hem, lined throughout, size 10, labeled “Mary Mcfadden Couture”, ca 1960‑1970; a BCBG Maxmazria cocktail dress in brown crepe with vertical rows of silver sequins and flounced hem, spaghetti straps, size medium, labeled “BCBG Maxmazria”; a Sutton Studio black rayon and cotton sequined pullover with short sleeves, size medium, length from shoulder, 25”, labeled “Sutton/Studio”; and a Flores and Flores Prussian metallic blue ottoman silk jacket and shell, the jacket with a stand-up collar and long sleeves, the shell with a round neck and center front zipper, size 12. [200/400] 1443 Two Valentino Jackets, the first example a gray cashmere jacket with oversized pockets with fold-over flaps, slightly flared, three large gray pearl button closures in front and on each pocket, inset sleeves in a charcoalgray quilted satin with a two-button false placket, lined, labeled, “Valentino Boutique, Made in Italy”, size 10‑12, together with a brown and gold houndstooth check standup collar jacket with hidden placket, gold button at the top closure with a lioness’ face with green stone button, two front pockets feature flap, inset sleeves with two matching buttons, lined throughout, size 10‑12. [125/250]

1444 Five-Piece Collection of Geoffrey Beene Couture, consisting of a navy and white printed silk dress with short tab-cuff sleeves and pearl button on the front with two breast pockets and two faux waist pockets, lined in white silk, size 8, labeled “Geoffrey Beene, New York” ; a black and gray linen striped two-piece suit, the long-sleeved collarless jacket has a concealed placket with six buttons, the front dart seam concealing two pockets, the matching skirt with a waistband that emphasizes a central front panel with a diagonal treatment that conceals two front pockets, back zipper, both lined with black silk, size 4, labeled “Geoffrey Beene, New York; and an early 1970’s off-white wool two-piece suit, the long-sleeved collarless jacket with a six clear plastic and jet buttons, with welted front and back darts and raglan sleeves, the skirt features double-darts at the waist line and welted seams, center back zipper, unlined, size 4, early label “Geoffrey Beene”. [200/400]

1445

1445 Pucci Two-Piece Pullover and Pants, ca 1970‑1980, turquoise, gray, brown and white “Pucci” print, comprised of a rayon and polyester pullover with a “V” neck and long sleeves, silk crepe lined pants with waistband and center back zipper, size medium, labeled “Emilio Pucci”, Firenze. [100/200] Illustrated 1446 Givenchy Pants Suit and Belt, ca 1990’s, the light blue wool gabardine jacket with a collar and waistband, two front pockets, long cuffed-sleeves with self-covered buttons, front zipper and self belt with three trailers, lined throughout, together with matching pleated pants, having a waistband with a metal hook and two lined front pockets, pants length, 40”, from waistband, size 38 (4‑6), labeled “Givenchy”, Paris. [100/200]

1447 Luciano Barbera Cashmere Riding Jacket, ca 2000, fine-checked beige and gray with tiny yellow checked cashmere, the collar features a lapel and a three-button placket, two slanted front pockets with tabs, inset sleeves have three buttons, the back features two side vents, beautifully lined, size 42 (6‑8), labeled “Luciano Barbera”, made in Italy for Bergdorf Goodman. [100/200]

169

1448 Collection of Three Evening Pants, ca. 1990‑2000, including white challis wove trousers with pockets in front, labeled “Sonia Rykiel Paris”, l. 39‑1/2”, waist 28”, white trousers with white satin “tuxedo” stripes, two hidden pockets, l. 42’, waist 30”, labeled “Louis Ferand”, and navy wool tuxedo trousers with black silk tuxedo stripes, pockets and no waistband, l. 41‑1/2”, size 10‑12. [100/200] 1449 The Allan Jaffe Collection of Vintage New Orleans and Preservation Hall Photographs, mid-20th century, all silver gelatin prints and one color print, including two of Olympia Brass Band by Jules L. Cahn, Eureka Brass Band by Leon Trice which was reproduced in New Orleans: A Pictorial History, seven Matthew “Fats” Houston and Eureka Brass Band Preservation Hall by Johnny Lagatutta, Allan Jaffe with a banner for the Jazz Band Jamboree by Grauman Marks; also including three Dejan’s Olympia Brass Band and a lyer, three of George Lewis, one autographed, and three Preservation Hall Jazz Band tour bus with travelling musicians including Dede and Billie Pierce, Narvin Kimball, one of Sandra and Allan Jaffee, twelve of Matthew “Fats” Houston and Eureka Brass Band and three of Olympia Brass Band and one of Richard Matthews, Grand Marshal, ranging in size from 5” x 3‑1/2” to 8” x 10”. Provenance: Acquired from the Estate of Allan Jaffe, New Orleans [300/500]

1454

1456

1455 1450 A Large Collection of Vintage George Lewis and His New Orleans All Starts Photographs and Memorabilia, from the Japan Tour, 1962, including multiple poster, advertisements and images from the covers of George Lewis in Japan, vol.1 & 2, a recorded performance, over 600 items. [1000/1500]

170

1451 Lee Friedlander (American, b. 1937) a collection of ten silver gelatin prints of New Orleans Preservation Hall Jazz Band, including two group shots and individual portraits of Percy G. Humphrey, Willie J. Humphrey, Joseph “Cie” Frazier, Henry Kimball and possibly Johnny Wiggs, unsigned, commissioned for and accompanied by New Orleans, Volume 2: Preservation Hall Jazz Band, design by John Berg, recorded between 1976‑1988, 8” x 10”. Unframed. Provenance: Acquired from the Estate of Allan Jaffe, New Orleans. Publication: The Jazz People of New Orleans, 1992. [700/1000]

1458 1452 Joseph Woodson “Pops” Whitesell (American/ Louisiana, 1876‑1958) “Portrait of a Bearded Man”, silver gelatin print, signed lower right recto “Whitesell, N.O.”, 16” x 11‑1/2”. Glazed, matted and framed. Provenance: Luba Glade Collection, New Orleans, Louisiana. [500/800] 1453 Joseph Woodson “Pops” Whitesell (American/ Louisiana, 1876‑1958) “So What”, silver gelatin print, signed lower right recto “Whitesell, N. O.”, titled lower left recto, 12‑1/2” x 10”. Glazed, matted and framed. Provenance: Luba Glade Collection, New Orleans, Louisiana. [500/800] 1454 Sally Mann (American/Virginia, b. 1951) “Untitled”, black and white photograph, signed and dated on reverse “Sally 2008” sheet size 9” x 6”. Glazed, matted and framed. Literature: Sally Mann, Deep South, Bulfinch Press, New York, 2005. [2500/4000] Illustrated 1455 Clarence John Laughlin (American/Louisiana, 1905‑1985) “The Mirror of Long Ago”, 1957, silver gelatin print, signed lower right recto “Clarence John Laughlin”, titled lower left recto, 13” x 10”. This photograph is illustrated in Clarence John Laughlin’s Ghosts Along the Mississippi and so noted on the printed artist’s label on reverse. Provenance: Luba Glade Collection, New Orleans, Louisiana. [1400/1800] Illustrated

1456 Berenice Abbott (American, 1898‑1991) “Pennsylvania Station”, silver gelatin print, pencil signed lower right recto “Berenice Abbott”, 12‑1/2” x 10‑1/2”. Glazed, matted and framed. Provenance: Luba Glade Collection, New Orleans, Louisiana. [1500/2500] Illustrated 1457 Alfred Stieglitz (American, 1864‑1946) “Nearing Land”, photogravure on tissue paper, unsigned, sight 8” x 6‑1/4”. Glazed, matted and framed. Provenance: Luba Glade Collection, New Orleans, Louisiana. [700/1000] 1458 Ansel Easton Adams (American, 1902‑1984) “Saguaro Cactus, Arizona”, silver gelatin print, signed in pencil lower right recto “Ansel Adams”, 13‑1/4” x 9‑3/4”. Glazed, matted and framed. Provenance: Luba Glade Collection, New Orleans, Louisiana. [3000/5000] Illustrated 1459 Two Similar Blown-Glass Hurricane Shades, in the 19th century style, each with a folded foot rim, h. 17‑1/2” to 18”, dia. 6‑3/4” to 7”. [500/800]

171 171

1460 Good Darte Freres Seven-Piece Paris Porcelain Cobalt and Gilt Tea Set, first quarter 9th century, including an oval teapot, h. 5‑1/2”, l. 9”, and urniform sucrier, h. 6‑1/2”, dia. 4‑1/2”, and cream jug, h. 6‑3/4”, w. 5”, and a pair of tasse-a-citron cups h. 2‑1/4”, and saucers, dia. 5‑1/4”, decorated with gilt classical figures against a cobalt ground, the tepot with molded gilt cover holders in the form of bellflowers and bearing, on the underside, the rare paper label of Darte Freres, the sucrier with molded gilt ring handles. [2500/4000] Illustrated

1465

1460

1461 Neoclassical Continental Partial Coffee and Tea Service, first quarter 19th century, both coffee and tea pots have eagle head modified spots and molded decorations at base of spout; all pieces decorated in alternating bands of blue and white, the blue decorated with a running gilt vine, the white panels contain gilt lozenges with bell flowers, in addition the set contains a rare hot milk jug and six coffee cups and saucers, largest h. 11”, w. 8”. [400/700] 1462 American Classical Style Mahogany Window Bench in the Manner of Duncan Phyfe, early 20th century, New York, the ends featuring a lyre-form splat and the seat with a slip cushion, raised on outstretched legs ending in animal paw feet, h. 34”, w. 48”. d. 17‑1/2”. [1000/1500] 1463 American Colonial Revival Giltwood Tripartite Mantel Mirror, fourth quarter 19th century, in the Federal taste, the molded cornice over a row of spheres, the frieze with crosshatching, bisected by carved swags, with foliate and musical trophies below, the mirror plates flanked by clustered colonnette pilasters, h. 32‑1/4”, w. 58‑1/2”. A similarly modeled mirror, attributed to Samuel McIntyre, is in the Pierce-Nichols house, Salem Massachusetts. [400/700] 1464 American Classical Bronze-and-Brass-Mounted, Marble and Rosewood Pier Table, first quarter 19th century, the rectilinear marble top over a frieze mounted at each end with cast-bronze figures of Terpsichore and Erato, the lower edge with a die-cut brass band depicting stars, raised on white marble columns with finely detailed bronze capitals and base, concave lower shelf, the mirror plate flanked by marble pilasters, raised on parcel-gilt carved paw feet, h. 37”, w. 42”, d. 18”. [6000/9000] Illustrated

1464

172

1465 Pair of George III Cut Glass and Gilt Decanters, first quarter 19th century, the panel cut decanter decorated with gilt banding, swags and rim, the scalloped and honeycomb-cut stoppers with gilt flora and edge, h. 11‑1/2”, dia. 4” [400/700] Illustrated

1466 American Classical Brass-Strung Mahogany Sofa, first quarter 19th century, the back with a molded and paneled crest rail, each figured panel bordered with brass inlay, joined to open, brass-strung scroll arms, the seat rail with diagonal reeding, raised on reeded sabre legs ending in brass paw casters, now in striped Lee Jofa upholstery, h. 34‑1/2”, w. 77”, d. 29”. [2000/4000] Illustrated 1467 Giltwood American Tabernacle Mirror, second quarter 19th century, probably New York, with half-round pilasters decorated with lotus leaves alternating with gadrooning, the corner blocks ornamented with bold neoclassical medallions, h. 45”, w. 23‑3/4”. [1000/1500]

1470

1466

1468 American Classical Giltwood Looking Glass, second quarter 19th century, probably Philadelphia, the side pilasters alternately bobbin-turned and molded with cross-hatching, terminating in square corner blocks with applied rosettes, retaining the original gilt surface, h. 37‑1/2”, w. 25‑1/2”. [300/500] 1469 American Late Classical Mahogany Work Table, second quarter 19th century, the rectangular top with drop leaves, above a case fitted with two drawers, the upper one opening to a baize-inset easeled writing surface, raised on a turned bulbous standard to four splayed and paneled legs ending in brass paws on casters, h. 30”, w. 20”, d. 20”, extended w. 37”. [250/400]

1470 After Antonio Canova (Italian, 1757‑1822), “Venus Italica”, a second half 19th century marble copy after ca. 1812 original commissioned as replica of the Medici Venus which itself had been seized by Napoleon in 1802, h. 42”, dia. 12”. [5000/8000] Illustrated 1471 Pair of American Classical Mahogany Side Chairs, early 19th century, Boston, the figured crest rail with carved rosettes at each end, the splat with an upholstered panel, slip seat and raised on ringturned tapering legs, h. 32”. [800/1200] Illustrated

1466 detail

1471

173

1475

1472 American Late Classical Rosewood Side Table, second quarter 19th century, the front fitted with a narrow drawer and supported by a trestle-form base with scrollcut grillwork panels and joined by a turned stretcher, h. 27‑1/2”, w. 22”, d. 16”. [500/800] Illustrated 1473 American Late Classical Mahogany Side Tables, second quarter 19th century, the front fitted with a drawer and supported by a trestle form base with pierce-carved inset scrolling panels and joined by a turned stretcher, the turned legs having turret-form carved finials mounted to their tops, h. 28‑1/2”, w. 18‑1/2”, d. 14‑1/2”. [400/700]

1475 Rare and Fine Pair of American Late Classical Mahogany FoldOpen Games Tables, second quarter 19th century, New York, School of Duncan Phyfe, each exhibiting fine flame mahogany veneers and the tops mounted to an acanthus-carved standard with a reeded band above and supported by four outstretched animal-form legs ending in paw feet, h. 30”, w. 36‑1/2”, d. 18". [6000/9000] Illustrated

1476 Simon Willard, Boston, Massachusetts, Wall Clock, first quarter 19th century, composed of brass-mounted mahogany and eglomise, of “banjo” form in the Federal style, the central eglomise section with a foliage-filled gilt vase surmounting an American eagle shield over a stylized gilt dolphin, the lower door panel set with an eglomise scene of “Perry’s Victory”, the circular dial signed “Simon Willard/Boston”, retains the period movement, h. 30”, w. 10”, d. 3‑1/2”. [700/1000] 1477 John P. O’Neill (American/Louisiana, b. 1942) “Bobolink and Meadowlarks from National Geographic Society’s Field Guide to the Birds of North America”, 1983, watercolor on paper, signed, titled and dated lower left, sight 23” x 15”. Glazed, attractively linen matted and presented in a molded polychrome frame. [900/1200] Illustrated

1472

1474 American Late Classical Mahogany Work Table, second quarter 19th century, the banded top over an acanthus-carved vasiform pedestal on foliate-and-hairycarved paw feet, h. 29‑1/2”, w. 23‑1/2”, d. 20”. [400/700]

1477

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1481

1479 Alexander Pope Jr. (American, 1849‑1924) “Various Ruffled Grouse”, two watercolors on paper, both signed lower right, sheet size 14” x 20”. Both unframed. [300/500]

1478 John P. O’Neill (American/ Louisiana, b. 1942) “Caracara Falcon in the Southwestern Landscape”, watercolor on paper, signed and dated lower left “John P. O’Neill‑94”, sight 24” x 19”. Glazed, attractively matted and framed. [900/1200]

1482 detail

1482

1480 American Classical Parcel-Gilt Mahogany Center Table, first quarter 19th century, attributed to Cook and Parkin, Philadelphia, the circular white marble top over a conforming crotch-veneered frieze, raised on a turned pedestal joined to a concave triangular base with a trio of foliate-carved scrolls with paw feet, raised on ribbed melon feet, h. 29‑1/2”, dia. 36”. Two similar center tables, one with a pair of stencils reading, “Cook and Parkin Cabinetware...No 36 Walnut, Philadelphia” are illustrated in Boor, “Philadelphia Empire Furniture” figures 10,11 and 11a. Richard Parkin and Thomas Cook are listed as having been in partnership from 1820‑1825, though both appear to have been active in the Philadelphia cabinet trade for some years prior and until about 1840. Richard Parkin was one of the three principle authors of the 1811, “Philadelphia Blue Book of Prices”. A sideboard by the firm is in the Baltimore Museum of Art, illustrated in Cooper, “Classical Taste in America 1800‑1840” page 56. [4000/7000] Illustrated 1480

175

1483

1483 Good American Late Classical Mahogany Recamier, second quarter 19th century, Philadelphia, possibly Charles White or Anthony Quervelle, the molded and scrolling back joined by a tall curved and scroll-carved arm on the left and a short-rolled bolster arm on the right with an elaborate foliatecarved rosette on the face, raised on animal paw legs with gadrooned and scrolled wings, h. 32‑1/2”, d. 22”, l, 76”. [3000/5000] Illustrated

1481 William IV Three-Piece Argand Lamp Set, second quarter 19th century, Thomas Messenger, Birmingham, the central two-arm lamp has a tulip-shaped glass tank mounted in brass-cast arms and burner sitting on an inverted cut-glass foot held in place with a molded brass ring, the pierced prism ring is fitted with multifaceted prisms, the arms mounted with metal tags reading, “Messenger and Son, 30 Greville” and “London, Manchester”, h. 23”, w. 17”, together with a pair of singlearm lamps with leaf-molded bronze tanks but match in every detail, h. 19”, w. 13”. [3000/5000] Illustrated previous page 1483 detail

1482 Rare American Classical Parcel-Gilt Rosewood Library Table, ca 1825, Philadelphia, the wooden top with rounded corners over a conforming frieze fitted on one side with a pair of drawers, on a lyre-form pedestal, the lyres each with parcel-gilt foliate carving and paw feet, on a base with block feet, the bases joined by a pair of turned stretchers centered by a raised rectilinear display plinth, h. 30”, w. 48‑1/4”, d. 25‑3/4”. The paw feet on the present table are reminiscent of those on the Cook and Parkins center table in this sale. A table with a similar display plinth and anthenium centering the supports is illustrated in Boor,Philadelphia Empire Furniture, figure 27. That table retains a Richard Parkin label. [3000/5000] Illustrated previous page

1484 American School (First Quarter 19th Century) “Portrait of a Gentleman, Half-Length, in a Black Coat and White Silk Cravat with Pearl and Diamond Stock Pin”, oil on canvas, unsigned, 30” x 25”. Presented in an elaborately carved 19th-century giltwood frame. [3000/5000] Illustrated

1485

176

1485 Large American Late Classical Mahogany Sofa, Boston, second quarter 19th century, the back with an indented crest rail and foliate-carved ends, the carved arm fronts with scrolled details and raised on turned-andacanthus-carved legs ending in melon feet, h. 38‑1/2”, l. 91”, d. 25”. [3000/5000] Illustrated 1486 American Classical Giltwood and Ebonized Pier Mirror, probably Boston, second quarter 19th century, having reeded and ebonized pilasters mounted on all four sides and gold leaf carved corners along with gilt urnings ornamented with cross hatching, h. 54” x. 30”. [1500/2500] Illustrated

1484

1487

1486

1487 Good Large French Verdigris-Patinated Bronze Armillary Sphere, fourth quarter 19th century, presented on a carved stone base, the facade of the base carved with “Famille Velly”, the armillary finial a pair of dolphins addorsed at a spire, h. 48”, w. 27”, l. 2”, overall h. 68”. [800/1200] Illustrated

177

1489

1488 Pair of Gothic Revival Walnut Fern Stands, fourth quarter 19th century, each with a thick circular top with molded edge mounted to a trilegged tapering base with pierced and carved gothic arched panels and joined by a triangular shaped shelf stretcher below, h. 44”, w. 16”, d. 16”, dia. 10”, top. [2000/4000] Illustrated 1489 American Gothic Revival Walnut Hall Tree, third quarter 19th century, having a foliate carved, plume form finial, above a pierced-andmolded backboard with a central arched mirror, the base fitted with a large cast-iron shell form drip pan, h. 87”, w. 30”, d. 16”. [1000/1500] Illustrated

1488

1490 Good English Gothic Revival Palmer Patent Lamp, mid‑19th century, the lushly decorated cast bronze tripodal base is set with patinated bronze couples against a bright gilt background of palm trees, thistles and other flora, the standard made of white glass plated with pale green and in a gothic pattern, overlaid with enamel in gothic patterns, now electrified, h. 32”. [2000/4000] Illustrated

1491 American Gothic Revival Oak Bookcase, mid‑19th century, the cymamolded cornice over a pair of doors, each with tracery comprised of gothic arches, trefoils and centered by a quatrefoil, and each with a panel below, joined by molding to a slightly projecting base raised on turned legs, h. 80‑1/4”, w. 58”, d. 12‑3/4”. [3000/5000] Illustrated

1490

1492 Large and Elaborately Modeled Gothic Revival Oak Doorway Surround, mid‑19th century, the top rail with a row of oak-leaf-carved blocks over linen-fold panels and an arched door frame, flanked by supports with inset arched panels and a series of crocketed spires, h. 117”, w. 54”, d. 9‑3/4”, overall. The extensive design vocabulary and integrated design of the door frame suggests it was part of an architectdesigned commission. [1000/1500] Illustrated 1493 American Gothic Revival Oak Arm Chair, mid‑19th century, New York, of generous scale, the towering back with shaped vertical slats, twining arches and roundels, the arms terminating in bold oak leaf scrolls, the apron with arches, oak leaves and trefoils, h. 84”,w. 27‑1/2”, d. 25‑1/2”. Reputedly, the present chair was part of a suite of six, including an additional arm chair and four side chairs, made for the entrance hall of “Wyndcliffe”. The manse along the Hudson river, near Rhinebeck, New York, was built in 1853 for Elizabeth Schermerhurn Jones. The phrase “Keeping up with the Joneses” was engendered by the neighboring additions and improvements this house inspired. [3000/5000] Illustrated

178

1496

1494 Needlework Tapestry, in the Gothic revival taste, mid‑19th century, depicting King David holding a harp, sight 31” x 24”. Presented in a contemporary ebonized and parcel-gilt frame. [1000/1500]

1491

1493

1492

1495 English Oak Gothic Revival Bracket Clock, fourth quarter 19th century, the brass faceplate has engraved spandrels, and setting for Cambridge chimes or eight bell chimes, with setting for silent/ strike and slow/fast, both door and corners are carved with cluster columns and the gothic-carved upper door conforming to the stepped pedimented cornice, deeply fretted gothic arches carved around the base sitting on block feet, h. 29‑1/2”, w. 17”, d. 11”. [1500/2500] 1496 American Gothic Revival Walnut Side Chair, mid‑19th century, the hexagonal stiles capped by acorn finials, the arched back segmented into pair of arches beneath a quatrefoil-carved crest, the octagonal legs joined to the apron with trefoil and acorn brackets, h. 47‑1/2”. The resent chair was reportedly designed for Belmead, Powhattan County, Virginia, many of the contents of which were designed by the architect Alexander Jackson Davis. A matching side chair in the Lee B. Anderson collection is illustrated in the August 1997 “The World of Interiors”, page 79. [3000/5000] Illustrated

179

1500 American Gothic Revival Mahogany and Marble-Top Library Table, second quarter 19th century, the conforming yellow safra marble top over a pair of sideby-side drawers fitted along one edge of the apron and supported by a trestle-form base joined by a gothic-arched stretcher with carved finial, h. 31‑1/2”, w. 52‑1/2”, d. 30”. [2500/4000] Illustrated 1501 American Gothic Revival Rosewood Arm Chair, mid‑19th century, the padded back with a leaf-carved plume, mounted between turned posts with tapered spire finials, h. 55”, w. 28”, d. 32”. [500/800]

1500

1497 American Gothic Revival Rosewood Hall Chairs, mid‑19th century, the back with a spired-crest over a bisected open back with paired arches, lift-seat and tapering square legs, h. 48”. [400/700]

1499

1498 American Gothic Revival Mahogany Side Table, mid‑19th century, the top of rectangular-form with gothic pierced side aprons and supported by a pair of turned spindles on each side and joined by a shaped stretcher, h. 28‑1/2”, w. 22”, d. 15”. [1500/2500] Illustrated

1498

1499 Charles X Gothic Revival Gilt Bronze Mantel Clock, second quarter 19th century, the clock in the form of a church with an open bell tower, the chapter ring signed by “Raingo Freres, h. 15‑1/2”, w. 6‑1/4”, d. 4‑1/4”. Zachary Raingo (1775‑1847), was a celebrated clockmaker who produced orrery clocks for royal use. [800/1200] Illustrated

180

1502 Rare American Gothic Revival Mahogany Mixing Table, second quarter 19th century, Philadelphia, the rectilinear Egyptian marble top over a frieze drawer with inset panels in the gothic taste, over a cupboard door with a large central concave door flanked by concave panels with pointed arches, on a shaped base with scroll brackets on either side of the cupboard, on scroll feet, h. 37”, w. 41”, d. 19”. [2500/4000] Illustrated

1503 Gilt Bronze Solar Lamp, 19th century, attributed to Henry Hooper of Boston, the morning-glory molded base supports a period gothic tulip shade and is hung with double-button prisms, h. 24”, w. 6‑1/2”. [800/1200] 1504 Two Gothic Revival Salt-Glazed Tobacco Jars, third quarter 19th century, probably German, gothic molded lids are highlighted with silver lustre, bodies have blue panels showcasing white figures molded in bas relief, with silver lustre decorated panels, each with a pad mark containing a pattern number, h. 7”, dia. 5” to 5‑3/4”. [600/900]

1505

1505 American Restauration Games Table, Attributed to John and Joseph Meeks, New York, second quarter 19th century, the bullnosed top and ogee skirt are supported by a pedestal base decorated with gothic niches and turned corner columns with Egyptian-Revival capitals, sitting on a platform base with scroll form feet, h. 29”, w. 36”, d. 18”. [3000/5000] Illustrated 1506 Empire Style Sinumbra Lamp, fourth quarter 19th century, the gothic patterned standard sitting on tripartite paw feet, the shade holder cast to match the standard in gothic patterns, the panel cut and frosted shade is hung with double-button prisms, now electrified, h. 33”. [2500/4000] 1507 Fine American Gothic Revival Mahogany Occasional Table, second quarter 19th century, the figural, circular top over a crotch-cut veneered apron with a molded bottom edge, raised on a hexagonal pedestal joined with beaded molding to a shaped platform base with trefoil feet, h. 28‑1/4”, dia. 23”. [1400/1800] Illustrated

1507

1508 Rare Pair of Five-Light Gothic Revival Bronze Sconces, mid‑19th century, probably English, crenellated back plates are molded to resemble gothic windows, and the crenellated and pierced arm supports candle urns, candle cups, and bobeches, all molded with gothic arches, retaining much of their gilt finish, h. 14”, w. 12”. d. 12”. [800/1200] 1509 English Biscuit Porcelain Lithophane of Mary Queen of Scots, wearing a ruffled collar and rosary, gazing upward, h. 4‑1/4”, w. 3‑1/4”. [100/200] 1502

181

1510 “William Penn’s Treaty with the Indians” English Biscuit Porcelain Lithophane, mid‑19th century, after the painting by Benjamin West, mounted on a period patinated bronze Gothic style frame, h. 16‑3/4”, w. 10”, d. 5‑3/4”. An identical lithophane is in the collection of the State Museum of Pennsylvania. [800/1200] Illustrated

1512

1511 Pair of Philadelphia Gothic Mahogany Revival Side Chairs, second quarter 19th century, attributed to Crawford Riddell, the bowed back with an unusual crest fitted with lotus-leaf finials and volute-carved side brackets, the splat with pointed gothic arches sitting on column supports, h. 35”, w. 18‑1/4”, d. 16‑1/4”. [2000/4000] Illustrated 1510

1512 American Gothic Revival Mahogany and Marble Top Oval Center Table, second quarter 19th century, the table rim with an applied molded upper edge and gothicstyle scallops along the lower edge, mounted to a large tripodal base with scrolled legs, h. 29‑1/2”, w. 42‑1/2”, d. 31‑1/2”. [3000/5000] Illustrated 1513 William IV Bronze and Cut Glass Perfume Bottle, second quarter 19th century, English, the bronze weighted holder molded in gothic patterns on the base, the pierced holder molded with neoclassical ornament, the cut glass bottle engraved with vines and initialed, “SCF”, h. 10‑1/2”. [800/1200]

1511

1514 Bronze and Cut-Glass William IV Perfume Bottle, second quarter 19th century, the octagonal weighted base supporting the molded and pierced bottle holder, in neoclassical patterns, the bottle cut with alternating reeds and panels of crosshatching with faceted ball stopper, h. 9”. [800/1200] 1515 American Late Classical and Gothic-Inspired Rosewood Sofa, Attributed to J. and J.W. Meeks, New York, second quarter 19th century, the arched back with a pierced crest above a scrolling vine-carved frieze and acorn finials, the seat frame featuring applied Gothiclobe-molded panels repeating along the frame and raised on carved bracket feet, covered in a raspberry moire with a slip-seat cushion h. 45”, w. 82”, d. 26". [4000/7000] Illustrated

