March 2, 3 & 4, 2012 (1201) by New Orleans Auction Galleries, Inc.

Cover: Lot 1174 - Gill Powell (19th Century), patinated bronze group of a soldier on horseback battling two warriors Back Cover: Lot 1801 - Ninety-Four Piece Set of Wallace “Romance of the Sea” Sterling Silver Flatware, the pattern designed in 1950 by William S. Warren (18881965)

AUCTION TIME CHART Friday March 2, 2012 Lots 1-509 1:00-2:00 2:00-3:00 3:00-4:00 4:00-5:00 5:00-6:10

1-99 100-199 200-299 300-399 400-509

Saturday March 3, 2012 Lots 510-1320 10:00-11:00 11:00-12:00 12:00-1:00 1:00-2:00 2:00-3:00 3:00-4:00 4:00-5:00 5:00-5:30

510-609 610-709 710-809 810-909 910-1009 1010-1109 1110-1209 1210-1320

Sunday March 4, 2012 Lots 1321-1961

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

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

11:00-12:00 12:00-1:00 1:00-2:00 2:00-3:00 3:00-4:00 4:00-5:00 5:00-6:10

1321-1420 1421-1520 1521-1620 1621-1720 1721-1820 1821-1920 1921-1961

Important Three-Day Major Estate Auction Friday, March 2, 2011 1:00 p.m. – Lots 1-509

Saturday , March 3, 2011 10:00 a.m. – Lots 510-1320

Sunday, March 4, 2011

11:00 a.m. – Lots 1321-1961

Two-Week Exhibition Begins Wednesday, February 22 Through Thursday, March 1, 9:00 a.m. to 5:00 p.m. (Excluding Sundays)

Late-Evening Preview Thursday, March 1 5:30 p.m. to 8:00 p.m.

Featuring Property From and Including: The Personal Collection of Bruce Givens Foreman, Baton Rouge, Louisiana, noted interior designer and antiquarian. And Property from Numerous Southern Estates and Private Collections

Session I Friday, March 2, 2012 1:00 p.m. CST â&#x20AC;&#x201C; Lots 1-509

2 Louis XVI-Style Mahogany Cabinet, early 20th century, the molded cornice above a conforming case fitted with a paneled frieze over two long doors, each with an upper glazed panel with fabric backing over a brass-lined panel, raised on tapering circular ormolu-mounted legs, h. 86”, w. 52”, d. 15‑1/4”. [1500/2500] Illustrated 3 Louis XVI-Style Ormolu-Overlaid Looking Glass, late 19th century, of cushion form, the beveled rectangular plate surmounted by a shaped mirrored pediment with an overlaid acanthine crest and surrounded by an angled mirrored border within a guilloche frame and with applied acanthine corner mounts, h. 51”, w. 29”. [2000/4000] Illustrated

4 Old Limoges Partial Dinner Service in the “Wedding Band” Pattern, second quarter 20th century, comprised of ten dinner plates marked, C. Ahrenfeldt Limoges, dia. 9‑3/4”, seven dinner plates signed, Chateau China, Limoges France, dia. 9‑3/4”, twelve bread and butter plates marked, Ahrednfeldt, dia. 7‑1/4”, one bread and butter plate by Chateau, dia. 7‑1/4”, eleven custard dishes marked, Ahrendfeldt, dia. 5”, an oval platter by Chateau China, l. 15‑1/2”, an oval open vegetable marked, Ahrenfeldt, l. 10”, an oval covered vegetable marked, Ahrednfeldt, l. 11‑1/2”, a round covered vegetable by Chateau China, dia. 9”, five open Austrian salts, dia. 1‑3/4”, twenty-six saucers with various markings, dia. 5‑3/4”, and one coffee cup marked, Chateau China. [300/500]

1 Louis XVI-Style Mahogany Bureau de Cylindre, early 20th century, the rectangular Carrara marble top above three short drawers, with a cylinder below, opening to a pull-out leather writing surface and a variety of drawers and cubbyholes, above a central drawer flanked to one side by two drawers and to the other by a deep drawer opening to a lift-out compartmented tray and a covered back area, raised on tapering fluted circular legs ending in toupie feet, the whole accented with ormolu millwork, h. 49”, w. 54‑1/2”, d. 29”. [3000/5000] Illustrated

5 Four Pieces of Anneau D’or Paris Porcelain, third quarter 19th century, comprised of an oval vegetable dish, made in Limoges by Charles Field Haviland and impressed “CFD”, h. 6”, d. 6‑1/4”, l. 12”, a sauce tureenon-stand, unmarked and of similar design, h. 6”, d. 5‑1/2”, l. 9‑3/4”, and a pair of cake plates with open handles and scrollwork, dia. 9‑1/4”. [100/200] 6 Extensive Limoges Partial Dinner Service, Made by Pouyat, (1891‑1932), the set decorated in “The Athena” pattern, with a black Greek running key on a gilt border, the set signed “J.P.L. France” in green and “Pouyat Limoges” in a wreath, comprised of twelve dinner plates, dia. 9‑3/4”, twelve luncheon plates, dia. 8‑1/2”, twentyfour salad/dessert plates, dia. 7‑1/2”, twelve bread and butter plates, dia. 6”, twelve soup bowls, dia. 7‑1/4”, twelve dessert bowls, dia. 5”, twelve demitasse cups, dia. 2‑1/2”, twelve saucers, dia. 4‑1/2”, thirteen teacups, dia. 3‑3/4”, twelve saucers, eleven two-handled cream soups, dia. 3‑1/2”, twelve saucers, three oval platters, l. 11” to 20”, a pair of oval open vegetables, l. 9‑1/2”, a round covered vegetable, dia. 7‑3/4”, and a sauceboat with an underplate, l. 8‑1/4”. [500/800] 7 Pair of French Gold and White Oval Covered Vegetable Dishes, mid‑19th century, the fruit knops resting on ivy leaves and with scroll-form handles with like-decoration at the handle base, h. 7”, w. 8”, l. 13”. [150/250] 8 Paris Porcelain Anneau D’or Fish Platter, second quarter 19th century, the pierced liner in a pattern of fleurde-lis and flowers, w. 9‑3/4”, l. 22‑3/4”. [125/250] 9 Two Gold and White French Covered Vegetable Dishes, mid‑19th century, the first oval covered vegetable with a fruit knop, bellflowers on lid and sides and scroll handles, and the second oval covered vegetable with a fruit knop on a scroll base and scrolled handles, h. 6‑1/2” to 7‑1/4”. [200/400] 10 Two Pieces of Anneau D’or Paris Porcelain, the first a covered sugar basin with a clown hat lid and masque handles, h. 8”, dia. 4‑3/4”, the second a covered cream bowl used for dessert creams and resting on paw feet with a pineapple finial, h. 6”, dia. 5‑1/4”. [100/200] 11 Pair of Fabric-Covered Two-Panel Screens, all with a tan scrolling foliate-pattern on an ecru ground, h. 96‑1/2”, w. 136”. [300/500] 12 Louis XV-Style Nine-Light Gilt-Bronze Chandelier, early 20th century, the central bulbous foliate-molded standard issuing two tiers of candlearms, the upper tier with three lights, the lower tier with six lights, the whole richly dressed with large shaped pendalogues and applied stars, h. 25”, dia. 26”. [500/800]

17 13 Louis XVI-Style Mahogany Etagere/Canterbury, early 20th century, the rectangular top with projecting corners with acorn finials and inlaid brass string and banding, joined to two lower like shelves by fluted bulbous supports with a compartmented Canterbury below, raised on bulbous toupie feet ending in brass caps, h. 37‑1/2”, w. 19‑3/4”, d. 14”. [400/700] 14 Spanish School (Third Quarter 19th Century) “Women Carrying Jugs of Water in a Granada Landscape”, oil on board, unsigned, 10” x 11‑1/4”. Presented in a giltwood frame. [300/500] 15 Adolf Kaufmann (Austrian, 1848‑1916) “Mediterranean Village with Figures and Livestock”, oil on panel, signed lower right “A. Kaufmann”, 17‑3/4” x 13”. Presented in a period giltwood and gesso frame. [500/800] 16 Continental School (Third Quarter 19th Century) “Mountainous Landscape with a Caravan Crossing a Bridge”, oil on canvas, signed illegibly lower right, 22” x 36‑1/8”. Presented in a period giltwood and gesso frame. [700/1000] 17 Near Pair of French Tapestry Panels, 19th century, each of tall rectangular form and depicting pastoral scenes, one of a fox peering at a bird in a tree, the other of a rooster feeding under a tree, h. 109” to 110”, w. 53” to 54”. [3000/5000] Illustrated

18 Pair of Paris Porcelain Style Scent Bottles, signed in the Sevres style, of rectangular form and decorated with hand painted landscapes en grisaille on all four sides depicting ruins in a garden on one side and architectural views on the other, lids with like decoration, h. 4‑3/4”, w. 3”, d. 2‑1/4”. [400/700] 19 Louis XVI-Style Giltwood Looking Glass, fourth quarter 19th century, the molded cornice with projecting corners above a dentillated and gardroon-carved frieze with an applied floral basket panel below, the rectangular plate within an annulated and ribbon-carved frame flanked to either side by acanthine scrolls and foliate garlands, h. 96”, w. 49”. Provenance: Fireside Antiques, Baton Rouge, Louisiana. [2500/4000] Illustrated

20 Louis XVI-Style Mahogany and Marble-Top Cabinet, late 19th century, the bowed Carrara marble top with a flat front above a conforming case fitted with a single drawer over a cupboard, raised on turned and tapering circular legs, h. 38‑1/2”, w. 37‑1/2”, d. 16”. [1000/1500] Illustrated

21 Louis XV-Style Mahogany Vitrine, of bowed form, the molded cornice above a case fitted with a single glazed door, the lower section fitted en-suite, the sides also glazed, raised on shaped legs fronted by ormolu mounts, the whole accented with ormolu millwork, h. 86”, w. 37”, d. 15‑1/2”. [1500/2500] 22 Unusual Louis XVI-Style Mahogany Tiered Center Table, the circular upper tier with an inset glass surface, joined by six ormolu cornucopia supports to the hexagonal base, fitted with six beveled drop-front panels, all within ormolu banding, raised on circular tapering ribbed legs, headed by foliate capitals and ending in like caps, h. 33‑1/2”, dia. 33”. [1200/1800]

29 Continental School (Fourth Quarter 19th Century) “Portrait of a Woman with a White Shawl”, oil on board, initialed upper right “LR”, 17‑1/2” x 14”. Presented in a giltwood frame. [250/400] 30 Albert Jean Adolphe (American/ Philadelphia, 1865‑1940) “Portrait of a Doctor’s Wife”, oil on panel, unsigned, reverse with the artist’s hand-written account regarding the painting’s sitter, 7‑1/4” x 5‑3/4”. Presented in a giltwood frame. [300/500]

23 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”. [2000/4000]

31 Continental School (Fourth Quarter 19th Century) “Portrait of a Beauty in a White Dress with Ruffled Collar”, 1875, oil on canvas, initialed and dated middle right “H. X. G. 1875”, 24” x 19‑3/4”. Presented in a period giltwood frame. [500/800]

24 Pair of Louis XVI-Style Polychrome Bergeres, 20th century, the domed and padded backs surmounted by a gadroon-carved crest and side urn finials, joined to the cushioned seat by padded arms, raised on tapering circular stop-fluted legs ending in toupie feet, h. 36‑1/2”. [1400/1800] Illustrated 28

25 Louis XVI-Style Polychrome Canterbury, early 20th century, fitted with four lattice-patterned dividers centered by a gilt-accented lyre, above a single fluted drawer, raised on toupie feet ending in brass caps and casters, h. 24”, w. 22”, d. 16”. [1200/1800] 26 Louis XVI-Style Giltwood Settee, late 19th century, the padded oval back within an annulated and rope-carved frame, joined by padded foliate arms to the like seat, raised on tapering stop-fluted circular legs headed by floral block carving and ending in toupie feet, h. 39‑1/2”, w. 48‑1/2”, d. 29”. [1000/1500] Illustrated 27 German Painted Porcelain Plaque, depicting two cupids along the edge of a pool with one trying to retrieve her quiver which has fallen in the water, monogrammed lower right “E.A.V. 1898” and indistinctly signed on reverse, h. 5‑3/4”, w. 8”, plaque. [300/500] Illustrated 28 Napoleon III Rococo Revival Wall Bracket, third quarter 19th century, the oval top edged and fluted supported by scrolled supports ornamented with applied grapes and grape leaves, terminating in a gilt flourish, h. 18”, w. 20‑1/2”, d. 11”. [400/700] Illustrated

32 American School (Third Quarter 19th Century) “Portrait of a Young Woman in White Holding a Love Letter”, oil on canvas, illegibly initialed and dated lower left “1852”, 14” x 12”. Presented in a Rococo style giltwood frame. [600/900] 33 Giacomo Campi (Italian, 1846‑1921) “Portrait of a Woman in a Japanese Kimono, Holding a Fan”, oil on canvas, signed upper right “G. Campi, Milano”, 39” x 29”. Presented in a period Rococo-style giltwood and gesso frame. [1000/1500] Illustrated 34 Elaborate Belle Epoch Brass and Onyx Etagere, fourth quarter 19th century, the center section having two rectangular beveled mirrors and onyx shelves with a brass crest, flanked by arched beveled mirrors and smaller onyx shelves to each side, raised on tall out-curved legs, h. 77”, w. 48”, d. 17”. [1500/2500]

33 35 Pair of Napoleon III Black Marble and Gilt Bronze Mantle Garnitures, third quarter 19th century, cutcornered marble plinths resting on gilt bronze scroll footed bases, the facades mounted with a masque on a cartouche, the upper sections, with gilt bronze covered urns, now with three candle branches, electrified, h. 22‑1/2”, w. 15”, d. 6”. [1200/1800] Illustrated

36 Pair of Napoleon III Gilt-Bronze Candlesticks in the Louis XVI-Style, third quarter 19th century, one example marked: “F. Barbedienne” on the base rim, the base leaf-molded and beaded, supporting a fluted shaft, the cup and bobeche leaf-molded and beaded to match, h. 11‑1/4”. [1000/1500] Illustrated

37 Pair of Louis XVI-Style Fruitwood Fauteuils, mid‑20th century, each with a domed and padded back surmounted by a floral crest and within a guilloche frame, joined by padded arms to the like seat, raised above a guilloche and floral-carved apron on molded cabriole legs ending in scrolled toes, h. 40‑1/2”. [2000/4000] Illustrated 38 Biscuit Porcelain Figure of Louis Lazare Hoche, fourth quarter 19th century, Hoche, who rose to become a general in the French Revolution, is depicted in military garb holding his sword, and is identified on the plinth and incised with a Sevres type mark, h. 10‑14”. [200/400] 39 French Samson Biscuit Double Figure, fourth quarter 19th century, depicting a courting couple in 18th century costume with two sheep on a base edged in rococo scrollwork, with a tree in the rear, marked with blue crossed swords over an “S”, h. 10‑1/2”. [100/200]

45 Meissen “Lace” Porcelain Group of a Contemplative 18th-Century Lady of Fashion, fourth quarter 19th century, the figure holding a bible and seated next to a tabletop spinning wheel, the interior of the base with the underglaze blue crossed swords of Meissen and impressed and incised numerals underglaze, presented on a later elliptical walnut display stand, h. 7”, w. 7‑1/2”, d. 6”. [400/700] 46 Meissen Reticulated Porcelain Wine Bottle Trolley, third quarter 19th century, in the rococo taste, the porcelain wheels fitted to revolve, the base with the underglaze blue crossed swords of Meissen, h. 6‑1/2”, w. 4‑1/2”, l. 10”. [200/400] 47 Old Paris Jacob Petit Male Figure in 18th Century Costume, second quarter 19th century, finely detailed gilt on waist coat, and a tricorn hat, signed “JP” in underglaze blue, h. 12”. [150/300]

40 Large Meissen Blanc de Chine Porcelain Figure of a Louis XV Courtier, depicted standing in front of a scrolled garden pedestal, fourth quarter 19th century, the figure’s waistcoat, basket, proper right hand and the base adorned with relief floral sprays or grape clusters, h. 18‑1/2”. [500/800]

41 Impressive Jacob Petit-Style Garniture Vase, with rich gilt on a celeste blue ground decorating the serpentine body which rests on a raised base, the foot and neck trimmed in elaborate raised gilt scrollwork, with floral panel reserves on base, body and neck, the scrolled handles terminating in gilt lion’s heads, h. 19‑1/2”, w. 12‑1/2”, d. 6‑1/2”. [1200/1800] 42 Group of Four Porcelain Figures in 18th Century Costume, 19th century, the first pair depicting a male holding a racket and the female holding a lawn ball, each on a rococo molded stand, another depicting a couple standing on a single low stand and the last depicting a maiden holding sculpted flowers with a bocage of sculpted flowers on brass branches at her back, h. 5‑1/4” to 7‑1/2”. [150/300] 43 Continental Biscuit Porcelain Figural Clock, third quarter 19th century, the clock set in a drum carried by Cupid on a band of sculpted flowers, held aloft by sculpted clouds containing a pair of love birds, a quiver of arrows, a harp and a sheaf of music, on an associated glazed Old Limoges porcelain stand, of the same period, h. 18”, w. 16”, d. 8”. [2000/4000] Illustrated 44 Meissen “Lace” Porcelain Figure of a Seated Lady-ofFashion Tatting, ca. 1840, the reticulated base’s interior with incised and impressed underglaze numerals, the underglaze blue crossed swords of Meissen, and overglaze gray numeral “62”, h. 5‑1/4”, dia. 3‑1/4”. [400/700]

48 Louis XVI-Style Polychrome Bergere, mid‑20th century, the padded rectangular back within a molded frame, joined by closed padded foliate-carved arms to the cushioned seat, raised on tapering circular fluted legs ending in peg feet, h. 37‑1/2”. [400/700] 49 Louis XVI-Style Fruitwood and Elm Marble-Top Cabinet, early 20th century, the bowed breche d’arzo marble top above a case fitted with four frieze drawers, over two central cupboard doors, each with inlaid banding and corner ormolu accents, flanked to either side by two open bowed shelves, raised on tapering square legs ending in brass caps, the whole accented with ormolu mounts, h. 42‑1/2”, w. 80”, d. 24”. [1500/2500]

52 Pair of Continental Micro-Mosaic Picture Frames, first quarter 20th century, the dome-top rounded frames ornamented with reserve panels of pink, white and blue flowers surrounded by bleu celeste borders, with oval picture openings and the backs with brass easels, h. 3‑1/2” w. 2‑1/2”. [200/400] 53 Miniature Portrait on Ivory of a Lady, first quarter 20th century, painted in the 18th century style, depicted in a blue gown with a blue ribbon in her hair, the gilt-bronze frame molded with bowknots and roses, accompanied by a neoclassical revival gilt-bronze hanger of similar design, w. 3”, l. 7”. [200/400]

50 Louis XV-Style Kingwood Occasional Table, early 20th century, the shaped square top within an ormolu band and centered by a starburst inlay, above a conforming frieze fitted with a foliate pierced ormolu panel to each side, raised on slender cabriole legs headed by foliate mounts and ending in sabots, h. 30‑1/2”, w. 14‑1/4”, d. 14‑1/4”. [400/700] 51 Gilt-Bronze and Porcelain Mantle Clock, third quarter 19th century, in the Louis XVI taste, finely cast retaining its original fire-gilt surface, set with Sevres-style parcel-gilt rose pompadour plaques, the movement stamped, “JBD” for Jean-Baptiste Delettrez (French, 1816‑1887), the case stamped on the reverse: “40683” below an indistinct set of numerals: “__021”, presented on the original conforming giltwood base having in graphite the numerals: “40683” underneath, clock h. 11‑3/4”, w. 13‑1/2”, overall h. 13‑3/4”, w. 14‑3/4”. [1000/1500] Illustrated

54 Continental Portrait Miniature on Ivory of a Lady, first quarter 20th century, the lady depicted wearing a blue silk gown, and beside an open window, the gilt-bronze frame trimmed in roping with a bowknot on top, h. 4‑1/2”, w. 3”. [300/500] 55 Miniature Portrait on Ivory of a Gentleman, signed by Henri de Janvry (French, 1787‑1801), dated 1797, and active in England during this period, the monochromatic image depicting him in silhouette with a blue waistcoat, otherwise en grisaille, the gold locket frame with a back, h. 3‑1/4”, w. 2‑3/4”. [200/400] 56 French Fin de Siecle Portrait Miniature of Madame de Montespane, in a boullework frame, the mistress of Louis XIV, depicted in period costume leaning on an urn, h. 5‑1/2”, w. 5”. [100/200]

57 Pair of Miniature Portraits on Ivory of a Russian Officer and His Wife, second quarter 19th century, attributed to Alphonse de Labroue (French, 1792‑1863), the officer depicted in military uniform, a landscape in the background, his wife with a colorful hairstyle and with a white gown draped in a paisley shawl, framed in period engine-turned ormolu frames, h. 5‑1/4”, w. 4‑1/2”. [500/800] Illustrated 58 Continental Portrait Miniature of a Lady, fourth quarter 19th century, depicted wearing an empire gown, with a matching necklace and jeweled hairpiece, in a giltbronze frame with an engine-turned bezel crowed with pierced flowers and bowknots, with an easel back and signed, “Larry”, h. 3‑1/4”, w. 2‑1/2”. [200/400] 59 Porcelain Portrait Plaque of Charles X, second quarter 19th century, painted in an oval with gilt edges, portrayed wearing his medals, mounted in a 19th century French empire-style frame, h. 8‑1/4”, w. 7”. [200/400] Illustrated 60 French School Locket Portrait Miniature, fourth quarter 18th century, of a gentleman in military uniform, the gold case backed with woven hair overlaid with initials “LCB” now mounted as a brooch, h. 2”, w. 1‑5/8”. [150/300] 61 Miniature Landscape, Enhanced Print, early 20th century, set within a floral carved ivory frame, the panel signed, “Boucher” on the lower right, h. 5”, w. 5‑1/2”. [100/200]

62 Louis XVI-Style Kingwood and Marble-Top Tiered Occasional Table, late 19th century, the top circular tier with a full pierced brass gallery and inset Breche d’Aleps marble, joined by a paneled circular support to a likeshaped and galleried quarter-veneered top, raised on tapering square legs, h. 30‑1/2”, dia. 14‑1/2”. [300/500]

63 Louis XV-Style Kingwood Games Table, third quarter 19th century, the rectangular top banded and quarterveneered, hinged and opening to a baize-lined interior, above a conforming chevronveneered frieze fitted with two small drawers, raised on cabriole legs ending in sabots, h. 28”, w. 29”, d. 14”. [800/1200]

64 Louis XV-Style Kingwood Work Table, third quarter 19th century, the kidney-form top tri-paneled, the central section with parquetry inlay, hinged and with an easled back, above a case fitted with a central faux drawer over drawer, flanked to one side by a small swinging drawer and to the other by a small drawer, joined to a kidneyform quarter-veneered lower shelf by supports ending in splayed feet with sabots, the whole with parquetry and chevron veneers, h. 28‑1/2”, w. 18”, d. 13”. [800/1200] Illustrated 65 Louis XVI-Style Mahogany and Marquetry MarbleTop Secretaire Abattant, late 19th century, the rectangular Sainte Anne des Pyrennes marble top with projecting canted-corners, above a conforming case fitted with a single drawer over a drop-front opening to an inset leather writing surface and a variety of drawers and cubbyholes, over two cabinet doors, the whole with inlaid geometric marquetry patterns, raised on block feet, h. 54‑1/2”, w. 32”, d. 15‑1/2”. [1800/2500] 66 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”. [500/800]

67 Pair of Continental Blown and Engraved Decanters with Twelve Art Deco-Style Pieces of Stemware, the decanters, mid‑19th century, the pinched bodies engraved with sailing ships, windmills and scrollwork, the pressed stoppers reeded and ring decorated, h. 13”, dia. 3‑1/2”, together with ten wine glasses, supported on stacked-ball stems, h. 5”. [200/400]

69 70 Pair of Capodimonte Gilt-Brass-Mounted Porcelain Covered Garniture Vases, in the neoclassical style, c. 1900, the covers each with gilt-brass finials of upright pineapple form, the bodies with elaborately polychromed relief figural decoration of Amphitrite and her sea chariot, each with an underglaze blue crowned “N” mark on the interior of the foot, h. 18”. [300/500] 71 True Pair of Figural Louis-Philippe Candleholders, second quarter 19th century, French, the square base supporting an engine-turned round plinth capped with a dome, cupids perched on one foot and holding aloft a quiver, with a candle socket mounted on top, h. 12‑1/2”. [700/1000] 72 Waterbury Rococo Revival Carriage Clock, fourth quarter 19th century, clock is stamped, “Waterbury Clock Co.” on rear and several patent dates: May 6, 1890, November 11, 1890, December 23, 1890 and January 13, 1891, the case with a rococo-molded handle and applied rococo ornament on the corners, cornice and base, sitting on scroll feet, h. 5‑1/4”, w. 3‑1/2”, d. 3”. [125/250] 73 Pair of Meissen Garniture Urns, 1850‑1914, German, the urns with fluted feet and supporting the bodies with a yellow ground, mounted with double snake handles terminating at the egg-and-dart-molded rim, marked with crossed swords and a painters mark in underglaze blue, h. 15‑1/2”. [700/1000] Illustrated 74 Set of Twelve Limoges Cabinet Plates, first quarter 20th century, each hand painted with various fruits, and with richly decorated borders in dark cobalt ground with raised gilt fleur-de-lis borders, artist signed, dia. 10‑1/4”. [1200/1800] Illustrated

68 Auguste Moreau (French, 1834‑1917), fourth quarter 19th century, alabaster sculpture of two children reading, signed “Auguste Moreau”, the older child holds a picture book on her lap while a younger child looks on, h. 25”, w. 11”, d. 8‑1/2”. [2000/4000] Illustrated previous page 69 Large Carved Alabaster Figure of the Three Graces on a Conforming Marble Pedestal, fourth quarter 19th century, each of the three figures poised on one foot, draped in a chiton and holding hands, the two flanking figures crowning the third with a wreath, the ovoid base on a conforming fluted cavendish antique marble base, h. 38‑3/8”, w. 28‑3/4”, d. 10”, statue, overall h. 88‑3/4”. [8000/12000] Illustrated

75 Neoclassical-Style Giltwood Mirror in the Louis XVI Taste, the crest consists of molded laurel leaves encircling a lute and a horn, with molded bellflowers dropping down each side, the molded frame resting on three-part turned and molded giltwood feet, h. 39”, w. 24”. [700/1000] Illustrated 76 Pair of Gilt-Bronze Louis XVI-Style Two-Light Candelabras, fourth quarter 19th century, the fluted and leaf-molded base rising to support a central shaft terminating in a gilt-bronze flora, scrolled candle branches supporting beaded bobeches and leaf-molded cups mounted with electrified wax candles, h. 13‑3/4”. Provenance: French Antique Shop, New Orleans, Louisiana. [700/1000] 77 Manner of Eugene Henri Cauchois (French, 1850‑1911) “Floral Still Life with Pansies in a Green Vase”, oil on canvas, initialed lower left “E.H.C.”, 4‑1/4” x 7‑1/2”. Presented in a Beaux-Arts giltwood and gesso frame. [400/700] 79

78 Manner of Eugene Henri Cauchois (French, 1850‑1911) “Floral Still Life with Dasies and Poppies in a Terracotta Jar”, oil on canvas, initialed lower left “E.H.C.”, 4‑1/4” x 7‑1/2”. Presented in a Beaux-Arts giltwood and gesso frame. [400/700]

79 Marcel Dyf (French, 1899‑1985) ‘Fleur au Pot Chinois”, oil on canvas, signed lower right “Dyf”, label on the stretcher verso printed with the artist’s name, title and inventory number of work, 28‑3/4” x 23‑3/4”. Presented in a Louis XV style polychrome frame with a linen liner. Provenance: Purchase from The Newman Galleries, Philadelphia by the current consignor’s family. [7000/10000] Illustrated

80 Pair of Meissen Blue and White Lattice-Reticulated Porcelain Tiered Dessert Stands, first quarter 20th century, in “Blue Onion” decor, each example with a finial in the form of a child bearing a floral wreath or an apron of flowers, h. 16”, dia. 9‑3/4”. [700/1000] 74

84 detail

82 Pair of Rococo Urns in the Meissen Style, the campagna-form bodies hand painted with harbor scenes of fishermen, with terminating scroll handles, shell edged painted in red and green, both neck and cap pierced and painted with floral sprigs, now mounted as lamps on brass bases, h. 28”. [300/500]

81 Pair of Covered Porcelain Urns, 1882‑1918, German, made by New York and Rudostaldt Pottery and co-owned by Louis Straus of New York, the pale blue central ground decorated with cobalt and white flowers edged in raised gilt, the handles and upper applique with cobalt and gilt scrolled grounds decorated with lighter blue relief-molded masques, the covers molded and trimmed in gilt with pineapple brass finials, the fluted cobalt base raised on gilt paw feet molded with Foo Dogs, signed “RW” in a lozenge over “Rudostaldt”, h. 18‑1/2”, w. 9”, d. 7‑1/2”. [800/1200] Illustrated

83 After Michel Claude Clodion (French, 1738‑1814), diminutive pair of patinated bronze figures, one depicting a young boy carrying a kettle over his shoulders, the other of a girl dancing and playing music, h. 8”. [300/500]

84 Peter Carl Faberge 84 Zolotnik (.875) Silver and Nephrite Tea Kettle Trivet, 1882‑1898, St. Petersburg, workmaster Stephen Wakeva (1833‑1910), of octagonal form, the molded rim milled with leaf-anddart banding, with a conforming Siberian jade (nephrite) plateau, raised on four spherical feet, h. 1‑1/8”, w. 7”, 10.73 t. oz. (excluding nephrite). This trivet follows the traditional Russian form of two silver rings sandwiching an insulating plate - in this case dark but still translucent Siberian nephrite - and bolted together, here with the spherical feet acting as the locking nuts. Finnish-born Stephen Wakeva was a supplier of silver to Faberge from 1856, predominantly tea sets. This trivet was assuredly originally accompanied by a matching tea kettle, and perhaps was part of a full set. [3000/5000] Illustrated 85 Alexander III 84 Zolotnik (.875) Silver Gilt and Niello Spoon, marked Moscow, 1848, by E.E., with ovoid bowl, spiraled stem and “onion” finial, the back of the bowl engraved and nielloed, l. 5”, 0.83 t. oz. [75/125]

90 86 Russian Silvered Brass Samovar, ca. 1900, probably Tula, the conical body with shaped panels separated by broad gadroons, with openwork scroll handle mounts and branch, and tuned wooden handles, branch finial and strobile grips, with detachable crown plate, the whole raised on four thick hoofed feet, h. 20‑1/4”, w. 15”, d. 13”. [300/500]

87 Three Pieces of Antique Continental Small Silverware, including an 84 zolotnik (.875) silver shot cup, Kiev, by “G.R.”, fourth quarter 19th century, with flared rim and pricked decoration, h. 2‑1/4”, an unmarked sterling silver Eastern European wine goblet, 20th century, of thistle-form with wrigglework decoration, h. 5”, dia. 2‑1/2”, an unmarked and an unmarked Snuffbox, possibly mid‑18th century German, of cartouche form, decorated with rococo scenes and scrolling border, the interior gilt, w. 2‑3/8”, 4.37 t. oz. [100/200] 88 19th Century Polish 12 Lot (.750) Silver Standing Salt, second quarter 19th century, by Kazimierz Klimaszewski, Warsaw, of navette form with waisted rim, with a pair of ram’s head and anthemion-mounted handles and raised on a pair of addorsed dolphins on shells above and canted rectangular plinth base, the interior gilt h. 4”, l. 5‑1/4”, w. 2‑1/4”, 4.44 t. oz. [250/400] 89 Napoleon III First Standard (.950) Silver Punch Ladle, third quarter 19th century, Paris, by “LL”, in the traditional “Double Filet” (“Fiddle Thread”) pattern, with circular bowl, monogrammed on the reverse “CB”, l. 13”, 7.84 t. oz. [150/300] Illustrated 90 Pair of French Consular First Standard (.950) Silver Service Plates, marked Paris, 1798‑1809, by NicolasTheodore Cailliez (active 1800‑1806), of hexagonal serpentine-lobed form, with molded rim and recessed circular plateau, engraved on the rim with a laurelmantled shield-shaped cartouche monogrammed “SP”, dia. 10‑5/8”, 43.78 total t. oz. [2000/4000] Illustrated 91 Three Louis-Philippe First Standard (.950) Silver Tablespoons, marked Paris, 1819‑1838, one by Gabriel Duvivier (fl. 1830‑1855), the other two with rubbed maker’s marks, in the traditional “Double Filet” (“Fiddle Thread”) pattern, the Duvivier example monogrammed “Y”, the other two “PA”, l. 8”, 7.39 total t. oz. [150/300] Illustrated

93 French First Standard (.950) Silver Sugar Tongs, fourth quarter 19th century, the maker’s mark rubbed, the spatulate handle with opposing applied oval cartouches, with lion’s paw grips, monogrammed on the cartouches “ABB”, l. 6‑1/4”, 2.25 t. oz. [100/200] 94 Good Louis-Philippe First Standard (.950) Silver Sauciere-Sur-Plat, marked Paris, 1819‑1838, by Sixte-Simon Rion (active 1807‑1835), of batteau form, with milled rocaille rim and elaborate coquille-mounted acanthus-crested handle and raised on a gadroon-kopped oval foot with milled edge en suite, fixed to an oval stand with rocaille banding and raised on four leafy-mantled coquille scroll feet, h. 10”, l. 10‑1/2”, w. 6‑1/8”, 30.41 t. oz. [400/700] Illustrated

92 Napoleon III First Standard (.950) Silver Punch Ladle, third quarter 19th century, Paris, by Louis Patient Cottat & Fils, in the “Violon Filet” (“Fiddle Swell Thread”) pattern, with circular bowl, monogrammed on the reverse “MA”, l. 12‑3/4”, 8.74 t. oz. [150/300]

95 Five Assorted Pieces of Continental Eurpoean Silver Flatware, second quarter 19th century and later, including three French first standard (.950) silver “Fiddle Thread” forks, 1819‑1838, Paris, by Jean-Baptiste-Denis Landry, monogrammed “CL” or “CLM”, l. 8‑1/4”, a German 13 lot (.813) silver “Fiddle Swell” tablespoon, third quarter 19th century, monogrammed “DM” l. 8‑5/8”, and a German .800 silver “Fiddle Thread” dessert spoon, first quarter 20th century, Heilbronn, by P. Bruckmann & Sohne, monogrammed “IPM”, l. 6‑3/4” 12.09 total t. oz. [150/300]

107

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108

96 Assembled Three-Piece German-American Silver Swan Garniture Set, first quarter 20th century, comprising a large German .800 silver example, h. 10‑3/4”, l. 15‑1/4”, w. 5”, and a pair of small American sterling silver examples by S. Wyler, New York City New York, h. 5‑7/8”, l. 8‑1/2”, w. 4‑1/4”, each in the form of a realistically detailed swimming swan with moveable wings, fitted with a detachable brass liner, 87.38 total t. oz. (excluding liners). [6000/9000] Illustrated

103

97 German 13 Lot (.813) Silver Sandwich Serving Tongs, fourth quarter 19th century, by Koch & Bergfeld, Bremen, with a beaded handle, the spade-shaped blade pierced with quatrefoil latticework, with a spring-action upper blade pierced with scrollwork, l. 11”, filled. [75/125] 98 Set of Six Continental .800 Silver Teaspoons, second quarter 20th century, probably Italian, the openwork cast handles in the form of pine branches, l. 5‑5/8”, 4.11 total t. oz. [100/200] 99 Two German .800 Silver Historismus Sugar Baskets, first quarter 20th century, Hanau, including a large example, probably by Georg Roth, the inverted pear-shaped body with shaped rim and decorated with embossed and pierced rococo scrolls and shells on a lattice ground, with swing handle and raised on four feet en suite, the liner lacking, h. 5‑1/4” (10” with handle), dia. 5‑1/2”, and a smaller example by Storck & Sinsheimer, of similar form, with wavy rim and decorated with embossed and pierced floral swags on a lattice ground with opposing galants cartouches, with swing handle and integral waisted foot-ring, fitted with a conforming glass liner, h. 3‑1/4” (6” with handle), dia. 4‑1/4”, 15.11 total t. oz. (excluding liner). [200/400] 100 Two Pieces of European Revivalist Silverware, including an English sterling silver souvenir coronation spoon, hallmarked Birmingham, 1936‑1937, by Charles Edward Turner, l. 9‑3/4”, and a German .800 silver rococo-style tea strainer, first quarter 20th century, probably Hanau, dia. 3‑1/8”, 4.37 total t. oz. The spoon here is a replica of the 12th century original in the Crown Regalia. Its date of 1936‑1937 suggests that it was a souvenir of the planned coronation of Edward VIII which never took place; after Edward’s abdication in December 1936, his brother Albert was crowned George VI at the scheduled ceremony held on May 12, 1937. [75/125]

101 Pair of Continental .916 Silver Candlesticks, probably Spanish, third quarter 20th century, each with a tapering gadrooned standard with acathus calyx and cap, above a circular gadrooned foot and sumounted by an urn form nozzle en suite with fixed bobeche, h. 9‑18”, dia. 3‑1/4”, 7.91 total t. oz. (excluding detachable stabilizing plate on the underside) [150/300] 102 Pair of Spanish Sterling Silver Pheasant Table Garnitures, third quarter 20th century, Plateros Pasgorcy, Madrid, including a cock and hen, the birds realistically detailed, h. 3‑7/8”, l. 9”, 4.62 total t. oz. [400/700] 103 WMF Silvered Bronze and Nacre “Snail” Paperweight, first quarter 20th century, Wurttembergische Metallwarenfabrik, Geislingen, the finely detailed bronze gastropod in the WMF “antique silver” finish, the shell a polished turbo shell, h. 1‑1/2”, l. 4‑1/2”. [200/400] Illustrated 104 Large Dutch Second Standard (.833) Silver Buckle, 1894, Schoonhoven, by Cornelis Rietveld, in the aesthetic taste, decorated with a silver “cabochon”-centered spiderweb at the top and bottom, the sides with openwork imbrication and edged with silver “nuggets”, h. 4‑1/2”, w. 3‑1/4”, 2.89 t. oz. [75/125] 105 Belgian Second Standard (.835) Silver Gilt Modernist Sugar Basket, third quarter 20th century, by Wolfers Freres, Brussels, of oval form with everted rim, the domed foot with with opn “ribbon-ruff” banding, the fixed handle banded en suite and centering a pair of addorsed dolphins, h. 6”, l. 6‑1/4”, w. 4‑5/8”, 7.39 t. oz. [400/700] 106 Christofle Silveplate Fruit Bowl, 1932, Paris, of rounded rectangular form with slightly upswept ends and molded rim, above a squat waisted stem and conforming plinth raised on four cartouche scroll feet, h. 5‑3/4”, l. 12‑1/2”, w. 9‑3/4” [100/200] Illustrated 107 Georg Jensen Sterling Silver Platter, second quarter 20th century, Copenhagen, pattern number 210C, designed by Georg Jensen (1866‑1935), with the 1915‑1930 Jensen mark, of circular form with molded annulated rim, dia. 14”, 28.80 t. oz. [3000/5000] Illustrated 108 Good Italian .800 Silver Modernist Covered Vegetable Dish, third quarter 20th century, by Zaramelli Argenti, Padua, of rounded rectangular form with flat rim, the conforming domed lid with navtte ring handle, h. 5”, l. 13‑1/4”, w. 10‑3/4”, 46.43 t. oz. [2500/4000] Illustrated 109 Georg Jensen Ornamental Pattern #141 Sterling Silver Sauce Ladle, designed in 1912 by Georg Jensen (1866‑1935), Copenhagen, with the 1915‑1930 Jensen mark, l. 7‑3/4”, 2.44 t. oz. [250/400]

110 Georg Jensen Sterling Silver Gilt and Champleve Enamel Annual Spoon, 1971, designed by Rigmor Andersen and Annelise Bjorner, Copenhagen, the plain spatulate handle with white and green champleve enamel cherry blossom, l. 6”, 1.47 t. oz., complete with the original Jensen felt storage pouch, packaging and promotional brochures. This was the first of the “Spoon of the Year” annual series introduced by Georg Jensen in 1971. The spoons were designed by the female design partnership of Rigmor Andersen (1903‑1995) and Annelise Bjorner (b. 1932) and each year featured a different enameled flower. Andersen had studied under famed furniture designers Kaare Klint and Poul Henningson before becoming an instructor at the Royal Danish Academy of Fine Arts School of Furniture; Bjorner graduated from the Academy’s School of Architecture in 1952. The two women designed several suites of bedroom furniture in the 1960s, but were best known for the silverware they designed for the marriage of Crown Princess Margrethe in 1967, now known as the “Margrethe” pattern and for which they were awarded the Eckersberg Medal in 1968. [75/125] 111 Set of Six Norwegian Sterling Silver Gilt and Enamel Demitasse Spoons, third quarter 20th century, in the “Anitra” pattern, the handles each enameled in a different color of translucent enamel, l. 3‑3/4”, 1.73 total t. oz. (including enamel). [75/125] 112 Chinese Export Sterling Silver Porringer, first quarter 20th century, by C.J. & Co., of hemispherical form with plain concave-sided handle, decorated with engraved bamboo on a matte ground centering a circular cartouche engraved “Carol”, l. 5‑1/2”, dia. 4‑1/4”, 3.99 t. oz. [100/200] 113 Assembled Set of Four Peruvian Silver Repousse Beakers, 20th century, each of tapering cylindrical form, two decorated with a continuous scene of native people, cacti and llamas, and one with a continuous band of “carved” Inca figures, all by “GS”, h. 3‑3/4”, dia. 3‑1/8”, the fourth decorated with Inca pyramids, steps and meander lines, h. 4”, dia. 3‑3/8”, 14.79 total t. oz. [300/500] 114 Mexican Sterling Silver Novelty Shot Cup, third quarter 20th century, by Uxmal de Taxco, in the form of a large thimble and inscribed “Just a Thimbleful”, h. 1‑3/4”, dia. 1‑5/8”, 1.35 t. oz. By reputation, this cup was a gift to the consignor’s mother from Gen. James H. “Jimmy” Doolittle (1896‑1993). She was visiting Doolittle at his California home, where he chided her for refusing a drink from his lavishly stocked bar. He tried to entice her with “just a thimbleful” (a favorite phrase of his) from his collection of oversized silver thimble shot cups he had been given over the years. She declined again, but said that as she collected silver, she would gladly accept one of the cups; the General happily obliged. [60/90]

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115 Pair of Mexican Sterling Silver Salt Cellars and Spoons, third quarter 20th century, Taxco, the cellars of hemispheical form above a floraldomed foot en suite, the interior gilt, h. 1‑1/8”, dia. 1‑3/8”, the spoons with hemispherical bowls and up-pointed handle with incised rib, l. 1‑5/8”, 1.15 t. oz. [75/125]

119

116 Mexican Sterling Silver Service Plate, third quarter 20th century, of circular form, with applied scroll border and recessed plateau, dia. 11”, 23.66 t. oz. [300/500] 117 Mexican Sterling Silver Platter, mid‑20th century, by Plateria Maciel, Mexico City, of circular form, the rim decorated with repousse roses within a meander line, dia. 15‑1/2”, 46.29 t. oz. [800/1200] Illustrated 118 Tane Orfebres Sterling Silver Caster, third quarter 20th century, Mexico City, in the French taste, the pear shaped body and waisted cap decorated with spiral gadroons, with acorn finial and raised on four rococo scroll-crested pad feet, h. 7‑1/2”, dia. 2‑3/4”, 10.80 t. oz. [600/900] Illustrated

121

125 Three Persian Hamadan Carpets, 1’ x 2’5”, 2’ x 2’3”, and 2’ x 3’. [300/500]

124

119 Persian Serapi Carpet, 7’ x 10’. [2000/4000] Illustrated 120 Persian Hamadan Runner, 4’1” x 17’2”. [400/700]

129

126 Antique Persian Pictoral Tabriz Carpet, 9’4” x 11’4”. [3000/5000] Illustrated

121 Persian Serapi Carpet, 7’ x 10’. [2000/4000] Illustrated 122 Persian Mahal Carpet, 7’6” x 10’4”. [2000/4000]

127 Turkish Angora Oushak Carpet, 8’6” x 10’. [1200/1800]

123 Antique Aubusson Fragment, 5’9” x 8’10”. [800/1200]

128 Shiraz Carpet, 5’4” x 8’4”. [300/500]

124 Turkish Angora Oushak Carpet, 9’5” x 11’9”. [1400/1800] Illustrated

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

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130

134

136 131

132 Bokara Carpet, 3’1” x 4’10”. [300/500] 133 Uzbeck Kazak Runner, 3’2” x 10’2”. [250/400] 134 Agra Sultanabad Carpet, 11’ x 14’. [1500/2500] Illustrated 135 Antique Heriz Carpet, 7’ 9” x 10’ 6”. [1500/2500] Illustrated 136 Agra Sultanabad Carpet, 12’ x 15’. [2500/4000] Illustrated 137 Persian Qashqai Carpet, 5’5” x 8’2”. [1200/1800]

135 130 Turkish Angora Oushak Carpet, 8’2” x 10’. [1200/1800] Illustrated 131 19th Century Style Aubusson Carpet, 9’ x 12’. [3000/5000] Illustrated

142

138 SemiAntique Persian Tabriz Carpet, 11’2” x 16’8”. [2500/4000] Illustrated 139 Turkish Oushak Carpet, 9’ x 12’. [3000/5000] 140 Bakhtiari Carpet, 7’4” x 10’. [500/800] 141 Turkish Oushak Carpet, 10’ x 14’. [4000/7000] 142 Chinese Hammered Brass Jardiniere on Rosewood Stand, fourth quarter 19th century, the jardiniere having an applied ornamental border and foo lion handles with brass rings, the stand with pierced and carved aprons around a circular platform and raised on cabriole legs joined by scrolling stretchers, h. 38”, dia. 23”. [700/1000] Illustrated 143 Polished Bronze Jardiniere in the Japanese Taste, decorated with applied pine trees and swallows, with bamboo and mountains in the background, h. 12‑1/2”, dia. 14”. [100/200]

138

144 Pair of Japanese Carved and Lacquered Panel Insets, 19th century, each carved in high relief depicting a horned demon with flowing hair against a cloud background, the fierce demon faces with open mouths with exposed fangs and having mother-of-pearl inset eyes, h. 4‑3/8”, l. 7‑5/8”. [500/800]

147

145 Chinese Two-Color Lacquer Storage Box, 20th century, the circular box with fitted dome cover carved in black over cinnabar lacquer with a central scene of peonies and rockwork, the sides carved as scrolling vines, dia. 11‑7/8”. [700/1000] 146 Intricate Chinese Carved and Pierced Export Tortoiseshell Casket, 19th century, of rectangular outline with hinged lid and circular clasp, the top and side panels intricately carved and reticulated with continuous scenes of squirrels among dense grapevines, h. 2‑1/4”, d. 3‑1/4”, l. 4‑7/8”. [900/1200] Illustrated 151

147 Large Chinese Rosewood and Marble Table Screen, composed of a circular marble “Dream Stone” with patterned inclusions depicting mountains in mist and having a painted calligraphic inscription, framed in a conforming fretwork rosewood border resting atop a fretwork stand and base, the stand carved with a central medallion of a Shou character surrounded by five bats and foliate fretwork and flanked by geometric fretwork flanges topped by stylized dragon heads, h.32‑5/8”, d. 8‑1/4”, l. 17‑5/8”. [1400/1800] Illustrated 148 Chinese Rosewood Window Seat, late 19th century, the banded rectangular seat flanked to either end by a floral-and foliate-carved arm rest, above a like deeply-carved frieze, raised on plank legs, h. 24”, w. 26”, d. 15‑1/4”. [300/500] 149 Southeast Asian Rosewood Sidechair, early 20th century, the pierced and heavily carved back featuring dragon and cloud patterns, the banded wooden seat above a carved apron and raised on paneled square legs ending in paw feet, h. 39‑1/2” [200/400]

146

150 Chinese Export Carved Rosewood Curule Bench, 19th century, the body carved in relief with peaches, bamboo leaves and scrolling foliage, the upper and lower stretchers carved as sections of bamboo with fruiting vines, the wood stained overall to a near black finish, h. 21”, w. 28‑1/2”, d. 15”. [250/400]

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158

155 Unusual Circular Brass and Chinese Wooden Sculpture Storage Box, the circular brass body lined in black felt, the cover mounted with a carved wooden Chinese ventilator panel in high relief with figures among pine trees, dia. 13‑3/8”. [300/500] 156 Unusual Chinese Carved Soapstone Seal, 19th century, of squared rectangular form with the top carved as two flattened sea rays among waves at the top, the stone a mottled green and brown, an engraved signature on one side, the base carved with a seal, h. 4”. [300/500] Illustrated

164

157 Good Chinese Soushan Stone Miniature Scholar’s Mountain, 19th century, the bright orange-colored stone in the shape of a single mountain peak carved with delicate low relief decoration of two seated scholars on a rocky outcrop under a prunus tree with rocky peaks and pavilions continuing around the other side, fitted later wood stand, h. 2‑3/4”, including stand. [500/800] Illustrated 158 Chinese Carved Soapstone Scroll/Paper Weight, 19th century, the stone of green and brown color, carved in the round with open work as three goats centered by a yin-yang disk emitting vapors, dia. 3”. [250/400] Illustrated

151 Unusual Chinese Carved Rosewood Brush Pot, 19th century, carved in the form of two cupped lotus leaves, the body carved and undercut in high relief as two immortals on a lotus leaf, lotus stems, buds and seed pods, all above a border of cresting waves, h. 8‑5/8”. [1200/1800] Illustrated 152 Chinese Black Glazed Floral Arrangement Bowl, 20th century, the low in-curved stoneware body glazed in black with blue feathering and having the figure of a water buffalo at its center, h. 9”. [150/300] 153 Group of Three Chinese Carved Archaic-Style Jades, composed of the dark green figure of a recumbent kylin and two black stone figures of pairs of Mandarin ducks facing in opposite directions, l. 2‑1/2” to 2‑3/4”. [125/250] 154 Chinese Dark Green Jade Carved Seal, of rectangularform, the top carved in the round with two confronting Buddhistic lions both with a forepaw vying for a ball, the front with engraved characters, the base with a seal, the stone of dark green Siberian jade, l. 3”. [200/400]

159 Chinese Framed Reserve Painting on Glass, first half 20th century, the painting depicting a young boy seated at a low table being served by an attendant, black and gold painted frame, h. 16‑1/2”, w. 12‑1/2”. [200/400]

160 Two Framed Japanese Paintings on Paper, one depicting a seated official in court dress, the other depicting a geisha in a brocade kimono, each with a calligraphy in the top section, matted and having black painted frames, h. 12‑3/8”, w. 9‑7/8”. [50/80] 161 Good Pair of Chinese Carved Zitan Scroll Weights, each in fine grained dense purple sandalwood carved as a tree branch with high relief carving of a squirrel clamoring down a grapevine with a cluster of grapes, fine, detailed carving, l. 10‑7/8”. [600/900] 162 Subtle Chinese Carved Zitan Wrist Rest, carved in outline as a section of bamboo, the surface with engraved decoration of a stem of bamboo and a cluster of bamboo foliage along with a twelve-character poem, w. 2‑1/2”, l. 10‑1/4”. [250/400]

163 Good Chinese Bamboo and Rosewood Wrist Rest, first quarter 20th century, composed of a bowed section of bamboo bound in a border of rosewood, the bamboo carved in low relief with an elaborate scene of figures in a lakeside panorama with pavilions, a bridge, a walled compound with a pagoda, a mountainous peak in the distance and a calligraphic inscription, w. 3‑7/8”, l. 10”. [300/500]

169 Three-Piece Polychrome Parlor Suite, in the chinoiserie taste, consisting of a table and two sidechairs, the circular table with an elaborate gilt and polychrome figural landscape, raised on four square legs joined by a pierced X-form stretcher, the chairs each with a domed back above a pierced splat with a like landscape, the padded seat raised on square legs joined by an H-form stretcher and ending in block feet, h. 30”, dia. 30”, table, h. 39‑1/2”, chairs. [300/500] 170 George III-Style Polychrome Vitrine, in the chinoiserie taste, the rectangular top with a pagoda-form backpiece, above a case fitted with a single astragal-glazed door, the sides also glazed, raised on square legs ending in molded feet, the whole with gilt and polychrome accents in the chinoiserie taste, h. 70‑3/4”, w. 26‑1/2”, d. 14‑1/2”. [200/400]

164 Two Chinese Mineral Trees in Serpentine Pots, late 19th century, each modeled as a weeping prunus tree, one with coral petaled flowers, the other in turquoise petaled flowers, both in rectangular mottled green serpentine pots, h. 9‑3/8” to 12”. [1200/1800] Illustrated

172

165 Chinese Wood, Brass and Jade Opium Pipe, 20th century, the shaped wooden body with white brass mounts and having green jade mouthpiece, stopper and removable bowl for the opium ball, l. 19‑3/4”. [150/300] 171

166 Unusual Well-Modeled Japanese Pottery Figure of a Lady, Meiji Period (1868‑1912), the figure realistically modeled as the seated figure of a lady clad in an informal kimono with engraved details on the brocade pattern of the kimono’s fabric, beautifully executed, h. 5‑3/4”. [400/700] 167 Chinese Carved Boxwood Ruyi Scepter, first half 20th century, the blond wood body with arched staff having a lingchih head carved with a lotus plant springing from an open basket, a dwarfed pomegranate tree on the shaft and a bat at the terminal, l. 12‑1/2”. [400/700] 168 Chinese Engraved Yixing Covered Tea Pot, 20th century, the unglazed brown body of flattened circular shape with handle, spout and cover, the upper body with engraved calligraphy, the base with impressed seal, l. 7‑3/4”. [300/500]

171 Good George III Mahogany Tall Case Clock, fourth quarter 18th century, the silvered brass face engraved “Adam Travers-London”, the hood with a broken arch pediment and foliate rosettes above a frieze with scrollcut grillwork, fluted columns above and quarter columns below, the mid-molding floral and ribbon carved, the ogee bracket feet gadrooned and the movement featuring time and strike with calendar date, h. 95‑1/2”, w. 23”, d. 11”. [2500/4000] Illustrated 172 Elaborate Gilt-Brass Girandole Mirror in the Chinese Chippendale Taste, early 20th century, the crest featuring a winged angel beneath a reticulated cartouche, the lower portion fitted with four candle arms, h. 26”, w. 13”. [400/700] Illustrated

173 George III-Style Mahogany Gainsborough Chair, 19th century, the padded,domed and tufted back joined to the like-seat by padded fret-carved arms, raised on fret-carved square legs joined by an open-work H-form stretcher, h. 41‑1/2”. [400/700]

178

174 George III-Style Hanging Shelf, in the Chinese Chippendale taste, fitted with four open shelves joined by pierced fret side supports, with two small drawers below, h. 43‑1/2”, w. 25‑1/2”, d. 7”. [300/500] 175 George III-style Mahogany Tea Table, in the Chinese Chippendale taste, the rectangular top with a raised edge and above a conforming blind fret-carved frieze, raised on cabriole legs headed by foliate carving and ending in ball and claw feet, h. 26‑1/2”, w. 27”, d. 17‑1/2”. [500/800] 176 George III-Style Mahogany Tripod Table, third quarter 19th century, the tilting circular top with a pie-crust edge, raised on a turned columnar standard to three splayed legs ending in pad feet, h. 29”, dia. 23”. [800/1200] 177 English Neoclassical-Style Giltwood Wall Bracket, the serpentine shelf supported by acanthus leaves rising from an inverted pinecone finial, h. 16”, w. 14‑1/2”, d. 9”. [300/500] 178 Four Folio Volumes Depicting the Treasures of the Louvre, present in the collection prior to 1815, quarter Moroccan binding over cloth boards, each plate accompanied by text in English and French, each with gilt edges, including; Vol 1, Ecole Italia: “Le Musee Francais Recueil De 343 Planches D’apres les plus Beaux Tableaux it plus Belles Statues Qui Existaient Au Louvre Avant 1815 publisher: W. Galignani Paris, and Joseph Ogle Robinson, Londres, 14th edition”; with copper engravings depicting epic Italian paintings, 79 plates; Volume II, “Ecole Allemande”, Vol III, “Ecole Francaise”, and Volume IV, “Statue” each with a title page: “Musee Francais Recueil des plus Beaux Tablezux, Statues, et Bas-Reliefs qui Existaient au Louvre Avant 1815, avec L’Explication des sujets, et des Discours Historiques sur La Peinture, La Sculpture, et la Gravure Par Duchesne Aine; plublished by W Galignani, Paris, and J.O. Roginson, Londres”; Volume II, depicts paintings of the German tradition and includes 121 plates; Volume III, French paintings depicted in 61 plates, preceded by 94 pages of explanatory text including some smaller engravings, and Volume IV illustrates statues in 94 plates with copper engravings and explanatory test, 23‑1/2” x 17‑3/4”. [400/700] Illustrated

179 Four Illustrated Folio Volumes Depicting the Art Treasures of Florence, the bindings quarter Moroccan over marbleized boards containing the “Tableaux, Statues, Bas-Reliefs et Camees, de la Galerie de Florence et du Palais Pitti”, Mongez, Antoine (1747‑1835), a complete set depicting the art treasures of Florence, together with descriptive text, most pages with two copper engravings with explanatory text on the facing page, the title on the preceding page, Vol 1: publisher Chez Lascombe, Paris, 1789 49 plates; Vol 2: Chez L.J. Masquilier, 1805, 48 plates; Vol 3: Chez L.J. Masquelier, Paris 180246 plates; Vol 4; Chez L.J. Masquelier, 1807 56 plates; each 21‑1/4” x 14”. [400/700] 180 Folio Volume in Quarter Moroccan Over Marbleized Boards, containing, “The Works of William Hogarth”, from the original plates restored by James Heath, with the addition of many subjects not before collected, to which are prefixed, a biographical essay on the genius and productions of Hogarth, and explanations of the subjects of the plates, by John Nichols, Hogarth, William (1697‑1764), Thomas Cook (1744‑1818), engraver, printed for Baldwin, Cradock and Joh, Paternoster Row by Nicols and Son, Parliament Street, London, 1822, this printing c. 1837, including: a nine page biographical essay, thirty-four pages of explanatory text concerning the plates, two full page engravings of Hogarth; 114 bound engraved plates depicting Hogarth’s most noteworthy works, and three suppressed risque plates in a hidden pocket at the rear of the folio, gilt edges, 26” x 20”. [200/400]

181

181 Fine George III-Style Figured Mahogany Writing Desk, fourth quarter 19th century, after a design by Thomas Chippendale (1718‑1779), having a pierced fretwork gallery above a highly figured writing surface, the front frieze fitted with three side-by-side drawers with blind fretwork fronts, raised on tall cabriole legs ending in ball-and-claw feet, h. 31”, w. 50”, d. 25”. [1000/1500] Illustrated

182

182 Suite of Eight George III-Style Polychrome Dining Chairs, mid‑20th century, consisting of two armchairs and six sidechairs, each with a shaped and earred crest above a pierced splat, the padded seat raised on cabriole legs headed by foliate carving and ending in ball-andclaw feet, the whole with polychrome and gesso figural accents in the chinoiserie taste, h. 38”. [800/1200] Illustrated 183 Pair of George III Mahogany Armchairs, early 19th century, each with an earred and shaped crest above an elaborately pierced and interlacing splat, joined by shaped arms to the slip-in seat, raised on cabriole legs headed by foliate carving and ending in ball and claw feet, h. 41‑1/2”. [250/400]

184

188

189

184 George II Walnut-Veneer and Parcel-Gilt Looking Glass, third quarter 18th century, retaining the beveled mercury mirror plate, the pedimented-crest ornamented with a gilt mask set on a shell in the baroque taste, the swan’s neck pediment and draped side ornaments are lined with gilt egg-and-dart molding, h. 51”, w. 27”. [2500/4000] Illustrated

190

185 Pair of George III-Style Mahogany Sidechairs, early 20th century, each with a shaped crest above a pierced splat, the padded seat raised on cabriole legs ending in ball and claw feet, h. 39”. [400/700]

186 Interesting George III Mahogany Tilt-Top “Wine Tasting” Table, second quarter 18th century and later, the circular top with in-cut notches for hanging stemware and a central gallery for wine bottles and decanters, h. 30‑1/2”, dia. 31”. [500/800] 187 Pair of George III-Style Mahogany Armchairs, early 20th century, marked “D.F.”, each with a pagoda-form crest centered by a carved foliate monogram medallion over a pierced and interlacing splat, joined by reeded arms to the padded seat, raised on cabriole legs headed by foliate carving and ending in paw feet, h. 41”. These chairs were purportedly the property of Douglas Fairbanks, Jr. [1200/1800]

192

188 James Ramsey (British, 1786‑1854) “Portrait of George Lambert”, oil on canvas, signed and dated “Ramsey pict 1810”, inscribed in pencil on the reverse “George Lambert Son of John and Mary Lambert.” 30‑1/2” x 25”. Presented in an ebonized frame with a giltwood liner, reverse frame etched with a “Grundy & Smith, Manchester” label. [2000/4000] Illustrated

191

189 George III Mahogany and Marble-Top Side Table, late 18th century, the rectangular Sainte Anne des Pyrennes marble top with molded edge, above a plain frieze, raised on cabriole legs ending in pad feet, h. 33‑1/2”, w. 52‑1/2”, d. 26‑1/2”. [2000/4000] Illustrated

190 Georgian Cut-Glass Rococo Chandelier, 18th century and later, the chandelier with a total of twelve lights, the lower tier with eight lights, and the upper tier with four lights alternating with arms holding cut glass spires, the stem made of nesting sections crowned with a cut-glass canopy, both arms and spires fitted with slip-over bobeches hung with prisms, h. 44”, dia. 26”. Provenance: Manheim Galleries, New Orleans, Louisiana. [1400/1800] Illustrated

191 George III Mahogany Side Table, fourth quarter 18th century, the rounded, rectangular top with molded edge above a plain frieze fitted with a single drawer, raised on square legs headed by a fret-carved corner bracket and ending in block feet, A nearly identical table with similar corner brackets is illustrated in Thomas Chippendale’s Director, plate LVI, h. 31”, w. 60‑1/2”, d. 25‑1/2”. Provenance: Herbert Schiffer Antiques, West Chester County, Pennsylvania. [1800/2500] Illustrated

193

192 George III Mahogany Chest-on-Chest, fourth quarter 18th century, the molded cornice above a case fitted with two short drawers over three long graduated drawers, the lower section fitted with three long graduated drawers, raised on tall shaped bracket feet, Provenance: Herbert Schiffer Antiques, West Chester PA h. 72‑1/2”, w. 41”, d. 19‑3/4”. [2000/4000] Illustrated 195 193 Georgian Mahogany Tallcase Clock, fourth quarter 18th century, the bonnet fitted with a swan-neck pediment and brass finials with glazed door over a finely engraved brass face by James Nemess, Johnshaven, Scotland, the case with a flame-mahogany door over a plinth base with a fine line onf inlay over bracket feet, h. 85”, w, 18”, d. 8”. [2000/4000] Illustrated 194 George III Mahogany Bachelor’s Chest, fourth quarter 18th century, the rectangular top with a rounded and molded edge above a case fitted with a brushing slide over three long graduated drawers, flanked to either side by reeded canted uprights, raised on shaped bracket feet, h. 36”, w. 33‑1/2”, d. 22”. [1000/1500] Illustrated

194

195 British School (First Quarter 19th Century) “Portrait of a Lady in White Holding a Music Sheet”, oil on canvas, unsigned, verso stretcher with a “Frost and Reed” label with a stock number, 30” x 25”. Presented in a Louis XV style giltwood and gesso frame. [2000/4000] Illustrated

196 James John Hill (British, 1811‑1882) “Mother with a Sleeping Child”, hand-colored lithograph, signed lower right “J.J. Hill”, sight 24” x 20”. Glazed and framed. [250/400] 197 George III Fruitwood Corner Chair, late 18th century, the rounded and stepped crest above two vasiform splats, the padded square seat raised on square legs joined by an X-form stretcher, h. 31”. [300/500] 198 George III Mahogany Tripod Table, fourth quarter 18th century and later, the tilting circular top raised on a turned and spiral fluted columnar standard to three splayed cabriole legs ending in pad feet, h. 28‑1/2”, dia. 29”. [500/800] 199 George III Mahogany Tripod Table, fourth quarter 18th century and later, the tilting circular top raised on a turned and spiral fluted columnar standard to three splayed cabriole legs ending in pad feet, h. 28‑1/2”, dia. 30”. [500/800] 200 Parcel-Gilt Colonial Revival Mahogany Looking Glass, in the Chippendale taste, the rectangular plate surmounted by a broken swan’s neck crest centered by an urn finial issuing a floral spray over a frieze with an inlaid eagle oval panel, surrounded by a molded frame with side applied foliate garlands, with a shaped pendant below, h. 61”, w. 24”. [200/400] 201 George III-Style Mahogany Pembroke Table, 19th century, the rectangular top with a two like-leaves, above a frieze fitted with a single drawer, raised on chamfered square legs, h. 28”, w. 33‑1/2”, d. 18‑1/2”, ext. l. 37”. [500/900] 202 George III-Style Mahogany Arm Chair, late 19th century, the shaped and earred crest above the pierced and interlacing foliate-carved splat, joined by slender scrolling arms to the padded seat, raised on chamfered legs joined by an H-form stretcher, h. 38‑1/2”. [200/400] 203 George III Mahogany Bedside Commode, late 18th century, the rounded square top with raised gallery and pierced handles above a case fitted with two cupboard doors, over a pull-out basin well faced as two drawers, the whole raised on square legs, h. 30‑1/2”, w. 20‑1/2”, d. 18‑1/2”. [500/800] 204 Sheraton-Style Mahogany Four Post Canopy Bed, early 20th century, with turned and fluted posts with flame finials mounted to blocked bases, the plank headboard with scalloped top and sides, the canopy with a pleated sunburst in yellow silk, h. 95‑1/2”, w. 61”, l. 84”. [800/1200] Illustrated

204

205 George III Mahogany Bedside Commode, fourth quarter 18th century, the narrow rectangular top with three-quarter raised shaped gallery and pierced handles, above a conforming case fitted with two banded cupboard doors over a pull-out drawer, now fitted with an inset leather surface, raised on square legs, h. 31”, w. 22”, d. 12”. [400/700] 206 George III Mahogany Chest, early 19th century, the rectangular top with molded edge above a case fitted with two short drawers, flanked to either side by a fluted pilaster, raised on shaped bracket feet, h. 41‑1/2”, w. 41‑1/2”, d. 21”. [800/1200] 207 George III-Style Mahogany Bedside Commode, partially composed of antique elements, the rectangular top hinged and opening to a storage space over a case fitted with two faux drawers over two cupboard doors, raised on splayed feet, h. 28”, w. 23”, d. 18”. [500/800] 208 Miniature Portrait of a General, Enhanced Print, early 20th century, the oval portrait set within an octagonal ivory frame, the portrait signed, “Abbott” on the center right, h. 5‑1/2”, w. 5”. [100/200] 209 Miniature Portrait on Panel of a Young Lady, early 20th century, the oval portrait recessed within an ivory sunburst liner and rosewood frame, the portrait signed, “Weber” on the center left, h. 4‑1/2”, w. 4”. [100/200]

214 Taj Mahal Miniature on Ivory, third quarter 19th century, in a period gold locket frame, now mounted as a brooch, the polychrome view executed with great attention to detail, h. 2‑1/4”, w. 2‑3/4”. [150/300] 215 English Framed Needlework Picture, first quarter 19th century, stitched on a painted silk background, depicting a woman standing in her garden at the foot of a pond and holding a blossom and a pair of sheers, h. 10‑1/4”, w. 13‑1/4”. [300/500] Illustrated 216 George III-Style Mahogany Wing Chair, the domed and padded back joined by shaped sides and outscrolled arms to the cushioned seat, raised on molded square legs joined by an H-form stretcher, h. 43”. [200/400]

223 210 Pair of Miniature Portraits on Ivory, fourth quarter 19th century, one depicting a young lady in a blue dress and the other of a young lady in a lace dress with flowers in her hair, the latter signed, “Weber” on the lower right, h. 6‑1/2”, w. 5‑1/2”. [300/500]

212

211 Lithograph of a Gentleman, second quarter 19th century, depicted wearing a brown waistcoat and a cravat, on a stippled blue and pink ground, mounted in an ebonized oval frame, h. 4‑1/2”, w. 4”. [50/80] 212 Good Miniature Portrait of an Unknown Gentleman, fourth quarter 18th century, attributed to Richard Crosse (1742‑1810), depicted in a landscape and set in a gold locket frame with plaited hair, initialed “HHT” on rear, h. 3”, w. 2‑3/4”. According to Daphne Foskett in British Portrait Miniatures, he was a deaf mute. He used a peculiar greenish-blue tine which is visible in the shading of the face and often on the hair and in the background. His flesh colors were fugitive. [200/400] Illustrated 213 Lady Ann Beresford Portrait Miniature on Ivory, shown in a white empire waist gown against a stippled blue background, in a later ivory frame with incised decoration, signed, “J. Thirtle 1809”, h. 7”, w. 6”. [300/500] 215

217 George III-Style Mahogany and Upholstered Sofa, 20th century, the domed, padded and tufted back joined by outscrolled arms to the like seat, raised on molded square legs joined by stretchers, h. 37”, d. 34”, l. 87”. [800/1200] 218 Pair of George IIIStyle Giltwood Looking Glasses, late 19th century, in the Adam taste, each with an oval plate surmounted by an urn and foliate garland crest and surrounded by a molded and annulated frame with applied fronds, with a pierced scrolling acanthine crest, h. 55‑1/2”, w. 28”. [500/800]

223 Hepplewhite Mahogany-and-String-Inlaid Bow-Fronted Hanging Corner Cabinet, early 19th century, the top with a molded cornice above an inlaid frieze with a central urn with flowers, above a pair of long doors with brass “H” hinges, h. 44‑1/2”, w. 28”, d. 18”. [600/900] Illustrated 224 George III Mahogany Armchair, first quarter 19th century, the shaped crest above three like-shaped ladderback splats, joined to the padded seat by outscrolled arms, raised on square legs joined by an H-form stretcher, h. 37”, w. 24‑1/2”, d. 23‑1/2”. [250/400] 225 George III-Style Mahogany Pembroke Table, late 19th century, the banded and rounded top with two like drop leaves, above a frieze fitted with a drawer to one end and a faux drawer to the other, raised on tapering square legs ending in brass caps and casters, h. 28‑1/2”, w. 29‑1/4”, d. 18”, ext. l. 37”. [600/900]

219 Georgian-Style Stained Green Tea Caddy, first quarter 20th century, the rectangular caddy veneered in figured 226 lightwood stained green and outlined with inlaid chevron pattern borders of green, black and lightwood, the top inlaid with a lightwood oval surrounded by inlaid dots and a green banding, the inside fitted with a lid, h. 4‑1/4”, w. 5”, d. 3‑1/2”. [100/200] 220 Group of Three Gold and Silver Plated Walking Sticks, late 19th century, including two with gold plated handgrips and finely chased details, together with a silver-plated example in floral repousse decor, h. 34‑1/2” to 36‑1/2”. [150/300]

227

221 Cased Set of Georgian Silver Alloy, Steel and Paste Shoe Buckles, 18th century, including two large and two small buckles, each of rectangular form with inset fluted panels flanked by rows of faceted paste, the large pair 3‑1/8” x 1‑7/8”, the small pair 1‑1/2” x 1‑3/4”, presented in the lower half of the original fitted leather-covered wooden box, 4” x 5‑1/4”. [200/400] 222 Tortoiseshell Handle Magnifying Glass, the glass held by a round brass bezel and attached to the long tortoise handle with a decorative turned and stamped brass collar, w. 4”, l. 12‑1/2”. [100/200]

231

234

236

232 George III Mahogany Side Table, first quarter 19th century, the rectangular top with inlaid string banding above a frieze fitted with two short drawers over a single long drawer, raised on tapering square legs, h. 33”, w. 31‑3/4”, d. 17‑1/2”. [300/500] 233 Pair of George III-Style Mahogany Master and Lady’s Arm Chairs, early‑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. 35”. [400/700] 234 Large Chinese Carved Ivory Figure of a Buddhistic Lion, 20th century, the fierce figure standing on an oval base surrounded by cubs with curled mane and feathered tail, h. 12‑1/2”. [1200/1800] Illustrated

235 226 William IV Inlaid Mahogany Barometer, second quarter 19th century, signed, “D Fagioli Cleren Well”, the mahogany wheel barometer with a patera inlaid mahogany case with a silvered dial, thermometer, hydrometer, and ebony ringed mirror, along with the silvered primary dial, h. 43‑1/2”, w. 12‑3/4”. [400/700] Illustrated 227 After Sir Thomas Lawrence (British, 1769‑1830) “Portrait of Sir Henry William Paget, First Marquess of Anglesey and Second Earl of Uxbridge”, oil on canvas, unsigned, fourth quarter 19th century, retaining a partial “Victorian Exhibition, 1891‑2” label on the reverse stretcher, as well as a inkinscribed label detailing the exhibition history of the original painting, 31" x 26" Presented in a period giltwood and gesso exhibition frame. [3000/5000] Illustrated 228 George III Inlaid Mahogany Tall Case Clock, fourth quarter 18th century, the painted face with parcel-gilt details and painted birds in each corner, the dial signed “Tho Dumbell-Rockdale”, the case with an inlaid snail in the frieze of the broken arch pediment, and with string-inlaid details, raised on ogee bracket feet, the movement featuring time, strike and calendar date, h. 94”, w. 23”, d. 9‑1/2”. [1200/1800] 229 George III-Style Mahogany Wing Chair, early 20th century, the padded domed back and shaped arms joined to the cushioned seat by outscrolled arms, raised on stop-fluted square legs joined by an H-form stretcher, h. 46”. [300/500] 230 George III-Style Mahogany Wing Chair, early 20th century, the padded and domed back joined by shaped sides and outscrolled arms to the cushioned seat, raised on square stop-fluted legs joined by an H-form stretcher, h. 46”. [300/500] 231 George III-Style Mahogany Partner’s Desk, early 20th century, the rounded rectangular top with molded edge and inset leather writing surface, above a frieze fitted with three drawers to each side, raised on two pedestals, each fitted with three graduated drawers to one side and a paneled cupboard door to the other, raised on plinth bases on casters, h. 31”, w. 60”, d. 41‑1/2”. [600/900] Illustrated

235 Chinese Carved Ivory Group of Buddhistic Lions, 20th century, carved as two adult lions playing with a brocade ball and accompanied by three cubs, fitted wooden base, l. 8‑1/2”. [1000/1500] Illustrated 236 Pair of Chinese Carved Ivory Imperial Lions, 20th century, each modeled after bronze statues in the Imperial City, the male and female standing on brocade covered plinth bases, fitted wooden stand, h. 7‑3/4”, including stands. [800/1200] Illustrated 242

237 Three Japanese Carved Ivory Netsuke, 20th century, each carved as the figure of a shi-shi, one clutching two openwork balls, one clutching a solid ball and one in a contorted figure with its rear legs over its head, h. 1‑3/8” to 1‑5/8”. [300/500]

244

243

238 Group of Four Japanese Carved Netsuke, 20th century, each carved with shi-shi, one holding a ball, one flattened in a prone position, one playing a drum and one a child holding a shi-shi doll. [300/500] 239 Group of Four Japanese Carved Ivory Netsuke, 20th century, each carved as a shi-shi, one a man wearing a shi-shi costume, one a curled up shi-shi, one a fierce shishi with curly hair and one a group of two shi-shi with a brocade ball, h. 1‑1/8” to 2”. [400/700] 240 Group of Four Japanese Ivory Netsuke, 20th century, three carved as shi-shi in various positions and one carved as a shi-shi seated with a partially robed monk, h. 1” to 2”. [300/500]

245

241 Group of Four Japanese Carved Ivory Netsuke, 20th century, each carved as a figure of a shi-shi, one holding a solid ball, one seated on its haunches with back-turned head, one holding an openwork ball and one with open mouth and raised rear legs, h. 1” to 1‑1/2”. [300/500] 242 Elaborate Chinese Covered Ivory Vase, 20th century, the cylindrical body on three-claw feet with extended dragon ring handles and covered lid with dragon rings and two Foo Dog finials, the body intricately carved with panels of dragons among clouds, fitted wooden stand, h. 20‑1/2”, including stand. [2500/4000] Illustrated

