July 30-31 2011 AUCTION by New Orleans Auction Galleries, Inc.

Cover:

2011 Auction Schedule: July 30-31 October 1-2 December 3-4

Lot 41 - Fine, Elaborate Chinese Carved Coral Group, first half 20th century

Auction Time Chart Saturday July 30, 2011 Lots 1-733 10:00-11:00 11:00-12:00 12:00-1:00 1:00-2:00 2:00-3:00 3:00-4:00 4:00-5:00 5:00-5:30

1-99 100-199 200-299 300-399 400-499 500-599 600-699 700-733

Sunday June 5, 2011 Lots 834-1492

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

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

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

734-833 834-933 934-1033 1034-1133 1134-1233 1234-1333 1334-1383

- AUCTION Saturday, July 30, 2011 10:00 a.m. – Lots 1-733 Sunday, July 31, 2011 11:00 a.m. – Lots 734-1383

Two-Week Exhibition Begins Saturday, July 16 Through Friday, July 29 (Excluding Sundays) 9:00 a.m. to 5:00 p.m.

Late-Evening Preview Thursday, July 28, 2011 5:30 p.m. to 8:00 p.m.

Major Estates Auction Featuring Property From: The Strachan Home Brunswick, Georgia The Estate of Seymour Weiss Greenville, Mississippi Important Collection of Early 20th-Century Art Glass from a Private Collector, New Orleans, Louisiana Property from a Private Collector, Natchez, Mississippi Property from a Private Art Collector, Tuscan, Arizona A Collection of Robert Gordy Art Work from a Private Collector, Lake Charles, Louisiana And Property from Numerous Southern Estates and Private Collections

The Strachan Home Brunswick, Georgia

The Strachan Home was built in 1900 by shipping magnate Frank Duncan MacPherson Strachan (1873-1931). Born in Banff, Scotland, Strachan emigrated to the United States in 1887 with his father, Frank G. Strachan, who established the Strachan Shipping Company in 1883; the younger Strachan assumed the business after his father’s death. He married, on April 27, 1897, Miss Mary Barnard Adams of Savannah, the daughter of William D. and Rachel Adams. It was presumably the occasion of his marriage that spurred Strachan to build the magnificent mansion.

Completed in 1900, the Strachan Home is located on 822 Union St. in Brunswick, Glynn County, Georgia among the mansions, churches, and massive oak trees of the Brunswick Historic District. Originally built as a massive wooden structure with galleried porches all around, the house was remodeled around 1915 to its present imposing and stately brick-and-mortar Edwardian facade. The large (over 9,000 square feet) house features an entrance hall and parlor with handpainted Chinese wallpaper, living room, dining room, enormous great room with a 15th century Florentine fireplace (one of eight imported for the home) and three chandeliers, a large kitchen with separate butler’s pantry, two master bedrooms, five guest bedrooms, eight full baths, and two half baths. (The house was additionally equipped with a coastal Georgian rarity: a full cellar.) The grounds include luxuriant and spacious gardens and a livery stable. Strachan died in his home on Christmas Day, 1931; his obituary listed him as Brunwick’s first and, at the time, only millionaire. His widow Mary sold the house shortly thereafter and returned with her children to Savannah. The Strachan Home, also called the Holland House, remains a landmark in historic Brunswick.

The Estate of Seymour Weiss Greenville, Mississippi

Seymour Weiss was born in New Orleans on October 27, 1931. (His uncle and namesake Seymour Weiss was the well-known manager of the Roosevelt Hotel and confidant of Huey Long.) After completing his education at the University of Virginia in 1952, Weiss lived for a time in New York City. There he worked for Saks Fifth Avenue, where learned the fashion trade and developed a cosmopolitan taste which he would later bring to the Delta. After a brief time in Memphis, Tennessee, he finally settled in Greenville, Mississippi where he joined Charles Hafter at the specialty store Hafterâ&#x20AC;&#x2122;s in downtown Greenville. His innate sense of style coupled with an encyclopedic knowledge of fabrics quickly led him to become one of the preeminent arbiters of fashion in the region, specializing in designer and custom-made clothing for women. He was active in every aspect of the communityâ&#x20AC;&#x2122;s social, artistic and civic life, including the theater (he performed for both the Delta Center Stand and the Twin City Theater), the symphony (for which he produced a memorable and extravagant fundraising fashion show â&#x20AC;&#x201C; at the time, the largest such event in the area), the Greenville Arts Council (of which he was a founder), the E.E. Bass Cultural Center (for whom he was a tireless fundraiser), the William Alexander Percy Library (of which he was a board member), and the Greenville Chamber of Commerce (for which he served as Special Events Chair).

Much is written about the rich cultural heritage of the South, where small communities flourish with a grandeur and beauty found elsewhere only in the most metropolitan of cities. But less celebrated are the tireless individuals who dedicate their lives to maintaining that heritage and to ensuring that these small communities are endowed with the highest levels of civic and artistic excellence. The city of Greenville, Mississippi is one of those communities, and it was recently diminished by the loss of those rare individuals with the passing of Seymour Weiss, who died last November.

He also offered his talents as a landscaper to both the Hebrew Union Temple, where he assisted in the maintenance of the cemetery, and the St. James Episcopal Church, where he served on the Grounds and Landscape Committee. (He was the first male honorary member of the Greenville Garden Club). His tireless civic efforts extended into his Main Street home, Somoa, which he turned into a showchase both inside and out for the benefit of the city. He hosted countless lunches, dinners and concerts there, for both residents and visitors; it was not uncommon to host a luncheon

for passing riverboat passengers in the day and a Junior Women’s Club fundraising dinner the same evening. Weiss was richly honored for his civic vision and leadership, receiving the Governor’s Award of Excellence as Outstanding Volunteer, the Ben Wasson Award by the Delta Center Stage, the Jake Stein Award for Community Service, and was named King of the Junior Auxilliary Ball in 1994. But more than any of these honors, Weiss truly found the greatest reward in the service to his community and, above all, the people in it. It was his unspoken mission to bring beauty and joy into the lives of his neighbors, and his contributions in that regard to the city of Greenville will be neither soon forgotten nor equalled. Weiss’ taste and refinement was reflected in his collection of decorative arts, a portion of which New Orleans Auction Galleries is proud to present. Among the treasures offered are a large assortment of fine glassware, including items by Lalique, Baccarat and Steuben, and an impressive collection of early 20th century Chicago Arts and Crafts silver.

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www.neworleansauction.com

Session I

Saturday, July 30, 2011

10:00 a.m. (Lots 1-733)

1 Scottish Line-Strung Mahogany Tall Case Clock in the Georgian Taste, ca. 1800, the scrolling broken arch pediment with brass finials, the painted dial with smaller second and calendar dials, and flanked by turned columns with brass base and capitals, the line-strung waist door flanked by engaged fluted pilasters, the base with light wood stringing and bracket feet, h. 86”, w. 19”, d. 9‑1/2”. [3000/5000] Illustrated 2 George III Oak Sidechair, early 19th century, the carved crest above a vasiform splat, the wooden seat raised on square legs joined by stretchers, h. 37‑1/2”. [300/500] 3 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”. [2500/4000]

7 George III-Style Mahogany Armchair, early 20th century, in the Hepplewhite style, the shield-form back with swag and Prince of Wales feather patterns, joined by downswept arms to the padded seat, raised on tapering square legs, h. 36‑1/2”. [250/400] 8 Set of Eleven Coalport, English Porcelain Embossed and Gilded Dinner Plates, early 20th century, retailed by Tiffany & Co., New York, and so marked on the back, each with scalloped edges and decorated with gilded cornucopia and a central stylized snowflake, dia. 10‑1/4”. [600/900] 9 George III-Style Polychrome Fruitwood Tea Caddy, in the form of a pear, with shield-form bone escutcheon, realistically painted, the interior paktong-lined, h. 7”. [250/400] Illustrated 10 George III Fruitwood Tea Caddy, in the form of an apple, the body with incised line accents and with a bone escutcheon, the interior paktong-lined, h 5‑1/4”. [200/400] Illustrated

4 George III Mahogany Settee, early 19th 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”. [6000/9000] Illustrated 5 George III-Style Polychrome Armchair, in the Adam taste, the ovoid back with a Prince of Wales feather splat, joined by downswept arms to the padded seat raised on tapering square legs ending in spade feet, the whole with delicate polychrome floral accents, h. 37‑1/2”. [300/500] 6 Pair of Royal Doulton Cabinet Plates, first quarter 20th century, one hand-painted example with “sea bream” and the other with “herring”, retailed by Tiffany and Co., New York, signed “Royal Doulton England, Tiffany and Co. NY” and “MB8713” on one and “E8209” on the other, each plate artist signed “G Wilson”, dia. 9”. [200/400]

14 George III-Style Oak Games Table, third quarter 19th century, the rectangular top hinged and opening to a gaming surface, raised on chamfered square legs, h. 28‑7/8”, w. 35”, d. 17”, open 34”. [400/700] 15 George III Mahogany Side Table, 19th century, the rectangular top with molded edge above a frieze fitted with a central drawer and two small deep end drawers, raised on tapering circular legs ending in pad feet, h. 28”, w. 40‑1/2”, d. 21”. [1000/1500] Illustrated 16 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”. [500/800] Illustrated

16 19

11 George III-Style Mahogany Tea Caddy, of broadlycanted-rectangular-form, the case with decorative satinwood banding and a shield-form bone escutcheon, the interior with two lidded compartments, h. 5”, w. 5‑1/4”, d. 4”. [250/400] Illustrated

17 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 inalid star, now fitted as a letter box, h. 16”, w. 8‑1/2”, d. 13”. [500/800] 18 William IV-Style Mahogany Banquet Table, the rounded rectangular top banded and raised on three pedestals, each with a large bulbous turned standard to four splayed legs headed by carved patera and ending in brass caps on casters, with two twentyfour-inch leaves, h. 30”, w. 50”, l. 124‑1/2”, extended l. 172‑1/2”. [2500/4000] Illustrated

12 George III Mahogany DropLeaf 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 balland-claw feet, h. 29”, w. 54‑1/2”, l. 25”, extended l. 66”. [800/1200] 13 George III Mahogany Sidechair, late 18th century, in the Sheraton taste, the domed crest above a pierced wheat sheaf splat, the padded seat raised on molded square legs joined by an H-form stretcher, h. 37”. [300/500]

22 English Brass and Steel Fire Grate, 19th century, in the Adam taste, the grate with an undulating pierced and tiered front with end urn finials, the brass base like shaped and with pierced palmetto patterns and finials en suite, raised on bulbous legs, h. 31”, w. 23”, d. 15‑1/2”. [600/900] 23 George III-Style Mahogany Sideboard, third 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”. [1500/2500] 24 Pair of Dutch Queen Anne-Style Mahogany Sidechairs, mid‑19th century, each with a back-scrolled crest above a baluster-form splat, the padded seat raised on cabriole legs ending in pad feet, h. 39‑1/2”. [900/1200] Illustrated

19 Adam-Style Giltwood Looking Glass of Shield Form, early 20th century, the crest with a central urn and swags of flowers, h. 46”, w. 21”. [350/500] Illustrated previous page 20 George III-Style Mahogany Secretary Bookcase, 19th century, the molded and dentillated cornice above a blind fret-carved frieze with two paneled doors below, opening to a shelved interior, the lower section fitted with a slant front opening to a leather-inset surface and a variety of drawers and cubbyholes flanking a central cupboard, over two short drawers and three graduated long drawers, the whole raised on ogee-molded bracket feet, h. 85”, w. 39”, d. 21‑1/2”. [2000/4000] Illustrated

21 Partial English Coalport Tea Set, first quarter 19th century, decorated in the Imari-style, comprised of eight teacups, h. 2‑1/4”, with eight saucers, dia. 5”, a waste bowl, dia. 6‑1/2” and a pair of tea plates, dia. 8‑1/4”. [700/1000] Illustrated

25 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”. [2500/4000] Illustrated

26 Pair of George III-Style Mahogany Armchairs, early 20th century in the Chippendale manner, each with a shaped and carved crest above a pierced foliate-carved splat, joined by molded arms to the padded seat, raised on chamfered square legs joined by an H-form stretcher, h. 37‑1/2”. [600/900] 28

27 George III Mahogany Tripod Table, early 19th century, the tilting circular top raised on a turned vasiform standard to three splayed cabriole legs ending in pad feet, h. 28”, dia. 29‑1/2’. [1000/1500] 28 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”. [1800/2500] Illustrated 29 Large Pair Japanese Imari “Palace” Vases, each of teardrop shape with fluted, flared lip rims, decorated in underglaze blue, iron-red and gilt details as shaped, fanand-planter-form reserve panels of figural and landscape designs against a ground of flower shaped mons, h. 42”. [3000/5000] Illustrated

34 30

32 Japanese Imari Decorated Storage Jar, 19th century, of baluster-form decorated in underglaze blue, iron-red and gilding with shaped reserve panels of peonies against a ground of asters, the shoulder with a border of houses among flowers, h. 10‑1/2”. [500/800] Illustrated 33 Chinese Export Porcelain Handled Mug, 19th century, of cylindrical form with molded dragon handle, decorated in Chinese Imari enamels with floral and bamboo decoration on the exterior and a figure of a Chinese man and inscription on the base of the interior, h. 4‑3/4”. Provenance: ex coll. B.E. Edwards and L & D Hodroff. [500/800] Illustrated

34 Japanese Imari Porcelain Covered Storage Jar, 19th century, of baluster-form with domed cover and pointed finial, decorated in dark underglaze blue, iron-red and gilding with shaped reserve panels of chrysanthemums against a ground of peonies and foliage, h. 10‑1/2”. [400/700] Illustrated 35 Pair of Chinese Imari Gilt-Brass-Mounted Carcel Lamps, mid‑19th century, now converted to electric table lamps, h. 36‑1/2”, overall. [800/1200] 36 Japanese Shaped Oval Imari Porcelain Platter, 19th century, of oval outline with scalloped rim and low relief molded decoration, enameled in underglaze blue and iron-red with a central medallion of an eel among foliage against a ground of flowers and foliage, l. 12”, w. 10‑1/4”. [250/400] 37 Chinese Clobbered Export Porcelain Tray, 19th century, of rectangular outline with canted corners, decorated in underglaze blue and overglaze enamels with a central panel of antiques in a garden setting and bordered by floral and brocade motifs, w. 6‑7/8”, l. 10‑1/8”. [250/400]

30 Japanese Imari Export Porcelain Dish, second half 19th century, of European-form, decorated in underglaze blue, iron-red and gilding with a central medallion of a bronze vase with flowers surrounded by a rim or reserve panels of birds and flowers alternating with panels of stylized lotus blossoms, dia. 9‑5/8”. [200/400] Illustrated 31 Chinese Export Porcelain Covered Bowl, 18th/19th century, the circular bowl with handles, the conforming lid with spherical knop, decorated all over in Chinese Imari enamels with landscape scenes, h. 5‑1/2”. Provenance: ex coll. Elinor Gordon. [400/700] Illustrated

38 Large Pair of Chinese Blue, White and Iron-Red Vases, each of baluster-form with four loop handles around the tubular neck, decorated in underglaze blue and iron-red with alternating panels of landscapes, birds and dragons among clouds against a ground of hawthorne blossoms, cracked ice, sea shells and Chinese antiques, domed covers, h. 33”. [2500/4000] Illustrated 39 Chinese Imari Export Porcelain Plate, 19th century, the deep plate with ribbed sides, decorated in pale underglaze blue, iron-red and gilding with a central landscape scene with scattered flowers, the rim decorated with a series of reserve panels of floral landscape and brocade decoration, dia. 9”. [250/400] Illustrated

40 Superb Pair of Famille Rose Chinese Porcelain Bowls, Republic Period (1908‑1949), each of inverted bell-shape with slightly everted rim and recessed foot, the interior decorated with five iron-red bats, the exterior decorated with entwined branches and foliage surrounding flowers, the base with an underglaze blue Qianlong seal mar, dia. 4‑3/8”. [700/1000] Illustrated

41 Fine, Elaborate Chinese Carved Coral Group, first half 20th century, composed of a central figure of Guanyin holding a child and two attendant deities standing on a rockwork base with flowering trees above cresting waves with myriad fish, the goddess clad in flowing robes and wearing a cowl and multiple strands of jewelry, the attendants and the goddess each standing on open lotus blossoms, the entire single piece of orange coral carved with intricate detail and exhibiting a high degree of artistry, fitted wooden stand with silver wire inlay, 12‑1/8”, including stand. [3000/5000] Illustrated

43 Japanese Imari Oval Serving Platter, 19th century, of oval outline with scalloped rim, decorated in dark underglaze blue and polychrome enamels with a partially open scroll of a phoenix and flowers, a shaped reserve panel of a bowl of flowers and two quatrefoil reserve panels of butterflies, w. 14‑7/8”, l. 18”. [400/700] 44 Japanese Imari Saucer-Shaped Charger, 19th century, decorated in underglaze blue and polychrome enamels with a central floral medallion surrounded by alternating reserve panels of pheasants among rockwork and flowers, alternating with shaped reserve panels of flowers and foliage, dia. 15”. [400/700] 45 Chippendale-Style Oval Silver-Leaf Mirror, first quarter 20th century, the finial carved as a Chinese temple on a pagoda roof, with a pierce-carved rococo fret border decorated with a pair of phoenix birds, h. 57”, w. 34”. [700/1000] Illustrated 46 English Ebonized Hanging Shelf, early 20th century, in the Chinese Chippendale taste, the pagoda-form crest above an open mirrored back and shselves, with pierc ed fret-carved supports and a like pendant, h. 30‑1/2”, w. 31‑1/2”, d. 8”. [500/800]

42 Chinese Carved Coral Deity Group, carved as a standing female deity in informal robes with a magical flute, standing on a rockwork base next to a long-tailed phoenix standing on a branch, h. 6‑1/4”. [1500/2500] Illustrated

53 George III-Style Mahogany Dining Table, the triple-banded rounded rectangular top raised on two pedestals, each with a vasiform standard to three splayed foliate and ribbed legs ending in brass paws on casters with two 19” leaves, h. 31‑1/2”, d. 45”, l. 76”, ext. l. 114”. [1500/2500] Illustrated 54 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”. [1500/2500]

50 47 George III-Style Mahogany Sofa in the Chippendale Taste, second quarter 20th century, having an arched and padded back of camel-back-form, out-curved arms with carved fronts and raised on short cabriole legs ending in ball and claw feet, h. 35”, w. 78”, d. 29”. [700/1000] Illustrated

48 George III-Style Mahogany Settee, 19th century, the shaped back-scrolled triple back with three pierced vasiform splats, joined by out-swept arms to the cushioned seat, raised on cabriole legs ending in ball and claw feet, h. 36”, w. 46”. d. 20”. [400/700] 49 George III-Style Mahogany Armchair, ca 1900, the back with a pierced splat and shaped crest rail, raised on Marlborough legs joined by an H-stretcher, h. 40”. [150/300] 50 Arthur Fitzwilliam Tait (American/British, 1819‑1905)”A Young Arabian Horse and an American Eskimo Dog”, oil on canvas, signed lower right “A. F. Tait”, 14” x 22”. Framed. [8000/12000] Illustrated 51 Large English Mahogany and GiltBrass Mounted Bracket Clock, fourth quarter 19th century, the triple train movement with time, strike and chimes on eight bells or chimes on four gongs, h. 28”, w. 17”, d. 11‑1/2”. [1800/2500] Illustrated 52 George II-Style Brass TwelveLight Chandelier, of double-tierform, the stem with vasiform and globular sections supporting fourover-eight arms adorned with brass scrolls, electrified, h. 28”, dia. 27‑1/4”. [400/700]

57 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”. [300/500] 58 James Northcote, R.A. (British, 1746‑1831) “Portrait of George Finch Hatton Esq.”, 1822, oil on canvas, titled, signed and dated on reverse, 30” x 25”. Presented in a giltwood and gesso frame. [3000/5000] Illustrated 59 Felix Hilaire Buhot (French, 1847‑1898) “Westminster Clock Tower”, aquatint and drypoint etching, signed and stamped, sight 13” x 17.5”. Glazed and presented in a turn of the century frame, reverse with an inscribed receipt from “Frederick Keppel and Co.” dated November 25th, 1901. [800/1200] Illustrated

55 George III-Style Mahogany Sideboard, the slightly bowed rectangular top above a conforming frieze fitted with a central cutlery drawer flanked to one side by a cupboard door and to the other by a small drawer over a deeper drawer, raised on tapering square legs ending in spade feet, h. 35”, w. 72”, d. 21‑1/2”. [600/900] 56 Pair of Derby Cabinet Plates, first quarter 20th century, retailed by Tiffany & Company and marked with an impressed “Derby”, each plate is decorated with hand-painted fish against a landscape and superbly decorated borders in the neoclassical taste with raised gilt, dia. 9‑1/2”. [200/400]

59 60 George III Fruitwood Butler’s Chest, early 19th century, the rectangular top above a conforming case fitted with a drop-front secretary drawer fitted with a variety of drawers and cubbyholes over three long graduated drawers, raised on bracket feet, h. 42”, w. 36”, d. 19‑1/2”. [1200/1800]

61 George III-Style Walnut Secretary Bookcase, second quarter 20th century, the molded cornice above two astragal-glazed doors, the lower section fitted with a banded slant-front opening to a variety of drawers and cubbyholes, over three long drawers, raised on cabriole legs ending in ball and claw feet, h. 78”, w. 36”, d. 18”. [700/1000]

62 George III-Style Mahogany Corner Chair, 19th century, the rounded crest above two pierced balusterform splats, the elongated padded seat raised on cabriole legs headed by shell carving and ending in ball and claw feet, h. 32”. [1800/2500] Illustrated 63 George III Mahogany Chest-on-Chest, early 19th century and later, the molded and dentillated cornice above a case fitted with two small drawers over three long graduated drawers, the lower section fitted with three long graduated drawers, raised on bracket feet, h. 75‑1/4”, w. 44‑1/2”. [2000/4000] Illustrated

64 Pair Chinese Armorial Export Porcelain Dishes, 19th century, each decorated in famille rose enamels with a central heraldic device topped by a seated stag and having a ribboned motto with the words “copia deest”, the border with another seated stag and three floral sprays, dia. 9‑1/4”. [1000/1500] Illustrated

65 Rare Pair Chinese Armorial Export Porcelain Openwork Baskets and Under Trays, late 18th century, each of oval outline with openwork body and shaped lip rim, decorated in underglaze blue and famille rose enamels, the centers of the baskets having a heraldic device of Dalling with Foster in pretense, h. 4”, l. 9‑1/2”. Made for General Sir William Dalling of Orval, Commander-in-Chief of Madras 1785‑6, see Howard, pg. 682. Other examples in the collection of Winterthur. [4500/7000] Illustrated

66 Chinese Export Porcelain Armorial Tea Bowl and Saucer, composed of a handle-less tea cup and conforming saucer, each decorated in underglaze blue with a heraldic device in polychrome enamels in the center of the saucer and on the exterior of the tea cup, dia. 5‑3/4”. [300/500]

71 George III Mahogany Bookcase, early 19th century, the molded cornice above two astragal-glazed doors, the lower section fitted with a deep drawer over three graduated long drawers, raised on splayed bracket feet, h. 92‑1/4”, w. 50”, d. 21‑1/2”. [1200/1800] 72 Pair of George III-Style Mahogany Hanging Cabinets, late 19th century, each with a molded broken swan’s-neck pediment centered by a plinth, over a single astragal-glazed door with inlaid banding, opening to a fabric-lined shelved interior, over a tapering cushion base, h. 59”, w. 29”, d. 10‑1/2”. [1800/2500] 73 George III-Style Mahogany Writing Desk, the rectangular top with molded edge and inset leather writing surface, above a frieze fitted with three drawers to one side and there faux drawers to the other, raised on cabriole legs headed by shield carving and ending in ball and claw feet, h. 29‑1/2”, w. 59‑3/4”, d. 36”. [800/1200]

67 Chinese Famille Rose Export Porcelain Tankard, 18th century, of cylindrical-form with shaped handles, decorated in underglaze blue and famille rose enamels with a central reserve panel of a Chinese family, two smaller floral reserve panels all on a ground of flowers and foliage, h. 5‑1/8”. [300/500]

74 George III Mahogany Pembroke Table, fourth quarter 18th 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”. [900/1200]

68 Pair of Oval Parian Plaques, third quarter 19th century, depicting a wigged gentleman and a woman in a lace cap, each wearing eighteenth century costume, the self framed plaques are now mounted in contemporary walnut shadow box frames with red velvet backing, h. 13”, w. 11”, d. 1‑3/4”. [400/700] Illustrated 69 Pair of Giltwood and Polychrome Looking Glasses, in the rococo taste, each with a shaped and domed plate surmounted by a scrolling foliate crest, within a molded frame with polychrome scenes of an aristocratic family at the hunt and with gilt scrolling foliate accents, h. 35”, w. 23‑1/2”. [1500/2500] 70 Wilhelm Velten (Russian, 1847‑1929) “Reitergesellschaft”, oil on board, signed lower right, sight 7” x 10”. Glazed and presented in a contemporary frame. [3000/5000] Illustrated 70

76 Two Chinese Porcelain Sauce Dishes, late 19th century, each of circular form decorated in encre-de-chine with flowering and fruiting plants against a yellow ground and having an iron-red oval seal of the Dowager Empress Cixi (1835‑1908), dia. 3‑3/4”. [250/400] 77 Good Chinese Gentleman’s Court Robe (Chaofu), 19th century, the blue ground with woven designs of clouds, bats and flames with French knot peonies and gold thread embroidered five-clawed dragons on the front and sleeves, the sleeves with horse hoof cuffs, the neck band and front diagonal flap additionally embroidered with gold thread dragons, the hem with striped border below cresting waves and rockwork, the neck and side with giltbronze buttons, now mounted on a white linen ground and framed in giltwood frame behind plexiglass, h, 64”, w. 55”. [3000/5000] Illustrated

75 Large, Impressive Chinese Cloisonne Enamel Monk’s Cap Ewer, 20th century, modeled after a Tibetan ewer with baluster-form body, dragon handle, elongated spout and monk’s cap rim, enameled with lotus blossoms and Buddhist symbols with scrolling foliage and ruyi lappet borders, h. 21”. [700/1000] Illustrated

78 Chinese Glazed Pottery Figure of a General Riding a Dragon, the sinuous horned dragon with the figure of an armored general on its back, the pottery sculpted in intricate detail and glazed in polychrome enamels, mounted on a fitted Lucite display stand, h. 15”, d. 6”, l. 15‑1/2”. [500/800] Illustrated 79 Chinese Framed Scroll Section of Levels of Daoist Hell, 19th century, painted in gouache on silk with figures of demons and animals torturing people condemned to the various levels of Hell, calligraphic labels identifying some of the different punishments, 62‑3/4” x 34”. Presented in a burlwood and gilt frame. [300/500] 80 Group of Three Chinese Calligraphy Brushes, each with bodies made of shaped hardstone pieces with bone bases and tops and horsehair bristles, l. 12”. [250/400]

81 Group of Three Chinese Calligraphy Brushes, each with bodies made of hardstone spheres with bone bases and tops and horsehair bristles, l. 12” to 13”. [250/400]

82 Chinese Hardwood Chess Set (XIANGQI), composed of a wooden case with the exterior marked as the playing board with river, palaces and points enclosed by a fretwork border, the interior with two trays of circular men representing generals, advisors, elephants, horses, chariots, cannons and soldiers, d. 9‑3/4”, l. 18”. [300/500] 83 Large Chinese Embellished Hardwood Brush Pot, 20th century, the dark brown hardwood body with inlaid silver wire stylized cloud decoration and three circular reserve panels with a multi-colored hardstone applique forming scenes of scholars and attendants in gardens, h. 7‑7/8”. [800/1200] Illustrated 84 Chinese Ink and Watercolor on Silk Four-Fold Screen, early 20th century, with a silk brocade border surrounding a landscape scene, h. 36”, w. 73”. [300/500]

87 Rare Chinese Tall Tianhuang Seal, the tall square section rectangular stone of translucent orange color with brown and white inclusions carved on the exterior in low relief with a continuous mountainous landscape with a scholar and two attendants meandering through a landscape with bamboo, bananas and clouds on their way to a partially hidden pavilion among craigy mountains and misty fog, the base uncarved, h. 5‑1/8”. [900/1200] Illustrated

88 Chinese White and Russet Jade Toggle, 19th century, of pear shape, the white stone with orange/russet skin, carved as three carp and a lotus leaf, two of the fish carved in orange/ russet skin, the third in the white portion of the stone, now suspended on a silk cord with a coral-colored glass bead, w. 1‑1/2”, l. 2‑1/4”. [150/300] 89 Chinese Wood and Marble Six-Panel Table Screen, first half 20th century, each panel with a wooden frame inset with marble panels with painted decoration on both sides with scenes of landscapes, people, deities, natural scenes and calligraphy, h. 23‑3/4”. [700/1000] 85 Pair Chinese Carved Ivory Figures of Buddhistic Lions, modeled after bronze lions in the Forbidden City, carved as a male and female lion with curled manes seated on plinth bases and accented with turquoise and coral cabochons, wooden bases, h. 6‑1/8”, including stands. [400/700]

90 Chinese Framed Reverse Painting on Mirror, depicting a noble youth seated at a low table being served by an attendant, the reverse painting on glass with mirrored backing, black and gilt painted wooden frame, h. 16‑1/2”, w. 12‑1/2”. [200/400]

86 Fine, Rare Chinese Carved Tianhuang Figure of a Chimera, the recumbent mythical beast with back-turned head, having two curved horns, bearded chin, open mouth and coiled tail, the stone of rich, even orange/gold color, l. 3”. [900/1200] Illustrated

91 Chinese Ovate Bamboo Covered Basket, 19th century, of rectangular oval outline with triparte bamboo handle, the body of woven split bamboo, the conforming fitted cover of split bamboo decorated with six-pointed stars within hexagonal borders, h. 15‑3/4”, l. 15‑1/4”. [250/400]

92 Chinese Neolithic Jade Pi Disk, of typical circular form without carving, the center with a circular opening, the partially calcified stone with dendriticlike inclusions in a cream and brown body color. A Pi disk is representative of Heaven, dia. 5‑7/8”. [150/250]

100

93 Pair Chinese Painted Provincial Stools, each with a rectangular bowed seat above four round legs with a reeded decorative apron on two sides and the legs joined by round stretchers, h. 17‑3/4”, d. 11”, l. 14‑1/4”. [50/80]

94 Chinese Cizhou Glazed Bowl, Song Dynasty (960‑1279), of rounded form glazed on the interior in cream with painted brown decoration of flowers and birds, the exterior glazed in brown with a cream band at the rim with brown painted foliate decoration, dia. 10‑1/4”. [300/500] 95 Fine Chinese Yingqing Twin Fish Bowl, Southern Song/Yuan Dynasty (1127‑1368), the body with rounded sides, the interior with low relief molded decoration with a central medallion of two fish and vertical ribs dividing the bowl into six sections, glazed in a pale green/blue glaze with unglazed lip rim, dia. 7‑1/4”. [250/400] 96

101

98 Chinese Carved Ivory Figure of a Court Musician, the standing figure clad in informal robes and having a musical instrument in one hand and the other raised in a mudra of blessing, wooden stand, h. 10”, including stand. [300/500] Illustrated 99 Chinese Scholar’s Rock (Lingbi), in the form of a horizontal mountain with craggy folds and outcrops, the stone in dark brown and ochre, presented on a fitted wooden base, h. 5”, l. 11”. [150/300] Illustrated 100 Chinese Carved Ivory Figure of Guandi the God of War and Literature, elaborately carved as a standing figure clad in military armor and holding a halberd, wooden stand with silver wire inlay, h. 11‑1/2”, including stand. [700/1000] Illustrated

96 Group of Twelve Chinese Ivory Carvings of Twelve Immortals, each carved in the round depicting the figure of an Immortal with their individual attribute, each seated and wearing brocade robes, tiered wooden display stand, h. 3” to 3‑1/4”, ivory, h. 7‑3/4”, w. 11”, d. 7‑3/4”, stand. [3000/5000] Illustrated 97 Chinese Carved and Painted Ivory Figure of a Court Entertainer, the standing figure clad in dancer’s robes with an elaborate hairdo and holding a tasseled fan, wooden stand, h. 9‑1/2”. [400/700] Illustrated

101 Chinese Carved Ivory Figure of a Court Musician, 20th century, carved as the standing figure of a female drummer clad in informal robes holding a hand drum and striker, wooden base, h. 12”, including stand. [1400/1800] Illustrated 102 Chinese Carved Elephant Ivory Tusk, the solid, curved tusk with a carved reserve panel in the center depicting two confronting dragons pursuing the Flaming Pearl, custom carved wooden display stand, l. 24‑1/2”. [900/1200] 103 Chinese Carved Celadon Jade Pendant, 19th century, the mottled celadon stone carved as two conjoined bamboo shoots with foliage at the tips, attached to a silk suspension cord, l. 2”. [400/700]

108

107

105 110

106 104 Chinese Carved Ivory Pendant, of rectangular outline with pierced carving of a bird and plum blossoms, the interior panel of lattice work slides out and having an attached “Endless Knot” with pendant gourds, h. 4‑3/4”. [500/800] 105 Chinese Carved Agate Brush Rest, carved as five steep mountain peaks, the variegated stone of pale brown with black inclusions on one side and striated white, black and gray on the other side, l. 4‑1/2”. [700/1000] Illustrated 106 Chinese Carved Celadon Jade Belt Hook, 19th century, the even colored celadon stone carved in relief as a dragon confronting a raised dragon head on a flattened base with a circular knob for attachment to a belt, l. 5‑1/8”. [1400/1800] Illustrated 107 Chinese Carved Celadon Jade Incense Stick Holder, late 19th/early 20th century, of slightly tapering, squared form, each side carved and pierced with a figure of a dragon among foliage and bordered by a key-fret surround, h. 3‑3/4”. [2500/4000] Illustrated

109 111 Chinese Export Lacquered Miniature Cabinet, 19th century, of European-form with rectangular outline and a shell and scrollwork crest, the front with two doors opening to reveal two long drawers, four small drawers, a slotted note holder and a central compartment with two arched doors, decorated all over with chinoiserie decoration in gold on a black lacquer ground, h. 18‑1/8”, w. 12”, d. 6‑7/8”. [1800/2500] Illustrated 112 Chinese Rosewood and Mother-Of-Pearl Covered Box, first half 20th century, of rectangular outline with slightly rounded corners, the cover with applied motherof-pearl decoration of orchids and rockwork with a calligraphic inscription, w. 6”, l. 10”. [900/1200]

111

108 Japanese Bronze and Silver Group, first half 20th century, cast as the seated figure of a sage wearing brocade robes and scholar’s hat leaning against the seated figure of a deer, the sage’s robes inlaid with silver decorative details, h. 6‑1/2”. [1400/1800] Illustrated 109 Chinese Carved Celadon Jade Figure of a Chimera, late 18th century, the even celadon colored stone carved as a recumbent mythical animal with back-turned head emitting the Peal of Wisdom, the details crisply carved, l. 3‑3/8”. [250/400] Illustrated 110 Chinese Carved Celadon and Russet Jade Figure of a Bird, 18th/19th century, the celadon colored stone with russet inclusions carved in the round as a long-tailed bird with back-turned head in a nesting position with its plumed tail tucked over its back, l. 4‑1/2”. [3500/5000] Illustrated

113 Pair of Chinese White Glazed Garden Seats, each of barrel shape with overall pierced decoration of cash symbols and flowering peonies and foliage, glazed in a creamy white glaze, h. 18”. [200/400]

120

114 Elaborate Chinese Rare Zitan Ceremonial Fan and Stand, the fan of traditional form with a central panel with silver wire inlay depicting deities on one side and children on the reverse, the central panel surrounded by elaborate open fretwork and having carved ivory inset decorations, custom wooden stand, silk tassels and brocade storage box, h. 19”, excluding stand. [1400/1800] 115 Chinese Famille Verte Porcelain Figure of Li Tieguai, the molded figure standing with his crutch and one leg raised on a pierced plinth base, clad in brocade robes with a calabash across one shoulder, h. 12‑1/4”. Li is one of the Eight Immortals and protects the poor. [200/400] 116 Chinese Carved White Jade Double Box, of cubicalform, the box in two sections fitted together, the cover of the upper section carved in low relief with a Shou character and two bats, the stone of striated white color, h. 4‑1/4”. [8000/12000] Illustrated 117 Chinese Carved White Jade Figure of an Elephant, 19th century, the slightly greenish/white stone carved as the standing figure of an elephant with back-turning head and having a child lying on its back, h. 2‑7/8”, l. 3‑1/4”. [4000/7000] Illustrated 118 Chinese Carved White Jade Bowl, of circular form with a slightly everted lip rim and splayed foot rim, the even white stone with fine polish, decorated on the exterior with four engraved characters in-filled with gilding, dia. 6‑3/8”. [500/800] Illustrated 119 Chinese Carved White Jade Figural Group, the slightly greenish white stone intricately carved as a sage seated in a bamboo side chair holding a small dog and accompanied by a flute playing, dancing child, all on a cloud shaped flat base, h. 4”. [4500/7000] Illustrated

120 Good Chinese Famille Rose Porcelain Plaque in Custom Wood Frame and Stand, 19th century, the large, rectangular plaque enameled in famille rose enamels depicting a large group of deities enameled in intricate detail in a garden enclosed by a low fence and two large trees and rockwork at the left side, mounted in a rosewood frame and supported by a fretwork-carved rosewood stand, h. 40‑1/4”, w. 24”, d. 10”. [800/1200] Illustrated 121 Chinese Celadon and Famille Rose Saucer Shaped Dish, ca. 1940, of circular outline glazed in an even celadon glaze with overglaze famille rose decoration of peaches with foliage, dia. 10”. [40/70] 118

116 119

117

122 Chinese Famille Rose Handled Vase, 20th century, of baluster-form with archaic dragon handles with loose rings, the turquoise ground body decorated with flowers, foliage and the Eight Buddhist Emblems with a stylized floral border at the shoulder and lotus and Shou characters at the neck, the base with a four-character Yongzheng mark in underglaze blue within a square border, h. 15‑3/”. [700/1000] Illustrated

123 Chinese Export Famille Rose Dish, Republic Period (1908‑1949), of saucer-form, decorated in the Mille Fleur pattern in famille rose enamels on the face, the reverse glazed in “egg yolk” yellow and the base with a four-character Yongzheng mark in raised blue enamels within a double square, dia. 8‑1/4’. [500/800] Illustrated 124 Delicate Chinese Famille Rose Porcelain Bowl, Republic Period (1908‑1949), decorated on the exterior in soft-colored enamels and gilding with four circular reserve panels, each with a single character on a ground of flowers, foliage and Buddhistic chimes, the base with a six-character Jiaqing mark in underglaze blue, dia. 6‑1/4”. [400/700] Illustrated

125

123 126

125 Chinese Porcelain Meiping Vase, Republic Period (1908‑1949), of traditional shape with underglaze glue and overglaze polychrome decoration of two five-clawed dragons pursuing Flaming Pearls, the neck with a lappet border, the foot with a border of plantain leaves, the base with a Qianlong seal mark in underglaze blue, h. 9‑1/4’. [900/1200] Illustrated 126 Good Pair of Chinese Porcelain Small Bottle Vases, (Republic Period 1908‑1949) each with a bulbous body and thin elongated neck, decorated in famille rose enamels with delicate scenes of crested love birds nestled in flowering branches above flowering hibiscus, the recessed base with a four-character Qianlong mark within a double square in raised overglaze enamels, h. 6‑1/4”. [300/500] Illustrated

124

127 Chinese Famille Rose Molded Porcelain Umbrella Stand with Continental Mounts, of cylindrical form with molded porcelain bosses, enameled in famille rose enamels with a central band of dragons among flowers and having floral border bands at the base and top, gilt bronze mounts and pendant handles, h. 21‑1/2”. [500/800] Illustrated

127 122

128 Chinese Embroidered Silk Altar Frontal, 19th century, of rectangular outline with silk net and silk and wire tassels, the central panel embroidered with a central pheasant on rockwork and flowering peonies, the rest of the panel embroidered with sparrows, cranes and butterflies among rockwork, bamboo and flowering prunus branches, the central panel bordered on three sides with mirrored attachments in brass frames, h. 32”, including tassels, l. 71”. [300/500] 129 Unframed Japanese Woodblock Print by Kitigawa Utamaro (1753‑1806), entitled “Towing a Boat on the Yoto River”, depicting two geishas and a boatman in a boat being towed to shore by a dock worker with a castle and mountains in the background, h. 8‑7/8”, w. 15‑3/16”. [200/400] 130 Unframed Japanese Painting of Lady Suho Naiji by Tsunenobo Kanoh (1634‑1712), along with calligraphy of a poem by Suho Naiji, depicting the lady kneeling in full court dress, originally part of a screen, h. 9‑1/4”, w. 7‑5/8”. [125/250]

131 Chinese Pieced Wood-Handled Carrying Basket, 19th century, the oval waisted body composed of shaped, fitted wooden slats bound by a gilt wooden encircling band and having a carved wooden handle with peaches and cloud decoration, h. 18‑1/4”, l. 18”. [100/200] 132 Chinese Provincial Stained Pine Lowboy, 19th century, the rectangular top over two drawers and a secret compartment accessible only when the drawers are removed, the circular legs joined in the front by a carved apron, h. 31”, d. 18‑3/4”, l. 38‑1/4” [400/700]

135

133 Chinese Rosewood Squared Plant Stand, 20th century, the squared top with a floating panel supported on reeded square legs with carved feeet, a shaped foliate apron and a lower shelf with pierced floral carving, h. 30‑3/4”, w. 17‑3/4”, l. 17‑3/4”. [500/800] Illustrated

134

134 Large Chinese Famille Rose Reticulated Vase, Republic Period (1908‑1949), the baluster form body with pierced openwork of stylized dragons with four circular reserve panels each with landscape decoration and calligraphic inscription, above the openwork is a border of ruyi heads and the shoulder and neck decorated with stylized lotus blossoms and scrolling foliage on a feathered scrollwork sgraffito ground topped by a lappet border, the base with a six-character Qianlong seal mark in underglaze blue, h. 19‑1/4”. [1200/1800] Illustrated

133

135 Large Chinese Famille Rose Porcelain Charger, 20th century, of saucer-form decorated on the face and back with butterflies in flight among varied flowers, the base with a four-character Yongzheng mark in underglaze blue, dia. 20‑1/2”. [1200/1800] Illustrated 136 Delicate Pair of Chinese Famille Verte Sauce Dishes, Republic Period (1908‑1949), each of circular outline resting on recessed feet, finely enameled and depicting a pine tree with a red-headed crane at its base and two ironred bats in flight, the base with an underglaze blue fourcharacter mark reading “The Chinese Nation”, dia. 3‑1/4”. [125/250] 137 Chinese Bamboo Rice Measure Handled Basket, 19th century, the oval outline basket made from woven split bamboo and have a triple loop handle of bamboo strips, h. 19‑1/2”, l. 14‑1/2”. [100/200] 138 Chinese Famille Verte Porcelain Vase, 19th century, of baluster-form with flared lip rim decorated with a continuous scene of kylin on rockwork in a garden setting of flowering plants and having a phoenix in flight on the neck, h. 11”. [500/800]

139 Fine George III Sterling Silver Two-Handled Cup and Cover, hallmarked London, 1774‑1775, by Daniel Smith and Robert Sharp, in the neoclassical taste, of traditional form, the ovoid body decorated with a band of applied drapery swags with a lyre-and-palmette band above and an acanthus calyx below, with a dramatic pair of entwined serpent handles, raised on a domed circular foot and fitted with a steep cavetto-domed lid with acanthus calyx and figural finial of Nike, h. 19”, w. 12‑3/4”, dia. 7‑1/4”, 116.39 t. oz. [14000/18000] Illustrated

139

140 Paul Storr Sterling Silver Figure of a Classical Maiden, no date or city mark but first quarter 19th century, London, the realistically detailed figure depicted with a crown and bouquet of flowers, one arm raised above her head, presented on a later ebonized turned wood stand, figure h. 10‑1/2”, 27.71 t. oz., overall h. 16‑1/2”. This figure is part-marked (bearing only the sterling lion passant, George III duty mark and distinctive maker’s mark of Paul Storr) indicating that it was at one time part of a larger item, probably a dessert stand, several of which by Storr incorporate such figures. [6000/9000] Illustrated 141 George III Old Sheffield Plate Sauce Tureen, ca. 1800, of oval form above a conforming foot, with upswept acanthus-mounted handles and baded edging, the fitted domed lid with foliate calys and bud finial, h. 6”, w. 9”, d. 4”. [250/400]

140

142 Pair of Victorian Sterling Silver-Mounted Pressed Glass Claret Jugs, hallmarked London, 1895‑1896, by John Grinsell & Sons, each with an ovoid body decorated with molded intaglio rococo scrolls, shells and flowers, raised on spiral gadrooned foot, mounted with a silver collar embossed en suite and fitted with a pyramidal spout with engraved flowers, an arched, crested handle, and hinged and domed lid with spiral gadroons and bud finial, h.10”, dia. 4‑1/4” [9000/12000]

142

143 Fine Pair of Victorian Sterling Silver and Ivory Fish Servers, hallmarked London, 1866‑1867, by Thomas Smily, including a fishserving fork, l. 11‑1/2”, and knife, l. 15”, the fork with four silver tines cast and chased on the obverse with a scene of “The Birth of Venus” and on the reverse with a crest with male naiad supporters and a Poseidon masque-crest, the knife with a silver scimitar-shaped blade similarly cast and chased on the obverse with a scene of “The Death of Hippolytus” and on the reverse with a large male naiad-mantled cartouche, each joined by a scrolling ferrule to a carved figural ivory handle of a pair of entwined sea serpents emerging from a beaded acanthus calyx, engraved, on each cartouche, with a crest of a lion’s head erased and crowned. [3000/5000] Illustrated 144 Pair of Elkington Silverplate Candlesticks, first quarter 20th century, Birmingham, in the Mannerist taste, each with a knopped standard above a steep waisted domed circular base and surmounted by an ovoid nozzle, richly decorated with lion’s and ram’s masques, putti and mythological figures, the base and detachable bobeche with ovolo edging, h. 6‑3/4”, dia. 3‑1/2”. [150/300] 145 Victorian Silverplate Salver, fourth quarter 19th century, by Richard Richardson, Sheffield, of serpentinelobed circular form, with palmette and egg-and-dart banding, the plateau engraved with wide bands of arabesques at the center and edge, raised on three clawand-ball feet, dia. 12‑3/4”. [100/200] 146 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”. [400/700] Illustrated 147 Set of Ten Edwardian Sterling Silver-Handled Fruit Knives, hallmarked Sheffield, 1900‑1901, by J. & J. Maxfield, the “King’s”-shape handle with gadrooned edge and cabochon finial, with the original steel blades, monogrammed on the handle “O”, l. 8”. [250/400]

146

148 Seven-Piece George V Sterling Silver Salt and Pepper Set, hallmarked London, 1924‑1927, by Lionel Alfred Crichton, including four baluster form pepperettes, h. 3‑3/4”, and three cauldron salt cellars with Bristol glass liners (one liner lacking), two pepperettes and two salts monogrammed “S/G.L”, dia. 2‑1/2”, 11.12 total t. oz. (excluding liners). [600/900] 149 Collection of Four Edwardian Sterling SilverMounted Glass Dresser Jars, first quarter 20th century, all with a cylindrical glass body and silver cap, including one hallmarked London, 1910‑1911, by Drew & Sons, with paneled body and guilloche screw-cap, monogrammed “WRS”, h. 2‑3/4”, one hallmarked Birmingham 1900‑1901, by Britton, Gould & Co., with lattice-cut body and rococo cap, h. 2‑1/8”, one hallmarked Birmingham, 1901‑1902, by Levi & Salaman, h. 1‑3/4”, and one unmarked example with paneled body and rococo, h. 1‑3/8”, 2.83 total t. oz. (caps only). [100/200]

143

150 Collection of Eleven Sterling, Silverplate and Tortoiseshell Table Articles, late 19th to mid‑20th century, including a 19th century Wood & Hughes sterling christening cup, h. 3”, a silverplate pillbox, dia. 2”, a sterling cosmetic tube, hallmarked London, 1902‑1903, by C. J. Fox & Co., l. 3” a sterling shoehorn hallmarked Sheffield, 1931‑1932, by Viner’s Ltd., l. 3‑1/4”, a sterling nail buff, hallmarked Birmingham, 1907‑1908, by Carrington & Co., l. 3‑3/4”, a tortoiseshell nail buff with silverplate handle, l. 3‑1/2”, an oval tortoiseshell pin tray, l. 3‑7/8”, a circular tortoiseshell pen tray with silver rim hallmarked Birmingham, 1925‑1926, by S. M. Levi, dia. 3‑1/4”, a silverplate soap dish, l. 4‑1/2”, a German .800 silver sweetmeats box, w. 2‑1/2”, and a polychrome tartan pen knife, l. 1‑3/4”, 4.24 total t. oz. (sterling articles only). [100/200]

155 Persian Semi-Antique Mahal Carpet, 13’7” x 20’3”. [2500/4000] Illustrated 156 Antique Tabriz Carpet, 4’8” x 6’2”. [200/400] 157 Jaipur Circular Carpet, dia. 6’. [500/800] 158 Peking Chinese Runner, 2’3” x 11’2”. [500/800]

151 Collection of Five Victorian and Later Pieces of Small Sterling Silverware, including a cased pair of Victorian cellars, hallmarked London, 1881‑1882, by Lias and Wakely, dia. 1‑7/8”, the case, w. 6”, d. 4‑1/2”, an American reticulated thimble case, ca. 1900, h. 1‑1/8”, a German boutonniere, first quarter 20th century, l. 4”, a Spanish tastevin, second quarter 20th century, by Plateria Lopez, Madrid, dia. 2‑1/2”, [200/400] 152 Collection of Nine Victorian and Edwardian Sterling Silver-Mounted Tall Glass Dresser Bottles, each with a paneled glass body, including examples hallmarked London, 1865‑1866, the maker’s mark rubbed but retailed by Perkins & Cotton, the guilloche cap with the unusal crest of Lane of Ryelands (out of a crescent or, two griffin’s heads, one gules, the other azure), h. 5”, London, 1884‑1885, by Wright & Davis, retailed by Mappin & Webb, h. 6‑1/2”, Sheffield, 1894‑1895, by Mappin & Webb, h. 7‑1/2”, London 1904‑1905, by C. H. Dumenil, h. 7”, London, 1905‑1906, by Alexander Clark Mfg. Co., h. 5‑5/8”, London, 1910‑1911, a short pair by Alexander Clark Mfg. Co. , each h. 3‑3/4”, London, 1910‑1911, by Gibson & Langham, h. 7”, and one unmarked example with pierced cap, h. 7”, 2.96 total t. oz. (caps only). [200/400] 153 Collection of Six Sterling- and Silverplate-Mounted Glass Bottles, first half 20th century, three examples of “paneled lighthouse” form, including an English caster with silverplate cap. h. 5‑1/2”, an Edwardian caster with sterling cap hallmarked Birmingham, 1906‑1907, by J. Grinsell & Sons, h. 4‑1/2”, and a French Christofle silverplate caster with plunger top, h. 6‑1/2”, and three George V examples of “paneled flask” form, including a flask with hinged screw cap, hallmarked London, 1912‑1913, by Percy Whitehouse, monogrammed “DGA”, h. 4‑5/8”, a cologne bottle hallmarked Birmingham, 1909‑1910, no maker’s mark, h. 3‑1/4”, and a smelling salts bottle hallmarked Birmingham, 1939‑1940, by Harrison & Sons, h. 2‑1/4”. [200/400]

155

159 Jaipur Ferahan Carpet, 8’4” x 11’7”. [1000/1500] 160 Persian Heriz Carpet, 9’5” x 12’10”. [2000/4000] 161 Semi-Antique Heriz Carpet, 9’ 4” x 8’ 5”. [500/800] 162 Soumak Carpet, 6’10” x 9’1”. [300/500]

154 Good English Sterling Silver Figure of a Western Gorilla, hallmarked London, 2008, by J&MS, the adult male gorilla realistically detailed in a walking posture, h. 5‑5/8”, l. 4‑7/8”, w. 4”, 27.84 t. oz. [3000/5000]

163

167

164

171

163 Turkish Angora Oushak Carpet, 9’ x 12’3”. [2000/4000] Illustrated 164 Persian Isphahan Carpet, 9’9” x 12’8”. [1200/1800] Illustrated 165 Persian Mashad Carpet, 6’ 10”x 9’. [1800/2500] 166 Heriz Style- Runner, 2’11” x 2’9”. [500/800] 167 Peshawar Sultanabad Carpet, 9’ x 11’8”. [2500/4000] Illustrated 168 Indo-Oushak Runner, 2’7” x7’6”. [400/700] 169 Agra Carpet, 4’ x 6’3”. [400/700] 170 Indo-Oushak Carpet, 4’ x 6’. [400/700] 171 Semi-Antique Persian Kashan, 10’2” x 14’. [4500/7000] Illustrated