182

1515

1516 Fine American Gothic Revival Oak Arm Chair, mid‑19th century, New York, the elaborately modeled back with gothic arches, quatrefoiled, pierced roundel and crockets joined to twist-turned stiles, the arms on bobbinturned elements ending in a sphere, with twist-turned arm supports and legs, h. 52”. A chair with an identically modeled back is illustrated and discussed in, Howe and Warren, “The Gothic Revival Style in America, 1830‑1870, The Museum of Fine Arts, Houston”, plate 26. The text there makes reference to an oak example being known, and another in walnut with a Meeks label. The back of this chair is the cover illustration of that exhibition catalog. [2000/4000] Illustrated

1517 Rare American Walnut Gothic Revival Overmantel Mirror, second quarter 19th century, probably mid-Atlantic, the flat crest carved with opposing gothic arches with crenellated elements flanked either side, the sides carved with opposing gothic arches and a quatrefoil, with square quatrefoils decorating the lower blocks, h. 46”, w. 43”. [500/800]

1519

1516

1516 detail

1518 Pair of Gothic Revival Banquet Lamps, white metal with a copper finish, the font molded to resemble gothic windows, sitting on a separate base with a gothic rim, the feet decorated with cherub’s heads, the two ball-shades are cut in variants of gothic patterns, h. 18”. dia. 8”. A nearly identical single lamp is published in, “The Gothic Revival Style in America 1830‑1870”, by Katherine Howe and David Warren of the Museum of Fine Arts, Houston, page 64, figure 120. According to the catalogue, it was probably made in the United States after 1854. [1500/2500]

183

1519 American Gothic Revival Rosewood Arm Chair, mid‑19th century, New York, with an arched crest rail capped by a carved finial and adorned with crockets, the bamboo-turned stiles joined to arms ending on spheres and raised on bamboo-turned supports, the apron with panels and gothic arches, the front legs of tapering square form on spade feet, h. 56”. [1200/1800] Illustrated previous page

1522

1523

1520 Suite of Four American Gothic Revival Rosewood Chairs, mid‑19th century, New York, each arched back with a finial and adorned with crockets, over an upholstered back rest, the stiles turned to resemble bamboo, the seat rail with gothic arches, raised on tapering legs ending in spade feet, two chairs now in tufted brocade, two presented as their bare frames, h. 49‑1/2”, overall, h. 17‑1/2” seat. [800/1200] Illustrated

1520 1521 Louis Philippe Alabaster Gothic Revival Clock, third quarter 19th century, the clock with gothic piercing and a carved fret surmounting the top, mounted with an enamel dial and a gilt bronze bezel decorated with classical figures, h. 19”, w. 9”, d. 4‑3/4”. [400/700] 1522 American Gothic Revival Mahogany Plant Stand, mid‑19th century, the circular top with pierced apron and acorn-form pendants mounted to a cluster column and tripodal base, h. 35”, dia. 17‑1/2”. [1500/2500] Illustrated

184

1523 Rare and Important American Gothic Revival Rosewood Etagere, mid‑19th century, New York, of monumental proportions, the towering crests exuberantly modeled employing a panoply of Gothic ornamentation, including crockets, spires, trefoils, quatrefoils and Gothic arches, with an arched central crest flanked by curved side crests, the central crest over an arched mirror plate flanked by shaped shelves, each with a pierced apron, each on turned supports, the exaggerated serpentine base with bold applied reeding to its face, and a pair of tall turned spires, raised on turned feet, h. 111‑1/2”, w. 55”, d. 18”. A similar etagere, clearly from the same body of work, is in the collection of the Metropolitan Museum of Art, New York. The Metropolitan’s example shares a similar base, supports and ornament with the present example, but is not as tall and is less exuberantly modeled. [12000/18000] Illustrated 1529 & 1530

1526

1526 American Late Classical Rosewood Parlor Cabinet of Gothic Revival Inspiration, mid‑19th century, New York, the upper section with two open shelves supported by turned spindles and a pierced fretwork gallery above, the base with a long drawer above a pair of mirrored cabinet doors and embellished with ribbonmolded details throughout, h. 59‑12”, w. 35‑1/2”, d. 16‑1/2”. [1000/1500] Illustrated

1524

1524 American Gothic Revival Rosewood Side Chair, mid‑19th century, the back with an upholstered cushion beneath a crocketed arched crest flanked by carved finials, the apron with a row of arches, raised on carved cabriole legs, upholstered in old floral needlepoint, h. 50‑1/4”. [700/1000] Illustrated 1525 Pair of Bohemian Gothic Revival Vases, third quarter 19th century, with blue plated over a lavender body, wheel-cut scenes of deer in a landscape framed by cut panels decorated with gilt gothic tracery, h. 14”. [1500/2500]

1527 American Gothic Revival Mahogany Arm Chair, third quarter 19th century, New York, the back with elaborately modeled open-carving including arches, oak leaves and a carved roundel, with incised brackets at the hips, a carved cartouche at the seat rail and fluted trumpet legs, in worn carpet upholstery, h. 44‑1/2”. [300/500] 1528 Petite Gothic Revival PierceCarved Rosewood Slipper Chair, mid‑19th century, the back having a foliate carved crest above a padded panel with C-scroll carved ornaments and supported by spiral twist posts and legs, h. 39‑1/2”, w. 17‑1/2”, d. 17”. [200/400]

185

1529 Gothic Revival Twelve-Light Chandelier, of baronial proportions, the square candle arms attach to a trefoil molded Gothic frame, the lower portions alludes to the Gothic designs of Horace Walpole at Strawberry Hill, supported on massive brass chains, h. 42”, dia. 77”. [1500/2500] Illustrated previous page 1530 Gothic Revival Twelve-Light Chandelier, of baronial proportions, the square candle arms attach to a trefoil molded Gothic frame, the lower portions alludes to the Gothic designs of Horace Walpole at Strawberry Hill, supported on massive brass chains, h. 42”, dia. 77”. [1500/2500] Illustrated previous page

1533 Good 19th Century American Neoclassical Sterling Silver Footed Bowl, third quarter 19th century, by Starr & Marcus, fl. 1865‑1877, New York City, New York, of plain hemispherical form with a waisted stem and single-stepped circular foot, with narrow milled “leaf-andberry” banding at the rim and base, the whole with an attractive “satin” finish, h.6‑1/8”, dia. 8‑1/8”, 16.84 t. oz. [1400/1800] Illustrated 1534 19th Century Gorham Coin (.900) Silver Neo-Grec Bud Vase, dated 1865, Providence, Rhode Island, the trumpeting body decorated all over with engine-turned banding centering a narrow plain band, the rim with steeply upswept ends terminating in palmette- and patera-mounted arched handles, each with a figural putto finial, the whole raised on a domed circular foot, engraved, on the plain band, “ P / 1846‑1860 / Silver Wedding” opposing “From / HDS & JMW”, h. 8‑3/4”, w. 4”, 7.33 t. oz. [1000/1500] Illustrated 1535 19th Century Tiffany & Co. Sterling Silver NeoGrec Ewer, third quarter 19th century, by John C. Moore (1802‑1874), New York City, New York, the ovoid body decorated with a pair of embossed figures of neoclassical maidens, the narrow-waisted neck with integral spout and elaborately in-curved rim centering the mascaronmounted arched handle, the whole raised on step-domed circular foot, h. 10‑1/4”, dia. 4”, 13.63 t. oz. [1800/2500] Illustrated 1536 19th Century American Neo-Grec Sterling Silver Sugar Basin, third quarter 19th century, by Ball, Black & Co., New York City, New York, of oval form with upswept ends crested by applied palmettes, decorated with a wide band of engraved palmettes below a beaded edge, with a swing strap handle and conforming foot en suite, h. 4‑1/8” (7” with handle), l. 6”, w. 3‑3/4”, 7.45 t. oz. [800/1200] Illustrated

1531 1531 Continental Gothic Revival Oak Hall Bench, late 19th century, the hooded top with an arched gallery and pierced panels, the back with a panel with a heraldic crest flanked by panels with deep foliate-carving amidst crests surmounted by a knight’s helmet, the plank seat fronted by spiral-twist columns and over a row of carved circular panels, h. 105”, w. 67‑1/2”, d. 20‑1/2”. [1500/2500] Illustrated 1532 American Gothic Revival Oak Baptismal Pedestal, fourth quarter 19th century, the octagonal top fitted with an aluminum bowl for “Holy Water”, the sides paneled and molded with inset gothic arches, and raised on a plinth base, h. 39”, w. 19”, d. 19”. [400/700]

186

1537 19th Century American Neo-Grec Sterling Silver Sugar Basin, 1862, by William Gale & Son, New York City, New York, of oval form with upswept ends, decorated with a milled Greek-key band below a beaded edge, with a swing strap handle and conforming foot en suite, monogrammed on the body “SMK”, h. 4‑1/8” (7” with handle), l. 6”, w. 3‑3/4”, 7.27 t. oz. [800/1200] Illustrated 1538 Tiffany & Co. Sterling Silver Neo-Grec Bud Vase, third quarter 19th century, by John C. Moore (1802‑1874), New York City, New York, of loutrophoros form, decorated with a milled anthemion band above a band of engraved palmettes, the rim with an band en suite, with applied butterflies at the shoulder, the whole above a circular foot, h. 7”, dia. 2‑3/8”, 3.86 t. oz. [600/900]

1539 Reed & Barton Neo Grec Silverplate Tea Set with Aesthetic Pairpoint Tray, the tea set third quarter 19th century, Taunton, Massachusetts, including a coffeepot, h. 10‑1/2”, teapot, h. 10”, covered sugar bowl, h. 8‑1/4”, and cream jug, h. 6‑3/4”, each with an inverted conical body raised on four played legs, the body engraved with birds, flowers and geometric designs flanking opposing circular cartouche, one cartouche engraved with a Greek sailing vessel, with palmette-mounted handles cast with faux ancient Greek text and a crested by a ship en suite, the lids with a figural finial of a lion, the tray fourth quarter 19th century, New Bedford, Massachusetts, of rectangular form, centerd by an engraved cartouche of bound reeds flanked by a flower and a spiderweb, with a cast rim of rectangular floral panels and a pair of handles decorated with flowers and fans, l. 25‑1/2”, w. 16‑1/4”. [300/500]

1535

1533

1540 Good American Sterling Silver “Aesthetic” Christening Cup, fourth quarter 19th century, by Wood & Hughes, New York City, New York, of bulbous cylindrical form, decorated all over in an intricately detailed herringbone pattern, with applied circular cartouche and bifurcated reeded handle, engraved, on the cartouche, “NE”, conjoined between “aesthetic” bands, h. 3”, dia. 3‑1/4”, 4.89 t. oz. [150/300] Illustrated 1541 American Reconstruction-Era Silverplate Christening Cup, third quarter 19th century, by Simpson, Hall & Miller, Wallingford, Connecticut, of cylindrical form, decorated with flat-chased floral bouquets, with applied beaded and molded rims and “Neo-Grec” handle, h. 2‑3/4”, dia. 2‑1/2”. [50/80] Illustrated

1542

1541

1540

1544

1543

1545

1534 1536

1537

1542 Antebellum New Orleans Coin (.900) Silver Christening Cup, third quarter 19th century, by Adolphe Himmel (1828‑1877) for Hyde & Goodrich, fl. 1828‑1861, New Orleans, Louisiana, of quarter-lobed cylindrical form, each lobe decorated with a wrigglework cartouche on floral repousse ground, with molded rim, beaded foot ring and crested scroll handle, monogrammed, on the primary cartouche, “KCG”, h. 2‑3/4”, dia. 2‑3/4”, 3.34 t. oz. [1200/1800] Illustrated 1543 American Coin (.900) Silver Christening Cup, second quarter 19th century, attributed to Van Ness, Wood & Co., New York City, New York, of cylindrical form, decorated with an engraved foliate scroll cartouche, with applied molded and beaded rims and and squared handle, engraved, on the cartouche, “Harry”, h. 3”, dia. 2‑3/4”, 4.76 t. oz. [300/500] Illustrated 1544 19th Century American Coin (.900) Silver Christening Cup, third quarter 19th century, probably New York, of cylindrical form, the body decorated with repousse flowers mantling an oval cartouche, with molded and beaded edges and crested “S”-scroll handle, engraved on the cartouche “Henry / from / GLC”, h. 3‑1/4”, dia. 2‑1/2”, 3.09 t. oz. [250/400] Illustrated 1545 Antebellum South Carolina-Retailed Coin (.900) Silver Christening Cup, second quarter 19th century, attributed to William Gale, New York City, New York, retailed by William Carrington & Co., working 1835‑1872, Charleston, South Carolina, of waisted octagonally paneled form, decorated with repousse rococo scroll bands at both edges, with beaded and molded rims and crested “S”-scroll handle, engraved, on the body, “Clarence”, h. 3‑7/8”, dia. 3”, 3.67 t. oz. [250/400] Illustrated 1546 19th Century American Sterling Silver Condiment Pail, fourth quarter 19th century, by Wood & Hughes, New York City, New York, in the form of a squat staved bucket, with swing “rope” handle, h. 1‑5/8” (3‑1/2” with handle), dia. 4”, 3.54 t. oz. [300/500]

187

1547 American Coin (.900) Silver Syrup Jug, 1849, by Gale & Hughes, New York City, New York, of conical form, with molded rim and base, with a crested double-scroll handle, “duck’s beak” spout, and steeply domed, hinged lid with mushroom finial and “C”-scroll-mounted billet, monogrammed on the body “WAC” and antedated on the underside “May 10, 1818”, h. 7”, dia. 3‑7/8”, l. 6‑1/4”, 13.63 t. oz. [1200/1800] 1548 Set of Eleven American Expansionist Era Coin (.900) Silver “Hourglass” Pattern Forks, second quarter 19th century, by Lewis Veron & Co., active 1826‑1841, Philadelphia, Pennsylvania, each monogrammed “D”, l. 7”, 23.21 total t. oz. Louis Veron (1793‑1853) was born in Boston, the son of French emigrant Etienne Pierre Louis Veron and his American-born wife, Abiel Holland. After the elder Veron’s untimely death in 1802, the family moved to Philadelphia, where Lewis (as he Anglicized his name) entered into partnership with his brother-in-law Baldwin Gardiner. Gardiner moved to New York in 1827, and Veron remained in Philadelphia as Veron & Co. The company was a large supplier of fancy goods to the White House under both the Jackson and Van Buren administrations, providing (among other items) lamps, tables, chandeliers, tapestries, spittoons, mirrors and candlesticks. [200/400] 1549 Nine Pieces of American Mid-Atlantic and New England Coin (.900) Silver Flatware , late 18th to mid‑19th century, including a bright-cut pointed tablespoon, probably William Hughes (ca. 1744‑1791), Baltimore, Maryland, monogrammed “D/ WA”, l. 9‑1/4”, a pair of “Sheaf of Wheat” tablespoons, John Bigelow (1802‑1878), Boston, Massachusetts, monogrammed “HC”, l. 8‑3/4”, a pair of down-tipt “Fiddle” tablespoons, retailed by Robert M. Long (fl. 1832‑1837), Buffalo, New York, engraved “Hayward”, l. 9”, a pair of down-tipt “Fiddle Swell” tablespoons, Ebeneezer Ferrin, Jr. (1817‑1902), Manchester, New Hampshire, monogrammed “HC” (front) and “LW” (back), l. 8‑3/4”, a pointed engraved place spoon, William H. Elliott (1821‑1902), Manchester, New Hampshire, engraved “Lilla”, l. 7”, and an uptipt sugar shell, Levi B. Gay (1838‑1893), Nashua, New Hampshire, engraved “Lilla”, l. 6”, 11.25 total t. oz. [200/400]

1554 1553

1553 1552

1561

1550 Four American Coin (.900) Silver “Fiddle” Pattern Teaspoons, second quarter 19th century, including an “up-tipt” pair by James Watt, Philadelphia, Pennsylvania, monogrammed “MEK”, l. 5‑1/2”, and a “down-tipt” pair by “C. Lord”, probably Charles Lord, Portland, Maine, monogrammed “SM”, l. 5‑1/4”, 1.60 total t. oz. [75/125] 1551 Six Pieces of 19th Century American Sterling Silver Flatware, third quarter 19th century, including a William Gale, New York, elaborate bright-cut and engraved place spoon, monogrammed “MRR”, l. 7” a Gorham “French Tipt” tablespoon, retailed by Trefethen & Moore, Manchester, New Hampshire, monogrammed “LCC”, l. 5‑1/4”, three Henry Hebbard, New York “Mask” tablespoons, l. 8‑1/2” and a salt spoon en suite, l. 3‑3/4’, retailed by Giles & Bro., Chicago, monogrammed “DH”, 8.23 total t. oz. [200/400]

188

1555

1552 American Aesthetic Sterling Silver Berry Spoon, fourth quarter 19th century, Whiting Mfg. Co., Providence, Rhode Island, in the “Antique” pattern, the handle engraved with a butterfly amid foliages, with gold and copper highlights, the bowl with scalloped edge and engraved with foliage and fans, l. 9”, 2.25 t. oz. [200/400] Illustrated 1553 Three American Medallion and Medallion Blank Coin (.900) Silver Berry Spoons, mid-19th century, including a “Medallion” example by Hebbard & Moore, retailed by Culbert Brothers, New York City, New York, the scalloped bowl engraved with trailing vines, monogrammed on the reverse “B”, l. 8‑1/4”, an engine-engraved scallop-edge medallion blank example by James Watts, Philadelphia, retailed by Robert C. Green, Pottsville, Pennsylvania, with spiral twist stem and coquille bowl, monogrammed on the handle “AMB”, l. 8”, and an engine-engraved medallion blank example by Hotchkiss & Schreuder, Syracuse, New York, with spiral twist stem, the bowl engraved with strawberries, inscribed on the handle “Ella”, l. 9”, 5.02 total t. oz. [400/700] Illustrated

1554 19th Century Tiffany & Co. Sterling Silver “Grecian”Pattern Serving Fork, the pattern designed patented in March, 1862 by Henry Hebbard, retailed by Tiffany & Co., New York City, New York, the five slender tines pierced and engraved with arabesques, monogrammed “S”, l. 10”, 3.22 t. oz.. [100/200] Illustrated 1555 19th Century Gorham Sterling Silver “Ivy” Pattern Ladle, the pattern designed in 1868 by George Wilkinson (1819‑1894), Providence, Rhode Island, monogrammed on the reverse “RWC”, l. 12‑1/2”, 4.24 t. oz. [250/400] Illustrated 1556 Pair of Tiffany & Co. Sterling Silver “Vine”-Pattern Berry Spoons, the pattern designed in 1872 by Edward C. Moore (1827‑1891), in the “grapevine” motif, each with a gilt scalloped bowl decorated with repousse fruit and foliage, no monograms, l. 8‑1/2”, 5.21 total t. oz. [200/400] 1562 1557 American Silverplate Covered and Footed Strawberry Bowl, fourth quarter 19th century, of circular form with waisted stem and domed foot, the whole decorated with realistically embossed openwork strawberries, the fitted domed lid en suite and opening to reveal the opaque green glass liner with polished interior and frosted exterior, h. 7‑1/4”, dia. 6‑3/4”. [200/400] 1558 Good New Orleans-Retailed Parcel-Gilt Sterling Silver Child’s Bowl and Spoon, fourth quarter 19th century, retailed by Maurice Schooler, fl. 1842‑1900, New Orleans, Louisiana, the squat cylindrical bowl with “satin” finish, engraved and parcel gilt with three vignettes after Reginald Birch’s (1856‑1973) illustrations for the 1886 first edition of Little Lord Fauntleroy, h. 2‑1/2”, dia. 4‑3/4”, the spatulate spoon with a single vignette en suite, both pieces inscribed “Francis A. Eustis”, l. 6‑1/4”, 8.17 total t. oz. [200/400]

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1559 Good Set of Ten Whiting Sterling Silver Mixed Metal Aesthetic Cocktail Forks, first quarter 20th century, Providence, Rhode Island, retailed by Theodore B. Starr, New York City, New York, in Whiting’s ornamental pattern No. 4, with spatulate handles decorated with acid engraving and applied silver or copper figures of sea life or fruit - turtles, eels, oysters, cockles or grapes monogrammed on the reverse “LHMcC”, l. 6”, 6.62 t. oz. [200/400] 1560 Set of Twelve 19th Century American Sterling Silver Teaspoons, 1866‑1867, by William Gale, Jr., New York City, New York, in an engine-engraved medallion blank pattern, with spiral twist stem and gilt bowl, l. 5”, 5.79 total t. oz. [400/700] 1561 Fine Pair of Dominick & Haff Sterling Silver Aesthetic Movement Tazze, 1881, New York, retailed by Bailey, Banks and Biddle, Philadelphia, Pennsylvania, each of rounded square form with waisted conforming standard, the body decorated all over with chased and repousse foliage, flowers and butterflies on a flat-chased foliate ground, the recessed plateau with satin finish centered a conjoined monogram “ABW”, h. 5‑3/4”, w. 9”, [8000/12000] Illustrated previous page 1562 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. [1000/1500] Illustrated previous page 1563 American Neo-Grec Parcel-Gilt, Ebonized, Marquetry Inlaid and Rosewood Center Table, third quarter 19th century, probably Pottier and Stymus, New York, the circular top with inlay depicting musical trophees surrounded by twining vines, flowers and arabesques, the conforming apron with inlaid Greek key and a brass griffin-head mount over each angled leg, the legs joined to shaped legs mounted with roundels, the central column with gilt-incised anthemiom, h. 30‑3/4”, dia. 34‑3/4”. [4000/7000] Illustrated previous page 1564 Henry W. Kemper (American, 1833‑1894) “A Panoramic Autumnal Landscape with a Herder on a Mountain Path”, 1878, oil on canvas, signed and dated lower right “H. W. Kemper 1878”, 30” x 50”. Presented in a contemporary giltwood frame. [2000/4000] Illustrated previous page

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1565 American School (Fourth Quarter 20th Century) “Wooded Landscape with a Stream”, oil on canvas, signed lower right “Wollinger”, 30” x 39‑3/4”. Presented in a Louis XV style frame. [500/800] 1566 American Neo-Grec Painted and Gilt-Incised Rosewood Parlor Suite, attributed to Herter Brothers, New York, 1868‑1872, comprised of a settee, h. 45‑1/2”, w. 50”, d. 34”, and two arm chairs, h. 41‑1/2” and 42”, each with a crest centered by a painted panel depicting a female mask, flanked by foliate and scroll carving, over gilt-incising, raised on trumpet legs with characteristic Herter gilt blocks and lines at the top of the trumpet section and reeding below, on India Comb Rubber casters, the arm supports each featuring a differently-carved upturned female head, the settee and arm chair depicting women with different tresses, the other arm chair with a woman with Egyptian headdress. A similar suite of Herter Brothers parlor furniture is in the Lockwood Mathews Mansion, Norwalk, Connecticut. The side chairs in that suite share the same form as these, with differences in ornament. The sofa legs, crest carving and plaque are similar to the sofa in this suite. A suite by Herter Brothers for Jay Gould’s Lyndhurst Castle, Tarrytown, New York, exhibits similar carved crests and upward-angled masks on the arm supports. [10000/15000] Illustrated 1567 Josef M. Arentz (American, 1903‑1969) “Rocky Coastline”, oil on canvas, signed lower left “Josef M. Arentz”, 18” x 24”. Unframed. [600/900]

1566

1566 detail

1566

1566 detail

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1568 Important American Monumental Carved Mahogany and Cherry Aesthetic Movement Cabinet, New York, circa 1875‑1880 , a custom-commissioned piece with the pencil inscription on the back, “Havemeyer, Cabinet #2”, the upper section comprised of a row of seven rectangular mirrors separated by acanthus-leaf-carved pilasters and garland swags with a long narrow crest above depicting a central floral wreath with a flame lit torch, arrow quiver, and laurel branches, the base with a central drawer featuring a carved female mask above a relief carved door with a pair of putti in a lush floral garden, the sides having cabinet doors which open from each end and featuring incised carved panels in the front with fully carved putti holding fluted pilasters over their heads, h. 73‑1/4”, w. 113”, d. 19‑1/2”. The scale and quality of the present cabinet indicates it was custom-commissioned “art furniture” crafted specifically for the Havemeyers by one of Herter Brother’s principal competitors such as Pottier and Stymus or George Shastey. The piece incorporates Louis XVI-inspired design elements in a manner similar to the light-wood 1877 Cohen cabinet by Potter and Stymus sold in this gallery July, 1999. That cabinet is now in the collection of the High Museum of Art, Atlanta Georgia. The scale and quality of this work, together with the pencil inscription on the back, suggests it was made for one of the Havemeyer brothers: William F. (1804‑1874) Frederick C., Jr. (1807‑1891) or Albert (unknown - 1874); one of their widows, or children. Custom-commission pieces like the present one were often in conception and production for several years prior to their delivery. The brother’s father founded a sugar refinery in 1807. Each of the three brothers spent some part of their career building the company, as did Frederick’s sons Theodore and William O. William F. served three terms as mayor of New York City after leaving the business. Theodore served as a principal of the company and was the first president of the U.S. Golf Association and a founder of the U.S. Open. Under Henry O.’s direction, the family business became the American Sugar Refining Company, the trust that controlled 90% of the sugar sold in the United States. The trust was finally broken up during Theodore Roosevelt’s presidency. Henry O. hired Louis Comfort Tiffany to design and decorate his 1890 New York townhouse. That commission is regarded as Tiffany’s most important. Upon his widow’s death, 5,000 items from their collection were bequeathed to the Metropolitan Museum of Art, including an extensive group of important impressionist paintings. [20000/40000] Illustrated

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1568

1568 detail

193

1569 1569 Albert Bierstadt (American, 1830‑1902) “The Polar Bear Hunt”, oil on canvas, signed lower left “A Bierstadt”, 18” x 26”. Presented in a contemporary gitlwood exhibition frame. Provenance: Private Collection, Colorado. We are pleased to offer this intriguing oil on canvas by Albert Bierstadt painted at the twilight of his career. Here the artist places human figures, seemingly alone except for a tiny ship in the distance, huddled against a large animal in a vast foreboding landscape. This is probably how the painter felt in 1889, as he set out on a last North American expedition to Canada and Alaska on the steamer "Ancon" in search of inspiring scenery to paint, even as the popularity of his landscapes and his fortunes were in decline. After stopping at Juneau, Ft. Wrangell, Sitka, and touring Glacier Bay, the ship was wrecked in Loring Bay. This painting of the Alaskan coastline with a group of hunters about to kill a fierce polar bear was either done while on the expedition or upon artistís return to his studio. Toward the end of 19th century the atmospheric, romantic renderings of the largely unexplored American wilderness were going out of fashion. The public was turning toward more modern Barbizon and Impressionist movements whose artists used rugged and lively use of brush strokes with heavy impasto. Albert Bierstadt belonged to a Dusseldorf School which was criticized at the time as lacking in emotion and for being "hard", due to the lack of texture in the paint application. A critic in 1863 describing Bierstadtís "The Mountain Brook", now in the Collection of The Art Institute of Chicago, voiced his frustration at Bierstadtís heavy sense of paint, stating "The large boulder in the centre is not stone-like in texture, but rather like a huge mass of grey paint" (New York Leader, April 18,1863, quoted in Anderson and Ferber 1990, 193).

