AUCTION - April 9-10, 2011 by New Orleans Auction Galleries, Inc.

2011 Auction Schedule: January 29-30 April 9-10 May 21-22 July 16-17 September 17-18 November 12-13

Cover: Lot 362 - Good French-and Patinated Bronze Figural Mantel Clock, fourth quarter 19th century, the works signed by Louis Boname, Seloncourt, Doubs

“Schedule Subject to Change”

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

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

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

– AUCTION – Saturday, April 9, 2011 – 10:00 a.m. Lots 1-747 Sunday, April 10, 2011 – 11:00 a.m. Lots 748-1318

journal Arts Quarterly, taught continuing education programs at the University of New Orleans and Tulane University, and wrote numerous exhibition catalogues as well as articles for such national publications as The Magazine Antiques, Veranda and Southern Living. Amid all this, he also wrote tens of thousands of catalogue descriptions for us. Glass, porcelain, mirrors, boxes, lamps, bronzes, frames, tapestries, continental furniture: his expertise was limitless. It is no exaggeration to say that it has taken half a dozen people working overtime for weeks, poring over books and scouring the Internet, to accomplish for this sale what Mr. Keefe could have done in a few nights, equipped with no more than a pen and his encyclopedic knowledge. (That, and a steady supply of Chinese food and Coke Zeros.)

In Memoriam John Webster Keefe (1942-2011) The staff of New Orleans Auction Galleries, Inc. joins the city’s art and antiques community in their shock and sadness upon the sudden death last month of John W. Keefe, curator of decorative arts at the New Orleans Museum of Art and long-time cataloguer of the same for the New Orleans and St. Charles Auction Galleries. Mr. Keefe (he was never addressed otherwise here at the galleries – a sign of the innate respect he engendered) was a native of Somers, New York, and educated at Deerfield Academy (1959) and Yale University (B.A., 1963; M.A., 1965). He held posts at the Toledo Museum of Art, the Art Institute of Chicago and the Grand Rapids Art Museum, before coming to New Orleans in 1983 to serve as the RosaMary Foundation Curator of the Decorative Arts at the New Orleans Museum of Art, a position he held until his death. During his time at NOMA, he organized 112 exhibitions, wrote over 120 articles for their

But connoisseurship was merely one of his gifts. He was extraordinarily generous with his expertise, ever-ready to share his great wealth of knowledge with any and all, to instruct and to enlighten. He saw the history of the world in its decorative arts, and he was eager to share that history. He was also generous with his time, somehow nearly always managing to accommodate the frequently preposterous deadlines of the auction business despite his already busy schedule. No one who knew Mr. Keefe, though, can speak of him without mentioning his great sense of humor. Sharp and sophisticated, his quick mind served a wit that was, by turns, whimsical (a dirty polishing cloth accidentally left on a table was dutifully catalogued as “a soiled terrycloth towel dating from the imprisonment of Queen Marie-Antoinette of France in the Conciergerie, Paris, fourth quarter 18th century, hurled into a corner by the enraged Queen and then retrieved by a loyalist charwoman”), arch (a bit of Art Deco excess was assigned the spurious provenance “Norma Desmond, Hollywood, California”), and bawdy (Grand Tour obelisks were not safe from description in terms, politely put, less than wholesome). His ability to write about objets d’art in a style both grand and graceful (and occasionally gelastic) will not soon be equaled. We would like to extend our sincere condolences to Mr. Keefe’s family, his friends and to the staff of New Orleans Museum of Art. We share your feelings of unutterable sadness on his passing, and know too well the void his death leaves behind. He was our colleague and our friend, and we will miss him. Goodbye and thank you, Mr. Keefe.

Two-Week Exhibition Begins Saturday, March 26 Through Friday, April 8 (Excluding Sundays) 9:00 a.m. to 5:00 p.m.

Late-Evening Preview Thursday, April 7, 2011 5:30 p.m. to 8:00 p.m.

Featuring Property From: The Choctaw Plantation, Natchez, Mississippi The Collection of Reuben “Buzz” Harper, Natchez, Mississippi The Hugh deLacy Vincent Silver Collection And Property from Numerous Southern Estates and Private Collections

View this entire catalogue online:

www.neworleansauction.com

Featuring Property From:

The Choctaw Plantation, Natchez, Mississippi Choctaw was built in Natchez in 1836 for James Neibert (ca. 1786-1837), a contractor in partnership with Peter Gemmell. It was designed by Scottish immigrant architect James Hardie, who was, not coincidentally, the superintendent of construction for Neibert & Gemmell. The three-story brick structure followed the Federal style established by older Natchez homes, but added then-popular Greek Revival details to create a prototypical Natchez design. It has a long central two-story portico flanked by parlor rooms, similar to Rosalie (but with a heavier Ionic portico reflecting the Greek Revival influence). It is fronted by a grand columned entrance with wheat sheaf balustrade along the monumental stairs, made all the more impressive by its towering height, achieved by the full ground level basement. Neibert was bankrupted by the Panic of 1837, and died intestate that year. The house was purchased by Alvarez Fisk (ca. 1783-1853), a wealthy cotton factor and bibliophile whose collection, with that of his

brother Abijah, formed the core of both the Natchez and New Orleans Public Libraries. After Fiskâ&#x20AC;&#x2122;s death the Neibert-Fisk house (as Choctaw is also known) served as both a private residence and, for a time, as the campus of the Stanton College for Women. The building was restored in the 20th century by the American Legion and was added to the National Register of Historic Places in 1979 and to the list of Mississippi Landmarks in 1985 by the Mississippi State Department of Archives and History. Most recently, the property served as an elegant bed and breakfast which showcased a magnificent collection of period antebellum and Civil Warera furnishings, including several mahogany or rosewood beds, chests, secretaries, tables and chairs, period lighting including argand lamps, girandoles and chandeliers, and a wide assortment of complementary prints, glass, porcelain, silver and rugs. New Orleans Auction Galleries, Inc. is proud to offer this important collection from one of the grandest homes of our neighbor Natchez, Mississippi.

beginning their first. He opened an antique shop in Newport, which he soon moved to Natchez, Mississippi, a city that would become his home off and on for the next forty years. He would live in other places – New Orleans, New York, Savannah – and work in many more, but it was in Natchez that he was a fixture, profiled in Southern Living as one of the city’s treasures, alongside the city’s grand historic homes. He decorated many of those landmarks, including Wigwam, The Burn, Glenburnie, Glen Auburn, Arrighi House, Ravennaside, Monmouth and his piece-de-resistance the Prentiss Club, a turn-of-the century gentlemen’s club which had been left almost to ruin before he restored the entire building. He also operated Harper’s Antiques and Interiors in New Orleans, where he also restored and decorated the Maddox-Brennan House on Prytania Street and the iconic “Wedding Cake House” on St. Charles Avenue. His work was featured in Architectural Digest, Southern Living and Veranda and on national networks HGTV, CNN and A&E.

The Collection of Reuben L. “Buzz” Harper, Natchez, Mississippi “The only real elegance is in the mind. If you’ve got that, the rest really comes from it.” –Diana Vreeland Vreeland could have been speaking of interior designer and antiques dealer Reuben L. “Buzz” Harper when she said that, and – who knows? – she even might have been; Buzz would have been no stranger to her circle. He had his own unique style that shone brightly in every aspect of his long life and which never failed to leave an impression on those who had the privilege to know him. Harper was a native of Newport, a small town on the edge of the Arkansas Delta. He was educated locally, at Newport High School and then the University of Arkansas, after which he almost immediately entered into politics, serving first as Jackson County Clerk and then as County Judge; at the time the youngest County Judge in the history of the state. After finishing his second term as Judge, he began a second career at an age when most men were barely

Buzz’s style was grand and opulent, rich and regal. “Too much is a great place to start,” he once said. But there was no hint of artifice in that style, which seemed to emanate from the man himself. Patrician and elegant, Buzz was inevitably the focus of any gathering he attended. Toweringly tall, dressed in ice cream-colored suits with bright bowties, his abundant mane of stark white hair tied neatly into a ponytail, he was a sartorial landmark, named the New Orleans Times-Picayune/Junior League Best Dressed Man of 2000. Yet beyond the grandeur of his designs and the flamboyance of his appearance was a genuine bonhomie and gentility: a beguiling charm at once charismatic and modest. He was, simply put, a True Southern Gentleman – alas, perhaps one of the last. New Orleans Auction Galleries is proud to offer items from the personal collection of this unique man. Among the treasures to be found there are a large and opulent collection of Continental art, furniture and decorative arts (including many handsome bronze and enamel boxes), a fine selection of garden statuary and furniture, many pieces of fine silver (from an antebellum American ewer to a Tsarist Russian claret jug), and a surprising collection of beautiful liturgical art, including a reliquary containing a True Relic of St. Alban.

Session I

Saturday, April 9, 2011

10:00 a.m. (Lots 1-747)

5 Provincial Louis XV Walnut Buffet, late 18th century, possibly Italian, the long rectangular top with a molded edge and shaped front, above a conforming case fitted with four cupboard doors, all inset with shaped panels, raised on short cabriole legs ending in peg feet, h. 40”, w. 72”, d. 19‑1/2”. [3500/5000] Illustrated 6 Provincial Fruitwood Refectory Table, 19th century, the canted rectangular top with a molded edge above a plain frieze, raised on tapering circular legs joined by an H-form stretcher and ending in bun feet, h. 29‑1/2”, w. 25‑1/2”, l. 57‑1/2”. [1400/1800] Illustrated 7 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”. [1200/1800]

1 1 Provincial Restauration Walnut Armoire, mid‑19th century, the molded cornice with rounded corners, above a conforming case fitted with two long doors, each inset with two chevron-veneered panels divided by a diamondshaped panel, the whole raised on bulbous feet, h. 82”, w. 59”, d. 24‑1/2”. [2500/4000] Illustrated 2 Suite of Four Provincial Louis XV-Style Fruitwood Sidechairs, early 20th century, each with a shaped caned back surmounted by a shield crest, the caned seat raised on molded cabriole legs headed by shield carving and ending in scrolled toes, h. 37”. [600/900] Illustrated

3 Provincial Louis XV-Style Walnut Cocktail Table, early 20th century, the rectangular top with a needlework panel in scrolling foliate and fruit patterns, under a glass surface, above a scroll-carved shaped apron, raised on foliate-carved cabriole legs ending in scrolled toes, h. 15‑3/4”, w. 35‑1/2”, d. 26”. [400/700] 4 Pair of Delft Blue and White Pottery Vases, 19th century, in the 18th-century taste, of baluster form, mounted on conforming molded wood bases and fitted with custom ecru silk shades trimmed in blue grosgrain ribbon, electrified, vase h. 9‑1/4”, overall h. 21”. [400/700]

8 Provincial Polychromed Wrought-Iron Eight-Light Chandelier, mid‑20th century, the canted rectangular base suspended from four chains and with pierced scrolling patterns, having eight raised candlecups with fleur-delys dividers, h. 31”, w. 37”, d. 23”. [1800/2500]

13 15

9 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”. [500/800]

13 Three-Piece Group of French Copper Kitchen Utensils, 20th century, comprised of a tapering cylindrical chocolate pot with wooden handle, h. 7‑1/4”; a water bottle with a swan-neck spout and fixed brass handle, h. 12‑1/2”; and an ovoid basin with brass hoop handles, h. 10‑1/2”. [200/400] Illustrated 14 Turkish Hammered Copper and Wrought-Iron Cauldron, late 19th century, the basin with rolled rim and downward flaring sides, fitted with a pair of wroughtiron bail handles on iron strapwork mounts, the interior retaining some of the tin lining, h. 10‑1/2”, h. to top of handle 13‑1/2”, dia. 17‑1/2”. [200/400] Illustrated 15 Group of Two Hand-Hammered Copper, Brass and Wrought-Iron Cooking Utensils, 19th century, probably Middle Eastern, comprised of a pan with geometric stamped decor, the iron handle hand forged, dia. 12”, l. 25”; and a large pitcher comprised of a cylindrical upper section joined to a flaring base, fitted with a single brass handle, h. 15”. [200/400] Illustrated

10 Louis XV Mahogany Commode, 18th century and later, possibly from Bordeaux, the rectangular top with a molded edge and shaped front, above a conforming case fitted with three long drawers, raised on cabriole feet ending in scrolled toes, h. 36”, w. 49”, d. 25”. [3000/5000] Illustrated 11 Good Provincial Louis XV-Style Oak and Walnut Center Table, second quarter 19th century, the shaped square top above a shaped and shell-carved frieze, raised on molded cabriole legs ending in in-scrolled feet, h. 30”, w. 34”, d. 33”. [1500/2500] 12 Large Austro-German Canvas-Backed Colored Lithograph Classroom Scroll of the Lobster Thoracostraca astacus, including the creature and diagrams of its internal structure, late 19th century, by Prof. Paul Pfurtscheller, h. 55”, w. 50‑1/2”. [200/400]

16 Alice Russell Glenny (American, 1858‑1924) “Women’s Edition Buffalo Courier”, 1895, lithograph, initialed in the plate lower left “ARG”, sight 13” x 8‑3/8”. Glazed, handsomely matted and framed. [1400/1800] Illustrated 17 Indian Rustic Stone Jar, of circular form, the raised top fitted with a central circular opening, h. 15”, dia. 27”. [50/80] Illustrated

23 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”. [3500/5000] Illustrated

18 Collection of Four French Mounted Dried Botanical Specimens, fourth quarter 19th century, presented nine-to-a-frame on taupe backplates within whitepainted wooden frames, each specimen accompanied by a handwritten Latin botanical name and a description of the particular plant in French, h. 34‑1/2”, w. 27‑3/4”. [500/800] 19 Provincial Mediterranean Terra Cotta Storage Jar, late 19th century, of ribbed teardrop form with three handles, h. 38”, dia. 26”. [500/800] Illustrated 20 Group of Three Provincial Treenware Bowls, all of shallow broad form, the largest h. 5”, dia. 22”. [200/400] 21 Provincial Treenware Container, of kidney form with shaped end handles, h. 6”, w. 35, d. 10”. [150/300] 22 Set of Four Graduated Provincial Treenware Serving Platters, all of circular form with raised edges and shaped triangular handles, the largest dia. 21”. [200/400]

16 24 Good Continental Provincial Walnut Cabinet, late 17th century, possibly Iberian, the rectangular molded cornice above a case fitted with two cabinet doors over three small drawers, with two like doors below, all the doors with heavily molded geometric panels, raised on block feet, h. 77‑1/2”, w. 58”, d. 23‑1/4”. [1800/2500]

25 Louis XIII-Style Fruitwood Stool, early 19th century, the padded rectangular top raised on scrolling legs joined by a like H-form stretcher and ending in in-scrolled toes, h. 15‑1/2”, w. 20‑3/4”, d. 15”. [400/700]

26 Provincial Louis XV-Style Oak Draw-End Table, early 20th century, the shaped rectangular top banded and with parquetry inlays, with two paneled draw-ends, above a scalloped apron, raised on molded cabriole legs joined by an X-form stretcher and ending in scrolled toes, h. 29”, w. 39”, l. 51”, extended l. 89”. [1200/1800] Illustrated

30 Provincial Oak Chaise Longue, 19th century, the long, padded rectangular top surmounted at one end by an outscrolled armrest with pierced splats and foliate carving, above a scalloped apron, raised on turned and bulbous legs joined by shaped X-form stretchers and ending in ball feet, h. 32”, w. 21”, l. 75”. [400/700] 31 Continental School (20th Century) “The Picnic”, oil on canvas, signed lower left “Valan R”, 20” x 24”. Handsomely framed. [350/500] 27 Group of Five Provincial Polychromed Terra Cotta Fruit Bowls, all with fully glazed interiors in shades of ochre, green and brown, with stylized floral and foliate decorative patterns, the largest h. 4”, dia. 13”. [200/400] 28 Group of Five Provincial Mediterranean Polychromed Terra Cotta Fruit Bowls, all with fully glazed interiors and various stylized floral and foliate decorative patterns, the largest h. 4”, dia. 11‑1/2”. [200/400] 29 French Provincial Oak and Fruitwood Vasselier, early 20th century, the molded cornice centered by an arch and above a spindled frieze with a central projecting arcade, with three open galleried shelves below over two cabinet doors centering an open area, the lower section fitted with two drawers over two paneled cupboard doors, all with foliate carving, raised on shaped block feet, h. 94”, w. 52”, d. 21”. [1200/1800] Illustrated

32 Edouard Celerier (French; Active Fourth Quarter 19th Century), a pair of still life oils on panel, one depicting peaches and grapes on a tabletop, the other peaches and berries on a tabletop, both panels signed and dated upper right “E. Celerier ‘91”, 10‑1/2” x 14‑3/8”. Presented in matching wooden frames with molded giltwood slips. [500/800] 33 French Provincial Walnut Vitrine, third quarter 19th century, of diminutive proportions, the molded and domed cornice above an annulated and fruit basket-carved frieze, with a single arched glazed door below, opening to an interior fitted with a single galleried shelf, over two small drawers, the whole raised above a pierced basketcarved apron on scrolled toes, h. 42‑1/2”, w. 29”, d. 13”. [1500/2500] Illustrated 33 35

34 Provincial Louis XV-Style Fruitwood Fauteuil, early 19th century, the slightly domed caned back surmounted by a foliate-carved crest, joined by downswept arms to the caned seat, raised above a shaped apron on cabriole legs headed by shield carving and ending in scrolled toes, h. 36‑1/2”. [700/1000] Illustrated 35 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”. [400/700] Illustrated 36 Louis XV-Style Provincial Fruitwood Center Table, fourth quarter 19th century, the shaped top with a full, raised, foliate-carved edge above a shaped, like-carved frieze, raised on cabriole legs headed by foliate carving and ending in paw feet, h. 29”, w. 45”, d. 34”. [800/1200]

37 Roedel (French, 1859‑1900) “Exposition Feline Internationale, Le Concours de Chats du Journal au Jardin d’Acclimatation, Les 25, 26 et 27 Septembre 1896”, Art Nouveau poster, plate signed middle left “Roedel”, printed by H. Sicard & A. Farradesche, Paris, sight 46” x 31”. Glazed and handsomely framed. [1800/2500] Illustrated

38 Provincial Louis XV-Style Oak and Chestnut Buffet a Deux Corps, early 19th century, the rounded and molded cornice above a conforming case fitted with two doors, each inset with two glazed panels, opening to a shelved interior, the lower section fitted with two narrow drawers over two cupboard doors, each inset with a shaped panel, over a shaped apron, the whole raised on scrolled toes, h. 88‑1/2”, w. 53‑1/2”, d. 24”. [3000/5000] Illustrated

42 Pair of Provincial Louis XV Fruitwood Fauteuils, early 19th century, each with a padded back surmounted by a floral crest, joined to the padded seat by like arms on turned bulbous uprights, the floral-carved apron raised on cabriole legs joined by a turned stretcher, h. 35”. [600/900] 43 Provincial Louis XV-Style Fruitwood Stool, second quarter 19th century, the shaped and padded square top above a conforming foliate-carved frieze, raised on molded cabriole legs ending in scrolled toes on pegs, h. 18”, w. 27‑1/2”, d. 27‑1/2”. [400/700] 44 French Provincial Oak and Fruitwood Armoire, mid‑19th century, the molded cornice above a case fitted with two long doors, each inset with two shaped panels above a paneled frieze and scalloped apron, raised on molded block feet, h. 81”, w. 55‑1/2”, d. 26‑1/4”. [1200/1800]

39 British School (Second Quarter 19th Century) “Floral Studies”, suite of three hand-colored lithographs, by Mrs. Badger, one example is sight 13” x 9‑1/2”, the other two are sight 15‑1/2” x 11”. Glazed, matted and framed en suite. [300/500] 40 Pair of Louis XV-Style Fruitwood Sidechairs, late 18th century, each with a shaped and padded back surmounted by a scrolling floral crest, the padded seat above a shaped floral-carved apron, raised on molded cabriole legs ending in foliate toes, h. 36‑3/4”. [400/700] 41 French School (First Quarter 19th Century) “Camellias”, suite of four hand-colored stipple engravings, after J. J. Jung, engraved by Oudet, all camellia species are identified lower margins, sight 13” x 9”. Handsomely matted and framed en suite. [300/500]

45 Unusual Contemporary Painted and Decoupaged Occasional Table, the rectangular top with a molded edge, centered by a print of an allegorical gardening figure, above a deep shaped frieze featuring various decoupage designs of fruits, insects and butterflies, raised on tapering square legs, h. 19‑1/4”, w. 11‑1/4”, d. 15‑1/4”. [200/400]

46 Dutch Oak Vitrine Cabinet, third quarter 19th century, the domed and molded cornice above an astragal-glazed door, the sides also glazed, the lower section fitted with two shaped drawers, raised on paneled, tapering circular legs joined by shaped stretchers and ending in bun feet, h. 66‑1/2”, w. 33‑1/2”, d. 10”. [600/900] Illustrated

47 Pair of Continental Brass-Mounted Carved and Dark-Stained Oak Bracket Shelves, first quarter 20th century, h. 24”, w. 10”, d. 3‑3/4”. [200/400] 48 After Sir Godfrey Kneller (British, 1646‑1723) “Portrait of King William III (1650‑1702)”, oil on canvas, fourth quarter 18th century, unsigned, inscribed upper left “A Present from the King to Mr. Secretary Vernon” and lower right “King William”, 50” x 40‑1/4”. Presented in a molded giltwood frame with carved scrolling foliate patterns and a bellflower-carved inner band. [3000/5000] Illustrated 49

49 Pair of English Ebonized Carolean Hall Chairs, ca. 1700 and later, each with an ovoid caned back surmounted by a crest of a central crown flanked to each side by cherubs, the caned panel within a pierced foliate frame flanked to each side by a barley-twist upright, the caned seat raised on molded scrolled legs joined by a front stretcher of cherubs supporting a heraldic emblem and a barley-twist H-form stretcher, and ending in peg toes, h. 46‑1/4”. [800/1200] Illustrated 50 English Ironstone Punchbowl, fourth quarter 19th century, transfer-printed in a mulberry floral decoration with gilt highlights, signed with an impressed “I.G.”, h. 6‑1/2”, dia. 13”. [75/125]

51 Johann Paul Adolf Kiessling (German, 1836‑1919) “Discovery at Meissen: Bottger Revealing to August the Strong the Method of Producing Porcelain”, oil on canvas, unsigned, verso with labels from “The University of Utah”, “Utah Museum of Fine Arts”, and “Spiegel & Bilderrahmen, Dresden”, 69” x 49”. Presented in a heavily carved giltwood frame with an outer band of acanthine carving, a raised fruit garlandentwined band and a palmetto relief-carved slip. This lot is a smaller version of the mural Kiessling produced for the Albrechtsburg Castle in Meissen, Germany. In the early 1700’s, German alchemist Johann Friedrich Bottger (1682‑1719) was kept prisoner by August the Strong, King of Poland, at Albrechtsburg Castle in Meissen. Bottger was originally imprisoned because he claimed he could turn any material into gold. Bottger failed, but discovered another formula that had been sought in Europe for decades: the recipe for “true” or hardpaste porcelain. Europeans had to rely on costly imports of Chinese and Japanese porcelain to satisfy their desire for this delicate material. Augustus recognized the importance of keeping this discovery a secret from others and founded the Meissen porcelain factory near Dresden. [9000/12000] Illustrated 52 Dutch School (Fourth Quarter 18th Century) “Hunter Smoking His Pipe in a Winter Landscape”, oil on canvas, signed and dated lower left “Dooy 1779”, with a label on the reverse “Gafit Ltd., London, For Samuel Hart Galleries Inc., Houston, Texas”, 24‑1/2” x 17‑1/4”. Presented in a molded giltwood frame. [400/700] 51

53 English Oak Gate-Leg Table, early 19th century, the rounded rectangular top with two ovoid drop leaves, above a frieze fitted with a single end drawer, raised on a gateleg support of turned and bulbous legs joined by a box stretcher and ending in ball feet, h. 29”, w. 19‑1/2”, l. 48”, extended l. 59‑1/2”. [800/1200] Illustrated 54 Group of Eleven English Brass Candlesticks, mid‑19th century, consisting of a large pair, h. 12”, and nine shorter examples, six of which have intact push-ups. [200/400] Illustrated following page 53

55 English Carved Fruitwood Daybed, early 20th century, in the Carolean style, the long rectangular caned seat surmounted at one end with a back composed of a central caned panel within a pierced foliate frame, flanked to either side by a barley-twist upright, the whole raised on foliate-carved legs joined by shell- and foliate-carved stretchers ending in block feet, h. 39”, w. 21‑1/2”, l. 71”. [1400/1800] Illustrated

56 56 After Thomas Gainsborough (British, 1727‑1788) “The Cottage Door”, oil on canvas, unsigned, 58” x 47. Presented in a molded giltwood frame with a scrolling outer band and corner and side pierced foliate shell carvings. Provenance: Ex-collection of the National Museum of American Art, Smithsonian Institution; Sotheby’s New York, Important Old Master Paintings, June 4, 1987, lot 135; to a private collector, Austin, Texas. This lot is a copy of Gainsborough’s painting from 1780, in the collection of the Henry E. Huntington Library, Art Collection and Botanical Gardens, San Marino, California. [6000/9000] Illustrated

57 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] Illustrated 58 English Oak Hanging Ecclesiastical Cupboard, third quarter 19th century, the canted, molded and dentillated cornice above a conforming S-scroll-carved frieze, over a single paneled door with a raised cross design, to a molded base, h. 30”, w. 24‑1/2”, d. 15‑1/2”. [125/250] Illustrated

59 British School (Fourth Quarter 19th Century) “Cottage in a Landscape”, oil on panel, indistinctly signed lower left, 14” x 17‑3/4”. Presented in a period molded giltwood and plaster frame. [350/500] 60 Staffordshire Pottery Flat-Back Figure of a Scottish Couple in Highland Garb, mid‑19th century, possibly meant to depict Robert and Mary Burns, he with a walking stick and she with bagpipes, presented on a later wooden base and mounted as a table lamp, h. 25”, w. 16”. [200/400]

61 English Mahogany Drop-Leaf Table, the rounded rectangular top with two ovoid drop leaves, raised on a gateleg support of turned and bulbous legs joined by like stretchers, ending in teardrop feet, h. 29”, w. 48”, l. 22”, extended l. 50”. [150/300] Illustrated 62 Italian School (Second Quarter 20th Century) “Portrait of an Old Man Playing a Guitar”, oil on canvas, signed lower right “Valentine”, verso affixed with a vintage gallery label, 27‑1/2” x 20”. Presented in a polychromed and parcel-gilt frame. [500/800]

63 British School (Fourth Quarter 19th Century) “Pastoral Landscape with Figures, Buckinghamshire, England”, 1890, oil on canvas, signed and dated lower right “H. C. Board 1890”, with canvas stamp on the reverse “Winsor & Newton, London”, 20” x 26”. Presented in a period carved giltwood frame. [700/1000] Illustrated

66 Provincial Regency-Style Pine Etagere, late 19th century, fitted with six rectangular shelves, joined by turned and bulbous supports, raised on bulb feet, h. 81”, w. 26‑1/4”, d. 16‑1/4”. [300/500] 67 English Mahogany Welsh Dresser, the molded cornice above a pierced and shaped apron and three open shelves, flanked to either side by fluted uprights, the lower section fitted with three banded drawers over a shaped frieze, raised on cabriole legs headed by foliate carving and ending in pointed toes, h. 89”, w. 68”, d. 19”. [1800/2500] Illustrated

64 64 J. Renaud (French, 19th Century) “Setter in an Autumnal River Landscape”, oil on canvas, signed lower left “J. Renaud”, 36‑1/2” x 29”. Presented in a period giltwood frame. Provenance: Sotheby’s, New York, October 7, 2003, lot 146. [6000/9000] Illustrated 65 Suite of Eight English Oak Dining Chairs, early 19th century, in the Georgian taste, each with a slightly shaped crest above a stylized fan and lyre splat, the padded seat raised on square legs joined by a box stretcher, h. 37”. [1200/1800] Illustrated 67

68 Harold Hitchcock (British, b. 1914) “The Forest of Oriale”, 1943, mixed media on board, monogrammed and dated lower right, titled on board verso, sight 29” x 44”. Glazed and handsomely framed. Provenance: Private collection, Hattiesburg, Mississippi. [2500/4000] Illustrated

69 George III Walnut Secretary, fourth quarter 18th century, the shaped and molded cornice above a star-inlaid frieze over two arched doors, each inset with a beveled mirrored panel with an incised crown design, opening to an elaborately fitted interior of various drawers and cubbyholes flanking two central cupboard doors, the lower section fitted with a drop-front secretary drawer, opening to small drawers and storage compartments, over three graduated long drawers, all banded, the lower one with a central recessed starburst pattern, raised on bracket feet, h. 85‑1/2”, w. 41”, d. 22”. [3000/5000] Illustrated 69

70 Pair of Worcester Blue and White Porcelain TwoHandled Sauceboats, third quarter 18th century, molded in rococo patterns and decorated in hand-painted Chinese patterns in underglaze blue, signed with faux Chinese workmen’s marks, h. 6‑1/2”. A nearly identical example is illustrated in John Sandon’s Dictionary of Worcester Porcelain: 1751‑1851 (Woodbridge, Suffolk: Antique Collector’s Club, 1999), p. 346, color plate 92. [1200/1800] Illustrated

71 Sixty-One-Piece Royal Copenhagen Porcelain Partial Dinner Service, for eight persons, second quarter 20th century, in the 18th-century style, the blue and white service comprised of eight dinner plates with basket-weave pattern rim, dia. 10”, eight soup plates en suite, eight bread-and-butter plates, eight salad/dessert plates, eight cups, eight saucers, a three-piece after-dinner coffee service (coffeepot, covered sugar basin and cream pitcher), a beaker, a paneled milk pitcher, a teapot, h. 6‑1/2”, a bullet-form sugar caster, a circular serving platter, dia. 11‑1/2”, a triangular sweetmeats tray, a sauceboat with integral stand, a leaf-form sweetmeats dish, l. 9”, a covered pot-de-creme, and a square octagonal pot-decreme underplate, all of the pieces fully backstamped. [700/1000] Illustrated previous page 72 Eighty-Seven-Piece Imari-Style Porcelain Dinner Set Made for Sakowitz, comprised of nine dinner plates, dia. 10‑3/8”, twenty luncheon/dessert plates, dia. 8”, twelve bowls, dia. 4‑1/2”, nine finger bowls, dia. 4”, six sauce dishes, dia. 4”, twelve wasabi dishes , dia. 2‑3/4”, eight tea bowls, dia. 2‑3/4”, seven wine cups, dia. 2‑1/8”, two oval serving platters, l. 14‑3/4”, and a covered tureen, l. 10‑3/4”, all decorated in Hong Kong in overglaze blue and iron red enamels in a modified Chinese Export porcelain design. Provenance: The Estate of Ann B. Sakowitz, Houston, Texas. [400/700] 73 Dutch Walnut and Marquetry Display Cabinet, 20th century, the canted shaped and molded cornice above a conforming door, fitted with a floral basket-inlaid frieze and two astragal-glazed doors, opening to a shelved interior over two long drawers with shaped fronts, raised on tapering circular legs joined by a shaped box stretcher and ending in bun feet, the whole elaborately inlaid with floral and scrolling foliate marquetry patterns, h. 90‑1/2”, w. 78”, d. 15‑1/2”. [2000/4000] Illustrated 74 Dutch School (18th Century), ink drawing on paper of a young man holding a stick and a cloaked elderly man alongside, unsigned, sheet 4‑7/8” x 3‑3/4”. Glazed, matted and framed. Provenance: Luba Glade, New Orleans, Louisiana. [200/400]

75 Unusual Pair of Chinese Carved Rosewood Libation Cups, 19th century, each cup of oval outline with polished bowl and carved on the exterior with the Three Friends of Winter (pine, bamboo and prunus) extending to the foot, the carving detailed and finely executed, h. 1‑1/2”, l. 2‑1/4”, with a wooden scroll display stand. [400/700] 76 Chinese Carved Celadon and Russet Jade Figure of a Kylin, 19th century, carved as a recumbent figure of the mythical beast with open mouth and curled hair details, l. 3‑1/4”. [1800/2500]

77 Chinese Carved Jadeite Figure of a Recumbent Dragon, 20th century, the white stone with green and russet inclusions, and carved as the figure of a snarling dragon with open mouth, single horn, winged mane and incised fur over scaly skin, presented on a fitted wooden stand, h. 4‑3/4”, including stand, l. 7‑1/2”. [800/1200] 78 Chinese Bronze and Mixed Metal Vase, 19th century, the body of baluster form with indented foot and lip rim, the plain patinated body with two shaped reserve panels of mixed metal decoration, one of a boy with a hand puppet in a garden and the other of a garden of peonies with a stone lantern, h. 7‑1/2”. [300/500] Illustrated 79 Chinese Carved White Jade Brush Pot, 19th/20th century, the cylindrical body carved in relief with a continuous scene of an idyllic landscape with figures, houses, temples and pavilions in a forested mountainous landscape, the white stone with light green suffusion and scattered brown inclusions, h. 6”, dia. 4”. [30000/50000] Illustrated 80 Chinese Carved White Jade Covered Vase, of baluster form encased in deep-relief carving of flowering prunus branches extending to the cover and topped with two confronting birds, the cover attached to the body with a jade chain carved from the same piece of jade, presented on a custom wooden stand, h. 6‑1/2”. [35000/50000] Illustrated

83 Elaborate Chinese Carved Rosewood Spill Vase, 19th century, carved in the form of a gnarled plum tree with branches emerging with the first blossoms, with a pair of cranes at the base above exposed roots serving as the feet of the vase, h. 8‑1/2”. [500/800] 81

84 Chinese Carved Agate Snuff Bottle, the gray, white and black body carved on the front with a sage and attendant beneath a tree, with a mountainous landscape with a pavilion and trees on the reverse, h. 2‑3/4”. [900/1200] Illustrated

80 82

81 Chinese Carved White Jade Dragon Seal, the white jade body with scattered small black inclusions carved with a rectangular base topped with a horned dragon pursuing the Flaming Pearl, the base with a fourcharacter inscription, h. 4‑1/2”, w. 2‑1/2”, l. 3‑5/16”. [30000/50000] Illustrated 82 Good Chinese Carved Spinach Jade Dragon Seal, the stone of rich, even color and carved with a square base with a double-dragon knob, each beast clutching a pearl, two sides of the base inscribed with seal characters and two sides with Manchu characters, both with lengthy inscriptions highlighted in gilt, the base carved with six characters translating as “Seal of the Great Qing Emperor”, presented in a fitted domed wooden box with brass fittings, handles and clasp, seal h. 4‑1/2”, w. 4”, l. 4”. [3000/5000] Illustrated

85 Chinese Carved White and Russet Jade Snuff Bottle, 19th century, of pear shape with a neat foot rim, the front carved in low relief utilizing the russet skin with a scene of a pavilion under a tree behind a masonry wall, the reverse carved in low relief with a five-character inscription, h. 3”. [2500/4000] Illustrated 86 Chinese Carved Agate Floater Snuff Bottle, of flattened shape, the pale gray body with orange skin carved in relief on the front as branches and foliage, the body extremely well hollowed allowing the bottle to float when placed in water, with an agate top, h. 2‑3/8”. [200/400]

87 Large Chinese Amber Snuff Bottle, the plain uncarved body exhibiting the natural variations in color, the base with a museum number in red, h. 3‑3/4”. [1400/1800] Illustrated

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

89 Chinese Carved Horn Ewer Vase, 19th century, of ewer form with tree trunk handle and slightly elevated pouring lip, carved all over in relief with a scene of people and a pavilion in a rocky landscape with pine and flowering trees, h. 6‑3/4”. [125/250]

90 Chinese Well-Carved Celadon Jade Covered Incense Burner, the stone of even celadon-colored jade with russet inclusions, the bulbous body on three lion feet with lion-head terminals and loose rings, the sides with two elaborate dragon-head handles with loose rings, the domed cover with two confronting Buddhistic lions and three loose-ring handles, presented on a custom wooden stand, h. 10”, l. 8”. [18000/25000] Illustrated

96 93

92 Chinese Carved Celadon Jade Plaque, second half 19th century, of rectangular outline, the front carved in relief with the figure of a standing official pointing at the moon appearing through clouds, framed by a reticulated border of two confronting water dragons with pendant bodies extending down the sides, h. 3‑1/2”, w. 2‑1/8”. [250/400]

91 Chinese Serpentine and Brass Jewelry Box, mid‑20th century, of rectangular form with engraved brass frame with serpentine panel insets, the lid with a reticulated foliate serpentine panel, the interior with three compartments, h. 2‑1/8”, w. 8‑1/2”, d. 3‑1/4”. [500/800]

93 Superb Chinese Carved White Jade DoubleSided Carved Landscape, the front depicting a waterside pavilion in a mountainous landscape with a sinuously twisted pine tree, the terrace of the pavilion with two figures watching a third figure in a boat on the water at the base of the scene, the reverse with another pavilion in a rocky landscape again with a twisted pine tree and a single figure at the balustrade of the pavilion, both sides carved and undercut with great skill creating scenes with depth and texture and a diorama which invites the viewer to enter into the scene in the carving, with a custom carved rosewood display stand, h. 9‑1/4”, l. 10‑3/4” (excluding stand). [9000/12000] Illustrated 94 Fine Chinese Carved Jadeite Plaque Screen, 20th century, the white stone with bright apple green inclusions, the flat plaque carved in the shape of a double gourd with a twisted stem and ribboned handles, the front carved in relief with a garden scene with pine trees, rockwork, a bowl of lotus on a paved terrace and seven children playing games in a garden, the reverse carved in low relief with raised calligraphy covering the entire surface against a gilded ground, the jade displayed in an elaborate carved rosewood stand, the jade and the stand each with custom brocade boxes, h. 26‑1/4”, w. 15”, including stand. [5000/8000] Illustrated 95 Fine Chinese Carved White Jade Group of Two Goats, 18th/19th century, the fine white stone carved as a recumbent goat with elongated sinuously curved horns, holding a spray of ling chih fungus in its mouth and having a young goat resting on rockwork at its feet, h. 4”, w. 6” (jade only). [4000/7000] Illustrated 96 Large and Elaborate Chinese Carved Jade Covered Vase, first half 20th century, in the stylized form of an archaic vessel, carved in rich celadon-colored stone with slight brown inclusions, the base of flattened rectangular form on a splayed foot with conforming cover, the vase carved in relief with a central scaled figure of a dragon flanked on either side by figures of archaic dragons, the sides with elaborate dragon handles suspending loose rings, above the splayed foot is a border of archaic dragons and two loose rings at the outer edges, the conforming cover carved with an elaborate dragon finial and the corners carved with auspicious animals - a kylin, an elephant, a Buddhistic lion and a winged chimera - all above a border of archaic banding, h. 14”. [3000/5000] Illustrated

102

97 Chinese Carved Celadon Jade Pendant Plaque, 20th century, of rectangular outline with openwork border of two confronting phoenix birds with pendant plumage, with a bat at the base, the center of the plaque carved in relief with a sinuous dragon, the stone of even celadon color, h. 2‑3/4”, w. 1‑5/8”. [250/400] 98 Chinese Carved Celadon Jade Plaque, 19th century, of rectangular outline, carved in low relief on one side with a child holding a vase emitting vapors, the reverse carved with lotus emerging from a pond, the reticulated borders carved as two opposing dragons with pendant bodies extending down the sides and to the base, h. 3”, w. 2‑3/8”. [250/400] 99 Chinese Carved Celadon Jade and Rosewood Ruyi Scepter, 19th century and later, composed of three lobed oval reticulated and domed celadon jade plaques, each of even tone and carved as sinuous scaled dragon bodies writhing among foliage, lotus, plus blossoms and lychee fruit, mounted in a later custom-carved scepter body, presented in a fitted brocade box, scepter l. 20‑1/2”. [1800/2500] Illustrated

100 Group of Three Chinese Bi Disks on Stands, each of standard circular shape with central hole, each in a different stone including fossilized limestone and marble of different colors, on custom metal stands, h. 9‑1/2” (with stand), dia. 6‑1/4”. [125/250]

103 Unusual and Elegant Chinese Wooden Brush Pot, 19th century, of squared shape and rectangular vertical outline, the pot elegantly carved of huanghuali (yellow rosewood), each side intricately carved in low relief depicting a different landscape scene, the carving executed in fine, elegant detail by a masterful carver, resting on a dark contrasting rosewood base on four feet, h. 6”, w. 3‑1/2”, d. 3‑1/2”. [1800/2500] Illustrated

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101 Group of Three Chinese Bi Disks on Stands, each of standard circular shape with central hole, each in a different stone including basalt, serpentine and onyx, on custom metal stands, h. 10‑1/2” (with stand), dia. 7‑7/8”. The Bi disk is the symbol of Heaven in Chinese mythology. [200/400] 102 Large Pair of Chinese Lacquer and Applique Hanging Panels, 19th/early 20th century, each of rectangular form with a black lacquer ground with applied dimensional decoration in wood, cloisonne, jade, ivory and hardstone with depictions of ancient vessels, antique jade objects and a vase of flowers, each presented in carved wooden frames with original bronze hangers, h. 49‑5/8”, w. 29‑1/2”. [1000/1500] Illustrated previous page

104 Unusual Chinese Silvered Brass Brush Pot, 19th century, elaborately cast in the round as a continuous scene of figures in garden settings, including deities and pavilions in a mountainous paradise with auspicious trees, the deities depicted with their attributes and pursuing games and scholarly themes, the cast-brass body silvered, resting on three feet and having a four-character Qianlong cast in the base, 7”, dia. 5‑5/8”. [800/1200]

105 Large and Finely Carved Chinese Rosewood Brush Pot, 19th century, of cylindrical form, carved with a continuous design of Ming-style five-clawed horned dragons pursuing the Flaming Pearl amongst scrolling clouds, the base with rockwork above cresting waves, the lip rim with a key-fret border, h. 7‑1/4”, dia. 6‑7/8”. [1000/1500] Illustrated 106 Chinese Lacquered Scalloped Hexagonal Brush Pot, 19th century, each section inwardly scalloped and lacquered over a rosewood base in black lacquer ground with red and gold lacquer pairings of figures, rockwork and trees between foliate scrolling bands at the base and lip rim, h. 6‑1/8”, dia. 5‑1/2”. [600/900] Illustrated

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107 Exceptional Chinese Bamboo and Rosewood Brush Pot, 19th century, the bamboo body carved on one side as a grove of bamboo with vertical stalks and a foliate border at the top, behind the bamboo stalks is a carved scene of three seated sages, the reverse carved as four sages seated under a willow tree outside of a garden pavilion, the two scenes separated by two columns of engraved calligraphy, the bamboo body mounted with rosewood base and lip rim, h. 6‑1/2”, dia. 6‑3/8”. [2000/4000] Illustrated 108 Chinese Interior-Painted Glass Snuff Bottle, the clear glass body finely painted with a scholar on a mule and attendant gathering winter blossoms on one side, the reverse with two lovers in a garden setting, signed, h. 2‑3/4”. [300/500] Illustrated

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109 Two Chinese Glass Snuff Bottles, one a plain white glass bottle imitating jade, h. 3”, and the other a blue goldstone example with hardstone embellishment of a woman holding a lotus with a child by her side, h. 2‑1/2”. [1200/1800] Illustrated

110 Chinese Carved and Incised White Jade Snuff Bottle, of rectangular outline with ridged edges, inscribed on the front with a thirty-two-character inscription, the characters filled in gilt, h. 3”. [2500/4000] Illustrated 111 Chinese Carved Ivory Rectangular Snuff Bottle, of tapering squared outline with engraved panel decoration, two panels with calligraphic inscriptions and two panels with figures in landscapes, h. 3‑1/8”. [500/800] 112 Pair of Chinese Famille Rose Porcelain Hat Stands, fourth quarter 19th century, the cylindrical bodies with pierced quatrefoil openings decorated in soft-colored enamels with continuous scenes of antiques and flowers, now wired as lamps on carved wooden bases and having shades, h. 26”. [150/300] Illustrated

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113 Chinese Blue and White “Pilgrim” Vase, 20th century, the circular body with raised central medallion, scroll handles and tubular neck decorated on both sides with Buddhistic symbols and with scrolling lotus blossoms on the side, the base with a six-character Yongzheng seal mark in underglaze blue, h. 13‑1/4”. [600/900] 114 Chinese Blue and White-Decorated Gourd Vase, 20th century, potted with a dome-shaped base with a gourdshaped neck, decorated in underglaze blue with a ground of “mille fleur” design and three reserve panels on the base with a landscape, bamboo with peony flowers and a boy with a butterfly in a garden, the base with a six-character Kangxi mark within a double circle, h. 10‑1/2”. [500/800] 115 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”. [2500/4000] Illustrated

119 Fine Chinese Blue and White Porcelain Deep Saucer Dish, 18th century, probably Kangxi, decorated in underglaze blue with a scene of a courtesan and official on the steps of a garden pavilion, the reverse with a Jiajing reign mark within a double circle, dia. 5‑3/4”. [900/1200]

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120 George III Old Sheffield Plate Dish Cross, fourth quarter 18th century, of traditional form, with Union shell feet and dish rests connected by C-scrolls to the adjustable frame, centered by a gadrooned-rim burner, w. 12‑1/2”. [200/400] Illustrated 117

121 George IV Old Sheffield Plate Tureen, first quarter 19th century, of oval form, with applied rococo rim, a pair of acanthusmounted reeded handles and four acanthuscrested lion’s-paw feet, the fitted domed lid with an addorsed acanthus handle, engraved on one side with the crest and the other with the arms of Dennestoun of Cowgrane (impaling another), h. 10”, w. 11”, l. 16”. [800/1200] Illustrated 122 Pair of William IV Old Sheffield Plate Sauce Tureens, second quarter 19th century, each of lobed oval form, with “vintage” rococo border and robust floraland acanthus-mounted handles and feet, the fitted domed lid with addorsed acanthus handle en suite, h. 6‑3/4”, w. 6‑1/4”, l. 9‑1/4”. [600/900] Illustrated

116 Elaborate Chinese Embellished Rosewood Ruyi Scepter, 19th century, the rosewood body carved with Cscroll decoration and having three inset jade plaques, each with applied hardstone decoration, the wooden body with additional hardstone plaques, l. 19‑1/4”. [3500/5000] Illustrated 117 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”. [3500/5000] Illustrated 118 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”. [900/1200]

123 Set of Four Regency Sterling Silver Master Salt Spoons, hallmarked London, 1816‑1817, by William Eley and William Fearn, in the traditional “Fiddle Thread” pattern, the elliptical bowls gilt, engraved on the handle with the crest of Ward of Lincoln’s Inn: “out of a mural crown gules, a wolf’s head or”, l. 4‑1/2”, 2.38 total t. oz. [100/200] 124 Three-Piece Regency Sterling Silver Tea Set, hallmarked London, 1819‑1820, by Thomas Wilkes Barker, including a teapot, h. 6‑1/4”, l. 11‑1/2”, a creamer, h. 4‑1/2”, l. 8‑1/2”, and a sugar bowl, h. 4‑1/8”, w. 6”, each of bulbous rounded rectangular form with an annular band, applied gadrooned rim and raised on four acanthuscrested shell feet, the teapot with hinged, domed lid, crested and reeded handle and shaped spout, the creamer with one, the sugar bowl with two anthemion-crested arched strap handles, 35.17 total t. oz. [800/1200]

122 121

126 Victorian Silver Electroplate Meat Dome, third quarter 19th century, by Martin, Hall & Co., Sheffield, of oval form, the gadrooned dome above an ovolo band and opposing leafy-mantled oval cartouches, with beaded rim and reeded handle, h. 9‑3/4”, w. 12”, l. 14‑3/4”. [300/500] Illustrated 127 Pair of Victorian Sterling Silver Candlesticks, hallmarked London, 1893‑1894, by Edward Hutton, each in the form of a squat Corinthian column, with a stepped base and detachable bobeche, h. 5‑3/4”, w. 3‑1/4”, weighted. [400/700]

125

128 Whimsical Set of Six Cased Victorian Gilt Metal Salt Cellars, design registry date February 8, 1870, each in the form of a flowerpot and saucer, with geometric rim and three spherical feet, h. 1‑7/8”, complete with six salt spoons each in the form of a shovel, l. 2‑3/4”, presented in the original fitted violet velvet- and satin-lined concave hexagonal case, the interior lid with the gilt retailer’s stamp of James Holdsworth & Co., St. Lawrence on the Sea, Ramsgate, dia. 8‑3/4”. [250/400]

126

125 Victorian Sterling Silver Presentation Tray, hallmarked London, 1860‑1861, by Smith & Nicholson, of oval form, the cast, pierced rim decorated with a band of neoclassical lions, urns and Bacchus masques with a ribbon-and-acanthus edge, with opposing knotted acanthus-scroll handles, the plateau engraved with a wide rinceau band centering a presentation inscription “Samuel T. Dana, Esq./ from/ George Peabody & Co./ London/ in Grateful Acknowledgment/ of Valuable Services/ 1861”, w. 19‑1/2”, l. 28‑1/2”, 156.57 t. oz. Massachusetts financier George Peabody (1795‑1869) established his banking firm in London in 1835 after a visit to negotiate American cotton sales in Lancashire. The firm would later become J. S. Morgan & Co. (1864), Drexel, Morgan & Co. (1871) and finally J. P. Morgan & Co. (1895). This handsome tray was presented to Boston financier Samuel Turner Dana (1810‑1877), who served as Peabody’s (and later Morgan’s) Boston agent. [12000/18000] Illustrated

120

129 Victorian Gilt Britannia Metal Plateau, third quarter 19th century, of circular form, cast as a rocky crag with flowers, foliage and tree stumps, fitted with a circular mirrored plate and raised on three button feet, h. 2‑1/2”, dia. 16”. [400/700] 130 Three-Piece Edwardian Sterling Silver Table Set, hallmarked London, 1905‑1906, by John Bodman Carrington, in the neoclassical taste, including a center bowl, w. 6‑1/4”, l. 8”, and a pair of salts, w. 2‑1/2”, l. 3‑1/4”, each of oval form with everted sides, decorated with a reticulated stop-fluted gallery centering oval cartouches, with a pierced wavy rim and raised on four latticework shell-crested lion’s-paw feet, each fitted with a conforming cranberry glass liner, 22.18 total t. oz. (excluding liners). [2500/4000] Illustrated

131 132

130

131 Victorian Sterling Silver Salver, hallmarked London, 1869‑1870, the design registered November 21, 1864, by Henry Holland, of octagonally-lobed circular form with reticulated rim and beaded edge, the plateau engraved with a wide band of rococo scrolls, palmettes and flowers, raised on four applied bead-and-scroll bracket feet, dia. 14‑1/8”, 41.67 t. oz. [2000/4000] Illustrated 132 Pair of Edwardian Silverplate Cluster-Column Candlesticks, first quarter 20th century, in the Elizabethan revival taste, each with a cluster column above a foliate-decorated square base with ovolo borders and surmounted by a feather-and-cabochon candle nozzle, h. 12‑1/2”, w. 5‑1/2”. [200/400] Illustrated

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133 English Gilt-Metal Three-Piece Plateau, contemporary, including a center rectangular section, w. 12‑1/2”, l. 21‑1/2”, and two D-shaped ends, w. 12‑3/4”, l. 11‑1/4”, each in a gilt-metal frame with a rococo-style flower, shell and scroll rim and beaded lower edge, raised on bracket feet, each segment with a conforming mirrored plate over a wood backing, overall w. 12‑3/4”, l. 44”. [500/800] Illustrated

134 English Gilt-Metal Three-Piece Table Garniture, contemporary, including a large epergne with a central tapering standard raised on a domed base supported by three demi-lions affronte, above a circular plinth raised on gadrooned, domed feet, fitted with a central acanthus standard surrounded by three NeoGrec scrolling arms, all terminating in an acanthus calyx nozzle fitted with basket holders, with one large and three smaller cut glass baskets, h. 26”, w. 17‑1/4”, together with a pair of compotes with glass baskets en suite, h. 11”, dia. 10”. [1800/2500] Illustrated

135 139 Mid-Century English Sterling Silver Cigarette Box, hallmarked London, 1956‑1957, by Mappin & Webb, of rectangular form, the flat, hinged lid with engine-turned panels and thumb-latch, and opening to reveal the compartmented cedarlined interior, h. 1‑1/2”, w. 7‑3/4”, d. 3‑3/4”. [600/900]

135 English Silverplate Three-Piece Table Garniture, contemporary, including a large epergne/candelabrum with a central floriform knopped standard raised on three dolphin supports above a canted and cavetto-sided plinth raised on palmette-mounted lion’s-paw feet, fitted with a central acanthus standard surrounded by three Neo-Grec scrolling arms, all terminating in an acanthus calyx nozzle, complete with both bobeches and basket holders, with one large and three smaller cut glass baskets, enabling the piece to be used as an epergne, candelabrum or a combination of the two, h. 21‑3/4”, w. 17‑1/4”, together with a pair of compotes with glass baskets en suite, h. 12‑1/4”, dia. 10”. [2500/4000] Illustrated 136 English Silverplate Three-Piece Plateau, contemporary, including a center rectangular section, w. 12‑1/2”, l. 21‑1/2”, and two Dshaped ends, w. 12‑3/4”, l. 11‑1/4”, each in a silverplate frame with a rococo-style flower, shell and scroll rim and beaded lower edge, raised on bracket feet, each segment with a conforming mirrored plate over a wood backing, overall w. 12‑3/4”, l. 44”. [1000/1500]

140 George III Mahogany Secretary Bookcase, early 19th century, the molded and broken pyramidal pediment above a dentillated and blind fret-carved frieze, with two astragal-glazed doors below, the lower section fitted with a slant front opening to an inset leather writing surface and a variety of drawers and cubbyholes flanking a central cupboard, over four graduated long drawers, raised on bracket feet, h. 94”, w. 41‑1/2”, d. 23”. [3000/5000] Illustrated 141 Edwardian Mahogany Plant Stand, early 20th century, the circular top with a raised edge and double string banding, joined to a like lower shelf by square supports ending in splayed legs, h. 37‑1/4”, dia. 11”. [125/250]

138

137 Large Ellis-Barker Silverplate Dish, second quarter 20th century, Birmingham, England, of circular form, entirely flat-chased with elaborate leafy-mantled scroll-and-trellis cartouches among chrysanthemums, with a realistically detailed applied English ivy border, dia. 17‑1/4”. [300/500] 138 Pair of English Sterling Silver-Filled Figures of African Elephants, hallmarked Birmingham, 2000, by Country Artists, after the 1996 models by Richard Sefton, including a trumpeting bull, h. 8”, and a cow and her calf, the bonded porcelain-filled figures realistically detailed, the tusks left as natural tinted bonded porcelain. [300/500] Illustrated

142 George III-Style Mahogany and LeatherUpholstered Wing Chair, early 20th century, the domed and padded back joined by shaped sides and outscrolled arms to the cushioned seat, raised on chamfered legs joined by an H-form stretcher, h. 48‑1/2”. [300/500]

143 Large Chinese Export Blue and White Porcelain Covered Tureen, 19th century, of bombe form with splayed foot, entwined branch handles and low domed cover with a floral finial, decorated in underglaze blue in a modified “Fitzhugh”-style pattern, h. 11”, l. 15”. [2500/4000] Illustrated 144 Chinese Export Porcelain Small Covered Tureen and Undertray, the footed oval tureen with strap handles, oval conforming undertray and fitted cover with floral finial, decorated in underglaze blue in the “Fitzhugh” pattern, l. 8”. [800/1200]

146

146 George III-Style Mahogany Sideboard, mid‑20th century, the bowed top with reeded edge above a conforming case fitted with two graduated central drawers flanked to either side by a cupboard door, raised on tapering square legs ending in spade feet, the whole accented with inlaid stringing, h. 37”, w. 68”, d. 21”. [350/500] Illustrated

145 Chinese Export Blue and White Porcelain Covered Hot Water Serving Dish, the oval, double-walled hot water dish with two handles, the conforming domed cover with artichoke finial, decorated in underglaze blue in the “Fitzhugh” pattern, l. 14‑1/2”. [1800/2500] Illustrated

147 Suite of Eight George III-Style Mahogany Dining Chairs, consisting of two armchairs and six sidechairs, all with a shaped, earred and foliate-carved crest above a like-carved pierced splat, the padded seat raised on cabriole legs headed by medallion carving and ending in ball-and-claw feet, h. 39‑1/2”. [2000/4000] Illustrated

143

148 Georgian-Style Mahogany Bed Steps, in the Chippendale taste, of two-step form, h. 18”, w. 18‑3/4”, d. 18‑1/4”. [75/125] 149 Georgian Revival Carved and Banded Mahogany Elliptical Banquet Table, fourth quarter 19th century and later, of large scale and Chippendale inspiration, fitted with two broad leaves, h. 29‑3/4”, w. 54‑1/4”, l. 155”. [3000/5000] Illustrated

145 150 Late George III Mahogany Settee, third quarter 19th century, in the Sheraton taste, with reeded crest rail, joined to similarly modeled arms on vasiform-turned supports, with reeded legs, now in beige and green striped upholstery on an ivory ground, h. 34‑3/4”, w. 59”, d. 30”. [500/800] Illustrated

150 151 George III-Style Line-Strung Mahogany Barometer, late 19th century, the case with contrasting lightwood stringing about the perimeter and having a thermometer over a small convex looking glass, the barometer dial with a painted and polished metal surface, h. 37‑3/4”, w. 10‑3/4”, d. 2”. [600/900] 152 George III-Style Mahogany Cabinet, composed of antique elements, the molded cornice above a case fitted with two paneled doors, the lower section fitted with a single deep drawer, raised on bracket feet, h. 71”, w. 44”, d. 14”. [400/700]

147

149

153 155 George III-Style Mahogany Settee, 19th century, in the Chippendale rococo taste, the padded shaped and domed back within a foliate-carved frame, joined by padded arms to the cushioned seat, raised above a shaped and pierced foliate-carved apron on cabriole legs ending in ball-and-claw feet, h. 43”, w. 50‑1/2”, d. 23”. [500/800] Illustrated

157

154

155

153 Pair of George III-Style Mahogany Hanging Cabinets, late 19th century, each with a molded broken swan’s-neck pediment centered by a plinth, over a single astragal-glazed door with inlaid banding, opening to a fabric-lined shelved interior, over a tapering cushion base, h. 59”, w. 29”, d. 10‑1/2”. [3000/5000] Illustrated 154 George III-Style Mahogany Tripod Table, late 19th century, the tilting square top with a carved floral guilloche edge, raised on a spiral-fluted urn-form standard to three splayed legs headed by foliate carving and ending in ball-and-claw feet, h. 38”, w. 33”, d. 33”. [800/1200] Illustrated

158

159 Pair of Chinese Export Porcelain Oval Platters, first half 20th century, decorated in the “Rose Medallion” pattern with a central bird and flower medallion surrounded by alternating panels of floral and figural designs, l. 13‑1/8”. [500/800] 160 Chinese Export Porcelain “Shrimp” Dish, 20th century, the ruyi-shaped dish glazed in celadon glaze with famille rose decoration over the glaze depicting flowers, foliage, butterflies and a bird, w. 8‑5/8”, l. 10‑7/8”. [300/500]

161 George III Mahogany and Burl Chest, 19th century and later, the banded rectangular top above a conforming case fitted with two short drawers over three graduated long drawers, raised on bracket feet, h. 39”, w. 43”, d. 39‑1/2”. [700/1000] Illustrated 162 George III-Style Line-Strung Mahogany Blanket Rack, mid‑20th century, the line-strung uprights flaring at the feet and joined by three sets of paired turned racks, h. 33‑3/4”, w. 26”, d. 9‑1/2”. [100/200]