251

243 Chinese Carved Ivory Small Covered Incense Burner, 20th century, the carved bulbous body on three lion headed feet and having flared strap handles with loose rings, the conforming top with lion head ring handles and Foo Dog finials, h. 6‑3/8”. [400/700] Illustrated 244 Chinese Carved Ivory Model of a Wine Ewer, first half 20th century, composed of a hexagonal body with tubular base, dragon handle, dragon spout, beehive shaped neck and domed cover, carved in intricate detail with dragons among clouds and a brocade patterned top , h. 14‑3/8”. [700/1000] Illustrated 245 Large Chinese Carved Ivory Figure of Guanyin, 20th century, the figure of the goddess seated on a Buddhistic lion holding a ruyi scepter and having a flaming halo, carved wooden stand, h. 15‑1/2”. [1000/1500] Illustrated

246 Two Chinese Carved Ivory Figures of Imperial Foo Dogs, 20th century, each carved after bronze statues in the Imperial City, each seated on its haunches with inked details and attached to wooden bases, h. 2‑1/2” to 3‑3/8”. [300/500]

256 Chinoiserie-Style Ebonized Cocktail Table, mid‑20th century, the rectangular top bi-paneled, each panel within a floral-carved border and with an applied bone and mother-ofpearl avian branch design, raised on molded square legs, h. 19”, w/ 55‑1/2”, d. 18”. [300/500]

247 Chinese Two Panel Folding Screen, mid‑20th century, having pierced carved crests with birds and the panels bone-carved applied birds perched on branches, the exterior depicting a simple painted landscape, h. 71”, w. 62”. [200/400]

257 Contemporary Ebonized End Table, in the form of a Chinese money box, of tapering square form, the top bisected and opening to a storage interior, the body with double brass banding and carrying handles, h. 16”, w. 19”, d. 19”. [200/400]

248 Pair of Chinese Carved Ivory Buddhistic Lions, 20th century, carved as male and female lions seated on their haunches, the male with a front foot on a ball, the female with a cub, fitted wooden stands, h. 5”, including stands. [400/700] 249 Chinese Carved and Stained Buddhistic Lion, 20th century, the figure of a male lion with ball on a draped plinth base and having black stained details, carved wooden stand, h. 8‑1/2”, including stand. [300/500] 250 Near Pair of Chinese Carved Ivory Covered Vases, 20th century, each of pear shape with lion ring handles and relief carving of dragons, fitted covers with Foo Dog finials, wooden stands, h. 6‑3/8”, including stands. [300/500] 251 Pair of Chinese Carved Ivory Figures of an Imperial Pair, 20th century, carved as figures of an emperor and empress in brocade court robes, the emperor with a sword, the empress with a scepter, wooden stands with silver wire inlay, h. 16‑1/2”. [1500/2500] Illustrated 252 Elaborate Chinese Carved Ivory Pendant, first quarter 20th century, of oval outline with an openwork background, carved in high relief with an in-curved chrysanthemum flowers surrounded by asters, suspended on a black silk cord with a carved floral ivory bead, h. 3‑5/8”. [70/125] 253 Group of Eight Chinese Ivory Carvings of the Eight Horses of Mu Wang, 20th century, each carved as one of the Emperor’s eight steeds in a different pose, frolicking and resting, fitted wooden stands, h. 2” to 2‑3/4”, including stands. [200/400] 254 Chinese Carved Ivory Model of an Archaic Wine Vessel, 20th century, carved after a bronze original with “V” shaped body on three legs, oval shaped pouring rim and two post handles, wooden stand, h. 9‑1/8”. [200/400] 255 Group of Two Southeast Asian Carvings, composed of a Chinese ivory comb of bowed rectangular form carved in low relief with trees flanking four circles with Chinese characters flanked on the sides and top with open work vines and comb teeth at the base, together with an Indonesian bone carving of a winged and crowned deity above a floral base, h. 4‑1/2” to 8”. [200/400]

258 Contemporary Chinese Ebonized Cocktail Table, the rectangular top above a fret-carved frieze, raised on block legs, h. 14”, w. 54”, d. 30”. [300/500] 259 Continental Mahogany Breakfront Cabinet, early 20th century, the domed and molded cornice centered by a female mask, above a carved patera panel, with a two central glazed doors below, flanked to either side by a fluted garland-carved upright and open bowed shelf, the lower section fitted with two small drawers over two paneled cupboard doors, each with a nature morte carving, flanked to either side by a stepped back small drawer over a paneled mask-carved cupboard, raised on bun feet, h. 113”, w. 81”, d. 25‑1/2”. [1800/2500] Illustrated

259

262

260 Group of Three Cast Metal Figures of Dogs, including a gilt bronze English Setter by Pierre Jules Mene (French, 1810‑1879) mounted to a rouge marble base, an unsigned bronze recumbent German Shepherd mounted to a verdigris marble base, and a bronze patinated cast iron Baying Hound, also unsigned, tallest6‑1/2”, shortest- 3”. [200/400]

265

261 Jules Moigniez (French, 1835‑1894), bronze sculpture depicting a Setter sniffing the air for the hunt, signed “J. Moigniez” on the plinth, h. 7‑3/4” w. 4”, l. 11‑1/2”. [300/500] 262 Pierre Jules Mene (French, 1810‑1879), “Fabio”, bronze sculpture depicting a French Setter, his head and tail turned as if about to run, signed “PJ Mene” on the plinth, h. 6”, w. 4‑3/4”, l. 12”. [800/1200] Illustrated 263 After Georges Lucien Vacossin (French, 1870‑1942), bronze figure of a Setter, cast on an oval plinth, one leg raised and his nose catching a scent, signed “G. Vacossin”, h. 5”, w. 4”, l. 8‑1/4”. [200/400]

264 Paul Edouard Delabrierre (French, 1829‑1912), gilt and patinated bronze sculpture of an English Setter with a partridge. Signed in the base “E. Delabrierre”, h. 8‑1/2”, l. 13‑1/2”, d. 4‑1/2”. [300/500] 265 Auguste Cain (French, 1822‑1894) “Seduisant et Lumineau”, patinated bronze group of two Labradors, titled on base, and signed “Cain”, h. 12”, w. 16”, d. 11”. [800/1200] Illustrated

266

269 Auguste Nicolas Cain (French, 1822‑1894), bronze figure of a bull on a rocky promontory strewn with wheat and leaves, cast by Suisse Freres EDITEURS DE PARIS, and marked by them, along with the markings “AC” on the plank of the bull and “A. Cain” on the plinth, h. 13‑1/2”, w. 14” and d. 5‑1/2”. [500/800] Illustrated 270 Pierre Jules Mene (French, 1810‑1879), bronze sculpture depicting three goats, including a standing billy goat, a reclining billy goat and a kid wearing a triangle color, all mounted on an oval plinth signed “PJ Mene”, h. 4‑1/2”, w. 4‑1/2”, and l. 8‑1/2”. [800/1200]

267

266 German Oak and Antler Desk and Sidechair, early 20th century, the superstructure desk with an antler crest above an arrangement of small drawers and a central cupboard, the rectangular top above a frieze fitted with a central drawer flanked to either side by two small drawers, all drawers with applied horn pulls, the whole raised on antler legs, together with a sidechair composed of a balloon back with two interlocking antlers, the circular hide-covered seat raised on an intertwining grouping of antlers, h. 38”. [2000/4000] Illustrated 267 Pair of Exuberantly Modeled German Antler Armchairs, in the Rustic Taste, early 20th century, each with a crest of horns in a fan array, the back joined to open arms, the seat backs in beige leather, the seats upholstered in velveteen print , h. 43-/2”. [1800/2500] Illustrated 268 Maximilien Louis Fiot (French, 1886‑1953), patinated bronze group of deer, the base signed “M. Fiot” and bearing the Susse Freres, Paris foundry mark, h. 8”, l. 18”, d. 5‑1/2”. [1000/1500]

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270

271 Antoine-Louis Barye (French, 1795‑1875), large patinated bronze figure of a standing elk, the base signed “Barye”, h. 18‑1/2”, l. 21”, d. 12”. [1200/1800] Illustrated

272

272 Continental Highly Carved Oak Sideboard, third quarter 19th century, the carved backpiece with two end masque cornices above a single drawer above a rectangular top with a recessed center section, the conforming case fitted with a central arched panel over a single cupboard door, flanked to either side by a masquecarved cupboard door flanked to either side by caryatids, raised on bun feet, the whole heavily carved in scrolling foliate-masque and gadroon patterns, h. 58”, w. 77‑1/4”, d. 25‑1/2”. [1500/2500] Illustrated 273 Flemish Walnut Fauteuil a la Reine, late 19th century, the padded rectangular back surmounted by a carved shell and acanthine crest, joined by scrolling downswept arms to the padded seat, raised on turned and block legs joined by a foliate-front stretcher and ending in ball feet, h. 46‑1/2”. [400/700]

276

274 Two Modern Lutes, one gooseneck lute with an inlaid mahogany back and with a sound board made of pine, l. 38” and the other instrument with a back of alternating mahogany and birch, surrounded by geometric inlay, with like-decoration on the neck, l. 32”. [100/200] 275 Large Pair of Italian Wrought-Iron Polychromed Six-Arm Chandeliers, early 20th century, each comprised of conjoined forged “S” scrolls with applied leaf decor on the arms, presented in an old red and green painted surface, h. 43”, dia. 33”. [400/700]

276 Pair of American Rococo Revival Mahogany and Marble-Top Bowfront Corner Cabinets, third quarter 19th century, each with a paneled backpiece above an inset brocatelle viollette d’ Espagna marble top with turreted corners, above a conforming base fitted with a swing-out frieze drawer over two open shelves supported by bulbous foliate and annulated supports, raised on a molded base, h. 33‑1/2”, w. 34”, d. 25”. [2000/4000] Illustrated 277 Bronze Figure of a Pug, first quarter 20th century, the dog seated with a leash in his mouth and wearing a wide collar with his head turned to one side, h. 4”, w. 3‑1/5”, d. 2”. [75/125]

278

278 Italian Neoclassical-Style Mahogany and Faux Marbre Side Table, mid‑20th century, the rectangular variegated ochre faux marbre top above a conforming frieze centered by a carving of griffins flanking an urn, raised on tapering square stop-fluted legs headed by a waisted foliate capital and ending in spiral fluted feet, h 33”, w. 49”, d. 23”. [1500/2500] Illustrated

279

279 Italian Bronze Harlequin Figure, fourth quarter 19th century, the enameled figure with blister pears and mounted on an English mid‑19th century lamp standard, the central shaft painted to match the figure, h. 24”, w. 6‑1/2”, d. 6‑1/2”. [400/700] Illustrated 280 Eight Brilliant-Style Stemmed Wine Glasses, decorated with cut-swags and with air-twist stems, two on a vaseline colored ground, and six with vaseline, ruby and emerald colored swag accents, h. 7‑1/4”. [100/200] 281 Set of Eight Rummers, fourth quarter 19th century, the handblown green glass rummers in the manner of German and Dutch glasses of the 17th century, with threaded glass, conical feet and applied raspberry prunts to the stem, h. 6”. [75/125]

282 Continental Fruitwood and Marble-Top Pedestal, the circular inset Rouge Royale marble top above a pierced foliate frieze, joined by shaped foliate-carved legs to a tripartite foliate-carved stretcher, on splayed legs and scrolled toes, h. 31”, dia. 14‑1/2”. [200/400] 283 Continental Giltwood Plaque, first quarter 19th century, the oval convex plaque with a beaded edge and appliques of wheat and grapes, h. 10”, w. 14‑3/4”. [100/200] 284 Exuberantly Modeled Polychrome Portuguese Fauteuil, in the 18th century style, the scrolling and interlacing back surmounted by a mask crest, joined by outswept arms to the padded seat, above a shaped apron, raised on cabriole legs headed by mask carving, joined by an H-form stretcher and ending in ball and claw feet, h. 45”. Provenance: Charles Pollock, Los Angeles, California. [800/1200] Illustrated 285 Venetian Looking Glass, 20th century, the shaped and domed plate beveled and within a conforming pierced Venetian glass frame, h. 48‑1/2”, w. 33”. [900/1200]

286 Pair of Mirrored Wall Plaques in the Venetian-Style, first quarter 20th century, the pair of smoky glass plaques, one cut with a scalloped border, the central decoration depicting a basket of wheat and grape vines, with single grape leaves scattered below, h. 13‑1/2”, w. 6‑3/4”. [100/200] 287 Italian Giltwood Torchere, late 19th century, the circular top with a carved edge and raised on a turned and bulbous paneled standard with foliate and imbricate carving, to three scrolling legs with foliate designs and ending in floral scrolled toes, h. 42”, dia. 13‑1/2”. Provenance: Blackamoor Antiques, New Orleans, Louisiana. [500/800] Illustrated 288 Italian Giltwood and Marble-Top Console Table, fourth quarter 19th century, the bowed variegated sarrancolin ilnet marble top with projecting corners, above an arched pierced frieze centered by a carved female masque, raised on acanthine- and imbricatecarved scrolling supports joined by a floral basketcarved stretcher and ending in scrolled toes, h. 36‑3/4”, w. 41‑3/4”, d. 18”. [1400/1800] Illustrated 289 Small V. Biz Velvet and Tapestry Decorative Pillow, with an 18th century tapestry fragment edged in metallic fringe on a moss green velvet ground, w. 14”, d.11”. [200/400] Illustrated

284 287

290 Pair of V. Biz Velvet and Tapestry Decorative Pillows, of rectangular form, each with an antique metallic-embroidered teal velvet band against a burnt sienna velvet ground, w. 14”, d. 7‑1/2”. [200/400] Illustrated

292

291 Group of Three V. Biz Velvet and Tapestry Decorative Pillows, each with a band of 18th century tapestry on a moss green velvet ground, consisting of a pair 21” x 21”, and a smaller like example, 19” x 19”. [400/700] Illustrated 292 Italian Polychrome and Parcel-Gilt Blackamoor, late 19th century, the figure in colorful polychrome garb and jewelry and holding a torch aloft in one hand, raised on a columnar pedestal with carved architectural bands to a molded base on bun feet, h. 48”. [1200/1800] Illustrated 293 Continental Painted Lead and Gilt-Bronze Blackamoor Card Carrier, depicted with a gilt-bronze body and skirt carrying a brass framed natural shell to hold cards, resting on a round brass base, h. 9”. [400/700] Illustrated

294 Group of Four Pieces of Continental Blown Glass, comprised of a compote cut in a drape pattern with alternating panels of intaglio-cut flowers framed with hatchings, first quarter 20th century, h. 10”, an aqua flip glass, probably German, engraved with a castle and trees, mid‑19th century, h. 8‑1/2”, a pale pink lobed footed vase, h. 9‑1/2”, and a blue ruffled edge trumpet vase, h. 9‑1/2”. [150/300]

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295 Continental Embossed Metal Cushion-Form Looking Glass, late 19th century, in the Baroque taste, the rectangular beveled plate surmounted by a triangular crest with an elaborately pierced scrolling foliate and masks within an angled double beveled mirror banding with foliate patterned banding, h. 44”, w. 26‑1/2”. [1000/1500] Illustrated

295

296 Russian Book of the Gospels, fourth quarter 19th century, the velvet cover mounted with silvered mounts, with Jesus in the center and the Saints in the corners, printed in Cyrillic with engraved frontispiece, h. 8‑1/4”, w. 6”, d. 2”. [300/500] 297 Pair of Teal Silk Pillows, each of rectangular form, with an elaborate pattern of interlacing beading and metallic gold paillettes, w. 20”, d. 14”. [125/250]

308 307

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298 Pair of Velvet Decorative Pillows, each of square form, with a two-tone metallic embroidered foliate vine pattern with bead accents, w. 9‑1/2”, d. 9‑1/2”. [100/200] 299 Continental Patinated-Bronze Articulated Salamander Candlestick, fourth quarter 19th century, the carefully detailed creature with ruby eyes, his tail wrapping around the scroll-mounted candlestick, h. 4”, w. 4‑1/2”, d. 4”. [300/500] 300 Pair of Italian Polychrome and Parcel-Gilt Torcheres, 19th century, each with a circular top raised on a chevron-modeled standard to three large scrolling foliate supports, raised on bun feet, circular glass tops to form tables included , h. 30‑1/2”, dia. 27”. [700/1000]

301 Baroque Style Ebonized Looking Glass, the rectangular beveled plate with a scalloped top and surmounted by a heavily modeled foliate shell crest, within a floral garland-entwined frame, h. 50”, w. 27”. [900/1200] 302 Continental Polychromed Wood Hooded Rocking Cradle, c. 1900, the sides and outer surface of the hood painted depicting Biblical stories including “The Discovery of Moses”, h. 40”, w. 41”, d. 25”. [500/800]

303 North Italian Carved, Parcel-Gilt and Antiqued Brass-Mounted Mahogany Bowfront Commode, in the neoclassical taste, second quarter 19th century, the conforming top of yellow Lamartine marble, modeled as two bowfront transverse drawers, h. 33‑1/2”, w. 47”, d. 25‑1/2”. [1000/1500]

308 Group of Three Victorian Brass Altar Sticks, fourth quarter 19th century, the tripartite bases molded and pierced in the form of crosses terminating in trefoils, the shafts decorated with a chain pattern on a ribbed background with scroll-molded mid ribs and with leafmolded drip pans, h. 23‑1/2”. [150/300] Illustrated

313

309 Pair of Gothic Revival Altar Sticks, fourth quarter 19th century, the tripartite base molded and pierced in a pattern of cathedral windows with gothic spires on the corners, the mid rib molded with gothic quatrefoils and spires leading to the leaf-molded drip pan with alternating pierced crosses and quatrefoils, h. 18”. [150/300] 310 Pair of Victorian Brass Altar Sticks, fourth quarter 19th century, the tripartite bases are molded and pierced in the form of crosses terminating in trefoils, the shafts decorated with a chain pattern on a ribbed background, the mid rib scroll-molded with a leafmolded drip pan, h. 19”. [75/125] 311 Continental Brass Altar Stick, mid‑19th century, the tripartite rococo revival base molded with bas relief portraits of Jesus, Mary and Joseph among shells and flowers, the fluted tapered shaft supporting a ribbed bobeche, h. 23‑1/4”. [50/80] 312 Pair of Continental Fruitwood Sidechairs, early 20th century, each with shaped crests above a flora inlaid splat, the padded seats raised on cabriole legs ending in peg feet, h. 37‑1/2”. [100/200]

304 Interesting Aneroid Barometer in the Form of a Brass Knight’s Helmet, early 20th century, the face guard lifting back to reveal the inset barometer, the whole mounted to a conforming rouge marble base, h. 6”, w. 5”, d. 4‑1/2”. [300/500] 305 Continental Champleve Cross, the brass cross decorated with architectural views on all four ends with enamel flowers behind the applied brass Jesus, resting in a hardwood stand and fitted with a hook for hanging, h. 10”, w. 5‑1/2”, d. 2”. [600/900] Illustrated 306 Near Pair of Edwardian Brass Candlesticks in the Elizabethan-style, first quarter 20th century, the pierce and engraved tapering square base decorated with cartouches and strapwork, the bulbous shaft pierced in floral pattern with the upper nozzle pierced and molded with neoclassical swags, h. 10” to 11‑1/2”. [50/80] Illustrated 307 Bronze Art Nouveau Altar Stick, fourth quarter 19th century, the tripartite base deeply molded with leaves, with like decoration in the applied bands on the upper shaft, the mid rib heavily molded with roses, with molded ivy leaves on top edge of drip pan, h. 21”. [75/125] Illustrated

314

313 Continental Walnut Work Table, late 19th century, the canted rectangular top with a gilt and mother-of-pearl inlaid floral border surrounding a like-inlaid bird drinking from a chalice, hinged and opening to a mirrored faux rosewood interior, the mirror hinged and opening to a storage space, raised on a paneled bulbous standard to a stepped octagonal base, all with decorative mother-ofpearl inlay, h. 32”, w. 19‑3/4”, d. 17‑1/2”. [1500/2500] Illustrated previous page

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319

314 Italian Walnut Bureau, late 18th century, the rectangular top above a slant front opening to drawers and cubbyholes flanking a central cupboard, the lower section with a serpentine front and fitted with three long drawers, the whole with inlaid banding accents and raised on bulbous feet, h. 41”, w. 41‑1/2”, d. 20”. [3000/5000] Illustrated 315 Pair of Venetian Looking Glasses, early 20th century, each of oval form, the plate with Venetian glass double banding with ball accents and applied floriform pieces, h. 32”, w. 24‑1/2”. [900/1200] Illustrated 316 Venetian-Style Beveled and Engraved Mirror, the round beveled central mirror plate is encircled with mirrored panels engraved with leaves and flora, topped with a scrolled and pierced oval-cut mirror crest, h. 29”, w. 23”. [400/700] 317 English Victorian Processional Cross, fourth quarter 19th century, the gilt-bronze cross retaining much of its original gilt, with anthemia-molded ends and resting on a leaf-molded base, and can be removed from the brass bound staff for use on an altar, h. 71‑1/2”. [400/700] Illustrated 315 pair

318 Mexican Carved and Painted Crucifix, fourth quarter 19th century, carved rocks supporting the gros rouge painted pine cross, the hardwood Christ nailed in place and with painted arms, h. 19”, w. 9”, d. 4‑1/2”. [300/500] 319 Portuguese Painted Wood Crucifix, fourth quarter 17th century, the black painted, stepped half round base supporting the lap joined cross, trimmed with a gilded inset cove molding, the painted figure of Christ attached to the cross with spikes, which have screws and nuts on the rear, the Inri sign over Christ a later addition, h. 41‑3/4”, w. 13‑1/2”, d. 8‑1/2”. Provenance: Charles Cooper Antiques, New Orleans, Louisiana. [1000/1500] Illustrated

320 Italian School (Fourth Quarter 19th Century) “Virgin, St. Anne, Jesus Christ and St. John the Baptist”, oil on board, unsigned, 17” x 13‑1/2”. Presented in a polychrome and parcel-gilt frame. [400/700] 321 After Carlo Cignati (Italian, 1628‑1719) “Joseph and Potiphar’s Wife”, fourth quarter 19th century, oil on tin, unsigned, partial label on the reverse, 20‑3/4” x 17”. Framed. [1500/2500]

322 After Rembrandt van Rijn (Dutch, 1606‑1669) “The Adoration of the Shepherds”, oil on canvas, 19th century, unsigned, verso with ex-collection label from the Dallas Museum of Fine Arts, Dallas, Texas, 24” x 20”. Handsomely framed. Provenance: Clarence Hoblitzelle, St. Louis, Missouri; Hoblitzelle Foundation Art Collection, Dallas, Texas; Dallas Museum of Fine Arts, Dallas, Texas; Christie’s New York, Old Master Paintings, October 7, 1993, lot 66; to a private collector, Austin, Texas. Exhibited: “Greater Texas and Pan American Exposition: Paintings from Texas Collections”, Museum of Fine Arts, Dallas, June 12 - October 31, 1937, page 45, catalogue no. 368. [4500/7000] Illustrated

326 325 328

323 Dutch Mahogany Bombe Chest, early 19th century, the rounded rectangular top with a recessed center section, above a bombe case fitted with four long velvet-lined drawers, all with highly figured ha4rdware, raised on splayed legs ending in sabots, h. 32”, w. 35”, d. 21”. [1500/2500] Illustrated 326 Gilt-Bronze and Marble Crucifix with Attached Holy Water Font, c. 1902, probably American, the gilt-bronze Christ attached to a decoratively pierced Gothic cross sitting over a gilt holy water font, the reverse inscribed, “Rev. T.F. Galligan, August 30, 1877, August 30, 1902”, h. 9‑3/4”, w. 6”. [400/700] Illustrated 327 French Prayer Book and Gilt-Bronze Crucifix, 1862, the prayer book printed in Paris and edged in gilt, h. 5”, w. 3‑1/4”, together with a hardwood and gilt-bronze hanging crucifix, h. 3‑1/2”, w. 2‑1/2”. [150/300] Illustrated

323

324 Italian-Style Polychrome Secretary/Bookcase, the molded broken domed pediment centered by a floral urn, above two paneled doors, each with a polychrome scene of cherubs and opening to a shelved interior, the lower section fitted with a drop front with like scenes, opening to an interior fitted with various cubbyholes, over three long shaped drawers, the whole raised on scrolling feet and with polychrome floral accents, h. 76‑1/2”, w. 33”, d. 20”. [1000/1500] 325 French Art Deco Souvenir of Saint Anne de Beaupre, the gilt-bronze and pressed brass figure of Mary and Jesus sitting atop a pierced art deco base, signed on the rear “France” and “St. Anne de Beaupre” under Mary, h. 9”, w. 2‑3/4”, d. 2‑3/4”. [100/200] Illustrated 322

328 Eglomise Portrait Miniature of Affre Denis Auguste, Archbishop of Paris, c. 1848, the original mounted in green watered silk, in a neoclassical style frame, a period label from the portrait is now mounted on the rear, h. 6‑1/2”, w. 6‑1/4”. [50/80] Illustrated previous page

330 331 Pair of Continental Carved, Painted and Gilded Altar Sticks, first quarter 19th century, the tapered, fluted shafts on tripartite bases, ornamented with gilt-acanthus leaves, sitting on paw feet attached to black platforms on ball feet, now mounted as lamps, h. 38”. [600/900] Illustrated

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331

329 Follower of Guido Reni (Italian, 1575‑1642) “Penitent Mary Magdalene”, oil on canvas, unsigned, 47‑1/4” x 37”. Presented in a rococo style frame. [3000/5000] Illustrated

330 Henry Pierre Picou (French, 1824‑1895) “The Temptation of Saint Anthony”, oil on canvas, signed and dated lower right “Henry Pierre Picou, 1892”, reverse with a Christie’s stock number and lot number labels, 39” x 30”. Presented in a giltwood and gesso frame. Provenance: Christie’s, April 3, 2002, Lot 104, purchased by the present consignor. [5000/8000] Illustrated

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332 Italian Painted Wooden Reliquary, third quarter 19th century, in the neoclassical style, the reliquary with a pair of rounded pilasters capped with gilt Corinthian capitals on either side of the door, molded with gilt acanthus leaves, the ivory painted case retaining traces of marbleizing and with applied painted blue and green side trim, the interior covered in worn crewel work, with an applied brass and needlework lamb on an altar, h. 24”, w. 17‑1/4”, d. 10‑3/4”. [250/400] Illustrated

333 Suite of Five French Polychrome Terracotta Figures of Saint Peter and the Four Evangelists, 19th century, each figure in draped garb and presented with their appropriate attribute, Saint Peter holding keys, Saint Mark holding a quill and tablet with a lion at his feet, Saint Matthew holding a quill and tablet with a winged figure at his feet, Saint Luke with a quill and tablet and an ox at his feet and Saint John with a tablet in one hand and a sword in the other, all raised on canted plinths and with attached lucite plates identifying each figure by their French name, h. 73”. [12000/18000] Illustrated

335 Continental Wood and Gilt-Bronze Crucifix, fourth quarter 19th century, the giltwood cross carved and decorated with vines and leaves, the Christ figure in gilt bronze, h. 15”, w. 8”. [400/700] 336 Cast-Iron Polychrome Votive Stand, early 20th century, in the gothic taste, of rectangular form, fitted with four graduated stepped tiers of multi-colored votive cups, totaling fortysix, with corner lily finial accents, above a pierced grapevine modeled frieze, raised on spiral twisted legs joined by a shaped front stretcher, h. 48”, w. 36‑1/2”, d. 16‑1/2”. [200/400] Illustrated

334

337 Pair of Paris Porcelain Altar Vases, fourth quarter 19th century, each decorated with a tooled gilt cross with a super imposed “M” on the obverse and roses in the reverse, signed, “Souvry Rue de St. Germani Paris”, in black gilt script, h. 15”, w. 7‑1/2”, d. 3‑1/2”. [200/400] 338 Pair of Imposing Continental Brass Altar Candlesticks, fourth quarter 19th century, each with a tripartite base sitting on paw feet, the twisted an embossed standards rising to meet cast gargoyles and a flaring scalloped bobeche molded with fleur de lis, h. 25”, w. 9”, d. 9”. [500/800] Illustrated

334 Mexican Wood and Silver Crucifix, mid‑18th century, the carved and painted Christ figure realistically depicted with Christ’s open wounds dripping blood, the rosewood cross mounted with silver end caps and rococo cartouches, marked by Chief Assayer “Diego Gonzales De La Cueva, 1733‑1778”, h. 24”, w. 18‑1/4”. [900/1200] Illustrated

338

336

339 Greek Icon of St. George Slaying the Dragon and St. John the Evangelist 19th century, 15‑1/2” x 10”. [150/300] 340 Brass Aspergillium and a Carved Wooden Christ Figure, first quarter 19th century, the French aspergillium with a Gothic revival handle with an engine-turned rib, h. 11”, dia. 7‑1/2”, the Italian Christ figure realistically carved of soft wood, 18th century, h. 9‑3/4”, w. 3”, d. 2‑1/4”. [100/200]

341 Latin American Santos Figure, first quarter 19th century, the bearded saint depicted in a long flowing gown, lushly decorated with gilt, black and red flowers and a red sash at his waist, standing on a wooden plinth with one foot forward, h. 39”, w. 13‑1/2”, d. 8”. [2500/4000] Illustrated

344

342 Mexican Ecclesiastical Figure, fourth quarter 19th century, the statue depicting a cherub holding a cymbal and blowing a horn, handcarved on stained hardwood, h. 18‑1/2”, w. 7”, d. 7”. [200/400] 343 Pair of Continental Renaissance-Style Oak Architectural Brackets, fourth quarter 19th century, each depicting a putti under a C-scroll sitting atop a carved volute terminating in roses on a stippled ground, h. 21”, w. 4”, d. 5‑3/4”. [250/400] 344 Continental Carved Wooden Figure of an Angel, fourth quarter 19th century, the figure with outstretched arms and with carefully delineated flowing robes, h. 29”, w. 21‑1/2”, d. 8”. [1500/2500] Illustrated 345 Albrecht Durer (German, 1471‑1528) “St. Jerome In His Study”, engraving, Meder a-b impression, print edges trimmed, no watermark, 9‑1/2” x 7‑1/2”. Glazed and framed. [10000/15000] Illustrated

341

345

346 Italian School (First Quarter 20th Century) “Monk in a Kitchen”, oil on panel, signed lower left “L. Vincento”, 20” x 10”. Presented in a rococo style giltwood and gesso frame. [200/400] 347 Torres de Marcillo (Spanish/American, 19th/20th Century) “The Card Game”, oil on panel, signed and dated lower left “Torres de Marcillo, Paris 93”, 5” x 3”. Presented in a rococo-style giltwood frame with a mahogany-stained liner. [400/700] 348 Manner of Francisco Pacheco (Spanish, 1564‑1654) “Travelers on a Road”, oil on canvas, unsigned, 22” x 15‑1/2”. Presented in a baroque style giltwood frame. [1000/1500] Illustrated

350 349 Manner of Jacopo Bassano (Italian, c. 1510‑1592) “Evening Landscape”, unsigned, titled and attributed on a plaque affixed to the frame, 29” x 39”. Presented in a giltwood frame. [1500/2500] Illustrated 350 William Frederick Yeames (British, 1835‑1918) “The New Standard”, oil on canvas, signed and dated lower right “W.F. Yeames, 1888”, 30‑1/2” x 40‑1/2”. Presented in a period giltwood exhibition frame with brass artist plaque, incised with title of work and artist’s name. [4000/7000] Illustrated

348

351 Jacobean-Style Carved Oak Tall Case Clock, late 19th century, the engraved brass face depicting phoenix birds and signed “James Clarke-Thomas Bilbie, Chew-Stoke”, the case with relief-carved doors and lower panel, the movement featuring time, strike and calendar date, h. 81”, w. 18”, d. 10”. [800/1200] Illustrated 352 Molded Chalkware Pug Dog, first quarter 20th century, the dog with an old painted surface and depicted in a studded collar in a lifelike stance, h. 13‑1/2”, w. 5‑1/2”, l. 16”. [100/200] 353 Adelaide Paris Spang (American, Second Quarter 19th Century) “Puppy No. 9”, oil on canvas, signed lower left “Adelaide Paris”, titled on the reverse printed label, 12” x 9”. Framed. [500/800] 354 Attributed to Jacques Barthelemy Delamarre (French, 18th century) “Portrait of a Wide-Eyed Poodle”, pen and ink and wash on paper, reverse signed “DeLamarre”, sight 3‑1/2” x 2‑3/4”. Glazed and presented in a baroque style frame. [150/300]

349

355 English Oak Court Cupboard, composed of antique elements, in the Elizabethan taste, the rectangular top above two end cupboards flanking a central rondelcarved panel, joined by turned uprights to the lower section, fitted with two central cupboards, the whole with floral medallion-carved panels and raised on block feet, h. 48‑1/2”, w. 55‑1/2”, d. 22”. [1000/1500] 356 English Oak Chest, 18th century, the rectangular top above a case fitted with four long drawers, all with carved fronts with geometric and architectural designs, the sides paneled, raised on bracket feet, h. 45‑1/2”, w. 38‑1/4”, d 25”. [1500/2500] Illustrated 357 Group of Six Staffordshire Figures, 19th century, the largest pair depicting a man and woman, the man holding a flower pot with sculpted flower in one hand and a shovel in the other, the woman holding a matching flower pot and a bouquet, h. 8”, a second a pair of Toby figures, each clutching a mug, h. 5‑1/2”, and two similar sheep, h. 3”. [200/400] 358 Blue-and-White Meissen Porcelain Platter, 1740‑1814, the serpentine shape with a raised rim, hand painted with flowers and insects and marked with crossed swords on the unglazed bottom, w. 15”, l. 20‑1/4”. Provenance: Goudeau Antiques, Baton Rouge, Louisiana. [400/700] 359 Good “Dr. Wall” Worcester Blue-and-White Porcelain Teapot, 1751‑1783, of spherical form, the domed cover with a flowerhead finial, the base marked with a blue crescent, h. 5‑1/2”, w. 7”. [100/200]

360 Eighteen Century Dutch Delft Soup Plate, decorated with a bold flower in the lobed center and with a floral decorated rim, dia. 13‑1/2”. Provenance: Clarence Lorio Antiques, New Roads, Louisiana. [300/500] 361 Pair of English CaroleanStyle Stained Fruitwood Sidechairs, 19th century, each with an oval caned back surmounted by a crest of putti flanking a fruit basket and flanked by barley twist uprights above caned seats, raised above a like-carved front stretcher on barley twist and block legs joined by a like H-form stretcher and ending in ball feet, h. 49‑3/4”. [300/500]

351

362 Pair of Mahogany and Brass Georgian-Style Candlesticks, first quarter 20th century, English, round bases supporting sprial turnings leading to fluted tapered standards, the candle cups fluted with square fluted bobeches, h. 13‑3/4”. [100/200] 363 Regency Tole Jewel Box, first quarter 19th century, molded brass paw feet support the sarcophagusform body, the top mounted with a period Sheraton knob, the red painted interior fitted with a compartmentalized tole tray, h. 6‑1/2”, w. 103/4”, d. 7”. [200/400]

356

364 Three Continental Magnifying Glasses, the largest with a chrome framed glass held by a curved black horn handle, l. 10”, another with a brown horn handle with silver neoclassical mouth, l. 9‑3/4”, and the smallest with a hardwood handle with a leafmolded chrome mount, l. 8‑1/4 ‘. [125/250]

367 Stained Oak Folding Library Ladder, c. 1900, with six steps extending to rest on a shelf breakfront top, with upright arms to form handles, h. 79”, w. 19”, extended d. 24”. [400/700] Illustrated 368 Group of Four English Mid‑19th Century Metalware, comprised of a covered stew pot with a steel handle, signed, “EK Wilson, Ironmonger 6 Sussex Place, EA 3”, tin-lined with dovetailed seams, h. 10”, a Middle Eastern copper mug of inverted form with a conforming handle and a scalloped edge, h. 6‑3/4”, an iron spider pot with American signed copper lid, “Francis Harley No 78 South Front Street, Philadelphia”, h. 11‑3/4”, and a copper tea kettle in the 19th century-style, h. 10”. [300/500]

365

365 Renaissance Revival Oak Bookcase, third quarter 19th century, the molded dentillated and egg-and-dart-carved cornice above a scrolling foliate and fruit-carved frieze, with two glazed doors below, flanked to either side by a beast and fruit garland-carved upright, raised on ribbed bulbous feet, h. 67”, w. 62”, d. 19”. [800/1200] Illustrated 366 English Oak Drop-Leaf Table, late 18th century, the rounded rectangular top with two rounded leaves, above a frieze fitted with a single end drawer, raised on a gateleg support of turned and block circular legs joined by box stretchers and ending in bulb feet, h. 28”, w. 42‑1/4”, d. 17”, ext. w. 49”. [400/700] Illustrated

366

369 Seven Piece Group of Copper and Iron Cookware, 19th/20th century, comprised of an iron-handled copper sauce pan, stamped “FL”, l. 17‑1/4”, two copper colanders, h. 1‑1/2” to 3”, w. 7” to 12”, a Middle Eastern skillet, l. 19”, a skimmer, l. 23”, a ladle, l. 24”, and a modern copper pan with a swing handle, dia. 9‑1/2”. [300/500] Illustrated

367

370 Continental Brass Foot Warmer, mid‑19th century, of octagonal shape, decorated with pierced and engraved with tulips, sunflowers and scrollwork, with a swinging handle, h. 11”, w. 8”, d. 8”. [125/250]

371 English Leather Covered Tin Bucket, fourth quarter 19th century, covered in red leather, the interior painted black, of seamed and riveted construction, h. 12‑1/2”. [200/400] 372 Otto Eichinger (Austrian, 1922‑2004) “Man with a Stein”, oil on board, signed upper right “O. Eichinger”, 10” x 8”. Presented in an ebonized and parcel-gilt frame with a velvet liner. [500/800]

369

375 Otto Eichinger (Austrian, 1922‑2004) “Man with a Painted Pottery Stein”, oil on board, signed middle left “O. Eichinger”, 10” x 8”. Presented in a molded giltwood frame with a black velvet liner. [500/800] Illustrated 376 Three Pieces of Anglo-Irish CutGlass, second quarter 19th century, including a cylindrical cut-glass decanter with a star-cut bulbous stopper, with cut vertical lines and applied rings to the neck, h. 11”, a diamond-cut bulbous decanter, h. 11‑1/2”, and a pitcher with a brilliant pinwheel cut, h. 7‑3/4”. [200/400]

373 Franz Xavier Wolfe (German, 1887‑1972) “Portraits of Three Bavarian Men”, suite of three oils on panel, each signed upper right corner “F.X. Wolfe”, 7” x 5”. Each presented in attractive Baroque-style giltwood frames. [500/800] 374 Otto Eichinger (Austrian, 1922‑2004) “Man With a Glass of Wine”, oil on board, signed upper left “O. Eichinger”, reverse affixed with a printed artist’s biography, 10” x 8”. Presented in an attractive giltwood and polychrome frame. [500/800]

375 377 English Stained Pine Welsh Dresser, mid‑19th century, the molded cornice above a scalloped frieze, over three open shelves with plate rails and cup hooks, the lower section with a rectangular top over a frieze fitted with three short drawers, joined by bulbous and turned uprights to a lower shelf, raised on bulbous toupie feet, h. 83‑1/2”, w. 60”, d. 16‑1/2”. [1000/1500] Illustrated

377

378 Chinese Export Blue-and-White Canton Porcelain Partial Tea and Coffee Set. third quarter 19th century, composed of a round teapot, h. 5”, l. 9”, a tall pear-shaped coffee pot, h. 7‑1/2”, a cream jug, h. 5‑1/2”, and twelve associated cups, dia. 3‑1/2” to 4”, and saucers, 5‑3/8” to 6”, and one gold-rim teacup, dia. 3‑1/2”, and saucer, dia. 5‑3/8”. (29 pieces total, including lids.) [500/800] Illustrated

378

380

379 Six Pieces of Blue-and-White Chinese Export Canton, second quarter 19th century, comprised of a round canister, h. 4‑1/4”, dia. 4”, a trumpet-shaped candlestick, h. 8”, a Chinese-style square teapot, h. 5‑1/2”, two round trivets, dia. 4‑1/2” to 5”, and an octagonal trivet, dia. 5‑1/4”. [400/700] 380 Large Group of Chinese Export Blue-and-White Canton Dinnerware, second and third quarters 19th century, including eleven soup plates, dia. 10”, a square notched-corner covered vegetable dish with fruit finial, w. 11”, an octagonal deep dish, l. 9‑1/2”, an octagonal platter, 9‑3/4”, a pair of octagonal platters, l. 11”, twelve dessert dishes, dia. 6‑1/2”, six luncheon plates, dia. 9”, a pair of rice bowls, dia. 5”, with a pair of Nanking teabowls dia. 4‑1/4”, with an associated saucer, dia. 5”, four mismatched teacups, dia. 3‑1/2” to 4‑1/4”and saucers, dia. 5‑3/4” to 6”, and a handle-less teabowl, dia, 4‑1/2”, and saucer, dia. 6‑1/8”. (49 pieces total.) [1200/1800] Illustrated

381 Large Group of Blue-and-White Canton Chinese Export Dinnerware, second-into-third quarter 19th century, comprised of a shell-shaped shrimp dish, w. 9‑1/4”, d. 10‑1/4”, a lobed fruit bowl, dia. 9‑1/2”, an oblong platter, w. 11”, d. 8”, six coffee cups, h. 2‑1/2”, six saucers, dia. 4‑1/2” to 6”, twenty salad plates, dia. 7‑1/2”, six soup plates, dia. 9”, and four dinner plates, dia. 10‑1/4”. [700/1000] 382 Group of Chinese Export Blue-and-White Canton Serving Bowls, second-into-third quarter 19th century, consisting of four bowls, dia. 10‑1/4”, and one rimmed bowl, dia. 8‑1/4”. [200/400] 383 Twenty-Piece Chinese Export Blue-and-White Canton Partial Coffee Set, second and third quarter, 19th century, including a twisted handle lighthouse coffeepot with strawberry finial, h. 7”, a cream jug, h. 4”, and ten associated handled teacups, dia. 3‑1/8” to 4”, with eight associated saucers, dia. 5‑1/4” to 6”. [300/500]

384 Three Pieces of Chinese Export Blue-and-White Canton Porcelain, second quarter 19th century, including a twisted-handle can, h. 4‑1/2”, dia, 3‑3/4”, a trumpetshaped candlestick, h. 10‑1/4”, dia. 4”, and a cylindrical vase, h. 8‑1/4”, dia. 2‑1/4”, [150/300] 385 Thirteen Pieces of Blue-and-White Canton Chinese Export Porcelain, second quarter 19th century, comprised of a handled jug,h. 6‑1/2”, a twisted-handle oblong gravy boat, h. 3”, w. 3‑1/4”, l. 7”, a pair of scalloped-edge sauce boats, h. 2‑1/2”, l. 7”, a pair of pickle leaves, w. 5”, l. 7”, a handled cover pickle leaf, w. 5‑1/4”, l. 7‑1/4”, two small square dishes, w. 3” to 3‑3/4”, l. 3” to 3‑3/4”, an egg cup, h. 2‑1/4”, a miniature serpentine dish, w. 3‑3/4”, l. 2‑1/2”, a miniature saucer, dia. 2‑3/4”, and an inkpot, h. 2”. [250/400]

394 Provincial Pine Metamorphic Chair, early 20th century, the back with four bulbous spindles, the wooden seat hinged and opening to a three-step ladder, raised on slightly bobbin-turned legs, h. 34‑1/2”. [150/300] 395 Queen Anne-Style Mahogany Sidechair, 20th century, the backswept crest above a baluster-form splat, the padded seat raised on cabriole legs ending in pad feet, h. 38‑1/2”. [300/500]

386 Three Blue-and-White Chinese Export Canton Cream Jugs, second quarter 19th century, h. 3” to 3‑1/2”, w. 5” to 6‑1/2”. [150/300] 387 Chinese Export Blue-and-White Canton Wash Basin and Pitcher, second quarter 19th century, in the “willow” pattern, basin h. 4”, dia. 11”, pitcher h. 9‑1/2”, dia. 4‑1/2” [250/400] 388 Pair of Chinese Export Blue-and-White Canton Hot Water Dishes, second quarter 19th century, of octagonal form, in “willow” pattern, dia. 9”. [150/300] 389 Thirty-Eight Piece Partial Blue Canton Dinner Service by Vista Alegre, comprised of eight dinner plates, dia. 10”, six deep soup plates, dia. 10”, eight salad plates, dia. 8‑3/4”, eight cups and eight saucers, the pattern reproduced from originals in Historic Charleston. [200/400] 390 Rare Blue Transfer-Printed Earthenware Basin, by John Rogers and Son (active ca. 1814‑1836), Dale Hall, Longport Staffordshire, of elliptical form in “Chinese Fruits and Flowers” decor, with the impressed mark “Rogers” underglaze, h. 4”, w. 14”, l. 19”. [300/500] 391 Two Meissen Blue-and-White Porcelain Platters, first quarter 20th century, one in “Onion” decor, of oval-form, marked on the underside with the underglaze blue crossed swords of Meissen, w. 13”, l. 18”, the other C. Teichert (active 1882-ca. 1930) a poultry platter in “Onion” decor, of oval-form, marked with the starred Teichert ellipse centered with the word “Meissen”, w. 11‑1/2”, l. 17”. [200/400] 392 George III Anglo-Irish Mahogany Center Table, fourth quarter 18th century, the banded rectangular top with a string inlay of interlacing geometric patterns, above a plain frieze, raised on cabriole legs headed by bellflower carving and ending in pad feet, h. 30‑1/2”, w. 54”, d. 28‑1/2”. [700/1000] 393 Queen Anne-Style Walnut Secretary-Bookcase, fourth quarter 18th century, the molded cornice above two cupboard doors, each inset with a shaped panel, the lower section fitted with a slant front opening to an inset leather writing surface, double storage wells and a variety of drawers and cubbyholes flanking a central cupboard with two short drawers and two long graduated drawers below, raised on bun feet, h. 87”, w. 40‑1/2”, d. 23”. [2000/4000] Illustrated

393 396 George III-Style Mahogany Tea Table, fourth quarter 19th century, the rectangular top with shaped corners and a dished edge, above a frieze fitted with a single long drawer, raised on cabriole legs ending in pad feet, h. 29”, w. 31”, d. 20”. [400/700] 397 Queen Anne-Style Mahogany Silver Table, mid 20th century, the rectangular top with a raised molded edge, above a frieze fitted with a candle slide to either end, above a scalloped apron, raised on cabriole legs ending in pad feet, h. 26”, w. 30”, d. 18‑1/2”. [400/700]

398

400

399

404 George II-Style Walnut Library Table, early 20th century, the large rounded rectangular top with an inset leather writing surface, above a plain frieze, raised on cabriole legs headed by shell carving and ending in pad feet, h. 30”, w. 96”, d. 47”. [800/1200] 405 Suite of Six George I-Style Elm Sidechairs, 20th century, each with a double-domed crest above a shaped splat, the padded saddle seat above a shell-carved apron, raised on cabriole legs headed by shell carving and ending in pad feet, h 41”. [1400/1800] Illustrated 406 Follower of Augustus Wall Calcott (British, 1779‑1844) “Life on a Farm”, oil on canvas, unsigned, 25” x 30”. Presented in a giltwood frame. [400/700] 407 British School (First Quarter 19th Century) “Landscape with a Clergyman and Two Women by a River, a Temple in the Background”, oil on canvas, illegibly signed lower right, 17” x 21”. Presented in a giltwood and gesso frame. [600/900]

398 Pair of Georgian-Style Mahogany and Brass Candlesticks, first quarter 20th century, English, the round bases supporting reeded urns, with fluted standards tapering up to brass candle cups with reeded bobeches, h. 14‑1/4”. [100/200] Illustrated 399 George III Mahogany Tea Caddy, first quarter 19th century, the mahogany case edged in barber pole inlay with an inlaid crotch-veneered oval on top set with a rosette and bail pull, the front with an inlaid diamond escutcheon and the interior foil-lined, h. 5‑1/2”. w. 5”. d. 5‑1/2”. [150/300] Illustrated 400 Pair of Regency-Style Brass Candlestick Holders, the round base terminating in a faceted dome conforming to facets on both the shaft and candle cup, h. 11”. [75/125] Illustrated 401 Pair of Tavern Candlesticks with Inset Bells, mid‑19th century, with turned foot supports and a turned shaft with a wide drip pan and a functioning bell, h. 15”. [100/200] 402 Victorian Tea Caddy, second quarter 19th century, the domed top and front veneered in alternating bands of satinwood and rosewood veneer, with rosewood on sides and back, lined in foil, the bottom retaining early woolen baize cover, h. 3‑3/4”, w. 4‑3/4”, d. 3‑3/4”. [150/300] 403 Pair of English Copper Altar Sticks, first quarter 20th century, the cylindrical base molded with wheat and grapes, supporting a central shaft with a beaded mid rib and a leafand-cross molded drip pan, h. 31”. [100/200]

408

405

408 George A. Jones (British, 1786‑1869) “Mountainous Brook Landscape”, oil on canvas, signed lower right “Geo: A Jones, C.M.”, 18” x 26”. Presented in a Rococo style giltwood and gesso frame. [800/1200] Illustrated 409 Joseph Horlor (British, 1809‑1887) “Landscape with a Woman Sitting on a Tree Branch Next to a Pond and a Cottage”, oil on canvas, signed lower lower left “J. Horlor”, 32” x 48”. Presented in a period giltwood and gesso exhibition frame with brass artist plaque. [1000/1500] Illustrated 409

410 410 Benjamin Williams Leader (British, 1841‑1923) “Evening Light Near Wales”, oil on canvas, signed and date lower left “B.W. Leader ‘119”, 30” x 50”. Presented in a period giltwood and gesso frame. Benjamin Williams Leader was one of the most prolific and successful landscape painters of his time. He won a medal of honor at the 1889 Paris Salon and was made Knight of the Legion of Honor. After visiting Scotland and Wales, he painted mainly landscapes of mountains and river scenes in autumnal hues, such as this particular painting. [5000/8000] Illustrated

411 411 Spectacular Chinese Embroidered Silk Altar Frontal, 19th century, executed on a coral silk ground with brocade border, the design executed in colored silk and gold thread with lotus blossoms and scrolling foliage with a border of melons and plum blossoms, the frontal as one horizontal panel, the top divided into five panels to be placed on the flat top of the altar table, h. 36‑3/8”, w. 74”. [8000/12000] Illustrated

418

412 Two Chinese Famille Rose Export Porcelain Tea Cups and Saucers, late 19th century, each having a shallow saucer and handleless tea cup decorated in underglaze blue and famille rose enamels with floral decor, dia. 4‑3/4”. [50/80] 413 Chinese Famille Verte Jardiniere, 19th century, decorated with shaped reserve panels of figural scenes against an elaborate ground of butterflies and flowers with a lappet border at the base and a brocade border at the rim, h. 14”, dia. 16”. [200/400] 414 Pair of Chinese Green and Lavender Jade Bangles, dia. 2”, inside, 3‑1/4”, outside. [200/400] 415 Chinese Carved “Moss in Melting Snow” Pendant Plaque, of rectangular outline carved in low relief on the front as a maiden among flowers, the reverse etched with an eight-character inscription, h. 2‑1/4”, w. 1‑5/8”. [400/700] 416 Good Chinese Jadeite Bangle Bracelet, of circular outline, the tubular bangle in a slightly bluish-green color with approximately one quarter of the bracelet in rich emerald green color, dia. 3‑1/4”. [250/400] 417 Good Chinese Carved Jadeite Arm Band, 19th century, the stone of mottled lavender and green color, carved in low relief with a continuous design of ruyi, lotus, clouds and bats, the interior of the band with engraved artemesia leaves, dia. 4”. [600/900]

418 Large Pair of Chinese Famille Rose Porcelain Vases, 19th century, each of baluster form with stylized dragon handles, decorated with reserve panels of figures and flowers against a blue ground of flowers and butterflies, h. 24‑7/8”. [2500/4000] Illustrated 419 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”. [300/500]

421 Rare, Large Chinese Pottery Guan, Zhou Dynasty, Warring States Period (475‑221 BC), of globular-form with tapering base, decorated with very rare doubleimpressed decoration with an impressed mesh pattern on the upper section and a linear impressed pattern on the lower section, h. 11‑1/2”. [600/900]

420 420 Impressive Chinese Carved Ivory Chess Set in Wooden Case, 20th century, composed of carved ivory figures in the form of Chinese figures, one set in natural ivory and the other in dark brown stained ivory, the figures in fitted silklined compartments, the case opening to form the chess board of alternating squares, Board w. 32”, l. 32”, Kings & Queens 7-1/4", Bishops 6", Pawns, 4". [6000/9000] Illustrated

420

437 435 432

433 436

427 Good Chinese Famille Rose Small Covered Tea Bowl, Republic Period (1908‑1949), of inverted bell shape with fitted cover and with a splayed foot used as a stand, enameled on the exterior of the tea bowl and top with stylized floral medallions, the base and cover each having a six-character Daoquang mark in iron-red, h. 3‑1/8”, dia. 3‑5/8”. [200/400]

434

422 Patinated Bronze Chinese Censer, the base with two figures over a cooking pot with raised clouds and flowers on the obverse, and two children playing with a rabbit on a leash on the reverse, with molded foo dog head handles, the cover pierced with dragons and with a full figured Foo Dog with one paw on an orb serving as the finial, h. 20”, w. 12”, d. 8”. [300/500] 423 Japanese Bronze Vasiform Table Lamp, of baluster form with flared neck, loop handles and integral base, cast with raised decoration of Japanese iris and bog plants with birds against a figured ground, h. 28‑1/2”. [250/400] 424 Good Pair of Chinese Famille Rose Tea Cups, Republic Period (1908‑1949), each of conventional shape finely decorated with the Eight Immortals in a boat on the sea with weathered rockwork and a calligraphic poem on the reverse, the base with a four-character Qianlong seal mark in raised blue enamel, each with padded wooden box, h. 2‑3/8”. [400/700] 425 Unusual Chinese Famille Rose Footed Saucer Dish, Republic Period (1908‑1949), the bowl delicately enameled with an Immortal, probably Han Xiang Zi, holding a staff with a basket of peaches and ling-chih, attended by a boy and two bats, the exterior with five bats holding Buddhistic symbols, the interior of the foot with a six-character Qianlong mark in underglaze blue in a single line, h. 2‑3/4”, dia. 6‑1/8”. [300/500] 426 Pair of Chinese Famille Rose Porcelain Vases, 20th century, each of squared rectangular form with rounded necks, decorated all over with flowers and insects against a white ground, h. 9‑1/2”. [125/250]

428 Fine Pair of Chinese Famille Rose Porcelain Rice Bowls, Republic Period (1908‑1949), each finely enameled as a pair of quail among rockwork and flowering plants, the design of the plants crossing over the lip rim and continuing into the interior, the base with a four-character iron-red mark, dia. 4‑1/2”. [400/700] 429 Two Chinese Framed Famille Rose Porcelain Plaques, first quarter 20th century, each of rectangular form with lacquered wooden frames, decorated in soft pastel enamels, one with an emperor, elephant and attendants, the other with ladies and children in a garden pavilion, h. 15‑3/8” to 17‑1/2”. [400/700]

449

430 Collection of Eight Pieces of Chinese Export Porcelain Pieces, late 18th century, composed of a teapot, tea caddy, covered sugar bowl, covered creamer, tea cup, two tea saucers and a rectangular tray all decorated in famille rose enamels with floral designs, h. 1‑1/4” to 7”. [400/700] 431 Chinese Famille Rose Export Porcelain Handled Mug, first half 20th century, of cylindrical form with ruyiheaded strap handle, decorated in traditional colored enamels with a central floral group surrounded by foliage and scattered groups of roses, h. 5”. [200/400] 432 Chinese Famille Rose Export Porcelain Flower Pot and Saucer, 19th century, each of hexagonal outline, the pot slightly flared to the rim, decorated in the rose medallion pattern and bordered with flower and butterfly bands, h. 6‑3/8”, including saucer, dia. 7‑3/4”. [600/900] Illustrated 433 Chinese Famille Rose Export Porcelain Fruit Basket and Stand, 19th century, the basket of oval outline with fleurette handles and reticulated sides, the oval stand with a reticulated border, both decorated in the rose medallion pattern, l. 10‑1/4”. [300/500] Illustrated 434 Chinese Famille Rose Export Porcelain Cream Pitcher, first half 20th century, of European-form with paneled sides, and scalloped rim decorated in the rose medallion pattern, h. 5‑3/8”. [100/200] Illustrated 435 Large Chinese Famille Rose Export Saucer Shaped Server, 19th century, decorated in the rose medallion pattern with a central floral medallion surrounded by alternating reserve panels of floral and figural decoration, dia. 14‑7/8”. [300/500] Illustrated 436 Chinese Famille Rose Decorated Punch Bowl, 19th century, the circular form bowl decorated in the rose medallion pattern in richly colored enamels with figural scenes and reserve panels against a floral ground, dia. 13”. [2000/4000] Illustrated 437 Chinese Export Porcelain Famille Rose Bottle Vase, 19th century, having a bulbous body with elongated neck decorated in the rose medallion pattern with alternating figural and naturalistic reserve panels against a dense floral ground, h. 13‑1/4”. [700/1000] Illustrated 438 Chinese Famille Rose Export Porcelain Vase, 20th century, of baluster form with molded and gilded mock lion-head handles, decorated in the rose medallion pattern with shaped floral reserve panels against a ground of flowers and butterflies, h. 21‑1/2”. [300/500] 439 Chinese Famille Rose Export Porcelain Punch Bowl, 19th century, the deep bowl decorated on the interior and exterior in the rose medallion pattern with alternating reserve panels of floral figural decoration against a floral ground, dia. 13‑1/4”. [400/700]

440 Chinese Famille Rose Porcelain Wash Basin, late 19th century, of circular outline with rim decorated with a dragon spewing vapors to the sea with a carp, crab and shrimp in the waves and bordered by a band of buddhistic symbols and flowers, dia. 14‑3/8”. [300/500] 441 Chinese Famille Rose Export Porcelain Serving Dish, late 19th century, decorated with figures in a domestic scene of a garden and pavilions bordered with a floral band with floral reserve panels, dia. 12‑3/4”. [100/200] 442 Group of Four Chinese Famille Rose Dishes, 19th century, each decorated in the rose medallion pattern, each with a central floral medallion surrounded by four scalloped medallions of figural and floral scenes against a floral ground, dia. 7‑7/8”. [100/200] 443 Group of Nine Pieces of Chinese Famille Rose Export Porcelain, 19th century, in the rose medallion pattern, composed of a covered teapot, two creamers, two cups and saucers, a rice bowl and a scalloped edge waste bowl, two wooden stands, various sizes. [300/500] 444 Chinese Famille Rose Export Porcelain Chamber Pot, 20th century, the deep circular bowl with loop handle and fitted domed cover, decorated on the exterior only in the rose medallion pattern with gilt details, dia. 9‑5/6”. [200/400] 445 Large Chinese Famille Rose Export Porcelain Serving Dish, late 19th century, of shallow circular form decorated with a scene of dignitaries in a pavilion watching a festive crowd watching a dragon festival parade, dia. 13‑5/8”. [200/400] 446 Chinese Famille Rose Export Porcelain Wash Basin, 19th century, the deep porcelain bowl with flattened rim decorated in the rose medallion pattern with alternating panels of figural and floral decoration, dia. 16”. [800/1200] 447 Chinese Famille Rose Export Porcelain Fruit Basket and Stand, 19th century, the handled basket of oval outline and having reticulated sides, the stand of conforming shape with a reticulated band, both decorated in the rose medallion pattern with alternating figural and floral panels on a floral ground, l. 9‑7/8”. [500/800] 448 Chinese Famille Rose Porcelain Export Shell Form Seafood Platter, 19th/20th century, of shaped outline with flattened border at one end, decorated in the rose medallion pattern with gilt details, now mounted for hanging, w. 10”, l. 10‑3/4”. [125/250] 449 Unusual Chinese Famille Rose Export Porcelain Wash Basin, 19th century, decorated with a central medallion of figures in a landscape, encircled by a border of butterflies and flowers with a further border of butterflies and flowers against a gilt ground, dia. 13‑3/4”. [1000/1500] Illustrated

450 Group of Eighteen Pieces of Chinese Famille Rose Dinnerware, first half 20th century, composed of nine luncheon plates, eight dessert plates and an oval platter, all decorated in the rose medallion pattern, dia. 6‑3/8” to 12‑5/8”. [300/500] 451 Chinese Export Famille Rose Bowl with Armorial Decoration, 19th century, of circular shape with slightly scalloped rim, decorated in underglaze blue with a floral brocade at the rim, the interior with a floral bouquet, the exterior with armorial devices alternating with floral bouquets, dia. 8‑7/8”. [300/500] 452 Pair of Chinese Armorial Export Plates, late 18th century, each decorated in famille rose enamels with a central armorial shield surrounded by foliage and having a ribboned banner at its base, the field decorated with floral sprays, dia. 10”. [500/800] 453 Chinese Famille Rose Export Porcelain Covered Tureen and Stand, late 18th century, the oval tureen of bombe shape on splayed foot and having strap handles, the conforming cover with pineapple finial, decorated in famille rose enamels with monograms within shields and gilt highlights, h. 8‑7/8”, l. 13”. [600/900] 454 Chinese Export Armorial Porcelain Vegetable Dish, 19th century, of molded foliate shape decorated in encrede-chine and gilding with a central monogram shield with an animal head on top and having gilt scrollwork borders at the shaped rim, dia. 9‑7/8”. [150/300]

459 455 Edwardian Circassian Walnut Secretary Bookcase, early 20th century, the stepped and molded cornice above three glazed cabinet doors, with a lower central drop-front drawer opening to a compartmented interior, the lower section fitted with a roll top opening to a pull-out leather inset writing surface and a variety of drawers and cubbyholes, over a long frieze drawer with a central recessed paneled cupboard below flanked to either side by a bank of three banded short drawers, raised on a plinth base, h. 87”, w. 54‑1/2”, d. 27‑1/2”. [2500/4000]

457

456 Victorian Fruitwood Music Stand, late 19th century, the rotating double-sided top with scrolling foliate pierced hinged easels, raised on a turned and bulbous circular standard to a molded circular base raised on scrolled toes, h. 52”. [300/500] 457 Erard Burl Elm Grand Piano, London, fourth quarter 19th century, the key lid bearing an inlaid rosewood plaque “Great Exhibition”, The Only Council Medal for Pianofortes to Erard of London", h. 36”, w. 55”, l. 96”. [1500/2500] Illustrated 458 Baker Russet Velvet-Upholstered Sofa, of Knoll form, the padded rectangular back and canted sides above the cushioned seat, the skirted base raised on tapering square legs, h. 28”, d. 32”, l. 75”. [300/500] 459 Arthur Drummond (British, 1871‑1951) “The Flower Seller”, oil on canvas, signed and dated lower right “Arthur Drummond 1889”, 27‑1/2” x 22”. Presented in a giltwood and gesso frame. [3000/5000] Illustrated

465 Edwardian Satinwood and Ribbon Mahogany Pedestal, c. 1900, the square top with banded edge above a tapering pedestal terminating with a molded plinth base, h. 45‑1/2”, w. 12”, d. 12”. [200/400] 466 Edwardian Mahogany Pole Screen, c. 1900, in the Georgian taste, the adjustable oval panel with an embroidered floral panel within a beaded frame, raised on an annulated and foliate-carved standard to three splayed cabriole legs headed by foliate carving and ending in paw feet, h. 57”, w. 15”. [600/900] 467 English Tinted Parian Figure, third quarter 19th century, probably Mary Queen of Scots, depicted wearing a wreath of roses in her hair, and carrying a prayer book, her eyes downcast in a suitably pious manner, the figure decorated with raised gilt on her cross, bodice, hem and fringed tie, signed, “PB” in a raised pad mark, likely Pinder Brown and Co., h. 28”, dia. 9‑3/4”. [2500/4000] 460 460 Edwardian Satinwood Cabinet, c. 1900, the shaped and bowed top with turreted corners and double-banding, one band with polychrome floral accents, above a conforming case fitted with a single cupboard door centered by a figural medallion surmounted by floral garlands, flanked by rounded pilasters to either side, the shaped sides with floral sprays, raised on turned tapering circular legs ending in bulb feet, h. 36”, w. 33”, d. 17”. [1500/2500] Illustrated

468

461 Set of Seventeen Green Cut-Glass Wine Stems, second quarter 20th century, each having green cut bowls transitioning into colorless cut stems and bases, h. 5‑1/2”. [100/200] 462 Pair of Regency-Style Table Lamps, second quarter 20th century, New York, the jade green glass fonts subtly engraved with flowers and leaves, resting in a brass base on a black marble plinth, signed, Dav Art, NY, h. 21‑1/2”. [250/400] 463 Suite of Three Edwardian-Style Mahogany Nesting Tables, each with a double-banded rectangular top with thin decorative inlaid band, all raised on ring-turned double end supports joined by stretchers and ending in runner feet, h. 25”, w. 19”, d. 13”. [700/1000] 464 Pair of Edwardian-Style Mahogany and Burlwood Occasional Tables, each with a pierced gallery around the square top centered by a polychrome floral spray, raised on tapering square legs joined by an X-form stretcher and ending in splayed feet, h. 27‑1/4”, w. 16”, d. 16”. [250/400]

468 Three-Piece Copeland China, England, Tea Service, early 20th century, retailed by Tiffany & Co. and so marked, comprised of a lidded tea pot, creamer and lidded sugar basin, each piece with floral painted decor with butterflies and gilded highlights, h. 4‑1/2” to 7”. [800/1200] Illustrated 469 Set of Seven Chamberlain Worchester Dinner Plates, early 20th century, each with a scalloped edge and gilt decorated border, the central field with a spray of flowers, dia. 10‑1/2”. [300/500]

476 Pair of Edwardian Brass Corinthian Column Candlesticks, first half quarter 19th century, resting on Napoleon III gilt stands with velvet lining, h.8”. Provenance: Blackamoor Antiques, New Orleans, Louisiana. [300/500] 477 Edwardian Mahogany and Marquetry Inlaid Cabinet, fourth quarter 19th century, the right side with a canted corner and a glazed door above an open shelf, the center and left doors designed to slide up and down and suspended by ropes and counter weights, h. 43”, w. 44”, d. 18”. [400/700]

470

470 Adam-Style Satinwood Demi Lune Cabinet, the faninlaid and banded demi-lune top above a conforming case fitted with four doors, all banded and with a central ovalpatera-inlay, raised on tapering square legs, h. 35”, w. 52”, d. 24”. [900/1200] Illustrated 471 Edwardian Mahogany Drinks Trolley, early 20th century, in the art deco taste, the oviform top with a full pierced brass gallery and end handle, above a conforming base fitted with two shelves to one half and a tambour cupboard opening to a fitted bottle holder to the other, raised on large brass wheels and front caster, h. 28”, w. 35”, d. 20”. [300/500] 472 Pair of Edwardian Mahogany String-Inlaid Pedestals, c. 1900, each with a molded top and paneled sides with satinwood banding and raised on ogee bracket feet, h. 48‑1/2”, w. 14”, d. 14”. [400/700] 473 Edwardian Mahogany and Satinwood Inlaid Pedestal, c.1900, with a square platform top and a molded edge mounted to a tapering pedestal with inlaid borders and ending in a plinth base, h. 44‑1/2”, w. 12”, d. 12”. [200/400] 474 English Mahogany Sewing Trolley, mid‑20th century, the rectangular top with an inset removable glass tray, the base fitted with four hinged projecting trays and with a stretcher shelf, raised on tapering square legs ending in brass caps, h. 29”, w. 25‑1/2”, d. 18”. [250/400] 475 Edwardian Mahogany Plant Stand, c. 1900, the square lower shelf and top shelf with a fretwork gallery and each side with a shaped and molded shelf supported by carved brackets, h. 44”, w. 22”, d. 10”. [100/200]

478 Victorian Mahogany, Rosewood and Faux Rosewood Pole Screen, third quarter 19th century, the shaped frame mounted with antique floral needlepoint, on a tripodal base ending in pad feet, h. 56”, w. 19”, d. 17”. [300/500] 479 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.) [75/125] 480 Pair of Pink Bristol Vases, third quarter 19th century, English, the pink glass plated over white, decorated with raised gilt leaves with small white hand painted flowers, h. 12‑1/4”. [70/125] 481 Coalport Garniture Vase with Signed Landscape Panel, first quarter 20th century, the cream colored narrow neck with gilt scroll handles, and the cobalt body with a topographical reserve panel framed by a raised gilt cartouche, the view of Howthornden depicting a castle in the highlands overlooking a wooden bank and stream and identified on the bottom, signed by, A. Perry, and marked, England, Coalport, AD 1750, in overglaze green in addition to the Hawthornden in script, h. 15‑1/4”. [125/250] 482 Victorian Ebonized Sidechair, third quarter 19th century, the shaped crest above a domed splat featuring a polychrome and mother-of-pearl inlaid floral spray, flanked to either side by barley twist uprights, the caned seat raised on cabriole legs ending in scrolled toes, the whole accented by elaborate gilt and polychrome designs, h. 38”. [100/200]

483 Victorian Ebonized Papier-Mache Occasional Table, third quarter 19th century, the tilting oval top with a molded scalloped edge surrounding a gilt and motherof-pearl banding and central inlaid and polychrome floral spray, raised on a tapering bulbous standard to a molded gilt-foliate accented base on casters, h. 28”, w. 26”, d. 21‑1/2”. [500/800]

491 Pair of Ebonized and Polychrome Chinoiserie Collector’s Cabinets, 20th century, each with a stepped rectangular top above two doors, one opening to two banks of eight drawers, the other opening to two banks of fifteen drawers, raised on tall square legged stands, the whole with gilt and polychrome floral and foliate avian scenes, h. 49‑1/2”, w. 20‑1/4”, d. 9‑1/2”. [3000/5000]

484 Victorian Ebonized Papier-Mache Sidechair, third quarter 19th century, the pierced balloon back with gilt and inlaid mother-of-pearl accents above a caned seat, raised on cabriole legs ending in peg feet, h. 33”. [400/700]

492 George III-Style Display Cabinet-on-Stand, early 20th century, in the Chinese Chippendale taste, the broken swan’s neck pediment pierced and with urn finials, centered by a foliate urn and above a case fitted with two beveled astragal-glazed doors opening to a mirrored interior, the lower section fitted with two short drawers above two concave open shelves, supported by cluster columns, raised on tapering square feet, the whole accented with blind fret caned banding, h. 84‑1/2”, w. 41‑1/4”, d. 19‑1/2”. [1000/1500]

485 Victorian Ebonized Papier-Mache Work Table, third quarter 19th century and later, the shaped oval top centered by a raised oval panel and with gilt and inlaid mother-of-pearl accents, hinged and opening to a mirrored velvet-lined interior, above a small suspended drawer, raised on bowed supports joined by a shaped X-form stretcher and ending in peg feet, h. 28‑1/2”, w. 21‑1/2”, d. 16‑1/2”. [500/800] 486 Pair of Victorian Ebonized Ballroom Chairs, late 19th century, each with an open back centered by a pierced splat, the cushioned caned seat raised on cabriole legs, the whole with gilt and mother-of-pearl inlaid accents, h. 33‑1/2”. [100/200] 487 English Papier-Mache Jewel Box, mid‑19th century, a mother-of-pearl Greek-Key border around the lid surrounding the raised central portion with an oval landscape painting framed in mother-of-pearl, the lock escutcheon in a bold gilt and mother-of-pearl lobed cartouche, leading to the shaped heavily gilded spreading base molding, lined in blue silk, h. 4”, w. 10‑1/2”, d. 8‑1/2”. [200/400] 488 Three-Piece Group of English Mid‑19th Century Papier Mache, comprised of a card tray with a scalloped edge, gilt scroll border and a molded brass handle terminating in leaves, dia. 9”, a crumb tray with a heartshaped hand hole and with a scalloped edge and gilt scroll border, w. 9‑1/4”, l. 9‑1/2”, and a tole bread tray decorated with a Ho-Ho bird, a parrot and tropical flowers with rococo brown and gilt scrollwork, w. 14”, l. 14”. [100/200] 489 English Elaborately Japanned and Gilded Red Lacquered Papier-Mache Crumber Set, third quarter 19th century, in the Chinese taste, the crumb brush of modified crescent form, l. 13‑1/2”, the tray of stylized shell form, l. 11‑1/2”, w. 10‑1/2”. [100/200] 490 George III-Style Ebonized and Polychrome Parlor Cabinet, early 20th century, in the chinoiserie taste, the stepped rectangular top with bowed center section above conforming case fitted with a central door with a figural landscape scene, flanked to either side by a door inset with a beveled glazed panel, the sides paneled en suite, raised on cabriole legs ending in ball and claw feet, h. 54‑1/2”, w. 51‑1/2”, d. 16”. [500/800]

493 Edwardian Mahogany Vitrine on Stand, fourth quarter 19th century, the upper section having a pagoda-form top over a cabinet with glazed door and sides and a single long drawer below, the open base with a lower shelf and raised on tall cabriole legs of Queen Anne form, h. 66”, w. 29”, d. 18”. [500/800] 494 Victorian-Style English Mahogany Wheel Barometer, the rococo revival case mounted with an enamel thermometer and an enameled primary dial, marked “Made in England”, h. 35”, w. 11‑3/4”. [300/500] 495 Victorian Mahogany Library Steps, late 19th century, composed of four spiraling steps, each with an inset leather tread, supported by a turned and raised columnar standard, h. 59‑1/2”. [150/300] 496 Edwardian Mahogany Revolving Book Mill, early 20th century, the small circular dished top tier joined by a fluted and ribbed support to the octagonal top, above a revolving base fitted with a galleried space for books, raised on turned bulbous standard to four splayed legs, h. 39‑1/2”, dia. 20‑1/2”. [200/400] 497 Mahogany Floor Lamp, the standard in the form of a spiral staircase with banister, fitted with a custom embossed shade, h. 69‑1/2”. [1800/2500] 498 English Arts and Crafts Oak Revolving Book Mill, early 20th century, the square top with molded edge above a case fitted with two tiers, each with slatted sides and book compartments, raised on a revolving quatreform base to casters, h. 34‑1/2”, w. 19”, d. 19”. [200/400] 499 Tall Onyx Pedestal of Classical Design, the square top with rounded corners mounted to a spiral-twist column and flat base platform, h. 41”, w. 13‑1/2”, d. 13‑1/2”. [500/800]

506

500 English Victorian Tantalus, fourth quarter 19th century, the oak case with a mirrored back and modern Gothic nickel-plated hardware, containing cut-glass decanters with faceted stoppers, set behind a locking compartment and drawer, mounted with batwing carrying handles and accompanied by four brilliant cut-glass shot glasses, h. 14”, w. 15”, d. 12”. [800/1200] 501 Rare English Silver-Plated Astrolabe, 19th century, hand engraved and astronomically correct, used by astronomers, navigators and astrologers to locate and predict the positions of the sun, moon, planets and stars, also used for determining local time, local latitude, surveying, triangulating, and to cast horoscope, h. 5‑1/4” dia. 3‑1/4”. [300/500]

502 Pair of English Majolica Cache Pots, fourth quarter 19th century, the leaf-molded cobalt foot supporting a lobed body, the leaf-molded edges molded with a pair of ropes and tassels, executed in magenta, green and brown, h. 8‑3/4”. [300/500] 503 English Art Nouveau Earthenware Umbrella Stand, the blue-green ground surrounding gilt-molded panels of molded pink and green flowers over a mottled pink and green ground, the sides molded with openings for additional umbrellas, h. 25‑1/2”, w. 8”, d. 8”. [300/500]

504 English Brass Firescreen, first quarter 19th century, inset with a beveled mirror plate and hand painted with flowers, the brass edges mounted with swirling patterns, with like decoration on the central handle and matching feet, h. 29‑1/2”, w. 21”. [50/80] 505 English Art Nouveau Majolica Umbrella Stand, fourth quarter 19th century, signed, “Birkentofts Faience”, the top of the stand molded with thistles in panels, divided by molded panels leading to shaped drain holes and a molded lower edge, glazed in pale blue descending to turquoise as it drips down the sides, h. 25‑1/2”, dia. 10‑1/2”. [150/300] 506 Sir Jacob Epstein (English, 1880‑1959) “Bust of a Girl” important patinated bronze, circa 1909, Note: The same bronze is illustrated in “The Art of Jacob Epstein” by Robert Black, plate 79. Works by Epstein are in the permanent collections of The Museum of Modern Art, New York; the Scottish Gallery of Modern Art, Edinburgh; The Tate Gallery, London; The National Museum of Wales, Cardiff, and many others. [5000/8000] Illustrated 507 Attributed to Augustus Edwin John (British, 1878‑1961) “Gypsy Caravan”, pencil on paper, titled lower right, sight 3‑1/8” x 5‑1/4”. Glazed, matted and framed. [200/400]