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There is a lot of that ìgrey mass" present in this particular painting, but contrary to the opinions of the 1863 critics, this rendering of the Alaskan barren ice-covered landscape perfectly evokes the sense of loneliness and presence of danger. As in "Alaskan Coast Range" (at the Smithsonian American Art Museum), the artist uses cool color scheme and thin layers of paint to also evoke this particular feeling in the viewer. Even though his art became outmoded during 1890ís, Albert Bierstadtís impact upon the American landscape tradition of the nineteenth century remains strong. His depictions of the largely unspoiled beauty of the great American West and North executed with dramatic light and meticulous attention to details, still fills the public with awe. His works can be found in major public and private collections throughout North America and Europe, including the Metropolitan Museum of Art, the Wadsworth Atheneum, and the National Gallery of Canada. Reference: Mayer, lance & Myers, Gay (1999), “Bierstadt and Other 19th-Century American Painters in Context”, Journal of the American Institute of Conservation, Volume 38, Number 1, Article 6, Anderson and Ferber, Albert Bierstadt: Art and Enterprise, 1990. [35000/50000] Illustrated

1571

1572 American Neo-Grec Parcel-Gilt and Ebonized Cabinet, third quarter 19th century, the stepped-back with a spindle gallery, the raised center cupboard mounted with griffin busts, the wings extending back as returns to the back gallery, the recessed central door with an inlaid panel of neoclassical inspiration, each corner of the projecting ends with a giltwood female mask, the flanking cupboards with a Greek key etched-and-beveled glass panel, raised on bun feet fronted by scrolls, h. 55”, w. 68‑1/2”, d. 20‑1/2”. The griffin-carved mounts on the high center drawer and the marquetry door panel are suggestive of the work of Allen and Brother, Philadelphia. A nearly identical inlaid panel appears on a cabinet shown by their firm at the 1876 Centennial Exhibition. [6000/9000] Illustrated

1570 American School (Fourth Quarter 19th Century) “Mountainous Landscape with a Lake and Sailboats”, oil on canvas, signed lower right “L. Baker”, 14” x 22”. Presented in a period giltwood and gesso frame. [500/800]

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1572

1571 American Neo-Grec Gilt-Incised and Marquetry Inlaid Ebonized Occasional Table, third quarter 19th century, the circular top with an inlaid panel depicting exotic flora, with conforming incised apron, the base with a turned upper pedestal joined with avian-head brackets to a tripodal base with hairy legs and double knuckled carved paw feet, h. 30‑1/4”, dia. 23‑1/4”. [2000/4000] Illustrated

195

1573 Impressive English Parian Porcelain Classical Figure of a Warrior, mid‑19th century possibly Perseus, dressed in chain mail, standing against a plinth with an image of Medusa, a fallen shield and torch at one foot, a broken column at the other, an eagle perched on his helmet, h. 22”, dia. 10‑1/2”. [800/1200] Illustrated

1575 American Neo-Grec Gilt-Incised and Bronze Mounted, Marquetry Inlaid Ebonized Center Table, third quarter 19th century, New York, the finely inlaid top centered by a leaping lion amidst floral arabesques, the ends with panels depicting sheep and goats, the shaped apron centered by inlaid satyr masks, flanked by rosewood panels and with satyr bronze-mounts at the corners, raised on fluted and tapering turned legs joined by a shaped stretcher centered by a finial, h. 31‑1/2”, w. 46‑1/2”, d. 29‑1/4”. [5000/8000] Illustrated

1574 detail

1574 1574 detail

1574 Rare Four-Piece Neo-Grec, Inlaid Rosewood Parlor Suite, Attributed to Herter Brothers, New York, third quarter 19th century, comprised of a sofa, h. 37”, w. 70”, d. 25‑1/2”, a settee, h. 37”, w. 58”, d. 25‑1/2”, and a pair of side chairs, h. 35‑1/2”, w. 20”, d. 18”, each with repeating bellflower marquetry inlay across the backs, arm fronts and seat rails, raised on trumpet turned legs with fluted and gilt-incised details, the sofa bears a penciled inscription, “May Messon Esq. 2573”, on an inner support post of the back, the settee with the number “2178”, and each side chair bears the inscription, “2181 Bates”, on the inside seat rail. An identical suite of parlor furniture can be seen in the music room of Elm Park, The Le Grand Lockwood Mansion, Norwalk, Connecticut. [6000/9000] Illustrated

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1573

1576 James Henry Haseltine (American, 1833‑1907), Carved Marble Figure of A Roman Warrior, inscribed on the base “J. H. Haseltine . F . Rome . 1870”, the head and hands of the figure lacking, currently presented in a white-painted surface, h. 49”, w. 22”, d. 18”. [2000/4000] Illustrated

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1577

1577 American Neo-Grec Five-Piece Bronze Mounted, Ebonized and Walnut Parlor Suite, comprised of a sofa, a pair of arm chairs and a pair of side chairs, third quarter 19th century, probably Allen and Brother, Philadelphia, each crest with a bronze plaque depicting frolicking putti flanked by carved flora, the arm supports with carved helmeted griffin masks, each with bowed seat rails and trumpet legs, the center leg of the sofa with a roundel, now upholstered after the period fashion in black moire edged in contrasting gimp, with ruched seat rails, h. 45”. w. 71”, d. 31”, sofa, h. 40‑3/4” and 41‑3/4”, arm chairs, h. 38‑1/2”, side chairs. [3500/5000] Illustrated

1577

1579

1578 American Renaissance Revival Bronze Mounted, Gilt-Incised and Marquetry Inlaid Rosewood and Ebonized Center Table, third quarter 19th century, attributed to Pottier and Stymus, New York, the inset mottled gray marble top set in an inlaid frame with ormolu moldings, raised on four shaped legs with bronze mounts and rosewood panels, the base with curved legs ending in foliate scrolls, each leg separated by a bronze mount depicting a wolf’s head, h. 28‑3/4”, w. 37‑1/2,d. 34”. [3000/5000] Illustrated 1577 detail

1579 German Egyptian Revival Three-Piece Clock Set, third quarter 19th century, black and tan marble clock containing a marble face in the central block, flanked by rusticated marble pylons, seated bronze sphinxes sitting on either side, a large bronze reclining sphinx acts as primary ornament, the base an central block are additionally ornamented with incised Egyptian designs, the matching black marble obelisks are incised with Pharaohs, serpents and falcons, and other related ornament, labeled “F.L. Losner, 23 Potsdammerstrasse, Berlin”, possibly the retailer, clock h. 18’, w. 19’, d. 6‑1/2”, obelisks h. 18”, w. 3”, d. 3”. [2500/4000] Illustrated

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1580

1581 Pair of American Renaissance Revival Marquetry Inlaid Rosewood Side Chairs, third quarter 19th century, the crest with an inlaid plaque depicting musical trophies, the line-incised bowed seat rail with an inlaid florette, raised on fluted trumpet legs, now in sea foam brocade, h. 40”. [600/900]

1580

1582 Mixed Metal Aesthetic Mantel Garnitures, fourth quarter 19th century, probably English, finely modeled panels on each side of the urns depict birds on branches with butterflies, dragonflies, and moths, each hung with handles and mounted on an integral giltwood base, the tops lined with old blue silk, h. 14‑3/4”, w. 5”, d. 5”. [300/500] 1583 Irridescent Gold Art Glass Vase first quarter 20th century, of baluster form, decorated with a neoclassical head and gilt laurel wreath, signed “Loetz, Austria”, h. 8‑1/2”. [200/400]

1580 American Egyptian Revival Bronze Mounted, Marquetry Inlaid and Gilt-Incised Two-Piece Parlor Suite, attributed to Pottier and Stymus, New York, comprised of a settee and matching arm chair, each with a carved crest centered by an inlaid musical trophy plaque and each arm support mounted with a bronze mount depicting a mask with traditional Egyptian headdress in profile, raised on fluted trumpet legs, each upholstered after the period fashion, the settee in tufted black moire with ruched apron, the arm chair in a figural brocade with contrasting ruched apron, h. 38”, w. 71”, d. 34”, settee, h. 45”, arm chair. [2000/4000] Illustrated

1578

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1584 Pair of American Aesthetic Movement Walnut and Burl Walnut Side Chairs, fourth quarter 19th century, each with a pierced and carved-back featuring a central splat depicting an urn with cattails, the tufted seat upholstered to a groove-carved frame and raised on turned legs, hg. 34”, w. 19”, d. 18”. [1200/1800] Illustrated

1585

1585 French Egyptian Revival Three-Piece Clock Set, fourth quarter 19th century, the rusticated onyx clock signed “Comptoir General, M. Schnerr, 9 Bd. Poissonniere, Paris”, gilt incised with Egyptian hieroglyphs and topped with a gilded reclining sphinx, the enamel dial painted with garlands of roses, the accompanying obelisks rusticated as well and decorated with gilt incised hieroglyphs of falcons, serpents and the sun god Ra, clock h. 15‑1/2”, w. 15’, d. 7‑1/2”, obelisks, h. 18‑1/2”, w. 7”, d. 4‑1/2”. [1800/2500] Illustrated

1584

1589 Alexander Vincent (Latin American, 19th/20th Century) “View of Mexico”, 1908, oil on canvas board, signed, dated and inscribed lower left “Alex Vincent Mexico 1908”, 11” x 15”. Framed. [2000/4000] Illustrated 1590 Luigi Settanni (American, 1908‑1984) “Breton Landscape with a Docked Boat”, oil on canvas, signed lower left “Luigi Settanni”, 19” x 29”. Presented in a molded giltwood frame with a linen liner. [1200/1800] Illustrated 1591 Felix Russman (American, 1888‑1962) “Moonrise”, reverse with an exhibition label inscribed with a catalogue number, title and artist’s name, 15” x 15”. Presented in a Arts and Crafts style giltwood frame. [1200/1800] Illustrated

1586 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 period carved and gilded wood frame. [3000/5000] Illustrated 1587 Frederic William Browne (American/Texas, 1877‑1966) “Autumnal Wooded Landscape with a Stream”, oil on board, signed lower left “Fred. Wm. Browne”, 15” x 17”/ Framed. [1000/2000] 1588 Frederick William Browne (American/Texas, 1877‑1966) “View of a French Village”, oil on canvas, signed lower left “Frederick Browne”, 15” x 18”. Presented in a molded giltwood frame. [600/900]

1589

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1592 Leonard Ochtman (American, 1854‑1934) “Sunset Landscape with a Country Road”, oil on canvas, signed lower left “Leonard Ochtman”, 16” x 22”. Presented in a giltwood frame. [800/1200] 1593 Giovani Martino (American, 1908‑1998) “Snow Covered Village Scene”, watercolor on paper, signed lower left “Giovanni Martino”, sight 17” x 26‑1/2”. Glazed, linen-matted and framed. Provenance: Estate of Dr. David and Mrs. Annie Kimball, Shreveport, Louisiana. [1200/1800] Illustrated 1594 Marion Bullard (American/New York, 1878‑1950) “Village in Autumn”, oil on canvas, signed lower right, 25” x 30”. Presented in a giltwood and gesso frame. [700/1000]

1586

1593

1591

1590

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1600 Antique-Style Patinated Copper Eagle Weathervane, in the form of an American eagle perched on a ball with its wings spread and mounted to an arrow and directionals below, h. 48”, w. 29”, d. 30”. [300/500] 1601 Early American Ash and Maple Child’s Ladderback High Chair, early 19th century, the turned black posts ending in bulbous and ring-turned finials with three curved slats and having out-scrolled arms and a woven rush seat, the legs joined by box stretchers, pegged construction, h. 38”, w. 16”, d. 14”. [250/400]

1595

1595 Carl Oscar Borg (American/Swedish, 1879‑1947) “The Letter”, oil on canvas, signed lower right “Carl Oscar Borg”, 16” x 20”. Unframed. [3000/5000] Illustrated 1596 Benjamin Chambers Brown (American/California, 1865‑1942) “Golden Poppies”, oil on board, signed lower right “Benjamin C. Brown, California”, titled and signed on reverse, 12” x 16”. Presented in a giltwood and gesso Arts and Crafts-style frame. [3000/5000] Illustrated 1597 Joseph Sacks (American, 1887‑1973) “Night Bay Scene”, oil on canvas, unsigned, reverse with a “Janet Fleisher Gallery” label inscribed with the painting title, medium and the artist’s name, 17” x 22”. Framed. [600/900] 1598 Joseph Sacks (American, 1887‑1973) “Tropical Garden”, oil on panel, signed lower right “J. Sacks”, reverse with a “Janet Fleisher Gallery” label inscribed with the title, size, medium and artist’s name, 18” x 22”. Framed. [1000/1500] Illustrated

1598

1599 Vernacular American Southern Yellow Pine Blind Door Corner Cabinet, early 19th century, of single piece construction with a pair of plank doors over a twoplank single door, the doors edged by a molded bead on the case, the perimeter of the face framed by applied molding, of pegged construction throughout, h. 72‑1/2”, w. 38”, d. 16‑1/2”. Provenance: ex coll. Barkers Country Antiques, Baton Rouge, Louisiana. [200/400]

1596

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1602 Southern Mid-Atlantic One-Piece Walnut Corner Cupboard, first quarter 19th century, probably Southern Piedmont, the twelve-light upper door with southern yellow pine shelves conforming to horizontal door muntins, over the fielded six-panel lower door, the whole set on bracket feet, retaining original yellow pine back, h. 91”, w. 42”, d. 26”. [2000/4000] Illustrated 1603 Large Middle Eastern Wrought-Iron-Handled Copper Cauldron, first quarter 20th century, h. 11‑1/2”, dia. 19”. [125/250] 1604 Pennsylvania Dutch Hickory and Pine Bentwood Pantry Box, early 19th century, of circular-form, the lid and sides with later polychrome floral patterns, the underside of the lid pencil-inscribed “John E. Wells”, h. 4‑1/2”, dia. 14”. [150/300] 1605 French Steel Sugar Nippers, first quarter 19th century, used for breaking sugar cones, with bold fanshaped blades, and a turned rondel at the joint, locking mechanism and side hammer are in tact, w. 3‑1/2”, l. 9‑3/4”. [200/400] 1606 American Colonial Walnut High Boy Base, late 18th century, in the Queen Anne taste, with a wide frieze drawer over a pair of deep drawers centered by a shallow drawer over a scalloped arch with drop finials, raised on cabriole legs with pad feet, h. 36”, w. 39‑1/2”, d. 21‑1/2”. [600/900]

1602

1607 Southern Mid-Atlantic Mahogany Chest of Drawers, fourth quarter 18th century, probably Maryland or Virginia, the mahogany crossbanded and line-inlaid top overhanging the back, over two top drawers and three long drawers, all mounted with line-inlaid cut-corner panels and original post-and-ball Chippendale pulls, poplar full dust boards throughout, set on ogee bracket feet, h. 42”, w. 38”, d. 19‑1/2”. [1500/2500] Illustrated 1608 American-Style Miniature Weather Vane, gilt-metal and composition, in the form of an Indian chief drawing a bow, his quiver of arrows on his back, h. 21”, w. 14‑1/2”. [125/250] 1609 American-Style Weather Vane, gilt-metal and composition, in the form of the angel Gabriel blower her horn, holding a brass ring, h. 20”, w. 14‑1/2”. [125/250]

1607

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1610

1610 back

1610 detail

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1610 Chippendale Mahogany Settee, third quarter 18th century, the dramatically arched camel back flanked by peaks on either side, the back joined to cylindrical arms, raised on tapering legs with gothick panels and flaring cove-molded foot, now upholstered in blue damask, h. 41”, w. 73‑1/2”. A similar “gothick” foot is illustrated in plate no XXV of The Gentleman and Cabinetmaker’s Director by Thomas Chippendale, the legs joined by recessed pierced box stretches molded after design elements illustrated on plates LVII and CXL, ibid. Microanalysis of the front seat rail, rear crest rail, arm cone and front arm support reveal that they are constructed of Fraxinus excelsior, commonly referred to as “ash”. [5000/8000] Illustrated

1612

1613 American Chippendale Side Chair, third quarter 18th century, New York, the splat, ears and knees shell-andleaf-carved, the seat fitted with triangular corner brackets, h. 38‑1/2”. [3000/5000] Illustrated 1614 Robust American Late Victorian Mahogany Corner Chair of Chippendale Influence, fourth quarter 19th century, the relief-carved back rail with a central mythological face and flaked by foliate motifs, having pierced back splats and raised on bold cabriole legs ending in ball and claw feet, h. 31”, w. 30”, d. 26”. [500/800] 1615 Continental First Empire Ebonized Miniature Frame, lined with a gilt brass engine turned liner, containing a portrait of a woman in 18th century costume, h. 5‑1/2”, w. 5‑3/4”. [200/400] 1616 Group of Two Portrait Miniatures, fourth quarter 19th century, the first a portrait of Lady Hamilton after George Romney, framed in an ivory and tortoise frame and lined with pressed brass, h. 3‑1/2”, w. 4”, and the second a portrait of a woman in neoclassical dress framed in ivory and matted in red velvet, h. 5”, w. 5‑1/2”. [400/700]

1613

1611

1611 American Colonial Mahogany and Walnut Tripod Table in the Chippendale Taste, late 18th century and later, the tilting circular top with a dished pie-crust edge, raised on a birdcage support to a turned and bulbous standard on three splayed cabriole legs ending in pad feet, h. 29”, dia. 34”. [1200/1800] Illustrated 1612 American Chippendale Mahogany Arm Chair, third quarter 18th century, probably New York, the pierced back splat is leaf-carved and the shoe piece carved with a modified egg-and-dart molding, leaf-carving on the crest, arms and ears, and molded legs fitted with pierced corner brackets, Provenance: ex collection of Mistletoe, Natchez, Mississippi h. 39”. [800/1200] Illustrated

1617 Oval Portrait Miniatures of Women, first quarter 20th century, the women shown in 18th century court costume, mounted in giltwood oval frames with a red velvet line, h. 4‑1/4”, w. 3‑1/4”. [400/700]

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1618 American Federal Mahogany Games Table, first quarter 19th century, the hinged D-form top with ovolu corners, opening to a larger gaming surface, above a conforming frieze, raised on tapering square legs, the whole with inlaid line accents, h. 29‑1/2”, w. 36”, d. 17‑1/4”. [900/1200] Illustrated 1619 American Federal Mahogany String-Inlaid Corner Washstand, first quarter 19th century, having a tall scalloped backsplash above a band of three faux drawers, the central shelf with a working drawer flanked by faux drawers and a shaped lower shelf below, h. 44”, w. 25”, d. 18”. [600/900]

1622

1620 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”. [1800/2500] Illustrated

1620 1621 American Hepplewhite Mahogany Pembroke Table, first quarter 19th century, the single board top with dropleaves and fitted with a drawer at one end and a faux drawer at the back side, raised on tall, square tapering legs, h. 29”, w. 20‑1/2”, d. 32”, ext. l. 39‑1/2”. [600/900] 1622 Hepplewhite Mahogany-and-String-Inlaid Side Chair, Philadelphia ca. 1800, the square shouldered back with a central pierced and carved splat with plumes and drapery swags, raised on tapered and forward-curved legs with string-inlaid borders, h. 35”, w. 20”, d. 17”. [500/800] Illustrated 1623 American Federal Mahogany Games Table, first quarter 19th century, the hinged D-form top with a projecting center section, opening to a larger surface, above a conforming frieze, raised on tapering square legs, the whole with link-inlaid accents, h. 29”, w. 35‑1/2”, d. 17”. [1000/1500] Illustrated

1618

206

1624 American Colonial Revival Marquetry-Inlaid and Line-Strung Mahogany Sideboard, fourth quarter 19th century, after a Baltimore Federal masterpiece, probably by Potthast Brothers, Baltimore, the serpentine top edged with barber-pole stringing, the case with a bowfront central drawer over a pair of doors, each with stringing around figured panels and each edged with fine barber-pole stringing flanked by concave doors with like adornments, raised on Hepplewhite legs with bellflower inlay, h. 39‑1/2”, w. 66”, d. 28‑1/2”. [800/1200]

1625 American Federal-Style Mahogany and Inlaid Breakfront, late 19th century, comprised of antique elements, the upper case with four glazed doors and scalloped gallery above, the base with two central drawers and flanked by a single drawer above a cabinet door to each side, raised on square tapered legs, h. 88”, w. 59‑1/2”, d. 23‑1/2”. [4000/7000] Illustrated

1625

1626 American Federal Mahogany-Banded-and-Inlaid Sideboard, first quarter 19th century, the top with a gallery surround having banded-and-string-inlaid borders, the case with three long drawers above four cabinets separated by reeded pilasters and raised on turned and reeded legs, h. 45”, w. 66‑1/2”, d. 23‑1/2”. [800/1200]

1629 Jean-Francois de Jean-Francois de Galoup, Comte de la Perouse (French, 1741‑1788) Engraved map of Mer du Sud, published by L’Imprimerie de la Republique, Paris, 1797, sheet size 23” x 33‑3/4”. Unframed. La Perouse set sail from France in 1785 to continue the discoveries of Captain Cook. He was shipwrecked in 1788 but the maps and views survived and were published in 1797. [350/500]

1628

1627 American Federal Mahogany Three-Part Dining Table, in the Hepplewhite taste, ca. 1900, the D-form ends flanking a central section with a pair of deep drop leaves, each leaf supported by a fly leg when extended, h. 29”, w. 45”, l. 72”, extended l. 116”. [1200/1800] 1628 Early American Cherry-Stained Poplar Two-Part Corner Cabinet, first quarter 19th century, the upper section with a deep overhanging cornice molding above a pair of glazed doors, each with eight panes, the base with a pair of drawers above a pair of framed and paneled cabinet doors, raised on bracket feet, h. 87”, w. 56”, d. 37”, to corner. [1400/1800] Illustrated 1623

207

1630 American Late Classical Mahogany Double Pedestal Banquet Table, ca. 1825, each section with a figured singe-board top on a “D”-end apron, supported by an acanthus-carved vasiform pedestal joined to a circular platform with four sabre legs ending with carved paw feet, with two 24” single board leaves, h. 28‑1/2”, l. 52”, ext. 100”. [3000/5000] Illustrated 1631 American Late Classical Mahogany Adjustable Swivel Piano Chair, second quarter 19th century, the chair back with a figured curved panel above a central carved slat and down-curved side posts forming the seat frame, mounted to an acanthus carved pedestal base with four outstretched legs of animal form and ending in paw feet, h. 32”, w. 18”, d. 18”. [1200/1800] Illustrated 1632 American Late Classical Mahogany Work Table, second quarter 19th century, with three drawers raised on a tapering pedestal on carved paw feet, h. 29‑1/4”, w. 23”, d. 16”. [300/500]

1633

1630

1631

1630

208

1633 American Classical Parcel-Gilt, Stenciled and Ebonized Mahogany Pier Table, second quarter 19th century, the variegated white marble top over a molded apron retaining its period giltstenciling, supported by turned columns with giltwood Corinthian capitals, the concave low shelf with a stenciled perimeter border and stenciling at the rear of the shelf, the latter decoration reflected in the mirror plate, on foliate carved parcel-gilt, ebonized and mahogany feet,h. 41‑1/2”, w. 38‑1/2”, d. 18‑3/8”. [4000/7000] Illustrated

1635

1634 New York Brass Solar Lamp, mid‑19th century, labeled, “Dietz Brother and Company, 139 William Street, New York”, the oil tank sits on a spare column attached to a two-step plinth, now mounted as a lamp, h. 29‑1/2”. [100/200]

1636 American Classical Mahogany Sideboard, second quarter 19th century, the deep center with a King of Prussia marble top backed by a rectilinear mirror plate, flanked by acanthus-carved scroll brackets, the center with a pull-out slide over a drawer and pair of doors, each end with a molded drawer over a door, raised on foliatecarved paw feet,h. 55‑1/2”, w. 75‑1/4”, d. 24”. [1000/1500]

1635 Fine American Late Classical Stenciled and Brass Mounted Mahogany Marble Top Sideboard, second quarter 19th century, Philadelphia, probably Charles White, the upper section with a central mirror flanked by turned columns with brass mounted capitals and large carved returns featuring cornucopia and harvests of fruit, the base with a pair of drawers concealed in the frieze above a central recessed cavity and flanked by curved doors with stenciled details, raised on turned and gadrooncarved feet, h. 66”, w. 72”, d. 24”. [6000/9000] Illustrated

1638 1637

1637 Pair of Paris Rococo Campana-Form Vases, attributed to Jacob Petit second quarter 19th century, unusual blue-green ground is decorated with rococo scrolls, gilt handles and molded lip, both body and plinth contain pastel reserve panels of people in 18th century costume in an Acadian landscape, formerly fitted as lamps and still attached to lamp bases, h. 16‑1/2”. [1000/1500] Illustrated

209

1638 Fine American Late Classical Mahogany Mixing Table, second quarter 19th century, Philadelphia, attributed to Anthony Quervelle or a competitor of equal rank, the white marble top over a frieze with scroll brackets and a pullout work surface retaining its period embossed oilcloth covering, the mirrored cupboard door of pyramidal form, on a paneled base with scroll apron and bold scroll feet extending the depth of the case, h. 41‑1/4”, w. 36”, d. 17‑1/2”. [3000/5000] Illustrated previous page

1642

1639 Pair of English Blue Ground Floral Garniture Vases, second quarter 19th century, the upper body and foot decorated with florals in rococo panels, the lower body decorated with gilt-diapering in rococo panels, each with handles terminating in dog’s heads, h. 6”, dia. 5”. [300/500] 1640 Set of Eight American Late Classical Ebonized and Brass-Mounted Mahogany Dining Chairs, ca. 1825, comprised of a pair of arm chairs and six side chairs, each with an ebonized crest element flanked by brass rings and graduated spherical turnings over paired paneled splats, with slip seats, molded apron and sabre legs wtih scrolls at their tops, the arms terminating in scroll supports, h. 35”. [2000/4000] Illustrated

1640

1641 American Late Classical Mahogany Arm Chair, second quarter 19th century, the concave figured top rail over a vasiform splat, the open arms ending with scroll supports, bowed seat rail and sabre legs, h. 35”, w. 21”, d. 18”. [250/400]

1642 American Late Classical Mahogany Banquet Table, second quarter 19th century, Boston, the circular top on a split pedestal extending to accommodate the eight skirted leaves, the pedestal with concave panels set with bobbin turned pilasters, joined to a concave base edged with ribbon molding, the scroll feet mounted with carved roundels, h. 30‑1/2”, w. 54‑1/4”, l. 42‑1/2”, ext. l. 162”. [6000/9000] Illustrated 1640

210

1643 American Late Classical Marble Metal-Mounted, Stenciled Rosewood Pier Table, early 19th century, New York, probably Meeks, the marble top over a fret-and-foliate stenciled frieze, supported by marble columns with finely cast gilt-metal capitals and bases, the band with a mirror plate flanked by marble pilasters, raised with foliate-carved parcel-gilt paw feet, the frieze cut with a central door in the period, h. 37”, w. 42”, d. 19”. [7000/10000] Illustrated

1651

1644 Pair of Rhyton-Form Paris Porcelain Vases, second quarter 19th century, each “horn” is carried on a fully delineated horse, resting on scroll-foot plinths, peach background, containing reserve panels of violets framed in raised gilt on one side and roses on the other, the plinths are decorated with more raised gilt and molded shells, h. 9”, w. 4”, l. 6‑1/2”. [900/1200] Illustrated 1644

1645 Old Paris Porcelain “Pasha” Perfume Bottle, second quarter 19th century, attributed to Jacob Petit, shown seated on a tasseled cushion, his scimitar at his side, wearing a beaded necklace and decorated in lavender, blue and green with touches or raised gilt, h. 8‑1/2”, w. 5‑1/2”, d. 4”. [300/500] 1646 Franco-Bohemian Porcelain Clock Figure, decorated in Bacchanalian theme, with a couple sharing grapes and goblets of wine at harvest, impressed “R” over “833” over “1844” on bottom, molded in three dimensions and decorated with polychrome enamels, h. 8”, w. 6‑1/2”, d. 4”. [300/500] 1647 Joan of Arc Paris Porcelain Figure, standing on a round plinth holding a molded bronze sword, inscribed “Joan d’ Arc” in worn gilt-script on obverse, “S. Fr” on reverse, h. 9”, dia. 5‑1/4”. [200/400] 1648 Old Paris Jacob Petit Male Figure in 18th Century Costume, second quarter 19th century, finely detailed gilt on waist coat, and a tricorn hat, signed “JP” in underglaze blue, h. 12”. [300/500] 1649 Southern School (Second Quarter 19th Century) “Portrait of a Child with a Pet Goat”, oil on canvas, unsigned, 38” x 27”. Presented in a giltwood frame. [1500/2500] Illustrated following page

1643

1650 Colonial Revival Bulls-Eye Mirror in the Classical Style, fourth quarter 19th century, the small round mirror, fitted with an old, flat mirror plate, set in a cove molded frame, with a leaf molded drop and side arms, surmounted with a bold spread-winged eagle, h. 32”, w. 28”. [500/800]

211

1651 American Late Classical Mahogany Sofa, second quarter 19th century, attributed to J. and J.W. Meeks, New York, with a serpentine back and seat rail, the arm supports with inset upholstered panels over radiating wood panels, raised on scroll feet, now upholstered with a loose seat cushion in floral brocade, h. 36”, w. 81‑3/4”, d. 31‑1/2”. [2500/4000] Illustrated previous page 1652 American Late Classical Rosewood Recamier, second quarter 19th century, attributed to J. and J.W. Meeks, New York, the serpentine back, lower at one end, both ends wrapping around to terminate in arm supports with inset upholstered panels over radiating molded panels, with serpentine seat rail and scroll feet, now upholstered with a loose seat cushion in floral brocade, h. 36”, w. 81‑3/4”, d. 31‑1/2”. [3000/5000] Illustrated

1653

1649 1654 Monumental American Late Classical Rosewood Triple-Section Armoire, second quarter 19th century, the molded cornice over a recessed central mirrored door, the door opening to reveal an interior with an open shelf over a bank of drawers with three-over-four graduated drawers, the central sections flanked by projecting ends, each with a single door with a shallow upper over a deep lower panel, each panel mounted with molded parallelograms with finely detailed carving at each corner, each section edged in floral rondels, the top rail of each section with lotus-form carving, h. 96‑1/2”, w. 103”, d. 26‑1/2”. [3000/5000] Illustrated 1655 American Classical Giltwood Tabernacle Mirror, second quarter 19th century, rounded pilasters ornamented with gilt leaves and gadrooning terminating in corner blocks decorated with four petal flowers, h. 56”, w. 26”. [1500/2500] Illustrated

