June 4-5, 2011 AUCTION by New Orleans Auction Galleries, Inc.

Cover:

2011 Auction Schedule:

Lot 80 - Fine Paul Storr Regency Sterling Silver Hot Water Urn, hallmarked London, 1812-1813

June 4-5 July 30-31 October 1-2 December 3-4 Register to Bid Live Online:

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

– AUCTION – Saturday, June 4, 2011 – 10:00 a.m. Lots 1-833 Sunday, June 5, 2011 – 11:00 a.m. Lots 834-1492

Major Estates Auction Featuring Property From: The Estates of James “Jimmy” Martin Hill Jr. and Madeline Hill, Houston, Texas

Two-Week Exhibition Begins Saturday, May 21 Through Friday, June 3 (Excluding Sundays) 9:00 a.m. to 5:00 p.m.

Late-Evening Preview Thursday, June 2, 2011 5:30 p.m. to 8:00 p.m.

Property from the A. Hayes Town Designed - Hamilton House Baton Rouge, Louisiana The Estate of Don B. Hearin, III Baton Rouge, Louisiana Property Descended in the Family of Important Art Deco Artist Tamara de Lempicka Paintings from the Estate of Alexander “Alex” Chachere, Opelousas, Louisiana Property from an Arizona Collector Contents of Noted Dealer Blackamoor Antiques, Natchez, Mississippi Estate of Elva Jean McCright Potts Highland Park, Texas Succession of Elizabeth Turnbull, New Orleans, Louisiana And Property from Numerous Southern Estates and Private Collections

The Estates of James “Jimmy” Martin Hill Jr. and Madeline Hill, Houston, Texas

Mr. Hill was a prominent Houston, Texas developer and builder and long time partner of Perrin White. Hill and White had successful projects in Houston, New Orleans, Las Vegas and Austin. Having served in the United States Army during World War II, he maintained a passion for America and its ideals. The emphasis was on education, philanthropy and a hands-on relationship with the community. He was also interested in politics and Texas history. Reading and hiking were two of his greatest pleasures. Mr. Hill was the eternal optimist, a loving father and friend. The elegant Madeline Hill had a passion for beauty and all things French including the history and language. She began collecting antiques while on trips to New Orleans and then meticulously designed a fabulous 16,000 square foot River Oaks mansion in Houston to house her collection. Mrs. Hill often mused “that she was born in the wrong century”.

Featuring Property From:

Property Descended in the Family of Important Art Deco Artist Tamara de Lempicka Born Maria Gorska into an aristocratic PolishRussian family in 1898, she was raised by her grandmother after her parents divorced. Her indulgent grandmother spared her nothing in the realm of clothes and travel, and later enrolled her, at age fourteen, in a private school in Lausanne, Switzerland. Visits to her wealthy aunt Stephanie in St. Petersburg were formative. Aunt Stephanie resided in a grand home decorated by the renowned French firm, Maison Jansen. Maria vowed that someday she would live the extravagant life style of her relatives. She fell in love with and married the handsome Polish lawyer, Taduesz Lempicki at the age of sixteen. Due to the Bolshevik Revolution they were soon exiled to Paris which proved to be a pivotal event in her life. She absorbed and reveled in the arts, fashion and the glamorous lifestyles of the Parisians she encountered, many of whom she bedded. Her husband finally decided enough was enough and left her. Having now become Tamara de Lempicka, she quickly found a replacement for Taduesz in Baron Raoul Kuffner, a wealthy patron. She pursued her innate artistic talents becoming a renowned Art Deco portraitist with a distinctive style. Her portraits were of high profile subjects including artists, socialites, scientists, writers, industrialists and nobility, many of whom became personal conquests. Tamara’s tendency to misbehave with her sitters never became an issue with the Baron. As World War II loomed, Tamara and the Baron left Paris for Hollywood where they rented the former home of King Vidor. She immediately became the “Favorite Artist of the Stars”. In 1943, the couple moved to New York and

into a stylish Upper East Side apartment furnished with pieces from the Baron’s estate, Castle Dioszegh, in Hungary (now Czechoslovakia). Tamara continued to paint. She was, of course, in much demand socially and a constant presence in New York’s gossip columns. With the death of the Baron and emerging art trends pushing her Art Deco style out of vogue, Tamara moved to Houston to be with her daughter, Lizette. Her painting style returned to favor in the late 1960s and she was rediscovered and collected by Jack Nicholson, Barbara Streisand and Madonna, who used her works in several music videos and movie sets. Her final journey was to Cuernavaca, Mexico where she bought the beautiful “Tres Bambus” villa. She maintained her individuality and eccentricity until the end. Upon her death in 1980, her ashes were distributed over snowcapped Mount Popocatepetl, as requested.

Property from the A. Hayes Town Designed Hamilton House Baton Rouge, Louisiana Julia Hamilton will tell you that she was born in a tent near Wichita Falls, Texas. Her father, Tandy Hamilton was working as a sous chef for a deluxe hotel during the oil boom in the early 20th century and the family lived in a tent city set up for the oilfield transients. His career path led him into the cafeteria business in Kansas City and in 1944 he purchased the Piccadilly. Hamilton began building the business immediately, despite wartime difficulties imposed by food rationing and equipment shortages. His basic business plan gave 25 percent ownership to his daughter Julia and her husband Bill Richards. Expansion accelerated in the 1950â&#x20AC;&#x2122;s and then boomed in the next three decades. In 1971 Hamilton met his personal goal of developing a 40-unit cafeteria chain and that same year he turned the day-to-day operations over to Bill Richards, his successor as president. In 1974, Piccadilly moved its central operations to Sherwood Forest Boulevard in Baton Rouge.

In addition to an office complex the new center housed a test kitchen and an archive for its collection of more than 1000 current Piccadilly recipes. Tragically, Bill Richards was killed in 1977 in a bicycling accident. In 1979 Piccadilly went public. Phenomenal growth in the Piccadilly chain continued through the 1980â&#x20AC;&#x2122;s.

Though Piccadilly has been active within various communities since its inception, the first decade of the 21st century was especially notable for Piccadilly’s civic engagement. During this time the restaurant served as corporate sponsor and partner for the Juvenile Diabetes Research Foundation, the Louisiana High School Athletic Association, and the Louisiana Special Olympics Summer Games. When Mrs. Julia Hamilton Richards interviewed Mr. A. Hays Town (1903-2005) to see if he could build her the home she had always envisioned she showed him pictures of interiors and furnishings that she had saved over several years. After reviewing them, Hays

Town told Mrs. Hamilton that he could do much better. He was hired and they began the process of not only building the home but of furnishing and decorating it. As was Hays Town’s practice, he introduced his clients to Mr. Henry Stern of Royal Street here in New Orleans. Mrs. Hamilton worked with Mr. Stern and his associate Lucile Andrus making countless trips to New Orleans. Stern and Andrus were instrumental in helping Mrs. Hamilton pick out everything from the furnishings to the drapes. Mrs. Hamilton kept meticulous records and many pieces retain the original invoice and or price tag from Stern’s.

The Estate of Elva Jean McCright Potts Highland Park, Texas Mrs. McCright Potts, a Dallas, Texas native, attended Stephens College in Columbia, Missouri and later completed her college career at the University of Texas in Austin, Texas. She developed an early interest in broadcasting while volunteering and serving as the Radio Chairman of the Girl Scout Council. Her vivacious personality led to guest spots on local television and, later, her own talk show, “Strictly for Women” spotlighting the Dallas social, cultural and business scenes. She was a dedicated and enthusiastic member of the Press Club of Dallas, frequently performing at the annual Gridiron Dinner. Her career included public relations for Dow Chemical and Libbey Glass in addition to executive secretarial duties for the Dallas Civic Playhouse. She was a great supporter of the Junior Camp Fire Girls and member of the Girl Scout Council, Dallas Symphony Orchestra Guild, Dallas Charity Horse Show and Women’s Council of Dallas County. Dallas society welcomed her to the Beaux and Belles Club, the Slipper Club, Park Cities Club and the Cotillion Club, where she served as president. Mrs. McCright Potts spent the 1960’s in Los Angeles where, again, she became involved in many charitable organizations and included in several prominent social clubs.

She was a lifelong member of the Episcopal Church of the Incarnation in Dallas and attended All Saints Episcopal Church while residing in Los Angeles. Along with her many accomplishments, Mrs. McCright Potts will be remembered by her family and legions of friends as a creative, enthusiastic hostess and loyal friend.

The Estate of Don B. Hearin, III Baton Rouge, Louisiana Don B. Hearin III was a collector with a sense of history who considered antiques the ”natural”. Throughout his life, in expertly acquiring the pieces of his collection, Don„s attention to detail and historical significance rivaled that of a museum curator. Yet when viewing this collection in his home the natural grace of a southern home was readily apparent and anything but museum - like. Being in the company of Don and his beautiful things often invited a references to literature and history, with no shortage of allusions to southern life in the past. Many of his favorite treasures were acquired through constant and careful studying of each estate and collection with the aid and expertise of the New Orleans Auction staff. Don found great joy in selecting pieces and determining the quality that made them the perfect addition to his collection.

“Our admiration of the antique is not admiration of the old, but of the natural.” - Ralph Waldo Emerson

Don was a long time resident of Baton Rouge, Houston, and the Pontalba Apartments in New Orleans. Don attended Washington and Lee University and was a lifetime member of the Sigma Chi fraternity Don’s many interests included his love of literature, architecture, and history, all of which were referenced in his extensive library. With youthful memories of the Natchez Pilgrimage, debutante parties, and the charm of the South, Don’s life was truly that of a consummate Southern gentleman.” Dick Hearin

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Session I

Saturday, June 4, 2011

10:00 a.m. (Lots 1-833)

Session II

Sunday, June 5, 2011

11:00 a.m. (Lots 834-1492)

3 2 5 6 1 7

1 Bronze Recumbent Lion, fourth quarter 19th century, probably Continental, the lion on an oval green marble base, h. 4‑1/4”, l. 8‑1/8”, w. 4‑1/2”. [150/300] Illustrated 2 Art Deco Bronze Lion, first quarter 20th century, with mouth open and ready to strike, on a pale green glass plinth, h. 5”, w. 5‑3/4”. [100/200] Illustrated 3 Continental Bronze Figure of a Lion, first quarter 20th century, poised as if ready to move, h. 4‑1/2”, l. 9”, w. 4‑1/4”. [125/250] Illustrated 4 English Bronze Crouching Lion, second quarter 20th century, roaring and ready to attack, his mouth open and baring his fangs, h. 3‑1/2”, w. 2”, d. 6”. [125/250] Illustrated

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5 Carved Wood Figure of a Dying Lion first quarter 19th century, after the original in Lucerne, Switzerland, inscribed in Latin and translating” To the Loyalty and Bravery of the Swiss”, h. 3‑1/4”, w. 2‑1/4”, l. 7‑1/4”. [100/200] Illustrated 6 Bronze Winged Lion of St. Mark's Square, second quarter 20th century, one paw supported on an open book, mounted on a rojo Alicante marble base, h. 3”, w. 4‑1/4”, d. 2‑1/4”. [75/150] Illustrated 7 Continental Carved Ivory Lion fourth quarter 19th century, posed as if stalking his prey, l. 5”. [100/200] Illustrated 8 Sir John Watson Gordon, R.A. (Scottish, 1790‑1864) “Portrait of Roger Aytoun and His Son William Edmundstoune Aytoun at the Age of Four”, oil on canvas laid down on masonite, 36” x 28”, ink-inscribed label bearing title and partial artist name, bears a framemaker label: “Aitken Dottson/May 1842/Edinburgh”, presented in a period molded wood frame. [800/1200] 9 British School (Fourth Quarter 19th Century) “Portrait of a Reverend”, oil on panel, verso with a ink inscribed dedication and a “Rowney & Foster, Flemish Ground Panel Board” label, 9‑3/4” x 7‑3/4”. Presented in a giltwood and gesso frame. Provenance: Alex Chachere, Opelousas, Louisiana. [100/200] 10 Victorian Rosewood Work Box, fourth quarter 19th century, the rectangular case with brass banding and stringing, the lid centered by a plaque of a rampant griffin, the interior of the lid, velvet clad, hinged and opening to a leather lined storage space for papers, the interior compartmented, the lock stamped “Chubb & Son, Makers to Her Majesty”, raised on a later stand of square legs joined by an X-form stretcher, h. 34‑1/2”, w. 17”, d. 13”. [400/700] Illustrated

11 Victorian Walnut Lap Desk, third quarter 19th century, the case with brass binding and a central inlaid brass plaque, opening to a slanted leather-inset writing surface, each end opening to a storage space, also with various storage compartments, raised on a later stand of square legs joined by an X-form stretcher, h. 25‑1/2”, w.18‑1/2”, d. 11‑1/2”. [400/700] Illustrated 12 Victorian Mahogany Lap Desk, third quarter 19th century, the rectangular case with brass corner accents, opening to a slanted leather inset writing surface, the lower half now opening to a velvet lined jewelry holder, also fitted with storage compartments and a pen tray, raised on a later stand of square legs joined by an H-form stretcher, h. 24”, w. 15‑3/4”, d. 10”. [400/700] Illustrated

13 Victorian Mahogany Reading Table, third quarter 19th century, the rounded rectangular top with molded edge and book support, with a hinged and easle back, raised on a turned and bulbous standard to three scrolling legs ending in ball feet, h. 31‑1/2”, w. 17‑3/4”, d. 14”. [400/700] 14 English Staffordshire Quill Holder, second quarter 19th century, in the form of a recumbent whippet on a cobalt base, his paws crossed in front, h. 4‑1/2”, l. 6”. Provenance: Henry Stern Antiques, New Orleans, Louisiana. [100/200] Illustrated 15 American Cast-Iron Doorstop, early 20th century, modeled in the form of a Russian Wolfhound, h. 9‑3/4”, w. 15”, d. 2‑1/4”. [50/100] Illustrated 16 Pair of Staffordshire Porcelain Dalmatians, seated to tasseled pillows, h. 6‑1/2”. [100/200] Illustrated

17 Early Victorian Mahogany Secretary Chest, mid‑19th century, the rectangular top above a conforming case fitted with a deep drop-front secretary drawer, opening to an inset leather writing surface and a variety of drawers and cubbyholes surrounding a central cupboard, all with inlaid string accents, over three long graduated drawers, flanked to either side by a clustered upright, raised on low bracket feet, h. 45‑3/4”, w. 48‑3/4”, d. 22”. [700/1000] Illustrated 18 Victorian Mahogany and Suede Chamber Horse, third quarter 19th century, with retractable leather-inset step, h. 33”, w. 27”, d. 19”. [1200/1800]

19 Victorian Mahogany Dressing Mirror, third quarter 19th century, the beveled rectangular plate within a molded frame with corner medallion accents, raised on shaped supports, the base fitted with a central long drawer flanked to either side by a deep small drawer, raised on ball feet, h. 34”, w. 27‑1/4”, d. 8‑1/4”. [200/400]

26 William IV Mahogany Server, mid ‑19th century, the rectangular top with a shaped front and over twolike shaped shelves, all joined by paneled and turned bulbous supports, raised on tapering circular legs ending in brass caps and casters, h. 42‑1/2”, w. 48”, d. 19‑1/4”. [800/1200] Illustrated 27 William IV Mahogany Drop-Leaf Table, second quarter 19th century, the rectangular top with a molded edge and two rounded drop leaves, raised on turned and tapering circular legs ending in toupie feet on casters, h. 29‑1/2”, w. 39”, d. 18”, extended l. 60”. [300/500]

20 Victorian Walnut Loo Table, third quarter 19th century and later, the oval top banded and quarter-veneered and raised on a foliate-carved bulbous standard to four splayed legs headed by foliate carving and ending in scrolled toes, now cut down to coffee table height, h. 22”, w. 5‑1/2”, d. 42”. [400/700] Illustrated previous page 21 Regency Rosewood and Parcel-Gilt Window Seat, first quarter 19th century, one side outscrolled and with a padded armrest, supported by gilt foliate-carved uprights, the long padded rectangular seat raised on saber legs headed by gilt foliate carving and ending in like-carved toes, h. 27‑1/2”, w. 17‑1/2”, l. 44”. [800/1200]

28 Pair of Oval Signed Imari-Style Derby Dishes, 1806‑1810, the central decoration of a navy vase of flowers in a fan shaped panel, marked with a red hand painted crown over AD, d. 8”, l. 9‑3/4”. [800/1200] Illustrated 29 A Group of English Imari-Pattern Cups and Saucers, first quarter 19th century, comprised of two Derby coffee cans, signed with the Derby red mark, h. 2‑3/4”, three unmarked Derby tea saucers, dia. 5‑1/4”, with two matching cups and a third similar Imari cup, h. 2‑3/4”. [400/700] Illustrated

22 Pair of Regency Brass-Inlaid Rosewood-Grained Beechwood Sidechairs, first quarter 19th century, each with a top rail with a brass foliate-inlaid and reeded tablet on ring-turned supports, the splat with a central circular brass-inlaid panel joined to the stiles with lyre-form supports, molded front seat rails and sabre front legs, h. 33‑1/4”. [400/700] 23 Regency Mahogany Chest, first quarter 19th century and later, the rectangular top with molded edge above a conforming case fitted with two short drawers over three graduated long drawers, all flanked on either side by an engaged turned pilaster, raised on toupie feet, h. 41‑1/2”, w. 42‑1/2”, d. 22”. [2000/4000] 24 Rare White and Gold Paris Porcelain Lithophane Veilleuse Base, third quarter 19th century, now mounted as a diminutive accent lamp, the lithophane facades featuring, respectively, a lakeside mill and chateau and a snow-bound Alpine village, h. 4‑3/4”. [250/400] 25 Eighteen Minton Service Plates, first quarter 20th century, decorated in rich black and gold borders on an ivory background, in the baroque taste, retailed by Rich & Fisher, 411 Fifth Avenue, New York, and signed: “Minton”, along with a decorators mark, h. 10‑3/8”. [2000/4000] Illustrated

30 Campana-Form Derby Garniture Vase, first quarter 19th century, decorated in Imari patterns and signed with the red Derby crown mark, h. 9”, w. 6‑1/2”. [700/1000] Illustrated 31 English Imari Porcelain Platter, first quarter 19th century, decorated in orange and blue with divided panels, all with intertwined decoration highlighted in gilt, w. 10‑1/4”, l. 14‑1/4”. [400/700] Illustrated 32 Pair of English Georgian Pottery Vases third quarter eighteenth century, in the Kaikemon pattern, each depicting a Ho Ho bird in the air above a tree, h. 11”, dia. 3‑1/4”. [75/125] Illustrated

32 31

33 28

33 Group of Four English Porcelain Imari Pattern Dishes, first quarter 19th century, comprised of three variants of the Imari pattern, each with the red Derby mark, and one unsigned soup plate, dia. 8‑1/2”. [700/1000] 34 Pair of Imari Patterned Covered Urns in the English Regency Style, each with pierced handles, adorned with orange, blue and gilt patterns of flowers, each sitting on notched-corner square bases, marked in the Sevres manner, h. 18”, w. 6‑3/4”. [600/900]

35 Six-Piece Edwardian Royal Crown Derby Porcelain and Sterling Silver Demitasse Set, 1903‑1905, comprising six porcelain cups h. 2‑1/2”, and saucers, dia. 4‑1/4”, in an “Imari”-style pattern, and six sterling silver cup holders, embossed and recticulated in the rococo taste, hallmarked London, 1904‑1905, by the Army & Navy Cooperative Society, Ltd., dia. 1‑3/4”, the porcelain pieces fully marked with the Royal Crown Derby iron-red mark, pattern number 2712 and their date cypher for 1903 (two cups 1904 and one saucer 1905). (Eighteen pieces total.) [100/200] 36 Regency-Style Banded Mahogany Breakfast Table, the tilting oval top triple banded and raised on a turned columnar standard to four splayed and reeded legs ending in brass caps on casters, h. 29‑1/4”, w. 67‑12”, d. 47”. [1800/2500] Illustrated 37 Pair of English William IV Period Plates, second quarter 19th century, with botanical decoration of roses and poppies, the borders molded with shells decorated with floral panels, gilding on a dark blue background, each marked 2930, dia. 9‑1/2”. [200/400]

44 38 Regency Rosewood Tea Caddy, first quarter 19th century, the stepped and paneled lid centered by a panel and opening to an interior fitted with two lidded removable compartments and a central lidding mixing section, the sides with lion’s mask ring handles, raised on gilt bun feet, h. 8‑3/4”, w. 12‑1/2”, d. 6‑3/4”. [600/900] Illustrated

43 Regency Tortoiseshell Tea Caddy, first quarter 19th century, of rounded rectangular form, the slightly domed lid segmented and centered by a ball finial, opening to two lidded paktong-lined compartments, h. 5‑1/2”, w. 6‑3/4”, d. 3‑3/4”. [1500/2500] Illustrated

39 Late Regency Rosewood Desk Box, first quarter 19th century, of modified sarcophagus-form, the stepped and paneled top centered by a panel, opening to a bisected interior, raised on scrolling gilt feet, h,. 3‑3/4”, w. 7‑1/2”, d. 5‑1/4”. [300/500] Illustrated

44 Regency Tortoiseshell Tea Caddy, first quarter 19th century, of modified sarcophagus-form, the cove-molded lid opening to two lidded paktong-lined compartments, raised on spherical feet, h. 5‑3/4”, w. 7‑1/4”, d. 4‑1/4”. [1800/2500] Illustrated

40 English Regency Profile Wax Portrait of a Gentleman, second quarter 19th century, mounted in a period rosewood frame with gilt liner, h. 9”, w. 8”. [200/400] Illustrated

41 Georgian Brass-Mounted and Holly-Banded Mahogany Desk Box, first quarter 19th century, fitted with a ringed floral boss at either end, an inlaid polished bone escutcheon of lozenge form and four ball feet of brass, the interior lined in later marbled Florentine papers, h. 7”, w. 12”, d. 8‑1/2”. Provenance: Blackamoor Antiques. [300/500] 42 Rare Regency Inlaid Mahogany Document Box, first quarter 19th century, of sarcophagus-form, h. 8‑1/4”, w. 15”, d. 8‑1/2”. [250/400]

45 William IV Ivory-Trimmed Tortoiseshell Sewing Box, second quarter 19th century, the cove-molded lift top edged in ivory at the lower edge, the box with cyma-form sides supported by ivory ball feet, the top mounted with an interior mirror plate and opening to reveal a royal blue silk-lined compartmented interior with an assortment of sewing notions including an ivory thimble, ivory and mother-ofpearl thread spools, scissors and mother-of-pearl-handled tools, the interior fittings later, h. 8‑3/8”, w. 7‑1/4”, d. 5‑3/4”. [1800/2500] Illustrated

46 English Bone-Trimmed Tortoiseshell Dressing Table Box, fourth quarter 19th century, the interior fully lined in padded chamois, the whole supported on four feet of bun form, h. 2”, w. 6‑3/4”, d. 3‑1/4”. [600/900] Illustrated 47 Regency Mahogany Pembroke Table, first quarter 19th century, the rectangular top with two rounded drop leaves, above a frieze fitted with one end drawer, raised on turned, tapering circular legs ending in peg feet, h. 29”, w. 40”, d. 20”, extended l. 42‑1/2”. [400/700]

48 After John Frederick Herring (British, 1795‑1865) “Herring’s Fox - Hunting Scenes: The Meet; Breaking Cover; Full Cry; and The Death”, group of four color aquatints, published in 1867 by R. Dodson, London, each example with a label on the reverse “Green & Stone Limited, Chelsea, London”, sight 14” x 21‑1/2”. Glazed, handsomely presented in gray gillt-edged mats and framed en suite. [500/800] Illustrated 49 After John Frederick Herring, Sr. (British, 1795‑1865) “The Run In”, Racing Plate no. 3, engraving, from Fores’s National Sports, engraved by J. Harris and C. Quentery, London, 1857, sight 26” x 46”. Glazed, handsomely matted and framed. [700/1000] 50 Regency Burl, Elm and Fruitwood Work Table, first quarter 19th century and later, the canted rectangular top banded and hinged, opening to an interior fitted with various lidded compartments centering a lift-out segmented tray, above a conforming frieze, raised on tapering square legs joined by an X-form stretcher, h. 27”, w. 21‑1/2”, d. 6‑3/4”. [300/500] 51 Regency-Style Mahogany Library Ladder, of folding construction, fitted with four rungs, each with a brass tread, h. 53‑1/2”. [400/700] 52 Patinated Bronze Sculpture, after Thomas Francois Cartier (1879‑1943), depicting a stalking hunting dog on an elongated base, stamped: “T. Cartier”, h. 8”, l. 19”. [300/500]

48 suite of four

53 A Group of Seven Articles in the Form of Miniature Animals, first quarter 20th century, including an oak and brass letter holder with a painted Bull Terrier, a bronze Pekingese, a bronze rabbit, a green stone Art Deco ash tray with a cold-painted bronze Airedale, a black and white cold-painted bronze Airedale, a black and white coldpainted bronze Scottie, and a pair of pink quart Art Deco bookends with painted Airedales, largest h. 2”, l. 6”, d. 3”, smallest h. 2‑1/4”. [250/400] Illustrated 54 Diminutive Pair of Cold-Painted Cast-Metal Fox Terriers, presented on a mahogany plinth, h. 2”, w. 2”, l. 4”. [50/100] Illustrated 55 Mona Alison Edmonds (British, 20th Century) “Harmony”, watercolor on paper, pencil signed and dated lower right “M. A. Edmonds, 1934”, titled in pencil lower left, sight 7‑1/2”m x 11‑5/8”. Glazed, French matted and presented in a giltwood frame. [75/125]

56 George Paice, R. A. (British, 1854‑1925) “Hellie and Tullip”, oil on panel, signed lower left “G. Paice R.A.”, sitters identified lower center, verso affixed with the “Rowley Gallery, London” label, 9‑1/4” x 12‑1/4”. Presented in a giltwood and gesso frame. Provenance: Alex Chachere, Opelousas, Louisiana. [400/700]

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57 George Paice, R. A. (British, 1854‑1925) “Sylvia”, oil on canvas, titled and signed lower left “G. Paice R.A”, 14‑1/4” x 20‑1/8”. Presented in a giltwood and gesso frame. Provenance: Alex Chachere, Opelousas, Louisiana. [600/900]

61 H. Livens (British, 19th Century) “Still Life with Flowers and a Bird Nest”, oil on canvas, signed and dated lower right “H. Livens 1878”. Framed. [100/200] 62 British School (Fourth Quarter 20th/First Quarter 21st Century) “Parrots in a Classical Landscape” oil on panel, signe dlower right “Byron”, 11‑1/2” x 16”. Presented in a Rococo-style giltwood and gesso frame. [125/250]

58 Patinated Bronze Sculpture, depicting an alert seated hunting dog, mounted on an oval polished slate base with a molded edge, h. 10‑1/4”, w. 8‑3/4”, d. 5”. [200/400] 59 English Painted Cast-Iron Figural Doorstop, first quarter 20th century, in the form of a pair of white Scottish Terriers,h. 5‑3/4”, w. 9”. [50/80] 60 Two Miniature Cast Figures, one example of cast metal depicting a song bird, h. 1”, and the other of composition in the form of a bear, h. 1‑1/2”, l. 3”. [50/100]

63 Follower of Edgar Hunt (British, 1870‑1955) “Chickens and Roosters in the Farmyard”, three oil on panel, two signed “D. Clark”, larger 5” x 7”, smaller 3” x 3”. All presented in Rococo-style giltwood and gesso frames. [200/400] 64 Victorian Mahogany Cock Fighting Chair, mid‑19th century, the padded rectangular crest above a caned back, the deep shaped and padded seat raised on bulbous and turned circular legs ending in toupie feet, h. 35”. [900/1200] 65 Large English Mahogany Shaving Mirror, second quarter 19th century, in the neoclassical taste, the glass supported between two turned columns surmounting an elliptical base on four bun feet, h. 31”, w. 27”, d. 12‑1/4”. [150/300] 66 Unusual Regency Lemonwood Tripod Table, first quarter 19th century, the circular sunburst veneered top raised on a slightly graduated bobbin-turned standard to three splayed legs, h, 25”, dia. 19”. [200/400]

67 English Regency Silk Embroidered Oval Panel, depicting a young girl with two cats, first quarter 19th century, sight 11‑1/2” x 8‑5/8”. Glazed and presented within a eglomise mat and a polychrome frame. [100/200]

68 Large Pair Chinese Export Porcelain Famille Rose Vases, first half 20th century, each of thick baluster shape with applied double Fo dog handles and hornless dragons, decorated with a double row of alternating figural and naturalistic panels against a floral ground in the Rose Medallion pattern, drilled, wooden stands, h. 16‑3/4”. [900/1200] Illustrated 74 69 Pair Chinese Export Porcelain Famille Rose Vases, second half 19th century, of thick baluster shape with applied Fo dog handles and hornless dragons, decorated with alternating figural and naturalistic panels against a floral ground in the Rose Medallion pattern, wooden stands, h. 14‑1/8”. [400/700] Illustrated 70 Chinese Export Porcelain Famille Rose Oval Platter, first half 20th century, the oval outline with a central medallion of a bird on rockwork surrounded by alternating wedge shaped panels of figural and naturalistic designs in the Rose Medallion pattern, wooden easel type stand, l. 14‑3/8”, w. 11‑1/2”. [250/400] Illustrated 71 Unusual Pair Chinese Export Porcelain Famille Rose Bottle Vases, first half 20th century, each of bottle form with flared lip rims, applied dragon loop handles and dragons on the shoulders, decorated with alternating figural and naturalistic panels against a floral ground in the Rose Medallion pattern, wooden stands, h. 11‑5/8”. [450/700] Illustrated

72 Large Chinese Export Porcelain Floor Vase, 19th century, of tapered cylindrical form with flared neck and applied lion and ring handles, decorated in famille rose enamels in the rose medallion pattern, h. 24‑1/2”. [500/800] Illustrated 73 Pair Chinese Export Porcelain Garden Seats, each of hexagonal form with molded bases, decorated in Famille Rose enamels in the Rose Medallion pattern with alternating reserves of figural and naturalistic decorations, h. 19”. [700/1000] Illustrated 74 Good Pair of Chinese Export Porcelain Jars with Covers, 19th century, each of baluster form with domed covers and pointed finials, decorated in Famille Rose enamels in the Rose Medallion pattern with alternating reserve panels of figural and naturalistic decoration against a floral ground, h. 18”. [1000/1500] Illustrated

75 Group of Six Chinese Export Porcelain Plates, 19th century, each decorated in Famille Rose enamels in the Rose Medallion pattern with central figural designs of people in gardens and pavilions and each bordered by a rim of flowers and Buddhistic symbols, dia. 9‑3/4”. [700/1000] Illustrated

79 Regency Cased Sterling Silver and Stained Ivory Fruit Service, hallmarked Sheffield, 1811‑1826, by Thomas Sanson and John Nowill, including twelve forks, l. 6‑1/4”, and twelve knives, l. 7‑5/8”, the forks with four tines, the knives with blunt-shaped blades, all with greenstained ivory handles carved with a central textured lozenge with radiant palmettes to a gadrooned silver ferrule, presented in the indigo velvet-line fitted mahogany case with two lift-out trays, the lid with inlaid brass plaque and stringing, h. 2‑1/4”, w. 10‑1/4”, d. 9‑1/4”. [700/1000] 80 Fine Paul Storr Regency Sterling Silver Hot Water Urn, hallmarked London, 1812‑1813, the hemispherical urn gadrooned on the lower half, with a fluted band at the shoulder with opposing ram’s masque ring handles, the domed lid with a spiraled pyriform finial which raises to reveal a steam escape, the whole raised on a squat waisted standard above a square plinth with threaded panels centered by paterae, the spout formed by a realistic serpent coiled around the standard, its downturned head forming the spout, with an oak branch in its mouth surrounding the spatulate ivory handle and extending to the urn, engraved with the arms and motto of the Earl Harcourt opposing a royal cypher “RA” with the motto “Semper honos nomenque tuum” (“Always thy honor and name”), probably that of the Royal Artillery, h. 14‑3/4”, w. 12‑1/4”, d. 13‑1/2”, 132.46 t. oz. [45000/70000] Illustrated

76 Pair Chinese Export Porcelain Salad Plates, 19th century, each decorated in Famille Rose enamels in the rose medallion pattern with a central scene of figures and a garden pavilion, with a rim decorated with Buddhistic symbols and flowers, dia. 7‑3/4. [500/800] 77 Two Chinese Export Porcelain Saucer Dishes, 18/19th century, the smaller in Famille Rose enamels depicting ladies playing Go next to a pavilion, the larger in Rose/Verte enamels depicting a deer, stork and bats in a garden, dia. 4‑5/8”‑6”. Provenance: ex coll. Henry Stern Antiques, New Orleans, Louisiana. [50/80] 78 Regency Old Sheffield Plate Meat Dome, first quarter 19th century, of oval form, with molded rim and gadrooned banding, the come with radiant gadrooning centering a reeded handle, engraved on one side with the crest and the other side the motto of Montgomery of Stanhope, co. Peebles, h. 8‑1/2”, l. 15‑1/2”, w. 11‑1/2”. [300/500]

81 Pair of Regency Old Sheffield Plate Sauce Tureens, first quarter 19th century, each of rounded rectangular form, with reeded rim, lion’s masque handles and raised on four spherical feet, the fitted lid with gadrooned band cornered by shells and centering a reeded ring handle, engraved, on the lid with the crest of Fyres (a dexter hand holding a salamander in flames), h. 4‑1/4”, l. 6‑1/2”, w. 4‑1/4”, [300/500] 82 Indian Colonial Silver Sugar Urn, second quarter 19th century, George Gordon & Co., Madras, of campana form, with gadrooned calyx and foot and reeded handles, the domed fitted lid en suite and with annulated finial, h. 6”, w. 6”, 13.57 t. oz. [300/500] 83 Set of Four Regency Sterling Silver Salt Cellars, hallmarked London, 1818‑1819, by Rebecca Emes & Edward Barnard, each of rounded rectangular form the bulbous body with acanthus, gadroon and shell border and gilt interior, the whole raised on a conforming gadrooned foot, engraved on one side with the crest and the other with the arms of Greig of Eccles, co. Berwick, h. 2‑7/8”, l. 4‑1/2”, w. 3”, 13.25 total t. oz. [1200/1800] Illustrated

87 George III Hester Bateman Sterling Silver Sauce Ladle, hallmarked London, 1784, in the tradition “Old English Bright Cut” pattern, the annulated bowl with side spout and inset with a Queen Anne silver shilling of 1711, monogrammed “S”, l. 7‑7/8”, 1.80 t. oz. [125/250] 91

88 Regency Old Sheffield Plate Hot Water Urn, first quarter 20th century, the bulbous rounded rectangular body below annular bands, with a pair of acanthusmounted and -crested reeded handles, with gadroonand-shell rim around a domed lid with spherical finial, the downturned spout with horseshoe-shaped handle, the whole raised on a conforming standard above a rounded and concave rectangular plinth with gadrooned banding above four flattened spherical feet, h. 16”, w. 13‑1/4”, d. 12”. [400/700] 89 Three Georgian Britannia and Sterling Silver Tablespoons, 18th century, London, including an early George II Britannia (.958) silver “Hanoverian” example hallmarked 1729‑1730, the maker’s mark rubbed but probably Thomas Mann, l. 7‑3/4”, monogrammed “L/ WS” and “JJ”, and two late George III sterling silver “Old English” examples, one 1793‑1794, by Samuel Godbehere & Edward Wigan, monogrammed “JSB”, l. 8‑1/8”, the other 1797‑1798 by William & John Fisher, monogrammed ‘TM”, l. 8‑3/8”, 4.89 total t. oz. [200/400]

84 Unusual George IV Scottish Sterling Silver Ladle, hallmarked Glasgow, 1827‑1828, by Robert Gray & Sons, in a variant of the traditional “King’s” pattern, the obverse with an applied crest in relief of Newborough (a blackamoor’s head in profile), the reverse with later conjoined monogram “FIR”, l. 14”, 9.52 t. oz. [200/400] 85 Good William IV Old Sheffield Plate Tureen, second quarter 19th century, of gently lobed oval form, with a pair of robust oak leaf-mounted rococo handles and four scrolling acanthus feet, with oak cluster and c-scroll rim, the conforming domed lid with foliate rococo scroll handle, engraved with the motto and crest (on the lid) and the arms (on the body) of Longfield of Longueville, co. Cork, h. 11‑1/2”, l. 16”, w. 10‑1/4”. [400/700] 86 George II Sterling Silver Salver, hallmarked London, 1750‑1751, by John Robinson II, of circular form with shell-and-scroll border, raised on four pad feet, engraved with the leafymantled arms of Manning with Boys in pretence, dia. 13‑1/4”, 32.28 t. oz., presented in a later fitted purple velvet-lined faux leather case, the lid with a silverplate plaque with presentation inscription to oil executive Michael Lawrence Haider (1904‑1986) from the Board of Directors of Standard Oil, 15‑3/4” x 15‑3/4”. [2500/4000] Illustrated

90 Four Pieces Late Georgian Sterling Silver Tableware, late 18th-early 19th century, including a George III Sterling Silver Taperstick, hallmarked London, 1795‑1796, by Henry Chawner, the oval base, socket and thumbpiece all with reeded edges, with the original chained snuffer en suite, monogrammed “TSK”, h. 2”, w. 3‑5/8”, a pair of Regency “Old English” teaspoons hallmarked London, 1809‑1810, by Peter and William Bateman, monogrammed “C/J+R”, l. 5”, and Regency bow-style sugar tongs, hallmarked London, 1810‑1811, by Solomon Hougham, with threaded edge, monogrammed on the bow “LMC”, l. 5‑3/4”, 4.57 total t. oz. [200/400]

95 Fifteen Assorted Georgian and Victorian Sterling Silver Teaspoons, including “Old English” spoons two London, 1791‑1792 by George Gray, l. 4‑3/4”, one London, 1798‑1799, by Peter and Ann Bateman, l. 4‑1/2”, and one London, no date letter but 1799‑1805, by Peter, Ann & William Bateman, l. 4‑3/4”, and “Fiddle” shape spoons two Dublin, 1814, by Richard Sawyer, l. 5‑1/2”, three London, 1819‑1820, by Sarah & John W. Blake, l. 5‑1/4”, three London, 1828‑1829, by Jonathan Hayne, l. 5‑1/4”, one London, 1841‑1842, by Samuel Hayne & Dudley Carter, l. 5‑1/4”, and two London, 1868‑1869 & 1872‑1873, by Henry Holland, l. 5‑1/4”, variously monogrammed, 7.72 total t. oz. [150/300] 96 Large Regency Sterling Silver Salver, hallmarked London, 1810‑1811, no maker’s mark, of circular form with robust rococo border, the plateau engraved with a wide band of scrolls and flowers on an imbricate ground, the whole raised on four floral acanthus and shell feet, engraved with the arms of Walter of Devonshire impaling (probably) Tregoose, dia. 22‑1/2”, 117.35 t. oz. [2000/4000] Illustrated

91 Pair of George III Sterling Silver Stuffing Spoons, hallmarked London, 1784, by Richard Crossley, in the traditional “Bright Cut Old English” pattern each engraved with the crest of a goat’s head erased, l. 11‑1/2”, 7.07 total t. oz. [700/1000] Illustrated previous page 92 George III Sterling Silver Straining Spoon, hallmarked London 1796‑1797, by (probably) William Sumner, in the traditional “Old English” pattern, with vertical strainer, monogrammed “W”, l. 12”, 3.54 t. oz. [150/300]

97 George III Silvered Brass and Ebony Waterbailiff’s Tipstaff, fourth quarter 18th century, the silvered brass barrel engraved with the royal arms used 1760‑1801 and “Police Office Union Hall”, with a crown finial and turned ebony shaft, the barrel unscrewing to reveal an admiralty oar, l. 7”. Tipstaves were carried by constables and other officials as symbols of their authority, functioning much as policeman’s badge does today; indeed, the form eventually developed into the constable’s truncheon and today’s nightstick. This particular example is a special variety concealing a miniature admiralty oar which signified the office of a waterbailiff and granted its bearer the authority to board ships, seize cargo, arrest passengers and crew and perform other police functions on waterways. See Mervyn A. Mitton, The Policeman’s Lot: Antique British Police Equipment (Shewsbury, Shropshire: Quller Press, 1986), pp. 73‑93 passim. [400/700] Illustrated

93 George III Sterling Silver Mustard Pot, hallmarked London, 1807‑1808, by Alice and George Burrows, of rounded rectangular section, with bulbous and molded sides, gadrooned rim, squared strap handle and four spherical feet, the hinged domed lid peaked and with spherical finial, monogrammed, on the lid, “GSP”, h. 3”, w. 3‑1/4”, d. 3‑3/4”, 4.82 t. oz. [100/200]

94 Eighteen Georgian-Style Sterling SilverHandled Dinner Knives, second half 18th century and later, with “pistol grip” handles with shell heels and blunt scimitar-shaped blades, six English knives of the period with later blades, the handles engraved with a crest of cockle shell on one side an lion’s head erased on the other, l. 10‑5/8”, twelve American knives in Stieff’s “Williamsburg Shell” pattern introduced in 1970, Baltimore, Maryland, l. 9‑3/4”. [300/500]

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98 Good Pair of Chinese Jumu Wood Storage Cabinets, 19th century, each in two parts, the lower section with two doors with removable center post above a plain base and phoenix openwork apron, the doors opening to a fixed interior shelf and a fixed shelf with two drawers, the top sections each with two doors opening to a hat storage compartment, with brass moon-form hardware, h. 87‑1/4”, w. 47‑1/2”, d. 23‑1/4”. [4500/7000] Illustrated 99 Chinese Carved Zitan Brush Pot, 20th century, the rare, dense wood carved in open high relief as a horned dragon with scaly body and feathered tail, coiled with head turned backward gazing at a Flaming Pearl among coiled clouds, h. 11”. [600/900]

104 Elaborate Chinese Carved Rosewood and Boxwood “Treasure” Box, 20th century, the sliding cover intricately carved with a five clawed horned dragon in boxwood inlaid on a field of swirling clouds above cresting waves, the sides with restrained low relief carving of ruyi heads divided by a double-line border, h. 3‑3/4”, d. 6‑3/4”, l. 10‑5/8”. [800/1200] Illustrated 105 Chinese Carved Boxwood Ruyi Scepter, first half 20th century, the blond wood body with arched staff having a ling-chih head carved with alotus plant springing from an open basket, a dwarfed pomegranate tree on the shaft and a bat at the terminal, l. 12‑1/2”. [1400/1800] Illustrated

100 Good Chinese Zitan Brush Rest, first half 20th century, carved as three mountain peaks fronted by the recumbent figure of a deer between a grove of bamboo and a pine tree, the reverse with bamboo and the seal of the carver, h. 4‑1/2”, l. 7‑1/4”. [500/800] 101 Small Chinese Molded Terra Cotta Brush Pot, first half 20th century, of cylindrical form with low relief molding and etched finish work depicting a three-clawed dragon among clouds and bordered at the base and lip with key-fret rims, h. 4‑1/4”. [100/200] 102 Fine and Rare Chinese Carved Rhinoceros Horn Fondling Piece, 18/19th century, delicately carved as a reclining figure of a Buddhistic lion clasping a ball, the animal with finely carved details and incised fur, the material of rich warm color showing typical striations of compressed hair, l. 1‑7/8”. [700/1000] 103 Unusual, Rare Pair of Embellished Zitan Scroll Weights, each with elongated rectangular zitan bodies embellished on the tops with agate, jade and motherof-pearl figures of long tailed birds perched on bamboo canes, each bird with delicately engraved feather details, l. 13‑3/8”. [1000/1500] Illustrated

98 pair

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110 Fine and Elegant Chinese Carved Zitan Ruyi Scepter, 19th century, superbly carved as an arched branch with a ling chih carved head with a knotted branch shaft with small ling chih fungus heads and a curved branch terminal, l. 17”. [900/1200] Illustrated 111 Good Chinese Carved Zitan Brush Pot, 19th century, of oval outline, carved in high relief on the front with rockwork, pine trees, a group of three scholars playing Go and two scholars in discussion, the reverse with knotted tree stem with a calligraphic inscription and seal, h. 7‑1/4”. [1000/1500] Illustrated

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112 Good Chinese Carved Zitan Brush Washer, 19th century, amusingly carved as an oval open bowl with knotted wood rim, the end carved as a seated, robed sage resting on rockwork, l. 7”. [800/1200] Illustrated 113 Intricately Carved Chinese Tortoiseshell Vase, first quarter 20th century, in the form of a flattened double gourd with splayed foot and flared lip rim, carved over all with a design of fruiting grape vines with clusters of grapes among foliage and vines, h. 7”. [2000/4000]

106 Fine Pair Chinese Carved Zitan Scroll Weights, each of elongated rectangular form, carved in relief with two confronting horned dragons pursuing the Flaming Pearl, the sides carved all around with a fretwork band, l. 11”. [1200/1800] Illustrated previous page 107 Rare Chinese Miniature Tianhuang Stone Mountain, the mottled yellow and brown stone in the form of a mountain carved on the face in low relief with a scholar and attendant beneath a tree and a four character inscription, the reverse with a tree growing from rockwork above a fisherman’s boat in a river, h. 1‑1/4”, l. 2”. [1000/2000] Illustrated 108 Chinese Molded and Painted Pottery Wall Tile, Song Dynasty (960‑1279), of nearly square form molded in relief as a mounted calvaryman with a whip atop a prancing steed, red and black painted details, h. 11‑1/4”, l. 10‑1/4”. [600/900] 109 Fine Chinese Carved Zitan Brush Pot, 19th century, of cylindrical form decorated with a continuous calligraphic inscription of deeply cut large characters and an artist’s signature and seal, h. 6”, dia. 5‑1/2”. [800/1200] Illustrated

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114 Chinese Slip Decorated Zisha Clay Snuff Bottle, of flattened pear shape, the brown body with ochre colored slip decoration of two pavilions by a rocky outcrop with trees on one side and a pavilion by a rocky garden with trees on the other, the base with a potter’s seal, h. 2‑1/4”. [400/700]

118 Superb Pair Chinese Unglazed Tomb Figures of War Horses, Tang Dynasty (618‑907), each modeled as strong, alert figures standing four square on rectangular bases with slightly turned heads with strong jaws, long muzzles and pricked ears, one in red clay, the other in white, both horses with grooves down the back of their necks and holes in the rumps for the insertion of horse hair (now lacking) to imitate the mane and tail of an actual horse, h. 18‑1/2”, l. 17”. [4500/7000] Illustrated 119 Chinese Painted Pottery Equestrian Tomb Figure, Han Dynasty (206 B.C.- A.D. 220), modeled as a standing steed with mounted rider, the rider and saddle with painted details, the horse unglazed, h. 13”, w. 13”. [800/1200] Illustrated 120 Dramatic Unglazed Chinese Pottery Figure of a War Horse, Tang Dynasty (618‑907), the saddled horse standing foursquare on a rectangular base, its head slightly turned with open mouth, pricked ears and bulging eyes, h. 13‑1/2”, w. 14”. [1400/1800] Illustrated

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123 115 Chinese Carved Two Color Agate Snuff Bottle, of flattened shape, the mushroom colored stone with brown and ochre skin carved in low relief with a single bird perched on a flowering tree with rockwork, h. 2‑3/4”. [400/700]

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116 Chinese Cast Iron Planter, 19th century, of circular form cast in low relief with a fretwork border at the rim, Chinese characters on the body and a stylized leaf border at the base, the feet lacking, dia. 12”. [125/250] 120

117 Large Chinese Black-Lacquered Wardrobe, 19th century, with inset doors and decorated on the front in gold-on-black lacquer with panels of Chinese antiques and elaborate “Happiness” borders, the interior of the lower section with a single shelf and deep well, h. 69‑1/2”, w. 47‑1/2”, d. 22”. [1500/2500] Illustrated 119

121 Unusual Chinese Cast Gilt-Splashed Bronze Censer, 19th century, the circular body resting on bamboo shaped feet, with bamboo horizontal ribs and two loop handles, the base with a cast seal mark and the entire censer covered in gilt splashes, h. 5‑1/2”, dia. 7‑1/2”. [3000/5000] Illustrated previous page

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122 Chinese Painted Pigskin Storage Trunk, first half 20th century, of rectangular form, the pigskin body painted all over with scenes of Chinese domestic life, metal loop handles and Chinese lock, h. 9”, d. 12”, l. 19”. [200/400]

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123 Framed Chinese Scroll of Buddhist Deities, first half 19th century, ink and colors on paper, depicting two levels of paradise, each separated by fences and populated with deities among clouds, the lower section with mortals and demons wanting entry but blocked by a haloed sage, an armed woman and a demon blocking their entry, h. 74”, w. 44‑1/2”. [2000/4000] Illustrated previous page

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124 Chinese Sang-de-Boeuf Glazed Vase, 19th century, the body of globular form with elongated neck and flared lip rim, glazed all over in an even oxblood glaze thinning to white at the lip rim, h. 13‑1/2”. [900/1200] 125 127 Good Chinese Carved Creamy White Jade Group of Three Goats, the detailed, dimensional group of two long horned goats and a kid grouped around a sphere with engraved yin-yang symbol, the creamy white stone finely carved revealing open spaces between the animals, h. 2‑1/4”, l. 3”. [500/800] Illustrated 128 Dramatic Chinese Carved Mottled Jade Figure of a Mongolian Pony, Ming dynasty (1368‑1644), the pony resting with its front legs ready to rise, the uplifted head with prominent cheeks, the mane, tail and eyebrows with incised details, the mottled yellow and brown stone simulating the variations in the pony’s coat, l. 6‑3/4”. [800/1200] Illustrated

125 Chinese Embellished Rosewood Brush Pot, 20th century, of slightly waisted outline with carved and hardstone embellishment of cockerels and hen with chicks in circular rondels, the body inlaid with silver wire in archaic scrollwork pattern, h. 7-/18”, w. 6‑1/4”. [1400/1800] Illustrated 126 Chinese Inscribed Soapstone Personal Seal, the square base topped with the figure of a tortoise with etched carapase, the base with seal characters and remnants of red seal paste, w. 2‑1/4”, l. 2‑1/4”. [200/400]

129 Good Chinese Carved Celadon and Russet Jade Figure of a Cicada, 19th century, carved as a seated figure of the insect with back folded wings, the head with protuberant eyes and the front legs grasping a leaf, l. 2/1/2”. [250/400] Illustrated 130 Fine Chinese Carved White and Yellow Jade Group of Three Deer, 19th century, delicately carved as a female deer holding a ling-chih fungus in her mouth along with two fawns clustered around her, the white jade with a strong yellow section on the underside, l. 3”. [300/500] Illustrated

131 Unusual Chinese Carved Cream and Brown Jade Group, 19th century, carved as a brown hydra dragon with bifurcated tail confronting the head of a crane rising from below and holding a spray of ling-chih fungus in its mouth, l. 3‑1/2”. [300/500] Illustrated 132 Chinese Carved Olive and White Jade Fondling Piece, 20th century, carved in the form of an eggplant in olive colored jade with the white area carved in relief as three monkeys clamoring in a gourd vine with ling-chih fungus, h. 3”. [800/1200] 133 Chinese Carved Celadon and Brown Jade Fingering Piece, possibly Ming Dynasty (1368‑1644), carved in pale green and brown jade as a recumbent cat coiled in a resting pose and nibbling at its rear paws, l. 3”. [1400/1800] Illustrated 134 Chinese Carved Creamy Celadon Bi Disk, of circular form with central opening, carved in low relief on the face and reverse with bosses, the even colored stone with three russet riverings, dia. 5‑1/2”. [1800/2500]

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137 Chinese Carved White Jade Pendant, first half 20th century, of triangular outline carved and pierced as a bird nesting among foliage and flowers, h. 3‑1/8”, w. 2‑1/2”. [200/400] 138 Chinese Carved White Jade Pendant, carved in the form of a lock with pierced foliate decoration and enjoined twisted branches, h. 1‑7/8”, l. 2‑1/2”. [900/1200] 139 Fine Chinese Carved White Jade Pendant Plaque, first half 20th century, of rectangular outline, carved in relief with the figure of a dragon pursuing the “Flaming Pearl” surrounded by an openwork border of scrolling foliage, h. 2‑7/16”, w. 1‑3/4”. [250/400]

135 Provincial Chinese Hardwood Storage Chest, 19th century, the hardwood frame with two central doors and three drawers in the bottom, the front decorated with painted panels of figures and flowers bordered with a dentil border and two foliate-carved feet, h. 63‑1/4”, w. 65‑1/2”, d. 25”. [500/800] 136 Chinese Carved Creamy White Jade Pendant, 19th century, of circular form, carved as a central three-clawed dragon among swirling clouds and surrounded by a border of circles representing suns, dia. 3‑1/4”. [250/400]

140 Chinese Carved and Reticulated White Jade Plaque, 19th century, of rectangular form with notched corners, the center carved and reticulated with a scene of a bird among millet and flowers, h. 1‑1/2”, l. 3”. [150/300] 141 Large, Dramatic Chinese Rosewood and Applique Floor Screen, composed of a shaped plaque with jade applique of pomegranates and branches on a carved fretwork ground and bordered by jade Buddha’s Hand citrons, above a plaque of fine jade bats and a central Shou character on a cloud ground, the reverse with applied characters in boxwood above a cloud panel, all seated in a multi-level galleried stand, h. 58‑1/2”, w. 40‑1/2”. [18000/25000] Illustrated

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145 Chinese Carved Zitan Small Brush Pot, of squared outline with canted corners, each side with a panel carved in low relief with a horned dragon among scrolling clouds above a Flaming Pearl, h. 5”, w. 3‑1/2”, d. 3‑1/2”. [600/900] Illustrated

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144 Well Carved Pair of Chinese Boxwood Figures of Buddhistic Lions, 19th century, each carved in intricate detail depicting the figures seated on their haunches with elaborate manes, tails and fur, each with open mouths and black inlaid eyes, h. 4‑1/4”, l. 5‑1/2”. [700/1000] Illustrated

142 Chinese Carved Bamboo and Rosewood Brush Pot, 19th century, of canted rectangular outline, the bamboo body with rosewood rim and base, composed of four bamboo panels carved in low relief with figures positioned in idyllic landscapes, the panels on the canted corners carved with scrollwork dragons, h. 6‑1/2”, d. 5”, l. 6”. [600/900] Illustrated

146 Framed Chinese Assembled Embroidery Fragments, 18th century, composed of five pieces of embroidery, the central panel from a court robe depicting a five-clawed dragon in satin stitch above mountains and clouds surrounded by Buddhistic symbols in “Forbidden Stitch”, the four auxiliary panels depicting phoenix birds in flight, presented together in a linen-matted giltwood frame and glazed, h. 18‑3/4”, w. 26”. [400/700]

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143 Fine, Rare Chinese Carved Wooden Incense Burner and Cover, the globular body resting on three elephant shaped feet, having two lion head handles with loose rings and a domed cover with a lion finial, the body carved with reserve panels of rampant dragons and having a border of pierced ruyi heads, the domed cover with an encircling band of pierced phoenix heads and feathers, h. 8‑1/2”, jw. 10”. [1400/1800] Illustrated

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147 Good Chinese Partially Glazed Figure of a Tomb Attendant, Ming Dynasty (1368‑1644), modeled as the standing figure in green glazed informal robes on a hexagonal partially green glazed base, the head unglazed, wearing a conical hat and is removable, h. 16”. [700/1000] Illustrated

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148 Good Chinese Carved Coral Group, first half 20th century, carved in detail following the growth of the coral branches as a deity, her attendant and an eagle atop lotus flowers spewed out by fish among cresting waves, the coral of even color, fitted custom carved stand with silver wire inlay, h. 10‑1/4”, l. 7‑1/2”. [1800/2500] Illustrated 149 Large Chinese Celadon Serving Platter, Ming Dynasty (13368‑1644), of circular outline with raised rim and incised ribbed decoration, the red fired pottery glazed all over in a rich celadon glaze, dia. 13‑3/4”. Provenance: ex coll. Henry Stern Antiques, New Orleans, Louisiana. [300/500] Illustrated 150 Chinese “Egg and Spinach” Glazed Bowl, 18th century, of inverted bell shape with flared rim, glazed all over in green, brown and yellow spotted “egg and spinach” glaze, dia. 7‑1/2”. Provenance: ex coll. Henry Stern Antiques, New Orleans, Louisiana. [300/500] Illustrated 154

153 Chinese Carved Celadon Jade Wrist Rest, 19th century, the lightly mottled celadon colored stone of rectangular outline with in-curved scroll edges, carved in low relief with a sage on a bridge in a rocky landscape with a pine tree, flowers and clouds, w. 3‑1/4”, l. 7‑1/2”. [600/900] 154 Chinese Carved Celadon Jade Covered Box, 19th century, of cylindrical form with fitted cover, the body engraved with a continuous calligraphic inscription with a fretwork border at the top, the cover carved with a Shou character, wooden stand, h. 5”, dia. 3‑1/2”. [7000/10000] Illustrated 155 Chinese Famille Verte Figure of an Official, 18th century, the standing robed figure with fitted cap holding a lotus leaf in one hand and standing on an openwork plinth base, h. 10‑1/2”. Provenance: ex coll. Henry Stern Antiques, New Orleans, Louisiana. [200/400]

151 Rare Chinese Green Glazed Pottery Bowl, Han Dynasty (206 B.C.- A.D. 220), of circular form with interior ribbed decoration and rounded base, glazed all over in a green glaze with scattered patches of iridescence, dia. 5‑1/4”. [300/500] Illustrated 152 Chinese Famille Verte Porcelain Vase, 19th century, of cylindrical form, decorated with a continuous scene of acrobats entertaining officials in a garden setting, h. 7‑1/2”. [200/400] Illustrated

156 Large and Impressive Chinese Tomb Figure of a Camel, Tang Dynasty (618‑907 A.D.) and later, the pottery figure standing foursquare on a rectangular base, with raised alert head, clothed in a saddle blanket draped over its two humps, traces remaining of red and black painted decoration, h. 22‑1/4”, l. 19”. [900/1200] Illustrated 157 Exceptional Pair of Chinese Sancai Reverse-Glazed Figures, depicting Chinese tomb ware camels, Tang Dynasty (618‑917 A.D.), each standing foursquare on rectangular bases, the figures each with two humps, upturned heads, saddle blankets, incised hair details, curved tails and cloven hooves, one figure glazed in chestnut brown with straw-glazed accents, the other glazed in straw glaze with chestnut-brown accents, both figures with mottled three-color saddle cloths, each figure with bold dynamic presence, h. 21”, l. 16‑1/2”. Both figures have been thermoluminescence tested. [8000/12000] Illustrated

161 Fine Chinese Ivory and Rosewood Table Screen, 20th century, composed of a central arched ivory plaque delicately carved in low relief with nine dragons vying for the Flaming Pearl, the ivory inset in a rosewood plaque surrounded by fretwork, mounted in a fretwork frame and standing on a separate rosewood stand, h. 17‑1/4”, l. 16‑1/2”. [1400/1800] Illustrated