508

508 Sir William Russell Flint (British, 1880‑1969) “Clarissa Modeling”, red conte crayon on paper, signed lower right “W. Russell Flint”, sight 10” x 5‑1/2”. Glazed, attractively linen matted and presented in a silvered frame. [2000/4000] Illustrated 509 Augustus Edwin John (British, 1878‑1961) “My Family”, pen and ink and wash on paper, label with the artist’s signature on the reverse, sight 12” x 14‑3/4”. Glazed, matted and framed. [3000/5000] Illustrated

509

Session II Saturday, March 3, 2012 10:00 a.m. CST â&#x20AC;&#x201C; Lots 510-1320

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515 512 Two Italian Grand Tour Ornaments Depicting Vespasian’s Temple, fourth quarter 19th century, one a white alabaster column with a yellow marble base and cornice, resting on a tan-colored stone foot, h. 13‑1/2”, w. 4‑1/4”, d. 4‑1/2”,the other a white alabaster column and base resting on a black marble foot, inscribed, “Roma TEMPIO Di Bespa Siano”, h. 13‑3/4”, w. 5”, d. 5”. [1500/2500] Illustrated

510 Regency Rosewood Credenza, first quarter 19th century, the double-tiered superstructure with an upper pierced-brass gallery and mirrored back, joined by bulbous brass supports, the lower section with a recessed central section fitted with two grilled cupboard doors, flanked to either side by a paneled door, raised on a plinth base, h. 62”, w. 72”, d. 15‑3/4”. [1200/1800] Illustrated 511 Pair of Napoleon III Carved and Gilded Lions, third quarter 19th century, depicted with heads turned and mouths open, and resting on later faux marbre stands, h. 6”, w. 9‑1/4”, d. 4‑1/2”. [300/500] Illustrated

513 Pair of Neoclassical Terracotta Jugs, fourth quarter 19th century, attributed to the Watcombe or Torquay Terra-Cotta Company, each with ebonized classical scenes on front and back and a single handle attached to the neck with gilt striped highlights, h. 9”. [100/200] Illustrated

510

514 Two Framed Groups of Red Wax and White Plaster Intaglios, second quarter 19th century, the current examples illustrate various classical profiles, busts and groups in bas relief, mounted on green paper, the red wax examples are edged in period gilt paper, each with a hand-scripted reference number, framed in modern gilt shadowboxes, h. 11” to 14”, w. 9‑1/4” to 11”. Provenance: Charles Cooper Antiques, New Orleans, Louisiana, later custom-framed at Goudeau Antiques, Baton Rouge, Louisiana. These copies of ancient ornaments were brought home as souvenirs of travels by those who took the Grand Tour. [900/1200] Illustrated 515 Neoclassical-Style Eglomise Rondel, fourth quarter 19th century, the scene depicting a god in classical robes, seated beside an eagle, holding a bundle of leaves, rendered in gilt, picked out in black on a black ground, and in a round black and gilt frame, dia. 5‑1/2”. [40/70] Illustrated

516

518

518 Pair of Framed Groups of Red Wax Intaglios, second quarter 19th century, the current examples illustrating various classical profiles, busts and groups in bas relief and are edged in period gilt paper on a lilac background, each with a hand-scripted reference number, framed in modern gilt shadowbox frames, h. 13‑1/2”, w. 9‑1/4”. Provenance: Charles Cooper Antiques, New Orleans, Louisiana, later custom-framed at Goudeau Antiques, Baton Rouge, Louisiana. These copies of ancient ornaments were brought home as souvenirs of travels by those who took the Grand Tour. [900/1200] Illustrated

519 Regency Mahogany Drop-Leaf Table, first quarter 19th century, the rectangular top with rounded ends and two ovoid drop leaves, above a frieze fitted with a single end drawer, raised on ring-turned, tapering circular legs ending in brass caps and casters, h. 29‑1/2”, w. 38‑3/4”, d. 22‑7/8”, extended l. 44”. [300/500] 520 Pair of Regency-Style Mahogany Armchairs, early 20th century, each with a curved and molded crest above a pierced lyre-form splat, joined by downswept arms to the cushioned seat, raised on sabre legs, the whole accented with ormolu mounts in the Regency taste, h. 34‑1/2”. [600/900] Illustrated

516 Three Framed Groups of Red Wax Intaglios, second quarter 19th century, the examples illustrate various classical profiles, busts and groups in bas relief, edged in period gilt paper on an olive background, each with a hand-scripted reference number, framed in a modern gilt shadowbox, h. 10” to 14‑1/2”, w. 9‑1/2” to 15”. Provenance: Charles Cooper Antiques, New Orleans, Louisiana, later custom-framed at Goudeau Antiques, Baton Rouge, Louisiana. These copies of ancient ornaments were brought home as souvenirs of travels by those who took the Grand Tour. [900/1200] Illustrated

521 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”. [400/700]

520

517 Pair of Framed Groups of Red Wax Intaglios, second quarter 19th century, the current examples illustrate various classical profiles, busts, and groups in bas relief, edged in period gilt paper on a lilac background, each with a hand-scripted reference number and framed in modern gilt shadowbox frames, h. 11”, w. 11”. Provenance: Charles Cooper Antiques, New Orleans, Louisiana, later customframed at Goudeau Antiques, Baton Rouge, Louisiana. These copies of ancient ornaments were brought home as souvenirs of travels by those who took the Grand Tour. [900/1200]

522 Early Regency Mahogany SecretaryBookcase, first quarter 19th century, the shaped floralinlaid crest above a dentillated frieze and two astragal-glazed doors, the lower section fitted with a paneled drop-front secretary drawer opening to a variety of drawers and cubbyholes, over three graduated long drawers, raised on bracket feet, h. 93”, w. 43‑1/2”, d. 21‑1/2”. [1200/1800]

525

529 William IV-Style Mahogany Writing Table, 20th century, the rectangular top with molded edge and an inset leather writing surface, above a conforming frieze fitted with two drawers, raised on tapering turned circular legs ending in brass caps on casters, h. 30” , w. 47‑1/2”, d. 24”. [800/1200] 530 Regency Mahogany Butler’s Chest, first quarter 19th century, the rectangular top with molded edge above a case fitted with a secretary drawer with a drop-front opening to an interior fitted with an inset leather writing surface and a variety of drawers and cubbyholes, over three long graduated drawers, raised on splayed bracket feet, h. 45”, w. 47‑1/2”, d. 22”. [1200/1800] Illustrated

523 William IV Brass and Iron Fireplace Fender, second quarter 19th century, grape pattern piercing decorating the facade on either side of a bollection molding, brass paw feet, h. 8‑1/4”, w. 40”, d. 12”. [200/400] 524 William IV Mahogany Cellarette, second quarter 19th century, of sarcophagus form, the stepped-top opening to a velvet-lined interior, the canted corners headed by acanthus leaves, on well-scrolled feet, h. 23”, w. 34”, d. 22”. [500/800] 525 Regency Giltwood Convex Looking Glass, first quarter 19th century, the circular plate surmounted by an eagle on a foliate perch and surrounded by a molded annulateapplied frame and a reeded ebonized slip, with a foliate pineapple pendant, h. 49”, w. 29”. [3000/5000] Illustrated

532

526 Pair of Regency-Style Parcel-Gilt and Ebonized Bracket Shelves, each with a serpentine shelf supported by an eagle with spread wings, and a pineapple finial below, h. 11‑1/2”, w. 13‑1/2”, d. 5‑3/4”. [300/500] 527 Regency Mahogany Breakfast Table, first quarter 19th century, the tilting oval top banded and with a reeded edge, raised on a turned columnar standard to four splayed and reeded legs ending in brass caps on casters, h. 30”, w. 56‑1/2”, d. 38‑1/2”. [500/800] 528 Good Regency Elm Burl Drop-Leaf Sewing Table, first quarter 19th century, the entire surface veneered in highly figured burl elmwood with two short drop leaves, the front fitted with a single drawer and silk-lined basket below, raised on a shaped central pedestal and mounted to a platform with four out-curved legs ending in brass paw feet, h. 28‑1/2”, w. 18”, d. 19”, ext. l. 32”. [800/1200]

530

531 Robert Dodd (British, 1781‑1809) “English Hunting Scenes”, suited of four hand colored engravings, sight 9” x 7”. Each glazed, eglomise matted and presented in a burlwood frame. [300/500]

541

537 Regency Giltwood Looking Glass, first quarter 19th century, the molded gadroon-carved cornice above a plain frieze and a rectangular trisected plate, flanked to either side by an applied fluted bulbous pilaster to a molded base, h. 28”, w. 61”. [300/500] 538 Regency-Style Mahogany Double Pedestal Dining Table, early 20th century, the rectangular top having rounded corners and the underside fitted with runners to extend the top, the base with two pedestals, each with three down-curved legs ending in cast brass toes with casters, accompanied by one twenty-eight inch leaf, h. 28”, w. 41‑1/2”, l. 56”, ext. l. 84”. [500/800]

532 Pal Fried (American/ Hungarian, 1893‑1976) “Fox Hunting”, oil on canvas, signed lower right “Fried Pal”, 36” x 24”. Presented in a Louis XV style composition frame with a linen liner. [800/1200] Illustrated

539 Pair of Regency-Style Ebonized Armchairs, early 20th century, each with a padded back-scrolled crest joined by downswept arms on turned uprights to the padded seat, raised on tapering turned circular legs ending in toupie feet, h. 35‑1/2”. [400/700] 540 Good English Regency Tortoiseshell Tea Caddy, second quarter 19th century, the rectangular box lushly inlaid with engraved brass, the subtly domed lid ornamented with an oval cartouche surrounded by pierced and engraved brass strapwork, a small inlaid and engraved shield forming the escutcheon and all over inlaid strapwork including the lids on the interior, h. 5”, w. 9”, d. 4‑1/2”. [1500/2500] Illustrated

533 John Alfred Wheeler (British, 1821‑1903) “Hunting Scene”, oil on panel, signed lower left “J. Wheeler”, 5‑3/4” x 12”. Presented in a giltwood frame. [500/800] 534 Regency Mahogany Breakfast/Center Table, first quarter 19th century, the tilting circular top with a molded edge, raised on a graduating paneled columnar standard to a concave tripartite base to scrolled toes on casters, h. 28‑1/2”, dia. 36”. [400/700]

542

535 Late George III Mahogany Cellarette, early 19th century, of rectangular form, the lid opening to a fitted interior, the sides fitted with brass handles, raised on circular tapering ring-turned legs ending in brass caps and casters, h. 23‑1/2”, w. 18‑1/4”, d. 12‑1/4”. [400/700] 536 Regency Rosewood Etagere, first quarter 19th century, the rectangular top with four corner brass acorn finials, joined by turned circular supports to four like lower shelves, raised on turned turreted feet, h. 67”, w. 26”, d. 16”. [200/400]

541 Regency Bronze and Crystal Three-Light Candelabra, first quarter 19th century, the square plinth with a lotus-molded standard, supporting a gilt eagle with wings spread, with floral molded swag candle branches on the side, and an upper standard, h. 21”, w. 15”, d. 4‑1/2”. [800/1200] Illustrated

540

542 Diminutive Convex Giltwood Looking Glass, fourth quarter 19th century, the round shadowbox frame with an ebonized liner and fitted with sixteen turned round balls, dia. 16”. [300/500] Illustrated

546 Five Pieces of English Neoclassical Jasperware, comprised of a Wedgwood green ground biscuit ball, silverplate lid and handle and impressed “Wedgwood England”, dia. 5”, a Wedgwood blue ground jasper biscuit barrel, silverplate handle, lid and feet, marked “Wedgwood, Made in England”, dia.5”,a low brass lidded biscuit jar with twist handle, marked “BP CO, Brownhills Pottery Co, 1872‑1890”, dia. 5”, a low Wedgwood jasper biscuit barrel with presentation inscription on the lid,with an Eastlake-style bright cut decoration and a bust knop, the pale blue barrel inscribed “Wedgwood” and a brass lid inscribed “WSCC Amateur Athletic Sports, 1880, One Hundred Years Flat Race (open) 2nd Prize JW Parsons”, dia. 6” and a Jasperware cream jug with a black ground, marked “Wedgwood Made in England”, dia. 5”. [500/800]

551 543 Good Chinese Export Brass-Mounted and Lavishly Gilded Black-Lacquer Work Box, in “Lakeside Pavilions” decor, second quarter 19th century, the interior of the lid fitted with a black silk and leather-covered, compartmented scriptor flap, the facade fitted with a pair of shallow transverse drawers, h. 5‑3/4”, w. 17”, d. 11‑1/4”. [250/400] 544 Regency-Style Mahogany Tea Chest, late 19th century, the stepped rectangular top with inlaid stringing, opening to an interior fitted with two lidded wooden tea compartments and a double zinc-lined storage well, above a single drawer with a compartmented liner raised on circular turned legs ending in brass caps and casters, h. 24”, w. 17”, d. 11‑3/4”. [500/800] 545 Set of Three Wheel-Cut Cruet Bottles with Stoppers, late 19th century, each with a frosted body with a Greekkey border to the bowl, neck and stopper, h. 8”. [100/200]

547 Pink Jasperware Urns in the Neoclassical-style, the foot encircled with a white band of overlapping laurel leaves, the body with a garland of grape vines over upturned molded acanthus leaves, goat’s heads with curved horns form the handles, h. 10‑1/2”. [500/800] 548 Pair of Silverplate Table Lamps, mid‑20th century, each of columnar form, the base of canted concave square section decorated with laurel-enframed winged torches, the tapering standard with acanthus calyx and corinthian capital, with two electrified sockets and surmounted by a segmented brass spire with melon-form finial, fitted with a pleated off-white cotton shade, h. 24‑1/2” (39” to finial), dia. 18”. [300/500] 549 Regency-Style Mahogany Berger, early 20th century, of box form, the padded back and downswept sides to bulbous and turned uprights, raised on tapering reeded legs ending in toupie feet, h. 33”. [800/1200]

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550 Regency-Style Mahogany Breakfast Table, the oval top with a reeded edge and three bands of inlaid stringing, raised on a turned columnar standard to four splayed legs with inlaid stringing and ending in brass caps and casters, h. 28”, w. 50‑1/2”, l. 72”. [300/500]

551 George Gillsepie (British/Irish, 1924‑1995) “At Mulroy Bay, County Donegal”, oil on canvas, signed lower left “G. Gillespie”, 24” x 36”. Presented in a polychrome and linen frame. [2500/4000] Illustrated 552 George III Bateman Family Sterling Silver Teapot, hallmarked London, 1795‑1796, by Peter and Anne Bateman, of slightly tapering navette section, decorated at the top and bottom edge with foliate banding on a hatched ground, the sides with circular cartouches, the upswept top with hinged domed lid and oval ivory finial, with straight conical spout and crested wooden handle, monogrammed on one cartouche “EM”, h. 6”, l. 10‑1/2”, w. 3‑3/4”, 13.69 t. oz. [1400/1800] Illustrated 553 George III Sterling Silver Bateman Family Nutmeg Grater, hallmarked London, 1798‑1799, by Peter and Anne Bateman, of oval form, the hinged lid engraved with leaf-and-dart and wrigglework banding and opening to reveal a steel rasp, the hinged base opening to reveal a nutmeg storage compartment, monogrammed on the lid “JGB”, h. 1”, w. 1‑5/8”, w. 1‑1/8”, 0.90 t. oz. [500/800] Illustrated 554 Set of Four George III Hester Bateman Sterling Silver Teaspoons, hallmarked London, 1786‑1787, in the traditional “Old English Engraved” pattern, decorated with bright-cut and wrigglework engraving, monogrammed “DA”, l. 4‑3/4”, 1.60 total t. oz. [250/400] Illustrated 555 George III Bateman Family Sterling Silver Platter Spoon, hallmarked London, 1809‑1810, by Peter & William Bateman, in the traditional “Old English” pattern, monogrammed “H”, l. 11‑3/4”, 3.34 t. oz. [150/300] Illustrated 556 George III Three-Piece Bateman Family Sterling Silver Tea Set, hallmarked London, 1798‑1799, by Peter and Ann Bateman, including a teapot, h. 6‑3/4”, l. 11‑1/52”, a covered cream jug, h. 5‑1/4”, l. 5”, and a swing-handled sugar basket, h. 4”, l. 5‑1/2”, each of bulbous oval form quartered by serpentine panels and decorated with bands of engraved and wrigglework scroll on a hatched ground, the teapot with “gooseneck” spout and “bird’s head”-crested wooden handle, the cream jug with hinged and domed lid and reeded square strap handle, the sugar basket with reeded handle en suite, 29.51 total t. oz. (including wooden elements). [3000/5000] Illustrated

557 Set of Four George III Hester Bateman Sterling Silver Tablespoons, hallmarked London, 1784, in the traditional “Old English” pattern, engraved on the handle with the crest of Sachervell (a goat statant, proper), l. 9‑7/8”, 8.03 total t. oz. [200/400] Illustrated 558 Pair of George III Hester Bateman Sterling Silver Tablespoons, hallmarked London, 1775‑1776, in the traditional “Old English Feather-Edge” pattern, monogrammed “HB”, l. 8‑3/4”, 4.18 total t. oz. These spoons are purported to be from Hester Bateman’s personal estate. According to a hand-written note accompanying this lot, “They were purchased from a Sotheby’s or Christie’s sale in London in the early 1960’s . . . from the foremost Hester Bateman collector in Great Britain. These spoons were shown on the inventory list of H.B.’s personal household. We bought them from Mr. Joseph Killian in 1976, who was one of the leading Bateman dealers in the U.S.” [200/400] Illustrated 559 George III Bateman Family Sterling Silver Sugar Tongs, hallmarked London, 1802‑1803, by Peter, Anne and William Bateman, the bow style tongs with fluted Adam-style decoration and threaded edges, monogrammed, on the bow, “H”, l. 5‑3/4”, 1.29 t. oz. [75/125] Illustrated 560 Pair of George III Hester Bateman Sterling Silver Slat Spoons, hallmarked London, 1781‑1782, in the tradition “Old English” pattern, engraved with a crest of a stag lodged, l. 4‑1/8”, 0.57 total. t. oz. [60/90] 561 Pair of George III Hester Bateman “Berry” Spoons, hallmarked London, 1778‑1779, in the traditional “Hanoverian” pattern, the handles later decorated with chased and engraved with flowers and lattice on a matte ground, the bowls with repousse fruit, l. 8‑1/4”, 3.21 total t. oz. [100/200] 562 Pair of George III Bateman Family Sterling Silver Tablespoons, hallmarked London 1792‑1793, by Peter and Anne Bateman, in the traditional “Old English” pattern, no crests/monograms, l. 9”, 3.79 total t. oz. [50/80]

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567 Regency Old Sheffield Plate Cake Basket, first quarter 19th century, of rounded rectangular form with upswept ends, the body composed of wirework gadroons joined at the top to a curved rim with gadrooned edge and on the bottom to a conforming reeded plinth base, with swing twisted wire squared handle, h. 4‑1/2” (9‑1/4”), l. 11‑1/4”, w. 8‑1/2”, [100/200] Illustrated 568 Regency Old Sheffield Plate Salver, first quarter 19th century, of oval form, with beaded rim and raised on four shell feet, engraved at the center with an oval cartouche with full armorial, l. 16”, w. 12‑1/2”. [150/300] Illustrated

567

563 George III Old Sheffield Plate Hot Water Jug, fourth quarter 18th century, of ovoid form, fluted around the lower third, with a hinged, steeply-domed lid en suite, spherical finial, beaked spout and crested wooden handle, the whole raised on a reeded and cavetto-domed foot, engraved on the body with the crest of Harvey, h. 11‑1/4”, l. 8”, w. 4‑1/4”. [300/500] Illustrated

569 Regency Old Sheffield Plate Coffeepot, first quarter 19th century, the ovoid body with bulbous band engraved with ribboned foliage, with cavetto collar , hinged domed lid, wooden finial and crested handle, “gooseneck” spout and raised on a domed oval foot, h. 11‑1/4”, l. 11”, w. 5”. [300/500]

564 George III Old Sheffield Plate Hot Water Urn, fourth quarter 18th century, in the Adam taste, the ovoid body decorated with flat-chased floral swags centering a navette-shaped cartouche, with steeply arched reeded handles, waisted lid with urn-form finial and reeded, downturned spout with carved spatulate stagorn handle, the whole raised on a waisted stem above a square plinth with flattened spherical feet, the interior with billet chamber and iron billet, engraved on the cartouche with the crest of a falcon close, proper, h. 15‑1/2”, w. 7”, d. 7‑1/4”. [500/800] Illustrated

570 Collection of Three Old Sheffield Plate Coffee and Tea Pots, first quarter 19th century, including a coffee pot, ca. 1800, of paneled ovoid form with wooden handle and slender spout, decorated with narrow flat-chased banding and an applied plaque with a crest of a rampant unicorn, h. 12”, dia. 4”, a tea pot, ca, 1820, of bulbous form with wicker-wrapped handle and gadrooned spout, raised on four acanthus-mantles lion’s paw feet, h. 6‑1/4”, dia. 6‑1/2”, and another coffee pot, ca. 1825, by D. & G. Holy, Sheffield, of serpentine-gadrooned pear form, with crested wooden handle, broad spout and leaf-and-melon finial, h. 8‑3/4”, dia. 5‑1/2”. [300/500]

565 Regency Old Sheffield Plate Cheese Dish, first quarter 19th century, of rounded rectangular form with egg-and-dart rim, the detachable domed lid with leaf-mounted spherical finial, the turned wooden handle unscrewing to access the hot water reservoir, h. 2‑3/4”, l. 10‑1/2”, w. 7‑1/8”. [200/400] Illustrated 566 George III Old Sheffield Plate Hot Water Urn, fourth quarter 18th century, in the Adam taste, the ovoid body with steeply arched handles, tall waisted lid with flaming urn finial, and downturned spout with turned ivory handle, the whole raised on four ram’s head crested legs ending in cloven hooves above a concave square plinth centering a spirit burner and on four flattened spherical feet, accented throughout with fine annulated bands, engraved on the body with the arms of Johnston of Knappagh and Glencaule, co. Armagh, h. 21‑1/2”, w. 11”, d. 9‑1/2”. [500/800] Illustrated

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571 Regency Old Sheffield Plate Sauce Tureen, first quarter 19th century, of bulbous oval form, with gadrooned rim, addorsed acanthus-mounted reeded handles and rocaille-crested lion’s paw feet, the fitted domed lid with gadrooned band and acanthus-mounted octagonal ring handle, engraved on the body with an unidentified armorial, h. 5‑3/4”, l. 8‑3/4”, w. 4‑3/4”. [250/400] Illustrated 572 George III Old Sheffield Plate Hot Water Jug, fourth quarter 18th century, the ovoid body with waisted neck and decorated with cabochon-and-bellflower banding, with domed lid, urn-form finial and scroll-mounted crested wood handle, raised on a domed foot, accented throughout with fine annulated banding, h. 11‑1/2”, l. 6‑1/2”, w. 4”. [400/700] Illustrated 573 Regency Old Sheffield Plate Coffee Biggin, first quarter 19th century, by Matthew Boulton, Birmingham, of cylindrical form, the lower third gardrooned, with the hinged, domed lid gadrooned and with button finial and beaked spout, with a crested squared wooden handle, the whole fitted into a conforming stand raised on three reeded legs with lion’s paw feet joined by a central spirit burner, the biggin screen and burner bowl lacking, h. 10”, dia. 5”. [100/200] Illustrated 574 Two Pieces of William IV Old Sheffield Plate, second quarter 19th century, including a sauce boat of oval form quartered by serpentine fluting, with robust rocaille rim feet and “C-scroll” handle, engraved on the side with the crest and motto of Gordon of Lessmore, h. 6”, l. 8‑1/2”, w. 4‑1/2”, and a vegetable dish of circular form with reedand acanthus border, the domed lid with rococo-scroll handle opening to reveal the detachable triple divider, engraved on the lid with the crest of Watson of Muirhouse, h. 61/2”, dia. 10‑3/4”. [200/400]

575 George IV Old Sheffield Plate Entree Dish on Stand, second quarter 19th century, by Roberts, Smith & Co., Sheffield, of rounded rectangular form with molded rim quartered by floral motifs, the fitted domed lid banded en suite and with detachable addorsed acanthus ring handle, raised on a conforming warming stand with addorsed reeded handles and annular disc feet, engraved on the lid with the arms of Winthrop of Suffolk, h. 8‑1/2”, l.14‑3/4”, w. 8‑1/4”. [200/400] Illustrated 576 William IV Old Sheffield Plate Cheese Dish, second quarter 19th century, of rounded rectangular form, decorated with leafy rocaille banding, the narrow sidles with opposing foliate handles, the whole raised on palmette-mantled lion’s paw feet, the hinged domed lid with foliate ring handle and opening to reveal six individual cheese dishes above a hot water reservoir, h. 5‑1/4”. w. 12‑1/4”, d. 7‑1/4”. [250/400] Illustrated

579 Regency Paul Storr Sterling Silver Straining Spoon, hallmarked London, 1817‑1818, in the traditional “Shell and Thread” pattern, engraved on the handle with a crest of a griffin passant, collared and chained, l. 12‑1/2”, 7.07 t. oz. [300/500] Illustrated 580 Regency Paul Storr Sterling Silver Punch Ladle, hallmarked London, 1811‑1812, in the traditional “Fiddle Thread” pattern, with circular bowl, engraved on the handle with the crest of Talbot, l. 13‑1/4”, 8.06 t. oz. [300/500] Illustrated 577

581 Regency Paul Storr Sterling Silver Platter Spoon, hallmarked London, 1814‑1815, in the traditional “Hourglass” pattern, engraved with a crest and motto of Erskine, l. 12‑1/2”, 6.49 t. oz. [300/500] Illustrated 582 Assembled Set of Four George IV Sterling Silver Salt Spoons, all London, in the traditional “Fiddle” pattern, three hallmarked 1820‑1821, by William Chawner, engraved with a crest of an eagle displayed, l. 4‑1/4”, the other hallmarked 1823‑1824, by John Meek, engraved with the crest of a leopard sejant, l. 4”, 2.25 total t. oz. [60/90]

577 Important George III Sterling Silver Neoclassical Tureen-on-Stand, hallmarked London, 1801‑1802, by Robert Sharp, after designs by Jean-Guillaume Moitte (1746‑1810), the tureen of hemispherical form and decorated with an engraved leaf-and-dart banding centered by a plain applied band, with gadrooned rim and beautifully chased ram’s head and serpent handles, the fitted domed lid with leaf-and-dart mounted addorsed serpent ring handle and opening to reveal the fitted sterling liner, the whole raised on a domed foot banded en suite, the stand of cavetto domed form with floral lappet banding and raised on polydactyl lion’s paw feet, later engraved on the body with the arms and on the lid, liner and stand with the crest and motto of Cheape of Rossie, and later still on the stand with a racing inscription “The Dwyer / June 14 - 1947 / won by / Phalanx”, overall h. 16”, dia. 14‑3/4”, 257.98 t. oz. This extraordinary tureen is clearly taken from the French neoclassical designs of Jean-Guillaume Moitte as executed by Parisian gold Henri Auguste (1759‑1816; Master 1785). The designs were introduced into England by, among others, Prince Frederick Augustus, the Duke of York, and copied by a select handful of English craftsmen. The arms here are of slightly later date, probably for Henry Cheape (1790‑1840). The later racing inscription is clearly for the champion Phalanx (1944‑1971, out of Jacola by Pilate) who won the Dwyer Stakes - along with the Empire City Handicap, the Jockey Club Gold Cup and the Belmont Stakes - in 1947. [35000/50000] Illustrated 578 Six Regency Paul Storr Sterling Silver Spoons, hallmarked London, 1819‑1820, in the traditional “King’s Husk” pattern, including five teaspoons, l. 5‑3/4” and one dessert spoon, l. 7”, engraved on the reverse with an armorial, rubbed but probably Magan of Clonearl, 7.396 total t. oz. [300/500] Illustrated

583 George IV Sterling Silver Punch Ladle, hallmarked London, 1820‑1821, by Thomas Wilkes Barker, in the traditional “Fiddle” pattern, mongrammed on the handle “CES”, l. 13”, 6.62 t. oz. [150/300] 584 Pair of George IV Sterling Silver Tablespoons, hallmarked London, 1825‑1826, by William Chawner, in the traditional “Fiddle” pattern, no crests/monograms, l. 9”, 4.75 total t. oz. [100/200]

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585 George IV Sterling Silver Potato Fork, hallmarked London, 1825‑1826, by Charles Eley, in the traditional “Fiddle” pattern, engraved on the handle with the crest and motto of the clan MacIver, l. 11‑1/2”, 4.30 t. oz. [150/300] 586 Regency Sterling Silver Cup, hallmarked London, 1814‑1815, by Rebecca Emes & Edward Barnard I, of cylindrical form with bulbous base, decorated with a wide chased “vintage” band and applied double-headed serpent handle, raised on a circular foot with leaf-and-dart banding, the interior gilt, engraved on the body, “Helen D. Williams, h. 3‑1/2”, l. 4”, w. 2‑5/8”, 5.66 t. oz. [600/900] Illustrated 587 Pair of Edwardian Sterling Silver Gilt Goblets, hallmarked London, 1901‑1902, in the Regency taste, each of tall thistle form decorated with repousse paterae joined by laurel swags on the upper half and and acanthus calyx on the lower half, raised on a knopped and domed foot en suite, the whole accented with leaf-and-dart banding, h. 5‑7/8”, dia. 3”, 142.86 total t. oz. [1200/1800] Illustrated 588 Regency Sterling Silver and Baleen Toddy Ladle, hallmarked London, 1812‑1813, by Elizabeth Morley, the baleen handle spiral-twisted with silver cap and band, the oval bowl inset with silver coin and with leaf-and-dart banding and stem, l. 15‑1/4”. [100/200] 589 Four Pieces of Regency Sterling Silver Flatware, first quarter 19th century, including a “Fiddle” pattern fork, hallmarked London, 1809‑1810, by Solomon Hougham, engraved with a baronial cypher “B”, l. 8”, 2.31 t. oz.., and three threaded “Pistol”-handled knives, hallmarked London, 1825‑1826, by Joseph Pritchard, with later “New French”-shaped steel blades by Garrard & Co., l. 9‑1/8”. [100/200] 590 Set of Six George IV Sterling Silver Salt Spoons, hallmarked London, 1829‑1830, by William Chawner, in the traditional “King’s” pattern, all engraved with the crest and four additionally with the motto of Archibald of Rusland Hall, l. 4‑1/4”, 5.08 total t. oz. [100/200]

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591 One George IV and Two Victorian Sterling Silver Salt Spoons, all London, the George IV example hallmarked 1828‑1829, by William Eaton, in the traditional “Queen’s” pattern, engraved with the crest of Clayton of Adlington, l. 4‑5/8”, the Victorian pair hallmarked 1841‑1842, by George Aldwinkle, in the traditional “Old English Thread” pattern, l. 4‑1/4”, 2.51 total t. oz. [60/90]

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592 William IV Sterling Silver Platter Spoon, hallmarked London, 1832‑1833, by William Chawner, in the traditional “King’s” pattern, with “diamond point” heel, engraved on the handle with a crest of a griffin’s head between two wings elevated, l. 12‑1/4”, 6.49 t. oz. [150/300] 593 William IV Cased Thirty-Six Piece Sterling Silver Dessert Service, hallmarked Sheffield, 1835‑1836, by Alexander Hunt, in the traditional “Queen’s” pattern, including eighteen forks, l. 6‑3/4”, and eighteen knives, l. 8‑1/4”, with sterling tines/blades and filled handles, monogrammed “LD”, presented in the original royal purple velvet-lined fitted rosewood case with two lift-out trays, 12‑1/2” x 10”. [900/1200]

594 William IV Sterling Silver Teapot, hallmarked London, 1834‑1835, by James Charles Edington, of serpentinelobed melon form, with conforming hinged lid, turned wooden finial, ivory-insulated crested silver handle and “gooseneck” spout, raised on a conforming domed footring, h. 5‑3/4”, l. 10‑1/2”, w. 6”, 26.17 t. oz. [1400/1800] 595 George IV Irish Sterling Silver Punch Ladle, hallmarked Dublin 1822, by Samuel Neville, in the traditional “Fiddle” pattern, with elliptical bowl, engraved on the handle with the crest of Barbour of Stanford, l. 13‑3/4”, 6.62 t. oz. [200/400] Illustrated

596 Early Victorian Irish Sterling Silver Punch Ladle, hallmarked Dublin, 1846‑1847, by William Cummins, in the traditional “Fiddle” pattern, with elliptical bowl and rattail heel, monogrammed on the handle “BFR”, l. 13‑3/4”, 8.29 t. oz. [200/400] Illustrated previous page

602 Chinese Oxblood Bulbous Storage Jar, 19th century, now mounted as a lamp, the spherical body glazed in an oxblood glaze, now mounted in continental mounts as a lamp with a milk glass shade, h. 25”. [200/400] 603 Chinese Molded Famille Rose Porcelain Vase, late 19th century, of baluster shape with flared shoulder and a molded figure of a dragon, decorated on the body with mille fleur decoration, h.11‑1/8”. [300/500]

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604 Fine Pair of Chinese Famille Rose Sgraffito Vases, Republic Period (1908‑1949), each of modified rouleau shape, the rose colored sgraffito bodies decorated with scattered decoration of flowers and fruit and having two rectangular reserve panels decorated in Famille Rose enamels with delicately painted scenes of women and children in the manner of Chen Hongshou with antiques and domestic furniture, the recessed bases with Yongzhen seal marks in iron-red, the sgraffito technique is called ZaDao by the Chinese which translates to “fine-linecurving”, is very labor intensive and was very popular during the Qianlong reign,h. 13‑3/8”. [2500/4000] Illustrated

604

597 Good Victorian Scottish Sterling Silver Mustard Ladle, hallmarked Glasgow, 1851‑1851, by Alexander Coghill, in the traditional “Queen’s” pattern, single struck, with gilt bowl, monogrammed “SH”, l. 6‑1/4”, 0.64 t. oz. [50/80] Illustrated previous page 598 Set of Four George III Irish Tablespoons, hallmarked Dublin, 1816, by Richard Sawyer, in the traditional “Fiddle” pattern, monogrammed “HIG”, l. 9”, 8.42 total t. oz. [150/300] Illustrated previous page 599 Pair of George IV Scottish Sterling Silver Sauce Ladles, hallmarked Glasgow, 1824‑1825, by Philip Grierson, in the traditional “Fiddle” pattern, no crests/ monograms, l. 6‑1/2”, 2.57 total t. oz. [100/200] Illustrated previous page 600 Pair of Chinese Famille Rose “Tobacco Leaf” Trumpet Vases, each of slender form with splayed bases and flared lip rims, decorated in famille rose enamels and gilt highlights as varicolored tobacco leaves and assorted flowers, h. 7‑7/8”. [400/700] Illustrated 601 Chinese Flambe Porcelain Decorated Vase, 19th century, of bulbous baluster form with straight neck and flared lip rim, decorated in a mottled oxblood and blue glaze, h. 13‑7/8”. [300/500]

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611 605 Large Chinese Famille Rose Beaker Vase, 19th century, now mounted as a lamp, the cylindrical body with flared foot and lip rim decorated with pheasants among flowering peonies and scattered flowers, now mounted in an openwork brass base, h. 32”. [1800/2500] 606 Pair of Chinese Famille Rose Porcelain Lightly Ribbed Bowls, 19th century, each of circular form with lightly molded ribs and scalloped rim, decorated with a floral center and floral rim on the interior and scattered floral sprays on the exterior, dia. 5‑3/4”. [100/200] 607 Fine Chinese Famille Rose “Cross Edge” Decorated Porcelain Bowl, Republic Period (1908‑1949), of inverted bell shape exquisitely decorated with superbly drawn enameling of pink flowering branches of two varieties with new sprouts of foliage sprouting from bare branches, the older portions of the branches showing scars of previous branches,the design crossing over the lip rim to the interior of the bowl forming a continuous design, the countersunk base with a four-character Qianlong mark in red, dia. 6‑1/4”. [600/900] 608 Pair of Chinese Famille Rose Deep Chargers, 18th century, each of deep saucer shape decorated with a central figure of a phoenix standing on rockwork among flowering peonies and bordered with a cross-hatch border at the rim, dia. 13‑7/8”. [2500/4000] Illustrated 609 Pair of Chinese Famille Rose Sgraffito Rice Bowls, each decorated with a central stylized starburst on the interior, the yellow ground sgraffito ground on the exterior with four circular landscape reserve panels and scattered floral decoration, the bases with six-character Daoguang seal marks in underglaze blue, dia. 5‑5/8”. [5000/8000] Illustrated

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610 Delicate Chinese Famille Rose Porcelain Rice Bowl, the base with a six-character Daoquang (1821‑1850) mark in underglaze blue and possibly of the period, the exterior finely enameled with a scene of two pheasants on rockwork among flowering trees and plants, the interior plain, dia. 5‑7/8”. [300/500] Illustrated 611 Unusual Chinese Famille Rose Porcelain Water Coupe, Republic Period (1908‑1949), of beehive form decorated with Liu Hai, his three-legged toad and cash with another deity sweeping a garden among weathered rocks and pine trees and having a calligraphic inscription, the base with a six-character Kangxi reign mark in underglaze blue, h. 3‑1/2”. [600/900] Illustrated 612 Fine, Unusual Chinese Famille Rose Porcelain Cylindrical Vase, Republic Period (1908‑1949), finely enameled with a continuous scene of three maidens fishing from the balustrade of a pavilion with a servant standing at the edge of a lake, a mountainous landscape in the distance and the pavilion surrounded by rockwork and banana trees, bordered by formal borders and lotus against a yellow ground, the base with a four-character Qianlong seal mark in raised blue, h. 9‑1/8”. [1000/1500] Illustrated 613 Fine Pair of Chinese Iron-Red Porcelain Wine Cups, Guangxu mark and period, each of inverted bell shape, finely enameled in iron-red as two five-clawed dragons pursuing the Flaming Pearl among flames and above cresting waves, the recessed base with six-character Guangxu marks in underglaze blue, h. 2”, dia. 2‑1/4”. [300/500] Illustrated

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614 Stunning Chinese Famille Rose Porcelain Phoenix Lamp, Republic Period (1908‑1949), composed of an indented base supporting a reticulated globular central section with three openwork panels of phoenix birds among scrolling foliage and having a central tubular holder and topped by a shaped finial with gilt dragon handles, the lamp decorated in mille fleur decoration, the base with a four-character Qianlong mark in overglaze enamels surrounded by a turquoise ground, h. 8‑3/4”. [700/1000] Illustrated previous page 615 Fine, Unusual Chinese Famille Rose Porcelain Square Brush Pot, Republic Period (1908‑1949), the rectangular panels with delicate enamel decoration of the Eight Immortals and attendants in garden settings, glazed turquoise on the interior and the base with reserved characters in underglaze blue for a four-character Yongzheng mark, h. 5‑3/8”. [250/400] Illustrated previous page

616 Deep Chinese Famille Rose Porcelain Bowl, Republic Period (1908‑1949), of everted bell form, the interior glazed in pale turquoise, the exterior decorated with two shaped reserve panels with dragon borders, the interior with flower and bird decoration, the ground of flowers and feathered foliage, the base with a four-character Yongzheng seal mark in raised blue enamel, h. 4‑1/2”, dia. 7”. [600/900] Illustrated 617 Good Chinese Famille Rose Porcelain Rice Bowl, Republic Period (1908‑1949), finely decorated on the exterior with a continuous scene of boys playing in a garden setting, the interior plain, the base with a six-character Qianlong seal mark in underglaze blue, dia. 5‑1/4”. [500/800] 618 Pair of Ebonized and Polychrome End Tables, early 20th century, in the chinoiserie taste, each with a canted square top with avian branch designs, raised above an ogee-molded frieze on rounded legs joined by a box stretcher, h. 18”, w. 18‑1/2”, d. 18‑1/2”. [300/500] 619 Chinese Famille Rose Reticulated Vase, composed of three sections, a bulbous reticulated body modeled as foo dogs fighting over brocade balls against a pierced cloud ground and resting on a porcelain stand and having a flared inserted vase, h. 15‑1/4”. [700/1000] 620 Chinese Carved Rose Quartz Figure of Guanyin, 20th century, the mottled stone carved as the standing figure of the deity in flowing robes and a high chignon holding a scroll, wooden stand, h. 9‑3/4”, including stand. [200/400]

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621 Chinese Framed Famille Rose Porcelain Plaque, first half 20th century, of rectangular shape framed in a carved wooden frame with brass handle, decorated as a central figure of a five-clawed dragon in an oval reserve surrounded by flowers, h. 17‑1/8”, w. 11‑7/8”. [300/500]

622 Elaborate Chinese Famille Rose Porcelain Vase, Republic Period (1908‑1949), of bulbous body with flared neck rim, the body decorated with flowers on a turquoise ground with a band of bats, the neck decorated with dragon lappets and flowers, the interior glazed in turquoise, the base with a six-character Qianlong seal mark on a turquoise ground, h. 7‑1/8”. [600/900] 623 Chinese Famille Rose Porcelain Storage Jar, late 19th century, of baluster form, now mounted on a continental gilt-metal base, the jar decorated with shaped reserve panels of birds on flowering branches on a floral background with rose enameled ground, h. 15‑1/4”. [300/500] 624 Good Chinese Famille Rose Porcelain Saucer Dish, 19th century, the interior enameled with the Eight Immortals and attendants in a mountainous landscape with a river, the base with a six-character Qianlong seal mark in underglaze blue, dia. 7‑3/4”. [600/900] 625 Chinese Famille Rose Export Porcelain Covered Teapot, late 19th century, the tapered bulbous body with loop handle, straight spout and domed cover, the body and cover with applied dimensional flowers and leaves, h. 4‑7/8”. [800/1200] 626 Chinese Rosewood and Marble-Top End Table, late 19th century, the square top with an inset marble surface above a conforming lotus and foliate-carved frieze with pierced fret apron below, raised on square legs ending in paw feet, h. 18”, w. 16”, d. 16”. [300/500] 627 Rare, Spectacular Chinese Embroidered Silk Altar Panel, second half 18th century, elaborately embroidered in satin and forbidden stitch on a gold brocade ground, embroidered as a central garden pavilion of two stories with curved roof, tiled floor and balustrade, the center of the pagoda with an altar table and the levitating figure of the Buddha with a flaming halo, seated on a lotus base, the pavilion in a garden setting of various trees, flowers and rockwork, the Buddha attended by eight Immortals, each riding a different animal, all executed in forbidden stitch, a tourde-force of silk embroidery creating a true work of art, h. 39‑5/6”, l. 99‑1/2”. [20000/40000] Illustrated 628 Fine Chinese Kessi of Scholars in a Landscape, 19th century, of vertical format in strong, rich colors and gold thread outlines, depicting a mountainous landscape with clouds, a mansion, a study pavilion and a bridge over a stream, the rocky landscape with scattered maple trees and bamboo throughout the landscape peopled with a pair of scholars crossing the bridge and looking at the study pavilion where a seated scholar is attended by a servant, the pale gold ground giving fine lift to the woven colors, h. 70‑1/2”, w. 33”. [12000/18000] Illustrated

628

629 Fine, Large Japanese Cloisonne (Shippo) Vase, by J. Ando, Magoya, 1937, of tapered rectangular outline with squared neck and foot with silver foot and rim, decorated with a continuous design of flowering and fruiting branches and two exotic birds perched on the branches, the pale celadon green ground enameled in soft pastel colors, the blue enamel base inlaid with the Ando flower and the words, “J. ANDO NAGOYA JAPAN 1937”, the vase in a fitted padded wooden box with calligraphy and having a brochure explaining cloisonne by Ando and listing them as being “by special appointment to His Imperial Japanese Majesty’s household”, h. 14‑1/2”. [2500/4000] Illustrated

633 Chinese Carved Jade Covered Vase, 20th century, of pale green colored stone, the baluster shape vase with lion head ring handles and fitted foo dog cover, h. 5‑1/2”. [600/900]

629

630 Chinese Silver and Turquoise Small Tea/Wine Pot, 20th century, the bulbous body with repousse decoration of dragons and Buddhistic emblems, the spout in the shape of a dragon’s head with a turquoise set at the tip, the handle in the shape of a horned dragon’s head and scaly body, l. 6”, spout to handle. [150/300] 631 Spinach Jade and Silver Mounted Covered Jar, early 20th century, the circular jar with footed base and mounted with silver lion’s masks and dragons, the reticulated lid with a seated Buddha, dragons and frogs, the underside base hallmarked with “.925”, h. 3‑1/2”, dia. 3”. [350/500] 632 Good Chinese Carved Jadeite Seal, 20th century, the slightly mottled icy mint green stone carved with a cylindrical base, the knob carved in good detail as a fierce Kylin standing on four feet with open mouth, bulging eyes and single horn, h. 3‑1/2”. [250/400]

637 634 Well-Carved Chinese Celadon Jade Figural Group, carved in the round as the crouching figure of a boy holding a lotus leaf as an umbrella and nestled with the figure of a goose with back-turned head nibbling at the edge of the lotus leaf, l. 3‑5/8”. [1200/1800]

640 Large Chinese Famille Rose Porcelain Vase, 20th century, of cylindrical baluster form with flared lip rim and lion head handles, decorated with continuous scenes of phoenix birds among flowers and trees, h. 23‑3/8”. [300/500] 641 Two Chinese Famille Rose Vases, 20th century, one of rouleau shape decorated with sparrows in a flowering peony tree, a calligraphic poem and a floral decorated neck, the second of baluster shape with flowering peonies and a calligraphic poem, h. 11‑7/8”. [100/200] 645

635 Well-Carved Pale Celadon Jade Carved Pendant, 18th century, of rectangular outline with shaped edges, the face carved in low relief with the figure of a boy atop a gourd, a flying bat and a border of long-tailed phoenix birds, the reverse carved with a cluster of peaches, stylized bats and a similar phoenix bird border, h. 2‑1/4”. [1200/1800] 636 Chinese Carved Celadon Jade Rectangular Pendant, 19th century, carved in low relief on the face with a scholar and attendant in a garden with bamboo, the reverse carved with an eighteen-character inscription in formalized characters, suspended on a red silk cord, h. 1‑7/8”, w. 1‑1/2”. [300/500] 637 Fine Chinese Kessi of the Money Changers, 19th century, finely executed in five colors with gold thread outlines depicting a money changer before a table with a bowl of money, a bowl of ling-chih and an empty bowl, attended by an assistant and a guard with a spear, before the table are a pair of men carrying a bowl of money, pearls and ling-chih and a group of three well dressed men, one carrying a flaming wheel, behind the money changer is a gnarled tree bearing money and sprouting some leaves, in the background are mountains and a deity riding a tiger among clouds, the entire piece very well executed with gold threads in the figures clothes and the “cash” symbols executed in both gold and silver threads, h. 66‑5/8”, w. 33‑1/2”. [18000/25000] Illustrated

642 Chinese Carved Celadon Jadeite Gourd Pendant, the even celadon-colored stone carved in the form of a double gourd with the figure of a hydra dragon climbing one side and having tendrils wrapped around the gourd, h. 2‑1/4”. [125/250] 643 Chinese Pale Celadon Jade Oval Pendant, 19th century, carved in low relief on the face with a scene of a scholar and attendant in a garden with bamboo, the reverse carved in low relief with a four-character inscription flanked at the top and the bottom with a figure of a bat in flight, h. 2‑3/4”. [200/400] 644 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”. [125/250] 645 Chinese Famille Rose Porcelain Jardiniere, early 20th century, of tapered bulbous form and in-curved flattened lip rim, decorated with stylized lotus and scrolling foliage on a turquoise ground under a border of ruyi heads against a lime green ground, h. 11‑7/8”. [700/1000] Illustrated

638 Chinese Molded Famille Rose Vase, 20th century, of baluster form with molded dragons at the neck and foo dog handles enameled in famille rose enamels on a crackled ground with military figures in a landscape, h. 12”. [200/400] 639 Good Chinese Famille Rose Porcelain Tea Bowl, Republic Period (1908‑1949), delicately enameled with a scene of a water palace with pavilions and boats in the water and having a poetic inscription in encre-de-chine, the base with a six-character Daoquang seal mark in ironred, dia. 3‑1/2”. [100/200]

646

646 Chinese Famille Rose Porcelain Jardiniere, late 19th century, of bulbous form with flattened lip rim, decorated in famille rose enamels on a turquoise ground with flowers and scrolling foliage under a stylized ruyi border at the rim, h. 16‑3/8”. [1500/2500] Illustrated previous page 647 Japanese Multi-Colored Bronze Vase, 19th/20th century, now mounted as a lamp, the baluster shaped vase with multi-colored designs of birds among flowering plants, mounted in later continental gilt brass mounts, originally as an oil lamp, h. 34”. [200/400] 648 Agra Sultanabed Carpet, 9’1” x 12’. [1000/1500] Illustrated 649 Semi-Antique Persian Mashad Carpet, 6’8” x 10’2”. [1200/1800] 650 Persian Pictoral Tabriz Carpet, 9’2” x 12’8”. [1200/1800] Illustrated

648

651 Shirvan Runner, 3’ x 17’. [2500/4000] Illustrated 652 Agra Sultanabad Carpet, 8’ x 10’. [1200/1800] 653 Turkish Oushak Carpet, 9’ x 12’. [3000/5000] Illustrated 654 Antique French Tapestry, 3’7” x 9’8”. [1200/1800] 655 Agra Serapi Carpet, 9’10” x 14’. [1800/2500] Illustrated 656 Three Kerman Carpets, 1’ x 4’, 2’, x 3’, and 2’ x 4’3”. [300/500] 657 Tabriz Carpet, 7’6” x 10’1”. [500/800] 658 Kashmir Tabriz Carpet, 9’10” x 13’10”. [1800/2500] Illustrated

650

651

653

658 659 Shiraz Carpet, 5’5” x 8’2”. [300/500] 660 Agra Serapi Carpet, 7’10” x 9’10”. [900/1200] 661 Antique Aubusson Carpet, 12’ x 15’. [5000/8000] Illustrated

655

661

662 Fereghan Sarouk Carpet, 4’ x 4’1”. [700/1000] 663 Turkish Angora Oushak Carpet, 6’3” x 9’2”. [700/1000] Illustrated 664 Persian Sultanabad Runner, 7’ x 21’. [4000/7000] 665 Agra Carpet, 12’ x 15’. [400/700] 666 Semi-Antique Tabriz Carpet, 8’2” x 10’6”. [500/800] Illustrated 667 Persian Shiraz Carpet, 5’4” x 8’4”. [1200/1800]

663

668 668 Persian Serapi Carpet, 13’ x 21’. [8000/12000] Illustrated 669 Persian Hamadan Carpet, 5’1” x 8’6”. [500/800] 670 Turkish Oushak Carpet, 9’ x 12’. [3000/5000] 671 Angora Oushak Carpet, 5’ x 7’. [2000/4000] Illustrated

666

672 Louis XV-Style Mahogany Vitrine, early 20th century, the stepped and bowed top above a conforming case fitted with a single glazed door, the upper section glazed, the lower section with a panel of courtiers painted in the manner of vernis martin, the sides paneled en suite, raised on shaped legs ending in sabots, the whole accented with ormolu millwork, h. 65”, w. 26‑1/2”, d. 14‑1/2”. [1000/1500]

673 Louis XVI-Style Walnut Cabinet, early 20th century, the banded rectangular top with a domed backpiece and above a case fitted with two paneled cupboard doors over open slotted compartments, all flanked to either side by fluted columnar uprights, the whole raised on tapering ring-turned circular legs, h. 53”, w. 22‑1/4”, d. 15‑1/4”. [300/500] 674 Pair of Transitional Louis-XV-into XVI-Style Kingwood and Marble-Top Commodes, each with a shaped bowfront Carrara marble top above a conforming case fitted with a single cupboard door with elaborate scrolling foliate-inlay, the sides inlaid en suite, the whole with ormolu millwork, raised on shaped legs ending in sabots, h. 32”, w. 28”, d. 16‑3/4”. [1000/1500] 675 Good Royal Berlin (KPM) Porcelain Soup Tureen and Matching Platter, third quarter 19th century, in the rococo taste, the domed ribbed cover of the oval covered two-handled tureen with a finial of a seated putto with a captive game bird, the platter of deep ovoid form, both pieces with the underglaze blue Berlin “scepter” mark, tureen h. 11”, w. 12‑3/4”, d. 8‑1/4”, platter w. 16‑1/2”, d. 12‑1/4”. [600/900]

680

676 Four-Piece French Porcelain Group, mid‑19th century, either Paris or Limoges, the four pieces with similar floral decoration and date of manufacture, the cache pot with handles molded with oriental masques and encircled with floral painting, h. 7”, a near pair of cologne bottles with floral painted panels outlined in rococo gilt cartouche with floral painted stoppers, h. 6‑3/4”, and a dresser box with a painted bouquet on the domed lid and a garland of flowers on the body, h. 2‑1/2”, d. 6‑1/4”. [200/400] 677 Group of Four Limoges, France, Porcelain Dresser Boxes, 20th century, including a large spherical box with ribbon clasp and three smaller examples, all with blue ground and floral decor, the undersides marked “Limoges, France, Peint Main”, h. 3/4” to 4‑1/2”. [150/300] 678 Pair of Paris Porcelain Reticulated Candlesticks, mid‑19th century, with magenta candle sockets with gilt highlights and mounted to an elaborate royal blue and floral decorated base and standard, h. 9‑1/2”. [500/800] 679 Louis XVI-Style Giltwood Looking Glass, early 20th century, the broadly-beveled plate with canted corners and surmounted by a shield and floral garland crest, with in a reeded-and-foliate-carved frame, h. 77”, w. 61”. [250/400]

671

680 Transitional Louis XV-into-Louis XVI-Style Kingwood and Marble-Top Commode, early 20th century, the rectangular breche d’Aleps marble top with canted corners and a projecting center section, above a conforming case fitted with a single frieze drawer over two deeper drawers, all with inlaid guilloche and floral lattice patterns, raised on shaped legs ending in sabots, h. 36”, w. 46”, d. 20‑1/2”. [3000/5000] Illustrated

681 Pair of Fine French Louis XVI Revival GiltLacquered Bronze Five-Light Gas Appliques, each retaining its period shell-and-fruit-modeled cartouche-form backplate, joined to a single S-form arm from which a central and four perimeter light extend, each with bobeches and cups in the form of a bloom, and with a stem, leaves and flowers between the four lights, retaining its period gas key, now fitted with candles and electrified, h. 19”, to top of candle cup, w. 16‑3/4”, d. 23”. According to the consignor and confirmed by the crew that handled the demolition in the 1960’s, the present sconces were removed from the ballroom of the Godchaux Mansion, on St. Charles Avenue in the Garden District Area of New Orleans, Louisiana. The Godchaux family was noted both for the department store that bore the family name, and the eponymous sugar refinery. [1800/2500] Illustrated 681A Pair of Fine French Louis XVI Revival GiltLacquered Bronze Five-Light Gas Appliques, each retaining its period shell-and-fruit-modeled cartoucheform backplate, joined to a single S-form arm from which a central and four perimeter light extend, each with bobeches and cups in the form of a bloom, and with a stem, leaves and flowers between the four lights, retaining its period gas key, now fitted with candles and electrified, h. 19”, to top of candle cup, w. 16‑3/4”, d. 23”. According to the consignor and confirmed by the crew that handled the demolition in the 1960’s, the present sconces were removed from the ballroom of the Godchaux Mansion, on St. Charles Avenue in the Garden District Area of New Orleans, Louisiana. The Godchaux family was noted both for the department store that bore the family name, and the eponymous sugar refinery. [1800/2500] Illustrated 682 Pair of Louis XVI-Style Kingwood and Marble-Top Encoignures, mid‑19th century, each with a Rouge Royale marble top above a case fitted with a single banded and quarter-veneered cupboard door, raised on block feet, h. 36”, w. 26‑1/2”, d. 15”. [1800/2500] 683 Impressive Suite of Four Beige Satin Drapery Panels and Cornices, each piece trimmed with an Italian cobalt-blue and gold metallic fringe, including the ten accompanying tie backs, the cornice embellished with a cobalt, blue and beige patterned fabric. [1000/1500] 684 French Champleve Enamel Mantel Clock, first quarter 20th century, the brass base, trimmed in polychrome enamels and set with turreted corners, columns with lower portions engine-turned and upper portions enameled, rising to support an enameled mansard roof with brass pineapple finials at the corners, the dial with a brass chapter ring and an enameled bezel and center, h. 13”, w. 6‑1/2”, d. 5‑1/4”. [2000/4000] Illustrated 685 Pair of Transitional Louis XV-into-Louis XVI-Style Marble-Top Rosewood Commodes, early 20th century, each with a breakfront Rouge Royale marble top above a conforming case fitted with two drawers, each with chevron veneers and corner inlaid floral accents raised on cabriole legs ending in sabots, h. 29”, w. 26”, d. 16‑1/2”. [700/1000]

681 & 681A two pairs

686 Louis XVI Polychrome Beechwood Sidechair, late 18th century, the domed and padded back within a molded frame, the padded seat raised on tapering circular stopfluted legs headed by floral capitals and ending in toupie feet, h. 34”. Provenance: The Lytle Hull Collection, “The Locusts”, Staatsburg, New York, to Blackamoor Antiques, New Orleans, Louisiana, to the consignor. [400/700] 687 Pair of Regency Garniture Vases, second quarter 19th century, English, now mounted as lamps, the neck and base with an apple green ground with superbly detailed hand painted bouquets of flowers on the bodies, mounted with masques of horned satyrs on each side, resting on marble bases, h. 22”. [75/125]

684

688 Set of Twelve Bavarian Cabinet Plates, first quarter 20th century, the notched corner square plates with gilt decorated cream and apple green borders, surrounded by lush floral bouquets in the center, signed “Bavaria Tirschenreuth” in overglaze green and "Decorated In Own Studios" in overglaze red, h. 8”, w. 8”. [100/200]

695 Commodious Polychrome and Upholstered Sidechair, early 20th century, in the Louis XVI-style, the padded rectangular back joined by low sides to the cushioned seat, raised on tapering ring-turned circular legs ending in peg feet, h. 40‑1/2”. [700/1000] 696 Louis XVI-Style Onyx and Ormolu Cocktail Table, the rectangular white onyx top with an inlaid pietra dura border of a scrolling foliate and floral garland, raised on fluted circular legs joined by a foliate-modeled shaped stretcher and ending in toupie feet, h. 17‑1/2”, w. 47‑1/2”, d. 24”. [300/500] 697 British School (Fourth Quarter 19th Century) “Studies of Sèvres Porcelain”, suite of four hand-colored lithographs, 9” x 13”, by Edouard Garnier, London, 1892. Glazed, matted and framed en suite. [300/500]

691 701 suite of six 689 Pair of Sevres-Style Urns Mounted as Lamps, the pear-shaped lobed bodies decorated with alternating cascades of raised gilt bellflowers on a white ground and raised gilt roses on an apple green ground, resting on a conforming wooden base with matching decoration, h. 29‑1/2”, w. 7”. [1000/1500] 690 Louis XVI-Style Kingwood and Marble-Top Tiered Occasional Table, late 19th century, the top tier with a full pierced brass gallery and breche d’Aleps marble, joined to a lower galleried surface with a starburst inlay, raised on tapering square legs ending in brass caps, h. 27”, dia. 15”. [400/700] 691 European Fin de Siecle Portrait Miniature of a Woman, fourth quarter 19th century, the woman depicted wearing a white and green jacket and a medal, signed, “Castelli”, in a gilt-bronze rococo style frame with green velvet liner and an easel back, h. 8”, w. 6‑1/4”. [800/1200] Illustrated 692 French Polychrome Three-Fold Screen, 20th century, the upper portion with a scene of the Place de la Bastille on a rainy day, the lower thirds and reverse with trompe l’oeil panels, h. 68‑1/4”, w. 57”. [300/500] 693 French Giltwood Looking Glass, the rectangular plate within a guilloche-molded frame, h. 60”, w. 24”. [500/800] 694 French Giltwood Looking Glass, the rectangular plate within a guilloche-molded frame, h. 60”, w. 24”. [500/800]

698 British School (Late 19th Century) “Sévres Porcelain”, suite of four chromolithographs, sight 10” x 14”, by Garnier, London, 1880. Attractively matted and framed. [300/500] 699 Basilus Besler (German, 1561‑1629),”Pennyroyal and Violet Specimens”, pair of handcolored engravings, sight 19‑1/2” x 15‑1/4”, respectively. Attractively matted and framed. [700/1000] 700 Johann Weinmann (German, 1683‑1741) “Momordica Indica”, hand-colored engraving from Phytanthoza Iconographia, inscribed lower center margin “ J. W. Weinmann 1742”, sight 14” x 9”. Glazed, matted and framed. [125/250]

702

706 Pair of Louis XV-Style Brass-Mounted Porcelain Urns, the bleu celeste borders with gilt rocaille decoration surround reserve panels hand painted with flora, the shoulder and lid with raised white scrollwork, resting on molded brass bases and with molded brass scrolled handles and brass acorn finials, marked “Made in France”, h. 11‑3/4”, w. 4‑1/2”. [300/500] 707 French Gilt-Brass Automaton, the base molded with garlands of flowers and the dome-top cage terminating in a ring, the blue and red feathered bird sitting on a vine covered perch, signed, “Made in France”, h. 12”, dia. 6‑1/2”. [300/500] 708 Louis XVI-style Gilt-Brass Footed Jardiniere of Tray Form, early 20th century, signed, “Cailar Bayard”, the pierced rim with arches and bellflowers and the ends fitted with open handles, retaining its original removable brass liner, h. 6”, d. 10‑1/2”, l. 19”. [300/500]

701 Casper Merian (German, 1627‑1686) “Various Botanicals”, suite of six hand colored copperplate engravings, sight 4‑1/2” x 4‑1/4”. Each handsomely matted and framed. [1000/1500] Illustrated previous page 702 Large Nine-Arm Gilt-Brass and Prism-Hung TwentyOne-Light Chandelier, early 20th century, with a central reeded brass shaft with lower bowl and mounted with alternating arms of three and two lights, electrified and dressed with celadon candelabra shades, h. 39”, dia. 36”. [2000/4000] Illustrated 703 Pair of Patinated Bronze and Cut-Glass Sconces in the Louis XV-Style, the restrained bronze backplates supporting bunches of flowers with cut and engraved leaves and faceted prisms forming the flower petals, the candle branches supporting more glass blossoms and with octagonal molded candle cups and conforming bobeches, h. 21”. w. 12”, d. 5‑1/2”. [300/500]

709 French Giltwood Looking Glass, early 20th century, the rectangular plate within a molded scroll and foliate modeled frame, h. 30”, w. 42”. [300/500] 710 Louis XVI-Style Polychrome Bed, early 20th century, the headboard padded and upholstered, surmounted by a ribbon and foliate-carved crest, joined by shaped scrolling foliate-carved rails to the padded footboard, all flanked by fluted uprights and raised on tapering fluted square legs, h. 49”, inside w. 56”, inside l. 72”, outside w. 60”, outside l. 78”. Provenance: Ken McKay, Baton Rouge, Louisiana. [700/1000] 711 Pair of Louis XVI-Style Polychrome Fauteuils, late 19th century, each with a padded and domed back surmounted by a ribbon crest, joined by scrolling padded arms to the like seat, raised on tapering circular fluted legs headed by floral block capitals and ending in toupie feet, upholstered in period tapestry depicting pastoral figures, h. 38‑1/2”. [800/1200]

704 Louis XV-Style Mahogany Vitrine Table, early 20th century, the hinged rectangular top with brass banding and corner accents centering a glazed panel, the frieze also fitted with glazed panels, raised on cabriole legs headed by foliate mounts and ending in sabots, h. 30”, w. 43”, d. 23‑1/2”.3 [400/700] 705 One Hundred and Four Piece Haviland Rosemary Pattern Partial Dinner Service, 1903‑1925, each piece transfer printed with flowers in polychrome colors and trimmed in gilt, consisting of thirteen dinner plates, dia. 9‑1/2”, eight luncheon plates, dia. 8‑1/2”, five soup plates, dia. 8”, twelve soup bowls, dia. 7‑1/4”, eight dessert dishes, dia. 6‑1/4”, four salad plates, dia. 7‑1/2”, seven bread and butter plates, dia. 6‑1/2”, thirteen cups with nine saucers, eight two-handled cream soups and ten underplates, three graduated oval platters, l. 9” to 16”, a sauceboat on stand, a covered vegetable, dia. 10”, a handled tray, l. 9‑1/2”, and an open bowl, dia. 9‑1/2”. [300/500]

718 & 719

712 Pair of Louis XVI-Style Polychrome Fauteuils, late 19th century, each with a padded and domed back surmounted by a ribbon crest, joined by scrolling padded arms to the like seat, raised on tapering circular fluted legs headed by floral block capitals and ending in toupie feet, upholstered in period tapestry depicting pastoral figures, h. 38‑1/2”. [800/1200] 713 Louis XV-Style Giltwood Footstool, the padded rectangular top above a shaped and foliate-carved frieze, raised on cabriole feet headed by floral carving and ending in scrolled toes, h. 6‑1/2”, w. 14‑1/2”, d. 8‑3/4”. [200/400] 714 Porcelain Bowl and Two Plates with Classical Decoration, first quarter 20th century, the berry bowl with a pink lustre rim and the center decorated with polychrome dancing classical maidens accompanied by a cupid playing a harp, signed, “Victoria Carlsbad, Austria”, a hand painted plate signed, “P. Sarsgroty” depicting the muses of music, art and dance, with a pink border incorporating raised gilt and small reserve panels of cupids, marked on reverse with a Sevres-style mark and “France”, dia. 9‑1/2”, and an Austrian plate with an indistinct mark depicting classical maidens with wreaths of flowers bordered by pink, green and yellow trimmed in gilt, dia. 9‑1/2”. [150/300] 715 Sevres Hand Painted Cabinet Plate Depicting Madame DuBarry, the blank dated 1846, the portrait depicting Madame DuBarry in a pink and white dress wearing roses in her hair and bodice, the dark blue border decorated in gilt scrollwork , the rear marked “Mme DuBarry” in overglaze rouge de fer, “546” in underglaze green, and “Chateau de St. Cloud” in overglaze rouge de fer, along with “Sevres 1846” in overglaze blue and “France” in overglaze silver, and framed in a modern gilt shadowbox lined with shantung silk, h. 13‑1/4”, w. 13‑1/4”. [200/400] 716 Austrian Cabinet Plate Depicting Juno, first quarter 20th century, the ancient Roman goddess Juno depicted in the clouds holding her staff, a putti floating above, the plate with an empire-style border with a dark green field and decorated with gilt anthemia, identified on the obverse and marked, “Austria” in overglaze blue under a beehive, mounted in a walnut frame, dia. 10‑1/2”. [150/300] 717 Viennese Neoclassical Charger, fourth quarter 19th century, hand painted with a scantily clad female floating above a centurion and a scantily clad male in a wooded glade, with two putti in attendance, the dark green borders with reserve panels of floral painting, signed with an overglaze black beehive over pattern numbers, framed in contemporary gilt frame with silk matte, h. 21‑1/2”, w. 21‑1/2”. [1500/2500] 718 Regence-Style Kingwood and Parquetry Marble-Top Commode, early 20th century, 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”. [1000/1500] Illustrated

719 Regence-Style Kingwood and Parquetry Marble-Top Commode, early 20th century, 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”. [1000/1500] Illustrated 720 Sumptuous Large Scalamandre Chocolate Brown Floral Silk and Metal-Embroidered Throw, backed with iridescent green silk taffeta and trimmed with bronze fringe-edged boullion braid, l.104”, w. 50”. [400/700] 721 Set of Two Draperies and Scallop-Shaped Cornices, the larger cornice with four panels, the smaller with two panels, teal and gold striped dusty rose damask, lined with a figured tan fabric, panels, h. 95”, w. 28”, cornices, h. 21”, s. 54” to 88”. [300/500] 722 Group of Two Decorative Pillows, a rectangular example in toast velvet with tapestry, w. 17”, d. 9”, the other rectangular pillow with cotton damask with fringe w. 13”, d. 10”. [100/200] 723 Pair of Ochre Velvet and Tapestry Pillows, each fronted by a panel of antique tapestry within a fringed border, w. 17‑1/2”, d. 14‑1/2”. [300/500] 724 Pair of Velvet Decorative Pillows, each of square form, burnt siena velvet with a tasseled fringe border, w. 23”, d. 23”. [200/400] 725 Pair of Velvet Decorative Pillows, each of square form, burnt siena velvet with a tasseled fringe border, w. 23”, d. 23”. [200/400] 726 Group of Two French Pillows, each with a floralpatterned tapestry front and an apricot velvet back, w. 21”, d. 16”, the other w. 23”, d. 12”. [150/300] 727 Louis XVI-Style Mahogany Tiered Center Table, late 19th century, the small circular upper tier with a rouge royale marble top within a full pierced brass gallery, joined by a columnar fluted upright to a larger like lower surface, raised on an ormolu-mounted fluted standard to four splayed legs, h. 38‑182”, dia. 30‑1/2”. [700/1000] 728 Dutch Kingwood Marquetry and Marble-Top Cabinet, late 18th century, the bowed St. Anne des Pyrennes marble top above a conforming case fitted with a single drawer over a tambour cupboard, the sides with elaborate floral inlays, raised on shaped legs to sabots, the whole with floral marquetry accents, h. 34‑1/2”, w. 35‑1/2”, d. 18”. [1800/2500]

734

732 Pair of Vienna-Style Hand Painted Artist Signed Cabinet Plates, fourth quarter 19th century, “Flower Harvest” by C. Wamitschka, one depicting two maidens in a wooded glade with two putti picking flowers, the other “Spring” by F. Hiebel, depicting a maiden under a flowering tree attended by children in classical garb gathering flowers and playing the flute, each with bleu celeste borders trimmed with raised gilt, dia. 10”. [400/700] 733 Louis-Philippe Brass and Opaline Glass SixLight Chandelier, second quarter 19th century, the opaline bowl supporting a brass prism-hung canopy under six scroll-molded arms, support chains attaching a leaf-molded upper medallion, h. 33”, dia. 19”. [400/700]

729 Pair of Paris Porcelain Garniture Urns, second quarter 19th century, reserve panels on one side with Italian landscapes and the other with domestic scenes, one with a sad mother and child with a letter and the other with a distraught man and woman, each mounted with swan’s head handles, h. 13”, w. 6‑1/2”, d. 5”. [1000/1500] 737 pair

730 Louis XV-Style Kingwood Writing Table, early 20th century, the rectangular top banded and quarter-veneered and with raised corners, above a frieze fitted with a pullput leather writing surface, pushing back to an interior fitted with drawers and compartments, raised on cabriole legs ending in sabots, h. 31”, w. 48”, l. 24”. [2500/4000] 731 Pair of Paris Porcelain Urns, second quarter 19th century, now mounted as lamps, the obverse of each decorated with reverse panels of peasant girls dressed in Tyrolean costumes, with landscapes and houses in the background, the bodies fitted with swan handles and having flower bouquets on the reverse with flower sprigs framing the front reserve panel, h. 22‑1/2”. [700/1000]

734 Continental Chinoiserie Mantel Garniture, first quarter 20th century, gilt oval plinths support a pair of Chinese figures supporting an export porcelain style vase carrying the clock on the centerpiece, a three-branch candelabra on each end, the clock with an enamel dial decorated with garlands of roses supporting sculpted porcelain flowers on gilt wires, the candelabra decorated with like flowers surrounding the foliate-molded candle sockets, wired for electricity, h. 9‑3/4”, w. 6‑1/2”, d. 5”, clock, h. 11”, w. 6‑1/2”, d. 5”, candelabras. [2000/4000] Illustrated

738

741

739 French Giltwood Looking Glass in the Louis XV-Style, the rectangular plate within an acanthine-molded frame with corner accents, h. 47‑1/2”, w. 57”. [300/500] 740 Pair of Fin de Siede Spelter and Bronze Finish Garniture Urns, fourth quarter 19th century, the bottleshaped urns molded with cascading flora and fruit in the Art Nouveau manner and resting on bronze finished bases in the Louis XIV-style, now mounted as lamps, bodies signed, “L & F Moureau”, h. 24”. [300/500] 741 Pair of Bronze and Marble Louis XV-Style Four-Light Candelabras, first quarter 20th century, the green and brown polished marble bases supporting patinated bronze satyrs with pan pipes and grapes at their feet, molded as a true pair, they hold aloft pairs of leaf-molded twolight candle branches with fluted candle cups and beaded bobeches, h. 17”, w. 9‑1/2”, d. 7‑1/2”. [1400/1800] Illustrated

735 Ten-Piece Collection of Herend, Hungary, Hand Painted Porcelain, in the green “Chinese Bouquet” pattern, comprised of three demitasse cups and saucers, a pots de creme, a covered sugar bowl, a rectangular covered box, and a two-handled circular serving tray, dia. 12”. [250/400] 736 Pair of Paris Porcelain Tazzas, second quarter 19th century, the molded edge surrounding a seafoam green border, initialed “FL” in period script, raised on a low foot with a like green border, h. 2”, dia. 8‑7/8”. [100/200] 737 Pair of Continental Bronze and Porcelain Sconces in the Louis XVI-Style, the backplate molded in the form of a ribbon ending in tassels, supporting a basket holding both sculpted porcelain flowers on metal stems and a pair of candle branches ending in cups molded with neoclassical swags, h. 21”, w. 7”, d. 3‑63/4”. [400/700] Illustrated

742 Chinese Carved Ivory Tusk on Stand, first half 20th century, the scene depicting a horse and carriage with a village and mountainous forest landscape in the background, signed on underside, h 11”, without stand. [1200/1800] Illustrated 743 Large Chinese Carved Ivory Equestrian Figure of a Warrior on Horseback, first half 20th century, h. 14”, d. 3‑1/2”, l. 8‑1/2”. [2000/4000] Illustrated

743

742

738 Charles-Georges Ferville-Saan (French, 1847‑1925, bronze lamp depicting a gilt bronze nymph en deshabille playing “clair de lune” on a bronze harp, the music is incised on the body along with bas relief clouds, h. 18.5”, w. 9”, d. 7‑1/2”. [600/900] Illustrated

744 Chinese Blanc-de-Chine Figure of the Deity Guanyin, first half 20th century, the figure clad in informal robes holding a ruyi scepter with arms resting on a table, the figure seated on a rockwork base, h. 16‑1/8”. [200/400]

752

745 Elaborate Chinese Blanc-de-Chine Figure of Guanyin, 20th century, the seated figure clad in Indian style robes holding a scepter and one hand raised in benediction, the figure backed by a large lotus leaf and lotus blossoms, h. 18”. [250/400]

749 Indian Carved and Pierced Ivory Vanity Lamp, composed of two sections of an ivory tusk carved as musicians and dancers in garden settings against a delicately pierced ground, electrified through the wooden base, h. 9‑7/8”. [600/900] 750 Chinese Export Carved Ivory Casket, first half 20th century, of rectangular outline raised on demonhead feet and having a pierced apron, the body and lid carved in intricate detail with figures in a garden setting with pavilions, h. 2‑1/4”, d. 3‑3/8”, l. 4‑7/8”. [1200/1800]

754

751 Japanese Carved Ivory Okimono, Taisho Period (1912‑1926), depicting a standing man holding a ceremonial object above his head, atop a celestial cloud, all resting on a highly detailed and carved circular base, h. 10”, dia. 4‑3/4”. [200/400] 755

746 Chinese Carved Ivory Figure of a Female Deity, 20th century, the standing figure in informal robes holding bouquets of flowers and wearing a phoenix headress in black tinted hair, wooden stand, h. 10‑5/8”, including stand. [400/700] 747 Two Chinese Polychromed Ivory Snuff Bottles, 20th century, each carved as a dragon tortoise carrying an engraved dragon stele on its back, each with polychrome details, h. 3‑1/8”. [150/300] 748 Chinese Carved Ivory Figure of a Female Buddhistic Lion, 20th century, the figure holding ribbons in her mouth playing with her cub, standing on a stylized double lotus base, carved wooden stand, h. 7‑1/2”, including stand. [400/700]

752 Pair of Chinese Carved Ivory Figures of Deities, 20th century, each carved following the curve of the tusk, both figures wearing lotus leaf hats, the male with a fishing pole and basket, the female with a staff, fish and basket, fitted wooden stand, h. 15‑1/4”, including stands. [1500/2500] Illustrated