174 172 Persian Tabriz Carpet, 10’ x 13’5”. [500/8000] Illustrated 173 Semi-Antique Sarouk Carpet, 5’ x 6’7”. [300/500] 174 Late Regency Mahogany Sideboard, second quarter 19th century, possibly Scottish, the superstructure fitted with glissands flanked to either side by a short drawer, the dropped bowfront center section above a conforming frieze fitted with a cutlery drawer over a recessed deep drawer, with a retractable baize inset cover, flanked to one side by a deep drawer and to the other by a cupboard door, both paneled, raised on bulbous ribbed and turned circular legs ending in toupie feet, h. 44”, w. 84”, d. 28”. [3000/5000] Illustrated 175 William IV Mahogany Dressing/Side Table, second quarter 19th century, the rounded rectangular top with molded edge and three-quarter gallery, above a frieze fitted with a small central drawer flanked to either side by a deeper drawer, raised on bulbous turned circular legs ending in casters, h. 32”, w. 45”, d. 20”. [250/400] 176 “Ceylon” Pattern Vista Allegre Partial Dinner Service, comprised on five dinner plates, dia. 10”, eight luncheon plates, dia. 8”, eight cups, h. 2‑1/2”, with eight saucers, dia. 6‑3/4”, and eight bread and butter or dessert plates, dia. 7”, all marked. [100/200] 177 English Imari-Style Soup Tureen, second quarter 19th century, with blue and gilt-leaf molded handles, unsigned and lacking cover, h. 7‑3/4”. [250/400] 178 English Coalport Chinoiserie Luncheon Plant, first quarter 19th century, decorated in the Mandarin fashion with dragons and lotus flowers in the border, dia. 8‑3/4”. [250/400]

172

182 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”. [900/1200]

180

183 Regency Mahogany Desk, first quarter 19th century, the rectangular top with a roll-top tambour opening to an interior fitted with a leather-inset pull-out surface centered by a hinged panel raising to an easeled back, with a variety of drawers and cubbyholes, all over a frieze fitted with two short drawers, raised on square legs ending in brass caps on casters, h. 38‑1/4”, w. 36”, d. 26”. [1200/1800]

179 Extensive Service of Waterford Cut-Crystal Glassware, cut in a diamond pattern consisting of twelve goblets, h. 7”, fourteen goblets, h. 6”, three champagnes, h. 4”, six tumblers, h. 3‑1/4”, and seventeen dessert/salad plates, dia. 8”. [500/800] Illustrated 180 Pair of Regency-Style Cut Glass Two-Arm Candelabra, first quarter 20th century, topped with spear-cut finials and cut glass shades, h. 31‑1/2”, w. 21‑1/2”. [500/800] Illustrated

181

181 William IV Mahogany Music Stand, second quarter 19th century, the slatted and double-sided rack fitted with a candle slide with brass cup to either side, raised on a ribbed columnar standard to three splayed shaped legs, h. 55‑1/2”, w. 19‑1/2”, d. 15‑1/2”. [500/800] Illustrated

179

184 Pair of William IV Cast Bronze Candlesticks, second quarter 19th century, each in foliate decor, the base with a cast-iron weight plate, h. 7”. [600/900]

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189 193

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185 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 foliate-carved legs ending in brass paws, with three leaves, h. 30”, d. 48”, l. 72”, ext. l. 138”. [2000/4000] Illustrated 186 Samson Lobed Vase on Stand, fourth quarter 19th century, in the Japanese Imari Style, with Ho-Ho birds in gilt rondels, attributed to Samson, Paris, signed with faux Japanese character on the bottom and mounted on a contemporary hardwood stand in the Oriental taste, h. 10”. [500/800] 187 Pair of “Coalport” Dinner Plates, early 19th century, in the Imari pattern, beautifully gilded, dia. 9‑1/2”. [200/400] Illustrated

192

188 Two Imari-Style English Teacups and Saucers, first quarter 19th century, the first Worcester, impressed “BFB” under cup, for Barr Flight Barr, the second unmarked, dial. 3‑1/4”, cup, 5‑1/2”, saucer. [300/500] Illustrated 189 Pair of Derby Luncheon Plates, 1877‑1890, with clobbered decoration in the Imari-style, dia. 8‑3/4”. [200/400] Illustrated 190 Garniture Vase with Imari Decoration, second quarter 19th century, with serpent ring handles, signed “Bloor Derby” in red, h. 8‑1/2”. [900/1200] Illustrated 191 Elegant Imari Pattern Urn, first quarter 19th century, with handles molded in the form of female heads, signed with the red crown and “D” mark, h. 12”. [1000/1500] Illustrated 192 English Derby Imari-Style Dinner Plate, first quarter 19th century, marked with the red crown and “D” mark, dia. 10”. [200/400] Illustrated

193 English Imari-Style Oval Teapot with Lid, first quarter 19th century, with unusually rich decoration incorporating lotus flowers, richly gilded, possibly Derby, signed “Pattern No. 240” under the lid, h. 7”. [500/800] Illustrated

185

194 Pair of Derby Luncheon Plates, 1877‑1890, in the traditional Imari pattern, dia. 9‑1/4”. [250/400]

195

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201

202 197 196 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”. [1200/1800]

195 Fine Pair of George IV Mahogany, Giltwood and Marble-Top Pier Tables, second quarter 19th century, each with the incised stamp “Miles & Edwards, 134 Oxford St London 16656” in the neoclassical taste, the facade supports modeled as tall boldly whorl-footed giltwood brackets with acanthine-carved knees, the backplates in mirrored glass, the tops of polished gray-veined white marble, h. 36”, w. 69”, d. 19‑1/4”. Provenance: The I.W.R. Franklin House, Jefferson County, Tennessee, purchased from Bernd Goeckler Antiques, New York, 1996. [8000/12000] Illustrated

197 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”. [1800/2500] Illustrated 198 Regency Rosewood and Calamander Work Table, first quarter 19th century, the canted rectangular top above a conforming frieze fitted with a single drawer and with corner inlaid foliate accents, above a fabric demilune pull-out storage well, raised on a turned standard to a circular base on cabriole legs ending in brass paws on casters, h. 29‑1/2”, w. 22‑1/4”, d. 15‑3/4”. [800/1200]

204 Regency Mahogany and Burlwood Console, first quarter 19th century, the demi-lune top with a full pierced brass gallery above a banded frieze, joined by a mirrored back and turned gilt uprights to a demilune plinth base, h. 38”, w. 34”, d. 17”. [1800/2500] Illustrated

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206

205 Attractive William IV Mahogany Desk Box, second quarter 19th century, of low sarcophagus form, the silver monogram plate centering an oblong tablet of Tunbridge marquetry at the apex of the hipped lid, the interior fitted with a conforming lift-out tray, h. 7”, w. 16”, d. 11‑1/2”. [300/500]

206 Regency Work Box Decorated with Penwork in Chinese Patterns, second quarter 19th century, incorporating a sitting man on the cover holding a pet dove, and Chinese house scenes around the sides, the interior retains old red paper, formerly fitted with dividers, h. 3‑1/2”, w. 10”, d. 6‑3/4”. [800/1200] Illustrated 207 English Regency Penwork Work Box, second quarter 19th century, with scenes of an Indian procession set in an exotic landscape with floral borders, with neoclassical dividers and pink paper lining, the box sits on brass ball feet, h. 4”, w. 11”, d. 7”. [800/1200]

199 Regency Tortoiseshell Tea Caddy, first quarter 19th century, of modified pagoda-form, the stepped lid centered by a monogrammed silver plaque, opening to an interior fitted with two faux tortoiseshell lidded paktong-lined compartments, raised on gilt bun feet, h. 5‑3/4”, w. 7”, d. 5”. [1800/2500] Illustrated

208 William IV Brass-Inlaid Rosewood Lap Desk, fitted with campaign-style handles, with brass cartouche and matching escutcheon, the felt-lined interior compartmentalized to hold ink pots and pens, h. 7”, w. 20”, d. 10‑1/2”. [400/700] Illustrated

200 Regency Tortoiseshell Tea Caddy, first quarter 19th century, of rounded-and-canted-rectangular-form, the domed lid opening to two tortoise-lidded paktong-lined compartments, the whole with decorative bone stringing and raised on bone bun feet, h. 6”, w. 6‑1/2”, d. 3‑1/4”. [1800/2500] Illustrated 201 Regency Tortoiseshell Tea Caddy, first quarter 19th century, of tapering-rectangular-form, the stepped lid centered by a bone knop, opening to an interior fitted with two lidded compartments, raised on bone bun feet, h. 6”, w. 6‑1/2”, d. 3‑3/4”. [1500/2500] Illustrated 202 Victorian Tortoiseshell Etui, fourth quarter 19th century, of concave-rectangular-form, the slanted lid centered by a silver “E” monogram plaque, opening to an interior fitted out to accommodate sewing implements, still retaining a small pin cushion, h. 4”, w. 2‑1/2”, d. 2”. [900/1200] Illustrated 203 Victorian Tortoiseshell Box, third quarter 19th century, inlaid with gold, silver and mother-of-pearl, including a central shield inlaid in lunette-form, w. 2‑1/4”, d. 3/4”, l. 3‑1/2”. [150/300]

204

215 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’. [1000/1500] 216 Large Pair of Polished Brass “Marly Horses”, 20th century, after the originals by Nicolas Coustou (French, 1658‑1733), h. 21”, w. 21”, d. 8”. [1200/1800]

211 209 Mahogany and Brass Regency Lap Desk, second quarter 19th century, with campaign-style handles, the desk with brass corners, name plate and escutcheon, the interior lined with a green leather writing slope and compartmentalized for bottles and pens, h. 7”, w. 20”, d. 10”. [500/800] 210 Brass and Mahogany Regency Lap Desk, second quarter 19th century, fitted with serpentine name plate and matching escutcheon, brass corners and campaignstyle handles, a blue velvet covered writing slope with a cloth type letter holder in tact on its rear, fitted with an ebonized pen tag and bottle compartments, on glass and silver ink pot, h. 7”, w. 20”, d.10‑1/2”. [500/800] 211 Franklin Dullin Briscoe (American, 1844‑1903) “Seascape with Two Figures on the Beach”, oil on canvas, signed lower right “F. D. Briscoe”, 30” x 50”. Presented in a giltwood frame. [1500/2500] Illustrated 212 Continental School (Second Quarter 20th Century) “Harbour Scene with Fishing Boats”, oil on canvas, signed lower right “Hyning”, 28” x 38”. Framed. [400/700] 213 Follower of James Edward Buttersworth (American/ British, 1817‑1894) “The Clipper Ship on a Choppy Sea”, oil on canvas, signed lower right “Marc”, 12” x 16”. Presented in a regency-style giltwood and ebonized frame. [250/400] 214 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”. [1800/2500]

217 Pair Chinese Blue and White Export Porcelain Figures of Pheasants, 20th century, each modeled as a plumed standing bird on a rocky base, realistically decorated in underglaze blue with detailed plumage, h. 16‑1/2”. [900/1200] Illustrated 218 Chinese Blue and White Covered Porcelain Ginger Jar, of traditional-globular-form with original domeshaped cover, decorated in underglaze blue with shaped reserve panels of Chinese antiques against a hawthorn blossom ground, h. 10‑3/4”. [400/700] Illustrated 219 Chinese Blue and White Export Porcelain Mug, first half 19th century, of barrel-form with molded handle, decorated in underglaze blue with a continuous landscape scene in the Nanking pattern, h. 5”. [100/200] Illustrated

224

225 Pair Chinese Blue and White Porcelain Garden Seats, 20th century, each of octagonal-barrel-form with molded bosses and pierced cash symbols, decorated in underglaze blue with peaches, peonies, lotus and scrolling foliage, h. 18”. [2500/4000]

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226 Chinese Blue and White “Pilgrim” Vase, 20th century, the circular body with raised central medallion, scroll handles and tubular neck decorated on both sides with Buddhistic symbols and with scrolling lotus blossoms on the side, the base with a six-character Yongzheng seal mark in underglaze blue, h. 13‑1/4”. [400/700] Illustrated 227 Chinese Blue and White Export Porcelain Covered Tureen, of oval-bombe-shape with twig handles, splayed foot rim and conforming cover with fruit-form finial, decorated in underglaze blue with floral sprays, h. 10”, l. 13‑1/2”. [2500/4000] Illustrated

219

220 Pair Chinese Blue and White Baluster Vases, each decorated in underglaze blue with reserve panels of Chinese antiques against a hawthorne-patterned ground, custom wooden bases and tops by Dennis Poupart for making into lamps, h. 13”, including stands and tops. [800/1200] Illustrated 221 Group of Four Chinese Blue and White Saucer Dishes, Guangxu mark (1875‑1908) and probably of the period, each decorated in underglaze blue with a central lotus blossom surrounded by six additional lotus blossoms on the wall, dia. 9‑3/8”. [250/400] 222 Chinese Blue and White Porcelain Vase and Porcelain Stand, 20th century, of double-gourd-shape with dragon handles, decorated in underglaze blue with a continuous scene of deities riding animals and Shou characters and scrolling foliage, the porcelain stand with ruyi heads, h. 18‑1/8”. [500/800] 223 Chinese Blue and White Export Porcelain Desk Set, 19th century, the porcelain stand having a hinged cover storage compartment, covered inkwell, sand sprinkler and dipping well, all decorated in underglaze blue with landscape scene, h. 3‑3/4”, l. 7‑3/4”. Provenance: ex coll. Elinor Gordon. [600/900]

226

228 Pair Chinese Export Porcelain Blue and White Candlesticks, each of European form decorated in underglaze blue with a central landscape scene, a floral decorated base and a candle holder with cross hatch design, h. 9‑1/2”. [1800/2500] Illustrated 229 Chinese Blue and White Export Porcelain Tulipiere Vase, 20th century, of flattened octagonal outline with five flower holders at the top and loose ring handles at the sides, decorated in underglaze blue with dragons among lotus blossoms on each side, the base with a border of plantain leaves, h. 17‑5/8”. [150/300] 230 Chinese Blue and White Porcelain Glazed Garden Seat, of barrel-form with molded bosses and pierced cash symbols, glazed in underglaze blue and white and overglaze white with overall floral decoration, h. 19”. [200/400]

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228

224 Large Chinese Blue and White Porcelain Figure of a Fisherman, the bearded figure clad in a robe and trousers decorated with plum blossoms and peonies, the figure with a bamboo hat holding an enormous carp and having a crab and turtle at his feet, h. 29‑1/2”. [800/1200] Illustrated

231 Large Chinese Carved Agate Desk Seal, 19th century, the squared base with engraved landscape and calligraphy decoration, the top carved as a dragon-tortoise spewing magical vapors enclosing a Pearl of Wisdom, h. 3‑1/2”, w. 2‑5/8”. l. 2‑5/8”. [250/400] Illustrated 232 Small Chinese Cloisonne Vase, 18th century, of baluster form with flared lip rim, the body decorated with lotus blossoms, scrolling foliage and Buddhistic symbols, the neck with a border of plantain leaves and lotus with a border of ruyi lappets at the lip, with original gilt details, h. 7‑1/2”. [2500/4000] Illustrated

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231

233 Pair Chinese Carved Agate Seals, 19th century, each having a squared columnar base with inscribed calligraphy, the tops carved as Buddhistic lions seated on their haunches with open mouths bearing their teeth, the bases carved with seal characters, h. 3‑1/4”. [150/300] Illustrated

233

234 Elaborate Chinese Zitan and Ivory Table Screen, composed of three central etched ivory panels in a fretwork frame and fitted into an elaborate stand, the central panel with red-headed cranes perched in a pine tree, the flanking panels with engraved calligraphy, fitted silk brocade box, h. 17‑1/8”, l. 13‑1/4”. [1200/1800] Illustrated 235 Rare, Elegant Chinese Carved Zitan Brush Rest, 19th century, the rare wood carved as three mountain peaks rising from swirling waters on the front, on the reverse the peaks rising from cresting waves and having an engraved artist’s seal within an irregular oval cartouche, w. 2‑1/2”, l. 9”. [800/1200] Illustrated

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235

236 Fine, Rare and Large Chinese Embellished Zitan Brush Pot, of circular form with slightly waisted walls, the wooden body embellished with hardstone and motherof-pearl overlays and carved wooden tree trunks and branches depicting two prunus trees with the first flowers of spring, along with two birds in flight above the trees and bamboo foliage at their base, an engraved artist’s signature and seal to the side of the decoration, h. 8”, dia. 7‑1/2”. [2000/4000] Illustrated 237 Elaborate Chinese Carved Rosewood Spill Vase, 19th century, carved in the form of a gnarled plum tree with branches emerging with the first blossoms, with a pair of cranes at the base above exposed roots serving as the feet of the vase, the entire piece elaborately carved with good dimensional details. h. 8‑1/2”. [300/500] Illustrated 238 Fine Chinese Carved White Jade Rectangular Plaque Pendant, 20th century, the rectangular shaped, even white stone carved in low relief on the front with a standing figure of Guan Sheng Di, the Daoist God of War, in military armor holding a halberd, the reverse carved with a stand of bamboo and a four-character inscription in archaic characters within a cartouche, the jade plaque suspended on an elaborately carved rosewood display stand with dragon decor, jade h. 3‑5/8”, w. 2‑3/8”, stand h. 13‑1/4”. [500/800] Illustrated 239 Large Chinese Carved Agate Desk Seal, 19th century, the triangular outline base with engraved calligraphy, the top carved with two confronting Buddhistic lions, each with elaborate fur details, the base carved with a gourd-shaped seal, h. 4”. [500/800] Illustrated

240 Fine and Rare Chinese Zitan Wood Cylindrical Covered Box, of circular outline and fitted with a conforming lid with a central hole, the highly polished body engraved with a ten-line calligraphic inscription, signature and artist’s seal within an oval, the wood with smooth, fine patina and of lovely color,h. 5”, dia. 5”. [1200/1800] Illustrated

238

241 Unusual Chinese Cast-Bronze Brazier, 19th century, modeled after an archaic model, the shallow hemispherical body with cast decoration after ancient models, having two rectangular handles and resting on three round feet with ogre masks, h. 1‑1/2”, dia. 21”. [2000/4000] Illustrated

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240

242 Chinese Cast-Bronze Covered Incense Burner, late 19th century, composed of a hemispherical body resting on three cabriole legs and having strap handles, the domed top pierced with “cash” symbols and topped by the figure of a male Foo Dog with an openwork ball, h. 13‑1/4”. [400/700]

239

243 Unusual Chinese Wooden Plant Container, 19th century, made from the hollowed trunk of a tree, of slightly oval outline and retaining the textured growth lines on the exterior, fitted with a conforming wooden base and having two iron ring handles, an unusual piece suitable for a scholar’s studio, h. 10‑1/4”, l. 17”. [1400/1800]

246 Chinese Carved Jade Sword Slide, Ming Dynasty (1368‑1644), of rectangular outline with one in-curved end and rectangular opening on the reverse, the white stone with russet inclusions carved on the top in low relief with archaic symbols, l. 3‑1/4”. [400/700] Illustrated

244 Chinese Carved Wood Figure of a General, the armor and helmeted standing figure on a rockwork base and holding instruments of battle, the figures armor and drapery inlaid with silver wire imitating brocade, h. 16”. [500/800]

247 Well-Carved Chinese Chalcedony Seal, 18th/19th century, the even brown stone with some skin at the front base carved as the figure of a Buddhistic lion seated on rockwork above swirling clouds, the base with carved seal in a gourd shape, the reverse with engraved signature, h. 2‑1/2”. [500/800]

245 Unusual Chinese Two-Color Agate Seal, in the form of a dark green flattened agate pebble with ochre skin at the front carved in relief as three bats and a ruyi scepter, the base uncarved, h. 2‑1/8”. [250/400] Illustrated

248 Charming Chinese Carved Jade Monkey Group, 19th century, the even olive green stone carved as a mother monkey and her baby, the mother holding the baby by the scruff of it’s neck and pulling it towards her, h. 1‑5/8”. [400/700] Illustrated 249 Chinese Carved Jade Toggle and Stand, 19th century, the dark green and brown stone carved as the figure of a recumbent cat resting on a leaf, fitted wooden stand, l. 2‑3/4”. [250/400] Illustrated

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245 249

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250 Pair of Chinese Softwood Provincial Horseshoe Chairs, first quarter 20th century, the light colored wood with horseshoe back and arms, carved splat and shaped spindles above an inset seat, squared legs and carved apron, h. 36”, w. 26”, d. 22‑1/2”. [400/700]

251 Chinese Softwood Squared Low Table, 19th century, with later inset glass top, the squared top with open lattice work above four squared feet and a carved openwork apron with cash symbols, h. 19‑1/2”, w. 36‑1/2”, d. 36‑1/2”. [1000/1500] Illustrated 252 Northern Chinese Wooden Traveling Case, 19th century, of rectangular outline with a lift top, the side with three drawers, bound with iron hinges, carrying loop and drawer pulls, the corners with iron reinforcement bands, h. 10‑1/2”, d. 9‑3/4”, l. 13‑1/8”. [400/700]

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256 254 257

253 Chinese Wood and Iron Binding Grain Measure, 19th century, of truncated-pyramidalform, the sides and base of wooden panels and having two carved wooden handles, the corners and base with iron straps, h. 14‑1/2”, w. 15‑1/4”, l. 15‑1/4”. [200/400] 254 Group of Three Chinese Neolithic Pottery Vessels, Xia and Western Zhou Dynasties (2100‑771 BC), one a tripodal owl mask pouring vessel with flattened handle, the second a spouted vessel with scalloped lip rim, spout and ring handle and five bosses (Qijia culture) and the third a pear-shaped vase with impressed vertical cord decoration, h. 5‑3/4” to 6”. [600/900] Illustrated

258

255 Dramatic Chinese Jade Bi Disk, of unusually large size, of circular form with central opening, the green and brown mottled stone with surface encrustation, dia. 13‑1/8”. [300/500] Illustrated 256 Rare Chinese Incised Storage Jar, Zhou Dynasty (1050‑221 BCE), of globular form with waisted foot, the body with horizontal incised bands of waves and four applied vertical bands, h. 7‑1/2”, dia. 12‑1/4”. [900/1200] Illustrated

257 Fine Chinese Globular Celadon Glazed Storage Jar, Jin Dynasty (1115‑1234) or later, the globular body with inverted foot having four applied lug rings and glazed in a celadon glaze stopping short of the foot, h. 5‑1/4”. [300/500] Illustrated

258 Group of three Chinese Painted Pottery Figures of Musicians, Han Dynasty (206 BCE‑220 AD), each pottery figure depicting a kneeling musician in court robes and hat, each holding a musical instrument, traces of painted decoration and earth encrustation, h. 6” to 6‑3/4”. [600/900] Illustrated 259 Group of Three Chinese Cinnabar LacquerCovered Boxes, 19th/20th centuries, all of rectangular outline, the smaller two carved with figures in garden scenes, the largest carved with a lakeside pavilion among trees in a rocky landscape surrounding a lake, l. 3‑3/4” to 9‑1/2”. [400/700] Illustrated 251

260 Large Chinese Monochrome “Archer’s” Vase, 20th century, the bulbous body with slightly flared neck and having two hollow handles in the shape of bamboo sections, glazed all over in a rich oxblood glaze thinning to cream at the lip rim and tops of handles, h. 18”. [400/700]

261

261 Fine Pair Chinese Glazed Porcelain Vases, Republic Period (1908‑1949), each in the form of a Gu bronze with even, rich oxblood glazes, the flared lip rims revealing the white interior, the bases with six-character Qianlong seal marks in underglaze blue, a lovely well matched pair, h. 6‑1/2”. [300/500] Illustrated

262 264

263

262 Japanese Ovoid Porcelain Vase, the compressed body with flared lip, glazed in yellow with two sinuous dragons against an iron-red ground, the base with underglaze blue seal of Makuzu-Kozan, h. 6‑3/4”. [800/1200] Illustrated 263 Good Chinese Iron-Red Decorated Bowl, Guanzu Mark and Period, the interior plain white, the exterior decorated in reserve white with bamboo trunks and foliage against an even iron-red ground, the recessed base with a sixcharacter Guanzu reign mark, thinly potted, dia. 4‑3/4”. [250/400] Illustrated 264 Fine Chinese Carved Carnelian Bowl, of circular-form with slightly everted lip rim and resting on a straight foot, the stone of rich, intense color and beautifully polished, carved wooden stand, dia. 6”. [400/700] Illustrated

259

265 Chinese Framed Scroll of Female Ancestor, late 19th century, depictinmg a high ranking female figure wearing red court robes with collar and overvest, rank badge, elaborate tiara and strings of jade beads, seated on a horseshoe shaped chair with brocade drapery, 64‑3/4” x 27”. Glazed and presented in a black lacquer frame. [300/500] 266 Chinese Hanging Scroll of a Female Ancestor, executed in gouache with gilt details depicting a seated female figure in brocade robes wearing a gilt tiara and seated on a horseshoe shaped chair with red draping, white silk mounting, h. 82”, w, 31‑3/4”. [300/500] 267 Two Pieces of Chinese Carved Red Coral, each of branch form, one with the figure of Hotei, the other with a figure holding a fish in a basket, both dyed to enhance the color, h. 4” to 5‑14”. [1200/1800] 268 Chinese Glazed Pottery Cat Form Pillow, 19th century, modeled in the form of a recumbent feline with a turned head, glazed all over in a rich brown glaze extending to a ribbed plinth base, l. 9‑3/4”. [400/700] 269 Large Chinese Glazed Pottery Figure of a Deity, 20th century, the standing figure clad in scholar’s robes and hat holding a ruyi scepter, the head and shoes unglazed, the remainder of the figure glazed in oxblood, brown, green and white glaze, h. 16”. [500/800] Illustrated 270 Unusual Chinese Pewter Tea Canister, first half 20th century, of hexagonal baluster-shape with conforming cover, each panel with engraved decoration of figures in garden settings alongside balustrades, h. 7”. [75/125] 271 Interesting Chinese Painted and Lacquered Pine Shrine Table, late 19th century, the upper section carved and shaped as a throne, the lower section with three drawers with carved apron, squared legs with modified horse-foot feet and a fretwork under-shelf, h. 44‑1/4”, w. 33”, d. 19”. [600/900]

272 Elaborate Chinese Embellished Rosewood Ruyi Scepter, 19th century, the rosewood body carved with C-scroll decoration and having three inset jade plaques, each with applied hardstone decoration, the wooden body with additional hardstone plaques, l. 19‑1/4”. [3500/5000]

273

273 Unusual Chinese Bronze and Jade Ruyi Scepter, 19th century, skillfully cast as a gnarled branch with leaves, eleven inlaid with dark green jade, the head cast as two peaches, each inlaid with a celadon jade plaque, an unusual, example of a popular gift wishing the recipient “as you wish”,l. 11‑1/4”. [1500/2500] Illustrated 274 Chinese Carved Celadon Jade Sword Slide, 19th century, of rectangular outline with in-curved ends, the reverse with a rectangular opening and a square boss, the face carved with a panel of raised dots and an etched taotie mask, l. 3-‑1/8”. [250/400] Illustrated

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275 277

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274

275 Chinese Carved Jade Model of a Shoe, probably 17th century, the mottled brown stone carved as an elongated shoe, the toe carved as a stylized cicada head, the sides engraved with peony decoration, fitted wooden stand, l. 3‑1/4”. [250/400] Illustrated 276 Rare Chinese Carved Jade Pendant, possibly Zhou Dynasty (1050‑221 BCE), the mottled black stone carved in low relief as an archaic axe, the blade engraved with stylized leaves, the top carved as a taotie mask with a double dragon handle, attached to a silk cord with a spherical jadeite bead, h. 3‑1/4”. [600/900] Illustrated 277 Chinese Carved Celadon Jade Child’s Belt Hook, 18th/19th century, the even celadon colored stone carved in high relief as an elaborate hydra dragon confronting the head of a dragon rising from the base, the reverse with a circular attachment knob, l. 3”. [600/900] Illustrated 278 Chinese Carved Black and White Jade Pendant Drop, 19th century, the black and white stone carved as a group of double gourds suspended on a silk cord and topped by two agate beads, one spherical and one of oval triangular shape, l. 3‑7/8”. [600/900] Illustrated 279 Chinese Lacquer and Applique Table Screen, 19th century, the lacquered panel with hardstone applique on the front depicting articles for the scholar’s table, the reverse with etched decoration of flowering peonies and a butterfly, presented in a carved hardwood stand, h. 34‑1/2”, w. 21‑3/4”. [3000/5000]

280 Chinese Carved Stone Covered Inkstone, of tapered rectangular outline carved in relief with a circular inkwell surrounded by a fretwork border, all below a stupa among clouds and pine trees, the inkwell cover carved as a seated figure of Guanyin holding a child and calligraphy, l. 9‑1/4”. [200/400] 281 Chinese Carved Stone Covered Inkstone, of tapered rectangular outline, carved in relief with an inkwell depression and figures of deities among clouds and above waves, the inkwell cover carved with two additional deities, l. 8‑1/2”. [200/400] 282 Pair Thai Painted and Mirrored Wooden Guardian Temple Dogs, each fierce creature seated on its haunches with open snarling mouth, the black painted bodies with red, gold and white painted details and mirror inset details, h. 32”, l. 32”. [400/700] Illustrated 283 Thai Carved and Painted Wooden Figure of the Buddha, carved as the standing figure of the Buddha with spread hands and open robes, the sculpture painted in red with gilt highlights and mirror accents, standing on an open lotus blossom and a blank plinth base, h. 43‑1/2”. [400/700] 284 Thai Carved Wooden Figure of an Absornsi as a Guardian, the carved half-angel, half-lion figure in a crouching position wearing armor and helmet with traces of painted decoration, now mounted on a black wooden base, h. 28‑1/2”. [200/400]

285 Asian-Indian Painting on Board, first half 20th century, depicting a scene in a rocky landscape with a single tree, centered with a lady reclining on rockwork being offered a cup of tea by her turbaned lover, h. 35‑1/2”, w. 25‑3/8”. [2000/4000] Illustrated

282

286 Indian Cast-Bronze Figure of the God Ganesh, first quarter 20th century, cast as the seated figure of the elephant-headed god with outstretched hands wearing a crown and elaborate embroidered robe, seated in a lotus position on a base with four feet and a floral apron, h. 5‑1/2”. [250/400]

287 Mughal-Style Jade and Steel Dagger, late 19th/early 20th century, composed of a green jade handle with floral carving and set with red glass cabochons, a double-curved watered steel blade with gilt decoration of leaves abutting the handle, housed in a purple velvet scabbard, l. 18”. [1200/1800] 288 Group of Seven Ancient Mid-Eastern Pottery Oil Lamps, 100 B.C.‑200 A.D., composed of Egyptian, Roman and Judaic examples, most with low-reliefmodeled decoration, the bodies in varicolored clays and of traditional shapes, l. 3” to 3‑1/2”. [250/400] 289 Rare, Important Near Eastern Blue and White Bowl, Uzbekistan (Samarkand) (1400‑1450), scarce fritware bowl with underglaze blue central medallion of vines surrounded by an inner border of stylized waves and a rim border of cresting waves, the pottery body with underglaze blue showing direct influence of trade with China in both style and decoration, dia. 8‑3/4”. [600/900]

285

290-297

290 Good Specimen of Lettuce Coral, the ovate colony with a stem on the reverse, composed of ribbed “leaves” forming the shape of a head of lettuce, l. 7‑1/2”. [75/125] Illustrated

292 Pair of Continental Gold and White Wine Coolers, fourth quarter 19th century, in the wedding band pattern with round knobs on each side, h. 11”, dia. 12”. [200/400] Illustrated

291 Pair of Continental Gold and White Wine Coolers, fourth quarter 19th century, in the wedding band pattern with round knobs on each side, h. 9‑1/4”, dia. 10‑1/2”. [200/400] Illustrated

293 Pair of Continental Gold and White Wine Coolers, fourth quarter 19th century, in the wedding band pattern with round knobs on each side, h. 11”, dia. 12”. [200/400] Illustrated 294 Impressive Specimen of Elkhorn Coral, composed of ten “horns” arranged in a dramatic spray, each with multiple branches and all covered with individual polyp skeletons, flat foot, h. 7‑1/4”, w. 12”, d. 8”. [125/250] Illustrated 295 Pair of Continental Gold and White Wine Coolers, fourth quarter 19th century, in the wedding band pattern with round knobs on each side, h. 9”, dia. 10‑1/2”. [200/400] Illustrated 296 Pair of Continental Gold and White Wine Coolers, fourth quarter 19th century, in the wedding band pattern with round knobs on each side, h. 9”, dia. 10”. [200/400] Illustrated 297 Extended Colony of Finger Coral, composed of an extended group of “finger” colonies each with tubular skeleton covering the surface, some with smaller branch “fingers”, h. 5‑1/2”, w. 12‑1/2”, d. 8‑1/2”. [125/250] Illustrated 298 Two Specimens of Mushroom Corals, each of roughly circular outline with thin colonial ribs radiating from the center forming a colony in the form of a mushroom cap, each with indented undersides, dia. 8‑1/4” to 9‑1/4”. [125/250]

299

299 Louis XVI-Style Mahogany Breakfront, early 20th 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". [2000/4000] Illustrated

302

300

300 Circle of Pierre Mignard I (French, 1612‑1695) “The Dish of Pearls”, oil on canvas mounted on panel, oval portrait of a coy 17th-century lady of fashion showing off a dish of pearls, possibly an anniversary or engagement portrait as the pearl is a symbol of love and marriage, unsigned, 34” x 27‑1/2”. Presented in a good, later, carved giltwood and plaster frame in the Louis XVI taste, third quarter 19th century. [4000/7000] Illustrated

303

301 Two Small Framed German Porcelain Portrait Plaques, first quarter 20th century, of ladies of fashion, the first of a lady wearing a red-plumed green hat, signed: “Rau”, the back with impressed mark for C. M. Hutschenreuther Porcelain Factory and “15” and stamped in brown: “Devonshire”, plaque h. 3‑1/4”, w. 2‑5/8”, overall h. 5‑1/2”, w. 3‑3/8”, presented in a gilt-bronze table frame, the frame stamped: “F1772” and “696”, the other example of a lady wearing a white and red-plumed red hat, presented in a gilt-brass table frame, the plaque with impressed: “HR” within a circle and “15”, plaque h. 3‑3/8”, w. 2‑5/8”, overall h. 4‑5/8”, w. 3‑1/8”. [200/400] 302 French Terra Cotta Portrait Bust of Marie Antoinette, 19th century, in the manner of Louis-Simon Boizot (1743‑1809), the figure portrayed with upswept hair and draped in classical garb, h. 27”, w. 17”. [600/900] Illustrated 303 Elegant Pair of Maison Bagues-Style Glass and Silvered Metal Two-Light Sconces, mid‑20th century, in the Louis XVI taste, h. 19‑1/2”, w. 10‑1/2”. [2500/4000] Illustrated

304 Louis XVI Giltwood Child’s Fauteuil, late 18th century, the padded oval back within a molded and annulated frame surmounted by a floral crest, joined by padded acanthine-carved arms to the like seat, above a guilloche-carved apron, raised on fluted tapering circular legs ending in peg feet, upholstered in figural Aubusson tapestry, h. 32‑1/2”. [1800/2500]

308

305 Louis XVI Giltwood Low Fauteuil, late 18th century, the padded rectangular back surmounted by a slightly domed crest and foliate end finials, joined by acanthinecarved arms and fluted uprights to the padded seat, raised on stop-fluted tapering circular legs ending in toupie feet, h. 39‑1/2”. [1500/2500] 306 Five-Piece Louis XVI-Style Giltwood Parlor Suite, late 19th century, consisting of a settee, h. 41‑1/2”, w. 46”, d. 24”, and four fauteuils, h. 36”, all with padded medallion backs surmounted by a floral wreath crest, joined by acanthine scrolling arms to the padded seat, raised on tapering fluted circular legs ending in toupie feet, all upholstered floral patterned tapestry. [5000/8000] Illustrated

306 five-piece sute

307 Giltwood Looking Glass of Louis XVI Inspiration, third quarter 20th century, the beribboned crest over an arched frame with a print depicting a courting scene over a rectilinear looking glass, h. 39”, w. 16”. [500/800] 308 Louis XV-Style Polished and Lacquered Brass Clock Garniture, ca 1900, marked with the impressed stamp of A.D. Mougin, comprised of a clock and a pair of candelabras, the clock with a central finial over a beaded, beveled bezel opening to reveal a porcelain dial, the case adorned with cornucopia, scroll, griffon and flora, h. 21‑1/2”, w. 12”, d. 4”, the candelabras each with five lights and similarly modeled, h. 21‑1/2”, w. 7‑3/5”, d. 4”. [1500/2500] Illustrated 309 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”. [2500/4000]

310 Louis XVI-Style Mahogany and MarbleTop Commode, early 19th century, the rectangular Sainte Anne des Pyrenees marble top with turreted corners above a conforming case fitted with three long drawers, the upper one faced as three short drawers, the lower two paneled, raised on fluted tapering circular legs ending in peg feet, h. 33”, w. 49”, d. 19”. [1500/2500] 306 five-piece sute

312 311 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”. [1800/2500]

312 detail

312 312 Pair of German Painted Porcelain Plaques in the Rococo Taste, each signed “Kranas” and dated “1874”, each depicting an allegorical scene, one after AntoineFrancois (Calet) Callet (French, 1741‑1823) depicting a couple maidens, with a putto about to anoint one with a floral crown; the other depicting a maid and nude man, the latter grasping a hammer and sheath, presented in period giltwood frames, plaques 7‑3/8” x 5‑3/8”, with frame 16‑3/4” x 15”. [1500/2500] Illustrated

312 detail

316 Louis XV-Style Giltwood Fauteuil, fourth quarter 19th century, the shaped and padded back surmounted by a floral shell crest, joined to the padded seat by scrolled arms raised on molded cabriole legs ending in scrolled toes, h. 42”. [700/1000] Illustrated 317 Pair of Needlepoint Pillows, each pillow with a floral needlepoint spray and back with velvet. [200/400] 318 Louis XV-Style Kingwood and Exotic Woods Occasional Table, 18th century, the shaped rectangular top banded and with a floral inlay, the back with a pull-up pleated fabric screen, above a conforming case fitted with a leather-inset writing slide over two drawers, the drawers and sides all inlaid en suite, raised on cabriole legs ending in sabots, h. 27”, w. 19‑1/2”, d. 13‑1/2”. [2500/4000] Illustrated

313

316

319 Louis XV-Style Kingwood and Marble-Top Secretaire Abbatant, fourth quarter 19th century, the shaped rectangular Rouge Royale marble top above a conforming case fitted with a single drawer over a drop-front opening to an inset fabric-lined writing surface and a variety of drawers and cubbyholes, over three drawers, the sides and drawers banded and quarter-veneered with floral inlays, the whole raised on splayed feet in sabots, h. 53”, w. 27”, d. 14‑1/2”. [1200/1800] 320 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”. [1000/1500]

313 Regency-Style Giltwood and Granite-Top Side Table, the rectangular charcoal granite top above a guillochecarved frieze centered by an urn carving, raised on tapering fluted circular legs headed by foliate carving and ending in toupie feet, h. 37”, w. 36”, d. 22”. [1800/2500] Illustrated 314 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”. [400/700] 315 Blown-and-Cut-Glass Wine Decanter, second quarter 19th century, with a honeycomb top and fluting around the body, h. 10”. [50/80]

318

321 Louis XV-Style Centerpiece, fourth quarter 19th century, comprised of a ribbed lead crystal oval bowl supported on a bronze stand with swags of flowers, a pierced gallery edge and putti handles, all on molded cabriole legs with a conforming oval base pierced to match, h. 6”, d. 9”, l. 15‑1/4”. [1200/1800] Illustrated

322 Continental Set of Twelve Fully Gilt Porcelain Service Plates, first quarter 20th century, embossed with an all over pattern of raised arabesques against a reeded background, surrounding a medallion center encircled with bellflowers and swags, impressed with a Pegasus on the rear gilt, dia. 11”. [1200/1800] Illustrated

322

323 Italian RococoStyle Giltwood Looking Glass, early 20th century, the double-domed plate surmounted by a tall scrolling foliate crest and within a like frame, the lower section with overlaid scrolling patterns, h. 51”, w. 29‑1/2”. [700/1000] Illustrated

321

324 Pair of ThreeLight Bronze Wall Sconces, in the Louis XVI 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”. [4000/7000] Illustrated

325 After Alexandre Cabanel (French, 1823‑1889) “The Birth of Venus”, oil on canvas, signed lower right “Joan Mitchell”, 24” x 36”. Presented in a Louis XV-style giltwood and gesso frame. [1000/1500] Illustrated following page

323

324

331 French Polychrome Metal and Porcelain Six-Light Chandelier, second quarter 20th century, of cage-form, the body consisting of three rounded rails centered by a porcelain figure of a courtier petting a squirrel, resting on a base issuing six scrolling arms terminating in candle sockets, the whole entwined with foliate garlands with porcelain floral accents, h. 24”, dia. 21”. [600/900] Illustrated 332 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”. [700/1000]

331

325

330

326 Continental Grisaille Painted Linen Panel of two putti in a barge, first quarter 20th century, 43‑1/2” x 46”. Framed. [1200/1800] Illustrated 327 Pair of Decorative Tapestry Throw Pillows, of square form, each with an elaborate floral bouquet and a tasseled fringe and velvet backing, h. 20”, w. 20”. [200/400] 328 Porcelain Candlestick in the Meissen-Style, fourth quarter 19th century, with a woman in 18th century costume, standing on a knoll with encrusted flowers, all supported on a pierced and scrolled rococo base highlighted in gilt, unmarked, h. 11”. [50/80] 329 Mary Louise Liddell Jordan Hemenway (American/ Alabama, 1893 - ?) “Still Life with Roses in a Porcelain Shoe-Shaped Vase”, oil on canvas, signed lower right “L. Jordan Hemenway”, 20” x 24”. Framed. [200/400] 330 Pair of Louis XV-Style Four-Light Candelabras, each with four rococo bronze candle arms surrounding putti in the Meisen-style, mounted on black marble bases, sitting on cabriole feet and a conforming rococo skirt, h, 11”, w. 9”. [1000/1500]

326

333 French Gilt-Brass and Cut Glass Four-Light Chandelier, first quarter 20th century, of corbeille form in the Louis XV taste, the basket-form lower element covered with frosted and clear glass fleurettes and fitted with an additional three lights on the interior, the three foliate-scroll arms each fitted with an etched glass shade of tulip form, with an additional downlight, similarly shaded, at the center, h. 36”, dia. 29”. [400/700]

338

334 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”. [300/500] 335 French Automation Depicting a Feathered Canary, first quarter 20th century, the gilt brass cage decorated with embossed floral garlands covering the mechanical mechanism with the canary perched with branches inside, impressed “MADE IN FRANCE” on underside, h. 11‑1/2”, dia. 6‑1/2”. [500/800]

339

336 Continental-Style Campana-Form Urn, first quarter 20th century, decorated with hand-painted yellow roses and gilt, now mounted as a lamp on a giltwood base, h. 31”. [200/400] 337 Open Lot 338 Louis XV-Style Giltwood Settee, late 19th century, the padded rectangular back surmounted by a scrolling foliate and floral crest, joined by like-carved arms to the padded seat, raised on cabriole legs headed by shield carving and ending in scrolled toes, h. 39” d. 21”, l. 55”. [1800/2500] Illustrated

339 Pair of Louis XV-Style Giltwood Bergeres Avec Orielles, early 20th century, each with a padded and domed back surmounted by a foliate shell crest, joined by shaped and padded sides and out-scrolled arms to the cushioned seat, raised on cabriole legs headed by shell carving and ending in scrolled toes, h. 48‑1/2”. [800/1200] Illustrated

342

340 Rococo-Style Giltwood Looking Glass, the shaped ovoid plate surmounted by a pierced foliate crest and within a molded frame with applied scrolling foliate designs, h. 44”, w. 23‑1/2”. [400/700]

341

343

341 French Gilt-Copper Framed Porcelain Plaque, second quarter 20th century, depicting a young lady in Louis-XVI period dress gazing at the white dove perched on her shoulder, unsigned, the frame stamped: “LORD & TAYLOR/New York” on the support, the plaque h. 3‑1/4 “, w. 2‑5/8”, frame h. 4”, w. 3‑1/4”. [200/400] Illustrated

345 Portrait Miniature of a European Noblewoman, first quarter 19th century, wearing pearls in her hair and a large emerald brooch, dressed in 18th century costume, and framed in a brass frame in the neoclassical style, h. 2‑1/2”, w. 2‑1/8”. [100/200] 346 Pair of Limoges Urns, first quarter 20th century, with rams head handles and swags of gilt flowers, on a bleu celeste background, artist signed “E.G. HAND PAINTED, LIMOGES, FRANCE”, h. 5‑1/2”, dia. 5”. [125/250] 347 Three Gold Silk Valences with Drapery Panels, trimmed with blue braid and 4‑1/2” ball fringe, including three valences (left swag, center valence and right swag), w. 65”, with a pair of drapery panels for the center valence, 142” x 75”, and a single panel for each of the left and right valences, 142” x 100”. (Seven pieces total.) [1200/1800] Illustrated

347 multi-piece lot 342 Brass and Enamel French Opera Glasses, the enamel patterned with florals and applied beads on a black background, the mother-of-pearl eye-rests are signed “Lemaire F1 Paris”, initialed all on the bridge between the lenses and in their original black leather case, w. 4”, l. 2‑3/4”. [125/250] Illustrated previous page 343 French Gilt-Brass-Framed Circular Enamel-onCopper Miniature of a French Parlor Scene, early 20th century, in the Louis-XVI taste, depicting two ladies enjoying the company of a violin-playing gentleman, the frame fitted with a support, miniature sight dia. 1‑5/8”, the frame h. 4‑1/8, w.3”. [100/200] Illustrated previous page 344 French Portrait Miniature of an 18th Century Lady of Fashion, fourth quarter 19th century, of oval form, the lady depicted in blue and and white robe a l’ anglais and flowered straw hat, signed “Lagarde”, presented in an oval bronze easel-style frame with leaf-and-dart and annulated banding and ribbon crest, glazed, overall h. 6”, w. 4‑1/2”. [200/400] 348 multi-piece lot

353 352

354

351 Group of Three Decorative Throw Pillows, two of square form and with a patchwork pattern of brocade and velvet squares, one with a fringe border, the other border corded, the third pillow of oval form and with a floral needlework border centering a musician figure, all pillows velvet backed, h. 20”, w. 20”, square pillows, h. 19”, w. 14”, oval pillow. [150/300]

352 Miniature Rococo Parlor Set, made of brass and enamel, comprised of a square center table, settee, two armchairs and two sidechairs, the enamel decorated courting couples and musicians, in a pastoral setting, table stamped “Austria” on its underside, h. 2” to 2‑1/2”. [800/1200] Illustrated 353 Brass and Enamel Jewel Box in the Form of a Grand Piano, decorated en suite with the parlor set, with courting couples and musicians, all in 18th century costume, in pastoral setting, h. 1‑3/4”, w. 2‑3/4”, d. 3‑3/4”. [500/800] Illustrated 354 Contemporary Prism-Hung Six-Light Chandelier of Maria Theresa Inspiration, dressed throughout with swags of faceted octagonal beads, and teardrop pendants, the metal frame in silvered decor, electrified, h. 43”, dia. 33‑1/2”. [600/900] Illustrated

348 Two Gold Silk and Organza Valences with Drapery Panels, the organza overlay decorated in a gold and white arabesque pattern with tri-color gold, brown and green fringe and braid, including one extremely wide valence, w. 175”, with a pair of drapery panels, 175” x 125”, and a narrower set en suite, valence w. 75”, panels, 75” x 125”. (Six pieces total.) [1200/1800] Illustrated 349 Three Pairs of Royal Gold Silk Drapery Panels, with caramel organza overlay, one pair 120” x 125”, two pairs 125” x 72”. (Six pieces total.) [700/1000] 350 Suite of Three Louis XVI-Style Polychrome and Parcel-Gilt Valences, early 20th century, each with a domed and molded cornice with a central applied ribbon, over a scalloped panel with applied floral garland and molding, the lower edge with gilt cord banding, h. 22‑1/2”, w. 55”, d. 7‑1/2”. [300/500]

357 pair

355 Fritzi Ulreich (Austrian, fl. 1900‑1920) “Young Women at a Ball”, oil on canvas, signed lower right “F. Ulreich”, 17‑3/4” x 27”. Presented in a rococo-style giltwood and gesso frame. [1200/1800]

359 Louis XV-Style Giltwood Sidechair, third quarter 19th century, the rounded and padded back surmounted by a foliate shield crest, the padded seat raised on molded cabriole legs ending in scrolled toes on casters, h. 36‑1/2”. [200/400]

356 Janos Szollosy (Hungarian, 1884-?) “Seated Partial Nude”, oil on canvas, signed lower right “Szollosy, F.”, 19‑1/2” x 23”. Presented in a giltwood and gesso frame. [800/1200]

361 Louis XV-Style Giltwood Ballroom Chair, third quarter 19th century, the open balloon-form back with a foliate crest, the padded seat raised on cabriole legs ending in scrolled toes, h. 34”. [125/250]

360 Pair of Four-Light Louis XV-Style Bronze Wall Sconces, with a lyre-form backplate crested with carved volutes, cabriole candle branches, molded with acanthus leaves holding gadrooned candle cups, with a lower drop of acanthus leaves and grapes, h. 31”, w. 17”, d. 8”. [800/1200] Illustrated

360 suite of four

362 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”. [1200/1800] Illustrated

357 Louis Icart (French, 1890‑1950) “Proposition” and “What a Surprise” from La Nuit et la Moment series, pair of color etchings, both signed lower right margins, sight 9” x 6”. Both glazed, linen matted and presented in Louis XVIstyle giltwood and gesso frames. [1000/1500] Illustrated previous page 358 Louis XVI-Style Giltwood Window Seat, early 20th century, the shaped padded and tufted seat with a padded and outscrolled arms, raised on tapering ring-turned circular legs ending in casters, h. 25”, w. 34”, d. 21”. [250/400]

362

363 Old Paris Campana-Form Porcelain Urns, second quarter 19th century, decorated with polychrome scenes of people in Elizabethan dress, one scene near a balcony and the other at an open window, the handles terminating in single molded masks, h. 7‑1/2”. [150/300]

371 pair

364 Pair of Paris Porcelain Black Ground CampanaForm Urns, second quarter 19th century, decorated with courting couples in Elizabethan costume on the obverse, floral rondels on the reverse and raised gilt on the sides, handles terminating in a pair of matte gilded neoclassical masks, h. 8”. [125/250]

369 Continental Porcelain Urn in the Neoclassical Taste, fourth quarter 19th century, decorated with classical figures in rondels, acanthus-molded gilt handles, the body decorated with aubergine marbelizing over-decorated with raised gilt flowering vine pattern, h. 23”. [700/1000]

372

370 Bohemian Cranberry Glass Portrait Vase, fourth quarter 19th century, decorated with an enameled portrait of a noblewoman in Elizabethan costume, wearing jewels and a fur collar and cuffs on her robe, against a background of meandering palmettes and volutes in an all-over-gilt pattern, h. 7‑3/4”, dia. 5”. [300/500] 371 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”. [1500/2500] Illustrated

365 Louis XV-Style Gilt-Bronze Jardiniere, ca. 1900, in the rococo taste, of navette form and decorated with robust rococo scrolls and cartouches, with opposing handles and raised on four scrolling feet, fitted with a detachable brass liner, h. 7”, w. 8”, l. 22”. [500/800] 366 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]

367 Royal Vienna Portrait Plate Depicting Clotho, her sheer cloak akimbo, holding the thread of life, the border is decorated in the neoclassical style with alternating panels of blue, violet and red, decorated in raised gilt, signed with an underglaze blue beehive mark and identified “Klotho” on the reverse, dia. 9‑1/2”. [300/500]

372 Whimsical Pair of Polychrome Standing Butler Dummy Board Figures, in the form of costumed monkeys, each in colorful patterned hats and tunics with striped pantaloons, holding an ebonized circular tray, standing on a rectangular base painted as an Oriental carpet, h. 69”. [500/800] Illustrated 373 Pair of Rococo-Style Giltwood Wall Brackets, with carved volutes descending to leaf, floral and shell carving and terminating in a smaller volute, h. 12”, w. 7”, d. 8”. [600/900]

375

368 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”. [600/900]