1653 Pair of Charles X Paris Porcelain Garniture Vases, second quarter 19th century, enameled in the round with hunt scenes in an arcadian landscape, the riders dressed in red coats, the horses’ tails bobbed, the handles modeled with whit biscuit masques, leaves and medallions on a gilt ground, h. 15”, w. 8”. [1000/1500] Illustrated

212

1652

1656 American Late Classical Parcel Gilt and Mahogany Sofa/Center Table, the rectilinear marble top with scroll ends, over a conforming molded apron, the shaped legs with central floral carved panels, the stretchers centered by a similar panel, on scroll feet, h. 30”, w. 20”, d. 37”. [1500/2500] Illustrated

1654

1655

1654

1657 Gilt-Bronze Louis Philippe Mantel Clock, second quarter 19th century, the base and lower body are cast in elaborate gothic revival detail, with scroll feet and a molded central drop pendant, the top figures depicting a courting couple in Elizabethan costume, h. 18‑1/2”, w. 14”, d. 5”. [1000/1500] Illustrated following page

1656

1658 American Late Classical Flame Mahogany Stool, second quarter 19th century, the cushion upholstered in floral needlepoint depicting daffodils and lilies and an ebony ground, the frame with crotch cut veneers and raised on bracket feet, [400/700]

213

1660 American Late Classical Mahogany Secretaire a Abattant, second quarter 19th century, the top with an overhanging molded cornice above an ogee-form drawer concealed within the frieze, the drop-lid opening to a fitted interior with maple accents, the lower case with three graduated long drawers, h. 60‑1/2”, w. 47”, d. 20”. [800/1200] 1661 American Late Classical Mahogany Child’s Bed, second quarter 19th century, having an arched and paneled headboard and footboard with a molded edge and joined by caned paneled rails, h. 50”, w. 33”, d. 55”. [300/500] 1662 Pair of American Late Classical Mahogany Console Tables, second quarter 19th century, the black stone tops over a molded frieze, supported by a figured flaring pedestal joined to a concave platform on scroll feet, the top later, h. 27”, w. 46”, d. 23”. [1500/2500]

1657 1659

1663

1659 Fine American Late Classical Mahogany Secretaire a Abattant, second quarter 19th century, New York, possibly by J. and J.W. Meeks, the frieze fitted with a long drawer above a drop-lid writing surface opening to a fitted interior and above a pair of framed and paneled cabinet doors, and flanked by large tapering octagonal pilasters, h. 54‑1/2”, w. 44”, d. 21”. [3000/5000] Illustrated

214

1663 American Classical Mahogany Work Table, ca 1825, the figured top flanked by a pair of drop leaves, the case with a bank of three drawers including a deep, crotchveneered yarn drawer, the upper drawer fitted with a writing surface, on a trestle-form base with tapering columns joined to shaped legs on bun feet, h. 29”, w. 18‑1/2”, d. 18”, ext. l. 36‑3/4”. [1000/1500] Illustrated 1664 American Late Classical Mahogany Drop-Leaf Work Table, second quarter 19th century, the front with a pair of drawers above a pull-out sewing basket (fabric lacking) and supported by a pair of hexagonal columns mounted to a scrolled base joined by a stretcher, h. 28‑3/4”, w. 20”, d. 19‑1/4”, ext. l. 38”. [800/1200]

1665 American Late Classical Revival Mahogany Work Table, fourth quarter 19th century, the front fitted with three long drawers flanked by turned pilasters and supported by a turned and carved standard mounted to a platform base, raised on paw feet, h. 29‑1/2”, w. 19”, d. 18’. [300/500] 1666 American Classical Revival Mahogany Table, fourth quarter 19th century, the rectilinear top over a frieze with scroll-carving and drop-palmettes, raised on canted-foliate-carved C-scroll legs ending in dolphin heads, h. 27‑1/2”, w. 42”, d. 21‑1/2”. [500/800] 1667 Thomas L. McKenney and James Hall (American, 19th Century) “Tshi-Zun-Hau-Kau, A Winebago” and “Thayendanegea, The Great Captain of the Six Nations”, two hand colored lithographs, sheet size 14” x 20”. Unframed. [1200/1800]

1668 1670 Rare Chitimacha Single-Weave Plaited and Twill Design Rivercane Basket, first half 20th century, h. 2”, w. 2‑5/8”, d. 2‑5/8”. Provenance: By descent, the family of Murphy J. Foster, Franklin, Louisiana. [800/1200] Illustrated

1668 Robert Duncan (American/Utah, b. 1952) “Shady Hideaway”, oil on board, signed lower right “R. Duncan”, titled on the reverse inventory label, 12” x 18”. Presented in a distressed hardwood frame with a linen and giltwood liner. [4000/7000] Illustrated

1671 Rare Chitimacha Double-Weave Carba, in the Alligator Entrails and Snake (Teche) Design, first half 20th century, h. 5‑1/2”, w. 5‑1/2”, d. 5‑1/2”. Provenance: By descent, the Family of Murphy J. Foster, Franklin, Louisiana. Similar examples can be found in the collections of The Burke Museum of Natural History and Culture, Washington State, The Cabildo, Louisiana State Museum, New Orleans, and The Historic New Orleans Collection. [3000/5000] Illustrated

1669 Rare Chitimacha Single-Weave Straight Plait Design Rivercane Basket, first half 20th century, h. 2”, w. 2‑1/2”, d. 2‑1/2”. Provenance: By descent, the family of Murphy J. Foster, Franklin, Louisiana. [800/1200] Illustrated

1671 1672

1669

1672 Rare Chitimacha Double-Weave Carba in the Black Birds Eye Design, first half 20th century, h. 4‑1/4”, w. 4‑1/2”, d. 4‑1/2”. Provenance: By descent, the family of Murphy J. Foster, Franklin, Louisiana. [3000/5000] Illustrated

1670

215

1673 1673 Kenneth Riley (American, b. 1919) “Evening Light”, oil on masonite, signed and dated lower right “Kenneth Riley ‘80”, titled on the reverse label, 10” x 16”. Presented in a distressed hardwood frame with a linen liner. [12000/18000] Illustrated 1674 San Ildefonso Pueblo Black-on-Black Pottery Bowl, by Blue Corn, a.k.a. Crucita Gonzales Calabaza (1921‑1999), the squat polished bowl decorated with matte lightning-banded rim, the base signed in sgraffito “Blue Corn/San Ildefonso/Pueblo”, h. 3”, dia. 8‑1/2”. [100/200] 1675 American Late Classical Mahogany Sofa, mid‑19th century, the scroll crest rail ending in foliate-carved roundels, with acanthus-carved scroll arms, a raised panel centering the seat rail and raised on fruit-and-scroll-carved paw feet, h. 36‑1/2”, w. 83”, d. 22”. [1000/1500] 1676 American Late Classical Cherry and Birdseye Maple Work Table, second quarter 19th century, the top flanked by a pair of drop-leaves, the case with a pair of drawers, each with birdseye maple-veneered faces and period ring pulls with stamped backplates, raised on turned and carved legs, h. 28‑3/4”, w. 18‑1/4”, d. 18‑1/4”, ext. l. 40”. [350/500]

216

1677

1677 American Late Federal Cherry Corner Cabinet, second quarter 19th century, the upper section with a pair of eight-pane glazed doors above a pair of framed and raised-panel doors below, mortised and pegged construction, h. 87”, w. 54”, d. 35”. [1500/2500] Illustrated 1678 American Late Classical Mahogany Hall Tree, second quarter 19th century, the central post supporting two pairs of scroll brackets with garment pegs, the top with a projecting cove molding surmounted by a lunar crest, the umbrella hooks on a turned support, the base with a tole drip pan, h. 78‑1/2”, w. 34‑1/2”, d. 8‑3/4”. [300/500]

1685

1679 Pair of American Late Classical Mahogany Side Chairs of Gondola-Form, mid‑19th century, the backs with floral-carved crests above a central shaped splat and down-curved side posts, having a slip-seats and cabriole legs, h. 35”, w. 18‑1/2”, d. 17”. [70/100]

1683 Small Sterling Silver Water Pitcher, dated 1898, by the Barbour Silver Co., Hartford, Connecticut, the ovoid body with waisted collar in integral spout and “S”-scroll handle, decorated with narrow beaded banding, monogrammed on the body “TET” and engraved on the underside “May 31, 1898”, h. 6‑1/2”, dia. 4‑1/2”, 12.08 t. oz. [200/400]

1680 19th Century American Sterling Silver Flower Bowl, dated 1898, of bulbous circular form with applied, reticulated rococo scroll rim and raised on for cast feet en suite, monogrammed on the body “ELMcC” and inscribed on the underside “May 31, 1898”, h. 4”, dia. 8‑1/2”, 21.48 t. oz. [500/800]

1684 Tiffany & Co. Sterling Silver Fruit Bowl, the pattern introduced 1914, New York City, New York, of circular form, with convex bottom and reticulated geometric banding, h. 1‑7/8”, dia. 9”, 13.18 t. oz. [300/500]

1681 Gorham Sterling Silver Bowl, 1898, Providence, Rhode Island, of lobed circular form, with narrow bead-and-dart rim, monogrammed on the body, “ELMcC”, h. 1‑3/4”, dia. 8”, 7.84 t. oz. [150/250]

1685 Good Pair of Tiffany & Co. Sterling Silver Candelabra, the pattern introduced in 1913, New York City, New York, each of plain columnar standard form terminating in a milled cornucopia capital fixed with a central cannonform nozzle flanked by scrolling arms, each terminating in a candle nozzle en suite, the nozzles decorated with wide repousse floral banding and fitted with detachable beaded circular bobeches, the center with a detachable toupie finial, the whole raised above an elaborate repousse floral and foliate domed foot and square plinth banded en suite with the capital, monogrammed, on the standard “NET”, h. 13‑1/4”, w. 13”, d. 4‑3/4”, 53.37 total t. oz. [7000/10000] Illustrated

1682 19th Century American Silverplate Center Bowl, fourth quarter 19th century, by Reed & Barton, Taunton, Massachusetts, of flattened spherical form, decorated with an applied band of rococo scrolls and flowers, with a pair of opposing rococo handles and raised on four openwork scrolling feet en suite, monogrammed on the body “P”, h. 3‑1/2”, w. 14‑1/2”, dia. 11”. [100/200]

1689

1686 Three Tiffany & Co. Sterling Silver Serving Pieces, first quarter 20th century, New York City, New York, including an “English King” Tomato Server, the pattern designed in 1885 by Charles Grosjean (1841‑1888), monogrammed “T”, l. 7‑5/8”, and a “St. Dunstan” serving fork, l. 8‑1/2” and spoon, l. 9‑1/2”, the pattern designed in 1909 by Albert Angell Southwick (1872‑1960), both monogrammed “B”, 9.90 total t. oz. [300/500]

217

1687 Set of Four Tiffany & Co. Sterling Silver Nut Dishes, the pattern introduced in 1898, New York City, New York, two examples before 1902, the other two 1902‑1907, each of elongated quatrefoil form with annulated ri. the sides pierces with scrolls and stars, the whole raised on four spherical feet, the two earlier examples monogrammed “AAC”, l. 4”, w. 2‑3/4”, 4.05 total t. oz. [200/400]

1692

1688 Pair of Tiffany & Co. Sterling Silver Coquille Dishes, fourth quarter 20th century, each in the form of a realistically detailed cockle shell, l. 6”, w. 6”, 12.41 total t. oz. [1400/1800] 1689 American Sterling Silver Center Bowl, first quarter 20th century, by Unger Brothers, Newark, New Jersey, of hexagonal form. the shaped rim decorated with an high-relief band of naturalistically embossed hollyhocks, dia. 12”, 13.18 t. oz. [400/700] Illustrated previous page

1700

1690 Set of Twelve American Sterling Silver Bread-AndButter Plates, first quarter 20th century, by the Elgin American Mfg. Co., Elgin, Illinois, each with an acidengraved “water lily” border, monogrammed, at the center, “N”, dia. 6”, 34.02 total t. oz. [300/500] 1691 American Sterling Silver Platter, first quarter 20th century, by the Elgin American Mfg. Co., Elgin, Illinois, of circular form, with molded rim, monogrammed, at the center, “N”, dia. 14”, 31.77 t. oz. [200/400]

218

1692 Rare West Point Four-Piece Sterling Silver and Mahogany Presentation Coffee Service, dated 1916, Bailey, Banks & Biddle Co., Philadelphia, Pennsylvania, including silver pieces a coffeepot, h. 11”, dia. 3‑3/4”, an open sugar bowl, h. 5‑1/4”, dia. 3‑3/4”, and a cream jug, h. 5‑1/2”, dia. 2‑3/4”, each in the Federal style, with ovoid body above a waisted stem and square plinth foot, with arched handles (the coffee pot handle of ebonized wood), decorated with a simple applied medallion of the United States Military Academy arms dated 1916, the coffeepot additionally monogrammed “FMK-AME”, total t. oz. 30.42 (including wooden handle), with and an oval mahogany tray, centered by marquetry arms en suite with the medallions and line-strung around the perimeter, with raised gallery and applied brass handles, l. 17‑1/2”, w. 10‑3/4”. The “AME” of the monogram is Lt. Col. Arthur Monroe Ellis (1893‑1974) of Tennessee, who graduated the U.S. Military Academy as No. 5572, Class of 1916. (“FMK” is his wife, the former Frances M. Klein of South Carolina). Ellis served in both World Wars, and in between taught at the Tennessee Military Institute. He retired from service due to disability on December 31, 1942. He is buried in Arlington National Cemetery. [1500/2500] Illustrated 1693 Eight Miscellaneous Pieces of American Sterling Silver Flatware, first quarter 20th century, including a Blackington “Azalea” olive spoon, designed in 1902 by A. E. Hawthorne, monogrammed “S”, l. 4‑1/2”, five Gorham “Portsmouth” demitasse spoons, designed in 1918 by A. H. Staf, monogrammed “LNS”, l. 4‑1/4”, a Manchester “Roanoke” tomato server, designed in 1918, no monogram, l. 6‑3/4”, and an International Silver “Lady Betty” vegetable spoon, designed in 1920 by A. G. Kintz, monogrammed “S”, l. 8‑1/2”, 5.01 total t. oz. [100/200]

1694 Thirteen Pieces of Assorted American and Other Sterling Silver Flatware, late 19th and early 20th century, including a Baker-Manchester salad fork in an unidentified “bead and scroll” pattern, l. 5‑3/4”, a Frank Smith “Newport Shell” sauce ladle, l. 6‑1/4”, a Gorham “Clermont” serving spoon, l. 7‑1/4”, an Alvin “Cambridge” cold meat fork, monogrammed, l. 7‑1/4”, a Gorham “Buttercup” serving spade, monogrammed, l. 7‑3/4”, an Alvin “Raleigh” bonbon spoon, l. 4‑1/7”, Watson ice tongs in an unidentified spiral twist pattern l. 6‑1/4”, a Codding Bros. & Heilborn Congressional Library souvenir spoon, l. 3‑3/4”,m a Gorham “Antique Engraved” demitasse spoon, l. 3‑3/4”, a Towle “Lady Mary” salt spoon, l. 2‑1/2”, a Wallace No. 301 strawberry fork, l. 4‑5/8”, an unmarked spiral twist cocktail fork, l. 3‑1/2”, and Victorian “King’s” pattern sugar tongs, hallmarked Birmingham, 1888‑1889, by Nathan & Hayes, l. 3‑1/2”, 10.93 total t. oz. [300/500] 1695 Set of Twelve Sterling Silver “Fiddle Thread”Pattern Ice Cream Forks, second quarter 20th century, Frank W. Smith, Gardner, Massachusetts, l. 5‑1/2”, monogrammed “L”. 11.19 total t. oz. [250/400] 1696 New Orleans Retailed Silverplate PItcher, ca. 1911, made for A. B. Griswold & Co., Ltd., New Orleans Louisiana, with a plain pear-shaped body, shaped spout and arched handle, monogrammed on the body “RAG”, h. 7‑3/4”, dia. 5‑1/2”. This pitcher was a gift to Rhona Adelaide Andree (1890‑1979), daughter of Edgar P. Andree and Corinne Garidel, on the occasion of her marriage to Charles Anthony Garic in New Orleans on April 19, 1911: hence her new monogram “RAG”. A note accompanying this lot has slightly muddled this information, confusing her with her daughter and namesake, Rhona Andree Garic (1915‑1998); she would later marry Bertin “Buddy” Oakley Barrosse, Jr., by which time A. B. Griswold had been purchased by its successor, Hausmann’s. [150/300] 1697 American Sterling Silver-Mounted Seven-Piece Dresser Set, first quarter 20th century, by R. Wallace & Sons, Wallingford, Connecticut, including nail scissors, l. 4‑1/2”, a cuticle knife, l. 6”, a nail file, l. 7‑3/4”, a shoe horn, l. 9”, and a buttonhook, l. 8‑1/2”, all with steel fittings, l. with a faux tortoise comb, l. 7‑1/4”, and an ebonized wood tray, l. 9‑1/2” x 6”. [150/300] 1698 Collection of Eight American Sterling Silver Dishes, second and third quarters, 20th century, including an International Silver bowl with reeded rim, dia. 5‑1/8”, a Manchester bowl with lobed and reticulated rim, w. 4‑3/4”, another Manchester bowl with gadrooned rim, dia. 6”, a Wallace bowl with gadrooned rim, dia. 6”, a Kirk breadand-butter plate with molded rim, monogrammed “S”, dia. 6”, a Towle bread-and-butter plate with reticulated rim, dia. 6‑1/8”, a Towle bread tray with reticulated rim, monogrammed “N”, l. 15‑3/4”, w. 6”, and an F. B. Rogers bread tray with molded rim, l. 13”, w. 6‑1/2”, 34.47 total t. oz. [500/800]

1699 American Silverplate Wine Trolley, first quarter 20th century, F. B. Rogers Silver Co., Taunton, Massachusetts, in the Georgian taste, comprised of a pair of gadroon-rimmed wine coasters on a functional articulated trolley with “T”-shaped handle, h. 2‑3/4”, l. 13”, w. 5”. [75/125] 1700 One Hundred and Sixty-Seven Piece Set of Wallace “Violet” Sterling Silver Flatware, the pattern designed in 1904 by Henrik Hillborn (1863‑1928), Wallingford, Connecticut, twelve dinner forks, l. 7‑5/8”, twelve luncheon forks, l. 7‑1/8”, twelve salad forks, l. 6”, twelve seafood/cocktail forks, l. 5‑3/4”, twenty-four teaspoons, l. 6”, twelve soup spoons, l. 7”, twelve cream soup spoons, l. 5‑3/4”, twelve iced tea spoons, l. 7”, twelve demitasse spoons, l. 3‑7/8”, twelve dinner knives with stainless steel “Modern”-shaped blades, l. 9‑1/4”, twelve luncheon knives with stainless steel “Modern”-shaped blades, l. 8‑1/2”, one master butter knife, l. 7”, twelve butter spreaders with stainless steel blades, l. 6‑1/8”, a two-piece salad serving set, l. 8‑3/4”, two tablespoons, l. 8”, a carving knife with stainless steel blade, l. 10‑1/2”, a sugar spoon, l. 6”, a sauce ladle, l. 7‑1/2” a cream ladle, l. 5‑3/8” a serving fork, l. 8‑1/2” and a cheese/pate server with stainless steel blade, l. 6‑1/2”, no monograms, 138.06 total t. oz. (excluding items with stainles steel fittings), presented in a fitted mahogany case with brass handles, lined in brown Pacific cloth, h. 6‑1/4”, w. 18”, d. 18” [8000/12000] Illustrated 1701 American Sterling Silver Coffee Pot, third quarter 20th century, By Fisher Silversmiths, Jersey City, New Jersey, in the “Gadroon” pattern, h. 113/4”, l. 10‑1/2”, dia. 5‑1/2”, 27.20 t. oz. [200/400] 1702 Thirty-Two Pieces of Miscellaneous Small Sterling Silver Tableware, first half, 20th century, including a pair Gorham nut dishes with reticulated sides and beaded rims, l, 3‑3/4”, six William B. Kerr Art Nouveau nut dishes with embossed “whiplash” floral decor, l. 3‑1/4”, four Jennings nut dishes of coquille form, w. 3”, five Unger Brothers nut dishes with reticulated rims, dia. 3‑1/4”, four unmarked plain circular butter pats, dia. 2‑3/4”, four Webster Co. salt/pepper casters with paneled bodies and engraved floral banding, h. 2”, three unmarked salt/ pepper casters of waisted and paneled form, h. 1‑7/8”, a V. Lollo pepperette of ovoid paneled form with beaded banding, and three unmarked salt cellars of paneled form with amethyst glass liners, dia. 1‑1/4”, 14.85 total t. oz. [300/500] 1703 Pair of American Sterling Silver Sweetmeat Baskets, second quarter 20th century, by Graff, Washbourne & Dunn, New York City, New York, retailed by J. E. Caldwell & Co., Philadelphia, Pennsylvania, each of oval form with everted reticulated sides and strap handle, monogrammed on the handle “PB”, h. 4‑1/2”, l. 4”, 4.44 total t. oz. [150/300]

219

1704 One Hundred and Eighty-Five Piece Set of Reed & Barton “Francis I” Sterling Silver Flatware, the pattern designed in 1907 by Ernest Meyer, Taunton, Massachusetts, including twelve dinner forks, l. 7‑3/4”, twelve luncheon forks, l. 7‑1/8”, twelve salad forks, l. 7‑1/4”, twelve seafood/cocktail forks, l. 5‑1/2”, twenty four teaspoons, l. 6”, twelve soup spoons, l. 5‑7/8”, twelve cream soup spoons, l. 5‑1/4”, twelve iced tea spoons, l. 7”, twelve demitasse spoons, l. 4‑1/4”, twelve dinner knives (one with “Blunt”-shaped steel blade, l. 9‑3/4”, the rest with “New French”-shaped stainless steel blades, one l. 9”, eleven l. 9‑1/2”), twelve luncheon knives (with stainless steel blades, eleven “Modern”-shaped, l. 8‑3/4”, one “New French”-shaped, l. 9”) twelve butter spreaders, l. 5‑3/4” twelve fruit/dessert knives with plated steel “Old French”shaped blades, l. 7‑3/4”, six tablespoons, l. 8‑1/4”, a serving spoon, l. 7‑3/4”, two gravy ladles, l. 6‑1/2”, a sauce ladle, l. 5‑1/4”, a jelly spoon, l. 5‑3/4”, a sugar spoon, l. 6‑1/4”, a two-piece beef carving set with stainless steel fittings, fork l. 10‑1/4”, knife, l. 13‑1/4”, a two-piece poultry carving set with stainless steel fittings, fork l. 6”, knife, l. 10‑1/4”, and a cake server with plated steel blade, l. 10‑3/4”, most pieces monogrammed “MCE” (complete list available on request), 190.50 total t. oz. (excluding items with steel fittings). [10000/15000]

1707

1706

1705 Seven Sterling Silver-Mounted Serving Pieces, mid 20th century, all with stainless steel fittings, including a Steiff Rose serving spade, l. 10”, a Gorham floral-handle cheese knife, l. 8‑3/4”, a Whiting rococo-styled openwork serving spade, l. 9‑1/2”, an unmarked Colonial-style cheese server, l. 6‑1/2”, and three unmarked bottle openers, l. 5‑1/2” to 6‑1/2”. [100/200]

220

1707 detail

1706 American Aesthetic Movement Gilt-Incised and Brass-Mounted Ebonized Desk, attributed to Kimbel and Cabus, New York fourth quarter 19th century, in the Modern Gothic taste, the galleried top over a lift-top storage well with fitted interior, foldover writing surface and frieze drawer, the corners mounted with brass straps with quatrefoil cutouts, the chamfered legs joined to a low shelf with spindle gallery and canted front legs, h. 37‑1/4”, w. 23‑1/4”, d. 17‑1/2”. [1200/1800] Illustrated 1707 American Aesthetic Movement Gilt-Incised and Polychromed Cabinet, ca 1876, the crest rail with a row of gilt-incised sunflowers, the returns with spindle galleries, on an upper cabinet with a single door, the polychromed panel depicting a Grecian urn, the lower case with a pair of doors depicting painted Grecian figures in the Pre-Raphaelite style, the doors centered by a pair of drawers over an open niche, and all with brass strapwork hinges, h. 27‑3/4”, w. 32‑1/2”, d. 15”. A similar cabinet is illustrated in the 1876 Kimbel and Cabus trade book at the Cooper Hewitt Museum Library. [4000/7000] Illustrated

1708

1709 suite of two 1708 American Moderne Gothic Gilt-Incised Ebonized Slant-Lid Desk, fourth quarter 19th century, attributed to Kimbel and Cabus, NY, the upper cupboard with a shed roof, brass-strap work hinges and an incised door panel, flanked by shallow drawers over an open niche, the incised slant-lid folding over to create a writing surface, the kneehole section flanked by recessed cupboards, h. 65”, w. 38‑1/4”, d. 21‑1/2”. A similar cabinet was exhibited in Kimble and Cabus booth at the 1876 Centennial Exhibition, is illustrated in a reprint of a Harper’s Weekly, Madigan, Hanks et al “ “Nineteenth Century American Furniture, Innovation, Revival and Reform” page 68 [2500/4000] Illustrated 1709 Joseph A. Wilhelm (American/Louisiana, 1923‑2003) “Ships at Anchor at New Orleans” and “Monreale at New Orleans”, two oils on board, former signed lower right “Wilhelm”, latter signed lower left “Joe Wilhelm, Monreale in New Orleans on Maiden Voyage, Aug. 1965”, both titled and signed on reverse, 9” x 12”. Both framed. [500/800] Illustrated 1710 Joseph A. Wilhelm (American/Louisiana, 1923‑2003) “Narrow Gauge Train of the Durango and Silverton Railroad” and “No. 480 at the Water Tank”, two oils on board, both signed “Joe Wilhelm”, both titled on reverse, 8” x 10”. Both framed. [400/700] 1711 Joseph A. Wilhelm (American/Louisiana, 1923‑2003) “Orahovac and African Begonia at Point”, and “Anchorage Lineup at New Orleans”, two oils on board, both signed lower left “Joe Wilhelm”, both titled and signed on reverse, 6” x 9”. Both framed. [300/500] 1712 Joseph A. Wilhelm (American/Louisiana, 1923‑2003) “Liberty Ship Perdika Loading in Late Afternoon” and “Esso Huntington”, two oils on board, both signed “Joe Wilheml”, both titled on reverse, 9” x 12”. Both framed. [500/800]

221

1713 Joseph A. Wilhelm (American/ Louisiana, 1923‑2003) “S.S. Puerto Rico” and “Southern Pacific R.R.”, two oils on board, former signed and titled lower right and on reverse, latter signed lower left and titled on reverse, 6” x 8”. Both framed. [300/500] 1714 Joseph A. Wilhelm (American/ Louisiana, 1923‑2003) “S.S. Corinthia”, oil on board, signed lower right “Joe Wilhelm”, titled and signed on revrese, 12” x 18”. Framed. [300/500] 1715 Joseph A. Wilhelm (American/ Louisiana, 1923‑2003) “The Vesta”, oil on board, signed lower right “Joe Wilhelm”, titled on a inscribed label on reverse, 9” x 12”. Framed. [300/500] 1716 Joseph A. Wilhelm (American/Louisiana, 1923‑2003) “Tug-W.A. Bisso”, oil on board, signed lower left “Joe Wilhelm”, titled and signed on reverse, 8” x 10”. Framed. [200/400]

1719

1717 Joseph A. Wilhelm (American/Louisiana, 1923‑2003) “Tug-Independent”, oil on board, signed lower right “Joe Wilhelm”, titled and signed on reverse, 9” x 12”. Framed. [300/500] 1718 American Aesthetic Movement Marquetry Inlaid, Stenciled and Gilt-Incised Ebonized Table, fourth quarter 19th century, in the Japonesque taste, the inlaid rectilinear top with demilune ends, over a molded and incised apron, the trestle base with finials, a spindle gallery and quatrefoils, the stretchers with a geometrically pierced panel and floral carved crest, h, 29‑1/2”, w. 37‑1/2”, d. 22‑1/2”. [1200/1800] Illustrated

