May 19-20, 2012 (1202) by New Orleans Auction Galleries, Inc.

Cover: Lot 701 - Norbert Goeneutte (French, 1854-1894) “Jeune Femme au Petit Chien Noir”, oil on canvas, signed, 29-3/4” x 19-1/2”

2012 AUCTION SCHEDULE May 19-20 July 21-22 September 15-16 November 10-11

Back Cover: Lots 784 through 788 - Elaborate Collection of Finely Carved Chinese Ivory Groups

AUCTION TIME CHART Saturday May 19, 2012 Lots 1-813 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 6:00-6:15

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

Website: www.neworleansauction.com E-mail: info@neworleansauction.com La. Auction License: AB-346

1-99 100-199 200-299 300-399 400-499 500-599 600-699 700-799 800-813

Sunday May 20, 2012 Lots 814-1444 11:00-12:00 12:00-1:00 1:00-2:00 2:00-3:00 3:00-4:00 4:00-5:00 5:00-5:30

814-913 914-1013 1014-1113 1114-1213 1214-1313 1314-1413 1414-1444

Estates Auction Saturday, May 19, 2012 10:00 a.m. – Lots 1-813

Sunday, May 20, 2012

11:00 a.m. – Lots 1814-1444

Two-Week Exhibition Begins Saturday, May 5 Through Friday, May 18, 9:00 a.m. to 5:00 p.m.(Excluding Sundays)

Late-Evening Preview Thursday, May 17 5:30 p.m. to 8:00 p.m.

Featuring Property From and Including: The Garden District Estate of Davis Peter Richarme, III New Orleans, Louisiana The Estate of Bob Fleshman Hattiesburg, Mississippi The First Installment from the Reference Library of the Late Noted Hattiesburg Architect and Antique Collector David Sheley And Property from Numerous Southern Estates and Private Collections

Online Catalogue Available: www.neworleansauction.com

Session I

Saturday, May 19, 2012 1:00 p.m. CST â&#x20AC;&#x201C; Lots 1-813

4 Empire-Style Fruitwood and Marble-Top Pedestal Table, early 20th century, the circular verde antico marble top within a brass banding, above a conforming frieze with applied Empire-style ormolu mounts, raised on three tapering square legs joined by a tripartite stretcher and ending in ormolu paw feet, h. 30‑1/2”, dia. 15‑1/2”. [400/700] 5 French Gilt-Brass Seven-Light Chandelier, first quarter 20th century, in the classical taste, the wick arms modeled as long-necked female masques, retaining the period suspension chains and pierced gilt-brass canopy of coronet form, electrified, h. 24”, dia. 16‑1/2”. [500/800] Illustrated

2 suite of three 1 Italian Lithographed and Hand-Detailed Oblong Red Figure Panel of Classical Figures, fourth quarter 19th century, presented in a broad antique-white mat within a simple giltwood frame and glazed, sight 6” x 1‑3/4”, frame 14” x 19”. [125/250] 2 Set of Three Elaborately Hand-Colored Engraved Folio Plates, of ancient Greek kraters, second quarter 19th century, presented in two-color gold-striped black mats within scroll-carved antiqued giltwood frames, h. 13”, w. 9‑1/2”. [500/800] Illustrated

3 Amusing Continental Polychromed Porcelain Pedestal Cachepot, third quarter 19th century, decorated in shades of terra cotta and black, and featuring a hare astride a poodle, in two parts, comprised of a cachepot and a pedestal drain plate of cup form, h. 10‑1/2”, dia. 7”. [100/200]

6 Empire-Style Mahogany Clock, late 19th century, the triangular pediment above the white enamel dial, surrounded by ormolu laurel wreaths and flanked to either side by ormolu Egyptian maiden pilasters, raised on a conforming base fitted with a rectangular top, supported by two like pilasters and two paneled back with ormolu mounts, raised on a plinth base, h. 84”, w. 20”, d. 15‑1/2”. [3000/5000] Illustrated

7 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”. [900/1200]

8 Pair of French Gilt-Brass-Mounted Polished Steel Appliques, of quinquet form in the Directoire style, fitted with ecru faux candles and electrified, h. 6”, w. 10‑1/4”, d. 8‑1/2”. [500/800]

9 Pair of French Gilt-Brass and Polished Steel Three-Light Appliques, of quinquet form in the Directoire style, electrified and fitted with ecru faux candles, h. 6”, w. 10‑1/4”, d. 8‑1/2”. [500/800]

10 Empire-Style Mahogany Cheval Mirror, early 20th century, the rectangular beveled mirror plate surmounted by a shaped crest and supported by fluted uprights with gilt accents, raised on splayed legs ending in brass paws on casters, h. 77‑1/2”, w. 32”, base d. 25”. [500/800] 11 Empire Mahogany and Marble-Top Secretaire a Abattant, second quarter 19th century, the rectangular Sainte-Anne Francais marble top above a conforming case fitted with a single frieze drawer over a drop front opening to an inset leather writing surface and a variety of drawers and cubbyholes, with three long drawers below, all banded and flanked to either side by engaged pilasters headed by ormolu maidens’ heads, raised on block feet, h. 55‑1/2”, w. 38‑1/2”, d. 17”. [800/1200] 12 Suite of Four German Stencil Templates and Tracing Patterns for Interior Painting, from the Deutsches Maler Journal, books I and II (Stuttgart: W. Speeman, 1876‑1878), including vol. I, sheet 11, four mythological beasts, designed by Adolf Gnauth (1840‑1884), vol. I, sheet 30, neo-Grec masque, vase and corner ornament, book II, sheet 22, neo-Grec pilaster decorations, and book II, sheet 51, neoclassical scrolling borders, each quarto sheet 23‑3/4” x 33”, mounted on board and presented in a molded wooden frame with rope-twist filet and glazed, overall 33‑1/2” x 43‑1/2”. The Deutsches Maler Journal was founded in 1876 by architect Adolf Gnauth (1840‑1884) and painter Ludwig Lesker (1840‑1890) as an organ of the Deutschen Maler-Bundes [German Painter’s Federation], and dealt specifically with the technical aspect of painted interiors. Each volume contained a folio sheet of letterpress, four chromolithographs of interior painting designs, and anywhere from six to nine quarto sheets of stencil templates and tracing patterns which designers could use to re-create the lithographed designs. The journal’s contributors were among the most noted German architects and designers of the day, e.g. Georg von Hauberrisser (1841‑1922), Eugen Neureuther (1806‑1882) and Hans von Kolb (1845‑1928). Appearing as it did at the height of the German Historismus movement, the journal recorded an eclectic array of revivalist designs, including Greek, Roman, Gothic and Renaissance, which remain not only a documentary record of the era but also functional tools for today’s designers. Many of the stencils were reprinted in the 1960’s by Dover Press as Victorian Stencils for Design and Decoration, though in reduced size from these large-scale, period originals. [400/700]

13 Fifty Piece Collection of German Decorative Painting Lithographs, Templates and Patterns, from the Deutsches Maler Journal, books I and II (Stuttgart: W. Speeman, 1876‑1878), including three framed color lithographs, book I, plate 12, Plafond [Ceiling], by Adolf Gnauth (1840‑1884), book I. plate 14, Pilaster Verzierungen [Pilaster Decorations], by Eugen Napoleon Neureuther (1806‑1882), and book 2, plate 15, Treppenwand [Stairwell] by Georg von Hauberreisser (1841‑1922), each presented in a reddish-brown molded wood frame with painted gilt filet, taupe mat and glazed, sight (average)13” x 10”, overall (average) 17” x 20”, along with fourteen loose color lithographs, some with metallic inks, each 16‑1/2” x 11‑7/8”, (book I, plates 5,8,10,13,17,23 and 24, and book 2, plates 7 through 13, inclusive), with twenty-five quarto sheets, each with one to six stencil templates and/or tracing patterns to create designs in the neoclassical, neo-Grec or Gothic Revival fashion, each 33” x 23‑1/2” (open), and eight original Journal folios, book I, vols. 2‑6 and book II, vols. 2‑4, in quarter red linen with blue printed paper boards and gilt filet, each with a folio or single leaf of explanatory text, 16‑3/4” x 12‑3/4. The Gnauth lithograph is a fine interpretation of the 16th century carved wooden ceiling in Dachau Palace. The original Renaissance ceiling, carved in 1566‑1568 by Hans Wisreutter (fl. 1548‑1572) was transferred in 1868 to the Bavarian National Museum. It was there that Gnauth adapted the ceiling as a painted decoration for architects and interior designers, rendered here in rich colors and metallic inks. (The ceiling was restored and returned to the Dachau Palace in 1977.) The Hauberreisser lithograph illustrates his design for a staircase wall in the Munich New Town Hall, a grand Gothic Revival building which began construction in 1867 and was not completed until 1908; stencil and tracing patterns for Hauberreisser’s designs for some of the Town Hall corridors are also included in this lot. Many of the loose lithographs here are accompanied by the matching stencil/ tracing pattern. [300/500] Illustrated

14 Suite of Five German Decorative Painting Lithographs with Six Accompanying Stencil and Tracing Patterns, from the Deutsches Maler Journal, books I and II (Stuttgart: W. Speeman, 1876‑1878), including chromolithographs book I, plate 7, “Plafond” [“Ceiling”], by Adolf Gnauth (1840‑1884), book I, plate 9, “Wanddecoration in Treppenhause” [“Staircase Wall Decoration”] by Georg Hauberreisser (1841‑1922), book I, plate 16, and book II, plate 5, both a “Plafond” [“Ceiling”] by Ludwig Lesker (1840‑1890), and book II, plate 14 “Pilasterfuellungen, Borduren und Mittelstueck zu einer Wanddecoration” [“Pilaster, Border and Centerpiece of a Wall Decoration”], by Heinrich Kolb (fl. Berlin, second half 19th century) each presented in a reddish-brown molded wood frame with painted gilt filet, taupe mat and glazed, sight (average)13” x 10”, overall (average) 17” x 20”, with six quarto sheets, each with two to seven stencil templates and/or tracing patterns to reproduce all or part of the lithographed designs in full scale, each 33” x 23‑1/2” (open). Hauberreisser’s staircase wall decoration here is taken from his design for the Munch New Town Hall and features a painted version of a two meter-high “Medieval” tapestry, requiring twelve separate stencil and tracing patterns, all of which are included in this lot. [300/500] 15 Chronicles of Jean Froissart (ca. 1337-ca. 1405), translated by Thomas Johnes (1748‑1816), London: Longman, Hurst, Rees and Orme, 1806, second edition thus, thirteen volumes (including the rare volume of engravings by J. Harris), octavo plus one quarto, the octavo volumes in full marbleized leather with gilt filet, the spines with gilt-lettered black panels with decorative gilt ruling and paterae, 8‑1/2” x 5‑1/2”, the quarto volume containing one map and fifty-six engravings, in half brown calf with marbleized paper boards, the spine en suite with the octavo volume, 11” x 8‑7/8”. [40/70] 16 Twenty-One Decorative Bindings of French Interest, mid‑19th to early 20th century, including five Restauration volumes of French classics, memoirs of the Duke of Saint Simon and the Comtesse de Boigne, and works by Francois Coppee, Rodolphe Toepffer and Paul Lacroix, in quarter to full leather with gilt tooling and decoration, the largest 10‑1/4” x 8”, the smallest 4‑1/2” x 3”. Complete list with descriptions available on request. [75/125]

17 Twelve French Restauration and Louis-Philippe Decorative Bindings, including Guillaume-Honore Roques de Montgaillard, Histoire de France (Paris: Moutardier, 1834‑1835), 17th edition, eight volumes (of nine; lacking vol. 1), octavo, brown quarter leather with marbleized boards and edges, the spine with gilttooled lettering and ruling, 8‑1/2” x 5‑1/4”, Jean Francois Ducis (1773‑1816), Oeuvres (Paris: Nepveu, 1819), 3rd edition, two volumes (of three), octavo, including vol. I, Theatre (with Ducis’ Shakespearean adaptations) and vol. III Poesies, in brown half leather with marbleized boards, the spines with black panels and gilt lettering and ruling, 8” x 5”, Jacques Delille (1738‑1813), L’Imagination (Paris: L.G. Michaud, 1819), 3rd edition, octavo, in brown full leather with marbleized endpapers and edges, the boards with gilt-tooled edges, the spines with two red panels with gilt lettering and decoration, 9” x 5”, and the Blessed Anne Catherine Emmerich (1774‑1824), La Douloureuse Passion de Notre Seigneur Jesus-Christ (Paris: Debrecourt, 1836), 2nd French edition, octavo, in red full leather, the boards with blind tooled decoration and gilt filet, with marbleized endpapers, fully gilt edges and dentelle, the spine with gilt lettering and decorations, 8‑1/4” x 5”. [75/125] 18 Empire Mahogany and Marble-Top Pedestal Table, first quarter 19th century, the circular Sainte Anne des Pyrenees marble top above a plain frieze, raised on three rectangular supports with ormolu mounts to a concave tripartite base on block feet, h. 35‑1/2”, dia. 12”. [400/700] 19 Tsarist-Style Malachite and Silver Desk Ornament, second half 20th century, of cenotaph form, the cenotaph and plinth each carved from a single piece of malachite, decorated with applied silver ornaments, the front with a laurel-enframed portrait medallion of Nicholas II, the reverse with the Imperial double eagle set with a single faceted pink paste, the base and sides with floral garlands, h. 2‑1/4”, w. 1‑3/4”, d. 1‑7/8” [300/500]

26 Empire-Style Mahogany Bergere Avec Orielles, early 20th century, the padded rectangular back and sides surmounted by a molded crest with applied ormolu mounts and annulation, joined by acanthine padded arms to the cushioned seat, raised on tapering fluted circular legs ending in toupie feet, h. 41‑1/2”. [400/700] Illustrated 27 Louis XVI-Style “Plum Pudding” Mahogany and Gilt-Bronze Mounted Bedstead, ca. 1900, the paneled headboard with an arched crest and gilt-bronze ribbon and trim, the footboard with a raised panel and gilt-bronze mounted plaque depicting a torch, quiver and floral spray, h. 63”, inside w. 56”, inside l. 77”, outside w. 62”, outside l. 80”. [1000/1500] 25

20 Empire-Style Mahogany and Burl Wood Banquet Table, the rounded rectangular top banded and quarterveneered and with an inlaid central floral pattern and like corner accents, above a conforming swag inlaid frieze, raised on two pedestals, each of urn form to three scrolling supports on a concave tripartite base, the whole with applied ormolu accents, h. 31”, d. 47”, l. 118”. [1500/2500] Illustrated

28 Louis XVI-Style Mahogany and Gilt-Bronze Mounted Armoire, ca. 1900, the arched crest with cast gilt-bronze ribbon cartouche and applied beading above a pair of beveled mirror doors flanked by fluted columns, the interior fitted with five adjustable shelves and a belt of drawers, h. 102‑1/2”, w. 56”. d. 22”. [1000/1500]

21 Neoclassical-Style Mahogany Side Table, late 19th century, the rectangular top with molded edge above a plain frieze, raised on fluted graduated supports to a lower shelf, to molded square feet, h. 38‑1/2”, w. 50‑1/4”, d. 22”. [400/700] 22 Pair of Neoclassical-Style Marble Pedestals, each of Villefranche de conflent marble and with an octagonal top raised on a turned columnar standard to a molded circular base, h. 27”, w. 13‑1/2”. [500/800] 23 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”. [300/500] 24 French Bronze-Patinated Brass and Verde Antico Marble Standish, fourth quarter 19th century, in the First Empire style, fitted with a pair of covered inkwells, one retaining the two-part glass liner, the whole supported on four feet modeled as Napoleonic eagles surmounting spheres, h. 8”, w. 14‑3/4”, d. 10‑1/2”. [500/800] 25 Louis XVI-Style Mahogany Demi-Lune Side Table, early 20th century, the demi-lune top within a molded brass banding, hinged and opening to a leather-inset circular surface, raised on tapering circular legs ending in brass caps and casters, h. 29”, w. 54”, d. 27”. [2000/4000] Illustrated

29 Directoire-Style Figured Mahogany and Gilt-BrassMounted Dining Table, mid‑20th century, in the Maison Jansen taste, the oval top opening to a two part pop up leaf, raised on turned and tapered fluted legs, h. 30‑1/4”, d. 41‑1/4”, l. 67”, ext. l. 91”. [1200/1800]

33 Continental Walnut Neoclassical Looking Glass and Console, mid‑19th century, the beveled rectangular plate surmounted by a molded cornice above a recessed arch crest, flanked to either side by engaged pilasters, the console with a rounded rectangular top above a single molded drawers, raised on shaped supports, h. 84‑1/2”, w. 25”, d. 13”. [400/700] 34 Suite of Eight Charles X Mahogany Sidechairs, second quarter 19th century, in the Gothic taste, each with a domed back with arch and trefoil designs, the padded seat raised on shaped sabre legs, ending in scrolled toes, the whole accented with decorative string inlay, h. 31‑1/2”. [3500/5000] Illustrated

35 Biedermeier Revival Mahogany Looking Glass, ca. 1900, the period arched mirror plate in a cyma-molded frame, with a crotch-veneered cove-molded base, h. 56”, w. 26”, d. 3”. [200/400]

36 Continental Bronze and Marble Figure of a Hunter in Classical Dress, first quarter 20th century, the hunter clad in a short toga with a lion’s skin, his quiver of arrows on his back, mounted on a gray and tan mottled stepped marble base, h. 15‑3/4”, w. 8”, d. 6”. [1000/1500] 37 Continental Neoclassical Mahogany Secretaire Abbatant, second quarter 19th century, the stepped top above a case fitted with an ogee-molded drawer over a drop front opening to an interior fitted with various drawers and cubbyholes and a central paneled cupboard, over three long drawers, raised on block feet, h. 63”, w. 42”, d. 22‑1/2”. [900/1200]

30 Louis Philippe Moderator Lamp, second quarter 19th century, French, the lamp with an engine-turned base contained in borders of molded lozenges, the period frosted ball shade engraved with flowers alternating with sprays of leaves, not electrified, h. 19”, dia. 5‑1/4”. [600/900] 31 Neoclassical-Style Verde Antico Marble Pedestal, late 19th century, the revolving circular top raised on a columnar stop-fluted standard to a ribbed urn-form base to an octagonal plinth, h. 40‑1/2”, dia. 13”. [150/300] 32 Unusual Continental Oak and Various Woods Center Table, mid‑19th century, the circular revolving top raised on a columnar standard to a stepped circular base to four scrolled feet, the table veneered in its entirety with small discs of various woods and sizes, h. 29‑1/2”, dia. 36”. [1800/2500] Illustrated

38 Baltic Neoclassical Mahogany Looking Glass, mid‑19th century, the scalloped crest above a recessed, fan-carved frieze with the rectangular mirror plate below, flanked to either side by ring-turned, freestanding pilasters, h. 70”, w. 34‑3/4”. [1200/1800] 39 Pair of Louis Philippe Patinated Bronze TwoHandled Coupes, in the Gothic neoclassical style, second quarter 19th century, each mounted on a tall Siena marble pedestal base, h. 11”, w. 10‑1/2”. [600/900] 40 Pair of Signed Charles X Carcel Lamps, second quarter 19th century, the cylindrical plinth supporting a candlestick-form standard, topped with a pierced neck, all in patinated-bronze and decorated with contrasting castbronze ornament, h. 25‑1/2”. [400/700]

41 Louis-Philippe-Style Gilt Bronze and “Verte Antique de Grece Fonce” Marble Table Lamp, early 20th century, the tapering marble standard joined to an acanthine bowl on a tripodal base with paw feet, resting on a shaped marble plinth, electrified, h. 32‑3/4”. [400/700] 42 Continental Fold-Over Mahogany Games Table, fourth quarter 19th century, the flip-and-turn top mounted to a rectangular frame with applied molding along the lower edge, the front fitted with a drawer, raised on turned legs of Sheraton form, h. 30‑1/2”, w. 33‑1/2”, d. 16‑1/2”, ext. d. 31”. [300/500]

45 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 drawers below, raised on block feet, h. 59‑1/4”, w. 38‑1/2”, d. 16‑3/4”. [600/900] 46 Monumental Pair of Bronze Figural Andirons, late 19th century, each having a standing warrior at the top and the shaft with female figures, winged lions, putti and armorial motifs, h. 42”, w. 16”, d. 33”. Provenance: The Plimsoll Club, World Trade Center, New Orleans, Louisiana. [800/1200] 47 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] 48 Pair of Continental Mahogany and Marble-Top Pedestal Tables, late 19th century, each with a hexagonal top inset with a conforming brown marble surface, raised on circular supports joined by a concave hexagonal stretcher and terminating in a tripartite brass applied base, h. 30‑3/4”, dia. 19”. [400/700] 49 Louis Philippe Mahogany and Marble-Top Center Table, second quarter 19th century, the circular dished Carrara marble top above a conforming annulated frieze, raised on a bulbous standard to three splayed legs headed by foliate carving and ending in scrolled toes on casters, h. 29‑1/2”, dia. 39‑1/2”. [500/800] Illustrated

43 Louis-Phillipe Mahogany Day Bed, fourth quarter 19th century, having matching head and footboards with applied moldings and turned finials and joined by shaped rails with exaggerated wing returns, h. 39”, inside w. 37”, inside l. 72”, outside w. 42”, outside l. 77”. [300/500] 44 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”. [800/1200] Illustrated 49

50 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 lights, h. 25”, w. 8”. [500/800]

55 Continental Provincial Polychromed and ParcelGilt Looking Glass, second quarter 19th century, in the neoclassical taste, the rectangular plate surmounted by a domed and dentillated crest centered by a winged masque, flanked to either side by a flaming urn finial and an applied fruit-and-foliate pendant, h. 59‑1/2”, w. 41‑1/2”. [1000/1500] 56 Swedish School (Second Quarter 19th Century) “Portrait of Alfred Massanti Passe With a Book”, oil on canvas laid down on panel, unsigned, sitter is identified on an old paper label en verso, 14‑3/4” x 11‑3/4”. Presented in a period carved giltwood and plaster frame in the neoclassical taste. [400/700]

57 Continental Polychrome and Faux Marbre Console Table, mid‑19th century, in the neoclassical taste, the rectangular top with an inset faux marbre surface above a paneled frieze with applied gilt paterae, raised on a lyreform support to an ebonized molded base, h. 33‑1/2”, w. 26”, d. 10”. [600/900] Illustrated 58 Louis XVI-Style Argente Looking Glass, 20th century, the rectangular plate surmounted by a crest consisting of an oval plaque of a classical woman flanked by griffins and issuing a ribbon swag, within a ribbon-modeled frame and with ribbed urn-form pendants, h. 65”, w. 29‑1/2”. [1200/1800] Illustrated

51 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”. [300/500] 52 Pair of Neoclassical-Style Cast-Iron Garden Urns, ca. 1900, each with a circular ribbed lip above a tapered body with mask and foliate patterns, the waisted standard to a socle base, h. 29”, dia. 23”. [500/800] 53 Neoclassical-Style Polychrome Cast-Metal Urn, 20th century, the campana-form urn with a beadedand-gadroon-modeled lip, the waisted body with two applied handles, raised on a graduated concave square pedestals with palmetto designs to a molded base, h. 26”, dia. 15‑1/2”. [150/300] 54 Pair of Napoleon III Cast-Iron Chenets en Fonte, late 19th century, each modeled as a bust of Marianne, an allegory of Liberty and Reason and a National Emblem of France, each with a foundry mark “CF” set in an anvil, h. 8”, w. 4”, d. 19‑1/2”. [250/400]

59 Swedish School (Early 18th Century) “Estate and Garden Views”, suite of two hand-colored copper engravings, sight 9” x 17”, by Erik Dahlberg, 1698, Stockholm. Glazed, matted and handsomely framed en suite. [150/300] 60 Thirty-Five-Piece Arabia, Finland, White “Rice Grain” Porcelain Partial Coffee and Dessert Service, for twelve persons, comprised of twelve dessert plates, dia. 7‑1/2”, eleven after-dinner coffee cups, h. 3‑1/2”, and twelve coffee saucers en suite, dia. 4‑1/2”, all with the distinctive Arabia translucent “rice grain” patterning, all of the pieces with impressed marks underglaze. [150/300] 61 Good Danish Mahogany Settee, fourth quarter 18th century, in the Directoire style, of box form, the padded back joined to the like seat by out-swept slatted arms fitted with removable cushions, raised above a reeded apron on tapering square legs, accompanied by a pair of matching bolster pillows and four coordinating fabric throw pillows, h. 32”, w. 82”, d. 27”. [800/1200]

62 Continental Neoclassical Mahogany Commode, mid‑19th century, the rectangular quarter-veneered top with a decorative triple banding, above a conforming case fitted with a long frieze drawer, with decorative banding and scroll inlay, over two long drawers, with like banding and centered by a foliate urn medallion, raised on tapering square legs, h. 35”, w. 42”, d. 20”. [4500/7000] Illustrated 63 Northern European Neoclassical Giltwood and Polychromed Looking Glass, second quarter 20th century, the rectangular beveled plate surmounted by a swag-and-urn crest flanked to either side by griffins, within a molded and annulated frame and with a pendant foliate finial, h. 74”, w. 26”. [700/1000]

64 Pair of Swedish Neoclassical-Style Four-Light Girandoles, each with a prism finial above a central standard dressed with faceted bead swags to an oval tier issuing four electrified arms, the whole raised on a rectangular white marble base, h. 28”, w. 16‑1/2”. [700/1000] Illustrated 65 Continental Neoclassical Fruitwood Commode, second quarter 19th century, the rectangular top above a conforming case fitted with a single frieze drawer over three recessed long drawers, raised on ebonized paw feet, the whole with ormolu accents, h. 34”, w. 44‑1/2”, d. 19‑3/4”. [700/1000]

66 Biedermeier Satinwood and Pine Center Table, mid‑19th century, the tilting circular top with an inlaid central medallion radiating panels, raised on a paneled standard to three splayed legs to a concave tripartite base on ebonized blocks, h. 29‑1/2”, dia. 46”. [1800/2500] Illustrated previous page

67 Biedermeier Elm and Ebonized Center Table, mid‑19th century, the circular top with a sunburst pattern veneer and ebonized edge, raised on an ebonized columnar pedestal to a concave tripartite base, h. 29”, dia. 34”. [500/800] 68 Pair of Charles X Bronze Ewers, second quarter 19th century, the patinated-bronze bodies with tassel and grape decoration on the neck, and with a fluted lip and leaf-molded handles terminating in a mask of Bacchus, the square bases trimmed with dents-de-loup, h. 12‑1/2”, w. 5‑1/2”, d. 3‑1/2”. [1800/2500] 74

70 Biedermeier Burl Elm Desk, mid‑19th century, the rectangular top with an inset leather writing surface, flanked to either end by a small raised drawer surmounted by a three-quarter pierced brass gallery, above a case fitted with a central drawer flanked to either side by three small drawers, raised on tapering circular ribbed legs ending in bulbous ebonized feet on casters, h. 33”, w. 50”, d. 25”. [1500/2500] Illustrated 71 Pair of Louis XVI-Style Gilt-Brass and Patinated Three-Light Appliques, early 20th century, of torch form with a flame and urn at the top of the backplate and eagles perched at either side of lower backplate, the arms draped with prisms, h. 22”, w. 9”, d. 6‑1/2”. Provenance: The Plimsoll Club Ballroom, World Trade Center, New Orleans, Louisiana. [300/500] 72 Pair of Louis XVI-Style Gilt-Brass and Patinated Three-Light Appliques, early 20th century, of torch form with a flame and urn at the top of the backplate and eagles perched at either side of lower backplate, the arms draped with prisms, h. 22”, w. 9”, d. 6‑1/2”. Provenance: The Plimsoll Club Ballroom, World Trade Center, New Orleans, Louisiana. [300/500] 73 Biedermeier Fruitwood Armchair, mid‑19th century, the flared padded rectangular back surmounted by a rounded crest, joined by padded out-scrolled arms to the padded seat, raised on flared square legs, h. 30”. [800/1200]

69 English Egypto-Revival Brass Door Knocker, second quarter 19th century, the sphinx head upper portion holding a leaf-molded arm, terminating in a knocker plate molded with anthemia, h. 9‑1/4”, w. 2‑1/2”, d. 3‑1/4’. [100/200]

74 Biedermeier Mahogany Secretaire Abattant, mid‑19th century, the upper section with a molded bowfront cornice above a conforming single cupboard door, the lower section fitted with a frieze drawer with hinged front, over a drop-front opening to a central mirrored cupboard, in the form of a columned terrace, surrounded by various drawers, some with inlaid burl panels, the lower ones with string inlay to simulate masonry, over two long drawers, the whole raised on a plinth base, h. 78”, w. 42‑3/4”, d. 20”. [1800/2500] Illustrated

75 Continental Neoclassical Burl and Mahogany Center Table, the circular top with foliate-inlaid ebonized banding, raised on a paneled urn-form standard to a molded tripartite base, h. 48”, w. 31‑1/2”. [1500/2500]

80 Large Contemporary Continental Sterling SilverMounted Looking Glass in the Italian Baroque Taste, of shaped cenotaph form, the mirrored plate surrounded by a silver frame embossed with rocaille scrollwork on a lattice ground, all to a indigo velvet-covered wooden easel-support backing, h. 35‑1/4”, w. 25”. [1800/2500] Illustrated 81 Small Kuwaiti Silver Wall Mirror, of lobed circular form, decorated with elaborate radiant repousse lobes with flowers and arabesques, the reverse fitted with a circular plate, with a curb link suspension chain, dia. 7”. [100/200] 82 Five Miscellaneous Pieces of Continental Silver Flatware, a German 13 Lot (.812) “lancet” style tablespoon, ca. 1825 marked “Schmidt”, l. 8‑1/2”, French first standard (.950) bow-style sugar tongs, ca. 1885 monogrammed “BMR” l. 5‑1/4”, and three Dutch second standard (.833) pieces: a tea strainer, ca. 1900, by J.F. van Kempen & Zonen, l. 4‑3/4”, a Dutch mustard spoon, 1919, also van Kempen & Zonen, l. 4‑1/4, and a large tablespoon, 1939, Gerritsen & van Kempen, l. 9‑3/4”, 6.36 total t. oz. [150/300] 83 Set of Twelve Louis-Philippe Second Standard (.800) Silver Gilt Teaspoons, second quarter 19th century, by Eugene-Theodor Gillot, Paris, in a single struck rococo pattern with pointed bowl, monogrammed “WL”, l. 5‑3/4”, 7.23 total t. oz. [400/700] Illustrated

76 Unusual Biedermeier Elm Desk, mid‑19th century, the kidney-form top with a raised back edge above a conforming case fitted with a central frieze drawer flanked to either side by a small drawer, over an ormolu-applied panel, the sides each fitted with two drawers, raised on shaped legs joined by side stretchers, h. 33”, w. 48‑1/2”, d. 25‑1/4”. [1400/1800] 77 Pair of Large Pink Cipolin Three-Part Marble Pedestals, each with a circular turned base, cylindrical central standard and a turned circular platform top, h. 36”, dia. 20”. [700/1000] 78 Argentinian Rhodochrosite Vanity Box, of rectangular outline composed of plaques of rhodochrosite from large stalactites, the rosy-colored material with black and brown inclusions formed as a rectangular box with fitted lid, h. 1‑7/8”, d. 3”, l. 4‑1/2”. [250/400]

84 Pair of Continental Silverplate Fish Servers, fourth quarter 19th century, probably German, in the rococo style, including a fish-serving knife, l. 14‑1/2”, and fork, l. 10‑1/4”, each with a “King’s”-shape handle, the blades/ tines pierced with elaborate scrollwork. [100/200] 85 Napoleon III First Standard (.950) Silver Five-Piece Hors d’Oeuvres Serving Set, third quarter 19th century, by Hippolyte Thomas, in a rococo-threaded pattern, including a sugar sifter, l. 7‑1/4”, an olive/gherkin server, l. 7‑3/4”, a serving fork, l. 7‑1/2”, a pate server, l. 7‑3/4”, and a pastry spade, l. 12”, each piece monogrammed “”JB”, 11.18 total t. oz. (including filled handles) [200/400]

79 Large Continental Silverplate Lavabo Set, first quarter 20th century, in the rococo taste, the balusterform ewer decorated with chased spiral gadroons and rococo cartouches, with reed-and-ribbon and arched scroll handle, h. 18‑3/4”, dia. 7‑1/4”, the basin decorated en suite with applied acanthus scroll rim and raised on a molded foot-ring, h. 8”, dia. 19”. [300/500]

86 90 Mexican Sterling Silver Covered Sugar Bowl, third quarter 20th century, by Tane Orfebres, Mexico City, workman’s mark “A” in a triangle, in the Spanish Colonial taste, of octagonal form, with gadrooned banding and opposing double-scroll handles, the fitted, domed lid with gadroon-mounted melon-form finial, the whole raised on a conforming foot en suite, h. 6‑1/2”, w. 8‑3/4”, d. 6‑1/2”, 35.30 t. oz. [1200/1800] 91 Group of Three Belgian Machine Woven Tapestries, early 20th century, 4’1” x 6’, 3’ x 4’2” and 3’1” x 3’1”. [300/500] Illustrated 92 Oval Deco Chinese Carpet, 5’ x 8’. [200/400] 86 Danish Sterling Silver Punch Bowl, 1917, by A. Dragsted, Copenhagen, the squat pear-shaped bowl decorated with a wide band of repousse grapecluster and floral bouquets below a bead-and-bobbin molded rim, raised on a domed circular foot en suite, h. 5‑1/4”, dia. 11”, 35.43 t. oz. [1200/1800] Illustrated 87 French First Standard (.950) Silver Asparagus Tongs, first quarter 20th century, the maker’s mark rubbed but probably Tetard Freres, the bow style tongs in a “fiddle” pattern, monogrammed “RF”, l. 8‑1/4”, 8.80 t. oz. [500/800]

93 Semi-Antique Persian Mashad Carpet, 9’9” x 12’10”. [2000/4000] 94 Persian Afshar Carpet, 4’8” x 6’4”. [500/800] 95 Persian Serapi Carpet, 11’ x 14’. [5000/8000] Illustrated

88 Contemporary Italian Sterling Silver Calla Lily Vase, by Vibec, Milan, the tall, handcrafted vase sharply waisted and decorated with applied vertical band forming a stylized calla lily blossom, h. 18‑1/4”, dia. 5‑1/2”, 21.54 total t. oz. Vibec, also called V & B, is the partnership of husband and wife designers Antonia Viola and Liliana Becci. Formed in 1993, they feature a large line of sterling silver, silverplate and crystal for the home, all hand-crafted and featuring their sleek contemporary designs. Their showrooms are located at via Marco d’Agrate 33, Milan. [1800/2500] Illustrated

89 Georg Jensen (1866‑1935) Sterling Silver Bowl, model 197B, designed in 1919 by Georg Jensen, with the 1925‑1932 Jensen mark, Copenhagen, the bowl with an everted rim and raised on an open stem of stylized berries and a molded foot, h. 4‑1/2”, dia. 5‑7/8”, 9.96 t. oz. [1200/1800] Illustrated

96 Turkish Oushak Carpet, 10’ x 14’. [4000/7000] 97 Needlepoint Carpet, 9’4” x 13’5”. [2500/4000] 98 Persian Serapi Carpet, 6’8” x 8’. [1800/2500] 91

99 Persian Sultanabad Carpet, 10’ x 14’5”. [4000/7000] Illustrated 100 Turkish Oushak Carpet, 9’ x 12’. [3000/5000] 101 Persian Qashqai Carpet, 5’7” X 7’7”. [2000/4000]

109 Antique Oushak Carpet, 6’5” x 11’9”. [1500/2500] 110 Semi-Antique Sarouk Carpet, 9’ x 11’8”. [700/1000] 111 Lilahan Carpet, 9’ x 12’. [2000/4000] Illustrated 112 Turkish Oushak Carpet, 8’ x 10’. [2500/4000]

102 102 Turkish Oushak Carpet, 12’ x 18’. [6000/9000] Illustrated

113 Semi-Antique Sultanabad Carpet, 4’3” x 5’10”. [500/800]

103 Semi-Antique Kashan Carpet, 9’7” x 13’4”. [500/800]

114 Persian Heriz Carpet, 10’2” x 13’. [4500/7000] Illustrated

104

104 Agra Serapi Runner, 2’7” x 12’3”. [400/700] Illustrated 105 Tabriz Carpet, 9’ x 12’. [400/700] 106 Semi-Antique Persian Tabriz Carpet, 10’1” x 16’3”. [2500/4000] Illustrated 107 Antique Kilim Runner, 3’ 4” x 8’ 10”. [400/700] Illustrated 108 Peshawar Modern Carpet, 8’ x 10’. [1200/1800]

106

107

116 Regency-Style Giltwood Mantle Mirror, late 19th century, the tripartite rectangular plate surmounted by a molded cornice with drop ball finials over a latticepatterned frieze centered by a drapery-carved panel, flanked to either side by an acanthine cluster column, with a molded base, h. 28‑1/2”, w. 57”. [800/1200]

111 115 Regency-Style Mahogany Etagere, late 19th century, the molded cornice above two banks of four graduated shelves over two short drawers, all flanked by paneled shaped sides, the lower section fitted with two grilled cupboard doors raised on a plinth base, h. 74”, w. 53”, d. 16”. [2000/4000] Illustrated

115 117 Large Japanese Cast Bronze Figure of a Lion, by Genryusai Seiya Sei, Meiji Period (1868‑1911), the figure standing foursquare with head slightly thrown back with mouth open in a roar, the details realistically rendered and the patina dark brown, presented on a freeform wooden stand, h. 15‑1/2”, l. 26”. [3000/5000] Illustrated

117

114

118 Large Pair of Carved-and-Turned Black Marble Eagle Mask-Handled Covered Urns, in the Regency style, h. 18‑1/2”. [600/900] 119 Regency-Style Mahogany Sofa Table, late 19th century, the rectangular top with inlaid string banding and two rounded drop leaves, above a conforming frieze fitted with two drawers, raised on end supports joined by a stretcher and ending in splayed legs to brass caps and casters, h. 28”, d. 24‑1/2”, l. 39”, ext. l. 59”. [900/1200] Illustrated 120 William IV Mahogany Pedestal Sideboard, second quarter 19th century, the rectangular top with a paneled and foliate-scroll modeled backpiece and recessed center section, above a conforming frieze fitted with a central molded drawer flanked to either side by a short drawer, raised on two pedestals, each fitted with a single gadroon-carved door, one fitted with three pull-out shelves, the other with an open compartment over a deep drawer, raised on plinth bases, h. 45‑1/2”, w. 66”, d. 22”. [1500/2500] Illustrated

121 121 Luigi Chialiva (Swiss, 1842‑1914) “Boy Playing with Geese Along the Riverbank”, oil on canvas, signed lower right “L. Chialiva”, 20” x 31‑1/2”. Presented in a period giltwood frame. Provenance: Private collection, Mobile, Alabama. [3000/5000] Illustrated 122 Italian School (Late 19th/Early 20th Century) “View of Lake Garda with Cows and Peasant Women in the Foreground”, oil on canvas, 14” x 22‑1/4”, signed lower left “H. Karins”, stretcher inscribed “No. 48/H. Karins/ Lake of Garda”. Presented in a period giltwood frame. [1000/1500] Illustrated

119

123 Continental Faux Bois Bookcase-on-Cabinet, mid‑19th century, the molded cornice above two glazed doors, each with an overlaid Gothic pattern, the lower section fitted with a single long drawer above two likeglazed doors, each with a fabric screen, raised on bulbous feet, h. 89”, w. 43‑1/2”, d. 21”. [3000/5000] Illustrated

120

124 Regency-Style Mahogany Library Chair, the curved and padded rectangular back within a molded frame, joined by closed padded arms and turned bulbous uprights to the cushioned seat, raised on tapering turned circular legs ending in brass caps and casters, h. 39”. [1000/1500] Illustrated 125 Late Regency Walnut Parcel-Gilt MarbleTop Credenza, second quarter 19th century, the breakfront Carrara marble top above a conforming case fitted with four glazed cupboard doors, each with decorative carved banding and flanked to either side by a recessed ribbed and acanthinecarved pilaster, the whole raised on a plinth base, h. 35”, w, 92‑1/2”, d. 19‑1/2”. [1800/2500]

126 Eighteen Minton Service Plates, first quarter 20th century, decorated in rich black-and-gold borders on an ivory background, in the baroque taste, retailed by Rich & Fisher, 411 Fifth Avenue, New York, and signed: “Minton”, along with a decorators mark, h. 10‑3/8”. [1200/1800] Illustrated

122

123 124

126 127 Pair of Continental Bronze-Finished Spelter Figures of the “Horse Tamers”, fourth quarter 19th century, this pair is frequently referenced as the “Marly” horses after a pair made by Nicolas Coustou for Louis XVI at Marly-le-Roi, raised on ebonized wooden bases, h. 21‑1/2”, w. 11”, l. 19”. [600/900]

130 Regency Mahogany Tea Caddy, first quarter 19th century, of sarcophagus form, the raised top centered by a panel, the interior fitted with two lidded compartments and a central glass mixing bowl, with an acorn and oak leaf etched rim, the sides with finely modeled ring handles, raised on ormolu winged paw feet, h. 8”, w. 13‑3/4”, d. 7”. [700/1000] Illustrated

128

131 Two Similar Amboyna Burlwood and Brass-Inlaid Glove Boxes, early 20th century, one with a shaped and chased inset brass plate on the lid, h. 3‑1/2”, w. 13”. d. 4‑1/4”, the other with a brass plate and string-inlaid borders with brass framing along the lid edge, h. 3‑1/2”, w. 13”, d. 4”, both with padded and tufted interiors and each retaining their locking keys. [200/400]

135

130

128 Regency Rosewood and String-Inlaid Drop-Leaf Sofa Table, first quarter 19th century, the top with two short drop leaves and an inlaid satinwood border, the front side fitted with two drawers, each trimmed with a beaded brass edging, mounted to a turned standard with four outstretched legs ending in brass toes with casters, h. 28‑1/2”, w. 35”, d. 28”, ext. w. 55”. [1500/2500] Illustrated 134 129 Late Regency Mahogany Pembroke Table, second quarter 19th century, the rectangular top with two rounded drop leaves, above a frieze fitted with a single end drawer and a faux end drawer, raised on four turned supports to a rectangular base, to four splayed legs ending in brass caps and casters, h. 28‑1/4”, w. 43‑5/8”, d. 22‑1/2”, extended l. 42‑7/8”. Provenance: Godolphin House, Helston, Cornwall, England. [800/1200]

132 Rosewood and Mother-of-Pearl Inlaid Tea Box, second quarter 19th century, the lid having a floral mother-of-pearl inlaid border surrounding the silver inlaid word “TEA” in the center, the interior with two divided compartments, each with a wooden lid, h. 4‑1/2”, w. 8”, d. 4”. [100/200]

144

133 Regency Rosewood Tea Caddy, second quarter 19th century, the interior with two removable boxes, each with hinged lids and separated by a shelved compartment in the middle, h. 6”, w. 12”, d. 6”. [150/300] 134 Suite of Eight Regency-Style Mahogany Dining Chairs, consisting of one armchair and seven sidechairs, each with a brass foliate-inlaid crest above a like-inlaid paneled splat, the padded seat raised on sabre legs, h, 32”. [1800/2500] Illustrated 135 Pair of Polychrome Cast-Metal Whippets, both alert and seated on a plinth, h. 29”, w. 10”, d. 10”. [1000/1500] Illustrated

151

138 Regency Mahogany Double Pedestal Dining Table, second quarter 19th century, each section having a tilting apparatus for the top, the turned pedestals with four down-curved legs fitted with brass casters and stamped lion masks, accompanied by a nineteen inch leaf, h. 28”, w. 50”, l. 76”, ext. l. 95”. [700/1000] 139 Regency Mahogany Drop-Leaf Table, first quarter 19th century, the rectangular top with two rounded leaves, above a frieze fitted with a single end drawer and a faux drawer to the other end, each flanked by reeded panels and with pendant end finials, raised on a heavily turned standard to four splayed legs ending in brass caps on casters, h. 29”, w. 35‑1/2”, d, 20‑1/4”, extended l. 40‑3/4”. [700/1000] 140 Regency-Style Burl Maple Cocktail Table, early 20th century, the highly figured rounded rectangular top above a single frieze drawer flanked to either side by gilt scrolling patterns, raised on end supports to gilt paw feet, h. 20”, w. 36”, d. 17‑1/2”. [400/700] 141 Italian School (First Quarter 19th Century) “Monkeys”, pair of hand-colored copper engravings, sight 13” x 9”, by Jacobs, 1812, Milano. Matted and framed en suite. [100/200]

136 Continental School (First Quarter 20th Century) “Scandinavian Harbor Town”, oil on canvas, signed lower right “Anker”, 11” x 16‑5/8”. Glazed and presented in a oak frame. [200/400] 137 Regency-Style Cherry and Rosewood Banded Double Pedestal Dining Table, by Baker Furniture Company, mid‑20th century, the top with string-inlaid and banded edge, mounted to a pair of pedestals with turned and reeded standards and four outstretched reeded legs ending in brass toes with casters, one additional 18” leaf present, h. 29‑1/2”, d. 47”, l. 68‑1/2”, ext. l. 86‑1/2”. [800/1200]

142 OPEN LOT 143 George IV Painted Fore-Edge Binding, James Ferguson (1769‑1842), ed., British Essayists, “The Rambler”, vol. III (London: Richardson & Co., et al., 1823), second edition, pott octavo, in black full goatskin, the boards with blind- and gilt-tooled banding, the spine with raised bands and gilt-tooled lettering, ruling and decorative panels, the fully gilt edges with fore-edge painting of Bodiam Castle, 6‑1/2” x 4”. [200/400] 144 Rose Medallion Oval Serving Tray, early 20th century, the interior with panels depicting floral sprays with birds and butterflies, w. 11”, l. 17”. [400/700] Illustrated

145 Tall Rose Medallion Vase, late 19th century, the sides depicting a scholar and pupils framed within a gold-leaf Greek key border, h. 15‑1/4”. [200/400]

153 Japanese Carved Ivory Okimono, 20th century, carved as a standing figure of a gardener wearing an informal kimono and holding a staff in one hand and a stem of flowers in the other, signed under base, h. 6‑1/2”. [450/700]

146 Chinese Export Porcelain Covered Soup Dish, 19th century, of oval outline with conforming cover, decorated in famille rose enamels in the rose medallion pattern, l. 5‑1/4”. [250/400]

154 Japanese Carved Ivory Okimono, Meiji Period (1868‑1912), carved as the standing figure of a peasant farmer harvesting rice holding a sheaf of grain with another at his feet, signed in red lacquer in the base, h. 5‑1/2”. [450/700]

147 Chinese Export Porcelain Oval Serving Platter, 19th century, decorated in the rose medallion pattern with a central scene of figures in a pavilion courtyard bordered on the rim by a band of flowers, fruit, birds and cash symbols, l. 12”. [200/400]

163

148 Rose Medallion Fifteen Piece Tea Set, in the traditional “Mandarin’s Garden” pattern, consisting of a cylindrical tea pot, h. 6”, four cups, six saucers, and four small plates. [150/300] 149 Rose Medallion Covered Jar, 19th century, the side panels and lid depicting various interior scenes, h. 4‑3/4”. [50/80] 150 Chinese Export Porcelain Leaf-Shaped Condiment Dish, 19th century, of leaf form with indented stem for a condiment fork, decorated in famille rose enamels in the rose medallion pattern, l. 7”. [125/250] 151 Chinese Export Porcelain Handled Mug, 18th century, of barrel shape with strap handle, decorated in the mandarin pattern with a large reserve panel of figures in a garden landscape and a smaller reserve panel of birds among flowers, h. 5”. [800/1200] Illustrated previous page 152 Japanese Carved Ivory Okimono, first half 20th century, carved as the standing figure clad in a short kimono with a child at his feet, both figures holding bamboo staffs, the engraved details stained brown, signed under base, h. 7‑3/8”. [600/900]

156 155 African Carved Ivory Tusk, 20th century, the curved tusk carved as eight elephants joined tail-to-trunk marching into the open mouth of an African crocodile, l. 29”. [700/1000] 156 Chinese Carved-and-Stained Section of Ivory, 20th century, the section of a mammoth tusk carved in high relief as the Happy Buddha with attendants among clouds, wood presentation stand, l. 9”. [600/900] Illustrated

162 Chinese Powder Blue-and-Gilt Baluster Vase, late 19th century, the baluster form body with a blown cobalt blue ground with overglaze gilt decoration of two shaped reserve panels of ladies against a ground of circular mons and characters, a ruyi border at the lip rim and a lappet border at the base, the base with a double circle mark in underglaze blue, h. 9‑3/4”. [400/700] 163 Large Chinese Cloisonne Covered Incense Burner, 20th century, the tubular body raised on three lion-head feet, with stylized fretwork handles and a domed cover with foo-dog finial, decorated in polychrome enamels with archaic designs on a scrolling foliate ground and with gilded highlights, the front with a six-character Qianlong reign mark in a horizontal plaque, h. 48”, w. 28”. [800/1200] Illustrated

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157 Chinese Carved and Polychromed Section of Ivory, 20th century, the section of a mammoth tusk carved in high relief as a group of six horses racing through a landscape with plants, wood presentation stand, l. 9‑1/2”. [500/800] 158 Japanese Katana, 20th century, the blade with WWII mounts, the scabbard having a textured surface and retaining its original mounts, l. 39”. [500/800] 159 Japanese Katana, 20th century, blade with WWII mounts, illegible signature, having a raised skin scabbard, all original mounts present, l. 38”. [500/800]

164 Unusual Chinese Porcelain Glazed and Gilded Stem Bowl, Republic Period (1908‑1949), the slightly flared bowl above a tapered cylindrical base, glazed all over in a kingfisher blue glaze and gilt decoration in the interior of the bowl with the Three Friends of Winter surrounded by scrolling ling-chih, the exterior of the bowl also decorated with the Three Friends of Winter and a border of stylized lotus on the supporting base, the interior of the base with a six-character Chenghua reign mark in underglaze blue, h. 4‑1/8”, dia. 5‑1/2”. [600/900]

165 Fine, Brilliant Chinese Cloisonne Incense Burner, Qianlong mark and period (1736‑1795), the bulbous body supported on three cabriole legs and having two strap handles, each with a rectangular opening, the fitted domed cover with three ruyi-shaped enameled plaques separated by pierced cloud ground with engraved and gilded details and topped by an elaborate gilded finial in the shape of a coiled five-clawed figure of a dragon among clouds, the body enameled in pink, red, blue, green and white enamels with lotus blossoms and scrolling foliage on a blue ground and bordered at the top by a band of ruyi heads, the base with a square gilded plaque with an engraved fourcharacter Qianlong reign mark, h. 11‑5/8”. [8000/12000] Illustrated

160 Pair of Chinese Glazed Porcelain Bottle Vases, now made into lamps, the pear-shaped vases with molded relief dragons at the neck, the blue glazed bodies decorated in polychrome enamels with dragons and flowers, h. 23”. [500/800] 161 Two Chinese Cloisonne Export Tea Pots, 19th/20th century, the smaller of conventional form, the larger in a melon form, each decorated in polychrome enamels, the smaller with flowers on a black ground, the larger with flowers and butterflies on solid color and goldstone grounds, l. 5” to 6”. [300/500]

165 detail

168

166 169 167

167

169 Chinese Carved and Polychromed Ivory Religious Group, 20th century, carved with a central figure of an eight armed female deity holding religious symbols in each hand in front of an elaborate flaming mandorla and standing on a double lotus base rising from elaborate cresting and foaming waves, fitted wooden base, h. 9‑3/4”, including base. [1500/2500] Illustrated 170 Chinese Carved and Polychromed Figure of an Empress, 20th century, the standing figure in court robes with an elaborate hairdo holding a phoenix bird on one arm and standing next to a model of a pagoda, h. 12‑1/8”. [1200/1800] Illustrated

166 Elaborate Chinese Carved and Polychromed Ivory Group, 20th century, carved as the Queen of the West carrying a tray of fruit and flowers attended by an acolyte carrying a peach and two cranes, the figures above cresting waves spewed by a dragon with a rocky crest and pine trees, fitted wooden base, h. 12”, including stand. [1500/2500] Illustrated 167 Pair of Chinese Carved and Polychromed Ivory Figures of Generals, 20th century, each figure carved in intricate detail, dressed in armor, standing on figures of lions, one figure carrying a sword, the other carrying a banner, fitted wooden bases, h. 8‑1/2”, including stand. [1200/1800] Illustrated

168 Elaborate Chinese Polychromed Ivory Votive Shrine of the Bodhisattva Guanyin, 20th century, elaborately carved as the goddess seated on an elephant on a cloud base, the figure of Guanyin surrounded by a flaming mandorla topped by a deep umbrella with the Flaming Pearl and Buddhistic lions, the goddess surrounded by two attendants and two asparas in flight, wooden base, h. 19‑3/4”, including base. [2500/4000] Illustrated

171

171 Chinese Carved Ivory Group, 20th century, carved as the figure of Shou Lao holding a child and peach in his lap, seated in a rickshaw being drawn by a magical deer, wooden base, l. 9‑3/8”. [1200/1800] Illustrated

170

172 Chinese Carved Ivory Tusk in the Form of Guanyin, 20th century, the carved figure of the goddess following the slight curve of the tusk, the figure clad in draped robes and Buddhist tiara carrying a basket of flowers and a willow branch and accompanied by a phoenix bird at her feet, signed on the underside, h. 22‑3/4”, including stand. [4000/7000] Illustrated

177 175

178

179

176 174

173 Pair of Chinese Carved Ivory Figures of LongTailed Birds, 20th century, each depicting a long-tailed crested bird perched on a skeletal tree and having a dove at the base, wooden stands, h. 11‑1/2”, including stand. [1500/2500] Illustrated

172

174 Chinese Carved Ivory Vase and Flowers, 20th century, carved as a tall bottle vase with hexagonal neck and lip rim holding a gnarled peony stem with clusters of peony flowers and foliage and having a calligraphic inscription at the vase’s neck, wooden stand, h. 12‑5/8”, including stand. [1200/1800] Illustrated

173

175 Chinese Carved Ivory Figure of a Maiden, 20th century, carved as an elegant body with a phoenix headdress clad in flowing informal robe with pendant sashes, peony sprays and holding a pomegranate sack on a handled tray, the figure standing on an octagonal base and decorated with gemstone cabochons, h. 23”. [3000/5000] Illustrated 176 Elaborate Pair of Chinese Carved Ivory Covered Vases, 20th century, each of bulbous shape on splayed feet with tubular necks and domed covers, the bodies carved in low relief with archaic symbols and dragons and each having four lion heads with loose ring handles, the domed covers carved as writhing dragons pursuing Flaming Pearls, wooden stands, h. 14”, including stand. [2000/4000] Illustrated 177 Fine Chinese Carved Ivory Covered Hu Vase and Stand, mid‑20th century, carved as an archaic Hu vase with elephant head handles and loose rings on the upper body, the body carved all over with tao tieh masks and stylized dragons with inlaid cabochons of turquoise, coral, lapis lazuli and tiger’s eye quartz, the conforming cover with a stupa finial and lion handles, the archaic dragon handles attached to ivory chains and a suspension bar in the form of two dragons, fitted wooden display stand, h. 25‑1/2”, including stand. [2000/4000] Illustrated

178 Intricate Chinese Ivory Vertical Scene, 20th century, carved as a gnarled prunus tree beginning to flower and having a bird cage and bird suspended at its top, the base carved as a rocky outcrop with two ladies admiring the flowering tree, fitted wooden base, h. 18”, including stand. [2500/4000] Illustrated previous page

183 Superb, Rare Chinese Hanging Yunjin Brocade Cushion Cover, 17th/18th century, the yellow silk ground finely woven with multi-colored silk threads having a central rondelle of interlocking clouds centered with a Ming-style Imperial dragon with horns, flowing mane, scaly body, feathered tail and five-clawed limbs presented full face and pursuing the Flaming Pearl, the central rondelle flanked at the four corners with four additional Imperial dragons all chasing Flaming Pearls among clouds with bats and a twin fish symbol, the edges bordered with rocky mountains rising from rolling and cresting waves, w. 53”, l. 61”. Nanjing Yunjin silk “Cloud Brocade” is as “soft and lovely as the clouds”. This ancient fabric manufacture dates back to the Three Kingdoms period (317‑420 AD) and is still only made on antique wooden looms as modern looms cannot duplicate the complexity of the weaving of this brocade. Highly prized throughout its history, it was only produced by the Imperial textile factories in Nanjing until the late Qing dynasty. Yunjin was produced on large wooden looms that required two workers, the “thread puller” who sits at the top of the loom and is in charge of lifting the correct knots and the “weaver” who is at the lower part of the loom and twines the pattern and weaves the material into brocade. Two skilled workers were able to produce four to five centimeters of brocade per day. To complete an Imperial robe, it would take two years. Due to the quality of Yunjin, it was often used as a tribute to the emperor. On September 30, 2009, UNESCO listed Nanjing Yunjin brocade as a piece of “Intangible Cultural Heritage of Humanity”. [20000/40000] Illustrated

179 Chinese Carved Ivory Figure of the Bodhisat.tva Guanyin, 20th century, the goddess depicted in the lotus position seated on a double lotus base with an elaborate coif and tiara, loose robes with jeweled necklace and ribboned scarf and holding a model of a storied pagoda with both hands, wooden base, h. 13‑3/4”, including base. [1500/2500] Illustrated previous page 180 Pair of Chinese Carved Ivory Buddhistic Lions, 20th century, depicting male and female lions with ball and cub standing on draped plinth bases with open mouths, signed on underside, carved wooden bases, h. 7‑5/8”, including stands. [1000/1500] 181 Chinese Carved Ivory Votive Figure of Guanyin, 20th century, the goddess seated on a double lotus base in loose robes and cowl over a high hairdo with both hands clasped in prayer, carved wooden base, h. 6‑7/8”, including stand. [300/500] 182 Chinese Carved Ivory Figure of a Maid Attendant, 20th century, the standing figure clad in informal robes with ribboned sashes and holding a fan at the ready, wood stand, h. 7”. [300/500]

183 detail

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184

185

184 184 Rare Chinese Embroidery Book of Figures of Louhan, 18th century, the folio with boards covered in silk brocade, the interior consisting of sixteen superbly embroidered depictions of Louhan, their attendants and attributes all embroidered on silk grounds and matted in silk-covered stiff paper, the quality and fineness of the embroidery using fine silk floss exhibits a degree of artistry and talent seldom seen, each detail, no matter how small, executed with perfection and artistry, h. 15”, w. 11‑7/8”. [8000/12000] Illustrated 185 Rare Chinese Woven and Embroidered Lady’s Imperial Dragon Robe, Ch’i-fu, 18th century, the yellow silk ground with original peach-colored brocade silk lining embroidered with nine Imperial dragons in gold thread and woven with the twelve symbols and clouds and a mountain rising from the waves, symbolizing the ancient belief that China arose from the water surrounded by the oceans, all above a lower border at the hem of diagonal bands, the layout and symbols incorporated into this robe follow the precepts for an Imperial lady, possibly an empress, the robe is completed and awaiting the final fitting for the recipient of the addition of sleeves, collar and buttons, l. 52‑1/2”. [7000/10000] Illustrated

