Estates Sale, December 11 by New Orleans Auction Galleries, Inc.

Cover: Maurice de Vlaminck (French, 1876-1958)“Le Port”, oil on canvas, signed, 16” x 24” Back Cover: “17th century Spanish high carat gold bars (over five troy pounds) and other treasures recovered from the Dry Tortugas wreck”

2011 Auction Schedule: Asian Fine Art Sale December 6, 7 & 8 Major Estates Sale December 11

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

Major Estate Auction Sunday, December 11, 2011 11:00 a.m. â&#x20AC;&#x201C; Lots 1592-2371

Two-Week Exhibition Begins Friday, November 25 Through Monday, December 10, 9:00 a.m. to 5:00 p.m. (Excluding Sundays)

Late-Evening Preview Monday, December 5,2011 5:30 p.m. to 8:00 p.m.

Featuring Property From and Including:

New Orleans Auction Galleries Inc. is pleased to offer property from Historic Grey Oaks Plantation, circa 1834, Vicksburg, Mississpi (The Real Estate Offered by Sothebyâ&#x20AC;&#x2122;s International Realty)

The Plimsoll Club, World Trade Center, New Orleans, Louisiana Le Petit Theatre, New Orleans, Louisiana And Property from Numerous Southern Estates and Private Collections

Session IV Sunday, December 11, 2011 11:00 a.m. CST â&#x20AC;&#x201C; Lots 1592-2371

1592

1593

1597

1596

1594 1595

1592 Large Spanish Ceramic Middle Period Type “A” Olive Jar, first quarter 17th century, the buff ovoid body with sandy finish and round bottom, retaining the original Seahawk I, Ltd. artifact inventory label, h. 18‑3/4”, dia. 11”. Provenance: The Dry Tortugas Artifact Collection, 1990‑1991 #90‑1A-000023; Jay Sugarman Auctioneers, The Vanderbilt Collection Miami: June 5‑6, 1999, lot 120. Reference: John M. Goggin, The Spanish Olive Jar: An Introductory Study (New Haven, Connecticut: Yale University Department of Anthropology, 1960). [1200/1800] Illustrated 1593 Spanish Colonial Twenty One Karat Gold Money Chain, first quarter 17th century, comprised of six individual strands of plain oval links, all joined with a large ring, uncompromised, l. 32‑1/8” (each chain a continuous 65”), 462 gr. Provenance: The Dry Tortugas Artifact Collection, 1990‑1991 #90‑1A-002457; Jay Sugarman Auctioneers, The Vanderbilt Collection Miami: June 5‑6, 1999, lot 185. [18000/25000] Illustrated 1594 Spanish Colonial Twenty Two Karat Gold Bar, first quarter 17th century, with assayer/owner stamp “Sargosa Pecarta” and multiple karat markings and tax stamps, retaining the original Seahawk I, Ltd. artifact inventory label, l. 8‑3/8”, w. 1”, 396 gr. Provenance: The Dry Tortugas Artifact Collection, 1990‑1991 #90‑1A-000571; Jay Sugarman Auctioneers, The Vanderbilt Collection Miami: June 5‑6, 1999, lot 183. [15000/25000] Illustrated

1595 Spanish Colonial Twenty One and Three-Quarter Karat Gold Bar, first quarter 17th century, with assayer/ owner stamp “Penaranda” and multiple karat markings and tax stamps, the reverse with four cuts, probably assayer’s scrapes, l. 4‑7/8”, w. 1‑3/16”, 424 gr. Provenance: The Dry Tortugas Artifact Collection, 1990‑1991 #90‑1A-000766; Jay Sugarman Auctioneers, The Vanderbilt Collection Miami: June 5‑6, 1999, lot 90. [18000/25000] Illustrated 1596 Spanish Colonial Twenty One Karat Gold Bar, first quarter 17th century, with assayer/owner stamp “Sargosa Pecarta” and multiple karat markings and tax stamps, one end clipped (as recovered), retaining the original Seahawk I, Ltd. artifact inventory label, l. 8‑3/8”, w. 1”, 542 gr. Provenance: The Dry Tortugas Artifact Collection, 1990‑1991 #90‑1A-000266; Jay Sugarman Auctioneers, The Vanderbilt Collection Miami: June 5‑6, 1999, lot 184. [20000/40000] Illustrated 1597 Spanish Colonial Twenty One and Three-Quarter Karat Gold Bar, first quarter 17th century, with assayer/ owner stamp “Sargosa Pecarta” and multiple karat markings and tax stamps, retaining the original Seahawk I, Ltd. artifact inventory label, l. 9‑9/16”, w. 1”, 644 gr. Provenance: The Dry Tortugas Artifact Collection, 1990‑1991 #90‑1A-000476; Jay Sugarman Auctioneers, The Vanderbilt Collection Miami: June 5‑6, 1999, lot 180. [25000/40000] Illustrated

1598 Antique American Ten Karat Yellow Gold “Belcher” Style Long Chain, late 19th century, 50”, 69.1 gr. [2500/4000] 1599 Fine Tolima Region Culture Gold Male Warrior Figure, 500‑1000 A.D., Colombia, the standing figure depicted wearing a feather-shaped headdress, large openring ear ornaments and horizontal nose ornament, each outstretched arm holding a tubular-shaped item, with loop on the reverse, h. 1”, 4 grams. [1000/1500] Illustrated

1600

1604 Small Edwardian Gold-Plated Brooch, first quarter 20th century, of oval form, with spiral-twist banding and centered by a prong-set and foiled paste “amethyst”, the reverse fitted with barrel catch, w. 1‑3/16”. [100/200] 1605 Pair of Victorian Gold-Plated “Lover’s Knot” Earrings, fourth quarter 19th century, in the form of interlocking circles overlaid by an ivy leaf all suspending a single gold bead, with locking “fishhook” backs of later date, l. 1‑1/4” [200/400] 1606 Victorian Gold-Plated Bar Pin, fourth quarter 19th century, in form of an addorsed pair of concentric teardropshaped loops, collet-set in the center with a pair of spilt pearls and on the ends with a pair of small turquoise cabochons, the reverse with a scroll-hook catch, l. 1‑1/4”. [125/250] 1607 Pair of Small Edwardian Gold-Plated Earrings, first quarter 20th century, each in the form a teardrop with beaded edge, suspended from a single bead with “fishhook” back, l. 7/8”. [150/250]

1600 Alexander the Great Macedonian Silver Drachm, 336‑323 B.C., the obverse with a bust of Hercules, the reverse with Zeus enthroned and holding and eagle, now mounted as a gentleman’s ring in eighteen karat yellow gold, with an integral bezel and gadrooned shoulders, 16 gr. This lot is accompanied by the original Certificate of Authenticity as issued by John Irvin for International Treasures and Antiquities, Inc., registration number JI2119903. [600/900] Illustrated 1601 Two John V Portuguese Four Hundred Reis Gold Coins, 1734, twenty two karat gold, the obverse with a Jerusalem cross and the motto “In Hoc Signo Vinces”, the reverse with the denomination “400” and the name “Ioan V”, crowned and mantled, dia. 14mm, now mounted in eighteen karat gold as a pair of cufflinks, with thick bezel and lever back, 20 gr. total, dia. 20 mm (with mounting). This lot is accompanied by the original Certificate of Authenticity as issued by Michael’s International Treasure Jewelry, Inc., registration number JI1069702. [700/1000] 1602 Unusual Antique Fourteen Karat Gold Men’s Ring, late 19th century, centering a round 7.7 mm pale green cabochon stone, possibly chrysoberyl , set in an elaborate “grotesque” mounting, the shoulders with a mascaron and human figure both entwined with a serpent, size 7‑1/2”, overall weight 16.9 gr. [500/800] 1603 Victorian Gold-Plated Scent Bottle Charm, fourth quarter 19th century, of “grenade” form with engraved lobes, suspended by the spiral handles from a chain, the stopper secured with a separate chain, h. 1” (1‑3/8” with chain). [125/250]

1599

1608 Pair of Victorian Gold-Plated Etruscan Revival Earrings, fourth quarter 19th century, each a hemispherical dome with a pair of filigree-surrounded leaves surmounted by an overlaid vertical band of wirework, with a beadwork fringe and suspended by a pair of articulated leaves from the “fishhook” backs, l. 2”. [300/500] 1609 Pair of Elizabeth Locke Eighteen Karat Yellow Gold and Citrine Earrings, of square form with textured surface and centering a “sugarloaf” cabochon citrine and suspending pair of vertical drops with a “half-moon” cabochon citrine in the center and an oval cabochon citrine at the bottom, the six gemstones all bezel set and totaling approximately 13.50 carats, with convertible post “omega” backs, l. 1‑1/2”, w. 5/8”, overall weight 20.6 gr. [200/400]

1619

1610 Antique American Ten Karat Gold Brooch, fourth quarter 19th century, of oval form, with shell-and-scroll surround, the center conforming dome star-set with a center pink paste flanked by two seed pearls, the reverse fitted with an open locket and scrollhook catch, h. 1‑1/4”, w. 1‑5/8”, overall weight 5.2 gr. [200/400]

1611 Bohemian Garnet Brooch, first quarter 20th century, probably Prague, the circular low-karat “garnet gold” mounting nailhead-set with numerous Bohemian garnets in a concentric concave hexagonal starburst pattern, the reverse with barrel catch, dia. 1‑3/4”. [200/400] 1612 Reconstruction Era American Gold-Plated and Black Enamel Bar Pin, c. 1875, in the form of a pair of addorsed circles overlaid and flanked by two pairs of engraved trefoils engraved and enameled with black tracery, the reverse with flat-hook catch, l. 2‑1/8”. [100/200] 1613 American “Aesthetic” Gold-Plated and Black Enamel Bar Pin, fourth quarter 19th century, of shaped rectangular form with a central applied oval plaque, chased and bright engraved, the ends with black enamel tracery paterae, the reverse with flat-hook catch, l. 2‑1/8”. [125/250]

1614 Small Edwardian Gold-Plated Brooch, first quarter 20th century, of oval form, with “chain” banding and centered by a prongset and foiled paste “citrine”, the reverse fitted with barrel catch, w. 1‑3/16”. [100/200]

1615 Elizabeth Locke Eighteen Karat Yellow Gold and Citrine Cross Brooch/Pendant, in the form of a stylized rose cross, centering a bezel-set round mixedcut cabochon/windowpane citrine, 15.3 x 9.1 mm, weighing approximately 10.0 carats, the arms bezel set with fifteen square and emerald cut glass “citrines”, the reverse fitted with a double-pin with safety catch and a retractable pendant bail, h. 2‑1/2”, w. 1‑3/4”, overall weight 27.3 gr. [600/900] Illustrated 1616 Open Lot 1615

1617 Pair of Eighteen Karat Yellow Gold and Diamond Retro Modern Earrings, c. 1950, each in the form of a stylized leaf centering a pair of round brilliant diamonds (four diamonds totaling approximately .40 carats), with omega post backs, l. 1‑1/4”, overall weight 14.6 gr. [700/1000]

1618 Victorian Gold-Plated Brooch, fourth quarter 19th century, of oval form, deocrated with a pair of overlapping textured chevrons over a canted bar, the center collet set with an emerald-cut paste “garnet” vertically flanked by a pair of oval cut paste “aquamarines”, the reverse fitted with a scroll-hook catch, w. 1‑1/2”. [150/300] 1619 Assembled Three-Piece Bulgari Eighteen Karat Yellow Gold and Diamond Suite, ca. 1990, Bulgari Gioielli S.P.A., Valenza, including a bracelet, w. 1”, and ring, w. 3/4”, from the “Spiga” collection introduced in 1990, with flexible chevron links accented by pave diamond links, and a pair of similar “modular” drop earrings with flexible heart-shaped links suspending a sphere, all with similar pave diamond accents, l. 1‑1/4”, one hundred and ninety eight diamonds in all totaling approximately 2.85 carats, overall weight 159.9 gr. total. [12000/18000] Illustrated

1620 Contemporary Indian Twenty One Karat Gold and Gemstone “Moghul”-Style Three-Piece Suite, including a necklace comprised of nine articulated openwork floral plaques, each set with split pearls and various colored gemstone melee including sapphire, ruby, emerald, coral, turquoise and garnet, the center with a triangular pendant drop en suite, the whole with freshwater pearl fringe, all to a curb-link chain and fishhook clasp, l. 15”, with a pair of chandelier earrings, l. 2‑1/4”, and a ring, size 6, en suite, overall weight 39.6 gr., presented in a fitted cream-satin and indigo velvet lined case. [2500/4000] 1621 Lady’s Oval Light Yellow Diamond Ring, comprising a center light yellow oval diamond weighing 3.28 carats, 12.04 x 8.12 x 5.21 mm, N color, VS2 clarity, set in four eighteen yellow gold prongs in an eighteen karat white gold milligrain mounting, the shoulders set with sixteen white princess-cut diamonds, the sides and crown set with ninety white round brilliant diamonds (one hundred and six diamonds totaling 1.82 carats and averaging G-H color and VVS1-VS1 clarity), size 6‑1/2, overall weight 6.9 gr. [14000/18000] Illustrated

1627

1624

1622 Eighteen-Karat Two-Color Gold and Diamond Lady’s Cluster Ring, composed of a central diamond-shaped cluster of round brilliant-cut white diamonds surrounded by a ballerina-style border of baguette-cut white diamonds, estimated total diamond weight 2.50 carats, size 7‑1/2. [300/500] 1623 Fourteen-Karat White Gold and Diamond Bypass Dome Ring, consisting of twenty-four princess-cut diamonds and twenty-eight brilliant-cut diamonds, total weight 2.0 carats, size 7. [500/800]

1621

1625 Unusual Ebony, Sterling Silver, Citrine and Diamond Cuff Bracelet, the solid open cuff slightly waisted and carved from a single piece of ebony, the top set with a “sunflower” centering a “windowpane” cabochon citrine, 17.5 mm dia., surrounded by petals pave set with approximately 4.10 carats of rose-cut diamonds, w. 2‑3/8”. [1000/1500] 1626 Vintage Fourteen Karat Yellow Gold, Citrine and Seed Pearl Brooch/Pendant, c. 1920, set with a very large faceted oval citrine weighting approximately 125.0 carats, prong-set into a seed pearl surround, the reverse with a barrel catch and retractable pendant bail, w. 2‑1/4”, overall weight 39.7 gr. [1200/1800]

1624 American Art Deco-Style Black Bakelite and Diamond Bangle Bracelet, the plain flat bangle edged with half-moon shaped rows of small single cut diamonds set in narrow strips of white gold, the bangle with sterling silver hinge and pawl catch, w. 1‑1/8” [1800/2500] Illustrated

1627 Eighteen Karat White Gold and Diamond Riviere, containing approximately 14.0 carats of small bezel-set round brilliant diamonds, l. 34”, overall weight 57.8 gr. This necklace divides in part to be worn as two individual graduated strands, 16” and 18”. [6000/9000] Illustrated

1629 Fine Eighteen Karat White Gold, South Sea Pearl and Diamond Bracelet, comprised of nine 12.0‑12.5 mm South Sea pearls, each peg-set into an eighteen karat white gold circular mounting set with round brilliant diamonds and separated by diamond-set double-leaf links en suite, three hundred and sixty two diamonds totaling 4.42 carats, l. 7‑3/4”, overall weight 64.7 gr. [15000/25000] Illustrated 1630 “Mod”-Style Fourteen Karat Gold, Pearl and Diamond Bracelet, comprising three rows of 10.5‑11.0 mm button pearls peg-set in a series of figure-eightshaped links, each channel set with round brilliant diamonds totaling approximately 5.60 carats, the channels in oxidized sterling silver, the back and pawl catch in fourteen karat yellow gold, l. 7‑1/2”, overall weight 99.3 gr. [3500/5000]

1628 1633

1628 Fine Edwardian Platinum and Diamond Bib Necklace. first quarter 20th century, comprising twenty one old European cut diamonds, 5.5 - 6.5 mm diameter and averaging J-L color and SI1‑2 clarity, in “eyeglass” bezels each suspended by a chain segment in a lacy triangular bib and chain, the whole set with an additional one hundred and thirty five small old European cut diamonds bezel set en suite, one hundred and fifty six diamonds totaling approximately 18.75 carats total weight, l. 16‑3/4”, fall (at center) 3‑1/2”, overall weight 17.5 gr. [50000/80000] Illustrated

1629

1631 Edwardian-Style Platinum, Pearl and Diamond Lavaliere, centering a diamond-set bow pendant 5.6 mm pearl, the ends with articulated diamond links suspending a 6.4 mm pearl, all to a fine platinum chain, total diamond weight approximately .80 carats, l. 18‑1/2”, overall weight 11.1 gr. [1800/2500] 1632 Fourteen Karat White Gold, Diamond and Pearl Pendant, the leaf-form pendant set with thirty small round brilliant diamonds totaling approximately 1.50 carats and suspending a single pear-shaped South Sea pearl, 13.5 mm x 12.3 mm, overall l. 1‑3/4”, suspended from an eighteen karat white gold fine gauge rolo link double chain with lobster-claw clasp, l. 16”., 12 gr. total (including pearl). [1800/2500]

1633 Four-Strand Eighteen Karat White Gold, Pearl and Diamond Bracelet, comprising four strands of 6.5 7.0mm pearls, with a pair of floral spacers and a scabbard clasp en suite set with a total of approximately 0.43 carats of diamonds, l. 7‑1/4”, w. 1‑1/8”. [1400/1800] Illustrated

1639

1634 Pair of Fourteen Karat White Gold, Tahitian Pearl and Diamond Earrings, each in the form of a five-petaled flower, the petals pave set with a total of approximately 0.75 of diamonds (1.50 carats total) and centered with a 9.2 mm black Tahitian pearl, with omega post backs, dia. 3/4”, 10 gr. (including pearls). [1500/2500] Illustrated 1635 Pair of Eighteen Karat White Gold, Gray Pearl and Diamond Drop Earrings, each with a pear-shaped baroque gray pearl 15.5 x 10 mm, suspended from a pair of pave diamond “leaves” and a foliate diamond mount, with screw-post backs, l. 1‑1/2”. [800/1200]

1638

1636 Dramatic Eighteen Karat White Gold, Pearl and Diamond Dinner Ring, comprising two intertwined naturalistic scrolls pave set with a total of approximately 0.85 carats of round brilliant diamonds, each terminating in a 10.5 mm South Sea pearl, l. 1‑1/2”, size 5, 14 gr. total (including pearls). [2500/4000] 1637 Tahitian Pearl Necklace, comprising forty-nine slightly graduated Tahitian pearls, 10.0 - 11.8 mm, with fourteen karat gold spiralled ball clasp, l. 17‑1/4”. [2500/4000] Illustrated

1634 1638 Large Marquise Diamond Solitaire Ring, 5.16 carats, I color / VS2 clarity, 18.2 x 8.2 x 5.4 mm, in a platinum sixprong cage mounting, together with an affixed guard band set with two 6mm tapered baguette diamonds, G-H color/ VS1‑2 color totalling approximately 0.25 carats, overall weight 9.8 gr. [40000/70000] Illustrated

1637

1639 Eighteen Karat White Gold and Diamond Engagement-Style Ring, comprising a center 3.00 carat round brilliant diamond, 9.33 x 5.57 mm, K color, VS1 clarity, set with four double prongs and surrounded by twenty four small diamonds in a rounded square mounting, the shoulders channel set with fourteen princess-cut diamonds (thirty eight diamonds in the mounting totaling 0.85 carats), size 6‑3/4, overall weight 5.5 gr. [30000/50000] Illustrated

1642

1640 Art Deco-Style Platinum Two-Diamond Ring, set with a pair of round brilliant diamonds, .64 carats and .70 carats, H-I color and VS2 clarity, in a filigree dome mounting accent by calibre sapphires and small diamonds, size 9‑1/2”, overall weight 5.1 gr. [3500/5000] 1641 Platinum, Diamond and Sapphire Cluster Ring, comprised of a central prong-set round brilliant diamond surrounded by an inner band of seven round brilliant diamonds and an outer ring of six marquise-cut diamonds alternating with six marquise-cut sapphires, fourteen diamonds totaling 3.24 cts., six sapphires totaling approximately .30 carats, size 7 (with interior guard), overall weight 8.6 gr. [3000/5000]

1643 Fine Platinum, Jade and Diamond Necklace, comprising a box-link chain, each link set with a single round brilliant or single-cut diamond and ending in a pair articulated scroll mounts accented with round brilliant, single cut, baguette and marquise diamonds, centering an oval prong-set jade openwork plaque carved with prunus blossoms and snails, suspending a carved jade openwork drop carved with plums with a diamond scroll mount en suite, one hundred and forty eight round, four baguette and three marquise diamonds totaling approximately 5.0 carats, l. 14”, fall (at center) 2‑3/4”, overall weight 37.9 gr. [25000/40000] Illustrated

1644

1642 Fine Edwardian Platinum and Diamond Bar Pin, first quarter 20th century, centered by a large Old European cut diamond weighing approximately 4.25 cts., 10.1 x 6.8 mm, approximately J/K color and SI1 clarity, in a fine milligrain bezel, set in a long slightly tapering openwork platinum mounting with chevroned ends and bead- and bezel-set with forty eight small Old European cut diamonds totaling approximately 2.00 carats, l. 3‑3/4”, overall weight 16.5 gr. [20000/40000] Illustrated

1644 Fourteen-Karat Yellow Gold, Ruby and Diamond Ring, featuring one prong-set square mixed-cut 5.76-carat ruby, set within a bezel of diamonds, supported by diamond-set shoulders, the thirty-eight prong-set round brilliant-cut diamonds weighing 2.18 carats, size 6. [700/1000] Illustrated 1645 Eighteen Karat Two-Dolor Gold, Ruby, Emerald and Diamond Bangle, the tapering hinged bangle with a central channel-set emerald chevron flanked by a pair of channel-set ruby chevrons opposing, all on pave diamond white gold field, total diamond weight approximately 2.00 carats, w. 1/2”, overall weight 35.0 gr. [2500/4000]

1643

1646 Fourteen Karat Yellow Gold and Citrine Choker Necklace, in the Victorian taste, comprised of a single strand of oval mixed-cut citrines in conforming multiprong mounts separated by openwork acanthus dart links, eighteen citrines totaling approximately 63.0 carats, l. 15‑3/4”, overall weight 50.1 gr. [2500/4000]

1648

1647 Three Piece Collection of Yellow Gold and Cabochon Gemstone Jewelry, including an eighteen karat yellow gold ring with a single gypsy set sapphire circular “sugarloaf’ cabochon, 7.5 mm, size 8‑1/2, and two pairs of fourteen karat gold domed oval earrings, one pair bezel set with an 6.5 x 4 mm oval sapphire, ruby and emerald in each earring, the other pair bezel set with a 8.5 x 6 mm rounded rectangular pink and green tourmaline in each earring, both pairs with omega backs, overall weight 33.3 gr. [500/800]

1648 Dramatic Emerald, Sapphire, Ruby and Diamond Bib Necklace, comprised of sixty two cabochon and melon-carved emeralds totaling 279.12 carats, sixty nine cabochon and leaf-carved sapphires totaling 344.5 carats, and fifty one cabochon and leaf-carved rubies totaling 254.93 carats, all prong-set into an articulated eighteen karat yellow gold crescent-shaped bib, accented throughout by two hundred and twenty five round brilliant diamonds totaling 44.54 carats, l. 16‑1/2”, fall (at center) 3”, gold weight 241.63, overall weight 426.25 gr. The design combination of cabochon and carved colored stones accented by faceted diamonds is generally credited to Jacques Cartier in the 1930’s, which he called the “Moghul Style” after its Indian ispiration (although the style is now better known by the nickname given it by Singer sewing machine heiress Daisy Fellowes: “Tutti Frutti”.) This particular piece, though, owes its inspiration to contemporary designer Fred Leighton; a near identical necklace by him was sported by Beyonce in the November 2008 issue of “InStyle” magazine, and was later worn by Amy Adams on the red carpet at the 2009 Academy Awards. [70000/100000] Illustrated

1649 Eighteen Karat White Gold, Fancy Sapphire and Diamond Bracelet, comprising three each of pink, yellow and blue marquise-cut sapphires totaling 4.42 carats, prongset into a conforming bead-set diamond surround and joined by navette-shaped links bead-set en suite, total diamond weight 1.99 carats. l. 7‑1/2”, overall weight 15.9 gr. [1800/2500]

1650

1650 Antique Fourteen Karat Yellow Gold, Aquamarine and Ruby Renaissance Revival Pendant, c. 1875, comprising a robust pair addorsed scrolls collet-set with five oval aquamarines and accent by small rubies, with “foxtail” chain swags ending in asymmetrical gold tassels, the lark bail-hook set with a singe “buttercup” set ruby, l. 3‑1/4 [1800/2500] Illustrated 1651 Large Rock Crystal, Pink Sapphire and Diamond Dinner Ring, comprising a large pear-shaped colorless rock crystal drilled and set with a conforming pink sapphire weighing 3.01 carats, both surrounded by thin bands of small single-cut diamonds set in sterling silver and totaling .86 carats, the reverse gilt with an eighteen karat yellow gold shank, size 7‑1/4, overall weight 12.0 gr. [900/1200]

1659

1652 Unusual Eighteen Karat White Gold and Diamond Slice Cocktail Ring, centering a natural trapezoid-shaped slice of heavily included diamond crystal measuring 22.4 x 17.4 mm and weighing 10.13 carats, in a round brilliant-cut diamond pave set amorphous surround to channel-set forked shoulders, pare diamonds totaling approximately 2.30 carats, size 7‑1/2”, overall weight 11.5 gr. [3500/5000] 1653 Pair of “Mod”-Style Oxidized Sterling Silver and Moonstone Earrings, each of wavy circular form centering collet-set 11 mm “windowpane” cabochon moonstone surrounded by numerous smaller pearshaped, round and oval moonstones and suspended from a surrounded pear-shaped moonstone, all openwork oxidized sterling silver bezel settings, with an eighteen karat yellow gold friction post back, l. 2‑1/2”, w. 1‑7/8”, overall weight 12.9 gr. [1000/1500] 1654 Oxidized Sterling Silver and Moonstone Bangle Bracelet, both sides of the domed, hinged bangle set all over with oval and pear-shaped “windowpane” cabochon moonstones, the edges beaded with round moonstone en suite, all in oxidized sterling silver, the hinge and pawl catch in eighteen karat yellow gold, w. 1”, overall weight 46.1 gr. [2500/4000]

1658 Oxidized Sterling Silver, Sapphire and Diamond Bangle Bracelet, comprising five oval, triangular and pear-shaped “windowpane” cut light blue sapphires totaling approximately 2.80 carats and prong-set in an oval surround, the surround and connecting narrow bangle nailheadset with small single-cut diamonds, overall weight 17.1 gr. [1000/1500]

1659 South Sea Pearl Necklace, comprising thirty-one slightly graduated South Sea pearls, 12.0‑15.3 mm, with a fourteen karat gold openwork spiralled ball clasp set with approximately 0.05 carats of diamonds, l. 18‑1/4”. [4500/7000] Illustrated 1660 Pair of Eighteen Karat White Gold, Diamond and Pearl Drop Earrings, each with an articulated pair of serpentine-intertwined ribbons line-set with a total of approximately 0.45 carats of diamonds (0.90 carats total) and suspending a single 11.3 mm South Sea pearl, with a friction-post back, l. 2”, 8 gr. (including pearls). [1500/2500]

1671

1655 Pair of Oxidized Sterling Silver, Moonstone and Diamond Drop Earrings, each set with an 12 x 10 mm oval moonstone in a diamond surround suspending a larger 14 x 10 oval moonstone in a pair of concentric pave-set diamond “creole” hoops, total diamond weight approximately 1.35, with eighteen karat gold friction post backs, l. 1‑3/4”, overall weight 19.1 gr. [1400/1800] 1656 Oxidized Sterling Silver, Sapphire and Diamond Bangle Bracelet, comprising five oval, triangular and pear-shaped “windowpane” cut light blue sapphires totaling approximately 2.80 carats and prong-set in an oval surround, the surround and connecting narrow bangle nailhead-set with small single-cut diamonds, overall weight 17.1 gr. En suite with the following lot. [1000/1500] 1657 Oxidized Sterling Silver, Sapphire and Diamond Bangle Bracelet, comprising five oval, triangular and pear-shaped “windowpane” cut light blue sapphires totaling approximately 2.80 carats and prong-set in an oval surround, the surround and connecting narrow bangle nailhead-set with small single-cut diamonds, overall weight 17.1 gr. [1000/1500]

1661 Eighteen Karat White Gold, Diamond and Pearl “Arum Flower” Lavaliere, comprising a central white gold arum flower, the spadix pave set with approximately 0.90 carats of diamonds, suspending four chains, one terminating in a white South Sea pearl, 10.5 x 12.5 mm, one in a black Tahitian pearl, 10.7 x 12.5 mm, and the other two in simple white gold ovals, both pearls in diamond-banded caps, the whole suspended from a fine gauge rectangular link double chain with lobster claw clasp, l. 18”, 22 gr. (including pearls). [2500/4000]

1662 Dramatic Woven Pearl Lariat, in the Edwardian taste, comprised of approximately seventeen hundred 3mm pearls woven on silk thread in a “honeycomb” pattern, each end with a seed pearl tassel with carved nacre cap, w. 1/2”, l. 42” (excluding tassels) [1000/1500]

1668 Dramatic and Elegant Chinese Crystal Necklace and Bracelet Set, composed of a double strand necklace with faceted oblong crystal beads in a reflective gray-brown color, together with a matching single strand bracelet, both with sterling silver clasps. [125/250]

1663 Pearl Sautoir with Coral and Diamond Enhancer, with fourteen karat gold fitting, comprised of four strands of 2.5‑3.0 mm pearls, l. 35”, with a detachable enhancer in the form a pave single-cut diamond seahorse around a large dark red coral bead suspening a pearl tassel, total diamond weight approximately one carat, l. 3‑3/4” [1800/2500]

1669 Good American Art Nouveau Fourteen Karat Yellow Gold and Jade Brooch, c. 1900, centering a bezel-set jade cabochon 27 x 19 mm, the scalloped navette-shaped leafy mount with pierced “veins”, the reverse fitted with openface locket and latchhook catch, w. 1‑7/8”, overall weight 15.8 gr. [500/800]

1664 Tiffany-Retailed Lady’s Platinum and Fourteen Karat White Gold Wristwatch, third quarter 20th century, retailed by Tiffany & Co., New York City, New York, the mechanism by Longines, Saint Imier, Switzerland, the platinum case back by “AW”, the fourteen karat white gold bracelet by Gori & Zucchi, Arezzo, Italy, the canted rectangular case with a conforming face with black Arabic chapters and blue steel hands, with a tight-weave bracelet and fold-over clasp, l. 6”, w. 5/8”, platinum case back 4.3 gr., gold bracelet 14.9 gr. (excluding mechanism but including crystal). [500/800] 1665 Double-Strand Pearl Necklace, comprised of eightythree cultured pearls measuring 9.5‑10‑5 mm, with an oval eighteen karat white gold filigree clasp set with five small diamonds totaling approximately 0.05 carats, l. 17”. [1500/2500] 1666 Stunning Fresh Water Pearl and Abalone Necklace, the bold necklace comprised of freshwater pearls alternated with abalone beads, finished with a sterling silver toggle clasp. [150/300] 1667 Beautiful Single Strand Labradorite Necklace, the polished and faceted free-form stones with a beautiful iridescence from each stone and every angle, finished with a sterling silver toggle clasp. [125/250]