1718

222

1719 American Aesthetic Movement Parcel Gilt, Incised and Ebonized Three-Piece Parlor Suite in the Japonesque Taste, comprised of a sofa and a pair of side chairs, fourth quarter 19th century, New York, the sofa with a tripartite back, the upholstered cushion over an open field with a trio of carved giltwood panels, each depicting a bird perching within a wreath, and flanked by fretwork panels, the arm supports with similar carved panels, the apron with a pierced geometric panel, the side chairs with like panels and seat rail and with floralcarved brackets at the hips, raised on India comb rubber casters, now upholstered after the period fashion in tufted gold plush and brocade, h. 36”, w. 64”. d. 28”, sofa, h. 30‑1/2, side chairs. An identical side chair is illustrated in the foreground of of the Knight-Cheeney house, South Manchester CT, and illustrated in plate 66 of “Artistic Houses” The renovation of the Cheeney house prior to the “Artistic Houses” photos is attributed to Henry Hobson Richardson [2500/4000] Illustrated 1720 American Aesthetic Movement Parcel-Gilt, Incised and Ebonized Corner Chair in the Japanesque Taste, fourth quarter 19th century, New York, the backs each with a giltwood panel depicting a bird perched on a wreath, and flanked by pierced guilloche panels, h. 27”. [400/700]

1721

1722 American Aesthetic Movement Ebonized Granite Top Egret Pedestal, fourth quarter 19th century, the square top with a black granite insert mounted to a carved egretform stand and with a platform base and shaped feet, h. 36‑1/1”, w. 16”, d. 16”. [2000/4000] Illustrated 1723 Fine Jacob Baggaley, Hill Works, Burslem, Staffordshire, Unglazed Buff Earthenware TwoHandled Garniture Vase-on-Stand, 1880‑1886, decorated with bas-relief floral sprays with songbirds, specially produced for Jacob Baggaley’s own home, h. 20‑3/4”, dia. 9”, and presented in a blown-glass parlor dome on a matte-ebonized wooden base, h. 26”, dia. 9”. Another example of this vase-on-stand is in the collection of the Victoria and Albert Museum, London. [800/1200] Illustrated

1723

1722

1721 Aesthetic Ebonized Firescreen, late 19th century, the revolving screen with a polychrome floral panel to one side, and an embroidered panel to the other, surmounted by a pierced foliate carved triangular crest and flanked to either side by barley twist uprights, raised on like splayed legs, h. 46”, w. 26”. [800/1200] Illustrated

1724 English Figure if a Classical Maiden mid‑19th century, clasping a lily as a vow of continued virginity, sculpted and signed by M. Noble, h. 18”, dia. 5‑1/4”. [300/500] 1725 Two English Parian Porcelain Busts , the male depicting Charles Dickens, depicted with a flowing beard, and the mythological goddess Clytie, with integral socle bases, h. 8”, w. 5”, d. 2-/2”. [150/250] 1726 English Parian Porcelain Bust of Henry Wadsworth Longfellow, mid‑19th century, on a separate socle, impressed “H.W. Longfellow” on rear, h. 9”. [100/200]

223

1727 American Aesthetic Movement Easel in the AngloJaponesque Taste, third quarter 19th century, the pierced and carved crest, which terminates in ram’s horns ends, sits over a gilt-incised panel featuring an altar table, the lower portion is decorated with a rondel carved with birds, trees and Japonesque incising, the carved elephanttrunk feet supporting pierced brackets echoing the crest rail, h. 79‑1/2”, w. 30”. [2000/4000] Illustrated

1729 Pair of Wool and Linen Crewelwork Drapery Panels, second half 20th century, each depicting woolembroidered birds and fruit trees on toast-brown linen, edged in wool gimp with teal, wool fringe and lined with tan polished cotton, each with a toast-brown raw silk sash tieback, h. 9’6”, w. 4’2”. Provenance: An Audubon Boulevard home, New Orleans, Louisiana. [600/900] 1730 American Aesthetic Movement Marquetry-Inlaid Rosewood Bed, fourth quarter 19th century, with the stamp “Herter Bros”, for Herter Brothers, New York, the arched headboard with a conforming floral inlaid frieze over a large central panel flanked by narrower panels, the central panel flanked by carved sunflowers, the footboard similarly modeled, the side rails with an inlaid central panel, h. 66”, w. 63‑1/2”, d. 84”, inside w. 59‑3/4”, inside l. 79‑1/2”. [5000/8000] Illustrated

1727

1728 top

1727 detail

1728 American Aesthetic Movement Marquetry Inlaid Ebonized Center Table in the Japonesque Taste, fourth quarter 19th century, New York, the top with inlaid musical trophees amidst foliate arabesques, over a molded and incised apron centered by drop conjoined scrolls, the legs joined by a gallery comprised of a row of open carved leaves, the stretchers with a pair of pierced foliate carved panels, h. 28”, w. 38‑3/4”, d. 24‑1/8”. [3000/5000] Illustrated

224

1728

1730

1731 American Aesthetic Movement Brass, MixedWoods and Mother-of-Pearl Inlaid Rosewood Arm Chair, fourth quarter 19th century, attributed to Herts Brothers, New York, the crest rail with floral-leaf-vine and ribbon-inlay, the arm supports with leaf-and-vine-inlay, serpentine front seat rail and trumpet legs, the upholstery and springs now lacking, h. 34‑1/2”. [300/500]

1732 side

1732 American Aesthetic Movement Walnut Library Table, fourth quarter 19th century, the inset leather top set in a molded frame, the frieze with a pair of drawers centered by a foliate carved panel, raised on incised and turned legs ending with splay legs, the legs joined at each side by a carved panel depicting exotic flora, the low shelf surmounted by an arched bracket with bulbous turnings, h. 29”, w. 26”, d. 42”. [1800/2500] Illustrated

1732

225

1733

1733 American Aesthetic Movement Giltwood Pier Mirror, fourth quarter 19th century, the rectilinear beveled mirror plate in a frame with a stepped floral and geometrically modeled crest, the plate flanked by fluted pilasters on a base with a projecting onyxtopped shelf with foliate and floral decor below, h. 113”, w. 32”, d. 10‑1/2”. [1500/2500] Illustrated

1736 American Aesthetic Movement Walnut Bookcase, third quarter 19th century, Philadelphia, possibly by Daniel Pabst, the top with a repeating floral pierced carved gallery above a central pair of beveled doors flanked by open side galleries and beveled doors below, the base fitted with two relief carved side-by-side drawers, h. 66‑1/2”, w. 86”, d. 19‑1/2”. [2500/4000] Illustrated

1734

1736

1734 Mabel Alvarez (American/ California, 1891‑1985) “Anemonies”, oil on canvas, signed lower right “M. Alvarez”, reverse with an exhibition label inscribed with the title, medium and artist’s name and address, 24” x 20”. Presented in a silvered frame. [2000/4000] Illustrated 1735 American School (Fourth Quarter 19th Century) “Autumnal Harvest Still Life”, oil on panel, signed and dated lower left “A.J. Swing 1896”, 19” x 25”. Presented in a floral-painted frame. [300/500]

226

1737 Aesthetic Movement Style Mixed Metal Five-Light Candelabrum, with applied silvered butterflies, beetles and dragon flies on the base with silvered gothic banding around the scrolled arms, hung with spear-point prisms, h. 23”, w. 14”, d. 14”. [600/900] 1738 Edmund William Greacen (American, 1877‑1949) “Ethol, Summer Reflections”, oil on canvas, signed and dated lower left “Edmund Greacen 1914”, titled on multiple gallery exhibition labels on the reverse and on the stretcher, 18‑1/2” x 18‑1/8”. Presented in a giltwood and polychrome frame. Exhibited: Jacksonville, Florida, Cummer Gallery of Art, Edmund W. Greacen, N.A., American Impressionist ,1876‑1949, April 11 1972-May 20, 1972. [4000/7000] Illustrated 1746

1738

1741 American School (20th Century) “Two Fashionable Ladies in a Cafe”, gouache on paper, signed lower left “Th. Cutler”, 11” x 16”. Glazed and presented in a giltwood and gesso frame. [200/400] 1742 American School (20th Century) “Lady Seated with a Parasol”, gouche on paper, signed lower left “Th. Cutler”, 10” x 8‑1/2”. Glazed and presented in a rococo style giltwood and gesso frame. [100/200] 1743 Charles I. Hepner (American, 20th Century) “Coastal Landscape with a Child Sitting on a Ledge”, oil on academy board, signed lower right “Chas I. Hepner”, reverse with a “F. Webber & Co.’ s Academy Board” label, 12” x 10”. Presented in a giltwood and gesso frame. [300/500]

1739 Janet Bernstein (American, 20th/21st Century) “Irises”, oil pastels on paper, titled and signed on reverse, sight 17” x 11”. Glazed, matted and framed. [100/200] 1740 American School (Fourth Quarter 20th Century) “Lady in a Red Hat”, oil on panel, signed lower right “Addison Walker”, 11” x 8”. Presented in a giltwood frame. [200/400]

1744 Edna Gass (American, First Quarter 20th Century) “Dimanche”, oil on panel, signed lower left “Gass”, titled on reverse, sight 6‑1/4” x 4‑1/4”. Framed. [125/250] 1745 American School (20th Century) “Two Girls in the Surf”, oil on cardboard, signed lower right “T. Kyle”, 9” x 8”. Framed. [100/200]

227

1747

1748 Victorian Aesthetic Movement Ebonized and Polychromed Mahogany Cabinet, fourth quarter 19th century, in the Japonesque taste, the back with a circular fretwork gallery over a trio of beveled mirror plates, with a spindle gallery and shelf below, the top with canted corners, the projecting center with a drawer over a pair of doors, the panel of each door painted depicting an exotic bird amidst flowers and vines, the lower open shelf fronted by a spindle gallery, each side fitted with open shelves, h. 60”, w. 60‑1/4”, d. 16”. [1500/2500] Illustrated 1749 American School (Fourth Quarter 19th Century) “Angel Visiting a Dying Girl”, oil on canvas, unsigned, 25” x 29‑1/2”. Presented in a burl mahogany frame. [1500/2500] Illustrated 1750 American Aesthetic Movement Walnut Arm Chair in the Egyptian Taste, fourth quarter 19th century, the stiles with foliate carving and scroll top, joined to arms terminating with winged seated sphinxes, raised on turned lotus leaf carved legs. The present chair is reminiscent of architect designed pieces commissioned for interiors in cities such as New York and Newport, h. 37‑1/4”, w. 27”, d. 20‑3/4”. [1200/1800] Illustrated 1751 Sixty-Piece Set of T.G. Hawkes and Company CutGlass Stemware, 20th century, Corning, New York (1880‑1962), in the “Eardley” pattern, comprised of eleven water goblets, h. 7‑1/2”, eleven clarets, h. 6‑5/8”, twelve champagne coupes, h. 6”, thirteen sherbets/ seafood cocktails with removable liners, h. 4‑1/4”, nine finger bowls, dia. 4‑1/2”, and four dessert plates, dia. 8”, each piece with an acid-etched “Hawkes” factory mark. [600/900]

1746 American Moderne Gothic Oak Secretary Abattant, attributed to Kimble and Cabus, NY, fourth quarter 19th century, after the precepts of Charles Locke Eastlake and the English Design Reform Movement, the back gallery with sawtooth incising, the case with a single drawer over a fall-front with intricately-carved panel centered by a quatrefoil, and opening to reveal a segmented interior, with a drawer and a pair of doors, each with a carved panel, h. 67”, w. 33‑1/4”, d. 20‑3/4”. A nearly identical secretary is illustrated in the Cooper Hewitt Museum’s 1870’s Kimbel and Cabus trade catalog, item number 382 [2000/4000] Illustrated previous page 1747 American Modern Gothic Stenciled Walnut Secretary, attributed to Kimbel and Cabus, New York fourth quarter 19th century, the pyramidal crest with an incise carved field, fronted by a roof-form door opening to reveal storage niches over leaf, vine and floral stenciling on an ebonized ground, the fold over slant-lid beneath a door with a stenciled paneled and an open niche adorned with a plush curtain with tasseled bottom edge, the knee hole opening flanked by stenciled doors, the returns each with a stenciled panel, frame fitted with a pair of candlesticks on metal brackets, the brackets and hinges executed in nickel h. 69”, w. 41‑3/4”, d. 24‑1/4”. [2500/4000] Illustrated

228

1748

1754 Rare American Aesthetic Movement Glass-Mounted Walnut Stool, ca 1879‑1890, attributed to L.C. Tiffany, the frame of near square-form, raised on block legs with double-knuckled carved paw feet on glass balls, the cushion and springs now lacking, h. 12‑1/2”, w. 22”, d. 23”. The present stool is part of a small group of seating furniture with similar feet that has occasionally surfaced. A roundabout chair from the same suite as the present stool was sold in this gallery, September 12, 2010 for $34,670.00. Louis Comfort Tiffany was involved in several furniture and decorating enterprises from 1879 through the following decade, most notably, Associated Artists, active 1879‑1883, Tiffany and DeForest, active 1880‑1883, and L.C. Tiffany and Company which was created to manufacture furniture and went bankrupt in 1885 while executing the Lyceum Theatre commission in New York. Tiffany continued to design interiors throughout his career, including the William Kimball house in 1887. Feet on several pieces executed for that commission resemble those on the present stool. [2500/4000] Illustrated 1749 1752 Pair of Modern Hawkes Cut-Crystal Compotes, the ball stem supporting an open bowl cut with alternating pointed ovals, matching cut on platform foot, acid etched with Hawkes signature, h. 6”, dia. 8”. [125/250] 1753 Fine American Aesthetic Movement Rosewoodand-Brass-Inlaid Library Table, fourth quarter 19th century, the rectangular top with molded edge and double-brass-stringing above a framed and paneled apron with a drawer at each end, the sides having lathe-turned spindle panels joined by a shelf-form stretcher, raised on square in-curved legs with brass stringing and ending in cast-brass paw feet, h. 30”, w. 38”, d. 29”. [1000/1500] Illustrated

1754

1750

1753

229

1762 detail 1762

1762 detail 1756 Tiffany Gold Favrile Glass Goblet, early 20th century, with a flared rim and double-molded tapering bowl joining the transparent stem with a disc knop, the circular foot with slightly swirling low ribs, signed underneath counterclockwise at the edge : “L.C.T.” and bearing the remains of a paper sticker, h. 8‑1/4”, dia. 3‑5/8”. [250/400] Illustrated

1756

1758

1762 detail 1755 Aesthetic Movement Copper Banquet Lamp Base, fourth quarter 19th century, the handled body contains a large, molded and crested bird in flight, on both front and rear, against a finely embossed background of leaves and flora, now electrified, h. 12”, w. 10”, d. 6”. [200/400]

230

1757

1768

1769

1767

1757 Tiffany Blue Favrile Glass Footed Bowl, early 20th century, with a flaring scalloped rim, the convex sides ribbed, resting on a slightly ribbed narrow circular foot, the pontil ground, signed underneath counterclockwise along the edge: “L.C.T. Favrile”, h. 2‑3/4”, dia. 6‑3/4”. [600/900] Illustrated 1758 Tiffany Gold Favrile Glass Bowl, early 20th century, having a scalloped rim, the body with slightly swirling ribs, signed underneath counterclockwise along the edge: “L.C.T. Favrile”, h. 2‑3/8”, dia. 6”. [500/800] Illustrated 1759 Tiffany-Style Iridescent and Opalescent Glass Perfume Flacon, early 20th century, the elongated iridescent gold teardrop stopper with an acid etched and clear stem, the flared rim with an iridescent gold interior, the tapering opalescent body with a green iridescent pulled feather design, the circular foot iridescent gold, signed underneath counterclockwise along the edge: “ L.C. Tiffany-Favrile”, h. 11‑1/8”, dia. 2‑1/12”. [1500/2500] 1760 Tiffany Studios Bronze Harp Desk Lamp Base, fourth quarter 19th century, with a swivel bronze hanging loop, stamped underneath, “Tiffany Studios/New York/21217” and below it the mark for Tiffany Glass and Decorating Company, h. 13”, w. 9”. [700/1000]

1762 American Aesthetic Movement Walnut Writing Desk, ca 1870‑1890, attributed to Benjamin Pittman and William Fry’s Cincinnati Women’s Woodcarving Movement, Cincinnati, Ohio, in two parts, the recessed upper section with a central cupboard with an arched gallery, adorned with butterfly, leaf-and-vine carving, over a pair of doors, each depicting a bird amidst flora and foliage, over an open niche, flanked by a bank of two drawers, each with spooncarved faces, the returns with pegged through tenons, the base with a gently sloping slant lid with a panel carved depicting birds amidst leaves and branches, over a spooncarved drawer and three recessed carved panels, the returns and back also adorned with carving, the lower back with a drop-down door opening to utilize the void behind the three lower panels, h. 61‑5/8”, w. 41‑1/2”, d. 17‑1/4”. For a discussion of similar works, see Howe, Cincinnati Art-Carved Furniture and Interiors. A similar desk by Catherin Peachey is illustrated on page 210. [3000/5000] Illustrated 1763 Brass and Marble Kerosene-Style Lamp, the pierced brass font over a nickel base, mounted on a round Egyptian marble plinth, fitted with an electrified kerosenestyle burner holding a glass chimney and a tapestry cloth umbrella shade on a metal frame, h. 19”, dia. 11”. [125/250]

1761 Pair of Silver-Mounted Bohemian Glass Vases, early 20th century, the rims with sterling silver collars bearing marks for London, 1911‑1912, the bodies with elongated necks, the pearlescent glass bodies with swirling greens and pink accents, unsigned, h. 7‑1/2”, dia. 3‑3/8”. [300/500] 1764

231

1764 Unusual Pair of Longhorn Benches, 20th century, each with a rectangular hide strapwork seat, flanked to each end by a shaped wooden panel with inset hide, raised on four longhorn supports with metal applied accents, h. 21”, w. 48‑1/2”, d. 22”. [1200/1800] Illustrated previous page

1772

1765 Three Victorian Staghorn or Bone Gardening Tools, fourth quarter 19th century, including a billhook staghornhandled folding garden knife, the blade signed “Parkes, Biped Quality” serial no. 0512, along with a bone-core horn single-tine pick and an antler double-tine pick, l. 8”. [200/400] 1766 American Longhorn Leather-Top Table, early 20th century, the oval top with leather covering and large brass tacks along the edge, the base of trestle-form with each end comprised of a pair of horns and joined by a horn stretcher, h. 29‑1/2”, w. 40”, d. 27‑1/2”. [700/1000] 1767 After Carl Kauba (Austrian/American, 1865‑1922) “Indian Eyes”, 20th century, a patinated bronze figure of a scout crouched behind a rock, above an oval marble base, signed on the edge of the bronze “C. Kauba”, overall h. 7‑1/4”, l. 9‑1/4”. [150/300] Illustrated previous page

1769 After Carl Kauba (Austrian/American, 1865‑1922) “Indian Brave Hunting”, 20th century, a patinated and gilt bronze figure of a bow hunter astride a horse in full gallop, above a rectangular marble base, overall h. 6‑1/2”, l. 12‑1/2”. [150/300] Illustrated previous page 1770 American Aesthetic Movement Oak Side-Lock Tall Chest, New York, with a pair of drawers, each with foliateand-floral carved panels over a bank of six drawers, each with raised panels, finely-cast pulls, and a central foliate carved block, each side with a carved pilaster, one pilaster with a hinged locking mechanism to secure the drawers, the back of paneled construction and stamped, “84552”, h. 57”, w. 39‑1/2”, d. 24”. [800/1200] Illustrated 1770 1768 After Carl Kauba (Austrian/American, 1865‑1922) “War Party”, 20th century, a polychrome patinated and cold-painted figural group of five equestrian warriors, armed and with their steeds at full gallop, the bonnets and breast plates cold-painted, above a rectangular marble base, singed on the edge of the bronze “C. Kauba”, overall h. 10”, l. 29”. [400/700] Illustrated previous page

232

1771 After Peter Teresczuk (Ukrainian/Austrian, 1875‑1963), a faux chryselephantine figural inkstand, depicting a lady of fashion descending some steps, wearing a bonnet and carrying a bouquet of flowers and and umbrella, her head and neck of carved faux ivory, the steps plinth opening to reveal a glass inkwell, the foreground forming the pens tray, signed on the reverse “P. Pereszczuk” and “AR” (for bronze atelier Arthur Rubenstein, Vienna), h. 8”, w. 9”, d. 5”. [250/400]

1772 Quarter Sawn Oak Swiss “Stella” Music Box and Cabinet, fourth quarter 19th century, the music box with a single comb and bearing the celluloid retailer’s tag “Jacot & Son, 39 Union Square, New York”, the cabinet base fitted with partitions and accompanied by approximately thirty-six 17” disks, music box h. 13‑1/2”, w. 29‑1/2”, d. 22”, cabinet h. 28”, w. 31”, d. 24”. [3000/5000] Illustrated

1779

1773 American Aesthetic Movement Polished Brass Argand Lamp, third quarter 19th century, the shaft with a snake-form coil wrapping the lower portion, the base with extended paw feet and ornate pierced decor, the clutch engraved “Patent Applied For -14, 1873”, electrified, h. 64”, w, 12”, d. 12”. [500/800] 1774 Eight Leather-Bound Volumes, including a three-volume set of Leonardo da Vinci, L’Artiste et L’Homme Paris and Brussels: Editions G. Van Oest, 1925, and a five-volume set of Manuel du Libraire et de L’Amateur de Livres, Paris: Chez Silvestre, 1843, the largest h. 12‑3/4”, w. 11”. [400/700] 1781

1777 Small Newcomb College Vellum-Glazed Vase, decorated by Sarah Agnes Estelle “Sadie Irvine” (1887‑1970), this example executed in 1929, modeled in shallow relief depicting gardenias, the underside marked, “NC” with registration mark “RJ80” and a shape number “2”, h. 2‑3/8”, dia. 2‑7/8”. [300/500] 1778 Art Pottery Table Lamp, first quarter 20th century, Continental, consisting of a highglaze vase relief molded in white roses over a brown and blue dripped background, with fire-gilt cap and foot finely cast to match vase, h. 38”. [400/700]

1775 Two-Volume Set of The Turner Gallery, D. Appleton & Co., New York, a series of one hundred and twenty engravings from the works fo J.M.W. Turner, R.A., in two red leather-bound volumes, h. 14‑1/2”, w. 11”. [400/700] 1776 Three Books on New Orleans Fine and Decorative Art, including Howard A. Buechener, Drysdale (1870‑1934): Artist of Myth and Legend (Metairie, Louisiana: Thunderbird Press, 1985), first edition, signed and numbered (No. 413) by the author on the flyleaf; Martin and Margaret Wiesendanger, 19th Century Louisiana Painters and Paintings from the Collection of W. E. Groves (Gretna, Louisiana: Pelican Pub. Co., 1971), library binding; and Suzanne Ormond and Mary E. Irvine, Louisiana’s Art Nouveau: The Crafts of the Newcomb Style (Gretna, Louisiana: Pelican Pub. Co., 1976), h. 11‑1/4”, w. 9”. [60/90]

1779 Good Rozenburg Pottery Three-Piece Art Nouveau Clock Garniture Set, 1903, by Johannes van der Vet (1879‑1954), Den Haag, the Netherlands, including a cartouche-shaped clock, h. 12‑1/2”, w. 13‑1/2”, d. 4”, and a pair of baluster-shaped vases, h. 9‑3/4”, w. 4‑3/8”, d. 2‑1/4”, each decorated with elaborate floral enamels in autumnal colors, the circular clock face of white enamel with black Arabic chapters, signed “Rozenburg/Holland”, with steel hands and gilt-brass frame, each piece marked on the underside with the impressed Rozenburg mark and black underglaze date cypher for December 1902‑1903, decorator’s monogram “JvdV”, conjoined, and (model?) number “540”. Ref: Haags, Rozenburg 1883‑1917: Geschiedenis van een Haaagse Fabriek (Den Haag: Gemeentemuseum, 1983), pp. 75 & 143. For similar sets, see Christie’s Amsterdam, May 23, 2007, lot 4; Sotheby’s Amsterdam, November 30, 2004, lot 75; and Christie’s London, Apr 6, 2002, lot 39. [1500/2500] Illustrated

233

1782 Suite of Late Victorian Wirework Garden Furniture, ca 1900, comprised of a sofa and a pair of side chairs, the sofa with a serpentine back, the side chairs each with a gently arched back, the back and seat woven in the form of squares, h. 37‑1/2”, w. 55”, d. 21”, sofa, h. 36”, chairs. [600/900] 1780 Arts and Crafts Electric Wall Sconces, first quarter 20th century, probably English, the hammered keystone-shape backplates are bordered with raised laurel leaves, the Greek Key motif brass arms suspending the sombreroshaped light sockets, h. 24”, w. 9‑1/2”, d. 12‑1/2”. [400/700]

1783 Oscar Bruno Bach (German/American, 1884‑1957), wrought steel and copper looking glass, second quarter 20th century, the frame with pierced scrolls and griffons, the crest with addorsed youthful figures and copper roundels, bearing a metal tag on the reverse signed in script, “Oscar B. Bach”, h. 42‑1/2”, w. 26”. [700/1000]

1789 1781 Continental Champleve Enamel Desk Set, first quarter 20th century, consisting of a blotter pad, w. 20”, d. 12”, blotter, w. 5”, w. 2‑1/2”, letter knife, l. 8”, and pen tray,w. 9”, d. 3‑1/4”, the pattern is Middle Eastern inspired with blue Moorish central panels, surrounded by white enameling, all set with a meandering vine. [500/800] Illustrated previous page 1793

1784 Impressive Majolica Urn on Stand, in the neoclassical style, the urn decorated with three molded lion’s heads grasping swags of bellflowers, supported on three paw footed monopodia with lion’s head tops, sitting on a tripartite base, glazed in a red and green mottled design, h. 69”, dia. 32”. [1000/1500] 1785 Antique Tekkemon Carpet, 2’ x 4’. [300/500] 1786 Semi-Antique Tabriz Carpet, 7’2” x 10’6”. [700/1000] 1787 Agra Carpet, 12’ x 15’. [600/900]

1795

234

1797 Aubusson Needlepoint Carpet, 5’ 9” x 8’ 7”. Provenance: The Breaux Bridge, Louisiana, home of Dan Peck and the late Richard Keaveney. [500/800] 1798 Peshawar Sultanabad Carpet, 9’11” x 13’ 7”. [4500/7000] 1799 Antique Kazak Carpet, 3’4” x 4’4”. [200/400] 1800 Semi-Antique Persian Kashan Carpet, 10’ x 13’5”. [3000/5000] 1801 Jaipur Ferahan Sarouk Carpet, 10’2” x 13’8”. [1800/2500] Illustrated 1802 Turkish Angora Oushak Carpet, dia. 8’10”. [1500/2500] 1803 Semi-Antique Persian Karaja Carpet, 2’11” x 10’5”. [600/900] 1801

1804 Antique Chinese Carpet, 12’ x 22’. [2000/4000] Illustrated

1788 Antique Sarouk Runner, 2’9” x 14’5”. [2000/4000]

1805 Kazak Runner, 2’10” x 11’6”. [300/500]

1789 Antique Bidjar Carpet, 6’5” x 13’1”. [500/800] Illustrated

1806 Antique Persian Malayer Carpet, 4’6” x 6’6”. [1200/1800]

1790 French Aubusson-Style Carpet, 10’ x 14’. [1200/1800]

1807 Agra Zeiglar Mahal Carpet, 9’10” x 13’10”. [2000/4000]

1791 Turkish Angora Oushak Carpet, 9’3” x 12’10”. [2000/4000] 1792 Wool Saddle, 2’10” x 8’4”. [100/200]

1804

1793 Semi-Antique Persian Tabriz Carpet, 9’1” x 12’8”. [2000/4000] Illustrated 1794 Semi-Antique Persian Heriz Carpet, 9’6” x 13’. [3000/5000] 1795 Semi-Antique Sarouk Carpet, 5’4” x 6’4”. [1500/2500] Illustrated 1796 Semi-Antique Heriz Carpet, 9’6” x 13’2”. [2000/4000]

235

1809

1808 Attributed to Diego Rivera (Mexican, 1886‑1957) “Group of Bandits Firing Shots at a Train”, watercolor on paper, signed lower right “D. Rivera”, verso of mat with inventory number in pencil “#9521”, verso of sheet inscribed in blue “7”, verso with gallery label “Elaine Horwitch Galleries, Scottsdale, Arizona, and Santa Fe, New Mexico, sheet 11” x 7‑3/4”. Glazed, matted and framed. [1000/1500] Illustrated 1809 Diego Rivera (American/Mexican, 1886‑1957) “The Mexican Hat Vendor”, ink on rice paper, signed and dated lower right “Diego Rivera ‘41”, reverse retains the Luba Glade Gallery inventory label, printed with the title, medium and artist’s name, sheet size 15” x 10‑3/4”. Glazed, linen-matted and presented in a ebonized, parcel-gilt frame. Provenance: Luba Glade Collection, New Orleans, Louisiana. [5000/8000] Illustrated