161

163 Queen Anne-Style Mahogany Tea Table, mid‑19th century, the dished rectangular top above a conforming frieze fitted with a single compartmented drawer, raised on cabriole legs ending in pad feet, h. 30‑1/2”, w. 34”, d. 24”. [800/1200] Illustrated

156 Pair of George III-Style Mahogany Wig Stands, late 19th century, each with a molded circular open top joined by scrolling supports to a triangular stretcher fitted with a single drawer, faced as two small drawers, joined by turned supports to a shaped circular base with a central opening, raised on cabriole legs ending in pad feet, h. 32”, dia. 11‑1/2”. [250/400] 157 Large Chinese Famille Rose Porcelain Vase, first half 20th century, the baluster-form body with fretwork handles and decorated with a bird perched among flowering peonies on the front and calligraphy on the reverse, now mounted as a lamp with a custom wooden base and top, h. 33”. [300/500] Illustrated 158 Good Pair of Chinese Export Porcelain Small Bowls, 19th century, each of circular outline and finely decorated in the “Rose Medallion” pattern, with a central figural medallion with alternating panels of figural and antique decoration framed by key-fret borders, topped by a border of butterflies, flowers, fruit and foliage, h. 1‑1/2”, dia. 6‑5/8”. [500/800] Illustrated

163

164 George III Mahogany and Oak Bureau, early 19th century, the slant front opening to an interior fitted with a variety of drawers and cubbyholes flanking a central cupboard, over four graduated long drawers, the whole raised on shaped bracket feet, h. 41‑1/2”, w. 36‑1/4”, d. 19‑1/2”. [800/1200] Illustrated 165 George III-Style Mahogany Tripod Table, late 19th century, the tilting circular dished top centered by an inlaid patera and raised on a turned and bulbous standard to three splayed legs ending in ball-and-claw feet, h. 27”, dia. 23‑1/2”. [250/400]

168 George III-Style Mahogany Chest-onChest, late 19th century, the molded and dentillated cornice above two short drawers over three graduated long drawers, all flanked by a fluted, canted pilaster, the lower section fitted with a brushing slide over three graduated long drawers, raised on bracket feet, h. 74”, w. 44”, d. 20‑3/4”. [2000/4000] Illustrated 169 George III-Style Polychromed Tallcase Clock, 19th century, in the chinoiserie taste, the domed hood with end finials and single glazed door opening to an engraved brass dial surmounted by a rondel inscribed “Tempus Fugit”, the case fitted with a single domed door raised on a square base, the whole with gilt and polychromed accents of a figural oriental landscape, h. 84”, w. 19”, d. 10”. [3000/5000] Illustrated

169

168

166 George III-Style Mahogany Desk, late 19th century, the rectangular top with an inset leather writing surface and bowed center section above a conforming frieze fitted with a central drawer flanked to either side by smaller drawers, all with fluted fronts, raised on two pedestals, each fitted with a short drawer over a deeper drawer, raised on tapering square legs ending in spade feet on casters, h. 31”, w. 60”, d. 31‑3/4”. [800/1200] 167 Joel Owen (British; Active 1892‑1931) “Mountainous Landscape at Sunset with Sailboats on a Lake”, oil on canvas, signed lower right “J. Owen”, 16‑1/4” x 24‑1/4”. Presented in a handsome giltwood frame. [1200/1800]

164

170

170 top

170 Nest of Four Chinese Export Red Lacquer Tables, second quarter 19th century, retailed by Maison Alphonse, Giroux, Paris, the tops superbly decorated with Chinese court scenes, h. 28‑1/2”, w. 19‑1/2”, d. 12”. [800/1200] Illustrated 171 Anglo-American Aesthetic Brass Tazza, third quarter 19th century, decorated with Japanese figures on a lakeshore with a hammered background, with fauxbamboo handles, edges and feet, h. 6”, w. 15”, d. 10”. [1200/1800] Illustrated 172 Pair of Japanese Brass and Multi-Metal Vases, 20th century, each in the form of a cylindrical brass vase with winged dragon handles, spread lip rims and reserve panels of multi-metal figures and birds, the vases on galleried bases supported by winged dragons, h. 11‑3/4”. [1200/1800] Illustrated

172

171

173

174 Japonesque Gilded Bronze Baluster-Form Vase, 19th century, cast with raised decoration of a phoenix and sparrow in flight and a spurious Chinese reign mark, now wired as a moderator lamp with a frosted glass globe with key-fret decoration, h. 25” (with shade). [400/700] Illustrated 175 J. Gould and H. C. Richter (British, 19th Century) “Pinicola Enucleator”, hand-colored lithograph printed by Walter, with folio page attached on the reverse, sight 20‑1/2” x 13‑3/4”. Glazed, handsomely matted and framed. [150/300]

174

173 Queen Anne-Style Polychromed Secretary Bookcase, in the chinoiserie taste, the molded and double-domed cornice with end spiral-reeded finials, above a case fitted with two conforming doors opening to a shelved interior, the lower section fitted with a slant front opening to a variety of drawers and cubbyholes over two long drawers, and raised on cabriole legs ending in scrolled toes, the whole with gesso and polychromed accents of figural oriental scenes, h. 85”, w. 49‑3/4”, d. 19‑1/2”. [2500/4000] Illustrated

177

176 George III Mahogany Armchair, first quarter 19th century, in the Chinese Chippendale taste, the domed and earred crest above a pierced and interlacing splat, joined by fluted arms to the padded needlework seat, depicting various animals in a fanciful garden, above a blind-fretcarved frieze, raised on like-carved square legs joined by a pierced H-form stretcher, h. 39”. [300/500]

177 Antique Persian Qashqai Carpet, 7’ 3” x 9’ 6”. [3500/5000] Illustrated 178 Antique Caucasian Kazak Carpet, 4’ x 9’ 4”. [1200/1800] 179 Agra Serapi Carpet, 10’ x 14’. [1800/2500] 180 Persian Mazlaghan Carpet, 4’ 3” x 6’ 5”. [600/900]

186 Antique Moroccan Tribal Carpet, 4’ 8” x 6’ 5”. [600/900] 187 Abadeh Runner, 9’ 5” x 3’. [400/700] 188 Persian TabrizStyle Carpet, 9’ x 12’. [1000/1500] 189 Indo-Agra Design Carpet, 4’ 2” x 6’ 8”. [100/200] 190 Antique Kilim Runner, 3’ 4” x 8’ 10”. [400/700] 191 Hamadan Carpet, 4’ 1” x 7’ 1”. [200/400] 192 Persian Mahal Carpet, 8’ x 11’. [400/700]

181 181 Semi-Antique Kerman Carpet, 12’ 8” x 17’ 6”. [3000/5000] Illustrated 182 Antique Mahal Carpet, 10’ 8” x 20’. [1800/2500] 183 Isfahan Carpet, 17’ x 10’ 4”. [1200/1800] 184 Antique Persian Serab Camel Hair Runner, 3’ 2” x 11’ 7”. [1200/1800] Illustrated

193 Semi-Antique Persian Sarouk Carpet, 9’ 5” x 13’ 3”. [800/1200] 194 Semi-Antique Persian Mir-Design Hall Carpet, 9’ 3” x 26’ 4”. [3000/5000] 195 Semi-Antique Persian Heriz Carpet, 6’ 4” x 8’ 1”. [3000/5000]

184

185 Kilim Carpet, 6’ x 8’ 6”. [200/400]

199 Pair of Louis XVI-Style Gilt-Bronze Five-Light Appliques, of large scale and decorated with cast masques, molded fruit, and drops of oak leaves and acorns, all beneath a bowknot and tassel, electrified, h. 41”, w. 25”, d. 12”. [4500/7000] Illustrated 200 Louis XIV-Style Ormolu-Mounted Kingwood and Marble-Top Center Table, circa 1900, the circular Verde Antico marble top with projecting sections, within a brass banding and above a frieze with ormolu millwork panels and ormolu masques, raised on cabriole legs headed by espagnolettes and ending in sabots, h. 31‑1/2”, dia. 31”. [1800/2500] Illustrated 196

196 detail 196 Fine Signed Louis XV Rosewood, Kingwood and Marble-Top Commode, third quarter 18th century, by Jean-Francois Lapie (1720‑1797; Master 1763), the shaped Rance marble top with a molded edge above a conforming bombe case fitted with two short drawers over two long drawers, all banded and quarter veneered, the sides with matchbook-veneered banded panels, raised on shaped legs to sabots, the whole fitted with finely wrought ormolu accents in the rococo taste, stamped on the top case rail “J.-F. LAPIE”, h. 34”, w. 49”, d. 23‑1/2”. [5000/8000] Illustrated 197 Three-Piece Third Republic Gilt-Bronze and Rouge Royale Marble Garniture Set, fourth quarter 19th century, in the Neo-Grec taste, comprised of a clock and a pair of garniture vases, the clock with a seated bronze depicting Diana, the base signed “Aubert”, probably Pierre Aubert (1853‑1912), h. 27”, w. 20”, d. 8‑1/2”, the garniture vases each with an elaborate palmettedecorated lid with griffin handles, the bodies with classical masques, h. 22”, w. 11”, d. 5”. [2500/4000] Illustrated 198 Erard, Paris, Rosewood and Giltwood Harp, second quarter 19th century, in Gothic decor, the column decorated with turning oak leaves, vines and acorns, and capped niches depicting maidens and angels with various musical instruments, the reverse neck engraved: “2347” and “LONDON No. 6578”, h. 70‑1/2”, w. 37‑1/2”, d. 22”. [2500/4000] Illustrated

198

201 After Joseph-Charles Marin (French, 1759‑1834) “Bust of a Young Woman”, fourth quarter 19th century, a patinated bronze tabletop bust of a young woman as Flora, with a wreath and sash of roses, signed on the reverse “Marin” and presented on a waisted pedestal base, h. 9”. [200/400]

197

202 Pair of French Belle Epoque Gilt-Bronze Candlesticks, fourth quarter 19th century, in the Louis XV style, h. 10”. [600/900]

199 pair

206 pair

203 Pair of Neo-Grec Gilt-Bronze Covered Cups, fourth quarter 19th century, each with molded putti dancing and playing instruments, with incised anthemia on the covers and bases, h. 10‑1/4”. [300/500] 204 Pair of Louis XV-Style Gilt-Metal and Crystal ThreeLight Appliques, 20th century, each with a graduated mirrored backpiece emanating scrolling patterns and three candlearms, all richly dressed with swags of faceted beads and pendant faceted oval drops, h. 20”, w. 14‑1/2”, d. 9‑1/4”. [400/700]

200

205 Louis XV-Style Gilt-Bronze Jardiniere, ca. 1900, in the rococo taste, of navette form and decorated with robust rococo scrolls and cartouches, with opposing handles and raised on four scrolling feet, fitted with a detachable brass liner, h. 7”, w. 8”, l. 22”. [900/1200]

209

208 Good Pair of Napoleon III Giltwood Fauteuils, third quarter 19th century, in the Louis XV taste, the padded rounded back surmounted by a shield- and swag-carved crest, joined to the padded seat by outscrolled arms, raised above a shield-carved apron on cabriole legs headed by foliate carving and ending in scrolled toes, upholstered in period Aubusson tapestry depicting figural pastoral scenes, h. 42”. Provenance: M. Granet, French Antiques, New Orleans, Louisiana. [2000/4000] Illustrated 209 Good Napoleon III Giltwood Settee, third quarter 19th century, in the Louis XV taste, the padded rounded rectangular back surmounted by a shield- and swag-carved crest, joined by outscrolled padded arms to the padded seat, above a shield-carved apron, raised on cabriole legs headed by foliate carving and ending in scrolled toes, upholstered in period Aubusson tapestry depicting a courting couple in a pastoral landscape, h. 46”, w. 63‑1/2”, d. 26”. Provenance: M. Granet, French Antiques, New Orleans, Louisiana. [1500/2500] Illustrated

208

210 Louis XV-Style Brass-Mounted Polychromed Cabinet, early 20th century, the shaped top centered by a polychromed pastoral landscape, above a conforming bombe case fitted with a single door, raised on splayed legs banded with ormolu millwork and ending in sabots, the whole with polychromed scenes in the style of Vernis Martin, h. 38”, w. 26‑1/2”, d. 28”. [600/900]

213

206 Large Pair of Napoleon III Gilt-Bronze Five-Light Gasolier Appliques, third quarter 19th century, of Louis XVI inspiration, the light in two tiers, each retaining its period bobeches, cup and gas key, the backplate of cartouche form, capped by a leonine masque, previously wired for electrification, h. 17”, w. 15‑1/2”, d. 16‑1/2”. [4500/7000] Illustrated previous page 207 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”. [1000/1500]

211 Continental School (Second Quarter 19th Century) “Mountainous View of a Farm and Figures”, oil on canvas, indistinctly signed lower right, 19” x 26”. Handsomely framed. [1200/1800] 212 Guillaume Lauters (Belgian, 19th/20th Century) and Franz Van Severdonck (Belgian, 1809‑1889) “Farmer with Sheep and Goats Resting by a Boat-Filled Lake”, 1885, oil on panel, double signed lower right “G. Lauters” and along bottom center “Les chevres moutons par F. Van Severdonck”, with an inscription on the reverse “Je soussigne declare que le tableau ci contre est peint par moi sur l’ordre et pour compte de monsieur A. D. Huyvetter fils d’Anvers, G. Lauters, 1885”, retains “Lasslow Art Galleries, 959 Madison Avenue, New York” label en verso, 12” x 17”. Presented in a period gilt and gesso frame with artist plaque. [1200/1800]

214

216

213 Airy and Elegant French Gilt-Lacquered Brass and Cut Glass Six-Light Chandelier, in the Louis XVI taste, dressed with draped cushion-cut glass chains, cut fleurettes, faceted and spherical drops in three sizes and cut spears, electrified and fitted with faux candles, h. 35”, dia. 19‑1/2”. [600/900] Illustrated 214 Louis XV-Style Giltwood and Marble-Top Side Table, late 19th century, the shaped Carrara marble top with a molded edge above a conforming frieze centered by a foliate shell carving, raised on pierced scrolling legs joined by an elaborately floral-carved stretcher and ending in in-scrolled acanthine toes, h. 35‑1/2”, w. 49”, d. 21‑3/4”. [3000/5000] Illustrated 215 Louis XV-Style Marble Portrait Bust, depicting a lady of fashion, her hair loosely braided, her bodice draped with a flowing gown, on a flaring square base, h. 29”, w. 19‑1/2”, d. 8”. [700/1000]

217 216 Pair of French Belle Epoque Gilt-Bronze Five-Light Candelabra, fourth quarter 19th century, in the rococo taste, h. 23”, dia. 16‑1/2”. [2000/4000] Illustrated 217 Italian School (Third Quarter 18th Century) “Portrait of a Lady Holding a Carnation, Attended by a Blackamoor Offering a Basket of Flowers”, oil on canvas, unsigned, canvas reverse with partial inscription identifying the sitter “March.a (indecipherable) natta delpezzo”, 37‑1/4” x 26”. Presented in a contemporary molded giltwood frame. [2000/4000] Illustrated

220 Pierre Auguste Renoir (French, 1841‑1919) “Berthe Morisot”, 1892, etching, plate signed in the reverse lower left, sight 5‑1/2” x 4‑1/2”. Glazed and framed. [400/700] 221 Continental Gilt-Brass-Mounted Polychromed and Parcel-Gilt Porcelain Covered Sugar Bowl, late 19th century, decorated in the 18th-century Meissen taste, the porcelain cover with harbor scenes, the bowl also depicting harbor scenes flanked by elaborate scrolls and flowers, the finial fashioned as a gilt-brass melon branch, the bowl mounted with a pierced rocaille collar and scrolling melon vine handles, the base boldly marked in overglaze gilt “74.”, h. 7”, w. 5‑1/2”. [500/800] Illustrated

222

222 Pair of Sevres-Style Pink-Ground Porcelain Urns, 20th century, each with two open handles and topographical decoration, h. 17‑1/2”, w. 9‑1/2”. [600/900] Illustrated

221

223 French Gilt-Bronze, Champleve and Enameled Porcelain Jewel Box, ca. 1900, of rectangular form, the lid set with a “Swiss”-enameled porcelain plaque of Euterpe worshipped by an adoring putto, the sides set with various lakeside landscapes, the beveled lid and base decorated with a band of polychrome champleve enameled rococo scrolls, raised on four toupie feet, the interior lined in claret velvet, h. 4‑1/4”, w. 6‑1/4”, d. 4‑3/4”. [600/900] Illustrated

223

218 After Nicolas Lavreince (Swiss, 1737‑1807) “Qu’en dit L’Abbe, A Madame la Comtesse d’Ogny, Par Son tres Humble e tres Obeissant Serviteur N. De Launay”, engraved by Nicolas de Launay (French 1739‑1792), hand-colored engraving, depicting the lady choosing wallpaper from various samples while simultaneously having a singing lesson as her hair is attended to, sight 20‑1/2” x 13”. Glazed and presented in an ornate giltwood frame in the Louis XVI taste, the domed crest surmounted by a floral wreath and torchere with pendant floral garlands, the whole with intricate carving. [125/250] 219 Pierre-Auguste Renoir (French, 1841‑1919) “Femme Nue Couchee Tournee a Droite”, etching, later edition, sight 6‑3/4” x 9‑1/4”. Glazed, matted and framed. [500/800]

224

224 Viennese Gilt-Metal and Enamel CarriageForm Jewel Casket, first quarter 20th century, the seat, carriage top, door panels and splasher each set with a “Swiss”-enameled porcelain plaque of romantic courtiers, the side panels of flowers, with beveled glass windows, the hinged seat and top each opening to reveal a peach velvet-lined compartment, the wheels fully functional, h. 4‑1/4”, w. 2‑1/2”, l. 7”. [700/1000] Illustrated 225 Continental Gilt-Brass and Portrait Miniature Trinket Box, ca. 1900, of oval form, the body decorated with milled leaf-and-dart banding, the hinged lid inset with a small oval painted miniature on ivory in the manner of Adelaide Labille Guiard (French, 1749‑1803), glazed and mantled by applied palmettes and scrolls, the interior lined with cream velvet, w. 3‑1/2”, d. 2‑3/4”. [300/500] Illustrated

226 French Gilt-Bronze-Framed Oval Portrait Miniature of a Rococo Lady of Fashion, first quarter 20th century, the oval painted ivory miniature of a woman in a rose-colored dress and large hat with rose-colored plumes, in the manner of Adelaide Labille Guiard (French, 1749‑1803), signed, lower right “Labiane”, presented in a rectangular gilt-bronze frame with applied laurel swags and paterae, within egg-and-dart banding and engine-turned edge, with neoclassical-style torch, quiver and wreath cresting, h. 7‑1/4”, w. 5‑5/8”. [500/800] Illustrated 227 Good French Gold and Pique Portrait Miniature Patchbox, ca. 1800, the circular tortoiseshell box with painted burgundy-ground pique-work dots and stars and milled eighteen-karat gold banding, the lid centered with a conforming painted ivory portrait miniature of a lady of fashion, the interior unfinished and revealing the natural tortoiseshell, dia. 3”. [300/500] Illustrated

226

227

225

228 Continental Gilt-Bronze, Glass and Enameled Porcelain Portrait Jewel Casket, first quarter 20th century, of navette form, the gilt-bronze body decorated with large ovolo banding of alternating trellis and paterae separated by laurel bouquets, the hinged beveled glass lid within a reed-and-laurel frame and centered by a convex enameled portrait plaque of “Una Gitana” after Angelo Asti (Italian, 1847‑1903) mantled by gilt-bronze laurel wreaths, the interior with a plush “deep-button” cream satin bottom, w. 6”, d. 4‑1/4”. [400/700] 229 Continental Gilt-Bronze and Enamel Jewel Casket, first quarter 20th century, of rectangular form, the lid and all four sides inset with convex enameled plaques of lilies of the valley on a blue celeste ground with a red and white “jewel” beaded border, the lid opening to reveal a deep-beaded cream satin-lined interior, the whole raised on four scrolling bronze feet, h. 2‑1/2”, w. 4‑1/4”, d. 3”. [300/500]

230 Louis XV-Style Kingwood and Ebonized Bureau Plat, late 19th century, the rectangular top with an inset shaped leather writing surface and corner ormolu mounts, above a frieze fitted with two end drawers, raised on ebonized cabriole legs headed by ormolu mounts and ending in sabots, h. 30‑1/2”, w. 56”, d. 28”. [1400/1800] Illustrated 230

231 Napoleon III Ebonized and Marquetry Center Table, third quarter 19th century, the rectangular top with a molded edge and centered by an elaborate marquetry floral basket, above a shaped frieze centered by ormolu mounts flanked to each side by inlaid scrolls, raised on cabriole legs inlaid en suite and ending in sabots, h. 29‑1/2”, w. 30‑1/2”, d. 18‑1/2”. [1400/1800] Illustrated

232

234

231

233

232 Pair of Baccarat Enameled and Brass-Mounted Opaline Glass Lamps, third quarter 19th century, each of slightly waisted cylindrical form and decorated with a neoclassical maiden, each maiden carrying a different attribute of Apollo - a bow and a lyre - now mounted in a galleried brass frame with pendant handles and four acanthus feet, one with a small, round “Baccarat, France” paper label on the underside, electrified and illuminated from within, h. 18” (22‑1/2” to top of socket). [900/1200] Illustrated

233 Sevres-Style Brass-Mounted Porcelain Trinket Box, first quarter 20th century, of circular form, the cover decorated with two lovers in a garden, the base with a pastoral landscape, h. 3‑3/4”, dia. 5”. [500/800] Illustrated

234 Pair of Sevres-Style Gilt-Brass-Mounted Porcelain Covered Urns, circa 1900, in the late 18th century taste, each decorated with annulated rosebud-strewn trellis work, the parcel-gilt-framed obverse reserves depicting courting couples in a garden setting, each signed: “A. Daret”, the reverse with landscapes, both examples with satyr-masque handles, the cover interiors marked with blue crossed “L”s enclosing “BB” above “D.”, h. 18‑1/2”. [2500/4000] Illustrated

239

235 Very Fine Sevres Cobalt Blue Porcelain Tazza, 1885, decorated with the seal of the Republic of France, signed with the tan Sevres signature and a green 1882 blank mark, h. 9‑3/4”, dia. 12‑3/4”. [2000/4000] Illustrated

236 Forty-Three-Piece English Rococo Partial Dessert Service, mid‑19th century, decorated in gold and white, including a waste bowl, dia. 7”, a cake plate, dia. 10‑1/2”, twelve teacups, eleven coffee cups and eighteen saucers. [125/250]

237

237 Dresden Porcelain Cabinet Plate Set, fourth quarter 19th century, in a giltwood frame, the painted panel depicting a pair of kittens eyeing a frog, set in a parcelgilt-decorated rim on a deep cobalt ground, the giltwood frame with a beaded edge, the plate marked “Saxony SB Dresden”, dia. 11‑3/8”. [1200/1800] Illustrated 238 French Terra Cotta Portrait Bust of Marie Antoinette, 19th century, in the manner of Louis-Simon Boizot (1743‑1809), the figure portrayed with upswept hair and draped in classical garb, h. 27”, w. 17”. [1000/1500]

235

239 Third Republic Porcelain-Mounted Gilt-Bronze and Brass Mantel Clock, ca. 1900, in the Louis XVI taste, mounted with cobalt, floral and gilt porcelain panels in the 18th-century Sevres style, the painted face flanked by foliate-draped brackets, the crest with a classical bust, the base a satyr masque, h. 12”, w. 12‑1/2”, d. 5‑3/4”. [1500/2500] Illustrated

240 Louis XV-Style Ormolu-Mounted Kingwood Tiered Serving Table, the turtle-form top within a brass edging, banded and inlaid with various scrolling foliate patterns, joined to a like larger lower surface by ormolu supports in the form of putti, raised on cabriole legs ending in sabots, h. 36”, w. 32”, d. 19‑1/2”. [2500/4000] Illustrated

241

241 Rare Pair of Christofle Second Empire Gilt Copper Allegorical Plaques, third quarter 19th century, each oval concave electrotype plaque in relief with allegorical scenes of “Winter”, depicting three putti huddled over a fire and overseen by Artemis, and “Autumn”, depicting three putti exhausted from the labor of the harvest and overseen by Demeter, each presented in the original ebonized and parcel-gilt frame, overall 13‑1/2” x 10”. [1200/1800] Illustrated

242 Louis XV-Style Kingwood and Exotic Woods Occasional Table, 18th century, the shaped rectangular top banded and with a floral inlay, the back with a pull-up pleated fabric screen, above a conforming case fitted with a leather-inset writing slide over two drawers, the drawers and sides all inlaid en suite, raised on cabriole legs ending in sabots, h. 27”, w. 19‑1/2”, d. 13‑1/2”. [3000/5000] Illustrated 243 Sevres Hand-Painted and Parcel-Gilt Portrait Plate of Marie Antoinette, first quarter 20th century, the portrait signed “Hebrie”, the underside titled in red “Marie Antoinette”, above a green lozenge-enclosed “S.46”, circular red St. Cloud mark, circular pale blue LouisPhilippe mark and “France” in red script, dia. 9‑1/2”. [125/250]

240

242

244 After Augustin Pajou (French, 1730‑1809) “La Comtesse du Barry”, a fourth quarter 19th-century terra cotta bust after the 1773 model, inscribed on the reverse “Portrait de Madame La Comtesse Dy Bary par Pajou/ Secul de Roy e Professeur de son Acad de Pint e Scul/ 1773”, presented on a later marble socle, h. 26”, w. 18”. [1800/2500] Illustrated 245 Louis XV-Style Kingwood and Marble-Top Bedside Commode, late 19th century, the shaped rectangular Breche d’Aleps marble top within an ormolu banding, above a conforming case fitted with two drawers, the drawers and the sides quarter veneered, raised on cabriole legs ending in sabots, h. 29‑1/4”, w. 20‑3/4”, d. 13‑1/2”. [800/1200]

246 Eight-Piece English Partial Dessert Service, third quarter 19th century, consisting of a pair of tazze, h. 2‑3/4”, dia. 9”, and six dessert plates, dia. 9”. [200/400] Illustrated

250

250 top

247 Pair of Louis XVI-Style Gilt-Bronze and Porcelain Pedestals, the circular porcelain tops raised on tripodal brass stands headed by ram’s masques and raised on concave tripartite porcelain bases, the bases marked with a Sevres signature, h. 31‑1/2”, dia. 11‑1/2”. [900/1200] 248 Diminutive Continental Gilt-Bronze and Enamel Tazza, first quarter 20th century, decorated all over with bands and bouquets of summer flowers on a bleu celeste ground, with beaded bronze rim and scrolling feet, h. 3‑1/4”, dia. 4‑3/4”. [200/400]

249 Small Continental Gilt-Metal and Enameled Porcelain Trinket Box, 20th century, of oval form, the gilt body decorated with milled rinceaux, the hinged lid set with an enameled porcelain portrait plaque of “Una Gitana” after Angelo Asti (Italian, 1847‑1903), the interior lined in claret velvet, w. 2‑1/4”, l. 2‑7/8”. [250/400]

244

251 pair

250 Napoleon III Gilt-BrassMounted Kingwood and Porcelain Occasional Table, fourth quarter 19th century, the top with an inset oval Sevresstyle porcelain tray and four oval Sevres-style floral porcelain plaques, the center shelf and base each with an inset floral Sevresstyle porcelain plaque, h. 29‑1/2”, w. 21‑1/2”, d. 18”. [1400/1800] Illustrated 251 Pair of Louis XVI-Style Giltwood and Marble-Top Console Tables, early 20th century, each with a demi-lune Carrara marble top above a gadroon-carved frieze, raised on annulated foliate-carved scrolling supports and a central support in the form of a quiver of arrows ending in hoof feet on a small plinth, h. 36”, w. 19‑1/2”, d. 12”. [2500/4000] Illustrated

252

253

253 Monumental Italian Reticulated Porcelain Corbeille in the Louis XV Taste, fourth quarter 20th century, by Tyche Porcellane d’Arte, Usmate Velate, Milan, limited edition number 65, the fluted standard surrounded by a quartet of frolicking putti separated by their musical instruments which they have dropped to the ground, surmounted by an everted and reticulated circular corbeille, and raised above a waisted base and cavetto-canted square plinth mounted in a conforming gilt-bronze mount with toupie feet, h. 27‑3/4”, w. 12‑1/4”. [2000/4000] Illustrated

254 Italian Neoclassical-Style Polychromed and MarbleTop Cabinet, the rectangular variegated coral marble top with rounded corners above a conforming case fitted with a single long drawer over two paneled cupboard doors, all with delicate polychromed scrolling and floral accents, the sides bi-paneled and decorated en suite, raised on tapering toupie feet, h. 49‑3/4”, w. 43‑1/2”, d. 20‑1/2”. [4500/7000] Illustrated

252 Large Continental Gilt-Bronze and Cut Glass Epergne, fourth quarter 19th century, composed of a giltbronze stand supporting a cut glass center bowl and a pair of cut glass cornucopia vases, each terminating in three candle branches, h. 20”, w. 12‑3/4”, l. 40”. [1400/1800] Illustrated 254

255 Louis XVI-Style Giltwood and Marble-Top Center Table, early 19th century, the inset Portor marble top with projecting corners and within a conforming molded edge, above a foliate-fluted frieze fitted with a single drawer, raised on fluted tapering circular legs headed by foliate block carving and ending in toupie feet, h. 31”, w. 40”, d. 26‑1/2”. [1500/2500] Illustrated 256 Pair of French Aesthetic Movement PlatinumGround Garniture Vases, fourth quarter 19th century, each of footed tapering cylindrical form and having a finely painted floral spray, the verso also in floral decor, with a gilt rim and base, h. 7‑5/8”. [800/1200] Illustrated

255

259

256

257 Louis XV-Style Giltwood and Polychromed Child’s Chair, late 19th century, the shaped and padded back within a molded frame, surmounted by a floral crest, the circular padded seat above a floral-carved apron, raised on molded cabriole legs ending in scrolled toes, upholstered in Aubusson tapestry, h. 29”. [1200/1800]

258 Louis XVI Creme-Peinte Voyeuse, late 18th century, the padded rectangular crest and back above the elongated padded seat, raised on stop-fluted tapering circular legs ending in toupie feet, h. 34”. [900/1200] 259 Louis XVI Giltwood Low Fauteuil, late 18th century, the padded rectangular back surmounted by a slightly domed crest and foliate end finials, joined by acanthinecarved arms and fluted uprights to the padded seat, raised on stop-fluted tapering circular legs ending in toupie feet, h. 39‑1/2”. [1800/2500] Illustrated 262

263 Twenty-Four-Piece Vista Alegre, Portugal, Coffee Service, mid‑20th century, in the Paris style, consisting of twelve coffee cups decorated with hunt scenes and twelve saucers with decorative borders, all richly gilded, signed “VA” for Vista Alegre, cup h. 2‑1/4”, saucer dia. 5”. [250/400] 264 Pair of Polychromed and Parcel-Gilt Paris Porcelain Scent Bottles, mid‑19th century, in the manner of Jacob Petit, each with a lobed disc-form stopper, the circular bodies on a Paris green ground, the reserves depicting genre scenes, the verso depicting tranquil landscapes, h. 7”, w. 5‑1/4”. [600/9000]

266 260 Louis XVI Giltwood Child’s Fauteuil, late 18th century, the padded oval back within a molded and annulated frame surmounted by a floral crest, joined by padded acanthinecarved arms to the like seat, above a guilloche-carved apron, raised on fluted tapering circular legs ending in peg feet, upholstered in figural Aubusson tapestry, h. 32‑1/2”. [2000/4000] 261 Louis XVI-Style Polychromed Trumeau, early 20th century, the rectangular plate within a molded frame, surmounted by an eglomise panel of a pastoral landscape, h. 50”, w. 26‑1/2”. [600/900] 262 Louis XVI Mahogany Triple-Top Games Table, late 18th century, the demi-lune top with brass banding, opening to a wooden surface and further opening to a baize-lined surface, above a conforming frieze with brass-bound panels, the whole raised on fluted tapering circular legs ending in brass caps on casters, h. 30‑3/4”, w. 42‑1/2”, d. 21‑1/4”. [3000/5000] Illustrated previous page

267

265 Pair of Napoleon III Ebonized, Boulle and Marble-Top Parlor Cabinets, third quarter 19th century, the bowed Portor marble top with projecting corners above a conforming case fitted with a central cupboard centered by an oval boulle panel, flanked to either side by boulle paneled cupboard doors, raised on large ormolu paw feet, the whole accented with ormolu mounts and millwork, h. 42”, w. 53”, d. 17”. [1500/2500] 268

266 Richard Ginori Enameled Porcelain Plaque After Van Dyck’s “Rest on the Flight Into Egypt”, ca. 1900, Florence, the beautifully enameled rectangular plaque depicting a detail of the guardian putti from the masterwork, the reverse with the green “Decorazione Richard Ginori” stamp, black “Ginori” stamp and titled in orange, 5‑1/2” x 8‑1/2”, presented in an antique-gilded carved wooden frame with taupe-painted slip, 11‑3/4” x 14‑1/4”. [800/1200] Illustrated

274

268 Louis XVI-Style Mahogany Desk, 20th century, the rectangular top with an inset leather writing surface and brass banding, above a conforming frieze fitted with a central drawer, flanked to either side by two small drawers, all paneled and with brass banding, the sides paneled and fitted with a pull-out leather inset slide, the whole raised on fluted tapering circular legs ending in ormolu peg feet, h. 30‑1/2”, w. 51”, d. 27‑1/4”. [2500/4000] Illustrated 269 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] 270 Edouard Manet (French, 1832‑1883) “Le Chat et Les Fleurs”, etching, plate signed lower left “Manet”, sight 8‑1/4” x 6‑1/2”. Glazed, handsomely matted and framed. [450/700] 271 Jean-Baptiste-Camille Corot (French, 1796‑1875), a double-sided graphite drawing on paper, one side depicting a view of a village street and a separate sketch of the facade of a building, the reverse with a slight sketch of a wooded river landscape, with the artist’s estate sale ink stamp “Vente Corot”, verso retains an unidentified label with a registration number “17140‑4”, sight 9‑1/2” x 6‑5/8”. Glazed, handsomely matted and presented in a double-sided giltwood frame. Provenance: Luba Glade, New Orleans, Louisiana. [900/1200] 272 Good Louis XV-Style Lacquered “Chinoiserie” Cabinet, early 20th century, attributed to Maison Jansen, the molded and domed cornice above a deep cordovanlacquered case fitted with two doors, each inset with two red-lacquered panels featuring gilt oriental landscape scenes, the whole raised on bulbous cabriole feet, h. 69”, w. 48”, d. 17”. [2500/4000] 273 French School (Second Quarter 20th Century) “Outdoor Cafe Scene in Paris”, oil on canvas, indistinctly signed lower right, 7‑3/4” x 9‑3/4”. Handsomely framed. [250/400]

267 Louis XVI-Style Mahogany and Marble-Top Bouillotte Table, fourth quarter 19th century, the circular Carrara marble top within a full pierced brass gallery, above a conforming frieze fitted with a single drawer and two pull-out candle slides, raised on fluted tapering circular legs ending in peg feet, h. 28‑1/2”, dia. 24”. [800/1200] Illustrated

274 Massive Chinese Carved Ivory Model of an Incense Burner and Stand, 20th century, the body of canted rectangular outline resting on four lion-head and paw feet carved on the front with a panel in high relief of two dragons pursuing the Flaming Pearl, with additional panels in relief with figures, lion masks with loose ring handles and side scrollwork handles with loose rings, the sides additionally with elaborately carved flaring handles with loose rings above a lion mask, the uppermost section carved as a tile roof pavilion with dragon-carved pillars sheltering two officials playing Go in front of a sculptured rockwork screen, the incense burner resting on a conforming canted ivory base with lion-mask ring handles, presented on a fitted wooden stand made from the seat of a chair, of rectangular outline with squared legs and foliate scrollwork corner aprons, the wooden body clearly lacquered, h. 62” (overall). [5000/8000] Illustrated

275 Unusual Chinese Carved Grayish-White Jade Astrological Pendant Plaque and Medallion, composed of a central circular medallion surrounded by twelve shaped pendants, each carved in low relief with a Zodiac animal on one side and its corresponding character on the reverse, the central medallion with the trigrams of the I Ching, presented in a fitted lobed wooden box, dia. 10‑3/8”. [20000/40000] Illustrated

278 279

276

276 Elaborate Chinese Carved White Jade Plaque, 19th century, the rectangular plaque with domed top and serrated edges, carved in intricate openwork as the Hehe-Erxian Heavenly Twins among branches, foliage, ling chih fungus, plum blossoms and rockwork, the branches and foliage entwined and carved reaching through the plaque from front to back and to the front again, the jade plaque suspended on an elaborately carved rosewood display stand with dragon decor, jade h. 4‑1/4”, w. 3‑1/2”, stand h. 13‑1/4”. [700/1000] Illustrated

277

277 Chinese Carved Celadon Jade Figure of a Mongolian Pony, in the Ming Dynasty style, the even celadon-colored stone carved as a recumbent figure of a pony with bent front legs, upturned head with alert ears and incised details of mane and tail, h. 4‑1/8”, l. 6”. [1000/1500]

280

278 Chinese Carved Jadeite Statue of Guanyin, carved as a standing figure of the goddess clad in flowing robes and cowl standing on cresting waves, the stone of mottled green and brown color with scattered bright green spots, h. 13‑3/4”. [25000/40000] Illustrated 279 Fine Chinese Carved White Jade Rectangular Plaque Pendant, 20th century, the rectangular white stone carved in low relief on the front with a standing figure of Guan Sheng Di, the Daoist God of War, in military armor holding a halberd, the reverse carved with a stand of bamboo and a four-character inscription in archaic characters within a cartouche, the jade plaque suspended on an elaborately carved rosewood display stand with dragon decor, jade h. 3‑5/8”, w. 2‑3/8”, stand h. 13‑1/4”. [700/1000] Illustrated

275

280 Elaborate Chinese Carved Jadeite Double Vase, 20th century, carved in mottled green, lavender and brown stone as two joined baluster-form vases with undulating lips, covered in elaborate high relief as six fierce horned dragons among swirling clouds, with a fitted carved wooden stand, h. 11‑1/2” (including stand). [700/1000] Illustrated

281 Fine Chinese Tuan Stone Ink Stone and Cover, the stone in green with an intricately-carved well of waves and clouds in a conforming box also in tuan stone, the cover in green tuan stone with a rectangular ochre tuan stone plaque opening to the well, the cover engraved with a calligraphic inscription, w. 3‑9/16”, l. 5‑1/4”. [9000/12000] Illustrated 282 Framed Chinese Kossu Rank Badge, 18th/19th century, the badge depicting a goose among clouds and flowers above cresting waves, bordered in embroidery with lotus and Buddhistic symbols in “Forbidden Stitch”, h. 14‑1/2”, w. 14‑3/4”. The badge is for the front of a robe of a civil official of the fourth rank. [400/700] 283 Chinese White Jade Carving of a Grazing Horse, 20th century, carved as the standing figure of the horse with extended foreleg and lowered head grazing on grass, the base carved as low waving grass and underneath as clouds, presented in a fitted brocade box, h. 3‑1/2”, l. 7”. [500/800]

284 Good Chinese Naturalistic-Form Zitan Spill Vase, 19th century, carved in the round as a gnarled tree trunk, with spreading roots for feet, an entwined branch of plum blossoms crossing the front, the trunk having scars of dead branches, h. 8‑1/2”. [900/1200] Illustrated 285 Rare Chinese Carved Zitan Brush Rest, 19th century, the rare wood carved as three mountain peaks rising from swirling waters on the front, on the reverse the peaks rising from cresting waves and having an engraved artist’s seal within an irregular oval cartouche, w. 2‑1/2”, l. 9”. [1400/1800] Illustrated

281

286

288

284

285

287

286 Fine and Rare Chinese Carved Zitan Wood Statue of Guanyin, the dense, dark wood carved as the figure of the bodhisattva clad in flowing robes and cowl over a high coiffure, holding an elongated bottle vase with two lotus blossoms and a wilted lotus leaf, depicted standing on the back of a Buddhistic lion, the goddess with downcast eyes and a calm facial expression, the Buddhistic lion with open mouth, bulging eyes and stippled hair details, the reverse of the figure’s robes with an artist’s signature and seal, h. 19‑1/4”. [3500/5000] Illustrated 287 Fine and Rare Chinese Zitan Wood Cylindrical Covered Box, of circular outline and fitted with a conforming lid with a central hole, the highly polished body engraved with a ten-line calligraphic inscription, signature and artist’s seal within an oval, h. 5”, dia. 5”. [1500/2500] Illustrated 288 Fine, Rare and Large Chinese Embellished Zitan Brush Pot, of circular form with slightly waisted walls, the wooden body embellished with hardstone and motherof-pearl overlays and carved wooden tree trunks and branches depicting two prunus trees with the first flowers of spring, along with two birds in flight above the trees and bamboo foliage at their base, an engraved artist’s signature and seal to the side of the decoration, h. 8”, dia. 7‑1/2”. [3000/5000] Illustrated 289 Carved Ivory Page Turner, first half 20th century, of slightly curved shape following the curve of the tusk with flattened blade, the handle carved in relief on both sides with vining roses composed of blooms, buds and foliage, l. 14”. [300/500]

290 Chinese Carved Jade and Steel Dagger, 19th century, the hilt in celadon-colored jade and carved as a horse’s head and neck, the serrated steel blade with engraved designs of stylized clouds, accompanied by a later fitted wood and suede leather scabbard, l. 18”. [400/700] 291 Collection of Three Philippine Moro Tribe Edged Weapons, including two krisses, both first quarter 20th century, the first with a wavy 15‑1/2” blade, with brass hilt, the scabbard with exotic wood cap and brass body, the brass elements embossed with small crosses forming a textured pattern, overall l. 21‑3/4”; the second with an engraved wavy 21‑3/4” blade, the embossed silvered brass ferrule wrapped with twisted wire and terminating in a shaped exotic wood pommel, the wood scabbard wrapped with thin rattan and decorated at either end with engraved mother-of-pearl plaques, wrapped also with a brightly colored cotton sash, overall l. 28‑3/4”; and a barong, mid‑20th century, with a leaf-shaped 16” blade, the silvered brass ferrule wrapped with black cord and ending in an elaborately carved exotic wood pommel, the curved wood scabbard wrapped with thin rattan and decorated at either end with engraved mother-of-pearl plaques (one with inscription), wrapped also with a brightly colored cotton ribbon and taupe cotton bandana, overall l. 24‑3/4”. [300/500]

293

292

292 Good Chinese Embellished Rosewood Box, 19th century, the rich, dense rosewood body heavily embellished with wood, hardstone, jade, ivory and lacquer, the top depicting three figures and goats in a fenced garden with a pine tree and flowers, the front and two sides embellished with pine branches, flowers and rockwork, the back side plain, h. 3”, w. 7‑7/8”, l. 11”. [600/900] Illustrated 293 Chinese Enameled Zisha Clay Snuff Bottle, of flattened circular form with hexagonal base, in polychrome enamels with groups of flowers and butterflies, h. 2‑3/8”. [600/900] Illustrated 294 Chinese Finely Carved Boxwood Ruyi Scepter, 19th century, of conventional form, delicately carved in low relief with a Shou character on the head bordered by dragons and Buddhistic symbols on the body, with a gemstone, glass and silk tassel at the end, l. 13‑3/4”. [3500/5000] Illustrated 295 Group of Three Chinese Snuff Saucers, comprised of a plain ivory saucer with black veining, a translucent tortoiseshell saucer, and an enamel-on-copper saucer decorated with a mother and three children in an open pavilion on the face and floral decoration on the reverse, with a four-character Qianlong reign mark in blue enamel, dia. 1‑3/8” to 1‑5/8”. [500/800]

294

296 Chinese Carved Jade Mountain Sculpture, carved in olive green stone, the face sculpted in relief with a mountainous landscape depicting a sage studying a book, the mountainscape carved with pavilions and a pagoda among a forested landscape, h. 9‑1/4”, l. 10‑1/2”. [400/700] Illustrated

297 Chinese Mottled Jade Brush Washer, first half 20th century, the mottled green and black stone carved in the shape of an incurved lotus leaf, the base carved as curved stems, one raised to an end of the upturned leaf as a handle, the sides carved in relief as a lotus leaf, seed pod and flower bud, h. 2‑1/4”, w. 4”, l. 6”. [150/300] Illustrated 298 Large Chinese Carved Celadon Jade Lobed Vase, the stone of even celadon color with russet rivering, of quatrefoil outline on a splayed foot with elaborate pierced floral handles with suspended loose rings, h. 7‑3/4”, l. 11”. [25000/40000] Illustrated 299 Chinese Carved Jadeite Covered Double Gourd Vase, 20th century, carved in the shape of a double gourd vase with low-relief decoration on the reverse, the front carved in high relief with the figure of Huhai and his magical toad among peach trees, peonies and storks, and standing on a pierced rockwork-carved stand, h. 8‑3/4” (including stand). [600/900] Illustrated

300 suite of four

300 Suite of Four Framed Chinese Rice Paper Paintings, 19th century, painted in opaque colors on rice paper, each depicting scenes of officials and gentlemen in garden pavilions within walled compounds, mounted with cloth mats and presented in cloth-covered wooden frames and glazed, h. 14‑1/4”, w. 18‑1/4”. [2000/4000] Illustrated 301 Suite of Four Framed Chinese Rice Paper Paintings, 19th century, painted in opaque colors on rice paper, each depicting scenes of people enjoying restful times in garden pavilions, three with water gardens, mounted with cloth mats and presented in cloth-covered wooden frames and glazed, h. 14‑1/4”, w. 18‑1/4”. [2000/4000] Illustrated

301 suite of four

298 299

296

297

304 Chinese Finely Carved Jade Scroll Weight of Tsai Shen Yeh (The God of Wealth), 18th century, the smiling corpulent figure clad in an open robe, holding a silver ingot in one hand and a rosary in the other, and reclining on his large sack of wealth, the even celadon-colored stone carved in well-executed detail with a soft polish, w. 5”, l. 3‑5/8”. [600/900] Illustrated

305 303

306

302

304

307 305 Chinese Carved Boxwood Group, first half 20th century, the orange/yellow wood carved as a Buddhistic lion with curled mane, beard and tail, with snarling lips and bulging eyes, grasping and guarding an openwork basket with a ribboned sash, and standing on a rockwork base, carved from a large single piece of wood, h. 7‑1/4”, w. 7”, d. 5‑1/4”. [250/400] Illustrated 306 Chinese Carved Rosewood Brush Rest, 19th century, the warm-colored wood carved as two sages, one with a musical instrument, beneath a twisted pine tree and having a backdrop of craggy mountainous rockwork with linear vertical strata, h. 4”, l. 6‑1/8”. [500/800] Illustrated

310

302 Unusual Chinese Bronze and Jade Ruyi Scepter, 19th century, cast as a gnarled branch with leaves, eleven inlaid with dark green jade, the head cast as two peaches, each inlaid with a celadon jade plaque, l. 11‑1/4”. [1800/2500] Illustrated 303 Chinese Carved Jade Figure of a Buddhist Immortal, 19th/20th century, the celadon stone with russet inclusions and carved as a standing robed and bearded figure with a straw peasant’s hat, holding a staff in one hand and a Buddhist rosary in the other, presented with a brocade fitted box, h. 7”. [300/500] Illustrated

309 307 Unusual Chinese Painted and Lacquered Pine Shrine Chair, late 19th century, constructed as a throne chair above an open cabinet, the upper section carved and shaped as a throne, the lower section with three drawers with carved apron, squared legs with modified horse-foot feet and a fretwork under-shelf, h. 44‑1/4”, w. 33”, d. 19”. [600/900] Illustrated

309

308 Pair of Chinese Provincial Pine Armchairs, 19th century, each with a curved yoke band and arms and with an openwork-carved backsplat, raised on rounded-edge legs with open fretwork aprons on the front, side and back splats, h. 37”, w. 24‑1/2”, d. 20”. [500/800] Illustrated 309 Large Chinese Carved Ivory Model of a Pagoda-onStand, 20th century, the octagonal structure of five stories resting on a conforming engraved base, each story with tiled roof, openwork doors and gallery with stylized dragon roof ridges, topped with a double gourd-shaped finial, the stand of squared outline with floating panel top, carved apron with Shou character and five bats among clouds, the squared legs ending in modified horse-hoof feet, joined by arched stretchers, h. 40‑1/2”, (79” with stand), w. 15”, d. 15”. [3500/5000] Illustrated

312

310 Pair of Chinese Carved Ivory Imperial Figures, 20th century, depicting an emperor and empress, each clad in imperial robes and regalia, and seated on elaborately carved thrones, presented on custom wooden stands, h. 7”, including stands. [1200/1800] Illustrated

308

311 Pair of Chinese Reverse Paintings on Glass, first half 20th century, each depicting the figure of a royal personage seated on a throne before a painted screen, the emperor clad in a dragon robe and wearing an informal cap, the empress clad in a phoenix robe and wearing a Manchu headdress, presented in black-painted wooden frames with brass hangers, h. 23”, w. 17”. [250/400] 312 Fine Pair of Chinese Iron-Red Porcelain Tea Cups, Daoguang mark and probably of the period (1821‑1850), each of inverted bell shape and finely enameled in iron red with Imperial Dragons among clouds and pursuing the Flaming Pearl above a cresting wave border, bordered at the lip rim with ruyi heads, the base with a six-character Daoguang seal mark, dia. 3‑1/4”. [1800/2500] Illustrated

315

313

314 Large Pair of Chinese Famille Verte Porcelain Rouleau Vases, first half 20th century, each decorated with reserve panels of landscapes, fish and antiques on a ground of scrolling vines, now converted into lamps and presented on custom wooden bases, h. 35”. [450/700] 315 Elaborate Chinese Reticulated Porcelain Lantern, 19th century, of hexagonal form and decorated in famille rose enamels with reticulated panels, now wired as a lamp and mounted on a custom metal base above a carved wooden stand, h. 17‑1/2”. [500/800] Illustrated

316 Chinese Export Rosewood and Marble-Top Table, late 19th century, the highly carved table with four feet and “cash”-shaped stretcher, floral-carved apron and top band inset with a circular rose marble top, h. 32”, dia. 22”. [300/500]

313 Good Chinese Framed Circular Painting on Silk, 19th century, the painting executed in colors depicting butterflies hovering above flowering plants, framed in an openwork carved rosewood frame with carved brass hanger, h. 17‑1/2”, w. 17‑1/2”. [1800/2500] Illustrated

317

318 detail

318

320

318 Fine and Rare Cased Set of French Second Standard (.800) Silver Gilt Parasol Fittings, first quarter 20th century, by Henri Lambin, working Paris, 1909‑1936, including a mahogany parasol shaft with silver gilt handle decorated with a band of frolicking putti, one disguised as a demon, with a rose quartz cabochon pommel, l. 15‑3/4”, together with a ferrule, l. 1‑5/8”, and eight rib-tips, l. 3/4”, (one lacking), presented in the original emerald velvet- and cream satin-lined case, the interior lid stamped with the retailer’s label of R. Garbarini, Buenos Aires, 17‑3/4” x 3‑3/4”. [600/900] Illustrated 319 French Restauration Fused Plate Coffeepot, first quarter 19th century, the ovoid body with a waisted neck separated by a gadrooned band, with an unusual acanthus-mounted “hound’s-head” spout, with a hinged, domed lid, acorn finial and a patera-mounted arched wooden handle, the whole raised on three palmette-crested, flat columnar hound’s-paw feet, h. 13‑1/2”, l. 9”, dia. 4‑1/2”. [500/800] Illustrated

319

320 Four-Piece French First Standard (.950) Silver “Tete-a-Tete” Coffee Set, first quarter 20th century, by Charles Tirbour, Paris, in the Empire taste, including a coffeepot, h. 7‑1/4”, a teapot, h. 6‑1/4”, a covered sugar urn, h. 5‑1/4”, and a cream jug, h. 4‑1/4”, each of ovoid form, decorated with leaf-and-dart banding and raised of three acanthus-crested legs, the pots with horse-head spouts and pyriform finials, the sugar urn with bracket handles, the rest with arched wooden handles, 30.93 total t. oz. (including wooden handles). [1500/2500] Illustrated

324 317 Pair of Louis-Philippe First Standard (.950) Silver Gilt Salt Stands, second quarter 19th century, by Etienne Auguste Courtois, working Paris, 1834‑1847, each with a central knopped columnar standard with ring handle flanked by a pair of cut glass salt cellars, each raised on four scrolling gilt feet, all to a rectangular plinth base with gadrooned edging and raised on four acanthusscroll feet, h. 8‑1/2”, w. 3‑3/8”, l. 7‑1/2”, 20.06 total t. oz. (excluding glass salts). [1200/1800] Illustrated

321 Cased Christofle Silverplate ThreePiece Carving Set, first quarter 20th century, Paris, including a carving knife, l. 13”, a carving fork, l. 11‑1/2”, and a joint holder, l. 8‑1/2”, each with a spatulate silverplate handle in the neoclassical taste, decorated with reeded shaft and a beribboned oval laurel cartouche, with stainless steel fittings, presented in the original green satin- and velvet-lined case, the interior lid gold-stamped with the Christofle logo, w. 5‑1/2”, l. 14‑1/4”. [300/500] 322 French Sterling Silver Tastevin, 1973‑1982, by Maison Parrod, Dijon, in the Louis XVI provincial taste, the circular body with convex bottom, the wall embossed with grape clusters and cabochons, the earshaped handle engraved with an amusing scene of Cupid forging his arrows, w. 3‑1/4”, l. 4‑1/2”, 2.31 t. oz. [400/700]

323 Maison Puiforcat First Standard (.950) Silver Sauceboaton-Stand, first quarter 20th century, Paris, of shaped navette form affixed to an underplate of similar form, each with molded rim, engraved, on each side of the underplate, with the arms of Hollingsworth of Boston, Massachusetts, h. 2‑1/2”, w. 6‑7/8”, l. 10‑1/2”, 23.53 t. oz. [1400/1800]

326

331

325 Georgian Nielloed 84 Zolotnik (.875) Silver and Leather Cossack Belt, fourth quarter 19th century, touchmarked Tbilisi, Georgia, the double-leather strap fitted with alternating convex- and concave-sided silver links, each decorated with scrolling niello foliage and a central boss (two concave links lacking), the lower edge with openwork spade-shaped pendants, the buckle a hemispherical dome en suite with applied doves and cherubim, covering, on the loop end, a niello depiction of two Cossacks and suspending a treble-rolo link chain, size 32”, w. 2‑5/8”, buckle dia. 3‑1/4”. [800/1200]

328

326 Good Nicholas II 84 Zolotnik (.875) Silver and Cut Glass Claret Jug, marked Moscow, 1899‑1908, by “G.L.” [Cyrillic], possibly Gershi Lizerin, the glass body of slightly tapering cylindrical form cut with alternating vertical diamond and starburst bands, the body with a narrow silver band and wider collar joined by a crested double “-scroll handle, with pyramidal spout, the hinged lid cast and chased in the form a realistic silver fox’s head, the spout engraved “XXV”, h. 13‑1/4”, l. 9”, dia. 5”. [1400/1800] Illustrated

327 324 Dutch Second Standard (.833) Silver “Marriage” Spoon, touchmarked Schoonhoven, 1895, by Cornelis Reitveld (active 1865‑1912), the oval bowl engraved on the reverse with an armorial, the cast openwork stem decorated with a serpent, scrolls and mascarons, the finial with a large oak branch-enframed double portrait of Louis XVI and Marie Antoinette, l. 12‑3/4”, 5.21 t. oz. [100/200] Illustrated previous page

327 Good Soviet-Era Russian .916 Silver Gilt and Enamel Cased Tea Service, 1957, by the Leningrad Gold & Silver Factory, including a swinghandle sugar bowl, dia. 4‑1/2”, a tea strainer, l. 4‑1/2”, and a pair each of teacups, dia. 2‑3/4”, saucers, dia. 4‑1/4”, strainer trays, dia. 3‑1/4”, and teaspoons, l. 4‑3/4” (one teaspoon lacking), each decorated with cloisonne enamel flowers in turquoise, rose, green and royal blue all on a black ground, presented in the original chocolate velvet- and cream satin-lined case, 17‑1/2” x 12‑1/2”. [1800/2500] Illustrated

328 Four-Piece German .800 Silver and Gilt-Metal Condiment Serving Set, first quarter 20th century, possibly Emil Hermann, Waldstetten, including a pair of pickle forks, l. 8”, a serving spoon, l. 8‑1/4”, and a serving fork, l. 8‑1/4”, each with a silver handle of Louis XV inspiration and gilt-metal tines/bowl. [400/700] Illustrated 329 Unusual Continental Silver Gilt and Hardstone Apostle Spoon, first quarter 20th century, with a twist handle and figural finial of John the Evangelist with a book and palm, the spade-shaped bowl carved from a single piece of pale green agate, l. 7‑1/4”. [500/800] 330 Pair of German .800 Silver Peacock Table Garnitures, first quarter 20th century, the pair realistically detailed and presented pavonated, the tails curving to form sweetmeat dishes, h. 5‑1/2”, l. 12”, 17.30 total t. oz. [250/400] 331 Pair of Georg Jensen “Ornamental Pattern No. 42” Sterling Silver Salad Servers, designed in 1918 by Georg Jensen (1866‑1935), Copenhagen, with rectangular Jensen 1933‑1944 mark, l. 7‑1/2”, 4.69 total t. oz. [800/1200] Illustrated

335

332 Six Pieces of Turkish Late Ottoman .800 Silver, first quarter 20th century, including a pair of beakers of cylindrical form with everted rim, engraved with flowers centering a scroll cartouche, h. 3‑1/2”, dia. 3”; and a set of four salt cellars/spice bowls, each of hemispherical form with peaked reticulated rim, engraved with flowers and raised on a small domed foot, h. 1‑3/4”, dia. 2‑1/8”; 9.90 total t. oz. [400/700] 333 Three Middle Eastern Silver Bowls, first quarter 20th century, perhaps Persian, of hemispherical form, each finely engraved inside and out with variant boteh motifs and Arabic calligraphy, h. 2”, dia. 4‑3/4”, 10.99 total t. oz. [400/700]

334 Large Indian Silverplate Punchbowl, fourth quarter 20th century, of hemispherical form, decorated all over with repousse grape clusters and leaves, with rolled rim and domed foot, complete with ice canopy and bottle cage to convert the bowl into a bottle cooler, h. 10‑1/2”, dia. 16‑1/2”. [150/300] 335 Monumental and Opulent French Mahogany Buffet a Deux Corps, third quarter 19th century, with gilt- and patinated bronze mounts in the First Empire style in the manner of Jacob Freres (1796‑1803), the tall arched backplate centered with a circular clock flanked by two tall narrow vertical mirrored glass plates and a pair of patinated bronze winged caryatids supporting two shelves, the outer edges of the upper section veneered in giltbronze-mounted verde antico marble, the doors centered with demi-wreathed silhouette portraits of Napoleon I and the Empress Josephine, the whole supported on a quartet of boldly modeled gilt-bronze paw feet, h. 105”, w. 76‑3/4”, d. 20‑1/2”. [7000/10000] Illustrated

339 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] 340 Pair of Neoclassical-Style Onyx Pedestals, each with a circular top with a molded edge, raised on a columnar standard above a square base, h. 44‑1/2”, w. 12”, d. 12”. [1200/1800] Illustrated 337

341 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”. [1000/1500]