375 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 finialcapped uprights, joined to the padded seat by foliatecarved arms, the whole raised on tapering fluted circular legs ending in toupie feet, h. 42”. [1000/1500] Illustrated previous page 376 Louis XVI-Style Polychrome and Parcel-Gilt Trumeau, mid‑19th century, the upper section with an oval canvas of figures on a waterfront with a ruin in the background, within a molded frame with applied foliate accents, with a rectangular mirrored plate below, the whole flanked by panel uprights with applied urn, patera and ribbon designs, h. 59‑1/2”, w. 42”. [3000/5000] Illustrated

377

376

374 Suite of Four Louis XVI-Style Fruitwood Fauteuils, mid‑19th century, each with a padded and slightly domed tapering rectangular back, surmounted by a foliate ribbon crest, joined by rounded padded arms to the generous seat, raised on tapering paneled square legs with bellflower carving, h. 37”. [3500/5000]

378

377 Maria Theresa Style Glass-Beaded and Prism-Hung Six-Light Chandelier, early 20th century, the brass frame elements flanked by beadwork, draped throughout with beaded swags with baby blue drop pendants and cut Albert spears, the central bowl supporting a faceted cutglass globe finial, h. 29”, dia. 23”. [700/1000] Illustrated 378 Pair of Chinese Famille Rose Export Porcelain Vases in Gilt-Bronze Mounts, 19th century, the porcelain vases decorated in famille rose enamels with shaped reserve panels of peonies against a ground of peonies and scrolly foliage, now mounted in continental gilt-bronze mounts in the Louis XV taste, h. 20‑3/4". [1400/1800] Illustrated 379 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”. [1200/1800]

380 Louis XV-Style Kingwood and Marble-Top Bedside Commode, late 19th century, the shaped rectangular Breche d’Aleps marble top within an ormolu banding, above a conforming case fitted with two drawers, the drawers and the sides quarter veneered, raised on cabriole legs ending in sabots, h. 29‑1/4”, w. 20‑3/4”, d. 13‑1/2”. [600/900] Illustrated

385

382

380

383

381 Louis XV-Style Kingwood and MarbleTop Side Table, late 18th century and later, the rectangular Rouge Royale marble top with a molded edge, above a conforming tri-paneled frieze, raised on cabriole legs, h. 26‑1/2”, w. 30”, d. 15‑1/4”. [900/1200] 382 Transitional Louis XV-into-Louis XVIStyle Bergere, 19th 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”. [1800/2500] Illustrated

383 Bohemian Cased and Enameled Vase in the Gothic Revival Taste, third quarter 19th century, depicting superbly detailed goldfinches on fruit branches flanking a floral bouquet of roses, poppies and johnny-jump-ups, all enameled on a white background cut to clear in gilt decorated gothic patterns, h. 16‑1/2”. [1200/1800] Illustrated

384 Six Dresden Rococo Revival Dessert Plates, first quarter 20th century, the plates decorated with hand painted flowers and pierced border panels alternating with more hand painted flowers, signed in printed blue “Dresden Germany” under cursive “SD”, by Carl Thieme, Potschnappel, dia. 8‑1/2”. [200/400] 385 Manner of Severin Roesen (American, 1815‑1872) “Still Life with Fruit and a Bird’s Nest”, oil on canvas laid on board, unsigned, 25” x 29‑1/2”. Presented in a period giltwood and gesso frame with an oval window. [700/1000] Illustrated

390 Collection of Four Sevres, France, Faience Vases, early 20th century, all with finely chased gilt-brass collars, foot rings and festoons, one vase a vivid turquoise-mottled cobalt, marked in green underglaze: a fleur-de-lis within interlocked Ls and “SEVRES”, h. 3‑7/8”, another an intense cobalt, marked: “M.P. SEVRES” within a circle (smeared), h. 3”, and two others a white-flecked celadon, both marked in black underglaze: “M.P./SEVRES” within a circle, the oval vase h. 2‑1/4”, w. 4‑1/4”, the baluster vase h. 3‑1/4”. [100/200] Illustrated 391 A Fine Set of Twelve Theodore Haviland, Limoges, France Porcelain Dinner Plates, early 20th century, bearing the retailer’s mark of “D.H. Holmes, Co. Ltd., New Orleans, LA”, having a cobalt blue banded-border with gold-leaf-banding and classical swags, dia. 10‑3/4”. [400/700]

387

392 Cobalt Blue Bohemian Cylindrical Glass Casket, fourth quarter 19th century, with an enameled lid depicting a couple in 18th century costume drawing water from a well, h. 3‑3/4”, dia. 3”. [125/250]

386 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”. [1800/2500] Illustrated 387 Pair of Continental Belle Epoque Five-Light Candelabras, fourth quarter 19th century, consisting of bleu marine porcelain urns on a Louis XV-style base, with griffin head ring pull handles, candle cups and bobeches, all retaining most of its original gilt, h. 19‑1/4”. [1500/2500] Illustrated 388 Pair of Limoges Cabinet Plates, signed “Raynaud and Company, Limoges” and artist signed “C. Golse”, each painted with a fish underwater with coral and vegetation, with a black and gilt border, dia. 9‑3/4”. [200/400] 389 Charming Pair of Diminutive Sevres, France, Gilt-Brass Mounted Faience Vases, early 20th century, the vases high glaze strieshaded turquoise to cobalt, each with a giltbrass collar and foot ring, the handles fashioned of finely chased lilies-of-the-valley, both signed in green underglaze with a fleur-de-lis within interlocked Ls and “SEVRES”, h. 3‑1/2”. [125/250] Illustrated

386

389 390

397

395

396

398 Ebonized Napoleon III Plant Stand, fourth quarter 19th century, mounted bleu celest faience plaques, depicting putti fanning flames on the facade and dancing muses held aloft by putti on the sides, cabriole legs are bronze-mounted with griffins, and more bronze appears as a pierced cartouche on the center skirt and on the pierced gallery, h. 38”, w. 19‑1/2”, d. 12”. [1400/1800] Illustrated 399 Sevres-Style Gilt-Brass-Mounted Bleu Celeste Porcelain Covered Urn in the Louis XVI-Taste, first quarter 20th century, now drilled and mounted as a lamp, the inverted pear-shaped body mounted with swags of roses, terminating on either side with twig-molded bronze handles centered with a female mask, with a fluted cap, neck and base, h. 35”, w. 98‑1/2”. [500/800]

393 Louis XVI-Style Mahogany and Marble-Top Occasional Table, the kidney-form top with ormolu banding and three-quarter pierced brass gallery surrounding a Breche de Benou Jaune marble top, above a conforming frieze fitted with a single drawer and brassbound panels, joined to a like-shaped lower galleried shelf by fluted uprights, the whole raised on ormolu-mounted cabriole legs ending in sabots, h. 30”, w. 27‑1/2”, d. 17”. [300/500] 394 Louis XVI-Style Mahogany Settee,19th century, the padded and domed back surmounted by a ribbon-carved frame, joined to the cushioned seat by tapering circular fluted legs headed by lotus carving and ending in toupie feet, h. 37”, l. 85”, d. 26”. [3000/5000] Illustrated 395 Diminutive Pate-sur-Pate, French Porcelain Vase, early 20th century, the front side depicting a classical maiden with a basket of flowers, the underside marked “H.G. DEP”, h. 5”, dia. 2”. [50/80] Illustrated 396 Limoges Pate-sur-Pate Circular Porcelain Plaque, early 20th century, depicting three musical cherubs against a blue background, signed “A. Barrieze, Limoges”, dia. 4‑7/8” [50/80] Illustrated

398

394

397 Pair of French Brass-Framed Dusty-Blue Pate-sur-Pate Porcelain Plaques, first quarter 20th century, probably Limoges, one depicting a veiled nude female figure at water’s edge, the other a joyous tambourineplaying maiden, the later example impressed underglaze: “GRELEROT”, h. 8‑1/4”, w. 4‑3/4”. [250/400] Illustrated

400 Franco Bohemian Two-Handled Porcelain Garniture Vase, third quarter 19th century, in the aesthetic taste featuring birds, flowers and fish, set to a sky blue ground with gilded handles and feet, h, 9‑1/2”, w. 12”, d. 6”. [200/400] 401 Pair of Cylindrical French Porcelain Vases, third quarter 19th century, all matte finished with bleu-de-roi and gilt borders with finely detailed neo-Grec decoration, and central floral and vine decoration, with a molded brass lip at the top, h. 9‑1/2”, dia. 4‑1/2”. [125/250] 402 Rare Two-Part Parish Porcelain Seltzer Jug, third quarter 19th century, produced to mix the seltzer as it poured, the bottom impressed “Appareil L’Hote, Pour Eau de Seltz, Brevete S.G. D.G., France, Angleterre, Belogique, Italie, Fabrique a Paris”, h. 8”. [125/250]

405 403 Pair of Louis XV-Style Fruitwood Bergeres, fourth quarter 19th century, each with a domed and padded back surmounted by a foliate crest, joined by out-swept arms to the cushioned seat, raised on cabriole legs ending in peg toes, h. 36”. [2000/4000] Illustrated

404

403

404 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”. [3500/5000] Illustrated

405 Carl Voss (German, 1856‑1921) “Interior Scene with Two Gentlemen Looking at a Map”, oil on canvas, signed lower right, 22” x 16”. Presented in a Rococo-style giltwood and gesso frame. [2000/4000] Illustrated 406 Louis XV-Style Mahogany and MarbleTop Petite Commode, late 18th century, the shaped Escallette marble top with a molded edge, above a conforming case fitted with three drawers, raised on cabriole legs ending in sabots, h. 26‑1/2”, w. 21‑1/2”, d. 15”. [600/900]

407 Louis XV-Style Giltwood and Faux Marbre Console Table, early 20th century, the shaped faux variegated green and tan marble top raised above a pierced foliate shield frieze, raised on foliate applied molded legs joined by a shell-stretcher and ending in in-turned scrolled toes, h. 32”, w. 25‑1/2”, d. 13‑1/2”. [1000/1500] Illustrated

409

411 Two Graduated French Porcelain Platters, fourth quarter 19th century, probably Limoges, with retailers mark of “Hache, Pepin Lettalleur, Paris, gold medal, 1878”, transfer printed with sprigs of flowers, medallions and insects, l. 17‑3/4”, w. 12”, larger, l. 15‑1/2”, w. 10‑1/2”, smaller. [50/100] 412 French Giltwood Looking Glass, late 19th century, the rectangular plate within a heavily molded frame with scrolling foliate patterns and shield-form corner accents, h. 48”, w. 39”. [500/800] 413 Napoleon III Ebonized and Marquetry Center Table, third quarter 19th century, the rectangular top with a molded edge and centered by an elaborate marquetry floral basket, above a shaped frieze centered by ormolu mounts flanked to each side by inlaid scrolls, raised on cabriole legs inlaid en suite and ending in sabots, h. 29‑1/2”, w. 30‑1/2”, d. 18‑1/2”. [1000/1500]

408 Pair of Louis XV-Style Kingwood and Marble-Top Bombe Commodes, early 20th century, each with a shaped Verde Antico marble top above a case fitted with three long drawers, all with decorative veneering, the sides en suite, raised on splayed legs ending in sabots, h. 32”, w. 31‑1/2”, d. 16‑1/4”. [1200/1800] Illustrated

407

409 Paris Porcelain Figural Clock in the Manner of Jacob Petit, second quarter 19th century, the rococo revival case is decorated with applied flowers and the figural top depicting a courting couple in 18th century dress, in a flower-covered arbor, the clock case decorated with a burgundy background with the remainder in naturalistic colors, h. 16”, w. 9”, d. 5”. [1000/1500] Illustrated 410 Square Transferware Dish, second quarter 20th century, decorated with a pastoral scene and gilt border, with an indecipherable red print mark, h. 1‑1/2”, w. 10”, l. 13‑1/2”. [50/100]

408

420 Pair of Bronze Argente Tabletop Busts, first quarter 20th century, by Maison Marnyhac, Paris, after JeanBaptiste Clesinger (1814‑1883), each depicting a female neoclassical bust above a fluted and rose-draped pedestal with reed-and-laurel base above a square plinth, h. 7‑1/4”, w. 2‑1/4”. [250/400] Illustrated 421 Fine French First Standard (.950) Silver Center Bowl, ca. 1900, in the rococo taste, in the form of carriage drawn by two putto, the ornate batteau-form carriage decorated with robust acanthus scrolls and panels of flowers cast and chased in relief on a matte ground, the putto realistically modeled, h. 7‑1/4”, l. 15‑1/4”, 82.95 t. oz. [30000/50000] Illustrated

417 414 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”. [1500/2500]

422 Large Pair of Continental Silverplate Candlesticks, first quarter 20th century, in the neoclassical taste, with a cavetto-canted square knop decorated with paterae and draped with laurel-leaf swags around the fluted standard, raised on a domed base with gadrooned and leaf-and-dart banding and surmounted by a smaller conforming knop and large gadrooned candle nozzle, h. 15”, dia. 8‑3/8”. [700/1000] Illustrated

415 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”. [900/1200] 416 Large Louis XVI-Style Fruitwood and Marble-Top Bouillotte Table, late 19th century, the circular top with an inset charcoal gray marble top above a frieze fitted with two small drawers and two candle slides, raised on stop-fluted, tapering square legs headed by brass panels and ending in caps and casters, h. 28‑1/4”, dia. 35”. [800/1200] 417 Andre Gittelson Gisson (American/French, 1921‑2003) “Paris Street Scene with View of Notre Dame”, oil on canvas, signed lower right “A.Gisson”, 24” x 30”. Framed. [1200/1800] Illustrated 418 Lucien Delarue (French, b.1925) “Rue Chevalier de la Barre-Montmartre”, oil on canvas, signed lower left “Delarue”, signed and titled on reverse, 24” x 20”. Presented in a Louis XV-style frame. [1000/1500] Illustrated 419 Paris 1889 Universal Exposition Fair Poster, of a general view of the exposition with hand-applied gilt details, sight 22‑1/2” x 34‑1/2”. Glazed and framed. [400/700]

418

423 Good Pair of French First Standard (.950) Silver Legumiers, first quarter 20th century, by Georges Falkenberg, active 1894‑1928, Paris, each of circular form, with laurel-and-scroll banded rim and opposing laureland-ribbon handles, the domed lids with large annulated acanthus-and-bud finials, presented on an underplate en suite, overall h. 6‑1/4”, dia. 12”., 120.82 total t. oz. [8000/12000] Illustrated

422 423

420

425 Pair of German .800 Silver Sauceboatson-Stands, first quarter 20th century, by Bridenstein & Renaud, Frankfurt, in the rococo taste, each of traditional batteau form, with steep spout and rococo scroll handle, raised on a domed oval foot and fixed to a shaped oval stand, decorated with rococo scroll and floral cartouches on a latticework ground, monogrammed on the body “PGR”, h. 6‑1/2”, h. 10‑1/2”, w. 6‑5/8”, 48.23 total t. oz. [2500/4000] Illustrated

421

425

424 Elaborate Continental Silverplate Pavilion Centerpiece, first quarter 20th century, the central colonnaded pavilion with openwork acanthus dome with vasiform finial and raised on a circular gallery fitted with a mirrored plate and above wooden plinth, the pavilion fixed to a mahogany base framed with silverplate balusters, connected to one another and the pavilion with chains, the corners fitted with galleried receptacles with glass liners, the whole raised on four toupie feet, h. 25‑1/2”, w. 26‑3/4”, d. 17”. [1800/2500] Illustrated

424

426 German .800 Silver Fruit Bowl, first quarter 20th century, by P. Bruckmann, Heilbronn, retailed M. H. Wilkens, Bremen, of hemispherical form, decorated with reticulated latticework and central grapevine banding, raised on a domed circular foot, with milled leaf-and-dart banding at the edges and fitted with a conforming cobalt glass liner, h. 5‑3/4”, dia. 8‑1/4”, 16.01 t. oz. (excluding liner). [1200/1800] Illustrated 427 German .800 Silver Tea Strainer, first quarter 20th century, by Wolf & Knell, Hanau, in the rococo taste of circular form, the broad rim decorated with embossed courtly and tavern scenes, with rocaille handles, dia. 4‑1/4”, w. 6‑1/2”, 2.57 t. oz. [100/200] 428 German .800 Silver Fruit Bowl, first quarter 20th century, in the Louis XV taste, of serpentine-sided square form with rococo-scroll rim, the sides reticulated and embossed with floral swags and quartered by oval cartouches, the base embossed with a scene of frolicking putti, h. 2‑1/2”, w. 12”, 15.50 t. oz. [250/400]

435

434

431 Continental .800 Silver Gilt and Emerald Encrier, first quarter 20th century, in the rococo taste, the eloborate rocaille base with c-scroll legs and a coquille-form pen tray, surmounted by the figure of a studious putto and a glass inkwell with silver-gilt banding and wheel-cut scroll decoration, centered by an 8mm octagonal cut, collet-set emerald, h. 3‑1/4”, w. 5”, d. 3‑1/4”, 9.90 t. oz. (including glass inkwell). [1800/2500] Illustrated

426

429 Continental Silverplate Reticulated Fruit Bowl, fourth quarter 19th century, of lobed oval form, the body completely reticulated in a lozenge pattern, with applied oak branch handles and rim, raised on four acanthus scroll feet, h. 5‑1/4”, l. 16‑1/2”, w. 9”. [200/400]

431 430 Dutch Republic .875 Silver Stuffing Spoon, hallmarked Rotterdam, 1786, by Anthony Huys, Sr., in the traditional “Hanoverian” pattern with double drop, l. 15”, 7.14 t. oz. [1200/1800] Illustrated

432 Set of Eight Czech Silverplate and Enamel Figural Placecard/ Menu Holders, second quarter 20th century, including three southern belles, two “Kate Greenaway”-type children, two colonial gentlemen, and Pierrot, h. 1‑1/4”. [75/150] 430

436 Continental Jugendstil Silverplate Jardiniere, first quarter 20th century, German or Austrian, of bulbous oval form, decorated with elaborate embossed “whiplash” lines which extend downwards to form four feet, with opposing openwork handles en suite and fitted with a conforming liner, h. 9”, l. 22”, w. 8‑1/4”. [300/500]

437

438

433 Russian-Style Silver Gilt Cloisonne Dessert Spoon, 20th century, in the Muscovite taste, the bowl and spatulate handle decorated with floral scrolling cloisons filled with white, red, green and three shades of blue enamel, the bowl with false “kokoshnik” mark, l. 6‑3/4”, 1.22 t. oz. [75/125] 434 Two Early Soviet-Era Russian .875 Silver Cigarette Cases, marked Moscow, 1927‑1958, with embossed pictoral scenes, one with a Bogatyr, probably Ivan Muromets slaying Nightingale the Robber, with gilt interior and simulated cabochon ruby button, 4‑1/8” x 3‑1/2”, the other after the 1889 “Morning in a Pine Forest” by Ivan Shishkin (1832‑1898), depicting frolicking woodland bears, with gilt interior and simulated cabochon emerald button, 3‑3/8” x 4‑1/2”, 10.87 total t. oz. [700/1000] Illustrated

437 Seventy-Six Piece Set of Georg Jensen Sterling Silver “Acanthus” Pattern Flatware, designed in 1917 by Johan Rohde (1856‑1935), Copenhagen, with the Jensen post‑1945 mark, including eight dinner forks, l. 7‑1/8”, eight salad forks, l. 6‑5/8”, eight dessert forks, l. 6‑5/8”, eight teaspoons, l. 5‑5/8”, eight place spoons, l. 6‑3/4”, eight soup spoons, l. 6‑3/8”, eight dinner knives with “Modern”-shaped stainless steel blades, l. 8‑5/8”, eight butter spreaders with sterling blades, l. 5‑7/8”, six tea knives with sterling blades, l. 6‑1/8” two fruit knives with “Modern”-shaped stainless steel blades, l. 6‑3/4”, two tablespoons, l. 8”, a cold meat fork, l. 8”, and a sauce ladle, l. 6‑1/4”, 88.03 total t. oz. [6000/9000] Illustrated

438 Georg Jensen Sterling Silver “Acorn” Pattern Carving Set, designed in 1915 by Johan Rohde (1856‑1935), Copenhagen, with the Jensen 1933‑1944 mark, including a carfing fork, l. 11‑1/4”, and knife l. 14‑1/2”, with stainless steel tines and blade. [900/1200] Illustrated 439 Georg Jensen Sterling Silver Ornamental Pattern Number 49 Salad Serving Set, with the Jensen “raised letter” mark used 1915‑1927, Copenhagen, including a salad serving fork, l. 9‑3/4”, and spoon, l. 9‑1/2”, with stylized scrolling “berry” handle, 9.13 total t. oz. [1400/1800] Illustrated

435 Two Embossed Pictorial Muscovite .875 Silver Cigarette Cases After Viktor Vasnetov (1848‑1926), the first marked Moscow 1906‑1925, by Konstantin Skvortsov, embossed after the 1889 “Ivan Tsarevich Riding The Gray Wolf,”, with gilt interior and simulated amethyst cabochon button, 4‑1/4” x 3‑1/8”, the other marked Moscow 1927‑1958, embossed after the 1898 “Three Bogatyri (Ilya Muromets, Dobrynya Nikitic and Aliosha Popovich), with gilt interior and simulated ruby cabochon button, the reverse with presentation inscription in Cyrillic dated 1948, 3‑1/2” x 4‑1/8”, 12.35 total t. oz. [700/1000] Illustrated 439

440 Persian Serapi Carpet, 6'9” x 10’. [2500/4000] Illustrated

440

441

447

448

441 Semi-Antique Kerman Carpet, 12’8” x 17’6”. [2500/4000] Illustrated 442 Persian Turkaman Carpet, 4’8” x 5’9”. [800/1200] 443 Kerman Carpet, 3’1” x 5’. [500/800] 444 Turkish Angora Oushak Carpet, 8’1” x 10’1”. [1400/1800] 445 Chinese Carpet, 6’ x 9’. [400/700] 446 Bijar Runner, 2’7” x 19’7”. [700/1000] 447 Persian Heriz Carpet, 10’3” x 13’4”. [4000/7000] Illustrated

450

448 Peshawar Sultanabad Carpet, 8’2” x 10’1”. [2000/4000] Illustrated 449 Aubusson-Style Needlepoint Carpet, 6’ x 9’. [500/800] 450 Nichols Chinese Carpet, 10’ x 13’10”. [1000/1500] Illustrated 451 Peshawar Sultanabad Carpet, 8’ x 10’3”. [1000/1500] 452 Indo-Oushak Runner, 2’7” x 8’2”. [400/700] 453 Antique Heriz Carpet, 9’8” x 12’5”. [2500/4000] Illustrated 454 Peshawar Sultanabad Carpet, 9’3” x 12’1”. [2500/4000] 455 Persian Sultanabad Carpet, 7’3” x 10’. [2500/4000] 456 Persian Prayer Carpet, 1’7” x 4’1”. [200/400] 457 Antique Heriz Carpet, 9’1” x 12’11”. [700/1000]

453

458

459

463 French Gilt-Brass, Wrought-Iron, Alabaster and Cut Glass Four-Light Chandelier, of bowl form in the Restauration taste, dressed with cut glass fleurettes, spherical glass drops and draped jewel-cut glass chains, fitted with faux candles and electrified, the interior of the alabaster bowl with a single light socket, h. 33”, dia. 29”. [1200/1800] 464 Empire-Style Mahogany Occasional Table, early 20th century, the oval top above a conforming ormolu-applied frieze, raised on columnar end supports joined by a like stretcher and ending in splayed legs ending in brass paws on casters, h. 28”, w. 24‑1/4”, d. 19”. [400/700]

458 Impressive Empire-Style Malachite and Bronze Centerpiece, consisting of three winged patinated-bronze winged figures, perched on balls resting on a malachite cylindrical base with winged swan feet, the figures support an engine-turned gilt ring holding six candle arms on swan shaped supports, with a central malachite shallow bowl, h. 22”, dia. 18‑1/2”. [3000/5000] Illustrated 459 Louis XV-Style Malachite and Gilt-Bronze Urns with Pinecone Finials, each with mask handles holding swags of gilt-bronze foliage and three gilt putti, supporting the main body, standing on a notched corner plinth decorated with egg-and-dart molding, h. 24”, w. 11”. [5000/8000] Illustrated

466

460 Polished and Fit Malachite Stone Box, with removable lid, with all stones exuberantly figured, h. 2‑3/4”, w. 6”, d. 4”. [600/900] 461 Empire Mahogany and Marble-Top Commode, early 19th century and later, the rectangular St. Anne des Pyrennes marble top above a conforming case fitted with a single frieze drawer over two long recessed drawers, flanked to either side by engaged tapering pilasters headed by ormolu maiden’s heads, raised on ebonized paw feet, h. 35‑1/4”, w. 51”, d. 20‑3/4”. [4000/7000] Illustrated 462 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”. [1200/1800] 461

465

468 Neoclassical-Style Faux Bois and Giltwood Looking Glass, 19th century, the rectangular plate surmounted by a ribbon and laurel wreath crest and an eglomise panel of mounted warriors, flanked to either side by a tapering ebonized upright, with gilt paw feet pendants, h. 66”, w. 29‑1/4”. [1200/1800] Illustrated 469 Pair of Gilt-metal and Glass Occasional Tables, in the Empire taste, each with a circular glass top raised on four square supports joined by an X-form stretcher and with applied scrolling patterns, raised on foliate feet to molded pegs, h. 19‑1/2”, dia. 21‑1/2”. [400/700] 470 Pair of Neoclassical Revival Lamps in the Form of Five-Light Candelabras, supported on cornucopias carried by female figures in the Charles X fashion, each on molded square plinths on black marble bases, h. 30‑1/2”, w. 11”, d. 11”. [600/900]

468

467 465 Pair of Empire Mahogany Fauteuils, early 19th century, each with a padded back-scrolled rectangular back joined to the padded seat by flat arms on maiden’s head uprights, raised on tapering square legs ending in peg feet, h. 35‑1/2”. [3000/5000] Illustrated 466 Giltwood and Walnut Neoclassical Elongated Urn, carved within a drapery and tassel pattern, made in two pieces with the shallow urn resting on the handles, h. 23”, w. 33”, d. 11”. [900/1200] Illustrated 467 Constantin Stoiloff (Austrian, 1850‑1924) “Transporting Gold in Siberia”, oil on panel, signed lower left “C. Stoiloff”, titled on reverse, 12” x 18.5”. Presented in a giltwood and gesso frame. [2000/4000] Illustrated

473

474 Empire-Style Patinated-Brass and Black Peinte SixArm Prism-Hung Chandelier, early 20th century, h. 26”, dia. 28”. [500/800] 475 Monumental Restauration Mahogany and MarbleTop Side Table, second quarter 19th century, the rectangular bleu Turquin marble top above a conforming ogee-molded frieze, joined by large foliate-carved ribbed scrolling supports to the shaped plinth base, h. 38‑1/2”, w. 61‑1/2”, d. 30‑3/4”. [3000/5000] Illustrated

471

471 French Brass- and Bronze-Mounted Tole-Peinte Globe Chandelier, in the Restauration style, the black tole-peinte central globe with six arms and surmounted by a patinated bronze half-figure of Abundance holding a gilt-brass flambeau, electrified and fitted with diminutive custom black linen shades lined in white, h. 38”, dia. 24”. Provenance: The I.W.R. Franklin House, Jefferson County, Tennessee, purchased from New Orleans Auction Galleries, November 14, 1997, lot 249. [1500/2500] Illustrated 472 Male Bronze Nude, second quarter 20th century, shown with a shovel and mounted on a beveled black marble base, h. 6‑1/2”, w. 5”, d. 3”. [300/500] 473 Napoleon III Patinated and Gilt-Bronze Mounted Marble Clock, fourth quarter 19th century, the marble base supporting a brownpatinated-bronze figure depicting the three graces, each in a flowing gown and each clasping the hand of the others, the base inscribed “Gaulier”, on a Belgian black marble pedestal of triangular-form with concave sides, each corner mounted with a gilt-bronze full-backed griffon, the clock face with applied brass numerals and trimmed with gilt metal, h. 29‑3/4”, w. 15”, d. 10”. [2000/4000] Illustrated

475

476 Large Pair of Carved and Turned Black Egyptian Marble Eagle Mask-Handled Covered Vases, in the Regency style, h. 18‑1/2”. [1400/1800] 477 Italian School (20th/21st Century) “Study of an Architectural Element”, charcoal on paper, unsigned, sheet size 24‑3/4” x 19”. Glazed and presented in an ebonized frame. [125/250] 478 Italian School (20th/21st Century) “Architectural Detail Study”, charcoal on paper, unsigned, sheet size 24‑3/4” x 19”. Glazed and presented in an ebonized frame. [125/250]

481

479 Italian School (20th/21st Century) “Study of a Renaissance Relief”, charcoal on paper, unsigned, sheet size 24‑3/4” x 19”. Glazed and presented in an ebonized frame. [125/250] 480 Unusual Louis Philippe Mahogany Child’s 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”. [1500/2500] Illustrated

480

481 Egyptian Revival Candlesticks, third quarter 19th century, now mounted as lamps, in the French Empire taste, with patinated pharaoh figures, surmounted with spread eagles holding a prismhung cut-glass candle cup, the bases of white marble supporting gilt spherules that hold the figure, h. 26”. [1500/2500] Illustrated

482 Belle Epoque Egyptian-Revival Sienna Marble Encrier, fourth quarter 19th century, with a bronze sphinx on a plinth between two lidded bronze ink pots, the serpentine front carved with a pen rest and a sittion on turned, beaded bronze feet, h. 7”, w. 16”, d. 9”. [500/800]

483 Egyptian-Revival Centerpiece, first quarter 20th century, set on green marble plinth with gilt-bronze sphinxes supporting oval cut-glass centerpiece bowl in a pierced brass holder, h. 10‑1/2”, w. 11‑1/2”, d. 6‑1/2”. [700/1000]

484

484 Patinated-Bronze Bust of a Moroccan Boy, second quarter 20th century, signed on the back “William Stirling”, the young man in traditional headdress, on a granite pedestal with bronze base, h. 12”, overall. [700/1000] Illustrated

485 Empire-Style Mahogany and Marble-Top Side Table, late 19th century, the rectangular white marble top above a conforming frieze fitted with a single ormolu pateramounted drawer joined to a recessed lower shelf by a mirrored back and front supports headed by ebonized maiden’s heads and ending in like paw feet, h. 36‑1/4”, w. 50‑1/2”, d. 20”. [1000/1500] Illustrated 486 Pair of French Empire Style Two-Light Candelabras, fourth quarter 19th century, depicting opposing patinated bronze putti balancing on a ball and holding a wreath of flowers and supporting a vertical qiver, each with a pair of swan-head-support-molded candle cups with molded bobeches, the bases of engine-turned truncated columns on square plinths, h. 15‑1/2”. [1800/2500] Illustrated

490

487 Good Paris Porcelain Reticulated Sweetmeat Basket, first quarter 19th century, of diminutive navette form in the neoclassical taste, the basket proper supported on two dolphin masques, the royal blue-detailed plinth supported on four gilded paw feet, h. 6”, w. 8‑3/4”, d. 4‑1/4”. [200/400] 488 Unusual and Finely Modeled Continental PatinatedBronze and Brass Novelty Lamp, with a bear climbing a branch on an urn depicting the torture of Bealesbub, on a font supporting a pair of winged griffins each with a wick extending from its mouth, on a tazza base adorned with arabesques and satyr masks, h. 11‑5/8”, dia. 6‑3/4”. [300/500]

486

489 Pair of Third Republic Patinated-Bronze and Marble Mantle Garnitures, fourth quarter 19th century, each with a foliate-molded tazza on a black marble standard with gilt-brass mounts, h. 9”, dia. 6”. [400/700]

490 Empire Mahogany and Marble Top Commode, early 19th century, the rectangular Carrara marble top above a case fitted with a frieze drawer over three long recessed drawers, all flanked to either side by a free-standing ormolu-mounted pilaster, the whole raised on turret feet, h. 36”, w. 47”, d. 23‑3/4’. [2500/4000] Illustrated 491 Empire-Style Bead-and-Prism-Hung Patinated-Bronze Eight-Light Chandelier, early 20th century, of waterfall form, the cast canopy in shell and arabesques decor, the upper bronze crown supporting faceted pendants and spears, the body and bowl dressed with faceted beads, the S-form arms joined to a cast ring in the neoclassical taste, electrified, h. 31”. dia. 31‑3/4”. [1500/2500] Illustrated 485

492 Empire-Style Ormolu-Mounted Satinwood Armoire, the triangular pediment with an ormolu mount of a classical charioteer and flanked to either end by winged eagle finials, above a case fitted with two doors, each inset with a grille panel and with a lower panel centered by an ormolu winged maiden, raised on molded bun feet, h. 93”, w. 51‑1/2”, d. 22”. [800/1200] Illustrated

492

491

493 Parian Bust of Napoleon Bonaparte, British (1847‑1867), impressed “Copeland” on the reverse and sculpted for Copeland by W. Theed, h. 10‑3/4”, w. 7‑3/4”. [300/500] Illustrated

495

496 493

494

494 French Bronze and Green Marble Encrier in the Form of Napoleon’s Bicorne Hat, fourth quarter 19th century, with laurel leaves applied to the obverse, molded in a contrasting metal, the ink cap is molded as an empire medallion with a pen rest inset in the front, h. 3”, w. 5‑1/4”, d. 4‑1/2”. [150/300] Illustrated 495 Belle Epoque Plaque of Napoleon, fourth quarter 19th century, depicting Napoleon crossing the Alps, executed in gilt-bronze affixed to green marble with an engine-turned frame topped by a gilt-bronze crown, inscribed “Bonaparte, Hannibal, Karolus Magnus, (Charlemagne)”, dia. 11”. [1200/1800] Illustrated 496 Two French Tabletop Patinated Bronzes of Napoleon I, late 19th or early 20th century, one full figure, the Emperor in military dress, his arms crossed over his chest, signed “Boizot a Paris”, h. 12‑1/4”, the other a bust of the Emperor in bicorne and topcoat, signed “A. Canova”, h. 9‑3/4”, presented on a polished black composition stone plinth and socle, respectively. Although bearing the signatures of two prominent First Empire sculptors - Louis-Simon Boizot (1743‑1809) and Antonio Canova (17571822) - these appear to be pastiche, as neither is a recorded model of the respective artist. [500/800] Illustrated

497 Bronze Neoclassical-Style Plaque of a Male, attributed to Pierre Ernst Bouret (1897‑1972), signed “Bouret F.”, along with undecipherable phrase, self framed in an oval neoclassical frame, h. 8”, w. 7‑1/2”. [100/200]

499

498 Pair of Restauration Mahogany Fauteuils, mid‑19th century, each with a padded and slightly domed back surmounted by a plain crest, joined by scrolling arms to the padded seat, raised on sabre legs ending in scrolled toes, h. 35‑1/2”. [1200/1800] Illustrated

499 Napoleon III Gilt-and-Patinated-Bronze-Mounted Marble Mantel Clock, mid‑19th century, the top depicting the monarch Louise Philipe in military dress astride a steed on a rocky mound, the clock face with a porcelain dial, the base of black Belgian marble adorned with gilt-bronze mounts, including a Gallic rooster backed by trophies, the base with a monogrammed crest, h. 21‑3/4”, w. 13‑1/2”, d. 5‑1/2”. [1500/2500] Illustrated

500

498

500 Empire-Style Giltwood Looking Glass, the rectangular plate within a cove-molded frame with corner foliate shield and patera accents, h. 54”, w. 38”. [1400/1800] Illustrated 501 French Giltwood Looking Glass, late 19th century, in the neoclassical taste, the rectangular plate within a molded and dentillated frame with corner acanthine accents, h. 43‑1/2”, w. 38”. [500/800] 502 Large Louis-Philippe Overmantel Mirror, second quarter 19th century, composed of giltbrass-mounted carved giltwood and plaster in the neoclassical taste, the crest rail centered with a Medusa masque flanked by two elongated palmettes in gilded brass, h. 79”, w. 61”. [400/700]

503

503 Empire-Style Mahogany Settee, early 20th century, the curved and paneled crest joined to the padded seat by downswept arms on ebonized maiden’s head uprights, raised on tapering square legs, h. 38‑1/2”, d. 24”, l. 64”. [3000/5000] Illustrated 504 French Patinated-Bronze of a SemiRecumbent Classical Maiden, ca 1900, the figure with laurel wreath in her tresses, adorned in an embroidered gown, an open tome in her lap, h. 11‑3/4”, w. 15‑1/2”, d. 6‑1/2”. [400/700]

506

505

505 Empire-Style Mahogany and Marble-Top Commode, third quarter 19th century, the rectangular Paloma marble top above a conforming case fitted with a frieze drawer over three recessed long drawers, flanked to either side by an ormolu-mounted column, raised on turreted feet, the whole with ormolu accents in the Empire taste, h. 29‑1/4”, w. 32”, d. 21‑1/2”. [1800/2500] Illustrated

506 Graceful Swedish Gilt-Brass and Cut Glass Six-Light Chandelier, first quarter 19th century, in the Gustavian neoclassical style, the central element a pendant emerald green glass vase surmounted by a trio of graduated cut glass-dressed rings, the primary corbeille-form frame modeled as candlearms alternating with chip-cut glass spires, retains the cut glass-dressed canopy of “shower” form, now electrified, h. 35”, dia. 30”. Provenance: The I.W.R. Franklin House, Jefferson County, Tennessee, purchased from New Orleans Auction Galleries, February 2, 1997, lot 618, from the estate of Gertrude Buckley Windsor, Tyler, Texas. [3000/5000] Illustrated

507 Biedermeier Mahogany Secretaire a Abbatant, 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”. [3000/5000] Illustrated

508

508 Napoleon III Bronze Table Clock, third quarter 19th century, marked Schld & Co, Swiss, in the form of a marching horse atop a bronze plinth, the urn capped clock held aloft above the saddle, the clock retaining it’s blue enameled face plate, now mounted with later works, h. 10‑1/4”, w. 6”, d. 3‑1/4”. [700/1000] Illustrated

509 Suite of Eight Neoclassical Mahogany Sidechairs, mid‑19th century, each with a lyre-form back with brass rod accents, the padded seat raised on splayed legs, h. 37”. [1500/2500] Illustrated

507

510 Good Pair of French First Empire Carved Giltwood Post Finials, in the form of long-necked, displayed swans, first quarter 19th century, finished in bright and matte gold, each swan with a double-strand gilt bead necklace in the manner of Jacob-Desmalter, h. 14‑1/2”, w. 17”, d. 6”. [700/1000] Illustrated 511 Circle of Michelangelo Maestri (b. ?‑1812) “The Three Moirae” and “Athena and Arachne”, pair of oils on canvas, unsigned, 16” x 20”. Presented in matching contemporary giltwood frames. [800/1200] Illustrated 512 German Coffee Set in the Neoclassical Style, signed “Hochst Manufacturing Co, Hochst, Germany”, the set contains a coffee pot, h. 8”, sucrier, h. 4”, cream jug, h. 3‑1/2”, four cups, h. 3‑1/4”, with four saucers, dia. 5‑1/2”, and four dessert plates, dia. 7‑1/2”, each piece hand painted in various European pastoral scenes, in raspberry color, each piece initial by the artist on the rear. [300/500]

509

513 Pair of Exuberantly Modeled CastIron Garden Urns on Stand, of neoclassical inspiration, each with a ribbed body and gadrooned top mounted with a pair of putti and ram’s heads, on a paneled pedestal base, h. 48”, w. 31”, d. 22”. [2000/4000]

514 Monumental Nickel-Plated Bronze Tree Tub in the Louis XIV-Style, the handles modeled as pensive putti perched on palm fronds surmounting a ringed leontine mask, the shoulders with high-relief floral garlands, h. 31”, w. 29”, d. 18”. [400/700]

515

511 pair

516

510

517 An Ambrosius Lamm, Dresden Porcelain Plaque, after Paul Thurmann’s (1834‑1908) painting “De Parzen”, depicting the three fates, signed by the painter “J. Dietrich Mach Thurmann”, the verso with the factory’s mark in use from 1887‑1915, presented in a giltwood frame with moire lining, plaque 7-1/2” x 5‑3/8”, overall 14 x 12‑1/2”. [600/900]

515 Chantilly Neoclassical Bisque Female Figure, third quarter 19th century, after Jean-Jacques Pradier, probably representing “music”, the figure shown seated on rocks, holding a lyre, one foot resting on an overturned water jug, a brass inset rondel reads “Pradier” and impressed “Chantilly” on reverse, h. 14”, w. 5”, d. 7”. [1000/1500] Illustrated 516 Carved Carrara Marble Garden Figures, depicting two frolicking classical maidens holding a ribbon, raised on a paneled square pedestal, h. 79”, w. 19‑1/4”, d. 19‑1/4”. [3000/5000] Illustrated

518 Continental Neoclassical Figured Maple Encoignure, second quarter 19th century, the top banded with a central inlaid patera, above a case fitted with a single cupboard door, centered by a diamond medallion of a classical maiden and surrounded by inlaid patterns in the classical taste, raised on double s-curved feet, h. 38‑1/2”, w. 35‑1/2”, d. 19‑1/2”. [1000/1500] Illustrated

520 pair

518

519 Good French Tole-Peinte and Cut Glass Cruet Frame, second quarter 19th century, of footed navette form, the frame centered with a matching, pierced, covered tole-peinte vase in the antique style, each cruet retaining the tall, period, lapidary air-trap glass stopper, h. 10‑3/4”, w. 9‑3/4”. d. 4”. [400/700]

521

520 Pair of Neoclassical-Style Three-Light Sconces, the arms and frames outlined with strings of glass prisms, the cut-glass bobeches hung with amber prisms, h. 22”, w. 17”. [1000/1500] Illustrated 521 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”. [1500/2500] Illustrated

523

522 Neoclassical-Style Walnut Side Table, the rounded rectangular top banded and above a plain frieze, raised on curule-form end supports joined by a bulbous stretcher and ending in runner feet, h. 29‑1/4”, w. 51‑1/4”, d. 23‑1/2”. [700/1000]

523 Neo-Classical-Style Walnut Side Table, the rounded rectangular top banded and above a plain frieze, raised on curule-form end supports joined by a bulbous stretcher and ending in runner feet, h. 29‑1/4”, w. 51‑1/4”, d. 23‑1/2”. [700/1000] Illustrated 524 Empire-Style Gilt-Brass and Rock Crystal NineLight Chandelier, early 20th century, of cage form, the floriform cap joined by a central standard with three sockets to a lower circular tier, fitted with three interior lights, and issuing three scrolling arms to electrified faux candles, the whole elaborately dressed with strands of faceted rock crystal beads and ormolu accents in the Empire taste, h. 45‑1/2”, dia. 27”. [3000/5000]

528

527

525 Pair of Empire-Style Polychrome Fauteuils, each with a curve diamond-paneled crest above an urn-form splat, joined by padded and rounded arms to the cushioned seat, raised on tapering circular legs headed by foliate carving and ending in peg feet, h. 35”. [400/700] 526 Pair of Directoire-Style Polychrome Armchairs, early 20th century, each with a curved crest centered by a classical medallion, over a diamond-form splat with polychrome urn, joined by rounded and padded arms to the padded seat, raised on tapering paneled square legs, h. 35‑1/2”. [1500/2500] Illustrated 527 Pair of Neoclassical-Style Lidded Marble Urns, the domical lids and bowl-form bodies each with twist flute decor, on a socle base, h. 24”, dia. 16”. [1200/1800] Illustrated

526

528 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 hornform supports and a paneled back, the whole raised on ebonized molded feet, h. 36‑1/2”, w. 40‑1/2”, d. 18‑1/2”. [1800/2500] Illustrated 529 Neoclassical-Style Marble Columnar Pedestal, the circular variegated white marble top and base on a cylindrical blush and pale rouge marble standard, h. 25”, w. 19‑1/2”, d. 19‑1/2”. [300/500] Illustrated following page

530 Pair of Bronze Grand Tour Souvenirs Depicting Mercury and Atropos, fourth quarter 19th century, each mounted on plinths made of rouge, bronze and black marble, each plinth depicts playing instruments in bas relief, while both Mercury and Atropos are poised on one foot raised from a classical mask, h. 20”, dia. 3”. [1800/2500] Illustrated

530

531 Pair of Charles X-Style Four-Light Articulated Hanging Wall Sconces, with a central removable flame finial which holds the fourth candle, all supported on a swinging Greek Key molded arm which attaches to the wall with a foliate-molded medallion, h. 13”, w. 14”. [1800/2500] Illustrated

529 532 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. [1500/2500] Illustrated 533 Neoclassical Bronze and Marble Plaque Depicting Selene, Demeter, Hephaestus, and Other Classical Figures in a Landscape, second quarter 20th century, the bronze rondel inset into marble with a rear small oval bronze tap depicting Cupid, dia. 8‑1/2”. [150/250] 534 Neo-Grec Bronze Tazza, fourth quarter 19th century, molded with male and female classical figures in an interior sitting on a turned standard and square base, h. 6”, dia. 7‑1/2”. [150/250] 535 Louis XVI-Style Mahogany and Marble-Top Commode, mid‑19th century, the rectangular variegated gray marble top with canted corners above a conforming case fitted with three long drawers, flanked to either side by a fluted pilaster, raised on tapering square legs, h. 35”, w. 47”, d. 26”. [800/1200] Illustrated

532

536 French Campan Marble Desk Box, first quarter 20th century, of rectangular form, the top and sides of Campan Grand Melange marble, the bottom of Campan Vert marble, with narrow silverplate edging and hinge, the interior lined in russet baize, w. 2‑1/8”, l. 3‑1/2”. [100/200] 537 Pair of Italian Marble Lamps in the Form of an Obelisk, sitting on green metal turtles atop a plinth, each with contrasting shades of grey marble, signed “Made in Italy” on the bottoms with conforming marble shade finials, h. 29”. [500/800]

531 pair

538 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”. [1200/1800]

539 Pair of Continental Mahogany and Marble-Top Pedestal Tables, late 19th century, each with a hexagonal top inset with a conforming brown marble surface, raised on circular supports joined by a concave hexagonal stretcher and terminating in a tripartite brass applied base, h. 30‑3/4”, dia. 19”. [400/700] 540 Neoclassically Inspired Cast Stone Garden Urn, depicting a lobed urn supported by a kneeling nude on bended knee holding the urn atop her head, h. 53”, dia. 26". [400/700] 535

541 Large, Impressive Japanese Satsuma Covered Incense Burner, late 19th century, the globular body resting on lion-head and paw feet, winged dragon handles with rings and draped tassels, the cover with an elaborate shi-shi finial on a ball, the body decorated in traditional enamels with scenes of geishas and samurai, h. 24‑7/8”. [4000/7000] Illustrated

545 Striking Japanese Lacquer Lidded Box, of squared outline, the black lacquer ground with abstract, angular decoration of flaked abalone shell, the interior of the cover with lacquer and abalone shell decoration of scattered sea shells on a gold flecked black ground, wooden outer storage box with paper labels, h. 3‑1/2”, w. 9”. d. 8‑1/2”. [1400/1800] Illustrated

541

546 Group of Five Japanese Ivory Netsuke, each carved in the round and each having staining, composed of a seated quail, a pair of recumbent water buffalo, a standing badger carrying a basket, a standing figure of a frog wrapped in a lotus leaf and a standing figure of a phoenix with raised tail and wings, h. 1” to 1‑7/8”. [200/400] 547 Group of Twelve Japanese Netsuke and Small Carvings, of various materials including ivory, wood, bone and hardstone depicting birds, goats, snakes, masks, demons and skulls, brocade silk storage box, h. 1\2” to 2”. [300/500]

542 Good Japanese Enameled Porcelain Plaque, 20th century, of rectangular outline enameled in polychrome enamels depicting a fierce eagle perched among pine and maple trees in the foreground and a castle and Mount Fuji in the background, bordered with a key-fret-border and having gilt details all over, w. 11‑7/8”, l. 17‑3/4”. [300/500] 543 Unusual Japanese Lacquer Covered Box, the rectangular footed box with arched cover, decorated in gold and brown lacquer with a mountainous landscape with pine trees outside a woven fence and a stream, the interior of the cover decorated with a stream, flowering tree and a sparrow in flight, l. 15‑1/2”. [1500/2500] Illustrated

544 Fine Japanese Lacquered Food Server, Tokugawa Period (1603‑1867), the outer case containing four stacking food containers, one footed tray and two individual trays, an open food container, a water container and waste container, all pieces decorated in black and gold lacquer with abalone inlay, with designs of various seashells and seaweeds indicating that the server was probably intended for serving sushi, h. 13”, l. 13‑1/2”, d. 7‑1/4”. [200/400]

545

543

548 Unusual Japanese Satsuma Foliate Bowl, Meiji Period (1868‑1911), the deep bowl with shaped rim, the cream colored pottery body decorated in polychrome enamels with a central panel of a coiled dragon and six reserve panels at the lip rim of peonies and foliage, the exterior decorated with a continuous scene of birds flying above cresting waves, dia. 9‑3/4”. [800/1200]

558 556

549 Set of Six Japanese Porcelain Covered Rice Bowls, first half 20th century, each of circular form with conforming footed cover, decorated in underglaze blue, polychrome enamels and gilding in the Imari style, dia. 5”. [200/400]

559

550 Japanese Polychrome Decorated Stem Bowl, with a wide low-rimmed bowl above a splayed foot, decorated on the interior with waves, bridges and buildings and on the exterior with sea life and pagodas, h. 4”. [75/125] 551 Japanese Blue and White Porcelain Deep Dish, 20th century, made for Gumps, San Francisco, decorated in underglaze blue with a central medallion of a peacock resting in a flowering prunus tree above peonies and a brocade border with three shaped floral reserve panels, dia. 14‑3/8”. [75/125]

557

554

552 Large Japanese Enameled Storage Jar, 19th century, of tapered baluster-form decorated in underglaze blue, polychrome enamels and gilding with pine and prunus trees with polychromed fans and a stork with outspread wings, h. 15‑1/2”. [600/900] Illustrated

552

554 Japanese Hardwood and Bone Decorated Export Planter, ca 1920, the rectangular metal-lined planter decorated with carved bone applique of sparrows among flowers and foliage, supported on four bowed legs with central stretcher and carved fretwork apron, h. 33‑1/2”, d. 15‑1/2”, l. 22‑3/4”. [500/800] Illustrated

553 Japanese Blue and White Porcelain Saucer Dish, made for the export market, decorated in underglaze blue with a songbird among peonies growing out of rockwork, key-fret border at the lip, dia. 11‑3/8”. [150/300]

555 Oriental Ebonized and Polychrome Four-Fold Screen, each panel featuring gilt-outlined scenes of birds among flowering branches, the lower section with flowering branch panels, raised on shaped feet, h. 72”, w. 64”. [300/500]

556 Good Japanese Cloisonne Vase, first half 20th century, Ando Studio mark in base with gilded wire, of elongated baluster shape with slightly flared neck, designed with wired decoration of a pavilion among pine trees with craigy mountainous landscapes among clouds, silvered lip and base rims, h. 7‑1/4”. [400/700] Illustrated previous page

564

560

561 Japanese Cast-Bronze Covered Incense Burner, Meiji Period (1868‑1911), of bulbous-form with shi-shi handles, cast with integral three-legged stand, the body with high relief reserve panels of birds in pine trees, the pierced cover with a Buddhistic lion finial, h. 16‑1/2”. [250/400]

557 Good Pair of Japanese Bas Taille Cloisonne Vases, first half 20th century, each of baluster form, the bodies with etched designs of bamboo and rockwork against a stippled background and enameled all over in a transparent ruby-red enamel, silvered foot rims and lip rims, h. 4‑1/2”. [300/500] Illustrated previous page 558 Japanese Wired Cloisonne Vase, 20th century, of baluster-form with a spray of roses and foliage in naturalistic enamels against a pale celadon colored ground, silvered foot and lip rim, h. 7”. [200/400] Illustrated previous page 559 Pair Japanese Bronze Small Vases, Meiji Period (1868‑1911), each of baluster-shape with cast decoration of cranes in flight above cresting waves, the cranes highlighted in gold, the base and neck with fretwork borders in gold, h. 5”. [900/1200] Illustrated previous page 560 Elaborate Japanese Cast-Bronze Sculpture, Meiji Period (1868‑1911), cast as a rocky outcrop with a gnarled tree peony with buds, flowers and foliage, in front of the peony is a fierce shishi with flowing tail and elaborate hair details, signed in the base with a seal, h. 19‑1/2”, d. 16”, l. 17‑1/2”. [1500/2500] Illustrated

562

563

572

570

574 569

573 571 562 Elaborate Japanese Carved Wooden Plant Pedestal, ca 1920, of columnar form with three clawed feet and a square beaded edge top, the column carved as a coiled dragon among clouds and having four foliate brackets at the top supporting the beaded terminal, h. 54”. [700/1000] Illustrated