1670 Pair of Continental Gold-Plated Micromosaic “Millefiori” Earrings, fourth quarter 19th century, of circular form suspending a smaller circular drop, decorated with polychrome glass tesserae in a floral design, with “fishhook” backs, l. 1‑1/4” [125/250] 1671 Retro Modern Fourteen Karat Gold and Sapphire Dress Clip and Earring Suite, second quarter 20th century, including a pair of addorsed dress clips, l. 2”, and a pair of earrings, l. 1”, each in the form of a ribbed “grosgrain” gold scroll, centered by four (in each clip) or a single (in each earrings) round sapphire, (ten sapphires in all totaling approximately 1.15 carats), the clips with double pin, th earrings with omega back, overall weight 31.9 gr. [500/800] Illustrated 1672 Pair of Eighteen Karat Yellow Gold, Amethyst and Diamond Earrings, each centering a prong-set ovalcut amethyst weighing approximately 3.00 carats (6.00 carats total), surrounded by openwork rope-twist round and pear-shaped petals set with eight-prong set diamonds (sixteen diamonds totaling 0.82 carats), with omega-post backs, h. 1”, overall weight 13.6 gr. [1400/1800] 1673 Fourteen Karat Yellow Gold and Turquoise Earrings, each with a bezel-set oval turquoise cabochon measuring 12.3 x 16.3 mm, in an openwork leaf-and-bead surround, with friction-post backs, w. 1”, overall weight 6.6 gr. [700/1000]

1674

1674 Fine and Rare Antebellum New Orleans-Retailed Eighteen Karat Gold Pocket Watch, mid‑19th century, retailed by Hyde & Goodrich, New Orleans, Louisiana, manufactured in Neuchatel, Switzerland, with a keywind, key-set movement, the hunter case exterior finely engraved in a leaf-and-lozenge diaper pattern, the front cover opening to reveal the white enameled face with Roman chapters, steel hands and sub-second register, the crystal lacking, the reverse interior case engraved “No. 8873 / Hyde & Goodrich / New Orleans” in extravagant script, dia. 1‑5/8”, presented in the original Hyde & Goodrich brass-bound rosewood box, the underside with the original Hyde & Goodrich inventory label bearing the matching serial number to the watch, the interior of the fitted case lined in cream satin and gray velvet, the interior lid retaining traces of the Hyde & Goodrich stamp, 5‑1/8” x 3‑3/4”, the spare crystal compartment now fitted with a slightly later engine-turned fourteen karat gold watchcase locket opening to portraits of a prosperous antebellum couple, the wife’s a hand-colored tintype, the husband’s a watercolor and gouache on paper, dia. 1‑3/4”, overall weight (watch and locket combined), 88 gr. [1200/1800] Illustrated

1674

1674 1675 Judith Leiber Black Karung Clutch or Shoulder Bag, 1980’s, the gold frame with inset semiprecious cabochon stones and stamped on one interior side: “Judith Leiber”, the gathered body double-gusseted, with a thin karung cross-over strap, the interior lined in black faille with a zippered pocket and a scalloped slip pocket bearing a gold metal label stamped: “Judith Leiber”, included are a small matching coin purse, a tasseled gold comb stamped: “Judith Leiber” and “Made in Italy”, a circular gold swing arm mirror stamped: “Judith Leiber” and “Made in Italy” and a dust bag, h. 5‑3/4”, w. 10‑1/4”, strap drop: 19‑1/4”. [400/700] Illustrated

12 12

1678 1676 1680

1681

1675

1677 1679 1676 Judith Leiber Pale Taupe Karung Clutch or Shoulder Bag, 1984, the gold frame and fold over clasp trapunto karung-trimmed and set with cabochon carnelian stones, the body pleated and gathered, with a removable thin karung toggle strap, the interior frame stamped: “1984, Made in Italy, Judith Leiber”, the interior lined in pale taupe faille with a zippered pocket and a scalloped slip pocket below a gold metal label stamped: “Judith Leiber”, included are a small matching coin purse, a tasseled gold comb stamped: “Judith Leiber” and “Made Italy”, a circular gold swing arm mirror stamped: “Judith Leiber” and “Made Italy” and a dust bag, h. 7”, w. 9‑1/4”, strap drop: 19‑1/4”.0 [500/800] Illustrated 1677 Judith Leiber White Karung Frame Clutch or Shoulder Bag, 1980’s, the tubular gold and silver frame set with pale cabachon stones and stamped on one interior side: “Judith Leiber”, the karung body gathered, the thin karung strap retractable, the interior lined in caramel faille with a zippered pocket, a scalloped slip pocket on the opposing side below a gold metal label stamped: “Judith Leiber”, included are a small matching faille coin purse, a tasseled gold comb stamped: “Judith Leiber” and “MADE ITALY”, a circular gold swing arm mirror (not pictured) and a dust bag, h.6”, w. 9”, strap drop: 19”. [400/700] Illustrated 1678 Judith Leiber Chocolate Brown Karung Clutch or Shoulder Bag, 1980’s, the gold and trapunto karung frame with a flip-over clasp, the frame stamped: “Judith Leiber” on one side, the karung body pleated, gathered and gusseted, the thin karung strap retractable, the interior lined in chocolate brown faille with a zippered pocket and a scalloped slip pocket bearing a gold metal label stamped: “Judith Leiber”, included are a matching coin purse, a tasseled gold comb stamped: “Judith Leiber” and “Made Italy”, a circular gold swing arm mirror stamped: “Judith Leiber” and “Made in Italy” with a drawstring cloth pouch and a dust bag, h. 8‑1/2”, w. 11”, strap drop: 19‑1/4”. [400/700] Illustrated

1679 Judith Leiber Silver Metal and Crystal Minaudiere, 1980’s, in envelope form with an oval clasp having an inset hematite cameo depicting the head of a classical warrior, the body edged in silver and covered with crystals, the front accented with “marcasite”, with a retractable silver snake link chain, the interior lined in silver kidskin and bearing a silver metal label stamped: “Judith Leiber”, including a matching silver coin purse, a tasseled silver comb stamped: “Judith Leiber” and “Made Italy”, a circular silver swing arm mirror stamped: :”Judith Leiber” and a dust bag, presented in the original “snakeskin” box, h. 3‑5/8”, w. 6‑1/2”, strap drop: 19‑3/4”. [1000/1500] Illustrated 1680 Judith Leiber Red Karung Clutch or Shoulder Bag, 1980’s, the frame with one thin lobed gold band and a flipover clasp, both set with semiprecious cabochon stones, the body shirred, having a thin retractable karung strap, the interior lined in red faille with one scalloped slip pocket below a gold metal label stamped: “Judith Leiber”, included are a small matching faille coin purse, a tasseled gold comb stamped: “Judith Leiber” and “Made Italy”, a circular gold swing arm mirror stamped: Judith Leiber” and “Made Italy” and a dust bag, h. 7”, w. 8‑3/4”, strap drop: 18‑1/4”. [400/700] Illustrated 1681 Judith Leiber Black Karung Clutch or Shoulder Bag, 1980’s, with a scrolling silver-edged jet frame and flipover clasp, the frame stamped: “Judith Leiber”on one side, the karung body gathered, the silver metal snakelink chain retractable, the interior lined in black satin with two scalloped slip pockets, bearing a silver metal label stamped: “Judith Leiber”, accompanied by a dust bag, h. 7”, w. 9”, strap drop 19”. [400/700] Illustrated

1682 Twenty-Two Piece of W. Britains Fifteenth Ludhiana Sikh Infantry Band, comprising one bass drum, two tenor drums, two cymbals, two drum majors, three clarinetists, two bugles, two baritones, two flugelhorns, two sousaphones, and four trombones, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [500/800] Illustrated

1682

1683 Ten Piece Group of W. Britains Bombay Infantry Lead Toy Soldiers, old round bases, comprising seven privates marching without weapons, one officer and two Indian servants, probably a later production, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [200/400]

1687 Eight W. Britains Forty-Fifth Sikh Infantry Vintage Lead Toy Soldiers, early round bases, consisting of a Queens color bearer and seven marching soldiers, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [200/400]

1684 Four W. Britains Rajputana Rifles with Officer Vintage Lead Toy Soldiers, old round bases marching at the trail arms, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [75/150]

1688 Ten W. Britains Rajput Infantry with Colour Party Vintage Lead Toy Soldiers, early round bases, consisting of two colour bearers and eight infantry, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [400/700]

1685 Eight W. Britains Luhiana Sikh Infantry Vintage Lead Toy Soldiers, early round bases, comprising two officers and six infantry marching without weapons, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [150/300]

1689 Nine W. Britains 116th Rajput Infantry with Colour Party Vintage Lead Toy Soldiers, early round bases, consisting of two colour bearers and seven marching infantry marching at the slope (head of bearer of regimental colour missing), 1:32 scale. Provenance: A private, Mobile, Alabama collection. [300/500]

1686 Nine W. Britains 74th Rajput Infantry with Color Party Vintage Lead Toy Soldiers, early round bases, consisting of two color bearers and seven infantry, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [200/400]

1691

1690 Eight W. Britains Madras Native Infantry Vintage Lead Toy Soldiers, early round bases, comprising one officer and seven infantry marching at the trail, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [250/400] 1691 Ten W. Britains 36th Sikh Infantry Vintage Lead Toy Soldiers, early round bases, comprising a regimental Colour Bearer and nine infantry, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [150/300] Illustrated

1697

1692 Eight W. Britains Sikh Infantry Vintage Lead Toy Soldiers, old round bases, comprised of an officer and seven soldiers marching without weapons, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [100/200]

1698 French Coatal Artillery Three Pound Gun with Two Officers, in khaki Foreign Service uniform with kepi, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [30/50]

1702

1693 Eight W. Britains Queens Own Corps of Guides Vintage Lead Toy Soldiers, old round bases, consisting of an officer (different color base, probably from a different set) and seven figures marching at the trail, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [100/200] 1694 Seven W. Britains Madras Sappers and Miners Vintage Lead Toy Soldiers, early round bases, consisting of an officer and six soldiers marching at the trail, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [100/200] 1695 Eight W. Britains Twenty-First Punjab Infantry Vintage Lead Toy Soldiers, early round bases, consisting of an officer and seven infantry marching without weapons, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [150/300] 1696 Eight Sikh Infantry Vintage Lead Toy Soldiers, consisting of an officer, seven infantry marching without weapons and a stack of three rifles, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [150/300]

1697 Dragoon of the French Imperial Guard (Dragon de L’Imperitrice de la garde Imperiale) Lead Toy Soldiers, wearing the c. 1810 uniform consisting of six troopers and one officer (officer’s hand and sword missing), 1:32 scale. Provenance: A private, Mobile, Alabama collection. [300/500] Illustrated

1699 Eight W. Britains Algerian Turcos of the French Army Vintage Lead Toy Soldiers, comprising six marching at the slope arms and two running at the advance arms, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [100/200] 1700 Group of Seventeen French Artillerymen on Foot Lead Toy Soldiers, modern production, wearing early 20th century uniforms, all marching and advancing arms a kimbo, blue uniforms trimmed in scarlet, with kepi, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [75/100] 1701 French Officer Lead Toy Soldier, charging with sword raised, wearing blue coat, red trousers and kepi, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [50/100] 1702 Fifty-Five French Napoleonic Light Infantry (Tirallieurs) Lead Soldiers, wearing the c. 1810 uniforms, consisting of thirty-five soldiers, two N.C.O.’s, eight pioneers (Sappeurs), seven drummers, one drum major, one mounted captain, and one mounted colonel, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [500/800] Illustrated

1703

1706

1703 Eleven Piece Group of French Foot Artillery Vintage Lead Toy Soldiers, c. 1810 uniforms, comprising a twelve pound cannon and limber with six house team, an ammunition cason with two horse team mounted with drivers and officer, seven man foot artillery crew and two horses, one with mounted officer, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [300/500] Illustrated previous page 1704 Six W. Britain’s Russian Cossacs Vintage Lead Toy Figures, c. 1910, comprising six mounted officers, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [100/200] 1705 Thirty-Five Russian Infantry Lead Toy Soldiers, wearing c. 1900 uniforms, comprising twenty-seven infantry privates advancing, two buglers, and six officers (one head loose), 1:32 scale. Provenance: A private, Mobile, Alabama collection. [100/200] Illustrated 1706 Diorama Depicting Imperial Austrian Maneuvers in the Tirol, 1905, an extensive collection of over one hundred figures, both foot and mounted, including figures of Emperor Franz Joseph in his carriage, horse drawn cannon and caisson sets, Bosnian troops in fez with band, Triloean troops with band, the Crown Prince and staff on horseback, engineers with supply wagon building a bridge and artillery men, some figures are detached but are in excellent condition, and could be re-attached easily, h. 5”, w. 28‑1/4”, d. 9‑1/4”. [400/700] Illustrated

1707 Thirty-Two Prussian Guard Grenadiers Lead Toy Soldiers, in C. 1900 full dress uniforms, consisting of sixteen infantry grenadiers at attention, fourteen marching infantry, one officer at attention, one marching officer, one rifle detached, but present, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [100/200] 1708 Ten Russian Guard Cuirassiers Regimental Mounted Band of Lead Toy Soldiers, wearing the c. 1900 uniform and comprised of two trumpet players, one oboe player, two clarinetists, two trombonists, one saxaphonist, one drummer and one director of music, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [150/300] 1709 Nine Wounded Russian Infantry Vintage Lead Toy Soldiers, wearing c. 1812 uniforms, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [100/200] 1710 Thirty-Four Piece W. Britains Prussian Artillery, comprised of two cannons being pulled by a two-horse team, each with one rider, six two-horse teams with traces, each team with one rider, six mounted horses with traces and riders, two mounted horses with riders and without traces and six mounted horses with riders carrying bugles, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [100/200]

1705

1711 Fifty-Nine W. Britains SeventyFirst Coorg Rifles Lead Toy Soldiers, comprising fifty-two privates at attention with shouldered rifles and seven officers at attention with drawn swords, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [200/400] 1712 Nine Piece Group of W. Britains Lead Toy Figures, comprising an Edwardian lady and gentleman, a lady in hat and cape, a girl in a bonnet carrying a basket, a school boy with satchel, a young boy in a sailor suit and three nurses, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [100/200]

1713 Miscellaneous Group of Lead Toy Trees, consisting of eight oak trees, six pine trees, three fruit trees, one palm tree and one explosion, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [75/125]

1714

1714 Collection of Fifty-Four W. Britains Lead Toy Soldiers, early 20th century and later, all British troops, including a thirteen piece county regimental band, four color bearers, twenty-one Northumberland soldiers bearing rifles and swords accompanied by one mounted officer, and sixteen soldiers in full dress wearing foreign service helmets, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [300/500] Illustrated 1715 Five W. Britains First Royal Dragoons Lead Toy Soldiers, wearing the 1870‑1914 full dress uniform, marching on foot with carbines, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [200/400]

1718

1716 Six W. Britains Grenadier Guards Vintage Lead Toy Soldiers, comprised of one bass drum, one cymbals, three side drums, one drum major (bottom of drum major’s baton missing), all wearing c. 1900 uniforms, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [100/200] 1717 Eight W. Britains Rifle Brigade Lead Toy Soldiers, wearing c. 1900 uniforms, comprised of one officer kneeling, one bugler, and four privates at attention, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [100/200] 1718 Seven W. Britains Miscellaneous British Infantry Marching Vintage Lead Toy Soldiers, old round bases, comprising a marching, Foreign Service helmeted, full dress example, three officers with yellow facing, one officer with white facings, one Midland Light Infantry officer and two Midland Light Infantry privates, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [200/400] Illustrated 1719 Five W. Britains Scots Guard Regimental Sappers Lead Toy Soldiers, comprising two figure with picks, two with shovels and one with an axe, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [200/400] 1720 Seven Miscellaneous W. Britains Infantry Lead Toy Soldiers, consisting of an officer in black watch full dress with Foreign Service helmet, a private in black watch full dress with Foreign Service helmet, a private as above kneeling and firing, two privates in British Regiments full dress and Foreign Service helmets marching, one regimental mascot holder (lacking the animal) marching, and one Rifles Regiment Officer marching with flag, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [100/200]

1721 Fifteen Piece Group of W. Britains Lead Toy Soldiers, comprising two Irish Guards presenting arms, eight marching Grenadier Guards, and five Coldstream Guards at the slope arms, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [300/500] 1722 One Royal Artillery Three-Hundred and Sixteen Field Gun with Three Gunners Lead Toy Soldiers, in Foreign Service khaki uniform with helmets, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [30/50] 1723 Thirty-Eight Piece Group of W. Britains Lead Toy Soldiers, the first group, eleven Warwickshire Regimental full dress marching soldiers, consisting of nine infantry, one officer and one ram mascot, the second group, eight Staffordshire Regiment full dress soldiers at attention, consisting of one sergeant major, one drummer, five infantry and one goat mascot, and the third group, nineteen field day full dress soldiers, consisting of four privates standing and firing, five privates kneeling and firing, four privates lying down and firing, one officer kneeling and one officer kneeling with binoculars, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [300/500] Illustrated following page

1724 Seventeen Piece Group of W. Britains Lead Toy Soldiers, comprising four Highland Light Infantry privates at attention with one officer and three pipers, four Light Infantry Full Dress privates at attention and one officer, and four Royal Scots Fusiliers at attention, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [400/700]

1729 Six W. Britains Irish Pipers Lead Toy Soldiers, postWWII, wearing c. 1935 uniforms, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [50/100]

1723

1725 Six Miscellaneous W. Britains Officer Lead Toy Soldiers, comprised of an Exon (officer) of the Yeomen of the Guard with long-tailed red coat, white plumes and carrying a cane, an officer of the black Watch in full dress, an officer Royal Artillery, in blues with Foreign Service helmet, a British officer of the Indian Rifles Regiment, two officers of the King’s Royal Rifle Corps marching, one with regimental flag, the other with Queen’s colour flag, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [150/300]

1726 Miscellaneous Calvary/Artillery Lead Toy Soldiers, consisting of two white horses and four brown horses, all with blue saddlecloths trimmed in scarlet, separate harness collars, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [250/400]

1727 Nine W. Britains Royal Engineers in Full Dress Vintage Lead Toy Soldiers, the uniforms c. 1900, comprising an officer, a drummer, a Theodolite, a signaler, a note taker, and four privates at attention, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [200/400] 1728 Four French Foot Grenadiers of the Imperial Guard (Grenadiers a Pied de la Garde Imperiale) Vintage Lead Toy Soldiers, comprising on marching Grenadier, one wounded Grenadier, one marching Sappeur with axe, and one marching Sappeur with saw, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [200/400]

1730 Thirty Piece Group of W. Britains Lead Toy Soldiers, the first group, Highland officer group, consisting of one officer Highland light infantry marching, one officer kneeling with binoculars, one officer standing and pointing, one bugler, one officer standing and reading a notepad, and two officers standing with binoculars, the second group, Gordon Highlanders in full dress with Foreign Service helmets, consisting of one officer, nine marching privates and three kneeling and firing privates, and the third group, Colour Party of the Gordon Highlanders, consisting of four flag bearers and six privates, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [600/900]

1731 Ten W. Britains British Mussars, c. 1870, mounted privates in foreign service helmets, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [500/800]

1732

1732 Twenty-Seven Piece Group of W. Britains Gurkhas Vintage Lead Toy Soldiers, all wearing c. 1900 uniforms, consisting of four firing and kneeling riflemen, one standing officer, eleven privates marching with rifles at the trail, eight private marching without weapons, two officers with swords and one officer with a flag, 1:32 scale. Provenance: A private, Mobile, Alabama collection. [400/700] Illustrated 1733 Brass and Glass Display Case, 20th century, the rounded rectangular glazed top above a glazed case fitted with a single door, fitted for shelves, raised on paw feet, h. 32‑1/2”, w. 29‑1/2”, d. 14‑3/4”. [500/800]

1734

1734 Maurice de Vlaminck (French, 1876‑1958) “Le Port”, oil on canvas, signed lower right “Vlaminck”, 16” x 24”. Presented in a contemporary molded giltwood frame with a linen liner. Provenance: Private collection, Colorado, purchased by the present owner’s parents in Paris, ca. 1966. Note: This work will be included in the forthcoming catalogue raisonne being prepared by Maithe Valles-Bled and Godelieve de Vlaminck under the sponsorship of the Wildenstein Institute. Maurice de Vlaminck was a primarily self-taught artist, writer, and musician best known as a key player in the Fauvist movement. He began his artistic career alongside Henri Matisse and his lifelong friend Andre Derain, all of whom exhibited in the Salon des Independants and the Salon d’Automne in 1905. It was at the Salon d’Automne that critic Louis Vauxcelles coined the term “Fauves” to describe these artists as wild beasts due to their use of intense, vibrant color and powerful brushwork in these avant-garde paintings. During his early career, Vlaminck was strongly influenced by Vincent Van Gogh, whose work he had seen in a 1901 exhibition. His work was collected by noted dealer Ambrose Vollard, who arranged a one-man exhibition for Vlaminck in 1906. However, once Vlaminck attended a Cezanne retrospective in 1907 he began using a somewhat darker palette as opposed to pure color taken straight from tubes of paint he had used heretofor. His forms from 1908 onward were more solidly constructed, though he still employed painterly brushstrokes. After his service in WWI Vlaminck had a breakthrough exhibition of 1919, after which he bought a house in the countryside at Valmondois. His style developed and he began painting rural landscapes, continuing to do so after a second move to the Department Eure-et-Loire in 1925. “Le Port” appears to be from this period of rural landscape painting. It is punctured with heavy strokes of contrasting white and marked by more subdued palette that followed Vlaminck’s Fauvist period. It is similar in both subject and style to “Le Port du Havre” from 1925. [70000/100000] Illustrated

19 19

1737A Pierre-Auguste Renoir (French, 1841‑1919) “Berthe Morisot”, black and white etching, later impression, signed in plate in reverse, sight 5” x 4”. Glazed, French matted and presented in a giltwood frame with a linen liner. [800/1200] Illustrated 1738 Felix Vallotton (French/Swiss, 1865‑1925) “Unexpected Embrace”, ink on paper, initialed lower center, inscribed on reverse in French “5.11.1959 Liquidation of the Collection Felix Schroeder, Redange...”, sight 9” x 6‑1/4”. Glazed, matted and framed. [1200/1800] Illustrated

1737

1738A Louis XVI-Style Mahogany Breakfront, late 19th century, the heavily molded cornice with turreted ends above a conforming case fitted with two doors, each with an inset grille panel, the lower section fitted with four central long drawers flanked to either side by a short drawer over a paneled cupboard door, all with ormolu banding, the whole raised on a plinth base, h. 88‑1/2”, w. 61”, d. 23‑1/2”. [1400/1800] Illustrated 1739 Louis-Philippe-Style Gilt Bronze and “Vert Antique de Grece Fonce” Marble Table Lamp, early 20th century, the tapering marble standard joined to an acanthine bowl on a tripodal base with paw feet, resting on a shaped marble plinth, formerly fitted as a candleabrum, electrified, h. 32‑3/4”. [500/800] 1740 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”. [1500/2500] Illustrated

1737A 1735 Edouard Manet (French, 1832‑1883) “Baudelaire with Hat” and “Baudelaire en Face”, two black and white etchings, later impressions, former initialed and latter signed in plate, sight former 5” x 4‑1/2”, latter 4‑1/2” x 4”. Both glazed, matted and framed. [800/1200] 1736 Edouard Vuillard (French, 1868‑1940) “Interior”, black and white etching, later impression, sight 6” x 8‑1/2”. Glazed, matted and framed. [400/700] 1737 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 “2em Etat”, sight 5” x 7‑1/2”. Glazed, matted and framed. [800/1200] Illustrated 1738

1741 Pair of Napoleon III Cast-Iron Chenets en Fonte, late 19th century, each modeled as a bust of Marianne, an allegory of Liberty and Reason and a National Emblem of France, each with a foundry mark “CF” set in an anvil, h. 8”, w. 4”, d. 19‑1/2”. [400/700] 1742 Pair of Louis Philippe Patinated Bronze TwoHandled Coupes, in the Gothic neoclassical style, second quarter 19th century, each mounted on a tall Siena marble pedestal base, h. 11”, w. 10‑1/2”. [1200/1800] Illustrated 1743 Louis XVI-Style Mahogany Settee, early 20th century, the rope-carved backswept crest above the padded back, joined by closed arms on foliate-carved uprights to the padded seat, raised on tapering circular stop-fluted legs ending in toupie feet, h. 39‑1/2”, w. 62”, d. 25”. [500/800] 1744 Louis XVI-Style Mahogany Bergere, early 20th century, the rope-carved backswept crest above the padded and rounded back, the closed arms on foliatecarved uprights, raised on tapering circular stop-fluted legs ending in toupie feet, h. 31‑1/2”. [300/500]

1738A

1740

1745 Empire-Style Cast-Brass and Tole Painted Five-Arm Chandelier, each arm depicting a ram’s head and having brass tassel below, the arms fitted with dripped wax candle sleeves, h. 32”, dia. 18”. [300/500]

1746

1742

1747

1748 Pair of Louis XVI-Style Gilt-Brass and Patinated Three-Light Appliques, early 20th century, of torch form with a flame and urn at the top of the backplate and eagles perched at either side of lower backplate, the arms draped with prisms, h. 22”, w. 9”, d. 6‑1/2”. Provenance: The Plimsoll Club Ballroom, World Trade Center, New Orleans, Louisiana. [500/800] Illustrated 1749 Pair of Louis XVI-Style Gilt-Brass and Patinated Three-Light Appliques, early 20th century, of torch form with a flame and urn at the top of the backplate and eagles perched at either side of lower backplate, the arms draped with prisms, h. 22”, w. 9”, d. 6‑1/2”. Provenance: The Plimsoll Club Ballroom, World Trade Center, New Orleans, Louisiana. [500/800]

1748

1751

1746 Unusual Louis Philippe Mahogany Dressing Table, second quarter 19th century, the domed mirror plate supported by ormolu-mounted columnar uprights capped by urn finials, the rectangular top with an inset recessed oval Carrara marble panel, above a single frieze drawer joined to a concave stretcher by columnar uprights, the whole raised on block feet, h. 44”, w. 17”, d. 11‑1/2”. [1200/1800] Illustrated previous page 1747 Empire-Style Patinated-Brass and Black Peinte SixArm Prism-Hung Chandelier, early 20th century, h. 26”, dia. 28”. [400/700] Illustrated

1753

1750 Pair of Louis XVI-Style Gilt-Brass and Patinated Three-Light Appliques, early 20th century, of torch form with a flame and urn at the top of the backplate and eagles perched at either side of lower backplate, the arms draped with prisms, h. 22”, w. 9”, d. 6‑1/2”. Provenance: The Plimsoll Club Ballroom, World Trade Center, New Orleans, Louisiana. [500/800]

1755 James Caroll Beckwith (American/French, 1852‑1917) “The Finding of the Lyre”, oil on board, signed lower left “Caroll Beckwith”, 6” x 8”. Presented in a contemporary giltwood frame. [800/1200] 1756 Empire-Style Giltwood and Marble Top Center Table, the circular variegated gray and white marble top above a conforming pierced foliate-carved frieze with central cabochon plaques, raised on C-scroll legs headed by ram’s heads, joined by an imbricate modeled shaped stretcher and ending in hoof feet, h.31‑1/2”, dia. 33”. [5000/8000] Illustrated

1757

1756

1751 Pair of Louis XVI-Style Gilt-Brass and Patinated Three-Light Appliques, early 20th century, of torch form with a flame and urn at the top of the backplate and eagles perched at either side of lower backplate, the arms draped with prisms, h. 22”, w. 9”, d. 6‑1/2”. Provenance: The Plimsoll Club Ballroom, World Trade Center, New Orleans, Louisiana. [500/800] Illustrated 1752 Pair of Louis XVI-Style Gilt-Brass and Patinated Three-Light Appliques, early 20th century, of torch form with a flame and urn at the top of the backplate and eagles perched at either side of lower backplate, the arms draped with prisms, h. 22”, w. 9”, d. 6‑1/2”. Provenance: The Plimsoll Club Ballroom, World Trade Center, New Orleans, Louisiana. [500/800] 1753 Pair of Louis XVI-Style Gilt-Brass and Patinated Three-Light Appliques, early 20th century, of torch form with a flame and urn at the top of the backplate and eagles perched at either side of lower backplate, the arms draped with prisms, h. 22”, w. 9”, d. 6‑1/2”. Provenance: The Plimsoll Club Ballroom, World Trade Center, New Orleans, Louisiana. [500/800] Illustrated 1754 Pair of Louis XVI-Style Gilt-Brass and Patinated Three-Light Appliques, early 20th century, of torch form with a flame and urn at the top of the backplate and eagles perched at either side of lower backplate, the arms draped with prisms, h. 22”, w. 9”, d. 6‑1/2”. Provenance: The Plimsoll Club Ballroom, World Trade Center, New Orleans, Louisiana. [500/800]

1757 Biedermeier Mahogany Secretaire a Abattant, mid‑19th century, the upper section with a molded bowfront cornice above a conforming single cupboard door, the lower section fitted with a frieze drawer with hinged front, over a drop-front opening to a central mirrored cupboard, in the form of a columned terrace, surrounded by various drawers, some with inlaid burl panels, the lower ones with string inlay to simulate masonry, over two long drawers, the whole raised on a plinth base, h. 78”, w. 42‑3/4”, d. 20”. [2500/4000] Illustrated

1758 Pair of Swedish Neoclassical-Style Four-Light Girandoles, each with a prism finial above a central standard dressed with faceted bead swags to an oval tier issuing four electrified arms, the whole raised on a rectangular white marble base, h. 28”, w. 16‑1/2”. [1000/1500] Illustrated

1758

1759 Restauration Fruitwood and Marble-Top Side Table, second quarter 19th century, the rectangular Sainte Anne des Pyrennes marble top above a conforming frieze with end foliate ormolu mounts, joined to a concave stretcher shelf by horn-form supports and a paneled back, the whole raised on ebonized molded feet, h. 36‑1/2”, w. 40‑1/2”, d. 18‑1/2”. [1200/1800] 1760 Neoclassical-Style Giltwood Looking Glass, the domed plate within a foliate molded frame, with a shelf plinth and pendant foliate shield plaque, h. 63‑1/2”, w. 30‑1/2”. [900/1200] 1761 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”. [800/1200] Illustrated 1762 Louis XVI-Style Giltwood and Marble Top Console Table, mid‑19th century, the rectangular rouge Royale marble top with a molded edge, above a conforming guilloche-carved frieze with central foliate medallion and pendant laurel leaf swags, raised on tapering stop-fluted circular legs ending in toupie feet, h. 35‑1/4”, w. 40‑3/4”, d. 18‑3/4”. [1000/1500] 1763 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. [200/400]

1761

1764 Pair of Neoclassical-Style Gray and Tan Marble Urns, each with a heavily molded circular lip-and-lotus-molded body, h. 9‑1/2”, w. 17‑1/2”. [500/800] 1765 Transitional Louis XV-into-Louis XVI-Style Mahogany Bureau Plat, ca 1900, the brass-bound rectangular top with an inset leather writing surface, above a frieze fitted with a single long drawer faced as three small drawers, all with ormolu millwork, raised on cabriole legs ending in sabots, h. 29”, w. 39‑1/2”, d. 25”. [2500/4000] Illustrated

1765

1766 Pair of Louis XV-Style Mahogany Inlaid and Gilt Brass Mounted Fold-Over Games Tables, mid‑20th century, each with a central marquetry inlaid medallion in the top with a parquetry inlaid surround, one depicting a spray of flowers, the other with flowers and a bird, h. 30”, w. 28‑1/2”, d. 15‑1/2”, ext. l. 31”. [800/1200]

1767 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”. [300/500]

1768 Louis XV-Style Mahogany and Parquetry Bureau de Dame, early 20th century, the superstructure with a rectangular top with a three-quarter pierced brass gallery above a central beveled mirrored back flanked to either side by a bank of three small sloping drawers, above a pullout leather-lined writing surface, above a frieze fitted with a single drawer, raised on cabriole legs ending in sabots, the whole with lattice-patterned parquetry inlays and ormolu mounts and millwork, h. 41”, w. 29‑1/2”, d. 18”. [1200/1800] Illustrated 1769 Louis XV-Style Kingwood Writing Table, third quarter 19th century, the shaped brass-bound rectangular top quarter-veneered and banded and above a conforming frieze fitted with a single drawer opening to a hinged back leather-inset writing surface and a pen tray, raised on cabriole legs ending in sabots, h. 28”, w. 27‑1/2”, d. 16”. [700/1000]