336 336 Good French Gilt-Bronze-Mounted Mahogany TwoDoor Cabinet, third quarter 19th century, in the First Empire style in the manner of Jacob Freres (1796‑1803), the two doors surmounted by a pair of drawers with winged swan-masque pulls, the doors centered with threequarter-wreathed silhouette portraits of Napoleon I and the Empress Josephine, the interior fitted with a transverse shelf, the top of Bleu Turquin marble, the whole supported on boldly modeled gilt-bronze paw feet, h. 38”, w. 50‑1/4”, d. 22‑1/4”. [3000/5000] Illustrated 337 Suite of Eight Neoclassical Mahogany Sidechairs, mid‑19th century, each with a lyre-form back with brass rod accents, the padded seat raised on splayed legs, h. 37”. [1800/2500] Illustrated 338 Pair of French Gilt-Brass and Polished Steel ThreeLight 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]

340

342 Restauration Mahogany Sofa, first quarter 19th century, the padded rectangular back surmounted by a parcel-gilt gadroon-carved crest above an ormolu-mounted frieze, joined by closed scrolling arms to the padded seat, raised above an ormolu-mounted apron on sabre legs, h. 7‑1/4”, w. 74‑1/2”, d. 27”. [1500/2500] Illustrated

342

343 Restauration Mahogany Bergere, second quarter 19th century, the padded and curved back surmounted by a back-rolled crest, joined by downswept arms on dolphin uprights to the padded seat, raised on saber legs, h. 37”. [500/800] Illustrated 343 344

345 Pair of Belle Epoque Gilt-Metal Figures of Knowledge and Tragedy, of large size, each wearing a laurel wreath and raised on an elaborately modeled paw-footed base, h. 23‑1/2”. [500/800] 344 Napoleon III Giltwood Looking Glass, third quarter 19th century, the cenotaph-form plate surmounted by a foliate shell crest within a molded frame, with incised foliate patterns and an annulated slip, h. 68”, w. 39‑1/2”. [1000/1500] Illustrated

346 Empire-Style Mahogany and Marble-Top Commode, third quarter 19th century, the rectangular Paloma marble top above a conforming case fitted with a frieze drawer over three recessed long drawers, flanked to either side by an ormolu-mounted column, raised on turreted feet, the whole with ormolu accents in the Empire taste, h. 29‑1/4”, w. 32”, d. 21‑1/2”. [2500/4000] Illustrated following page

352

349 Charles X Ormolu-Mounted and Ebonized Wooden Lyriform Clock, second quarter 19th century, with a silk string movement, h. 20‑1/2”, w. 9‑1/4”, d. 4‑1/2”. [600/900] Illustrated 350 Charles X-Style Carved Giltwood Lyriform Thermometer, the tall rectilinear standard with painted registration, flanked by lyre arms and surmounted by a patera, raised on a cavetto plinth base, h. 14‑1/2”, w. 4‑1/2”. [200/400]

349

347 Continental Verdigris-Patinated Bronze Figure of Neptune, modeled with a triton in his grasp and standing on a clamshell atop hippocampi, h. 40”, w. 20”, d. 19”. [500/800]

346

348 Twenty-Six-Piece French Porcelain Neo-Grec Dinner Service, third quarter 19th century, probably Limoges, painted with neoclassical profiles en grisaille against a blue background and joined by black Greek-key, including twelve dinner plates, dia. 9‑1/2”, eight dessert plates, dia. 7”, an open vegetable dish, h. 2‑1/2”, l. 9”, a set of three graduated platters, l. 10‑1/4” to 16‑1/4”, one handled platter, l. 11‑3/4”, and a covered vegetable tureen, h. 7”, l. 13”, each piece impressed on the underside “Service Florence”. [600/900] Illustrated

348

351 Continental School (19th Century), a collection of four hand-colored engravings, including “The Great Tower, Bruges” and “Town Hall, Ypres”, both after W. H. Bartlett and engraved by H. A. Payne; “Der Marktplatz Zu Furnes”, engraved by Kunstverlag; and “Brugge”, published by the Philadelphia Bibliographic Institution, all are sight 5” x 7”. Glazed, handsomely matted and framed en suite. [200/400] 352 Suite of Six Contemporary Italian Ebonized and Parcel-Gilt Dining Chairs, in the neoclassical taste, consisting of two armchairs and four sidechairs, each with a rectangular back with pierced ovoid splats, the padded seat raised on gilt and ring-turned tapering circular legs, upholstered in Bergamo fabric, h. 35”. [900/1200] Illustrated

358 353 Pair of Louis XVI-Style Polychromed and MarbleTop Occasional Tables, in the manner of Weisweiler, each with a rectangular inset fossilized marble top within a giltwood molding, raised on fluted tapering circular legs joined by an X-form stretcher and ending in tall toupie feet, the whole ebonized with gilt and ivory accents, h. 31”, w. 21”, d. 16”. [2000/4000] Illustrated

354

354 Pair of Continental Gilt-Bronze Three-Light Candelabra in the Neo-Grecque, fourth quarter 19th century, centered with cut glass trumpet form vases, h. 18”. [1200/1800] Illustrated 355 Pair of French Gilt-Lacquered Bronze Garniture Coupes, with double-serpent handles, raised on lapislazuli pedestal bases of square section in the Restauration style, each facade of the bases centered with a giltlacquered bronze mount of a hymeneal altar in the Antique style, h. 11‑1/2”, w. 9‑3/4”. [1500/2500] 353

356 Baccarat Crystal Bust of a Female Figure, fourth quarter 19th century, the frosted figure draped in classical garb on a molded and cut base, signed “Baccarat Depose”, h. 11”, w. 5- 1/2”. [400/700] 357 Group of Four Third Republic Gilt and Lacquered Brass Candlesticks, fourth quarter 19th century, in the Restauration taste, each of columnar form with a tapering fluted column and an acanthine capital, on a circular base, previously drilled for electrification, h. 10-/34”. [1000/1500]

362

358 Empire-Style Mahogany and Marble-Top Cabinet, third quarter 19th century, the bowed Sainte Anne des Pyrenees marble top with projecting ends above a conforming case fitted with a single frieze drawer over two cupboard doors, flanked to either side by an ormolumounted columnar upright raised on tapering square feet, the whole with ormolu accents in the Empire taste, h. 36‑1/2”, w. 41”, d. 21”. [1000/1500] Illustrated previous page 364

363

359 After Georges-Marie Bareau (1866‑1931) “Vox Pacis”, first quarter 20th century, a patinated spelter figure after the 1894 model, presented on a three-quarter molded rouge royale marble plinth, the front of which is affixed with a title plaque, h. 12”. The original of this model was shown at the Salon of 1894, where it was very well received. It was widely copied in all media, much to the consternation of the artist who was forced to sue his fondeur in 1901 for unauthorized reproductions of the work. See “Bareau v. Jourdan” in La France Judiciare, v. 28 (Paris: Pedane, 1904), pp. 333‑334. [150/300] 360 Italian Patinated Bronze Figure of “The Dancing Faun of Pompeii”, fourth quarter 19th century, after the Antique model, h. 12‑1/2”, w. 5‑3/4”, d. 4‑1/4”. [300/5000]

361 French Gilt-Bronze Allegorical Figure of “Science”, fourth quarter 19th century, the figure depicted as a seated winged neoclassical maiden contemplating a book, above a bronze plinth with an olive branch and ribboned label “Science”, on a short Rouge Royale marble base, h. 10‑3/4”. [400/700] 362 Good French Gilt- and Patinated Bronze Figural Mantel Clock, fourth quarter 19th century, the works signed by Louis Boname, Seloncourt, Doubs, with a pair of patinated bronze figures of Cupid and Psyche contemplating a gilt-bronze butterfly and leaning on a cenotaph-shaped Breccia Verde marble pillar housing the white-enameled dial above and applied gilt-bronze laurel-enframed lyre, above a rectangular base faced with another applied lyre flanked by a pair of neoclassical maidens, the whole on a rectangular marble plinth base and with gilt-bronze banding throughout, h. 30‑1/2”, w. 19‑1/4”, d. 7‑3/4”. [4500/7000] Illustrated

366

363 Empire-Style Mahogany Cheval Mirror, 19th century, the domed mirror plate within a paneled frame with applied candleholders in the form of adjustable swan’s necks, supported by columnar uprights headed by ormolu bands and ending in runner supports to bun feet, h. 70‑1/2”, w. 40”, d. 25”. [1200/1800] Illustrated 364 Pair of French Gilt-Brass-Mounted Mahogany Demilune Stands, in the First Empire style, each surmounted by a matching tall, narrow, vertical looking glass, with the platform stretcher centered by a tall gilt-brass vase of baluster form in the Antique taste, one stand fitted as a plant stand with a conforming metal liner, the second with a polished verde antico marble top, h. 120”, w. 21”, d. 12”. [3500/5000] Illustrated

365 pair

365 Pair of Empire-Style Mahogany Twin Beds, early 20th century, each with a headboard with a molded cornice above a paneled back, flanked to either side by uprights with inlaid banding simulating fluting and topped by shield-patterned ormolu mounts, joined by plain rails to the like lower footboard, raised on fluted tapering circular feet, h. 55‑1/4”, inside w. 45”, l. 78”, outside w. 47”, l. 82”. [800/1200] Illustrated 366 Tall Pair of Charles X-Style Bronze Five-Light Candelabra, fourth quarter 19th century, each with a tapering standard of square section with applied addorsed anthemion, surmounted by a central nozzle surrounded by four scrolling arms, raised on four scrolling feet above a conforming plinth, patinated in two colors of antique gold, electrified and fitted with faux candles, h. 35”. [2500/4000] Illustrated

367 Empire Mahogany and Marble-Top Secretaire a Abattant, first quarter 19th century, the rectangular Petit Granite Belge 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 surrounding an open cupboard, over three long drawers, all flanked to either side by an engaged ormolumounted pilaster, raised on turret feet, h. 55‑1/2”, w. 38”, d. 16‑1/2”. Provenance: The I.W.R. Franklin House, Jefferson County, Tennessee. [1800/2500] Illustrated 368 French Brass- and Bronze-Mounted Tole-Peinte Globe Chandelier, in the Restauration style, the black tole-peinte central globe with six arms and surmounted by a patinated bronze half-figure of Abundance holding a gilt-brass flambeau, electrified and fitted with diminutive custom black linen shades lined in white, h. 38”, dia. 24”. Provenance: The I.W.R. Franklin House, Jefferson County, Tennessee, purchased from New Orleans Auction Galleries, November 14, 1997, lot 249. [3500/5000] Illustrated 369 Napoleon III Ormolu-Mounted White Marble Clock, third quarter 19th century, the clockworks mounted in a white marble obelisk on a gray marble base, h. 15‑1/2”, w. 7”, d. 3‑1/2”. [1200/1800] Illustrated 367

369 368

370

373 Pair of Empire-Style Mahogany Sidechairs, early 20th century, each with a back-scrolled crest above the padded back, the cushioned seat raised on cabriole legs headed by ormolu winged beast mounts and ending in ormolu paw feet, h. 37‑1/2”. [600/900] Illustrated 374 Empire-Style Mahogany Display Case, early 20th century, the rounded cavetto-molded cornice above a case fitted with two sliding glass doors, each with finely executed foliate-and palmetto-patterned ormolu escutcheons, and a glass-shelved mirrored interior, flanked to either side by an engaged parcel-gilt pilaster above three drop-front cabinets, all paneled, raised on gilt paw feet, resting on a conforming base, the whole with gilt accents in the Empire taste, the top electrified and fitted with a frosted glass panel, h. 70‑1/2”, w. 81‑1/2”, d. 20‑1/2”. [2500/4000] Illustrated following page

371

370 Imposing Pair of French Bronze and Marble Nike Four-Light Candelabra, first quarter 19th century, the Nike figures of patinated bronze standing on gilt-bronze demi-spheres and holding aloft the candle branches on which perch butterflies, the verde antico marble bases of block form and mounted in gilt-bronze above gilt-bronze plinths, h. 41‑1/2”. Provenance: William Doyle Galleries, New York, October 27, 1993, lot 512. [10000/15000] Illustrated

373

371 Charles X Gilt- and Patinated Bronze Casket, first quarter 19th century, of oval form and having a giltbronze lid with an acorn finial and a foliate base, raised on a Siena marble base of rectangular form, h. 6‑1/4”, w. 6‑1/4”, d. 3‑1/2”. [700/1000] Illustrated 372 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]

374

378

375 Empire-Style Mahogany Display Case, early 20th century, the rounded cavetto-molded cornice above a case fitted with two sliding glass doors, each with finely executed foliate- and palmetto-patterned ormolu escutcheons, and a shelved mirrored interior, flanked to either side by an engaged parcel-gilt pilaster above three drop-front cabinets, all paneled, raised on gilt paw feet, resting on a conforming base, the whole with gilt accents in the Empire taste, the top electrified and fitted with a frosted glass panel, h. 70‑1/2”, w. 81‑1/2”, d. 20‑1/2”. [2500/4000] Illustrated 376 Two French Tabletop Patinated Bronzes of Napoleon I, late 19th or early 20th century, one full figure, the Emperor in military dress, his arms crossed over his chest, signed “Boizot a Paris”, h. 12‑1/4”, the other a bust of the Emperor in bicorne and topcoat, signed “A. Canova”, h. 9‑3/4”, presented on a polished black composition stone plinth and socle, respectively. Although bearing the signatures of two prominent First Empire sculptors - Louis-Simon Boizot (1743‑1809) and Antonio Canova (17571822) - these appear to be pastiche, as neither is a recorded model of the respective artist. [800/1200] Illustrated 377 After Jean-Antoine Gros (French, 1771‑1835) “Napoleon at the Battle of the Pyramids, July 21st 1798”, color engraving, engraved by T. W. Huffam, published in 1841 by I. W. Laird, sight 25” x 19”. Glazed, matted and framed. [150/300] 378 Pair of Empire-Revival Bronze Table Lamps, of two-handled campana form, raised on marbleized wooden bases, h. 37”, dia. 9”. [700/1000] Illustrated

375

379 Galvanic Bronze Bust of Napoleon III (1808‑1873), fourth quarter 19th century, the Emperor depicted in field dress, with antique gold patina and a black-patinated integral socle, above a polished marble base, h. 18‑1/2”, w. 13”, d. 9‑1/4”. Although unsigned, this bust is evidently a posthumous work, clearly after the 1878 painting by Wilhelm Camphausen (German, 1818‑1885) depicting Napoleon III and Bismarck after the Battle of Sedan, the decisive engagement of the Franco-Prussian War. [300/500] Illustrated

382

379 380 Frederik Christian Lund (Danish, 1826‑1901) “Cavalry Officers Cleaning Their Guns”, 1884, oil on canvas, signed and dated lower right “F C Lund 1884”, 20‑1/2” x 13‑1/4”. Handsomely framed. [2500/4000] Illustrated

376

381 French Campan Marble Desk Box, first quarter 20th century, of rectangular form, the top and sides of Campan Grand Melange marble, the bottom of Campan Vert marble, with narrow silverplate edging and hinge, the interior lined in russet baize, w. 2‑1/8”, l. 3‑1/2”. [100/200] 382 Opulent French Gilt-Brass-Mounted Mahogany SplitPedestal Dining Table, fourth quarter 19th century, in the First Empire style, the foliate-carved pedestal below a fluted columnar section and raised on four legs of consolebracket form, the apron mounted with multiple gilt-brass reserves of a fleurette centered by addorsed, reticulated and attenuated palmettes, accompanied by two matching 18‑1/2” leaves, h. 29”, w. 62”, l. 56”, extended l. 93”. [3000/5000] Illustrated

380

385 Pair of Classical-Style Metal-Mounted White Marble Pedestals, each with an octagonal top on a spiral-reeded standard with a brass Corinthian capital, on a plinth base, h. 42”, w. 12”, d. 12”. [700/1000]

395

383

384

383 Suite of Eight Empire-Style Mahogany Sidechairs, fourth quarter 19th century, each with a backswept paneled crest with an ormolu patera mount, above a paneled splat centered by an ormolu gilt winged female figure, the padded seat raised on paneled tapering square legs accented with ormolu mounts, h. 38‑1/2”. [3000/5000] Illustrated 384 Good French Gilt-Bronze-Mounted Mahogany Two-Door Cabinet, third quarter 19th century, in the First Empire style in the manner of Jacob Freres (1796‑1803), the two doors surmounted by a pair of drawers with winged swan-masque pulls, the doors centered with three-quarter-wreathed silhouette portraits of Napoleon I and the Empress Josephine, the interior fitted with a transverse shelf, the whole supported on boldly modeled gilt-bronze paw feet, h. 40”, w. 57‑1/2”, d. 24”. [3000/5000] Illustrated

389

386 Pair of Empire-Style Gilt- and Patinated Metal Table Lamps, the standards modeled as two-handled campana-form urns with classical figures, each raised on a square platform and decorated with gilt-metal moldings throughout, h. 23”, dia. 7‑1/2”. [300/500] 387 Charles X Finely Detailed Cast-Bronze and Brass Mantel Clock, the porcelain face signed “Deniere/Fab. de Bronzes a Paris”, second quarter 19th century, the enameled face set in a rectilinear case adorned with floral garlands and a trophee, the top mounted with a twohandled flower-filled urn of campana form, the works a contemporary replacement, h. 12‑3/4”, w. 5‑1/4”, d. 3‑5/8”. [700/1000]

394 Vernacular Continental Marquetry-Inlaid Walnut and Mahogany Stand, mid‑19th century, the ovoid top centered by an inlaid ten-point star, the conforming apron fitted with a pair of small drawers, raised on a turned columnar support with a reeded vasiform section, on four shaped feet, h. 29‑1/2”, w. 20‑1/2”, d. 17”. [200/400] 395 Pair of Neoclassical-Style Torcheres, early 20th century, each with a gilt-metal campana-form urn featuring a classical procession, the interior fitted with a bulb socket, raised on a pedestal with a circular top within a foliate band supported on a tapering tri-form paneled standard with bellflower carving, raised on three splayed legs headed by a carved shell and ending in foliate toes, h. 58”, dia. 12”. [2500/4000] Illustrated

388 Large Classical Giltwood Mantel Mirror, late 19th century, the stepped projecting corner over an anthemionmounted frieze, the mirror plate flanked by clustercolumned pilasters with Corinthian capitals, the upper corner blocks adorned with floral rosettes, the lower blocks with a trio of stars, h. 79”, w. 60”, d. 8”. [1200/1800] Illustrated 389 Louis XVI-Style Mahogany and Marble-Top Commode, early 19th century, the rectangular Sainte Anne des Pyrenees marble top with turreted corners above a conforming case fitted with three long drawers, the upper one faced as three short drawers, the lower two paneled, raised on fluted tapering circular legs ending in peg feet, h. 33”, w. 49”, d. 19”. [2500/4000] Illustrated 390 Pair of Napoleon III Vasiform Four-Light Candelabra, third quarter 19th century, composed of black-painted and antique-gilded cast-iron, h. 16‑3/4”, dia. 7”. [300/500] 391 Louis-Philippe Rosewood and Marble-Top Console Table, mid‑19th century, the rectangular Carrere blanc veine marble top above an ogee-molded frieze fitted with a single scroll and palmetto-inlaid drawers, joined by a mirrored back and like-inlaid scrolling supports to a stepped plinth base on squat gilt feet, h. 37”, w. 45”, d. 18”. [1000/1500] 392 Pair of Louis-Philippe-Style Painted Ivory Portrait Miniatures, 20th century, each of circular form and depicting a young couple of means, he in a brown suit, she in a bright red dress, glazed and presented in matching circular cavetto blonde wood square frames, h. 4‑3/4”, w. 4‑3/4”. [75/125] 393 Good French Tole-Peinte and Cut Glass Cruet Frame, second quarter 19th century, of footed navette form, the frame centered with a matching, pierced, covered tolepeinte vase in the antique style, each cruet retaining the tall, period, lapidary air-trap glass stopper, h. 10‑3/4”, w. 9‑3/4”. d. 4”. [500/800]

388

396 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”. [1000/1500] 397 Germano-Bohemian Porcelain Portrait Chocolate Cup, fourth quarter 19th century, the gilded and polychromed cup featuring Emperor Napoleon I, with a matching saucer, each with a pseudo-Sevres crowned “N” mark in rouge de fer on the base, overall h. 4‑1/2”, dia. 4‑1/2”. [100/200]

400

401 French Brass-Mounted Mahogany and MarbleTop Secretaire-a-Abattant, in the Louis XVI style, first quarter 19th century, the cartonnier modeled with eight small drawers of varying size below a transverse compartment, the writing surface of period gilt-tooled morocco leather, the two basal doors opening to reveal a conforming documents box, fitted with a conforming Egyptian black marble top, h. 54‑3/4”, w. 29”, d. 15‑1/2”. [1500/2500] 402 Continental Neoclassical Serving Cabinet, mid‑19th century, the rectangular top with broadly canted corners above a conforming case fitted with four long drawers, the upper one fitted for cutlery, all with decorative ormolu hardware, raised on bracket feet, h. 38”, w. 46”, d. 15”. [1500/2500] Illustrated

398 Pair of Continental Polychromed Bisque Porcelain Busts, depicting Napoleon and Josephine, ca. 1900, signed “G. Levy” with blue-crossed swords, h. 16”, w. 10”. [1200/1800] 399 Charles X-Style Gilt- and Patinated Bronze Classical Figure, fourth quarter 19th century, depicting a female holding a cornucopia and seated on a faux-marbre fluted wooden base, now mounted as a lamp and fitted with a custom pleated ecru silk shade, h. 24‑1/2”. [700/1000] 400 Pair of Italian Neoclassical-Style Walnut Fauteuils, late 19th/early 20th century, each with a rectangular back surrounding a padded ovoid splat, joined by scrolling downswept arms to the padded seat, raised on stop-fluted tapering circular legs headed by a floral-carved block and ending in toupie feet, h. 33‑1/2”. [1200/1800] Illustrated

403 Neoclassical-Style Patinated Bronze and Terra Cotta Candelabrum, early 20th century, the five-arm candelabrum supported by a ribbed standard and three terra cotta figures of classical maidens, probably the Three Graces, raised on a tripartite base with applied masque accents and raised on paw feet, h. 42”, w. 15‑1/2”. [2000/4000] Illustrated

403

404 Empire-Style Ormolu-Mounted Satinwood Armoire, the triangular pediment with an ormolu mount of a classical charioteer and flanked to either end by winged eagle finials, above a case fitted with two doors, each inset with a grille panel and with a lower panel centered by an ormolu winged maiden, raised on molded bun feet, h. 93”, w. 51‑1/2”, d. 22”. [1800/2500] Illustrated

402

405 Tall Neoclassical-Style Cast-Stone Obelisk, early 20th century, the obelisk raised on four spheres to a paneled square pedestal on a molded socle base, h. 92”, w. 24”, d. 24”. Provenance: Thompson & Hanson, Houston, Texas. [700/1000] Illustrated

405

406 Louis-Philippe Gilt- and Patinated Bronze and Antimony Six-Light Chandelier, second quarter 19th century, the corona joined by rods, the dome surmounted by an urn, the bowl joined by scrolled branches issuing flowerpetal wax pans and foliate candle nozzles, the central pendant in the form of a pomegranate, h. 36”, dia. 19”. [1000/1500]

404

407 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”. [500/800]

408 Stylish Thirteen-Piece Continental Tea, Coffee and Fruit Service, first quarter 19th century, the white and gold partial service for six persons in the neoclassical taste, comprised of a tall coffeepot with anthropomorphic spout, h. 12‑1/2”, a matching teapot, h. 9”, a footed fruit bowl, dia. 8‑3/4”, five teacups with gilt linings, h. 3”, and five deep saucers en suite, dia. 5”, all of the pieces but the saucers with polychromed portrait reserves of ladies-of-fashion, all marked with underglaze blue crossed swords. [1500/2500] Illustrated

408

411 Pair of Charles X-Style Gilt- and Patinated Bronze Five-Light Candelabra, each with a patinated figural standard of a winged putto holding aloft a wreath from which emanates a central gilt standard surrounded by four scrolling arms, each ending in a patinated drip-pan and gilt acanthus nozzle with detachable gadrooned bobeche, the putto standing on a gilt sphere above a patinated reeded and gilt acanthus standard, above a gadrooned glass plinth and stepped gilt base, h. 24”. [2500/4000] Illustrated 412 Empire-Style Mahogany and Marble-Top Side Table, late 19th century, the rectangular white marble top above a conforming frieze fitted with a single ormolu patera-mounted drawer joined to a recessed lower shelf by a mirrored back and front supports headed by ebonized maiden’s heads and ending in like paw feet, h. 36‑1/4”, w. 50‑1/2”, d. 20”. [1000/1500]

409

410 pair

409 Continental Gilt-Bronze-Mounted White Marble Fireplace Surround, ca. 1900, in the Restauration taste, the rectilinear shelf with molded edges, the face centered by a gilt-bronze urn and foliage, flanked by panels, the corners mounted with bronze rosettes, the legs with molded scroll pilasters, h. 43”, w. 61‑1/2”, d. 17”. [1000/1500] Illustrated 410 Pair of Empire-Style Gilt- and Patinated Bronze Three-Light Appliques, early 20th century, each with a backpiece of griffins flanking a double torchere centered by a pierced palmetto, the demi-lune crown issuing three scrolling arms terminating in bobeches, h. 13‑1/2”, w. 14”, d. 9‑1/2”. [800/1200] Illustrated

413 Good Swedish Verde Antico Marble and Porphyry Garniture, first quarter 19th century, in the classical taste, modeled as a Roman elliptical footed tub of verde antico marble on an oblong plinth of Swedish porphyry, h. 6‑3/4”, w. 7‑3/4”, l. 17‑3/8”. [2500/4000]

411

422 Agra Serapi Carpet, 9’ x 11’ 9”. [1400/1800] 423 Persian Bakhtiari Carpet, 5’ 5” x 8’. [1400/1800] Illustrated 424 Oushak Carpet, 10’ x 12’. [6000/9000] 425 Turkish Angora Oushak Carpet, 8’ 1” x 9’ 9”. [1200/1800] 426 Turkish Oushak Carpet, 9’ x 12’ 2”. [1400/1800] 427 Peshawar Carpet, 8’ 8” x 5’ 5”. [700/1000]

420 414 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] 415 Pair of Neoclassical-Style Bronze Planters, fourth quarter 19th century, decorated with boar’s heads, acanthus leaves and Greek keys, the handles modeled with double human heads, h. 18‑1/2”, w. 15”. [1200/1800] 416 Uzbek Kazak Carpet, 6’ 3” x 8’ 9”. [800/1200] 417 Uzbek Kazak Carpet, 5’ 10” x 8’ 6”. [700/1000] 418 Peshawar Sultanabad Carpet, 8’ 3” x 10’ 2”. [1500/2500] 419 Khotan Carpet, 5’ x 8’. [500/800] 420 Turkish Angora Oushak Carpet, 9’ 7” x 14’ 4”. [2500/4000] Illustrated 421 Turkish Angora Oushak Carpet, 8’ x 9’ 8”. [1400/1800]

423 428 Persian Tabriz-Style Carpet, 6’ 4” x 9’ 4”. [600/900] 429 Rajistan Bijar Runner, 2’ 6” x 19’ 6”. [600/900] 430 Antique Serapi Carpet, ca. 1880, 8’ 9” x 10’ 8”. [2500/4000] 431 Agra Serapi Carpet, 4’ x 12’. [600/900]

432 432 Attributed to Charles Edward Perugini (British, 1839‑1918) “Romeo and Juliet in the Garden”, oil on canvas laid down on masonite, faintly monogrammed lower right, 47” x 56‑1/2”. Presented in a narrow giltwood and molded frame in the neoclassical style, the facade centered with an engraved artist’s name plaque in brass. [10000/15000] Illustrated 433 George III Mahogany Work Table, early 19th century, in the Adam taste, the rectangular top with an inset leather surface within a foliate-patterned banding, above a conforming frieze fitted with a single drawer and a pullout slide to either side, raised on slender tapering square legs joined by an H-form stretcher, the whole with delicate floral and foliate accents in the Adam taste, h. 27‑3/4”, w. 19‑3/4”, d. 17”. [1200/1800] Illustrated 434 Edwardian-Style Mahogany Writing Table, mid‑20th century, the rectangular top with bowed ends and a gadroon-carved frieze, with a polychromed floral garland banding, above a conforming frieze fitted with a single long drawer faced as three, raised on fluted tapering circular legs ending in toupie feet, h. 29‑1/2”, w. 48‑1/2”, d. 26”. [300/500] Illustrated

433

435 Edwardian Mahogany Wardrobe, ca. 1900, the molded cornice above a case fitted with two doors, each bi-paneled and opening to an interior fitted with a hanging rod and shoe rack, raised on splayed bracket feet, h. 70‑3/4”, w. 46”, d. 23”. [400/700] Illustrated 436 Charming English Engraved Gilt-Brass Paperweight, ca. 1900, depicting a spaniel begging over an upturned hat, the corners set with cabochons of malachite and carnelian, h. 2‑3/4”, w. 2‑1/2”, d. 2‑1/2”. [300/500] 437 Pair of William IV Mahogany Pole Screens, second quarter 19th century, each with an adjustable circular floral-painted screen on a circular urn-topped rod (one urn lacking), raised on a bulbous spiral-fluted standard to a molded circular base with bun feet, h. 52”, w. 10‑1/2”. [1200/1800] Illustrated

435

437 434

438

442 Pair of Chinese Export Porcelain Small Armorial Platters, second half 18th century, each of rectangular outline with canted corners, decorated in iron-red, sepia, puce, brown, encrede-chine and gilt, with a leaf border at the lip rim, centered by the arms and motto of Bruce, w. 6‑5/8”, l. 9‑7/8”. The arms here (though not the pattern) are identical to those depicted in David Sanctuary Howard’s Chinese Armorial Porcelain (London: Faber & Faber, 1974), p. 665, item T11. Howard postulates that the arms may be those of Mr. A. Bruce, “a supercargo and creditor of the Chinese merchants in 1779 and 1780.” [250/400] Illustrated

442

441

438 Suite of Eight Edwardian-Style Mahogany Dining Chairs, third quarter 20th century, consisting of two armchairs and six sidechairs, each with a pierced concave crest centered by a fleur-de-lys-carved medallion, above three like splats, joined by downswept arms to the padded seat, raised on paneled tapering square legs ending in spade feet, h. 37‑1/2”. Provenance: The Estate of Ann B. Sakowitz, Houston, Texas. [1400/1800] Illustrated previous page

440

439 Attributed to Mane Katz (Ukrainian/French, 1894‑1962) “Street Scene”, oil on board, initialed lower left “M. K.”, 7‑3/4” x 6‑5/8”. Framed. [350/500] 440 Victorian Mahogany Sewing Table, third quarter 19th century, the quarter-veneered concave rectangular top hinged and opening to a variety of covered compartments, above a conforming ogee-molded frieze, with a pull-out storage well below, raised on a bulbous acanthine-carved standard to a molded tripartite base to in-scrolled toes, h. 29‑3/4”, w. 19‑1/4”, d. 16”. [400/700] Illustrated 441 Unusual Japanese Porcelain Covered Tureen, molded as a stack of oval dishes with the cover topped by the figure of a fish with an open clam shell as the finial, decorated in famille rose enamels with scattered floral decor, h. 3‑1/4”, l. 9‑1/4”. [600/900] Illustrated

444

443 Chinese Export Porcelain Armorial Platter, second half 18th century, of oval form, decorated in overglaze blue, iron-red, sepia and encre-de-chine, with double borders of overglaze dots and a lip rim of overglaze blue, iron-red and gilding, centered by the arms and motto of Lee of Lichfield, w. 10‑1/4”, l. 13”. A dinner plate from this service is illustrated in David Sanctuary Howard’s Chinese Armorial Porcelain (London: Faber & Faber, 1974), p. 762, item W9. [300/500]

448

446

446 Edwardian Mahogany Desk, late 19th century, the rectangular top with a superstructure fitted with a cupboard flanked to either side by a bank of three small drawers, the top with a concave front and inset leather writing surface above a conforming frieze fitted with two drawers, raised on tapering square legs ending in brass caps on casters, h. 37”, w. 44”, d. 27‑1/2”. [400/700] Illustrated 447 Edwardian Polychromed Metal and Upholstered Hearth Bench, early 20th century, the curved and padded top raised on a base composed of columnar supports and three heraldic shields, each end with projecting scrollpatterned panels on runner feet, h. 17”, w. 60”, d. 17‑1/2”. [400/700] 444 Unusual Chinese Export Porcelain Squared Serving Bowl, 18th century, of squared form with indented corners at the lip, decorated in famille rose enamels with a central floral medallion, two reserve panels of domestic scenes, and small reserve panels of flowers and figures, the exterior decorated with large figural reserve panels and small reserve panels of figures and flowers, matching the interior panels, h. 4‑1/2”, dia. 10”. [500/800] Illustrated

445 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”. [300/500]

448 Victorian Mahogany Cock-Fighting Chair, third quarter 19th century, the shaped and padded armrest fitted with a hinged shelf and two fold-out storage compartments, the padded back above a like saddle-form seat with concealed drawer below, raised on cabriole legs ending in pad feet, h. 34”. [400/700] Illustrated

449

449 Thirty-Nine-Piece Set of Rosenthal “Sanssouci”-Pattern Porcelain, 1945‑1949, Selb, Bavaria, the pattern designed in 1926 by Karl Bayreuther (1891‑1953), after the 1765 KPM original inspired by the stucco ceilings of the Sanssouci Palace in Potsdam, the ivory bodies decorated with pink monochrome flowers and gilt accents, including eight dinner plates, dia. 10‑1/8”, seven soup plates, dia. 8‑7/8”, six dessert bowls, dia. 5‑1/4”, eight teacups, dia. 3‑3/4”, eight saucers, dia. 5‑3/4”, a cream jug, h. 4‑5/8”, and a covered sugar bowl, h. 5‑1/2”. [300/500] Illustrated previous page

452

451 Victorian Walnut and Burl Occasional Table/ Canterbury, mid‑19th century, the shaped oval top with a molded edge and corner turned finials, joined by turned and spiral-fluted uprights to a lower canterbury, fitted with three slotted compartments and with decorative foliatepierced sides, over a single long drawer, raised on bulbous feet to casters, h. 39”, w. 29”, d. 16‑3/4”. [800/1200] Illustrated

453

451

450 Seventeen Reference Books on Pottery and Porcelain, including Warren E. Cox, Book of Pottery and Porcelain (two volumes), W. B. Honey, French Porcelain, Mary Frank Gaston, Haviland: Collectibles and Objects of Art, Gyozo Sikota, Herend: The Art of Hungarian Porcelain, John F. Hotchkiss, Hummel Art II, J. P. Cushion, Pocket Book of English Ceramic Marks, F. A. Barrett, Worcester Porcelain, J. A. Lloyd Hyde, Oriental Lowestoft, Mary Frank Gaston, Collector’s Encyclopedia of Flow Blue China, Geoffrey Godden, Illustrated Encyclopedia of British Pottery and Porcelain (two copies), and Godden’s Guide to English Porcelain, George Savage, The American Birds of Dorothy Doughty (the catalogue raisonne of the Royal Worcester American avian models of Dorothy Doughty (1892‑1962), who died shortly after the publication of this catalogue), Reese Palley, The Porcelain Art of Edward Marshall Boehm, Alice Marriott, Maria: The Potter of San Ildefonso and Sharon and Bob Huxford, The Collector’s Encyclopedia of McCoy Pottery. [150/300]

452 Good Victorian Carpathian Burl Elm and Mahogany Breakfast Table, third quarter 19th century, the highly figured tilting rectangular top raised on a heavily reeded, bulbous, foliate-carved standard to four scrolling like-carved legs ending in foliate toes, h. 28‑1/2”, w. 48”, d. 30‑3/4”. [1800/2500] Illustrated

453 Albert Toft (English, 1862‑1949) “Sir William Pearce”, a patinated bronze bust after the 1889 model, presented on an integral socle, impressed on the reverse “Albert Toft/ Sc. 1889”, h. 13”. Sir William Pearce, 1st Baronet (1833‑1888), was a British shipbuilder and politician. One of Toft’s earliest commissions was the 1889 bust of Sir William from the Pearce family, which in 1890 incorporated into the Pearce family cenotaph in Govan, Glasgow, where Pearce’s shipbuilding concern was located. The bronze bust was removed in 1970 after persistent vandalism. [400/700] Illustrated

454 Pair of British WWI-Era Sailor’s Woolwork Panels or “Woolies”, first quarter 20th century, each centering a photograph of a sailor, one in standard blue uniform, the other in standard white, each framed with silver wire and mantled by embroidered thistle and ivy, and flanked by the red and white ensigns crested by the royal crown and a lion rampant gules, all above the royal motto in cream silk and silver wire and on a black ground, sight 15‑1/2” x 13‑1/4”, presented in an early plastic-bonded wood frame simulating green marble, with gilt trim and glazed, overall 20” x 18”. [2500/4000] 455 Pair of British WWI-Era Sailor’s Woolwork Panels or “Woolies”, first quarter 20th century, each centering a photograph, one of King George V (1865‑1936) within an embroidered life-preserver flanked by one white and two red ensigns and the union flag, surmounted by the royal crown and motto and above a beribboned rose, thistle and shamrock, and the other of Admiral of the Fleet John R. Jellicoe, 1st Earl Jellicoe (1859‑1935) within a floralpainted padded silk surround flanked by embroidered red and white ensigns and Union Flags, surmounted by a crown and the motto “Gibraltar Present” and above beribboned rosebuds, both on a black ground, sight 17” x 17‑3/4”, presented in matching egg-and-dart-carved oak frames with gilt slip and glazed, overall 24” x 25”. [3000/5000] Illustrated

455

456 English Mahogany Desk, early 20th century, the superstructure with a three-quarter spindled gallery above three drawers over two end drawers and a central open storage space, over the rectangular top with a pull-out inset leather writing surface, above a conforming frieze fitted with two drawers over a short drawer to one end, the other end with one deep faux-front drawer containing a slide-covered lockable well and a shallow lift-out four compartment tray over a void well, raised on turned circular legs joined by an H-form stretcher and ending in bun feet, h. 43‑1/2”, w. 51”, d. 26‑1/2”. Provenance: Antique Collection, Baton Rouge, Louisiana. [1400/1800] Illustrated

456

457 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”. [1800/2500]

458

458 Late Victorian Marble Portrait Bust, ca. 1900, depicting a demure young woman with long braided tresses, a pearl necklace with cross pendant, and floral blooms at her neck and bust, on a flaring square base, h. 28”, w. 14‑1/2”, d. 10”. [1500/2500] Illustrated

461 John Morgan (British, 1823‑1885) “Portrait of a Girl in a Pink Dress, Holding a Seashell”, oil on canvas, signed lower left “John Morgan”, with canvas stamp on the reverse “Winsor & Newton, London”, 21” x 18”. Handsomely framed. [5000/8000] 462 Victorian Walnut Parlor Cabinet, mid‑19th century, the bowed and shaped Carrara marble top above a conforming case fitted with a foliate-inlaid frieze over a central cupboard inset with a domed mirrored plate flanked to each side by a canted cupboard with a like plate, the whole raised on a plinth base, h. 34‑1/2”, w. 60‑1/2”, d. 17”. [400/700]

465 459 Victorian Mahogany Dining Table, late 19th century, of neoclassical inspiration, the top with a beveled edge and rounded ends, extending with a crank mechanism to accommodate three skirted 18” leaves, raised on tapering square legs adorned with foliate carving, paneled faces and bellflowers, h. 29‑1/2”, w. 54”, l. 65” (119” with leaves). [1200/1800]

466

460 Louis XVI-Style Mahogany Desk Chair, late 19th century, the rounded and earred crest above two pierced and interlacing splats, to the revolving circular dished seat, above an undulate-carved frieze, raised on fluted tapering square legs ending in ormolu pegs, h. 30”. [1200/1800]

463 Pair of Cast-Iron Garden Urns, of campana form, each with a gadrooned lip above a ribbed back and with elaborately scrolling handles, raised on a stepped square pedestal, now presented in a white-painted finish, h. 37”, dia. 31”. [600/900] 464 Pair of Late Victorian Cast-Iron Garden Urns, ca. 1900, each of campana form with an egg-and-dart rim, the pierced handles in foliate and scroll decor, now painted white, h. 25”, w. 34”, dia. 25”. [700/1000] 467

465 After Sir Lawrence AlmaTadema (British, 1836‑1912) “The Finding of Moses”, oil on canvas, contemporary copy, signed lower left “By Tinkler” and inscribed “After Alma-Tadema”, 53‑1/2” x 84‑1/2”. Handsomely framed. [2500/4000] Illustrated

473

474

471

472

466 Orientalist-Style Marble Portrait Bust, depicting a striking young woman in headscarf, with flowing tresses, a pair of roses in bloom beneath her bodice, on a socle base, h. 24”, w. 15”, d. 9”. [1000/1500] Illustrated 467 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. [900/1200] Illustrated

470 Indian Carved Ivory Covered Storage Box, 20th century, of oval outline and carved with a continuous scene of elephants, lions and deer among trees, the cover carved as an elephant encircled by two palm trees, h. 4”, l. 4”. [200/400] 471 Tibetan Gilt-Bronze Statue of Shadakshara Lokeshvara, 20th century, the cast-bronze figure seated in a lotus position on a double lotus base and wearing a tiara, earrings and necklace with two hands in a prayer position, another holding a rosary and the last a lotus flower, the copper basal seal intact and engraved with a double varja, h. 7‑3/4”. [600/900] Illustrated

468 Colonial Indian Inlaid and Carved Sandalwood Portable Writing Desk, third quarter 19th century, Mumbai, rectangular with sloped front, the exterior engraved with panels of wild beasts and foliage framed by borders of sadeli hexagons and stars, the slope opening to reveal a violet velvet-lined writing slope with letter compartment underneath, the inner lid inlaid with sadeli circles, the top opening to reveal an interior with eight compartments, three lidded, h. 3‑3/4”, w. 12”, d. 8‑1/2” (14” open). Amin Jaffer’s Furniture from British India and Ceylon (Salem, Massachusetts: Peabody Essex Museum, 2001) shows, on page 323, a writing desk with similar carving and identical sadeli banding which bears a label stating that it was made by Bhowanis Hanker Hariuvlubb for the Universal Exhibition, Paris in 1867. Its similarity to the present lot suggests that the latter might be from Hariuvlubb’s hand or workshop. [700/1000] Illustrated

472 Chinese Carved Ivory Figure of a Fisherman and His Catch, late 19th century, the standing figure carved in peasant’s dress and a lotus-leaf hat, holding a bamboo rod with his catch on lines and a woven basket to hold the fish, h. 6”. [400/700] Illustrated

469 Indian Carved Ivory Covered Storage Box, 20th century, of oval outline, carved with a continuous scene of elephants and their young moving through a forest, the cover carved as an elephant and her baby under a leafy canopy, h. 4”, l. 4‑1/4”. [200/400]

468

477

476 Indian Carved Ivory Figure of Saraswati, the Goddess of Creative Sciences, 20th century, the elaborately carved deity in ribboned robes standing on a lotus blossom with four arms holding a musical instrument, bird and prayer beads, mounted on a wooden stand, h. 6‑3/4”, including stand. [150/250] Illustrated 477 Group of Six Indian Carved Ivory Figures, 20th century, including representations of the smiling Buddha; a four-lion finial; a snake charmer with cobra; a caparisoned standing elephant; a group of three monkeys; and a figure of a female deity holding lotus blossoms above two elephant napkin holders, presented on wooden bases except for the standing female deity, h. 2” to 7”. [250/400] Illustrated

473 Indian Finely Carved Ivory Figure of Lakshmi, first quarter 20th century, the detailed figure depicting the goddess seated on a double lotus stand above a wooden base, dressed in traditional garb with an elaborate headdress and a jeweled necklace hanging between her prominent breasts, two of her hands placed in mudra of blessing and two upholding lotus blossoms, h. 8‑1/2”, including the stand. Lakshmi is the Hindu goddess of wealth, prosperity, light, wisdom, fortune, fertility, generosity and courage, embodying beauty, grace and charm, protecting her devotees from misery and money-related sorrows. She is very closely associated with the lotus and is known as the lotus dweller. [2000/4000] Illustrated previous page

476

474 Pair of Chinese Well-Carved Ivory Sections of Elephant Tusks, 19th century, each of slightly curved form, carved in low relief with intricate detail depicting female deities, one holding a lotus, the other holding a musical instrument, both against a ground of intricately carved swirling clouds, presented on lacquer-decorated wooden stands, h. 8”, including stands. [1800/2500] Illustrated previous page 475 Chinese Pottery Basin and Stand, late 19th century, composed of a circular pottery basin with scored interior seated on a five-legged wooden stand with green lacquer finish, h. 30‑1/2”, dia. 20‑1/2”. [200/400]

478 Indian Carved Ivory Figure of Lord Krishna, the God of Music, 20th century, the figure of the deity standing with drapery atop a lotus blossom with upraised hands holding a flute (now lacking), mounted on a wooden stand, h. 7”, including stand. [150/250] Illustrated 479 Indian Carved Ivory Figure of Ganesha, the Lord of All Existing Beings, 20th century, the elephant-headed deity seated with corpulent body and four arms before an encircling halo, mounted on a wooden stand, h. 4‑1/4”, including stand. [100/200] 480 Indian Teak Shrine Cabinet, the cushionmolded cornice above two recessed cupboard doors, each paneled and with elaborate floral and foliate designs, opening and sliding to the side, over two hinged cupboard doors, paneled and with carved patera, the whole fronted by square uprights, raised on block feet, h. 83”, w. 61‑1/2”, d. 43”. [400/700] 481 Polychromed Bisque Porcelain Group of a Tiger Hunt, ca. 1900, depicting two Indians and an English gentleman mounted on an elephant being attacked by a tiger, h. 13”, l. 13”. [500/800] Illustrated

478

482 Large Framed Indian Painting on Paper, first quarter 20th century, in gouache colors, depicting the greeting of two military leaders on horseback with their attendant armies, with a bridge in the foreground, all against a rather primitive landscape, presented in a carved giltwood frame and glazed, h. 52‑1/4”, w. 39‑3/4”. [400/700] Illustrated

481

482 483 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”. [500/800]

485 Framed Japanese Woodblock Print, 19th century, a surimono depicting a reclining geisha with an open box of bamboo shoots and a basin of sprouting plants, after Hokkei, matted, glazed and framed, h. 17‑5/8”, w. 13‑5/8”. [150/300]

484 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”. [500/800]

486 Victorian Ebonized Tripod Table, third quarter 19th century, in the chinoiserie taste, the circular dished top with gilt vessel and foliate accents, raised on a turned baluster-form standard to three splayed legs with like accents and ending in pad feet, h. 30”, dia. 16”. [300/500]

484

487 Continental School (20th Century) “Portrait of a Moroccan Man”, watercolor, signed lower right “Charles Arman”, 14‑1/4” x 10‑5/8”. Glazed, matted and framed. [40/70] 488 Jose Garrigues Motos (Spanish, 1883 - ?), a collection of three watercolors depicting The Alhambra Palace in Granada, Spain, including two small vertical interior views of the highly ornamental walls and archways, sight 11‑3/4” x 7”, and a large horizontal exterior view of the courtyard and fountain, sight 13‑3/4” x 18”, all are signed by the artist. Glazed, matted and framed en suite. [1200/1800] 489 Continental School (First Quarter 20th Century) “The Arab Guard”, oil on board, indistinctly signed lower left, 9‑3/4” x 8”. Unframed. [1000/1500]

495 Italian School (Fourth Quarter 19th Century) “Interior Scene with a Peasant Family Dancing to the Music of an Accordion and Tambourine”, oil on canvas, signed lower right “Santini”, verso with conservation label “Hudson + Salah, Art Conservation Studios, New Orleans, Louisiana”, 27‑1/2” x 39‑1/2”. Presented in a contemporary molded giltwood frame with scrolling foliate patterns and shell corner accents. [2500/4000] Illustrated 496 Continental School (Late 18th Century) “Portrait of a Lady Holding a Sprig of Flowers, Buildings Beyond”, oil on canvas, unsigned, 39” x 29‑1/2”. Presented in a contemporary frame. [500/800]

490 490 Federico Fernandez y Gimenez (Spanish, 1846‑1873) “Orientalist Interior Scene with an Attendant Playing a Setar for a Harem Beauty”, 1893, watercolor and gouache on paper, heightened with gum arabic, signed lower right “F. Fernandez Gimenez 1893”, sight 19‑1/4” x 14‑1/2”. Glazed and handsomely framed. [3500/5000] Illustrated 491 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. [450/700] Illustrated

491

492 Diana Coomans (Belgian, 1861‑1952) “Love’s Messenger Released”, oil on panel, signed, dated and inscribed “Diana Coomans Paris 1890”, 4‑1/4” x 6”. Presented in a period carved giltwood and plaster frame in the Neo-Rococo style, the basal edge centered with a brass title/artist plaque. [800/1200] Illustrated 493 Continental School (Fourth Quarter 19th Century) “Village Street Scene with a Spanish Beauty and Her Suitors”, oil on canvas, signed lower left “E. Vibert”, 23‑3/4” x 31‑1/2”. Handsomely framed. [2500/4000] Illustrated 494 Camillo Gioja Barbera (Italian, 19th Century) “Two Women and a Girl Seated in a Church Interior”, oil on canvas, signed lower left, 22‑1/2” x 17‑1/4”. Handsomely framed. [1200/1800]

492

497 Continental School (Fourth Quarter 19th Century) “Peasant Boy Feeding a Rabbit”, oil on canvas laid down on panel, signed lower left “C. Panozios”, 45‑1/2” x 34”. Presented in a period molded giltwood frame with deeply carved acanthine and scrolling patterns. [2000/4000] 498 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. [700/1000]

495

499 Peder Jacob Marius Knudsen (Danish, 1868‑1944) “Woman Seated by a Sunlit Window”, oil on canvas, signed lower right “Peder Knudsen”, with an inscription written in Danish on the reverse from the sitter gifting the portrait to her son for his 25th birthday, 16” x 14”. Handsomely framed. [600/900] 500 Italian School (20th Century) “Village Market Scene”, oil on canvas, signed lower right “S. Ricci”, 10” x 8‑1/4”. Framed. [150/300]

493

501 501 Large Pair of Japanese Bronze Vases, Meiji Period (1868‑1912), each of baluster form with horned dragon handles, splayed feet and flared lip rims, the bodies each with shaped reserve panels with highrelief decoration of sparrows on flowering branches, the necks with shaped reserve panels with high-relief decoration of parakeets on fruiting branches and the bases with cast stylized archaic pendants, h. 18‑3/4”. [2000/4000] Illustrated

504 502

506

503 505

504 Pair of Chinese Soapstone Cylindrical Cricket Cages, 19th century, each carved in mottled ochre and brown stone, the bodies carved with continuous scenes of deities in mountainous landscapes with pierced openwork, standing on openwork bases and having domed covers with spherical knobs, h. 11‑1/2”. [12000/18000] Illustrated 505 Good Chinese Nephrite Jade Gong, Han Dynasty (206 B.C.‑220 A.D.) or later, of squared outline with rounded corners and a circular central hole, the exterior carved with three broken rows of horizontal bands, the stone of brownish-yellow color fading to a translucent yellow-green on one side, h. 1‑1/2”, w. 2‑1/4”, l. 2‑1/4”. [300/500] Illustrated

506 Chinese Carved Jade Boulder, the flattened jade stone retaining the shape of the original stone and brown skin on the reverse with the interior carved as two figures in a mountainous landscape with pavilions, houses and pine trees, presented on a custom-carved wooden stand, h. 7‑1/2”, l. 9”. [700/1000] Illustrated 507 Large Pair of Japanese Satsuma Vases, Meiji Period (1868‑1912), each of slightly splayed cylindrical form and decorated in polychrome enamels and gilt against a crackled cream ground, the central section as reptiles and insects within a woven net background, the lower section delicately decorated as a continuous scene of flowers and grasses, h. 17‑1/2”. [3000/5000] Illustrated

509

507

502 Delightful Japanese Miniature Cabinet-on-Stand, 20th century, modeled after a clothes cabinet, the front with two doors opening to seven drawers, the body and conforming stand decorated with gold-speckled lacquer, the doors, sides and top inset with ivory panels with raised gold lacquer decoration of garden scenes depicting people, pavilions and wildlife, h. 10‑1/4”, w. 7‑3/8”, d. 5‑1/4”. [2000/4000] Illustrated 503 Unusual Japanese Wood and Ivory Inkwell, first quarter 20th century, the wooden body carved as a desiccated skull with the ivory body of a serpent crawling from the inside and through the eye sockets, the top of the skull with a circular opening topped by the figure of a toad opening to the inkwell, h. 3‑3/8”. [400/700] Illustrated

508 Two Framed Japanese Prints by Shiho Sakakibara (1887‑1971) “Chestnuts and Wood Cracker”, no. 31/200, and “Peaches and Paradise Flycatcher”, no. 24/200, printed from the original Akiho blocks in 1960, glazed, matted and framed in one frame, h. 43”, w. 27‑5/8”. [250/400] 509 Japanese Carved Ivory Section of an Elephant Tusk, Meiji Period (1868‑1912), carved in low relief as a seated samurai with a sword and attended by a kneeling servant presenting a scroll, presented on a wooden stand, h. 6‑1/2”, including stand. [500/800] Illustrated

511 detail

512 Pair of German Leaded, Stained and Enameled Glass Portrait Windows, fourth quarter 19th century, in the 16th-century style, the left a portrait of Bishop Milo Tarven and the right of Watterus Laudun, the enameled and leaded glass portraits surrounded by pale green transparent glass reserves, each portrait identified in Latin-enameled glass below the figure, retaining the period mahogany frames, h. 78‑1/2”, w. 17‑1/4”. [1500/2500] Illustrated

511

510 Japanese Carved Ivory Ceremonial Knife, first half 20th century, the hilt and scabbard densely carved in low relief with elaborate scenes of peasants and farmers engaged in daily pursuits, l. 11‑3/4”. [1500/2500]

511 German Leaded and Enameled Glass Double-Portrait Panel, fourth quarter 19th century, depicting the noble robed donors Hermann Cappenberg (left) and Otto Cappenberg surmounted by a canopy of fruit and leaves in the 16thcentury style, the donors identified in Latin below, retaining the mullioned mahogany frame, h. 78”, w. 53‑1/2”. [1800/2500] Illustrated

512 detail

512

517 Italian School (Third Quarter 19th Century) “Madonna and Child”, pastel on canvas, unsigned, with Deforge, Paris, canvas maker’s stamp on the reverse, 32‑1/4” x 25‑3/4”. Presented in a period molded giltwood frame with corner floral-spray accents and incised scrolling patterns. [700/1000] Illustrated 518 Italian Baroque-Style Polychromed Plaster and Faux-Marble Bracket Console, the rectangular faux rouge marble raised on a support in the form of a Corinthian capital centered by a musical cherub, h. 21”, w. 44‑1/2”, d. 11‑1/2”. [900/1200] 519 Continental Gilt-Metal Monstrance, 19th century, the central crystal ringed with marcasite jewels and surrounded by angels in clouds with a border of rays and topped by a Latin cross, the shaft topped by wheat sheaves, with a cluster of grapes at its center, the footed shaped base with the figure of a lamb, the luna lacking, h. 23‑3/4”. [700/1000] Illustrated

516 513 Large Polychromed Plaster Devotional Statue of the Virgin Mary and Christ Child, 20th century, depicting the serene Virgin standing with an outstretched right arm and holding the Christ Child with outstretched arms in her left arm, h. 40”. [700/1000] 514 Pair of Italian Tiered Seven-Light Pricket Appliques, of large size in the late 18th-century neoclassical style, composed of carved, gray-blue painted, and parcel-gilded wood and wrought iron, the gray-blue painted finish tastefully abraded throughout, h. 60”, w. 30”, d. 17”. [3000/5000]

520 Pair of Continental Gilt-Metal, Enamel and Glass Standing Reliquaries, 19th century, each with a squared face and circular plaque of the four Evangelists, the squared faced with four red glass cabochons, each with a florid cross terminal, one reliquary containing relics of St. Germaine Cousin, virgin, the patron saint of abandoned and abused people, St. Blaise, patron saint of people suffering illnesses of the throat and Fra. Ro Vid, and the second reliquary containing relics of St. Etienne (Stephen), St. Philomena and St. Roch, h. 24”. The relics of Saints Blaise and Germaine Cousin are accompanied by authentications signed by Julianus - Florianus Felix Despres, Archbishop of Toulouse and Narbonne. [1000/1500] Illustrated

515 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”. [1400/1800] 516 After Bartolome Esteban Murillo (Spanish, 1618‑1682) “Madonna and Child”, oil on canvas, 19th century, unsigned with conservator’s label on the reverse “Fine Art Painting Conservation, 918 Aline Street, New Orleans, Louisiana”, 33‑1/2” x 22‑1/2”. Presented in a molded giltwood frame in the Italian rococo taste with deeply carved scrolling acanthine patterns, fourth quarter 19th century. [2000/4000] Illustrated

517

521 French Brass, Enamel and Onyx WallMounted Holy Water Font, 19th century, composed of a cruciform white marble body mounted on a brass back, the face with a finely enameled Latin cross and an enameled Gothic-shaped holy water well with hinged lid, with enamel decoration and white enamel lining, the reverse with a suspension loop, h. 11‑3/8”, w. 6‑5/8”. [300/500] Illustrated

519

522

520

522 Continental Gilt-Metal Reliquary of Saint Alban, 19th century, the body of conventional monstrance form with a relic of unusually large size of Saint Alban surrounded by a border of paste jewels and four angels, sunbursts and wheat sheaves, the relic with intact Episcopal seal, h. 22‑5/8”. [700/1000] Illustrated 523 Italian Giltwood Looking Glass, late 19th century, in the rococo taste, the domed mirror plate surmounted by a tall pierced scrolling foliate crest and surrounded by a mirrored band within a dentillated and foliate slip with scrolling foliate pendants, h. 70”, w. 35”. [1800/2500] Illustrated

521

526

523

524 Group of Two Spanish Oak Armorial Plaques, 18th century, each with a central shield surrounded by foliate-carved patterns, one h. 16‑1/2”, w. 14”, the other h. 15‑1/2”, w. 15”. [500/800] 525 Group of Two Spanish Oak Armorial Plaques, 18th century, each with a central shield surrounded by foliate-carved patterns, one h. 16‑1/2”, w. 14”, the other h. 14‑1/2”, w. 15‑1/2”. [500/800]

527

528 526 French Limoges-Style Bronze Champleve Enamel “Reliquary”, 19th century, in the Medieval taste, of cylindrical form, the body decorated with two polychromed champleve enamel scenes from the life of the Saviour, “The Return to Nazareth” and “The Raising of Lazarus”, separated by cast-bronze figures of Carolingian kings, the two figures’ plinths forming two feet, a pair of mascarons forming the other two, the flat hinged lid with a button finial and decorated with a radiant champleve enamel IHS monogram, with a cross above and three nails below, h. 7”, dia. 7‑1/4”. [2500/4000] Illustrated previous page

530 Orthodox Painted Icon of the Virgin of Compassion, second half 19th century, depicting the Theotokas (Virgin Mary) clad in red robes and holding the Christ child in a loving embrace, the child pressing His left cheek against His mother’s right cheek, in a traditional gesture of Elevsa (tender mercy), 14” x 11‑3/4”. [600/900] Illustrated

527 Continental Composition Faux-Marble Garden Figure, depicting a pensive winged angel grasping a shell, on an integral octagonal pedestal with Gothic panels, h. 60‑1/2”, w. 19”, d. 18”. [500/800] Illustrated

531 Colonial Carved and Gessoed Wooden Statue of a Standing Christ, probably 18th century, the standing figure clad in a white robe with a blue mantle draped across one shoulder, with both arms spread in a gesture of welcome, either to a penitent or to His coming fate, on a platform base, h. 26”. [1800/2500] Illustrated