158

162 Chinese Carved Rosewood Brush Washer, late 19th century, carved in high relief as an in-curved lotus leaf with incised veins enclosing the figure of a crab, the edge decorated with lotus flowers, leaves, a bamboo stem and the figure of a snail, l. 10‑1/2”. [500/800] 163 Framed Small Chinese Portrait of an Ancestress, 19th century, executed in gouache on paper, depicting the wife of an official in court robes with rank badge and elaborate headdress seated on a draped horseshoe chair, matted, glazed and framed in a giltwood frame, h. 27”, w. 16‑1/2”. [600/900] Illustrated 164 Chinese Cinnabar Lacquer Covered Box and Tray, first half 20th century, the rectangular box carved with a lakescape top and dragons on the sides the fitted tray with a plain center and a border of dragons and Greek-Key edge, w. 6‑1/4”, l. 7”. [150/300]

161 158 Good Chinese Painted Terra Cotta Figure of a Horse, Han Dynasty (206 B.C.‑220 A.D.), in two parts, the strong terra cotta body mounted with detachable head, the body and head with traces of slip decoration, the head with redand white-painted decoration on the horse’s bridle, the original wooden feet lacking, h. 17”, l. 19”. [1000/1500] Illustrated 159 Two Chinese Painted Terra Cotta Burial Figures of Attendants, Northern Wei Dynasty (386‑534), each very well modeled with crisp details to clothing, each retaining most of their original painted details, some burial encrustation over dark gray bodies, h. 10‑1/2” and 11”. [500/800] 160 Good Chinese Partially Straw Glazed Tang Tomb Figure, (618‑907), molded as the standing figure of an attendant wearing a short tunic and standing on a flat base, the degraded straw glaze with a fine metallic iridescence, h. 8‑5/8”. [300/500] 163

165 Good, Large Chinese Lacquered and Painted Storage Cabinet, 19th century, the front and frame with a red lacquer ground, the sides and back in black lacquer, the front with two doors with “moon” hardware opening to reveal a shelf with two drawers and a sliding panel opening into a deep storage bay, the front elaborately painted with panel decoration of various antique vases and flowers in gold, black and silver lacquer and borders of Shou (Happiness) symbols, the black sides painted in gold lacquer with peonies within a shaped reserve, h. 74‑3/4”, w. 51‑1/2”, d. 21‑3/4”. Provenance: Blackamoor Antiques. Cabinets of this color and size are gifts given at weddings. [3500/5000] Illustrated

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167

171

168

166 Pair of Monumental Polychrome Floor Candlesticks, each of turned and bulbous form raised on a circular ebonized base, h. 50‑1/2”. [200/400] 167 Chinese Carved Agate Personal Seal, 19th century, carved as a rectangular column topped by a figure of a mythical beast with a leonine head having twin horns, cat-like feet and bifurcated tail, the stone of mottled red, brown and yellow colors, the body with engraved inscriptions and the base carved with seal characters, fitted brocade box, h. 3‑1/8”. [250/400] Illustrated

170 168 Chinese Carved Jade Figure of a Duck, 19th century, the olive and brown colored stone carved as the figure of a seated duck with back-turned head and holding a spray of ling-chih fungus in its mouth,l. 3”. [200/400] Illustrated 169 Chinese Carved Olive Colored Jade Figure of a Dragon, 19th century, carved as a mythical figure having a tortoise’s body with lion feet, feathered tail and a dragon’s head with a single horn and bearded chin, the olive colored stone with a yellow/ochre inclusion, l. 4‑3/4”. [400/700] Illustrated 170 Fine Chinese Carved Black Jade Studio Seal, dated 1879, by Wu Changshuo (1844‑1927), the black stone carved in square section topped with a rondel carved in relief as a kylin emitting vapor, h. 1‑7/8”, w. 2”, d. 2”. The inscription here translates: “LIke the wind encountering the flute [the wind] suddenly intuits it [the right note], and each [hole] responds with crystal notes or long base notes.” The passage discusses doing things naturally, not trying to force nature - a favorite Daoist theme. In this context, the sentence also has a political meaning: “Like the wind encountering the flute, [the ruler] suddenly intuits it [the proper thing to do], and each [subject] responds [accordingly] with noble or base actions.” The signature on the side translates as “Lunar third month 1879 / Canshi Wu Jun”. The year is given as Jimao, the sixteenth year in the sexagenary cycle; within Wu Changshuo’s lifetime, this would be the year 1879. Wu Changshuo (1844‑1927), who used courtesy names Changshuo and Cangshi (though his original name was Jun), was both a painter and seal carver. From the Anji district in Zhejiang province, he later lived in Shanghai. In calligraphy, he poured much effort into Shigu wen (Stone Drum writing). His training in calligraphy greatly influenced his painting and seal carving. His unique carving style was unsophisticaed and vigorous. [1200/1800] Illustrated 171 Good Chinese Carved Celadon and Russet Jade Figure of a Ram, 19th century, carved as a recumbent figure with upraised head with serrated horns and long beard, the celadon colored stone with russet inclusions at the rear, l. 3‑3/4”. [300/500] Illustrated

165

175

177 Chinese Carved Celadon Jade Covered Rouge Box, 19th century, of circular form with two flower and foliage handles, carved in low relief on the cover with a chrysanthemum and oval floral designs, the base carved in low relief with flowers, l. 3‑1/4”. [2000/4000] 178 Chinese Carved Celadon Jade Figural Group of a Poet, 19th century, carved in the round as the reclining poet with flowing beard holding a fan in one hand and a cup in the other hand, together with a monkey servant on rockwork holding a teapot ready to re-fill his master’s cup, l. 4‑1/2”. [500/800]

176

179 Chinese Carved Celadon Jade Quail-Form Box, carved as the seated figure of a quail with upturned wings and feathered body, the figure in two sections, the top lifting off to reveal the well polished interior, l. 5”. [700/1000] 180 Chinese Carved Olive Green Jade Pendant, 19th century, carved on both sides as the coiled figure of an archaic dragon biting its own tail, the body with incised details, the stone of olive green color, h. 3‑1/8”, w. 2‑3/4”. [200/400]

172 Chinese Oval Carved Jade Pendant, first quarter 20th century, of oval outline with silver metal bezel, the openwork plaque carved as the figure of a dragon, the stone of even light colored celadon jade, h. 3‑5/8”. [200/400]

181 Chinese Carved White Jade Plaque, first quarter 20th century, of shaped oval outline carved and pierced with a design of two confronting peacocks among flowers, foliage and rockwork, h. 2‑1/2”, l. 4‑3/4”. [150/300]

173 Chinese Carved Celadon Jade Pendant, late 19th century, carved and pierced of oval outline as a bird among lotus with flowers, seed pod, leaves and tubers, the celadon colored stone with russet inclusions, dia. 2‑1/4”. [150/300] 174 Chinese Carved Celadon Jade Flat Pendant, late 19th century, carved and pierced as a pheasant among foliage with a shaped border and topped by a prunus blossom among foliage, h. 3”, w. 3‑1/8”. [150/300] 175 Good Chinese Carved Cream Colored Jade Belt Ornament, 19th century, of rectangular outline, carved and reticulated with a central panel of a deer among foliage and having two end panels each with a Shou character surrounded by scrolling foliage, the reverse with two bars for threading through the belt h.2‑3/8”, l. 4‑7/8”. [400/700] Illustrated 176 Chinese Carved White Jade Fondling Pebble, 19th century, deeply carved on the face with two fan tailed goldfish swimming among lotus with leaves, flowers and seed pod, the back with etched design of lotus in a pond, l. 3‑1/8”. [400/700] Illustrated

182

182 Chinese Red Lacquered Money Table, early 19th century, the top having scrolled edges, the two upper drawers and apron below are decorated with carvings of flower and leaves, the sides with elaboratelycarved serpents, the money box front with a centrally carved double happiness symbol surrounded by four bats adorned by clouds, h. 34”, w. 31‑1/2”, d. 15”. [1000/1500] Illustrated

184 Framed Chinese Painting, after Yii Chih-Ting (1684), in ink and soft colors depicting a maid in a long-sleeved robe with cinched waist bringing a candle to her mistress, matted, glazed in a simulated bamboo frame, h.. 25‑1/2”, w. 18‑3/4”. Provenance: ex coll. Henry Stern Antiques, New Orleans, Louisiana. [50/80] 185 Good Pair of Chinese Jumu Horseshoe Chairs, mid‑19th century, each with a typical curved back terminating in out-turned ends, the shaped splat with low-relief carving of archaic dragons flanked by straight spindles followed by shaped spindles under the arms, the seat with a central panel of woven split bamboo over a shaped apron with a fretwork medallion at the front, the squared legs with rounded outer edges, joined by stretchers, h. 37‑1/2”. [1400/1800] Illustrated

186

183 Chinese Provincial Pine Altar Table, 19th century, the rounded rectangular top above a frieze fitted with two sliding doors opening to a single cupboard, raised on rounded square legs joined by front stretchers, h. 32”, w. 53”, d. 19‑1/2”. [400/700]

187

185 186 Monumental Chinese Finely Carved Teakwood “Spirit” Screen-in-Stand, the heavy wooden frame enclosing one solid panel carved in low relief with travelers and two intricately carved pierced panels, the central one with geometric carving, the upper panel with scrolling foliate decor, h. 81”, w. 29”. [500/800] Illustrated 187 Pair of Chinese Rosewood Side Tables, late 19th century, the serpentine square top with a conforming “dream marble” inset, above a shaped apron and outcurved legs joined by a stretcher shelf and terminating in flared feet, h. 31”, w. 20‑1/4”, d. 20‑1/4”. [600/900] Illustrated

192 Chinese Multi-Colored Glass Snuff Bottle, of flattened ovate form with opaque white glass body with abstract swirls of reddish/brown and grass green glass striations, h. 2‑1/4”. [300/500]

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191 188

190

188 Chinese Painted Pottery Tomb Figure of a Warrior, Han Dynasty (206 B.C.-A.D. 550), the standing figure clad in short tunic and pantaloons, one hand raised to hold a bow, the other at his side to hold a spear (both now lacking), red, cream and black patinated details, lucite stand, h. 19”, including stand. [1000/1500] Illustrated

193 Chinese Export Silver, Enamel and Carnelian Box, first half 20th century, the rectangular hinge lidded box with enameled, raised floral decoration, the top set with an oval carved carnelian cabochon, h. 2‑1/2”, d. 2‑5/8”, l. 4‑1/4”. [50/80]

189 Large Chinese Painted Pottery Figure of a Female Attendant, Han Dynasty (206 B.C.‑220 A.D.), modeled as the standing figure of a female attendant clad in an informal full-length robe with full sleeves, the body with white slip and red-painted details on the robe’s crossover closure at the front and banding on the sleeves, the calm expressive face detachable, the hands now lacking, h. 28‑1/2”. [2000/4000] Illustrated 190 Chinese Painted Pottery Tomb Figure of an Infantryman, Han Dynasty (206 B.C.-A.D. 220), the standing figure clad in a long tunic, one hand raised to hold a bow, the other at his side to hold a spear (both now lacking), red and black painted details, lucite base, h. 18”. [800/1200] Illustrated 191 Chinese Two Color Carved Agate Snuff Bottle, the gray translucent agate body with opaque black skin on one side deeply carved as an eagle and bear beneath a twisted pine tree, the reverse with an etched design of the moon among clouds and rockwork, fitted box, h. 3‑1/4”. [1200/1800] Illustrated

195

195 Peshawar Sultanabad Carpet, 8’ x 10’ 1”. [1200/1800] Illustrated 196 Semi-Antique Mahal Carpet, 8’ x 12’ 11”. [400/700] 197 Antique Persian Malayer Rug, 3’9” x 6’. [600/900] Illustrated 198 Turkish Angora Oushak Carpet, 10’ x 14’ 4”. [2500/4000] Illustrated

198 194 Chinese Carved White Jade Snuff Bottle, of flattened circular shape with mock ring handles, the face and reverse carved in low relief as a Chinese coin encircled by a bat, h. 2‑1/2”. [1000/1500]

200 199 Heriz Runner, 2’ 3” x 8’1 1”. [300/500] 200 Aubusson Tapestry, 5’5” x 6’4”. [1800/2500] Illustrated 201 Persian Serapi Carpet, 8’7” x 10’3”. [3000/5000] Illustrated 202 Persian Carpet, 5’ 3” x 6’ 4”. [400/700] 203 Persian Kerman Carpet, 8’1” x 12’. [3000/5000]

201

204 Pair of Uzbek Kazak Runners, 3’ x 10’ 8” x 3’ 1” x 10’ 7”. [900/1200] 205 Shiraz Carpet, 1’11” x 3’. [100/200] 206 Semi-Antique Heriz Carpet, 9’6” x 13’2”. [3000/5000] Illustrated 207 Continental Oak Armoire, late 19th century, the heavily molded cornice canted above a conforming foliate-carved frieze with corner portrait busts, over two long doors, each with four upper panels carved with portrait medallions centering scrolling dragon patterns and two lower linenfold panels, with a central engaged turned and carved upright, flanked to either side by canted urn and foliate uprights, raised on block feet, h. 109”, w. 69”, d. 23”. [6000/9000] Illustrated

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210

206 208 R. Fugerio (Italian, 20th Century) “Two Monks in the Kitchen”, oil on canvas, signed upper right “R. Fugerio”, 11‑1/4” x 15‑1/4”. Presented in a giltwood and gesso reticulated frame. [300/500] 209 R. Fugerio (Italian, 20th Century) “Young Boy Helping an Old Man Light his Pipe”, oil on canvas, signed upper left “R. Fugerio”, 11‑1/4” x 15‑1/4”. Presented in a giltwood and gesso reticulated frame. [300/500]

215

216

214 After Bartolome Esteban Murillo (Spanish, 1618‑1682) “Saints Justa and Rufina”, second quarter 19th-century oil on canvas, unsigned, 41” x 32‑1/2”. Presented in a handsome giltwood frame. In 1665, Murillo was commissioned by the Church of the Capuchins to paint the patron saints of Seville, St. Justa and Rufina. The sisters lived in Seville during the Roman Empire and were famous for their fine earthenware pottery. When they refused an order for pagan ritual implements from a Roman priest, they were martyred in Seville around the year 286 A.D. [1800/2500] 215 Fine and Rare Greek/Italian Skyphose, ca. 300 B.C., the pottery body of inverted bell form with two loop handles and resting on a rope foot, the body glazed in a black glaze with degradation and burial encrustation, l. 5‑5/8”. [600/900] Illustrated 216 Large Murano Glass Vessel, second quarter 19th century, with an irregular polished rim, applied handle and unground pontil, the glass with numerous internal bubbles, inspired by ancient glass, h. 17‑1/2”. [300/500] Illustrated 217 Italian Polychromed and Parcel-Gilt Looking Glass, late 18th century, in the Louis XV taste, the top with a central cabochon and foliate crest mounted to a faux marbre frame, the liner carved and gilded with intertwined floral swags, h. 50”, w. 35”. [1500/2500] Illustrated

217

210 Good Continental Carved and Painted Statue of a Pope, mid‑19th century, carved as a standing bearded figure wearing a papal tiara and open cape over a draped surplice, the figure with outstretched hands, one holding an orthodox cross crozier, the body with painted details and rubbed gilding, h. 14‑1/2”. [300/500] Illustrated 211 Italian School (Late 18th/Early 19th Century) “The Penitent Magdalene”, oil on canvas, unsigned, 35‑1/2” x 27‑1/2”. Presented in a contemporary giltwood frame. [600/900] 212 Dutch School (Contemporary) “Crown of Thorns”, patinated bronze, signed “Douwe”, numbered “3/25”, h. 16‑1/2”. [900/1200] 213 Carved Ivory Orb, fourth quarter 19th century, opening to reveal detailed carvings, probably of religious scenes, h. 1‑1/2”, w. 2‑1/4”, d. 2”. [100/200]

218 Continental Polychrome and Marble-Top Center Table, the circular verde antico marble top above an acanthine-carved bulbous standard to four splayed scrolling legs ending in in-scrolled toes, h. 31”, dia. 54”. [1000/1500] 219 After Peter Paul Rubens (Dutch, 1577‑1640) “Elevation of the Cross”, oil on canvas, inscribed lower center in Spanish, signed lower right “D.V. Najer”. Framed. [500/800] 220 Striking Wrought-Iron and Rock Crystal EighteenLight Chandelier, in the Louis XV taste, of monumental size and cage form, the double-foliate scroll arms each dressed with three magnum rock crystal drops, the canopy arms each with a matching magnum rock crystal drop as is the crown, electrified and fitted with faux candles, h. 70”, dia. 59‑1/2”. [2000/4000]

227

223

224 Diminutive Pair of Northern European Gilt-Bronze Tripodal Sweetmeat Stands, first quarter 19th century, the circular bowls slightly concave, the whole supported on boldly modeled paw feet, h. 3‑3/8”, dia. 3‑3/4” [200/400] 225 Continental Oak Coffer, 18th century, the planked rectangular top opening to a void interior, the front tripaneled, each panel with carved stylized foliate patterns, the sides also paneled, with two lower drawers, each with a like-carved front, raised on block feet, h. 29”, w. 49”, d. 29”. [500/800] Illustrated

221 Striking Wrought-Iron and Rock Crystal EighteenLight Chandelier, in the Louis XV taste, of monumental size and cage form, the double-foliate scroll arms each dressed with three magnum rock crystal drops, the canopy arms each with a matching magnum rock crystal drop as is the crown, electrified and fitted with faux candles, h. 70”, dia. 59‑1/2”. [2000/4000] 222 Tall Pair of Brass Tripodal Single-Light Candlesticks, each with a large circular candleholder mounted to a tapered fluted column and triangular footed base with embossed portraits, h. 31‑1/2”. [300/500] 223 Elaborate Louis XVI-Style Cast-Bronze Double Inkwell, late 19th century, the front having a hinged lid opening to a storage cavity, and a pen tray behind, a lidded ink well on each side and flanked by candle holders at the rear corners, now electrified, h. 13”, w. 18”, d. 7‑1/2”. [700/1000] Illustrated

226 Italian Mahogany Pedestal, late 19th century, the circular top with a molded edge raised on a turned vasiform standard featuring a carved maiden’s head, the whole raised on a molded circular base, h. 35‑1/2”, dia. 13”. [300/500]

225

232 Continental Mixed Metal and Enamel Tazza, third quarter 19th century, in the Neo-Grec style, the enamel center with a stylized anthemia and florals in panels, against a gold washed interior, a silvered rim molded in the Greek taste and a lobed and acanthus-leaf base finished in copper, all supported by Neo-Grec handles, h. 7‑1/2”, dia. 15”. [1200/1800] 233 Continental Oak Coffer, 18th century, the hinged rectangular top opening to a storage interior fitted to one side with a hinged compartment, the front carved in various geometric patterns, the sides paneled, raised on block feet, h. 33”, w. 52‑1/2”, d. 21/1/2”. [700/1000] 234 Continental School (Fourth Quarter 19th Century) “View of a Riverside Village with Figures Walking on a Snow Covered Road”, oil on canvas, unsigned, 26‑1/2” x 39‑1/2” Handsomely framed. [400/700] 235 Continental School (Early 20th Century) “View of a Busy Market Near a Gothic Cathedral”, watercolor on paper, initialed lower right “SP”, sight 24” x 19‑1/2”. Glazed, handsomely matted and framed. [400/700] 228 227 After Rembrandt Van Rijn (Dutch, 1606‑1669) “Joseph and Potiphar’s Wife”, black and white etching, signed and dated in plate “Rembrandt 1634”. Glazed, attarctively matted and framed. Provenance: Purchased by the present owner from The Bonfoey Gallery, Cleveland, OH. [3000/5000] Illustrated 228 After Albrecht Durer (German, 1471‑1528) “The Entombment”, copperplate engraving from “The Engraved Passion” series, initialed and dated in plate “AD 1512”. Glazed, attractively matted and framed. Provenance: Purchased by the present owner from The Bonfoey Gallery, Cleveland, OH. [2000/4000] Illustrated 229 French Bronze Figure of a Knight on Horseback, first quarter 20th century, with carefully delineated detail showing his spear, chain mail, shield and helmet, all in a dark brown patina on a later base, h. 12‑3/4”, w. 12‑1/2”, d. 5‑1/4”. [300/500] 230 Italian Oak Savanarola Armchair, early 19th century, the padded rectangular back joined by shaped arms to the cushioned seat, raised on an “X”-form base centered by a carved floral medallion, h. 35”. [400/700] Illustrated 231 After Frans Pourbus the Younger (Flemish, 1569‑1622) “Portrait of Maria de Medici”, oil on panel, signed lower left “W. Tomson”, 16” x 12”. Presented in a giltwood and gesso frame. [500/800]

230

236 Follower of Salvator Rosa (Italian, 1615‑1673) “Figures in a Landscape with a River and Ruins of a Gothic Church”, oil on canvas, unsigned, 21” x 23”. Presented in a Louis XVI-style giltwood and gesso frame. [1800/2500] Illustrated 237 Diminutive Regence-Style Mahogany Bombe Commode, first quarter 20th century, the rectangular top with a molded edge over an acanthine-carved frieze, above a case fitted with three graduated long drawers, flanked on both sides by acanthine carving, over a serpentine foliateand C-scroll-carved skirt, raised on cabriole legs, h. 23‑1/2”, w. 29”, d. 15‑1/2”. [150/300] 238 Tall Pair of Italian Candlesticks, in the balusterform, turned and polychromed, h. 26”. [125/250]

236

240

239 Good Swiss Oak and Polychrome Occasional Table, mid‑19th century, by Clement Sesti, Interlaken, Canton Bern, the tilting circular top with a carved foliate edge and centered by a scene of an Alpine waterfall, surrounded by carved grapevine banding and further surrounded by a band of cartouches, each featuring a polychrome maiden dressed in various folk garb, raised on an acanthine-carved standard to three splayed and foliate-carved C-scroll legs ending in in-scrolled toes, the underside bearing the label “At the Temple of Minerva/ Clement Sesti at Interlaken”, h. 30”, dia. 31”. Italianborn Clement Sesti (1807‑1888) was a noted purveyor of carved wooden figures and furniture in Interlaken. The Third Swiss Industrial Exhibition of 1857 records his showing of several carved suites and boxes, and he is listed as a must-see Interlaken attraction in an 1866 guide book. An active member of the Catholic Church, he was awarded the Cross of the Order of St. Gregory in 1879. [1200/1800]

242

240 Continental Oak Coffer, 18th century, the hinged rectangular top tri-paneled and opening to an open storage space, the front tri-paneled with arch carvings within guilloche bands raised on plank feet, h. 24‑1/2”, w. 46‑1/2”, d. 21‑3/4”. [1500/2500] Illustrated 241 Pair of Gilt-Brass Plant Stands, early 20th century, in the Renaissance taste, each with a circular floral reticulated top supported by scrolling supports headed by dolphin’s heads and ending in paw feet, h. 24”, dia.12‑1/2” [200/400]

243 Italian School (Fourth Quarter 18th Century) “Attempt at Rescuing a Country Cottage from a Fire”, oil on panel, unsigned, 14” x 10‑5/8”. Presented in a hardwood frame. [150/300] 244 A German KPM Painted Porcelain Plaque first quarter 20th century, of two children in early 19th century dress sharing a book, sight 7‑1/2” x 5‑1/4”. Oval matted and presented in a ebonized frame. [1500/2500] Illustrated 245 A German KPM Painted Porcelain Plaque first quarter 20th century, depicting three children at mealtime, signed “S. Zahm, 1922”, impressed with a “KPM” and the sword and scepter mark, sight 6‑1/2” x 8”. Matted and framed. [2000/4000] Illustrated

245

246 A German KPM Painted Porcelain Plaque fourth quarter 19th century, depicting a young girl leaning on a Victorian chair, signed by Josef Ahne (1830‑1909), impressed “KPM “ with the sword and scepter mark and an “8”, sight 4‑1/4” x 5‑3/4”. Matted and framed. [800/1200] Illustrated 247 Mettlach Stoneware Jug, last quarter 19th century, molded in renaissance motifs and glazed in blue, terracotta and brown, marked with impressed “Mettlach” stamp, h. 5‑1/2”. [75/125]

246 242 Italian Walnut Settee, late 18th century, the padded rectangular back within a foliate-carved frame centered by a foliate and basket, joined by downswept arms to the cushioned seat, raised on tapering circular fluted legs ending in toupie feet, h. 38”, w. 70”, d. 23”. [2500/4000] Illustrated

244

248 Continental Walnut Center Table, second quarter 19th century, the circular top with a highly figured sunburst veneer, raised on a turned and reeded vasiform base to three legs, each headed by a masque carving and ending in paw feet on casters, h. 29”, dia. 41”. Provenance: Blackamoor Antiques. [2500/4000] Illustrated

254

249 Pair of Italian Walnut and Mahogany Parquetry Commodes, early 20th century, in the Louis XV taste, each with a shaped rectangular top above a conforming bombe case fitted with two drawers, the case entirely inlaid in a parquetry lattice pattern, raised on cabriole legs ending in sabots, h. 28‑1/2”, w. 21‑1/2”, d. 14‑1/2”. [1200/1800] Illustrated 250 Inlaid Stone Box, clad in Lapis Lazuli inset with contrasting stones in notched squares and rectangles on the cover and floral patterns in corresponding stones around the sides, h. 1‑3/4”, w. 6”, d. 4‑1/4”. [400/700]

248

251 Italian Pietra Dura Plaque, third quarter 19th century, of birds perched on a bowl of water, one with his reflection in the water as he drinks from the bowl, the whole is executed in fine inlaid stones, w. 7”, d. 5”. [125/250] 252 Flemish School (Third Quarter 18th Century) “Figures Visiting in a Landscape with a Hamlet”, and “Two Figures Picnicking on a River Bank with a View of a Town”, pair of oils on copper, unsigned, 4” x 5‑1/4”. Presented in oval giltwood frames. [150/300]

249 253 Italian Gilt-Brass Altar Stick, late 19th century, now converted to a floor lamp, the stick with a turned and fluted standard to a tripartite base, each of the three sides with a portrait bust, raised on scrolled toes, with a burlap and embroidered drum shade, h. 67‑1/4”. [300/500] Illustrated

253

258 Settimio Giampietri (Italian, 1852‑1924) “Portrait of Two Fashionable Ladies in a Renaissance Interior”, watercolor on paper, signed lower right “S. Giampietri, Roma, 1882”, 28” x 19‑1/2”. Glazed, matted and presented in a giltwood and gesso frame. [1000/1500] Illustrated

258 254 Monumental Pair of Patinated Brass Two-Handled Tree Tubs, in the Louis XIV style, the handles modeled as pensive putti perched on palm fronds surmounting ringed lion masques, the shoulders with haut-relief floral garlands, h. 31”, w. 34”. [1800/2500] Illustrated 255 Continental Glass Shell Dish, first quarter 20th century, enameled with grasshoppers, wheat and flowers, the crackled glass with a slight gold color, h. 4‑1/4”, w. 10‑1/2”, d. 8”. [600/900]

256

256 German KPM Painted Porcelain Plaque, fourth quarter 19th century, titled “Vision”, after Cornelius Ritter Von Max (1840‑1915), impressed with “KPM” and the scepter mark, sight 7” x 9‑3/4”. Framed. [3000/5000] Illustrated 257 German KPM Painted Porcelain Plaque fourth quarter 19th century, depicting an amorous couple in a gondola rowed by cupid, signed with an impressed KPM sword and scepter mark and “824”sight 8‑3/8” x 5‑5/8”. Framed. [3000/5000] Illustrated

257

259 Continental Walnut and Burlwood Center Table, in the Louis-Philippe taste, the circular top quarter veneered and with a series of floral- and foliate-inlaid bands, raised on a fluted and palmetto-carved giltwood standard to a concave tripartite base with applied palmettos, raised on ebonized block feet, the base with gilt accents, h. 31”, dia. 58‑1/2”. [1500/2500] Illustrated

264

260 Pair of Gilt-Lacquered Tubular and Wrought Metal Five-Light Appliques, 20th century, in the Italian Neoclassical taste, each with a tubular stem mounted with two over three S-form arms and mounted with wrought flower and foliate with vine swags, h. 31”, w. 18‑1/2”, d. 7‑3/4”. [300/500]

261

263 262

261 Pair of Neoclassical-Style Malachite Obelisks, each of traditional four-sided spire form on a square base with raised panels, h. 9‑7/8”. [1400/1800] Illustrated 262 Hexagonal Malachite Dresser Box, the lift top with wedged panels, h. 1‑5/8”, w. 2‑5/8”, d. 2‑5/8”. [400/700] Illustrated

259

263 Italian-Style Wrought Iron and Marble-Top Center Table, the circular Carrara marble top with an inset specimen marble floral band, with an inner band of a gilt alphabet, the letters all amusingly formed of masks, raised on a base of three scrolling supports with foliate and gilt floral accents, raised on spherical feet, h. 30”, dia. 39‑1/2”. [700/1000] Illustrated

268 Empire-Style Mahogany and Marble-Top Side Table, mid‑19th century, the rectangular cream marble top above a conforming frieze fitted with a single drawer, raised on ormolu-mounted lyre-form supports, joined by a bulbous stretcher and ending in block feet, the whole richly ornamented and with ormolu mounts in wreath, patera and other Empire motifs, h. 34”, w. 50‑1/2”, d. 23‑1/4”. [7000/10000] Illustrated 269 Twelve Bavarian Service Plates, second quarter 20th century, with a raised silver border in neoclassical patterns, along with flat silver florals on an ivory background, signed by: “Heinrich and Co., SEB, BAVARIA, GERMANY”, dia. 10‑3/4”. [400/700] Illustrated

269

267

264 Pair of Italian Giltwood Looking Glasses, early 20th century, the rectangular plate with an annulated slip and within an elaborately scrolling foliate frame, h. 19”, w. 14”. [400/700] Illustrated 265 Italian School (First Quarter 20th Century) “Courtyard of a Renaissance Palace”, watercolor on paper, signed lower right “A. Eopifani”, sight 25‑1/2” x 37”. Glazed and presented in a giltwood and gesso frame. [500/800]

266 Continental School (20th Century) “Moonlit View of Fishermen Returning to Shore”, oil on masonite, unsigned, 2‑1/2” x 34”. Framed. [300/500] 267 Empire-Style Mahogany Looking Glass, early 20th century, the beveled rectangular plate surmounted by a pyramidal pediment and flanked to either side by ormolu-mounted uprights, h. 67”, w. 42”. [1200/1800] Illustrated

268

274 Continental Rouge Marble and Patinated-Bronze Encrier, fourth quarter 19th century, in the beaux-arts style, the patinated bronze female bust flanked by inkpots retaining their porcelain lines, with a pen tray in front, h. 8”, w. 12”, d. 5‑3/4”. [400/700] 271

275 Empire-Style Mahogany Dressing Mirror, third quarter 19th century, the domed crest with ormolu floral urn finials, above a double-tiered frieze with projecting ends, the rectangular plate within a patera-mounted frame and flanked to either side by engaged ormolu-mounted ebonized columns, over three short drawers, the concave base fitted with three drawers and raised on paw feet, the whole with decorative ormolu mounts and inlaid-brass stringing, h. 52”, w. 28‑1/2”, d. 14‑1/2”. [1500/2500] Illustrated

270 thirty-seven pieces

270 Thirty-Seven Piece Set of Scandinavian Hand-Blown, Cut and Gilded Stemware in the Anglo-Irish Style, second quarter 20th century, consisting of twelve water glasses, twelve red wine glasses and thirteen white wine glasses, all cut in a pattern of alternating clear and frosted checks, supporting gilt bellflowers, water goblets h. 6‑1/4”, dia. 3‑1/4”, red wine glasses h. 5‑3/8”, dia. 2‑1/2”, white wine glasses h. 4‑3/4”, dia. 3‑3/8”. [2000/4000] Illustrated

273

271 Opulent Regency-Style CastBrass and Alabaster Chandelier, of large scale, with a band of six arms above a lower band of twelve arms and a bowl-form alabaster globe beneath each tier, electrified, h. 56”, dia. 43”. [1500/2500] Illustrated 272 Empire Mahogany and GraniteTop Center Table, early 19th century and later, the circular charcoal granite top above a conforming plain frieze, raised on ormolu-mounted columnar supports joined by a concave tripartite base, h. 27‑1/2”, dia. 32”. [2000/4000] Illustrated 273 Neoclassical-Style Marble Pedestal, the circular French Black marble top raised on a standard of speckled tan and gray marble ending in a molded base on a French black marble plinth, h. 40”. [800/1200] Illustrated

272

276 Round Classical Revival Brass Jardiniere, fourth quarter 19th century, sitting on paw feet with a lobed mid-rib and a top border of medallions alternating with horizontal ribbing, h. 12”, dia. 14‑1/2”. [150/300]

275

282

280 After Luigi Rossini (Italian, 1790‑1857) “Veduta dell Interno del Tempeo della Concordia nel Foro Romano” and “Altra Veduta del Tempio della Sibilla in Tivoli”, pair of etchings, published by Sidney Z. Lucas in 1957, both sight 19‑1/2” x 24”. Glazed, matted and presented in matching frames. [500/800]

277 Pair of Third Republic Bronze Four-Light Candelabras in the Neo-Grec Taste, first quarter 20th century, each with three arms and a central light, the candle cups with anthemion decor, the columnar standard in foliate decor, on a tripodal base with leaf and scroll accents, the legs on clover feet, h. 20‑1/2”. [250/400]

279 278

278 Neo-Classical Brass Floor Lamp, the columnar standard in the form of a floral Corinthian column, raised on a tiered square base to paw feet, with a custom ebonized and gilt-edged shade, h. 66”. [600/900] Illustrated 279 Pair of Neoclassical-Style Variegated Deep Green Scagliola Pedestals, each fluted column resting on a square black scagliola base, h. 45‑1/2”, dia. 15‑1/4”, base 19‑1/2” square. [2000/4000] Illustrated

281 Empire-Style Mahogany Center Table, mid‑20th century, the circular top rotating around a central recessed center section, within a pierced brass banding, raised on a tapering columnar standard to a molded circular base, h. 19”, dia. 30”. [600/900]

287

282 Pair of Empire-Style Mahogany Occasional Tables, mid‑20th century, each with a quarter-veneered circular top with inset ormolu annulated banding and a foliateapplied edge, raised on a tapering columnar standard to a like inset circular base, h. 27‑3/4”, dia. 19‑1/2”. [1200/1800] Illustrated previous page 283 Pair of Neo-Classical-Style Faux Marble and Ebonized Pedestals, each with a stepped square top and molded frieze, the square standard to a gilt acanthine banded plinth base, the backs open, h. 32”, w. 20”, d. 20”. [1500/2500]

284 Continental Neoclassical Mahogany Tub Chair, second quarter 19th century, the shaped and molded downswept padded back and arms continuing to the padded seat, raised on shaped saber legs ending in casters, h. 32”. [250/400]

285

285 Pair of Restauration Gilt-Lacquered and PatinatedBronze Candlesticks, second quarter 19th century, each with a single candle cup on a fluted standard with Corinthian capital, on a tripodal base with paw feet on a plinth base, h. 13”. [1500/2500] Illustrated 286 Neoclassical-Style Gilt-Metal Bottle Holder, first quarter 20th century, containing three molded pink bottles engraved with vines and topped with gilt-metal ball stoppers, the base is decorated with Napoleonic wreaths alternating with dancing maidens and torches, h. 11”, dia. 5”. [700/1000] Illustrated

287 Empire-Style Mahogany Dressing Table, third quarter 19th century, the oval mirror within an ormolu ribbon garland applied frame and with a swan’s neck form support, over a rounded rectangular dished Carrara marble top above a single frieze drawer, raised on exaggerated cabriole legs joined by an “H”-form stretcher and ending in casters, the whole with decorative ormolu mounts, h. 59”, w. 31‑1/2”, d. 18‑1/2”. [1500/2500] Illustrated

286

290 Directoire Mahogany Writing Table, late 18th century and later, the rectangular top with a slanted leather inset surface, hinged and opening to an open interior, one side fitted with an unusual hinged doublecompartmented drawer, joined by columnar uprights to two lower galleried rectangular shelves, raised on tapering circular legs, h. 31”, w. 22”, d. 14”. [700/1000] 291 Pair of Charles X Mahogany Bergeres, mid‑19th century, each with a padded rectangular back surmounted by a plain crest, joined by closed arms on dolphin uprights to the padded seat, raised on sabre legs, h. 36‑3/4”. [1800/2500]

288

292

292 Neoclassical Six-Light Chandelier in the Swedish taste, with six gilt decorated cobalt hurricane shades held in sockets on brass arms above a shallow cobalt bowl and supported by three cobalt glass clad arms, dia. 34”. [1500/2500] Illustrated

288 Continental School (Fourth Quarter 18th Century) “Italianate Landscape with a Shepherd and His Flock on a Track by a Lake”, oil on canvas, unsigned, 45” x 51”. Presented in a contemporary giltwood frame. [1500/2500] Illustrated 289 Empire-Style Polychrome Trumeau Mirror, early 20th century, the molded cornice above a frieze with a carved gilt urn issuing scrolling foliate patterns, the rectangular plate flanked to either side by stop-fluted uprights, h. 81”, w. 51‑1/2”. [1500/2500] Illustrated

289

296 Empire-Style Giltwood Trumeau, third quarter 19th century, the upper portion featuring an oil on canvas scene of a mounted Napoleon greeting an officer, the lower portion mirrored, all within a ribbon-molded frame, h. 60”, w. 28‑1/2”. [2000/4000]

296

299

293 Directoire-Style Giltwood and Ebonized Pedestal, early 20th century, the circular top above a dentillated and patera-carved frieze, raised on iron supports joined by X-form vertical stretchers, with gilt floral accents, to a molded circular base with scroll feet, h. 44‑1/4”, dia. 14”. [800/1200] Illustrated 298 294 Louis-Philippe Mahogany and MarbleTop Console Table, mid‑19th century, the rounded rectangular bleu Turquin marble top above a conforming frieze fitted with a single drawer, joined by banded scrolling supports on paw feet to a concave stretcher shelf, the whole raised on ebonized paw feet, h. 38”, w. 42”, d. 17”. [1400/1800] 295 Empire-Style Gilt-Bronze and MarbleTop Occasional Table, the circular Verde Antico marble top above a conforming pierced palmetto frieze, raised on tubular ribbed legs joined by a tripartite stretcher and ending in lotus-patterned toupie feet, h. 32”, dia. 16‑3/4”. [800/1200]

297

293

300

301 Good Louis XVI Mahogany Settee, fourth quarter 18th century and later, the padded, slightly domed back and outscrolled arms joined to the padded seat, raised above the reeded ormolu-applied apron on fluted, tapering, square legs ending in block feet, h. 38”, w. 68”, d. 26”. [1500/2500] Illustrated 302 Italian Vasiform Turned and Polished Russet Onyx Table Lamp, h. 15‑3/4”. [300/500] 303 Neoclassical Print of Soldiers in Classical Dress, third quarter 19th century, printed in attic red on a black background surrounded by classical guilloche, matted and framed in mirrored panels, faux marbled in attic red, w. 23”, l. 31”. [300/500] Illustrated

297 Gilt-Brass-Mounted Sevres-Style Porcelain Rectangular Octagonal Sweetmeats Box, in the First Empire style, fourth quarter 19th century, the grassgreen ground with raised gilding, the lid centered with an oval gilt reserve of a crowned Napoleonic “N”, the base of the box with pseudo-Sevres mark in rouge-de-fer of “M. Imple/de Sèvres/#”, h. 1‑1/4”, w. 3”, d. 2‑1/2”. [100/200] Illustrated 298 Porcelain Figure of Napoleon Bonaparte, in the famous pose with his hand in his waistcoat and his eyes downcast, standing on a plinth marked “Napoleon” and trimmed in gilt, h. 9‑1/4”. Provenance: The Estate of Tamara de Lempicka (1898‑1980). [100/200] Illustrated 299 Napoleanic Document Dated 9 September 1814, From Napolean Bonaparte to Baron Jermanowski, urgently ordering him to raise men from his battalion to board the ship Inconstant to give chase to Berber pirates. The emperor specifies that the ship should be manned with one officer; two sergeants; four corporals; one drummer and twenty-four cavalrymen, noting that men should be selected that do not suffer from sea sickness. The document bearing Napolean’s signature together with an engraved portrait of Napolean, matted and framed, h. 9”, w. 7‑1/8”, document, h. 14‑1/4”, w. 14”, overall. [2500/4000] Illustrated

303

301

300 Pair of Empire-Style Mahogany Fauteuils, late 19th century, each with a padded square back within a molded frame, joined by flat foliate-carved arms and gilt winged swan uprights to the padded seat, raised on tapering square legs ending in gilt paw feet, h. 35”. [1200/1800] Illustrated

307

306 Charles X Mahogany Library Table, second quarter 19th century, the highly figured oval top quarter-veneered and above a frieze fitted with a single long drawer, raised on end supports each with two ormolu-mounted columnar standards, joined by a turned stretcher and ending in runner feet, h. 30‑1/2”, d. 28”, l. 71‑1/4”. [1500/2500] Illustrated 307 Pair of Louis XVI Kingwood and Marble-Top Encoignures, late 18th century, each with a triangular Paloma marble top with shaped front corners, above a conforming case fitted with a single quarter-veneered and banded cupboard door, flanked to either side by a chevron-veneered panel and inlaid fluting, the whole raised on block feet, h. 33”, w. 29”, d. 20”. [2000/4000] Illustrated

308 Irridescent Gold Art Glass Vase first quarter 20th century, of baluster form, decorated with a neoclassical head and gilt laurel wreath, signed “Loetz, Austria”, h. 8‑1/2”. [300/500]

304

310

304 Henri Louis Levasseur (French 1853‑1934), “Futurum”, ca. 1900, a patinated bronze figure of a classical beaury with a gown draped at her waist, holding up an inscribed book, h. 24”. [1500/2500] Illustrated 305 After Etienne Henri Dumaige (French, 1830‑1888), “Tambourine Girls”, 20th century, a patinated bronze group of two dancing nymphs, one with a tambourine raised aloft, each attired in a flowing gown, presented on a circular marble base with bronze plaque inscribed “Dumaige”, h. 26”. [1000/1500]

306

309 Continental Oak Occasional Table, late 19th century, in the Biedermeier taste, the oval top with a full gallery, raised on a simple standard to a graduated rectangular base, h. 25”, w. 19‑1/2”, d. 15”. [75/125] 310 Biedermeier Walnut Hall Bench, mid‑19th century, of box form, the shaped and padded back surmounted by a floral feathered crest, the padded sides surmounted by inlaid floral garlands, the seat raised above an inlaid frieze on tapering circular legs headed by lotus carving and ending in toupie feet, h. 39”, d. 19‑1/2”, l. 68‑1/2”. [1200/1800] Illustrated

311

315

311 French Brass-Mounted Rosewood and Marquetry Mantel Clock, fourth quarter 19th century, of “portico” form in the Dutch taste, the dial engine turned with russet Roman chapters, retaining the gilded “Roman rosette” pendulum of weighted brass, h. 30‑3/4”, w. 10”, d. 5‑1/2”. [700/1000] Illustrated

312 Charles X Walnut Bergere, mid‑19th century, the tall padded rectangular back surmounted by a curved crest, joined by closed arms to the padded seat, raised on saber legs, h. 48”. [600/900] 313 Unusual Scandinavian Looking Glass, second quarter 19th century, composed of reticulate-sawn and parcel-ebonized fruitwood, the bipartite plate lancet arched, the ebonized corner blocks centered with carved fleurettes, the lower plate broadly beveled throughout, h. 72‑1/2”, w. 29”. [700/1000] 314 Sevres-Style Inkstand, fourth quarter 19th century, in the form of a swan with a molded putti knop molded in biscuit, marked “M. Imp-de Sevres” in rouge-defer block hand-painted script, h. 3‑7/8”, w. 5‑3/4”. [150/300]

319

316

315 Biedermeier Walnut Work Table, second quarter 19th century, the canted rectangular top quarter-veneered and opening to a variety of lidded compartments centering a central storage section, raised on a waisted paneled standard issuing scrolling patterns to the shaped base on stylized hoof feet, h. 29”, w. 21‑3/4”, d. 16”. [800/1200] Illustrated

316 Pair of Empire Patinated and Burnished Bronze Figures of the Capitoline Lioness, second quarter 19th century, each recumbent and mounted to a red quartzite marble base, h. 5”, w. 9‑1/2”, d. 3”. Provenance: The Collection of Gianni Versace (New York: Sotheby’s Sale NY 7607, April 5‑7, 2001), lot #326. [800/1200] Illustrated previous page

323 322

321

317 Napoleon III Sienna Marble and Patinated Bronze Clock, third quarter 19th century, in the Restauration taste, the base and molding in bronze, the dial enameled, h. 15‑1/4”, w. 9‑1/2”, d. 4‑1/2”. [500/800] 318 Charles X Elmwood Writing Table, mid‑19th century, the rounded rectangular top with a painted decorative banding surrounding an elaborate scrolling foliate design, above a conforming frieze fitted with a pull-out slide to either end and three small drawers to one side, raised on ebonized curule-form end supports headed by ormolu capitals and joined by a turned stretcher, h. 32‑1/4”, w. 37‑1/4”, d. 23‑1/2”. [700/1000]

325

324

319 Pair of Louis XVI-Style Fruitwood and Marble-Top Center Tables, mid‑20th century, each with a circular Verde Antico marble top within a brass banding, above a conforming frieze, joined by tapering square supports, headed by ormolu pharonic heads, to an annulated tripartite stretcher, the whole raised on splayed legs ending in sabots, h. 29‑3/4”, dia. 27”. [3500/5000] Illustrated previous page

326 320 Continental Neoclassical Fruitwood Commode, second quarter 19th century, the rectangular top above a conforming case fitted with a single frieze drawer over three recessed long drawers, raised on ebonized paw feet, the whole with ormolu accents, h. 34”, w. 44‑1/2”, d. 19‑3/4”. [800/1200] 321 Delicately Decorated Pair of Octagonal Chinese Export Plates, 18th century, each sparsely decorated with a central design of a cowherd and water buffalo with calf on an outcrop, willow trees and flowers, scrolling foliate border, dia. 8‑3/4”. [600/900] Illustrated

332 334

333

331

322 Two Chinese Famille Rose Porcelain Standing Figures, 20th century, each depicting a figure dressed in brocade robes and official caps and holding a child at the shoulder, each figure with a flowing beard, one with implanted horse hair, h. 18” and 18‑1/2”. [700/1000] Illustrated 323 Chinese Famille Rose “Hundred Deer” Vase, 20th century, of Hu form, with antlered deer head handles, the body decorated with a continuous scene of deer in a pine forest with rockwork and high peaked mountains in the background, the base with a six-character Qianlong reign mark in red within a double lined square, h. 14”. [2000/4000] Illustrated 324 Elaborate Chinese Famille Rose Porcelain Model of a Dragon Boat, third quarter 19th century, the body modeled as a dragon with horned and bearded head and curved tail supporting a multi-tiered pavilion on its back, with human figures within and without the pavilion, enameled in bright famille rose enamels and presented on an elaborate hand-carved rosewood stand, h. 9‑1/2”, l. 9‑1/2”. [200/400] Illustrated 325 Pair Chinese Carved Ivory Figures of an Emperor and Empress, 20th century, each carved in relief from the end of a tusk and following the curve of the tusk, the figure of the emperor holding a staff and a spray of peonies, the empress holding a fan and a spray of peonies, fitted wooden stands and padded storage boxes, h. 18”. [1200/1800] Illustrated 326 Chinese Export Rosewood and Rouge Marble Plant Stand, 19th century, of squared outline with rouge marble inset top over rounded square legs terminating in claw feet, with elaborate low-relief-carved floral and scrollwork apron and two interior solid shelves, h. 32”, w. 18”, d. 18”. [1000/1500] Illustrated

327 Elaborate Pair of Chinese Jumu Wood Doors, second half 19th century, each of rectangular outline with solid lower sections, a relief-carved central panel of a Kylin on an altar with Buddhistic symbols and an intricately carved openwork upper panel composed of a central plaque of a scholar and attendant in a garden framed by two floral openwork panels, two floral side panels and a fretwork over-panel, each panel h. 85‑1/8”, w. 29‑3/4”. [900/1200] 328 Chinese Polychromed Porcelain Foo Dog, 19th century, now mounted as a lamp, modeled as the figure of a male Fo dog with a vase on his back and standing on a plinth base, the Foo dog mounted on a Dennis Poupart wooden base with a silk and bamboo shade, h. 22‑1/2”. [600/900]

329 Pair of Framed Chinese Reverse Paintings on Glass, early 20th century, each depicting a figure of a Chinese beauty in a garden setting, one seated at a tea table with fruit and holding a “lion dog”, and the other holding a fan and trying a flower in her hair, h. 18‑1/4”, w. 14”. [800/1200] 330 Pair of Chinese Glazed Pottery “Foo Dog” Incense Holders, 19th/20th century, each in the form of a Foo dog on a pierced plinth base with a tubular holder for the incense at its back, glazed all over in yellow, brown and green, accompanied by wooden bases, h. 8”, the whole presented in a padded, fitted cloth box. [250/400] 331 Pair of Chinese Spinach Jade Wrist Rests, first half 20th century, each of flattened form with scrolled edges running their length on both sides, the tops with engraved decoration of cranes standing on rockwork among waves and gazing at the moon, each with archaic calligraphic inscriptions, l. 8‑5/8”. [700/1000] Illustrated 332 Chinese Carved Spinach Jade Lidded Cylindrical Storage Jar, 20th century, the dark green slightly mottled stone with engraved decoration of orchids and flowering prunus trees separated by lengthy inscriptions in archaic script, the fitted cover with a carved character, h. 7‑1/2”, w. 4‑1/4”. [700/1000] Illustrated 333 Chinese Near White Carved Jade Pendant, first quarter 20th century, of rectangular outline carved in relief with a dragon among clouds, the top with floral scrollwork, the stone of near white color, h. 3‑5/8”, w. 2‑1/8”. [250/400] Illustrated

340 334 Spectacular Thin Chinese Carved Green Jade Dragon Bowl, 19th century, the thinly carved green stone carved in relief on the exterior with an encircling four-clawed dragon among flowers facing the Flaming Pearl in low relief, the base with a Qianlong seal, wooden stand , brocade box, dia. 6”. [700/1000] Illustrated previous page

336

335 Chinese Carved Mottled Green Jade Foo Dog Group, 20th century, the mottled dark green stone carved as the seated figure of a mother Foo dog with her attendant pup, carved wooden stand, l. 6‑1/2”. [250/400] 336 Pair Chinese Carved Ivory Figures of Immortals, first half 20th century, each carved as a figure of a female immortal riding on the back of a crested phoenix standing on rockwork with clusters of peonies, wooden stands, h. 15”, including stands. [1800/2500] Illustrated

341 342

343

337 Southeast Asian Polychrome Swatow Storage Jar, 19th century, of bulbous form decorated in polychrome enamels in the Ming style with peonies and scrolling foliage, h. 4‑1/2”, dia. 5‑1/4”. Provenance: ex coll. Henry Stern Antiques, New Orleans, Louisiana. [100/200] 338 Chinese Famille Verte Stem Cup, potted in the form of a European goblet and decorated with five-clawed dragons around the bowl with banana leaves on the stem and floral sprays on the base, h. 3‑3/4”. Provenance: ex coll. Henry Stern Antiques, New Orleans, Louisiana. [150/300] 339 Good Chinese Famille Rose Saucer Dish, Republic Period (1908‑1949), the interior decorated in ironred with five bats surrounding a Shou character, the exterior decorated in Famille Rose enamels of lotus and peonies beneath a border of ruyi heads the base with a six-character Jiaqing seal mark, dia. 6”. [300/500]

345

343 Pair Chinese Ivory Carved Figures of an Emperor and Empress, 20th century, each carved in formal court dress, the emperor holding a sword, the empress holding a ruyi scepter, wooden stands, h. 13‑1/2”. [3500/5000] Illustrated

346

344 Chinese Famille Rose Ovate Storage Jar, 19th century, decorated in soft Famille Rose enamels with women and a group of children in a tropical garden setting and a poem in black calligraphy, now wired as a lamp, h. 25”. [150/300]

345 Decorative Pair of Chinese Famille Jaune Altar Vases, 20th century, each of barrel form with indented bases and flared necks, decorated with fine clawed dragons among flowers and Buddhist symbols on the body, the shoulders with a band of floral decoration, h. 15‑1/4”. [600/900] Illustrated 346 Large Chinese Famille Jaune Cake Box, 20th century, the circular form porcelain box and conforming cover glazed in polychrome enamels with dragons cavorting among clouds on a yellow ground, dia. 14”. [200/400] Illustrated 348

340 Oriental Polychrome Cabinet, possibly Tibetan, the rectangular top above a paneled case fitted with four cupboard doors, all with polychrome floral scenes, raised on black feet, h. 36‑1/2”, w. 38”, d. 17”. [600/900] Illustrated

347 A Patinated Black Lacquer Double-Door Chinese Cabinet, mid‑19th century, the door fronts decorated with fretted and gilded designs above a smaller red lacquer and gilded panel, the interior with a shelf above two lower drawers, the sides having an open cross-bar effect allowing for ventilation, h. 31”, w. 23‑1/2”, d. 12”. [600/900] Illustrated

341 Pair of Chinese Stained Ivory Figures of Immortals, late 19th century, each figure carved following the curve of the tusk, one figure wearing a cowl holding a staff with peaches in one hand and peonies in the other, the other immortal with a small child holding a pipe in one hand and a fishing pole and fish in the other, h. 16”. [1800/2500] Illustrated 342 Chinese Carved Ivory Figure of a Fisherman, the robed figure standing with palm’s raised, a hat and fishing pole with a fish strung over his shoulder and a cormorant at his feet, wooden stand, h. 13‑1/2”. [800/1200] Illustrated

347

351

353

350

352 Chinese Carved Celadon Jade Figure of a Woman, 19th century, carved in the round as a standing female figure wearing a short tunic, necklace with long hair and holding a sinuously draped fabric boa, the stone of even celadon color, h. 4‑1/4”. [400/700] Illustrated

352

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

353 Chinese Carved White Marble Vase, first half 20th century, carved and pierced in high relief with flowering prunus, pine trees and bamboo above rockwork, against a hollowed tree trunk with the opening as a vase, h. 5‑1/8”, l. 6”. [200/400] Illustrated 354 Chinese Carved Jade Figure of a Dragon, second half 20th century, the mottled white, green and russet stone carved as a horned dragon posed in a walking stance, fitted wooden stand, l. 9‑3/4”. [150/300]

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

355 Rare Chinese Carved Nanyang Jade Mountain, carved in dark green to mint green stone as two scholars in a boat on a river beneath pillar like mountains, alongside the river is a pavilion on stilts and a gnarled pine tree, h. 6‑1/2”, l. 9”. Nanyang jade comes from one small mountain near Nanyang City, Henan Province; and because of its varied color and rarity, attracts the top carvers, creating exceptional pieces. [1400/1800] Illustrated

350 Chinese Carved Celadon Jade Cylindrical Box and Cover, first half 20th century, the celadon colored stone carved in low relief with orchids and chrysanthemum plants growing from rocky outcrops, the cover carved with a Shou character, h. 3‑1/4”, dia. 2‑3/4”. [500/800] Illustrated

351 Unusual Chinese Carved Blue/Gray Jade Carving, 19th century, carved as a cluster of ruyi heads and stems all entwined with each other, the stone of rare bluish/ gray color, elaborately carved and lacquered custom wooden stand, h. 6‑1/2”, including stand, l. 14”. [1000/1500] Illustrated

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356 Chinese Carved Moss Green Jade Mountain Scene, 19th century, the opaque moss green stone carved as a craigy mountain peak with cresting waves at its base and a lone scholar standing on a ledge beneath a bamboo grove and a pine tree contemplating a waterfall, custom carved wooden stand, h. 10‑1/8”, including stand. [2000/4000] Illustrated 357 Fine Chinese Carved Celadon Jade Double Brush Washer, first half 20th century, beautifully carved and hollowed as two water containers formed as in-curved lotus leaves with high relief carving on the exterior of lotus flowers, buds, stems, millet sprays and a dragonfly, the even celadon colored stone superbly hollowed and finished, wooden box, l. 8”. [1500/2500] Illustrated 358 Good Chinese Carved Jadeite Mountain Scene, the mottled green stone finely carved as a reclining figure (probably Li Po) in a mountainous landscape with peach and pine trees, with a wine pot on a low table in front of the figure, presented on a custom carved wooden stand, h. 9‑1/2” including stand, l. 9”. [600/900] Illustrated 359 Fine Chinese Carved Nanyang Jade Mountain, the stone varying from dark green to white, skillfully carved as three scholars at a root table beneath a flowering prunus tree in a rock grotto, wooden stand, h. 5‑3/4”, l. 9‑1/2”. Nanyang Jade comes from one small mountain near Nanyang City, Henan Province; it is one of the four famous jades of China. [1400/1800] Illustrated 360 Unusual Chinese Lacquer and Applique Hanging Panel, 19th/early 20th century, of rectangular form with a black lacquer ground and applied dimensional decoration in wood, jade, ivory and hardstone, depicting antiques, fruit, and a musical instrument, topped by a wooden carving of an auspicious character with engraved decoration framed in a reeded wooden frame with original bronze hanger, h. 37‑3/4”, w. 27‑1/2”. [500/800] 361 Good Chinese Lacquer and Applique Hanging Panel, 19th/early 20th century, of rectangular form with a black lacquer ground and applied dimensional decoration in wood, jade, ivory, cloisonne and hardstone, depicting antiques, an insect, and a quail, topped by a cloisonne vase of hardstone flowers, framed in hardwood carved frame with original bronze hanger, h. 43‑3/4”, w. 27‑1/2”. [500/800]

362 Chinese Ink on Paper Scroll, signed, Li Shizhou (d. 1770), depicting a lone figure in a mountainous landscape, mounted in purple silk and housed in an embellished zitan scroll box, the top with hardstone applique of bamboo, orchids and flowering plum trees, w. 14”, l. 69‑1/21”. [1200/1800] 363 Chinese Carved Multi-colored Quartz Buddhistic Group, 20th century, carved in amethyst and pale green quartz depicting a seated Buddha surrounded by a mandorla and accompanied by a military guardian and a child acolyte, presented on a carved wooden stand, h. 7”. [250/400] 364 Contemporary Polychrome Center Table, of Chinese inspiration, the circular top above a conforming molded scalloped frieze, raised on shaped legs to a plinth circular stretcher base, in a distressed turquoise finish, h. 35”, dia. 29”. [400/700] 365 Chinese Molded Porcelain Brush Rest, 19th century, modeled as five pointed mountain peaks above an openwork base of a bat among foliage, fitted giltwood stand, l. 4‑5/8”. [500/800] 366 Chinese Porcelain Small Brush Rest, 19th century, the molded porcelain cast as mountain peaks with a water container at one end, glazed all over in a turquoise glaze, fitted giltwood stand, h. 2‑3/4”, including stand, w. 3‑3/4”. [200/400] 367 Pair of Chinese Lacquered Softwood Side Cabinets, 19th century, each composed of a pair of drawers with scrolling foliate carving above two doors opening to a shelved storage area, the doors with a narrow carved panel of birds among branches, the surface lacquered dark brown with gilt highlights to carved details, with the original hardware, h. 31‑1/2”, w. 32”, d. 20‑1/4”. [1500/2500] 368 Chinese Lacquered Wooden Offering Cabinet, late 19th century, the rectangular cabinet with three pierced floral panels at the front top and two doors, each carved with open latticework tops above solid panels with central floral-motif decorations and original oval pulls, h. 32”, w. 27‑1/4”, d. 17‑3/4”. [500/800]