1768

1773

1771

1770 Pair of Rococo-Style Brass Sconces, in the form of putti holding the candle branches, fitted with molded cups and bobeches, affixed to a rococo backplate, h. 14”, w. 8”. [200/400] 1771 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 pullup 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”. [1800/2500] Illustrated

1772 St. Louis Blown and Cut-Lead Crystal Claret Jug with a Decanter En Suite, first quarter 20th century, signed “Cristal St. Louis, France”, h. 17”. [300/500] 1773 Pair of Napoleon III Urn Form Patinated Bronze Garnitures, third quarter 19th century, each with bodies ribbed top and bottom, the handles finely molded in NeoGrec details, the covers molded in a Greek Key motif, with black marble bases, h. 17‑1/4”, dia. 6”. [800/1200] Illustrated previous page 1774 Napoleon III Tortoiseshell, Faux-Tortoiseshell, and Ormolu-Mounted Jewelry Casket, third quarter 19th century, of bombe form, the lid centered by a swinging handle and opening to a fabric-lined interior, the body with corner espagnolette mounts, the whole with square ormolu mounts and millwork and raised on bun feet, h. 5‑1/2”, w. 9‑1/4”, d. 7”. [1400/1800]

1782

1785 1778 Six Art Books, including Jack Flam, ed., Matisse: A Retrospective, Corinne Graber and Jean-Francois Guillou, The Impressionists, Patrick Bade, Renoir: The Masterworks, Lisa N. Peters, American Impressionist Masterpieces, and two exhibition catalogues, Monet: Late Paintings of Giverny from the Musee Marmottan, New Orleans, Louisiana: New Orleans Museum of Art, January 7 - March 12, 1995, et al., and Palaces of St. Petersburg: Russian Imperial Style, Jackson, Mississippi: Mississippi Arts Pavilion, March 1 - August 31, 1996. [50/80] 1775 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. [250/400] 1776 Richard Guino (French, 1890‑1973) “La Muse”, patinated bronze sculpture, signed “Guino”, dated “copyright 1986”, bearing a foundry mark “R.G.C.” and numbered “44/325”, on a verdigris marble base, h. 13”, w. 15‑1/2”, d. 5”. [1500/2500] Illustrated 1777 French Art Nouveau Marble Mantel Clock, fourth quarter 19th century, the bronze finished statue of a winged female in a diaphanous gown, the green marble case with works signed “A.D. Mougin”, the enamel dial painted with garlands of flowers, and fixed with a tag reading, “L’Abeille par Campagne”, h. 27”, w. 14”, d. 8‑1/2”. [800/1200]

1776

1779 Five Books on French Art and Culture, including Jean-Louis Gaillemin, Antiquaires: The Finest Antique Dealers in Paris, Jean Taralon, Treasures of the Churches of France, Proctor Patterson Jones, Napoleon: An Intimate Account of the Years of Supremacy, 1800‑1814, Regine de Plinval de Guillebon, Porcelain of Paris, 1770‑1850, and Pierre-Jean Remy, Versailles: In the Footsteps of Kings, the latter with slipcase and including forty facsimile documents. [100/200] 1780 Louis XV-Style Fruitwood Bureau Plat, early 19th century and later, the rectangular top within a molded brass banding and with an inset leather writing surface, above a frieze fitted to one side with a recessed central drawer flanked to either side by a drawer, the other side fitted with like faux drawers, all with brass banding, raised on cabriole legs ending in hoof-form sabots, h. 30”, w. 71‑1/2”, d. 34‑1/4”. [1500/2500] 1781 Pair of Napoleon III Ebonized Sidechairs, third quarter 19th century, each with a shaped padded back within a molded frame and surmounted by an ormolu foliate crest, the padded seat raised on molded cabriole legs headed by ormolu mounts and ending in casters, h. 39”. [600/900] 1782 German Porcelain Nodding Figure, fourth quarter 19th century, the Chinese inspired figure with an articulated head, tongue and arms, the smiling head resting on a silk ruffle collar and wearing an outer gown decorated in polychrome flowers in the Chinese taste, marked with crossed swords in underglaze blue, h. 7‑1/2”. [800/1200] Illustrated

1787

1783 Louis XV-Style Coromandel Black Lacquered Marble Top Commode, mid‑20th century, the Villefranche de Conflent marble top over the base with two long drawers with reliefcarved and polychromed scenes, the legs with giltmetal mounts, h. 34‑1/2”, w. 49‑1/2”, d. 21‑1/2”. [1200/1800]

1784 Large Chinese Four-Panel Black Lacquered Coromandel Folding Screen, early 20th century, one side depicting a lush pond with lilies, the other side with village scenes, h. 84”, w. 64”. [800/1200] 1785 French Woven Aubusson Tapestry of The Huntress Diana, early 19th century, h. 68”, w. 56”. Provenance: Le Petit Theatre, French Quarter, New Orleans, Louisiana. [2000/4000] Illustrated 1786 Pair of Italian Walnut and Marble Top Diminutive Commodes, in the Baroque taste, each with a shaped portor marble top above a conforming bombe case fitted with a single cupboard door, raised on scrolled feet, the whole with highly figured veneers, h. 22”, w. 23‑1/2”, d. 15”. [1200/1800] 1787 Monumental Pair of Bronze Figural Andirons, late 19th century, each having a standing warrior at the top and the shaft with female figures, winged lions, putti and armorial motifs, h. 42”, w. 16”, d. 33”. Provenance: The Plimsoll Club, World Trade Center, New Orleans, Louisiana. [1500/2500] Illustrated 1788 Louis XV-Style Giltwood and Granite Top Cabinet, early 20th century and later, the inset shaped variegated charcoal granite top above a bombe case fitted with a foliate-carved frieze over a paneled cupboard door, the sides paneled en suite, raised on scrolled feet, h. 45”, w. 41”, d. 18”. [1000/1500] Illustrated

1788

1790

1791 Louis XV-Style Giltwood Firescreen, late 19th century, the shaped Fortuny fabric panel surmounted by a floral and foliate crest and within a molded frame, raised on splayed foliate-carved legs ending in scrolled toes, h. 42‑1/2”, w. 24‑1/2”. [700/1000] 1792 Louis XVI-Style Giltwood Looking Glass, early 20th century, the rounded rectangular plate surmounted by a foliate and floral crest with pendant floral swags and surrounded by a like modeled frame, h. 51”, w. 36”. [400/700]

1796

1793

1789 French Carved, Painted and Parcel-Gilt Beechwood Watch Stand, in the Louis XVI style, fourth quarter 19th century, gris-de-Trianon painted, h. 11”, w. 8”. [250/400] 1790 Venetian Carved Polychromed and Parcel-Gilt Blackamoor Figure of a Gypsy on a Pedestal, third quarter 19th century, her arm raised and holding a torchere, and cloaked with a colorful dress and strands of pearls, h. 79”, dia. 18”. Provenance: Le Petite Theatre, French Quarter, New Orleans, Louisiana. [3000/5000] Illustrated

1793 Pair of Three-Light Bronze Wall Sconces, in the Louis XV style, each one cast in full flowing rococo manner with swirling leaves and volutes forming wall plates, arms, bobeches and candle cups, h. 29”, w. 24”, d. 14”. [3500/5000] Illustrated 1794 Continental Wool Needlepoint Tapestry, first quarter 20th century,based on “The Lady with the Unicorn”, six tapestries woven in Flanders in the late fifteenth century, on designs drawn in Paris, this example depicting a lady with a parrot on her finger, a dog at her foot, being served from a bowl by a young woman and flanked by a lion and unicorn, each bearing a flag, the field of flora on a blue ground with animals and birds, h. 7‑9” x 6’. [2000/4000] Illustrated 1795 Louis XV-Style Giltwood Window Bench, late 19th century, each end with a caned panel and shell-carved motifs with scrolls and cross-hatching, raised on cabriole legs ending in scrolled toes, h. 29”, w. 28”, d. 18”. [300/500]

1794

1796 French Champleve Enamel Mantel Clock, first quarter 20th century, retailed by Tiffany and Company, New York, the brass case with an urn finial resting on a platform, the rounded sided case in brass set with beveled glass, and decorated with Middle Eastern inspired enamel, terminating in engineturned decoration, the enamel dial painted with garlands of roses, the mercury filled pendulum enamel trimmed, h. 16‑3/4”, w. 11‑1/2”, d. 6”. [2500/4000] Illustrated 1797 pair

1797 Pair of Louis XVI-Style Giltwood Console Tables, late 19th century, each with a rectangular cadeneaux breccia marble top, raised on a conforming scroll-carved frieze centered by a female mask issuing scroll swags, raised on paneled tapering square legs headed by a scroll-and foliate-carved capital, joined by a shaped urn-centered finial and ending in foliate toes, h. 35‑1/2”, w. 60‑1/2”, d. 18”. [2500/4000] Illustrated 1797 pair

1798 Pair of Napoleon III Gilt-Lacquered Bronze and Brass Three-Light Appliques, late 19th century, in the Louis XV taste, each elaborately foliate-modeled throughout, with S-scroll backplates joined to serpentine arms with twining leaves and vines, and with their original gas keys, one key lacking, retaining their period rubbed gilt surface, electrified, h. 24”, w. 16”, d. 9‑3/4”. Provenance: M. Granet French Antique Shop, New Orleans, Louisiana. [1500/2500] Illustrated

1798

1799 Napoleon III Ebonized and Walnut Games Table, third quarter 19th century, the shaped rectangular top banded and inlaid with a central gaming board, above a conforming ebonized frieze fitted with a single side drawer, raised on cabriole legs headed by ormolu mounts and ending in sabots, h. 27‑1/2”, w. 33”, d. 25”. [900/1200] Illustrated

1804

1800 Neoclassical-Style Polychrome and Onyx-Top Console Table, early 20th century, the shaped and bowed onyx top above a conforming paneled and foliatepatterned frieze centered by a cornucopia-flanked classical bust medallion and with pendant floral swags, raised on three scrolling supports joined by an urn stretcher and ending in scrolled toes, h. 36‑1/2”, w. 24‑1/2”, d. 17”. [600/900] 1801 Pair of Italian Polychromed and Marble Top Side Tables, early 20th century, having serpentine fronts and fitted with two drawers, each with floral decorated fronts and flanked by large carved floral ornamentation down the sides, raised on tall cabriole legs, h. 34”, w. 36”, d. 15”. [800/1200] 1802 Louis XVI-Style Giltwood Looking Glass, early 20th century, the rectangular plate surmounted by a foliate fleur-de-lis crest with pendant floral swags, surrounded by a molded and laurel leaf-carved frame, h. 28‑1/2”, s. 36”. [500/800] 1803 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”. [400/700]

1799

1804 Louis XVI Giltwood Child’s 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”. [1200/1800] Illustrated

1810 Empire-Style Gilt-Bronze and Marble-Top Occasional Table, the circular verde antico marble top above a conforming pierced palmetto frieze, raised on tubular ribbed legs joined by a tripartite stretcher and ending in lotus-patterned toupie feet, h. 32”, dia. 16‑3/4”. [700/1000] 1811 Continental Bronze-Finished Fountain in the Neoclassical Taste, in the form of a putti blowing a horn and sitting astride a dolphin, the water issuing forth from the dolphin’s nose and mouth, supported on a fluted column-form plinth and bordered with relief-molded acanthus leaves, executed in a contrasting finish with the dolphin scales, the putti horn and acanthus leaves finished in oxidized bronze with the remainder finished in green patinated bronze, h. 160”, w. 39”. [2000/4000] 1812 Turkish Angora Oushak Carpet, 10’ 5” x 14’ 6”. [3000/5000] Illustrated 1813 Modern Turkish Carpet, 2’6” x 5’4”. [200/400] 1814 Antique Lavar Kirman Carpet, 5’1” x 11’8”. [600/900] Illustrated 1812 1805 French Machine Woven Tapestry on stretcher, mid 20th century, depicting a lush forest scene with birds and deer, a soldier in the center and a castle in the background, 46‑1/2” x 65”. [300/500] 1806 Neoclassical-Style Polychrome Cast-Aluminum Urn, 20th century, the campana-form urn with a beadedand-gadroon-modeled lip, the waisted body with two applied handles, raised on a graduated concave square pedestals with palmetto designs to a molded base, h. 26”, dia. 15‑1/2”. [250/400] 1807 Pair of Antique Cast-Iron Garden Urns, third quarter 19th century, each with applied winged angel handles and mounted to a large acanthine molded base, h. 36”, dia. 20”. Provenance: The Bonelli Estate, Vicksburg, Mississippi. [1500/2500] 1808 Louis XVI-Style Giltwood and Marble-Top Cocktail Table, the inset rectangular Carrara marble top above a dentillated and swag-carved apron, raised on tapering fluted circular legs ending in toupie feet, h. 17”, w. 43”, d. 20‑1/2”. [900/1200]

1815 Antique Lavar Kirman Carpet, 11’6” x 19’7”. [800/1200] 1816 Persian Sultanabad Carpet, signed in the border, 8’ 6” x 11’ 9”. [1400/1800]

1809 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”. [1400/1800] 1814

1817 Turkish Angora Oushak Carpet, 8’ 9” x 12’ 1”. [2500/4000] Illustrated 1818 Semi-Antique Kirman Carpet, 10’6” x 14’9”. [300/500] 1819 Turkish Angora Oushak Carpet, 8’ x 19’. [2000/4000] 1820 Tekkmon Carpet, 8’6” x 12’3”. [300/500]

1817

1821 1821 Mid‑20th Century Fine Silk Pictorial Tabriz Carpet, 6’ x 9’11”. [2500/4000] Illustrated 1822 Lavar Kirman Carpet, 6’2” x 9’4”. [600/900] 1823 Kirman Carpet, 3’1” x 5’. [300/500] 1824 Semi-Antique Kashan Carpet, 10’4” x 13’4”. [600/900] 1825 Turkish Oushak Carpet, 3’ x 6’. [300/500] 1827

1836 1833

1832 Turkish Carpet, 2’9” x 5’6”. [300/500]

1826 Semi-Antique Kashan Carpet, 9’7” x 13’4”. [1000/1500]

1833 Khotan Carpet, 4’6” x 8’7”. [1200/1800] Illustrated

1827 Agra Serapi Carpet, 10’ x 14’5”. [3000/5000] Illustrated

1834 Turkish Carpet, 4’ x 5’6”. [400/700]

1828 Turkish Carpet, 4’2” x 11’8”. [400/700]

1835 Turkish Carpet, 4’3” x 4’3”. [400/700]

1829 Turkish Carpet, 4’2” x 7’10”. [400/700]

1836 Antique Oushak Carpet, 6’5” x 11’9”. [2000/4000] Illustrated

1830 Turkish Carpet, 3’6” x 5’6”. [300/500]

1837 Antique Oushak Carpet, 7’ x 12’. [1200/10800]

1831 Turkish Carpet, 2’9” x 4’. [300/500]

1838 Antique Oushak Carpet, 9’2” x 12’. [5000/7000] Illustrated 1838

1846 Eight Pieces of Assorted European Silver Flatware, all .800 silver or better, including two British pieces, a “Fiddle” fork, Edinburgh, 1867‑1868, by John Williamson, l. 8” and an “Old English” tablespoon, London, 1904‑1905, by James Parkes, l. 8‑1/2”; two French pieces, a late18th century French provincial “Uniplat” fork, the marks rubbed, l. 7‑1/4” and a French “Double Filet” fork, Paris, c. 1850, by Louis-Victor Lemain, l. 8”; two Swedish pieces, a “Gammalskal” tablespoon, Stockholm, 1840, by Fredrik & Wilhelm Zethelius, l. 7‑1/4”, and a “Svensk” tablespoon, Lund, 1840, by Niklas Ramberg, l. 7”; and two Danish pieces, an “Enkelfilet” tablespoon, Copenhagen, 1851, by Samuel Hacob Nicolai Prahl, l. 8‑1/2” and an “Enkelfilet” fork, Copenhagen, 1852, by Jens Christian Thorning, l. 7‑1/2”, 15.69 total t. oz. [200/400] 1847 Continental .800 Fish Serving Set, first quarter 20th century, probably German, including a fish slice, l. 12‑1/4”, and a serving fork, l. 9‑1/4”, in a “beaded lily” pattern, the slice with scimitar-shaped blade decorated with a conforming pierced scrollwork cartouche and bright-cut and wrigglework edging, the forl with openwork “braided” tines engraved with fans and scrolls, 8.94 total t. oz. [100/200]

1848

1841

1839 Borkara Carpet, 4’3” x 7’4”. [200/400] 1840 Tabriz Carpet, 4’11” x 8’. [200/400] 1841 European Carpet, 9’ 6” x 13’. [500/800] Illustrated 1842 Hamadan Carpet, 4’ 1” x 7’ 1”. [150/300] 1843 Persian Mahal Carpet, 8’ x 11’. [300/500] 1844 French Silverplate Ecuelle, second quarter 19th century, of squat cylindrical form, with opposing cornucopia-mounted baluster handles and milled leafand-dart banding, the ogee-domed lid with acorn finial, h. 6‑1/4”, dia. 7‑3/4”, w. 10‑3/4”. [100/200] 1845 Three 19th Century Russian 84 Zolotnik (.875) Silver “Fiddle” Pattern Tablespoons, including a pair marked St. Petersburg, 1835, by Henrik August Lang for Nicholls & Plincke, no mongrams, and single spoon with unidentified 1894 touchmark (possibly spurious) monogrammed “AM”, l. 8‑3/4”, 7.07 total t. oz. [125/250]

1848 Set of Twelve French First Standard (.950) Silver Gilt Dessert Plates, third quarter 20th century, each of circular form, the shaped rim pierced and engraved with scrolls, dia. 9‑1/2”, 134.91 total t. oz. [9000/12000] Illustrated 1849 Christofle Twelve-Piece Silverplate Fish Service, first quarter 20th century, Paris, including six fish knives, l. 9”, and six fish forks, l. 7‑1/2”, each with spatulate handle with stylized coquille finial, the heel and blade decorated with stylized leaf rib and serration. [300/500]

1850 Fine Belgian Five-Piece Art Deco Second Standard (.800) Silver and Ebony Tea Set, second quarter 20th century, by Lemaire & de Vernissy, Brussels, including a coffeepot, h.7‑3/4”, teapot, h. 6‑1/4”, covered sugar bowl h. 5‑1/4”, cream jug, h. 2‑7/8” and tray, l. 24‑3/4”, w. 15‑3/4”, the hollowware of rounded and canted square section with stop-paneled sides and a truncated conical foot ring, the stepped lids with flat arched scroll ebony finial, the pots and creamer with squared silver spouts and ebony handles, the sugar bowl with a pair of “bracket” handles, the cavetto-canted rectangular tray with molded rim and rectangular ebony handles, total t. oz. (including ebony fittings). [14000/18000] Illustrated

1850 tea set

1851 flatware

1851 Sixty-Five Piece Set of Chirstofle Art Deco Silverplate Flatware, mid‑20th century, Paris, France, the canted and paneled geometric handles with “diamond” pattern banding and finial, the knives with stainless steel blades and canted teakwood handles, the set including twelve dinner forks, l. 8”, ten teaspoons, l. 5‑1/2”, twelve tablespoons, l. 8”, twelve luncheon dessert knives, l. 8”, and twelve dinner knives, l. 9‑1/4”, one master butter knife, l. 6‑1/2”, one serving spoon, l. 9‑3/4”, a two-piece salad set, l. 9‑1/2”, a soup/punch ladle, l. 12‑3/4”, a condiment spoon, l. 6”, and a condiment fork, l. 5‑3/4”, presented in the original Pacific cloth lined faux leather Christofle case with lift-out tray, h. 5”, w. 17‑1/4”, d. 10‑3/4”. [1500/2500] Illustrated

1852 Danish Modern .826 Silver Fish Serving Set, 1917, assayer’s mark of Christian F. Heise, including a fish serving spade, l. 11‑1/8”, and fork, l. 11”, each with a spatulate blade and shaped handle, decorated with elaborate beaded scrolls, 7.78 total t. oz. [200/400] 1853 Georg Jensen Sterling Silver Meat Platter, second quarter 20th century, Copenhagen, pattern number 210S, designed by Georg Jensen (1866‑1935), with the 1933‑1944 Jensen mark, of oval form with molded annulated rim, l. 17‑5/8”, w. 13‑3/4”, 44.11 t. oz. [4500/7000] Illustrated

1853

1854

1854 Georg Jensen Sterling Silver Platter, dated 1932, Copenhagen, pattern number 282L, designed by Georg Jensen (1866‑1935), with the 1925‑1932 Jensen mark, of circular form, the rim decorated with applied and engraved stylized flowers, the recessed plateau with a detachable compartment divider, the underside engraved with a presentation inscription “Anna M. Wise - 1932 - Ruth Dorothy Wise”, dia. 14”, 42.63 total t. oz. [6000/9000] Illustrated

1855 Large and Fine Modernist Mexican Sterling Silver Center Bowl, third quarter 20th century, by Codan S.A., Mexico City, of elliptical form, with flat scrolling handles attached at the rim and to a pair of platforms extending from the junction of the bowl and the conforming foot-ring, h. 6‑1/2”, l. 21”, w. 9”, 83.59 t. oz. Codan was noted for its sleek designs in the Danish Modern taste; for more information, see Luis Covarrubias, Artisanias Folkloricas de Mexico (Mexico City, E. Fischgrund, 1965). [4500/7000] Illustrated

1862

1861

1863

1856 Five Mexican Sterling Silver and Wood Serving Pieces, third quarter 20th century, including a serving spade with silver leaf-shaped blade, l. 11‑1/4”, a silverbladed cheese knife, l. 6‑1/2”, a pair of silver-handled butter knives, l. 5”, and a wooden serving spoon with inlaid silver bands, l. 10‑3/4”. [50/80] 1857 Mexican Sterling Silver and Obsidian Cigarette Box, Sanborn Hermanos, Mexico City, second quarter 19th century, of plain rectangular form, the lid centered by a bezel-set carved obsidian stylized Teotihuacan masque, the hinged lid opening to reveal the cedar-lined interior, l. 5‑1/4”, w. 3‑1/2’, 11.00 t. oz. [75/125] 1858 Good Hubert Harmon (b. 1913) Sterling Silver and Amethyst Cigarette Case, second quarter 20th century, Taxco, Mexico, of rectangular form, decorated with incised wavy lines, the hinged lid centered two applied medallions, a radiant star above with a conical amethyst cabochon, and an abstract female form with a carved amethyst masque, crowned by an applied medallion of Harmon’s famous “winged feet” trademark, l. 4‑3/4”, w. 3‑1/4”. [300/500]

1855

1859 Mexican Five-Piece Sterling Silver Tea Set, third quarter 20th century, by Salvador de la Serna, Mexico City, including a coffeepot, h. 7‑1/4”, dia. 4‑1/2”, teapot, h. 6‑1/4”, dia. 5‑1/4”, covered sugar bowl, h. 4”, dia. 4”, creamer, h. 2‑3/4”, dia. 4” and a tray l. 1‑1/2”, w. 13‑1/2”, the coffeepot of ovoid form, the other service piece of flattened spherical form, the each pot with a hinged domed lid with ovoid finial, “c”-scroll handle and “goosneck” spout, the sugar bowl with a fitted lid and a pair of handles en the cream jug with inverted bell-shaped spout an single handle, the tray of rounded rectangular form with serpentine-molded rim, 116.13 total t. oz. [2000/4000] 1860 Mexican Sterling Silver Platter and Insert, third quarter 20th century, by Salvador de la Serna, Mexico City, in the Spanish Colonial taste, of oval form, the platter with serpentine lobed rim, l. 19‑3/4”, w. 14‑3/4”, the oval insert decorated all over with repousse flowers, l. 18”, w. 13”, 65.01 total t. oz. [500/800] 1861 Set of Six Mexican Sterling Silver Bread by Butter Plates, third quarter 20th century, Mexico Lindo, in the Spanish Colonial taste, of circular form wtih serpentinelobed rim, dia. 4‑3/4” (one 4‑1/2”). [100/200] Illustrated

1862 Assembled Thirteen-Piece Mexican Sterling Silver Dessert Set, second and third quarters 20th century, by Salvador de la Serna, Mexico City, in the Spanish Colonial taste, including a large fruit bowl, h. 2‑7/8”, dia. 9‑3/4”, eight individual dessert bowls, h. 2”, dia. 4”, and four dessert plates, dia. 5‑7/8”, each with a serpentinelobed rim, 69.64 total t. oz. [600/900] Illustrated

1872 suite of six 1863 Mexican Sterling Silver Tureen and Platter, second quarter 20th century, by Salvador de la Serna, Mexico City, in the Spanish Colonial taste, the circular tureen of dowbledomed section, with domed foot ring and ambossed shell and scroll handles, the fitted lid double-domed en suite with a repousse-foliate mantled and crested “c”-scroll handle, engraved, on the body, with a 25th anniversary presentation inscription dated 1922‑1947, h. 9”, dia. 12”, the platter of circular form with serpentine-lobed edge, dia. 15‑3/4”, 104.49 total t. oz. [700/1000] Illustrated 1864 Silverplate Rosewater Sprinkler,20th century, probably Middle Eastern, of traditional form, the lobed bdy with applied Greek key banding and engraved with flowers and rococo scrolls, with a slender paneled neck and domed circular foot, h. 9‑3/4”, dia. 2‑3/4”. [200/400] 1865 Set of Six Soviet-Era Ukranian .875 Silver Tablespoons, 1971, Kiev, by the Dzerzhinsky Cutlery & Crockery Factory, each with a pointed handle decorated with a raised design of stylized pyr and acanthus, l. 8”, 13.06 total t. oz. [200/400]

1872 suite of six

1867 Continental Mahogany and Walnut Coffer 19th century, the rectangular top with molded edge opening to an open interior fitted with a single compartment, the front paneled and with inlaid banded and scrolling foliate patterns, raised on a high molded base, h. 29”, w. 67”, d. 23”. [1000/1500] Illustrated 1868 Nine Raw Silk Damask Brocade Curtains, second quarter 20th century, the raised champagne colored patterns of scrolls and flora in the Italian manner on a burnished gold ground, with six lined, fringed panels, h. 85”, w. 48”, two double-sided panels without fringe, h. 81”, w. 68”, and a single double-sided panel without fringe, h. 81”, w. 42”. [100/200]

1867

1866 Parcel-Gilt Urns in the Baroque Taste Mounted as Lamps, the ovoid bodies with a beaded upper rim, reliefmolded medallions hung with garlands over an acanthus-molded bottom, each mounted with handles carved with leaves, and a round based on rococo scroll feet, h. 36”, w. 14”. [250/400]

1869 Austrian Parquetry-Inlaid Mixed Woods and Mahogany Door, the parquetry panel, 18th century, incorporated into a door in the early 20th century, the panel bisected into a pair of geometrically-modeled rectilinear sections, with late Art Deco inspired parquetry above and below the antique panel, the verse in white, h. 79‑1/2”, w. 24”, d. 1‑1/2”. Provenance: The Estate of Tamara de Lempicka (1898‑1980). [250/400] 1870 Pair of Continental Stained and Carved Hardwood Finials, each with a foliate-carved top above a bulbous turned vasiform body with carved floral accents, raised on a waisted standard to a molded circular base, h. 36”. [400/700] 1871 After Abraham Ortelius (Dutch, 17th Century) “Map of the Azores”, fascimile print, sight 14‑1/2” x 20‑1/2”. Glazed, matted and framed. [300/500] 1874

1879

1875 Pair of Italian Mottled Blue-Gray-Stained Alabaster Lamps in the Form of Obelisks, sitting on verdigris metal turtles atop a plinth, with alabaster pyramidal shade finials, overall h. 29”. [400/700] 1876 Spanish Iron Nine-Light Floor Candelabra, early 20th century, with one central raised candle cup surrounded by eight others at two differing heights, raised on a tubular standard to a circular base on three splayed legs, h. 70‑3/4”, dia. 18‑1/2”. [500/800] Illustrated

1872 After Ignace-Gaston Pardies (French, 17th Century) “Globi Coelestis”, suite of six hand colored fascimile prints of the celestial maps, originally published in Paris, 1674, sight 11” x 11‑1/4”. All glazed, handsomely matted and presented in parcel-gilt, mahogany-stained frames. [800/1200] Illustrated previous page 1873 Pair of Spanish Mahogany Leather Upholstered Armchairs, mid‑20th century, each with sand-colored leather and large gilt-metal tacks, the legs and arm posts spool-turned and having similar turned H-form stretchers, h. 37”, w. 25‑1/2”, d. 18”. Provenance: The Spanish Executive Offices, World Trace Center, New Orleans, Louisiana. [200/400] 1874 Follower of Marco Ricci (Italian, 1676‑1730) “Extensive Landscape with Figures and Mules on a Narrow Path”, oil on canvas, 20th century, bearing a signature lower left “Mo. Ricci”, 24” x 30”. Presented in a Rococostyle gilt and gesso frame. [1500/2500] Illustrated

1877 Spanish-Style Mahogany Iron Mounted Side Table, mid‑20th century, the plank top mounted to a splayed leg base with an ornate wrought iron stretcher, the aprons with relief-carved floral motifs, h. 29‑1/2”, w. 59”, d. 17‑1/2”. Provenance: The Spanish Executive Offices, World Trade Center, New Orleans, Louisiana. [150/300] 1878 Pair of Spanish-Style Wrought Iron ThreeLight Appliques, mid‑20th century, each with a pair of crossed swords forming the backplate and the front fitted with three arms with electric sockets, h. 32”, w. 20”, d. 13”. Provenance: The Spanish Executive Offices, World Trade Center, New Orleans, Louisiana. [300/500]

1876

1879 Large Spanish-Style Wrought Iron and Stamped Metal Twelve-Light Chandelier, mid‑20th century, of circular form with ornate scrolled iron panels forming the lower dome, and banded with a circular ring with decorative scrolled iron panels, dia. 49”. Provenance: The Spanish Executive Offices, World Trade Center, New Orleans, Louisiana. [500/800] Illustrated

1880

1880 Large Spanish-Style Wrought Iron and Stamped Metal Fifteen-Light Chandelier, mid‑20th century, of circular form with ornate scrolled iron panels forming the lower dome, and banded with a circular ring with decorative panels stamped “ITM” (International Trade Mart), dia. 62”. Provenance: The Spanish Executive Offices, World Trade Center, New Orleans, Louisiana. [1000/1500] Illustrated 1881 Large Spanish-Style Wrought Iron and Stamped Metal Fifteen-Light Chandelier, mid‑20th century, of circular form with ornate scrolled iron panels forming the lower dome, and banded with a circular ring with decorative panels stamped “ITM” (International Trade Mart), dia. 62”. Provenance: The Spanish Executive Offices, World Trade Center, New Orleans, Louisiana. [1000/1500] Illustrated 1882 Large Spanish-Style Wrought Iron and Stamped Metal Twelve-Light Chandelier, mid‑20th century, of circular form with ornate scrolled iron panels forming the lower dome, and banded with a circular ring with iron scrolled decorative panels, dia. 49”. Provenance: The Spanish Executive Offices, World Trade Center, New Orleans, Louisiana. [500/800]

1881

1883 Large Spanish-Style Wrought Iron and Stamped Metal Fifteen-Light Chandelier, mid‑20th century, of circular form with ornate scrolled iron panels forming the lower dome, and banded with a circular ring with decorative panels stamped “ITM” (International Trade Mart), dia. 62”. Provenance: The Spanish Executive Offices, World Trade Center, New Orleans, Louisiana. [1000/1500]

1884

1884 Spanish-Style Mahogany Vargueno on Stand, mid‑20th century, the drop-front desk with decorative iron mounts and opening to an interior with a central shelf, the base of trestle-form with turned columnar legs and carved masks at the top and joined by an arched cross panel, h. 56”, w. 41”, d. 18”. Provenance: The Spanish Executive Offices, World Trade Center, New Orleans, Louisiana. [400/700] Illustrated