753 Chinese Two-Panel Folding Screen, mid‑20th century, the inside with relief-carved crests of birds and flowers, the panels profusely decorated with applied bone-carved birds and trees, the exterior with a painted landscape, h. 74”, w. 65”. [200/400] 754 Pair of Chinese Carved Ivory Figures, 20th century, carved following the curve of the tusks as male and female deities, the male with an official cap and carrying a staff, the female carrying groups of flowers, fitted wooden stand, h. 12‑3/4”, including stands. [1000/1500] Illustrated 755 Chinese Carved Ivory Figure of a Female Deity and Attendant, 19th century, carved in the round as a standing female figure holding a bouquet of lotus leaves and millet, accompanied by an attendant holding a tray with two bao, h. 5‑3/4”. [1200/1800] Illustrated

758

759 Pair of Chinese Carved and Embellished Ivory Figures of Guanyin, 20th century, each carved as the figure of the flame haloed goddess riding on a Buddhistic lion with an attendant, embellish with coral and turquoise cabochons, h. 6”. [700/1000] 760 Elaborate Japanese Carved Ivory Okimono of a Fisherman, 20th century, carved as the standing figure on a rockwork base with plants, a dog and a basket of fish, the hatted figure holding a long pole with a chain holding a captured fish, wooden stand, h. 14‑3/8”, including stand. [300/500] 761 Japanese Carved Ivory Figure of a Geisha, 20th century, carved as the standing female figure clad in an informal kimono and having an elaborate coif, wooden base, h. 7‑1/4”, including stand. [200/400] 762 Chinese Carved Ivory Scholar with a Foo Lion, 19th century, signed on underside, h. 9”. [1800/2500] 763 Chinese Carved Ivory Figure of a Sage, 19th century, on an ivory stand, h. 9”. [1200/1800] 764 Chinese Glazed Pottery Feline-Form Pillow, 19th/20th century, molded in the form of a recumbent cat on a base, glazed in a cream colored crackled glaze with brown spotting and unusual painted floral decoration on its back, l. 10‑1/2”. [150/300] 765 Japanese Black and Gold Lacquer Cup Stand, first half 20th century, of traditional shape with a bowed cup holder, wide saucer shape drip catcher and splayed foot, the black lacquer body with gilt decoration of flowers and mons, dia. 6‑1/2”. [250/400]

756 Good Chinese Carved Soapstone Group, 19th century, the mottled beige colored stone carved as the figure of the Immortal Li Tieguai in the body of a homeless beggar, seated upon the back of an elephant with his crutch and gourd slung across his back, carved and fitted wooden stand, h. 8‑3/4”, including stand. [300/500] 757 Chinese Carved Ivory Figure of the God of Longevity, carved in the round, the bald headed god clad in flowing robes with bats at his feet, holding his branched staff and the Peach of Immortality, h. 9‑3/8”. [300/500] 758 Heavily Carved Chinese Ivory Koro on Stand, early 20th century, the reticulated lid with a pair of Foo Lions on the top and elephant mask ring handles, the jar with foo lion legs and signed on the underside, h. 9‑3/4”, including stand. [1400/1800] Illustrated

766 Chinese Export Lacquer Sewing Box, second quarter 19th century, the black ground exterior decorated with images of pagodas and bridges, rendered in Chinese red and outlined in gilt, the ends mounted with rosette and bail handles, the interior compartmentalized as is the lower drawer, h. 5‑1/2”, w. 13‑1/2”, d. 10”. [400/700] 767 Pair of Chinese Celadon Porcelain Bottle Vases, 20th century, now mounted as lamps, each with flattened bulbous bodies and elongated necks under an even celadon glaze and mounted on fitted brass bases and pierced brass terminals, h. 27‑1/4”. [200/400] 768 Chinese Flared Celadon Crackleware Bowl, circular bowl of unusual flared design with everted rim, the body glazed in celadon glaze with large and small crackle, dia.10‑1/2”. [200/400]

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771

778

774

779

775

770

773 769 Pair of Chinese Carved Celadon Jade Wrist Rests, 19th century, each in celadon-colored stone carved in low relief with bamboo and pine among rockwork with the figure of a crane at the top, l. 8‑1/4”. [3000/5000] Illustrated

776

777

770 Good Chinese Carved Celadon Jade Rhyton Cup, 19th century, the even celadon-colored jade well-carved and hollowed in the form of a lipped cup resting on a base in the form of a horned dragon head with its mouth emitting a curled vapor ascending to the body of the cup, above the vapor is a figure of a hydra dragon climbing the lip of the cup, the body of the cup with lightly engraved stylized clouds, h. 6‑1/4”. [2500/4000] Illustrated 771 Large, Impressive Chinese Carved Spinach Jade Brush Pot, of cylindrical-form, carved from a single piece of spinach jade, carved in deep relief with three five-clawed, horned dragons pursuing the Flaming Pearl, each dragon sinuously coiled among clouds and waves, the stone of even dark green and the carved design and background with well-polished finish, h. 9‑1/2”, dia. 6”. [12000/18000] Illustrated 772 Fine Pair Chinese Carved Jade Joss Stick Holders, the even-colored celadon jade bodies with dark green spinach jade fretwork bases and covers, the cylindrical bodies carved in relief with continuous scenes of forested mountains with figures, pavilions and pagodas among pine, oak, bananas and bamboo, the carving going down to a thin, even-colored ground with scattered piercings to the interior, a fine, well-carved example of this elegant form, h. 10‑3/4”. [15000/25000] Illustrated

769

773 Dramatic Chinese Carved White and Yellow Jade Figure of a Kylin, second half 18th century, the white stone with yellow shadings dramatically carved as a recumbent kylin with double horns, snarling open mouth, muscular body with low relief-carved wings arising from the front legs, ridged spine and coiled tail wrapped along one side of its body, l. 6‑3/4”. [2500/4000] Illustrated

774 Fine Chinese Carved Pale Celadon Jade Covered Vase, 19th century, the stone of even, pale yellowish/ celadon color, of flattened baluster form with foliate handles and loose suspension rings, the body finely carved as a continuous scene of a dense grove of pine trees against a rocky background, each side with a figure of a sage among the pine trees, original fitted cover with a spherical finial, fitted carved rosewood stand, h. 11”. [20000/40000] Illustrated

788

775 Fine Chinese Carved Pale Celadon Jade Covered Vase, 19th century, the stone of even, near-white color carved in a flattened baluster form with floral handles and suspended loose rings, having a deeply recessed slightly splayed foot and original cover with a pointed finial, h. 8”. [18000/25000] Illustrated 776 Chinese Carved Pale Celadon Colored Jade Seal, the base of cylindrical form with two archaic seal characters in the base and topped by a well-carved figure of a Buddhistic lion playing with a ball, h. 2‑1/2”. [800/1200] Illustrated 777 Pair of Well-Carved Chinese Agate Seals, each of yellow, white and brown variegated color with rectangular bases topped with figures of horned, vapor breathing dragons, the bases engraved on three sides with calligraphic inscriptions and with archaic inscriptions on the fourth side, the bases uncarved, h. 4‑1/2”. [200/400] Illustrated 778 Chinese ArchaicStyle Carved Jade Archer’s Vase, 19th century, the mottled olive and brown stone carved with an ovate body and neck with archer’s tubular handles and fitted lid, the body carved in low relief with archaic-style dragons, fitted wooden stand, h. 9‑3/4”, including stand. [1200/1800] Illustrated

786

779 Fine Chinese White Jade Covered Vase, 19th century, of flattened oval shape on a splayed recessed foot with elaborate elephant head handles, the body carved in low relief with archaic-style fretwork designs, the original fitted cover carved in low relief with archaic dragons and having a canted rectangular knob, h. 9‑1/2”. [20000/40000] Illustrated 780 Group of Three Chinese Soapstone Seals, each with plinth bases and topped with a figure of crouching Foo Dogs, one in red soapstone, one in orange soapstone and one in taupe soapstone, the bases uncarved, h. 3‑1/2” to 3‑7/8”. [125/250]

781 Chinese Carved Shoushan Stone Seal, first half 20th century, of oval outline carved on the top with a recumbent figure of a kylin with bifurcated tail and back-turned head with open mouth, the base carved with seal characters, h. 2‑1/8”, l. 2‑5/8”. [250/400] 782 Pair of Chinese Carved White Agate Seals, each composed of a rectangular columnar base topped with a figure of a Buddhistic lion seated on its haunches, the columnar bases with engraved carver’s signature, the bases with seal characters, h. 4”. [300/500] 783 Decorative Chinese Four-Panel Painted Screen, mid‑20th century, depicting a large sailing vessel with various figures throughout, h. 36 , w. 72”. [300/500] 784 Pair of Japanese Framed Woodblock Prints, 19th century, each depicting a standing figure of a geisha in a brocade kimono reading a long scroll while in a grove of bamboo, red painted frames, glazed, h. 19‑3/8”, w. 14‑3/8”. [300/500] 785 Chinese Scroll Painting of a Landscape, 20th century, painted in colors on paper depicting a boat on a lake with autumnal foliage and a spire in the background, calligraphic inscription, sealed, h. 47”, w. 28”. [400/700] 786 Chinese White Jade Snuff Bottle, of flattened circular form carved in low relief on the face with the figure of a robed official under a pine tree gazing at a weathered rock, the reverse with a four-character inscription in archaic characters, h. [1200/1800] Illustrated

787 Chinese Green Fluorite Covered Vase, first half 20th century, now wired as a lamp, the typical mottled green translucent stone carved in high relief as a pear-shaped vase covered in flowering vines on a wooden base, now mounted in filigree brass mounts with jade and carnelian appliques, h. 17‑5/8”. [300/500]

789

788 Pair of Chinese Carved Serpentine Covered Vases, 19th century, each now mounted as lamps, each vase of flattened shield form with lion head handles and loose rings, each carved in low relief with archaic monster faces, conforming cover with lion finials, now mounted in filigree brass bases and holders for covers, h. 31‑1/4”. [1500/2500] Illustrated Previous Page 789 Good Chinese Carved White Jade Figure of a Bird, 18th century, the even-colored greenish/white stone carved in the round as a seated figure of a bird with folded wings, elaborate tail plumage and holding a leafy sprig in its beak, suspended on a silk cord, l. 3‑3/4”. [2000/4000] Illustrated 790 Paid of Chinese Carved Serpentine Elephants on Stands, 20th century, each carved in pale green translucent stone as figures of trumpeting elephants with raised trunks, fitted wooden stand, h. 5‑1/2”, including stand. [200/400]

797

791 Pair of Chinese Carved Serpentine “Imperial” Foo Dogs, each carved in even-colored stone, the beasts with curled manes, clawed feet and snarling mouths, modeled after bronzes in the Forbidden City, h. 4‑3/4”, including stands. [200/400] 792 Chinese Carved Serpentine Covered Vase, the stone of onion-green color, of flattened baluster shape carved on the front and back in low relief as four panels of stylized archaic dragon, original cover with floral knob, wooden stand, h. 8‑1/2”, including stand. [200/400]

796 Chinese Carved Serpentine Figure of a Long-Tailed Bird, 20th century, the even-colored pale green stone carved as a long-tailed bird perched on gnarled tree trunk with side-turned head, wooden stand, h. 9‑3/8”. [100/200]

793 Two Chinese Carved Serpentine Figures of Maidens, 20th century, each in pale, translucent green stone, one clad in flowing robes, a high top knot and holding a fan, the other in servant’s robes, both with fitted wooden stand, h. 5‑3/8” to 8”, including stands. [150/300]

797 Indian Mogul-Style Jade Handled Dagger, the arched steel blade with watered finish and having a pale green jade handle carved in the shape of a lion’s head, purple velvet covered scabbard with gold rope decoration, l. 16‑3/4”. [2000/4000] Illustrated

794 Chinese Carved Serpentine Figure of the Happy Buddha, the translucent green stone carved as the seated figure of Hotei clad in loose robes displaying his corpulent stomach, fitted wooden stand, h. 4‑5/8”, including stand. [300/500]

798 Two Chinese Glass Snuff Bottles, one a plain white glass bottle imitating jade, h. 3”, and the other a blue goldstone example with hardstone embellishment of a woman holding a lotus with a child by her side, h. 2‑1/2”. [700/1000]

795 Chinese Carved Serpentine Incense Burner, 20th century, the translucent pale green stone carved as a bulbous body on three feet with floral handles and loose rings, a pierced domed cover with floral knob and a pierced floral border, fitted wooden stand, h. 6”, including stand. [200/400]

799 Group of Three Chinese Snuff Bottles, 20th century, composed of a cylindrical porcelain bottle in polychrome enamels decorated as two ladies in garden settings and two inside painted landscape bottles, one with red overlay details, h. 2‑1/4” to 3”. [100/200]

804 Two George II Hanoverian “Fancy Back” Sterling Silver Tablespoons, third quarter 18th century, London, one hallmarked 1750‑51, the maker’s marks rubbed but probably Ebenezer Coker, with shell heel, monogrammed on the underside “CEU”, l. 8‑1/8”, the other hallmarked 1754‑55, by William Turner, with shell-and-scroll heel, no monograms, l. 8‑1/8”, 3.66 total t. oz. [150/300] Illustrated

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803

807

802 804

800 Pair of Asian Ink and Color Paintings on Paper, first half 20th century, depicting various birds amidst flowering branches, sight 13‑3/4” x 10‑3/4”. Presented in polychrome faux-bamboo frames. [75/125] 801 Chinese Carved Malachite Figure of a Buddhistic Lion, 20th century, the striated green stone carved as a lion seated on its haunches with turned head and open mouth, l. 5‑3/8”. [400/700] 802 Two George I Sterling Silver Rat-Tail Spoons, both hallmarked 1722‑1723, one London, by Andrew Archer, with “Hanoverian” handle and plain rat-tail, monogrammed “H/R*C”, l. 7‑1/4”, the other Exeter, the maker’s mark rubbed, with “Dognose” handle and ribbed and beaded rat-tail, l. 7‑1/2”, 2.19 total t. oz. [150/300] Illustrated 803 George I “Rat-Tail” Britannia Standard (.958) Platter Spoon, hallmarked London, 1718‑1719, by Andrew Archer, originally in the “Hanoverian” pattern but the tip later down-turned in the “Old English” manner, with upper middle-rib and rat-tail heel, monogrammed on the underside “STEx”, l. 12‑1/4”, 3.98 t. oz. [150/300] Illustrated

805 George I Provincial Sterling Silver Coffeepot, hallmarked Exeter, 1718‑1718, by Pentecost Symonds, the conical body with molded foot ring and rim, with tall hinged domed spout, right-angle crested wooden handle and paneled “gooseneck” spout, engraved opposing the handle with a leafymantled and shell-crested oval cartouche mongrammed “JAB”, h. 9‑3/4”, w. 6‑1/4”, dia. 4‑1/2”, 27.58 t. oz. [3000/5000] Illustrated

806 George II Three-Piece Sterling Silver Caster Set, hallmarked London, 1732‑33, by Charles Alchorne, including one sugar caster, h. 5‑3/4”, dia. 2‑3/8”, and two pepper/mustard casters, h. 4‑1/2”, dia. 1‑3/4”, each of baluster form with annular band and domed foot ring, the cap with scrolled piercing and toupie finial, 9.45 total t. oz. [250/400] Illustrated 807 Assembled Set of Four George II Sterling Silver Trencher Salts, hallmarked 1727‑1732, three by Edward Wood (d. 1752), the other with rubbed mark (John Jones?), each of elongated octagonal form with waisted sides, one example (Wood, 1732‑1733) monogrammed and dated on the side “EW/MS 1734”, h. 1‑1/4”, l. 3”, w. 1‑1/2”, 7.33 t. oz. [600/900] Illustrated 808 Pair of George II Sterling Silver “Berry” Spoons, hallmarked London, 1749‑1750, by Marmaduke Daintry, in the traditional “Hanoverian” pattern, later decorated with chased flowers and vines, the bowls cut and chased as large leaves, l. 8‑1/2”, 4.37 total t. oz. [150/300]

810 809 George III Sterling Silver Sugar Basket, hallmarked London, 1783‑1784, of navette form with upswept ends, decorated with a wide pierced gallery band quartered by scroll-mantled cartouche and urns, with conforming swing handle and conforming foot, accented throughout with narrow beaded banding and fitted with a conforming cobalt glass liner, monogrammed on the cartouche “EH”, h. 4‑3/4” (7‑1/2” with handle), l. 6‑1/52”, w. 4‑3/4”, 7.07 t. oz. (excluding glass liner). [1200/1800] Illustrated

809

810 George III Sterling Silver Cake Basket, hallmarked London, 1769‑70, by John Lawford, of scalloped oval form, decorated with embossed spiraling annulation and wheat stalks, the rim pierced with stars and quatrefoils, with a wavy openwork, swing handle and raised on a conforming foot-ring, h. 3‑1/2” (10‑1/2” with handle), l. 13‑1/4”, w. 11”, 21.93 t. oz. [500/800] Illustrated 811 Pair of George III Sterling Silver Salt Cellars, hallmarked London, 1774‑1775, by Robert Hennell I, each of oval form with sloped bottom and raised on a conforming domed foot, decorated throughout with pierced gallery banding and applied paterae joined laurel banding, fitted with a cobalt glass liner, h. 2‑3/4”, l. 3‑1/4”, w. 2‑3/8”, 5.40 total t. oz. (excluding glass liners). [500/800] Illustrated 812 George III Sterling Silver Sweetmeat Basket, hallmarked London, the date letter rubbed but third quarter 18th century, by Emick Romer (1724‑1799), of shaped oval form, decorated with embossed flowers and scrolls and pierced with stars and quatrefoils, with a wavy, openwork, rocaille-mounted swing handle and raised on a simple foot-ring, h. 1‑3/4” (4‑3/4” with handle), l. 6‑1/4”, w. 5”, 3.86 t. oz. [100/200] Illustrated

812

811 813 George III Sterling Silver Mug, hallmarked 1764‑1765, by William & James Priest, of baluster form, with acanthuscrested double scroll handle and molded foot ring, later monogrammed on the body “MMcCM”, h. 4", dia. 3”, l. 4‑1/2”, 7.07 t. oz. [100/200] 814 Early George III Sterling Silver Pap Boat, hallmarked London, 1761‑1762, by Alexander Johnston, of traditional oval form with everted spout, l. 4‑1/2”, w. 2‑3/4”, 2.18 t. oz. [400/700] 815 Two George III Sterling Silver “Old English” Platter Spoons, fourth quarter 18th century, London, one 1793‑1794, by George Smith II, monogrammed “P”, l. 11‑7/8”, the other 1799‑1800, the maker’s mark rubbed, monogrammed “IEP”, l. 11‑5/3”, 6.56 total t. oz. [150/300] 816 Three George III Sterling Silver Serving Pieces, including a small “Old English” pattern church strainer spoon hallmarked London, 1790‑1791, by William Sumner I, l. 5”, a large “Fiddle” pattern sugar sifter, the marks rubbed but London, ca. 1800, engraved with the Pine family crest, l. 7”, and an Irish “Hourglass” pattern sauce ladle, hallmarked Dublin, 1817, by James Scott, with applied crest and motto of the Prince of Wales, l. 7”, 5.59 total t. oz. [150/300]

817

817 Good Pair of George III Sterling Silver Covered Vegetable Dishes, hallmarked London, 1795‑1796, by William Stroud, each of circular form with gadrooned rim and opposing stirrupshaped reeded handles, the fitted domed lid with finial handle en suite, engraved on the lid and body with a crest of a stag’s head erased and the motto “Humani Nihil Alienum”, h. 4‑1/2”, dia. 8‑3/4”, 67.71 total t. oz. [7000/10000] Illustrated

822

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823

822 George III Sterling Silver Sugar Basket, hallmarked London, 1793‑1794, by Cornelius Bland, of navette form, with upswept ends, cavetto rim and reeded edge, with reeded swing handle and conforming domed foot, h. 4‑3/4” (7‑3/4” with handle), l. 7‑1/2”, 4‑3/4”, 10.22 t. oz. [700/1000] Illustrated

821

818 Two George III Silver Dish Crosses, including a sterling silver example hallmarked Edinburgh, 1791‑1792, by William Robertson II, l. 12‑3/4”, 18.06 t. oz., and an Old Sheffield Plate example of similar date, l. 14‑1/2”, each of traditional form with “shoesole”-shaped supports and oval pad feet. [300/500] 819 Late George III Sterling Silver Taperstand, hallmarked London, 1809‑1810, by Thomas Wallis, of rounded rectangular form with gadrooned rim, with a waisted standard surmounted by a urn-form nozzle fitted with a detachable bobeche en suite, with crested ring handle, the chained conical stopper unmarked and probably a later replacement, h. 2‑1/2”, w. 3‑7/8”, l. 4‑1/4”, 4.24 t. oz. [100/200] 820 George III Sterling Silver Chamberstick, hallmarked London, 1797, the maker’s mark obliterated, of oval form with molded rim, the standard with wick-cutter socket, reeded banding and surmounted by an urn form nozzle, the crested handle with thumbpiece and fitted with the original conical snuffer, engraved on the body with a crest of a mullet argent and the motto “Fear God & Honor the King”, the crest repeated on the snuffer, the bobeche unmarked and a later addition, h. 4‑3/4”, l. 6‑1/2”, w. 6‑1/4”, 11.18 total t. oz. [150/300] Illustrated 821 Good Late George III Sterling Silver Wick Cutter and Tray, hallmarked London, 1802‑1803, by Abstinando King, the scissors-style cutter with openwork bow and quatrefoil handles, the snuff-box decorated with pricked Greek-key banding and an engraved oak-branch cartouche, l. 6‑1/2”, the navette-shaped tray with upswept ends and reeded rim, the plateau banded and engraved en suite with the snuffbox, l. 9‑1/2”, w. 3‑3/4”. [250/400] Illustrated

823 Set of Six George III Sterling Silver Bun Peppers, hallmarked London, 1807‑1808, by John Emes, each of ovoid form with cavetto collar, bun cap and circular foot, decorated with reeded banding, the cap pierced with stars and arrows, h. 3‑3/4”, dia. 1‑3/4”, 12.41 total t. oz. [1800/2500] Illustrated 824 Three 19th Century English Caddy Spoons, including a George III “Fiddle Thread” example, hallmarked London, 1801‑1802, by George Nangle, monogrammed “EM”, l. 3‑1/8”, a George IV “Old English” example, hallmarked London, 1828‑1829, by Benjamin Davis, l. 2‑7/8”, and a Victorian “Hanoverian” example, hallmarked Sheffield, 1895‑1896, by W. S. Savage & Co., l. 3‑3/4”, 0.96 total t. oz. [75/125] 825 Two Large George III Sterling Silver Serving Spoons, both London, in the traditional “Old English” pattern, including a platter spoon, hallmarked 1797‑1798, by Samuel Godbehere and Edward Wigan, monogrammed “WC”, l. 11‑1/2”, and a straining spoon, hallmarked London 1808‑1809, by Thomas Wallis, no crests/monograms, l. 12‑1/2”, 8.48 total t. oz. [250/400] 826 Pair of George III Sterling Silver Sauce Ladles, hallmarked London, 1801‑1802, by Solomon Hougham (1746‑1818; free 1786), in the traditional “Old English” pattern, monogrammed “WEA”, l. 6‑5/8”, 3.02 total t. oz. [100/200] 827 Two Late George III Sterling Silver Serving Pieces, including a “Old English” sauce ladle, hallmarked London, 1796‑1797, by Richard Crossley, monogrammed “L”, l. 6‑1/2”, and plain bow-style sugar tongs, hallmarked London, 1808‑1809, by Godbehere, Wigan and Boult, l. 5‑1/2”, 2.44 total t. oz. [100/200]

828 Pair of Early George III Sterling Silver Salt Cellars, hallmarked London, 1765‑1766, by Daniel & Robert Hennell, each of bulbous circular form decorated with a repousee flowers centering a rococo cartouche, with scalloped, gadrooned rim and raised on four shell-crested and -footed “C”-scroll legs, h. 1‑7/8”, dia. 3‑5/8”, 6.24 total t. oz. [150/300] Illustrated

835 839

834

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836

829 830 831

828

829 George IV Sterling Silver Hot Water Jug, hallmarked London, 1823‑24, by Benjamin Smith III, the pear-shaped body decorated with repousee laurel swags centering an oval cartouche, with shaped rim, beaked flat hinged lid, acanthus bud finial and crested wooden handle, raised on an ogee-domed circular foot, h. 8‑1/4”, l. 7‑1/4”, w. 5‑3/4”, 27.90 t. oz. (including wooden handle). [2500/4000] Illustrated 830 Two Pieces of George III Sterling Silver Tableware, late 18th/early 19th century, London, including a cream jug, hallmarked 1775‑1776, by Thomas Shepherd, the baluster-shaped decorated all over with a repousse rural scene centering a rococo cartouche, with reversebeaded rim, treble-scroll handle and raised on a domed foot, monogrammed “PHH”, h. 4‑3/8”, dia. 2‑1/4”, and a caster, hallmarked London, 1807‑1808, the maker’s mark rubbed, of baluster form decorated with bands of repousse flowers centering a rococo cartouche, the cap pierced and engraved in a lattice pattern, the whole raised on a domed foot, h. 5‑1/2”, dia 2”, 4.76 total t. oz. [150/300] Illustrated

100

831 George III Sterling Silver Cream Jug, hallmarked London, 1780‑1781, by Charles Hougham, the baluster-shaped decorated all over with a repousse rural scene centering a rococo cartouche, with reverse-beaded rim, crested treble-scroll handle and raised on a domed foot, monogrammed on the cartouche “C/NR”, h. 4‑1/4”, l. 4‑1/2”, w. 2‑3/4”, 2.96 t. oz. [200/400] Illustrated 832 George III Sterling Silver Stuffing Spoon, hallmarked London, 1808‑1809, by Solomon Hougham (1746‑1818; free 1786), in the traditional “Fiddle” pattern, monogrammed “JO”, l. 11‑7/8”, 4.82 t. oz. [150/300]

833 George III Sterling Silver Fish Slice, hallmarked London, 1809‑1810, by Joseph Smith II, in the traditional “Fiddle” pattern, the scimitar-shaped bladed threaded and centering a pierced trapezoidal panel, no crests/ monograms, l. 11‑3/4”, 2.89 t. oz. [100/200] 834 George III Sterling Silver Toast Rack, hallmarked London, 1777‑1778, by Charles Aldridge & Henry Green, of oval form with beaded rim, fitted with five wirework dividers, the center one with ring handle, the whole raised on four ball-and-claw feet, h. 5‑1/4”, l. 7‑1/2”, w. 5‑3/4”, 11.51 t. oz. [150/300] Illustrated 835 George III Sterling Silver Waiter, hallmarked London, 1794, by Daniel Smith and Robert Sharp, of circular form, with beaded rim and raised on three fluted feet, engraved on the plateau with a beaded cartouche monogrammed “JSD”, dia. 8”, 12.56 t. oz. [200/400] Illustrated

836 Two Pieces of Late George III Sterling Silver Smallware, including a caddy spoon, hallmarked London, 1790‑1791, by William Burch, with coquille bowl and canted rectangular bright-cut handle, l. 2‑3/8”, and a game skewer, hallmarked London 1817‑1818, by William Bateman I, with plain ring handle, l. 8”, 1.96 total t. oz. [100/200] Illustrated 837 Early George III Sterling Silver Tea Caddy, hallmarked London, 1762‑1763, by John Parker I & Edward Wakelin, of bombe form, the fitted domed lid with toupie finial, the whole raised on openwork rococo feet and apron and decorated with fine annulated edging, h. 6”, w. 3‑1/2”, d. 2‑1/2”, 8.81 t. oz. [2500/4000] Illustrated 838 Late George III Sterling Silver Taperstand, hallmarked London, 1805‑1806, by John Emes, of circular form with reeded rim, with a waisted standard surmounted by an urn-form nozzle, with reeded ring handle and oval thumb-piece, the bobeche unmarked and probably a replacement, h. 2‑3/4”, dia. 3‑1/4”, 3.02 t. oz. [75/125] Illustrated 839 George III English Provincial Teapot, hallmarked Newcastle, 1783‑1784, by John Laglands and John Robertson, of straight-sided “turtleback” section, the waisted oval collar with hinged and domed lid with turned ivory finial, with gadrooned conical spout and crested wooden handle mounted en suite with the spout, decorated with bright-cut and applied annulated banding, monogrammed on the body “BAW”, h. 5‑3/4”, l. 10‑1/2”, w. 4‑1/4”, 15.04 t. oz. (including wooden handle). [300/500] Illustrated 840 Geroge III Sterling Silver Waiter, hallmarked London, 1798‑1799, by Henry Nutting, of serpentine lobed oval form, with annulated rim and raised on four threaded spatulate feet, engraved on the plateau edge with a pricked and hatched band of Celtic “braiding” and at the center with a leafy cartouche monogrammed “AB”, l. 7”, w. 5‑1/2”, 4.82 t. oz. [100/200] 841 George III Sterling Silver Marrow Scoop, hallmarked London, 1816‑1817, by Josiah & George Piercy, of traditional form, with pointed shoulders, l. 8‑3/4”, 1.80 t. oz. [200/400] 842 George III Sterling Silver Platter Spoon, hallmarked London, 1807‑1808, by William Eley & William Fearn, in the tradtional “Hourgall” pattern, engraved on the handle with a crest of a dragon’s head erased, ducally gorged, l. 11”, 5.85 t. oz. [150/300]

843 Set of Four George III Sterling Silver Tablespoons, hallmarked London, 1806‑1808, by William and Mary Sumner, in the traditional “Old English” pattern, monogrammed “JSD”, l. 8‑7/8”, 9.32 total t. oz. This set seems to confirm the theory that William Sumner died in 1807; one spoon here bears his mark and the date letter for 1806‑1807, the other three have the date letter for 1807‑1807 and the mark of his widow, Mary Sumner. [200/400] 844 English Colonial Silver Chamberstick, first quarter 19th century, maker’s mark “W.T”, of circular form with molded rim, the standard with wick-cutter socket and surmounted by an cannon-form nozzle, the crested handle fitted with the original conical snuffer, engraved on the body with a rubbed crest (out of a ducal crown a stag’s head?), h. 4‑1/2”, dia. 5‑1/2”, 9.90 t. oz. [150/300] 845 Two English Sterling Silver Tapersticks, including a Victorian taperstand hallmarked Sheffield, 1841‑1842, by Henry Wilkinson & Co., the lobed base with rococo scroll rim below a nozzle en suite, with double “C”-scroll handle and the origninal conical bobeche,, h. 4”, dia. 3‑1/8”, and an Edwardian taperstick, hallmarked Birmingham, 1909‑1910, by Williams of Birmingham, Ltd., in the Adam taste, with a tapering standard of navette section above a conforming molded base and surmounted by a conforming urn-form nozzle, h. 5”, l. 3”, both weighted. [150/300] 846 Victorian Silverplate Cruet Frame, third quarter 19th century, of canted square form, the central baluster standard with “U”-shaped ring finial, with four flat braces surrounded by four flat-back baluster posts and the corners joined by square rods forming four receptacles, the whole raised on four pad feet, fitted with four cut-glass bottles of square section, including a vinegar bottle with cube-shaped glass stopper, and salt and peppper casters and mustard pot, all with silverplate caps, h. 10‑1/2”, w. 5‑1/2”. [75/125] 847 Victorian Silverplate Tureen, fourth quarter 19th century, by Samuel Smith & Son, London, of oval form, the body decorated with a wide chased floral band centering opposing oval cartouches, with acanthus-mounted squared handles, the fitted domed lid with chasing en suite centering a reeded ring handle finial, the whole raised on a conforming waited foot-ring with beaded rim, engraved on one cartouche with a crest of a cubit hand holding an archbishop’s mitre, h. 10‑1/4”, l. 16‑1/2”, w. 9‑1/2”. [100/200] 848 Victorian Sterling Silver Dessert Serving Set, hallmarked Sheffield, 1871‑1872, by Martin Brothers & Co., including a serving knife, l. 11‑1/4” and fork, l. 8”, each with sterling blade/tines engraved with scrolls and fruit, the filled handles of “Albany” shape with acanthus scroll finial and engraved with rococo scrolls and oval cartouche, monogrammed “JBS”. [100/200]

101

849 Good Victorian Cased Sterling Silver Fish Serving Set, hallmarked London, 1866‑1867, by Francis Higgins I, retailed by Hunt & Roskell, including a fish slice, l. 13”, and fish serving fork, l. 10”, in the traditional “Fiddle, Thread and Shell” pattern, with “diamond point” heel, the scimitar-shaped blade and fork heel pierced and carved with trailing ivy, engraved on the handle with the double crest of Fletcher of Laneswood & Wyrley Magna, Staffordhire, probably for the Rev. John Waltham Fletcher (1816‑1896), 10.35 total t. oz., presented in the original fitted indigo satin and velvet lined red leather case, the interior lid with the gilt retailer’s stamp of Hunt & Roskell, successors to Storr & Mortimer, 14‑1/2” x 5”. [200/400] Illustrated

853

850 Pair of Victorian Sterling Silver Master Salt Spoons, hallmarked London, 1844‑1845, by Samuel Hayne and Dudley Cater, in the traditional “Albert” pattern, engraved with the crest and motto of the clan Campbell, l. 4‑3/8”, 1.60 total t. oz. [60/90] 851 Victorian Cased Twenty-Four-Piece Ivory and Close Plate Dessert Service, second quarter 19th century, by Adey Bellamy Savory & Sons, London, including twelve forks, l. 6‑3/4”, and twelve knives, l. 8‑1/8”, each with silver-plated steel tines/blade, the ivory handle carved with palmettes, beaded cartouche and crown finial, presented in the original fitted russet baize-lined mahogany case with lift-out tray, the lid with inlaid brass cartouche, h. 2‑1/8”, w. 11‑1/4”, d. 9‑3/4”. [150/300] 852 Collection of Three Victorian and Later Bosun's Calls, including two hallmarked Birmingham, one 1870‑1871, the other 1873‑1874, both by Hilliard & Thomason, each with a barrel-shape buoy, engraved keel and reed-banded gun, the earlier one inscribed “A. from B. / U.S.N”, l. 4‑3/4’ the later without inscription, l. 3‑3/4”, and a 20th century example by Tiffany & Co., New York City, New York, with spherical buoy and plain keel and gun, the shackle lacking, l. 3‑1/2”, 1.41 total t. oz. [200/400]

853 Victorian Silverplate Epergne, second quarter 19th century, by Thomas Bradbury & Son, Sheffield, the central lobed baluster standard with acanthus calyx above a lobed square base with four acanthus-crested feet, the standard surmounted by everted collar with rocaille edging and surrounded by four scrolling arms each terminating in smaller collar, the central collar fitted with a diamondcut glass bowl, the smaller bowls lacking, h. 19‑1/2”, w. 20‑1/4” (base w. 7‑3/4”). [400/700] Illustrated

849

854 Assembled Set of Late Georgian/Early Victorian Sterling Silver “Fiddle Thread” Tablespoons, second quarter 19th century, London, three 1825‑1826 and two 1827‑1828, all by William Chawner, monogrammed “JMA”, l. 8‑3/4”, and one 1841‑1842, by William Theobalds, monogrammed “WMJ”, l. 9”, 18.52 total t. oz. [300/500] 855 Set of Four Victorian Sterling Silver Salt Spoons, hallmarked London, 1867‑1868, by George Aldwinkle, in the traditional “Fiddle” pattern, with gilt bowls, no crests/monograms, l. 3‑5/8”, 0.96 total t. oz. [60/90]

102

856 Victorian Sterling Silver Sugar Tongs, hallmarked London, 1854‑1855, by Samuel Hayne & Dudley Carter, in the traditional “Fiddle” pattern, with squared chamfered shoulders and ovoid grips, no crests/ monograms, l. 6”, 1.92 t. oz. [75/125]

860

857 Three William IV and Two Victorian Sterling Silver Salt Spoons, all London, in the “Fiddle” pattern, three hallmarked 1836‑1837, by Samuel Hayne & Dudley Carter, l. 3‑3/4”, two hallmarked 1860‑1861, by Francis Higgins III, l. no crests/monograms, 4‑1/4”, 2.38 total t. oz. [60/90]

861

858 Set of Five Victorian Sterling Silver Forks, hallmarked London, 1860‑1861, by George Aldwinkle, in the traditional “Fiddle” pattern, no crests/ monograms, l. 8‑36/4”, 11.70 total t. oz. [200/400]

863

859 Good Victorian Cased Set of Six Salt Cellars and Spoons, hallmarked London, 1869‑1870, by Robert Hennell III, each cellar of coquille form raised on three dolphin supports, the interiors gilt, l. 2‑3/4”, w. 2‑1/4”, the spoons with circular gilt bowl, spiral twist stem and rococo cartouche finial, l. 3”, 8.49 total t. oz., presented in the original fitted indigo velvet and satin-lined coquille-shaped cased. [200/400] Illustrated 860 Victorian Scottish Silverplate and Ivory Fish Serving Set, fourth quarter 19th century, by Sutherland & Horne, Edinburgh, including a fish serving fork, l. 10”, and slice, l. 13”, the silverplate tines and scimitar-shaped blade pierced and engraved with elaborate scrollwork, the ivory handles carved with threaded gadroons. [100/200] Illustrated

859

862

861 Edwardian Sterling Silver and Ivory Ceremonial Trowel, hallmarked Sheffield, 1901‑1902, by the Alexander Clark Mfg. Co., of traditional form, the sterling blade engraved around the perimeter with floral scrolls, and a bat-wing mount to an ivory handle engraved with fluting, gadrooning and acanthus banding, l. 16‑1/2”, w. 5‑3/4”. [150/300] Illustrated

862 Victorian Cased Silverplate and Ivory Fish Serving Set, fourth quarter 19th century, by Boardman, Glossop & Co., Sheffield, including a fish slice, l., 13‑1/2”, and fish serving fork, l. 10‑1/4”, the silverplate tines and scimitarshaped blade pierced and engraved with scrolls, flowers and foliate quatrefoils, the carved ivory handles in a “lancet” pattern gadrooned chevron finial and joined by beaded cabochon ferrules, presented in the original fitted royal purple velvet and satin lined leather case, 15‑1/2” x 4‑3/4”. [100/200] Illustrated 863 Victorian Three-Piece Silverplate, Ivory and Steel Carving Set, design patent date July 1877, by Harrison Brothers & Howson, Sheffield, including a carving fork, l. 11‑3/4”, carving knife, l. 16”, and sharpening steel, l. 14‑1/4”, each with a carved spiral gadrooned ivory handle of oval section, with silverplate ferrule and finial decorated with banded palmettes and rococo scrolls. [0] Illustrated

103

866

869 Victorian Sterling Silver Platter Spoon, hallmarked London, 1853‑1854, by George William Adams, in the traditional “Fiddle, Thread and Shell” pattern, with “diamond” heel, l. 12‑1/2”, 6.97 t. oz. [150/300] 870 Victorian Sterling Silver Stuffing Spoon, hallmarked London, 1863‑1864, by Henry Lias & Son, in the traditional “Fiddle Thread and Shell” pattern, l. 11‑7/8”, 6.49 t. oz. [150/300] 871 Victorian Silverplate and Glass Centerpiece, fourth quarter 19th century, the circular baluster base with four elaborately crested monopodal griffins surmounted by a circular parcel-frosted glass dish with star-and-square cut rim with lower sawtooth edge, centered by a central reticulated wheat-stalk receptacle fitted with a glass bud vase en suite with the dish, h. 15‑1/4”, dia. 10‑1/4”. [700/1000]

864 Seven Victorian and Later Silverplate Serving Pieces, including a John Gilbert & Sons “Fiddle Thread” fish slice, third quarter 19th century, Birmingham, with pierced blade, monogrammed “TJ”, l. 13‑3/4”, a Latham & Morton “Fiddle” punch ladle, Birmingham, fourth quarter 19th century, monogrammed “L”, l. 13”, a James Dixon & Sons ivory-handled poultry carving fork, l. 8” and crumber, l. 13”, both Sheffield, fourth quarter 19th century, a pair of Cooper Brothers & Sons rococo-style berry spoons, Sheffield, first quarter 20th century, l. 9”, and a William Adams. Inc. “King’s” platter spoon, Birmingham, engraved and dated “KoT / 1961”, l. 12‑1/2”. [150/300] 865 Pair of Victorian Sterling Silver Berry Spoons, hallmarked London, 1867‑1868, by Jenry John Lias and Son, in the traditional “Fiddle” pattern, the handles engraved with fruit, the gilt bowls repousse and engraved en suite, l. 8‑7/8”, 4.69 total t. oz. [100/200] 866 Victorian Silverplate Meat Dome, fourth quarter 19th century, of oval form, decorated with a repousse band of paterae on a matted ground, with a beaded rim and ring handle en suite, engraved on one side with an elaborate leafy cartouche centering the conjoined monogram “AM”, h. 8‑1/2”, l. 14‑3/2”, w. 10‑3/4”. [400/700] Illustrated 867 Two Large 19th Century English Sterling Silver Serving Pieces, including a George IV ladle, hallmarked London, 1828‑1829, by William Trais, in the traditional “Fiddle” pattern, monogrammed “WEJ”, l. 12‑1/2”, and a Victorian platter spoon, hallmarked London, 1865‑1866, by Elizabeth Eaton, the the traditional “Shell-andThread” pattern, engraved with the crest of Thomson of Charleywood, l. 12‑1/2”, 14.33 total t. oz. [250/400] 868 One George IV and One Victorian Sterling Silver Platter Spoon, both London, one hallmarked 1828‑1829, by Morris & Michael Emanuel, the other hallmarked 1858‑1859, by George Aldwinkle, in the traditional “Fiddle Thread” pattern, l. 12‑1/4”, 11.89 total t. oz. [300/500] Illustrated

104

872 Two Victorian Silverplate Tureens, fourth quarter 19th century, each of bulbous oval form, including a soup tureen by James Dixon & Sons, Sheffield, with shaped vintage rim, addorsed acanthus handles and raised on four acanthus-crested feet with beaded edges, the domed lid with grape cluster-mounted reeded ring handle, h. 8‑1/2”, l. 12‑3/4”, w. 7”, and sauce tureen, the maker unidentified, with annulated rim, palmette mounted beaded handles and raised on a conforming foot-ring, the domed lid with beaded ring handle en suite, h. 6‑1/2”, l. 8‑1/4”, w. 5‑1/4”. [100/200] 873 Four Victorian Silverplate Dining Table Articles, third quarter 19th century, including a bicuit box by Henry Wilkinson & Co., Sheffield, of oval form with hinged lid, and fixed reticulated stand with claw and ball feet, decorated throughout with embossed gadroon banding flanked by engraved ivy, h. 6‑1/2”, w. 8”, d. 6‑1/2”, a spoon warmer by Atkin Brothers, Sheffield, in the form of a nautilus shell, with hinged lid and laurelmilled oval foot, h. 5‑3/4”, w. 3‑3/8”, l. 6‑1/4”, and a pair of unmarked wine coasters, with bulbos sides, milled foliate rims and turned wooden bases, h. 2”, dia. 6‑1/4”. [100/200]

868

882 877 Cased Edwardian Twelve-Piece Silverplate and Mother-of-Pearl Fish Service, the ferrules hallmarked Sheffield, 1906‑1908, by C.H. Beaston, including six fish forks l. 6‑1/4”, and six fish knives, l. 7‑5/8”, the silverplate tine heels and scimitar-shaped blades threaded and engraved, joined by sterling ferrules to the spatulate mother-of-pearl handles, presented in the original fitted black velvet and black and white satin-lined faux leather case, 13‑1/2” x 9‑1/4”. [200/400] 878 Large Edwardian Silverplate Plateau, ca. 1900, of circular form, the deep ogee-molded rim decorated with engraved leafy scrolls centering a shield-form cartouche, fitted with a conforming a mirrored plate, the whole raised on four acanthus feet, h. 5”, dia. 21”. [250/400]

874 Edwardian Sterling Silver Overlay Green Glass Decanter, hallmarked Birmingham, 1900‑1901, by Benjamin John Round & Son, the inverted pear-shaped green glass body decorated all over with overlay roses above the shoulder and grapevines below, with flat circular foot, tall neck and wavy rim, fitted with an later Dutch silver-clad stopper, h. 13‑3/4”, dia. 5” [100/200] 875 Edwardian Sterling Silver Inkwell, hallmarked London, 1905‑1906, by Samuel W. Smith & Co., the domed base with waisted collar and flat, hinged lid, with applied acanthus and gadroon rim at the lid at foot, the lid opening to reveal a small inkpot, the lid engraved on the exterior with the arms an motto of Hay of Balhoussie and on the interior with the date “11 July 1906”, h. 2‑1/4”, dia. 5‑1/2”, 10.55 t. oz. (excluding glass liner). [200/400] 876 Anglo-American Sterling Silver War Horse Trophy Salver, hallmarked Sheffield, 1911‑1912, by Hawksworth, Eyre & Co. Ltd., retailed by Howard & Co., New York City, New York, of serpentine-canted square form, with bead-and-bobbin rim and raised on four “C”-scroll pad feet, engraved “Belmont Military Handicap / United Hunts Racing Association / November 2, 1912 / Presented by the Hon. Perry Belmont”, w. 10‑1/2”, 23.28 t. oz. The Belmont Military Handicap was instituted in 1905 by New York politician and racehorse fancier Perry Belmont (1851‑1947). Patterned after the war horse steeplechases which had long been popular in England and on the continent, it was “for three-year-olds and upward; the property unconditionally of the United States Government, or of officers of the United States Army, to be ridden by officers of the United States Army in dress uniform.” The victor in 1912 was the 160 pound Hanna Louise, owned by Capt. M. A. Elliot and ridden to an easy win (in a field of six) by Capt. Curtis W. Otwell of the Corps of Engineers. See the New York Times, November 3, 1912; also, the 1913 edition of The Rasp, the annual publication of the U.S. Army Mounted Service School at Ft. Riley, Kansas. [300/500]

879 Pair of Edwardian Silverplate Hot Water Urns, ca. 1900, by Hamilton, Laidlaw & Co., Sheffield, each of ovoid form, with crested “C-scroll” handles, waisted lid with toupie finial, and raised on four acanthus-crested, reeded feet above a square plinth with four large button feet, the body engraved with opposing oval, leafymantled wrigglework cartouches, h. 17‑1/2”, w. 10‑3/4”, d. 10‑1/2”. [300/500] 880 George V Sterling Silver Fruit Bowl, hallmarked Sheffield, 1924‑1925, by Atkin Brothers, retailed by Margraf & Co., Berlin, of rounded rectangular form the upswept sides reticulated with rococo scrolls centering opposing heart-shape cartouches, with an applied rococo scroll border, raised on four “whiplash” pad feet, h. 4‑1/4”, l. 10‑7/8”, w. 9‑1/8”, 20.89 t. oz. [1200/1800] 881 George VI Silverplate Folding Biscuit Box, second quarter 20th century, the lobed halves opening by means of a pair of addorsed coquille tabs to reveal the plain conforming covers, the frame with U-shaped handle and decorated with bellfowers and leafy scroll feet joined by a patera-centered stretcher, h. 11”, w. 8‑1/2”, d. 6” (15‑1/4” open). [100/200] 882 George V Sterling Silver Hot Water Urn, hallmarked Sheffield, 1929‑1930, by Mappin & Webb, the hemispherical body with a cavetto collar and fitted domed lid with turned ebony finial, decorated with reeded banding and flanked by a pair of silver-mounted out-scrolled spatulate ebony handles, the paneled, down-turned spout with turned ebony finials, the whole raised on “Onslow”-crested legs joined by stretcher centering a spirit burner and terminating in lion’s paw feet above spheres, monogrammed on the collar “MLS”, h. 14‑1/4”, w. 12‑1/4”, d. 12”, 82.50 t. oz. (including wooden elements, but excluding the silverplate burner cap). [4500/7000] Illustrated

105

893

892

889

894

890

895

891

883 Two George V Sterling Silver Mustard Pots, first quarter 20th century, including a Christopher Dresserstyle example hallmarked Birmingham, 1912‑1913, by Deakin & Francis, of circular form with pointed bowl and cavetto collar, with hinged, peaked lid, crested handle and four paw feet, h. 2‑1/2”, dia. 2‑1/2”, and a Georgianstyle example hallmarked Chester, 1914‑1915, by Robert Pringle & Sons, of oval form with hinged domed lid, scroll handle and four spherical feet, h. 2‑1/2”, l. 2‑3/4”, both with fitted cobalt glass liners, 3.47 total t. oz. (excluding liners). [100/200]

888

884 Set of Six English Sterling Silver Salt Cellars, hallmarked London, 1970‑1971, by Tessier’s Ltd. (Herbert & Lawrence Parsons), each in the form of a shallow Stuart basin, with double-threaded rim and convex-bottomed bowl, monogrammed “EE”, dia. 3‑1/4”, 8.42 total t. oz. [150/300] 885 Cased Set of Six English Gilt Silveplate and Stainless Steel Steak Knives, third quarter 20th century, Sheffield, retailed by Neiman-Marcus, Dallas, Texas, each with a gilt silverplate “Pistol” handle and pointed and sharpened stainless steel blade, l. 8‑1/2”, presented in the original fitted black velvet and cream satin lined faux leather case, the interior lid with gilt retailer’s stamp, 9‑5/8” x 8” [100/200] 886 George V Sterling Silver Cigarette Box, hallmarked Chester, 1920‑1921, by Colin Hewer Cheshire, of rectangular form, hinged domed lid opening to reveal the cedar-lined interior, monogrammed on the lid “AMM”, h. 2”, w. 3‑3/4”, d. 3‑1/2”. [75/125] 887 Mid-Century English Sterling Silver Cigarette Box, hallmarked London, 1956‑1957, by Mappin & Webb, of rectangular form, the flat, hinged lid with engine-turned panels and thumb-latch, and opening to reveal the compartmented cedar-lined interior, h. 1‑1/2”, w. 7‑3/4”, d. 3‑3/4”. [700/1000]

106

888 Contemporary English Silverplate Caviar Dish, 1987, by the Barker-Ellis Co., Birmingham, retailed by James Robinson, New York, the hemispherical bowl raised on a circular foot, fitted with a cut crystal caviar dish, h. 5‑3/4”, dia. 4‑3/8”, suspended above an ice reservoir by a silverplate collar, the fitted lid with spherical finial, with a caviar spade with mother-of-pearl blade and sterling silver pistol-grip handle, l. 5‑3/4”, presented in the original fitted bugundy velvet and cream satin lined faux leather case, the interior lid with the James Robinson retailer’s stamp, 5‑3/4” x 8‑3/4” x 10‑7/8”. [300/500] Illustrated 889 Pair of Chinese Tang-Style Gilt Metal Bowls, each of foliate shape standing on slightly splayed feet, the exterior cast and chased with scrolling foliage against a stippled ground, both with a gold finish and red undertone, dia. 5”. [300/500] Illustrated

895 Small Chinese Cast-Bronze Scholar’s Incense Burner, 17th century, cast in a low bulbous shape with two loop handles, three tapered cone shaped feet and the base with a four-character seal, reddish-brown patina, dia. 3‑3/4”. [1000/1500] Illustrated 896 Pair of Chinese Cloisonne Phoenix Vases, 20th century, each in the form of a standing phoenix bird with draped tail and folded wings, having a removable vase on its back, decorated in polychrome enamels on a blue ground, gilt details, fitted box, h. 10‑3/4”, l. 22‑3/4”. [500/800]

900

890 Good Chinese Cameo Agate Snuff Bottle, of flattened ovate outline, the white agate ground carved in relief in a dark brown inclusion as two monkeys, one in a tree and the other on the ground, h. 2‑7/8”. [700/1000] Illustrated 891 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”. [400/700] Illustrated 892 Small Chinese Cloisonne Vase, 18th century, of baluster form with flared lip rim, the body decorated with lotus blossoms, scrolling foliage and Buddhistic symbols, the neck with a border of plantain leaves and lotus with a border of ruyi lappets at the lip, with original gilt details, h. 7‑1/2”. [1200/1800] Illustrated 893 Fine Chinese Cloisonne Altar Offering Bowl, 18th century, the circular body resting on a straight foot, the body cast in bronze with cloisonne and gilt decoration on the exterior with four circular cartouches each with a stylized character against a blue field of lotus and scrolling foliage, the rim with a cast border of key-fret with confronting dragon heads, the recessed gilt base with engraved four-character seal in archaic characters within a double square, the interior of the bowl gilded with an oval paper label of the “Starret Collection” and hand written number “271”, dia. 4‑1/2”. [4000/7000] Illustrated 894 Fine Chinese Iron-Red and Gilding Seal Paste Box, Republic Period (1908‑1949), of circular shape, the cover decorated in iron-red and gilding depicting two Buddhistic lions among ribbons and flames with a brocade ball, the base decorated with four bats and a finely drawn Juren Tang mark on the recessed base, dia. 3‑5/8”. The Juren Tang is the name of a hall in the Imperial Palace and was often used as a mark on porcelain intended for Yuan Shikai. [250/400] Illustrated

897 Two Chinese Cloisonne Boxes, 20th century, one of cylindrical form with enamel decoration of a dragon above waves, the second of circular form decorated with flowers against a dark blue ground, h. 3/4” to 2”. [50/80] 898 Large Chinese Brass Champleve Censer, early 20th century, the circular base with triangular three-headed foo lion and mounted with a large two-handled bowl above, the lid with a seated brass foo dog with ball, h. 30”, dia. 13”. [600/900] 899 Good Chinese Doucai Porcelain Dragon Saucer Dish, late 19th century, decorated on the interior with two dragons among flames chasing the Flaming Pearl, the exterior decorated with cranes among clouds and the base with a six-character Qianlong seal mark in underglaze blue, dia. 7‑1/2”. [600/900] 900 Large Chinese Cloisonne Figure of a Male Foo Dog, 20th century, modeled after an Imperial bronze statue, the beast in polychrome enamels seated on its haunches with one foot on a ball, and on a plinth base, h. 21‑1/2”. [1400/1800] Illustrated

107

901 Unusual Chinese Cloisonne Candlesticks, 20th century, each with the prick-eared figure of a dog atop a circular footed base, each emitting a cloud of vapors from its mouth and having a pricket candlestick on its back, h. 8‑1/2”. [800/1200]

910

906 Pair Chinese “Canton” Enamel Vases, each of tapered baluster form with flared lip rims, decorated in painted polychrome enamels with reserve panels of birds and flowers against a blue ground with trailing vines and multicolored flowers, h. 13‑1/8”. [200/400] 907 Chinese Famille Rose Porcelain Vase, 20th century, decorated in the Qianlong Imperial style with two reserve panels depicting European style scenes of women and children against a yellow ground of lotus, flowers and fruit with scrolling foliage, of baluster form with stylized dolphin handles at the neck, h. 9‑5/8”. [250/400] 908 Pair of Chinese Famille Rose Rice Bowls, Republic Period (1908‑1949), each decorated with flowering plants and a magpie in flight with an oval red seal mark against a lavender ground, enameled in the style of wares made for the Dowager Empress Cixi, the base with a four-character mark in iron-red, dia. 4‑5/8”. [250/400] 909 Pair of Chinese Famille Rose Covered Globular Storage Jars, first half 20th century, each of almost spherical form decorated all over with flowers and Chinese characters beneath a border of ruyi heads and above a lapped border, original fitted covers, h. 9‑1/2”. [600/900]

916 902 Japanese Cloisonne and Goldstone Vase, 19th century, now mounted as a lamp, the baluster-form vase decorated in enamels and goldstone with a band of three-clawed dragons above a band of pendant lappets with decoration of phoenix birds and mons, h. 40‑1/2”. [300/500] 903 Chinese Polychrome Dragon and Phoenix Vase, second half 20th century, the bulbous body with slightly flared neck enameled in thick enamels with dragons, phoenix birds and lotus on the body with plantain leaf decoration on the neck against a brown ground, h. 15‑1/2”. [250/400] 904 Chinese Polychrome Cloisonne Figure of a Buddhistic Lion, the figure posed in a crouching position with raised tail in polychrome enamels and standing on a gilded wooden rectangular lotus base, h. 17‑5/8”. [500/800] 905 Pair of Chinese Vermeil and Enamel Figures of Imperial Foo Dogs, 20th century, each modeled after statues in the Imperial City on plinth bases, each with colored enamel highlights, h. 4‑3/4”. [75/125]

108

910 Pair of Chinese Famille Noire Porcelain Vases, 20th century, each of squared rectangular shape with trumpet necks and lip rims, decorated with panels of flowering plants and rockwork in polychrome enamels on a black ground, h. 18‑1/8”. [600/900] Illustrated

911 Carved Chinese Turquoise Figural Group on Stand, first half 20th century, depicting three figures amongst a lotus patch and foo dogs, h. 5‑1/2”, including stand, w. 4”, l. 7”. [400/700] 912 Southeast Asian Carved Hardwood Four-Fold Screen, early 20th century, each fold with a shaped crest above panels of various sizes and shaped, pierced and carved in foliate, floral and figural patterns, raised on square legs, h. 61‑1/2”, w. 82”. [300/500] 913 Two Chinese Famille Rose Serving Dishes, late 19th century/early 20th century, each of quatrefoil shape on raised feet, each decorated in famille rose thick enamels with flowers and fruit, l. 6‑1/8” to 10”. [100/200]

917 Pair Chinese Enameled Porcelain Boxes, mid‑20th century, each modeled in the form of a seated duck enameled in famille verte enamels, the bodies opening along a center line with an open interior, h. 7‑1/2”, l. 11”. Provenance: The London Shop, New Orleans, Louisiana. [125/250] 918 Large, Impressive Chinese Covered Cloisonne Bowl, of flattened globular shape with conforming cover, enameled in polychrome enamels with shaded peony flowers and foliage on a cloud ground and edged in a border of ruyi heads, carved wooden stand, dia. 15”. [200/400] 919 Pair of Chinese Cloisonne Covered Storage Jars, 20th century, each of tapered bulbous form decorated in raised cloisonne enamels with decoration of lotus blossoms and foliage against a recessed gilded ground, conforming covers with foo dog finial, wooden stands, h. 10‑1/4”, including stand. [500/800] 920 Japanese Cloisonne and Goldstone Vase, late 19th century, of baluster shape with flared lip rim decorated in enamels and goldstone with three-clawed dragons above a band of pendant lappets with decoration of phoenix birds and mons, h. 24”. [400/700]

922

921 Two Chinese Cloisonne Vases, 20th century, each of baluster form, one decorated with magnolias, peonies and a magpie on a red ground, the other decorated with a “Thousand Flowers” on a brown ground, each with wooden stand, h. 9‑3/8” to 11‑3/4”, including stands. [400/700] 922 Chinese Cloisonne and Jade Floral Arrangement, 20th century, composed of a cloisonne pot of Qing Dynasty-style with an arrangement of jade and hardstone calla lilies in three clustered groups, h. 22‑3/4”. [500/800] Illustrated

914 Group of Two Chinese Famille Rose Serving Dishes Together with a Japanese Imari Bowl, first half 20th century, the Chinese serving dish of oval and hexagonal shape with famille rose figural and floral decoration, the Imari bowl in polychrome enamels of peasant’s huts in a landscape, dia. 6” to 9”. [200/400] 915 Large Chinese Famille Rose Export Porcelain Wash Basin, 19th century, of circular form with everted lip rim, decorated in soft enamels on the interior with a bird and flowering peonies and iron-red bats on the exterior, dia. 14‑1/4”. [250/400] 916 Chinese Famille Verte Porcelain Figure of a Court Official in Continental Ormolu Mounts, the seated figure of a capped dignitary mounted in a European ormolu base with a background of tree branches, leaves and porcelain flowers, h. 10‑3/8”. [3000/5000] Illustrated

923 Pair of Southeast Asian Giltwood Pedestals, 20th century, each with a circular top above a tiered petal-form frieze, raised on a scroll-applied standard to a carved chrysanthemum-form circular base, h. 29”, dia. 12”. [400/700] 924 Bronze Chinese-Style Jardiniere, each side decorated with panels molded with elaborate dragons swimming in the sea, heavy handles swing from a bunch of molded mushrooms on each side, h. 9”, w. 15”, d. 12”. [100/200] 925 Pair of Japanese Cast-Bronze Vases, 20th century, each of tapered bulbous form with splayed feet and everted lip rims, the bodies cast in relief with flowering wisteria vines, applied verdigris patination, h. 10‑5/8”. [500/800]

109

929 Chinese Carved Spinach Jade Figure of a Phoenix Bird, first quarter 20th century, now mounted as a lamp, the even dark green stone carved as a phoenix bird standing before a rocky outcrop, now mounted on a farmer-style gilded wooden base, h. 20”. [500/800] Illustrated 930 Chinoiserie-Style Ebonized and Polychrome Cabinet, of square form, the top with floral border surrounding a central crane medallion, above a case fitted with a single drawer over two cupboard doors, the whole with polychrome floral accents in the chinoiserie taste, h. 23‑1/2”, w. 22‑1/2”, d. 22‑1/2”. [200/400] 931 Japanese Satsuma Double Gourd Vase, Meiji Period (1868‑1912), the well-potted body with characteristic cream-colored glaze overglazed in polychrome enamels with designs of painted fans on the lower body and a brocade pattern on the upper body, silver metal top and cover, h. 6‑5/8”. [1200/1800] Illustrated

926

929

926 Chinese Hardwood and Parcel-Gilt FourFold Screen, early 20th century, each panel with a long panel featuring a gilt and polychrome figural landscape with applied bone accents, with a smaller foliate and avian pierced above and a dragon panel below, h. 66”, w. 84”. [800/1200] Illustrated

932 Partial Set of Japanese Satsuma Covered Soup Bowls, mid‑20th century, composed of five covered soup bowls and five under-saucers, each decorated in polychrome enamels and gilding with scenes of geishas in garden settings with flowering trees and tea houses, dia. 5”. [200/400]

931

927 Chinese Hardwood and Ebonized SixFold Screen, early 20th century, each panel with three ebonized panels, all with incised and gilt foliate and bamboo designs, the panels divided by pierced dragon and calligraphic panels, raised on square feet, h. 81”, w. 120”. [800/1200]

928 Japanese Blackwood and Bone Three Panel Table Screen, 20th century, composed of a central panel and two hinged side panels in blackwood with etched bamboo decoration, each panel with applique bone decoration of birds and trees, h. 14‑1/4”, w. 16‑5/8”. [100/200]

110

933 Japanese Satsuma Double Gourd Vase, late 19th century, now wired as a lamp, the double-gourd-form vase delicately enameled in polychrome enamels on a crackled cream ground with shaped reserve panels of figural and floral designs on a ground of stylized flower patterns, wooden base, shaped shade, h. 19”. [75/125]

934 Chinese Glass Scholar’s Table Vase, 18th century, of tapering form with flattened lip, the mottled glass made to imitate realgar (arsenic sulfide), a substance much admired by Chinese scholars but due to its poisonous nature was imitated in glass, h. 4”. [150/300] 935 Large Japanese Satsuma Punch Bowl, Meiji Period (1868‑1911), of unusually large size, finely decorated in polychrome enamels with gilding of reserve panels with figures and landscapes against a ground of scattered maple leaves on the interior and reserve figural panels on the exterior, dia. 13‑3/4”. [100/200]

937 Pair of Chinese Children’s Taborets, 20th century, each of circular form with marble inset top, on four shaped feet, the apron and feet inset with mother-of-pearl flowers and birds, h. 10‑1/4”. [200/400]

946

936

938 Chinese Ebonized Hardwood End Table, early 20th century, the circular top with a Greek-key border, above a projecting prunus-carved frieze, raised on like-carved cabriole supports joined by a foliate-incised circular shelf and ending in scrolled toes, h. 25”, dia. 22”. [300/500] 939 Chinese Rosewood and Marble-Top Tabouret, late 19th century, the circular form top with an inset conforming marble surface above a pierced foliate-and berry-carved frieze raised on like-carved legs joined by an X-form stretcher and ending in paw feet, h. 19”, dia. 19”. [200/400] 936 Chinese Rosewood and Marble Taboret, 20th century, of barrel outline with open areas separated by stylized scepter handles, the top inset with a piece of gray and white marble, h, 17”. [800/1200] Illustrated

940

940 Good Pair of Chinese Blue-and-White and Polychrome Decorated Rice Bowls, Republic Period (1908‑1949), decorated on the interiors in underglaze blue-and-white with lotus and scrolling foliage decor, the exteriors decorated in polychrome enamels with two confronting dragons with the Flaming Pearl among clouds and flames over a border of cresting waves, the bases with a six-character Guangxu reign mark in underglaze blue, dia. 6”. [600/900] Illustrated 941 Chinese Landscape Scroll on Paper, 20th century, painted in ink and colors on paper depicting a series of cragy mountain peaks above pine trees, calligraphic inscription, sealed, h. 74”, w. 24‑1/2”. [300/500] 942 Chinese Famille Verte Porcelain Vase, 20th century, of tapered cylindrical shape with everted lip rim, decorated in polychrome enamels with a continuous lakeside landscape with a pavilion among pine trees on rocky outcrops, a yellow-roofed palace on an island with boats on the lake and cresting mountains in the background and a poetic inscription with seals, h. 17‑3/8”. [300/500]

111

952

948 Chinese Rosewood and Ebonized Bench, early 20th century, in the Ming-style, of box form, the slatted rectangular back with three pierced dragon medallions, joined by lower slatted arms to the paneled seat, raised on columnar legs joined by a box stretcher, h. 33”, w. 42”, d. 20”. [400/700] 949 Chinese Framed Wall Mirror, 20th century, of rectangular outline, in two-colored wood with geometric fretwork, in dark wood with light-colored wooden stylized knots over a mirror back, h. 30‑1/2”, w. 21‑1/4”. [500/800] 950 Orientalist Polychrome Four-Fold Screen. early 20th century, all panels with a flowering by a pond design against a dove gray ground, h. 89‑1/2”, w. 78”. [500/800] 951 Unusual Chinese Framed Rice Paper Painting, 19th century, painted in gouache on rice paper depicting the unusual subject of a glass blower at work, matted in a green bookbinder’s paper mat in a giltwood frame, glazed, h. 16‑1/4”, w. 13‑1/8”. [300/500]

943 Fine Chinese Enameled Porcelain Tea Cup, Republic Period (1908‑1949), of conventional form enameled in encre-de-chine, iron-red and gilding depicting the Seven Sages of the Bamboo Grove and an attendant with gilt highlights and a calligraphic inscription, the base with a four-character Yongzheng seal mark, padded wooden box, h. 2‑3/8”. [200/400]

953

944 Group of Three Pieces of Chinese Porcelain, composed of a famille rose rectangular incense burner with fitted cover and foo dog finial, l. 5‑3/8”, a famille verte figure of a foo dog with an openwork ball, l. 8”, and a polychrome figure of a brocade clad sage seated on a rockwork base, h. 12”. [250/400] 945 Chinese Porcelain Chamberstick, of saucer shape with central flared candleholder and circular handle, decorated in overglaze green enamel as a coiled three-clawed dragon, dia. 5”. [200/400] 946 Good Pair of Chinese Famille Rose Porcelain Bowls, Republic Period (1908‑1949), the interiors plain, the exteriors decorated with lotus flowers, scrolling foliage and Buddhist chimes with a border of ruyi heads at the rim, the bases with six-character Qianlong seal marks in underglaze blue, dia. 5‑5/8” [600/900] Illustrated previous page 947 Chinese Export Rosewood Lady’s Desk, late 19th century, the superstructure with a fret-pierced crest above a slatted and shelved central section flanked to one side by two small drawers and to the other by a paneled cupboard, the banded rectangular top above a frieze fitted with two drawers over a pierced apron raised on cabriole legs ending in peg feet, h. 48”, w. 36”, d. 21‑3/4”. [300/500]

112

952 Pair of Chinese Carved Overlay Glass Vases, late 19th century, each of baluster form with opaque white glass bodies overlaid in turquoise-colored glass carved in relief with flowering prunus and begonias arising from rockwork and each having a butterfly in flight, h. 6‑1/2”. [1200/1800] Illustrated 953 Chinese Cobalt Colored Glass Vase, 19th century, of rich cobalt colored glass with slightly flattened globular body extending to an elongated tubular neck and resting on a rounded tubular foot rim, h. 11‑3/4”. [1200/1800] Illustrated

954 Antique Aubusson Carpet, 9’8” x 13’5”. [4000/7000] Illustrated 955 Antique Persian Bidjiar Carpet, 4’3” x 7’. [1800/2500] 956 Persian Karaja Runner, 3’ x 12’5”. [1800/2500] 957 Semi-Antique Persian Mashad Carpet 6’6” x 9’8”. [1200/1800] Illustrated

954

959 958 Persian Serapi Carpet, 8’ x 11’3”. [4000/7000] 959 Antique Persian Lavar Kerman Carpet, 7’3” x 11’. [3000/5000] Illustrated 960 Semi-Antique Sarouk Carpet, 5’4” x 6’4”. [1000/1500] 961 Antique Moroccan Carpet, 6’1” x 12’4”. [900/1200]

957

113

962

968

964 965

114

970 Oushak Carpet, 3’ x 9’6”. [300/500] 971 Semi-Antique Persian Sarouk Carpet, 9’6” x 15’11”. [1500/2500] Illustrated 972 Antique Kirman Carpet, 11’3 x 22’11”. [4000/7000] Illustrated 973 Semi-Antique Tabriz Carpet, 3’10” x 5’2”. [250/400]

971 962 Semi-Antique Persian Tabriz Carpet, 8’1” x 11’1”. [1500/2500] Illustrated 963 Four Persian Mats, including three Sarouks: 1’ x 2’6”, 1’ x 2’ 6”, and 2’ x 2’8” and one Heriz 2’ x 2’7”. [300/500] 964 French Tapestry, early 20th centrury, 4’7” x 7’. [1000/1500] Illustrated 965 Semi-Antique Persian Mashad Carpet, 9’10” x 12’8”. [1500/2500] Illustrated

966 Jaipur Tabriz Carpet, 8’ x 9’8”. [1200/1800] 967 Turkish Angora Oushak Carpet, 8’ x 10’7”. [1500/2500] 968 Persian Sultanabad Carpet, 8’2” x 11’5”. [3500/5000] Illustrated 969 Semi-Antique Caucasin Kurd Carpet, 3’1” x 4’3”. [300/500]

974

972 974 Antique Persian Kashan Carpet, 9’9” x 13’9”. [1500/1800] Illustrated 975 Persian Sarouk Carpet, 1’3” x 2’1”. [100/200] 976 Mashad Carpet, 9’5” x 12’1”. [700/1000]

115

977 Oushak Carpet, 12’ x 17’4”. [7000/10000] Illustrated 978 Semi-Antique Lavar Kerman Carpet, 11’9” x 21’6”. [2000/4000] Illustrated 979 Eugene Galien-Laloue (French, 1854‑1941) “Parisian Street Scene in Winter”, gouache and watercolor on paper laid on board, signed lower left “E. Galien-Laloue”, sight 7‑1/4” x 10‑3/4”. Glazed and presented in giltwood frame with brass artist plaque. [4000/7000] Illustrated

979 980 Antoine Blanchard (French, 1910‑1988) “Boulevard de l’Opera”, oil on canvas, signed lower right, reverse canvas inscribed “A. Blanchard, Paris, 2 Quai de la Megisserie”, stretcher stamped “Peinture Originale Antoine Blanchard”, 12‑3/4” x 17‑3/4”. Presented in a floral-moled giltwood frame. [4000/7000] Illustrated

978 977

116

981 Francisco de Goya (Spanish, 1746‑1828) “Tantalo” and “No grites, tonta”, two etchings with aquatint, 8‑1/4” x 5‑3/4”. Both unframed. [800/1200] 982 Collection of Three French Impressionist Etchings including one Paul Cezanne (183901906) “Entree de Ferme”, plate 4‑1/4” x 5” and two Pierre-Auguste Renoir (1841‑1919) “Sur la Plage, a Berneval”, plate 5‑1/4” x 3‑3/4” and “La Chapeau Epingle”, plate 4‑1/2” x 3‑1/4”. All unframed. [2000/4000] Illustrated

982

980 983 Louis XVI-Style Walnut and Marble Top Console and Mirror, early 20th century, the domed and beveled plate within a molded frame and surmounted by a floral crest, the table with a variegated shaped marble top above a conforming pierced foliate carved frieze, raise on molded C-scroll legs joined by a shield pierced stretcher and ending in in-scrolled toes, h, 50‑1/4”, w. 21”, d. 31”, table, h. 61”, w. 43”, mirror. [1500/2500] 984 Louis XV-Style Chinoiserie and Gilt-Brass Mounted Marble Top Commode, late 19th century, the shaped rectangular rouge Royale marble top with molded edge above a conforming bombe case fitted with two drawers, with a polychrome scene in the Orientalist taste, raised on splayed legs ending in sabots, h. 35”, w. 51”, d. 23‑1/2”. [1500/2500] 985 French Giltwood Looking Glass, early 20th century, in the neoclassical taste, the bisected rectangular plate within a foliate and floral guilloche-carved frame with foliate patera-carved corners, h. 81‑1/2”, w. 37”. Provenance: Goudeau Antiques, Baton Rouge, Louisiana. [1500/2500] 986 Pair of Louis XIV-Style Three-Arm Brass Appliques c. 1900, each with turning foliate molded arms, the backplates adorned with floral clusters, l. 19”, w. 12”, d. 6‑1/2”. [500/800]

117

987

988 Napoleon III Rosewood Bed in the Louis XV-Style, third quarter 19th century, the headboard quarterveneered and within a heavily molded frame surmounted by a floral and shell crest, joined by like shaped rails to the lower footboard, veneered and framed en suite, the whole raised on foliate scrolled feet, h. 66”, inside w. 56”, inside l. 74‑1/2”, outside w. 65”, outside l. 69‑1/2”. [300/500] 989 Napoleon III Mahogany Dressing Table, third quarter 19th century, the superstructure with a ormolu putti medallion crest above a beveled mirror within an annulated and foliate-carved frame, with an open shelf and two small end drawers below, the shaped rectangular top with an inset leather writing surface above a frieze fitted with a single compartmented drawer, fronted by a ribbon and foliate carving, raised on cabriole legs headed by ormolu maiden’s heads and ending in scrolled toes, the whole accented with ormolu millwork, w. 56”, w. 32”, d. 21’. [600/900] Illustrated

989

987 Large Louis XV-Style Giltwood Looking Glass, the tall pierced foliate-carved crest above a shaped rectangular plate with a larger one below, each within a molded frame with applied scrolling and floral patterns, with an acanthine pierced pendant, h. 89‑1/2”, w. 40”. [1800/2500] Illustrated

990 Louis XV-Style Mahogany Three-Fold Screen, early 20th century, the wider central panel with an upper shaped beveled panel surmounted by a pierced floral and foliate crest, with a painted silk panel below of a pastoral maiden, the two side panels en suite and floral painted panels raised on scrolled toes, h. 64‑1/2”, w. 59”. [500/800]

1003

118

991 Louis XVI-Style Fruitwood Bergere, early 20th century, the padded and domed downswept back and sides above the cushioned seat, raised on tapering circular stopfluted legs headed by floral block capitals and ending in pad feet, h. 34”. [400/700]

992 Pair of Chinoiserie Polychrome Occasional Tables, late 19th century and later, each with a hinged hexagonal top with a decorative gilt border and centered by two oriental figures, opening to a storage space, the paneled tapering base with two handles and raised on a tripartite scrolling base, h. 22‑1/2”, dia. 21”. [1200/1800] 993 Louis XV-Style Mahogany Vitrine Table, mid‑20th century, the shaped rectangular top within a guilloche ormolu banding and with inlaid floral accents surrounding a glazed panel, opening to a velvet-lined display space, the sides inset with glazed panels joined to a like-shaped lower shelf by cabriole legs headed by floral ormolu mounts and ending in sabots, h. 30”, w. 25‑1/2”, d. 19‑1/2”. [400/700] 994 Empire Style Wall Clock in the Form of a Pocket Watch, first quarter 20th century, Swiss, the engineturned brass case fitted with an enamel face clock under a beveled glass cover, the clock works stamped, "Made in Switzerland", h. 7”, w. 5”, d. 2‑1/2”. [150/300]

1004

1005

997 Two Waterbury Carriage Clocks, one example fourth quarter 19th century, patented December 23, 1890 to January 13, 1891, and signed, “Waterbury Clock Co., USA” on works, h. 5‑3/4”, w. 3”, d. 2‑1/2”, the second example first quarter 20th century, marked, “Manufactured by Waterbury Clock Co., USA”, on enameled dial, works marked, “Waterbury Clock Co., USA”, h. 5‑1/4”, w. 3”, d. 2”. [200/400] 998 Two Unsigned Carriage Clocks, one example first quarter 20th century, the enamel dial signed, “France”, h. 4‑3/4”, w. 3”, d. 2‑1/4”, the other example fourth quarter 19th century, with an enamel dial, probably French, h. 6”, w. 3”, d. 2‑1/2”, both with platform escapements. [200/400] 999 French Unsigned Brass Carriage Clock, early 20th century, having a porcelain dial with Roman numeral chapters and a platform escapement, h. 5”, w. 3”, d. 2‑1/2” [150/300] 1000 Two Pairs of Continental Opera Glasses, fourth quarter 19th century, the first pair, signed, Lumiere Fr Paris, of restrained design in a nickel-plated case, h. 2”, w. 4”, d. 1‑3/4”, the second, unsigned, brass with motherof-pearl around the glasses and handle, trimmed in brass, h. 2”, w. 3‑1/2”, d. 2”. [125/250] 1001 Rare Pair of Painted and Enameled French Opera Glasses, fourth quarter 19th century, having motherof-pearl bezels and fitted with a painted and enameled handle, the gilt-brass frame engraved “Stewart DavisonLondon ‘88”, h. 2‑1/2”, l. 9”. [250/400] 1002 Fine and Rare French Repeater Carriage Clock, fourth quarter 19th century, having a floral paint decorated porcelain dial above an oval painted panel depicting two children catching butterflies, the eight day movement with a platform escapement and fitted with a repeater button at the top, the base of the rear door signed, “J.G. & Co.”, h. 5‑1/2”, w. 3‑1/2”, d. 3‑1/4”. [500/800]