369

369 Rare and Impressive German Carved Ivory Tusk “Hunter’s Horn” on Stand, 18/19th century, the tip carved in the form of an elongated serpent’s head followed by an in-carved mouth piece and two cameo carved male portraits, the central section with an intricately carved scene of a bear hunt on one side with two hunters on horseback and one on foot and a pack of hounds surrounding a bear, the other side depicting a similar bear hunt scene also in a forest landscape, the open end of the horn carved in foliate decor, the whole mounted on a custom brass stand, l. 50”. [20000/40000] Illustrated

369 detail

370 Alfred Fontville de Breanski, Jr. (British, 1877 - 1957) “Citadel of Cairo”, oil on canvas, signed lower right “Alfred F. de Breanski”, 18” x 24”. Framed. [2500/4000] Illustrated

372 371 Continental Teak Armoire, late 19th century, the molded cornice above a paneled frieze and two long doors, each paneled and banded with decorative shaped panels, raised on ribbed bun feet, h. 72‑1/4”, w. 50‑1/2”, d. 19”. [800/1200] Illustrated 372 Pair of Decorative Needlepoint Throw Pillows, depicting a forest scene with an elephant and a mountain goat, h. 21”, w. 21”. [500/800] Illustrated

374 Campaign Mahogany and Brass-Bound Trunk, 19th century, of rectangular form, the corners with brass and brass tack bindings, the sides fitted with rope handles, h. 17‑1/2”, w. 34‑1/2”, d. 17‑1/2”. [400/700] Illustrated 375 Brass-Inlaid Rosewood and Mahogany Center Table, mid‑20th century, of near-Eastern influence, the circular top richly inlaid in scrolling foliate patterns, above a like inlaid frieze, raised on square tapering legs ending in brass caps, h. 31”, w. 23‑3/4”. [700/1000] 376 Large George III-Style Brass Bird Cage, mid‑20th century, the top having a large acorn form finial with cross bar for suspension, h. 38”, dia. 20”. [300/500]

370 373 Indo-Persian Cast-Brass Jewel Box, first quarter 20th century, the lid cast with scrollwork with a pointed border, the sides cast with scrollwork decoration, the ends each with loop handles, h. 3‑1/4”, d. 3‑5/8”, l. 7‑1/4”. [100/200]

380

371

377 Campaign-Style Satinwood Partner’s Desk, by Baker, the rectangular top trisected and with inset leather surfaces above a frieze fitted with three drawers to either side, raised on two pedestals, each fitted to one side with a cupboard door and to the other with a deep file drawer over a shallow drawer, all faced with three short drawers, the sides fitted with brass carrying handles, raised on bulbous toupie feet, h. 30”, w. 71‑1/2”, d. 42”. [2500/4000]

374

378 Victorian Mahogany Work Box, third quarter 19th century, in the campaign style, the rectangular case brass band and opening to an interior fitted with an upper leather-clad storage area, a compartmented lift-out tray and a variety of cubbyholes, h. 4‑3/4”, w. 11‑3/4”, d. 8‑3/4”. [600/900]

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379 Indian Brass-Bound Teakwood Carving Set, 20th century, including a pistol-handled carving knife and fork in either end of a brass-bound wooden scabbard, held in place by a pair of thumb-locks and raised on a pair of u-shaped feet, l. 17‑1/4”. [60/90] 380 Victorian Mahogany Dressing Box, third quarter 19th century, in the Campaign style, the rectangular case brass bound, the top centered by an inset handle, the interior lid with a hinged storage space, fitted with a lift-out compartmented tray, removing to an open storage space, the interior bearing the label Bayley & Blew, Cockspur Street, London Manufacturers, h. 6‑3/4”, w. 11‑3/4”, d. 7‑3/4”. [900/1200] Illustrated previous page 381 Three Victorian Staghorn or Bone Gardening Tools, fourth quarter 19th century, including a billhook staghornhandled folding garden knife, the blade signed “Parkes, Biped Quality” serial no. 0512, along with a bone-core horn single-tine pick and an antler double-tine pick, l. 8”. [300/500] Illustrated 382 Three Interesting Horn Objects, first quarter 20th century, comprised of two horn bowls with silver plated rims and a horn bowl with attached spoon handle, largest h. 1‑3/4”, dia. 7‑1/2”. [75/125] Illustrated

383 Three Late Victorian Horn Cups first quarter 19th century, with silvered rims, the larger two plated, the smaller cup given as a trophy with a shield marked “E. R. Last, 1904”, the rim marked “Doon House Sports, Birmingham, 1901‑1902, by Henry Williamson, Ltd.”, largest h. 4‑1/2”. [100/200] Illustrated

384 Three Unusual Horn Shoe Horns, first quarter 20th century, the larger a boot horn, along with two smaller shoe horns, one with a silver handle top and the other of celluloid, l. 8” to 22”. [50/80] Illustrated 385 Late Victorian Brass, Bamboo and Steel Shooting Stick, ca. 1900, with a pair of stirrup-shaped handles with bamboo crossbars and opening by means of sliding steel supports to form a seat, with a bamboo shaft and ending in a brass spike and cupped steel flange, l. 35‑1/4” (seat height open 28‑1/2”). [200/400] Illustrated 386 English Oak Butler’s Tray-on-Stand, late 19th century, the rectangular tray with a three quarter gallery and pierced side handles, raised on a folding X-form stand with turned and bulbous accents, joined by stretchers and ending in bulb feet, h. 36‑1/2”, w. 28”, d. 21‑1/2”. [250/400] 387 Egyptian Soapstone Scarab, of large size, the well carved top in traditional scarab form, the base with an unusually long hieroglyphic inscription, w. 2‑1/2”, l. 3‑3/4”.9 [50/80]

391 Group of Three Polychrome Hardwood Hanging Shelves, each with a rectangular shelf with molded edge above a pendant frieze of scrolling patterns with knop finials, h. 8‑1/2”, w. 28‑1/2”, d. 5”. [300/500]

393

392 Pair of Indian Hardwood Bracket Shelves, in the form of a capital, each with a dentillated frieze over a molded and waisted body, h. 10”, w. 13‑1/4”, d. 9”. [125/250] 393 Anglo Colonial Mahogany and Padouk Tester or “Opium” Bed of Aesthetic Movement Inspiration, ca. 1900, India or Burma, the rectilinear canopy frame supported at the head and foot by paired central columns joined by scroll-sawn brackets, the head and footboard each with fret-work panels, on turned feet, h. 68”, inside w. 48”, inside l. 71”, outside w. 48”, outside l. 77”. [800/1200] Illustrated

394

394 Rare Pair of Victorian Campaign Armchairs, mid‑19th century, each with a slatted back joined to the caned seat by shaped arms, raised on square legs joined by a box stretcher, the whole hinged and with a mechanism to facilitate a complete fold-down, the front rail with applied armorial medallion embossed with the badge of Burke, co. Galway, h. 31”. A similar example can be seen in Nicholas A. Brawer’s British Campaign Furniture: Elegance Under the Canvas, 1740‑1914 (New York Harry N. Abrams, 2001), pp. 96‑97, figures 95‑97. [1000/1500] Illustrated

394

388 Pair of Antique Kazak Rugs, now made into pillows, w. 24”, l. 26”. [150/300] Illustrated

388

389 Indian Polychrome Hardwood Capital, of modified Corinthian form, with scrolling patterns and stylized fruit designs, the base ribbed, h. 11”, w. 14”, d. 14”. [250/400] 390 Indian Polychrome Bracket Shelf, in the form of an Ionic capital, featuring a central lion’s mask, painted a distressed turquoise, h. 11‑1/4”, w. 11‑1/4”, d. 4”. [100/200]

402

397 After William Alexander (British, 1767‑1816) “A Quan of Mandarin Bearing a Letter from the Emperor of China” and “A Scene in an Historical Play Exhibited on the Chinese Stage”, pair of hand-colored engravings from the folio atlas of George Staunton’s Authentic Account of an Embassy from the King of Great Britain to the Emperor of China...., published by G. Nicol, London, 1796,sight 11‑3/4” x 15‑3/4”. Glazed, handsomely matted and framed en suite. [150/300] 398 Indian Polychrome Coffee Table, partially constructed from antique elements, the rectangular top above a conforming frieze, raised on large cabriole legs headed by scroll carving and ending in paw feet h. 17”, w. 62‑1/2”, d. 30”. [700/1000] 399 English Polychromed Black Lacquer Tray Table, early 20th century, the square tray with a full raised edge, and featuring a gilded and polychromed scene of ducks in an aquatic garden, in the chinoiserie taste, raised on a collapsible black-painted wooden stand with shaped legs, h. 22”, w. 21”. [150/300] 400 Chinese Export Ebonized and Gilt-Decorated Desk Box, second quarter 19th century, of canted and rounded rectangular form, the molded and segmented lid centered by an oval panel, opening to a void interior, the whole with figural oriental scenes, raised on gilt paw feet, h,. 6”, w. 9‑1/2”, d. 7”. [250/400] 401 Chinese Export Ebonized and Gilt-Decorated Tea Caddy, second quarter 19th century, of rounded canted rectangular form, the lid centered by a figural oriental scene within a floral border, the sides decorated en suite, the interior fitted with two lidded paktong tea compartments, each with floral relief decoration, raised on gilt-winged paw feet, h.5‑1/4”, w. 9‑1/4”, d. 6‑3/4”. [250/400]

402 detail 395 Edwardian Mahogany Campaign Coaching Table, ca. 1900, the rectangular top bisected and hinged to fold doen, railed on a curule-form supports, h. 27‑1/4”, w. 30”, d. 29‑1/2”. A similar example is illustrated in Nicholas A. Brawer’s British Campaign Furniture: Elegance Under the Canvas, 1740‑1914 (New York Harry N. Abrams, 2001), p. 150, figures 172‑173. [300/500] 396 Chinoiserie English Vase, 19th century, the vase a melon-form with blue and white underglaze and decorated with three sages with children, gilding, butterflies, flowers, leaves and a bat, custom mahogany cap and base by Dennis Poupart, h. 12”. [400/700]

402 Impressive Anglo-Indian Cut-Glass Throne Chair, late 19th century, by F. & C. Osler, Birmingham, the padded and tufted back surmounted by a diamond-cut and fanform crest with two like-cut finials, joined to the tufted seat by padded supports on five faceted columnar supports, raised above a diamond-cut apron on paneled and bulbous legs, the bottom steel rail of the back signed “F. & C. Osler”, h. 49‑1/2”. F. & C. Osler were one of the two companies which established showrooms in India and provided most of the renowned glass furniture to the palaces of the Maharajahs. Osler very much cornered the market for this sort of furniture primarily because they mastered the long-term annealing - as much as 24 hours - necessary to cut such thick pieces of glass. This chair is identical to a ca. 1880 design from the Osler archives housed at the Birmingham Museum and Art Gallery which was loaned to the Corning Museum of Glass in Corning, New York for their June-November 2006 exhibit, “Glass of the Maharajahs”. For further information, see Deepika Ahlawat, “Empire of Glass: F. & C. Osler in India, 1840‑1930” in The Journal of Design History, Summer 2008, v. 21, n. 2, pp. 155‑170. [3500/5000] Illustrated

406 Chinese Carved Overlay Glass Snuff Bottle, of flattened circular form, the clear glass body with engraved wave decoration overlaid in blue glass carved as a frog leaping over lily pads to catch a butterfly, h. 2‑1/2”. [250/400]

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403 Chinese Framed Multi-Generational Ancestor Portrait, 19th century, ink and colors on paper, depicting an emperor and empress seated in front of an altar dressed with a table screen, a pair of vases and altar vessels, with a group of thirteen descendants and antecedents in formal robes, some with rank badges, below the imperial pair, double matted, glazed and presented in a giltwood frame, h. 76”, w. 47”. [1500/2500] Illustrated

407 Chinese Carved Rock Crystal Snuff Bottle, carved in the form of two gourds, a large oblong one with vining tendrils and a smaller one at the front topped by the figure of a squirrel, the stone nearly flawless, h. 2‑3/4”. [700/1000]

405

404 Chinese Celadon and Underglaze Blue Export Plate, first half 20th century, of conventional European shape, glazed in celadon glaze with a central Shou character surrounded by five stylized archaic bats, wooden easel stand, dia. 9‑1/8”. [200/400]

405 Chinese Doucai Porcelain Saucer Dish, Republic Period (1908‑1949), decorated in underglaze blue and polychrome enamels with flowers and ling-chih fungus with weathered rockwork, the base with a six-character Yongzheng reign mark within a double circle, brocade box, dia. 8‑1/8”. [1200/1800] Illustrated

408 Pair of Fine Chinese Enameled Porcelain Saucer Dishes, Republic Period (1908‑1949), each decorated in underglaze blue and iron-red with a central fiveclawed dragon among clouds pursuing the Flaming Pearl, the exterior with the same motif but with two dragons, dia. 6‑3/8”. [600/900] Illustrated 409 Pair Chinese Yellow Ground Enameled Wine Cups, Republic Period (1908‑1949), each of bowl form, enameled with a kingisher perched on a flowering lotus plant and a two-character inscription, all on a yellow ground, the bases with six-character Yongzheng marks in underglaze blue, h. 1‑7/8”, dia. 3‑1/4”. [300/500] Illustrated 410 Delicate Chinese Glazed Porcelain Rice Bowl, Daoguang mark (1821‑1850) and probably of the period, of deep circular form decorated in soft enamels with a continuous scene of phoenix birds among lotus and scrolling foliage, dia. 5‑5/8”. [400/700] Illustrated

403

411 Good Chinese Glazed Porcelain Saucer Dish, 1875‑1908, decorated in encre-de-chine and iron-red with flowers and foliage in encre-de-chine with an iron-red oval seal of the Dowager Empress Cixi and a three-character inscription all against a rich egg-yolk yellow, dia. 5‑3/4”. [400/700] Illustrated previous page

413

412 Chinese Rock Crystal Covered Incense Burner, 20th century, the bulbous body resting on three feet with lion head and loose ring handles and a domed cover with a Foo Dog finial, h. 5”. [400/700] 413 Pair Chinese White Marble Foo Dogs, 20th century, modeled after bronze examples in the Forbidden City, each fierce animal atop a draped plinth base, the stone of even white color, h. 18”. [300/500] Illustrated

416

414 Pair Chinese Carved Marble Bookends, 20th century, each carved in high relief as fruiting gourd vines on a bamboo frame and rectangular base, the stone of slightly green/ white color, h. 7”, w. 4‑1/4”. [50/80]

415 Chinese Export Carved Ivory Glove Box, 19th century, of rectangular outline, carved all over with shaped medallions depicting Chinese domestic scenes, the lid carved all around with a border of flowers and foliage, h. 2‑1/4”, d. 3‑1/2”, l. 9‑1/2”. [3500/5000] Illustrated

417

415 416 Good Chinese Carved and Reticulated Ivory Tusk Section, first half 20th century, now mounted as a lamp, carved as figures and pavilions against a ground of pierced “cash” symbols, wooden base and cover, silk shade, ivory finial, h. 22”. [700/1000] Illustrated

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417 Chinese Carved Green Quartz Figure of Guanyin, first quarter 20th century, now mounted as a lamp, the figure of the Bodhisatva seated before a flaming mandorla and holding a vase in offering, wooden and brass base, accompanied by an ecru shantung silk shade with tassel, overall h. 28‑3/4”. [500/800] Illustrated

421 Chinese Bronze Tripod Incense Burner, late Ming dynasty ca. 1620, of bombe form resting on three feet and having loop handles, the base with a cast six-character Xuande reign mark, the small size indicates it was used on a scholar’s desk, h. 2‑1/4”, l. 5‑1/4”. [400/700] Illustrated

418 Chinese Small Bronze Incense Burner, 19th century, cast as the figure of a Buddhistic lion standing on four feet, the head hinged opening to the hollow body and having an open mouth, single horn and curled mane, h. 5‑3/4”. [600/900] Illustrated

422 Chinese Bronze Tripod Incense Burner, Ming dynasty (1368‑1644), the compressed globular body resting on three elephant head feet and having two handles, the body with engraved monster faces, the base with a cast seal mark, h. 4‑1/4”, w. 6”. [2500/4000] Illustrated

419 Pair Chinese Glazed Porcelain Figures of Mythical Animals, 19th century, each modeled as a dog-like beast seated on its haunches glazed in yellow, green and blue, fitted wooden stands, wooden box, h. 4‑1/2”, including stands. [300/500] Illustrated

423 Good Chinese Carved Jade Pendant Plaque, the dark green, near black stone carved as a rectangular plaque in low relief depicting Guandi, the god of war and literature, holding a halberd, dressed in loose robes and seated upon a lion, h. 2‑7/8”, w. 2”. [250/400]

420 Chinese Cast Bronze and Cloisonne Incense Burner, Ming Dynasty (1368‑1644), the flattened bulbous body resting on three cabriole feet and having two flared handles, the body with cloisonne decoration of lotus and other flowers with scrolling foliage in polychrome enamels against a blue ground, the base with a cast two character seal, h. 5‑1/8”, w. 8‑1/4”. [500/800] Illustrated

424

424 Good Chinese Lacquered and Gilded Carved Wood Bian (Tribute Plaque), ca. 1873, the elaborately carved plaque is a tribute to a beloved teacher in large characters “To one who taught and nurtured”, the smaller characters are the names of the students, surrounded by a fretwork frame with auspicious plants and animals, h. 34”, w. 65‑1/2”. [1800/2500] Illustrated

426 425 A Decorative Pair of Chinese Rosewood Side Chairs, the chairs with slightly curved backs and an open back splat, the rosewood framed rattan seat raised on square legs joined by a front foot rest, h. 29”. [600/900] Illustrated 426 Well Carved Chinese Ivory of a Military Official, the bearded standing figure dressed in intricately carved court robes and Mandarin’s cap holding a sword in one hand and a removable halberd in the other, all on an octagonal openwork base, h. 9‑1/2”. [3000/5000] Illustrated 427 427 Chinese Miniature Bone Four Panel Table Screen, late 19th century, composed of four relief carved bone plaques depicting European Traders and Chinese immortals, set in a removable wooden frame set in a rosewood base, h. 9‑1/2”, l. 9‑1/4”. Provenance: ex coll. Henry Stern Antiques, New Orleans, Louisiana. [300/500] Illustrated 428 Trio Chinese Carved Ivory Figures of Elephants, 20th century, each carved from a single piece of ivory depicting tusked elephants with curled trunks each in a walking stance, mounted on carved wooden stands, l.6”‑7‑1/2”. [500/800] Illustrated 429 Pair Chinese Carved Ivory Figures of Horses, 20th century, each carved from a single piece of ivory, depicting saddled figures of horses standing three square with one raised leg, each with inset faceted ruby eyes, fitted with wooden bases, h. 5‑1/2”, including stand. [400/700] Illustrated

425

430 Chinese Intricately Carved Ivory Figure of a Goddess, first half 20th century, the standing figure clad in ribboned robes, wearing a phoenix headdress and holding a group of peony buds and blossoms, h. 7/8”, including stand. [600/900] Illustrated

431 Pair Chinese Carved Ivory Water Buffalo Groups, 20th century, each carved as a figure of a recumbent water buffalo with a boy clamoring on its back, each boy holding a reign in one hand and having a flower shaped hat by his feet, fitted with wooden stands, l. 5‑1/2”. [400/700]

432 Chinese Carved Ivory Figure of a “Doctor’s Lady”, 20th century, the ivory carved as a nude female figure with one hand behind her head and the other crossing her breasts, custom carved, fitted wooden stand, l. 6‑5/8”. [150/300] 433 Two Chinese Carved Wooden Panels, first half 20th century, each carved in high relief depicting mounted warriors in a battle scene, with red and black painted bodies and gilt details, mounted for hanging, h. 6‑1/4”, w. 6‑3/4”. Provenance: ex coll. Henry Stern Antiques, New Orleans, Louisiana. [50/80] 434 Group of Three Chinese Glazed Porcelain Vases, 19th century, one of bowed cylindrical shape glazed in oxblood glaze with blue streaking and two of bottle form with flared lip rims, glazed in oxblood glaze, wooden stands, h. 6‑1/2” to 10‑3/4”. [500/800]

435 Two Framed Chinese Embroidered Silk Panels, ca. 1860, both with red silk ground embroidered in gold and silver threads with clouds and in colored silk with bats carrying Buddhist symbols, the two immortals embroidered in colored silks, one with Cao Guo Jiu in official robes holding a pair of castanets and Han Xiang in informal robes playing a flute, the other with Lu Dong Bing in open robes with a fan whisk and Zhang Guo Lao in informal robes carrying two rods and a gourd Calabash, h. 63‑3/4”, w. 25‑1/4”. Provenance: Blackamoor Antiques. [1400/1800] Illustrated

436 Fine Chinese Cloisonne Incense Burner, 18th century, of low bombe form on three feet and having two strap handles, the body decorated in polychrome enamels with lotus and foliage beneath a ruyi head border, the rim, handles and bottom of feet gilded, the base with a Qianlong mark incised in a gilded plaque and having two collection labels, one in English, the other in Chinese, h. 3‑1/4”, dia. 4‑1/2”. [2000/4000] Illustrated

436

437 Chinese Cloisonne Narcissus Bowl, first half 20th century, of low circular outline with in-curved rim decorated with a central medallion containing a star, surrounded by floral designs on the interior and exterior with a scrolled background, dia. 9‑1/2”. [150/300] 438 Chinese Cloisonne Bulbous Jardiniere, first half 20th century, the rounded body with splayed foot decorated in polychrome enamels with a continuous design of scrolling flowers on a foliate ground with a stylized tasseled border at the rim, wooden stand, h. 12”, dia. 15”. [400/700] 439 Chinese Gilt-Bronze Votive Figure of the Buddha, Wei Dynasty (386‑557) or later, cast as a seated figure of the Buddha in front of a mandorla decorated with nine Buddhist figures, all above a tapered base and gilded all over, h. 6”. [3000/5000] 440 Chinese Polychromed Porcelain Figure of a Parrot, 19the century, now mounted as a lamp, the green glazed bird standing on a brown rockwork base, the figure mounted on an oval brass base, pleated cotton shade, h. 17”. [400/700]

435 pair

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441 Chinese Carved Mottled Jade Pendant on Wooden Stand, of circular form in a brass mounting, carved as a deer and a bell in a forest setting, the reverse with fish in a lotus pond and a pavilion in the distance, the stone of mottled green and white color known as “Moss in Melting Snow”, custom wooden stand, dia. 2‑3/4”. [700/1000]

448 Semi-Antique Sarouk Carpet, 5’ x 6’7”. [300/500] 449 Antique Oushak Carpet, 8’4” x 11’7”. [700/1000]

450 Chinese Persian-Design Carpet, 6’ x 9’. [300/500] 451 Turkish Angora Oushak Carpet, 10’ x 13’ 9”. [1500/2500] Illustrated 452 Heriz Runner, 2’ 2” x 7’ 8”. [300/500] 453 Tabriz Carpet, 7’ 4” x 10’ 1”. [500/800] 454 Mamluk Runner, 2’ 7” x 23”. [900/1200] Illustrated

451 442 Chinese Carved Jadeite Snuff Bottle, of flattened ovate outline with flat foot, the stone of mottled apple and emerald green color with russet inclusions near the base, h. 2‑1/2”. [400/700]

455 English Needlepoint Garden Design Carpet, 9’ x 12’. [700/1000] 456 Persian Qashqai Carpet, 5’5” x 7’4”. [1000/1500]

443 Group of Three Chinese Stone Snuff Bottles, composed of a celadon jade bottle carved in low relief with a dragon on one side and archaic characters on the reverse, one of flattened shape in creamy beige jade without carving and a semitranslucent quartz bottle with interior variations in transparency, h. 2‑5/8” to 3‑1/4”. [300/500] 444 Unusual Chinese Carved White Jade Snuff Bottle, first quarter 20th century, carved in two joined pomegranate fruits, each with an open section revealing the seeds, the fruit joined by openwork stems and leaves, l. 3‑1/2”. [300/500] 445 Chinese Carved White Jade Snuff Bottle, of pebble form, the face with high relief carving of a scholar standing on a bridge beneath a twisted pine tree, h. 3‑1/2”. [300/500] 446 Kerman Carpet, 4’ x 6’7”. [500/800] 447 Semi-Antique Persian Garden Bakhtiari Carpet, 6’ 10” x 10’ 5”. [800/1200] 457

454

464 Two Chamberlain’s Worcester Dishes, decorated in the Chinese taste, with Puce medallions centering each and four panels depicting dragons, vases of flowers on low tables, the larger with a predominantly “Chinese” red border and the smaller with a green lobed edge, dia. 8‑3/4”. [700/1000] Illustrated 465 Suite of Eight Sheraton-Style Mahogany Dining Armchairs, six second quarter 19th century, with two early 20th century additions, each with a domed back above a modified wheat-sheaf splat, the padded seat raised on chamfered tapering square legs joined by an H-form stretcher, h. 36”. [2500/4000] 466 George III-Style Mahogany Dining Table, the rounded rectangular top banded and raised on two pedestals, each with a turned columnar standard to four splayed and reeded legs ending in brass paws on casters, h. 29‑1/2”, d. 47”, l. 69”, ext l. 103”. [1500/2500] 467 George III Mahogany Cellarette, fourth quarter 18th century, of rectangular form, the banded and domed lid opening to a segmented interior, raised on a later conforming square leg stand, h. 27”, w. 16‑1/2”, d. 11‑1/2”. [600/900] Illustrated 460 457 Semi-Antique Persian Heriz Carpet, 10’ 2” x 12’ 6”. [1500/2500] Illustrated

464

458 Pictural Tapestry, 3’ 7” x 5’ 3”. [400/700] 459 Antique Malayer Carpet, 5’ x 5’ 6”. [400/700] 460 George III-Style Mahogany Breakfront Bookcase, partially constructed of antique elements, the molded cornice above a frieze with pendant finial carving, above four astragal-glazed doors, the lower section fitted with four cupboard doors each paneled and with an applied medallion corner, raised on bracket feet, h. 94‑1/2”, w. 78‑1/2”, d. 23‑1/2”. [4000/7000] Illustrated 461 George III-Style Fruitwood Tilt-Top Stand, third quarter 19th century, the ovoid top on a turned baluster-form pedestal on a tripodal base with cabriole legs and pad feet, h. 28”, w. 26‑3/4”, d. 17‑1/4”. [300/500]

468 467

469

462 Pair of George III Mahogany Sidechairs, late 18th century, in the style of Thomas Chippendale, each with a shaped and earred foliate-carved crest above a like-carved pierced and interlacing splat, the padded seat raised on chamfered square legs joined by an H-form stretcher, h. 38”. [900/1200] 463 Set of Four Mason’s Ironstone Small Plates, ca. 1830‑1848, in the willow pattern printed in red and marked in black, dia. 7‑1/4”. [300/500]

476

468 George III Mahogany Cellarette, ca.1800, of hexagonal form, the case brass band with two handles and opening to a segmented interior, raised on a stand with a dentillated frieze supported by fluted legs with pierced knees, h 28”, dia. 18‑1/2”. [2000/4000] Illustrated previous page

469 George III Mahogany Cellarette, fourth quarter 18th century, of canted rectangular form, fitted with a brass handle to either side, opening to a metal-clad interior, segmented to hold bottles, raised on a later conforming stand of square legs ending in casters, h. 25”, w. 17‑1/2”, d. 12‑1/2”. [500/800] Illustrated previous page

473

470 Pair of George III-Style Mahogany Demi-lune Consoles in the Hepplewhite Taste, the top with reeded edge over a conforming frieze with a beaded lower edge, raised on tapering legs, h. 30‑3/8”, w. 40‑3/8”, d. 17‑7/8”. [600/900] 471 Suite of Twelve George III-Style Mahogany Dining Chairs, consisting of two armchairs and ten sidechairs, each with a shaped crest above a foliate-carved, pierced and interlacing splat, the padded seat raised on chamfered square legs joined by an “H”-form stretcher, h. 38”.+ [1500/2500] 472 George III-Style Mahogany Gainsborough Chair, late 19th century, the padded rectangular back joined by outscrolled arms to the padded seat, raised on chamfered square legs joined by an H-form stretcher, h. 40”. [400/700] 473 Pair of George II-Style Giltwood and Brass Sconces, each with a domed shellcarved crest over a mirrored backplate, the foliate base issuing a single scrolling brass candle arm, h. 17‑3/4”, w. 5‑5/8”, d. 6‑1/2”. [500/800] Illustrated 474 George III Mahogany Sideboard, early 19th century and later, the rectangular top with a shaped and bowed front section, above a conforming case fitted with a central patera-inlaid cutlery drawer flanked to one side by a shallow over a deep drawer and to the other by a single deep cellarette drawer, raised on tapering square legs ending in spade feet, h. 35”, w. 72”, d. 29‑1/2”. [3000/5000] Illustrated

474

478

477

478 Seventy-Three Pieces of Royal Crown Derby “Red Aves”-Pattern Dinnerware, the pattern introduced in 1936, comprised of a coffee pot, h. 9”, eleven luncheon plates, dia. 8‑1/2”, five dinner plates, dia. 11”, a small cream jug for coffee, h. 3‑1/2”, a larger cream jug for tea, h. 3”, a small waste bowl, dia. 4”, a large waste bowl, dia. 5”, fourteen scallopededge salad plates, dia. 9”, eleven coffee cups, fourteen coffee cup saucers, dia. 5”, twelve bread and butter plates, dia. 6‑1/2”, and one extra lid, possibly for a teapot or sugar basin, all fully marked, of various dates. [1400/1800] Illustrated

479 Royal Crown Derby Salad Bowl, fully marked and dated 1943, in the “Red Aves”-pattern, h. 4‑1/2”, dia. 11‑1/2”. [200/400] Illustrated 480 Set of Three Octagonal Royal Crown Derby Serving Bowls, in the “Red Aves”-pattern, h. 4”, dia. 8”. [200/400] Illustrated 481 George III-Style Mahogany Pembroke Table, mid‑19th century, the rectangular top with two drop leaves above a frieze fitted with one end drawer and one faux drawer raised on square tapering legs, h. 28”, w. 18‑1/2”, ext. 31”, d. 29”. [400/700]

475 George III Mahogany Wing Chair, late 18th century, the domed and padded back joined by shaped sides and outscrolled arms to the cushioned seat, raised on square legs joined by an H-form stretcher, h. 48‑1/2”. [1200/1800]

479

476 One Hundred and Ninety-Nine Piece Royal Crown Derby Dinner Service for Eighteen, dated 1943, in the “Red Aves”-pattern, including eighteen dinner plates, dia. 11”, eighteen soup plates, dia. 8”, eighteen scalloped salad plates, dia. 8”, eighteen luncheon plates, dia. 8‑3/4”, eighteen demitasse cups, eighteen demitasse saucers, eighteen coffee cups, eighteen coffee cup saucers, eighteen two-handled cream soup bowls with eighteen under plates, eighteen bread and butter plates, dia. 6‑1/2”, and one nut dish, w. 3‑3/7”, l. 3”. [2000/4000] Illustrated

480 477 Royal Crown Derby Covered Soup Tureen and Under Tray, in the “Red Aves”-pattern, h. 14”, w. 8‑1/2”. [250/400] Illustrated

486 open

486

482 George III Mahogany Tripod Table, ca. 1800 and later, the tilting circular top with a birdcage support, raised on a bulbous and turned ribbed standard to three splayed cabriole legs headed by foliate carving and ending in ball and claw feet, h. 28‑1/2”, dia. 31”. [1000/1500]

483 English Mahogany and Yew Arm Chair, ca. 1800, of large proportions, the shaped crest above a stylized wheat sheaf splat, joined by shaped arms to the wooden seat, raised on square legs joined by a box stretcher, h. 48”. Chairs of this scale were utilized in both America and England in Ceremonial and Judicial occasions. [400/700] Illustrated

484 Late George III Mahogany Games Table, ca. 1800, the hinged rectangular top with projecting corners, opening to a larger gaming surface, above a conforming frieze, raised on square chamfered legs, h. 29”, w. 35”, d. 17”. [400/700] 485 Pair of George II Walnut Sidechairs, second quarter 18th century, each with a back-scrolled earred crest above a wheat sheaf-pierced splat, the padded seat raised on cabriole legs headed by shell carving and ending in trefoil pad feet, h. 39”. [1500/2500] 486 Fine George III Solid Walnut Secretaire Bookcase, early 19th century, the broken pediment, embellished with gilt rosettes, above a pair of blind fronted fielded panel doors with applied gothic carving, the interior of the bookcase fitted with a central door carved in the gothic style enclosing small drawers, the fall fronted secretaire section with matching gothic detail, above four graduated drawers with original hardware resting on acanthus carved ogee bracket feet, h. 100”, w. 45”, d. 24”. [15000/25000] Illustrated 483

490 Late Georgian LineInlaid Mahogany Butler’s Chest, ca. 1800, the case with an upper fold-out drawer opening to reveal and tooled-leather writing surface and backed by a central door flanked by line-strung shallow drawers and niches, the desk drawer flanked to one side by a deep drawer, over a graduated bank of beaded and line-incised drawers, on bracket feet, h. 44‑1/2”, w. 49”, d. 21”. [1200/1800]

487 George III Mahogany Sidechair, fourth quarter 18th century, the shaped crest with foliate caving above a pierced and interlacing splat, the padded seat raised on square legs joined by an H-form stretcher, h. 36‑1/2”. [500/800] 488 Queen Anne-Style Mahogany Wing Chair, early 20th century, the padded back joined by padded sides and outscrolled arms to the cushioned seat, raised on cabriole legs ending in pad feet, h. 43”. [400/700]

491 Suite of Four George IV Mahogany Sidechairs in the Chippendale Taste, early 19th century, each with a shaped crest rail, pierced splat, slip seat and cabriole legs with foliate and scroll carving at the knees ending in pad feet, h. 39‑1/4”. [800/1200] Illustrated 492

489 George III Mahogany Tripod Table, ca. 1800 and later, the fitting piecrust form top raised on a turned columnar and urn-form standard to three splayed cabriole legs ending in pad feet, h. 27‑1/4”, dia. 21”. [200/400]

492 George III-Style Mahogany Breakfront Bookcase, mid‑20th century, the molded and dentillated cornice above four astragal-glazed doors, the lower section fitted with a drop-front secretary opening to a variety of drawers and cubbyholes, over three long drawers, flanked to either side by a short drawer over a paneled cupboard door, raised on a plinth base, h. 82‑1/2”, 72”, d. 18”. [2500/4000] Illustrated

491

493 Pair Japanese Imari Covered “Temple” Jars, 19th century, each of tapered baluster form with domed covers and pointed finials, decorated in polychrome enamels with scalloped reserve panels of pine trees and flowers against a brocade patterned ground with a long tailed phoenix between the reserve panels, h. 16”. [400/700] Illustrated

494 493

494 Large Reticulated Japanese Imari Charger, 20th century, decorated in underglaze blue and polychrome enamels with shaped reserve panels of flowers on a ground of flowers in rondels, pierced “cash” symbol border, dia. 14‑3/4”. [300/500] Illustrated

495

500

495 Japanese Square Imari Serving Dish, 19th century, the square form dish with shaped edges decorated in polychrome enamels with a central design of a basket of flowers on a stand bordered by floral reserve panels on a brocade ground, w. 12”, l. 12”. [250/400] Illustrated

497 Japanese Imari Cache Pot Planter, 20th century, of tapered bulbous form with flattened lip rim, decorated in polychrome enamels with shaped reserve panels of birds and flowers against a floral scrollwork ground, h. 14”, dia. 16”. [300/500]

501

502

496 Japanese Imari Baluster Form Vase, 19th century now wired as a lamp, the tapered vase with white glazed lion head handles decorated in polychrome enamels with reserve panels of flowers against a brocade ground, fitted with a pleated silk shade, h. 28‑1/2”. [600/900]

498

498 Group of Three Imari Plates, 19th century, composed of a Chinese Imari scalloped edge plate with a central basket of flowers and two Japanese Imari plates, one a deep dish with scalloped edge and a central basket of flowers and a square Japanese Imari plate with a central basket of flowers, dia. 8‑3/4” to 11‑3*/4”. [600/900] Illustrated 499 Pair of Chinese Export Porcelain Lidded Jars, early 20th century, with Imari decoration, h. 14”, dia. 6”. [400/700]

500 Pair Japanese Imari Baluster Form Vases, 19th century, each with lightly ribbed bodies and slightly flared lip rims, decorated in polychrome enamels with flowers and a border of leaf shaped pendant reserves, wooden bases by Dennis Poupart, h. 11‑3/4”, including stands. [500/800] Illustrated

511

510

512

501 Large Reticulated Japanese Imari Charger, 20th century, decorated in underglaze blue and polychrome enamels with shaped reserve panels of flowers and a shi-shi on a ground of flowers in rondels, pierced “cash” symbol border, dia. 14‑3/4”. [300/500] Illustrated 502 Good Japanese Lacquered Storage Box, Meiji Period (1868‑1911), of rectangular outline sumptuously decorated in brown, gold, red and black lacquer with garden scenes viewed from inside a pavilion with partially rolled up shades, the front with a pull out drawer in the lower section, hl. 6‑1/4”, d. 5‑5/8”, l. 10‑1/4”. [1800/2500] Illustrated

505 George III Mahogany Triple-Top Games Table, fourth quarter 19th century, the rectangular top opening to a gaming surface and further opening to a baize-lined gaming surface with recessed pockets for pieces, raised on chamfered square legs ending in outscrolled feet, h. 30”, w. 35”, d. 16‑1/2”. [900/1200]

503

506 Pair of George III-Style Mahogany Master and Lady’s Arm Chair, mid‑19th century, each with a scalloped crest above a slatted urn-form splat, joined to the padded seat by shaped arms, the master’s chair wider, raised on square legs joined by a “H”-form stretcher, h. 3.5”. [900/1200] 507 Victorian Brass-Strung Circassian Walnut Lap Desk, third quarter 19 century, the top with a central brass plate and edged in lines of paired -stringing opening to reveal an interior with a tooled leather writing surface, a pen tray and a pair of niches for inkwells, h. 6”, w. 11‑5/8”, d. 9”. [300/500]

503 Large Set of Japanese Imari Dinner Ware first half 20th century, composed of five saki cups, seven small saucers, eight rice bowls with covers, eight soup bowls, eight plates and seven tea bowls, all decorated in polychrome enamels and underglaze blue with floral decoration, saki cups h. 1‑1/2”, dia. 2‑1/8”, small saucers dia. 4‑3/8”, rice bowls h. 3‑1/2”, dia. 4‑1/4”, soup bowls dia. 6”. plates dia. 8‑1/2”, tea bowls h. 2‑1/2”, dia. 3‑1/4”. [800/1200] Illustrated

508 George III Mahogany Desk Box, ca. 1800, of rectangular form, the cove-molded top with a central brass handle, opening to a velvet-lined interior, the case with a decorative escutcheon and raised on an ebonized plinth, h. 5‑1/4”, w. 9‑1/2”, d. 5”. [250/400]

504 Rare Japanese Imari Porcelain Charger, 19th century, decorated in traditional polychrome enamels and underglaze blue with a central floral medallion surrounded by reserve panels of European figures in garden settings and reserve panels of stylized flowers against a patterned fabric ground, dia. 18‑1/4”. Provenance: Blackamoor Antiques. [500/800]

510 George III Style Fruitwood Tea Caddy, fourth quarter 19th century, in the form of a pear, h. 6‑1/2”. [300/500] Illustrated

509 Georgian-Style Fruitwood Tea Caddy, in the form of an apple, h. 6”. [250/400]

511 George III Mahogany Desk Box, ca. 1800, of rectangular form, the cove-molded top centered by a brass handle and opening to a triple compartmented interior, the case fitted with a decorative escutcheon, h. 6”, w. 9”, d. 5‑1/4”. [250/400] Illustrated

515

518

520

516 517 512 George III Mahogany Desk Box, ca. 1800, of rectangular form, the cove-molded top centered by a brass handle opening to a paper-lined interior, the case fitted with a decorative escutcheon, h. 4‑3/4”, w. 9”, d. 5”. [200/400] Illustrated previous page 513 George III Mahogany Bedside Commode, fourth quarter 19th century, the rectangular top with a three quarter gallery above an open shelf, the lower commode now converted to a pull-out shelf, raised on square legs, h. 30”, w. 21‑1/2”, d. 19‑1/2”. [200/400] 514 George III Mahogany Stool, ca. 1800, the inset padded rectangular seat raised on chamfered square legs, h. 17”, w. 18”, d. 15”. [150/200] 515 George V Silverplate “Betjemann’s Patent” Tantalus, first quarter 20th century, the Goldsmith’s & Silversmith’s Company, London, of traditional form the molded base woth rope-twist banding, the ends with shaped uprights to the swing-hinged locking bar with double scroll handle, fitted with three octagon-cut glass decanters of square section, with faceted spherical stoppers, two of the decanters with bottle tags labeled “Bourbon” and “Gin” [400/700] Illustrated 516 Two Victorian Cased Sets of Staghorn-Handled Serving Utensils, fourth quarter 19th century, including a three-piece carving set by William Landell, Glasgow, with a caring knife, l. 15‑1/2”, fork l. 12”, and sharpening steel, l. 14”, presented in the original fitted burgundy ruched satin- and velvet-line faux leather case, 173/4” x 5‑1/2”, and a two piece silverplate fish serving set by Lee & Wigfull, Sheffield, with a five-tined fish serving fork, l. 10‑3/4” and a scimitar-shaped fish serving knife, l. 13‑1/2”, presented in the original fitted emerald green satin- and velvet- lined faux leather case, 15” x 5”. [125/250] Illustrated

519

517 Cased Set of Six Staghorn-Handled Steak Knives, third quarter 20th century, by Samuel Peace & Sons, Sheffield, each with a rococo-style silverplate ferrule and finial, l. 9‑1/4”, presented in the original cream satin- and red velvet-lined faux-leather case, 10‑1/4” x 7‑1/2”. [75/125] Illustrated 518 Monumental William IV Old Sheffield Plate Venison Dish, second quarter 19th century, of oval form, the dish with a well-and-tree plateau above a hot-water reservoir, the screw-cap at one long side, with gadrooned edge and acanthus-crested floral handles, raised on four floral acanthus feet, the dome with gadrooned banding and shell-and-acanthus ring handle, overall h. 15”, l. 24‑1/2”, w. 17”. [800/1200] Illustrated 519 Nine Edwardian Staghorn-Handled Dining Utensils, first quarter 20th century, including a silverplate mug, h. 5”, a steel joint fork, l. 9‑1/2”, a carving knife, l. 12”, a small sharpening steel, l. 14”, a large brass-mounted sharpening steel with ring finial, l. 21”, a silverplate crumber, l. 13‑3/4”, a steel nutcracker, l. 6‑1/4”, a silverplate condiment spoon, l. 7”, and a silverplate pickle fork, l. 7‑1/2”. [100/200] Illustrated 520 Two Late Georgian Old Sheffield Plate Tankards, ca. 1800, including a large lidded and spouted flagon of tapering cylindrical form, with annular banding and open shell billet, h. 13‑1/4:, dia. 7‑1/2”, and a quart mug of similar form, engraved with a garter-enframed monogram “JJB”, h. 6‑1/2”, dia. 4‑3/4. [150/300] Illustrated

521 Victorian Silverplate Hot Water Urn, third quarter 19th century, the squat urn-form body with acanthus-mounted turned wooden handles and a waisted collar with domed lid and large floriform finial, the downturned spout with stirrup-form handle with urned wooden insulator, the whole raised on a waisted standard above a concave and canted square plinth on four shell-and-scroll feet, h. 16”, w. 14‑1/4”, D. 14‑1/4”. [400/700] Illustrated 522 Good Pair of Victorian Elkington & Co. Silverplate Entree Dishes, 1853, Birmingham, each of oval form, the body with opposing annular handles and squat baluster feet, the domed lid engraved with a wide band of floral acanthus scrolls between wrigglework “diamond pointe” edging and centering opposing circular cartouches, the branch-mounted ropework handle detaching to permit the lid to be inverted for use as second dish, the interior fitted with a dish above a hot water reservoir, h. 7‑1/2”, l. 13‑3/4”, w. 9‑1/2”. [300/500]

524

525 Eight Pieces of Victorian and Later “Fiddle Thread” Silver Flatware, including six London sterling silver forks, two 1842‑1843 by John James Whiting and four 1851‑1852 by George W. Adams, monogrammed “JMJ”, l. 8‑1/2”, and two German .800 silver spoons, first quarter 20th century, l. 8‑1/8”, 20.77 total t. oz. [200/400] 526 Victorian Sterling Silver Sweetmeat Dish, hallmarked London, 1890‑1891, by Charles Stuart Harris, of navette form with convex bottom. decorated with a wide intricate band of repousse and chased rococo floral scrolls, l. 10‑5/8”, w. 8”, 6.88 t. oz. l. [300/500]

521

523 Victorian Sterling Silver Ladle, hallmarked London, 1845‑1846, by George W. Adams, in the traditional “Fiddle” pattern, with elliptical bowl, l. 13”, 7.20 t. oz. [100/200] 524 Good Victorian Sterling Silver Four-Piece Orientalist Tea Set, hallmarked London, 1878‑1879, by Edward Charles Brown, including a teapot, h. 7‑1/4”, dia. 5‑1/2”, coffeepot, h. 11‑1/4”, dia. 4‑1/4”, cream jug, h. 6‑1/4”, dia. 2‑3/4”, and sugar bowl, h. 5”, dia. 4‑1/2”, in the Persian taste, each with an ovoid body decorated on the shoulders with finely chased and engraved foliate arabesque panels above a similar band at the base, raised on a conical foot cut and engraved en suite, the arched handles with cabochon crests, the pots with “goosneck” spouts and flat-domed hinged lids chased en suite and with melon-form finials, 74.85 total t. oz. [2000/4000] Illustrated

527 Good Victorian Cased Elkington Five-Piece Parcel-Gilt Silverplate Berry Service, 1853‑1854, Birmingham, including four berry spoons, l. 7‑1/2”, and a sugar sifter, l. 6‑1/2”, each with an “Old English” shaped handle decorated with bright-cut edges and beribboned laurel swags, the spoon bowls gilt -and engraved with a palmette cluster and wrigglework wave-banded rim, the sugar spoon gilt bowl pierced with a starburst pattern and Greek-key rim, all presented in the original plum satinand velvet-lined fitted faux leather case, 8‑3/4” x 8‑3/4”. [150/300] 528 Twelve Pieces of Victorian and Later Silverplate Tableware, including fourth quarter 19th century pieces two waiters with beaded and lobed edge, one by James Dixon & Sons, Sheffield, dia. 8‑3/4”, the other unmarked, dia. 10” and an Elkington candlestick mounted with glazed stoneware stoneware stem and foot, h. 6‑1/2”, with later flatware six “Hanoverian” teaspoons, l. 5‑1/4”, an “Old English” coffee spoon, l. 4‑1/2”, and a “Shell and Thread” butter spade, l. 7‑1/4”. [150/300] 529 Two Victorian Pewter Presentation Tankards, third quarter 19th century, each of plain tapering cylindrical form, including a lidded mug by James Dixon, Sheffield, with ruby astral-cut-to-clear glass base, the body engraved with the badge of Marlborough College, Wiltshire and an athletic prize inscription dated 1866, h. 8”, dia. 4‑3/4”, the other an unmarked quart measure of similar form with threaded banding, engraved with inscription “For the best Fruit / 1871”, h. 6‑1/8”, dia. 4‑1/2”. [75/125]

536 Victorian Sterling Silver Caster, hallmarked London, 1894‑1895, by Samuel Walton Smith, of baluster form, decorated all over with repousse rococo scrolls and flowers, the tall cap with gadrooned rim and toupie finial, h. 9‑1/2”, dia. 3‑1/2”, 11.90 t. oz. [200/400] Illustrated 537 Edwardian Sterling Silver Caster, hallmarked London 1901‑1902, by Mappin & Webb, of cylindrical form, decorated all over with repousse rococco scrolls and flowers on a pelleted ground, the pierced cap en suite, h. 4‑1/4”, dia. 2‑7/8”, 10.74 t. oz. [200/400] Illustrated

540

538 Pair of Edwardian Sterling Silver Casters, hallmarked Chester, 1904‑1907, by George Nathan & Ridley Hayes, in the early Georgian taste, each of baluster form, the lower half fluted below an imbricate-chased annular band, the cap pierced and engraved with rococo foliate scrolls below circular latticework, with a banded spherical finial, h. 8‑1/4”, dia. 3‑1/4”, 19.61 total t. oz. [400/700] Illustrated

530 Victorian Silverplate Poultry Dome, fourth quarter 19th century, by Joseph Rodgers & Son, Sheffield, of oval form, with molded rim and reeded ring handle, monogrammed “WUEK”, conjoined, h. 9‑1/2”, l. 14”, w. 10‑3/4”. [150/300] 531 Pair of Victorian Silverplate Candlesticks, fourth quarter 19th century, in the George II taste, each with a baluster standard above an annular knop and rounded concave square base with shell corners, surmounted by a cannon-form nozzle with a detachable bobeche en suite with the base, h. 11‑1/4”, w. 5‑1/4”. [125/250]

539 George V Silverplate Revolving Vegetable Dish, first quarter 20th century, of oval form with a radiant gadrooned lid and a pair of reeded handles, raised on four scroll crested reeded legs above lion’s paw feet, the lid with ivory button and revolving to reveal the interior, h. 9”, w. 14‑1/2”, d. 9‑3/4”. [75/125]

532 Victorian Sterling Silver Cream and Sugar Set, hallmarked London/Sheffield, 1875‑1876, by Henry Wilkinson & Co., including a creamer, dia. 2‑1/2”, and sugar bowl, dia. 3”, each of squat bulbous circular form with applied shield-form cartouche, the creamer with “duck’s beak” spout and arched handle, the sugar bowl with two handles en suite, 4.82 t. oz. [100/200] 533 Edwardian Sterling Silver Footed Sweetmeats Dish, hallmarked London, 1900‑1901, by the Goldsmiths and Silversmiths Co., Ltd., in the Louis XVI taste, of navette form, with finely reticulated latticework sides decorated with embossed laurel swags and cartouches, the rim with applied laurel, scroll and patera edging, the whole raised on a domed oval foot en suite, h. 3‑3/4”, l. 7‑3/4”, w. 5‑1/2”, 6.82 t. oz. [150/300] 534 Edwardian Silverplate Game Bird Dome, by Martin, Hall & Co., Sheffield, of oval form, with annulated rim and handle, h. 8‑1/2”, l. 12‑1/4”, w. 9‑3/4”. [100/200] 535 George V Sterling Silver Caster, hallmarked London, 1917‑1918, by Wakely & Wheeler, in the William & Mary Taste, the cylindrical body with molded banding and a gadrooned foot, the conforming cap pierced and crowned en suite, with a bell-form finial, the underside engraved with a presentation inscription “John W. Little Esq. / from / The Old Tonbrigian Lodge / 1929”, h. 8”, dia. 3‑3/4”, 12.73 t. oz. [200/400] Illustrated

540 Edwardian Sterling Silver Monteith, hallmarked Birmingham, 1950‑1906, by Vaughton & Sons, of hemispherical form. the body decorated with vertical repousse threaded panels separated by acanthus fronds and below a plain molded band, the rim scalloped with addorsed “c-scrolls” separated by laurel-mantled cabochons, the whole raised on a circular foot ring en suite, h. 6‑3/4”, dia. 14”, 57.81 t. oz. [1200/1800] Illustrated

536

535

538 537

541 Edwardian Cased Twenty-Four-Piece Silverplate and Faux-Ivory Fish Set, first quarter 20th century, including twelve fish forks with four tines l. 9”, and twelve fish knives with scimitar-shaped blades, l. 9”, the tines/ blades engraved with arabesques, with sterling ferrules to the calyx-carved faux ivory handles, presented in the original fitted, red baize-lined oak case with one lift-out tray, 13‑3/8” x 10‑3/8”. [400/700]

546 Two Silverplate Vegetable Dishes, first quarter 20th century, including an English example by William Hutton & Sons, Sheffield, of oval form with gadrooned rim, the domed lid with banding and detachable ring handle en suite, h. 4‑1/4”, l. 9‑1/2”, w. 6‑3/4”, and an American example by E.G. Webster & Co., Brooklyn, New York, of oval form, with gadrooned rim, ringed ram’s masque handles and raised on four trefoil-crested stepped pad feet, the domed lid with banding and detachable ring handle en suite, h. 5”, l. 8‑1/8”, w. 6”. [125/250] Illustrated

542 Two Pieces of English Silverplate Tableware, including a cruet frame by Mappin Brothers, fourth quarter 19th century, with oval stand and wirework frame with a central ring handle and fitted with four paneled glass bottles (oil, vinegar, pepper and mustard), h. 9‑1/2”, l. 6‑1/4”, and a “clamshell” biscuit box by Israel Freeman, third quarter 20th century, in a scrolling foliate frame centered by paterae and a ring handle, the “clamshells” opening to reveal a pair of biscuit trays with pierced covers, h. 10‑1/2”, w. 8‑3/4”, d. 5‑3/4” (16” open). [125/250]

550

543 English Silverplate Tray, first quarter 20th century, by the Ellis-Barker Company, Birmingham, retailed by W. Stokes, Dublin, of rounded rectangular form, with gadrooned rim cornered by rococo shells, with opposing gadrooned handles and raised on four acanthus scroll feet, l. 24‑1/2”, w. 16‑1/2”. [125/250] 544 Two Victorian Silverplate Serving Dishes, including a second quarter 19th century tureen of bulbous oval form, with shell-and-gadroon rim, with large reed-and-acanthus handles and acanthus-crested lion’s paw feet, the domed lid with gadrooned banding and addorsed acanthus ring handle, engraved on the body with a crest of a greyhound, h., 11”, l. 17‑1/2”, w. 10‑1/2”, and a fourth quarter 19th century entree dish of rounded rectangular form, with gadrooned rim and banding and detachable reeded ring handle, h. 5‑1/4”, l. 11‑1/8”, w. 7‑7/8”. [300/500] Illustrated 545 Set of Twelve English Silverplate Bread and Butter Plates, third quarter 20th century, by Israel P. Friedman & Son, Sheffield, each of serpentine-lobed circular form, with recessed plateau, dia. 6‑1/4”. [125/250] Illustrated

544

547 Edwardian Silverplate Egg Cooker, first quarter 20th century, by Mappin & Webb, Sheffield, of ovoid form, the spiral-gadrooned lid with wooden finial and opening to reveal a frame with four egg-holders, the whole raised on three openwork scroll legs joined by a molded circular plinth centering a small burner, h. 8‑1/2”, dia. 4‑3/4”. [75/125] 548 Pair of Edwardian Silverplate Graduated Revolving Vegetable Dishes, first quarter 20th century, by James Deakin & Sons, Sheffield, each of oval form with a radiant gadrooned lid and a pair of addorsed scroll handles, raised on four fluted flat-columnar legs above lion’s paw feet, the lid with locking pin and revolving to reveal a pierced vegetable dish above a solid dish above a hot water reservoir, one h. 8”, w. 13”, d. 13”, the other 9”, w. 14‑1/4”, d. 9‑7/8”. [150/300]

545 546

549 Edwardian Cased Sterling Silver-Handled Five-Piece Carving Set, hallmarked Sheffield, 1902‑1903, by Harrison Brothers & Howson, in the “Albany” pattern, including poultry carving knife, l. 11‑1/2”, and fork, l. 10”, a joint carving knife, l. 14‑1/2”, and fork, l. 10‑3/4”, and a sharpening steel, l. 13”, all with steel fittings, presented in the original indigo velvet- and satin-lined faux leather case, 17” x 7‑1/2”. [250/400]

550 Good Edwardian Art Nouveau Sterling Silver Center Bowl, hallmarked Sheffield, 1902‑1903, by Mappin & Webb, of flattened spherical form with everted rim, raised on four “whiplash” legs in the manner of Archibald Knox (1864‑1933), h. 6‑1/4”, dia. 10‑1/4”, 39.29 t. oz. [1000/1500] Illustrated previous page

555 George V Sterling Silver Sauce Boat, hallmarked London, 1934‑1935, by R. W. Burbridge of Harrod’s Ltd., in the George II taste, of oval form, with shaped rim and everted spout, with crested “c-scroll” hanlde and raised on four shell-crested pad feet, monogrammed “JEB”, h. 4‑3/4”, l. 7‑1/2”, w. 4”, 11.45 t. oz. [200/400]

551 Edwardian Three-Piece Sterling Silver Coffee Set, hallmarked London, 1904‑1905, by Crichton Brothers, including a coffeepot, h. 8‑1/4”, cream jug, h. 4‑1/2”, and a sugar bowl, h. 3”, each of ovoid form with four panels outlined by applied banding below a serpentine-quartered rim, with unusual “mistletoe”-mounted handles, the teapot with hinged, domed lid, gooseneck spout and crested wooden handle and wooden finial, the cream jug with integral spout and silver handle, 22.89 total t. oz. [300/500]

556 English Sterling Silver Cream Jug, hallmarked Birmingham, 1937‑1938, by John Rose, in the early Georgian taste, of baluster form. with molded rim and foot-ring, applied squared handle and “duck’s beak” spout, h. 4”, dia. 2‑1/2”, 5.08 t. oz. [100/200]

552 Pair of English Silverplate Tea Caddies, first quarter 20th century, probably Deykin & Harrison, Birmingham, in the early Georgian taste, each of canted square section with gadrooned banding at the base, the hinged, domed with with vasiform finial, engraved on the body with a pseudo-armorial, h. 4‑1/2”, w. 2‑3/8”, d. 2‑3/4”. [75/125]

560

553 George V Silverplate Standish, second quarter 20th century, in the Regency taste, of rounded rectangular form with gadrooned banding and winged pad feet, fitted with two pen trays and a pair of square glass inkwells with silverplate collars flanking a stamp/nibs box with taperstick cap, h. 3”, w. 7‑3/8”, d. 4‑7/8”. [75/125]

554 557 Five-Piece Ellis-Barker Silverplate Fruit Bowl Set, third quarter 20th century, Birmingham, England, including a large footed fruit bowl, h. 9”, dia. 9‑3/4”, and four individual fruit bowls, dia. 5”, all of shallow saucer form with gadrooned rim. [125/250] 558 George V Silverplate Revolving Vegetable Dish with Spoon, the dish 1926, by Walker & Hall, Sheffield, of oval form, the domed lid engraved with wrigglework arabesques, with annulated rim, acanthus handles and raised on annulated scroll feet joined by floral swags, h. 8‑1/4”, w. 13‑1/2”, d. 8‑3/4”, the serving spoon of like date by Benham & Sons, London, in the traditional “Fiddle Thread and Shell” pattern, l. 7‑7/8”. [150/300] 554 Set of Four George V Sterling Silver Candlesticks, hallmarked Birmingham, 1922‑1923 (one 1920‑1921), by Ellis Jacob Greenburg, each of baluster form, raised on a reeded circular foot and surmounted by an inverted bellform nozzle with detachable bobeche en suite, h. 10‑1/2”, dia. 5‑1/4”, weighted. [1400/1800] Illustrated