185 verso

187 Good William and Mary Inlaid -nd Banded-Circassion Walnut High Chest, early 18th century, the upper case with overhanging molded edge above a row of three side-by-side drawers and three graduated long drawers, the base with two central in-curved drawers flanked by another larger drawer to each side and supported by trumpet-turned legs joined by stretchers, h. 66”, w. 41‑1/2”, d. 22”. [2000/4000] Illustrated 188 George III Gilt Paper Scrollwork Picture in the “Tree of Life” Pattern, first quarter 19th century, the basket with an engraved face of Jesus Christ at the center and trimmed in red and blue, retaining its original giltwood frame, marbleized back cover and ring holder, h. 9‑3/4”, w. 13”. [150/300] 189 English Oak Desk, early 20th century, in the Elizabethan taste, the rectangular top with an inlaid leather surface above a frieze fitted with a central drawer over kneehole, flanked to either side by a small drawer over a deeper drawer, all with carved scrolling foliate patterns, raised on ribbed cup and cover legs joined by box form stretchers and ending in block feet, h. 29”, w. 57” d. 32”. [600/900]

186 186 Fine Chinese Silk Kesi Panel of Fu-Shou-Lu, 18th/19th century, of rectangular outline, superbly woven depicting the three star gods of good fortune or happiness, the three gods depicted in brocade robes with their attributes, an attendant holding a vase of flowers and a child, the gods pictured in a mountainous grove beneath a pine tree with a fruiting and flowering peach tree, bamboo and flowers along with a deer holding a spray of ling-chih in its mouth, the foreground with a pair of red-capped cranes standing on rocks among flowering peonies, asters, bamboo and ling-chih, the weaving of superior quality and bordered in a cloud brocade and backed in yellow floral brocade, h. 84‑3/4”, w. 38‑5/8”. [15000/25000] Illustrated

187

190 Caroleon-Style Mahogany Armchair, late 19th century, the shaped crest centered by a crown carving flanked by scrolls and finials, the bisected caned back flanked by barley-twist uprights and joined to the cushioned and caned seat by downswept arms, raised on saber legs joined by a scroll-and-crown front stretcher, h. 45‑3/4”. [250/400]

193 Queen Anne Circassion Walnut Dressing Table, 18th century, the shaped top with banded edge and inlaid border, the front with a single long drawer above a scalloped knee hole flanked by two small drawers, having chased brass bail handles and raised on cabriole legs, h. 30”, w. 33”, d. 20‑1/2”. [1200/1800] Illustrated 194 Queen Anne Figured Walnut Dressing Table, 18th century, the shaped top with highly figured veneer, above a conforming long drawer and smaller drawer below, raised on slender cabriole legs ending in ball and claw feet, h. 29‑1/2”, w. 30”, d. 18‑1/2”. [1500/2500] Illustrated 195 Gustave Jean-Louis Mohler (French, 1836‑1920) “Fruit Still Life in a Basket”, oil on canvas, signed lower right “G. Mohler”, 14‑1/2” x 18”. Presented in a giltwood frame. [1000/1500] Illustrated 191

196 Continental School (Fourth 20th Century) “Floral Still Life in a Glass Vase”, oil on panel, unsigned, 8” x 9‑1/2”. Framed. [150/300] 197 Continental School (First Quarter 20th Century) “An Abundant Fruit Still Life”, oil on canvas, signed lower right “M. Melmat”, 27” x 40”. Presented in a pierced and molded giltwood frame. [500/800] 198 Ira Monte (Spanish, b. 1918) “Still Life with a Glazed Covered Jar and a Platter of Oranges”, oil on canvas, signed lower right “Ira Monte”, 24‑1/4” x 30‑1/4”. Handsomely framed. [1000/1500]

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199 Georgian Carved and Parcel-Gilt Mahogany Scrolled Looking Glass, third quarter 18th century, the cresting centered with a diminutive carved giltwood basket of flowers, the inner edge with a narrow carved giltwood filet, h. 35”, w. 19‑1/4”. [200/400]

191 George III Circassion Burl Walnut Inlaid Chest of Drawers, late 18th century, the molded top with quarter book-matched veneers and banded inlaid border above two side-by-side drawers and three graduated long drawers below, raised on bracket feet, h. 36”, w. 40”, d. 21‑1/2”. [1500/2500] Illustrated 192 Two English Victorian Staffordshire Figures Mounted as Lamps, mid‑19th century and later, the female depicted holding a black-and-white spaniel in one arm and a bird on her opposite finger, the bearded gentleman with one arm resting on a column and holding a book and the other cocked, relief-molded “Moody” on the base, h. 27‑3/4”. [600/900]

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200 George III-Style Oak Games Table, third quarter 19th century, the rectangular top hinged and opening to a gaming surface, raised on chamfered square legs, h. 28‑7/8”, w. 35”, d. 17”, open 34”. [400/700] 201 George III Quarter-Sawn Oak and Tiger Maple Tall Case Clock, fourth quarter 18th century, the hood with a broken arch swan’s neck pediment and brass rosettes, the central case with a shaped door and fluted quarter columns, fitted with a period French time and strike movement, signed “Lemauriel a’ Moncontour”, h. 87”, w. 19”, d. 10”. [700/1000]

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204 Attractive Worcester Blue and White Porcelain Teacup and Deep Saucer, ca. 1800, in “Abacus” decor, the base of the generous saucer with a hollow crescent in underglaze blue, overall h. 2‑3/4” . [50/100] 205 Colonial Revival Cherrywood Drop-Leaf Dining Table, in the William and Mary taste, second half 20th century, bench made after the period style by noted Natchez cabinetmaker William M. Simonton, the top flanked by drop leaves of demi-lune form, the leaves supported by fly legs, the base crafted of turned legs joined by box stretchers, h. 30”, w. 65”, l. 29”, extended l. 79”. [600/900]

203 202 British School (20th Century) “Kitchen Scene with Arrival of a Visitor”, print with oil, laid on canvas, unsigned, 13” x 17”. Presented in an ebonized and parcel-gilt frame. [300/500] 203 English Oak Secretary Bookcase, mid‑19th century, in the George III style, the molded cornice above a grapevine-carved frieze, with two astragal-glazed doors below, each door with a lower vine-carved panel and like-carved banding, the lower section fitted with a slant front opening to a variety of drawers and cubbyholes, flanking a central cupboard, over three short drawers and three graduated long drawers, raised on bracket feet, the lower section carved en suite, h. 92‑1/2”, w. 42”, d. 21”. [2000/4000] Illustrated

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210 Georgian Needlework Picture, first quarter 19th century, the biblical figure of a man with painted face, hands and feet sitting at the water’s edge while two turtle doves bring him offerings, mounted in a period covemolded giltwood frame, h. 16”, w. 14”. [150/300]

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211 Pair of Brass English Candlesticks, second quarter 19th century, corecast with push-ups, the central stem decorated with barrel-form turnings, on a raised rectangular base, h. 6‑1/2”. [100/200]

214

212 Set of Four Chinese Famille Rose Reticulated Armorial Dessert Plates, ca. 1780, centered with the arms of Grierson Mott’s with a floral swag border at the edge of the well and a reticulated rim with a floral scrollwork band at the lip rim, dia. 7‑1/2”. [800/1200] 213 Pair of Chinese Famille Rose Export Porcelain Covered Vegetable Dishes, 18th century, each of canted rectangular outline with low domed covers and with a pierced fruit-form finial, the dishes and covers each decorated with an armorial device and motto, l. 11”. [1800/2500] Illustrated 214 Chinese Famille Rose Export Porcelain Plate, 18th century, decorated with a central armorial device in an elaborate Baroque-style setting and bordered in the well by a gilt-chain border and on the rim with floral sprays, dia. 9‑1/8”. [400/700] Illustrated

206 George III Oak Slant Lid Desk, third quarter 18th century, the dovetailed case with a fold-down writing deck, the interior fitted with two banks of four drawers each and a central open cubby, the lower case with three long drawers, raised on bracket feet, h. 43‑1/2”, w. 41”, d. 22”. [600/900] Illustrated previous page

215 Chinese Export Porcelain Monogrammed Helmet Jug, 18th century, of conventional shape, decorated in overglaze enamels with a band of landscape and naturalistic reserve panels bordered in blue and gilding and a monogram plaque on the front, h. 5‑1/4”. [250/400]

207 Good Pair of Patinated Metal and Cut-Glass Carriage Lanterns, fourth quarter 19th century, each retaining their original beveled and cut-glass windows, now electrified, h. 32”, w. 9”, d. 11”. [500/800] 208 Queen Anne-Style Mahogany Stool, ca. 1800, the inset padded rectangular seat above the plain frieze, raised on cabriole legs ending in pad feet, h. 19”, w. 21”, d. 16‑1/2”. [800/1200] Illustrated 209 Painted Late Victorian Pine Fireplace Surround, late 19th century, the mantel shelf with molded edge over a fluted face with painted brackets, two legs with molded edges to emulate panels, h. 50‑1/2”, w. 56”, d. 8‑3/4”, firebox w. 36”. [200/400]

208

219 216 Chinese Export Porcelain Handled Mug, 18th century, of bombe form with strap handle and ruyi terminal, the body decorated with a continuous scene of two ladies in a garden setting beneath a stylized European border at the lip rim, h. 6‑1/4”. [700/1000] 217 Queen Anne-Style Lacquered and Polychrome Side Table, 19th century, in the chinoiserie taste, the rectangular top with an elaborate polychrome and gilt figural landscape in the Orientalist taste, above a conforming paneled frieze over an ogee-molded apron, raised on cabriole legs, the whole richly accented with polychrome floral and geometric patterns, h. 32”, w. 44”, d. 19‑1/2”. [1400/1800] Illustrated

220 Hepplewhite-Style Stenciled Mahogany Triple Section Dining Table, second quarter 20th century, consisting of two “D” end sections and a central swing leg drop leaf table, each with stenciled borders and legs, "D" ends, h. 29", w. 43", d. 22"; dropleaf, h. 29", w. 24" (66" open), d. 43". [700/1000]

218

218 Regency Ebonized Papier Mache Tray, first quarter 19th century, the rounded rectangular tray with a full raised edge and with an elaborate gilt landscape scene in the chinoiserie taste, raised on a like decorated stand on cabriole legs ending in pad feet, h. 31”, w. 29‑1/2”, d. 22‑1/2”. [2500/4000] Illustrated 219 Pair of George III-Style Giltwood Mirrors in the Chinese Chippendale Taste, each with a shaped rectangular plate surmounted by a pagoda-form crest, surrounded by a molded and annulated frame with applied foliate branch designs and with a pierced pendant centered by a swan, h. 62”, w. 34”. [4500/7000] Illustrated

217

224 Painted Georgian Chest Decorated in the Japanese Taste, fourth quarter 18th century, the lid and sides painted with butterflies, melons and flowers contained in a painted border of bamboo and blossoms, the front depicting a couple being entertained by a man holding a snake, the sides mounted with period rosette and bail pulls and the interior lined with old wallpaper, h. 13”, w. 16‑1/2”, d. 12‑1/2”. [1000/1500] Illustrated

221

224

225 George III Mahogany Chest on Chest, late 18th century, the top with a Greek Key form dentillated molding above a blind fretwork frieze, the upper case fitted with three side-by-side drawers over three graduated long drawers and having canted corners with blind fretwork, the base with three long drawers and raised on bracket feet, h. 74”, w. 42”, d. 21”. [2000/4000] Illustrated

226 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”. [600/900] 227 Complete Works of William Shakespeare, the “Handy Stratford” edition (Philadelphia: David McKay, n.d. [ca. 1900]), twelve volumes (of thirteen, lacking vol. XII), crown sextodecimo, in flexible red cloth, with gilded top edge, embossed cover and gilt-stamped titles on the spine, 5‑1/4” x 3‑1/4”. [100/200]

221 George III-Style Ebonized Partner’s Desk, mid‑19th century, in the chinoiserie taste, the rectangular top with an inset leather surface, above a frieze fitted with three drawers to either side, raised on two pedestals, each fitted with three small graduated drawers to one side and a paneled cupboard door to the other, raised on bracket feet, the whole with gilt and polychrome accents of figural landscapes in the Orientalist taste, h. 29”, w. 60”, d. 38‑1/2”. [3500/5000] Illustrated 222 Pair of Queen Anne-Style Polychrome Looking Glasses, in the chinoiserie taste, each with a beveled shaped and domed rectangular plate within a molded frame with various painted accents in the Oriental taste, h. 48”, w. 20‑1/2”. [300/500] 223 Pair of George III-Style Mahogany Gainsborough Chairs, late 19th century, each with a broad padded rectangular back joined by padded arms and curved uprights to the padded seat, raised on chamfered square legs joined by an H-form stretcher, h. 39”. [2000/4000]

225

228 Eleven Volumes of Early 19th Century English Ladies’ Magazines with Hand-Colored Fashion Plates, including two volumes of the Lady’s Magazine (London: G. Robinson), vols. XXXVI (1805) and XL (1809), with a total of twenty four plates, in brown half leather with marbleized boards, the spine with red panel and gilt lettering and decoration, 8‑3/4” x 9‑1/2”, two volumes of the Improved Lady’s Magazine (London: J. Robinson & succ.), vols. III and IV (1831), with a total of twenty plates, including a large fold-out plate, in brown half leather with marbleized boards, the spines with gilt lettering and decoration, 8‑3/4” x 9‑1/2”, and seven volumes of the Lady’s Magazine and Museum (London: J. Page, later Dobbs & Co.), volumes II through V (1833‑1834) and X through XII (Jul 1837-Jun 1838), with a total of one hundred and seven plates, in brown half leather with marbleized boards, the spines with gilt lettering and decoration, 10” x 6”. [100/200]

236

231 Bench-Made Adam’sStyle Mahogany Sideboard, early 20th century, the thick top with foliate-carved leading edge above a row of four drawers separated by a central carved urn and oval paterae, raised on tall tapering legs with carved bell flowers, h. 36”, d. 18‑1/2”, l. 83”. [800/1200]

234

232 Pair of George III-Style Mahogany and Parcel-Gilt Looking Glasses, each with a beveled rectangular plate surmounted by a broken scrolling pediment centered by an eagle finial, within a shaped frame with gilt banding and applied side floral garlands, h. 52”, w. 25”. [800/1200] 233 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”. [500/800]

229 Francis Bacon, First Viscount St. Albans (1561‑1626) First Edition, Historie of the Raigne of King Henry the Seventh (London: W. Stansby for Mathew Lownes and William Barret, 1622), first edition, second issue [STC 1160], folio, with engraved frontispiece of Henry VII, “John Payne, sculpsit”, in later full brown calf with tooled banding, the spine with raised bands, red title panel and gilt lettering, ruling and paterae, 11” x 7‑1/2”. This edition corresponds most closely with Pollard & Redgrave’s Short Title Catalogue number 1160, with four uncorrected errata and later variant quires noted, but corresponds to the first issue STC number 1159 in that it has “Souldiers” (not “Souldiours”) on page 3, line 12, The STC notes, however, that “some sheets in [1159 and 1160] may be mixed.” Ref: A. W. Pollard and G. R. Redgrave, Short-Title Catalogue of Books Printed in England, Scotland and Ireland, 1475‑1640 (London: Bibliographical Society, 1986), second rev. ed. by W. A. JAckson et al., vol 1, p. 54. [200/400] 230 George III-Style Mahogany Desk, early 20th century, the rectangular top with an inset gilt-tooled leather writing surface and a recessed center section to both sides, above a conforming frieze fitted with a central drawer and flanked to either side by a bank of four short graduated drawers, the rear fitted with two cupboard doors, raised on plinth bases, h. 29”, w. 51”, d. 29‑1/2”. [1000/1500]

234 Elliott, London Mahogany Tall Case Clock in the George III-Style, fourth quarter 19th century, the hood with a broken arched pediment and three turned urnform finials, the body with fluted quarter columns and raised on paw feet, the triple train movement featuring time, strike and spring chimes, h. 101”, w. 24‑1/2”, d. 16”. [1500/2500] Illustrated 235 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, h. 31”, w. 60‑1/2”, d. 25‑1/2”. Provenance: Herbert Schiffer Antiques, West Chester County, Pennsylvania. [1800/2500] 236 George III-Style Mahogany Bed Steps, late 19th century, fitted with three steps, each of rectangular form and with an inset gilt-tooled surface, the upper two hinged and opening to a storage space, raised on turned bun feet, h. 25”, w. 25‑1/2”, d. 28‑1/2”. [1200/1800] Illustrated

240

243 Pair of Japanese Imari Octagonal Dishes, 20th century, each decorated in polychrome enamels and underglaze blue with central medallions of figures in a boat surrounded by shaped medallions of mythical animals, dia. 7‑1/2”. [150/300] 244 Chinese Five-Colored and Celadon Glazed Porcelain Footed Dish, the dish decorated on the interior with a central peach surrounded by two dragons above waves chasing the Flaming Pearl, the exterior and foot glazed in pale celadon over incised waves, the interior of the foot with a six-character Yongzheng reign mark, h. 5‑3/8”, dia. 8‑3/4”. [300/500] Illustrated 245 Japanese Imari Bowl, 20th century, the interior and exterior with decorated panels of flowers and feathers, the foot with a banded blue stripe, h. 4”, dia. 10”. [150/300]

237 George III Mahogany Linen Press, early 19th century, the molded cornice above a case fitted with two doors, each inset with a banded oval panel and opening to an interior fitted with a hanging rod, the lower section fitted with two short drawers over two long graduated drawers, raised on splayed feet, h. 81‑1/2”, w. 48”, d. 22”. [1000/1500]

246

238 Queen Anne-Style Mahogany Bench, the padded slip seat fitted into the molded frame and raised on cabriole legs ending in slipper feet, h. 19”, d. 21”, l. 36”. [400/700] 239 Queen Anne-Style Mahogany Bench, the padded slip seat fitted into the molded frame and raised on cabriole legs ending in slipper feet, h. 19”, d. 21”, l. 36”. [400/700] 240 Large Pair of Chinese Blue, White and Iron-Red Vases, each of baluster-form with four loop handles around the tubular neck, decorated in underglaze blue and iron-red with alternating panels of landscapes, birds and dragons among clouds against a ground of hawthorne blossoms, cracked ice, sea shells and Chinese antiques, domed covers, h. 33”. [1200/1800] Illustrated 241 Large Japanese Circular Charger, 20th century, the charger decorated with panels with phoenix birds and vases, and the border with blue geometric designs, dia. 15’. [200/400] 242 Japanese Imari Scalloped Circular Shallow Bowl, late 19th century, the center featuring a vase with fruit and flowers, and the border with blue and red foliate motifs throughout, dia. 9‑3/4”. [75/125]

244

246 Good Chinese Blue-and-White and Iron-Red Vase, Republic Period (1908‑1949), of squat yen-yen form decorated in underglaze blue and iron-red with gilding as confronting winged dragons and bats among clouds, h. 6‑1/4”. [400/700] Illustrated

251

247 Chinese Blue-and-White Porcelain Export Plate in the Qianlong Style, the deep plate with in-sloping lip rim decorated in underglaze cobalt blue with a central medallion of a pair of quail on rockwork beneath a flowering tree and edged by a border of stylized ling-chih, the lip rim decorated with clusters of flowering peonies and birds, the reverse undecorated with a clear glaze, dia. 10‑3/8”. [200/400] 248 Chinese Blue-and-White Porcelain Vase, first half 20th century, of baluster form with flared lip rim, decorated in rich cobalt underglaze blue with a continuous lakeside landscape scene with buildings nestled among wooded mountains, a traveler and attendant crossing a bridge and a boatman with passengers, the base with a six-character Qianlong seal mark, h. 17‑1/2”. [300/500]

249 Chinese Blue-andWhite Porcelain Moon Flask, 20th century, of flattened circular outline with straight foot, tubular neck and molded dragon handles, the front and reverse with circular reserve panels of figures in garden settings against a ground of scrolling foliage and lotus blossoms, the base with a border of plantain leaves and the neck with a key-fret border, the base with a fourcharacter Kangxi mark, h. 17‑3/8”. [1500/2500] Illustrated 250 Pair of Chinese Blueand-White Double Happiness Vases, 20th century, each of baluster form with double foo dog handles, decorated in underglaze blue with double happiness characters against a ground of vining foliage and flowers and geometric bands, h. 17”. [1500/2500]

249

251 Chinese Export Blue-and-White Porcelain Covered Tureen, of bombe form on an oval base with double strap handles and conforming domed cover with finial, decorated in underglaze blue with floral sprays and crosshatch borders with gilt highlights, l. 14”. [2500/4000] Illustrated 252 Georgian-Style Mahogany Partner’s Desk, the gilttooled brown leather top above the upper drawers, one end fitted with drawers in the lower section while the other fitted with cupboards behind raised-panel doors matching the sides, the corners with reeded quarter columns, the whole resting on ogee bracket feet, h. 31”, w. 41”, l. 71”. [800/1200] 253 Eight Leather-Bound Volumes, including a threevolume set of Leonardo da Vinci, L’Artiste et L’Homme Paris and Brussels: Editions G. Van Oest, 1925, and a fivevolume set of Manuel du Libraire et de L’Amateur de Livres, Paris: Chez Silvestre, 1843, the largest h. 12‑3/4”, w. 11”. [200/400]

254

257 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”. [500/800]

258

258 Set of Ten George III-Style Mahogany Dining Chairs Attributed to Baker Furniture, mid‑20th century, the backs with a central pierced and carved splat, the seats covered in dark green leather and raised on Marlboroughform legs, h. 38”, w. 24”, d. 20”. [1500/2500] Illustrated

254 George III North Country Mahogany Tallcase Clock, second quarter 19th century, the hood with a broken swan’s-neck pediment, centered by a turned finial on a carved feather upright, the glazed door flanked to either side by turned and spiral-reeded pilasters opening to a white enamel face featuring an upper scene of the Last Supper, the face signed Wm. Helliwell Leeds (active 1815‑1853), the case fitted with a single shaped door flanked en suite, the lower section paneled and with decorative band molding and like flanked, raised on bun feet, h. 100”, w. 23”, d. 12”. [1500/2500] Illustrated previous page 255 George III-Style Mahogany Breakfast Table, the round tilt-top crossbanded and inlaid, the turned pedestal base supporting four reeded sabre legs ending in brass paw feet on casters, dia. 29”. [1500/2500] Illustrated 256 George III-Style Mahogany Cabinet on Stand, mid‑19th century, the two-door cabinet with brass hardware and bail handles on each end, resting on a base with two side-by-side drawers and short cabriole legs with shell-carved knees and ending in ball-and-claw feet, h. 40”, w. 46”, d. 24”. [400/700] 259 259 Henri-Joseph Harpignies (French, 1819‑1916) “Wooded Landscape with a Stream, Sheep and Two Figures at a Fence”, oil on canvas, signed lower right “H. J. Harpignies”, 24” x 16”. Presented in a giltwood and gesso frame. Provenance: Private collection, Denver, Colorado. [6000/9000] Illustrated

255

260 Jules Dupre (French, 1811‑1889) “Landscape With a Figure Standing in Front of a Shrine”, oil on canvas, signed on reverse canvas, 12‑1/2” x 9‑1/2”/ Presented in a giltwood and gesso frame affixed with a plaque inscribed with the artist’s name. [800/1200] Illustrated

261 Alexander Rene Veron (French, 1826‑1897) “Chasseur et Son Chien Dans La Foret de Fontainebleu”, oil on panel, signed and dated lower left “1866 R. Veron”, titled on the reverse, 21‑1/2” x 13”. Framed. [1000/1500] 262 Georges Frederic Rotig (French, 1873‑1961) “Wild Boars in a Snow-Covered Landscape”, oil on canvas, signed lower left “G. F. Rotig”, 21‑1/2” x 18”. Presented in a polychrome and parcel-gilt frame. [2000/4000] Illustrated 263 Manner of Francois Millet (French, 1851‑1917) “Twilight Landscape with Shepherd and His Flock”, oil on canvas, unsigned, 10” x 18”. Presented in a giltwood frame. [400/700]

266 262

264 George III-Style Mahogany Triple Pedestal Dining Table, Bearing a Kittinger Label, third quarter 20th century, having two “D” end sections and a rectangular top middle section each with tilt-top mechanisms, and with two additional 24” leaves, the turned pedestals having three down-curved legs of Queen Anne form, h. 28‑1/2”, d. 48”, l. 100”, ext. l. 148”. [1000/1500] 265 George III Mahogany Sideboard, first quarter 19th century, the rectangular top with a bowed center section above a conforming case fitted with a central cutlery drawer flanked to either side by a cupboard door, faced as two small drawers, raised on tapering square legs, h. 35”, w. 60”, d. 28‑1/4”. [600/900]

260 266 George III-Style Cut and Pressed Glass Six-Light Chandelier, mid‑20th century, the standard encased in a bulbous glass slip, issuing six scrolling arms, the whole lavishly dressed with faceted pendants and swags of faceted beads, with a ball pendant, h. 28‑1/2”, dia. 23”. [600/900] Illustrated

268 Miniature Portrait of a Gentleman in the 18th Century Style, dressed in a brown striped waistcoat, mounted in an ebonized frame with an engine-turned giltbronze liner, h. 5‑3/4”, w. 5‑1/2”. [100/200] 269 Two Small British Portraits, mid‑19th century, the first an oval graphite drawing of a boy sitting in a landscape, his face highlighted with colored goauche, mounted in its original gilt-lacquered oval brass frame, h. 9‑1/4”, w. 8‑1/2”, the second a graphite and goauche portrait of Charles, 9th Earl of Kincardine, 1732‑1771, signed "GP Harding", for George Pleasant Harding, 1780‑1853, and mounted in a later tortoiseshell type frame, retains the label of “F.B. Daniel, Fine Old Engravings, 32 Cranboun Street, London, WC”, h. 8‑1/2”, w. 7‑1/4”. [75/125]

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270

267 Five Books on Portrait Miniatures and Miniaturists, including Daphne Foskett, John Smart: The Man and His Miniatures, Ursula McCracken, Selection of Portrait Miniatures, Walters Art Gallery, Baltimore, Maryland, Roy Strong, The English Renaissance Miniature, and Artists of the Tudor Court: The Portrait Miniature Rediscovered, 1520‑1620, and an exhibition catalogue, Four Generations of Commissions: The Peale Collection , Baltimore, Maryland: The Maryland Historical Society, March 3 - June 29, 1975. [40/70]

270 George III Walnut and Circassian Burl Walnut Bookcase, early 19th century and later, the molded cornice above a case fitted with two long doors, each bisected and inset with two glazed panels, the lower section fitted with two cupboard doors, each inset with a finely figured veneered panel, raised on bracket feet, h. 98‑1/2”, w. 51”, d. 18”. [1200/1800] Illustrated 271 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]

272

272 Georgian Tortoiseshell Tea Caddy, first quarter 19th century, the rectangular box with a slightly rounded cover ornamented with an inlaid square of ivory and a matching a square ivory escutcheon, three foil-lined compartments fitted with tortoise lids and ivory knobs, d. 5‑1/4”, l. 11‑3/4”. [2500/4000] Illustrated

278

277 George III Serpentine Knife Box, fourth quarter 18th century, mahogany with mixed crossbanding and a marquetry lower edge in the sawtooth pattern, sitting on ball feet, the interior of the lid with inlaid star, now fitted as a letter box, h. 16”, w. 8‑1/2”, d. 13”. [250/400] 278 Pair of George III-Style Giltwood Looking Glasses, late 19th century, in the Adam taste, each with a tall urn and portrait medallion crest issuing drapery swags, the oval plate within a molded and annulated frame and with a wheat sheaf and bow pendant, h. 47”, w. 24”. [800/1200] Illustrated 279 Regency Mahogany and Banded Rosewood TiltTop Breakfast Table, first quarter 19th century, the rectangular top with rounded corners mounted to a turned standard with four out-curved legs ending in cast-brass paw feet, h. 30”, w. 54”, d. 41”. [800/1200] 280 Set of Ten Royal Crown Derby English Bone China Luncheon Plates, in the Royal Antoinette pattern, each with a ruffled edge, floral garlands and gold leaf trim, dia. 10‑1/4”. [500/800]

273 Late Victorian Prism-Hung Cut and Frosted Glass Six-Arm Chandelier, late 19th century, with a frosted and cut glass vasiform stem with frosted bobeches hung with cut spears, the bowl dressed with cut spears and joined to swirl glass C-form arms with spear-hung frosted bobeches, the arms and stem draped with faceted octagonal beads, electrified, probably originally fitted as a gasolier, h. 70”, dia. 34”. [2500/4000] Illustrated 274 Georgian-Style Cut-Glass Decanter, the body decorated with a running scrollwork and flowers under a panel-cut neck, the bulbous stopper with matching decoration, h. 12‑1/4”, dia. 4‑3/4”. [500/800]

281 Georgian-Style Enamel Box, the box composed of enameled copper panels of bucolic landscapes featuring people in 18th century costume playing musical instruments, the panels mounted in ogee-molded mahogany frames, h. 4‑1/2”, w. 10‑1/4”, d. 7‑3/4”. [1800/2500] 282 George III-Style Mahogany Bureau Plat, second half 20th century, the top with a tooled and inset leather blotter and gilt-stenciled borders, the front side fitted with three drawers and the back side with three faux drawers all with lion mask ring pulls, raised on turned and tapered fluted legs, h. 30‑1/4”, w. 62”, d. 36‑1/4”. [800/1200]

275 Tall Pair of Waterford Cut-Glass Table Lamps, each of baluster form, deeply cut and mounted to Asian-style brass bases, h. 19” glass base, h. 35” overall. [400/700] 276 Good Hepplewhite Mahogany String-Inlaid Sideboard, ca. 1800, the back section with a row of alternating stationary and sliding panels, the shaped-front deck with string-inlaid borders above three central drawers and bottle drawers at each end, raised on square tapered legs ending in spade feet, h. 45‑1/2”, w. 79‑1/2”, d. 23”. [3000/5000] Illustrated

276

289 Good Chinese Cast Bronze Incense Burner and Stand, 19th century, the body cast in the form of a peach with foliage and a Xuande reign mark on the underside, the openwork top cast as foliage and two small peaches, the fitted base with foliage, two small peaches and pegs that fit into the feet of the incense burner, h. 10‑1/2”, including stand. [700/1000] 290 Unusual Chinese Bronze Covered Censer with Bronze Base, 18th century, composed of a bulbous body cast in relief with eight frolicking Qilin against a wave ground and having two lion head handles, each with loose rings in their mouths, the pierced dome cover cast with two five-clawed dragons pursuing the Flaming Pearl and having a pierced ball-shaped finial of clouds, the base with a six-character Xuande Ming Dynasty reign mark and resting on a circular fitted bronze base, h. 10‑3/8”, including stand. [1200/1800] Illustrated

284 283 Charles Henry Leickert (Belgian/Dutch, 1816‑1907) “Winter Scene With a Man Ice Skating”, oil on panel, signed lower left “Ch. Leickert”, 6‑5/8” x 9‑3/8”. Presented in a giltwood and gesso frame. Provenance: Private collection, Denver, Colorado. [3000/5000]

291 Good Chinese Cast Patinated Copper Statue of an Arhat (Damo), 18th century, the standing bald-headed figure with traces of hair clad in monk’s robes and standing on a domed base of cresting waves, h. 19”. [1000/1500] Illustrated

284 Bernardus Johannes Blommers (Dutch, 1845‑1914) “Children Playing on the Beach”, oil on panel, signed lower right “Blommers”, 9‑1/8” x 11‑5/8”. Presented in a 19th century giltwood and gesso frame. Provenance: By oral tradition purchased by the family of the present owner at the Veerhoff Galleries, Washington, D.C. [6000/9000] Illustrated 285 Floris Pieter Florentius Nicolaas Jacobus Arntzenius (Belgian/Dutch, 1864‑1925) “Evening Street Scene”, oil on board, signed lower left, 8‑1/4” x 6‑1/4”. Presented in a period giltwood and gesso frame. Provenance: Private collection, Denver, Colorado. [5000/8000] Illustrated 286 Continental School (First Quarter 20th Century) “A Busy Dock Scene with a Commercial Tanker and Figures Cleaning Boats”, oil on canvas, 23‑3/4” x 39‑1/2”, signed lower right “Gerard Verbrugge”. Framed. [700/1000] 287 Large Chinese Four-Panel Black Lacquered Coromandel Folding Screen, early 20th century, one side depicting a lush pond with lilies, the other side with village scenes, h. 84”, w. 64”. [500/800] 288 Chinese Carved Wooden Votive Statue of Dignitary, 19th century, the unpainted figure clad in official robes and wearing a tall cap seated in a horseshoe-back chair with draped back, h. 22‑1/4”. [100/200] 285

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292 293 290 295

292 Chinese Splash Gilt-Bronze Bottle Vase, 18th century, the tapered bulbous body resting on a slightly splayed foot and having a tubular neck with flared lip rim, the neck with three hydra dragons in relief, the patinated body, dragon’s heads and bodies with gold splashes, the base with a cast four-character inscription reading “Great Ming Period Made” in a circle surrounded by two dragons pursuing the Flaming Pearl, h. 9‑1/4”. [1200/1800] Illustrated 293 Elaborate Chinese Covered Bronze Tripod Censer, 18th century, the squat bulbous body resting on three lion claw feet and having two dragon form handles clinging to opposite sides, the fitted pierced dome cover cast with two dragons among clouds pursuing the Flaming Pearl, the cover with a pierced oval finial of clouds and flames, the base with a six-character Qianlong reign mark, h. 8‑5/8”. [1000/1500] Illustrated

294 Large, Magnificent Pair of Chinese Cast-Bronze Pricket Candlesticks, Xian Feng mark and period (1851‑1861), each with inverted bell-shaped bodies topped with drip pan and columnar candle holder, elaborately cast on the body with two dragons among clouds pursuing the Flaming Pearl, the drip pan similarly decorated, as is the columnar candle holder, the exterior rim at the base with a six-character Xian Feng reign mark in a lappet band,h. 19‑3/8”. [2500/4000] Illustrated 295 Elegant Chinese Low Bronze Incense Burner, first half 19th century, of low bulbous form with two loop handles and resting on three tapered feet, the base with a cast Xuan De six-character reign mark, nice, even light patina, dia. 8‑5/8”. [700/1000] Illustrated 296 Chinese Splash Gilt-Bronze Incense Burner, 18th century, of low bombe form with two strap handles and resting on three tapered feet, the well-patinated body with gold splashes, the well-patinated body with gold splashes, the base with a cast Xuade reign mark, fitted wooden stand with gilt highlights, dia. 5”. [800/1200]

301

300 Rare Chinese Vermillion Ink Stick, dated 1785 (Yisi Year, Qianlong Reign), of rounded rectangular form, the face with a six-character gilt-filled inscription and a molded scrollwork border, the reverse with a molded border and three-character inscription and an engraved six-character inscription and seal, the inscription on the face translates “Collection Treasure by Cai Lan House”, the molded inscription on the reverse translates “Ten Thousand Times Pestled” indicating the fine quality of the ink stand, l. 4‑1/2”. [900/1200]

297 Chinese Covered Painted Lacquer Food Box, 19th century, of nearly square form on a raised base, painted in two-color lacquer with a scene of a peacock among peonies on the cover and with auspicious symbols on the sides, h. 6‑5/8”, w. 14”. l. 14‑3/8”. [1000/1500] Illustrated 298 Large Japanese Carved Wood, Ivory and Glass Leonine Group, carved in the rounds as a group of four adult lions and one juvenile male lion, each with fiercely snarling expressions, inset glass eyes and exposed ivory teeth, presented on a carved wooden base in the form of rockwork, h. 12‑5/8”, including stand, l. 21‑5/8”. [500/800] 299 Very Rare Dated Chinese Vermillion Ink Stick, dated 1669 (Yiyou Year, Kangxi reign), of rectangular form with rounded top and indented bottom, molded on the front with an overall cloud pattern with a circular reserve panel with the characters Ju Xiang Gao (chrysanthemum fragrance), the reverse with molded cloud pattern and a rectangular reserve panel with engraved characters giving the name of the maker Tianzhang Wu and the date, l. 6”. [2000/4000]

301 Superb Pair of “Cow Hair” Zitan Wall Vases, Qianlong reign (1736‑1795), each of double gourd shape with fine low relief overall carving of lotus blossoms and scrolling foliage, the lower portion of each gourd with a poem composed by Qianlong and titled “Poem Imperially Made by Qianlong Emperor”, the characters highlighted in gold leaf, each vase backed in bronze with a hole for attaching to the wall, a second pair is recorded, identical to the present pair, but with different poems, h. 7-7/8”. [7000/10000] Illustrated

297

305 Good Chinese Ge Ware Pottery Celadon Bowl, 19th century, the body of flared foliate shape with undulating rim, glazed in an even celadon glaze with iron line and gold wire crackle, rosewood stand, h. 6‑1/8, excluding stand. [600/900] Illustrated

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306 Fine Chinese “Hare’s Fur” Tea Bowl, Song Dynasty (960‑1276), of conventional conical form, the stoneware body glazed in a thick black glaze with brown horizontal streaking and brown at the lip rim, the glaze stopping short evenly above the foot, dia. 4‑5/8”. [400/700] Illustrated 307 Unusual Chinese Scholars Rock (Lingbi) on Stand, the unusual yellowcolored stone, weathered and eroded into an eccentric shape with large open areas, wooden stand, h. 16‑7/8”, including stand. [300/500]

304

308 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]

312

302 Rare Chinese Marbleized and Molded Pottery Pillow, Tang Dynasty (618‑907 AD), the stylized mountainshaped body in marbleized clay with a central glazed floral medallion in tri-color glaze, from Luo Yang in Henan Province, one of the two Tang capitols, l. 8‑1/4”. [1500/2500] Illustrated 303 Good Chinese Guan Ware Archer’s Handle Vase, 18th/19th century, the ribbed globular body and neck with tubular archer’s handles, glazed in a light celadon glaze with gold wire crackle, the celadon glaze with a transparent luminosity beautifully set off by the wide crackle, Ming-style wooden stand, h. 7‑7/8”, excluding stand. [700/1000] Illustrated 304 Unusual, Rare Chinese Marbleized and Molded Bowl, Tang Dynasty (618‑907 AD), the circular bowl in marbleized clay with an ochre glaze, the exterior with molded decoration in relief of lotus flowers and buds with criss-cross lotus stem decoration, dia. 6‑3/8”. [2000/4000] Illustrated

309 Group of Eight Japanese Ojimi Beads, comprised of three inlaid metal beads, three carved ivory beads, an agate bead and a wooden bead carved as Daruma, founder of the Zen sect of Buddhism, h. 1/2” to 1”. [250/400] 310 Group of Four Oriental Carvings, comprised of a netsuke of a demon mask, a netsuke of a shi-shi, a jade carving of twin cats and a jade tubular bead with overall “cash”-carved decoration, h. 1‑3/4” to 2”. [200/400] 311 Rare Chinese Boxwood Carving of a Female Soldier of the Great Cultural Revolution, mid‑20th century, the female figure clad in a cape and carrying a rifle as she propels her sled through snow drifts, l. 8‑1/2”. [600/900] 312 Chinese Bronze Tripod Incense Burner, Ming dynasty (1368‑1644), the compressed globular body resting on three elephant head feet and having two handles, the body with engraved monster faces, the base with a cast seal mark, h. 4‑1/4”, w. 6”. [2000/4000] Illustrated 313 Chinese Yixing Pottery Teapot and Cover, 20th century, the reddish-brown pottery body with chrysanthemum ribs, notched handle and tapered spout, conforming ribbed cover, impressed seal mark on underside, l. 7”. [400/700]

321 Chinese Cast-Silvered-Bronze Hand Mirror, Ming Dynasty (1368‑1644), of lobed outline cast on the face with a central boss with hole for silk cord, a central dragon among clouds and a border of flowers and insects, the reverse plain, the silvered surface with encrustation, dia. 6‑7/16”. [300/500]

314 Chinese Cast Bronze Incense Burner with Silver Inlay, 19th century, of low circular outline with two lion-head handles and a Xuande cast mark on the underside, the body inlaid with silver wire with designs of archaic dragons, l. 10”. [600/900] 315 Unusual Chinese Yixing Covered Storage Container, 19th century, of barrel form with fitted cover and brass ring, the body scored as barrel staves with alternating decoration of figures and calligraphy, the top section with character decoration and the base with seals, dia. 5”. [250/400]

322 Large Chinese Cast-Bronze Covered Temple Incense Burner, 19th century, the rectangular body with flanges at the corners resting on four “cloud” legs and having two handles, the body cast on all sides with archaic decoration, the fitted cover with a Buddhistic lion finial and pierced with the Eight Trigrams of I Ching, h. 38”. [800/1200] 319

316 Chinese Carved Bamboo Brush Pot, 19th century, the body carved in relief as a continuous scene of two scholars playing Go at a low table with two pine trees and two storks, 6‑1/2”. [400/700]

323 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. [700/1000] Illustrated 324 Unusual Chinese Carved Rosewood Wine Vessel with Suspension Chain, the rosewood body and cover carved after an Eastern Zhou dynasty bronze vessel with sinuous dragon handles, en suite cover and link chain with suspension bar, the body and cover carved with archaic decoration modeled after the bronze original, the cover with a lion finial, h. 12”. [1000/1500] 325 Chinese Carved Horn Paper Weight, 20th century, carved in the round as a mountain with overall relief carving as a pair of scholars playing Go surrounded by bamboo and a gnarled pine tree and two rocky peaks at the top, h. 3‑1/4”. [250/400]

317 Chinese Molded Yixing Pottery Brush Washer, first half 20th century, of circular outline, the dark brown body with in-curved lip rim and having molded decoration of strings of Chinese coins and a key fret border at the lip rim, dia. 4‑1/2”. [200/400] 318 Chinese Multi-Metal Umbrella Stand, of hexagonal outline on a conforming base, decorated in patinated metal with a dark bronze-colored body with brass-colored decoration of archaic-style plantain leaves with stylized dragons, circular panels with archaic calligraphy and a pierced border at the top rim of cash symbols, h. 23‑5/8”. [300/500] 319 Chinese Cast-Bronze Gu Vase, 18th/19th century, in the form of an archaic vessel with splayed base, tubular body and flared lip rim, finely cast with archaic decoration and two sets of flanges, h. 10‑7/8”. [900/1200] Illustrated 320 Chinese Cast-Bronze Figural Hand Mirror, Han Dynasty (206 BC - 220 AD), of circular outline, cast on the face with a central boss with hole for silk cord, numerous court figures and a border of archaic characters with an outer border of “C” scrolls, the reverse plain, the mirror with malachite encrustation, dia. 5‑1/8”. [300/500]

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336

332 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] Illustrated 333 Chinese Provincial Stoneware Garden Seat, of barrel shape, the stoneware body in brown with ochre slip decoration of a central band of dragons between geometric band borders, h. 17‑1/2”. [300/500]

335

326 Unusual Chinese Carved Horn Turtle-Shaped Cup, 20th century, the horn body carved as a sectioned carapace of a turtle with extended head and tail, the underside hollowed for use as a cup, w. 3‑1/2”, l. 3‑7/8”. [250/400] 327 Chinese Cinnabar Panel, 18th century, the rectangular lacquer panel containing a central stylized peony on a field of scrollwork with square molded corners, on a stippled field, mounted in a modern bamboo frame, h. 11”, w. 12’. [300/500] 328 Unusual Japanese Carved Wooden Figure of a Seated Demon Slayer, 17th/18th century, the seated figure with glass eyes seated on a rockwork shelf wearing Indian-style clothes and holding a raised sword, the figure surrounded by carved wooden flames, the entire piece with traces of painted and gilded decoration, h. 35‑3/4”. [1800/2500] 329 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] 330 Chinese Unglazed Pottery Cocoon Shaped Vase, Han Dynasty (206 BC - 220 AD), the flattened oblong body resting on a short straight foot and having a wide everted lip rim, the gray pottery body with overall vertical etched scratches, overall scattered encrustation, h. 9‑3/4”. [150/300] 331 Two Thai Sawankalok Tea Bowls, ca. 14th century, each with flared lip rim and straight feet, recovered from a shipwreck, now encrusted in marine growth and salt, largest dia. 4”. [50/80]

334 George I Sterling Silver Waiter, hallmarked London, 1723‑1724, by Thomas Roberts, of rounded square form with in-peaked corners, raised on four bracket feet, the plateau engraved with the arms of Beauchamp, l. 5‑3/4, w. 5‑3/4”, 6.17 t. oz. [2000/4000] Illustrated 335 Pair of George I Britannia Standard (.958) Silver Trencher Salts with Later Shovels, the salts hallmarked London, 1720‑1721, by James Rood, of traditional elongated octagonal form with waisted sides, engraved on the side with a crest of a demi-lion crowned issuant from a marquess’ coronet, h. 7/8”, l. 2‑7/8”, w. 2‑1/4”, together with a slightly later pair of Hanoverianpattern salt shovels, maker’s mark only “T.W” (Thomas Wallis?), with shaped spatulate bowls. monogrammed “NG”, l. 3‑1/2”, 3.34 total t. oz. [1400/1800] Illustrated 336 Queen Anne Britannia Standard (.958) Silver Porringer, hallmarked London, 1702‑1703, by John Cory, of traditional bulbous form with slightly tapering rim and applied scrollwork handle, monogrammed on the handle “”H*T”, h. 1‑1/2”, dia. 4‑1/8”, l. 6‑1/4”, 3.15 t. oz. [3500/5000] Illustrated 337 Near Pair of George II Sterling Silver Casters, hallmarked London, one 1752‑1753, by Samuel Wood, the other 1757‑1758, by Jabez Daniell, each of baluster form with molded band and rim, the domed cap pierced and decorated with engraved latticework, with toupie finial and raised on a molded circular foot, h. 4‑3/4”, dia. 1‑7/8”, 5.66 total t. oz. [600/900] 338 George II Sterling Silver Waiter, hallmarked London, 1746‑1747, by Hugh Mills, of circular form with “leafand-scroll” border and raised on three scrolling pad feet, engraved on the plateau with a rubbed crest of a demi-lion rampant, dia. 7”, 7.84 t. oz. [600/900]

341 Set of Four Regency Sterling Silver Salt Cellars, hallmarked London, 1818‑1819, by Rebecca Emes & Edward Barnard, each of rounded rectangular form the bulbous body with acanthus, gadroon and shell border and gilt interior, the whole raised on a conforming gadrooned foot, engraved on one side with the crest and the other with the arms of Greig of Eccles, co. Berwick, h. 2”, l. 4‑1/2”, w. 3”, 13.25 total t. oz. [1200/1800]

339

339 detail 339 Good Regency Sterling Silver Tray, hallmarked London, 1810‑1811, by Benjamin and James Smith, of oval form with an elaborate reed-and-grapevine border accented with grape cluster-mantled shell motifs, with a pair of scrolling reed-and-ribbon handles centered by grape clusters, the whole raised on four foliate scrollmounted lion’s paw feet, engraved on the plateau with the crest of Whitwange of Dunson, et al. (an urcheon/ hedgehog), supported by a leafy-mantled morion, l. 26‑1/2”, w. 17‑1/2”, 133.10 t. oz. [25000/40000] Illustrated

342 Pair of Late George III Sterling Silver Entree Dishes, hallmarked London 1809‑1810, by Guest, Son & Craddock, each of rounded rectangular form with gadrooned rim, the fitted domed lid banded en suite, the addorsed reedand-acanthus handle detaching to permit the lid to be inverted for used as a liner or second dish, engraved on the long sides of the lid with the arms, and on the body with the crest of Leigh of West Hall with Jodrell in pretence, h. 4‑3/4”, l. 11‑3/4”, w. 8‑3/4”, 128.66 total t. oz. The extravagant armorial here (with nine quarterings, an escutcheon of pretence, and three further escutcheons on the crest) permit the original owner of this fine pair of dishes to be identified as Egerton Leigh (1752‑1833), who descended from an old High Leigh, Cheshire family dating to the early 14th century. He was the son of the Reverend Peter Leigh, rector of Lymme and Middle, Shropshire, and his wife Mary Doughty and he married, on September 21, 1778, Elizabeth Joddrell (ca. 1854‑1807), daughter and co-heiress of Francis Jodrell of Yeardsly and Twemlow. For more information about Leigh and these arms, see Burke’s Landed Gentry, 5th ed. (London: Harrison, 1871), v. II, p. 774. [7000/10000] Illustrated

340 Regency Sterling Silver Inkstand, hallmarked Sheffield, 1812‑1813, by John Roberts & Co., of rounded rectangular form, with gadrooned rim quartered by shell-and-scroll motifs, with a pair of pen trays centered by an urn-shaped nibs compartment with taperstick cap, flanked by a pair of receptacles fitted with cut-glass inkwells fitted with silver caps, the whole decorated with gadrooned banding and raised on four lion’s paw feet, the caps engraved with a crest of castle with three towers and the motto “Labor Omnia Vincit”, h. 4‑3/4”, l. 10‑1/2”, w. 7‑1/4”, 22.12 total t. oz. (excluding glass inkwells). [1800/2500]

344

343 345

342

343 Good Pair of Regency Sterling Silver Goblets, hallmarked London, 1810‑1811, by Charles Fox, each of thistle form, the lower half gadrooned and separated from the upper half by an intricate milled diaper pattern, raised on a flared stem above an ogee-domed circular foot with gadrooned rim, h. 6‑1/4”, dia. 4”, 20.77 total t. oz. [3000/5000] Illustrated

347 George III Sterling Silver Salver, hallmarked London, 1786‑1787, by Elizabeth Jones, of circular serpentine-lobed form, with beaded edge and raised on four claw and ball feet, the plateau engraved with the crest and motto of Houstoun of Culreoch and Calderhall, dia. 15‑1/4”, 46.94 t. oz. [4000/7000] Illustrated

347

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349

348 Early George III Sterling Silver Sugar Basket, hallmarked London, 1766‑1767, by Elizabeth Aldridge, of navette form, decorated with repousse latticework and flowers with pierced scrolls, with gadrooned rim and pierced swing handle, raised on a pierced oval foot ring, h. 1‑3/4” (5” with handle), l. 6‑1/2”, w. 4‑3/4”, 4.44 t. oz. [400/700] Illustrated 349 George III Sterling Silver Sugar Basket, hallmarked London, 1789‑1790, by Hester Bateman, of navette form with upswept ends, with beaded rim and molded swing handle, raised on a conforming foot decorated en suite, h. 4” (6‑1/2” with handle), l. 6‑1/4”, w. 4‑1/2”, 9.77 t. oz. [1200/1800] Illustrated

348

344 Pair of George III Sterling Silver Platters, hallmarked London 1795‑1796, by William Stroud, each of serpentinelobed oval form with gadrooned rim and recessed plateau, engraved on one side with elaborate impaling arms and on the other with a crest of an arm in armour embowed holding a lance, l. 15‑3/4”, w. 11‑1/4”, 71.18 total t. oz. [2000/4000] Illustrated 345 Pair of Late George III Sterling Silver Sauce Tureens, hallmarked London, 1806‑1807, by William Bennett, each of oval form with gadrooned rim and molded squared handles, the fitted, domed lid with cavetto rim and acorn finial, the whole raised on a conforming foot, the lid engraved with the motto and crest of Tait of Harrivestown, h. 6”, l. 9‑1/2”, w. 4‑5/8”, 41.02 t. oz. [5000/8000] Illustrated

350 George III Hester Bateman Sterling Silver Cream Jug, hallmarked London, 1786‑1787, of “helmet” form, with beaded rim and arched, reeded handle, raised on a circular foot, h. 6‑3/8”, l. 4‑3/4”, w. 2‑1/2”, 4.05 t. oz.. [500/800] Illustrated 351 George III Hester Bateman Sterling Silver Gilt Teapot Stand, hallmarked London, 1785‑1786, of “turtleback” form, with beaded rim and raised on four clawand-ball feet, l. 6‑1/2”, w. 5‑1/4”, 4.76 t. oz. [900/1200]

352

346 Pair of George III Sterling Silver Candlesticks, hallmarked London, 1768‑69, by John Weldring or James Wiburd, each with an inverted and lobed baluster standard decorated with acanthus fronds and surmounted by a cannon-form nozzle with gadrooned banding, the whole raised above a gadrooned knop and steep flute-andgadroon domed hexagonal base decorated with shells and gadrooned banding, h. 9‑3/4”, w. 5‑1/2”, 31.31 total t. oz. The “IW” maker’s mark on these candlesticks, recorded in the missing largeworker’s register of 1758‑1773, must, by process of elimination, belong to either John Weldrig or James Wiburd. Surviving pieces of the period with this and similar marks indicate that one man specialized in small tablewares and the other candlesticks, but which man had which specialty cannot be determined. [5000/8000]

353 Late George III Sterling Silver Two-Handled Covered Cup, hallmarked London, 1809‑1810, by William Frisbee, the ovoid body with molded rim and acanthusmounted squared handles, the fitted, waisted lid with gadrooned banding and pyr finial, the whole raised on a cavetto-domed and gadroon-banded foot, the body elaborately engraved with the arms of Yonge and Duke impaling Morley, h. 12‑3/4”, dia. 5‑3/4”, w. 8‑5/8”, 43.02 t. oz. [3500/5000] Illustrated

352 Good Set of Four George III Sterling Silver Cluster Column Candlesticks, hallmarked London, 1770‑1771, by John Carter II, each with a nine-”cluster” standard with molded bands, surmounted by a thistle-form nozzle formed by acanthus fronds emerging one from each of the cluster and fitted with a detachable conforming bobeche with gadroooned rim, the whole raised on a cavetto-domed square base with gadrooned banding and cornered by acanthus fronds, engraved, on the base and bobeche, with the crest of Hickman of Gainsborough (a talbot couchant, collared and lined, at the end of the line a knot), h. 13”, w. 5”, weighted. Although there is no record of the apprenticeship or freedom of John Carter II, and his first mark was evidently entered into the missing largeworker’s register of 1758‑1773, he does appear as a specialty supplier of candlesticks and salvers to the prestigious firm of Parker and Wakelin in their workman’s registers from 1767 to 1773. [10000/15000] Illustrated previous page

353

358

354 George III Sterling Silver Snuffer Tray, hallmarked London, 1789‑1790, by Joseph Scammell, of navette form, with upswept ends and reeded rim, the plateau engraved with a royal regimental badge, l. 10‑1/2”, w. 4‑1/2”, 4.89 t. oz. [600/900]

367

355 George III Sterling Silver Teapot, hallmarked London, 1790‑1791, by Henry Chawner, of navette form, with reeded rim and base, the blind-hinged, domed lid with turned wooden finial, with crested wooden handle and straight conical spout, engraved on the body with opposing ermine cape-mantled octagonal cartouches, each with the monogram “FEV” surmounted by the crest of Vicary ( a peacock close, proper), h. 5‑1/2”, l. 10‑1/2”, w. 3‑3/4” [1000/1500] 356 George III Irish Sterling Silver Teapot Stand, hallmarked Dublin, 1800, by Daniel Eagan, of navette form, with molded rim and raised on four threaded spatulate feet, the plateau engraved with a pricked and hatched band, centering a rubbed crest, l. 8”, w. 5‑1/2”, 6.75 t. oz. [1400/1800]

357 George IV Irish Sterling Silver Cake Basket, hallmarked Dublin, 1825‑1826, by Stephen Bergin, of rounded rectangular form with upswept ends, the interior with lower gadrooned band and fluted corners, with applied gadrooned rim quartered by applied shell-and scroll motifs, with conforming openwork swing handle decorated with laurel banding and centering floralscroll cartouche, the whole raised on a conforming foot, h. 4‑1/2” (10‑1/4” with handle), l. 12‑1/2”, w. 9‑3/4”, 35.57 t. oz. [4000/7000] 358 Good George IV Twenty-Four Piece Cased Sterling Silver and Ivory Dessert Set, hallmarked Sheffield, 1820‑21, by John Law, including twelve dessert forks, l. 5‑3/4”, and twelve dessert knives, l. 7”, each with sterling silver tines/blades, reeded ferrule and ivory handle of tapering canted rectangular section, presented in the original “ministerial red” velvet-lined leather fitted case with lift-out tray, 3‑3/4” x 8‑1/2” x 6‑1/4”. [500/800] Illustrated 359 George IV Sterling Silver Gilt Gentleman’s Etui, London 1826‑1827, by Charles Rawlings, of rounded rectangular section, decorated oak branch banding on a guilloche ground and a pair of opposing laurel-enframed oval cartouches, the lid opening with a push-button to reveal the gilt interior, the fittings lacking, h. 4‑3/4”, l. 3”, w. 1‑1/2”, 7.20 t. oz. [1800/2500] 360 Pair of Victorian Sterling Silver Gilt “Bacchanalian” Dessert Serving Spoons, hallmarked London, 1884‑1885, by Lias & Wakely, l. 9”, 6.30 total t. oz. [600/900] 361 Early Victorian Sterling Silver Gilt-Mounted Glass Tankard, hallmarked London, 1846‑1847, by William Cooper, the slightly tapering glass body mounted in a traditional molded foot and plain collar with squat “beehive”-domed lid with scroll billet and “S”-scroll handle, h. 7‑1/2”, dia. 4‑5/8”, l. 6‑1/4”. [1800/2500] 362 Victorian Silverplate Atlantean Hot Water Urn, second quarter 19th century, the spherical body with flat band and opposing ring handles, the spigot with paneled tap, barrel-shaped branch, elbow-shaped key and spherical ivory finial, the whole supported by a figure of Atlas, kneeling on an ogee-molded square plinth above four flattened spherical feet, h. 18‑1/4”, w. 11”, d. 13”. [400/700] 363 Pair of Victorian Hunt & Mortimer Sterling Silver Wine Coasters, hallmarked London, 1840‑1841, by John Hunt and John Samuel Mortimer, each of circular form with elaborate wavy rim, pierced with floral trelliswork and edged with rococo scrolls, the plateau engraved with the double crest and motto of Scott-Murray, presumably for Charles Robert Scott-Murray (1818‑1880) of Danesfield House, M.P. for Buckinghamshire 1841‑1845, h. 1‑3/4”, dia. 7‑1/2”, 28.23 total t. oz. [4000/7000]

364 Victorian Silverplate Model of a Rampant Lion Guardant, third quarter 19th century, presumably once a figural finial, the beast’s paws resting on a navette-shaped shield, the whole now mounted on a crimson velvetcovered plinth base, overall h. 3‑1/4”, l. 2‑3/4”, w. 1‑3/4”. [200/400] 365 Edwardian Sterling Silver Footed Bowl, hallmarked Chester, 1904‑1905, by William Neale, of hemispherical form, decorated with embossed rococo scrolls and flowers on a lattice ground, with opposing rococo-scroll cartouches, with molded rim and raised on a domed foot decorated en suite, h. 3‑1/2”, dia. 4‑1/2”, 3.47 t. oz. [250/400] 366 Edwardian Cased Silverplate and Faux-Ivory Fish Service, first quarter 20th century, including six fish forks, l. 6‑3/4”, and six fish knives, l. 8”, the forks with four tines and waisted heels, the knives with scimitar-shaped blades, all with celluloid faux-ivory handles of rounded rectangular section, presented in the original cream satin-and black velvet-lined, fitted trapezoid-shaped case, l. 8‑3/4”, w. 9‑3/4”. [100/200] 367 Good Contemporary English Five-Piece Sterling Silver Coffee and Tea Set, hallmarked London, 1978‑1986, by C.J. Vander, Ltd. for Garrard & Co., in the Georgian taste, including a baluster coffeepot, h. 10‑1/2”, 8‑1/4”, straight-sided oval teapot, h. 6‑1/2”, l. 10‑1/4”, baluster hot milk jug, h. 10‑1/2”, l. 6‑1/4”, helmet-form cream jug, h. 6‑1/4”, l. 4‑3/4”, and swing-handled sugar basket, h. 3‑1/8” (6” with handle), l. 5‑3/4”, each piece decorated with beaded edges and wriggle-work and brightcut laurel banding and oval cartouche, the hot liquid pieces with crested wooden handles, 89.38 total t. oz. (including wooden elements). [4500/7000] Illustrated 368 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”. [50/80] 369 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. [100/200]