1890 Spanish-Style Walnut-Stained Spiral-Turned Bench, mid‑20th century, the back with two rows of spiral-turned spindles below a pierce-cut crest rail and turned finials, the base with a box stretcher and single row of spiral spindles, h. 47”, w. 61”, d. 25”. Provenance: The Spanish Executive Offices, World Trade Center, New Orleans, Louisiana. [300/500] Illustrated 1891 Spanish-Style Mahogany Vargueno, mid‑20th century, the case with ornate decorative ironwork corners and a hinged dropfront door in the form of faux drawers opening to an interior fitted with a central shelf and raised on small bun feet, h. 23”, w. 39‑1/2”, d. 14”. Provenance: The Spanish Executive Offices, World Trade Center, New Orleans, Louisiana. [150/300]

1887 1885 Attractive French Gilt-Brass and Filigree-Work Devotional Frame, first quarter 20th century, of lancetarch form, with a filigree crest and flanked by a pair of filigree fleur-de-lys staffs, presented with a period French hand-colored lithograph of “Christ In Benediction” within a tiered rose fonce velvet mat and glazed, h. 7‑3/4”, w. 7‑1/4”. [150/300] 1886 Oval Painted Religious Icon, late 19th century, the slightly domed panel with carved border painted with the figure of the archangel Gabriel clad in loose robes with wings and a halo, h. 11”, w. 8‑1/2”. [500/800] 1887 Multi-Scenic Russian Painted Religious Icon, with a central panel of Christ with apostles and saints and surrounded by twelve panels each depicting a different scene from the life of Christ, h. 20‑5/8”, w. 17‑1/2”. [600/900] Illustrated

1888

1888 Russian Painted Religious Icon. depicting Veronica’s Veil at the top and a figural group at the bottom depicting a guardian angel in the center with saints Florus, Laurus, Blaise and Modest, all against a gilded ground, h. 12”, w. 10‑5/8”. [500/800] Illustrated 1889 Two Spanish Colonial Carved and Polychromed Wooden Santos Figures of St. Anthony, the larger, first quarter 19th century, the figure holding the infant Christ, h. 10‑1/4”, the smaller, second quarter 19th century, with the proper left arm and right forearm lacking and presented on a separate matching bowfront base, h. 10”. [100/200]

1890

1892 Very Rare Fossilized Specimen of a Horned (Mamites) Ammonite, Cretaceous Period, ca. 100 million years old, a fine specimen exhibiting a double row of horns, graduating in size from the shell opening to the coiled interior, h. 4”, l. 5”. [100/200] 1893 Spanish Mahogany Guard Room Table, early 19th century, the long rectangular top with star incised decoration on the edge, raised on shaped end supports with incised string banded accents and applied floral designs, with scrolling iron stretchers, h. 29”, d, 28‑1/4”, l. 97‑1/2”. Provenance: Le Petit Theatre, French Quarter, New Orleans, Louisiana. [1500/2500] Illustrated

1896

1894 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. [800/1200] 1895 Continental School (First Quarter 20th Century) “Sailboats Moored on a River’s Edge”, oil on canvas, signed lower right “Sildert”, 19‑3/4” x 27‑1/2”. Presented in a gilt and gesso exhibition frame. [800/1200] Illustrated 1896 Large Flemish Woven Tapestry Depicting Noah Building the Arc, 17th century, h. 113”, w. 151”. Provenance: The Plimsoll Club, World Trade Center, New Orleans, Louisiana. [5000/8000] Illustrated 1895

1893

1897

1901 Pair of Spanish Mahogany, Brass-Mounted and Leather Upholstered Armchairs, mid‑20th century, each with the International Trade Mart insignia banded in the back, having rolled arm fronts, carved box stretchers and brass ball finials, h. 39”, w. 26‑1/2”, d. 19”. Provenance: The Spanish Executive Offices, World Trade Center, New Orleans, Louisiana. [200/400] 1902 Pair of Verona Red Marble Pedestals, each with a square plinth base and large spiraling central column and square platform top, h. 37”, w. 14”, d. 14”. Provenance: Le Petit Theatre, French Quarter, New Orleans, Louisiana. [800/1200] Illustrated 1903 Hand Appliqued and Embroidered Wall Tapestry Armorial Plaque, bearing the insignia, ITM 1718 and 1969, h. 6’10” x 10’1”. Provenance: The Spanish Executive Offices, World Trade Center, New Orleans, Louisiana. [500/800] Illustrated

1897 Pair of Spanish-Style Mahogany Armchairs, early 20th century, each with a padded rectangular back surmounted by nicely caned and pierced fleur-de-lis finials, joined by foliate-carved flat arms to the padded seat, raised on carved square legs joined by a pierced front stretcher, h. 51”. [500/800] Illustrated 1898 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”. [800/1200] Illustrated

1898 pair

1899 English Oak Desk, early 20th century, in the Elizabethan taste, the rectangular top with an inlaid leather surface above a frieze fitted with a central drawer over kneehole, flanked to either side by a small drawer over a deeper drawer, all with carved scrolling foliate patterns, raised on ribbed cup and cover legs joined by box form stretchers and ending in block feet, h. 29”, w. 57” d. 32”. [1000/1500] Illustrated 1900 Large Belgium Woven Tapestry of Tirsus and Dafne, 17th century, h. 106”, w. 93”. Provenance: Le Petit Theatre, French Quarter, New Orleans, Louisiana. [7000/10000] Illustrated

1899

1904 Spanish Carved Polychromed and Parcel-Gilt Armorial Plaque, mid‑20th century, the central shield depicting a carved eagle with gilded crown, h. 28”, w. 19”. Provenance: The Spanish Executive Offices, World Trade Center, New Orleans, Louisiana. [300/500] Illustrated 1905 Spanish Carved, Polychromed and Parcel-Gilt Armorial Plaque, mid‑20th century, the central shield depicting the third quarter coat of arms, “The Crown of Aragon”, h. 28”, w. 19”. Provenance: The Spanish Executive Offices, World Trade Center, New Orleans, Louisiana. [300/500]

1902

1900

1904

1903

1906 Spanish Carved, Polychromed and Parcel-Gilt Armorial Plaque, mid‑20th century, the central shield symbolizing “The House of Bourbon”, h. 28”, w. 19”. Provenance: The Spanish Executive Offices, World Trade Center, New Orleans, Louisiana. [300/500] Illustrated

1906

1908

1907 Spanish Carved, Polychromed and Parcel-Gilt Armorial Plaque, mid‑20th century, the central shield depicting “The Arms of the Count of Toulouse, Ancient Rulers of Occitavia including the Aran Valley”, h. 28”, w. 19”. Provenance: The Spanish Executive Offices, World Trade Center, New Orleans, Louisiana. [300/500]

1908 Spanish Carved, Polychromed and Parcel-Gilt Armorial Plaque, mid‑20th century, the central shield depicting the second quarter coat of arms, The Kingdom of Leon, h. 28”, w. 19”. Provenance: The Spanish Executive Offices, World Trade Center, New Orleans, Louisiana. [300/500]

1910 Spanish Carved, Polychromed and Parcel-Gilt Armorial Plaque, mid‑20th century, the central shield depicting the Arms of the Admiralty of Castile, which was later adopted by Christopher Columbus, h. 28”, w. 19”. Provenance: The Spanish Executive Offices, World Trade Center, New Orleans, Louisiana. [300/500]

1909 Spanish Carved, Polychromed and Parcel-Gilt Armorial Plaque, mid‑20th century, the central shield depicting ente’ en paint coat of arms the pomegranate, The Kingdom of Granada, h. 28”, w. 19”. Provenance: The Spanish Executive Offices, World Trade Center, New Orleans, Louisiana. [300/500] Illustrated

1911 Spanish Carved, Polychromed and Parcel-Gilt Armorial Plaque, mid‑20th century, the central shield depicting the first quarter coat of arms, The Kingdom of Castile, h. 28”, w. 19”. Provenance: The Spanish Executive Offices, World Trade Center, New Orleans, Louisiana. [300/500] Illustrated

1909

1911

1912 Spanish Carved, Polychromed and Parcel-Gilt Armorial Plaque, mid‑20th century, the central shield depicting the fourth quarter coat of arms, The Kingdom of Navarre, h. 28”, w. 19”. Provenance: The Spanish Executive Offices, World Trade Center, New Orleans, Louisiana. [300/500] 1913 Spanish Carved, Polychromed and Parcel-Gilt Armorial Plaque, mid‑20th century, the central shield depicting a Bishop’s Mitre and three fleur-de-lis, h. 28”, w. 19”. Provenance: The Spanish Executive Offices, World Trade Center, New Orleans, Louisiana. [300/500] Illustrated

1914 Pair of Spanish Wrought Iron and Brass-Mounted Savanarola-Style Leather Armchairs, mid‑20th century, each with cast brass finials and arm posts joined by wrought iron arm rests, scrolled legs and stretchers, the seats and backs in brown leather with a central tooled and gilded medallion, h. 32”, w. 23”, d. 19”. Provenance: The Spanish Executive Offices, World Trade Center, New Orleans, Louisiana. En suite with the following two lots. [500/800] Illustrated 1915 Pair of Spanish Wrought Iron and Brass-Mounted Savanarola-Style Leather Armchairs, mid‑20th century, each with cast brass finials and arm posts joined by wrought iron arm rests, scrolled legs and stretchers, the seats and backs in brown leather with a central tooled and gilded medallion, h. 32”, w. 23”, d. 19”. Provenance: The Spanish Executive Offices, World Trade Center, New Orleans, Louisiana. [500/800]

1917

1913

1918

1914

1916 Pair of Spanish Wrought Iron and BrassMounted Savanarola-Style Leather Armchairs, mid‑20th century, each with cast brass finials and arm posts joined by wrought iron arm rests, scrolled legs and stretchers, the seats and backs in brown leather with a central tooled and gilded medallion, h. 32”, w. 23”, d. 19”. Provenance: The Spanish Executive Offices, World Trade Center, New Orleans, Louisiana. [500/800] 1917 Pair of Violet Breccia Marble Pedestals, each of Doric columnar-form and having a square plinth base and top, h. 36”, w. 12‑1/2”, d. 12‑1/2”. [700/1000] Illustrated

1918 Beveled Venetian Mirror, first quarter 20th century, in the form of an elongated octagon, the faceted mirror frame engraved with scrollwork, ferns and stylized flowers, the edges finished with multiple gadrooned glass borders, and the joints finished with glass panels and flowers, h. 33”, w. 26‑1/4”. [1000/1500] Illustrated previous page 1919 Spanish Walnut Guard Room Table, mid‑19th century, of traditional form, the rectangular plank top raised on shaped S-scroll end supports joined by like supports to the table top, ending in in-scrolled toes, h. 30”, d. 24”, l. 77”. Provenance: Jacqueline Adams Antiques, Atlanta, Georgia. [1800/2500] Illustrated 1920 Bolognese School (17th Century) “Finding of Moses”, oil on canvas, 36” x 51‑1/2”. Presented in a exuberantly-molded giltwood and gesso frame. [2000/4000] Illustrated 1921 Follower of Carlo Dolci (Italian, 1616‑1685) “Mourning Madonna”, oil on canvas, unsigned, 26” x 21”. Presented in a gilt and gesso frame. [300/500]

1920 1922 After Leonardo da Vinci (Italian, 1452‑1519) “John the Baptist”, oil on canvas laid on board, 18‑1/2” x 14”. Framed. [600/900] 1923 Pair of Italian Gilt Plaster Figures of Putti, each with curls and fitted for hanging, h. 12”, l. 21”. [400/700] Illustrated

1923

1924 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”. [300/500] 1925 Baronial-Style Walnut Drop-Front Desk, early 20th century, having a drop-front writing desk with applied plaques and opening to a compartmented interior, raised on an open base with carved pillars, h. 44‑1/2”, w. 32”, d. 16”. Provenance: Le Petit Theatre, French Quarter, New Orleans, Louisiana. [500/800] Illustrated

1926 Pair of Spanish Wrought Iron SevenArm Candle Torcheres, early 20th century, each arm with crimped candle sockets and circular bobeches, the shaft with a central reticulated spiral section and mounted to a trifid base, h. 64”, w. 29”. Provenance: The Spanish Executive Offices, World Trade Center, New Orleans, Louisiana. [200/400] Illustrated 1919

1929 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”. [800/1200] 1930 Two Baronial-Style Mahogany Chairs, early 20th century, consisting of an armchair with the scrolling domed foliate crest and urn finials above a pierced and carved splat, joined by downswept acanthine arms to the wooden seat, raised on turned and tapering ribbed legs joined by a shaped X-form stretcher and ending in scrolled feet, together with a matching sidechair, h. 57” and 53”. [300/500]

1925 1926 1927 Pair of Spanish Wrought Iron and Stamped Steel Seven-Arm Candle Torcheres, early 20th century, each arm with a ruffled candle socket and bobeche, the shaft with a central spiral section and mounted to a trifid base, h. 68”, w. 31”. Provenance: The Spanish Executive Offices, World Trade Center, New Orleans, Louisiana. [200/400] 1928 Pair of Venetian-Style Painted and Gilded TwoLight Wall Sconces, with carved baskets of flowers set on a rococo panel, now electrified, h. 27‑1/2”, w. 17”. [900/1200]

1932 1931 Pair of Iron and Gilt-Metal Eisenglass Torcheres, early 20th century, each having a lantern-form top with pierced finial and mounted to a stamped metal shaft and pierced iron base, electrified, h. 68”, dia. 12”. [300/500] 1932 English Oak Relief-Carved Light Lift-Seat Bench, late 19th century, the paneled back and base with relief-carved genre scenes and warriors, h. 41”, w. 53”, d. 22”. [500/800] Illustrated 1933 George II-Style Polished and Lacquered Brass Twelve-Light Chandelier of Six-Over-Six TwoTier-Form, the stem with conical and globular segments, the arms of S-form with scroll decor, electrified, h. 29‑1/2”, dia. 28”. [700/1000]

1937 Chinese Blue-and-White Porcelain Charger, centered by a foliate pomegranate branch within a Greek Key border, the outside with like accents, dia. 16”. [250/400] 1938 Chinese Blue-and-White Porcelain Deep Dish, the raised and shaped edge with a ware pattern and flowering branch pattern surrounding a scene of a bird perched among branches, dia. 15‑1/2”. [250/400] Illustrated

1940

1939 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”. [500/800]

1938 1940 English Mahogany Court Cupboard, early 20th century, the overhanging rectangular top above a case fitted with two paneled doors, each with figural-carved scenes and elaborate hardware, centering a panel with an applied carved female figure on a bracket, over two cupboard doors, each inset with linen-fold panels, raised on block feet, h. 45‑1/2”, w. 63”, d. 22”. [500/800] Illustrated

1941

1934 Pair of English Oak Armchairs, early 20th century, in the Elizabethan taste, each with a padded rectangular back surmounted by two figural finials, joined by barley twist arms and uprights to the padded seat, raised on twist and block legs joined by like stretchers and ending in block feet, h. 37‑1/2”. Provenance: Le Petite Theatre, French Quarter, New Orleans, Louisiana. [300/500] 1935 Gustave Jean-Louis Mohler (French, 1836‑1920) “Fruit Still Life in a Basket”, oil on canvas, signed lower right “G. Mohler”, 14‑1/2” x 18”. Presented in a giltwood frame. [1200/1800] 1936 English Oak Center Table, 19th century, the rectangular top with molded edge above a conforming paneled frieze, raised on turned vasiform legs joined by an H-form stretcher and raised on shaped feet, h. 28”, w. 39”, d. 24”. [300/500]

1941 English Oak Armchair in the Carolean Taste, early 19th century, the shaped cornice above a paneled back with central diamond design, joined by shaped arms to the wooden seat, raised on bulbous legs joined by a box-form stretcher, h. 42‑1/2”. Provenance: Tom Hayes/Toby West, Ltd., Atlanta, Georgia. [500/800] Illustrated

1942 English Staffordshire Garniture Vase, mid‑19th century, entitled “The Rival”, and made of flatback form, the tree-form vase shading a courting couple, the male dressed in a kilt, the female playing a lute, while a rival male stalks the couple with a dagger in hand, decorated in polychrome overglazed enamels, h. 13”, w. 6‑3/4”. [150/300] 1943 Two English Victorian Staffordshire Figures Mounted as Lamps, mid‑19th century and later, the female depicted holding a black and white spaniel in one arm and a bird on her opposite finger, the bearded gentleman with one arm resting on a column and holding a book and the other cocked, relief-molded “Moody” on the base, h. 27‑3/4”. [600/900] 1944 English Oak Armchair in the George III-Style, early 19th century, the carved and shaped crest above a baluster-form splat, joined to the padded seat by outscrolled arms, raised on square legs joined by a boxform stretcher, h. 40”. [400/700] 1945 Pair of Brass English Candlesticks, second quarter 19th century, core-cast with push-ups, the central stem decorated with barrel-form turnings, on a raised rectangular base, h. 6‑1/2”. [150/300]

1946

1946 William-and-Mary Style Burl Walnut Chest on Stand, mid‑19th century and later, the upper case with a pair of side-by-side drawers above three graduated long drawers and resting on a later conforming base fitted with three drawers, trumpet turned legs and bun feet, h. 72”, w. 49”, d. 22”. [1500/2500] Illustrated

1953

1947 Queen Anne Mahogany Looking Glass, 18th century, the frame of narrow ogee form with a shallow central arch and rounded shoulders, the mirror plate in two parts, the upper one with a half inch bevel, h. 32”, w. 14‑1/2”. [400/700] 1948 Jacobean Revival Mahogany Center Table, early 20th century, the octagonal top with a foliate-and-linecarved perimeter edge, supported by a carved and turned pedestal with ionic capitals, foliate panels and a bulbous baluster-form column, h. 30”, w. 36”, d. 36”. [200/400] 1949 George III Quarter-Sawn Oak Work Table, 18th century and later, the rectangular top with molded edge above a single long drawer and raised on square tapered legs, h. 27”, w. 30”, d. 17‑1/2”. [300/500] 1950 George III Mahogany Drop-Leaf Dining Table, third quarter 18th century and later, of generous proportions, the demi-lune drop leaves supported by fly legs, the legs of cabriole form ending in ball-and-claw feet, h. 29”, w. 54‑1/2”, l. 25”, extended l. 66”. [600/900] 1951 Pair of Continental Bronze-Finished Spelter Figures of the “Horse Tamers”, fourth quarter 19th century, this pair is frequently referenced as the “Marly” horses after a pair made by Nicolas Coustou for Louis XVI at Marly-leRoi, raised on ebonized wooden bases, h. 21‑1/2”, w. 11”, l. 19”. [700/1000]

1961

1955

1962

1954 Pair of George III-Style Walnut Torcheres, third quarter 19th century, each with an octagonal top with an inset eglomise panel, raised on a turned and bulbous standard to three splayed cabriole legs ending in pad feet, h. 35‑1/2”, dia. 14”. [1400/1800] 1955 George III Mahogany Serpentine-Front Knife Box, fourth quarter 18th century, inlaid with a conch shell, with crossbanding inlay encircling the lid and line inlay outlining the front, retaining its fitted interior with star-inlaid lid, sitting on ogee bracket feet, h. 15”, w. 8‑1/4”, d. 12”. [400/700] Illustrated 1956 George III Serpentine Knife Box, fourth quarter 18th century, mahogany with mixed crossbanding and a marquetry lower edge in the sawtooth pattern, sitting on ball feet, the interior of the lid with inlaid star, now fitted as a letter box, h. 16”, w. 8‑1/2”, d. 13”. [400/700]

1952 Large Pair of Polished Brass “Marly Horses”, 20th century, after the originals by Nicolas Coustou (French, 1658‑1733), h. 21”, w. 21”, d. 8”. [800/1200] 1953 American Chippendale Birch Oxbow Slant-Lid Desk, third quarter 18th century, the top surface having an exposed dovetailed case and the lid opening to a fitted interior with a shell-carved center drawer, the base section with four graduated drawers above a shell-carved drop pediment and raised on ogee bracket feet, h. 43‑1/2”, w. 42”, d. 21”. [1800/2500] Illustrated previous page

1957 English Jasperware Sugar Bowl, third quarter 19th century, signed “Wedgwood”, the pear-shaped bowl with a “winter” knop and neoclassical figures alternated with a decorative device composed of acanthus leaves and anthemia, h. 5‑1/2”, dia. 4‑1/2”. [200/400] 1958 English Jasperware Jardiniere, first quarter 20th century, signed “Wedgwood, Made in England” on the base, the top sprigged with a band of rose buds, the body with swags of grapes, terminating in lion’s heads, sitting over neoclassical figures, h. 7‑1/4”, dia. 8”. [500/800]

1959 Pair of Wedgwood Jasperware Compotes, probably third quarter 19th century, impressed “Wedgwood” over an “X” in all cups with three free hand numbers scratched under the glaze, the pair with neoclassical sprigging of figures alternating with a sprigging of acanthus leaves and palmettes, a border of acanthus also appearing on the lower body with molded leaves on the foot, h. 5‑1/4”, dia. 6‑1/4”. [400/700] 1964

1960 Two English Porcelain Bread and Milk Cups with Saucers, first quarter 19th century, each decorated in the Imari taste, the first example with blue and gilt against an orange vermicelli background, attributed to Coalport, the second example with decoration of pots and peonies with other flora, h. 2‑3/4”, dia. 6‑1/4”. Ex Coll. Grosvenor Paine of New Orleans, Louisiana, first example only. [100/200]

1966

1961 Eighteen-Light Georgian-Style Chandelier, the standard is sheathed with glass and ornamented with glass canopies hung with prisms, the upper level with six glass arms, fitted with glass bobeches and prisms, the bottom level with twelve glass arms hung with prisms and swags, h. 51”, w. 39”. [2500/4000] Illustrated 1962 Eighteen-Light Georgian-Style Chandelier, the standard is sheathed with glass and ornamented with glass canopies hung with prisms, the upper level with six glass arms, fitted with glass bobeches and prisms, the bottom level with twelve glass arms hung with prisms and swags, h. 51”, w. 39”. [2500/4000] Illustrated 1963 Regency Mahogany Double Pedestal Dining Table, second quarter 19th century, each section having a tilting apparatus for the top, the turned pedestals with four down-curved legs fitted with brass casters and stamped lion masks, accompanied by a nineteen inch leaf, h. 28”, w. 50”, l. 76”, ext. l. 95”. [1000/1500] 1964 Suite of Ten George III-Style Mahogany Dining Chairs, 19th century, in the Hepplewhite taste, consisting of two armchairs and eight sidechairs, each with a shaped and domed molded crest above a stylized stopfluted wheat sheaf splat, the padded slip-in seats raised on tapering paneled square legs joined by an H-form stretcher, h. 37‑1/2”. [2000/4000] Illustrated

1965 Pair of George III-Style Cut and Blown-Glass, Prism Hung and Silverplate Two-Light Sconces, second quarter 20th century, each with an ovoid silverplated backplate, fronted by a daisy and comprised of faceted cutglass beads, beneath a trio of blown-glass elements with scroll ends, each arm with a cut and scalloped bobeche hung with beads and faceted pendants, electrified, h. 17”, w. 11”, d. 5‑1/2”. [500/800] 1966 Pair of George III-Style Cut and Blown-Glass, Prism Hung and Silverplate Two-Light Sconces, second quarter 20th century, each with an ovoid silverplated backplate, fronted by a daisy and comprised of faceted cutglass beads, beneath a trio of blown-glass elements with scroll ends, each arm with a cut and scalloped bobeche hung with beads and faceted pendants, electrified, h. 17”, w. 11”, d. 5‑1/2”. [500/800] Illustrated

1967 Good Queen Anne Mahogany FoldOver Games Table, mid‑19th century, the porringer top with in-carved pockets and featuring accordion action fold out legs to support the top, h. 28‑1/2”, w. 34”, d. 17‑1/2”, ext. l. 35”. [1500/2500] Illustrated 1968 George III Mahogany Chest on Chest, late 18th century, the top with a Greek Key form dentillated molding above a blind fretwork frieze, the upper case fitted with three sideby-side drawers over three graduated long drawers and having canted corners with blind fretwork, the base with three long drawers and raised on bracket feet, h. 74”, w. 42”, d. 21”. [2500/4000] Illustrated

1969 1970 British School (Fourth Quarter 19th Century) “Returning From the Market”, oil on canvas, titled and signed illegibly verso, 18” x 27”. Presented in a molded giltwood frame. Provenance: Alex Chachere, Opelousas, Louisiana. [200/400] 1971 William Langley (British, 1852‑1922) “Figure in a Boat, Docked at a Riverside Hamlet”, oil on canvas, signed lower left “William Langley”, 16” x 24”. Presented in a giltwood and gesso frame. Provenance: Alex Chachere, Opelousas, Louisiana. [300/500] 1972 Circle of Alexander Kellock Brown (British, 1849‑1922) “Expansive Landscape with a Figure Fishing”, oil on canvas, unsigned, stretcher inscribed “By A. Killough Brown (Alexander Killough Brown)”, 24” x 36”. Presented in a period giltwood and gesso frame. [400/700]

1968

1969 British School (Fourth Quarter 19th Century) “Landscape with a Castle Overlooking a Lake and Two Fishermen Walking”, oil on canvas, signed lower left “A.M. Penney”, 18” x 30”. Presented in a gilt and gesso exhibition frame. [1800/2500] Illustrated

1967

1973 George III Mahogany Sideboard, first quarter 19th century, the rectangular top with a bowed center section above a conforming case fitted with a central cutlery drawer flanked to either side by a cupboard door, faced as two small drawers, raised on tapering square legs, h. 35”, w. 60”, d. 28‑1/4”. [1000/1500]

1974

1978 Five Books on Portrait Miniatures and Miniaturists, including Daphne Foskett, John Smart: The Man and His Miniatures, Ursula McCracken, Selection of Portrait Miniatures, Walters Art Gallery, Baltimore, Maryland, Roy Strong, The English Renaissance Miniature, and Artists of the Tudor Court: The Portrait Miniature Rediscovered, 1520‑1620, and an exhibition catalogue, Four Generations of Commissions: The Peale Collection , Baltimore, Maryland: The Maryland Historical Society, March 3 - June 29, 1975. [50/80] 1979 Seventeen Books on Antiques and Fine Art, Ralph Mayer, A Dictionary of Art Terms and Techniques, Andre Chastel, Sutdios and Styles of the Italian Renaissance, Rockwell Kent, ed., World-Famous Paintings, Marina Vaizey, 100 Masterpieces of Art, H. W. Janson, History of Art, Anthony Curtis, ed., The Lyle Official Antiques Review 1982, James Brough, Auction!, Janine Leris-Laffargue, Comment Reconnaitre les Style du Mobilier Regional, Judith and Martin Miller, ed., The Antiques Directory: Furniture, W. Crawley, Is It Genuine?: A Guide to the Identification of Eighteenth-Century English Furniture, Florence de Dampiere, The Best of Painted Furniture, Annie Sloan, The Painted Furniture Sourcebook, Franklin H. Gottshall, Heirloom Furniture, Herbert Cescinsky, English Furniture from Gothic to Sheraton, and three volumes (of five) of the sale catalogue of Mentmore, the estate of the Earls of Rosebery, Sotheby Parke Bernet, Mentmore, Buckinghamshire, May 18‑27, 1977, including Volume I: Furniture, Volume II: Works of Art and Silver and Volume IV: Paintings, Prints and Drawings. [100/200]

1974 Queen Anne-Style Mahogany Silver Table, late 18th century and later, the rounded rectangular dished top above a frieze fitted with one end drawer, raised on slender cabriole legs ending in pad feet, h. 29”, w. 29‑1/2”, d. 18‑1/2”. [1000/1500] Illustrated 1975 George III-Style Cut-Glass Twelve-Arm Chandelier, the scalloped canopy with jewel swags and pendants, the segmented cut-glass-sheathed standard faceted and fluted, the scrolling arms strung with jewel swags and pendants and alternately terminating in cut-spears and faceted candlecups, the lower standard hung with pendants and terminating in a faceted reverse teardrop, not electrified, h. 52”, dia. 40”. [2500/4000] Illustrated

1975

1976 George III Mahogany Settee, late 18th century, in the Chippendale rococo taste, the shaped and padded back surmounted by a floral and bellflower carved crest and joined by downswept arms to the cushioned seat, raised on cabriole legs ending in scrolled toes, h. 36”, d. 27”, l. 77”. [3500/5000] 1977 George III Mahogany Pembroke Table, first quarter 19th century, the rectangular top with broad satinwood banding and two like-banded rounded drop leaves, above a frieze fitted with a single end drawer, raised on tapering square legs ending in brass caps, h. 26‑1/2”, d. 30”, l. 20”, ext. l. 38”. [600/900]

1983 George III Mahogany Tripod Table, early 19th century, the tilting rectangular top raised on a columnar standard to a reeded and turned urn-form base, to three splayed cabriole legs ending in pad feet, h. 28‑1/2”, w. 26‑1/4”, d. 23”. [300/500] 1984 George III Burl Walnut Drop-Front Secretary/ Bookcase, late 18th century, the bookcase top with a pair of doors opening to an interior with upper shelves and cubbyholes below, the slant-lid base with a fitted interior and four lower drawers and raised on a bracket base, h. 81‑1/2”, w. 41”, d. 23‑1/2”. [3000/5000] Illustrated 1985 English Parcel-Gilt Bracket and Mirror, fourth quarter 19th century, the Georgian-form rectangular mirror with a finial of carved leaves and berries held in a carved scroll, the serpentine lower shelf supported by a pierced support carved with anthemia and flowers, h. 40”, w. 19”. [400/700] 1986 Fruitwood and Ebonized Architectural Model of a Spiraling Staircase, with closed banister, raised on an ebonized base, h. 24‑1/2”. [150/300] Illustrated 1987 Mahogany and Fruitwood Architectural Model of a Freestanding Spiraling Staircase, raised on a circular base, h. 14”. [150/300] Illustrated

1984 1980 Nine Books on Porcelain and Other Decorative Arts, including Nancy Schiffer, Japanese Porcelain, 1800‑1950, Leonard Whiter, Spode, Len and Yvonne Adams, Meissen Portrait Figures, Hugo Morely-Fletcher, Antique Porcelain in Color: Meissen, a photocopy catalogue Blaues Zwiebelmuster, Weisser Rand, Staatliche PorzellanManufaktur Meissen, 1953, No. 4, showing the full line of “Blue Onion” (model 15a) wares, Frank Davis, Walter de Sager, et al. Antiques, three exhibition catalogues, The Splendor of Dresden, Washington, D.C.: National Gallery of Art, June 1 - September 4, 1978, et al., Splendors of the Ottoman Sultans, Memphis, Tennessee: Cook Convention Center, April 15 - August 16, 1992, et al., and Imperial Tombs of China, Memphis, Tennessee: Cook Convention Center, April 18 - September 18, 1995, et al. [100/200] 1981 Fifty-Two Decorative Bindings, most half cloth- or leather-bound and gilt-tooled, including twelve volumes of Thomas Hardy, sixteen of Edward Bulwer-Lytton, five of Dickens, eight of the 1795 edition of British Poets, and eleven of Froude’s History of Britain. Provenance: The library of the late Gordon Maginnis, New Orleans, Louisiana. [100/200] 1982 Large Art Deco-Style Chocolate Brown Leather and Snake Skin Desk Blotter, mid‑20th century, the fold over leather cover centered with a python skin, w. 32‑1/2”, d. 18‑1/2”. [300/500]

1988 Fruitwood and Ebonized Architectural Model of a Staircase, in the Mission Style, the banistered staircase with one turn, h. 15‑1/4”. [150/300] Illustrated

1986

1988 1987

1989 Fruitwood, Mahogany Architectural Model of a Freestanding Spiraling Staircase, raised on an ovoid base and with ebonized accents, h. 18‑3/4”. [300/500] 1990 George III Mahogany Corner Chair, 18th century, the rounded crest above two pierced baluster-form splats, the elongated padded seat raised on cabriole legs headed by shell carving and ending in ball and claw feet, h. 32”. [1200/1800] Illustrated