528 Continental Carrara Marble Figure of Saint Joseph, ca. 1900, the robed figure depicted holding the Christ Child and a spray of lilies, h. 61”. [4000/7000] Illustrated

532 Continental Carved and Painted Wooden Statue of St. John the Evangelist, probably late 18th century, the standing figure clad in a tunic and cloak, with inset glass eyes, holding an open gospel in his left hand, his right hand extended above the figure of an eagle with outstretched wings, on a platform base, h. 24‑1/4”. [1400/1800] Illustrated

529 Large Pair of English GiltLacquered Brass Pricket Candlesticks, second quarter 19th century, in the “Fonthill” Gothic style, h. 33” (37” to pricket tip), w. 7”. [1400/1800]

535

533

531

534 530

534 Orthodox Painted Oval Icon of the Trinity and Saints, second half 19th century, the oval panel painted with the Holy Trinity depicted as angels with hands raised or outstretched in blessing (after Rublev), accompanied by two saints and inscribed “Holy Trinity”, h. 15‑1/2”, w. 21‑1/4”. [600/900] Illustrated 535 After Raffaello Sanzio da Urbino, Called Raphael (Italian, 1483‑1520) “Madonna of the Goldfinch”, oil on canvas laid down on masonite, first quarter 19th century, 40‑1/2” x 30”. Presented in a carved giltwood frame in the Italianate rococo taste, with pierced scrolling foliate patterns. [1200/1800] Illustrated

532

537

536

533 Orthodox Painted Icon of Christ as Pantocrator, second half 19th century, the standing blue-robed figure holding a Gospel, with four figures of male saints in positions of adoration and supplication at his feet, h. 28”, w. 15‑1/2”. [800/1200] Illustrated

536 After Rembrandt van Rijn (Dutch, 1606‑1669) “The Adoration of the Shepherds”, oil on canvas, unsigned, verso with ex-collection label from the Dallas Museum of Fine Arts, Dallas, Texas, 24” x 20”. Handsomely framed. Provenance: Clarence Hoblitzelle, St. Louis, Missouri; Hoblitzelle Foundation Art Collection, Dallas, Texas; Dallas Museum of Fine Arts, Dallas, Texas; Christie’s New York, Old Master Paintings, October 7, 1993, lot 66; to a private collector, Austin, Texas. Exhibited: “Greater Texas and Pan American Exposition: Paintings from Texas Collections”, Museum of Fine Arts, Dallas, June 12 - October 31, 1937, page 45, catalogue no. 368. [3000/5000] Illustrated

542 537 Large Continental Carved and Gessoed Wooden Statue of St. Sebastian, 19th century, carved as the figure of the martyred saint standing on a rocky base and tied to a tree, his near nude body pierced with arrows while a halo rises behind his head, the statue gessoed and painted and with inset glass eyes, h. 43‑1/2”. Provenance: Gift to “Buzz” Harper from Anne Rice, New Orleans, Louisiana (now Rancho Mirage, California). Ironically, although St. Sebastian is usually depicted being martyred by being shot with arrows, his body was rescued by Irene of Rome who nursed him back to health, whereupon he harangued the Emperor as he passed and the Emperor had him beaten to death and thrown into a privy. [3000/5000] Illustrated previous page

542 detail

538 Spanish Carved Walnut and Embossed Leather Armchair, second quarter 19th century, in the Baronial taste, the domed and padded back upholstered in embossed leather featuring a shield and a warrior bearing a banner, joined by padded ram’s-head arms to the seat, with like upholstery with a mounted warrior, raised on block and turned legs joined by a foliate-carved front stretcher and ending in bulbous turned feet, h. 51‑1/2”. [700/1000] 539 Pair of Continental Embossed Brass Footed Altar Sticks, 19th century, of large size and molded in Baroque designs, now mounted as lamps, h. 39‑1/2”, w. 7”. [600/900]

541

540 Italian Turned Wooden Candlestick Lamp, with silvergilt finish, in the 18th-century style, fitted with a custom black linen shade, h. 19‑3/4” with shade. [50/80]

541 Spanish Walnut and Bone Vargueno, 19th century, of rectangular form, the drop front opening to an interior fitted with ten drawers surrounding a central cupboard, raised on a stand of turned legs joined by a like stretcher and ending in runner feet, the whole elaborately inlaid in foliate geometric and ecclesiastical patterns, h. 53‑1/2”, w. 30”, d. 18‑1/2”. [3500/5000] Illustrated 542 Suite of Four Continental Giltwood Pilasters, 17th century, each of clustered column form with carved crocket designs, fitted with projecting circular votive shelves, the bases circular, h. 84‑1/2”. [2500/4000] Illustrated 543 After Raphael Sanzio da Urbino, Called Raphael (Italian, 1483‑1520) “Sistine Madonna”, oil on canvas, unsigned, 19th-century copy, verso with canvas stamp “Copie nach, No. 93, der Konigl. GemaldeGalerie 20 Dresden”, 50‑1/2” x 37‑1/2”. Presented in a carved giltwood frame with a heavily molded cornice bearing artist’s name and with acanthine dentilation over a paneled frieze, each side in the form of scrolling foliate Corinthian pilasters. The Sistine Madonna was commissioned by the Benedictine monks of the monastery of San Sisto in Piacenza. Raphael finished the work just before he died; it was the last of his Madonnas. The Sistine Madonna is in the permanent collection of the GemaldeGalerie Alte Meister in Dresden, Germany. [2500/4000] Illustrated 544 Fine Spanish Bone-Inlaid Walnut Vargueno-onStand, second quarter 16th century, with wrought-iron mounts, the fall front opening to reveal a carved bonemounted and -inlaid walnut interior of nine drawers and two compartments, the upper element supported on a period oblong, ring-turned walnut stand, the present gilt-brass bun feet of the upper element a tasteful replacement, cabinet h. 21‑1/2”, w. 36‑1/2”, d. 15‑1/2”, open d. 33”, overall h. 54”, w. 41”. [2500/4000] 545 Spanish Provincial Oak Table, 19th century and later, the irregular top with corner iron hardware accents, above a frieze fitted with a single drawer, with an inlaid geometric panel, raised on splayed block legs, h. 25”, w. 34”, d. 22”. [250/400]

543

547 Spanish Carved Walnut Refectory Table, early 20th century, the rectangular top with a palmetto-carved edge and raised on shaped supports with elaborate scrolling foliate patterns surrounding a masque, joined by a shield-carved stretcher and ending in paw feet, h. 30”, w. 35‑1/2”, l. 81”. [1800/2500] Illustrated 548 Italian Provincial Wrought-Iron and Brass Brazier, early 20th century, in the neoclassical taste, the brazier suspended by three scrolling wrought-iron supports, h. 65‑3/4”, dia. 21”. [250/400]

546 Pair of Italian Lacquered Brass Altar Candlesticks, in the neoclassical taste, each with a fluted and bulbous standard above a tripodal base with panels depicting the Savior, the Virgin and the Sacred Heart, previously electrified, h. 25‑1/2”. [400/700]

547

549 Spanish Walnut Pub Stool, early 19th century, the padded rectangular leather top raised on angled turned legs joined by a like box stretcher and ending in toupie feet, h. 20”, w. 17”, d. 14”. [500/800]

552 Italian Sorrento Ware Inlaid and Polychromed Wood Plaque, early 20th century, depicting a dancing man and woman playing tambourines, signed “G. Astarita/ Sorrento”, h. 15”, w. 10‑3/4”. [500/800]

551

553 Good Danish Pine Armoire, mid‑18th century, the heavily molded cornice with a domed center section and ebonized accents, above a case fitted with two doors, each paneled and with a stepped diamond pattern in the center, divided and flanked by engaged pilasters above two drawers, raised on block feet, the whole with ebonized molded accents, h. 89”, w. 81”, d. 30”. [1800/2500]

550 Pair of Monumental French Bronze Figural Lamps, each in the form of a putto wearing a crown of wheat and a draped garment, and raised on a stepped circular base with an applied figural medallion and raised on scrolled toes, h. 37”. [1200/1800]

554 Henri IV-Style Carved and Ebonized “Dame a Licorne” Armchair, mid‑19th century, the padded rectangular back surmounted by two bulbous finials and with period needlework after “La Vue”, one of the six late 15th century “La Dame a Licorne” tapestries now housed at the Musee National du Moyen Age, Hotel de Cluny, Paris, joined by imbricate- and foliate-carved arms to the padded seat, raised on bobbin-turned legs joined by a shell- and foliate-carved front stretcher and ending in block feet, h. 53‑1/2”. [700/1000] 555 A Sixteenth-Century Antiphonal Page from the Book of Wisdom, 3:2‑3, painted vellum sheet, 30‑1/2” x 21‑3/4”. Glazed, handsomely matted and framed. [250/400]

562

551 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”. [600/900] Illustrated

557

561 Norwegian Sterling Silver Gilt and Cloisonne Tea Strainer, ca. 1900, by David-Anderson, Christiana (now Oslo), of circular form, the rim decorated with a band of turquoise blue enamel scrollwork banded by white dots, with a single-struck and enameled geometric handle en suite, w. 2‑3/4”, l. 4‑3/4”, 1.29 t. oz. [75/125] 562 Italian Giltwood Sunburst Looking Glass, the circular mirrored plate within an argente frame emanating a double tier of giltwood rays, dia. 39”. [1800/2500] Illustrated 563 Circle of Massimo Stanzione (Italian, 1585‑1656) “Virgin with Christ Child Holding Apple”, oil on canvas, unsigned, 50‑1/2” x 40‑1/2”. Presented in a fourth quarter 19th-century giltwood frame with projecting corners, the frieze with a fruit garland, the sides and bottom panels carved en suite. [9000/12000] Illustrated

563

564 After Raphael Sanzio da Urbino, Called Raphael (Italian, 1483‑1520) “Madonna of the Chair”, oil on canvas, fourth quarter 18th century, unsigned, 29‑3/4” x 29‑1/2”. Presented in a molded and heavily carved giltwood frame with corner acanthine accents and side shell patterns, the slip with corner scrolling designs centered by maiden’s heads. [4000/7000] Illustrated

556 Dutch Rosewood Kas, second quarter 19th century, the molded cornice above a case fitted with two long doors, flanked and separated by paneled pilasters with ebonized accents, with two paneled drawers below, raised on ebonized bun feet, h. 79”, w. 67”, d. 26‑1/2”. [1000/1500] 557 Continental School (Fourth Quarter 19th Century) “Saint Scholastica”, oil on canvas, unsigned, 60” x 40”. Presented in a deep giltwood and plaster frame. [1000/1500] Illustrated 558 Spanish Colonial School (Late 18th Century) “The Penitent Magdalene”, oil on copper, unsigned, 8” x 6‑5/8”. Presented in an attractive antique Louis-Philippe carved giltwood and plaster frame in the neoclassical taste, second quarter 19th century. [400/700] 559 Spanish Colonial School (First Quarter 19th Century) “The Virgin and Child”, oval oil on canvas, unsigned, 19‑3/4” x 14‑1/2”. Unframed. [150/300] 560 Continental Lapis Lazuli and Brass Desk Box, of rectangular outline with finely engineered mountings and hinges, the top and sides made of finely cut pieces of lapis lazuli with pyrite and calcite inclusions in a royal blue matrix, h. 3/4”, w. 2‑1/2”, d. 1‑5/8”. [75/125]

564

565 Good Italian Giltwood Looking Glass, second quarter 19th century, in the rococo taste, the tapering ovoid plate surmounted by a shell crest flanked to either side by a winged putti head, the plate surrounded by a paneled mirror and foliate-carved frame to a foliate pendant, h. 33”, w. 20”. [1000/1500] Illustrated 566 Spanish School (Fourth Quarter 18th Century) “Portrait of an Elderly Military Officer”, unsigned, 28‑1/2” x 23‑1/2”. Presented in a contemporary giltwood frame. [300/500] 567 Neoclassical-Style Marble Columnar Pedestal, the circular variegated white marble top and base on a cylindrical blush and pale rouge marble standard, h. 25”, w. 19‑1/2”, d. 19‑1/2”. [1000/1500] 568 Neoclassical-Style Marble Columnar Pedestal, the circular variegated white marble top and base on a cylindrical blush marble standard, h. 25”, w. 19‑1/2”, d. 19‑1/2”. [1000/1500]

573

570 “Fauxberge” Silver-Gilt-Mounted Jade Cabinet Urn, late 20th century, the carved spinach jade urn with silvergilt snake-handled mount, the cap set with a medallion of the Imperial arms surrounded by small diamonds, with imitation Imperial and Faberge hallmarks, h. 3‑3/4”, w. 3”, presented in a fitted cream velvet- and satin-lined blonde wood box with imitation Faberge stamp, h. 3‑1/2”, w. 4‑3/4”, d. 5‑1/4”. [300/500]

565

569 Russian Lacquered Papier-Mache “Fairytale” Box, dated 1982, Palekh, Russia, of circular form with cavetto sides, the lid featuring the Snow Maiden being serenaded on the flute by her love, the shepherd Lel, his flock nearby, in tempera and gilt on black, the interior lacquered in monochrome red, signed, dated and numbered in gilt along the edge “5474 Palekh 1982 Lamova” (Cyrillic), and on the underside “Made in USSR” (Latin), dia. 3‑1/2”, presented in the original cotton-lined pasteboard box with the applied label of the Palekhsky Division of the Artistic Federation of the R.S.F.S.R (Russian Soviet Federal Socialist Republic), 4” x 4”. [200/400]

571

578

575 Two “Medieval” Seals, including a Spanish lead bulla of Castilla y Leon, possibly 15th century and that of Juan II (1405‑1454), the obverse depicting a king on his throne, the reverse with the arms of Castilla y Leon, dia. 3‑1/2”; and a French bronze matrix of the Second Great Seal of Dijon, probably a 19th-century museum replica of the 14th-century original, depicting a figure on horseback with a hawk and beside the resplendent sun, circled by the inscription “Silgillum Comnunie Divionis” and an outer band of human heads of varied character and expression, dia. 3‑1/4”. Reference: J. Charvet, Description des Collections de Sceaux-Matrices de M. E. Donge (Paris: the author, 1872), pp. 256‑257. [250/400]

576 Pietra Dura and Ebonized Wood Lidded Table Box, the top with a marbleinlaid panel depicting a bird perched atop a flowering branch, set in a molded frame on a shallow molded box with stepped base, h. 3”, w. 9”, d. 7”. [500/800]

571 Unusual Pair of Italian Polychromed and Gilded Wooden Urns, late 19th century and later, the bodies decorated with painted panels depicting figures in classical dress in a pastoral landscape separated by gilt masques, with marble-clad octagonal necks and bases, h. 23”, w. 16”. [5000/8000] Illustrated 572 Continental Gilt-Brass Dressing Mirror, first quarter 20th century, of rectangular form, with a reticulated flower and acanthus scroll frame and a crowned heart cresting with leafy demi-lion and dolphin mantling, with its original beveled mirror and supported by and easel back, h. 19‑1/2”, w. 9‑1/2”. [200/400] 573 Pair of Italian Carved, Polychromed and Gilded Wooden Blackamoors, of tall size in the 18th-century Venetian style, one male and the other female, each with a raised arm and grasping a torchere from which emanates a dramatic bouquet of black and white ostrich feathers, raised on octagonal pedestal bases, h. 74‑3/4”, w. 18”, d. 17”. [3000/5000] Illustrated 574 Pair of Italian “Grand Tour” Patinated Bronze Lamps, first quarter 20th century, each in the form of a stork supporting two hanging oil lamps and perched on a tree supported by griffins and raised on hoofed feet, h. 20”. [1200/1800]

579

577 Italian Black Marble and Malachite-Inlaid Pietra Dura Marble Table Top, of circular form, inlaid with a cluster of roses amongst inlaid and shaded foliage, surrounded by small clusters of assorted flowers and leaves, the sprays joined by an inlaid malachite ribbon, dia. 25”. [3000/5000]

578 Italian Giltwood Looking Glass, early 20th century, the shaped plate surmounted by a masque-centered foliate fan with flanking mermaid figures, the plate within a molded frame with applied scrolling foliate and scrolling patterns, h. 53”, w. 34”. [500/800] Illustrated 579 Marcel Debut (French, 1865‑1933) “Porteur d’Eau Tunisien”, a large patinated bronze figure of a Tunisian youth carrying two rope-handled water jugs, patinated in various subtle shades of brown, presented on a rectangular plinth base affixed with a plaque with the title and “Par Debut/ 1er Prix de Rome”, signed on the base “Debut”, h. 24‑3/4”. [4000/7000] Illustrated

581

582 Italian Wrought-Iron and Cut Glass Nine-Light Chandelier, second quarter 20th century, the parcel-gilt and ivory-painted iron frame of cage form in the Directoire taste, the interior featuring a wrought-iron-stemmed bouquet of cut glass flowerheads, the frame opulently dressed with facet-cut glass drops in two sizes, amber glass fleurettes, cabochon drops and amber kite-form drops in two sizes, fitted with faux candles and electrified, h. 30”, dia. 25”. [1200/1800] 583 Pair of Continental Giltwood Looking Glasses, fourth quarter 19th century, in the rococo taste, decorated with roses and C-scrolls, each topped with a Ho-Ho bird, h. 44”, w. 20‑1/2”. [1200/1800] Illustrated 584 Continental Carrara Marble Allegorical Figure of Hope, late 19th century, the classical maiden depicted holding an anchor, h. 55”. [5000/8000] Illustrated 585 Italian Walnut and Mahogany Coffer, late 18th century, the hinged top opening to a void interior, the front inset with three arched panels divided by projecting geometric and foliate-carved uprights, the molded plinth raised on block feet, h. 31”, w. 45”, d. 22‑1/2”. [1000/1500] Illustrated

584 580 Pair of Victorian Gilt-Metal Figures of Moorish Warriors, fourth quarter 19th century, one with a dagger in his belt and a bow in his hand, h. 15‑1/2”, and the other with a pistol in his belt and a lance in his hand, h. 16‑3/4”, each presented on a striated white onyx plinth base. [600/900] 581 Pair of VenetianStyle Painted and Gilded Two-Light Wall Sconces, with carved baskets of flowers set on a rococo panel, now electrified, h. 27‑1/2”, w. 17”. [1800/2500] Illustrated

583 pair

586 pair 586 pair

586 Pair of Derby Crown Porcelain Co., Limited Porcelain Plaques of Spanish Scenes, fourth quarter 19th century, both signed: “G. Holtzendorff.” after Jules James Rougeron ( French 1841‑1880), mounted in contemporary frames, plaque h. 10”, w. 7‑3/4”, overall h.17‑1/4”, w.15‑1/4”. [2500/4000] Illustrated

585

587 Italian Oak and Walnut Coffer, 17th century and later, the rectangular hinged top opening to a void interior, the front with a central panel within two decorative carved bands, flanked to each side by a mask carving, the sides paneled and with iron handles, raised on dolphin-carved block feet, h. 21‑1/2”, w. 68”, d. 20‑1/4”. [1800/2500] Illustrated

587

590

588 Classical or Etruscan Conifer Resin and Gold Head of a Bearded Man, the head modeled of dull resin, possibly amber, the hair, beard, eyes and moustache of applied high-karat repousse gold, presented on a later wood plinth, head h. 6”, w. 4”, d. 7‑1/4”. Purported to be ex-collection: The Stoclet Collection, Brussels, Belgium. [700/1000] Illustrated 589 Two Fine Examples of Roman Glass Vessels, 1st‑3rd century A.D., comprised of a squat bulbous blue glass vessel with eared handles and silvery patina, h. 3”; and a small mottled brown glass pitcher with ribbed handle and scattered iridescent oxidation, h. 5‑1/4”. [400/700] Illustrated

588

589

591 590 Group of Two Iberian Faience Circular Platters, early 20th century, each richly polychromed and featuring a classical battle scene within an elaborate mask and scrolling foliate border, dia. 15‑1/2” and 17”. [800/1200] Illustrated

591 Spanish Iron and Steel Window Grille, the large rectangular frame with an overlaid punched steel band in repeating foliate and floral patterns, the interior with a lattice-form grille, h. 82”, w. 42”. [1800/2500] Illustrated 592 Continental Terra Cotta Figural Group of Two Children, first quarter 20th century, depicting a crouched pensive boy and a sitting chatting girl, on a circular base, the finish weathered overall, h. 39‑1/2”, w. 21”, d. 20”. [3000/5000] Illustrated

592

595 Delightful European Carved Ivory Owl Desk Ornament, 19th century and later, well carved with incised feather details and inset eyes as the figure of an owl perched on a later carved ivory log, h. 3‑1/4”. Owls are symbols of wisdom; therefore, they are appropriate as desk ornaments. [900/1200] 596 Large Pair of Continental Painted Terra Cotta Caricature Busts, fourth quarter 19th century, probably Swiss or German, depicting a smiling 18th-century nobleman and his wife, both in fancy dress and wearing matching hats, the fabrics well-detailed and realistically painted, h. 21”. Provenance: Cedar Grove, Vicksburg, Mississippi. [1000/1500]

601

597 Collection of Seventeen Continental Cut-Steel Skeleton Keys, l. 3” to 5”. [250/400]

593 Mexican School (Fourth Quarter 20th Century) “View of a Mountainous Village” and “Venetian Canal Scene”, oils on panel, the former unsigned, the latter signed illegibly lower right, 22” x 17‑1/2”. Presented in matching Baroque-style ebonized, parcel-gilt and felt-lined frames. [600/900]

598 After Antoine-Louis Barye (French, 1796‑1875) “Cerf du Gange” (“Ganges Deer”), second half 19th century, a cast and dark brown-patinated bronze figure after the ca. 1825 model, signed on the base “Barye”, h. 6”, l. 6‑3/4”. [800/1200]

594 Georges Omer (French; Active 1895‑1925), a small, amusing chryselephantine figure of a Dutch girl brandishing a large spoon to chase off a mischievous goose, presented on a conforming verdigris base, h. 5‑1/2”, w. 4‑1/2”. [300/500]

599 Black Forest Foliate-Carved Lindenwood Frame, third quarter 19th century, the arched frame carved in the form of realistic branches with ivy leaves, with a gilt-sand liner and fitted with an old lithograph depicting a pilgrimage, h. 39”, w. 24‑1/2”. [300/500]

603 Persian Heriz Carpet, 14’ 3” x 19’ 9”. [10000/15000] 604 Persian Bidjar-Style Carpet, 10’ x 13’ 10”. [600/900] 605 Kazak Carpet, 10’ 8” x 7’ 2”. [900/1200] 606 Bakhtiari Carpet, 9’ 9” x 6’ 3”. [1200/1800] 607 Kerman Carpet, 10’ 5” x 7’ 4”. [1200/1800] 608 Persian Tabriz-Style Carpet, 9’ x 12’. [800/1200] Illustrated 609 Antique Kashan Carpet, 10’ 11” x 17’ 4”. [1800/2500] 610 Mahal Carpet, 8’ 5” x 10’ 2”. [1400/1800] 616

608 600 Hamadan Runner, 3’ x 15’ 6”. [600/900] 601 Persian Mahal Carpet, 12’ 4” x 17’ 5”. [9000/12000] Illustrated 602 Turkish Angora Oushak Carpet, 8’ x 10’. [1500/2500]

615

611 Sarouk Carpet, 3’ 3” x 5’ 1”. [300/500] 612 Pair of Agra Zeiglar Mahal Runners, 2’ 6” x 10’ 5” and 2’ 7” x 10’ 1”. [700/1000] 613 Heriz Carpet, 10’ 6” x 9’. [1800/2500] 614 Heriz Carpet, 11’ 4” x 8’ 2”. [1800/2500] 615 American Sterling Silver Waiter, 1859, by Gale & Willis, New York City, New York, of oval form, with beaded Greek-key rim, the plateau engraved with a wide navetteshaped band of leafy scrolls, raised on four acanthus and scroll feet, w. 8‑1/2”, l. 11”, 13.70 t. oz. [1000/1500] Illustrated

100

616 Nineteenth-Century Tiffany & Co. Sterling Silver Christening Mug, dated 1873, by John Chandler Moore (1802‑1874), New York City, New York, of slightly tapered cylindrical form, with beaded rim and milled ovolobanded foot-ring, with notched C-shaped handle, the body engraved with an ivy-mantled “aesthetic” band with lozenge-shaped cartouche inscribed “Annie Allen/ May 23rd 1873”, h. 3‑1/8”, dia. 2‑3/4”, l. 4‑1/4”, 4.69 t. oz. [250/400] Illustrated

620

617 Nineteenth-Century Tiffany & Co. Sterling Silver Christening Mug, third quarter 19th century, by John Chandler Moore (1802‑1874), New York City, New York, of slightly tapered cylindrical form, with beaded rim and reticulated milled “sunflower”-banded foot-ring, the Cshaped handle cast en suite, the interior gilt with traces of parcel gilding on the millwork, inscribed on the body “F.S.A./ From Grandma Ayres”, h. 3‑1/2”, dia. 3‑1/8”, l. 4‑1/4”, 7.01 t. oz. [400/700] 618 Tiffany & Co. “American Colonial” Sterling Silver Mug, the pattern introduced in 1917, New York, part of Tiffany’s line of important reproduction silverware, after the early 18th-century original by John Dixwell (1680‑1725) of Boston, Massachusetts, in the Clearwater Collection of the Metropolitan Museum of Art, New York City, New York, of cylindrical form with everted rim and molded foot-ring, with an S-shaped strapwork handle, h. 3‑1/4”, dia. 2‑7/8”, l. 4‑1/4”, 6.24 t. oz. [300/500]

619

619 Tiffany & Co. “Olympian”-Pattern Sterling Silver Asparagus Tongs, the pattern designed in 1878 by Edward C. Moore (1827‑1891), New York City, New York, no monograms, l. 9”, 5.59 t. oz. [900/1200] Illustrated 620 Tiffany & Co. “Japanese”-Pattern Sterling Silver Soup Ladle, the pattern designed in 1871 by Edward C. Moore (1827‑1891), New York City, New York, with rounded rectangular bowl and fluted edge, monogrammed “F.L.R./ A.F.”, l. 12‑3/4”, 6.82 t. oz. [2500/4000] Illustrated

622 621 Pair of Tiffany & Co. “Audubon”-Pattern Sterling Silver Salad Servers, the pattern designed in 1871 by Edward C. Moore (1827‑1891), New York City, New York, including a salad serving fork, l. 8‑3/4”, and spoon, l. 9”, no monograms, 7.84 total t. oz. Tiffany’s “Audubon” pattern - a multi-motif pattern depicting various birds - was introduced originally in 1871 as the “Japanese” pattern. Available with a wide variety of enhancements (gilding, engraving, etc.), the pattern declined in popularity as the Japonaise fad waned and was discontinued sometime before 1904. It was later revived (with some modifications) on August 3, 1956 as the “Plantation” pattern, though it was quickly re-christened “Audubon” two months later, which it remains today. [600/900]

101

623

624

622 Fine Tiffany & Co. Sterling Silver Platter, the pattern introduced in 1904, this example before 1907, New York City, New York, of oval form, the broad rim decorated in relief with neoclassical scrolls adorned by fruit and quartered by addorsed ram’s and boar’s heads, all between “Gothic window” and “Renaissance” banding, the recessed plateau with scrollwork en suite, w. 18‑1/2”, l. 24‑384”, approximately 127.00 t. oz. [7000/10000] Illustrated previous page 623 Four-Piece Tiffany & Co. “Hampton”Pattern Sterling Silver Coffee and Tea Set, the pattern designed in 1934 by Arthur LeRoy Barney (1884‑1955), New York City, New York, this example 1947‑1955, including a coffeepot, h. 8‑1/2”, l. 9”, a teapot, h. 6”, l. 10”, a covered sugar bowl, h. 6”, l. 5‑7/8”, and a cream jug, h. 4‑3/4”, l. 7”, each piece monogrammed “PPB”, 66.62 total t. oz. [3500/5000] Illustrated 624 Pair of Tiffany & Co. Sterling Silver Salad Servers, the pattern introduced in 1940, New York City, New York, in the pattern commonly called “Deco Tomato” or “Pumpkin”, including a salad serving fork and spoon, l. 9‑1/2”, 8.36 total t. oz. [900/1200] Illustrated

102

625 Tiffany & Co. Sterling Silver Fruit Bowl, the pattern introduced in 1925, New York City, New York, of squat hemispherical form, with molded rim and band, raised on a circular footring, h. 3‑1/2”, dia. 9‑1/4”, 22.57 t. oz. [1200/1800]

626 Five-Piece American Sterling Silver Coffee and Tea Set, first quarter 20th century, by A. G. Schultz & Co., Baltimore, Maryland, including a coffeepot, h. 13‑1/2”, teapot, h. 12‑3/4”, cream jug, h. 8‑3/4”, covered sugar bowl, h. 9”, and waste bowl, h. 6‑1/4”, each of inverted ovoid form and richly decorated with repousse rural architectural vignettes mantled by roses and other flowers in the traditional “Baltimore” taste, the pots with “gooseneck” spouts, hinged, domed lids, floriform finials and and ram’s-masquecrested square handles, the jug with integral spout and handle en suite, the sugar bowl with fitted lid with opposing handles en suite, each raised on a floral repousse domed circular foot, 116.97 total oz. [12000/18000] Illustrated 627 American Sterling Silver Carving Set, mid‑20th century, in the traditional “King’s” pattern, including a carving knife, l. 14”, and fork, l. 11”, with English stainless steel blade and tines by the Ambassador Cutlery Co., Sheffield. [150/300]

626

634

633 635

630 Pair of American Sterling Silver Candelabra, third quarter 20th century, by the Westmoreland Sterling Co., Wallingford, Connecticut, in the Colonial taste, each with a baluster standard above a circular foot and surmounted by a thistle-form nozzle, into which fits the superstructure of a central urn-form nozzle flanked by scrolling arms terminating in nozzles en suite, h. 13‑1/2”, w. 12‑1/4”, weighted. [300/500] 631 Rogers Brothers “Remembrance”-Pattern Silverplate Tray, the pattern introduced in 1948, Hartford, Connecticut, w. 16‑3/4”, l. 28‑3/4”. [300/500]

632

636

632 Three Reed & Barton “Francis I” Sterling Silver Medium Bowls, the pattern designed in 1901 by Ernest Meyer, Taunton, Massachusetts, dia. 8”, 29.45 total t. oz. [600/900] Illustrated 633 Large Reed & Barton “Francis I” Sterling Silver Compote, the pattern designed in 1901 by Ernest Meyer, Taunton, Massachusetts, h. 5‑1/4”, dia. 10‑1/4”, 26.36 t. oz. [800/1200] Illustrated 634 Set of Six Reed & Barton “Francis I” Sterling Silver Service Plates, the pattern designed in 1901 by Ernest Meyer, Taunton, Massachusetts, dia. 11”, 98.96 total t. oz. [2500/4000] Illustrated 635 Pair of Reed & Barton “Francis I” Sterling Silver Footed Bowls, the pattern designed in 1901 by Ernest Meyer, Taunton, Massachusetts, h. 4‑3/4”, dia. 8”, 27.07 total t. oz. [600/900] Illustrated

628 American Sterling Silver Wine Coaster, third quarter 20th century, the gadrooned rim surrounding a turned wood base, dia. 5‑3/4”. [200/400] 629 Two American Sterling Silver Sandwich Plates, first quarter 20th century, both of circular form raised on a simple foot-ring, one by the Roger Williams Silver Co., Providence, Rhode Island, with reticulated egg-and-dart edging outside floral and foliate swags, the center engraved with a ribboned foliate cartouche monogrammed “RGL”, dia. 10‑3/4”, and the other by Frank M. Whiting, North Attleboro, Massachusetts, with wide reticulated lattice border, the center monogrammed “RGL”, dia. 11‑1/8”, 25.01 total t. oz. [250/400]

638

103

639 Twenty-Four-Piece Cased Sterling Silver Salt Set, second quarter 20th century, by Frank M. Whiting, North Attleboro, Massachusetts, retailed by the HeffernNeuhoff Jewelry Co., St. Louis, Missouri, including twelve salt cellars of bowl form, with convex bottoms and gilt interiors, dia. 1‑3/4”, and twelve salt spoons with round bowls and spatulate handles, monogrammed “JHW”, l. 2”, 3.54 total t. oz., presented in the original fitted forest green satin- and velvet-lined case, the interior lid gilt stamped with the Heffern-Neuhoff label, w. 12‑1/2”, d. 7‑1/4”. [250/400]

645

640 Gorham Sterling Silver Dresser Tray, first quarter 20th century, Providence, Rhode Island, in the neoclassical taste, of rounded concave rectangular form, the rim with applied anthemion and paterae banding with a reed-and-bobbin edge, retaining traces of the original gilding, w. 6‑1/2, l. 10‑3/4”, 9.32 t. oz. [500/800]

646

650

636 Reed & Barton “Francis I” Sterling Silver Center Bowl, third quarter 20th century, the pattern designed in 1907 by Ernest Meyer, Taunton, Massachusetts, w. 11‑1/2”, l. 15‑1/2”, 29.45 t. oz. [1800/2500] Illustrated 637 American Silverplate Punchbowl, third quarter 20th century, by the Birmingham Silverware Co., Yalesville, Connecticut, of hemispherical form, with an applied shelland-scroll border and decorated with repousse acanthus scrolls, raised on a waisted foot en suite, h. 10‑3/4”, dia. 16”. [400/700] 638 Fine Five-Piece Gorham Fourteen-Karat Gold Child’s Christening Set, dated 1908, Providence, Rhode Island, including a fork, l. 6”, spoon, 5‑3/4”, and knife with giltsteel blade, l. 7‑1/2”, each with plain spatulate handle, and a gold-mounted tortoiseshell comb, l. 4‑1/2”, and gold-handled ivory and boar-bristle hairbrush, l. 5‑1/2”, each piece monogrammed “F.H.R. Jr.” and dated “March 26, 1903”, presented in two green velvet-lined fitted cases, one for the cutlery, 9‑1/2” x 4‑1/2”, and one for the hair implements, 7” x 4‑1/2”, 66 gr. (fork and spoon only). [5000/8000] Illustrated

104

654

641 American Sterling Silver Porringer, first quarter 20th century, by James E. Blake Co., Attleboro, Massachusetts, of traditional bulbous circular form, with “dognose” handle and “hammered” finish, w. 4‑1/8”, l. 5‑5/8”, 2.89 t. oz. [200/400] 642 American Art Studio Sterling Silver Center Bowl, third quarter 20th century, probably from a college metalcrafts department, the hand-raised bowl of simple circular form with everted rim and good hammered finish, dia. 13‑1/2”, 32.60 t. oz. [400/700] 643 Porter Blanchard (1886‑1973) Sterling Silver Double Vegetable Dish, third quarter 20th century, Pacoima and Calabasas, California, the hand-crafted piece comprising two rounded rectangular dishes joined along one side below a single fixed strap handle, h. 4‑1/4”, w. 8‑7/8”, l. 12‑7/8”, 32.86 t. oz. [1800/2500] 644 Cartier Sterling Silver “Cocktails for Two” Shaker, third quarter 20th century, New York, of traditional tapering cylindrical form, with a bulbous cap, the short conical pouring spout with a chained cap en suite, 1/2 pint capacity, h. 6”, dia. 3‑1/4”, 7.46 t. oz. [300/500] 645 Gorham Sterling Silver Punchbowl, 1901, Providence, Rhode Island, the flattened spherical body decorated with a reticulated wavy rim with a wide band of realistically detailed poppies, raised on a domed foot en suite, h. 8”, dia. 15”, 61.47 t. oz. [1800/2500] Illustrated 646 Good Gorham Sterling Silver Tray, second quarter 20th century, Providence, Rhode Island, of shaped rectangular form with scroll rim with bouquets of daisies at the sides and corners in the manner of Gorham’s 1901 “Marguerite” pattern, with opposing double scroll handles on the narrow ends, w. 19‑1/4”, l. 30”, 168.47 t. oz. [9000/12000] Illustrated 647 Gorham “Plymouth”-Pattern Sterling Silver Water Pitcher, the pattern introduced in 1911, Providence, Rhode Island, no monograms, h. 10”, w. 5”, l. 9‑3/4”, 25.27 t. oz. [300/500] 648 Pair of Gorham Sterling Silver Bonbon Dishes, mid‑20th century, Providence, Rhode Island, each of coquille form with molded wavy edge, the reticulated and engraved bowls with naturalistic poppies, with up-turned scroll handle and four spherical feet, w. 4‑3/4”, l. 7”, 10.61 total t. oz. [600/900] 649 Gorham Sterling Silver-Mounted Cut Glass Fruit Bowl, first quarter 20th century, Providence, Rhode Island, the glass probably J. Hoare & Co., Corning, New York, in the “Nassau” pattern, the gadrooned silver rim with stylish Art Nouveau monogram “EMW”, h. 2‑7/8”, dia. 10”. [500/800]

650 Alvin Silver Deposit Glass Whiskey Decanter, ca. 1900, by the Alvin Mfg. Co., Sag Harbor, New York, the glass body of flattened spherical form with fluted neck and arched handle, the bottom with starburst pattern, decorated with silver deposit in scrolling “vintage” decor and centering a rococo cartouche, complete with the original stopper en suite, h. 7‑3/4”, dia. 6‑1/4”. [500/800] Illustrated 651 American Sterling Silver Art Nouveau Plate, first quarter 20th century, by the Woodside Sterling Co., New York, of circular form with recessed plateau, with an applied reticulated rim of trailing jonquils, monogrammed, at the center, “LMC”, dia. 10”, 11.64 t. oz. [200/400] 652 Whiting “Lily”-Pattern Sterling Silver Serving Fork, the pattern designed in 1902 by Charles Osborne, Providence, Rhode Island, retailed by Charles Hartdegen & Co., Newark, New Jersey, l. 8‑3/4”, 3.6 t. oz. [250/400] 653 Spanish Colonial Silver Plate, probably South American, 19th century, the hot-forged plate of hexagonally serpentine-lobed form, with double threaded rim and recessed circular plateau, dia. 10”, 11.00 t. oz. [125/250] 654 Mexican Sterling Silver Well-and-Tree Platter, first half 20th century, by Plateria J. Vigueras, Mexico City, in the Spanish Colonial taste, of hexagonal serpentine-lobed oval form, with molded rim and raised on four shaped feet, w. 17‑1/4”, l. 22”, 88.09 t. oz. [4500/7000] Illustrated 655 Shreve & Co. “Fourteenth Century”-Pattern Sterling Silver Condiment Dish, first quarter 20th century, San Francisco, California, of circular form, the rim decorated with “hammered” edge and trefoils, monogrammed on the rim “K”, dia. 7”, 4.50 t. oz. [250/400] 656 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] 657 Elegant Chinese “100 Butterfly” Porcelain Vase, bearing a Guangxu (1875‑1908) six-character reign mark and probably of the period, of bulbous shape with slightly flared neck, delicately enameled in famille rose enamels with multicolored butterflies on the body and the neck, the shoulder with a band of scrolling lotus, foliage and Chinese characters, with a band of ruyi heads at the lip rim, the recessed base with a six-character Guangxu reign mark in iron red, h. 16”. [700/1000]

105

658 661 Fine Chinese Enameled Porcelain Charger, Guangxu reign (1875‑1908), finely enameled in famille rose enamels with two five-clawed dragons among clouds and flames confronting the Flaming Pearl, the exterior with two five-clawed dragons each pursuing a Flaming Pearl, the base with a six-character Guangxu reign mark in iron red, dia. 13‑1/2”. [500/800] Illustrated

659

658 Good Pair of Chinese Yellow-Glazed Saucer Dishes, Guangxu mark and probably of the period, each of shallow circular form and glazed all over in an egg-yolk yellow glaze, the base with a six-character Guangxu mark in brown, dia. 7”. [1200/1800] Illustrated 659 Chinese Carved Yellow Glass Snuff Bottle, of flattened circular form, carved all over with a horizontal wave pattern above a straight foot, with a carved coral stopper, h. 2‑7/8”. [800/1200] Illustrated

660

661 664

663

660 Fine Chinese Carved White Jade Snuff Bottle, of flattened circular outline, carved all over in a basket-weave design, with indented mouth rim and well-carved foot, h. 3”. [3500/5000] Illustrated 662

106

662 Delicate Pair of Chinese Famille Jaune and Blue and White Porcelain Bowls, Guangxu reign (1875‑1908), each decorated on the interior in underglaze blue with a central medallion of deer in a landscape surrounded by flowering branches with Buddhistic symbols, the exterior decorated in famille rose enamels on a yellow sgraffito ground with three circular reserve panels and designs of antique vases with flowers, fruit and Buddhistic symbols, the base with a six-character Guangxu reign mark in underglaze blue, dia. 6”. [400/700] Illustrated

665

663 Delicate Chinese Famille Rose Porcelain Bowl, Republic Period (1912‑1949), decorated on the exterior in soft-colored enamels and gilding with four circular reserve panels, each with a single character on a ground of flowers, foliage and Buddhistic chimes, the base with a six-character Jiaqing mark in underglaze blue, dia. 6‑1/4”. [400/700] Illustrated 664 Good Chinese Famille Rose Porcelain Bottle Vase, Guangxu (1875‑1908) mark and probably of the period, the bulbous body with flared tubular neck, finely decorated with iron-red bats (happiness) among clouds, the shoulder with a band of lotus blossoms, Shou characters and foliage, the lip rim with a border of ruyi heads, the base with a six-character Guangxu reign mark in iron red, h. 14‑1/2”. [7000/10000] Illustrated 665 Pair of Chinese Famille Verte Porcelain “Sleeve”Shaped Vases, of tall cylindrical shape with applied lionhead handles and flared lip rims, decorated in traditional famille verte enamels with a continuous scene of a twostory garden pavilion and figures of officials, military personnel and peasants, the bases with six-character Kangxi reign marks in a double circle in underglaze blue, h. 19”. [2500/4000] Illustrated

667

666 Chinese Thinly Carved Spinach Jade Marriage Bowl, 20th century, the dark green stone carved to thinness in circular shape with a low foot rim, the exterior carved in relief with two Shou characters, a dragon among clouds pursuing the Flaming Pearl and a phoenix with long feathers in flight among clouds, holding a lotus blossom, the base with a four-character Qianlong reign mark, presented on an elaborate carved rosewood stand, h. 3‑1/8”, dia. 7‑1/2”. [1800/2500] 667 Two Chinese Jade Snuff Bottles, first quarter 20th century, comprised of a bulbous white jade bottle carved with mock mask ring handles and a carved coral top, h. 2‑1/4”, and a celadon jade bottle without carving and a plain coral top, h. 3”. [250/400] Illustrated 668 Good Chinese Lady’s Embroidered Purse, 19th/20th century, the body composed of sections of 19th-century Chinese “Forbidden Stitch” embroidery of animals and flowers, attached to an early 20th-century cast- brass frame with flower-bud clasp, inset with jade, coral and serpentine jewels, h. 6‑1/4”, l. 7‑3/4”. [500/800] 669 Two Oriental Coats, one a green satin robe with multicolored embroidered birds, chrysanthemums and sakuras (plum blossoms) on the center back, front and sleeves, with satin lapels, lined with grass-green silk, l. 54”, labeled “Large”, of Korean origin, ca. 1980; the other a deep purple satin opera coat with mandarin collar, blue silk embroidery tape and accent yellow silk tape around the collar area, embroidered with iris and quince and scattered butterflies, the cuffs and hem of embroidered white satin with the same trim as the collar, with four brass buttons and toggles on the front, lined with blue silk, of Chinese origin, size large, ca. 1920. [150/300]

107

671

670

672 Dramatic Pair of Chinese Carved Ivory and Embellished Covered Vases, 20th century, each of slightly flattened baluster form with intricate “grotto” scene covers, the bodies delicately carved with reserve panels of figures in garden settings against scrollwork grounds, the shoulders with lion masks and loose ring handles, the bodies with light scattered insets of turquoise and coral cabochon embellishments, h. 14”. [2500/4000] Illustrated 673 Large Chinese Carved Chicken Blood-Colored Stone Seal, the mottled red stone inscribed with three lines of Manchu characters on one side and a gilt-inlaid threecharacter inscription on the opposite side of Prince Yi Qui Wang (1686‑1730), the base carved with Manchu characters, h. 4‑1/2”, w. 2‑3/8”, d. 2‑5/16”. Provenance: The estate of Mrs. Diana Engstrom, Northern California and Sweden. Mrs. Engstrom was born in China in the early 1920’s when her Swedish parents were doing missionary work there until the early 1950’s. Her parents spent their initial years in the Manchu ethnic regions in the northeastern provinces of China and developed their interest in Manchu history and culture. Later the family moved to Hong Kong and Taiwan, then retired back to Sweden. Diana Engstrom continued staying in Asia doing missionary duty and made extensive trips throughout China studying history and art, as well as collecting. Her interests ranged from works of art to paintings. She returned to Sweden in the late 1990’s. [9000/1200] Illustrated

672

670 Large Chinese Carved Black and White Jade Snuff Bottle, the bulbous body carved in relief, the front with a man in a boat greeting a passenger carrying a spray of ling chih, the reverse with a scene of a scholar and attendant among serrated rockwork, h. 3‑1/2”. [8000/12000] Illustrated 671 Chinese Carved Cinnabar Lacquer Table Screen, late Qing Dynasty, mounted in an integral wooden stand, the reverse with a calligraphic inscription, the screen carved in low relief depicting two Imperial Dragons on a wave ground and confronting the Flaming Pearl, one of the Eight Treasures, h. 8‑3/4”, l. 9‑1/4”. [300/500] Illustrated

108

674 Good Chinese White Jade Lady’s Hair Pin, 19th century, of conventional shape with a ling chih-shaped head with an engraved Shou character in the center of a scrollwork border outlining the shape of the ling chih, now mounted in an elaborate customcarved rosewood stand with openwork ling chih support terminating with an open flowerhead inset with an engraved ivory plaque at the center, mounted on a rectangular rosewood base, h. 2‑1/4”, l. 9‑1/2”. [400/700] Illustrated

673

676 Chinese Carved White Jade Bowl, of circular form with a slightly everted lip rim and splayed foot rim, the even white stone decorated on the exterior with four engraved characters in-filled with gilding, dia. 6‑3/8”. [600/900]

677

675 Group of Four Chinese Silver Miniature Panels, each cast as a panel of a standing floor screen depicting figures in gardens and pavilions, probably cast as scroll weights for holding open hand scrolls, h. 5‑7/8”, w. 1‑7/8”. [300/500]

677 Good Chinese Overlay Glass Snuff Bottle, 19th century, the camphor glass body overlaid in vibrant red and carved as two hydra dragons, with a sodalite top, h. 2‑7/8”. [800/1200] Illustrated 678 Marc Chagall (Russian/French, 1887‑1985) “La Plafond de L’Opera de Paris, Hommage a Garnier”, 1965, color lithograph, double page, sheet 12‑3/4” x 19”. Glazed and framed. [500/800] Illustrated

678

674

109

679 Marc Chagall (Russian/French, 1887‑1985) “The Painter and His Double”, 1981, color lithograph, double page, from Derriere le Miroir, edition of 15,000 unsigned impressions, sight 13” x 19”. Glazed, matted and framed. [600/900] Illustrated 680 Marc Chagall (Russian/French, 1887‑1985) “Lovers with Red sun”, 1960, color lithograph, sheet 12‑1/2” x 9‑1/2”. Glazed, handsomely matted and framed. [500/800] 681 Marc Chagall (Russian/French, 1887‑1985) “L’Accordeoniste” and “Le Poisson Bleu”, 1957, pair of color lithographs, from Derriere le Miroir, each sheet 9‑1/8” x 15‑1/8”. Glazed and framed en suite. [900/1200] 682 After Marc Chagall (Russian/French, 1887‑1985) “Couple in Front of a Tree”, 1971, lithograph in blue on Arches paper, executed by Charles Sorlier, poster was donated by Chagall to be sold for the benefit of the Swiss Children’s Village in Israel, “Kiriath Yearim”, numbered in pencil lower left “17/25”, pencil signed lower right “Marc Chagall”, sight 23‑1/2” x 19‑1/2”. Glazed and handsomely framed. [1200/1800] Illustrated

679

682

684 683 Marc Chagall (Russian/French, 1887‑1985) “La Maison de mon Village”, 1960, color lithograph, sheet 12‑1/2” x 9‑1/2”. Glazed and framed. [400/700]

110

684 Marc Chagall (Russian/French, 1887‑1985) “Les Musiciens Vagabonds”, lithograph, signed in pencil lower right “Marc Chagall”, numbered in pencil lower left “35/40”, sight 15” x 12”. Glazed, handsomely matted and framed. [3000/5000] Illustrated 685 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”. [100/200]

688 686 Bamenda Area Pipe Bowl Fragment, 20th century, Cameroon Grasslands, terra cotta, 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] 687 Igbo Peoples Ikenga Figure, mid‑20th century, Nigeria, wood and cloth, the figure with arms raised above the head and strips of cloth tied around the neck, h. 8‑1/2”. [100/200] 688 Yoruba Peoples Ogboni Society Staff, 20th century, Nigeria, bronze and iron, in the form of a human head with an open loop at the top and a monkey skull at the base of the staff, h. 9”. [200/400] Illustrated 689 Yoruba Peoples Fertility Doll (“Ere Ibeji”), mid‑20th century, wood pigments, encrustation, shell and glass beads, the standing female figure with chevron-design hairstyle, the facial features worn, h. 10”. [200/400] Illustrated

691

693 Francisco Toledo (Mexican, b. 1940) “Caballos”, ca. 1970, lithograph in colors, numbered in pencil lower left “17/100”, pencil signed lower right “Toledo”, sheet 21” x 16”. Glazed, matted and framed. [400/700]

689

690 Pair of Cubist Etchings from the Portfolio “Du Cubisme”, published in 1947, Albert Gleizes (French, 1881‑1953), “L’Ecolier”, 1946, etching, plate signed and dated lower left, sight 8‑5/8” x 6‑1/4”, and Fernand Leger (French, 1881‑1955), “Composition”, etching, plate initialed and dated lower right, sight 8‑5/8” x 6‑1/4”. Glazed and framed en suite. [400/700] 691 Paul Cezanne (French, 1839‑1906) “Tete de Jeune Fille”, 1873, etching printed in sepia, plate signed lower right “P. Cezanne”, from an edition of 600, sight 5‑1/2” x 4‑1/2”. Glazed, handsomely matted and framed. [800/1200] Illustrated 692 Edna Hibel (American, b. 1917) “Geishas Dancing”, giclee on canvas, printed signature lower right “Hibel”, 19‑1/2” x 47”. Handsomely framed. [150/300]

694 Pair of Turned Turritella Fossil Vases, each of cylindrical form with double rows of horizontal grooves at the base and lip rim, the dense limestone and chalcedony bodies with fossilized shell of Elimia tenera, a pre-historic snail, embedded in the matrix, h. 10”. [200/400] 695 Large Fossilized Trilobite Specimen, genus Paradoxides, mid Cambrian, probably Anti-Atlas Range, Morocco, in matrix, with restorations and enhancements, specimen 12‑3/4” x 10”, matrix 15‑1/4” x 12”. [100/200] Illustrated following page

111

696 Carved Stone Figure of an African Native, depicted clad in a loincloth, with gourds strapped to his back and clutching a bowl with a reed instrument, h. 38”, w. 15”, d. 13”. [400/700] Illustrated

696

697

697 Large and Impressive Fossil of a Conical Shell, the chambered fossil remains of an ancient shell polished and imbedded in dark variegated matrix, now mounted on a wooden base, h. 45‑1/2”. [300/500] Illustrated

701

707

698 Polished Agate Spherical Geode, the polished exterior showing olive, green, cream and gray color in “moss” agate formations, the polished surface displaying open areas giving a view of the crystalline geode interior, presented on a custom gray steel stand, h. 11”, dia. 5”. [125/250] 699 Near Pair of Large Rock Crystal Spheres, each richly grained and polished, dia. 7‑1/2”. [1200/1800] 700 Baccarat Prism-Cut Crystal Tall Obelisk, the base with the acid-stamped Baccarat “decanter” mark, h. 18”. [300/500] 701 Joan Miro (Spanish, 1893‑1983) “Prise a l’Hamecon”, 1969, etching, aquatint and carborundum in colors on Arches paper, pencil signed lower right “Miro”, numbered in pencil lower left “23/75”, sheet 42” x 26‑1/2”. Glazed, handsomely matted and framed. [3500/5000] Illustrated

112

702 Fernand Leger (French, 1881‑1955) “Composition”, 1950, color serigraph on Arches paper, signed lower right, numbered in pencil lower left “114/200”, initialed and dated in the plate lower right, sheet 22‑1/2” x 14‑3/4”. Glazed and framed. [1000/1500] 703 After Fernand Leger (French, 1881‑1955) “Fleur sur un Fond Jaune et Orange”, 1955, color screen print on Arches paper, numbered lower left “42/200”, sheet 15” x 22”. Glazed and framed. [1000/1500] 704 Paul Cezanne (French, 1839‑1906) “Portrait of Guillaumin”, 1873, etching, sight 6‑1/2” x 5”. Glazed, matted and framed. [500/800] 705 Pierre Bonnard (French, 1867‑1947) “Le Parc Monceau”, 1937, etching, plate signed lower left “P. Bonnard”, from an edition of 500, sight 15‑1/4” x 12”. Glazed, matted and framed. [400/700] 706 Louis XVI-Style Gilt-Metal and Smoked Mirrored Glass Cocktail Table, the inset rectangular mirrored glass plate with corner acorn finials and joined to a like lower shelf by turned and shaped supports continuing to circular feet, h. 17‑1/2”, w. 34‑1/4”, d. 18‑1/2”. [400/700]

710 707 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”. [500/800] Illustrated 708 Art Deco Polychromed and Lacquered Giltwood Display Cabinet, early 20th century, in the chinoiserie taste, the rectangular top centered by a scrolling floral and foliate design, above a conforming case fitted with a single glazed door, opening to a mirrored interior, the sides also glazed, raised on a molded base and in-scrolled toes, h. 43‑1/2”, w. 40”, d. 14‑7/8”. [500/800] 709 New Orleans School (20th Century) “Rasik III”, 1979, mixed media on rag paper mounted on canvas, titled, dated and indistinctly signed on reverse “Jim Fawn(?)”, 42‑1/2” x 66‑1/2”. Unframed. [350/500] 710 Sally Egbert (American, b. 1958) “Castle”, 1996, oil on canvas, signed and dated on the reverse “Sally Egbert 96”, retains gallery label on the reverse “Still Zinsel, New Orleans”, 20” x 20”. Framed. [1500/2500] Illustrated

711

711 Adele Sypesteyn (American/New Orleans, Contemporary) “Almost There”, mixed media on canvas, signed lower right “A. Sypesteyn”, titled on stretcher verso, 60” x 48”. Unframed. Provenance: Guthrie Contemporary, New Orleans, Louisiana. [4500/7000] Illustrated

113

716 French Crystal Sphere and Brass Table Lamp, second quarter 20th century, modeled as alternating large and smaller crystal spheres surmounting a hexagonal stepped brass base, fitted with a custom mirror-black card shade of truncated conical form lined in gilt paper, h. 26”. [250/400] 717 Jansen, Paris, Art Moderne Games Table, mid‑20th century, composed of gilt- and argente metal and glass, the square inset smoked glass top above a frieze fitted with a small end drawer to each side, raised on square legs, h. 29”, w. 31‑7/8”, d. 31‑7/8”. [1200/1800] 718 French Argente and Gilt Six-Light Chandelier, third quarter 20th century, in the Art Deco style, the turned and paneled standard issuing six shaped arms, with a tapering paneled pendant to a gilt finial, attributed to the atelier Charles, h. 27‑1/2”, w. 24”. [600/900]

712 712 Adele Sypesteyn (American/New Orleans, Contemporary) “Accentuate”, mixed media on canvas, signed lower right “A. Sypesteyn”, titled on stretcher verso, 60” x 48”. Unframed. Provenance: Guthrie Contemporary, New Orleans, Louisiana. [4500/7000] Illustrated 713 Fernando Velloso (Brazilian, Contemporary) “Untitled”, 2007, mixed media relief, acrylic, enamel, metal and wood, the center panel composed of pieces of wooden flooring found by the artist in Belo Horizonte, Brazil, painted wood tiles are copies of designs found in various Brazilian homes, signed and dated on the reverse, overall framed 32‑1/2” x 88”. [3500/5000] Illustrated 714 Carol Summers (American, b. 1925) “Puerta del Sol”, stencil printed in colors and metal leaf, titled, signed and numbered “10/75” along outer left edge, retains gallery label on the reverse “Marjorie Kauffman Graphics, Houston Texas”, 20‑1/4” x 20‑1/2”. Framed. [200/400]

715

715 Fernando Velloso (Brazilian, Contemporary) “Untitled”, 2007, mixed media relief, acrylic, enamel, metal and wood, signed and dated on the reverse “Fernando M. Velloso 2007”, overall 17” x 16‑3/4”. Framed. [1200/1800] Illustrated 713

114

719 English Rhodium-Plated Grasshopper Clock, 20th century, based on the early 18th-century marine chronometer designed by John Harrison (1693‑1776), incorporating two inter-linked pendulums to compensate for a ship’s motion, the dials white-enameled, accompanied by a large rhodium-plated winding key, presented on a glass-covered burlwood and recess-carved rectangular wood stand centered by a drawer, clock h. 14‑1/2”, w. 8‑1/2”, overall h. 20”, w. 14‑1/2”, d. 11”. [1000/1500] Illustrated

723

719 720 Pablo Picasso (Spanish, 1881‑1973) “La Petite Colombe”, 1949, lithograph, frontispiece Volume 1 of “Picasso Lithographe”, sight 11‑3/4” x 9‑1/2”. Glazed, double matted and framed. [800/1200] Illustrated 721 Pablo Picasso (Spanish, 1881‑1973) “Fleur dans un Verre”, 1947, lithograph, sight 13‑1/4” x 10‑3/8”. Glazed and framed. [400/700] 722 Henri Matisse (French, 1869‑1954) “Franz Villier”, 1947, lithograph, signed in pencil lower left “H. Matisse”, sight 7‑1/2” x 6”. Glazed, matted and handsomely framed. [1400/1800] 723 Jules Pascin (French, 1885‑1930) “La Pharmacie”, ink and watercolor on paper, pencil signed lower right “Pascin”, stamped lower right “Atelier Pascin”, verso of sheet stamped “Succession Pascin Le Commissaire Priseur”, sight 10‑3/4” x 14‑1/2”. Glazed, handsomely matted and framed. Provenance: Estate of the artist; Christie’s New York, Impressionist and Modern Paintings, Drawings and Sculptures, October 2, 1990, lot 89. [1200/1800] Illustrated

720

724 Very Unusual Silvered Coffee Tree Specimen, the natural erect trunk topped with gnarled and twisted branches and standing on a root base, the entire tree overlain with patent silver leaf and sealed, h. 89”. [600/900] Illustrated following page

115

725 Pedro Friedeberg (American, b. Italy, 1936) “Adamastor”, 1987, a carved, polychromed, silvered and natural wooden and glass tabletop sculpture, signed on the basal edge in black uppercase letters “Pedro Friedeberg”, accompanied by a holographic statement of authenticity by the artist, h. 11”, dia. 6”. [1800/2500] Illustrated

725

726 Pair of Knoll International Chromed Tubular Steel and Canvas “Wassily” Chairs, after a 1925 design by Marcel Brewer (1902‑1981), one retaining a paper Knoll label stamped September 8, 1973, and each retaining its original ivory canvas upholstery, h. 29”. [700/1000] Illustrated