372 Chinese Carved Spinach Jade Covered Urn, 20th century, composed of a bottle-form urn with two winged dragons with spreading wings and mouths spewing ribboned handles, the conforming cover with a phoenix finial and two loose rings, h. 7‑1/8”. [700/1000] Illustrated 373 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”. [800/1200]

370

372

374 Tall Chinese Carved Celadon Jade Covered Vase, 19th century, of flattened baluster form, the pale celadon colored stone with russet inclusions on one side carved in low relief in the Mughal style with foliate handles, loose rings and low relief carving on the body with lotus blossoms and scrolling foliage, conforming original cover, the body and cover finely hollowed and thin bodies, wooden stand, fitted box, h. 16‑3/8”. [5000/8000] Illustrated 375 Chinese Carved Jade Elongated Mountain Carving, carved as one of the weird limestone southern mountains, the pale green stone with russet skin carved as flowering trees, presented on a wooden stand, h. 4‑1/4”. [200/400]

370 Fine Chinese Rosewood and Green Jade Table Screen, composed of four rectangular “spinach” jade plaques, each with finely engraved landscape vistas on both front and reverse, the designs inlaid with gold leaf highlighting, the jade panels mounted in a single rosewood frame in a fitted-and-carved stand atop a scrollwork base, h. 16‑3/8”, l. 21‑1/8”. [1500/2500] Illustrated 371 Pair of Chinese Spinach Jade Wrist Rests, first half 20th century, each of flattened form with scrolled edges running their length on both sides, the tops with engraved decoration of cranes standing on rockwork among waves and gazing at the moon, each with archaic calligraphic inscriptions, l. 8‑5/8”. [400/700]

376 Small Chinese Carved Agate Vase, 19th century, the mottled grayand-brown stone carved in a flattened pear shape with archaic dragon handles, the body with engraved designs of archaic plantain leaves and characters, h. 3‑1/8”. [800/1200] 377 Chinese Carved Celadon Jade Figure of a Kylin, the celadon-colored stone with russet inclusions carved in the round as a crouching beast with horned head and bearded chin, the ribbed back ending in a bifurcated tail, l. 3‑1/2”. [3000/5000]

374

378 Good, Elaborate Chinese Carved Celadon Jade Brush Washer, 19th century, the stone of even celadon color with traces of ochre skin from the original pebble, of elongated oval outline carved in high relief on the bottom and sides with lotus leaves, stems seed pods and flowers and two figures of ornamental fish, some of the leaves with touches of the ochre skin, the stone carved to transparent thinness, carved, fitted wooden stand, w. 3‑3/8”, l. 6‑1/2”. [3000/5000] Illustrated

381 379

382

378

379 Chinese Mottled Green-and-White Jade Covered Vase, of flattened form with conforming long-tailed dragons, the body carved in low relief on the face and reverse with panels of flowers and confronting dragons facing the Flaming Pearl, h. 7”. [1200/1800] Illustrated

380

385

382 Chinese “Moss in Melting Snow” Carved Jade Covered Vase, in the shape of an archaic bird-shaped vessel, the figure standing erect with its long tail curved between its feet with a ridge of flanges along its spine, the crested and beaked head serving as the cover, the body carved in low relief with curved feathers, h. 5‑1/2”. [1000/1500] Illustrated 383 Large, Elaborate Chinese Celadon Jade Ornamental Pendant, first half 20th century, composed of a central foliate pendant with a central Shou character with a foliate cluster at the top and five chain pendants, three terminating in a floral plug, h. 17”. [500/800] 384 Chinese Carved Celadon Jade Figural Group, 19th century, carved as the figure of a recumbent goat with a spray of ling-chih in its mouth and having a figure of a smiling boy on its back, l. 3”. [1200/1800]

380 Chinese Mottled Green, White and Black Carved Jade Covered Libation Vessel in the Form of an Archaic Vessel, the body and cover carved as a mythical animal with loose ring handles at the front and rear, the body carved in low relief with dragon and phoenix decor and a band of foliage, the cover carved as a mythical beast with horned head and a tail in the form of a bird’s head, h. 4‑1/8”, l. 5‑3/8”. [1200/1800] Illustrated 381 Chinese Carved Grayish-White Jade Covered Vase, of flattened baluster form with outfacing dragon handles and conforming cover with an oval shaped finial, the lower body carved in low relief with a band of scrolling foliate decoration, silver wire inlaid wooden stand, h. 7”, including stand. [800/1200] Illustrated

385 Chinese Carved Grayish-White Jade Covered Urn, of flattened form, the angular body with low relief panels of dragons and having dragon handles at the neck, the fitted cover with a central finial flanked by two dragons, h. 7‑5/8”. [1200/1800] Illustrated 386 Chinese Carved Grayish-White Jade Covered Urn, of flattened baluster shape, the body with low relief carved panels of flowers and plantain leaves and elaborate dragon head handles with loose rings, the conforming cover with a central peach finial and two dragons, h. 7‑5/8”. [800/1200] 387 Chinese Carved Grayish-White Jade Covered Vase, of flattened baluster shape, the body carved in low relief with panels of dragons and plantain leaves and having two dragon handles, the fitted cover with a peach-shaped finial flanked by two dragons, h. 6‑1/8”. [600/900]

394

393 Chinese Hetian Jade Figural Seal, carved as a squared base topped by a finely carved figure of a Pixiu, a hybrid creature considered a powerful protector of practitioners of Feng Shui, the horned lion-like creature with open snarling mouth in a crouched stance with one front paw resting on a ball, the superbly polished stone of even, very pale lavender color, the base uncarved, h. 3”. [400/700] 394 Elaborate Chinese Carved Rock Crystal Covered Incense Burner, first half 20th century, the base with leaf and pierced decoration and loose ring handles, the bowl shaped body with foliate band decoration and intricately carved handles in the shape of dragon heads suspending loose ring handles and surrounded by elaborate foliate scrollwork, the domed cover with pierced foliate openwork and a finial in the shape of a coiled dragon, h. 10‑1/8”. [12000/18000] Illustrated 395 Stunning Chinese Black-and-Gilt Decorated Porcelain Vase, Republic Period (1908‑1949), of baluster form with flared lip rim, the body decorated with four reserve panels of snowy landscapes within gilt borders against a black floral ground, the base with a four-character Qianlong reign mark in raised blue, h. 5‑1/4”. [400/700]

388 Chinese “Moss in Melting Snow” Carved Pendant, the circular pendant delicately carved on each side in relief, one side with a deer among pine trees, the reverse with a leaping carp among lotus leaves in front of a pavilion, the jade bound in a brass band, fitted wooden display stand, h. 5”. [900/1200] Illustrated 389 Chinese Carved Jadeite Pendant, the mottled green, white and yellow stone carved in relief as a bi disk surrounded by foliage and having intricate, delicate pierced filigree, h. 1‑3/4”. [150/300] 390 Chinese Carved Jadeite Pendant, the mottled red, dark green and white stone of tapered rectangular outline carved in low relief as fruiting gourd vines intricately carved and having small piercings, h. 2‑1/4”. [250/400] 391 Chinese Carved Jadeite Pendant, the mottled greenand-white stone of rectangular outline carved in low relief as a cluster of peaches and foliage with minute piercings, h. 2‑1/2”. [200/400] 392 Chinese Carved Jadeite Pendant, the mottled greenand-ochre stone carved as two peaches, foliage and flowers and the figures of two bats and 14k gold clasp, h. 2‑7/8” . [400/700]

396 Elaborate Pair of Chinese Famille Rose Tea Cups, Republic Period (1908‑1949), each of inverted bell form, the interior plain, the exteriors richly decorated with two reserve panels of birds and flowers against a dense ground of archaic designs between Greek key and scroll fret borders, the bases each with six-character Yongzheng reign marks in underglaze blue, h. 2‑3/4”. [300/500]

388

397 Japanese Four-Panel Floor Screen, 20th century, painted in ink and soft colors depicting pumpkin and rice with pumpkin vines, the single large unripe pumpkin with attendant vines with fruiting rice plants on the right panel, framed in wood with black-colored surround, signed, h. 35‑1/2”, w. 53‑1/2”. [300/500] 398 Japanese Four-Panel Floor Screen, 20th century, painted in ink and colors depicting a pond scene with Japanese blue flowering iris with a pair of Mandarin ducks and a raised viewing walkway, framed in wood with indigo-colored surround, signed, h. 35‑1/2”, w. 53‑3/8”. [300/500]

399

404 399 Agra Serapi Carpet, 4’1” x 6’. [300/500] Illustrated 400 Antique Kurd Carpet, 4’1” x 7’5”. [300/500] 401 Persian Kerman Carpet, 9’8” x 13’1”. [3500/5000] Illustrated 402 Turkish Oushak Carpet, 9’ x 12’. [3000/5000] 403 Antique Persian Serab Camel-Hair Carpet, 3’6” x 6’2”. [1200/1800]

401

404 Peshawar Sultanabad Carpet, 9’ x 11’10”. [1500/2500] Illustrated

412

405 Oushak Carpet, 8’x 10’8”. [3500/5000]

422 414 Handmade English Design Carpet, 9’ x 12’5”. [2500/4000]

406 Persian Heriz Carpet, 10’2” x 13’. [4000/7000]

415 Tabriz Carpet, 9’ x 12’. [400/700]

407 Agra Bijar Carpet, 9’ x 12’6”. [1500/2500] Illustrated

416 Pair of Verdure Wool/ Silk Tapestries, 2’7” x 7’7”. [2500/4000]

408 Kyle Bunting “Surrender” Pattern Cow Hide Carpet, 6’ x 9’. [500/800]

417 Antique Chinese Peking Carpet, 12’ x 19’3”. [1500/2500] Illustrated

409 Sultanabad Carpet, 7’7” x 9’6”. [1200/1800]

418 Oushak Carpet, 8’2’” x 9’10”. [3000/5000]

410 Turkish Oushak Carpet, 9’ x 12’. [3000/5000]

419 Kazak Carpet, 5’8” x 8’. [300/500]

411 Persian Qashqai Carpet, 5’7” x 8’1”. [1400/1800]

420 Heriz Carpet, 11’ 4” x 8’ 2”. [1800/2500]

412 Sarouk Carpet, 10’ 3” x 14’ 5”. [600/900] Illustrated

421 Agra Serapi Carpet, 8’10” x 11’7”. [1200/1800]

413 Semi-Antique Persian Mashad Carpet, 6’9” x 9’10”. [1200/1800]

422 Antique Persian Bijar Carpet, 11’ x 15’7”. [4000/7000] Illustrated 407

423 Semi-Antique Mahal Carpet, 3’4” x 5’7”. [200/400] 424 Fine Chinese Famille Rose Porcelain Tea Bowl, Guangxu mark and period (1875‑1908) or slightly later, decorated on the interior with a bat encircled by clouds, the exterior decorated with five bats and clouds, the base with a six-character Guangxu reign mark in ironred, dia. 3‑1/2”. [200/400] Illustrated

428

424 426

425

425 Superb Chinese An Hua Decorated Porcelain Wine Cup, probably Yongzheng reign (1723‑1735), the paperthin white porcelain body of inverted bell shape with engraved decoration of dragons and clouds and having a single character in the base, all engraved in the biscuit and glazed with a clear glaze, h. 1‑7/8”, dia. 2‑5/16”. [300/500] Illustrated 426 Unusual Set of Four Chinese Doucai-Decorated Wine Cups, 19th century, delicately enameled in underglaze blue and overglaze red, yellow and green enamels with designs of arched trellises, flowers, vines and hidden characters above a border of ruyi heads, the bases with calligraphy, h. 2‑1/8”. [400/700] Illustrated 427 Good Chinese Famille Rose Porcelain Wine Cup, Republic Period (1908‑1949), the interior plain, the exterior decorated as a strutting cockerel among flowering lilies and rockwork in a garden setting, the base with a four-character Yongzheng mark in underglaze blue, dia. 2‑3/8”. [200/400] Illustrated 428 Chinese Two-Color Yixing Pottery Teapot, first half 20th century, potted in the form of a ribbed pumpkin, the body in buff colored clay, the handle, spout and overlay of leaves and tendrils in green clay, the base with impressed seal, l. 5‑1/2”. [200/400] Illustrated 429 Fine Chinese Monochrome Porcelain Wine Cup, Yongzheng reign mark on base and possibly of the period, of inverted bell shape, the interior plain, the exterior glazed in a raspberry red monochrome glaze, the base with a six-character Yongzheng reign mark in underglaze blue within a double circle, dia. 2‑5/8”. [250/400] Illustrated

429

427

430 Chinese Blue-and-White Porcelain Tea Cup and Fitted Saucer, Republic Period (1908‑1949), the inverted bell-shape tea cup standing on a fitted saucer, each decorated in underglaze cobalt blue with ribboned Buddhistic symbols with borders of ruyi heads and a lappet border at the base, the foot with a six-character Yongzheng reign mark within a double circle, h. 2‑1/4”, dia. 4‑1/2”. [250/400] 431 Chinese Blue and White Porcelain Triple-Gourd Vase, modeled with the triple gourd topped by an elegant elongated neck and decorated in vivid underglaze cobalt blue with stylized leaf designs, h. 7‑1/2”. [200/400] 432 Group of Two Chinese Items, comprised of a carved veined ivory figure of a bearded scholar depicted asleep and wrapped in long robes, h. 2”; and a blue-and-white porcelain seal paste box decorated on the lid with a scholar and an attendant in a garden with rockwork, dia. 3‑5/8”. [125/250]

417

433 Chinese Blue-and-White Porcelain Garlic-Head Vase, the bottle-form body with tapering neck terminating in a garlichead top, decorated in the Yuan style with phoenix birds among vining foliage, h. 8‑5/8”. [400/700]

434 Chinese Wucai-Decorated Porcelain Covered Pen Box, of rectangular outline with tapered corners, the cover and base decorated with figures of dragons and phoenix birds among clouds and flames, the tapered corners with ling-chih, the cover and base with fretwork borders, the base with a six-character Wanli reign mark in underglaze blue within a double rectangular, h. 4‑1/8”, w. 4‑1/4”, l. 11‑5/8”. [800/1200] 435 Two Pieces of Chinese Carved Red Coral, each of branch form, one with the figure of Hotei, the other with a figure holding a fish in a basket, both dyed to enhance the color, h. 4” to 5‑14”. [600/900]

457

455

456 458

436 Chinese Carved Red Coral Group, the branched red coral carved in low relief with the figure of a boy holding up a branch of millet, attached wooden base, h. 5‑3/4”, including stand. [300/500]

450

437 Elaborate Chinese Embellished Rosewood Ruyi Scepter, 19th century, the rosewood body carved with C-scroll decoration and having three inset jade plaques, each with applied hardstone decoration, the wooden body with additional hardstone plaques, l. 19‑1/4”. [2500/4000] Illustrated 438 Small Chinese Blue-and-White Porcelain Meibing Vase, 19th century, of conventional form with wide top, waisted lower body and small lipped spout, decorated in underglaze blue with a continuous landscape of mountains and a lake, the base with a six-character Yongzheng reign mark, h. 6”. [250/400] 439 Chinese Blue-and-White Porcelain Wine Cup, 19th century, decorated on the exterior with the Eight Trigrams of the I Ching, above carp leaping from cresting waves, the base with a six-character Kangxi reign mark within a double circle, dia. 3‑1/8”. [1800/2500]

437

440 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”. [500/800] 441 Chinese Blue-and-White Porcelain Saucer Dish, 20th century, decorated with a central medallion of a Shou character surrounded by five bats holding ribbons and having a border of ruyi heads, the exterior decorated with bats among lotus and foliage, the base with a six-character Qianlong seal mark in underglaze blue, dia. 6‑3/8”. [250/400]

442 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”. [2000/4000] 443 Chinese Blue-and-White Porcelain Globular Vase, Republic Period (1908‑1949), decorated in underglaze blue with a continuous scene of fruiting branches with a border of ruyi heads and key fret at the neck, the base with a six-character Qianlong reign mark in underglaze blue, fitted box, h. 5”. [500/800] 444 Chinese Celadon-and Underglaze-Blue Export Plate, first half 20th century, of conventional European shape, glazed in celadon with a central Shou character surrounded by five stylized archaic bats, wooden easel stand, dia. 9‑1/8”. [150/300] 445 Utagawa Hiroshige (Japanese, 1797‑1858) “Inn at Minakuchi From Tsutaya Tkaido”, color woodblock print, sight 6‑1/4” x 8‑1/4”. Glazed and interestingly matted and framed to resemble an open hand-scroll. [75/125] 446 Small Chinese Scholar’s Desk Celadon Incense Burner, 20th century, the flattened body resting on three feet and having two loop handles, the body and interior glazed in an even crackled celadon glaze and having a sixcharacter Qianlong reign mark on the shoulder arranged in a single line, dia. 4‑3/8”. [300/500] 447 Chinese Underglaze Red Kendi, the compressed globular body with spout and ringed neck decorated in underglaze red with peonies and foliage, a lappet border at the shoulder and a wave pattern border at the neck, h. 6”. [400/700] 448 Utagawa Hiroshige (Japanese, 1797‑1858) “The Cave Shrine of Kannon at Sakanoshita”, Station 49 from the ‘Pictures of Famous Places on the Fifty-Three Stations” series, color woodblock print, sight 13” x 8‑1/2”. Glazed, linen-matted and framed. [200/400] 449 Uttagawa Hiroshige (Japanese, 1797‑1858) color woodblock print, depicting a view of a mountain slope from a bridge, perhaps a fragment of a larger print, sight 5‑1/2” x 3‑3/4”. Glazed, attractively-matted and framed. [75/125] 450 Chinese Rectangular Rosewood Side Table, 19th century, with floating panel top, open scrollwork apron, auxiliary shelf and reeded legs terminating in modified horse-hoof feet, h. 31‑5/8”, w. 16‑3/8”, d. 12‑1/4”. [1200/1800] Illustrated

451 Group of Two Chinese Snuff Bottles, comprised of a celadon-colored jade bottle carved in relief with a boy, a bat and ling chih fungus on the front and a quatrefoil foot rim; the second a red overlay glass on snowflake ground example carved with archaic bronze incense burners, h. 2‑3/4”. [250/400] 452 Group of Five Chinese Glass Snuff Bottles, comprised of a multicolored glass bottle, a white-on-blue overlay bottle, a three-colored overlay bottle, a green-oncamphor bottle, and a green-on-mustard glass bottle, h. 2‑1/2” to 3”. [500/800] 453 Suite of Three Draft Drawings for Emaki Scroll, 19th century, illustrating scenes from traveler’s voyage, sight 9‑1/2” x 14‑1/2”. All glazed, matted and framed. [100/200] 454 Near-Pair of Asian Lacquer-Stained Bamboo Armchairs, the square bamboo spindle backs joined by lower like arms above a pine plank seat of square form, the bamboo legs joined by a bamboo stretcher to all sides, h. 32”, w. 20”, d. 15”. [100/200] 455 Fine Chinese Iron-Red Dragon and Carp Vase, Guangxu mark and period (1875‑1908), of baluster form, finely decorated in iron-red with two shaped reserve panels depicting a five-clawed dragon above a leaping carp among waves, the ground decorated with stylized lotus blossoms and foliage with a lappet border at the base, a border of stylized vines on the shoulder and a border of plantain leaves at the neck, the base with a six-character Guangxu mark in iron-red, h. 9”. The motif of the leaping carp and dragon represents a candidate to the Imperial examinations (the carp), succeeding at the examinations and becoming an official (the dragon). [500/800] Illustrated 456 Fine, Thin Chinese Iron-Red Bottle Vase, 19th century, with globular body and cylindrical neck, very thinly potted, decorated in iron-red with five Imperial dragons pursuing Flaming Pearls among clouds and flames, the recessed base with a four-character Qianlong mark in iron-red, wooden display stand, h. 8‑1/2”, excluding stand. [300/500] Illustrated 457 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”. [250/400] Illustrated

465 467

469

468

462 Good Pair of Chinese Famille Rose Porcelain Bowls, Republic Period (1908‑1949), the interiors plain, the exteriors decorated with four circular reserve panels of antiques against a ground of fruiting and flowering gourd vines between borders of Greek key decoration, the base with a six-character Qianlong seals in red, dia. 6‑1/8”. [400/700] 463 Japanese Oak Hibachi, late 19th century, the rectangular top centered by inset glass over a metal receptacle, raised on a rectangular base, one side fitted with three short drawers, h. 13‑1/2”, w. 28”, d. 21‑1/2”. [200/400]

466 458 Fine Chinese Iron-Red Porcelain Brush Pot, 19th century, of cylindrical form with flattened lip rim, decorated with a continuous scene of five-clawed dragons among clouds, flames and pearls with a border of cresting waves at the base and a geometric band at the top, the base with a six-character Qianlong seal mark in underglaze blue, wooden display stand, h. 5‑3/8”, excluding stand. [400/700] Illustrated Previous Page 459 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] 460 Fine Chinese Famille Rose Bottle Vase, Republic Period (1908‑1949), the thinly potted bottle base decorated in famille rose enamels with a continuous pattern of peaches, pomegranates and lychees with flying bats under a border of flowers and erect leaves at the shoulder, the base with a six-character Qianlong seal mark in red, h. 5‑1/2”. [400/700] 461 Superb Pair of Famille Rose Chinese Porcelain Bowls, Republic Period (1908‑1949), each of inverted bell-shape with slightly everted rim and recessed foot, the interior decorated with five iron-red bats, the exterior decorated with entwined branches and foliage surrounding flowers, the base with an underglaze blue Qianlong seal mark, dia. 4‑3/8”. [600/900] Illustrated

464 Pair of Chinese Famille Rose Porcelain Hat Vases, 19th century, each of slightly tapering cylindrical form with flared lip rims, decorated with continuous scenes of boys playing in a garden beneath a flowering tree and having a harlequin border at the foot, the base with a six-character Daoguang seal mark in iron-red, h. 12‑1/8”. [600/900] 465 Chinese Famille Verte Porcelain Bottle Vase, second half 19th century, the elongated ovate body with a straight tubular neck, the body decorated with a continuous view of a flowering tree and scattered butterflies above a floral border at the foot, the neck decorated with alternating iron-red and green plantain leaves in an upright posture, the base with a double ring in underglaze blue, h. 13‑1/8”. [500/800] Illustrated

461

469 Elegant Chinese Famille Rose Porcelain Bottle Vase, Republic Period (1908‑1949), the tapered baluster body with tubular neck and flared lip rim finely decorated as a flowering tree sprouting from rockwork and having a nesting bird, scattered flowering plants at the base of the tree and an additional spray of flowers on the neck, the base with a six-character Qianlong seal in iron-red, h. 10‑1/8”. [400/700] Illustrated 470 Chinese Famille Rose Porcelain Cache Pot, 20th century, of conventional bulbous form with flattened lip rim, decorated in heavy famille rose enamels with two reserve panels of flowers, birds and insects against a ground of bats, lotus and scrolling foliage, the base with a six-character Kangxi reign mark in iron-red, h. 6‑3/4”, dia. 9”. [400/700]

471

466 Food Chinese Famille Rose Porcelain Brush Pot, Republic Period (1908‑1949), of cylindrical form with flattened in-turned lip rim, decorated in famille rose enamels with a continuous landscape of an island with a stilted pavilion with scholars and pine and flowering plum trees alongside a lake with boats and mountains in the distance, the base with a Jiaqing seal mark in iron-red, h. 5‑1/4”, dia. 5”. [500/800] Illustrated 467 Good Chinese Famille Rose Porcelain Baluster Vase, Republic Period (1908‑1949), the thin porcelain body of heavy baluster form with flared lip rim decorated in famille rose enamels with a continuous scene of the Eight Immortals and attendants dancing in a verdant walled garden with flowering plants and trees, the base with a six-character Qianlong seal mark in iron-red, h. 9‑5/8”. [400/700] Illustrated 468 Chinese Famille Verte Porcelain Cache Pot, Guangxu mark and period (1875‑1908), the circular body tapering at the base, decorated in famille verte enamels with a continuous scene of ladies and children in a rocky fenced garden between geometric borders at the foot and lip rim, the base with a six-character Guangxu reign mark in ironred, h. 4‑7/8”, dia. 5‑1/4”. [300/500] Illustrated

471 Unusual Chinese SoftwoodandPorcelain Storage Cabinet, 20th century, composed of two upper doors over six drawers, each inset with famille jaune/ noir porcelain panels of plants and birds, h. 50‑5/8”, w. 28‑5/8”, d. 15‑5/8”. ex coll. LoydPaxton, Dallas, Texas. [1200/1800] Illustrated

473

472 Pair of Chinese Polychrome-and-Gilt “Palace” Vases, 20th century, each of baluster form with molded dragons on the shoulders and double foo dog handles at the neck, glazed in polychrome enamels depicting phoenix birds, sparrows and quail among flowering peonies, wooden stand, h. 47”, including stand. [1800/2500] 473 Chinese Famille Rose Double Gourd Vase, Republic Period (1908‑1949), of traditional form, densely decorated in famille rose enamels with fruiting gourd vines and butterflies with borders of ruyi heads at the lip and shoulders and a stylized border of ruyi heads and lotus petals at the base, the base with a six-character Qianlong seal mark in underglaze blue, h. 12‑1/8”. [1200/1800] Illustrated

480

477 Chinese Green Enameled Dragon Dish, Republic Period (1908‑1949), decorated in overglaze green with a five-clawed dragon pursuing the Flaming Pearl among flames on the interior and two dragons on the exterior, the base with a six-character Qianlong seal in underglaze blue, dia. 7‑3/8”. [800/1200] Illustrated 478 Chinese Famille Verte Porcelain Brush Pot, 19th century, of cylindrical form, decorated in famille verte enamels with a continuous scene of military figures in a tent enclosure in a landscape setting of trees and rocks, all between interlocking triangle borders, h. 5‑7/8”, dia. 7‑1/4”. [500/800]

474 Chinese Famille Jaune Porcelain Saucer Dish, Guangxu mark and period (1875‑1908), the interior with a central Shou medallion surrounded by four circular medallions of dragons and phoenix birds against a yellow ground with fruiting gourd vines, the exterior with three floral sprays and the base with a six-character Guangxu reign mark in iron-red, dia. 8”. [300/500]

477

475 Unusual Chinese Enameled Porcelain Saucer Dish, Xuantong mark (1909‑1911) and probably of the period, decorated on the interior in famille rose enamels with an ear of corn, corn stalk and a stem of rice, the exterior decorated with four bats in iron-red, dia. 8‑3/4”. [250/400] 476 Chinese Doucai-Style Glazed Porcelain Covered Stem Bowl, the globular body resting on a splayed foot and having a fitted cover with pointed finial, glazed in a continuous scene of crested cranes among clouds, the interior of the base with a six-character Chenghua reign mark, h. 6‑1/2”. [100/200] 479 Chinese Famille Verte Porcelain Saucer Dish, 19th century, the deep saucer dish decorated in famille verte enamels depicting three warriors, a groom, a horse trader, a boy and a spotted horse being evaluated for sale, the reverse plain, dia. 11‑1/4”. [300/500] 480 Pair of Chinese Famille Rose Porcelain Covered Storage Jars, late 19th century, each of globular form with fitted covers decorated in famille rose enamels with continuous scenes of figures in a garden setting playing Go, the bases with six-character Guangxie reign marks in underglaze blue, h. 9”. [1200/1800] Illustrated 481 Chinese Famille Jaune Porcelain Wine Ewer, the porcelain body in the form of the Chinese character “Fu”, which means happiness or prosperity, the body enameled in overglaze enamels with central scenes on the front and reverse of deities and borders of flowers and butterflies, the handle and spout enameled in imitation of rattan wrappings, h. 8‑5/8”. [300/500] 490

482 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] 483 Chinese Famille Verte Porcelain Yen-Yen Vase, late 19th century, the baluster-form body topped by a flared neck, decorated all over with flowering vines with dense foliage, the base with a double circle in underglaze blue, h. 18”. [700/1000] 484 Chinese Famille Rose Porcelain Saucer Dish, Guangxu mark and period (1875‑1908), the interior decorated with central peaches and a bat with four medallions of characters surrounded by lotus blossoms and scrollwork and interspersed with double cash symbols and ribbons, the exterior decorated with three groups of flowers and vines, the base with a six-character Guangxu reign mark in iron-red, dia. 7‑5/8”. [250/400]

487 Aesthetic Movement Upholstered Sofa, late 19th/ early 20th century, in the Turkish taste, the padded rectangular backswept back joined by outscrolled arms to the padded seat, above a fringe skirt, raised on molded bun feet, h. 37”, w. 58”, d. 33‑1/2”. [300/500] 488 Aesthetic Movement Upholstered Sofa, late 19th/ early 20th century, in the Turkish taste, the padded rectangular backswept back joined by outscrolled arms to the padded seat, above a fringe skirt, raised on molded bun feet, h. 37”, w. 58”, d. 33‑1/2”. [300/500] 489 English Polychromed Black Lacquer Tray Table, early 20th century, the square tray with a full raised edge, and featuring a gilded and polychromed scene of ducks in an aquatic garden, in the chinoiserie taste, raised on a collapsible black-painted wooden stand with shaped legs, h. 22”, w. 21”. [150/300] 490 Persian Illuminated Manuscript Leaf, 19th century, depicting a courtly garden scene, sight 9‑1/8” x 5‑1/8”. Matted and framed. [700/1000] Illustrated 491 Persian Illuminated Manuscript Leaf, 19th century, depicting an exotic blue bird, sight 8‑1/8” x 5”. Glazed, matted and framed. [500/800] Illustrated 492 Indian Illuminated Manuscript Leaf, 19th century, depicting scenes from the life of Krishna, sight 9‑1/8” x 5‑1/2”. Glazed, matted and framed. [500/800] 493 Dramatic Silvered Brass-Mounted Ivory TuskFramed Looking Glass, first quarter 20th century, of teardrop form, the argente mount centered with a relief bowknotted floral garland of Louis XVI inspiration, h. 15‑1/2”, w. 15”. [400/700]

491

485 Chinese Famille Verte Porcelain Bottle Vase, 20th century, the spherical neck, decorated on the body with three Buddhistic lions playing with a brocade ball, the neck decorated with chrysanthemum flowers on a ground of stylized foliage, h. 16‑1/4”. [700/1000] 486 Chinese Wucai-Decorated Apple Vase, 20th century, the bulbous shaped body with low straight lip rim decorated in wucai enamels with four medallions of fiveclawed dragons surrounded by clouds and interspersed with ling-chih, the base with an artemesia leaf border and having a border of ruyi heads at the shoulder, the base with a six-character Wanli reign mark within a double circle in underglaze blue, h. 3‑5/8”. [400/700]

494 Royal Worcester Aesthetic Vase, ca. 1884, the bottleform vase decorated with a matte glaze and raised on japonesque decoration in gold, platinum and copper, and with blue phoenix birds decorated in raised gilt resting on platinum pine branches with copper cones, signed with the green Royal Worcester mark for 1884, together with impressed pattern numbers and an impressed signature, and overglaze “PATENT METALLIC” in puce, h. 15‑3/4”, dia. 4”. [200/400] 495 After Max Nonnenbruch (German, 1857‑1922) “The Water Carrier”, oil on board, inscribed lower left “Copy Nonnenbruch”, 5‑1/4” x 4”. Presented in a period Art Nouveau-style frame. [100/200] 496 Rembrandt van Rijn (Dutch, 1606‑1669) “Joseph Telling His Dream” and “A Bearded Man, in a Furred Oriental Cap and Robe: the Artist’s Father”, two etchings on laid paper, latter with a watermark, former with visible plate marks, former 4‑5/8” x 3‑3/8”, latter 5” x 4‑3/8”. Both matted and framed. [700/1000]

497 Continental School (17th Century) “King Solomon With an Alchemist, About to Turn Lead in to Gold”, oil on canvas, unsigned, 32” x 46”. Presented in a giltwood frame. [500/800]

505

498 North African Ebonized-and-Inlaid Occasional Table, early 20th century, the decagonal top with an elaborately inlaid border and central star pattern, raised on a conforming base with inlaid accents and arched cut-outs, h. 25‑1/2”, dia. 24”. [1000/1500]

502 Pair of Edwardian Mahogany and Leather Upholstered Club Chairs, early 20th century, each with a padded back-scrolled ,back-tufted and joined by rounded arms to the padded seat, the front with brass tack accents, raised on tapering square legs, h. 34”. [800/1200]

499 Unusual Late Victorian Mahogany Armchair, late 19th century, the padded domed back surmounted by a scrollcarved crest, joined by molded closed arms to the padded seat, raised on tapering square legs, h. 43‑1/2”. [150/300]

503 Continental Inlaid Walnut Coffee Table, early 20th century, the oval floral inlaid top with molded edge mounted to a base with four carved griffins joined by a carved stretcher and turned finial, h. 24”, w. 46”, d. 34”. [700/1000]

500

500 Victorian Ebonized Work Table, mid‑19th century, the oval top hinged and opening to a void interior, above a frieze fitted with a slide, raised on lyre-form end supports joined by a turned stretcher and ending in splayed legs to gilt bail feet, the whole with polychrome accents in the chinoiserie taste, h. 30‑1/4”, w. 21”, d. 16”. [1800/2500] Illustrated 501 Edwardian-Style Leather-Upholstered Chesterfield Sofa, early 20th century, the rounded and curved back tufted and above a double-cushioned seat, the front tufted and with decorative brass tacks, raised on casters, h. 30”, w. 75”, d, 35” [400/700]

506

504 Victorian MarquetryInlaid Mahogany and Burled-Walnut 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 insetleather 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”. [250/400]

507

507 detail 505 Victorian Mahogany “Cock Fighting” Chair, fourth quarter 19th century, the back with a pierced-and-carved central splat depicting a rifle tied by a ribbon-and-drop tassel, the crest rail with small pull-out drawers fitted into each end, the seat covered with red leather and raised cabriole legs, h. 32”, w. 22”, d. 20”. [400/700] Illustrated

508

506 Francis S. Anderton (British, 1867‑1909) “Portrait of a Young Scholar Seated Beneath an Armorial with the Motto Flectimus Nunquam”, oil on canvas, signed and dated lower left “F. S. Anderton 99”, 45‑1/2” x 30”. Presented in an elaborate Louis XV-style frame. [1400/1800] Illustrated

507 American Floor Globe by Gilman Joslin, fourth quarter 19th century, the 12” globe with a cartouche reading “Joslin’s Terrestrial Globe, containing all of the latest discoveries and geographical improvements, also the tracks of the most celebrated circumnavigators compiled from Smith’s New English Globe, with additions and improvements by Annin and Smith, Revised by G.W. Boynton, Manufactured by Gilman, Joslin, Boston”, with a nickel-plated calibrated full meridian within a horizontal band decorated with an engraved calendar and zodiac, the Dakotas shown as one territory, resting on the original tripod base, of turned mahogany legs terminating in brass caps, h. 37”, dia. 18”. Provenance: George Glazer, New York, New York. [5000/8000] Illustrated 508 Brass Van Cort Instrument Maker Telescope, on an oak folding tripodal base, the instrument 38” long, engraved L.E. Van Cort, San Francisco, h. 65”. [700/1000] Illustrated 509 Continental Stained-Maple Five-Tread Folding Ladder, mid‑20th century, h. 42”, w. 15”. [200/400] 510 Attributed to Anders Leonard Zorn (Swedish/ American, 1860‑1920) “Study of Dense Foliage”, watercolor and gouache on paper, signed and dated lower right “Zorn 89”, sight 9” x 12‑3/4”. Glazed, matted and framed. [600/900]

516 Edwardian Mahogany and Inlaid Elmwood Bookmill, c. 1900, having an inlaid top and two lower shelves with fitted partitions and mounted to a base for rotation, h. 34”, w. 18”, d. 18”. [300/500] 517 Model of a Single-Masted Yacht, depicted with three sails and a cream-and-black hull, with a mahogany deck and a realistically depicted cabin, with a wheel mounted in the stern, h. 23”, w. 5”, l. 22”. [75/125] 518 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]

523

519 Fine English Victorian White Owl Taxidermy, mid‑19th century, mounted amongst native foliage, in a plexiglass case, h. 17‑1/2”, w. 14‑1/2”, d. 8”. [800/1200] Illustrated

511 Betty Heldrick (German, 1869‑1950) “Peaches”, watercolor and wash over graphite on wove paper, unsigned, reverse with a Shepherd Gallery, New York exhibition label, sight, 13” x 4‑1/2”. Glazed, Frenchmatted and presented in an ebonized frame. [200/400] 512 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”. [500/800] 513 Twenty-Four Decorative Bindings, mid‑19th to early 20th century, including works by Barrett Browning, Bacon, Poe, Cowper, Shakespeare, Flaubert and others, in full or half leather, with gilt tooling and decoration, the largest 9‑1/2” x 6‑1/4”, the smallest 6‑1/4” x 4”. Complete list with descriptions available on request. [75/150] 514 Charles Dickens [“Boz”] (1812‑1870), editor Memoirs of Joseph Grimaldi (New York: Colyer, 1838), second American edition, second state, duodecimo, with engraved frontispiece by N. Currier, in blue paper boards, the tan linen spine with traces of paper label, 7‑1/2” x 4‑1/8”, presented in custom red cloth folding boards and red quarter leather slipcase with gilt fillet, the spine with raised bands and gilt lettering, 8” x 5‑1/2” [60/90] 515 Nine Decorative Bindings, early 19th to early 20th century, including works by Holmes, Dumas, and Scott in half or full leather, with a fine tree calf copy of Turner’s Short History of Art, three volumes of Antequil’s Universal History in full leather, and two handsome gilt-embossed cloth volumes, the largest 10‑3/4” x 7‑1/4”, the smallest 6‑1/4” x 4‑1/4”. Complete list with descriptions available on request. [40/70]

519 520 Victorian Painted Wrought-Iron Garden Chair, late 19th century, the rounded crest over a scrolling back, the slatted seat raised on twisted cluster legs, h. 44‑1/2”. [150/300] 521 Victorian Painted Wrought-Iron Garden Armchair, late 19th century, the shaped back above a scrolling back, joined to the slatted seat by slatted scrolling arms, raised on cluster legs, h. 44‑1/2”. [150/300] 522 Victorian Cast-Iron Garden Urn, fourth quarter 19th century, English or American, of tazza form, with scalloped rim and fluted body, h. 12‑3/4”, dia. 20”. [150/300]

523 A Large and Fine Victorian Diorama of a Scottish Landscape, bearing a label inscribed “St. Helen’s Church & Mansion by Loch Awe, made by Chas Grant 1883”, the large glass-fronted wooden case containing a Gothic church and mansion connected by a bridge with a painted landscape background, decorated with moss, mica, shells and pebble; tintype of the maker lower right corner, h. 29‑1/4”, w. 39”, d. 19”. [500/800] Illustrated

524

524 Impressive Victorian Burl-Inlaid Ebonized-and Bronze-Mounted Sideboard in the Aesthetic Taste, fourth quarter 19th century, the upper half with a tripartite mirror, featuring a central arched mirror flanked by vertical rectangular mirrors separated by fluted columns with gilt-bronze capitals, the base with a central glazed door and flanked by an open shelf section and paneled doors below with Wedgwood plaques, h. 106‑1/2”, w. 74”, d. 19”. [4000/7000] Illustrated 525 Victorian Ebonized and Curved Glass Parlor Cabinet, fourth quarter 19th century, the central door with a Wedgwood plaque and gilt-brass trim and flanked by in-curved glass doors and gilt-incised details throughout, h. 41‑1/2”, w. 70”, d. 20‑1/2”. [1000/1500] 526 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”. [250/400]

534

527 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”. [400/700] 528 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”. [300/500] 529 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”. [250/400] 530 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”. [100/200]

531 English Parian Porcelain DoubleAngel Wall Font, mid‑19th century, the two sleeping angels supporting a shellshaped font, one carrying a bouquet of flowers, h. 11”, w. 7”, d. 5”. [200/400]

539

532 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”. [200/400] 533 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”. [250/400] 534 Petite Edwardian Tiger Cherry, Polychromed and Rosewood Banded Desk, ca. 1900, in two parts with the upper section having a central arched hooded cavity with mirror back and drawer below and flanked by side cabinets, the base with a curved drawer and raised on tall slender square tapered legs ending in spade feet, h. 45”, w. 30”, d. 17”. [800/1200] Illustrated previous page

541

535 Pair of American Acid-Etched Glass Liqueur Bottles with Sterling-Silver Clad Stoppers, first quarter 20th century, each of cylindrical form, paneled on the interior and decorated on the shoulder with acid-etched meander lines, swags and flowers, the cylindrical stopper clad in sterling silver, h. 11‑1/2”, dia. 3‑1/4”. [400/700] 536 Two Anglo-American Silver-Mounted Cut-Glass Cologne Bottles, first quarter 20th century, each of spherical form with glass stopper, the smaller cut in a diaper pattern and hinged sterling silver cap hallmarked Birmingham, 1920‑1921, by Hilliard & Thomason, h. 4‑1/4”, the larger cut in a diamond pattern with fitted silverplate cap, the top inset with faux tortoiseshell, h. 5‑1/4” [75/125] 537 Three Anglo-American Cut-Glass Powder Jars, first quarter 20th century, including a brilliant-cut example cut with fans, diamonds and hobstars, with a silverplate cap monogrammed “M”, h. 2‑3/4”, dia. 4‑1/4”, a gadrooncut example with a La Pierre Mfg. Co. sterling silver cap monogrammed “EMW”, h. 3”, dia. 4‑1/4”, and an paneled example wheel-cut with ferns and flowers, with a pale green guilloche enamel gilt metal cap, h. 3-1/4”, dia. 4‑1/4”. [75/125] 538 Edwardian Satinwood Occasional Table, ca. 1900, the canted rectangular top with a raised banded edge and centered by two polychrome putti among clouds, raised on lyre-form end supports joined by doubleturned stretchers and ending in splayed legs, h. 27‑1/2”, w. 22‑1/2”, d. 15”. [200/400]

539 Fine Pair of Zitan and Hetian Jade Table Screens, each zitan frame and stand carved in low relief with dragons and scrollwork in a simplistic early Qing dynasty style, the thick dark-green jade plaques each carved in low relief with scenes of pairs of red-crowned cranes in lush naturalistic settings of rockwork and water with pine trees, flowering prunus trees, fruiting shrubs and ling-chih, each carved in delicate detail and having finely finished backgrounds, h. 24‑7/8”, w. 17”, d. 9”. [7000/10000] Illustrated 540 Chinese Ink on Paper Scroll, signed, Li Shizhou (d. 1770), depicting a lone figure in a mountainous landscape, mounted in purple silk and housed in an embellished zitan scroll box, the top with hardstone applique of bamboo, orchids and flowering plum trees, w. 14”, l. 69‑1/21”. [800/1200]

552

541 Lady’s Chinese Embroidered Silk Informal Robe, first quarter 20th century, the purple silk ground embroidered in multi-colored silk with butterflies among clouds and trimmed in multicolored silk and metallic thread with floral bands, the peach-and-cream colored silk sleeves embroidered with flowers and butterflies with black silk banding embroidered with prunus and butterflies, the robe with low collar and crossoverfront fastened with gilt-metal buttons, h. 53‑1/2”. [600/900] Illustrated

542 Pair of Chinese Famille Rose Porcelain Rice Bowls, Republic Period (1908‑1949), each decorated with peonies, begonias and a magpie in flight against a deep blue ground and having the seal of the Dowager Empress with three characters in red and the base having a fourcharacter mark in red, dia. 4‑5/8”. [600/900] 543 Chinese Canton Enamel Tea Cup and Saucer, 19th century, composed of a teacup, cover and saucer decorated with painted enamels of scrolling flowers against a pink ground, the saucer with a central figural medallion, h. 3‑1/4”. [300/500]

544 Elaborate Chinese Famille Rose Porcelain Tea Bowl, Republic Period (1908‑1949), of conventional form decorated on the interior with five iron-red bats and on the exterior with sinuous horned dragons against a dense floral and vine ground, the base with a six-character Qianlong seal mark, dia. 4‑1/4”. [400/700] 545 Chinese Uncut Machine-Embroidered Rank Badge, 20th century, woven in bright colors with applied lion emblem of second rank military, the two sections un-separated, h. 10‑7/8”. l. 22‑7/8”. [400/700] 546 Monumental Pair of Chinese Famille Rose “Palace” Vases, each of baluster form with cylindrical neck and rolled lip rim, decorated with reserve panels of court figures and royalty at leisure, against a ground of scrolling peonies and foliage against a rose pink ground, h. 42”. [500/800] 547 Chinese Carved Jadeite Pendant, the pale, mint-green stone of rectangular outline carved in low relief as a cluster of peaches and foliage, the stone thin and translucent, h. 2‑1/8”. [100/200] 548 Chinese Enameled Porcelain Bottle Vase, 20th century, the bulbous body with tubular neck decorated in blue and gray enamels as blue flowers with gray foliage, the base with a six-character Qianlong reign mark in ironred, h. 12‑1/2”. [200/400] 549 Good Japanese Embroidered Tobacco Pouch, Meiji period (1868‑1912), the leather-bodied pouch embroidered on the exterior with a dragon among clouds executed in French knots and having a brass dragon clasp, multi-chain attachment and a circular ojime centered with a cast-bronze plaque of a dragon, l. 5‑1/2”. [300/500] 550 Chinese Carved Jadeite Pendant, the mottled lavender and pale-green stone of tapered rectangular outline carved in low relief as a cluster of gourds with a small squirrel and a cash symbol, h. 2‑5/8”. [300/500] 551 Chinese Carved Jadeite Pendant, the pale green stone with faint yellow traces of triangular outline carved in low relief as a ruyi scepter among pierced vines, h. 2‑3/4”. [100/200] 552 Chinese Lady’s Elaborate Ceremonial Collar, 19th century, composed of overlapping cloud-shaped panels with attached streamers, all embroidered in silk floss with a phoenix in the front, a dragon in gold thread on the back and scattered flowers, bats, butterflies and auspicious emblems,h. 47”, from top of shoulder to base of longest streamer. [600/900] Illustrated

557

555 556

559 558

557 Chinese Lady’s Silk Embroidered Skirt, 19th century, the pleated skirt with yellow silk ground bordered in blueand-gold brocade, the lower third of the skirt decorated in silk and gold thread embroidery with dragons above cresting waves and rockwork with background decoration of bats, clouds and Buddhistic symbols and interspersed with narrow panels of phoenix birds, the designs worked in satin, chain and Forbidden Stitches, l. 40‑3/8”. [800/1200] Illustrated 558 Chinese Lady’s Silk Embroidered Skirt, 19th century, the pleated skirt with red figured silk ground bordered in black silk bands with embroidered flowers in silk and Buddhistic symbols in gold thread, the skirt with two elaborate panels of the Eight Buddhistic symbols among flowers and stylized foliage, the two panels separated by narrow panels embroidered with flowers and butterflies, the designs worked in satin and Forbidden Stitches, l. 37‑3/8”. [500/800] Illustrated

560

553 Chinese Tri-Fold Embroidered Silk Compact Cover, first quarter 20th century, the blue silk body with a cream silk cut-out holder embroidered with flowers and a black silk compact compartment with embroidered Chinese characters and flowers, h. 3‑3/8”, w. 3‑3/8”. [75/125] 554 Chinese Lady’s Pleated Cream Silk Skirt, 19th century, the wrap around skirt with tack vertical pleats, embroidered vertical borders enclosing panels of dragon and phoenix in gold thread among clouds above Forbidden Stitch waves, l. 34”. [400/700] 555 Chinese Lady’s Silk Embroidered Skirt, 19th/20th century, the pleated skirt with red figured silk ground bordered in two-toned blue embroidered bands of flowers and fruit, the lower third of the skirt decorated in silk and gold thread embroidery depicting pavilions in gardens with bats and flowers and interspersed with narrow panels of embroidered butterflies and flowers, the designs worked in satin and Forbidden Stitches, l. 37‑5/8”. [500/800] Illustrated 556 Chinese Lady’s Silk Embroidered Skirt, 19th century, the pleated skirt with cream figured silk ground bordered in black silk bands, the lower third of the skirt with two large panels densely decorated with blue peonies and multi-colored butterflies and separated by narrow panels of embroidered orchids and prunus blossoms, the designs worked in densely-sewn satin stitches, l. 39”. [600/900] Illustrated

559 Chinese Lady’s Silk Embroidered Skirt, 19th century, the pleated skirt with blue figured silk ground with applied woven floral borders, and with two panels of peonies, bats and gourds among flowers and trailing foliage separated by narrow pleated panels of embroidered flowers and bats, the designs worked in satin and Forbidden Stitches, l. 37‑5/8”. [400/700] Illustrated

560 Chinese Lady’s Woven Informal Court Robe, first quarter 20th century, the blue silk ground woven with gold-colored designs of five-clawed dragons among clouds and auspicious symbols above cresting waves and a banded lower border, h. 53‑5/8”. [800/1200] Illustrated 561 Elaborate Chinese Lady’s Embroidered Overvest, first quarter 20th century, the sleeveless vest with rank badges on front and reverse, the front opening with silk frog fasteners, the black ground embroidered with gold thread dragons among clouds above waves and auspicious symbols, the bottom of the vest with green silk net and orange silk fringe, h. 43”. [400/700] 562 Unusual Child’s Kessi and Embroidery Dragon Robe, 19th century, the blue-ground kessi woven with fiveclawed dragons among clouds, Buddhist symbols and bats above a striped lower border, the robe made for a male child and having horse hoof cuffs, h. 38‑3/8”. [400/700]

567

566 Chinese Carved Jadeite Pendant, the mottled yellow and white stone of triangular outline carved in low relief as a large gourd surrounded by vining foliage, h. 2‑1/4”. [100/200] 567 Chinese Carved Celadon and Russet Jade Pebble Pendant, of pear-shape carved on the face in deep relief as an elephant with back-turned head looking at a playful monkey, the stone of even celadon color with russet skin, attached to a silk cord, h. 3‑3/8”. [1800/2500] Illustrated 568 Good Chinese Scroll Painting of the Three Star Gods and Attendants, dated 1895, signed Huian Qian, executed in colors on paper depicting Fu-Shou-Lu with attendants and children holding a lotus, ling-bi and staff and attended by a deer, the calligraphic title says the scroll was painted in the 21st year of the Guan Xu reign (1895), signed and with seals, h. 87”, w. 31‑5/8”. [2000/4000] 569 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”. [200/400] 570 Good Chinese White Jade Snuff Bottle (1750‑1820), the slightly greenish white jade with traces of ochre skin from the original pebble carved in a flattened rectangular shape, the face carved in low relief with a scene of two monkeys among pine trees, one holding a peach, the other hitting a bee’s nest with a pole, one tree trunk and the bee’s nest picked out in traces of the ochre skin, the bottle well-hollowed and resting on a neatly carved foot, stopper lacking, h. 2‑3/4”. [4000/7000]

563 Good Chinese Embroidered Silk Snuff Bottle Pouch, 19th century, of conventional heart shape, the pale yellow silk body embroidered in metallic and silk threads with scenes of a shrine in a garden and two frogs, h. 3‑5/8”. [75/125] 564 Chinese Silk Kessi Chair Cover, 19th century, of rectangular outline, the yellow ground woven with two roundels of peaches and cranes surrounded by bats, clouds and Buddhist symbols and corner brackets of clouds and Buddhist symbols, backed in solid blue silk, w. 19”, l. 60‑1/2”. [400/700] 565 Japanese Lady’s Embroidered Silk Kimono, 20th century, the cream-colored silk body embroidered in polychrome silk and metallic threads with an overall design of red-crested cranes embroidered in multi-colored metallic threads among pine trees and clouds, the kimono lined in red silk, l. 73”. [300/500]

571 Chinese Carved Celadon and Russet Jade Pendant, 19th century, of rectangular form carved in low relief on the russet infused face with two figures beneath a pine tree, the reverse carved as fruiting grape vines, h. 2‑1/2”. [900/1200] 572 Chinese Carved Pale Celadon Jade Pendant, 19th century, of rectangular form carved in low relief on the face with a sage riding a kylin framed in a dragon border, the reverse carved as a flowering lotus plant within an identical border, h. 2‑3/8”. [1400/1800] 573 Chinese Carved Jadeite Pendant, the mottled white and russet colored stone of rectangular outline carved in relief as a cluster of gourds with a hydra dragon crawling through the gourds, h. 2”. [150/300] 574 Chinese Carved Jadeite Pendant Necklace, the mottled yellow-and-red stone of oval outline carved in low relief as a central vase surrounded by scrolling foliage and suspended on a silk cord with a turquoise bead and an “Endless Knot”, h. 2‑1/4”. [250/400]

577

578

579 Spanish Carved Polychromed and ParcelGilt Armorial Plaque, mid‑20th century, the central shield depicting a carved eagle with gilded crown, h. 28”, w. 19”. Provenance: The Spanish Executive Offices, World Trade Center, New Orleans, Louisiana. [300/500] Illustrated

575 Chinese Yellow Jade Bead Necklace, composed of spherical yellow jade beads strung as a continuous strand with knots between each bead, the color enhanced, l. 34”. [250/400] 576 Chinese Silk, Gemstone and Embroidery Evening Bag, first half 20th century, the silk body on a brass frame, the face with a panel of metallic thread embroidery of frolicking fish among waves, the edges with silk embroidery of flowers and auspicious symbols and the frame and clasp set with agate, lapis, jade, turquoise, split pearls and coral, h. 8‑1/4”, w. 10‑1/2”. [150/300] 577 Spanish Carved, Polychromed and ParcelGilt Armorial Plaque, mid‑20th century, the central shield depicting a Bishop’s Mitre and three fleur-de-lis, h. 28”, w. 19”. Provenance: The Spanish Executive Offices, World Trade Center, New Orleans, Louisiana. [300/500] Illustrated 578 Spanish Carved, Polychromed and ParcelGilt Armorial Plaque, mid‑20th century, the central shield depicting the Arms of the Admiralty of Castile, which was later adopted by Christopher Columbus, h. 28”, w. 19”. Provenance: The Spanish Executive Offices, World Trade Center, New Orleans, Louisiana. [300/500] Illustrated

580 Spanish Carved, Polychromed and Parcel-Gilt Armorial Plaque, mid‑20th century, the central shield depicting coat of arms the Kingdom of Granada, h. 28”, w. 19”. Provenance: The Spanish Executive Offices, World Trade Center, New Orleans, Louisiana. [300/500] Illustrated

580

579

581 Spanish Carved, Polychromed and ParcelGilt Armorial Plaque, mid‑20th century, the central shield depicting “The Arms of the Count of Toulouse, Ancient Rulers of Occitavia including the Aran Valley”, h. 28”, w. 19”. Provenance: The Spanish Executive Offices, World Trade Center, New Orleans, Louisiana. [300/500] Illustrated

582

581

582 Spanish Carved, Polychromed and ParcelGilt Armorial Plaque, mid‑20th century, the central shield depicting the third quarter coat of arms, “The Crown of Aragon”, h. 28”, w. 19”. Provenance: The Spanish Executive Offices, World Trade Center, New Orleans, Louisiana. [300/500] Illustrated 583 583 Spanish Carved, Polychromed and Parcel-Gilt Armorial Plaque, mid‑20th century, the central shield depicting the second quarter coat of arms, the Kingdom of Leon, h. 28”, w. 19”. Provenance: The Spanish Executive Offices, World Trade Center, New Orleans, Louisiana. [300/500] Illustrated

585

584 Continental FourPanel 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”. [500/800]

585 Iberian Carved Walnut Hall Chair, third quarter 19th century, in the renaissance taste, the rectangular padded back flanked to either side by lion finials and caryatid figures, joined to the padded seat by downswept arms ending in ram’s-head hand rests, the apron with foliate carvings centered by a satyr, joined to the box stretcher by fluted and bulbous circular uprights, raised on turned bun feet, the whole upholstered in period embroidered velvet, h. 42‑1/2”. [500/800] Illustrated

589

588 590

590 Icon of Mary and Christ Child, probably Greek, first quarter 19th century, painted on wooden panel with a curved front, the icon depicting both, Mary and the Christ child with goldleaf halos, the baby carrying a scroll, carefully rendered faces contrast to the flat painting of their bodies and clothes, h. 12”, w. 10‑1/2”. [300/500] Illustrated 591 Carved Wooden Figure of St. George, third quarter 19th century, the polychrome figure depicted with downcast eyes, his arm raised to spear the dragon, dressed in a red cape, a green helmet, a flesh-colored kilt and silver mail, mounted on a modern wooden plinth, h. 18‑1/2”. [200/400]

586 Victorian Gilt-Copper Electrotype Ewer and Basin in the Mannerist Taste, 1865, Elkington & Co., Birmingham, in the 16th century French manner of Francois Briot, including a lidded ewer, h. 11‑3/4”, and circular basin, dia. 8”, both decorated all over with mascarons, human figures, animals and mythological beasts. Elkington’ s grand electrotype reproductions of Mannerist and Baroque metalwork were the subject of a recent exhibition at the Metropolitan Museum of Art in New York: “Victorian Electrotypes: Old Treasures, New Technology”, November-April 2012. The exhibition showcased around 110 pieces by Elkington and Franchi & Son, both of whom were contracted in the 1870’s by the M.M.A, in conjunction with England’s South Kensington Museum (now the Victoria & Albert), to create faithful replicas of the great masterworks of Europe. By the early 20th century, as the museum acquired original works of art, the electrotypes were consigned to storage. Time, however, has transformed these meticulously detailed replicas into fine antiques in their own right, and the recent exhibition restored them to their rightful status. [1800/2500] Illustrated 587 Continental Carved and Polychromed Pricket Candlestick, 20th century, the turned and carved upper shaft mounted to a bombe base with scalloped and splayed legs, h. 18”. [100/200] 588 Russian Icon of Mary and the Christ Child, second quarter 19th century, the polychrome panel depicting Mary crowned as Queen of Heaven, wearing a crimson gown, a green-robed Jesus held in her arms, and with a pair of angels in the upper corner, h. 15”, w. 10‑1/2”. [400/700] Illustrated 589 Greek Icon Depicting Two Saints, fourth quarter 19th century, the polychrome panel depicting two saints, each with repousse silver halos, holding a church between them with an image of Jesus hovering overall, painted within a rococo scrollwork frame and escutcheon, h. 17‑1/4”, w. 12‑3/4”. [500/800] Illustrated

592 Red Wool Embroidered Wall Hanging, ca. 1850‑1870, attributed to a Russian or Eastern European workshop, the red wool hanging with metallic gold embroidery, depicting a hanging lantern defined by two sets of pillars and an urn with flowers, bordered on four sides with a 1‑1/2” trailing border, possibly ecclesiastical in origin, h. 65”, w. 44”. [100/200] 593 Latin American Santos Figure of the Virgin Mary Holding the Christ Child, second quarter 19th century, the carved wooden polychrome figure depicted wearing a blue cape and perched on a rocky summit, the Christ child’s gown painted pink, in contrast to her white one, h. 22‑1/2”. [300/500]

586

594 Continental Bronze Plaque of Jesus Christ, first quarter 20th century, mounted in an ebonized frame of the same age, h. 16”, w. 13‑1/2”. [100/200]

596 597 Beveled Venetian Mirror, first quarter 20th century, in the form of an elongated octagon, the faceted mirror frame engraved with scrollwork, ferns and stylized flowers, the edges finished with multiple gadrooned glass borders, and the joints finished with glass panels and flowers, h. 33”, w. 26‑1/4”. [1000/1500]