1993

1991 Queen Anne-Style Mahogany Dressing Table, late 19th century, the top with a banded border and molded edge, the curved front with a central drawer above the knee-hole opening and flanked by a larger drawer on each side, raised on cabriole legs ending in pad feet, h. 29”, w. 32”, d. 19”. [500/800] 1992 Twenty-Nine Books on Asian Antiques, Decorative Arts and Culture, including Geoffrey Wills, Jade of the East (slipcased) and Jade: A Collector’s Guide, Richard Gump, Jade: Stone of Heaven, Michael Sullivan, The Arts of China, two rare copies of Richard Frederic Carlyle Highlights on Chinese Porcelain published by Bernard Manheim Galleries, New Orleans, 1939, Arthur and Grace Chu, Oriental Antiques and Collectibles: A Guide, Stanley Charles Nott, Chinese Jade Throughout the Ages, Anthony Christie, Chinese Mythology, Juliet Piggott, Japanese Mythology, Chian Fu-tsung, ed., Masterworks of Chinese Jade in the National Museum Palace: Supplement (slipcased), Carl L. Crossman, Design Catalogue of Chinese Export Porcelain and The China Trade: Export paintings, Furniture, Silver and Other Objects, Teiji Itoh and Gregory Clark, eds., Dawns of Tradition (two copies), Warren E. Cox, ed. Chinese Art (Britannica Booklet No. 1) and Chinese Ivory Sculpture, Josef Hejzlar, Early Chinese Graphics, Richard M. Ketchum, ed. Horizon: China (two volumes, History of China and Arts of China, in one slipcase) Bradley Smith and Wan-go Weng, China: A History in Art, Joan Lebold Cohen and Jerome Alan Cohen, China Today and her Ancient Treasures, exhibition catalogues Archaeological Finds of the People’s Republic of China, Washington, D.C.: National Gallery of Art, December 13, 1974-March 30, 1975, et. al., together with the text-only strolling catalogue of the exhibition and Jade as Sculpture, Minnesota Museum of Art, Saint Paul, Minnesota, February 19 - March 26, 1975, et al., collection catalogues, Collection Alfred Baur, Geneva, Switzerland and Lizzadro Museum, Elmhurst, Illinois and sale catalogues Chinese Decorative Arts, London: Sotheby’s, May 4, 1984, and Arms, Armour and Militaria, London: Sotheby’s, May 15, 1984. [100/200]

1994 Fine George III-Style Mahogany Sofa, late 19th century, having a square upholstered back and downcurved open arms, the seat apron with large carved shells and scrolling waves, the legs with large lion’s masks at the knees and ending in carved paw feet, h. 40”, w. 69”, d. 31”. [1800/2500] Illustrated

1993 Large Pair of Japanese Imari Vases on Stands, late 19th/early 20th century, each in traditional blue, Mandarin, jade and parcel-gilt decor, depicting decorative panels with scenes of daily life, deer, lush gardens and mountainscapes, resting on later circular reticulated pierce and carved stand, h. 47”, inclujding stands. [1800/2500] Illustrated 1990

1994

1998 George III-Style Mahogany Cabinet, third quarter 20th century, the pierced and molded crest above a case fitted with two doors, each inset with two beveled glass panes, the side paneled en suite, the back mirrored, raised on a plinth base, fitted with five glass shelves, electrified, h. 82”, w. 40‑1/2”, d. 15”. [1000/1500] 1999 George III-Style Mahogany Cabinet, third quarter 20th century, the pierced and molded crest above a case fitted with two doors, each inset with two beveled glass panes, the side paneled en suite, the back mirrored, raised on a plinth base, fitted with five glass shelves, electrified h. 82”, w. 40‑1/2”, d. 15”. En suite with the following lot. [1000/1500] Illustrated

1997 2000 Georgian-Style Mahogany Partners Desk, the gilt, tooled brown leather top above the upper drawers, one end fitted with drawers in the lower section while the other fitted with cupboards behind raised-panel doors matching the sides, the corners with reeded quarter columns, the whole resting on ogee bracket feet, h. 31”, w. 41”, l. 71”. [800/1200] Illustrated

1995 Pair of Molded White Dresden Birds, trimmed in gilt, the birds sitting on a molded base in the rococo taste, signed on the underside “Germany Dresden” under crossed swords in overglaze blue, h. 3‑3/4”. Provenance: Estate of Tamara de Lempicka (1898‑1980). [40/70] 1996 Suite of Six George III-Style Mahogany Dining Chairs, ca 1900, consisting of two armchairs and four sidechairs, each with a pierced and carved splat and relief carved posts, having a slip peat and raised on cabriole legs ending in ball and claw feet, h. 39”. [1200/1800] 1997 George III-Style Mahogany Breakfast Table, the round tilt-top crossbanded and inlaid, the turned pedestal base supporting four reeded sabre legs ending in brass paw feet on casters, dia. 29”. [1500/2500] Illustrated

1999

2000

2001

2001 George III Sterling Silver Warwick Cruet Frame, hallmarked London, 1764‑1765, by John Delmester, of traditional cinquefoil form raised on four acanthusscroll legs and union shell feet, with five circular molded receptacles faced by a rococo cartouche, all surrounding a central baluster standard with rococo ring handle, fitted with one large, h. 8‑1/4”, and two small, h. 6‑3/4”, casters, each of baluster form decorated with repousse spiral gadrooning with spiraled finials, and two vasiform glass cruets cut in a diaper and honeycomb pattern with sterling caps en suite with the casters, h. 7‑1/4”, overall h. 10‑3/4”, d. 7‑1/2”, 55.30 total t. oz. (excluding glass bottles). [5000/8000] Illustrated

57 57

2005

2003 Fine George III Sterling Silver Hot Water Jug, hallmarked London, 1773‑1774, by William Holmes & Nicholas Dumee, in the neoclassical taste, the ovoid body and wasted neck decorated with textured fluting and separated by a milled band of drapery swags with annulated edging, the body with an applied beribboned laurel wreath cartouche, the shaped spout with hinged domed lid decorated en suite and centered by an acorn finial, the cast handle in the form of a pair of entwined serpents with wicker wrapping, the whole raised on a gadrooned foot with panel-and patera banding, engraved, on the cartouche with the crest of Chapman, h. 12‑1/2”, dia. 4‑3/4”, l. 7‑1/4”, 37.10 t. oz. [7000/10000] Illustrated 2004 Pair of George III Sterling Silver Candlesticks, hallmarked Sheffield, 1786‑1787, by John Parsons & Co., each with a tapering gadrooned standard above a cavettodomed gadrooned foot with beaded edge and surmounted by a vasiform nozzle with detachable bobeche en suite, h. 11”, dia. 5‑1/4”, weighted. [3500/5000] Illustrated 2005 Good George IV Sterling Silver Two-Handled Cup and Cover, hallmarked London, 1822‑1823, by Rebecca Emes and Edward Barnard, of campana form, decorated with a rich cast and chased band of grapevine banding above and a gadrooned calyx below, with a pair of elaborated imbricated acanthus scroll handles, the interior gilt, the fitted domed lid with an acanthus leaf band and edge and a large acanthus bud finial, the whole raised on a knopped and domed foot en suite, h. 12‑3/4”, w. 9‑1/2”, dia. 6‑3/4”, 51.89 t. oz. [3000/5000] Illustrated

2002 2002 Good Pair of Regency Sterling Silver Goblets, hallmarked London, 1810‑1811, by Charles Fox, each of thistle form, the lower half gadrooned and separated from the upper half by an intricate milled diaper pattern, raised on a flared stem above an ogee-domed circular foot with gadrooned rim, h. 6‑1/4”, dia. 4”, 20.77 total t. oz. [3000/5000] Illustrated

58 58

2003

2004

2006

2007 George III Sterling Silver Sugar Basket, hallmarked London, 1790‑1791, by Peter and Ann Bateman, of navette form, with a pierced foliate rim below a milled reeded rim, the body decorated with engraved floral swags and bright-cut and wrigglework banding, with conforming reeded strap handle and raised on an oval foot en suite, h. 3‑3/4”, (6‑1/4” with handle), l. 5‑1/2”, w. 3‑3/4”. [1000/2000]

2006 Good Pair of George III Sterling Silver Armorial Sauce Tureens, hallmarked London, 1804, by Thomas Ellerton and Richard Sibley, in the Adam taste, each of navette form, the upswept ends with molded arnched handles, with annulated rim and raised on an oval domed foot, the fitted domed lid centering a figural crest, the body engraved with arms of Worsley-Holmes with Holmes in pretence, h. 5‑1/2”, l. 9‑1/4”, w. 4‑1/4”, 45.20 total t. oz. The arms and elaborate figural crest are those of the Reverend Henry Worsley Holmes, L.L.D., 8th Baronet Worlsey (1755‑1811), who married, on February 1, 1785, Elizabeth Toughear Holmes (1759‑1832), daughter and co-heiress of the Reverend Leonard Troughear (1732‑1804). Both families were from the Isle of Wight, where the Reverend Baronet ministered at the Arreton Church. [7000/10000] Illustrated

2006 detail

2006 detail 2008 Set of Four George III Sterling Silver Salt Cellars, hallmarked London, 1777‑1778, by Robert Hennell, of bulbous oval form, with wavy annulated rim, gilt interior and raised on four shell-crested pad feet, engraved on the body with a rubbed crest (Holland?), h. 1‑3/4”, l. 3‑3/4”, w. 3‑1/8”, 13.05 total t. oz. [2500/4000] 2009 George III Old Sheffield Plate Dish Cross, first quarter 19th century, of traditional form, the adjustable arms with union shell feet and supports centering a spirit burner, h. 3‑1/2”, w. 12‑1/4”. [300/500]

5959

2011 Victorian Silverplate Desk Stand, third quarter 19th century, by Cresswick & Co., Sheffield, of rounded rectangular form with a leafy rocaille border, centered by taperstick en suite over a nibs compartment, flanked on the long sides by pen trays and on the narrow sides by a pair of gadrooned receptacles fitted with glass diamondpattered ink and water wells with silverplate caps, the whole raised on acanthus and shell-crested lion’s paw feet, engraved on the pen trays with the arms and crest of Close quartering Maxwell impaling Lurgan quartering Ashe, h. 4”, w. 12‑1/4”, d. 9”. The ornate arms here - with sixteen quarterings - are those of Col. Maxwell Close (1783‑1867) and his wife Anna Elizabeth Brownlow of Lurgan. Col. Close was the son of the Rev. Samuel Close of Elm Park, co. Armagh, Ireland, and was educated at Trinity College. He served in the Egyptian Campaign during the Napoleonic Wars, and was later both J.P. and Sheriff for Armagh. He married Anna Brownlow, daughter of Lt. Col. Charles Brownlow and brother of the 1st Baron Lurgan, in 1820; she died in 1863. The couple had several children, among them Maxwell Charles Close (1827‑1903), conservative M.P. for Armagh, 1857‑64 and again 1874‑1885. For further information on the Close and Lurgan families, see Burke’s Commoners (1836) v. III, pp. 247‑250 and Burke’s Peerage (1852), pp. 632‑633. See also the January 1868 edition of The Gentleman’s Review (London, Bradbury & Evans), p. 122 for an obituary and brief biography of Col. Close. [1400/1800] Illustrated

2010 Victorian Sterling Silver Presentation Salver, hallmarked London, 1849‑1850, by John Welby, of circular form with shaped rocaille rim, the plateau with a central cartouche surrounded by a wide engraved band of scrolling flowers on an imbricate ground, raised on three cast openwork rococo scroll feet, engraved, on the cartouche with a presentation inscription “Presented / by the / High Sheriff / James S. Lane, Esq., / the Nobility, Magistrates and Gentry / of the / County of Kilkenny/ to / Thomas Trant Esq.r, S.I. / on his remonal from the district / of Callan / where he served as Constabulary Officer / with efficiency and zeal during the / long period of Eleven Years / August 6th, 1851”, dia. 14”, 40.12 t. oz. Sub-Inspector of the Constabulary Thomas Trant was transferred from Callan, co. Kilkenny to Ennistymon, co. Clare in 1851. The effusive praise given Trant by the conservative establishment of Kilkenny upon his departure was no doubt in part due to his prominent and controversial role in the Young Irelander Rebellion of 1848. Trant was the subject of a monograph by Willian Nolan, “Sub-Inspectory Thomas Trant of Callan and the 1848 Rising”, published in the Callan octocentennial publication Callan 800, 1207‑2007: HIstory and Heritage (Callan: Callan Heritage Society, pp. 297‑312. See also Laurence Fenton, The Young Ireland Rebellion and Limerick (Cork: Mercier Press, 2010) for an interesting account of this nascent Republican rebellion. [2500/4000]

2010

2011

2014

60 60

2012 Victorian Silverplate and Cut Glass Centerpiece, third quarter 19th century, the silverplate base in the form of an upright acanthus frond with everted leaves, above a cavetto-canted square plinth raised on four acanthuscrested lion’s-paw feet, the whole surmounted by the original, elaborately cut, round-bottomed glass bowl in “Sunburst Lozenge-and-Fan” decor, the rim of the bowl with an old professional silver rivet repair, h. 3‑1/2”, dia. 10‑1/4”. [125/250]

2018

2013 Victorian Silverplate and Glass Centerpiece, fourth quarter 19th century, the circular baluster base with four elaborately crested monopodal griffins surmounted by a circular parcel-frosted glass dish with star-and-square cut rim with lower sawtooth edge, centered by a central reticulated wheat-stalk receptacle fitted with a glass bud vase en suite with the dish, h. 15‑1/4”, dia. 10‑1/4”. [800/1200] 2014 Good Victorian Elkington & Co. Silverplate Centerpiece, fourth quarter 19th century, Birmingham, probably from a design by Auguste-Adolphe Willms (1827‑1899), in the Neo-Grec manner, comprised of deep fluted lead crystal bowl held by a pierced Vitruvian scroll band with floral swags joined by mascarons, raised by a trio of winged sphinxes on haunched lion’s paw monopodal pedestals crested by mascarons and palmettes and joined by rinceau, the whole above a fluted and molded canted concave triangular plinth, h. 17‑1/2”, dia. 10‑1/2”. [1500/2500] Illustrated 2015 Fifteen Pieces of Edwardian Ivory and Steel Cutlery, first quarter 20th century, by Martin & Hall, Sheffield, including twelve place knives with blunt shaped blades, l. 10‑1/2” and pair carving forks, one for poultry, l. 9‑3/4”, the other for beef, l. 10‑1/4”, all with sterling silver ferrules hallmarked Sheffield, 1905‑1911, with flat ivory handles carved with shell and annulated band finial, and an unmarked Stilton cheese scoop with plain ivory handle, l. 9‑1/2”. [400/700] 2016 Edwardian Cased Silverplate and Faux-Ivory Fish Service, first quarter 20th century, including six fish forks, l. 6‑3/4”, and six fish knives, l. 8”, the forks with four tines and waisted heels, the knives with scimitar-shaped blades, all with celluloid faux-ivory handles of rounded rectangular section, presented in the original cream satin- and black velvet-lined, fitted trapezoid-shaped case, l. 8‑3/4”, w. 9‑3/4”. [125/250] 2017 Edwardian Cased Twenty-Four Piece Silverplate and Faux Ivory Fruit/Dessert Service, first quarter 20th century, by Williams & Brooke, Sheffield, including twelve three-prong fruit/dessert forks and twelve pointed-blade fruit/dessert knives, all with plain faux ivory handles, presented in the original ruched cream satin- and indigo velvet-lined fitted mahogany case, the lid with inset brass escutcheon, h. 2”, w. 11‑1/4”, d. 9‑3/4”. [250/400]

2018 Edwardian Sterling Silver Presentation Bowl, hallmarked London, 1905‑1906, by George Howson, the hemispherical bowl with shaped and molded rim and decorated on the lower half with elaborated beaded and leafy spiral gadroons and flutes, raised on a conforming domed foot, engraved, on the body with a presentation inscription “To Belford G. Royal / from the London Branch / Gramophone & Typewriter Ltd. / “Don’t Forget Us”, h. 7”, dia. 9‑1/4”, 35.88 t. oz. Belford Grant Royal (1865‑1933), a tobacconist’s son from Paulsboro, New Jersey, was a machinist and foreman of the Standard Machine Shop when he teamed with Eldridge Johnson to form the United States Gramophone Company. A copyright infringement lawsuit forced the company to change the name to the Victor Talkiing Machine Company, but the British branch retained the Gramophone Company name. (Although it was briefly - as evidenced here - called the Gramophone & Typewriter Company after a merger with the Lambert Typewriter Company). Belford Royal moved to England to oversee operations there in 1897 and remained until 1906: the occasion of the presentation of this fine bowl. Royal was later the General Superintendent (1912‑1919), Vice-President (1923‑1925) and Chairman of the Board (1926‑1928) of Victor; he was still on the Board of Directors when he died on June 24, 1933. By that time, Victor and Gramophone were two of the largest record companies in the world, known for their iconic HMV - “His Master’s Voice” - label. The Gramophone Company would continue well into the 1970’s under that name, eventually becoming part of E.M.I. in 1973; one of the last records released under the Gramophone copyright was Pink Floyd’s Dark Side of the Moon. [5000/8000] Illustrated 2019 George V Silverplate Epergne, second quarter 20th century, the central wirework frame composed of a pair of oval bands joined by shells and quartered by four scrolling arms, each with a circular receptacle, and surmounted by a scrolling arch with a gadrooned receptacle, the receptacles fitted with a central large and four smaller baskets decorated with reticulated Greek key banding below a bead-and-bobbin border, the whole raised on four acorn feet, h. 11”, w. 21”, d. 15‑1/4”. [300/500]

61 61

2020 Pair of English Silverplate Candelabra, third quarter 20th century, by the Ellis-Barker Company, Birmingham, in the rococo taste, the baluster standard of rounded square section, above a domed foot en suite and surmounted by an urn-form nozzle, fitted with a detachable superstructure with a central standard and flanked by a pair of scrolling arms, each terminating in an urn-form nozzle with rounded cavetto square drip pan and detachable bobeche en suite, the whole decorated with embossed rococo floral scrolls, h. 18‑1/2”, w. 16”, d. 5‑1/2”. [600/900] 2021 English Silverplate Tray, second quarter 20th century, of rounded rectangular form, with pierced gallery, gadrooned rim and scroll-mounted “rope” handles, the plateau engraved with a central rocaille cartouche surrounded by “vintage” scrollwork, l. 30‑1/4”, w. 17‑1/2”. [150/300]

2027

2032 2022 Laristan Sultanabad Carpet, 9’ x 12’. [1400/1800] 2023 Agra Sultanabad Carpet, 9’ x 11’ 9”. [1400/1800] 2024 Turkish Silk and Angora Oushak Carpet, 8’ x 9’ 10”. [1800/2500] 2025 Agra Serapi Carpet, 8’ x 9’ 10”. [1200/1800] 2029

2026 Antique Moroccan Carpet, 5’ 7” x 8’. [800/1200] 2027 Agra Heriz Carpet, 9’ x 11’ 0”. [1400/1800] Illustrated 2028 Agra Serapi Carpet, 8’10” x 12’. [1500/2500] 2029 Semi-Antique Persian Mashed Carpet, 10’1” x 13’6”. [1500/2500] Illustrated 2030 Turkish Angora Oushak Carpet, 8’5” x 10’1”. [1200/1800] 2031 Turkish Angora Oushak Carpet, 8’5” x 10’. [1200/1800]

2038

2032 Persian Kirman Carpet, 9’9” x 13’1”. [1500/2500] Illustrated 2033 Turkish Angora Oushak Carpet, 9’1” x 11’9”. [1400/1800] 2034 Laristan Mashed Runner, 3’ x 17’10”. [800/1200] Illustrated 2034 2035 Turkish Angora Oushak Carpet, 6’2” x 8’8”. [700/1000] 2036 Uzbek Kazak Runner, 3’ x 15’6”. [700/1000] 2037 Agra Serapi Carpet, 5’ x 7’9”. [600/900] 2038 Persian Kashan Carpet, 11’ x 14’. [400/700] Illustrated 2039 Louis-Phillipe Aubusson Needlepoint Carpet, 3’ x 5’. [100/200] 2040 Persian Hamadan Carpet, 3’10” x 13’9”. [100/200] 2041 Hamadan Runner, 3’5” x 10’3”. [100/200]

2043

2043 Semi-Antique Pictorial Tabriz Carpet, 10’1” x 14’3”. [3000/5000] Illustrated previous page 2044 Antique Heriz Carpet, 9’8” x 12’5”. [800/1200] Illustrated 2045 Semi-Antique Sarouk Carpet, 10’6” x 14’1”. [1500/2500] Illustrated 2046 Khotan Carpet, 5’10” x 11’. [800/1200]

2044 2042 Semi-Antique Sarouk Carpet, 3’ x 10’. [200/400]

2047 2047 Antique Oushak Carpet, 9’ x 11’6”. [3000/5000] Illustrated 2048 Silk Qum Carpet, 3’ x 5’. [500/800] 2049 Hamadan Carpet, 3’7” x 7’5”. [200/400] 2050 Malayer Carpet, 4’ 3” x 6’ 4”. [400/700] 2051 Malayer Carpet, 3’ 6’’ x 6’. [400/700] 2052 Peshawar Serapi Carpet, 9’8” x 14’8”. [2000/4000] Illustrated 2045

2053 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”. [700/1000]

2055

2054 Regency Ebonized Chinoiserie Etagere, early 19th century and later, the rectangular top with bowed corners and with a central Asian and foliate scene, joined by columnar uprights to two like lower shelves, raised on ring-turned legs ending in tapering feet, h. 36”, w. 32‑1/2”, d. 14”. [1400/1800]

2057 Regency-Style Mahogany Dumbwaiter, late 19th century, fitted with two circular tiers, each with a full Greek-key-pierced brass gallery and joined by brass uprights, raised on a spiral-reeded standard to three splayed legs headed by acanthine carving and ending in brass caps on casters, h. 540‑1/4”, dia. 23‑1/2”. [1400/1800] Illustrated 2058 Continental School (20th Century) “Still Life with Zinnias in a Pottery Vase”, oil on canvas, signed illegibly, 32” x 22”. Framed. [600/900]

2052 2055 Pair of Regency-Style Cut-Glass, Marble and Metal Two-Light Candlelabra, each centered by a tapering faceted spire supporting an inverted cut-glass bowl hung with faceted beads and pendants, the S-form faceted arms supporting scalloped and cut bobeches and candle cups set in glass cylinders on a gilt-brass, silverplate and marble base, h. 26‑1/4”, w. 21”, d. 10”. Provenance: M. Granet, French Antique Shop, New Orleans, Louisiana. [1200/1800] Illustrated 2056 Regency Ebonized Parlor Cabinet, early 19th century and later, the superstructure consisting of a single shelf and swag-patterned backpiece, the rectangular top above a case fitted with a single grilled door, raised on a plinth base, h. 45‑1/2”, w. 26‑1/2”, d. 11‑1/2’. [700/1000]

2057

2059 Continental School (20th Century) “Still Life with Roses in a Wine Bottle”, oil on canvas, signed illegibly lower right, 18” x 10”. Framed. [300/500] 2060 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”. [600/900] 2061 Edwardian Satinwood Occasional Table, ca 1900, the canted rectangular top with a raised banded edge and centered by two polychrome putti among clouds, raised on lyre-form end supports joined by double-turned stretchers and ending in splayed legs, h. 27‑1/2”, w. 22‑1/2”, d. 15”. [300/500] 2072 2063 After John Nuget Fitch (British, 1840‑1927), suite of three hand colored lithographs of various orchids from the Orchid Album, published by B. S. Williams, London 1882‑1897, sight 11‑1/2” x 9‑1/2”. All glazed, attractivelymatted and framed. [200/400] 2064 After John Nuget Fitch (British, 1840‑1927), suite of three hand colored lithographs of various orchids from the Orchid Album, published by B. S. Williams, London 1882‑1897, sight 11‑1/2” x 9‑1/2”. All glazed, attractivelymatted and framed. [200/400] 2065

2065 Regency Mahogany Tea Caddy, first quarter 19th century, of sarcophagus form, the raised top centered by a panel, the interior fitted with two lidded compartments and a central glass mixing bowl, with an acorn and oak leaf etched rim, the sides with finely modeled ring handles, raised on ormolu winged paw feet, h. 8”, w. 13‑3/4”, d. 7”. [700/1000] Illustrated 2066 Regency Tortoiseshell Tea Caddy, first quarter 19th century, of rectangular form, the rounded and banded lip opening to a double compartmented interior, the whole raised on low bun ivory feet, h. 4‑1/4”, w. 6‑3/4”, d. 3‑1/2”. [1400/1800] Illustrated

2066

2062 William Curtis (British, 1787‑1826) “Polygonum Amphibium”, Cichorium Intybus” and “Holcus Mollis”, suite of three hand colored engravings from Flora Londinensis, 1777‑1798, sheet size 17‑3/4” x 10‑1/2”. All attractively matted en suite and unframed. [200/400]

2067 Regency Tortoiseshell Trinket Box, first quarter 19th century, of rectangular form, the lid with a raised panel and centered by a silver mount, the interior partially lined with paper, h. 1‑1/2”, w. 3‑3/4”, d. 2‑3/4”. [200/400] 2068 French Inlaid Mother-of-Pearl Box, third quarter 19th century, the rectangular box with cut corners, veneered with burl walnut on the sides, the top inlaid with a silver metal grid and mother-of-pearl crosses, lined with old pink paper and inscribed “Aelph Giroux CW Paris” on the lock, h. 2”, w. 5”, d. 3”. [75/125]

2080 2069 English Tortoiseshell Toilette Box, first quarter 20th century, with inlaid gold coat of arms, Shipman of Scarrington County, Nottingham, w. 5” d. 3‑3/4”. [100/200] 2070 Edwardian-Style Mahogany Chairside Table, mid‑20th century, the leather-inset rectangular top with a back raised storage well, above a frieze fitted with a single drawer, raised on square tapering legs ending in spade feet the whole with inlaid stringing accents, the drawer bearing the label: “This piece was hand made in the workshop of Charak Furniture Co., Bofton, Mafs, numbered 413, made in year 1948”, h. 30”, w. 18”, d. 28”. [300/500]

2071 British School (Fourth Quarter 20th Century) “Portrait of a Beagle in an Expansive Landscape”, oil on canvas, signed lower right “P. Johnson”, 12” x 16”. Presented in a molded giltwood frame. [300/500] 2072 Charles Davidson (British, 1820‑1902) “The Gathering Storm”, watercolor on paper, signed lower left “C. Davidson”, sight 12‑1/4” x 18‑3/4”. Glazed, handsomely matted and framed. [800/1200] Illustrated 2073 Victorian Walnut Lap Desk, third quarter 19th century, the rectangular case brass-band and and the lid with a central brass presentation plaque, opening to a leather-inset writing surface and a variety of storage compartments, raised on a later stand of tapering square legs, h. 22”, w. 20”, d. 10‑1/2”. [600/900] 2074 Victorian Ebonized and Polychrome Tripod Table, mid‑19th century, the tilting dished circular top with a central floral spray within a gilt and avian border, raised on a bulbous turned standard to three splayed and shaped legs, all with like gilt accents, h. 30‑1/2”, dia. 30‑1/2”. [600/900]

2075 English Mahogany Pembroke Table, second quarter 19th century, the broad single board top with two drop leaves and fitted with a drawer at one end and a fauxdrawer at the other end, raised on turned legs, h. 29”, w. 21”, d. 36”, ext. l. 41”. [500/800] 2076 George III Mahogany Linen Press, early 19th century, the molded cornice above a case fitted with two doors, each inset with a banded oval panel and opening to an interior fitted with a hanging rod, the lower section fitted with two short drawers over two long graduated drawers, raised on splayed feet, h. 81‑1/2”, w. 48”, d. 22”. [1800/2500] 2077 Sheraton Mahogany Server, first quarter 19th century, the top with a dovetailed gallery above a pair of side-byside drawers with lion mask pulls, raised on tall turned legs, h. 36”, w. 46”, d. 21‑1/2”. [500/800] 2078 George III-Style Mahogany Sideboard, early 20th century, bearing the label “Wm. A. Berkey Furniture Co.”, having two serpentine pedestals fitted with cabinet and a drawer above, the deck with a central drawer below and trimmed with blind fretwork, raised on bracket feet, h. 38‑1/2”, w. 72”, d. 22‑1/2”. [700/1000] 2079 William IV-Style Mahogany Dining Table, the rounded triple-banded rectangular top raised on two pedestals, each with four fluted columnar supports to a square base raised on four splayed foliatecarved legs ending in brass paws, with three leaves, h. 30”, d. 48”, l. 72”, ext. l. 138”. [1500/2500] Illustrated

2079

2080 Regency Mahogany Sideboard, second quarter 19th century, having a wreathcarved backsplash with foliate-carved and scrolled ends, the thick overhanging top above a paneled frieze fitted with two side-by-side drawers and raised on tall scrolled legs with acanthus-carved details, h. 46‑1/2”, w. 78”, d. 27”. [1500/2500] Illustrated

2081 James Hardy III (British 20th/21st Century) “Naval Engagement off the Dutch Coast”, oil on panel, signed lower left “James Hardy”, 27‑1/2” x 36”. Presented in a molded giltwood frame. [1200/1800] Illustrated 2082 Clarence Blackburn (British, 1914‑1987) “Lincoln”, oil on canvas, signed lower left “C.E. Blackburn”, titled on an inscribed label on reverse, 39‑3/4” x 54‑1/2”. Framed. [800/1200] 2083 Model of a Single Masted Yacht, depicted with three sails and a cream and black hull, with a mahogany deck and a realistically depicted cabin, with a wheel mounted in the stern, h. 23”, w. 5”, l. 22”. [100/200]

2084

2081 2084 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”. [700/1000] Illustrated 2085 Sheraton Mahogany Inlaid Fold-Over Games Table, first quarter 19th century, the shaped top above a frieze with string-inlaid stylized diamonds and raised on reeded legs with leaf-carved tops, h. 29‑1/2”, w. 32”, d. 17”. [800/1200] Illustrated 2086 Large Pair of Carved and Turned Black Egyptian Marble Eagle Mask-Handled Covered Vases, in the Regency style, h. 18‑1/2”. [1000/1500] 2087 Victorian-Style Mahogany Occasional Table, early 20th century, of Georgian inspiration, the scalloped circular top with a foliate-pierced edge, raised on a concave columnar standard to four splayed cabriole legs ending in foliate toes, h. 28”, dia. 18‑1/2”. [200/400] 2088 Regency Mahogany and Rosewood Banded DropLeaf Sofa Table, first quarter 19th century, the top with a rosewood banded border and string inlaid edge, one side fitted with two side-by-side drawers, the back side with faux-drawers and mounted to a trestle-form base with down-curved legs ending in brass paw feet and casters, h. 29”, w. 42”, d. 27”, ext. l. 65‑1/2”. [500/800] Illustrated

2085

2089 George III-Style Figured Mahogany Tilt-Top Tea Table, early 20th century, the tray form top with pierced and carved gallery edge, mounted to a bird cage tilting apparatus, the complex pedestal with a central turned, reeded and fluted column flanked by three buttresses and mounted to a trifid base with ball and claw feet, h. 36”, w. 30‑1/2”, d. 30‑1/2”. [300/500]

2092 Edwardian Figured Mahogany Triple Door Armoire, c. 1900, having a central paneled door with highly figured mahogany and flanked by mirrored doors on each side, the interior fitted with sliding drawers and shelves, raised on a base with short cabriole legs, h. 84”, w. 83”, d. 25”. [400/700]

2090

2093 Victorian Ebonized Papier-Mache Occasional Table, third quarter 19th century, the tilting scalloped ovoid top with a stepped edge with an elaborate gilt border surrounding a central decorative mother-ofpearl inlay, raised on a turned and bulbous standard to a molded circular base on casters, h. 30”, w. 25‑1/2”, d. 21‑1/2”. [1000/1500] Illustrated

2093

2094 Victorian Papier-Mache Tray on Stand, mid‑19th century, the ebonized and parcel-gilt tray with a central polychromed urn with flowers and inset into custom formed stand with bamboo turned legs and stretcher, h. 22”, w. 32‑1/2”, d. 25”. [700/1000] Illustrated 2088 2094 2090 William IV Mantel Clock, second quarter 19th century, the steel dial and works set in an octagonal mahogany case carved with a laurel wreath, set on a plinth carved with volutes and scrolls, h. 24”, w. 16”, d. 7‑1/2”. [400/700] Illustrated 2091 Two English Victorian Mahogany Dressing Mirrors, of similar form, each with an arch top mirror held by scrollcarved supports, one resting on a serpentine base with a cove molding and pad feet, h. 30”, w. 25”, d. 11”, the other with a modified serpentine base with a flat central panel and volute-carved scroll feet, h. 29”, w. 23‑1/2”, d. 9‑3/4”. [150/250]