1808

236 236

1810 Louisiana School (20th Century) “Red City Shapes”, polymer Collage”, sheet 7‑3/4” x 6‑1/2”, pencil signed and dated upper right “E. Dayries, 1967”. reverse inscribed with title, medium and artist name. Glazed, matted and presented in an ebonized frame. [100/200] 1811 Louisiana School (20th Century) “Untitled Abstract”, watercolor on paper, signed and dated lower right “E. Dayries Jr. 1984”, reverse with a partial label, sight24” x 17”. Glazed, matted and framed. [125/250] 1812 Seanie Haik Kohnke (American/Louisiana, b. 1963) “Abstract Untitled”, oil and pastel on canvas, signed lower right “Seanie Haik”, 48” x 36”. Unframed. [700/1000] 1813 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997) “Untitled Abstract in Greens”, oil on board, signed lower right “Kohlmeyer”, 24” x 18”. Framed. Provenance: Luba Glade Collection, New Orleans, Louisiana. [3000/5000] Illustrated

1813

1814 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997) “Golden Glow”, oil on canvas, signed lower right “Kohlmeyer”, reverse with the Glade Gallery exhibition label inscribed with the title and artist’s name, 28” x 20‑1/2”. Framed. Provenance: Luba Glade Collection, New Orleans, Louisiana. [5000/8000] Illustrated 1815 Sister Ann Roddy (American/New Orleans, 20th Century) “Abstracted Architecture”, watercolor and gouache on paper, sheet 22” x 29”, signed lower right “A. Roddy (SN)”. Glazed, matted and presented in a silvered wooden frame. [250/400] 1816 Ethel Edwards (American, 1915‑1999) “Seated Nude” and “Invisible Forest #7”, former ink wash on board, latter ink on paper, both signed, latter titled on reverse, former: 25” x 19”, latter: 11” x 8‑1/2”. Former unframed, latter glazed, mounted on linen background and framed. [500/800]

1814 237 237

1819 George Valentine Dureau (American/Louisiana, born 1930) “Warrior with a Phrygian Helmet”, mixed media on paper, signed lower right “Dureau”, sight 37” x 28”. Glazed, matted and attractively framed. [3000/5000] Illustrated 1820 Martin LaBorde (American/Louisiana, b.1943) “Bodo Floated in the Velvet Night Holding Red Flower Nectar for Hummer”, oil on canvas, signed and dated lower right “LaBorde-04”, titled and signed on the reverse canvas, 14” x 11”. Presented in a giltwood frame. [600/900]

1819 1817 Ethel Edwards (American, 1915‑1999) “Untitled Abstract in Black”, oil on canvas, signed lower right, 7” x 23”. Unframed. [600/900]

1818 1821 May Kugler (American/Louisiana, 1916‑1980) “Baptism”, acrylic on board, 1986, signed middle left “May Kugler”, titled and dated on the reverse, 8” x 10”. Framed. [300/500] 1822 Latin American School (20th Century) “Portrait of a Young Man in a Yellow Shirt”, oil on canvas, signed lower left “Dulce”, 23” x 20”. Framed. [400/700] 1823 Andrew Turner (American, 1944‑2001) “Double Dutch”, oil on canvas, signed and dated lower right “Andrew Turner ‘83”, 10‑1/2” x 11”. Framed. [300/500] 1825 1818 George Valentine Dureau (American/Louisiana, born 1930) “Male Nude Doing a Handstand”, charcoal on paper, signed lower right “Dureau”, sight 38” x 27‑3/4”. Glazed, matted and attractively framed. [1500/2500] Illustrated

238

1824 Donald Roller Wilson (American, b. 1938) “Eye Mew”, chromolithograph, pencil signed and dated lower right “Donald Roller Wilson 1977”, titled lower center and numbered lower left in pencil “48/50”, reverse with a Moody Gallery label, sheet size 11‑1/2” x 15‑1/2”. Glazed, matted and framed. [400/700]

1825 Harold Radcliffe (American, 20th Century) “Green Label”, oil on canvas, reverse with a “Galerie Simone Stern” invoice, 12” x 12”. Presented in a silvered frame. [700/1000] Illustrated 1826 Betty Orlans (American, Contemporary) “Views of Palm Beach”, pair of acrylics on canvas, both signed “Betty Orlans, Palm Beach ‘07”, 18” x 24”. Presented in a giltwood and polychrome frames. [700/1000]

1827

1827 Jack Boynton (American/Texas, 1928‑2010) “Southwestern Landscape”, oil on canvas, signed lower left “J. Boynton”, reverse stretcher with a DuBose Gallery, Houston, Texas label, 47‑1/2” x 60”. Framed. [1500/2500] Illustrated 1828 Charles Pebworth (American/Texas, b. 1926) “Untitled”, metal relief on wood panel, 1978, reverse with a Moody Gallery exhibition label printed with the artist’s name, title and the year of work, 34” x 41‑1/2”. [1400/1800] Illustrated

1829

1829 Ernest Tino Trova (American, 1927‑2009) “New York Series #11”, 1970, cut paper collage, reverse with The Pace gallery, New York exhibition label printed with the artist name, title of work and medium, sight 11‑1/2” x 14”. Glazed, matted and presented in a metal frame. [500/800] Illustrated

1828

239

1834 American Sterling Silver “Bullet” Teapot in the Colonial Taste, second quarter 20th century, Currier & Roby for Robert. F. Ensko, New York City, New York, in the manner of Jacob Hurd (Boston, 1702/03‑1758), of spherical form with conforming hinged lid with turned wooden finial, straight spout and crested wooden handle, h. 5”, dia. 4”, l. 8”, 13.12 t. oz. (including wooden handle). [800/1200] Illustrated

1830 1830 Louise Berliawsky Nevelson (American/New York, 1899‑1988) “City-Sunrise”, cast resin relief, 1979, with incised signature and date on the metal publication plaque on the reverse, numbered 22/150, published by Pace Editions Inc., New York, 12‑3/4” x 9‑1/8”. [3000/5000] Illustrated

1835 American Sterling Silver Coffeepot in the Colonial Taste, second quarter 20th century, Currier & Roby for Robert. F. Ensko, New York City, New York, in the manner of Jacob Hurd (Boston, 1702/03‑1758), of conical form with hinged and domed lid with toupie finial, slightly curved paneled spout and scroll-mounted, crested wooden handle, h. 9”, dia. 4‑3/8”, l. 8‑1/4”, 25.81 t. oz. (including wooden handle). Ernest M. Currier (1867‑1936) and Harry E. Roby (1862‑1921) established their silver firm in New York in 1901. Both men were born in cities known for their silver production - Newburyport, Massachusetts and Concord, New Hampshire, respectively, and were among the last generation of silversmiths to undergo a formal apprenticeship. Robert F. Ensko (1855‑1934) was a Manhattan antiques dealer, not a trained silversmith, but his contribution to the field of silver scholarship cannot be underestimated. These men were among the first to study the tradition of silversmithy in the United States, and may be credited with the twin foundations of all modern scholarship on the subject: Ensko’s 1915 Makers of Early American Silver and Currier’s 1938 Marks of Early American Silversmiths. They evidently enjoyed a cordial relationship, and manufacturers Currier and Roby are known to have supplied Ensko’s shop with fine reproductions of early American silver, including the present and following lot. [1500/2500] Illustrated

1831 Louise Berliawsky Nevelson (American/ New York, 1899‑1988) “Sun-Set”, cast resin relief, 1981, with an incised signature and date on the metal publication plaque on the reverse, numbered 48/125. published by Pace Editions Inc., New York, l. 17‑3/4”, w. 12‑1/2”, d. 2‑1/2”. Within a shadowbox frame. [3000/5000] Illustrated 1832 Pair of Stone Associates Sterling Silver Dishes, 1938‑1957, Gardner, Massachusetts, of rounded square form with flat rim, h. 1‑3/4”, w. 7‑3/4”, 27.33 total t. oz. [1800/2500] 1833 Arthur J. Stone (1847‑1938) Sterling Silver “Revere Bowl”, Gardner, Massachusetts, assistant’s mark of Herbert A. Taylor (fl. 1908‑1937), of tradition form, with molded rim and foot ring, h. 4”, dia. 9‑1/2”, 25.53 t. oz. [1800/2500] Illustrated 1831

240

1835 1833 1836 Five Pieces of Assorted Silver and Silverplate Tableware, mid‑20th century, including a Frank M. Whiting cordial cup, h. 4‑1/4”, a pair of Gorham butter shells, l. 3‑14”, and a pair of unmarked silverplate salts decorated with swags and lion’s masques and fitted with cobalt glass liners, l. 3‑5/8”, 4.57 total t. oz. (excluding salts). [50/80]

1837 Gorham Sterling Silver Water Pitcher, 1946, Providence, Rhode Island, of ovoid form above a circular foot, with waisted collar, shaped spout and crested “S”-scroll handle, with gadrooned banding at the shoulder and foot, h. 10”, l. 8‑1/2”, dia. 8‑1/2”, 25.34 t. oz. [300/500] 1838 American Sterling Silver Water Pitcher, second quarter 20th century, by International Sterling, Meriden, Connecticut, the ovoid body above a circular foot, with waisted collar, shaped spout and crested “C”-scroll handle, decorated with a narrow embossed acanthus band, h. 9”, l. 9‑1/2”, dia. 5‑3/4”, 23.34 t. oz. [200/400] 1839 Two Pairs of American Sterling Silver Candelabra, mid‑20th century, including a tall pair by Frank M. Whiting, North Attleboro, with reeded arms, gadrooned banding and thistle-form nozzles, h. 15‑1/4”, w. 13‑3/4”, and a short pair by William Rogers, Hartford, Connecticut, with plain arms, gadrooned banding and inverted bell-form nozzles, h. 5‑3/4”, w. 10‑1/4”, the superstructure of each pair detaching to form, respectively, a pair of candlesticks, h. 10‑1/2”, and a pair of candlestands, h. 3‑1/4”, weighted. [400/700] 1840 Pair of Gorham Sterling Silver Candelabra, third quarter 20th century, Providence, Rhode Island, in the “Chantilly-Duchess” pattern, each in four pieces (base, stem, socket and branches) permitted the pair to be assembled as a candlestands, h. 4‑3/4”, candlesticks, h. 9‑1/2”, or five-light candelabra, h. 13”, w. 11‑1/4”, weighted. [600/900] 1841 Near Pair of American Silverplate Candelabra, second quarter 20th century, each with a baluster standard above an ogee domed circular foot and surmounted by a waisted and gadrooned knop and terminating in a circular drip-pan and vasiform nozzle, the knop fitted with a pair of scrolling arms each ending in a drip-pan and nozzle en suite, h. 13‑3/4” and 14‑1/2”. [150/300]

1834

1842 One Hundred and Two Piece Set of Wallace “Grand Baroque” Sterling Silver Flatware, the pattern designed in 1941 by William S. Warren (1888‑1965), Wallingford, Connecticut, including twelve dinner forks, l. 8”, twelve luncheon forks, l. 7‑1/2” twelve salad forks, l. 6‑1/2”, twenty-four teaspoons, l. 6‑1/8”, twelve soup spoons, l. 6‑1/8”, twelve dinner knives with stainless steel “Modern”-shaped blades, l. 9” twelve butter spreaders, l. 6‑1/2”, two tablespoons, l. 8‑3/4”, a slotted serving spoon, l. 8‑1/2”, a serving fork, l. 8”, a sauce ladle, l. 6‑3/8”, and a sugar spoon, l. 6‑1/4”, no monograms, 148.47 total t. oz. (excluding dinner knives). [6000/9000] 1843 American Sterling Silver Shell-Form Dish, third quarter 20th century, Wallace Silversmiths, Wallingford, Connecticut, in the form of a realistically detailed clam shell, w. 6”, d. 4‑1/2”, 3.02 t. oz. [250/400] 1844 Four Pieces of Modern Silverplate, mid‑20th century, including a Napier two-jigger measure with corkscrew, h. 3‑3/4”, a Poole dresser jar with lion’s masque handles, dia. 3‑1/4”, a Bernard Rice & Sons porringer, l. 4‑3/4”, and an unmarked goblet h. 6”, each piece with stylish Art Deco monogram “TC”. [50/80] 1845 Ninety-Three Pieces of Gorham “Gold Tip” Sterling Silver Flatware, the pattern designed in 1952 by James Russell Price (1907‑1974), Providence, Rhode Island, including ten dinner forks, l. 7‑1/2”, sixteen salad forks, l. 7”, eleven seafood/cocktail forks, l. 5‑3/4”, sixteen teaspoons, l. 5‑7/8”, nine iced tea spoons, l. 7‑3/8”, ten dinner knives with stainless steel “Modern”-shaped blades, l. 9‑1/4”, a master butter knife, l. 7”, ten butter spreaders with stainless steel “Modern”-shaped blades, l. 6‑1/2”, six tablespoons, l. 7”, a sauce ladle, l. 5‑1/2”, and, with stainless steel spatulate blades, a cheese server, l. 6‑7/8”, a pastry server, l. 10‑1/8”, and a cake server, l. 10‑1/8”, no monograms, 99.99 total t. oz. (excluding items with stainless steel blades). Gorham’s stylish modernist “Gold” series was distinguished by the addition of eighteenkarat gold accents: here, in the “Tip” version, the small horizontal rod on the tip of the handle. Also available were “Cipher” (an applied gold monogram), “Snowflake” (a holiday version with gold snowflakes), “Stardust” and “Wheat” (with gold stars and wheat stalks, respectively). [6000/9000]

241

1847

1847 detail

1846 Two-Hundred Piece Set of International “Royal Danish” Sterling Silver Flatware, designed in 1939 by Alfred G. Kintz (1884‑1963), Meriden, Connecticut, including eighteen dinner forks, l. 7‑5/8”, twelve luncheon forks, l. 7‑1/4”, thirty salad forks, l. 6‑1/4”, twelve seafood/cocktail forks, l. 5‑1/2”, thirty teaspoons, l. 6”, nineteen soup spoons, l. 6‑1/2”, twelve iced tea spoons, l. 7‑1/2”, eleven demitasse spoons, l. 4‑1/8”, eighteen dinner knives with stainless steel “Modern”-shaped blades, l. 9‑3/4”, twelve luncheon knives with stainless steel “Modern”-shaped blades, l. 8‑3/4”, twelve butter spreaders, l. 6”, six tablespoons, l. 8‑1/2”, a serving spoon, l. 9‑1/4”, a serving fork, l. 8‑3/4” a sauce ladle, l. 6‑1/2”, a cream ladle, l. 5‑1/4”, scissor-action sugar tongs, l. 4”, and a three-piece youth set including a fork, l. 6‑1/4”, spoon, l. 5‑3/4” and knife with stainless steel “Modern”-shaped blade, l. 6‑7/8”, 239.66 total t. oz. (excluding knives with stainless steel blades). [4000/7000]

242

1847 Rare Fifty-Five Piece Set of Art Deco “Contempora” Pattern Sterling Silver Flatware, designed in 1929 by Eliel Saarinen (1873‑1950), manufactured by Dominick & Haff, New York City, New York, complete for eight persons, including eight dinner forks, l. 7‑1/4”, eight salad forks, l. 6‑1/4”, eight teaspoons, l. 5‑7/8”, eight soup spoons, l. 6”, eight dinner knives with stainless steel “New French”-shaped blades, l. 8‑7/8” eight butter spreaders, 6‑1/2”, a tablespoon, l. 8‑1/2”, a sauce ladle, l. 6‑1/4”, a sugar spoon, l. 6”, a serving fork, l. 9”, and a two-piece carving set with stainless steel fittings, including a carving fork, l. 9”, and knife, l. 10”, no monograms, 53.44 total t. oz. (excluding items with stainless steel fittings). Gottlieb Eliel Saarinen was born in Rantasalmi, Finland on August 20, 1873, and educated at the Helsinki Institute of Technology. His first major work was the Finnish Pavilion at the 1900 World’s Fair, and it established the two stylistic influences with which he would become permanently associated: the Gothic Revival and Art Nouveau. His other important works in Helsinki include the National Museum (1904), the Railway Station (1909) and the Marble Palace (1918). In 1922 he entered the design competition sponsored by the Chicago Tribune for its new headquarters. His design, though widely regarded as the best, came in second to a design submitted by John M. Howells and Raymond Hood. (Saarinen’s design would be realized in the 1929 Gulf Building in Houston Texas, and its influence can bee seen in Hood’s own Rockefeller Center (1939) in New York and even Cesar Pelli’s 181 West Madison (1990) in Chicago.) Following this noteriety, Saarinen moved permanently to the United States in 1923, where designed the campus of the Cranbook Educational Community, founded as an American equivalent to the Bauhaus. He was invited to participate the Metropolitan Museum of Art’s eleventh exhibition of contemporary design in 1929, entitled “The Architect and the Industrial Arts.” Noted architects of the day were invited to design thirteen room settings, with the stipulation that no object displayed could be in current production. Saarinen created a dining room, and for it designed four flatware patterns to be displayed on the table. The display sets were manufactured by the leading silver companies of the day Dominick & Haff, Reed & Barton, Towle and International Silver - although only Dominick and Haff would put their prototype into production. The result was the modernist “Contempora”, whose sleek, lobed “skyscraper”style handle reflected the height of the Art Deco style. Unfortunately, the pattern was not successful, a victim of the Great Depression. (Although one of Saarinen’s innovations - the long-handled, short-bladed “Viande”- or “Grille”-style design - enjoyed a modest post-war success in some International Silver designs. He continued to teach at Cranbrook (where his students included Ray and Charles Eames) and later became a professor at the University of Michigan. He died in Michigan on July 1, 1950. His son, Eero (1910‑1961) would become of the most important architects and designers of the 20th century, his famous designs including the St. Louis Gateway Arch, the Washington Dulles International Airport Main Terminal and the Womb Chair. Ref: Charles L. Venable, Silver in America, 1840‑1940: A Century of Splendor (New York: Harry N. Abrams, 1994), pp. 283, illustrated p. 294, fig. 9.36; William P. Hood, Jr., “Modern Flatware Design: The Viande/Grille/Vogue Style”, in Magazine Antiques, February 2003, pp. 78‑85, illustrated p. 79, fig. 2 and p. 82, pl. VII; and Jewel Stern, Modernism in American Silver: 20th Century Design (New Haven: Yale University Press, 2006), pp. 102‑108, illustrated p. 106, figs. 4.3 and 4.4 [2000/4000] Illustrated

1850

1851 Tiffany & Co. Sterling Silver Trumpet Vase, second quarter 20th century, with reeded rim and raised on a circular foot en suite, h. 8‑3/4”, dia. 3‑7/8”, 12.47 t. oz. [900/1200] Illustrated

1851

1849

1852 Large Mexican Sterling Silver Kettle-onStand, third quarter 20th century, by Codan S.A., Mexico City, the ovoid kettle with cavetto collar, hinged domed lid, “gooseneck” spout and wicker-wrapped stirrup-shaped handle, raised on a pair of stirrup-shaped braces above a hemispherical base centering a spirit burner, h. 20”, base dia. 10‑1/4”, 141.34 t. oz. [8000/12000] Illustrated

1848 American Sterling Silver Cream Jug and Underplate, 1955, by Reed & Barton, Taunton, Massachusetts, the ovoid jug with crested square handle and everted spout, raised on a circular foot ring, h. 4‑1/4”, with a plain circular underplate, dia. 4‑3/4”, 7.78 total t. oz. [150/300]

1852

1849 Set of Eight Tiffany & Co. Sterling Silver Cordials, the pattern introduced in 1915, New York City, New York, each with a rounded conical bowl raised on a short baluster stem above a circular foot, h. 4‑1/8”, dia. 2‑1/4”, 26.36 total t. oz. [1500/2500] Illustrated 1850 Tiffany & Co. Sterling Silver Presentation Salver, dated 1962, New York City, New York, the plain circular salver with raised rim, engraved at the center “Malcolm P. Aldrich, Jr. / August 17, 1962”, and around the rim with monograms of the thirteen presenters, dia. 10‑7/8”, 18.19 t. oz. The recipient here was very probably Malcom Pratt Aldrich, Jr. (1932‑1999), son of Malcolm P. Aldrich and Ella Buffington. Born in Manhattan, he was a Yale graduate, army veteran, and and long-time stockbroker with Morgan-Stanley. He died on December 9, 1999 in Colorado Springs, Colorado. [400/700] Illustrated

1855

1856

1853 Large Mexican Sterling Silver FourPart Condiment Dish, second quarter 20th century, Gena, Mexico City, of oval form, with applied wavy rococo scroll rim, the bowl divided into four compartments surrounding a central ring handle, l. 14”, w. 11‑1/2”, 25.27 t. oz. [700/1000]

243

1854 Mexican Sterling Silver Center Bowl, third quarter 20th century, by Tane Orfebres, Mexico City, maker’s initials “JRC”, of oval form, with cast and applied rococoscroll rim and reticulated foot-ring en suite, h. 3‑1/4”, l. 14‑1/2”, w. 10‑1/4”, 34.40 t. oz. [800/1200]

1862

1855 Mexican Sterling Silver Bread Tray, second quarter 20th century, A. Ceron, Mexico City, of rounded rectangular form, with a pair outscrolled gadrooned tab handles and raised on four inverted “beehive” feet, h. 2”, l. 14‑1/4”, w. 7‑3/4”, 21.47 t. oz. [300/500] Illustrated previous page 1856 Mexican Sterling Silver Cream and Sugar Set, third quarter 20th century, by an unidentified maker, eagle number 37, including a cream jug, h. 4”, and a convered sugar urn, h. 4‑1/4”, each of tapering rounded square section, raised on a circular foot and with cast and applied “S”-scroll handle(s), the creamer with integral spout, the sugar bowl with fitted lid, 10.99 total t. oz. [200/400] Illustrated previous page

1860

1859 Peruvian .900 Silver Platter, third quarter 20th century, by Casa Welsch S.A., Lima, of oval form, the rim engraved with rococo scrolls on a matte ground and with a beaded and serpentine-lobed edge, l. 16”, w. 11‑3/8”, 28.74 t. oz. [900/1200]

1861

1857 Mexican Sterling Silver Small Three-Light Candelabrum, second quarter 20th century, by C. Zurita, Mexico City, the asymmetrical candelabrum in the form of a rococo scroll with three branches of graduated height, each with a plain ovoid candle nozzle, all to an ovoid base with cast and applied rococo scroll edge, h. 6‑1/4”, w. 7‑3/4”, d. 4‑5/8”, 15.62 t. oz. [300/500] 1858 Peruvian Sterling Silver Candelabrum, third quarter 20th century, marked “Industria Peruana”, in the form of a pair of addorsed rococo scrolls, each joined to a shaped oval base and terminating in a detachable circular bobeche, h. 6‑1/8”, w. 8‑7/8”, d. 4‑1/2”, 14.53 t. oz. [400/700]

244

1860 American Renaissance Revival Rosewood Center Table, third quarter 19th century, the inset white oval marble top over a conforming frieze, each corner with applied foliate-and-scroll carving, raised on an octagonal pedestal joined to four legs with molded and carved brackets, on bun feet, h. 29‑1/2”, w. 38‑1/2”, d. 26”. [1500/2500] Illustrated

1863

1861 Marble Bust of a Gentleman, fourth quarter 19th century, depicted wearing a jacket, vest and tie and set on a square cove molded socle, h. 27”, w. 20‑1/2”, d. 11”. [1200/1800] Illustrated 1862 American Renaissance Revival Walnut Firescreen, third quarter 19th century, the frame with a central cartouche flanked by deeply carved laurel leaves and berries, the circular panel in a guilloche-carved frame with a burled panel below, the shaped and scalloped legs with laurel-carving, the antique beaded-and-needlepoint panel depicts Bertel Thorvaldson’s, “Night”, h. 39”, w. 26‑1/4”, d. 19‑1/4”. [1500/2500] Illustrated 1863 American Renaissance Revival Gilt-Incised and Turned Walnut Ladies Side Chair, ca 1869, attributed to George Hunzinger, New York, the carved crest centered by an incised roundel flanked by carved swags, the framing elements turned in a manner suggestive of the Industrial Revolution’s fascination with things mechanical, the seat rail with a carved drop crest, the canted legs ending in hoof feet, now upholstered in tufted purple and gold brocade and purple plush, the back side of the right front leg branded, “Hunzinger”, h. 43-1/2", w. 26", d. 27". An apparently identical chair is in the collection of the Brooklyn Museum of Art, and a similar chair is in the New York State Museum. Both chairs are illustrated in, Harwood,The Furniture of George Hunzinger Invention and Innovation in Nineteenth Century America, pages 77 and 15 respectively. The upholstery treatment on the current chair closely follows the extant original treatment on those two examples. [3000/5000] Illustrated 1864 American Renaissance Revival Walnut Folding “Campaign” Chair, third quarter 19th century, the latheturned frame with a scissors-form stretcher base and the arm front carved in the form of hound’s heads, h. 37”, w. 25”, d. 20‑1/2”. [500/800]

245

1865

1865 Important American Renaissance Revival ParcelGilt and Rosewood Sofa, Attributed to Gustave Herter Firm, ca 1861‑1865, the scrolling stiles capped by bronze roundels and extending to open arms each terminating in winged female masks on foliate-carved stylized sabre legs now upholstered after the period fashion in tufted claret plush, h. 37”, w. 79”, d. 25”. A nearly identical sofa with exposed, rather than the upholstered seat rail, is in the permanent collection of the Virginia Museum of Fine Arts, and is illustrated in, “The Magazine Antiques”, August 1990, plate XXII. A mate to that sofa sold in this gallery November 19, 2000 for $25,875.00. Gustave Herter immigrated to the United States at the age of 18 from his native Stuttgart, Germany in 1848. Through a series of partnerships and associations with such leading decorators and cabinetmakers as Tiffany and Company, E. Hutchings, August Pottier, Thomas Brooks, and Erasmus Bulkley, Herter quickly rose to the pinnacle of his profession. By 1858, he was sole proprietor of his own firm. About 1860, Gustav’s younger stepbrother, Christian, immigrated to New York. After a brief stint working at Tiffany and Company, he joined Gustav’s firm, which was to be renamed Herter Brothers in 1865. The Herter firm quickly became the nation’s preeminent cabinetmaking and decorating firm, counting among its clients, the White House and such notable Gilded Age barons as J. Pierpont Morgan, Milton Latham, Mark Hopkins, and William Vanderbilt. The design antecedents for the present sofa can be seen in a sofa crafted in 1860 for Tuggles S. Morse, now in the collection of the Morse-Libby Mansion, Portland, Maine. The Morse sofa appears to have drawn upon an 1858 design by Alexandre-Georges Fourdinois. The present sofa and one in the Virginia Museum of Fine Arts, share the same distinctive curved seat stile, upholstered back structure, and general dimensions with the Morse sofa. The modified saber legs and seat rail on the present example is an expression of the firm’s evolving vocabulary, as they adapted designs to changing styles and client tastes. [10000/15000] Illustrated

246

1865 detail

1866 American Renaissance Revival Marquetry Inlaid, Ebonized and Gilt-Incised Rosewood Center Table, third quarter 19th century, attributed to Pottier and Stymus, New York, the top with a centered inlaid panel depicting musical trophees bordered by floral-andarabesque inlays on a burled ground, on incised legs with a drop finial and scroll feet, the shaped stretchers joined to an incised octagonal column, h. 30‑1/8”, w. 44‑1/2”, d. 27”. [2500/4000] Illustrated

1866

1867 American Neo-Grec Marquetry Inlaid Gilt-Incised and BronzePatinated, Metal Mounted, Ebonized and Walnut Music Cabinet, third quarter 19th century, the crest centered by a bronzepatinated plaque depicting a putti over a shelf, the shelf with winged caryatids and backed by a panel of geometric inlay, the slant-lid with an inlaid panel depicting trophies framed by gilt-line-incising and ebonizing, the bottom section with shaped vertical dividers, the back with the numbers, “MMA1991.68”, h 62‑1/2”, w. 25‑3/4”, d. 12”. [2500/4000] Illustrated

1870

1871 1870

1869

1868 Swiss Twelve-Tune Cylinder Music Box, fourth quarter 19th century, the case inlaid with panels of musical instruments and flora, set against a background of rosewood crossbanded with kingwood, ebonized trim on feet, the cast is mounted with cast-bronze rococo revival handles, and the works contain a sixteen inch brass cylinder, h. 9”, w. 27”, d. 10‑1/2”. [2000/4000]

1869 Pair of English Parian Porcelain Female Figures, mid‑19th century, each partially clad, one holds a nest of birds, a ring of posies at her feet, the other holding a seashell, a flowing jug of water at her feet, each set on round plinths, h. 15”, dia. 7‑1/4”. [500/800] Illustrated 1870 Pair of English Parian Porcelain Female Figures, mid‑19th century, one holding a classical oil lamp which she is filling from a vessel, depicted with her eyes downcast, her hair held in a snood, the companion figure holding a jewel casket and wearing a crown, each leaning against opposing tree branches, h. 17”, dia. 6‑1/4”. [600/900] Illustrated