598

595 Carved Wood Santos of Christ, third quarter 19th century, probably Latin American, depicted on the cross, the figure with a worn painted white surface, with brown hair and beard, h. 19‑1/2”. [100/200] 596 Life-Sized Carved Carrara Marble Figure of “Our Lady of Everlasting Help”, mid‑20th century, depicting the crowned Virgin Mary holding the crowned Christ child, h. 66”, w. 19”, d. 15”. [3000/5000] Illustrated

598 Pair of Italian Gilded and Pale Gray-Painted Altar Sticks, in the neoclassical taste, the baluster a vasiform standard with acanthus decor, on a tripartite base with bellflowers at the canted corners, the central panel with a floral rosette, on carved paw feet, drilled for electricity, the prickets removed in the conversion, h. 29‑1/4”. [800/1200] Illustrated

599

605 599 Religious Blessing Banner “Propagation de la Foi”, Designed for Processions, ca. 1880‑1900, the threedimensional saint in the center with a hand painted face and hands, a leather crucifix in his left hand and his right hand over his heart, the crucifix with an organdy alb trimmed with valencienne lace, his halo and stole in gold cloth with sequins and gold trim and the shoe buckles stitched on black-satin shoes, depicted standing on a “fertile” island with blossoming plants, a blue velvet background embellished with a heavy gold embroidered crown with jewels that blossom and trail to form the border, gold boullion embroidered fringe across the scalloped top and bottom edges, the reverse in a cotton sateen fabric with the French message “Planting Time” stitched in gold braid block letters, an ancient tag on the back indicates which drawer it was stored in, h. w. 36”, l. 57”. [300/500] Illustrated previous page

615

600 Italian Gilt-Brass Altar Stick, late 19th century, now converted to a floor lamp, the stick with a turned-andfluted standard to a tripartite base, each of the three sides with a portrait bust, raised on scrolled toes, with a custom embroidered burlap drum shade, h. 67‑1/4”. [125/250]

616

601 Tall Pair of Brass Tripodal Single-Light Altar Sticks, each with a large circular candleholder mounted to a tapered fluted column and triangular footed base with embossed portraits, h. 31‑1/2”. [125/250] 602 English Mahogany Court Cupboard, early 20th century, the overhanging rectangular top above a case fitted with two paneled doors, each with figural-carved scenes and elaborate hardware, centering a panel with an applied carved female figure on a bracket, over two cupboard doors, each inset with linen-fold panels, raised on block feet, h. 45‑1/2”, w. 63”, d. 22”. [300/500]

603 Pair of Continental Stained and Carved Hardwood Finials, each with a foliate-carved top above a bulbous turned vasiform body with carved floral accents, raised on a waisted standard to a molded circular base, h. 36”. [300/500] 604 Jacobean Revival Mahogany Center Table, early 20th century, the octagonal top with a foliate-andline-carved perimeter edge, supported by a carvedand-turned pedestal with ionic capitals, foliate panels and a bulbous baluster-form column, h. 30”, w. 36”, d. 36”. [150/300] 605 Large Continental Figural-Carved Walnut Mirror and Console, late 19th century, in the neorenaissance taste, in two parts, the arched-andbeveled 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”. [2000/4000] Illustrated

618 pair

606 Franz Quaglio (German, 1844‑1920) “Cavalier Flirting with Young Maid”, oil on board, 12‑3/4” x 9‑1/2”, signed lower right: “Franz Quaglio”. Presented in a giltwood exhibition frame. [900/1200] 607 Continental School (Fourth Quarter 18th Century) “Portrait of a Cavalry Officer”, oil on canvas, unsigned, 36” x 29”. Unframed. [500/800] 608 After Pierre Mignard (French, 1612‑1695) “Portrait of Francoise-Marguerite, Countess of Grignan”, oil on canvas, unsigned, 27” x 22”. Presented in a rococo-style frame. [700/1000] 609 Gaetano Mormile (Italian, 1839‑1890) “Peasant Smoking Pipe, Mount Vesuvius Visible in the Distance”, oil on canvas, signed and dated lower right “G. Mormile 1869”, 20” x 16”. Presented in a period giltwood frame. [500/800] 610 Carl Ostersetzer (German, 1836‑1874) “Philosophical Contemplations”, oil on panel of a cobbler musing over a lady’s slipper, third quarter 19th century, signed lower right, the reverse with an old handwritten exhibition label, 12‑1/2” x 8‑1/2”. Presented in a good period carved giltwood and plaster frame in the rococo taste. [200/400] 611 French School (Third Quarter 19th Century) pair of oils on tin depicting Renaissance courting scenes, both unsigned, each 10” x 8‑1/2”. Presented in matching contemporary gilt-metal frames. [300/500] 612 Pair of Spanish Mahogany, Brass-Mounted and Leather Upholstered Armchairs, mid‑20th century, each with the International Trade Mart insignia banded in the back, having rolled arm fronts, carved box stretchers and brass ball finials, h. 39”, w. 26‑1/2”, d. 19”. Provenance: The Spanish Executive Offices, World Trade Center, New Orleans, Louisiana. [100/200]

613 Pair of Spanish Mahogany Leather Upholstered Armchairs, mid‑20th century, each with sand-colored leather and large gilt-metal tacks, the legs and arm posts spool-turned and having similar turned H-form stretchers, h. 37”, w. 25‑1/2”, d. 18”. Provenance: The Spanish Executive Offices, World Trace Center, New Orleans, Louisiana. [100/200] 614 Spanish-Style Mahogany Vargueno, mid‑20th century, the case with ornate decorative ironwork corners and a hinged drop front door in the form of faux drawers opening to an interior fitted with a central shelf and raised on small bun feet, h. 23”, w. 39‑1/2”, d. 14”. Provenance: The Spanish Executive Offices, World Trade Center, New Orleans, Louisiana. [100/200] 615 Marianne Lucy Trench, A. R. B. A. (British, 1888‑1940) “At The Fountain-Florence”, watercolor on paper, signed lower left “M.L. Trench”, reverse with the Savage Gallery label bearing the title of work, sight 10‑3/8” x 14”. Glazed, attractively matted and framed. [800/1200] Illustrated

627

617 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] 618 Manner of Jacques Courtois (French, 1621‑1676), “Battle on the Outskirts of a Village” and “Battle on the Bridge”, pair of 18th-century oils on canvas, unsigned, 18‑1/4” x 29‑1/2”. Presented in matching late 19th century carved giltwood frames. Provenance: Private collection, Mobile, Alabama. [1500/2500] Illustrated previous page 619 German World War II NonCommissioned Officer’s Emperial Calvary Saber, the grip with a braided brass wrap and smooth brass handle guard, retaining its steel scabbard, l. 38‑1/2”. [150/300] 620 Italian Olivewood Bombe Chest, 19th century, the shaped top with a molded edge above a bombe case fitted with four long drawers, all with nicely figured hardware, raised on cabriole legs and sabots, h. 34”, w. 45”, d. 21”. [1800/2500] Illustrated

616 Pair of Italian Olivewood and Marble Top Diminutive Commodes, in the Baroque taste, each with a shaped portor marble top above a conforming bombe case fitted with a single cupboard door, raised on scrolled feet, the whole with highly figured veneers, h. 22”, w. 23‑1/2”, d. 15”. [1200/1800] Illustrated previous page

626

621 German Diorama of a Bavarian Schloss, fourth quarter 19th century, with a painted mountainous lake landscape, decorated with moss, pebbles, faux and dried flowers and a mirrored pond, presented in a glazed, parcel-gilt shadowbox frame, h. 23”, w. 28”, d. 8”. [200/400] 620

622 Grotto-Style Polychrome Five-Light Chandelier, the turned and spiral-ribbed standard issuing strands of faceted crystal beads and abalone pieces from the top, issuing five arms from the base terminating in abalone bobeches, all connected by like strands, with a faceted crystal sphere pendant, h. 28”m w. 28”. [400/700]

628

625 Continental Fin-de-Siecle Bronze Mount in the Form of a Mermaid, fourth quarter 19th century, modeled with wings and girded with grapes, her lower portion molded with scales and a tale, screw holes for mounting on the back, h. 11”, w. 6‑1/4”, d. 4‑1/2”. [100/200] 626 Continental Gilt-Bronze Centerpiece Bowl in the Renaissance Revival Style, third quarter 19th century, the oval base with a molded snail supporting the pierced, boat-form basket, the basket ornamented with scrollwork and with a patinated-bronze putti standing at the bow of the boat, and a second patinated-bronze putti seated at the stern of the boat, h. 15‑1/4”, w. 18‑1/4”, d. 5‑1/4”. [1800/2500] Illustrated 627 Pair of Northern Italian Carved Giltwood Looking Glasses, in the late 18th-century neoclassical style, the tall giltwood crestings modeled as floral sprays on reeded pedestals mantled by foliate scrolls with flowerhead terminals, h. 65‑1/2”, w. 27”. [4000/7000] Illustrated 628 Cast-Spelter and-Polychromed Blackamoor Figure Holding a Calling Card Tray, early 20th century, the underside bearing a cast label, “Metalic Ceramique, Marbre De Fabrique, France Brevet, England Patent, United States of Americal, Patent Applied For”, h. 16”. [500/800] Illustrated

623 Loetz Marmoriertes Glass Toilet Set, fourth quarter 19th century, the set containing a wash basin and pitcher, each with ground pontils and gilt trim, dia. 15‑3/4”, bowl, h. 8‑1/4”, pitcher, two covered cosmetics jars, h. 2” to 4‑3/4”, dia. 3” to 3‑1/2”, and an oblong open box, probably for a toothbrush, h. 2‑1/2”, w. 8‑1/4”, d. 2‑1/4”. [200/400]

624 Continental Polychrome Pottery Centerpiece Bowl, fourth quarter 19th century, the pierced and scrolled rococo base supporting the exuberantly modeled mermaid which serves as the standard, the bowl in the form of a swan boat, decorated with scrollwork and diapering and being steered by a putti holding the swan’s reins, made of braided gilt wire, h. 27”, w. 16‑3/4”, d. 8”. [800/1200]

629 Louis XV-Style Kingwood-and Ormolu-Mounted Bureau Plat, mid‑20th century, the shaped rectangular top inset with a gilt-tooled black leather writing surface surrounded by a herringbone-patterned banding and an undulate-modeled ormolu edging with elaborately modeled rocaille corners, above a conforming frieze fitted with three drawers, all with ormolu millwork and handsomely modeled foliate hardware, raised on cabriole legs headed by espagnolettes and ending in foliatescrolled sabots, h. 31”, w. 69”, d. 38”. [5000/8000] Illustrated

629

630 French Champleve Enamel Mantel Clock, fourth quarter 19th century, Samuel Marti, the clock supported on bronze griffin feet, the case with enameled panels depicting a classical torch framed by cornucopia on the facade and dancing putti playing tambourines atop an urn on the sides, the columns enameled with flora on the corners, the brass chapter ring surrounds an enamelbacked exposed escapement, the lidded-and enameldecorated urn serves as the finial with putti at all four corners supporting a bronze swag, works stamped “S. Marti Medaille Bronze”, h. 20”, w. 11”, d. 10”. [6000/9000] Illustrated

632

631 Louis XV-Style Tripartite Folding Brass Fire Screen, first quarter 20th century, the scroll-molded panels supported by scroll feet, the central motif with a pair of love birds supported by a bow knot under the pierced handle, the panels lined with screen, h. 30‑1/2”, w. 54”. [800/1200] 632 American Rococo Revival Giltwood Overmantel Mirror, third quarter 19th century, having an arched plate glass mirror with ornamented frame and decorative lower corners, the top with a raised crest and scrolling returns, h. 73”, w. 56”. [2000/4000] Illustrated

630

634 French Gilt-Brass and Cut Glass Four-Light Chandelier, first quarter 20th century, of corbeille form in the Louis XV taste, the basket-form lower element covered with frosted and clear glass fleurettes and fitted with an additional three lights on the interior, the three foliatescroll arms each fitted with an etched glass shade of tulip form, with an additional downlight, similarly shaded, at the center, h. 36”, dia. 29”. [500/800]

633 Louis XV-Style Giltwood Firescreen, late 19th century, the shaped Fortuny fabric panel surmounted by a floral-and-foliate crest and within a molded frame, raised on splayed foliate-carved legs ending in scrolled toes, h. 42‑1/2”, w. 24‑1/2”. [600/900]

636

646

639 French Champleve Enamel Mantel Clock, fourth quarter 19th century, the brass domed case decorated with enamel on the Corinthian corner columns, the panels over and above the dial and on the finial, in the form of a covered urn, the dial stamped by Japy Freres, h. 14”, w. 9”, d. 5‑3/4”. [1800/2500] 640 French Champleve Enamel Clock, second quarter 20th century, the brass case set with beveled glass and enamel corners, the porcelain dial painted with swags of flowers and set with an enameled bezel matching the corners, the mercury-filled pendulum also enameled, signed on the back of the works, H & H, Made in France, h. 8‑1/2”, w. 5”, d. 4‑1/2”. [1000/1500] 641 Transitional Louis XV-into Louis XV-Style Writing Table, early 20th century, the kidney-form top with an inset leather writing surface and brass banding, above a conforming banded and paneled frieze fitted with a single drawer, raised on tapering square legs ending in decorative sabots, h. 29”, w. 35‑1/12”, d. 22”. [500/800] 642 Pair of Louis XV-Style Gilt-Bronze Three-Light Appliques, early 20th century, electrified, h. 13”, w. 15”, d. 7”. [500/800]

635 Louis XV-Style Giltwood and Marble-Top Cocktail Table, early 20th century, the inset shaped rectangular breche Arlequino marble top above a shaped floral-carved frieze, raised on molded cabriole legs joined by an X-form stretcher and ending in scrolled toes, h. 22”, w. 38”, d. 25”. [250/400] 636 Pair of Louis XV-Style Inlaid Mahogany and Marble-Top Side Tables, mid‑20th century, each having an oval marble top and pierced brass gallery above a bank of three drawers with stringinlaid borders, raised on tall cabriole legs ending in feet with cast sabots, h. 31”, w. 21”, d. 13‑1/2”. [700/1000] Illustrated

643 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 tufted and covered in old gold silk, h. 11‑1/2”, w. 11‑3/4”, d. 5‑3/4”. [300/500] 644 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”. [600/900]

637 Louis XVI-Style Figured Mahogany and Gilt-Bronze Mounted Bedstead, ca. 1900, the headboard with a slightly arched and molded crown with applied bronze-foliate decor and gadrooned trim, the rails featuring applied castbronze lions masks with sprays of cornucopia, h. 59‑1/2”, inside w. 58‑1/2”, inside l. 76”, outside w. 62”, outside l. 78”. [400/700] 638 French Giltwood Looking Glass, early 20th century, the beveled rectangular plate surrounded by a molded floral- and foliate-carved frieze with elaborate corner moldings, h. 61”, w. 49”. [800/1200]

647

645 Art Deco Gilt-Brass and Cut Glass Six-Light Chandelier, second quarter 20th century, of Louis XVI inspiration, the canopy with alternating pendant six-drop cluster-and-faceted drops of tear form, the dipped arms outlined in colorless glass beads and pairs of faceted drops, electrified and fitted with taupe faux-wax candles and knife-pleated off-white fabric shades, h. 34”, dia. 25”. [400/700]

650

646 Louis XVI-Style Giltwood Looking Glass, early 20th century, the canted rectangular plate surmounted by a putti and torchere crest issuing a floral garland, surrounded by an annulated-and-molded frame with paterae modeled accents, h. 73”, w. 39”. [800/1200] Illustrated previous page

661

647 Louis XV-Style Kingwood and Gilt-Bronze Mounted Bureau Plat, mid‑20th century, the scalloped top with a molded brass edge and an inset leather blotter with tooled and gold stenciled border, raised on cabriole legs with female portrait mounts at the knees, h. 30”, w. 55‑1/2”, d. 30”. [2500/4000] Illustrated previous page 648 Louis XIV-Style Giltwood Stool, late 19th century, the padded rounded rectangular top above a shaped frieze, raised on acanthine-carved cabriole legs ending in scrolled toes, h. 17”, w. 24‑1/2”, d. 17‑1/2”. [1200/1800] 649 Louis XVI-Style Rosewood, Kingwood and MarbleTop Commode, fourth quarter 19th century, the rectangular Saint-Pons marble top with a molded edge, above a conforming case fitted with two long drawers, each with three inlaid and banded panels, the sides inlaid en suite, raised on tapering square legs ending in brass caps, h. 34‑1/4”, w. 41‑3/4”, d. 19‑1/2”. [700/1000]

652

650 Louis XVI-Style Giltwood Looking Glass, ca. 1900, the period mirror plate with an arched top with a ribboncarved cartouche flanked by laurel leaves, the sides with guilloche-molded panels, retaining untouched period surface, h. 77”, w. 41‑1/2”, d. 3”. [1200/1800] Illustrated

651 Transitional Louis XV-into Louis XVI-Style Mahogany Bureau Plat, ca 1900, the brass-bound rectangular top with an inset leather writing surface, above a frieze fitted with a single long drawer faced as three small drawers, all with ormolu millwork, raised on cabriole legs ending in sabots, h. 29”, w. 39‑1/2”, d. 25”. [1200/1800] 652 Transitional Louis XV-into Louis XVI-Style Ebonizedand Marble-Top Commode, late 19th century, the shaped rectangular breche d’Aleps marble top above a conforming case fitted with two long drawers, the front and sides with gesso and gilt figural designs in the orientalist taste, raised on tapering legs ending in sabots, h. 32‑1/2”, w. 35‑1/2”, d. 17”. [3000/5000] Illustrated

660 Patinated-Bronze Fountain, late 20th century, depicting two putti lifting a large bowl and standing on a foliate oval base, the inside of the bowl fitted with a copper water pipe, h. 29”, w. 29”, d. 15”. [500/800] 661 Louis XVI-Style Walnut Revolving Desk Chair, 19th century, the rounded back with two pierced splats and fluted uprights, above the circular dished revolving seat, above a wave-carved frieze, raised on tapering fluted square legs ending in brass pegs, h. 30”. [1000/1500] Illustrated

664

653 Eutrope Bouret (French, 1833‑1906), patinated bronze sculpture of Jeanne D’Arc, lacking sword, h. 21”. [500/800] 654 British School (Second Quarter 19th Century) “Sir Thomas Sherborne” and “Charles VII King of France and Joan of Arc, The Maid of Orleans”, two hand colored lithographs, sight 12” x 9‑1/2”. Both glazed, attractively matted and framed. [150/300] 655 Louis XV-Style Mahogany Bedstead, early 20th century, the headboard with a central pierced-and-carved floral cartouche and heavily molded frame with raised shoulders, the footboard of matching form and having floral-and-shell-carved details, h. 67”, inside w. 57”, inside l. 77”, outside w. 68”, outside l. 81”. [300/500] 656 Louis XV-Style Wood Looking Glass, late 19th century, the beveled, shaved ovoid plate surmounted by a pierced floral foliate avian crest with putti side figures, within a molded frame with applied foliate patterns and a pierced pendant, h. 53”, w. 33”. [500/800] 657 Louis XV-Style Mahogany Exhibition Easel, early 20th century, the pierced and carved crest featuring a bird with flowers and various “C” scrolls, the base with extended carved paw feet, h. 91”, w. 26”, d. 20”. [2500/4000] 658 Louis XV-Style Mahogany Bed, late 19th century, the shaped-and padded-headboard surmounted by a piercedfloral and foliate-carved crest, joined by molded latticeincised rails to the footboard, shaped en suite and centered by a pierced lattice panel, the whole raised on scrolled toes, h. 52”, inside w. 60”, inside l. 77”, outside w. 64”, outside l. 81”. [800/1200] 659 French Art Nouveau Marble Mantel Clock, fourth quarter 19th century, the bronze finished statue of a winged female in a diaphanous gown, the green marble case with works signed “A.D. Mougin”, the enamel dial painted with garlands of flowers, and fixed with a tag reading, “L’Abeille par Campagne”, h. 27”, w. 14”, d. 8‑1/2”. [600/900]

662 Louis XVI-Style Mahogany-and Marble-Top Commode, mid‑19th century, the rectangular variegated gray marble top with canted corners above a conforming case fitted with three long drawers, flanked to either side by a fluted pilaster, raised on tapering square legs, h. 35”, w. 47”, d. 26”. [800/1200] 663 Attractive Restauration Carved Giltwood and Plaster Looking Glass, second quarter 19th century, in the revived rococo taste, the corners and rail centered with foliate-scroll mantled cartouches, h. 50”, w. 39”. [500/800] 664 Louis XVI-Style Mahogany Bergere, late 19th century, the canted rectangular back within a molded frame and with ormolu finials, joined by closed scrolling arms to the padded seat, raised on tapering fluted circular legs ending in toupie feet, the whole with acanthine-patterned ormolu accents, h. 39”. [800/1200] Illustrated

665 English Parcel-Gilt Bracket and Mirror, fourth quarter 19th century, the Georgian-form rectangular mirror with a finial of carved leaves and berries held in a carved scroll, the serpentine lower shelf supported by a pierced support carved with anthemia and flowers, h. 40”, w. 19”. [300/500] 666 Northern Italian Carved Giltwood Looking Glass, fourth quarter 18th century, in the neoclassical style, the tall giltwood cresting modeled as an oval ploughman’s trophee mantled by cornucopiae and foliate scrolls, retains the pleasingly clouded period plate, h. 57”, w. 31‑1/2”. [2000/4000] Illustrated

666

669

668 Pair of Beautifully Embroidered Copper Silk Drapery Panels, decorated with various multi-colored flowers and golden leaves, and with black-out lining, h. 134”, l. 119”, each. [300/500] 669 Suite of Ten Louis XVI-Style Mahogany Dining Chairs, consisting of two armchairs and eight sidechairs, each with a padded medallion back within a molded frame, joined by padded scrolling arms to the padded seat, above a foliate ormolu-mounted frieze, raised on tapering circular fluted legs ending in toupie feet, h. 38”. [1000/1500] Illustrated 670 Gilt-Brass-Mounted Val St. Lambert Engraved-andEtched Glass Hall Lantern, in the early 19th-century style, the interior fitted with a trio of pendant faux candles, the suspension chains surmounted by a blown glass smoke shade, the primary glass bowl with a large etched Val St. Lambert seal, electrified, h. 23”, dia. 11”. [400/700]

667 Louis XVI-Style Mahogany Bureau de Dame, late 19th century, the rectangular top quarter-veneered and with a threequarter pierced-brass gallery, over three small drawers, above a cylinder bureau opening to a pullout leather writing surface and a variety of drawers and cubbyholes, over a single long drawer, raised on tapering circular fluted legs ending in cap feet, h. 39‑1/2”, w. 29’, d. 16‑1/2”. [1800/2500] 673

671 Louis XVI-Style Giltwood Looking Glass, 20th century, the beveled rectangular plate surmounted by a floral wreath and torchere crest, surrounded by a molded and gadroon-carved crest, h. 76”, w. 44”. [1000/1500] 672 Large Louis XVI-Style Fruitwood and MarbleTop Bouillotte Table, late 19th century, the circular top with an inset charcoal gray marble top above a frieze fitted with two small drawers and two candle slides, raised on stop-fluted, tapering square legs headed by brass panels and ending in caps and casters, h. 28‑1/4”, dia. 35”. [800/1200]

679 673 Louis XVI-Style Fruitwood and Marble-Top Buffet, early 20th century, the rectangular Carrara marble with canted corners and a projecting front above a conforming case fitted with four drawers over four paneled cupboard doors, raised on tapering square legs ending in brass caps, h. 37‑1/2”, w. 72”, d. 21”. [2500/4000] Illustrated 674 Set of Ten Sevres “Hunt Scene” Soup Plates, fourth quarter 19th century, decorated with a gilt star in the center and a polychrome border of meandering scrolls and foliage incorporating boar, deer, vultures, wolves, snakes and lobsters, marked “CHATEAU DE F. BLEUA” in a rougede-fer crowned circle, “Sevres 1846” in a blue medallion, “s. 1846” in a green oval and “France” in rouge-de-fer, probably indicating the blanks were produced in 1846 and decorated between 1891‑1904, dia. 9‑1/2”. [800/1200] Illustrated 675 Paris Porcelain Reticulated White-and-Gold Corbeille, second quarter 19th century, of circular, footed form, the three feet of parcel-gilt paw form, the base with an old museum accession number in black, h. 4‑1/2”, dia. 9”. [250/400]

676 Group of Seven Signed Fleur de la Reine Paris Porcelain Plates, fourth quarter 18th century and later, including three dinner plates, fourth quarter 18th century, one with dents-de-loup border and scalloped edge, signed indistinctly by the Duc d’Angouleme factory, the other two with scalloped border and signed with the Duc d’Angouleme mark at rue de Bondy, all 10” dia., and four luncheon plates, first quarter 19th century, two signed with crossed arrows in underglaze blue, dia. 8‑1/4” and two signed “Schoelcher a Paris” in overglaze rouge-de-fer script, dia, 8‑1/2”. [400/700] 677 Suite of Ten Louis XVI-Style Beechwood Armchairs, each with a padded rectangular back within a molded frame, joined by scrolling padded arms to the like seat, raised on tapering fluted circular legs headed by paterae carving and ending in toupie feet, h. 40”. [800/1200] 678 Louis XV-Style Fruitwood and Marble-Top Cocktail Table, 20th century, the circular variegated marble top above a paneled frieze with carved floral accents, raised on tapering fluted circular legs ending in toupie feet, h. 18”, dia. 31‑1/2”. [400/700]

674

679 Vasiliy Nicholayevich Gribennikov (Russian, b. 1951) “Venetian Canal”, signed and dated lower right “Gribennikov, V. 2008”, signed, titled an dated in Cyrillic on the reverse, 13‑1/2” x 19‑1/2”. Handsomely framed. [1000/1500] Illustrated 680 Vasiliy Nicholayevich Gribennikov (Russian, b. 1951) “In the Port”, signed and dated lower right “Gribennikov, V. 2010”, signed, titled an dated in Cyrillic on the reverse, 13‑1/2” x 19‑1/2”. Handsomely framed. [1000/1500]

681 George Henry Yewell (American, 1830‑1923) “Moonlit Venetian Canal Scene with Santa Maria della Salute”, oil on canvas, signed lower left “Geo. H. Yewell”, 9” x 9”. Framed. [400/700] 682 Attributed to George Henry Yewell (American, 1830‑1923) “The Riva, Venice”, oil on canvas laid on panel, unsigned, reverse frame inscribed “ “The Riva” Venice, Geo. H. Yewell”, 5” x 7”. Presented in a period giltwood frame. [300/500] 683 Pair of Louis XVI-Style Mahogany and Fruitwood Marble-Top Occasional Tables, each with an ovoid Carrara marble top within a three-quarter pierced-brass gallery above a conforming guilloche-inlaid frieze fitted with a single drawer, joined to a lower rectangular shelf by tapering square supports headed by bellflower inlay and ending in brass caps, h. 25‑1/2”, w. 26‑1/4”, d. 21‑1/4”. [700/1000] 684 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”. [1000/1500] Illustrated

695

684

687 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”. [150/300]

688 Paris Porcelain Two-Part 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”. [500/800] 689 Paris Porcelain Figure of Joan of Arc, 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”. [150/300] 690 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”. [300/500]

685 Pair of French Tinted-Biscuit Courtiers Attributed to Limoges, mid‑19th century, each figure attired in 18th century costume, each descending brown marbleized stairs with a burgundy carpet, resting on a round base decorated with painted blue ribbons and lavender sprigs, h. 20”. [500/800] 686 Franco-Bohemian Porcelain Clock Figure, decorated in Bacchanalian theme, depicting 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”. [200/400]

691 Set of Twelve Tirschenreuth, Bavaria Dinner Plates, the central ground with painted roses and the outer borders with gold-leaf stencils, dia. 11”. [400/700] 692 Pair of Meissen-Style Polychrome Porcelain ThreeLight Candelabras, fourth quarter 19th century, the square bases, decorated with sculpted roses, supporting a classical female figure in a floral gown holding a child, the polychrome branches with porcelain cups and bobeches and decorated with sculpted roses, h. 20”, dia. 10”. [400/700]

696 Louis XVI-Style Mahogany and Burl Wood Desk, early 20th century, the rectangular top with an inset leather writing surface above a conforming frieze and fitted with a central drawer flanked to one side by a single deep drawer and to the other by two short drawers, raised on tapering square legs ending in brass caps, h. 29‑1/2”, w. 54‑1/2”, d. 28‑3/4”. [1800/2500] Illustrated 697 Empire-Style Ormolu and Porcelain Occasional Table, the circular porcelain top with a blue border surrounding a floral spray, raised on three shaped and annulated supports joined by a stretcher shelf with a porcelain urn and ending in foliate in-scrolled toes, h. 23‑3/4”, dia. 14‑1/4”. [400/700] 698 French Carved Giltwood and Plaster Looking Glass, fourth quarter 19th century, in the Louis XIV taste, the outer ribbed molding now painted in matte blanc de Trianon, h. 48”, w. 39‑1/2”. [250/400] 699 Jane Peterson (American, 1876‑1965) “Woman and Child in a Park”, pencil and pastel on paper, signed lower right “Jane Peterson”, sight 16” x 11”. Glazed and presented in a molded giltwood frame with a linen liner. [600/900] 700 Bela Marx (Slovakian/Austrian, 1885‑1963) “Sunny Day in the Park”, oil on board, signed lower left “Marx Bela”, 17” x 15‑3/4”. Framed. [900/1200] 701 693 Pair of Limoges Biscuit Porcelain Busts, modeled after the 18th century portrait busts of Alexandre and Louise Brongniart by Jean-Antoine Houdon (French, 1741‑1828), h. 15‑1/4”. [250/400] 694 Pair of Continental Lamps in the Rococo Taste, the polychrome biscuit bases composed of fluted, footed plinths, decorated with shells and garlands of flowers, supporting a pair of putti wrapped in fish net, dropping flowers into a large shell, mounted as lamps with vintage pagoda-form lamp shades and floral decorated porcelain finials, Meissen-style mark, h. 35” to top of finial, shade dia. 18”. [500/800] 695 Sitzendorf Reticulated Centerpiece Basket, first quarter 20th century, the reticulated basket supported by four polychrome putti wearing loin cloths, the exterior of the basket decorated with encrusted flowers, while the interior is decorated with polychrome hand-painted bouquets, the base signed with an underglaze blue hatch mark signature of Bros. Voigt and Alfred Voigt and Sitzendorf, Porcelain Manufactory and VEB Sitzendorf Manufactory, 1887-present, h. 11‑1/2”, w. 13”, d. 11”. [400/700] Illustrated

701 Norbert Goeneutte (French, 1854‑1894) “Jeune Femme au Petit Chien Noir”, oil on canvas, signed lower left “Norbert Goeneutte”, reverse stretcher with a “Stoppenbach & Delestre Ltd., London” gallery label, 29‑3/4” x 19‑1/2”. Presented in an attractive contemporary frame. Provenance: Private collection. [10000/15000] Illustrated

696

702 Impressive Pair of Louis XV-Style Gilt-Bronze andCrystal Garniture Urns, the amphora-shaped bodies, decorated with alternating fluting, resting on bronze scroll feet, and with leaf-molded voluted bronze handles and acorn-shaped knops, h. 31‑1/2”, w. 13‑1/2”, d. 9”. [2500/4000] Illustrated

706 Pair of Louis-Phillippe-Style Gilt and PatinatedBrass Three-Light Candelabra, cast, chased and engine-turned, the patinated standards modeled as cherubs poised on a sphere holding aloft three candle branches, the plinths modeled as stylized flowerheads surmounting stepped bases, h. 18”, dia. 7”. [600/900] Illustrated 707 Louis XVI-Style Giltwood Looking Glass, early 20th century, the rectangular plate surmounted by a bow torchere and wreath crest and within an annulated molded frame with a laurel-leaf modeled edge, h. 71‑1/2”, w. 47”. [1200/1800] Illustrated

702

706

703 Set of Ten Czechoslovakian Cranberry Cut-Glass Wine Stems, the cranberry-flash bowls with a strawberry cut-to-clear pattern above a simple band of vertical geometric cuts, h. 5‑1/4”, dia. 2‑1/2”. [50/80] 704 Louis XV-Style Ebonized and Marble-Top Commode, third quarter 20th century, Paris, the back stamped “M. Hirch”, the rectangular white marble top with a projecting center section, above a conforming case fitted with three long drawers, raised on cabriole legs ending in sabots, h. 33‑3/4”, w. 46‑3/4”, d. 19‑1/2”. [800/1200] Illustrated 705 Collection of Six Patinated Cast-Metal Plaques, third 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”. [600/900]

704

707

711 Pair of Meissen-Style Two-Light Candelabras, first quarter 19th century, the bronze base in the form of a tasseled cushion, supporting a kneeling Chinese male figure, decorated in the Chinese taste and supporting a pair of bronze candle arms with sculpted flowers, electrified, h. 13‑1/2”, w. 8‑3/4”, d. 4”. [2500/4000] Illustrated 712 Louis XVI-Style Mahogany Tea Table, late 19th century, the tray-form rectangular top with a raised dished edge and ormolu banding, with two end handles, above a paneled and annulated frieze, raised on tapering stopfluted circular legs ending in toupie feet, h. 29”, w. 26”, d. 16”. [500/800] 713 Louis XV-Style Rosewood Writing Desk, early 19th century, the rectangular top with an inset writing surface, above a conforming case fitted with a central compartmented drawer flanked to either side by three short drawers, raised on cabriole legs, h. 31‑1/2”, w. 54‑1/2”, d. 27”. [1500/2500] Illustrated

711

708 Southern French Giltwood Looking Glass, mid‑19th century, in the Louis XIV taste, the rectangular plate surmounted by a pierced crossed torchere-and-wreath crest and within a molded and annulated frame, h. 26”, w. 14”. [700/1000]

709 Louis XV-Style Fruitwood Bureau Plat, early 19th century, the rectangular top within a molded brass banding and with an inset leather writing surface, above a frieze fitted to one side with a recessed central drawer flanked to either side by a drawer, the other side fitted with like faux drawers, all with brass banding, raised on cabriole legs ending in hoof-form sabots, h. 30”, w. 71‑1/2”, d. 34‑1/4”. [1200/1800] 710 Louis XV-Style Coromandel Black Lacquered Marble Top Commode, mid‑20th century, the Villefranche de conflent marble top over the base with two long drawers with relief-carved and polychromed scenes, the legs with gilt-metal mounts, h. 34‑1/2”, w. 49‑1/2”, d. 21‑1/2”. [700/1000]

713

720 Nine Books on Miscellaneous Fine and Decorative Arts, including the Victoria and Albert Museum Yearbook 1969, Geza von Hapsburg, Faberge: Fantasies and Treasures, Barry Schwartz, The New Humanism: Art in a Time of Change, M. Tarradell, Iberian Art, Moise S. Steeg, Jr., Tiffany Favrile Art Glass and V. N. Lazarev, Novgorodian Icon Painting (dual language, Russian/ English), with exhibition catalogues Japanese Fan Paintings from Western Collections, the New Orleans Museum of Art (June - September 1985), Waters of America: 19th Century American Paintings of Rivers, Streams, Lakes and Waterfalls, the New Orleans Museum of Art (May - November 1984) and Indian Miniatures: The Ehrenfield Collection, American Federation of Arts, New York/San Francisco (September 1985 - November 1987). Provenance: The Library of the late Luba Glade, New Orleans, Louisiana. [75/150] 721 Paris Porcelain Cabinet Plate, second quarter 19th century, the apricot border with wide gilt bands framing the hand-painted scene of a basket of flowers on a white slab against a sepia ground, dia. 9‑1/4”. [200/400] 714 714 Andre (Gittelson) Gisson (American, 1921‑2003) “Arc de Triomphe, Place Charles de Gaulle”, oil on canvas, signed lower right “Gisson”, verso with “Miner’s Gallery Americana, Carmel, California” label, 16” x 20”. Presented in an attractive giltwood frame with a linen liner. [2500/4000] Illustrated 715 Andre (Gittelson) Gisson (American, 1921‑2003) “White Carnations Still Life”, oil on canvas, signed upper left “Gisson”, 10” x 8”. Presented in an ebonized and parcel-gilt frame with a linen liner. [500/800] 716 Large and Impressive Giltwood Looking Glass, the rectangular plate within an acanthine-modeled frame with a raised laurel-leaf border, h. 84”, w. 62”. [1200/1800] 717 Fine Pair of French Polished Brass Chenets, fourth quarter 19th century, one depicting a seated man on a cushion-form base raised on large animal paw feet, the other depicting a seated female figure on an identical base, h. 17”, w. 15”, d. 11”. [1200/1800] 718 Large Group of Vintage Military Buttons, including Cheshire Regiment of various sizes, a group of New York, New Haven and Hartford, Eglinton Hunt twenty-two karat gold plate Victorian buttons and others with crown and laurel wreath designs. [150/300] 719 Group of Vintage Buttons and a Belt Buckle, including groups of floral decorated porcelain buttons, marcasite buttons, a group of amethyst glass buttons with warrior heads and a two-part belt buckle with inset diamondshaped stones of azurite and malachite. [150/300]

723

722 Continental Miniature Portrait on Copper, first quarter 19th century, the young woman in neoclassical dress holding a mask of “Tragedy”, the period walnut frame with an engine-turned brass liner, w. 6”, l. 6”. [100/200]

724

728 Italian Rococo Revival Pierced and Carved Fruitwood Sofa, early 20th century, the frame with carved scrolls, tassels and floral crest, raised on cabriole legs, the reversible cushion down filled, h. 37”, w. 81”, d. 34”. [1500/2500] 729 Large Provincial Pine Farmhouse Table, early 20th century, the rectangular top above a frieze fitted with two side drawers, joined to a slatted stretcher shelf by square legs, h. 32”, d. 43”, l. 105”. [700/1000] 730 Provincial Mold-Blown Glass Flycatcher, third quarter 19th century, broadly ribbed and footed, retains the period domed glass stopper, h. 9‑1/4”, dia. 6‑1/2”. [50/80] 731 Flemish Fruitwood Fauteuil a la Reine, mid‑19th century, the tall padded rectangular back joined by downswept scrolling arms to the padded seat, raised on turned block and bulbous legs joined by like stretchers and ending in flattened bun feet, h. 48”. [500/800]

723 French Provincial Polychrome Vasselier, the rounded and molded cornice above three open shelves, the lower section fitted with two cupboard doors, each inset with a shaped panel, raised on a plinth base, h. 77‑1/2”, w. 53‑1/2”, d. 21”. [1500/2500] Illustrated 724 Iberian Oval Scenic Tin-Glazed Platter, the border with blue and red bands of flowers edged with yellow sponging, the center with hand-painted views of a park with a town in the background, w. 26‑1/2”, d. 20‑1/2”. [900/1200] Illustrated 725 Philip Richard Morris (British, 1833‑1902) “Waiting for the Fleet”, oil on canvas, 30” x 20”, signed lower right: “Philip Morris”. Presented in a carved giltwood frame. Reference: Johnson & Greutzner, British Artists: 1880‑1940. [1500/2500] Illustrated 726 Luigi Nobili (Italian, 20th Century) “Watching Over the Sleeping Child”, oil on canvas, signed lower left “L. Nobili”, 9‑1/2” x 12”. Framed. [500/800] 727 Luigi Nobili (Italian, 20th Century) “Story Time”, oil on panel, signed lower right “L. Nobili”, 12‑1/4” x 14‑3/4”. Framed. [700/1000]

725

732 Large Continental Majolica Polychrome Umbrella Stand, depicting a stork grasping a frog, standing on a field of water lilies and cat tails, "83 40" impressed on base, h. 40”, w. 20”, d. 11”. [800/1200] Illustrated

732

737 George Brookshaw (British, 1751‑1823) “Plate XXIV, Peaches” and “Plate LXXXII, Pears”, pair of hand-colored stipple engravings, sight 18” x 14”. Both glazed, attractively matted and presented in parcel-gilt and ebonized frames. [900/1200]

733 733 Large Continental Majolica Polychrome Umbrella Stand, fourth quarter 19th century, depicting a stork adjacent to a stand of bullrushes, standing on a bed of water lilies, executed in polychrome enamels, impressed "6309" under base, h. 38”, w. 17”, d. 12”. [500/800] Illustrated

734 Provincial Louis XVI-Style Pickled-Oak Center Table, the rounded rectangular top above a scalloped floral-carved apron, raised on turned and paneled tapering circular legs joined by a shaped X-form stretcher and ending in block and bun feet, h. 29‑1/2”, w. 50‑1/4”, d. 34”. [1200/1800] 735 Large Burmantofts Glazed Terracotta Jardiniere-onStand, late 19th century, in two parts, the underside of the jardiniere marked “Byrmatofts Faince 1872”, the body adorned with laurel swags, the pedestal of square tapering form with leontine masks at the upper corners, h. 60‑1/2”, dia. 18‑1/4”. [1500/2500] Illustrated 736 Louis XV-Style Mahogany Bergere avec Orielles and Ottoman, early 20th century, the bergere with a padded domed back surmounted by a foliate crest, joined by shaped sides and padded arms to the cushioned seat, raised on cabriole legs headed by carving and ending in foliate toes, the conforming ottoman cushioned and raised on like legs, chair h. 41”; ottoman h. 20”, w. 29”, d. 41”, ottoman. [3000/5000] Illustrated

738 French Provincial Fruitwood Games Table, late 19th century, the canted square top with an inset floral needlepoint panel, above a scalloped frieze fitted with corner pull-out slides and a small drawer to each side, raised on cabriole legs, h. 29”, w. 31”, d. 31”. [700/1000] 739 French Provincial Fruitwood Buffet, late 18th century, the rounded rectangular top above a conforming case fitted with two drawers over two cupboard doors, each inset with a shaped panel, above a shaped apron centered by a fan carving, raised on scrolled toes, h. 40”, w. 52‑1/2”, d. 20”. [3000/5000] Illustrated

735

742 740 Pair of Louis XV Fruitwood Fauteuils, 19th century, each with a padded shaped back surmounted by a foliate crest, joined by scrolling padded arms to the cushioned seat, raised on molded cabriole legs headed by floral carving and ending in scrolled toes, h. 36”. [900/1200] 741 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”. [50/80]

742 Suite of Four Louis XV Walnut Fauteuils, late 18th century, each with a domed caned back surmounted by a floral crest, joined by molded scrolling arms to the cushioned caned seat, raised on cabriole legs headed by foliate carving and ending in scrolled toes, h. 37”. [2500/4000] Illustrated 743 H. Nimmo (French, Fourth Quarter 20th Century) “Scratching for a Living”, oil on canvas, signed lower right “H. Nimmo”, 29” x 25”. Presented in a rococo-style giltwood and gesso frame. [700/1000] Illustrated following page 744 French School (Fourth Quarter 19th Century) “Poultry Roaming the Farmhouse Yard”, oil on canvas, signed lower right “G. de Bernier”, 18‑1/2” x 21‑3/4”. Presented in a molded and stained pine frame. [600/900]

739

736 745 French School (Fourth Quarter 19th Century) “Poultry In the Barnyard”, oil on canvas, signed lower right “G. de Bernier”, 18‑3/4” x 21‑3/4”. Presented in a molded and stained pine frame. [600/900] 746 English Oak Center Table, 19th century, the rectangular top with molded edge above a conforming paneled frieze, raised on turned vasiform legs joined by an H-form stretcher and raised on shaped feet, h. 28”, w. 39”, d. 24”. [200/400]

749

749 Pair of Louis XV Fruitwood Fauteuils, late 18th century, each with a shaped padded back surmounted by a foliate-shield crest and joined to the padded seat by downswept foliate-carved arms, raised on molded cabriole legs headed by foliate carving and ending in scrolled toes, h. 39”. [2500/4000] Illustrated 750 Continental Four-Fold Polychrome Floor Screen, the screen with a painted gilt border surrounding a single large floral arrangement in the Dutch 18th century manner, h. 63”, w. 71”. [500/800] 751 Four Panel Polychromed Folding Screen, early 20th century, one side depicting a large basket of fruit still life, the reverse in a reddish-brown painted surface, h. 71”, w 63”. [300/500]

747 Provincial Louis XV-Style Oak Bedside Commode, late 19th century, the rectangular top with a slightly bowed top above a conforming case fitted with two drawers, each paneled and with foliate carving, above a shaped apron, raised on cabriole legs ending in upturned toes, h. 26‑1/2”, w. 25”, d. 15‑1/2”. [300/500] 748 Open Lot

743 752 Continental Provincial Pine Armoire, third quarter 19th century, the molded cornice above a case fitted with two long doors, each inset with three shaped panels, both within a molded frame, raised on large squat bun feet, h. 84”, w. 66”, d. 22‑1/2”. [600/900] Illustrated 753 Louis XIII-Style Oak Armchair, late 19th century, the padded and domed back joined to the like seat by downswept acanthine-carved arms and barley twist uprights, raised on turned and block legs joined by barley twist stretchers and ending in bun feet, the whole upholstered in period needlework, h. 44”. Provenance: Ken Mc Kay, Baton Rouge, Louisiana. [400/700] 752

754 Provincial Spanish Walnut Side Table, late 18th century, the overhanging rectangular top above a frieze fitted with a single drawer, raised on turned bulbous legs joined by a box stretcher and ending in block and bun feet, h. 32”, w. 42”, d. 22‑1/2”. [2500/4000] Illustrated 755 French Provincial Oak and Fruitwood Cabinet, midto-late 18th century, probably Brittany, the overhanging dentillated cornice above a case fitted with two cupboard doors, over two drawers, over two further cupboard doors, raised on block feet, the whole with intricate carving in a variety of foliate and geometric patterns, h. 76”, w. 62”, d. 24”. [1000/1500]

756 Rustic Pine Side Table and Conforming Mirror, mid‑19th century, the rectangular top with molded edge, raised on canted square legs joined by end stretchers, the whole retaining traces of polychromy, h. 33‑1/2”, w. 53‑1/2”, d. 22”, surmounted by a mirror framed en suite, h. 39‑1/4”, w. 39‑1/4”. [200/400] 761

757 Rustic Softwood Looking Glass, in the Regency taste, the circular plate within a molded and pierced wooden frame with rusted iron band accents, dia. 32”. [200/400] 758

758 Ferdynand Ruszczyc (Polish, 1870‑1936) “Herding Cattle”, watercolor on paper, signed lower right “F. Ruszczyc”, sight 13‑3/4” x 9‑3/4”. Glazed, matted and framed. [2000/4000] Illustrated 759 Northern European Polychromed Armoire, second quarter 19th century, the molded and dentillated cornice above a baluster-carved frieze, over two tri-paneled doors flanked to either side by engaged uprights, over two deep drawers, raised on bracket feet, h. 80”, w. 57‑1/4”, d. 24‑7/8”. [800/1200] 760 Provincial Polychrome Settee, the rectangular wooden back with a shaped crest joined by out-scrolled arms to the hinged wooden seat, opening to a storage compartment, the front paneled, raised on square legs, with custom seat cushion and two throw pillows, h. 40”, w. 76”, d. 20‑1/4”. [250/400]

754

763 French Provincial Oak Armoire, mid‑19th century, the molded cornice above a case fitted with two long doors, each inset with a shaped panel and molded borders, raised on block feet, h. 87”, w. 59”, d. 25”. [1000/1500] Illustrated 764 Louis XV-Style Fruitwood Lit du Jour, late 19th century, the long cushioned seat, with conforming back pillow, throw pillow and bolsters, flanked to either side by padded outscrolled sides, surmounted by a floral-carved crest, raised above a molded foliate-carved apron on cabriole feet ending in scrolled toes, h. 37”, d. 32”, l. 78”. [1400/1800] Illustrated 765 Hand-Painted Nippon Claret Jug, 1911‑1921, Japanese, the body decorated with Dutch scenes of a shoreline dotted with windmills, the neck and stopper inspired by Egyptian and Assyrian decorative arts and include lotus flowers and an Assyrian bull, signed in overglaze green with an “M” in a wreath and “Hand Painted, Nippon”, h. 9‑1/2”. [150/300]

763 761 Louis XVI-Style Fruitwood Bergere Avec Orielles, early 20th century, the domed and padded back surmounted by a floral crest, joined by shaped and padded sides and arms to the cushioned seat, raised above a ribbon-carved paneled frieze on tapering fluted circular legs ending in toupie feet, with a conforming bolster, h. 43”. [700/1000] Illustrated previous page 762 Provincial Pine and Faux Bois Tallcase Clock, mid‑19th century, of kettle-form, the molded cornice above the white framed and brass repousse face, the long case fitted with one glazed paneled door, the lower section with incised diamond pattern, h. 90”, w. 22‑1/4”, d. 9‑1/2”. [600/900]

764

766

769 771

772

770

766 Ninety Piece Royal Copenhagen “Blue Fluted Full Lace” Dinner Service, designed by Arnold Krog in 1888, comprised of twelve dinner plates, dia. 10‑1/8”; twelve luncheon plates, dia. 9”; twelve bread and butter plates, dia. 6‑7/8”; twelve demitasse coffee cups, h. 2”; twelve demitasse saucers, dia. 4‑1/2”; twelve soup bowls, dia. 9‑1/8”; a mini coffee pot, h.7‑3/4”; a mini creamer, h. 3‑1/4”; an open sugar bowl, h. 3‑1/8”; two circular serving bowls, dia. 8‑1/4”; a tureen, h. 8”, w. 12‑1/2”; a footed compote, h. 5‑3/4”, dia. 8‑1/4”; a gravy boat with attached underplate, h. 3‑1/4”, w. 9‑7/8”; two oval pickle dishes, w. 9‑5/8”; two oval nesting serving platters, w. 14‑1/4” and 15‑3/4”; two oval platters, w. 11‑3/4”; a salt shaker, h. 3‑1/2”, a pepper shaker, h.2‑1/4” and a pair of candlesticks, h. 9”, all pieces fully marked. [2000/4000] Illustrated

770 Exceptional Pair of Male and Female Ivory-and-Zitan Ruyi Scepters, 18th/19th century, each composed of plain arched cow-hair zitan with carved ivory ling-chih heads, the ivory heads carved in the simplistic Ming dynasty-style and were probably attached to the zitan shafts later, each with silk cords, tassels, endless knots and jade beads strung in a diamond pattern, l. 9‑3/4” to 13”. [1200/1800] Illustrated 771 Chinese Carved-Ivory Shaped Plaque, of ovate rectangular outline with indented shaped corners, the interior finely and elaborately carved in high relief with a scene of two female figures and a rural pavilion beneath a willow tree in full leaf greeting a male figure standing on a covered barge crossing a waterway, fitted wooden display stand inlaid with silver wire, w. 4‑1/8”, l. 6‑1/8”. [600/900] Illustrated

772 Good Chinese Carved Ivory Brush Pot, first half 20th century, the thick oval section of the tusk carved on the face in intricate low relief depicting a scene of a rural village in a mountainous countryside with thatched and tiled buildings, an ancient pine tree and three figures, carved rosewood stand, h. 6”, including stand. [1500/1800] Illustrated 773 Pair of Japanese Carved-and Stained-Ivory Figures, one depicting a scholar in informal dress with a topknot and brown-stained surcoat holding a fan and a short staff, the second depicting a peasant wearing a brown-stained wrapped coat, a tied headband and holding a broom, h. 6‑1/8”. [700/1000] 779

767 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”. [400/700] 768 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”. [150/300] 769 Fine Chinese Carved Ivory Brush Pot on a Zitan Base, the section of the ivory tusk carved in relief as a section of a bamboo cane with nodes and sprouting roots and new shoots, the body additionally carved in relief with a cricket, grasshopper and foliage sprays, h. 8‑1/4”, including stand. [1800/2500] Illustrated

774 Chinese Carved Ivory Shaped Plaque, of slightly fan shaped outline with indented corners, the interior carved in high relief depicting flowering branches growing from rockwork and having two birds perched in the branches, fitted wooden display stand, h. 4‑1/2”, l. 8‑1/2”. [600/900] 775 Good Chinese Zitanand-Ivory Table Screen, composed of a rectangular zitan panel with pierced border centered with an engraved ivory fanshaped plaque of an idyllic landscape after a painting by Ying Tang, the famous Ming dynasty artist, the plaque held in a two-part frame and under stand, h. 16‑1/4”, l. 16”. [1000/1500]

776 Pair of Chinese Rosewood, Marble and Mother-of-Pearl Plant Stands, late 19th century, each with a rose marble inset top with elaborate carving on the apron and animal head legs terminating in paw feet, the rosewood inlaid in mother-of-pearl as decorative highlights, h. 41”, w. 17‑1/4”, d. 17‑1/4”. [300/500]

792

780 Elaborate Chinese Carved Section of an Ivory Tusk, first half 20th century, elaborately and delicately carved and pierced with a continuous scene of pagodas, towers, pavilions, gates and houses with numerous figures all in a densely forested landscape, h. 8‑1/8”. [700/1000] 781 Chinese Carved Ivory Small Elephant Tusk, 20th century, the arched tusk elaborately carved and reticulated with a continuous scene of pagodas, pavilions and numerous figures enjoying tea and having picnics among a forested park, fitted wooden stand, l. 19”. [700/1000]

777 Japanese Carved Ivory Military Group, of linear form, carved in intricate detail with two mounted samurai in full armor followed by three peasant soldiers, one in armor and two bare top, wooden stand, l. 9”. [1000/1500]

782 Chinese Carved Ivory “Puzzle” Ball and Stand, 20th century, composed of six layers carved as writhing dragons among clouds and seated on a turned and carved ivory pedestal with foliate trim, h. 6‑3/4”. [300/500] 783 Chinese Export Carved Ivory Picture Frame with Doors, 19th century, the picture frame carved with floral borders and having two reticulated doors each carved as roses against a geometric net ground, the back with an easel arm, h. 3‑5/8”. [300/500]

778 Pair of Chinese Carved ivory Mounted Figures, 20th century, depicting male and female armored Manchu Bannermen mounted on chargers carrying halberds and banners, wooden bases, h. 8”. [500/800]

784 Elaborate Chinese Carved Ivory Covered Incense Burner, the ovate body resting on three clawed feet and having arched handles each suspending loose rings and joined to the body with openwork balls, the conforming cover carved with intricate pierced fretwork with four dragon flanges suspending loose rings and topped with an elaborate dragon finial among clouds, the body finely carved in low relief with confronting dragons pursuing the Flaming Pearl among clouds and taotie masks atop each foot, the handles carved in low relief with dragons and engraved on their upper surface with characters, their fronts embellished with coral and turquoise cabochons, h. 11‑7/8”. [5000/8000] Illustrated

779 Fine Chinese Export Carved Ivory Wall Calling Card Holder, 19th century, composed of two card holder trays bordered by dragons and fronted with figural panels, the holder surrounded by an elaborate foliate border with dragons, birds and children against the foliate background, h. 8‑1/4”. [2000/4000] Illustrated Previous Page

785

787

784

788

786

785 Elaborate Chinese Carved Ivory Mountain, carved following the shape of the end of the tusk depicting a rocky mountain peak carved and undercut in elaborate relief with figures following a trail up the mountain, all below the Queen of Heaven riding a horned dragon and attended by an acolyte, the top of the mountain with an entrance with double doors below a calligraphic plaque and two female guardians, the entire piece carved with intricate detail and deep undercutting, h. 15”. [8000/12000] Illustrated 786 Chinese Elaborate Carved Ivory Incense Burner, the body of octagonal outline resting on three clawed animal feet below lion faces with arching handles and loose rings, the body with six panels carved in low relief with dragons, the conforming covers with pierced floral fretwork, loose rings and a Buddhistic lion finial holding a ribboned ball, h. 7‑7/8”. [1500/2500] Illustrated

787 Elaborate Chinese Carved Ivory Figural Naturalistic Group, depicting a scholar and his attendant in a rocky grotto with pine trees and a crescent moon in clouds, the scholar resting against the rockwork holding a box and resting his elbow on rockwork with a stack of books, the young attendant offering his master a peach and standing on rockwork with a wine pot at his feet and scattered flowers on the ground, h. 11‑5/8”, including stand. [8000/12000] Illustrated 788 Chinese Finely Carved Ivory Floral Group, depicting a group of towering rock plaques rising from a rockwork base, carved on the front in intricate high relief as a group of peony flowers and buds among foliage with ground flowers at their base, mounted on a carved wooden stand, h. 7‑3/4”, including stand. [900/1200] Illustrated

789 Large, Elaborate Pair of Chinese Ivory Pagoda Vases, each of octagonal form, the octagonal baluster vases with strap handles and dragon-head ornaments topped by a galleried pavilion enclosing a seated figure of an emperor, the pavilion with four support posts and lattice work panels beneath a tiled pagoda-style roof and a double gourd finial, the panels of the vases with carved and etched decoration of flowers, dragons, phoenix birds and stylized characters, wooden stands, h. 45”, excluding stands. [50000/80000] Illustrated

789

790 Unusual Chinese Carved and Undercut Ivory Tusk Sculpture, the curved end section of the tusk, carved, hollowed and undercut in intricate detail depicting a tile roofed building among clouds and trees on one end, a dragon and a phoenix bird on the other and between numerous figures of deities and birds in a densely populated pine forest, the center of the tusk hollowed giving a dramatic three dimensional effect, mounted on a wood display stand, l. 21‑1/8”. [2500/4000] 791 Chinese Silver and Mother-of-Pearl Whistle, the spherical body with embossed Chinese characters attached to a tubular body terminating in a motherof-pearl handle, l. 4‑1/2”. [100/200]

792 Chinese Carved Ivory Covered Vase, of flattened baluster form, the body with four pierced flanges and four reserve panels carved in low relief of confronting dragons among clouds, the neck with two elephant and two taotie masks each with loose rings above bird and floral bands, the conforming cover with an elephant finial with decorative howdah, the vase embellished with coral and turquoise cabochons, fitted wooden stand inlaid with silver wire, h. 12”. [3000/5000] Illustrated

793

794 Elaborate Chinese Export Rosewood and Marble Plant Stand, 19th century, of hexagonal outline, the top inset with an hexagonal rougemarble plaque, the curved legs enclosing elaborately carved floral aprons, the legs with bamboo decoration and a floral stretcher near the base, h. 35‑5/8”. [300/500] 795 Chinese Carved and Stained Ivory Model of a Chicken Boat, the wide-bodied boat with engraved and stained details with a chicken head prow and feathered details, three sailed mast, moveable rudder and having seven figures and various storage vessels on the deck, l. 13‑1/4”. [2500/4000] Illustrated 796 Chinese Carved and Polychromed Ivory Statue, carved from the end of a tusk, the detailed carving of a male immortal clad in a polychromed brocade surcoat over an informal robe and wearing an official’s hat, the figure holding a spray of peonies in one hand and a basket of flowers in the other, the details of the brocade robe and official hat carved in intricate detail and tinted in polychrome colors, fitted wooden stand, h. 21‑3/8”, including stand. [3500/5000] Illustrated

795

793 Large Pair of Chinese Decorative Export Covered Ginger Jars, each of conventional shape with waisted bodies and conforming domed covers with stylized foo dog finials, glazed all over in a rich black glaze, h. 22‑1/2”. [10000/15000] Illustrated

797 Large Pair of Mongolian-Style Table Snuff Bottles, each with carved ivory panels inset into brass bodies set with coral and turquoise cabochons in bezel settings, the ivory panels carved in relief with Chinese figures among willow trees, fitted wooden stands, h. 9‑1/4”, including stands. [400/700] 798 Pair of Japanese Ivory Figures of Dignitaries, 20th century, each depicting a seated figure on a dragon chair and clad in brocade kimonos and holding their attributes, each figure with engraved and stained details and bearing traces of gilt highlights, h. 10‑1/8”. [2500/4000] Illustrated