2102 Victorian Mahogany Bed Steps, second quarter 19th century, each tread with a floral needlework panel, the top hinged and the middle step with a sliding lid, raised on turned legs, h. 27”, w. 16‑1/2”, d. 28”. [300/500] 2103 Diminutive Inlaid Mahogany Swing-Leg Drop-Leaf Table in the Dutch Style, early 20th century, the top inlaid with urns of flowers and birds, the trestle-form ends joined by a block and turned inlaid stretcher, h. 24”, w. 22‑1/4”, d. 5‑1/2”, ext. l. 27”. [400/700] 2104 Victorian Mahogany Nursing Chair, third quarter 19th century, the shaped and padded back above the elongated padded seat, raised on turned and bulbous legs ending in caps and casters, upholstered in wool paisley, h. 33”. [300/500] 2111 one of two 2095 Pair of Asian Cherry Stained and Ebonized Shutter Panels, early 20th century, comprised of two hinged panels each and decorated with birds and sprawling branches, the frames ornamented with applied brass trim, h. 58‑1/2”, w. 21”, each. [200/400] 2096 Large Painted Iron Parrot Cage, the domed top with applied scrolling decorative ironwork and mounted to an X-form iron base, presented in a black forest painted surface, h. 84”, dia. 33”. [500/800] 2097 Continental Porcelain “Exotic Pheasants” Vase in the Chinoiserie Taste, fourth quarter 19th century, now fitted with a turned mahogany cap and mounted on a Chinese hardwood base as an accent lamp, the lamp cord run down the exterior of the vase and hand-painted to conform to the glazed decoration of the vase, overall h. 17‑3/4”, dia. 6”. [100/200] 2098 Impressive Japanese Embroidered Silk Wall Tapestry, late 19th century, depicting two opposing dragons, swirling clouds, and the pearl of Wisdom and Knowledge, executed in a variety of stitches creating a multi-dimensional effect, 22” x 94”. [500/800] 2099 Large Pair of Chinese Blanc de Chine Porcelain Tree Tubs, 20th century, of traditional form, presented on Chinese carved red-lacquered mahogany footed stands, tub h. 14‑1/2”, dia. 16‑1/2”, overall h. 23‑1/4”. [250/400] 2100 Mahogany and Ebonized Occasional Table, mid‑20th century, the circular top banded and with a sunburst veneer joined by paneled square supports to a lower round shelf with a pierced X-form gallery, raised on a cylindrical standard to four splayed and paneled legs ending in casters, h. 27”, dia. 26‑1/4”. [300/500] 2101 Large Pair of Edwardian Terracotta Recumbent Dogs, late 19th century, presented in a brick red polychromed surface, h. 1”, w. 15”, l. 35”. [500/800]

2113 one of two 2105 Victorian Walnut and Marble Top Cabinet, third quarter 19th century, the Carrara marble top of breakfront form above a conforming case fitted with an urn and scroll inlaid frieze over a central panel flanked to either side by a paneled cupboard door, each with a panel inlaid en suite, raised on a plinth base, h. 34”, w. 47”, d. 14‑1/4”. [600/900] 2106 Edwardian Mahogany and Inlaid Elmwood Bookmill, c. 1900, having an inlaid top and two lower shelves with fitted partitions and mounted to a base for rotation, h. 34”, w. 18”, d. 18”. [400/700]

2121 pair 2107 Rustic Softwood Looking Glass, in the Regency taste, the circular plate within a molded and pierced wooden frame with rusted iron band accents, dia. 32”. [300/500] 2108 Anglo-Indian Mahogany Coffer, late 19th century, the rectangular top opening to a void interior, the front with an overlay of silver metal in palmetto band patterns surrounding stylized avian designs, h. 13‑1/4”, w. 24‑1/4”, d. 13‑1/2”. [100/200] 2109 Large German Tripodal Triple-Rhyton Vase, of polished black steer horn, h. 15”, w. 18‑1/2”, d. 10”. [50/100] 2110 North African Ebonized and Brass Overlay Camel Saddle, early 20th century, of traditional form, the padded seat with hid upholstery, raised on splayed supports with brass overlays with a variety of incised geometric patterns, h. 18‑1/2”, w. 25”, d. 27”. [200/400] 2111 Emil Eugen Holzhauer (American/Georgia, 1887‑1986) “Still Life” and “Girls on a Path”, double-sided oil on panel, former signed and dated lower left “Holzhauer 1962”, 24” x 20”. Unframed. [1500/2500] Illustrated 2112 Emil Eugen Holzhauer (American/Georgia, 1887‑1986) “Mexican Village Scene”, casein on fiberglass, signed and dated lower right “Holzhauer 1965”, 22” x 30”. Matted and unframed. [400/700]

2121 pair 2113 Emil Eugen Holzhauer (American/Georgia, 1887‑1986) “Pinkey’s Man” and “Ashville Farm”, doublesided watercolor on paper, former signed lower right “Holzhauer, Macon”, sight 21‑1/2” x 14”. Matted and unframed. [800/1200] Illustrated 2114 Emil Eugen Holzhauer (American/Georgia, 1887‑1986) “Kelly Dock, Destin Florida”, casein on paper, signed and dated lower left “Holzhauer ‘63”, sight 13‑3/4” x 20”. Matted and unframed. [500/800] 2115 Emil Eugen Holzhauer (American/Georgia, 1887‑1986) “The Destin Bridge, Destin Florida” and “A Row of Cottages”, double-sided casein on paper, former signed lower right “Holzhauer”, sight 14” x 20‑1/2”. Matted and unframed. [500/800] 2116 Emil Eugen Holzhauer (American/Georgia, 1887‑1986) “Destin Harbor”, casein on paper, signed lower left “Holzhauer”, sight 14” x 20‑1/2”. Matted and unframed. [500/800] 2117 Pat Juneau (American/Louisiana, Contemporary) “Pink Head”, painted metal wall sculpture, 47” x 32”. [150/300] 2118 Pat Juneau (American/Louisiana, Contemporary) “Figural Group”, painted metal sculpture, welded to a circular base, h. 76”. [300/500]

2120 Nestor Hippoyle Fruge (American/Louisiana, b. 1916) “Back of St. Louis Cathedral, French Quarter”, watercolor on paper, signed lower left “N. Fruge”, sight 14” x 10”. Glazed, matted and framed. [300/500] 2121 Jim Blanchard (American/Louisiana, b. 1955) “Front Door Elevation” and “Rear Door Elevation”, a pair of architectural renderings in ink and watercolor on paper, titled lower center, noted lower left “drawn by Jim Blanchard” and lower right “Weiss, Dreyfous & Seiferth Architects”, sight 15” x 10‑1/2”. Both glazed, handsomely-matted and framed. [300/500] Illustrated previous page 2122 Jim Blanchard (American/Louisiana, b. 1955) “Stair Elevation”, an architectural rendering in ink and watercolor on paper, titled lower center, noted lower left “drawn by Jim Blanchard” and lower right “Weiss, Dreyfous & Seiferth Architects”, sight 21” x 12”. Glazed, handsomely-matted and framed. [300/500] 2123

2123 James Michalopoulos (American/Louisiana) “No Horleens”, 1992, oil on canvas, initialed lower left “M”, signed, titled and dated on reverse canvas, 24” x 30”. Framed [1500/2500] Illustrated 2124 James Michalopoulos (American/Louisiana, b. 1951) “Untitled French Quarter Scene”, oil on canvas, signed lower left “Mitchell”, 48” x 24”. Framed. [4000/7000] Illustrated 2125 Copperplate Engraved Map of “Plan de la Nouvelle Orleans” by Jacques Nicolas Bellin, Paris, 1764, depicting the French Quarter, with a list of keys across the top and turbulent waves of the Mississippi below, 8‑1/4” x 11‑3/4”. Unframed. [700/1000] Illustrated

2124 2119 Two Louisiana School Works on Paper, 20th century, both depciting French Quarter Scenes, one by Lee Tucker, the other by Herbert Hanush, sight 13” x 10” and 14‑1/2” x 10‑1/2”. Both glazed, matted and framed. [200/400] 2125

2126 Engraved Map of “Cours du Fleuve Saint Louis depuis ses Embouchures jusqu’a la Riviere d’Iberville et Costes Voisines” by Nicolas Bellin, Paris, 1764, depicting the southeast portion of North America and the mouth of the Mississippi River “Fleuve Saint Louis ou Mississippi”, from “Riviere d’Iberville” to “Baye de la Mobile” in the north, to the southern pass of the River’s spill into “Golphe du Mexique”, 8‑3/4” x 14”. Unframed. [700/1000] 2127 Early American Chippendale Mahogany Slant-Lid Desk, third quarter 18th century, the dovetailed case and slant lid opening to a fitted interior, and four graduated drawers below, raised on bracket feet, the back bearing a label, “Veronica Boswell, Desk”, h. 42”, w. 41”, d. 19”. [1500/2500] Illustrated 2128 Hand-Colored “Sketch of Triangulation in Sections VI, VII, VIII” by Benjamin Peirce, Washington, 1868, a study providing details of surveys of several areas along the Gulf Coast including Lake Pontchartrain, the mouth of the Mississippi River, March Island, Pensacola Bay, St. Georges Sound and Charlotte Harbor, 12‑1/4” x 31‑1/2”. Unframed. [200/400]

2132

2129 Rare Copy of Nicholas King’s “Map of the Washita River in Louisiana” published by Houghton Mifflin & Company, 1904, illustrating the Dunbar Expedition Report, one of the two expeditions initiated by President Thomas Jefferson in 1804 (along with the Lewis & Clark and Pike expeditions), 8” x 33‑1/4”. Unframed. Nicholas King produced two maps in conjunction with these expeditions, a map of the Red River in Louisiana (1806) and the present map which were privately engraved and printed by Francis Shallus and William Kneass, Philadelphia. This map is one of an edition of 550 copies printed in 1904 and has never been bound into a book. [250/400] 2130 Rare Hand-Colored Engraved Map of “The Entrance of the River Mississippi at Fort Balise” by Robert Sayer, London, taken in the King’s Ship “Nautilus” in the year 1764, feathered arrows indicate the direction of current, tiny engraved images of driftwood are explained as “Heaps of Trees which have formed the Bank”, soundings are given in both Roman numerals for fathoms and Arabic figures feet, 7” x 9”. [300/500] 2131 George III Mahogany Chest, early 19th century, the rectangular top above a case fitted with four long graduated drawers, all with inlaid decorative stringing, raised on splayed bracket feet, h. 38‑1/2”, w. 44‑1/2”, d. 22”. [400/700] 2132 American Federal Mahogany Games Table, first quarter 19th century, in the Hepplewhite-Style, the hinged and shaped top with line-inlaid edge, above a conforming frieze, raised on like inlaid tapering square legs, h. 29”, w. 34”, d. 17”. [800/1200] Illustrated

2127

2133

2133 American Federal Mahogany Inlaid Sideboard, New York, first quarter 19th century, the serpentine top mounted to a conforming base with three shaped drawers above a pair of central doors flanked by larger bottle drawers and raised on square tapered legs, the back side retaining an old label, “Mr. H.C. Judd, Hartford, Connecticut by Freight”, h. 40‑1/2”, w. 76”, d. 28‑1/2”. H.C. Judd was in partnership with J.H. Root in the wood merchants business at 389 Allyn Street, Hartford, Connecticut. [5000/8000] Illustrated

2134 Fine Pair of American Federal Mahogany “D” End Drop-Leaf Tables, first quarter 19th century, each with figured single board tops and a swing leg to support the drop-leaf, raised on turned legs of Sheraton form, h. 29”, w. 42”, d. 48”, ext. l. 84”. [1500/2500] Illustrated

2134

2135 2135 William Woodward (American/New Orleans, 1859‑1939) “The Archbishop’s Palace”, oil on canvas, unsigned, bearing a paper label on stretcher with artist’s name and title in artist’s hand, 16” x 22”. Presented in a giltwood frame affixed with a plaque inscribed with title of work and artist’s name. Provenance: In present owner’s family since ca. 1940, purchased from the artist’s family. As a native of Massachusetts and a graduate of both the Rhode Island School of Design and the Massachusetts Normal Art School, William Woodward is primarily known for his impressionistic renderings of historic New Orleans and the Gulf Coast of Mississippi. He and his brother, Ellsworth, were highly influential figures in the New Orleans art scene during the 19th century where they were both instrumental in the organization of Newcomb College. Among his notable achievements William helped establish the New Orleans Vieux Carre Historic Preservation Commission, the Art League of New Orleans, the Art Association, as well as the Tulane School of Architecture. He created many on-the-spot oil sketches of the French Quarter as preliminary studies for the oil crayon paintings which later became instrumental in the preservation of many historic French Quarter buildings. The oil on canvas offered here “The Archbishop’s Palace” is most likely a preliminary study or sketch for a finished work. There are two oil crayon paintings of the same theme which vary slightly and appear to have painted in different times of year. Each rendition has strong similarities with the “Archbishop’s Palace” not only in composition of the painting, but also in their execution by applying loose impressionistic brushstrokes. There are particularly strong similarities in the choice of a color scheme used, as well as proximity of figures to the viewer, between this oil and the painting titled “Ursuline Convent, New Orleans”. Interestingly, in an article about Mr. William Woodward published in “Harlequin Magazine”, January 1900, the artist’s studio is described and it mentions “an unfinished picture of the Archbishop’s Palace in New Orleans that is sufficiently nearly done to show an exquisite reproduction of one of the quaintest scenes in Creoletown.” This is most likely the painting being described in the article. References: Jean Moore Bragg and Dr. Susan Saward, Painting the Town: The Woodward Brothers Come to New Orleans, New Orleans: Jean Bragg gallery, 2004; January 31, 1900 “New Orleans Sketches, The Artists of New Orleans, Mr. William Woodward”, The Harlequin, Volume 1, No. 32. [20000/40000] Illustrated

75 75

2139

2137

2136 American Sheraton-Style Mahogany Banquet Table, first quarter 20th century, the circular top opening to accommodate the six original eleven inch skirted leaves, raised on turned and reeded legs, h. 30‑1/2”, dia. 54”, ext. l. 120”. [800/1200] 2137 Alberta Kinsey (American/Louisiana, 1875‑1952) “Figure on a Staircase in a French Quarter Courtyard”, oil on board, signed lower left “Alberta Kinsey”, 14‑1/2” x 14”. Presented in a contemporary polychrome and giltstenciled frame. [1500/2500] Illustrated 2138 American Late Federal Mahogany Server, second quarter 19th century, the front with a pair of side-by-side drawers with beaded trim above a single long drawer and raised on tall turned and reeded legs, h. 37”, w. 43‑1/2”, d. 21‑1/2”. [500/800] 2139 American Federal-Style Line-Strung and Inlaid Mahogany Secretary, mid‑20th century, the upper section with brass finials over a pair of glazed doors with an eagle inlaid door flanked by tambour doors below, the lower section with a pair of line-strung drawers raised on tapering Hepplewhite legs, h. 80”, w. 36”, d. 18‑1/2”. [1200/1800] Illustrated 2140 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”. [600/900]

2141

2141 18th Century Hand-Colored Engraved Map of “Luigiana Inglese, colla Parte Occidentale della Florida, della Giorgia, e Carolina Meridonale” by Antonio Zatta, Venice 1778, printed from copperplate in the midst of the American Revolution with the focus on the American southeast, extensive detail is given ti Indian tribe locations, merchant routes, rivers and waterways, a notation states that Fort Rosalie was destroyed, and Natchez is spelled “Nattchees”, with a notation that it was destroyed by the French in 1730, 13” x 16‑1/2”. Unframed. [700/1000] Illustrated 2142 Engraved Map of “Florida Called By Ye French Louisiana” by Herman Moll, London, 1728/1732, 8” x 10‑3/4”. Unframed. This map first appeared in 1728 and was re-issued in 1732 with some updated information. “Natchez” appears on this map without any notation of its destruction in 1730. Interestingly, New Orleans is absent, demonstrating the greater importance of Natchez over New Orleans in the early years of their settlement. [700/1000] 2149

2145 A Seventeen-Piece Collection of Various Prints late 19th/20th Century, comprised of maps, architectural prints and three pages from the 1885 Frank Leslie’s Illustrated Newspaper regarding the art gallery of the World’s Exposition of New Orleans, sizes varying from 9” x 12” to 27” x 20”. All unframed. [250/400]

2143 2143 Thomas Kitchin, (English, 1719‑1784), “A New and General Map / of the Southern Dominions Belonging to / the United States of America, / viz North Carolina, South Carolina, / and Georgia: / with the Bordering Indian Countries, / and the Spanish Possessions / of Lousiana and Florida.”, published in London by Laurie & Whittle, No. 53, Fleet Street, “As the Act directs, 12th May, 1794”, with insets of a city plan of Charleston and of St. Augustine, the general map indicating rivers, lakes, mountains and Native American settlements, handsomely matted and framed, h. 18‑1/2”, w. 24‑1/4”, within the neat line, h. 32” w. 37” overall. Provenance: Arader Galleries, New York City, New York. [800/1200] Illustrated 2144 18th Century Hand-Colored Engraved Map of “Le Nouveau Mexique avec la Partie Septentrionale de L’Ancien ou de la Nouvelle Espagne” by Rigobert Bonne, Paris, 1781, depicting the lower half of North America from the Baja Peninsula in the west, to just short of the Florida Peninsula in the east, great detail given in the area of Mexico as well as area of present day Texas, Louisiana and the lower Mississippi River Valley, 8‑1/2” x 13. Unframed. [300/500]

2146 Hand-Colored Copperplate Engraved Map of “Carte de la Louisiane, et de la Floride” by Rigobert Bonne, Paris, 1781, depicting the southeast region of North America from just west of the Mississippi River to the Atlantic Coast of present day South Carolina and the Florida peninsula, 13” x 8‑1/4”. Unframed. An inset at the lower left shows continuation of the Missouri River westward. Considerable detail is given to the lower Mississippi River Valley and the area of present day Mississippi, Alabama and Georgia. “Rosalie” and “Natchez” are both used to label Natchez. [300/500] 2147 Murrell Butler (American/Louisiana, 20th/21st Century) “Full Moon Pelicans”, oil on canvas, signed and dated lower left “Murrell Butler, 2010”, 30” x 39‑3/4”. Presented in a deeply-molded giltwood frame. [2500/4000] 2148 David Hagerbaumer (American/California, b. 1921) “Mallards in Flight”, watercolor on paper, signed and dated lower left “David Hagerbaumer 1958”, sight 14” x 18”. Glazed, matted and framed. [800/1200] 2149 Hugh Cecil Charles Monahan (Irish/Canada, 1914‑1970) “Geese Over the Marshes”, oil on canvas, signed and dated lower right “H. Monahan 1956”, 16” x 20”. Framed. [800/1200] Illustrated

2150

2150 After John James Audubon (American, 1785‑1851) “Black Throated Diver”, hand colored engraving with aquatint on J. Whatman paper, by R. Havell, Plate CCCXLVI from Birds of America, London, 1836, sheet size 25” x 38”. Unframed. [12000/18000] Illustrated

78 78

2151 2151 After John James Audubon (American, 1785‑1851) ‘White-Headed Eagle”, hand colored engraving with aquatint on J. Whatman paper, by R. Havell, Plate CXXVI from Birds of America, London, sheet size 37” x 24‑3/4”. Unframed. [6000/9000] Illustrated

79 79

2156 Luigi Rossini (Italian, 1790‑1857) “Veduta dell Arco di Settimo Severo” and “Veduta dell Interno de Tempiodello Concordia, nel Foro Romano”, two black and white etchings from Le Antichita Romane, published in Rome 1819‑1823, sight 19‑3/4” x 24”. Both glazed, handsomely custommatted and framed by St. Charles Gallery and Framing, New Orleans, Louisiana. [1000/1500] Illustrated 2157 American Late Classical Mahogany Work Table, second quarter 19th century, the upper case with rounded front corners and fitted with three graduated drawers and supported by an acanthus-carved pedestal with four outstretched legs ending in animal paw feet, h. 32”, w. 23”, d. 18”. [500/800]

2153

2152 American Classical Mahogany Side Chair, first quarter 19th century, the rolled back crest-rail and central slat with figured panel and scrolled returns, having a floral needlepoint seat and raised on sabre legs, h. 31‑1/2”, w. 18”, d. 19‑1/2”. [200/400]

2156

2153 American Late Classical Acanthus-Carved Four-Post Bed, second quarter 19th century, the upper sections of the posts with carved acanthus leaf designs and a pineapple top, the plank headboard with an acanthus leaf crest rail, h. 91”, outside w. 60‑1/52”, outside l. 82”. [4000/7000] Illustrated 2154 American Late Federal Mahogany Looking Glass, second quarter 19th century, the molded crown above a flat frieze of figured mahogany and mounted with brass rosettes, the mirror plate flanked by acanthus leaf and spiral-turned half columns, h. 43”, w. 23”. [400/700] 2155 American Late Classical Mahogany Drop-Leaf Breakfast Table, second quarter 19th century, the single board top with two hinged leaves, each with in-cut corners and raised on turned legs with acanthus-carved details, retaining its original period brass cup casters, h. 29”, w. 25”, d. 40”, ext. l. 53”. [500/800]

2158

2161

2158 American Late Classical Banded Mahogany Chest of Drawers, second quarter 19th century, having a backsplash gallery above an amphitheater in a curved row of drawers, the lower case fitted with a long protruding drawer above three graduated drawers with large columns to each side and raised on tall acanthus-carved paw feet, h. 57‑1/2”, w. 47”, d. 23”. [1000/1500] Illustrated

2161 Fine and Rare Late Classical Giltwood Drapery Rod, second quarter 19th century, the turned rod mounted at each side with a lotus shell- and scroll-carved end, together with two additional rods with truncated end pieces, one complete left side end piece, two fragmentary left end pieces, three fragmentary right side end pieces, and forty-three drapery rings, all retaining a remarkably well-preserved original water-gilt finish, h, 13‑1/2”, w. 80”, d. 4”, dia. 2‑3/4”, rod only. By oral tradition, the present objects were installed at The Towers, Natchez, Mississippi and removed just prior to the occupation of the city by Union troops, they remained in the attic until the 1930’s. [2000/4000] Illustrated 2162 Large Victorian-Style Cast Iron Garden Urn on Stand, the base having an applied wreath on each side, the urn with a broadly flared bowl and lobed underside, h. 49”, dia. 42”. [400/700] 2163 Pair of Diminutive Cast Iron Urns, each with a flared rim and reeded bowl and mounted to a square plinth base, h. 9”, dia. 10”. [250/400] 2164 American Late Federal Cherry Wood Work Table, second quarter 19th century, the top with two drawers and raised on spiral twist legs, retaining its period brass cup casters, h. 28”, w. 18‑1/2”, d. 19”, ext. l. 43‑1/2”. [500/800]

2165

2159 American Late Classical Mahogany Work Table, second quarter 19th century, the case fitted with two drawers and supported by a shaped standard and mounted to a platform base with scrolled feet, h. 30”, w. 22‑1/2”, d. 16‑1/2”. [500/800] 2160 Swiss Rosewood and Inlaid Cylinder Music Box, fourth quarter 19th century, the single comb player featuring Jacot’s patented safety check and having an eleven inch cylinder, the top of the box with an inlaid scene of horns and sheet music, h. 8”, w. 24‑1/2”, d. 11”. [800/1200]

2169

2165 The McKenney-Hall Portrait Gallery of American Indians, “Okee-Makee-Quid, A Chippeway Chief”, hand colored lithograph, published by F. W. Greenough (Philadelphia, 1836), sight 17” x 13”. Glazed, attractively double-matted and presented in a giltwood frame. [1200/1800] Illustrated previous page 2166 The McKenney-Hall Portrait Gallery of American Indians, “Kish-Kal-Wa, A Shawanoe Chief”, hand colored lithograph, published by E.C. Biddle (Philadelphia, 1837), sight 16‑3/4” x 13”. Glazed, attractively double-matted and presented in a giltwood frame. [400/700] 2167 The McKenney-Hall Portrait Gallery of American Indians, “Tuko-See-Mathla, A Seminole Chief”, hand colored lithograph, published by Daniel Rice & James G. Clark (Philadelphia, 1843), sight 17” x 13”. Glazed, doublematted and presented in a giltwood frame. [700/1000] 2168 The McKenney-Hall Portrait Gallery of American Indians “Naw-Kaw, A Winnebago Chief”, hand colored lithograph by Greenough (Philadelphia, 1838), sight 16‑1/2” x 12”. Glazed, handsomely eglomise-matted and presented in a gold metal frame. [700/1000]

2174

2169 The McKenney-Hall Portrait Gallery of American Indians “Chon-Mon-I-Case, An Otto Half Chief”, hand colored lithograph by Greenough (Philadelphia, 1838), sight 16‑1/2” x 12”. Glazed, handsomely eglomisematted and presented in a gold metal frame. [800/1200] Illustrated previous page

2171 Five Books on Louisiana and Other Art and Architecture,including Nancy H. and James Calhoun, Plantation Homes of Louisiana, Ben Earl Looney, Cajun Country, Lucille Barbour Holmes, Oaklawn Manor, an exhibition/sale catalogue Newcomb College, New Orleans: Jean Bragg Gallery, October 30-November 30, 1998, and James D. Horan, The McKenney-Hall Portrait Gallery of American Indians. [50/80]

2170 The McKenney-Hall Portrait Gallery of American Indians 19th century ,”Qua-Ta-Wa-Pea, Col. Lewis, A Shawnee Chief” and “Pah-She-Pah-How”, two hand colored lithographs, sheet size 20” x 14‑1/2”. Both unframed. [500/800]

2172 American Late Classical Mahogany Swivel Piano Stool, the round seat with floral needlework mounted to an adjustable steel threaded shaft and faceted mahogany columnar support, the platform base with four scrolled feet, h. 20”, w. 16”. d. 16”. [300/500] 2173 American Late Classical Mahogany and Cherry Sideboard, mid‑19th century, the backsplash with a central figural panel set in ribbon molding and flanked by scrolls over serpentine wings, the case with a projecting bank of drawers, with a pair of serpentine drawers centered by a figured one, over a pair of painted doors bisected by an arched panel, flanked by scroll pilasters and on scroll feet, h. 53‑1/4”, w. 55‑1/2”, d. 23”. [600/900]

2178

2174 American Late Federal Mahogany FourPost Canopy Bed, second quarter 19th century, having turned and spiral twist posts and a paneled headboard, the footboard with a curved blanket roll, h. 85”, outside w. 58”, outside l. 83”. [3000/5000] Illustrated

2175 American Late Classical Mahogany and Poplar Chest, mid‑19th century, with a pair of molded drawers flanking a narrow drawer with banded face, over a pair of recessed drawers and projecting lower drawers, flanked by scroll pilasters and raised on scroll feet, h. 50”, w. 44”, d. 22”. [1000/1500]

2179 2177 Pair of American Three-Light Girandoles, mid‑19th century, attributed to Philadelphia or New York, the brass and marble girandole depicting a figure of an Indian warrior holding a spear and wearing a flattened headdress, hung with prisms, h. 19”, w. 15‑1/2”. [500/800]

2182 2176 American Gilt-Bronze Girandoles, mid‑19th century, made in the “Boy and Dog” pattern and attributed to Boston, retaining most of their original gilt lacquer, hung with double-button prisms, the candle cups retaining their two-toned striped finish, mounted on marble bases, h. 13” to 16”, w. 17‑1/2”, larger. [600/900]

2178 Highly Unusual American Late Classical Rosewood Day Bed, second quarter 19th century, each end having faceted baluster-form corner posts and a large arched end rest, joined by straight rails, h. 29”, d. 34”, l. 80”. [800/1200] Illustrated 2179 The McKenney-Hall Portrait Gallery of American Indians, “Wa-Na-Ta, Grand Chief of the Sioux”, hand colored lithograph, published by Greenough (Philadelphia, 1836), sight 17” x 13”. Glazed, attractively doublematted and presented in a giltwood frame. [1200/1800] Illustrated 2180 The McKinney-Hall Portrait Gallery of American Indians “Poke-Luste-Hajo, A Seminole Chief” and “Micanopy, A Seminole Chief”, two hand colored lithographs, sight 9‑1/2” x 5‑3/4”. Both glazed, attractively French matted and presented in giltwood frames. [500/800] 2181 The McKenney-Hall Portrait Gallery of American Indians, “Ki-On-Twog-Ky or Corn Plant, A Seneca Chief”, hand colored lithograph, published by F. W. Greenough (Philadelphia, 1836), sight 17” x 13”. Glazed, attractively double-matted and presented in a giltwood frame. [700/1000]

2183

2182 The McKenney-Hall Portrait Gallery of American Indians, “Ne-Sou-A-Quoit, A Fox Chief”, hand colored lithograph, published by E. C. Biddle (Philadelphia, 1837), sight 17” x 13”. Glazed, attractively double-matted and presented in a giltwood frame. [800/1200] Illustrated

2185 Interesting American Late Classical Mahogany Side Table, second quarter 19th century, the hinged top opening to a storage cavity with a faux drawer below and a cabinet door above a shallow drawer in the base and flanked by acanthus-carved pilasters down each edge, raised on turned legs, h. 31”, w. 21”, d. 18”. [500/800] 2186 Robert M. Rucker (American/Louisiana, 1932‑2001) “Nocturne Landscape with a Boathouse”, oil on canvas, signed lower right “Rucker”, 24” x 30”. Presented in a molded giltwood frame. [4000/7000] Illustrated 2187 Robert M. Rucker (American/Louisiana, 1932‑2001) “Watching the Steamboat Go By”, oil on canvas, signed lower right “Robert M. Rucker”, 19” x 23”. Presented in a giltwood frame. [4000/7000] Illustrated

2186

2188 Paul Doering (American/Louisiana, 1864‑1947) “Interior Scene with Two Women Sewing”, watercolor on paper, signed lower left “P. Doering”, sight 23” x 17”. Glazed and framed. [400/700] 2189 Colette Pope Heldner (American/Louisiana, 1902‑1990) “Swamp Idyll”, oil on canvas board, signed lower left “Colette Pope Heldner”, signed and titled on reverse, 30” x 12”. Framed. [1200/1800] Illustrated

2187

2183 Large American Painted Sheet Metal and WroughtIron-Mounted Native American Weathervane Figure, fourth quarter 19th century, the figure assembled with forged iron bracing on the back side and riveted to hold the various parts together, the standing figure in stylized headress, grasping a bow in one hand, his trailing hand holding an arrow, retains an old gold-painted surface, h. 52”, w. 42”. [1200/1800] Illustrated previous page 2184 American Late Classical Revival Mahogany Triple Door Bookcase, late 19th century, the three hinged doors flanked by reeded and acanthus-carved columns and raised on large scrolled feet, h. 56‑1/2”, w. 65”, d. 16”. [800/1200]

2189

2190 Louisiana School (20th Century) “French Quarter Alley”, oil on masonite, signed lower left “McCaffery”, signed and dated on reverse “McCaffery 1967”, 20” x 16”. Presented in a molded giltwood frame. [200/400]

2192

2191 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”. [800/1200] Illustrated

2191 2195

2193 Pair of Old Paris Flare Vases, French, third quarter 19th century, the oval front panels decorated with roses, tulips and morning glories, and adorned with molded and gilt ivy leaves on the sides and top, h. 14‑1/2”, w. 10”. [500/800]

2195 detail

2192 American Rococo Revival Giltwood Overmantel Mirror, third quarter 19th century, having an arched plate glass mirror with ornamented frame and decorative lower corners, the top with a raised crest and scrolling returns, h. 73”, w. 56”. [2500/4000] Illustrated