724

727

727 Elegant Pair of French Art Deco Argente Brass Tiered Six-Light Appliques, second quarter 20th century, of Louis XVI inspiration, the bobeches of stylized flowerhead form, the centers caught with large antiqued furled bowknots, electrified and fitted with faux candles, h. 2‑1/2”, w. 17‑1/4”, d. 10”. [700/1000] Illustrated 728 Graduated Trio of Italian Satin-Finished Glass Candlesticks, of cylindrical column form, the smallest h. 13‑1/2”, dia. 5‑1/4”, the largest h. 19‑1/2”, dia. 7”. [125/250] 729 Large and Dramatic Contemporary Celadon Frosted Glass and Patinated Steel Lamp, the shade fashioned as an elephant ear leaf mounted on a custom electrified stand, h. 38‑1/2”, w. 21‑1/2”. [400/700] Illustrated

726

116

730 After Henri Matisse (French, 1869‑1954) “Nude Studies”, pair of lithographs, both examples plate signed and dated lower right “H. Matisse 48”, sheet 14” x 10‑1/2”. Glazed and framed en suite. [500/800]

729

735 Auguste Roubille (French, 1872‑1955), an exhibition poster for the “Salon Des Humoristes”, ca. 1905, before lettering, plate signed lower right “A. Roubille”, printed by Ch. Verneau, Paris, sight 45‑1/2” x 30‑1/4”. Glazed and framed. [900/1200] Illustrated

731 Jacques Villon (French, 1875‑1963) “Le Cheval”, 1921, etching from the portfolio “Du Cubisme”, published in 1947, plate signed and dated lower left, inscribed in pencil lower left “2nd Etat”, sight 4” x 6”. Glazed and framed. [450/700]

732 Victor Salmones (Mexican, 1937‑1989) “’Pas de Quatre”, 1976, composed of four cast-bronze figures of posed dancers mounted on a black stone rectangular base, each figure depicting a different female dancer all in the same pose, the figures with verdigris patina, h. 12”, w. 10‑1/2”, l. 26‑1/4”. [6000/9000] Illustrated 733 Mane Katz (Ukrainian/French, 1894‑1962) “Nude”, pastel on buff paper, signed upper right “Mane Katz”, sight 24” x 17‑1/4”, retains frame maker’s label en verso “Schleiper & Fils, Brussels”. Glazed, handsomely matted and framed. [3500/5000] 735 734 Rene Gruau (French, 1909‑2004) “The Redhead in Black Gloves”, an ink and gouache portrait of a lady-of-fashion, signed lower right, second quarter 20th century, possibly a study for one of Gruau’s fashion illustrations for Perrin Gloves, Paris, image 11‑1/2” x 9”, framed 20‑1/2” x 15‑1/4”. Presented with an inscribed presentation card “Pour Flossie avec/toute mon amitie/R. Gruau”, in a white-edged cinnamon double-aperture mat within a narrow satin black wood molding frame and glazed. [4000/7000]

732

117

736 Jules Cheret (French, 1836‑1932) “Saxoleine”, vintage poster, lithograph in colors, proof before lettering, plate signed middle right, printed Chaix (Ateliers Cheret), 20 Rue Bergere, Paris, sight 34‑1/4” x 24‑1/4”. Glazed, handsomely matted and framed. [800/1200] Illustrated

739

740 Bernard Buffet (French, 1928‑1999) “The Musician”, color lithograph, signed lower right “Bernard Buffet”, numbered lower left “92/120”, sight 28” x 39”. Glazed, handsomely matted and framed. Provenance: Private collection, Hattiesburg, Mississippi. [800/1200] 741 Victor Vasarely (French/Hungarian, 1906‑1997) “Untitled”, serigraph in colors, pencil signed lower right, inscribed in pencil lower left “E.A.”, sight 23‑1/2” x 19‑1/2”. Glazed, matted and framed. [700/1000] Illustrated

741 737 Sergio Gonzalez Tornero (Chilean, b. 1927) “Sunbather”, 1971, color etching, signed and dated in pencil lower right, titled lower center, numbered in pencil lower left “53/150”, sight 17” x 24‑3/4”. Glazed, matted and framed. [125/250] 738 Peter Max (American, b. 1937) “Flowers in a Landscape”, color silkscreen, signed in pencil lower right ‘Max”, numbered in pencil lower left “128/175”, sight 22‑1/2” x 28‑1/2”. Glazed, matted and framed. Provenance: Private collection, Hattiesburg, Mississippi. [500/800] 739 Roy Lichtenstein (American, 1923‑1997) “As I Opened Fire”, 1966, poster triptych, three offset lithographs in colors on wove paper, published by Stedelijk Museum, Amsterdam, with margins, sheets 25” x 20‑1/2”. Unframed. [1000/1500] Illustrated 736

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742 Victor Vasarely (French/Hungarian, 1906‑1997) “Untitled”, color lithograph, pencil signed lower right, numbered in pencil lower left “32/200”, with gallery label on the reverse “David Findlay Galleries, New York”, sight 25” x 25”. Glazed, handsomely matted and framed. Provenance: Private collection, Hattiesburg, Mississippi. [600/900] Illustrated 743 Victor Vasarely (French/Hungarian, 1906‑1997) “Eclipse Positif”, 1967, acrylic on wood relief, signed and numbered “V” on Editions Denise Rene, Paris, gallery label on the reverse, published by Editions Denise Rene, Paris, 14‑1/4” x 14‑1/4”. Provenance: Private collection, Hattiesburg, Mississippi. [1500/2500] Illustrated

742

743

745

744 Alexander Calder (American, 1898‑1976) “Les Etoiles”, lithograph in colors, pencil signed lower right “Calder”, numbered in pencil lower left “65/100”, titled on gallery label on reverse “David B. Findlay Galleries, New York”, sight 19‑1/4” x 25‑1/4”. Glazed, handsomely matted and framed. Provenance: Private collection, Hattiesburg, Mississippi. [1000/1500] Illustrated

744

119

745 Le Corbusier (French/Swiss, 1887‑1965) “Plate 14, from Unite”, 1953, color etching and aquatint, pencil signed lower right “Le Corbusier”, numbered in pencil lower left “93/130”, initialed, dated and inscribed in the plate lower right “14, L-C, 13‑8‑53”, sight 18” x 14”. Glazed, handsomely matted and framed. Provenance: Private collection, Hattiesburg, Mississippi. [1200/1800] Illustrated previous page 746 Donald Roller Wilson (American/Arkansas, b. 1938) “Spirit/Grape Planet”, 1969, oil on canvas, signed and dated upper edge “Donald Roller Wilson 1969”, titled on the reverse, 12‑3/4” x 15”. Framed. [1500/2500] Illustrated 747 Donald Roller Wilson (American/Arkansas, b. 1938) “And When I Come Through Those Sweet Red Drapes to Sniff Your Heart Will You Mind”, 1971, oil on canvas, triangular, signed and dated upper right “Donald Roller Wilson 1971”, titled on reverse, 17‑1/4” x 19‑3/4”. Framed. [6000/9000] Illustrated

746

747

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Session II

Sunday, April 10, 2011

11:00 a.m. (Lots 748-1318)

748 Fine Lady’s Art Deco Platinum and Diamond ThreeStone Ring, composed of three Old European-cut diamonds, prong set across the width of the ring, each in basket settings with a mille-grain floral shank set with small accent diamonds, total diamond weight 3.60 carats. [18000/25000] Illustrated

751

748

749

749 Brilliant Lady’s Eighteen-Karat White Gold and Diamond Demi-Fringe Necklace, composed of tapered rectangular diamond-set links, the front suspending a fringe of nineteen drops set with round brilliant-, baguetteand pear-cut diamonds in multi-length drops, estimated total diamond weight 14.0 carats. [20000/40000] Illustrated 750 Elegant Pair of Eighteen-Karat White Gold and Diamond Multi-Pendant Drop Earrings, composed of white gold bodies of rectangular and curved bars , pave’ set with round brilliant-cut diamonds and having three drops bezel set with pear cut diamonds, estimated total weight of diamonds is 3.60 carats. [5000/8000]

753

751 Fine Lady’s Platinum, Emerald and Diamond Straight-Line Bracelet, composed of twenty-eight links, fourteen of domed shape channel set with calibre-cut emeralds of deep green color and fourteen prong set with round brilliant-cut diamonds, estimated total weight 3.0 carats. [8000/12000] Illustrated

124

752 Pair of Fourteen-Karat White Gold, Emerald and Diamond Drop Earrings, the white gold frames with a pear-shaped top and rectangular drop, the drop set with a rectangular-cut emerald surrounded by round brilliant-cut diamonds, the top set with a pear-cut emerald surrounded by round brilliant-cut diamonds, estimated total emerald weight 3.0 carats, estimated total diamond weight 2.50 carats. [3000/5000] 753 Stunning Art Deco Platinum, Diamond and Emerald Ring, ca. 1920, composed of two confronting pearshaped bezels, one set with a 3.0-carat pear-cut emerald of intense color, the opposite set with a 2.09-carat Old European-cut diamond, a smaller Old European-cut diamond, and two rose-cut diamonds, all above an intricate foliate mounting set with small rose-cut and single-cut diamonds. [25000/40000] Illustrated

754 Lady’s Eighteen-Karat White Gold, Emerald and Diamond Ring, composed of a rectangular mixed-cut natural emerald, weighing 7.50 carats, in a four-prong setting mounted with 1.07 carats of round brilliant-cut diamonds extending down the shank. [5000/8000] Illustrated

754

757 Art Deco-Style Fourteen-Karat White Gold, Sapphire and Diamond Bracelet, the white gold body with two rectangular plaques with arrow-shaped joins, pave set with round brilliant-cut diamonds and centered with ovalcut sky-blue sapphires, the plaques joined by triple rows of oval sky-blue sapphires, estimated total sapphire weight 26.0 carats, estimated total diamond weight 1.20 carats, l. 7‑1/2”. [2000/4000] Illustrated 758 Good Fourteen-Karat White Gold, Sapphire and Diamond Chocker Necklace, composed of squared links set with oval-cut blue sapphires bordered on both sides with round brilliant-cut diamonds, estimated total sapphire weight 81.60 carats, estimated total diamond weight 6.36 carats, l. 13‑1/2”. [5000/8000] Illustrated

755 758

755 Spectacular Eighteen-Karat Yellow Gold, Diamond and Sapphire Ring by David Webb, composed of a central 6.67carat marquise-cut diamond surrounded by 9.0 carats of pave-set round brilliant diamonds in two tapered sections, the yellow gold mounting accented on the sides with arches of calibre-cut blue sapphires, signed Webb. [50000/80000] Illustrated 756 Good Lady’s Eighteen-Karat Yellow Gold and Diamond Straightline Bracelet, composed of fifty squared links, each set with a round brilliant-cut white diamond, with a total estimated diamond weight of 5.0 carats. [2500/4000]

757

125

759 Fine EighteenKarat White Gold, Sapphire and Diamond Pendant on a Platinum and Diamond Chain, composed of an 11.58-carat pearcut blue sapphire in a conforming white gold mounting set with .75 carats of round brilliantcut diamonds, suspended on a platinum link chain bezel set with sixteen round brilliant-cut diamonds, total weight 6.0 carats. [20000/40000] Illustrated

763 Eighteen-Karat White Gold and Diamond Lady’s Engagement Ring, composed of a central square-cut diamond, weighing an estimated .76 carats, surrounded by a border of round brilliant-cut diamonds which extend down the shank, estimated total weight .80 carats. [1800/2500] 764 Superb Pair of Platinum, Diamond and Pearl Earrings, each composed of a foliate cluster of pear-cut, marquise-cut and round brilliant-cut white diamonds suspending a large white South Sea pearl, the suspended pearls measuring approximately 15.2 mm in diameter, removable so that the diamond tops may be worn alone, estimated total diamond weight 10.0 carats. [20000/40000] Illustrated

759

764 761

760 Lady’s Fourteen-Karat White Gold, Aquamarine and Diamond Ring, composed of a rectangular step-cut aquamarine, weighing an estimated 12.5 carats, set in a split shank with round brilliant-cut diamonds in bead settings. [1000/1500] 761 Dramatic Eighteen-Karat White Gold and Diamond Art Deco Sectioned Bracelet, composed of three rectangular and three square openwork links, each of stylized floral and geometric design, all bead and bezel set with round brilliant-cut diamonds, total weight 10.85 carats. [15000/25000] Illustrated 762 Fine Lady’s Eighteen-Karat White Gold and Diamond Engagement-Style Ring, composed of a central princess-cut diamond, weighing 2.03 carats, set in a mounting with an estimated 2.0 carats of round brilliantcut diamonds extending down the openwork shank. [9000/12000] Illustrated

126

762

765

767 Fine European Eighteen-Karat Yellow Gold and Agate Cameo Brooch/Pendant, ca. 1870, the yellow gold oval frame with laurel leaves at the base, with a leaf finial at the top and a double row of bead decor centered with a three-layered agate cameo of a classical female head in profile in white and gray agate, the reverse in brown/red agate. [1400/1800] Illustrated

767 765 Good Graduated Strand of White/Rose South Sea Pearls, composed of fifty-seven white/rose South Sea pearls measuring from 12.7 mm to 16.2 mm in diameter, of near-round shape and medium to high luster, with a fourteen-karat yellow gold spherical clasp set with an estimated 1.0 carat of round brilliant-cut white diamonds, in a presentation box. [5000/8000] Illustrated 766 Good Strand of White/Rose Cultured Pearls, composed of round to near-round white/rose cultured pearls, possibly of South Seas origin, measuring 11.0 mm to 12.0 mm in diameter with medium to high luster and scattered spotting, finished with a fourteen-karat yellow gold circular filigree clasp, l. 31”. [1400/1800]

770

768 Pair of Elizabeth Locke Intaglio Earrings, composed of eighteen-karat yellow gold bodies of rounded rectangular outline set with green glass intaglios, the bases set with a cabochon gemstone surrounded by yellow gold beads, with Omega clip backs. [800/1200]

769

769 Fine Edwardian-Style Eighteen-Karat Yellow Gold, Opal and Diamond Brooch, by Casbah, in the form of a spread-wing butterfly, the body and wing tips set with strong-colored precious opals, the wings, body and antenna set with round brilliant-cut white diamonds. [2000/4000] Illustrated 770 Portuguese Eighteen-Karat Yellow Gold, Silver and Diamond Bangle Bracelet, the circular yellow gold body with silver top in an openwork design mounted with rosecut and single-cut diamonds with an estimated total weight of 6.60 carats. [4000/7000] Illustrated 771 Chinese Jadeite and Yellow Gold Pendant, composed of a flattened disk of apple green jadeite of good color and overlaid in a cut-out design in twenty-two-karat yellow gold depicting two cranes in flight among clouds and pine trees, the jade disk bordered in a fourteen-karat yellow gold twisted rope band. [300/500]

127

772 Diminutive Silver-Gilt Figure of a Scantily Draped Female, modeled holding aloft an emerald-cut smoky quartz and standing on a polished red jasper sphere, resting on a rectangular rock crystal plinth surmounting a two-tier black onyx base with silver-gilt dragon feet, the underside of the base with a signed and hallmarked silvergilt plaque, #50 of an edition of 94, h. 6‑1/8”. [500/800]

777 Vintage American Enamel and Diamond FourteenKarat Gold Knot Pin, ca. 1900, by Krementz & Co., Newark, New Jersey, composed of four interlocking textured gold circles decorated with tiny blue and white enamel flowers and centering a single prong-set Old European-cut diamond weighing approximately 0.15 carats, the reverse fitted with a latch pin, watch hook and retractable bail, dia. 1”, 6 gr. [200/400] Illustrated

773

777

778 Unusual Strand of Opera-Length Peach-Colored Pearls, composed of large 11.5 mm to 13.0 mm peachcolored cultured pearls with small 4.2 mm peach-colored cultured pearls as spacers and finished with a fourteenkarat white gold circular filigree clasp, l. 44”. [1400/1800] Illustrated

773 Fine Pair of Bulgari Eighteen-Karat Yellow Gold Pendant Earrings, the top composed of two rows of alternating cubes and spheres, suspending two flattened open disks, one circular and one oval, presented in the original leather box and outer cardboard box. [800/1200] Illustrated 774 Three Pieces of Chinese Gilded Silver Jewelry, comprised of two filigree, enamel and stone-set flexible link bracelets, and a pair of cabochon-set and enamel-gilded silver clip earrings. [150/300]

778

775 Dramatic Rope-Length Strand of PastelColored Pearls, composed of approximately 11.5 mm pastel-colored cultured pearls in lavender, peach, rose and cream colors, all of near-round shape with medium to high luster, l. 84”. [800/1200] Illustrated 776 Dramatic Rope Strand of White/Rose Cultured Pearls, composed of white/rose round and near-round 9.5 mm to 10.0 mm cultured pearls with medium-high luster, intended to be looped into differing lengths, l. 81”. [1800/2500]

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775

779 Lengthy Rope Strand of Peach-Colored Cultured Pearls, composed of approximately 8.5 mm to 9.5 mm peach-colored cultured pearls, of round and near-round shape with high luster and delicate, even color, l. 120”. [600/900]

781

780 Group of Three Silver Bangle Bracelets, 20th century, comprised of a cast Baroque-design bangle, a plain domed bangle, and a twisted rope and twisted flat entwined bracelet. [100/200]

781 Black Ankle-Length Mink Coat, having a stand-up buttoned collar releasing to soft lapels, the sleeves gathered at the wrist and banded, with hook front closure and two inseam pockets, the black satin-lined interior with self ties, size 8‑10. [1200/1800] Illustrated 782 Chocolate Brown Mink Cap, lined in black silk satin and labeled “Evans/Chicago”, size 7. [100/200]

784

783 Chocolate Brown Ankle-Length Mink Coat, having a low banded collar, sleeves gathered at the wrist and banded, hook front closure, with two inseam pockets and one interior buttoned breast pocket, size 8. [800/1200]

784 Gentleman’s Bremont Stainless Steel Automatic Chronometer Wrist Watch, model BC‑52, with hardened stainless steel case, white enamel face with day/date window at 6 o’clock position, black and white enamel hands, black sweep second hand, 25 jewels, water resistant to 100m, dual anti-reflective sapphire crystals and automatic winding, accompanied by a leather presentation wallet, two additional replacement straps and original warranty and instructions. [2000/4000] Illustrated

785 Pair of Gentleman’s Two-Color Fourteen-Karat Gold and Garnet Cufflinks, each in rose and yellow gold cast as entwined pear shapes and terminating in high-domed cabochons of rich red garnets. [400/700] 786 Good Pair of Tiffany and Company Fourteen-Karat Yellow Gold and Jade Gentleman’s Double-Sided Cufflinks, each composed of two circular yellow gold mounts set with circular cabochons of “apple” green jade, signed Tiffany and Company. [1000/1500]

129

788 Pauline McCormack Tidmore (American, Contemporary) “Blossom Time”, oil on canvas, signed lower left, with an exhibition label on the reverse “Birmingham Art Club Jury Show, 1942”, 24” x 20”. Handsomely framed. [125/250] 789 Andrea de Kerpely-Zak (Hungarian/American, b. 1943) “Spring Flowers”, pair of watercolors on paper, both examples signed lower right, sight 23‑1/4” x 17‑1/4”. Glazed, matted and framed. Provenance: The Estate of Ann B. Sakowitz, Houston, Texas. [400/700] 790 Margo Terzian Lang (American/Arizona; Active) “Mountainous Landscape of a Tree with Golden Leaves”, watercolor on paper, signed lower right “Margot Terzian Lang”, sight 21‑1/2” x 28‑1/2”. Glazed, matted and framed. Provenance: The Estate of Ann B. Sakowitz, Houston, Texas. [400/700]

787

787 Frank Hartley Anderson (American/Alabama, 1890‑1947) “The Memphis-Bound Ranger Docked in an Estuary Near a Plantation Home”, 1949, oil on canvas, signed and dated middle left “Frank Hartley Anderson ‘49”, 62” x 86”. Unframed. [1400/1800] Illustrated

791

793

791 American Renaissance Revival Parcel-Gilt and Ebonized Walnut Mantel Mirror, third quarter 19th century, the period gently arched mirror plate set in a frame with a carved crest depicting a cartouche with a classical maiden’s mask flanked by swags, the corners mounted with carved brackets and finials, h. 66‑1/2”, w. 48”, d. 8”. [1500/2500] Illustrated

8 130

792 American Rococo Revival Walnut Extension Dining Table, late 19th century, the circular top opening to accommodate leaves in an unusual metal tooth and gear mechanism, raised on cabriole legs with foliate-carved feet, presently fitted with a pair of eighteen-inch leaves, with the capability of accommodating more, h. 29‑1/2”, dia. 48”, extended l. 84”. [700/1000] 793 American Renaissance Revival Burled Walnut and Walnut High-Back Bedstead, third quarter 19th century, the arched headboard centered by a carved and paneled cartouche flanked by foliate carving, with a pair of shaped burled panels capped by applied foliate and scroll carving, the wrap footboard with a shaped burled panel, h. 105”, inside w. 54‑1/2”, l. 78‑1/2”, outside w. 61‑1/2”, l. 80”. [1000/1500] Illustrated 794 Unusual American Maple and Cane Folding Chair, third quarter 19th century, the partially reclined back with an incised arched crest rail over a cane central panel, with curved open arms, cane seat and adjustable leg rest, h. 31”, w. 21”, l. 57”. [200/400] 795 After John Singer Sargent (American, 1856‑1925) “Portrait of Margaret Stuyvesant Rutherford White (Mrs. Henry White)”, oil on canvas, unsigned, contemporary copy, 90” x 55”. Handsomely framed. [2000/4000] Illustrated 796 American Porcelain-Mounted and Marquetry Inland Rosewood Settee, third quarter 19th century, New York, the top rail with an upholstered roll flanked by pale blue and white bisque plaques and foliate carving, the stiles and apron with geometric inlay, the open arms ending with similar porcelain plaques and banded inlay, with bowed seat rail and carved trumpet legs, the legs retailing the period Goodyear India Rubber Comb Co. coasters, h. 36‑1/4”, 56‑1/4”, d. 25”. For a discussion of these casters on furniture from the Herter shop, see Katherine S. Howe et al., Herter Brothers Furniture and Interiors for a Gilded Age (New York: Abrams, 1995), p 123. In addition to the Herter firm, their principal cross-town competition, Pottier & Stymus also utilized the Rubber Comb vulcanized casters. [1200/180] Illustrated

795

799 Opulent American Brilliant-Cut Glass Vase, first quarter 20th century, of footed fan form, the stem lapidary cut, the body cut with alternating stepped and hobstar panels, the circular foot with a large flash-cut sixteen-point hobstar, h. 11‑1/4”, w. 7”. [250/400]

796 797 Large Pair of Napoleon III Bronze and Opaline Glass Table Lamps, late 19th century, each with a white opaline glass standard of tall bulbous form, above a bronze square base with concave corners and foliate-molded feet, formerly fitted as a moderator lamp, electrified, h. 30‑1/8”. [600/900] 798 Group of Four American Glass Goblets, consisting of a pair of flute-cut cranberry-over-clear overlay glass wine goblets, h. 4‑1/4”; and a pair of matching liqueur goblets, h. 4”, all on circular reverse-cut feet in “Sunburst” decor. [200/400]

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800 Rare Pairpoint Brilliant-Cut Glass Footed Oranges Bowl, first quarter 20th century, of ovoid form in an opulent hobstar, fan and cane “bowtie” decor, the circular foot reverse cut in a “snowflake”centered fanned hobstar pattern, h. 6‑1/2”, w. 9‑1/4”, d. 6‑1/2”. [200/400]

806 Two-Piece Group of Tuthill, New York, Glassware, first quarter 20th century, comprised of a circular, pegfooted, floral-engraved pastry platter with a “Bead and Bar”-cut gallery rim, h. 2‑1/8”, dia. 9‑3/4”; and a circular floral-engraved sweetmeats serving plate, dia. 9‑5/8”; both pieces with the acid-stamped Tuthill signature. [300/500] 801

801 Late Victorian Cut Glass Centerpiece, ca. 1900, in three parts, with a central bowl surmounted by a tall flaring vase and raised on a knopped standard above a circular foot, decorated with arched Gothic panels in alternating star and cross-cut patterns separated by palmettes, h. 19”, dia. 12”. [1000/1500] Illustrated 802 Libbey Richly Brilliant-Cut Glass Berry Bowl, first quarter 20th century, in “Ellsmere” decor, this example with the unusual feature of one turned-in lobe, signed with the acid-stamped Libbey “sabre” signature in use from 1897 to 1907, h. 3‑1/4”, dia. 10”. [300/500]

807 American Brilliant Period Cut Glass Punchbowl on Stand and a Silverplate Ladle, ca. 1900, the bowl and stand in “Hobstar and Cane” decor, the ladle with a cut glass handle and marked “Meriden Silver Plate Co.”, punchbowl overall h. 13‑3/4”, dia. 14”. [500/800] Illustrated 808 American Pattern Glass Whale Oil Lamp, mid‑19th century, retains the pewter collar, now electrified, h. 23‑1/2”. [100/200] 809 Tiffany and Company Cut Glass Table Obelisk, dated 1990, the facade engraved “The/ Winter Ball/ Tiffany & Co./ and/ The Houston Post/ Women of Distinction/ Award/ January 20, 1990/ Ann B. Sakowitz”, h. 9‑3/4”, w. 2‑1/4”. [150/300] 810 Alice Ravenel Huger Smith (American/South Carolina, 1876‑1958) “A Summer Duck in the Pool at Lavington”, watercolor on paper, signed lower right “Alice R. H. Smith”, verso with the artist’s own label with her address and inscribed in ink with the title of the work, framer’s and artist supply label from “Lanneau’s Art Store, Charleston, South Carolina” and a partial label identifying an agent for the Pan-Pacific International Exposition in 1915, “Noonan-Kocian Company, St. Louis, Missouri”, sight 13” x 21‑1/4”. Glazed and presented in a period molded giltwood frame with brass artist plaque. [12000/18000] Illustrated

803 Good Ten-Piece Collection of Christian Dorflinger and Sons Glassware, first quarter 20th century, the brilliant-cut glass in “Old Colony” decor, comprised of three white wine goblets, h. 5”, a champagne goblet, h. 4‑1/2”, three footed dessert cups, h. 3‑1/4”, dia. 3”, a matching finger/dessert bowl, and a pair of underplates en suite, dia. 5‑1/4”. [100/200] 804 Opulent American Brilliant-Cut Glass Square Bowl, first quarter 20th century, by William Anderson for the American Cut Glass Company, the centers of each edge turned in, of good weight, h. 3”, w. 10”, d. 10”. [250/400] Illustrated 805 Libbey Glass Company Brilliant-Cut Glass Ice Cream Tray, first quarter 20th century, of two-handled form in “Victoria” decor, h. 2‑1/4”, w. 8‑1/4”, l. 13‑1/2”. [250/400]

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810

812 Clarence Millet (American/ Louisiana, 1897‑1959) “Life Along the Mississippi River”, ca. 1940, oil on canvas, signed lower right “Clarence Millet”, fragment of an old inventory label on the reverse, 22” x 26”. Presented in its original stained wood frame with engraved brass plaque inscribed “WPA Federal Art Project”. [14000/18000] Illustrated

811 American School (20th Century) “Farm in a Mountain Valley”, oil on canvas board, signed lower left “T. J. Cooper”, 20” x 24”. Framed. [125/250]

812

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813 Charles Kilgore (American/California, 1889‑1979) “View of a Coastal Village with Figures”, oil on canvas board, signed lower right “Charles Kilgore”, 12” x 16”. Glazed and presented in a period giltwood frame in the Art Nouveau style. [1200/1800] Illustrated 814 Charles Kilgore (American/California, 1889‑1979) “Mountain Landscape”, oil on canvas board, signed lower right “Charles Kilgore”, 12” x 16”. Glazed and presented in a period giltwood frame in the Art Nouveau style. [900/1200] Illustrated 815 Five Pieces of Pueblo Blackware Pottery, second half 20th century, including a small wedding jug, h. 3‑3/4”, w. 3‑1/2”, and a near pair of large wedding jugs, h. 8‑1/4”, dia. 6‑1/4”, all Santa Clara or San Ildefonso; a high-polish olla with incised mark on the underside “G.J.”, h. 3‑3/4”, dia. 4-/2”; and a very unusual duck effigy dish, of pointed oval shape, the duck’s head rising above the rim and tucked at the broader end, the rim carved to suggest feathers along each side and tapering to a point at the tail, h. 4‑3/4”, l. 14”. [200/400] Illustrated 816 Two Hopi Polychrome Pottery Bowls, mid‑20th century, one with geometric designs and black lined banding bottom and top with a plain standing rim, h. 3‑1/4”, dia. 6”; the other with quadrants of traditional designs banded by a simple line at the top and the quadrants continuing to the base without banding, h. 2‑1/4”, dia. 4‑1/4”. [200/400] Illustrated

813 817 Three Pieces of Kewa (Santo Domingo) Pueblo Polychrome Pottery, mid‑20th century, including a small bowl decorated with a band of black plants and stalks around the rim, the interior with a central red and black plant motif and a border of black plants around the rim, h. 3”, dia. 5‑1/2”; a basket vessel with small spout, the handle decorated with black dots, the body with a black band of hexagonal shapes formed by two band of intersecting triangles with red dots at the points, with a thin black banding at the rim and lip, h. 6”, dia. 6‑1/4”; and a pitcher with a central black geometric band, with red and black parrots on each side of the upper section and a band of black plant designs below, h. 4‑3/4”, dia. 4‑1/2”. [300/500] Illustrated

818 Isleta Pueblo Polychrome Pottery Basket, first half 20th century, with double-twisted handle decorated with white circles and black dots on a red ground, the body covered with a band of lozenges containing black and white flower designs and separated by triangles filled with narrow diagonal lines, above a band of red triangles, 4‑3/4”, dia. 4”. [100/200] Illustrated 819 Four Pieces of Pueblo Blackware Pottery, mid‑20th century, probably Santa Clara and/or San Ildefonso, including a small basket with knobby protuberances, h. 3‑1/4”, dia. 4‑1/4”; a tall vase with a band of black-on-black cloud and water designs, h. 5‑1/4”, dia. 4‑3/4”; an olla with similar black-onblack banding, h. 4‑1/2”, dia. 6‑1/4”; and a large bowl with plain polished finish, h. 5‑1/4”, dia. 9‑1/4”. [300/500] Illustrated

814

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815-828

820 Two Pieces of Acoma Pueblo Polychrome Pottery, third quarter 20th century, including an amusing turkey effigy basket, the handle impressed with zigzag lines to suggest a woven handle, the body decorated with black and red triangles with traditional Acoma narrow line painting on the body, the rim with two turkey heads protruding from the rim, painted red with black eyes, their wattles painted in red on the body, signed on the underside “Acoma/ N.M.”, h. 5‑1/2”, dia. 4‑1/2”; and small shallow bowl with plain red polished exterior and black rim, the interior painted with black stylized eagle feathers on a white ground, dia. 4‑1/4”. [200/400] Illustrated 821 Large Pueblo Polychrome Pottery Bowl, mid‑20th century, probably Acoma, with plain red exterior and painted white interior ground with black line cross-hatched square at the center surrounded by four alternating crosshatched and red swirling shapes with black outline and pointed rays, positioned between cloud designs descending from a double line border at the rim, h. 3”, dia. 9‑3/4”. [200/400] Illustrated 822 Two Pieces of Pueblo Polychrome Pottery, second quarter 20th century, possibly Kewa (Santo Domingo), including a small jug with tall neck and loop handle, with black rim and black and red arched bands, h. 3‑3/4”, w. 2‑1/2”; and a basket with simple red and black dot and zigzag decoration on the handle and a band of triangles, swirls and dots below a single line border at the rim, h. 4”, dia. 4‑1/2”. [200/400] Illustrated 823 Santa Clara Pueblo Incised Red Pottery Bowl, third quarter 20th century, of slightly flattened spherical form, decorated with a wide incised avanyu “water serpent” band, signed on the underside in pencil “Aunt Helen”, h. 4‑1/8”, dia. 6”. [200/400] Illustrated

824 Isleta Pueblo Polychrome Pottery Bowl, by Stella Teller (b. ca. 1950), fourth quarter 20th century, of hemispherical form, the red clay body decorated on the exterior with a wide band of Teller’s distinctive design of black and white swirling water and plants, signed in the underside “S. Teller/ Isleta/ N.Mex.”, h. 2‑1/4”, dia. 4‑3/8”. Stella Teller, a Southern Tiwa from Isleta Pueblo, is a renowned master potter represented in public and private collections throughout the United States. In 2001, she was awarded the first Eric and Barbara Dobkin Native American Artist Fellowship at the School for Advanced Research in Santa Fe, New Mexico, and she is the designer of the avanyu (“water serpent”) and eagle feather logo for the Indian Pueblo Cultural Center in Albuquerque, New Mexico. [150/300] Illustrated 825 Three Pieces of Pueblo Pottery, 20th century, including two redware wedding flasks, possibly Jemez, with stylized swirling organic designs, one h. 7‑1/4”, w. 4‑1/2”, the other h. 10”, w. 6‑1/4”; and a large olla with polychrome cactus, mountain and cloud designs, h. 11”, dia. 10” (the latter with old professional stapled repairs). [200/400] Illustrated 826 San Ildefonso Pueblo Incised Blackware Pottery Bowl, by Rose Gonzales (1900‑1989), of traditional form, decorated with a deeply incised avanyu (“water serpent”) band, signed sgraffito on the underside “Rose”, h. 3‑3/4”, dia. 6”. Rose Cata Gonzales, a native of San Juan Pueblo, was orphaned at an early age when her parents died in an influenza epidemic. She lived with a relative, Mary Cata, until 1920 when she married Robert Gonzales and moved to his native San Ildefonso Pueblo. There she was taught the craft of pottery by her mother-in-law Ramona Sanchez Gonzales. Her pots are characterized by their traditional motifs and her innovative incised designs. By the 1970’s she was revered as one of the great Pueblo potters, and her tradition was continued by her son Johnny Tse-Pe/ Gonzales, daughter-in-law Dora and granddaughter Irene. [300/500] Illustrated

135

827 Good Nambe Pueblo Black-on-Black Pottery Pot, 1980, signed “Oga”, of classic form and typically restrained design of kiva steps around the upper shoulder, signed sgraffito on the underside “Oga/ Nambe/ Pueblo/ 1980”, h. 2‑3/4”, dia. 4”. [100/200] Illustrated previous page 828 Eight Pieces of Pueblo Pottery, mid‑20th century, including a large yellow clay pot with fire clouds, h. 10‑1/4”, dia. 9‑1/2”; a small red clay jar with rolled edge and cord guides for carrying, h. 3‑1/2”, dia. 4”; a polychrome bowl, probably Maricopa or Pima, with fluted rim and simple black and red decoration of lines and crosses, h. 2”, dia. 3‑3/4”; a buff clay jug with tall neck, also probably Maricopa or Pima, with red band and line decoration, h. 3‑1/4”, dia. 2‑3/4”; a small terra cotta bowl with fluted rim and plant design on the interior, h. 1‑1/4”, dia. 3‑3/4”; a terra cotta bowl with fire clouds, h. 2‑3/4”, dia. 5‑3/4”; and a near-pair of small yellow clay bowls with incised zig-zag banding, h. 1‑3/4”, dia. 4‑1/4”. [300/500] Illustrated previous page

837

838

829 American School (Contemporary) “Native American on a Horse”, color reproduction, sight 23‑1/2” x 34”. Glazed, handsomely matted and framed. [50/80]

840

136

830 Margo Terzian Lang (American/Arizona; Active) “Arizona Desert Landscape”, watercolor on paper, signed lower left “Margo Terzian Lang”, sight 21” x 29”. Glazed, matted and framed. Provenance: The Estate of Ann B. Sakowitz, Houston, Texas. [400/700]

831 Manner of Carl Kauba (Austrian/American, 1865‑1922) “Sitting Bull”, 20th century, a patinated and cold-painted bronze figure of the warrior standing in full regalia with his hands on a rifle, above a plinth base with integral title, inscribed on the base “C. Kauba”, h. 6‑3/4”. [600/900] 832 Manner of Carl Kauba (Austrian/American, 1865‑1922) “Native American Warrior and Canoe”, 20th century, a polychrome-patinated bronze figure, the shirtless warrior wearing an elaborate headdress, brandishing an oar and emerging from a canoe, inscribed on the reverse of the canoe “Kauba” with a worn foundry mark, h. 4”, l. 9‑3/4”. [1000/1500] 833 Two Large Pieces of Oaxaca “Barro Negro” Pottery, fourth quarter 20th century, including a large spherical flowerpot, inscribed on the underside “Lam/ Oascaca [sic]/ Mexico”, h. 8‑1/2”, dia. 12”; and a tall-necked vase, inscribed on the underside “Enrique/ Oaxaca/ Mexico”, h. 14‑3/4”, dia. 8‑1/4”. [100/200] 834 Vernacular Painted Pine Bench, early 20th century, the rectangular crest above a bisected spindled back, the planked seat raised on square legs to splayed toes, h. 35‑1/2”, w. 59”, d. 16”. Provenance: Wirthmore Antiques, New Orleans, Louisiana. [400/700] 835 American Federal Windsor Armchair, early 19th century, the tablet-form crest rail joined to bamboo-turned spindles, stiles and arms, the single-board writing arm fitted with a drawer below, the turned legs joined by box stretchers, h. 34‑3/4”. [300/500] 836 American Federal Mahogany Tilt-Top Tea Table, first quarter 19th century, the ovoid single-board top with a wrought-iron latch, on a vasiform tripodal standard with spade feet, h. 29”, w. 15‑1/2”, d. 24‑1/4”. [150/300]

837 American Chippendale Walnut Sidechair, third quarter 18th century and later, Pennsylvania, with a shellcarved crest rail, sloped splat, cabriole front legs with shell-carved knees and trifid feet, h. 41”. [1200/1800] Illustrated 838 American Colonial Cherry Tall Chest in the Chippendale Taste, third quarter 18th century, the molded cornice over a band of three arched drawers, over two, over five graduated drawers and flanked by fluted pilasters, supported by ogee bracket feet, the cornice original, the back constructed of four wide boards, one replaced, h. 67‑1/2”, w. 38”, d. 22”. [1500/2500] Illustrated 839 Anglo-American Mahogany Tilt-Top Table, ca. 1800, the circular top on a tapering turned and vasiform standard, the tripodal base with cabriole legs and pad feet, h. 27‑3/4”, dia. 28‑3/4”. [300/500] Illustrated 840 American Colonial Polychromed and Stenciled Slant-Front Desk, fourth quarter 18th century, the full front opening to expose an interior fitted with drawers and niches, over four graduated drawers, raised on bracket feet, the polychromy and stenciling later, h. 43”, w. 42‑1/2”, d. 20‑1/4”. [1200/1800] Illustrated 841 Japanese Plique-a-Jour Small Bowl, 20th century, the translucent enamel framed by silver wire depicting flowers and foliage including roses, chrysanthemums, violets and lilies, resting on three feet and bordered with a silver rim, dia. 3‑5/8”. [300/500] 842 Chinese Miniature Ge Ware Porcelain Incense Burner, 20th century, of bombe shape with everted lip rim, resting on three feet, the body glazed with a crackled celadon glaze, the base with a six-character Qianlong seal mark, h. 2‑3/4”, dia. 4”. [200/400]

137

846 Chinese Oxblood-Glazed Porcelain Vase, 19th century, now fitted with brass foot and cap as a lamp, the squat bulbous body glazed all over in a rich, even oxblood glaze, drilled, h. 28”. [700/1000] Illustrated

844

845

843 Pair of Chinese Carved Wooden Immortals, 19th century, each carved in the round depicting standing figures in open robes with upraised hands and draped sleeves, standing on cloud bases with painted and gilt decoration, presented on custom carved wooden stands, h. 19‑3/4”, including stands. [1500/2500] Illustrated

846

844 Korean Pine and Iron Blanket Storage Chest, second half 19th century, of rectangular outline with fold-down front opening with original cast-iron hinges, handles, lock, clasp and stylized floral decorative mons, h. 20‑5/8”, w. 33‑3/4”, d. 17‑1/4”. [400/700] Illustrated 845 Chinese FlambeGlazed Porcelain Vase, 20th century, of baluster form with everted lip rim, glazed all over in a rich plumcolored glaze with blue, white and green striated areas, the base with an impressed four-character Yongzheng seal mark, h. 12‑1/2”. [400/700] Illustrated

138

847 Chinese Lacquered Storage Chest-on-Stand, of rectangular form, decorated in red lacquer with gilt lotus and geometric decoration, with patinated metal lock and carrying handles, resting on a like-decorated stand with horse-hoof feet, h. 18‑1/2”, w. 32‑1/4”, d. 22”. [300/500]

843

848 Chinese Cream Color-Glazed Stoneware Handled Ewer, Tang Dynasty (618‑906 A.D.), the tapered baluster-form body with a strap handle, two strap lugs at the neck, a short pouring spout and a bulbous neck with everted lip rim, glazed all over in a creamy white glaze stopping short of the foot, h. 10‑3/4”. [300/500]

853

851

849 Large Chinese Champleve Bronze Vase, 19th century, of expanded baluster form with dragon handles and flared lip rim, the body with cast archaic decoration and champleve enamel highlights of lotus blossoms and scrolling foliage, h. 24‑1/2”. [400/700] Illustrated

849

850 Chinese Cloisonne Lobed Planter, 20th century, the body and rim with six lobes, the body enameled in traditional 18th-century enamels with reserve panels of antiques against a ground of lotus flowers and scrolling foliage, the body resting on four ruyi-shaped feet, h. 3‑3/4”, l. 8‑3/4”. [500/800] 851 Small Chinese Cloisonne Vase, 18th century, of baluster form with flared lip rim, the body decorated with lotus blossoms, scrolling foliage and Buddhistic symbols, the neck with a border of plantain leaves and lotus with a border of ruyi lappets at the lip, with original gilt details, h. 7‑1/2”. [2500/4000] Illustrated

852 Chinese Provincial Lacquered Softwood Side Table, 19th century, of rectangular outline with a slim central panel above an indented plain apron, resting on four squared legs ending in modified horse-hoof feet, h. 33‑1/2”, w. 60‑3/4”, d. 18‑1/4”. [500/800] Illustrated

852

853 Chinese Champleve-Enameled Bronze Handled Vase, late 19th century, the baluster-form body with cast decoration and a central band of champleve enamel decoration of lotus blossoms in polychrome enamels, now wired as a lamp on a wooden stand, h. 27”. [300/500] Illustrated

139

854 Large Chinese Cloisonne Figure of a Rooster, 20th century, the figure standing on a rockwork base with open mouth and head thrown back, enameled all over in traditional polychromed enamels with gilded accents, the head removable, h. 38”. [2000/4000] Illustrated

854

857

855 Large and Impressive Pair of Chinese Cloisonne Vases, 20th century, each of bottle shape with bulbous bodies and tubular necks, expertly enameled as flowering and fruiting peach branches in polychrome enamels against an egg-yolk yellow ground with C-scroll inlay, presented on wooden stands, h. 18”, including stands. [600/900]

856 Chinese Turquoise Ruyi Scepter, 20th century, carved of reconstituted turquoise in the traditional shape with lowrelief designs of peony, rockwork and a bat on the head, flowering orchids and ling chih on the shaft, and a bat and flowering plants on the terminal, l. 15‑3/4”. [1400/1800] 857 Chinese Molded Porcelain Bottle Vase, 20th century, the bulbous body with elongated neck with the figure of a single horned dragon wrapped around the neck, the body glazed in “Robin’s Egg” blue, the dragon glazed in brown, the base with an impressed six-character Qianlong seal mark, h. 6‑3/4”. [200/400] Illustrated 858 Chinese Champleve-Enameled Bronze Handled Vase, first quarter 20th century, the body with cast decoration, ring handles and two horizontal bands of champleve enamels depicting lotus and flowers, now wired as a lamp on a wooden stand, h. 26”. [300/500] 859 American Federal Mahogany Corner Cabinet, early 19th century, in two parts, the upper section with a pair of doors with tripartite glazed panels and canted corners, the base of like form with a pair of paneled doors, raised on bracket feet, h. 82”, w. 45‑1/2”, d. 22‑1/2”. [800/1200] Illustrated 859

140

860 American Colonial Revival Marquetry-Inlaid and Line-Strung Mahogany Sideboard, fourth quarter 19th century, after a Baltimore Federal masterpiece, probably by Potthast Brothers, Baltimore, the serpentine top edged with barber-pole stringing, the case with a bowfront central drawer over a pair of doors, each with stringing around figured panels and each edged with fine barber-pole stringing flanked by concave doors with like adornments, raised on Hepplewhite legs with bellflower inlay, h. 39‑1/2”, w. 66”, d. 28‑1/2”. [1500/2500] Illustrated 861 American Federal Line-Strung Figured Birch Drop-Leaf Table, early 19th century, the top with gently bowed ends, flanked by shaped drop leaves, the apron with inlaid string banding, one side fitted with a deep drawer, raised on tapering Hepplewhite legs, h. 28‑3/8”, w. 36”, l. 19”, extended l. 36”. [250/400]

860

862 American Federal Line-Strung and Cross-Banded Mahogany Games Table, ca. 1800, New England, the shaped fold-over top supported by a fifth fly leg, the edge of each top section with stringing and rosewood crossbanding, the conforming frieze with string inlay and a contrasting ovoid panel, the tapering legs with an oval panel and stringing to their base, h. 31”, w. 35‑3/8”, d. 16”, extended l. 32”. [800/1200] Illustrated

862

863

863 Large Pair of Chinese Famille Verte Porcelain Vases, 19th century, each of baluster form and decorated in traditional famille verte enamels with reserve panels of antique flower containers and floral rondels against a ground of asters and scrolling foliage, presented with custom wooden stands and covers, h. 23‑1/4”, including stands. [800/1200] Illustrated 864 American Federal Mahogany Sofa in the Sheraton Taste, ca. 1800, Pennsylvania, with upholstered seat and back, the arms with scroll ends, raised on turned legs, h. 35‑1/2”, w. 75‑3/4”, d. 27‑3/4”. [1000/1500] 865 Pair of American Federal-Style Eglomise and Giltwood Tabernacle Mirrors, one depicting a Federal I-style house with a horse and buggy in front, and the other a cottage on a riverbank with two men fishing in the foreground, h. 30”, w. 16”. [300/500]

141

869 American Federal Figured Maple Tall-Post Bed in the Sheraton Taste, the turned posts each with a vasiform top and a reeded cylinder, with a shaped headboard and an arched canopy frame, h. 67‑1/2”, inside w. 48”, l. 72”, outside w. 54”, l. 77‑1/2”. [500/800] 870 Vernacular American Sheraton MarquetryInlaid Crotch Walnut and Cherry Work Table, second quarter 19th century, the top centered by an inlaid six-point star, the case with a pair of cock-beaded drawers, each with an inlaid light wood escutcheon of shield form and crotchveneered face, raised on turned tapering legs, the rail between the drawers signed in pencil “H. D. Heorshmann 1847”, h. 29”, w. 22”, d. 20”. [300/500]

873

871 Vernacular Southern Yellow Pine Kitchen Cabinet, late 19th century, the upper section with a molded cornice over a pair of glazed and mullioned doors, the lower section with a pair of bisected panel doors, the doors all of pegged construction, on a molded plinth base, h. 85”, w. 57”, d. 17‑1/2”. [1000/1500] Illustrated

868 866 American Mahogany Hanging Shelf, early 20th century, fitted with four graduated shelves joined by shaped supports, h. 31‑1/4”, w. 22‑1/2”, d. 9”. [125/250] 867 American Federal Birch Drop-Leaf Breakfast Table, early 19th century, in the Hepplewhite taste, the figured top flanked by a pair of drop leaves, the leaves supported by fly legs, the square-profile legs of tapering form, h. 29”, w. 48”, l. 20”, extended l. 58”. [300/500] 868 American Federal Line-Strung Cherry Chest, 19th century, New England, the top edged with light wood stringing, the case with four graduated drawers, each with like stringing, raised on flared Hepplewhite legs joined by a scalloped apron, h. 36”, w. 40”, d. 18‑5/8”. [700/1000] Illustrated

871

142

876

872 Vernacular American Sheraton Cherry Work Table, second quarter 19th century, the projecting square top over a frieze fitted with a single drawer, raised on shaped turned legs, the drawer with a brass ring pull with a circular foliatemodeled backplate, h. 30”, w. 19‑1/4”, d. 18‑1/2”. [100/200] 873 Suite of Four American Classical Mahogany Dining Chairs, first quarter 19th century, the top rail framed by reeding, the splat centered by a figured panel on scroll brackets with sabre legs, the slip seats upholstered in navy moire, h. 33”. [800/1200] Illustrated

874 874 Southern School (First Quarter 19th Century) “Portrait of a Lady in a White Dress with Green Velvet Wrap, a Landscape Beyond”, oil on canvas, unsigned, 35‑1/4” x 27‑1/2”. Handsomely framed. According to family history, the sitter is thought to be a daughter of the Ellis and Farar families, early settlers and major landowners in Mississippi and Louisiana, including White Cliffs, Homochitto and Laurel Hill plantations in Adams County near Natchez, Mississippi. [1800/2500] Illustrated 875 Fine American Classical Mahogany Games Table, first quarter 19th century, Haines-Connelly School, Philadelphia, the highly figured top with rayed veneers and elliptical corners, over a conforming apron, the foldover top opening to reveal a shaped baize-lined playing surface, raised on four reeded and foliate-carved columns joined to saber-form legs with paneled tops, with foliate carving at the knees and brass paw casters, h. 30‑3/4”, w. 36‑1/4”, l. 19‑1/2”, extended l. 39”. A related table, in the collection of the Henry Francis Dupont Winterthur Museum, is illustrated in Montgomery, American Furniture of the Federal Period. Several tables of this form are illustrated and discussed in Boor, Philadelphia Empire Furniture, pp. 175‑178. [1800/2500] Illustrated

875

876 American Federal Mahogany Tallcase Clock, early 19th century, the cornice with a scrolling broken-arch pediment, the painted face with moon phase dial, sweep second hand, and date dial, marked “JF Wath..., Chester”, the glazed door flanked by reeded columns, the waist with an arched and cross-banded door, the corners with reeded pilasters, raised on Sheraton feet, h. 100”, w. 18‑3/4”, d. 9”. American cabinetmakers frequently imported English works for their wares. The signature on the face of the present example is probably that of John F. Wathew, Chester, England. [1500/2500] Illustrated

143

877

879 Pair of Gilt- and Patinated Bronze Argand Lamps, second quarter 19th century, each tapered font joined to a section with a fluted arm, the standard with a cabochon gallery and a hexagonal base, accompanied by period-style floral-cut and etched blown glass shades, electrified, h. 16‑3/4”, w. 11‑1/2”, d. 5‑1/2”. [1200/1800] Illustrated

880 American Classical Mahogany Drop-Leaf Breakfast Table, first quarter 19th century, the highly figured single-board top flanked by a like pair of drop leaves with rounded corners, the frieze fitted with a single deep drawer, raised on a foliatecarved vasiform pedestal joined to shaped legs with carved paw feet, h. 29”, w. 37”, l. 23‑1/2”, extended l. 44‑3/4”. [800/1200] Illustrated 881 Fourteen-Piece Paris Porcelain Partial Tea Set, first quarter 19th century, comprised of a teapot, h. 7‑1/2”, a sucrier, a cream jug, a waste bowl, dia. 8‑1/4”, and five teacups and saucers, each piece elaborately floral-polychromed and gilded, the teapot signed “B. S. V. Nir, Paris”. [1500/2500] Illustrated 878

877 American Classical Mahogany Sideboard, first quarter 19th century, New York, the gallery with a figured brokenarch back joined to brass returns ending in a Greek key, the case with three projecting drawers over paneled doors, flanked by tapering pilasters with foliate-carved capitals, raised on legs with vasiform and ring turnings on ball feet, h. 54‑3/4”, w. 72‑3/8”, d. 24”. [2000/4000] Illustrated 878 Fine American Classical Gilt-Stenciled, Ebonized, Marble, Bronze and Mahogany Pier Table, first quarter 19th century, Philadelphia, the rectilinear marble top over a cove-molded standard frieze, the marble columns with metal capitals and bases, joined to a shaped low shelf backed by a mirror plate, h. 37‑1/2”, w. 48”, d. 21‑3/4”. [4000/7000] Illustrated

144

879

881

883

882

880

882 American Federal Parcel-Gilt, Gilt-Metal-Mounted and Brass-Strung Rosewood Cabinet/Bookcase, the interior drawer with the gilt-stenciled label “Manufactured by Robert and William Nunns, DuBois & S[toda]rt, New York”, the scrolling broken-arch crest adorned with finely carved oak leaves and branches of floral rosettes, the glazed doors flanked by tapering columns with giltbronze capitals and bases, the projecting rounded foldback top opening to expose a drawer, supported by a similar column, with a pair of recessed doors, the case formerly fitted for an upright pianoforte, h. 87‑1/2”, w. 46”, d. 27‑1/2”. Robert and Williams Nunns operated a piano manufactory, with warerooms at 137 Broadway, from 1824‑1833. After 1833, the firm became “Nunns & Charles”, remaining in business through most of the rest of the century. [1500/2500] Illustrated

145

885 Pair of Gilt- and Patinated Bronze Prism-Hung Single-Arm Argand Lamps, second quarter 19th century, each with the plate “Manufactured by H. N. Hooper & Co., Boston”, with campana-form font with a prism ring dressed with cut colonial prisms, on a tapering fluted standard with a raised panel base, accompanied by a pair of period-style etched and cut blown glass shades in flower and leaf decor, h. 17‑1/2”, w. 12”, d. 7”. [1000/1500] Illustrated 886 American Classical Mahogany Tall-Post Bed, second quarter 19th century, the reeded and foliate-carved posts supporting a single-board scroll headboard, now fitted with tasseled ivory bed hangings on frame, h. 104‑1/2”, inside w. 59”, l. 74‑1/2”, outside w. 66‑1/4”, l. 82”. [2000/4000] Illustrated 887 Pair of Anglo-American Classical Mahogany Plant Stands/Pedestals, early 19th century and later, each with a square top on a twist-reeded standard with an acanthine-carved capital, joined to molded and stepped bases, the standards formerly fitted as bedposts, h. 52”, w. 14”, d. 14”. [600/900]

884

883 American Classical Crossbanded and Brass-Strung Mahogany Dressing Bureau, New York, ca. 1825, the looking glass on reeded and lyre-carved S-scroll supports joined to a recessed canted band of two drawers, the case with a spiral crossbanded drawer flanked by a pair of molded drawers, over a recessed bank of three graduated drawers flanked by tapering columns with foliate-carved capitals, on carved paw feet, fitted with antique brass ring pulls with embossed rosette backplates, h. 65”, w. 39”, d. 25”. [1000/1500] Illustrated previous page

890

884 Fine American Late Classical Brass- and OrmoluMounted Mahogany Armoire, second quarter 19th century, School of Duncan Phyfe, the projecting cornice over a pair of bisected paneled doors with a brass astragal, the doors opening to reveal an interior with a pair of linen slides, a full-width drawer and a band of three drawers, the underside of two drawers with the name “Miller”, the doors flanked by turned columns with ormolu capitals and bases mounted on square plinths extending to the legs of like form, each side fitted with a paneled door, constructed of carefully selected and matched figured veneers throughout, h. 95‑1/2”, w. 68”, d. 31‑1/2”. [4000/7000] Illustrated 885

146

888 American Classical Mahogany Work Table, first quarter 19th century, the rectilinear figured single-board top over a pair of frieze drawers, raised on spiraling acanthus-carved legs on brass cup casters, h. 30”, w. 21”, d. 16”. [300/500] 889 Classical-Style Giltwood Looking Glass, the projecting cornice mounted with a row of drop spheres, over a frieze with swags flanked by stop-fluting, the ribbon-adorned pilasters of clustered form, h. 69‑1/2”, w. 43”, d. 6”. [700/1000] 890 American Late Classical Mahogany Drop-Leaf Table, second quarter 19th century, Baltimore, the rectangular top with two rounded drop leaves, raised on boldly reeded and turned circular legs ending in peg feet, h. 28‑1/2”, w. 42”, l. 21”, extended l. 50”. [400/700] Illustrated 891 American Classical Mahogany Sofa, ca. 1825, Baltimore, with a boldly reeded molded top rail, the scroll arms with like reeding extending across the apron and terminating in turned rondels, on reeded saber legs with brass paw cup casters, h. 34‑1/2”, w. 90”, d. 26”. [2000/4000] Illustrated

894

893

892 American Classical Mahogany Tilt-Top Table, first quarter 19th century, Baltimore, the circular top with a reeded edge on a ring-turned and vasiform pedestal with three reeded saber legs, h. 28‑1/4”, dia. 23‑1/2”. [700/1000]

891

893 Pair of Anglo American Patinated Bronze Argand Lamps, second quarter 19th century, each with an applied plate “Messenger & Sons, 65 Hatton Garden, London and Birmingham, Manufactured for Alfred Wells, Boston”, the fluted cylindrical font joined to a single arm, the standard with a similar fluted column on a stepped base with disc feet, accompanied by period-style floralcut and etched blown glass shades, h. 16‑1/2”, w. 11‑1/2”, d. 7”. [800/1200] Illustrated

147

894 Fine American Classical Mahogany Bookcase Cabinet, ca. 1825, Baltimore, in two parts, the upper section with intricately modeled mullioned-glazed doors, the mullions with foliate, acorn and anthemion carving, flanked by reeded pilasters with acanthine capitals, the base with a projecting drawer over a pair of doors flanked by turned columns, raised on paw feet, h. 87‑3/4”, w. 48‑1/2”, d. 25‑1/2”. [3000/5000] Illustrated previous page 895 American Late Classical Mahogany DropLeaf Table, second quarter 19th century, Baltimore, the rectangular top with two rounded drop leaves, raised on turned and reeded tapering circular legs ending in toupie feet on brass cup casters, h. 29”, w. 40”, l. 21‑1/4”, extended l. 51‑1/4”. [300/500] 896 Sheraton Giltwood Mirror, first quarter 19th century, mounted with an eglomise tablet depicting a waterfowl devouring a fish, and topped with delicately molded leaves in the Adam taste, appears to retain the original mirror plate, h. 31”, w. 17”. [1000/1500] Illustrated

899

898 American Late Classical Giltwood Looking Glass, mid‑19th century, the rectilinear mirror plate in a conforming molded frame, h. 66”, w. 33‑1/2”, d. 2‑1/2”. [125/250] 899 American Late Classical Mahogany Sideboard, second quarter 19th century, the top backed by a gently arched and paneled splash, the case a projecting band of three drawers over a pair of paneled doors flanked by single doors and mounted with ring-turned and acanthuscarved pilasters, the whole raised on carved paw feet, h. 55”, w. 69‑1/2”, d. 22”. [1200/1800] Illustrated 900 American Classical Mahogany Breakfast Table, ca. 1825, the top with a reeded edge, flanked by drop leaves with rounded corners, the apron with a single frieze drawer, raised on a turned vasiform pedestal joined to a concave platform base on paw feet, h. 28‑1/2”, w. 44”, l. 23”, extended l. 55”. [500/800]

896

897 Vernacular American Sheraton Mahogany Stand, late 19th century, the rectilinear top over a single drawer, raised on turned tapering legs, h. 30”, w. 20‑1/2”, d. 16”. [100/200]

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901 American Late Classical Mahogany Chest, second quarter 19th century, with a projecting cyma-molded bonnet drawer over a graduated bank of three drawers, flanked by scroll columns and raised on scroll feet, h. 47‑3/4”, w. 43‑1/2”, d. 22‑1/2”. [350/500] 902 American Late Classical Mahogany Dressing Mirror, second quarter 19th century, the rectangular plate within a molded frame and supported by shaped supports, the base fitted with two small end drawers over three drawers, all with molded fronts, raised on bun feet, h. 37‑1/2”, w. 25”, d. 8‑1/2”. [200/400]