796

803

799 Well-Carved Pair of Chinese Ivory Figures of an Emperor and Empress, each figure seated on a yoke-backed throne with splat carvings of a dragon and a phoenix, the figures clad in Imperial brocade Dragon robes and Imperial hats, the figure of the emperor fondling a Buddhistic necklace, that of the empress holding a wrapped gift, both with intricate, well-carved details, h. 9‑3/4”, including stands. [1400/1800]

798 800

801 Chinese Carved Ivory Figure of a Fisherman, Child and His Catch, carved in high relief, with undercutting depicting the fisherman holding a boy on one shoulder and a fishing pole with a large fish, the black carved as a rocky outcrop, fitted wooden base, h. 12‑1/8”, including stand. [1200/1800]

800 Large, Impressive Japanese Satsuma Covered Incense Burner, late 19th century, the globular body resting on lion-head and paw feet, winged dragon handles with rings and draped tassels, the cover with an elaborate shi-shi finial on a ball, the body decorated in traditional enamels with scenes of geishas and samurai, h. 24‑7/8”. [1200/1800] Illustrated

802 Japanese Carved Bone Tea Scoop, carved as the face and head of Shoulao with the open scoop protruding from the lower part of the deities face, the entire scoop has been patinated to achieve a warm ivory look, l. 4‑1/8”. [150/300] 803 Group of Seven Chinese Carved Ivory Figures of Immortals, 20th century, each carved as a standing figure in official and informal robes and holding their attributes, all on blackwood bases, h. 7”, including stands. [2500/4000] Illustrated

805

806

807

808 804

804 Japanese Carved and Stained Ivory Group of Men Playing Go, carved as two seated male figures in elaborate brocade kimonos facing one another over a Go board, the figures and board on a rosewood base with silver wire inlay, h. 6‑5/8”, l. 11‑1/2”. [1800/2500] Illustrated

808 Unusual Japanese Carved Ivory Group, depicting a fisherman standing on a platform holding a basket and feeding fish to his cormorants and attended by a young boy, the figures mounted on a carved wooden base presenting a charming diorama of rural life, h. 6‑1/2”, l. 12”. [1000/1500] Illustrated

805 Well-Carved Japanese Ivory Okimono of a Standing Geisha, Meiji Period (1868‑1911), the standing figure clad in an informal kimono with obi both with engraved and stained decoration, the geisha with an elaborate formal hairdo and holding an open umbrella, her robes realistically carved to indicate movement, signed in the base with a red lacquer plaque, h. 13‑5/8”. [1800/2500] Illustrated

809 Fine Chinese Ink and Color Landscape Scroll by Baoshi Fu (1904‑1965), depicting a densely forested mountainous landscape waterfall and pool with a scholar’s pavilion perched on a peak with two figures and three figures on a lower outcrop admiring the waterfall, w. 22‑1/2”, l. 79‑1/4”. Fu Baoshi is acknowledged as an important leader in reviving early realistic depictions while developing ink wash and spattered ink techniques and is considered one of the most important Chinese artists of the last century. He was deeply enamored with China’s landscapes and sought to be emotionally present in his paintings. He served as Director of the Jiangsu Provence Painting School and Vice-Chairman of the Federation of Chinese Artists and taught in the Art Department of Central University, now Nanjing University. [800/1200]

806 Amusing Japanese Carved Ivory Okimono of a Skeleton, 20th century, the figure depicting a walking skeleton carrying a lotus leaf umbrella and clad in a lotus leaf skirt, the figure using a walking stick and having a pipe in its mouth, the details well carved, the figure mounted on a circular wooden base with an inset signature plaque, h. 10‑3/4”. [4000/7000] Illustrated 807 Japanese Oversized Carved Ivory Snuff Bottle, carved in the form of a standing Mandarin holding a longtailed bird and a fan, clad in elaborate brocade stained robes and an official hat, the head removable as the official’s head, h. 12‑1/8. [2000/4000] Illustrated

100

810 Intricate Chinese Zitan and Ivory Table Screen, composed of a zitan panel inset with three engraved ivory plaques, the central plaque depicting two red-crowned cranes perched in a pine tree and flanked by two panels of outlined calligraphic characters, the panel mounted in an elaborate fretwork stand resting on a zitan and burlwood base, h. 17”, l. 13‑1/8”. [1200/1800]

811 Chinese Carved Ivory Miniature Covered Incense Burner, the octagonal body resting on three clawed feet with taotie terminals, the body carved in low relief with panels of dragons and having shaped handles with loose ring handles, the conforming cover carved with a keyfret border and topped with a coiled dragon finial, fitted wooden stand, h. 6‑1/8”, including stand. [600/900]

813

812 Chinese Elaborate Carved Half Tusk Vase, carved in intricate high relief as an arched outline vase with elaborate floral decoration with a central panel of a deity and attendants, the sides with birds and monster masks with loose rings, the shoulder carved as a dragon spewing vapors with the Flaming Pearl and a phoenix bird, the cover carved as a female deity and attendant beneath a pine tree, the concave reverse carved with rockwork flowers and trees, fitted wooden stand, h. 15‑1/2”. [4000/7000] Illustrated 813 Pair of Chinese Carved Ivory Pagoda Vases, each of octagonal form consisting of baluster form vases with ruyi handles, the vases topped by galleried pavilions enclosing the seated figures of emperors, the pavilions with four support posts and lattice panels beneath tiled pagoda roofs topped with Flaming Pearl finials, the panels of the vases with carved and engraved decoration of birds, flowers and Chinese characters, h. 25”. [15000/25000] Illustrated

812

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Session II Sunday, May 20, 2012 11:00 a.m. CST – Lots 814-1444

814

817 Raoul Arango Midnight Blue Silk Gazar and Satin Strapless Evening Gown, 1980’s, the drop waist bodice with bow-centered satin bands, the hem with satin banding, with a black tulle undershirt, the whole lined in midnight blue silk, labeled: “Raoul Arango” along with a “NAN DUSKIN” label, size 10, overall l. 53”. [150/300] 818 Carolina Herrera Black Velvet and Sequined, Matte Satin Cocktail Dress, 1980’s, the drop-waist velvet bodice with a scooped neck and long sleeves ending in scalloped sequined satin double ruffles with a zippered closure, the scalloped and velvet-banded gathered skirt decorated with sequins in a treillage design, lined in black tissue silk and having a zippered back closure, labeled: “CAROLINA HERRERA”, size 12, from the shoulder l. 39”. [150/300]

816

814 Collection of Three Evening Gowns, including a red satin strapless gown having a fitted bodice with back zip and paneled full skirt, fully lined, labeled: “LINDA ALLARD / ELLEN TRACY”, size 10, length in front 53”, an ivory satin strapless gown having a fitted bodice decorated all around with rhinestones and taupe beads fashioned as leaf sprigs and ferns, with back zip, fully lined, labeled: “DANA / BUCHMAN / LUXE”, size 12, length in front 54” and a black tissue taffeta drop waist gown, having a fitted bodice with a zippered, scooped back, the unlined full skirt tightly gathered, the bodice lined, labeled: “STEVEN STOLMAN”, size 10, retains the original paper tag, length from the shoulder 60”. [150/300] Illustrated 815 Three Designer Evening Pieces, including a black cotton velvet side zip straight skirt with slash pockets labeled: “YVES SAINT LAURENT / rive gauche / PARIS / MADE IN FRANCE”, 1970’s, fully lined, size 46, l. 24”, a pair of black satin and crepe back zip palazzo pants, gathered at the waist, the back waist band elasticized with an attached satin tie, labeled: “CHRISTIAN LACROIX / PARIS”, 1980’s, size 42, l. 42” and red taffeta zip front jacket with shapeable ruffles and smocked front detail, having set-in 3/4 sleeves with French cuffs, fitted overall, unlined with finished seams, labeled: “Samuel Dong”, 1990’s, retaining the original paper hang tag, style 17142, size small. [100/200] 816 Diane Freis Elaborately Beaded and Sequined Floral Print Evening Swing Coat, 1970’s-early 80’s, the open front with a flower-form beaded, embroidered and tasseled snap closure at the neck centered with a large faceted red “jewel”, fully lined with floral-patterned black silk, labeled: “Diane Freis / ORIGINAL”, having removable shoulder pads, fits sizes 4‑6, length from the shoulder with pads 35‑1/2”. [250/400] Illustrated

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819 Vintage Black and White Satin Gown and Robe, ca. 1970‑1980, the black satin gown with spaghetti straps and fitted through the bust line, Tootsie’s Houston label, size 4, together with a black satin robe with kimono sleeves, with a white silk roll-over collar and front facing of off-white silk, the sleeves and lapel trimmed with white hand stitching, and with two concealed white satin side pockets and ribbon belt, J. Peterman label, Made in Hong Kong, size small. [75/125] 820 St. John Black Knit and Rhinestone Full Length Strappy Evening Sheath, 1980’s, with a back zipper and long slit at the hem, the front opening with three rhinestone dress clips, labeled: “ST. JOHN / EVENING / BY MARIE GRAY”, size 12, l. 56” from the shoulder. [125/250] Illustrated

821 Black Wool Crepe Holly's Harp Cocktail Dress, 1980’s, the long-sleeved dress with lettuce-edged tricot flounced ruffles on dropped shoulders, with a dainty hem treatment in front, scattered handstitched blue brilliants are scattered throughout, center back zipper and fully lined throughout, labeled, “Holly's Harp” for Bergdorf Goodman, size, 10‑12. [75/125]

826 Four-Piece Group of Evening Wear, comprised of a chocolate brown two-piece black-beaded and appliqued satin side zip tank and open jacket, both pieces fully lined, labeled: “SD / SANDRA DARREN”, both size 10, jacket l. 22” from the shoulder, together with a JS Collections black “ribbon-tiered” long skirt with back zip, size 10, l. 44‑1/2”, retaining the original Nordstom’s hang tags, along with a black taffeta full skirt with self sash labeled: “CACHE / LUXE”, having an attached tulle-edged petticoat, with back zip, the waistband partially elasticized, size 12, l. 26‑1/2”. [125/250]

820

827 Vintage Black Evening Jacket, ca. 1920, the jacket with a classic cardigan look with striped net with vertical black braid pattern, inset sleeves with turn-back wide cuffs, and with a wide border at the bottom, lined throughout with black crepe, size 8 to 10. [75/125]

822 St. John Metallic and Lurex-Shot Silver Knit Evening Cardigan, 1990’s, decorated with gold, silver and jet metallic strips, edged in jet metallic strips, with one hook and eye closure, labeled: “ST. JOHN / EVENING / BY MARIE GRAY”, size 4, length from the shoulder 19”. [300/500] Illustrated

828 Fine Lily Dache Black Hat, ca. 1940‑1950, the velvet crown and ribbon band with dyed egret feathers comprising the entire 6” brim, stretch band in interior for wearing ease, Lily Dache, 79 East 56th Street, New York label. Lily Dache hired young apprentice Halston to work for her before she retired in 1968. [100/200] Illustrated 829 Collection of Three Genny Cocktail Pieces, 1980’s, labeled “Genny/Amen Wardy/Made in Italy”, including a evening wear black fine wool three-quarter length coat dress, with emerald green collar snap-front closure, twopocket 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. Gianni Versace designed for Genny from 1975 until 1994. [150/300]

823 St. John Beaded, Sequined and Lurex-Shot Black Knit Evening Cardigan, 1990’s, with rolled collar and zippered front, the zipper tab decorated with a tasseled “jewel” inset and strung with iridescent faceted stones, labeled: “ST. JOHN / EVENING / BY MARIE GRAY”, size 4, length from the shoulder 24”. [300/500] Illustrated

828

824 St. John “Gilded” and Lurex-Shot Sand Knit Evening Cardigan, 1990’s, with a band collar and zippered front, decorated with tiny matte and bright gold elements and smoke and topaz rhinestones, the whole edged with sand satin, the zipper tab and and cuff buttons of textured gold with inset topaz and gold rhinestones, labeled: “ST. JOHN / EVENING / BY MARIE GRAY”, size 4, length from the shoulder 21‑1/2”. [300/500] Illustrated

822

823

824

825 Sleeveless Lavender Voided Velvet Long Sheath Gown, ca. 1980’s, Two Heads Studios label, size 8 to 10. [75/125]

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830 Emerald Green Satin Capelet, self-lined with a satin button closure, slot openings for the arms from the inside in kimono fashion, labeled: “Fontana / EXPORT ROME / MADE IN ITALY”, fits size 4‑6. [50/80] 831 Three-Piece Escada Black Wool Knit and Silk Chiffon Evening Ensemble, 1980’s, comprised of a rhinestoneset pointelle knit cardigan with ruffled front and hem and matching tank, both size 40, together with a staggered two-layer silk chiffon side-zip skirt having a narrow satin waistband, size 42, all labeled: “ESCADA”. [100/200]

833

833 Nina Ricci, Paris, Lurex-Edged Plaid Taffeta Blouse, 1980s, the front closure and french cuffs with faux-tortoise cabachon buttons and cuff links set in gilt-metal rope, labeled: “NINA RICCI / PARIS / MADE IN FRANCE”, size 40, coordinated with an unlabeled persimmon floor-length gathered taffeta skirt having a purple underskirt, both pieces in the “Jim Thompson Thai silk” palette, shirt l. 42”. [125/250] Illustrated 834 Valentino Floral Ecru Silk Crepe de Chine Cocktail Dress, 1980’s, the shirred and banded v-neck bodice accented with three flower-form rhinestone buttons, with tapering inset sleeves ending in discrete zippered wrists, the skirt softly gathered, with zippered back, fully lined, labeled: “VALENTINO / NIGHT / MADE IN ITALY / FABRIQUE EN ITALIE” and “NAN DUSKIN”, size 12, retains the original paper price tag stub, length from the shoulder 41‑1/2”. [75/125] 835 Pink Silk “Tea” Gown, ca. 1980‑1990, the wide-necked off the shoulder afternoon dress of one hundred percent silk, embroidered with trios of tiny pink rosebuds and green leaves, the bodice is ruched under the bust line and has a fitted waistline ending in a princess center point, the full skirt with modified gathered pannieres on the sides, inset puffed sleeves, together with a slip, Cowgirls by Marika Nakk label, size 8 to 10. [75/125] Illustrated 836 Madeira Tablecloth with Twelve Napkins, the white linen cutwork embroidered tablecloth with whitework embroidered floral motifs, the 75” center medallion with greenery and flowers, together with twelve napkins with embroidered corners, l. 100”, w. 72”, tablecloth, l. 22”, w. 22”, napkins. The Portuguese Atelier where this cloth and napkins were made, estimates that it took over a year to produce. [600/900] Illustrated

832 Two Piece Group of Evening Blouses, the first ca. 1960, a slipover bateau neckline top which can be worn with either side to the front, comprised of black, red and gold velvet insets on one side and black, green and blue velvet insets on the other, dolman elbow length sleeves, Tailored by Fligelman of New York label, size 8 to 10, the second ca. 1930‑1940, a beaded V-neck yoke with inset tulip short sleeves of beige crepe, embellished with an elaborate gold art deco pattern, the deep “V” with two selfcovered buttons and thread loops, a wesket of black velvet wraps in the back with two self-covered buttons, with shoulder pads and a side zipper, size 8 to 10. [75/125]

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837 Six Volumes of Early 19th Century Ladies’ Magazines with Hand-Colored Fashion Plates, including two volumes of La Belle Assemblee (London: Cox & Baylis), vol. V (Jan-Jun 1812), with twelve plates, in tan half leather with marbleized paper boards, the spine black labels and gilt lettering ruling and decoration, 9‑1/2” x 6”, and vol. XXIX (Jan-Jun 1824), with eight fashion plates, in red half leather with marbleized paper boards, the gilt double fillet, the spine with gilt lettering and ruling, 9-1/2” x 6”, Journal des Dames (Paris: Carpentier-Mericourt), vol. XXVII?(1824), with eighty plates, including some gentlemen’s fashions, in green full cloth, the spine with applied black label with gilt ruling and lettering, 8‑1/2” x 5‑1/2”, Townsend’s Monthly Selection of Parisian Costumes (London: J. Townsend), vol. I (1825?), with thirty-three plates, in green half leather with buff paper boards, the spine with gilt lettering and ruling, 7‑3/4” x 5‑1/8”, Petit Courrier des Dames (Paris: Dondey-Dupres), vol. XIII (Jul-Dec, 1827), with forty-three plates, including some gentlemen’s fashions, in green quarter leather with marbleized paper boards, the spine with gilt lettering and ruling 8‑1/4” x 5‑1/8”, and Magasin des Demoiselles (Paris: Hennuver & Turpin), vol. I (Oct 1844-Sep 1845), with eleven plates, in tan textured quarter cloth with marbleized paper boards and endpapers, the spine with embossed ruling and gilt lettering, 9‑3/4” x 6‑3/4”. [150/300]

835

836 838 Nine Volumes with Early 19th Century Hand-Colored Fashion Plates, including volumes VI through XII of World of Fashion and Continental Feuilletons (London: Bell, 1829‑1835), each annual volume with approximately sixty fashion plates, in brown textured cloth boards, the spine with brown leather label with gilt lettering, 8‑1/4” x 7‑1/4”, Costumes of the Ladies of England (London: Rudolph Ackermann, n.d. [ca. 1830]), a collection of over one hundred fashion plates from the full run of Ackermann’s Repository of Arts 1809‑1829 journal, published by Strand printmaker Rudolph Ackermann (1764‑1834), in black half leather with textured blue cloth boards and fully gilt edges, 8‑3/4” x 5‑3/4”, and Costumes a collection of approximately eighty French and English fashion plates cut from Petit Courier des Dames, Costumes Parisiens and London Dresses, 1799‑1831, pasted onto thick scrapbook stock, bound in black half morocco with grey linen boards and fully gilt edges, the spine with raised bands and gilt lettering, 9‑1/4” x 7‑1/4” [200/400] Illustrated 839 Thirteen Volumes of Georgian to Victorian Ladies’ Magazines, most with hand-colored fashion plates, including eight volumes of the Lady’s Monthly Museum; or Polite Repository of Amusement and Instruction (London: Vernor & Hood), vols. II-III, V, VII-VII, XI, XIV-XVI (1799‑1806), with approximately ninety-six color plates total, in brown half leather with marbleized paper boards, the spine with red title panel and volume cartouche, with gilt lettering and ruling (vol. III in later brown half leather with textured paper boards and gilt lettering on the spine), 7‑1/2” x 4”, one volume of the later Ladies’ Museum (London: Dean & Murray), vol XXIV (1826), with twelve color plates, in red half leather with marbleized paper baords, the spine with gilt lettering and decoration, 7‑3/4” x 4”, two volumes of the Ladies’ Cabinet of Fashion, Music and Romance (London: George Henderson), vols. I (1838) and III (1840), with 48 hand-colored plates total, in brown half leather with marbleized boards, the spine with tan panels and gilt lettering, 6‑1/2” x 4‑1/4”, one volume of the Ladies’ Companion and Literary Expositor (New York: W. W. Snowden), vol. XX (Oct 1843-May 1844), with twelve hand-colored fold-out plates, in brown half leather with marbleized boards, the spine with gilt lettering and ruling, 10” x 6‑3/4”, and a later volume of the Ladies’ Cabinet (London: George Vickers), vol. XVII (Jan-Jun 1852), with six black-andwhite fashion plates, in brown full textured cloth with gilt lettering on the spine, 8‑1/2” x 5‑3/4”. [125/250] Illustrated

839

838

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840 Rare 18th Century First Edition of Volume I of Heideloff’s “Gallery of Fashion”, Nicholas Wilhelm von Heideloff (1761‑1839), publisher, April 1794-March 1795 [London], with twenty-four hand-colored engraved fashion plates of forty-six figures, some with metallic tints, quarto, in brown marbleized full calf with gilttooled fillet, decorative banding and dentelle, the spine with green panel and gilt lettering, ruling and paterae, 11‑5/8” x 9‑1/2”. This rare and important work was the among the earliest of fashion magazines, and certainly the most prestigious and ambitious of its time. Only 167 copies were subscribed to this first volume (at a rate of three guineas, equivalent to about $350 today), suggesting that less than 200 were produced; probably at no time during the magazine’s run was the issue more than about 450 copies. Publication continued until March of 1803, although Heideloff’s name no longer appears on the imprint after April 1802. For more information on this seminal work, see Hand-Colored Fashion Plates 1770‑1899 (London: Batsford, 1955), pp. 46‑48, by Vyvyan Holland (whose expertise in the subject came legitimately, being the only surviving son of Oscar Wilde). [100/200]

843 Two Designer Dresses, 1980’s, the first example by Pauline Trigere in midnight-blue floral gazar, the back zip fitted bodice with a self-flower-decorated band collar and scalloped drop waist, the gathered 3/4 sleeves with band cuffs, the skirt gathered overall, labeled: “paulinetrigere”, fully lined, size 8/10, l. 42” from the shoulder, the second example a Nina Ricci, Paris, white textured cotton sateen floral dress, the back zip empire bodice with a scoop neck and “v” back, the softly-pleated sleeves finished with a small matte white disc button, the fitted skirt with open diagonal side hip pockets and a white disc-buttoned slit at one front side, labeled: “NINA RICCI / PARIS / MADE IN FRANCE” and “NAN DUSKIN”, the skirt lined, size 48, l. 42” from the shoulder. [125/250] 844 Two Designer Scarves, the first ca. 1980, a Bill Blass vibrant silk scarf with hot pink, purple, turquoise and cerise bands joining a diagonal black and white striped area, the selvedge in the same black and white stripe, w. 36”, l. 36”, the second ca. 1970, a Bob Mackie multi-color scarf with a butterfly and floral blocked border, w. 42”, l. 42”. [75/125] 845 Nina Ricci, Paris, Pink Silk Moire Suit, 1980’s, the front-button box-pleated peplum jacket with two faux flap pockets and textured gold buttons at the front closure, on the pocket flaps and at the lower sleeve, model: “V. Minniac”, French size 40, the skirt with a back zipper, button waistband and kick pleat at the rear hem, model: “J. Joannas”, French size 44, skirt l. 28”, both pieces fully lined in pink, both pieces labeled: “NINA RICCI / PARIS / MADE IN FRANCE” and a white paper tag printed: “NINA RICCI / Boutique / PARIS” with an attached special order tag from a Nan Duskin, Philadelphia, trunk show, both pieces retaining the original price tags. [125/250]

841

841 Purple Satin and Pink Ruched Ribbon Cloche with Ties, attributed to American Designer, Charles James (1906‑1978), w. 9”, d. 6”. The cloche was given to Jeanne Lawson Bultman, who was James’ model, seamstress and bookkeeper and lifelong friend. Bultman died in 2008, and this hat was found in her keepsakes. [300/500] Illustrated 842 Two Vintage Hats, ca. 1930‑1950, the first a velvet with bakelite trim, and a cockade on the left side, labeled, “Designed by Lillian” and the second, a brilliant iridescent cocktail hat with art deco rows of sequins and two small fastening flaps. [125/250]

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846 Chanel Boutique Black Sueded-Deer Hide and Persian Lamb Jacket, the body and set-in sleeves decorated in “military” style with Persian lamb detail, and a placket covered button front closure, labeled: “CHANEL / BOUTIQUE / with interlocking C’s within a circle”, fully lined, l. 22” from the shoulder. [75/125] 847 Valentino Black and White Wool Check Chemise, 1990’s, with jewel neck, the jet-buttoned center placket dropping to two low open pockets, all edged in black velvet, the chemise body loose over a pleated skirt, with inset sleeves ending in banded jet-buttoned cuffs edged in black velvet, fully lined, labeled: “valentino / V / Miss V / MADE IN ITALY / FABRIQUE EN ITALIE” and “Neiman Marcus”, size 46, length from the shoulder 42”. [125/250] 848 Nina Ricci, Paris, Grey Two-Piece Wool and Cashmere Ensemble, late 20th century, the unlined top with an off-center placket closure and ruffled pleated peplum, the attached tie-neck, faux breast pocket and cuffs accented with ruffled pleats, French size 42, the matching crystal-pleated skirt with a 1” buttoned waist band, French size 44, both pieces labeled: “ NINNA RICCI / PARIS / MADE IN FRANCE. [125/250] 849 Giorgio Armani Black Rabbit Felt Ladie's Derby, Italian size 57, retains the original retail tag. [50/80]

850 St. John Full Length White Cotton Trench Coat, the waist and cuffs with self-belts having brass grommets and faux-tortoise buckles, two on-seam side pockets, all edges top-stitched in white, the epaulets and front opening with fauxtortoise buttons each centered with a giltbrass floret, the back with a long slit, fully lined in white acetate, labeled: “ST. JOHN / COAT COLLECTION / BY MARIE GRAY” and a gilt-brass hanging chain stamped: “ST. JOHN” and a small gilt-brass label on the upper back also stamped: “ST. JOHN”, size 10, retains the original St. John paper tag and an extra button, l. 49” from the shoulder. [100/200] Illustrated

850

851 Two Vintage Smoking Jackets, ca. 1980, the first, a Ferragamo acetate and acrylic paisley smoking jacket with notched collar, tab pockets, breast pocket and long sleeves, the collar and pockets faced with black velvet, Yves Saint Laurent encore label, Made in France, size 40 (8), the second, an Armani smoking jacket of gray/ beige tones with a vertical herringbone pattern, silk lined, Armani label, size 8 to 10. [100/200]

852 Three-Piece Giorgio Armani Group, 1980’s, including a gray zip-front textured velvet jacket with on seam pockets, labeled: “GIORGIO ARMANI / LE COLLLEZIONE / MADE IN ITALY”, fully lined, size 8, a pair of grey wool flannel front zip pleated trousers with two double welt front pockets and one rear buttoned flap pocket, labeled: “GIORGIO ARMANI / LE COLLEZIONE / MADE IN ITALY”, unlined, size 12, and a side zip stone crepe pant, labeled: “GIORGIO ARMANI / MADE IN ITALY”, style: “VESTIMENTA SPA”, unlined, size 50. [100/200] 853 Two Valentino Boutique Jackets, the first example a gray wool jacket with oversized pockets having 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 lioness buttons, lined throughout, size 10‑12. [100/200] 854 Louis Vuitton, Paris, Monogram Canvas and Chocolate Brown Leather Softside Suitcase, with a full zippered opening at one side, the chocolate brown cotton-lined interior with two elasticized snap pouches at the sides, two nylon webbing straps and a leather-trimmed label on the bottom: “ LOUIS VUITTON / PARIS, FRANCE / MANUFACTURED BY / THE FRENCH COMPANY, USA / UNDER SPECIAL LICENSE”, with a leather handle and trim, overall h. 21‑3/4”, w. 25”, d. 9‑1/4”. [200/400]

858

855

855 Louis Vuitton, Paris, Monogram Canvas and Tan Leather Softside Suitcase, with a full zippered opening at one side, the chocolate brown cotton-lined interior with two elasticized snap pouches at the sides, two cloth straps and a leather-trimmed label on the bottom: “ LOUIS VUITTON / PARIS, FRANCE / MANUFACTURED BY / THE FRENCH COMPANY, USA / UNDER SPECIAL LICENSE”, with a leather handle and trim, the brass zipper tab stamped: “YKK”, overall h. 21‑3/4”, w. 25”, d. 9‑1/4”. [200/400] Illustrated

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856 Classic Burberrys Cotton Belted Trench Coat, 1980’s, with zip out signature wool plaid lining, size 10, from the neck l. 49”. [200/400] 857 Valentino Wool Challis “Pug” Dress, 1980’s, back zip and button shoulder yoked bodice with a band collar, fitted at the hips and dropping to box pleats at the front and back, the set-in sleeves gathered at the shoulder and cuffs, labeled: “ V / BOUTIQUE VALENTINO / New York / ROME”, a chocolate brown suede 1‑1/2” contoured belt and associated Marquise fringed suede tie included, fully lined, size 8, length from the shoulder 40”. [100/200] 858 Chanel, Paris, Chocolate-Brown Quilted Suede and Kidskin Drawstring Bag, the drawstrings ended in “quilted” gold balls marked with interlocking “C’s”, the side with a vertical zippered pocket, the zipper with a matching “quilted” gold ball suspended from a leather strip as above, the strap with a segment of leather-laced gold chains, the brown kidskin lined interior with opposing zippered pockets, one stamped in gilt: “CHANEL”, the other stamped in gilt: “MADE IN ITALY” within an oval, a black Chanel dust bag included, h. 9”, w. 10”, d. 6‑1/2”, strap drop: 19”. [300/500] Illustrated previous page

864 Luxurious Salvatore Ferragamo Camel Plaid Alpaca and Wool Shawl Jacket, 1980’s, with set-in drop sleeves and a large attached scarf, the scarf, sleeves and hem ending with self fringe, labeled: “Salvatore Ferragamo / MADE IN ITALY”, one size, together with a St. John fringed black wool knit shawl wrap, labeled: “ST. JOHN / COLLECTION / BY MARIE GRAY”, one size. [125/250] 865 Two Eskandar-Jackets, the first example a slate blue and chocolate brown paisley wool, cashmere and silk jacquard drop-shoulder kimono-style with side slits, unlined, the second example a raisin pinwale cotton and cashmere drop-shoulder front button big shirt with a convertible collar, horn buttons and two on-seam patch pockets, unlined, both labeled: “Eskandar” and “Neiman Marcus”, size 0, length from the shoulder 25” and 28” respectively. [125/250]

869

859 Vintage Tobacco-Brown Lizard Handbag, ca. 1950, the brown lizard handbag with self handle and brass fittings, and one interior slip pocket, lined with fauxleather and stamped: “Sterling” in gilt, h. 5”, l. 12‑1/4”, handle 5”. [50/80] 860 Chanel, Paris, Chunky Gold Logo Belt, comprised of oval “quilted” links interspersed with textured interlocking “C’s”, adjustable size, overall l. 42‑1/2”. [150/300] 861 Chanel, Paris, Chestnut Brown Pebble Grain Belt, the buckle a rectangular self-leather-laced gold chain, the prong stamped: “CHANEL and interlocking “C’s”, the strap stamped in gilt: “CHANEL/MADE IN ITALY” and 85 over 34, overall l. 39‑1/2”, strap w. 1”. [75/125] 862 Three School Girl Dresses, ca. 1960’s, the first a brown cotton smock dress with a flat collar with ties, long sleeves and two front recessed pockets, 100% cotton, Dorothee Bis, E and J Jacobson label, Made in France, size 6 to 8, the second a gray pin-striped flannel yoked school girl type dress, complete with a double white cotton detachable collar and a self belt, inset ragland sleeves with cuffs, placket and cuffs with pearl buttons, two concealed front pockets, Laura Ashley label, size 6 to 8, and the third a charcoal gay and black striped wool dress with flanked dolman inset sleeves, a set-in collar with double frog gray button closure and a slightly gathered waist, Haymaker, B. Altman & Co., Fifth Avenue New York label, size 8 to 10. [100/200] 863 Vintage “Autumn Haze” Box “Fascinator”, 1950’s, with two hair anchor combs and a veil. [50/80]

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866 Four-Piece Eskandar Linen Group, comprised of a twopiece navy-andwhite vertical herringbone stripe zipper jacket with two front patch pockets and drawstring hood, size 0, with matching full leg pull-on pants having two deep on-seam side pockets and two button-flap cargo pockets at mid-thigh, having a drawstring elasticized waistband, size 1, together with an ivory dolman sleeve big shirt with banded collar and cuffs, size 1, and a muted tan, brown and white vertical stripe dolman sleeve tunic with long side slits, banded collar and cuffs, size 0, all pieces labeled: “ESKANDAR” and “Neiman Marcus”. [150/300]

867 Escada Sand Three-Piece Knit Ensemble, 1980’s, including a zip front cardigan with laced detail from the shoulder down the sleeves and edging the front patch pockets, size 40, with a matching shaped v-neck short sleeve t-shirt, size 42, and a matching pair of pull on straight leg pants with lacing detail at each side ankle, size 44, all pieces labeled: “ESCADA”. [150/300] 868 Two Fine Dark Brimmed Hats, the first ca. 1940‑1950, Mr. John label, the intricately braided black straw crown with an affixed 9” brim of six layers with light wire contouring the brim, black grosgrain ribbon with bow around the crown, Mr. John designed hats for Vivian Lee in Gone With the Wind; the second, ca. 1960‑1970, Emme, the braided navy straw hat with double fitted crown of like straw, navy chiffon drape across 6” brim with trailing chiffon tie to wear under chin. Emme was a New York boutique milliner who hired Adolpho in the early 1940’s. His career blossomed and he became the premier designer for the Burgeoning Film Industry’s Costumes. [50/80]

876

869 Group of St. John Red Knit Sportswear, comprised of a three-piece ensemble including a ribbed buttonfront cardigan with four buttoned patch pockets, all with pierced twist and bar gold tone buttons, size 10, a sleeveless zip-shoulder shell with knitted and embroidered black-and-white decoration, size medium, and a pair of pull-on straight leg pants, size 10, together with a multistriped button-front cardigan and matching zip-shoulder sleeveless shell, both size medium, all pieces fully labeled. [150/300] Illustrated 870 Two Vintage Print Dresses, ca. 1990, the first, a summer sleeveless dress with colorful bull fight and cock fight scenes, with fitted bodice and darts, a double layer of fabric flounces over the bust line to the back, side zipper, Cooper by Trelise label, size 8, and the second a blackand-white polka-dot silk georgette sun dress with a long skirt and self-tie belt, and with straps across the top of the bodice and two laces wrapped under the empire-style bust line, ruffled hem at bottom of the pleated skirt flounce, Cowgirls by Mariko Nakk label, size 8 to 10. [125/250]

871 Fine Summer Straw Hat by Mr. John, ca. 1960‑1970, beautifully braided wide 10” brim, comprised of more than thirty rows, crown attached to brim and covered with a 1” white velvet band, the underside of the brim also trimmed with 8” matching white velvet, elastic chin strap, hat band inside with star on grosgrain to mark the center front, copied from a Marie Antoinette garden hat. [50/80]

874

872 Two “Essence of Spring” Straw Hats, the first ca. 1960‑1970, Lily Dache of New York, the green braided veiling wrapped around an inside raffia pill box foundation, trailing ivy and orange blossoms twine around the brim and interspersed with scattered lily of the valley and one rose, dia. 11‑1/2”, brim; the second a Laddie Northridge Custom Made New York, 16 West 57th street, the yellow braided raffia wide brim and molded crown hat trimmed with a wired red velvet band and bow, effusive sprigs of blossoms in white, red and yellow adorning the brim, dia. 8”. [50/80] 873 Fourteen Karat White Gold, Aquamarine and Diamond Necklace, the white gold body composed of foliate links, the center set with nine fleur-de-lis and foliate pendants each suspending a pear-cut aquamarine, 9.41 carats total aquamarine weight, .98 carats total diamond weight, l. 16”. [4000/7000] 874 Lady’s Eighteen Karat White Gold and Diamond Ring, composed of a central 1.05 carat round brilliant-cut diamond surrounded by round brilliant-cut and princesscut accent diamonds with a total weight of .98 carats, size 7. [5000/8000] Illustrated 875 Lady’s Eighteen Karat White Gold and Diamond Ring, composed of a central oval-cut diamond weighing .70 carats surrounded by a single row of round brilliantcut diamonds extending to the top of the shank with a total weight of .53 carats for the auxiliary stones, size 7. [3500/5000] 876 Fine Fourteen Karat Yellow Gold, Opal and Diamond Lady’s Dinner Ring, composed of an oval cabochon of precious opal with blue, green and orange flashes, h. 19.6 mm, w. 14.9 mm, surrounded by a single row of round brilliant-cut white diamonds with an estimated weight of 2 carats, ring size, 8‑1/2”. [4000/7000] Illustrated

111

877 Lady’s Fourteen Karat White Gold and Diamond Graduated Necklace, composed of ninetythree round brilliant-cut diamonds ranging from 2.0 mm to 4.70 mm in diameter and having a total weight of 9.04 carats, l. 16”. [12000/18000]

882 Lady’s Fourteen Karat White Gold and Yellow Diamond Ring, composed of a central 1.53 carat very light yellow cushion-cut diamond in a prong setting mounted with irradiated yellow and white accent stones with a total weight of 1.19 carats, size 7. [10000/15000] Illustrated 883 Eighteen Karat White Gold and Diamond Art DecoStyle Link Bracelet, composed of three rectangular links joined by double horseshoe spacers and set with an estimated 6.0 carats of round brilliant-cut white diamonds, l. 7”. [7000/10000] Illustrated

878 Fine Fourteen Karat White Gold, Pearl and Diamond Necklace, the white gold necklace composed of foliate diamond set links, the front suspending five drops suspended on looped drops with gray Tahitian pearls in diamond set floral caps, estimated total diamond weight is 2.39 carats, l. 16” with 1‑1/8” drops. [6000/9000]

879

879 Lady’s Eighteen Karat White Gold and Diamond Pendant Drop Necklace, composed of a centrally-set 4.24 carat pear-shaped brilliant-cut drop surrounded by a border of round brilliant-cut diamonds with a total weight of .75 carats, white gold chain, l. 18” with 1” drop to top of bail. [30000/50000] Illustrated

884 Dramatic Lady’s Fourteen Karat White Gold, Tahitian Pearl and Diamond Dinner Ring, composed of a central 13.0 mm Tahitian black pearl flanked by diamond-set “X” figures, total weight of diamonds is .87 carats, size 7‑1/2. [1800/2500]

885

880 Fine Eighteen Karat White Gold and Diamond Graduated Necklace, composed of prong-set diamond links with a crescent shaped front, the crescent of fixed shape, the diamond links flexible, total estimated diamond weight is 10.0 carats, l. 16‑1/2”. [15000/25000]

882

881 Fourteen Karat White Gold and Diamond Flexible Link Bracelet, composed of slightly domed-shaped links each bead-set with five round brilliant-cut white diamonds having a total weight of 6.20 carats, l. 7”. [6000/9000]

883

885 Lady’s Eighteen Karat White Gold and Diamond Ring, composed of a central 2.53 carat fancy light brown radiant-cut diamond set in a diamond-set basket setting above a diamond-set shank, total weight of auxiliary white diamonds is .87 carats, size 7. [9000/12000] Illustrated 886 Lady’s Eighteen Karat Yellow Gold, Diamond and Horn Hair Pin, ca. 1890, composed of a yellow gold art nouveau scrollwork foliate mount-set with three Old European-cut diamonds attached to a double prong horn hair pin. [300/500]

112

887 Lady’s Fourteen Karat Gold Charm Bracelet, composed of an engraved top curb link bracelet with fourteen antique and vintage charms, some with engraving and three set with small gemstones. [1200/1800]

888

888 Pair of Fifteen Karat Yellow Gold Etruscan Revival Pendant Earrings, each with an oval filigree top with hoop back, suspending a baluster-shaped filigree drop with a basket base and suspended ball, ex coll. S.J. Shrubsole. [1200/1800] Illustrated 889 American “Aesthetic” Gold-Plated and BlackEnamel Bar Pin, fourth quarter 19th century, of shaped rectangular form with a central applied oval plaque, chased and bright engraved, the ends with black enamel tracery paterae, the reverse with flat-hook catch, l. 2‑1/8”. [100/200] 890 Victorian Gold-Plated Bar Pin, fourth quarter 19th century, in form of an addorsed pair of concentric teardropshaped loops, collet-set in the center with a pair of split pearls and on the ends with a pair of small turquoise cabochons, the reverse with a scroll-hook catch, l. 1‑1/4”. [100/200]

895 Victorian Silver Cuff Bracelet, the wide silver cuff with engraved foliate decoration on the top and having a dimensional buckle and strap applique with additional foliate engraved decoration, dia. 7‑1/2”. [300/500] 896 Lady’s Victorian Fourteen Karat Gold and Pearl Brooch, cast as a floral scrolling wreath surrounding a lattice-work center, all set with seed pearls and having a suspension hoop for use as a pendant. [400/700] 897 Rope Length Strand of White/Cream Pearls, averaging approximately 9.5mm to 10 mm in diameter, the spherical white/cream colored pearls with good luster forming a dramatic, long strand, l. 152”. [1200/1800] 898 Triple Strand of Cultured Pearls, the three strands of 7.0 mm spherical pearls of slightly green-white color with high luster, l. 20”. [300/500] 899 Beautiful Graduated Strand of White/Cream Pearls, the pearls ranging from approximately 11.5mm to 15mm in diameter, the spherical white/cream colored pearls with good luster forming a dramatic strand, l. 34”. [800/1200] 900 Single Strand of White Cultured Pearls, composed of 10.0 mm near round white/cream pearls with good luster and warm color, l. 18”. [300/500]

901

891 Lady’s Fourteen Karat Yellow Gold, Amethyst and Diamond Victorian Bangle Bracelet, ca. 1880, of oval outline with engraved floral decoration, the top bezel-set with three octagonal-cut amethysts and inset with two Old European-cut diamonds. [400/700] 892 Lady’s Fourteen Karat Yellow Gold, Diamond and Enamel Magen David Pendant, the yellow gold frame with cobalt-blue enamel detailing prong-set with seven round brilliant-cut diamonds with an estimated total weight of .80 carats, matching bail. [600/900] 893 Contemporary Sterling Silver Choker Necklace, comprised of large circle-and-bar links, the front decorated alternately with sphere-topped tassels and cat-face charms, with a jump ring closure, l. 17”, 5.65 t. oz. [250/400] 894 Good Victorian Silver Locket and Locket Chain, the oval two compartment locket with naturalistic engraved cover suspended on a silver locket chain with elaborate rectangular links joined by circular links, l. 15‑1/2” with 4‑3/4” drop. [400/700]

901 Graduated Strand of South Seas Cultured Pearls, ranging in size from 9.0 to 12.5 mm diameter, of white color with high luster, off-round to baroque shape and having a fourteen karat white gold ribbed ball clasp, l. 18”. [1500/2500] Illustrated

113

902 Lady’s Fourteen White Gold, Tanzanite and Diamond Dinner Ring, composed of a central 9.81 carat tanzanite of intense color mounted in an elaborate Egyptian-revivalstyle diamond-set mount, total weight of diamonds is 2.66 carats, size 7‑1/2. [10000/15000] Illustrated

904

903 Eighteen Karat White Gold, Tanzanite and Diamond Bracelet, composed of twenty-one oval links, estimated tanzanite weight is 9.60 carats, l. 7”. [3000/5000] 904 Pair of Lady’s Fourteen Karat White Gold, Tanzanite and Diamond Drop Earrings, each composed of a central triangle-cut tanzanite surrounded by a geometric design border set with round brilliant-cut diamonds, total weight of tanzanites is 8.54 carats, of diamonds is 3.35 carats. [7000/10000] Illustrated 905 Lady’s Eighteen Karat White Gold, Tanzanite and Diamond Ring, composed of a central 3.42 carat rectangular-cut blue tanzanite surrounded by a single row border of round brilliant-cut diamonds and diamonds on the top of the shank, total weight of diamonds is .84 carats, size 7‑1/4. [3500/5000] 906 Lady’s Fourteen Karat White Gold, Tanzanite and Diamond Pendant Necklace, the triangular-shaped pendant centrally-set with a triangle brilliant-cut tanzanite weighing 7.88 carats surrounded by diamonds and attached to a diamond-set bail and suspended on a white gold chain, total weight of diamonds is 2.34 carats, l. 18” with 1‑3/4” drop to top of bail. [7000/10000] Illustrated

906

902

909 Lady’s Fourteen Karat White Gold and Diamond Tennis-Style Bracelet, composed of thirty-seven circular links each centrally set with a round brilliant-cut diamond, total weight of diamonds is 7.03 carats, l. 7". [2500/4000] 907 Fourteen Karat Two-Color Gold and Diamond Link Bracelet, composed of eleven oval white gold links paveset with round brilliant-cut white diamonds, each oval link separated by a polished yellow gold spacer, estimated diamond weight 5.0 carats, l. 7‑1/2”. [1800/2500]

910 Dramatic Eighteen Karat White Gold and Diamond Pendant Necklace, composed of a double row of links with entwined loop, and terminating in two heart-shaped drops, all elements pave-set with round brilliant-cut white diamonds with a total weight of 8.80 carats, l. 16” with 2” drop. [8000/12000]

908 Fine Eighteen Karate White Gold and Diamond “Waterfall” Necklace, the white gold necklace mounted with round brilliant-cut white diamonds and polished bead links at the rear, the center with a diamond-set threetassled “waterfall”, 6.35 carat total diamond weight, l. 16” with 2” drop. [5000/8000]

911 Stunning Eighteen Karat Yellow Gold, Ruby and Diamond Lady’s Dinner Ring, composed of a central 4.50 carat oval ruby cabochon in a bezel setting surrounded by bead-set round brilliant-cut white diamonds with a total weight of 2.0 carats, ring size, 5‑1/2”. [4000/7000]

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917 Lady’s Eighteen Karat Yellow Gold and Diamond Concord Wristwatch, the octagonal gold face surrounded by a single row of single-cut diamonds and attached to a Florentine finish brick link band, quartz movement. [1800/2500]

915

918 Fourteen Karat Yellow Gold, Sapphire and Diamond Necklace, composed of polished yellow gold links with a central section of eleven oval links each set with an oval-cut blue sapphire surrounded by a single row of round brilliant-cut white diamonds, estimated total weight of sapphire is 16.0 carats, l. 17”. [12000/18000] 912 Lady’s Fourteen Karat Yellow Gold, Ruby and Diamond Flexible Necklace, composed of twenty-nine oval links each centrally-set with oval-cut rubies, each surrounded by a row of round brilliant-cut diamonds, total weight of rubies is 80.25 carats, of diamonds is 3.70 carats, l. 17” with 1/2” drop. [7000/10000] 913 Fourteen Karat Yellow Gold, Ruby and Diamond Bracelet, composed of two square plaques joined by flexible link strands, the links and plaques prong-set with 20.44 carats of oval-cut rubies and accented with 1.50 carats of single-cut white diamonds, l. 7”. [5000/8000] Illustrated 914 Lady’s Fourteen Karat Yellow Gold, Ruby and Diamond Link Bracelet, composed of thirteen oval links each centrally-set with an oval-cut ruby surrounded by a single row of round-cut diamonds, total weight of rubies is 21.58 carats, of diamonds is 1.57 carats, l. 7‑1/4”. [3000/5000] 915 Patek Phillip Golden Eclipse Eighteen Karat Yellow Gold Wrist Watch, the oval rectangular Bombay blue face with an integral bracelet in eighteen karat yellow gold, the face with gold hands and hour indices. [12000/18000] Illustrated

916 Piaget Eighteen Karat Gold, Diamond and Lapis Lazuli Ladies Wrist Watch, 1980's, the gold-flecked lapis lazuli face signed: “PIAGET”, the bezel set with 36 round brilliant-cut diamonds, estimated 1.05 carats total weight, with an integral, slightly tapering 18 karat textured gold mesh band, with a manual wind mechanism, the watch case stamped on the reverse: “6806 K 5” and “227783” along with a Swiss assay mark, presented in a black parcelgilt leather, satin and velvet-lined Piaget box, watch overall l. 6‑1/2”. [2500/4000]

919 Lady’s Fourteen Karat White Gold, Sapphire and Diamond Link Bracelet, composed of seventeen ovalcut blue sapphires with a total weight of 17.45 carats, set in oval links set with round brilliant-cut diamonds with a total weight of 2.89 carats, l. 7”. [2500/4000] 920 Lady’s Fourteen Karat White Gold, Sapphire and Diamond Pendant Necklace, composed of an oval sapphire and diamond pendant suspended on a sapphireset necklace, the pendant set with a central sapphire set in a field of diamonds and bordered by sapphires, total weight of sapphires is 69.63 carats, of diamonds is 4.10 carats, l. 19” with 2” drop. [7000/10000] 921 Good Strand of Blush-Colored Pearls, averaging approximately 11.5mm to 13mm in diameter, the spherical rose colored pearls with good luster forming a dramatic strand, l. 36”. [800/1200] 922 Unusual Triple Strand of Multi-Colored Cultured Pearls, the three strands of 7.0 mm pearls divided into groups of white, pink and lavender pearls, each group distinctive and separate colors, l. 19”. [300/500] 923 Single Strand of Multi-Colored Cultured Pearls, composed of alternating pink and white, near round 10.0 mm pearls with good color and luster, l. 18”. [300/500]

913

115

924 Lady’s Fourteen Karat White Gold, Emerald and Diamond Dinner Ring, composed of a central 14.90 carat square step-cut emerald surrounded by sixteen round brilliant-cut diamonds with a total weight of 2.49 carats, size 6. [8000/12000] Illustrated

931 Lady’s Fourteen Karat Yellow Gold, Kunzite and Diamond Pendant Necklace, composed of 19.31 carat kunzite, possibly enhanced, surrounded by a triple row of diamonds and matching bail, suspended on a two-color gold chain, total weight of diamonds is 3.21 carats, l. 20” with 1‑3/4” drop. [7000/10000] Illustrated

925 Lady’s Eighteen Karat Yellow Gold, Emerald and Diamond Ring, composed of a central prong-set rectangular step-cut emerald weighing an estimated .80 carats flanked on either side by a tapered baguettecut diamond, estimated total weight of .40 carats. [1000/1500]

926

926 Pair of Fourteen Karat White Gold, Emerald and Diamond Drop Earrings, each composed of a rectangular step-cut emerald surrounded by a border of diamonds and suspended on diamond-set stirrup mounts and circular hoops, total weight of emeralds is 1.73 carats, of diamond is 1.65 carats. [2500/4000] Illustrated 927 Lady’s Fourteen Karat Yellow Gold and Emerald Diamond Dinner Ring, composed of a central pear-cut emerald weighing an estimated 6.55 carats surrounded by a row of round brilliant-cut and baguette-cut diamonds with a total weight of 1.29 carats, size 7‑1/2. [3000/5000]

924

932 Pair of Eighteen Karat Yellow Gold, Amethyst and Tourmaline Earrings, each composed of a central ovalcut amethyst surrounded by pave-set pink tourmalines, the oval outline earrings with omega clip backs. [500/800] 933 Lady’s Fourteen Karat Yellow Gold, Amethyst and Green Garnet Link Bracelet, composed of eight fantasycut amethysts in bezel settings interspersed with prongset green garnets. [700/1000]

928 Opera Length Strand of Peach Colored Pearls, averaging approximately 9.5 mm to 10mm in diameter, the spherical peach colored pearls with good luster forming a dramatic, long strand, l. 90”. [900/1200] 929 Long Strand of Multi-Colored Baroque Cultured Pearls, composed of large, vari-shaped baroque pearls, in an assortment of cream, lavender, rose and near white shades, l. 32”. [400/700] 930 Single Strand of Colored Cultured Pearls, composed of near round pink-rose colored pearls with high luster and delicate feminine color, l. 17‑3/4”. [300/500]

116

931

934 Unusual Fourteen Karat Yellow Gold, Opal and Diamond Pendant Necklace, composed of a 6.77 carat Ethiopian black opal centrally set in an oval pendant and surrounded by 2.36 carats of white diamonds arranged in rows, matching bail and chain with bright finish, l. 17” with 1‑3/4” drop to top of bail. [6000/9000]

935 Lady’s Natural Rock Crystal Necklace, composed of eleven polished rock crystal pebbles, each with light reflecting wispy natural inclusions, strung on wire with hoop and bar clasp, l. 19”. [75/125] 936 Dramatic Lady’s Branch Coral Necklace, composed of branches of red coral strung between gold bead spacers on wire, gold hoop and bar clasp, l. 17‑1/2”. [100/200] 937 Dramatic Eighteen Karat Yellow Gold, Coral and Enamel Lady’s Ring, composed of a bezel-set oval coral cabochon surrounded by cells of turquoise colored enamel in the yellow gold mounting, signed BORIS, size, 5‑1/2”. [600/900] 938 Caroline Durieux (American/Louisiana, 1896‑1989) “Academic - 1975”, 1976, black and white electron print, titled and numbered “2/15” lower left, signed and dated in pencil lower right “Caroline Durieux ‘76”, sight 18” x 13”. Glazed, matted and presented in a white lacquer frame. [200/400] 939 Caroline Durieux (American, Louisiana, 1896‑1989) “Luvarion”, limited edition chromolithograph, pencil signed lower right “Caroline Durieux”, pencil titled and numbered “19/20” lower left, sight 18” x 23‑1/2”. Glazed and framed. [400/700] 940 Joan Farrar (American/Louisiana, 20th Century) “Waiting”, graphite on paper, signed, titled and dated “1981” lower right, sight 22” x 16”. Glazed, attractively matted and framed. [150/300] 941 Alvyk Boyd Cruise (American/Louisiana, 1909‑1988) “Chinese Figurine and Wreath Design”, watercolor on paper, signed “Boyd Cruise”, sight 23‑1/4” x 17‑3/4”. Glazed, attractively matted and framed. [1000/1500] 942 Emery Ann Clark (American/Louisiana, b. 1950) “Bayou St. John”, 1997, mixed media on paper, signed and dated in pencil lower right “Emery Clark 1997”, sight 20‑1/2” x 31”. Glazed, handsomely matted and framed. Provenance: Acquired directly from the artist by a private collector, New Orleans, Louisiana. [2000/4000] Illustrated 943 Tony Green (American/Louisiana, b. 1954) “Sunbathing Partial Nude”, watercolor on paper, signed and dated lower right “T. Green ‘85”, sight 7” x 21”. Glazed, matted and framed. [600/900]

942

944 Mario Villa (American/Louisiana, b. 1953) “Head”, watercolor on postcard paper, signed and dated “ ‘07” lower left, 6” x 4”. Glazed, matted and framed. [300/500] 945 Robert Gordy (American/Louisiana, 1933‑1986) “Male Head”, etching, pencil sigend lower right “R. Gordy”, numbered in pencil lower left “7/16”, sheet size 31‑1/2” x 24‑3/4”. Unframed. [300/500] 946 George Valentine Dureau (American/New Orleans, b. 1930) “Portrait of a Young Man”, charcoal drawing, signed lower right “Dureau”, sight 37” x 27”. Glazed, matted and presented in a contemporary giltwood frame. Provenance: Estate of Dr. Robert Barron, New Orleans, Louisiana. [500/800] 947 Larry Nevil (American/Louisiana, 20th/21st Century) “Boats On the Mississippi”, oil on paper, signed and dated lower right “Nevil 80”, sight 17” x 23”. Glazed, matted and framed. [300/500] 948 Eugene E. Loving (American/New Orleans, 1908‑1971) “Basque House Court, Old New Orleans” and “French Quarter Balcony, Old New Orleans”, pair of watercolors on paper, both examples titled and signed in ink on mat board, sight 7‑1/4” x 5‑1/4”. Glazed, matted and framed en suite. [300/500]

117

949 Conrad Albrizio (American/ Louisiana, 1892‑1973) “Coastal View, Alabama”, pair of watercolors on paper, each 14‑1/2” x 20”, both examples signed in pencil lower left “C. A. Albrizio”. Glazed, matted and framed en suite. Provenance: Private collection, Gulf Shores, Alabama. [1000/1500] Illustrated

950 Larry Harris (American/Louisiana, 20th Century) “Antebellum French Quarter Street Scene”, oil on canvas, signed lower right, 23‑3/4” x 48”. Presented in a giltwood frame. [500/800] 951 Louisiana/Newcomb School (First Quarter 20th Century) “Royal Street Patio”, oil on canvas laid on board, signed lower right “Coron”, verso inscribed in pen and ink “Royal St. Patio, Delphine M. Coron, N. Orleans”, 7” x 5‑3/4”. Presented in a stained wood frame. [200/400]

954 953 Louisiana School (Third Quarter 20th Century) “French Quarter Street Scene”, oil on board, signed illegibly and dated “1964” upper right, 10” x 8”. Presented in a polychrome frame with a linen liner. [150/300] 954 Colette Pope Heldner (American/Louisiana, 1902‑1990) “Swamp Idyll”, oil on canvas, signed lower left, signed and titled on the reverse, 24” x 48”. Presented in a attractive polychrome frame with a linen liner. [2500/4000] Illustrated 955 Louisiana School (Second Quarter 20th Century) “Swamp Scene with a Fisherman’s Cabin”, oil on board, signed lower right “B.H. Rogers”, 28” x 24”. Presented in a molded giltwood frame. [400/700] 956 Studio of Clarence Millet (American/Louisiana, 1897‑1959) “Cabin Under a Live Oak”, oil on canvas, unsigned, 18” x 20”. Presented in a Arts and Crafts tiger oak frame. [1500/2500] Illustrated 957 Early American Chippendale Mahogany Slant-Lid Desk, third quarter 18th century, the dovetailed case and slant lid opening to a fitted interior, and four graduated drawers below, raised on bracket feet, the back bearing a label, “Veronica Boswell, Desk”, h. 42”, w. 41”, d. 19”. [1000/1500] Illustrated

949

Pair

952 Louisiana School (Second Quarter 20th Century) “French Quarter Courtyard”, oil on board, unsigned, 13” x 11”. Presented in a period frame with a “Farish Art Store” label on the reverse. [200/400]

118

958 American Philadelphia-Style Carved Mahogany Wing Chair, early 20th century, the front carved legs depicting eagles’ heads and ending in ball and claw feet, covered in a floral silk embroidered and crewel-work upholstery, h. 46”, w. 33”, d. 31”. [700/1000]

959 Benjamin Franklin (1706‑1790) Posthumous First Edition, Familiar Letters of Dr. Franklin (Boston: Charles Bowen, 1833), first edition, edited and introduction by Jared Sparks (1789‑1866), octavo, in the publisher’s brown cloth, with remnants of the paper label on the spine, 8” x 5”. [60/90] 960 Five Early to Mid‑19th Century Cookbooks, including three very early editions of Maria E. Ketelby Rundell (1745‑1828) New System of Domestic Cookery, including the second Philadelphia edition (Benjamin C. Buzby, 1808), in red quarter leather with marbleized paper boards, the spine with gilt lettering and ruling, 5‑5/8” x 3‑5/8”, the “New Corrected” London edition (John Murray, 1810), in dark brown quarter leather with flexible tan leather boards, 6” x 4”, and the third New York edition (Robert McDermut, 1817), in full brown marbleized calf, the spine with tan panel with gilt lettering and ruling, 7” x 4‑1/4”, with Catherine Esther Beecher (1800‑1878), Domestic Receipt Book, third edition (New York: Harper & Bros., 1851), in tan full cloth with embossed boards, the spine with gilt lettering and ruling, 7‑3/8” x 4‑7/8”, and Elizabeth E. Lea (1793‑1858), Domestic Cookery, Useful Receipts and Hints to Young Housekeepers, fifth edition (Baltimore: Cushings & Bailey), in brown full cloth with embossed boards, the spine with gilt lettering, ruling and decoration, 7‑3/4” x 4‑3/4”. [50/80]

956

961 Unique 19th Century American Manuscript Cookbook, third quarter 19th century, a collection of hand-written recipes, predominantly desserts, but also including main courses, sauces, pickles, etc., and a selection of household nostrums, dyes, inks and cleansers, bound in green quarter linen (replacing earlier half leather) with horizontal marbleized leather boards, 5” x 8”. The recipes here, for the most part, are in a single clean hand, but do include some later additions in both ink and pencil. The recipes are carefully attributed, with some taken from known works - e.g., Mary Randolph’s 1860 Virginia Housewife and Thomas L. Nichols’ 1872 How to Cook, helping to date the collection - but the majority are noted as having come from an unidentified “Mrs. Dr. Alexander”. The concoctions themselves are, by turns, appetizing (Fricasseed Oysters; Apple Dumplings), alien (Turtled Calf’s Head) and alarming (the nostrum Laudanum, which begins “1 oz. of opium, 1/2 of brandy, 1/2 a pint of wine.” [50/80]