559 Three Pieces of English Silverplate Tableware, second half 20th century, including an Israel Freeman sauce warmer in the Regency taste, with domed lid and wooden side handle and raised three flat-column legs with lion’s paw feet centering a spirit burner, h. 9”, dia. 4‑3/4”, l. 9‑1/2”, a silverplate mounted “diamond” pattern pressed glass claret jug, h. 11‑1/2”, dia. 4‑3/4”, and wine coaster with pierced gallery and turned wooden base, h. 1‑7/8”, dia. 4‑5/8”. [125/250]

562 detail

560 Pair of George V Sterling Silver-Mounted Cut-Glass Decanters, hallmarked Sheffield 1935‑1936, by Walker & Hall, each with an ovoid body with with large starbursts below tall neck with faceted annular bands, the silver collar with four pouring spouts and fitted with a radiant-cut glass stopper, h. 11‑1/2”, dia. 4‑1/2”. [1500/2500] Illustrated

561 Amusing Set of Three George V Sterling Silver-Mounted Glass Syrup Jugs, hallmarked Birmingham, 1926‑1933, by “H&H”, each in the form of a miniature claret jug, of conical form, with wheel-with “vintage” decoration, a star-cut base and up-pulled handle, with a silver collar and hinged lid, draped with a bottle tag labeled “Whiskey”, h. 4”, dia. 2‑1/2”. [125/250]

562

562 Exuberantly Modeled Louis XV-Style GiltBronze and Parquetry Inlaid Mahogany Tallcase Clock, first quarter 20th century, the circular clock face with an enameled dial beneath a pair of frolicking putti and floral garlands, the face cradled in the outstretched arms of a putto, the case adorned throughout with floral swags, the door with an urn over the porcelain viewing window, floral garlands and a lyre, the returns with parquetry inlaid panels on paw feet joined to a platform base, the works with an eightday movement, h. 86‑1/2”, w. 20‑1/2”, d. 14”. [4000/7000] Illustrated

562 detail

565 Pair of Louis XVI-Style Gilt Lacquered Brass Two-Light Appliques, second quarter 20th century, each with an asymmetrical foliate-modeled backplate joined to a pair of twining arms, previously electrified, h. 14”, w. 11‑1/2”, d. 6‑3/4”. [500/800]

563

566 Good Louis XV-Style Giltwood Looking Glass, second quarter 19th century, the cenotaph-form plate surmounted by a shield-form shell- and foliate-carved crest and within a molded frame with outer scrolling accents, h. 68”, w. 44”. [3500/5000] Illustrated

566

564

567 Napoleon III Giltwood Looking Glass, third quarter 19th century, in the rococo taste, the rectangular plate within an ebonized slip and molded frame with elaborate corner floral accents, h. 31”, w. 26‑1/2”. [400/700] 563 Louis XV-Style Mahogany Bureau Plat, early 20th century, the shaped rectangular top with an inset leather writing surface and an ormolu banded edge, above a conforming frieze fitted with a central drawer flanked to either side by a shorter drawer, all banded and with burl panels within ormolu millwork, the sides and back paneled en suite, raised on cabriole legs headed by ormolu espagnolettes and ending in sabots, h. 32”, w. 64‑1/2”, d. 35‑1/2”. [1800/2500] Illustrated 564 Pair of Louis XIV-Style Gilt-Lacquered Brass ThreeLight Appliques in the Rococo Taste, late 20th century, each with arms of foliate-draped twisting vines, the asymmetrical backplates with like modeling, h. 21‑1/2”, w. 13”, d. 6‑1/4”. [500/800] Illusrated

568 Louis XV-Style Giltwood and Marble-Top Console Table, early 19th century, the shaped Rouge Royal marble top above a pierced and shaped foliate- and shell-carved frieze, raised on molded cabriole legs with an applied floral garland, joined by a pierced stretcher and ending in scrolled toes, h. 34‑1/2”, w. 33”, d. 15”. [1200/1800] Illustrated 569 Pair of French Gilt-Bronze and Afyon Violet Marble Cassolettes, fourth quarter 19th century, the ram’s head handles joined by floral swags, the vasiform body supported by a beaded square base on toupie feet, the lids now lacking, h. 15‑3/4”, w. 9”, d. 7”. [1000/1500] Illustrated

570

570 Eighteen-Light Crystal and Prism-Hung Chandelier in the Maria Theresa-Style, with six arms above twelve arms, draped with beaded swags and faceted pear shaped pendalogues,^ h. 27”, dia. 32”. [1200/1800] Illustrated

569 572 Louis XV-Style Fruitwood Vitrine, the bowed plinth top above an ormolu mounted frieze and conforming case fitted with a single door, the upper two-thirds glazed, the lower with a polychrome scene of a pastoral couple in the manner of Vernis Martin, the sides glazed and painted en suite, raised on cabriole legs, the whole accented with ormolu millwork, h. 68”, w. 29‑1/2”, d. 17”. [500/800] 573 Transitional Louis XV into Louis XVI-Style Kingwood and Marble-Top Bowfront Commodes, early 20th century, each with a bowed Breche d’Aleps marble top with molded edges above a conforming case fitted with two drawers, each banded and with chevron veneers, the sides en suite, raised on cabriole legs ending in sabots, h. 30”, w. 25”, d. 14‑1/4”. [800/1200]

568

571 Louis XV-Style Mahogany and Burlwood Marble-Top Commode, early 20th century, the shaped Breche d’Aleps marble top with molded edge and above a conforming case fitted with two long drawers, raised on cabriole legs ending in sabots, the whole with decorative ormolu mounts, h. 36”, w. 48”, d. 21‑1/2”. [1000/1500] Illustrated

571

574 Pair of Third Republic Gilt-Bronze and Rock Crystal Candlestick in the Louis XVI Taste, ca. 1900, each with a fluted leaf and berry-modeled candlecup supported by a fluted rock crystal standard joined to a stepped circular crystal base, trimmed with foliate and bead rings, h. 7‑1/2”. [1200/1800] Illustrated

584

585

583

575 Group of Eight Baccarat Molded and Cut-Leaf Dishes, third quarter 19th century, signed with the acidetched signature on the handles, w. 4”, l. 5”. [300/500]

576 Pair of French Bronze Argente Candelabra, first quarter 20th century, in the Louis XVI taste in the form of an upright acanthus frond within an open-pillared standard with a flammiform finial, flanked with a pair of scrolling foliate arms each ending in a candle nozzle en suite, the whole raised above a domed base decorated with reed-and-ribbon banding and square paterae, h. 12‑3/4”, w. 9‑1/2”. [600/900]

574

577 Suite of Three Louis XV-Style Mahogany and Parquetry Nesting Tables, early 20th century, each with a shaped and banded rectangular top centered by a parquetry panel and within an ormolu band, raised on cabriole legs headed by foliate mounts and ending in sabots, h.. 22‑1/4”, w. 21”, d. 16”. [400/700] Illustrated 578 Miniature Gilded Carriage, second quarter 20th century, giltwood with metal wheels, the interior upholstered in red and gold brocade fabric, h. 9‑1/2”, w. 6”, l. 18”. [400/700]

577

579 Louis XVI-Style Polychromed Sidechair, mid‑19th century, the molded and domed crest above a pierced lyreform splat, the padded seat raised on turned and fluted tapering circular legs ending in toupie feet, h. 36‑1/2”. [500/800] 580 Group of Four Beige Silk Accent Pillows, each with a floral and leaf design, the smallest 17” x 11”, the largest 17” x 17”. [300/500] 581 Pair of Louis XV-Style Mahogany Occasional Tables, third quarter 19th century, each with a rounded, rectangular top with a 3/4” brass gallery surrounding a banded and quarter veneered surface, above a conforming frieze fitted with a front leather inset slide and a single side drawer, joined to a quarter veneered stretcher shelf by cabriole legs headed by a foliate ormolu mount and ending in sabots, h. 27‑1/4:, w. 17”, l. 14”. [300/500]

589

585 Good Japanese Kakiemon Bowl, 19th century, of ribbed body with picket lip rim, decorated in polychrome enamels against a white ground with floral sprays and a central character in rouge-de-fer, dia. 8‑1/4”. Provenance: ex coll. Henry Stern Antiques, New Orleans, Louisiana. [400/700] Illustrated 586 Chinese Export Porcelain Dish, 18th century, decorated in encre-de-chine and famille rose enamels with a central design of a Nubian head in profile and a rim border of floral sprays, dia. 9‑1/8”. Provenance: ex coll. J. Louis Binder. [250/400]

587

587 Chinese Export Porcelain Tureen and Cover, 18th century, of bombe form on splayed float with Europeanstyle handles, decorated in Famille Rose enamels with heraldic devices and grape clusters, h. 9‑1/2”, l. 12‑1/2”. [3500/5000] Illustrated 588 Chinese Famille Rose Export Saucer Dish and Spoon Rest, 18th century, the dish of circular form with scalloped rim decorated with alternating panels of figures and flowers separated by panels of diamond ground with floral centers, dia. 4‑3/4”, together with a porcelain spoon rest in iron red and gilding, w. 3‑2/3”, l. 4‑2/3”. Provenance: ex coll. Henry Stern Antiques, New Orleans, Louisiana. [100/200]

582 Pair of Louis XV-Style Mahogany and Burlwood Marble-Top Commodes, each with a shaped rectangular marble top, one Verde Antico, the other Grand Antique, above a conforming case fitted with three drawers, all within a decorative geometric banding, the sides paneled, raised on splayed legs ending in sabots, h. 29‑3/4”, w. 33”, d. 18”. [600/900]

589 Large Pair Chinese Armorial Export Porcelain Cache Pots, 19th century, each of circular outline with molded lion head handles with brass rings decorated in polychrome enamels with heraldic devices flanked at the handles by pine and prunus tress, bamboo and ling-chih fungus, the interior and base rims with geometric hexagonal section borders, fitted in later continental brass bases, h. 10‑1/4”, dia. 12‑1/2”. [1400/1800] Illustrated

583 Pair Chinese Famille Rose Saucer Dishes, 19th century, each decorated in famille rose enamels with the figure of a sage seated among the branches of a flowering peony tree, dia. 8‑1/8”. Provenance: ex coll. Henry Stern Antiques, New Orleans, Louisiana. [400/700] Illustrated 584 Elegant Pair Japanese Kakiemon Bottle Vases, 18/19th century, each potted with bulbous bodies and thin elongated necks, finely decorated in polychrome enamels, sparrows flying between bamboo and flowering branches, h. 9‑1/4”. Provenance: ex coll. Henry Stern Antiques, New Orleans, Louisiana. [300/500] Illustrated

590

590 Near Pair of Louis XV-Style Kingwood and MarbleTop Encoignures, each with a bowed and shaped Brocatella Jaune du Jura marble top with a molded edge above a conforming case fitted with two cupboard doors, inset with an ebonized and polychrome panel in the chinoiserie taste, raised on splayed feet ending in sabots, h. 33‑3/4”, w. 33’, d. 23‑1/2”. [800/1200] Illustrated previous page 591 Napoleon III Mahogany Corner Console Table, late 19th century, in the chinoiserie taste, the bowed top above a pierced fret-carved frieze, raised on a shaped and scrolling support with incised designs and ending in a paw foot, h. 38”, w. 20‑3/4”, d. 14‑1/2”. [500/800] 592 Chinoiserie Decorated Porcelain Box, first half 20th century, of bombe form, decorated with raised figures in a landscape, the top mounted with a brass lid and bezel, signed “LB Paris, Made in France”, along with a pseudoSevres signature, h. 4‑1/2”, w. 6”, l. 8‑1/2”. [600/900] Illustrated 593 Rococo-Style Giltwood Looking Glass, second quarter 20th century, the crest centered by a laurel and berry wreath, the mirror plate with serpentine top, sides and base, all in a leaf and rose-molded frame, h. 37”, w. 42”. [150/300] 599 pair

592

594 Pair of Louis XV-Style Fruitwood and Faux Marbre Console Tables, each with a shaped faux Verde Antico marble top above a conforming pierced frieze, centered by a shell carving and with scrolling foliate accents raised on scrolling supports joined by a pierced shell stretcher and ending in scrolled toes, h. 31”. w. 38‑1/2”, d. 17‑1/2”. [400/700] Illustrated 595 Group of Four Black and Dark Brown Pillows, three with stripes, one with a floral design, the smallest 17” x 11”, the largest 18” x 18”. [250/400] 596 Louis XVI-Style Cut and Pressed Glass and Brass Five-Light Chandelier, the ribbed stem joined to a cast-brass bowl with foliate-modeled arms, adorned with faceted teardrop pendants and prism-cut strings of octagonal beads, h. 20”, dia. 17”. [400/700]

594 pair

597 Italian Kingwood and Parquetry Marble-Top Commode, early 20th century, the rectangular cerand antoine du nord marble top above a conforming case fitted with two long drawers, each banded and with diamond patterned parquetry inlays, raised on cabriole legs ending in sabots, the whole accented with ormolu mounts and millwork, h. 34‑1/2”, w. 40”, 17”. [800/1200]

601 Louis XVI-Style Giltwood Music Stool, early 20th century, the padded square top of adjustable height by a spiral mechanism, above a shell and foliate-carved frieze, raised on paneled tapering bell-flower carved square legs joined by a shaped X-form stretcher and ending in block and ball feet, h. 21”, w. 16‑3/4”, d. 16‑3/4”. [400/700]

603 pair

602 Pair of Louis XV-Style Polychrome Child’s Fauteuils, early 20th century, each with a padded and shaped back surmounted by a polychrome floral bouquet crest, joined by scrolling padded arms to the like seat, raised on molded cabriole legs headed by floral carving and ending in foliate toes, h. 26‑1/4”. [1400/1800] Illustrated

602

598 Transitional Louis XV-into Louis XVI-Style Mahogany and Marble-Top Vitrine, early 20th century, the canted rectangular top with a full pierced gallery and Paloma marble top above a conforming case fitted with swag and guilloche ormolu banding over a single glazed door, opening to a shelved interior, the sides also glazed, raised on cabriole legs ending in sabots, h. 55‑1/2”, w. 26‑1/2”, d. 11‑1/2”. [500/800] 599 Pair of Louis XVI-Style Giltwood and Polychrome Looking Glasses, late 19th century, each with an arched plate surmounted by a guilloche frieze and shield-form crest issuing floral garlands on a paneled background, the plate within a molded and annulated frame, h. 72”, w. 38‑1/2”. [2500/4000] Illustrated 600 Louis XIV-Style Giltwood Fauteuil a la Reine, third quarter 19th century, the padded rectangular back joined to the like seat by molded, downswept, acanthine-carved arms, raised on paneled, tapering square legs with incised accents, joined by a foliate-carved X-form stretcher and ending in molded block feet, h. 45”. [600/900]

603 Pair of RegenceStyle Kingwood and Parquetry MarbleTop Commodes, early 20th century, each with a rectangular Violet Brocatella marble top with molded edge above a case fitted with a plain frieze drawer over two lower bombe drawers, all with banded parquetry panels, the whole raised on splayed feet ending in sabots, h. 35‑1/2”, w. 49”, d. 21”. [2500/4000] Illustrated 604 Pair of Louis XV-Style Giltwood and MarbleTop Console Table and Mirror, each with a bisected rectangular plate within a foliate molded and annulated frame, h. 83‑1/2”, w. 20‑3/4”, the console with a shaped and variegated tan and gray marble top above a conforming frieze with a central pierced scrolling pattern, raised on molded cabriole legs joined by a floral basket stretcher and ending in foliate toes, h. 30”, w. 27”, d. 13”. [1200/1800] Illustrated 604 pair

605 Pair of Meissen Cache Pots on Stands, first quarter 20th century, each hand painted in floral patterns within rococo gilt panels bordered by puce scales, resting on stands decorated to match, each piece signed in underglaze with a pseudo- Meissen crossed swords mark, overall h. 6”, pot dia. 6‑1/2”. [1200/1800] Illustrated

607

610 Louis XV-Style Mahogany and Parquetry MarbleTop Commode, fourth quarter 19th century, the shaped Tinos Green marble top above a bombe case fitted with two long drawers, each with a parquetry and sunburst pattern inlay within decorative omolu millwork, the sides inlaid en suite, the whole raised on splayed legs ending in sabots, h. 33‑1/2”, w. 46‑1/2”, d. 21‑1/2”. [1000/1500] 611 Pair of Louis XVI-Style Giltwood Bergeres-avecOrielles, third quarter 19th century, each with a padded and domed back surmounted by a floral crest and within a rope-carved frame, joined to the cushioned seat by shaped sides and foliate-carved padded arms, raised on tapering fluted circular legs ending in toupie feet, h. 40‑1/2”. [1200/1800] Illustrated 612 French School (First Quarter 20th Century) “Figures in a Landscape with a View of a Chateau”, gouache on paper, signed illegibly in pencil lower right, sight 8‑1/2” x 16”. Glazed, French matted and presented in molded giltwood and gesso frame. [100/200]

606

606 Meissen Ecuelle On Stand, Marcolini Period (1774‑1817), hand painted with floral designs and a burgundy edge with a molded floral knop and intertwined handles, marked with underglaze blue cross swords with a star, h. 6‑3/4”, dia. 8‑3/4”. [700/1000] Illustrated 607 Amusing Pair of Italian White Glazed Terra Cotta Monkey’s, in the rococo taste, playing musical instruments, styled after the Meissen monkey bands, these examples are wearing conical hats, dressed in human attire and sitting on inverted square plinths, h. 46’. [700/1000] Illustrated 608 French Patinated Brass and Cut Glass Eight-Light Chandelier, second quarter 20th century, in the Louis XVI style, richly dressed with colored glass fruit and pendant drops, h. 33”, dia. 23”. [500/800] 609 Pair of Czechoslovakian Gilt-Brass and Glass TwoArm Sconces, each now dressed in colored and colorless glass fruit and leaves, h. 15”, w. 10‑1/4”, d. 7”. [200/400]

605

611

614 Pair of Louis XVI-Style Giltwood Looking Glasses, each with a rectangular plate surmounted by a carved floral urn crest flanked to either side by a cornucopia, within a molded frame with side foliate garland and pierced Greek key accents, h. 68”, w. 33”. [3500/5000] Illustrated

614 pai

613 613 Silk and Ivory Ladies Fan From the Belle Epoque Era, fourth quarter 19th century, painted with a lady on a swing among foliage, being rocked by a floating cupid, the pleated silk supported on a pierced ivory frame, the whole framed in a modern silver-leaf shadowbox, h. 19”, w. 30”. [200/400] Illustrated

615 Pair of Louis XVI-Style Faux-Bois and Polychromed Side Tables, 20th century, each with a rectangular faux-bois top over a guilloche-pierced frieze, centered by a panel with a grisaille landscape, raised on fluted tapering circular legs ending in toupie feet, h. 34‑1/4”, w. 55‑1/2”, d. 23”. [4000/7000] Illustrated

615

616 Pair of Louis XVI-Style Painted Sidechairs, third quarter 19th century, the padded medallion backs within a molded frame, the padded seats raised on fluted tapering circular legs ending in toupie feet, h. 31‑1/2”. [500/800]

617 Louis XVI-Style Porcelain-Mounted Gilt-Brass Mantle Clock, ca. 1900, the finial an urn of tazza form with ram’s head handles and a porcelain body, the urn finial, porcelain dial and lower panel executed in the 18th century Sevres style, the body with a cartouche flanked by leaf and berry swags, putti and a pair of doves, h. 15”, w. 9”, d. 5”. [600/900] Illustrated 618 Pair of Molded White Dresden Birds, trimmed in gilt, the birds sitting on a molded base in the rococo taste, signed on the underside “Germany Dresden” under crossed swords in overglaze blue, h. 3‑3/4”. Provenance: Estate of Tamara de Lempicka (1898‑1980). [200/400]

617

623 four pairs 619 Old Limoges Partial Breakfast Set, third quarter 19th century, consisting of a cafe au lait cup, h. 3‑1/2”, a pair of shaped cake plates, dia. 10‑1/4”, a compote, h. 4‑5/8”, dia. 7‑7/8”, and six small plates, dia. 7‑3/8”, all decorated with a gilt-fret on a peach border. Provenance: The Estate of Tamara de Lempicka (1898‑1980). [300/500]

620

620 Louis XVI-Style Polychrome and Parcel-Gilt Bergere, early 20th century, of generous proportions, the low padded medallion back surmounted by a ribbon and floral crest, joined by padded downswept arms to the like seat, above a foliate bow apron, raised on tapering stop-fluted circular legs ending in toupie feet, h. 33‑1/2”. [600/900] Illustrated 621 Louis XV-Style Polychrome Cocktail Table, the shaped rectangular top with an inset mirrored surface, above a conforming frieze raised on cabriole legs headed by foliate carving and ending in like toes, h. 18”, w. 42”, d. 24”. [150/300] 622 Contemporary Argente and Mirrored Occasional Table, in the neoclassical taste, the octagonal mirrored top within a banded edge, raised on a graduated mirrorpaneled tripartite standard to a concave square plinth base, h. 25”, dia. 23‑1/2”. [250/400]

623 Four Pairs of French Embroidered Yellow Silk Drapery Panels, each pair with a matching valence, all line with ecru polished cotton and trimmed with silk tape and bound tassels, panels 92‑3/4” x 37”, cornice w. 62‑3/4”, l. 19”, d. 6‑3/4”. [1000/1500] Illustrated 624 Set of Ten Dusty Peach Chintz and Ecru Drapery Panels, each lined with ecru cotton flannel and black-out fabric, h. 113‑1/2”, w. 36”. [700/1000] 625 Set of Four French Lichen-Green Damask Drapery Panels, in the Louis XVI style, each panel lined and having a fringed basal edge, each panel l. 110”, w. 49”, accompanied by four pairs and three single matching silk tasseled tiebacks in assorted earth tones. [300/500] 626 Dutch School (Fourth Quarter 19th Century) “Still Life with Flowers, Insects and Birds”, oil on canvas, signed and dated illegibly lower left, 30” x 22”. Presented in a Baroque-style ebonized and gilt-stenciled frame. [800/1200] Illustrated 627 Dutch School (Fourth Quarter 20th/First Quarter 21st Century) “Floral Still Life on a Stone Ledge”, oil on canvas, signed lower right “K. Pelham”, 36‑1/8” x 24”. Presented in a giltwood and gesso frame. [500/800]

630 detail

628 Pair of Dutch Elm and Mahogany Side Chairs, ca. 1800, each with a domed and eared crest above a pierced vasiform splat, the padded seat raised on cabriole legs ending in pad feet, the whole with floral marquetry inlay, h. 37”. [300/500] 630 629 Dutch Mahogany and Marquetry Tripod Table, early 19th century, the tilting circular top with a scrolling acanthine border surrounding an inlaid floral and avian urn, raised on a turned columnar standard to three splayed cabriole legs ending in pad feet, h. 29”, dia. 32”. [600/900] 630 Fine Dutch Neoclassical Seaweed Marquetry Inlaid and Ebonized Tallcase Cock, ca. 1800, the projecting cornice over a fret-work frieze, the glazed door with foliate, floral and scroll inlay, flanked by engaged inlaid columns with brass capitals and base, the elaborately inlaid door with a brass-trimmed blown glass window at the pendulum, the broader lower section with a like inlaid panel, the plinth base with a similarly inlaid face, the returns with lightened and ebony staining, the works signed: “John Cotton, London”, the clock face with a smaller second hand dial,and calendar, h. 87”, w. 20”, d. 10‑1/4”. [6000/9000] Illustrated

626

631 Dutch Mahogany, Walnut and Marquetry Cabinet, the shaped and domed molded cornice above a frieze centered by an inlaid portrait, over two doors, each inset with a shaped panel and with elaborate floral, foliate and avian inlays, opening to a shelved interior with two lower drawers, the bombe lower section fitted with three graduated long drawers, raised on scrolled feet, the whole with elaborate marquetry inlays, h. 86”, w. 68”, d. 20”. [2000/4000]

633

632 Pair of Colombian Brass Stirrups, fourth quarter 18th century, molded with shells, scrolls and a meander of leaves and berries, h. 4”, w. 8‑1/2”, d. 4”. [400/700] 633 George III-Style Brass Fifteen-Light Chandelier, of double tiered form, with five over ten “S”-shaped arms with scroll ends, the stem with stepped bowls and a large spherical lower bowl, including a canopy in matching surface, h. 26”, dia. 29‑1/2”. [500/800] Illustrated 634 Large Chinese Blue and White Porcelain Bottle Vase, 20th century, the compressed baluster-form decorated in underglaze blue with a wave pattern base, the body with five-clawed dragons cavorting between lotus, peonies and scrolling foliage and a band of ruyi heads at the neck, h. 16”. [250/400] Illustrated 635 Chinese Export Blue and White Serving Platter, 18th century, of rectangular outline with canted corners, decorated with a traditional Chinese lake scene with pavilions and bordered in a floral design, w. 11‑3/4”, l. 14‑1/2”. [300/500] Illustrated

637 Chinese Blue and White Porcelain Vase, 18th century, of baluster form decorated in underglaze blue with a continuous design of phoenix birds among a dense ground of peonies, carved wooden stand and elaborate wooden fretwork cover, h. 15”. [700/1000] Illustrated 638 Large Chinese Blue and White Porcelain Tree Tub, late 20th century, the body with dragons and clouds above stylized ocean waves, h. 19”, dia. 21”. [1200/1800] 639 Chinese Blue and White Porcelain Vase, late 19th century, now mounted as a lamp, the slender baluster form vase decorated in underglaze blue with a forested mountain landscape with a fisherman in his boat on a lake, h. 20‑1/4”. [100/200] 640 Pair Chinese Blue and White “Double Happiness” Vases, 20th century, each of baluster form with double Fo dog handles and flared lip rims, decorated with “double happiness” symbols on a ground of scrolling vines and flowers, h. 17”. [500/800]

636

634

635

636 Chinese Blue and White “Kraak” Dish, Wanli reign, Ming Dynasty, ca. 1640, the deep dish with lip rim decorated with a central medallion of Buddhistic symbols surrounded by reserve panels of flowers and ornaments, dia. 14‑1/2”. Provenance: ex coll. Henry Stern Antiques, New Orleans, Louisiana. [500/800] Illustrated

637

641 Chinese Wucai Decorated Porcelain Jar, 19th century, now wired as a lamp, the baluster-form body decorated in underglaze blue and enamels as figures in a garden pavilion, wooden base and top by Dennis Poupart, silk shade, h. 29”. [700/1000] Illustrated

645

641

642 Large Chinese Polychromed Porcelain Storage Jar, 19th century, of tapering baluster form, decorated in underglaze blue and Famille Verte enamels with continuous scene of mounted warriors and foot soldiers in rocky terrain and pine tree, the base with a double ring in underglaze blue, h. 14”. [400/700] 643 Chinese Export Porcelain Part Garniture Set, 18th century, composed of two trumpet vases and two baluster vases, each decorated in Famille Rose enamels with alternating figural and naturalistic reserves against an underglaze blue ground and an iron-red “T” fret ground, h. 7‑1/2”. [400/700] 644 Pair Chinese Export Porcelain Trumpet Vases and Two Unrelated Covers, 18th century, each decorated in Famille Rose enamels with reserve figural scenes against a “T” fret ground, the covers en suite but probably from baluster vases in the same garniture set, h. 12”. [400/700] 645 Chinese Blue and White Porcelain Jardiniere, 19th century, of tapered bulbous shape with flattened rim decorated in underglaze blue with a continuous design of peonies above a prunus blossom border at the base and a border of key-fret with stylized flowers at the top, all decorated in the Qianlong style, seated on a rosewood carved tabouret with lobed top and bowed legs attached to lobed stretchers, h. 31‑3/4”, including stand, dia. 16”. [500/800] Illustrated

646 Chinese Blue and White Porcelain Garden Seat, 20th century, of barrel form with pierced “cash” symbol openings, decorated in underglaze blue with reserve panels of birds in landscapes against a floral ground, h. 18”. [200/400] 647 George III Mahogany Corner Chair, fourth quarter 18th century, the shaped and rounded crest and outscrolled armrests above two baluster-form splats, the padded seat raised on square legs joined by a box stretcher, h. 31”. [250/400]

648

648 English Oak “Guardsman” Table, the elongated ovoid top raised on columnar supports joined by an oval stretcher, raised on tapering square feet, h. 30”, d. 39”, l. 79”. [400/700] Illustrated

649 George III Walnut Chest, fourth quarter 18th century and later, the rectangular top banded and quarter veneered above a conforming case fitted with three short drawers over three graduated long drawers, all with chevron banding, raised on bracket feet, h. 39‑1/2”, w. 40”, d. 22”. [1200/1800] Illustrated 650 James Lawson Stewart (British, 1829‑1911) “The Old Close Gate-Salisbury”, watercolor on paper, signed lower left “J. L. Stewart”, verso with a label inscribed in ink with work’s title and artist’s name, 23‑1/4” x 28”. Presented in a giltwood frame. [450/700]

651 suite of eight

649

651 After Hans Holbein the Younger (German,1497/98 - 1543), group of eight sanguine lithograph portraits of Illustrious persons of the Court of Henry VIII, first quarter 20th century, including, “Sir Thomas Le Strange”; “The Lady Henegham”; “Joan, Wife of R. Zouch”; “Edward VI”; “The Lady Eliot”; “Anne of Cleves”; “Edward Stanley, Earl of Derby”; and “Sir George Carew”, artist and sitters identified lower legend, each with a label on the reverse “Green and Stone, Chelsea, London”, sight 12‑1/4” x 9‑1/4”. Glazed, matted and framed en suite. [500/800] Illustrated

652 English Oak Side Chair, ca. 1800, in the Queen Anne taste, the shaped and back-scrolled crest above a baluster-form splat, the wooden seat raised on cabriole legs, headed by “C”-scrolls and ending in pad feet, h. 39”. [300/500] 653 English Oak Side Table, early 19th century, in the Queen Ann style, the over-hanging rectangular top above a frieze fitted with a single drawer, raised on tapering circular legs ending in pad feet, h. 27”, w. 31‑1/2”, d. 21‑1/4”. [500/800] 656

654 George III Mahogany Roundabout Chair in the Chippendale Taste, ca. 1800, the concave top rail on turned supports and with a pair of vasiform splats, the seat rails with molded edges, on square legs joined by box stretchers, the underside retains a sticker from: “Henry Stern Antiques, New Orleans, Louisiana”, h. 31‑1/4”. [300/500]

663

655 Attributed to Charles Philip Slocombe (British, 1832‑1895) “Musicians at Rest”, watercolor on paper, unsigned, sight 21” x 30”. Glazed and presented in a giltwod exhibition frame affixed with a plaque inscribed “C. P. Slocombe”. [2000/4000] 656 Suite of Twelve English Elm Dining Chairs, early/ mid‑20th century, consisting of two arm chairs and ten side chairs, each with shaped ladderbacks above the rush seat, raised on tapering circular legs joined by turned stretchers and ending in pad feet, h. 43”, armchairs. [1000/1500] Illustrated 657 English Polychromed Cast-Iron “Punch” Doorstop, fourth quarter 19th century, the figure of the seated Punch accompanied by his dog, the surface retaining its old paint, h. 12‑1/4”, w. 9”, d. 3‑1/2”. The popular “Punch and Judy” puppet shows of the late 19th century traces its antecedents to Italian comedy. By 1662, the English had adopted the characters. [50/100] 658 Two George III Fireplace Trivets, ca. 1800, one a large cast iron example with ventilated grate and central shelf, h. 13‑1/2”, w. 26”, d. 15”, the other a brass and iron example with forged legs and brass platform, h. 12‑1/2”, w. 12”, d. 10‑1/2”. [150/300] 659 Good English Oak Mule Chest, early 19th century, the hinged rectangular top with a molded edge and opening to a void interior, the front with three inset panels over two drawers, raised on ogee-molded bracket feet, h. 36”, w. 55”, d. 20‑3/4”. [3000/5000] Illustrated

664 660 British School (First Quarter 19th Century) “Kitchen Scene with Arrival of a Visitor”, oil on canvas, unsigned, 13” x 17”. Presented in a ebonized and parcel-gilt frame. [500/800] 661 Provincial Composition Serving Dish, 20th century, in the shape of a pointed oval with five inset cups, l. 9”, w. 6‑1/2”. [30/50] 662 Pair of Jacobean Revival Three-Light Candelabras, first quarter 20th century, depicting facing dogs contained in a scrolled support below the candle cups, all above a ring turned shaft on a round cast base, h. 22‑1/2”, w. 9”. [300/500]

659

663 Queen Anne-Style Walnut and Oak Display Cabinet, partially composed of antique elements, the shaped and molded domed cornice above a case fitted with a single conforming glazed door, opening to a shelved interior, the sides also glazed , on an ogeemolded base, h. 43”, w, 41‑1/2”, d. 10”. [1000/1500] Illustrated

672

673

666 After Jean Louis Ernest Meissonier (French, 1815 1891) “Cavaliers”, pair of copper engravings of a single cavalier standing within an engraved cartouche border, plate signed “Meissonier”, engraved by Eugene Decisy, pencil signed “Decisy”, published by Harry Dickins, London, sight 15‑3/4” x 11‑1/4”. Glazed, matted and framed en suite. [125/250] 667 William and Mary Period Legal Document, dated October 11, 1692, small post quarto sheet, being an acknowledgement of Elizabeth Campion, widow of Richard Campion, joiner, of St. Anne’s parish, London, regarding the disposition of the five hundred pounds received of John Nicholson in regards to her late husband’s estate, signed and sealed in red wax by the widow Campion, sight 9‑1/2” x 7‑1/2”, presented in an ivory mat and narrow gold-threaded black frame and glazed, overall14‑3/4” x 11‑3/4”. [100/200]

664 After Anthony Van Dyck (Flemish/English, 1599‑1641), “The Children of Charles I”, a good miniature on ivory after the 1634 original, probably 19th century Italian, presented in a gilt metal frame and glazed, 3‑1/4” x 4‑3/8”, the reverse with Italian inscription in pencil identifying the subject. [1800/2500] Illustrated previous page 665 British School (17th Century) “Portrait of a Noblewoman Seated Before a Red Velvet Curtain with Gold Lace Trim, Holding a King Charles Spaniel”, oil on canvas, unsigned, indistinctly dated “16--”, 48” x 38”. Presented in a contemporary giltwood frame. Provenance: Blackamoor Antiques. [2000/4000] Illustrated

665 668 George III-Style Brass Twelve-Light Chandelier, early 20th century, of stepped two-tier form, the stem with turned elements and a large ball finial, h. 34”, dia. 29‑1/2”. Provenance: The Brass Lion, Tyler, Texas. [700/1000]

669

669 Rare William and Mary Walnut Flip-Top Table, ca. 1690 and later, the banded demi-lune top hinged and opening to an inset silk embroidery on linen panel of an heraldic scene of a rampant lion surmounted by two putti bearing a crown, above a conforming frieze fitted with two circular candle slides over two small side drawers, raised on turned and bulbous legs joined by a demi-lune stretcher and raised on teardrop feet, h. 26”, w. 28”, d. 12‑3/4”. [600/900] Illustrated

670 English Walnut and Mahogany Occasional Table, late 17th century and later, the hexagonal top with oyster veneers, raised on a barley twist standard to a hexagonal base issuing three splayed legs, h. 24‑1/2”, dia. 15”. [75/125] 671 English Walnut Candle-Stand, late 17th century and later, the duo-decagonal top banded and with decorative chevron patterned inlays, raised on a turned and bulbous standard to a splayed tripartite base, h. 29”, dia. 14‑1/2”. [150/300] 672 Vintage Hugh Macpherson “Horsehair” Sporran, third quarter 20th century, Edinburgh, with leather backing and chrome fittings embossed with thistles, with white synthetic horsehair drape and two black synthetic horsehair tassels, l. 17”, belt size 36 to 42. [100/200] Illustrated 673 Scottish Claymore, in the 15th/16th century style, this example a Victorian reproduction crafted ca. mid‑19th century, the blade of traditional form, the cross guard shows much file work, the wooden grip displays shrinkage from age and is probably fruitwood, the blade is profusely stamped with numerous markings, l. 59‑1/2”, blade l. 42”. A nearly identical example is illustrated plate 231 in George Cameron Stone’s, “A Glossary of the Construction, Decoration, and Use of Arms and Armor in All Countries and in All Times”, New York, The Southworth Press, 1956. [500/800] Illustrated

679 676 Scarce Continental Rapier, 16th/17th century, with chisel decorated hilt, may have been disassembled and the grip wrapped at some time, the pommel possibly replaced as many as 200 years ago, l. 42”. [1200/1800] Illustrated

676

675

674

674 Pair of French Short Artillery Swords, ca. 1820, also known as “Coupe Chou”, l. 27” to 27‑1/2”. [300/500] Illustrated 675 Small Sword, late 18th century, probably English, with cut steel hilt, etched triangular glade, the pommel in the form of an Adams urn, h. l. 36‑3/4”. [300/500] Illustrated

677 English Drill or Practice Sword, mid‑19th century, sheet iron guard, the wooden blade probably shortened, l. 36”. [50/80] 678 Scarce Main Gauche (Dagger), late 16th/early 17th century, possibly Italian, l. 14‑1/2”. [300/500]

679 Abraham Ortileus (Belgian, 1527‑1598), a fine hand-colored engraved map of the Holy Land, 1584, with intricate Biblical vignettes and Jonah being tossed to the whale, presented in an attractive bird’s-eye maple frame in the neoclassical style and glazed, overall 18‑3/4” x 23‑3/8”. Provenance: Richard B. Arkway, Inc., New York, New York, May 1995 sale, lot number 136. [500/800] Illustrated previous page

682 British School (Second Quarter 19th Century) “Sir Thomas Sherborne” and “Charles VII King of France and Joan of Arc, The Maid of Orleans”, two hand colored lithographs, sight 12” x 9‑1/2”. Both glazed, attractively matted and framed. [250/400]

680 Set of Indo-Persian Silver-Inlaid Ceremonial Weapons, fourth quarter 19th century, comprised of a kulah khud h. 18” ( including chain mail), forearm guard, l. 12‑1/4”, battle axe, l. 18‑1/4” and shield, dia. 17”, all with exhuberant silver inlay, the forearm guard and shield lined with patterned red Indian cotton. [2500/4000] Illustrated 681 Indo-Persian Talwar, eighteenth century, the blade of pattern-welded Damascus steel having an inlaid mark matching a cut-out mark on the disc pommel, the iron hilt over-laid with silver sheet, held in a later leather scabbard, overall l. 31‑3/4”. [500/800]

688

685

683 Pair of Diminutive Cast-Iron and Stenciled Replica Cannons, each mounted to a wooden base with wheels and line stenciled, one example stenciled “no. 1” and the other “no. 2”, h. 16‑1/2”, w. 12”, l. 24”. [1200/1800] 684 Pair of Child’s or Desktop Bronze Cannons, 20th century, mounted on naval carriages with diapered decoration, armorial crests on the tubes, together with a larger brass cannon, h. 4”, l. 11‑1/4”, larger, h. 2‑1/2”, l. 5”, smaller. [100/200] 680

685 English Oak Cabinet, 18th century, the rectangular top above a case fitted with two cupboard doors over a single long drawer and two further cupboards, all banded, the cupboards with octagonal panels, raised on molded block feet, h. 48‑1/4”, w. 38”, d. 17”. [600/900] Illustrated 686 Group of Nine Decorative Copper Pieces, consisting of two covered pots, a small brass-handled pouring vessel, miniature tea kettle, coffee pot, two moulds, a decorative plaque and a ring, h. 2‑1/2” to 8”. [150/300] 687 Provincial Oak Stool, 19th century, the rectangular top with one canted corner, raised on three splayed circular legs, h. 10‑1/2”, w. 15‑1/2”,d. 10”. [50/80]

688 Good Portrait Miniature of Oliver Cromwell (1599‑1658), oil on tin, possibly of the period, depicting the youthful Protector on one side and somewhat older on the other, presented in a double-sided gilt-brass frame, 2‑1/2” x 2”, with a later gold-filled watch chain, l. 50”, all in an ovoid gilt-stamped leather case, 5” x 3‑3/4”. [300/500] Illustrated 689 Attributed to William Steward MacGeorge (Scottish, 1861‑1931) “Copy of a Portrait by Peter Paul Rubens”, oil on canvas, unsigned, verso with a label inscribed in ink “Copy done in Antwerp, W. S. MacGeorge”, and a printed label “Man in Ruff, copy by W. S. MacGeorge, R.S.A.”, 20” x 18”. Presented in a deeply molded ebonized frame. [1400/1800] Illustrated 690 Barley Sugar-Turned English Hardwood Candlesticks, first quarter 20th century, with brass socket inserts, h. 10”. [50/100] 689

694

691 Suite of Eight Elm Windsor Chairs, 19th century, each with a hooped crest above a spindled back centered by a pierced wheel splat, the wooden seat raised on taperinng and turned circular legs joined by an H-form stretcher, h. 35”. [1400/1800] Illustrated 692 Pair of William IV Mahogany and Mixed Woods Windsor Armchairs, second quarter 19th century, the hooped backs with reeded edges, the splat with a ship’swheel central roundel flanked by a trio of spindles, with shaped open arms, dished seat and turned legs joined by bulbous “H”-stretchers, h. 35”. [200/400] 693 Dutch School (Fourth Quarter 19th Century) “Hansard Family Coat of Arms”, enamel copper panel, 24” x 18”. Presented in a stained hardwood and parcel-gilt frame. Provenance: Henry Stern Antiques. [400/700]

691

694 Gilt Bronze Livery Armorial of the Worshipful Company of Broderers, second half 19th century, the arms well detailed and presented on a blue velvet ground in a circular ebonized frame, overall dia. 8‑1/4”. A paper label on the back notes that the Company of Broderers (Emboiderers) “did not function after about 1700 A.D., but subsequently membership was obtained by giving money to charity, etc., which this plaque would have been presented to the donor.” This is not, strictly speaking, accurate. While the Company, like most Livery Companies, is now less a trade association and more of a charitable trust, it is very much functioning, being forty-eighth in order of precedence of the Livery Companies and this year celebrating the 450th anniversary of its charter, granted on October 25, 1561 by Elizabeth I. [300/500] Illustrated

701 British School (First Quarter 20th Century) “Farmyard Scene” oil on paper laid on board, unsigned, sight 8‑1/2” x 10‑1/2”. Presented in a carved hardwood frame. [100/200] 702 British School (Fourth Quarter 19th Century) “Landscape with a Mill and Two Figures in a Boat”, oil on canvas, unsigned, 29‑1/2” x 39”. Presented in a period giltwood and gesso frame. [1200/1800] Illustrated 703 Humphrey J. Dingley (British, 19th Century) “Wooded Landscape with View of a Town in Distance”, oil on canvas, signed lower left, verso with a partial label, 20” x 30”. Presented in a period giltwood and gesso frame. Provenance: Alex Chachere, Opelousas, Louisiana. [300/500]

702 695 Shadowboxed Wax Seal Impression, 17th or 18th century, probably French, presented in a gilt encadrement with burgundy velvet backing, in a narrow mahogany shadowbox frame and glazed, overall 11‑3/4” x 10”. [125/250] 696 English Elm Coffer, late 18th century, of rectangular form, the lid with iron hardware and opening to a bisected interior, h. 16‑1/2”, w. 31‑1/2”, d. 16”. [300/500] 697 Near Suite of Three English Oak Side Chairs, early 20th century, each of ladderback-form with rush seats raised on tapering circular legs joined by a turned front stretcher and ending in ball feet, h. 39‑1/2”. [200/400] 698 English Oak Lowboy, early 19th century and later, in the Queen Anne taste, the rectangular case above a conforming case fitted with two small central drawers flanked to either side by a single deep drawer raised on cabriole legs ending in pointed toes, h. 30”, w. 42‑3/4”, d. 21‑1/2”. [500/800]

704 Samuel Henry Baker (British, 1824‑1909) “The Vale of Llangollen”, oil on canvas, signed and dated middle right “S. H. Baker 1856”, verso with partial label faintly inscribed “S. H. Baker, Hampton Place”, 20” x 30”. Presented in a contemporary giltwood frame. [1200/1800] Illustrated 705 Open Lot 706 Pair Japanese Porcelain Figures of Shi-Shi, 20th century, each figure seated on its haunches with open snarling mouths and decorated in polychrome enamels, h. 9”. [400/700] Illustrated

699 William Crawford and Sons, Edinburgh and London, Polychromed Biscuit Tin, first quarter 20th century, the tin imaginatively painted to resemble a Georgian burl-inlaid satinwood tea caddy, fully signed on the base, h. 5‑7/8”, w. 6”, d. 3‑1/2”. [50/80] 700 Pair of Provincial George III Elm Sidechairs in the Chippendale Taste, late 18th century, each with a molded and sloped crest rail, the serpentine flat with a diamond-form cut-out, plank seat and square legs joined by box stretchers, of pegged construction throughout, h. 36”. [300/500]

704

707 Pair Japanese Porcelain Figures of Kylin, 19th century, each depicting a horned beast atop a plinth base, enameled all over in polychrome enamels, h. 8”. Provenance: ex coll. Henry Stern Antiques, New Orleans, Louisiana. [150/300] Illustrated

708

707 706

708 Japanese Polychromed Figural Group, 20th century, depicting the figures of two boys, on standing holding a vase, the other seated holding a Noh mask, h. 9‑1/2”. Provenance: ex coll. Henry Stern Antiques, New Orleans, Louisiana. [100/200] Illustrated

709

709 Japanese Shaped Imari Dish, 19th century, of polygonal shape, decorated in underglaze blue and ironred with cranes and phoenix birds in flight above flowering plants and rockwork, w. 12”, d. 10”. [200/400] Illustrated 710 Chinese Famille Rose Export Porcelain Vase, 19th century, now wired as a lamp, the baluster-form vase decorated as a dragon and a phoenix among flowers, wooden base and cap by Dennis Poupart, pleated shade, 24”. [500/800]

712 Pair of Chinese Porcelain Sauce Dishes, Republic Period (1908‑1949), each of circular form, finely decorated in Famille Verte enamels depicting a crane standing beneath a pine tree and two iron-red bats in flight, the bases with four-character underglaze blue commendation marks, dia. 2‑7/8”. [200/400] 713 Chinese Export Porcelain “Clobbered” Saucer Dish, 19th century, of circular outline with flattened rim, the center with a flowering peony tree surrounded by Buddhistic emblems and floral border, underglaze blue with added European enamels, dia. 6‑5/8”. [75/125]

718

717

711 Chinese Export Porcelain “Imari” Plate, 18th century, decorated in Chinese Imari enamels with a central scene of a prunus tree, chrysanthemums, lotus and butterfly bordered on the rim with lotus and peony flowers on a stylized floral ground, dia. 8‑3/4”. [300/500]

714 Chinese Export Porcelain Clobbered Ginger Jar, 19th century, the ovate body with flattened cover decorated in underglaze blue with European polychrome enamels and gilding added later, h. 9‑3/4”, including stand. [500/800]

720 721

715 Good Pair of Japanese Imari Porcelain Chargers, Meiji Period (1868‑1912), each of slightly lobed circular form decorated in underglaze blue and polychrome enamels with a central foliate medallion surrounded by alternating reserve panels of bamboo with flowers and shaped reserves of peacocks on rockwork, with a fuku mark on the base, dia. 12‑1/2”. [250/400] 716 Chinese Carved Zitan Water Buffalo Group, first half 20th century, carved in the round as a recumbent female water buffalo and attendant newborn calf, each with entwined tails, l. 7”. [400/700] Illustrated

716

719

724 717 Large Chinese Carved Rosewood Incense Stick Holder, first quarter 20th century, of tubular form with fitted cover, carved in low relief with a reserve panel of two deities, one holding a scroll and the other holding a fan and a second reserve panel of a bat suspending a jade chime and a pair of fish and Kangxi seal in the lower rights, the reserve panels set between two bands of fretwork, the cover carved with two confronting dragons facing a pearl, h. 14‑1/4”. [700/1000] Illustrated previous page

725 723

722 720 Fine Chinese Carved Zitan Incense Stick Container, 19th century, of tall cylindrical form with fitted cover, the body with incised decoration of a flowering prunus tree and an incised calligraphic poem with the artist’s seal, h. 14‑3/4”. [700/1000] Illustrated previous page 721 Unusual Chinese Carved Zitan Incense Stick Holder, 19th century, of tubular form carved as a ribbed section of a bamboo cane, the fitted top disappearing into the bamboo design, h. 11”. [600/900] Illustrated previous page 722 Good Chinese Rosewood and “Dream Stone” Table Screen, 20th century, the elaborate rosewood fret-carved stand with a circular piece of “Dream Stone” marble depicting a clouded mountainscape in gray, russet and white colors, h. 20‑3/4”. [1400/1800] Illustrated 723 Chinese Cast-Bronze Figure of a Buddhistic Lion, 18th century, cast as the figure of a lion seated on its haunches with one raised front paw and having its mouth open, fine carved custom wood stand, h. 5‑1/4”, l. 4‑1/2”. [200/400] Illustrated

718 Large, Rare and Impressive Chinese Carved Statue of the Bodhisatva Guanyin, first half 20th century, the exceptionally large solid piece of zitan carved as the standing figure of the goddess clad in loose robes and a cowl holding a ruyi scepter in one hand, the other hand raised in blessing and standing on a lotus petaled based with cresting waves, a truly exceptional statue, h. 23‑1/2”. [3000/5000] Illustrated previous page 719 Elegant Chinese Carved Zitan Brush Rest, well carved as three mountainous peaks rising above violently cresting waves on both front and reverse, the reverse with the carver’s seal, l. 9”. [600/900] Illustrated previous page

724 Group of Three Chinese Carved Hardwood Figures of Sages, one wearing official robes and cap and carrying a scepter, the second dressed in informal robes and carrying a child and the third dressed in informal robes carrying a peach and holding a staff, h, 7‑3/4” to 8‑1/4”. [200/400] Illustrated 725 Chinese Cast-Bronze Figure of a Boy, 18th century, cast as the figure of a standing child clad in elaborate robes holding out a double gourd vase, carved wooden stand, h. 6‑1/2”. [200/400] Illustrated

726 Chinese Dehua Blanc de Chine Tripod Censer, 17/18th century, of circular outline with three molded horizontal bands and molded and incised decorated band, resting on three ruyi shaped feet and glazed in a creamy white glaze, together with elaborately carved fitted wooden base and domed cover, h. 4‑1/2”. Provenance: ex coll. A Chinese family collection formed during the Qing dynasty. [4500/7000] Illustrated 726

730 Pair Chinese Carved Zitan Scroll Weights, 19th century, each of slightly domed rectangular form, carved in relief as a large bamboo cane with sprouting foliage and an attached smaller bamboo cane, the lower section of each with a calligraphic inscription and a seal, l. 11”. [1200/1800] 731 Pair Chinese Lacquered Wood Hat Stands, 19th century, each of hexagonal form with quatrefoil shaped openings for ventilation, the black lacquered wooden panels with incised calligraphy, h. 12‑5/8”. [300/500] 732 Chinese Carved White Jade Belt Toggle, the creamy white stone carved as confronting heads of a dragon and a phoenix above an arched bow with an oval attachment plug, h. 3”. [150/300]

727 Chinese Molded and Glazed Porcelain Vase, 20th century, of double-gourd form with low-relief molding of dragons and phoenix birds among clouds, all under a cream-colored glaze, with a two-character underglaze blue inscription near the neck, h. 14”. [150/300] 728 Rare Chinese Jade Ruyi Scepter and Box, first half 20th century, the dark green jade body mounted with three white jade plaques each carved in low relief, the reverse of the body with in-carved seal inscription, fitted blackwood presentation box, l. 10‑1/2”. [2000/4000] Illustrated 729 Chinese Carved Zitan Brush Rest, first half 20th century, carved as three mountain peaks, with two confronting dragons, their bodies entwined around the mountain peaks, h. 2‑3/4”, l. 7”. [300/500]

735 pair 733 Chinese Carved Celadon and Russet Jade Water Coupe, late 19th century, the pale celadon colored stone with scattered russet inclusions carved in relief on the edges and base with flowering prunus branches around a shallow central well, l. 4‑1/4”. [4500/7000]

734 Chinese Carved White Jade Quail Group, 19th century, of pebble form depicting a nesting quail surrounded by grasses and millet heads, the white stone with some russet inclusions, h. 2”, w. 2‑1/4”. [200/400]

728

735 Pair of Framed Chinese Rice Paper Paintings, late 19th century, each ink and guache on paper, one depicting a food vendor with buckets on a yoke, dressed in blue jacket and black trousers, the other depicting an archer with bow dressed in a blue surcoat and mandarin cap, both with calligraphic inscriptions, glazed, matted and framed, h. 15‑3/4”, w. 17‑5/8”. [250/400] Illustrated previous page

740

738

736 Rare Chinese White Jade and Brass Document Holder, 18th century, of cylindrical form in two parts joined in the center by a brass screw mechanism, the tubular body engraved all over with incised calligraphy showing remnants of gilt inlay, one end bearing a four character Qianlong seal within a fretwork bordered square, custom brocade box, l. 14”. [2000/4000] Illustrated

741

739

737 Unusual Chinese Lacquered and Gilded Decorative Door Lintel, 20th century, composed of black- and giltlacquered panels with naturalistic decoration on the top and sides, the center decorated with pierced and gilded naturalistic decoration of flowers and birds in two strips centered by a red and gilt strip, h. 21”, w. 77”. [250/400]

742

738 Fine Chinese Carved Zitan Brush Pot, 19th century, of cylindrical form with indented lip rim, carved with a series of three poems of incised characters each with a calligraphic commentary, the base with the carver’s signature in “Running Grass” script, h. 8‑1/8”, dia. 5‑1/2”. [800/1200] Illustrated

736 detail

739 Fine Pair of Chinese Carved Zitan Water Bowls, 19th century, each of circular outline with slightly indented base and in-curved lip rims, the bodies each with an inscribed poem in stylized calligraphy with a signature and seal, h. 3”, dia. 5”. [1200/1800] Illustrated

736

740 Fine Chinese Carved Zitan Figure of the Bodhisatva Guanyin, first half 20th century, the seated figure of the goddess enfolded in copious robes and cowl, her hands wrapped in her robes, the outline of her robes detailed in gold leaf, h. 9‑1/4”. [2000/4000] Illustrated 741 Fine Chinese Carved Zitan Water Coupe, 19th century, of oval outline carved in relief with pine trees and rockwork surrounding the central well, the flat base with the carver’s seal, l. 5‑1/2”. [700/1000] Illustrated

747 Pair Chinese Mineral Trees in Serpentine Pots, 20th century, each with simulated wooden stems with flowers of amethyst, carnelian and green serpentine, h. 11‑1/2” [150/300] 748 Chinese Mineral Tree in Serpentine Pot, the ovate lobed pot containing a tree of “spinach” jade leaves and mottled jade flowers on a rockwork base with scattered coral twigs,h. 13”. [250/400]

746

749 Fine Chinese Celadon Carved Jade Pendant, 18/19th century, of oval outline, carved as a massive cluster of grapes with sinuous tendrils on the front (symbolizing the desire for a large family) and leaves and grapes on the reverse, the even colored celadon stone with russet inclusions on the reverse, h. 3”. [300/500] Illustrated

742 Chinese Carved Celadon Jade Covered Offering Vessel, 20th century, the even celadon colored stone carried as a wide mouth bowl atop a double stem and base, having chrysanthemum handles with loose rings and domed top with spherical finial, with a sixcharacter raised seal, h. 6‑3/4”, l. 8”. [15000/25000] Illustrated

750 Fine Chinese Carved Celadon Jade Figure of an Arhat, 18/19th century, the even celadon colored stone beautifully carved as a seated figure holding a double gourd, the beautifully carved details of fingers, splayed toes, long eyebrows and a cynical smile on the face are a tour-de-force of lapidary art, h. 3‑1/4”. [700/1000] Illustrated 751 Chinese Carved White Jade Pebble-Shaped Pendant, 19th century, the oval pebble carved as a female Buddhistic lion playing with her cub on the face and lingchih fungus and a peach on the reverse with a string of “cash” running down one side, attached to a woven silk strap, h. 3‑1/2”, stone. [500/800] Illustrated

745 743 Chinese Brass, Jade and Hardstone Box, first half 20th century, the metal body with scrolling foliate decoration and a central carved white jade oval plaque surrounded by carved carnelian cabochons (losses), h. 3”, d. 7‑5/8”, l. 10”. Provenance: ex coll. Henry Stern Antiques, New Orleans, Louisiana. [100/200]

752

744 Chinese Molded Porcelain Snuff Bottle, the bulbous body with elongated neck and the figure of a hydra dragon with bifurcated tail in high relief, all under a greenish yellow glaze, h,. 2‑3/4”. [150/300] 745 Chinese Pale Celadon Carved Jade Pendant Plaque, of rectangular form with reticulated border of two dragons, the center of the plaque carved with a phoenix and clouds in relief, h. 2‑5/8”, w. 2‑1/8”. [1800/2500] Illustrated 746 Two Serpentine Floral-Shaped Brush Washers, 20th century, one in the form of an up-curved lotus leaf with brass frame and carnelian feet, the other as a cupped lotus leaf with seed pod, flower bud and star flower, l. 5‑1/2”. [300/500] Illustrated

750

749

753

751

752 Good Celadon Jade Covered Incense Burner, carved in the archaic style, of rectangular outline on four feet with two dragon head handles with loose rings, the body carved in low relief on all sides with archaic designs extending to dragon heads on the top of the feet, the base with a six-character Qianlong seal mark, the rectangular domed cover carved in low relief with designs as on the body and topped with a Fo dog finial, custom wooden stand, h. 6‑1/4”, d. 3‑3/8”, l. 7”. [25000/40000] Illustrated previous page 753 Fine Chinese Carved White Jade Pendant, 18/19th century, carved as a leaf-shaped, domed plaque with a central hole and carved in relief on the face with two confronting hydra dragons, each with bifurcated tails, the reverse flat with engraved tendril decoration, h. 3‑1/4”. [400/700] Illustrated previous page 754 Chinese Carved Soapstone Figure of Guandi The God of War and Literature, first half 20th century, the even colored pea green stone carved as the god in armor astride his steed, h. 8‑1/2”, l. 7‑1/4”. Provenance: Henry Stern Antiques, New Orleans, Louisiana. [50/80]