567 Japanese Hanging Scroll, first half 20th century, in the Chinese style, executed in ink and watercolors depicting eight scholars practicing calligraphy at two painter’s tables attended by servants serving tea and with a large banana tree, with bone jiku (scroll ends), h. 73”, w. 22”. [300/500]

563 Japanese Meiji Jungin Silver Ikebana Vase, first quarter 20th century, by Kobayashi, Tokyo, of ovoid form with waisted neck, decorated with a band of engraved flowers centering a gilt chrysanthemum kamon, h. 7‑1/4”, dia. 3‑3/4”, 18.07 t. oz. [1200/1800] Illustrated

568 Fine Japanese Hanging Scroll, “Dragon in the Clouds”, 18th century, after Kano Tsunenobu, executed in the hatsuboku (splashed ink) technique, the scroll depicting a fierce horned dragon writhing among swirling clouds above cresting waves, with ivory jiku (scroll ends), h. 73”, w. 18‑3/4”. [600/900]

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

569 Japanese Imari Porcelain Deep Bowl, 19th century, of circular outline, decorated in dark underglaze blue and polychrome enamels with a central medallion of flowers and foliage with fan-shaped reserve panels of shi-shi and quatrefoil reserve panels of flowers against a brocade ground, dia. 12‑1/4” [400/700] Illustrated

565 Japanese Split-Bamboo Screen Panel, first quarter 20th century, now mounted in a lacquered wood frame as a wind screen, the central panel of finely split bamboo strips mounted in a lacquered wood frame and stand above a panel of hares and foliage, h. 38‑1/4”, l. 52”, d. 11”. [125/250]

570 Large Pair of Japanese Imari Vases, 19th century, of baluster-form with flared lip rims, decorated in dark underglaze blue and polychrome enamels with shaped reserve panels of flowering plants beneath plum trees in bloom on a ground of scrolling foliage and flowers, h. 18‑1/2”. [700/1000] Illustrated

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

571 Group of Four Japanese Imari Porcelain Saucer Dishes, 20th century, each of slightly shaped circular outline, decorated in underglaze blue and polychrome enamels with a stylized floral central medallion surrounded by reserve panels of flowering trees and mons, dia. 7”. [200/400] Illustrated

572

576 Dutch Mahogany and Marquetry Armchair, first quarter 19th century, in the Regency-style, the curved crest joined by scrolling arms to the padded seat, raised on sabre legs, the whole with elaborate marquetry inlays in floral and foliate patterns, h. 34”. [300/500] 577 Pair of George II-Style Fruitwood and Silver-Plate Two-Light Sconces, second quarter 20th century, each with S-form silver-plated arm supporting ribbed bobeches and candles, the wooden backplate of half-sphere-form, capped by a ribbed finial, h. 10‑1/4”, w. 13”, d. 9‑1/2”. [200/400] 578 Brass Fireplace Trivet in the Victorian-Style, with cabriole legs, pierced skirt on front and sides with open handles on each side, false drawer in front, h. 11”, w. 19”, d. 16”. [500/800] 579 Collection of Five British Brass Wool Weights, 19th century, the largest weighing seven pounds, another weighing two pounds and the remaining three weighing four pounds each, one of which is signed “Parnall & Sons LTD., Bristol & London”, h. 4‑1/2” to 6‑3/4”. [200/400]

572 Fine, Massive Japanese Imari Charger, 20th century, of circular-form with scalloped lip rim, decorated in underglaze blue and polychrome enamels with a central medallion of asters and foliage surrounded by reserve panels of garden scenes with peonies, two panels with shi-shi and two with garden fences and maple trees, the reserve panels against a fretwork ground with quatrefoil floral medallions, the surface with gilt highlights throughout, dia. 24‑3/4”. [800/1200] Illustrated this page and previous page 573 Japanese Polychromed Imari Bowl, late 19th century, now mounted in Continental gilt-bronze mounts, the bowl decorated with reserve panels of flowers and shi-shi against a brocade ground on the interior and a continuous scene of phoenix birds among fruiting grape vines on the exterior, dia. 13‑1/2”, l. 18‑1/2”, across handles. [1800/2500] Illustrated previous page 574 Unusual Japanese Imari Porcelain Bowl, 19th century, of octagonal outline, decorated in underglaze blue, iron-red and gilding with a central medallion of an ikibana arrangement in a basket, the walls decorated with alternating panels of peonies and arrangements of asters in vases on a terrace, dia. 13”. [300/500] Illustrated previous page 575 Dutch Walnut and Marquetry Display Cabinet, 20th century, the canted shaped and molded cornice above a conforming door, fitted with a floral basket-inlaid frieze and two astragal-glazed doors, opening to a shelved interior over two long drawers with shaped fronts, raised on tapering circular legs joined by a shaped box stretcher and ending in bun feet, the whole elaborately inlaid with floral and scrolling foliate marquetry patterns, h. 90‑1/2”, w. 78”, d. 15‑1/2”. [1400/1800] Illustrated

580 Three-Piece Group of French Copper Kitchen Utensils, 20th century, comprised of a tapering cylindrical chocolate pot with wooden handle, h. 7‑1/4”; a water bottle with a swan-neck spout and fixed brass handle, h. 12‑1/2”; and an ovoid basin with brass hoop handles, h. 10‑1/2”. [150/300]

575

581 After Rembrandt van Rijn (Dutch, 1606‑1669) “Saskia Wearing a Veil”, oil on board, fourth quarter 19th century, sight 15” x 11”. Presented in a giltwood and gesso frame with an oval window. [700/1000]

588

582 Dutch School (Fourth Quarter 19th Century) “Interior Scene with an Elderly Woman Reading”, oil on canvas, unsigned, 29” x 20‑1/2”. Presented in an ebonized, parcel-gilt frame. [1200/1800] Illustrated 583 Dutch School (First Quarter 20th Century) “Interior Scene with Family at Supper”, signed illegibly lower left, 10” x 13”. Framed. [500/800] 584 Royal Doulton Morrison Ware Jug, depicting a servant presenting a plate of fruit to a cavalier, both in 17th century costume, against a fence of roses, the castle in the background, executed in blue and white with a gilt sky, h. 7‑3/4”, dia. 4‑1/2”. [125/250] 587 Jan Van Couver, known as Hermanus Koekkoek II (Dutch, 1836‑1909) “Dutch Harbour Scene”, watercolor on paper, signed lower left “J. Van Couver”, sight 13” x 19”. Glazed, double matted and presented in a molded stainedwood frame. [600/900] Illustrated

587 585 George II-Style Polished and Lacquered Brass Twelve-Light Chandelier of Six-Over-Six Two-tierForm, the stem with conical and globular segments, the arms of S-form with scroll decor, electrified, h. 29‑1/2”, dia. 28”. [900/1200] 586 Pair of Staffordshire Chimney Ornaments, third quarter 19th century, in the form of spaniels, decorated with oxblood, each with a molded gilt chain and lock handing from their necks, h. 12”, w. 9”. [200/400] 582

588 Provincial Oak and Fruitwood Cabinet, comprised of antique elements, the molded cornice above a case fitted with three pairs of long upper cabinet doors, each bi-paneled and opening to a shelved interior, the lower section fitted with three pairs of paneled doors, raised on a plinth base, h. 78”, w. 94‑1/2”, d. 19‑1/2”. [1000/1500] Illustrated previous page 589 English Pine Hanging Shelf in the Vernacular Georgian Taste, ca 1900, with a projecting cornice over a trio of shelves on scalloped supports, h. 43”, w. 39”, d. 8”. [400/700]

592 Fine English Linen Alphabet Sample, mid‑19th century, with five different alphabet embroidery styles, including cross stitch and American, the Bible verse and dedication surmounted and flanked by sets of initials, some crowned, the lower section with an estate building with front sheep, green parts of the border cross-stitched with a single thread, h. 20”, w. 16‑1/2”. [600/900] Illustrated 593 English Cross Stitch and Embroidered Sampler on Linen, ca 1833, signed “Ann Burkinshaw 1833”, with verse, trees, plants and deer motifs, in a curly maple frame, h. 19‑1/2”, w. 16‑1/2”. [400/700]

594 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”. [300/500]

592

590 Wedgwood Jasperware Souvenir of Torquay, an English Seaside Resort, decorated with the arms of Torquay and fitted with a sterling rim made in Birmingham, 1908, bottom impressed “Wedgwood, E, 173”, h. 2”, dia. 1‑1/2”. [50/100] 591 Two Salt-Glaze Pitchers, second quarter 19th century, one in the “gypsy” pattern, the family and a witch-like figure tending the fire under a hanging kettle in a forest, signed “Published July 1, 1848, by Jones & Walley Corridor Gipsey”, h. 9‑3/4”, the other depicts hanging game birds with a caduceus, signed with the registry mark for 1842 and Enville, h. 8‑1/2”. [200/400]

597

600

599 Chinese Ironstone Covered Tureen and Stand, 20th century, of 18th century export form, decorated in Chinese Imari colors of underglaze blue, iron-red and gilding with an overall floral motif, w. 11‑1/4”, l. 14‑1/2”. [700/1000] 600 English Flying Bird Pattern Assembled Partial Dinner Service, the platter, w. 14”, l. 20”, and the round shallow vegetable bowl, h. 2”, dia. 10”, formerly fitted with a cover, are marked “Davenport, Stone China”, and were made in England, 1805‑1820, together with seven dinner plates, dia. 10‑1/4”, marked “Masons Patent Ironstone China”, in underglaze blue, 1830‑1848, and an oval open tureen which is unmarked, h. 3‑1/2”, l. 10”. [500/800] Illustrated 601 English Stained Pine Linen Press, 19th century, the molded cornice above a case fitted with two cupboard doors, each paneled and with an applied molded geometric design, the lower section fitted with two long drawers, each with diamond panels, raised on bracket feet, h. 77”, w. 57‑1/2”, d. 25”. [1500/2500] Illustrated

601 595 English Mahogany Armchair, fourth quarter 19th century, in the Carolean taste, the back with a central padded oval panel within elaborate foliate and floral carving, joined by downswept arms to the padded seat, raised on cabriole legs joined by a scrolling foliate stretcher and ending in paw feet, h. 56”. [400/700] 596 Caroleon-Style Mahogany Armchair, late 19th century, the shaped crest centered by a crown carving flanked by scrolls and finials, the bisected caned back flanked by barley-twist uprights and joined to the cushioned and caned seat by downswept arms, raised on saber legs joined by a scroll-and-crown front stretcher, h. 45‑3/4”. [250/400] 597 Queen Anne-Style Walnut Secretary, the molded cornice above a single mirrored cabinet door, with a central candle slide below, the lower section fitted with a slant front opening to a storage well and a variety of drawers and cubbyholes, over two short drawers and two long graduated drawers, all banded, raised on shaped bracket feet, h. 81”, w. 24”, d. 18‑1/2”. [2000/4000] Illustrated

602 English Oak Armchair, early 19th century, in the George III-Style, the carved and shaped crest above a balusterform splat, joined to the padded seat by outscrolled arms, raised on square legs joined by a box-form stretcher, h. 40”. [400/700] 603 English Oak Draw-End Table, late 19th century, in the Jacobean taste, the rectangular top with two draw-ends above an arched foliate-carved frieze, raised on cupand-cover foliate-carved legs joined by a box-stretcher and ending in block feet, h. 31‑1/2”, d. 39”, l. 75‑1/2”. [2000/4000] Illustrated 604 Pair of Continental Brass-Mounted Carved and Dark-Stained Oak Bracket Shelves, first quarter 20th century, h. 24”, w. 10”, d. 3‑3/4”. [150/300] 605 Dutch Oak Vitrine Cabinet, third quarter 19th century, the domed and molded cornice above an astragal-glazed door, the sides also glazed, the lower section fitted with two shaped drawers, raised on paneled, tapering circular legs joined by shaped stretchers and ending in bun feet, h. 66‑1/2”, w. 33‑1/2”, d. 10”. [500/800]

603

598 After William Hogarth (British, 1697‑1764) “Scenes from The Rake’s Progress”, suite of four bookplate prints, sight 9‑1/2” x 12”. All glazed, linen-matted and presented in ebonized and parcel-gilt frames. [500/800]

611 English Oak Drop-Leaf Table, early 19th century, the rectangular top with two ovoid drop leaves, raised on barley twist legs joined by a box-stretcher, h. 28‑1/2”, d. 45‑1/2”, l. 21‑1/2”, ext. l. 46‑1/2”. [1200/1800] Illustrated 612 English Silkwork Embroidery, of a Neoclassical maiden mourning Shakespeare, first quarter 19th century, sight 9” x 6”. Presented in an eglomise frame with an oval window, within a later giltwood frame. [125/250]

611

606

606 Pair of Decorative Throw Pillows, of square form, each made from a fragment of an antique Kilim carpet, with a velvet backing, h. 17”, w. 17”. [200/400] Illustrated 607 Pair of Decorative Throw Pillows, of square form, each made from a fragment of an antique Kilim carpet, with a velvet backing, h. 17”, w. 17”. [200/400] 608 Pair of Decorative Throw Pillows, of square form, each made from a fragment of an antique Kilim carpet, with a velvet backing, h. 17”, w. 17”. [200/400] 609 Contemporary Kilim-Upholstered Stool, the padded square top raised on square legs joined by a box stretcher, upholstered in its entirety, h. 19”, w. 18”, d. 18”. [150/300] 610 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”. [600/900]

613 English Oak Side Table, early 19th century, the planked rectangular top raised on square legs joined by a box-form stretcher, h. 29‑1/4”, w. 35‑1/2”, d. 19‑1/4”. [500/800]

614 English Oak Book Press on Stand, mid‑18th century, the press of pegged and dovetailed construction with a screw drive mechanism and six removable wooden plates, the base with a single frieze drawer supported by pegged and turned legs joined by an X-stretcher with beaded edge, raised on later bun feet, h. 68”, w. 28”, d. 19‑1/2”. [1000/1500] Illustrated 615 Small English Oak Footstool, partially constructed of antique elements, the rectangular top above a scalloped apron, raised on angled, circular legs joined by a box stetcher, h. 13‑1/2”, w. 13‑1/2”, d. 9‑1/2”. [200/400] 616 English Oak Tripodal Stool, early 19th century, the rectangular top with canted front, raised on angled, paneled circular legs, h. 15‑1/4”, w. 15‑1/4”, d. 9‑1/4”. [300/500]

614

617

617 Extensive Group of Mottahedeh Blue and White Porcelain Dinnerware in the Canton Manner, made by Vista Allegre, Portugal, stamped “Historic Charleston Foundation”, consisting of seventeen dinner plates, dia. 10”, four soup plates, dia. 10”, seventeen salad/ dessert plates, dia. 8‑1/2”, thirteen bread and butter plates, dia. 7”, a pair of leaf-form pickle dishes, w. 6‑1/2”, d. 4‑1/2”, a pair of salt dishes, h. 1‑3/8”, w. 4”, d. 3‑1/4”, a lighthouse coffee pot, h. 9”, w. 8”, d. 5”, a cylindrical tea pot, h. 6‑1/2”, w. 10”, d. 5”, a sugar bowl, h. 4‑1/2”, w. 6”, d. 4”, a cream jug, h. 3‑1/4”, w. 5‑1/2”, d. 3‑1/2”, twelve cups, dia. 3‑1/2”, with thirteen saucers, dia. 5‑1/2”, a gravy boat, two notched-corner serving bowls, dia. 9”, a notched-corner serving bowl, dia. 7”, and a vase-shaped pitcher, 6‑3/4”. [500/800] Illustrated

620

618 Group of Mottahedeh Blue and White Porcelain Made by Vista Allegre, Portugal, stamped “Historic Charleston Foundation”, consisting of a large pair of cider mugs, h. 6”, dia. 4‑3/4”, five porringers with pierced handles, h. 2‑1/8”, w. 6‑1/2”, a pair of shell dishes, dia. 8‑1/2”, a tureen with boar’s head handles, h. 5”, w. 7”, d. 4”, an undertray for the tureen, w. 7‑1/2”, d. 5‑1/2”, four tea cups, dia. 4‑1/2”, and ten deep saucers, dia. 6‑1/4”. [125/250]

619 Three-Piece Mottahedeh Serving Group, in the blue and white Canton manner, the cut-corner platter, l. 17”, w. 14”, along with a notched-corner serving bowl, h. 4‑1/2”, dia. 10”, and a lobed fruit bowl, dia. 9‑1/2”, made by Vista Allegre, Portugal, stamped “Historic Charleston Foundation”. [200/400]

624

620 Mottahedeh Blue and White Soup Tureen with Under Trays, in the Canton-Style, the tureen with an artichoke finial and intertwined handles, h. 10”, l. 14”, d. 6‑1/2”, together with a pair of matching oval under trays, l. 17”, w. 12‑1/2”, stamped “Historic Charleston Foundation”. [250/400] Illustrated 621 Pair of Blue and White Mottahedeh Canisters in the Canton-Style, stamped “Historic Charleston Foundation”, and “VA” for Vista Alegre, h. 8”, dia. 8”. [200/400]

622 Mottahedeh Blue and White Covered Cider Jug and Ten Cider Mugs, the jug in the Canton manner with a Foo Dog finial and intertwined handles, h. 10‑1/2”, dia. 5”, along with ten cider mugs, h. 4”, with intertwined handles, all made by Vista Allegre, Portugal, from the “Historic Charleston Foundation”. [150/300]

636 638

623 Notched-Corner Blue and White Platter With Pair of Spoon Trays, late 18th century, in the Chinese-export-style, made by Mottahedeh and stamped “Historic Charleston Collection”, l. 14”, w. 11”, platter, l. 7‑3/4”, spoon trays. [75/125]

635

624 Group of Eleven Mottahedeh Porcelain, in the Canton manner, made by Vista Allegre, Portugal, and stamped “Historic Charleston Foundation”, consisting of a vase-shaped jug, h. 6‑3/4”, a smaller vase-shaped jug, h. 4”, a cream jug, h. 4”, a pair of mustard pots, h. 3”, three mustard pot liners, h. 3‑1/2”, two sponge boxes, w. 6”, and a tea canister, h. 4‑1/2”, w. 3‑3/4”. [100/200] Illustrated previous page

637

642 625 Pair of Masons Ironstone Stands, fourth quarter 19th century, decorated in an Imari pattern, marked “Mason’s Patent Ironstone China”, with puce, angled crown mark, w. 5‑1/2”, l. 7‑1/2”. [100/200]

626

626 English Chinoiserie Hanging Bowfront Corner Cabinet, 19th century, the shaped backpiece with two small shelves, the bowed case fitted with two drawers, each with gilt and gesso Oriental scenes, on a molded base, h. 46”, w. 24”, d. 15‑1/4”. [1000/1500] Illustrated .

627 Suite of Four Chinoiserie Ebonized Nesting Table, fourth quarter 19th century, each with a rectangular top featuring a gilt and gesso Oriental scene, raised on double faux bamboo end supports to shaped runner feet, h. 29‑1/2”, w. 22‑1/2”, d. 14‑1/2”. [400/700] 628 Chinese Export Ebonized and Lacquered Jewelry Cabinet, late 19th century, the rectangular case fitted with two paneled doors, opening to five small drawers, the whole richly decorated in gilt scenes of figural Oriental landscapes, raised on a later ebonized square leg stand, h. 36‑1/2”, w. 11‑1/4”. d. 8’. [700/1000] 629 Pair of Queen Anne-Style Polychrome Armchairs, 19th century, in the chinoiserie taste, each with a domed and foliate-pierced crest above a baluster-form splat, joined by crooked arms to the caned seat, raised on cabriole legs joined by an J-form stretcher and ending in pad feet, the whole with gilt and polychrome accents in the chinoiserie manner, h. 46”. [700/1000]

630 Queen Anne-Style Polychrome Looking Glass in the Chinoiserie Taste, the slightly domed and beveled plate surmounted by a shaped crest with polychrome and gilt figures, within a molded frame, licensed by the Colonial Williamsburg Foundation to be produced by Friedman Brothers and Decorative Arts, Inc. and so marked on the rear, h. 44”, w. 18”. [300/500] 631 Queen Anne-Style Polychrome Stool, late 19th century, in the chinoiserie taste, the shaped rectangular padded seat above a conforming scalloped frieze, raised on cabriole legs joined by a shaped H-form stretcher and ending in pad feet, the whole with polychrome accents, h. 20”, w. 20”, d. 16’. [800/1200] 632 Queen Anne-Style Mahogany Tea Table, mid‑19th century, the dished rectangular top above a conforming frieze fitted with a single compartmented drawer, raised on cabriole legs ending in pad feet, h. 30‑1/2”, w. 34”, d. 24”. [600/900] 633 Queen Anne-Style Mahogany Tripod Table, early 19th century, the tilting circular top raised on a baluster-form support to three splayed legs ending in pad feet, h. 28”, dia. 19‑3/4”. [400/700] 634 Queen Anne-Style Mahogany Tripod Table, late 19th century, the tilting circular top centered by an inlaid patera, raised on a baluster-form standard to three splayed and shaped legs ending in pad feet, h. 19‑1/2”, dia. 17”. [200/400] 635 Two Fine Chinese Spinach Jade Bowls, with golddecorated engraving, each of circular form and resting on circular feet, the stone of each bowl of exceptionally even dark green color, the larger decorated with the figure of a boy, a crane and peaches resting on a leaf, a calligraphic inscription on the exterior and a Chinese character and lotus on the interior, the smaller bowl decorated with a female figure resting on a rocky outcrop with bamboo and a calligraphic inscription on the exterior and lotus sprays on the interior, dia. 6‑1/2” and 7‑1/2”. [1000/1500] Illustrated 636 Good Chinese Carved Jadeite Scholar’s Mountain, intricately carved as a mountainous landscape with a scholar and attendant crossing a bridge in front of a pavilion, the mountainous landscape with a further walled pavilion among clouds and having gnarled pine trees growing from the rockwork, custom carved wooden stand of entwined tree branches, h. 15‑1/4”, including stand. [1500/2500] Illustrated

637 Chinese Carved Jadeite Inkstone, of bell-form outline, the mottled stone with green, black and white colors carved with an enclosing well border and a deep well at one end, fitted wooden stand, w. 4‑1/8”, l. 4‑3/4”. [600/900] Illustrated 638 Fine Chinese Carved Jade Group of Immortals, carved from Burmese jadeite, the front with the Three Sages of Good Fortune (Fu Xing, Lu Xing and Shou Xing) and an attendant in a rocky grotto beneath a pine tree, the reverse with a bodhisattva Budai carrying his sack of wealth and attended by an acolyte, the stone of dark green color with areas of light green and russet colors, presented on a wooden stand, h. 11”. [600/900] Illustrated 639 Good Chinese Carved White Jade Pendant Plaque of Shou Xing, 19th century, carved in relief with a central panel depicting the deity holding the Peach of Immortality and his staff with a gourd holding the water of life, with a recumbent deer at his feet, the top with two confronting phoenix birds with their tails cascading down the sides, the reverse with a plain panel, h. 3”, w. 2‑1/8”. [300/500] 640 Chinese Carved White Jade Pendant Plaque, 20th century, of rectangular outline with an openwork border of two phoenix birds with pendant plumage, the center of the plaque carved in relief with a dragon confronting a horse, the stone of even white color, h. 2‑5/8”, w. 1‑7/8”. [300/500] 641 Chinese Thinly Carved Spinach Jade Marriage Bowl, 20th century, the dark green stone carved to thinness in circular shape with a low foot rim, the exterior carved in relief with two Shou characters, a dragon among clouds pursuing the Flaming Pearl and a phoenix with long feathers in flight among clouds, holding a lotus blossom, the base with a four-character Qianlong reign mark, presented on an elaborate carved rosewood stand, h. 3‑1/8”, dia. 7‑1/2”. [1200/1800] 642 Fine Chinese Carved Spinach Jade Brush Washer, 18th century, the dark green stone carved to translucent thinness in a circular form with in-curved lip rim, the rim carved with two figures of terrestrial snails each with delicately carved feet, feelers and spiral shells, dia. 6”, l.6‑1/2”. [1000/1500] Illustrated 643 Chinese Carved Jadeite Figure of a Horse, 20th century, the saddled steed standing four square on a rectangular base with slightly turned head, the mottled stone of green, lavender and white colors, wooden stand, h. 6‑1/2”, excluding stand, l. 7‑1/2”. [600/900] 644 Chinese Carved Gray Agate Ruyi Plaque, second half 19th century, the flattened carved gray agate depicting a double-headed ruyi scepter with ling chih heads at each end and smaller ling chih heads along the stem, h. 2‑5/8”, l. 7”. [125/250]

645

650

646 Two Chinese Carved Spinach Jade Rice Bowls, 20th century, each translucent in medium to dark green, of inverted-bell-form with everted lip rims and resting on straight foot rims, carved wooden stands, dia. 6‑5/8” to 7‑1/8”. [400/700] 647 Chinese Carved Jade Rice Bowl, of circular form with indented and raised conforming foot rim, the stone of mottled green color with scattered black inclusions, elaborate carved wooden stand, dia. 6”. [300/500] 648 Chinese Famille Jaune Porcelain Planter, of scalloped oval outline, glazed on the interior with turquoise, the exterior glazed in famille rose enamels with lotus, Buddhistic symbols and foliage on a yellow ground, the base with a six-character Jiaqing mark in iron-red, l. 12‑1/8”. [700/1000]

655

645 Set of Nine Chinese Famille Rose Export Porcelain Figures, 18th/19th century, each figure standing on a plinth base, dressed in informal robes and holding their individual attribute, the group consists of the Eight Immortals ( He Xiangu, Cao Guojiu, Tieguai Li, Lan Caihe, Lu Dongbin, Han Xiang Zi, Zhang Guo Hao and Zhongli Quan) and an en suite figure of Laozi, the founder of Daoism, all glazed in bright, thick famille rose enamels, h. 8‑1/2” to 9”. [4500/7000] Illustrated

649 Three Chinese Polychrome Decorated Luncheon Plates, each with a central scene of two confronting dragons among clouds and flames and bordered with alternating panels of seafood and flowers on a brocade ground, dia. 9‑1/2”. [125/250] 650 Chinese Celadon Glazed Porcelain Garden Seat, 19th century, of barrel-form with molded floral bosses, pierced floral decoration and incised scrolling foliage design in the body, h. 19”. [1800/2500] Illustrated

653

651 Chinese Famille Rose Porcelain Serving Dish, first half 20th century, the deep well bordered by a shaped lip rim, decorated with a central medallion of a carp surrounded by two five-clawed dragons pursuing the Flaming Pearl among clouds and surrounded by a foliate border with four reserves of Buddhistic symbols, the base with a six-character Kangxi reign mark in underglaze blue, dia. 17‑3/8”. [600/900] 652 Chinese Rosewood Rectangular Lipped Tea Table, 19th century, the top with a floating panel and low lip rim, above a carved openwork apron, supported by slightly rectangular legs and having an openwork “cracked ice” lower shelf, h. 30‑3/4”, w. 16”, l. 20‑1/4”. [500/800] 653 Pair of Chinese Polychrome and Gilt “Palace” Vases, 20th century, each of baluster-form with molded dragons on the shoulders and double Foo Dog handles at the neck, glazed in polychrome enamels depicting phoenix birds, sparrows and quail among flowering peonies, wooden stand, h. 47”, including stand. [3000/5000] Illustrated 654 Large Chinese Famille Rose Porcelain Vase, first half 20th century, the baluster-form body with fretwork handles and decorated with a bird perched among flowering peonies on the front and calligraphy on the reverse, now mounted as a lamp with a custom wooden base and top, h. 33”. [250/400] 655 Pair Chinese Polychrome Glazed Ginger Jars, each of traditional globular outline, decorated in thick famille rose enamels with reserve panels of Double Happiness characters against a floral ground, custom wooden bases and covers by Dennis Poupart for making into lamps, h. 11‑1/2”. [500/800] Illustrated

656 Chinese Pottery Basin and Stand, late 19th century, composed of a circular pottery basin with scored interior seated on a five-legged wooden stand with green lacquer finish, h. 30‑1/2”, dia. 20‑1/2”. [200/400] 657 Chinese Richly Polychrome Famille Rose Vase, early 20th century, of broad-tulip-form, with phoenix and floral accents, now mounted as a table lamp with custom mahogany fittings, h. 25”. [300/500] 658 Pair of Chinese Famille Rose Hexagonal Reticulated Porcelain Lanterns, late 19th century, each of hexagonal outline with reticulated sections, decorated in famille rose enamels with figural reserve panels and floral grounds, now wired as lamps and mounted on pierced brass conforming bases, h. 12‑3/8”. [400/700]

661 659 659 Pair Chinese Famille Rose Export Porcelain Figures of Ladies, 19th century, each modeled as a standing female figure dressed in informal robes and holding a ruyi scepter and feather fan, on hexagonal pierced plinth bases, each figure decorated in famille rose enamels, the heads of each moveable, h. 16‑1/2”. [1000/1500] Illustrated

660

660 Pair Chinese Porcelain Vases, 20th century, each in the shape of double gourds with molded reserve panels, decorated in polychrome enamels with floral decoration, the reserve panels with molded decoration of flowers on one side and a family of fowl on the reverse, wooden stands, h. 8”, excluding stand. [3500/5000] Illustrated 661 Chinese Famille Rose Reticulated Hexagonal Porcelain Lantern, 20th century, now wired as a lamp, composed of a hexagonal base and body, the body with reticulated panels centered by a circular floral panel, decorated in famille rose enamels, h. 12”. [250/400] Illustrated

662

662 Chinese Square Provincial Low Table, 19th century, the oak frame inset on the top with a square panel of burlwood, the top supported by four square legs terminating in horse hoof feet and joined by square-shaped stretchers, w. 25”, l. 25”. [1000/1500] Illustrated

663 Chinese Rosewood Squared End Table, 19th/20th century, composed of a lipped top with a floating panel and a shallow hidden drawer, the four squared legs supporting a central shelf and joined at the feet with squared stretchers, h. 30‑1/4”, w. 15”, l. 15”. [200/400] 664 Good Pair of Chinese Famille Rose Porcelain Bowls, 20th century, each of circular form with slightly everted lip rims and countersunk bases, the interiors with a single figure of a monk, the exteriors elaborately decorated with the figures of four Buddhas and numerous haloed saints, the base with a four-character Da Xiong Bao Dian mark (Hall of Great Elegance), surrounded by two confronting dragons amidst flames, all in iron red, dia. 7‑3/8”. [500/800] 665 Attractive Edwardian Polychromed Satinwood Corner Cupboard, first quarter 20th century, in the style of Robert Adam (English, 1728‑1792), the mullions of the glazed upper doors arranged as two-handled covered Antique vases, the interior lined in ivory silk moire and fitted with a pair of shelves, the base with two doors, each painted with a different neoclassical Muse, h. 82”, w. 36”, d. 18”. [2000/4000] Illustrated 666 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”. [400/700] Illustrated

667 Campaign-Style Mahogany Silver Chest, mid‑20th century, the molded rectangular top centered by a brass plaque and opening to a hunter-green velvet lined storage space fitted for serving pieces, the case with four velvetlined long drawers fitted for flatware, all with campaignstyle hardware, raised on square legs, h. 30”, w. 25”, d. 19”. [400/700] 668 Edwardian Mahogany Sideboard, ca. 1900, in the George III style, the bowed and earred top with inlaid string banding above a conforming case fitted with a central baize-lined cutlery drawer over a deep recessed drawer, flanked on either side by a cupboard door, all with ivory escutcheons, raised on tapering square legs ending in spade feet, h. 35”, w. 71”, d. 24‑1/4”. [1000/1500]

665

666

673

669 Early Victorian Mahogany Center Table, third quarter 19th century, the tilting rounded rectangular top raised on a bulbous and turned columnar standard to four splayed and reeded legs ending in brass caps and casters, h. 28‑1/2”, w. 37‑1/4”, l. 49‑1/2”. [300/500] 670 Victorian Mahogany Work Box-on-Stand, third quarter 19th century, in the Campaign style, the rectangular case brass-bound and opening to an interior fitted with various open and lidded compartments, raised on a later stand of molded square legs joined by an H-form stretcher, h. 22‑1/2”, w. 17‑1/4”, d. 10‑1/4”. [500/800] 671 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”. [900/1200] 672 Late Victorian Mahogany Lap Desk, late 19th century, in the campaign-style, the rounded rectangular case brass-bound, the top with a presentation plaque reading “John Yeardley Ecclesfield”, the opening to a hinged and slanted leather writing surface and a variety of storage compartments, the interior lid with ribbon letter storage, the side fitted with a single drawer, h. 7”, w. 18”, d. 10‑1/2”. [500/800]

673 Pair of Giltwood Sidechairs, early 20th century, in the Aesthetic taste, each with a rectangular back surmounted by ball finials and with three turned splats, the padded and tufted seat above a spindled apron and raised on ring-turned circular legs ending in toupie feet, h. 33”. [200/400] Illustrated previous page 674 Aesthetic Movement Giltwood Firescreen, third quarter 19th century, the needlework screen within an elaborately turned and modeled frame simulating bamboo, raised on scrolled toes, h. 44”, w. 30‑1/2”. [300/500]

674A BambooFrom Brass Magazine Rack, 20th century, Italian prints depicting scenes of Venice on either side, h. 20”, w. 16‑1/2”, d. 7”. [100/200]

678

675 Continental School (20th/21st century) “Floral Still Life”, oil on panel, signed lower right “S.Lee”, 9‑1/2” x 7‑1/2”. Presented in a deeply-molded giltwood frame. [300/500]

683 676 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”. [1000/1500] 677 Pair of Victorian Ebonized Ballroom Chairs, third quarter 19th century, each with a shaped balloon back with gilt and mother-of-pearl inlaid accents, the caned seat raised on sabre legs joined by a turned front stretcher, h. 31‑1/4”. [200/400] 678 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-of-pearl 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”. [1500/2500] Illustrated 679 William IV Mahogany Center Table, second quarter 19th century, the tilting circular top raised on a paneled, tapering cylindrical standard to a concave tripartite base to carved scroll feet, h. 29‑1/2”, dia. 48”. [1000/1500] Illustrated 680 English Comport and Three Dessert Plates en Suite, third quarter 19th century, with pink borders and decoration of hand painted moths and flowers with encrusted gilt borders, each piece marked with a “330” pattern number and “Staffordshire, England”, h. 4‑1/4”, compote, dia. 9”, plates. [250/400]

679

681 Early Victorian Walnut Center Table, third quarter 19th century, the highly figured circular top above a plain frieze, raised on a fluted and turned bulbous standard to three splayed and molded legs ending in scrolled toes, h. 30‑1/2”, dia. 54”. [400/700]

692

688 George Majewicz (German, 1897‑1965) “Portrait of a Curate”, oil on canvas, signed lower left “G.Majewicz”, 21‑1/2” x 18”. Reverse with a “W.J. Burger Co. Inc.” label. [600/900] 689 Edwardian Mahogany and Wrought and Gilt Metal Occasional Table, early 20th century, the rounded rectangular top within a twisted gilt boarder, raised on wrought iron supports joined by side shield-form stretchers and ending in platform feet on scrolled toes, h.29‑1/2”, w.18‑1/2”, d.11‑1/2”. [300/500] 690 Victorian-Style Cast-Iron and Marble-Top Center Table, the circular Carrara marble top raised on a fluted and spiral ribbed standard to a foliate molded circular base to scrolled toes, h. 27”, dia. 24”. [200/400] 691 Unusual Tall Iron Fern Stand, the basket having scrolled edges and legs, the base with a complimentary “S” design, h. 63”. [125/250]

682 George III-Style Mahogany Desk, late 19th century, the rectangular top with an inset leather writing surface and bowed center section above a conforming frieze fitted with a central drawer flanked to either side by smaller drawers, all with fluted fronts, raised on two pedestals, each fitted with a short drawer over a deeper drawer, raised on tapering square legs ending in spade feet on casters, h. 31”, w. 60”, d. 31‑3/4”. [600/900] 683 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. [1000/1500] Illustrated

692 Large Pair Chinese Export Famille Rose Vases, 19th/20th century, each of baluster-form with molded dragons at the shoulders and red-headed crane handles at the neck, decorated with reserve panels of military figures against a ground of flowers, peaches, butterflies and vines, h. 26”. [4000/7000] Illustrated 693 Pair Chinese Famille Rose Export Porcelain Vases, 19th century, each of tubular-form with flared neck and lip rims and molded lion head ring handles, decorated in the rose medallion pattern, custom wooden stands by Dennis Poupart, h. 12‑3/4”, including stands. [500/800] Illustrated

684 Clarence Blackburn (British, 1914‑1987) “Dockyard Scene with Fishermen”, oil on canvas, signed lower left “C.E. Blackburn”, 28” x 36”. Framed. [600/900] 685 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”. [300/500] 686 Edwardian Mahogany Pedestal, early 20th century, the circular dished top centered by an inlaid urn medallion, joined by square supports to a like-inlaid lower shelf, raised on splayed legs, h. 42”, dia. 11‑1/2”. [200/400]

695 693

694

687 Late Victorian Marble Portrait Bust, ca. 1900, depicting a demure young woman with long braided tresses, a pearl necklace with cross pendant, and floral blooms at her neck and bust, on a flaring square base, h. 28”, w. 14‑1/2”, d. 10”. [700/1000]

694 Good Pair of Chinese Export Porcelain Plates, 19th century, each decorated with famille rose enamels in the rose medallion pattern with central medallions of domestic scenes surrounded by borders of flowers, butterflies and birds, dia. 7‑7/8”. [400/700] Illustrated 695 Chinese Famille Rose Export Porcelain Dinner Plate, 19th century, decorated with a central scene of a court lady before a pavilion with attendants, bordered by a band of flowers, birds and Buddhistic emblems in the rose medallion pattern, dia. 9‑3/4”. [200/400] Illustrated 700

697

696 Chinese Famille Rose Export Porcelain Condiment Set and Fitted Box, 19th century, composed of nine shaped condiment dishes fitted into a geometric arrangement, decorated in famille rose enamels with flowers, birds and butterflies in the rose medallion pattern, fitted box with gilt-and-red-lacquered cover, w. 11‑1/4”, l. 11‑1/4”. [400/700]

699

697 Chinese Export Famille Rose Porcelain Serving Dish, 19th century, of circular outline and saucer shape decorated with a central floral medallion surrounded by a white open field with decoration of pheasants, flowers, fruit and foliage and bordered at the rim with butterflies, bats, flowers and cash symbols, dia. 13‑1/4”. [1500/2500] Illustrated 698 Chinese Famille Rose Export Porcelain Serving Dish, 19th century, of circular-form with rimmed outer border, having a central medallion of ladies listening to music in a garden pavilion bordered by shaped reserve panels of domestic scenes separated by Buddhistic symbols, dia. 14‑3/4’. [400/700] 699 Good Pair Chinese Famille Rose Export Porcelain Vases, 19th century, in the rose medallion pattern decorated with large reserve panels of domestic scenes alternating with naturalistic scenes on a scrolling foliate ground with butterflies, the shoulders with applied lizards and the neck with Buddhistic lion handles, h. 17‑3/4”. [1800/2500] Illustrated

706 Pair Chinese Flambe Porcelain Figures of Phoenix Birds, late 19th century, each modeled as a full-tailed phoenix clutching a ling-chih fungus while resting on a rocky outcrop, glazed all over in a blue, red and lavender striated glaze thinning to white in the raised areas, h. 16”. [300/500]

704 703 705

707 Chinese Squared Porcelain Meiping Vase, Kangxi reign (1662‑1722), the squared meiping with mock mask ring handles glazed all over in a turquoise glaze, fitted giltwood stand, h. 5‑1/2”, excluding stand. [400/700]

700 Fine, Large Chinese Export Porcelain Punch Bowl, 19th century, of circular outline, enameled in famille rose enamels in the rose medallion pattern with a central scene of figures in a pavilion, the interior well decorated with a continuous scene of generations of a large family in a garden setting enjoying varied pursuits and bordered at the rim with a band of flowers and butterflies, the exterior decorated with reserve panels of domestic scenes on a ground of naturalistic scenes and bordered by a band of figures at the rim with two oval cartouches with monograms, elaborate custom carved wooden stand, dia. 18‑1/8”. This bowl was obviously made on order due to the monograms and the unusual decoration which was probably especially ordered. [5000/8000] Illustrated 701 Chinese Famille Rose Export Porcelain Serving Dish, 19th century, of saucer-form with a deep well, decorated in alternating reserve panels of figural and floral scenes in the rose medallion pattern, dia. 14‑3/4”. [300/500] 702 Rose Medallion Porcelain Teapot, 19th century, of cylindrical form, with flat lid, the handle now lacking, h. 6‑1/2”, dia. 5”. [50/100] 703 Chinese Junyao Glazed Pottery Saucer Dish, probably Song Dynasty (960‑1279), the shallow dish resting on an unglazed foot, glazed all over in a rich blue glaze with “worm tracks” and a single purple splash, the glaze with scattered crackle and stopping short of the foot, dia. 7‑1/8”. [500/800] Illustrated 704 Good Chinese Junyao Double Gourd-Shaped Vase, Yuan Dynasty (1279‑1368) or later, the hefty pottery body glazed in a rich blue glaze stopping short of the foot and having a single purple splash on the lower part of the body, the footed base unglazed, h. 7‑1/8”. [200/400] Illustrated 705 Pair Chinese Porcelain Incense Stick Holders, 19th century, each modeled as the figure of a Foo Dog standing on a shaped base with an incense holder on its back, glazed in turquoise and aubergene glazes, giltwood stands, h. 5”, excluding stands. [1800/2500] Illustrated

708 Elaborate Chinese Cloisonne Enamel Mantel Clock, the white enamel face with black Roman numerals and an enamel pendulum with a western style lady, the works in a glass case with cloisonne columns and decorative bands on a brass body, the reverse bearing a plaque reading “ Made in the People’s Republic of China, Tianjin No. 01”, h. 20”, w. 8‑1/2”. [1500/2500] Illustrated

708

709 Chinese Gilt-Silver, Enamel and Turquoise Incense Burner, 20th century, of flattened-globular-form on three feet with conforming cover, the body decorated with woven wire work, enamel decoration of dragons and bezel set turquoise pieces, the filigree cover decorated in enamel with a cloud border and enamel cabochons, h. 6‑1/2”. [100/200] 710 Pair of Chinese Cloisonne Covered Urns, 20th century, each of baluster shape with domed covers, decorated in polychrome enamels depicting phoenix birds among flowering peonies against a deep blue ground, and presented on wooden stands, h.13‑1/2”. [400/700] Illustrated

711 Pair Chinese “Canton” Enamel Vases, each of tapered baluster form with flared lip rims, decorated in painted polychrome enamels with reserve panels of birds and flowers against a blue ground with trailing vines and multicolored flowers, h. 13‑1/8”. [300/500] 712 Chinese Cloisonne Vase , late 19th century, of squared baluster-form with elongated neck enameled on each side as shaped reserve panels of Chinese antiques, the neck with Chinese antiques on two sides and lotus blossoms and scrollwork on the other two sides, all against a blue ground, now wired as a lamp, h. 26‑1/4”. [300/500]

710

713 Pair of Chinese Cloisonne Covered Jars, 20th century, each of globular-form with domed covers decorated in polychrome enamels in raised Cloisons with lotus blossoms and scrolling foliage against a gilded ground, wooden stands, h. 7‑1/2”, including stand [400/700]

723

714 Pair of Chinese Cloisonne Incense Burners, 20th Century, look in the shape of mythical winged rams, each in a recumbent pose with removable panels in their backs with attached wings, enameled in polychrome colors with gilt highlights. [300/500]

715 Chinese Champleve-Enameled Bronze Handled Vase, first quarter 20th century, the body with cast decoration, ring handles and two horizontal bands of champleve enamels depicting lotus and flowers, now wired as a lamp on a wooden stand, h. 26”. [250/400] 716 Large, Impressive Chinese Covered Cloisonne Bowl, of flattened globular shape with conforming cover, enameled in polychrome enamels with shaded peony flowers and foliage on a cloud ground and edged in a border of ruyi heads, carved wooden stand, dia. 15”. [300/500] 717 Chinese Cast-Bronze Figure of a Court Dancer, 18th/19th century, the well cast figure of a standing female dancer clad in loose robes holding a fly whisk in one hand and a floral spray in the other, standing in a dance pose on a galleried platform on four scrolled feet, h. 15‑1/4”. [700/1000] 718 Chinese Hardwood and Split Bamboo Low Table, 19th century, the light hardwood frame topped by four round legs with reeded apron and cloud terminals and topped with an inset of woven split bamboo, h. 20‑3/4”, w. 28‑1/2”, l. 28‑1/2”. [1000/1500] Illustrated

718

719 Chinese Rosewood Squared Occasional Table, 19th century, the squared top above a low relief carved apron, supported by square reeded legs with a lower shelf and squared stretchers, h. 29‑1/2”, w. 16‑1/4”, d. 16‑1/4”. [300/500]

720 Large Chinese Famille Rose Porcelain Vase, first half 20th century, the balusterform body with flared lip rim and decorated in thick enamels with flowers in ancient bronzeform vessels and calligraphy, now mounted as a lamp with a custom wooden base and top, h. 34”. [250/400]

721 rear

721 front

724

722 Chinese Carved Jadeite Snuff Bottle, the slightly mottled green stone carved in the form of a flattened purse with a small flat foot, h. 2‑1/2”. [900/1200]

723 Chinese Carved Jadeite Snuff Bottle, of tall slightly squared form, the yellow stone with bright green skin carved all around as leafy plants above a round rimmed foot, h. 3‑1/4”. [1500/2500] Illustrated 724 Chinese Miniature Carved Jadeite Snuff Bottle, the mottled green, brown and white stone carved in relief with a hydra dragon and sprigs of ling chih fungus, h. 1‑3/4”. [500/800] Illustrated 725 Chinese Carved White Jade Snuff Bottle, of flattened rectangular outline, the even white stone with engraved decoration of a lotus on the front and calligraphy on the reverse, h. 2‑7/8”. [1800/2500] Illustrated 726 Chinese Carved Rock Crystal Snuff Bottle, carved in the shape of a ribbed, elongated gourd with low relief carving of leaves and tendrils across the surface, green glass stopper, l. 3‑3/8”. [600/900]

721 Rare, Fine Chinese White Jade with Russet Skin Snuff Bottle(1750‑1850), of rectangular outline with rounded corners, the body of pure, even-colored white jade of the finest quality, the face with russet skin from the surface of the boulder, resting on a conforming foot and having a small opening for cork and spoon, well hollowed, stopper lacking, h. 2‑1/2”. Hugh Moss describes this series of bottles as being from the first group, with an irregular face following the outline of the original boulder and represented in the Imperial collections by several examples. This series of very similar bottles may all have come from the same stone and seem to express a literati appreciation for the finest white jade contrasted with the natural weathering of the outside of the boulder. [7000/10000] Illustrated

727

725

727 Chinese Carved Hair Crystal Snuff Bottle, of flattened rectangular form with included sprays of black tourmaline needles, the front with a patch of opaque white skin carved as an elephant with a yin yang symbol on its back, h. 2‑5/8”. [500/800] Illustrated 728 Chinese Carved Red Coral Snuff Bottle, the red and white coral branch carved as a seated figure of a monkey with its hands raised covering its head, h. 2‑1/2”. [600/900] 729 Chinese Red on Milk-Glass Overlay Snuff Bottle, probably Yangzhou School, carved in low relief depicting five bats (Wu Fu) emerging from a basket on one side and a horse resting beneath a pine tree on the reverse side, h. 3”. [75/125] 730 Chinese Carved Amber Pebble Snuff Bottle, carved in relief as an entwined sinuous dragon and a rocky outcrop with a spray of ling chih fungus, h. 2‑1/8”. [300/500] 731 Chinese Carved Aquamarine Snuff Bottle, carved in the form of a mountain with low relief carving of figures crossing a bridge and walking on a path among forests of pine trees, h. 2‑5/8”. [2000/4000] 732 Chinese Carved Overlay Glass Snuff Bottle, of flattened baluster shape, the snowflake glass body overlaid in blue glass and carved as antiques and fruit, each side having a calligraphic seal, h. 3‑1/2”. [300/500] 733 Chinese Carved Rock Crystal Snuff Bottle, of rectangular outline with low relief carving on the face of a crane beneath a pine tree and raised calligraphy on the reverse, h. 2‑7/8”. [900/1200]

Session II

Sunday, July 31, 2011

11:00 a.m. (Lots 734-1383)

738 Lady’s Eighteen-Karat White Gold, Enamel, Pearl and Diamond Dinner Ring, composed of a circular openwork top with blue enamel, centered with a 10.8 mm white pearl surrounded by a single row of round brilliantcut white diamonds, size 7‑1/2”. [1000/1500] 739 Fine Strand of Graduated Tahitian Black Pearls, ranging in size from 10.0 mm to 12.6 mm diameter, of rich black color with high lustre and light peacock orient, with fourteen-karat white gold ribbed barrel clasp, l. 18”. [3500/5000] Illustrated

739

740

734 Long Strand of White/Rose Cultured Pearls, composed of near round white/rose cultured pearls averaging 9.50 mm with medium/high lustre, l. 100”. [800/1200] 735 American Fourteen-Karat White Gold and Diamond Lady’s Ring, in the Art Nouveau style, composed of a central round brilliant-cut white diamond weighing an estimated .40 carats surrounded by eight small round brilliant-cut white diamonds with an estimated total weight of .20 carats. [400/600] 736 Long Rope of Ribbed Baroque Cultured Pearls, the extremely long rope of white rose ribbed freshwater pearls with medium lustre, l. 122”. [1000/1500] 737 Eighteen-Karat White Gold, Pearl, Enamel and Diamond Drop Necklace, composed of an openwork white gold and blue enamel pendant centered with a 10.8 mm white South Seas pearl surrounded by a row of round brilliant-cut white diamonds, suspended on a fine white gold link chain. [1000/1500]

100

741 740 Dramatic Pair of EighteenKarat White Gold, Black Tahitian Pearl and Diamond Earrings, designed as crossed ribbons set with round brilliant-cut white diamonds and terminating in 8.4 mm black Tahitian pearls with high lustre and peacock orient. [1200/1800] Illustrated

742

741 Lady’s Eighteen-Karat Two-Color Gold, Sapphire and Diamond Ring, composed of a central oval-cut 5.21 carats blue sapphire surrounded by a row of alternating prong-set round brilliant-cut white diamonds with an estimated total weight of 2.0 carats. [4500/7000] Illustrated 742 Good Fourteen-Karat White Gold, Sapphire and Diamond Choker Necklace, composed of squared links set with oval-cut blue sapphires bordered on both sides with round brilliant-cut diamonds, estimated total sapphire weight 81.60 carats, estimated total diamond weight 6.36 carats, l. 13‑1/2”. [4000/7000] Illustrated

743

746

743 Fine, Graduated Single Strand South Seas Pearls, ranging from 11.3 mm to 14.8 mm diameter, the spherical pearls of silver/white color with high lustre and having a diamond set openwork ball clasp, a lustrous, dramatic strand, l. 19‑1/2”. [4000/7000] Illustrated 744 Pair of Eighteen-Karat White Gold, Pearl and Diamond Earrings, each with a circular top suspending an open triangle of twisted wire with a 10.0 mm white pearl pendant and an interior navette drop, the drop and the circular top set with white round brilliant-cut diamonds. [1000/1500] 745 Strand of Rose Colored Cultured Pearls, composed of sixty-four rose colored spherical pearls with medium/high lustre and well matched color, l. 33”. [500/800]

748

746 Unusual Strand of Pastel Colored Baroque Pearls, composed of fourteen large baroque pearls in abstract forms in peach, gold, silver and white colors, all with high lustre, fourteen-karat yellow gold ring clasp, l. 17”. [1500/2500] Illustrated 747 Long Strand of Multi-Colored Pastel Cultured Pearls, composed of pink, white, orange/rose and pale lavender colored pearls averaging 10.0 mm diameter with medium/ high lustre, l. 86”. [700/1000] 748 Lady’s Eighteen-Karat White Gold, Sapphire and Diamond Ring, composed of a central oval-cut blue sapphire weighing an estimated 5.75 carats flanked on either side by a triangular-cut white diamond, all in a polished white gold mounting. [9000/12000] Illustrated 749 Stunning Cluster Strand of Freshwater Baroque Pearls, composed of a strand of overlapping freshwater baroque pearls averaging 18 mm, of flattened shape in cream/white colors and having high lustre and a fourteenkarat yellow gold ball clasp, l. 19‑1/2”. [1000/1500]

750

750 Lady’s Platinum and Diamond Engagement-Style Ring, composed of a central six-prong set round brilliantcut diamond weighing an estimated 3.11 carats, SI‑1 clarity grade, M-N color grade, mounted in a polished platinum mounting, size 10‑3/4”. [18000/25000] Illustrated