995 Continental Brass Hanging Watch Hutch, mid‑19th century, the bold cut-out cornice at wall level echoed by a small front cornice, the lower edge featuring a small drawer to hold a watch key over a scalloped apron, together with a nickeled Waltham pocket watch, h. 7”, w. 3‑1/4”, d. 1‑1/4”. [150/300] 996 French Carriage Clock, first quarter 19th century, the brass case with a bowed top and base, decorated with an applied latticework trim the enamel dial behind a beveled glass front, the carrying handle in a scrolled design, marked, "Made in France", h. 6”, w. 3‑1/4”, d. 2‑1/2”. [200/400]

1003 Louis XV Kingwood and Marble-Top Commode, late 18th century, the serpentine rouge Royale marble top above a conforming case fitted with two short drawers over two long drawers, all paneled and quarter-veneered with inlaid banding, the sides veneered en suite, raised on splayed legs ans sabots, the whole with decorative ormolu mounts and hardware, h. 33”, w. 39”, d. 21”. Provenance: French Antique Shop, New Orleans, Louisiana. [3000/5000] Illustrated 1004 Pair of Louis XV Candlesticks, third quarter 18th century, the molded domed bases decorated with rococo engraving supporting the vase shaped shafts, molded and engraved to match, the candle cups cast with horizontal ribs typical of the 18th century, h. 10‑3/4”. Provenance: Goudeau Antiques, Baton Rouge, Louisiana. [500/800] Illustrated

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1005 Pair of French Rococo Brass Candlesticks, fourth quarter 18th century, the domed bases molded in panels and engraved with swags and tassels, the vase shaped shafts are paneled to match, with conforming cups fitted with scalloped bobeches, h. 16‑1/2”. Provenance: Goudeau Antiques, Baton Rouge, Louisiana. [500/800] Illustrated previous page 1006 Alphonse-Alexandre Arson (French, 1822‑1880), bronze sculpture of a mother pheasant protecting her chicks from an approaching lizard, signed Arson on plinth, sitting on a later green marble plinth. [1500/2500] Illustrated

1011 1007 Edouard Delabriere (French,1829‑1912), Napoleon III bronze sculpture of a crane, the oblong plinth signed, E. Delabriere, molded with aquatic plants from which the animated crane is perched, and with a freshly caught frog held in his beak, resting on a later pink marble plinth, h. 9‑1/2”. [300/500] 1008 Louis XVI-Style Mahogany Fauteuil, the padded and shaped back joined by molded and padded arms to the like seat, raised above a dentillated frieze on tapering circular fluted legs ending in toupie feet, h. 34‑1/2”. [300/500] 1009 Suite of Three Napoleon III Rosewood Nesting Tables, third quarter 19th century, each with a quarterveneered top with molded edge and string inlay, centered by an inlaid floral spray, raised on bulbous and ring-turned circular legs ending in runner feet, h. 28‑1/2”, w. 22‑1/2”, d. 16”. [300/500]

1006

1015

1010 After Mather Brown (American/British, 1761‑1831) “King Louis XVI of France Saying Farewell to his Family”, oil on canvas, 19th century, unsigned, 40” x 49‑1/2”. Presented in a contemporary ebonized frame. An engraving of the painting was published by Fisher of London in 1846, in The Gallery of Engravings, edited by C.H. Timperley. [1500/2500] 1011 Continental Painted Porcelain Plaque, depicting a courtly garden scene with a troubadour and two seated ladies, sight 9” x 19‑1/2”. Presented in a Regence style frame with a velvet liner. [1800/2500] Illustrated

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1015 French Giltwood Cornice, late 19th century, of serpentine form with a pierced foliate and shellcarved central band within an annulated frame, hung with “Titian Red” Scalamandre silk damask lined with an all over floral lattice pattern French polished cotton, h. 105”, w. 76”. [700/1000] Illustrated 1016 Pair of Louis XV Silvered Brass Candlesticks, third quarter 18th century, the molded rococo forms engraved with flora, shells and leaves in the panels, h. 10”. [400/700] 1017 Continental School (Fourth Quarter 19th Century) “Portrait of a Partially Nude Beauty”, oil on canvas, unsigned, 22” x 17‑1/2”. Presented in a ebonized and parcel-gilt frame. [800/1200] 1018 Italian School (18th Century) “Aurora Reigning in the Clouds, Surrounded by Putti”, oil on canvas, unsigned, 28‑1/2” x 38‑1/2”. Presented in a contemporary giltwood frame. [3000/5000] Illustrated

1018

1019 Georges Colin (French, 1876‑1917), “Modele Sur Platre”, large patinated bronze group, titled on verso, the base signed “G. Colin”, h. 25‑1/2”. [1500/2500] Illustrated 1020 Ruth Milles (Swedish, 1873‑1941), “Jeune Fille with Bouquet”, first quarter twentieth century, cast by Eugene Blot, Paris and signed by the sculptor, h. 6‑3/4”, w. 5‑1/2”, l. 6‑3/4”. [300/500]

1019 1022

1012 French School (First Quarter, 20th Century) “Allegory of Spring”, oil on board, unsigned, 5‑1/2” x 3‑3/4”. Presented in a giltwood and stenciled frame. [75/125] 1013 Italian School (18th Century) “Allegory of Vanity”, watercolor on paper, unsigned, 7” x 5‑1/2”. Glazed and presented in a Rococo style giltwood and gesso frame. [125/250]

1021 Napoleon III Bronze Bust of Empress Eugenie, third quarter 19th century, depicted wearing her tiara, the socle marked, Eugenie 1859 Regente, signed “Marie D” on rear and a small “AV”, probably the founder’s mark. h. 12‑1/4”, w. 7‑3/4”, d. 4”. [250/400]

1014 After Francois Boucher (French, 1703‑1770) “The Four Seasons: Summer”, oil on canvas, 20th/21st century, unsigned, 30” x 40”. Framed. [800/1200]

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1022 Charles-Auguste Fraikin (Belgian, 1817‑1893), bronze bust of a jeune fille with dove, the young woman depicted with her hair draped in grapes and grape vines, cascading to her neck while she turns her head lovingly to the dove which has landed on her shoulder, signed “C.A. Fraikin Sculpt”, h. 10‑1/2”, w 7”, d. 4‑3/4”. [700/1000] Illustrated previous page

1023 1028 Impressive Napoleon III Tortoiseshell and Brass Inlaid Encrier, the bombe-form case inlaid with tortoise and brass on the exterior and the letter well, featuring scrollwork, a basket of fruit, foxes and Ho-Ho birds, the corner mounted as sphinxes with scroll feet, and a cartouche with a masque applied to the center of each side, the rear containing a pair of cut-glass ink pots with engineturned brass lids, h. 5‑1/4”, w. 11”, l. 14‑1‑4”. [300/500]

1023 Eugene Laurent (French, 1832‑1898) “La Fileuse” patinated bronze sculpture, signed in the base “E. LAURENT”, h. 27”, w. 26”, d. 12”.. [2000/4000] Illustrated

1024

1024 Rococo-Style Giltwood Looking Glass, early 20th century, the oval plate surmounted by a pierced foliate crest flanked to either side by phoenixes, within a foliate-modeled frame with applied scrolls, with a pierced pendant, h. 57”, w. 37”. [1500/2500] Illustrated 1025 Louis XV-Style Ebonized Bureau Plat, early 20th century, the shaped rectangular top with a molded brass banding and inset with a gilt-tooled leather writing surface, above a conforming frieze fitted with a single frieze drawer and with ormolu mounts and millwork, raised on cabriole legs headed by espagnolettes and ending in sabots, h. 30”, w. 54”, d. 30”. [1200/1800] Illustrated 1026 Napoleon III Ebonized and Boulle Cabinet, third quarter 19th century, the rectangular top above a conforming case fitted with a single cupboard door with an applied oval Boulle work panel, the whole elaborately ornamented with ormolu mounts and millwork and Boulle accents, h. 44”, w. 32‑1/4”, d. 15’. [1000/1500]

1027 Napoleon III Ebonized and Boulle Writing Cabinet, third quarter 19th century, the superstructure fitted with a three quarter brass gallery top above two cupboard doors and two small drawers, the shaped rectangular top above a single frieze drawer opening to a retractable baize-inset writing surface, raised on cabriole legs ending in sabots, the whole elaborately ornamented with ormolu mounts and millwork and Boulle work panels, h. 53”, w. 29”, d. 18”. [700/1000]

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1029 Good French Third Republic Bronze and Marble Mantel Clock, fourth quarter 19th century, H. Houdelin, Paris, the bronze after Jean-Louis Gregoire (French, 1840‑1890), the mechanism by Japy Freres, Paris, featuring a patinated and parcel-gilt bronze bust of a flower girl above an oval rouge de langueduc marble base of waisted and molded rounded rectangular form with a block-front projection, the integral marble dial with applied gilt-bronze chapters and glazed frame, the whole with applied gilt-bronze beaded and laurel banding and raised on six squat gilt-bronze toupie feet, signed on the reverse of the bronze “L. Gregoire / Hi. Houdelin, Bronzier, Paris / 52832”, the works with the Japy Freres “Medaille d’Or” stamp, h. 26”, w. 16‑3/4”, d. 9‑1/4”. [1400/1800] Illustrated

1029

1033

1030 Enameled French Dresser Tray, second quarter 20th century, rococo-style enameled in polychrome on brass with a mirror center, signed, “Made in France Exclusively For Paris Decorators”, d. 9‑1/4”, l. 14‑1/4”. [250/400] 1031 Franco-Bohemian Sevres-Style Porcelain TwoHandle Cachepot, early 20th century, having a rouge ground with a central painted panel and gilt highlights, the underside bearing a pseudo-Sevres mark, h. 7”, dia. 7”. [150/300] 1032 Napoleon III Ebonized Writing Table, third quarter 19th century, in the Louis XV-style, the shaped rectangular top with a brass-banding and centered by an elaborate Boulle-work medallion, hinged and opening to a mirror and compartmented lift-out tray, above a frieze fitted with a single drawer, raised on cabriole legs headed by ormolu-mounts and ending in sabots, the lock signed, “Tahan Ebeniste de S.M. L’Empereur”,h. 28”, w. 24‑1/2”, d. 17‑1/2”. [500/800]

1033 French Louis XIV-Style Quillwork Devotional, mid‑19th century, the oval theorem central medallion painted with a cross and roses under a Masonic pyramid, framed in quillwork, bead, pearls and gilt banners with names of saints, the oval frame crowned with bowknots and ribbons, the back covered in blue paper with red wax seals, possibly Bordeaux, h. 11‑3/4”, w. 11”. [400/700] Illustrated 1034 Early Double-Sided Calligraphic Framed Proclamation, dated February 9, 1713, signed, “Mary Husen” and bearing a wax seal, h. 11”, w. 29”, site. [200/400] 1035 Three Handwritten French Documents, 18th century, one dated 1767, one dated 1789 and undated, all in modern gilt frames, h. 8” to 12”, w. 9 to 10‑1/2”. [100/200]

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1036 Auguste Moreau (French,1834‑1913), patinated bronze garniture vases, fourth quarter 19th century, signed “A Moreau”, decorated with brown-patina putti reaching down to pluck strawberries cascading over the sides, the strawberries and leaves rendered in a contrasting finish, h. 8‑1/2”, w. 3”. [600/900] Illustrated

1037

1038

1037 Michael Claude Clodion (French, 1738‑1814), “Bacchanalia” patinated bronze group, signed “Clodion 1762”, h. 23”. [1500/2500] Illustrated 1038 After Claude-Michel Clodion (French, 1738‑1814), bronze statue of a female en deshabille holding aloft a bunch of grapes. Cast by Barbedienne, and signed by the foundry and marked Clodion on rear, h. 22”, w. 6‑3/4”, d. 5‑1/2”. [1200/1800] Illustrated 1039 Hippolyte Francois Moreau (French, 1832‑1927), “L’Aveau-Salon Des Breaux Arts”, large patinated bronze group, titled on the plaque, the base of the sculpture signed “Hip Moreau”, and with the founders stamp “SOCIETE DES BRONZES DE PARIS” and the numbers “1451”, h. 27‑1/2”. [2500/4000] Illustrated 1040 Monumental Pair of English Carved Giltwood Door Frame Crestings, second quarter 19th century, modeled as foliate “Prince of Wales Feathers”, h. 39”, w. 28‑1/2”. [2000/4000] Illustrated 1039

1036

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1040 pair

1042 Silver Clad Louis XV Wall Bracket, third quarter 18th century and later, the bombe-form bracket with molded leaves over two graduated molded cartouches, with acanthus leaves and scrolls over a pattern of swags and medallions, the cut corners with applied leaves over a scale motif, h. 12”, w. 18”, d. 12”. [700/1000] 1043 Pair of Louis XIV Giltwood Benches, probably late 17th century and later, the shaped and padded rectangular top raised on elaborately modeled and scrolling legs joined by an urn-centered H-form stretcher and ending in paw feet, retains antique linen at the base of the uphostery, the seat frames later replacements, the re-gilded elements of the period. h. 22”, w. 28”, d. 16”. [3000/5000] Illustrated

1041

1041 Louis XVI-Style Gilt-Bronze Fourteen-Light Chandelier, early 20th century, the paneled tripartite standard with applied scrolls and bellflower modeling, issuing two tiers of scrolling candle arms, the whole with decorative shell and garland designs and three mask panels on the underside over a foliate finial, h. 37”, dia. 30”. [1800/2500] Illustrated

1043

1044 Spanish School (18th Century) “Portrait of a Gentleman in a Black Coat with Elaborate Lace Collar”, oil on canvas, unsigned, 29” x 24”. Presented in a contemporary giltwood frame. Provenance: The Groves Collection, New Orleans, Louisiana. [400/700]

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1045 After Sir Anthony Van Dyck (Dutch, 1599‑1641) “Queen Henrietta Maria”, oil on copper, 19th century, 6‑3/4” x 5‑1/4”. Presented in a period giltwood and gesso frame. [4000/7000] Illustrated 1046 After Caspar Netscher (Dutch, 1639‑1684) “Portrait of Madame de Montespan, Mistress of King Louis XIV of France”, oil on canvas, 19th century, 20” x 15”. Presented in a contemporary giltwood frame. [800/1200] 1047 Manner of Sir Anthony Van Dyck (Flemish, 1599‑1641) “Portrait of a Lady in Blue”, oil on canvas, unsigned, 48” x 39”. Presented in a deeply carved oak and pine frame affixed with a partial label, printed “Wife of Sir Edward Barrett Lord Newburgh. By Van Dyke”. Provenance: Henry Stern Antiques, New Orleans, Louisiana. [8000/12000] Illustrated

1045

1049

1048 Continental School (19th Century) “Floral Still Life in a Urn on a Ledge”, pair of oils on canvas, both unsigned, 23” x 20”. Both presented in oval polychrome and parcel-gilt frames. [700/1000] 1049 After Hyacinth Francois Rigaud (French, 1659‑1743) “Portrait of Phillipe, Duc d’Orleans, Regent of France”, oil on canvas, 19th century, 29” x 23”. Presented in a period giltwood oval frame. [3500/5000] Illustrated 1050 French School (Fourth Quarter 17th Century) “Portrait of Marquis de la Mayolette”, oil on canvas, unsigned, reverse stretcher with a label printed with the sitter’s name, 16” x 12‑1/2”. Presented in a late 18th century oval giltwood and gesso frame. [2000/4000] Illustrated

126

1047

1051 Louis XVI-Style Giltwood Looking Glass, late 19th century, the domed rectangular plate surmounted by a crest of a shield flanked to either side by cherubs and a floral bouquet finial with a pendant floral garland, the plate surrounded by a beveled mirrored banding and annulated and laurel leaf-carved frame, h. 79”, w. 49‑1/2”. [3000/5000] Illustrated

1051

1052

1053

1050

1052 Pair of Louis XV-Style Three-Light Bronze and Marble Candelabras, with white marble cut-corner bases supporting a fluted gilt-bronze plinth inset with bellflowers and topped with a true pair of patinated-bronze putti holding scrolled gilt-bronze rococo candle branches, the fluted candle cups with beaded liners, h. 23‑3/4”. [1400/1800] Illustrated

127

1053 Pair of Bronze Statues of “Plenty”, third quarter 19th century, each cupid figure with a dark brown patina on a siena marble base, one carrying a sheaf of wheat and the other carrying grapes on his back with one hand and a grape harvest hook with the other, inscribed, “Moreau” on one plinth, h. 8‑3/4”, w. 2‑3/4”, d. 2‑3/4”. [400/700] Illustrated

1054 1054 Twelve Rolls of Bruschwig and Fils, Lorenzo Rubelli and Other Assorted Fabrics, including a silk blend Clarence House lampas in straw and ecru tones, w. 54”, l. 4‑1/2 yds., pattern repeat 14‑1/2” x 26”; a silk and cotton blend Brunschwig and Fils lampas in lavender, w. 55”, l. 12 yds., pattern repeat 13‑1/2” x 25‑1/2”; a cotton blend G.P. & J. Baker damask “Carlyn” pattern, w. 55”, l. 4‑3/4 yds., pattern repeat 27‑1/2” x 17‑1/4”; a silk and cotton blend Lorenzo Rubelli moire damask, w. 53”, l. 11‑3/4 yds., pattern repeat 26” x 28”; a cotton blend G.P. & J. Baker “Hanbury Weave” pattern, w. 54”, l. 6 yds., pattern repeat 13‑1/4” x 33‑1/2”; a cotton blend Brunschwig and Fils Chinoiserie damask in olive green, w. 54”, l. 5‑3/4 yds., pattern repeat 13‑3/4” x 24”; a silk and cotton blend Lorenzo Rubelli damask in clay tones, w. 51”, l. 14‑3/4 yds., pattern repeat 25‑1/2” x 39‑1/2”; a cotton blend damask jacquard in chocolate tones, w. 53”, l. 9‑2/3 yds., pattern repeat 27‑1/2” x 26”; a cotton blend damask in ivory and tan tones, w. 54”, l. 10‑1/4 yds., pattern repeat 27‑1/4” x 40”; a silk blend damask in a bold floral print in pink and yellow tones, w. 54”, l. 4‑1/2 yds., pattern repeat 27‑1/4” x 26‑1/4”; a silk blend jacquard in taupe, w. 56”, l. 10‑1/3 yds., pattern repeat 14” x 15‑1/2”; and a silk and cotton blend damask in rose and gold tones, w. 55”, l. 7 yds., pattern repeat 14” x 13‑3/4”. [1200/1800] Illustrated

1055 Eleven Rolls of Scalamandre, Stroheim and Roman and Other Assorted Silk Fabrics, including a silk Scalamandre stripe in peach and ivory, w. 54”, l. 1‑3/4 yds., pattern repeat 9”; a silk Stroheim and Roman damask in the “French Crowns” pattern, w. 56”, l. 3 yds., pattern repeat 14‑1/4” x 12‑3/4”; a silk Scalamandre damask in gold and blue, w. 55”, l. 4 yds., pattern repeat 7” x 15”; a silk Scalamandre lampas “Empire” pattern, w. 54”, l. 4‑3/4 yds., pattern repeat 4‑3/4” x 4‑1/4”; a silk Travers and Company “Charevoix” pattern, w. 54”, l. 5 yds., pattern repeat 25” x 22‑1/2”; a silk Christopher Edwards damask in brick red and gold, w. 53”, l. 4‑1/2 yds., pattern repeat 13‑1/4” x 15‑1/4”; a silk Scalamandre damask “Atlantis” pattern, w. 54”, l. 16 yds., pattern repeat 5‑1/4” x 4”; a silk Scalamandre Italian lampas “Pompeiian Memories” pattern, w. 57”, l. 1‑3/4 yds., pattern repeat 14‑1/2” x 18‑1/2”; a silk Scalamandre lampas in blue and gold tones, w. 55”, l. 2 yds., pattern repeat 13‑3/4” x 18‑1/4”; a silk Scalamandre lamps in ivory and rose, w. 55”, l. 2 yds., pattern repeat 3‑1/2” x 3‑1/2”; and a silk Scalamandre Italian damask “Narcissus” pattern, w. 55”, l. 3 yds., pattern repeat 12” x 15”. [500/800]

1056

128

1056 Twelve Rolls of Scalamandre, Bergamo, Schumacher and Other Assorted Silk Checks and Plaids, including a silk Bergamo plaid in camel, red and gold tones, w. 54”, l. 6 yds., pattern repeat 2” x 2”; a silk taffeta Scalamandre check in blue, gold and ecru tones, w. 55”, l. 2 yds., pattern repeat 13‑3/4” x 13‑3/4”; a silk taffeta plaid in brown and tan tones, w. 54”, l. 2‑1/2 yds., pattern repeat 6‑3/4” x 7‑1/2”; a silk taffeta Kravet plaid in red and gold tones, w. 54”, l. 4 yds., pattern repeat 1‑3/8” x 1‑1/2”; a silk Scalamandre plaid with raised satin stripe in cream tones, w. 54”, l. 9‑1/2 yds., pattern repeat 3‑1/4” x 3‑1/4”; a silk Schumacher plaid with satin ribbon in camel tones, w. 55”, l. 19‑1/2 yds., pattern repeat 13” x 13”; a silk taffeta Scalamandre reversible check in ivory and blue, w. 54”, l. 7 yds., pattern repeat 3/8” x 3/8”; a silk Zopel and Drahcir plaid in gold, green, rose and ivory tones, w. 53”, l. 4‑3/4 yds., pattern repeat 2‑3/4” x 1”; a silk taffeta Scalamandre plaid in ivory, green and rose tones, w. 52”, l. 3 yds., pattern repeat 1‑1/2” x 1‑1/2”; a silk Colefax and Fowler plaid in green and ivory, w. 53”, l. 9‑1/2 yds., pattern repeat 5‑1/4” x 5‑1/4”; a silk Pierre Frey with raised satin ribbon in gold, w. 54”, l. 9‑3/4”, pattern repeat 1‑7/8” x 1‑7/8”; and a silk and satin textured plaid in ivory tones, w. 55”, l. 2‑3/4”, pattern repeat 9” x 8‑1/2”. [800/1200] Illustrated

1058 Twelve Rolls of Schumacher, Cowtan and Tout, Pierre Frey and Other Assorted Fabrics, including a silk and cotton blend Schumacher brocade lampas in gold tones, w. 55”, l. 3 yds., pattern repeat 14” x 13”; a cotton blend jacquard woven brocade in apple green, w. 54”, l. 2 yds., pattern repeat 13‑3/4” x 25‑1/2”; a cotton blend damask brocade in mocha and cream tones, w. 54”, l. 3 yds., pattern repeat 27” x 26‑1/2”; a linen blend Arts and Crafts French “Peacocks” pattern in cream and tan, w. 58”, l. 2‑1/2 yds., pattern repeat 28‑3/4” x 27”; a silk blend Pierre Frey embroidered tapestry in black with red, gold and green accents, w. 54”, l. 3 yds., pattern repeat 26‑1/2” x 23”; a cotton blend lampas in moss green and straw, w. 59”, l. 3‑1/2 yds., pattern repeat 27‑1/2” x 27‑1/2”; a cotton blend Cowtan and Tout matte lasse embroidered chenille in brown and cream, w. 58”, l. 4‑1/4 yds., pattern repeat 14‑1/2”; a cotton blend heavy embroidered tapestry in aqua and beige, w. 54”, l. 2 yds., pattern repeat 7” x 8‑1/4”; a rayon and cotton blend Beacon Hill brocade in cream and tan, w. 56”, l. 7‑1/2 yds., pattern repeat 27‑1/2” x 48‑1/2”; a cotton blend jacquard embroidered fern leaf in taupe and black, w. 54”, l. 5‑3/4 yds., pattern repeat 14” x 9‑1/2”; a silk and cotton blend brocade lampas bamboo pattern in black and gold, w. 52”, l. 6 yds., pattern repeat 14‑1/2” x 14‑1/2”; and a cotton blend brocade jacquard in robin’s egg blue and gold, w. 55”, l. 5‑3/4 yds., pattern repeat 14” x 22”. [300/500]

1057 Eleven Rolls of Scalamandre, Stroheim and Roman and Other Assorted Silks and Custom Fabrics, including a silk blend Cowtan and Tout leaf lampas in sky aqua blue with gold accents, w. 57”, l. 2 yds., pattern repeat 7‑1/4” x 6‑1/4”; a silk backed lattice in taupe, w. 45”, l. 1 yd., pattern repeat 1‑1/2” x 3‑3/4”; a silk dupioni Stroheim and Roman in taype with metallic gold accents, w. 33”, l. 1‑1/4 yds., pattern repeat 26‑1/2” x 25‑1/2”; an Indian silk in moss green with metallic gold accents, w. 54”, l. 2‑3/4 yds., pattern repeat 4‑1/2” x 4‑1/8”; a lightweight silk in a harlequin pattern in cream, w. 54”, l. 8‑3/4 yds., pattern repeat 1‑3/4” x 1‑3/4”; a custom made woven silk in a silvered ecru with a floral design, w. 33”, l. 2‑1/2 yds., pattern repeat 27” x 40”; a silk crushed velvet in green with gold stamped birds, w. 34”, l. 3‑1/2 yds., pattern repeat 34‑1/2” x 18‑1/2”; a cotton Scalamandre fabric with a hand-stamped gold pattern, w. 54”, l. 13‑3/4 yds., pattern repeat 17‑1/2” x 16”; a silk Scalamandre “Le Tigre” reversible damask in silver and gold tones, w. 55”, l. 2 yds., pattern repeat 27” x 27”; a silk blend quilted diamond pattern in beige, w. 55”, l. 6‑1/2 yds., pattern repeat 4‑1/2” x 4‑1/2”; and a silk crinkled taffeta in ecru, w. 55”, l. 2‑1/4 yds., pattern repeat 13” x 14”. [400/700]

1059 Nine Rolls of Stroheim and Roman, Lee Jofa, Clarence House and Other Assorted Cut Velvet Fabrics, including a silk blend G.P. & J. Baker “Rigoletto” cut velvet in burgundy and camel, w. 54”, l. 1‑1/4 yds., pattern repeat 13‑1/2” x 9”; a cotton blend Lee Jofa striped velvet in brown, gold and burgundy, w 55”, l. 5‑3/4 yds., pattern repeat 7”; a cotton blend Stroheim and Roman Belgian cut chenille in taupe and brick red, w. 50”, l. 4‑3/4 yds., pattern repeat 1/2” x 1/2”; a cotton blend Pierre Frey cut velvet in gold and cherry, w. 58”, l. 6 yds., pattern repeat 3/4” x 3/4”; a cotton blend box velvet in violet and camel, w. 54”, l. 12‑3/4 yds., pattern repeat 2‑1/8” x 1/2”; a wool and cotton blend striped fleur gros point needle point in ivory and black, w. 52”, l. 2 yds., pattern repeat 1‑1/8” x 1/2”; a cotton blend Clarence House mod box velvet gros point in deep jewel tones, w. 51”, l. 3‑1/2 yds., pattern repeat 9‑3/4” x 12‑3/4”; a cotton blend Travers cut French striped velvet in gold, w. 53”, l. 5‑1/2 yds., pattern repeat 5/8”; and a cotton blend box velvet in gold and brick red, w. 55”, l. 2 yds., pattern repeat 1‑1/4” x 1‑1/4”. [400/700] Illustrated

1059

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1060 Eight Rolls of Bergamo, Colefax and Fowler, Manuel DeLorca and Other Assorted Fabrics, including a silk and linen blend vine and leaf lampas in black and camel, w. 57”, l. 5‑3/4 yds., pattern repeat 28” x 26‑1/2”; a cotton blend Clarence House gothic victorian gros point tapestry in dark jewel tones, w. 52”, l. 3‑3/4 yds., pattern repeat 6‑1/2” x 10‑1/2”; an Italian Corragio raffia in camel, w. 53”, l. 3‑7/8 yds.; a cotton blend Manuel DeLorca French embroidered lampas fils coupe in ecru with bold flower accents, w. 59”, l. 5‑1/4 yds., pattern repeat 29” x 39”; a cotton Colefax and Fowler hand embroidered crewel in cream, w. 49”, l. 3‑1/2 yds., pattern repeat 48” x 43”; a Malaysian Palm Bark Bergamo hand woven raffia in rust orange, w. 53”, l. 8‑3/4 yds.; a cotton blend Clarence House gros point tapestry in brown and gold, w. 51”, l. 7‑1/4 yds., pattern repeat 13” x 14‑1/2”; and a cotton and linen blend burlap in an Irish trinity knot pattern in black and cream, w. 58”, l. 1‑1/2 yds., pattern repeat 9” x 19”. [300/500]

1063 Ten Rolls of Scalamandre, Donghia, Brunschwig and Fils and Other Assorted Chenille Fabrics, including a cotton blend Pinder and Pinder black , brown and taupe floral design chenille lampas, w. 54”, l. 5‑1/2 yds., pattern repeat 13‑3/4” x 15”; a cotton French cut-velvet in autumn colors, w. 56”, l. 2‑1/2 yds., pattern repeat 14”; a cotton blend straw chenille lampas with brick red accents, w. 48”, l. 7‑1/2 yds., pattern repeat 24” x 26‑1/2”; a cotton and rayon blend Donghia “Sedona Sage’ chenille, w. 57”, l. 3‑3/4 yds., pattern repeat 1‑1/2” x 1‑3/4”; a cotton blend embossed medallion chenille jacquard in autumn colors, w. 53”, l. 3‑3/4 yds., pattern repeat 3‑1/2” x 3”; a cotton blend Scalamandre black and gold Italian lampas chenille in the “Bretano” pattern, w. 52”, l. 16‑1/2” yds., pattern repeat 12‑1/2” x 17‑1/2”; a cotton blend jacquard chenille in dark olive and gold, w. 54”, l. 2‑7/8 yds., pattern repeat 18” x 13‑1/2”; a cotton blend Donghia rust brown chenille in the “Astrakhan” pattern, w. 52”, l. 6‑1/4 yds.; a silk blend Cowtan and Tout bisque chenille, w. 54”, l. 3‑3/4 yds., pattern repeat 1‑3/4” x 1‑1/2”; and a rayon blend Brunschwig and Fils gold textured chenille, w. 55”, l. 3‑3/4 yds., pattern repeat 13‑1/2” x 22”. [500/800] Illustrated

1061 Ten Rolls of Scalamandre, Kravet and Other Assorted Velvets, Mohair and Ultra Suede Fabrics, including an ultra suede in espresso brown, w. 59”, l. 4‑3/4 yds.; a mohair Kravet striped velvet in moss green, w. 53”, l. 2‑3/4 yds., pattern repeat 2”; a silk blend velvet stripe in ecru, w. 55”, l. 7‑1/2 yds., pattern repeat 4‑1/2”; a silk blend Scalamandre velvet in moss green, w. 54”, l. 8‑1/2 yds.; a silk blend Scalamandre velvet in robin’s egg blue, w. 54”, l. 4‑3/4 yds.; a mohair Scalamandre velvet in dark olive green, w. 55”, l. 2‑3/4 yds.; a cotton blend velvet in dark brown, w. 54”, l. 3 yds.; a cotton blend Pollack and Associates Italian vintage velvet in moss green, w. 54”, l. 3‑3/4 yds.; a silk blend velvet in a silvered blue, w. 54”, l. 5‑3/4 yds.; and a silk blend velvet in dark robin’s egg blue, w. 57”, l. 4‑1/2 yds. [300/500]

1064 Eleven Rolls of Scalamandre, Old World Weavers and Other Assorted Silk and Silk Blend Velvet Fabrics, including a silk blend yellow velvet, w. 54”, l. 3 yds.; a silk and linen blend Scalamandre brick red velvet, w. 54”, l. 5‑1/4 yds.; a silk blend Scalamandre beige velvet, w. 54”, l. 4 yds.; a silk blend ecru velvet, w. 54”, l. 10‑3/4 yds.; a silk blend cream velvet, w. 54”, l. 4‑3/4 yds.; a silk and cotton blend butterscotch striated velvet, w. 51”, l. 3 yds.; a silk and rayon blend winter white velvet, w. 54”, l. 9‑1/4 yds.; a woo mohair Scalamandre clay velvet, w. 54”, l. 2‑1/2 yds.; a silk Scalamandre ecru velvet, w. 50”, l. 3‑1/4 yds.; a silk blend Old World Weavers brown velvet, w. 57”, l. 9‑1/2 yds.; and a silk blend Scalamandre nutmeg velvet, w. 54”, l. 9‑1/4 yds. [600/900]

1062 Pair of Monumental Velvet Bolsters, each upholstered in terracotta velvet and with a double-tasseled rope to either end in shades of olive and old gold, l. 46”, dia. 20”. [250/400]

1063

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1071

1065 Twelve Rolls of Assorted Cotton and Cotton Blend Floral Designed Fabric, including a cotton Harlequin Fabrics tan and rose floral design in the “Aviary” pattern, w. 54”, l. 3‑1/2 yds., pattern repeat 27‑1/2” x 25‑1/2”; a linen blend Jane Churchill red and cream floral design in the “Sutton” pattern, w. 52”, l. 5‑1/2 yds., pattern repeat 13‑1/4” x 18”; a linen blend Romo red and taupe floral design in the “Katsura” pattern, w. 54”, l. 4‑3/4 yds, pattern repeat 26‑1/2” x 17‑1/4”; a linen blend Romo wine and cream floral design in the “Saraya” pattern, w. 54”, l. 5 yds., pattern repeat 26‑1/2” x 16”; a linen blend Romo red and cream floral design in the “Saraya” pattern, w. 54”, l. 2‑1/2 yds., pattern repeat 26‑1/4” x 19”; a linen and cotton blend Romo taupe, brown and red floral design in the “Kimura” pattern, w. 54”, l. 7 yds., pattern repeat 56‑1/2” x 24‑1/2”; a linen and cotton blend Romo brown and cream floral design in the “Kimura” pattern, w. 54”, l. 4 yds., pattern repeat 27‑1/2” x 24‑3/4”; a linen blend Designer’s Guild blue, brown and taupe floral design in the “Imperialis” pattern, w. 52”, l. 4‑3/4 yds., pattern repeat 27” x 26”; a linen blend English Floral pattern in a flax colored ground with gold highlights, w. 54”, l. 3‑1/2 yds., pattern repeat 26‑3/4” x 23‑1/2”; a linen and cotton blend Romo cream, blue and taupe floral design in the “Saiuri” pattern, w. 54”, l. 2‑3/4 yds., pattern repeat 17‑3/4” x 24‑1/2”; a linen and cotton blend Romo dark goldenrod, cream and taupe floral design in the “Saiuri” pattern, w. 54”, l. 4 yds., pattern repeat 18‑1/4” x 24‑3/4”; and a cotton blend Romo taupe and red floral design in the “Saiuri” pattern, w. 54”, l. 2‑2/3 yds., pattern repeat 18‑1/2” x 25”. [300/500]

1066 Ten Rolls of Assorted Striped and Checked Fabrics, including a cotton Lee Jofa blue and cream stripe in the “Netherfield Stripe” pattern, w. 54”, l. 4‑1/3 yds., pattern repeat 6‑3/4”; a cotton Lee Jofa blue, taupe and cream stripe in the “Whtiley” pattern, w. 54”, l. 3‑3/4 yds., pattern repeat 14”; a cotton and linen blend Jane Churchill orange and cream stripe in the “Portland Stripe” pattern, w. 55”, l. 7‑3/4 yds., pattern repeat 13‑1/2”; a cotton and linen blend Jane Churchill blue, taupe and cream stripe in the “Portland Stripe” pattern, w. 55”, l. 5‑3/4 yds., pattern repeat 27‑3/4”; a cotton blend Lysande by Roma stripe in blue, red, cream and taupe, w. 52”, l. 3 yds., pattern repeat 14”; a cotton Laura Ashley black and taupe check in the “Gingham” pattern, w. 54”, l. 3‑3/4 yds., pattern repeat 7/8” x 7/8”; a cotton Colefax and Fowler yellow and cream check in the “Gingham Check” pattern, w. 52”, l. 4 yds., pattern repeat 3/4” x 3/4”; a cotton Jane Churchill cream and taupe check in the “Gingham Check” pattern, w. 54”, l. 3‑7/8 yds., pattern repeat 1” x 1”; a cotton and linen blend Jane Churchill blue and cream check in the “Quay Check” pattern, w. 54”, l. 6‑1/4 yds., pattern repeat 1” x 1”; and a cotton blend cream and taupe checked fabric, w. 55”, l. 6‑3/4 yds., pattern repeat 1/2” x 1/2”. [200/400] 1067 Elaborate Silk Beaded Trim, with drops of bell-shaped flowers, the petals in a deep salmon color and with the centers in taupe, alternating with drops of tear-shaped salmon-colored beads hanging from floral beaded clusters, all hanging from a woven band with alternating rosettes in cream-colored satin and floral beads in like colors, l. 12‑1/2 yds. [200/400] 1068 Pair of Gold and Terracotta Tasseled- Silk Tiebacks, doubled l. 51”. [50/80] 1069 Group of Four Terraccotta, Blue and Deep Green Cotton Tasseled Tiebacks, knotted and doubled l. 44‑1/2”. [100/200]

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1073 Richly Gilt and Elaborately Polychromed “Vienna” Porcelain Cabinet Plate, of “Odysseus and Telemachus”, first quarter 20th century, the cavetto signed in gilt: “K. Bürklen”, the reverse with a gilt cancel mark overlain by a cobalt-blue “beehive” mark, perhaps Ackermann and Fritze, Volkstedt (active 1908‑1951), dia. 11”. [75/125] 1074 Three Elaborate Pairs of Deep Green, Burgundy and Gold Fabric Window Treatments, each comprised of a deep swag flanked by cascading panels, all edged in fringe with silk rope embellishments, overall h. 90”, w. 59” including rod ends. [300/500] Illustrated

1074 Three Pairs

1070 Group of Six Deep Green and Burgundy TasseledSilk Tiebacks, doubled and knotted l. 24”. [200/400] 1071 Empire-Style Mahogany Settee, late 19th century, the padded rectangular back surmounted by a rounded crest and ormolu-applied frieze, joined by closed arms on gilt swan supports to the padded seat, over an ormolu patera and applied ormolu frieze, raised on sabre legs, h. 36‑1/2”, d. 27‑1/2”, l. 68”. [1800/2500] Illustrated previous page 1072 Pair of Figured Blue Velvet-Chenille Decorative Pillow Shams, of rectangular form with a tasseled fringe border, w. 33”, d. 17”. [100/200]

1077

1075

1075 Group of Three Velvet Pillows, two with a scrolling applique border and tasseled corners, the other with an applied cross-grain border and tasseled corners, w. 16”, d. 16”. [300/500] Illustrated 1076 Pair of Neoclassical-Style Fruitwood Lamps, each with an obelisk-form standard raised on a molded and foliate-carved base, with custom taupe dupioni silk shades and Napoleonic wreath finials, h. 33”. [400/700]

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1077 Continental Neoclassical-Style Polychrome Six-Fold Screen, 19th century, the screen depicting an interior scene with mantle, furniture and various accoutrements, all in the neoclassical taste, h. 84”, w. 96”. [1500/2500] Illustrated

1078

1078 Empire Mahogany and Parcel-Gilt Bergere,attributed to Jean-Baptiste-Bernard Demay (1759‑1848, Master 1784) early 19th century , the gilded backswept crest above the padded seat, joined by closed arms on swan uprights to the cushioned seat, raised on tapering circular legs ending in gilt paw feet, the gilding later. Provenance: Christies Melbourne, Austrialia, April 30, 2002, lot 1036. The present bergere was represented as one of a suite of four, which included a stamp by Demay. h. 37”. [3000/5000] Illustrated 1079 Pair of Classical-Style Polychromed and Parcel-Gilt Pedestals, mid‑20th century, each with applied foliate and scrolled decor and having a tapering pedestal ending in a plinth base, h. 41‑1/2”, w. 15”, d. 15”, top dia. 11-3/4" [300/500] 1080 Two Portrait of Miniatures on Ivory, fourth quarter 19th century, the first depicting a woman in 18th century costume wearing pearls, the gilt-bronze oval frame trimmed in roping with a ribbon crest, h. 4‑7/8”, w. 4-1/4" the second depicting Napoleon I, the image signed, “D. Delamothe”, in an ebonized frame with an engine-turned gilt liner, h. 5‑1/4”, w. 5”. [200/400] 1081 Collection of Five Napoleonic Related Items, including a diminutive composition bust of Napoleon on stand, h. 7”, a porcelain bust of Napoleon signed, “Canova”, h. 4‑1/2”, a miniature full length enhanced print of Napoleon in a faux ivory frame, on an adjustable brass pole easel, h. 6”, w. 5”, a cast-bronze ewer with with eagle decor, h. 10‑1/2”, and a framed black and white threequarter length portrait of Napoleon, printed on silk. h. 11”, w. 9”. [300/500] Illustrated

1081

1082 Renzo Colombo (Italian 1856‑1885), patinated bronze bust of Napoleon, the sculpture signed “R. Colombo 1885”, the plaque engraved “Napoleon 1er 1812 par Colombo, h. 22”. [800/1200] 1083 Collection of Two Napoleonic Engravings 19th century, including one depicting Napoleon as “The Governor of the Island of Elba”, sight 7” x 4‑1/2”, and one oval portrait, after a painting by Jacques Louis David, (French, 1829‑1886), sight 3” x 2‑1/2”. Both glazed, matted and framed. [200/400]

1084 After Francois-Michel Roziere (French, 1775‑1842) suite of six illustrations of the “Minerals of Egypt”, from the Description de L’Egypte, sight 22” x 16”. All glazed, matted and framed. [400/700] 1085 Claude-Joseph Pomel (French, 1781‑1839) suite of five color engravings, depicting men at various gentlemanly pursuits, sight 3‑1/4” x 2”. All glazed, French-matted and presented in molded giltwood frames. [50/80] 1086 Continental Neoclassical-Style Mahogany and Polychrome Center Table, the circular top with reeded edge raised on an urn-form base to four tall finialed supports ending in splayed in-turned feet on pegs, h. 28”, dia. 30”. [600/900]

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1091 Russian Gilt-Bronze and Rock Crystal “Ice Sleigh”, fourth quarter 19th century, the sleigh carrying a chunk of rock crystal, fashioned to look like ice, the crystal secured with a giltbronze rope, the runners rusticated to resemble logs, h. 3”, w. 6”. [300/500] Illustrated 1092 Biedermeier-Style Mahogany Looking Glass, late 19th century, the molded pyramidal crest centered by an ormolu star mount, above a trisected plate, divided and flanked by uprights headed by gilt maiden’s heads and ending with gilt feet on a molded base, h. 41”, w. 46‑1/2”. [600/900]

1087 Large Patinated-Bronze Cougar on a Rouge Marble Base, early 20th century, unsigned, resting on an associated marble base with inset bronze plaque h. 15”, d. 10”, l. 24”. [1500/2500] Illustrated

1087

1088 Pair of Continental Sphinx Garnitures, fourth quarter 19th century, the cast-iron gilt figures resting atop faux marble plinths, mottled black and green, h. 17”, w. 5‑1/4”, l. 9”. [600/900] Illustrated

1091

1099

1089 Plaster of a Wounded Lion in the Renaissance Taste, depicted sleeping on a French shield with an enameled tan finish, h. 25”, w. 6”, d. 3”. [50/80] 1090 Continental Bronze Figure of a Lion in the Renaissance Style, fourth quarter 19th century, cast in the rampant manner with both paws up, h. 8‑3/4”. [100/200]

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1093 Group of Five English Neoclassical Engravings, first quarter 19th century, one depicting Apollo, h. 11‑1/2”, w. 11‑1/4”, one depicting the infant Hercules wrestling with snakes, dia. 8”, another with an unidentified male, dia. 8”, and a pair of unidentified profile portraits, h. 4‑1/2”, w. 4”, all in modern ebonized frames. [150/300] 1094 Italian Grand Tour Souvenirs in Original Case, second quarter 19th century, these bas relief-molded cast plaster images of Grand Tour sites in their original book form case, each numbered, the opposite page containing the handwritten key to the images, in a mounted black and gilt shadowbox, h. 19‑1/4”, w. 25”. [300/500]

1098

1098 Pair of Continental Bronze and Marble Statues, after Giambologno, fourth quarter 19th century, the male depicts Mercury on one foot, wearing his winged helmet and carrying a caduceus, his female companion strikes a similar pose and carries a small cornucopia in one hand, a shovel in the other, each sitting on a round bronze plinth cast in Bacchanalian themes, topped with black marble caps, h. 34”, w. 6‑1/4”, d. 6‑1/4”. [2000/4000] Illustrated

1096

1097

1095 Egyptian Marble and Brass Pedestal in the Neoclassical-Style, the pedestal in black marble with white and tan veining, the square top supported by a brass corinthian capital, and with a brass foot connecting the bottom of the column to the foot and square base, h. 40”, w. 11”, d. 11”. [300/500] 1096 After Giambologno (Italian, 1529‑1608), “The Abduction of the Sabine Women”, fourth quarter 19th century, a verdi rameggiato marble figural group on a marble base with a patinated-bronze plaque, depicting a first generation Roman man acquiring a nude Sabine maiden as a wife while one of the Sabine men cowers below, raised on a separate plinth base with recessed panel mounted with a patinated brass plaque depicting the pandemonium at the festival of Neptune Eqester, the statue after an original at the Loggia dei Lanzi, in Florence, h. 28‑1/2”, w. 7‑1/4”, d. 7‑1/4”, overall h. 40‑1/2”; [3000/5000] Illustrated 1097 Jean-Baptiste Germain (French, 1841‑1910), tall patinated bronze figure of a nymph, the base signed “JB Germain”, h. 38”. [1500/2500] Illustrated

1099 Pair of Barbedienne Napoleon III Moderator Lamps, third quarter 19th century, the bodies molded with classical figures, the stand featuring patinated bronze women’s heads mounted on gilt bases supporting the tanks, raised on reeded, ebonized wooden bases, signed, “Barbedienne Foundeur” with a raised profile Barbedienne mark, h. 35”. [1500/2500] Illustrated

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1106

1102 1106 1104

1104 1104

1103

1100 Empire Walnut Commode, early 19th century, the rectangular top above a conforming case fitted with a single frieze drawer over three long recessed drawers, flanked to either side by a pilaster, raised on banded block feet, h. 40”, w. 52”, d. 26”. [1000/1500] Illustrated

1106

1103

1108

1101 Pair of Velvet and Tapestry Decorative Throw Pillows, each of rectangular form, with a band of antique tapestry applied to a cognac ground with fringe border, w.19”, d. 14”. [200/400] 1102 Pair of Mottled Tan and Gray Stone Spheres, resting on a pair of patinated-bronze griffin-form tripartite bases, h. 7”, dia. 4‑1/2”. [200/400] Illustrated

1100

136

1103 Three Marble Spheres, the tallest of rouge marble and mounted on a turned marble base of identical stone, h. 10”, dia. 5‑1/2”, the dark brown marble sphere resting on a turned wooden ring, dia. 5‑1/2” and a tan marble sphere resting on a turned wooden ring, dia. 5‑1/2”. [150/300] Illustrated

1104 Three Decorative Spheres, the largest of mottled green granite, dia. 5”, the tan agate resting on a blond turned wood stand, h. 7‑3/4”, dia. 3‑1/2” and the clear glass resting on a wooden ring, dia. 3‑1/2”. [125/250] Illustrated

1113

1105 Rouge and Gray Marble Sphere, resting on a brass stand supported by three winged monopodia holding rings, h. 8‑1/2”, dia. 5‑1/2”. [125/250] Illustrated

1106 Three Decorative Stone Spheres, the black granite sphere resting on a continental mid‑19th century brass stand, h. 11”, dia. 5‑3/4”, the tan agate sphere resting on a Renaissance revival brass and marble chalice, h. 8‑1/2”, dia. 3‑1/2”, and the brown and green stone sphere resting on a turned wooden ring, dia. 4‑1/2”. [150/300] Illustrated 1107 Lapis Lazuli on a Gilt-Bronze and Malachite Stand, the claw-shaped stand mounted on a rouge marbre and malachite base, h. 6”. [125/250] 1108 Tall Pair of Malachite Obelisks, each having a triple stepped platform base and raised panel standard, h. 19‑1/2”. [6000/9000] Illustrated 1109 English Brass Corinthian Column, fourth quarter 19th century, now mounted as a lamp, the stepped base supporting the tapering standard crowned with a detailed Corinthian capital, h. 29‑1/2”. [100/200] 1110 Intricate Cast Brass Inkwell/Pen Holder in the Classical-Style, early 20th century, the front portion with a recessed tray and featuring winged sphinxes at the back edge along with a reservoir for ink in the center, h. 4‑1/2”, d. 6‑1/2”, l. 9”. [200/400] 1111 Napoleon III Egyptian-Revival Encrier, fourth quarter 19th century, the oval rouge marble base supporting a pair of patinated-bronze and gilt-winged lions supporting a gilt inkpot with a scrolled pen rest attached to the rear, h. 6”, w. 5‑3/4”, d. 3”. [150/300] 1112 Two Cut-Glass and Brass-Mounted Inkwells, late 19th century, on a magnum hexagonal-form inkwell with hinged lid and faceted top, the other of Louis XVI-Style square form and having applied gilt brass mounts, h. 4” to 5”. [200/400]

1117

1113 Neoclassical-Style Cut-Glass and Gilt Bronze Mantel Garniture Clock, fourth quarter 19th century, the portico clock with an enamel chapter ring around an engineturned center, supported by four cut-glass columns with engine-turned capitals and with matching cut-glass and gilt bronze on base and top, an eagle finial pendulum of gilt bronze with a cut-glass center medallion, the matching three-light candelabra with engine turned sockets and branches supported by cut-glass columns held by a gilt bronze foot on a cut base, h. 11”, w. 6”, d. 4”, clock. [1000/1500] Illustrated 1114 French Empire-Style Cut-Glass and Bronze Wine Bucket, the lower edge decorated with diamond cuts, grapes and grape leaves engraved on the body, mounted with lion’s head ring pulls and the upper edge with an engine-turned bronze ring, h. 9”, dia. 8‑1/2”. [200/400]

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1122

1121

1123

1115 Pair of Brass Napoleon III Potpourri Holders in the Louis XVI-Style, third quarter 19th century, campagnaform bodies resting on molded tripartite bases, the pierced covers fitted with brass finials, h,. 4”, dia. 2‑1/4”. Provenance: Goudeau Antiques, Baton, Rouge, Louisiana. [400/700] 1116 Continental Gilt-Bronze and Marble NeoclassicalStyle Table Lamp, first quarter 20th century, the tripartite pink marble base, supporting a scrolled frame, decorated with gilt-bronze swags, holding a quiver, with custom ecru silk shade, h. 21‑1/2”. [300/500] 1117 Pair of Neoclassical-Style Giltwood and Faux Marble Pedestals, of columnar form, the standards stop-fluted and with bellflower carving to a molded base on a socle plinth, h. 46”, w. 16”, d. 16”. [1000/1500] Illustrated Previous Page

1125

1118 Napoleon III Mahogany Bed, third quarter 19th century, in the Louis XVI taste, the headboard with a molded cornice and ormolu foliate finials above a quarterveneered-bi-paneled frieze and a larger like-veneered panel, all flanked to either side by an ormolu-mounted engaged columnar upright with inlays simulating fluting, joined by plain rails to a like-veneered lower footboard centered by an oval panel, the whole raised on tapering circular feet ending in brass caps, h. 55‑1/2”, inside w. 56”, inside l. 74”, outside w. 42‑1/2”, outside l. 84”. [400/700] 1119 Empire-Style Mahogany Armoire, early 20th century, the molded cornice above a star-applied frieze, with three doors below, all inset with beveled mirror panels, all flanked and divided by ormolu-mounted columns raised on tapering square legs headed by figural ormolu mounts and ending in brass caps, h. 90‑1/2”, w. 84”, d. 25”. [1000/1500]

1120 Empire-Style Mahogany Bureau Plat, early 20th century, the rectangular top with molded edge and inset leather writing surface, above a frieze fitted with a central drawer flanked to either side by two short drawers, raised on tapering square legs headed by ormolu maiden’s heads and ending in paw feet, h. 30‑1/2”, w. 57”, d. 30”. [1000/1500] Illustrated

1120

138

1121 Napoleon III Gilt-Bronze Terrapin Paper Weight, fourth quarter 19th century, molded with his head up, the base molded with waves and cresting seas, mounted with a rococo brass handle, in bottom felt-lined, h. 3‑3/4”, d. 5”, l. 8”. [400/700] Illustrated

1122 Napoleon III Gilt-Bronze and Marble Garniture Urn, third quarter 19th century, a rouge marble plinth supports a pair of gilt dolphins holding aloft the low chain swagged bowl, mounted with gilt-bronze scrollwork handles, h. 6‑1/2”, w. 8‑1/2”, d. 5”. [500/800] Illustrated

1125 Continental Bronze Dolphin Candleholder, fourth quarter 19th century, the dolphin depicted supported on its fins with mouth open, the tail supporting a turned candle cup, h. 6‑1/2”, w. 3‑3/4”, d. 4‑1/2”. Provenance: Goudeau Antiques, Baton Rouge, Louisiana. [400/700] Illustrated

1123 Continental Bronze Chamberstick, fourth quarter 19th century, the flat drip pan supporting a molded dolphin whose tail forms the handle and holds the candle cup in its mouth, h. 4”. [400/700] Illustrated

1126 Early Ephemera and Grand Tour Souvenirs, 18th/19th century, comprised of an 18th century receipt on vellum with an attached Italian plaster Grand Tour intaglio, h. 7”, w. 6”, an Italian 19th century Grand Tour souvenir mounted on green watered silk, h. 6”, w. 11”, and a handwritten 19th century French letter, in modern gilt frames, h. 15‑1/2”, w. 19‑1/2”. [125/250]

1124 Pair of French Late 18th Century Architectural Engravings, illustrating an archway and a temple, sight 7‑1/2” x 5‑1/4”. Both glazed and framed [40/70] Illustrated

1129

1127 Pair of Composition Classical Figures, early 20th century, both mounted against a black oval medallion and set within a gilded and ebonized shadow box frame, h. 7”, w. 6”. [300/500] 1128 Manner of Angelica Kauffmann (Swiss, 1741‑1807) “Classical Interior Scene with Four Women”, oil on canvas, bearing a signature lower right “A. Kauffmann”, 38” x 50”. Presented in a rococo style giltwood and gesso frame. [2000/4000] Illustrated 1129 Napoleon III Terra Cotta Statue of a Satyr and a Child, third quarter 19th century, the satyr depicted reclining on a rock, holding the child on his lap and gently teaching him to play the flute, h. 12‑3/4”, w. 18‑3/4”, d. 7‑3/4”. Provenance: East & Orient Company, Dallas, Texas. [1400/1800] Illustrated

1130 Neoclassical-Style Bronze Wall Sconce, early 20th century, fitted with a pair of cameo glass Galle shades, the shades, signed, Galle, fading from peach to blue-green are overlaid with red glass carved in a pattern of leaves, h. 16‑1/4”. w. 12‑1/4”, d. 7”. [400/700] 1131 Italian Bronze Encrier, fourth quarter 19th century, made for the Grand Tour and based on the Roman original, molded with scrolls on the body and a mask under the handle, h. 5‑1/4”, w. 6”. [400/700]

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1134 Bronze Grand Tour Figure of Pan, third quarter 19th century, depicted playing his pipes and dancing on cloven hooves on a round plinth, the underside marked “FS” within a triangle, h.5”. Provenance: Goudeau Antiques, Baton Rouge, Louisiana. [400/700] 1135 Italian Bronze Grand Tour Souvenir, fourth quarter 19th century, the figure of a fawn, based on the pompeiian original, h. 5‑1/4”. [100/200] 1136 Louis-Philippe Mahogany Revolving Adjustable Piano Stool, second quarter 19th century, the circular top raised on a reeded vasiform standard to three splayed scrolling legs, h. 19‑1/4”, dia. 14”. [200/400]

1133

1137 Pair of Empire Mahogany Sidechairs, early 19th century, each with an outscrolled crest above the padded back, the padded seat raised on tapering square ormolumounted legs ending in brass caps, h. 34‑1/2”. [300/500] 1138 Neoclassical-Style Giltwood Looking Glass, 20th century, the rectangular plate surmounted by a guilloche and patera-carved frieze with projecting ends, flanked to either side by an engaged reeded pilaster, h. 37”, w. 55‑1/2”. [300/500] 1139 Impressive Fin de Siecle Porcelain Garniture, now mounted as a lamp, the round chocolate brown and gilt foot supporting a reeded gilt bottom, the obverse and reverse containing pate-sur-pate reserve panels, one depicting a female en deshabille being drawn to a cupid playing a horn, the other depicting four dancing putti, h. 24” [300/500]

1132 Continental Garniture Figure of a Child Pushing a Boat, fourth quarter 19th century, finished in patinatedbronze with contrasting bright gilt accents, the bowl made of spelter and depicting a child on a shore, seashells at his feet, pushing a boat into the sea, the boat decorated with cockerel heads and scrollwork picked out in gilt, attached to an ebonized stand of the period, h. 9‑3/4”, w. 16”, d. 6”. [500/800] Illustrated 1133 Pair of Napoleon III-Style Bronze Garniture Vases, second quarter 20th century, cast and signed by the Barbedienne Foundry in Paris, the amphora shaped vase resting on monopodium feet and crown with draped men’s heads, one facade featuring a male nude playing pan pipes under a tree to a goddess, and the other facade featuring a male nude sacrificing a goat to a god, h. 12‑1/2”. [1500/2500] Illustrated

140

1140 Terracotta Continental Grand Tour Souvenir, third quarter 19th century, depicting a robed seated man, executed in the Hellenistic-style, h. 5‑1/4”, w. 2‑1/2”, d. 1‑3/4”. [100/200] 1141 Danish Neoclassical Terracotta Plaque, third quarter 19th century, signed, “P. Ipsen Kobenhaun Eneret”, the plaque in “Thorvaldsen-Style” ware, after the noted Danish sculptor, in a modern faux tortoise frame, h. 14‑1/2”, w. 24‑1/2”. [700/1000] 1142 Continental School (Fourth Quarter 18th Century) “Study of a Seated Male Nude”, red and black chalk, heightened with white on paper, sight 21” x 15”. Glazed, attractively French matted and presented in a molded giltwood frame. [300/500] 1143 French School (First Quarter 19th Century) “Standing Nude”, red chalk, heightened with white on paper, signed in pencil on mat “Geirh. Lairesse”, 13” x 7”. Glazed, matted and presented in a molded giltwood frame. [150/300]

1144 French School (Third Quarter 18th Century) “Draped Classical Female Figure”, red chalk on paper, 9‑14” x 11‑1/2”. Glazed, presented in marbelized mat within a molded giltwood and frame. [150/300] 1145 British 19th Century Engraving of an Ancient Battle, after Thomas Stothard (British, 1755‑1834), engraved by L.G. Walker, published 1801 by Cadell & Davis Strand, sight 3” x 3‑3/4”. Presented in a molded giltwood frame. [40/70] 1146 Continental School (19th Century) “Seated Apollo”, pen on paper, sight 6‑1/2” x 6‑1/4”. Glazed, attractively matted and framed. Provenance: Goudeau Antiques, Baton Rouge, Louisiana. [200/400] 1147 After Raphael (Italian, 1483‑1520) “The Sacrifice at Lysta”, black and white engraving by Sir Nicholas Dorigny (British, 1658‑1746), sight 5” x 7”. Glazed and framed. [20/40]

1151 pair 1150 After Juan Arnau (Spanish, 1595-ca. 1683) a trio of vertical framed engravings of figures after the Antique, second quarter 17th century, of a nude male athlete carrying a baton; a seated male nude wielding a scythe; and a bound nude male figure, each sight 10‑1/2” x 6‑1/2”, mat 25‑1/2” x 19‑1/4”. All glazed, French-matted and presented in silver-gilt frames. [600/900] 1151 Joannes Volpato (Italian, 1733‑1803) pair of handcolored engravings of architectural panels of the Raphael’s Vatican Loggia, ca. 1774, sight 42” x 19‑1/2”. Both glazed, matted and presented in ebonized and parcel-gilt frames. [2000/4000] Illustrated 1149 suite of four 1148 American School (20th Century) “Standing Male Nude”, oil on panel, unsigned, 16” x 12”. Unframed. [200/400] 1149 Jan de Bisschop (Dutch, 1628‑1671) suite of four engravings after various artists, all bearing Bisschop’s monogram in plate “J.E.F.”, sight 11” x 6‑3/4”. All glazed, handsomely French-matted and presented in silver-gilt frames. [700/1000] Illustrated

1152 Giovanni Ottaviani (Italian, 1735‑1808) Pair of handcolored engravings of architectural panels of the Raphael’s Vatican Loggia, after the drawings by Pietro Camporesi and Gaetano Savorelli, published ca. 1776‑1782, sight 42” x 15”. Both glazed, attractively matted and framed. [600/900] 1153 Neoclassical-Style Giltwood Stool, late 19th century, of curule form, the padded rectangular seat with circular fluted armrests to either side, raised on a cross-over guilloche-carved base centered by a floral patera and ending in peg feet, h. 25‑1/2”, w. 28‑1/2”, d. 16”. [300/500]

141

1156

1155

1154 Near Pair of Empire-Style Mahogany Chests, late 19th century, each with a rounded rectangular top above a single frieze drawer, with three long recessed drawers below, flanked to either side by an ormolu-mounted pilaster, raised on turreted feet, h. 49”, w. 50‑1/2”, d. 24‑1/4”, larger, h. 47”, w. 51‑1/2”, d. 23‑1/2”, smaller. [2500/4000] Illustrated

1157

1158

1160 James Henry Haseltine (American, 1833‑1907), Carved Marble Figure of A Roman Warrior, inscribed on the base “J. H. Hazeltine . F .Rome . 1870”, the head and hands of the figure lacking, currently presented in a whitepainted surface, h. 49”, w. 22”, d. 18”. [1000/1500]

1155 Collectopm of Ten Schoelcher (1798‑1834) Paris Porcelain Cabinet Plates, with gilt borders decorated in tooled oak leaves and acorns, four decorated with tropical birds in landscapes, three with hunt scenes, two with a hunter and dog, one with a dog chasing a fox, one with three deer at a stream, one with two tigers and one with a galloping horse, signed, “Schoelcher” in gilt script, dia. 8‑3/4”. [1800/2500] Illustrated 1156 Fine First Period Paris Porcelain Corbeille, first quarter 19th century, gilt all over with the exception of the lower edge of the basket which is decorated in matte blue with tooled gilt decoration of flowers and leaves, indistinctly signed, probably Blerzy et Sauvage, 1802‑1823, h. 8‑3/4”, dia. 9”. [800/1200] Illustrated 1157 Bright-and-Matte Gilt Paris Porcelain Dessert Stand, the edge of the upper cup with gilt tooling and the lower edge decorated with a magenta ground, signed, “Schoelcher” in rouge-de-fer script, h. 16”. [1200/1800] Illustrated 1158 Pair of Richly Gilded Paris Porcelain Corbeille Baskets, first quarter 19th century, sumptuously gilded all over in a bright finish and resting on square bases, h. 8”, dia. 9”. [1000/1500] Illustrated

142

1159 Baltic EmpireStyle Ebonized Occasional Table, mid‑19th century and later, the circular top above a conforming frieze, raised on splayed supports and a central support headed by gilteagle’s heads and resting on a circular plinth base, h. 27‑1/2”, dia. 22”. [1000/1500]

1154 near pair

1161 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”. [800/1200] Illustrated

1163

1161

1165 French Casket-Form Mantel Clock in the Empire Style, the red painted wooden case mounted with an arc of bronze stars, bronze laurel branches on each side and resting on bronze paw feet, the dial marked, "Furer, Paris" and enclosed in an engine-turned bezel, h. 14‑1/2”, w. 9‑1/2”, d. 4‑1/2”. [1200/1800] Illustrated

1165 1162 Empire-Style “Plum Pudding” Mahogany Bed, early 20th century, the headboard with a molded cornice above an arched panel flanked to either side by an ormolu angel and ormolu-mounted columnar uprights, joined by plain rails to the lower like flanked footboard, raised on tapering square legs, h. 53”, inside l. 61”, inside l. 65‑1/2”, outside w. 68‑1/2”, outside l. 81‑1/2”. [1000/1500] 1163 Diminutive Gilt-Brass, Ruby Glass and Cut-Glass Four-Light Chandelier, in the Swedish neoclassical style, the center with a pendant gilt-brass-mounted ruby glass bowl above a ruby glass plate, dressed with facetcut bead chains and cut spears, fitted with four custom red-banded ivory silk shades, h. 21”, dia. 18”. [500/800] Illustrated 1164 Gilt Framed Venetian-Style Mirrored Wall Plaque, the serpentine shape mirror, reverse engraved with a female figure en deshabille, bordered with reverse convex ornaments, h. 25‑1/2”, w. 18‑1/2”. [200/400]

1166 Berlin-Style Coffee Set, signed, "Czechoslovakia, BFS", with oval portraits of groups of women in neoclassical dress encircled with raised gilt, all decorated with alternating bands of burgundy and green and accented with green medallions, consisting of a coffee pot, h. 7”, a cream jug, h. 3”, a sugar bowl with cover, h. 3‑1/2”, eleven demitasse cups with saucers, h. 2”, and a tray, w. 10‑1/2”, l. 20”. [500/800]

143

1169 Continental Fruitwood Stool, early 20th century, the cushioned square seat raised on X-form supports, headed by carved sword hilts and joined by turned stretchers, with carved floral and foliate accents, h. 25‑1/2”, w. 33”, d. 17‑1/2”. [400/700] 1170 Provincial Directoire-Style Fruitwood Cabinet, mid‑19th century, the rounded rectangular top with molded edge above a case fitted with two-over-two cupboards, all paneled and with inlaid diamond and star designs, raised on splayed feet, h. 54”, w. 43‑1/2”, d. 17”. [1200/1800] Illustrated

1170 1167 Pair of Grand Scale Paris Porcelain-Style Urns, molded with elaborate swan handles on a gilded body, and decorated with tooling of baskets of flowers and cornucopia in the reverse, with painted leaves on the lower section, a masque supporting a bowl of fruit on the square foot, oval reserve panels decorated in polychrome enamels with neoclassical scenes, h. 27”, w. 13‑3/4”, d. 8”. [2500/4000] 1168 Pair of Continental Neoclassical-Style Side Tables, 20th century, each with a rectangular top with ormolu banding and centered by an elaborate polychrome patera design, above a conforming frieze, raised on tapering paneled end supports headed by foliate ormolu mounts and ending in runner feet to pegs, h. 29‑1/2”, w. 39‑1/4”, d. 19‑1/2”. [3000/5000] Illustrated

1171

1168 1171 Empire-Style Fruitwood Secretaire Abbatant, mid‑19th century, the banded rectangular top with canted projecting corners above a conforming case fitted with a frieze drawer above a drop-front opening to an inset leather writing surface and a variety of drawers and cubbyholes, with a paneled cupboard and doors below, raised on ebonized paw feet, h. 57‑1/2”, w. 38”, l. 16”. [1000/1500] Illustrated

144

1172 Pair of Neoclassical-Style Cast-Iron Garden Benches, after a design by Karl Frederick Schinkel, the back with a pair of panels depicting winged putti amongst lyres and foliate, the arms terminating in rams’ heads, on a curule-form base with foliate-modeled hoof feet, h. 31”, w. 41‑3/4”, d. 20”. Karl Schinkel (1781‑1841) was among the leading designers in the German Classical Movement of the early 19th century. He was appointed state architect of Prussia in 1815; in 1830, he became the director of the Prussian Office of Public Works. The design of the present benches are from the latter period. [400/700]

1174

1173 Pair of Neoclassical-Style Cast-Iron Urns, late 19th century, of campana-form, each with a gadroon-molded lip above a turned and ribbed body, the waisted standard to a socle base, h. 12‑1/2”, dia. 12”. [150/300] 1174 Gill Powell (19th Century), large patinated bronze group of a soldier on horseback battling two Nubians, the base signed “Gill Powell”, h. 21‑1/2”. [2500/4000] Illustrated 1175 Denis-Antoine Chaudet (French, 1763‑1811) “Rescuing the Child” patinated bronze group, the base signed “Chaudet”, h. 17”. [800/1200] Illustrated 1176 Patinated-Bronze Figural Group, 20th century, depicting a naked male figure with a rearing horse and mounted to a thick molded marble base, h. 18”, d. 9”, l. 16”. [500/800] Illustrated

1175

1177 Continental Neoclassically Inspired Five-Piece Bedroom Suite, c. 1900, comprised of a bedstead, h. 56”, w. 73‑1/4”, d. 87”, inside w. 63”, inside l. 84”, a large armoire, h. 85‑1/4”, w. 84”, d. 22”, a dressing bureau, h. 39”, w. 61‑3/4”, d. 25‑3/4”, and a pair of bedside stands, h. 45‑3/4”, w. 27‑1/4”, d. 17”, the headboard with a projecting cornice over an anthenium-carved frieze, the panel flanked by detached columns, the footboard with a similar frieze flanked by recessed paired columns, the case pieces all adorned with similar carved friezes, detached columns with carved capitals and turreted sides, the armoire with a pair of glazed doors, the bureau with a concealed frieze drawer over a bank of three drawers, the stands each with a splash fitted with a beveled mirror plate. [3000/5000]

1176

145

1178 Paul Emmanuel Legrand (French, 1860- d.?) “Les Nympheas: Children Gathering Water Lilies”, oil on canvas, signed lower left “Paul Legrand”, 49” x 85”. Presented in a ebonized and parcel-gilt frame. [4000/7000] Illustrated 1179 French Provincial Oak Tall Case Clock, fourth quarter 18th century, the brass and silvered dial engraved “A. Elberfeld”, the case with a carved door and circular pendulum window and raised on a molded plinth base, the movement featuring time and strike, h. 91”, w. 19”, d. 10”. [1500/2500] Illustrated

1179

1180 Large English Pine Welsh Dresser, late 19th century, the molded cornice above three open shelves with a beadboard back, above a lower section with a rectangular top with bowed corners over a conforming frieze fitted with three drawers, joined by curved sides and columnar supports to the plinth base, h. 99”, w. 127”, d. 24‑1/2”. [1000/1500] 1181 Twenty-One Piece Group of Polychromed Stone Fruit and Nuts, c. 1900, comprised of apples, including a sliced apple, lemon, peach, eggplant, plums and satsuma, dia. 1‑1/4” to 3‑1/4”. [150/250] 1182 Assorted TwentyEight Piece Group of Polychromed Stone Fruit, late 19th/early 20th century, comprised of an assortment of clusters of grapes, bananas, peaches, lemons, satsuma, pears, plums and strawberries, dia. 1‑1/4” to 3‑1/2”. [200/400] 1183 Aubusson Tapestry, 5’ x 4’. [900/1200]

146

1178

1184 Handsome Pair of Large Drapery Panels, comprised of tan toile de joie depicting Asian figures in garden scenes, trimmed with contrasting striped polished cotton lappets edged with rose, blue, green and gold gimp, lined with cotton batting and faced with tan and ecru checked stripes, the panels suspended from acanthine rings, each panel h. 112”, w. 159”. [300/500] 1185 Pair of Painted Plaster Pigs, shown seated with attentive ears, the mottled brown and tan surface rubbed in the antique style, h. 15”, w. 10”, l. 20”. [500/800] Illustrated

1185

1191 Meissen Blue Onion Soup Tureen, c. 1810‑1860, the oval tureen decorated in underglaze blue with the iconic pattern made famous by its maker, the rococo handles in the form of scrolls ending in shells, a pair of entwined rococo scrolls form the knop, the unglazed base with a crossed sword mark, slightly curved with prominent pommels over an incised "2", also marked with “72” in blue, h. 9‑3/4”, w. 7‑1/4”, l. 14”. [150/300] 1192 Yves Brayer (French, 1907‑1990) “Le Fort de Villeneuve-les-Avignon”, oil on canvas, 1958, signed lower right “Yves Brayer”, titled and dated on canvas verso, 24” x 32”. Presented in a ebonized and parcel-gilt frame. Provenance: Estate of Dr. David and Mrs. Annie Kimball, Shreveport, Louisiana. [5000/8000] Illustrated

1196 1186 Group of Two Meissen Porcelain Covered “Chicken” Tureens and Covers, 19th century, one in the form of a hen nesting in a basket, the base with the underglaze blue crossed swords of Meissen, incised underglaze in script: “397”, impressed underglaze: “129 ”, ( h. 5‑1/2”, w. 5”, l. 8”, and the other in the form of a cockerel, the base marked with the underglaze blue crossed swords of Meissen, impressed: “396” and “119 ”, h. 7‑1/2”, w. 4‑1/2”, l. 6”. [700/1000] 1187 French Blown Glass Fly Trap, second quarter 19th century, resting on three applied feet, the doughnutshaped base narrowing to meet an applied ring on the etched neck, h. 8”, dia. 6‑1/4”. [50/80]

1195

1188 Large Provincial Pine Farmhouse Table, early 20th century, the rectangular top above a frieze fitted with two side drawers, joined to a slatted stretcher shelf by square legs, h. 32”, d. 43”, l. 105”. [500/800] 1189 Pair of Louis XVI Fruitwood Fauteuils, early 19th century, each with a padded medallion back surmounted by a floral crest, joined by outswept arms to the generous padded seat, raised on tapering circular stop-fluted legs ending in toupie feet, h. 37‑1/4”. Provenance: The Lytle Hull Collection, “The Locusts”, Staatsburg, New York, to Blackamoor Antiques, New Orleans, Louisiana, to the consignor. [500/800] 1190 Provincial Louis XV-Style Fruitwood Bergere, late 19th century, the padded domed back with a double brass tack frame, joined by padded foliatecarved arms to the cushioned seat, raised on molded cabriole legs headed by floral carving and ending in scrolled toes, h, 42”. [800/1200]

1192

147

1196 Andre (Gittelson) Gisson (French, 1921‑2003) “Floral Still Life in a White Vase”, oil on canvas, signed lower left “Gisson”, 20” x 24”. Presented in a Louis XV-style frame. [1200/1800] Illustrated previous page 1197 Pair of Flemish Mahogany Bergeres, mid‑20th century, each with a padded and domed back joined by outscrolled arms to the cushioned seat, raised on molded scrolled legs headed by foliate carving joined by a shaped front stretcher and ending in scrolled toes, h. 50‑1/2”. [1500/2500] 1198 Victorian Polychrome Metal and Mesh Three-Fold Firescreen, late 19th century, with a domed center section with all three panels with a mesh background and applied metal foliate vines with polychrome flowers, h. 28‑1/2”, w. 55”. [300/500] 1200

1193 Andre (Gittelson) Gisson (French, 1921‑2003) “Two Women and a Child in a Landscape”, oil on canvas, signed lower left “Gisson”, 12” x 16”. Presented in a Louis XV style polychrome frame with a linen liner. [700/1000] 1194 French School (Second Quarter 20th Century) “Regate”, oil on canvas, signed illegibly lower right, 12” x 16”. Presented in a Louis XV style polychrome frame with a linen liner. [300/500] 1195 Andre (Gittelson) Gisson (French, 1921‑2003) “Figures in a Summer Landscape”, oil on canvas, signed lower right “Gisson”, 19‑3/4” x 24”. Presented in a Louis XV style polychrome frame with a linen liner. [1000/1500] Illustrated previous page 1201 1199 1199 Provincial Regence-Style Oak and MarbleTop Cabinet, late 18th century and later, the rectangular Sainte Anne des Pyrennes marble top with molded edge above a case fitted with two small end drawers over two arched and paneled cupboard doors, each door double-hinged, the whole on a plinth base, h. 36”, w. 55‑1/2”, d. 26”. [1800/2500] Illustrated 1200 Gustave Maincent (French, 1850‑1887) “View of a Town by the River, with a Barge and a Bridge”, oil on panel, signed lower left “Gustave Maincent”, 11‑1/2” x 16”. Presented in a period giltwood and gesso frame. [800/1200] Illustrated