759

760

755 Chinese Carved Celadon Jade Ruyi Scepter, the celadon colored stone with minor russet inclusions carved as a multi stemmed scepter with a large fungus head and numerous small fungus heads along the entwined multiple stems, l. 11”. [700/1000] 756 Pair Chinese Carved Soapstone Bookends, 20th century, each of columnar shape, the faces carved in relief with two dragons among clouds pursuing pearls, the sides and back with etched calligraphic inscriptions, the stone of mottled putty color, h. 7‑5/8”, w. 3‑1/2”, d. 2‑3/8”. [75/125]

758 pair

757 Chinese Carved Bi-Color Jade Pendant Plaque, first half 20th century, of rectangular outline with a pierced floral border at the top, the body carved in relief as the figure of a dragon emitting vapors, the near white stone with a black area at the top, h. 3‑3/8”, w. 2‑1/8”. [250/400]

758 Two Large Framed Chinese Scroll Paintings on Paper, 18th century, executed in colors and ink, one depicting a seated Buddha on a lotus throne with double flaming mandorlas beneath a canopy, attended by two acolytes, one young, one old, the second depicting a seated Buddha on a double lotus throne with double flaming mandorlas under a lotus canopy, attended by two deity acolytes, both matted in brocade silk and presented in giltwood frame, h. 61‑1/2”, w. 34”. [3000/5000] Illustrated 759 Set of Four Chinese Carved Wood Door Panels, ca. 1850, each panel with a solid bottom section, a carved mid section in low relief with dragon scrollwork in gilt against a red ground and two carved upper openwork panels, one with scrolled circles and a smaller one at the top with dragon fretwork, h. 107‑1/4”, w. 20‑1/2” (each panel). Provenance: Blackamoor Antiques. [1500/2500] Illustrated 760 Unusual Chinese Ivory and Rosewood Table Screen, 20th century, composed of a finely engraved oval ivory plaque with landscape decoration mounted in a circular plaque with fretwork border atop a two piece stand with a Shou character and fretwork, h. 19‑1/4”. [900/1200] Illustrated 761 Chinese Burled Paduk Wood Brush Pot, 20th century, of cylindrical form with thick walls carved from a single piece of nicely patterned burled wood, carved wooden stand, h. 7‑5/8”, including stand. [900/1200] 762 Chinese Carved Tortoiseshell Snuff Box, the circular box with fitted cover, topped by a carved applied plaque of a coiled dragon, dia. 2‑3/4”. [250/400] 763 Chinese Covered Tortoiseshell Snuff Box, 20th century, the oval shaped box with fitted cover topped with an oval carved applied plaque of a coiled fierce dragon, dia. 3‑3/4”. [250/400] 764 Chinese Rosewood Low Table, the rectangular top with a floating central panel, above a foliate-carved apron, the carving continuing down the in-scrolled toes, h. 13”, w. 36‑1/2”, d. 18‑3/4”. [250/400] 765 Chinese Carved White Jade Hanging Vase, 18/19th century, carved in the form of a flattened baluster form vase with low relief carving of pavilions in mountainous landscapes alongside a waterscape, the vase with floral handles, suspension chains and a conforming top with a melon shaped finial, all suspended on a custom wooden frame of later date, h. 16”, including stand. [12000/18000] Illustrated

772

766 Chinese Cast and Patinated White Metal Box, 20th century, the lid with repousse decoration of a fierce dragon clutching a pearl against a wave and cloud ground, the sides decorated all around with cresting waves, wood lined, h. 4‑1/4”, d. 5‑1/4”, l. 9”. [100/200]

765

767 Impressive Victorian Oak Tantalus, fourth quarter 19th century, containing three cutglass decanters, hung with bottle tickets for scotch, bourbon and gin, two cut in brilliant patterns, the third similarly molded and each with faceted cut stoppers, the whole fitted with a silver plate handle, hardware and key, h. 14”, w. 7”, l. 17”. [300/500] 768 Set of Six Anglo-American Double Stylus-Engraved Glass Champagne Flutes, c. 1900, h. 6‑1/2”. [125/250] 769 A Collection of Twelve Waterford Colorless Glass Stems and Tumblers of assorted patterns, including four water stems, four large tumblers, two tall cordials and two short cordials, all signed on underside rim of foot, water stems h. 7”, tumblers h. 4‑1/2”, tall cordials h. 4‑1/2”, short cordials h. 3‑1/2”. [150/300]

773 Victorian Marquetry Inlaid Mahogany and BurledWalnut Davenport, third quarter 19th century, the top with a recessed bin with a lift top with brass gallery, opening to reveal an interior with niches, fronted by a slant lid with inset leather top, the lid opening to reveal a maple well backed by a band of drawers, on a base fitted with a side bank of drawers fronted by turned columns on bun feet, h. 32‑1/4”, w. 21”, d. 20”. [400/700] 774 Mahogany Floor Lamp, the standard in the form of a spiral staircase with banister, fitted with a custom embossed shade, h. 69‑1/2”. [3500/5000]

784

781

775 Victorian Rosewood Lap Desk, third quarter 19th century, in the Campaign style, the rectangular hinged lid with corner brass accents and a central plaque, opening to a lined writing surface and various storage compartments, h. 5”, w. 16”, d. 9‑1/2”. [150/300] 776 Alfred, Lord Tennyson (1809‑1892), Poetical and Dramatic Works, London: C. Kegan Paul & Co., 1879, crown sixteen mo, ten and two volumes in twelve, in full limp green leather, handsomely embossed, with gilt lettering and embossed black bands on the spine, all edges cased in gilt, 5‑1/8” x 3‑1/4”, presented in the original leather-bound case, the interior lid with gilt volume listing, the exterior embossed “Tennyson” and with owner’s name “M.C. Chaworth-Musters”, h. 5‑3/4”, w. 8‑1/8”, d. 3‑3/4”. [50/80] 777 Victorian Aesthetic Movement Cherry Fireplace Surround of Neo-Classical Inspiration, fourth quarter 19th century, the mantle with a dentillated lower edge over a face with foliate-scroll and floral carving, the firebox opening banded by egg and dart molding in Greek Key form, h. 47”, w. 54”, d. 13”. [1500/2500]

770 Pair of Decorative Needlepoint Throw Pillows, depicting an assortment of books, h. 10”, w. 17”. [200/400] 771 Victorian Mahogany Apothecary Box, third quarter 19th century, of square form, the interior compartmented and fitted with three stoppered bottles, one labeled “Paregoric”, also with three stoppers, fitted with a lower drawer containing a boxed balance, including two pans and various weights, h. 8”, w. 8‑1/4”, d. 6‑1/2”. [300/500] 772 William IV Mahogany Sideboard, second quarter 19th century, the rectangular center section with inlaid banding and above a single cutlery drawer, flanked to either side by a raised section above a short drawer with a single cupboard door below, each fronted by a tapering panel on a scrolling mount, one opening to a shelf over a cellarette drawer, the other opening to a shelved interior, raised on plinth bases, h. 42”, w. 81‑3/4”, d. 28‑1/4”. Provenance: Blackamoor Antiques. [2500/4000] Illustrated previous page

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786

785

787

786 English Cameo Glass Bottle Vase, fourth quarter 19th century, cut in patterns of apples, apple branches and leaves on the body and neck, divided by a collar of Eastlake design, h. 12”. [8000/12000] Illustrated 778 Edwardian Brass Fireplace Screen, early 20th century, of extending fan-form, the nine reticulated screens held in a garland applied support surmounted by a dolphin head handle, the modeled base on scrolling feet, h. 29”, w. 36”. [200/400]

787 English Three-Color Cameo Glass Vase, fourth quarter 19th century, cut in passion flower pattern, surrounded with trailing passion flower fines, h. 5‑3/4”. [7000/10000] Illustrated

779 English Oak Library Steps, late 19th century, fitted with four steps and a side banister, the upper rung with a full guard rail, raised on block supports, h. 65‑1/2”, w. 20”, d. 42”. [1000/1500]

788 Louis XV-Style Framed Collection of Ornamental Objects, Victorian and later, the modern-gilt shadowbox containing charms, jewelry, medals, ornaments and pins, including cameos and a porcelain brooch, h. 31‑1/2”, w. 9”. [150/300]

780* British School (Third Quarter 19th Century) “Portrait of Joseph Foster Richardson, Aged 39”, graphite and watercolor on paper, signed and dated lower right “F. Lock 1866”, sitter identified verso, sight 9‑3/4” x 8‑1/4”. Glazed, oval matted and presented in a giltwood and gesso frame. [400/700]

789 Provincial Directoire Beech Fauteuil, early 19th century, the back-scrolled padded back joined by padded arms on turned uprights to the padded seat, raised on turned circular legs headed by a patera carving and ending in toupie feet, h. 35”. [300/500]

781 Polished Brass Edwardian Kindling Box, first quarter 20th century, in the neoclassical style, with an applied wreath on its facade and turned wooden handles, fitted with a heavy sheet-iron liner, h. 16”, w. 17”, d. 11‑1/4”. [250/400] Illustrated 782 Neoclassical-Style Copper and Iron Fire Fender, ca. 1900, of demi-lune form, with an upper pierced and annulated band over a reticulated band with star and palmetto patterns, h. 6”, w. 46”, d. 8‑1/2”. [100/200] 783 Gilt and Argente Firescreen in the Orientalist Taste, with three folds, all with shaped molded crests, the central panel with a floral branch with two birds, the branches continuing to the side panels, h. 36”, w. 48”. [250/400] 784 William IV-Style Mahogany and Marble-Top Cocktail Table, the circular specimen marble top with decorative concentric banding above a plain frieze, raised on a fluted graduated standard to a concave tripartite base to scrolled toes on casters, h. 19”, dia. 36”. [1800/2500] Illustrated 785 English Cameo Glass Vase, fourth quarter 19th century, cut in patterns of branches and blossoms with a butterfly on its neck, h. 7‑1/4”. [3000/5000] Illustrated

790 Group of Three Brown and Charcoal Gray Silk Pillows, two with leaf and floral designs and one with stripes, the smallest 17” x 17”, the largest 19” x 20”. [200/400] 791 Edwardian Silvered Metal and Leather Upholstered Fire Fender, ca. 1900, the padded and tufted leather top joined by a slatted gallery to the molded metal base, h. 23”, w. 55”, d. 21‑1/2”. [600/900] Illustrated following page 792 William IV Mahogany Dressing Mirror, second quarter 19th century, the arched and beveled plate within a molded frame, supported by shaped uprights, the base of shaped rectangular form, the front slanted and hinged, opening to a storage space, raised on square bun feet, h. 29”, w. 27”, d. 10‑1/2”. [200/400] 793 Edwardian Mahogany Games Table, ca. 1900, in the George III style, the hinged rectangular top banded and opening to a gaming surface, above a conforming banded frieze, raised on tapering and string-inlaid square legs, h. 29”, w. 36”, d. 17‑3/4”. [500/800] 794 Vernacular English Pine and Ebonized Occasional Table, late 18th century and later, in the Hepplewhite taste, the dished kidney-form top with a decorative polychromed banding above a frieze fitted with a single drawer, raised on tapering square legs joined by a raised X-form stretcher centered by a small oval shelf, the whole with polychromed diamond and star accents, h. 29”, w. 37‑1/2”, d. 26”. [1200/1800]

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797 Edwardian Mahogany Handkerchief Games Table, ca. 1900, the square top segmented and opening to a larger surface centered by a baize gaming surface and with far recessed wells for pieces, raised on tapering square legs, the whole accented with inlaid stringing, h. 29”, w. 20”, d. 20”. [900/1200] 798 Edwardian-Style Mahogany Chairside Table, mid‑20th century, the leather-inset rectangular top with a back raised storage well, above a frieze fitted with a single drawer, raised on square tapering legs ending in spade feet the whole with inlaid stringing accents, the drawer bearing the label: “This piece was hand made in the workshop of Charak Furniture Co., Bofton, Mafs, numbered 413, made in year 1948”, h. 30”, w. 18”, d. 28”. [400/700] 799 Pair of Edwardian Satinwood Occasional Tables, ca. 1900, each with an octagonal top with polychromed floral border surrounding a portrait medallion of a young maiden, above a conforming frieze with a polychromed garland, raised on delicate tapering square legs joined by an X-form stretcher, h. 28”, dia. 12‑1/2”. [1200/1800] Illustrated 795 799

795 Edwardian Satinwood Bonheur du Jour, ca. 1900, the superstructure with a three-quarter scalloped galleried top above an open space and three small drawers, the rectangular top with double banding above a conforming frieze fitted with a single long drawer, the drawer centered by a polychromed patera with floral sprays, raised on slender, tapering square legs with inlaid bellflower accents, h. 50”, w. 30”, d. 19‑1/2”. [700/1000] Illustrated 796 Edwardian Mahogany Pedestal Desk, ca. 1900, the rectangular top with inset leather writing surface, above a conforming frieze fitted with three drawers, raised on two pedestals, each fitted with three short graduated drawers, all drawer fronts with inlaid marquetry floral garlands, raised on bracket feet, h. 28”, w. 51”, d. 26‑1/2”. [1400/1800]

800 Edwardian Mahogany Desk, ca. 1900, the rectangular top with an inset leather surface above a case fitted with a central drawer flanked to either side by two short drawers, all banded, raised on tapering square legs headed by bellflower inlays, h. 31”, w. 48”, d. 22”. [1200/1800]

791

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801 Edwardian Mahogany Etagere, early 20th century, in the Georgian taste, the galleried square top with four corner ball finials above a slightly graduated case fitted with two like shelves over a single cupboard door, raised on bun feet, h. 53‑1/2”, w. 17”, d. 17”. [1200/1800]

802 Edwardian Mahogany Side Table ca. 1900, of diminutive proportions, the rectangular top banded and above a conforming frieze fitted with two small drawers, raised on square legs joined by an “H”-form stretcher, h. 27‑1/2”, w. 29”, d. 9”. [500/800]

808 Isabel Naftel (British, 1832‑1912) “On the Llugny, North Wales”, 1882, gouache and watercolor on paper, signed and dated “Isabel Naftel 1882”, the reverse with paper label inscribed by the artist with the title of the work along with her name and address, sight 13” x 9‑1/2”. Glazed, handsomely French matted and presented in a narrow giltwood frame. [800/1200] Illustrated 809 British School (Fourth Quarter 19th Century) “End of the Workday in the Fields”, oil on canvas, unsigned, 16” x 22”. Presented in a giltwood and gesso frame. Provenance: Alex Chachere, Opelousas, Louisiana. [300/500] 810 British School (Fourth Quarter 19th Century) “Returning From the Market”, oil on canvas, titled and signed illegibly verso, 18” x 27”. Presented in a molded giltwood frame. Provenance: Alex Chachere, Opelousas, Louisiana. [300/500] 811 British School (First Quarter 20th Century) “View of a Country Cottage in a Landscape”, watercolor on paper, initialed lower left “J. R. H.”, sight 6” x 13‑3/4”. Glazed, handsomely matted and presented in an annulated giltwood frame. [100/200]

808

817

803 Victorian Walnut Loo Table, third quarter 19th century and later, the “turtle”-form top quarter-veneered and with a molded edge, row raised on a ribbed bulbous standard to four splayed and molded legs ending in scrolled toes, h. 20‑1/2”, w.58”, d. 41‑1/2”. [400/700] 804 Near Pair of Victorian “Decal-o-mania” Pots-auCheminee, third quarter 19th century, made from earlier French apothecary jars, each lined on the interior with printed cloth swatches of rural seaside scenes and backed with whitewash, h. 11‑1/4” and 12‑1/4”. [75/125] 805 Late Victorian Iron-Work Garden Bench, first quarter 20th century, with serpentine crest rail, wire mesh back and seats, on a wrought-iron base with X-form stretchers, h. 36”, w. 46”, d. 20”. [600/900] 806 William Langley (British, 1852‑1922) “Figure in a Boat, Docked at a Riverside Hamlet”, oil on canvas, signed lower left “William Langley”, 16” x 24”. Presented in a giltwood and gesso frame. Provenance: Alex Chachere, Opelousas, Louisiana. [500/800] 807 Clarence Henry Roe (British, 1850‑1909) “Landscape with a Stream and Grazing Sheep”, oil on canvas, signed lower left “Clarence Roe”, 20” x 30‑5/8”. Presented in a period giltwood and gesso frame. Provenance: Alex Chachere, Opelousas, Louisiana. [400/700]

812 John Cuthbert Salmon (British, 1844‑1917) “Landscape with Grazing Cattle”, oil on board, incised lower right “J. C. Salmon”, 12” x 16”. Presented in a Rococo-style giltwood frame. Provenance: Alex Chachere, Opelousas, Louisiana. [300/500] 813 John Cuthbert Salmon (British, 1844‑1917) “Coastline Landscape”, oil on board, signed lower right “J. C. Salmon”, 12” x 16”. Presented in a Rococo-style giltwood and gesso frame. Provenance: Alex Chachere, Opelousas, Louisiana. [400/700]

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826 824

827

825

814 Set of Eighteen Waterford “Lismore” Cut-Glass Stemware, comprised of two water goblets, h. 6‑7/8”, four red wine glasses h. 7‑7/8”, eight white wine glasses h. 5‑7/8” and four champagne flutes h. 7‑1/4”, all signed underneath the rim. [300/500] 815 A Waterford Diamond Cut Colorless Glass Decanter, signed on underside of bottom, h. 9”, dia. 5‑3/4”. [75/150] 816 A Set of Twenty-One Colorless Pattern Glass Stems in pineapple decor, comprised of ten champagne/sorbet stems and eleven cordials, champagne/sorbet stems h. 5”, dia. 3‑3/4”, cordials h. 4‑1/2”, dia. 3”. [400/700] 817 Continental Wheel-Cut Perfume Bottle, fourth quarter 19th century, with a honeycomb cut neck and floral and shell patterns in the body, h. 5‑3/4”. [600/900] Illustrated previous page

818 Mahogany and Ebonized Occasional Table, mid‑20th century, the circular top banded and with a sunburst veneer joined by paneled square supports to a lower round shelf with a pierced X-form gallery, raised on a cylindrical standard to four splayed and paneled legs ending in casters, h. 27”, dia. 26‑1/4”. [400/700]

820 British School (19th Century), trio of hand-colored engravings, including, “Regent’s Circus, Oxford Street”; “Hampton Court Palace”; and “Windsor Castle”, each sight 7‑1/2” x 10”. Glazed, matted and presented in ebonized frames en suite. [125/250]

832

829 831

828

830

104

819 English Mahogany Kneehole Desk, early 20th century, the “kidney”-form dished top with a molded edge and above a conforming case fitted with a central drawer flanked to either side by a bank of three drawers, all paneled, raised on a plinth base, h. 30‑1/2”, w. 45”, d. 22”. Provenance: By tradition, this desk was owned by Gisella Elias Weiss, the mother of Seymour Weiss (1896‑1969), the principal owner and manager of the New Orleans Roosevelt Hotel from 1931 to 1965. It came from his mother’s apartment at the Roosevelt and was rumored to have a secret compartment where Huey P. Long supposedly hid large sums of money. Seymour Weiss and Huey Long were very close confidants. [800/1200]

825

833

821 Group of Five Chinese Export Porcelain Tea Cups, 18th century, composed of two handled demi-tasse cups and three tea bowls, all decorated in Famille Rose enamels with figures in various scenes, dia. 2‑1/4” to 3‑1/4”. [125/250] 822 Delicate Chinese Export Porcelain Covered Cream Pitcher, 19th century, of ovate body with pouring spout, handle and domed cover with pointed finial decorated in a “Mandarin” pattern with domestic scenes in a pavilion alongside a river, h. 5‑1/2”. [200/400] 823 Group of Four Chinese Imari Tea Bowls, 19th century, each of small bowl shape with underglaze blue and iron-red decoration of floral and landscape decoration, dia. 2‑3/4” to 3‑1/2”. [100/200] 824 Chinese Export Porcelain Handled Mug, 18th century, of bombe form with strap handle and ruyi terminal, the body decorated with a continuous scene of two ladies in a garden setting beneath a stylized European border at the lip rim, h. 6‑1/4”. [700/1000] Illustrated 825 Two Pieces Chinese Export Porcelain, 18th century, composed of a bombe molded handled mug with floral molding and Famille Rose floral decoration, together with an Armorial lobed teapot stand with a central memorial medallion, h. 5‑1/2”, dia. 6‑1/2”. Provenance: ex coll. Henry Stern Antiques, New Orleans, Louisiana. [200/400] Illustrated 826 Chinese Export Porcelain Covered Storage Jar, late 18th century, the bulbous body with original flattened cover decorated with peonies and butterflies beneath a ruyi shaped border, h. 10”. Provenance: ex coll. Henry Stern Antiques, New Orleans, Louisiana. [600/900] Illustrated 827 Small Pair Chinese Flower Pots, 19th century, each circular pot with flared lip rim and three feet, decorated in rouge-de-fer, sepia and gilding with continuous scenes of figures in gardens and pavilions, h. 3‑1/2”, dia. 5‑1/4”. Provenance: ex coll. Henry Stern Antiques, New Orleans, Louisiana. [75/125] Illustrated

828 Chinese Export Porcelain Ale Jug, 18th century, of ribbed barrel shape with pouring spout and double strap handle, decorated at the rim and foot in underglaze blue with accents on the handle and sparse floral decoration in Famille Rose enamels, h. 7‑3/4”. [500/800] Illustrated 829 Large Chinese Export Porcelain Charger, 18th century, decorated in polychrome enamels with a central spray of lotus, flowers and antiques, the shaped border on the rim of lilies and chrysanthemums on a shaped ground of cloud scrollwork, dia. 16‑1/2”. [3000/5000] Illustrated 830 Chinese Export Porcelain Ale Mug, 18th century, of tapered cylindrical shape with handle decorated with a ruyi head, the body decorated in Famille Rose enamels with a lady holding a falcon and accompanied by attendants, all against an underglaze blue floral ground, h. 6‑1/4”. [500/800] Illustrated 831 Chinese Famille Rose Sgraffito Vase, Republic Period (1908‑1949), the bulbous body with flared lip rim, decorated with floral sprays and clouds under a border of bats, the neck with a formalized border, the base with a six-character Qianlong seal mark in red, the entire body with sgraffito etching, h. 7‑3/4”. [1200/1800] Illustrated 832 Large Chinese Export Porcelain Charger, 18th century, decorated in Famille Rose enamels with a central scene of two magpies perched in a flowering peony bush and bordered on the rim by sprays of flowers, dia. 16‑3/4”. [1400/1800] Illustrated 833 Chinese Export Porcelain Coffee Pot and Cover, 18th century, the baluster form body with spout, handle with domed cover with fruit finial, decorated in Famille Rose enamels with baskets of flowers in circles and scattered floral sprays, h. 9‑1/2”. [600/900] Illustrated

105

Session II

Sunday, June 5, 2011

11:00 a.m. (Lots 834-1492)

834 Superb Platinum and Diamond Pendant, composed of two confronting pear-shaped diamonds, a champagne colored stone weighing an estimated 4.36 carats, a white stone weighing an estimated 2.85 carats and an “S” -shaped surround mounted with 23 round brilliant-cut diamonds in contrasting white and champagne colors. [14000/18000] Illustrated

839 Lady’s Eighteen-Karat Yellow Gold, Emerald and Diamond Lavalier-Style Necklace, the eighteenkarat yellow gold curb link necklace with a central bow shaped plaque set with three square-cut emeralds each surrounded by a single row of round brilliant-cut white diamonds, conforming clasp. [3000/5000]

834

835 Lady’s Eighteen-Karat Yellow Gold, Platinum and Diamond Eternity-Style Band Ring, composed of a central platinum band set with baguette and round brilliant-cut white diamonds flanked on each side by a plain eighteen-karat yellow gold band, size 3‑1/2. [200/400]

840 Lady’s Fourteen-Karat Yellow and White Gold, Emerald and Diamond Link Bracelet, composed of a yellow gold large mesh bracelet with a centrally set bezelmounted emerald with an estimated weight of 2.81 carats, surrounded by a single row of single-cut white diamonds, matching clasp. [2500/4000]

841

838

836 Lady’s Fourteen-Karat Two-Color Gold and Diamond Baume and Mercier Wristwatch, composed of a black face without numerals surrounded by a single row of round brilliant-cut white diamonds with an estimated total weight of 1.0 carats, with attached yellow gold mesh bracelet. [500/800] 837 Dramatic Eighteen-Karat Yellow Gold and Citrine Abstract Brooch, composed of a central 20.43 carat rectangular step-cut citrine surrounded by an abstract frame of bark finish gold twigs of varying lengths, made by H. Stern & Company. [5000/8000] Illustrated 838 Lady’s Platinum and Two-Color Diamond Fashion Ring, composed of a central white emerald-cut diamond flanked by two princess-cut canary colored diamonds and pave-set on the shank and sides with round brilliantcut white diamonds, total estimated diamond weight is 4.90 carats. [9000/12000] Illustrated

108

837

841 Good EighteenKarat Yellow Gold, Platinum, Ruby and Diamond Pendant/Brooch, composed of a central oval-cut ruby weighing an estimated 11.51 carats surrounded by a double row of round brilliant-cut white diamonds with an estimated total weight of 4.10 carats, the pin with a flip-up bail for use as a pendant. [8000/12000] Illustrated

842 Lady’s Fourteen-Karat Yellow Gold, Ruby and Diamond Link Bracelet, composed of fifteen rectangular links, each centrally set with an oval cabochon-cut ruby surrounded by a single row of round brilliant-cut white diamonds with an estimated total weight of 8.4 carats. [600/900]

846

843 Suite of Eighteen-Karat Yellow Gold, Ruby and Diamond Ring and Earrings, each composed of an oval cabochon-cut ruby surrounded by round brilliant-cut white diamonds and accented by calibre-cut rubies, estimated total weight of diamonds is 1.50 carats and 7.50 carats of rubies. [500/800]

846 Spectacular Eighteen-Karat White Gold and Diamond Lady’s Engagement Ring, composed of a prong-set 7.38 carat emerald-cut diamond (VS‑1 clarity, I-J color) flanked by two kite-cut diamonds and set on a double shank pave-set with round brilliant-cut diamonds. [80000/120000] Illustrated

844

844 Lady’s Platinum, Diamond and Ruby Dinner Ring, composed of a central oval-cut ruby weighing an estimated 5.48 carats surrounded by a double row of marquise-cut white diamonds with an estimated total weight of 3.50 carats. [4000/7000] Illustrated

848 845 Two Pieces of John Hardy Jewelry, composed of two signed pendant clasps, one as a bamboo wreath with a butterfly and one as a star with floral scrollwork. [75/150]

847 Lady’s Fourteen-Karat White Gold, Pearl and Lavalier-Style Necklace, composed of white, roe, gray and black pearls mounted with single-cut diamonds on an arched white gold bar and attached to a white gold chain. [400/700] 848 Fine Lady’s Platinum, Pearl and Diamond Ring, composed of a central bezel-mounted 14.7 mm South Seas white pearl surrounded by an estimated 1.50 carats of single-cut white diamonds. [2000/4000] Illustrated 849 Lady’s Fourteen-Karat Yellow Gold, Blue Topaz and Diamond Dinner Ring, composed of a central oval-cut blue topaz weighing an estimated 14.7 carats surrounded by a single row of staggered round brilliant-cut white diamonds with an estimated total weight of .80 carats. [400/700] 850 Eighteen-Karat Yellow Gold and Two-Color Topaz Pendant, of cruciform shape, the yellow gold body with granulation decor set with three kite-cut blue topaz and a central round-cut yellow topaz with a suspended briolette-cut blue topaz and a three-ribbed pendant bail. [2500/4000] 851 Pair of Fourteen-Karat Yellow Gold, Blue Topaz and Diamond Drop Earrings, each composed of a stylized flower and linear chain set with single-cut white diamonds suspending a pear-cut blue topaz drop, omega clip backs. [300/500]

109

852 Lady’s Fourteen-Karat Yellow Gold, Blue Topaz and Diamond Necklace, composed of fine graduated heartcut blue topaz separated by yellow gold hearts set with single-cut white diamonds and attached to a flat link gold chain. [100/200]

853

855 Dramatic Eighteen-Karat White Gold, Emerald and Diamond Pendant Necklace, composed of an estimated 6.14 carat pear-cut emerald surrounded by a single row of round brilliant-cut white diamonds and attached to a bail with a single round brilliant-cut diamond and three tapered baguette-cut white diamonds, total estimated diamond weight is 2.24 carats, suspended on a triple-strand bar and bead white gold chain. [5000/8000] Illustrated 856 Pair of Platinum, Emerald and Diamond Earrings, each with a center emerald-cut emerald of good color, estimating 0.65 and 0.72 carats (two emeralds totaling approximately 1.37 carats) surrounded by fifty-three pave-set diamonds in a conforming rectangular from (106 diamonds totaling approximately 1.00 carat), with omega post backs, overall 13.1 mm x 12 mm. [9000/12000] Illustrated 857 Lady’s Fourteen-Karat Yellow Gold, Emerald and Cubic Zirconia Ring, composed of a central square stepcut emerald weighing 4.27 carats flanked on either side by a triangular-cut cubic zirconia. [4000/7000] Illustrated 858 Stunning Platinum, Eighteen-Karat Yellow Gold, Emerald and Diamond Lady’s Dinner Ring, composed of a central square step-cut emerald of prime color set in platinum and mounted with a pointed oval outline of round brilliant-cut diamonds with an estimated total weight of 2.0 carats, mounted on a yellow gold shank. [40000/70000] Illustrated

857

859 Pair of Platinum, Fourteen-Karat Yellow Gold, Emerald and Diamond Earrings, each composed of a checkerboard style step-mounted cluster of square and baguette-cut emeralds and white diamonds with omega clip backs. [400/700]

853 Stunning Eighteen-Karat White Gold, Precious Opal and Diamond Lady’s Dinner Ring, composed of a central 15.16 carat fine Australian precious opal with blue, green, red and yellow play-of-color, surrounded by a single row of round brilliant-cut diamonds extending down the triple shank. [6000/9000] Illustrated

854 Good Eighteen-Karat Yellow Gold, Persian Turquoise and Diamond Brooch, composed of a central cluster of Persian turquoise cabochons surrounded by veined gold leaves and highlighted by scattered round brilliant-cut white diamonds. [400/700]

110

855

856

860 Lady’s Platinum, Emerald and Diamond BallerinaStyle Ring, composed of a central square step-cut emerald with an estimated weight of 1.12 carats surrounded by round brilliant-cut and tapered baguettecut white diamonds with an estimated total weight of 2.20 carats. [700/1000]

858

864 Lady’s Eighteen-Karat White Gold, Sapphire and Diamond Dinner Ring, composed of a central oval-cut blue sapphire with an estimated weight of 2.40 carats surrounded by marquise and round brilliant-cut white diamonds with an estimated total weight of 1.90 carats. [400/700] 865 Fine Eighteen-Karat White Gold, Sapphire and Diamond Lady’s Ring, composed of a central oval-cut fine blue sapphire weighing an estimated 2.16 carats, surrounded by an estimated 2.0 carats of bead-set round brilliant-cut white diamonds. [3000/5000] Illustrated

861 865

861 Lady’s Eighteen-Karat White Gold, Emerald and Diamond Dinner Ring, composed of a central rectangular step-cut emerald of deep color surrounded by a pave-set mounting with an estimated 1.70 carats of white diamonds. [5000/8000] Illustrated 862 Lady’s Platinum, Emerald and Diamond Dinner Ring, composed of a central oval-cut emerald weighing an estimated 1.61 carats surrounded by marquise and round brilliant-cut white diamonds with an estimated total weight of 2.0 carats. [500/800] 863 Fine Lady’s Platinum, Sapphire and Diamond Dinner Ring, composed of a central oval cabochon-cut velvety blue sapphire weighing 26.60 carats surrounded by a single row of round brilliant and pear-cut diamonds with a total weight of 2.40 carats. [14000/18000] Illustrated

863

866 Dazzling Eighteen-Karat White Gold, Tanzanite and Diamond Flexible Bracelet, composed of a central oval-cut tanzanite of superb lavender-blue color weighing 18.0 carats set in a canted square central plaque and attached to a flexible link bracelet set with round brilliantcut diamonds, total estimated weight of diamonds is 27.0 carats. [40000/70000] Illustrated following page

111

867 Elegant Eighteen-Karat Yellow Gold, Sapphire and Diamond Pendant Earrings, each composed of a pear shape blue sapphire cabochon suspending a double drop, the sapphire and two drops all channel-set with baguettecut diamonds with an estimated total diamond weight of 3.0 carats. [800/1200]

874

866

868 Pair of Victorian Fourteen-Karat Yellow Gold, SilverTop Garnet and Diamond Earrings, ca. 1880, each with a ruby red cabochon garnet in a bezel setting surrounded by a single row of diamonds, gold wire backs. [700/1000] 869 American Fourteen-Karat Yellow Gold and Amethyst Demi-Parure, ca. 1880, composed of a brooch and a pair of earrings of scrolling foliate design set with oval- and round-cut amethysts. [150/300]

871

870 Fine Victorian Eighteen-Karat Yellow Gold and Sardonyx Cameo Brooch, ca. 1870, the two layered hardstone delicately and expertly carved in white with a red background as a lady’s head and shoulders in profile wearing an elaborate coif with hair ornaments and veil, bordered in a finely worked eighteen-karat yellow gold frame. [1200/1800]

112

871 Platinum, Black and White Diamond Engagement Ring, composed of an emerald-cut black diamond, total weight 3.33 carats and two tapered baguette-cut diamonds, total weight .45 carats. [1000/1500] Illustrated 872 Victorian Jet Mourning Necklace with Pendant Drop, ca. 1880, composed of a long necklace of oval faceted beads with a cruciform drop overlaid with faceted rays having circular terminals. [300/500] 873 Fine Victorian Jet Mourning Pendant Necklace, ca. 1800, composed of a double strand necklace of alternating faceted and beaded plaques of Whitby jet with a large pendant in the shape of a Baltic cross with central sunburst, beaded rims and sprays at the top and bottom of the cross. [700/1000]

876

874 1990 Rolls Royce Silver Spur II Long Wheel Base Sedan, crown silver with cream hides and burlwood interior, 14,060 miles, V‑8 motor, fully equipped, full vehicle option description report and mechanical inspection list available upon request. [25000/40000] Illustrated 875 Two Designer Handbags, one a Chanel quilted dark navy nappa leather and gilt-brass Shoulder bag^, the clasp stamped: “CHANEL/PARIS”, the leather-lined interior with two zippered compartments and a small side pocket, stamped: “CHANEL” and “MADE IN ITALY” in gilt, one zippered compartment numbered, bag h. 9”, w. 11‑1/4”, overall h. 18”, the other a dark navy Bottega Veneta woven nappa leather fold over shoulder bag with an exterior side pocket, the satin-lined interior with a zippered pocket bearing a gunmetal label stamped: “BOTTEGA VENETA/MADE IN ITALY”, bag h. 7‑1/2”, w. 10‑1/2”, strap drop: 18‑1/4”. [300/500] Illustrated 876 Small Black Patchwork Alligator and Brass-Mounted Handbag, the exterior patchwork squares with ebonized metal tacks at each corner, the leather-lined interior with a side pocket, overall h. 8‑1/2”, w. 6‑3/4”. [125/250] Illustrated 877 Black Alligator and Brass-Mounted Shoulder Bag, the leather-lined interior with two side pouches, one fronted with a slip pocket, the other with a zippered pocket and a chain-attached coin purse, stamped: “I. MAGNIN & CO./ RENDLE/ORIGINAL”, bag h. 7‑1/4”, w. 10‑1/4”, handle drop: 5‑1/2”. [100/200] 878 Stylish Chocolate Brown Alligator and BrassMounted Frame Handbag, the clasp of hinged alligatorinset molded brass, the leather-lined interior opening to two gusseted compartments each with a gusseted side pocket, stamped: “Madeleine Pags/GENUINE ALLIGATOR/ MADE IN MEXICO” in gilt on one side of the brass-bound divider and stamped: “468” on the opposite side, bag h. 6‑3/4”, w. 5‑3/4”, the handle drop: 7”. [100/200]

875

113

879 Diminutive Cognac Alligator and Brass-Mounted Trapezoidal Envelope Clutch, the leather-lined interior with a gusseted side pocket fronting a zippered pocket, gilt-stamped: “GENUINE ALLIGATOR/MADE IN CUBA” within an oval, h. 4‑1/2”, w. 9‑1/4”. [100/200] 880 Celine Black Nappa Leather and Gilt-Brass-Mounted Handbag, both sides in a finely stitched trapunto ottoman, the contured handles secured with interlocked gilt-brass rectangles, each stamped: “CELINE” on the obverse and “CELINE/PARIS” on the reverse, the zipper tabs stamped: “CELINE/PARIS”, the center interior and side pockets lined in black cotton “CELINE/PARIS within squares design, the zippered interior pocket bearing a leather tab label stampedon the obverse: “CELINE/PARIS” in gilt with “F98/2/MADE IN ITALY” below, bag h. 7‑1/4”, w. 10‑3/4”, overall h. 13‑1/2”. [200/400] Illustrated 881 Celine Navy Blue Calf and Gilt-Brass Mounted Hobo Bag, the structured body with applied and stitched detail, the clasp and strap hardware stamped: “CELINE”, the nautical-red leather-lined interior with a center zippered compartment bearing a leather tab stamped: “CELINE/ PARIS” in gilt with “MADE IN ITALY/M171” below, resting on four oval gilt-brass feet, bag h. 9‑3/4”, w. 11”, overall h. 18”. [200/400]

884

885

880

882 French Bargello-Beaded Evening Bag, the gilt-metal frame brushed, the pal peach satin-lined interior giltstamped: “Spritzer and Furmann”, h. 7‑1/4”, w. 7‑1/2”, drop from the chain, 7”. [50/80]

879

883 Judith Lieber Gathered Gold Lizard Clutch or Shoulder Bag, the upper frame with a gilt lizard-inset “ribbon” across and a side lever closure, the interior lined in champagne satin and bearing the gilt-metal “Judith Leiber” label along with a gilt leather “Amen Wardy/ Newport Beach” label, purse h. 6”, w. 9”, chain drop 19‑1/2”. [250/400] 884 Louis XVI-Style Giltwood and Marble-Top Side Table, the rectangular variegated tan and gray marble top above a conforming pierced guilloche frieze centered by a laurel wreath and patera-carving, raised on tapering stopfluted circular legs ending in palmetto-carved feet, h. 36”, w. 47‑1/2”, d. 20‑1/2”. [1500/2500] Illustrated

8 114

888

888 Set of Fourteen Dresden Luncheon Plates, ca. 1900, German, with faceted edges, the decoration consists of men and women in 18th century costume in a pastoral setting at leisurely pursuits, dia. 9”. [900/1200] Illustrated 889 Pair of Louis XV-Style Polychrome Fauteuils, early 19th century, each with a padded shaped back surmounted by a floral crest, joined by scrolling padded arms to the like seat, raised above a scalloped floral crest on molded cabriole legs ending in scrolled toes, h. 34”. [2000/4000] Illustrated

886 890 pair

885 Restauration Diminutive Gilt-Bronze Figural Clock, first quarter 19th century, the plinth base on toupie feet mounted with the figure of a 16th century dandy pointing to his feathered hat upon the case with enamel dial and Roman chapter ring, h. 7‑1/2”, w. 6”, d. 2‑1/2”. [600/900] Illustrated

889

886 Louis XVI-Style Giltwood Looking Glass, fourth quarter 19th century, the rectangular plate surmounted by a shell and foliate crest, surrounded by an annulated and molded frame with scrolling foliate patterns, h. 66”, w. 42”. [900/1200] Illustrated 887 Pair of Decorative Needlepoint Throw Pillows, each depicting a red rose, h. 15”, w. 15”. [250/400]

115

890 Pair of Louis XV-Style Gilt-Bronze and Crystal FiveLight Sconces, mid‑20th century, each with a glass standard issuing five scrolling arms terminating in candle cups, richly dressed with shaped and faceted pendants, h. 25”, w. 19”, d. 14‑1/2”. [700/1000] Illustrated previous page

891 French School (Contemporary) “Parisian Street Scene”, oil on canvas, signed lower right “M. Malabrun”, 24” x 48”. Handsomely framed. [450/700]

895

898

892 French School (Second Quarter 20th Century) “Parisian Street Scene with a View of Tuileries Gardens”, oil on canvas, signed lower left “A. Wichy”, 7‑5/8” x 9‑1/2”/ Presented in a period polychrome and parcel-gilt frame with a linen liner. [150/300] 893 Louis XV-Style Polychrome Settee, the low shaped and padded back surmounted by a molded and floral-foliate carved crest, joined by down-swept arms to the cushioned seat, raised on molded cabriole legs ending in foliate in-scrolled toes, h. 35”, d, 28”, l. 73”. [1400/1800] 894 Pair of Eglomise and Giltwood Lamps in the neoclassical style, comprised of reverse paint urns decorated with transfer-printed neoclassical designs of putti, urns and medallions, all on a sky blue background, h. 27”, w. 6”. [700/1000]

897 pair

116

895 Regence-Style Giltwood Looking Glass, early 19th century, the arched crest surmounted by a foliate shieldform crest and within a paneled mirrored frame with corner foliate floral accents and incised patterns, h. 31”, w. 18”. [900/1200] Illustrated

901

903 Venetian Etched-Glass Wall Mirror, the outer panels with etched floral sprays and banded with glass roping and applied glass floral rosettes, h. 51”, w. 32”. [500/800] 904 Pair of Louis XVI-Style Giltwood Bergeres, late 19th century, each with a padded and domed back within a carved frame, joined by downswept padded arms to the cushioned seat, raised on turned and tapering circular fluted legs ending in toupie feet, h. 36”. [1500/2500] Illustrated

896 Giltwood Wall Bracket in the Neoclassical Style, second quarter 20th century, in the form of one long acanthus leaf terminating in a “C”-scroll topped with a shelf, h. 15”, w. 10”, d. 6‑3/4”. [500/800] 897 Pair of Louis XV-Style Giltwood and Marble-Top Console Tables, late 19th century, each with a shaped Carrara marble top with molded edge, above a conforming frieze centered by a pierced foliate shell, raised on scrolling legs headed by shield carvings and joined by a foliate shell stretcher ending in in-scrolled acanthine toes, h. 34‑1/2”, w. 38”, d. 19”. [1800/2500] Illustrated

905 Suite of Four Louis XVI-Style Polychrome Sidechairs, late 19th century, each with a padded medallion back within a ribbon-carved frame and surmounted by a floral crest, the padded seat raised on tapering fluted circular legs ending in toupie feet, h. 37”. [400/700] 906 Pair of Louis XVI-Style Giltwood and Marble-Top Consoles, late 19th century, each with a rounded rectangular Carrara marble top, above a conforming frieze fitted with an undulate-carved frieze, raised on tapering circular fluted legs headed by floral carving and ending in tall toupie feet, h. 33”, w. 45‑1/2”, d. 13”. [1000/1500] Illustrated

898 Pair of Louis XVI-Style Giltwood and Polychromed Jardinieres, each with a removable circular glazed top over a hexagonal well with caned panels, raised on tapering legs with bellflower carving on paw feet atop a molded concave platform base, h. 44‑1/2”, dia. 14”. [1400/1800] Illustrated 899 Louis XVI-Style Polychrome Chaise Longue, of generous proportions, with a raised end and partial padded back to one side, the long padded seat raised on tapering circular legs headed by gilt foliate accents and ending in ball feet, h. 39”, d. 36”, l. 81”. [800/1200] 900 Pair of German Biscuit Porcelain Pagoda Nodding Figures, c. 1880‑1900, in the form of a man and his companion seated and holding fans, painted in pale green, lavender and white, the man’s hat restored, h. 4”. [200/400]

906 pair

904

901 Pair of Italian Onyx and Silverplate Wall Brackets, in the grotto taste, each with a demilune pieced cream onyx top supported by a base of a large silverplate conch shell surrounded by various other shells and sea life, h. 16”, w. 12”. d. 6‑1/2”. [1800/2500] Illustrated 902 Pair of Venetian Tall, Narrow, Oblong ReverseEngraved and Beveled Mirror-Glass Looking Glasses, in the Baroque style, the plates beveled, h. 41‑1/2”, w. 15‑1/2”. [500/800]

117

907 Group of Four Louis XVI-Style Lacquered Brass Three-Light Appliques, each with a beribboned and beaded backplate with laurel and berry swags and mounted with an urn with flame finial, h. 18”, w. 11‑1/2”, d. 8‑1/2”. [1400/1800] Illustrated

907

908 Good Dresden Porcelain Tazza, fourth quarter 19th century, the bowl featuring an allegorical female portrait and artist signed indistinctly, h. 8”, dia. 7”. [500/800] Illustrated

909 Louis XVI-Style Mahogany and Marble-Top Rafraichissoir, mid‑19th century, the rounded rectangular top with an inset Carrara marble top and fitted with openings for two bottle chillers, above a conforming frieze fitted with one small side drawer, raised on tapering circular legs ending in ringed toes, h. 29”, w. 19‑1/4”, d. 17”. [700/1000]

910 pair

118

910 Pair of Louis XVIStyle Giltwood and Marble-Top Console Table and Mirror, early 20th century, each with an arched rectangular plate surmounted by a foliate ribbon crest and within a guilloche-carved frame, h. 55‑1/2”, w. 23”, the console with a bowed Grisdes-Ardennes marble top above a conforming guilloche-carved frieze with pendant floral garlands, raised on tapering circular legs joined by a concave stretcher and raised on toupie feet, h. 30”, w. 24”, d. 12”. [800/1200] Illustrated

908

911 Two Porcelain Dresser Boxes, second quarter 20th century, the larger decorated with three people in a pastoral setting, dressed in 18th century costume, signed with a pseudo-Sevres mark, the smaller is decorated in the Louis XV manner with ribbons and roses, signed Limoges, larger h. 1‑1/2”, w. 4‑1/2”, d. 3‑1/2”, smaller h. 1”, w. 2‑1/4”, d. 1‑3/4”. [75/125] 912 Enamel Trinket Box, fourth quarter 19th century, decorated on the lid with a shepherd serenading a shepherdess, contained in gilt rococo panels on a green background, and florals contained in similar panels on the sides, w. 2‑3/4”, l. 2‑1/4”. [500/800] Illustrated 913 Ladies Enamel and Parcel-Gilt Carrying Case, fourth quarter 19th century, decorated with panels of painted neoclassical decoration on the obverse, English architectural scenes on the reverse, contained within raised gilt rococo panels, the interior retains a gilt pencil handle with spaces for a manicure set and other necessities, h. 3‑1/2”, w. 1‑1/2”. [500/800] Illustrated

915 Louis XVI-Style Giltwood Settee, fourth quarter 19th century, the domed and padded rectangular back surmounted by a floral acanthine crest, joined by closed arms on foliate fluted uprights to the cushioned caned seat, above a guilloche-carved apron, raised on spiral fluted tapering, circular legs headed by floral carving and ending in toupie feet, h. 39”, w. 40”, d. 22”. [600/900]

917

916 Louis XVI-Style Giltwood and Marble-Top Center Table, late 19th century, the rectangular Breche Medias marble top with bowed ends and a molded edge, above a conforming frieze with pierced scrolling foliate patterns and pendant floral swags, raised on spiral fluted circular legs, joined by an X-form stretcher centered by a floral urn and ending in toupie feet, h. 29”, w. 40‑1/2”, d. 23‑3/4”. [600/900] Illustrated 917 Pair of Meissen-Style Covered Urns in the Rococo Taste, decorated with encrusted flowers, putti and figural handles depicting maidens, both surmounted with pierced lids and sitting on separate stands, h. 24”, w. 11‑1/2”. [4000/7000] Illustrated 914

913

912

914 Louis XVI-Style Giltwood Looking Glass, mid‑20th century, the beveled rectangular plate surmounted by a floral wreath and torchere crest and surrounded by a molded and annulated frame with dentillated accents, h. 69”, w. 39‑1/2”. [1000/1500] Illustrated

916

119

918 Napoleon III Oak Prie-Dieu of Louis XIII Inspiration, third quarter 19th century, the back with an upholstered rest over a carved panel centered by a cross amidst pierced scrolls, foliage and busts of winged putti, flanked by twist-turned stiles joined to an upholstered cushion, on turned feet, h. 36”. [300/500]

921 Pair of Paris Porcelain Jardinieres, second quarter 19th century, in the manner of Casse Maillard, each of cylindrical form with gilded rim, the body glazed in black and displaying finely painted reserves, one of a falconer, the other a peasant family with a mountainous landscape and lake, the reverse decorated with floral bouquets, each joined by lion-mask handles, h. 6‑1/2”, w. 6‑3/4”, l. 7‑1/4”. [250/400]

919 Pair of Louis XVI-Style Polychrome Bergeres, late 19th century, each with a domed and padded back within a rosette-carved frame, joined by padded downswept arms to the cushioned seat, raised above a dentillated apron on tapering fluted circular legs ending in peg feet, h. 33”. [1400/1800] Illustrated 920 Pair of French Porcelain Chamber Pails, fourth quarter 19th century, in the neoclassical taste, the white porcelain pails decorated with bands of parcel-gilt, h. 9‑1/4”, dia. 10‑1/2”. [200/400]

924

922 Louis XV-Style Mahogany and Fruitwood Occasional Table, early 20th century, the “turtle”-form top within an ormolu banding and with an intricately inlaid sunburst pattern, joined to a like-shaped and banded shelf by cabriole legs headed by ormolu mounts and ending in sabots, h. 27‑3/4”, w. 26‑1/2”, d. 17‑1/4”. [300/500]

923

919

923 Pair of Louis XIV-Style Three-Arm Appliques c. 1900, each with turning foliate molded arms, the backplates adorned with floral clusters, l. 19”, w. 12”, d. 6‑1/2”. [1400/1800] Illustrated 924 Transitional Louis XV-into-Louis XVI Walnut and Burl Wood Display Case, mid‑20th century, the ogee-molded cornice with a pierced brass gallery, above a frieze centered by a porcelain plaque, over a door inset with a beveled and shaped glass panel, with corner inset plaques and a central lower oval plaque, all with scenes of cartiers in a pastoral landscape, raised on scrolled legs ending in sabots, h. 56”, w. 27”, d. 15‑1/4”. [2000/4000] Illustrated

120

925 Louis XVI-Style Mahogany and Marble Top Cabinet, early 20th century, the bowed violet jura brocatelle marble-top with molded edge above a conforming case fitted with a central drawer with applied scrolling ormolu over two long drawers, with marquetry inlay in the form of a classical floral garden, flanked to either side by a like applied drawer over a cupboard door inlaid in a floral lattice pattern, raised on tapering circular legs ending in caps, the whole with decorative ormolu mounts, h. 39”, w. 51‑1/2”, d. 21”. [4000/7000] Illustrated 926 Chinese Export Porcelain Bowl in Continental Gilt Bronze Mounts, 19th century, the “U” shaped bowl decorated in Famille Rose enamels with peonies, prunus and flowers against a maroon ground, now mounted in continental gilt-bronze mounts with scrolled feet and arched handles with an openwork rim border, h. 12”, w. 16”. [2500/4000] Illustrated

927

926

929

927 Pair of Louis XV-Style Fruitwood and Marquetry Occasional Tables, mid‑20th century, each with a rounded, rectangular top with a 3/4” heart-pierced gallery surrounding a banded and scrolling-foliate-inlaid panel, above a conforming frieze fitted with a single drawer, joined by shaped supports to a galleried quarter-veneered lower shelf, raised on splayed feet ending in sabots, h. 28‑1/2”, w. 18”, d. 12”. [1200/1800] Illustrated

925

928 French Gilt-Brass and Tole-Peinte Three-Light Bouillotte Lamp, first quarter 20th century, in the Louis XVI style, the base mounted with palely polychromed wrought brass flowerheads, the adjustable shade of natural tole, electrified and fitted with faux candles, h. 26”, dia. 13‑1/4”. [800/1200]

121

929 Italian Neo-Classical Kingwood and Mahogany Marble-Top Bowfront Commode, early 19th century, the bowed Sainte Anne des Pyrennes marble top above a conforming case fitted with two central banded and quarter-veneered drawers, flanked to either side by a like cupboard door, the whole raised on tapering square legs ending in brass caps, h. 36”, w. 43”, d. 20”. [700/1000] Illustrated previous page 930 Fine Pair of Paris Porcelain Navette-Form Sauce Tureens with Integral Stands, first quarter 19th century, attributed to the manufactory of Dihl and Guihard, successors to the Duc d’ Angouleme (fl. 1789‑1828), the stands of larger conforming shape, the borders in a stylized pattern of leaves and berries in parcel-gilt hunter green and mulberry, h. 4”, l. 11”, w. 5‑1/2”. [300/500] Illustrated

932

931 Louis XVI-Style Giltwood and Polychromed Mantle Mirror, ca. 1900, the crest with a central cartouche with a classical female mask, supporting a floral urn and flanked by floral garlands, the ovoid mirror plate in a beaded and carved frame, h. 58”, w. 38”. [1500/2500] Illustrated

931

932 Louis XV-Style Giltwood and Marble-Top Console Table, early 20th century, the shaped breche d’ Alep marble top above a conforming frieze centered by a pierced scrolling shield-form pattern, raised on scrolled legs with acanthine carving, joined by a carved musical motif stretcher and ending in scrolls on hoof feet, h. 34‑1/25”, w. 63”, d. 22‑1/2”. [5000/8000] Illustrated 933 After Francois Louis Watteau (French, 1758‑1823) “Market Seller’s Head Study”, black and white copper plate engraving, attractively matted and presented in a parcelgilt, ebonized frame, glazed, h. 13‑5/8”, w. 9‑3/4”, sight. [600/900] 934 Pair of Victorian Polychrome-Decorated and Giltwood Footstools, third quarter 19th century, the padded rounded rectangular top raised on a molded base to bun feet, upholstered in geometric needlework, h. 4”, w. 13”, d. 8‑1/4”. [250/400] Illustrated

930

935 Diminutive Louis XV Giltwood Footstool, ca. 1900, the frame with detailed floral carvings, raised on cabriole legs with scroll feet, h. 6”, w. 13”. [250/400] Illustrated 936 Diminutive Louis XV-Style Giltwood Stool, fourth quarter 19th century, the padded top raised on cabriole legs ending in scrolled toes, h. 8”, w. 9”, d. 8‑1/2”. [200/400] Illustrated

122

940 Austrian Parquetry-Inlaid Mixed Woods and Mahogany Door, the parquetry panel, 18th century, incorporated into a door in the early 20th century, the panel bisected into a pair of geometrically-modeled rectilinear sections, with late Art Deco inspired parquetry above and below the antique panel, the verse in white, h. 79‑1/2”, w. 24”, d. 1‑1/2”. [800/1200] Illustrated 941 Suite of Four Louis XVI-Style Walnut Fauteuils, early 19th century, each with a padded oval back within a molded frame, joined by padded scrolling arms to the padded seat, raised on tapering stop-fluted circular legs ending in toupie feet, h. 35”. [1200/1800] Illustrated

941

942 one of three pairs 937 Fine Third Republic Giltwood Frame in the Aesthetic Taste, fourth quarter 19th century, with a cove-molded body, each corner with carved oak leaves, retaining its period oil and water gilt surface, h. 12‑1/2”, w. 9‑1/4”, inside opening, h. 23‑1/4”, w. 20”, outside opening. [200/400]

942 Attractive Pair of Gilt-Bronze Appliques, in the form of a polychromed Blackamoor figure bearing a tray of fruit in one hand, the other hand holding a tubular standard to a single electrified socket, fitted with a custom taupe fringe and fabric shade, the figure raised on a circular base to an acanthine modeled circular wall plate, and with a scrolling acanthine pendant, h. 36”. [500/800] Illustrated

938 Pair of Napoleon III Ebonized Sidechairs, third quarter 19th century, each with a shaped padded back within a molded frame and surmounted by an ormolu foliate crest, the padded seat raised on molded cabriole legs headed by ormolu mounts and ending in casters, h. 39”. [800/1200] 939 Napoleon III Ebonized and Burl Wood Occasional Table, third quarter 19th century, the shaped rectangular top with a three quarter pierced brass gallery surrounding a burl panel with intricate geometric banding and above a single conforming frieze drawer, joined by turned and bulbous supports to two lower shelves, each paneled en suite, the whole raised on turned bulbous legs ending in ball feet, h. 34”, w. 18”, d. 13”. [500/800]

936

934

935

940

123

943 Attractive Pair of Gilt-Bronze Appliques, in the form of a polychromed Blackamoor figure bearing a tray of fruit in one hand, the other hand holding a tubular standard to a single electrified socket, fitted with a custom taupe fringe and fabric shade, the figure raised on a circular base to an acanthine modeled circular wall plate, and with a scrolling acanthine pendant, h. 36”. [500/800] 944 Attractive Pair of Gilt-Bronze Appliques, in the form of a polychromed Blackamoor figure bearing a tray of fruit in one hand, the other hand holding a tubular standard to a single electrified socket, fitted with a custom taupe fringe and fabric shade, the figure raised on a circular base to an acanthine modeled circular wall plate, and with a scrolling acanthine pendant, h. 36”. [500/800] 945 Louis XVI-Style Mahogany Dining Table, early 20th century, the rounded top with two drop leaves, opening in the center to accommodate four leaves, raised on tapering circular legs headed by ormolu capitals and ending in caps and casters, with four 13” leaves, h. 29”, l. 40”, d. 50‑1/2”, extended l. 102‑1/2”. [2500/4000]

946

946 Paul Francois Berthoud (French, 1870‑1939) “French Street Scene on Bastille Day”, oil on board, signed lower right “Gilbert Lanquetin”, 19” x 24”. Presented in a polychrome and parcel-gilt, deeply-molded frame. [1200/1800] Illustrated

947

950

947 Attractive Pair of French Gilt-Bronze ThreeLight Candelabra, in the Louis XVI style, the center candlesocket fitted with a cassolette finial in the form of a pomegranate, each candlesocket with a removable bobêche, h. 17”. [1200/1800] Illustrated

952 948 Louis XVI-Style Giltwood Looking Glass, early 19th century, the rectangular plate within a band of paneled mirrors, surrounded by a molded giltwood frame with elaborate foliate patterns, h. 36, w. 29”. [600/900]

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950 Louis XVI Mahogany and Marble-Top Commode, late 18th century and later, the rectangular Sainte Anne des Pyrennes marble top with turreted corners, above a conforming case fitted with three short drawers over two long graduated drawers, all paneled, raised on tapering circular legs ending in ormolu pegs, h. 33”, w. 48‑1/2”, d. 22”. [2500/4000] Illustrated 951 Suite of Eight Louis XVI-Style Mahogany Sidechairs, early 20th century, each with a shaped and padded back within a molded frame, the padded seat raised on tapering circular legs headed by lotus carving and ending in toupie feet, upholstered in crimson leather, h. 36‑1/2”. [2500/4000] 952 Four Napoleon III Cabinet Plates, second quarter 19th century, with bleu de roi borders and later hand-painted depictions of couples in 18th century costume in a pastoral setting, each marked “S.68” in an oval, dia. 9‑1/2”. [800/1200] Illustrated 953 Franco-Bohemian Porcelain Jardiniere, third quarter 19th century, decorated with humming birds hovering over a lily pond over a bleu-de-roi base and black handles, h. 7‑1/4”, w. 11‑1/4”, d. 8”. [200/400] 961 949 Paul Comolera (French, 1818‑1897), a fine patinated bronze flat-back paperweight figure of a recently deceased sparrow, third quarter 19th century, the edge of one wing signed “Comolera”, the reverse touchmarked by the celebrated Susse Freres Foundry, Paris: “COPYRIGHT / BY / SUSSE FRES.”, l. 5”. [60/90]