101

751 Eighteen-Karat Yellow Gold, Sapphire and Diamond Two-Piece Suite of Lady’s Jewelry, composed of a finger ring and a pair of earrings, each pave-set with round-cut pink sapphires and round brilliant-cut diamonds in alternating color groups. [400/700]

757

752 Good Strand of Spherical Cultured Pearls, composed of sixty-six spherical cultured pearls ranging from 11.5 mm to 14.5 mm diameter, silver/white color, medium lustre, l. 33”. [500/800] Illustrated 753 Pair Eighteen-Karat Yellow Gold, Glass Intaglio and Pearl Earrings, by Tagliamonte, each with an oval blue glass intaglio in the classic style set in a gold bezel and suspending a gold capped pearl pendant drop. [250/400] 754 Dramatic Strand of Baroque Cultured Pearls, composed of forty-two abstract baroque cultured pearls with white/rose color and high lustre, l. 32”. [800/1200]

755

755 Un-Mounted Natural Light Fancy Yellow Diamond, oval-cut weighing 3.28 carats with very good polish and symmetry, clarity grade SI‑1, color grade S, medium blue flouresence, accompanied by a grading report by Stuller Diamonds. [10000/15000] Illustrated

752

756 Lady’s Eighteen-Karat White Gold, Aquamarine and Diamond Ring, composed of a central square stepcut aquamarine weighing 6.71 carats set in a diamond encrusted mount and shank, estimated total diamond weight is 1.18 carats. [2000/4000]

757 Fine Pair Platinum, Emerald and Diamond Lady’s Earrings, each composed of a rectangular step-cut emerald in a platinum cage setting with a baguette-cut white diamond at the base, the emeralds of medium deep color and VVS2 clarity, an outstanding pair of emerald earrings. [30000/50000] Illustrated

758

102

758 Rare, Salvador Dali (Spanish, 1904‑1989) “Tree of Life” Necklace ca. 1941, 18K yellow gold, composed of twenty-one individual links each with four leaf shaped protrusions emanating from a bark branch, signed in the clasp by Alemany & Ertman, the fabricators, and on the face of one leaf of the seventh link on the right side Dali, the signature filled in with black enamel or ink, l. 15‑1/4”. The necklace, exceptionally executed, lays perfectly on the neck displaying the leaves facing outward all around. The artist Salvador Dali was an iconic 20th century talent, attuned to new expressions of his art and exploring a wide range of materials to present to the world his very personal vision. His art encompassed traditional genres of painting, sculpture and other fine art as well as covers for Vogue and other publications, jewelry, textile design, rugs and designs for haute couture. Truly, an artistic genius whose talent touched multiple facets of contemporary life. During Dali’s sojourn in the United States he became aquainted with Carlos Alemany who had a workshop in the St. Regis hotel in New York City and was a partner in the famous firm of Alemany & Ertman. From their collaboration, Alemany translated, under the direct guidance of Dali, the artist’s vision into jewelry creations of gold and gemstones. The present necklace was purchased from Alemany & Ertman in 1941, is presented in its original case and has descended in the family of the original recipient to the present day. [10000/15000] Illustrated 759 Clarence Millet (American/Louisiana, 1897‑1959) “Claiborne Court”, black and white woodcut, initialed in print lower right “C.M.”, sight 6‑1/2” x 7‑1/2”. Glazed, double matted and framed. [100/200]

762 760 Clarence Millet (American/Louisiana, 1897‑1959) “St. Louis Cathedral”, black and white woodcut, initialed in print lower right “C.M.”, sight 7” x 6”. Glazed, double matted, and framed. [100/200] 761 Clarence Millet (American/Louisiana, 1897‑1959) “French Quarter Market”, black and white woodcut, initialed in print lower left “C.M.”, sight 6” x 7‑1/4”. Glazed, double matted, and framed. [100/200] 762 Rolland Harve Golden (American/Louisiana, b.1931) “French Quarter Courtyard”, watercolor on paper, signed and dated lower left “Rolland Golden ‘58”, sight 18” x 23”. Glazed, double matted and framed. [700/1000] Illustrated 763 Rolland Harve Golden (American/Louisiana, b.1931) “French Quarter Street Scene”, ink and watercolor on paper, signed lower right “Rolland Golden”, sight 9” x 11‑1/2”. Glazed, double matted and presented in a giltwood frame. [400/700] 764 Rolland Harve Golden (American/Louisiana, b.1931) “St. Louis Cathedral Alley”, ink and watercolor on paper, signed lower right “Rolland Golden”, sight 12” x 9”. Glazed, double matted and presented in a giltwood frame. [400/700]

767

765 Rolland Harve Golden (American/Louisiana, b.1931) “French Quarter Street Scene With a Figure in the Upper Right Corner”, graphite on paper, signed and dated lower right “Rolland Golden 11/56”, sight 10” x 13”. Glazed, linen-matted and presented in a silvered frame. [200/400]

103

766 Rolland Harve Golden (American/Louisiana, b.1931) “French Quarter Corner”, graphite on paper, signed and dated lower right “Rolland Golden 10/56”, sight 13” x 10”. Glazed, linen-matted and presented in a silvered frame. [200/400] 767 Adolph Kronengold (American/Louisiana, 1900‑1986) “French Quarter Street Scene with Figures”, watercolor on paper, signed lower right “A. Kronengold”, sight 20” x 14”. Glazed, matted and framed. [800/1200] Illustrated Previous Page

777

772 Arnold E. Turtle (American/British, 1892‑1954) “French Quarter Street Scene”, etching, pencil signed lower right, sight 4‑1/2” x 6”. Glazed, double matted, and framed. [75/125]

782 768 Harold Ivar de Rehling Quistgaard (American/ New Orleans, 1914‑2008) “French Quarter Street Scene”, ink and watercolor, signed lower left “H.Quistgaard”, sight 11” x 8‑1/4”. Glazed, double matted and presented in a giltwood frame. [100/200]

773 Attributed to Arnold E. Turtle (American/British, 1892‑1954) “Absinthe House”, graphite on paper, unsigned, titled lower right, sight 9‑1/2” x 5”. Glazed, attractively linen-matted and presented in a rope-molded silvered frame. [200/400]

769 Roger Carrington (American 20th Century) “French Quarter after Rain”, watercolor on paper, signed, sight 7” x 5”. Glazed, double matted, and presented in a polychrome frame. [200/400] 770 Arnold E. Turtle (American/British, 1892‑1954) “French Quarter Market” and “Pirates Alley”, graphite and ink on paper, both signed lower right, latter titled lower left, former 7” x 9”, latter 9” x 6”. Both glazed, double matted, and presented in molded silvered frames. [400/700] 771 Louisiana School (Second Quarter 20th Century) “French Quarter Street Scene With Figures”, watercolor on paper, unsigned, sight 10‑1/4” x 8‑1/4”. Glazed, matted and presented in a giltwood frame. [200/400] 789

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774 Attributed to Arnold E. Turtle (American/British, 1892‑1954) “Dumaine”, graphite on paper, unsigned, titled lower left, sight 9” x 9”. Glazed, matted and presented in a giltwood frame. [300/500] 775 Attributed to Arnold E. Turtle (American/British, 1892‑1954) “Orleans and Bourbon”, graphite on paper, unsigned, titled lower center, sight 13” x 9”. Glazed, attractively linen-matted and presented in a rope molded silvered frame. [200/400] 776 Arnold E. Turtle (British/American, 1892‑1954) “French Quarter Street Scene with Figures”, watercolor on paper, unsigned, sight 8” x 10”. Glazed, matted and presented in a giltwood frame. [300/500] 777 Arnold E. Turtle (British/American, 1892‑1954) “Exchange Alley” watercolor on paper, signed lower right, titled lower left, sight 15‑1/2” x 11‑1/2”. Glazed, attractively linen-matted and presented in a Neoclassicalstyle giltwood frame. [500/800] Illustrated 778 Arnold E. Turtle (British/American, 1892‑1954) “French Quarter Street Scene”, watercolor on paper, unsigned, sight 9” x 10”. Glazed, matted and presented in a giltwood frame. [400/700] 779 Morris Henry Hobbs (American/Louisiana, 1892‑1967) “Spinning tops-Burgundy St. Old New Orleans”, black and white etching, pencil signed lower right, titled lower left, sight 3‑3/4” x 3”. Glazed, double matted, and framed. [250/400] 780 Morris Henry Hobbs (American/Louisiana, 1892‑1967) “Blind Beggar, St. Louis St. New Orleans”, black and white etching, pencil signed lower right, titled lower left, numbered “88/100”, sight 5‑1/2” x 4”. Glazed, double matted, and presented in a polychrome frame. [300/500] 781 Morris Henry Hobbs (American/Louisiana, 1892‑1967) “Seignouret Courtyard Old New Orleans”, black and white etching, penicl signed lower right, titled lower left, sight 3‑3/4” x 3”. Glazed, double matter, and framed. [250/400]

782 Morris Henry Hobbs (American/Louisiana, 1892‑1967) “Patio at 630 St. Ann St., Old New Orleans”, black and white etching,edition of 100, pencil signed lower right, titled lower left, reverse with a “Harmanson’s Art and Book Store, 333 Royal St.” label, sight 10‑1/2” x 8”. Glazed, attractively linen-matted and framed. [600/900] Illustrated 783 Morris Henry Hobbs (American/Louisiana, 1892‑1967) “Courtyard 728 Dumaine St. New Orleans”, black and white etching, pencil signed lower left, edition of 100, sight 5‑1/4” x 4”. Glazed, double matted, and framed. [400/700] 784 Morris Henry Hobbs (American/Louisiana, 1892‑1967) “Patio at 729 Toulouse St. Old New Orleans”, black and white etching, pencil signed lower right, titled lower left, sight 4‑3/4” x 5‑1/4”. Glazed, double matter, and framed. [400/700] 785 David L. Abel (American/New Orleans, b. 1940) “Shotgun II” and “Carriage Ride”, two hand colored etchings, both pencil signed lower right, titled lower center and numbered lower left, sight former 11” x 9‑1/2”, latter 9” x 6‑3/4”. Both glazed, matted and framed. [150/300] 786 Collection of Two Southern Works on Paper (20th Century) consisting of a color etching signed “Ellen P. Weber” and numbered “177/200”, and a black and white etching, illegibly signed, titled “Once Upon a Time”, sight former 6‑1/2” x 4‑1/2” latter 7” x 5”. Both glazed, matted, and presented in giltwood molded frames. [300/500] 787 Collection of Three Louisiana Works on Paper (Fourth Quarter 20th Century) including two watercolors by Gail Bryant, both signed and dated “1980”, and a hand colored print by Andrew Dedula, watercolor sight 5” x 3”, print 4” x 6”. All glazed, matted, and presented in arts and crafts style frames. [300/500] 788 Collection of Two Louisiana Works on Paper consisting of a Charles Oglesby Longabough (1885‑1944) “Cabildo Alley- Old New Orleans”, edition of 50, pencil signed lower right, titled lower left, and a Philip Sage (b.1942) “Napoleon House” etching, pencil signed and dated “2001” lower right, titled lower center and numbered lower left “47/300”, sight former 5‑1/2” x 4‑1/4”, latter 6‑1/2” x 5‑1/2”. Both glazed, attractively matted and framed. [200/400]

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789 Fine Sebastian Muenster, Germany, Hand-Colored Woodcut Map, depicting the world, ca. 1588, this depiction of the world done in woodcut, devotes half the area to the New World, with German title printed above the border, and Latin nomenclature, clearly based on the 1564 copperplate map Typus Orbis Terrarum by Ortelius, showing the fabled Northwest Passage above the North American continent, believed to link the north Atlantic and the north Pacific Oceans, the bottom a huge land mass intended to encompass Antarctica labeled Terra Australis Nondum Cognits (Southern Land Not Yet Known), German text on verso, unframed, h. 13‑1/2”, w. 16‑1/2”. [2000/4000] Illustrated previous page

792

790 Three American Gray Stoneware Storage Crocks, the first by Julius Norton, Bennington, Vermont, 1841‑1845, of cylindrical section and having two handles, the facade emblazoned with a stylized floral spray surmounted by “Julius Norton/Burlington, Vt/2” in impressed underglaze block letters, h. 12”, dia. 9‑1/2”, the seconod American Provincial Brown-Glazed Stonework Butter Churn, second quarter 19th century, probably Virginia, of large, two-handled form, lacking the wooden cover and dash, h. 18‑1/2”, dia. 11” and the third an American Gray/ Brown-Glazed Stoneware Crock, second quarter 19th century, probably Virginia, of large, two-handled form, h. 16‑1/2”, dia. 9‑1/4”. [200/400] Illustrated 791 Early American Salt-Glazed Four Gallon Stoneware Storage Crock, mid‑19th century, with an impressed mark, West Troy, N.Y. Pottery, the front decorated in cobalt slip depicting a bird on a stump, h. 13‑3/4”, dia. 11”. [100/200] Illustrated

793 Philadelphia Chippendale-Style Mahogany Sidechair, ca. 1900, the back with a pierced and carved splat, the needlework seat depicting a lily and raised on cabriole legs ending in ball and claw feet, h. 41”. [300/500]

792 American Chippendale FlameBirch 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”. [2500/4000] Illustrated

794 Pair of Colonial Revival Brass and Iron Andirons, ca. 1900, the tall bodies with stacked octagonal and circular elements on wrought brass feet, h. 23‑1/4”, w. 10”, d. 20”. [700/1000]

790 & 791

8 106

795 Nicolas Sanson d’Abbeville, Engraved Map, “L’Amerique Septentrionale”, issued in 1674 by Alexis-Hubert Jaillot and later issued in 1720 by Covens and Mortier, Amsterdam, hand-colored and showing the location of various Indian tribes, unframed, h. 24”, w. 36‑1/2”. This is the Covens and Mortier issue with unchanged nomenclature. The river systems of the southeast are confused, for where the “River Spiritu Sanctu” (an early name for the Mississippi River) appears, there are virtually no Indian tribes placed; instead, the tribes that are known to have been along the Mississippi are placed along the “Chucagua R”. One of these tribes, “Quigualtanqui”, is possibly the earliest form of nomenclature for the Natchez Indians. California appears as a huge island, an error that first began to appear on maps around 1624 that persisted for about a century. [2500/4000] Illustrated

796 American Colonial Revival Rosewood Serpentine-Front 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-anddart-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”. [1200/1800] Illustrated 797 Guillaume de l’Isle, “Tabula Graphico Mexicae et Floridae etc.”, an engraved map of the lower South and Mexico, Amsterdam, 1722, published by Covens and Mortier from de l’Isle’s 1703 prototype map, without adding significant updates for their edition, explaining why New Orleans is absent, “Villages des Natchez” is present, however, unframed, h. 21‑1/4”, w. 25”. [1200/1800] Illustrated

795

798 Good Rigobert Bonne Copperplate-Engraved Map, of “Le Nouveau Mexique”, Paris, 1781, copperplate engraving of the lower half of North America depicting the Baja Peninsula in the west to just short of the Florida Peninsula, unframed, h. 10”, w. 14‑1/4”. Great detail is given in the area of Mexico and the southwest. Considerable detail is also shown in the lower Mississippi River Valley and the areas of present day Louisiana and Texas. “Natches detruits” is shown along the Mississippi/Florida border. [350/500]

797 799 Rare and Large Hand-Colored Lithograph Map, of “The Mississippi River: St. Joseph, Bruinsburg”, 1864, published as a reconnaissance map for the use of the Mississippi Squadron, unframed, h. 23”, w. 18”. The area along the river is mapped in great detail in this lithograph, with use of areas designated by symbols of trees, dotted lines for cultivation, dots and tiny “grass” spots for swamp, furrows for bayous, etc. Rodney and St. Joseph have buildings indicated, with the Court House marked in St. Joseph. Bruinsburg is designated as destroyed. Ferry crossings are traced. Property owners’ names include Lee’s Plantation, Bonjourand, Simms, Woodyard, and Simpson. [200/400]

796

800 American Classical Figured Maple and Cherry DropLeaf Breakfast/Console Table, early 19th century, of D-end-form with a deep drop-leaf supported by a fly leg, the apron in figured maple veneers, raised on figured Sheraton legs, h. 29”, w. 46”, d. 20”, ext. l. 38‑1/2”. [600/900]

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805

804 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”. [1500/2500] 805 American Sheraton-Style Mahogany Settee, fourth quarter 19th century, the detail-carved crest rail depicting a central basket of flowers and flanked by panels with carved fruit, having reeded open arms and raised on turned and reeded legs, h. 35‑1/2”, w. 64”, d. 26”. [700/1000] Illustrated

806 Fine 1790 Double-Sided Manuscript Document, recording a shipment between Natchez, Mississippi, and New Orleans from Don Carlos de Grand-Pre, who served as Governor of Spanish West Florida and lived at Hope Farm in Natchez, and Estevan Miro, a Spanish army officer and governor of the American provinces of the Louisiana Territory and West Florida, Grand-Pre was instrumental in planning the town of Natchez following Spain’s acquisition of the Natchez District in 1779, signed by both men and bearing a period scarlet wax seal, h. 13‑1/2”, w. 8‑3/8”. [1400/1800] Illustrated

801 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”. [800/1200]

807 Federal Mahogany Inlaid Pembroke Table, first quarter 19th century, the oval top with banded edge and fitted with a single drawer at one end, the tapered legs with string inlay and oval medallions at their tops, h. 28”, w. 18”, d. 27‑3/4”, ext. l. 38”. [800/1200]

806

802 American Federal Mahogany Side Table of Hepplewhite Form, early 19th century, the rectangular top over a single drawer with cock-beaded edge and raised on slender square tapering legs, h. 28‑1/2”, w. 20‑1/2”, d. 15‑1/2”. [250/400] 803 “Colonial Williamsburg” Oval Looking Glass, in the late 18th century style, with gilded gesso frame surmounted by an urn of flowers, h. 42”, w. 22”. [400/700]

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809

808 Suite of Four American Classical Mahogany Sidechairs, first quarter 19th century, each with a spiralribbed crest above a foliate-carved rail and other spiralribbed rail, the padded seat raised on sabre legs, h. 32”. [500/800] 809 Good Pair of American Late Classical Mahogany Games Tables, second quarter 19th century, Philadelphia, possibly by Anthony Quervelle, each with a fold-open top mounted to a molded frame with carved corners and supported by a turned and acanthus carved pedestal, the platform base with four outstretched paw feet, h. 29‑1/4”, w. 36”, d. 17‑1/4”. [3000/5000] Illustrated

812 American School Linen Alphabet Sampler, third quarter 19th century, signed “Catherine Humphreys Aged 12”, the large colorful stylized floral border surrounding a central red brick building and two lower smaller buildings, with pendant crown, within a molded wood frame, h. 21‑1/2”, w. 14”. [700/1000] 813 Pennsylvania Dutch Fraktur “Geburts und Taufschein” [“Birth and Baptism”] Broadside, 19th century, made for Alfred Peter Levan, born May 28, 1867, baptized June 2, 1867 in Gruenwitsch (Greenwich) Township, Berks County, Pennsylvania, son of James Levan and Judith (Schhlenker) Levan, and so inscribed in gilt rubricated Fraktur script, the German-language broadside printed by Johann Ritter & Co., Reading, Pennsylvania, depicting hand-colored angels, birds, branches and cherub, sight 16‑1/4” x 13‑1/2”, presented in an darkstained pine frame and glazed, 19‑1/2” x 17”. [50/80] 814 American Classical Mahogany Breakfast Table, ca. 1825, the top with a reeded edge, flanked by drop leaves with rounded corners, the apron with a single frieze drawer, raised on a turned vasiform pedestal joined to a concave platform base on paw feet, h. 28‑1/2”, w. 44”, l. 23”, extended l. 55”. [400/700]

811 810 Pennsylvania Dutch “Birth and Baptism” Broadside, 19th century, made for Cyrus Dice Schaffer, Levan, born November 10, 1846, in Wayne Township, Clinton County, Pennsylvania, son of Jesse Shaffer and Elizabeth K. (Dice) Shaffer and so inscribed in script, printed by Theodore Frederick Scheffer (1813‑1886), Harrisburg, Pennsylvania, depicting Moses, the Apostles and other Biblical figures printed in three colors, with medallions of the lamb of God and a pelican in her piety, above print verse, all surrounded by a decorative border with verses, eagles, books, fountains and beehives, sight 14‑3/4” x 11”, presented in a cream mat within a composition “burl” frame and glazed, 21” x 17‑1/2”. Genealogical records show that Cyrus Dice Shaffer was ticket agent for the Pennsylvania railroad. He died on June 9, 1922 in Lycoming County, Pennsylvania and is buried there in the Jersey Shore Cemetery. [50/80]

815 American Late Classical Mahogany Sideboard, second quarter 19th century, the top backed by a gently arched and paneled splash, the case a projecting band of three drawers over a pair of paneled doors flanked by single doors and mounted with ring-turned and acanthuscarved pilasters, the whole raised on carved paw feet, h. 55”, w. 69‑1/2”, d. 22”. [1000/1500] Illustrated

815

811 American Needlepoint and Cross Stitch Memorial Canvas Sampler, 1857, signed “Ellen Collins June 18, 1857”, the memorial verse in cross stitch and flanked by two trumpeting angels, with a tomb with female mourners below flanked by stylized weeping willows, h. 25‑1/2”, w. 25‑1/2”. [700/1000] Illustrated

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816 J. Wolf and H.C. Richter (British, 19th Century) “Syrnium Aluco”, hand colored lithograph, sight 20‑1/2” x 13‑1/2”. Glazed, double-matted and presented in a molded giltwood frame. [600/900] Illustrated 817 J. Gould and H.C. Richter (British, 19th Century) “Menura Alberti”, chromolithograph, sight 21” x 14”. Glazed, linen-matted and framed. [300/500] 818 W. Hart (British, 19th Century) “Eos Fuscata”, hand colored lithograph, sight 19‑1/2” x 14”. Glazed, double matted and presented in an ebonized, parcel-gilt frame. [500/800]

821 819 American Late Classical Revival Ebonized and Parcel-Gilt Mahogany Banquet Table, ca. 1900, the circular top with a gadrooned edge, the split pedestal with a tapering octagonal standard joined to a concave platform on ball-and-claw feet, opening to accommodate three twelve-inch leaves, h. 28‑3/4”, dia. 60”. [1200/1800] Illustrated 820 Three-Piece Prism-Hung Gilt-Brass Girandole Set, mid‑19th century, attributed to Cornelius and Co., Philadelphia, consisting of a large three-light example depicting figures from James Fenimore Cooper’s “The Leather Stocking Tales”, flanked by a smaller pair of singlelight examples depicting “The Colonial Officer and His Lady”, the largest h. 17‑1/2”, w. 17‑1/2”. [300/500] 821 Wouter Verschuur the Younger (Dutch, 1841‑1936) “Portrait of a White Horse”, oil on panel, signed lower left, 12” x 15‑1/2”. Presented in a contemporary ebonized frame. [1500/2500] Illustrated

816

819

110

822 Large and Imposing American Late Classical Mahogany Bookcase/Cabinet, Boston, second quarter 19th century, in two parts, the upper section with a projecting molded cornice over a pair of mullioned glazed doors, flanked by tapering columns, the base with a pair of projecting beaded drawers over a pair of doors with raised figured panels, flanked by tapering columns continuing to ball feet, h. 102‑1/2”, w. 54”, d. 23‑1/4”. [2000/4000] Illustrated

823 American Late Classical Mahogany Pier Table, second quarter 19th century, the variegated verde marble top over a figured cyma molded frieze, raised on scroll columns joined to a bowed platform backed by a looking glass and supported by scroll feet, h. 36‑1/2”, w. 41‑1/2”, d. 18”. [500/800] 824 American Late Classical Mahogany Sideboard, second quarter 19th century, in the manner of J. and J. W. Meeks, New York, the backpiece with two corniced paneled ends, above a case with a rectangular top above a conforming case fitted with two rounded drawers above three recessed paneled cupboard doors, the end two with curved fronts, flanked to either side by a freestanding columnar upright, raised on in-scrolled feet, h. 58‑1/2”, w. 67‑1/4”, d. 25”. [800/1200]

822

825 Group of Three Late Classical Giltwood Drapery Rods, second quarter 19th century, each comprised of a pair of foliate-modeled ends joined to turned rods, each rod mounted with three giltwood drapery rings, all retaining their period water-gilt surface, and together with an additional fragmentary foliate-carved end, l. 84”, overall. [800/1200] Illustrated

825

826 Suite of Four Pair of Giltwood Cornice Ends/ Drapery Tie-Backs, mid‑19th century, each modeled in the form of a large curled leaf and each retaining its near pristine period water-gilt surface, h. 80”, w. 10”, d. 4”. [500/800] Illustrated

826

827 Group of Five Gilt-Lacquered-Embossed Brass Drapery Tie-Backs, mid‑19th century, each modeled as twining oak leaves, vines and acorns, h. 4‑7/8”, w. 6‑7/8, w. 3/4”. [100/200]

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832 After John James Audubon (American, 1785‑1851) “Migratory Squirrel” and “Red Bellied Squirrel”, two hand color lithographs from the Octavo edition of The Viviparous Quadrupeds of North America, sight 9‑1/2” x 6‑1/2”. Both glazed, linen-matted and presented in molded hardwood frames. [500/800] 836

833 Early American Theorem Still Life Painting on Velvet, second quarter 19th century, depicting a basket of fruit and grapes, presented in a period giltwood frame, h. 15‑1/2”, w. 18‑1/2”. [125/250] 834 American Cast-Iron Basket of Flowers Doorstop, first quarter 20th century, retaining old polychrome decoration, the top “handle” in the form of a blue ribbon, h. 10‑1/2”. [125/250] 835 American Late Classical Mahogany Armoire, second quarter 19th century, Boston, the arched projecting molded cornice over a pair of doors, each with bisected crotch-veneered panels, the base fitted with a full-width drawer, h. 87‑1/2”, w. 52”, d. 22”. [500/800]

828 American Late Classical Mahogany Cheval Mirror, second quarter 19th century, the rectilinear mirror plate in a boxed-columnar frame with vasiform finials and period brass hardware, the base with scroll brackets and bun feet, h. 69”, w. 33”, d. 21”. A similar cheval mirror is illustrated in the oft-reproduced 1833 Meeks broadside. [700/1000] Illustrated 829 Boxed Two-Volume Set of Birds of America by John James Audubon, reproduced in color from the collection at The New York Historical Society, published by American Heritage Publishing Co., Inc., copyrighted 1966, l. 13”, w. 10‑1/2”. [75/125] 830 After John James Audubon (American, 1785‑1851) “Crested Grebe” and “Semipalmeted Sandpiper”, two hand colored lithographs, from the first Octavo edition of Birds of America, sight 5” x 8‑1/4”. Both glazed, French matted and presented in molded giltwood frames. [250/400] 831 After John James Audubon (American, 1785‑1851) “Maryland Marmot Woodchuck Groundhog”, “Moose Deer” and “American Badger”, three hand colored lithographs from the first Octavo edition of The Viviparous Quadrupeds of North America, sight 6‑1/2” x 9‑1/2”. All glazed, matted and framed. [500/800]

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828

836 American Late Classical Cherrywood Tall-Post Bedstead, late 19th century, each post with a turned and spiral-reeded finial, on segmented spiral-reeded posts, the headposts supporting a headboard with a brokenarch crest over a spindle gallery, the footposts joined by a turned and reeded blanket rail, h. 91”, inside w. 54”, l. 76”, outside w. 58”, l. 83‑1/4”. [1500/2500] Illustrated 837 American Late Classical Mahogany Dressing Table, late 19th century, the oval looking glass in a molded frame on dolphin-carved supports, the top with canted corners over a frieze with a pair of drawers over a wide drawer, raised on dolphin-carved supports joined to a low shaped platform on dolphin legs, h. 65”, w. 39‑1/4”, d. 21‑1/4” [1000/1500] 838 American Late Classical Mahogany Console Table, second quarter 19th century, the serpentine top above a single drawer fitted into the apron and raised on square tapered legs, h. 28‑1/2”, w. 37”, d. 18‑1/2”. [300/500] 839 Pair of Carved Cypress Architectural Brackets, first quarter 20th century, now mounted to hang, retaining some old white paint, made in Southern United States, h. 13‑1/2”, w. 12”, d. 12‑1/2” [250/400] 840 American Late Classical Mahogany Sideboard, second quarter 19th century, having a tall paneled backsplash with a central acanthus pilaster and spiraltwist pilasters on each end, the base with a pair of drawers above a central faceted panel flanked by Gothic-formed doors on each side, h. 42‑1/4”, w. 61‑1/2”, d. 20‑1/2”. [500/800] 841 Clementine Hunter (American/Louisiana, 1886‑1988) “Haulin’ Cotton”, oil on canvas board, monogrammed lower right, 16” x 20”. Framed. Provenance: Purchased from the artist in 1986. [2500/4000] Illustrated

841 842 American School (Fourth Quarter 19th Century) “The Lime Kiln Club”, chromolithograph, parody of a Town Hall type meeting with various figures in attendance along with a copy of the Detroit “Free Press” weekly newspaper on the hall floor, published by Calvert Lithograph Co., Detroit, ca. 1882, sight 21‑1/2” x 27‑1/2”. Glazed, matted and framed. [200/400] 843 Louisiana School (Fourth Quarter 20th Century) “The Canal Line” and “San Francisco Plantation”, two oils on canvas, former signed lower right “Derenda”, titled and signed on reverse “Derenda Keatine”, latter illegibly signed lower left, former 12” x 9”, latter 12” x 16”. Both presented in molded giltwood frames. [600/900] 844 Roman Motuzok (Russian, 20th/21st Century) “New Orleans Evening Street Scene” and “New Orleans Street Scene”, two oils on canvas, both signed lower left “Motuzok, R.”, signed and titled on reverse in Russian, dated on reverse “2005”, 13” x 17”. Both presented in matching giltwood frames. [700/1000] 845 Tony Green (American/Louisiana, b.1954) “Esplanade Avenue at Chartres”, oil on artist’s board, signed lower right “T.G.”, titled on reverse on an exhibition label, 11” x 14‑1/4”. Presented in a giltwood frame with a linen liner. [700/1000] Illustrated 846 Louisiana School (20th/21st Century) “Canal St. Building Facade” and “Garden District Home”, two oil paintings, both signed “Lanier”, 16” x 21”. Both framed. [400/700] 847 Philip Sage (American/Louisiana, b.1942) “Rainy Day on the Avenue” and “Muriel’s”, two hand colored etchings, both signed lower right, former dated “’87”, both titled lower center, sight former 9” x 10”, latter 7” x 9”. Both glazed, double matted, and attractively framed. [300/500]

845

113

848 Philip Sage (American/Louisiana, b.1942) “Jackson Brewery” and “Lafittes Blacksmith Shop Bar”, two color etchings, both signed in pencil lower right, titled lower center and numbered lower left, sight former 8‑1/2” x 10”, latter 5‑1/4” x 7”. Both glazed, matted and framed. [300/500] 849 Fredrick Guess (American/Louisiana, b. 1953) “Evening French Quarter Street Scene”, oil on canvas, signed lower right, 29‑1/2” x 40”. Presented in a giltwood frame with a linen liner. [1000/1500] Illustrated 850 Jack R. Miller (American/New Orleans, 20th Century) “Bourbon & Dumaine” and “510 Rue Dauphine” two limited edition hand colored etchings, both pencil signed and dated lower right, titled lower center, numbered lower left, sight former 7‑1/2” x 8‑1/2”, latter 6‑1/2” x 8‑1/4”. Glazed, matted and framed. [150/300]

854

854 Fredrick Guess (American/Louisiana, b. 1953) “French Quarter Street Scene”, oil on canvas, signed lower left, 23‑1/2” x 30”. Presented in a giltwood frame. [800/1200] Illustrated

849 851 Louisiana School (Third Quarter 20th Century) “French Quarter Street Scene”, oil on canvas, signed lower right “Don King”, 20” x 16”. Presented in a giltwood frame with a linen liner. [300/500] 852 Philip Sage (American/Louisiana, b. 1942) “The Lady in Red” and “Homage to Ignatius”, two hand-colored etchings, both signed and dated lower right, titled lower center and numbered lower left, sight former 10‑1/2” x 4‑1/2”, latter 15‑1/2” x 9‑1/2”. Both glazed, matted and presented in silvered frame. [500/800] 853 Philip Sage (American/Louisiana, b. 1942) “Autumn Afternoon” and “Cafe du Monde”, two limited edition color etchings, both signed and dated in pencil lower right, titled lower center and numbered lower left, sight former 7” x 12”, latter 10‑1/2” x 12‑1/2”. Both glazed, matted and framed. [300/500] 858

114

856 Jack R. Miller (American/New Orleans 20th Century) “Barracks and Decatur” and “Maylies”, two color etchings, pencil signed and dated lower right “1982”, titled lower center, numbered lower left, sight former 8‑1/2” x 11”, latter 9‑1/2” x 13”. Both glazed, matted and framed. [200/400] 857 Aubusson-Style Needlepoint Carpet, 8’ x 10’5”. [400/700] 858 Peshawar Sultanabad Carpet, 12’ x 15’4”. [2500/4000] Illustrated

861 855 Frederick Guess (American/Louisiana, b.1953) “Napoleon House” and “Sun and Shadows”, pair of facsimile prints, both pencil signed lower right, titled lower center and numbered lower left, sight 10” x 13”. Both glazed, attractively double matted and presented in matching giltwood frames. [100/200]

863

868 859 Persian Hamadan Carpet, 5’ x 9’2”. [200/400] 860 Kerman Carpet, 8’ x 10’3”. [500/800] 861 Semi-Antique Kashan Carpet, 10’4” x 13’4”. [800/1200] Illustrated 862 Kashan Carpet, 5’ x 8’3”. [500/800] 863 Persian Sarouk Carpet, 13’ x 24’. [4000/7000] Illustrated

115

864 Agra Carpet, 8’1” x 10’1”. [1800/2500] 865 Heriz Carpet, 6’3” x 9’2”. [500/800] 866 Persian Kashan Carpet, 10’ x 13’. [900/1200] 867 Persian Karaja Runner, 2’5” x 9’10”. [500/800] 868 Turkish Angora Oushak Carpet, 9’4” x 13’2”. [2500/4000] Illustrated Previous Page 869 Fine Tabriz Carpet, 8’2” x 10’6”. [1400/1800] Illustrated 870 Peshawar Sultanabad Runner, 2’6” x 12’9”. [400/700] 869

871 Turkish Oushak Carpet, 5’8” x 8’6”. [600/900] 872 Fine Tabriz Carpet, 6’9” x 10’2”. [800/1200] Illustrated 873 Persian Tabriz Carpet, 8’ x 11’. [1800/2500] 874 Persian Lilihan Carpet, 4’5” x 9’8”. [2000/4000] Illustrated 874 875 Semi-Antique Kashan Carpet, 9’7” x 13’4”. [1200/1800] 876 Impressive Pair of Large Scale of Franco-Bohemian Rococo Revival Mantel Vases, third quarter 19th century, the handles molded as vines with leaves and fruit, the pink panels hold portraits framed in gilt scrolls, one of a woman feeding birds on a balcony and the other of a male violinist in gypsy costume playing on the balcony, all set against a burgundy ground, h. 21‑1/4”, w. 14”. [700/1000] Illustrated

872

116

877 1860 Republican Presidential Campaign Ferrotypes in a Brass Frame, 1860, depicting on one side, an image of a beardless Abraham Lincoln, the verso with vice presidential candidate, Hannibal Hamlin, h. dia. 1‑5/8”. [700/1000] Illustrated

876

878 Extensive Partial Set of Bohemian Panel-Cut Glassware, first quarter 20th century, flashed in cranberry and edged in gilt, comprising nine wine goblets, h. 6”, eight finger bowls, dia. 4‑3/4”, eleven champagnes, h. 4‑3/4”, eleven wine goblets, h. 4‑1/2”, and three liquor glasses, h. 3‑1/4”. [400/700]

877

880

879 Pair of Bohemian-Style Ruby-Plated Decanters Cut-to-Clear, decorated with wreaths, flowers and crosshatched shields with stoppers cut to match, h. 13‑3/4”. [125/250] 880 Fine American Rococo Revival Mahogany Single Door Armoire, mid‑19th century, attributed to the New Orleans warerooms of Prudent Mallard, the bonnet top with a molded cornice set with beaded carving over a cabochon-centered cartouche, flanked by scrolling foliage, the door with a mirror plate in a scalloped frame, the door opening to reveal a line-strung medial drawer, the base with a single drawer, the case with banded moldings and applied reeds and flowers, h. 111”, w. 58”, d. 24”. [5000/8000] Illustrated

117

883 Victorian Prism-Hung Frosted-and-Cut-Glass Chandelier, late 19th century, the stem with a pair of bowls adorned with faceted and cut “Albert” and “Coffin” spears, the vasiform section with deeply cut flutes, each of the arms and the lower bowl dressed with like spears, h. 30‑3/4”, dia. 33‑1/2”. [1400/1800] Illustrated

881

884 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”. [2500/4000] Illustrated

882

883

881 Paris Porcelain Figural Perfume Bottles Attributed to Jacob Petit, second quarter 19th century, in the form of a seated sultan, and sultana, primarily in gold and white, with realistic flesh tones, and jewelry picked out in turquoise and purple, the female holding a fully modeled rose, the sultan with his scimitar, each sitting on tasseled cushions, h. 10‑3/4”, w. 6”, d. 4‑1/2”. [1800/2500] Illustrated 882 American School (Third Quarter 19th Century) “Portrait of a Gentleman”, oil on canvas, unsigned, 27” x 21”. Presented in a period oval giltwood and gesso frame. [2000/4000] Illustrated

118

885

884 detail 885 Group of Four Davenport Botanical Dessert Dishes, consisting of two rectangular dishes and two serpentine, with blue and cream borders and paintings of roses, tulips, morning glories and pansies, two with underglaze blue Davenport and Anchor mark and another the same mark in green, all 1850‑1870, the fourth, printed in green, “Davenport, Longport, Staffordshire”, 1870‑1886, h. 2‑1/2”, w. 8‑1/2”, l. 11‑1/2”. [900/1200] Illustrated

884

887 Late Victorian Alabaster Pedestal, ca. 1900, the square top with canted corners, on a columnar standard adorned with a trio of rings and joined to an octagonal base, h. 29‑1/2”, w. 14‑1/4”, d. 14‑1/4”. [400/700] 888 Pair of Bohemian Pink Cased-Glass Mantel Lustres, fourth quarter 19th century, decorated with enameled flowers and gilding, hung with large cut-glass prisms, the upper edge cut in a pattern of pointed arches, h. 14”. [300/500]

889

889 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, burlewood and parcel-gilt frame. [1000/1500] Illustrated

886 American Rococo Revival Walnut Two-Piece Parlor Group, ca. 1900, composed of an armchair and a rocking chair, each with a floral-carved crest, corseted back and serpentine seat rail, h. 38”, armchair, h. 37‑1/2”, rocker. [200/400]

119

890 French Egyptian Revival Gilt-Bronze-Mounted, Incised Marble and Onyx Mantle Clock, fourth quarter 19th century, the clock with an open escapement, the dial marked “L. Behn Le Havre”, the top mounted bust a bronze-winged sphinx, the Belgian black marble body flanked by incised green onyx panels and sated winged griffon on a flaring base with gilt and silver incised wings, h. 16‑1/2”, w. 19‑5/8”, d. 7‑1/4”. [1500/2500] Illustrated

890

891 Patinated-Bronze Bust of an Egyptian Maiden, mid‑20th century, unmarked, h. 13”. [400/700]

894 three-piece suite

120

892 Napoleon III Wall Clock, third quarter 19th century, signed “J. Geneste, Arfeuilles” on its alabaster dial with enamel chapter ring, mounted in a walnut case, with an ebonized border and an ebonized and walnut marquetry border around the face, h. 24‑1/2”, w. 18‑1/2”, d. 6”. [600/900] 893 Continental Fruitwood Regulator, late 19th century, in the Neo-Renaissance taste, the projecting cornice capped by an arched shell and foliate-carved crest, the clock face with an enameled dial and a glazed panel exposing two brass weights, the glazing flanked by carved and turned pilasters, h. 50”, w. 17”, d. 7‑1/2”. [400/700]

898

897 896 American Brilliant Period Cut-Glass Covered Candy or Biscuit Jar, first quarter 20th century, cut with hobstars alternating with pyramids, h. 5‑1/2”, dia. 4‑1/2”, together with a cut-glass nappy, dia. 7”. [100/200] 897 Victorian Prism-Hung Cut-and-Etched-Glass SixArm Chandelier, ca. 1875, the canopy and upper bowl adorned with cut “Albert” spears, the baluster-form stem joined to a brass disc with six hexagonal and cut arms, each supporting a glass oil font with a brass double wick burner, and globe shades, the bowls, stem, bobeches and font all in cut-and-etched-Greek-Key-decor, dia. 45”. [1400/1800] Illustrated

894 Three Piece American Renaissance Revival Walnut and Burl Walnut Bedroom Set, third quarter 19th century, consisting of a high-back bedstead with burl panels, h. 75”, w. 64”, l. 81”, a marble-top dresser with mirror, h. 90”, w. 48”, d. 20”, and a marble-top washstand, h. 28‑1/2”, w. 32”, d. 17”. [1500/2500] Illustrated

898 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. [4000/7000] Illustrated

895 Adams Style Silver-Plated Student Lamp, first quarter 20th century, a square base decorated with a gadrooned edge and draped neoclassical urns filled with flowers, original kerosene and now electrified, with a green-overopaline cased-glass shade, h. 20‑1/2”. [250/400]

899 Clarence E. Braley (American/Massachusetts, 1854‑1927), a reverse painting on glass of a mallard drake, with mother-of-pearl inlay to the neck, head and tail, signed lower left “C. Braley”, overall h. 29”, w. 15‑3/4”. Presented in an oak frame with shaped inner border with scrolling and leaf design. [400/700]

121

900 Black Forest Carved Linden Wood Bear Hall Tree, early 20th century, depicting a bear cub climbing at the top of the tree along with the mother bear below, the small circular mirror now replaced with a barometer and the tree trunk fitted with a later thermometer, retaining its original zinc drip-pan, h. 85”, w. 32”, d. 36”. [3000/5000] Illustrated

902

900

902 Pair of Taxidermized Stag Heads, mounted with heads turned in opposite directions, on shield-shaped stained pine plaques with tags reading “ Hiblers Kingsville”, h. 37”, w. 18”, d. 27”. [1400/1800] Illustrated 903 Gilded SevenLight Continental Ecclesiastical Candelabra, first quarter 20th century, each with lilies and sheaves of white and ivy around the candle branches, all eminating from a vase-shaped standard, with a cross on front, mounted with pierced handles and standing on a tripod base terminating in dolphin feet, h. 44”. [400/700]

904

904 Photo Album with a Pietra Dura Cover, ca. 1878, probably Italian, decorated with a wreath of flowers, the initials “AB” and “Enero 1 Anno 1878”, (January 1, 1878, in Spanish), many of the original cartes des visites are inside, some taken in Buenos Aries, Argentina, others in Paris, h. 12”, w. 9”, d. 2”. [800/1200] Illustrated 905 Wayman Elbridge Adams (American, 1883‑1959; Active New Orleans 1920’s‑1950’s) “Portrait of Judge Dan Powell”, oil on canvas, signed lower left “Wayman Adams”, with artist’s estate sale inventory label en verso “118 BH 336 - Judge Dan Powell”, 47” x 36”. Handsomely framed. Provenance: Acquired from the estate of the artist in 1993 by a private collector, Austin, Texas. [1000/1500] Illustrated

901 Black Forest Style Carved Lindenwood Barometer, second quarter 20th century, the crest with a carved hound’s head over a thermometer with an enameled backplate, the circular barometer flanked by carved birds, h. 27‑1/2”, w. 12‑1/4”, d. 2”. [200/400]

122

906 After Frederick Remington, “Coming Through the Rye”, patinated-bronze sculptured on marble base, h. 28”, w. 29”, d. 20”, presented on a custom Formica faux granite pedestal, h.41”, w. 33”, d. 24”. [2500/4000] Illustrated

908 American Aesthetic Movement Faience-Mounted Brass Stand, of Egyptianesque Influence, fourth quarter 19th century, attributed to the Ansonia Brass and Copper Company, Ansonia, Connecticut, the top with an inset faience tile, the underside marked “J Vieillard & Co, Bordeux”, the tile in a pierced leaf, vine and berry frame mounted at each corner with a scarab beetle, raised on four brass supports, each with an entwined asp, and centered by a faience cylinder, the flared legs on double-knuckled winged paw feet, h. 33‑1/2”, w. 13‑1/4”, d. 13‑1/4”. A table with the same frame, but differently embellished is illustrated in plate 1, D’Ambrosio, “A Brass Managerie Metalwork of the Aesthetic Movement” [2000/4000] Illustrated

905

907 Nicholas Richard Brewer (American, 1857‑1949) “Portrait of Thomas Davenport Wright, Jr. with a Pony “, 1932, oil on canvas, signed and dated lower right “N. R. Brewer”, inscribed on canvas verso with the sitter’s identity and his date of birth “Born Nov. 22, 1928”, dated on canvas verso “June 1932”, 46‑1/2” x 32‑1/4”. Presented in a period giltwood frame. [800/1200]

906

911

909 American Aesthetic Movement Jeweled, Parcel-Gilt and Polychromed Hall Lantern, late 19th century, the globular shade with faceted colored glass jewels in embossed brass mounts, supported by period chains on an embossed brass canopy, h. 24”, dia. 10‑1/4”. [300/500]

908

123

915

910 Pair of Neoclassical-Style Alabaster Columns, ca 1900, each with a patinated copper-clad Corinthian capital on a tapering column joined to a stepped and square base, h. 53”, w. 8”, d. 8”. [600/900] 911 Assembled Suite of Vintage Linens, early mid‑20th century, consisting of a table cloth, w. 88”, l. 134”, twelve dinner napkins, w. 22‑1/2”, l. 22‑1/2”, and eleven cocktail napkins, w. 11‑1/2”, l. 11‑1/2”, the tablecloth richly decorated with cutwork, satin stitch and lace figural medallions, with a deep lace border, the napkins all with cutwork corner designs and lace borders. [800/1200] Illustrated previous page 912 American Late Victorian Oak Morris Chair of Late Classical Inspiration, the reclining back fitted with a cast and stamped iron adjustment mechanism, the arm terminating in scroll-carved hand-rests and supported by a gallery of shaped slats, the curvate front legs with carved north wind masks and resting on carved paw feet, the back and seat fitted with loose cushions, h. 42”, w. 29”, d. 31”. [200/400]

124

913 Pair of Marble Garden Urns on Eagle Stands, each in brown and grey stained marble and with a tazza-form urn with egg-and-dart rim and lobed body joined to a branch abutted by a seated bald eagle, h. 37”, w. 19”, d. 17”. [1500/2500] 914 American School (First Quarter 20th Century) “Interior Scene with a Bathing Nude”, oil on board, unsigned, sight 13” x 10”. Presented in a Louis XVI-style giltwood and gesso frame with a linen liner. [300/500]

915 Helen Maria Turner (American/Louisiana, 1858‑1958) “Late Afternoon”, oil on canvas, signed lower left “Helen M. Turner”, titled and signed on a fragment of the original paper backing, 28‑1/2” x 46”. Presented in an Aesthetic-style giltwood frame. Provenance: Private Collector, Massachusetts. New Orleans Auction galleries is pleased to offer this important example of Helen Maria Turner’s work. This painting depicts a subject matter repeated in many of the artist’s most successful paintings: a young woman with a garden as the backdrop. It was probably painted around 1916 at Cragsmoor, an American art colony in upstate New York where Turner became a resident in 1910 and where she spent most of her summers until shortly before the sale of her home “Takusan” in 1942. The subject of the “Late Afternoon” is captured in a solitary moment reading a book in a shaded, cool spot of a garden one summer afternoon. True to Turner’s impressionistic style, there is a shimmering play of bright sunlight filtered through the trees in the background, while both the figure and the carefully-arranged still life on the table reflect the green/blue hues of the surroundings. This sparse and dramatic play of light and choice of colors is very similar to “Song of Summer”, now at The Johnson Collection in Spartanburg, South Carolina. As in other works by Turner, the figure’s white dress is executed with loose, long brush strokes in contrast to the fully painted, deeply shadowed face, arms and background. Helen Turner’s keen observations of the human form are evident in the graceful lines of the subject’s arms revealed beneath the thin fabric of the sleeves, and in the successfully rendered relaxed state of the reader. “Late Afternoon” was painted during the period of Helen Turner’s most prolific and successful output, the first quarter of the 20th century, when her inspirational Cragsmoor was teeming with fellow artists. The majority of Helen Turner’s paintings produced during this time were large canvasses of women posed in garden settings, along with smaller canvasses of women posed in interior scenes. Paintings from Cragsmoor won her national acclaim. “The Flower Girl”, which won the Second Altman Prize, made her the first woman ever to receive any of the renowned Altman prizes. References: Dixon Gallery and Garden, Helen M. Turner, The Woman’s Point of View, Exhibition Catalogue, Essay by Maia Jalenak. [25000/40000] Illustrated

919 916 Manner of Colin Campbell Cooper (American, 1856‑1937) “Street Scene with a Carriage and Figures”, oil on panel, bearing a signature lower right “C.C. Cooper”, 8” x 10”. Presented in a giltwood frame. [600/900] 917 Manner of Colin Campbell Cooper (American, 1856‑1937) “Winter Street Scene with a View of a Bridge”, oil on panel, bearing a signature lower right “C.C. Cooper”, 10” x 8”. Presented in a giltwood frame. [600/900] 918 American School (20th Century) “Washington Square, New York City” and “Central Park, New York City”, two etchings, former signed illegibly lower right, initialed and dated in print “E.D.M, 1939”, sight former 4” x 4” latter 9‑1/2” x 7”. Both glazed, linen-matted, and framed. [300/500] 919 Alson Skinner Clark (American, 1876‑1949) “Interior of our Apartment, 6 Rue Victor Considererant”, oil on panel, signed and dated lower left “Alson Clark ‘05”, reverse with a “Menconi & Schoelkopf Fine Art, LLC, New York, NY” gallery label and an older label, printed with the panel title, date and size. Presented in a contemporary polychrome frame. [1000/1500] Illustrated

125

921 Dorothy Van Loan (American/Pennsylvania, 1904‑1999) “Summer Holiday”, oil on canvas, signed lower right “Van Loan”, titled on a inscribed label on reverse, 25” x 30”. Presented in a Louis XV-style giltwood and gesso frame. [600/900] Illustrated 922 Patricia Mangione (American, 20th Century) “Children”, oil on canvas, signed lower right “Mangione”, 24‑3/4” x 30”. Presented in a molded giltwood frame. [300/500]

920 920 Jeremy Lipking (American, b. 1975) “Portrait of a Woman in a Red Blouse”, oil on canvas, signed upper right “Lipking”, 40” x 30”. Unframed. [6000/9000] Illustrated

923

924

126

921

923 Albert Worcester (American/Michigan, 1878‑1935; Active New Orleans, 1918‑1919) “The Shopkeeper”, oil on canvas, with artist’s estate stamp en verso, 25‑1/4” x 21”. Unframed. Provenance: Estate of Kenneth Worcester Dow, St. Augustine, Florida. Reference: Encyclopedia of New Orleans Artists, 1718‑1918, The Historic New Orleans Collection. Albert Worcester received his art training with Luc Olivier Merson and J. P. Laurens in Paris and Maud Mathewson in Detroit. He spent two years in New Orleans and exhibited with the Art Association of New Orleans and at the Delgado Museum of Art. [1000/1500] Illustrated 924 Colin Campbell Cooper (American, 1856‑1937) “Evening City Street Scene”, oil on board, signed upper right corner “Colin Campbell Cooper”, sight 7” x 4‑1/4”. Presented in a contemporary giltwood frame. [2000/4000] Illustrated 925

925 Jane Peterson (American, 1876‑1965) “TreesGiverny”, 1912, gouache and watercolor on paper, signed lower left “Jane Peterson”, titled and dated on reverse, sight 16‑1/2” x 22‑1/2”. Glazed, French matted and framed. [1800/2500] Illustrated 926 Alson Skinner Clark (American, 1876‑1949) “River in Winter”, oil on canvas, signed and dated lower right “Alson Clark ‘15”, titled on a reverse “Godfield Galleries, Los Angeles, CA” label, 21” x 25‑1/4”. Presented in a giltwood exhibition frame. [7000/10000] Illustrated

927

927 Bruce Crane (American, 1857‑1937) “Autumnal New England Landscape”, oil on panel, signed lower left “Bruce Crane”, 12” x 16”. Presented in a contemporary giltwood frame. [4000/7000] Illustrated 928 Emil Carlsen (American, 1848‑1932) “Hillside”, oil on panel, unsigned, reverse with a “Wortsman Rowe Gallery Inc., San Francisco, CA” label inscribed with a title and artist’s name, stamped with an estate inventory number and stating the panel was purchased from Mrs. Dines Carlsen, Falls Village, Connecticut, 6” x 7‑1/2”. Presented in a molded giltwood frame with a linen liner. [600/900] Illustrated followng page