957

119

962

120

962 Important American Federal Inlaid Mahogany Pembroke Table, Attributed to William Whitehead, New York, Active 1792‑1799, the oval drop-leaf top with line-inlaid stringing along the top and underside outer edges and with a string-inlaid inner border, the tapered legs featuring inlaid paterae above graduated inset bellflowers outlined by delicate interlocking line-inlaid figure-eight stringing, one end fitted with a drawer, the other end with a faux drawer, h. 28‑1/2”, w. 19‑1/4”, d. 31‑3/4”, ext. w. 40‑1/4”. Provenance: Descended through the family of Dr. Brace Whitman Paddock, Pittsboro, Massachusetts. A nearly identical table attributed to William Whitehead, sold at Christie’s, New York Sale 2414, Lot 104, on January 21, 2012. Another almost identical example including the same brass ring pull is illustrated in the original 1950’s publication, Fine Points of Furniture by Albert Sack, page 251. The “Fine Points” table is considered the “best” example and is described as the “acme of perfection of design in a bellflower inlaid table”. For further discussion on two other Pembroke tables with related inlay, see American Antiques from Israel Sack Collection, vol. 5, no. 29, pages 1386 and 4394, as well as pages 1254 through 1255 for a labeled Whitehead sideboard and companion knife boxes. Another labeled Whitehead sideboard exhibiting apparently identical bellflowers and very similar stringing to this table is illustrated in Antiques Magazine, September 1979, p. 553, and an attributed Whitehead sideboard is illustrated in American Furniture at Chipstone, p. 82‑83. The Chipstone sideboard shares several construction features with the Paddock family pembroke table, namely all poplar secondary woods, a horizontally stacked laminated drawer front, and a drawer bottom of one piece which is chamfered on three sides and fit into a groove at the front and nailed in the rear. [15000/25000] Illustrated

962 detail

962

121

968 Good American Cut White Overlay and Milk Glass Astral Lamp, third quarter 19th century, fitted with a vasiform “Vintage”-cut and partially frosted glass shade and a period narrow blown glass chimney, not electrified, h. 23‑1/4”, dia.7‑1/4”. [400/700] 969 American Late Federal Canterbury, second quarter 19th century, probably of Boston origin, the primary wood mahogany, secondary white pine and poplar, the turned legs resting on period brass casters, the exterior of the case decorated with a silhouette of a laurel wreath pattern, h. 18‑1/2”, w. 17‑3/4”, d. 13”. [600/900] 963

964 963 American Federal Line-Strung Mahogany Sideboard in the Hepplewhite Taste, first quarter 19th century, with a broad central drawer over a pair of recessed doors, the ends with a drawer over a door, all with line-stringing, raised on tapering legs with cuffs at their feet, h. 41”, w. 51”, d. 20‑1/2”. [1800/2500] Illustrated 964 George III-Style Stained Pine Tallcase Clock, 19th century, possibly Canadian, the scrolling broken pediment above an arched glazed door opening to an engraved brass dial signed “Raymond Amontreal”, the case fitted with an arched door and raised on a rectangular base, h. 89”, w. 18‑1/2”, d. 10‑1/”. [1200/1800] Illustrated 965 Large American Federal Stained Poplar Fireplace Surround, first quarter 19th century, the mantel shelf with molded edge and gently rounded corners, the face with a raised panel flanked by reedings with projecting corner blocks over tapering columns, h. 51”, w. 77‑1/2”, d. 10”, firebox w. 57”. [500/800] 966 American Classical Mahogany Fold-Over Games Table, Boston, first quarter 19th century, the fold open top above a shaped and figured mahogany frieze and supported by a large turned and acanthus-carved pedestal mounted to a circular base with four down-curved legs ending in cast-brass paw feet, h. 30‑1/2”, w. 38”, d. 19”. [1200/1800] Illustrated 967 American Late Classical Mahogany Side Table, 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”. [300/500]

122

970 Large American Late Classical Mahogany Sofa, Boston, second quarter 19th century, the back with an indented crest rail and foliatecarved ends, the carved arm fronts with scrolled details and raised on turned-and-acanthuscarved legs ending in melon feet, h. 38‑1/2”, l. 91”, d. 25”. [2000/4000] Illustrated 971 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”. [600/900]

970 972 The McKinney-Hall Portrait Gallery of American Indians “PokeLuste-Hajo, A Seminole Chief” and “Micanopy, A Seminole Chief”, two hand colored lithographs, sight 9‑1/2” x 5‑3/4”. Both glazed, attractively French matted and presented in giltwood frames. [400/700]

973 The McKenney-Hall Portrait Gallery of American Indians “Naw-Kaw, A Winnebago Chief”, hand colored lithograph by Greenough (Philadelphia, 1838), sight 16‑1/2” x 12”. Glazed, handsomely eglomise-matted and presented in a gold metal frame. [600/900]

975 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”. [1000/1500] 976 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”. [800/1200] Illustrated

976

966

974 The McKenney-Hall Portrait Gallery of American Indians “Chon-Mon-I-Case, An Otto Half Chief”, hand colored lithograph by Greenough (Philadelphia, 1838), sight 16‑1/2” x 12”. Glazed, handsomely eglomise-matted and presented in a gold metal frame. [700/1000]

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977

124

977 Jean Joseph Vaudechamp (French, 1790‑1866, active New Orleans 1831‑39) “Portrait of a Man and Woman, Presumably Baroness Louise Deconchy Receiving Word of Her Husband’s Death in Battle”, oil on canvas, signed and dated lower left “Vaudechamp, 1823”, 28‑3/4” x 23”, reverse label inscribed in pen and ink “Baronne Louise Deconchy, epouse du general d’ Empire Vincent Martel Deconchy (1768‑1823). Presented in the period giltwood and gesso frame. This rare work is one of the earliest surviving paintings to have surfaced by Jean Joseph Vaudechamp, painted in France six years after he began exhibiting at the Paris Salon, one year before he married his second wife, one year before the death of his teacher, Anne-Louis Girodet-Trioson, and two years before his first (and only known) state commission. Vaudechamp very rarely painted multiple figures in the same composition, either in France or Louisiana. This canvas is presumably a portrait of Baroness Louise Deconchy, wife of General Vincent Martel Deconchy who died on a battlefied in Spain in 1823. This could perhaps be a mourning portrait of the Baroness and her son or secretary, with the classicized bust of the deceased general on a plinth behind the writing desk. The younger man is holding an official letter in his hand visibly inscribed at the top “MEE Espagne”, again referring to the FrancoSpanish war. Regardless of the identity of the sitters, the portrait’s composition is a sophisticated one for the 33 year-old artist, as the figures face each other tete-a-tete. Even in the handful of multi-figural compositions he would create in New Orleans, the painter usually preferred to have figures frontal, playing to the viewers. Vaudechamp’s palette is brighter and slightly more acrid than the subdued one he would adopt in New Orleans after his 1832 arrival there. This work, like the Langres altarpiece and his later “Portrait of an Elegant Young Gentleman with Cane, presumed to be a Resident of New Orleans (Mr. Robley?)" reflects the artist’s difficulty when presenting a figure at more than bust-length, witnessed in particular by the lady’s lap and the extended leg. What he lacks in understanding of foreshortening, he more than makes up for in the handling of the face, fabric and details, seen in the design on the shawl draped over the chair. New Orleans Auction Galleries would like to thank William Keyse Rudolph, Ph.D., The Dudley J. Godfrey, Jr. Curator of American Art and Decorative Arts at the Milwaukee Art Museum for his generous contribution to cataloguing this lot. [20000/40000] Illustrated

978 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”. [250/400] 979 Georgian Family Triple Portrait, Executed in Wax Bas Relief, first quarter 19th century, the couple depicted in a garden under a bower, their young child between them, holding a rabbit, a hat and book rest beside the gentleman, the period cove-molded giltwood frame made to contain the shadowbox portion, h. 20‑1/4”, w. 25”, d. 4‑1/2”. [200/400] 980 American Late Classical Cherry and Bird’s Eye 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 bird’s eye 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”. [300/500] 981 After John James Audubon (American, 1785‑1851) "Flycatchers and Vireo", Plate CCCCXXXIV , No. 87, photolithograph, sight 39” x 26”, Amsterdam edition, from The Birds of America. Glazed, matted and framed. [200/400] 982 J. Wolf and H. C. Richter (British, 19th Century) “Tetraogallus Altaicus”, hand colored lithograph, legend lower margin, sight 14” x 20‑3/8”. Glazed, matted and presented in a faux-weathered frame. [400/700] 983 After John James Audubon (American, 1785‑1851) “Brown Pelican”, Plate CCCCXXI, offset chromolithograph, from the Amsterdam edition of the Birds of America, 1971, sleeve on the reverse with colophon page from the edition, sight 24‑3/4” x 38‑1/4”. Glazed, matted and framed. [800/1200]

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984 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”. [2000/4000] Illustrated

988

985 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”. [1000/1500]

984

986 American Late Classical Mahogany Fold-Over Games Table, attributed to Anthony Quervelle, Philadelphia, second quarter 19th century, the fold-over top above a gadroon-carved apron with carved corners and supported by a turned column with a square block base and gadrooned moldings and mounted to a platform base with outstretched carved paw feet. The table retains a shadow from a paper Quervelle label, now gone. Accompanying the lot is an affidavit from the restorer documenting the existence of a Quervelle label prior to its loss in the restoration process h. 31‑1/2”, w. 43”, d. 22”. [1200/1800] Illustrated

987 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”. [700/1000] 988 Fine American Late Classical Mahogany Sofa, second quarter 19th century, retaining period brocade horsehair upholstery on the back and above the front seat rail, the heavy wear areas of the sofa in compatible black horsehair, the cyma-molded crest rail extending to vasiform supports on closed arms with scroll ends, the front seat rail of cyma form, raised on scroll-decorated legs, h. 37”, w. 82”, d. 26”. [1200/1800] Illustrated

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989 Bronze Mexican War Veteran’s Medal, of shield form, inscribed on the verso "Mathew F. Locke 1st Miss Infantry", struck ca. 1876 by the National Association of Veterans, the leading Mexican American veteran’s advocacy group, the perimeter of the shield with the names of the most notable engagements of the war, the central wreath containing the date 1846, the ribbons beneath with the names of the primary commanders and heroes of American forces: Scott, Perry and Taylor, for Major General Winfield Scott, Commodore Mathew Perry and Major General Zachary Taylor, the back retains its suspension bar, h. 2‑1/4”, w. 2‑1/4”. Mathew F. Locke, a Marshall County Mississippi resident, volunteered to serve in the First Regiment Mississippi Regiment, raised and commanded by Colonel Jefferson Davis. The First Mississippi distinguished itself in action at the Battle of Monterrey and Buena Vista. At Buena Vista, Davis and the First Mississippi are credited for having saved the day against overwhelming forces. Locke was the personal bodyguard to Davis, and tended Davis’s injured foot during the engagement. After the war, Locke started a plantation near Gilmer, Texas, and founded the town of Lafayette, Texas. Locke became the Speaker of the Texas House, and in 1860 was elected to the state Senate where he served as a representative to the Texas Succession Convention. At the dawn of the Civil War, he raised 1,000 recruits to make up the 10th Texas Calvary, with whom he served as a commander through the war. After the war, he purchased 1,000 acres of land in Arkansas. In 1887, he was elected Arkansas’ first commissioner of agriculture. [700/1000] Illustrated

990 American Late Classical Mahogany Four Post Canopy Bed, second quarter 19th century, the headboard with two framed panels and trimmed with ribbon molding, mounted to square tapered posts and a molded canopy above, h. 88”, inside w. 56‑1/2”, inside l. 75”, outside w. 68”, outside l. 83”. [2000/4000] Illustrated

990

991 991 Southern School (Second Quarter 19th Century) “Portrait of a Lady With a Lace Cap and Collar”, oil on canvas, dated “1834” and indistinctively initialed lower right, 23‑1/2” x 19‑1/2”. Presented in a giltwood and gesso frame. [1500/2500] Illustrated 992 American Late Classical Mahogany Armoire, second quarter 19th century, the large double ogee cornice molding above a pair of framed and paneled doors, the ogee-form base raised on bracket legs, h. 94”, w. 72”, d. 28”. [1500/2500] Illustrated

992

989

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996 Gorham Company Gothic Revival Patinated Bronze and Parcel-Gilt Ewer, 1917, Providence, Rhode Island, the ribbed body with applied trifoliate leaves and the footed base with embossed spires and similar trifoliate finials, the underfoot marked “Gorham Co.” followed by an illegible serial number and the date symbol, h. 17”. [100/200] 997 American Silver Gilt Frame, fourth quarter 19th century, molded with ovolo and cavello moldings leading to a broad plain surface to set off a painting, retaining its original silver-leaf surface and designed to hold a 12” by 16” painting, h. 27‑1/4”, w. 23‑1/4”. [300/500] 998 American Late Classical Mahogany and Poplar Chest, mid‑19th century, with a pair of molded drawers flanking a narrow drawer with banded face, over a pair of recessed drawers and projecting lower drawers, flanked by scroll pilasters and raised on scroll feet, h. 50”, w. 44”, d. 22”. [700/1000] 999 American Late Classical Mahogany Secretaire 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”. [500/800] 1000 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”. [400/700]

993 American Late Classical Mahogany Armoire, second quarter 19th century, the top with large pierced and scrollcut crests above an ogee-molded cornice and a pair of framed and paneled doors, the base fitted with two sideby-side drawers with carved escutcheons, h. 104‑1/2”, w. 66”, d. 26‑1/2”. [1200/1800] 994 Early American Turned Mahogany Low-Post Bedstead, first quarter 19th century, the paneled headboard with a broken arched crest and rolling-pin crest rail, the lathe-turned posts with urn-form finials, h. 48”, inside w. 51‑3/4”, inside l. 73”, outside w. 59”, outside l. 82”. [400/700] 995 Danish Mahogany Secretary Bookcase, second quarter 19th century, the pierced scrolling foliate pediment above a molded cornice, with two astragal-glazed doors below, with an upper Gothic-patterned overlay, the lower section fitted with two small drawers over a rectangular top with central inset writing surface, over two paneled cupboard doors flanked to either side by reeded columnar uprights, raised on a plinth base, h. 89”, w. 52‑1/2”, d. 23”. [1200/1800] Illustrated

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1001 American Expansionist-Era Coin Silver (.900) Coffeepot, first quarter 19th century, by Joseph Lownes (1758‑1820), Philadelphia, Pennsylvania, of rounded rectangular section, the bulbous body below an integral raised band and waisted collar, the conforming cavettodomed lid with acorn finial, with “gooseneck” spout of rectangular section and reeded square wooden handle, the whole raised on a conforming domed foot, with narrow gadrooned banding at the collar and foot, h. 11”, w. 15‑1/2”, l. 13‑1/4”, 42.89 t. oz. (including wooden handle) [1800/2500] 1002 Four 19th Century American Silver “Fiddle”-Shaped Tablespoons, including a coin (.900) silver example by Henry Harland (1787‑1841), Norwich, Connecticut and New Orleans, Louisiana, monogrammed “KRL”, l. 8‑3/4”, and three Wendell Mfg. Co. sterling “Tipped” examples, l. 8”, no monograms, 5.65 total t. oz. [150/300] 1003 Ten Pieces of Gorham “Chrysanthemum” Sterling Silver Flatware, the pattern introduced in 1885, Providence, Rhode Island, including five tablespoons, l. 8‑1/4”; a master butter knife, l. 7‑3/4”; a sugar spoon, l. 5‑3/4”; a gilt-bowled cream ladle, l. 5‑3/4”; a salt spoon, l. 3‑1/2”; and a punch ladle, all monogrammed, most “LBB”, l. 12‑3/4”, 16.20 total t. oz. [300/500]

1004 Two 19th Century American Silver Serving Pieces, including a Henry Hebbard “Fiddle Thread” coin (.900) silver fish slice, the scimitar-shaped blade engraved with a fish among rococo scrolls, no monograms, l. 11‑3/4”, and a Gorham “Lancaster” crumber, monogrammed “JDL”, l. 12‑3/4”, 7.97 total t. oz. [200/400]

1008 1006

1005 19th Century American Coin (.900) Silver Water Pitcher, dated 1854, by James Bogert (1809‑1877) for Ball, Tompkins and Black, New York City, New York, the ovoid body paneled on the lower half, with a waisted collar, integral spout and Bogert’s distinctive spikedscroll handle, decorated with milled anthemion banding and raised on an ogee-molded domed foot, monogrammed on the body “ESK from JSK” and dated on the underside “1854”, h. 14‑1/4”, dia. 5‑3/4”, l. 8”, 29.19 t. oz. [1400/1800] Illustrated

1005

1010

1009

1007

1011

1007 19th Century American Coin (.900) Silver “Medallion” Serving Spade, third quarter 19th century, by D. C. Jaccard & Co., St. Louis, Missouri, the pointed oval spade engraved with palmette and trefoils, the handle with Roman medallion, the reverse monogrammed “C”, l. 10‑1/4”, 3.22 t. oz. [100/200] Illustrated 1008 Two Unusual New Orleans-Retailed Knowles “Lenox” Sterling Silver Serving Pieces, the pattern designed in 1890 by Louis Richard Horton (1852‑1904), Providence, Rhode Island, retailed by Maurice Schooler, New Orleans, Louisiana, including a nut scoop monogrammed “BCB”, and an ice spoon, monogrammed “LBB”, l. 9‑1/4”, 5.53 t. oz. [150/300] Illustrated 1009 Two American Sterling Silver and Silverplate Serving Spoons, late 19th century, including a J.B. & S.M. Knowles sterling silver “Aeolian” example, retailed by Maurice Schooler, New Orleans, Louisiana, monogrammed “JLL”, l. 8‑3/4”, 2.38 t. oz., and a Rockford Silverplate “Norwood” example, inscribed “N and H”, both with floralengraved scalloped bowls, l. 8‑3/4”, 5.08 total t. oz. [100/200] Illustrated

1006 Two Unusual American Sterling Silver Serving Forks, including a Towle “Richmond” lettuce fork, the pattern introduced in 1901, Newburyport, Massachusetts, the broad trident tines gilded, l. 7‑3/4”, and a Gorham “Cambridge” pickle fork, the pattern introduced in 1899, Providence, Rhode Island, with gilt tines, monogrammed “EDA”, l. 8‑1/2”, 1.55 total t. oz. [100/200] Illustrated

1010 Two 19th Century American Silver Serving Pieces, second half 19th century, including a John C. Moore “Louis XIV” coin (.900) silver nut scoop retailed by Wriggens & Warden, Philadelphia, Pennsylvania, l. 9‑1/4”, and a Whiting “Indian” sterling silver vegetable spoon, l. 9”, 5.98 total t. oz. [150/300] Illustrated 1011 Three American Sterling Silver Serving Pieces, late 19th/early 20th century, including a Gorham “Antique Engraved” sauce ladle, monogrammed “L”, 6‑3/4”, a Gorham “Marie Antoinette” cold meat fork, monogrammed “LBB”, l. 7‑3/4”, and aTowle “Old English” olive spoon with gilt bowl, no monogram, l. 8‑1/2”, 4.05 total t. oz. [100/200] Illustrated

129

1012 19th Century American Coin (.900) Silver Crumber, 1856, by William Gale & Son, New York City, New York, in their “Mayflower” pattern, the blade with serpentinescalloped edge and rococo-scroll engraved blade, monogrammed “SSHK”, l. 351, 4.76 t. oz. [125/250]

1015

1013

1013 Tiffany & Co. Sterling Silver Gilt Water Pitcher, the pattern introduced in 1895, this example before 1902, New York City, New York, of baluster form, the squat bulbous base decorated with repousse scrolls, flowers and lattice cartouches, the tall waisted collar decorated with a rococo scroll cartouche, with molded rim and scroll handle en suite, the whole raised on a milled rococo-scrolled banded foot, monogrammed on the collar cartouche “AGN”, h. 10”, dia. 7”, l. 8‑1/2”, 46.04 t. oz. [5000/8000] Illustrated 1014 Gorham “Imperial Chrysanthemum” Sterling Silver Punch Ladle, the pattern designed in 1894 by William Christmas Codman (1839‑1923), no monograms, l. 12‑1/2”, 8.42 t. oz. [400/700] 1015 Good Gorham Art Nouveau Sterling Silver and Ivory Tyg, 1906, Providence, Rhode Island, the balustershaped body with molded rim and raised above an integral shaped foot with applied scrolls and grape leaves, with three silver-mounted ivory “whiplash” handles, the upper mounts of each bifurcated and with applied grape leaf, monogrammed “GNA”, h. 11‑1/4”, dia. 6”, w. 9‑1/2”, 44.75 t. oz (including ivory handles). [4500/7000] Illustrated 1016 Gorham Aesthetic Movement Copper and Sterling Silver Dresser Tray, fourth quarter 19th century, Providence Rhode Island, the body of wavy rectangular form with raised everted rim and applied sterling silver rim, the whole with hammered finish, l. 12‑1/2”, w. 8” [700/1000]

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1017 Large American Silver Deposit Emerald Glass Vase, first quarter 20th century, of waisted baluster form, decorated with sterling silver deposit floral scrolls with a cartouche at the base, monogrammed “ALW”, h. 11‑3/4”, dia. 6”. [700/1000] 1018 Pair of Tiffany & Co. Sterling Silver “Grape Vine”Pattern Salad Servers, the pattern designed in 1872 by Edward C. Moore (1827‑1891), New York City, New York, in the “grapevine” motif, with leaf-form tines/bowls, each engraved on the handle reverse with trailing monogram “ASK”, l. 10”, 6.94 total. t. oz. [1800/2500]

1019

1019 Good Tiffany & Co. Sterling Silver Tureen, fourth quarter 19th century, New York City, New York, of oval form, the body decorated with a wide band of stylized flowers and ferns on a spiral-covered ground, with a narrow gadroon band above and a scrolling leaf calyx below, with opposing acanthus-mounted rocaille handles, the fitted domed lid decorated en suite and with a secondary waisted dome with acanthus-mounted ring handle, raised on a conforming foot, h. 10‑1/2”, l. 13‑1/4”, w. 8”, 58.19 t. oz. Several design elements here - the stylized flowers and ferns, the spiral scrolls - are signatures of Tiffany designer Charles Osborne (1847‑1920). However, the pattern number - 4119 - indicates a design date of around 1876: two years before Osborne worked at Tiffany’s. (From 1871 to 1878 Osborne was a designer at Whiting, where he would return after his departure from Tiffany in 1887.) Whatever the case, this tureen is an excellent example of the stylized floral “Persian” designs produced at Tiffany’s in the Gilded Age. [2000/4000] Illustrated

1021

1022

1020 Tiffany & Co. W.K. Vanderbilt Private Pattern Sterling Silver Salad Serving Set, the pattern designed in 1884 by Charles Grosjean (1841‑1888), New York City, New York, including a salad serving spoon and fork, l. 9”, 10.42 total t. oz. Grosjean designed this pattern for William Kissam Vanderbilt (1849‑1920), whose initials are incorporated into the design of the handle reverse. Grosjean applied for a patent for the design on October 14, 1884, which was granted on January 13, 1885 (Patent #D15715). It is perhaps the most famous of the handful of private patterns Tiffany produced for prominent American families in the late 19th century. For more information, see Charles and Mary Carpenter, Tiffany Silver (New York: Dodd, Mead, 1984), pp. 98‑102, illustration 109. [600/900] 1021 Pair of Tiffany Sterling Silver Compotes, the pattern introduced in 1883, these examples before 1891, New York City, New York, each of circular form, with a stylized wavy edge and decorated with a band of repousse floral cartouches flanked by wavy gadroons, raised on a waisted stem and domed foot en suite, h. 4‑1/2”, dia. 8‑3/4”, 37.23 total t. oz. Several distinctive elements here - e.g., the heart-shaped cartouches and the gracefully undulating wave edge - indicate that these compotes were almost certainly designed by Charles Osborne (1847‑1920). [3000/5000] Illustrated 1022 Tiffany & Co. Four-Piece Sterling Silver Paul Revere Replica Tea Set, the pattern introduced in 1916 after the ca. 1795 original by Paul Revere, Jr. (1735‑1818), including a navette-shaped teapot with conical spout and wooden handle, h. 6‑1/2”, l. 11‑3/4”, a conforming trivet, l. 7‑1/2”, w. 4‑3/4”, a helmet-form cream jug, h. 3‑3/4” and covered sugar urn, h. 9‑1/4”, dia. 4‑1/4”, each with a fluted body engraved with wrigglework and pricked swags and banding, 50.86 total t. oz. (including wooden handle). This set is a meticulously faithful reproduction of a five-piece set (with an additional sugar basket) created by the patriot Paul Revere in the last decade of the 18th century, reputedly for a young Virginia bride. At least, that was the provenance given when Tiffany & Co. helped New York judge Alphonso Trumpbour Clearwater (1848‑1933) acquire the set around 1914. Evidently the set was purchased - or at least loaned to the Metropolitan Museum of Art - in stages, the teapot and trivet first appearing in the MMA bulletin of January 1916, and the cream jug and sugar bowl in June 1918. These dates coincide precisely with the pattern numbers which appear on these reproductions by Tiffany, who evidently created them as a tie-in to Clearwater’s loan of the pieces, which was met with much public fanfare. Tiffany would go on to create several other replicas from the Clearwater Collection, though the set here is regarded as the finest. The Metropolitan Museum of Art acquired Clearwater’s collection permanently after his death in 1933; the Revere set remains on display today in Gallery 750 of the American Wing. For more details on the creation of the Tiffany reproduction, see Charles and Mary Carpenter, Tiffany Silver (New York: Dodd, Mead, 1984), pp. 267‑268, illustration 324 (the cream jug); for more information on the original Revere set, see C. Louise Avery, American Silver of the XVII and XVIII Centuries: The Clearwater Collection, (New York: MMA, 1920), pp. 145‑147. [6000/9000] Illustrated

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1032

1023 Tiffany & Co. Sterling Silver Sandwich Plate, the pattern introduced in 1928, New York City, New York, of circular form with molded rim, the plateau acid-engraved with a wide central radiant long leaf-and-dart band within a dentillated floral and laurel-swag band, the whole raised on a circular foot ring, dia. 10-3/4”, 22.57 t. oz. [1200/1800] 1024 Tiffany & Co. Sterling Silver “Marquise” Sauceboat, the pattern designed in 1901 by Paulding Farnham (1859‑1927), New York City, New York, this example before 1907, monogrammed on the body “EBM”, h. 4‑3/4”, l. 8‑1/4”, w. 4”, 13.50 t. oz. [800/1200] 1025 Tiffany & Co. Sterling Silver Sauceboat, the pattern introduced in 1927, New York City, New York, of traditional bateau form, with molded rim and reeded strap handled, the whole raised on an oval foot, h. 4‑1/4”, l. 6‑3/4”, w. 3‑3/8”, 8.94 t. oz. [500/800] 1026 Tiffany & Co. Sterling Silver Trumpet Vase, the pattern introduced in 1912, New York City, New York, with molded rim and knopped foot, decorated with engraved foliate cartouches and swags, h. 9”, dia. 4”, 7.72 t. oz. [400/700]

132

1032 detail 1027 Tiffany & Co. Sterling Silver Letter Rack, the pattern introduced in 1917, New York City, New York, of rectangular form with serpentine upper edges, the back edge higher, the back, sides and undersides with open panels, the front monogrammed “SGS”, h. 3‑1/2”, w. 7”, d. 1‑3/8”, [500/800] 1028 Set of Four Tiffany & Co. Small Sterling Silver Leaf Dishes, the pattern introduced after 1950, New York City, New York, in the form of a stylized leaf with a incle spherical support, l.3‑1/2”, w. 2‑1/2”, 4.82 total t. oz. [400/700] 1029 Set of Three Tiffany & Co. Sterling Silver Leaf Dishes, the pattern introduced in 1944, New York City, New York, in the form of a stylized ivy leaf with a pair of spherical supports, l. 5‑3/4”, w. 5‑1/4”, 11.25 total t. oz. [400/700] 1030 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”. [200/400]

1031 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”. [200/400] 1032 Rare, Large, Leeds and Company, New Orleans Cast-Iron Sugar Kettle, third quarter 19th century, the flared rim bearing the embossed “Leeds & Co NO” label in two places along with the number “72” along the edge, h. 30”, dia. 80”. Leeds & Co. was originally known as Leeds Foundry and dates back to 1825. It was one of the country’s earliest woodworking machinery companies. Records show that they had 250 employees in 1874 and the company remained in business through the 1890’s. They were also listed in the 1874 work, "Wiley’s American Iron Trade Manual of the Leading Iron Industries of the United States", citing they manufactured steam engines, boilers, sugar machinery of all kinds, saw mills, gins, grate bars and ordinary castings. [3500/5000] Illustrated

1035 American Vernacular Stained Poplar Farm Table, late 19th century, the plank top with rounded corners mounted to the framed base with turned legs, the top fastened with square nail construction, h. 28‑1/2”, d. 31‑1/2”, l. 72”. [500/800] 1036 American Gothic Revival Walnut Hall Tree, third quarter 19th century, having a foliate carved, plume form finial, above a pierced-and-molded backboard with a central arched mirror, the base fitted with a large cast-iron shell form drip pan, h. 87”, w. 30”, d. 16”. [700/1000] 1037 Gothic Revival-Style 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. [700/1000]

1033 American Iron Stirrup, the Footplate with the CutOut Letters “HCLAY”, 19th century, presumably for Kentucky Senator, Speaker of the House and statesman Henry Clay, h. 5‑1/2”, w. 4‑1/4”. A similar pair of stirrups is in the Collection of Ashland, the Henry Clay home and museum, Lexington Kentucky. Clay was a prominent horseman, responsible for encouraging horse racing and breeding in Kentucky. Sixteen Kentucky Derby winners can trace their lineage to Clay’s stable. It has been suggested by the staff at Ashland that their stirrups may have been a promotion campaign item for his failed 1844 Presidential campaign. The stirrup may also have been crafted to commemorate one of the greatest horses of the 19th century, “Old Henry Clay”. That horse is sometimes referred to as “America’s National Thoroughbred Trotting Horse” or “The Father of American Trotting Horses”. In the horses 30 year life span from 1837 to 1867 he sired a group of trotting horses that were commonly knows an “the Clay line”. Sometime after the horse’s death, his skeleton was exhumed and preserved. The mandible is currently in the collection of the Smithsonian Institution, Washington, D.C. [125/250] 1034 Southern Vernacular Creole-Style Poplar and Walnut Garde-a-Manger, third quarter 19th century, the top with a large molded cornice above a pair of framed doors with screen panels, the mid-section with a pair of drawers above two doors with screen panels above wooden panels, the sides with three screen panels each and raised on tall square legs, Cabinets of similar form are illustrated on page 228 of “Furnishing Louisiana Creole and Acadian Furniture, 1735‑1835” by Holden, Bacot, Gontar, Costello and Puig h. 81”, w. 48”, d. 19”. [800/1200] Illustrated

1034

133

1038

1038 Rare and Important American Gothic Revival Oak Hall Chair, mid‑19th century, possibly New Orleans or New York, the tall back supported by pierced and carved stiles terminating in crocketed spires, the central pierced and carved splat with an additional carved spire, the solid plank seat with molded edge hinged along the back edge and opening to a void cavity, supported by pierced front legs, h. 70‑1/2”, w. 20‑1/4”, d. 20”. This chair belongs to a small, but important group of furniture associated with the antebellum South. Related chairs have been found in Vicksburg, New Orleans, and most notably Stanton Hall Plantation in Natchez, Mississippi. It has been suggested that New Orleans may have been the source of this body of furniture since the Stanton Hall examples were invoiced by Henry Siebrecht of New Orleans. Related examples are in the collection of the Metropolitan Museum of Art, New York, the Bybee Collection, the Dallas Museum of Art, the Henry Francis duPont Winterthur Museum and the New Orleans Museum of Art. A mate to the Winterthur chair sold at New Orleans Auction Galleries in March, 1998, for $40,700, and another hall chair in March, 2000, for $56,000, and a third example sold at New Orleans AuctionSt. Charles Gallery in January 2009 for $28,800. The St. Charles Gallery also sold the matching recamier in April, 1998, for $44,000. [18000/25000] Illustrated

1038

134

1039 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”. [2000/4000] Illustrated 1040 American Gothic Revival Oak Bookcase, mid‑19th century, the cyma-molded 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”. [2000/4000] Illustrated 1041 Pair of Patinated Cast-Aluminum Garden Benches in the “White House Rose Garden” Pattern, second half 20th century, the backs with inverted horseshoes and clusters of flowers along the crest rails, raised on cabriole legs, h. 35”, w. 45”, d. 16”. [400/700] 1042 Victorian Shadowbox Wreath of Flowers and Shells, third quarter 19th century, the wreath depicting flowers, fruit and shells, composed of wax, nuts and shells with leaves of paper or cloth, the cove-molded frame with an ebonized rim and damascene, h. 28‑3/4”, w. 23”, d. 5”. [100/200]

1040

1043 Commemorative Textile For the State of Alabama, ca. 1880‑1900, the quilt with one 17” x 13” insert of chenille embroidered cotton bolls and blossoms on black velvet and one 19‑1/2” x 13” insert of maroon velvet with chenille embroidery and appliqued camelias, both inserts on a field of 2‑1/2” x 2‑1/2” squares, each square comprised of various colored velvet stripes, the backing in silk taffeta, machine sewn, h. 71‑1/2”, w. 41”. [150/300]

1044

1044 detail 1044 Nicely Detailed Model of a Rear-Paddle Steamboat, the steamboat with two large and two small smoke stacks and a pilot house trimmed in gingerbread [1800/2500] Illustrated 1039

135

1045 1053

1045 American Rococo Revival Rosewood Etagere, third quarter 19th century, attributed to J. H. Belter, New York, in a rare low version of the etagere sold by Belter to “Rosalie” in Natchez, Mississippi, the crest centered by fruit carving amidst a pierced foliate- and grape-carved field, on an arched central mirror flanked by two graduated serpentine shelves on a pair of larger serpentine shelves each backed by a mirror plate, on a low serpentine marble-top base with central shell, foliate and fruit carving, h. 76‑1/2”, w. 54”, d. 16”. [12000/18000] Illustrated 1046 American Three-Light Girandole, mid‑19th century, of Leatherstocking Tales model, hung with snowflake prisms, signed “Cornelius, Philadelphia”, h. 17”, w. 17”, d. 4”. [150/300]

1049 three-piece suite

1047 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”. [200/400] 1048 Group of Five Gilt-LacqueredEmbossed-Brass Drapery Tie-Backs, mid‑19th century, each modeled as twining oak leaves, vines and acorns, h. 4‑7/8”, w. 6‑7/8, w. 3/4”. [100/200] "Sofa Illustrated Online"

136

1049 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. [1000/1500] Illustrated 1050 Rococo Revival Figured Mahogany Turtle-Top Center Table, third quarter 19th century, probably Austrian, the highly figured top with molded edge mounted to a floral-carved frame supported by in-curved legs joined by a carved stretcher and a turned-and-carved finial, h. 29‑1/2”, w. 48”, d. 33”. [700/1000] 1051 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”. [600/900] 1052 Fine and Rare Cornelius and Baker, Philadelphia, Solar Lamp, third quarter 19th century, composed of gilt-lacquered brass, ivory, marble and cut glass, the brass standard with the Cornelius and Baker signature plaque on the lower portion of the font, fitted with a brass prism ring dressed with “back-cut Albert” spears, and with a vasiform “Vintage”-engraved and partially frosted glass shade, electrified, h. 15”, dia. 6‑1/4”. [400/700]

1059

1056 1054 Pair of Victorian Mahogany Slipper Chairs in the Queen Anne Taste, third quarter 19th century, the arched and curved backs with a central splat and the side posts wrapping around the seats forming hip rests, raised on cabriole legs of Queen Anne form, h. 37”, w. 21”, d. 20”. [200/400] 1055 American Rococo Revival Walnut and Marble-Top Pedestal Table, third quarter 19th century, the top retaining its circular white marble above a lathe-turned rim and mounted to a carved standard with three outstretched legs featuring carved dogs’ heads and ending in carved paw feet, h. 42”, dia. 23‑1/2”. [800/1200] 1056 John James Trumbull Arnold (American/ Pennsylvania, 1812‑1865) “Portrait of a Girl With a Rose, Seated In a Sheraton Fancy Chair”, oil on canvas, verso canvas inscribed in pencil “Drawn by J.J.T. Arnold, Cumberland, MD, March the 15th, 1849”, 11‑3/4” x 10”. Presented in a period giltwood and gesso frame with an oval window. [2000/4000] Illustrated 1057 American School (Mid‑19th Century) “Primitive Portrait of a Girl in a Black Dress Holding a White Rose, Mountains Visible in the Distance”, oil on canvas, 29” x 24”, unsigned. Framed. [500/800]

1053 American Rococo Revival Rosewood Marble-Top Etagere, third quarter 19th century, New York, the upper section with a hooded central arch and pierced crest, the mirrored back and shaped shelves on each side, the base with a single drawer above two glazed doors, h. 92”, w. 42”, d. 21”. [1800/2500] Illustrated

1058 American School (19th Century) “Portrait of a Gentleman”, oil on canvas, 30” x 24”, unsigned. Presented in a late 19th-century deep oak frame. [700/1000] 1059 Rococo Revival Gilt-Bronze Four-Arm Gasolier, in the manner of Starr, Fellows 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”. [2000/4000] Illustrated

137

1060 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] 1061 American Rococo Revival Rosewood Marble Top Etagere Attributed to Thomas Brooks, Brooklyn, New York, third quarter 19th century, the upper structure with a central arched mirror flanked by open shelves to each side with mirrored backs and a floral carved crest above, the base retaining its original white marble above a central drawer and mirrored cabinet door below, each end with open shelves, h. 88”, w. 53”, d. 21”. [2000/4000] Illustrated

1061

1064 Cast-Aluminum Three-Tiered Garden Fountain and Under Pan, the fountain with three graduated bowls mounted to a central standard, the pan with a frog and lily pad border, presented in a distressed green painted surface, h. 73”, dia. 68”. [1200/1800] 1065 William H. Seymour, The Story of Algiers, 1718 - 1896, Now Fifth District of New Orleans, The Past and The Present, Algiers Democrat Publishing Co. Ltd., 1896. Provenance: Descended in the Claiborne family of New Orleans. [75/150] 1066 Group of Fourteen Volumes Pertaining to Century Architecture Expressed in Traditional Forms, including, New Classicists Ken Tate Architect Selected Houses Volume Two, by Tate and Graves, wraps absent, O’Neil Ford, Architect, by Mary Carolyn Hollers George, The Houses of James Means, edited by Efird, The Architecture of James Means, Georgia Classicist, by Mitchell, The Architecture of Wm Frank McCall, Jr., FAIA, A Complete Designer in the Classical Tradition, by Mitchell, The Architecture of Neel Reid in Georgia, by Grady, Paul R. Williams, Architect A Legacy of Style, by Hudson, A Continuing Tradition: Wm. Frank McCall, Jr., FAIA 1914‑1991, by Mitchell, Charles A. Platt The Artist as Architect, by Morgan, Seaside, by Brooke, John Gaw Meem Southwestern Architecture, by Bunting, Classical Architecture Rule and Invention, by Thomas Gordon Smith, The American Vignola: A Guide to the Making of Classical Architecture, by Ware, and Classical American IV, by Coles. [150/250] Illustrated 1067 Group of Fourteen Volumes Pertaining to Late 20th Century Modern Architecture, Most Including the Architecture of Robert Stern, including, Carlo Scarpa Theory Design Projects, by Maria Antonietta Crippa, edited by Randolin, translated to English by Chapman and Pinna, 1986, MIT Press, The American Houses of Robert A.M. Stern, by Stern, introduction by Aslet, Modern Classicism, by Robert Stern and Raymond Gastil, Hugh Newell Jacobsen, Architect, by Jacobsen, edited by Green, hardcover, 1988, Robert A.M. Stern Buildings and Projects 1987‑1992, by Stern, intro by Scully, Robert A.M. Stern Buildings and Projects 1965‑1980, by Stern, 1984 reprint, wraps, Robert A.M. Stern Buldings and Projects 1981‑1985, by Stern, wraps, Robert A.M. Stern Selected Works Architectural Monographs no. 17, by St. Marin’s Press and seven related volumes. A complete list is available on our online catalog. [100/200]

1062 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”. [400/700] 1063 American Elizabethan Turned-and-Carved Walnut Armchair, third quarter 19th century, the tall back with pierced and floral carved crest above a padded panel flanked by turned posts with outstretched arms and raised on similar turned legs, h. 49”, w. 27”, d. 27”. [150/300]

138

1068 Group of Fifteen Volumes Pertaining to Important 19th and Early 20th Century Architects, including, David Adler, Architect: The Elements of Style, by Thorne, The Art Institute of Chicago in Association with the Yale University Press, 2002, A Monograph of the Works of McKim Mead and White 1879‑1915, 1973 issue by Benjamin Blum, Wallace Neff Architect of California’s Golden Age, by Neff and Clark, Greene and Greene Master Builders of the American Arts and Crafts Movement, by Smith and Vertikoff, The Architecture of Richard Morris Hunt, edited by Stein, America’s First Architect Robert Mills, by Bryan, Benjamin Henry Latrobe, by Hamlin, Three Centuries of Notable American Architects, intro by Scully and nine related books. A complete list is available on our online catalog. [100/200]

1074

1069 Group of Twenty-Seven Volumes Pertaining to Home Design, Most Notably Kitchens and Baths, including, Innovative Interiors, by Lee, The Home Zone, by CliftonHoggs, The Distinctive Home, A Vision of Timeless Design, by Eck, Designer’s Own Homes, by Architectural Disgest, The New Family Home, by Tolpin, Creating a Beautiful Home, by Stoddard, Adding On, by Duo Dickinson and twenty-one related volumes. A complete list is available on our online catalog. [75/125]

1072 Group of Thirty Volumes Pertaining to Architecture, and House Restoration, including, Re-Architecture Old Buildings/New Uses, by Cantacuzino, Conserving Buildings, A Guide to Techniques and Materials, by Weaver, America’s Forgotten Architecture, by Wrenn and Mulloy, Remaking America, by Diamonstein, The International Book of Lofts, by Slesin, Cliff and Rozensztroch, Design Review in Historic, A Handbook for Virginia Review Boards, by Bowsher, Old Houses, A Rebuilder’s Manual, by Nash and twenty-three related volumes. A complete list is available on our online catalog. [75/125] 1073 Group of Thirty-Four Volumes Pertaining to American Housing and Decorating From the Victorian Era Through the Bungalow, including, Sweet’s Indexed Catalog of Building Construction 1906, published by Architectural Record Co., The Colonial Revival House, by Wilson, Along Bungalow Lines, by Duchscherer and Svendsen, Floor Coverings for Historic Buildings, by Rosenthal and Winkler, Sloan’s Victorian Buildings, two volumes, one binding, Dover edition, The Antiques Book of Victorian Interiors, by Garrett, Victorian Interior Decoration American Interiors 1830‑1900, by Winkler and twenty-seven related volumes. A complete list is available on our onlune catalog. [100/200]

1066

1070 Group of Thirty-Three Volumes Pertaining to New Orleans and Southern Architecture, including, The Architecture of Georgia, by Nichols, New Orleans Architecture Volume 1, The Lower Garden District, by Wilson and Lemann, hardcover, The Buildings of Biloxi: An Architectural Survey, City of Biloxi, Plantations of the Carolina Low Country, by Stoney 1938, first printing, New Orleans Architecture Volume II: The American Sector, by Christovich and Toledano, New Orleans Architecture Volume VIII: The University Section, by Friends of the Cabildo, hardcover, Louisiana Buildings 1720‑1940: The Historic American Buildings Survey, by Poesch and Bacot and twenty-six related volumes. A complete list is available on our online catalog. [100/200] 1071 Group of Twenty-Five Volumes Pertaining to Fine Art and Italian and Continental Architecture, including, The Paintings and Sketches of Louis Kahn, by Jan Hochstim, Marie Andrien Persac, Louisiana Architect, by Bacot, SoRelle Bacot, Reeves, Magill and Lawrence, William Edward West, 1788‑1857, Kentucky Painter, by Pennington, My Life in Pictures, Ethel Wright Mohamed, signed by the author/artist, The Bauhaus Masters and Students by Themselves, by Whitford, Painting in the South 1564‑1980, by The Virginia Museum, History of Italian Architecture 1944‑1985, by Tafuri and eighteen related volumes. A complete list is available on our online catalog. [75/125]

1074 Two Books on A. Hays Town (1903‑2005), the first, The Architectural Style of A. Hays Town: 106 Preliminary Sketches, Baton Rouge, Amdulaine Publications Inc., 1985, first printing, signed by the Hays Town and numbered 36/1000 introduction by Blanche Town Gladney, retaining the original color dust jacket, the jacket with losses, together with The Louisiana Towns of A. Hays Town by Charles Vetter. [500/800] Illustrated 1075 Nine Books of Landscape and Architectural Photography, including Linda Butler, Inner Light: The Shaker Legacy, Rick Smolan, ed., A Day in the Life of America, Joel Sternfeld, American Prospects, Samuel Chamberlain, The New England Image, Barbara Hitchcock, Sightseeing: A Space Panorama, Barry Pritzer, ed. Ansel Adams, Emil Schulthess, Eternal Landscape, Freeman Patterson, Portraits of Earth, and William Stroude, Washington and Lee University. Provenance: Private collection, Jackson, Mississippi. [50/80]

139

1076 Group of Twenty Volumes Pertaining to American and English Antique Furniture, including, The Furniture of John Henry Belter and the Rococo Revival, by Schwartz, Stanek and True, 1981 printing, English Furniture for Gothic to Sheraton, by Cescisnky, Wooten Patent Desks, edited by Showalter and Driesbach, wraps, Classical Taste in America 1800‑1840, by Cooper, wraps, English Furniture Decoration and Woodwork and Allied Parts, by Strange, American Rococo 1750‑1775 Elegance in Ornament, by Heckscher and Bowman, wraps, American Furniture of the 19th Century, by Otto and thirteen related volumes. A complete list is available on our online catalog. [100/200]

1082

1079 1077 German Art in the 20th Century, Painting and Sculpture 1905‑1985, Prestel-Verlag, Munich and Royal Academy of Arts, London, 1985, containing eight ink pen doodles, sketches and inscriptions by Noel Rockmore (American/ Louisiana, 1928‑1995), four of which are signed “Rockmore”, 12” x 9”. [300/500] 1078 Seven Books on American Art and Artists, including Arnold Skolnick, Paintings of Maine and Paintings of the Southwest, Ron Ranson, Modern Oil Impressionists, Alfred Werner, Inness Landscapes, Thomas S. Beuchner, Norman Rockwell: A Sixty Year Retrospective, Barbara Gallati, William Merritt Chase and Nicolai Cikovsky, Jr., ed., Winslow Homer Watercolors. Provenance: Private collection, Jackson, Mississippi. [40/70] 1086

140

1079 Aubusson Needlepoint Carpet, 11’6” x 15’2”. [500/800] Illustrated 1080 Oushak Carpet, 9’ x 11’10”. [3000/5000] 1081 Semi-Antique Mahal Carpet, 4’1” x 6’. [300/500] 1082 Antique Serapi Carpet, 8’ x 11’. [5000/8000] Illustrated 1083 Turkish Angora Oushak Carpet, 8’10” x 12’2”. [1200/1800] 1084 Turkish Oushak Carpet, 9’ x 12’. [3000/5000] 1085 Persian Sultanabad Carpet, 6’9” x 7”. [1800/2500] 1087

1086 Semi-Antique Persian Lilihan Carpet, 9’9” x 13’7”. [2000/4000] Illustrated 1087 Antique Kurd Carpet, 4’ x 6’8”. [300/500] Illustrated 1088 Antique Oushak Carpet, 9’ x 11’6”. [2500/4000] 1089 Hamaden Carpet, 3’5” x 4’9”. [200/400] 1090 Aubusson Carpet, 11’ x 15’. [1500/2500] Illustrated

1090

141

1095 Uzbek Kazak Runner, 3’ x 15’. [700/1000] 1096 Peshawar Sultanabad Carpet, 6’ x 9’. [500/800] 1097 Peshawar Serapi Carpet, 7’10” x 9’10”. [1200/1800] 1098 Turkish Angora Oushak Carpet, 9’ x 12’. [5000/8000] Illustrated 1099 Turkish Oushak Carpet, 9’ x 12’. [3000/5000] 1100 Heriz Carpet, 10’ 6” x 9’. [1800/2500] 1101 Semi-Antique Sarouk Carpet, 3'11" x 6'2".[300/500] 1102 Persian-Style Sarouk Carpet, 8’ x 10’. [2000/4000] Illustrated

1091

1091 Indo-Zeiglar Mahal Carpet, 6’1” x 9’. [1200/1800] Illustrated 1092 Persian Kashan Carpet, 11’5” x 17’5”. [700/1000] 1093 Agra Serapi Carpet, 10’ x 14’5”. [3000/5000] 1094 Antique Sarouk Carpet, 12’ x 21’. [4000/7000] Illustrated

142

1103 Renaissance-Revival-Style Mahogany Doll’s Bed, with turned posts supporting the arched headboard and decorated with an applied oval and rondel, supported by shaped side rails and a matching footboard, h. 14‑3/4”, l. 14”, w. 23‑1/4”. [75/125] 1104 Victorian Columnar Marble Pedestal, third quarter 19th century, the square top with canted corners, supported by a cylindrical column joined to a stepped base, h. 38‑1/2”, w. 10‑1/2”, d. 10‑1/2”. [200/400] 1105 Victorian Columnar Marble Pedestal, third quarter 19th century, the square top with canted corners, supported by a cylindrical column joined to a stepped base, h. 37”, w. 10‑3/4”, d. 10‑3/4”. [250/400]

1094

1098

1102

143

1106 Monumental American Rococo Revival Giltwood Mantle Mirror, third quarter 19th century, the period mirror plate with an arched top beneath scrolling foliage, flora and shell, the uprights in vintage decor with foliatecarved brackets at the base, h. 108”, w. 76”. Removed from the Richarme Garden District Home where it appears to have hung until now, the mantle shelf measured 72” wide. Found en suite with the proceeding lot. [2000/4000] Illustrated

1107 Monumental American Rococo Revival Giltwood Mantle Mirror, third quarter 19th century, the period mirror plate with an arched top beneath scrolling foliage, flora and shell, the uprights in vintage decor with foliatecarved brackets at the base, h. 108”, w. 76”. Removed from the Richarme Garden District Home where it appears to have hung until now, the mantle shelf measured 72” wide. Found en suite with the preceding lot. [2000/4000] Illustrated

1106

144

1107

1108

1110

1108 American Louis XVI-Inspired Silver Leaf and Giltwood Pier Mirror, third quarter 19th century, the period mirror plate with arched top beneath an open carved crest depicting a shell flanked by floral swags, the plate edged with eggand-dart decor, the silver leaf naturally tarnished to provide dark contrast to the original gilt surface, h. 101”, w. 45‑1/2”, d. 4”. [1500/2500] Illustrated

1110 detail

1109 Napoleon III Boulle and Ebonized Center Table, third quarter 19th century, the turtle-form top centered by a brass inlay of a classical chariot, surrounded by an elaborate boulle panel, with a foliate-modeled brass banding, above a conforming shaped frieze centered by an ormolu mask mount and fitted with one drawer, raised on cabriole legs headed by espagnolettes and ending in sabots, h. 30”, w. 52”, d. 29‑1/2”. [800/1200] Illustrated

1109

1110 Napoleon III Boulle and Marble-Top Cabinet, third quarter 19th century, the rectangular charcoal marble top with projecting canted corners above a conforming case fitted with two paneled cupboard doors, flanked to either side by canted uprights headed by ormolu espagnolettes, raised on bracket feet, the whole accented with boulle work panels, ormolu mounts and millwork, h. 41”, w. 51‑1/2”, d. 18‑1/2”. [800/1200] Illustrated

1109 detail

145

1111 Napoleon III Boulle and Marble-Top Cabinet, third quarter 19th century, the rectangular Carrara marble top, above a conforming case fitted with an ormolu acanthine frieze over a single glazed cupboard door, flanked to either side by a boulle pilaster headed by a foliate mount, raised on bracket feet, h. 41‑1/2”, w. 27‑1/2”, d. 15‑1/2”. [700/1000] Illustrated

1113

1112 American Renaissance Revival Burled-Walnut andWalnut 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 with leontine masks, palmettes, roundels and double-knuckled-carved paw feet, h. 28-1/2",dia. 48”. [2500/4000] Illustrated

1115 James Homer Perkins Wise (Louisiana, 1845‑1901) “ Misty Bayou Landscape”, oil on canvas, signed lower center “Wise”, 22” x 36”. Presented in a contemporary giltwood frame. [1200/1800] Illustrated

1111 1113 Large American Renaissance Revival Walnut and Burl-Walnut Marble-Top Sideboard, third quarter 19th century, the upper structure with a large central burl panel flanked by shaped shelves and carved crests, the base retaining its original rouge marble tops over a row of three short drawers above three burl paneled doors, h. 105”, w. 77”, d. 26”. [3500/5000] Illustrated 1114 American Renaissance Revival Walnut and Burl Walnut Marble-Top Server, third quarter 19th century, the upper section with a broken pediment crest above a broad molded shelf supported by scrolled and carved brackets, the base with its original rouge marble top above a pair of side-byside drawers with open shelves below, h. 78”, w. 55”, d. 24”. [1500/2500] Illustrated

146

1112

1116 William W. Fetters (American, Fourth Quarter 19th Century) “Panoramic Landscape Along the Mississippi”, oil on canvas, signed lower center “W. Fetters”, 26” x 38”. Presented in a contemporary giltwood frame. [700/1000] 1117 American Renaissance Revival Walnut Banquet Table, third quarter 19th century, the circular top with molded edge and incised Greek key-carved apron mounted to a split pedestal with outstretched legs and applied carvings, accompanied by five 14” leaves, h. 29”, dia. 54”, ext. l. 104”. [1000/1500] Illustrated 1118 Suite of Twelve American Eastlake Victorian Walnut Dining Chairs, fourth quarter 19th century, comprised of two large arm chairs and ten smaller arm chairs, each with an in-carved stylized sunflower in the crest with spindle-turned supports, raised on turned legs, h. 40‑1/2”, w. 22”, d. 18”, larger, h. 38‑1/2”, w. 20”, d. 17”, smaller [800/1200] Illustrated

1115

1114

1117

1119 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”. [700/1000]

1118

147

1122

1121 Aaron Draper Shattuck (American, 1832‑1928) “New England Landscape with Figures Resting on a Path”, oil on canvas, signed lower center “A.D. Shattuck”, 20” x 30”. Presented in a contemporary giltwood frame. A second generation of the artists affiliated with the Hudson River School, Shattuck was educated and spent his entire life in New England, painting subjects ranging from White Mountains to barnyard scenes of sheep and cattle. He exhibited both at the National Academy and the Boston Athenaeum and was made a full Academician in 1881. He was also a successful inventor, patenting a canvas stretcher bar key which was used by the artists of the day and which contributed to his wealth. [5000/8000] Illustrated 1122 Fine American Renaissance Revival Walnut and Quarter-Sawn Oak Mantle Mirror in the Manner of Gustav Herter, third quarter 19th century, the projecting carved cornice centered by a carved panel depicting trophies of the hunt, and flanked by fruit, nut and leafcarved swags, the period mirror plate edged with ebonizing and gilt-incising, each side capped by a carved leontine mask with open mouth over fruit and nuts, the carvings and moldings executed in walnut, with contrasting quartersawn oak panels, the poplar back of frame and panel construction, h. 94”, w. 75”, d. 12‑1/2”. [2000/4000] Illustrated

1123 American Neo-Grec Five-Piece Bronze Mounted, Ebonized and Walnut Parlor Suite, third quarter 19th century, comprised of a sofa, a pair of arm chairs and a pair of side chairs, 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. [3000/5000] Illustrated

1120 Imperial Symphonion Double Comb Mahogany Disc Music Box, fourth quarter 19th century, the case with a molded and raised panel lid with press carved moldings throughout, raised on turned feet, h. 12”, w. 24”, d. 21”. [1000/1500] Illustrated

1120

1120 detail

148

1124 Three-Piece Napoleon III Gilt and Patinated-Bronze-Mounted Marble Clock Garniture in the Neo-Grec Taste, comprised of a figural-mounted clock and a pair of flanking urns, the clock dial marked in gilt lettering “G.B. Levy Rue Sevigne 29”, the clock mounted with a bronze depicting a standing centurian grasping his shield, beside a pedestal with an urn and laurel sprig, the clock of Belgian black marble, with gilt incising, the projecting face flanked by bronze-mounted turreted ends, raised on winged paw feet, each urn on a circular pedestal base with similar classically adorned bronze bands, each lidded urn with a pair of leontine masks clutching a ring at its mouth, h. 23”, w. 17”, d. 9”, clock, h. 16”, dia. 6”, urns. [1800/2500] Illustrated following page

1121 1123 five-piece suite

1123 five-piece suite

1125 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”. [500/800] 1126 American Renaissance Revival ParcelGilt, Ebonized, Burled-Walnut and Walnut Cabinet, third quarter 19th century, the top over a carved and incised frieze, over a glazed door, flanked by tapering gilt-incised columns on a projecting base with low shelves at each side, h. 57‑1/2”, w. 45”, d. 21”. Provenance: Le Petit Theatre, French Quarter, New Orleans, Louisiana. [700/1000]

149

1132 American School (Fourth Quarter 19th Century) “Edge of the Woods with a Marsh”, oil on canvas, signed lower right “Webber”, sight approximately 10” x 19”. Presented in a period giltwood and gesso frame within a glass-front, velvet-lined shadowbox. [600/900]

1124

1133 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”. [1200/1800] Illustrated 1127 American Neo-Grec Marquetry Inlaid Gilt-Incised and Bronze-Patinated, Metal Mounted, Ebonized and Walnut Music Cabinet, third quarter 19th century, the crest centered by a bronze-patinated 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”. [2000/4000] Illustrated

1127

1128 American Aesthetic Movement Walnut Rocking Chair, branded on the rear leg “Hunzinger, N.Y. Pat. March 3, 1869”, upholstered in royal blue crushed velvet, h. 22”. [400/700] 1129 American Aesthetic Movement Walnut Rocking Chair, branded on the rear leg “Hunzinger, N.Y. Pat. March 3, 1869”, upholstered in maroon crushed velvet, h. 22”. [400/700] 1130 American Renaissance Revival Brass Spelter and Copper-Washed Three-Arm Gasolier, third quarter 19th century, of small size, retaining its gas keys, the shades lacking, previously electrified, h. 68‑1/2”, dia. 18‑1/2”. [400/700] 1131 John Williamson (American/New York, 1826‑1885) “Mountainous River Landscape with Cattle”, oil on canvas, initialed lower right, 10” x 18”. Presented in a contemporary giltwood frame. Provenance: Private collection, Denver, Colorado. [5000/8000] Illustrated 1127 detail

150

1134 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 upholstered in sea foam brocade, h. 40”. [400/700]

1131 1135 1135 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. [4000/7000] Illustrated

1133 1136 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 giltmetal 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”. [2000/4000] Illustrated following page

151

1141 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. [1500/2500] Illustrated 1136