903 Fine and Rare Set of Eight New Orleans Creole Coin (.900) Silver Tablespoons, dated 1815, by Pierre Lamothe (ca. 1770-ca. 1823), in the pattern traditionally known in French as “Uniplat” and in English as “Mid-Rib Fiddle”, monogrammed and dated on the reverse “KAL/ 1815”, l. 8‑1/4”, 16.78 total t. oz. Pierre Lamothe was born in St. Marc, San Domingue (now Haiti) around 1770 to Jean Lamothe and his wife Claudine Dampeuse (sometimes Dampier). He was trained as a gold and silversmith there, probably by French-born Jean Couvertie (1738‑1811), whose daughter Marie Anne Couvertie (1773‑1849) Lamothe married in 1789. He was part of the great exodus of San Domingue emigrants who fled to Cuba in 1803/1804 to escape the escalating conflicts among the French, the British, the Spanish and the newly-freed slaves on the island of Hispaniola. His family was still in Cuba in 1807, but there is evidence that Lamothe had already begun tentative dealings in New Orleans as early as 1805. A “Pierre Lamott” appears in both the 1805 city directory and Flannery’s 1805 civic census at 12 rue Ursulines, and he is evidently the same person who appears throughout that year in various notarial records concerning the purchase, inventory and sale of a dockside lumberyard. While this may be a different Pierre Lamott/Lamothe, it is significant that his partner in this business - perhaps one involved in the Cuban mahogany trade - was Pierre Sequin, whose daughter would marry Lamothe’s eldest son. It is certain that Lamothe and his entire family left Cuba after the Spanish War Crisis of 1808 and settled permanently in New Orleans by May, 1809, when his daughter was baptized at the St. Louis Cathedral. He is listed in the 1811 city directory as “Pre. Lamothe, orefevre [goldsmith] at 33 rue Toulouse, corner Royal, and for the next decade his name appears regularly in a wide variety of civic documents: muster rolls of Plauche’s Battalion during 903 detail

the Battle of New Orleans, trade advertisements in the Louisiana Courier (including a notice of the 1813 relocation of his shop to the corner of rue Royal and St. Louis), a handful of lawsuits in the court dockets, various property sales in the notarial archives (including the sale of a slave in 1815), an appearance in the 1817/1818 tableau of the Perserverance Masonic Lodge #4 (which noted that he was a 47-year-old jeweler and native of St. Marc) and annual listings in the city directory (where in 1822 his business was recorded as Pierre Lamothe & Son, still at 52 rue Royal). It is surprising, then, that there does not appear to be any record whatsoever of his death: no obituary, no secular or sacramental record of his interment, no tombstone, no will, probate, succession or inventory. He very probably died around 1823, the last year he was listed in the city directory. He was certainly dead by 1827, when “Mme. Pierre Lamothe, widow” is listed; she died on March 11, 1849. Together they had at least eight children, five of whom survived into adulthood. Sons Jean-Marie (1795‑1880) and Jean-Baptiste Lamothe (1800‑1874) continued the jewelry and silver business as Lamothe Freres on Chartres Street until at least 1846, when they moved to Esplanade Avenue near the magnificent new double home they had built there in 1840: the Lamothe House, today a popular guest house. Jean-Marie retired shortly after the move, but Jean-Baptiste remained listed as a goldsmith and jeweler until the advent of the Civil War. Through them - and their sisters MarieClarisse (1797‑1872), Marie-Virginie (1804‑1869) and Marie-Cecile Eliza (1807‑1888) - the descendants of Pierre Lamothe survive in New Orleans to the present day, a living legacy of the expatriate craftsman from San Domingue who found a home in the melting pot of our city. (Indeed, it is to be noted that one of those descendants gave New Orleans one of its crowning achievements: Lamothe’s grandson Francois Leon Lamothe (1835‑1868) is credited with the invention of the Sazerac cocktail.) [1400/1800] Illustrated

903

903 detail

149

904 Set of Six New England Coin (.900) Silver Teaspoons, second quarter 19th century, by Samuel Macomber Taber (1797‑1853) & Co., Providence, Rhode Island, each with “fiddle”-shaped handles and rounded shoulders, engraved “B. Leavens”, l. 5‑3/4”, 2.57 total t. oz. [50/80]

906 Old Baltimore Standard (.917) Silver Sugar Basin, second quarter 19th century, by Samuel Kirk (1793‑1872), Baltimore, Maryland, the flattened spherical body decorated with a wide repousse band of rural scenes separated by floral bouquets, with opposing stirrup handles and raised on a domed foot engraved with floral banding, monogrammed “M”, h. 4‑1/2”, dia. 6‑1/4”, 16.46 t. oz. [300/500]

905 Old Baltimore Standard (.917) Silver Teapot, second quarter 19th century, by Samuel Kirk (1793‑1872), Baltimore, Maryland, in the chinoiserie taste, of inverted pear form, decorated all over with a repousse band of an Asian village with pagodas, boats and townspeople, mantled by floral bouquets and centering a pavilion cartouche, with a short acanthus-crested “gooseneck” spout and ivory-insulated handle, the hinged domed lid with floral repousse and applied finial, raised on a domed foot en suite, monogrammed, on the cartouche, “M”, h. 7‑1/2”, w. 6‑1/4”, l. 10‑1/2”, 31.19 t. oz. [500/800] Illustrated

905

908

907 American Expansionist-Era Four-Piece Coin (.900) Silver Tea Service, second quarter 19th century, by Gerardus Boyce (1795‑1880), New York City, New York, including a teapot, h. 11‑3/4”, a covered sugar urn, h. 10‑3/4”, a cream jug, h. 8”, and a waste bowl, h. 5‑1/2”, dia. 7‑1/2”, each with an inverted pear-shaped body broadly fluted on the lower half, raised on a stepped and waisted circular foot and decorated with milled palmette banding throughout, the pot with knopped “goosneck” spout, ivory insulated, crested double C-scroll handle and hinged, domed lid with “flowerbasket” finial, the sugar urn with a fitted lid and pair of handles en suite, the creamer with integral spout and single handle, 100.18 total t. oz. [6000/9000] Illustrated

907 908 American Expansionist-Era Coin (.900) Silver Water Pitcher, second quarter 19th century, by Nicholas James Bogert (1776‑1843), Montgomery, New York, of inverted pear shape, with squat, cylindrical neck, “duck’s beak” spout and crested S-scroll handle, decorated with milled palmette banding, h. 9‑1/4”, dia. 6‑1/2”, l. 9‑1/8”, 23.66 t. oz. [1500/2500] Illustrated

150

909

910 American Coin (.900) Silver Salver, second quarter 19th century, by Charters, Cann & Dunn for Gelston & Treadwell, New York City, New York, of circular form, with molded rim, the plateau engraved with a wide band of rococo scrolls centering a cartouche monogrammed “MR”, raised on three cast shell, scroll and palmette feet, dia. 12”, 26.36 t. oz. [1400/1800] 911 American Sterling Silver Presentation Salver, third quarter 19th century, by Ball, Black & Co., New York City, New York, of circular form, with ovolo rim and raised on three acanthus-scroll feet, the plateau with presentation inscription “Presented to/ J. H. De Witt/ by members of the/ First Presbyterian Congregation/ Cleveland, Ohio”, dia. 12”, 24.18 t. oz. [1400/1800]

913 909 American Four-Piece Coin (.900) Silver Tea Set, second quarter 19th century, by Baldwin Gardiner (1791‑1868), New York City, New York, including a teapot, h. 10‑1/2”, dia. 6‑1/4”, a covered sugar urn, h. 9”, dia. 5‑3/4”, a cream jug, h. 7‑1/4”, dia. 4‑1/4”, and a waste bowl, h. 5‑7/8”, dia. 7‑1/4”, each with an inverted pear-shaped body raised on a waisted circular domed foot, decorated with a central wide milled oak leaf and bellflower band and narrow banding en suite at the rims and knops, the teapot with an annular-knopped “gooseneck” spout, hinged and domed lid with acanthus-bud finial and ivory insulated crested S-scroll handle, the sugar urn with a fitted lid and opposing handles en suite, the cream jug with integral spout and single handle, each piece monogrammed “RSB”, 78.96 total t. oz. [1000/1500] Illustrated

912

912 American Coin (.900) Silver Waiter, third quarter 19th century, by Bigelow Bros. & Kennard, Boston, Massachusetts, of oval form, with molded rim, the plateau engraved with a band of rococo scrolls centering an inscription “M.D./ from/ M. & J. T. G.”, raised on four cast acanthus and scroll feet, w. 7‑3/8”, l. 9‑1/2”, 9.84 t. oz. [600/900] Illustrated 913 Nineteenth-Century American Sterling Silver Ewer, 1859, by Gale & Willis, New York City, New York, in the neoclassical taste, the ovoid body decorated with a band of well-chased acanthus and palmettes at the shoulder, with a milled ovolo band above and double Vitruvian scroll below, with a leaf-and-dart calyx, with a waisted neck and integral spout with molded edge and palmette engraving, with an arched crested handle and raised on a domed foot banded en suite, h. 14‑3/4”, l. 8”, dia. 6”, 34.72 t. oz. [900/1200] Illustrated

151

Illustrated Illustrated

I I

The Hugh deLacy Vincent Silver Hugh deLacy Vincent was born on January 26, 1852 in Charleston, South Carolina to Hugh Edward Vincent, Jr. (1820-1872), a prosperous ship’s chandler, and his wife Rosalie Jenny Howard (1820-1903). He was educated at local schools and upon graduation took up a clerk’s position with the Savannah & Charleston Railroad. In 1874, however, he joined the cotton firm of Watson & Hill, an industry in which he would remain until his death. He and a co-worker, Frank Brevard Hayne (1858-1935) left the firm in 1883 to form their own cotton business at Vicksburg, Mississippi, where Vincent met and married Nannie McCutchen (1856-1935). Vincent & Hayne opened a New Orleans branch in 1885, run by Hayne, but he was joined by Vincent in 1898. Vincent built a large home at No. 10 Audubon Place in 1899 for his residence, and he was a member of several New Orleans most prestigious business and social organizations: the Boston Club, the Pickwick Club, the Audubon Golf and Country Club, numerous carnival organizations, the board of directors of the Hibernia Bank and D.H. Holmes Co. Ill health prompted his retirement in 1905, after which he divided his time between New Orleans and his summer home in Flat Rock, North Carolina. He died at his home in New Orleans on March 15, 1913, survived by his widow and only son, Hugh Evelyn Vincent (1890-1951). He was returned to Charleston for burial in the family plot at Magnolia cemetery.

916

152

This remarkable collection of silver has remained intact in the Vincent family and thus represents a unique look into the tastes of an affluent southern family in the second half of the 19th century. From an antebellum rococo revival Charleston-retailed tea set inherited from his father, through an assortment of late 19th century tableware bought in New Orleans, to a spectacular height-of-fashion German Art Nouveau garniture set purchased in his retirement, Vincent’s keen eye can be seen throughout. New Orleans Auction Galleries, Inc. is proud to offer the Hugh deLacy Vincent silver: a rare window into New Orleans’ opulent past.

152 81

Illustrated Illustrated

915

914 Good South Carolina-Retailed Antebellum FourPiece Sterling Silver Tea Set, third quarter 19th century, by Eoff & Shepard, active 1852‑1861, New York City, New York, retailed by William Carrington & Co., active 1835‑1872, Charleston, South Carolina, including a coffeepot, h. 12”, dia. 5‑3/4”, a teapot, h. 11‑1/2”, dia. 5‑1/2”, a cream jug, h. 8‑3/4”, dia, 4”, and a sugar bowl, h. 10”, dia. 4‑1/2”, each with a pear-shaped body decorated with repousse flowers and opposing rococo cartouches, with a lobed, hinged lid with applied flowerbud finial and foilate-mounted arched “branch” handle and raised on four applied openwork flower bouquet feet, the pots with ivory insulated handles and “gooseneck” spouts decorated with applied flowers, the cream jug with foliate-applied “duck’s beak” spout, the sugar bowl with two handles, each piece engraved on one cartouche with the arms and motto of Vincent of Stoke-d’Abernon, Surrey, and on the other “H. R. Vincent” for Hugh and Rosalie Vincent of Charleston, 117.93 total t. oz. Provenance: Hugh Edward Vincent (1820‑1872), to his son Hugh de Lacy Vincent (1852‑1913), to his son Hugh Evelyn Vincent (1890‑1951), thence by descent through the family. [3500/5000] Illustrated 915 Large Victorian Sterling Silver Tray, hallmarked London, 1854‑1855, by Edward & John Barnard, of oval form with elaborate “Chippendale” rim decorated with robust applied flowers and acanthus scrolls, with a pair of addorsed acanthus-scroll handles and raised on four openwork feet en suite, the plateau engraved with a wide band of scrolling acanthus fronds and flowers centering the crest and arms of Vincent of Stoke-d’Abernon, Surrey, w. 21‑1/4”, l. 30”, 151.43 t. oz. Provenance: Hugh de Lacy Vincent (1852‑1913), to his son Hugh Evelyn Vincent (1890‑1951), thence by descent through the family. The arms here are evidently a later addition, copied from that on the tea service. Note that the crest of the original - a muzzled bear - has been misinterpreted here as a symbol more appropriate and familiar to the Charleston gentry: a bridled horse. [3000/5000] Illustrated

916 American Sterling Silver Tureen, ca. 1900, by the Whiting Mfg. Co., Providence, Rhode Island, of unusual serpentine-sided rectangular form with conforming applied scrolling rim, raised on four floral-crested, gadrooned acanthus feet joined by gadrooning on the lower edge, with a pair of opposing handles en suite, the conforming fitted lid gadrooned and with ring handle en suite, engraved on one side with the crest and arms of Vincent of Stoke-d’Abernon, Surrey, and on the other with an elaborate Art Nouveau monogram “HdeLV” for Hugh de Lacy Vincent, h. 9‑3/4”, w. 8‑1/8”, l. 14”, 71.05 t. oz. Provenance: Hugh de Lacy Vincent (1852‑1913), to his son Hugh Evelyn Vincent (1890‑1951), thence by descent through the family. This unusual tureen appears to be a rare piece of hollowware in Whiting’s “Radiant” pattern introduced in 1897 and matching de Lacy’s flatware in the previous lot. [1200/1800] Illustrated

917 Thirty-Nine-Piece Set of Whiting “Radiant”-Pattern Sterling Silver Flatware, the pattern introduced in 1895, Providence, Rhode Island, including six dinner forks, l. 7‑1/2”, six luncheon forks, l. 6‑3/4”, six teaspoons, l. 5‑5/8”, six place spoons, l. 6‑3/4”, four tablespoons, l. 8”, five dinner knives with “New French”-shaped stainless steel blades, l. 9‑5/8”, and six luncheon knives with “New French”-shaped stainless steel blades, l. 9‑5/8”, each monogrammed “HDeV” for Hugh De Lacy Vincent or “HNV” for Hugh and Nannie Vincent, 64.37 total t. oz. (excluding knives). Provenance: Hugh de Lacy Vincent (1852‑1913) and Nannie McCutchen Vincent (1856‑1935), to their son Hugh Evelyn Vincent (1890‑1951), thence by descent through the family. [900/1200] Illustrated

914

153 153 81

Illustrated

918 Pair of American Sterling Silver Vegetable Dishes, fourth quarter 19th century, by the Whiting Mfg. Co., Providence, Rhode Island, of rounded square form, with an elaborate shaped rococo shell-and-scroll rim, the plateau engraved with sinuous Art Nouveau monogram “HDeLV” for Hugh de Lacy Vincent, w. 11‑1/4”, 41.09 total t. oz. Provenance: Hugh de Lacy Vincent (1852‑1913), to his son Hugh Evelyn Vincent (1890‑1951), thence by descent through the family. [500/800]

919

920

917

920 Good German .800 Silver Jugendstil Plateau, ca. 1899, by M. H. Wilkens, Bremen, from an 1899 design, probably by Georg Fichtler, retailed by J. H. Werner, Berlin, of rounded lozenge form, the cast silver openwork rim well-chased with lilies-of-the-valley, water lilies, bulrushes, thistles and other wild flora on a wavy ground, with robust acanthus scrolls and opposing rococo cartouches, fitted with a conforming mirrored plate with wood backing, monogrammed on each cartouche “H.de L. V.” for Hugh de Lacy Vincent, w. 19‑3/4”, l. 31‑1/2”. Provenance: Hugh de Lacy Vincent (1852‑1913), to his son Hugh Evelyn Vincent (1890‑1951), thence by descent through the family. [1500/2500] Illustrated 919 Good Three-Piece German .800 Silver Jugendstil Table Garniture, ca. 1900, by M. H. Wilkens, Bremen, from an 1899‑1901 design, probably by Georg Fichtler, retailed by J. H. Werner, Berlin, including a pair of candelabra, each in the form of a realistic bearded iris with one central and three surrounding blooms, all entwined with leaves, with a pair of putti at the base endeavoring to climb the stalks, the domed base with a pair of water lily-leaf cartouches on a basketweave ground above elaborate openwork water lily blooms and sinuous waves, h. 21‑1/2”, w. 12”, and a jardiniere of oval form, the sides decorated with a basketweave design, the rim with beribboned lilies-of-the-valley, with two large applied water lily-leaf cartouches joined at the stem to an openwork foot-ring of applied beribboned poppies, with a figure of Cupid playing his lute on one end and Psyche with her vase on the other, each sitting on an anthurium leaf, the tin liner lacking, h. 11‑1/2”, w. 12‑3/4”, l. 22‑1/2”, each piece monogrammed on the cartouche “H.de L. V.” for Hugh de Lacy Vincent, 248.08 total t. oz. Provenance: Hugh de Lacy Vincent (1852‑1913), to his son Hugh Evelyn Vincent (1890‑1951), thence by descent through the family. [3000/5000] Illustrated

154 154

922

921 Pair of New Orleans-Retailed Sterling Silver Vases, fourth quarter 19th century, by the Mauser Mfg. Co., active 1887‑1903, New York City, New York, retailed by Maurice Schooler, active 1842‑1900, New Orleans, Louisiana, each of tapering cylindrical form, the body decorated with pierced and deeply embossed roses and acanthus scrolls centering a cartouche, with a wavy ring and domed foot, monogrammed on the cartouche “NMcV” for Nannie McCutchen Vincent, the glass liners lacking, h. 10‑1/4”, dia. 5‑1/2”, 17.68 total t. oz. Provenance: Nannie McCutchen Vincent (1856‑1935) to her son Hugh Evelyn Vincent (1890‑1951), thence by descent through the family. [150/300]

930

925

922 Nineteenth-Century American Silverplate Five-Piece “Medallion”-Pattern Coffee and Tea Set, third quarter 19th century, unmarked, including a coffeepot, h. 12‑1/2”, dia. 4‑3/4”, a teapot, h. 10‑1/4”, dia. 5”, a covered sugar urn, h. 8‑3/4”, dia. 4‑1/4”, a cream jug, h. 7”, dia. 3‑1/2”, and a waste bowl, h. 5‑1/4”, dia. 5‑1/4”, each with an ovoid body engraved with trailing vines and opposing NeoGrec cartouches, one with applied medallions of Mars and Venus, with narrow leaf-and-dart banding, with “vintage”mounted crested handle(s) and raised on a domed circular foot, the pots with hinged, the urn with fitted domed lid(s) with applied grape-cluster finials. [600/900] Illustrated 923 Reed and Barton “Victorian”-Pattern Silverplate Well-and-Tree Platter, 1955, Taunton, Massachusetts, of shaped oval form with applied scroll border and feet, w. 15‑1/2”, l. 21‑3/4”. [300/500] 924 Frank M. Whiting “Victoria”-Pattern Sterling Silver Carving Set, the pattern introduced in 1905, North Attleboro, Massachusetts, also known as “Florence”, including a carving fork, l. 11‑3/4”, and knife, l. 13‑3/4”, with stainless steel blade and tines. [75/125]

931

925 Reed & Barton Silverplate Ice-Water Pitcher, fourth quarter 19th century, Taunton, Massachusetts, of tapering cylindrical form and decorated with repousse floral swags between milled diaper banding, with palmette-mounted spout and patera-crested handle, the hinged, domed lid with toupie finial and detaching, by means of two floralmounted screws, to reveal the conforming ironstone liner by James Edwards & Son, Staffordshire, h. 13‑3/4”, l. 11”, dia. 7‑5/8”. [250/400] Illustrated 926 George W. Shiebler Sterling Silver Fruit Bowl, fourth quarter 19th century, New York City, New York, retailer’s mark “H.S. & Co.”, of convex-lobed oval form, with a realistically detailed rim of poppies, w. 10‑1/4”, l. 13”, 20.83 t. oz. [1000/1500]

155

927 Pair of Gorham Sterling Silver Tazzas, 1891, Providence, Rhode Island, of circular form with lobed and deeply everted rim decorated with finely chased repousse flowers, shells and rococo scrolls, raised on a domed foot en suite, h. 3‑3/4”, dia. 9”, 36.72 total t. oz. [700/1000] 928 Nine-Piece Assembled Set of Gorham Sterling Silver Heart-Shaped Bonbon Dishes, late 19th century and later, Providence, Rhode Island, each decorated with rococo scrolls and flowers on a reticulated latticework ground, including a large 1898 example monogrammed “LW”, w. 8”, l. 9‑3/4”; a pair of similar but smaller 1899 examples monogrammed “FRL”, w. 5”, l. 6”; a single mid‑20th century example, no monogram, w. 4‑1/2”, l. 5”; and five still smaller mid‑20th century examples, monogrammed “EMS”, w. 3‑1/4”, l. 3‑3/4”; 19.61 total t. oz. [1000/1500] 929 J. E. Caldwell & Co. Sterling Silver Straining Ladle, fourth quarter 19th century, Philadelphia, Pennsylvania, in the pattern commonly called “Oak Leaf”, the spatulate handle decorated in relief with oak leaves and acorns, the elliptical bowl covered on one side with a pierced straining screen, monogrammed “LSC”, l. 10‑1/4”, 5.02 t. oz. [200/400]

932

930 Marcus & Co. Sterling Silver Fruit Basket, first quarter 20th century, New York City, New York, of shaped oval form, the broad rim reticulated and engraved with rococo scrolls and flowers, with a swing handle and conforming foot decorated en suite, h. 5‑3/4” (13” with handle), w. 12”, l. 15‑1/2”, 49.58 t. oz. [3500/5000] Illustrated previous page

933

156

931 American Sterling Silver “Grand Concourse” Presentation Tyg, dated 1902, by Frank W. Smith, Gardner, Massachusetts, retailed by Theodore B. Starr, New York, New York, of waisted bucket form, decorated with applied “vintage” rim, with three grape clustercrested S-scroll handles and raised on a domed foot en suite, engraved with a presentation inscription “John H. Knoeppel/ January 29, 1902/ from” followed by seventeen signatories, h. 9‑1/2”, dia. 6‑3/4”, w. 10‑1/4”, 41.22 t. oz. This tyg is most assuredly associated with the construction of the Grand Boulevard and Concourse of the Bronx, the large thoroughfare which traverses the length of the borough. John H. Knoeppel (1847‑1916) is known as the “Father of the Concourse”, and was one of the original commissioners appointed to oversee the project on August 27, 1895. The first four signatories on this cup are Hugh R. Garden and James A. Blanchard (the two other original project commissioners), William Endemann (who replaced Blanchard in 1901 when he was appointed to the New York Supreme Court) and William R. Keese (the commission secretary); other signatories include Bronx Borough Bank officers and directors Charles A. Berrian, Pierre G. Carroll and John P. Dunn, real estate consultant Charles W. Tarbox, surveyor Cornelius J. L. Lynch, and chief designer of the project Louis A. Risse, who patterned the concourse after the Bois de Bologne in Paris. Construction began in 1902 - perhaps the occasion behind this fine cup - and was completed in 1909. [1800/2500] Illustrated previous page

932 Attributed to William Garl Browne, Jr. (American, 1823‑1894) “Portrait of a Yong Girl with Blonde Ringlets”, oval oil on canvas, unsigned, Edward Dechaux, New York, canvas stamp en verso, 21” x 17‑1/4”. Presented in a period giltwood frame. [600/900] Illustrated

934 three-piece suite

933 American Rococo Revival Mahogany Half-Tester Bed, third quarter 19th century, of the type crafted for the antebellum New Orleans furniture trade, the serpentine tester with a pierced cabochon-carved crest, supported by bead-turned posts with a paneled headboard with a shelland fruit-carved crest, the footposts adorned with Gothicarch panels beneath a reeded and lobed finial, h. 128”, inside w. 63”, l. 79‑3/4”, outside w. 68‑1/2”, l. 87”. By tradition, the present bed has a long history in Columbus, Mississippi, and is said to have been used by Jefferson Davis while in Columbus. [8000/12000] Illustrated 934 Three-Piece American Rococo Revival Rosewood Bedroom Suite, third quarter 19th century, comprised of a dressing bureau, a washstand and a night stand, each with a white marble top with a molded edge, the dressing bureau with an arched looking glass supported by a frame with a scrolling broken-arch pediment centered by fruit carving and foliate scroll-sawn panels, the base with a bank of bowfront drawers, each with applied fruit and foliate carving at the escutcheon, the ends with foliatecarved brackets, h. 81”, w. 48”, d. 21‑3/4”, the washstand with a marble splash and bowfront drawer over a pair of doors, h. 36‑1/2”, w. 38”, d. 19”, the night stand with a like drawer over a single door, h. 29‑1/2”, w. 19”, d. 15‑3/4”. By tradition, the present suite has a long Columbus MS history, and was found en suite with the preceding lot. [2500/4000] Illustrated

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935

938 Fine Pair of Alexander Roux Figured Maple and Walnut Night Stands, third quarter 19th century, each stenciled inside the drawer “From A. Roux Cabinetmaker Nos. 479 & 481 Broadway New York”, and each with its period Danby marble top with molded edges and canted corners, on a conforming case with a drawer over a paneled door, each trimmed with contrasting walnut molding, h. 30‑1/2”, w. 25‑1/2”, d. 19”. [2000/4000] Illustrated

936

935 Large and Exuberantly Modeled Rococo RevivalStyle Lacquered Brass Six-Arm Chandelier, after an original gasolier by Cornelius & Co., Philadelphia, the stem in floral and fruit decor with embossed chains draped to the arms, the arms emanating from carved shells flanked by standing classical maidens, together with cut and etched glass bowl-form shades after the period fashion, h. 71”, dia. 51‑1/2”. [3000/5000] Illustrated

936 Large and Exuberantly Modeled Rococo Revival-Style Lacquered Brass Six-Arm Chandelier, after an original gasolier by Cornelius & Co., Philadelphia, the stem in floral and fruit decor with embossed chains draped to the arms, the arms emanating from carved shells flanked by standing classical maidens, together with cut and etched glass bowl-form shades after the period fashion, h. 71”, dia. 51‑1/2”. [3000/5000] Illustrated 937 Continental Oval Marble Portrait Plaque, second half 19th century, depicting a comely maiden with long flowing tresses in profile, set in its period giltwood and crimson plush frame, h. 24”, w. 21”, d. 2‑1/2” (with frame). [500/800]

158

938

939 Colton Political Map of Louisiana, dated 1881, indicating the parish areas obtainable for Homesteads of United States land, state land and both, prepared by G. W. and C. B. Colton & Co., 182 William St., New York, and so noted at lower left, the map backed with somewhat later natural linen, neatline h. 11‑7/8”, w. 14‑3/4”, overall h. 13‑1/2”, w. 16”. [200/400] 940 Collection of Civil War Union Occupied New Orleans Naval Documents, a group of approximately 77 handwritten and partially handwritten documents from aboard the USS Commodore, stationed in Union Occupied New Orleans, primarily correspondence from John R. Hammilton, an officer aboard the sidewheel steamer, from January 10, 1863 to July 15, 1865, and including General Orders pertaining to the capture of Mobile, court marshal documents and a copy of “Regulations for the Uniform of the United States Navy”, the handwritten documents also include accounts to his superiors of patrolling for and apprehending smugglers and blockade runners in waterways, including Ship Island, Sand Island, Pearl River, Pass Christian, Madisonville, Tchefuncte, Tickfaw and Amite rivers, Fort Morgan, Fort Gaines and other areas from Mobile Bay to New Orleans, other documents include requisitions for supplies and lists of human and material “contraband” seized. [1000/1500] Illustrated

943

940

942 Rare and Large American Rococo Revival Laminated Rosewood Armchair, mid‑19th century, attributed to John Henry Belter, New York, of unusually generous proportions, the laminated concave back with a pierced floral- and foliate-carved crest, the open arms terminating in carved dolphin heads, the shaped apron floral, scroll and shell carved, raised on cabriole legs with French toes, h. 47‑1/2”. [3000/5000] Illustrated 943 French Porcelain Figural Casket, mid‑19th century, with a bisque female figure kneeling in prayer forming the cover, h. 11‑1/2”, w. 11”. [1200/1800] Illustrated

942

941 Southern School (Third Quarter 19th Century), a collection of three hand-colored engravings, including “New Orleans, From the Lower Cotton Press”, engraved by W. Wellstood, sight 5‑1/2” x 8‑1/4”; “View of New Orleans”, sight 5” x 8‑3/8”; and “Brownsville, Texas”, engraved by James Smillie, sight 7” x 9‑1/4”; all examples matted and unframed. [150/250]

159

945

947 American School (Mid‑19th Century) “Motherly Love”, oil on canvas, unsigned, Edward Dechaux, New York, canvas maker stamp on reverse, 22” x 27”. Presented in a heavily gilded molded plaster and wood frame with scrolling floral patterns . [1800/2500] Illustrated 948 American Gilt-Copper Jewel Casket, fourth quarter 19th century, by the Barbour Silver Co., Hartford, Connecticut, of square form, the sides decorated with embossed plaques of frolicking putti above a banded ivy rim and raised on palmette scroll feet, the hinged lid with a central embossed plaque of Pythia surrounded by deeply embossed flowers and an anthemion-banded edge, the interior lined with indigo velvet, h. 4‑1/4”, w. 9”. [250/400]

949

944 Limoges Gold and White Porcelain Milk Jug, mid‑19th century, in foliate decor and having a cartouche of a fox within a blue-banded oval, h. 9”. [100/200] 945 American Rococo Revival Rosewood Cabinet-Based Etagere, mid‑19th century, New York, in two parts, the upper section with an arched floral-carved crest over a large central mirror plate flanked by a pair of mirrors fronted by serpentine shelves on turned supports, the base with its period serpentine Danby marble top with projecting ovolo corners, the conforming case with a serpentine drawer over a door with a glazed mirror plate with foliate tracery, flanked by serpentine shelves, h. 89‑1/2”, w. 53”, d. 21‑1/4”. [3000/5000] Illustrated 946 American Colonial Revival Rosewood SerpentineFront Games Table, third quarter 19th century, after an iconic New York form, the shaped serpentine fold-over top opening to expose a felt-lined playing surface and four dished wells for game pieces, the conforming apron with an egg-and-dart-carved lower molding, raised on cabriole legs with foliate-carved knees and ball-and-claw feet, of five-legged form, the swing leg concealing a drawer with a satinwood-fitted interior, h. 28‑1/2”, w. 35”, l. 18‑1/4”, extended l. 34”. [1500/2500] Illustrated

160

946

949 American Rococo Revival Laminated Rosewood Armchair, mid‑19th century, attributed to Charles A. Baudouine (1808‑1895), New York, the laminated concave back with a corseted cushion set amidst a pierced field of foliage, flora and scrolls, the armrest on intricately carved and pierced brackets, with serpentine seat and cabriole legs, h. 43‑1/4”. [4000/7000] Illustrated 950 Pair of Franco-Bohemian Polychromed and ParcelGilt Porcelain Garniture Vases, third quarter 19th century, in the rococo taste, of baluster form with turning branch and leaf handles, the body with floral sprays on a magenta ground, h. 18”. [1200/1800] Illustrated

950 947

951 Pair of American Rococo Revival Walnut Sidechairs, third quarter 19th century, each of balloon-back form, with a cartouche-carved crest centered by a cabochon and flanked by raised panels, with molded serpentine front seat rail and cabriole legs, h. 38”. [150/300] 952 Pair of Sevres-Style Rose Pompadour-Ground Porcelain Covered Vases, third quarter 19th century, decorated with painted reserves of 18th-century figures in pastoral settings on the obverse and floral reserves on the reverse, the domed lids with pyriform finials, enhanced throughout with gilt mantling and narrow banding, h. 20”. [1000/1500]

953 Limoges Pink-Ground Porcelain Bottle-Form Vase, probably fourth quarter 19th century, hand-painted with Elizabethan figures picnicking with cherubs in a pastoral setting, now mounted as a lamp, h. 32‑3/4”. [800/1200]

954

954 American Rococo Revival Rosewood, FauxRosewood and Marble-Top Center Table, third quarter 19th century, attributed to Foster and Lee, the period tortoise-form marble top over a conforming frieze adorned with applied fruit and foliate carving, raised on a vasiform octagonal standard joined to dolphin- and foliate-carved legs, h. 28”, w. 39”, d. 27”. [700/1000] Illustrated

161

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956 American Rococo Revival Walnut and Marble-Top Night Stand, third quarter 19th century, the marble top with molded edges and projecting rounded corners, the case with a drawer over a door, flanked by canted corners adorned with applied carving, h. 32”, w. 19”, d. 17‑1/2”. [400/700] Illustrated

957 American Rococo Revival Burled Walnut and Walnut High-Back Bedstead, third quarter 19th century, attributed to Mitchell and Rammelsberg, Cincinnati, Ohio, the headboard with an oval panel beneath a crest with a cabochon-centered cartouche and flanked by scrolling foliate carving, the posts and the crest mounted with generously proportioned reeded finials, the wrap footboard with applied foliate carving framed by an ovoid molding, h. 108”, inside w. 56”, l. 77‑1/2”, outside w. 60”, l. 85”. [3000/5000] Illustrated

957

956 955 Fifty-Piece Old Limoges “Patriotic” Partial Dinner Service, third quarter 19th century, decorated and retailed by Haughwout of New York, each piece with a puce rim decorated with Neo-Grec meander and centered by an American eagle displayed, including two graduated oval platters, w. 14”, l. 20”, a pair of oval vegetable dishes, w. 10‑1/2”, l. 15‑1/2”, a single smaller vegetable dish, l. 9”, ten luncheon plates, dia. 7‑1/2”, ten soup plates, dia. 7‑1/2”, three dinner plates, dia. 7‑1/2”, three gumbo bowls, dia. 9‑1/2”, two custard dishes, dia. 5‑1/2”, four coffee cups and saucers, overall h. 3‑3/4”, dia. 5‑1/2”, four teacups and saucers, overall h. 3‑3/4”, dia. 5‑1/2”, and a sauce tureen, h. 3‑3/4”, l. 8‑1/2”. Haughwout decorated and retailed the state service commission by Mary Todd Lincoln for the White House in 1861. This lot is clearly inspired by the Lincoln service, and is decorated on the same blanks, which were probably supplied by Haviland. [1000/1500] Illustrated

162

960

958

962 Southern School (Third Quarter 19th Century) “A Picnic Scene with a Server Pouring Wine to a Confederate Family “, oil on canvas, unsigned, 35‑1/2” x 33‑1/2”. Presented in a contemporary giltwood frame. [1500/2500] Illustrated

958 Rococo Revival-Style Lacquered Brass Six-Light “Gasolier”, after an original by Starr & Fellows, New York, the canopy with satyr masks, the spiral-twist stem with foliate decor, the lower bowl with classical female masks, the arms fitted with cut and etched blown glass ball shades, h. 67”, dia. 35”. [1500/2500] Illustrated

963 American School (Fourth Quarter 19th Century) “The Lime Kiln Club”, chromolithograph, parody of a Town Hall type meeting with various figures in attendance along with a copy of the Detroit “Free Press” weekly newspaper on the hall floor, published by Calvert Lithograph Co., Detroit, ca. 1882, sight 21‑1/2” x 27‑1/2”. Glazed, matted and framed. [350/500]

959 American Rococo Revival Walnut Mantel Mirror, third quarter 19th century, the period arched mirror plate set in a conforming heavily molded frame, each lower corner mounted with leaf-, vine- and fruit-carved brackets, h. 47”, w. 60”, d. 5”. [300/500] 960 American Rococo Revival Parcel-Gilt Walnut Mantel Mirror, third quarter 19th century, the arched looking glass in a molded frame with a foliate-carved cartouche, flanked by foliate-carved scrolls, each lower corner mounted with fruit and foliate carving, h. 56”, w. 59”, d. 8”. [500/800] Illustrated 961 Transitional American Late Classical into Rococo Revival Mahogany “Lincoln” Rocking Chair, third quarter 19th century, with a rose- and scroll-carved shaped back, the open arms on scroll supports terminating in foliate carving, with bowed front seat rail, now upholstered in melon brocade, h. 44”. [200/400] 962

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964 Paula Bensliman (American, 20th Century) “Extensive View of a Camp in a Mountain Valley Landscape”, oil on canvas, signed and dated lower right “P. Bensliman 1952”, signed and dated on canvas verso, 28” x 24”. Framed. [300/500] 965 American School (Contemporary) “Clam Diggers”, oil on canvas, signed lower right “J. Humphrey”, 12” x 16”. Handsomely framed. [350/500] 966 Pair of French Enameled and Parcel-Gilt Pressed Cranberry Glass Hurricane Candlesticks, first quarter 20th century, probably French, both floral-decorated with white enamel bordered with parcel-gilt, the upturned scalloped bobeches hung with cut-glass spears, h. 23‑1/2”, dia. 6”. [400/700] 967 Pair of Continental Cased White Cut-to-Clear Glass Lustres, 20th century, in the Victorian taste, with a central tapering paneled standard above a circular foot and surmounted by an everted and scalloped bowl draped with colorless notched Albert spears, the whole with giltpainted thread and dot decoration, h. 10‑1/4”, dia. 6”. [700/1000] Illustrated

164

968 Silesian Cut and Gilded Dark Green Glass Ewer, fourth quarter 19th century, by the Graeflich Schaffgotsch’sche Josephinehuette, Schriberhau, Silesia (now Szklarska Poreba, Poland), the tall pear-shaped body octagonally paneled, each panel decorated with scrolling gilt foliage, with a paneled arched handle and raised on a circular foot en suite, the gilt-banded rim with a tiny spout, the underside with the printed G.S.J. crown and shield mark, h. 11”, dia. 4”. [400/700] Illustrated 969 Group of Three Bohemian Cranberry Glass Vases, consisting of a pair of tall-neck examples in gilt Neo-Grec decor and a single vase decorated in a gilt vine pattern, the largest h. 14”. [800/1200] Illustrated 970 Pair of Bohemian Cranberry Glass Perfume Bottles, third quarter 19th century, decorated with applied gilt vines and flowers, h. 10”. [500/800] Illustrated 971 Group of Two Bohemian Enameled Glass Decanters, mid‑20th century, including an emerald green example, the ovoid body cut with leaves on a lattice ground with circular cartouches, the tall neck with three faceted knops and fitted with a knopped and spired stopper, decorated all over with gilt and enameled flowers and scrolls in bright colors, h. 19‑1/2”; and a smaller ruby flashed cut-to-clear example with similar decoration, h. 15‑1/4”. [300/500]

972 Pair of Bohemian Cut Overlay Glass Vases, third quarter 19th century, in white-over-cranberry glass in the Gothic taste, with gilt highlights, h. 11‑3/4”. [1500/2500] Illustrated 973 Bohemian Cut and Gilded Glass Vase, ca. 1900, in emerald green, h. 12‑1/2”. [300/500] Illustrated 974 Pair of Bohemian Blown and Cut Cranberry Glass Lustres, third quarter 19th century, each with a central standard above a circular foot and surmounted by a crown-shaped bowl enameled with gilt palmettes and draped with colorless Albert spears, h. 11‑1/2”, dia. 5”. [1000/1500] Illustrated 975 Three Cut and Enameled Glass Cruet Bottles, fourth quarter 19th century, possibly Bohemian, comprising a blue-over-white cut to clear example, a canary bottle, and a clear handleless example with a canary stopper, h. 8” to 8‑1/2”. [800/1200] Illustrated

978

976 Two Pieces of Middle Eastern Glassware, including a first quarter 19th-century mold-blown rosewater bottle, the ovoid body with spiraling “beading” below a tall, gadrooned neck, decorated with gilt threading, raised on a circular foot and retaining the hand-threaded cut stopper, h. 10‑1/2”; and a fourth quarter 19th-century carafe, the bulbous body enameled with the Eastern star and crescent, the tall neck with gilded starburst-cut banding and rim, h. 11”. [400/700] Illustrated

979 977 Pair of Bohemian Enameled Glass Dishes, fourth quarter 19th century, each in polychromed floral decor on a gilt vermicelli ground, dia. 6”. [200/400] 978 J. J. Dubert (French, 19th Century) “A Suitor Presenting a Gift to His Lady” and “An Elegant Gathering by a Garden Fountain”, 1876, pair of oils on canvas, both examples signed, dated and inscribed lower left “J. J. Dubert Paris ‘76”, 7‑1/2” x 9‑5/8”. Presented in later matching giltwood frames. [2000/4000] Illustrated 980

165

979 German School (Third Quarter 19th Century) “How Sweet the Stolen Kiss”, oil on panel in the 18th-century galants style, unsigned, 15” x 12‑1/2”. Presented in a giltwood and ebonized frame, also in the 18th-century taste. [500/800] Illustrated previous page 980 French School (Late 18th/Early 19th Century) “HalfPortrait of a Lady Holding Her Spaniel”, oil on canvas, unsigned, 29” x 23‑1/2”. Presented in a contemporary frame. [800/1200] Illustrated previous page 981 After Jean-Baptiste Greuze (French, 1725‑1805) “The Broken Pitcher”, mid‑19th century oil on canvas laid down on masonite, unsigned, verso with partial label “Kensington Antiques Fair”, 32” x 24”. Presented in a period carved giltwood frame. [1800/2500] 982 After Pierre August Cot (French, 1837‑1883) “The Storm”, oil on canvas, fourth quarter 19th century, unsigned, 52” x 33”. Presented in a heavily gilded carved and molded giltwood frame with a pierced scrolling foliate outer band and an oak leaf-carved and annulated slip. [2000/4000] Illustrated

984

982

985

983 French School (Mid‑19th Century) “Portrait of a Gentleman”, oil on canvas, en tondo, unsigned, 16‑1/2” x 13‑1/2”. Presented in a period molded giltwood frame with floral designs. [350/500] 984 Composition Marble Garden Figure, depicting two frolicking classical maidens holding a ribbon, raised on a paneled square pedestal, h. 79”, w. 19‑1/4”, d. 19‑1/4”. [6000/9000] Illustrated 985 After Joaquin Angles (French; Active 1885‑1905) “Idylle”, a Carrara marble figure of a flute-playing boy, an attendant gilt-bronze goat at his feet, h. 37”. [3500/5000] Illustrated 986 Neoclassical Carrara Marble Figure, late 19th century, depicting a partially draped male figure holding aloft a cornucopia issuing a four-light scrolling gilt-bronze candelabrum, the whole raised on a marble columnar standard to a molded base, h. 90”. [3500/5000] Illustrated

166

986 987 Pair of Exuberantly Modeled Cast-Iron Garden Urns on Stand, of neoclassical inspiration, each with a ribbed body and gadrooned top mounted with a pair of putti and ram’s heads, on a paneled pedestal base, h. 48”, w. 31”, d. 22”. [3000/5000] Illustrated

987

988 French Gilt-Bronze and Cut Glass Chandelier, of diminutive proportions, the crown issuing arms dressed with faceted bead swags and pendants, the glass-encased standard fitted with four scrolling arms, all with pendant drop spears and joined by beaded swags, h. 14”, dia. 7”. [400/700] 989 Moreira Aguiar (Mexican, b. 1947) “Harbor Scene”, oil on masonite, signed lower right “Moreira Aguiar”, 22” x 27”. Handsomely framed. [900/1200]

990 Imposing Porcelaine de Paris Double Standish, second quarter 20th century, in the Louis XVI style, having a parcel-gilded rose Pompadour ground and fitted with a pair of covered inkwells retaining the original porcelain liners and a covered vasiform nibs container at the center of the back rail, the base fully marked in blue, h. 6‑1/2”, w. 15”, d. 6‑1/2”. [125/250] 991 Napoleon III Giltwood Looking Glass, third quarter 19th century, the beveled rectangular plate within a molded lattice-incised frame with corner and side shield-form foliatecarved accents, h. 41”, w. 36‑1/2”. [250/400] 992 Gilt-Brass-Mounted Cut Glass Jewel Casket, first quarter 20th century, of oval form, cut in a strawberry pattern with an ormolu clasp, h. 6”, w. 5”, d. 3‑1/2”. [500/800] 993 French School (First Quarter 20th Century) “A Luncheon Party by a Boat-Filled Lake”, oil on canvas, indistinctly signed lower right “Mesginger(?)”, 18” x 24”. Handsomely framed. [1500/2500] Illustrated

993

167

994 Francis Hopkinson Smith (American/ New York, 1838‑1915) “Venetian Canal Scene”, watercolor and gouache on paper board, pencil signed lower left “F. Hopkinson Smith”, sight 13” x 24”. Glazed and presented in a period carved giltwood frame. [4000/7000] Illustrated 995 Paul Lucien Maze (French, 1887‑1979) “Jessie Cutting Flowers”, pastel on paper, signed lower left “Paul Maze”, retains gallery label on the reverse “Acquavella Galleries, Inc., New York”, sight 14‑1/2” x 21‑1/2”. Glazed, handsomely matted and presented in a molded giltwood and gesso contemporary frame. Provenance: The Estate of Ann B. Sakowitz, Houston, Texas. [1800/2500] Illustrated 996 Carved White Marble Statue of a Female Nude with a Kitten, late 20th century, after Denys Pierre Puech (French, 1854‑1942), after the original executed in 1886, the figure cradling a basket with a kitten, and seated on a flowing cloth, together with a columnar pedestal, overall h. 75”, w. 30”, d. 25”. [6000/9000] Illustrated

996

168

997 Twenty-Eight Pieces of Carl Schumann “Dresden Flowers”Pattern Porcelain Dinnerware, second quarter 20th century and later, Arzberg, Bavaria, including five Old Dresden coupe cereal bowls, ca. 1925, dia. 6”, eleven Old Dresden dinner plates, ca. 1935, dia. 10”, and twelve Empress Dresden bread and butter plates, ca. 1960, dia. 6‑1/4”, with various backstamps, the bread and butter plates additionally with the “Golden Crown” retailer’s stamp of Ebeling & Reuss, Philadelphia, Pennsylvania. [200/400]

994

995

998 French Gilt-Brass, Wrought-Iron, Alabaster and Cut Glass Four-Light Chandelier, of bowl form in the Restauration taste, dressed with cut glass fleurettes, spherical glass drops and draped jewel-cut glass chains, fitted with faux candles and electrified, the interior of the alabaster bowl with a single light socket, h. 33”, dia. 29”. [1500/2500] Illustrated 999 Suite of Eight Louis XV-Style Giltwood Sidechairs, each with a shaped and padded back surmounted by a floral crest, the padded seat above a floral-carved apron and raised on cabriole legs ending in scrolled toes, h. 38”. [500/800] Illustrated

999

1002 Louis XV-Style Gilt-Bronze Firescreen, late 19th century, the shaped mesh screen within a pierced scrolling foliate frame and centered by a like mount, raised on splayed foliate scrolling legs, h. 27‑1/2”, w. 28”. [500/800] Illustrated

1000 German Polychromed Porcelain Figural Group, late 19th century, in the late 18th-century Meissen taste, the base marked with underglaze blue crossed swords, and impressed underglaze below the tree trunk on the reverse “L.87”, the two putti representing the Greek myth of Atalanta bestowing the head of the slain Calydonian boar on Meleager, h. 5‑3/8”, w. 5‑1/2”. [800/1200] Illustrated

1000

998

1002

1001 French Gilt-Bronze Firescreen, late 19th century, in the transitional Louis XV into Louis XVI style, the square screen with a domed top and within a foliate frame, with an overlaid scrolling foliate design, raised on scrolled toes, h. 30”, w. 25”. [300/500]

169

1004

1005 Paris Porcelain Coffeepot and Matching Teapot, first quarter 19th century, the gold-ground coffeepot with anthropomorphic spout, the facades centered with circular reserves of, respectively, a pair of frolicking putti and a pair of putti in flight bearing vessels of flowers, h. 11”; the teapot with one reserve of the pair in flight with a floral garland and the second reserve showing the pair bearing flambeaux, h. 8‑1/4”. [800/1200] Illustrated 1006 Pair of Paris Porcelain Two-Handled Garniture Vases, first quarter 19th century, perhaps the Neppel Manufactory, of footed baluster form in the neoclassical taste, the facades with well-painted Italianate landscape reserves, the reverses with figural “Teniers” reserves, the upper terminals of the handles modeled as biscuit porcelain ram’s heads, h. 13‑1/2”, w. 7‑1/2”. [1000/1500] Illustrated

1006

1003 Louis XVI-Style Giltwood Vitrine, late 19th century, the rounded rectangular and molded cornice above a shieldand foliate garland-carved frieze, above a conforming case fitted with a single door, the upper portion glazed, and with an overlaid laurel-leaf swag centered by a jasperware medallion, the lower portion paneled, the sides glazed en suite, the interior fitted with two glass shelves, raised on fluted tapering circular legs ending in toupie feet, h. 64”, w. 25‑1/2”, d. 15‑1/2”. [500/800] 1004 Large and Impressive Italian Giltwood Plant Stand, the circular top with pendant beaded garlands held aloft by a standard in the form of an exotically garbed winged maiden standing on a floral garlandentwined torchere and sphere on an octagonal standard, the circular base divided into four sections, each with a conforming metal liner, within a pierced lattice body, the whole raised on paneled square supports to flattened bun feet, h. 71”, dia. 31”. [4000/7000] Illustrated

170

1005

1008 French Gilt-Bronze and Cut Glass Six-Light Chandelier, early 20th century, the crown issuing arms dressed with faceted beaded swags, pendant pendalogues and spears, the shaft encased in bulbous glass finials and issuing six acanthine-modeled arms terminating in candlecups, dressed en suite, h. 44”, dia. 26”. [1000/1500] Illustrated 1008

1009 Pair of Louis XVI-Style Gilt and Patinated-Bronze Figural Candelabra, late 19th century, each with a cherub holding aloft a three-light candelabrum in the form of a spray of lilies and raised on a square Verde Antico marble pedestal to a molded base, h. 21”. [3000/5000] Illustrated

1009

1007 Large Louis XVI-Style Fruitwood and Marble-Top 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”. [1000/1500]

1010

1010 Phillipe H. Mourey (French, 1840‑1910) Gilt-Bronze Mantel Clock and Blown Glass Dome-on-Stand, third quarter 19th century, the back of the clock stamped “2 PH Mourey 62”, probably indicating design or manufacture the second month of 1862, the works stamped “Miroy Freres Btes. C. M. Paris 224”, the porcelain dial flanked on one side by a globe and on the other by a seated Renaissance scholar, presented on a giltwood base with silk velvet top, the underside of the base indistinctly signed, the ovoid glass dome with conforming ebonized base, clock h. 13‑3/4”, w. 18”, d. 16”, dome h. 20”. [1800/2500] Illustrated

171

1011

1013

1014

1015

1012

1011 Pair of French Gilt-Bronze, Glass and Limoges-Style Enamel Compotes, first quarter 20th century, each with a well-detailed gilt-bronze stand banded with acanthus, spiral-twist, leaf and leaf-and-dart banding and supporting a radiant-fluted glass bowl with reticulated leaf-and-dart rim and laurel-and-ribbon edge, the center inset with Limoges-style enameled copper portrait plaques, one after Jean-Jacques Henner (French, 1829‑1905), the other after Angelo Asti (Italian, 1847‑1903), both monogrammed “DL”, h. 4‑1/4”, dia. 7‑3/4”. [700/1000] Illustrated

1013 French Limoges-Style Enameled Copper Portrait Plaque of St. Fabiola, first quarter 20th century, after the 1885 original by Jean-Jacques Henner (French, 1829‑1905), ascribed and monogrammed lower right “d’ap. Henner/ GH (or HG)”, presented in a gilt-bronze easel-style frame with leaf-and-dart banding and beaded edge with laurel-wreath cresting, overall h. 6‑1/4”, w. 5”. [300/500] Illustrated

1012 French Gilt-BronzeFramed Enameled Copper LimogesStyle Plaque, first half 20th century, of oval form, the enameled copper portrait plaque of a Romani beauty in the manner of Hans Knoechl (Czech, 1850‑1927), with translucent gold-leafed violet, blue and green shading and “jeweled” white and dark blue accents, initialed lower right “J.C.”, presented in a ribbon-crested conforming easelstyle frame, h. 4‑1/4”, w. 2‑3/4”. [250/400] Illustrated 1016

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1023

1017 Louis Riche (French, 1877‑1949) “Berger Allemand Assis”, second quarter 20th century, a gilt-bronze figure of an Alsatian, depicted seated but alert, collared, its mouth agape, the rockwork base with dark patination, signed on the base “L. Riche” and with the impressed foundry mark of Jollet et Cie., Paris, h. 21‑1/4”, l. 18”. [700/1000] Illustrated 1018 Regency Mahogany and Burlwood Console, first quarter 19th century, the demi-lune top with a full pierced brass gallery above a banded frieze, joined by a mirrored back and turned gilt uprights to a demi-lune plinth base, h. 38”, w. 34”, d. 17”. [2500/4000] 1019 Pair of Napoleon III-Style Kingwood, Burl and Marble-Top Encoignures, each with a bowed variegated white marble top with projecting corners above a conforming case fitted with a single frieze drawer over a cupboard door, the door inset with a banded oval panel, raised on block feet, the whole heavily ornamented with ormolu mounts and millwork, h. 40”, w. 29”, d. 20‑1/2”. [1200/1800]

1014 French Limoges-Style Enameled Copper Portrait Plaque of St. Fabiola, first quarter 20th century, after the 1885 original by Jean-Jacques Henner (French, 1829‑1905), ascribed and monogrammed lower right “d’apres Henner/ IR (or RI)”, presented in a gilt-bronze frame with taupe grosgrain facing with gilt-bronze floral spandrels and swags, with beaded edge and beribboned laurel cresting, overall h. 6‑3/4”, w. 6”. This iconic image was one of the most popular and ubiquitous of the late 19th and early 20th century. Henner’s original painting was lost in 1912, but in 2009 Belgian artist Francis Alys (b. 1959) paid homage to the popularity of the image in an installation at the British National Gallery comprised of a collection of over 300 examples of “St. Fabiola” from the last century, copied in all media by both professional and amateur artists. [250/400] Illustrated

1020 Louis XV-Style Walnut Armoire, third quarter 19th century, the scrolling foliate-shell-form crest above a paneled frieze and two long doors, each inset with a mirrored panel, raised above a shaped apron drawer on cabriole feet to scrolled toes on casters, h. 103‑1/2”, w. 49”, d. 19”. [600/900]

1017

1015 French Limoges-Style Gilt and Enameled Copper Jewelry Box, first half 20th century, of octagonal form, the gilt copper body decorated with floral-inset fluting and leafy banding, the hinged lid decorated with a Limogesstyle enameled copper portrait plaque of a Romani beauty in the manner of Hans Knoechl (Czech, 1850‑1927), surrounded by gilt floral swags and garlands, the interior lined in royal purple velvet, w. 4”. [400/700] Illustrated 1016 Pierre-Edouard Frere (French, 1819‑1886) “Pagliacci the Comforter”, oil on canvas, signed lower left “E. Frere”, 22‑1/2” x 31‑1/2”. Presented in a good period carved giltwood and plaster frame in the Louis XV style, the facade centered with the artist’s name in black. [2500/4000] Illustrated

1021 Davain Lesage (French, b. 1908) “Beach Scene”, oil on board, signed lower right “Devain Lesage”, 8‑3/4” x 12‑3/4”. Framed. Provenance: The Estate of Ann B. Sakowitz, Houston, Texas. [1000/1500]

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1025 Group of Three Tiebacks, comprised of one doubletassel in shades of brown and beige, tassel l. 10‑1/2”, single cord l. 96”; a single tassel in autumnal shades of olive, burnt orange and old gold, tassel l. 13‑1/2”, cord spread l. 38”; and a single tassel with a wooden body and champagne silk fringe, tassel l. 15‑1/2”, cord spread l. 36”. [100/200] Illustrated 1026 Three Sets of Lined and Tasseled Drapery Valances, each with a pair of swags, flanked by drops, in gold brocade on an ivory ground, h. 71”, w. 54”. [300/500] 1027 Set of Four Tasseled and Lined Drapery Swags and Drops, in gold brocade print on an ivory ground, h. 70”, w. 53”. [400/700]

1024

1022 Henry Maurice Cahours (French, 1889‑1974) “Sailboats and Fishermen at Sea”, oil on board, signed lower right “Henry Maurice Cahours”, verso with label inscribed “Henry-Maurice Cahours, 2 Nu Cortot 18”, 7‑1/2” x 9‑1/2”. Handsomely framed. [1000/1500] 1023 Louis XVI-Style Mahogany and Marble-Top Cabinet, early 20th century, by Georges Guerin, Paris, the domed backpiece composed of verde antico marble within an annulated and bound reeded frame, above a bowed verde antico marble top, over a conforming case fitted with three frieze drawers, each with fitted taupe suede-lined silver storage compartments, all with guilloche carving, over a central glazed cupboard flanked to either side by a bowed glass panel, the interior with a mirrored bottom and glass shelves, raised on foliate-carved toupie feet, the central drawer with the applied metal label of Georges Guerin, h. 51‑1/2”, w. 51”, d. 20”. [1500/2500] Illustrated previous page 1024 Eighteen-Piece Group of Swags with Drapery Panels, comprised of six fringe-decorated and lined pale claret and gold brocade swags and drops, h. 64”, w. 55”, together with twelve complementary gold drapery panels, h. 120”, w. 32”. [1000/1500] Illustrated

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1028 Thirteen Rolls of Schumacher, Clarence House and Other Assorted Modern and Contemporary Fabrics, including a Kravet Couture petit point tapestry “Epingle” pattern in brown, black and tan tones, w. 55”, l. 7 yds., pattern repeat 1‑3/8” x 1‑1/8”; a Lee Jofa Eames-style silk blend design in muted neutrals in two pieces, w. 54”, l. 2‑1/2 yds. and 4 yds., pattern repeat 14‑1/2” x 9‑1/2”; a silk basketweave fabric in a golden neutral, w. 54”, l. 7‑1/2 yds.; a black and white houndstooth woven cotton blend, w. 54”, l. 4 yds., pattern repeat 1‑1/4” x 1‑1/4”; an Italian contemporary retro cream and cocoa mosaic fabric, w. 58”, l. 6‑1/2 yds., pattern repeat 14‑3/4” x 14”; a golden silk fan lampas, w. 53”, l. 4 yds., pattern repeat 20‑1/4” x 17‑1/4”; a Stroheim Roman woven “Wave” fabric in neutral tones, w. 55”, l. 11 yds., pattern repeat 6‑3/4” x 7‑1/2”; a Clarence House “Honeycomb” pattern upholstery fabric in warm beige tones, w. 54”, l. 8‑1/2 yds., pattern repeat 1‑5/8” x 1‑7/8”; a Unika Vaev “Wink” brown fabric with multicolored circles, w. 54”, l. 3‑1/2 yds., pattern repeat 9‑1/4” x 9”; a Clarence House heavy gros point hand-woven tapestry in gray, taupe and black tones, w. 54”, l. 2 yds., pattern repeat 3‑1/2” x 3‑1/2”; a Greff / Schumacher heavyweight reversible raw silk in tan tones, w. 50”, l. 7 yds., pattern repeat 1/4” x 1/4”; a Clarence House tan and golden lampas in the “Mikinos” pattern, w. 55”, l. 8 yds., pattern repeat 4‑5/8” x 4‑5/8”; and a Clarence House heavy diamond taupe toned jacquard, w. 54”, l. 3‑1/2 yds., pattern repeat 2‑1/4” x 2‑1/4”. [400/700]