954 French School (Contemporary) “Parisian Cafe Scene”, oil on canvas, indistinctly signed lower left, 28” x 36‑1/4”. Framed. [350/500] 955 Wool and Silk Savonnerie Carpet, 9’ x 12’. [1400/1800] 956 Antique Caucasian Soumak Carpet, 4’ 3” x 6’ 7”. [1800/2500] 957 Peshawar Sultanabad Carpet, 5’ 10” x 9’ 2”. [800/1200] 958 Afghan Carpet, 2’6” x 4’8”. [100/200] 959 Caucasian Soumak Runner, 3’ x 6’2”. [200/400] 960 Persian Mahal Carpet, 7’ x 4’ 7”. [300/500] 961 Semi-Antique Heriz Carpet, 6’6” x 9’. [600/900] Illustrated 962 Fine Zeiglar Mahal Carpet, 8’ 2” x 9’ 4”. [1400/1800] Illustrated 963 Native American Style Wool Saddle, 2’10” x 8’4”. [150/300]

962

125

964 Aubusson-Style Needlepoint Carpet, 9’3” x 14’3”. [2500/4000] 965 Persian Bakhtiari Carpet, 5’ x 8’ [1400/1800] 966 Tabriz Carpet, 8’ 3” x 10’ 7”. [500/800]

975

973

967 Agra Serapi Carpet, 8’ 1” x 10’ 4”. [1200/1800] Illustrated 968 Persian Afshar Carpet, 4’ 1” x 7' 7”. [300/500] 969 Heriz Runner, 2’ 9” x 10’ 8”. [300/500]

977 974 976

970 Semi-Antique Shiraz Carpet, 2’6” x 3’11”. [100/200] 971 Pair of Japanese Silver Tulip Bowls, Showa Period (1926‑1989), each of hexagonally lobed form with shaped rim and flaring foot ring, each lobe with an applied floral decoration, some retaining traces of the original polychrome enamel, h. 3‑1/4”, dia. 6‑1/4”. [2500/4000] 972 Pair of Silverplate Candlesticks, first quarter 20th century, in the Chinese Export taste, each of square columnar form, decorated with realistically embossed bamboo, with a conforming foot and nozzle, h. 7‑1/2”, w. 3‑7/8”. [100/200]

973 Good, Heavy Chinese Carved Ivory Figure of the God of Literature, 20th century, the standing figure dressed in brocade robes and official cap with a sword slung across his back and holding a calligraphy brush, decorated with incised details and stained highlights, h. 12”. [1400/1800] Illustrated 974 Japanese Carved and Stained Ivory Figure of a Samurai, 20th century, the warrior holding a long sword with a short sword tucked into his obi, the figure clad in a brocade coat and having shaved head with topknot, wooden stand, h. 8‑1/2”. [700/1000] Illustrated 975 Good, Large Japanese Carved and Stained Ivory Figure of a Samurai, 20th century, the standing figure clad in brocade coat and skirt holding both long and short swords with folded fan held behind his back, shaved head with topknot, h. 12‑1/4”. [1400/1800] Illustrated 976 Good Japanese Carved and Stained Ivory Group, 20th century, carved as a seated figure of a peach vendor flanked on either side by baskets of peaches, the vendor clothed in a patterned vest holding a pipe and tobacco pouch, h. 5‑1/2”, l. 5”. [600/900] Illustrated 977 Elaborate Japanese Carved and Stained Ivory Group, 20th century, carved in intricate detail as a standing male figure wearing a lotus hat and brocade clothing, carrying a woven backpack and holding a walking staff, accompanied by two children, the boy with a staff and the girl carrying a basket of wood on her back, h.9”. [1000/1500] Illustrated

967

126

981

982

982 Japanese Carved and Stained Ivory Figure of a Child Samurai, 20th century, the child clad in a stained brocade outfit with hat, posed in a threatening stance with upraised sword, mounted on a wooden stand with inset signed ivory plaque, h. 8‑1/2”. [500/800] Illustrated 983 Chinese Cast Iron Figure of a Court Official, 19th century, the standing robed figure with official cap and clasped hands executed in the Ming dynasty style, h. 6‑3/4”. Provenance: ex. coll. Henry Stern Antiques, New Orleans, Louisiana. [50/80] Illustrated

978

978 Japanese Meiji Bronze Vase, late 19th century, of waisted bulbous form, the body with designs of a stork, birds and a turtle, now mounted on a wooden base and converted to a table lamp, accompanied by an ecru raw silk shade, h. 31”. [400/700] Illustrated

984 Japanese Cast Bronze Figure of a Female Clam Gatherer, Meiji period (1868‑1911), the standing figure clad in an informal kimono gathered at the waist and having a wicker basket of clams slung over her shoulder and having two giant clams at her feet, signed Atsuyoshi, attached to a wooden base, h. 8‑1/4”, including stand. [300/500] Illustrated 985 Two Chinese Pottery Figures of Officials, 19th century,each modeled in black clay, depicting seated figures in informal robes, h. 5‑1/2”‑6”. Provenance: ex coll. Henry Stern Antiques, New Orleans, Louisiana. [150/300] Illustrated 986 Japanese Meiji Bronze Vase, late 19th century, the waisted neck with applied elephant’s head handles, the body with an avian scene, now raised on a fretted wooden base and converted to a table lamp, accompanied by an ecru silk shantung shade, overall h. 32”. [400/700]

979 Stylish Japanese Patinated Metal Vase, now mounted as a lamp, of baluster-form cast with overlapping lotus leaves and arched handles, wooden base, h. 34”. [500/800]

984 983

980 Pair of Japanese Meiji Bronze Vases, late 19th century, each with a cylindrical neck and saucer-form body having designs of birds and snakes amidst foliage, now mounted on a wooden base and converted to table lamps, accompanied by taupe-trimmed ecru silk shades, overall h. 29‑1/2”. [600/900]

985

981 Interesting Japanese Carved and Stained Ivory Group, 20th century, depicting a Noh mask maker working on masks along with his tools, finished masks and a waste container, all on a wooden oval base with wood bark carved rim, h. 5‑1/2”, l. 10”. [600/900] Illustrated

127

987 Japanese Meiji Bronze Vase, late 19th century, the Greek-key modeled lip above a body fitted with two applied Foo Dog handles, the body with a heavily modeled pair of deer and dogs in a bamboo landscape, raised on tripodal scrolling feet in the form of dragon’s heads, now mounted on a wooden base and converted to a table lamp, accompanied by a shaped ecru silk shantung shade and tassel, overall h. 29‑1/2”. [500/800] Illustrated

996

994

995

997 987

991 Japanese Carved and Polychromed Figure of a Geisha, the bowed figure clad in an elaborate brocade kimono tying her obi with intricate details both engraved and polychromed, her elaborate coiffure with a few stray strands of hair indicating whimsy on the part of the artist, h. 4‑1/2”. [1000/1500] 992 Comical Japanese Carved and Stained Ivory Figure of an Egg Vendor/Demon, 20th century, the standing figure in peasant’s garb with a basket of eggs at its feet, the face rotates between that of a female vendor to a male demon, wood stand, h. 5‑1/8”. [400/700]

988 Japanese Meiji Bronze Vase, late19th century, of globular form, the waisted lip above a body with relief patterns of birds in flight, now raised on a molded and fret-pierced stand and converted to a table lamp, with a custom pleated fabric shade, h, 29”, with shade. [400/700] 989 Group of Three Export Ivory Stems, 20th century, composed of an ivory handled calligraphy brush with engraved decoration, an ivory shoe horn with engraved monogram and a round ivory covered box with a lion in relief on the cover, dia. 2‑11/2”, l. 7” to 13”. [100/200] 990 Japanese Carved Bone Sheathed Dagger, first quarter 20th century, the hilt and scabbard carved all over in low relief with armored soldiers, officials and a courtesan gathered in preparation for battle, l. 10‑1/4”. [300/500] 993

128

993 Dramatic Chinese FourPanel Floor Screen, each panel composed of a rosewood frame holding three decorative carved and painted scenes, the top panels depicting Chinese sages in garden settings, the central panels depicting Chinese immortals with their attributes and the lowest panels with Shou characters, the reverse of each panel in plain rosewood without carving, h. 72‑1/4”, w. 17‑5/8”, each panel. [1500/2500] Illustrated

1007

994 Japanese Carved and Stained Ivory Figure of a Court Musician, 20th century, the standing figure clad in a brocade kimono with tall, peaked hat with a drum and two drumsticks, h. 8‑1/4”. [400/700] Illustrated 995 Japanese Carved and Stained Figure of a Court Attendant, 20th century, the standing female figure clad in a brocade kimono with elaborately tied obi and wearing a flattened hat with chrysanthemums, wooden stand, h. 7”. [500/800] Illustrated 996 Pair of Chinese Carved Ivory Figures, first half 20th century, carved as standing figures of a rice farmer with a broad brimmed hat and a sheaf of rice heads and the figure of a maiden holding a fan and a basket of flowers, wooden stands, h. 10‑1/2”. [800/1200] Illustrated

1000 Painted Red Plant Stand, with brass bands encircling the top and bottom and with the base slightly flared and joined to the top by parcel-gilt open bars, h. 33‑1/2”, dia. 15‑1/2”. [125/250] 1001 Various Vintage Bills and Coins, suite of two, both glazed, mounted on charcoal gray mats and presented in molded hardwood frames, sight 24” x 20”. [300/500] 1002 Rare and Unusual Japanese Two-Color Lacquer Box, ca. 1890, in the Art Nouveau style, the red lacquer base overlaid in black, the cover with confronting trees, the sides with stylized leaf lappets, h. 2”, w. 3‑1/2”, l. 5”. Japanese wares in the Art Nouveau style are rare and were used by the upper classes influenced by Western culture. [250/400] 1003 Large Champleve Enameled Brass Urn, late 19th century, now fitted as a lamp, mounted to a footed base, h. 16”, [400/700] 1004 Chinese Bronze and Cloisonne Vase, 20th century, cast in spreading baluster-form with dragon head handles, the body cast with wave patterns and two horizontal bands of cloisonne decoration, one of lotus the other of archaic designs, h. 9‑1/2”. [125/250] 1005 Large Japanese Cast-Bronze Figure of a Male Lion, Meiji Period (1868‑1911), the figure cast as the beast standing four square with curved tail, the head turned with open, snarling mouth, ears back and flowering mane signed, h. 10”, l. 16”. [400/700] Illustrated

1005

997 Quaint Japanese Carved and Stained Ivory Group, 20th century, composed of the standing figure of a geisha in an informal brocade kimono with a broad straw hat and holding a halberd across her shoulder, alongside is an ivory ribbed vase holding two small brooms, wooden stand, h. 7‑1/2”. [400/700] Illustrated 998 Large Asian Glazed Stoneware Planter, the low circular body glazed on the exterior in a rich oxblood glaze extending to the low foot, the interior unglazed, h. 7‑1/4”, dia. 16‑1/2”. [200/400] 999 Japanese Molded Porcelain Vase, 19th century, of baluster-form with molded vertical ribs and flared lip rim, decorated in iron-red with a central design of birds and flowering trees above a plantation leaf border and reserve landscape scenes on a floral ground at the neck, h. 9‑1/2”. [100/200]

1006 Japanese Cast-Bronze Jardiniere, 19th century, the globular body resting on a cast footed base, bamboo shape handles and cast in relief with alternating avian and Buddhistic reserve panels against a geometric ground, h. 9‑1/2”, w. 11‑3/4”. [400/700]

129

1012 Japanese Mixed Metal Covered Box, of rectangular form with rounded corners, the top depicting an owl perched on a branch beginning to leaf out and having an engraved signature, the sides with applied leaves, h. 1‑5/8”, d. 3”, l. 3‑3/4”. [700/1000]

1009

1008 1010

1013 Large Japanese Cast-Bronze Umbrella Stand, ca. 1900, of tubular form with high relief casting of birds, plants and a pine tree, the integral base with a band of Buddhist symbols and having a key-fret border at the lip rim, h. 24‑1/2”. [600/900] 1014 Pair Japanese Cloisonne Pots, 19th century, each of bulbous form on tapered bases with fluted lip rim and central band of polychromed cloisonne enamel of archaic designs, h. 5”, dia. 6”. Provenance: ex coll. Henry Stern Antiques, New Orleans, Louisiana. [75/125]

1007 Fine, Large Japanese Carved Ivory Group, Meiji Period (11868‑1911), finely carved as a capped official holding a fan in one hand and a basket of Buddha’s Hand Citrons in the other, in front of the official is a dancing boy holding a drum and a kneeling geisha with a basket of flowers, carved wooden stand, h. 15‑3/4”, including stand. [1500/2500] Illustrated previous page

1015 Japanese Cloisonne Incense Burner, 19th century, of squat bulbous form on three feet and having loop handles, the body enameled with shi-shi among flowers on a white ground, h. 6”, dia. 8”. Provenance: ex coll. Henry Stern Antiques, New Orleans, Louisiana. [200/400]

1008 Japanese Carved and Stained Ivory Figure of a Traveling Vendor, first half 20th century, the standing figure clad in a short tunic carrying and displaying various baskets and masks for sale, wooden stand, h. 9‑1/4”, including stand. [700/1000] Illustrated 1009 Elaborate Japanese Carved and Stained Ivory Figure of a Court Entertainer, 20th century, carved as a standing female figure clad in a brocade kimono with a high, flower decorated court hat, holding an open fan and a drum, wooden stand, h. 11‑1/2”, including stand. [600/900] Illustrated 1010 Good Japanese Carved and Stained Ivory Figure of an Immortal, first half 20th century, the figure with one lame leg, leaning on a staff, wearing a leaf raincoat, an inro and a double gourd and having two frogs climbing on him, wooden stand, h. 7‑3/4”. [400/700] Illustrated 1011 Japanese Cloisonne Rice Bowl, second quarter 20th century, enameled with flowers over a ribbed dark blue base and sky blue interior, dia. 4‑1/2”. [50/80] 1016

130

1017

1021-1028 1016 George III Mahogany and Walnut Bureau, fourth quarter 18th century, the slant banded front opening to a baize-lined writing surface and a variety of drawers and cubbyholes, over three short drawer over three long graduated drawers, all banded, raised on shaped bracket feet, h. 40”, w. 36”. d. 20”. [1400/1800] Illustrated 1017 Victorian Walnut Stick Barometer, fourth quarter 19th century, the instrument with opaline face and thermometer plates, and a lushly veneered walnut body, signed J.W., Philadelphia, probably retailed by John Wanaker, the Philadelphia department store, h. 36‑3/4”, w. 4‑3/8”, d. 2‑1/2”. [1400/1800] Illustrated 1018 English Georgian-Style Walnut Looking Glass, second quarter 19th century, topped with a Prince-ofWales feather finial, with candlearms applied to the base, h. 41‑1/2”, w. 22‑1/2”. [700/1000] Illustrated 1019 Edwardian Burled Walnut Tripartite Looking Glass in the Queen Anne Taste, ca. 1900, with a scalloped crests over shaped and segmented mirror plates, the lower edge also scalloped, h. 27”, w. 30”. [300/500] 1020 Pair of George III-Style Mahogany Pedestal Tables, 19th century, each with a dished shaped square top above a turned and bulbous standard to three splayed cabriole legs headed by foliate carving and ending in ball-and-claw feet, h. 34‑1/2”, w. 9”, d. 9”. [800/1200]

1018

1021 Victorian Silverplate and Ebonized Wood Walking Stick, fourth quarter 19th century, with an ebonized wood shaft and silverplate crop handle embossed with rococo scrolls and an anchor, l. 36”. [100/200] Illustrated

1022 Late Victorian Anglo-Japanese Ivory and Elm Walking Stick, fourth quarter 19th century, with a handsome Japanese ivory handle carved in the form of combatant birds among fruit and foliage, with a gilt-metal collar to an elm shaft of elliptical section and ending in a bone tip, l. 35”. [125/250] Illustrated 1023 Late Victorian Oak “Flick Stick”, ca. 1900, the ball handle composed of multi-colored oaks in concentric and overlapping circles, with small brass trapdoor concealing the squared steel spike released by centrifugal action, with an oak shaft and brass and steel tip, l. 36‑1/2”, (40‑1/2” with spike). [50/80] 1024 Two Victorian Walking Sticks, fourth quarter 19th century, one with rosewood shaft and gilt metal crook handle embossed with rococo scrolls, l. 34”, the other with ebonized wood shaft and gilt metal crop handle engraved with with grape clusters and rococo scrolls centering a presentation inscription dated 1876, l. 36”. [150/300] Illustrated 1025 Two Victorian Walking Sticks, fourth quarter 19th century, one with gilt metal pommel handle decorated with rococo flowers and with presentation inscription dated 1883, an ebonized wood shaft and long silverplatewrapped steel tip, l. 33”, the other with paneled gilt-metal pommel handle decorated with rococo flowers and with presentation inscription, a tortoiseshell shaft of octagonal section, and a long silverplate tip, l. 35”. [150/300] Illustrated

131

1030 George III Mahogany Chest-on-Chest, ca. 1800 and later, the molded rectangular cornice above a conforming case fitted with two short drawers over three long graduated drawers, flanked to either side by engaged fluted pilasters, the lower section fitted with three long graduated drawers raised on bracket feet, h. 66‑1/2”, w. 42”, d. 21‑1/2”. [1500/2500] Illustrated 1031 George III Mahogany Sidechair, early 19th century, the domed crest above a stylized wheat sheaf splat, the padded seat raised on square legs joined by an H-form stretcher, h. 37”. [300/500] 1032 Suite of Seven George III-Style Mahogany Dining Chairs, late 19th century, consisting of two armchairs and five sidechairs, all with a triple-domed crest above an elaborately pierced and inter-weaving splat with tassel and swag carving, the padded seat raised on cabriole legs headed by scrolling foliate carving and ending in ball and claw feet, h. 40”. [800/1200] 1033 Queen Anne-Style Mahogany Wing Chair, 19th century, the padded rectangular back joined by shaped sides and outscrolled arms to the cushioned seat, raised on cabriole legs ending in pad feet, h. 42”. [300/500] 1030 1026 Two Late Victorian Walking Sticks, ca. 1900, both with an ebonised wood shaft and gilt metal handle, one with pommel handle engraved with rococo scrolls, l. 35”, the other with crook handle embossed with rococo flowers, l. 37”. [150/300] Illustrated previous page

1034 Circle of Sir Francis Grant (British, 1803‑1878) “The Hunting Party”, oil on board, unsigned, inscribed on the reverse in pencil “Sir F. Grant RA, Lord Mill (?), Hound”, 10” x 9”. Presented in a period molded giltwood frame. [450/700]

1027 Three Victorian and Later Walking Sticks, including a late 19th century example with with long knobby-carved ivory handle with sterling silver pommel finial hallmarked London, 1895‑1896, by W. Spurrier & Co., a thin ebonized wood shaft and a horn tip, l. 36”, another late 19th century example with carved horn handle in the form of a horse’s hoof, a bamboo shaft and brass tip, l. 35”, and a first quarter 20th century example with large silverplate pommel handle with floral decoration, an ebonized wood shaft and steel tip, l. 38” [150/300] Illustrated previous page 1028 Regency-Style Brass and Mahogany Walking Cane Stand, stepped three-tier form, each tier fitted to accommodate a dozen canes, supported by brass uprights and brass stylized paw feet, h. 33‑3/4”, w. 33”, d. 10”. [300/500] Illustrated previous pag 1029 Queen Anne-Style Mahogany Demi-Lune Games Table, early 20th century, with a hinged demi-lune top opening to a circular playing surface, further hinged and opening to a storage compartment, raised on tapering circular legs ending in pad feet, the interior bearing a presentation plaque, h. 29”, w. 32‑1/2”, d. 16”. [800/1200]

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1038

1039 British School (19th Century) “Traveller with His Dog Seated in a Landscape”, oil on panel, unsigned, 10” x 7‑1/2”. Presented in a contemporary frame. [150/300] 1040 Attributed to George Morland (British, 1763‑1804) “Travelers Resting By a Campfire”, oil on canvas, unsigned, 20‑1/2” x 26‑1/4”. Presented in a giltwood frame with brass artist plaque. [1200/1800] Illustrated 1041 Queen Anne-Style Walnut Armchair, 19th century, the padded rounded rectangular back joined by outscrolled arms to the padded seat, raised on cabriole legs ending in pad feet, upholstered in black leather, h. 41”. [700/1000] 1043

1040

1035 Anglo Colonial School (Fourth Quarter 19th Century) “The Hunting Party”, oil on canvas laid on board, unsigned, 29” x 48‑1/2”. Framed. [3000/5000] 1036 Follower of John E. Ferneley, Sr. (British, 1782‑1860) “Horseman With His Hounds”, oil on panel, unsigned, 5” x 7”. Presented in a molded giltwood frame. [200/400]

1044 1037 British School (Contemporary) “Boy With a Horse and a Dog in a Landscape”, handembellished paper reproduction laid down on board, verso with frame maker’s label from England lacking manufacturer, sight 7‑1/2” x 9‑1/2”. Presented in a handsome late 19th century molded giltwood frame. [75/125] 1038 Edwin Douglas (British, 1848‑1914) “Highland Cattle”, 1879, oil on canvas, initialed and dated lower right, 20” x 16”. Presented in a period giltwood frame, the gilt liner inscribed with the artist’s name and painting’s title. [700/1000] Illustrated

1042 George III Mahogany Bowfront Sideboard, early 19th century, the bowed top above a conforming case fitted with a central cutlery drawer flanked to one side by a cupboard door and to the other by a deep cellarette drawer, each banded and with circular panel inlays, raised on tapering square legs ending in spade feet, h. 36‑1/2”, w. 65‑1/2”, d. 27”. [2000/4000] 1043 George III-Style Mahogany Marlborough Chair, 19th century, the padded rectangular back joined to padded seat by scrolling arms, raised on square legs joined by a pierced “H”-form stretcher and ending in brass caps on casters, h. 39”. [1200/1800] Illustrated 1044 George II-Style Gilded Mirror, with a swan’s neck pediment centered with a shell crest and flanked by volute scrolls, all above a tombstone panel beveled mirror plate with ogee sides featuring molded trailing tendrils on a finely detailed background, h. 40”, w. 18‑3/4”. [800/1200] Illustrated

133

1045 Suite of Twelve George III-Style Mahogany Dining Chairs, in the Chinese Chippendale Taste, consisting of two armchairs and ten sidechairs, all with a carved pagoda-form crest above a floral-pierced lattice back, the padded seat raised on square legs with blind-fret carving, h. 42‑1/4”. [2500/4000]

1048

1046 George II-Style Mahogany Bench, late 19th century, the padded rectangular top raised on cabriole legs headed by shell carving and ending in pad feet, h. 19‑1/2”, w. 23‑1/2”, d. 17”. [300/500]

1047 Edwardian Silverplate Lamp, early 20th century, in the form of a chamberstick, fitted with a cream and parcel-gilt demi-lune tole adjustable shade, h. 10‑1/2”. [250/400]

1050

1048 Suite of Twelve George III Mahogany Dining Chairs, early 19th century, consisting of two armchairs and ten sidechairs, in the Hepplewhite taste, each with a pierced shield-form back with carved swag accents, above a padded needlework seat, raised on stop-fluted tapering square legs ending in spade feet, h. 36‑1/2”. [4000/7000] Illustrated

1049 George III Mahogany Bowfront Sideboard, fourth quarter 18th century, the bowed top above a conforming case fitted with a central cutlery drawer above a recessed tambour cabinet, flanked to either side by a deep cellarette drawer, faced as two graduated drawers, the whole raised on tapering square legs ending in spade feet, h. 35‑1/2”, w. 72”, d. 28”. [2000/4000] Illustrated

1050 Group of Five Chinese Export Porcelain Pieces, 18th century, composed of two small bowls, a wine cup, a shaped saucer dish and a rare small pitcher all decorated in Famille Rose and puce enamels with figural garden scenes, h. 2” to 5‑1/4”. [500/800] Illustrated

1051 Chinese Export Porcelain Milk Jug, 18th century, of barrel shape with strainer spout and metal strap handles decorated in famille rose enamels with figures of ladies in a garden scene, h. 9‑1/4”. [400/700] 1052 Group of Three Chinese Export Porcelain Mugs, 18th century, each of cylindrical form and lacking handles, each decorated in the “Mandarin” pattern in famille rose enamels, h. 4‑3/8” to 5‑1/2”. [200/400] 1049

134

1053 Group of Three Chinese Export Porcelain Pieces, 18/19th century, composed of two covered teapots with handles and spouts decorated in Famille Rose enamels with figural decoration, h. 5‑1/2”, w. 7‑1/2”, and a Chinese porcelain “Mystery” cup with Famille Rose figural decoration, h. 2‑1/2”, dia. 3‑1/2”. [300/500] Illustrated

1059

1061

1060

1054 Group of Three Chinese Export Porcelain Bowls, 18th century, each of small size and circular outlines and decorated in Famille Rose enamels in variations of the “Mandarin” pattern, dia. 5‑1/2”. [400/700] Illustrated 1055 Two Glazed Porcelain Ale Mugs, 18th century, one a Chinese export mug without a handle decorated in Famille Rose enamels, the other a continental bombeshaped mug with rattan-wrapped metal handle decorated in polychrome enamels in the chinoiserie style, h. 6”. [150/250]

157

1062

1056 Group of Five Chinese Export Porcelain Articles, 18th century, composed of four handled demi-tasse cups and a deep rimmed saucer dish, each decorated in Famille Rose enamels with domestic scenes, h. 2‑1/2”, dia. 5”. [250/400] 1057 Chinese Export Porcelain Bowl, 18th century, decorated in Famille Rose enamels in the “Mandarin” pattern, with reserve panels on the exterior on a T-fret ground, the interior with a central floral medallion, dia. 9‑1/4”. [500/800] Illustrated 1058 Chinese Export Porcelain Ale Mug, 19th century, of cylindrical form with strap handle, decorated in Famille Rose and rouge-de-fer enamels with figures of ladies, children and birds, h. 5‑3/4”. Provenance: ex coll. Henry Stern Antiques, New Orleans, Louisiana. [250/400] 1059 Pair of Chinese Export Porcelain “Tobacco Leaf” Decorated Plates, 19th century, each decorated in underglaze blue and Famille Rose enamels with lotus flowers and small flowers against tobacco leaves, dia. 9‑1/4”. [800/1200] Illustrated 1060 Rare Chinese Export Porcelain Bourdalou, late 18th century, of oblong shape with slightly indented center and handle, decorated in Famille Rose enamels with alternating figural and naturalistic reserves, l. 9‑3/4”. [700/1000] Illustrated

1053

1061 Chinese Export Porcelain Squared Vegetable Bowl, 19th century, the squared outline with indented corners decorated in puce enamel with a central rose on the interior and floral sprays on the exterior, w. 9‑3/4”, l. 9‑3/4”. [500/800] Illustrated 1062 Chinese Export Porcelain Small Bowl, 18th century, of circular outline decorated in Famille Rose enamels, the interior with a single peony flower, the exterior with familial scenes in gardens against a diamond hatch ground, dia. 7‑7/8”. [300/500] Illustrated

154

135

1063 Samson-Style Punch Bowl, in the Chien Lung Taste, with polychromed floral interior and a puce diapered rim containing floral cartouches, the exterior painted with an armorial coat of arms and the entire bowl highlighted in raised white decoration, with wooden stand, h. 7‑1/4”, including stand, dia. 11‑3/4”. [300/500]

1069

1064 Chinese Export Porcelain Helmet Shaped Cream Pitcher, 18th century, the traditional shaped body decorated in Famille Rose and overglaze blue with floral designs in a medallion and on the ground, gilt highlights, h. 5”, w. 6‑1/4”. [250/400] 1065 Large Chinese Export Porcelain Charger, 19th century, decorated in Famille Rose enamels with a central spray of peonies, orchids and dianthus flowers and bordered by a shaped border of lilies and peonies with a coiled scrollwork ground, dia. 15‑1/8”. [600/900] Illustrated

1065

1069 Pair of Regence-Style Argente Bronze Two-Light Appliques, ca. 1900, each urn-form surmounted by a flame finial, the scrolled branches issuing dish-shaped drip pans and urn-form nozzles, ending in a pineapple pendant, electrified, h. 11”, w. 14”, l. 17‑1/2”. [1000/1500] Illustrated 1070 Pair of Wrought-Iron and Steel Two-Light Appliques, of large size, in the Beaux Arts taste, the boldly scrolling candlearms fitted with stylized floriform bobeches, blown glass hurricane shades and faux candles, h. 24”, w. 23”, d. 10”. [1200/1800] Illustrated 1071 Georgian Mahogany Drop-Leaf Table, early 19th century, the rectangular top with like shaped drop leaves above a shaped frieze, raised on cabriole legs ending in spade feet, h. 28”, w. 41‑1/2”, l. 19”. ext. l. 57”. [600/900] Illustrated

1066 Pair Chinese Export Porcelain Plates, 19th century, each decorated in Famille rose enamels with a central design of peonies and butterflies and bordered with flowers on a coiled scroll ground, dia. 9‑1/8”. [300/500] 1067 Pair Chinese Export Double Walled Dishes, 19th century, each of circular form with pierced outer double wall, decorated in Famille Rose enamels with a centrtal medallion of fine peony flowers, the border in brown enamels with floral reserve panels,dia. 5‑1/4”. [800/1200] 1068 Chinese Export Reticulated Plate, second quarter 19th century, hand painted with floral decoration, dia. 9”. [400/700]

136

1071

1078

1074 Early Victorian Mahogany Drop-Leaf Table, third quarter 19th century, the rectangular top with rounded ends and two ovoid drop leaves, raised on tapering ribbed square legs, h. 28”, w. 48”, l. 21”, ext. l. 65”. [600/900] 1075 George III Mahogany Roundabout Chair, third quarter 18th century, the scroll-end arms extending to a molded top rail, each side with an open splat, with slip seat and square legs joined by an “X”-stretcher, h. 32‑1/2”. [500/800]

1077 1076 1076 Irish George III-Style Mahogany Wing Chair, first quarter 20th century, the tall padded rectangular back and shaped sides joined by outscrolled arms to the cushioned seat, raised on cabriole legs headed by a foliate shield carving and ending in scrolled toes, h. 49”. [1200/1400] Illustrated 1077 Regency-Style Mahogany Folding Library Ladder, fitted with four rungs, each with a brass tread, h. 53”. [700/1000] Illustrated

1072 Queen Anne-Style Mahogany Tripod Table, mid‑19th century, the tilting circular top raised on a baluster-form standard to three splayed cabriole legs ending in pad feet, h. 28‑1/2”, dia. 29”. [400/700] 1073 Seven-Piece Coalport Porcelain Demitasse Set, first quarter 20th century, in the pattern traditionally called “Pink Maple Leaves”, including seven demitasse cups, h. 2‑1/4” and seven demitasse saucers, dia. 4‑1/2”, each fully marked with the green Coalport mark and pattern number 4891/B (Fourteen pieces total.) [100/200]

1078 Pair of Chamberlain’s Worcester Ironstone Armorial Plates, first quarter 19th century, each in the “Rich Kaikemon” style in the “Dejeuney” pattern, with flowers reserved within trellis cartouches on the cobalt-blue ground, richly gilt with sprigs between bands of interlaced scallops and pendant flowerheads, centering the arms of Allen of Errol Park, Perthshire, the reverse with iron-red script mark, dia. 9‑5/8”. [500/800] Illustrated 1079 Pair of George III-Style Mahogany Sidechairs in the Chippendale Taste, late 20th century, each with a floral and foliate carved serpentine top rail, floral and ribbon carved splat, cabriole legs with carved knees and ball and claw feet, h. 37‑3/8”. [500/800]

137

1081 Pair of George III-Style Mahogany Chests, mid‑20th century, each with a stepped rectangular banded top above a conforming case fitted with three long drawers, raised on bracket feet, h. 36”, w. 43”, d. 22‑1/2”. [1500/2500] Illustrated 1082 Irish George III-Style Mahogany Armchair, of generous proportions, the padded and domed back joined by shaped eagle head-carved arms to the padded seat, raised on cabriole legs headed by lion’s mask carving and ending in hairy paw feet, h. 44”. [500/800] 1080 1087

1080 Georgian Mahogany Tester Bed, 19th century, the molded tester supported by ribbed bulbous uprights with foliate carving, the frame supported on square legs ending in block feet, h. 99”, inside w. 44, l. 73‑1/2”, outside w. 56”, l. 84”. [1800/2500] Illustrated

1081

1083 George III-Style Giltwood and Mahogany Looking Glass, in the Rococo Taste, ca. 1900, of tripartite form and fitted with beveled mirror plates, the scalloped crest centered by a giltwood phoenix, h. 34”, w. 47‑1/2”. [300/500] 1084 Pair of George III Mahogany Sidechairs, in the Chippendale Taste, ca. 1800, each with a molded top rail with scroll-carved ends, cut-out splat, molded seat rail and Marlborough legs, h. 35”. [250/400]

138

1085 Suite of Four 18th Century Continental Hand Colored Engravings, two depicting street views of London, one of Amsterdam and one of Augsburg, legends lower margins, sight 12‑3/4” x 17‑1/4”. All glazed, attractively matted and presented in molded giltwood frames. [600/900] 1086 British School (Fourth Quarter 19th Century) “Ships on a Stormy Sea”, oil on canvas, initialed and dated lower right “L. W> 1893”, verso canvas stamped “Geo. Rowney & Co. 64 Oxford Street, ada Princes Fall, Piccadilly, London, W.”, 11‑1/8” x 15”. Presented in a period giltwood and gesso frame. Provenance: Alex Chachere, Opelousas, Louisiana. [100/200] 1087 George III-Style Mahogany Linen Press, mid‑19th century, the broken swan’s neck pediment with paterainlaid terminals, above a banded and dentillated frieze, fitted with two doors, each banded quarterveneered and inset with an oval panel, opening to a shelved interior, the lower section fitted with two short drawers over two long graduated drawers, all banded and with inlaid quarter patera accents, raised on bracket feet, h. 84”, w. 48”, d. 24”. [1500/2500] Illustrated

1089

1088 Pair of George III Mahogany Sidechairs, in the Chippendale Taste, third quarter 18th century, the beaded and molded serpentine top rail with foliate carving at the center and ends, with molded and pierced splat, beaded seat rails and Marlborough legs, the slip seats upholstered in dark tan leather, h. 37‑1/2”. [150/300]

1090 Suite of Six Rococo Revival Mahogany Sidechairs, early 20th century, each with a shaped and padded back surmounted by a floral crest, the padded seat above a likecarved shaped apron, raised on cabriole legs and ending in pad feet on pegs, h. 39‑1/2”. [1400/1800]

1089 French School (Third Quarter 18th Century) “Return of an Alsatian Warrior”, unsigned, oil on canvas, 29” x 41”. Presented in a carved stained pine frame. [1500/2500] Illustrated

1091 Continental Two-Piece Faience-Style Lavabo and Matching Bracket Shelf, the components richly decorated with floral prays and grape motifs, tank h. 18”, w. 16”, d. 8”, bracket h. 10”, w. 15”, d. 5”. [300/500]

1093

1092 Majolica Bracket Shelf, 20th century, in a dark turquoise glaze, the lobed shelf above a scrolling “branch” support, h. 7”, w. 6”, d. 4‑3/4”. [40/70] 1093 French Provincial Walnut Encoignure, late 18th century, the bowed top with molded edge above a conforming case fitted with two cupboard doors, each inset with an arched panel, opening to a shelved interior, raised on a plinth base, h. 38‑1/2”, w. 39‑1/2”, d. 26‑1/4”. [500/800] Illustrated 1094 Pair of Directoire-Style Walnut Twin Beds, each with a paneled headboard surmounted by a triangular crest and bulb finials, flanked by fluted square uprights, the headboard with like lower uprights, raised on square tapering legs, h. 43‑1/2”, inside w. 37”, l. 75”, outside w. 42”, l. 80”. [300/500]

139

1095 Spanish ProvincialStyle Iron Fixture, of cage form, the lower slotted section to accommodate a candle, with a scrolling wall bracket mount, h, 39”, dia. 24”. [400/700] Illustrated

1095

1099 Pair of Louis XV-Style Fruitwood Bergeres, early 20th century, each with a shaped and padded back within a molded frame, joined to the cushioned seat by padded scrolling arms, raised on cabriole legs ending in scrolled toes, h. 34”. [800/1200]

1097

1096 Pair of Louis XVI-Style Beech Fauteuils, early 20th century, each with a padded oval back surmounted by a floral crest, joined by rounded acanthine arms to the padded seat, raised on fluted tapering circular legs ending in bulbous feet, h. 38”. [800/1200] 1097 Louis XVI-Style Stained Fruitwood and Oak Trumeau, 19th century, the rectangular plate surmounted by a scene of a courting couple in a pastoral scene, within a molded frame with a shield-form crest issuing a bellflower garland, h. 55”, w. 26”. [400/700] Illustrated

1100 Pair of Faience Continental Salt Cellars, first quarter 19th century, in the form of maidens carrying serving trays, each tray supported by baroque scrolls and female figure, h. 6‑1/2”, w. 5”, d. 4‑3/4”. [150/300] Illustrated

1098 Regence Walnut Fauteuil a la Reine, 18th century, the padded rectangular back surmounted by a shaped crest and joined by downswept scrolled arms to the padded seat, raised on scrolled legs joined by a shaped X-form stretcher and ending in in-scrolled toes, h. 43‑3/4”. [1200/1800]

1101 1104 1105 1100 1103 1106

1102

140

1109 1101 Pierced Tin-Glazed Fruit Bowl, first quarter 19th century, probably Iberian Peninsula, decorated with a hand-painted angel holding a cymbal, and sitting on a pierced foot, dia. 10”. [75/125] Illustrated 1102 Continental Figure of Mary and the Christ Child, first quarter 19th century, decorated underglaze in green and brown, titled “Santa Maria” on its plinth, h. 7‑3/4”. [100/200] Illustrated 1103 Pair of Faience Tulipieres, fourth quarter 18th century, finely decorated in brown, yellow and blue floral motifs, raised on waisted circular feet, h. 6”, w. 5”. Provenance: ex coll. Henry Stern Antiques, New Orleans, Louisiana. [50/80] Illustrated

1104 Italian Faience Apothecary Jar, fourth quarter 19th century, the inverted pear-shaped body is molded with arcaded panels, outlined in rococo panels centered with a floral bouquet, now mounted as a lamp, h. 23”. [100/200] Illustrated 1105 Continental Tin-Glazed Barber’s Bowl, second quarter 19th century, decorated with birds and feathers in green, brown and yellow, its rim pierced to hang when not in use, dia. 10‑1/4”. [100/200] Illustrated

1108 Pair of Polychrome Bracket Shelves, each with a rectangular top with molded edge above a conforming molded and annulated frieze, h. 3‑3/4”, w. 23‑3/4”, d. 5”. [125/250] 1109 Provincial Polychrome Sewing/ Display Cabinet, the superstructure consisting of two tiers of graduated canted rectangular shelves, the rectangular top overlaid with zinc and above an open back fitted with a drawer and open sliding shelf over a double shelved interior, the the front and sides paneled, raised on a plinth base, h. 76”, w. 46‑1/4”, d. 27”. [2000/4000] Illustrated 1110 Provincial Polychrome Settee, the rectangular wooden back with a shaped crest joined by out-scrolled arms to the hinged wooden seat, opening to a storage compartment, the front paneled, raised on square legs, with custom seat cushion and two throw pillows, h. 40”, w. 76”, d. 20‑1/4”. [800/1200]

1111 Provincial Louis XVI Polychromed and Marble-Top Side Table, 18th century and later, the shaped Sainte Anne des Pyrenees marble top with a molded edge, above a conforming frieze fitted with a single drawer, raised on slender molded cabriole legs, h. 27”, w. 41”, d. 21”. [1000/1500]

1106 Italian Tin-Glazed Dog-Form Water Jug, fourth quarter 18th century, decorated in brown, yellow and green by free-hand, the dog’s tail curling forward to make a handle, h. 6‑1/2”. Provenance: ex coll. Henry Stern Antiques, New Orleans, Louisiana. [100/200] Illustrated

1112 Two French Ancien Regime Faience Dinner Plates, fourth quarter 18th century, including a good Moustiers floral polychromed example of “Louis XV” shape, and an attractive Strasbourg faience plate of like date, the latter marked with a stylized conjoined “PM” in blue, dia. 9‑1/2”. [150/250]

1107 Continental Tin-Glazed Bacchanalian Wine Fountain, fourth quarter 18th century, in the form of a drunken putti holding a cup and a wine flask and sitting astride a wine casket, retains its original molded lid, h. 23”, w. 14”, d. 10‑1/2”. [400/700]

1113 Faience Tulipiere in the Louis XV Taste, first quarter 20th century, of serpentine form with cabriole feet, the central decoration of a hunter and his dogs in a French country village, with floral panels on the side, signed, “VP” in underglaze red, h. 4‑1/2”, w. 8”, d. 4”. [125/250]

141

1114 1115

1118 Alexander Vincent (Latin American, 19th/20th Century) “View of Mexico”, 1908, oil on canvas board, signed, dated and inscribed lower left “Alex Vincent Mexico 1908”, 11” x 15”. Framed. [3500/5000] Illustrated 1119 Geza Szontagh (Czech Republic, 1841‑1891) “Woman on a Country Lane”, oil on canvas, signed lower right “Szontagh”, stretcher inscribed “Szontho F.”, 22” x 27”. Presented in a ebonized molded frame. [700/1000]

1120 Continental School (First Quarter 20th Century) “Figures in a Wooded Landscape”, oil on canvas, signed illegibly lower right, 16‑3/8” x 12‑3/8”. Presented in a giltwood frame with a linen liner. Provenance: Alex Chachere, Opelousas, Louisiana. [75/125] 1121 Pair of Diminutive Louis XV-Style Carved Beechwood Musician’s Armchairs, fourth quarter 19th century, the cabriolet backs and the seat rails centered with carved floral sprays, the whole supported on slender cabriole legs with leaf carving at the knees, upholstered in sage green leather with brass nailhead edging, h. 30”. [800/1200]

1118

1122 Provincial Louis XV-Style Fruitwood Cupboard, fourth quarter 18th century, the bonnet-top cornice over a conforming case fitted with two paneled doors separated by a drawer, above a serpentine-carved skirt raised on slightly cabriole legs, h. 93”, w. 43”, d. 25‑1/2”. [2000/4000] Illustrated

1114 Two French Majolica Leaf Dishes, early 20th century, one in the form of an oak leaf, l. 12‑1/2”, w. 9‑1/4”, the other a cabbage leaf, l. 7‑3/4”, w. 6”. [125/250] Illustrated 1115 Pair of French Majolica Plates, first quarter 20th century, each with an annulated and Greek-key border around a fern, daisy and grape leaf spray, dia. 9”. [100/200] Illustrated 1116 Provincial Louis XV-Style Walnut Buffet, 18th century, the rounded rectangular top above a conforming case fitted with two drawers over two cupboard doors, all inset with shaped panels, above a scalloped frieze, raised on scrolled toes, h. 37‑1/2”, w. 55”, d. 24”. [4000/7000] Illustrated 1117 Carlos Fui (French/Contemporary) “Figure in Red in a Wooded Clearing”, oil on canvas, signed lower right “Fui”, with artist’s studio label on the reverse, 9” x 13”. Handsomely framed. [300/500]

142

1116

1123 Pair of Polychrome Wall Lamps, each of flat-back baluster form painted green with gilt band, fitted with bell-form shades, overall h. 28”. [250/400] 1124 Louis XVI-Style Polychromed and Parcel-Gilt Trumeau Mirror, fourth quarter 19th century, the upper panel depicting a pastoral landscape with figures by a pond, the lower panel fitted with a mirror plate, within a carved frame with beaded edge, h. 46”, w. 30‑1/2”, d. 1‑3/4”. [500/800] 1125 Provincial Louis XV-Style Walnut Buffet, early 19th century, the rounded rectangular top with molded edge above a conforming case fitted with three drawers over two cupboard doors, each inset with an arched panel, over a scalloped apron, raised on scrolled toes, h. 42”, w,. 69‑1/2”, d. 23‑1/4”. [1200/1800] Illustrated

1125

1126 Louis XV-Style Fruitwood Bergere, mid‑20th century, the padded and domed back joined by downswept arms to the cushioned seat, raised on molded cabriole legs ending in scrolled toes, h. 33”. [200/400] 1127 Continental School (First Quarter 20th Century) “Young Boy Playing in the Woods”, oil on canvas, unsigned, 25” x 30”. Presented in a Rococo-style parcel-gilt, weathered frame with a linen liner. Provenance: Alex Chachere, Opelousas, Louisiana. [300/500] 1128 Ed. Bernard Toublanc (French, 20th Century) “Landscape in Spring”, oil on canvas, 13‑1/4” x 21‑1/4”, signed lower left. Framed. [700/1000] 1129 French Provincial Oak Armoire, Brittany, early 20th century and later, the domed and foliate crest centered by a spindled demi-lune, above a case fitted with a floral guilloche-carved frieze above a single door, the upper portion with a carved panel of a courting couple with corner spindled accents, the lower panel with a carved foliate design, the whole raised on bun feet, h. 84”, w. 36‑1/4”, d. 15‑1/2”. [300/500]

1122

1130 Provincial Louis XV-Style Walnut Settee, mid‑19th century and later, the padded rectangular back joined by downswept arms to the bisected cushioned seat, raised on molded cabriole legs, h. 41”, w. 54”, d. 29”. [900/1200] Illustrated

1130

143

1133 Provincial Painted Library Ladder/Chairside Table, fitted with three steps supported by a back-turned and ribbed upright, raised on bulbous and turned circular legs ending in toupie feet, h. 33”, w. 18”, d. 20‑1/4”. [200/400] 1134 Provincial Directoire Beech Fauteuil, early 19th century, the back-scrolled padded back joined by padded arms on turned uprights to the padded seat, raised on turned circular legs headed by a patera carving and ending in toupie feet, h. 35”. [300/500]

1131

1131 Robert Bonfils (French, 1886‑1972) “Le Gueridon”, oil on canvas, signed and dated lower left “Robert Bonfils 1945”, verso stretcher with a “Domino Gallery” label, 16” x 13”. Presented in a Rococo-style giltwood and gesso frame with a linen liner. [1500/2500] Illustrated 1132 Louis XV-Style Fruitwood Fauteuil a la Reine, 20th century, the padded and domed back joined by shaped foliate-carved arms to the padded seat, raised on molded cabriole legs ending in scrolled toes, upholstered in floral pattern needlework, h. 44”. [400/700]

1135

1135 Provincial Empire Oak Vasselier, mid‑19th century, the molded cornice above three open shelves, flanked to either side by an engaged ormolu-mounted column, the lower section with a rectangular top above a conforming case fitted with three short drawers over two paneled cupboard doors, all flanked en suite, the whole raised on columnar feet, h. 91”, w. 51‑3/4”, d. 24‑1/2”. [3500/5000] Illustrated

1144

144

1136 Continental Embossed-Copper Lavabo, late 19th century, the lidded tank with an embossed central panel with a crowned oval cartouche and lion supports above a brass spigot, the bowl below with a stamped decorated edge, tank h. 17”, w. 12”, d. 4”, bowl h. 5”, w. 14”, d. 8‑1/2”. [150/300]

1151

1145 Louis XVI-Style Fruitwood Day Bed, third quarter 19th century, the headboard and footboard each padded and surmounted by a domed fluted and gadroon-carved crest, flanked to either side by stop-fluted square uprights, joined by fluted rails and raised on tapering fluted square legs, h. 42”, inside w. 41‑1/2”, inside l. 72”, outside w. 47”, outside l. 78”. [800/1200] 1146 French Provincial Fruitwood Bureau Plat, mid‑19th century, in the Restauration taste, the banded rectangular top above a frieze fitted with two small end drawers, raised on turned and tapering circular legs ending in bulb feet, h. 30”, w. 57”, d. 25‑3/4”. [700/1000]

1137 Copper and Brass-Mounted Boiling Pot, the underside stamped: “Ruffoni Italy 14 qt”, h. 9”, dia. 12”. [100/200] 1138 Circular Copper and Brass-Mounted Cooking Pan, unmarked and having riveted brass handles, h. 5”, dia. 14”. [100/200] 1139 Large Copper and Brass-Mounted Bucket, of circular tapering form and fitted with an iron swing handle, h. 13”, dia. 17‑1/2”. [125/250] 1140 Group of Five Continental Carved-Walnut Cookie Molds, second quarter 19th century, in the shapes of rabbits, horses, swans, chickens and sheep, h. 3”, l. 11‑3/4”. [125/250] 1141 Rococo-Style Molded Pole-End Finials, with a stylized fleur-de-lis and beading, with a hatched rococo medallion on one side, l. 5‑1/4”, d. 7”. [50/100] 1142 George Brookshaw (British, 1751‑1823) “Plate XXIV, Peaches” and “Plate LXXXII, Pears”, pair of hand colored stipple engravings, sight 18” x 14”. Both glazed, attractively matted and presented in parcel-gilt and ebonized frames. [1800/2500]

1147 Pair of Louis XV-Style Fruitwood Arm Chairs, early 20th century, each with a shaped and padded back joined to the like seat by foliate-carved arms, raised above a shell and foliate-carved apron on cabriole legs ending in scrolled toes, h. 38‑1/4”. [300/500] 1148 Continental Provincial Pine Armoire, third quarter 19th century, the molded cornice above a case fitted with two long doors, each inset with three shaped panels, both within a molded frame, raised on large squat bun feet, h. 84”, w. 66”, d. 22‑1/2”. [600/900] 1149 Pair of Borghese Table Lamps, in the form of a male and female carrying a basket, terra cotta glaze, with pleated shades and brass wreath finials, h. 24”. [300/500] 1150 Provincial Louis XV-Style Cherrywood Refectory Table, early 19th century, the banded rounded rectangular top above a scalloped frieze fitted with one end drawer and one end pull-out slide, raised on cabriole legs ending in hoof feet, h. 31”, w. 30”, l. 61‑1/2”. [2500/4000] Illustrated 1151 Group of Five French Clear and Green Glass Wine Jugs, each of globular form and with a burlap and cork stopper, with applied shield form label, reading Vin Rouge de France, Cotes du Rhone, Vin de Pommard, Monthelie and Chambolle, h. 13” to 16”. [400/700] Illustrated

1143 A. Cardona (Spanish, 19th Century) “Still Life with Pears, Peaches and Grapes”, oil on panel, signed and dated lower right “A. Cardona 1895”, 8” x 21”. Unframed. [75/125] 1144 Louis XVI-Style Provincial Mahogany Commode, second quarter 19th century, the rectangular top above a case fitted with three long drawers, all inset with three panels with foliatecarved banding, raised on fluted, tapering square feet, h. 33‑1/2”, w. 51”, d. 25”. [1500/2500] Illustrated

1150

145

1158 Dutch School (Fourth Quarter 20th/First Quarter 21st Century) “Sailboats on a Choppy Sea”, oil on panel, unsigned, 4‑3/4” x 6‑5/8”. Presented in a deeply molded giltwood and gesso frame. [200/400] 1159 French Provincial Cherrywood Desk, third quarter 19th century, the rounded rectangular top above a frieze fitted with a central drawer flanked to either side by a deeper drawer over a scalloped apron, the sides and back paneled, raised on cabriole legs, h. 31”, w. 77”, d. 31”. [2000/4000] Illustrated

1154

1160 Suite of Four Provincial Louis XV-Style Fruitwood Sidechairs, early 20th century, the shaped and padded back surmounted by a floral crest, the padded seat above a like-carved apron, raised on molded cabriole legs ending in peg feet, h. 36”. [500/800]

1152 Pair of Decorative Needlepoint Throw Pillows, depicting flowers and foliage, h. 18”, w. 20”. [300/500] 1153 Pair of Louis XV-Style Walnut Fauteuils, early 19th century, the shaped and padded back surmounted by a floral crest, joined by scrolling arms to the padded seat, raised on molded cabriole legs ending in peg feet, h. 34‑1/2”. [400/700] 1154 Provincial Louis XV-Style Walnut Commode, late 18th century, the slightly bowed top with molded edge and above a conforming case fitted with three long drawers, all bi paneled, raised on scrolled toes, h. 37‑1/2”, w. 47”, d. 24”. [2500/4000] Illustrated 1155 Regence-Style Oak Fauteuil, 19th century, the shaped and padded back surmounted by a shell and foliate crest, joined by padded foliate-carved arms to the padded seat, raised on cabriole legs headed by shield carving and ending in scrolled toes, h. 41‑1/2”. [1000/1500]

1157

1156 Provincial Louis XV-Style Mahogany Stool, early 20th century, the pale green upholstery joined to serpentine rails centered by floral carving, raised on molded cabriole legs, h. 17”, w. 25”, d. 15‑1/2”. [75/125] 1157 Jacques Deveau (French, b. 1937) “Aerial View of a French River Town”, oil on canvas, signed lower right “J. Deveau”, 24‑1/3” x 36”. Presented in a Rococo style giltwood and gesso frame with a linen liner. [1400/1800] Illustrated 1159

146

1165 A Collection of Three Provincial Mixing Bowls, early 20th century, comprised of two oblong wooden dough bowls, l. 19‑1/2” and 21‑3/4”, w. 10‑7/8” and 11‑1/2”, and a circular composition mixing bowl, dia. 15”. [100/200] 1166 A Continental Stoneware Bowl, late 19th century, the bowl glazed in burnt orange with yellow accents, h. 5‑3/4”, dia. 15”. [75/125] 1167 Pair of Provincial Stained Pine Cupboards, each with a rectangular top above a conforming case fitted with a single drawer over a single cupboard door, flanked to either side by fluted uprights, raised on block feet, h. 28‑1/2”, w. 20‑1/4”, d. 14”. [150/250] 1168 Pair of Louis XVI-Style Mahogany Fauteuils, early 20th century, each with a padded tapering rectangular back surmounted by a ribbon carved crest, joined by padded arms to the like seat, raised on tapering fluted circular legs ending in toupie feet, h. 36‑1/2”. [350/500]

1163 1161 Pair of Louis XV-Style Fruitwood Fauteuil, mid‑20th century, each with a rounded padded back within a molded frame centered by a floral crest, joined by padded scrolling arms to the like seat, raised on molded cabriole legs headed by floral carving and ending in scrolled toes, h. 34‑1/2”. [300/500] 1162 Louis XVI-Style Stained Elmwood Fauteuil, ca. 1900, the high padded back joined to the like seat by open scrollend, acanthine-carved arms, raised on fluted tapering circular legs headed by a block patera carving and ending in toupie feet, upholstered in natural basket-weave burlap, h. 48‑1/2”, w. 26‑1/2”, d. 22‑1/2”. [400/700]

1169 French Provincial Fruitwood Draw-End Farmhouse Table, early 19th century, the planked rectangular top with two draw-ends, one end fitted with a small drawer, raised on tapering square legs, h. 31”, w. 32‑3/4”, l. 65”, ext. l. 117”. [1800/2500] Illustrated 1170 Provincial Fruitwood Prie-Dieu, early 20th century, the flat crest above a slatted back fitted with a book rack, the rush seat raised on square legs joined by stretchers, h. 34‑1/4”. [150/300] 1171 Provincial Pine Farmhouse Table mid ‑19th century, the planked rounded rectangular top above a conforming frieze fitted with two end drawers, raised on square tapering legs, now ended out, h. 30”, l. 72”, d. 35‑1/4”. [500/800] 1172 Pair of French Terra Cotta Hens on Baskets, each presented in a distressed polychromed surface, h. 11”, w. 14”, d. 8”. [200/400]

1163 Continental Oak and Walnut Cabinet, third quarter 19th century, the ogeemolded overhanging cornice above a case fitted with two long drawers, both triplepaneled and with carved floral guilloche accents, the molded base raised on ribbed bun feet, h. 79”, w. 67”, d. 23”. [800/1200] Illustrated 1164 French Provincial Oak Side Table, early 19th century, the rounded rectangular top above a deep frieze, raised on circular turned legs joined by a broad H-form stretcher and ending in block and bun feet, h. 30‑1/4”, d. 25‑3/4”, l. 65‑1/2”. [700/1000]

1169

147

1181 1180

1183

1179

1182

1173 American Copper, Brass and Wood Bed Warmer, fourth quarter 19th century, the circular copper pan with hinged lid and brass ferrule to a tuned ebonized wood handle, l. 38”, w. 12”. [75/125]

1179 Group of Three American Maple Spice Boxes, mid‑19th century, New England, consisting of a cylindrical four-compartment spice box with original transfer decorated labels, h. 10”, dia. 4”, a two-compartment box with labels, h. 4‑1/2”, dia. 4”, and a round box containing eight small boxes, h. 5”, dia. 6‑1/2”. [50/80] Illustrated

1174 Set of Three Continental Copper Pots, first half 20th century, including a round-bottom stew pot with brass straps and forged iron swing handle, dia. 11‑1/4”, a squat cylindrical jardiniere with everted rim, dia. 10‑1/4”, and mixing bowl with copper strap handles, dia. 13‑1/2”. [200/400]

1180 Two Pieces of American Domestic Tinware, second half 19th century, including a dozen-taper candle mold with strap handle, h. 11”, and an oval sugar box with hinged lid and swing handle, l. 10‑1/4”. [50/80] Illustrated

1175 Large Continental Copper Mixing Bowl, first quarter 20th century, the hemispherical bow mounted with a pair of forged iron handles, dia. 10‑1/2”. [75/125] 1176 A Collection of Five Ash Splint Gathering Baskets, early 20th century, two baskets of buttocks form, another with a swing handle, a circular example and a square shallow double-handled example, h. 7‑1/2” to 9‑1/2”. [75/125]

1181 A Collection of Three Salt Glazed Stenciled Storage Crocks, late 19th century, consisting of a two gallon “A.P. Donaghho, Parkersburg, West Virginia”, a two gallon “R.T. Williams, New Geneva, Pennsylvania” and an unmarked two gallon open crock, h. 9‑1/2” to 11‑3/4”. [150/300] Illustrated 1182 Four Vintage Continental Kitchen Utensils, first quarter 20th century, including a wooden handle cast steel chopping knife, l. 7”, a tinware conical half-pint measure, h. 5‑1/4”, a heart-shaped cheese mold, l. 8”, and a wood, cast-iron and steel “Brot-Max” style bread slicer, l. 16”. [75/125] Illustrated

1177 Vernacular American Cypress Farm Table, mid‑19th century, the plank top mounted to a framed apron with one side fitted with a drawer, the square legs joined by an “H”-form stretcher, h, 30”, w. 75”, d. 29”. [500/800] Illustrated 1178 A Group of Three Salt Glazed Open Storage Crocks, late 19th century, comprised of a two, three and four gallon example, each with cobalt slip decoration, h. 10‑1/2” to 12‑1/4”. [150/300]