2194 Pair of French Porcelain Flare Vases, mid‑19th century, possibly Old Limoges or Old Paris, with flaring tops, the bodies decorated with reserve panels with figures in a pastoral landscape, a male with a dog and a female with a dog holding a small bouquet, the panels framed by gilt scrollwork, and resting above a molded and pierced gilt scrollwork base, h. 15‑1/2”. [400/700]

2195 American Rococo Revival Rosewood Cylinder Roll Secretary, third quarter 19th century, bearing the stenciled label of J. & J.W. Meeks, Makers No.14 Vesey Street, New York, the upper section having a double door bookcase with grillwork doors above a cylinder roll writing section with pull-out slide and an interior fitted with cubby holes and drawers, the base with a long drawer over a trestle-form stand having scroll-cut ends and joined by two arched stretchers, h. 68”, w. 38”, d. 19”. [1800/2500] Illustrated previous page

2196

2197

2196 American Gilt-Brass Solar Lamp, mid‑19th century, signed, Cornelius and Company, Philadelphia, Patent, April 18, 1848, the lamp retaining much of the gilt lacquer finish, the inverted pear-shaped front resting over a breather molded with out-turned leaves, the tripartite standard relief-molded with shells, leaves and incised scrolls on a stippled ground, the whole resting on shell-form feet, and fitted with a trumpet-shaped shade, hung with spear point prisms, h. 24”, dia. 9”. [400/700] Illustrated

2203

2198 American Rococo Revival Rosewood Armchair, mid‑19th century, the floral and foliate carved crest over a corset-form back, the stiles extending to closed arms ending in scrolls, with serpentine seal and cabriole legs, h. 47”. [200/400]

2197 American Brass Solar Lamp, mid‑19th century, labeled on the front “Cornelius and Co., Philadelphia, Pennsylvania, Patented 1848”, the tripartite standard relief molded with scrolls and shells on a stippled ground, hung with scar point prisms, h. 25”. [400/700] Illustrated

2199 French Sevres-Style Moderator Lamp, mid‑19th century, the base hand painted with children in 18th century costume playing the piano on the obverse, the reverse hand painted with figures strolling among classical ruins in a lakeside garden, satyr head bronze handles and fitted with a period frosted ball shade, h. 30”. [400/700] Illustrated

2199

2204 Pair of Old Paris Flare Vases, mid‑19th century, the central panel decorated with polychrome flowers, roses, asters and forget-me-nots, the base molded with gilt ivy leaves, h. 12”. [350/500]

2211

2205 Pair of Paris Porcelain White-and-Gold Garniture Vases, third quarter 19th century, modeled as a central trumpet fronted by a tangent pair of trumpetform posy vases, h. 11”, w. 6‑1/2”, d. 5”. [200/400] 2206 Edward Sheriff Curtis (American, 1868‑1952) “A Cree” and “Cape Prince of Wales Man”, two photogravures, both with a printed credit, title and copyright in the margins, sheet size 22” x 18”. Both unframed. [700/1000] Illustrated 2207 Edward Sheriff Curtis( American, 1868‑1952) “Arriving Home-Noatak”, photogravure, printed with a credit, title and copyright in the margin, sheet size 17‑3/4” x 21‑3/4”. Unframed. [300/500] 2208 Edward Sheriff Curtis (American, 1868‑1952) “Aiyak, Cape Prince of Wales” and “A Yuki Woman”, two photogravures, latter printed on tissue paper, both with a printed credit, title and copyright in the margins, sheet size 11‑3/4” x 9‑1/2” and 12‑1/4” x 9‑1/2”. One matted, both unframed. [300/500]

2200 Large Victorian Mahogany Dresser Mirror, third quarter 19th century, the oval tilting mirror with molded frame supported by a wishbone harp with pierced carved base and mounted to a shaped box fitted with a single drawer and hinged circular compartments at the front corners, h. 36”, w. 30”, d. 11‑1/2”. [400/700] 2201 American Late Victorian Brass Six-Light Billiards Fixture, fourth quarter 19th century, each arm with a circular ring retaining three lights, each with their original frosted glass shades, electrified, h. 53”, w. 45”. [800/1200] 2202 American Elizabethan Turned and Carved Walnut Armchair, third quarter 19th century, the tall back with pierced and floral carved crest above a padded panel flanked by turned posts with outstretched arms and raised on similar turned legs, h. 49”, w. 27”, d. 27”. [300/500] 2203 American Rococo Revival Rosewood Marble Top Etagere Attributed to Thomas Brooks, Brooklyn, New York, third quarter 19th century, the upper structure with a central arched mirror flanked by open shelves to each side with mirrored backs and a floral carved crest above, the base retaining its original white marble above a central drawer and mirrored cabinet door below, each end with open shelves, h. 88”, w. 53”, d. 21”. [3000/5000] Illustrated

2206 pair 2209 American Victorian Mantel Clock, fourth quarter 19th century, signed, Ansonia Clock Company, New York, the case made of enameled cast-iron and fitted with handles in the form of griffins, the enamel dial set in a panel, gilt incising sitting above an acanthus-molded base decorated with gilt incising and resting on paw feet, h. 11”, w. 15”, d. 6‑3/4”. [200/400]

2215

2215 Antebellum New Orleans-Retailed Four Piece Coin (.900) Silver Tea Set, third quarter 19th century, by Eoff & Shepard, active 1852‑1861, New York City, New York, retailed by Henderson & Gaines, active 1841‑1865, New Orleans, Louisiana, including a teapot, h. 9‑3/4”, covered sugar bowl, h. 9‑1/4”, cream jug, h. 7‑1/2”, and a waste bowl, h. 5”, each of paneled ovoid form below a waisted collar and raised on a circular ogee-domed foot, with crested “S”-scroll handle(s), the sugar bowl and coffeepot with domed lid and floriform finial, all decorated with milled palmette banding, each piece monogrammed on the body “JHM”, 79.67 total t. oz. [4500/7000] Illustrated

2210 Old Limoges Partial Breakfast Set, third quarter 19th century, consisting of a cafe au lait cup, h. 3‑1/2”, a pair of shaped cake plates, dia. 10‑1/4”, a compote, h. 4‑5/8”, dia. 7‑7/8”, and six small plates, dia. 7‑3/8”, all decorated with a gilt-fret on a peach border. Provenance: The Estate of Tamara de Lempicka (1898‑1980). [75/125]

2216 Three 19th Century American Sterling Silver “Fiddle” Pattern Spoons, fourth quarter 19th century, with “uptipt” handles, including two Gorham tablespoons retailed by David Fey (1834‑1911), Peoria, Illinois, monogrammed “E.H.”, l. 8”, and a Wood & Hughes sugar spoon, monogrammed “M.L.O.”, l. 5‑3/4”, [50/80]

2211 American Rococo Revival Walnut and Figured Walnut Highback Bedstead, third quarter 19th century, the arched headboard with pierced and scroll-carved crest above a pair of figured walnut panels, the footboard with arch and mold crest rail and applied panels and central turned rosette, the cast-iron rail's hardware stamped “M&R” for Mitchell and Rommelsberg, Cincinnati, Ohio, h. 91”, inside w. 57”, inside l. 75‑1/2”, outside w. 64‑1/2”, inside l. 80”. [800/1200] Illustrated previous page

2217 Ninety-Six Pieces of Gorham “Chantilly” Pattern Sterling Silver Flatware, the pattern introduced in 1895, Providence, Rhode Island, including twelve dinner forks, l. 6‑7/8”, thirteen salad forks, l. 6‑3/8”, one seafood/cocktail fork, l. 5‑1/4” eleven teaspoons, l. 5‑3/4”, five tablespoons, l. 7”, nine cream soup spoons, l. 6‑1/4”, eight iced tea spoons, l. 7‑1/2”, one demitasse spoon, l. 4”, twelve dinner knives with stainless steel blades (six “Modern”-shaped, six “New French”-shaped), l. 8‑3/4”, eight flat butter spreaders, l. 5‑3/4”, one serving spoon, l. 8‑3/4”, one serving fork, l. 8‑1/4”, a carving knife, l. 10‑1/8” and fork, l. 8‑1/2” with stainless steel fittings, five strawberry forks, l. 4‑3/4”, two sugar spoons, l. 6”, a cheese/pate knife with spatulate stainless steel blade, l. 6‑1/4” one gravy ladle, l. 6‑3/4”, one olive/pickle fork, l. 5‑5/8”, one bonbon spoon, l. 4‑1/2”, and one jelly spoon, l. 6”, the strawberry forks monogrammed “EA”, all the rest with no monograms, presented in an indigo velvet-lined fitted wooden case with one drawer, h. 5‑1/2”, w. 15”, d. 11‑1/4”. [2000/4000]

2212 American Rococo Revival Walnut Marble Top Dresser, third quarter 19th century, the upper portion with a tilting arched mirror, candle holders and glove boxes above the base with white marble top and three graduated long drawers with shell-carved pulls and a secret drawer concealed along the base, h. 86”, w. 48”, d. 23‑1/2”. [500/800]

2213 Primitive Turned Oak Plantation Child’s Crib, mid‑19th century, each end of comb-back form and having turned spindles and crossbar rail, the sides with similar turned spindles and retaining a rich patina, h. 28”, d. 21”, l. 37”. [200/400] 2214 Three New Orleans “Creole” Coin (.900) Silver Tablespoons, second quarter 19th century, by Jean-Noel Delarue (1776‑1842), in the pattern traditionally known in French as “Uniplat” and in English as “Mid-Rib Fiddle”, no monograms, l. 8‑1/8”, 6.49 total t. oz. [400/700] Illustrated

2214

2218 Six Durgin “Cromwell” Pattern Sterling Silver Dinner Forks, the pattern introduced in 1893, Providence, Rhode Island, no monograms, l. 7‑1/2”, 12.41 total t. oz. [150/300] 2219 Six International Silver “Frontenac” Sterling Silver Teaspoons, the pattern introduced in 1903, Meriden, Connecticut, monogrammed “M”, l. 5”, 3.28 total t. oz. [75/125] 2220 Eleven Pieces of Gorham “Old French” Sterling Silver Flatware, the pattern introduced in 1904, Providence, Rhode Island, including seven dinner forks, l. 7‑1/2”, one luncheon fork, l. 7”, and three tablespoons, l. 8‑1/2”, all monogrammed “MWMcI”, 22.76 total t. oz. [300/500] 2221 American Sterling Silver “Regent”-Pattern Asparagus Server, the pattern introduced in 1901, by William B. Durgin Co., Concord, New Hampshire, monogrammed, on the reverse, “HSC”, l. 9‑7/8”, 6.17 t. oz. [100/200] 2222 Good Tiffany & Co. Sterling Silver Tureen, fourth quarter 19th century, New York City, New York, of oval form, the body decorated with a wide band of stylized flowers and ferns on a spiral-covered ground, with a narrow gadroon band above and a scrolling leaf calyx below, with opposing acanthus-mounted rocaille handles, the fitted domed lid decorated en suite and with a secondary waisted dome with acanthusmounted ring handle, raised on a conforming foot, h. 10‑1/2”, l. 13‑1/4”, w. 8”, 58.19 t. oz. Several design elements here - the stylized flowers and ferns, the spiral scrolls - are signatures of Tiffany designer Charles Osborne (1847‑1920). However, the pattern number - 4119 - indicates a design date of around 1876: two years before Osborne worked at Tiffany’s. (From 1871 to 1878 Osborne was a designer at Whiting, where he would return after his departure from Tiffany in 1887.) Whatever the case, this tureen is an excellent example of the stylized floral “Persian” designs produced at Tiffany’s in the Gilded Age. [5000/8000] Illustrated 2223 Tiffany & Co. Sterling Silver “Japanese” Pattern Salad Serving Set, the pattern designed in 1871 by Edward Chandler Moore (1827‑1891), including a salad serving fork and spoon, each with gilt bowl/tines, l. 9‑1/2”, 5.98 total t. oz. [1800/2500] 2224 Good American Sterling Silver and Mixed Metal Cream and Sugar Set, 1880, by Dominick & Haff, New York City, New York, in the “Aesthetic” taste, including a cream jug, h. 3‑1/4”, dia. 2‑1/4”, open sugar bowl h. 3”, dia. 3‑1/2”, and bow-style sugar tongs, l. 4‑1/2”, the holloware of urn form with crested “Georgian” handle(s), each piece decorated applied copper and brass medallions of flora and fauna on a chased and engraved floral ground, monogrammed (on the underside) “L.S. / 1880”, 8.94 total t. oz. [300/500]

2225 Small Reed & Barton Silverplate Plateau, third quarter 20th century, Taunton, Massachusetts, of oval form, decorated with a band of embossed rococo scrolls and flowers, fitted with a conforming mirrored plate and raised on four acanthus-crested block feet, l. 14‑1/2”, w. 10‑1/2”. [200/400] 2226 Set of Eight American Sterling Silver Napkin Rings, first quarter 20th century, by the Alvin Corp., Providence, Rhode Island, each narrow ring decorated with an engraved band of rococo scrolls flanked by beading and a molded edge, w. 3‑4”, dia. 1‑7/8”, 5.72 total t. oz. [300/500] 2227 Four American Sterling and Silverplate Compotes, third quarter 20th century, including a sterling International Silver “Prelude” Pattern example, h. 6”, dia. 9‑3/4”, a sterling Fischer example with gadrooned rim, h. 5‑3/4”, dia. 5‑1/2”, a sterling Vinegar Brothers example with molded rim h. 5‑1/4”, dia. 5‑1/4”, and a silverplate Forbes Silver Co. example with floral swag-engraved bowl, h. 6‑1/2”, dia. 8”, weighted. [200/400]

2222

2228 Six American Sterling Silver Dishes, second and third quarters 20th century, including a pair of Gorham nut dishes with rococo scroll rim and reticulated sides, monogrammed “D”, l. 3‑3/4”, w. 2‑1/2”, an Alvin sauceboat with “Chippendale” feet, monogrammed “H”, l. 5‑5/8”, w. 3‑5/8”, an Ellmore Silver Co. condiment dish with gadrooned rim, dia. 5‑3/4”, an Alvin vegetable dish with leaf-and-ribbon rim, dia. 9”, and an HSG Co. vegetable dish with neoclassical scroll-and-swag rim, monogrammed “MHG”, dia. 10‑1/4”, 21.34 total t. oz. [300/500]

2234 American Silverplate “Vintage”-Pattern Tray, second quarter 20th century, by the F. B. Rogers Silver Co., Taunton, Massachusetts, of oval form, the plateau engraved with a wide floral and trellis band, the rim with applied high-relief grapevine banding, with opposing handles en suite, l. 26‑1/4”, w. 17”. Provenance: A gift to the consignor from Mary Lee “Panama Hattie” Kelly, owner of the nightclubs Kelly’s Ritz, Panama City, Panama and the 500 Club, New Orleans, Louisiana, and inspiration for the Cole Porter musical Panama Hattie. [200/400]

2241

2242

2229 Set of Twelve American Sterling Silver Sherbet Cups, third quarter 20th century, but the Webster Co., North Attleboro, Massachusetts, each of “tulip” form, with lobed bowl and gadrooned everted rim, raised on a baluster stem and circular foot, h. 3‑3/4”, dia. 3‑1/2”, weighted. [200/400]

2235 Pair of American Silverplate Candelabra, second quarter 20th century, by the Goldfelder Silver Co., Yalesville, Connecticut, with a tapering standard between rounded and concave square knops, raised on a stepped base en suite with the knops and terminating in an urn-form nozzle with fixed bobeche, fitted with a detachable superstructure of a baluster standard with four scrolling arms, all terminating in a nozzle with detachable bobeche en suite, h. 19‑1/4”, w. 12‑3/4”. [200/400] 2236 Anglo-American Silverplate Plateau, second quarter 20th century, of circular form, embossed with rococo scrolls and flowers between gadrooned edges and fitted with a conforming mirrored plate, h. 3”, dia. 18‑1/2”. [300/500]

2230 Six-Piece Oneida Community “Ascot”-Pattern Silverplate Coffee & Tea Service, third quarter 20th century, Sherill, New York, including a coffeepot, h. 8‑1/2”, teapot, h. 7”, sugar bowl, h. 4‑3/4”, cream jug, h. 5”, waste bowl, h. 3‑1/4”, and tray l. 30”, w. 17‑1/2”. [200/400]

2237 Large American Sterling Silver Center Bowl, first quarter 20th century, by Graff, Washbourne & Dunn, New York City, New York, for Bigelow Kennard & Co., Boston, Massachusetts, of wavy circular form, decorated with a broad reticulated rim of realistically detailed embossed chrysanthemums, h. 4‑1/4”, dia. 15‑1/4”, 42.44 t. oz. [3000/5000] Illustrated

2231 American Sterling Silver Sauce Bowl, first quarter 20th century, by Potter & Mellen, Inc., Cleveland, Ohio, in the Georgian taste, of oval form, with a gadrooned rim and threaded foot-ring, the body decorated with a raised and engraved leaf-and-ribbon band, engraved on one side with the arms and the other with the crest and motto of Darley, h. 3”, l. 5”, w. 4”, 6.88 t. oz. [500/800]

2238 American Sterling Silver Charger, second quarter 20th century, by Fisher Silversmiths, Inc., New York, in the “Alexandria” pattern, of hexagonally lobed circular form, the intercises decorated with applied openwork fruit and foliage motif, with convex plateau and everted rim, dia. 14”, 27.26 t. oz. [300/500]

2232 Three American Silverplate Trays, third quarter 20th century, including a large oval Poole Silver Co. tea tray with floral scroll rim, handles and feet, l. 30‑1/4”, w. 20‑1/2”, an unmarked drinks tray with shell-and-scroll rim, handles, and feet, monogrammed “MCM”, l. 24”, w. 11”, and a Birmingham Silver Co. well-and-tree tray, with gadroon and shell rim, corners and feet, l. 25‑1/2”, w. 14‑1/2”. [300/500] 2233 Three American Silverplate Trays, third quarter 20th century, including a pair of matching rectangular trays by Sheridan Silversmiths, Taunton, Massachusetts, each with rocaille banding, handles and feet, the plateaux engraved with rococo scrolls, l. 25”, w. 16”, and an unmarked circular tray with “Vintage” banding and handles, the plateau engraved with a wide band of rococo scrolls, dia. 14”, [200/400]

2237

2239 Set of Twelve American Silverplate Service Plates, fourth quarter 20th century, by Reed & Barton, Taunton, Massachusetts, in the “King Francis” pattern, dia. 12”. [9000/12000] 2240 American Sterling Silver Water Pitcher, 1914, by the Whiting Mfg. Co., Providence, Rhode Island, of concave-canted rectangular section, with waisted collar, integral spout and crested squared handle, decorated with applied laurel wreath cartouches and swags, raised on four acanthus scroll feet, monogrammed, on one cartouche “AAB”, h. 8‑1/4”, w. 5‑1/4”, l. 9‑1/4”, 31.38 t. oz. [2500/4000]

2244 Lucien Whiting Powell (American, 1846‑1930) “Market Street Scene”, oil on board, signed lower left “Lucien W Powell”, reverse with a “The Veerhoff Galleries” sticker. 21” x 16”. Presented in a giltwood and gesso frame. Provenance: Private collection, Colorado, purchased at The Veerhoff Galleries, Washington, D.C. [3000/5000] Illustrated 2245 American School (Fourth Quarter 19th Century) “Western Landscape with a View of Snow-Capped Mountains”, signed lower left “Jan Olsen”, 12” x 18”. Presented in a period giltwood and gesso frame. [300/500] 2246 Francis Luis Mora (American, 1874‑1940) “Gypsy Encampment”, oil on canvas laid down on board, unsigned, 7” x 9‑1/2”. Handsomely matted and framed. Provenance: Private collection, St. Gabriel, Louisiana, purchased at Sotheby’s in the 1980’s. Francis Luis Mora was the son of the Spanish sculptor Domingo Mora, and studied under his father before attending the Boston Museum of Fine Arts School and the Art Students League. His paintings usually depicted leisurely life with figures and landscapes incorporating the techniques of the Spanish Old Masters into American modern painting. [700/1000] 2247 Emile A. Gruppe (American, 1896‑1978) “Evening Light Ogden Canyon”, oil on board, signed lower left, signed and titled verso, 20” x 18”. Presented in a giltwood frame with a linen liner. Provenance: Alex Chachere, Opelousas, Louisiana. [2000/4000] Illustrated

2244 2241 Tiffany & Co. Sterling Silver Art Deco Sandwich Plate, the pattern introduced in 1914, New York City, New York, of circular form with molded rim and foot ring, the plateau decorated with an incised radiant geometric pattern with triangular foliate accents, dia. 10‑3/4”, 17.43 t. oz. [1200/1800] Illustrated 2242 Tiffany & Co. Sterling Silver Fruit Bowl, the pattern introduced in 1922, New York City, New York, of hemispherical form with cavetto everted rim, and molded foot ring, h. 2‑3/4”, dia. 8‑1/2”, 14.53 t. oz. [800/1200] Illustrated 2243 Pair of Contemporary Silverplate Candlesticks, fourth quarter 20th century, of square section baluster form, h. 7‑1/4” w. 3‑1/4”. [100/200] 2247

2248 Hayley Lever (American, 1876‑1958) “Winter Landscape with Barges Sailing Along the River”, ca. 1905, oil on canvas, signed lower left “Hayley Lever”, 9‑1/2” x 13‑1/4”. Presented in a contemporary frame. [1800/2500] Illustrated 2249 Jane Peterson (American, 1876‑1965) “Woman and Child in a Park”, pencil and pastel on paper, signed lower right “Jane Peterson”, sight 16” x 11”. Glazed and presented in a molded giltwood frame with a linen liner. [800/1200] Illustrated 2250 Frances McKay (American, b. 1880) “Coastal Village Scene in Autumn”, oil on canvas, signed lower left “F.H. McKay”, 20” x 26”. Presented in a molded giltwood frame. [400/700]

2248 2253 Alice Brown Chittenden (American, 1860‑1944) ‘A Portrait of Nancy”, pastel on paper, signed lower right “A.B. Chittenden”, reverse with two partial gallery labels, sight 21‑1/2” x 17‑1/2”. Presented in a carved hardwood frame. [400/700] 2254 Everett Shinn (American, 1876‑1953) “Portrait of an Elegant Lady with Blue Earrings”, pastel, signed “Everett Shinn” and inscribed “to Lily Harmon” lower right, sight 19” x 15”. Presented in a Rococo-style giltwood frame. [1200/1800] Illustrated

2249

2251 Hildegarde Hamilton (American, 1898‑1970) “Village Street Scene with a Figure in a Doorway”, oil on canvas, signed and dated lower left “Hildegarde Hamilton 1965”, 15” x 18”. Presented in a polychrome and parcelgilt frame. [300/500] 2252 Manner of Alexander Johnston (British, 1815‑1891) “Portrait of a Gypsy Wearing a Fancy Hat”, crayon and charcoal on paper, initialed lower right “A.J.”, sight 17‑1/2” x 11”. Glazed, attractively-matted and framed. [350/500]

2254

2255 American School (20th Century) “Still Life with a Picnic Basket and Fruit”, oil on canvas, signed lower left “P. Evans”, 13” x 17”. Presented in a giltwood and gesso frame. Provenance: Alex Chachere, Opelousas, Louisiana. [200/400]

2260

2256 American School (20th/21st Century) “Floral and Fruit Still Life”, oil on canvas, signed illegibly lower right, 48” x 36”. Presented in a Beaux-Arts style giltwood frame. [600/900] Illustrated 2257 Daum Nancy, Cameo-Cut, Acid-Etched and Enameled Winter Landscape Vase, first quarter 20th century, depicting snow-flecked enameled trees against a mottled sky, the tubular body pinched at the rim, the ground and polished pontil singed in enamel “Daum / the Cross of Lorraine / Nancy”, h. 7‑7/8”, dia. 2‑1/8”. [600/900] 2258 American Renaissance Revival Parcel-Gilt, Ebonized, Burled Walnut and Walnut Cabinet, third quarter 19th century, the top over a carved and incised frieze, over a glazed door, flanked by tapering gilt-incised columns on a projecting base with low shelves at each side, h. 57‑1/2”, w. 45”, d. 21”. Provenance: Le Petit Theatre, French Quarter, New Orleans, Louisiana. [1000/1500] Illustrated

2260 Large French Ebonized and Amboyna Burl Neo-Grec Armoire, fourth quarter 19th century, in three sections, the protruding center section with an arched beveled mirror door and carved crest above and drawer below, the side cabinets with applied ebonized panels and central bronze portrait plaques, the interior finished in birds eye maple, h. 119”, w. 98”, d. 22”. [1800/2500] Illustrated

2258

2256 2259 American Gilt-Incised and Chain-Draped Cherry Stand, fourth quarter 19th century, possibly Killian Brothers, New York, the dished circular top joined by a short turned support to a like lower shelf, this shelf raised on three shaped supports joined by chain swags and ending in splayed feet, the whole with incised gilt accents, h. 36”, w. 17”, d. 16”. [150/300]

2266 American Renaissance Revival Rosewood and Figured Walnut Half Tester Bedstead, third quarter 19th century, the large paneled headboard with arched crest fitted to the tapered posts with applied vertical panels, having a curved footboard and molded canopy, h. 114”, outside w. 67”, outside l. 83”. [2500/4000] Illustrated

2268

2266

2261 American School (First Quarter 20th Century) “Mountainous River Landscape with a Skiff”, oil on canvas, unsigned, 20‑3/4” x 27”. Presented in a molded giltwood frame. [2500/4000] Illustrated 2262 Harold Rudolph (American/Louisiana, 1850‑1883/1884) “European Landscape with a Lakeside Castle and a Figure on a Path”, oil, signed lower right “Rudolph”, reverse with a “W.E. Seebold” stamp, 18” x 26‑1/2”. Presented in a molded gold painted frame. [3000/5000] 2263 Patinated-Bronze Bust of an Egyptian Maiden, mid‑20th century, unmarked, h. 13”. [150/300] 2264 American Renaissance Revival Burled Walnut and Walnut Armchair, third quarter 19th century, the arched crest centered by a roundel, the crest rail with drop finials at each end, line incised arms on shaped supports and trumpet legs, h. 43‑1/2”. [200/400] 2265 American Neo-Grec Ebonized and Incised Gilt Pedestal, fourth quarter 19th century, the circular top mounted to a turned standard and supported by a shaped and molded base with bracket feet, h. 42‑3/4”, dia. 11‑1/2”. [400/700]

2261

2267 Attractive French Cast-Iron Figural Balustrade Light, first quarter 20th century, featuring a classical maiden holding a barred sphere aloft, presented on a period octagonal pedestal base, h. 44‑1/2”. [500/800] 2268 American Renaissance Revival Burled Walnut and Walnut Fall-Front Secretary, third quarter 19th century, the arched crest with a floral rosette over a shelf on scroll brackets, the back with a shaped burled panel, the incised fall-front with a trio of burled panels and opening to reveal a segmented interior with drawers and a leather writing surface, the lower portion with a pair of drawers over a pair of doors, each with burled panels, h. 68‑1/2”, w. 41‑1/2”, d. 21‑1/2”. [1000/1500] Illustrated 2269 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”. [400/700]

2273

2270

2270 American School (19th Century) “River Landscape with Figures on a Path Near a Cottage”, oil on canvas, signed lower left “T. Moran”, 12” x 20”. Presented in a giltwood frame. [1000/1500] Illustrated 2271 American School (First Quarter 20th Century) “Coastal Landscape with Crashing Waves”, oil on canvas, unsigned, 17” x 24”. Presented in a giltwood and gesso frame. [200/400] 2272 Southern School (Fourth Quarter 19th century) “Portrait of a Boy with a Toy Train”, oil on canvas, unsigned, 30” x 22”. Presented in a period walnut, burlwood and parcel-gilt frame. [800/1200] 2273 American Classical Inspired Quarter Sawn Oak, Marble and BrassMounted Pool Cue Rack, c. 1900 and later, the circular oak base with four fluted columns with Corinthiancarved capitals supporting the rotating brass cue holder and insert marble top, h. 87”, dia. 20”. [800/1200] Illustrated

2278 2274 William Ousley (American/Louisiana, 1866‑1953) ‘Southern Landscape with a Cabin”, signed lower right “Ousley”, 14‑1/2” x 24‑1/2”. Presented in a polychrome frame. [700/1000] 2275 American Brilliant Period Cut-Glass Bowl, first quarter 20th century, of unusual tri-cornered shape, the sides cut with hobstars, the bottom with a central hobstar surrounded by cut rays, dia. 11”. [100/200] 2276 Two Pressed and Cut Lead Crystal Candy Dishes, the larger, decorated with cut flowers and pressed hobstars, resting on scroll feet, h. 9”, dia. 6”, the small, decorated with frosted bands ornamented with cut swags framed in gold leaf, h. 6”, dia. 4‑3/4”. [100/200] 2277 Three Diamond-Cut Waterford Crystal Objects, consisting of a large salad or fruit bowl, dia. 9‑3/4”, a decanter, h. 13”, and a flared vase, h. 10”. [200/400]

2278 Alexander John Drysdale (American/ Louisiana, 1879‑1934) “Moonlit Bayou Landscape”, oil wash on board, signed and dated lower right “A J Drysdale 1931”, sight 19‑1/2” x 29”. Glazed, matted and framed. [1800/2500] Illustrated previous page

2279 Nineteen Books on American Antiques and Interiors, including Alice Winchester, ed., The Antiques Book, Robert Bishop, The American Chair: Three Centuries of Style, John A. H. Sweeny, The Treasure House of Early American Rooms, Wallace Nutting, Furniture of the Pilgrim Century, 1620‑1720, William Macpherson Hornor, Jr, Hornor’s Blue Book of Philadelphia Furniture, Marshall B. Davidson, The American Wing of the Metropolitan Museum of Art: A Guide, Edgar G. Miller, Jr., American Antique Furniture (two volumes), Helen Comstock, American Furniture, and 100 Most Beautiful Rooms in America, Robert L. Polley, ed., America’s Folk Art: Treasures of American Folk Arts and Crafts, Home Library Nostalgic Treasures from America’s Past, Patricia Easterbrook Roberts, Table Settings, Entertaining and Etiquette, Robert Bishop and Patricia Coblenz, American Decorative Arts: 360 Years of Creative Design, F. Lewis Hinckley, Directory of Queen Anne, Early Georgian and Chippendale Furniture, and Directory of Antique Furniture, Plantagenet Somerset Fry, World of Antiques, Graham Hood, ed., The Williamsburg Collection of Antique Furnishings, a 1976 trade catalogue of Williamsburg Reproductions, The Craft House, Williamsburg, Virginia (with 1981 price list). [100/200]

2282

2283 2280 Five Books on American and Other Decorative Arts and Antiques, including Elizabeth Stillinger, The Antiques Guide to Decorative Arts in America, 1600‑1875, U.S. Department of State, Guidebook to the Diplomatic Reception Rooms, Betty C. Monkman, The White House: Its Historic Furnishing and First Families, G. H. Baillie, et al.,, ed. Britten’s Old Clocks and Watches and Their Makers, (7th ed.), and Seymour B. Wyler, The Book of Old Silver. [50/80] 2281 Fin de Siecle-Style Five-Light Candelabra, the metal-clad, electrified piece composed of a scantily clad couple holding a trumpet-shaped leaf aloft, the molded standard holding leaf-molded arms fitted with sockets and glass shades in the art nouveau style, with gold metallic exteriors and silvered interiors, h. 38‑1/4”, w. 16‑1/4”. [800/1200] 2282 Kawai Gakki Seisakusho Number 330 Ebonized Baby Grand Piano and Bench, Homamtsu, Japan, bearing the serial number, 261311, h. 44”, w. 58”, d. 60”. Provenance: The Plimsoll Club, World Trade Center, New Orleans, Louisiana, and performed on by jazz great, Ronnie Kale. [1500/2500] Illustrated 2283 William Ousley (American/Louisiana, 1866‑1953) “The Old Ferry Road, Westlake, Louisiana”, oil on canvas, signed lower right “W. Ousley”, inscribed on the reverse canvas with the painting title, 16” x 35‑1/2”. Presented in a molded gilt-painted frame. [800/1200] Illustrated 2284 Pair of Art Nouveau Czechoslovakian Vases, first quarter 20th century, made by Royal Dux and marked with a pink triangle pad mark, “Royal Dux Bohemia”, the buff colored body, molded in swirling art nouveau fashion, decorated with relief-molded hanging fruit and leaves in green and brown, with like decoration on the base as feet, gilt handles, h. 18‑3/4”. [500/800] 2285 Pair of Cypress Architectural Columns/Pedestals in the Arts and Crafts Taste, first quarter 20th century, each of square tapering form, with applied ornament, by repute, removed from a French Quarter residence, h. 60”, w. 14”, d. 14”. [400/700]