926

127

931 Reed & Barton “Les Six Fleurs” Pattern Sterling Silver Berry Spoon, the pattern designed in 1901 by Charles A. Bennett (1864‑1942), Taunton, Massachusetts, with a gilt bowl, monogrammed (on the reverse) “FAB”, l. 9‑1/2”, 6.49 t. oz. [200/400]

928 930 929 American Five-Piece Coin (.900) Silver Neo-Grec Tea Set, third quarter 19th century, by Wood & Hughes, New York City, New York, including a coffeepot, h. 8‑3/4”, dia. 6”, a teapot, h. 7”, dia. 6‑1/2”, a covered sugar bowl, h. 5‑3/4”, dia. 5”, a cream jug, h. 4”, dia. 4‑1/4”, and a waste bowl, h. 3”, dia. 5‑1/4”, each with a squat spherical body with a plain wide band and with fine gadrooning at the upper edge, the shoulder engraved with an ornate band of shells, scrolls and palmettes surmounted with annulated banding, raised on four flower-and-scroll feet, the pots with paneled, gooseneck spouts, ivory-insulated geometric handles, and hinged domed lids with elaborate toupie finials, the sugar bowl with fitted lid and opposing handles en suite, the cream jug with integrall collar spout and single handle en suite, the creamer only inscribed on the body “Willets”, 81.41 total t. oz. [4500/7000] Illustrated

930 Three Whiting “Lily” Pattern Sterling Silver Serving Pieces, the pattern designed in 1902 by Charles Osborne (1947‑1920), Providence, Rhode Island, including a pea spoon, monogrammed “EFJ”, l. 8‑5/8”, and two-piece salad serving set, including a salad serving fork, l. 9‑1/4” and spoon, l. 8‑3/8”, no monograms, 10.74 total t. oz. [500/800] Illustrated

128

929

932 Handsome Two-Hundred-and-Five-Piece Set of Gorham “Old Baronial” Pattern Sterling Silver Flatware, the pattern introduced in 1898 by William C. Codman, Providence, Rhode Island, including twelve table forks, l. 7‑3/4”, twelve dessert forks, l. 7”, twelve oyster forks, l. 5‑5/8”, twelve fish forks with gilt tines, l. 7‑1/8”, twenty-four teaspoons, l. 5‑3/4”, six tablespoons, l. 8‑3/4”, twelve soup spoons, l. 6‑3/4”, twelve dessert spoons, l. 7‑1/8”, twelve medium knives with “Blunt”-shaped plated steel blades, l. 9‑3/4”, twelve butter spreaders, l. 5‑7/8”, six fish knives, l. 8”, twelve dessert knives with “Blunt”-shaped plated steel blades, l. 8‑1/2”, twelve bouillon spoons, l. 5”, twelve ice cream forks with gilt bowls, l. 4‑3/4”, twelve coffee spoons with gilt bowls, l. 4”, two salt spoons, l. 3‑3/5”, and serving pieces bow-style sugar tongs, l. 4‑3/4”, a pickle fork, l. 5‑3/4”, a sardine fork, l. 5‑1/4”, a mustard ladle with gilt bowl, l. 4‑1/4”, a cake knife, l. 9‑5/8”, a cold meat fork, l. 8‑3/4”, an olive fork, l. 8‑1/4”, a lettuce fork, l. 8‑3/4”, a preserve spoon, l. 8‑3/4”, a cheese scoop, l. 8”, a cream ladle, l. 5‑3/4”, and gravy ladle, l. 7‑1/4. both with gilt bowls, a tomato server, l. 7‑5/8”, a gravy spoon, l. 12”, a fish serving fork, l. 8‑3/4”, a fish knife, l. 12”, a jelly spoon, l. 7‑1/2”, a vegetable spoon, l. 9‑3/4”, a vegetable fork, l. 9”, a pea spoon, l. 8‑3/4”, a berry spoon with gilt bowl, l. 8‑3/4”, an asparagus server, l. 9‑1/4”, and a large slicer with gilt blade, l. 12‑3/8”, each piece monogrammed “MIH” (with some later replacements), 291.35 total t. oz. (excluding pieces with steel blades), presented in the original wooden case with lift-out tray, lined in orange baize with fitted slots for each piece identified by gilt stamping, the case with brass plaque also monogrammed “MIH”, h. 9‑1/4”, w. 20‑1/2”, d. 16”. The “preserve” spoon here appears to be the only missing piece, having been replaced by an ordinary tablespoon. [9000/12000] Illustrated

934 Good St. Louis Five-Piece Coin (.900) Silver Neo-Grec Tea Set, third quarter 19th century, by Freeman A. Durgin, St. Louis, Missouri, including a coffeepot, h. 10”, dia. 5‑1/2”, teapot, h. 9”, dia. 5‑1/4”, covered sugar bowl, h. 7‑1/4”, dia. 4‑1/2”, cream jug, h. 6”, dia. 3‑3/4”, and waste bowl, h. 5”, dia. 5”, each with an ovoid body with plain satin finish and decorated with a palmetteenframed monogram “B”, the rim and foot a ring of milled rococoscroll banding, the pots with palmette-mounted “gooseneck spouts", crested paterae-mounted, ivory insulated handles and hinged domed lids with toupie finial, the sugar bowl with a fitted lid and opposing handles en suite, the cream jug with floral-mounted “duck’s beak” spout and single handle en suite, 127.06 total t. oz. [7000/10000] Illustrated

932 detail

932

933 American Sterling Silver Cake Basket, first quarter 20th century, of oval form, with cast reticulated rococo scroll and lattice rim, the bowl engraved en suite and centering a monogram “EMB”, with a swing handle and conforming foot-ring, h. 2‑1/2” (10” with handle), l. 14”, w. 11”, 33.50 t. oz. [300/500]

934 935 Cased Set of Twelve Kirk “Mayflower” Pattern Sterling Silver Coffee Spoons, the pattern introduced in 1846, this set first quarter 20th century, Baltimore, Maryland, monogrammed “JNM”, l. 4‑1/4”, 4.82 t. oz., presented in the original fitted celadon-satin-lined, dobby-weave taupe case, w. 12‑1/2”, d. 5”. [125/250]

129

936 Frank M. Whiting Sterling Silver “Hagie” Pattern Sugar Spoon, designed in 1885 by Frederick Schmidt, l. 6‑3/4”, 1.16 t. oz. [40/60]

941 938

937 Fine Dominick & Haff Sterling Silver Aesthetic Movement Butter Dish, 1881, New York, of rounded square form, the wide rim and fitted, domed lid decorated all over with chased and repousse foliage, flowers and butterflies on a flat-chased foliate ground, the lid with a floriform finial and lifting to reveal a pierced butter tray above an ice reservoir, the whole raised on a conforming foot-ring, the underside with conjoined monogram “ABW”, h. 4”, w. 6‑5/8”, 21.03 t. oz. [3500/5000] Illustrated

940 937

938 Fine Dominick & Haff Sterling Silver Aesthetic Movement Tureen, 1881, New York, of slightly bulbous rectangular form, the body decorated all over with chased and repousse foliage, flowers and butterflies on a flatchased foliate ground, with opposing stirrup handles and a fitted, domed lid with handle en suite, the whole raised on a conforming foot-ring, the underside with conjoined monogram “ABW”, h. 8‑1/2”, l. 13”, w. 8”, 80.28 t. oz. [12000/18000] Illustrated

939 939 Fifty-Six Piece Set of Kirk “Repousse” Pattern Sterling Silver Flatware, the pattern introduced in 1828, Baltimore, Maryland, including eight dinner forks, l. 7‑3/4”, eight salad forks l. 6‑1/4”, eight teaspoons, l. 5‑3/4”, eight iced tea spoons, l. 7‑1/2”, six demitasse spoons, l. 4”, three dinner knives with stainless steel “New French”-shaped blades, l. 8‑3/4”, a master butter knife, l. 4‑1/4”, a butter spreader, l. 5‑1/2”, a carving fork, l. 11”, and knife, l. 13‑1/4”, with stainless steel tines/blade, a sugar spoon, l. 6”, an olive fork, l. 5‑5/8”, two lemon forks l. 4‑1/2”, a pickle fork, l. 6”, a bonbon spoon, l. 5‑1/8”, a berry spoon, l. 7‑1/2”, a youth fork, l. 6‑1/4”, a youth knife with stainless steel blade, l. 8”, and a cake server, 9‑3/4”, and a cheese/fruit knife, l. 7”, both with stainless steel blades, seven pieces monorammed on the reverse (list available on request), along with a teaspoon, l. 5‑1/2”, and five dinner knives with stainless steel “New French”shaped blades, l. 8‑7/8” in Stieff’s “Rose” Pattern (1892), 63.47 total t. oz. (excluding items with stainless steel fittings), all presented in a Pacific cloth-lined wooden case, h. 4‑3/4”, w. 14‑3/4”, d. 10‑3/4”. (Sixty-two pieces total plus case.) [2500/4000] Illustrated

948

948 detail

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940 Pair of Tiffany & Co. Sterling Silver Tazze, the pattern introduced in 1885, this pair 1892‑1902, New York City, New York, each of circular form with shaped rim and decorated with a wide band of repousse flowers and ferns, raised on a trumpeting foot decorated en suite and edged in milled rocaille banding, h. 3”, dia. 7”, 23.98 total t. oz. [3000/5000] Illustrated

947 Pair of Gorham Sterling Silver Columnar Candlesticks, 1913, Providence, Rhode Island, each in the form of a Corinthian column, with a detachable conforming bobeche with a beaded edge and raised above a stepped square base en suite, monogrammed on the basal edge “M.B.C.”, h. 10‑1/4”, w. 4‑1/8”, weighted. [125/250]

941 Tiffany & Co. Sterling Silver “Clover” Pattern Fruit Bowl, the pattern introduced in 1903, this example before 1907, New York City, New York, of lobed octagonal form, with realistically detailed applied onenwork “clover” rim, monogrammed on the center “RCS”, dia. 11‑1/2”, 24.31 total t. oz. [400/700] Illustrated

948 Two-Hundred and Fifty-One Piece Set of Tuttle “Onslow” Pattern Sterling Silver Flatware, the pattern introduced in 1931, Boston, Massachusetts, including eighteen dinner forks, l. 7‑3/4”, eighteen luncheon forks, l. 6‑1/4”, six salad forks, l. 6‑1/4”, twenty dessert forks, l. 7‑1/4”, twelve seafood/cocktail forks, l. 5‑3/4” and 6”, thirty-six teaspoons, l. 6‑3/8”, two tablespoons l. 8‑1/4”, eighteen cream soup spoons, l. 6‑1/2”, twelve dessert spoons, l. 7‑1/4”, six soup spoons, l. 6‑3/4”, twelve iced tea spoons, l. 7‑1/4”, eight demitasse spoons, l. 4‑1/2”, eighteen dinner knives, l. 9‑1/2”, and eighteen luncheon knives, l. 8‑3/4”, both with stainless steel “New French”-shaped blades, twelve butter spreaders, l. 6‑1/8”, two serving spoons, l. 8‑3/4”, two slotted tablespoons, l. 8‑1/4”, two serving forks, l. 8‑5/8”, eighteen butter spreaders with stainless steel blades, l. 5‑5/8”, a tea strainer, l. 6‑3/4”, a cream ladle, l. 5‑1/8”, two sauce ladles, l. 5‑3/4”, a tomato server, l. 7‑1/2”, a sugar spoon, l. 5‑3/4”, bow-style sugar tongs, l. 5”, a pickle fork, l. 5‑5/8”, a master butter knife, l. 7‑1/8”, a bread/ wedding cake knife, l. 16‑1/4” and a cake/pie server, l. 10‑1/2”, the latter three with stainless steel blades, no monograms (except the tea strainer), 316.75 total t. oz. (excluding items with stainless steel blades), presented in a tall, fitted wooden case with hinged lid and three drawers, the top with brass plaque monogrammed “EWT”, h. 14‑3/4”, w. 18‑1/2”, d. 12‑1/4”, The majority of pieces bear the date mark “DE-I”, standing for the first term of President Dwight Eisenhower, 1953‑1957, though there are pieces here with marks as early as Herbert Hoover and as late as Bill Clinton, with every president between them represented but for Reagan and both Bushes; a complete list of these unique Tuttle date marks is available on request. [5000/8000] Illustrated

942 Seventeen Tiffany and Other Sterling Silver Salt and Pepper Utensils, late 19th to early 20th century, including Tiffany items, four floral-rimmed salt cellars with gilt interiors, the pattern from 1888, monogrammed on the underside “RBF”, dia. 1‑7/8:”, a salt spoon with gilt swirl bowl and bamboo-engraved handle, the reverse with Asian-style monogram and date “EGS 1880”, l. 2‑3/4”, and a pair of hammered-finish salt spoons with Asian-style monogram “WRS”, l. 2‑1/4”, with a pair of Karl Leinonen/ Boston Handicrafts cauldron salts, dia. 2‑1/2”, a set of six Webster Co. individual salt and pepper casters with bulbous paneled bodies and “hammered” finish, h. 1‑1/4”, and two Manchester Silver Co. salt spoons with “dognose” ends and “hammered” finish, l. 2‑3/8”, 6.43 total t. oz. [150/300] 943 Tiffany & Co. Sterling Silver Seven-Piece Set of Nut or Sweetmeat Dishes, the pattern introduced in 1904, New York City, New York, including, a master dish. l. 7‑1/2” and six individual dishes, l. 4‑1/4”, each of oval form, the shaped and reticulate sides with applied “blackberry” edge, variously monogrammed at the center, two of the individual dishes with gilt interior, 11.32 total t. oz. [200/400] 944 Tiffany & Co. Sterling Silver Sweetmeat Dish, third quarter 20th century, in the form of three stylized ivy leaves joined at the stem around a heart-shaped ring handle, h. 2‑1/4”, w. 10‑1/4”, 12.92 t. oz. [700/1000] 945 Tiffany & Co. Sterling Silver Plateau, first quarter 20th century, New York City, New York, of circular form, with a reticulated gallery above a gadrooned band, raised on four flattened spherical feet and fitted with a conforming mirrored plateau, monogrammed, on the underside edge, “LIH”, dia. 12‑1/4”. [500/800] 946 Tiffany & Co. Sterling Silver Sugar Basket, the pattern introduced in 1907, New York City, New York, in the Georgian taste, of ovoid form and decorated with reticulated imbrication, raised on a circular foot, with reeded banding at the edges, with hinged swing handle and fitted with a cobalt glass liner, h. 5‑3/8”, dia. 3‑1/2”, 3.60 t. oz. (excluding glass liner). [300/500]

949 One-Hundred and Twenty-Two Piece Set of “Onslow” Pattern Sterling Silver Flatware, mostly pieces second quarter 20th century by John Wanamaker, Philadelphia, Pennsylvania, including twelve dinner forks, l. 7‑5/8”, twelve luncheon forks, l. 6‑5/8”, twenty-four teaspoons, l. 5‑1/2”, twelve tablespoons, l. 8‑1/8”, ten demitasse spoons, l. 3‑3/4”, twelve dinner knives with stainless steel “Old French”-shaped blades, l. 9‑1/4”, twelve butter spreaders, l. 5‑1/2”, and two platter spoons, l. 11‑3/8”, all monogrammed “D”, with a Webster Co. joint fork with stainless steel prongs, no monograms, l. 9‑1/4”, and English pieces, eleven dessert spoons, l. 6‑3/4”, and twelve demitasse spoons, l. 4‑1/4”, all monogrammed “JM/H” hallmarked London, 1969‑1972 by Garrard & Co., and a pair of serving spoons, l. 8‑3/4”, with engraved crest, hallmarked London, 1878‑1879, by George William Adams,130.73 total t. oz. (excluding items with stainless steel fittings), presented in a tall wooden case with hinged lid and two drawers, h. 11‑1/4”, w. 18‑1/4”, d. 12‑1/2”. [2000/4000] Illustrated Next Page

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949

949 detail

951 Two American Sterling Silver Sandwich Plates, second quarter 20th century, of circular form, one by Bailey, Banks & Biddle, Philadelphia, Pennsylvania, with applied robust rococo edge, dia. 12”, the other by M. Fred Hirsch Co., Jersey City, New Jersey, with reticulated rim and gadrooned edge, monogrammed at the center “L”, dia. 11”, 30.29 total t. oz. [125/250]

952 Rococo-Style Silverplate Tray, third quarter 20th century, by Sheridan/Taunton Silversmiths, Taunton, Massachusetts, of rounded rectangular form, the shaped rim with applied rococo border, the plateau engraved with a wide band of rococo cartouches and scroll on a trellised ground, raised on four acanthus feet, l. 30”, w. 18‑1/4”. [150/300]

950 Pair of American Silverplate Candelabra, mid‑20th century, marked “GSC”, probably the Goldfelder Silverware Co., Yalesville, Connecticut, each with a tapering standard raised above a domed foot and surmounted by a superstructure of a smaller standard with four scrolling arms, all terminating in a a circular drip-pan and urn-form candlesocket with detachable bobeche, the whole decorated with leaf-and-berry banding, the superstructure and standard both detaching to allow the pair to be used and candlesticks or candlestands, h. 18‑3/4”, w. 17‑1/2”. [400/700]

953 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, l, h. 4‑3/4”, cream jug, h. 5”, waste bowl, h. 3‑1/4”, and tray l. 30”, w. 17‑1/2”. [300/500]

956

954 Eighteen Assorted Sterling SilverMounted Porcelain Cups, mid 20th century, including six Mauser Mfg. Co. bouillon cup holders, a set of six International Sterling bouillon cup holders, all with Lenox “l’anneau d’or” porcelain cups, overall dia. 4”, and a set of six unmarked demitasse cup holders, fitted with Hutschenreuther “l’anneau d’or” cups (one lacking), overall h. 2‑1/2”, 24.63 total t. oz. (excluding liners). [250/400] 955 Good Set of Four Graduated Silverplate Platters, third quarter 20th century, the Birmingham Silver Co., Yalesville, Connecticut, each of square form with applied rocaille border, floral acanthus engraved plateau and raised on four rococo scroll feet, w. 11‑3/4” to 18‑1/2”. [300/500]

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956 One Hundred and Eighty-One Piece Set of Wallace “Grand Baroque” Sterling Silver Flatware, the pattern designed in 1941 by William S. Warren, Wallingford, Connecticut, indluding seventeen luncheon forks, l. 7‑1/2”, one dinner fork, l. 7‑7/8”, eighteen salad forks, l. 6‑1/2”, seventeen seafood/cocktail forks, l. 5‑3/8”, thirty-six teaspoons, l. 6‑1/8”, a tablespoon, l. 8‑5/8”, eighteen cream soup spoons, l. 6”, seventeen dinner knives, l. 9‑3/4”, and nineteen luncheon knives, l. 8‑7/8”, all with stainless steel “Modern”-shaped blades, a master butter knife with stainless steel blade, l. 6‑5/8”, eighteen butter spreaders, l. 6‑1/4”, a serving spoon, l. 9‑1/4”, a serving fork, l. 8”, a carving fork, l. 10‑3/4” and knife 13‑3/4”, with stainless steel tines/blade, three sugar spoons, l. 6‑1/4”, three olive/pickle forks, l. 5‑1/4”, two sauce ladles, l. 6‑1/2”, two cheese knives, l. 61/2”, a jelly spoon, l. 6‑3/4”, a bonbon spoon, l. 5‑1/2”, a pie/cake server with stainless steel blade, l. 10‑3/4”, and a bottle opener with stainless steel fitting, l. 5‑1/4”, no monograms, 189.31 total t. oz. (excluding items with stainless steel fittings). [8000/12000] Illustrated

959

957 Set of Six American Sterling Silver Sherbet Cups, mid‑20th century, each with an inverted bell-form body, with reeded rim and domed foot, h. 3‑3/4”, dia. 3‑1/2”. weighted. [125/250] 958 Sterling Silver Flask in the Japonaise Taste, ca. 1900, the body engraved with Japanese seascape within a leafy cartouche, the reverse with a “hammered” finish, the cap unscrewing to act as a shot cup, with a second, smaller cup concealed within, h. 7‑1/4”, w. 3‑3/4”, 8.10 t. oz. [500/800] Illustrated

958

959 Newcomb College Vellum-Glazed Vase, potted by Jonathan Browne Hunt (1876‑1943) and decorated by Sarah Agnes Estelle “Sadie Irvine” (1887‑1970), 1930, the shallow relief carving in moon moss and live oak decor, fully inscribed on the underside including registration mark “SP3” and shape number “184”, h. 8”, dia. 6‑3/4”. [3500/5000] Illustrated 960 Alkaline Blue-Glazed Shearwater Pottery Vase, third quarter 20th century, the base with an impressed “Shearwater” signature, h. 7”. [125/250] 961 Set of Nine 1910 New Orleans Imperial Shrine Session Commemorative Champagne Glasses, each with a gadrooned interior and lobed foot, decorated with gilt and polychrome pressed decoration, including the logo of the Syrian Temple of the Ancient Arabic Order of the Nobles of the Mystic Shrine, King Neptune with the legend “New Orleans April 1910”, and a pair of alligators, h. 4‑3/4”, dia. 3‑3/4”. Beginning in 1893 and continuing every year until 1918, the Syrian Shrine Temple in Pittsburgh, Pennsylvania commissioned glassware to commemorate the national Imperial Shrine Council Session which they would attend. Manufactured by the United States Glass Co., a conglomeration of several Pennsylvania glass manufactories), these glasses were the most coveted souvenirs of the sessions, avidly traded and collected. The 1910 session was held in New Orleans, reflected in the alligators and Mardi Gras-style masque on that year’s glass. A smaller, completely gilt glass trophy cup was also known to have been produced that year. [125/250]

133

962 1904 Louisiana Purchase Exposition Grand Prize Medal, the patinated bronze medal designed by Adolph Alexander Weinman (1870‑1952), the obverse with allegorical figures of Columbia bringing Louisiana into her embrace, with identifying legend and date in Roman numerals, the reverse with an eagle and two dolphins and the legend “Grand Prize / Louisiana Purchase / Exposition”, in a shield-shaped surround engraved with the stars and stripes, h. 2‑7/8”, w. 2‑7/16”. This medal is one of 3,300 struck by the U.S. Mint in Philadelphia, the smallest striking of the five types of medals for the Exhibition. Medals from the 1904 Exhibition are prized for several reasons, including their unusual shapes and unique material (a new alloy called “government bronze”). Most notable, however, is the intricate level of allegorical detail by Weinman, a German immigrant who also designed the walking Liberty half dollar and the Mercury dime. Note, for instance, the finely engraved Napoleonic bees in the cloak of Louisiana as she casts it off to be wrapped in the American stars of Columbia’s cloak, or the two dolphins on the reverse, symbolic of America’s transoceanic boundaries. [200/400]

964

978

970 963 American School (Second Quarter 19th Century) “Wooded Landscape With a View of a River” oil on board, signed illegibly, dated lower right “’40”, 12” x 9”. Presented in a molded giltwood frame with a linen liner. [200/400]

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964 James Calvert Smith (American, 1878‑1962) “Housatonic Valley, Salisbury”, oil on canvas, signed lower right, titled on reverse of frame, 25” x 38‑3/4”. Presented in a giltwood frame. [2000/4000] Illustrated 965 Joseph Fruhmesser (Austrian/German, b. 1928) “Mountainous Landscape with a Pond”, oil on canvas, signed lower left “J. Fruhmesser”, 23” x 37”. Framed. [250/400]

966 Eugene F. Loving (American/Louisiana, 1908‑1971) “St.Peter and Chartrers, Old New Orleans”, black and white etching, edition of 150, pencil signed lower right, titled in pencil lower left, inscribed lower center: “Etching #76 for H.O. Eeuersman”, sight 7‑1/2” x 5”. Glazed, linen-matted and presented in a giltwood molded frame. [300/500] 967 Eugene F. Loving (American/Louisiana, 1908‑1971) “Orleans and Royal, Old New Orleans”, black and white etching, edition of 200, pencil signed lower right, titled lower left, sight 10‑1/2” x 7‑1/2”. Glazed, attractively linen-matted and presented in a molded silvered frame. [400/700]

971 Eugene F. Loving (American/Louisiana, 1908‑1971) “The Claiborne Court Old New Orleans”, black and white etching, pencil signed lower right, titled in pencil lower left, sight 10” x 7”. Glazed, double matted and presented in a silvered rope-molded frame. [400/700] 972 Eugene F. Loving (American/Louisiana, 1908‑1971) “Napoleon House Patio Old New Orleans”, black and white etching, out of edition of 100, pencil signed lower right, titled in pencil lower left, 9” x 5‑1/2”. Glazed, attractively double matted and presented in a molded giltwood frame. [300/500] 973 Louisiana School (20th/21st Century) “French Quarter House Detail”, pen and ink on paper, signed and dated lower right “M. Pincono, 03 24 04”, sight 10” x 9”. Glazed, attractively double-matted and presented in a polychrome frame. [75/125] 974 Gerry Peirce (American, 20th century) “Exchange Alley” and “Old New Orleans”, two black and white etchings, both signed in pencil lower right and titled lower left, sight former 7” x 6”, latter 6” x 4”. Both glazed, attractively matted and framed. [600/900] 975 Gerry Peirce (American, 20th century) “The Absinth House” and “Green Shutter Patio”, two black and white etchings, both signed in pencil lower right and titled lower left, sight former 4” x 6”, latter 6‑3/4” x 4”. Both glazed, linen-matted and framed. [400/700] 976 Robert Bledsoe Mayfield (American/Louisiana, 1869‑1934) “Ibos House on Chartres Street” and “The Warehouse”, two etchings, both signed in print, titled in pencil lower center margin and pencil numbered lower left, former “57/100”, latter “41/100”, sight former 9‑1/4” x 6”, latter 8” x 6‑3/4”. Both glazed, linen-matted and presented in molded giltwood frames. [250/400]

982 968 Eugene F. Loving (American/Louisiana, 1908‑1971) “Fan Windows-Napoleon House Old New Orleans”, black and white etching, edition of 100, sight 6” x 4‑1/2”. Glazed, linen-matted and presented in a molded silvered frame. [250/400] 969 Eugene F. Loving (American/Louisiana, 1908‑1971) “The Cabilldo Alley, Old New Orleans”, edition of 200, pencil signed lower right, titled lower left, sight 10” x 7”. Glazed, attractively double matted and presented in a molded frame. [400/700] 970 Colette Pope Heldner (American/Louisiana, 1902‑1990) “Swamp Idyll”, oil on canvas, signed lower left, titled and signed on reverse, 36” x 20”. Presented in a silvered frame. [3000/5000] Illustrated

977 Robert Bledsoe Mayfield (American/Louisiana, 1869‑1934) “The Little Shop”, black and white etching, signed in print, titled in pencil lower center, pencil numbered lower left “57/100”, together with a Italian School (20th Century) color etching of a Venetian Canal, signed illegibly lower right, sight former 5‑1/2” x 4”, latter 8‑1/2” x 5‑1/2”. [150/300] 978 Knute Heldner (Swedish/Louisiana, 1877‑1952) “Swampland”, black and white etching, pencil signed lower right, titled lower left, sight 10‑1/2" x 7‑1/2”. Glazed, double-matted and presented in a silvered rope-molded frame. [600/900] Illustrated 979 James Carl Hancock (American/Louisiana, 1898‑1966) “Mansions and Slave Quarters, New Orleans”, etching, edition of 200, signed in pencil lower right, titled lower left, 11‑1/2” x 10”. Glazed, double matted, and framed. [150/300]

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986

980 James Carl Hancock (American/Louisiana, 1898‑1966) “Bosque House New Orleans”, drypoint etching, signed in ink lower right, titled lower left, sight 10‑1/2” x 7‑1/2”. Glazed, attractively linen matted, and presented in a faux-weathered fruitwood frame. [150/300] 981 Louise Dunn Yochim (American, 1909‑2003) “New Orleans”, black and white lithograph, dated and signed in pencil lower right “Louise Dunn Yochim 51’”, titled in pencil lower left, sight 10‑1/2” x 8”. Glazed, linen-matted and presented in a molded giltwood frame. [125/250] 982 Colette Pope Heldner (American/Louisiana, 1902‑1999) “Swamp Idyll”, oil on canvas, signed lower left “Colette Pope Heldner”, titled and signed on the reverse, 36” x 30”. Handsomely framed. [1000/1500] Illustrated Previous Page 983 Aida Whedon (American/New York, 1915‑1993) “Vermont” and “New Orleans Oaks”, two limited edition color etchings, both signed in pencil lower right, titled lower left, sight former 9‑3/4”, latter 4‑1/2” x 18”. [400/700] 984 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”. [700/1000]

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985

985 A KPM Porcelain Plaque, ca. 1900, in the orientalist taste, the verso stamped “KPM” beneath a sceptre, depicting a pensive beauty in green headscarf and robe, plaque 8‑1/4” x 6‑1/8”, overall 14‑1/2” x 12‑1/4”. [1000/1500] Illustrated

987

986 A KPM Porcelain Plaque, ca. 1900, painted in the orientalist taste, the verso inscribed “KPM” beneath the sceptre, depicting a beauty in red headscarf and vest, her person adorned with necklaces and jeweled headdress, plaque 8‑1/4” x 6‑1/8”, overall 14‑1/2” x 12‑1/4”. [1000/1500] Illustrated 987 Continental Bronze-Patinated Spelter Mantle Clock in the Orientalist Taste, fourth quarter 19th century, modeled depicting a bejeweled maiden grasping a censor, atop an elephant draped with finery, the clock with inset porcelain cartouches adorned with Roman numerals, h. 20‑3/4”, w. 15”, d. 7‑1/2”. [700/1000] Illustrated

989

988 989 Finely Sculpted Continental Bronze Figure of Rebecca at the Well, fourth quarter 19th century, shown in Middle Eastern dress, with a rope entwined ewer, resting against a wellhead, appearing to repose in thought, depicted in a fully draped head dress, an elaborately embroidered skirt and finely delineated sandals, impressed: “1876” within a lower rear fold, h. 13‑1/2”, w. 11”, d. 5”. [400/700] Illustrated

988 Austrian School (Fourth Quarter 19th Century) “Rebecca and Isaac”, oil on canvas, signed illegibly lower right, 28‑1/2” x 23‑1/2”. Presented in a Rococo-style giltwood and gesso frame. [1200/1800] Illustrated

990 Interesting Art Nouveau Copper-Patinated and Jewel-Mounted Table Lamp, early 20th century, the shade with beaded fringe and marbleized inset glass cabochons, mounted to trifid base, unsigned, h. 18‑1/2”, dia. 10”. [300/500] 991 Pair of Brass Table Lamps of Orientalist Inspiration, each with a tapering columnar standard joined to a banded bulbous mid section, the base of inverted bell-form, h. 28”, dia. 5”, overall. [300/500]

992 992 Three Middle Eastern Glazed Plaques, second quarter 20th century, with geometric decorations in blues and creams, framed in a modern ebonized frame, h. 25‑1/2”, w. 9”. [1200/1800] Illustrated

137

993 Two Hispano-Moorish Tin-Glazed Architectural Tiles, first quarter 19th century, now mounted as wall plaques, one depicting an eight-pointed star decorated with a lion in a mountainous landscape, h. 10”, w. 10”, the other with a pattern of Moorish arches and flowers, painted in shades of blue, h. 8‑1/2”, w, 9‑1/2”. [100/200] 994 Rare Rose Quartz Acid-Cut Vase, early 20th century, attributed to Steuben, in acanthus pattern, unsigned, h. 11”. dia. 9”. [1500/2500] Illustrated 995 Two Murano Double-Overlay Faceted Millefiori Mushroom Paperweights, mid‑20th century, both having cranberry-over-white double-overlay, one with five side facets along with top and bottom, bearing its original “Made in Murano” sticker, the other with four side facets along with top and bottom facets, unsigned, h. 2‑1/4”, dia. 3”. [200/400] 996 Diminutive French Enameled Foliate Decorated Vase, early 20th century, the mottled background in shades of red, brown and orange and decorated with grape vines and a butterfly, the under shoulder signed “Dubois Limoges”, h. 4‑1/4”. [100/200]

994

998

1000

997

999

998 Sevres Enameled Faience Vase, early 20th century, probably by Paul Milet, cloisonne-style enamel dragonflies ringing the shoulder with irises rising from the base, all on an enameled gold foil ground, model 579, signed on the recessed base underglaze in green: “SEVRES” within a hyphenated lozenge, h. 6‑5/8”. [300/500] Illustrated 999 Sevres Enameled Lobed Faience Dresser Box, early 20th century, probably by Paul Milet, cloisonne-style enameled flowers, the cover and box rim decorated in the Persian taste, all with an enameled gold foil ground, with turquoise interior, the base signed underglaze in green: “SEVRES”, incised: “399” and “n”, h. 2‑3/4”, w. 5‑3/4”. [200/400] Illustrated 1000 Sevres Enameled Faience Vase, early 20th century, probably by Paul Milet, of baluster form, a profusion of cloisonne-style enameled violets on an enameled gold foil ground, with an indistinct signature in green angled up from the lower violet band, the recessed base signed in green underglaze: “SEVRES”, an”X” and “969” in brown, h. 5‑5/8”. [200/400] Illustrated

997 Paul Milet, Sevres, Enameled and Silver-Mounted Vase, early 20th century, the enameled detail designed to resemble cloisonne, the ground enameled over gold foil and signed: “Yung” below a trailing flower bud, mounted in French first standard (.950) silver parcel gilt by Edouard Ernie (fl. Paris, 7 rue Reamur, from 1882), the collar with milled acorn banding, the foot with four dolphins above a gadrooned plinth, the vase presented in a custom-fitted gilt-tooled box, the vase h. 5‑3/4”. [400/700] Illustrated

138

1001 Rare Marbleized Green Art Glass Vase, early 20th century, possibly Loetz, having embossed and gilded highlights with ruby and pearl opalescent cabochon “jewels”, polished pontil, unmarked, h. 11‑3/4”. [400/700] 1002 Interesting Iridescent Swirl Pattern, Twisted Stem, Cased Art Glass Vase, 20th century, possibly by Loetz, h. 12‑1/4”, dia. 6‑1/4”. [500/800] 1003 Tall Green Blown-Glass Trumpet Lily Vase, early 20th century, possibly Bohemian, in three parts, the underside of the foot etched “3032‑17”, h. 22‑1/2”, dia. 7‑1/2”. [300/500]

1004 Purple and Gold Iridescent Pulled Feather Art Glass Vase, probably Trevaise, attributed to James H. Grady of the Alton Manufacturing Co., Sandwich, Mass., early 20th century, having a button pontil and bearing a pseudo etched signature “L. C. T. Favrile”, h. 7‑1/4”, dia. 4‑1/2”. [200/400] 1005 Green, Gold and Purple Pulled Feather Art Glass Vase, probably Trevaise, attributed to James H. Grady of the Alton Manufacturing Co., Sandwich, Mass., early 20th century,having a button pontil and pseudo molded signature “L. C. Tiffany-Favrile 1726 A”, h. 7‑1/2”, dia. 6”. [200/400] 1006 Fine L.C. Tiffany Favrile Iridescent Gold Art Glass “Jack-in-the-Pulpit Vase, early 20th century, the underside etched “L.C. Tiffany Favrile 2170N”, h. 19‑3/4”. [5000/8000] Illustrated

1006

1007 L.C. Tiffany Gold Iridescent Art Glass Footed Salt Dish, early 20th century, the underside etched “L.C.T.”, h. 1‑1/4”, dia. 2‑1/4’. [250/400] 1008 L.C. Tiffany Favrile Gold Iridescent Art Glass Juice Cup, early 20th century, the underside etched “1202 L.C.T. Favrile”, h. 3‑1/4”, dia. 2‑1/8”. [350/500] 1009 Imperial Glass Co, Bellaire, Ohio, Iridized Blue and Gold Charger, mid‑20th century, signed on the underside, dia. 12‑1/2”. [100/200] 1010 Large L.C. Tiffany Favrile Purple Iridescent BlownGlass and Bronze Mounted Charger, early 20th century, the backside etched “L.C. Tiffany Favrile” and is presented with a patinated-bronze spider-form hanger, dia. 16‑1/2”. [1000/1500] Illustrated

1010

1011 L.C. Tiffany Favrile Glass Flower Bowl and Frog, early 20th century, the bowl with a leaf and vine motif and bearing the etched signature, 5840L L.C. Tiffany-Favrile, the frog bearing the same etched markings, h. 4”, dia. 10”. [400/700] 1012 L.C. Tiffany Purple and Gold Iridescent Art Glass Toothpick Holder, early 20th century, having pinched sides and the underside etched “L.C.T. R2674”, h. 1‑3/4”, dia. 1‑3/8”. [250/400]

139

1023 1017 1024 1019 1026 1015 1013

1021 1018

1014 1016

1020

1022 1025

1013 Verre-de-Soie Art Glass Bowl Attributed to Steuben, early 20th century, having a polished pontil, unsigned, h. 3”, dia. 5‑1/2”. [100/200] Illustrated

1021 Steuben Gold Aurene Perfume Bottle with Teardrop Stopper, early 20th century, the bottom of the foot etched “Aurene 1414”, h. 7‑3/4”. [200/400] Illustrated

1014 Two Steuben Art Glass Vases of Ruffled TrumpetForm, early 20th century, one example calcite with a gold aurene interior and bearing the original “Corning, NY Steuben” paper label and the other an unmarked Verre-deSoie example, h. 6” to 8”. [250/400] Illustrated

1022 Steuben Blue Aurene Stick Neck Glass Vase, early 20th century, with scattered purple highlights, the underside etched “Aurene 2556”, h. 7‑1/2”, dia. 3”. [250/400] Illustrated

1015 Large Steuben Verre-de-Soie Shallow Glass Bowl, early 20th century, having a ground and polished pontil, unsigned, h. 2”, dia. 12”. [300/500] Illustrated 1016 Steuben Aurene Gold Iridescent Bowl, early 20th century, the rim with large ruffles and the underside bottom etched “Aurene 161”, h. 2‑3/8”, dia. 5”. [300/500] Illustrated 1017 Large Steuben Blue Aurene Art Glass Vase, early 20th century, the underside bearing the etched signature “Aurene 2082”, h. 12”, dia. 8”. [700/1000] Illustrated 1018 Steuben Verre-de-Soie footed Bowl with Inverted Rolled Rim, early 20th century, h. 3‑1/4”, dia. 12”. [400/700] Illustrated 1019 Large Steuben Gold Aurene Glass Vase, early 20th century, of bulbous form, the base etched underneath: “Aurene‑2683”, h. 10‑1/2”, dia. 10”. [500/800] Illustrated 1020 Small Art Glass Footed Vase, early 20th century, probably Steuben, gold with shades of purple, unsigned, h. 5‑1/4”, dia. 3‑1/4”. [150/300] Illustrated

140

1023 Large Steuben Gold Aurene Vase, first quarter 20th century, the exterior surface with red and violet highlights, the rim an iridescent blue, translucent overall, signed “Aurene/2933” around the polished recessed pontil, h. 11‑1/2”. [500/800] Illustrated 1024 Large Steuben Verre-de-Soie Glass Vase, early 20th century, having an iridescent blue rim, unmarked, h. 12”. dia. 7‑1/2”. [500/800] Illustrated 1025 Three Pieces of Steuben Verre-de-Soie Glass, early 20th century, including a goblet, h. 6‑1/2”, a berry bowl, dia. 5”, with an underplate, dia. 6”, all pieces marked. [125/250] Illustrated 1026 Pair of Steuben Calcite and Gold Aurene Glass Bowls, early 20th century, each retaining the original fleur-delis gold paper labels, h. 1‑3/4”, dia. 9‑1/2”. [400/700] Illustrated 1027 Opalescent Parcel-Gilt Vase Attributed to Moser, early 20th century, the central portion with blown-out diamond motifs and gold highlights, unsigned, h. 10‑1/2”, dia. 3‑3/4”. [125/250]

1028 Quezal Iridescent Green and Gold Pulled-Feather Glass Jack-in-the-Pulpit Vase, early 20th century, the underside of the foot etched “Quezal N.Y.”, h. 9”. [700/1000] Illustrated 1029 Gold and Amber Iridescent “White Waves” Art Glass Vase, early 20th century, attributed to Loetz, having a polished pontil, unsigned, h. 9‑3/4”. [300/500] 1030 Group of Three Art Glass Vases Attributed to Loetz, early 20th century, including a speckled gold and purple iridescent vase, h. 10”, an amethyst textured vase, h. 8‑3/4”, and a celadon diamond-quilted vase, h. 7‑1/4”, all unmarked. [250/400] 1031 Unusual Colorless Blown-Glass Vase, early 20th century, possibly Loetz, having purple blown-glass applied drips and pinched sides, the lower portion with graduated dimples, unmarked, h. 10‑1/2”, dia. 7”. [300/500]

1028

1032 Two Iridescent Art Glass Vases, early 20th century, possibly Loetz, the gold example with a pinched lip and the green example of basket form, h. 5‑1/2” to 7‑1/2”. [200/400] Illustrated 1033 Diminutive Green Iridescent and Silver-Drip Overlay Art Glass, early 20th century, attributed to Loetz, having a polished pontil, unmarked, h. 3‑1/2”. [200/400] Illustrated 1034 Purple Iridescent Art Glass Bowl with Antler Handles, early 20th century,possibly by Loetz or Kralik, the ruffled bowl with exterior threading and mounted with a pair of small stag antlers, unmarked, dia. 6”. [300/500] Illustrated

1035 Two Colorless Blown-Glass Vases Attributed to Loetz, early 20th century, each having a crinkled, textured surface, the taller example with a twisted body, the smaller of basket-form, h. 5” to 9‑3/4”. [200/400] Illustrated

1036

1038 1040 1035 1032

1039 1041

1033

1034

1037

141

1036 Fine Elaborately Acid-Cut Green Iridescent Art Glass Vase, early 20th century, attributed to Loetz, unsigned, h. 10”, dia. 5”. [300/500] Illustrated Previous Page 1037 Loetz Amethyst Art Glass Shallow Bowl, early 20th century, having crimped edges and a polished pontil, h. 1‑3/4”, dia. 10”. [200/400] Illustrated Previous Page

1046

1042

1043

1038 Green Iridescent Art Glass Vase Attributed to Loetz, early 20th century, the exterior with a textured crackled surface, polished pontil, Jack-in-the-Pulpit mouth, unmarked, h. 10”, dia. 5‑1/2”. [200/400] Illustrated Previous Page 1039 Green Iridescent Art Glass Bowl Attributed to Loetz, early 20th century, having a crimped rim and polished pontil, unsigned, h. 3‑1/2”, dia. 9”. [100/200] Illustrated Previous Page

1045

1040 Interesting Acid-Cut and Parcel-Gilt Glass Vase, early 20th century, the body festooned with acid-cut-toiridescent drag loops and interspersed vertically with tiny cascading parcel-gilt flowers, the rim parcel-gilt, probably Loetz, unsigned, h.7”. [200/400] Illustrated Previous Page 1041 Fine Cobalt Iridescent Art Glass Vase, early 20th century, attributed to Loetz, having pinched sides with mottled decor, unmarked, h. 4‑1/2”. [150/300] Illustrated Previous Page 1042 Fine Kew-Blas Pulled-Feather Art Glass Vase, early 20th century, the underside of the foot etched “Kew-Blas”, h. 9‑1/2”. [250/400] Illustrated 1043 Pair of Kew-Blas Gold Iridescent Art Glass Candlesticks, early 20th century, having twisted shafts, the underside of the foot etched “Kew-Blas” , h. 8”. [300/500] Illustrated 1044 Steuben Amethyst Art Glass Vase, early 20th century, the polished pontil bearing an etched "S”, h. 8”, dia. 7”. [200/400]

142

1045 Frederick William MacMonnies (American 1863‑1937) patinated bronze “Bacchante and Infant Faun”, fully signed on the base with MacMonnies name, “France, 1894, H. Ronald Fondeu”, h. 33‑1/4”. MacMonnie studied sculpture under Augusts Saint-Gaudens, the National Academy of Design and The Student Arts League. In 1884 he went to Paris to study at the ‘Ecole des BeauxArts”. In 1888 he opened a studio in Paris, from which he executed a number of commissions for the American architect Stanford White. Bachante and Infant Faun, among MacMannie’s best known sculptures was originally presented to Charles McKim, another principal in the architectural firm of McKim, Mead & White, h. 33‑1/4”. [1000/1500] Illustrated

1048 two-piece suite

1049

1048 two-piece suite

1046 Fine Handel Stained and Leaded Glass Table Lamp in the Apple Blossom Pattern, early 20th century, the shade bearing the Handel tab soldered near the inner, upper rim, the base with an impressed Handel signature, having three sockets with acorn pull chains, h. 26”, dia. 22‑1/2”. [3500/5000] Illustrated 1047 Daum Nancy Circular Cameo Glass Bowl, early 20th century, having a mottled burgundy and purple ground with orange foil, signed “Daum Nancy” with the Cross of Lorraine, h. 2”, dia. 4‑1/4”. [200/400] 1048 Two-Piece French Art Nouveau Mother-of-Pearl and Marquetry-Inlaid Maple Bedroom Suite,circa 1900, Nancy school, the headboard with the inlaid maker’s signature: “galle” for the workshop of Emile Galle (1846‑1904) consisting of an armoire and a bed, the armoire with a domed and molded cornice above a single mirrored door, h. 87”, w. 40”, d. 25”, the bed with a shaped and paneled head and footboard, h. 52”, w. 44‑1/2”, inside w. 42”, l. 79‑1/2”, inside l. 75‑1/2”, both pieces with floral inlays with mother-of-pearl accents in the Art Nouveau taste, both raised on molded cabriole feet. [1800/2500] Illustrated

143

1053

1052

1053 Austrian Jugendstil Stained Terra Cotta Clock Case, ca 1900, by the Goldscheider Manufactory and Majolica Factory, Vienna, the verso inscribed “Goldsheider Production Reservee”, depicting a circular opening for the clock works amidst foliate and fruit decor, on a stylized trunk fronted by a standing pensive maiden, her arms clasped before her breast and her gaze cast skyward, h. 37”, w. 15‑1/2”, d. 12”. [400/700] Illustrated

1049 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. [1000/1500] Illustrated Previous Page 1050 A KPM (Kinglische Porzellan-Manufaktur, Berlin) Porcelain Plaque, ca. 1900, the verso with the impressed “KPM” mark beneath a sceptre, depicting a semi - recumbant beauty gazing upon an infant in a woven basket, with rolling waves in the background, plaque 7‑3/8” x 9‑3/4”, overall 14‑1/2” x 17”. [2500/4000] Illustrated 1051 Large Art Nouveau Patinated-Bronze Figural Basket, early 20th century, probably Austrian, the handle formed by two maidens emerging from the sea and locked in a kiss, one handle with impressed “GESCHUTZT/5697”, this model thus copyrighted, h. 7‑1/4”, w. 13‑1/2”. [400/700] 1052 Good Handel Cherry Blossom Leaded Glass Table Lamp, early 20th century, the shade bearing the Handel metal tab soldered along the inner rim, the tree trunk base with an impressed Handel signature, and having three sockets with acorn pull chains, h. 23”, dia. 18”. [2500/4000] Illustrated

144

1050

1054 Good Handel Reverse Painted Table Lamp, first quarter 20th century, the shade featuring parrots, butterflies and sprays of flowers against a black background, the shade ring labeled “Handel Lamps, Pat’d No 979664”, the shade signed “Handel 7023” and artist signed “Bedigie”, h. 23‑1/2”, dia. 17‑3/4”. [7000/10000] Illustrated

1055

1054 1056 KPM (Koenigl. Porzellan Manufaktur) Porcelain Plaque, circa 1900, after Gustav Werthiemers (Austria, 1847‑1904), “The Kiss of the Wave”, the verso marked KPM beneath a sceptre, presented in a molded ebonized frame, h. 11”, w. 13‑1/4”, overall. [2500/4000] Illustrated

1055 American Stained-Glass Leaded Table Lamp, early 20th century, attributed to Handel or Unique Lamp Company, the shade in the banded apple blossom pattern, unsigned and having three sockets, h. 25”, dia. 18”. [800/1200] Illustrated

1056

145

1057 American Scenic-Panel Lamp, early 20th century, probably made by Bradley & Hubbard, each panel depicting trees houses and water, h. 25”, dia. 18”. [500/800] Illustrated 1058 American Slag Glass and Filigree-Overlaid Panel Lamp, early 20th century, the shade and illuminated base in striated blue and purple slag glass, the overlay depicting urn and arabesques in the Art Nouveau taste, h. 21‑1/2”, dia. 20”. [350/500] Illustrated

1057

1058 1062 Two Quezal Iridescent Art Glass Electric Shades, early 20th century, one of ribbed-bell-form with ruffled rim having an opalescent exterior and gold interior, h. 4”, dia. 5”, the other a ribbed gold aurene example, h. 5”, dia. 3‑1/2”, both having etched signatures on the fitter lip “Quezal”. [200/400]

1059 Two Small Framed German Porcelain Portrait Plaques, first quarter 20th century, the first example of a maiden with long flowing hair, signed: “Wagner”, the back with impressed: “_ R” within a circle and “15”, faintly stamped in black: “Germany”, plaque h. 3‑1/4”, w. 2‑5/8”, overall h. 4‑1/4’, w. 3”., the other example of a maiden with a silver ribbon headband, signed: “Wagner”, the back signed in brown script: “Summer/Ryland” and “Ful. Greiner John/Dresden”, plaque h. 3‑3/8”, w. 2‑5/8”, overall h. 4‑3/4”, w. 3‑1/4”, both examples presented in gilt-metal table frames. [250/400] Illustrated

1060

1060 Small Continental Gilt-Metal and Enameled Porcelain Trinket Box, 20th century, of oval form, the gilt body decorated with milled rinceaux, the hinged lid set with an enameled porcelain portrait plaque of “Una Gitana” after Angelo Asti (Italian, 1847‑1903), the interior lined in claret velvet, w. 2‑1/4”, l. 2‑7/8”. [125/250] Illustrated 1061 Set of Four Quezal Gold Iridescent Ribbed Art Glass Electric Shades, early 20th century, of elongated-bellform, all etched on the rim “Quezal”, h. 6”, dia. 4‑1/2”. [300/500]

146

1059

1063 Green and Gold Iridescent Lily Pad Electric Shade, early 20th century, attributed to Quezal, having an opalescent ground with a gold interior, unmarked, h. 4‑3/4”, dia. 3‑1/2”. [200/400] 1064 French Cameo Glass Chandelier in the Manner of Daum Nancy, early 20th century, having an inverted dome and fitted with three drop shades in mottled hues of red swirls and mounted to a polished brass frame, unsigned, h. 34”, dia. 15‑3/4”, bowl only. [1500/2500] Illustrated

1064

1069

1072

1065 Set of Four Gold Iridescent Crackle-Pattern Art Glass Electric Shades, early 20th century, attributed to Durand, two bearing a faintly etched “XC 175” near the inner bottom edge, h, 4‑1/4”, dia. 5”. [300/500] 1066 Pair of Tall Quezal Gold Aurene Ribbed Art Glass Electric Shades, early 20th century, the rims etched “Quezal”, h. 7”, dia. 4‑3/4”. [200/400] 1067 Pair of Steuben Pulled Feather Art Glass Shades, early 20th century, of lily-form and having a gold iridescent interior, the rims bearing the fleur-de-lis marking, h. 5‑1/4”, dia. 6”. [200/400] 1068 Collection of Fifteen Assorted Art Glass Prisms in the Manner of Louis Comfort Tiffany, consisting of five lime green opalescent examples, l. 6”, five jade green examples, l. 6”, and five in a dark brown swirl pattern, l. 5‑1/2”, all unmarked. [400/700]

1069 Rare Steuben Pulled Feather and Tortoise Glass Table Lamp, early 20th century, probably designed as a hanging shade and now fitted to a cast-brass lamp base, the inside lip of the shade signed, h. 21”, dia. 14‑1/2”. [2000/4000] Illustrated 1070 Pair of Quezal “Hooked Feather” Iridescent Art Glass Electric Shades, early 20th century, each with gold feathers against an opalescent ground, the lips etched “Quezal”, h 5‑1/4”, dia. 4‑1/4”. [250/400] 1071 Set of Seven Quezal Iridescent Gold Electric Shades, early 20th century, each with an opalescent interior and the lips etched “Quezal”, h. 4”, dia. 4‑1/2”. [400/700] 1072 American Art Glass and Patinated Brass-Mounted Table Lamp, early 20th century, attributed to L.C. Tiffany, the gold iridescent glass baluster, formerly a footed vase, now converted to a table lamp, h. 27”, overall, 15‑1/2”, glass only. [800/1200] Illustrated