1867

1871 English Parian Porcelain Figure of a Classical Maiden, mid‑19th century, with downcast eyes, holding a dagger in one hand, her arm resting on a column, set on an oval plinth, h. 16”, w. 6‑1/2”, d. 5‑1/2”. [300/500] Illustrated 1872 Walrus Tusk Scrimshaw Cribbage Board, incised with a pair of polar bears and wolves, sea lions, whales and dolphins lining the cribbage holes with an incised walrus carving at the end. [700/1000] Illustrated following page

1867 detail

247

1879 1873 Walrus Ivory Scrimshaw Tusk, black ink with inscription and drawings, with a central oval cartouche reading “The Ship Charles W. Morgan, New Bedford”, flanked by crossed flags with eighteen stars on one side and a pair whales on the other, the upper end of the tusk initialed “DMS” within a rope-and-scallop cartouche, the reverse elaborately engraved with a scene of the ship at sea with crewmen in their small shipes hunting shales, with eagles overhead, the upper end of the tusk dated “1842”, l. 22”, dia. [1200/1800] Illustrated 1874 Ivory Walrus Tusk Scrimshaw Horn, incised with carvings of Inuits hunting polar bear and whale fishing, signed, “Ahtuangaruak”, l. 27‑1/2’. [800/1200] Illustrated

1875 Copeland Tinted Parian Figure, 1865, after Matthew Noble, marketed at the Crystal Palace Art “Union, fully signed, the original sculpted in 1864, the piece depicts a young woman with downcast eyes, holding a lily at her breast (a symbol of a vow of chastity), the border of her gown and lily lightly tinted pink and lavender, h. 17‑1/2”, dia. 5”. [400/700] 1876 English Parian Porcelain Table Figure of a Water Carrier, mid‑19th century, the partially clad female seated, a water jug at her feet, beside flowing water, h. 9‑1/2”, w. 4‑1/2”, d. 6”. [75/125] 1877 English Parian Copeland Porcelain Bust of Alfred d’Orsay, known as Count d’ Orsay (1801‑1852), amateur artist, dandy and a man of fashion, inscribed ‘Copeland, Compte d’Orsay 1852”, h. 11”, w. 7”, d. 4”. [125/250]

1886

1874

1873

1872

248

1878 Wedgewood Cararra Parian Porcelain Bust of Lord Zetland, registered, December 11, 1868, he was MP for Richmond and York, Lord Lieutenant of West Riding of Yorkshire, and Grand Master of the Free Masons of England, depicted with long sideburns, his chest draped with medals, illustrated in, “The Parian Phenomenon”, page 197, figure, 653, h. 18”, w. 12”, d. 4‑1/2”. [400/700]

1879 American Neo-Grec Marquetry Inlaid, GiltBronze and Bronze Patinated Metal Mounted Ebonized Cabinet, third quarter 19th century, New York, the top with a central pedestal over a single door mounted with a bronze patinated plaque depicting Venus, flanked by engaged fluted columns with gilt bronze capitals, the concave sides each with an inlaid plaque, h. 47‑3/4”, w. 60‑1/2”. d. 17‑1/2”. [3000/5000] Illustrated

1885

1880 Pair of Franco-Bohemian Garniture Vases, mid‑19th century, lushly decorated with lake scenes, including row boats, sail boats and a waterfall, all set on a pink ground with flowermolded gilt handles, h. 16‑1/4”, w. 11”. [500/800] 1881 Franco-Bohemian Porcelain Footed Bowl, third quarter 19th century, decorated with birds hovering over a lily pond with a bleu-de-roi base and black handles, h. 7‑1/4”, w. 11‑1/4”, d. 8”. [100/200] 1882 Pair of Franco-Bohemian Garniture Vases, mid‑19th century, of baluster shape with open gilt rococo handles, decorated with enameled reserves of flora against a blue ground decorated with rocaille gilt and two color gilt rococo ornament, h. 12‑3/4”, w. 7‑1/2”. [700/1000] 1883 Pair of Tiffany Retailed Cabinet Plates, in the Eastlake taste, the borders transfer printed in a pattern of leaves and Greek keys on a stippled background, one plate hand painted with a scene of boats on a mountain lake, the other a horse with a rider and dog on a path in a mountain pass, signed “Brownfields China, Tiffany & Co., New York”, dia. 8‑1/2”. [200/400]

1884 Vernacular American Walnut “Plantation” Desk, third quarter 19th century, the top fitted with a paneled door over a drawer flanked by a slant lid lift top with inset writing surface, the lower portion with a pair of drawers, each with a leaf-carved pull, raised on turned legs, h. 50‑1/2”, w. 42‑1/2”, d. 25‑1/2”. [300/500]

1885 American Rococo Revival Walnut Sideboard, Attributed to Alexander Roux, New York, third quarter 19th century, the upper section featuring harvested game birds in a circular panel above open shelves and swags of carved fruit below, the base with a pair of drawers above cabinet doors with fox heads on each, h. 9‑1/2”, w. 25‑1/2”, d. 73‑1/2”. [5000/8000] Illustrated

1887

1886 George Louis Viavant (American/Louisiana, 1872‑1924) “Nature Morte with a Game Bird and Cornstalks “, pastel on paper, signed lower left “G. L. Viavant”, sight 16‑3/8” x 13”. Glazed, oval matted and presented in a giltwood and gesso frame. [2000/4000] Illustrated

249

1887 American Renaissance Revival Burled Walnut and Walnut Banquet Table, third quarter 19th century, probably Thomas Brooks, Brooklyn, New York, the circular top with a burlwood and roundel mounted apron, the split pedestal extending to accommodate leaves (five present), the octagonal pedestal joined to four canted legs and with leontine masks, palmettes, roundels and double-knuckled carved paw feet, dia. 48”. [3000/5000] Illustrated previous page

1891

1892

1890

1888 American Renaissance Revival Walnut Pump Organ by Mason and Hamlin, Boston, Massachusetts, 3rd quarter 19th century, with a scrolling broken arch crest over palmette-foliate-carving, the upper center with a group of giltwood faux pipes flanked by fretwork panels backed by cloth, the fold-over lid sliding back to reveal a scroll-cut music rack, the controls and ivories, the paneled base with a pair of foot pedals, in playing condition, h. 88”, w. 41”, d. 23‑1/2”. [2500/4000] Illustrated

1888

1889 American Renaissance Revival Gilt-Incised, Burled Walnut and Ebonized Three-Piece Parlor Suite, third quarter 19th century, comprised of a settee and a pair of side chairs, the settee back of double-chairback-form, each section with an ovoid burlwood panel in an arched and parcel-tilt crest, the crest rail and stiles with burled panels edged with gilt-incising, bowed seat rail and fluted trumpet legs, h. 44‑3/4”, w. 74”, d. 27”, the chairs in like-decor, now upholstered in tufted bee brocade on a black ground, h. 39‑1/4”. [800/1200] 1890 English Parian Porcelain “Peter and Cornelius” Figure, ca 1855, issued by the Art Union of Great Britain, the figure refers to the biblical story in Acts, in which St. Peter urges Cornelius to break down the wall between Jesus and Gentiles, pictured in, “The Parian Phenomenon”, page 256, figure 891, with a later blue pseudo-Sevres mark, h. 14‑1/4”, d. 5”, l. 11‑1/2”. [300/500] Illustrated 1891 English Parian Porcelain “Guardian Angel” Figure, mid‑19th century, the draped female figure smiling down upon a child she is holding, the wings and clothing are finely articulated, as are the detailed hems of her robes and the classical sandals the angel is wearing, h. 19‑1/2”, w, 7”, d. 5”. [300/500] Illustrated 1892 English Parian Porcelain Group of the Rock of Ages, ca 1875, by Robinson and Leadbetter, illustrated in “The Parian Phenomenon”, page 226, figure 724, depicting a draped female figure slinging to a cross inscribed, “Rock of Ages”, h. 17‑1/2”, w. 10‑1/2”, d. 5”. [300/500] Illustrated 1893 English Parian Porcelain Double-Angel Wall Font, mid‑19th century, the two sleeping angels supporting a shell-shaped font, one carrying a bouquet of flowers, h. 11”, w. 7”, d. 5”. [300/500]

250

1894 Continental Biscuit Porcelain Sculpture of an Angel, mid‑19th century, the angel depicted kneeling in on a tasseled cushion, a prayer book open at her feet, a rosary hanging from her neck, holding a palm frond, h. 13”, w. 6”, d. 8”. [300/500]

1898

1895 Parian Ware Belleek Glazed Compote and Butter Tub, mid 19th century, the compote of lobed form, impressed with scrolling decoration on stippled ground, the butter tub molded with grapes on a stippled ground with its original liner, compote h. 4‑1/2”, dia. 8‑1/4”, butter tub h. 5‑1/2”, dia. 7”. Provenance: Descended among the heirs of Trevor Pank and John G. McCullough, Bennington, Vermont, whose family home is the Pank-McCullough house museum. The McCullough family collection included an extensive collection of locally produced pottery. [150/250] 1896 Collection of Four Bennington Parian Ware, consisting of a pair of vases with a ruffled mouth decorated with a ten-point star on a reeded background with grape handles, illustrated in Barrett, Bennington Pottery and Porcelain, pg. 159, and a large vase with grape handles molded with flora, illustrated in Barrett, pg. 178, and a dog-form jug, largest h. 11”. Provenance: descended among the heirs of Trenon Park and Governor John G. McCullough, Bennington, Vermont. [125/250]

1897

1898 American Renaissance Revival Walnut and Burl Walnut Gilt-Incised Double-Door Bookcase, third quarter 19th century, the crest with a spindle twined gallery and applied burl panels above a frieze with carved female masks and a pair of long doors below separated by fluted columns, the protruding base with gilt-incised burl panels matching those above, h. 103‑1/2”, w. 73”, d. 17”. [3000/5000] Illustrated 1899 American Renaissance Revival Walnut Double-Door Bookcase, third quarter 19th century, the top with a large molded overhanging cornice above a pair of glazed doors opening to adjustable shelves and mounted to a protruding base fitted with two drawers, h. 88”, w. 59”, d. 17‑1/2”. [700/1000]

1897 Rare American Renaissance Revival Walnut and Ebonized Swivel Desk Chair Attributed to Allen and Brothers, Philadelphia, third quarter 19th century, the back with oval-carved floral rosettes and the arm fronts in the form of rams heads, mounted to a four-legged base with tapering bellflowers, h. 40”, w. 24”. d. 23”. [1200/1800] Illustrated

1900 American Renaissance Revival Rosewood ThreePiece Parlor Suite, Attributed to John Jelliff, Newark, New Jersey, third quarter 19th century, comprised of a sofa with a carved, crowned female mask centered in the back crest and surrounded by foliate scrolls, the padded end sections of the back having carved mythological animal heads at each corner, and carved lady’s heads at the arm fronts, h. 47”, w. 78”, d. 31”, and a pair of side chairs with similar carved masks, h. 41”, w. 22”, d. 21”, all pieces with turned trumpet-form legs. [2500/4000] Illustrated following page

251

1900

1903 American Renaissance Revival Ebonized, Gilt-Incised and Marquetry Inlaid Rosewood Center Table, third quarter 19th century, the top centered by inlaid trophees amidst flora and arabesques, each end with inlay depicting a bucolic country scene with a maid, raised on scroll and tapering, fluted legs with blocked paw feet and joined by a stretcher with an urn form finial, h. 30”, w. 44”, d. 29”. [3000/5000] Illustrated

1900

1904 Impressive American Renaissance Revival Triple Armoire, third quarter 19th century, with Gothic Influences, the base set with three drawers divided by blocks set with walnut-veneered lozenges, with four architectonic doors triangle-arched in the gothic taste, with burl walnut veneered columns with leaf-carved capitals separating the doors, the two center doors mirrored, the two outer doors with mirrored panels, the three sections crowned with separate cornices, the central cornice containing a pitch pediment trimmed in gothic-inspired leaf carving with a carved finial, the side pediments en suite, with a carved fan on either side, h. 124”, w. 104”, d. 27”. [5000/8000] Illustrated

1901 Pair of American Renaissance Revival Rosewood Side Chairs, Attributed to John Jelliff, Newark, New Jersey, third quarter 19th century, each with a carved female Minerva mask in the center of the back crest and adorned with carved palmettes and incising, raised on turned trumpet form legs, h. 40”, w. 21”, d. 20”. [700/1000] 1902 Impressive English Parian Porcelain Figure of “The Poison’d Wound Edward I”, mid‑19th century, after William Beattie and sold at the Glasgow Art Union, depicting a stately Edward I seated, two females attending his wound which refers to his brutality to the Scots, fully signed, h. 21‑1/2”, w. 15”, d. 10”. [1000/1500] Illustrated 1905

252

1905 Rare American Louis XVI Revival Gilt-Bronze-Mounted and Ebonized Rosewood Console Table, third quarter 19th century, New York, the black and gold variegated Egyptian marble top with a cast gilt-bronze edge, the frieze with gilt-metal foliate mounts and masks raised on cabriole legs with bellflower mounts and beading, on a serpentine base, the back with a large rectilinear looking glass flanked by smaller shaped mirror plates, h. 38‑1/2”, w. 66”, d. 21‑1/2”. [2500/4000] Illustrated

1904

1906 American Renaissance Revival Ebonized and Gilt-Bronze-Mounted Parlor Cabinet, stamped “PS” and attributed to the New York workshop of Pottier and Stymus, third quarter 19th century, the stepped top having incurvate sides and cast-bronze trim over a pair of cabinet doors each with an elaborate cast and gilt-bronze plaque depicting playful children, the backside of the door casting stamped “PS 130”, the interior dressed in vibrant bird’s-eye maple and trimmed in rosewood, the cabinet ends with detailed inlaid panels, h. 44”, w. 53”, d. 17‑1/2”. [2500/4000] Illustrated following page

1902

1903

253

1908

1909 Philip Sage (American/Louisiana, b.1942) “St. Louis Cathedral” and “Napoleon House”, two black and white etchings, both signed lower right, titled lower center and numbered lower left, sight 7” x 7”. Both glazed, attractively matted and framed. [200/400] 1910 Louisiana School (20th Century) “Chartres Looking Toward St .Louis Cathedral”, ink and watercolor on paper, signed and dated lower right “R.J. Richards ‘74”, sight 9‑1/3” x 7‑1/2”. Glazed, matted and framed. [100/200]

1906 1907 top

1907 American Neo-Grec Eglomise, Gilt-Incised and Ebonized Table, fourth quarter 19th century, the circular top with an inset eglomise panel with four painted ovoid panels set in a gilt Greek key, arabesque and geometrically modeled ring on a quadropodal base with carved sunflower and gilt-incising, h. 28”, dia. 28‑3/4”. [2000/4000] Illustrated 1908 American Neo-Grec Gilt-Incised and Porcelain Mounted Rosewood Sofa, third quarter 19th century, New York, probably from the workshop of “Pottier and Stymus”, the back of tripartite-form, with double-chair backs centered by a lower upholstered back with a porcelain plaque surmounted by a bow and laurel swags, with Greek key below the closed arms with incised uprights extending to wrap to a serpentine seat rail, raised on fluted trumpet legs, now artfully upholstered after the period fashion in tufted gold and claret brocade with a ruched apron, 37‑1/2”, w. 74”, d. 36”. [1500/2500] Illustrated

254

1907

1911 Auseklis Ozols (Latvian/American/Louisiana, b. 1941) “Moonlit Bayou Scene”, oil on canvas, signed and dated lower right “A. Ozols, 1958”, 22” x 30”. Presented in a Baroque-style giltwood frame. [1400/1800] 1912 George Rodrigue (American/Louisiana, b. 1944) “Coulee Landscape with a Shack and a Pirogue”, oil on canvas, signed and dated lower left “Rodrigue ‘70”, 30” x 36”. Presented in an ebonized and gilt-stenciled frame. [9000/12000] Illustrated

1912

1913 Colette Pope Heldner (American/Louisiana, 1902‑1990) “Swamp Idyll”, oil on canvas, signed lower left, 35” x 19‑1/2”. Framed. [1200/1800] 1914 Colette Pope Heldner (American/Louisiana, 1902‑1990) “Swamp Idyll (Louisiana Bayou Country)”, oil on canvas, signed lower left “Colette”, signed and titled on the reverse canvas, 16” x 20”. Presented in a faux burlwood frame with a felt liner. [1000/1500]

1916

1915 Colette Pope Heldner (American/Louisiana, 1902‑1990) “French Quarter, Old New Orleans (Patio, Old Brulatour Mansion, Royal St.)”, oil on canvas board, signed lower left “Colette”, signed and titled on the reverse canvas, 16” x 20”. Presented in a faux burlwood frame with a felt liner. [2500/4000] Illustrated 1916 Colette Pope Heldner (American/Louisiana, 1902‑1990) “Swamp Idyll (Louisiana Bayou Country)”, oil on canvas, signed lower left “Colette”, signed and titled on the reverse canvas, 30” x 36‑1/2”. Presented in a rustic hardwood frame. [2000/4000] Illustrated

1915

255

1922

1920 American Rococo Revival Rosewood Canterbury, third quarter 19th century, the top with an open scrollsawn gallery and sides, over a well with tripartite divisions on scroll cut supports, the concave molded base fitted with a drawer, raised on bun feet, h. 35‑3/4”, w. 23”, d. 15‑1/4”. [1000/1500]

1921

1924

1921 American Rococo Revival Laminated Rosewood Sidechair, third quarter 19th century, attributed to J. & J.W. Meeks, New York, in the “Hawkins” pattern, the pierced and carved back with a large pair of blooming flowers flanked by clusters of grapes and vines, upholstered in a floral needlepoint, h. 42”, w. 19”, d. 21”. [2000/4000] Illustrated

1917 Arnold E. Turtle (American, 1892‑1954) “French Quarter Street Scene with Figures”, oil on board, signed lower right “Turtle”, 24” x 20”. Framed. [2000/4000] Illustrated 1918 American Rococo Revival Chestnut Sideboard, second quarter 19th century, in two parts, the upper section with a cabochon-centered foliate carved crest over a serpentine shelf with shaped mirror below, the base containing its period variegated marble top and a pair of drawers over a pair of doors, all with shaped panels, the doors mounted with fruit carving, h. 86‑1/2”, w. 47‑1/2”, d. 18‑1/2”. [900/1200] 1919 American Needlework Tapestry, mid‑19th century, depicting the angel of god preventing the sacrifice of Isaac by his father Abraham, sight 29‑1/2” x 25‑1/2”. Glazed and presented in a period molded rosewood frame. [1000/1500] 1917

256

1927 1922 American Rococo Revival Giltwood Mantel Mirror, third quarter 19th century, with an arched top and an elaborate foliate and scrolled crest with fruit and grapes, h. 55”, w. 68”. [2500/4000] Illustrated 1923 Group of Twenty-One Gilded Curtain Hardware Pieces, mid‑19th century, including eight “V”-shaped tiebacks pressed with a pattern of leaves and fruit against a trellis background, l. 9‑1/2”, w. 3‑1/2”, d. 2‑3/4”, and thirteen gilt-brass elements for valences, formerly mounted to a wooden valence, molded with grapes on a ribboned background, 23 “ x 3” (eight pieces), 7” x 5” (four pieces) and 3” x 4” (one piece). [300/500]

1924 Rare Pair Limoges Garniture Vases,third quarter 19th century, depicting scenes from Uncle Tom’s Cabin, one with Uncle Tom and Little Eva, the other with Eliza fleeing with her baby, the figures are executed in biscuit porcelain against gilt and white with pink roses in the upper edge of the fan, with swirling banana leaves and fern fronds that enclose the figures, h. 11”, w. 8‑1/2”, d. 5”. [500/800] Illustrated 1925 Old Limoges Porcelain Scenic Vases, mid‑19th century, one example with hand painted reserve panels featuring three little girls in antebellum dress, playing on a swing, while the other example features three young women, similarly attired, holding a bird in a lush riverbank landscape, set against a bleu-fonce ground, gilt trumpet flowers ornament the sides, h. 22”, w. 11‑1/2” d. 5‑1/2”. [1200/1800]

1926 American Rococo Revival Rosewood Center Table, mid‑19th century, attributed to J. and J.W. Meeks, New York, the period white Danby marble top over a conforming serpentine apron, with an upper beaded molding over pierced fretwork panels and foliate-carved brackets, raised on cabriole legs joined by serpentine stretchers with a domical-reeded-finial raised on bun feet, h. 30”, w. 47”, d. 30‑1/2”. [3000/5000] Illustrated 1927 American Rococo Revival Laminated Rosewood Sofa in the Hartford-Pattern, third quarter 19th century, attributed to J. and J.W. Meeks, New York, the piercedand-carved frame with a central cluster of flowers and flanked by conjoining scrollwork throughout, raised on cabriole legs ending in an acanthine carved volute foot, h. 51‑1/2”, w. 77”, d. 28”. [5000/8000] Illustrated

1926

257

1929

1931 Pair of American Rococo Revival Walnut Arm Chairs, third quarter 19th century, each with a finger-roll crest rail, closed arms with scroll ends, serpentine seat and cabriole legs, each now upholstered after the period fashion in tufted, striped gold brocade, h. 41‑3/4”. [500/800] 1932 Pair of American Rococo Revival Laminated Rosewood Hall/Music Chairs, mid‑19th century, attributed to John Henry Belter, New York, each with an open-carved back in the form of joined scrolls, the lift-seat opening to reveal a storage well, with serpentine apron and cabriole legs, h. 49‑3/4”. [2000/4000] Illustrated

1928 American Rococo Revival Walnut Library Table, mid‑19th century, attributed to J. and J.W. Meeks, New York, the inset leather top in a rectilinear frame with demilune ends, the apron fitted with a drawer, the curved ends with a scalloped and pierced frieze, supported by trestle base with intricately wrought scrolls, foliage finials and flora, joined by a scrolling stretcher centered by a finial, the curved feet joined by a carved shell, h. 30‑1/2”, w. 53‑1/2”, d. 24”. A smaller game table employing the same elements is in the collection of The Munson Williams Proctor Institute, Utica, New York. That table retains a stenciled Meeks label and is illustrated in “D” Ambrosio,Masterpieces of American Furniture from the Munson Williams Proctor Institute”, pages 96‑974. [5000/8000] Illustrated 1929 Monumental Paris Porcelain Three-Part Figural Clock, signed, Margaine (1839‑1867) who decorated the piece, with the body attributed to Jacob Petit, the figural top depicts royalty in Elizabethan costume with a female lute player and a boy on the rear, frolicking with a dog, the green body case is decorated with exquisitely detailed floral panels set in raised gilt frames, h. 22‑1/2”, w. 15”, d. 13”. [2000/4000] Illustrated 1930 American Rococo Revival Walnut Three-Piece Parlor Suite, third quarter 19th century, comprised of a sofa and a pair of arm chairs, the sofa with an arched floral-carved crest rail wrapping around to closed arms, serpentine front seat rail and cabriole legs, h. 45‑1/2”, w. 70”, d. 31”, the arm chairs with similar crest-carving corseted-back, open arms, cabriole legs, h. 41‑1/2”, each piece now upholstered in pale-green and cream striped damask. [1200/1800]

258

1928 side

1928

1933 1933 Rare Pair of American Brass, Marble and Cut-Glass Three-Light Candelabras, mid‑19th century, probably Philadelphia or New York, the marble bases supporting cutglass standards in an inverted-vase-form, which supports candle arms with round prism rings and egg-and-dart candle cups, hung with spear-tip prisms, h. 19”, w. 15”, d. 4”. [1800/2500] Illustrated

1934

1935

1932

1934 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”. [2500/4000] Illustrated

259

1936 American Late Classical Mahogany Fold-Open Games Table, mid‑19th century, New York, the flame mahogany top having a ribbon-molded edge and supported by turned-and-carved-standards on each end and joined by a similar turned-and-carved stretcher, h. 28”, w. 32”, d. 18‑1/2”. [1500/2500] Illustrated 1937 Pair of American Gilt-Bronze Figural ThreeLight Candelabras, attributed to Cornelius and Company of Philadelphia, mid‑19th century, with square marble plinths supporting a drum molded with lotus leaves, Turkish male figures holding aloft the candle branches, the Turks holding scimitars while the scabbard hangs from chains at their belt, h. 24‑1/2”, w. 13”, d. 5”. [800/1200] Illustrated

1936

1938 American Three-Light Girandole, mid‑19th century, of Leather Stocking tale model, hung with snowflake prisms, signed “Cornelius, Philadelphia”, h. 17”, w. 17”, d. 4”. [200/400]

1939 American Brass and Marble Girandole Set in the “Boy and Dog” pattern, mid‑19th century, probably New York or Philadelphia, and hung with snowflake pattern art prisms, the prism rings molded with morning glories and a brass egg-and-dart molding separating the stepped base, h. 18”, w. 17”, d. 4”. [300/500]

1937

1943

1935 American Rococo Revival Rosewood Occasional Table, mid‑19th century, attributed to Alexander Roux, New York, the marble top of four-leaf-clover-form, on a tripodal base with tapering columns atop figural masks joined to canted legs with paw feet, restorations, h. 28‑1/2”, w. 23‑1/4”, d. 23‑1/4”. A table similar to the present example is illustrated in, “Alexander Jackson Downing, The Architecture of Country Houses, 1850”, figure 254. A similar table is in the Rokaby House, Barrytown, New York. [2000/4000] Illustrated previous page

260

1950

1951 1947 1952 1948

1949

1940 Two-Piece American Brass and Marble “Sultanna” Pattern Girandoles, comprised of a five-light girandole, h. 21”, w. 15‑1/2”, together with a three-light girandole, h. 19”, w. 15”, both on double-stepped brass bases. [400/700]

1944 Group of “Morning Glory” Tiebacks, mid‑19th century, comprised of five tiebacks with opaline flowers, three with porcelain flowers, two with brass flowers, and one formerly fitted with a flower, w. 3‑1/2”, d. 4‑1/2”, l. 10‑1/2”. [300/500]

1941 American Rococo Revival Rosewood Parlor Cabinet, third quarter 19th century, New York, the upper section having two long open shelves with mirrored backs supported by pierced and carved scrolled brackets and an elaborate carved crest above, the base with a long drawer above a pair of mirrored cabinet doors opening to a figured maple interior, h. 67”, w. 47”, d. 19‑1/2”. [1500/2500]

1945 Morning Glory Gas Wall Sconce, second quarter 19th century, probably Boston, with opaline blossom, retaining its original gilt surface, h. 5”, l. 15‑1/2”. [300/500]

1942 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”. [500/800] 1943 Rococo Revival Gilt-Bronze Four-Arm Gasolier, in the manner of Starr, Fellowes and Co., New York, scroll cast arms supporting ruffled edge gas shades, mounted on now electric sockets, four putti encircling the top of the standard, the lower bowl ornamented with applied rococo decoration, h. 33”, w. 19”, d. 19”. [2500/4000] Illustrated

1946 Large Stained Walnut Rococo Revival Marble-Top Center Table, mid‑19th century, the top of tortoise form and bearing a Sarrancolin marble over a deeply carved floral frame, the legs of conjoining “C” scrolls, joined by floral-carved stretchers with a central fruit basket finial, h. 29”, w. 52”, d. 37”. [1200/1800] 1947 Two-Part Figural Paris Porcelain Clock in the Manner of Jacob Petit, second quarter 19th century, the clock depicting a pasha figure in repose, holding a scimitar, resting on a rocky knoll, sitting on a floral decorated base, h. 17‑1/4”, w. 10”, d. 5”. [800/1200] Illustrated 1948 Paris Porcelain Two-Part Rococo Revival Mantel Clock, second quarter 19th century, in the manner of Jacob Petit, depicting a pirate holding a pistol, sitting next to a keg on a plank base, atop a typical rococo base with cobalt panels decorated with flowers and gilt-spandrels, h. 15”, w. 6‑1/2”, d. 4”. [500/800] Illustrated

261

1952 Two-Part Paris Porcelain Clock, second quarter 19th century, attributed to Jacob Petit, the top depicting a hunter with his musket and powder keg, sitting atop bales in an exterior landscape, the magenta background base decorated with floral panels and a minutely detailed gilt pattern of leaves and rocaille, h. 15‑1/2”, w. 8”, d. 5”. [700/1000] Illustrated previous page

1954

1953 Three-Piece American Rococo Revival Laminated Rosewood Parlor Suite, third quarter 19th century, attributed to Charles A. Baudouine, New York, comprised of a sofa with a carved mask of Bacchus in the crest of the center back and having pierced, carved scrolls with fruit and flowers throughout, h. 45”, w. 80”, d. 26”, the arm chair and side chair each with floral cartouches and pierced, carved scrollwork and flowers, h. 38”, w. 19”, d. 18”. A near identical sofa is in the collection of the Chicago Historical Society and is illustrated in American Furniture of the 19th Century, by Dubrow, page 117, while an identical side chair bearing a paper label by Charles A. Baudouine is in the collection of the High Museum, Atlanta, Georgia. [7000/10000] Illustrated