148

1201 Attributed to Ernest Louis Augustin Seigneurgens (French, 1820‑1904) “Picking Flowers”, oil on canvas, unsigned, reverse canvas stamped “CarpentierDeforge, 8 Boulevard Montmartre, Paris”, 13” x 18‑1/2”. Presented in a giltwood and gesso period frame with artist plaque. [1000/1500] Illustrated Previous Page 1202 Narcisse-Virgil Diaz de la Pena (French, 1807‑1876) “Figure in a Fountainbleau Forest”, oil on panel, signed lower right “N. Diaz”, 19” x 25”. Framed. [3000/5000] Illustrated 1203 Pair of Northern European Carved, Turned, Painted and Parcel-Gilt Sidechairs, in the Neoclassic-style, c. 1820‑1840, damask upholstered slipseats, probably Scandinavian, h. 34”. [600/900]

1202 1204 Iberian Majolica Double-Sided Ewer, fourth quarter 19th century, the vase shaped ewer with spouts on each side, decorated with a blue and green tin glaze, the checked foot leading to a body with lush floral decoration and paneled decoration on the shoulder, set with loop handles, h. 21‑1/4”. [250/400] 1205 Suite of Four Louis XVI-Style Beechwood Fauteuils, 19th century, each with a padded tapering rectangular back surmounted by a molded crest and foliate finials, joined by padded scrolling arms to the like seat, raised on tapering stop-fluted circular legs ending in toupie feet, h. 34‑1/2”. [1800/2500] 1206 Provincial Louis XV-Style Cherrywood Desk, mid‑19th century, the rounded rectangular top above a frieze fitted with a central drawer flanked to either side by two short drawers, raised on cabriole legs, h. 32”, w. 52”, d. 28”. [1400/1800] Illustrated

1210

1206

1207 Continental Majolica Garniture Bowl, fourth quarter 19th century, the serpentine plinth glazed in cobalt, supporting the oblong bowl molded with a lion’s head on a cartouche with scrollwork and leaves, the handles of classical maidens terminating in scroll feet, glazed in a combination of cobalt, green, pink and yellow, h. 13‑1/2”, w. 19‑1/2”, d. 8”. [300/500]

149

1214 Suite of Four Spanish-Style Walnut Sidechairs, early 20th century, each with a domed embossed leather back above a foliatecarved rail, the padded seat raised on turned and fluted circular legs joined by a shaped H-form stretcher and ending in acorn feet, h. 39‑1/2”. [200/400] 1215 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”. [400/700]

1223 1208 Joseph Lamberton (French, 1867‑1943) “Mountainous Spring Landscape”, oil on board, signed lower right “Lamberton”, reverse pencil inscribed “J. Lamberton No. 13” and stamped “La Boutique D’Art ,Nice”, 8‑1/4” x 10‑1/4”. Presented in a polychrome frame with a linen liner. [400/700]

1216 Louis XVI-Style Beechwood Footstool, mid‑19th century, the padded rectangular seat above a fluted frieze, raised on tapering fluted circular legs ending in turned feet, h. 7”, w. 14”, d. 12‑1/2”. [200/400]

1209 Joseph Lamberton (French, 1867‑1943) “Landscape with a Farmhouse”, oil on canvas, signed lower right “Lamberton”, 19” x 24”. Presented in a giltwood and gesso frame. [400/700] 1210 Joseph Lamberton (French, 1867‑1943) “Mother and Child Sitting Under a Tree”, oil on board, signed lower right “Lamberton”, reverse stamped “La Boutique D’Art, Nice”, 13” x 9‑1/2”. Presented in a period polychrome and parcelgilt frame with a linen liner. [600/900] Illustrated previous page 1211 French Provincial Oak Armoire, early 20th century and later, Brittany, 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”. [200/400] 1212 French Provincial-Style Oak Hall Tree, composed of antique elements, the domed and molded cornice above a back consisting of two applied armoire doors, each with a mirrored upper panel, with six brass hooks flanking and dividing them, with a lower metal-lined umbrella stand with a brass rail, raised on shaped legs, h. 84”, 50‑1/2”, d. 11‑1/2”. [600/900] 1213 Suite of Six Henri II-Style Walnut Sidechairs, mid‑19th century, each with an embossed leather back surmounted by a cornucopia-carved crest and above a spindled gallery, the padded leather seats raised on turned circular legs joined by a shaped H-form stretcher and ending in block and ball feet, h. 41‑1/2”. [500/800]

150

1224 1217 Provincial Louis XVI-Style Fruitwood Footstool, early 20th century, the padded square top above a ribboncarved frieze, raised on tapering circular fluted legs ending in toupie feet, h. 9”, w. 15‑1/2”, d. 15‑1/2”. [200/400] 1218 Dutch Fruitwood Drop Leaf Table, late 18th century, the narrow top and rectangular leaves raised on square fluted legs headed by carved patera to a collapsible X-form base, h. 30”, w. 36”, d. 8”, ext. l. 34”. Provenance: Henry Stern Antiques, New Orleans, Louisiana. [1400/1800]

1219 Pair of Small Paris Cache Pots, second quarter 19th century, painted with Italian scenes of Mediterranean villas in a landscape, with molded lion’s head handles and retaining their underplates, h. 3‑1/4”, dia. 3‑1/4”. [75/125] 1220 French Porcelain Lidded Apothecary Jar, late 19th century, the front inscribed “Arab: Gummi” and floral painted with a distant mountain landscape, h. 10”, dia. 5”. [100/200] 1221 Provincial Louis XV-Style Walnut Six-Light Chandelier, the acanthine-carved cap above the shaped, bulbous and reeded standard to a fluted semi-circular base issuing six molded and shaped foliate-carved arms terminating in floriform cups with faux candles, h. 44”, dia. 35‑1/2”. Provenance: Lucullus, New Orleans, Louisiana. [800/1200] 1225

1222 French Provincial Walnut Looking Glass, mid‑19th century, the beveled square plate within a molded shell and foliate-carved frame with beaded slip, h. 44”, w, 44”. [600/900] 1223 Julian Falat (Polish, 1853‑1929) “River in Winter”, oil on board, signed lower left “J. Falat, Osiek”, 7‑3/4” x 16‑1/2”. Presented in a giltwood and gesso frame. [3000/5000] Illustrated 1224 Walter Vaes (Belgian, 1882‑1958) “Landscape with a Stream and a Barn”, oil on panel, signed lower right “Walter Vaes”, 10” x 13‑1/2”. Presented in a giltwood frame with a linen liner. [1500/2500] Illustrated

1226 1225 Adolf Gerhard (German, 1910‑1975) “Spring Landscape with Figures at a River Bank”, oil on panel, signed and dated lower left “A. Gerhard 1951”, signed on the reverse “Adolf Gerhard Mainz”, 25‑1/2” x 32”. Presented in a giltwood frame with a linen liner. [1000/1500] Illustrated 1226 Jeno Karpathy (Hungarian, 1871‑1950) “Reflections”, oil on canvas, signed lower right “Karpathy Jeno” titled on the reverse printed gallery label, 24” x 28”. Framed. [1400/1800] Illustrated

1227

1227 French Provincial Oak Console Table, late 18th century, the rectangular Rouge Royale Marble top above a scalloped deep frieze, raised on shaped reeded legs joined by a pierced shell stretcher and ending in spade feet, h. 30”, w. 36‑1/2”, d. 24”. [1800/2500] Illustrated

151

1233 Pair of Paris Porcelain Moderator Lamps, third quarter 19th century, the cylindrical white porcelain bases decorated with scattered bouquets and sprigs of small hand-painted flowers, with brass molded neck and wick regulator, electrified, h. 22‑1/2”. [300/500] 1234 Louis XVI Beechwood Sidechair, late 18th century, the domed and padded back within a molded frame with foliate finials, the padded seat raised on tapering fluted circular legs ending in toupie feet, h. 31”. [400/700] 1235 Unusual French Provincial Oak and Fruitwood Parcel-Gilt Armoire, early 19th century, the gilded molded crest above a case fitted with a foliate-carved frieze over two long doors, each tri-paneled, the central panel with an applied white-enamel and gilt plaster mask, above a shaped apron, raised on scrolled toes, the whole with gilt accents, the whole with later gilding and embellishments, h. 99”, w. 64”, d. 28‑1/2”. [5000/8000] Illustrated

1231 1228 Painted Iron Espaliered Apple Tree in a Tub, second quarter 20th century, probably Italian, the tree shown with fruit, blossoms and three birds, h. 13‑3/4”, w. 12‑1/2”, d. 3‑1/4”. [100/200] 1229 Louis XVI-Style Mahogany Bergere, attributed to Alfonso Marina, Mexico City late 20th century, the padded rectangular back within a foliate and guillochecarved frame, joined to the padded seat by closed guilloche-carved arms, raised on fluted lotus-carved legs ending in foliate carving to bulb feet, the base also skirted. Marina is a contemporary, low volume, custom cabinetmaking firm producing fine period-inspired benchmade pieces. h. 41”. [700/1000] 1230 Pair of Provincial Polychrome Stools, early 20th century, each with a padded oval top above a floralpainted frieze, raised on cabriole legs ending in pad feet, h. 19‑1/2”, w. 19‑1/2”, d. 14”. [900/1200]

1239

1231 Circle of Edward Ladell (British, 1821‑1886) “Still Life with Fruit and Flowers in a Basket”, oil on canvas, unsigned, 24” x 20”. Presented in a giltwood exhibition frame with brass artist plaque. [2000/4000] Illustrated 1232 Provincial Louis XV Walnut Writing Table, late 18th century and later, the rounded rectangular top with an inset tooled-leather writing surface, above a shaped frieze fitted with a single central drawer, raised on cabriole legs ending in hoof feet, h. 28‑1/2”, w. 43‑1/2”, d. 24‑1/2”. [1800/2500] Illustrated

152

1232

1236 Unusual Tile and Polychrome Center Table, early 20th century, the circular top with a large inset tile, the outer border containing twelve medallions depicting the Zodiac, the inner part with figural medallions centering a sun medallion, raised on tapering square legs ending in foliate carving, h. 27”, dia. 31‑1/2”. [400/700] 1237 Louis XV-Style Oak Fauteuil, late 18th century, the caned back surmounted by a shaped shell-carved crest, joined by scrolling foliate-carved arms to the cushioned seat, raised on molded cabriole legs ending in scrolled toes, h. 33”. [500/800] Illustrated 1237

1235

1238 Provincial Louis XV-Style Mahogany Footstool, late 19th century, the long padded rectangular top above a shaped frieze, raised on molded cabriole legs ending in scrolled toes, h. 8‑1/2”, w. 34‑1/2”, d. 14”. [500/800] Illustrated

1239 Frans Breuhaus De Groot (Dutch, 1796‑1875) “At the Mill”, oil on panel, signed and dated lower left “F. Br. de Groot, 1831”, 16” x 21‑1/2”. Presented in a giltwood and gesso frame. [6000/9000] Illustrated 1240 Provincial Louis XV-Style Fruitwood Fauteuil, early 19th century, the domed and caned back within a molded frame, joined by padded arms to the cushioned caned seat, raised on molded cabriole legs ending in scrolled toes, h. 35”. [200/400] 1241 Provincial Louis XV-Style Fruitwood Fauteuil, late 19th century, the shaped and padded back surmounted by a floral crest, joined by molded and scrolling arms to the padded seat, raised on cabriole legs ending in foliate scrolled toes, h. 38”. [600/900]

1238

1242 Italian White Faience Stove, 18th century, the bombe-form body has cut corners decorated with raised scrollwork terminating with an open mouthed masque, which serves as a heat portal, the body set with iron and wooden handles, the conforming lid molded with scrolled handles, h. 20”, w. 19”, d. 13”. [400/700]

153

1243 Louis XV-Style Mahogany Buffet a Deux Corps, early 20th century, the bowed upper section fitted with two astragal-glazed doors surmounted by a pierced foliate crest, flanked to either side by two open corner shelves, joined by a paneled back and scrolled foliate supports to the conforming lower section, the shaped top with a molded edge above a case fitted with two drawers over two paneled cupboard doors, raised on scrolled feet headed by foliate carving and ending in scrolled toes, h. 107”, w. 65”, d. 23”. [800/1200] Illustrated 1244 Suite of Six Dutch Mahogany Sidechairs, late 19th century, each with a shaped and padded back surmounted by a floral crest, the padded seat above a like-carved shaped apron, raised on cabriole legs and ending in pad feet on pegs, h. 39‑1/2”. [600/900]

1243

1250 suite of eight

1245 British School (Second Quarter 19th Century) “Botanicals”, suite of four hand-colored copper engravings, published by J. Ridgway, London, sight 8‑1/2” x 5‑1/2”. All glazed, handsomely matted and framed en suite. [250/400] 1246 British School (Second Quarter 19th Century) “Botanicals”, suite of six hand-colored copper engravings, published by J. Ridgway, London, sight 8‑1/2” x 5‑1/2”. All glazed, handsomely matted and framed en suite. [300/500]

154

1256 1247 Suite of Six Paxton’s Magazine of Botany Botanical Prints, of various flowering plants, hand colored lithographs, published in London, 1836, sight 8‑1/2”. All glazed, attractively matted and presented in Neoclassical style giltwood frames. [500/800] 1248 Pair of Curtis Botanical Magazine Prints, fourth quarter 18th century, of “Bladder-Podder Alyssum” and “Spring, or Perennial Adonis”, hand colored engravings, sight 7‑3/4” x 5”. Each glazed, attractively matted and framed. [100/200] 1249 British School (Fourth Quarter 19th Century), suite of three hand colored lithographs of yellow flowers, sight 9‑1/2” x 6‑1/2”. Each glazed, attractively matted and framed. [300/500] 1250 L. R. Laffitte (French, 20th Century) “Various Botanical Studies”, suite of eight watercolors on silk, mounted on handmade paper, signed in pencil lower right, 16” x 12”. All glazed and framed. [700/1000] Illustrated 1251 Louis XV-Style Polychrome Occasional Table, early 20th century, in the chinoiserie taste, the kidney-form top with polychrome figural accents, above a conforming case fitted with three drawers, joined to a like-shaped lower shelf by square supports, raised on splayed legs, h. 28‑1/2”, w. 17‑1/2”, d. 12‑1/4”. [600/900]

1252 Georgian-Style Brass and Iron Standing Candelabra, the iron support shaft standing on a tripod base, mounted with a pair of adjustable brass candle sockets on scrolled arms, mounted under a modern brass shade, now electrified, h. 50”. [200/400] 1253 English Traditional-Style Copper Street Lantern, mid‑20th century, labeled, “Foster & Pullen, Limited, Avil Works, Bradford”, the tapered lantern with molded corner trim and a domed top with an acorn-shaped finial, overall h.48”, w. 17”, d. 17”. By tradition this fixture was among the original street lights in the Bocage Subdivision, Baton Rouge, Louisiana. [1000/1500] Illustrated

1253 & 1254

1254 English Traditional-Style Copper Street Lantern, mid‑20th century, labeled, “Foster & Pullen, Limited, Avil Works, Bradford”, the tapered lantern with molded corner trim and a domed top with an acorn-shaped finial, overall h.48”, w. 17”, d. 17”. By tradition this fixture was among the original street lights in the Bocage Subdivision, Baton Rouge, Louisiana. [1000/1500] Illustrated 1255 Suite of Four George III-Style Mahogany Sidechairs, late 19th century, each with a shaped crest over a plank splat, the padded slip-in seat raised on cabriole legs headed by scroll carving and ending in ball and claw feet, h. 38‑1/2”. [200/400] 1256 Good George III Giltwood Looking Glass, fourth quarter 18th century, the bisected plate surmounted by a shell-and-foliate-carved crest and surrounded by a molded and incised frame, with a pierced floral pendant, h. 56”, w. 23‑1/2”. Provenance: Henry Stern Antiques, New Orleans, Louisiana. [1000/1500] Illustrated

155

1263 George III Mahogany Bureau, early 19th century, the rectangular top above a drop-front opening to an inset leather writing surface and a variety of drawers and cubbyholes flanking a central cupboard, over a single frieze drawer, with two short drawers and two long graduated drawers below, raised on bracket feet, h. 38”, w. 30”, d. 18‑1/2”. [800/1200] 1264 Samson-Style Punch Bowl in the Chinese Taste, the exterior decorated with armorial devices and sprigs of flora separated by raised white scrolls and flourishes, the interior decorated with matching flora and raised decoration, h. 6”, dia. 14”. [300/500] 1265 Royal Crown Derby Tea Tray, 1877‑1890, the tray with serpentine sides and ends, and with cobalt and gilt handles, marked “Royal Crown Derby” with the company seal in underglaze red, w. 18”, d. 14”. [100/200] 1257 1257 Jan Jac Matthys Damschroeder (German/Dutch, 1825‑1905) “The Prospective Buyer”, oil on canvas, signed lower left “J.J.M. Damschroeder”, 25” x 30”. Presented in a Rococo-style giltwood and gesso exhibition frame with brass artist plaque, incised with the artist’s name and title of work. [5000/8000] Illustrated 1258 Continental School (18th Century) “Travelers Resting on a Desolate Road”, oil on canvas, unsigned, 21‑1/2” x 27”. Presented in a molded contemporary giltwood frame. Provenance: The Groves Collection, New Orleans, Louisiana. [300/500] 1259 Continental School (Fourth Quarter 19th Century) “Figure on a Village Road Herding Sheep’, oil on canvas, signed lower right ‘Anton”, 12” x 18”. Presented in a Rococo. style frame. [200/400] 1260 German School (First Quarter 20th Century) “Autumnal Wooded Landscape with a Figure on a Path”, pair of oils on panel, both signed “R. Werner”, both 12” x 6”. Both presented in a giltwood and gesso frame. [400/700] 1261 Hepplewhite-Style Mahogany Swing-Leg Drop-Leaf Dining Table, early 20th century, having a single-board top and leaves supported by square tapering legs, h. 29”, d. 49‑1/2”, ext. l. 51‑1/2”. [300/500] 1262 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”. [200/400]

156

1277 1266 Pair of English Imari Plates, first quarter 19th century, decorated in the Imari palette, the plates with scalloped borders and marked with an overglaze script “F”, possibly Thomas Fell and Co., dia. 8‑3/4”. [75/125] 1267 Large English Ironstone Oval Platter in the “Chinese Pattern”, late 19th century, the rim having a gold lustre border with floral decor, the center field featuring an Asian scene, w. 15”, l. 19”. [100/200] 1268 Good Pair of Derby Porcelain Grilled Meats Platters, first quarter 19th century, in the “Japan” pattern, of oval form, each example marked in ironred on the reverse with the Derby crowned batons and script “D”, w. 10”, l. 13‑1/2”. [200/400]

1269 Twelve Pieces of English Porcelain Service Plates, first quarter 20th century, signed, "Spaulding and Co., Chicago", the cobalt borders with cream panels decorated with raised gilt in the form of flower swags, the outer edge with raised gilt sprigs of flowers and the inner edge with gilt lotus leaves, dia. 10‑1/2”. [700/1000] 1270 George III Mahogany Bachelor’s Chest, early 19th century, the rectangular top with molded edge above a case fitted with five long graduated drawers, raised on shaped bracket feet, h. 28‑1/2”, w. 27‑1/4”, d. 19”. [700/1000] 1271 George III-Style Mahogany Gainsborough Chair, 19th century, the padded rounded rectangular back joined to the like seat by padded downswept arms, raised on square legs joined by an H-form stretcher, h. 37”. [1200/1800] 1272 Pair of Portrait Miniatures on Ivory, first quarter 19th century, one depicting the Duke of Wellington, the other possibly George IV, both shown in their red coats wearing medals, on a brown background, signed, “Halle”, overall h. 4‑1/4”, w. 2‑3/4”. [200/400] 1273 English School Watercolor Portrait Miniature on Ivory, fourth quarter 18th century, depicting a woman with a piercing gaze and a mane of chestnut curls, dressed in a white gown trimmed in blue with pearls, mounted in a gilt locket backed with woven hair, initialed “HAC”, overall h. 2‑3/4”, w. 2‑1/4”. [200/400] 1274 English School Portrait Miniature of a Lady, first quarter 19th century, indistinctly signed, the full length view depicting her in a white empire gown in a garden, in a black ebonized frame with a gilt bezel, overall h. 6‑1/4”, w. 5‑1/2”. [200/400] 1275 English School Portrait Miniature on Ivory, fourth quarter 18th century, the gentleman depicted in a brown waist coat with a red ribbon on his neck, mounted in a gold locket backed with woven hair, overall h. 3”, w. 2‑1/8”. [200/400]

1279

1276 Fin de Ciecle British Oval Portrait Miniature in a Gilded Locket, signed, “Stella”, purportedly of Dorothy Eliott Shaffner 1889-1968, shown wearing pearls and a fur collar, the locket in its original presentation case, h. 4‑1/2”, w. 3”. [100/200] 1277 George III Ebony-Strung Maple and Mahogany Tall Case Clock, c. 1800, the clock face labeled, “Hugh Pannell, Northalerton”, with a broken arch scroll pediment, the glazed door flanked by columns with brass bases and Corinthian capitals, the waist with quarter-round ends with inlaid ebony stringing and maple panels above and below, raised on bracket feet, the brass face with second and calendar dials, the works associated, h. 80‑1/2”, w. 17”, d. 8‑3/4”. A book about Pannell has been published by David Sevors, Northalerton’s Clockmakers: Hugh Pannell and His Successors. [2000/4000] Illustrated 1278 George III Mahogany Pembroke Table, early 19th century, the rectangular top with two rounded drop leaves above a frieze fitted with an end drawer and a faux end drawer, raised on square tapering legs ending in spade feet, h. 29”, w. 41‑41/2”, d. 20‑3/4”, ext. l. 40‑3/4”. [400/700]

1280

1279 George III Mahogany Sideboard, late 18th century and later, the shaped and bowed top above a conforming case fitted with a central cutlery drawer flanked to either side by a deep drawer, raised on tapering square legs ending in spade feet, h. 35”, w. 42‑1/2”, d. 20‑1//2”. [600/900] Illustrated 1280 Group of Three Associated Graduated Georgian Tazzas, fourth quarter 18th century, each with domed feet and folded rims rising to pillar-molded standards, the graduated tazzas forming a dessert stand when stacked, h. 5‑1/4” to 6‑1/2”. [500/800] Illustrated

157

1281 Pair of English Regency CutGlass Decanters, first quarter 19th century, the lower edges faceted while cut-ribbing adorns the middle, with applied rings on the neck, the mushroom-shaped stoppers with star cuts, h. 9”, dia. 3‑1/2”. [125/250]

1288

1282 Group of Eight Wheel-Cut Crystal Stemware, 20th century, cut with intaglio flowers, connected with a series of cut bands, the set comprised of five wine glasses, h. 5‑1/2”, and three liquor glasses, h. 5‑1/4”. [100/200] 1283 Anglo-Irish Cut-Glass Compote, mid‑19th century, made of lead crystal wtih a faceted design, with a scalloped footrim and upper edge, h. 7”, dia. 9”. [100/200] 1284 Group of English Regency Sylabub Glasses, first quarter 19th century, three richly cut in the strawberry pattern with fluted rims and two panel-cut, h. 4” to 4‑1/4”. [100/200]

1290

1285 Twenty-Seven Piece Group of Waterford Crystal Stemware, third quarter 20th century, comprised of eleven diamond point-cut wine glass, h. 6”, eight champagne flutes with fluted-over-diamond cutting, h. 6‑1/4”, and eight liquor glasses in a similar pattern, h. 3‑1/4”. [200/400]

1286 Set of Six George III Sylabub Glasses Together with a Pillar-Molded Finial Glass, fourth quarter 18th century, the six conical glasses panel-cut with fluted ribs near the top, with like decoration on the top edges, h. 4”. and the Anglo-Irish finial glass made to top a tier of glass dessert stands, h. 6”. [300/500] 1287 George III-Style Mahogany Dumbwaiter, mid‑19th century, with three graduated tiers, all circular with dished edge, supported by turned and spiral-reeded supports, raised on an urn-form standard to three splayed cabriole legs headed by foliate-carving and ending in ball-and-claw feet, h. 44‑1/2”, dia. 23‑1/2”. [400/700]

1288 Suite of Six George III-Style Mahogany Sidechairs, 20th century, in the Adam taste, each with a shield-form back with carved drapery, the padded seat raised on molded tapering square legs joined by an H-form stretcher and ending in spade feet, h. 37‑1/2”. [1200/1800] Illustrated 1291

158

1293 Impressive Set of Minton Service Plates, English, 1916, the plates decorated with raised gilt cartouches with pink grounds alternating with reserve hand painted reserve panels of baskets and flowers, the reverse with a transfer printed gilt Minton mark and the initials: "CPM, 1916", dia. 11”. [8000/12000] Illustrated

1295

1289 George III-Style Mahogany Games Table, late 19th century, the bowed top with earred corners and rosewood banding, hinged and opening to a baize-lined interior, tapering square legs ending in ringed feet, h. 29”, w. 35”, d. 17‑1/2”. [600/900]

1294 Spode Partial Dinner Service, made in April, 1927 and retailed by Mortlocks, Ltd., London, the molded edges decorated with gilt borders and pairs of feathers or leaves in cobalt blue, comprised of sixteen dinner plates, dia. 10‑3/4”, thirteen soup plates, dia. 10‑3/4”, twentyfour luncheon plates, dia. 9”, and twelve bread and butter plates, dia. 7”, marked with an impressed “A” over “27”, along with a transfer printed mark, “Spode Copeland China England” and a Mortlocks transfer printed mark. [300/500] 1295 Pair of Georgian Seamed Petal-Base Brass Candlesticks, third quarter 18th century, h. 5‑3/4”, together with Pair of Georgian-Style Tapersticks, fourth quarter 19th century, h. 5‑1/4”, both dia. 3”. [300/500] Illustrated

1293

1290 Set of Six Royal Worcester Richly Gilded Porcelain Dinner Plates, painted by the celebrated William Rushton, first quarter 20th century, each with a different English landscape view signed by Rushton, produced for Tatman, Chicago, and so marked on the reverses, dia. 10‑3/4”. A similar set of fine Rushtondecorated Worcester plates was in the collection of celebrated Chicago hostess Mrs. Potter Palmer and remains in the possession of the Palmer descendants. [400/700] Illustrated

1291 Regency-Style Mahogany Dining Table, the rounded top with reeded edge and banded brass string-inlaid border, raised on three pedestals, each with a turned vasiform standard to four splayed brass inlaid legs ending in brass paws on casters, with two 20” leaves, h. 20”, d. 39”, l. 96”, ext. l. 136”. [800/1200] Illustrated 1292 George III Mahogany Bowfront Sideboard, early 19th century, the bowed top above a conforming case fitted with a central cutlery drawer over a recessed tambour cupboard, flanked to one side by two graduated short drawers and to the other by a deep cellarette drawer, raised on tapering square legs ending in spade feet, h. 37”, w. 67”, d. 28‑1/2”. [1500/2500] Illustrated

1292

159

1296 George III Mahogany and Brass Cellarette, early 19th century and later, the hexagonal case with a hinged top opening to an open interior, the body with triple brass banding and carrying handles, raised on a stand of splayed square legs, h. 28”, dia. 19”. [500/800] Illustrated

1309

1310

1297 Suite of Eight Hepplewhite Mahogany Dining Armchairs, six first 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”. [1200/1800]

1296

1300 Circle of Charles Napier Henry (British/French, 1841‑1917) “The Bass Rock, with Boats”, oil on canvas, unsigned, titled and illegibly signed on stretcher verso, 11‑1/2” x 17‑1/2”. Presented in a period giltwood and gesso frame. [500/800] 1301 British School (Fourth Quarter 19th Century) “Fishing Vessels on a Choppy Sea”, gouache on paper, signed lower left “D. Bates”, sight 18” x 27‑1/2”. Glazed and framed. [300/500] 1302 Joseph Kennedy (British, 19th Century) “Bringing in the Catch”, oil on panel, signed lower left “J. Kennedy”, 5‑3/4” x 9‑1/2”. Presented in a period giltwood frame with brass artist plaque. [400/700]

1298 George III-Style Mahogany Window Seat, of box form, the padded back and sides above the like seat, raised on chamfered square legs joined by an H-form stretcher, h. 18”, w. 43”, d. 30‑1/2”. [150/300] 1299 British School (Fourth Quarter 19th Century) “Seascape with a Rocky Shoreline”, oil on board, signed lower left “H.B. Carter”, 28” x 42”. Presented in a period giltwood and gesso frame. [1000/1500]

160

1312

1315 1310 English Brass-Mound Mahogany Bucket, first quarter 19th century, the stave-constructed bucket mounted with a hammered brass swing handle and banding and fitted with a later brass pail liner, h. 16”, dia. 14”. [300/500] Illustrated 1311 Pair of Georgian-Style Andirons Now Mounted as Lamps, first quarter 20th century, round faceted finials trimmed with reeded edges, resting on square plinths supported by arched paw feet, now on mahogany bases, h. 28”. [150/300]

1303 George III Mahogany Tall Case Clock, fourth quarter 18th century, the hood with a broken arch pediment and fan-inlaid rosettes, the painted face featuring a moon dial and floral decorated corners, and flanked by double-fluted columns, the case with full fluted columns flanking the door and the base with fan-inlaid corners and raised on ogee bracket feet, the movement featuring time, strike and calendar date, h. 90”, w. 22”, d. 10”. [1800/2500] 1304 Large Pair of George III-Style Gilt-Bronze Carriage Four-Light Lanterns, each of square form and with a domed cupola with foliate finials above a central standard with four sockets, within an etched glass case with a pendant foliate knop, h. 48”, w. 19‑1/2”, d. 19‑1/2”. [2500/4000] 1305 Late Georgian Cast-Brass Door Knocker, c. 1800, retaining its period iron fixing nut and bolt, h. 7”, w. 2‑1/2”, d. 5‑3/4”. [150/250] 1306 Pair of George III Brass Candlesticks, first quarter 19th century, English, the bases with beaded trim rising to a tapered fluted shaft cupped with a beaded bobeche, fitted with push-ups, h. 10‑1/4”. [100/200] 1307 George III Brace and Iron Fire Fender, fourth quarter 18th century, the pierced fender is molded and shaped with swags and bowknots with engraved details, under a beaded and pierced upper border, h. 4‑3/4”,40”, d. 4‑1/2”. [200/400] 1308 Set of English Victorian Brass and Steel Fire Tools, fourth quarter 19th century, comprised of a long shovel, a long log fork, a long pair of tongs, and a pair of tool rests, the tool rests with turned supports on cabriole legs and with matching turnings on each handle in the set, tools h. 35” to 36”. [200/400]

1312 George III-Style Mahogany Settee, c. 1900, the domed and padded back joined by padded downswept arms to the cushioned bowed seat, raised on tapering chamfered square legs, h. 37”, w. 79‑1/2”, d. 25”. [1000/1500] Illustrated

1316 pair 1313 George III Mahogany Bowfront Sideboard, fourth quarter 18th century and later, the bowed top with stringinlaid edging above a conforming case fitted with a long frieze drawer over a short drawer to each end, raised on tapering square legs, h. 32‑1/4”, w. 40‑1/2”, d. 21‑1/2”. [800/1200] 1314 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”. [100/200]

1309 English Brass and Mahogany Bucket, first quarter 19th century, the stave-constructed bucket mounted with a hammered brass swing handle and banding and fitted with a later brass pail liner, h. 17”, dia. 15”. [300/500] Illustrated

161

1318

1315 Pair of George III-Style Mahogany Demi-lune Game Tables, early 20th century, each with a bowed top opening to a larger gaming surface, above a highly figured frieze, raised on tapering chamfered square legs, h. 29”, w. 39”, d. 17‑1/2”. [1500/2500] Illustrated Previous Page

1318 George III-Style Mahogany Side Table, 20th century, the rectangular top with a shaped front and projecting canted corners, above a conforming fluted frieze centered by an urn-carved drawer, raised on tapering square stopfluted legs ending in block-on-ball feet, h. 33‑1/2”, w. 64”, d. 26”. [2500/4000] Illustrated

1316 Pair of George III-Style Argente Looking Glasses, late 19th century, in the Adam taste, each with a floral and ribbon pierced crest centered by a small oval mirrored panel, the rectangular plate bisected and within an annulated molded frame with applied bellflower garland to either side, h. 50”, w. 18‑1/2”. [900/1200] Illustrated previous page

1319 George II-Style Fruitwood Armchair, the rounded interlacing back joined to the padded seat by molded scrolling arms, raised on cabriole legs headed by bellflower carving and ending in foliate pad feet, h. 35”. [300/500]

1317 George III-Style Mahogany Bench, early 20th century, the padded rectangular top raised on tapering square stopfluted legs ending in spade feet, h. 17”, w. 36”, d. 12‑1/2”. [100/200]

1320 Pair of George III-Style Mahogany Armchairs, early 20th century, in the rococo taste, each with a padded and domed back joined by scrolling arms to the padded seat, raised on molded cabriole legs ending in scrolled toes, h. 35‑1/2”. [200/400]

162

163

Session III Sunday, March 4, 2012 11:00 a.m. CST â&#x20AC;&#x201C; Lots 1321-1961

1321-1332

1321 Chanel, Paris, Black Diamond-Stitched Silk Satin Clutch, the gusset inset with black lambskin, the flap with rhinestone-inset gold interlocking “C’s”, the exterior back with a slip pocket, the interior lined with black lambskin and silk moire and stamped in gilt: “CHANEL” above interlocking “C’s within a circle” on the lower flap, the back side with a zippered pocket stamped in gilt: “MADE IN FRANCE” below the zipper, the lower center bearing the authenticity numbers, an associated black Chanel box included, h. 5”, w. 6‑1/2”, d. 1”. [300/500] Illustrated 1322 Chanel, Paris, Beige Quilted Lambskin Camera Bag, the front pocket flap with trapunto interlocking “C’s”, the interior self-lined, one side with a zippered flat pocket stamped in gilt: “CHANEL”, the pocket interior bearing the authenticity number with the corresponding black plastic card, the opposite side stamped in gilt: “MADE IN ITALY”, the top zipper with a with a “quilted” gold capped self tassel suspended from a short leather-laced gold chain matching the strap, retains the original box and dust bag, h. 7”, w. 9”, d. 2‑1/2”, strap drop: 17”. [400/700] Illustrated 1323 Chanel, Paris, Chocolate Brown Quilted Lambskin Fold Over Shoulder Bag, the flap with a double trapunto edge, the underside with trapunto interlocking “C’s”, the interior self-lined with a rear zippered flat pocket stamped in gilt: “CHANEL”, the pocket interior with the authenticity number, one side with a self leather tassel bound in a textured gold cap marked with raised interlocking “C’s”,with a leather-laced gold chain shoulder strap, h. 6‑1/2”, w. 9”, d. 3”, strap drop: 17‑3/4”. [400/700] Illustrated 1324 Chanel, Paris, Black Quilted Suede Drawstring Shoulder Pouch, the flat bottom with trapunto interlocking “C’s”, the black lambskin-lined interior with a zippered pocket stamped in gilt: “CHANEL” above the zipper, the interior bearing the authenticity numbers, the leather drawstring finished on both ends with a gold button having interlocking “C’s”, a leather-laced gold chain attached, dust bag included, h. 6‑1/2”, w. 6‑1/2”, d. 4‑1/2”, chain drop: 19‑1/2”. [300/500] Illustrated

166

1325 Chanel, Paris, Black Quilted Patent Leather Camera Bag, the front with trapunto interlocking “C’s”, the lambskin-edged top zipper with a “quilted” gold-capped lambskin tassel, the interior lined with black lambskin, one side with a flat zippered pocket stamped in gilt: “CHANEL”, the pocket interior bearing the authenticity number, the opposite side stamped in gilt: “MADE IN ITALY”, with a leather-laced gold shoulder strap, the dust bag included, h. 6‑1/2”, w. 9”, strap drop: 17”. [400/700] Illustrated 1326 Chanel, Paris, Gold Quilted Lambskin Evening Bag, the exterior back with a slip pocket, the self-lined interior with a slip pocket stamped in gilt: “CHANEL”, the authenticity number intact, with a removable gilt chain, hardware fully marked, retains the original box and dust bag, h. 4‑1/4”, w. 6‑1/2”, d. 2”, chain drop: 20‑1/4”. [300/500] Illustrated 1327 Chanel, Paris, Dark Navy Quilted Lambskin “2.55” Flap Handbag, opening to an burgundy lambskinlined flap-covered slip pocket and interior pouch with trapunto interlocking “Cs” and “CHANEL” stamped in gilt above two half-gusseted pockets, with a slip pocket in front of and behind the pouch, the flap interior with a small flat zippered pocket, a small slip pocket on the rear exterior, the leather-laced gold chain convertible, the gold closure fully marked, dust bag included, h. 6‑1/4”, w. 10”, d. 2‑3/4”, handle drop: doubled 9”, extended 16”. [400/700] Illustrated 1328 Chanel, Paris, White Quilted Lambskin Pouch, the flap with a “quilted” gold-capped self tassel, the bag with trapunto interlocking “C’s” on the flat base, the self-lined interior with two deep compartments, the center piece with a flat zippered pocket stamped in gilt: “CHANEL”, the pocket interior bearing the authenticity number with the corresponding black plastic card, the opposite side stamped in gilt: “MADE IN ITALY”, with double leatherlaced chains, dust bag included, h. 8”, w. 8‑1/2”, d. 4”, strap drop: 17”. [400/700] Illustrated

1329 Chanel, Paris, Chocolate Brown Quilted Suede and Kidskin Drawstring Bag, the drawstrings ended in “quilted” gold balls marked with interlocking “C’s”, the side with a vertical zippered pocket, the zipper with a matching “quilted” gold ball suspended from a leather strip as above, the strap with a segment of leather-laced gold chains, the brown kidskin lined interior with opposing zippered pockets, one stamped in gilt: “CHANEL”, the other stamped in gilt: “MADE IN ITALY” within an oval, a black Chanel dust bag included, h. 9”, w. 10”, d. 6‑1/2”, strap drop: 19”. [300/500] Illustrated 1330 Chanel, Paris, Taupe Quilted Lambskin Shoulder Bag, the interior self-lined, one side with a zippered flat pocket stamped in gilt: “CHANEL”, the pocket interior bearing the authenticity number with the corresponding black plastic card, the opposite side stamped in gilt: “MADE IN ITALY” within an oval, the recessed top zipper with a gold “luggage tag” stamped: “CHANEL/31 RUE CAMBON/ PARIS” and interlocking “C’s” suspended from a leatherlaced gold chain, with double matching gold toggle-end chains, dust bag included, h. 8‑1/2”, w. 10‑1/2”, w. 2‑3/4”, strap drop: 12”. [400/700] Illustrated 1331 Chanel, Paris, Black Quilted Lambskin Large Shoulder Bag, the self-lined interior with a zippered flat pocket on both sides, one pocket stamped in gilt: “CHANEL” with the interior bearing the authenticity number, the recessed top zipper with a gold circle enclosing interlocking “C’s” suspended from a leatherlaced gold chain, matching leather-padded double chains, dust bag included, h. 12‑1/2, w. 17‑1/2”, d. 6‑1/2”, chain drop: 12”. [600/900] Illustrated

1334 Two Louis Vuitton, Paris, Chestnut Scored-CalfTrimmed Monogram Canvas Items, the first example a small convertible bag, the trimmed snap flap with a gold “LV”logo within a circle, the scored calf-lined-interior with a half-gusseted zip pocket stamped in black: “LOUIS VUITTON/PARIS/MADE NI FRANCE”, the strap removable for use as a clutch, h. 6‑1/4”, w. 9‑1/2”, d. 1‑1/4”, strap drop: 18‑1/4”, the second example a snap flap wallet completely lined with scored calf opening to a large snap coin pocket, six credit card slots and a bill slot, the flap stamped in black: “LOUIS VUITTON/PARIS/made in U.S.A.” h. 4”, w. 7‑1/2”. [150/300] Illustrated 1335 Two Louis Vuitton, Paris, Cowhide Trimmed Beige Patent Leather Monogram Handbags, the first example a two strap “Bedford” bag, lined with beige faux leather with the embossed Louis Vuitton logo, h. 6”, w. 12”, handle drop: 6”, the second example a “Lexington” pochette with a thin cowhide strap, the interior lined with beige faux leather with the embossed logo, h. 4‑3/4”, w. 8”, d. 1‑1/2”, strap drop: 5‑1/2”. [200/400]

1333

1332 Chanel, Paris, Dark Navy Quilted Lambskin Shoulder/Handbag, the open top fronted with interlocking “C’s” and having a magnetic interior closure, the interior self-lined, one side with a deep slip pocket, the opposite side with a deep faille-lined zippered pocket stamped in gilt: “CHANEL/MADE IN FRANCE”, with a leather-laced gold convertible slip chain, dust bag included, h. 9”, w. 12‑1/2”, d. 4‑1/4”, chain drop: 9‑1/2” and 18” extended. [400/700] Illustrated

1333 Louis Vuitton, Paris, Cowhide Trimmed Classic Monogram Canvas “Alma” Handbag, the top with dual brass zippers, one with a brass padlock, the key lacking, the interior lined in toast cotton with a single cowhide-trimmed slip pocket, with two round stitched leather handles, the removable strap lacking, the hardware fully marked bag, h. 9‑1/2”, w. 12‑1/2”, d. 6”, handle drop: 3”. [250/400] Illustrated

1334

167

1336 Louis Vuitton, Paris, Mustard Yellow Epi Leather “Alma” Handbag, the top with dual brass zippers, one with a small padlock, keys included, and opposing dual brass rings for use with the removable shoulder strap, with two round stitched leather handles, the amethyst suedelined interior with one yellow epi-edged slip pocket embossed: “LOUIS VUITTON/PARIS/MADE IN FRANCE”, h. 8‑3/4”, w. 12‑1/2”, d. 6‑1/2”, handle drop: 4‑1/4”, strap drop: 17‑1/2”. [300/500]

1339

1337 Louis Vuitton, Paris, Cowhide-Trimmed White and Multicolored Monogram Canvas “Speedy” Bag, with two stitched round leather handles, the zippered top with side lock and key tab, the front with a lockable gusseted flap pocket, keys present, lower corners with brass brackets and integral feet, the interior lined with beige suede having one zippered pocket with an embossed leather label, the authenticity numbers on an interior leather tag, hardware fully marked, h. 8‑1/4”, w. 11‑1/2”, d. 7”, handle drop: 5”. [150/300] 1345

1338 Louis Vuitton, Paris, Mini “Ribera” Damier Ebene Canvas and Chocolate Brown Leather Handbag, the interior lined with red sueded deerskin, the brown leather identification tag intact, one side with a small flat zippered pocket bearing a stitched brown leather label stamped: “LOUIS VUITTON/PARIS/ made in france”, the hardware fully marked, h. 5‑1/4”, w. 9‑3/4”, d. 5‑1/4”, handle drop: 3”. [100/200]

1339 Two Christian Dior, Paris, Bags, the first example a black “Cannage”-quilted lambskin “Lady Dior” handbag, the handles and gold “D.I.O.R.” letters suspended from gold rings, the red logo fabric-lined interior with one zippered pocket with a black leather tag stamped in gilt: “Christian Dior/Paris”, h. 7‑1/4”, w. 9‑3/4”, d. 4‑1/2”, handle drop: 4‑1/4”, the second example a taupe leather and fabric logo shoulder bag, the strap on one side with segments of silver “D.I.O.R.” letters, a silver “D” suspended on a ring on the other strap, the tan logo fabric-lined interior with two pockets on one side and a zippered leather-trimmed pocket with a taupe leather label embossed: “Dior/SLIM MARK” on the opposite side, h. 6‑1/4”, w. 12‑1/4”, d. 6”, handle drop: 7‑1/2”. [300/500] Illustrated 1340 Prada, Milan, Large Tan Deerskin and Rope Hobo, the front embossed with the Prada logo, the rope handle attached to a large silver ring at each side, the interior fully lined with chocolate brown logo fabric, with one zippered pocket bearing the brown enameled silver Prada label, h. 15”, w. 15”, d. 6”, handle drop: 13”. [250/400]

168

1341 Two Bottega Veneta, Italy, Leather Shoulder Bags, the first example a dark navy woven leather oblong pouch with a deep snap front pocket, the top with a magnetic closure, with two long leather toggle straps, the interior lined with black logo-patterned fabric with a deep zippered pocket bearing a gold label: “BOTTEGA VENETA/MADE IN ITALY”, and a brown numbered authenticity tag, h. 9‑1/2”, w. 10”, d. 5”, strap drop: 18”, the second example a diamond-quilted chestnut brown suede flap saddle bag, the back with a magnetic snap pocket, the toggle strap woven of kidskin, the flap with a magnetic “TOHPO” magnetic closure and lined with matching kidskin, the body lined with purple satin with a front slip pocket and divided interior sections, the rear section with a zippered pocket holding a faux tortoise logo-stamped mirror and bearing a paper authenticity label, h. 8‑1/4”, w. 11”, d. 3”, strap drop: 20‑1/2”. [400/700] 1342 Chanel, Paris, Chestnut Brown Pebble Grain Belt, the buckle a rectangular self-leather-laced gold chain, the prong stamped: “CHANEL and interlocking “C’s”, the strap stamped in gilt: “CHANEL/MADE IN ITALY” and 85 over 34, overall l. 39‑1/2”, strap w. 1”. [75/125]

1343 Judith Leiber White Karung Belt, with a gilded matte and bright lion masque buckle centered on undulating plaques flanked by matching undulating bars, the contoured strap adjustable, the strap signed in gold script: “Judth Leiber”, strap w. 1”. [100/200]

1347

1344 Two Faux-Tortoise Ladies Belts, the first example a chocolate brown stretch belt with a whimsical faux-tortoise disc with a gilt-incised cat, lioness, tiger and elephant, each with rhinestone eyes, l. 31”, w. 2‑1/2”, the second a faux-tortoise vinyl belt with oval gold tone buckle, l.36‑1/2”, w. 1”. [100/200]

1350

1348

1349 1346 Dooney and Bourke White-Stitched Black Pebble Grain Leather Double Pocket Tote, the front with a circular black and silver metal label above two gusseted flap pockets with magnetic closures, both sides with a slip pocket and silver rings for use with the included shoulder strap, with two rounded and stitched handles, the top zipper ending with snaps, the Belgian linen-lined interior with a cell phone pocket on the front side and a zippered pocket on the opposite side bearing a stitched leather label, retains the numbered authenticity label, the underside with four silver feet, h. 10”, w. 13‑1/2”, d. 5”, handle drop: 4”. [300/500] 1347 Chanel, Paris, Red and Black “Stamps of the World” Silk Scarf, one corner with the circular logo, 30‑1/2” x 33”. [40/70] Illustrated 1348 Chanel, Paris, Chunky Gold Logo Belt, comprised of oval “quilted” links interspersed with textured interlocking “C’s”, adjustable size, overall l. 42‑1/2”. [150/300] Illustrated 1349 Chanel, Paris, Double Strand Gold and Pearl Necklace or Belt, comprised of alternating sections of gold links and baroque pearls, with a small oval gold tag stamped: “CHANEL/the logo/MADE IN FRANCE” at the clasp, l. 36‑1/2”. [200/400] Illustrated

1345 Two Delvaux, Brussels, Handmade “Jumping” Leather Items, the first example a white convertible bag, a pair of flat handles and the zipper band attached to the trapunto top edge with three gold rings, one of these with small looped self leather tag with a gold Delvaux “badge”, the strap removable, the unlined interior with a self leather hanging flap stamped in gilt: “DELVAUX/ BRUXELLES/HANDMADE IN FRANCE”, a slip pocket holds a white leather backed mirror stamped as before, h. 6‑3/4”, w. 10‑1/2”, d. 2”, handle drop: 1‑1/4”, strap drop: 18”, the second example a flat red snap envelope with an applied self leather Delvaux “badge”, stamped in gilt as above, the interior unlined, h. 6‑3/4”, w. 9‑3/4”. [300/500] Illustrated

1350 Elegant Full Length Hooded Ranch Mink Coat, retailed by Victor Sacks Furs, Philadelphia, with a black satin lining and a mink sash, size 12. [800/1200] Illustrated 1351 Unusual Red-Dyed Sheared Fur Jacket, retailed by Neiman Marcus, with a red satin lining, size 12. [300/500] 1352 Two Hermes, Paris, Silk Scarves, one example pale blue and ecru in the “Omnibus & Voitures de Place” design depicting assorted carriages, 34” x 35”, the second example red, white, coral, green and gold in a large carousel design, 35” x 35”. [100/200]

169

1353 Two Hermes, Paris, Pastel Floral Silk Scarves, in the “Oeillets sauvage et autres Caryophyllees” design by Niki Goulandris, one example in pinks, the other in blues, 35” x 35”. [200/400] 1354 Collection of Four Vintage Handbags, comprised of an interesting tapestry and brass frame bag, with a cabochon malachite pull tab closure, the reticulated brass top inset with turquoise and carnelian beads topped with a serpentine ring, the ecru satin lined interior with one slip pocket, h. 12‑3/4”, w. 13”, d. 1‑1/2”, ring dia. 2‑1/2”, a finely beaded Le Gout de Jour, Paris, gilt-brass frame evening bag with a snake-link chain handle, the flip over closure decorated with rose champleve flowers, the cream silk satin lined interior with a slip pocket, a flip over silk-backed mirror and a small silk coin pouch closed with a gold ring attached by a looped boullion strap, h. 6”, w. 9”, d. 1/2”, handle drop: 3”, another richly handbeaded Le Gout de Jour, Paris, frame evening bag, the body and handle in a swirling seed pearl and crystal bead design, with a flip over snap closure designed as a green moonstone and rhinestone blossom, the cream silk satin lined interior with two slip pockets, h. 6”, w. 8‑1/4, d. 1/2”, handle drop: 5‑1/4”, and a Richere hand-beaded seed pearl frame evening bag, the closure set with rhinestones, the cream satin lined interior with one slip pocket, h. 5”, w. 9‑1/2”, d. 1”, handle drop: 4‑3/4”. [100/200]

1359

1360

1356

1357 Lady’s Silver, Diamond and Jet Tassel Necklace, composed of a jet bead necklace suspending a Victorianstyle pendant set with diamonds and suspending a twentyfour strand jet bead tassel. [700/1000] 1358 Fourteen Karat White Gold Enhanced Black Diamond Ring, the 8.40 carat center black enhanced diamond surrounded by bright-cut and bead set single white diamonds weighing approximately 1.95 carats total weight. [4500/7000]

1355 Vintage Judith Leiber Black Silk Satin and Jet Evening Clutch, having a flat bow mounted on a band of jet stones encircling the bag at one side, the interior stamped in gilt script: “Judith Leiber” and bearing a white Bonwit Teller label on the rear scalloped slip pocket, the opposite side with another slip pocket, a tiny black satin coin purse included , h. 4‑1/2”, w. 7‑3/4”, d. 1‑1/4”. [150/300] 1356 Fine Eighteen Karat Yellow Gold, Silver and Diamond Lady’s Fleur-de-Lis Pendant/Pin, the silver topped yellow gold body set with 1.49 carats of mixed-cut white diamonds in the form of a fleur-de-lis with pin back and pendant bale. [1400/1800] Illustrated

170

1359 Spectacular Eighteen Karat White Gold and Diamond Openwork Cuff Bracelet, the wirework frame of horizontal lines pave-set with small white diamonds and set with medallions set with round, cushion triangle, rectangular and marquise cut diamonds with borders of small diamonds, the medallions set variously with fancy yellow and white diamonds, total weight of yellow diamonds is 14.59 carats, total weight of large white diamonds is 13.90 carats and total weight of small diamonds is 7.13 carats. [60000/90000] Illustrated 1360 Dramatic Eighteen Karat Two-Color Gold and Canary Diamond Lady’s Ring, composed of a central bezel-set canary-colored pear-cut diamond weighing 7.50 carats surrounded by a row of white brilliant-cut diamonds and a marquise and round brilliant-cut diamond set shank. [50000/80000] Illustrated

1361 Lady’s Fourteen Karat White Gold and Diamond Oval Cluster Ring, in the Art Deco style, of oval outline with central stylized sunburst design, pave and prong-set with mixed-cut diamonds. [900/1200]

1364

1362 Fine Lady’s Eighteen Karat White Gold and Diamond Pendant Necklace, composed of a fivestrand white gold necklace suspending a cruciform pendant and matching bale set with 2.98 carats of mixed-cut white diamonds. [4000/7000] Illustrated

1366

1363 Italian Tapered Link Sterling Silver Necklace, the flat graduated links with machine etched design laying flat and conforming to the contours of the neck, lobster claw clasp. [150/300]

1362

1365

1364 Spectacular Platinum, Diamond and Pearl Lariat Necklace, composed of a fine link chain bezel-set with approximately 124 bezel-set round-cut diamonds with an estimated weight of 20.0 carats, one end of the lariat with a large pear-shaped pearl, the other with a diamond-set tassel. [8000/12000] Illustrated 1365 Fine Lady’s Eighteen Karat White Gold and Diamond Necklace, composed of forty-two bezel-set oval-cut white diamonds graduated to the center and interspersed with spacers of bezel-set round brilliant-cut diamonds, total diamond weight 28.0 carats. [70000/100000] Illustrated

171

1368 1370 Eighteen Karat White Gold Pink Sapphire and Diamond Ring, the bow-shaped ring centered by a 1.04 carat pink sapphire, surrounded by thirty-eight round faceted diamonds weighing approximately .15 carats total weight. [700/1000] 1371 Suite of Fourteen Karat Rose Gold, Aquamarine, Ruby and Diamond Jewelry, composed of a lady’s ring and matching earrings, each set with a central roundcut aquamarine surrounded by a border of baguette-cut rubies and rose-cut diamonds in the Retro Moderne style. [1200/1800] Illustrated

1369

1372 Beautiful Fourteen Karat Yellow Gold, Ruby and Diamond Necklace, comprised of ninety-five prong set oval mixed-cut natural rubies, approximate weight 63.26 carats, accented by one hundred and ninety prong set round brilliant-cut diamonds weighing approximately 2.64 carats total weight. [8000/12000]

1366 Beautiful Fourteen Karat Yellow Gold, Emerald and Diamond Pendant with Chain, the pendant featuring a 9.24 carat prong set pear-shaped mixed-cut emerald set within an elaborate diamond lattice gallery, terminating in a diamond set bail and supported on fourteen karat yellow and white gold chain, total approximate diamond weight 3.45 carats. [9000/12000] Illustrated previous page 1367 Lady’s Fourteen Karat Yellow Gold, Emerald and Diamond Ring, the 1.70 carat featured emerald set within a two-tiered diamond lattice gallery supported by diamond split shoulders on the band, approximate total diamond weight, .43 carats. [1800/2500] 1368 Dramatic Ruby, Diamond, Bakelite and Silver Cuff Bracelet, the black Bakelite body with silver hinges centrally set with an antique style eighteen karat yellow gold, silver medallion set with oval-cut rubies and rose-cut diamonds. [2000/4000] Illustrated 1369 Lady’s Fourteen Karat Yellow Gold, Garnet, Ruby and Diamond Dinner Ring, composed of a central oval-cut orange garnet surrounded by a border of round-cut rubies and old European-cut diamonds. [600/900] Illustrated

172

1377

1371

1373 Dramatic Fourteen Karat Yellow Gold, Ruby and Diamond Necklace, the necklace featuring a central prong set oval mixed-cut ruby weighing approximately 3.69 carats in a ruby and diamond set floret pendant supported by a ribbon of rubies and diamonds, with ninetythree prong set oval and round mixed-cut rubies weighing approximately 75.80 carats and with fifty-two prong set round brilliant-cut diamonds weighing approximately 2.74 carats. [7000/10000] 1374 Lady’s Fourteen Karat Yellow Gold, Aquamarine and Diamond Necklace, composed of a diamond set link chain set with four oval-cut aquamarines with a triangularcut aquamarine in the center and suspending a single drop set with an oval-cut aquamarine. [5000/8000]

1385

1382

1380 Victorian English Nine Karat Yellow Gold, Turquoise and White Agate Brooch, c. 1880, the circular frame centrally set with a domed cluster of turquoise cabochons and surrounded by a border of white agate beads topped by turquoise cabochons. [700/1000] 1381 Retro-Moderne Fourteen Karat Yellow Gold and Diamond Lady’s Bow Brooch, the yellow gold body in the shape of a pierced bow with diamond set center and diamond set pendants. [1500/2500] 1382 Lady’s Platinum Sapphire and Diamond Ring, composed of a central 1.52 carat rectangular-cut white diamond flanked by two rich blue rectangular-cut sapphires with a total weight of 2.30 carats, all in an Art Deco style diamond accented mounting. [15000/25000] Illustrated

1375 Lady’s Fourteen Karat White Gold and Aquamarine Dinner Ring, composed of a large oval-cut central aquamarine surrounded by light pear-cut aquamarines in an etched white gold mounting. [1800/2500] 1376 Fine Eighteen Karat Yellow Gold and Enamel Pendant Watch, of canted rectangular form, gold frame, stem and bale, the face finely enameled with a pastoral scene of a maiden and a sheep in a landscape setting and black enamel numerals. [300/500] 1377 Large, Impressive Eighteen Karat Yellow Gold and Kunzite Pendant Brooch, composed of an abstract branch frame centrally set with a large pear-cut kunzite of rich pink color. [3000/5000] Illustrated 1378 Good Fourteen Karat Two-Color Gold, Ruby and Diamond Retro-Moderne Bow Brooch, c. 1940, the body in the form of a ribboned bow in rose and yellow gold with a central knot of calibre-cut rubies and round-cut diamonds. [1200/1800] 1379 Dramatic Fourteen Karat Yellow Gold, Emerald and Diamond Floral Brooch, the body fashioned as pendant foliage topped by a cluster of emerald centered flowers with diamond accents. [1800/2500]

1383 Fourteen Karat White Gold, Sapphire and Diamond Ring, the central pear shaped mixed-cut blue sapphire weighing approximately 1.92 carats, surrounded by fortyeight prong and bead set round brilliant-cut diamonds bordering the sapphire and with three rows on each side of the band, approximate total diamond weight .53 carats. [1800/2500] Illustrated 1384 Victorian Eighteen Karat Yellow Gold, Silver, Sapphire and Diamond Necklace, the silver topped yellow gold frame set with single-cut diamonds and ovalcut blue sapphires on a three-part flexible frame and suspended from a fine link chain. [1800/2500] 1385 Superb Pair of Lady’s Platinum, Sapphire and Diamond Stud Earrings, each of canted rectangular form centrally set with an intense blue rectangular stepcut sapphire surrounded by a single row of baguette-cut white diamonds, total sapphire weight is 7.39 carats, total weight of diamond is 1.70 carats. [15000/25000] Illustrated 1386 Fine French Platinum, Sapphire and Diamond Bar Pin, fashioned as a bow atop the bar set with central lines of calibre-cut blue sapphires flanked by old European-cut diamonds. [1400/1800]

1383

173

1395 European Eighteen Karat Yellow Gold Heart Bracelet, composed of double strands of interlocked mesh links with a central heart-shaped medallion cast with a heart-shaped opening. [250/400]

1388

1387 Lady’s Fourteen Karat Two-Color Gold Sapphire and Diamond Pendant Cross, the body composed of a Latin cross in alternating yellow and white gold set with alternating calibre-cut blue sapphires and round brilliantcut white diamonds. [2500/4000] 1388 Long Rope of Ribbed Baroque Cultured Pearls, the extremely long rope of white rose ribbed freshwater pearls with medium lustre, l. 122”. [800/1200] Illustrated 1389 Pair of Eighteen Karat Yellow Gold, Pearl and Diamond Pendant Earrings, each composed of a bezelset diamond stud suspending a fan-shaped pendant set with round brilliant-cut diamonds and ending in a white rose oval pearl pendant. [2000/4000] 1390 Good Fourteen Karat White Gold, Tahitian Pearl and Diamond Ring, composed of a central 14.5 mm Tahitian pearl set on each side by a total of twenty-four prong set round brilliant-cut diamonds weighing approximately 1.72 carats total weight. [1800/2500] 1391 Good Strand of White and Peach Colored Pearls, averaging 10mm in diameter, the pearls alternating with peach and white pearls throughout the strand, of spherical shape with high luster, l. 32”. [600/900] Illustrated

1396 European Eighteen Karat Yellow Gold and Topaz Bracelet and Earring Set, the bracelet composed of interlocking oval links with a circle and bar clasp, the bar set with pyramid cut topaz, the earrings of pendant oval links en suite with the bracelet. [300/500]

1397 Good Strand of Spherical Pink Pearls, slightly graduated from approximately 12.5mm to 15.5mm in diameter, the color of soft pink with good luster and spherical shape, l. 24”. [1000/1500] Illustrated 1398 Suite of Pink Pearl Necklace and Earrings, the necklace composed of 11.0 mm pink cultured pearls with even color and high luster and a pair of matching stud earrings. [600/900] 1399 Good Strand of Cream/White Pearls, the pearls of slightly off round shape with high luster and averaging 9.0 mm with a diamond set white gold double clasp. [400/700] 1400 Long Opera Length Strand of Golden Pearls, the ungraduated strand of intense golden-colored cultured pearls averaging 6.0 mm diameter. [600/900]

1391

1392 Two Pairs of Chanel Costume-Jewelry Earrings, one pair of dish shape set with a central faux pearl and having a faux pearl drop, the second of circular form topped with Chanel’s signature interlocking “C”’s. [150/300] 1393 Petit Lady’s Fourteen Karat Yellow Gold and Diamond Link Bracelet, composed of yellow gold squared link bracelet fronted by a band of round brilliant-cut white diamonds mounted in S-Shaped links. [300/500] 1394 Unusual Dimensional Eighteen Karat Yellow Gold and Diamond Lady’s Brooch, c. 1950, cast in the form of radiating leaves sprouting from the central figure of a pineapple topped with a cluster of round brilliant-cut diamonds. [200/400]

174

1397

1408 European Eighteen Karat Yellow Gold Necklace , composed of two entwined yellow gold mesh bands set with spherical beads between the crossed bands, stamped on the clasp with the maker’s initials, registration mark and 750. [400/700]

1401 Subtle Strand of Deep Rose-Colored Cultured Pearls, the ungraduated strand with the pearls averaging 10 mm in diameter in a pastel shade and having a diamond set white gold clasp. [400/700] 1402 Unusual Strand of Varicolored Large Baroque Pearls, the abstract shaped baroque pearls in shades of gold, white, lavender and gray with a diamond set double flower clasp. [600/900] 1403 Lady’s Eighteen Karat Yellow Gold Emerald and Diamond Ballerina-Style Ring, composed of a central rectangular step-cut emerald of rich color weighing 6.50 carats surrounded by a row of baguette-cut white diamonds with an estimated total weight of 3.50 carats. [15000/25000] Illustrated 1404 Lady’s Eighteen Karat Yellow Gold, Tourmaline and Diamond Saddle Ring, of rectangular across the finger outline set with baguette-cut green tourmalines and round brilliant-cut white diamonds in an abstract pattern. [800/1200] 1405 Good Tiffany and Company Eighteen Karat Yellow Gold, Emerald and Diamond Lady’s Ring, designed as a band ring set diagonally with bands of round-cut diamonds and emeralds in alternating channels, size 6‑1/2. [500/800]

1403

1414

1409 Gilt Bronze, Enamel and Paste Jewelry Box in the Faberge Taste, contemporary, of rectangular form, decorated with laurel banding and yellow guilloche enamel, the lid with a lattice pattern connected by facted simulated diamonds and surrounding Imperial double eagles, centered by a simulated diamond cartouche with the Imperial cypher of Nicholas II, opening to reveal white suede interior, w. 3‑3/4”, d. 2‑1/2” [200/400]

1410 Lady’s Eighteen Karat Yellow Gold, Coral and Diamond Dinner Ring, the open wirework body centrally set with a rectangular cabochon of Mediterranean coral and set with scattered mixed-cut diamonds. [1800/2500] 1411 Good Cynthia Bach Eighteen Karat Yellow Gold, Mother-of-Pearl and Diamond Crown Brooch, one of the designer’s signature designs, the yellow gold crown frame topped by a fleur-de-lis set with mother-of-pearl plaques and outlined in round brilliant-cut diamonds. [500/800] 1412 Art Deco Style Lady’s Eighteen Karat Yellow Gold, Onyx and Diamond Ring, centrally set with a canted rectangular black onyx plaque surrounded by a single row of white diamonds and having a three-line plaque set with diamonds extending over the onyx plaque. [1200/1800]

1406 American Fourteen Karat Yellow Gold and Emerald Frog Ring, cast in the form of a tree frog with splayed rear legs and the front legs grasping the finger, the realistically cast body set with emerald eyes. [300/500] 1407 Cartier Eighteen Karat Gold Triple Band Ring, composed of three entwined yellow gold rounded top bands, size 9. [900/1200]

1413 Lady’s Fourteen Karat Yellow Gold and Diamond Segmented Necklace, composed of shaped yellow gold bars set in the lower section with diamond set floral clusters and having a cross-over at the front, estimated total diamond weight 2.0 carats. [800/1200] 1414 Fourteen Karat White Gold, Tanzanite and Diamond Pendant and Necklace, the 6.72 carat triangle mixedcut tanzanite pendant surrounded by two rows of prong set brilliant-cut round diamonds, the pendant dangling from a jump ring to a hoop attached by two T-shaped bars with prong set brilliant-cut round diamonds, 2.84 carats total approximate diamond weight, the whole hanging from a fourteen karat white gold chain. [7000/10000] Illustrated

175

1415 Fourteen Karat White Gold, Tanzanite and Diamond Cluster Ring, comprised of a central prong set round mixed-cut tanzanite weighing approximately 3.03 carats total weight surrounded by twenty-four round brilliant-cut diamonds in a petal-like pattern weighing approximately .76 carats total weight. [2000/4000] 1416 Striking Eighteen Karat White Gold, Tanzanite and Diamond Ring, the prong set square cushion mixed-cut tanzanite weighing approximately 4.54 carats total weight with one hundred seventy-six pave and bead set round brilliant-cut diamonds in a tiered bezel supported by split shoulders on the band, approximate total diamond weight 1.30 carats. [5000/8000] Illustrated 1417 Fourteen Karat White Gold, Tanzanite and Diamond Necklace, the single strand necklace with a single centered drop comprised of forty-three triangle cut tanzanites totaling approximately 17.41 carats total weight, surrounded by three hundred eighty-seven prong set brilliant-cut diamonds, totaling approximately 3.91 carats total weight. [6000/9000] Illustrated 1417

1416 1421 Bold Faceted and Graduated Jade Necklace, the necklace with large faceted graduated jade stones in mottled shades of green, l. 18”. [100/200]

1418 Bold Fourteen Karat White Gold, Tanzanite and Diamond Ring, the prong set central oval mixed-cut tanzanite weighing approximately 5.19 carats, set within a tiered diamond framed supported by diamond set split shoulders, the one hundred and twenty bead set round brilliant-cut diamonds weighing approximately 1.92 carats total weight. [4500/7000] 1419 Group of Extasia Colored Glass and Silverplate Costume jewelry,20th century, comprised of a pin centered with an intaglio, h. 3/4”, w. 2‑3/8”, and a pair of teardrop earrings for pierced ears, overall h. 1”. [60/90] 1420 Unusual Large Eighteen Karat Yellow Gold, Coral, Emerald and Diamond Custom Ring, composed of a large open bark-work mounting set with a carved coral head of Buddha mounted with emeralds, rubies and diamonds scattered on the top of the mounting. [2500/4000]

176

1422 Stunning Fourteen Karat White Gold, Tanzanite and Diamond Ring, the 7.92 carat prong set square emeraldcut tanzanite within a tiered alternating white and yellow gold diamond frame supported by diamond set shoulders, the tiered frames and shoulders of the band set with two hundred and sixty-six prong and bead set round brilliantcut diamonds weighing approximately 2.83 carats and with twenty-six channel set baguette-cut diamonds weighing approximately .25 carats on each side of the band, the gallery with open work. [7000/10000] Illustrated

1422

1423

1423 Lady’s Stainless Steel and Gold-Plated Patek Philippe Wristwatch, the canted rectangular body with silvered face, gold-tone markers and hands and attached to the original stainless steel and goldtone bracelet. [3000/5000] Illustrated 1424 Gentlemen’s Stainless Steel and Silver Cartier Wristwatch, of square outline with white guilloche enamel face with black Roman numerals and blue steel hands and having a stainless steel link bracelet. [2500/4000] Illustrated

1425 Eversharp “64” Skyline Fourteen Karat Gold Pen and Pencil Set, ca. 1945, Chicago, Illinois, including a fountain pen and mechanical propelling pencil, each with a black plastic barrel and plain fourteen karat gold cap, the pen with fourteen karat gold nib, l. 5‑1/4”. The Eversharp “64” Skyline set originally sold for $64, priced promotionally in conjunction with the CBS radio quiz show “Take It or Leave It”. The show popularized the catchphrase “The $64 Question”, to which it was re-named when it moved to NBC in 1947; another of the show’s catchphrases “You’ll be sorry!” - was widely used in Eversharp’s print advertisements. The Eversharp and “Take It Or Leave It” relationship was one of the most successful between a show and sponsor in the history of radio; Eversharp sold fifty thousand “64 Skyline” sets in the first two years of its production, no small feat considering the $64 price tag (equivalent to about $850 in today’s dollars). [75/125]

1428 Pair of Sterling Silver Hermes Retro Moderne-Style Earrings, each composed of a pyramidal-shaped top suspending an oval-shaped hoop drop, signed. [100/200] 1429 Large, Impressive Silver Cuff Bracelet by Yaaw Helle, of asymmetrical squared outline, the exterior cast in a checkerboard design of alternating smooth and lined squares in a basket weave design. [400/700] 1430 Beautiful Rock Crystal Graduated Spear-Point Necklace, the graduated rock crystal spear points, polished and faceted, l. 16”. [100/200] 1431 Large Faceted and Tumbled Aquamarine Necklace, the large aquamarine stones slightly graduated, faceted and lightly tumbled, l. 17”. [100/200] 1432 Beautiful Keshi Freshwater Pearl Necklace, the Keshi pearls graduated and with a high luster, l. 17”. [150/300] 1433 Three-Strand Labradorite Necklace, three entwined strands of polished and faceted free-form labradorite alternating with small faceted rondels, l. 17”. [125/250]

1424

1426 Pair of Lady’s Fourteen Karat Two-Color Gold, Topaz and Diamond Earrings, each composed of a rose gold frame set with a central fantasy-cut smoky topaz surrounded by a row of single-cut diamonds suspended from diamond set white gold hoops. [1400/1800] 1427 American Sterling Silver Cuff Bracelet by Bayanihan, the wide cuff bracelet cast as three parallel ridges, the bracelet of tapered shape, higher on one side, stamped on the inside with the Bayanihan mark and “925”. [200/400]

177

1434 Oversized Chinese Underglaze Blue and Iron-Red Bottle Vase, 20th century, the tapered globular body with cylindrical neck decorated with a continuous design of fiveclawed dragons in iron-red against a ground of waves in underglaze blue, h. 31‑1/2”. [3000/5000] Illustrated

1434

1438 Two Chinese Export Blue-and-White Porcelain Pieces, late Ming Dynasty, one a small saucer decorated with a phoenix among plants, the second a deep dish decorated with a phoenix among peonies and bamboo with a stylized hatch border with oval floral reserve panels, dia. 7‑3/4” to 10‑7/8”. [100/200] 1439 Large Japanese Saucer-Shape Export Serving Dish, 19th century, decorated in underglaze blue and polychrome enamels depicting a shi-shi among stylized clouds and flowering peonies, the base with a six-character mark in underglaze blue, dia. 11‑1/2”. [600/900] 1440 Two Chinese Blue-and-White Porcelain Export Soup Bowls, 19th century, each of deep form with flattened rims, decorated in underglaze blue with garden and lakeside landscape scenes, dia. 9”. [75/125] 1441 Two Pieces of Japanese Blue-and-White Porcelain, 20th century, the first a model of a crouching puppy with underglaze blue details, l. 7”, the second a hexagonal pierced perfumer or cricket cage with underglaze floral decoration and six openwork panels, dia. 3‑1/4”. [75/125] 1442 Chinese Blue-and-White Cylindrical Umbrella Stand, 20th century, of traditional export form decorated in underglaze blue with a continuous scene of phoenix birds among trees, rockwork, clouds and flowering plants, h. 24”. [800/1200]

1435 Large Chinese Iron-Red and Encre-de-Chine Vase, first half 20th century, of baluster shape with flared lip rim and lion head handles, decorated in iron-red with Buddhistic lions among flames and a calligraphic poem in black, h. 22‑3/8”. [400/700]

1436 Two Pieces Chinese Blue-and-White Export Porcelain, late 19th century, the first a luncheon plate with a central design of a pine tree and flowers with a border of prunus and cross-hatch panels, dia. 9”, the second a small canted rectangular tray in the Nanking pattern, l. 7‑1/4”. [75/125] 1437 Japanese Saucer Shape Serving Dish, 19th century, the circular dish with deep sides decorated in underglaze blue and red depicting songbirds perched on rockwork beneath flowering prunus trees, dia. 9”. [500/800]

178

1443 Chinese Red Lacquered Tabouret, early 20th century, the circular top with a central polychrome dragon and incised Greek-key border, above a pierced floral-carved frieze, joined to an incised concave stretcher shelf by cabriole supports ending in scrolled toes, h. 30”, dia. 20”. [150/300]

1444

1444 Pair of Chinese Blue-and-White Porcelain Jardinieres, late 19th century, each of tapered bulbous form with flattened lip rims, each decorated with continuous landscape scenes of pavilions and mountains alongside a lake, h. 10”. [900/1200] Illustrated 1445 Chinese Rosewood and Marble-Top Tabouret, late 19th century, the circular top with annulated edge and inset marble surface, above a conforming pierced foliate and wave-carved frieze, raised on cabriole legs ending in ball and claw feet, h. 18‑1/2”, dia. 20”. [200/400] 1446 Chinese Rosewood and Marble-Top Tabouret, late 19th century, the square top with an inset marble surface above a conforming lotus-carved frieze over a pierced fretwork apron, joined by foliate-carved supports to a dished stretcher shelf, raised on rounded legs ending in ball and claw feet, h. 34‑1/2”, w. 16‑1/4”, d. 16‑1/4”. [300/500] 1447 Southeast Asian Pierced hardwood Three-Fold Screen, early 20th century, each fold with a shaped crest above two heavily carved and pierced panels in various floral, foliate and avian designs, raised on tall square legs to casters, h. 74”, w. 69‑1/2”. [400/700] 1448 Nepalese Patinated Base Metal Figure of Manjushri, 20th century, the figure clad in Indian dress seated in the lotus position on a lotus stand, brandishing the Flaming Sword in one hand, h. 11‑1/4”. [300/500]

1454 Chinese Five-Piece Ebonized and Hardwood Child's Dining Set, 20th century, consisting of a table and four stools, the table with a circular top with inset glass over an applied bone and mother-of-pearl foliate and bamboo design, over a shaped frieze to paneled tapering legs ending in ball and claw feet, the stools each of triangular form and raised on like legs, all fitting under the table, h. 21‑1/2”, dia. 30”. [200/400] 1455 Rare Southeast Asian Pottery Brown and Celadon Glazed Jar, Khmer Empire, ca. 11th/12th century, the baluster-form body with fluted lip rim and ringed everted base, the body with a brown glaze and having a band of incised hatched mesh design at the neck and concentric rings at the base, the fluted lip rim glazed in celadon, h. 9‑3/4”. [300/500] 1456 Unusual Pair Japanese Pottery Shi-Shi, Probably Bizenware, Meiji Period (1868‑1911), each figure in dark pottery with a mottled glaze, the figures each seated on its haunches with fierce faces, manes and tails, one with a single horn, both with calligraphic inscriptions etched in the clay of the bases and seals, h. 7”. [300/500] 1457 Unusual Chinese Cast Bronze of a Puppy, 20th century, the charming figure of a rotund puppy seated on its haunches with stiff front legs, flop ears and a winesome expressions, signed in base, h. 7”. [200/400]

1449 Large Chinese Cast-Iron Figure of Guanyin, late 19th century, now mounted as a floor lamp, the figure with one arm down with her palm open, the other holding a lotus branch over her shoulder, the surface in a patinatedbronze finish, h. 60”, overall. [800/1200]

1458 Unusual Chinese Blue-and-White and Famille Rose Rice Bowl, Guangxu mark and period (1875‑1908), the interior decorated in underglaze blue with a central Shou character surrounded by lotus blossoms and scrolling foliage, the exterior decorated in famille rose enamels as overlapping lotus petals, the base with a six-character Guangxu reign mark in underglaze blue within a double circle, dia. 6‑1/4”. [400/700]