1137 American Renaissance Revival Burled Walnut and Walnut Triple Section Bookcase, late 19th century, from the New Orleans warerooms of Henry Siebrecht, the protruding center section with a floral incised carved frieze above a glazed door flanked by burl columns, the side sections each with a spindle gallery and glazed door, the base fitted with three drawers, the back side of the base retains a painted inscription “H.N. Siebrecht, New Orleans, LA”, h. 83”, w. 74”, d. 21”. [2000/4000] Illustrated

1137 detail 1137

1138 American Renaissance Revival Burled Walnut and Walnut Triple Section Bookcase,late 19th century, from the New Orleans warerooms of Henry Siebrecht, the protruding center section with a floral incised carved frieze above a glazed door flanked by burl columns, the side sections each with a spindle gallery and glazed door, the base fitted with three drawers, the back side of the base retains a painted inscription “H.N. Siebrecht, New Orleans, LA”, h. 83”, w. 74”, d. 21”. [2000/4000] Illustrated 1139 American Renaissance Revival Walnut DoubleDoor 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”. [400/700] 1140 Louisiana School (Second Quarter 19th Century) “Portrait of a Gentleman”, oil on canvas, unsigned, 26” x 20‑1/4”. Presented in a good carved giltwood and plaster frame in the neoclassical style, the rectangular frame with an oval aperture. [800/1200] Illustrated

152

1138

1142 American Renaissance Revival Walnut Folding “Campaign” Chair, third quarter 19th century, the latheturned frame with a scissors-form stretcher base, the arm front-carved in the form of hound’s heads, h. 37”, w. 25”, d. 20‑1/2”. [300/500]

1141 two-piece suite

1140

1141 two-piece suite

153

1143 American Renaissance Revival Five-Piece Rosewood Bedroom Suite, third quarter 19th century, comprised of a high back bed with shell-carved crest and incised linework, h. 91”, inside w. 60”, inside l. 80”, outside w. 68”, outside l. 88”; a matching double door mirrored armoire, h. 93”, w. 64”, d. 27”; a marble-top dresser with mirror, h. 91”, w. 56”, d. 26”; a marble-top washstand, h. 40”, w. 36‑1/2”, d. 20”; and a marble-top half commode, h. 34”, w. 21”, d. 16‑1/2”. [3000/5000] Illustrated

1143 five-piece suite

154

1147

1145

1148

1150 Seven Pieces of Miscellanous American Small Silverware, first half 20th century, including a Gorham cream pitcher, date mark 1906, h. 4‑1/4”, a Mueck-Cary christening mug dated 1946, h. 2‑3/4”, a Webster porringer, dia. 4”, a Webster-Wilcox open sugarbowl, h. 2‑3/4”, a Duchi Creations candlestand, h. 4”, Wm. B. Kerr bookmark, l. 3‑1/2”, and a chained pair of Webster “Mary Had a Little Lamb” bib clips, l. 7‑1/4”, 13.69 total t. oz. (excluding weighted candlestand). [300/500]

1146 1144 American Rococo Revival Walnut and Figured Walnut Highback Bedstead, third quarter 19th century, the arched headboard with pierced and scroll-carved crest above a pair of figured walnut panels, the footboard with arch and mold crest rail and applied panels and central turned rosette, the cast-iron rail hardware stamped “M&R” for Mitchell and Rammelsberg, Cincinnati, Ohio, h. 91”, inside w. 57”, inside l. 75‑1/2”, outside w. 64‑1/2”, inside l. 80”. [500/800] 1145 American Sterling Silver Vegetable Bowl, mid‑20th century, by Samuel Kirk & Son, Baltimore, Maryland, of oval form, the wide everted rim decorated with handchased repousse flowers in the Baltimore taste, with an applied foliate rim, the center monogrammed “M”, l. 11‑3/4”, w. 8”, 15.88 t. oz. [800/1200] Illustrated 1146 American Sterling Silver Bread Tray, fourth quarter 19th century, by Peter L. Krider, Philadelphia, Pennsylvania, of oval form, the sides decorated all over with repousse flowers in the Baltimore taste, with a hatched and threaded rim quartered by floral medallions and a pairl of acanthus-mantled shell handles, l. 14”, w. 8‑1/8”, 18.65 t. oz. [300/500] Illustrated 1147 American Sterling Silver Fruit Bowl and Sandwich Plate, first quarter 20th century, by J. E. Caldwell & Co., Philadelphia, Pennsylvania, each of circular form with a wide reticulated rim decorated with rococo scrolls and flowers on a latticework ground, the bowl interior and plate plateau engraved en suite, bowl h. 2‑1/2”, dia. 10‑7/8”, plate dia. 10‑1/2”, 45.53 total t. oz. [2500/4000] Illustrated

1151 Eleven American Sterling Silver Salt Spoons, 20th century, including a Watson “Bunker Hill” example, monogrammed “EBL”, l. 3”, five Mancester examples in an unidentified rococo pattern, monogrammed “B”, l. 2‑1/2”, an F. A. Durgin example in an unidentified Orientalist pattern, l. 3‑3/4”, 1.28 total t. oz. [50/80] 1152 Reed & Barton Anniversary Edition “Francis I” Sterling Silver Ice Cream Server, the pattern designed in 1907 by Ernest Meyer, Taunton, Massachusetts, no monograms, l. 11‑1/8”, 5.59 t. oz. [150/300] 1153 Pair of Reed & Barton “Francis I” Sterling Silver Bread Trays, the pattern designed in 1907 by Ernest Meyers, l. 11‑3/4”, w. 7‑1/2”, 28.67 t. oz. [700/1000] 1154 Reed & Barton “Francis I” Sterling Silver Gilt Bread Tray, the pattern designed in 1907 by Ernest Meyers, l. 11‑3/4”, w. 7‑1/2”, 28.67 t. oz. [400/700]

1155

1148 American Sterling Silver Card Receiver, first quarter 20th century, by Black, Starr and Frost, New York City, New York, of square form, the wide rim decorated with rococo scrolls and cartouches on an openwork lattice ground, monogrammed on one cartouche “GIAC”, w. 6‑7/8”, 8.42 t. oz. [400/700] Illustrated 1149 Two Whiting “Louis XV” Sterling Silver Serving Forks, the pattern designed in 1891 by Charles Osborne (1847‑1920), Providence, Rhode Island, including a salad serving fork, monogrammed “R”, l. 9”, and a lettuce fork, monogrammed “B”, l. 9‑1/4”, 3.20 tolal t. oz [75/125]

155

1166

1158 Four American Sterling Silver Dishes, first half 20th century, including an International Silver bread-andbutter plate in the “Lord Saybrook” pattern, dia. 6”, a Hi-Grade Silver Co. bowl with wavy ovolo-embossed rim, monogrammed “R”, dia. 9”, a Whiting Mfg. Co. bowl, date mark 1912, with embossed cornucopia-banded rim, monogrammed “EBL”, dia. 8‑3/4”, and Mauser Mfg. Co. reticulated fruit bowl, dia. 9”, monogrammed “ELB”, 27.76 total t. oz. [400/700] 1159 New Orleans-Retailed Sterling Silver Bowl, fourth quarter 19th century, by the Mauser Mfg. Co., New York City, New York, retailed by Maurice Schooler, New Orleans, Louisiana, of shaped oval form, the wide everted rim decorated with embossed flowers and rococo scrolls, monogrammed at the center “LDL”, l. 14‑1/4”, w. 8‑1/4”, 9.97 t. oz. [200/400]

1155 One Hundred and Eleven Pieces of Gorham “Decor” Sterling Silver Gilt Flatware, the pattern introduced in 1953, Providence, Rhode Island, including, twelve dinner forks, l. 7‑1/8”, twelve salad forks, l. 6‑1/2”, nine seafood/ cocktail forks, l. 9”, eighteen teaspoons, l. 5‑7/8”, twelve demitasse spoons, l. 4‑3/8”, twelve dinner knives with stainless steel “New French”-shaped blades, l. 9‑1/2”, twelve butter spreaders with stainless steel “New French”shaped blades, l. 6‑1/4”, twelve ice cream forks, l. 9‑3/4”, a master butter knife, l. 7”, two serving spoons, l. 8‑1/2”, a slotted serving spoon, l. 8‑1/2”, two serving forks, l. 8”, a serving spade with stainless steel blade, l. 9‑3/4”, a cake break with stainless steel tines, l. 10‑1/2”, sugar tongs, l. 6”, a sugar/condiment spoon, l. 6”, a cream ladle, l. 5”, and a sauce ladle, l. 6‑1/4”, no monograms, 118.90 total t. oz. (excluding pieces with stainless steel elements), along with two gilt-metal, floral-pattern serving pieces, an Italian serving fork and a Japanese cake/pie server, both l. 9‑3/4, all presented in a fitted Pacific cloth-lined beige faux leather case with flexible zippered cover, 3‑1/4” x 21‑1/2” x 12‑3/4”. [113 pieces total plus case.] [7000/10000] Illustrated previous page 1156 Twelve Miscellaneous Pieces of American Sterling Silver Flatware, 20th century, including an International Silver “Elegance” sugar spoon, l. 6‑1/4”, a Concord Silversmiths “Troubadour” salad fork, l. 6‑1/4”, a Gorham “Clematis” mustard spoon, l. 5”, a Gorham “Kensington” mustard spoon, l. 5‑7/8”, a Wood & Hughes “Louvre” master butter knife, l. 7‑1/2”, an International Silver “Simplicity” cream ladle, l. 5‑1/2”, a Lunt “Monticello” butter pick, l. 6‑1/4”, a Gorham “Strasbourg” chocolate spoon, l. 5‑1/2”, a Duhme engraved butter pick, l. 4‑3/4”, an F. A. Durgin sugar shell, l. 5‑7/8”, a Wolfenden infrant feeding spoon, l. 5‑1/2”, and an unmarked enameled bonbon spoon, l. 4‑1/2”, most monogrammed “B”, 9.06 total t. oz. [200/400] 1157 Five Pieces of American Beaded-Edge Sterling Silver Flatware, 20th century, including three Howard Sterling “Hope” dinner forks, engraved “Reis”, l. 7‑3/4”, a Towle “Canterbury” vegetable spoon, monogrammed “L”, l. 8‑3/4”, and an unmarked cake break with stainless steel tines, l. 10‑3/4”, 7.58 total t. oz. (excluding cake break). [150/300]

156

1160 Gorham “Buttercup” Sterling Silver Salad Serving Set, the pattern introduced in 1899, Providence, Rhode Island, including a salad serving fork and spoon, monogrammed “P”, l. 8‑3/4”, 5.21 total t. oz. [100/200] 1161 Nineteen Pieces of International Silver “Frontenac” Sterling Silver Flatware, the pattern designed in 1903 by John Clulee (1865‑1928), Meriden, Connecticut, including two seafood/cocktail forks, l. 5‑1/2”, two flat butter spreaders l. 5‑3/4”, eight dinner knives, l. 9‑3/4” and seven luncheon knives, l. 9”, the knives with “Blunt”shaped plated steel blades, all pieces monogrammed “RMR”, 3.09 total t. oz. (excluding knives). [100/200]

1168

1162 Set of Eight Gorham “Buttercup” Cream Soup Spoons, the pattern introduced in 1899, Providence, Rhode Island, monogrammed “JDL”, l. 5‑1/4”, 5.85 total t. oz. [100/200]

1163 Five Assorted American Sterling Silver Serving Pieces, first quarter 20th century, including a pair of Dominick & Haff “Louis XIV, Old Style” tablespoons, l. 8‑1/4”, a Campbell-Metcalf “Stuart” serving spoon, l. 7‑3/8”, a Rogers, Lunt and Bowlen “Mount Vernon” seafood fork, l. 6”, and a Watson “Martha Washington” cream ladle, l. 5‑3/4”, some pieces with old monograms, 6.94 total t. oz. [75/150] 1164 S. Kirk & Son “Repousse” Sterling Silver Platter Spoon, the pattern introduced in 1828, Baltimore, Maryland, with ovoid bowl, no monograms, l. 12”, 4.44 t. oz. [100/200] 1165 Thirty-Seven Piece Set of Westmorland “George and Martha” Sterling Silver Flatware, the pattern designed in 1900 by Henry Leslie Wallace (1851‑1920), Wallingford, Connecticut, including six dinner forks, l. 7”, six salad forks, l. 6”, six teaspoons, l. 5‑1/8”, four tablespoons, l. 7‑1/8”, six soup spoons, l. 6”, five dinner knives with “New French”-shaped plated steel blades, l. 8‑7/8”, and four butter spreaders with spatulate-shaped plated steel blades, l. 6‑1/8”, no monograms, 34.14 total t. oz. (excluding items with plated steel elements), together with with Five Miscellaneous Sterling Silver Demitasse Spoons, including one Reed & Barton “Devon” pattern, no monogram, l. 4‑1/8” two Gorham/Durgin “Princess Patricia” pattern, monogrammed “R”, l. 4‑1/4”, and two Towle “Lady Mary” pattern, monogrammed “CRJ”, l. 4‑1/4”, 1.47 total t. oz. [42 pieces total; 35.61 weighable t. oz.] The Westmorland Sterling Co. was created in 1940 as a co-operative effort between Wallace Silversmiths and Wearever Aluminum to produce domestic housewares in the face of war-time monopolies on machinery, manpower, distribution centers and raw materials. Wearever developed a direct-to-consumer marketing program, while Wallace manufactured five flatware patterns exclusively for Westmorland. (“George and Martha” is known as “Hampton” when produced under Wallace’s trademark.) Wallace assumed complete control of Westmorland in 1966, reorganizing the marketing program and establishing franchised dealers, a plan which continued until Wallace was bought by the Syratech Corporation in the 1980’s. [800/1200] 1166 American Three-Piece Sterling Silver Coffee Set, third quarter 20th century, by Towle Silversmiths, Newburyport, Massachusetts, including a Persian-style lobed coffeepot, h. 9”, dia. 4‑1/2”, and melon-form open sugar bowl, h. 2‑1/4”, dia. 4-/4”, and cream jug, h. 2‑3/4”, dia. 3‑1/2”, each with a shaped and applied floral rococo scroll rim or band, 25.85 total t. oz. [500/800] Illustrated 1167 American Sterling Silver Fruit Bowl, second quarter 20th century, by A.L. Wagner & Son, New York City, New York, of circular form, with a broad flat rim with reticulated ovolo latticework and molded rim, the center engraved with lozenge-shaped monogram “EBL”, dia. 10”, 8.55 t. oz. [200/400]

1168 Gorham Sterling Silver Water Pitcher, 1911, Providence, Rhode Island, the ovoid body below an integral waisted collar and spout, with applied acanthus scroll rim and crested handle en suite, with lozenge-shaped monogram “EBL” h. 8”, dia. 6”, l. 8‑3/4”, 24.82 t. oz. [500/800] Illustrated 1169 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”. [40/70] 1170 Pair of American Sterling Silver Vegetable Bowls, dated 1912, by the Woodside Sterling Co., New York City, New York, each of oval form with broad, flat rim and molded edge, the center monogrammed “L”, the rim engraved with a presentation inscription “1887‑1912” and “Sept. 7th”, l. 11‑1/2”, w. 8‑3/4”, 26.43 total t. oz. [600/900] 1171 Set of Twelve American Sterling Silver Breadand-Butter Plates, third quarter 20th century, by the International Silver Co., Meriden, Connecticut, each of circular form with reeded rim, the center monogrammed “M”, dia. 5‑1/2”, 22.76 total t. oz. [400/700] 1172 American Sterling Silver Fruit Bowl, first quarter 20th century, by the National Silver Co., New York City, New York, of shallow hemispherical form with molded rim and gilt interior, raised on a conforming ogee-molded foot ring, h. 2‑3/4”, dia. 7‑1/2”, 8.10 t. oz. [150/300] 1173 Thirty-Three Pieces of Towle “Mary Chilton” Sterling Silver Flatware”, the pattern designed in 1912 by Edward Henry Colby (1869-after 1920), Newburyport, Massachusetts, including four dinner forks, l. 7‑1/4”, ten seafood/cocktail forks, l. 5‑7/8”, one teaspoon, l. 5‑7/8”, five soup spoons, l. 5‑1/2”, twelve dinner knives with “Old French”-shaped plated steel blades, l. 9”, and a salad serving spoon, l. 8‑3/4”, all monogrammed, most with “EBL”, 17.23 total t. oz. (excluding knives). [200/400] 1174 Five Pieces of American Colonial Revival Sterling Silver and Silverplate Flatware, 20th century, including sterling silver pieces, a Sterling Silver Mfg. Co. cake server with plated steel blade, l. 9‑7/8” and vegetable spoon, l. 7‑3/4”, a Manchester Silver Co. “Mary Warren” cream ladle, l. 4‑1/2”, a Durgin “Essex” cold meat fork, l. 7‑1/2”, and an unmarked silverplate cake knife, l. 10‑1/4”, most pieces monogrammed, 3.66 t. oz. (excluding cake server and cake knife). [200/400]

157

1178 Charles Wellington Boyle (Louisiana, 1861‑1925) “Catalina Island Landscape”, oil on canvas laid on board, signed lower right “C. W. Boyle”, 12” x 17‑1/2”. Presented in a period giltwood and gesso frame. [800/1200]

1177 detail

1177

1175 Six Pieces of American Sterling Silver Child’s Flatware, 20th century, including a Stieff “Betsy Patterson” child’s fork and spoon, engraved “Jill”, l. 4‑1/2”, a Manchester “Mary Warren” child’s fork and spoon, monogrammed “K”, l. 4‑1/2”, a Gorham “Old Colony” child’s fork, engraved “Jeanne”, l. 4‑1/2”, and a Wallace “Donald Duck” child’s fork, l. 4‑3/4”, 3.85 total t. oz. [75/125]

1179 James Calvert Smith (American, 1878‑1962) “Housatonic Valley, Salisbury”, oil on canvas, signed lower right, titled on reverse of frame, 25” x 38‑3/4”. Presented in a giltwood frame. [800/1200] 1180 Pairpoint Reverse-Painted Scenic Table Lamp, first quarter 20th century, the Exeter shade painted with a scenic landscape and artist signed, “L.H. Gorman”, the underside of base bearing the Pairpoint stamp, h. 21”, dia. 17”. [2500/4000] Illustrated 1181 Interesting Christofle Gilt-Bronze Lamp Base, first quarter 20th century, the pierced-grape and leafdecorated circular bowl receiver (lacking the shade) mounted to a tripodal base with vine decor, the bottom of one foot touchmarked “Christofle 2025843”, h. 23”, dia. 12”. [300/500]

1180

1176 Four Pieces of American Sterling Silver Children’s Flatware, including a child’s fork in International Sterling’s 1927 “Pine Tree” pattern, monogrammed “LAO”, l. 4‑1/4”, a child’s fork in Frank M. Whiting’s ca. 1900 “Puritan” pattern, engraved “Lirly”, l. 4‑1/2”, and a child’s fork and spoon in Gorham’s 1958 “Sea Rose” pattern, both l. 4‑1/2”, 2.25 total t. oz. [75/125] 1177 Tiffany Studios, New York, Bronze Floor Lamp, early 20th century, the five-legged base stamped “Tiffany Studios 423H” and fitted with a later green opalescent ball shade, h. 58” to top of finial. [1000/1500] Illustrated

1180 detail

158

1180 detail

1182 Bronze Patinated Cast-Spelter Figural Lamp, early 20th century, bearing a metal tag “Enfant a la Mouche”, “Par A. de Raniere (Statuarie)”, translated to “child has the fly”, h. 12”, d. 6”, l. 13”. [400/700] 1183 Fin-de-Siecle-Style Five-Light Candelabra, the metal-clad, electrified piece composed of a scantily clad couple holding a trumpet-shaped leaf aloft, the molded standard holding leaf-molded arms fitted with sockets and glass shades in the art nouveau-style, with gold metallic exteriors and silvered interiors, h. 38‑1/4”, w. 16‑1/4”. [500/800]

1186

1184 Art Nouveau Bronze Patinated-Cast Spelter Figural Lamp, early 20th century, depicting a forest nymph wearing a head wreath and carrying a spray of branches fitted with four light sockets and mounted to a circular marble base, h. 31”, w. 15”. [300/500] 1185 American Aesthetic Movement Silver Metal-Mounted Two-Piece Bedroom Suite, fourth quarter 19th century, comprised of a high-back bedstead and a night stand with the impressed brand “Herts Brothers New - York”, the paneled head and foot boards adorned with ribbon, laurel wreaths, swags and beading, fluted posts and foliatecarved capitals, and raised on squat ball-and-claw feet, h. 64”, inside w. 58”, l. 84”, outside w. 66‑1/2”, l. 89‑1/2”; the nightstand with like decor, with a frieze drawer raised on fluted columns, an open shelf and raised on ball-andclaw feet, h. 33”, w. 18”, d. 18”. Herts Brothers, at 806 Broadway at 20th Street, New York City, was a prominent New York cabinetmaking and decorating firm from 1872 to 1908. For further information on the Herts firm, see Art and Enterprise - American Decorative Art, 1825‑1817, the Virginia Carroll Crawford Collection, 1999. Pieces by Herts Brothers are in the collections of the Newark Museum, New Jersey, and the High Museum of Art, Atlanta, Georgia. [1500/2500] Illustrated

1186 American Aesthetic Movement Marquetry-Inlaid Bird’s-Eye Maple and Maple Dressing Bureau, ca. 1875‑1880, the back of the case with the incised stamp “Herter Bros.”, the furniture design, manufacturing and decorating firm led by Christian Herter, New York City, the case with a pair of pedestal ends joined by a shelf fitted with a pair drawers supporting a tall beveled mirror in a fluted frame, the dentillated cornice with ribbon, bellflower and beaded swag inlays, the upper pedestal drawer with like-inlay, h. 83”, w. 76‑3/4”, d. 20‑3/4”. [6000/9000] Illustrated

1185 two-piece suite

159

1189 American Modern Gothic Stenciled Walnut Secretary, attributed to Kimbel and Cabus, New York fourth quarter 19th century, the pyramidal crest with an incised 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”. [2000/4000] Illustrated 1187 1190 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”. [1200/1800]

1189

1188

1187 Benjamin Chambers Brown (American/California, 1865‑1942) “Sunlit California Landscape With Mountains”, oil on panel, signed lower right “Benjamin C. Brown”, 9‑1/4” x 19‑5/8”. Presented in a period carved, polychrome frame. Provenance: Private collelction, Denver, Colorado. [4000/7000] Illustrated 1188 American Modern Gothic Gilt-Incised Burled Walnut and Walnut Folio Stand, fourth quarter 19th century, the paneled and hinged end boards adjusted by a turned knob on a central brace, the whole on a trestle base, h. 46”, w. 26‑1/4”, d. 18”. [2000/4000] Illustrated

160

1193 Tall Cut Glass Footed Compote in the Brilliant Style, the flared rim cut with diamond points, the body decorated with alternating panels of hobstars and triangular cut panels, the foot cut to match, h. 15‑3/4”, dia. 12‑1/2”. [300/500] 1200

1194 American Brilliant Period Cut-Glass Bowl, first quarter 20th century, of unusual tri-cornered shape, the sides cut with hobstars, the bottom with a central hobstar surrounded by cut rays, dia. 11”. [75/125] 1195 Two Pressed-and-Cut Lead Crystal Candy Dishes, the larger, decorated with cut flowers and pressed hobstars, resting on scroll feet, h. 9”, dia. 6”, the smaller decorated with frosted bands ornamented with cut swags framed in gold-leaf, h. 6”, dia. 4‑3/4”. [75/125] 1196 A Set of Twenty-One Colorless Pattern Glass Stems in pineapple decor, comprised of ten champagne/sorbet stems, h. 5”, and eleven cordials, h.4‑1/2. [100/200]

1191 Two Interesting American Folk Art Inlaid Woodenware Items, late 19th century, the first item a box featuring inlaid “Shaking Hands” on the lid along with multiple starts and diamond borders, the interior with a removable fitted tray, h. 8”, w. 11”, d. 8”, the second item, a cribbage board with inlaid stars and alternating mixed woods border, the backside with a sliding compartment for the game pegs, w. 5”, l. 17”. [250/400]

1192

1192 Pair of Cut-Glass Presentation Horns with Silver Plate Mounts, the glass horns cut in the style of American Brilliant Period cut-glass, incorporating hobstars, the filigree mounts with sapphire-colored cabochons in the Middle Eastern taste, the inscription appears to be Middle Eastern, w. 22”. [1000/1500] Illustrated

1197

1197 Victorian Mahogany Banquet Table, fourth quarter 19th century, in the Aesthetic taste, the rectilinear top opening in the center and extending via a crank worm drive system to accommodate three leaves, the top extending over an apron with a lower reeded molding, raised on four generous turned-and line-incised legs with ebonized accents, h. 29”, w. 54”, l. 61‑3/4”, extended l. 121‑1/2”. [1200/1800] Illustrated 1198 Old Limoges Partial Breakfast Set, third quarter 19th century, consisting of a cafe au lait cup, h. 3‑1/2”, a pair of shaped cake plates, dia. 10‑1/4”, a compote, h. 4‑5/8”, dia. 7‑7/8”, and six small plates, dia. 7‑3/8”, all decorated with a gilt-fret on a peach border. Provenance: The Estate of Tamara de Lempicka (1898‑1980). [50/80]

161

1199 American Aesthetic Movement Mahogany Center Table, fourth quarter 19th century, in the Moorish taste, the octagonal top with a perimeter ring of foliate carving, the apron with alternating carved-and stick-and-ball panels, each over a Moorish arch, the spiral-reeded and incised legs joined by a stretcher centered by a stickand-ball panel, crafted to appeal to the late 19th-century fascination with exotic forms, h. 28‑1/2”, w. 32”, d. 32”. L. C. Tiffany employed a somewhat similar lacquer-painted table in the George Kemp house. [400/700] 1200 Mason and Hamlin, Boston, Mahogany Grand Piano, 1902, Model A, the cast-iron inner frame marked “Mason & Hamlin, Continuous Bent Rim Duplex Scale Cap D’astro Bar”, h. 40”, w. 58”, l. 75”. [1500/2500] Illustrated previous page 1201 American Eastlake Victorian Walnut Mantle Mirror, fourth quarter 19th century, the incised carved crest above a molded cornice and the outer frame with applied panels and line-carved details, h. 70”, w. 53”. [400/700] 1202 Circle of Edward Henry Potthast (American, 1857‑1927) “Summer Beach Scene”, oil on panel, unsigned, 10‑3/4” x 13”. Presented in a handsome polychrome and stenciled contemporary frame. [1200/1800] Illustrated

1205

162

1202 1203 After Harry Roseland (American, 1868‑1950) “Boiling the Water”, oil on canvas, second quarter 20th century, 21” x 30”. Framed. [400/700] 1204 American School (Fourth Quarter 19th Century) “Shoe Shine Boy”, oil on canvas, signed and dated lower left “A.J. Rahl 1891”. Framed. [125/250]

1205 detail

1205 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 spoon-carved 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 spoon-carved 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. [2500/4000] Illustrated

1206 detail

1206

1206 detail 1206 Tiffany Studios, New York, Leaded Glass and Bronze Floor Lamp, early 20th century, the “Rose” pattern shade in green-and-pink stained glass and of “Roman Helmet” form, mounted to a classical-style bronze base with three sockets, presented in a brown/green patina, the shade impressed “Tiffany Studios” and “New York” on separate tabs, the side edge of the lamp base impressed “Tiffany Studios, New York, 5479”, h. 65”, to top of finial, dia. 24‑3/4”. [6000/9000] Illustrated

1207

1207 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”. [2000/4000] Illustrated 1208 American Turkish Revival Walnut Arm Chair, second half 19th century, the tufted back with steel frame, with generously padded scroll arms, ruched apron and ring-turned legs, h. 41”, w. 37”, d. 25”. [300/500] 1209 American Late Victorian Oak Library Chair of Sling Form, fourth quarter 19th century, the back with an upholstered neck roll, downswept arms and raised on turned and reeded legs of Sheraton form, h. 38”, w. 25”, d. 25”. [200/400]

163

1215 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 thirtysix 17” disks, music box, h. 13‑1/2”, w. 29‑1/2”, d. 22”, cabinet, h. 28”, w. 31”, d. 24”. [2500/4000] 1216 Neoclassical-Style Marble Pedestal, late 19th century, of columnar form, the revolving square breche du benou jaune marble top raised on an ormolu-mounted ionic standard to a stepped socle base, h. 37‑1/2”, w. 15‑1/4”, d. 15‑1/4”. [600/900]

1212 1210 American Eastlake Victorian Mahogany Armoire, fourth quarter 19th century, the complex-molded cornice above an in-curved and incised carved frieze, having a pair of beveled mirror doors with columns at the outer edges, the base fitted with a pair of drawers, the interior finished in vibrant birds'-eye-maple, h. 100”, w. 67”, d. 28”. [700/1000]

1214 two-piece suite

1211 Philadelphia Giltwood Frame first quarter 19th century, the cove-molded frame with acorn drops in the upper corners and spherules in the lower corner, the coves set with molded strips decorated with grapes and grape leaves, the inside edge decorated with molded leaves and crosshatching, the frame retains a brightly burnished original gold leaf finish, designed to hold a 18‑3/4” x 22‑1/2” painting, h. 28‑1/4”, w. 24‑1/4”. [500/800] 1212 Boyer Gonzales (American/Texas, 1864‑1934) “Snow Covered Wooded Landscape”, oil on canvas, signed lower left “Boyer Gonzales”, 10‑5/8” x 14”. Presented in a molded giltwood and gesso frame. [3000/5000] Illustrated 1213 Selena Allen (American, 1861‑1945) “Looking Out to Stormy Sea”, oil on canvas, signed lower right “S. Allen”, 14” x 20”. Presented in a giltwood and gesso frame. [300/500] 1214 Continental Neo-Renaissance Two-Piece Bedroom Suite, fourth quarter 19th century, the armoire of triple section form, the dentillated and carved cornice over a projecting center section, each door fitted with a mirror plate, the central door flanked by carved Atlantes over a foliate and floral bracket, h. 101‑1/2”, w. 105”, d. 29‑1/2”, the bed comprised of a pair of narrow beds joined by panels to approximate king-size, the headboards each with a carved and dentillated cornice over carved masks of children, and centered by an urncarved panel, the footboards similarly modeled with a carved standing putti in each panel, h. 62”, inside l. 80”, inside w. 76”, outside l. 82”, outside w. 88”. [3000/5000] Illustrated

164

1214 two-piece suite

1218

1217 NeoclassicalStyle Marble Pedestal, late 19th century, of columnar form, the rouge de Verone marble thick square top raised on an ormolu-mounted ionic standard to a stepped square base on ormolu square feet, h. 45”, w. 11‑1/2”, d. 11‑1/2”. [400/700]

1218 Carved Alabaster Table Lamp of Classical Style, early 20th century, the mushroom-form shade with reliefcarved motifs of griffins and foliate scrolls, and mounted to a columnar base with lion masks, acanthine borders and floral swags, h. 26”, dia. 14”. [2000/4000] Illustrated

1220 Pair of Art Nouveau Czechoslovakian Vases, first quarter 20th century, made by Royal Dux and marked with a pink triangle pad mark, “Royal Dux Bohemia”, the buff colored body, molded in swirling art nouveau fashion, decorated with relief-molded hanging fruit and leaves in green and brown, with like decoration on the base as feet, gilt handles, h. 18‑3/4”. [250/400] 1221 Large American Late Victorian Mahogany Banquet Table, fourth quarter 19th century, the thick top with molded edge and shaped apron mounted to a split pedestal with four outstretched legs ending in carved paw feet, accompanied by five 24” leaves with skirted aprons, h. 29”, d. 60”, l. 60”, ext. l. 180”. [5000/8000] Illustrated 1222 Edmondo Pizzella (Italian/American, 1868‑1941) “Portrait of a Boy Wearing a Shirt With a Sailor Collar”, pastel on paper, signed lower right “E. Pizzella”, sight 30” x 24”. Glazed and presented in a stunning Louis XVI-style giltwood and gesso oval frame. [500/800] 1223 Edmondo Pizzella (Italian/American, 1868‑1941) “Portrait of a Woman in a Lavender Dress”, pastel on paper, signed lower right “E. Pizzella”, sight 30” x 24”. Glazed and presented in a stunning Louis XVI-style giltwood and gesso oval frame. [500/800]

1219 Large Ansonia, New York, Onyx and GiltBronze Mounted Mantel Clock of Temple Form, ca. 1900, the face featuring an open escapement with a ribbon draped bower and sleeping child, h. 17‑1/2”, w. 20‑1/2”, d. 8”. [1000/1500]

1221

165

1224 Alexander John Drysdale (American/Louisiana, 1870‑1934) “Bayou Landscape With a Pirogue”, oil wash on board, signed and dated lower right “AJ Drysdale SNA, 1932”, sight 11‑1/2” x 15‑1/2”. Glazed and framed. [1500/2500] Illustrated

1231

1225 William Ousley (American/Louisiana, 1866‑1953) “The Old Ferry Road, Westlake, Louisiana”, oil on canvas, signed lower right “W. Ousley”, inscribed on the reverse canvas with the painting title, 16” x 35‑1/2”. Presented in a molded gilt-painted frame. [600/900] 1226 George David Coulon (American/Lousiana, 1823‑1904) “European Winter Landscape”, oil on panel, signed and dated lower right “G. D. Coulon, 1878”, 9‑5/8” x 13‑7/8”. Framed. [400/700] 1227 Frederick 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. [300/500] 1228 American Aesthetic Movement Mahogany Captains Desk, in the Anglo-Japanesque Taste, fourth quarter 19th century, the upper structure with a turned brass spindled gallery above a central beveled mirror flanked by side shelves and pierced railings, the fold-open writing surface with a floral-carved panel, each end fitted with two drawers, h. 56‑1/2”, w. 31‑1/2”, d. 19‑1/2”. [800/1200] 1229 Late Classical-Style Mahogany Flatware Chest on Stand, early 20th century, the case fitted with three long drawers and mounted to a table-form vase with carved legs and stretchers, h. 37‑1/2”, w. 38‑1/2”, d. 19‑1/2”. [500/800]

1230 Interesting Wrought-Iron and Sheet-Metal Fire Fender Bench of Craftsman Style, early 20th century, the curved seat with burgundy velvet upholstery and trimmed with tassels, over a decorated frame featuring a leaping stag, toadstools, a figure of pan playing a horn and foliate vines, h. 18”, d. 19”, l. 52”. [300/500] 1231 Augusta Christine Fells Savage (American, 1892‑1962) “Gamin”, patinated plaster, incised “Savage” on the reverse, titled along the lower recto edge, h. 9”, w. 5‑1/2”. d. 4”. Provenance: Private collection, California. [10000/15000] Illustrated 1232 Collection of Six Native American Artifacts, including five arrowheads, l. 1‑3/4” to 2‑3/4”, and a scraping tool with hide-bound wood handle, l. 3‑1/4”. [75/150]

1224

166

1235 Heinie Hartwig (American/California, b. 1937) “Late In the Day”, oil on board, signed lower right, titled on the reverse, 6” x 8”. Handsomely framed. [300/500] 1236 Heinie Hartwig (American/California, b. 1937) “Western Sky”, oil on board, signed lower left, titled on the reverse, 9” x 12”. Handsomely framed. [400/700] 1237 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 1238 Charles Killgore (American/California, 1889‑1979) “The Doctor’s House, Taxco”, oil on board, signed lower right “Charles Killgore”, titled on the reverse pen-inscribed label, 16” x 20”. Presented in a period giltwood frame. Provenance: Private collection, Missouri. [1500/2500] Illustrated 1237 1233 Large Santa Clara Blackware Two-Handle Pottery Jar, mid‑20th century, by Lorencita Naranjo Tafoya (1899‑1987), the upper half with black-on-black decoration of rain clouds and lightning bolts, signed sgrafito on the bottom “Lorencita Naranjo, Santa Clara, Pueblo”, h. 15”, dia. 9”. Lorencita Naranjo was born on the Santa Clara pueblo on May 25, 1899, the daughter of Valentine Naranjo (1875-by 1930) and Nestora Gutierrez (1879‑1980). She was presumably taught the craft of pottery from her mother, an accomplished potter (best known as Nestora Gutierrez Silva, after her second husband Adam Silva, whom she married after Lorencita’s father’s death.) Lorencita married first Epifiano Tafoya (1880‑1924) and second, after his death, his brother Margarito Tafoya (1888‑1980); they were the sons of Manuel Tafoya and Maria Deluvina Naranjo, and related to the great Margaret Tafoya (1901‑2001), acknowledged as the matriarch and best of the Santa Clara potters. It was in this great extended family of women artists that Lorencita flourished, enjoying a near fifty-year career spanning from the 1920’s through the 1970’s. She was a favorite subject of pueblo photographer T. Harmon Parkhurst, whose portraits capture a shy beauty (in sharp contrast with Parkhurst’s bold and iconic images of her mother, Nestora, another favorite subject.) Lorencita died on December 16, 1987. Her works can be found in the Museum of Indian Arts and Cultures, Santa Fe, New Mexico and the Lowell D. Holmes Museum of Anthropology at Wichita State University. [200/400]

1239 Jack Levine (American/New York, b. 1915) “Warsaw Ghetto”, 1969, lithograph on B. F. K. Rives paper, pencil signed lower right “J. Levine”, numbered lower left “54/120”, inscribed in the plate lower center “To an Unknown German Photographer at the Warsaw Ghetto”, printed by Atelier Mourlot, New York, sight 19‑1/2” x 26”. Glazed, matted and framed. Levine saw a photograph in a magazine of fugitives pushed along by German soldiers as they fled their burning homes. Levine gave credit to the unknown photographer whose work inspired this print. Reference: Kenneth W. Prescott and Emma-Stina Prescott, The Complete Graphic Works of Jack Levine, Dover Publications, Inc., New York, 1984. [200/400]

1234 Santa Clara Pueblo Carved Blackware Pottery Cup, 20th century, the cylindrical body with carved wind and cloud designs, faintly signed in sgraffito on the underside “Santa Clara Pueblo”, h. 3‑1/4”, dia. 3”. [50/100]

1238

167

1240 Jack Levine (American/New York, 1915‑2010) “Studies of Figures”, etching, pencil signed lower right “J. Levine”, numbered in pencil lower left “70/100”, plate size 4‑3/4” x 6‑3/4”. Glazed, matted and framed. [100/200] 1241 Raphael Soyer (American/New York, 1899‑1987) “Mother and Child”, black and white lithograph, inscribed in print "Are you not as the children of the Ethiopians unto me, O children of Israel”, pencil signed lower right, numbered lower left “35/125”, reverse with a Philips de Pury & Company label, sheet size 30” x 22”. Glazed and mounted for hanging. [300/500]

1251 1242 Louis Macouillard (American, 1913‑1987) “California Street Cable Railroad Company”, black and white print, signed in plate “L. Macouillard”, sheet size 9‑3/4” x 12‑7/8”. [200/400] 1243 James Rosenquist (American, b. 1933) poster for “The New Gallery” 1975 exhibition, Cincinnati, Ohio, pencil signed and dated lower right “Rosenquist 1975”, numbered in pencil lower left “65/100”, sheet size 20” x 28”. Partially mounted on linen background and presented in a silvered frame. [400/700] 1244 Eugenie Gershoy (American/New York, 1901‑1983) “New Orleans”, 1941, ink on paper, pencil signed and dated lower right “Eugenie Gershoy 1941”, sight 8‑3/4” x 11‑3/4”. Glazed, matted and framed. [150/300] 1249

1245 Eugenie Gershoy (American/New York, 1901‑1983) “On the Levee, New Orleans”, 1941, ink drawing on paper, pencil signed and dated lower right “Eugenie Gershoy 1941”, 8‑3/4” x 11‑3/4”. Glazed, matted and framed. [150/300] 1246 Edward Giobbi (American, b. 1926) “Nude Study”, graphite on paper, inscribed illegibly lower right, signed and dated lower right “Giobbi 57”, sight 10‑1/2” x 7‑1/2”. Glazed, matted and framed. [150/300] 1247 Howard Simon (American, 1902‑1979) “Portrait of a Woman”, graphite on paper, pencil inscribed lower left “Howard Simon, Memphis 1933”, sight 11‑1/2” x 7‑1/2”. Glazed, matted and framed. [300/500] 1248 Henry Martin Gasser (American/New Jersey, 1909‑1981) “Vessel in a Boatyard”, watercolor on paper, signed lower left “H. Gasser”, sight 14” x 20”. Glazed, matted and presented in a giltwood frame. [600/900]

1255

168

1249 Reginald Marsh (American/New York, 1898‑1954) “Industrial Landscape”, ink wash on paper, signed in pencil lower left “Reginald Marsh”, sight 8” x 6”. Glazed, matted and framed. [1500/2500] Illustrated 1250 Huger Foote (American, b. 1961) “Untitled”, limited edition c-print, signed lower right “Huger Foote”, numbered lower left “2/10”, sight 14‑1/2” x 20‑1/2”. Glazed, matted and framed. [300/500] 1251 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. [1200/1800] Illustrated 1252 David Hagerbaumer (American/California, b. 1921) “Mallards in Flight”, watercolor on paper, signed and dated lower left “David Hagerbaumer 1958”, sight 14” x 18”. Glazed, matted and framed. [600/900] 1253 Herb Booth (American/Texas, b. 1942) “Mallards in Flight”, watercolor on paper, signed lower right “Herb Booth”, sight 7” x 10‑3/8”. Glazed, linen-matted and presented in parcel-gilt stained wood frame. [700/1000] 1254 Canadian School (Fourth Quarter 19th Century) “Geese Hunting at Moonlight”, oil on canvas, signed lower left “Foster”, 14” x 20”. Presented in a period giltwood and gesso frame. [500/800] 1255 Attributed to Arthur Fitzwilliam Tait (American, 1819‑1905) “Setters in a Landscape”, oil on panel, 8 “ x 11”, signed lower left AF Tait”. Presented in a period giltwood frame. [2000/4000] Illustrated 1256 Louisiana School (20th Century) “Bayou Landscape”, gouache on paper, signed lower left “D. Marino”, sight 15” x 25”. Glazed, matted and framed. [100/200] 1257 Janice R. Sachse (American/Louisiana, 1908‑1998) “Bouquet of Zinnias”, oil on board, signed and dated lower right “JR Sachs ‘63”, 25‑1/2” x 25”. Framed. [100/200] 1258 American School (Third Quarter 20th Century) “Autumnal River Landscape”, oil on canvas, signed lower right “Reynolds”, 40” x 50”. Framed. [200/400] 1259 Charles Henry Reinike (American/Louisiana, 1906‑1983) “Nude”, mixed media on board, signed lower right “Chas. H. Reinike”, 25” x 31”. Framed. [700/1000]

1263

1260 New Orleans Carnival Krewe of Phunny Phorty Phellows Ball Invitation, from Tuesday, Feb. 6, 1883, the 6th Representation celebrated at the St. Charles Theater where four tableaux selected from “Visions of the Stage” were performed, the rectangular fold-out invitation of Aesthetic design, sight 11” x 17‑5/8”. Glazed, matted and framed. [600/900] 1261 John McCrady (American/Louisiana, 1911‑1968) “Carnival in New Orleans”, lithograph, pencil signed lower right, titled in pencil lower left, sight 9” x 13”. Glazed, matted and presented in a silvered frame. [800/1200] 1262 Louisiana School (20th Century) “Mardi Gras Day”, oil on canvas, unsigned, 32” x 26”. Presented in a giltwood and gesso frame. [300/500] 1263 Xavier De Callatay (American/Louisiana, 1932‑1999) “Bacchus Parade” oil on canvas laid on board, signed and dated lower left “Xavier ‘73”, 98” x 78”. Framed. Provenance: Private collection, New Orleans, Louisiana. [1500/2500] Illustrated

169

1266 George Rodrigue (American/Louisiana, b. 1944) “Untitled Blue Dog”, oil and acrylic on canvas board, signed lower left “Rodrigue”, sight 13‑1/2” x 10‑1/2”. Presented in an ebonized and parcel-gilt frame. [6000/9000] Illustrated 1267 George Rodrigue (American/Louisiana, b. 1944) “Dog & Hog to Go”, acrylic on canvas, signed lower right “Rodrigue”, signed and titled stretcher verso, 20” x 24”. Presented in a molded giltwood frame. [15000/25000] Illustrated

1264 1264 Noel Rockmore (American/Louisiana, 1928‑1995) “De De Pierce On the Trumpet”, oil on board, signed upper left “Rockmore”, sight 11” x 18‑3/4”. Presented in a giltwood frame with a linen liner. [2000/4000] Illustrated

1265

1266

1265 Noel Rockmore (American/Louisiana, 1928‑1995) “Louis Nelson On the Trombone”, oil on board, signed and dated lower left “Rockmore ‘63”, sight 11” x 18‑3/4”. Presented in a giltwood frame with a linen liner. [2000/4000] Illustrated

1267

170

1268 George Rodrigue (American/ Louisiana, b. 1944) “Peeling Crawfish at Pierre Part”, oil on canvas, signed lower left and on the reverse “Rodrigue”, titled on the stretcher, 18” x 24”. Presented in a molded giltwood frame. [8000/12000] Illustrated

1268

1269 George Rodrigue (American/Louisiana, b. 1944) “Wedding in Rosa, Louisiana”, 1982, oil on canvas, signed lower left “Rodrigue”, signed verso canvas, frame affixed with a “George Rodrigue Gallery” label, 36” x 24”. Presented in a molded hardwood frame with a linen liner. Provenance: Alex Chachere, Opelousas, Louisiana. [18000/25000] Illustrated

1269

171

1270 Hunt Slonem (American, b. 1951) “Sulphurs, Albania”, oil on canvas, signed titled and dated “2006” on the reverse canvas, 20” x 16”. Presented in a silvered frame. [3000/5000] Illustrated

1271

1270

1274 Louisiana School (20th Century) “Untitled Abstract”, oil on canvas, signed lower left “M. Conners”, inscribed verso canvas “Matt Conners, Louisiana Abstract Impressionist”, 7‑1/2” x 9‑1/2”. Presented in a gilt shadowbox frame. [200/400]

1271 Hunt Slonem (American, b. 1951) “Conures”, oil on board, signed, titled and dated “2005” on the reverse, 16‑5/8” x 13‑5/8”. Presented in a vintage giltwood and gesso frame. [2500/4000] Illustrated 1272 George Bauer Dunbar (American/Louisiana, b. 1927) “Kitchen Still Life” mixed media on board, signed “Dunbar”, 18” x 23”. Unframed. [1000/1500] Illustrated 1273 Karen Stastny (American/Louisiana, Contemporary) “Untitled Abstract”, oil on canvas, signed and dated lower right ‘Karen Stastny ‘96”, 48” x 60”. Unframed. [1500/2500] Illustrated

1272

172

1275 Allen Wolf (American/New York, 1925‑2011) “Untitled Abstract”, oil on canvas, signed lower left, 10” x 7‑1/2”. Framed. [100/200]

1276 detail

1276

1276 Doyle Gertjejansen (American/active New Orleans, b. 1948) “Not Ones & Zeros”, 2000, dyptich, acrylic on canvas mounted on panel, 90” x 90”, signed, dated and titled on the reverse. Unframed. [5000/8000] Illustrated

1277 1277 Richard Johnson (American/Louisiana, b. 1942) “CAT 4”, 1985, acrylic on canvas, 48” x 52”, initialed and dated lower right, titled, signed and dated en verso, retains gallery label en verso “Galerie Simonne Stern, 518 Julia Street, New Orleans, Louisiana”. Presented in a blackpainted wood frame. [3000/5000] Illustrated 1273

173

1278 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997) “Synthesis”, mixed media on canvas, signed and dated lower right “1983 Kohlmeyer”, 38” x 65”. Framed. [12000/18000] Illustrated

1278

1280 1279 Charles Malcolm Campbell (American, 1905‑1985) “Untitled Nude”, oil on canvas, signed lower right “Charles Campbell”, 28” x 37”. Presented in a carved hardwood frame. [1000/1500] 1280 Charles Malcolm Campbell (American, 1905‑1985) “Dreamer Adrift”, oil on canvas, initialed and dated lower left ‘CC ‘45”, titled on the reverse artist inventory label, 28” x 36”. Presented in a carved hardwood frame. [1000/1500] Illustrated 1281

174

1282 1284

1286

1283

1284 Fine Chinese Famille Rose Handled Bottle Vase, Republic Period (1908‑1949), the bulbous body with an elegant slightly flared neck with two shaped handles, the body finely decorated with a gathering of the Eight Immortals and an attendant in a fenced garden between borders of ruyi heads and lappets, the neck decorated with lotus flowers and scrolling foliage against a yellow ground, the base with a six-character Qianlong seal in underglaze blue on a turquoise field, h. 7‑3/8”. [500/800] Illustrated

1285

1281 Charles Malcolm Campbell (American, 1905‑1985) “Untitled”, oil on canvas, initialed and dated lower right “CC ‘45”, reverse with the artist inventory label, 36” x 28”. Presented in a carved hardwood frame. Charles Campbell, a native of Ohio, was a prolific artist whose career spanned from the years of the Depression era, through the time of his death in 1985. He created not only easel paintings, but murals, sculpture and metalwork. His paintings are fantastical and humorous, make strong social statements by using bold, vibrant colors reminiscent of El Greco. Speaking of his work, Campbell said that his aim was to “Express my vision of the world in the purest possible terms”. His work has won him many accolades and is in the permanent collections of Cleveland Museum and Whitney Museum of Art. [1400/1800] Illustrated 1282 Fine Chinese Famille Rose and Kinrande Porcelain Bottle Vase, Republic Period (1908‑1949), the oval bulbous body with elegant tubular neck and flared lip rim, the ground glazed in iron-red with delicate gilt decoration of lotus blossoms, plantain leaves and bats with a keyfret border at the base, the body divided into four slightly raised reserve panels each finely enameled with scenes of flowering branches with birds and insects against a white ground, the base with a six-character Qianlong seal mark in underglaze blue, h. 9”. [800/1200] Illustrated 1283 Fine Chinese Famille Rose Tea Bowl, Republic Period (1908‑1949), glazed on the interior with a fruiting branch of pomegranates and three bats, the exterior decorated with a pomegranate tree growing out of rockwork with lingchih and two bats, the base with a six-character Qianlong seal in iron-red, dia. 4‑7/8”. [400/700] Illustrated

1285 Fine Chinese Famille Rose Porcelain Rice Bowl, Yongzheng mark (1723‑1725) and possibly of the period, the interior plain, the exterior finely decorated in famille rose enamels depicting pomegranates, begonias and ling-chih with weathered rockwork, the base with a sixcharacter Yongzheng reign mark within a double circle in underglaze blue, dia. 4‑3/4”. [400/700] Illustrated 1286 Good Chinese Famille Rose Porcelain Sgraffito Rice Bowl, Republic Period (1908‑1949), the interior with a multi-armed medallion, the exterior decorated with four circular reserve medallions with landscape decoration against a red sgraffito ground with floral decoration, the base with a six-character Daoguang seal mark in underglaze blue, dia. 5‑7/8”. [500/800] Illustrated 1287 Pair of Japanese Glazed Bottle Vases, now mounted and wired as lamps, each with a bulbous body and elongated tubular neck, enameled in polychrome enamels and gilding in a Mille Fleur style decoration, h. 31‑3/4”. [300/500]

175

1288

1288 Fine and Rare Japanese Shibayama Presentation Tsuba, second half 19th century, of Mokko shape with gold lacquer ground, decorated with finely carved applique, the face decorated with a charming scene of figures in baskets being lowered down the face of a cliff gathering herbs, the cliff face in speckled gold lacquer and having applique of flowering plants and bamboo, the reverse decorated with a sparrow and flowering plants against a plain gold lacquer ground including white wisteria, peonies, foliage and vines and having an artist’s seal in red lacquer with two engraved characters, h. 4‑1/2”, w. 3‑3/4”. [7000/10000] Illustrated

1289

1288

1289 Elaborate Chinese “Mirror Black” Decorated Meiping Vase, 18th century, the vase with broad shoulder, narrow foot and low relief molding at the base of rockwork and cresting waves, the body glazed in intense black with gold painted decoration of three Imperial dragons among clouds, one dragon portrayed face front and two pursuing the Flaming Pearl, the shoulder decorated with borders of ruyi heads and leaves enclosing geometric designs, the gold painted base with a six-character Qianlong seal mark, the decoration executed in minute and precise detail, h. 10‑3/4”. [600/900] Illustrated 1290 Good Chinese Molded Ink Stick, 18th/19th century, the black ink stick of shaped ovate outline decorated on one side with a dragon among clouds and a three-character Jiaqing inscription, the reverse decorated with a dragon and gihin, gilt highlights, box, l. 10‑3/4”. [600/900] 1291 Chinese Shaped and Polished Jasper Specimen, of flattened ovate form with truncated base, the variegated stone exhibiting black, brown, ochre and rose colors, presented on a fitted wooden stand, h. 10‑1/4”, w. 8”. [100/200] 1292 Fine Chinese Carved Zitan Figure of the Bodhisattva 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”. [1000/1500] 1293 Large, Impressive Chinese Rosewood, Hardstone and Painted Floor Screen, 19th century, the plaque decorated on the face with antiques and a thirty-four character poem in applique of jade, agate, coral, glass and wood, the reverse with a painted lakescape scene, the plaque in a floor stand and decorated with hardstone applique, h. 63‑1/2”, w. 39”. [20000/40000] Illustrated

176

1298 Good Chinese Bronze Altar Food Vessel and Cover (DOU), Qianlong mark and period (1736‑1795), the circular bowl raised on a flared base cast with archaic style decoration and having a conforming domed cover with twisted loop handles, the base with a cast six-character Qianlong reign mark in a line on the foot, the interior of the domed cover with a cast six-character Qianlong seal, the interior of the base with a pasted paper label with calligraphy, h. 10”, dia. 6‑1/4”. [2000/4000] Illustrated following page

1293 1294 Fine Chinese Embellished Zitan Brush Pot, 20th century, of circular outline with slightly bowed walls and inset base, the exterior with embellished decoration of an exotic bird among flowering plants made of wood, jade, mother-of-pearl and colored agates, well carved with elegant applique, h. 7”. [1800/2500] Illustrated

1293 verso

1294

1295 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”. [400/700] 1296 Fine Small Chinese Carved Zitan Vase, first half 20th century, of squared outline with tapering bulbous sides each separated by an incised rib, with straight sides and resting on four feet, h. 2‑5/8”. [125/250] 1297 Good Chinese Carved Zitan Brush Washer, first half 20th century, carved in outline in the form of a peach with the figure of a horned lizard crawling up the cleft of the peach, the central well hollowed with in-curving sides and lip rim, l. 4‑1/2”. [250/400]

177

1298

1300

1302

1299

1300 Fine and Rare Chinese Zitan, Ivory and Boxwood Book Box, Qianlong reign (1736‑1795), the rectangular form box with side cover decorated on the sides with scrollwork bands, the cover inset with a central boxwood plaque reading “Emperor’s handwriting for Shi Quan Ji” and flanked by two boxwood inset figures of five-clawed dragons in low relief, carved zitan clouds above cresting waves all within a keyfret border, the interior of the cover inlaid in ivory with the symbol Qian, the first symbol of the Eight Trigrams of the Yi Jing, which the Qianlong emperor adopted as his personal symbol, the base of the box engraved with four seal characters reading “Imperially made by Qianlong Emperor”, h. 3‑3/4”, w. 6‑1/2”, l. 10‑5/8”. [5000/8000] Illustrated

1301

1301 Fine Pair of Chinese Zitan and Ivory Scroll Weights, 19th century, each of rectangular form with inlaid ivory characters, the large characters are a poem, the small characters and seal of the eleventh Imperial prince, Yong Xin (1752‑1823), whose calligraphy was much admired in the Qing dynasty, l. 10‑1/8”. [1400/1800] Illustrated

1300

1299 Chinese Carved Zitan Calligraphy Brush Pot, 19th century, of circular outline with thick side walls, the exterior incised with a continuous calligraphic poem and a single large character, each character in-filled with faded red color, h. 5‑1/4”. [900/1200] Illustrated 1303

178

1308 1310 1309

1312 1307

1313

1311

1302 Elaborate Chinese Cow Hair Zitan and Shou Shan Stone Applique Brush Pot, 19th century, the circular, tubular zitan body with fine, intricate Shou Shan applique of two exotic birds perched on rockwork and in a flowering magnolia tree with beautiful lilies and ling-chih at the base, the reverse with a ten-character poem and two seals in ivory applique describing the scene on the front, h. 7‑1/4”, dia. 6‑3/4”. [2500/4000] Illustrated

1303 Dramatic Chinese Zitan and Boxwood Covered Box, 19th century, the cover carved in low relief as clouds above cresting waves with a central inlaid boxwood figure of a Mingstyle Imperial dragon with scaled sinuous body, two horns, flared mane and feathered tail, the sides carved in low relief with archaic style dragons with bifurcated tails among stylized scrolling foliage, h. 5‑3/4”, d. 12”, l. 17”. [3500/5000] Illustrated

1304 Chinese Carved Horn Model of an Archaic Gu Vase, the rich brown horn carved as a flattened vase with widely flared lip rim, the base and mid-section carved with archaic designs, the neck and bowl carved with vertical ribs, h. 9‑7/8”. [1200/1800] Illustrated 1305 Chinese Peachbloom Glazed Beehive Water Coupe, 19th century, the domed body with small mouth and slightly everted lip rim, glazed all over in a rich, even “peachbloom” glaze thinning to white at the lip rim, the base with a six-character Kangxi reign mark in underglaze blue, Ming-style wooden stand, h. 3‑1/2”, dia. 4‑3/4”. [500/800] 1306 Good Chinese Oxblood Glazed Porcelain Vase, 19th century, of Yen-Yen shape, glazed in a rich Lang glaze thinning to white at the lip rim and stopping evenly short of the foot, the base with a double circle in underglaze blue, h. 13‑7/8”. [400/700]

1304

1307 Fine Pair of Chinese “Chicken Fat” Yellow Glass Vases, 19th century, each of pear shape with globular bodies, tubular necks and flared lip rims, the glass of even egg yolk yellow color, also known as Imperial yellow, wooden display stands, h. 4”, excluding stands. [900/1200] Illustrated 1308 Unusual Chinese Overlay Glass Bottle Vase, 19th century, the globular body and elongated neck in pale amber colored glass with flecked silver leaf inclusions overlaid in cobalt blue colored glass, the overlay carved in relief as the Eight Immortal Treasures on the body, pendant plantain leaves on the neck and a Qianlong seal mark on the base, h. 9‑7/8”. [300/500] Illustrated

179

1323 1311 Chinese Overlay Glass Rice Bowl, 19th century, of conventional form, the body in yellow glass with included spots of color, the body overlaid in red glass carved in relief with goldfish and ducks swimming in a pond, the lip rim and foot rim with a red glass border and the base with a Qianlong seal in red glass, carved wooden display stand, h. 1‑7/8”, dia. 4‑3/4”. [200/400] Illustrated previous page

1319

1312 Fine Pair of Chinese Cobalt Blue Glass Vases, 19th century, each of pear shape with wide bodies narrowing to small mouths, the thinly fashioned glass of even, rich cobalt color and having indented bases, h. 6‑5/8”. [500/800] Illustrated previous page 1313 Pair of Chinese Gold-Flecked Glass Bowls, 19th century, each of flared conical shape with circular foot rims, the bodies in golden amber color with included flakes of gold leaf, possibly offering bowls for an ancestral altar, h. 2‑3/8”, dia. 5‑1/2”. [300/500] Illustrated previous page 1314 Rare and Unusual Japanese Two-Color Lacquer Box, ca. 1890, in the Art Nouveau style, the red lacquer base overlaid in black, the cover with confronting trees, the sides with stylized leaf lappets, h. 2”, w. 3‑1/2”, l. 5”. Japanese wares in the Art Nouveau style are rare and were used by the upper classes influenced by Western culture. [200/400] 1315 Good Chinese Carved Carnelian Bowl, of inverted bell shape with circular foot rim and flared lip rim, the stone of even red color, elaborate wooden display stand, dia. 6‑1/4”. [200/400]