1953

1949 Paris Porcelain Two-Part Rococo Revival Figural Clock, second quarter 19th century, the base decorated with magenta panels overlaid with raised gilt corners and hand painted flowers, the female figure dressed in 18th century costume on a rocky plinth gazing heavenward, h. 11‑1/2”, w. 6”, d. 8”. [600/900] Illustrated previous page 1950 Paris Porcelain Figural Mantel Clock, second quarter 19th century, in the manner of Jacob Petit, the rococo base decorated with enameled reserve panels of flora alternating with gilt panels of rocaille and cross-hatching, the figure depicting a woman in Elizabethan costume playing with a greyhound, h. 19‑1/2”, w. 9‑3/4”, d. 6‑3/4”. [1200/1800] Illustrated previous page 1951 Paris Porcelain Figural Mantel Clock, second quarter 19th century, in the manner of Jacob Petit, the figure with a Scottish hunter wearing a kilt and tam-o-shanter, holding a pistol, standing over a recently felled deer with his rifle, the rococo base with enameled flora in reserve panels against a cerise background, the enamel dial signed, “Louis Y. Mier, a Paris”, h. 17‑3/4”, w. 10”, d. 5”. [800/1200] Illustrated previous page

262

1953

1955 1954 American Rococo Revival Rosewood Work Table, mid‑19th century, attributed to Charles Baudouine, New York, the serpentine lift-top opening to reveal a fitted interior, the conforming case with panels edged in beading, raised on scalloped brackets intersecting at a galleried shelf, raised on foliate-carved scroll legs, h. 30”, w. 20”, d. 14‑1/2”. An apparently identical work table is among the original furnishings purchased for Fountain Elms, the Munson Williams Proctor Institute, Utica, New York. The Fountain Elms table was purchased in 1846 for sixty dollars. [3000/5000] Illustrated

1956 1955 Large American Rococo Revival Giltwood Oval Mantel Mirror, third quarter 19th century, the elaborate foliate crest with large bellflowers and scrollwork, and the lower section adorned with a central shell and foliate returns, h. 100”, w. 42”. Provenance: The Singer House, Washington, D.C. [1500/2500] Illustrated

1956 American Rococo Revival Laminated Rosewood Side Chair, Attributed to J. and J.W. Meeks, in the “Stanton Hall” Pattern, third quarter 19th century, the concave back with a floral-carved cartouche flanked by gadrooning, over pierced scrolls, with rounded seat and cabriole legs, now upholstered in floral brocade with a gold ground, h. 41”. [1000/1500] Illustrated

1957

1957 Pair of American Rococo Revival Mahogany Console Tables, of Louis XV influence, third quarter 19th century, each with a flame mahogany serpentine top over a long drawer with fitted interior and raised in slender cabriole legs with acanthine carved knees and ending in scrolled toes, h. 29‑1/2”, w. 29”, d. 17”. [1800/2500] Illustrated

263

1958 Pair of Limoges Hunt Theme Mantel Vases, mid‑19th century, each fan-shaped gilt rimmed vase decorated with a clutch of hunt trophees and game, painted hanging from a bow knot in the upper section, on figural vase with a pair of deer drinking from a stream, the other with a mother bird protecting her nest of eggs while being stalked by a fox, decorated in polychrome enamels, h. 14‑1/4”, w. 10‑1/2”, d. 5”. [800/1200] Illustrated

1958

1959 Limoges Figural Vase, mid‑19th century “Cornet Fleuve et Riviere”, a river deity is the subject of this vase attributed to Haviland, model 288, a similar one is illustrated in “Old Limoges, Haviland Porcelain Design and Decor, 1845‑1865”, pg. 139, h. 16”, w. 9”. [500/800] Illustrated 1960 American Rococo Revival Walnut Center Table, third quarter 19th century, the ovoid top over a conforming apron, raised on cabriole legs with foliate carving above the knees and ending in French toes, h. 30”, w. 46”, d. 39‑1/2”. [500/800] 1959

1961 American Brass and Marble Solar Lamp, mid‑19th century, hung with prisms and mounted with a period frosted and cut ball shade, patterned with grapes and grape leaves, on a two step base, h. 27”, dia. 9”. [800/1200] 1962 Pair of Continental Rococo Revival Hanging Oil Lamps, the font and base molded with rococo ornaments, mounted with chains attached to pierced rococo side arms, with a ring finial at the base, now mounted with frosted flame-pattern shades and electrified, h. 53”. w. 15”, d. 5”. [600/900]

1963

1963 Rare American Rococo Revival Rosewood Bedstead, attributed to the warerooms of Prudent Mallard, New Orleans, mid‑19th century, formerly a half-tester bed with the headboard posts now reduced, the elaborate floral-carved crest over a beaded and framed panel, h. 70”, w. 63”, l. 80‑1/2”. [6000/9000] Illustrated

264

1964 American Late Classical Mahogany Armoire, mid‑19th century, attributed to the warerooms of Prudent Mallard, New Orleans, Louisiana, the top with a complex flared and molded cornice above an ogee-form framed case and door, mounted to a base fitted with a single long drawer, h. 100‑1/2”, w. 58”, d. 25”. [4000/7000] Illustrated 1965 Pair of American Brass and Marble Girandoles, mid‑19th century, one example with Joan of Arc with hands crossed and a sword at her side, the second example with a knight in a suit of armor, his shield to one side, both with spear-point prisms, h. 20”, w. 15”. [800/1200] 1966 Three-Piece Brass and Marble Girandole Set, mid‑19th century, probably Philadelphia, mother and child pattern, hung with snowflake patterned prisms, figures depict a mother and child with a basket of flowers surrounded by a border, h. 16‑1/2”, w. 18”, d. 4”. [250/400]

1964

1967 American “Paul and Virginia” Girandole, mid‑19th century, probably Philadelphia, with rare Egyptian marble stepped base, with leaf-molded prism rings, egg-anddart molded candle cups and scroll molded arm supports, h. 19‑1/2”, w. 16‑1/2”, d. 5”. [100/200] 1968 Pair of Ruby Flashed Gothic Revival Cut-Glass Vases, third quarter 19th century, panel cut and decorated with trefoils touched with gilt tracery, h. 10”, dia. 3‑1/4”. [700/1000] Illustrated 1969 Bohemian Glass Three Bottle Decanter Set, in the Victorian Style, including a cranberry cut-to-clear bottle with matching stopper, a blue cut-to-clear bottle and a celadon green cut-to-clear bottle both in matching stoppers and fitted into a silver plated stand, h. 16‑1/2”, w. 10”, d. 10”. [300/500] 1970 Pair of Silver Overlay Ruby Glass Vases, early 20th century, each with a flaring and scalloped lip, the body adorned with a floral spray depicting a variety of flowers amongst twisting vines and foliage, h. 6‑3/4”. [200/400]

1968

1971 American Brilliant Period Cut-Glass Vase, fourth quarter 19th century, Hobstar and cut panels ornament the tulip-shaped body, with a single large Hobstar cut in foot, h. 14”, dia. 5”. [125/250]

265

Index of Artists and Printmakers A Abbott, Berenice 1456 Adams, Ansel 1458 Adolphe, Albert Jean 556 Alvarez, Mabel 1734 American School 1484, 1565, 1570, 1735, 1740, 1741, 1742, 1745, 1749 Angelico, Fra (after) 512 Angl Colonial School 588 Arentz, Josef M. 1567 B Bernstein, Janet 1739 Bierstadt, Albert 1569 Borg, Carl Oscar 1595 Bouguereau, William Adolphe (after) 1042 Boynton, Jack 1827 Brancusi, Constantin 1188 Brayer, Yves 1027 British School 564, 586, 589, 591, 603, 758, 946, 1005, 1056, 1058 Brown, Benjamin Chambers 1596 Brown, Mather (after) 702 Browne, Frederick William 1587, 1588 Brueghel, Abraham (manner) 881 Buffet, Bernard 1195 Bullard, Marion 1594

September 30 â&#x20AC;˘ October 1-2, 2011 C Calcott, Augustus Wall (follower) 590 Cassatt, Mary 425 Casteels, Pieter III (follower) 550 Catesby, Mark 1120 Cerny, Charles 1024 Chagall, Marc 1203 Cheret, Jules (after) 1185 Chiparus, Demetre (after) 474 Chippendale, Thomas (after) 841 Continental School 491, 509, 511, 548, 558, 847, 1041, 1043 Corbaux, Fanny (after) 951 D Dali, Salvador 1183 De Galoup, Jean-Francois 1629 De Longpre, Paul 490 Delaporte, Roger 1025, 1026 Delarue, Lucien 1123 Despujols, Jean 1030 Dou, Gerrit (circle) 848 Drummond, Arthur 735 Ducaire-Roque, Maryse 418 Dufy, Raoul 1176 Dugdale, Thomas Cantrell (after) 947 Duncan, Robert 1668 Dureau, George Valentine 1818, 1819

Index of Artists and Printmakers

September 30 â&#x20AC;˘ October 1-2, 2011

Edwards, Ethel 1816, 1817

Jacque, Charles-Emile 424

Elwes, John Henry (after) 1057

Emanuel, Frank Lewis 840

Kainer, Ludwig 426, 432

Kemper, Henry W. 1564

Flemish School 557

Kluge, Constantin 1023

French School 718, 849, 1016, 1017, 1046, 1184

Kohlmeyer, Ida Rittenberg 1813, 1814

Fui, Carlos 1045

Kohnke, Seanie Haik 1812

Konti, Isidore 700

Gass, Edna 1744

Kugler, May 1821

Germain, Jean 1092

Gerome, Francois 1090, 1091, 1093, 1094

LaBorde, Martin 1820

Giampietri, Settimio 488

Largilliere, Nicolas de 704

Greacen, Edmund William 1738

Latin American School 1822

Greco, Emilio 1194

Laughlin, Clarence John 1455

Greuze, Jean-Baptiste (follower) 703

Lemaire, Madeleine-Jeanne 431

Gross, Chaim 1189, 1192

Louisiana School 1810, 1811, 1910

Haseltine, James Henry 1576

Mann, Sally 1454

Heldner, Colette Pope 1913, 1914, 1915, 1916

Martino, Giovanni 1593

Hepner, Charles I 1743

Matisse, Henri 429

Hill, James John 736

McKenney and Hall 1667

Hough, William 863

Meissonier, Jean Louis Ernest (after) 544

Hyde, Helen 1015

Miro, Joan 1181, 1182

Modigliani, Amedeo (after) 1211

Itaya, Foussa 1028

Index of Artists and Printmakers N Neillot, Louis 1029 Nevelson, Louise Berliawsky 1830, 1831 Nozeman, Cornelius 1121 O O’Neill, John P. 1477, 1478 Ochtman, Leonard 1592 Orlans, Betty 1826 Ottaviani, Giovanni 678 Ozols, Auseklis 1911 P Paddock, Willard Dryden 1193 Pebworth, Charles 1828 Petit, Eugene 861 Pettie, John (after) 602 Picasso, Pablo 1201, 1202, 1204, 1205, 1206 Podchernikoff, Alexis Matthew 1562 Pope, Alexander Jr. 1479 R Radcliffe, Harold 1825 Raphael (after) 507 Rembrandt, van Rijn (after) 565 Renoir, Pierre Auguste 430 Riley, Kenneth 1673 Rivera, Diego 1809 Rivera, Diego (attributed) 1808

September 30 • October 1-2, 2011 Roddy, Ann Sister 1815 Rodrigue, George 1912 Rodrigues, Joao Barbosa 1054 Rolshoven, Julius 483 Rops, Felicien Joseph Victor 427 Roziere, Francois-Michel (after) 1009 Russman, Felix 1591 S Sacks, Joseph 1597, 1598 Sage, Philip 1909 Seba, Albertus 1008 Settanni, Luigi 1590 Simonetti, Giuseppe 495 Southern School 1649 Spanish Colonial School 510 Steiglitz, Alfred 1457 Swiss School 587 Szontagh, Geza 1047 T Tanoux, Adrien Henri 1044 Thornton, Robert 1055 Todd, Henry George 862 Topping, James 1586 Trova, Ernest Tino 1829 Troy, Jean-Francois de (follower) 719

Index of Artists and Printmakers

September 30 • October 1-2, 2011

Turner, Andrew 1823 Turtle, Arnold E. 1917 V Valton, Charles (after) 661 Van Gaelen, Alexander (attributed) 547 Vasarely, Victor 1207 Viavant, George Louis 1886 Villon, Jacques 1208

Glossary The Artist’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.

Vincent, Alexander 1589

Circle of: In New Orleans Auction Galleries opinion, a work of the period of the artist and showing his influence.

Volpato, Joannes 679

Manner of: In New Orleans Auction Galleries opinion, a work in the style of the artist, p ossibly of a later period.

W Weinmann, Johann 1119 Whitesell, Joseph Woodson “Pops” 1452, 1453

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.

Wieghardt, Paul 428

Bears Signature: Has a signature which in New Orleans Auction Galleries opinion might be the signature of the artist.

Wilhelm, Joseph A. 1709, 1710, 1711, 1712, 1713, 1714, 1715, 1716, 1717

Dated: Is so dated and in New Orleans Auction Galleries opinion was executed at about that date.

Wilson, Donald Roller 1824

Bears Date: Is so dated and in New Orleans Auction Galleries opinion may have been executed at about that date.

Wouwerman, Philips (circle) 555

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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 Thursday 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:

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

801 Magazine Street l New Orleans, LA 70130 l 800-501-0277 l 504-566-1849 Fax: 504-566-1851 l Email: info@neworleansauction.com

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

CATALOGUE ORDER FORM Please Print, Complete and mail or Fax New Orleans Auction Galleries, Inc. 801 Magazine Street, New Orleans, LA 70130 Phone: (504) 566-1849 • Fax (504) 566-1851 Email: info@neworleansauction.com www.neworleansauction.com

NAME ________________________________________________________________________________________ STREET ADDRESS ______________________________________________________________________________ CITY _________________________________________________________________________________________ STATE ________________________________________ ZIP ____________________________________________ BUSINESS PHONE ______________________________________________________________________________ HOME PHONE ________________________________________________________________________________ FAX PHONE __________________________________________________________________________________ E-MAIL _______________________________________________________________________________________

Annual Subscription (Domestic) (6 issues) - $150.00 Annual Subscription (International) (6 issues) - $300.00 Single Catalogue for Upcoming Auction (Domestic) $25.00

PLEASE INDICATE YOUR METHOD OF PAYMENT CHECK MADE PAYABLE TO NEW ORLEANS AUCTION GALLERIES, INC. VISA

MASTERCARD

AMEX

Credit Card Number ________________________________ Expiration Date _____________________________________ Amount $ _________________________________________

Single Catalogue for Upcoming Auction (International) $50.00 I do not wish to subscribe at this time, but please include me on your mailing list.

Signature _________________________________________ Date _____________________________________________ Office Use: Mail Code __________ Sub. End Date _____________

YOUR SATISFACTION IS IMPORTANT TO US. IF YOU HAVE ANY PROBLEMS WITH YOUR ORDER PLEASE CALL (504) 566-1849. PLEASE VISIT US ONLINE WWW.NEWORLEANSAUCTION.COM FOR MORE INFORMATION.

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.

Customers, Please Note: Deadline for Absentee/Telephone Bidding 5:00 P.M. Central – Thursday, September 29, 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 – Wednesday, September 28, 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.

REQUEST FOR CONDITION REPORTS (DEADLINE: WEDNESDAY, SEPTEMBER 28 AT 5:00 P.M.) Condition reports are completed in the order in which they are received. Please allow ample time for large requests. Condition reports will not be given verbally. Photo requests will only be processed for items not illustrated in our catalog or website (www.neworleansauction.com). Detail photographs will be provided at our discretion. Name (Please Print): _______________________________________________________

Date: __________

Business Name: ____________________________________________________________________________ Address: __________________________________________________________________________________ City: __________________________________________________ Telephones: Work: (_______)____________

State: __________ ZIP: ____________

Home: (_______)___________

(For Fed-Ex Requests) Federal Express Account #: _________________ Please Select: Method of Receiving Reports: _____Fax _____Mail _____Email

Fax: (_______)__________

Email Address: __________________

Method of Receiving Photographs: _____Mail

_____Email

Lot # Description Special Requests _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________

Please Submit This Form Via Fax: 504-566-1851

Page No. 1

09/14/2011 12:15:42 New Orleans Auction Prices Realized for Sale 1104 July 30, 2011 Summer Estates Sale July 30-31, 2011

Lot# 5 6 7 8 9 10 11 15 18 19 22 29 31 34 35 37 41 42 45 46 47 48 49 51 52 53 55 56 58 59 60 63 66 69 70 71 72 73 75 76 77 78 79 80

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522 153 276 615 430 399 338 1,107 2,952 369 984 3,444 492 461 1,476 246 67,650 9,532 2,460 553 1,968 1,045 246 6,150 553 1,722 615 153 3,444 1,476 1,230 3,690 338 1,599 3,198 2,214 4,674 1,968 738 1,353 5,904 584 1,722 338

81 82 85 86 87 88 92 93 94 95 97 98 99 100 101 102 104 106 107 109 110 111 113 114 116 118 119 120 121 122 123 124 125 126 127 128 131 134 136 138 139 141 143 144

307 307 1,968 6,457 5,658 676 338 276 338 338 2,460 1,845 153 2,337 3,198 3,936 553 1,845 2,952 984 12,915 2,460 399 1,722 9,225 553 4,920 67,650 43 738 492 430 922 922 1,107 676 110 1,599 492 492 19,680 246 3,198 184

145 149 150 151 155 156 158 161 162 164 166 172 173 175 177 179 180 181 183 187 191 195 199 201 202 203 204 205 208 211 212 213 218 219 220 221 223 224 225 226 229 230 231 233

184 276 246 153 3,075 184 522 738 461 1,476 861 5,904 215 492 246 861 738 553 1,230 215 1,168 8,610 2,091 2,214 1,107 307 1,845 461 430 1,845 307 492 430 246 861 430 738 1,599 9,225 522 153 215 399 184

234 235 236 237 238 239 240 245 247 248 250 252 253 254 255 256 257 258 259 260 262 263 264 265 266 268 269 271 273 274 275 276 277 281 282 283 284 286 287 288 289 290 291 292

3,936 1,230 4,428 307 522 492 2,214 246 922 399 461 430 215 676 676 1,353 338 922 1,168 861 2,091 2,091 2,952 307 338 430 492 676 2,337 246 307 615 861 215 984 430 246 246 34,440 399 1,722 492 553 1,045

293 294 295 296 297 298 300 301 302 303 304 308 312 313 315 316 319 321 322 323 325 326 327 329 331 333 339 340 341 342 343 344 345 346 347 348 349 350 351 354 357 358 359 360

1,107 369 799 738 338 307 6,150 338 1,845 3,936 1,845 1,599 3,444 1,845 49 984 1,230 1,353 1,230 861 1,476 1,845 246 153 676 338 1,230 615 184 461 123 430 110 215 2,337 2,337 1,230 861 307 553 1,168 246 369 861

361 363 364 365 366 367 369 372 374 376 377 378 380 381 384 385 387 389 390 391 392 393 395 396 397 401 402 403 407 408 409 413 417 418 419 420 421 427 428 429 432 433 436 438

584 246 307 492 338 984 799 522 3,936 3,936 1,107 4,920 615 1,230 184 1,968 1,722 430 430 1,845 184 461 338 98 399 123 184 2,337 1,107 1,722 1,168 1,107 1,845 2,952 492 522 34,440 184 399 184 61 98 307 861

441 444 445 446 448 450 457 458 459 460 463 465 466 467 468 469 470 471 472 473 477 478 479 485 486 487 488 491 492 493 494 496 498 499 501 502 504 505 506 508 509 510 513 514

2,460 1,599 369 799 3,444 1,353 1,168 3,444 6,457 676 984 3,075 1,168 2,706 1,968 461 615 1,722 399 3,690 276 492 215 984 1,968 276 430 2,952 922 399 399 584 1,230 1,722 553 1,045 369 1,845 3,690 615 1,476 1,599 3,198 922

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Page No. 2

09/14/2011 12:15:43 New Orleans Auction Prices Realized for Sale 1104 July 30, 2011 Summer Estates Sale July 30-31, 2011

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516 517 518 519 520 522 523 525 527 529 531 536 540 543 547 550 556 559 560 561 562 565 566 568 570 571 572 574 575 577 579 580 582 583 584 586 587 588 589 592 593 597 599 602

8,302 1,107 1,107 399 1,045 738 799 369 1,722 492 1,845 110 369 1,722 307 86 553 1,045 1,845 307 799 123 153 676 738 246 861 338 2,460 215 246 276 1,353 584 123 184 676 1,230 492 492 522 2,337 738 461

604 605 606 607 608 609 611 612 613 614 617 618 619 620 621 622 623 624 625 626 627 629 630 635 636 637 638 639 642 643 644 646 647 648 650 651 652 654 655 656 657 658 659 664

153 492 246 215 276 184 1,230 338 676 1,599 2,214 492 461 461 184 430 184 184 123 1,107 492 1,599 369 1,845 2,952 615 2,706 338 8,302 676 153 861 399 738 1,845 615 984 307 799 215 553 1,230 1,599 553

665 667 673 674 679 680 681 682 684 687 689 690 691 692 693 699 700 702 703 704 706 708 709 710 714 715 717 719 721 725 727 729 730 732 733 734 740 741 742 743 744 745 747 749

1,845 861 615 307 1,168 246 369 676 615 1,107 307 184 153 4,674 584 2,091 15,375 36 1,045 676 246 1,722 461 430 307 246 3,444 584 16,605 1,845 1,968 61 307 307 984 799 2,091 5,166 8,610 4,674 1,107 338 738 1,168

752 753 754 756 758 759 760 761 763 764 767 768 769 770 771 772 773 774 775 776 777 778 779 780 781 782 783 784 785 786 787 788 790 791 793 797 798 799 802 803 805 807 808 809

338 522 799 2,214 34,440 86 246 246 153 153 1,107 215 246 430 307 184 153 246 215 430 615 430 246 338 215 1,107 430 430 123 246 246 246 369 522 307 3,198 584 307 461 461 1,845 1,230 738 3,198

810 813 814 815 819 820 822 823 824 825 826 828 829 833 834 836 837 839 840 841 842 843 845 849 850 851 852 854 855 856 858 859 860 862 863 868 872 874 877 879 880 881 883 887

49 110 399 861 1,476 338 7,995 1,230 922 4,428 4,182 799 123 584 123 1,353 984 584 553 2,460 369 676 799 2,091 307 276 553 922 86 522 3,198 522 430 553 3,690 2,706 984 2,706 922 98 5,904 2,091 2,952 861

888 890 892 893 894 895 896 897 900 901 903 905 906 908 909 910 911 912 914 915 916 917 919 921 922 924 925 926 927 928 930 931 932 933 935 936 937 939 940 941 942 943 945 946

522 1,845 615 461 1,722 738 184 4,182 4,182 399 738 1,230 2,952 2,214 338 676 1,968 276 399 92,250 799 615 984 2,091 1,168 2,460 1,968 14,145 5,166 738 738 215 12,915 1,230 153 49 3,690 2,460 3,198 1,045 246 1,230 738 338

947 948 949 950 951 952 954 955 956 957 959 960 961 962 963 966 967 968 969 971 972 974 976 977 978 979 981 982 985 986 987 988 989 990 991 992 993 994 995 996 997 998 999 1000

676 11,992 5,166 461 1,168 153 861 1,968 8,610 338 5,658 184 338 153 153 369 738 399 430 584 430 676 215 246 676 123 276 2,091 861 984 1,353 1,599 799 922 338 3,198 1,107 2,091 153 123 1,353 799 276 584

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Page No. 3

09/14/2011 12:15:44 New Orleans Auction Prices Realized for Sale 1104 July 30, 2011 Summer Estates Sale July 30-31, 2011

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1001 1004 1005 1006 1007 1008 1009 1010 1011 1013 1014 1015 1016 1017 1018 1019 1020 1021 1022 1023 1024 1025 1026 1028 1029 1030 1032 1033 1034 1036 1037 1038 1039 1040 1041 1042 1043 1044 1045 1046 1047 1048 1050 1051

1,230 492 492 7,380 276 430 184 2,091 615 123 307 399 307 1,045 461 1,107 153 461 430 799 738 153 676 1,599 399 430 307 399 461 1,168 307 430 98 676 338 492 399 430 7,687 6,457 215 1,968 2,706 676

1052 1053 1054 1055 1056 1057 1058 1059 1060 1061 1062 1063 1064 1065 1066 1067 1068 1069 1070 1071 1072 1073 1074 1075 1076 1080 1081 1082 1083 1084 1085 1086 1087 1088 1089 1090 1091 1092 1096 1100 1102 1103 1104 1105

3,690 1,230 7,995 922 9,225 861 522 522 276 584 184 1,230 1,599 799 399 369 461 2,706 369 615 922 492 1,968 399 922 369 98 184 369 246 246 153 399 369 461 153 5,166 246 10,455 369 11,685 9,225 4,920 2,460

1106 1107 1109 1110 1111 1113 1114 1115 1116 1118 1119 1121 1122 1128 1129 1131 1132 1133 1134 1135 1136 1137 1138 1139 1140 1141 1142 1143 1145 1147 1148 1149 1150 1151 1152 1153 1154 1155 1156 1158 1159 1160 1162 1163

18,450 2,706 215 1,599 1,230 738 4,182 553 338 369 615 861 676 430 492 492 338 522 276 584 984 369 276 6,150 584 676 492 1,045 1,476 399 799 861 276 307 153 922 676 184 3,444 676 553 615 8,302 1,476

1164 1165 1166 1167 1168 1169 1170 1171 1174 1176 1177 1178 1179 1180 1181 1182 1183 1184 1185 1186 1187 1188 1189 1190 1191 1192 1194 1195 1196 1197 1198 1200 1202 1204 1205 1206 1207 1208 1211 1212 1213 1214 1215 1216

676 461 2,706 522 1,230 215 369 492 86 215 676 553 522 369 369 276 123 492 399 123 1,045 184 276 492 799 522 738 738 553 3,690 1,845 3,690 98 246 98 738 984 1,168 3,936 369 984 1,353 461 676

1218 1219 1220 1222 1224 1227 1228 1230 1233 1234 1237 1239 1241 1243 1244 1248 1249 1250 1251 1253 1254 1255 1256 1257 1258 1259 1261 1262 1263 1266 1269 1270 1271 1272 1273 1274 1276 1277 1278 1279 1280 1281 1282 1284

492 799 1,168 369 153 430 553 861 338 492 738 369 1,107 19,680 553 1,476 553 399 22,140 553 1,722 1,476 246 246 276 3,075 922 4,428 984 3,198 984 2,214 799 1,230 399 399 276 584 399 1,968 246 1,845 7,995 2,214

1285 1288 1289 1290 1291 1292 1293 1297 1299 1302 1303 1304 1305 1306 1307 1311 1312 1313 1315 1319 1320 1321 1322 1323 1324 1325 1327 1328 1329 1330 1331 1332 1334 1335 1339 1340 1343 1346 1347 1348 1352 1353 1355 1359

553 1,230 246 338 584 184 615 799 984 430 799 584 153 246 922 984 799 307 1,845 1,230 1,599 492 49 461 86 1,476 1,599 430 2,706 461 676 553 2,460 615 1,476 1,045 2,952 738 461 1,168 1,230 1,353 492 2,460

1361 1365 1366 1367 1368 1369 1370 1375 1376 1377 1378 1379 1382 1383 1384 1385 1386 1387

676 430 1,476 2,460 1,045 553 861 307 522 553 1,045 215 1,230 1,353 2,952 153 430 399

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Staff Specialists

Jean Vidos President Tessa Steinkamp Auctioneer / Consignments Charles C. Cage Office Manager / Silver Specialist Ireys Bowman Consignments Greg S. Kowles Consignments Richerson L. Rhodes, G.G., N.J.A. Consignments / Oriental Specialist / Jewelry Specialist Thomas Halverson Director of American Furniture and Decorative Arts Jelena James Fine Art Consignments Michael Maggio Director of Marketing / Graphic Designer Corie Talano Comptroller Kim Lemon Director of Customer Service Ralph A. Cheramie Director of Inventory Control Ellen McKenzie Cataloguer 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 â&#x20AC;&#x153;Docâ&#x20AC;? Hawley Exhibition Staff Randy White Operations Manager Joey Thomas / Stanley Thomas Co-Operations Managers Bennie Amos / Rodney Junius Sean Ranson / Cedric Roberts Operations Department Gary Michael Gittelson Photographer