1450 Chinese Blue-and-White Covered Ginger Jar, 19th century, of tapered globular form with a continuous scene of pavilions by a lake and mountains in the background, all in cobalt blue against a crackle ground, original fitted cover, h. 8‑1/2”. [800/1200]

1459 Pair of Chinese Blue-and-White Porcelain Covered Ginger Jars, first half 20th century, each of bulbous shape with flattened covers decorated in underglaze blue with continuous scenes of lakeside pavilions beside a mountainous lake, h. 9‑1/8”. [250/400]

1451 Chinese Blue-and-White Molded Basin, the deep basin with flat rim with molded decoration of a sage riding a kylin in white relief against a cobalt blue ground body, the base with a figure of a kylin surrounded by calligraphy, dia. 16‑1/2”. [500/800]

1460 Chinese Export Blue-and-White Porcelain Charger, 20th century, the deep dish with shaped flattened rim decorated in underglaze blue with buildings beside a lake within a cross-hatch border, the rim with lotus, ruyi, and fish roe border, dia. 15‑7/8”. [300/500]

1452 Large Chinese Blue-and-White Porcelain Brush Pot, 19th century, in the Kangxi-style, decorated in underglaze blue with a continuous scene of figures among buildings in a mountainous lakescape with boats, h. 8”. [300/500]

1461 Large Pair Chinese Blue-and-White Porcelain Vases, 20th century, each of tapered-baluster-form with flattened rims, decorated in underglaze blue with reserve panels of avian design against a ground of flowers and foliage, h. 31‑1/2”. [400/700]

1453 Chinese Blue-and-White Porcelain Vase, 20th century, of basket form body with a flared neck, the body and shoulders decorated with bands of stylized archaic dragons, the neck decorated with ruyi heads and plantain leaves, the base with a six-character Qianlong seal mark, h. 12‑5/8”. [500/800]

1462 Pair of Japanese Underglaze Blue Vases, late 19th century, each of ribbed baluster form with crenelated flared lip rims, heavily decorated in underglaze blue with stylized floral decoration, h. 14‑3/8”. [500/800]

179

1463 Blue-and-White Chinese Export Soap Dish, second quarter 19th century, with a strawberry knop,h. 2”, w. 4”, l. 5”, together with a small Nanking platter, l. 8”, w. 6”. [150/300] 1464 Chinese Export Blue-and-White Canton “Guglet” or Water Bottle, third quarter 18th century, h. 9” dia, 4‑1/2”. Provenance: Matthew and Elizabeth Sharpe, Conshohocken, Pennsylvania. [150/300]

1467

1469

1479 1465 Two Chinese Export Blue-and-White Canton Patty Pans, second quarter 19th century, one dia. 5‑1/2”, the other dia 7”, the smaller in the “Willow” pattern. [100/200] 1466 Five Pieces of Chinese Export Blue-and-White Porcelain, including a pair of spoon trays, first quarter 19th century, 5” x 7”, a fruit bowl, 13” x 7”, a plate, fourth quarter 18th century, dia, 9”, and another plate, first quarter 19th century, dia. 8”. [250/400]

180

1467 French Aubusson Tapestry, 20th century, a tropical scene depicting “The Banana Harvest”, h. 115”, w. 66”. [600/900] Illustrated 1468 Machine Woven Belgium Tapestry, first half 20th century, depicting an Arabic scene, h. 51”, w. 47”. [300/500] 1469 Pierre Jules Mene (French, 1810‑1879), “The Arab Falconer” patinated bronze group, signed in the base “P.J. Mene” and the backside touchmarked “701”, h. 30”, w. 29”, d. 10”. [3000/5000] Illustrated 1470 Framed Collection of Five Asian Miniatures 20th century, consisting of two oval mother-of-pearl miniatures depicting courtly scenes, two rectangular miniatures on ivory depicting a sporting match and one on paper, depicting ladies in a garden, all glazed and handsomely presented in a shadowbox frame, 14‑1/2” x 11”. [1000/1500] 1471 Pair of Persian Miniature Paintings, 20th century, signed in Arabic upper right, 4‑3/4” x 3‑1/4”. Both glazed, attractively matted and presented in inlaid frames. [200/400] 1472 Five Middle Eastern Glass Vessels, of pale green glass, the trumpet shaped vessels having lower tubes on the interior, decorated with a pattern of black Moorish arch windows and with Middle Eastern script, h. 8”. [400/700] 1473 Two Nearly Identical Brass-Bound Miniature Chests, each constructed with dove-tailed hardwood cases, and with a series of drawers, each with brass corners, applied scrolled side-mounts and engraved coffer pin pulls, differing only in the details of the brass mounts, h. 4‑1/2”, w. 3‑1/2”, l. 5”. [150/300]

1480

1474 Edwardian Mahogany Butler’s Tray, early 20th century, the oval tray with a full raised brass gallery and carrying handles, raised on chamfered square legs, h. 21”, w. 28‑1/2”, d. 19‑1/2”. [300/500] 1475 Edwardian-Style Mahogany Cocktail Table, the banded rectangular top with hinged curved sides, raised on molded square legs joined by an H-form stretcher, h. 20”, w. 35‑1/2”, d. 26”. [250/400] 1476 Victorian Mahogany Campaign Chest, third quarter 19th century, the rectangular top with brass accents, above a case fitted with four long drawers, all with inset brass hardware and banding in the Campaign style, raised on a plinth base, h. 36‑1/4”, d. 37”, d. 22”. [500/800]

1484

1477 English Rosewood Victorian Lap Desk, second quarter 19th century, in the campaign style with brass corners and bands, the shieldshaped name plate on the cover reads, “P. Ross”, the writing slope lined with gilt tooled purple leather, h. 6‑3/4”, w. 15‑1/2”, d. 9‑1/4”. [150/300] 1478 Pair of Victorian Faux-Bamboo and Marble-Top Chests, late 19th century, each with a rectangular rouge Royale marble top with molded edge and turreted corners, above a conforming case fitted with five drawers, all with faux-bamboo banding and diamond patterns, flanked to either side by a fauxbamboo upright to ring-turned feet, h. 38‑1/2”, w. 21‑1/2”, d. 20”. [1500/2500]

181

1499 1498

1497 1501 1502

1493

1500 1495 1494

1479 French Aubusson Tapestry, 20th century, depicting an exotic orientalist garden pavillion, h. 97”, w. 43”. [600/900] Illustrated Previous Page 1480 Orientalist Cold Painted Metal Lamp, first quarter 20th century, in the Vienna Bronze style, depicting a camel with two figures resting under a tent of draped rugs against a stone wall, the bulb concealed by the tent, h. 9‑1/2”, w. 7‑1/2”, d. 4‑1/4”. [500/800] Illustrated Previous Page

1496

1481 Pair of Asian Cast-Brass Recumbent Deer, 20th century, each with intricate embossed saddles of Moorish design, h. 29”, l. 30”. [300/500] 1482 Victorian Mahogany Hunt Table, late 19th century, of demi-lune form, the top with reeded edge and removable demi-lune back piece, the back with trisected short drop leaves, raised on tapering fluted circular legs ending in brass caps and casters, h. 29”, w. 72”, d. 36‑1/2”, ext. d. 47”. [700/1000] 1483 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”. [200/400]

1486

1484 Pair of North African Inlaid Hardwood Bergeres, early 20th century, the backs with shaped crests over paneled square backs, joined to the padded seats by closed arms and sides, raised on block feet, the whole with elaborate and intricate inlays and banding in geometric patterns, h. 39‑1/2”. [2000/4000] Illustrated Previous page 1485 Unusual Indian Carved Bone Specimen, the piece retaining the shape of the original bone with one arc exhibiting the bone’s internal structure, well-carved all over with myriad figures, flowers and foliage, probably a practice piece for a student carved to show they were ready to be allowed to carve ivory pieces, l. 12”. [75/125] 1486 Large Pair of Chinese Baluster Vases, 19th century, each with applied dragons at the shoulders and Foo Dog handles, decorated in encre-de-chine and colors against a yellow ground with dragons among flowering vines, h. 24”. [700/1000] Illustrated

182

1487 Chinese Shaped and Molded Famille Jaune Vase, 20th century, of flattened baluster shape with flared neck and molded pomegranate handles, decorated in encre-dechine with flowering peonies, stems and foliage on a yellow ground, h. 14‑1/8”. [300/500] 1488 Chinese Carved Bamboo Brush Pot, 19th century, the slightly oval section of bamboo carved in low relief with a horse being led by a groom among rockwork and beneath a willow tree, a seven-character engraved calligraphic inscription, h. 6‑3/4”. [300/500] 1489 Chinese Carved Bamboo and Rosewood Brush Pot, late 19th to early 20th century, of slightly oval outline, the body carved in relief with generational figures in a grove of pine trees and a garden, the lip rim and base in rosewood, h. 6‑5/8”. [700/1000] 1490 Chinese Small Rosewood Brush Pot, 19th century, of slightly waisted outline, the body decorated with an engraved continuous landscape scene, a three column calligraphy inscription and an engraved seal, h.4‑5/8”. [300/500] 1491 Sophisticated Chinese Bamboo and Chicken Wing Wood (Jichimu) Brush Pot, dated fourth year Kangxi (1665), the slightly oval body carved in relief depicting the Lion Dance, with a sage and attendant, a drummer, two children setting off fireworks, the lion manned by two people and an adolescent boy carrying a small boy under a spreading pin tree, a seven-character engraved inscription reading “Kangxi Si Han, Wu Shi Tu”, the base and lip rim trimmed in Chicken Wing Wood contrasting with the lighter bamboo body, h. 6‑3/4”. [600/900] 1492 Chinese Hexagonal Bamboo Brush Pot, first half 20th century, the bamboo body with rosewood base and lip rim divided into sections, each carved in low relief with scenes of domestic life in garden settings, h. 6‑1/2”. [200/400] 1493 Unusual Chinese Bamboo Brush Pot, 19th century, composed of two sections of a large cane with recessed bottom and partially enclosed top opening, the exterior with a rich patination and engraved calligraphy, h. 8”. [200/400] Illustrated 1494 Fine, Rare Chinese Zitan Perfumer and Cover, 19th century, carved as entwined tree branches in the form of an incense burner resting on three legs with two handles and fitted cover, the entire body pierced into the entwined branches to allow the scent of rose petals or other aromatics to slowly escape, h. 5‑1/4”. [900/1200] Illustrated

1495 Good Chinese Guri Lacquer Brush Pot, 18th/19th century, of cylindrical form, the alternating layers of black and red lacquer carved with arabesque designs through eight layers revealing the alternating colors, h. 6”. [700/1000] Illustrated 1496 Interesting Chinese Carved Rosewood Small Brush Pot, 19th century, carved in the shape of a section of a lobed tree trunk with areas of peeling bark and the figure of a cicada carved in relief climbing the section of trunk, h. 4‑5/8”. [600/900] Illustrated 1497 Unusual Chinese Turquoise Scholar’s Stone on Stand, the stone in the shape of an irregular mountain peak showing the formation of the turquoise with typical black matrix veining, the stone in a fitted carved rosewood display stand h. 11”, including stand. [1400/1800] Illustrated 1498 Fine Chinese Zitan and Boxwood Seal Storage Box, the zitan body elaborately carved in relief on the top and all four sides with a ground of clouds, cresting waves and rockwork within fretwork borders and inlaid in golden boxwood with the figure of a five-clawed horned dragon facing the Flaming Pearl, the removable cover resting on a double lotus-carved zitan base, h. 8‑3/8”, w. 8‑3/4”, l. 8‑3/4”. [3000/5000] Illustrated 1499 Elegant Chinese “Imperial Yellow” Glass Yen Yen Vase, 19th century, the tapered bulbous body with slightly flared base and elongated neck with flared lip rim, the glass in an even, rich egg-yolk yellow, later fretwork-carved rosewood stand, h. 11‑1/2”. [1000/1500] Illustrated 1500 Chinese Carved Boxwood Ruyi and Stand, 19th century, of conventional form with an oval lobed head with low relief carving of a stylized character surrounded by five bats and a fretwork border, the shaft with a central plaque of archaic characters flanked by fields of geometric hexagons, fitted stand, l. 19‑1/2”. [500/800] Illustrated 1501 Fine Chinese Carved Zitan Brush Pot, 20th century, the large, slightly waisted brush pot carved in relief with the treasures of the Eight Immortals amongst clouds, the finely carved details against a smoothly finished background, h. 8”. [1000/1500] Illustrated 1502 Good Chinese Imperial Yellow Glass Brush Pot, 19th century, the large brush pot of plain cylindrical shape without decoration, slightly indented base, the rich eggyolk color built up in layers, carved later rosewood stand, h. 6”, excluding stand, dia. 5‑3/4”. [900/1200] Illustrated 1503 Japanese Multi-Metal Decorative Plaque, 19th century, of rectangular outline with textured surface decorated in relief with birds perched and in flight around a flowering bush, h. 21‑1/8”, w. 12‑3/4”. [1000/1500]

183

1504

1507 Well-Carved Chinese Green Agate Bowl and Stand, the bowl of inverted bell shape with a straight recessed foot rim, the finely polished translucent stone of bright green color with natural variations showing the stone’s formation, carved rosewood elaborate stand, dia. 6”. [200/400] 1508 Group of Four Chinese Jade Snuff Bottles, one of gourd shape and three of flattened rectangular outline, the stone of mottled dark green, each with engraved decoration with gold-filled highlights, h. 2‑3/8” to 2‑1/2”. [150/300]

1511

1509 Chinese Carved Spinach Jade Seal Paste Box, first half 20th century, the stone of even spinach-colored jade, of circular form with carved ribs on the sides extending to the cover and base, the cover with a central carved floral medallion, dia. 2‑1/4”. [150/300] 1510 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”. [200/400] 1511 Pair of Chinese Famille Jaune Vases, 20th century, each of tapered baluster form with flared lip rims, each decorated in polychrome enamels with flowering wisteria vines, peonies and birds against a finely crackled yellow ground, h. 17‑3/4”. [800/1200] Illustrated

1504 Good Pair of Chinese Yellow-Glazed Saucer Dishes, Guangxu mark and probably of the period, each of shallow circular form and glazed all over in an egg-yolk yellow glaze, the base with a six-character Guangxu mark in brown, dia. 7”. [700/1000] Illustrated 1505 Unusual Chinese Molded Porcelain Bowl, Republic Period (1908‑1949), the center decorated in famille rose enamels as a pair of peaches with foliage, the exterior with a horizontal band of molded decoration of peonies and scrolling foliage under a lemon-yellow glaze, the base with a six-character Yongzheng reign mark within a double circle in underglaze blue, dia. 8‑3/4”. [300/500] 1506 Chinese Engraved Yellow Glazed Dish, 20th century, the lobed porcelain dish of circular outline with a central engraved dragon among clouds and surrounded by a border of waves and rockwork, the base with an apochriful Ming reign mark, dia. 8‑3/8”. [100/200]

184

1512

1512 Chinese Tileworks Figure of Guandi as the God of Literature, Ming Dynasty (1368‑1644), the figure in a seated position wearing an official hat carrying a calligraphy brush in one hand and a bound scroll in the other, glazed in green, ochre and brown glazes, h. 17‑3/8”. [1500/2500] Illustrated

1515

1513 Chinese Carved Olive-Colored Jadeite Dragon Pendant, carved in the archaic style as a coiled dragon posed with a sinuous shape, the dragon’s body carved with raised bosses and a raised delineating border, h. 3‑1/2”. [100/200] 1514 Chinese Hardwood Altar Table, the banded rectangular top above a shaped apron, joined by columnar supports to a dished lower shelf, raised on circular legs, h. 28‑3/4”, w. 28”, d. 14‑3/4”. [300/500]

1515 Large Pair of Chinese Polychrome Porcelain Foo Dogs, first half 20th century, modeled as male and female Foo Dogs on plinth bases and having taper or joss stick holders at their backs, enameled in famille rose enamels with yellow body colors, h.14‑3/4”. [600/900] Illustrated

1520

1516 Tibetan Ebonized and Polychrome Cabinet, the narrow rectangular top above a case fitted with a paneled front, the central four doors opening to cupboards, all with polychrome figural and floral scenes, raised on block feet, h. 44‑1/2”, w. 49‑1/2”, d. 13‑3/4”. [300/500] 1517 Group of Nine Bunches of Sculpted Hardstone Grapes, in the Chinese manner, the group comprised of four bunches of pale green grapes, two pink bunches, one orange bunch and one dark green bunch, all with jade green leaves sculpted with veins, l. 8”. [100/200]

1522

1518 Chinese Incised Large Saucer Dish, 20th century, the body glazed in yellow with green decoration following incised decoration of peaches and scrolling foliage, dia. 11‑7/8. [150/300] 1519 Japanese Glazed Porcelain Umbrella Stand, 20th century, the cylindrical body with lightly raised design of flowering peony bushes, grasses and a bird in flight in polychrome enamels on a celadon ground, wooden base, h. 26”, including base. [150/300] 1520 Chinese Famille Verte Porcelain Fish Bowl, 20th century, of tapered bulbous form with flattened rim, decorated on the interior with fish and water plants and on the exterior with a continuous scene of court officials, military men and a garden, h. 12‑1/4”. [800/1200] Illustrated

185

1523 Chinese Hardstone Table Screen in Wooden Frame, 20th century, composed of a serpentine rectangular plaque with domed top overlaid in rose quartz, jade and agate with a design of a flowering tree, presented in a lacquered wooden frame, h. 15”, w. 9”, d. 4‑1/8”. [300/500] 1524 Chinese Molded Celadon Porcelain Vase, now mounted as a lamp, the cantered rectangular vase with elephant head handles and impressed panels of Guanyin and Buddhist decoration now mounted in pierced and etched brass base and top, h. 25‑1/2”. [500/800] 1525 Pair of Chinese Celadon Bottle Vases, 20th century, now mounted on wooden bases as lamps, the bottle-form vases with elongated flared necks glazed all over with a crackled celadon glaze with white silk shades, h. 19‑3/4”. [200/400] 1537 1521 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”. [900/1200] 1522 Pair of Chinese Celadon Porcelain Garden Seats, late 19th century, each of barrel-form with incised floral decoration, floral bosses and a central band of pierced scrolling foliate and floral decoration, all under a crackled celadon glaze, h. 18‑1/8”. [4500/7000] Illustrated previous page

1526 Delicate Chinese Famille Rose Porcelain Vase, Daoguang mark and probably of the period, of bulbous shape with flared lip rim and stylized character handles at the neck, finely decorated as a flowering cherry tree in the spring season with emerging leaves and pink blossoms, the base with a six-character Daoguang reign mark in ironred, h. 11‑1/4”. [600/900] 1527 Unusual Chinese Covered Vegetable Dish in the Thousand Butterfly Pattern, 20th century, of shaped oval outline with fitted domed cover with fruit finial, decorated all over in a dense design of butterflies with gilt accents, l. 12”. [150/300] 1528 Chinese Famille Rose Hat Stand, Now Wired as a Lamp, 19th century, of hexagonal outline with begonia flower pierced openings and decorated with shaped reserve panels of Immortals against a brocade ground, now on wooden base and wired, h. 24‑1/4”. [300/500] 1529 Pair of Chinese Famille Jaune Covered Vases, late 19th century, each of baluster form with molded mock ring handles and domed covers with foo dog finials, decorated with naturalistic reserve panels against floral designs against a thick yellow ground, h. 19‑3/4”. [700/1000] Illustrated 1530 Chinese Famille Verte Covered Vase, first half 20th century, of baluster shape with domed cover and lion head handles, decorated with a continuous scene of ladies and children in a garden setting above a lappet border at the base, original cover, h. 26”. [1400/1800] 1531 Robust American Late Victorian Mahogany Corner Chair of Chippendale Influence, fourth quarter 19th century, the relief-carved back rail with a central mythological face and flaked by foliate motifs, having pierced back splats and raised on bold cabriole legs ending in ball and claw feet, h. 31”, w. 30”, d. 26”. [400/700]

1539

186

1532 American Chippendale Parcel-Gilt and Incised Walnut Looking Glass, fourth quarter 18th century, the scalloped crest rail centered by a giltwood urn with flowers and leaves over an incised carved frieze, replaced rectilinear mirror plate and scalloped bottom rail with similar incising, h. 42‑1/2”, w. 19”. [400/700] 1533 American Colonial Mahogany and Walnut Tripod Table in the Chippendale Taste, late 18th century and later, the tilting circular top with a dished pie-crust edge, raised on a birdcage support to a turned and bulbous standard on three splayed cabriole legs ending in pad feet, h. 29”, dia. 34”. [800/1200] 1534 18th Century Engraved Map of French Louisiana, from Atlas Encyclopedique, published in 1788 by Bonne and Desmarest of De L’Academie Royale des Sciences, Paris, sight 14‑1/2” x 10”, Matted and unframed. [500/800] 1535 Nathaniel Currier (American, 1813‑1888) “The Battle of New Orleans, January 8, 1815”, hand colored lithograph, published in 1842, 152 Nassau and 2 Spruce Street, New York City, sight 9‑1/2” x 13‑1/2”. Matted and unframed. [400/700] 1536 18th Century Engraved Map of the French Quarter, from the German edition of Prevost’s Histoire Generale des Voyages by Jacques N. Bellin, Paris, 1744, sight 7‑5/8” x 11”. Matted and unframed. [300/500] 1537 American Chippendale Walnut Bureau, third quarter 19th century, Philadelphia, the single-board top over a bank of four graduated drawers flanked by fluted quarter columns, and raised on ogee bracket feet, retains a number of period rose-head nails, poplar and white cedar secondary woods, the grain of the drawer bottoms with a fore-aft orientation and replaced drawer hardware retains period fasteners, h. 33‑1/2”, w. 39”, d. 20‑1/2”. [1200/1800] Illustrated

1542 1541 Large Colonial Revival Bronze-Patinated-Brass, Two-Tiered Twelve-Arm Chandelier, 20th century, the center shaft of bulbous form and fitted with six arms over six, electrified and fitted with wax candle sleeves, h. 38”, dia. 36”. [300/500] 1542 American Federal Line-Strung and Marquetry- Inlaid Mahogany Slant-Lid Desk, fourth quarter 18th century, the lid centered by an ovoid inlaid panel with an eagle with shield, grasping an olive branch and arrow in its talons, the interior fitted with line-strung drawers and niches, the case with a graduated bank of four drawers each with inlaid stringing and raised on flaring bracket feet, h. 42”, w. 37”, d. 22”. [1400/1800] Illustrated

1538 Portrait Miniature on Ivory, fourth quarter 18th century, probably depicting a mother and son, the double portrait painted en grisaille, the woman with her hair up in a low-cut gown, the boy in a waistcoat, in a 19th century ebonized frame with an engine-turned liner and a ring hanger molded with a rose and thistle, overall h. 8‑3/4”, w. 7‑3/4”. [200/400] 1539 Southern Mid-Atlantic Mahogany Chest of Drawers, fourth quarter 18th century, probably Maryland or Virginia, the mahogany crossbanded and line-inlaid top overhanging the back, over two top drawers and three long drawers, all mounted with line-inlaid cut-corner panels and original post-and-ball Chippendale pulls, poplar full dust boards throughout, set on ogee bracket feet, h. 42”, w. 38”, d. 19‑1/2”. [1200/1800] Illustrated 1540 New York Lemon-Top Federal Andirons, first quarter 19th century, the seamed body delicately molded with a beaded mid rib, the period billet bars of laid iron, h. 17‑1/4”, w. 9‑1/4”, d. 16”. [200/400]

1543

187

1546 American Silverplate and Burmese Glass Bride’s Basket, fourth quarter 19th century, by the Crescent Silver Co., Syracuse, New York, NY, the circular silverplate frame with shaped wire handle and floral and foliate mounts, fitted with a satin-finish Burmese glass bowl with shaped and gauffered rim, h. [150/300] Illustrated 1547 American Silverplate Tilting Ice Water Set, fourth quarter 19th century, by the William Rogers Mfg. Co., Hartford, Connecticut, the tapering cylindrical pitcher with arched, diapered handle, floral-mounted spout, hinged domed lid and fitted with an insulating porcelain liner, tilting within an arched wire frame with applied floral and scroll decoration, above a circular base with detachable condensation pan and projecting mount fitted with a water goblet decorated en suite, h. 19‑3/4”, w. 9”, d. 12‑1/2”. [200/400] Illustrated 1548 American Silverplate Revolving Dinner Castor, dated 1879, by the Racine Silverplate Co, active 1873‑1882, Racine, Wisconsin, the circular frame engraved with a wide band of engraved with birds and cornucopias, revolving on a raised domed foot and centered by a forked standard with oval ring handle, fitted with six glass bottles (salt, pepper, mustard and three stoppered oil and vinegar bottles) with honeycomb pattern and engraved banding, engraved, on the frame, “To Ma / Christmas / 1879”, h. 17‑1/4”, dia. 8”. [200/400] Illustrated

1545 1543 American Federal Marquetry Inlaid Cherry Chest, c. 1800, probably Eastern Kentucky or Tennessee, the top inlaid with stringing and dovetailed to the case, the case with four cock-beaded graduated drawers with period brasses and pulls with oval backplates, the canted corners with crotch-veneer, edged with the shaped skirt with barber pole inlay and a central vertical inlaid band, raised on flaring bracket feet, h. 40‑1/2”, w. 40‑1/2”, d. 19”. [1200/1800] Illustrated previous page

1549 American Silverplate and Art Glass Bride’s Basket, fourth quarter 19th century, by the Aurora Silver Plate Co., Aurora, Illinois, the circular frame with waisted standard between openwork floral bands with a foliate-mounted, circular double wire and paterae handle and fitted with a colorless glass bowl decorated with cased opaque white bands and translucent pastel pink, yellow and blue ribbons with gauffered rim, h. 11‑1/4”, dia. 10‑3/4”. [150/300] Illustrated

1544 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”. [800/1200] 1545 American Federal Mahogany Double Tambour Writing Desk, first quarter 19th century, the upper case with stringinlaid details, the tambour opening to a fitted interior with various drawers and compartments, the base with a fold-open writing surface above two long drawers and an additional sliding tambour section below, raised on short square tapered legs, h. 51”, w. 45”, d. 21”. [2500/4000] Illustrated

188

1547 1548

1549 1546

1553

1552

1550 Set of Twelve Antebellum Cased Coin (.900) Silver Butter Knives, mid‑19th century, by Hall, Hewson & Brower for S. D. Brower & Son, both Albany, New York, in a blank medallion pattern, engraved on the handle with a rose and trailing leaves below a shield-shaped cartouche on a matte ground, the blunt handle engraved with a palmette at the heel, accented throughout with pricked threading, engraved on the cartouche “Tyler”, l. 8‑1/8”, 17.04 total t. oz., presented in the original fitted, bluesatin lined leather case, 8‑3/4” x 5”. [200/400] 1551 Assembled Philadelphia Coin (.900) Silver Salt Set, second quarter 19th century and earlier, including a pair of salt cellars by Conrad Bard & Robert Lamont, active 1841‑1845, of oval form with pierced gallery centering an oval cartouche, gadrooned rim and raised on four claw-and-ball feet, fitted with colorless glass liner, monogrammed on the cartouche “ECB”, h. 1‑3/4”, l. 3‑1/4”, w. 2‑3/8”, and two late 18th century bright-cut salt spoons with coquille bowls, one with rubbed mark, the other by Joseph & Nathaniel Richardson, active 1777‑1791, l. 3‑3/4”, 3.98 total t. oz. (excluding glass liners). [100/200] 1552 American Expansionist Era Coin (.900) Silver and Steel Spectacles, second quarter 19th century, by Stockman & Pepper, Philadelphia, Pennsylvania, with sliding extension temples, w. 4‑1/4”, l. 5‑3/4” (extended), complete with the original baize-lined, silvered brass case, l. 4‑3/4”. [150/300] Illustrated

1553 American Expansionist Era Three-Piece Coin (.900) Silver Tea Set, second quarter 19th century, by Colin van Gelder Forbes (1776‑1858), New York City, New York, including a teapot, h. 9‑3/4”, l. 11‑1/2”, open sugar bowl, h. 7‑1/2”, w. 8”, and cream jug, h. 6‑1/2”, ; 6‑1/2”, each of rounded rectangular section, the lobed body below a bulbous band of milled strawberries, raised on a conforming domed foot with milled rose banding, with crested addorsed scroll handle(s), the teapot with hinged dobed lid decorated with repousse wheat sheaves around a flowe rbasket finial, with “gooseneck” spout and insulated handle, each piece monogrammed on the body “DM LM”, 52.09 total t. oz. [3000/5000] Illustrated

1554 Two Pieces of American Coin (.900) Silver Flatware, mid‑19th century, including an “Up-Tipt Fiddle” pattern tablespoon by James Conning (1813‑1872), Mobile, Alabama, monogrammed “EMM”, and bow-style “Fiddle” pattern sugar tongs by Henry Myer (1795-aft. 1850), Buffalo, New York, monogrammed “EMF”, l. 6‑1/8”, 3.02 total t. oz. [75/125]

1555 Two American Coin (.900) Silver Mustard Spoons, mid‑19th century, both in the “Fiddle” pattern, including an “up-tipt” example by Hall, Hewson & Brower, New York City, New York, retailed by Henderson & Gaines, New Orleans, Louisiana, l. 5‑3/8”, and a “down-turned” example by the unidentified “WW”, monogrammed “AS”, l. 5‑1/8”, 0.64 total t. oz. [60/90]

1558

189

1565

1566

1556 Assembled Set of Gulf South-Retailed Sterling Silver Flatware, third quarter 19th century, in the traditional “Up-Tipt Fiddle” pattern, including four forks by Polhamus & Strong, New York City, New York, retailed by Louis Muh (1802‑1882), New Orleans, Louisiana, l. 7‑3/4”, and six tablespoons retailed by James Conning (1813‑1872), Mobile, Alabama, l. 8‑1/4”, all monogrammed “CLM”, 18.32 total t. oz. [300/500] 1557 Three American Coin (.900) Silver “Ivy” Pattern Place Spoons, third quarter 19th century, by John Lawson Westervelt (1826‑1905), Newburgh, New York, retailed by John Mix, Jr. (1826‑1907), Albany New York, monogrammed “MJB”, l. 6‑3/4”, 3.99 total t. oz. [100/200] 1558 Good 19th Century San Francisco Sterling Silver Gilt Ladle, third quarter 19th century, by Louis Braverman and John Levy (active 1852‑1881), the batteau-shaped gilt bowl with everted spout opposing an applied neo-Grec female masque, joined by a foliate trefoil mount to the handle of rectangular section with conforming baluster knop and terminating in a Bacchante figural finial, l. 14”, 8.35 t. oz. [200/400] Illustrated previous page

1568

1567

1563 Set of Eight Dominick & Haff “Pierced Trianon” Sterling Silver Salad Forks, the pattern introduced in 1885, New York City, New York, retailed Hardy & Hayes, Philadelphia, Pennsylvania, the handles parcel gilt and enameled, l. 6‑1/4”, 6.75 total t. oz. [100/200] 1564 Suite of Six American Sheraton Painted Fancy Chairs, second quarter 19th century, each retaining elements of their period polychromed stenciling and each with a shaped splat over a spindle gallery, dished plank seat and turned legs, h. 33‑1/4”. [400/700] 1565 Kentucky Flintlock Long Rifle, early 19th century, having a tiger maple stock and octagonal barrel, engraved brass patchbox and silver inlay, l. 56”. [300/500] Illustrated 1566 Early American Powder Horner, Possibly Philadelphia, 18th century, retaining its original leather strap, the domed base plug pinned to the horn and the spout retaining its carved mahogany stopper, l. 12”, horn. [75/125] Illustrated

1559 American Coin (.900) Silver Mug, third quarter 19th century, by Bailey & Co. Philadelphia, of slightly tapering cylindrical form, with reeded banding, molded rims and cavetto-crested double-scroll handle, h. 4‑3/8”, l. 4‑3/4”, dia. 3‑3/8”, 12.54 t. oz. [200/400] 1560 Two 19th Century New York Sterling Silver Serving Pieces, third quarter 19th century, including a “Grecian” pattern punch ladle by Henry Hebbard, for Tiffany & Co., l. 10‑1/2”, and an “Olive” pattern crumber, probably Michael Gibney for Schuyler, Hartley and Graham, l. 12‑1/2”, 8.93 total t. oz. [200/400] 1561 Six Miscellaneous 19th Century American Sterling Silver Spoons, including five “Old King” pattern tablespoons, one by Whiting, Providence, Rhode Island, four J. E. Caldwell & Co. Philadelphia, Pennsylvania, l. 5‑3/4”, and “Gothic/Eureka” pattern master salt spoon by J. R. Reichel, San Francisco, CA, monogrammed “EC”, l. 3‑5/8”, 4.57 total t. oz. [100/200] 1562 Pairpoint Silverplate Plateau, ca. 1900, New Bedford, Massachusetts, pattern number 2857, size 16, of circular form, the openwork rocaille frame fitted with conforming mirrored plateau with beveled and oculus-cut edge, dia. 20‑1/4” (mirror 16”). [200/400] 1569

190

1573 American Federal Cherry and Figured Cherry Chest, first quarter 19th century, in the Sheraton taste, the case with three-over-four drawers, each with cock-beaded perimeters, carefully selected crotch-cut veneers, and period brass oval pulls, flanked by reeded pilasters, the perimeter of the top adorned with similar reeding, the whole on turned feet, h. 48‑3/4”, w. 42”, d. 20‑1/4”. [900/1200] Illustrated 1574 American Classical Mahogany Drop-Leaf Table, first quarter 19th century, New York, the single-board top flanked by like shaped drop leaves, the apron fitted with a single drawer, raised on reeded Sheraton legs on brass cup casters, h. 29”, w. 37‑3/4”, d. 24”, extended l. 48”. [800/1200] Illustrated

1573

1567 Early American Embossed Copper Powder Flask, early 19th century, each side depicting an embossed profile portrait of George Washington with a wreath surround and the draping of an American flag with the inscription “Liberty” and “E Pluribus Unum”, l. 8”. [100/200] Illustrated 1568 Philadelphia Percussion Deringer .40 Calibre Pistol, mid‑19th century, having gold bands at breech and marked between the bands “Deringer Philadelphia”, along with the letter “P” below, engraved tang, backplate, hammer and trigger guard, l. 8”. [200/400] Illustrated 1569 After John James Audubon (American, 1785‑1851) “Crested Titmouse”, hand colored engraving on J. Whatman paper, by R. Havell, Plate XXXIX from Birds of America, London, sight 23” x 15‑1/4”. Glazed, attractively matted and framed. [1200/1800] Illustrated

1575 Ephraim Downs Mahogany and Eglomise Connecticut Pillar and Scroll Shelf Clock, early 19th century, with a scrolling broken arch pediment, painted dial, scalloped apron and bracket feet, h. 31‑1/4”, w. 16‑1/2”, d. 4‑1/2”. [600/900] Illustrated 1575

1570 After John James Audubon (American, 1785‑1851) “Canada Pouched Rat” and “Lay’s Least Shrew”, two hand-colored lithographs from the Quadrupeds of North America, octavo edition, the latter credited with Wm. E. Hitchcock’s stone lithography, sight 9‑1/2” x 7‑1/2”. Both presented in molded giltwood and gesso frames. [300/500] 1571 J. Gould and H. C. Richter (British, 19th Century) “Parus Xanthogenys” and “Parus Spilonotus”, pair of hand colored lithographs, sight 19‑1/2” x 13”. Both glazed, handsomely French matted and presented in gitlwood frames. [500/800] 1572 Pair of New York Late Federal Andirons, first quarter 19th century, the seamed bodies with a ball finial and the faceted plinth with a scalloped apron, with spurred ball feet and with laid iron billet bars set with matching seamed ball log stops, h. 18‑1/2”, w. 11”, d. 19”. [250/400]

1574

191

1576 Eli Terry and Sons Eglomise and Mahogany Connecticut Pillar and Scroll Shelf Clock, early 19th century, with broken arch pediment, painted dial flanked by turned columns, on delicate bracket feet, h. 31”, w. 17‑1/4”, d. 4‑1/2”. [400/700] 1577 Colonial Revival Bulls-Eye Mirror in the Classical Style, fourth quarter 19th century, the small round mirror, fitted with an old, flat mirror plate, set in a cove molded frame, with a leaf molded drop and side arms, surmounted with a bold spread-winged eagle, h. 32”, w. 28”. [400/700]

1578

1583 Two-Light English Argand Lamp, first quarter 19th century and later, the faceted cut-glass base resting on a ring of molded bronze laurel leaves, and with a cutglass tulip-form faceted tank, the lower nozzle filled with remnants of an oil flow valve lever, h. 25”, w. 17”, d. 9”. [1000/1500] Illustrated 1584 Pair of English Regency Cut-Glass Anglo-Irish Candle Holders, first quarter 19th century, richly cut with alternating diamond-point patterns, both the candle cup and bobeche hung with Georgian-style prisms, h. 12”. [200/400] 1585 Set of Three Floriate-Form English Brass Tiebacks, second quarter 19th century, fitted with brass stems and screws, dia. 4”, l. 5”. [100/200] 1586 Three English Brass Classical Tiebacks, second quarter 19th century, two of floriate-form and another similar, but of medallion-form, gilt lacquer finished and fitted with brass stems, dia. 5”, l. 7”. [250/400]

1578 Anglo-American Cut and Engraved Hurricane Shade, second quarter 19th century, the upper neck cut with stars and with a vine and flower motif etched and cut to the middle, sitting on a folded glass rim, h. 22‑1/2”, dia. 7‑1/2”. [600/900] Illustrated 1579 Set of Six American Cut-Glass Sylabub Glasses, cut in the strawberry and fan pattern, with paneled bases and star-cut feet, h. 4‑1/2”. [200/400] 1580 Eleven Piece Set of American Cranberry Plated Brilliant Period Cut-Glass Wine Glasses, fourth quarter 19th century, the bowls with strawberry cutting over a simple band of geometric cuts, h. 5”. [75/125] 1581 Assembled Pair of Unadorned Anglo-American Blown Glass Hurricane Shades, first quarter 19th century, each resting on a folded glass foot, h. 22‑1/2”, dia. 7”. [250/400] 1582 Large Pair of Federal-Style Giltwood Bracket Shelves, each with a circular top with a row of stars beneath the rim, supported by an eagle with the talons of one foot grasping a shield. h.17‑1/2”, w. 15‑1/2”, d. 12‑3/8”, dia. 9‑3/4”, top platform. [500/800]

192

1583

1587 American Late Classical Mahogany Drop-Leaf Table, c. 1825, Baltimore, the single-bound top and leaves with a reeded edge, the frieze fitted with a single drawer, raised on a turned pedestal with four heavily reeded legs terminating in brass paw casters, the table accompanied by a 1928 letter from the Metropolitan Museum of Art identifying the piece as in the so-called "American Empire Style”, h. 28‑1/2”, d. 44‑1/2”, l. 24”, ext. l. 56”. [300/500]

1588

1588 Fine Cased Four Volume Set of Abbeville Edition, Double Elephant Folio of The Birds of America after John James Audubon (American, 1785‑1851), featuring 435 fascimile plates, bound in full green morocco leather to commemorate the 200th anniversary of the birth of John James Audubon, accompanied by a custom oak cabinet with sliding shelves, cabinet h. 30” w. 45‑1/2”, d. 35”, each volume h. 40”, w. 27”. [5000/8000] Illustrated

1591

1589 American Late Classical Revival Mahogany Sofa, late 19th century, the scroll crest rail centered by an ovoid cross-hatched panel, and flanked by like raised panels, the back joined to foliate-carved scroll arms, and raised on dolphin-carved bracket feet, h. 34‑1/2”, w. 82”, d. 21‑1/2”. [800/1200]

1588

1590 Large American Late Classical Revival Mahogany Sofa, fourth quarter 19th century, the tall sides with acanthusleaf-carved fronts and the downswept back having eagle’s heads at each end, raised on large carved paw feet, h. 44”, w. 88”, d. 30”. [1000/1500] Illustrated

1590 1591 Victorian Cast-Iron Pedestal Mounted with a Bronze-Patinated Sundial, late 19th century, the bronze sundial marked “I.R. Firmestone Maker, Manchester”, raised on a fluted column with flared base, h. 45”, dia. 17”. [800/1200] Illustrated

193

1594 Colette Pope Heldner (American/Louisiana, 1902‑1990) “French Quarter, Old New Orleans (Patio, Old Brulatour Mansion, Royal St.)”, oil on canvas board, signed lower left “Colette”, signed and titled on the reverse, 16” x 20”. Presented in a faux burlwood frame with a felt liner. [1500/2500] Illustrated 1595 George Gardner Symons (American, 1863‑1930) “French Quarter Street Scene”, oil on canvas, signed lower left “Gardner Symons”, 16” x 20”. Presented in a giltwood frame. [2000/4000] Illustrated 1596 American Late Classical Mahogany Work Table, second quarter 19th century, the case fitted with two long drawers and mounted to a turned pedestal and supported by four outstretched legs ending in carved paw feet, h. 29”, w. 24”, d. 16”. [500/800] 1592

1597 American Late Classical Mahogany Four-Post Bedstead, second quarter 19th century, the turned and carved posts with acanthus leaf details and having a paneled headboard fitted with a tall acanthus-carved crest, h. 86”, outside w. 63”, outside l. 82”. [2500/4000] Illustrated 1598 American Late Classical Mahogany Bookcase, second quarter 19th century, the top with a large overhanging cove cornice above a pair of grillwork doors flanked by tapering obelisk-form columns on each side, raised on large scrolled feet, h. 55”, w. 54”, d. 18”. [800/1200]

1593

1592 James Michalopoulos (American/Louisiana, b. 1951) “French Quarter Cottage with a Tree Shadow”, oil on canvas, signed lower left “Mitchell”, 30” x 40”. Framed. [5000/8000] Illustrated 1593 James Michalopoulos (American/Louisiana, b. 1951) “French Quarter Balcony”, oil on canvas, signed lower right “Mitchell”, 24” x 30”. Unframed. [3500/5000] Illustrated

1594

194

1601 1595 1599 Robert M. Rucker (American/Louisiana, 1932‑2001) “Steamboat on the Bayou”, oil on canvas, signed lower right “Robert M. Rucker”, 8” x 10”. Framed. [1500/2500] 1600 Robert M. Rucker (American/Louisiana, 1932‑2001) “Steamboat on the Bayou”, oil on canvas, signed lower right “Robert M. Rucker”, 8” x 10”. Framed. [1500/2500] Illustrated

1602 1597

1600

195

1601 Robert M. Rucker (American/Louisiana, 1932‑2001) “Fishing Camp on the Bayou”, oil on canvas, signed lower right “Robert M. Rucker”, 16” x 20”. Framed. [2500/4000] Illustrated previous page

1607

1602 Robert M. Rucker (American/Louisiana, 1932‑2001) “Fishing on the Bayou”, oil on canvas, signed lower right “Robert M. Rucker”, 18” x 24”. Framed. [2500/4000] Illustrated previous page 1603 Assembled Three-Piece Sterling Silver Baltimore Tea Set, first half 20th century, including a teapot by Welsh & Brother, 1887‑1910, h. 6”, l. 9‑1/2”, and a covered sugar bowl, h. 4‑1/4”, w. 7‑1/4”, and creamer, h. 4”, l. 6‑1/4”, both by Samuel Kirk & Son Inc., 1925‑1932, each of bulbous circular form and decorated allover with repousse flowers in the traditional Baltimore manner, the teapot with crested and ivory-insulated handle, “gooseneck” spout and hinged lid with floriform finial, the sugar bowl with opposing handles and fitted lid en suite, the creamer with beaked spout and crested handle, each piece monogrammed on the underside, “B” (the teapot) or “D” (the sugar bowl and creamer), 52.28 total t. oz. [3000/5000] Illustrated 1604 Six-Piece Sterling Silver Salt and Pepper Set, 1892‑1904, by The Baltimore Sterling Silver Co., Baltimore, Maryland, in the “Maryland Rose” pattern, including a pair of baluster form pepperette, h. 4”, a pair of bulbous salt cellars, dia. 2”, and a pair of salt spoons, l. 2‑7/8”, the pepperettes and cellars monogrammed on the underside, “LFS”, 6.36 total t. oz. The Baltimore Sterling Silver Co. would become the Stieff Company in 1904, in whose first catalogue (1910) this set is still listed as model #12. [150/300]

1603

1605 “Baltimore Rose” Sterling Silver Waiter, 1903‑1905, by the Baltimore Silversmiths Mfg. Co. (Frank M. Schofield), Baltimore, Maryland, of circular form, with repousse floral rim and diapered plateau centering a laurel cartouche monogrammed “ESD”, dia. 6”, 3.85 t. oz. [200/400]

1611 1606 American Sterling Silver BaltimoreStyle Compote, first quarter 20th century, by the Loring Andrews Co., Cincinnati, Ohio, the elaborate quarterlobed rim decorated with architectural scenes separated by vintage floralscroll cartouches and surrounding a recessed diaper-ground bowl with laurel cartouche, raised on a waisted stem and domed foot decorated with repousse rococo scrolls, flowers and fruit, h. 6”, dia. 9‑3/4”, 19.23 t. oz. [1000/1500]

196

1616 Eighty-Five Piece Service

1607 Six-Piece Samuel Kirk & Son Sterling Silver Coffee and Tea Set, 1925‑1932, Baltimore, Maryland, in the American neoclassical taste, including a kettle-on-stand, h. 13‑1/2”, l. 6‑1/4”, a coffeepot, h. 11”, l. 9”, a teapot, h. 9‑3/4”, l. 9-/2”, a covered sugar urn, h. 9‑1/4”, w. 7”, a cream jug, h. 7‑1/2”, l. 6‑1/4”, and a waste bowl, h. 4‑7/8”, dia. 6‑3/4”, each of goblet form with a wide bulbous band of chased acanthus leaves and a repousse acanthus leafand-bud calyx, with crested floral handle(s), milled leafand-dart banding and raised on a circular domed foot, the kettle stand with four acanthus-scroll legs centering a spirit burner, the kettle, tea and coffee pots with figural dolphin’s-head spout, 192.07 total t. oz. [14000/18000] Illustrated

1611 Set of Eight Watson Sterling Silver “Meadow Rose” Water Goblets, the pattern designed in 1907 by Joseph E. Straker, Jr. (1865‑1955), Attleboro, Massachusetts, the interiors gilt, no monograms, h. 7”, dia. 3‑1/4”, 42.43 total t. oz. [800/1200] Illustrated 1612 One Hundred and Ten Piece Set of Watson “Meadow Rose” Sterling Silver Flatware, the pattern designed in 1907 by Joseph E. Straker, Jr. (1865‑1955), Attleboro, Massachusetts, including twelve dinner forks, l. 7‑3/4”, a luncheon fork, l. 7‑1/4”, nine salad forks, l. 6‑1/8”, eight seafood/cocktail forks, l. 5‑1/2”, sixteen teaspoons, l. 5‑3/4”, three tablespoons, l. 8‑1/4”, nine cream soup spoons, l. 6‑1/8”, eight iced tea spoons, l. 7‑3/8”, eight demitasse spoons, l. 4‑1/4”, eighteen dinner knives with stainless steel blades, (twelve “New French”-shaped, six “Modern”-shaped), l. 9‑1/2”, a luncheon knife with stainless steel “New French”-shaped blade, l. 8‑1/4”, a master butter knife, l. 6‑1/2”, eight flat butter spreaders, l. 5‑3/4”, a serving fork, l. 7‑3/4”, a two-piece carving set with stainless steel blade/tines, l. 10‑1/4” and 8‑3/4”, a lemon fork, l. 5”, a jelly spoons, l. 6‑1/4”, a sauce ladle, l. 5‑3/4”, a cake/pie server with stainless steel blade, l. 10”, and a sugar spoon, l. 5‑1/4”, no monograms, 101.41 total t. oz. (excluding items with stainless steel elements), presented in an unusual fitted, Pacific cloth-lined plastic faux carved ivory case, 3‑3/4” x 17‑3/4” x 11‑1/4”. [1800/2500]

1617

1608 American Sterling Silver Water Pitcher, first quarter 20th century, by the Whiting Mfg. Co., Providence, Rhode Island, the flattened pear-shaped body with shaped rim and oval foot rim, both with applied rococo scrolls, with acanthus-mounted and -crested “S”-scroll handle, monogrammed on the body “RME”, h. 10”, l. 9‑1/2”, w. 4‑3/8”, 35.43 t. oz. [600/900] 1609 Set of Nineteen Gorham Sterling Silver Nut Dishes, second quarter 20th century, Providence, Rhode Island, several with the retailer’s stamp of Henry Kohn & Son, Hartford, Connecticut, of navette form, the shaped rim with embossed rococo scrolls and shells, the sides reticulated with crosses and scrolls, thirteen monogrammed center “LPF”, l. 3‑3/4”, w. 2‑1/2”, 14.21 total t. oz. [200/400] 1610 Four American and Other Sterling, Silverplate and Glass Table Articles, first quarter 20th century, including two spherical cut-glass powder jars with sterling silver lids, one by the Eastwood-Park Co. monogrammed “SMW”, h. 3‑1/2”, the other by the Watrous Mfg. Co., h. 3”, a silverplate tea caddy by Webster & Son, of square section decorated with embossed rural scenes, h. 4‑1/2”, and a silverplate cologne bottle of tower form, probably Wolf & Knell, Hanau, with flammiform finial and decorated with embossed rococo scrolls and galants reserves, h. 6‑1/2”. [60/90]

1613 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”. [75/125]

197

1624

1614 Pair of American Silverplate Wine Coolers, third quarter 19th century, Birmingham Silver Co., Yalesville, Connecticut, each of campana form, with opposing acanthusmounted handles and raised on a stepped rounded concave square foot, the rim and base decorated with applied rocaille banding, h. 11‑3/4”, dia. 10‑1/2”. [200/400]

1617 Wallace “Grand Baroque” Sterling Silver Tea Pot, the pattern designed in 1941 by William S. Warren (1888‑1965), Wallingford, Connecticut, no monograms, h. 9‑1/4”, l. 10”, w. 5‑1/4”, 29.45 t. oz. [400/700] Illustrated previous page 1618 Eight Reed & Barton “Francis I” Sterling Silver Nut Dishes, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, one monogrammed “E”, dia. 3‑3/8”, 12.86 total t. oz. [250/400] 1619 Three American Sterling Silver Serving Pieces, 20th century, including a Towle “Old Colonial” cake/pie server with stainless steel blade, l. 10‑5/8”, a Wallace “Grand Colonial” tablespoon, l. 8‑5/8”, and an Amston “Georgian Bead” sauce ladle, l. 6‑1/4”, no monograms, 2.51 total t. oz. (excluding cake/pie server). [100/200]

1621

1615 Pair of American Silverplate Candelabra, third quarter 20th century, each with a tapering standard above a circular domed base and surmounted by a knopped nozzle, into which fits a superstructure of a short baluster standard surrounded by four scrolling arms all terminating in nozzles en suite, each fitted with a detachable bobeche, the whole decorated with embossed leaf-and-berry banding, h. 18‑1/4”, w. 16‑1/2”. [300/500]

1616 Eighty-Five Piece Set of Wallace “Grand Baroque” Sterling Silver Flatware, the pattern designed in 1941 by William S. Warren (1888‑1965), Wallingford, Connecticut, including, twelve dinner forks, l. 7‑1/2”, twelve salad forks, l. 6‑1/2”, twelve teaspoons, l. 6‑1/8”, twelve soup spoons, l. 6‑1/2” twelve cream soup spoons, l. 6‑1/8”, twelve dinner knives with stainless steel “Modern”-shaped blades, l. 9”, twelve butter spreaders with stainless steel “Modern”shaped blades, l. 6‑1/4”, and one master butter knife with stainless steel “Scimitar”shaped blade, l. 6‑1/2”, no monograms, 97.03 total t. oz. (excluding items with stainless steel elements). [5000/8000] Illustrated previous page

198

1638

1620 Set of Eight Reed & Barton “Harlequin” Sterling Silver Demitasse Spoons, the pattern designed in 1892 by Austin F. Jackson, Taunton, Massachusetts, including four with “Calla Lily” handle, two with “Water Lily” handle, and one each “Apple Blossom #2” and "Wild Rose #2” handles, each with gilt bowl, l. 3‑3/4”, 2.64 total t. oz., presented in the original cream satin-lined teal pasteboard box, 9‑1/2” x 5‑1/4”. [75/125] 1621 American Sterling Silver Fruit Bowl, first quarter 20th century, by Unger Brothers, Newark, New Jersey, of wavy circular form, with lobed body, the everted rim decorated with embossed stylized flowers and sinuous foliage, monogrammed center “MKL”, h. 3”, dia. 9‑1/25”, 9.58 t. oz. [200/400] Illustrated 1622 Two Pieces of Gorham Sterling Silver-Mounted Brilliant Cut Glass, late 19th/early 20th century, Providence, Rhode Island, including a tall jug of slightly waisted tapering conical form, the shaped silver collar with gadrooned band, h. 10‑1/2”, l. 5‑3/4”, dia. 4‑3/8”, and a berry bowl, the silver rim with applied rococo scroll rim, date mark 1897, h. 2”, dia.8”, both pieces cut with hobstars, strawberry diamonds and fans. [150/300] 1623 American Art Nouveau Sterling Silver Fruit Bowl, first quarter 20th century, by Towle Silversmiths, Newburyport, Massachusetts, of oval form, the everted rim decorated with embossed openwork stylized flowers and sinuous foliage, h. 2‑1/2”, l. 12”, w. 8‑3/4”, 19.03 t. oz. [300/500] 1624 American Art Nouveau Sterling Silver Vase, first quarter 20th century, in the form of a stylized flower, baluster stem floriform bowl decorated with realistically embossed petals and decorated at their union with four entwined serpents, raised on a circular “lilypad” foot with inverted and gauffered rim, h. 133/4”, dia. 6‑5/8”, 20.06 t. oz. [6000/9000] Illustrated 1625 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. [400/700] 1626 Three American Sterling Silver Serving Pieces, including Durgin “Fairfax Engraved” sugar tongs, l. 4‑5/8”, George W. Shiebler “Gothic” sugar tongs, monogrammed “L”, l. 5‑1/2”, and an Alvin “Florentine” bonbon spoon, monogrammed “McK”, l. 5‑5/8”, 2.70 total t. oz. [150/300] 1627 Two Unusual Anglo-American Sterling SilverHandled Serving Pieces, first quarter 20th century, in an unidentified floral pattern, including a cake breaker with stainless steel comb, 10‑3/4”, and a sardine fork with English silverplate tines, l. 6‑3/8” [60/90]

1628 Four Miscellaneous American Silverplate Serving Pieces, 20th century, including a Rogers & Brothers “Mystic” pattern gilt-bowled berry spoon, l. 8‑1/2”, and sauce ladle, l. 7‑1/4”, Gorham “Old French” asparagus serving tongs, l. 10‑1/4”, and a W. & S. Blackinton colonialstyle platter spoon, l. 12‑1/2”. [60/90] 1629 Set of Six “Dresden” Sterling Silver Forks, the pattern designed in 1896 by Charles Osborne (1847‑1920), Providence, Rhode Island, monogrammed “C”, l. 6‑3/4”, 6.68 total t. oz. [100/200] 1630 Twelve Pieces of Durgin “Madame Royale” Sterling Silver Flatware, the pattern introduced in 1897, Concord, New Hampshire, including five dinner forks, l. 7‑1/4”, three salad forks, l. 6‑3/4”, one teaspoon, l.5‑3/4”, two soup spoons, l. 7”, and one tablespoon, l. 8‑1/2”, each monogrammed “D”, 20.25 total t. oz. [300/500] 1631 Set of Twelve Wallace “Irving” Sterling Silver Demitasse Spoons, the pattern designed in 1899 by Henry Leslie Wallace (1851‑1920), Wallingford, Connecticut, re-issued in 1975 as the “Old Atlanta” pattern, these examples still sealed in the original Wallace packaging, l. 4”, 3.40 total t. oz. (including polyethylene bags). [100/200] 1632 Set of Eleven Whiting “Louis XV” Sterling Silver Demitasse Spoons, the pattern designed in 1891 by Charles Osborne (1847‑1920), Providence, Rhode Island, l. 4”, 3.85 total t. oz. [100/200] 1633 Fourty-Four Assorted Pieces of American Sterling Flatware, in various rococo and romantic designs, including eight Whiting “Radiant” dinner knives with stainless steel “Old French”-shaped blades, monogrammed “H”, l. 10‑1/2” four Wallace “Violet” teaspoons, monogrammed “P”, l. 5‑3/4”, three Gorham “Strasbourg” teaspoons, mongrammed “CD” l. 5‑1/2”, two Reed & Barton “La Rocaille” dinner forks, l. 7‑1/2”, and one luncheon fork, l. 7”, a Whiting “Violet” tablespoon, l. 8”, a Whiting “Imperial Queen”, tablespoon, l. 8‑1/2”, an Alvin “Prince Eugene” dinner fork, l. 7‑1/4”, a Whiting “Louis XVII” dinner fork, l. 6‑3/4”, six Gorham “Hanover” dinner forks, l. 6‑3/4”, two Towle “Canterbury” tablespoons, l. 8”, two Gorham “Cambridge” tablespoons, monogrammed “ESW”, l. 8‑1/2”, three Whiting “Stuart” dinner forks, l. 7‑1/2”, a Gorham “Melrose” tablespoon, l. 8‑1/2”, a Watson “Windsor Rose” dinner knife with stainless steel “New French”-shaped blade, l. 9”, a Gorham “Fleury” dinner knife with stainless steel “Blunt”-shaped blade, monogrammed “G”, l. 8‑1/2”, an Alvin “Chateau Rose” butter spreader, l. 5‑3/4”, and, in unidentified patterns with steel blades, two different dinner knives, l. 9”, two different bread knives, l. 11‑3/4” and 13”, and a bar knife, l. 8‑3/4”, 47.10 total t. oz. [700/1000]

199

1638 American Fifteen-Piece Silverplate Punch Set, second half 20th century, by the Webster-Wilcox division of International Silver, Meriden, Connecticut, including a punchbowl, h. 8”, dia. 15‑3/4”, punch ladle, l. 14”, platter, dia. 21” and twelve punch cups, h. 3‑1/4”, dia. 3‑3/8”, the “Revere”-style bowl and cups decorated with embossed rococo cartouches, the ladle with plain handle, the circular platter decorated all over with paterae, festoons and scrollwork. [300/500] Illustrated Previous Page 1639 Gorham “Rose Scroll” Sterling Silver Coffee Pot, 1951, Providence, Rhode Island, monogrammed “F”, h. 10”, l. 8‑3/4”, w. 4‑3/4”, 9.09 t. oz. [200/400]

1643

1634 Thirty-Seven Silver Souvenir Spoons and Forks, most sterling silver, including a good figural Statue of Liberty example, four Italian cocktail forks, a set of seven Peruvian coffee spoons, four enameled examples, with representation of US states Colorado, Nebraska, South Carolina and Minnesota, US cities Milwaukee, Chicago, Washington D.C. and Detroit, countries England, France and Canada, and many other locations, l. 3” to 5‑3/4”, 15.17 total t. oz. [200/400]

1640 Seven Pieces of Miscellaneous American Sterling Silver Flatware, 20th century, including a Gorham “Strasbourg” infant feeding spoon, l.5‑5/8”, and child’s set (fork and spoon), l. 4‑1/2”, a Gorham “Luxembourg” sugar spoon with gilt bowl, monogrammed “MER”, l. 6”, a Kirk “Repousse” sauce ladle, monogrammed “HMR”, l. 6‑1/4”, a Baker-Manchester “Roanoke” tomato server, l. 6‑3/4”, and an unmarked rococo-style lemon fork, l. 4‑3/4”, 5.92 total t. oz. [100/200]

1646

1635 Seven Pieces of International Silver “Revere” Pattern Sterling Silver Flatware, the pattern introduced in 1898, Meriden, Connecticut, including two dessert spoons, monogrammed “C”, l. 6‑5/8”, and five bouillon spoons, monogrammed “R”, l. 4‑3/4”, 5.40 total t. oz. [100/200] 1636 Twenty-Eight Pieces of Gorham “Lancaster” Sterling Silver Flatware, the pattern introduced in 1897, Providence, Rhode Island, including five dinner forks, l. 7‑1/2”, seven salad forks, l. 7”, fourteen teaspoons, l. 5‑3/4”, and two five o’clock spoons, l. 5‑1/4”, variously monogrammed, 23.14 total t. oz. [300/500] 1637 American Silverplate Plateau, fourth quarter 19th century, of circular form, the pierced rocaille frame quartered by rosettes and raised on four palmette feet, fitted with conforming mirrored plate with beveled and oculus-cut edge, dia. 14‑1/4”. [150/300]

200

1644

1641 Pair of Towle “King Richard” Sterling SilverHandled Pie Servers, the pattern introduced in 1932, Newburyport, Massachusetts, each with a stainless steel blade, l. 10‑1/4”, both in the original Towle packaging with care instructions, one still sealed. [75/125] 1642 Forty Pieces of Rogers “Old Charleston” Sterling Silver Flatware, designed in 1951 by Lillian V. M. Helander (1899‑1973), including six dinner forks, 7‑1/4”, six salad forks, 6‑1/4”, six teaspoons, l. 6”, three cream soup spoons, l. 6‑1/2”, two iced tea spoons, l. 7‑1/4”, six dinner knives with stainless steel “Modern”-shaped blades, l. 9”, and eleven flat butter spreaders, l. 5‑3/4”, no monograms, 42.76 total t. oz. (excluding knives). [600/900] 1643 American Cast-Iron “Indigo Pot” Together with a Wrought-Iron Tripodal Stand, 19th century, the kettle with a flared rim, and mounted with a pair of integral “handles”, the legs of the stand joined to the ring with riveted construction, h. 26‑1/2”, w. 33”, d. 29‑3/4”, dia. 29‑3/4”, interior d. 18”. [500/800] Illustrated 1644 Pair of Anglo-American Cast-Iron Garden Benches, late 19th/early 20th century, in the “White House Rose Garden” pattern, attributed to Kramer Bros., Dayton , Ohio, the back adorned with floral clusters over a series of joined arches, with foliate-modeled apron and cabriole legs, h. 36”, w. 45”, d. 19”. A suite of garden furniture in this pattern graces the lawn of the White House Rose Garden, Washington, D.C. [1200/1800] Illustrated 1645 Pair of Anglo-American Cast-Iron Garden Urns on Stands, early 20th century, each in the neoclassical taste and of campagna form, the rim in shell decor, with fluted body, on a square pedestal with stepped base, h. 33‑3/4”, w. 19”, d. 19”, dia. 13”. [500/800]

1650

1646 Large Anglo-American Cast-Iron Garden Bench, late 19th/early 20th century, in the “White House Rose Garden” pattern, attributed to Kramer Bros., Dayton , Ohio, the back adorned with floral clusters over a series of joined arches, with foliate-modeled apron and cabriole legs, h. 36”, w. 93‑3/4”, d. 19”. A suite of garden furniture in this pattern graces the lawn of the White House Rose Garden, Washington, D.C. [800/1200] Illustrated 1647 Pair of Anglo-American Cast-Iron Garden Benches, late 19th/early 20th century, in the “White House Rose Garden” pattern, attributed to Kramer Bros., Dayton , Ohio, the back adorned with floral clusters over a series of joined arches, with foliate-modeled apron and cabriole legs, h. 38”, w. 63‑1/2”, d. 20”. A suite of garden furniture in this pattern graces the lawn of the White House Rose Garden, Washington, D.C. [1200/1800] Illustrated 1648 American Late Victorian Cast-Iron Garden Urn, late 19th/early 20th century, the base with the label, “Mfg by the Kramer Bros, FDX Co., Dayton O.”, of campagna form, with a pair of handles, lobed lower section, on a square tapering base, h. 35”, dia. 23‑1/2”. [400/700]

1647

1649 American Rococo Revival Laminated Rosewood Side Chair, third quarter 19th century, probably Alexander Roux, New York, the back with a pierced and carved floral crest above a padded oval panel and raised on cabriole legs, h. 40”, w. 19”, d. 19”. [300/500] 1650 Large American Rococo Revival Walnut Marble Top Center Table, third quarter 19th century, attributed to Alexander Roux, New York, the tortoise-form white marble top above a fruit-carved frame and raised on cabriole legs joined by stretchers and featuring a floral-carved basket, h. 30”, w. 48” , d. 33”. [2000/4000] Illustrated

201

1651 Pentagon-Shaped Continental Lithophane Lamp, third quarter 19th century, the shade with scenes of Bastion Falls, Catskill Falls, and Brocks Monument on the Niagara River, an unidentified European water scene and an unidentified European stag hunting scene, the lithophanes mounted in a pressed brass frame on a later octagonal patinated-brass candlestick-form electric lamp base, h. 21‑1/2”. [500/800] Illustrated 1652

1651

1652 American Rococo Revival Rosewood Marble-Top Pedestal, third quarter 19th century, the circular top retaining its original brocatelle violette d’Espagne marble, the base with foliate and shell-form carved decor and raised on four scrolled legs, h. 36”, dia. 19”. [1200/1800] Illustrated 1653 William Henry Buck (American/New Orleans, 1840‑1888) “Mossy Sunset Bayou, with Egrets”, oil on canvas, signed lower right “Wm. H. Buck”, 20” x 24”. Presented in a original stained oak frame with a gilt liner. [20000/40000] Illustrated

1654 John Korner (American/Louisiana, 20th Century) “Louisiana Landscape”, oil on canvas, signed lower right “John Korner” 16” x 20”. Framed. [300/500] 1655 Manner of George David Coulon (American/Louisiana, 1823‑1904) “Louisiana Bayou Landscape at Sunset”, gouache and pastel on paper, unsigned, sight 4” x 5‑1/4”. Glazed, matted and framed. [300/500] 1656 Louisiana School (Fourth Quarter 19th Century) “Bayou Landscape with MossCovered Trees”, oil on canvas, signed verso upper right stretcher “H. Vincent”, 11” x 14”. Presented in a contemporary molded giltwood frame. [300/500]

1653

202

1657 Steinway and Sons, New York, Rosewood Square Parlor Grand Piano with Victorian Ebonized Oak-and-Iron Music Stool, fourth quarter 19th century, the piano raised on cabriole legs with carved knees and scrolled feet, h. 38”, w. 84”, d. 42”, together with a piano stool with a swiveling padded square top raised on a turned vasiform standard to three splayed foliate modeled iron legs ending in scrolled toes, h. 21‑1/2”, w. 13‑1/2”, d. 13‑1/2”. [1500/2500] Illustrated

1658

1658 Pair of Napoleon III Rosewood Fauteuils, third quarter 19th century, each with a domed and padded back surmounted by a foliate crest, joined by padded ormolu-mounted arms to the padded seat, raised on molded cabriole legs headed by foliate mounts and ending in scroll feet on casters, h. 38”. [1200/1800] Illustrated

1657 1659 American Rococo Revival Walnut Settee, third quarter 19th century, the frame having a pierced an carved floral crest with a cluster of grapes in the central back, covered in a maroon velvet upholstery and raised on cabriole legs, h. 41”, w. 73”, d. 32”. [500/800] 1660 American Rococo Revival Walnut Rocking Chair, third quarter 19th century, the cameo back with a grape, leaf and fruit carved crest and supported by curved and molded hip rests, upholstered in a period floral needlepoint, h. 36”, w. 24”. [150/300]

203

1661 American Rococo Revival Rosewood Banquet Table, enumerated on the 1859 bill of sale from the New Orleans warerooms of Henry N. Siebrecht to Alphonse Milternberger, the banded top with gadrooned edge over a molded apron, raised on a split-pedestal base with four legs, each with scroll and foliate carving terminating in grotesque heads with paw feet, the table opening to approximately fifteen feet, accompanied by a period rack of leaves measuring 175” in length including extra leaves, each leaf with a gadrooned edge; The original table, h. 30”, w. 61”, d. 54”, with leaves and the original runners installed, 174”, now fitted with a central octagonal boxed support, the two ends fitted with additional elements to complete the octagon of each section of the split base, and conceal the unadorned center, each section of the top now with a wide leaf with skirted apron, accompanying the table are the original runners to re-fit the table to its period configuration, h. 30”, w. 61”, d. 96”, table as presently configured. Provenance: Alphonse Miltenberger to James Miltenberger to Wilford James Miltenberger to Cara Miltenberger Creighton; sold at New Orleans Auction Gallery, November 19, 2006 to the consignor. The present table and suite of chairs was purchased by Alphonse Miltenberger for his town house in Miltenberger Row, the French Quarter irongalleried landmark at Royal and Dumaine Streets, New Orleans, Louisiana. In the late 1850’s, Miltenberger commissioned noted architect Henry Howard to renovate his portion of the structure. This table was purchased by Miltenberger for the newly renovated dining room. The 1859 bill of sale also enumerates wallpapers and other decorative accessories for the home. Antebellum examples of Siebrecht’s wares rarely come to market. By tradition, the following dining chairs offered in this sale were purchased at a later date to accompany the table. [15000/25000] Illustrated

1662 Suite of Eight American Renaissance Revival Mahogany Dining Chairs, third quarter 19th century, comprised of a pair of arm chairs and six dining chairs, each with a bellflower and scroll-carved to rail joined to reeded stiles, each with a carved lion’s head at the cap, the back with an upholstered cushion griffin and shield-carved panel, raised on legs with bulbous, twist-turned legs joined by serpentine stretchers, the chairs now variously upholstered, the arm chairs each in vibrant green-dyed python snakeskin, four side chairs in vibrant yellowdyed python snake skin and two side chairs in striped silk brocade, h. 41‑1/2”. By family tradition, the present suite was purchased by Alphonse Miltenberger in New York City to accompany his Siebrecht dining table and sideboard. Miltenberger purchased these chairs about a decade after the Siebrecht purchase. The patriotic-shield in the back reflects the interest spurred by the then-approaching Centennial celebration. [5000/8000] Illustrated

1665 1663

1664

1663 Pair of Bohemian ChaliceForm Vases, the emerald green glass decorated on the trumpet foot with gilt ivy leaves, and the vessels with crenelated rims decorated with applied sulphide profile portraits of classical women framed in gilded beads, set in a gilt cartouche on a ground with additional gilt ivy leaves, h 13‑1/4”. [500/800] Illustrated 1661

204

1666 Emerald Green Bohemian Decanter, first quarter 20th century, made for the Middle Eastern market, decorated with brilliant cuts and enameled flowers and scrolls, the spear point stopper with like decoration, h. 15‑3/4”, dia. 3‑1/2”. [1000/1500] Illustrated 1667 Pair of Emerald Green Bohemian Vases, third quarter 19th century, each decorated with gilt leaves and vines covering the neck and body while complemented by concentric gilt rings, and with a scalloped border on the foot, h. 13‑3/4”, dia. 3”. [600/900] Illustrated

1662

1668 Pair of Green Glass Bohemian-Style Vases Mounted as Lamps, the vasiform body decorated with an oval enamel panel depicting floral, the ground decorated with raised gilt flowers and leaves, now on oak bases, h. 39”. [200/400]

1666

1667

1664 Pair of Bohemian Mantle Lustres, third quarter 19th century, the emerald green base plated with white cut to green in a pattern of fleur-de-lis, the upper edge plated with turquoise cut to green in a pointed leaf pattern conforming to the upper edge, decorated with gilt borders and scrollwork, and hung with spear point prisms, h. 10”. [1200/1800] Illustrated 1665 Pair of Bohemian Glass Covered Urns, fourth quarter 19th century, the emerald green glass urn with Greekkey decoration on the trumpet foot, supporting the vessel with like decoration, and punctuated with a white plated reserve enamel panel with flowers, the lids with spear point knops, h. 15”. [2500/4000] Illustrated

205

1670 1672 American School (First Quarter 20th Century) “Pasture with Two Grazing Cows”, oil on board, signed lower right “J. Strayer”, 11‑1/2” x 16”. Presented in a giltwood and gesso frame. [400/700] 1673 American Rococo Revival Walnut, Gesso and ParcelGilt Pier Mirror, third quarter 19th century, having a deeply molded arched frame with a foliate crest above, the lower sides of the frame with applied gilt metal mounts of foliate design, h. 90”, w. 33”. [500/800]

1669 Continental Cut and Gilded Glass Trumpet Vase, first quarter 20th century, the faceted emerald green body with alternating bands of gilt scrollwork decoration and diamond cuts, the top with a gilt edge, h. 12‑1/2”, dia. 4”. [400/700]

1675

1670 American Renaissance Revival Walnut and Burl Walnut Marble-Top Hall Tree, third quarter 19th century, with a central plate glass mirror with shell-carved crest and finial above and flanked by turned wooden coat hooks and columns with Corinthian capitals to each side, the base with a marble deck and glove drawer below, each side with umbrella stand and cast-iron drip pans, h. 105”, w. 56”, d. 16”. [3000/5000] Illustrated 1671 Henry W. Kemper (American, 1833‑1894) “A Panoramic Autumnal Landscape with a Herder on a Mountain Path”, 1878, oil on canvas, signed and dated lower right “H. W. Kemper 1878”, 30” x 50”. Presented in a contemporary giltwood frame. [1200/1800] Illustrated

206

1671

1674 Cast-Iron Victorian Mantel Clock, fourth quarter 19th century, American, marked on the works, Ansonia, New York and patent dated 1882, the gilt-incised case with handles molded as winged caryatids, and with a gilt face, h. 11‑1/2”, w. 15”, d. 5”. [150/300] 1675 American Renaissance Revival Walnut Folio Stand, third quarter 19th century, the adjustable ends joined by turned rods to brass hardware with stops for five positions, raised on a molded cheval base on turned feet concealing period castors, h. 47‑1/2”, w. 29‑1/2”, d. 32‑1/2”, open w. 54”. [600/900] Illustrated 1676 John Carleton Wiggins (American, 1848‑1932) “Autumnal Landscape with Sheep at Dusk”, oil on Windsor & Newton canvas, signed and dated lower right “Carleton Wiggins, 1885”, 23” x 33”. Presented in a stunning period rose-and-ribbon molded giltwood and gesso frame. [3000/5000] Illustrated 1677 American School (19th Century) “Afternoon on the River”, oil on canvas, 16” x 24”, signed and dated lower right “M. Allen ‘92”. Presented in a carved giltwood exhibition frame. [400/700]

1676

1678 American Neo-Grec Gilt Bronze-Mounted Cherry Pedestal, third quarter 19th century, the revolving top on a beaded, paneled and palmetto-carved pedestal mounted with classical bronze masks joined by swags, each corner of the base with a winged griffon mount, the underside of the top marked in heavy ink or paint, "#639 18029", h. 48‑1/2”, w. 16‑1/2”. [1000/1500] Illustrated

1679

1678

1679 American Renaissance Revival Gilt-Incised and Marquetry Inlaid Ebonized Cabinet, third quarter 19th century, the top mounted with an incised and open cut gallery, the case with a drawer over a door, the door with an inlaid trophy panel, and flanked by fluted half-round pilasters, h. 48”, w. 29‑1/8”, d. 18‑1/2”. [1000/1500] Illustrated

207

1680 American Renaissance Revival Ebonized and Parquetry Inlaid Checkerboard Table, third quarter 19th century, the top with a geometric inlaid border and the central field in the form of a checkerboard, the base with four shaped supports and a central platform stretcher, h. 27‑1/2”, dia. 32”. [1200/1800] Illustrated 1681 Paul Cornoyer (American/New York, 1864‑1923) “Halloween”, oil on canvas, signed and dated lower right “P. Cornoyer 1887”, 29” x 37‑1/2”. Presented in a period giltwood and gesso frame. [1500/2500] Illustrated 1682 American Renaissance Revival Walnut and Burl Walnut Marble Top Center Table, third quarter 19th century, the rectangular top with in-cut canted corners and burl walnut panels along the apron frame, and supported by a central turned and carved stand and flanked by outstretched legs, h. 29‑1/2”, w. 34”, d. 23‑1/2”. [500/800] 1681 1683 Pair of American Brilliant Period Cut-Glass Trumpet Vases, fourth quarter 19th century, the vases with intaglio cutting of flowers and leaves encircling the body with a band of diamond cutting at the waist, h. 12”. [100/200]

1686

1684 Three Pieces of American Brilliant Period Cut-Glass, first quarter 20th century, signed “Tuthill”, comprised of a low bowl cut in the swirl primrose pattern with alternating intaglio cut flora with hobstars, unusually heavy, dia. 8”, a large bowl richly cut with hobstars and Russian borders, dia. 9‑1/4”, and a smaller bowl cut with pinwheels and hobstars, dia. 8”. [200/400]

1685 Three Piece Group of American Brilliant Period Cut-Glass, first quarter 20th century, comprised of a jug cut with hobstars on the body alternating with crosshatched panels and a faceted neck, h. 8”, an ice tub cut with hobstars alternating with cross-hatched panels and a large hobstar in the bottom, h. 4‑3/4”, and a water carafe cut with hobstars alternating with cut fans, h. 6‑3/4”. [200/400] 1680