148

1177

1187 Vernacular American Southern Yellow Pine Blind Door Corner Cabinet, early 19th century, of single piece construction with a pair of plank doors over a two-plank single door, the doors edged by a molded bead on the case, the perimeter of the face framed by applied molding, of pegged construction throughout, h. 72‑1/2”, w. 38”, d. 16‑1/2”. Provenance: ex coll. Barkers Country Antiques, Baton Rouge, Louisiana. [300/500] 1192

1188 A Collection of Six Blue and White Stoneware Articles, ca. 1900, including a Flemishware scenic embossed milk pitcher, h. 7”, a lidded salt jar,h. 5‑3/4”, a milk pitcher with embossed cows, h. 8”, a toothbrush holder with embossed roses, h. 4‑7/8”, a soap dish with embossed roses, dia. 4‑3/4”, and a stenciled milk pitcher, h. 6‑1/2”. [150/300] 1189 A Collection of Three Salt Glazed Jugs, mid‑19th century, each with cobalt slip decoration, one stamped “Haidle & Ziff Union Pottery, Newark, N.J.”, the second stamped “New York Stoneware Co. 2” and the third stamped “Albany, NY”, h. 13‑3/4” and 14‑1/2”. [150/300]

1193

1183 A Pair of Large Southern Mississippi River Valley Wooden Duck Decoys, early 20th century, carved and polychromed, l. 17‑1/2”. [100/200] Illustrated 1184 A Collection of Four Salt Glazed Storage Crocks, mid‑19th century, comprised of a four gallon open storage crock with cobalt decor, a three gallon crock with stylized cobalt “3” probably Red Wing Stoneware, a two gallon “New York Stoneware Co.” crock and an unmarked one gallon crock, h. 10” to 12‑1/2”. [200/400] 1185 Delaware River Valley Spanish Brown Ladderback Chair, 19th century, the back with three parallel arched slats joined to turned stiles, woven hide seat and turned legs joined by box stretchers, h. 36‑3/4”. [100/200] 1186 Early American Style Tin Eight-Light Chandelier, with double conical body and crimped bobeches, custom ordered by noted Baton Rouge architect A. Hayes Town, fitted with red wax faux candles and electrified, h. 32”, dia. 20”. [300/500]

1190 A Collection of Four Stoneware Crocks and Jugs, mid‑19th century and later, consisting of a Chas Feahney, Grocers & Liquor Dealers, New Orleans, Louisiana jug, a small salt glazed jug, an open salt glazed storage crock with cobalt floral decor and a large open Redware storage crock, h. 8” to 10‑1/2”. [100/200] 1191 Early American Polychromed Arrow-Back Plank Seat Bench first quarter 19th century, the rolled crest rail above a central slat supported by a row of arrow-form spindles and mounted to a broad plank seat, h. 32‑1/2”, w. 64”, d. 22”. [250/400] 1192 Pair of New England Federal Revival Marquetry Inlaid and Banded Satinwood and Mahogany Games Tables, early 20th century, each fold-over top with a bowed front and serpentine sides, the edges with inlaid banded stringing, the conforming apron with an urn and foliate inlaid central panel, on tapering line-strung Hepplewhite legs, h. 32”, w. 35‑1/2”, d. 18”, ext l. 36”. [800/1200] Illustrated 1193 American Federal Mahogany Chest, early 19th century, the case with four graduated drawers with molded edges, raised on flaring bracket feet in the Hepplewhite taste, h. 36”, w. 41”, d. 21”. [600/900] Illustrated

149

1194 Pair American Tinware Bouillotte Lamps, mid‑20th century, each with a gauffered oblong tray with two candlesockets below a conforming adjustable shade, both on a thin standard supported by a conical foot, fitted with faux candles and electrified, h. 28”, w. 10‑1/4”:. [50/80] 1195 Rare American Inlaid Cherry Corner Cabinet, ca. 1800, probably Pennsylvania, in two parts, the projecting cornice with inlaid rope stringing, the pair of mullioned doors on H-form brass hinges, the base a pair of paneled doors over a bowed apron with inlaid rope stringing, centered by shaded fan inlay, raised on bracket feet, the back original, Provenance: Robert Burkhardt Antiques, Kutztown, PA and retaining two of his firm’s paper labels h. 93‑1/4”, w. 48‑1/4”, d. 24”. [2500/4000]

1201

1197

1196 American Federal Mahogany Three-Part Dining Table, in the Hepplewhite taste, ca. 1900, the D-form ends flanking a central section with a pair of deep drop leaves, each leaf supported by a fly leg when extended, h. 29”, w. 45”, l. 72”, extended l. 116”. [1200/1800] 1197 American Late Classical Giltwood and Eglomise Tablet Mirror, second quarter 19th century, the upper eglomise panel depicting a scene of a stylish woman within a turned and block frame with applied floral patera, h. 41”, w. 20‑1/2”. [500/800] Illustrated 1202

150

1207 1206 1208 1204

1209

1205

1198 American Late Classical Revival Mahogany Work Table, fourth quarter 19th century, the front fitted with three long drawers flanked by turned pilasters and supported by a turned and carved standard mounted to a platform base, raised on paw feet, h. 29‑1/2”, w. 19”, d. 18’. [400/700] 1199 After John James Audubon (American, 1785‑1851) “Wild Turkey, Male”, plate 1, offset chromolithograph from the Amsterdam edition of Birds of America, sight 35” x 24”. Glazed, matted and presented in a fruitwood and parcelgilt frame. [1200/1800] 1200 American Colonial Revival Giltwood Tripartite Mantel Mirror, fourth quarter 19th century, in the Federal taste, the molded cornice over a row of spheres, the frieze with crosshatching, bisected by carved swags, with foliate and musical trophies below, the mirror plates flanked by clustered colonnette pilasters, h. 32‑1/4”, w. 58‑1/2”. A similarly modeled mirror, attributed to Samuel McIntyre, is in the Pierce-Nichols house, Salem Massachusetts. [600/900] 1201 After John James Audubon (American, 1785‑1851) “The Bird of Washington or Great American Sea Eagle”, hand colored engraving with aquatint and etching, from the Havell edition of Birds of America, sight 36” x 23‑3/4”. Glazed, matted and framed. [4000/7000] Illustrated 1202 American Classical Mahogany Armoire, early 19th century, New York, the projecting reeded cornice over a pair of doors with bisected banded panels, the doors opening to a medial belt of three over two drawers, raised on foliate-carved paw feet, the toes of one foot now lacking, h. 83‑3/4”, w. 60‑1/4”, d. 27”, overall. [1000/1500] Illustrated

1203 Antique New England Linen and Silk Cross-Stitch Sampler, second quarter 19th century, Maine, the rectangular panel with four different alphabets framed by latticework, signed “Zilphia Philbrook June 11 1826”, presented in a narrow mahogany frame and glazed, 18‑1/4” x 8‑3/4”. Zilphia Philbrook was born on the date recorded here - June 11, 1826 - in Vinalhaven, Knox County, Maine, the daughter of Phineas Philbrook (1779‑1838) and Mayflower descendant Lydia Young (1790‑1880). Around 1846 she married Freeman Hall Brown (1824‑1894) and moved with him to Gloucester, Essex County, Massachusetts in 1865. She died there on February 11, 1904. [100/200] 1204 Good Paris Porcelain Cologne Bottle, third quarter 19th century, of hexagonal and footed form with mauve, melon and aventurine grounds, the body painted with a frieze of twelve different folk types and parcel gilded with foliate scrolls, retains the original large hexagonal porcelain stopper, h. 8‑3/4”. [150/250] Illustrated 1205 Diminutive Pair of Old Paris Porcelain Potpourri Vases, ca. 1820‑1825, in the neoclassical taste, one missing the reticulated cover, h. 8”. [75/125] Illustrated 1206 Near Pair of Old Paris Porcelain Garniture Vases, of campana form, the facades with Italianate country house reserves, the reverse with galants reserves, h. 7‑5/8”, 7‑7/8”. [125/250] Illustrated 1207 Large Paris Porcelain Vase, first quarter 19th century, of campana-form, the facades with Italianate country house reserves, h. 12‑3/4”, dia. 9‑1/2”. [125/250] Illustrated

151

1208 Large Paris Porcelain Figured Room Scenter, third quarter 19th century, the gilded and polychromed scenter in the form of a richly dressed 15th-century bearded nobleman holding a portrait miniature of his beloved, h. 14‑1/8”. [300/500] Illustrated previous page 1209 Pair of Campana-Form Paris Porcelain Urns, second quarter 19th century, decorated with Italian landscapes on one side and the reverse with a tavern scene on one and an artist drawing a female figure on the other, h. 10”. [800/1200] Illustrated previous page 1210 Small Edwardian Etched Blown Glass Hurricane Shade, ca. 1900, the central body adorned with twining grapevines, leaves and fruit, h. 10‑1/2”. [200/400] 1211 McKenney and Hall (American, 19th Century) “No-Tin, a Chippewa Chief” and “Waa-Top-E-Not”, pair of hand-colored lithographs, printed and colored by J. T. Bowen, published by Rice and Hart, Philadelphia, sight each 10” x 6”. Glazed, handsomely matted and framed en suite. [500/800] 1212 J. Gould and H. C. Richter (British, 19th Century) “Threskiornis Strictipennis”, hand-colored lithograph, printed by C. Hullmandel, retains gallery label on the reverse “The Colony Shop Antiques, 1618 St. Charles Avenue, New Orleans”, sight 14” x 20‑1/2”. Glazed, matted and framed. [150/300] 1213 American Late Classical Mahogany Double-Pedestal Banquet Table, second quarter 19th century, the top comprised of single board planks mounted to an ogeeform framed apron and pedestals with acanthus-carved legs ending in paw feet, retains three original 24” leaves, h. 29‑1/2”, w. 50”, d. 52”, ext. l. 122”. [2500/4000] Illustrated

1224 1214 Four-Piece American Late Classical Revival Mahogany Four-Post Bed Set, early 20th century, comprised of an acanthus-carved four-post bedstead, h. 73”, inside w. 63”, l. 81‑1/2”, outside w. 65‑1/2”, l. 86”, a gentleman’s tall chest with mirror, h. 69”, w. 40”, d. 23”, a dressing bureau with mirror, h. 54”, w. 40”, d. 22”, and a low chest of drawers with mirror, h. 65”, w. 50”, d. 26‑1/2”. [1000/1500] 1215 Pair of American Empire Revival Mahogany Footstools, fourth quarter 19th century, with ogee bracket feet, upholstered with floral Bargello covers, h. 7”, w. 15”, d. 12”. [300/500] 1216 American Late Classical Giltwood Tripartite Mantel Mirror, second quarter 19th century, the horizontally segmented mirror plates in frames capped and flanked by burnished and matte gilt pilasters, the corners with floral rosettes, h. 26‑1/4”, w. 64”, d. 4‑1/8”. [500/800]

1217 Suite of Four American Late Classical Mahogany Dining Chairs, late 19th century, each of gondola form, with concave top rail over a vasiform splat, the stiles curving forward to join the seat rail, with bowed front seat rail and saber legs, h. 30‑1/2”. [200/400]

1213

152

1218 J. Wolf and H. C. Richter (British, 19th Century) “Tetraogallus Altaicus”, hand colored lithograph, legend lower margin, sight 14” x 20‑3/8”. Glazed, matted and presented in a faux-weathered frame. [500/800]

1225

1219 American Classical Mahogany Games Table, second quarter 19th century, the fold-over top over a conforming frieze centered by a foliate-carved tablet, raised on a lyre-form pedestal with applied foliate-carved scrolls, to a concave pedestal base on carved paw feet, h. 30‑1/4”, w. 39”, d. 20‑3/4”, extended l. 41‑1/2”. [300/500] 1220 American Sheraton Cherry Chest, second quarter 19th century, the case with four graduated drawers raised on turned baluster-form feet, h. 45”, w. 43”, d. 20”. [400/700] 1221 George David Coulon (American/Louisiana, 1823‑1904) “Snow Covered river Landscape with a Bridge” and “Winter Scene with a Figure Walking on a Village Road”, pair of pencils on paper, latter signed lower left “Coulon” and lower right “G. D. Coulon”, sights: former 8‑3/4” x 6‑3/4”, latter 6‑1/2” x 8‑3/4”. Both glazed and presented in molded frames [150/300] 1222 Attributed to George David Coulon (American/ Louisiana, 1823‑1904) “Lush Waterfront Landscape”, watercolor on paper, unsigned, sight 7” x 10‑1/4”. Glazed and presented in a mahogany veneered frame. [350/500] 1223 Charles Harrington (American/Louisiana, 20th/21st Century) “Landscape with a Live Oak Tree”, oil on canvas, signed and dated lower left “C. Harrington 77”, 10” x 12”. Presented in a molded giltwood frame. [100/200]

1224 George David Coulon (American/Louisiana, 1823‑1904) “Wooded Landscape”, oil on board, inscribed verso “Study No. 10, G. D. Coulon, 378 North Claiborne St. New Orleans”, 6‑1/8” x 6‑7/8”. Framed. [1200/1800] Illustrated 1225 Frederic William Browne (American/Texas, 1877‑1966) “Autumnal Wooded Landscape with a Stream”, oil on board, signed lower left “Fred. Wm. Browne”, 15” x 17”/ Framed. [2500/4000] Illustrated 1226 John Cuthbert Hare (American/Florida, 1908‑1978) “Florida Landscape”, watercolor, signed lower right “John C. Hare”, sigh 10‑3/4” x 8”. Glazed, mated and framed. [150/300] 1227 Southern School (Second Quarter 20th Century) “View of Water Through Moss-Covered Trees”, oil on canvas laid on board, unsigned, 13” x 22”. Presented in a giltwood frame. [350/500] 1228 Good 19th Century Tiffany & Co. Parcel-Gilt Sterling Silver Sugar Basket, the pattern introduced in 1879, by Edward Chandler Moore (1827‑1891), New York City, New York, of oval form, with waisted and everted rim and raised on a conforming foot, with gilt milled Greek-key edging on the rim, foot and swing handle, the interior also gilt, the body engraved with conjoined monogrammed “AC”, l. 5‑7/8”, w. 4”, h. 3‑1/4” (6” with handle), [300/500]

153

1229

1229 Good 19th Century Tiffany & Co. Sterling Silver FivePiece Tea Set, the pattern introduced in 1875, New York City, New York, this example before 1891, including a coffeepot, h. 8”, teapot, h. 6”, covered sugar bowl, h. 5‑1/2”, cream jug, h. 3‑3/4”, and waste bowl, h. 3‑3/4”, each of squat ovoid form, decorated on the shoulder with an engraved band of scrolling flowers and arabesques, with an annulated band above and a milled “Elizabethan” band below, with crested “c-scroll” handles, the domed lids with engraved banding en suite and button finials, monogrammed “”LLS”, 82.69 total t. oz. [3000/5000] Illustrated

1234 American Neo-Grec Medallion Silverplate Ice Water Pitcher, third quarter 19th century, by Parker & Casper Co., Meriden, Connecticut, the ovoid body decorated with a pair of opposing scroll-mantled, shield-shaped cartouches, each centered with an applied oval medallion of the Three Graces, with a broad acanthus-mounted “duck’s beak” spout, palmette-mounted spout with neoclassical maiden bust crest, and a hinged domed lid with a scrolling “bud” finial, the interior double-walled and with valved spout, h. 13”, dia. 7”, l. 10‑1/2”. [150/300]

1230 Set of Four Tiffany & Co. Sterling Silver Nut Dishes, the pattern introduced in 1898, New York City, New York, two examples before 1902, the other two 1902‑1907, each of elongated quatrefoil form with annulated ri. the sides pierces with scrolls and stars, the whole raised on four spherical feet, the two earlier examples monogrammed “AAC”, l. 4”, w. 2‑3/4”, 4.05 total t. oz. [300/500]

1235

1231 Pair of Tiffany & Co. Sterling Silver Condiment Dishes, the pattern introduced in 1881, these examples dated 1885, New York City, New York, each of navette for, the sides decorated with repousse flowers below a gauffered rim, the narrow ends with ring handles decorated with applied bellflowers, raised on four acanthus-crested pad feet, dated and monogrammed “1865 ELM 1885”, h. 2‑1/2”, l. 7‑3/4”, w. 4‑1/4”, 11.64 total t. oz. [2000/4000] Illustrated

1232 American Coin (.900) Silver Ladle, second quarter 19th century, by Robert & William Wilson, Philadelphia, Pennsylvania, in the traditional “Up Tipt Fiddle” pattern, inscribed “Howard”, l. 13‑5/8”, 6.62 t. oz. [100/200]

154

1233 Unusual American Sterling Silver “Medallion” Pattern Toddy Ladle, third quarter 19th century, George B. Sharp, Philadelphia, Pennsylvania, with an long tapering spiral twist handle and Neo-Grec engraved finial with applied medallion, with an elliptical bowl, l. 15”, 3.41 t. oz. [200/400]

1231

1235 Fletcher & Gardiner Expansionist-Era Three-Piece Coin (.900) Silver Tea Set, second quarter 19th century, by Thomas Charles Fletcher (1787‑1827) and Sydney Gardiner (1787‑1827), active 1811‑1842, Philadelphia, Pennsylvania, including a teapot, h. 9‑3/4”, dia. 6‑1/2”, a covered sugar bowl, h. 9‑1/4”, dia. 6”, and cream jug, h. 5‑3/4”, dia. 3‑1/2”, each with a squat ovoid body with everted rim and knop decorated with milled palmette banding and raised on a circular domed foot, the teapot with acanthus-mounted “gooseneck” spout, crested wooden handle and hinged, domed lid with embossed “vintage” banding and floriform finial, the sugar urn with a fitted lid en suite and a pair of “vintage”-mounted handles, the cream jug with integral spout and crested handle, 93.05 total t. oz. (including wooden handle). [6000/9000] Illustrated

1236

1236 American Neo-Grec Sterling Silver Sauce Boat, third quarter 19th century, by Bigelow, Kennard & Co., Boston, Massachusetts, for Ball, Black & Co., New York, New York, the oval body decorated with engraved scrolls centering on a shield-shaped cartouche and applied Greek-key and annulated banding, with an integral spout and arched handle with female-masque finial and palmette mount, the whole raised on a domed foot en suite, monogrammed, on one cartouche, “CLW”, conjoined, h. 6‑1/2”, l. 9”, w. 4‑3/8”, 18.45 t. oz. [1400/1800] Illustrated 1237 19th Century Gorham Coin (.900) Silver Caster, third quarter 19th century, Providence, Rhode Island, retailed by George C. Shreve & Co., San Francisco, California, of cylindrical form, the engine-turned body centered by an addorsed scroll cartouche, the lobed lid pierced and with spiked finial, h. 4‑3/4”, dia. 2‑1/4”, 3.22 t. oz. [75/125]

1238 American Sterling Silver Sugar Basket, third quarter 19th century, by Peter L. Krider, Philadelphia, Pennsylvania, in the Adam taste, of navette form with upswept ends, the body decorated with engraved and wrigglework cornucopia, swags and banding, with a swing handle and gilt interior, the whole raised on a waisted oval foot, h. 3‑1/2”, (5‑3/4” with handle), l. 5”, w. 3‑1/2”, 5.08 t. oz. [400/700] 1239 American Art Nouveau Sterling Silver and Glass Inkstand, first quarter 20th century, by the Barbour Silver Co., Hartford, Connecticut, retailed by Marcus & Co., New York City, New York, of rectangular form with gauffered edge and “hammered” finish, decorated with realistic repousse poppies, centering a square glass inkwell with beveled edge and square-cut base, fitted with a silver collar and flattened spherical cap decorated en suite with the stand, overall h. 5‑1/2”, w. 9‑1/4”, d. 7‑1/2”, 13.95 t. oz. (stand only). [3000/5000] Illustrated

1240

1240 Alvin Silver Deposit Glass Decanter, ca. 1900, by the Alvin Mfg. Co., Sag Harbor, New York, the glass body of flattened spherical form with a tall waisted neck and arched handle, the bottom with starburst pattern, decorated with silver deposit in scrolling “vintage” decor and centering a rococo cartouche, complete with the original tall stopper en suite, monogrammed “NMN”, h. 13‑1/4”, dia. 5‑1/4”. [1200/1800] Illustrated

1239

155

1245

1247

1244 1248

1244 American Sterling Silver Bread Tray, first quarter 20th century, by the Mauser Mfg. Co., New York City, New York, of shaped oval form, the everted rim embossed with flowers and rococo scrolls on a matte and imbricate ground, monogrammed “MPD”, l. 14‑1/2”, w. 8‑1/4”, 9.90 t. oz. [300/500] Illustrated

1246

1241

1245 American Sterling Silver Sandwich Plate, third quarter 20th century, Wallace Silversmiths, Inc., Wallingford, Connecticut, of circular form, embossed with large, realistically detailed poppy flowers, dia. 10‑1/4”, 12.28 t. oz. [125/250] Illustrated 1246 American Sterling Silver Center Bowl, first quarter 20th century, by Unger Brothers, Newark, New Jersey, of hexagonal form. the shaped rim decorated with an high-relief band of naturalistically embossed hollyhocks, dia. 12”, 13.18 t. oz. [500/700] Illustrated 1247 American Sterling Silver Footed Center Bowl, first quarter 20th century, by Bailey, Banks & Biddle, Philadelphia, Pennsylvania, of lobed circular form, the rim decorated with band of realistically embossed roses on an openwork trellis ground, raised on a circular foot with rococo-scroll edge, h. 4‑1/2”, dia. 12-./4”, 27.14 t. oz. [1000/1500] Illustrated

1241 Good Pair of Hawkes Crystal Sterling Silver Mounted Scotch and Rye Decanters, first quarter 20th century, Corning, New York, each with a spherical body and baluster neck, with silver collar and tapering cylindrical screw top, the body with wheel cut decoration, a thistle on one and and a stalk of rye on the other, h. 9‑3/4’, dia. 4‑1/2”. [700/1000] Illustrated 1242 American Sterling Silver Caster, first quarter 20th century, by the Whiting Mfg. Co., Providence, Rhode Island, of octagonally paneled form with a flared base and peaked double-scroll handle, the pierced “bun”-style cap with annulated rim, h. 5”, w. 3‑1/4”, 5.40 t. oz. [75/125] 1243 American Sterling Silver Center Bowl, first quarter 20th century, of octagonally lobed form, the rim decorated with a band of realistically embossed roses, monogrammed “S”, h. 3”, dia. 10‑1/2”, 16.01 t. oz. [500/800]

156

1255

1248 American Silverplate Fruit Bowl, third quarter 20th century, by Wallace Silversmiths, Wallingford, Connecticut, of circular form, the lower half shaped and lobed, the everted rim with applied floral rococo decoration, h. 3”, dia. 11”. [50/80] Illustrated 1249 Set of Twelve Sterling Silver Bread-and-Butter Plates, first quarter 20th century, by R. Wallace & Sons, Wallingford, Connecticut, each of rounded convex square form, with molded rim and paneled sides, each panel engraved with floral swags and scrolls, the conforming plateau monogrammed “GER”, w. 5‑5/8”, 31.70 total t. oz. [400/700] 1250 Four American Sterling Silver Serving Dishes, mid‑20th century, including a Tiffany & Co. modernist sweetmeat dish of “double wave” form, l. 5‑1/4”, a oblong Reed & Barton condiment dish with rococo rim, l. 7‑1/4”, a circular Reed & Barton cake basket with swing handle, dia. 10”, and a Dunkirk Silversmiths sandwich plate with shell-and-cabochon rim, dia. 11‑5/8”, 35.88 total t. oz. [400/700] 1251 Two American Silver Shoehorns, second quarter 20th century, including a sterling silver example by Gorham, Providence, Rhode Island, with an elaborate rococo scroll and floral handle centering an oval cartouche monogrammed “SFL”, l. 6‑5/8”, and a silverplate example by Reed & Barton, Taunton, Massachusetts, with a large applied ringed lion-masque finial monogrammed “HCE”, l. 7‑1/2”. [75/125] 1252 Collection of Eight American Sterling Silver Lady’s Accessories, early to mid 20th century, including a sterling fan-style notepad in the Aesthetic taste, embossed with flowers and beetles, l. 2‑3/4”; a photograph case with gilt interior, monogrammed “SES” and dated 1903, l. 2‑7/8”; a small coin purse with hammered finish and finger ring, l. 2”; a compartmented combination card/ coin case, monogrammed “G” and suspended from a chain, l. 3‑3/4”; a foliate-engraved, spring-top cigarette case monogrammed “TC”, l. 3”; a circular compact on a chain, monogrammed “M”; and two square Volupte compacts, one monogrammed “HSD”, w. 2‑4/8”, and one with embossed flowerpot and inscribed “ASC to EKC”, w. 2‑3/8”; 11.70 t. oz. (weighable silver). [100/200]

1253 Five Pieces of Assorted Silver and Silverplate Tableware, mid‑20th century, including a Frank M. Whiting cordial cup, h. 4‑1/4”, a pair of Gorham butter shells, l. 3‑14”, and a pair of unmarked silverplate salts decorated with swags and lion’s masques and fitted with cobalt glass liners, l. 3‑5/8”, 4.57 total t. oz. (excluding salts). [75/125] 1254 New Orleans-Retailed Sterling Silver “Fiddle Thread” Punch Ladle, fourth quarter 19th century, by Wood & Hughes, New York City, New York, retailed by A. B. Griswold & Co., New Orleans, Louisiana, monogrammed “M. & F.K.” l.12‑7/8”, 6.17 t. oz. [150/300] 1255 New Orleans-Retailed Forty-Seven-Piece Set of Knowles’ “Crescent” Sterling Silver Flatware, designed in 1878 by Samuel J. Ladd (1813‑1886), Providence, Rhode Island, retailed by Maurice Schooler, active 1842‑1900, New Orleans, Louisiana, consisting of eleven teaspoons, l. 5‑3/4”, eleven place spoons, l. 7”, twelve tablespoons, l. 8‑1/4”, eleven place forks, l. 7‑1/4”, a master butter knife, l. 7‑1/2”, and a punch ladle, l. 3‑1/4”, each piece monogrammed “LM”, 63.16 total t. oz. [1200/1800] Illustrated 1256 New Orleans-Retailed Gorham “Lancaster” Pattern Punch Ladle, first quarter 20th century, the pattern introduced in 1897, Providence, Rhode Island, retailed by T. Hausmann & Sons, New Orleans, Louisiana, monogrammed “CLN”, l. 12‑1/4”, 6.88 t. oz. [150/300] 1257 American Primitive School (19th Century) “Portrait of a Child in a White Dress”, oil on canvas, unsigned, 24” x 20”. Unframed. [300/500] 1258 American Rococo Revival Faux-Rosewood Slipper Chair, mid‑19th century, the pierced and carved back supported by spiral-twist posts, raised on similarly turned legs, h. 45‑1/2”, w. 18‑1/2”, d. 18”. [150/300]

157

1262 After Henry Lewis (American/British/German, 1819‑1904) “View of Baton Rouge from the Mississippi River”, hand colored lithograph from das Ilustrierte Mississiippithal published by Arntz & Co., Dusseldorf, 1854, sight 6‑1/4” x 9”. Glazed, presented in a eglomise-style mat and a molded, giltwood frame. [100/200] 1259

1263 Continental Mahogany and Marble-Top Console Table, third quarter 19th century, in the rococo taste, the serpentine white marble top over a conforming scalloped apron centered by foliate scroll and shell carving, raised on cabriole legs in the form of joined S-scrolls, the serpentine stretchers centered by shell carving, h. 37‑1/4”, w. 53”, d. 20‑1/2”. [800/1200]

1259 American Classical Mahogany Tester Bed mid ‑19th century, of the type crafted for the antebellum New Orleans market, the projecting cyma-molded cornice on cluster column posts supporting a paneled headboard with a scroll and foliate carved top rail, the posts joined by rails with a serpentine top mounted with applied scroll moldings, the lower edge of each with a trim board with molded edge, the flat top surface of the tester now mounted with bended and finished mahogany panels to facilitate viewing from above, h. 113”, w. 67”, d. 89‑3/4”, inside w. 59”, l. 77‑3/4”. [7000/10000] Illustrated 1260 American Late Classical Mahogany Armoire, mid‑19th century, attributed to the warerooms of Prudent Mallard, New Orleans, Louisiana, the top with a complex flared and molded cornice above an ogee-form framed case and door, mounted to a base fitted with a single long drawer, h. 100‑1/2”, w. 58”, d. 25”. [5000/8000] Illustrated 1261 American Rococo Revival Rosewood Night Stand, third quarter 19th century, the period inset marble top set in a gadrooned frame, the case with a drawer over a cupboard door, the interiors of each lined with maple veneers, flanked by spiral pilasters, the back finished and veneered, h. 29‑1/2”, w. 18‑1/2”, d. 18‑1/2”. [600/900]

158

1260

1264 Rare American Rococo Revival Laminated Rosewood Swivel Piano Chair, mid‑19th century, attributed to John Henry Belter, New York, in the “Rosalie with Grappes” pattern, the corset-form back with a fruit-and floral-carved crest, the seat frame carved in floral relief and mounted to an acanthus-carved standard and further supported by a four-legged base with conjoined scrolled legs, the seat on a rotating and telescoping mechanism, In antique burgundy cut velvet upholstery h. 32” (adjustable), w. 14”, d. 16”. Provenance: formerly in the collection of the “Phipps Mansion”, a 33,000 square foot estate at Colfax Avenue and Marion Street, Denver, Colorado. For a similar example see The Furniture of John Henry Belter and the Rococo Revival, pg. 67, by Schwartz, Stanek and True. [5000/8000] Illustrated

1268

1264

1267 Suite of Five Transitional American Rococointo-Renaissance Revival Laminated Walnut Dining Chairs, third quarter 19th century, in a pattern traditionally attributed to George Hinkels, Philadelphia, comprised of a pair of armchairs, h. 38‑1/4”, and three sidechairs, h. 36”, each with a laminated concave back with a pierced splat, bowed seat rail and cabriole legs. [800/1200]

1265 American Primitive School (19th Century) “Portrait of a Lady in a Maroon Dress”, oil on canvas, unsigned, 24” x 20”. Unframed. [300/500] 1266 Victorian Rosewood Gondola Chair, third quarter 19th century, the domed, tufted and padded back within a molded frame, joined to the padded seat by downswept sides, raised on shaped and molded legs ending in casters, h. 31‑1/2”. [500/800]

1268 American Rococo Revival Laminated Rosewood Etagere, third quarter 19th century, of a group traditionally attributed to J & J.W. Meeks, New York, in two parts, the upper section with a domed top supporting a foliate and scroll-carved crest, the arched central mirror flanked by looking glasses fronted by shaped shelves on turned supports, the base with serpentine front and returns each with a pierced and laminated foliate-carved apron centered by a floral-carved cartouche, raised on cabriole legs joined to a serpentine low shelf, h. 98‑1/2”, w. 52‑1/2”, d. 20‑1/2”. [5000/8000] Illustrated

159

1271 1271 Rare Pair of American Gilt-Brass and Eglomise Five-Light Candelabras, 19th century, Boston, in the rococo taste, each with a central oval eglomise panel of a port scene, within a pierced scrolling frame issuing five scrolling arms ending in candle cups, raised on a rectangular Carrara marble plinth, h. 17‑1/2”, w. 18”, d. 4‑1/2”. [2000/4000] Illustrated

1272

1272 American Rococo Revival Laminated Rosewood Arm Chair, attributed to J & JW Meeks, New York, in the “Henry Ford” pattern, the concave back with a floral-carved crest flanked by gadrooning over a pierced field, the back joined to open arms with circular seat and cabriole legs, h. 45‑1/2”, crest height from top of upholstery to tip of crest, 9”.Laminated furniture in this pattern is referred to as the “Henry Ford” pattern, after a suite of furniture was purchased by automotive industrialist, Henry Ford. The Ford suite in a variant of this pattern had reputedly once belonged to Abraham Lincoln. [2500/4000] Illustrated 1273 Alfred Hutty (American/South Carolina, 1877‑1954) “Southern Primitive”, drypoint etching on thin laid paper, signed in pencil lower right “Alfred Hutty”, titled and numbered “43” in the lower margin underneath mat, sight 9‑3/4” x 12”. Glazed, matted and presented in a narrow ebonized wood frame. [2500/4000] Illustrated

1269 Attributed to William Garl Browne, Jr. (American, 1823‑1894) “Portrait of a Yong Girl with Blonde Ringlets”, oval oil on canvas, unsigned, Edward Dechaux, New York, canvas stamp en verso, 21” x 17‑1/4”. Presented in a period giltwood frame. [500/800] 1270 American Cast Brass Solar Lamp, mid‑19th century, in the rococo taste, the font retaining its applied plate reading “Cornelius & Co. Phila./Patent April 1st 1843”, the period blown and frosted glass shade supported by an unusual filter ring with trefoil cut-outs and supporting a row of prisms, on a flaring cast tripodal base, retaining an untouched natural patina and now fitted with a kerosene burner, h. 28‑1/2”, dia. 8‑1/2”. [600/900]

160

1273

1274 Handwritten Louisiana Civil War-Era Document, dated February 13, 1864, from the Shreveport office of Louisiana Governor Henry W. Allen, authorizing the formation of a light cavalry unit to be designated the States Guard Battalion No. 3, the battalion to be composed of two units of 75 men each, and “all persons enlisted in the Battalion shall be required to furnish horses, saddles, bridles, arms and accoutrements and will be paid for the same”, with the names of Governor Allen and James B. Cockern, who was appointed commander of the battalion in the text of the document, 8” x 10”. Provenance: The Papers of Edward D. Cheatham, who came to be Commander of Company B of the battalion. According to the text, the battalion was to be raised “in the parishes east of the Mississippi River”. It was the legislature’s intent for the unit to serve in that area. The battalion went into service with Colonel John S. Scott’s cavalry near Clinton. Confederate authorities were initially loathe to accept the battalion, as it did not contain the requisite four units. The group was later directed by Governor Allen to cross the Mississippi and report to Alexandria. Ref: Bergeron, Guide to Louisiana Confederate Military Units 1861‑1865, p. 58. [300/500] 1275 Almarie Little (American/Louisiana, 20th Century) “Melon Time in Dixieland”, acrylic on canvas panel, signed lower left “Almarie Little”, verso with a ink inscribed title, artist’s name and medium. Presented in a molded hardwood frame with a linen liner. Provenance: Alex Chachere, Opelousas, Louisiana. [75/125] 1276 Clementine Hunter (American/Louisiana, 1886‑1988) “Slice of Life”, oil on panel, initialed lower right, 4” x 10‑1/2”. Unframed. [500/800] 1277 Rare American Rococo Revival Laminated Rosewood Sidechair, mid‑19th century, the medallion-form chairback constructed with six laminations, the deeply carved crest in floral and scrolling foliage decor, joined to the seat rail with brass at the hips, serpentine seat and cabriole legs, h. 41”. [600/900]

1278

1278 George Louis Viavant (American/Louisiana, 1872‑1924) “Nature Morte with a Game Bird and Cornstalks “, pastel on paper, signed lower left “G. L. Viavant”, sight 16‑3/8” x 13”. Glazed, oval matted and presented in a giltwood and gesso frame. [5000/8000] Illustrated 1279 American School (20th Century) “Still Life with a Picnic Basket and Fruit”, oil on canvas, signed lower left “P. Evans”, 13” x 17”. Presented in a giltwood and gesso frame. Provenance: Alex Chachere, Opelousas, Louisiana. [300/500]

1280

1280 Thirty-One Piece Bohemian Amber Plated Partial Suite of Glassware, second quarter 20th century, consisting of a salad serving bowl and undertray, dia. 15”, six dinner plates, dia. 10‑1/2”, six salad plates, dia. 8‑1/2”, six bowls with six underplates, dia. 4‑1/2”, five goblets, h. 7”, all engraved with a pattern of rococo medallions, leaping stags and castles. [2500/4000] Illustrated

161

1283 James Nathan Fisher (Louisiana/Contemporary) “Noon - Edge”, 1967, oil on canvas, signed, dated and titled on the reverse, retains gallery label en verso “Orleans Gallery, 527 Royal Street”, 48” x 46”. Unframed. [300/500] 1284 Jere Allen (New Orleans/Contemporary) “Roosters in a Vibrant Abstract Landscape”, 2003, oil on canvas, signed and dated lower right “Allen ‘03”, 66” x 72”. Unframed. [1200/1800] Illustrated 1285 George Rodrigue (American/Louisiana, b. 1944) “Three Little Pigs”, oil on canvas, signed lwoer right “Rodrigue”, signed and titled verso, 14” x 11”. Presented in a Rococo-style giltwood and gesso frame. [6000/9000] Illustrated

1284

1281 Enameled and Gilt Clear Cut-Glass “Hobble Bobble”, last quarter 19th century, a tobacco water pipe used in the Middle East, each panel elaborately enameled with flowers and fruit, h. 12”. [800/1200] Illustrated 1282 Two Pieces of Bohemian Overlaid and EnameledGlass, first quarter 20th century, the first a rose bowl alternating panels of diamond-cuttings revealing the cranberry base with enameled floral panels and applied gilt trim, the other a short cranberry glass jug in a closely related pattern of diamond-cut panels and floral enameled panels, h. 5‑1/2”. [500/800] Illustrated

1285 1286 George Rodrigue (American/Louisiana, b. 1944) “Wedding in Rosa, Louisiana”, 1982, oil on canvas, signed lower left “Rodrigue”, signed verso canvas, frame affixed with a “George Rodrigue Gallery” label, 36” x 24”. Presented in a molded hardwood frame with a linen liner. Provenance: Alex Chachere, Opelousas, Louisiana. [25000/40000] Illustrated

1281

1282

1287 George Rodrigue (American/Louisiana, b. 1944) “Coulee Landscape with a Shack and a Pirogue”, oil on canvas, signed and dated lower left “Rodrigue ‘70”, 30” x 36”. Presented in an ebonized and gilt-stenciled frame. [12000/18000] Illustrated 1288 Auseklis Ozols (Latvian/American/Louisiana, b. 1941) “Moonlit Bayou Scene”, oil on canvas, signed and dated lower right “A. Ozols, 1955”, 22” x 30”. Presented in a Baroque-style giltwood frame. [1800/2500]

162

1289 American School (Third Quarter 20th Century) “Storm at Sea”, watercolor on paper, signed illegibly and dated “68”, sight 9” x 9”. Presented in a plexiglass frame. [40/70] 1290 George Rodrigue (American/Louisiana, b. 1944) “Festivals Acadiens, 1981” offset chromolithograph, signed lower right margin “Rodrigue”, sight 30‑5/8” x 2‑5/8’. Glazed, matted and presented in a hardwood frame. Provenance: Alex Chachere, Opelousas, Louisiana. [200/400]

1287

1293 1985 New Olreans Jazz and Heritage Festival Poster, by Tore Wallin, signed in print, numbered lower right “2468/12,500”, sight 33” x 12”. Glazed, attractively matted and framed. Provenance: Alex Chachere, Opelousas, Louisiana. [75/125] 1294 Large Collection of Vintage George Lewis and His New Orleans All Starts Photographs and Memoriabilia, from the Japan Tour, 1962, including multiple poster, advertisements and images from the covers of George Lewis in Japan, vol.1 & 2, a recorded performance, over 600 items. [2500/4000] Illustrated

1286

1291 George Rodrigue (American/Louisiana, b. 1944) “My Yellow Rolls”, offset chromolithograph, titled lower margins, signed in print, sight 23” x 17”. Glazed, mated and framed. Provenance: Alex Chachere, Opelousas, Louisiana. [150/300] 1292 George Rodrigue (American/Louisiana, b. 1944) “The Rayne-Bo Ramblers”, offset chromolithograph, signed lower right margin “Rodrigue”, sight 31‑1/2” x 20‑3/4”. Glazed, matted and presented in a molded hardwood frame. Provenance: Alex Chachere, Opelousas, Louisiana. [200/400] 1294

163

1295 Lee Friedlander (American, b. 1937) a collection of ten silver gelatin prints of New Orleans Preservation Hall Jazz Band, including two group shots and individual portraits of Percy G. Humphrey, Willie J. Humphrey, Joseph “Cie” Frazier, Henry Kimball and possibly Johnny Wiggs, unsigned, commissioned for and accompanied by New Orleans, Volume 2: Preservation Hall Jazz Band, design by John Berg, recorded between 1976‑1988, 8” x 10”. Unframed. Provenance: Acquired from the Estate of Allan Jaffe, New Orleans. Publication: The Jazz People of New Orleans, 1992. [1500/2500] Illustrated 1296 The Allan Jaffe Collection of Vintage New Orleans and Preservation Hall Photographs, mid 20th century, all silver gelatin prints and one color print, including two of Olympia Brass Band by Jules L. Cahn, Eureka Brass Band by Leon Trice which was reproduced in New Orleans: A Pictorial History, seven Matthew “Fats” Houston and Eureka Brass Band Preservation Hall by Johnny Lagatutta, Allan Jaffe with a banner for the Jazz Band Jamboree by Grauman Marks; also including three Dejan’s Olympia Brass Band and a lyer, three of George Lewis, one autographed, and three Preservation Hall Jazz Band tour bus with travelling musicians including Dede and Billie Pierce, Narvin Kimball, one of Sandra and Allan Jaffee, twelve of Matthew “Fats” Houston and Eureka Brass Band and three of Olympia Brass Band and one of Richard Matthews, Grand Marshal, ranging in seize from 5” x 3‑1/2” to 8” x 10”. Provenance: Acquired from the Estate of Allan Jaffe, New Orleans [700/1000]

1298 129

1298 Cobalt Overlay and Cut-to-Clear Hobble Bobble, first quarter 20th century, a Middle Eastern water pipe used for smoking tobacco, this example is cut with stars and has applied gilt outlines, h. 11‑1/8”. [600/900] Illustrated

1303

1295

1297 Bohemian Glass Three Bottle Decanter Set, in the Victorian Style, including a cranberry cut-to-clear bottle with matching stopper, a blue cut-to-clear bottle and a celadon green cut-to-clear bottle both in matching stoppers and fitted into a silver plated stand, h. 16‑1/2”, w. 10”, d. 10”. [300/500]

164

1299 Two Bohemian Glass Rosewater Bottles, first quarter 20th century, of Middle Eastern origin, each of parcel-gilt cased glass over cobalt and white, cut to clear, h. 11”. [700/1000] Illustrated 1300 Bohemian Ruby Glass Cut-to-Clear Three Bottle Decanter Set, fourth quarter 19th century, having a matched pair of bottles with stoppers and one associated bottle and fitted in a silver plated stand in the rococo taste, h. 17‑1/2”, w. 10”, d. 10”. [200/400] 1301 Pair of Silver Overlay Ruby Glass Vases, early 20th century, each with a flaring and scalloped lip, the body adorned with a floral spray depicting a variety of flowers amongst twisting vines and foliage, h. 6‑3/4”. [300/500] 1309

1304

1304 Rare Autographed English Libretto of The Girl of the Golden West, Giacomo Puccini, signed in Puccini’s hand with a personal dedication to Henry W. Savage and thanking him for a beautiful production, h. 9”, w. 6‑1/8”. Provenance: Henry W. Savage was a prolific early 20th century impressario whose major thrust was popularizing opera sung in English. He produced many traveling companies bringing opera sung in English to the general public. “The Girl of the Golden West” had its premier at the Metropolitan Opera in New York in 1910 and was composed by Puccini purposely with an American theme to appeal to audiences in the United States. This libretto by descent from the present owner’s grandmother who saw an early performance. [3000/5000] Illustrated

1308

1302 Three Blown-Glass Paperweights, one round with millefiori decoration in blue, red and green, the second with a green and white interior, in the form of an egg and the third, cased glass-cut, revealing the enamel-flowered center, largest h. 2”, dia. 3”. [125/250] 1303 American Rococo Revival Chestnut Sideboard, second quarter 19th century, in two parts, the upper section with a cabochon-centered foliate carved crest over a serpentine shelf with shaped mirror below, the base containing its period variegated marble top and a pair of drawers over a pair of doors, all with shaped panels, the doors mounted with fruit carving, h. 86‑1/2”, w. 47‑1/2”, d. 18‑1/2”. [1000/1500] Illustrated

165

1305 American Renaissance Revival Burled Walnut and Ebonized Cheval Mirror, third quarter 19th century, the arched looking glass in a burled and gilt-incised frame with a shell-carved crest, supported by fluted parcel-gilt columns joined to a trestle base with a shaped gilt-incised stretcher, h. 78‑1/2”, w. 50‑1/2”, d. 28”. [800/1200] 1306 Vernacular American Walnut “Plantation” Desk, third quarter 19th century, the top fitted with a paneled door over a drawer flanked by a slant lid lift top with inset writing surface, the lower portion with a pair of drawers, each with a leaf-carved pull, raised on turned legs, h. 50‑1/2”, w. 42‑1/2”, d. 25‑1/2”. [500/800] 1307 Joseph Owen Dummer (American, 1844‑1935) “View of Lake Weld, Maine”, oil on canvas, signed and dated lower right “J. O. Dummer 1885”, verso with a “Portland Museum of Art, May 21-June 20, 1976” exhibition label, 20” x 27”. Presented in a giltwood and gesso frame. [900/1200] 1308 Pair of Napoleon III Bronze Garniture Vases, third quarter 19th century, each with bodies ribbed top and bottom, the handles finely molded in Neo-Grec details, the top molded in a Greek Key motif, with black marble bases, h. 17‑1/4”, dia. 6”. [1000/1500] Illustrated previous page 1309 James McDougal Hart (American, 1828‑1901) “Hudson River Valley Landscape with Two Figures in a Boat”, oil on canvas, signed and dated lower right “James M. Hart 1865”, 17‑1/4” x 29‑1/4”. Presented in a giltwood exhibition frame, affixed with a plaque inscribed with the artist’s name and dates. [5000/8000] Illustrated previous page

1315 1310 American Gilt-Incised and Chain-Draped Cherry Stand, fourth quarter 19th century, possibly Killian Brothers, New York, the dished circular top joined by a short turned support to a like lower shelf, this shelf raised on three shaped supports joined by chain swags and ending in splayed feet, the whole with incised gilt accents, h. 36”, w. 17”, d. 16”. [150/300] 1311 American Cast-Iron Fireside Figure in the Form of a Recumbent Cat, early 20th century, probably by Hubley, Pennsylvania, h. 5‑3/4”, w. 10‑1/4”, d. 5‑1/4”. [50/100]

1314 two-piece suite 1312 American Polychromed Cast-Iron Doorstop, second quarter 19th century, in the form of a sailing ship, retaining its old polychrome, the back stamped 1930, possibly the date of manufacture, h. 11‑1/2”, w. 11‑1/5”, d. 3‑1/4”. [50/100] 1313 American Polychromed Cast-Iron Doorstop, copyright date 1930, attributed to Creation Co., the surface retaining its original painted decoration, modeled in the form of a stagecoach, adorned with fleur-de-lis, h. 7”, w. 8‑3/4”, d. 2‑3/8”. [50/100]

166

1318 Josef M. Arentz (American, 1903‑1969) “Seascape”, oil on canvas, signed lower left “Josef M. Arentz”, 14” x 20”. Unframed. [600/900] 1319 Josef M. Arentz (American, 1903‑1969) “Coastal View of a Lighthouse”, oil on canvas, signed lower right “Josef M. Arentz”, 14” x 20”. Framed. [700/1000] 1320 Josef M. Arentz (American, 1903‑1969) “Rocky Coastline”, oil on canvas, signed lower left “Josef M. Arentz”, 18” x 24”. Unframed. [700/1000]

1321

1314 American Aesthetic Movement Silver Metal-Mounted Two-Piece Bedroom Suite, fourth quarter 19th century, comprised of a high-back bedstead and a night stand with the impressed brand “Herts Brothers New - York”, the paneled head and foot boards adorned with ribbon, laurel wreaths, swags and beading, fluted posts and foliatecarved capitals, and raised on squat ball-and-claw feet, h. 64”, inside w. 58”, l. 84”, outside w. 66‑1/2”, l. 89‑1/2”, the nightstand with like decor, with a frieze drawer raised on fluted columns, an open shelf and raised on ball-andclaw feet, h. 33”, w. 18”, d. 18”. Herts Brothers, at 806 Broadway at 20th Street, New York City, was a prominent New York cabinetmaking and decorating firm from 1872 to 1908. For further information on the Herts firm, see Art and Enterprise - American Decorative Art, 1825‑1817, the Virginia Carroll Crawford Collection, 1999. Pieces by Herts Brothers are in the collections of the Newark Museum, New Jersey, and the High Museum of Art, Atlanta, Georgia. [2500/4000] Illustrated

1321 Gaines Ruger Donoho (American, 1857‑1916) “Ploughmen in a Fenced Field”, signed and dated lower left “Ruger Donoho 1891”, 20” x 30”. Presented in a giltwood and gesso exhibition frame affixed with a plaque incised with the artist’s name. [4000/7000] Illustrated 1322 Antique Serapi Carpet, 11’1” x 18’5”. [3000/5000] Illustrated 1323 Hamadan Carpet, 3’1” x 5’2”. [300/500]

1315 Josef M. Arentz (American, 1903‑1969) “Early Evening View of Docked Boats”, 1956, oil on canvas, signed and dated lower left “Josef M. Arentz 1956”, with artist’s copyright stamp on the reverse, 20” x 24”. Framed. [1000/1500] Illustrated 1316 Josef M. Arentz (American, 1903‑1969) “Twilight View of a Sailboat”, oil on canvas board, signed lower left “Josef M. Arentz”, 12” x 16”. Unframed. [700/1000] 1317 Josef M. Arentz (American, 1903‑1969) “Fisherman in a Canoe”, oil on canvas board, signed lower left “Josef M. Arentz”, 12” x 16”. Unframed. [700/1000]

1322

167

1324 Turkish Angora Oushak Carpet, 9’ x 12’ 7”. [2000/4000] Illustrated 1325 Antique Caucasian Kazak Carpet, 4’ 9” x 7’ 3”. [1500/2500] 1326 Antique Caucasian Kazak Carpet, 5’ x 8’. [1400/1800] 1327 Antique Persian Carpet, 4’ 2” x 5’ 10”. [400/700] 1328 Fine Ferahan Farouk Carpet, 12’3” x 14’6”. [3000/5000] Illustrated

1328 1333 Persian Tabriz Hunting Scene Carpet, 8’ x 10’2”. [3000/5000]

1324 1329 Agra Serapi Carpet, 8’ 1” x 10’ 1”. [1200/1800] 1330 Semi-Antique Persian Hamadan Runner, 2’ 7” x 20’. [700/1000] 1331 Turkish Oushak Carpet, 6’ 6” x 9’. [1000/1500] Illustrated 1332 Peshawar Zeiglar Mahal Runner, 2’ 8” x 11’ 10”. [600/900] 1331

168

1342 Howard Logan Hildebrandt (American/ Pennsylvania, 1872‑1958) “Woman Seated by a Window Arranging Flowers”, oil on canvas board, signed lower right “H. L. Hildebrandt”, 12” x 16”. Handsomely framed. [1400/1800] Illustrated

1335 1334 Persian Serapi Carpet, 6’8” x 10’. [2500/4000] 1335 Silk Tabriz Carpet, 4’3” x 7’4”. [1200/1800] Illustrated 1336 Heriz Runner 2’ 4” x 8’ 9” [300/500] 1337 Semi-Antique Mahal Carpet, 10’ 8” x 17’ 5”. [1200/1800]

1339

1338 Kazak Runner, 2’10” x 11’6”. [400/700] 1339 Carl Kahler (American/Austrian, 1855‑1906) “Evening Scene with Two Swans in a Fountain”, signed lower right “Carl Kahler”, 36” x 24”. Presented in a period carved, giltwood frame. [2000/4000] Illustrated 1340 Ethel Bennet Schiffer (American/Connecticut, b. 1879 - ?) “Portrait of a Woman”, mixed media on paper board, signed lower right “E. B. Schiffer”, 10” x 8”. Framed. [300/500] 1341 American School (20th Century) “Reclining Nude”, oil on burlap, monogrammed lower right, 14” x 18‑3/4”. Framed. [250/400] 1342

169

1345 Emile A. Gruppe (American, 1896‑1978) “Evening Light Ogden Canyon”, oil on board, signed lower left, signed and titled verso, 20” x 18”. Presented in a giltwood frame with a linen liner. Provenance: Alex Chachere, Opelousas, Louisiana. [3000/5000] Illustrated 1346 Josef M. Arentz (American, 1903‑1969) “Autumnal View of a Covered Bridge”, 1959, oil on board, signed and dated lower left “Josef M. Arentz 1959”, 16” x 20”. Framed. [500/800] 1347 Josef M. Arentz (American, 1903‑1969) “View of a Barn and a Country Home in a Winter Landscape”, 1965, oil on canvas board, signed, dated and with artist’s copyright lower right “Josef M. Arentz 1965”, 16” x 20”. Unframed. [600/900]

1344

1351 pair

1345 1343 American School (Fourth Quarter 19th Century) “Young Boy Smoking on a Stoop”, oil on canvas, signed lower left “J. W. Brown”, 36‑1/4” x 23‑3/4”. Presented in a gold-painted molded frame. Provenance: Alex Chachere, Opelousas, Louisiana. [300/500] 1344 Attributed to Emil Carlsen (American, 1848‑1932) “Coastline Landscape”, oil on panel, unsigned. Presented in a giltwood frame. Provenance: present owner, The Bonfoey Gallery, artist’s estate. [5000/8000] Illustrated

170

1348 Rita Trosclair (American, Contemporary) “Portrait of a Rooster”, watercolor on paper, signed and dated lower right “Rita Trosclair ‘90”. Glazed, matted and presented in a fruitwood frame. Provenance: Alex Chachere, Opelousas, Louisiana. [100/200] 1349 American School (20th Century) “Country Landscape with a Barn and Chickens”, oil on canvas, initialed lower right “L. S.”, 12” x 19”. Presented in a Rococo-style giltwood and gesso frame. Provenance: Alex Chachere, Opelousas, Louisiana. [400/700] 1350 American School (Fourth Quarter 20th Century) “Busy New England Street Scene”, and “French Quarter Street Scene at a Turn-of-A-Century”, former oil on canvas, latter oil on panel, both unsigned, former 8” x 10”, latter 5” x 7”. Both presented in a Rococo-style giltwood and gesso frame. [400/700] 1351 Betty Orlans (American, Contemporary) “Views of Palm Beach”, pair of acrylics on canvas, both signed “Betty Orlans, Palm Beach ‘07”, 18” x 24”. Presented in a giltwood and polychrome frames. [1000/1500] Illustrated

1355

1358 1354 Three Pieces of American Domestic Metalware, second half 19th century, including a steel chopper, l., 4‑1/2”, a brass bell with turned wooden handle, h. 7”, and an adjustable iron candlestick, h. 5‑1/2”/ [50/80] 1355 English Silverplate-Mounted Cut Glass Liqueurs Decanter, in the form of a spigoted barrel, second quarter 19th century, mounted on a wooden stand of trestle form, overall h. 7‑1/2”, w. 4‑1/2”, d. 9”. [500/800] Illustrated 1356 New Orleans Carnival Krewe of Phunny Phorty Phellows Ball Invitation, from Tuesday, Feb. 6, 1883, the 6th Representation celebrated at the St. Charles Theater where four tableaux selected from “Visions of the Stage” were performed, the rectangular fold-out invitation of Aesthetic design, sight 11” x 17‑5/8”. Glazed, matted and framed. [1400/1800]

1352 Franz Josef Bolinger (American, 1903‑1986) “Nude Seated in a Landscape”, oil on canvas, signed lower right “Franz Josef Bolinger”, 30” x 24”. Handsomely framed. [1500/2500] 1353 Collection of Four American Brass Fire Hose Nozzles, mid-20th century, one marked “Powhatan B & T Works / Ranson W. Va.”, h. 10‑1/8” to 15”. [40/70]

1357 Xavier de Callatay (Belgian/New Orleans, 1932‑1999) “Xavier de Callatay in Audubon Park”, limited edition portfolio of lithographs, signed in ink and numbered “187”, from an edition of 500 numbered copies signed by the artist, copyrighted 1970, w. 14‑1/4”, l. 16”. Presented within spring-green buckram covers. [450/700] 1358 Ellsworth Woodward (American/Louisiana, 1861‑1939) “Portrait of a Man in a Monk’s Robe”, black and white etching, initialed in plate lower left, pencil signed and dated lower right margin “E. Woodward ‘88”, sight 7” x 5‑5/8”. Glazed, matted and framed. [300/500] Illustrated

171

1373 1369

1359 Morris Henry Hobbs (American/ Louisiana 1892‑1967) “Pirate’s Alley, Old New Orleans”, black and white etching, sight 9‑1/2” x 6‑1/2”, ed/200. Glazed, attractively matted and framed. [300/500] 1360 Chestee Harrington (American/ Louisiana, Contemporary) “Street Musicians”, polychrome wood relief, signed lower left, 9‑1/4” x 6‑1/4”. Mounted on a carpet-lined panel within a molded giltwood frame with a beaded fillet. Provenance: Alex Chachere, Opelousas, Louisiana. [125/250]

1372

1368

1361 Three Pieces of Art Pottery Vase and Candlesticks, (1909‑1942), attributed to Niloak, Benton, Arkansas, the vase swirled in various shades of brown and tan with trumpet shaped candlesticks the like with the addition of blue, unmarked, vase h. 9‑1/2”, dia. 5”, candlesticks h. 5”, dia. 3‑1/2”. [500/800] 1362 American Gilt Metal and Iridescent Glass Table Lamp, early 20th century, teh vasiform glass body with gauffered rim, fitted with a swirling silk shade and gilt metal and glass finial, overall h. 27”. [125/250] 1363 South American Pottery Funerary Figure in the Form of a Seated Male, the seated figure holding a skull in its lap and wearing a ceremonial head dress, the glazed pottery body with remains of red ochre decoration, w. 3”, l. 5‑1/8”. [50/80]

1371 1370 1364 David Hagerbaumer (American, b. 1921) “Mallards in Flight”, watercolor on paper, signed and dated lower left “David Hagerbaumer 1966”, sight 21” x 28‑3/4”. Glazed, linen-matted and presented in a molded silvered frame. [1200/1800] Illustrated 1365 A Southern Mississippi River Valley Wooden Duck Decoy, second quarter 20th century, carved and polychromed, the underside branded “C.E. SHANNON”, l. 15”. [100/200] 1366 Two Southern Mississippi River Valley Wooden Duck Decoys, early 20th century, carved and polychromed, l. 13” and 14‑1/2”. [100/200] 1367 Two Southern Mississippi River Valley Wooden Duck Decoys, second quarter 20th century, carved and polychromed, l. 15” and 15‑1/2”. [100/200] 1368 Durgin-Gorham Art Deco Sterling Silver Fruit Bowl, 1930, Concord, New Hampshire, of octagonal form, with molded rim and circular foot ring, the interior panels alternately incised with “skyscraper” decor, h. 3‑1/4”, w. 10”, 17.62 t. oz. [300/500] Illustrated 1369 Set of Four Sterling Silver Tall-Stemmed Cordials, 1903‑1905, by the Baltimore Silversmiths Mfg. Co., Baltimore, Maryland, each with an inverted bell-form bowl raised on a thin paneled baluster stem above a circular foot, h. 7‑3/4”, dia. 3‑3/8”, 20.71 total t. oz. [200/400] Illustrated 1370 Set of Four Tiffany & Co. Sterling Silver Tumblers in the George II Taste, the pattern introduced in 1929, New York City, New York, each after the 1739 originals by James Smith of London, of traditional form, engraved on the body with a crest of a cubit arm vested, holding a dagger suspending a laurel wreath, h. 2‑1/8”, dia. 2‑3/8”, 11.83 total t. oz. [600/900] Illustrated