1309 Unusual Pair of Chinese Hawthorn Red Glass Vases, 19th century, each with globular bases and elongated necks in the form of a bamboo stalk, the color of rich even red also called Thornapple red, h. 8‑1/4”. [600/900] Illustrated previous page 1310 Chinese Ruby Red Glass Serving Bowl, first half 20th century, the uncarved circular bowl resting on a straight foot and having a slightly everted lip rim, the body in rich ruby red glass, h. 4‑1/4”, dia. 10‑5/8”. [300/500] Illustrated previous page

180

1316 Chinese Carved Zitan Ruyi Scepter, Republic Period (1908‑1949), the shaft carved as a knotted tree branch sprouting branches of small ling-chih, the terminal carved as a double growth of ling chih with sectioned, banded head, l. 15‑1/4”. [500/800] 1317 Tall Chinese Buddhistic Painting on Silk, 19th century, executed in colors on silk depicting the haloed goddess Guanyin attended by twenty-four Buddhist deities including emperors, demons and attendants, twelve of the figures holding scepters, presented in a giltwood frame and glazed, h. 53”, w. 30”. [250/400]

1318 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”. [2500/4000] 1319 Exceptional, Large Chinese Carved Zitan Mountain and Stand, 18th/19th century, the unusually large zitan piece carved as a double-peaked 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

1324 Chinese Ink and Color on Paper Hanging Scroll, 19th century, after Xuan Zai (Don Qichang, 1555‑1636), depicting an idealized mountainous landscape of forested hills with streams and waterfall emptying into a lake, scattered through the forest are pavilions with figures, in the upper right hand corners is a calligraphic inscription with Dong Qichang’s signature and seal and at the center top is an art seal of Qianlong, the scroll bordered in green and yellow brocade, h. 87‑3/4”, w. 31‑3/8”. [700/1000] 1325 Good Japanese Enameled Porcelain Plaque, 20th century, of rectangular outline enameled in polychrome enamels depicting a fierce eagle perched among pine and maple trees in the foreground and a castle and Mount Fuji in the background, bordered with a key-fret-border and having gilt details all over, w. 11‑7/8”, l. 17‑3/4”. [200/400]

1326

1320 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] 1321 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”. [250/400] 1322 Chinese Six Panel Black Lacquered Coromandel Folding Screen, early 20th century, one side depicting flowers and birds, the other side with a gilded surface with shore birds and bamboo forest, h. 72‑1/2”, w. 96”. [800/1200] 1323 Group of Three Framed Chinese Reverse Paintings on Glass, one depicting a lady playing with a parrot at a pavilion balustrade, another depicting a lady and attendant playing with a pair of pigeons, and the third depicting a lady playing a flute with a phoenix in flight above her, h. 20‑1/2”, w. 14‑1/8”. [700/1000] Illustrated

1326 Good Sino Tibetan Gilt-Bronze Figure of a Monk, 18th/19th century, cast as the figure of a seated monk of the Yellow Cap sect holding his hands in mudra, seated in the lotus position on a double lotus base and flanked on either side by foliate branches, h. 6‑1/8”. [1400/1800] Illustrated

181

1327

1329

1331

1328 1327 Unusual Large Chinese Famille Rose Porcelain Brush Pot, Republic Period (1908‑1949), the waisted cylindrical body decorated in famille rose enamels depicting a male and female deity at sea in a rustic boat with peaches and an attendant, additionally two attendants are on a cloud holding a lotus and releasing bats, the reverse with a calligraphic inscription, h. 6‑1/4”, dia. 7‑7/8”. [700/1000] Illustrated 1328 Fine Chinese Famille Rose Porcelain Water Coupe, second half 19th century, the small bulbous body with short lip rim decorated in famille rose enamels with a continuous scene of flowering poppies and foliage, the base with a six-character Qianlong seal mark in underglaze blue, h. 2‑1/2”, dia. 3‑1/4”. [300/500] Illustrated

1332 Pair of Chinese Famille Rose Porcelain Vases, 19th century, of cylindrical form with flared lip rim, finely decorated in famille rose enamels with scenes of Ma Gu and Shou Lao with his giant peach and staff in a boat among cresting waves near a rocky cliff, the reverse of the vases with a calligraphic inscription, the bases with four-character Qianlong marks in ironred within a square, h. 13‑1/4”. The design featuring Ma Gu, Shou Lao and the peach are symbols of a wish for longevity. These vases were a gift to a senior family member with wishes for a long life. [900/1200]

1330

1333 Good Chinese Famille Rose Porcelain Tea Bowl, 1875‑1908, the interior plain, the exterior decorated in famille rose enamels with a delicate scene of two dragon boats on a river with spectators on the shore, the boats competing in the Dragon Festival races, the base with a four-character inscription in iron-red reading “made for the hall of discreet virtue”, dia. 4”. [300/500]

1335

1329 Delicate Chinese Famille Rose Porcelain Rice Bowl, Republic Period (1908‑1949), the circular bowl with scalloped rim having an undecorated interior, the exterior finely decorated with a scene of geese among flowering plants and fruiting millet, the base with a six-character Qianlong seal mark, dia. 6‑3/4”. [700/1000] Illustrated 1330 Fine Chinese Famille Rose Porcelain Water Vessel, Republic Period (1908‑1949), of pear shape with slightly everted lip rim, the body finely decorated with flowering poppies and asters with two butterflies with a border of ruyi heads and Greek key at the lip and a formalized lappet border at the foot, the base with a six-character Qianlong seal mark in underglaze blue, h. 2‑3/4”. [300/500] Illustrated 1331 Chinese Famille Verte Porcelain Bowl, Republic Period (1908‑1949), the interior plain, the exterior glazed in green and iron-red with four roundels of five-clawed dragons among flames and clouds with interspersed clouds, the base with a six-character Qianlong seal, dia. 5‑3/4”. [400/700] Illustrated

182

1334 Fine Pair of Chinese Famille Rose Porcelain Wide Tea Bowls, Republic Period (1908‑1949), the wide, low bowls delicately enameled on the exterior of a flock of nine red-crested cranes feeding in a pond next to a gnarled pine tree and a calligraphic inscription, the bases with four-character Qianlong seal marks in raised blue enamel, padded wooden boxes, h. 2‑1/8”. [150/300]

1339 Chinese Famille Rose Porcelain Saucer Dish, first half 19th century, the saucer-shaped dish decorated in famille rose enamels depicting a scene of the Eight Immortals and attendants in a mountainous scene with swirling clouds and a mountain stream, the exterior decorated in kinrande style with an iron-red ground with gilt medallions of characters, flowers, plants, sea life and birds, the base with a six-character Qianlong seal mark in underglaze blue, dia. 7‑1/8”. [300/500]

1335 Unusual Chinese Famille Rose Porcelain Water Coupe, Republic Period (1908‑1949), of beehive form decorated with Liu Hai, his three-legged toad and cash with another deity sweeping a garden among weathered rocks and pine trees and having a calligraphic inscription, the base with a six-character Kangxi reign mark in underglaze blue, h. 3‑1/2”. [600/900] Illustrated

1340 Chinese Ink and Color on Paper Hanging Scroll, 19th century, after Wang Mian (1271‑1368), depicting five birds perched in a barren tree and another in flight, the base of the tree with winter grasses, two calligraphic inscriptions, the right one signed Qianlong, the left one signed Wang Mian, above the calligraphy is a Qianlong imperial seal, h. 84‑3/4”, w. 31‑7/8”. [700/1000] Illustrated

1336 Good Chinese Famille Rose Porcelain Rice Bowl, Republic Period (1908‑1949), finely decorated on the exterior with a continuous scene of boys playing in a garden setting, the interior plain, the base with a sixcharacter Qianlong seal mark in underglaze blue, dia. 5‑1/4”. [400/700] 1337 Chinese Famille Rose Porcelain Pillow, first half 20th century, of indented rectangular outline, one end with pierced double cash symbols, the other end open, decorated in famille rose enamels with shaped cartouches of flowers and bird designs against a ground of scattered flowers, h. 5‑1/8”, w. 3‑1/2”, l. 6‑1/4”. [500/800] 1338 Fine Pair of Chinese Famille Rose Tea Cups, Republic Period (1908‑1949), each of inverted bell form finely decorated in famille rose enamels with a male figure leading a spotted horse from beneath a willow tree and having a calligraphic inscription, the base with a four-character Qianlong seal in raised blue enamel, each having its own padded wooden box, h. 2‑5/8”. [200/400]

1343

1340

1345

1341 Set of Six Japanese Porcelain Covered Rice Bowls, first half 20th century, each of circular form with conforming footed cover, decorated in underglaze blue, polychrome enamels and gilding in the Imari style, dia. 5”. [75/125] 1342 Pair of Chinese Famille Rose Porcelain Bowls, Republic Period (1908‑1949), the interior glazed in skyblue, the exterior decorated with pomegranate shaped reserve panels of birds and flowers against a dense blue ground of lotus blossoms and foliage on a rich blue ground, the base with a four-character Yongzheng mark in underglaze blue on a pale-blue ground, dia. 6‑3/4”. [600/900]

183

1343 Large Chinese Famille Rose Moon-Flask Vase, of flattened circular outline with abstract handles at the neck, decorated on both sides in famille rose enamels with lotus blossoms and flowers among scrolling foliage against a rose-colored sgraffito ground, h. 17‑1/4”. [3000/5000] Illustrated previous page 1344 Good Chinese Famille Rose Porcelain Tea Bowl, Daoguang seal mark on base in iron-red, the interior plain, the exterior decorated in famille rose enamels as two quail on rockwork among flowering and fruiting shrubs against a pale cafe-au-lait ground, h. 3‑3/4”. [400/700]

1349

1346 Fine Pair of Chinese Famille Rose Porcelain Court Enamel Vases, 19th century, each of baluster form with flared lip rims, the fine porcelain bodies delicately enameled as a pair of finches perched in a flowering peony bush, after a painting by Giuseppe Castigleone (Lang Shining), the Jesuit missionary who was a court painter for three Qing Dynasty emperors and who introduced Western painting techniques to the Chinese court, the reverse of the vases with a poem in black calligraphy with Lang Shining’s seal, the bases with four-character Qianlong mark in raised blue enamel, h. 8‑1/8”. [1000/1500] 1347 Bright Chinese Famille Rose Porcelain Sgraffito Bowl, Guangxu mark (1875‑1908) and probably of the period, the interior plain, the exterior with four rondels of quail and geese against a rose sgraffito ground with lotus and scrolling foliage, the base with a six-character Guangxu mark in underglaze blue, dia. 6”. [300/500] 1348 Chinese Famille Rose Porcelain Bowl, Republic Period (1908‑1949), the interior glazed turquoise, the exterior decorated with reserve panels of a bird among flowering branches against a dense ground of flowers and foliage above a lotus petal border, the turquoise glazed base with a four-character Qianlong seal mark in raised blue enamel, h. 6‑1/2”. [400/700] 1349 Unusual Chinese Reticulated Double-Walled Vase, 19th century, of squared baluster form, the four sides with alternating panels, each with a circular floral medallion, decorated in famille rose enamels, h. 12‑1/4”. [1200/1800] Illustrated 1350 Large Chinese Famille Rose Porcelain Vase, first half 20th century, the baluster-form body with flared lip rim and decorated in thick enamels with flowers in ancient bronze-form vessels and calligraphy, now mounted as a lamp with a custom wooden base and top, h. 34”. [100/200]

1345 Large, Elaborate Chinese Famille Rose ZaDao (Sgraffito) “Court Enamel” Vase, of baluster form with slightly splayed foot rim and flared neck with two gilt dragon handles, the body enameled with two dragon bordered reserve panels with elaborate decoration of geese in one panel and pigeons in the other, both among flowering plants in a garden setting, the panels against an engraved red ground enameled with flowers, butterflies and Buddhist chimes, the shoulder with a triple border of ruyi heads, a floral band and plantain leaves and the neck enameled with flowers, bats and “cash” symbols, the turquoise enameled base with a six-character Qianlong seal mark in underglaze blue, h. 19”. [1200/1800] Illustrated previous page

184

1351 Good Chinese Famille Rose Rice Bowl, Republic Period (1908‑1949), the interior glazed turquoise, the exterior decorated with four circular reserve panels of stylized Chinese characters against a yellow ground with lotus blossoms and scrolling foliage, the recessed base glazed in turquoise with a six-character Qianlong reign mark in underglaze blue, dia. 4‑5/8”. [300/500] 1352 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 six-character Jiaqing seal mark in iron red, h. 3‑1/2”, dia. 3‑3/8”. [3000/5000]

1353 Set of Nine Chinese Famille Rose Export Porcelain Figures, 18th/19th century, each figure standing on a plinth base, dressed in informal robes and holding their individual attribute, the group consists of the Eight Immortals ( He Xiangu, Cao Guojiu, Tieguai Li, Lan Caihe, Lu Dongbin, Han Xiang Zi, Zhang Guo Hao and Zhongli Quan) and an en suite figure of Laozi, the founder of Daoism, all glazed in bright, thick famille rose enamels, h. 8‑1/2” to 9”. [3000/5000] Illustrated

1353

1354 Pair of Chinese Famille Rose Porcelain Wine Cups, 20th century, each of inverted bell-shape decorated with flowering lotus plants and a white heron on the exterior, the bases with six-character Guangxu marks in underglaze blue, h. 1‑7/8”. [250/400]

1355 Unusual Chinese Famille Rose Porcelain Brush Washer, Republic Period (1908‑1949), of circular outline with in-curved lip rim, the interior decorated with a pair of mandarin ducks swimming among lotus in a pond with an overhanging flowering tree growing from rockwork, the exterior glazed in a ruby colored monochrome glaze, the white glazed base with a Qianlong seal mark in iron-red, dia. 8‑7/8”. [400/700]

1359

1356 Fine Chinese Famille Rose “Court Enamel” Cross Edge Saucer Dish, 18th/19th century, the low edged saucer finely enameled with a design of flowering plum branches and sprays of bamboo foliage, the design beginning on the exterior and continuing onto the face with a seven-character inscription in black with three seals in puce enamel, the base with a six-character Yongzhen reign mark in underglaze blue within a double circle, dia. 8‑1/16”. [500/800] 1357 Fine Chinese Famille Rose Saucer Dish, 19th century, the low saucer-shaped dish decorated in famille rose enamels on the exterior with flowering prunus trees with gnarled branches continuing the design into the face of the dish, the base with a six-character Qianlong seal mark in iron-red, dia. 6‑1/8”. [400/700] 1358 Fine Pair of Chinese Famille Rose Bowls, 19th century, each thinly potted rice bowl enameled with a “cross edge” design of flowering and fruiting peach branches with mature fruit, buds, flowers and emerging foliage, the interior with three bats, the exterior with two bats all in iron-red, the base with a six-character Yongzheng reign mark in underglaze blue, dia. 4‑1/4”. [600/900] 1359 Good Pair of Chinese Famille Rose Nine Peach Vases, 18th/19th century, each of bulbous shape with tubular necks, decorated with a continuous scene of flowering and fruiting peach branches, the number nine signifies “forever” being the largest single-digit number, the base with a six-character Qianlong seal mark in ironred, h. 12‑7/8”. [500/800] Illustrated

185

1360 Fine Chinese Famille Rose “Fish Tail” Vase, 18th/19th century, the baluster-form body enameled with a continuous design of flowering and fruiting peach branches with exposed bark and emerging foliage, the base with a six-character Yongzhen mark in pale underglaze blue within a double circle, h. 6‑1/4”. [300/500] 1361 Turkish Sultan Carpet, 6’10” x 11’4”. [700/1000] 1362 Antique Turkish Carpet, 4’4” x 6’7”. [200/400] Illustrated

1362

1365 1363 Persian Sultanabad Carpet, 10’ x 18’6”. [7000/10000] Illustrated 1364 Hamadan Carpet, 4’4” x 6’5”. [250/400] 1365 Persian Sultanabad Carpet, 10’6” x 13’. [4500/7000] Illustrated 1366 Semi-Antique Persian Nian Carpet, 3’4” x 5’1”. [700/1000] 1367 Persian-Style Laver Kerman Carpet, 8’ x 10’. [3000/5000] 1363

186

1368 Tabriz Carpet, 4’11” x 8’. [200/400] 1369 Semi-Antique Persian Mahal Carpet, 7’6” x 10’7”. [1500/2500] 1370 Turkish Angora Oushak Carpet, 9’ x 12’3”. [5000/8000] Illustrated 1371 Semi-Antique Persian Mashad, 6’7” x 10’10”. [1200/1800] 1372 Kerman Carpet, 9’5” x 12’3”. [900/1200]

1370

1373 1373 Turkish Oushak Carpet, 10’ x 14’. [4000/7000] Illustrated 1374 Persian Qashqai Lion Carpet, 4’2” x 7’5”. [1400/1800] 1375 Semi-Antique Chinese Nichols Carpet, 9’4” x 12’11”. [1000/1500] 1376 Needlepoint Carpet, 10’ x 14’. [2500/4000] 1377 Turkish Oushak Carpet, 10’ x 14’. [4000/7000] Illustrated 1377

187

1381 Peshawar Sultanabad Carpet, 8’1” x 9’10”. [1200/1800] 1382 Mashad Carpet, 6’6” x 9’8”. [500/800] 1383 Persian Serapi Carpet, 11’5” x 16’5”. [7000/10000] Illustrated 1384 Indian Tabriz Carpet, 8’6” x 11’10”. [700/1000] 1385 Turkish Oushak Carpet, 9’ x 12’. [3000/5000]

1379

1386 Widekum Peoples Helmet Mask (“Agwe Chaka”), early 20th century, Cameroon, wood, leather, and animal hide with fur, the helmeted wood face mask partially covered by dried leather, with wooden pegs inserted on the forehead and the temples, h. 18‑1/2”, w. 12”, d. 8‑3/4”. Provenance: Purchased by the consignor from the Davis Gallery, New Orleans, Louisiana, 1985. [1500/2500] Illustrated

1386

1383 1378 Semi-Antique Sarouk Runner, 3’ x 10’. [75/125] 1379 Group of Two Belgian Machine-WovenTapestries, second half 20th century, 3’2” x 4’1” and 3’4” x 4’11”. [200/400] Illustrated 1380 Semi-Antique Turkish Sivas Carpet, 6’6” x 9’2”. [1200/1800]

188

1387 Sudanese Sword or “Kaskova”, 19th century, made of heavily oxidized steel, the upper portion of the blade decorated with native script in bas relief, the cross guard in bronze and mounted on a wood and velvet display plaque, h. 46”, w. 11‑1/2”. [200/400]

1391

1389

1388 Covens and Mortier (Dutch, 1721‑1866) “Carte du Congo et du Pays des Cafres”, ca. 1739, depicting Africa south of the Equator, with extensive detail including geography, wildlife, tribal areas and Portuguese colonies, with handcolored boundaries, glazed and presented in fauxbois cavetto frame, imprint h. 19‑1/2”, w. 24”, overall h. 29‑1/4”, w. 33”. [400/700] 1389 Mumuye Peoples Standing Figure, 20th century, Nigeria, wood and traces of kaolin, the figure with an elongated body, the head with long panels descending on either side and a prominent crest on the top, h. 37”. [500/800] Illustrated 1390 N’gere Peoples Face Mask with Articulated Jaw, 20th century, Liberia, wood and twine, the abstracted face with pointed cheeks and nose and triangular openings for the eyes, with perforations around the perimeter, h. 9‑1/2”. [50/100] 1391 Pende Peoples Wooded Caryatid Stool, early 20th century, Democratic Republic of the Congo, in the form of crouching male and female figures supporting the wellworn seat, surrounded at the base by figures of a frog, a chameleon and a lizard, h. 11”, dia. 10‑3/4”. Provenance: Purchased by the consignor from the Davis Gallery, New Orleans, Louisiana, 1993. [700/1000] Illustrated 1392 Bamenda Area Terra Cotta Pipe Bowl Fragment, 20th century, Cameroon Grasslands, in the form of a human figure with a hand raised to his chin, the stem of the pipe and one leg lacking, h. 5‑1/2”. [100/200] 1393 Two Panels in the Style of the Maprik District, late 20th century, Papua New Guinea, wood bark and paint, the decorative painted panels on strips of bark in red, white, black and ochre, h. 43‑1/2”. [50/80]

1394 Suriname Culture Wooden Stool, 20th century, South America, iron nails and brass brads, the box-like base with shallow incised geometric designs and slightly curved seat with openwork cut-out geometric designs, h. 13‑1/2”, w. 20”, d. 11”. [150/250]

1395 Suite of Three Gilt-Metal and Mirrored Nesting Tables, in the Louis XVI Style, each with an inset rectangular mirrored top raised on tubular reeded legs joined by stretchers and ending in tall toupie feet, h. 18”, w. 24”, d. 14”. [500/800]

1397

1396 An Impressive Mercury Glass Blown Vessel in the Shape of a Gourd, probably Bohemian, the ribbed body terminating in a long narrow neck, the base with a pontil mark, h16‑1/2”, dia. 15”. [200/400] 1397 Pair of Contemporary Argente and Gilt-Metal Side Tables, in the Directoire taste, each with an inset rectangular glass surface, raised on reeded tubular legs joined by an X-form stretcher and ending in gilt ring feet, h. 31‑1/2”, w. 54”, d. 15”. [1000/1500] Illustrated

189

1398 Collection of Nine Hand-Blown Glass Stick Neck Vases, of teardrop, globular and beaker form, h. 10”‑18”. [100/200]

1400 Nils Obel (Danish/American, Contemporary) “Sail Fish and Golden Hamlet”, artist’s proof with graphite and color pencil on blindstamped paper, pencil signed lower right, sheet size 26” x 40‑1/2”. Unframed. [500/800] 1401 Nils Obel (Danish/American, Contemporary) “Sail Fish and Black Bar Soldier Fish”, artist’s proof with graphite and color pencil on blindstamped paper, pencil signed lower right, sheet size 26” x 40‑1/2”. Unframed. [500/800] 1402 Nils Obel (Danish/American, Contemporary) “Sail Fish and Blue Chromis”, artist’s proof with graphite and color pencil on blindstamped paper, pencil signed lower right, sheet size 26” x 40‑1/2”. Unframed. [500/800] 1403 Nils Obel (Danish/American, Contemporary) “Sail Fish and Blue Parrot Fish”, artist’s proof with graphite and color pencil on blindstamped paper, pencil signed lower right, sheet size 26” x 40‑1/2”. Unframed. [500/800]

1407

1404 Thirteen Books on Architecture and Interior Design, including Mies van der Rohe, Barcelona Pavilion; Katharina Steib, Museum fur Gegenwarts Kunst Basel, Framton Larkin, American Masterworks: The Twentieth Century House; Suzanne Slesin and Stafford Cliff, English Style, Caribbean Style and The International Book of Lofts; Giorgio Saporiti, Il Loft, Mary Emmerling, American Country West; John Sutcliffe, Decorating Magic; Nonie Niesewand, Contemporary Details and Lighting; Val Clery, Doors; and Alecia Beldegreen, The Bed. Provenance: Private collection, Jackson, Mississippi. [50/80]

1399

1399 Large Charlie Schneider/Le Verre Francais, France, Acid Etched Cameo Vase, ca. 1918‑1933, of bulbous form with stylized etched plants and transitioning from an orange foot to a dark mottled top, the top of the foot signed “Le Verre Francais, France”, h. 14‑1/2”, dia. 8”. [500/800] Illustrated

190

1406

1418

1416

1421 1414

1419 1413

1413 1415

1420

1417

1405 Four Books on Luxury Sea and Air Travel, including James Steele, Queen Mary; Gary Buchanan, Queen Elizabeth 2, Silversea: The First Ten Years; and Christopher Orlebar, The Concorde Story, accompanied by a certificate of passage aboard the Concorde dated May 31, 2000. Provenance: Private collection, Jackson, Mississippi. [30/50] 1406 Mid-Century Modern Cut-and Polished-Charcoal Granite Fountain, cut from a single block, with faceted sides and triangular base, the center bored for a water tube, h. 46‑1/2”, w. 20”, d. 20”. [1500/2500] Illustrated 1407 Daum, France, Pate de Verre “Heron” Lamp, shaded clear-to lichen-green, with original ecru paper coolie shade, engraved in script on the lower edge: “Daum France”, electrified, overall h. 24‑1/2. [1400/1800] Illustrated 1408 Large Art Deco BronzeMounted Iridescent Glass Vase, first quarter 20th century, the top fitted with an oxidized bronze collar and the sides with two applied handles, the acid washed surface creating a textured and frosted effect with mild iridescence, h. 18”, w. 19”, d. 12”. [200/400] 1409 Large and Stylish Pair of French “Sunburst” Looking Glasses, composed of convex mirrored glass and tubular gilded brass in the Directoire style, h. 40”, w. 39”. [400/700]

1410 Stunning Specimen of the Skull of a Wildebeest, the desiccated skull retaining the upper jaw and in-curved horns, the skull has been gold leafed and the horns left natural, giving the dramatic contrast between the burnished gold of the skull and the weathered, textured dark brown horns, h. 24”, w. 18”. [150/300] Illustrated 1411 Spectacular Large Specimen of a Kudu Skull with the Horns, the desiccated skull retaining the upper jaw and long curved horns, the skull has been gold leafed and the horns left natural, a very unusual piece, h. 43”. [300/500] Illustrated 1412 Beautiful Specimen of the Skull of an Impala, the desiccated skull retaining the upper jaw and in-curved horns, the skull has been gold leafed and the horns left natural, h. 22”. [125/250] Illustrated

1410

1412

1411

1413 Dramatic Pair of Deer Antlers, partially encrusted with abalone chips and raised on a stepped parcelpolychromed circular wooden stand, h. 16‑1/2”. [150/300] Illustrated 1414 Dramatic Pair of Spiny Sea Urchin Garnitures, each composed of a turned wooden stand crowned by specimens of spiny sea urchins with dark brown bodies and beige spines atop a clustered shell base, h. 18‑1/2”, w. 9”. [150/300] Illustrated

191

1417 Dramatic Sea Urchin Spine Garniture, composed of a turned wooden stand crowned by a cluster of sea urchin spines in various natural earth tones h. 9‑1/2”, w. 8‑1/2”. [100/200] Illustrated previous page 1418 Tall Pair of Murex Conch Shell and Wood Garnitures, each composed of a shell of a murex conch with ribbed ridges, the white shells with rose outlined openings and mounted on turned weathered, wooden architecturalstyle bases, h. 22”, w. 9”. [150/300] Illustrated previous page 1419 Stunning Pair of Rock Crystal and Wood Garnitures, each composed of a baluster-form turned wooden base topped by dense clusters of natural rock crystal prisms, each garniture with a central large prism clustered by smaller prisms and surrounded by masses of tiny crystals around the base, the large crystals of clean quality with wispy inclusions, h. 16”. [200/400] Illustrated previous page 1426

1429

1420 Interesting Pair of Crystal Geode Specimen Garnitures, each composed of a silver-leafed turned wooden low base supporting a section of a crystal-lined geode, one with fine small hexagonal crystals, the other with clustered amorphus crystals, h. 6‑3/4”. [75/125] Illustrated previous page 1421 Interesting Pair of Barnacle Cluster Garnitures, composed of turned wooden bases topped with clusters of variegated purple and white barnacle shells in clustered colonies, h. 18”, w. 9”. [150/300] Illustrated previous page

1415 Pair of Half Clam Shell and Wood Garnitures, each composed of a low turned wooden base and topped by a specimen of tridacna squamosa clam shell, one side with the open mouth of the clam exposed for use as a decorative holder and the other side displaying the fancy back of the shell, h. 11”, w. 9‑1/2”. [200/400] Illustrated previous page 1416 Impressive Natural Conch Shell Wooden Garniture, composed of a turned, baluster-form wooden base topped by a dramatic specimen of a spider conch shell, the white shell with peach highlights and having seven protruding spine-like extensions of the mantle, h. 30”, w. 14”. [100/200] Illustrated previous page

192

1424

1422 Unusual Root and Ebonized Wood Table Lamp, formed of a sphere of interlacing roots raised on an electrified ebonized pedestal, h. 15”, dia. 13”. [150/300] 1423 Group of Three Rare Specimens of Fossilized Coral, 443 to 416 million years old, each representing a fossilized colony of Favosites found in Germany and a Turitella deathbed, h. 5‑1/2” to 7”. [150/300] 1424 Richard Guino (French, 1890‑1973) “La Muse”, patinated bronze sculpture, signed “Guino”, dated “copyright 1986”, bearing a foundry mark “R.G.C.” and numbered “44/325”, on a verdigris marble base, h. 13”, w. 15‑1/2”, d. 5”. [1000/1500] Illustrated 1425 Contemporary Glass and Cast-Stone Cocktail Table, the rectangular glass top with a molded edge, raised on two cast-stone bases in the form of en face foliate scrolls, flanking an anthemion-bearing urn, h. 19‑1/2”, w. 72”, d. 40‑1/4”. [800/1200] 1426 Francois Gall (French/Hungarian, 1912‑1987) “Montmartre, Place du Tertre”, oil on canvas, signed and titled lower right “F. Gall Montmartre”, reverse with a Christie’s 29 September 2004 sale lot sticker, 21‑5/8” x 26”. Presented in a molded giltwood frame. [10000/15000] Illustrated

1427 Robert Amendola (American, 1909‑1998) “Crucifix”, gilded hammered bronze and oak, second quarter 20th century, h. 14”, w. 9”. One of Amendola’s best known works, this is called “The Amendola Crucifix”. Amendola executed works for the St. Thomas More Chapel, Yale University, the Boston College Baptist Library, the chapel at Notre Dame University, and the celebrated ocean liner “United States”. Ex-collection: The estate of the Right Reverend Harold E. Sawyer. [400/700] 1428 Contemporary Brass and Glass Cocktail Table, the rounded rectangular top raised on four faux bamboo cylindrical brass supports joined by an X-form stretcher, h. 23”, w. 30”, d. 24”. [500/800] 1429 Four-Piece Collection of Blown Art Glass, early 20th century, probably Austrian, comprised of a pink and green mottled and swirl vase, h. 8”, dia. 6”, a gold iridescent mottled vase with applied butterflies, h. 8”, dia. 7”, a threehandled gold iridescent mottled vase of bulbous form, h. 6”, dia. 5‑1/2”, and a gold iridescent ball-form vase with ruffled rim, h. 5”, dia. 6”. [500/800] Illustrated 1430 Woodrow Nash (American/Ohio, Contemporary), sculpted stoneware African female torso in a red iron oxide patina, ornamented with large copper disc earrings, triple strand of sculpted stoneware multicolored beadwork around her neck and royal purple-painted drape, mounted on a steel plate, h. 27”, w. 20‑1/2”. [700/1000] 1431 Large Bulbous Amber Threaded-Glass Vase, attributed to Victor Durand’s Vineland Flint Glass Works, Vineland, New Jersey, early 20th century, the body featuring pale green threadwork along with “controlled” internal air bubbles, the base with a polished pontil, unsigned, h. 11‑1/2”, dia. 10”. [300/500] 1432 Austrian Art Pottery Vase, first quarter 20th century, possibly Amphora, the base impressed Austria, and Amph 52, the swirled shape with a high glaze and a blue ground, decorated with a lightly raised pattern of thistle leaves and onion blooms, h. 6‑1/2”. [300/500]

193

1433

1433 Dale Chihuly (American, b. 1941), Glass “Macchia” Bowl, cobalt-mottled with brown and clear striations and a shaded deep rose throat, signed in engraved script: “Chihuly 1986”, h. 16”, w. 22‑1/2”, accompanied by a later silvered-metal stand commissioned by the consignor, h. 55”, w.16”, d.12”. Provenance: Purchased by the consignor directly from the artist at his Pilchuck Glass Studio in Stanwood, Washington in 1986. [12000/18000] Illustrated 1434 Bengt Edenfalk (Swedish, b. 1924), Cased Glass “Thalatta” Bowl, 1960, decorated with clear and frosted abstract faces, signed: “247/60 UNIK / TALLATA / Bengt Edenfalk / SKRUV-SWEDEN”, h. 3‑1/4”, dia. 8‑5/8”. [500/800] Illustrated 1435 Bengt Edenfalk (Swedish, b. 1924), Clear Glass “Thalatta” Vase, 1960, decorated with alternating small and large abstract figures surrounded by amoebic concentric circles, signed: “262/60 / TALATTA / Bengt Edenfalk / SHRUF-SWEDEN”, retains the original paper label, h. 7‑1/4”, overall dia. 5‑1/2”. [500/800] Illustrated

194

1433 detail 1436 Bengt Edenfalk (Swedish, b. 1924), Cased Deep Blue and Clear Glass “Thalatta” Vase, 1960, decorated with abstract faces and an abstract nude female figure, signed: “258/60 UNIK / TALLATA / Bengt Edenfalk / SKRUVSWEDEN”, h. 8‑3/8”, overall dia. 5‑3/4”. [500/800] Illustrated

1437 Richard Jolley (American, b. 1952), “Amber Kneeling Nude”, 1988, hot-formed glass sculpture from the “Blue Line” series, signed, titled and dated underneath in engraved script: “Richard Jolley / “Amber Kneeling / Nude / ‘88”, h. 11‑1/2”. [1400/1800] Illustrated

1435 1434

1436

1438 Tall Teal-Blue Glass Vase, designed in 1952 by Arthur Percy (Swedish, 1886‑1976), bearing the original silver paper label: “GULLASKRUF / SWEDEN”, h. 33”. [300/500] 1439 Attributed to Frank Hayden (Louisiana 1934‑1988), “Parents and Three Children” contemporary bronze-patinated plaster sculpture, h. 32”, w. 18”, d. 8”. Hayden was an African-American native of Memphis, Tennessee and overcame a speech impediment to pursue secondary education at St. Augustine high School in Memphis. He later received a scholarship to Xavier University in New Orleans, Louisiana and earned a B.A. in fine arts. In 1959, he received a Fulbright Scholarship. Hayden moved to Baton Rouge, Louisiana in 1961 and was on the faculty of Southern University until his death in 1988. He was named Southern’s First Distinguished Professor in 1986 and 1987. He died in 1988 as the result of a tragic incident in which he was shot by his son. Hayden is best known for his religious theme sculptures, mosaics and as an art educator. His major works are displayed throughout Baton Rouge in churches, the campuses of Louisiana State University and Southern University, as well as the Galvez and Riverfront downtown plazas. His most prestigious commission was a small bronze entitled “St. Martin de Porres”, which was presented to Pope John Paul II on behalf of the United States African-American Roman Catholics to commemorate the pontiff’s 1987 visit to New Orleans and the 25th anniversary of the Saint’s Canonization. [1500/2500] Illustrated

1439

1437

1437 detail

1440 Edwin Scheier (American, 1910‑2008) and Mary Scheier (American, 1908‑2007), Footed Ceramic Pot, depicting soaring male and female figures, with a textured deep charcoal glaze, the figures subtly highlighted with a bronze glaze, incised under the foot: “SCHEIER 88”, h.10‑1/4”, rim dia. 7‑1/2”. Provenance: Purchased by the consignor from Pewabic Pottery, Detroit, Michigan in 1989. [2000/4000] Illustrated following page

195

1441

1440

1441 detail

1444 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”. [400/700]

1441 Albert Paley (American, b. 1944), Forged, Fabricated and Twisted Steel and Glass Occasional Table, the base stamped: “PALEY 1983”, overall h. 22‑1/4”, dia. 30”. Provenance: Purchased by the consignor directly from the artist at Paley Studios, Rochester, New York in 1986. [8000/12000] Illustrated 1442 Mid-Century Modern Roger Sprunger Designed for Dunbar Coffee Table, the polished brass base intended for use with its legs facing up or down and fitted with a later circular plate glass top, h. 18”, dia. 60”. [600/900] 1443 Daum, France, Pate de Verre “Figs” Bowl, the clear bowl on an amber, lavender and green-edged foliate footed base scattered with deep plum figs, engraved in script under the foot: “Daum France”, presented in the original custom-padded box, retains the gray “Daum” sticker and information card, h.6‑1/4”, bowl dia. 9‑1/4”. [700/1000] Illustrated

196

1443

197

Index of Artists and Printmakers

May 19-20, 2012

Albrizio, Conrad 949

De Callatay, Xavier 1263

Allen, Selena 1213

Drysdale, Alexander John 1224

American School 1057, 1058, 1132, 1204, 1258

Dunbar, George Bauer 1272

Anderton, Francis S. 506

Dupre, Jules 260

Arnold, John James Trumbull 1056

Dureau, George Valentine 946

Arntzenius, Floris 285

Durieux, Caroline 939

Audubon, John James (after) 981, 983

Edenfalk, Bengt 1434, 1435, 1436

Blommers, Bernardus Johannes 284

Booth, Herb 1253

Farrar, Joan 940

Bouret, Eutrope 653

Fetters, William 1116

Boyle, Charles Wellington 1178

Foote, Huger 1250

British School 202, 654

French School 611, 744, 745

Brookshaw, George 737

Brown, Benjamin Chambers 1187

Gall, Francois 1426

Browne, Frederick William 1227

Gasser, Henry Martin 1248

Gershoy, Eugenie 1244, 1245

Campbell, Charles Malcolm 1279, 1280, 1281

Gertjejansen, Doyle 1276

Canadian School 1254

Giobbi, Edward 1246

Chialiva, Luigi 121

Gisson, Andre 714, 715

Chihuly, Dale 1433

Goeneutte, Norbert 701

Clark, Emery Ann 942

Gonzales, Boyer 1212

Continental School 136, 196, 197, 286, 497, 607

Gordy, Robert 945

Coulon, George David 1226

Green, Tony 943

Courtois, Jacques (manner) 618

Gribennikov, Vasiliy Nicholayevich 679, 680

Cruise, Alvyk Boyd 941

Guino, Richard 1424

Index of Artists and Printmakers H Hagerbaumer, David 1252 Harpignies, Henri-Joseph 259 Harris, Larry 950 Hartwig, Heinie 1235, 1236 Hayden, Frank (attributed) 1439 Heldner, Colette Pope 954 Heldrick, Betty 511 Hiroshige, Utagawa 445, 448, 449 I Italian School 1, 122, 141 J Johnson, Richard 1277 K Killgore, Charles 1238 Kohlmeyer, Ida Rittenberg 1278 L Leickert, Charles Henri 283

May 19-20, 2012

McKenney and Hall 972, 973, 974 Mignard, Pierre (after) 608 Millet, Clarence (studio) 956 Millet, Francois (manner) 263 Mohler, Gustave Jean-Louis 195 Monte, Ira 198 Mormile, Gaetano 609 Morris, Philip Richard 725 N Nash, Woodrow 1430 Nevil, Larry 947 Nimmo, H. 743 Nobili, Luigi 726, 727 Nonnenbruch, Max (after) 495 O Obel, Nils 1400, 1401, 1402, 1403 Ostersetzer, Carl 610 Ousley, William 1225

Levine, Jack 1239, 1240

Louisiana School 951, 952, 953, 955, 1140, 1256, 1262, 1274

Paley, Albert 1441

Loving, Eugene E. 948

Peterson, Jane 699 Pizzella, Edmondo 1222, 1223

M Macouillard, Louis 1242 Mann, Sally 1251 Marsh, Reginald 1249 Marx, Bela 700 McCrady, John 1261

Potthast, Edward Henry (circle) 1202 Q Quaglio, Franz 606 R Reinike, Charles Henry 1259 Rivera, Diego (attributed) 1237

Index of Artists and Printmakers

May 19-20, 2012

Rockmore, Noel 1077, 1264, 1265

Wolf & Richter 982

Rodrigue, George 1266, 1267, 1268, 1269

Wolf, Allen 1275

Roseland, Harry (after) 1203

Rosenquist, James 1243

Yewell, George Henry (attributed) 682

Rotig, Georges Frederic 262

Ruszczyc, Ferdynand 758

Zorn, Anders Leonard (attributed) 510

S Sachse, Janice 1257 Savage, Augusta Christine Fells 1231 Shattuck, Aaron Draper 1121 Simon, Howard 1247 Slonem, Hunt 1270, 1271 Smith, James Calvert 1179 Southern School 991 Soyer, Raphael 1241 Stastny, Karen 1273 Swedish School 56, 59 T Tait, Arthur Fitzwilliam (attributed) 1255 Trench, Marianne L. 615 V Van Rijn, Rembrandt 496 Vaudechamp, Jean Joseph 977 Veron, Alexander Rene 261 Villa, Mario 944 W Williamson, John 1131 Wise, James Harris Perkins 1115

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

Conditions Of Sale

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

Customers, Please Note: Deadline for Absentee/Telephone Bidding 5:00 P.M. Central – Thursday, May 17, 2012 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 – Friday, May 18, 2012

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.

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.

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

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

absentee / telephone bid form

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

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

Lot #

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

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

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

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

ABSENTEE/TELEPHONE BID FORM (CONTINUED)

Name (Please Print): ______________________________________ Lot #

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

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

REQUEST FOR CONDITION REPORTS (DEADLINE: THURSDAY, MAY 17 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

04/30/2012 11:28:27 Prices Realized for Sale 1201 March 02, 2012 Major Estates Auction

Lot# 3 4 5 6 7 8 9 10 12 13 14 15 17 18 20 22 24 27 28 33 35 36 37 39 41 44 45 46 51 52 55 56 57 59 60 61 63 66 68 70 72 73 75 76

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

2,214 553 184 2,091 338 338 492 461 553 430 338 492 3,075 522 1,168 1,968 1,599 307 676 1,722 1,230 984 1,968 98 738 522 676 246 1,107 307 584 98 2,952 522 584 98 1,107 553 2,214 307 184 1,107 922 738

77 78 79 80 82 84 85 86 87 88 89 90 91 92 93 94 95 97 99 100 101 102 103 106 107 109 110 111 112 113 114 116 117 120 122 125 126 128 130 131 133 134 136 138

399 399 14,145 1,045 307 3,936 184 492 184 1,168 276 2,214 184 153 98 922 184 73 246 86 338 492 922 184 3,444 276 73 73 153 307 86 615 1,476 430 2,214 676 3,936 307 1,353 3,444 430 1,968 2,583 3,198

140 141 143 144 147 149 150 154 156 157 160 161 162 163 165 168 169 170 174 175 178 179 180 181 182 183 184 186 188 189 190 194 195 197 198 199 200 202 203 204 205 206 208 209

492 5,166 276 492 1,476 922 369 184 246 430 55 676 276 307 338 615 922 922 276 492 1,722 861 553 1,107 1,107 522 4,674 922 1,968 2,214 4,182 1,845 1,968 861 553 553 246 215 676 738 430 738 98 98

212 213 214 215 216 217 218 219 220 221 222 223 224 226 227 230 231 232 234 235 236 240 241 242 243 244 245 246 247 248 249 250 251 252 253 254 256 259 260 261 262 263 264 265

3,690 553 615 307 615 738 492 215 492 276 799 615 246 492 5,412 307 738 461 1,722 984 4,674 307 307 4,674 861 1,722 3,444 307 338 922 307 799 3,444 73 676 522 522 2,706 246 584 1,168 430 522 2,091

266 267 269 270 271 272 274 275 277 278 280 281 282 283 284 285 286 287 288 289 290 291 292 293 294 296 298 299 300 305 307 309 310 311 312 315 316 317 320 324 325 328 329 331

1,968 1,968 799 799 1,168 1,230 184 984 153 1,722 307 86 307 1,168 2,214 1,045 184 553 1,722 799 615 1,599 2,460 1,107 246 307 110 399 1,107 676 73 153 153 49 110 861 430 430 430 1,230 86 276 5,412 1,968

332 334 336 337 338 339 340 342 343 344 347 348 349 350 351 352 353 354 356 357 358 359 361 362 363 364 365 366 367 368 369 371 373 375 376 378 379 381 382 383 384 385 386 387

369 1,168 1,353 246 584 246 215 215 738 1,476 430 984 1,845 5,658 1,230 153 492 984 1,722 184 522 215 307 184 215 153 984 584 615 461 584 184 553 553 246 984 553 799 307 307 369 584 276 338

388 389 390 391 392 393 395 396 398 399 401 402 403 404 405 406 408 409 410 411 412 413 414 415 416 417 418 421 422 423 429 430 431 433 434 435 438 439 440 441 442 443 444 445

369 738 799 246 738 2,214 246 430 153 584 276 276 153 1,168 1,476 430 1,168 984 5,904 9,225 123 1,168 399 430 276 615 2,460 1,045 369 338 369 1,045 184 553 98 430 307 430 307 153 461 522 338 522

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Page No. 2

04/30/2012 11:28:28 Prices Realized for Sale 1201 March 02, 2012 Major Estates Auction

Lot#

Realized

Lot#

Realized

Lot#

Realized

447 448 449 450 451 453 454 455 456 457 458 459 460 461 462 464 465 471 473 474 476 477 480 481 482 486 487 488 489 490 492 493 495 498 499 500 501 502 503 504 505 506 507 508

492 123 984 615 861 615 153 1,968 553 1,722 615 4,428 1,476 246 922 399 184 2,706 153 246 307 369 110 246 215 98 338 123 153 553 984 492 153 338 553 615 553 430 492 55 153 10,147 184 1,968

510 511 512 513 514 515 516 517 518 519 520 521 522 523 524 525 526 527 529 531 532 533 534 536 537 540 541 542 543 544 546 548 550 551 553 555 557 558 559 560 561 562 563 564

1,353 522 1,476 153 1,045 338 2,460 1,968 2,214 522 984 1,107 1,045 492 492 4,920 522 522 861 307 1,845 922 430 461 338 1,476 922 492 799 922 522 307 984 2,952 799 399 338 184 61 110 307 123 338 553

566 567 568 570 571 573 575 576 578 579 580 581 582 583 584 585 587 588 590 591 592 593 594 595 596 597 598 599 600 601 602 603 604 606 607 610 613 615 616 620 621 622 623 626

676 246 338 399 276 276 399 369 522 861 861 738 86 184 184 399 1,230 98 276 55 307 984 1,599 246 276 98 276 110 584 1,045 461 676 3,198 98 676 307 492 738 738 184 276 615 799 676

Lot# 629 630 631 637 639 643 644 645 647 648 652 653 655 656 657 659 662 663 665 666 667 668 669 670 672 674 675 677 679 681 681A 683 684 685 686 687 688 692 693 694 695 696 699 700

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

8,302 799 399 18,450 184 153 123 1,476 399 1,476 1,230 3,444 1,968 307 738 307 984 799 553 492 1,107 8,610 553 4,674 1,107 1,353 1,968 615 461 2,460 2,706 2,091 5,412 984 861 246 215 307 984 984 3,444 307 1,168 123

701 703 704 705 707 708 710 711 713 715 716 718 719 720 721 722 723 724 725 726 732 733 735 736 737 739 740 741 742 743 744 745 746 747 748 749 750 751 752 753 754 756 757 759

1,845 1,045 461 461 615 430 861 861 246 2,214 153 1,230 1,107 369 369 86 461 369 338 184 461 1,722 246 98 922 338 461 1,476 1,353 2,337 307 430 676 246 522 676 1,599 215 1,476 369 1,722 246 676 2,214

760 762 767 768 781 782 783 787 788 789 790 796 799 801 802 803 804 805 806 807 808 810 811 812 813 814 815 816 818 819 820 821 824 825 826 827 828 829 830 831 832 833 834 835

338 1,968 338 184 215 246 338 399 1,968 2,214 184 98 110 399 184 492 123 6,150 676 984 246 1,168 676 338 307 430 307 153 984 430 799 1,168 73 399 110 98 184 2,706 246 215 399 153 922 553

836 838 839 840 841 842 843 844 845 846 847 848 849 850 851 852 853 854 855 856 857 858 859 860 861 862 863 865 866 867 868 869 870 872 873 874 875 876 877 878 879 880 881 883

215 276 676 461 246 246 307 738 276 184 430 98 430 55 553 492 584 522 123 73 73 338 1,230 215 553 184 153 123 430 492 399 307 215 98 276 522 246 615 246 615 1,045 1,230 153 153

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Page No. 3

04/30/2012 11:28:28 Prices Realized for Sale 1201 March 02, 2012 Major Estates Auction

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

884 885 886 888 889 891 892 893 894 895 899 900 902 905 906 908 909 911 912 913 915 917 920 922 923 924 926 929 933 935 937 938 939 940 942 944 946 947 948 950 953 959 960 961

246 153 153 738 307 522 1,353 29,520 338 1,968 984 1,599 338 123 215 246 676 430 276 98 276 215 369 799 4,920 215 738 1,353 98 276 307 307 461 676 307 1,045 615 4,182 738 553 2,706 2,767 1,168 984

962 963 965 967 969 970 971 972 973 974 975 976 978 980 984 985 986 988 993 994 995 996 997 998 999 1000 1001 1002 1003 1006 1007 1008 1009 1010 1011 1012 1013 1014 1015 1016 1018 1020 1021 1022

1,722 584 1,722 1,722 399 307 1,968 4,674 246 1,845 98 738 2,337 3,936 2,091 1,476 553 369 430 184 153 307 215 215 153 184 553 861 3,444 1,476 430 276 492 1,845 2,091 215 369 922 738 430 3,444 1,045 215 676

1023 1025 1026 1027 1028 1029 1030 1031 1032 1033 1034 1035 1036 1037 1038 1039 1040 1041 1042 1043 1044 1046 1047 1048 1051 1052 1054 1055 1057 1058 1059 1060 1061 1062 1063 1064 1065 1066 1067 1068 1069 1070 1072 1074

1,968 2,091 1,476 738 461 1,476 246 153 492 738 153 98 676 1,845 1,168 4,674 6,457 3,198 738 4,920 430 861 49,200 799 3,444 2,460 1,353 676 553 430 461 307 522 461 615 922 246 215 215 98 307 430 215 3,198

1075 1076 1077 1078 1079 1080 1081 1082 1083 1085 1087 1089 1090 1091 1093 1094 1095 1096 1097 1099 1100 1102 1103 1104 1105 1106 1107 1109 1110 1111 1112 1113 1114 1116 1117 1118 1120 1121 1122 1123 1124 1125 1126 1127

492 676 1,845 3,444 276 215 307 1,968 215 184 1,476 55 184 1,230 338 430 676 3,690 2,337 1,968 2,460 584 307 153 153 461 369 98 215 369 430 1,722 861 307 1,230 399 1,107 1,168 738 799 184 430 215 307

1128 1129 1130 1131 1134 1135 1138 1139 1141 1142 1143 1144 1145 1146 1147 1148 1150 1151 1152 1153 1154 1155 1156 1158 1163 1164 1165 1166 1167 1170 1172 1174 1175 1176 1177 1178 1179 1180 1181 1182 1184 1185 1187 1188

2,952 1,476 1,968 430 461 184 676 1,353 738 799 276 922 184 215 184 984 615 2,337 1,045 307 3,198 4,674 1,599 2,214 584 276 1,230 553 2,952 1,230 984 1,845 738 430 4,182 7,072 2,706 1,230 1,230 861 584 584 246 799

1190 1191 1192 1193 1194 1195 1196 1197 1199 1200 1202 1206 1207 1208 1209 1210 1211 1212 1215 1216 1217 1218 1219 1220 1221 1222 1223 1224 1225 1226 1227 1228 1231 1232 1235 1236 1237 1239 1242 1243 1245 1246 1247 1248

861 276 5,904 1,168 461 1,722 2,337 1,722 2,091 922 1,845 1,476 307 461 676 984 522 615 430 215 215 1,722 86 153 1,107 615 3,444 738 984 1,476 1,968 738 2,214 1,845 5,535 369 676 3,690 584 1,230 584 922 922 184

1249 1250 1252 1253 1254 1255 1256 1258 1259 1261 1262 1263 1265 1266 1268 1272 1273 1274 1275 1276 1278 1279 1280 1281 1282 1284 1285 1288 1290 1292 1294 1295 1297 1298 1300 1301 1302 1305 1306 1307 1308 1309 1310 1311

338 4,428 338 1,845 2,214 184 1,353 492 738 369 215 984 123 86 522 492 5,166 399 1,353 738 369 799 584 307 98 110 522 1,230 553 1,722 1,476 307 1,845 430 922 307 553 184 307 215 276 1,968 2,091 153

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04/30/2012 11:28:29 Prices Realized for Sale 1201 March 02, 2012 Major Estates Auction

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

1312 1314 1316 1317 1319 1320 1321 1322 1323 1324 1325 1326 1327 1328 1330 1331 1332 1333 1334 1335 1336 1338 1339 1340 1341 1343 1344 1345 1346 1347 1349 1350 1351 1352 1353 1354 1355 1356 1357 1361 1362 1363 1366 1368

984 184 984 98 276 369 676 1,599 1,845 738 1,722 1,168 2,460 1,845 1,599 2,706 2,706 676 799 307 1,353 492 984 861 861 153 123 861 461 492 922 1,599 1,599 461 676 184 553 2,214 861 984 4,674 399 10,455 3,198

1369 1373 1376 1381 1384 1385 1390 1391 1392 1393 1394 1395 1396 1398 1399 1401 1402 1404 1405 1406 1408 1409 1410 1411 1413 1417 1419 1421 1425 1427 1428 1429 1430 1431 1432 1433 1436 1438 1440 1441 1443 1445 1446 1447

799 7,995 861 1,722 1,968 17,835 2,091 615 369 584 922 738 1,599 676 553 369 861 984 799 676 984 276 1,845 922 922 6,457 55 98 276 307 184 615 307 246 276 276 184 184 153 73 184 215 553 399

1449 1452 1453 1454 1455 1456 1457 1458 1463 1464 1465 1466 1467 1468 1469 1471 1472 1473 1474 1475 1476 1477 1478 1479 1480 1481 1483 1484 1485 1491 1494 1496 1498 1499 1501 1502 1504 1505 1507 1511 1513 1514 1516 1517

738 338 553 215 461 369 338 430 153 399 98 399 1,599 307 5,412 246 461 123 369 307 676 184 2,706 615 584 276 338 2,337 73 676 984 676 3,444 1,168 1,168 1,045 799 338 584 922 98 522 276 98

1519 1520 1523 1524 1525 1526 1527 1528 1529 1531 1532 1534 1535 1536 1537 1538 1540 1541 1542 1543 1544 1547 1548 1549 1550 1551 1552 1554 1555 1556 1558 1559 1560 1561 1562 1563 1564 1565 1566 1567 1568 1570 1571 1572

246 1,476 307 492 399 615 184 430 4,428 430 522 615 1,168 369 1,599 584 399 430 1,476 1,476 922 307 215 246 430 276 153 110 153 553 1,168 430 246 110 184 215 399 1,476 399 430 1,045 338 553 922

1574 1575 1576 1578 1579 1581 1582 1583 1584 1585 1586 1587 1588 1590 1591 1592 1595 1597 1598 1599 1600 1601 1602 1604 1605 1606 1608 1609 1610 1611 1612 1613 1614 1615 1617 1618 1619 1620 1621 1622 1623 1625 1627 1628

861 676 430 799 215 799 738 1,599 738 276 492 522 10,455 1,968 1,599 5,658 2,952 1,845 984 1,722 1,722 3,075 2,952 461 215 1,168 1,476 553 153 1,353 3,444 61 615 584 984 492 98 98 430 338 553 799 61 86

1629 1630 1631 1632 1633 1634 1635 1636 1637 1638 1639 1640 1641 1642 1643 1644 1645 1646 1647 1648 1649 1650 1652 1653 1654 1656 1657 1658 1659 1660 1661 1663 1664 1665 1666 1667 1668 1670 1671 1672 1673 1674 1675 1676

184 584 184 98 1,599 369 153 615 123 338 461 276 184 1,353 1,353 2,460 922 1,353 2,706 584 553 2,706 2,706 34,440 430 799 3,690 1,230 553 123 22,140 1,845 1,599 1,845 1,599 1,045 307 2,152 2,460 522 584 276 1,107 6,765

1677 1678 1679 1681 1682 1683 1685 1686 1687 1689 1690 1692 1694 1696 1697 1698 1699 1702 1703 1704 1705 1706 1707 1709 1710 1711 1712 1713 1716 1717 1718 1719 1720 1721 1722 1723 1724 1725 1726 1728 1730 1731 1732 1733

1,230 984 984 3,690 984 215 215 123 184 98 615 123 522 430 369 1,968 338 153 2,214 1,353 1,045 338 153 369 492 1,722 307 461 553 1,107 861 338 553 1,968 1,845 1,722 184 369 1,476 246 123 98 369 1,845

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04/30/2012 11:28:30 Prices Realized for Sale 1201 March 02, 2012 Major Estates Auction

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

1734 1736 1737 1738 1739 1740 1741 1742 1743 1744 1745 1746 1747 1748 1749 1750 1751 1752 1753 1754 1755 1756 1757 1758 1759 1761 1762 1764 1765 1767 1768 1769 1770 1771 1772 1773 1774 1775 1776 1777 1778 1779 1780 1782

922 492 2,460 2,337 246 492 1,722 861 338 492 553 1,045 8,917 492 215 676 153 430 338 522 676 799 246 307 399 98 246 89,175 922 307 2,952 1,168 399 184 307 153 461 369 461 338 215 738 13,530 676

1783 1784 1785 1786 1787 1788 1789 1790 1791 1792 1793 1794 1795 1796 1797 1798 1799 1800 1802 1805 1806 1807 1808 1809 1812 1813 1814 1815 1816 1817 1818 1819 1820 1822 1824 1825 1826 1827 1828 1831 1833 1834 1835 1836

2,460 676 492 184 861 369 461 922 3,936 2,706 584 110 1,353 738 738 369 184 1,353 1,722 276 1,476 2,214 73 49,200 2,460 3,690 2,214 6,765 307 430 20,910 553 215 1,722 369 1,045 307 1,230 984 1,107 553 2,952 922 1,230

1837 1838 1839 1840 1841 1842 1843 1844 1845 1846 1847 1849 1850 1851 1852 1853 1854 1855 1856 1857 1859 1860 1861 1862 1863 1865 1866 1867 1868 1870 1871 1872 1873 1874 1875 1876 1881 1883 1888 1889 1891 1893 1900 1904

153 215 369 246 110 3,690 984 1,045 1,968 676 307 153 246 430 307 123 3,444 3,444 492 4,428 338 276 492 10,147 4,305 2,706 430 307 49 1,845 369 307 1,599 922 430 4,674 553 553 738 2,214 984 922 799 369

1907 1909 1912 1915 1916 1918 1920 1921 1924 1925 1926 1927 1928 1929 1930 1932 1933 1935 1936 1940 1941 1943 1944 1945 1946 1947 1948 1949 1950 1952 1953 1954 1955 1956 1957 1958 1959 1960

307 2,952 799 307 276 369 3,198 1,230 461 4,674 4,674 492 246 430 2,214 861 461 73 676 2,091 1,722 1,168 615 1,230 676 461 123 276 1,353 307 55 73 338 522 922 184 2,952 153

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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 Denise Haik 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 Lynn Bowker Exhibition Staff / Interior Designer Clarke â&#x20AC;&#x153;Docâ&#x20AC;? Hawley Exhibition Staff Stanley Thomas Assistant to the President

Randy White Operations Manager Joey Thomas Operations Assistant Manager Bennie Amos / Rodney Junius Sean Ranson / Cedric Roberts Operations Department Gary Michael Gittelson Photographer