1025

1029 Seventeen Rolls of Scalamandre, Schumacher and Other Assorted Silk Fabric in Stripes, Checks and Plaids, including a Scalamandre gold and red striped silk jacquard in the “Toulouse” pattern, w. 54”, l. 5‑3/4 yds., pattern repeat 1‑1/2”; a Schumacher neutral silk plaid with a woven sateen ribbon in the “Surat” pattern, w. 55”, l. 19‑1/2 yds., pattern repeat 6‑1/4” x 5‑1/4”; a Bergamo silk plaid taffeta in tan tones with red accents, w. 54”, l. 6 yds., pattern repeat 2” x 2”; a Scalamandre silk with raised satin stripe in ivory tones, w. 54”, l. 9‑1/2 yds., pattern repeat 3‑1/4” x 3‑1/4”; a Scalamandre gold and cream stripe silk taffeta, w. 54”, l. 5 yds., pattern repeat 15‑1/8”; a silk taffeta stripe fabric in tan and sage tones, w. 54”, l. 4 yds., pattern repeat 8‑3/4”; a Scalamandre blue and white plaid reversible silk taffeta, w. 54”, l. 7 yds., pattern repeat 3/8” x 3/8”; a woven stripe silk taffeta in blue and tan tones, w. 54”, l. 16 yds., pattern repeat 11‑3/4”; a Pierre Frey striped silk taffeta in camel tones with red accents, w. 54”, l. 5‑1/4 yds., pattern repeat 14”; a Scalamandre brown striped silk taffeta, w. 54”, l. 5‑1/4 yds., pattern repeat 7‑3/4”; a Lee Jofa silk check jacquard in black and tan, w. 55”, l. 19‑1/2 yds., pattern repeat 2‑1/8” x 2‑1/8”; a Kravet red silk check in the “Intrigue” pattern, w. 54”, l. 9‑1/2 yds., pattern repeat 2‑1/8” x 2‑1/8”; a Colefax and Fowler “Wallace Check” silk taffeta in beige and green tones, w. 53”, l. 9‑1/2 yds., pattern repeat 5‑1/4” x 5‑1/4”; a Scalamandre “Shirred Stripe” silk in gray tones, w. 50”, l. 14‑1/2 yds., pattern repeat 2”; a David Ross pinstriped silk in taupe and ivory, w. 54”, l. 16‑1/2 yds., pattern repeat 1/4”; a Colefax and Fowler “Pembridge” silk dupioni stripe in rose, tan and green tones, w. 54”, l. 16 yds., pattern repeat 12‑3/4”; and a Clarence House striped silk taffeta in ivory, brown and blue-green tones, w. 54”, l. 5‑1/4 yds., pattern repeat 11”. [1500/2500]

1032 Twelve Rolls of Scalamandre and Other Assorted Colorful Embroidered Silk, including a Scalamandre moss green embroidered silk in the “Forest Fern” pattern, w. 54”, l. 2‑1/2 yds., pattern repeat 12” x 12‑3/4”; a Zopel and Drahcir blue embroidered silk jacquard in the “Fleur de Zopel” pattern, w. 54”, l. 9‑1/2 yds., pattern repeat 6‑1/4” x 5‑1/4”; a Scalamandre silk upholstery in aqua blue with brown accents, w. 58”, l. 8 yds., pattern repeat 13‑1/4” x 11‑1/2”; a Scalamandre dragonfly patterned velvet silk in aqua tones, w. 55”, l. 2‑1/2 yds., pattern repeat 6‑1/4” x 6‑1/4”; a hand-embroidered olive green silk with a velvet leaf pattern, w. 54”, l. 2 yds., pattern repeat 19‑1/4” x 16”; a Pierre Frey hand-embroidered silk with silk velvet accents in a blue tone with brown accents, w. 53”, l. 2‑1/2 yds., pattern repeat 25‑1/4” x 12‑1/4”; an embroidered couture pink silk fabric, w. 55”, l. 3‑1/2 yds., pattern repeat 11‑3/4” x 12‑1/2”; a Beacon Hill brown embroidered silk, w. 53”, l. 7‑1/2 yds., pattern repeat 5‑3/4” x 5‑3/4”; an embroidered silk dupioni in beige tones with colorful floral accents, w. 60”, l. 3‑1/2 yds., pattern repeat 19-/4” x 11‑1/2”; a Scalamandre embroidered silk in bronze and copper tones, w. 54”, l. 4‑1/2 yds., pattern repeat 11‑1/2” x 12‑1/2”; a Zopel and Drahcir brown embroidered silk in the “Fleur de Zopel” pattern, w. 54”, l. 5‑1/3 yds., pattern repeat 6‑1/4” x 5‑1/4”; and an extravagantly embroidered silk in rusty orange tones with floral accents, w. 54”, l. 3‑1/2 yds., pattern repeat 8” x 10‑1/4”. [300/500]

1030 Nine Rolls of Donghia, Scalamandre and Other Assorted Metallic and Textured Fabrics, including a Donghia woven silk in silver gray, w. 54”, l. 3 yds., pattern repeat 2‑3/8” x 2”; a Scalamandre “Luminous Copper” fabric, w. 56”, l. 10‑1/2 yds.; a Clarence House Louis XV-style gray diamond fabric, w. 55”, l. 5‑1/2 yds., pattern repeat 7” x 8‑1/2”; a Donghia tone on tone beige matelasse, w. 54”, l. 6 yds.; a harlequin diamond embossed ivory jacquard with beige velvet accents in two pieces, w. 55”, l. 9 yds. and 8 yds., pattern repeat 6‑1/2” x 7‑1/2”; a diamond quilted winter ivory silk, w. 54”, l. 3 yds., pattern repeat 2‑1/2” x 3‑1/2”; a silk backed lattice in light taupe, w. 42”, l. 2‑3/4 yds., pattern repeat 2‑1/2” x 2‑1/2”; a Kravet pleated taupe velvet silk and rayon blend in two pieces, w. 54”, l. 4 yds. and 9‑1/2 yds., pattern repeat 5” x 1‑1/2”; and a Scalamandre hammered Victorian copper silk in two pieces, w. 56”, l. 14 yds. and 25‑1/2 yds., pattern repeat 14” x 17‑3/4”. [1000/1500] 1031 Four Sets of Tasseled and Lined Drapery Swags and Drops, in gold and olive chenille brocade, h. 86”, w. 56”. [400/700] Illustrated

1031

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1033 Nine Rolls of Zopel and Drahcir, Scalamandre and Other Assorted Neutral-Toned Embroidered Silk Fabrics, including a pearly white silk with taupe embroidered pin dots, w. 54”, l. 3‑3/4 yds., pattern repeat 2‑3/4” x 2‑3/4”; a Schumacher embroidered silk taffeta in ivory with floral accents, w. 54”, l. 4 yds., pattern repeat 16” x 15”; a Kravet Couture taupe embroidered silk in two pieces, w. 53”, l. 6 yds. and 7‑1/4 yds., pattern repeat 8” x 7‑1/4”; a Zopel and Drahcir extravagant embroidered silk in tan and brown tones, w. 53”, l. 7 yds., pattern repeat 28‑1/2” x 23‑1/2”; a Kravet Couture circles embroidered silk in ivory with colorful accents, w. 53”, l. 12‑3/4 yds., pattern repeat 8‑5/8” x 7‑1/2”; a Scalamandre ivory embroidered silk with tan accents in the “Animaux” pattern, w. 52”, l. 17‑1/2 yds., pattern repeat 5‑1/2” x 7‑3/4”; a “Busy Bee” Scalamandre gold toned silk with velvet accents in two pieces, w. 53”, l. 4 yds. and 13 yds., pattern repeat 8‑7/8” x 11‑1/2”; a Travers ivory toned embroidered silk with multicolored floral accents, w. 54”, l. 19‑3/4 yds., pattern repeat 26” x 23‑1/2”; and an embroidered gold-toned fleur de lis silk, w. 54”, l. 2‑1/2 yds., pattern repeat 4” x 3‑3/4”. [900/1200] 1034 Collection of Six Drapery Tiebacks, double-tasseled and colored in pale gold and ecru silk, tassel l. 8‑1/2”, cord spread l. 29‑1/4”. [200/400] 1035 Large Pair of Double-Tasseled Tiebacks, colored in taupe silk, tassel l. 13‑1/2”, cord spread l. 31”. [100/200] 1036 Thirteen Rolls of Scalamandre, Cowtan and Tout and Other Assorted Animal Print Fabrics, including a bronze and brown cheetah leopard silk, w. 53”, l. 9‑1/2 yds., pattern repeat 13‑3/4” x 14”; a Cowtan and Tout silk chenille sculpted tapestry strie in golden tones, w. 57”, l. 2‑1/2 yds., pattern repeat 7” x 5‑3/8”; a Worldwide Fabric oyster white cheetah tiger damask, w. 58”, l. 3‑1/2 yds., pattern repeat 12‑3/4” x 8‑1/2”; a tiger stripe cut velvet chenille in beige tones, w. 54”, l. 5 yds., pattern repeat 14” x 13‑1/2”; a Waverly “Zaire” snakeskin pattern in tan and brown tones, w. 54”, l. 10 yds., pattern repeat 13‑1/2” x 13‑1/2 “; a Scalamandre “Bengaline” luscious silk tiger velvet, w. 56”, l. 18 yds., pattern repeat 14‑1/2” x 35‑1/2”; a black and cream Italian “Dalmatian” chenille tapestry, w. 54”, l. 5‑1/2 yds., pattern repeat 13‑1/2” x 12‑1/2”; an oyster and green tiger striped brocade, w. 52”, l. 3 yds., pattern repeat 13‑1/2” x 6‑1/2”; a Scalamandre tiger silk lampas in gold and red tones, w. 60”, l. 3‑1/2 yds., pattern repeat 12” x 15‑1/2”; a leopard tiger velvet in black and white tones, w. 56”, l. 9‑1/2 yds., pattern repeat 15‑3/4” x 9”; a Zopel and Drahcir giraffe print, w. 60”, l. 6‑1/2 yds., pattern repeat 25‑3/4” x 12‑1/2”; a Cowtan and Tout heavy bark cut velvet gros point in brown, w. 51”, l. 4‑1/2 yds., pattern repeat 26” x 32‑1/4”; and a P. Kaufman leopard print, w. 55”, l. 9‑1/2 yds., pattern repeat 9” x 12”. [900/1200]

176

1037 Fourteen Rolls of Scalamandre and Other Assorted Silk Damask and Lampas, including a Zopel and Drahcir Italian gold and brick red silk lampas in two pieces, w. 58”, l. 3‑1/2 yds. and 6 yds., pattern repeat 11‑3/4” x 18‑1/2”; a Scalamandre gold cherubs satin cameo lampas, w. 52”, l. 2‑1/2 yds., pattern repeat 26” x 36”; a Scalamandre ivory silk lampas in the “Lovebird” pattern, w. 55”, l. 11‑3/4 yds., pattern repeat 14‑1/2” x 18‑1/4”; a Lee Jofa “Creeping Tree” green silk lampas, w. 52”, l. 13‑1/2 yds., pattern repeat 10‑1/2” x 14”; a gold silk damask antique toile, w. 54”, l. 14‑1/2 yds., pattern repeat 14” x 26‑1/2”; a Clarence House green and black silk damask, w. 54”, l. 4‑1/2 yds., pattern repeat 27‑1/2” x 30”; a Scalamandre ecru and brick “Chippendale” silk damask in two pieces, w. 55”, l. 2 yds. and 3‑1/2 yds., pattern repeat 14” x 20‑1/4”; a Scalamandre “Draco” silk damask blend in lavender and tan tones, w. 54”, l. 9‑1/2 yds., pattern repeat 13‑1/2” x 28‑1/2”; a Scalamandre reversible gold and blue silk damask, w. 54”, l. 6 yds., pattern repeat 14” x 16”; a silk blend green damask, w. 57”, l. 5‑1/2 yds., pattern repeat 13‑1/2” x 15‑3/4”; a Lorenzo Rubelli silk damask in mocha tones, w. 51”, l. 22‑1/2 yds., pattern repeat 26” x 38‑1/2”; a Scalamandre “Baranzeli” Italian silk damask lampas in blue and tan tones, w. 53”, l. 12‑1/2 yds., pattern repeat 14‑1/2” x 25”; a silk damask in royal blue and plum tones in the “Chenault” pattern, w. 60”, l. 6 yds., pattern repeat 12” x 19‑1/4”; and a Kravet Couture reversible silk damask in deep blue and mocha tones, w. 50”, l. 16 yds., pattern repeat 28” x 33‑1/2”. [1400/1800] 1038 Twelve Rolls of Clarence House, Versace and Other Assorted Silk Lampas and Brocade Fabrics, including a charcoal and gold silk lampas, w. 54”, l. 6‑1/2 yds., pattern repeat 13‑1/2” x 13‑1/2”; a Versace Italian silk lampas in black, red and gold tones, w. 55”, l. 6 yds., pattern repeat 14‑1/4” x 13”; a Brunschwig and Fils golden silk lampas brocade, w. 44”, l. 3‑1/2 yds., pattern repeat 27” x 44”; a Scalamandre “Haiku” extravagant silk lampas, w. 56”, l. 13‑1/2 yds. pattern repeat 14‑1/2” x 17”; a silk brocade lampas in blue and gold tones, w. 55”, l. 3‑1/2 yds., pattern repeat 11‑1/4” x 18”; a Versace lampas “Um of Paradise” in blue and gold tones, w. 56”, l. 6‑1/2 yds., pattern repeat 7” x 7‑1/4”; a Clarence House “Damasco Donatello” gold, green and purple silk lampas, w. 52”, l. 9‑1/2 yds., pattern repeat 13” x 20”; a Kravet Couture Palais brocade green silk lampas, w. 59”, l. 11‑1/2 yds., pattern repeat 14” x 25”; a Scalamandre “Damaschino” Italian blue and gold silk lampas in two pieces, w. 58”, l. 3‑1/2 yds. and 6 yds., pattern repeat 14‑1/2” x 25”; a Kravet Couture “Panda” orange silk lampas, w. 30”, l. 7 yds., pattern repeat 15” x 11‑1/4”; a Pierre Frey handloomed black silk jacquard with jewel-toned accents, w. 30”, l. 4 yds., pattern repeat 7‑1/2” x 12‑3/4”; and a Scalamandre brown Asian dragon silk brocade, w. 30”, l. 7‑1/2 yds., pattern repeat 7‑1/2” x 7‑1/2”. [500/800]

1039 Eight Rolls of Bergamo, Lee Behren and Other Assorted Festive Fabrics, including an embossed floral medallion chenille jacquard in green and burgundy tones, w. 55”, l. 3 yds., pattern repeat 3‑1/2” x 4‑1/2”; a Bergamo heavy cut velvet brocade stripe in orange, green and black tones, w. 57”, l. 6‑1/2 yds., pattern repeat 14‑1/4”; a David Ross hand-woven washed cut chenille in green, blue, taupe and camel tones, w. 53”, l. 2‑1/2 yds., pattern repeat 1‑1/4” x 1‑1/2”; a Clarence House reversible purple and green silk and cotton blend with Chinese characters in two pieces, w. 55”, l. 2‑1/2 yds. and 7‑1/2 yds., pattern repeat 13‑1/2” x 27”; a Kravet Couture multi-toned raw silk thread fabric, w. 51”, l. 24 yds.; a Lee Behren handmade striped chenille blue and chocolate jacquard, w. 54”, l. 14‑1/2 yds., pattern repeat 2‑3/4”; a Bergamo cut velvet blue and chocolate floralscroll pattern, w. 56”, l. 8‑1/2 yds., pattern repeat 15‑1/2” x 13‑1/4”; and a Donghia mohair velvet in a chartreuse tone, w. 56”, l. 11 yds., pattern repeat 3/8” x 3/8”. [500/800] 1040 Eleven Rolls of Kravet Couture, Scalamandre and Other Assorted Velvet and Chenille Fabrics, including a Kravet Couture gros point cut-velvet taupe in two pieces, w. 53”, l. 6 yds. and 2‑3/4 yds., pattern repeat 17‑1/2” x 22‑1/2”; a rich chocolate lotus embossed silk taffeta in two pieces, w. 54”, l. 7‑1/2 yds. and 6‑1/2 yds., pattern repeat 14‑1/2” x 19”; a moss green mohair velvet, w. 54”, l. 2‑1/2 yds., pattern repeat 2/3” x 2/3”; a taupe on ivory velvet brocade, w. 54”, l. 5‑1/2 yds., pattern repeat 27‑1/4” x 18‑1/2”; a Kravet Couture duck egg blue silk cotton tweed chenille, w. 52”, l. 4‑1/2 yds., pattern repeat 1/2” x 1/4”; a Clarence House velvet damask in beige tones, w. 51”, l. 3 yds., pattern repeat 19‑1/4” x 34‑1/2”; a Scalamandre toffee cut velvet in the “Gabriel” pattern, w. 54”, l. 4 yds., pattern repeat 14” x 10”; a gunmetal gray cut velvet, w. 54”, l. 2 yds., pattern repeat 2” x 2”; a Pierre Frey chocolate brown cut silk velvet, w. 55”, l. 10 yds., pattern repeat 3/4” x 5/8”; a Zopel and Drahcir “Macabre” embroidered silk velvet in chocolate brown tones with mossy green accents, w. 52”, l. 5‑1/2 yds., pattern repeat 28” x 34‑1/2”; and a Scalamandre brown cut silk velvet, w. 53”, l. 2 yds., pattern repeat 3/8” x 3/8”. [500/800] 1041 Ten Rolls of Brunschwig and Fils, Scalamandre and Other Assorted Lampas Brocade Fabrics, including a Scalamandre “Angelica” Italian lampas in ivory, green and brick tones, w. 54”, l. 17 yds., pattern repeat 13‑1/2” x 20‑1/4”; a Scalamandre “Ferns” silk lampas in chocolate brown, w. 54”, l. 8‑1/2 yds., pattern repeat 13‑1/2” x 27”; a Clarence House Persian-pattern brocade in muted tones, w. 55”, l. 2‑1/2 yds., pattern repeat 28” x 23‑1/2”; a Clarence House heavy hand-loomed silk blend lampas brocade in golden brown tones, w. 54”, l. 9‑1/2 yds., pattern repeat 27‑1/2” x 18‑1/2”; a Scalamandre French silk embroidered brocade in black, red and gold tones, w. 59”, l. 3 yds., pattern repeat 15‑1/2” x 31”; a Beacon Hill “Artichoke” lampas brocade in ivory, green and soft rose tones, w. 58”, l. 9‑1/2 yds., pattern repeat 13‑3/4” x 26”; a Brunschwig and Fils yellow lampas, w. 59”, l. 7 yds., pattern repeat 30” x 31”; a Scalamandre “Palmas” Italian lampas in brown, green and red tones, w. 55”, l. 4‑1/2 yds., pattern repeat 28” x 28”; a Brunschwig and Fils ivory lampas, w. 59”, l. 11‑1/2 yds., pattern repeat 30” x 33”; and a lampas accented woven brocade fabric in subtle green, ivory and gold tones, w. 54”, l. 10‑1/2 yds., pattern repeat 28‑1/2” x 29‑1/2”. [400/700]

1042 Agapit Stevens (Belgian, 1849‑1917) “The Young Courtier in Blue Velvet Attire Delivering a Letter on a Gold Tray”, oil on canvas, signed lower right “Agapit Stevens”, verso with labels “Ph. Cerisier, Doreur-Encadreur, Specialite Cadres Tableaux, Rue des Comediens, 39, Bruxelles” and “The Willemsen, Telefoon 3307, Heerenstraat 11, Den Haag”, 28‑3/4” x 19‑3/4”. Presented in a period molded giltwood frame with relief-carved scrolling patterns and corner foliate shell-carved accents, the slip with like carving. [1800/2500] Illustrated

1042

1043 Louis XV-Style Kingwood and Marble-Top Side Table, late 18th century and later, the rectangular Rouge Royale marble top with a molded edge, above a conforming tri-paneled frieze, raised on cabriole legs, h. 26‑1/2”, w. 30”, d. 15‑1/4”. [1400/1800] 1044 Louis XV-Style Mahogany and Marble-Top Petite Commode, late 18th century, the shaped Escallette marble top with a molded edge, above a conforming case fitted with three drawers, raised on cabriole legs ending in sabots, h. 26‑1/2”, w. 21‑1/2”, d. 15”. [700/1000]

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1048 four-piece suite 1048 four-piece suite

1045

1048 four-piece suite 1045 Monumental Pair of Patinated Bronze Bacchanal Ewers, in the manner of Claude Michel, dit Clodion (French, 1738‑1914), each with an ovoid body cast with a band of frolicking putti framed by vintage banding, with an annular neck and shaped spout en suite, the high arched handles each crested by a single putto, raised on a domed foot and circular plinth, patinated in black, brown and antique gold, h. 38”, dia. 10‑1/2”, l. 17”. [2000/4000] Illustrated

178

1048 Four-Piece Exuberantly Carved and Gilded Mahogany Bedroom Suite, in the Baroque taste, consisting of a bed, a pair of bedside tables and an armoire, the bed with a padded and tufted headboard surmounted by a tall foliate shield-carved crest, joined by shaped rails to the like-carved footboard, h. 81”, inside w. 76”, l. 79”, outside w. 87”, l. 89”, the bedside tables with shaped back pieces fitted with a single shelf, the shaped marble tops above a case fitted with a single drawer over a cupboard door, raised on cabriole legs, h. 58”, w. 25”, d. 16”, the armoire fitted with a mirrored single door with a bank of five small drawers to one side, raised on scrolled toes, h. 110”, w. 63”, d. 23”. [7000/10000] Illustrated

1051

1052

1049 Pair of Louis XV-Style Gilt-Metal and Crystal Appliques, each with an interlacing foliate-modeled backplate issuing three like-modeled arms terminating in faux candles, electrified and fitted with ivory silk shades, the whole dressed with faceted crystal drops, h. 20‑1/2”, w. 15”, d. 10”. [400/700] 1050 Good Napoleon III Carved Giltwood and Plaster Looking Glass, third quarter 19th century, of large size in the Louis XV taste, the corners and rail centers with equidistant carved stylized shells and foliate scrolls, the mirror plate broadly beveled throughout, h. 51”, w. 70”. [700/1000] 1051 Pair of Napoleon III Rosewood Bergeres, third quarter 19th century, each with a padded and rounded back surmounted by a floral and foliate crest, joined by padded arms on molded uprights to the padded seat, raised above a shell-carved frieze on molded cabriole legs on casters, h. 42”. [1800/2500] Illustrated

1046 Continental School (Second Quarter 20th Century) “A View of the Amalfi Coast”, oil on canvas, signed and dated lower left “J. Hager 1941”, 64” x 43”. Handsomely framed. Provenance: Private collection, Sheffield, Alabama. [1800/2500] 1047 Continental School (Fourth Quarter 19th century), a pair of oils on canvas, both examples signed lower left “F. Knapp”, one example depicting a man standing on a riverbank in a country landscape, the other of a woman standing on a path near a riverside cottage, 12” x 18”. Presented in matching period giltwood and plaster frames. [900/1200]

1052 Jean Bulio (French, 1827‑1911), a large patinated bronze figural group, fourth quarter 19th century, depicting a mother protecting her child from a ferocious lion, the well-detailed figures with dark brown patina, signed on the left front of the base “Bulio”, h. 17‑1/2”, w. 25‑3/4”, d. 11”; presented on a polished black slate plinth base with projecting front above a conforming mahogany pedestal with recessed panel, dentillated at the top and banded at the base with square paterae, overall h. 62‑3/4”, w. 33‑1/4”, d. 16‑1/4”. [5000/8000] Illustrated 1053 Pair of Regence-Style Fruitwood Fauteuils, each with a domed and padded back surmounted by an acanthine shell crest, joined by foliate-carved arms to the padded seat, raised above a shaped shell-carved apron on cabriole legs ending in scrolled toes, h. 43”. [2000/4000]

179

1054 After Jules Moigniez (French, 1835‑1894) “Owl”, 20th century, a large chocolate brown-patinated bronze group of an eagle-owl descending on its prey, presented on an oval cavetto-edged verdigris marble pedestal, h. 38”, w. 23‑3/4”, d. 16”. [2000/4000] Illustrated

1054

1055 Four Pieces of English Polychromed and Parcel-Gilt Porcelain, comprised of a covered sugar basin, h. 4‑1/2” and stand in the Derby style, w. 7‑1/2”, both in en grisaille floral decor; and two English oval sugar basins without covers, h. 4‑1/2” and 5‑1/2”. [125/250] 1056 Pair of French Gilt-Nickel Two-Light Appliques, second quarter 20th century, in the Louis XVI taste, each bobeche dressed with fourteen panel- and facet-cut glass spears, fitted for electrical wiring, h. 14‑1/2”, w. 11‑1/2”, d. 5‑3/4”. [200/400]

1060 Continental School (Mid‑19th Century) “Botanicals”, suite of four hand-colored engravings, sight 9” x 10‑1/2”. Glazed, matted and framed en suite. [300/500] 1061 French School (18th Century), suite of six hand-colored engravings of various floral bouquet arrangements, by Jean Baptiste, sight 9” x 6‑1/2”. Glazed, matted and framed en suite. [500/800] 1062 Agra Serapi Carpet, 7’ 9” x 9’ 10”. [900/1200] 1063 Agra Zeiglar Mahal Carpet, 9’ x 12’ 2”. [1400/1800] 1064 Chinese Carpet, 3’ x 5’ 9”. [400/700] 1065 1057 Aubusson Carpet, 6’ x 9’. [1800/2500] 1058 Aubusson Tapestry, 3’ x 4’. [900/1200] 1059 Continental School (Third Quarter 19th Century) “Tulips”, “Pink Roses”, Yellow Roses” and “Striped Tulips”, group of four offset chromolithographs of botanicals, after Horto Van Houtteano, sight 12‑1/2” x 9‑1/4”. Glazed, matted and framed en suite. [300/500]

180

1065 Antique Chinese Peking Carpet, 9’ 3” x 11’ 8”. [2500/4000] Illustrated 1066 Antique Persian Afshar Carpet, 4’ 6” x 6’ 6”. [1200/1800] 1067 Persian Mahal Carpet, 4’ 9” x 8’ 3”. [1500/2500] 1068 Persian Sarouk Carpet, 13’ x 24’. [7000/10000]

1074 Kilim Carpet, 7’ 7” x 9’ 5”. [200/400] 1075 Kilim Carpet, 7’ 11” x 11’ 2”. [200/400] 1076 Floral Needlepoint Carpet, 11’ 2” x 16’ 8”. [700/1000] 1077 Persian Mahal Carpet, 10’ 4” x 14’ 3”. [4000/7000] Illustrated 1078 Semi-Antique Persian Tabriz Carpet, 9’ 9” x 13’. [4000/7000]

1072

1069 Antique Persian Sarouk Carpet, 9’ 2” x 10’ 8”. [1500/2500] 1070 Kilim Carpet, 6’ 6” x 9’ 5”. [200/400] 1071 Kilim Carpet, 7’ 2” x 10’ 2”. [200/400] 1072 Afghanistan Tribal-Style Carpet, 5’ x 8’ 4”. [300/500] Illustrated 1073 Afghanistan Tribal Carpet, 8’ 10” x 11’ 8”. [700/1000]

1077

181

1079 Vernacular American Cherry Corner Cabinet, early 19th century, the cove-molded cornice edged in beadings over a pair of mullioned glazed doors and a pair of paneled doors below, the doors of pegged construction, with a scalloped apron and bracket feet, h. 88‑3/8”, w. 47”, d. 22”. [1500/2500] Illustrated

1080

1082

1079

1083 1080 American Federal Mahogany Bowfront Chest in the Sheraton taste, first quarter 19th century, New England, the bowed top with turreted corners above a conforming case fitted with four long drawers, flanked to either side by reeded uprights, raised on bulbous legs to toupie feet, h. 39”, w. 41”, d. 20”. [700/1000] Illustrated

182

1081 American Late Classical Mahogany Dressing Bureau, second quarter 19th century, with a recessed band of three drawers joined to tapering columns with spire finials, supporting a molded looking glass frame retaining a period plate, the case with a slightly projecting covemolded drawer over a graduated bank of three drawers, raised on bun feet, the drawers with embossed brass pulls, h. 84‑1/2”, w. 42”, d. 20‑1/4”. [500/800] 1082 Pair of Anglo-American Gilt- and Patinated Bronze Prism-Hung Argand Lamps, second quarter 19th century, each with an applied plate “Messenger & Sons, 65 Hatton Garden, London and Birmingham, Manufactured for Alfred Wells, Boston”, the cylindrical font supporting a prism ring dressed with colonial spears, with a cylindrical standard and stepped ring base, now fitted with antique etched and cut blown glass shades with ruffled rims, h. 13‑3/4”, w. 9”, d. 5”. [1000/1500] Illustrated

1086

1088

1083 American Classical Mahogany Sofa, first quarter 19th century, the molded crest rail with four figural panels, the arms terminating in scrolls on vasiform supports, with molded seat rail and saber legs ending in hairy-paw feet, h. 33‑1/2”, w. 71‑1/4”, d. 21‑1/2”. [1500/2500] Illustrated 1084 American Classical Gilt-Bronze-Mounted Mahogany Hall Tree, first quarter 19th century, of tapering column form, with a gilt-bronze urn-form finial and base, and six brass hooks joined to a circular tripodal base with brass paw-foot casters, h. 84‑1/4”, w. 29”, d. 26”. [400/700] Illustrated 1085 American Late Classical Mahogany Pier Table, second quarter 19th century, Boston, the rectilinear white marble top over a conforming molded frieze, one return fitted with a rare period drawer, supported by classical columns with ormolu capitals and bases, the back fitted with a mirror plate flanked by pilasters, on bun feet, h. 36‑1/2”, w. 40”, d. 18‑3/4”. [1200/1800] Illustrated 1085

183

1090 Victorian Mahogany Shaving Mirror, mid‑19th century, the rectangular plate within a molded frame and supported by shaped uprights, over two drawers, each with rounded fronts, the whole raised on flattened bun feet, h. 19”, w. 14‑3/4”, d. 7”. [100/200] 1091 American Late Classical Mahogany Chest, second quarter 19th century, in the Sheraton taste, of generous proportions with a projecting drawer over a graduated bank of three drawers, all the drawers with beaded perimeter edges, the lower drawers flanked by turned columns with Ionic capitals, raised on turned legs, h. 51”, w. 42”, d. 23‑1/2”. [500/800]

1093

1086 Pair of Continental Gold and White Porcelain Garniture Vases, first quarter 19th century, the elaborate handles featuring cherubs astride swans, the bodies decorated with baskets of wheat on one side and floral stems on the other, with raised gilding on both sides, raised on faux-marble bases, h. 12‑3/4”. [1200/1800] Illustrated previous page

1092 McKenney & Hall (American, 19th Century), a pair of hand-colored lithographs, “Wakechai: A Saukie Chief”, published by Daniel Rice & James G. Clark, Philadelphia, 1842, and “Kai-Pol-E-Quah: White Nosed Fox”, published by F. W. Greenough, Philadelphia, 1838, each is sight 18” x 12‑1/4”. Glazed, matted and framed en suite. [300/500]

1087 American Late Classical Mahogany and Cherry Chest, second quarter 19th century, with a rectilinear recessed band of two drawers fitted with a rectilinear splash, the case with a pair of projecting ogee-molded drawers over a graduated bank of three drawers flanked by columns, raised on turned Sheraton legs, h. 49‑1/2”, w. 44”, d. 19‑1/2”. [400/700] 1088 Large and Imposing American Late Classical Mahogany Bookcase/Cabinet, Boston, second quarter 19th century, in two parts, the upper section with a projecting molded cornice over a pair of mullioned glazed doors, flanked by tapering columns, the base with a pair of projecting beaded drawers over a pair of doors with raised figured panels, flanked by tapering columns continuing to ball feet, h. 102‑1/2”, w. 54”, d. 23‑1/4”. [2500/4000] Illustrated previous page

1089 American Late Classical Mahogany Armoire, second quarter 19th century, Boston, the arched projecting molded cornice over a pair of doors, each with bisected crotchveneered panels, the base fitted with a full-width drawer, h. 87‑1/2”, w. 52”, d. 22”. [1000/1500]

184

1094

1095

1097 1093 Anglo-American Prism-Hung Gilt-Bronze Two-Arm Argand Lamp, second quarter 19th century, the font supporting a prism ring mounted with a pair of swans, the square paneled standard on a stepped base with cornucopiae bracket feet , now fitted with etched and cut blown glass shades after the period fashion, electrified, h. 18”, w. 17”, 10”. [800/1200] Illustrated 1094 American Classical Mahogany Bowfront Chest, first quarter 19th century, Philadelphia, the case with four graduated cock-beaded drawers, flanked by reeded pilasters, with scalloped apron and turned legs, h. 42”, w. 41”, d. 24”. [1000/1500] Illustrated

1095 Fine American Late Classical Mahogany Box Sofa, ca. 1825, Philadelphia, the molded top rail flanked by floral- and fruit-carved baskets, the arms terminating in double shell carving, the lotus-carved legs with ball feet, now upholstered in brocade with gold stars on a red ground, h. 35‑1/2”, w. 87”, d. 25”. [1500/3000] Illustrated 1096 Pair of Paris Porcelain Ecclesiastical Urns, second quarter 19th century, decorated with Jesus and Mary on the obverse and their corresponding initials in gilt on the reverse, h. 14‑1/2”. [1500/2500] Illustrated 1096

1097 American Late Classical Parcel-Gilt Mahogany Sideboard, second quarter 19th century, probably Philadelphia, of double-pedestal form stepping down to a lower center section backed by a looking glass with carved columns, flanked by fruit-carved scroll brackets, the ends each with a molded drawer over a door with a convex panel, the center with a drawer over a pair of drawers, mounted with columns with foliate-carved capitals, raised on carved paw feet, h. 56‑1/2”, w. 69‑1/2”, d. 25”. [700/1000] Illustrated

1099

1098 Suite of Six American Late Classical Mahogany and Cane-Seat Dining Chairs, 19th century, each with a scalloped and figured crest rail over a lyre-form splat, caned seat and sabre-form front legs joined by boxed stretchers, h. 32‑1/2”. [300/500]

185

1103 1099 American Late Classical Mahogany Server/Cabinet, second quarter 19th century, the case with a pair of shallow drawers over a projecting bonnet drawer and a pair of recessed paneled doors below, the doors flanked by pilasters, raised on foliate-carved paw feet, h. 48‑1/2”, w. 48‑1/2”, d. 22”. [700/1000] Illustrated 1100 American Late Classical Giltwood Looking Glass, late 19th century, of horizontal tripartite form, the pilasters with ring turnings and foliate carving, h. 61”, w. 25‑1/2”, d. 2‑1/2”. [300/500] 1101 American Late Classical Mahogany Games Table, mid‑19th century, the fold-over top over a cove-molded apron, raised on a pair of scroll supports joined to a molded and stepped platform base, h. 29”, w. 37”, l. 18”, extended l. 36”. [300/500]

1105

1102 Vernacular American Sheraton Cherry Work Table, second quarter 19th century, with a pair of drawers, each fitted with a pair of pressed glass pulls, raised on shaped turned legs, h. 29”, w. 23”, d. 17‑1/2”. [200/400] 1103 Rhoda Brady Stokes (American/ Mississippi, 1901‑1988) “Cotton Plantation on the Mississippi”, 1977, oil on board, titled lower center, signed and dated lower right “Rhoda B. Stokes 4. 1977”, 20” x 24”. Handsomely matted and framed. [3500/5000] Illustrated 1104 Rhoda Brady Stokes (American/ Mississippi, 1901‑1988) “The Teche”, 1961, oil on board, titled lower center, signed and dated lower right “Rhoda Stokes, 8.61”, 18” x 28”. Handsomely framed. [3000/5000] Illustrated

186

1104

1105 American Late Classical Mahogany Secretary Bookcase, second quarter 19th century, Philadelphia, the upper section with a molded cornice over a pair of doors with mullioned glazed panels, the doors flanked by tapering columns, with a cyma-molded raised panel below, the panel with a fall front opening to create a writing surface, and revealing an interior fitted with drawers and niches, the base with a central cupboard door with a raised panel with ogee parameter moldings, flanked by projecting rounded doors with scroll columns, constructed of carefully matched and highly figured crotch-cut veneers throughout, h. 103‑3/4”, w. 53‑1/2”, d. 28”. [3000/5000] Illustrated 1106 American Late Classical Mahogany and MarbleTop Center Table, second quarter 19th century, the serpentine marble top over a conforming frieze, raised on a flaring octagonal pedestal joined to a platform base with shaped legs ending in trefoils, h. 30”, w. 39”, d. 31”. A circular center table with a similar flaring standard by Demming and Bulkey, New York, is illustrated in Beckerdite, “American Furniture 1966” Figure 36 [800/1200] Illustrated

1108

1107 American Late Classical Mahogany Occasional Table, second quarter 19th century, the period serpentine marble top on a lyre-form trestle base with scroll feet, the stretcher modeled as a pair of lyres joined by a disc, h. 30‑1/2”, w. 29‑1/4”, d. 16”. [400/700] 1108 Rhoda Brady Stokes (American/Mississippi, 1901‑1988) “The Old South”, 1976, oil on board, titled bottom center, signed and dated lower right, 12” x 16”. Handsomely framed. [2500/4000] Illustrated

1109 1109 Rhoda Brady Stokes (American/Mississippi, 1901‑1988) “River Road”, 1955, oil on board, titled lower left, signed and dated lower right “Rhoda Stokes 55”, Gilley’s Gallery, Baton Rouge label on the reverse, 22” x 30”. Presented in a contemporary ebonized frame. [4000/7000] Illustrated

1106

1110 Louisiana School (Contemporary) “Louisiana Cabin Scenes”, group of four watercolors on paper, all signed by the artist “Helen S. Herdliska”, sight 10‑1/2” x 14‑3/8”. Glazed, matted and framed en suite. [400/700] 1111 Suite of Six American Late Classical Revival Mahogany Dining Chairs, early 20th century, each with an arched carved crest rail over a vasiform splat, with bowed seat rail and saber front legs, the slip seats now upholstered in gold brocade, h. 32”. [400/700]

187

1115 Pair of Regency-Style Cut Glass Two-Arm Candelabra, first quarter 20th century, topped with spear-cut finials and cut glass shades, h. 31‑1/2”, w. 21‑1/2”. [700/800] Illustrated 1116 Good Anglo-Irish Richly Cut Glass Fruit Bowl, first quarter 19th century, of navette form in “Paterae and Diamond Band” decor, the base reverse cut with a sixteenpoint sunburst, the rim cut with alternating scallops and double points, h. 5‑1/2”, w. 13‑1/2”. [100/200] 1117 American Late Classical Mahogany and Poplar Chest, second quarter 19th century, with a projecting bonnet drawer over a graduated bank of three drawers, flanked by scroll columns, raised on bracket feet, h. 45”, w. 44”, d. 24”. [250/400]

1115

1114 1112 American Late Classical Mahogany and Poplar Server/Sideboard, second quarter 19th century, the top fitted with a backsplash, the case with a projecting pair of drawers over a pair of paneled doors, the doors flanked by scroll pilasters, raised on shaped feet, the drawers with period pressed glass pulls, h. 53‑1/4”, w. 49”, d. 22”. [500/800] 1113 American Late Classical Mahogany and Cherry Chest, second quarter 19th century, the pair of projecting molded drawers over a graduated bank of three drawers flanked by scroll pilasters, raised on scroll feet, h. 46”, w. 43”, d. 22‑1/2”. [300/500] 1114 American Late Classical Mahogany Corner Cabinet, second quarter 19th century, in two parts, the upper section with a cyma-molded cornice edged with beaded molding, the single door with mullioned glazed panels, the base with a molded frieze with a central door over a pair of paneled doors, flanked by scroll pilasters, raised on scroll feet, h. 86”, w. 38”, d. 24”. [1500/2500] Illustrated

188

1118

1121 Pair of Parcel-Gilt Faux-Mahogany Pocket Doors, fourth quarter 19th century, removed from a French Quarter residence on Barracks Street, New Orleans, Louisiana, the original contract for the house detailed August 1881, each with six panels edged with giltwood moldings and having faux crotch-cut panels, h. 111‑3/4”, w. 45‑3/4”. [800/1200] Illustrated

1122

1120 1118 Group of Three Gilt- and Patinated-Bronze Argand Lamps, second quarter 19th century, in the Gothic taste, each with an embossed brass plate depicting an eagle with splayed wings, shield, arrows and olive branches and “Wm. E. Stoutenburgh, New York”, comprised of a double-arm lamp and a pair of single-arm lamps, each with shaped fonts and a square standard with a Gothic-arch panel, the two-arm model with foliate handles on the prism ring and a pair of period-style cut and etched glass shades in the Gothic taste, h. 17‑1/2”, w. 17”, d. 8”, the single-arm examples each with dolphin-form handles on the prism rings, h. 17‑3/4”, w. 10”, d. 7‑1/4”. [1500/2500] 1119 Pair of American Late Classical Mahogany Stools, second quarter 19th century, each with figured serpentine sides and bracket feet, retaining their antique burgundy plush upholstery, h. 17”, w. 18‑1/2”, d. 18‑1/2”. [400/700] 1120 American Late Classical Mahogany Secretary Bookcase, second quarter 19th century, in two parts, the stepped cornice over a pair of doors, each with segmented glazed panels with Gothic arches, and a pair of drawers below, the base with a fold-over writing surface supported by slides and opening to expose a gilt and tooled leather writing surface over a projecting cyma-molded drawer with a pair of drawers below, flanked by S-scroll columns and raised on scroll feet, h. 85‑1/2”, w. 49”, d. 23‑1/2”. [800/1200] Illustrated 1121

189

1125 Circle of George Inness (American, 1825‑1894) “Wooded Mountain Landscape with Figures Resting in a Clearing”, oil on canvas, unsigned, 22” x 30”. Presented in a period carved giltwood frame bearing brass artist plaque. [2500/4000] Illustrated 1126 American School (19th Century) “Half-Portrait of a Gentleman Holding a Cane”, oil on canvas, unsigned, with canvas stamp on the reverse “S. N. Dodges, Artist and Painters Supply Store, N. York”, 27” x 30”. Presented in a period molded giltwood frame with a pierced shell and foliate crest and like corner accents. [1200/1800]

1123 1122 Rare Pair of Newland Flint Glass Hurricane Lamps, retaining the original blown, cut and frosted shades, with original hardware with traces of original gilt joining the shades to the bases, h. 20‑1/2”, dia. 7‑1/2”. [700/1000] Illustrated

1125

1123 Large American Late Classical Mahogany Bookcase/Cabinet, second quarter 19th century, the upper section with a projecting cornice adorned with a gallery of acorn-form drop pendants, over a pair of mullioned doors flanked by spiral reeded and pineapple-carved pilasters, the bottom with a bank of three drawers on a plinth base, h. 97”, w. 62”, d. 14”. [1500/2500] Illustrated 1124 Monumental American Late Classical Rosewood Triple-Section Armoire, second quarter 19th century, the molded cornice over a recessed central mirrored door, the door opening to reveal an interior with an open shelf over a bank of drawers with three-over-four graduated drawers, the central sections flanked by projecting ends, each with a single door with a shallow upper over a deep lower panel, each panel mounted with molded parallelograms with finely detailed carving at each corner, each section edged in floral rondels, the top rail of each section with lotus-form carving, h. 96‑1/2”, w. 103”, d. 26‑1/2”. [4000/7000] Illustrated

190

1124

1127

1127 Transitional American Late Classical into Rococo Revival Mahogany Full-Tester Bed, third quarter 19th century, attributed to the Manchester, Massachusetts shop of Charles Lee, who crafted bedsteads for the antebellum New Orleans and Southern furniture trade, the stepped and molded tester raised on cluster-column posts, the paneled headboard centered by a carved shell flanked by scrolls, the rails adorned with applied lotus-carved moldings, h. 124”, inside w. 59”, l. 79”, outside w. 77”, l. 91”. [7000/10000] Illustrated

1128 American Late Classical Mahogany Single-Door Armoire, second quarter 19th century, probably New York, of Louis-Philippe Inspiration, with a molded and beaded cornice over a single glazed door, the door opening to expose a paneled interior, fitted with a low drawer, the door framed by cyma moldings, the base fitted with a drawer, h. 88”, w. 44”, d. 18”. [1000/1500] Illustrated

1128

191

1129

1132 Three-Piece American Prism-Hung Gilt-Brass Girandole Set, mid‑19th century, in “Vase” decor, comprising a large three-light example and a smaller pair of single-light examples, the largest h. 14”, w. 14”. [200/400]

1133

1129 Rare American Gothic Revival Mahogany Bookcase, second quarter 19th century, the projecting cyma- and cove-molded cornice over a pair of glazed doors, each adorned with tracery in the form of crosshatching and rows of Gothic arches, the doors centered by a cluster-column stile, the doors inset from the case, the flanking elements with an arched inset panel and cluster column, h. 95”, w. 72”, d. 21”. [3000/5000] Illustrated 1130 Three-Piece Prism-Hung Gilt-Brass “Bigelow Chapel” Girandole Set, with the molded label “W. B. Shaw, Boston, Patent Reg. December 18, 1849”, comprised of a three-light and a pair of single-light models, all on white marble bases, the largest h. 16”, w. 17‑1/2”. The Gothic Revival-style Bigelow Chapel sits on the grounds of Mount Auburn Cemetery in Cambridge, Massachusetts. [400/700] Illustrated 1131 Pair of Prism-Hung Gilt-Brass SingleLight Girandoles, mid‑19th century, in the “Sultana” pattern, h. 14‑3/4”. [100/200]

192

1130

1134

1135 Three-Piece American Prism-Hung Gilt-Brass Girandole Set, mid‑19th century, in “Mary Had a Little Lamb” decor, comprising a large three-light example flanked by a pair of smaller single-light examples, all dressed with spear-point prisms, the largest h. 15‑1/2”, w. 15‑1/2”. [150/300] 1136 Robert M. Rucker (American/Louisiana, 1932‑2000), “Fishing Camp on the Blue Louisiana Bayou”, oil on canvas, signed lower right “Robert M. Rucker”, 18” x 24”. Handsomely framed. [2500/4000] Illustrated 1137 Louisiana School (Contemporary) “Cabin on the Louisiana Bayou” and “Bayou Interior”, duo of oils on canvas board, both signed and dated “Primeaux 87”, 16” x 20”. Framed. [200/400]

1133 American Gothic Revival Mahogany Hall Tree, second quarter 19th century, the mirror plate centering a ray of arms joined to garment pegs, the arms of alternating trefoil and spiral shape, with two groups of horizontal arms below, each with trefoil ends, the base retaining its period demi-lune cast-iron drip pan, h. 74‑1/2”, w. 30”, d. 14”. [500/800] Illustrated 1134 American Rococo Revival Rosewood “Wig Dresser”, third quarter 19th century, with Gothic ornament, attributed to Mitchell and Rammelsberg, Cincinnati, Ohio, the underside of the marble top marked in lampblack “S T Wilcox Kirkwood”, in two parts, the upper section with a bonnet top and cabochon- and foliate-carved cartouche over a sunburst-upholstered panel, the rectilinear looking glass adorned with tracery in the Gothic taste, flanked by a pair of tall narrow cupboards, the base with its period marble top on a case with a bank of three graduated drawers, each trimmed with ribbon moldings, flanked by a pair of projecting cupboards, h. 98”, w. 48”, d. 21‑3/4”. [1800/2500] Illustrated

1136

193

1138 American Transitional Late Classical into Rococo Revival Mahogany Secretary, mid‑19th century, in two parts, the upper section with a cyma-molded cornice over a pair of arched glazed doors, each adorned with a cabochon-centered cartouche flanked by foliate carving, the base with a fold-out slant-lid writing surface over a projecting serpentine drawer, with a pair of drawers below, raised on bracket feet, h. 87‑1/2”, w. 41”, d. 21‑1/2”. [1000/1500] Illustrated

1139

1139 American Elizabethan Revival Rosewood Armchair, mid‑19th century, the back with an arched floral-carved crest rail joined to spiral-turned stiles, the open arms on like supports, the scalloped apron centered by a carved rose amidst leaves, now upholstered in floral needlework on a deep blue ground, h. 46”. [200/400] Illustrated

1138

1140 American Sheraton Mahogany “Plantation” Desk, mid‑19th century, in two parts, the upper section with a paneled fall front opening to create a writing surface and exposing a segmented interior, the base with a single drawer, raised on turned legs, h. 57‑1/2”, w. 33‑1/4”, d. 20‑3/4”. [300/500] 1141

194

1141 American Transitional Late Classical Into Rococo Revival Mahogany Tester Bed, third quarter 19th century, attributed to Charles Lee, Manchester, Massachusetts, of the sort made for the antebellum New Orleans market, the cluster-column posts supporting a paneled headboard with scalloped rail, the side and foot rails adorned with moldings and bellflower carving, now fitted with crimson-lined floral brocade bed hangings on a frame, h. 109”, inside w. 54”, l. 76”, outside w. 64”, l. 84”. [4000/7000] Illustrated

1145

1142 American Late Classical Walnut Armoire, third quarter 19th century, the stepped and molded cornice over a pair of paneled doors, raised on ogee-bracket feet, h. 88”, w. 54”, d. 18‑1/2”. [600/900] 1143 Napoleon III Rosewood Firescreen, third quarter 19th century, the glass-fronted removable fabric screen surmounted by a foliate crest and side finials, supported by foliate-formed uprights, raised on runner feet joined by a turned stretcher, h. 40”, w. 19”. [500/800] 1144 American Rococo Revival Faux-Rosewood “Lincoln” Rocker, late 19th century with grape- and leaf-carved crest, scroll arms adorned with foliate carving, serpentine front seat rail and cabriole legs, now upholstered after the period fashion in tufted claret moire, h. 37”. [150/300]

1149

1145 Rococo Revival-Style Lacquered Brass Six-Arm Chandelier, in “vintage” decor after an original gasolier by Cornelius & Co., Philadelphia, adorned throughout with grapes, leaves and vines, with segmented chains draped from the stem to the arms, fitted with cut and etched glass bowls after the period fashion, h. 67”, dia. 36”. [1500/2500] Illustrated 1146 Large Needlepoint Picture of Mary with the Christ Child, third quarter 19th century, stitched in polychrome wool on a canvas background, mounted in the original cove-molded giltwood frame, h. 48”, w. 36”. [500/800] 1147 American Rococo Revival Walnut Sidechair, third quarter 19th century, the back with open-carved twining oak leaves and acorns joined to turned stiles, with serpentine front seat rail and turned legs, h. 41‑1/2”. [150/300] 1148 American Rococo Revival Walnut Wash Stand, third quarter 19th century, having a white marble top with ovolo corners and a backsplash, over a conforming case with a projecting drawer over a pair of arched paneled doors, the drawer pulls and doors adorned with fruit carving, the doors flanked by carved canted columns, h. 37”, w. 36‑1/2”, d. 17‑1/2”. [400/700]

195

1149 American Rococo Revival Walnut and Burled Walnut Bed, third quarter 19th century, incorporating carefully selected highly figured burled veneers, the headboard with a shell-carved crest centered by a camellia bloom, flanked by scrolling foliate carving, over a trio of arched panels, the wrap footboard with a tall central panel flanked by low panels, each capped by foliate and shell carving, h. 73‑3/4”, inside w. 56”, l. 75”, outside w. 60‑1/2”, l. 80‑1/2”. [1200/1800] Illustrated previous page

1156

1150 Three-Piece Prism-Hung Gilt-Brass Girandole Set, mid‑19th century, attributed to Cornelius and Co., Philadelphia, consisting of a large three-light example depicting figures from James Fenimore Cooper’s “The Leather Stocking Tales”, flanked by a smaller pair of single-light examples depicting “The Colonial Officer and His Lady”, the largest h. 17‑1/2”, w. 17‑1/2”. [400/700] Illustrated 1151 Three-Piece Gilt-Lacquered Brass and Cut Glass Girandole Set, mid‑19th century, attributed to Cornelius and Company, Philadelphia, comprised of a central three-light “Longstockings” or “Daniel Boone” model, h. 18”, and a pair of single-light “Indian Warrior” models, each hung with star-cut prisms, h. 16‑1/2”. [200/400] 1152 Three-Piece Prism-Hung Gilt-Brass Girandole Set, mid‑19th century, probably New York, in “Foliate Scroll” decor, comprising a large three-light example flanked by a pair of smaller single-light examples, the largest h. 17‑3/4”, w. 17”. [200/400] 1153 Three-Piece American Prism-Hung Gilt-Brass Girandole Set, mid‑19th century, in “Fisher Boy and Girl” decor, consisting of a large three-light example and a pair of smaller single-light examples, all dressed with star-cut prisms, the largest h. 17”, w. 15”. [150/300]

1150

1155 1154 American Rococo Revival Walnut and Marble-Top Occasional Table, third quarter 19th century, the variegated black and gray marble top of tortoise form, over a conforming molded frieze, raised on cabriole legs with foliate carving above the knees, joined by shaped stretchers centered by a finial, h. 29”, w. 33‑1/2”, d. 23”. [200/400]

1155 Alexander John Drysdale (American/ Louisiana, 1870‑1934) “Sunlight Over the Bayou”, oil wash on board, pencil signed lower right “A. J. Drysdale”, verso with label “Marx Art Store, New Orleans”, sight 19‑1/2” x 29‑3/4”. Glazed and framed. [2500/4000] Illustrated 1156 Alexander John Drysdale (American/ Louisiana, 1870‑1934) “Cypress and Oaks Along the Bayou”, oil wash on board, pencil signed lower right “A. J. Drysdale”, verso with label “Marx Art Store, New Orleans”, sight 7‑3/4” x 23‑3/4”. Glazed and framed. Provenance: Acquired directly from the artist; descended in a Mobile, Alabama family. [1500/2500] Illustrated

196

1157 Louisiana School (Contemporary) “Twilight on the Bayou” and “Bayou Morning”, two oils on canvas board, both signed and dated, one “Primeaux 87”, the other “Primeaux 88”, 16” x 20”. Framed en suite. [200/400]

1159

1158 Louisiana School (Contemporary) “Louisiana Cabin Scenes”, trio of watercolors on paper, all signed by the artist “Helen S. Herdliska”, sight 10‑1/2” x 14‑3/8”. Glazed, matted and framed en suite. [300/500] 1159 Victorian-Style Cast-Iron Garden Bench, after a mid‑19th century model by Coalbrookdale, the back centered by an oval panel depicting a classical maiden amidst open interwoven vines, flora and birds, with iron slat seat and carved legs with hoof feet, h. 39‑1/2”, w. 69”, d. 25”. [700/1000] Illustrated 1160 Victorian-Style Cast-Iron Garden Bench, after a mid‑19th century model by Coalbrookdale, the back centered by an oval panel depicting a classical maiden amidst open interwoven vines, flora and birds, with iron slat seat and carved legs with hoof feet, h. 39‑1/2”, w. 69”, d. 25”. [700/1000] 1161 Richard La Barre Goodwin (American/New York, 1840‑1910) “Nature Morte: Green-Winged Teals”, oil on canvas, signed lower right “R. La Barre Goodwin”, verso with label “Hooper Fine Arts, 593 Fulton St., Brooklyn”, 24” x 18”. Presented in its original carved giltwood frame. [5000/8000] Illustrated

1162 Circle of George Louis Viavant (American/Louisiana, 1872‑1924) “Nature Morte: Green-Winged Teal and a Mallard”, oil on canvas, unsigned 24” x 16”. Presented in a period molded giltwood frame. [150/300] 1163 Elaine Vollherbst (American/Contemporary) “Pug and a Pekinese in an Elegant Interior”, 1991, oil on canvas, signed and dated lower right “Vollherbst 91”, 12” x 16”. Handsomely framed. [300/500] 1164 American School (First Quarter 20th Century) “Trio of Dogs Resting in a Mountain Landscape”, gouache and charcoal en grisaille, unsigned, sight 20‑3/4” x 29”. Glazed, matted and framed. [250/400] 1165 American School (First Quarter 20th Century) “On the Scent”, pastel on paper , unsigned, sight 29” x 21”. Glazed, matted and framed. [300/500] 1166 Elaine Vollherbst (American/Contemporary) “Family Portrait”, 1990, oval oil on canvas, signed and dated lower right “Vollherbst 90”, 11” x 14”. Handsomely framed. [200/400] 1167 D. A. Fisher (American/Maine, 1867‑1940) “Nature Morte: Fish”, pastel on artist board, signed lower left “D. A. Fisher”, 19‑5/8” x 15‑5/8”. Glazed and framed. [150/300] 1168 American School (Late 19th Century) “Country Farm View with a Mother and Child Feeding Ducks”, oil on canvas, signed lower right “C. L. Myers”, retains label on the reverse “George Ryneal, Jr., Artist’s Supplies, Washington, D.C.”, 23” x 29”. Presented in a period giltwood and plaster frame. [250/400] 1169 American School (First Quarter 20th Century) “Wooded Landscape”, watercolor, signed and dated lower right “F. C. Gunkel M.D. 1904”, sight 9‑3/4” x 6‑5/8”. Glazed and framed. [100/200]

1161

197

1171

1172 Louisiana School (Contemporary) “Shrimp Boats at Bayou Lafitte”, mixed media on masonite, painted and carved wood relief, an intricately carved and decorated bayou scene of the shrimp boats “Shrimp Creole” and “Bayou Girl”, docked by a “Bayou Fish Market” with several figures unloading and organizing supplies, signed lower left “Rochelle”, titled and signed on the reverse, overall framed 32‑1/2” x 44‑1/2”. [600/900] Illustrated 1173 George Dureau (American/New Orleans, b. 1930) “Saxophone Player”, charcoal on paper, signed lower center “Dureau”, sight 16‑1/2” x 13”. Glazed, matted and framed. [600/900] Illustrated 1174 George Dureau (American/New Orleans, b. 1930) “Beach Scene”, color silkscreen, pencil signed lower right “Dureau”, numbered lower center “179/500”, sheet 23” x 29”. Unframed. [150/300]

1175 Paul Ninas (American/New Orleans, 1903‑1967), an amusing earthenware plate decorated with elephants, inscribed and signed on the underside “Designed for Esther, Paul Ninas”, dia. 12‑1/2”. [600/900] 1176 Tony Krysinsky (American/Florida, Contemporary) “Untitled”, 1981, mixed media on canvas, signed and dated lower right and on canvas verso, 54” x 48”. Unframed. [600/900] 1177 Noel Rockmore (American/New Orleans, 1928‑1995) “The Last Chicken Henry”, 1963, oil on canvas, signed, dated and inscribed lower left “The Last Chicken Henry, Rockmore, ‘63, Sept., N.Y.”, 58” x 28”. Handsomely matted and framed. [5000/8000] Illustrated

1173

1170 Pair of Neoclassical-Style Cast-Aluminum Garden Chairs, in the “Lyre and Rose” pattern, after a 19th-century model, the back centered by a lyre with floral swags amidst flora and scrolls, extending to open arms, the seats dished, h. 32”. [400/700] 1171 Pair of Neoclassical-Style Cast-Aluminum Garden Chairs, in the “Lyre and Rose” pattern, after a 19th-century model, the back centered by a lyre with floral swags amidst flora and scrolls, extending to open arms, the seats dished, h. 32”. [400/700] Illustrated