1364

172

1377

1379

1378

1371 American Sterling Silver Drinks Tray, mid‑20th century, by Black, Starr & Gorham, New York City, New York, of canted rectangular form with everted rim and molded edge, l. 13‑3/8”, w. 8‑1/2”, 18.84 t. oz. [700/1000] Illustrated 1372 Set of Eight Tiffany & Co. Sterling Silver Cordials, the pattern introduced in 1915, New York City, New York, each with a rounded conical bowl raised on a short baluster stem above a circular foot, h. 4‑1/8”, dia. 2‑1/4”, 26.36 total t. oz. [600/900] Illustrated 1373 American Sterling Silver Cocktail Shaker, second quarter 20th century, by the Weidlich Sterling Spoon Co., Bridgeport, Connecticut, of “bullet” form, with interior strainer, the domed cap and circular foot with “vintage” banding, h. 10‑1/2”, dia. 4‑1/8”, 12.22 t. oz.. [300/500] Illustrated 1374 Set of Thirteen Gorham Sterling Silver Water Goblets, mid‑20th century, Providence, Rhode Island, each with an inverted bell-form body and waisted stem to a circular foot, h. 6‑1/2”, dia. 3‑1/4”, 75.11 total t. oz. [700/1000] Illustrated 1375 American Sterling Silver “Tulip” Bowl, third quarter 20th century, by the WordenMunnis Co., Boston, Massachusetts, in the colonial taste, of octagonally paneled form with shaped and everted rim, raised on plain footring, h. 4‑3/4”, di.a 9”, 17.81 t. oz. [200/400]

1377 Three Pieces of American Colonial Revival Silver Plate, mid‑20th century, including a pair of Towle “Chippendale” salvers of square form with molded rims and concave-caned corners, w. 15‑3/4”, and a large Sheffield Silver Co. porringer-form jardiniere of bulbous circular form with a pair of pierced handles, dia. 112‑1/2”, [100/200] Illustrated 1378 American Sterling Silver Coffee Pot, second quarter 20th century, by Wilcox & Eversten, Wallingford, Connecticut, in the colonial taste, of baluster rom, with a scrollmounted crested wooden handle, hinged, domed lid with wooden toupie finial and a shell-mounted “gooseneck” spout, all raised on a molded foot ring, h. 10”, dia. 4‑3/4”, l. 9”, 29.00 t. oz. (including wooden handle). [400/700] Illustrated

1379 American Sterling Silver Water Pitcher, third quarter 20th century, by Fisher Silversmiths, Inc., Jersey City, New Jersey, in the early Georgian taste, the baluster-from body with a crested scroll handle and shaped rim with integral spout, raised on four shell-crested scroll-and-pad feet, h. 9”, dia. 5‑1/4”, l. 9‑1/4”, 27.14 total t. oz. [300/500] Illustrated 1380 Assembled Set of Eight Graduated Silverplate “Revere” Bowls, mid‑20th century, including an unmarked example with “braided” foot ring, dia. 8”, a Saks Fifth Avenue example, dia. 6‑5/8”, a pair of Oneida Silversmiths examples, dia. 6”, a Towle example with green enameled interior, dia. 6”, a Reed & Barton example with detachable plastic liner, dia, 5‑3/8”, a Poole example, dia. 4”, and another smaller Reed & Barton example, dia, 3‑5/8”. [125/250] 1381 Fifteen Sterling Silver Salt and Pepper Cellars and Casters, second and third quarters 20th century, including a Becht & Hartl Georgian style baluster caster, h. 6”, a pair of Empire Sterling baluster casters, h/ 5”, a small pair of Webster paneled barrel-shaped shakers, h. 1‑1/4”, a set of four Lenox porcelain-lined latticework cellars, dia. 1‑5/8”, and four annulated-handle salt spoons, l. 2‑1/8”. [100/200]

1374

1376 Assembled Set of Nine Sterling Silver Water Goblets, mid-20th century, including four by Maier & Bekele, Atlanta, Georgia, four by Frank M. Whiting, North Attleboro, Massachusetts, and one by Wilcox, Meriden, Connecticut, each with an inverted bellform bowl and trumpeting stem, h. 6‑1/2”, dia. 3‑5/8”, 53.31 total t. oz. [500/800]

173

1384

1382 Four Pieces of Modern Silverplate, mid‑20th century, including a Napier two-jigger measure with corkscrew, h. 3‑3/4”, a Poole dresser jar with lion’s masque handles, dia. 3‑1/4”, a Bernard Rice & Sons porringer, l. 4‑3/4”, and an unmarked goblet h. 6”, each piece with stylish Art Deco monogram “TC”. [100/200]

1386

1384 Large and Fine Reed & Barton Sterling Silver Footed Center Bowl, first quarter 20th century, of lobed circular form with a steeply everted rim, decorated with wellchased clusters of fruit and flowers flanked and edged with robust rococo scrolls, raised on a large foot en suite, monogrammed “LLS”, fitted with a circular silverplate flower frog, h. 8”, dia. 19‑1/2”. Although not so marked, this magnificent bowl is clearly associated with Reed & Barton’s “Francis I” pattern designed in 1907 by Ernest Meyers. The similarities here - the clusters of different fruits and flowers, the extravagant rococo flourishes suggest that this rare piece was also designed by Meyers to compliment the pattern, as well as his other masterpiece “La Parisienne” (1902) and similar designs by his contemporary Charles A. Bennet : “Les Six Fleurs (1901) and “Intaglio” (1903). [6000/9000] Illustrated 1385 Pair of Reed & Barton “Francis I” Sterling Silver Footed Bowls, the pattern designed in 1901 by Ernest Meyer, Taunton, Massachusetts, h. 4‑3/4”, dia. 8”, 18.16 total t. oz. [1800/2500] Illustrated 1386 Reed & Barton “Francis I” Sterling Silver Vegetable Bowl, the pattern designed in 1901 by Ernest Meyer, Taunton, Massachusetts, this example 1956, h. 3”, dia. 11‑1/4”, 23.34 t. oz. [1800/2500] Illustrated

1383 Ten Pieces of Gorham Sterling Silver Tableware, Providence, first half 20th century, Providence, Rhode Island, including a small bonbon basket with reticulated lattice rim and reeded strap handle, h. 2‑1/2”, dia. 3‑3/8”, a pair of “H824” pattern lemon forks, l. 4‑1/2”, four “Cambridge” pattern teaspoons, l. 5‑5/8”, and three “Cambridge” pattern demitasse spoons, the spoons variously monogrammed, l. 4‑1/8”, 6.37 total t. oz. [150/300]

174

1387 Reed & Barton “Francis I” Sterling Silver-Handled Dinner Bell, the pattern designed in 1907 by Ernest Meyer, Taunton, Massachusetts, with a silverplate bell and clapper, h. 4‑1/4”. [60/90] 1388 American Silverplate “Vintage” Pattern Tray, mid‑20th century, of rounded rectangular form, with applied “Vintage” border and opposing shell and scroll handles, the plateau engraved with a wide band of rocaille cartouches on a lattice ground, l. 29‑1/2”, w. 18‑1/4”. [100/200]

1389 Large Rococo-Style Silverplate Tray. mid 20th century, by the Crown Silver Co., New York, of wavy rectangular form, the reticulated galleried rim with applied gadroon edge cornered by shell-and-acanthus extending to form the feet, with opposing addorsed acanthus scroll handles, the plateau engraved with a wide band of “c-scrolls” on a lattice ground, l. 29”, w. 18‑3/4”. [300/500] 1390 Nineteen Pieces of Assorted American Sterling Silver Flatware, all 20th century, including eight Alvin “Della Robbia” bouillon spoons, l. 5‑1/4”, four Sterling Silver Mfg. Co. dessert spoons in an unidentified rococo pattern, l. 6”, a Frank M. Whiting “Adams” teaspoon, l. 5‑3/8”, a Wallace “Rose: demitasse spoon, l. 4‑1/2”, a Reed & Barton “La Perle” demitasse spoon, l. 4‑1/2”, a Webster & Co. pierced and “hammered” teaspoon, l. 5‑1/2”, a Wood & Hughes “Victorian” master butter knife, l. 7‑1/2”, Reed & Barton “Clovelly” sugar tongs, l. 4”, and an unidentified “Lion”-handled bar knife with stainless steel blade, l. 8‑5/8”, most with monograms, 11.12 total t. oz. (excluding the bar knife). [150/300]

1394 Five American Rectangular Silverplate Trays, mid‑20th century, all with rococo-engraved plateau, including an unmarked drinks tray with shell-and-scroll rim, 11” x 25”, a Wallace Silversmiths galleried drinks tray, 11” x 24”, a Maltby, Stevens & Curtiss tea tray with beaded rim, 13” x 24”, a Wilcox “Rockefeller” pattern tea tray, 17” x 28”, and a Rogers Brother “Remembrance” pattern tea tray, 17” x 29”. [200/400] 1395 Five Circular Silverplate Platters, mid‑20th century, all with rococo engraved plateau, including an International Silver example with gadrooned rim, dia. 14‑1/4”, a William Rogers example with rococo rim, dia. 13‑1/2, a Towle example with annulated rim, dia. 12”, and two unidentified acanthus-footed examples, one with lobed rococo scroll rim, dia. 16‑1/4”, and one with shell-and-scroll rim, dia. 12‑1/2”. [125/250]

1391

1391 Set of Eight Sterling Silver Bread and Butter Plates, third quarter 20th century, by Redlich & Co., New York City, New York, each of serpentine-lobed circular from, with gadrooned rim and recessed plateau, dia. 6‑3/8”, 49.96 total t. oz. [1000/1500] Illustrated 1392 Two American Silverplate Pastry Stands, second quarter 20th century, by the Friedman Silver Co., Brooklyn, New York, one single tiered, h. 7‑1/2”, dia. 8‑3/4”, the other double tiered, h. 14”, dia. 13”, each of lobed from with a pierced galler and central baluster standard surmounted by a rococo ringed finial. [100/200] 1393 Twelve Pieces of American Silverplate Tableware, first half 20th century, including a Sheffield Silver Co. baluster-form pitcher, h. 10”, an unidentified oval tray with rococo-style rim, l. 26”, w. 17‑1/4”, an unidentified small “Chippendale” style dresser tray, l. 6‑1/4”, one Reed & Barton “Cecil” bow-style sugar tongs, six William Rogers & Son “Orange Blossom” salad forks, l. 4”, l. 6‑1/4”, one Oneida “Duchess” demitasse spoon l. 4‑1/2”, and one Rockford “Longfellow” tomato server, 7‑7/8”. [150/300]

1396 Set of Four “Royal Danish” Sterling Silver Salt and Pepper Casters, the pattern designed in 1939 by Alfred G. Kintz for International Silver, Meriden, Connecticut, including three pepper shakers and one salt shaker (with gilt cap), h. 4‑1/2”, dia. 2”, 8.81 total t. oz. [100/200]

1385

1397 American Silverplate Tray, fourth quarter 20th century, of oval form, with a pierced vertical gallery with wavy gadrooned rim and integral handles, l. 24‑1/2”, w. 17”. [250/400]

175

1398 Pair of American Sterling Silver Candlesticks, second quarter 20th century, each of “turtleback” section, with a baluster standard above a conforming foot and surmounted by a bellform nozzle, the whole decorated with engraved flowers, h. 8‑1/2”, w. 3‑1/2”, d. 4‑3/4”, weighted. [500/800] Illustrated

1403

1405

1399 International Silver “Castleton” Pattern Silverplate Tray, third quarter 20th century, Meriden, Connecticut, of oval form with beaded rim, l. 24‑1/2”, w. 15‑1/4”. [100/200] 1400 Two American Silverplate Serving Trays, mid‑20th century, including a square waiter with rococo rim and acanthus engraved plateau, w. 11‑1/2”, and a vegetable dish three compartments, with gadroon-and-shell border and winged lion’s paw feet, l. 12”, w. 9”. [100/200] 1401 Set of Three Sterling Silver Shell Dishes, first quarter 20th century, by R. Wallace & Sons, Wallingford, Connecticut, one large, l. 6”, and two small, l. 3‑3/8”, each realistically modeled as half of a clam shell, 4.76 total t. oz. [100/200]

1398

1406

1404

1403 Pair of Mexican Sterling Silver Candlesticks, second quarter 20th century, in the Spanish Colonial taste, each with a slightly tapering standard with incised gadrooning, raised above domed base with four cast acanthus feet and surmounted by a vasiform finial, decorated throughout with bands of chased repousse roses on a matte ground, h. 10‑1/2”, dia. 4”, 23.28 total t. oz. [300/500] Illustrated 1404 Assembled Set of Four Mexican .900 Silver Butter Pats, third quarter 20th century, each of lobed form in the Spanish Colonial taste, each lobe alternately engraved with birds, animals or flowers, two examples by Plateria Jacinto Vigureas, dia. 3‑7/8, a similar unmarked example, dia. 3‑7/8”, and slightly larger sterling example, dia. 4‑1/4”, 6.43 total t. oz. [125/250] Illustrated 1405 Mexican Sanborn’s Sterling Silver Coffeepot, fourth quarter 20th century, Mexico City, ovoid form, with incised hexagonal panels below a reeded wavy rim, the plain shoulder centering a small, steeply domed hinged lid with baluster finial, with a crested ivory-insulated handle, “gooseneck” spout and raised on a circular foot paneled and reeded en suite with the body, h. 10”, dia. 6”, l. 11”, 42.96 t. oz. [400/700] Illustrated 1406 Three Pieces of Mexican Sterling Silver Tableware, third quarter 20th century, by Maciel, Mexico City, in the Spanish Colonial taste, including a serpentine-lobed plate, dia. 10‑3/4”, and a pair of floriform candlestands, each supported by three ring feet and centering a conical socket, dia. 4‑3/4”, 22.12 total t. oz. [300/500] Illustrated

1402 Set of Eight Mother-of-Pearl and Steel Corn Cob Picks, third quarter 20th century, with spatulate handles, 5‑3/4”, w. 4‑3/4”, presented in the original black fauxleather box, 5‑1/2” x 4‑1/4”. [60/90]

176

1407 Mexican Sterling Silver Double Dinner Bell, third quarter 20th century, by F. Ramierez, Mexico City, in the Danish Modern taste, in the form of a pair of stylized flowerbuds emanating from conjoined stems, each terminating in a bell, l. 6”, 3.15 t. oz. [75/125]

1408 Set of Six Mexican Sterling Silver Butter Shells, third quarter 20th century, by Maciel, Mexico City, each of coquille form with three spherical feet, l. 2‑3/4”, 4.12 total t. oz. [100/200] 1409 Basilios Poulos (American/Texas, b. 1941) “Mala”, acrylic on canvas, four panels, retains gallery label on the reverse “The Glade Gallery, 621 Toulouse Street, New Orleans”, 43” x 48”. Unframed. [400/700] 1410 Millie Wohl (American, d. 1977) “Abstract Composition”, oil on masonite, signed verso, 35” x 48‑1/2”. Framed. [1400/1800] Illustrated 1411 Jeffrey Pitt (American/Louisiana, Contemporary) “Black & Blue”, 2004, acrylic on canvas, titled, dated and signed on stretcher verso, 72” x 36”. Unframed. Provenance: Jonathan Ferrara Gallery, New Orleans, Louisiana. [900/1200]

1412 Robert Gordy (American/Louisiana, 1933‑1986) “Too-Faced”, 1976, acrylic on canvas, titled, signed and dated on stretcher verso “Too-Faced, Robert Gordy Aug. ‘76”, this painting was used as the cover illustration on the invitation for Gordy’s show in 1976 at the Phyllis Kind Gallery, Chicago, Illinois, 44‑1/2” x 62‑1/2”. Presented in a contemporary narrow metal frame. Provenance: Private collection, Chicago, Illinois. [7000/10000] Illustrated 1413 Larry Rivers (American, 1923‑2002) “Living at the Movies”, 1974, lithograph in colors, pencil signed and numbered lower right “Rivers 31/175”, dated in pencil lower left “1974”, published by Marlborough Graphics, New York, sight 23‑1/2” x 28”. Glazed, matted and framed. [700/1000]

1410 1414 American School (Contemporary) “The Night Wind”, woodcut on rice paper, titled and numbered “19/150” lower right, signed lower right “Murphy”, retains gallery label on the reverse “Elizabeth Alexander Gallery, New Orleans”, 18” x 23”. Glazed, matted and framed. [75/125] 1415 Jonathan Webb (American/Contemporary) “Marilyn”, ink on paper, signed lower left and right, titled lower left, inscribed lower middle “For Larry”, sight 15” x 14”. Glazed, matted and framed. [75/125] 1416 Open Lot 1417 Xavier de Callatay (Belgian/New Orleans, 1932‑1999) “Turkeys”, watercolor on paper, signed and dated lower right “Xavier de Callatay 59”, sight 8‑1/2” x 11‑1/2”. Glazed, matted and framed. [200/400]

1418 Xavier de Callatay (Belgian/New Orleans, 1932‑1999) “View of a Terrace”, watercolor, signed and dated lower right “Xavier de Callatay 59”, sight 8” x 11‑3/4”. Glazed, matted and framed. [150/300] 1419 Xavier de Callatay (Belgian/New Orleans, 1932‑1999) “Nude Study”, 1959, ink on paper, signed and dated lower right “Xavier de Callatay ‘59”, sight 10” x 12”. Glazed, matted and framed. [200/400] 1420 New Orleans School (Third Quarter 20th Century) “Female Nude Holding a Vessel”, circa 1970’s, polychrome plaster sculpture on a stained wood base, incised “B B”, h. 17‑3/8”. Provenance: Orleans Gallery, New Orleans, Louisiana. [100/200] 1412

177

1421 George Valentine Dureau (American/ Louisiana, b. 1930) “Male Figure Study”, charcoal on paper, signed and dated lower right “Dureau 69”, sight 17‑3/4” x 10‑3/4”. Glazed, matted and presented in a contemporary metal frame. [300/500] 1422 Pair of Contemporary Ebonized and Upholstered Club Chairs, each with a padded back and downswept arms to the cushioned seat, raised on tapering square legs, h. 31”. [300/500] 1423 Louis XVI Style Mahogany and Upholstered Sofa, in the Louis XVI taste, the padded trisected back joined to the triple-cushioned seat by rolled arms, the guilloche-carved frieze raised on tapering circular fluted legs, h. 32”, d. 30”, l. 69‑1/2”. [300/500] 1424 Group of Four Beige, Brown and Blue Silk Pillows, two with cut silk velvet stripes and two with fringed edges, the smallest 18” x 8”, the largest 20” x 11”. [200/400] 1425 Pair of Art Deco-Style Mirrored Demi-lune Console Tables, in the manner of Serge Roche (French, 1898‑1988), each with a mirrored demi-lune top above a conforming paneled frieze, raised on a tri-form support to a conforming ebonized base, h. 34”, w. 28‑1/2”, d. 14‑1/4”. [1800/2500] 1426 Large Satin Black and Mirrored Looking Glass, stepframed in the Neo-Art Deco taste, of near-square form, the frame modeled as graduated stepped registers of mirrored glass separated by satin black wood bands, h. 37‑3/4”, w. 37‑1/2”. [300/500]

1429

1427 Pair of Art Deco-Style Mirrored Commodes, each with a stepped canted rectangular top above a conforming case fitted with three drawers, raised on paneled tapering square legs, h. 32”, w. 32”, d. 16‑1/2”. [1000/1500] 1428 Pair of Contemporary Argente and Gilt-Metal Side Tables, in the Directoire taste, each with an inset rectangular glass surface, raised on reeded tubular legs joined by an X-form stretcher and ending in gilt ring feet, h. 31‑1/2”, w. 54”, d. 15”. [1000/1500] 1429 Cartier Fourteen-Karat Gold Travel Clock, third quarter 20th century, New York, with Swiss Albertus mechanism, the case of square form with a rectangular base, the brushed steel face with gold chapters and hands, h. 2‑1/4”, w. 2‑1/2”, presented in the original fitted, gilt-stamped, cream satin-lined, red Cartier box of triptych form, h. 3‑5/8”, w. 4‑1/8” (7” open). [800/1200] Illustrated

1427

1430 French Art Deco Stainless Steel Desk Clock, first quarter 20th century, of plain square form with easel back, fitted with a circular clock with Swiss eight day mechanism, the white enamel face with black Arabic chapters and blue steel hands, h. 5‑5/8”, w. 5‑5/8”. Provenance: Tamara de Lempicka (1898‑1980), by bequest to her granddaughter. [125/250] 1431 Contemporary Copper and Chrome-Clad Cocktail Table, of molded rectangular form, the whole with brass tack accents, h. 14‑1/2”, w. 30‑1/2”, d. 14”. [300/500]

178

1432 Contemporary Patinated Metal and Glass Cocktail Table, the rectangular top with an inset rectangular glass surface, with an under-banding of circular designs, raised on square legs joined by an X-form stretcher, h. 18”, w. 55”, d. 35‑1/2”. [500/800]

1436

1437

1435

1433 Striking Cut, Beveled and Conjoined Lucite Sculpture, presented on a near-square bevelededge Lucite base signed at the proper left front edge in script “Van Teal, Miami, Fl.”, h. 38‑1/2”, w. 13‑1/8”, base d. 14”. Provenance: Blackamoor Antiques. [800/1200]

1434 Set of Forty-Two Steuben Glass “Teardrop” Stemware comprised of sixteen water goblets, h. 6‑3./4”, twelve port glasses, h. 5‑1/4”, twelve saucer champagne/ sorbet glasses, h. 3‑3/4” and two cordials, h. 3‑3/4”, designed by George Thompson, each signed underneath the circular foot. [800/1200] Illustrated

1434 forty-two pieces

1435 Steuben Glass Creamer and Sugar, with scrolled handles, designed by Irene Benton in 1947, models 7941 and 7942, h. 3‑1/4”, creamer, h. 3‑1/4”, sugar. [250/400] Illustrated 1436 Steuben Glass Pedestal Bowl, designed by George Thompson in 1940, model 7884, the foot signed underneath, h. 4‑3/4”, dia. 10‑1/8”. [300/500] Illustrated

1438

1437 Pair of Steuben Glass “Teardrop” Cocktail Glasses, designed by George Thompson, model 7826, both signed under the foot edge, h. 4”, dia. 3‑1/2”. [100/200] Illustrated 1438 Italian Frosted and Colored Glass Six-Light Chandelier, mid‑20th century, possibly Murano, with a tubular and bulbous standard issuing two tiers of white glass foliate fronds, the circular base with six scrolling clear arms terminating in frosted floriform sockets, h. 39”, dia. 52”. [1800/2500] Illustrated 1439 Ostrich Egg Lamp, consisting of two eggs, with brass mounting on a mahogany base, octagonal shade with carnelian finial, h. 29”. [250/400] 1440 French Brass-Framed Looking Glass, in the neoclassical taste, the inner molding of polished chrome, h. 27”, w. 34‑3/4”. [300/500] 1441 Group of Four Oblong Striped Silk Pillows, the smallest 23” x 9”, the largest 27” x 9”. [250/400]

179

1446 Carlos Merida (Guatemalan, 1895‑1984) “Los Augures”, 1972, oil on masonite, signed and dated lower middle “Carlos Merida 1972”, titled, dated, signed and inscribed on the reverse “Los Augures, Carlos Merida, 1972, to Mr. Michael Drinkhouse, Carlos Merida, 1972”, 21‑1/2” x 17”. Handsomely framed. [20000/40000] Illustrated 1447 Angel Botello (Puerto Rican, 1913 - 1986) “Haitian Women Dancing to the Drum Beat”, circa 1950, oil on masonite, signed lower right “Botello”, with Botello Gallery inventory number on the reverse “220”, 23‑1/4” x 20‑1/2”. Presented in its original stained pine frame. Spanish-born artist Angel Botello studied in Bordeaux at L’Ecole des Beaux Artes and at the San Fernando School of Fine Arts in Madrid. He spent the majority of his career living and working in the Caribbean. In 1944, Botello moved to Haiti, where he remained for twelve years. He also spent time in the Dominican Republic as well as Puerto Rico where he later settled and opened his first gallery in 1955. The influence of the vitality and spirituality of his time spent in Haiti is keenly evident in the movement and vibrant colors of this early work. We wish to thank Juan Botello and Jose Roa of Galeria Botello for their assistance in confirming the authenticity of this work. [12000/18000] Illustrated 1448 Set of Twelve Steuben Glass Salad Plates, designed by Donald Russell in 1938, model SP450, all signed underneath, dia. 8‑1/4”. [300/500] 1446

1442 French School (Contemporary) “Balcony Scenes”, pair of chromolithographs, indistinctly signed, numbered “247/375” and “267/375”, sight 35” x 15‑1/2”. Glazed, matted and framed en suite. [250/400] 1443 Gustavo Foppiani (Italian, 1925‑1986) “Figure”, mixed media on board, signed and dated lower right “G. Foppiani ‘55”, signed, dated and titled verso, 11” x 19‑1/2”. Presented in a silvered and polychrome frame. [600/900] 1444 Pair of Italian Spherical Marble Garnitures, the spheres of Rouge Royal marble on a stepped Grand Antique marble base, h. 6‑7/8”, w. 4‑3/4”, d. 4‑3/4”. [200/400] 1445 Unusual French Wrought-Steel and Lucite Four-Light Chandelier, of multiple “treebranch” form in the manner of Gilbert Poillerat (French, 1902‑1988), the tree branches entwined with matte-gilded faux-mistletoe vines with scattered lucite drops, electrified with small halogen bulbs, h. 36”, dia. 38”. [400/700] 1447

180

1449 Pair of Contemporary Lucite, Cast-Metal and Crystal Candlesticks, having “Prince of Wales” plume feather motifs with a long fluted glass shaft above a cut-crystal ball and mounted to a circular lucite base, h. 25‑1/2”. [200/400] 1450 A Set of Twenty-Two Colorless Glass Cordial Stemware Flutes in the manner of Steuben, the stems with an internal spiral twist, unsigned, h. 6”, dia. 2‑3/4”. [300/500] 1451 Cut and Silvered Glass and Chrome Eight-Light Chandelier in the Modernist Taste, the tapering stem with cut and faceted panels, the “S”-form silvered arms with circular bobeches and silvered-glass candles, the conical faceted bowl supporting a cut-glass diamond pendant, h. 28”, dia. 29‑1/2”. [800/1200] 1452 Paul Kleinschmidt (German, 1883‑1949) ‘Woman with a Mirror”, lithograph, 1923, signed in pencil lower left “Kleinschmidt”, sheet size 16” x 12”. Unframed. [40/70] 1453 Rudolf Grossmann (German, 1882‑1941) “Portrait of a Man Thinking” and “Portrait of a Man with Eyes Closed”, pair of lithograph, both signed lower left, sheet size 16” x 12”. Both unframed. [75/125] 1454 Alfred Kubin (Austrian, 1877‑1959) “Das Hochmoor”, lithograph, pencil signed lower right “Kubin”, signed and titled in plate. Unframed. [75/125]

1457 Arnold Belkin (Canadian, 1930‑1992) “Untitled”, black and white lithograph, signed in plate “Belkin”, pencil signed and dated lower right margin “Belkin, 1962”, sight 12” x 8‑5/8”. Glazed, matted and framed. [300/500] 1458 Rockwell Kent (American, 1882‑1971) “Happy Birthday to Me!”, color serigraph, 1941, estate stamped lower right, sheet size 14‑3/4” x 10‑3/4”. Unframed. [100/200] 1459 Earl Horter (American/Philadelphia, 1881‑1940) “Courtyard Scene with Figures”, etching with aquatint, pencil signed lower right “E. Horter”, sheet size 15” x 11‑3/8”. Unframed. [75/125] 1460 Pair of Art Deco-Style Walnut Center Tables, 20th century, each with a highly figured circular top raised on four curved supports to a smaller circular plinth, h. 30”, dia. 35‑1/2”. [1200/1800] Illustrated 1461 Art Deco Mahogany and Burl Walnut Canterbury, early 20th century, the superstructure fitted with a double-tiered slatted brass rack, over a single cupboard door, raised on turned and tapering circular legs ending in casters, h. 39‑1/4”, w. 18‑1/4”, d. 13”. [300/500] 1462 Art Deco Mahogany Dining Table, first quarter 20th century, the rectangular plinth top hinged and opening to a larger surface, raised on a curved base, the solid sides joined by a brass stretcher, h. 30”, w. 36‑1/4”, d. 23‑3/4”. [600/900]

1455 Otto Pankok (German, 1893‑1966) “Schnaubender Jangstier”, drypoint etching, 1922, initialed in plate lower left, pencil signed lower right margin, sheet size 12‑3/4” x 16”. Unframed. [300/500]

1463 American Art Deco Mahogany and Maple Tripartite Looking Glass, first quarter 20th century, the reverseengraved plates with red and black eglomise detailing in the Art Deco mode, reputed to have been made for an ice cream parlor, h. 63”, w. 54”. [600/900]

1456 Charles Crodel (French, 1894‑1973) “Massacre of the Innocents”, lithograph, pencil signed lower right “Ch. Crodel”, dated in pencil lower left “1924”, sheet size 12” x 16”. Unframed. [75/125]

1464 Group of Five Beige, Brown and Black Striped CutVelvet and Silk Pillows, the smallest 17” x 17”, the largest 18” x 12”. [300/500]

1465 Rock Crystal Paperweight, the body with three projecting faceted spires, h. 3‑3/4”. [30/50] 1466 Tabletop Bronze Figure of a Nymph, second quarter 20th century, in the manner of Edmond Thomas Quinn (American, 1868‑1929), depicting a seated water nymph, her arms raised and her fingers running through her hair, h. 3”, w. 2‑1/2”. [100/200] 1460

181

1473

1470 Good Tiffany Studios Patinated Bronze Calyxiform Candlestick, first quarter 20th century, of tall size, the base touchmarked “Tiffany Studios/ New York/ 1213”, h. 16‑3/4”, dia. 5‑3/4”. [300/500] 1471 Three Piece Arts and Crafts Iron Garniture Set, comprised of a three-light candelabra and a pair of single lights en suite, all on hammered bases, h. 12”, w. 13”. [125/250] 1472 Pair of Large Italian Silverplate Sconces, first half 20th century, in the sixteenth Venetian style, each with a large coquille-form backplate centering a cherub and three scrolling arms, each ending in a large drip-pan and cannon-form nozzle banded with rococo scrolls, h. 16‑1/4”, d. 13‑1/4”, w. 16‑1/2”. [1000/1500] Illustrated

1472 pair

1473 Collection of Five Embossed Sterling Silver “Ikons”, contemporary, probably central European, depicting a variety of subjects, a small oval example of Christ Pantocrator, two rectangular examples of the Tikhvin Virgin, a rectangular example Christ’s entry in Jerusalem, and a large example of Lohengrin’s departure, h. 3‑1/8” to 10”. [1000/1500] Illustrated

1478

1467 Manner of Paul Manship (American, 1885‑1966), a bronze garden figure of “Atalanta”, fourth quarter 20th century, h. 76‑1/2”, w. 23”, l. 65”. [800/1200] 1468 A Green Iridized and Sterling Silver Overlay Art Glass Vase, early 20th century, probably by Loetz, the silver marked by, La Pierre Mfg., New York, h. 2‑1/2”, dia. 3‑1/2”. [200/400] 1469 Art Nouveau Blown Glass Vase, last quarter 19th century, decorated with gilt overlay of swirling stems of lotus flowers terminating in purple lotus flowers floating on a gilt “pond”, Pontil marked base, h. 11”. [300/500]

182

1474 Austrian Third Standard (.800) Silver Double Salt Stand, first quarter 20th century, probably Moriz Gruenfeld, Vienna, with a central baluster standard flanked by a pair of flattened spherical salt cellars, h. 6”, w. 6”, 4.18 total t. oz. [75/125]

1479

1480 Two Stylish Italian Sterling Silver Porta Sigari, fourth quarter 20th century, by Argentiere Arfasatti, Florence, both of tubular form, one with scabbard-style silver cap, l. 6”, the other with fitted leather sleeve cover, l. 8‑1/4”, 4.57 total t. oz. (excluding leather sleeve). [150/300] 1481 Italian Tiffany & Co. Sterling Silver Box, third quarter 20th century, Florence, of rectangular form with flat hinged lid, decorated with with textured “samorodok” finish, h. 1‑1/4”, w. 3‑3/4”, d. 3”, 6.49 t. oz. [125/250]

1475 Austrian Eighteen-Piece Cased Gilt Metal Dessert Service, third quarter 19th century, by Josef Carl Klinkosch (1822‑1888), Vienna, including six each dessert forks, l. 6‑3/4”, spoons, l. 6‑7/8”, and knives, 7‑7/8”, each with a stylized “King’s”-shape handle decorated with scrolls and mascarons, presented in the original fitted blue baize-lined faux leather case, the interior lid gold-stamped with the Klinkosch trademark, 10‑1/2” x 9‑1/2”. [100/200] 1476 Near Pair of Danish Sterling and .830 Silver Candlesticks, 1908 and 1928, Copenhagen, by Anton Michelsen in sterling and Fritz Z. Heimburger in .830 silver, respectively, both in the 18th century taste, with spiraled octagonal baluster standard above a sharply domed base en suite and surmounted by a cannon-from nozzle fitted with a later .830 silver detachable bobeche, h. 9‑1/4”, dia. 5‑1/4”, 27.14 total t. oz. [400/700] 1477 Two 19th Century Danish Old Standard (.826) Silver Spoons, both Copenhagen, including a large platter spoon, 1854, by Samuel Jacob Nicolai Prahl (1800‑1885; master 1825), with a single struck threaded spatulate handle, monogrammed and dated “LTC/1855” and later “JCJ / PCJ / 19‑1‑30”, l. 15”, and a tablespoon, 1844, by Carl Jacob Spohilius Moinichen (1815‑1877; master 1843), with a single struck “fiddle thread” handle, inscribed “Poul. / W.N.”, l. 8‑1/2”, 8.87 total t. oz. [125/250]

1482 Set of Eleven Spanish Silverplate Goblets, third quarter 20th century, including six water goblets, h. 7”, dia. 3‑1/8”, and five wine goblets with gilt interior, h. 5‑1/4”, dia. 2‑3/4”, each with an inverted bell-shaped bowl raised on a foliate rope-twist stem and a circular foot. [150/300] 1483 Fifty Eight-Piece Set of Buccellati “Tahiti” Pattern Sterling Silver Flatware, third quarter 20th century, by Ilario Pradella, Milan, with bamboo handle and sterling fittings (unless stated otherwise) including six luncheon forks, l. 8‑3/4”, six luncheon forks, l. 8”, six salad forks, l. 6‑3/4”, six teaspoons, l. 6”, six place spoons l. 7‑1/4”, five soup spoons, l. 6‑3/4”, six dinner knives with stainless steel blades, l. 9‑3/4”, six butter spreaders, l. 6”, two fish forks, l. 7”, two fish knives, l. 8‑3/4”, and serving pieces a serving spoon, l. 8‑7/8”, a pierced serving shell, l. 9”, a two-piece salad set, l. 12”, a cheese knife with stainless steel blade, l. 8”, a sauce ladle, l. 7‑1/2”, and a pickle fork, l. 5‑3/4”. [6000/9000] Illustrated

1483

1478 French Silverplate Candelabrum, mid‑20th century, in the early Louis XV taste, with a baluster standard above a stepped base, with a pair of scrolling arms ending in candlesockets, centered by a thin standard with an adjustable combination screen and reflector and surmounted by a ring finial, fitted with faux candles and electrified, h. 22‑1/4”, w. 9‑3/4”. [500/800] 1479 French Art Deco Four Piece Silverplate Tea Set, first quarter 20th century, Maison Boulenger, Paris, including a coffeepot, h. 7‑3/4”, teapot, h. 6”, covered sugar bowl, h. 4‑3/4”, and cream jug, h. 3‑1/2”, each octagonally paneled bucket form with slightly everted rim and molded foot-ring, the pots with hinged lids and “duck’s beak” spout, the sugar bowl with fitted lid, all with octagonal rosewood finial, the sugar bowl with a pair of canted rectangular handles, the rest with squared rosewood handles. [800/1200] Illustrated

183

1484 Ninety Eight-Piece Set of Georg Jensen “Bernadotte” Sterling Silver Flatware, the pattern designed in 1939 by Sigvard Bernadotte (1907‑2002), Copenhagen, Denmark, including twelve dinner forks, l. 7‑1/2”, twelve luncheon forks, l. 7”, twelve salad/fish forks, l. 6‑3/4” twelve teaspoons, l. 5‑7/8”, twelve soup spoons, l. 6‑1/4”, twelve dinner knives with stainless steel blades, l. 8‑5/8”, twelve fish knives, l. 7‑5/8”, twelve butter spreaders, with stainless steel blades, l. 6‑5/8”, and a two-piece salad serving set, l. 8‑1/2”, 144.36 total t. oz. Sigvard Oscar Fredrick Bernadotte, Count of Wisborg, was born on June 7, 1907 as Prince Sigvard, Duke of Uppland, the second son of Crown Prince Gustav Adolf of Sweden and his first wife, Princess Margaret of Connaught. From 1929 he studied at the Decorative School at the Academy of Fine Arts in Stockholm and was instrumental in the creation and installation of the ground-breaking Stockholm Exhibition of 1930 which introduced Functionalism to Scandanavia. That year he signed a contract to create designs for Georg Jensen in Copenhagen, the first non-Dane and, at 23, the youngest person to do so; the contract was never permitted to lapse. The clean lines and modernist style of his designs are credited with reviving the avant garde reputation of the Jensen company. Bernadotte’s eponymous flatware pattern introduced in 1939 - modern yet classic, casual yet sophisticated - remains one of Jensen’s most popular. After working for Acton Bjorn in Copenhagen, Bernadotte later opened his own design studio in Stockholm, where his range of industrial designs ran from chrome tea kettles to plastic kitchen tools. He was one of the founders of the Swedish Industrial Designer’s Society and was for many years the president of the International Council of Societies of Industrial Design. His morganatic marriage in 1934 to commoner Erica Patzek had stripped him of his title and his place in the royal line of succession, but in 1951 he was created Count Bernadotte of Wisborg by Grand Duchess Charlotte of Luxembourg. Despite a half-century of petitions, he was never able to secure the restoration of his princely title from either his father, who became King Gustav VI Adolf in 1953, nor his elder brother, who succeeded his father as King Carl XVI Gustav in 1973. (That he married both his second and third wives - both commoners - less than a month after his divorce from their predecessors did not help his cause.) He died on February 4, 2002 in Stockholm, one of the last and still the longest-lived of all Queen Victoria’s greatgrandchildren. (His younger brother, Count Carl Johan Bernadotte of Wisborg is, at this writing, the only living great-grandchild of Queen Victoria.) [10000/15000] Illustrated

1484

1487 Georg Jensen Sterling Silver “Pyramide” Flat Server, the pattern designed in 1926 by Harald Nielsen (1892‑1977), with the post‑1945 Jensen mark, l. 7‑3/8”, 2.44 t. oz. [300/500] Illustrated 1488 Good Danish Modern Silverplate and Lead Crystal Fruit Bowl, third quarter 20th century, probably by the Dansk Guldsmede-Handvaerk, Copenhagen, the thick crystal oval bowl with upswept ends, the narrow ends drilled and fitted with silverplate grape cluster handles, h. 4”, l. 9‑3/4”, w. 8”. [800/1200] Illustrated 1489 Good Danish Modern Sterling Silver and Lead Crystal Ice Bucket, third quarter 20th century, by the Dansk Guldsmede-Handvaerk, Copenhagen, the thick crystal bucket of tapering rounded square section, with a fitted silver lid and swing handle in “Vintage” decor, h. 7‑1/2”, w. 6‑1/2”. [1000/1500] Illustrated

1485 Pair of Georg Jensen Sterling Silver “Blossom” Sugar Spoons, the pattern designed in 1919 by Georg Jensen (1866‑1935), with the post‑1945 Jensen mark, l. 5‑1/2”, 1.48 total t. oz. [800/1200] Illustrated 1486 Georg Jensen Sterling Silver “Cactus” Pattern Salt Cellar, designed in 1930 by Gundorph Albertus (1887‑1954), Copenhagen, Denmark, with the post‑1945 mark, the interior with cobalt blue enameling, l. 2‑1/2”, with an unmarked (non-Jensen) rococo-style salt spoon, l. 2‑1/8”, 0.84 total t. oz. (including enamel). [75/125]

184

1485

1490 English Art Deco Cased Sixteen-Piece Mother-ofPearl Fruit Service, second quarter 20th century, by Cooper Brothers & Sons, Sheffield, including eight fruit forks with three stainless steel tines, 5‑1/4”, and eight fruit knives with stainless steel pointed blades, l. 6‑1/4”, the mother-of-pearl handles of tapering oval section with a stepped finial, presented in the original fitted cream satinand black velvet-lined fauxleather case, 14‑3/4” x 7‑1/2”. [100/200] Illustrated

1489

1487

1488

1490

1491 Seven Pieces of Modernist-Style Silverplate, third quarter 20th century, including an Argentine champagne flute, h. 9‑1/4”, a German baluster bud vase, h. 6‑1/2”, a set of three Italian parcel-gilt graduated candlesticks with paneled glass bobeches, h. 9‑1/2 to 12”, and an unmarked baluster-form water pitcher, h. 9‑3/4”, and tall-necked, handled bud vase, h. 4‑1/7”. [75/125] 1492 Amusing Silverplate Rickshaw Cigarette Caddy, mid 20th century, of traditional form, with carved wooden bows and functioning wheels, the carriage engraved on the back with a dragon, the hinged lid with spherical finial, h. 4‑1/2”, l. 6‑3/4”. [60/90]

185

Index of Artists and Printmakers A Alexander, William (after) 397 Allen, Jere 1284 American Primitive School 1257, 1265 American School 1279, 1289, 1341, 1343, 1349, 1350, 1414 Angl Colonial School 1035 Arentz, Josef M. 1315, 1316, 1317, 1318, 1319, 1320, 1346, 1347

June 4-5, 2011

D De Breanski, Jr., Alfred Fontville 370 De Callatay, Xavier 1357, 1417, 1418, 1419 Deveau, Jacques 1157 Dingley, Humphrey J. 703 Donoho, Gaines Ruger 1321 Douglas, Edwin 1038 Dumaige, Etienne Henri (after) 305

Audubon, John James (after) 1199, 1201

Dummer, Joseph, O. 1307

Dureau, George Valentine 1421

Baker, Samuel Henry 704

Durer, Albrecht (after) 228

Belkin, Arnold 1457

Dutch School 212, 626, 627, 693, 1158

Berthoud, Paul Francois 946

Bolinger, Franz Josef 1352

Edmonds, Mona Alison 55

Bonfils, Robert 1131

Botello, Angel 1447

Ferneley, John E., Sr. (follower) 1036

British School 9, 62, 67, 660, 665, 682, 701, 702, 780, 809, 810, 811, 820, 1037, 1039, 1086

Fisher, James Nathan 1283

Brookshaw, George 1142 Browne, Frederic William 1225 Browne, Jr., William Garl (attributed) 1269 C Cardona, A. 1143 Carlos Fui 1117 Carlsen, Emil (attributed) 1344 Colomera, Paul 949 Continental School 234, 235, 266, 288, 1085, 1120, 1127 Coulon, George David 1221, 1222, 1224 Crodel, Charles 1456

Flemish School 252 Foppiani, Gustavo 1443 French School 612, 891, 892, 954, 1089, 1442 Fugerio, R. 208, 209 G Giampietri, Settimio 258 Gordon, Sir John Watson, R. A. 8 Gordy, Robert 1412 Gould & Richter 1212 Grant, Sir Francis (circle) 1034 Grossmann, Rudolf 1453 Gruppe, Emile A. 1345

Index of Artists and Printmakers

June 4-5, 2011

Meissonier, Jean Louis Ernest (after) 666

Hagerbaumer, David 1364

Morland, George (attributed) 1040

Hare, John Cuthbert 1226

Murillo, Bartolome Esteban (after) 214

Harrington, Charles 1223

Harrington, Chestee 1360

Naftel, Isabel 808

Hart, James McDougal 1309

New Orleans School 1420

Herring, John Frederick (after) 48, 49

Hildebrandt, Howard Logan 1342

Orlans, Betty 1351

Hobbs, Herny Morris 1359

Ozols, Auseklis 1288

Holbein The Younger, Hans (after) 651

Horter, Earl 1459

Paice, George 56, 57

Hunt, Edgar (follower) 63

Pankok, Otto 1455

Hunter, Clementine 1276

Pitt, Jeffrey 1411

Hutty, Alfred 1273

Poulos, Basilios 1409

Pourbus, Frans the Younger (after) 231

Italian School 211, 243, 265

Rivers, Larry 1413

Kahler, Carl 1339

Rodrigue, George 1285, 1286, 1287, 1290, 1291, 1292

Kent, Rockwell 1458

Roe, Clarence Henry 807

Kleinschmidt, Paul 1452

Rosa, Salvator (follower) 236

Kubin, Alfred 1454

Rossini, Luigi (after) 280

Rubens, Peter Paul (after) 219

Langley, William 806

Levasseur, Henri Louis 304

Salmon, John Cuthbert 812, 813

Lewis, Henry (after) 1262

Schiffer, Ethel Bennett 1340

Little, Almarie 1275

Slocombe, Charles Philip (attributed) 655

Livens, H. 61

Southern School 1227

Stewart, James Lawson 650

MacGeorge, William Steward (attributed) 689

Szontagh, Geza 1119

McKenney & Hall 1211

Index of Artists and Printmakers

June 4-5, 2011

T Toublanc, Ed. Bernard 1128 Trosclair, Rita 1348 V Van Rijn, Rembrandt (after) 227 Viavant, George Louis 1278 Vincent, Alexander 1118 W Watteau, Francois Louis (After) 933 Webb, Jonathan 1415 Wohl, Millie 1410 Wolf & Richter 1218 Woodward, Ellsworth 1358

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

Conditions Of Sale

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

Please note that the following are estimates only and the actual time each lot is offered may vary. Sunday June 5, 2011 Lots 834-1492

Saturday June 4, 2011 Lots 1-833 10:00-11:00 11:00-12:00 12:00-1:00 1:00-2:00 2:00-3:00 3:00-4:00 4:00-5:00 5:00-6:00 6:00-6:30

1-99 100-199 200-299 300-399 400-499 500-599 600-699 700-799 800-833

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

834-933 934-1033 1034-1133 1134-1233 1234-1333 1334-1433 1434-1492

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Note: Items will not be released without a signed authorization

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

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Customers, Please Note: Deadline for Absentee/Telephone Bidding 5:00 P.M. Central – Friday, June 3, 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, June 2, 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, JUNE 3 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): _______________________________________________________

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Lot # Description Special Requests _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________

Please Submit This Form Via Fax: 504-566-1851

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absentee / telephone bid form

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

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

Lot #

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

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

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

This Form Must Be Submitted by 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:

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

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05/17/2011 16:20:43 New Orleans Auction Prices Realized for Sale 1102 April 9-10, 2011 Spring Estates Auction

Lot# 2 3 4 6 12 14 15 17 18 19 20 21 22 24 25 27 28 30 31 32 33 36 37 40 41 42 43 50 51 52 53 54 56 58 59 64 65 66 67 69 70 71 72 74

Realized

Lot#

Realized

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Realized

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Realized

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Realized

799 461 984 2,706 307 276 184 98 2,214 584 307 184 215 2,214 461 215 215 738 338 799 2,091 799 5,166 492 522 799 338 215 11,377 430 738 461 11,070 215 553 7,995 1,230 615 1,722 3,444 1,353 1,968 430 153

75 77 85 86 89 92 93 94 95 96 99 100 101 102 103 105 106 107 108 112 119 120 121 122 123 124 126 127 128 129 131 132 133 134 135 136 137 138 140 141 142 143 148 149

461 1,045 2,460 738 676 246 16,605 4,920 6,150 2,952 2,214 153 184 2,091 2,460 2,706 615 2,460 799 738 984 369 1,230 1,045 110 1,230 399 584 307 399 2,214 215 861 1,968 3,690 1,045 307 984 2,952 110 276 2,460 461 3,075

150 151 154 155 156 158 160 161 162 165 167 168 170 176 178 182 184 186 189 196 197 198 199 200 201 202 203 204 208 209 210 212 213 215 216 217 218 219 220 221 222 223 224 225

1,107 615 922 738 369 461 307 738 338 246 1,722 2,214 922 399 1,107 1,845 1,353 861 184 6,150 7,380 3,198 4,920 5,166 246 615 338 922 5,904 2,706 676 2,337 676 799 1,968 7,995 676 738 799 553 676 1,476 1,353 369

226 227 228 229 230 232 233 236 239 241 244 246 247 248 250 251 252 253 255 256 261 265 266 267 270 271 272 274 276 277 280 281 282 283 284 286 289 290 291 292 295 296 297 299

615 522 584 799 1,599 1,722 492 430 1,722 1,599 1,968 369 3,936 184 1,476 3,198 1,599 1,968 1,722 861 676 1,722 861 1,107 492 1,353 2,952 7,072 1,353 799 738 9,840 430 3,444 984 3,936 461 2,706 799 1,599 553 307 184 1,722

304 305 306 308 309 310 311 312 314 315 316 317 319 321 322 324 326 330 333 334 335 340 342 343 344 347 348 349 350 351 354 356 357 358 359 360 361 362 363 364 365 367 371 373

2,706 246 553 922 9,840 1,353 461 1,845 2,952 1,230 1,845 1,599 461 307 430 123 3,936 676 430 153 7,072 1,968 3,690 799 1,722 1,107 2,091 615 215 153 1,230 615 1,168 1,476 153 338 399 4,920 1,599 4,182 984 1,968 738 584

374 375 377 378 379 382 385 386 388 391 394 397 398 399 400 401 405 406 409 410 411 415 417 426 427 428 432 433 434 435 436 440 442 443 444 446 447 449 450 451 452 462 463 464

2,952 2,952 123 492 246 3,444 984 338 2,706 1,353 430 215 1,230 1,045 1,353 1,722 799 1,107 4,674 984 2,460 1,230 738 1,599 799 584 22,140 1,845 276 522 215 799 922 1,230 584 1,045 2,337 799 153 984 2,091 430 738 738

Lot# 465 468 469 470 471 472 473 474 476 477 478 481 482 486 487 489 492 493 496 503 505 507 508 509 513 514 516 517 519 520 521 522 524 525 528 531 532 533 534 535 536 536A 537 538

Realized 1,845 922 215 369 2,706 922 2,214 1,845 584 676 461 1,968 461 246 36 861 861 2,952 461 1,599 522 3,444 246 799 799 4,428 2,952 1,353 1,230 7,687 1,599 2,337 584 584 4,674 1,845 1,476 861 738 2,337 6,457 5,658 6,765 861

columns72.frx

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05/17/2011 16:20:44 New Orleans Auction Prices Realized for Sale 1102 April 9-10, 2011 Spring Estates Auction

Lot#

Realized

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Realized

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Realized

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Realized

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Realized

539 540 541 543 544 547 549 552 553 555 556 557 558 559 560 561 562 563 564 566 568 569 570 573 578 580 584 585 586 587 588 589 590 594 595 597 598 599 600 604 609 611 612 615

615 98 3,690 4,182 3,198 2,952 492 492 2,337 584 1,353 1,107 522 676 553 246 4,182 49,200 5,658 276 984 215 399 10,762 615 615 6,457 1,168 7,072 1,722 861 922 861 461 984 461 3,444 338 615 584 2,214 338 1,845 1,107

621 622 625 628 629 630 631 632 633 634 635 636 637 639 641 642 643 644 645 647 649 650 651 652 653 657 659 661 662 664 667 668 669 671 672 673 674 675 677 678 679 683 684 687

676 8,302 1,230 184 830 338 307 1,168 1,168 5,166 1,168 1,845 369 430 215 1,107 1,845 984 2,460 861 861 553 430 338 369 3,198 1,845 4,920 2,460 8,610 307 522 184 307 9,532 12,300 1,599 461 922 984 861 522 3,444 123

688 689 690 691 692 693 694 695 696 697 700 701 702 704 706 708 709 714 716 718 719 722 723 724 725 727 730 731 733 734 735 738 740 741 742 743 744 745 748 751 754 756 757 760

246 215 492 1,599 123 676 215 492 492 676 338 7,687 1,968 676 461 492 307 184 369 553 1,476 2,214 2,706 1,045 3,198 799 584 492 3,690 5,166 1,476 492 1,353 1,476 1,168 3,936 2,952 4,182 18,450 9,225 5,904 2,952 2,460 2,952

762 765 766 767 768 769 771 772 773 774 775 776 777 778 779 780 781 782 783 786 787 788 789 790 791 792 793 794 796 799 800 801 802 804 805 807 808 810 813 814 815 816 820 824

9,225 4,428 1,230 1,476 984 2,337 246 615 1,476 399 738 2,337 246 1,845 861 184 2,460 307 861 1,107 1,722 307 430 430 1,845 615 1,230 215 1,599 522 246 2,214 307 307 307 984 98 34,440 1,353 1,045 153 153 153 104

825 826 827 833 834 835 836 838 839 840 842 844 845 846 847 848 849 850 852 853 854 855 856 857 859 861 862 863 865 867 868 870 871 872 873 874 875 876 877 878 880 881 882 883

153 553 73 73 615 430 461 1,722 246 1,230 215 584 799 1,107 123 584 492 584 1,168 307 2,952 861 1,599 2,460 984 276 922 2,952 461 399 738 492 861 399 1,599 2,091 2,091 4,428 2,214 12,915 799 1,230 2,337 2,337

884 886 888 889 890 891 893 894 895 897 898 901 902 903 904 905 906 907 908 909 912 913 914 915 916 917 918 919 920 921 922 923 924 925 927 928 929 933 934 935 936 937 938 939

4,674 5,412 461 615 492 3,198 738 5,166 430 307 110 461 461 17,835 98 1,845 584 6,150 1,722 2,706 676 2,337 11,685 5,658 3,444 2,706 1,476 27,060 6,765 738 1,168 307 55 399 1,968 1,107 338 11,992 2,952 6,765 7,995 338 2,214 215

940 941 943 944 947 949 950 951 952 954 955 956 957 958 959 960 961 962 965 966 967 969 970 971 974 975 976 977 978 979 980 981 983 985 986 988 989 990 991 992 993 996 997 999

3,444 123 1,353 430 1,968 4,674 1,353 123 1,968 799 1,353 738 3,444 3,936 553 861 246 2,706 1,107 1,722 922 738 369 1,045 1,845 2,952 430 215 2,337 922 861 1,845 399 4,182 3,444 553 984 123 246 984 2,460 5,904 369 1,045

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Page No. 3

05/17/2011 16:20:45 New Orleans Auction Prices Realized for Sale 1102 April 9-10, 2011 Spring Estates Auction

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

1001 1002 1003 1004 1006 1008 1010 1011 1012 1013 1014 1015 1016 1017 1021 1023 1024 1026 1027 1028 1030 1031 1032 1033 1034 1035 1036 1037 1038 1039 1040 1041 1042 1047 1049 1050 1053 1054 1055 1056 1059 1060 1061 1062

1,230 2,337 2,706 4,182 1,168 1,476 2,091 1,353 799 338 307 430 2,460 2,214 1,107 1,599 3,936 1,845 2,091 461 1,168 3,444 1,353 1,722 799 215 1,168 4,920 2,337 676 1,107 1,722 2,214 1,230 399 799 2,337 2,337 184 215 246 246 492 1,107

1072 1074 1075 1079 1080 1081 1083 1084 1085 1086 1087 1092 1094 1095 1097 1098 1099 1100 1101 1103 1104 1105 1106 1107 1108 1109 1110 1111 1112 1113 1114 1116 1117 1118 1119 1120 1121 1122 1123 1125 1127 1128 1129 1130

246 153 153 2,337 1,045 492 2,706 738 2,952 1,107 399 461 1,107 5,166 1,168 307 738 246 369 4,182 3,936 4,920 799 461 2,706 4,920 307 676 553 246 2,337 123 215 1,968 861 1,599 861 1,353 2,952 6,150 11,377 1,107 3,444 430

1131 1133 1134 1135 1136 1137 1138 1139 1140 1141 1142 1145 1147 1148 1149 1151 1152 1153 1155 1156 1157 1159 1160 1162 1163 1166 1167 1168 1170 1171 1172 1173 1174 1175 1176 1177 1178 1180 1182 1183 1184 1185 1187 1188

86 1,107 1,968 123 5,166 553 1,168 338 1,107 3,936 1,168 4,674 184 492 1,230 215 184 123 4,428 3,936 184 1,353 738 246 430 246 184 276 676 615 1,353 615 153 1,168 553 6,765 4,428 36,900 307 307 153 98 153 4,920

1191 1192 1193 1194 1195 1196 1197 1198 1199 1203 1204 1205 1206 1207 1208 1209 1210 1211 1215 1216 1218 1219 1220 1221 1222 1223 1224 1226 1229 1230 1231 1233 1234 1235 1236 1239 1241 1242 1243 1244 1246 1247 1248 1249

430 110 584 2,091 2,091 2,091 2,091 2,091 1,107 2,706 1,230 3,075 7,687 6,150 9,225 7,072 1,230 8,610 9,225 1,968 9,532 5,412 2,460 1,845 4,920 4,674 922 799 430 123 307 153 4,182 1,230 984 615 2,460 1,045 799 676 369 7,687 984 246

1250 1251 1252 1253 1254 1256 1257 1264 1265 1268 1271 1272 1273 1275 1276 1277 1278 1279 1280 1282 1283 1286 1287 1292 1293 1294 1295 1296 1297 1298 1299 1300 1301 1302 1303 1305 1306 1308 1309 1310 1311 1312 1313 1314

6,150 799 1,599 110 184 2,337 1,230 738 553 1,968 2,337 584 1,968 861 3,198 1,230 3,198 3,198 3,198 1,230 2,214 153 276 553 307 153 922 1,230 5,412 276 1,968 3,198 861 153 615 98 3,444 307 5,412 522 307 307 276 1,599

1316

246

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Staff Specialists

Jean Vidos President Tessa Steinkamp Auctioneer / Consignments Charles C. Cage Office Manager / Silver Specialist Ireys Bowman Consignments Greg Kowels Consignments Richerson L. Rhodes, G.G., N.J.A. Consignments / Oriental Specialist / Jewelry Specialist Thomas Halverson Director of American Furniture and Decorative Arts Michelle Castro Fine Art Consignments 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 / Sol Carter Jr. Rodney Junius / Sean Ranson / Cedric Roberts Operations Department Gary Michael Gittelson Photographer