2286 James McConnell Anderson (American/Mississippi, 1907‑1998) “Egrets in the Marsh”, oil on board, signed and dated lower right “JMcA ‘85”, 23‑2/4” x 18”. Framed. [2000/4000] Illustrated

2289 2291

2288

2287 Shearwater Pottery Thrown Bowl, by James Anderson, in high glazed blue and brown, the bottom stamped “Shearwater 02”, h. 3”, dia. 10‑1/2”. [200/400] 2288 Rare Shearwater Pottery Cast Owl, by Annette McConnell Anderson (1867‑1964), presented in a the bronze glaze surface, stamped “Shearwater” on the underside, h. 6”, w. 4‑1/2”, d. 3”. [300/500] Illustrated

2292

2290

2289 Rare Shearwater Pottery “Thrown Shaken” Bowl by Peter Anderson (1901‑1984), presented in an alkaline/ brown matt glaze surface, stamped “Shearwater” on the underside, h. 4”, w. 8”, d. 8”. [600/900] Illustrated 2290 Shearwater Pottery Thrown Bowl, by Peter Anderson (1901‑1984), presented in a brown glaze and stamped “Shearwater” on the underside, h. 2‑1/4”, dia. 6‑1/4”. [500/800] Illustrated

2294 2291 Shearwater Pottery Cast Figure, of a quail by James Anderson, presented in a shoal over a brown high glaze surface, the inside of the base stamped “SP” in an overlapping monogram, h. 5‑1/2”, l. 4”. [300/500] Illustrated 2292 Shearwater Pottery Cast Figure, of a dove by James Anderson, presented in a high glaze surface, the underside stamped “Shearwater”, h. 4”, l. 8‑1/2”. [150/300] Illustrated 2293 Walter Inglis Anderson (American/Mississippi, 1903‑1965) “Crab”, hand colored woodblock print, printed from the original linoleum block by Carolyn Fournier Anderson, c. 1970, sight 12” x 22‑3/4”. Framed. Provenance: Purchased at Shearwater Pottery, Ocean Springs, Mississippi, 1970’s by the present owner’s parents. [800/1200]

2286

2294 Walter Inglis Anderson (American/Mississippi, 1903‑1965) “Fish”, hand colored woodblock print, printed from the original linoleum block probably by Carolyn Fournier Anderson, c. 1970, sight 14” x 24”. Glazed and framed. Provenance: Purchased at Shearwater Pottery, Ocean Springs, Mississippi, 1970’s by the present owner’s parents. [1200/1800] Illustrated

2295 George Bauer Dunbar (American/ Louisiana, b. 1927) “Coin du Lestin, XLXVII”, gold leaf over black and green clay, 1999, signed lower center, reverse with a Galerie Simone Stern label, inscribed with the artist’s name, title, year and medium of work, 33‑1/4” x 29‑1/4”. Framed. [5000/8000] Illustrated 2296 Louisiana School (20th Century) “Untitled Abstract”, oil on canvas, signed lower left “M. Conners”, inscribed verso canvas “Matt Conners, Louisiana Abstract Impressionist”, 7‑1/2” x 9‑1/2”. Presented in a gilt shadowbox frame. [300/500] 2297 Dean Lamont Mitchell (American, b. 1957) “My Friend Nathalie”, oil on board, signed and dated lower right “Dean Mitchell 03”, titled on a hand-written label on the reverse, 18‑1/2” x 16”. Framed. Native of Quincy, Florida, this award-winning painter is best known for depicting black middle and lower class people and landscapes from his southern background. In 2002, art critic Michael Kimmelman wrote in “The New York Times” that Mitchell was a “virtual modern-day Vermeer”. Proceeds from the sale of this painting will benefit Touro Infirmary Foundation. [4000/7000] Illustrated

2295

2302

2298 Charles Henry Reinike (American/ Louisiana, 1906‑1983) “Nude”, mixed media on board, signed lower right “Chas. H. Reinike”, 25” x 31”. Framed. [700/1000]

2297

2299 George Rodrigue (American/Louisiana, b. 1944) “The Rayne-Bo Ramblers”, offset chromolithograph, signed lower right margin “Rodrigue”, sight 31‑1/2” x 20‑3/4”. Glazed, matted and presented in a molded hardwood frame. Provenance: Alex Chachere, Opelousas, Louisiana. [100/200] 2300 George Rodrigue (American/Louisiana, b. 1944) “My Yellow Rolls”, offset chromolithograph, titled lower margins, signed in print, sight 23” x 17”. Glazed, mated and framed. Provenance: Alex Chachere, Opelousas, Louisiana. [75/125] 2301 Robert Gordy (American/Louisiana, 1933‑1986) “The Fatal Gift”, color silkscreen, signed lower right “R. Gordy”, numbered lower left “33/75”, sight 28‑1/2” x 30‑1/2”. Glazed and framed. [400/700]

2309 Xavier Gonzalez (American, 1898‑1993) “Colorado Landscape”, watercolor on paper, initialed and dated lower right “X.G. 70”, sheet size 12” x 16”. Unframed. One of the early “action” painters, a style made famous by Jackson Pollock, Xavier Gonzalez was born in Almeria, Spain and spent two years studying at the Art Institute of Chicago. In addition to Massachusetts and Texas, he spent some time teaching at Newcomb College in New Orleans, Louisiana. In 1937 he won a prize for his work exhibited at the New Orleans Art & Craft Exhibition. His work is in numerous permanent collections including Dallas Museum of Fine Art and San Antonio Museum of Fine Art. [150/300] 2310 Reginald Marsh (American/New York, 1898‑1954) “Industrial Landscape”, ink wash on paper, signed in pencil lower left “Reginald Marsh”, sight 8” x 6”. Glazed, matted and framed. [3000/5000] Illustrated

2302 Alexander Brook (American/New York, 1898‑1980) “Brothel”, oil on canvas, unsigned, retaining a “SalanderO’Reilly Galleries. Inc.” label inscribed with the artist’s name, title, date and the inventory number of the work, 5‑1/2” x 2‑3/4”. Framed. [700/1000] Illustrated 2303 Edward Giobbi (American, b. 1926) “Nude Study”, graphite on paper, inscribed illegibly lower right, signed and dated lower right “Giobbi 57”, sight 10‑1/2” x 7‑1/2”. Glazed, matted and framed. [250/400] 2304 Howard Simon (American, 1902‑1979) “Portrait of a Woman”, graphite on paper, pencil inscribed lower left “Howard Simon, Memphis 1933”, sight 11‑1/2” x 7‑1/2”. Glazed, matted and framed. [500/800] 2305 Raphael Soyer (American/New York, 1899‑1987) “Mother and Child”, black and white lithograph, inscribed in print ‘Are you not as the children of the Ethiopians unto me, O children of Israel”, pencil signed lower right, numbered lower left “35/125”, reverse with a Philips de Pury & Company label, sheet size 30” x 22”. Glazed and mounted for hanging. [500/800] 2306 Jack Levine (American/New York, 1915‑2010) “Studies of Figures”, etching, pencil signed lower right “J. Levine”, numbered in pencil lower left “70/100”, plate size 4‑3/4” x 6‑3/4”. Glazed, matted and framed. [200/400] 2307 Betty Heldrick (German, 1869‑1950) “Peaches”, watercolor and wash over graphite on wove paper, unsigned, reverse with a Shepherd Gallery, New York exhibition label, sight, 13” x 4‑1/2”. Glazed, French matted and presented in an ebonized frame. [300/500] 2308 Henry Martin Gasser (American/New Jersey, 1909‑1981) “Vessel in a Boatyard”, watercolor on paper, signed lower left “H. Gasser”, sight 14” x 20”. Glazed, matted and presented in a giltwood frame. [800/1200]

2310 2311 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. [700/1000] 2312 Xavier Gonzalez (American, 1898‑1993) “Rocks and Boulder”, watercolor on paper, signed lower right “To Ruth, Xavier ‘41”, sheet size 14” x 18”. Unframed. [200/400] 2313 Xavier Gonzalez (American, 1898‑1993) “Coastal Landscape with a Skiff”, watercolor on paper, signed lower right “To Ruth Xavier ‘41”, sheet size 13‑3/4” x 18”. Unframed. [200/400]

2315

2314 Xavier Gonzalez (American, 1898‑1993) “Coastal Landscape”, watercolor on paper, initialed lower right “X.G.”, sheet size 18” x 14”. Unframed. [200/400] 2315 Two-Section Modular “Istanbul2” Sofa, designed by Aziz Sariyer, and manufactured by Derin Design, Istanbul Turkey, the pattern introduced in 2004, the units joining to form a semi-circle, upholstered in Knoll Ultrasuede, h. 29‑1/2”, w. 123”, d. 53”. [2000/4000] Illustrated

2316

2316 Durand Art Glass Vase, second quarter 20th century, signed, “V Durand”, for Victor Durand, the tapering cylindrical vase, made of pale gray glass with organic, dripping shapes of dark purple and red, in a very modern style, h. 11”, dia. 4”. [800/1200] Illustrated 2321

100 100

2317 Pair of Diminutive French Art Deco Worked-Steel Console Tables, second quarter 20th century, in the manner of Edgar Brandt (French, 1880‑1960), each with conforming blanc bleute de savoie marble tops, h. 35‑1/2, w. 20‑1/2”, d. 9‑1/2”. [1200/1800]

2318 Group of Four Beige Silk Accent Pillows, each with a floral and leaf design, the smallest 17” x 11”, the largest 17” x 17”. [150/300] 2319 Huger Foote (American, b. 1961) “Untitled”, limited edition c-print, signed lower right “Huger Foote”, numbered lower left “2/10”, sight 14‑1/2” x 20‑1/2”. Glazed, matted and framed. [500/800] 2320 Humberto Aquino (Peruvian, b. 1947) “David Revisited”, 1998, mixed media on panel lined with canvas, reverse with a gallery label printed with the artist’s name, title and date of work, 16” x 16”. Presented in a ebonized and parcel-gilt frame. [500/800]

2322

2321 Jacques Adnet (French, 1900‑1984), Leather, Steel and Brass Desk, c. 1950, the top edge black leatherwrapped metal with an inset crimson leather writing surface, fitted with a single black leather-clad hanging drawer, on a steel base of faux-bamboo inspiration, the segments divided with paired brass rings, h. 29‑1/2”, w. 63‑3/4”, d. 30”. Jacques Adnet was a seminal figure in French Modernist Design. Adnet attended the Municipal School of Design in Auxerre, and went on to study at the “Ecole des Beaux Arts” in Paris, where he studied architecture. In the post World War II era he focused on developing modern furniture incorporating leather with metal frames. Through the 1950’s, he worked in cooperation with Hermes, Paris. The design of the present table was a product of that association. Their collaborative efforts were marketed by Campagnie des Art Francais, which Adnet directed from 1928 to 1960. His commissions during the 1950’s included the decoration of the private apartments of the French president at the Elysee’ Palace, the meeting room of the UNESCO headquarters in Paris, and the interior of many luxury ocean liners. [7000/10000] Illustrated

2322 Al Souza (American/Texas, b. 1944) “In a Box”, 2002, puzzle parts and glue on wood, signed, titled and dated on reverse, 46” x 54”. Presented in a custom metal frame. [10000/15000] Illustrated 2323 Allen Wolf (American/New York, 1925‑2011) “Untitled Abstract”, oil on canvas, signed lower left, 10” x 7‑1/2”. Framed. [150/300]

101 101

2324 Fushcia Twelve-Light Hanging Fixture, designed by Achille Castiglioni and manufactured by Flos, the anodized aluminum ceiling plate and frame mounted with pendant lights, each with clear and frosted blown-glass shades, the shape of the shades inspired by the fushcia flower, h. 55”, w. 40”, d. 9”, overall and h. 13‑1/2”, dia. 6‑1/2”, shades only. Achille Castiglioni, 1918‑2002, is among the most important figures in Italian Industrial Design. Castiglioni studied architecture at the Politecnico di Milano University. In the 1950’s, he founded the Association for Industrial Design, and taught at his alma mater for a number of years. Several designs by Castiglioni are in the permanent collection of the Museum of Modern Art. [1500/2500] Illustrated

2324

2325 Fritz Hansen Pelikan Collection Two-Piece “Wing” Screen, in two parts, executed in aluminum and perforated steamed beechwood veneers, each section with a bowed panel on each side and supported by casters, the design introduced in 1993 by Pelikan Design, the present example purchased in 1999, h. 710‑3/4”, w. 36‑1/2”, d. 6‑1/2”. [2500/4000] Illustrated 2326 Pair of Knoll International “Barcelona” Stools, 1960’s, designed by Mies Van der Rohe and introduced in 1929, of chromed steel and tufted leather, the cushion supported by an X-form base, the underside of each cushion retaining its Knoll International label, h. 15‑1/2”, w. 25‑1/4”, d. 25”. [1800/2500] Illustrated

2327 Charles Malcolm Campbell (American, 1905‑1985) “Untitled Nude”, oil on canvas, signed lower right “Charles Campbell”, 28” x 37”. Presented in a carved hardwood frame. [1500/2500] 2328 Charles Malcolm Campbell (American, 1905‑1985) “Jam”, oil on canvas, signed and dated lower left “Charles Campbell 45”, titled on the stretcher, 36” x 28”. Presented in a polychrome frame with a linen liner. [2000/4000] Illustrated 2329 Charles Malcolm Campbell (American, 1905‑1985) “After Guernica”, oil on canvas, unsigned, reverse with the artist inventory label printed with the artist’s name and title of work, 28” x 36”. Presented in a carved hardwood frame. [1500/2500] Illustrated

2325

102 102

2330 Charles Malcolm Campbell (American, 1905‑1985) “Conflict”, oil on canvas,initialed and dated lower left “CC ‘44”, titled on the reverse inventory label, 32” x 26”. Presented in a carved hardwood frame. [1500/2500]

2328 2332

2329

2333 2331 Charles Malcolm Campbell (American, 1905‑1985) “Dreamer Adrift”, oil on canvas, initialed and dated lower left ‘CC ‘45”, titled on the reverse artist inventory label, 28” x 36”. Presented in a carved hardwood frame. [1500/2500]

2326

2332 Charles Malcolm Campbell (American, 1905‑1985) “Time of Our Lives”, oil on canvas, initialed and dated lower left ‘CC ‘45”, titled on the reverse artist inventory label, 28” x 36”. Presented in a carved hardwood frame. [2000/4000] Illustrated

103

2333 Charles Malcolm Campbell (American, 1905‑1985) “Untitled”, oil on canvas, initialed and dated lower right “CC ‘45”, reverse with the artist inventory label, 36” x 28”. Presented in a carved hardwood frame. Charles Campbell, a native of Ohio, was a prolific artist whose career spanned from the years of the Depression era, through the time of his death in 1985. He created not only easel paintings, but murals, sculpture and metalwork. His paintings are fantastical and humorous, make strong social statements by using bold, vibrant colors reminiscent of El Greco. Speaking of his work, Campbell said that his aim was to “Express my vision of the world in the purest possible terms”. His work has won him many accolades and is in the permanent collections of Cleveland Museum and Whitney Museum of Art. We are pleased to offer a number of Charles Campbell oils in our December sale. [2000/4000] Illustrated previous page

2337 Suite of Eight Raul de Armas (b. 1941) Ebonized Dining Chairs, manufactured by Knoll, 1991, each chair so marked with a metal plate, comprised of a pair of armchairs and six sidechairs, each with a concave back with parallel slats, upholstered slip seat and raised on tapering square legs, h. 33‑3/4”. Cuban-born architect de Armas was named Interior Magazine’s “Designer of the Year” in the late 1980’s. [1800/2500]

2339 pair

2347

2340 2334 Austrian Art Pottery Vase, first quarter 20th century, possibly Amphora, the base impressed Austria, and Amph 52, the swirled shape with a high glaze and a blue ground, decorated with a lightly raised pattern of thistle leaves and onion blooms, h. 6‑1/2”. [400/700] 2335 Pair of Apple Green Glazed Benches, in the Chinese taste, having a concave seat and four stretchers, with a crackle finish, h. 19”, w. 17‑3/4”, l. 8‑1/2”. [250/400] 2336 Group of Four Black and Dark Brown Pillows, three with stripes, one with a floral design, the smallest 17” x 11”, the largest 18” x 18”. [150/300]

104

2338 French Black and White Drum-Shaded Chandelier, dressed with parallel chains of onyx hoops centered with rhinestone spheres, the matte white drum shade banded in black ribbon and fitted with an interior downlight, h. 19”, dia. 13‑1/2”. [200/400]

2345 Salvador Dali (Spanish, 1904‑1989) “Avari e Prodighi”, color woodblock, signed in plate, sheet 13” x 10”. Glazed and presented in a giltwood and ebonized frame with a linen liner. [350/500]

2339 Near Pair of Continental Bronze Windows, first quarter 20th century, now mounted as mirrors, h. 42‑3/4”, w. 30‑3/4”. Provenance: Jerry Pair Antiques, Atlanta, Georgia. [1500/2500] Illustrated

2346 Salvador Dali (Spanish, 1904‑1989) “Zebulum” color etching from the ‘Twelve Tribes of Israel”, pencil signed lower right, noted in pencil lower left “E.A.”, sight 24” x 19”. Glazed, attractively-matted and framed. [700/1000]

2340 Joan Miro (Spanish, 1893‑1983) “Les Magies”, 1972, etching with aquatint, signed in pencil lower right “Miro”, pencil annotated lower left “H.C.” (hors commerce), created as a frontispiece for a volume of poetry by Valentine Penrose, sight 11” x 6‑1/2”. Glazed, matted and framed. [700/1000] Illustrated

2347 Felipe Castaneda (Mexican, b. 1933) “Mother and Child”, gold-patinated bronze, signed and dated “F Castaneda 1-VII‑77”, on a carved wood plinth base, h. 20” w. 16”, d. 10”. [2000/4000] Illustrated 2348 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”. [1500/2500] Illustrated

2341 After Joan Miro (Spanish, 1893‑1983) a cast bronze plaque after a print “Femme et Oiseau Devant la Lune”, reverse incised “Laurels Number One 1947” and with the star insignia and a replica of the signature, 3‑1/4” x 4‑3/8”. [200/400] 2342 After Joan Miro (Spanish, 1893‑1983) a cast bronze plaque after an image by Joan Miro, reverse incised ‘XX Siecle No 4‑1938” and with the star insignia and replica of the signature, 4‑3/8” x 3‑3/8”. [200/400]

2349 Unusual Art Nouveau Carved Fruitwood Looking Glass, the rounded rectangular plate within a conforming shaped frame with carved hydrangeas, each side with two small attached demi-lune bracket shelves, h. 48”, w. 38‑1/2”. [200/400]

2343 French School (20th Century) “La Marseillaise”, color lithographs, bearing a signature lower right “Jean Lurcat” (French, 1892‑1966), numbered lower left “18/30”, sight 9” x 13”. Glazed, matted and framed. [150/300]

2350 Louis XV-Style Walnut Bureau de Dame, early 20th century, the superstructure fitted with a central cupboard flanked to either side by a bank of two small drawers, the banded and shaped rectangular top above a conforming frieze fitted with a single door, raised on cabriole legs ending in molded toes, h. 37‑1/2”, w. 26‑1/2”, d. 22”. [300/500]

2344 Salvador Dali (Spanish, 1904‑1989) “Divine Comedy”, color woodcut, signed in plate, sheet size 13” x 10”. Glazed and presented in a giltwood frame with a linen liner. [350/500]

2348

105

2351 Camille Bellanger (French, 1853‑1923) “Resting on the Fence”, oil on canvas, signed and dated lower right “Camille Bellanger 1900”, 24” x 16”. Presented in a Louis XV-style gilt and gesso frame. Camille Felix Bellanger studied at the Ecole des Beaux-Arts, training with two of the best known painters of the time, Alexander Cabanel and William Bouguereau. Bouguereau’s influence is evident in “Resting on the Fence” especially in the use of light, somewhat idealized execution of the subject, her clear, wistful gaze and the polished finish. During his early career Bellanger painted mainly mythological, religious and historical scenes. However, after moving to Brittany toward the end of 19th century he started painting local peasants, such as the one illustrated here. They are mainly beautiful young women, dressed in their unadorned working clothes, a blend of both idealism and naturalism. Camille Bellanger continuously exhibited at the Salon, earning a Legion of Honor medal in 1911. His work is in the collections of the Fine Arts Museum of San Francisco, Musee d’Orsay, Paris and the National Gallery of Art, London. [50000/80000] Illustrated

106 106

2352 C.L. Waelput (Finnish, 19th Century) “Interior Scene with a Mother Watching her Child at Play”, oil on canvas, signed lower left “C.L. Waelput”, 22” x 19‑1/2”. Presented in a giltwood and gesso rococo-style frame. [3000/5000] Illustrated

2353 2359 Large Italian Glass Vessel, 20th century, with an irregular polished rim, applied handle and unground pontil, the glass with numerous internal bubbles, inspired by ancient glass, h. 17‑1/2”. [75/125] 2360 Two Graduated Herend Soup Tureens with an Oval Platter En Suite, the tureens molded in the rococo taste with serpentine sides and basket weave borders, with a lemon knop, asparagus handles, applied flowers and hand painted flowers and butterflies, together with a matching platter, signed “Herend, Made in Hungary”, h. 11”, w. 15”, d. 8‑1/4”, large tureen, h. 9”, w. 12‑1/2”, d. 8”, small tureen, w. 11‑1/4”, l. 16‑1/2”, platter. [800/1200] Illustrated

2353 Louis XV Bergere, 18th century, the padded and domed back surmounted by a floral crest, joined to the padded seat by scrolling arms, raised on molded cabriole legs ending in scrolled toes, h. 43‑1/2”. [1400/1800] Illustrated 2354 Large Cast-Stone Garden Figure of Autumn, the female figure seated on a scroll support and garbed in peasant clothing and holding a sheaf of wheat, raised on a rocky base, h. 36”. [500/800] 2355 Pair of Weathered Lead and Wood Planters, of square form, each corner with a ball finial above the planked sides, raised on canted molded feet, h. 26”, w. 20”, d. 20”. [500/800] 2356 Spanish Three-Piece Wrought-Iron and Tile-Inset Garden Suite, mid‑20th century, comprised of a triple back bench with scrolled iron back and legs, and floral inset tile seat h. 36”, w. 50”, d. 18”, together with a pair of side chairs of similar form with a dancing male accordion player on one and a female figure with traditional costume on the other, h. 37”, w. 19”, d. 16”. Provenance: The Plimsoll Club, World Trade Center, New Orleans, Louisiana. [300/500] 2357 Jules Dupre (French, 1811‑1889) “Landscape With a Figure Standing in Front of a Shrine”, oil on canvas, signed on reverse canvas, 12‑1/2” x 9‑1/2”/ Presented in a giltwood and gesso frame affixed with a plaque inscribed with the artist’s name. [1200/1800] Illustrated

2357

2360

2358 Carved and Painted Bracket Shelf, mid‑19th century and later, in the neoclassical taste, the bluegray surfaces decoratively distressed and flecked with silver leaf, h. 15‑1/4”, w. 36‑3/4”, d. 8‑3/4”. [400/700]

107

2361

2363 French Fin de Siecle Tall Case Clock in the Baroque Taste, fourth quarter 19th century, the impressive plumed finial sitting on a pagoda shaped hood, pierced and carved with scrollwork, the hood support carved with bold flaring scrolls on the corners over a carved guilloche molding the face with a steel chapter ring, sitting over engraved volutes and flora, and the corners ornamented with applied gilt spandrels cast in a rococo pattern, the door with a panel with applied rococo molding of “C” scrolls, volute and bellflowers, with a central carved lozenge, the side panels with like decoration, h. 120‑1/2”, w. 15‑1/2”, d. 13‑1/2”. [2000/4000] Illustrated

2363

2364 Pair of Louis XVI-Style Fruitwood Fauteuils, early 20th century, each with a padded back surmounted by a ribbon and torchere crest and flanked by fluted finial-capped uprights, joined to the padded seat by foliate-carved arms, the whole raised on tapering fluted circular legs ending in toupie feet, h. 42”. [800/1200] Illustrated 2365 H. Nimmo (French, Fourth Quarter 20th Century) “Scratching for a Living”, oil on canvas, signed lower right “H. Nimmo”, 29” x 25”. Presented in a rococo-style giltwood and gesso frame. [1200/1800] Illustrated 2362 2361 Provincial Louis XV-Style Settee, the padded shaped rectangular back surmounted by a scrolling foliate and floral crest, joined by molded arms to the padded seat, raised on cabriole legs ending in scrolled toes on casters, h. 36‑1/2”, d. 23”. l. 51‑1/2”. [600/900] Illustrated 2362 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”. [2000/4000] Illustrated

108

2366 American School (20th Century) “Country Landscape with a Barn and Chickens”, oil on canvas, initialed lower right “L. S.”, 12” x 19”. Presented in a Rococo-style giltwood and gesso frame. Provenance: Alex Chachere, Opelousas, Louisiana. [200/400]

2364

2370 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. [600/900] 2371 Continental Stoneware Crock, fourth quarter 19th century, glazed in cream, with a raised rim and two loop handles, h. 12‑1/2”, dia. 10”. [100/200]

2367 Early French Provincial Painted Fruitwood Work Table, mid‑18th century, the top with breadboard ends mounted to a tapered leg base and fitted with a single drawer, mortised and pegged construction throughout, retaining an old distressed black painted surface, h. 25‑1/2”, w. 26‑1/4”, d. 19‑1/4”. [300/500] 2368 Belgian School (20th Century) “Interior Scene with a Family Spinning Wool”, oil on canvas, signed lower left “Van Wick”, 23‑1/2” x 36”. Framed. [500/800] 2369 Continental School (20th Century) “Interior Scene with a Mother Peeling Carrots, Attended by Her Two Small Children”, oil on canvas, signed lower right “F. Holsten”, 28” x 38”. Presented in a rococo-style giltwood frame. [400/700]

2365

109

Index of Artists and Printmakers Hardy, James III 2081 Heldner, Colette Pope 2189 Heldrick, Betty 2307 Hiroshige, Utagawa 1344, 1360, 1361 Holzhauer, Emil Eugen 2111, 2112, 2113, 2114, 2115, 2116 J Japanese School 647, 1342, 1343, 1358 Johnston, Alexander (manner) 2252 Juneau, Pat 2117, 2118 K Kinsey, Alberta 2137 L Langley, William 1971 Lever, Hayley 2248 Levine, Jack 2306 Louisiana School 2190, 2296 M Manet, Edouard 1735 Marsh, Reginald 2310 McKay, Frances 2250 McKenney and Hall 2165, 2166, 2167, 2168, 2169, 2170, 2179, 2180, 2181, 2182 Michalopoulos, James 2123, 2124 Miro, Joan 2340 Miro, Joan (after) 2341, 2342 Mitchell, Dean Lamont 2297

December 11, 2011

Mohler, Gustave Jean-Louis 1935 Monahan, Hugh Cecil Charles 2149 Mora, Francis Luis 2246 N Nimmo, H. 2365 Nonnenbruch, Max (after) 1775 O Ostersetzer, Carl 2370 Ousley, William 2274, 2283 P Pardies, Ignace-Gaston (after) 1872 Peterson, Jane 2249 Powell, Lucien Whiting 2244 R Reinike, Charles Henry 2298 Renoir, Pierre-Auguste 1737A Ricci, Marco (follower) 1874 Rodrigue, George 2299, 2300 Rossini, Luigi 2156 Rucker, Robert 2186, 2187 Rudolph, Harold 2262 S Shinn, Everett 2254 Simon, Howard 2304 Southern School 2272 Souza, Al 2322

Index of Artists and Printmakers

December 11, 2011

Glossary Soyer, Raphael 2305

The Artistâ&#x20AC;&#x2122;s Name: In New Orleans Auction Galleries opinion, a work by the artist.

Attributed to: In New Orleans Auction Galleries opinion, a work of the period of the artist that may be in whole or in part the work of the artist.

Tucker, Lee 2119 V

School of: In New Orleans Auction Galleries opinion, a work by a follower of the artist.

Vallotton, Felix 1738

Circle of: In New Orleans Auction Galleries opinion, a work of the period of the artist and showing his influence.

Villon, Jacques 1737 Vuillard, Edouard 1736 W Waelput, C.L. 2352 Wolf, Allen 2323 Woodward, William 2135

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.

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

ABSENTEE/TELEPHONE BID FORM (CONTINUED)

Name (Please Print): ______________________________________ Lot #

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

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

801 Magazine Street l New Orleans, LA 70130 l 800-501-0277 l 504-566-1849 Fax: 504-566-1851 l Email: info@neworleansauction.com

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

X________________________________________________

Date____________________

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

Note: Items will not be released without a signed authorization

CATALOGUE ORDER FORM Please Print, Complete and mail or Fax New Orleans Auction Galleries, Inc. 801 Magazine Street, New Orleans, LA 70130 Phone: (504) 566-1849 • Fax (504) 566-1851 Email: info@neworleansauction.com www.neworleansauction.com

NAME ________________________________________________________________________________________ STREET ADDRESS ______________________________________________________________________________ CITY _________________________________________________________________________________________ STATE ________________________________________ ZIP ____________________________________________ BUSINESS PHONE ______________________________________________________________________________ HOME PHONE ________________________________________________________________________________ FAX PHONE __________________________________________________________________________________ E-MAIL _______________________________________________________________________________________

Annual Subscription (Domestic) (6 issues) - $150.00 Annual Subscription (International) (6 issues) - $300.00 Single Catalogue for Upcoming Auction (Domestic) $25.00

PLEASE INDICATE YOUR METHOD OF PAYMENT CHECK MADE PAYABLE TO NEW ORLEANS AUCTION GALLERIES, INC. VISA

MASTERCARD

AMEX

Credit Card Number ________________________________ Expiration Date _____________________________________ Amount $ _________________________________________

Single Catalogue for Upcoming Auction (International) $50.00 I do not wish to subscribe at this time, but please include me on your mailing list.

Signature _________________________________________ Date _____________________________________________ Office Use: Mail Code __________ Sub. End Date _____________

YOUR SATISFACTION IS IMPORTANT TO US. IF YOU HAVE ANY PROBLEMS WITH YOUR ORDER PLEASE CALL (504) 566-1849. PLEASE VISIT US ONLINE WWW.NEWORLEANSAUCTION.COM FOR MORE INFORMATION.

Conditions Of Sale

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

Customers, Please Note: Deadline for Absentee/Telephone Bidding 5:00 P.M. Central – Saturday, December 10, 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 – Friday, December 9, 2011

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

REQUEST FOR CONDITION REPORTS (DEADLINE: FRIDAY, DECEMBER 9 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

Staff Specialists

Jean Vidos President Tessa Steinkamp Auctioneer / Consignments Charles C. Cage Office Manager / Silver Specialist Ireys Bowman Consignments Greg S. Kowles Consignments Richerson L. Rhodes, G.G., N.J.A. Consignments / Oriental Specialist / Jewelry Specialist Thomas Halverson Director of American Furniture and Decorative Arts Jelena James Fine Art Consignments Michael Maggio Director of Marketing / Graphic Designer Corie Talano Comptroller Kim Lemon Director of Customer Service Ralph A. Cheramie Director of Inventory Control Ellen McKenzie Cataloguer Bryce Reveley Cataloguer - Textiles, Couture Robin Ruiz Wilkinson Auctioneer / Cataloguer Lynn Bowker Exhibition Staff / Interior Designer Clarke â&#x20AC;&#x153;Docâ&#x20AC;? Hawley Exhibition Staff Stanley Thomas Assistant to the President

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