1172

198

1178 Hunt Slonem (American/New York, b. 1951) “The Kiss”, 1996, acrylic on plywood panel, titled, dated and signed on the reverse, 48” x 56”. Presented in an ornately carved giltwood frame with a molded slip and corner carved floral sprays. [3000/5000] Illustrated

1179

1177

1179 Noel Rockmore (American/New Orleans, 1928‑1995) “View of the New York Skyline with the Artist Gifting a Bouquet of Flowers”, 1963, oil on board, signed and dated lower right “Rockmore ‘63”, 14” x 11‑1/4”. Handsomely framed. [1400/1800] Illustrated

1178

199

1188 two-piece suite

1180 George Rodrigue (American/Louisiana, b. 1944) “Voodoo Will Get Me Back To You”, 1995, acrylic on canvas, signed lower left “Rodrigue”, accompanied by a copy of an appraisal by the Rodrigue Studios, Lafayette, Louisiana, dated October 2008, 58” x 78”. Presented in a blacklacquered contemporary frame. Provenance: Acquired in 2000 by a private collector, Miramar Beach, Florida. [35000/50000] Illustrated

1181 George Rodrigue (American/Louisiana, b. 1944) “Cosmic Cousins”, acrylic on canvas, signed lower left “Rodrigue”, 12” x 16”. Presented in a contemporary giltwood frame with a cream linen liner. Provenance: Private collection, Miramar Beach, Florida. [7000/10000] 1182 Willie White (American/Louisiana, 1908‑2000) “Dragons and Cherries”, marker on paper board, sight 21‑1/2” x 27‑1/2”. Glazed, matted and framed. [300/500] 1183 Willie White (American/Louisiana, 1908‑2000) “Watermelons, Cherries and Flying Dragons”, marker on paper, sight 22” x 27‑1/2”. Glazed, matted and framed. [300/500]

1180

200

1184 Willie White (American/Louisiana, 1908‑2000) “Cherry Trees”, marker on poster board, unsigned, 22” x 28”. Unframed. [100/200]

1185 Willie White (American/Louisiana, 1908‑2000) “Figure with Crosses”, marker on poster board, signed lower center, sheet 22” x 28”. Unframed. [100/200] 1186 Vintage One-Gallon Raw Oyster Can, second quarter 20th century, from the McNancy Oyster Company, Baltimore, the tin can in pale yellow with dark green lettering, h. 7‑1/2”, w. 6‑1/2”. [50/80] 1187 English Neo-Gothic Brass Standish, late 19th century, the circular inkwell with a foliate-patterned lid and raised on a base in a Gothic tracery pattern, h. 2‑1/4”, w. 12‑1/2”, d. 4‑1/2”. [75/125] Illustrated 1188 Two-Piece American Aesthetic Movement Japonesque Lacquer Panel-Mounted FauxBamboo Bedroom Suite, ca. 1878, attributed to Pottier and Stymus Manufacturing Company, New York, comprised of a bed, h. 64”, inside w. 58”, l. 79”, outside w. 63”, l. 85”, and a dressing bureau, h. 86‑1/2”, w. 48‑1/2”, d. 22‑1/2”, each crest with a Japonesque lacquered panel, adorned with ebonized trimmed fauxbamboo turnings and bird’s-eye maple veneers, the dressing bureau retaining its original Danby marble top. The bed and dressing bureau are marked with the number “41361” in lampblack, the interior of the lacquered headboard panel is marked “41361 Duke bedstead”. Custom commission pieces by Pottier and Stymus are often marked with the name of the patron for whom the piece was executed. A similar lacquer-paneled fauxbamboo tall chest is in the collection of Southampton Antiques, Southampton, Massachusetts. That example retains a rare Pottier and Stymus stenciled label. [4000/7000] Illustrated 1189 Pair of Belle Epoque Bronze, Glass and Marble Lamps, early 20th century, each with a spiral-ribbed glass standard on a grouping of three intertwined putti, raised on a circular marble base, h. 24”. [700/1000]

1194 1190 American Late Classical Revival Ebonized and Parcel-Gilt Mahogany Banquet Table, ca. 1900, the circular top with a gadrooned edge, the split pedestal with a tapering octagonal standard joined to a concave platform on ball-and-claw feet, opening to accommodate three twelve-inch leaves, h. 28‑3/4”, dia. 60”. [1500/2500] Illustrated 1191 American Aesthetic Movement Walnut Armchair, fourth quarter 19th century, the seat back with a rectilinear cushion over a gallery of joined floral-carved rings, the open arms terminating in carved leonine masks, with a bowed and carved front seat rail, retaining three period vulcanized rubber casters, h. 31‑1/4”. [300/500] 1192 American Art Deco Rosewood and Sterling Silver Swagger Stick, first quarter 20th century, the rosewood shaft tapering and of rounded triangular section, with conforming silver cap and cylindrical tip, monogrammed on the cap “EJB”, l. 28”. [100/200]

1193 Miller Lamp Company Slag Glass and Bronze-Patinated Table Lamp, early 20th century, of Art Nouveau inspiration, the electrical sockets each engraved “Miller Lamp”, the octagonal shade with slag glass panels and stylized foliated floral filigree, on a balusterform standard, flaring at the base, h. 24”, dia. 18‑1/2”. [300/500]

1190

1194 Nils Obel (Danish/American, Contemporary) “Brooktrout, Eel, Minnow”, 1988, graphite, colored pencil and ink on Arches paper, signed lower left “Nils Obel”, sheet 26” x 41”. Glazed and presented in a contemporary stained wood frame. Born in Copenhagen and educated in Paris, Nils Obel is a contracted scientific illustrator for the Smithsonian Institute, Washington D. C. and the National Fish and Wildlife Foundation. [1800/2500] Illustrated

201

1197 Nils Obel (Danish/American, Contemporary) “Cherubfish, Spotted Trunkfish”, 1988, graphite, colored pencil and ink on Arches paper, signed lower right “Nils Obel”, sheet 26” x 41”. Glazed and presented in a contemporary stained wood frame. [1800/2500] Illustrated 1198 Alberta Kinsey (American/Louisiana, 1875‑1969) “View of Figures Walking Down Pirate’s Alley, French Quarter, New Orleans”, oil on canvas board, signed lower left “Alberta Kinsey”, 16” x 10”. Handsomely framed. [1000/1500] Illustrated

1195

1199 Carl M. Thorp (American/New Orleans, 1912‑1989) “Orleans Street, New Orleans”, oil on canvas, signed lower left “Carl Thorp”, titled on the reverse, 25” x 30”. Handsomely framed. [900/1200] Illustrated 1200 New Orleans School (Contemporary) “St. Louis Cathedral” and “Brulatour Courtyard”, pair of oils on canvas board, signed “Bea”, 10” x 8”. Framed en suite. [100/200]

1196

1195 Nils Obel (Danish/American, Contemporary) “Yellowtail Snapper, Spotcheek Blenny”, 1988, graphite, colored pencil and ink on Arches paper, signed lower right “Nils Obel”, verso with gallery label “Simms Fine Art, 827 Girod Street, New Orleans, Louisiana”, sheet 26” x 41”. Glazed and presented in a contemporary stained wood frame. [1800/2500] Illustrated 1196 Nils Obel (Danish/American, Contemporary) “Lobster, Atlantic Tomcod”, 1988, graphite, colored pencil and ink on Arches paper, signed lower right “Nils Obel”, sheet 26” x 41”. Glazed and presented in a contemporary stained wood frame. [1800/2500] Illustrated

1197

202

1201 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]

1198 1202 Alberta Kinsey (American/Louisiana, 1875‑1969) “Still Life of Fruit in a Basket on a Draped Table”, oil on canvas, signed lower right “Alberta Kinsey”, 18” x 22”. Handsomely framed. [2500/4000] Illustrated

1202

1203 Newcomb College Matte-Glazed Pottery Vase, 1924, potted by Joseph Fortune Meyer (1848‑1931) and decorated by Sarah Agnes Estelle “Sadie” Irvine (1887‑1970), in “Flowering Quince” decor, the base signed and numbered, h. 7”, dia. 5”. [2500/4000] Illustrated following page 1204 Newcomb College Matte-Glazed Pottery Vase, 1912, potted by Joseph Fortune Meyer (1848‑1931) and decorated by Sarah Agnes Estelle “Sadie” Irvine (1887‑1970), in “Jonquil Blossom” decor, the base signed and numbered, h. 8‑3/4”, dia. 5”. [1500/2500] Illustrated following page

1199

203

1207

1205

1208

1204

1209

1203

1206

1205 Early Newcomb College High-Glazed Pottery Vase, 1901, potted by Joseph Fortune Meyer (1848‑1931) and decorated by Marie Odell Delavigne (1870‑1963), the base signed and numbered, h. 6‑1/4”, dia. 4‑1/4”. This piece was part of the collection included in the 1901 PanAmerican Exposition in Buffalo, New York; it is illustrated on page 31, fig. 11 in Jessie Poesch’s Newcomb Pottery: An Enterprise for Southern Women, 1895‑1940 (Atglen, Pennsylvania: Schiffer, 1984). [3000/5000] Illustrated 1206 Newcomb College Matte-Glazed Pottery Vase, 1922, potted by Joseph Fortune Meyer (1848‑1931) and decorated by Sarah Agnes Estelle “Sadie” Irvine (1887‑1970), in “Moon and Moss” decor, the base signed and numbered, h. 9”, dia. 3‑3/4”. [4000/7000] Illustrated 1207 Attractive Newcomb College High-Glazed Pottery Two-Handled Vase, 1906, potted by Joseph Fortune Meyer (1848‑1931) and decorated by Sara Bloom Levy (d. 1955), the body decorated with stylized mahonia branches, the base signed and numbered, h. 9‑1/4”, dia. 5‑1/2”. [5000/8000] Illustrated

1210 George Ohr (American/Mississippi, 1857‑1918), a dark brown and gunmetal-glazed pottery vessel, of bulbous and footed form with a folded and pinched rim, with a partially visible stamped mark “G. E. OHR, Biloxi, Mississippi”, h. 5‑1/2”, dia. 5‑1/2”. [1800/2500] Illustrated 1211 Walter Inglis Anderson (American/Mississippi, 1903‑1965) “2 Dead Baby Birds”, graphite and watercolor on paper, possibly dated in pencil upper right “61‑6”, titled in pencil on the reverse, verso with Certificate of Authenticity from the Estate of Walter Anderson, numbered 10798, dated April 26, 1994, sheet 8‑3/8” x 11”. Glazed, handsomely matted and framed. Provenance: Private collection, Fairhope, Alabama. [7000/10000] Illustrated

1208 Attractive Newcomb College Matte-Glazed Pottery Vase, 1931, potted by Jonathan Hunt (1876‑1943) and decorated by Sarah Agnes Estelle “Sadie” Irvine (1887‑1970), in “St. Tammany Pines” decor, the base signed and numbered, h. 9‑1/4”, dia. 4”. [5000/8000] Illustrated 1209 Attractive Early Newcomb College High-Glazed Pottery Vase, 1903, potted by Joseph Fortune Meyer (1848‑1931) and decorated by Katherine L. Wood (1874‑1919), in “Rosa de Montana” decor, the base signed and numbered, h. 7”, dia. 5‑1/2”. [3500/5000] Illustrated

204

1210

1215 George Dunbar (American/Louisiana, b. 1927) “Rag Collage”, 1980, mixed media on canvas, signed and dated lower right “Dunbar 80”, with label on the reverse “Galerie Simonne Stern, New Orleans, Louisiana”, 77” x 96”. Framed. [8000/12000] Illustrated 1216 Lin Emery (American/New Orleans, b. 1928) “Fleur de Mal”, ca. 1970, patinated bronze, unique, mounted on a polished ebonized slate base, the underside with an old inventory label, partially legible “Lin Emery, #3088, Fleur (de Mal), bronze unique”, h. 7”, w. 7”, d. 4”. [1400/1800] Illustrated

1216

1211 1212 OPEN LOT 1213 Newcomb College Semi-Matte-Glazed Pottery Vase, 1921, potted by Joseph Fortune Meyer (1848‑1931) and decorated by Sarah Agnes Estelle “Sadie” Irvine (1887‑1970), in “Stylized Jonquil Blossoms” decor, the base signed and numbered, h. 6‑3/4”, dia. 3”. [1500/2500] 1214 Robert Courjon (American, Contemporary) “Woman Combing Her Hair”, pastel, signed and dated lower left “Courjon ‘61”, sight 22” x 16”. Glazed, matted and framed. [75/125]

1213

1215

205

1217 George Bauer Dunbar (American/Louisiana, b. 1927) “Torso”, 1990, clay relief, signed and dated on the reverse “George Dunbar 1990”, 23” x 25‑3/4”. Framed. [8000/12000] Illustrated 1218 George Dunbar (American/Louisiana, b. 1927) “Cross”, 1971, silver leaf over red clay on board, signed and dated upper left “Dunbar ‘71”, 48‑3/4” x 48‑1/2”. Framed. [5000/8000] Illustrated

1218

1219

1220 1219 George Dunbar (American/Louisiana, b. 1927) “Abstract Composition with Circles”, 1973, moon gold and yellow gold over red clay, signed and dated upper right “Dunbar 73”, 17‑3/4” x 20”. Framed. [4500/7000] Illustrated

1217

206

1220 George Bauer Dunbar (American/Louisiana, b. 1927) “Heart”, gold leaf over red clay, from the “Hardedge Hearts” series, signed bottom center “dunbar”, 13‑3/4” x 12”. Framed. [2000/4000] Illustrated

1221 Mildred “Millie” Wohl (American/New Orleans, d. 1977) “Abstract Composition”, oil on masonite, signed on the reverse “M. Wohl”, 48” x 36”. Framed. Provenance: Private collection, New Orleans, Louisiana. [1500/2500] Illustrated

1222

1222 Mildred “Millie” Wohl (American/New Orleans, d. 1977) “Abstract Composition”, oil on masonite, signed on the reverse “M. Wohl”, 48” x 48”. Framed. Provenance: Private collection, New Orleans, Louisiana. [1500/2500] Illustrated 1221

1223 1224

207

1225 1223 Mildred “Millie” Wohl (American/New Orleans, b. 1977) “Abstract Composition”, oil on masonite, signed on the reverse “M. Wohl”, 36” x 24”. Framed. Provenance: Private collection, New Orleans, Louisiana. [1000/1500] Illustrated previous page 1224 Ida Kohlmeyer (American/Louisiana, 1912‑1997) “Layered Landscape”, 1974, color lithograph, titled and numbered “88/100” lower center, signed and dated in pencil lower right “Kohlmeyer ‘73”, sheet 44” x 30”. Glazed and framed. [800/1200] Illustrated previous page 1225 Robert Gordy (American/Louisiana, 1933‑1986) “Arcadian Still Life with Females”, 1971, acrylic on canvas, initialed and dated lower right “RG ‘71”, titled, dated and signed on stretcher verso, with gallery label on the reverse “Hank Baum Gallery, San Francisco, California”, and remnants of a New Orleans gallery label, possibly Galerie Simonne Stern, 68‑1/2” x 104”. Framed. Provenance: Acquired in 1971 from the Hank Baum Gallery, San Francisco, California. [12000/18000] Illustrated 1226 Robert Gordy (American/Louisiana, 1933‑1986) “River Bathers”, silkscreen in colors on black paper, signed lower left “R. Gordy”, numbered lower right “8/65”, sight 20‑3/4” x 20‑1/4”. Glazed and framed. [300/500] 1227

208

1232 Chinese Carved Celadon Jade Pendant Plaque, 20th century, of rectangular outline with openwork border of two confronting phoenix birds with pendant plumage, the center of the plaque carved in relief with a kylin emitting a vapor fountain holding a book, the stone of even celadon color, h. 2‑1/2”, w. 1‑7/8”. [250/400] Illustrated 1233 Chinese Carved Jade Tea Bowl, 20th century, of conventional form, the pale green translucent stone with scattered black and russet inclusions in a translucent and near colorless matrix, dia. 3‑7/8”. [60/90] Illustrated

1229

1227 Robert Gordy (American/Louisiana, 1933‑1986) “Female Nude in a Landscape”, 1974, marker drawing on paper, signed and dated lower left “R. Gordy ‘74”, sheet 20‑1/4” x 15‑1/4”. Glazed, matted and framed. [600/900] Illustrated 1228 Robert Gordy (American/Louisiana, 1933‑1986) “Women Climbing Stairs”, color silkscreen, pencil signed lower right “Robert Gordy”, pencil signed lower left “57/100”, sight 24‑1/4” x 32‑1/4”. Glazed and framed. [350/500] 1229 Robert Gordy (American/Louisiana, 1933‑1986) “Red Sofa”, silkscreen in colors, pencil signed lower left “R. Gordy”, numbered lower right “17/80”, sight 24‑1/4” x 35”. Glazed, matted and framed. [400/700] Illustrated 1230 Hazel Guggenheim McKinley (American/Louisiana, 1903‑1995), unframed silkscreen in colors on paper of a floating sleeping cat, signed and inscribed lower right “Happy New Year to Barbara and all the Kathens, Hazel”, sheet 22” x 27”; along with a matching set of four cotton ivory dinner napkins and a tablecloth screened with the same image and artist’s signature, tablecloth w. 61”, l. 70‑3/4”, napkins w. 15‑3/4”, l. 18‑1/4”. [150/300] 1231 Fine Chinese Carved White Jade Pendant Plaque, 19th century, of rectangular outline with rounded corners, carved in low relief with two boys playing cymbals on one face and flowering plants on the other, both with confronting dragons at the top, the stone of even white color, h. 2”, w. 1‑7/16”. [300/500]

1232

1233

209

1234 Chinese Carved Rock Crystal Model of a Pagoda, the carved and polished natural rock crystal modeled as a nine-story pagoda, each story with a faceted eightsided roof and etched windows in each side, the top with a double gourd-shaped finial, h. 17”. [3500/5000] Illustrated

1235 1234

1235 Large Chinese Wucai Porcelain Foliate Saucer Dish, Republic Period (1908‑1949), the basinshaped saucer dish with a foliate lip rim decorated in underglaze blue and yingcai enamels with lotus, scrolling foliage and flowering plants, the base with a six-character Yongzheng reign mark in underglaze blue within a double circle, dia. 15‑1/2”. [1000/1500] Illustrated

1236

1238 Chinese BambooVeneer Snuff Bottle, of flattened circular form, each side with a central Shou character surrounded by five bats and encircled at the edge by a border of ruyi heads, h. 2‑1/2”. [900/1200] Illustrated 1239 Group of Four Chinese Snuff Bottles, comprised of a lavender and green bottle carved in relief with a monkey and calligraphy; a malachite bottle carved as figures among trees; a faux-tortoiseshell polygonal bottle with calligraphy; and an ivory bottle carved in low relief with figures and an etched landscape scene, h. 1‑1/2” to 2‑1/4”. [600/900] Illustrated

1238 1236 Good Chinese Overlay Glass Snuff Bottle, overlaid in red on snowflake glass, carved on each side as a Spanish coin of King Charles IV, the sides with mock ring handles, with an aventurine stopper, h. 2‑3/8”. [900/1200] Illustrated 1237 Chinese Carved White Jade Pendant Plaque, 20th century, of rectangular outline with an openwork border of two phoenix birds with pendant plumage, the center of the plaque carved in relief with a dragon confronting a horse, the stone of even white color, h. 2‑5/8”, w. 1‑7/8”. [300/500]

210

1240 Unusual Chinese Molded Gourd Snuff Bottle, the bottle molded with an overall “chicken skin” pattern with scrolling foliate sides, the front and back with reserve panels, one of a bold character, the other of two confronting insects, rockwork and bamboo, h. 2‑3/4”. [1000/1500] Illustrated

1239

1241 Fine Chinese Famille Jaune Porcelain Bowl, Republic Period (1912‑1949), decorated on the interior with five bats in iron red, the exterior decorated in famille rose enamels on a yellow ground with magnolia, lily, aster and peony flowers with scattered foliage and assorted small flowers, the base with a six-character Daoguang seal mark in underglaze blue, dia. 5‑1/2”. [500/800] Illustrated 1240

1242 Fine Chinese Enameled Porcelain Dragon Bowl, Guangxu reign (1875‑1908), finely enameled on the interior with a green Ming-style dragon among clouds, the exterior decorated in famille rose enamels with four circular reserve panels of five-clawed dragons against a key-fret ground with scattered decoration of antiques, flowers and fruit, the recessed base with a six-character Guangxu reign mark in underglaze blue, dia. 8‑1/4”. [600/900] Illustrated

1244

1243 Fine Pair of Chinese “Imperial Yellow” Porcelain Small Bowls, Republic Period (1912‑1949), each thinly potted and delicately engraved with dragons and phoenixes among clouds above a sectioned border on the exterior, the interiors plain, the base with a six-character Xianfeng mark in underglaze black, dia. 4‑1/4”. [400/700] Illustrated 1242

1241 1243

1244 Group of Four Chinese Snuff Bottles, comprised of a green and russet jade double-gourd bottle carved with a water dragon and a butterfly; a carved green and black jade bottle with pine branches; a green and russet jade bottle carved as a kylin; and a celadon and russet jade bottle carved in relief with a cat and a banana leaf, h. 2” to 3”. [600/900] Illustrated

211

1245 Chinese Blue and White Porcelain Sectioned Food Container, 20th century, of three sections with domed cover, decorated in underglaze blue and overglaze white depicting a flowering plum tree, the design running across the sections and onto the cover, h. 8‑1/4”. [100/200] 1246 Chinese Clair de Lune-Glazed Porcelain Planter, Republic Period (1912‑1949), of drum shape with molded mask, ring handles, and lines of bosses at the base and rim, glazed all over in an even blue glaze, the recessed base with a six-character Yongzheng seal mark in underglaze blue, h. 6‑1/4”, dia. 7‑1/2”. [250/400] 1247 Chinese Famille Rose Porcelain Nine Peach Bottle Vase, Guangxu mark and probably late in the period, the bottle-form vase enameled as leafy branches with nine ripe peaches and a single bat above the peaches, the base with a six-character Guangxu mark in iron red, h. 12‑1/2”. [1800/2500] Illustrated

1250

1248 Chinese Famille Rose Porcelain Sgraffito Bowl, Guangxu mark (1875‑1908) and probably of the period, the interior plain, the exterior enameled in puce with incised five-clawed dragons pursuing the Flaming Pearl, the base with a six-character Guangxu mark in iron red, dia. 4‑1/2”. [600/900] 1249 Pair of Chinese Famille Rose Porcelain Vases, Republic Period (1912‑1949), each of baluster form with a bulbous lip rim and fretwork handles, finely decorated in famille rose enamels with four legendary figures around the body and a Kylin and demon mask at the neck, the base with a Tongzhi mark in red, h. 11‑1/4”. [300/500]

1247

212

1252

1250 Good Late Regency Rosewood Center Table, ca. 1825, the circular top inset with a gilt-tooled leather surface, above a plain frieze, raised on a columnar and foliatecarved standard to a concave tripartite base on paw feet, h. 29‑1/2”, dia. 49‑1/2”. [6000/9000] Illustrated 1251 Regency Rosewood Teapoy, first quarter 19th century, the hinged rectangular top opening to three lidded compartments and a mixing bowl, the rounded graduated case raised on a paneled graduated standard to a concave rectangular base on bun feet, h. 33‑1/4”, w. 16‑1/8”, d. 13‑3/4”. [600/900]

1252 Large Regency Mahogany Tallcase Clock, first quarter 19th century, in the Hepplewhite taste, the broken-arch pediment centered by a finial, the scrolls mounted with embossed brass rosettes, the painted face with a second hand, the bonnet with flanking turned columns, the case with a shaped door also flanked by columns above a base with a crossbanded octagonal panel, scalloped apron and splayed feet, h. 99”, w. 23‑1/2”, d. 9‑3/4”. [1500/2500] Illustrated 1253 English Brass-Inlaid Rosewood Dressing Box, mid‑19th century, retaining the original red figured paper interior and three cut glass cosmetic jars with silverplate caps, initialed JMK, h. 4‑1/2”, w. 10‑3/4”, d. 7‑3/4”. [75/125]

1256 1255

1254 Regency Mahogany Two-Compartment Tea Caddy, first quarter 19th century, the lid centered with a brass ring pull surrounded by a basket of flowers, the interior foil lined, raised on brass ball feet, h. 6”, w. 7”, d. 4‑3/4”. [150/300] 1255 Regency Mahogany Linen Press, first quarter 19th century, the molded cornice above a case fitted with two doors, each inset with an oval panel and with corner patera accents, opening to a shelved interior, the lower section fitted with two short drawers over two graduated long drawers, raised on bracket feet, h. 81”, w. 47‑1/2”, d. 20‑1/2”. [1800/2500] Illustrated

1257

1256 Fine Late Regency Mahogany Games Table, first quarter 19th century, the highly figured fold-over top with a beaded edge, over a conforming apron with a projecting panel with shell and foliate carving, raised on a vasiform pedestal joined to a concave platform base with rayed deep-reed carving, raised on reeded and curved legs ending in brass paw cup casters, the interior beaded, veneered and finished, h. 30”, w. 39”, l. 20”, extended l. 39”. [2000/4000] Illustrated

213

1260 1257 Suite of Six Regency Mahogany Sidechairs, first quarter 19th century, each with a back-scrolled ribbed crest above a paneled back and spiral-ribbed splat, the padded seat raised on molded sabre legs, h. 32”. [1200/1800] Illustrated previous page 1258 Early Victorian Mahogany Firescreen, third quarter 19th century, the adjustable rectangular floral tapestry screen within a plain frame, raised on a turned and ribbed standard to three splayed cabriole legs ending in ball-and-claw feet, h. 59”. [250/400] 1259 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]

1261

1260 Fifteen-Piece Group of Chinese Export Famille Rose Porcelain Dinnerware, 18th century, comprised of eight soup plates and seven dinner plates, of shaped outline with low-relief floral-molded decor, decorated in famille rose enamels with roses and floral sprays, dia. 9‑3/8”. [800/1200] Illustrated

1264

1261 Chinese Export Famille Rose Porcelain Covered Tureen and Undertray, 18th century, the covered tureen with boar-head handles and lion finial on the cover, the undertray of shaped oval outline, all with low-relief molded floral decor, decorated in famille rose enamels with roses and floral sprays, h. 9‑1/2”, l. 13”. [3000/5000] Illustrated 1262 Pair of Chinese Export Famille Rose Porcelain Sauce Boats, 18th century, each of European shape with lowrelief molded decoration in famille rose enamels and gilding with roses and floral sprays, l. 8‑3/4”. [1000/1500] Illustrated

1262

214

1263 Pair of Chinese Export Famille Rose Porcelain Shaped Dishes, 18th century, each of shaped oval outline with low-relief molding of floral decor in famille rose enamels and gilding with roses, foliage and floral sprays, l. 10‑5/8”. [1000/1500]

1264 Fine Set of Seven Minton Richly Decorated Porcelain Dinner Plates, pattern number G4443 introduced in 1881‑1882, each with a broad textured robin’s egg blue rim bordered by gilt banding and centered with an extravagant gold and silver enameled monogram “MMR”, the underside with impressed Minton date mark for 1882, overglaze puce Minton mark with orange pattern number and decorator’s cypher, dia. 10‑1/4”. [600/900] Illustrated 1265 Late Regency Mahogany Games Table, second quarter 19th century, the figured “plum pudding” fold-over top over a paneled frieze with scroll ends, raised on a tapering square pedestal with canted corners, on a concave platform base with lotus-carved scroll feet, h. 29”, w. 36”, d. 17‑3/4”, extended l. 35‑1/2”. [500/800]

1266

1269

1266 Regency Rosewood Credenza, first quarter 19th century, the superstructure composed of an upper shelf with a three-quarter pierced brass gallery, joined by a mirrored back and ormolu-mounted columnar uprights to the rectangular top, above a foliate brass-inlaid frieze, joined to the plinth shelf by a mirrored back and columnar uprights, h. 47‑1/2”, w. 44”, d. 13‑3/4”. [1400/1800] Illustrated 1267 Pair of Late Regency Mahogany Sidechairs, mid‑19th century, each with a back-scrolled foliate-carved crest, above a pierced and paneled splat, the padded seat raised on reeded sabre legs, h. 33”. [250/400]

1268 Good Regency Mahogany Secretary Bookcase, first quarter 19th century, the molded cornice above a case fitted with two doors, each inset with a Moorisharch panel, the lower section fitted with a slant front door opening to a variety of drawers and cubbyholes, over four graduated long drawers, all with inlaid string banding, raised on ogee molded bracket feet, h. 79‑1/2”, w. 43‑1/4”, d. 22‑3/4”. [1500/2500] 1269 English Brass and Steel Fire Grate, 19th century, in the Adam taste, the grate with an undulating pierced and tiered front with end urn finials, the brass base like shaped and with pierced palmetto patterns and finials en suite, raised on bulbous legs, h. 31”, w. 23”, d. 15‑1/2”. [700/1000] Illustrated 1271

1270 Large Pair of Polished Brass “Marly Horses”, 20th century, after the originals by Nicolas Coustou (French, 1658‑1733), h. 21”, w. 21”, d. 8”. [1500/2500]

215

1273 Patinated Bronze Tabletop Bust of William IV (1765‑1837), second quarter 19th century, the monarch depicted togate on a socle base, raised on a pedestal of square section, three sides with applied laurel-enframed cypher “W/IV”, raised on four inverted floral feet, the reverse impressed “William/ IVth/ 1831”, h. 14‑1/2”. The date inscribed on the reverse - 1831 suggests that this is a souvenir of William IV’s coronation, held on September 8th of that year. It was a decidedly austere affair. William, desirous to distance himself from the extravagant reign of his brother George IV, at first wished to dispense with the ceremony entirely. Once reluctantly persuaded to go forth with it, he insisted that the cost be kept below 30,000 pounds: barely a tenth the cost of his brother’s ceremony. It was waggishly called the “half-crownation”. [1800/2500]

1272

1273

1271 Regency-Style Giltwood and Granite-Top Side Table, the rectangular charcoal granite top above a conforming Greek keycarved frieze, raised on cabriole legs headed by bellflower and foliate carving and ending in hairy-paw feet, h. 35‑1/4”, w. 36‑1/4”, d. 19”. [2000/4000] Illustrated previous page

1272 Pair of Silhouettes of Gentlemen in Giltwood Frames, second quarter 19th century, each depicting an elegantly clad gent in profile, the subject of one identified on the verso “John Amernethy, 1830”, the other with a pencil inscription lower left of the verso “Mr. J... Hall, Sr.”, both with newsprint and a number of old merchant stickers attributing the pieces to noted English and American silhouette artist Auguste Edouart, h. 12‑1/4”, w. 8‑1/4” (with frame). [125/250] Illustrated

216

1274 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”. [500/800] 1275 Late Regency Rosewood Bonheur du Jour, second quarter 19th century, the superstructure banded and with a drop front opening to an interior fitted with an inset leather surface and a variety of drawers and cubbyholes, the lower section with a banded rectangular top above a conforming frieze fitted with a single long drawer, raised on spiral-reeded circular legs ending in toupie feet, h. 45”, w. 36‑1/2”, d. 22‑1/2”. [800/1200] Illustrated

1275

1276

1279

1278

1280

1277

1276 Regency Tortoiseshell Tea Caddy, first quarter 19th century, of sarcophagus form, the stepped and hinged top opening to an interior fitted with two lidded compartments, with inlaid bone banding, raised on bun feet, h. 5‑3/4”, w. 7‑1/4”, d. 4‑1/4”. [1500/2500] Illustrated 1277 George III Tortoiseshell Valuables Box, first quarter 19th century, of rectangular form, with oval silver ringhandle and navette-shaped escutcheon, the hinged lid opening to reveal the tortoiseshell-lined interior, h. 3‑1/4”, w. 8”, d. 5‑1/4”. [600/900] Illustrated

1281 Regency Rosewood and Calamander Work Table, first quarter 19th century, the canted rectangular top above a conforming frieze fitted with a single drawer and with corner inlaid foliate accents, above a fabric demilune pull-out storage well, raised on a turned standard to a circular base on cabriole legs ending in brass paws on casters, h. 29‑1/2”, w. 22‑1/4”, d. 15‑3/4”. [1000/1500] Illustrated 1282 Regency-Style Giltwood Convex Looking Glass, late 19th century, the circular convex plate surmounted by a crest of a winged eagle flanked by foliate patterns, the plate within a reeded ebonized slip and molded frame with applied ball accents, h. 35‑1/2”, dia. 22”. [1200/1800]

1278 Regency Tortoiseshell Tea Caddy, first quarter 19th century, of rounded and canted rectangular form, the hinged and stepped lid opening to an interior fitted with two lidded compartments, inlaid with bone accents and raised on bun feet, h. 6‑1/4”, w. 6‑1/2”, d. 4”. [1500/2500] Illustrated 1279 Georgian Tortoiseshell Block-Front DoubleCompartment Tea Box, second quarter 19th century, with nickel silver wire inlay, the interior edges veneered in polished bone, the interior covers of tortoiseshell centered with vegetable ivory grips of button form, the whole supported on tinted vegetable ivory ball feet, h. 5‑1/4”, w. 7”, d. 4‑1/4”. [1500/2500] Illustrated 1280 Elaborate William IV Sarcophagus-Form Tortoiseshell Dressing Box, second quarter 19th century, inlaid with mother-of-pearl laurel and foliate swags and bands, the lid with a foliate panel en suite and outscrolled edges faced with paterae and opening to reveal the compartmented interior, three compartments with tortoiseshell lids, h. 5‑1/2”, w. 12”, d. 7‑1/4”. [1800/2500] Illustrated

1281

217

1283 Pair of Regency-Style Giltwood Convex Looking Glasses, each with a convex plate surrounded by a molded frame simulating imbricate reptilian skin, with the serpent’s intertwining tail as the crest and the interlacing heads as the pendant, h. 41”, w. 29”. [2000/4000] Illustrated

1283 pair

1287 Japanese Edo Parcel-Gilt Black Lacquer Box, first quarter 19th century, of rectangular form, the lid gilded in “Lakeside Pavilions” decor, the interior fitted with four matching black lacquer boxes now containing French tinted bone game pieces, the interiors of all the boxes in dark “goldstone” lacquer, the bronze hasp of the primary box of ying-yang configuration, h. 2‑1/2”, w. 8‑1/2”, d. 6”. [200/400]

1285

1286

1284 Regency-Style Giltwood and Marble-Top Center Table, the rectangular Carrara marble top with a molded edge above a frieze centered by a mask and with a projecting ribbed apron, raised on cabriole legs headed by ringed lion’s masks and ending in hairy-paw feet, h. 33‑1/2”, w. 57”, d. 29”. [800/1200] 1285 Japanese Lacquer-Decorated Miniature Cabinet, first half 20th century, in the form of a traditional clothes cabinet, with two doors opening to five drawers above two small and one long drawer, lacquered all over in black with gilt decoration of cranes among pine branches, and swallows among cherry blossoms in the front, the sides decorated with birds among flowering trees, with brass hardware throughout, h. 18”, w. 9‑1/2”, extended w. 17‑1/2”. [800/1200] Illustrated 1286 Elaborate Japanese Doll, first half 20th century, modeled in the form of a feudal Samurai warrior, the seated figure dressed in gold brocade clothing and full armor, the painted plaster head with a helmet engraved with a mon, h. 11‑1/2”. [300/500] Illustrated

218

1290

1288 Unusual Japanese Lacquer Document Box, Meiji Period (1868‑1912), the rectangular box lacquered in black, the cover with gold lacquer decoration of seashells and seaweed and recessed, shaped, pierced openings with inset pieces of tortoiseshell, mother-of-pearl, porcelain and bone with floral decoration, h. 2‑3/4”, l. 15‑1/2”, w. 4‑1/2”. [150/300]

1293

1289 Fine Japanese Lacquered Food Server, Tokugawa Period (1603‑1867), the outer case containing four stacking food containers, one footed tray and two individual trays, an open food container, a water container and waste container, all pieces decorated in black and gold lacquer with abalone inlay, with designs of various seashells and seaweeds indicating that the server was probably intended for serving sushi, h. 13”, l. 13‑1/2”, d. 7‑1/4”. [200/400] 1290 Regency Mahogany Desk, first quarter 19th century, the rectangular top with a roll-top tambour opening to an interior fitted with a leather-inset pull-out surface centered by a hinged panel raising to an easeled back, with a variety of drawers and cubbyholes, all over a frieze fitted with two short drawers, raised on square legs ending in brass caps on casters, h. 38‑1/4”, w. 36”, d. 26”. [1800/2500] Illustrated

1292

1291 William IV-Style Mahogany Banquet Table, the rounded rectangular top banded and raised on three pedestals, each with a large bulbous turned standard to four splayed legs headed by carved patera and ending in brass caps on casters, with two twenty-four-inch leaves, h. 30”, w. 50”, l. 124‑1/2”, extended l. 172‑1/2”. [3500/5000] Illustrated 1292 Pair of Japanese Polychromed Enamel Porcelain Vases, 20th century, each of baluster form with molded handles and enameled with continuous scenes of flowering plants in underglaze blue and enamels, with a pair of sparrows in flight, now wired as lamps on wooden stands and having shades, h. 29”. [150/300] Illustrated

1293 Pair of Japanese Export Polychromed Porcelain Dishes, decorated in polychrome enamels with a central medallion and two reserve panels of a Western trading ship against a diamond-pattern ground with floral medallions and pairs of Western figures of traders, dia. 8‑1/2”. [300/500] Illustrated 1291

219

1294 Large Japanese Imari Porcelain Charger and Stand, first half 20th century, decorated in underglaze blue and polychrome enamels with a central foliate medallion surrounded by the figures of three rabbits in shaped reserves on a ground of trees, flowering plants and birds, presented on a wooden easel stand, charger dia. 18‑1/2”. [200/400]

1297

1295 Regency Mahogany Canterbury, first quarter 19th century, of rectangular form and fitted with four slotted compartments over a single drawer, raised on turned circular legs ending in brass caps on casters, h. 20”, w. 20”, d. 15”. [800/1200] Illustrated

1295

1296 George III-Style Mahogany Bookcase, early 20th century, the slightly domed and molded cornice above a case fitted with six central open shelves, flanked to either side by an astragal-glazed door over a paneled cupboard door, the whole raised on a plinth base, h. 91”, w. 108”, d. 14‑1/2”. [1200/1800] 1297 Regency Giltwood Convex Mirror, first quarter 19th century, the circular plate surmounted by an eagle flanked by applied scrolls, surrounded by an ebonized slip and molded frame issuing two scrolling candlearms and with a foliate pendant, h. 41”, w. 23”. [2500/4000] Illustrated

1298 Japanese Imari Porcelain BalusterForm Vase, 20th century, decorated in traditional Imari colors with gilt highlights with floral and avian reserve panels against a brocade and floral ground, now mounted as a lamp on a custom wooden base, h. 29”. [250/400] 1299

220

1299 Pair of Japanese Ormolu-Mounted Kutani Bowls, each decorated in underglaze blue and polychrome enamels with floral decoration and a central medallion of a phoenix, the rims mounted in ormolu with four ring handles, standing on slim lion-paw feet, h. 5‑3/4”, dia. 9”. [1200/1800] Illustrated 1300 Late Regency Rosewood Center Table, second quarter 19th century, the highly figured circular tilting top raised on a columnar standard to a lotus and ribbed base, on a concave tripartite platform to ribbed bun feet on casters, h. 28”, dia. 48”. [2000/4000] Illustrated

1301 Regency Mahogany Side Table, first quarter 19th century, the rectangular top above a frieze fitted with a single drawer, joined by a mirrored back and ormolumounted uprights to a concave lower shelf, raised on turned bun feet, h. 38‑1/2”, w. 36‑3/4”, d. 18‑3/4”. [1000/1500] Illustrated 1302 Unusual Japanese Imari Porcelain Shallow Bowl, second half 19th century, elaborately enameled in polychrome enamels and underglaze blue with a central Kylin among blue and gilt foliage bordered by flowering plants and mons, dia. 9‑1/4”. [200/400]

1300

1303 Japanese Multi-Metal Wall Plaque, first half 20th century, of circular outline with engraved design of a seaside scene within a folder against a ground of bats, clouds and flowers, the scene with applied figures of fisherman during their catch, infilled-gilded details, dia. 10‑3/4”. [600/900] 1304 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] Illustrated

1301

1305 Regency-Style Mahogany Jardiniere, early 20th century, the circular lip above a slatted tapering body, raised on three legs joined by a triangular stretcher and ending in splayed feet, h. 36”, dia. 14‑1/2”. [100/200] 1306 Fine Chinese Carved Celadon Jade Vase, 18th/19th century, the even-colored celadon stone carved as a cupform vase with climbing ling chih fungus plants and two boys, the front and back each with engraved calligraphic inscriptions, h. 6‑1/2”. [2500/4000] Illustrated following page

1304

221

1307 Pair of Chinese Tri-Color Glaze Tilework Figures of Foo Dogs, 19th century, each on a pierced plinth base, seated on their haunches with open mouths, curled manes and flamed tails, the green-glazed bodies with yellow and brown details, h. 15‑3/4”. [900/1200] Illustrated

1307

1306

1312 Chinese Carved Jadeite Vase and Flower Group, 20th century, the mottled pale green stone with brown skin carved as a double gourd vase and cover flanked by an extended leafy plant with gourd-shaped flowers and two birds perched atop the plant, the floral tips of the flowers picked out in the brown skin of the stone, with a wooden stand, h. 7‑1/2” (including stand). [300/500] Illustrated

1308 Chinese Famille Verte Porcelain Saucer Dish, 19th century, the shallow dish enameled with a central scene of a garden and pavilion with a horse and four figures in front of an open pavilion with a figure seated at a desk with an attendant, dia. 9‑1/4”. [125/250] 1309 Large and Impressive Chinese Carved Ivory Figure of a Female Deity, 20th century, carved in high relief following the curve of the tusk as a female deity holding a basket of lotus blossoms with an attendant phoenix at her side, the figure clad in flowing robes and wearing an elaborate pierced crown centered by a figure of Buddha, h. 34‑1/4”. [3000/5000] Illustrated 1310 Chinese Engraved Celadon Jade Pendant Plaque, 20th century, of rectangular outline, the even pale green stone engraved on both sides in clerical script with a total of two hundred sixty-eight characters, each filled in with gilt, h. 2‑1/4”, w. 1‑3/4”. [300/500] 1311 Good Chinese Carved White Jade Pendant Plaque, 18th/19th century, of rectangular outline, carved in low relief with a deity holding a spray of ling chih fungus on one side and an inscription of twenty-four archaic characters on the reverse, both with borders of archaic dragons at the top, the stone with a russet inclusion on the side, h. 2‑7/16”, w. 1‑1/2”. [300/500]

222

1313 Chinese Carved Pale Celadon Jade Figure of Guanyin and an Attendant, 20th century, carved in relief, the front depicting the deity standing in flowing robes and holding a ruyi scepter, with an attendant standing on rockwork and holding a lotus seed pod, the reverse carved in relief as a bamboo grove, presented on a wooden stand, h. 7”, including stand. [250/400] Illustrated 1314 Chinese Carved Jade Group of a Female Deity and Attendant, 20th century, the deity seated in elaborate robes among peonies with a kitten at her feet and having a female attendant standing at her side holding a fan, the stone of pale mint green color, with a fitted carved wooden stand, h. 8‑1/4” (including stand). [400/700] Illustrated

1309

1314

1312 1315 Good Chinese Carved Jadeite Seal, 20th century, the slightly mottled icy mint green stone carved with a cylindrical base, the knob carved in good detail as a fierce Kylin standing on four feet with open mouth, bulging eyes and single horn, h. 3‑1/2”. [600/900] Illustrated

1313 1316

1315

1316 Chinese Carved Jadeite Group, 20th century, carved in deep relief in mottled mint green- and cream-colored stone depicting Shou Hao holding a peach in one hand and his staff with a double gourd in the other, the figure enclosed in a fruiting peach tree with three cranes, bats and ling chih fungus, with a carved wooden stand, h. 6” (including stand). [250/400] Illustrated 1317 Pair of Chinese Carved Celadon Jade Wrist Rests, 19th century, each in celadon-colored stone carved in low relief with bamboo and pine among rockwork with the figure of a crane at the top, l. 8‑1/4”. [4500/7000] Illustrated 1318 Chinese Etched White Jade Covered Incense Stick Holder, of cylindrical form with fitted cover engraved with continuous decoration of a mountainous landscape with pine trees, the top and cover with calligraphy, presented on a fitted wooden stand, h. 9‑1/2”. [7000/10000] 1317

223

Index of Artists and Printmakers

April 9-10, 2011

Aguiar, Moreira 989

De Kerpely-Zak, Andrea 789

Alma-Tadema, Sir Lawrence (after) 465

De Launay, Nicolas 218

American School 829, 947, 963, 965, 1126, 1164, 1165, 1168, 1169

Delavigne, Marie Odell 1205

Anderson, Frank Hartley 787 Anderson, Walter Inglis 1211 B Barbera, Camillo Gioja 494 Bareau, Georges-Marie 359 Barye, Antoine-Louis 598 Bensliman, Paula 964 Bonnard, Pierre 705 British School 39, 59, 63 Browne, Jr., William Garl (attributed) 932 Buffet, Bernard 740 Bulio, Jean 1052 C Cahours, Henry-Maurice 1022 Calder, Alexander 744 Cezanne, Paul 691, 704 Chagall, Marc 678, 679, 680, 681, 683, 684 Chagall, Marc (after) 682 Cheret, Jules 736 Continental School 12, 31, 32, 211, 351, 487, 489, 493, 496, 497, 557, 1046, 1047, 1059, 1060

Drysdale, Alexander John 1155, 1156 Dubert, J. J. 978 Dunbar, George 1215, 1217, 1218, 1219, 1220 Dureau, George 1173, 1174 Dutch School 52, 74 E Egbert, Sally 710 Emery, Lin 1216 F Fisher, D. A. 1167 French School 41, 273, 980, 983, 993, 1061 Frere, Pierre-Edouard 1016 Friedeberg, Pedro 725 G Gainsborough, Thomas (after) 56 Garrigues Motos, Jose 488 German School 979 Gimenez, Federico Fernandez y 490 Gleizes, Albert 690 Glenny, Alice Russell 16 Goodwin, Richard La Barre 1161

Coomans, Diana 492

Gordy, Robert 1225, 1226, 1227, 1228, 1229

Cooper, T. J. 811

Gould & Richter 175

Corot, Jean-Baptiste-Camille 271

Greuze, Jean-Baptiste (after) 981

Cot, Pierre August (after) 982

Gros, Jean-Antoine (after) 377

Courjon, Robert 1214

Gruau, Rene 734 Guggenheim Mckinley, Hazel 1230

Index of Artists and Printmakers H Hibel, Edna 692 Hitchcock, Harold 68 Hunt, Jonathan 1208 I Inness, George (circle) 1125 Irving, Sadie 1203, 1204, 1206, 1208, 1213 Italian School 217, 495, 500, 517 K Katz, Mane 733 Katz, Mane (attributed) 439 Kiessling, Johann Paul Adolf 51 Kilgore, Charles 813, 814 Kinsey, Alberta 1198, 1202 Kneller, Sir Godfrey (after) 48 Knudsen, Peder Jacob Marius 499 Kohlmeyer, Ida 1224 Krysinski, Tony 1176 L Lang, Margo Terzian 790, 830 Lauters, Guillaume 212 Lavreince, Nicolas (after) 218 Le Corbusier 745 Leger, Fernand 690, 702 Leger, Fernand (after) 703 Lesage, Davain 1021 Levy, Sara Bloom 1207 Lichtenstein, Roy 739 Louisiana School 1110, 1137, 1157, 1158, 1172 Loving, Eugene E. 1201

April 9-10, 2011

Lund, Frederik Christian 380 M Manet, Edouard 270 Marin, Joseph-Charles (after) 201 Matisse, Henri 722 Matisse, Henri (after) 730 Max, Peter 738 Maze, Paul Lucien 995 McKenney & Hall 1092 Mexican School 593 Meyer, Joseph 1203, 1204, 1205, 1206, 1207, 1209, 1213 Millet, Clarence 812 Miro, Joan 701 Moigniez, Jules (after) 1054 Morgan, John 461 Murillo, Bartolome Esteban (after) 516 N New Orleans School 709, 1200 Ninas, Paul 1175 Nonnenbruch, Max (after) 491 O Obel, Nils 1194, 1195, 1196, 1197 Ohr, George 1210 Omerth, Georges 594 Ostersetzer, Carl 498 Owen, Joel 167 P Pajou, Augustin (after) 244 Pascin, Jules 723 Perugini, Charles Edward (attributed) 432

Index of Artists and Printmakers Picasso, Pablo 720, 721 R Raphael (after) 535, 543, 564 Rembrandt, van Rijn 536 Renaud, J. 64 Renoir, Pierre-Auguste 219, 220 Riche, Louis 1017 Rockmore, Noel 1177, 1179 Rodrigue, George 1180, 1181 Roedel 37 Roubille, Auguste 735 Rucker, Robert M. 1136 S Sargent, John Singer (after) 795 Severdonck, Franz Van 212 Slonem, Hunt 1178 Smith, Alice Ravenel Huger 810 Smith, Francis Hopkinson 994 Southern School 874, 941, 962 Spanish Colonial School 558, 559 Spanish School 566 Stanzione, Massimo (circle) 563 Stevens, Agapit 1042 Stokes, Rhoda Brady 1103, 1104, 1108, 1109 Summers, Carol 714 Sypesteyn, Adele 711, 712 T Thorp, Carl M. 1199 Tidmore, Pauline McCormack 788 Toledo, Francisco 693

April 9-10, 2011

Tornero, Sergio Gonzalez 737 V Vasarely, Victor 741, 742, 743 Velloso, Fernando 713, 715 Viavant, George Louis (circle) 1162 Villon, Jacques 731 Vollherbst, Elaine 1163, 1166 W White, Willie 1182, 1183, 1184, 1185 Wilson, Donald Roller 746, 747 Wohl, Mildred “Millie” 1221, 1222, 1223 Wood, Katherine L. 1209

Glossary The Artist’s Name: In New Orleans Auction Galleries opinion, a work by the artist. Attributed to: In New Orleans Auction Galleries opinion, a work of the period of the artist that may be in whole or in part the work of the artist. School of: In New Orleans Auction Galleries opinion, a work by a follower of the artist. 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.

REQUEST FOR CONDITION REPORTS (DEADLINE: FRIDAY, APRIL 8 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

Please note that the following are estimates only and the actual time each lot is offered may vary. Sunday April 10, 2011 Lots 748-1318

Saturday April 9, 2011 Lots 1-747 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 5:00-5:30

1-99 100-199 200-299 300-399 400-499 500-599 600-699 700-747

11:00-12:00 12:00-1:00 1:00-2:00 2:00-3:00 3:00-4:00 4:00-4:45

748-847 848-947 948-1047 1048-1147 1148-1247 1248-1318

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.

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

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

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

X________________________________________________

Date____________________

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

Note: Items will not be released without a signed authorization

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:

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

Customers, Please Note: Deadline for Absentee/Telephone Bidding 5:00 P.M. Central – Friday, April 8, 2011 Guidelines for Telephone Bidding 1. Each item must have a low estimate of at least $500 2. Telephone bidders must agree to bid the low estimate on each item. Deadline for Condition Report Requests 5:00 P.M. Central – Thursday, April 7, 2011

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

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03/22/2011 12:55:19 New Orleans Auction Prices Realized for Sale 1101 January 29-30, 2011 Major Estates Auction

Lot# 1 4 5 6 7 11 12 14 16 18 19 20 21 22 23 25 26 27 28 29 30 31 32 33 34 37 38 39 40 41 42 43 44 47 48 49 50 52 53 54 55 56 57 58

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

461 461 246 110 2,337 738 676 1,722 430 1,476 922 492 799 430 738 3,198 7,072 522 246 246 184 584 1,107 246 1,353 615 922 246 738 6,765 2,214 10,455 522 922 492 553 676 799 399 922 1,599 1,845 615 615

59 60 61 63 64 72 73 74 75 76 78 79 80 81 82 84 85 89 93 95 99 101 104 106 107 108 109 110 111 114 115 116 117 118 119 120 124 125 126 127 129 130 131 132

2,460 430 20,910 1,722 6,150 246 522 984 861 861 799 492 98 984 123 36 4,674 1,968 1,722 553 3,198 1,968 1,722 1,230 2,706 1,845 2,460 2,706 861 1,968 984 738 584 553 1,107 584 861 184 2,460 1,845 3,690 2,706 738 123

135 137 138 139 142 143 146 152 155 156 157 159 161 162 163 165 166 167 168 169 170 171 172 174 175 176 178 179 180 181 182 183 184 186 187 188 190 191 192 194 195 196 197 198

799 492 8,610 922 338 799 1,045 861 2,952 584 1,230 984 2,952 492 1,230 1,230 184 984 2,952 553 307 184 1,230 492 492 861 2,460 861 1,599 2,214 984 584 984 615 1,168 1,845 307 215 338 215 5,658 276 5,166 276

199 207 209 210 211 215 216 217 219 221 222 223 224 225 226 227 228 229 231 232 233 234 235 237 239 241 244 245 247 248 249 251 253 254 255 257 258 261 262 264 266 267 269 270

86 2,337 922 369 2,214 1,845 2,952 123 153 8,610 86 215 307 92 338 738 799 276 1,845 2,952 246 307 369 399 1,168 338 461 246 3,198 1,476 1,353 215 584 3,198 676 1,599 430 799 799 399 1,599 738 1,845 738

271 273 274 276 277 278 279 280 281 283 284 285 286 287 288 289 290 291 292 294 297 298 300 301 302 303 304 305 306 307 309 310 311 312 313 316 318 320 321 323 326 327 328 329

6,150 2,952 2,214 246 1,168 461 98 338 276 461 49 123 123 153 98 73 338 338 2,091 2,952 153 153 153 522 2,952 2,706 1,230 6,150 861 276 276 1,476 1,476 1,107 369 7,687 2,091 123 1,107 2,460 1,045 615 4,920 799

330 332 333 334 335 337 338 340 341 342 343 344 346 348 350 351 352 354 356 357 358 359 360 361 364 365 366 369 370 371 372 374 375 376 377 380 382 383 384 385 387 388 389 391

369 461 2,214 246 922 399 2,460 24,600 4,920 215 615 153 1,045 215 2,214 1,230 799 984 2,460 2,952 738 738 110 2,952 215 1,599 1,845 2,706 461 799 1,045 153 1,168 1,107 1,230 861 5,412 1,045 369 1,476 4,920 307 2,460 1,845

395 396 398 399 400 402 404 406 407 408 409 410 411 413 414 415 416 417 418 419 420 421 423 425 427 433 434 437 438 439 440 441 442 443 444 445 447 448 450 451 452 454 459 460

5,166 2,337 4,182 1,722 399 1,230 984 1,476 2,091 922 1,599 1,353 1,722 2,706 1,968 184 584 1,230 4,920 1,168 1,353 1,476 1,045 738 1,476 1,107 307 2,091 307 461 461 861 2,460 461 276 984 307 2,460 1,722 738 861 3,690 3,198 1,476

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Page No. 2

03/22/2011 12:55:20 New Orleans Auction Prices Realized for Sale 1101 January 29-30, 2011 Major Estates Auction

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

464 466 468 469 471 474 477 478 481 484 486 487 489 491 492 493 494 495 498 499 500 501 502 503 504 505 506 510 511 514 515 516 519 520 521 525 526 527 528 533 534 535 537 540

215 2,460 2,460 1,168 2,214 3,198 1,230 2,460 1,845 215 307 307 492 799 307 8,610 2,214 2,214 522 615 553 553 369 307 338 799 861 1,168 1,845 3,690 3,936 861 7,380 10,762 1,107 338 522 1,168 1,168 1,230 522 369 522 861

541 542 543 544 545 547 548 550 551 552 554 555 556 559 561 562 563 566 567 568 570 572 573 574 576 578 580 581 583 584 587 588 590 592 593 594 595 597 598 601 603 606 607 608

1,353 861 369 676 4,182 2,091 1,722 615 86 584 98 522 27,060 6,765 369 553 153 5,904 13,530 18,450 1,107 24,600 3,690 799 3,690 738 3,198 799 1,476 86 922 1,168 3,444 399 215 430 2,460 307 430 123 3,198 1,968 19,680 2,214

610 612 613 615 616 617 619 620 621 622 623 625 626 629 630 632 633 634 636 637 640 641 643 645 648 649 651 652 653 655 656 658 659 661 662 663 665 666 667 668 669 674 675 676

1,476 1,722 861 1,476 2,214 246 676 3,444 1,107 1,168 1,968 430 2,706 2,460 2,952 338 276 1,845 984 307 110 984 615 215 861 1,107 3,936 2,091 615 461 2,706 123 1,107 3,444 61 338 615 184 49,200 2,460 6,457 6,765 13,530 11,685

677 678 679 682 684 685 688 689 690 691 693 694 695 696 697 699 700 701 702 703 704 705 706 707 709 710 711 712 714 719 722 723 725 726 727 728 729 730 731 732 733 734 737 738

61,500 1,045 5,904 338 3,690 2,952 12,300 1,968 2,952 20,910 14,145 1,476 15,375 6,765 307 1,968 522 3,444 276 522 2,214 3,198 116,850 2,460 553 2,091 1,045 123 110 399 984 4,428 676 369 307 184 922 1,968 246 615 184 4,674 738 522

740 741 742 743 744 746 747 748 753 754 755 756 757 759 761 764 765 766 768 771 772 774 775 776 777 778 781 783 784 786 787 789 791 792 793 794 797 798 802 803 805 808 810 815

123 338 461 461 4,920 8,610 6,765 1,722 2,091 276 3,444 6,150 1,045 11,685 984 1,599 676 369 3,690 492 738 2,706 5,166 984 2,952 2,952 430 3,690 1,045 922 461 153 338 73 153 338 1,353 430 6,765 492 1,230 338 922 6,765

816 817 819 823 824 828 829 830 831 832 833 834 835 836 838 839 840 841 843 844 847 849 852 854 855 856 857 858 860 861 862 863 864 865 866 868 869 870 871 872 874 875 876 879

5,658 7,072 3,198 3,198 10,147 3,936 29,520 5,658 5,412 6,150 3,690 14,145 369 246 5,412 738 3,444 369 584 215 1,599 1,599 1,476 738 369 246 1,845 738 2,214 1,599 1,230 1,845 984 1,476 922 615 676 615 615 246 799 430 676 1,845

880 883 885 886 887 888 889 890 893 896 898 899 900 902 904 905 907 908 909 910 912 913 914 915 916 917 918 919 920 921 922 923 926 927 928 929 937 938 942 944 947 948 951 952

2,091 3,936 8,302 522 1,168 1,230 2,214 4,182 1,045 2,460 246 738 1,353 4,428 615 922 1,107 615 461 799 246 738 246 1,107 3,198 79,950 1,045 953 492 676 738 246 1,045 98 215 2,091 799 2,460 492 984 4,428 3,936 553 2,091

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03/22/2011 12:55:21 New Orleans Auction Prices Realized for Sale 1101 January 29-30, 2011 Major Estates Auction

Lot#

Realized

955 957 959 965 966 967 968 969 970 971 973 974 976 977 978 979 981 984 986 991 992 993 994 995 996

1,168 4,182 184 3,444 1,107 1,353 369 615 5,658 1,230 984 615 246 153 7,072 1,845 399 738 11,070 307 799 676 861 2,337 2,214

columns72.frx

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

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

Camille Horos Business Manager

Name

Michael Maggio Director of Marketing / Graphic Designer

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

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

r MasterCard

r American Express

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

Mail check and order form to:

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