147

1087

1088 1089 1077 Art Pottery Architectural Tile Attributed to Grueby Pottery (1897‑1920), decorated with water lilies against a blue background with raised edges surrounding the lily, signed “DC” on the reverse, in a custom frame in a quarter-sawn arts and crafts style oak frame by David Hunter Studio, h. 6”, w. 6”, tile only. [400/700] Illustrated

1078 Rookwood Pottery Matte-Glazed Architectural Tile, ca. 1927, molded with a Dutch mother and two children, a windmill in the background, the blue, green and cream palette is separated by raised edges, marked with the “Rookwood” symbol, “XXVII” and “3203”, custom framed in arts and crafts style quarter-sawn oak frame by David Hunter Studio, l. 5‑1/2”, w. 5‑1/2”, tile only. [250/400] 1079 Rookwood Faience Architectural Tile, 1900‑1948,in an impressionistic-style decorated in shades of brown and cream, separated by raised edges, the impressed “Rookwood Faience 121Y” on the reverse, custom framed in a quarter-sawn oak frame by David Hunter Studio, l. 5‑1/2”, w. 5‑1/2”, tile only. [200/400]

1077 1073 Art Nouveau Brass and Onyx Bell-Form Art Glass Table Lamp, early 20th century, the shade attributed to Quezal with an iridescent gold interior, unsigned, h. 18”. [500/800] 1074 Interesting Cast-Bronze Flower-Form Table Lamp, early 20th century, in the lily-pad pattern, fitted with a gold, purple and green iridescent art glass shade, signed on lip, “Quezal”, h. 15‑1/2”. [400/700] 1075 Set of Five Quezal Art Glass Iridescent Shades, early 20th century, having a satin opalescent outer casing and gold interior, the rims etched “Quezal”, h. 5”, dia. 3‑1/4”. [300/500] 1076 Pair of Durand Glass and Wrought-Iron Mounted Lamps, early 20th century, each electrified with candelabra socket, h. 16‑11/4”, w. 8‑1/2”, d. 8‑1/2”. [500/800]

148

1080

1081

1080 High-Glazed Art Nouveau Pottery Vase, early 20th century, probably Gouda-Holland, having a long neck with floral decor, the bottom with indistinct markings, h. 10”. [300/500] Illustrated 1081 Diminutive Gouda-Holland Pottery Vase, early 20th century, the exterior ornamented in brown, orange, black, green and gold decor under a matte glaze, the underside signed and numbered, also bearing a partial Gouda paper label, h. 4”. [100/200] Illustrated

1089 Rookwood Faience Matte Glazed Architectural Tile, 1900‑1948, decorated with a flower pattern in shades of blue, white and cream, each color delineated by a raised edge, impressed “Rookwood Faience 1728Y.2” on the rear and mounted in a custom arts and crafts style quartersawn oak frame by David Hunter Studio, h. 6”, w. 6”, tile only. [200/400] Illustrated 1090 Tiffany Studios Silvered-Bronze Plate, in the arts and crafts style, marked “Tiffany Studios, New York, 1737”, dia. 9”. [150/300]

1082 Interesting Art Nouveau High-Glazed Pottery Humidor, early 20th century, the exterior decorated in cobalt, magenta, green and bronze glazing, the lid retaining its original locking clamp, h. 5‑1/4”, dia. 5”. [125/250] 1083 Large Turn-Teplitz Bohemia High-Glazed and Parcel-Gilt Ceramic Vase, early 20th century, the upper body depicting a forest scene with rising sun, the lower portion with gilt-edged flowers and wasps, the base drilled, h. 13”, dia. 5‑1/2”. [125/250] 1084 Diminutive Turn-Teplitz Bohemia High Glaze and Parcel-Gilt Ceramic Vase, early 20th century, the body in a high-glazed blue and green with a string of gilt-edged wasps around the lower body, signed in red on the base, h, 4‑1/2”, dia. 3‑3/4”. [100/200] 1085 Diminutive Moorcroft-Staffordshire England, HighGlazed Pottery Vase, early 20th century, the interior having a cobalt glaze and the exterior with purple, green and blue orchids in the Art Nouveau taste, the bottom bearing the impressed signature “Moorcroft”, h. 3‑1/4”. [100/200] 1086 Pair of Cast-Iron Arts and Crafts Andirons, first quarter 20th century, of left and right form, with penny feet, square inverted baluster standards and flattened ball finials, probably American, h. 18”, w. 11”, l. 23”. [200/400] 1087 Rookwood Faience Architectural Tile, 1900‑1948, decorated in a Gothic inspired style with four purple fleurde-lis on a turquoise background, custom framed in a modern quarter-sawn oak frame in the arts and crafts style, made by David Hunter Studio, h. 5‑1/2”, w. 5‑1/2”, tile only. [200/400] Illustrated 1088 Rookwood Matte Glazed Architectural Tile, 1924, in a pattern of geese waterside in a landscape, marked with the “Rook” symbol, “XXIV”, and “3207”, the tile is mounted in a custom made arts and crafts style quarter sawn oak frame by David Hunter Studio, h. 5‑1/2”, w. 5‑1/2”, tile only. [200/400] Illustrated

1093 1091 American Arts and Crafts Quarter Sawn Oak Games Table, early 20th century, bearing the “Roycroft” branded label, the thick circular top above a molded apron and raised on four large square legs joined by a stretcher, h. 30”, dia. 36". [300/500] 1092 Arts and Crafts Brass Alter Sticks, first quarter 20th century, with octagonal stepped bases, conforming standards terminating in a flared capital supporting the drip pan and candle cup, h. 19”, dia. 6”. [250/400] 1093 Noel Rockmore (American/New Orleans, 1928‑1995) “View of the New York Skyline with the Artist Gifting a Bouquet of Flowers”, 1963, oil on board, signed and dated lower right “Rockmore ‘63”, 14” x 11‑1/4”. Handsomely framed. [1000/1500] Illustrated

149

1094 Robert Gordy (American/ Louisiana, 1933‑1986) “The Green Nile”, color silkscreen, signed lower right “Robert Gordy”, numbered lower left “18/100”, sight 21” x 29”. Glazed, matted, and framed. Provenance: Gift from the artist to the consignor’s family. [350/500] 1095 Robert Gordy (American/ Louisiana, 1933‑1986) “Seven Figure Oval”, color silkscreen, signed and numbered lower center “Gordy, 18/40”, sight 20-1\2" x 28". Matted. Provenance: Gift from the artist to the consignor’s family. [300/500]

1096 Robert Gordy (American/Louisiana, 1933‑1986) “Arcadian Still Life with Females”, 1971, acrylic on canvas, initialed and dated lower right “RG ‘71”, titled, dated and signed on stretcher verso, with gallery label on the reverse “Hank Baum Gallery, San Francisco, California”, and remnants of a New Orleans gallery label, possibly Galerie Simonne Stern, 68‑1/2” x 104”. Framed. Provenance: Acquired in 1971 from the Hank Baum Gallery, San Francisco, California. [10000/15000] Illustrated

1096 1097 Robert Gordy (American/Louisiana, 1933‑1986) “Untitled”, color silkscreen, signed lower right “R. Gordy”, numbered lower left “10/20”, sheet size 41‑1/2” x 29‑1/4”. Unframed. Provenance: Gift from the artist to the consignor’s family. [400/700] 1098 Robert Gordy (American/Louisiana, 1933‑1986) “Water Babies”, artist’s proof, signed lower right “Robert Gordy”, sight 32‑1/2” x 24‑1/4”. Glazed and framed. Provenance: Gift from the artist to the consignor’s family. [450/700] 1099 Robert Gordy (American/Louisiana, 1933‑1986) “Le Parc #3”, color silkscreen, signed lower right “R. Gordy”, numbered lower left “1/34”, sight 23” x 30”. Glazed and framed. Provenance: Gift from the artist to the consignor’s family. [400/700] 1100 Robert Gordy (American/Louisiana, 1933‑1986) “Abstract Moonlit Street Scene”, watercolor on paper, signed lower right “Gordy”, sight 14‑1/8” x 18‑3/8”. Matted and unframed. Provenance: Gift from the artist to the consignor’s family. [350/500] 1101 Robert Gordy (American/Louisiana, 1933‑1986) “Flowers”, pen and ink on paper, unsigned, sheet size 26‑1/2” x 21‑1/2”. Unframed. Provenance: Gift from the artist to the consignor’s family. [450/700]

1102

150

1102 George Bauer Dunbar (American/Louisiana, b.1927) “Coin Du Lestin 34”, 1997, red gold leaf over beige, black and purple on red clay, signed lower right “Dunbar”, reverse with a “Gallerie Simone Stern” label and a “N.O. Museum of Art, George Dunbar: Mining the Surfaces”, 1997/1998 exhibition label, 49‑1/2” x 41‑1/4”. Framed. Provenance: Private Collection, Tuscon, AZ. [7000/10000] Illustrated

1103 George Bauer Dunbar (American/ Louisiana, b.1927) “Two Nudes”, clay on board, 1988, reverse with a “Gallerie Simone Stern” label, 40” x 52”. Framed. Provenance: Private Collection, Tuscon, AZ. [8000/12000] Illustrated 1104

1104 George Bauer Dunbar (American/Louisiana, b.1927) “Dancing Nudes”, clay relief, 10” x 32”. Framed. Provenance: Private Collection, Tucson, AZ. [4000/7000] Illustrated 1105 George Bauer Dunbar (American/Louisiana, b.1927) “Untitled”, palladium leaf over clay, 6‑1/2” x 6‑3/4”. Framed. Provenance: Private Collection, Tucson, AZ. [2500/4000] Illustrated 1106 Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997) “Abstract Composition”, oil on board, signed lower right “Kohlmeyer”, 40‑1/2” x 35”. Framed. Provenance: Private Collection, New Orleans, Louisiana. [5000/8000] Illustrated 1103

1105

1106

151

1110 Robert Gordy (American/Louisiana, 1933‑1986) “Landscape with Figures”, oil on board, unsigned, reverse with an exhibition label printed with artist’s name, title and medium, 16” x 20”. Presented in a Louis XV-style giltwood frame. Provenance: Gift from the artist to the consignor’s family. [800/1200] Illustrated

1107 Ida Rittenberg Kohlmeyer (American/ Louisiana, 1912‑1997) “Untitled 1993”, painted wood, signed and dated on bottom, h. 14", w. 6”, d. 3”. [2000/4000] Illustrated

1111 Robert Gordy (American/Louisiana, 1933‑1986) “Female Head”, mixed media on paper, initialed and dated lower right ‘R.G. ‘63”, titled lower left, sight 21‑5/8” x 18‑1/2”. Glazed, matted and framed. Provenance: Gift from the artist to the consignor’s family. [350/500]

1108 Robert Gordy (American/ Louisiana, 1933‑1986) “Tropical Flowers Study”, graphite of two flowers, initialed and dated lower right “R.G. ‘61”, sheet size 23‑1/2” x 18‑1/2”. Glazed, matted and framed. Provenance: Gift from the artist to the consignor’s family. [500/800] Illustrated 1107

1109 Robert Gordy (American/Louisiana, 1933‑1986) “Helios Female”, ink on paper, initialed and dated lower right “R.G. ‘69”, titled lower left, sight 18” x 9‑1/2”. Glazed, matted and framed. Provenance: Gift from the artist to the consignor’s family. [200/400]

1108 1112 Robert Gordy (American/Louisiana, 1933‑1986) “Nudes Amongst Foliage”, watercolor on paper, signed and dated lower right “Gordy ‘56”, sight 19‑3/4” x 29‑3/4”. Glazed, matted and framed. Provenance: Gift from the artist to the consignor’s family. [500/800] 1113 Robert Gordy (American/Louisiana, 1933‑1986) “Male Nude Studies”, two graphite and pastel sketches on paper, both initialed and dated lower left ‘R.G. ‘58”, sight 23‑5/8” x 17‑3/4”. Both glazed, matted and framed. Provenance: Gift from the artist to the consignor’s family. [600/900] Illustrated 1114 Robert Gordy (American/Louisiana, 1933‑1986) “Abstract Standing Woman and Child”, carved wood sculpture, unsigned, h. 73”, w. 12”, d. 2‑5/8”. Fitted with a hanging wire. Provenance: Gift from the artist to the consignor’s family. [1500/2500] Illustrated 1110

152

1118 Robert Gordy (American/Louisiana, 1933‑1986) “Study for River Bathers #1”, color silkscreen, signed lower left “R.Gordy”, numbered lower right “62/65”, sight 20” x 20”. Glazed and framed. Provenance: Gift from the artist to the consignor’s family. [350/500] 1119 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. Provenance: Gift from the artist to the consignor’s family. [400/700] 1120 Robert Gordy (American/Louisiana, 1933‑1986) “Folly”, artist’s proof, signed lower right “Robert Gordy”, sight 24‑1/2” x 32‑1/2”. Glazed and framed. Provenance: Gift from the artist to the consignor’s family. [400/700] 1121 Robert Gordy (American/Louisiana, 1933‑1986) “Interior Scene with Nudes” pair of oils on canvas, one initialed and dated lower right “R.G. ‘58”, 50” x 69” and 50” x 71‑3/8”. Both framed. Provenance: Gift from the artist to the consignor’s family. [800/1200] Illustrated 1113 two pieces 1114 1115 Robert Gordy (American/Louisiana, 1933‑1986) “Allegorical Figure”, “Standing Female Nude”, “Classical Portrait”, three pen and ink sketches on paper, all initialed lower right “R.G”, 5” x 4”, 6” x 4”. All glazed and framed. Provenance: Gift from the artist to the consignor’s family. [150/300]

1122 Robert Gordy (American/ Louisiana, 1933‑1986) “Standing Male”, oil on canvas, signed lower right “Gordy”, 35” x 19”. Framed. Provenance: Gift from the artist to the consignor’s family. [350/500]

1116 Robert Gordy (American/Louisiana, 1933‑1986) “Three Nudes in a Landscape”, markers on paper, initialed lower right “R.G”, numbered lower right “61”, sight 10” x 10”. Glazed and framed. Provenance: Gift from the artist to the consignor’s family. [250/400]

1117 Robert Gordy (American/ Louisiana, 1933‑1986) “Tree Study”, pen and ink with watercolor, initialed lower right “R.G”, sight 24” x 18”. Glazed and framed. Provenance: Gift from the artist to the consignor’s family. [350/500]

1121

153

1126 Roy Lichtenstein (American, 1923‑1997) “As I Opened Fire”, 1966, poster triptych, three offset lithographs in colors on wove paper, published by Stedelijk Museum, Amsterdam, with margins, sheets 25” x 20‑1/2”. Unframed. [700/1000] 1127 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. [3500/4000] Illustrated

1124

1128 Tommy Yow (American/Louisiana, 20th/21st Century) “Saturday Night Crusin’ “, signed lower left “Tommy B. Yow, New Orleans”, 16” x 20”. Verso frame with an exhibition label. Presented in a contemporary ebonized frame. [200/400] 1129 American Sterling Silver Travel Watch, first quarter 20th century, by Theodore B. Starr, New York City, New York, in the form of a large pocket watch, dia. 3”, the white dial with black Roman chapters and blue steel hands, with inset seconds dial, presented in the original green velvet-and moire-lined easel case, the sterling lid embossed with rococo spandrels and cartouche crest, monogrammed on the cartouche, “AMJ”, 5‑1/4” x 5”. [400/700]

1125

1130 Collection of Four Silver and Silverplate-Mounted Dresser Articles, early to mid‑20th century, including an American sterling-silver handled hairbrush, l. l. 10‑1/2”, a Webster Co. sterling silver-mounted clothes brush, monogrammed “JCM”, l. 7”, an Italian faux tortoiseshell comb with .800 silver mount and case, l. 4‑1/2”, and a lattice cut-glass hair receiver with silverplate cap, h. 3‑1/2”. [100/200]

1123 Leonard Baskin (American, 1922‑2000) “Winged Figure”, black and white lithograph, signed and dated in print “Baskin 1969”, sheet size 36” x 26”. Unframed. [400/700] 1124 Donald Roller Wilson (American/Arkansas, b. 1938) “And When I Come Through Those Sweet Red Drapes to Sniff Your Heart Will You Mind”, 1971, oil on canvas, triangular, signed and dated upper right “Donald Roller Wilson 1971”, titled on reverse, 17‑1/4” x 19‑3/4”. Framed. [4500/7000] Illustrated 1125 Donald Roller Wilson (American/Arkansas, b. 1938) “Spirit/Grape Planet”, 1969, oil on canvas, signed and dated upper edge “Donald Roller Wilson 1969”, titled on the reverse, 12‑3/4” x 15”. Framed. [1200/1800] Illustrated 1127

154

1134

1132

1135 1133 1136

1131 American Art Nouveau Sterling Silver Fruit Bowl, first quarter 20th century, by William B. Kerr, Newark, New Jersey, of oval form with steeply everted sides, reticulated and applied with scrolling whiplash lines, h. 4‑3/4”, w. 7‑5/8”, l. 12”, 16.40 t. oz. [200/400] 1132 American Silver Deposit Glass Pitcher, first quarter 20th century, probably the Alvin Corporation, Providence, Rhode Island, the tapering cylindrical glass body decorated with wheel-cut vertical reeding, with up-pulled handle and integral spout, the rim and collar decorated with silver deposit scrolling foliage, h. 6‑3/4”, dia. 4‑1/4”. [200/400] Illustrated 1133 Art Nouveau Gold Iridescent Sterling Silver Overlay Vase, early 20th century, possibly by Loetz or Quezal, the silver overlay by the LaPierre Mfg. Co., New York, the shoulder and base with chased silver overlay, glass having vertical raspberry striping creating a rainbow effect, h. 5‑1/4”, dia. 2‑3/4”. [300/500] Illustrated

1134 Alvin Silver Overlay Glass Cologne, first quarter 20th century, by the Alvin Mfg. Co., Sag Harbor, New York, the ovoid colorless glass body with a very tall, thin neck and flared rim overlaid with pure silver floral scrolls all centering a leaf-shaped cartouche, with a toupie-form stopper overlaid en suite, monogrammed on the cartouche “LEM”, h. 13‑1/2”, dia. 4”. [250/400] Illustrated 1135 Alvin Silver Deposit Emerald Glass Bud Vase, first quarter 20th century, Providence, Rhode Island, the glass vase with shouldered body and tall waisted neck, decorated in engraved silver deposit flowers and tall trellises, h. 6”. dia. 3”. [200/400] Illustrated 1136 Diminutive Loetz Iridescent Green Art Glass Vase with Silver Overlay, early 20th century, the textured and mottled glass surface featuring a silver overlay and chased iris of Art Nouveau design, unsigned, h. 4‑1/4”. [250/400] Illustrated

155

1139-1151

1137 Chicago Arts & Crafts Sterling Silver Bowl, first quarter 20th century, by Lebolt & Co., of quarter-lobed circular form with rolled rim, with applied monogram “HF”, h. 2‑3/4”, dia. 8‑1/8”, 9.52 t. oz. [200/400] 1138 Chicago Arts & Crafts Sterling Silver Salad Serving Set, first quarter 20th century, by Heinrich and Asta “Anna” Eicher, Park Ridge, Illinois, including a salad serving fork and spoon, each with a “dognose” handle, pearshaped bowl/tines and hammered finish, l. 9+‑1/8”, 5.66 t. oz. Heinrich “Henry” A. Eicher (1877‑1923) was born in Switzerland and probably trained there as a silversmith, but later moved to Denmark where he married Asta “Anna” Buick (ca. 1880‑1931). The couple immigrated to America in 1907 and were naturalized in 1912, settling in Park Ridge, Illinois, where Henry became the production foreman for the Kalo Shops in Chicago. Anna herself was a trained silversmith and produced hand-crafted silver in the Danish Modern style in the front parlor of their home at 312 Cedar Street in Park Ridge. Rather than move to Chicago proper, Henry left Kalo in 1917 and joined Anna in their home manufactory; he died shortly thereafter on August 12, 1923. Anna continued to make silver until her tragic murder in 1931. She was wooed by infamous lonely hearts killer Herman Drenth (a.k.a. Harry F. Powers a.k.a Cornelius A. Pierson) who lured Anna to his home in Fairmont, West Virginia, where he murdered her and her three children: Grethe, 14, Harry, Jr., 12 and Annabel, 9. He was convicted of the crime and hanged on March 19, 1932. The case inspired two books: a contemporary exploitation potboiler by Evan Allen Bartlett, Love Murders of Harry F. Powers: Beware Such Bluebeards (1931) and the much more famous fictionalized account by Davis Grubb, NIght of the Hunter (1953), which was made into the classic 1955 film by Charles Laughton starring Robert Mitchum, Lillian Gish and (in the role based on Anna) Shelley Winters. [150/300]

156

1139 One Hundred and Twenty-Nine Piece Set of Chicago Arts & Crafts Sterling Silver Flatware, first quarter 20th century, Lebolt & Co., in an unnamed spatulate pattern with hammered finish, including twelve dinner forks, l. 7‑1/4”, seven salad forks, l. 6‑1/4”, twelve dessert forks, l. 6‑1/4”, ten teaspoons, l. 5‑3/4”, three tablespoons, l. 8‑1/2”, twelve soup spoons, l. 7”, eleven dessert spoons, l. 5‑1/4”, ten demitasse spoons, l. 4‑1/4”, twelve dinner knives with stainless steel “Old French” shaped blades, l. 8‑3/4” six dessert/fruit knives with stainless steel blades, l. 7‑1/4”, a master butter knife, l. 7”, twelve butter spreaders, l. 5‑3/4”, two serving spoons, l. 9”, a serving fork, l. 8‑3/4”, a two-piece salad serving set, l. 9‑1/2”, a sauce ladle, l. 6‑1/4”, a gravy ladle, l. 7”, a platter spoon, l. 12‑1/2”, two fish/cake serving blades, l. 10‑1/2”, a fish serving fork, l. 8‑1/4”, a cold meat fork, l. 6‑7/8”, an asparagus server, l. 8‑3/4”, a pastry server, l. 9”, a petit-four server, l. 6”, a sugar spoon, l. 6”, a cheese scoop, l. 6‑3/4”, a pickle/olive fork, l. 5‑1/2”, bow style sugar tongs, l. 4‑3/4”, and a relish spoon, l. 5‑3/8”, twentysix pieces with mongrams (list available on request), 150.98 total t. oz. (excluding knives with stainless steel blades.) [2500/4000] Illustrated 1140 American Arts & Crafts Sterling Silver Flower Basket, first quarter 20th century, probably Chicago, Illinois, the oval basket with rolled rim and “pinched” sides with fork-mounted strap handle, decorated with “hammered” finish, h. 8‑3/4”, l. 8‑1/2”, w. 5‑3/4”, 10.29 t. oz. [200/400] Illustrated 1141 Chicago Arts & Crafts Sterling Silver Basket, first quarter 20th century, by Lebolt & Co., of quarter-lobed circular form with rolled rim and fork-mounted openwork strap handle, with hammered finish, monogrammed on the handle “MB”, h. 7”, dia. 9‑1/2”, 15.24 t. oz. [300/500] Illustrated

1142 Three American Arts & Crafts-Style Silver Serving Pieces, first quarter 20th century, all with “hammered” finish, including a pointed-handle claret ladle/martini stirrer by Shreve, Crump and Low, Boston, monogrammed “S”, l. 12‑1/4”, a platter spoon with spatulate handle and interesting in-curved bowl, by William B. Durgin, Concord, New Hampshire, for Bigelow Kennard & Co., Boston, Massachusetts, l. 12‑1/4”, and a bonbon spoon with Greek-key-engraved geometric handle, by the Merrill Shops, New York City, New York, l. 6‑1/4”, 9.21 total t. oz. [150/300] Illustrated 1143 Chicago Arts & Crafts Sterling Silver Platter, first quarter 20th century, by Lebolt & Co., of quarter-lobed circular form with rolled rim, recessed circular plateau and, hammered finish, dia. 14”, 25.27 t. oz. [400/700] Illustrated 1144 Chicago Arts and Crafts Sterling Silver Bowl, first quarter 20th century, the Cellini Shop, Chicago, Illinois, the hand-wrought bowl of pentagonally lobed circular form, h. 2”, dia. 8‑7/8”, 16.40 t. oz. [1000/1500] Illustrated 1145 Chicago Arts & Crafts Sterling Silver Pitcher, first quarter 20th century, by Lebolt & Co., of ovoid form, with waisted foot and collar with integral spout, decorated with repousse flowers joined by “whiplash” foliage all on a hammered ground, with arched handle mounted en suite, monogrammed on the body “HBR” conjoined, h. 10”, dia. 6”, l. 9‑1/4”, 28.94 t. oz. [500/800] Illustrated 1146 Chicago Arts & Crafts Sterling Silver Bowl, first quarter 20th century, the Cellini Shop, Chicago, Illinois, the hand-wrought bowl of circular form with four broad lobes separated by four narrow ones, h. 2‑1/4”, dia. 10‑1/4”, 21.16 t. oz. [1200/1800] Illustrated

1147 Chicago Arts & Crafts Sterling Silver Footed Bowl, first quarter 20th century, by Lebolt & Co., the hand wrought bowl of oval form, with flat rim and rolled edge, raised on a conforming waisted foot, the whole with hammered finish, h. 3‑1/2”, l. 7‑3/4”, w. 5‑1/4”, 7.38 t. oz. [150/300] Illustrated

1148 American Arts & Crafts Sterling Silver Sauceboat and Ladle, 1914, by the Whiting Mfg. Corp., Providence, Rhode Island, of flattened circular form with opposing spouts, cleft spatulate handle and raised on four spherical feet, decorated with a rolled edge and hammered finish, l. 7”, w. 5‑1/8”, with a pointed spatulate sauce ladle en suite, l. 5‑3/4”, 6.17 total t. oz. [100/200] Illustrated 1149 Chicago Arts & Crafts Sterling Silver Bowl, first quarter 20th century, by Lebolt & Co., of circular form quartered by squared projections, with rolled rim, hammered finish and raised on four spatulate bracket feet, with applied cartouche monogram “GLM”, h. 3‑3/4”, dia. 9‑1/4”, 21.93 t. oz. [400/700] Illustrated 1150 Pair of American Arts & Crafts-Style Sterling Silver Salad Servers, first quarter 20th century, by the Whiting Mfg. Co., including a salad serving fork and spoon, each with a cenotaph-spatulate handle, bulbous shoulders and hammered finish, monogrammed “SWF”, l. 10‑1/2”, 8.36 total t. oz. [150/300] Illustrated 1151 Chicago Arts & Crafts Sterling Silver Bowl, first quarter 20th century, by the Kalo Shops, the hand wrought bowl of pentagonally-lobed circular form, with rolled rim and hammered finish, h. 2”, dia. 7‑1/8”, 8.42 t. oz. [200/400] Illustrated 1152 Large Pair of Indo-Pakistani Silverplate Salad Servers, second half, 20th century, signed “Baullar”, including a large salad serving fork and spoon, with “fiddle” handle, elliptical bowl/tines and “hammered” finish, l. 13‑1/2”. [50/80] Illustrated

1153

1153 Large Indo-Pakistani Silverplate Soup/Salad Bowl and Underplate, second half, 20th century, signed “Baullar”, the bowl of lobed “melon” form, the circular underplate decorated with a lifesized and realistically detailed lobster, all with “hammered” finish, overall h. 6‑1/2”, dia. 19‑1/4”. [250/400] Illustrated

1152

157

1154 American Hand-Wrought Modernist Sterling Silver Salad Serving Set, third quarter 20th century, by Graff, Washbourne and Dunn, New York City, New York, for Steuben, Corning, New York, including a salad serving fork and spoon, the hand-wrought pieces with squared spatulate handle, pointed shoulders and circular bowl/tines, l. 11‑3/4”, 8.49 t. oz. The relationship between Steuben and Graff, Washbourne and Dunn is not fully understood, though it has been the subject of recent investigation. Sometime in the 1940s Steuben contracted some silversmiths (among them Toronto-based Harold Stacey) to produce test items of sterling silver to accompany their renowned glassware. The project was halted by the Korean conflict, but apparently around the same time Steuben contracted the New York firm Graff, Washbourne and Dunn, to produced hand-wrought flatware for their large serving pieces. Other items known in the same pattern of this lot include a claret spoon, a soup ladle and a martini stirrer. [150/300]

1159

1155 Mexican Sterling Silver and Ebony Butter Knife and Tray, third quarter 20th century, Taxco, in the manner of William Spratling (1900‑1967), of rounded rectangular form, the torus molded edge of the tray with applied silver “gadrooning”, the top with a silver reservoir conforming to a stick of butter, surrounded by four inset bosses and before an engraved tray into which fits the knife, with spatulate wooden handle and scimitar blade, the whole on four silver “button” feet, tray l. 7‑1/4”, w. 3‑3/4”, the knife l. 5‑7/8”. [200/400]

1157 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”. [300/500] 1158 Ettore Sottsass (Italian, 1917‑2007) Memphis Porcelain “Euphrates” Vase, 1983, comprised of white, black and yellow stacked forms, marked, “E. Sottsass per Memphis”, h. 15‑3/4”. [400/700] Illustrated

1156 Mexican Four-Piece Sterling Silver Coffee Set, third quarter 20th century, by Plateria Maciel, Mexico City, including a coffeepot, h. 8‑3/4”, cream jug, h. 5‑1/2”, covered sugar urn, h. 6”, and tray, l. 17‑3/4”, w. 12‑3/4”, the vasiform hollowware with gadrooned body and cavetto shoulder, the coffeepot with gooseneck spout, boneinsulated arched handle and hinged, domed lid with acorn finial, the sugar urn with opposing handles and fitted lid en suite, the cream jug with arched handle and everted collar spout, the oval tray with gadrooned rim and integral handles, 82.60 total t. oz. [1800/2500] Illustrated

1159 Ettore Sottsass (Italian, 1917‑2007), Memphis Porcelain “Nilo” Vase, 1983, comprised of white and pink stacked froms, marked, “E. Sottsass per Memphis”, h. 15‑3/4”. [200/400] Illustrated 1160 Ettore Sottsass (Italian, 1917‑2007), Memphis Porcelain “Tigris” Vase, 1983, comprised of white, blue and black stacked forms, marked, “Sottsass per Memphis”, h. 15‑1/2”. [300/500] Illustrated

1156

158

1160

1158

1161 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”. Cubanborn architect de Armas was named Interior Magazine’s “Designer of the Year” in the late 1980’s. Knoll began production of the de Armas chairs. [2500/4000] Illustrated

1163

1164 Oriental Inspired Rectangular Coffee Table, the wooden frame with four feet ending in horse hoof feet painted black with gilt details, the top inset with a glass eglomise painting of a gilt flowering tree against a ground of silver leaf, h. 18”, w. 23”, d. 54”. [600/900] 1165 High Style Pair of Chinese Painting on Paper in Unique Frames, 19th century (paintings), each executed in gouache on paper depicting a pair of Imperial princes, glazed with eglomise glass with surrounds of bamboo stems and foliage and framed with smoky glass and bamboo carved wooden frames, . 26‑3/4”, w. 23‑1/4”. [400/700]

1161

1162 American Mid-Century Modern Marble and Steel “Tulip” Dining Table by Knoll. model 175TO, designed in 1957 by Eero Saarinen (1910‑1961), the ovoid Nero Marquis marble top raised on a black flaring pedestal, the present example ca. 1999, h. 29”, d, 54”, l. 96”. [2500/4000] Illustrated

1163 Art Deco Brass and CutGlass Waterfall Chandelier, dressed throughout in prism-cut octagonal beads, the drapes in the upper tier graduated in size, the interior concealing a dozen lights, with another at the bottom, electrified, h. 35‑1/2”, dia. 24”. [400/700] Illustrated

1162

159

1171

1170

1172

1171 Steuben Glass Jade Green Footed Bowl, early 20th century, having a flared rim and ground pontil, unsigned, h. 4‑3/4”, dia.12”. [300/500] Illustrated 1172 Steuben “Grotesque” Art Glass Vase, early 20th century, of bulbous-form and having green pin-striped ribs and a polished pontil, unsigned, h. 5‑1/2”, dia. 6”. [250/400] Illustrated

1166 Contemporary Upholstered Lit du Jour, the long cushioned seat with raised padded ends and conforming bolsters, raised on tapering circular legs, upholstered in Scalamandre “Yang Tze” pattern silk, h. 27”, d. 34‑1/2”, l. 85”. [1000/1500] Illustrated

1173 Post-Modern Stained Hardwood Dining Table, the square top with incised banding, raised on an X-form base with plank stained hardwood supports, h. 30‑1/2”, w. 70‑1/4”, d, 70‑1/4”. [800/1200] Illustrated

1167 Group of Seven Mid-Century Modern Patinated and Gilt-Metal Figures of Dancing Japanese Geishas, probably iron, h. 4” to 9‑1/2”. [100/200]

1169

1168 Suite of Four Gilt-Metal Faux Bamboo Sidechairs, early 20th century, each with a rectangular back with a lattice-patterned design, the padded seats raised on turned circular legs to played feet, h. 33‑1/2”. [500/800] 1169 Two Mirror-Black Sinclair Glass Vases, first quarter 20th century, both of ovoid form, the larger example acid-cut to a Chinese dragon and cloud motif, the smaller example un-cut, both with a white lip wrap, h. 8” to 8‑3/4”. [250/400] Illustrated 1170 Opalescent Malachite Glass Buddha, mid‑20th century, unsigned, h. 8”, w. 6”, d. 4‑1/4”. [75/125] Illustrated

1166

160

1174 Collection of Three Sevres, France, Faience Vases, early 20th century, all high glaze, comprised of a globular ecru vase with scattered silver, gold and mauve mottling, impressed underglaze: “SEVRESVILLE DANRAY/ TGPH(monogram)/ MADE IN FRANCE”, h. 4‑5/8”, a small red flambe vase with black shadings, signed in green underglaze: “E (within interlocked L’s)/SEVRES/Made in France”, h. 3‑1/2” and a baluster vase in ox blood red, signed as the previous example, h. 4‑1/8”. [100/200] Illustrated

1175

1176

1174

1175 Georges Papault, France HighGlazed Art Pottery Vase, mid‑20th century, of globular form, the exterior in a mottled brown volcanic-glaze, the base signed “Georges Papault, France”, h. 5‑1/4”, dia. 6”. [100/200] Illustrated

1180

1179

1181

1176 Collection of Three Sevres, France, Faience Vases, early 20th century, all high glaze, comprised of a stick neck vase in mottled teal and cobalt, signed in black underglaze : “P.M./SEVRES/Made In France exclusively/for/Paris Decorators”, h. 5‑1/2”, a baluster vase in stippled turquoise and cobalt, signed in green underglaze: “M.P. SEVRES (within a circle)/France”, h. 4‑1/8”, and an off-white floral and sunburstdecorated vase having a twisted, gilt-brass collar, signed in underglaze green: “SEVRES” within a hyphenated lozenge, h. 7‑3/4”. [100/200] Illustrated 1177 Henri de Toulouse-Lautrec (French, 1864‑1901) “L’Explorateur”, etching, signed in plate, plate size 6‑5/8” x 3‑3/8”, sight 8” x 5”. Glazed, matted and presented in a ebonized and parcel-gilt frame. [600/900]

1178 Set of Twenty-One “Optic” Red Wine Glasses, mid‑20th century, unmarked, h. 7‑1/8”. [200/400] 1179 Four Steuben Glass “Teardrop” Cocktail Glasses, model 7826, designed in mid‑20th century by George Thompson, all signed “Steuben” along the edge under the foot, h. 3‑7/8”. [100/200] Illustrated 1173

1180 Steuben Glass “Teardrop” TwoHandled Covered Urn, model 8019, designed in 1950 by David Hills, signed “Steuben” in the pontil, h. 11”, w. 9”. [100/200] Illustrated

161

1181 Steuben Glass Cocktail Shaker, mid‑20th century, model SP356, the double-spout bottle with a flared “air trap” stopper, signed “Steuben” along the underneath edge, h. 8‑1/4”. [75/125] Illustrated previous page

1193

1182 Baccarat Panel-Shaped-andStepped-Glass Vase, 20th century, France, acid-stamped mark, h. 10‑1/8”. [125/250] 1183 Tiffany Glass Apple, late 20th century, signed “Tiffany & Co.” underneath, h. 3”. [125/250]

1184 Twenty Piece Collection of Baccarat “Lutece” Stemware, 20th century, France, comprised of five water goblets, h. 6”, three red wines, h. 5‑1/2”, one white wine, h. 5‑1/4”, five ports/clarets, h. 4‑3/4”, and six liquors, h. 3‑1/4”, each with an acid-stamped mark. [250/400] Illustrated

1189

1185 Lalique “Dampiere” Clear and Frosted Footed Glass Vase, mid‑20th century, the body with alternating protruding foliage panels and small birds, the base etched in script: “Lalique/France”, h. 4‑3/4”, dia. 4‑1/2” [250/400]

1190 1188

1186 Lalique Hexagonal “Raisins” Glass Finger Bowl, second quarter 20th century, pattern 3102, the flaring sides retaining much of the original tan ground, the base signed with molded: “R. Lalique”, h. 2‑1/4”, dia. 4‑5/8”. [75/125] 1187 Set of Fourteen Baccarat “Harcourt” ScallopPaneled Glasses, 20th century, French, comprised of six highballs, h. 5‑1/2”, and eight tumblers, h. 5‑1/8”, each with an acid-stamped mark. [300/500] 1188 Small Baccarat Cut-Glass Decanter, 20th century, France, possibly “Lutece”, acid-stamped mark, h. 8”. [75/125] Illustrated

1184

1189 Tall Baccarat “Dionysos” Glass Wine Decanter, 20th century, France, acid-stamped mark, h. 14”. [100/200] Illustrated 1190 Baccarat “Perfection” Paneled-Glass Decanter, 20th century, France, acid-stamped mark, h. 9‑1/2”. [100/200] Illustrated 1191 Set of Twelve Steuben Glass Stemware, mid‑20th century, comprised of six trumpet-shaped wine glasses, model 7737, h. 4‑3/4”, along with six matching champagnes, designed by Sidney Waugh, h. 7‑1/8”, all signed “Steuben” in the pontil. [300/500]

162

1198 After Demetre Chiparus (Romanian, 1886‑1947), modeled from “Fan Dancer”, patinated and coldpainted bronze and ivory, onyx and rouge marble base, the plinth inscribed “D.H. Chiparus” in script, the dancer on bended knee with an arm over her head, h. 20‑1/4”, w. 21‑1/2”, d. 5”, overall. [500/800]

1195 1192 Large French Lalique Glass Figure of a Crested Bird, third quarter 20th century, “Louisiane” model 11642, signed “Lalique France”, h. 13‑3/4”. [250/400] 1193 Victor Salmones (Mexican, 1938‑1989) “’Pas de Quatre”, Edition of 10,1976, h. 12”, w. 10‑1/2”, l. 26‑1/4”. This sculpture was originally created and presented to the prestigious Paris Opera Ballet in Paris, France in 1976 when Victor Salmones was invited as their honored guest. This sculpture is in the collection of the Baltimore Museum of Art and the Museum of Fine Arts, Houston, Texas. Victor Salmones was a renowned sculptor, whose works are in prestigious private collections in 32 countries. His public works have been acquired by over 63 U.S. cities for public display and other works are housed in over 32 museums around the globe. In Mexico where he lived for many years his work is considered a nation treasure by the prestigious Bellas Artes. [6000/9000] Illustrated

1194

1197

1194 Francis Gruber (French, 1912‑1948) “Standing Arching Nude”, graphite and watercolor on paper, signed lower right “Francis Gruber”, sight 12” x 8”. Glazed, matted and framed. [700/1000] Illustrated 1195 Francis Gruber (French, 1912‑1948) “Leaping Nude”, graphite and watercolor on paper, signed lower right “Francis Gruber”, sight 9" x 12”. Glazed, matted and framed. [700/1000] Illustrated 1196 Gilberto Tarin (American, Contemporary) “Winged Putti”, one watercolor and pen on paper, one graphite and color pencil on paper, both signed lower left, sight, former 13 1/2” x 10 1/2”, latter 13” x 10” [500/800] 1197 After Dmeter Chiparus (Romanian, 1886‑1947), an Art Deco bronze garden figure depicting a nude maiden seated on a stool, her arms cradling a large platter with a woman’s head amidst soliage in shallow relief, the base inscribed “D.M. Chiparus”, h. 37”, w. 18”, d. 24”. [2000/4000] Illustrated

163

1199 Art Deco Onyx, Brass and Painted Iron Stand, second quarter 19th century, the base with the cast mark “R7065 Pat App for Rembrandt”, the circular onyx top centered by a brass finial, the onyx inset into a scalloped rim and raised on a shaped columnar pedestal on a square base with stamp work feet, h. 30”, dia. 16”. [300/500]

1207

1200 French Art Deco Pate-de-Verre Glass Vase, early 20th century, depicting framed white-edged rose flower heads on an earth brown ground, signed “G. Argy-Rousseau” at the lower body, the base enameled “France”, h. 9‑1/8”. [1200/1800] Illustrated

1201 Art Deco Cast-Iron and Upholstered Window Seat, early 20th century, the padded rectangular seat flanked by a pierced and arched armrest, raised on tapering supports joined by a twisted rod-stretcher and ending in splayed feet, h. 24”, w. 24‑1/2”, d. 15”. [250/400] 1202 Pair of Art-Deco-Style Copper-Finish Plaques, decorated with stylized female heads on a hammered background, enclosed in a beaded ring, dia. 12”. [125/250]

1203 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”. [150/300]

1200

1208

1208 open

1204 Rustic Driftwood Pedestal, the rounded square top raised on an elaborately twisted base to three splayed supports, h. 29”, w. 15”, d. 15‑1/2”. [250/400] 1205 Polished Agate Spherical Geode, the polished exterior showing olive, green, cream and gray color in “moss” agate formations, the polished surface displaying open areas giving a view of the crystalline geode interior, presented on a custom gray steel stand, h. 11”, dia. 5”. [125/250]

164

1210 Fernando Velloso (Brazilian, Contemporary) “Untitled”, 2007, mixed media relief, acrylic, enamel, metal and wood, signed and dated on the reverse “Fernando M. Velloso 2007”, overall 17” x 16‑3/4”. Framed. [800/1200] Illustrated 1209

1211 Daum Nancy Cameo Glass Table Lamp, early 20th century, having a light-up base, internally decorated with foil and mottled in shades of red, the shade signed “Daum Nancy, France”, with the cross of Lorraine, h. 20”, dia. 10”. [2500/4000] Illustrated 1212 Tall PM Sevres Art Pottery Vase, mid‑20th century, the surface in a flambe glaze with dark mottling around the neck, signed under the base, h. 13‑3/4”, dia. 5”. [250/400] Illustrated

1210 1206 Near Pair of Large Rock Crystal Spheres, each richly grained and polished, dia. 7‑1/2”. [900/1200]

1212

1207 Pair of David Kawecki Stained and Laminated Birch “Puzzle” Armchairs, each retaining an embossed sticker, “Puzzle Design Kaecki patent pending 3D: Interiors San Francisco”, each constructed of interlocking pieces of wood, h. 32‑7/8”. [800/1200] Illustrated 1208 Ted Gall (American, b. 1941) “Facets”, a bronze sculpture, signed “T. Gall”, on a black marble base above a travertine pedestal, h. 11‑1/2”. [1000/1500] Illustrated

1211

1209 Fernando Velloso (Brazilian, Contemporary) “Untitled”, 2007, mixed media relief, acrylic, enamel, metal and wood, the center panel composed of pieces of wooden flooring found by the artist in Belo Horizonte, Brazil, painted wood tiles are copies of designs found in various Brazilian homes, signed and dated on the reverse, overall framed 32‑1/2” x 88”. [2500/4000] Illustrated

165

1213 Pair of Post-Modern Brushed Steel and Laminated Stained Wood Sidechairs, with shaped back rest and triangular plank seat, the tripodal base with sabre-form front, and a cabriole rear leg, h. 38‑3/4”. [500/800] Illustrated

1217

1214 Sally Egbert (American, b. 1958) “Castle”, 1996, oil on canvas, signed and dated on the reverse “Sally Egbert 96”, retains gallery label on the reverse “Still Zinsel, New Orleans”, 20” x 20”. Framed. [1200/1800] Illustrated 1215 Mary Rachel Morriss (American, 20th/21st Century) “Yellow Cliff”, oil on canvas, signed lower right, signed and titled on reverse stretcher, 20” x 36”. Framed. [400/700]

1214 1216 Suite of Four Mid-Century Modern Fiberglass, Wood and Wire DSW Chairs, ca. 1975, each embossed underneath with the Herman Miller logo, designed by Charles and Ray Eames for the Herman Miller Company, Zeeland, Michigan, h. 30‑3/4”. [600/900] 1217 Large Tiffany Red-Orange Glass Vase, first quarter 20th century, signed underneath “LCT 9203A” around a button pontil, h. 11‑1/2”. [2500/4000] Illustrated 1218 Large Monart Ware Art Glass Bowl, mid‑20th century, retaining its original “Moncrieff-Scotland, Mon Art Ware” label affixed to the underside bottom, having a speckled blue and orange finish, h. 4‑1/2”, dia. 12”. [150/300]

1213

1219 Large Orrefors Cobalt Blue Art Glass Bowl, mid‑20th century, the under-base engraved “Orrefors Espo P 242‑62 Sum Palmgnsit”, h. 8”, dia. 15‑1/4” [300/500] Illustrated

1219

166

1220 1223 Art Deco Gilt-Brass and Cut Glass SixLight Chandelier, second quarter 20th century, of Louis XVI inspiration, the canopy with alternating pendant six-drop cluster and faceted drops of tear form, the dipped arms outlined in colorless glass beads and pairs of faceted drops, electrified and fitted with taupe faux-wax candles and knife-pleated off-white fabric shades, h. 34”, dia. 25”. [400/700]

1224 Cased Sampler of Guerlain, Paris Eaux de Toilette, including five miniature (7.5 or 5 ml.) bottles of their most popular scents, including Mitsouko (introduced 1919), Shalimar (1925), Samsara (1989), Champs-Elysees (1996) and Aqua Allegroia Pamplelune (1999), h. 2‑1/8” to 2‑1/2”, presented in a fitted and padded indigo organdy lined case, the interior lid gilt-stamped with the Guerlain logo, w. 9‑1/2”, d. 3‑3/4”. [50/80] 1225 After Fernand Leger (French, 1881‑1955) “Fleur sur un Fond Jaune et Orange”, 1955, color screen print on Arches paper, numbered lower left “42/200”, sheet 15” x 22”. Glazed and framed. [1000/1500] Illustrated 1226 Marc Chagall (Russian/French, 1887‑1985) “L’Accordeoniste” and “Le Poisson Bleu”, 1957, pair of color lithographs, from Derriere le Miroir, each sheet 9‑1/8” x 15‑1/8”. Glazed and framed en suite. [700/1000]

1230 1220 Dale Chihuly (American, b. 9141) Collection of Three Glass Elements, comprised of two striated clear orbs, one yellow, the other a deep blue, both with blue edged circular openings, dia. 4”, the other example a green-striated deep blue edged in red, h. 4”, dia. 6”, all unsigned. [700/1000] Illustrated 1221 Pair of Plexiglass Sculptures, in the form of stalagmites, h. 22”. [250/400] 1222 Elegant French Satin-Finished Brass Wall Lamp, of circular form and large scale, composed of pierced brass and mirrored glass in the 1950’s style, electrified, dia. 26”. [400/700]

1225

167

1232

1238

1235 1227 Marc Chagall (Russian/French, 1887‑1985) “Lovers with Red Sun”, 1960, color lithograph, sheet 12‑1/2” x 9‑1/2”. Glazed, handsomely matted and framed. [400/700] 1228 Pablo Picasso (Spanish, 1881‑1973) “La Petite Colombe”, 1949, lithograph, frontispiece Volume 1 of “Picasso Lithographe”, sight 11‑3/4” x 9‑1/2”. Glazed, double matted and framed. [500/800] 1240

168

1229 Pablo Picasso (Spanish, 1881‑1973) “Fleur dans un Verre”, 1947, lithograph, sight 13‑1/4” x 10‑3/8”. Glazed and framed. [350/500] 1230 Charles Levier (French, 1920‑2004) “Floral Still Life in a Blue Vase”, oil on board, signed lower right, 17” x 13”. Presented in a parcel-gilt frame with a felt liner. [1000/1500] Illustrated 1231 Pierre Bonnard (French, 1867‑1947) “Le Parc Monceau”, 1937, etching, plate signed lower left “P. Bonnard”, from an edition of 500, sight 15‑1/4” x 12”. Glazed, matted and framed. [350/500] 1232 Charles Feola (French, 1917‑1994) “Montmartre”, oil on canvas, signed lower right, signed and titled on reverse, 18” x 22”. Presented in a carved, polychrome frame. [800/1200] Illustrated

1243

1233 Paul Lambert (French, b. 1940) “View Of Notre Dame, Paris, from the Back Side”, oil on canvas, signed lower left “P. Lambert”, inscribed on reverse, 20” x 16”. Presented in a polychrome and giltwood frame. [250/400] 1234 Continental School (Third Quarter 20th Century) “View of Notre Dame from the Seine”, oil on canvas, signed lower left “Van Domen”, 20” x 24”. Presented in a giltwood frame. [250/400] 1235 Peshawar Serapi Carpet, 9’8” x 14’8”. [3000/5000] Illustrated 1236 Uzbek Kazak Carpet, 7’5” x 10’6”. [1500/2500] 1237 Agra Serapi Carpet, 6’ x 9’. [700/1000] 1238 Agra Serapi Carpet, 9’10” x 14’. [1800/2500] Illustrated 1239 Turkish Oushak Runner, 2’6” x 9’9”. [350/500] 1240 Antique Mahal Carpet, 9’9” x 13'. [4000/7000] Illustrated 1241 Semi-Antique Oushak Carpet, 10’2” x 13’. [800/1200] 1242 Persian Tabriz Carpet, 5’5” x 10’2”. [2500/4000] 1243 Semi-Antique Sultanabad Carpet, 10’ x 13’. [1500/2500] Illustrated

1246

169

1250 Sarouk Carpet, 2’2” x 4’7”. [300/500] 1251 Persian Serapi Palace Size Carpet, 16’3” x 25’. [20000/40000] Illustrated 1252 Lavar Kirman Carpet, 6’2” x 9’4”. [800/1200] 1253 Lilhan Carpet, 2’4” x 4'. [200/400]

1247 1244 Sarouk Runner, 2’9” x 11’7”. [500/800] 1245 Fine Kashan Carpet, 8’ x 10’2”. [1200/1800] 1246 Mid‑20th Century Fine Pictoral Tabriz Carpet, 6’ x 9’11”. [3000/5000] Illustrated previous page 1247 Sarouk Carpet Carpet, 10’ x 14’. [2500/4000] Illustrated 1248 Turkish Oushak Carpet, 8’ x 9’10”. [1200/1800] 1249 Peshawar Sultanabad Carpet, 5 ‘x 6’3”. [500/800]

1254

1251

1254 Antique Heriz Carpet, 6’6” x 9’9”. [1500/2500] Illustrated 1255 Pair of Continental Stained Pine Heavily Carved Low Console Pedestals in the Neo-Renaissance Taste, fourth quarter 19th century, each with a top with a molded edge and projecting canted corners over a conforming body with carved fruit at the corners and centered by deeply carved floral swags, the molded base with foliate-carved scroll feet, h. 17”, w. 28‑1/2”, d. 15”, overall, w. 15‑1/2”, d. 7‑3/4”, top only. [800/1200] Illustrated

170

1256 Italian Provincial Wrought-Iron and Brass Brazier, early 20th century, in the neoclassical taste, the brazier suspended by three scrolling wrought-iron supports, h. 65‑3/4”, dia. 21”. [250/400]

1261

1257 Pair of Iron Wall Sconces in the Spanish-BaroqueStyle, first quarter 20th century, lozenge-shaped back plates hold twisted standards with fleur-de-lis lower finials, and crenulated drip pans decorated with raised rondels, fitted with molded ceramic faux candles, h. 32”. [125/250] 1258 Iberian-Style Wrought Iron Screen, second quarter 20th century, the spired wrought uprights supporting a panel comprised of wrought scrollwork joined by iron bands, h. 32”, w. 38”, d. 11‑1/2”. [250/400]

1260

1259

1255

1259 Jacob Holmstedt (Norwegian, 1857‑1929) “Fjord at Sunset”, oil on canvas, signed lower left “J. Holmstedt”, 38” x 56”. Framed. [1000/1500] Illustrated 1260 Baronial-Style Gilt-Bronze Four-Light Chandelier, the ribbed and tapering standard centered by an acanthine modeled cup issuing four scrolling arms terminating in sockets, with a ribbed bud pendant, h. 33”, dia. 27”. [500/800] Illustrated

171

1261 Pair of Brass Ewers, fourth quarter 19th century, lavishly molded in bacchanalian patterns of drunken revelry, with putti holding wine goblets while playing instruments and dancing, while propelling Dionysus in a cart, grape patterns adorn the neck, body, base and handle where they terminate in putti, h. 21”, w. 9”. [800/1200] Illustrated Previous Page

1262 pair

1262 Pair of Oval Mirrors in the Venetian-Style, second quarter 20th century, each with a scalloped outside edge faced with rosin-molded decoration, the mirror formed of an inner oval beveled plate and an outer molded beveled plate, h. 37”, w. 25”. [1000/1500] Illustrated

1263 Pair of Italian Florentine Polychrome Commodes, early 19th century, each with a shaped top centered by a polychrome floral spray, above a conforming case fitted with two drawers, each decorated en suite, raised on cabriole legs ending in scrolled toes, h. 29”, w. 28”, d. 14‑1/4”. [800/1200] 1270

1264 Unusual Pair of Italian Polychromed and Gilded Wooden Urns, late 19th century and later, the bodies decorated with painted panels depicting figures in classical dress in a pastoral landscape separated by gilt masques, with marble-clad octagonal necks and bases, h. 23”, w. 16”. [4000/7000]

1268

1266

172

1271 Follower of Giovanni Antonio Canale, Canaletto (Italian, 1697‑1768) “Venetian Canal Scene with a View of Dodge’s Palace”, oil on panel, signed lower right “H. Frazk”, 7‑1/2” x 10”. Presented in a Rococo-style frame. [250/400]

1265 Pair of Venetian-Style Painted and Gilded Two-Light Wall Sconces, with carved baskets of flowers set on a rococo panel, now electrified, h. 27‑1/2”, w. 17”. [1500/2500] 1266 Baronial-Style Mahogany Center Table, late 19th century, the planked circular top above a conforming dentillated and imbricate-carved frieze, raised on six turned vasiform supports, raised on block feet joined by a box-stretcher, h. 31”, dia. 49”. [1200/1800] Illustrated

1272 Luciano Cargniel (Italian, 1903-?) “Coastal Scene with Docked Sailboats”, oil on canvas, signed lower left “Luciano Cargniel”, 30” x 40”. Presented in a Louis XV-style polychrome and parcel-gilt frame. [500/800] 1273 Continental Carved Oak Figure of a Roaring Griffin, first quarter 20th century, mounted on an ebonized plinth, with an ecru silk shade, fitted as a table lamp, h. 33”, overall. [400/700]

1279

1275 pair

1267 Two Baronial-Style Mahogany Chairs, early 20th century, consisting of an armchair with 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”. [600/900] 1268 Charles Paillet (French, 1871‑1937), patinatedbronze sculpture of a stag on a darker patinated bronze base, signed “Ch Paillet” and partially obscured “Medaille d’or”, h. 23”, w. 18”, d. 6‑1/4”. [1500/2500] Illustrated 1269 Henri IV-Style Carved and Ebonized “Dame a Licorne” Armchair, mid‑19th century, the padded rectangular back surmounted by two bulbous finials and with period needlework after “La Vue”, one of the six late 15th century “La Dame a Licorne” tapestries now housed at the Musee National du Moyen Age, Hotel de Cluny, Paris, joined by imbricate- and foliate-carved arms to the padded seat, raised on bobbin-turned legs joined by a shell- and foliate-carved front stretcher and ending in block feet, h. 53‑1/2”. [500/800] Illustrated 1270 After Giovanni Antonio Canal, Canaletto (Italian, 1697‑1768) “Capriccio: The Horses of San Marco in the Piazzetta”, oil on canvas, unsigned, 24” x 36”. Presented in a ornate Rococo-style giltwood and gesso frame. [700/1000] Illustrated

1274 Pair of Victorian Turned and Fluted Hardwood Balusters, fourth quarter 19th century and later, now mounted as lamps on wooden bases, h. 26”. [150/300] 1275 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”. [900/1200] Illustrated

173

1282 1276 Porcelain Box in the Capo di Monte Manner, fourth quarter 19th century, topped with a female figure, with a basket of fully sculpted flowers, feeding a guinea fowl, the base decorated with a bacchanalian feast, sitting on molded feet, h. 10”, dia. 7‑1/2”. [200/400]

1281

1277 American School (20th/21st Century) “Venetian Canal Scene”, oil on canvas, signed lower left “P. Collins”, 16” x 12”. Presented in a giltwood frame. [200/400]

1282 top

174

1278 Collection of Two American Works on Paper both depicting Venetian Canal Scenes, consisting of a Louis Wochonok (1898‑1973) etching, signed in pencil lower right, numbered lower left “46/150” and a contemporary etching by Susan Lowry, after H. Boardman Wright (1888‑1915), former sight 10” x 8”, latter sight 8‑1/2” x 4‑1/2”. Both glazed, attractively matted and framed. [150/300]

1287

1281 Venetian Etched-Glass and Milk Glass Looking Glass, early 20th century, the canted rectangular plate surmounted by a floral crest over a shield-form floral etched cornice, surrounded by a cushion-molded paneled etched frame with twisted glass rod banding, with a scrolling pendant, the whole with applied milk glass patterns, h. 56”, w. 35”. [700/1000] Illustrated 1282 Monumental Neoclassical Italian Polychrome Table, 19th century, probably Florentine, the long rectangular top elaborately polychromed and centered by a patera medallion with shield patterns with classical maidens to either side, the whole with various neoclassical designs and within a foliate and bellflower patterned band, above a conforming frieze, fitted with two side drawers, raised on tapering square legs headed by bellflower pendants, h. 31”, d. 40”, l. 122‑1/2”. [4000/7000] Illustrated 1283 Italian Neoclassical-Style Polychromed and MarbleTop Cabinet, the rectangular variegated coral marble top with rounded corners above a conforming case fitted with a single long drawer over two paneled cupboard doors, all with delicate polychromed scrolling and floral accents, the sides bi-paneled and decorated en suite, raised on tapering toupie feet, h. 49‑3/4”, w. 43‑1/2”, d. 20‑1/2”. [4000/7000]

1279 Italian Giltwood Looking Glass, late 19th century, in the rococo taste, the domed mirror plate surmounted by a tall pierced scrolling foliate crest and surrounded by a mirrored band within a dentillated and foliate slip with scrolling foliate pendants, h. 70”, w. 35”. [1500/2500] 1280 Pair of Italian-Style Gilt-Metal Sconces, each with two foliate-form candle arms and hung with prisms, h. 17”, w. 12”. [200/400]

1284

1285 1284 Pair of Venetian Diamond-Quilted Cranberry Glass Epergnes , first quarter 20th century, each with trumpetshaped bases topped with a ruffled-edge ball, al gilt ruffled rim with an engraved and gilded vine, and trumpet-shaped posey holders by blown clear and gilt dolphins set with yellow glass eyes, h. 24”, w. 12”. [2000/4000] Illustrated

175

1285 Continental Plaque Depicting Scene from Richard Wagner’s Opera “Siegfried”, first quarter 20th century, depicting a Norse god and a maiden painted in polychrome, inscribed “Siegfried” along with a spurious underglaze brown beehive mark, mounted in a giltwood Louis XV-style frame, h. 24‑1/4”, w. 17”. [500/800] Illustrated previous page

1293

1286 Russian School (Fourth Quarter 19th Century) “Portrait of a Young in a National Costume”, watercolor on paper, signed in cyrillicn lower right, 11” x 8‑1/2”. Glazed, matted and framed. [600/900] 1287 Pair of Continental Brass Ewers in the Renaissance Revival Style, second quarter 19th century, decorated with applied masks and anthemia on the spout, with eagle head handles, griffins and a mask in each mid-section, sitting on an engine-turned base, h. 17‑1/2”. [1200/1800] Illustrated previous page

1296

1288 Italian Florentine Polychrome Secretary, early 20th century, the molded broken domed pediment above a case fitted with two doors, each inset with a domed panel, the lower section fitted with a slant front opening to a variety of drawers and cubbyholes, over two bombe drawers and cupboard, the whole raised on scrolled toes, the whole richly decorated in scrolling foliate and rosette patterns, h. 88”, w. 34”, d. 17‑1/2”. [800/1200]

1289 Striking Tiger Eye Stone Box, made from tiger eye clad onto a limestone interior, with a hinged lid and beveled edges, h. 1‑1/2”, w. 6”, d. 4”. [250/400] 1290 Bronze-Framed Jewel Casket, first quarter 20th century, made of glass blown to resemble stone, sitting on matching ball feet, the frame decorated with fine chasing, h. 3‑1/2”, d. 4”, l. 5‑1/4”. [300/500] 1291 Pietra Dura Box, fourth quarter 19th century, probably Italian, decorated with a bird perched on a branch on the cover, sides and lid frame are of ebonized hardwood, h. 2‑3/4”, w. 9”, d. 6‑1/2”. [500/800]

1292

176

1292 Black and Gilt Five-Light Sconce in the Italian Neoclassical Style, with sheaves of wheat tied with a bow knot, a sword-handle finial, and reeded candle cups supported on vase-turned arms, h. 38”, w. 20”. [200/400] Illustrated

1298

1301

1297 Intricate Russian Painted Religious Icon, centered with the Virgin Mary flanked on either side by numerous figures of saints with Christ above the Virgin in front of a cathedral, the lower portion with Christ, kings, saints and scenes of Christ’s life, h. 12‑1/2”, w. 10‑1/2”. [600/900] Illustrated 1298 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”. [1000/1500] Illustrated

1300 1297

1299 1293 Renaissance Revival Encrier, first quarter 20th century, with a gilded base and handle supporting two silver-gilt covered cups serving as inkpots, with pen rests incorporated into the platform base, each inkpot with a gilt-knop in the form of a pair of dolphins and inscribed around the handle, “Greundlichen Erinnerung DIE PANKBARE FAMILIE V. Heypebrand”, h. 9”, d. 9‑3/4”, l. 15‑1/2”. [800/1200] Illustrated

1299 Round Russian Painted Religious Icon, the round panel painted with a scene from the life of St. Barbara with the haloed saint depicted being pursued by a sword bearing attacker in a landscape and surrounded by a gilt border, dia. 9‑1/2”. [800/1200] Illustrated

1300 Oval Painted Religious Icon, 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”. [700/1000] Illustrated

1294 Bronze Bust of Dante, first quarter 20th century, sitting on a conforming black ebonized stand, depicted wearing his signature cap, his eyes downcast, inscribed “Dan Tes” on either side of his collar, h. 16”, w. 18”, d. 9”. [900/1200] 1295 Two Patinated Cast Lead Portrait Plaques, of Dante, after Sando Botticelli (Italian, 1445‑1510) and Savanarola, after Fra Bartolomeo (Italian, 1472‑1577). [100/200] 1296 Russian Carved Bone Bride’s Box, first quarter 19th century, Archangelsk Oblast, of rectangular form, the hinged, beveled lid with raised rectangular panel and opening to reveal the black-and-gold printed lavender silklined interior, with a single drawer lined en suite and raised on four bracket feet, decorated throughout with finely carved leaves, swags, flowers and geometric ornaments, h. 5‑1/4”, w. 9”, d. 7”. Boxes of this sort were traditional in the Archangelsk region on the White Sea, most notably in the town of Kholmogory, renowned for its bone and marine ivory carving. These boxes were presented to new brides and contained silks, sewing and dresser items for her new home. For similar examples, see Genevieve Cummins, Antique Boxes Inside and Out (Woodbridge, Suffolk: Antique Collectors Club, 2006. pp. 68, 147 and 322. [1500/2500] Illustrated

1302

177

1303

1301 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”. [700/1000] Illustrated previous page 1302 Large Silvered Metal Coptic Cross Staff Finial, the cross with elaborate pierced and incised designs, h. 24‑1/2”, w. 18‑1/2”. [400/700] Illustrated previous page

1309 Pair of Bronze Busts of Putti, first quarter 20th century, one with his eyes closed, the other facing away from the wind blowing his hair, each mounted on stepped plinths of Sienna marble, h. 10”, w. 6‑1/4”, d. 7” [500/800] 1310 Circle of Guillermo Mesquida (Spanish, 1675‑1747) “Moses Found in the Reeds”, oil on canvas, unsigned, 14‑1/8” x 17”. Presented in a contemporary giltwood frame. [3000/5000] Illustrated 1311 Continental Carved Fruitwood Figure, of a classically robed maiden looking upwards with her hands clasped in prayer, h. 56”. [1000/1500] 1312 Large Pair of English Gilt-Lacquered Brass Pricket Altar Candlesticks, second quarter 19th century, in the “Fonthill” Gothic style, h. 33” (37” to pricket tip), w. 7”. [700/1000]

1303 Carved Wooden Figure of Socrates, fourth quarter 19th century, shown with one hand aloft, the other holding a scroll and carrying his robe, with his long flowing robes carved in the round, h. 30”. [700/1000] Illustrated 1304 Shrine to Saint Francis of Assisi, mid‑19th century, the wooden structure fitted behind the saints statue with a wall of period, tin-glazed tiles of Hispano-Moorish origin, the front affixed with a brass plaque reading “Haystown, Architect”, h. 22”, w. 15”, d. 10”. [200/400] 1305 Russian Oil on Wood Icon, early 20th century, depicting the martyred Saint Andrew, brother of Simon Peter, h. 12‑1/4”, w. 10‑1/2”. [100/200] Illustrated

1310

1306 Russian Painted Oil on Board Icon, early 20th century, depicting the martyred Saint Alexander of Bergamo, died ca 303, on the spot now occupied by the Church of San Alessandro in Cologna, h. 11‑3/4”, w. 9”. [125/250] Illustrated

1306

1307 Continental Polychrome Figure of a Cherub, 19th century, the winged partially draped figure with inset glass eyes and playing a removable trumpet, raised on a molded circular base, h. 25”. [400/700] 1308 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”. [600/900] 1305

178

1316 Northern European Polychromed Armoire, second quarter 19th century, the molded and dentillated cornice above a baluster-carved frieze, over two tri-paneled doors flanked to either side by engaged uprights, over two deep drawers, raised on bracket feet, h. 80”, w. 57‑1/4”, d. 24‑7/8”. [1000/1500] 1317 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 insects, 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. [1000/1500] Illustrated 1318 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”. [700/1000] Illustrated

1318

1315

1313 Continental School (Fourth Quarter 19th Century) “Saint Scholastica”, oil on canvas, unsigned, 60” x 40”. Unframed. [600/900] 1314 French School (Second Quarter 20th Century) “Washing of the Feet”, oil on canvas, signed and dated, lower right “Jean Rumeau, ‘45”. Framed. [400/700] 1315 French Provincial Polychrome Vasselier, the rounded and molded cornice above three open shelves, the lower section fitted with two cupboard doors, each inset with a shaped panel, raised on a plinth base, h. 77‑1/2”, w. 53‑1/2”, d. 21”. [1800/2500] Illustrated

1317

179

1319 Rare, Large Polychromed “Vienna Bronze” Encrier, fourth quarter 19th century, depicting a pair of owlets perched on a branch arching over a large rhubarb leaf, the owlet heads lifting to reveal period gilt-brass-capped frosted glass ink bottles, h. 7‑1/4”, w. 18”, d. 10”. [1200/1800]

1327

1320 Provincial Louis XV-Style Fruitwood Corner Chair, fourth quarter 19th century, the bisected and caned back joined by downswept padded arms to the shaped caned seat, raised on molded cabriole legs headed by floral carving and ending in peg feet, h. 33”. [400/700] 1321 Provincial Louis XV-Style Fruitwood Fauteuil, 20th century, the shaped caned back surmounted by a foliate crest, joined by scrolling arms to the caned seat, raised on molded cabriole legs ending in peg feet, h. 38‑1/2”. [400/700] 1322 Faience Sauce Boat on Stand, third quarter 19th century, decorated with hand painted green flowers and borders with stand attached, h. 3”, w. 5‑1/2”, l. 10”. [50/100] 1323 Henry Bradbury/Bradbury & Evans (British, 19th Century) “Pteris Aquilina” and “Trichamones Radicans”, two nature printed botanical illustrations from Thomas Moore’s The Ferns of Great Britain and Ireland, published 1855‑57 by Bradbury & Evans, Whitefriars, London, sight 21” x 14”. Both glazed, attractively-matted and framed. [400/700] 1324 Dresden Porcelain Bird, with encrusted blue flowers in a wreath around its neck, sitting on foliage encrusted with the same blue flowers, all against a white glazed background, underglaze blue “AR” mark of Helena Wolfsohn, Dresden, 1843‑1883, h. 8‑1/2”, w. 5‑1/2”, l. 11”. [75/150]

1329

1325 Provincial Louis XVI-Style Pickled Oak Center Table, the rounded rectangular top above a scalloped floral-carved apron, raised on turned and paneled tapering circular legs joined by a shaped X-form stretcher and ending in block and bun feet, h. 29‑1/2”, w. 50‑1/4”, d. 34”. [1500/2500] Illustrated

1325

180

1326 French Provincial-Style Picked Oak Cabinet, of rectangular form, fitted with two paneled doors opening to a shelved interior, raised on an x-form iron base, h. 51‑1/2”, w. 37”, d. 22‑1/2”. [1200/1800]

1327 Louis XV-Style Fruitwood Settee, early 20th century, the domed and padded back surmounted by a scrolling foliate shield crest with gilt accents, the padded seat above a foliate-and-shell-carved frieze, raised on molded cabriole legs joined by shaped X-form stretchers and ending in scrolled toes, h. 43”, d. 27”, l. 69”. [1000/1500] Illustrated 1328 Provincial Louis XV-Style Fruitwood Stool, early 19th century, the rounded and padded square top with a tapestry upholstery of a pastoral maiden, above a shaped shellcarved frieze, raised on cabriole legs headed by shield carving and ending in scrolled toes, h. 16”. w. 19”, d. 17”. [400/700]

1335

1329 Harold Hitchcock (British, b. 1914) “The Forest of Oriale”, 1943, mixed media on board, monogrammed and dated lower right, titled on board verso, sight 29” x 44”. Glazed and handsomely framed. Provenance: Private collection, Hattiesburg, Mississippi. [2000/4000] Illustrated 1330 Pair of English Carved White Marble Gate Post Finials, fourth quarter 19th century, the surfaces weathered to gray, h. 12‑1/2”. [150/300] Illustrated 1331 Pair of English Carved White Marble Gothic Revival Crocket, third quarter 19th century, the crocket spire shingle-carved and terminating in a fleurette, the surface deeply weathered to a tasteful gray, h. 22”. [150/300] Illustrated

1330

1331

1334 1332 Large Victorian Majolica Plaque, fourth quarter 19th century, in the style of Minton, depicting Pan with his pipe sitting atop a classical seat topped with a rams head, framed on its outer edge with molded guilloche and medallions, the inner cove molded with palmettes and bellflowers, executed in browns, greens and blues, h. 25”, w. 19”, d. 3”. [300/500] 1333 Napoleon III Rosewood Firescreen, third quarter 19th century, the glass-fronted removable fabric screen surmounted by a foliate crest and side finials, supported by foliate-formed uprights, raised on runner feet joined by a turned stretcher, h. 40”, w. 19”. [200/400] 1334 Louis XV Mahogany Commode, 18th century and later, possibly from Bordeaux, the rectangular top with a molded edge and shaped front, above a conforming case fitted with three long drawers, raised on cabriole feet ending in scrolled toes, h. 36”, w. 49”, d. 25”. [2500/4000] Illustrated

181

1336 Continental School (Fourth Quarter 19th Century) “Farmyard Scene with Roaming Chickens”, oil on canvas, signed illegibly lower right, 19‑1/2” x 39”. Presented in a rococo-style giltwood and gesso frame. [300/500] 1337 Provincial Louis XV-Style Oak Buffet a Deux Coups, early 19th century, the rounded and molded cornice above an upper section fitted with two doors, each inset with a shaped panel, the lower section fitted with two paneled cupboard doors, raised on scrolled toes, h. 94‑1/2”, w. 58”, d. 28”. [2500/4000] Illustrated

1337

1335 Continental Mahogany Dining Table, third quarter 19th century, in the Victorian taste, the rounded rectangular top bi-sected and opening to accommodate leaves, raised on large molded cabriole legs, joined by a scrolling patera-centered X-form stretcher and ending in scrolled feet on casters, h. 29”, w. 57”, d. 51”. [600/900] Illustrated previous page

1338 Continental Copper and walnut Lavabo, first quarter 19th century, with a later tank, consisting of a rounded, flared basin, with a flared knop and a brass spigot, both affixed to a paneled walnut back in a molded frame h. 61-1/2”, w. 22-1/4”, d. 14”. [1000/1500] Illustrated

1338

1339 Louis XV-Style Fruitwood Lit du Jour, late 19th century, the long cushioned seat, with conforming back pillow, throw pillow and bolsters, flanked to either side by padded outscrolled sides, surmounted by a floral-carved crest, raised above a molded foliate-carved apron on cabriole feet ending in scrolled toes, h. 37”, d. 32”, l. 78”. [1500/2500] Illustrated

1339

182

1340 Good Provincial Louis XV-Style Oak and Walnut Center Table, second quarter 19th century, the shaped square top above a shaped and shell-carved frieze, raised on molded cabriole legs ending in in-scrolled feet, h. 30”, w. 34”, d. 33”. [1000/1500]

1344

1341

1341 After Anton Mauve (Dutch, 1838‑1888) “Twilight”, oil on board, unsigned, reverse with an inscribed label identifying the artist and title of the painting, 30” x 24”. Framed. [1200/1800] Illustrated 1342 Continental School (First Quarter 20th Century) “Village Street Scene with Figures”, oil on canvas, signed lower right “G.S. Besigheim”, 17‑1/2” x 19”. Framed. [300/500] 1345

1343 French Provincial Oak Cabinet, early 19th century, the shaped rectangular top with a molded edge, above a conforming case fitted with two cabinet doors, each inset with a shaped panel and opening to two banks of three pull-out drawers, the scalloped apron raised on scrolling toes, h. 34”, w. 68”, d. 21‑1/2”. [1500/2500] Illustrated 1344 After Jean-Baptiste-Simeon Chardin (French, 1699‑1779) “The Return from the Market”, oil on canvas, fourth quarter 19th century, unsigned, 18” x 13‑1/2”. Presented in a period oval giltwood and gesso frame. [700/1000] Illustrated 1343

183

1346 French Provincial Oak and Fruitwood Vasselier, early 20th century, the molded cornice centered by an arch and above a spindled frieze with a central projecting arcade, with three open galleried shelves below over two cabinet doors centering an open area, the lower section fitted with two drawers over two paneled cupboard doors, all with foliate carving, raised on shaped block feet, h. 94”, w. 52”, d. 21”. [700/1000] 1347 French Faience Wine Jug in the Baroque Taste, fourth quarter 19th century, decorated with putti planking a central shell, volutes on each side have birds nests nestled in their terminating medallions, marked”GIEN” under a tower in underglaze transfer print mark, h. 10”, w. 6‑1/2”. [400/700]

1349 1345 Provincial Louis XV-Style Stained Fruitwood and Marble-Top Side Table, late 19th century, the rounded rectangular Sarrancolin marble top above a conforming shaped frieze centered by a foliate urn carving, raised on cabriole legs headed by foliate carving and ending in scrolled toes, h. 30”, w. 48”, d. 16”. [2500/4000] Illustrated previous page

1352

1351

1348 French Provincial Oak and Fruitwood Armoire, mid‑19th century, the molded cornice above a case fitted with two long doors, each inset with two shaped panels above a paneled frieze and scalloped apron, raised on molded block feet, h. 81”, w. 55‑1/2”, d. 26‑1/4”. [800/1200] 1349 French Provincial Oak and Fruitwood Vasselier, second quarter 19th century, possibly Brittany, the ogeemolded crest canted and above four open shelves, all fronted by balustered galleries, the lower section fitted with two drawers over two cupboard doors, each inset with a shaped panel and with an inlaid floral spray, raised on scrolled toes, the whole with inlaid floral and brass tack accents, h. 84‑1/2”, w. 55”, d. 26”. [3000/5000] Illustrated

184

1350 Provincial Louis XV-Style Oak Fauteuil, early 19th century, the slightly domed and caned back surmounted by a floral crest, joined by padded scrolling arms to the cushioned caned seat, raised on foliate modeled cabriole legs ending in scrolled toes, h. 31‑1/4”. [400/700] 1351 French Provincial Oak Vasselier, late 19th century, the domed and foliate-carved cornice above three slightly bowed open shelves, the lower section fitted with two small drawers over two cupboard doors, each inset with a shaped panel and with carved floral accents, raised above a foliate-carved apron on scrolled toes, h. 76”, w. 40”, d. 16”. [1800/2500] Illustrated 1352 Provincial Louis XV-Style Oak Bureau, late 19th century, the shaped backpiece above a slant front with elaborately carved foliate patterns, opening to an interior fitted with a variety of drawers and cubbyholes, over two long like-carved drawers, raised on cabriole legs ending in hoof feet, h. 38‑1/2”, w. 37”, d. 17”. [1200/1800] Illustrated 1353 Tin-Glazed Blue and White Dutch Delft Vase in the Renaissance Revival Style, first quarter 20th century, the vase-shaped body mounted with handles in the form of sea serpents holding ring pulls, one side depicting windmills and boats in a seaside scene, the other a group of people in 18th century costume in a pastoral setting, signed “IVK” on the bottom, h. 17”, w. 11”, d. 9”. [700/1000] Illustrated

1359

1354 Amusing Portugese Blue and White Melon-Shaped Jar, signed LOIMBRA in the base, of ribbed outline with a fluted lip rim, the body decorated with a continuous scene of a stag pursued by a hound and a peacock among foliage, h. 7”. [100/200]

1356 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”. [2500/4000] 1357 Provincial Louis XV-Style Fruitwood Fauteuil, early 19th century, the slightly domed caned back surmounted by a foliate-carved crest, joined by downswept arms to the caned seat, raised above a shaped apron on cabriole legs headed by shield carving and ending in scrolled toes, h. 36‑1/2”. [400/700]

1355 Set of Twelve Meissen Soup Plates, mid‑19th century, each handpainted with different floral scenes, with floral and insect borders, marked with crossed swords in underglaze blue, dia. 10”. [300/500]

1358 Provincial Louis XV-Style Oak Bedside Commode, late 19th century, the rectangular top with a slightly bowed top above a conforming case fitted with two drawers, each paneled and with foliate carving, above a shaped apron, raised on cabriole legs ending in upturned toes, h. 26‑1/2”, w. 25”, d. 15‑1/2”. [300/500]

1353

1359 Provincial Louis XV-Style Oak and Chestnut Buffet a Deux Corps, early 19th century, the rounded and molded cornice above a conforming case fitted with two doors, each inset with two glazed panels, opening to a shelved interior, the lower section fitted with two narrow drawers over two cupboard doors, each inset with a shaped panel, over a shaped apron, the whole raised on scrolled toes, h. 88‑1/2”, w. 53‑1/2”, d. 24”. [2500/4000] Illustrated

185

1366 Russian School (First Quarter 20th Century) “Fisherman with a Big Catch” and “Humorous Scene With a Hunter and his Dog”, two oils on panel, unsigned, possibly two of a series, reverse inscribed: “This picture was purchased for June in Moscow, Russia, July 1930”, 9” x 7”. Both framed. [400/700] 1367 French Provincial Fruitwood Farmhouse Table, late 19th century, the rounded rectangular top above a scalloped frieze, raised on cabriole legs, h. 29”, d. 31”, l. 70‑1/2”. [1200/1800] Illustrated 1368 Provincial Fruitwood Cabinet, early 20th century, the board cornice above a case fitted with four doors, each inset with four linen-fold panels, raised on block feet, h. 72‑1/2”, w. 45‑1/4”, d. 14‑1/2”. [800/1200] Illustrated 1360 1360 Provincial Louis XV-Style Walnut Commode, early 19th century, the rounded rectangular top with molded edge and shaped front above a conforming case fitted with three long drawers, all with decorative incising, raised on cabriole feet ending in scrolled toes, h. 33‑1/2”, w. 45‑1/2”, d. 23‑1/2”. [4000/7000] Illustrated

1364 1362

1361 Pair of Regence-Style Fruitwood Fauteuils a la Reine, 20th century, each with a padded rectangular back joined by downswept scrolling arms to the padded seat, raised on molded S-curved legs joined by a scrolling H-form stretcher and ending in in-scrolled toes, h. 44‑1/2”. [700/1000] 1362 Portuguese Palissy Ware Covered Jug, possibly by Caldras, decorated with lizards, snakes, frogs, grubs and beetles, with a small knop on the lid, h. 14”. [600/900] Illustrated 1363 Set of Four Braided and Tasseled Drapery Tiebacks, with blue-green, dusty rose and gold with black accents, l. 21”. [75/125] Illustrated 1364 Portuguese Palissy Ware Covered Jug and Matching Underplate, 1887‑1894, signed by Eduardo Augusto Mafra, decorated with a lizard handle, the body decorated with beetles, with a frog knop on the lid, h. 12‑1/2”. [700/1000] Illustrated 1365 Spanish Provincial Oak Table, 19th century and later, the irregular top with corner iron hardware accents, above a frieze fitted with a single drawer, with an inlaid geometric panel, raised on splayed block legs, h. 25”, w. 34”, d. 22”. [250/400] 1367

186

1363

1369 Oval Copper Sauce Pot, fourth quarter 19th century, mode of dovetailed construction with an iron handle on both the pot and the conforming lid, each with worn tin lining, h. 8”, w. 14”, d. 22”. [500/800] 1370 Rustic Pine Wine Rack, of rounded upright rectangular form, formed of a single piece of wood and fitted with eleven banks of three holes for wine bottles, h. 50‑1/4”, w. 13‑1/4”, d. 7‑1/4”. [500/800] 1371 Provincial Polychromed Wrought-Iron Eight-Light Chandelier, mid‑20th century, the canted rectangular base suspended from four chains and with pierced scrolling patterns, having eight raised candlecups with fleur-de-lys dividers, h. 31”, w. 37”, d. 23”. [1200/1800]

1368

1372 Suite of Ten French Provincial Fruitwood Dining Chairs, of Louis Philippe inspiration, each with a shaped crest above an arched and slatted splat, the rush seat raised on sabre legs joined by stretchers, h. 33‑1/2”. [1200/1800] Illustrated 1373

1373 Provincial Louis XVI-Style Oak Bureau, mid‑19th century, the rectangular top above a tambour rolltop, opening to a pull-out writing surface and a variety of drawers and cubbyholes, with two long drawers below, each with incised Greek key banding, raised on tapering fluted square legs, ending in peg feet, h. 45‑1/2”, w. 43”, d. 22‑1/4”. [2500/4000] Illustrated

1372

187

1378 Provincial Pine Cabinet, 20th century, the molded cornice above a case fitted with two long doors, each triple-paneled and opening to a shelved interior, with a single long drawer below, raised on large bun feet, h. 80”, w. 48”, d. 26”. [900/1200] 1379 Set of Twelve Porcelain Oyster Plates and Twelve Sauce Cups, each hand-painted and signed on the back side, "L. Wynne ‘71", dia. 9”, plates, h. 2”, dia. 2‑1/2”, cups. [250/400] 1380 After George Ehret (German, 1710‑1770) “Narcissus and Various Lilies”, suite of four hand colored engravings, from Johann Wilhelm Weinmann’s Phytanthoza Iconographia, published 1737‑45, sight 13” x 8‑1/2”. All glazed, matted and framed. [500/800]

1374 1374 British School (Fourth Quarter 19th century) “Shepherd Feeding his Sheep”, oil on board, unsigned, sight 7” x 9”. Glazed and presented in a Louis XV style frame. [800/1200] Illustrated 1375 American School (20th/21st Century) “Rooster and Three Chicks”, oil on canvas, signed lower right “Bryce Dagnall”, 20” x “24”. Presented in a molded giltwood frame. [250/400] 1376 Follower of Edgar Hunt (British, 1876‑1953) “Poultry in a Barn”, oil on canvas, signed lower right “Borotsky”, 24” x 20”. Framed. [400/700] 1377 Continental School (20th/21st Century) “Zebra in a Landscape”, oil on canvas, signed lower left “Cabon”, 10” x 8”. Presented in a neoclassical-style giltwood frame. [200/400]

188

1381 Continental Terra Cotta Figural Group of Two Children, first quarter 20th century, depicting a crouched pensive boy and a sitting chatting girl, on a circular base, the finish weathered overall, h. 39‑1/2”, w. 21”, d. 20”. [2000/4000] 1382 Provincial Pine and Faux Bois Tallcase Clock, mid‑19th century, of kettle-form, the molded cornice above the white framed and brass repousse face, the long case fitted with one glazed paneled door, the lower section with incised diamond pattern, h. 90”, w. 22‑1/4”, d. 9‑1/2”. [500/800] 1383 Pair of Louis XVI-Style Beechwood Fauteuils, late 19th century, each with a padded rectangular back within a lotus-carved frame, joined to the cushioned seat by padded foliate arms, raised on circular stop-fluted legs headed by foliate carving and ending in toupie feet, h. 37‑1/2”. [300/500]

189

Index of Artists and Printmakers A Abel, David 785 Adams, Wayman Elbridge 905 American School 842, 882, 914, 918, 963, 1277, 1278 Audubon, John James (after) 830, 831, 832 Austrian School 988 B Baskin, Leonard 1123 Beckwith, James Caroll 532 Blackburn, Clarence 683, 684 Bonnard, Pierre 1231 Bradbury, Henry 1323 Braley, Clarence E. 899 Brewer, Nicholas Richard 907 Briscoe, Franklin Dullin 211 British School 1374 Buhot, Felix Hilaire 59 Butler, Murrell 1127 Buttersworth, James (follower) 213 C Cabanel, Alexandre (after) 325 Canaletto, Giovanni Antonio (after) 1270 Canaletto, Giovanni Antonio (follower) 1271 Cargniel, Luciano 1272 Carlsen, Emil 928 Carrington, Roger 769 Chagall, Marc 1226, 1227 Chardin, Jean-Baptiste-Simeon (after) 1344 Chiparus, Demeter (After) 1197 Clark, Alson Skinner 919, 926 Continental School 212, 675, 1234, 1313, 1336, 1342, 1377

July 30-31, 2011

Cooper, Colin Campbell 924 Cooper, Colin Campbell (manner) 916, 917 Couver, Jan Van 587 Crane, Bruce 927 D Dagnall, Bryce 1375 Dali, Salvador 758 Delarue, Lucien 418 Dunbar, George Bauer 1102, 1103, 1104, 1105 Dutch School 582, 583 E Egbert, Sally 1214 Ehret, George (after) 1380 F Feola, Charles 1232 French School 1314 Fruhmesser, Joseph 965 G Gall, Ted 1208 Gisson, Andre Gittleson 417 Glenny, Alice Russell 1049 Golden, Rolland Harve 762, 763, 764, 765, 766 Gordy, Robert 1094, 1095, 1096, 1097, 1098, 1099, 1100, 1101, 1108, 1109, 1110, 1111, 1112, 1113, 1114, 1115, 1116, 1117, 1118, 1119, 1120, 1121, 1122 Gould, J. & Richter, H.C. 817 Green, Tony 845 Gruber, Francis 1194, 1195 Guess, Frederick 855 Guess, Fredrick 849, 854

Index of Artists and Printmakers

July 30-31, 2011

Mangione, Patricia 922

Hancock, James Carl 979, 980

Mauve, Anton (after) 1341

Hart, W. 818

Mayfield, Robert Bledsoe 976, 977

Heldner, Colette Pope 970, 982

Mesquida, Guillermo (circle) 1310

Heldner, Knute 978

Mignard, Pierre (circle) 300

Hemenway, Mary Louise Liddell Jordan 329

Miller, Jack 850, 856

Hitchcock, Harold 1329

Millet, Clarence 759, 760, 761

Hobbs, Morris Henry 779, 780, 781, 782, 783, 784

Morriss, Mary Rachel 1215

Hogarth, William (after) 598

Holmstedt, Jacob 1259

Northcote, James 58

Hunt, Edgar (follower) 1376

Hunter, Clemetine 841

Paillet, Charles 1268

Peirce, Gerry 974, 975

Icart, Louis 357

Peterson, Jane 925

Italian School 477, 478, 479

Picasso, Pablo 1228, 1229

Kohlmeyer, Ida Rittenberg 1106, 1107

Quistgaard, Harold Ivar de Rehling 768

Kronengold, Adolph 767

Remington, Frederick (after) 906

Lambert, Paul 1233

Rockmore, Noel 1093

Leger, Fernand (after) 1225

Roesen, Severin (manner) 385

Levier, Charles 1230

Roman, Motuzok 844

Lichtenstein, Roy 1126

Rudolph, Harold 898

Lipking, Jeremy 920

Russian School 1286, 1366

Louisiana School 771, 787, 788, 843, 846, 851, 973

Loving, Eugene 966, 967, 968, 969, 971, 972

Sage, Philip 847, 848, 852, 853

Salmones, Victor 1193

MacMonnies, Frederick William 1045

Smith, James Calvert 964

Maestri, Michelangelo (circle) 511

Southern School 786, 889

Majewicz, George 688

Stoiloff, Constantin 467

Index of Artists and Printmakers

July 30-31, 2011

Szollosy, Janos 356 T Tait, Arthur Fitzwilliam 50 Tarin, Gilberto 1196 Toulouse-Lautrec, Henri 1177 Turner, Helen Maria 915 Turtle, Arnold 770, 772, 773, 776, 777, 778 Turtle, Arnold E. (attributed) 774, 775 U Ulreich, Fritzi 355 V Van Loan, Dorothy 921 v van Rijn, Rembrabndt (after) 581 V Velloso, Fernando 1209, 1210 Velten, Wilhelm 70 Verschuur, Wouter, the younger 821 Voss, Carl 405 W Whedon, Aida 983 Wilson, Donald Roller 1124, 1125 Wolf, J. & Richter, H.C. 816 Worcester, Albert 923 Y Yochim, Louise Dunn 981 Yow, Tommy 1128

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

absentee / telephone bid form

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

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

Lot #

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

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

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

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

ABSENTEE/TELEPHONE BID FORM (CONTINUED)

Name (Please Print): ______________________________________ Lot #

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

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

Customers, Please Note: Deadline for Absentee/Telephone Bidding 5:00 P.M. Central – Friday, July 29, 2011 Guidelines for Telephone Bidding 1. Each item must have a low estimate of at least $500 2. Telephone bidders must agree to bid the low estimate on each item. Deadline for Condition Report Requests 5:00 P.M. Central – Thursday, July 28, 2011

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

REQUEST FOR CONDITION REPORTS (DEADLINE: FRIDAY, JULY 29 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

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.

Page No. 1

07/12/2011 11:02:29 New Orleans Auction Prices Realized for Sale 1103 June 4-5, 2011 Major Estate Sale

Lot# PS 1 3 4 5 6 7 9 10 11 12 13 14 15 16 17 20 22 24 26 27 28 29 31 32 33 34 35 36 37 39 40 42 43 44 45 46 47 48 49 50 51 52 53

Realized

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Realized

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Realized

984 153 123 123 123 153 153 246 861 492 522 369 338 338 153 615 369 553 246 1,230 276 922 584 492 246 738 861 123 1,968 215 369 215 246 1,722 2,952 2,706 922 369 1,476 922 553 676 461 492

54 55 56 57 58 59 60 61 62 63 66 68 69 70 71 72 73 74 75 76 77 80 81 82 84 85 86 87 88 89 90 92 93 94 95 96 97 98 100 101 102 103 104 106

215 676 676 2,091 430 110 43 276 307 615 369 1,476 3,936 492 430 1,722 1,045 2,706 1,845 584 98 49,200 676 676 246 522 2,706 461 615 246 215 246 369 2,214 246 6,457 738 5,412 492 110 2,952 1,107 922 984

107 108 109 110 111 112 114 116 120 122 123 124 125 126 128 129 130 131 133 134 135 136 139 140 142 143 144 145 148 149 150 151 152 155 156 157 159 161 164 166 167 168 169 170

4,920 799 738 615 1,968 1,476 584 184 1,845 153 5,904 984 1,599 338 1,353 338 492 338 1,599 2,091 861 307 738 153 984 1,476 1,107 861 20,910 1,230 492 922 430 522 984 10,762 584 1,599 246 246 584 215 430 1,230

171 173 174 175 176 178 179 181 182 183 184 185 186 187 192 193 194 195 196 198 200 201 205 208 209 210 211 212 213 214 215 217 220 221 223 224 226 229 235 236 241 242 243 246

430 153 153 738 1,045 861 1,230 184 1,230 799 522 3,198 553 1,968 307 738 1,107 1,230 399 2,952 2,091 3,198 86 922 738 738 676 984 307 2,091 676 1,845 3,444 2,952 799 246 492 430 430 2,091 215 2,706 153 861

248 250 251 252 254 259 261 262 263 264 265 266 269 270 271 273 276 277 278 279 282 285 288 289 291 292 293 294 296 297 298 301 303 304 305 307 309 310 312 316 317 318 324 325

2,952 492 1,230 922 2,952 1,968 1,599 369 799 1,476 922 307 799 2,337 2,214 1,230 338 276 799 3,936 1,230 1,722 5,166 4,182 1,968 1,722 1,722 1,968 1,845 276 615 1,845 307 1,476 1,168 2,952 215 2,952 984 2,091 492 738 799 6,765

326 329 330 333 334 335 336 337 338 339 341 342 343 344 345 347 351 352 354 355 356 357 358 359 360 361 363 364 366 368 369 370 373 376 377 379 382 383 384 385 386 387 388 389

1,107 1,168 430 461 3,936 338 7,072 276 461 307 4,428 1,968 3,690 153 861 676 1,722 430 184 1,845 2,337 2,337 1,045 1,722 799 4,674 246 553 184 984 29,520 2,337 98 461 2,952 61 123 399 153 184 246 153 615 246

390 392 393 394 395 396 397 398 400 401 402 403 405 407 409 410 411 412 413 414 416 418 419 420 421 424 427 428 429 430 431 432 433 434 435 436 437 438 440 442 443 444 445 448

215 184 676 2,952 461 430 184 861 307 246 6,457 1,845 1,230 738 307 584 522 461 738 98 1,045 676 492 584 522 2,460 553 1,845 799 676 1,476 799 86 492 1,599 27,060 153 1,107 553 399 307 369 399 246

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Page No. 2

07/12/2011 11:02:30 New Orleans Auction Prices Realized for Sale 1103 June 4-5, 2011 Major Estate Sale

Lot#

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Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

449 451 452 453 454 457 459 460 462 464 466 467 469 470 471 473 474 475 476 477 478 479 480 483 484 485 486 488 489 490 491 492 493 494 495 496 497 498 499 500 501 502 504 505

3,690 2,952 338 553 1,045 3,690 461 3,936 1,353 922 1,968 615 1,045 1,599 4,428 1,045 3,444 1,599 7,687 738 2,706 461 246 1,968 430 2,337 16,605 430 246 1,230 922 2,460 2,706 461 307 615 461 615 399 1,107 492 1,845 492 984

507 509 510 511 512 514 515 516 517 518 519 520 521 522 523 524 525 526 527 528 529 530 531 532 533 534 535 536 537 538 539 540 542 543 544 545 546 547 548 549 550 551 552 553

276 246 399 246 215 184 1,353 246 184 1,968 369 276 430 799 307 3,198 615 399 123 246 61 184 399 246 522 110 461 430 399 984 215 2,952 276 307 430 246 246 246 338 246 1,476 861 153 184

555 556 558 561 562 564 565 566 567 568 569 571 572 573 574 575 576 577 578 579 581 582 584 586 589 590 593 594 599 600 601 604 607 608 609 610 611 612 614 616 617 620 621 622

369 215 307 369 14,760 461 492 5,412 369 1,722 1,599 799 522 1,722 1,476 307 799 1,845 461 492 861 553 430 246 1,845 3,690 215 338 5,658 738 1,599 2,706 2,706 922 553 2,091 1,722 86 8,302 369 738 553 153 246

623 626 628 631 633 634 635 636 637 638 639 641 642 644 645 646 647 648 649 650 651 653 654 656 657 658 659 662 667 668 669 670 671 672 673 674 675 676 677 678 679 680 684 686

1,476 1,230 307 2,952 922 307 553 861 2,460 1,476 399 2,460 2,214 522 799 338 1,230 738 2,214 461 799 1,476 799 984 676 399 3,444 369 86 1,045 2,460 461 215 276 1,476 615 399 1,353 153 1,599 553 2,460 123 184

688 689 690 691 692 693 694 695 697 698 699 700 703 704 706 707 708 709 712 713 714 715 716 717 723 724 725 726 727 728 729 730 731 732 734 735 736 738 739 741 743 744 748 749

2,337 1,476 98 1,476 276 430 1,168 153 184 430 123 615 307 2,706 461 430 98 153 184 184 553 276 430 799 461 246 1,045 9,840 110 2,337 307 984 984 461 276 276 4,674 738 1,107 922 110 153 276 430

750 751 753 754 755 757 758 759 760 764 766 767 768 769 772 775 776 777 778 779 781 784 788 789 791 792 795 797 800 803 807 808 809 811 812 813 814 815 820 821 822 823 825 826

1,168 799 1,353 922 799 246 3,690 1,722 1,107 276 246 984 215 184 2,706 184 492 1,722 676 1,107 246 1,968 153 307 676 153 738 1,045 1,230 2,091 676 1,168 522 184 738 676 584 110 110 153 338 123 246 922

827 828 832 833 834 835 836 841 843 844 845 846 847 849 851 852 853 854 857 859 860 864 867 868 869 871 874 875 876 877 878 879 880 881 882 883 884 886 887 889 890 891 892 894

307 553 1,476 922 22,140 984 738 9,532 1,968 10,762 98 92,250 492 492 553 369 6,150 1,230 4,428 1,722 1,045 861 922 738 738 1,845 29,520 1,107 861 430 676 676 799 461 153 369 1,722 984 276 2,214 1,045 1,599 553 984

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Page No. 3

07/12/2011 11:02:31 New Orleans Auction Prices Realized for Sale 1103 June 4-5, 2011 Major Estate Sale

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

897 899 901 903 904 906 908 909 910 911 914 915 916 917 918 920 921 922 924 929 930 931 932 933 934 935 936 937 939 941 942 943 944 945 946 949 952 954 958 959 960 961 966 968

4,920 738 1,845 738 6,765 1,968 1,230 984 861 61 2,214 676 1,599 4,920 338 799 246 861 3,444 2,091 676 2,091 5,904 1,168 430 246 430 553 738 2,337 1,599 1,968 2,952 5,166 1,353 676 738 615 123 153 215 1,230 492 461

969 970 971 972 973 974 975 976 977 978 980 981 982 983 984 985 986 987 988 989 992 993 994 995 996 997 1000 1003 1005 1007 1008 1009 1010 1011 1014 1016 1017 1021 1022 1023 1024 1025 1026 1027

522 86 2,460 430 1,722 922 1,845 1,476 1,230 1,230 1,599 922 1,230 215 307 123 492 553 799 123 430 1,722 553 799 2,460 799 153 430 922 5,658 922 1,168 861 55 369 1,845 1,599 153 338 492 492 399 492 522

1028 1029 1030 1032 1033 1034 1036 1037 1038 1039 1040 1043 1044 1047 1048 1050 1052 1053 1054 1055 1056 1059 1060 1061 1062 1070 1071 1075 1076 1078 1082 1084 1086 1087 1088 1089 1092 1093 1094 1095 1096 1099 1100 1101

1,722 1,045 1,722 984 430 492 553 123 3,444 184 6,150 2,214 1,230 246 6,457 492 215 461 430 215 246 861 738 492 246 1,230 799 1,722 1,230 738 984 246 153 1,722 399 1,230 153 984 338 461 799 676 799 1,230

1102 1103 1104 1105 1106 1107 1108 1111 1112 1113 1114 1116 1120 1121 1123 1124 1125 1126 1127 1128 1130 1131 1133 1134 1135 1136 1137 1138 1139 1140 1143 1147 1149 1150 1151 1154 1155 1156 1157 1158 1159 1161 1162 1163

184 399 307 215 461 430 153 1,476 184 276 307 5,166 215 922 246 584 2,706 369 2,091 553 1,845 1,722 215 1,045 4,182 184 215 399 276 123 276 338 246 2,706 799 2,952 1,168 98 1,722 430 2,214 246 461 799

1164 1165 1166 1167 1168 1169 1171 1172 1173 1174 1175 1176 1177 1178 1179 1180 1181 1182 1183 1184 1185 1186 1188 1189 1190 1191 1192 1193 1194 1196 1199 1201 1202 1203 1205 1206 1207 1208 1209 1210 1211 1212 1214 1215

799 276 123 276 399 1,845 522 430 61 584 430 184 861 246 307 123 307 61 153 276 110 492 153 153 276 338 4,674 676 215 1,353 1,230 4,428 1,107 399 184 123 184 369 861 215 861 123 984 399

1216 1217 1219 1220 1221 1222 1223 1224 1226 1228 1229 1232 1233 1234 1237 1241 1242 1243 1244 1245 1247 1248 1249 1250 1251 1252 1254 1255 1256 1257 1258 1259 1261 1262 1264 1265 1266 1268 1271 1272 1275 1276 1281 1283

553 584 338 492 246 676 553 1,722 522 307 3,444 184 369 307 153 984 215 615 399 461 1,168 36 1,045 1,168 61 399 246 2,214 215 522 184 10,762 676 153 7,995 1,353 492 4,920 2,214 2,460 276 553 922 3,198

1284 1285 1289 1290 1293 1297 1298 1299 1300 1307 1309 1310 1311 1312 1313 1315 1316 1317 1318 1319 1321 1322 1323 1327 1329 1332 1334 1335 1336 1337 1340 1341 1342 1343 1344 1346 1347 1348 1350 1352 1353 1354 1358 1359

2,091 8,610 430 153 276 338 676 922 246 1,230 9,225 799 61 338 246 1,107 738 738 615 738 29,520 6,457 307 461 1,353 1,045 2,706 3,198 246 1,845 246 307 2,952 276 5,904 984 1,107 86 922 1,230 184 36 369 276

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Page No. 4

07/12/2011 11:02:31 New Orleans Auction Prices Realized for Sale 1103 June 4-5, 2011 Major Estate Sale

Lot#

Realized

Lot#

Realized

Lot#

Realized

1360 1362 1364 1365 1366 1367 1368 1369 1370 1371 1372 1373 1374 1375 1376 1377 1378 1379 1380 1381 1383 1384 1387 1388 1389 1390 1391 1392 1394 1395 1396 1397 1398 1399 1400 1401 1402 1403 1404 1405 1406 1407 1408 1409

369 276 2,337 153 276 307 553 799 615 799 922 615 2,460 615 1,845 123 861 922 184 369 215 8,917 98 98 276 399 1,845 461 1,168 153 338 430 553 399 98 307 123 799 215 1,476 738 86 153 984

1410 1411 1412 1413 1414 1415 1417 1418 1420 1421 1422 1423 1424 1427 1429 1430 1431 1432 1433 1434 1435 1436 1437 1441 1443 1444 1445 1446 1448 1449 1450 1451 1452 1455 1458 1459 1460 1461 1464 1465 1466 1467 1468 1469

3,198 1,845 4,920 1,107 153 184 676 123 276 1,045 307 676 153 3,198 4,674 276 461 492 861 3,198 369 399 399 184 2,952 461 430 23,370 369 184 492 799 43 338 98 153 1,353 461 246 55 246 984 430 369

1470 1471 1472 1473 1474 1475 1476 1477 1479 1480 1481 1483 1484 1486 1490 1491 1492

676 184 1,230 1,476 153 399 799 307 861 246 738 7,072 11,685 110 110 61 73

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Staff Specialists

Jean Vidos President Tessa Steinkamp Auctioneer / Consignments Charles C. Cage Office Manager / Silver Specialist Ireys Bowman Consignments Greg S. Kowles Consignments Richerson L. Rhodes, G.G., N.J.A. Consignments / Oriental Specialist / Jewelry Specialist Thomas Halverson Director of American Furniture and Decorative Arts Jelena James Fine Art Consignments Michael Maggio Director of Marketing / Graphic Designer Kim Lemon Director of Customer Service Ralph A. Cheramie Director of Inventory Control Ellen McKenzie Cataloguer Bryce Reveley Cataloguer - Textiles, Couture Robin Ruiz Wilkinson Auctioneer / Cataloguer Peyton Bruns Director of Estate and Appraisal Services

Lynn Bowker Exhibition Staff / Interior Designer Clarke â&#x20AC;&#x153;Docâ&#x20AC;? Hawley Exhibition Staff Randy White Operations Manager Joey Thomas / Stanley Thomas Co-Operations Managers Bennie Amos / Rodney Junius Sean Ranson / Cedric Roberts Operations Department Gary Michael Gittelson Photographer