208

1686 Three American Period Brilliant Cut-Glass Pitchers, first quarter 20th century, the lemonade pitcher cut with hobstars and a pattern of leaves and feathers, h. 11‑1/2”, the mid-sized pitcher cut with heart-shaped pinwheels, h. 11”, and the smallest pitcher intaglio-cut with a pattern of flowers and leaves, h. 7‑1/2”. [100/200] Illustrated

1687 Group of Six Brilliant Cut-Glass Knife Rests, the barbell form knife rests each cut with ribbing and star cuts to the end, l. 4‑1/4” to 5‑1/2”. [200/400]

1698

1695

1688 Group of Eight Barbell Shaped Brilliant Cut-Glass Knife Rests, first quarter 20th century and later, brilliantly cut with facets and ribs, l. 4‑1/4” to 5‑1/2”. [200/400] 1689 Group of Four Brilliant-Cut Glass Barbell-Form Knife Rests, three cut with hobstars and one with diamond-cut ends, l. 4‑1/4” to 4‑3/4”. [100/200] 1690 American Brilliant Period Cut-Glass Punch Bowl on Stand, first quarter 20th century, the top cut with hobstars alternating with cross-hatched panels, the neck of the flaring base boldly cut on the diagonal over hobstars, h. 12‑3/4”, dia. 14‑1/2”. [500/800] Illustrated 1691 Four Pieces of American Brilliant Period Cut-Glass, first quarter 20th century, comprised of a large trumpet shaped vase cut with stars alternating with cross-hatched panels and narrowing to a star-cut base, h. 14”, a smaller trumpet vase deeply cut with a pattern of swirling flowers and leaves, h. 9‑3/4”, a water carafe with strawberry and fan cuts with a faceted neck, h. 8”, and a compote mounted in a silverplate stand with scrolled feet, cut with hobstars and cross-hatched panels, h. 6‑1/4”. [200/400] 1692 Two Pieces of Cut-Glass, the first, an American Brilliant period berry bowl cut in a strawberry pattern with a fanned edge and scalloped border, dia. 9”, and the second a Regency-style lead crystal cut-glass ships decanter with a wide base, geometric cut body and mushroom stopper, h. 8‑1/2”. [150/300] 1693 Venetian Egergne in Millefiori Pattern, handblown in polychrome colors, comprised of a central vase surrounded by three curved vases attached to a low ruffled bowl, h. 16‑1/2”, dia. 12”. [1000/1500] 1694 Pair of Peacock Blue Blown and Molded Bohemian Glass Vases, third quarter 19th century, the vases with wide necks and oblong bodies, supported on a conical foot, h. 12”. [200/400]

1690

1695 Bohemian Cut and Enameled Decanter, first quarter 20th century, the body cut in brilliant patterns and with enameled scrolls and flora, plated in cobalt blue, the spire shaped stopper plated in cobalt over white and cut to clear, decorated with matching scrolls, h. 15‑1/2”, dia. 5”. [1800/2500] Illustrated 1696 Cranberry Bohemian Portrait Vase, third quarter 19th century, the finely detailed applied enamel portrait of a woman with roses in her hair, with a ground of gilt morning glories and ferns against gilt stippling, h. 12”, dia. 4”. [150/300]

209

1697 Pair of Victorian-Style Bohemian Lustres, ruby plated and engraved with towers, trees and rococo cartouches, the foot and lip engraved with scrollwork and clear reserves, spear point prisms hanging from the lower body, h. 12‑3/4”. [300/500] 1698 Ruby Cased Bohemian Decanter, fourth quarter 19th century, decorated with enamel flowers on cut-toclear glass panels, on a gilt vermicelli ground, the spear point stopper with like decoration, h. 20”, dia. 4‑1/2”. [1000/1500] Illustrated previous page

1704

1701

1701 Pair of Bohemian Vases in the Gothic-Revival Style, third quarter 19th century, the faceted body decorated with cranberry over white, cased leaves applied to the facets with gilt veins on the leaves and trimming the facets, a flared foot with matching leaf decoration, h. 11”, dia. 5‑1/4”. [800/1200] Illustrated 1702 Early WMF Silverplate and Cased Glass Bride’s Basket, fourth quarter 19th century, Wuerttembergische Metallwarenfabrik, Geislingen, in the rococo taste, the domed base decorated with embossed shells and scrolls and with a single scrolling handle, fixed with a opaque pink and white glass bowl with gauffered rim and decorated with polychrome enamels, h. 8”, dia. 9‑1/2”. [150/300]

1699 Pair of Bohemian Tea Canisters, fourth quarter 19th century, flashed in ruby with reserve panels containing enamel flora, the background decorated with gilt vermicelli, one with a matching stopper, one with an enameled 30 pontil mark and the other 39, h. 8”. [300/500] 1700 Two Similar Bohemian Glass Tea Canisters, third quarter 19th century, blown and cut in a faceted pattern and decorated with red-flashed grapes and grapevines, with like decoration on the lids, each pontil marked and numbered, h. 6‑1/4”, dia. 2‑3/4”. [400/700]

1703

210

1703 Rare English or American Aesthetic Movement Brass Fire Fender in the Anglo-Japanesque Taste, after an 1876 design by English designer and architect Thomas Jeckyll, the fender of typical U-form, the panels with a row of stylized brass fretwork suns, on a molded plinth base, h. 9”, w. 59‑3/4”, d. 12”. A slightly different fender in this pattern, paired with Jeckyll’s iconic sunflower andirons was in the James McNeil Whistler-decorated Peacock Room, at 49 Prince’s Gate, London, and now installed in the Freer Gallery of Art, Smithsonian Institute, Washington , D.C. Illustrated in a period photograph, the fender is now missing. An 1878 sketch by noted architect-designer and tastemaker Edward William Godwin of a similar Jeckyll fender is now in the collection of the Victoria and Albert Museum. Jeckyll repeated this fretwork motif in fences installed in the late 1870’s. Materials: brass, with leadfilled brass and steel structural elements. Remaining tool marks suggest the fretwork of the present fender was laboriously cut from a thick sheet of brass rather than stamped or cast, suggesting small-scale production. Jeckyll generally worked with the English firm of Bernard, Bishop, Barnard in producing his designs. No registry or maker's marks are apparent on the present example. Reference: Soros and Arbuthnott, “Thomas Jeckyll Architect and Designer, 1827‑1881” Yale University Press, Figure 3‑29 reproduces Godwin’s sketch of a similar Jeckyll fender; Figures 6‑27 and 6‑28 illustrate the same design employed in Jeckyll-designed garden gates; Figure 5‑71 illustrates a fender in an 1892 photograph of the Peacock Room. [2000/4000] Illustrated 1704 Fine American Aesthetic Movement Rosewoodand-Brass-Inlaid Library Table, fourth quarter 19th century, the rectangular top with molded edge and double-brass-stringing above a framed and paneled apron with a drawer at each end, the sides having lathe-turned spindle panels joined by a shelf-form stretcher, raised on square in-curved legs with brass stringing and ending in cast-brass paw feet, h. 30”, w. 38”, d. 29”. [1000/1500] Illustrated 1705 English Brass and Copper Pot and Lid Hanger, fourth quarter 19th century, the brass body appliqued with a pressed brass lion with a coiled serpent in a field of pressed brass leaves and vines, with brass hooks for pots, the interior rounded to hold the covers, h. 11‑3/4”, w. 33‑1/4”, d. 6‑1/4”. [300/500] 1706 Impressive English Neo-Grec Coal Scuttle, third quarter 19th century, a brass frame set with a turned ebony handle supporting the dovetailed body, the lid molded with vases, quarter fans, and arabesques, and a shovel, en suite, an ebony hilt with a molded half fan hilt, h. 22‑3/4”, w. 12‑1/2”, d. 19”. [200/400] 1707 Late Victorian Brass Student Lamp, fourth quarter 19th century, of typical form, signed, “PATD Nov 1871, 1878 Clevelan Safety Library Lamp House Argand” on the shade holder, the blown glass shade is green plated, now electrified, h. 20‑1/2”. [150/300]

1711 1708 English Arts and Crafts Mahogany Armchair, early 20th century, the curved back, slatted and joined to the wooden saddle seat, with a custom leather cushion, raised on rounded square legs joined by stretchers, h. 48‑1/2”. [200/400] 1709 Arts and Crafts Wall Sconces, first quarter 20th century, the hammered keystone-shape backplates are bordered with raised laurel leaves, the Greek-key motif brass arms suspending floriform-capped light sockets, electrified, h. 24”, w. 9‑1/2”, d. 12‑1/2”. [250/400] 1710 American Renaissance Revival Burled Walnut and Walnut Sideboard, third quarter 19th century, the marble top on a base with a pair of drawers over a pair of doors, the drawers with raised burled panels with carved pulls, the doors with ovoid burled panels mounted with grape and fruit carving, h. 38‑3/4”, w. 57‑1/2”, d. 23”. [600/900] 1711 American Renaissance Revival Walnut and Burl Walnut Cylinder Roll Secretary with Bookcase, third quarter 19th century, the upper case with a large molded cornice above a pair of shaped and glazed doors, the base with a cylinder roll opening to a fitted interior and a pair of cabinets and long drawer below, h. 94”, w. 48”, d. 22”. [1500/2500] Illustrated

211

1712 American Late Renaissance Revival Walnut and Burl Walnut Marble Top Center Table, third quarter 19th century, the legs and apron cartouches with giltincised details and turned spindles in the base, h. 29‑1/2”, w. 32‑1/2”, d. 23”. [300/500] 1713 American Blue Satin Glass Hall Lantern, fourth quarter 19th century, signed, Britmar Wien, the oblong faceted shape with molded panels of angel heads in rondels framed with anthemia and flowers, the lower pierced breather holds a kerosene font, h. 24”. [200/400] 1714 American Red Satin Glass Hall Lantern, fourth quarter 19th century, signed, "MB Co., NY, PAT APL, April 30, 89”, the glass shade molded to mimic draped fabric panels separated by beading, and covering the kerosene front, resting in a brass base with a pierced breather, h. 18”. [200/400]

1718

1715 American Cranberry Glass Cylindrical Hall Lantern, fourth quarter 19th century, the swirled shade enclosed in a brass frame with scrollwork applied at intervals, the molded pierced breather on the bottom fitted with a scrolled handle for lowering to light, electrified, h. 29”. [200/400] 1716 Napoleon III Hall Lantern, third quarter 19th century, of green opaline glass, the tulip-form shade retaining its gilt-lacquered pressed brass fittings, with a scroll-form drop and scrolled chain holders molded with heads, interior fitted with a candle socket, h. 9”, dia. 8‑1/2”. [300/500]

1721

1717 American Quarter-Sawn Oak Leaded and Curved Glass China Buffet, early 20th century, in two parts, the shaped beveled mirror plate with a foliate and cabachoncarved crest, the case with a curved glass upper door, the interior lined in deep green plush, over a pair of doors with leaded glazed panels on a projecting drawer below, raised on carved paw feet, in old surface, h. 71‑1/2”, w. 48”, d. 22‑3/4”. [500/800] 1718 Thomas Dedecker (American/Wyoming, b. 1951) “Crow Camp Below Birch Mountain, 1840”, oil on board, signed lower left “Thomas A. Dedecker”, titled in pencil on the reverse, 16” x 22”. Presented in a giltwood frame with a linen liner. [800/1200] Illustrated

1722

212

1719 McKenney and Hall History of Indian Tribes of North America, suite of three hand colored lithographs, including “Petalesharro, A Pawnee Brave”, “Po-Ca-Ho-Tas” and “Major Ridge, A Cherokee Chief”, published in 1858 by D. Rice and A. n. Hart, Philadelphia, sight 9‑1/2” x 6”. Each glazed, attractively matted and framed. [300/500] 1720 Paul Surber (American/Montana, b. 1942) “Native American Camp By a River”, watercolor on paper, signed and dated lower left “Paul Surber, 1983”, sight 9” x 17‑1/2”. Glazed, attractively matted and framed. [500/800]

1728 Victorian Copper Tea Kettle and Burner on a CastIron Stand, first quarter 20th century, the cast-iron half moon shaped stand reading “O’Clock” and “Tea”, the copper kettle with an ebonized handle and knop, the burner marked “Marny Bowman and Co. Pat Nov 8 1954”, h. 19‑1/4”. [150/300] 1729 Oxidized Cast-Iron Balustrade, second half 19th century, now mounted as a table lamp, reportedly salvaged from a structure in New York City, h. 41”. [250/400] 1726

1721 Thomas Dedecker (American/Wyoming, b. 1951) “Crow Camp‑1810”, oil on board, signed lower left “Thomas A. Dedecker”, title inscribed on a reverse auction gallery label, 14” x 18”. Presented in a molded giltwood frame with a linen liner. [800/1200] Illustrated 1722 Thomas Dedecker (American/Wyoming, b. 1951) “The True Native American”, oil on board, signed lower left “Thomas Dedecker”, title inscribed on a reverse label, 14” x 18”. Presented in a molded frame with a burlap liner. [800/1200] Illustrated 1723 Edward S. Curtis (American, 1868‑1952) “Apsaroke War Group”, photogravure on tissue, c.1905, legend lower margin, 12” x 15‑1/2”. Matted and framed. [1000/1500] 1724 Collection of Two American Works on Paper including a 20th/21st century reprint of a D.F. Barry photograph titled “Sitting Bull and Buffalo Bill”, 6‑1/8” x 4” and a Frederick Remington limited edition fascimile print titled “Buffalo Runners”, issued by the Frederic Remington Art Museum, sight 4‑5/8” x 6‑3/4”. Both glazed, handsomely matted and framed. [200/400] 1725 Bob Grieves (American, b. 1986), “Among the Hostiles”, a bronze work depicting a bearded cowboy shooting a rifle while astride a horse in a rocky landscape, the bronze incised “Grieves 1986, 1/10”, the plinth with a plaque displaying the title and artist, h. 13”. [400/700] 1726 Large American Late Victorian Quarter-Sawn Oak Hall Tree, fourth quarter 19th century, the crest featuring a carved mask above a broad central mirror, the base with a hinged seat and flanked by large standing winged griffins, h. 95”, w. 61”, d. 21”. [1000/1500] Illustrated 1727 American Late Victorian Mahogany Stained Swivel Piano Stool, fourth quarter 19th century, attributed to Merklen Brothers, New York, the legs and bulbous central support with spiral twist design, raised on cast-metal eagle talon feet clenching glass balls, the cast-iron mount labeled “TONK -Chicago and New York”, h. 19”, adjustable, dia. 14‑1/2”. [150/300]

1730 American Painted Cast Iron Cat Doorstop, second quarter 20th century, signed, Hubley, painted white with blue eyes, molded in two parts, h. 9”, w. 6”, d. 4‑1/4”. [100/200] 1731 Continental Molded Composition Figure of a Terrier, first quarter 20th century, the black and white dog with amber glass eyes, depicted wearing a blue ribbon and sitting with one paw up, h. 15”, w. 7‑1/2”, d. 8‑1/2”. [100/200] 1732 Victorian-Style Cast-Iron Low Table, 20th century, the scalloped and pierced circular top in vintage decor, on a griffin and scroll-modeled tripodal base, h. 21‑1/4”, dia. 20‑1/4”. [125/250]

213

1733 Four Piece Cast-Iron Garden Suite, comprised of three armchairs and a settee, each armchair marked, “Jacobs Mfg. Co. Bridgepoint Ala, Early Victorian”, 20th century, in the “Curtain pattern”, the settee back of tripartite-form, each piece with a crest centered by a roundel over open joined scrolls, dished pierced seats and scalloped apron bench, h. 36‑1/2”, w. 45”, l. 16”, bench, h. 36”, chairs. [800/1200] Illustrated

1737 19th Century Tiffany & Co. Sterling Silver Water Pitcher, the pattern introduced 1865‑1869, by Edward C. Moore (1827‑1891), New York City, New York, the bulbous body with cavetto shoulder and tall, waisted collar, decorated with elaborate engraved foliate banding in the Persian taste, the body with central cartouche, the shaped integral spout with molded rim, the peaked and paneled handle engraved en suite, the whole raised on a circular foot ring with applied scrolling trefoil cartouches, no monograms, h. 11‑1/2”, l. 8”, 6‑3/4”, 41.08 t. oz. [1500/2500] Illustrated

1734 Pair of American Cast-Iron Garden Urns, c. 1900, one base marked “MFG by The Kramer Bros FDY Co”, each with a palmette-molded rim, lobed body and resting on a square base, h. 18‑1/2”, dia. 20‑1/2”. [200/400] Illustrated

1738 Tiffany & Co. Sterling Silver “Saracenic” Coffeepot, designed in 1882 by Edward C. Moore (1827‑1891), New York City, this example dated 1888, the ovoid body with tall slender neck, hinged “onion” domed lid, tapering handle with ivory insulators, and tall “swan’s-neck” spout, decorated all over with acid-engraved floral and foliate scrolls, the underside monogrammed and dated “HWW / April 4th 1888”, h. 10”, l. 6‑3/4”, dia. 4‑1/4”, 16.59 t. oz. [2000/4000] Illustrated

1735 Late Victorian-Style Cast-Iron Three Tier Plant Stand, of circular form and having three graduated and reticulated shelves, supported by four cast and pierced legs joined by a stretcher, h. 36‑1/2”, dia. 37”. [300/500] 1736 American Late Victorian Cast-Iron Garden Table, c. 1900, the circular top with pierced decor in the aesthetic taste, mounted to a triangular pedestal and platform base, h. 28”, dia. 24”. [150/300]

1734

1739 19th Century Tiffany & Co. Sterling Silver Christening Cup, the pattern introduced in 1881, this example dated 1897, New York City, New York, of baluster form, raised on a bulbous milled floral foot ring and with stylized “caterpillar” handle, the interior gilt, engraved on the body “1897 / Thomas Prince Lloyd Molloy / from / Auntie Lizzie”, h. 3‑3/4”, l. 4‑1/4”, dia. 3”, 6.62 t. oz. Records of the Worcester Regiment of the British Army show Col. Thomas Prince Lloyd Molloy, born November 9, 1897, serving in both World Wars, seconded to the Royal Flying Corps in the first and commander of the 7th Battalion Worcester Regiment in the second. [100/200] 1740 Set of Three 19th Century Tiffany & Co. Sterling Silver Salt Cellars, the pattern introduced in 1881, New York City, New York, each of bulbous form and decorated all over with repousse flowers, with threaded wavy rim and foot ring, the interior gilt, h. 1‑1/8”, dia. 1‑7/8”, 4.63 t. oz. The design of this set is quite similar to the “Flora” designs created by Tiffany in the early 1880’s for Mary Jane Morgan, widow of shipping magnate Charles Morgan. [100/200]

1733 1741 Tiffany & Co. Sterling Silver Vase, the pattern introduced in 1897, this example before 1902, New York City, New York, the trumpeting standard with shaped, pierced and inverted rim decorated with applied rococo scrolls and flowers on a lattice ground, above a tightly knopped stem and steeply domed foot decorated en suite, the interior gilt, monogrammed on the base “KRH”, h. 12‑1/4”, dia. 4‑3/4”, 26.36 t. oz. [1500/2500] Illustrated

214

1741

1742 Tiffany & Co. Sterling Silver “Clover” Pattern Fruit Bowl, the pattern introduced in 1898, this example before 1907, New York City, New York, of lobed octagonal form with realistically detailed applied openwork “clover” rim, h. 2‑1/4”, dia. 10”, 17.88 t. oz. [300/500] Illustrated

1738

1737

1743 Tiffany & Co. Sterling Silver Bonbon Spoon, first quarter 20th century, New York, with large circular handle decorated with frolicking putti in a rococo reserve, with gilt coquille bowl, monogrammed on the handle reverse “MMW”, l. 5‑1/4”, 1.67 t. oz. [100/200]

1744 Tiffany & Co. Sterling Silver Bonbon Spoon, first quarter 20th century, New York, the handle in the form of a flaming torch with a floral wreath at the base, with a gilt heart-shaped bowl, l. 3‑3/4”, 0.77 t. oz. An identical bonbon spoon is illustrated in William P. Hood, Jr.’s definitive Tiffany Silver Flatware, 1845‑1905 (Woodbridge, Suffolk: Antique Collector’s Club, 2003), page 284, figure 428. [100/200] Illustrated

1745 Set of Eight Tiffany & Co. Sterling Silver Placecard/ Menu Holders, fourth quarter 20th century, each of coquille form on a circular base, h. 3/4”, 2.37 total t. oz. [150/300] 1746 Pair of Tiffany & Co. Sterling Silver Candlesticks, the pattern introduced in 1910, New York City, New York, each with a hexagonally paneled baluster standard, raised on an oval base and surmounted by a conforming urnform nozzle with integral bobeche, decorated with acid engraved “Renaissance” style cartouches and scrolls, h. 9‑1/8”, l. 4‑1/2”, w. 3‑1/2”, weighted. [900/1200]

1742

1744

215

1747

1749 Pair of Tiffany & Co. Sterling Silver Breadand-Butter Plates, the pattern introduced in 1912, New York City, New York, with molded rim, monogrammed on the rim “AMH”, dia. 6‑1/4”, 9.90 total t. oz. [150/300]

1750 Set of Sixteen Tiffany & Co. “Audubon” Sterling Silver Demitasse Spoons, the pattern designed in 1871 by Edward C. Moore (1827‑1891), New York City, New York, this set after 1956, no monograms, l. 4”, 9.32 total t. oz. [150/300]

1752

1751 Tiffany & Co. “Colonial” Sterling Silver Sauce Ladle, the pattern designed in 1895 by Paulding Farnham (1859‑1927), New York City, New York, with coquille bowl, monogrammed “D”, l. 7‑1/4”, 2.70 t. oz. [150/300] Illustrated

1751

1759 1754 1760

1753

1747 Twelve Tiffany & Co. Sterling Silver Plates, the pattern introduced in 1903, this set before 1907, New York City, New York, including nine service plates and three soup plates, each of circular form with lobed rim decorated by an applied gadrooned rim decorated with alternating rocaille shells and anthemion, dia. 10‑1/4”, 266.02 total t. oz. [6000/9000] Illustrated 1748 Set of Six Tiffany & Co. Sterling Silver Nut Dishes, the pattern introduced in 1908, New York City, New York, each of elongated concave octagonal form, with molded rim above, and pierced “leaf-and-berry” banding, raised on for flattened spherical feet, l. 4”, w. 2‑3/4”, 7.84 total t. oz. [200/400]

216

1758

1752 Tiffany & Co. “Chrysanthemum” Sterling Silver Claret Spoon, the pattern designed in 1880 by Charles Grosjean (1841‑1888), New York City, New York, no monograms, l. 18‑1/2”, 2.83 t. oz. Tiffany made this unusual implement in two sizes, of which this example was the larger. Among the rarer of Tiffany’s specialized function flatware, claret spoons were used to stir sweetened claret punches or lemonades, which were served in tall, narrow pitchers. [300/500] Illustrated 1753 Tiffany & Co. “English King” Platter Spoon, the pattern designed in 1885 by Charles Grosjean (1841‑1888), New York City, New York, l. 11‑5/8”, 5.20 t. oz. [200/400] Illustrated 1754 Tiffany & Co. “Grapevine” Sterling Silver Ice Cream Slice, the pattern designed in 1872 by Edward C. Moore (1827‑1891), New York City, New York 1754, with gilt leaf-shaped blade, monogrammed on the reverse “CM”, l. 12‑3/4”, 4.39 t. oz. [200/400] Illustrated 1755 Ten Tiffany & Co. “Gramercy” Sterling Silver Gumbo Spoons, the pattern designed in 1921 by Arthur LeRoy Barney (1884‑1955), mongrammed “MW/F”, l. 7‑5/8”, 22.24 total t. oz. [300/500] 1756 Four American Sterling Silver Service/Sandwich Plates, first half 20th century, including a Gorham example with gadroon-and-shell rim and leaf-and-dart interior band joined by fluting, dia. 9‑1/2” a Randahl Shop example with Tudor rose rim, dia. 9‑1/2”, a Watson Co. example with foliate gadroon and swag rim, dia. 9”, and an unmarked example with ovolo rim, dia., 8‑1/2”, 26.17 total t. oz. [400/700]

1757 Four Pieces of Tiffany and Gorham Sterling Silver Flatware, all 19th century patterns, including a Tiffany “Wave Edge” fork, l. 7‑7/8”, and tablespoon, l,. 8‑3/8” the spoon monogrammed “AWW”, a Gorham “Empress” tablespoon, monogrammed “FM”, l. 8‑1/8”, and a Gorham “Medallion” fork, retailed by Tiffany, monogrammed “LHF”, l. 7‑1/2”, 7.90 total t. oz. [150/300] 1758 Whiting “Lily” Pattern Platter Spoon, the pattern designed in 1902 by Charles Osborne (1847‑1920), Providence, Rhode Island, no monograms, l. 11‑1/4”, 4.57 t. oz. [250/400] Illustrated 1759 Reed & Barton “La Parisienne” Sterling Silver Fish Serving Set, the pattern designed in 1902 by Ernest Meyers, Taunton, Massachusetts, including a fish slice, l, 12” and fish serving fork, l. 9‑1/2”, monogrammed “V”, 6.69 total t. oz. [400/700] Illustrated 1760 Gorham “Patrician” Sterling Silver Punch Ladle, the pattern designed in 1902 by by William Christmas Codman (1839‑1923), Providence, Rhode Island, with gilt bowl, monogrammed “MHD”, l. 11‑3/4”, 7.71 t. oz. [400/700] Illustrated 1761 Gorham Sterling Silver “Chesterfield” Serving Fork, the pattern designed in 1895 by William Christmas Codman (1839‑1923), no monograms, l. 8‑1/2”, 2.79 t. oz. [75/125] 1762 Gorham “Mythologique” Sterling Silver Platter Spoon, the pattern designed in 1894 by Florentin Antoine Heller (1839‑1904), Providence, Rhode Island, no monograms, l. 12‑3/4”, 6.94 t. oz. [200/400] 1763 Set of Twelve Gorham “Old Medici” Sterling Silver Citrus Spoons, the pattern introduced in 1880, Providence, Rhode Island, monogrammed “H”, l. 5‑3/4”, 10.86 t. oz. [700/1000]

1764

1764 Philip Russell Goodwin (American, 1882‑1935) “Moose Trappers”, oil on canvas, signed lower right “Philip R. Goodwin”, 24” x 33”. Presented in a polychrome and parcel-gilt frame. Provenance: Collection of a Midwest collector. A Connnecticut native, Philip Russell Goodwin was an illustrator of the outdoors, specializing in hunting and fishing scenes. He was a student at the Rhode Island School of Design, Howard Pyle School and The Art Students League. His illustrations were published in major publications of the day, including Everybody’s, Harper’s Weekly, Harper’s Monthly, Outing, Persimmon Hill Magazine and Scribner’s. He was a friend of Charles M. Russell, whose influence is evident in Goodwin’s paintings. [60000/90000] Illustrated

217

1767 British School (Fourth Quarter 19th Century) “Exotic Blue Bird”, watercolor on paper, unsigned, 10‑1/4” x 14‑1/4”. Glazed, matted and framed. [300/500] 1768 Newcomb College Vellum Glazed Vase, 1928, decorated by Sarah Agnes Estelle “Sadie” Irvine (1897‑1970) and potted by Jonathan Browne Hunt (1876‑1943), the shallow relief carving in moon, moss and live oak decor, fully inscribed on the underside, including registration mark “RE42”, shape number “236” and retaining a fragmentary paper label, h. 6‑3/4”. [1800/2500] Illustrated 1769 A. Hays Town (1903‑2005) The Architectural Style of A. Hays Town: 106 Preliminary Sketches, Baton Rouge: Amdulaine Publications Inc., 1985, first printing, introduction by Blanche Town Gladney, retaining the original color dust jacket, h. 11”. [1000/1500] Illustrated 1765 1768

1770 Twenty-Nine Volumes of Southern and American Architectural Books, including Thompson Westcott, “The Historic Mansions and Buildings of Philadelphia”, published by Porter and Coates, 1877; Gleasan, “Plantation Homes of Louisiana and the Natchez Area”; Lane, “Architecture of the Old South North Carolina”; Whiffen, “The EighteenthCentury Houses of Williamsburg”; Cooper, “Antebellum Houses of Natchez”; Mullins, “New England by the sea”; Wienect, “The Mansions of The Virginia Gentry”; Mullins, “Homes of New York and Connecticut”; Abbott, “Historic Charleston”; Wieneck, “Plantations of the Old South”; Davis, “Annapolis Houses 1700‑1775”; Hawthorne, “The Second Treasury of Early American Homes”; Thomas Jefferson Memorial Foundation, “Monticello in Measured Drawings”; Davidson, “Notable American Houses”; Weygandt, “Philadelphia Folks”; Faris, “Old Roads out of Philadelphia”; Taylor, “Guide to Historic New Bern North Georgia”; Muse, “Old New Orleans”; and Delahanty and Martin, “Classic Natchez” and other assorted volumes. [75/125]

1765 David Hagerbaumer (American, b. 1921) “Game Birds in Flight”, watercolor on paper, signed lower right “David Hagerbaumer”, sight 21” x 28‑5/8”. Glazed, matted and framed. [700/1000] Illustrated 1766 Clarence E. Braley (American/Massachusetts, 1854‑1927), a reverse painting on glass of a mallard drake, with mother-of-pearl inlay to the neck, head and tail, signed lower left “C. Braley”, overall h. 29”, w. 15‑3/4”. Presented in an oak frame with shaped inner border with scrolling and leaf design. [300/500]

218

1769

1775 Twenty Volumes on American and English Furniture and Decorative Objects, including Weidman, “Furniture Made in Maryland 1740‑1940”; Montgomery, “American Furniture of the Federal Period 1788‑1825”; Ward, “American Case Furniture, Yale”; Cooke, “Upholstery in Europe and America”; Bjerkoe, “The Cabinetmakers of America”, and assorted related volumes. [125/250]

1778

1771 Group of Three Books Related to Silver, including the Anglo-American Art Museum with the Pilgrimage Garden Club of Natchez, “Natchez-Made Silver in the 19th Century”; Warren, Howe and Brown, “Marks of Achievement Four Centuries of American Presentation Silver”; and Davis, “Louisiana, This One’s For You”. [75/125] 1772 Group of Thirteen Volumes Pertaining to American Furniture, including volumes I-VIII of “American Antiques from the Israel Sack Collection”; Sack, “The New Fine Points of American Furniture; Sack, “Fine Points of American Furniture”; Edgar Miller, “American Antique Furniture”, Volumes I and II; and Michael, “The Overlook Treasury of Federal Antiques”. [100/200] 1773 Eleven Volumes on Porcelain, Glass and Fine Art, including, Barrie and Jenkins, “Paris Porcelain 1770‑1850 Translated by Charleston”; Aileen Dawson, “French Porcelain, A Catalogue of the British Museum Collection”; Savage, “Seventeenth and Eighteenth Century French Porcelain”; Charleston and Towner, “English Ceramics 1580‑1830”; Bickerton, “Eighteenth Century English Drinking Glasses”; and other assorted volumes. [100/200] 1774 Twenty-Nine Volumes on American Antique Furniture and Decorative Objects, including, Hurst and Prown, “Southern Furniture 1680‑1830 The Colonial Williamsburg Collection”; Bacot, “Nineteenth Century Lighting”; Keno and Keno, “Hidden Treasures Searching for Masterpieces of American Furniture”; MESDA, “The Regional Arts of the Early South”; Burton, “Charleston Furniture 1700‑1825”; Garrett, “Classic America”; Randall, “American Furniture in the Museum of Fine Arts Boston”; Dubrow, “American Furniture of the 19th century”, and an assortment of related volumes. [100/200]

1776 Fourteen Volumes on Chinese and Japanese Porcelain for the Western Market, including Frederich Reichel, “Early Japanese Porcelain Arita Porcelain in the Dresden Collection”; Feller, “The Canton Faille Rose Porcelains”; Mudge, “ Chinese Export Porcelain in North America”; Crossman, “The China Trade Export Paintings, Furniture, Silver and Other Objects”; Schiffer, “Japanese Porcelain 1800‑1950”; Scheurleer, “Chinese Export Porcelain Chine de Commande”; Gordon,”Collecting Chinese Export Porcelain”; Schiffer, “China for America”; Nelson, “Directly from China”; Denker, “After the Chinese Taste”; Gordon, “Treasures from the Past”; Mudge, “Chinese Export Porcelain”; Schiffer, “Chinese Export Porcelain”; and Wallace Homestead, “Price Guide to Oriental Antiques”. [100/200] 1777 Eleven Volumes on Brass Candlesticks and Metalwork, including, Christopher Bangs, “The Leer Collection, A Study of Copper-Alloy Socket Candlesticks A.D. 200‑1700”; Burks, “Birmingham Brass Candlesticks”; Michaels, “Old Domestic Base-Metal Candlesticks”; Gentle and Field, “Domestic Metalwork 1640‑1820”; Valentine Museum, “G. Dallas Coons Candlestick Collection”; Kelly and Ellwood, “Trivets and Stands”; Schiffer, “The Brass Book”; Hornsby, “Collecting Antique Copper and Brass”; Willis, “Candlesticks”; Butler, “Candleholders in American 1650‑1900”; and Wills, “The Book of Copper and Brass”. [150/250] 1778 Three Books on New Orleans Fine and Decorative Art, including Howard A. Buechener, Drysdale (1870‑1934): Artist of Myth and Legend (Metairie, Louisiana: Thunderbird Press, 1985), first edition, signed and numbered (No. 413) by the author on the flyleaf; Martin and Margaret Wiesendanger, 19th Century Louisiana Painters and Paintings from the Collection of W. E. Groves (Gretna, Louisiana: Pelican Pub. Co., 1971), library binding; and Suzanne Ormond and Mary E. Irvine, Louisiana’s Art Nouveau: The Crafts of the Newcomb Style (Gretna, Louisiana: Pelican Pub. Co., 1976), h. 11‑1/4”, w. 9”. [60/90] Illustrated 1779 Joseph Sacks (American, 1887‑1973) “Tropical Garden”, oil on panel, signed lower right “J. Sacks”, reverse with a “Janet Fleisher Gallery” label inscribed with the title, size, medium and artist’s name, 18” x 22”. Framed. [700/1000]

219

1782 Attributed to Albert Jean Adolphe (American/ Philadelphia, 1865‑1940) “Saint Sulpice, Paris”, oil on board, unsigned, 9‑1/8” x 12‑1/8”. Presented in a giltwood frame. [500/800] 1783 Albert Jean Adolphe (American/Philadelphia, 1865‑1940) “Luxembourg Gardens”, oil on board, signed lower right “Albert Jean Adolphe Paris”, 8‑3/4” x 10‑7/8”. Presented in a giltwood frame. [800/1200] Illustrated 1784 Three American Sterling Silver Dishes, first quarter 19th century, including an Barbour Silver Co., fruit bowl with everted pierced and engraved foliate rim, monogrammed center “GNT”, dia. 10‑1/2”, a Watrous Mrg. Co. “Farmington” pattern bowl with pierced rim and annulated edge, dia. 7”, and a Watson Co. bottle coaster with floral rim and quartering, dia. 6”, 22.24 total t. oz. [300/500] 1780 1785 American Sterling Silver Vase, first quarter 20th century, by the La Pierre Mfg. Co., New York City, New York, of tall “trumpet” form, with annular band and wavy flared and fluted everted rim, raised on a cavetto-molded foot, h. 15‑1/4”. dia. 6”, weighted. [200/400] Illustrated 1786 Set of Six American Sterling Silver Nut Dishes, second quarter 20th century, by the Whiting Mfg. Co., Providence, Rhode Island, including one master dish, l. 6‑1/4”, w. 4‑1/4”. and five individual dishes, l. 3‑1/8”, w. 2‑1/8”, each of rounded rectangular form with cavettocanted corners and molded rim, monogrammed center “LKG”, 5.91 total t. oz. [100/200]

1783 1780 Attributed to William James Glackens (American, 1870‑1938) “Still Life with Two Vases of Flowers and Fruit”, oil on canvas, unsigned, inscribed in pen on the reverse “W. Glackens, 1870‑1938”, 20” x 24‑3/4”. Presented in a period giltwood and gesso frame with a brass artist plaque. [10000/15000] Illustrated 1781 Albert Jean Adolphe (American/Philadelphia, 1865‑1940) “New England Mill”, oil on board, signed and dated lower right “Albert Jean Adolphe ‘22”, reverse inscribed in pencil with the artist’s name, 9” x 11”. Presented in a giltwood frame. [700/1000]

220

1787 American Arts & Crafts Sterling Silver Cocktail Shaker, first quarter 20th century, probably Chicago, Illinois, the tapered cylindrical body with domed shoulders decorated with “hammered” finish and reeded banding, with tapering cylindrical collar, spout and squared handle, with cork-fitted reeded-edge button caps on the collar and spout, h. 10‑3/4”, dia. 4‑1/2”, l. 6‑3/4”, 21.99 t. oz. (excluding cork-fitted caps). [400/700] Illustrated 1788 Set of Four Sterling Silver Sherbet Cups, first quarter 20th century, by Ahrendt & Kautzmann, Newark, New Jersey, the ogee-shaped bowls engraved narrow with horizontal and vertical bands joined to foliate motifs, with a thin stem knopped at the base and above a circular foot, h. 4‑3/4”, dia. 2‑7/8”, 12.66 total t. oz. [250/400] 1789 Set of Six Gorham Sterling Silver Bread-and-Butter Plates, third quarter 20th century, Providence, Rhode Island, of circular form with molded rim, no monograms, dia. 6”, 15.36 total t. oz. [200/400]

1785

1790 Good American Sterling Silver Center Bowl, first quarter 20th century, unmarked, of shallow hemispherical form, with annulated molded rim above bright-cut banding, the body engraved with opposing oval foliate cartouches, with pierced “quaich”-style handles joined by tapering and reeded straps to the bottom, the whole raised on a circulardomed square plinth foot, h. 4‑1/4”, dia. 9‑3/4”, w. 14”, 32.60 t. oz. [600/900] Illustrated

1787

1790

221

1791 Rare Fifty-Five Piece Set of Art Deco “Contempora” Pattern Sterling Silver Flatware, designed in 1929 by Eliel Saarinen (1873‑1950), manufactured by Dominick & Haff, New York City, New York, complete for eight persons, including eight dinner forks, l. 7‑1/4”, eight salad forks, l. 6‑1/4”, eight teaspoons, l. 5‑7/8”, eight soup spoons, l. 6”, eight dinner knives with stainless steel “New French”shaped blades, l. 8‑7/8” eight butter spreaders, 6‑1/2”, a tablespoon, l. 8‑1/2”, a sauce ladle, l. 6‑1/4”, a sugar spoon, l. 6”, a serving fork, l. 9”, and a two-piece carving set with stainless steel fittings, including a carving fork, l. 9”, and knife, l. 10”, no monograms, 53.44 total t. oz. (excluding items with stainless steel fittings). Gottlieb Eliel Saarinen was born in Rantasalmi, Finland on August 20, 1873, and educated at the Helsinki Institute of Technology. His first major work was the Finnish Pavilion at the 1900 World’s Fair, and it established the two stylistic influences with which he would become permanently associated: the Gothic Revival and Art Nouveau. His other important works in Helsinki include the National Museum (1904), the Railway Station (1909) and the Marble Palace (1918). In 1922 he entered the design competition sponsored by the Chicago Tribune for its new headquarters. His design, though widely regarded as the best, came in second to a design submitted by John M. Howells and Raymond Hood. (Saarinen’s design would be realized in the 1929 Gulf Building in Houston Texas, and its influence can bee seen in Hood’s own Rockefeller Center (1939) in New York and even Cesar Pelli’s 181 West Madison (1990) in Chicago.) Following this noteriety, Saarinen moved permanently to the United States in 1923, where designed the campus of the Cranbook Educational Community, founded as an American equivalent to the Bauhaus. He was invited to participate the Metropolitan Museum of Art’s eleventh exhibition of contemporary design in 1929, entitled “The Architect and the Industrial Arts.” Noted architects of the day were invited to design thirteen room settings, with the stipulation that no object displayed could be in current production. Saarinen created a dining room, and for it designed four flatware patterns to be displayed on the table. The display sets were manufactured by the leading silver companies of the day - Dominick & Haff, Reed & Barton, Towle and International Silver - although only Dominick and Haff would put their prototype into production. The result was the modernist “Contempora”, whose sleek, lobed “skyscraper”-style handle reflected the height of the Art Deco style. Unfortunately, the pattern was not successful, a victim of the Great Depression. (Although one of Saarinen’s innovations the long-handled, short-bladed “Viande”- or “Grille”-style design - enjoyed a modest post-war success in some International Silver designs. He continued to teach at Cranbrook (where his students included Ray and Charles Eames) and later became a professor at the University of Michigan. He died in Michigan on July 1, 1950. His son, Eero (1910‑1961) would become of the most important architects and designers of the 20th century, his famous designs including the St. Louis Gateway Arch, the Washington Dulles International Airport Main Terminal and the Womb Chair. Ref: Charles L. Venable, Silver in America, 1840‑1940: A Century of Splendor (New York: Harry N. Abrams, 1994), pp. 283, illustrated p. 294, fig. 9.36; William P. Hood, Jr., “Modern Flatware Design: The Viande/Grille/Vogue Style”, in Magazine Antiques, February 2003, pp. 78‑85, illustrated p. 79, fig. 2 and p. 82, pl. VII; and Jewel Stern, Modernism in American Silver: 20th Century Design (New Haven: Yale University Press, 2006), pp. 102‑108, illustrated p. 106, figs. 4.3 and 4.4 [1500/2500] Illustrated

222

1791

1792 Eighty-Nine Piece Set of International Silver “Orchid” Sterling Silver Flatware, the pattern designed in 1929 by Alfred G. Kintz (1884‑1963), including eight dinner forks, l. 7‑1/8”, eight salad forks, l. 6‑1/4”, eight seafood/cocktail forks, l. 5‑1/2”, twelve teaspoons, l. 5‑3/4”, two tablespoons, l. 8‑1/2”, eight cream soup spoons, l. 5‑1/2”, eight iced tea spoons, l. 7‑1/2”, eight demitasse spoons, l. 4”, eight dinner knives with stainless steel “New French”-shaped blades, l. 8‑5/8”, six flat butter spreaders, l. 5‑5/8”, a small serving spoon, l. 8‑3/4”, a large serving spoons, l. 9‑1/8”, a serving fork, l. 7‑1/2”, a two-piece carving set with stainless steel blade/tines, l. 10” and 9”, a sauce ladle, l. 6‑3/8”, a cream ladle, 5‑3/8”, a lemon fork, 5‑3/4”, a pickle fork, l. 5‑3/4”, a cake/pie server with stainless steel blade, l. 9‑3/4”, an olive spoon, l. 6”, a sugar spoon, l. 5‑3/4”, and a a tomato server, l. 8”, no monograms, 75.68 total t. oz. (excluding items with stainless steel elements), presented in a fitted, orange Pacific cloth-lined mahogany case, 3‑1/4” x 11” x 15‑1/2”. [1500/2500]

1801

1793 Nineteen Pieces of Assorted American Sterling Silver Flatware, in the Art Deco taste, including an International “Courtship” pieces three teaspoons, l. 6” and a flat butter knife, l. 5‑1/2”, International “Enchantress” pieces a salad fork, l. 6‑1/4” and five butter spreaders, l. 5‑5/8”, Wallace “Stradivari” pieces three dinner forks l. 7‑5/8”, three teaspoons, l. 5‑3/4” and a dinner knife with stainless steel blade, l. 9‑3/4”, with a National “Shirley” demitasse spoon, l. 4‑3/8”, and a Manchester “Park Avenue” jelly spoon, l. 6”, 19.58 total t. oz. (excluding dinner knife). [300/500]

1798 German Sterling Silver Cocktail Shaker, second quarter 20th century, by Hermann Behrnd, Dresden, of tapering cylindrical form with ogee domed lid and cylindrical cap, monogrammed on the body “LMN”, h. 8”, dia. 3‑3/4”, 12.08 t. oz. [200/400] Illustrated 1799 Tiffany & Co. Modernist Silverplate and Glass Fruit Bowl, third quarter 20th century, the bucket-shaped glass bowl raised on three silverplate spatulate supports above a circular base, monogrammed on one support “ SK”, h. 8‑1/2”, dia. 7‑3/4”. [200/400] Illustrated

1794 Four Pieces of Towle “Craftsman” Sterling Silver Flatware, the pattern designed in 1932 by Harold E. Nock (1876‑1952), Newburyport, Massachusetts, including a salad fork, l. 6‑1/2”, a luncheon knife with stainless steel “Modern”-shaped blade, 8‑5/8” a teaspoon, 6”, and a soup spoon, l. 6‑1/2”, no monograms, 3.40 total t. oz. (excluding knife). [75/125]

1800 Tiffany & Co. Sterling Silver Water Pitcher, the pattern introduced in 1914, New York City, New York, of canted hexagonal ovoid form, with squared handle, waisted collar, integral spout and molded rim and conforming foot-ring, monogrammed on the body “LMN”, h. 7‑1/2”, l. 8”, w. 5‑1/2”, 28.68 [400/700] Illustrated

1795 Pair of American Sterling Silver Graduated Platters, first quarter 20th century, in the Colonial Revival manner, each of oval form with serpentine ends and molded rim, monogrammed on the plateau “LMN”, l. 15‑3/4” and 14”, w. 10‑3/4” and 9‑1/2”, 44.94 total t. oz. [1000/1500] Illustrated

1801 Ninety-Four Piece Set of Wallace “Romance of the Sea” Sterling Silver Flatware, the pattern designed in 1950 by William S. Warren (1888‑1965), including twelve dinner forks, l. 7‑1/4”, twelve salad forks, l. 6‑1/2”, twenty-four teaspoons, l. 6”, four tablespoons, l. 8‑1/2”, twelve cream soup spoons, l. 6”, twelve iced tea spoons, l. 7‑3/8”, twelve dinner knives with stainless steel “Modern”-shaped blades, l. 9”, a slotted serving spoon, l. 8‑1/2”, two serving forks, l. 8”, a cake/pie server with stainless steel blade, l. 10‑1/2”, a sauce ladle, l. 8‑1/2”, and a sugar spoon, l. 6”, no monograms, 138.57 total t. oz. (excluding items with stainless steel elements). [7000/10000] Illustrated

1796 Tiffany & Co. Sterling Silver Platter, the pattern introduced in 1926, New York City, New York, of dodecahedral form with molded rim and conforming recessed plateau, monogrammed on the plateau, “LMN”, dia. 12”, 24.56 t. oz. [400/700] 1797 Set of Six Tiffany & Co. Sterling Silver Cordial Cups, the pattern introduced in 1915, New York City, New York, each with an ovoid bowl, baluster stem and circular foot, h. 4”, dia. 2‑1/2”, 23.27 t. oz. [300/500] Illustrated

1798

1799

1795

1800

1796

1797

223

1807 American Sterling Silver Modernist Sterling Silver Punch Bowl, mid‑20th century, unmarked, the steep bucket-form bowl with everted rim and circular foot ring, h. 7‑3/4”, dia. 16‑1/2”, 74.84 t. oz. [1500/2500] Illustrated

1806

1807

1805

1808

1808 Large Silverplate Arts & Crafts Punch Ladle, first quarter 20th century, probably Chicago, Illinois, with hemispherical bowl and “dognose” pointed handle, with hammered finish, l. 14”. [60/90] Illustrated 1802 Forty-Three Pieces of Assorted American Sterling Silver Flatware, in the “Danish Modern” taste, including Frank M. Whiting “Princess Ingrid” pieces, five dinner forks, l. 7‑1/8” five salad forks, l. 6‑1/4”, three soup spoons, l. 6‑1/4”, three teaspoons, l. 6”, three dinner knives with stainless steel “Modern”-shaped blades, l. 8‑7/8”, and three butter spreaders, l. 6”, International “Spring Glory” pieces, three dinner forks, l. 7‑1/4”, two salad forks, l. 6‑3/8” three butter spreaders, l. 5‑3/4”, one dinner knife with stainless steel “Modern”-shaped blade, l. 9”, and six soup spoons, l. 6‑1/4”, International “Northern Lights” pieces, one dinner fork, l. 7‑4/”, one salad fork, l. 6‑1/4”, and one butter spreader, l. 6‑1/2”, Lunt “Silver Poppy” pieces, one dinner fork, l. 7” and one salad fork, l. 6‑1/2”, and a Wallace “Orchid Elegance” soup spoon, l. 6‑1/4”, no monograms, 55.30 total t. oz.(excluding dinner knife). [400/700]

1809 George Bauer Dunbar (American/Louisiana, b. 1927) “Coin du Lestin LXVIII”, red gold leaf over black and red clay, 61‑1/2” x 49‑1/2”. Collections: New Orleans Museum of Art; North Carolina Museum of Art, Raleigh; Rose Museum, Brandeis University, Waltham, MA. [15000/25000] Illustrated

1803 Four American Sterling Silver Serving Pieces, 20th century, including S. Kirk & Son “Repousse” sugar tongs, l. 3‑1/4”, 0.51 t. oz. unmarked floral Art Nouveau-style poultry shears with stainless steel blades, l. 10‑1/4”, and a pair of unmarked “Danish Modern”-style salad servers with wooden tines/bowl, l. 11” & 12”. [200/400] 1804 Three American Silverplate Serving Pieces, 20th century, including a National Silver “Monarch Plate #2” serving spade, l. 10”, an unmarked Danish-modern style bottle opener, l. 7”, and an unusual bow-style straining spoon with flat fiddle-thread handle, l. 9‑1/2” [60/90] 1805 Set of Twelve Contemporary Silverplate Tumblers, in the modernist taste, each of inverted pear shape, h. 2‑3/4”, dia. 3‑1/2”, [150/300] Illustrated 1806 Gorham Sterling Silver Platter, 1909, Providence, Rhode Island, of oval form with chevroned ends, with molded rim, monogrammed on the plateau “LMN”, l. 20”, w. 13‑1/2”, 51.82 t. oz. [1000/1500] Illustrated 1809

224

1810

1812

1813 1812 George Bauer Dunbar (American/ Louisiana, b. 1927) “Silver Heart”, silver leaf over red and black clay, signed lower center “dunbar”, 13‑5/8” x 12”. Framed. [2500/4000] Illustrated

1811 1810 George Bauer Dunbar (American/Louisiana, b. 1927) “Silver Heart”, silver leaf over black clay, signed lower center “dunbar”, 13‑5/8” x 12”. Framed. [2500/4000] Illustrated 1811 George Bauer Dunbar (American/Louisiana, b. 1927) “Red and Silver Heart”, silver leaf over red and black clay, signed lower center “dunbar”, 11” x 8”. Framed. [1500/2500] Illustrated

1813 Contemporary Papier-Mache and Carved Wood Sculpture by Mario Villa (American/ New Orleans, b. 1953), depicting a standing partiallynude Classical female figure, h. 61”, w. 14”, d. 13”. [1000/1500] Illustrated

225

1814 Todd Murphy (American, Contemporary) “Untitled 12”, mixed media on paper, 2002, reverse with “The Lowe Gallery, Atlanta, Georgia” label, 47” x 33”. Glazed and framed. Todd Murphy grew up in Georgia and began his acclaimed artistic career in Atlanta. He has curated major corporate and institutional projects including the Sovereign Building in Atlanta. Murphy’s work is numerous private collections including those of Jon Bon Jovi, Uma Thurman, Sir Elton John as well as in several museum collections such as the High Museum of Art, New Orleans Museum of Art, and the Tampa Museum of Art. [2000/4000] Illustrated 1815 Maggie Hasbrouck (American, Contemporary) “Simon’s Gift”, photoencaustic, 2002, titled, dated and signed on the reverse, reverse with “The Lowe Gallery, Atlanta, Georgia” label, 60” x 50”. Presented in a custom shadowbox frame. Southern artist Maggie Hasbrouck has not only exhibited in numerous solo and group shows, but also has been an art and photography instructor at the Atlanta College of Art, Southeastern Center for the Arts in Atlanta and Illinois State University. Her work is in several prominent private collections, including those of Sir Elton John, Jon Bon Jovi, Faith Hill, Courtney Cox Arquette and Dennis Quaid. [3000/5000] Illustrated

1815

1816 Francisco Alessandrini (Italian/New Orleans, b. 1944) “River House”, watercolor on paper, signed lower right, reverse with the work’s competition entry card and the newspaper article profiling the artist, sight 25‑1/2” x 33‑1/3”. Glazed and framed. [200/400] 1817 Janice R. Sachse (American/Louisiana, 1908‑1998) “Egrets in Marshland”, from the “Interstate Series”, watercolor on paper, signed lower right “Janice R. Sachse, Interstate Series”, sight 18‑1/2” x 27”. Glazed, matted and framed. [150/300]

1814

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1818

1818 Clifford Rainey (Irish/American, b. 1950) “Breath”, metal and optical glass installation, consisting of 11 heads, each with cadmium engraved sockets symbolizing a mathematical progression, and each mounted on a custom wall-mounted panel, a wall panel empty of the head and a tri-part head mold with a square pedestal, signed and titled on the mold, each panel h. 32”, w. 24”, pedestal h. 20”, w. 14”, d. 14”. Clifford Rainey has received his M.A. from the Royal College of Art in London, where he taught from 1977 until 1984. His work is exhibited in numerous public collections, including Victoria and Albert Museum in London, the Corning Museum of Glass in Corning, New York, the de Young Museum in San Francisco and the Los Angeles County Museum of Art. His large-scale public commissions include Liverpool Lime Street railway station, England, The Jeddah Monument, Saudi Arabia and the 911 Communication Center, San Francisco. He is the chair of the Glass Program at California College of the Arts in Oakland, California. [15000/25000] Illustrated

1819 Donny Finley (American/Alabama, 20th Century) “The Tie”, oil on board, signed lower right “Donny Finley”, signed, titled and dated “January 1987” on the reverse, 11” x 9”. Presented in a polychrome and parcel-gilt frame. [600/900] 1820 Don Wright (American/Louisiana, 1938‑2007) “Two Tahitian Women”, pastel on paper, signed lower left “D. Wright”, sight 11” x 17”. Glazed, matted and framed. [200/400]

227

1822 Leonardo Neiman (Mexican, 20th/21stCentury) “Solar Flame”, acrylic on masonite, signed lower left, titled on the reverse, 47” x 34‑1/2”. Framed. [800/1200] 1823 John Tarrell Scott (American/Louisiana, 1940‑2007) “Untitled”, mixed media on paper, signed “John T. Scott” and bearing signatures of other New Orleans artists along the edges, 30” x 22‑1/2”. Unframed. [800/1200] 1824 Janice R. Sachse (American/Louisiana, 1908‑1998) “Interior with a Teapot on a White Pedestal”, watercolor on paper, signed and dated lower right and lower left “R. Sachse 1969”, sight 28” x 20”. Glazed, matted and framed. [200/400] 1821

1821 Edwin Keiffer (American, 1921‑1997; Active New Orleans) “The Buck Johnson Group”, Oct. Nov. 1988, acrylic and pastel on linen, signed upper left “Keiffer”, dated and inscribed with individual band member’s names on the reverse: “Buck Johnson Trumpet, Don Ewell - Piano, Geo. Lewis - Clarinet, Jim Robinson - Trombone, Slow Drag Pavagean - Bass, Red Jones - Drums”, 33” x 46”. Handsomely framed. Provenance: Acquired from Dorothy Rogers Fine Art, Santa Fe, New Mexico, by a private collector, New Orleans, Louisiana. [1500/2500] Illustrated

1828 1825 Robert Gordy (American/Louisiana, 1933‑1986) “Male Head”, etching, signed in pencil lower right “R. Gordy”, pencil numbered lower left “5/16”, 31” x 24”. Unframed. [200/400] 1826 Charles Frederick Surendorf (American, 1906‑1979) “Conversation Street-New Orleans”, woodcut, edition “49/100”, signed lower right, titled in pencil lower left, sight 8‑5/8” x 10‑1/4”. Matted and unframed. [300/500] 1827 John Alexander (American, b. 1945) “Shrimp”, pencil drawing on handmade paper, 7‑3/4” x 5‑3/4”, pencil signed, titled and numbered 63 lower edge. Glazed, matted and framed. [1000/1500] Illustrated 1827

228

1831

1832

1828 John Alexander (American, b. 1945) “Scorpion”, pencil drawing on handmade paper, 7‑3/4” x 5‑3/4”, pencil signed and numbered 59 lower edge. Glazed, matted and framed. [1000/1500] Illustrated

1831 Nils Obel (Danish/American, Contemporary) “Yellow Damselfish and Dusky Damselfish”, graphite, colored pencil and ink on Arches paper, signed lower right “Nils Obel”, 26” x 14”. Unframed. [1200/1800] Illustrated

1829 Nils Obel (Danish/American, Contemporary) “Bar Jack and Nassau Grouper”, graphite, colored pencil and ink on Arches paper, signed lower right “Nils Obel”, 26” x 14”. Unframed. [1200/1800]

1832 Nils Obel (Danish/American, Contemporary) “Halibut, Atlantic Tomcod, Sculls of Shark”, graphite, colored pencil and ink on Arches paper, signed lower right “Nils Obel”, 26” x 14”. Unframed. [1200/1800] Illustrated

1830 Nils Obel (Danish/American, Contemporary) “Goosefish Tomcod”, graphite, colored pencil and ink on Arches paper, signed lower right “Nils Obel”, 26” x 14”. Unframed. [1200/1800]

1833 Set of Twenty-Four Contemporary Silverplate Julep Cups, by the Sheridan Silver Company, Taunton, Massachusetts, of traditional slightly tapering cylindrical form with molded rim and foot ring, h. 4”, dia. 3‑1/8”. [250/400]

229

1837 Four Pieces of American Sterling Silver Small Dining Tableware, third quarter 20th century, including a pair of Gorham coquille-form butter shells with menu/placecard clip, dia. 3”, and a pair of Manchester Silver Co. bread-and-butter plates, of circular form with reeded rim, no monograms, dia, 6‑1/8”, 6.17 total t. oz. [100/200]

1834

1838 Two American Colonial Revival Sterling Silver Porringers, second quarter 20th century, one by Reed & Barton, Taunton, Massachusetts, h. 1”, l. 7‑1/2”, w. 4‑5/8”, the other by the Webster Co., North Attleboro, Massachusetts, h. 1‑1/2”, l. 6”, w. 4‑1/4”, both of traditional form with bulbous bowl and pierced scrolling handle, 6.56 total t. oz. [100/200]

1845

1839 Two American Sterling Silver Porringers, mid‑20th century, each of traditional form, one by Reed & Barton, Taunton, Massachusetts, with embossed floral scroll band, l. 5‑3/4”, dia. 4”, the other by Shreve & Co., San Francisco, California, with folded rim, l. 6‑1/2”, dia. 4‑3/4”, 8.80 total t. oz. [200/400]

1834 Five Sterling Silver Kentucky Julep Cups, 1963‑1968, by Mark J. Searce, Louisville, Kentucky, of traditional slightly tapering form, with molded and annulated rim and foot ring, h. 3‑3/4”, dia. 3”, 23.34 total t. oz. [500/800] Illustrated 1835 Three American Sterling Silver Dishes, mid‑20th century, including a Watson oval drinks tray with molded rim, l. 14”, w. 10”, a Gorham fruit bowl with molded rim, dia. 9”, and a Priesner candy dish with vertical fluted “petals”, dia. 5‑3/4”, 29.96 total t. oz. [500/800] 1836 Set of Twelve Gorham Sterling Silver Bread-andButter Plates, 1914‑1915, Providence, Rhode Island, each of circular form with reeded edge, monogrammed on the rim “CLM”, dia. 6‑1/4”, 41.02 total t. oz., each in the original burgundy felt storage bag as retailed by T. Hausmann & Sons, New Orleans, Louisiana. [300/500]

230

1840 Three American Silver and Silverplate Tea Articles in the Colonial Taste, including a 19th century silver cream jug and covered sugarbowl, marked with pseudomarks but probably sterling silver, the oval sugar bowl with fitted domed lid and strap handles, h. 4”, l. 5‑1/2”, the helmet-form jug with peaked strap handle and square plinth foot, h. 5‑1/8”, l. 4‑1/2”, both monogrammed on the body “ACC”, the sugar bowl with additionally “Oct. 18th”, the underside of each engraved “”MCP from SAC 1908/ APH 1930”, 8.68 total t. oz., and an early 20th century silverplate tea caddy of turtleback section, the cap with cylindrical collar, flattened spherical top and urn-form final, monogrammed on the body “MKC”, h. 4‑1/2”, w. 2‑3/4”, l. 3‑3/4”. [100/200] 1841 Pair of American Sterling Silver Salt Cellars, 1929‑1933, by Tuttle Silversmiths, Boston, Massachusetts, each of bulbous circular form, with molded tim and raised on three pad feet, the interiors gilt, h. 1‑1/4”, dia. 2‑1/4”, 3.66 total t. oz. [75/125]

1842 One Hundred and Forty-Piece Set of Whiting/ Gorham “King Albert” Pattern Sterling Silver Flatware, the pattern designed in 1919 by Adolph Reimherr, Providence, Rhode Island, including twelve dinner forks, l. 7‑1/4”, twenty-four salad forks, l. 6‑1/2”, twelve 5 o’clock spoons, l. 5‑1/4”, thirty-six teaspoons, l. 5‑3/4”, six bouillon spoons, l. 5‑1/4”, six citrus spoons, l. 5‑3/4”, twelve iced tea spoons, l. 7‑1/4”, twelve dinner knives with stainless steel “New French”-shaped blades, l. 8‑3/4”, twelve butter spreaders, l. 5‑3/8”, three tablespoons, l. 8‑1/4”, a cold meat fork, l. 7”, a carving knife, l. 9‑1/2” and fork, l. 8‑3/4”, with steel blade/tines, a sauce ladle, l. 6‑1/4”, a pie/cake knife with plated steel blade, l. 9‑1/4”, a sugar spoon , l. 6‑1/8”, a bonbon spoon, l. 4‑1/4”, sugar tongs, l. 3‑1/2”, a cream ladle, l. 5”, a jelly spoon, l. 6‑1/2”, an olive spoon, l. 6” and a lemon fork, l. 5‑3/4”, all (but four) pieces monogrammed “R”, 117.06 total t. oz. (excluding items with stainless steel elements). [2000/4000]

1846 Two J. E. Caldwell & Co. Retailed Sterling Silver Reticulated Serving Pieces, first quarter 20th century, including a Redlich & Co. cake basket of curcular form with pierced laurel rim quartered by applied laurel-mantled cabochons, the sides pierced with curved lattice and quatrefoils, with a swing handle engraved en suite with the rim, monogrammed on the handle “FEL”, dia. 9‑1/4”, h. 2” (7” with handle), and a Watson Co. cake stand, with pierced interlocking circle and scrollwork rim and central quatrefoil, raised on a molded foot ring, monogrammed center “AAE”, dia. 10”, 23.21 total t. oz. [300/500]

1843 Thirty-Three Pieces of Assorted American Colonial Revival Sterling Silver Flatware, first quarter 20th century, including five Gorham “Clermont” dinner forks, monogrammed “C”, l. 7‑1/2”, and three dinner knives with “Blunt”-shaped steel blades, no monograms, l. 9‑1/2” six Towle “Mary Chilton” tablespoons, monogrammed “C”, l. 4‑1/2”, six Wallace “Putanam” dinner forks, monogrammed “S”, l. 7‑1/2”, an International “Shirley” teapsoon, monogrammed “AHB”, l. 5‑5/8”, six International Silver “New Margaret” dinner knives with “Old French”-shaped steel blades, monogrammed “GA”, l. 9‑3/4”, and, in unidentified patterns with steel blades/tines, three dinner knives monogrammed “B”, l. 8‑5/8”, one dinner knife, no monograms, l. 8‑5/8” one carving knife, l. 10‑1/2”, and a poultry carving fork, monogrammed “S”, l. 7”, 25.39 total t. oz. (excluding knives and carving fork). [400/700]

1848 Two Silverplate Footed Platters, first half 20th century, including a Mappin & Webb “Prince’s Plate” example, 1923, Sheffield, of circular form with “reed-and-ribbon” serpentine-lobed rim, the plateau engraved with an Adam-style laurel-mantled oval cartouche, raised on three claw-and-ball feet, dia. 17‑1/2”, and a Rogers Brothers “Remembrance” pattern oval well-and-tree platter, the pattern introduced 1948, Hartford, Connecticut, l. 19”, w. 13‑1/4”. [125/250]

1844 Four American Sterling Silver Baskets, first quarter 20th century, including a Tiffany-retailed example with flute-and-quatrefoil pierced rim and molded serpentine edge, with molded foot ring and reeded swing handle, dia. 10‑1/2”, h. 3” (8‑1/2” with handle), a Frank M. Whiting Arts & Crafts-style example with laurel-pierced rim, wavy molded edge, out-curved strap handle and molded foot ring, dia. 9”, w. 11”, h. 5”, a Webster Co. example with floral bouquet edge and shaped and molded strap handle, dia. 5‑1/4”, d. 3‑3/4”, and an unmarked example with pierced ovolo rim, lobed edge, shaped and gadrooned swing handle and weighted foot, dia. 6”, h. 3‑5/8” (6‑1/4” with handle), 32.98 total t. oz. (excluding weighted example). [600/900]

1850 Three Pieces of American Sterling Silver Small Dining Tableware, second quarter 20th century, including a sauceboat by William B. Durgin, Concord, New Hampshire, of traditional batteau form, with applied floral scroll rim, “C”-scroll handle and four rocaille-crested scroll feet, h. 3‑1/2”, l. 7‑5/8”, w. 3‑1/2”, 6.49 t. oz., and salt and pepper set by Revere Silversmiths, Brooklyn, New York, of baluster form, including a salt shaker and pepper grinder, h. 2‑1/4”, dia. 1‑1/2”, both with wooden interior. [100/200]

1845 Three American Sterling Silver Trays, first quarter 20th century, including a Whiting oval drinks tray with applied rocaille rim, monogrammed center “LGG”, l. 121/4”, w. 8‑1/2”, a Gorham circular reticulated and footed sandwich plate, date mark 1914, monogrammed center “K”, dia. 9‑1/2”, and a large Towle circular platter with applied wavy scroll rim, monogrammed center “K”, dia. 16”, 65.97 total t. oz. [1500/2500] Illustrated

1847 Set of Twelve Gorham Sterling Silver Nut Dishes, second quarter 20th century, Providence, Rhode Island, each of navette form with shaped sides and upswept ends, decorated with a beaded rim above a reticulated band, four monogrammed center “LHB” or “LUB”, l. 3‑1/4”, w. 2‑1/4”, 8.93 total t. oz. [100/200]

1849 American Silverplate Plateau, fourth quarter 19th century, by the Eureka (Meriden) Silver Plate Co., Meriden, Connecticut, the circular molded frame with shaped “vintage” edging and fitted with a conforming mirrored plate with beveled and oculus-cut edge, dia. 14‑1/4”. [150/300]

1851 Six Pieces of Miscellaneous Sterling and Silverplate, 20th century, including a Hausmann’s table box with gilt interior, h. 2”, w. 3”, an E.G. Bass lady’s cigarete case with two-color gold inlay and braided silver wire chain, l. 3‑1/2”, an unmarked cigarette case with fine threaded engraving, monogrammed “TAL”, l. 3‑3/4”, two Portuguese .916 silver ashtrays by Casa Leitao & Co., one set with an1807 four hundred reis coin of Joao, the Prince Regent, dia. 3”, the other with a 1908 five hundred reis coin of Manuel II, dia. 2‑1/2”, and a Godinger silverplate hand magnifier in the “Baroque” pattern, l. 7‑3/4”, 15.68 t. oz. (excluding magnifier). [200/400]

231

1852 Six Pieces of American and Other Sterling Silver Tableware, late 19th to mid 20th century, including an unusual presentation candle snuffer dated 1896 and inscribed by the Four-in-Hand Club, Philadelphia, in the form of a hunting horn and whip suspending the main bar from four-in-hand tack, the pole hooks suspending bells, l. 7‑1/2”, a Graff, Washbourne & Dunn colonial-style conical candle snuffer, l. 10‑1/4”, Dominick & Haff clawbowled sugar tongs, l. 4”, a Merrill Shops dinner bell, monogrammed “LMN”, h. 3‑1/8”, an R. Blackinton shot flask, monogrammed “LMN”, h. 3‑1/2”, and a Mexican table lighter, inscribed “H Eastman”, h. 1‑5/8”, 6.49 total t. oz. (excluding lighter). [100/200]

1856 Set of Thirteen Gorham Silverplate “Chantilly” Pattern Goblets, the pattern designed in 1895 by William Christmas Codman (1839‑1923), Providence, Rhode Island, including eleven wine goblets, h. 5‑1/4”, dia. 2‑3/4”, and two water goblets, h. 6‑1/2”, dia. 3‑3/8”. [500/800] Illustrated

1853 Seven Pieces of American or Mexican Sterling Silver Child’s Flatware, third quarter 20th century, including a Whiting & Davis “dognose” fork, monogrammed “FHL”, l. 4”, a Manchester fork and spoon set with pierced “Baby” inscription, l. 4”, another Manchester fork and spoon set in the “Mary Warren” pattern, monogrammed “FHL”, l. 4‑3/4”, and a Sanborn’s fork and spoon set with pointed handle and engraved duckling, l. 4”, 3.15 total t. oz. [100/200] 1854 Set of Twelve Gorham Sterling Silver “Chantilly” Pattern Water Goblets, the pattern designed in 1895 by William Christmas Codman (1839‑1923), Providence, Rhode Island, no monograms, h. 6‑1/2”, dia. 3‑3/8”, 74.84 total t. oz. [2000/4000] Illustrated 1855 Set of Thirteen Gorham Sterling Silver “Chantilly” Pattern Water Goblets, the pattern designed in 1895 by William Christmas Codman (1839‑1923), Providence, Rhode Island, no monograms, h. 6‑1/2”, dia. 3‑3/8”, 81.27 total t. oz. [2000/4000] Illustrated

1857

1855

1854

232

1856

1858 Mary Evol Noble (American/Texas, 1913‑1999)”Farm House with Windmill, San Diego, Texas”, oil on canvas, signed lower right “Evol Noble”, 20” x 24”. Provenance: Descended in the artist’s family to the consigner, her grandson. [300/500] 1859 Mary Evol Noble, (American/Texas, 1913‑1999) “Country Store, Stephen’s Creek, Texas”, oil on canvas panel, signed lower right “Evol Noble”, 16” x 20”. Provenance: Descended in the artist’s family to the consigner, her grandson. [300/500]

1862

1857 One Hundred and Twenty-Six Piece Set of Gorham “Chantilly” Sterling Silver Flatware, the pattern designed in 1895 by William Christmas Codman (1839‑1923), including, eighteen dinner forks, l. 7‑1/4”, four luncheon forks, l. 6‑7/8”, eighteen salad forks, l. 6‑3/8”, nineteen teaspoons, l. 5‑3/4”, three tablespoons, l. 8‑3/8”, four dessert spoons, l. 7”, eight cream soup spoons, 6‑1/4”, twenty demitasse spoons (four with gilt bowls), 4”, thirteen dinner knives with stainless steel blades, five with “Modern”-shaped blades, l. 9‑1/2”, eight with “New French”-shaped blades, l. 9‑3/8”, one master butter knife, l. 7‑3/4”, three butter spreaders with stainless steel “Modern”-shaped blades, l. 6”, two flat butter spreaders, l. 5‑3/4”, a slotted serving spoon, l. 8‑1/4”, two serving forks, l. 8‑1/2”, a two-piece carving set with stainless steel blades/tines, l. 10‑5/8” and 13” a cream ladle, l. 8‑3/8”, a sauce ladle, l. 6‑3/4”, two salt spoons, l. 2‑3/4”, a child’s spoon, l. 4‑1/2”, a tomato server, l. 7‑1/2”, a berry spoon, l. 8‑3/4”, a lemon fork, l. 4‑3/8”, and a pickle fork, l. 5‑3/4”, twenty pieces monogrammed, fourteen still in the Gorham sealed polyethylene bag, presented in a fitted, Pacific cloth-lined mahogany storage case, 4” x 16” x 11‑3/4”, 132.78 total t. oz. (excluding items with stainless steel elements). [2000/4000] Illustrated

1860 Mary Evol Noble (American/Texas, 1913‑1999)”Bluebonnets”, oil on canvas, signed lower right “Mary Evol Noble, signed on canvas verso and frame verso, 16” x 20”. Provenance: Descended in the artist’s family to the consigner, her grandson. [250/400] 1861 Hiroshi Honda (Japanese/American, Born 1913) “Black-Poll Warbler”, watercolor on silk mounted on canvas, signed lower left “Hiroshi Honda” 24” x 36”. Framed. [200/400] 1862 Anthony Thieme (American, 1888‑1954) “Gloucester Harbor”, oil on canvas, signed lower right “A. Thieme”, 25” x 30”. Presented in a giltwood exhibition frame with brass artist plaque. Anthony Thieme was born in Holland and studied at The Royal Academy of Fine Arts in The Hague. In the 1902’s he emigrated to United States, first settling in New York City where he found work as a stage designer at the Century Theater. After further travels to South America and Europe, he came back to United States,and in 1928 started earning his living from sales of his paintings and etchings. His work of fishermen, harbors and boats, for which he is best known reflect his studios in coastal towns of Rockport, Massachusetts and St. Augustine, Florida, where he resided seasonally, moving from one to another. In Rockport, he established Thieme School of Art where he was a Director. He was a active exhibitor and a member of numerous art associations. Thieme’s work is in many major collections including: Boston Museum of Fine Arts; Pittsfield Museum of Art, Massachusetts; Albany Institute of History of Art; Dayton Art Institute; Museum of Modern Art; Montclair Art Museum, New Jersey and many more. [8000/12000] Illustrated

233

1866 Marianne Grant (American, b.1931) “Autumnal Landscape with a View of a Hilltop Hamlet”, oil on canvas, signed and dated lower left “Marianne Grant ‘70”, 24” x 36”. Framed. [150/300] 1867 Marianne Grant (American, b. 1931) “Village in Winter”, oil on canvas, signed and dated lower right “Marianne Grant ‘70”, 24” x 36”. Framed. [150/300] 1868 Janet Bernstein (American, 20th/21st Century) “Irises”, oil pastels on paper, titled and signed on reverse, sight 17” x 11”. Glazed, matted and framed. [50/80] 1869 Francisco Tamariz (Mexican, 20th Century) “Portrait of a Girl on a Pony”, oil on board, signed lower right “Tamariz”, 16” x 12”. Framed. [300/500] 1863 1863 Walter Stuempfig (American/Philadelphia, 1914‑1970) “Lumberyard”, oil on canvas, signed and dated lower left “1952 Stuempfig”, stretcher stamped “William I. Miel, 1507 Walnut St. Phil.”, 25” x 30‑1/4”. Framed. Exhibited: The Woodmere Gallery, Philadelphia, January 11th-February 1st 1953. Walter Stuempfig was a Romantic Realist who studied at the Pennsylvania Academy of Fine Art where he taught from 1948 until his death in 1970. He gained recognition and success after his inclusion in the Artist’s Victory exhibition, sponsored by The Metropolitan Museum of Art in 1942. “Stuempfig’s work evokes a sense of loneliness - a moody atmosphere, not unlike that of the paintings of his fellow Pennsylvania Academician of the previous century, Thomas Eakins” - Christopher Forbes, Vice Chariman of Forbes Inc. He exhibited extensively at the Metropolitan Museum of Art, Philadelphia Art Alliance, Pennsylvania Academy of Fine Arts, National Academy of Design, Massachusetts Institute of Technology, Fort Worth Art Association, and many more. His work is represented in most major U.S. museums. [4000/7000] Illustrated

1870 Helen Bacon Hoffman (American, b. 1930) “Lorrie”, oil on canvas, signed upper left “Hoffman”, 21” x 21”, reverse with a “Grand Central Art Galleries, Inc.” label. Presented in a molded giltwood frame. [700/1000] Illustrated 1871 Ethel Edwards (American, 1915‑1999) “Untitled Abstract in Black”, oil on canvas, signed lower right, 7” x 23”. Unframed. [400/700]

1864 Samuel Halpert (American/French 1884‑1930) “New York City Bridge”, oil on canvas, signed lower right “S. Halpert”, inscribed verso stretcher “Samuel T. Halpert”, 19‑1/2” x 23‑1/2”. Unframed. [5000/8000] Illustrated 1865 Edward Alfred Cucuel (American/California, 1875‑1954) “Winter Landscape”, oil on canvas, signed lower left “Cucuel”, 23‑1/2” x 29”. Framed. [2000/4000] Illustrated 1864

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1870

1872 Ethel Edwards (American, 1915‑1999) “Seated Nude” and “Invisible Forest #7”, former ink wash on board, latter ink on paper, both signed, latter titled on reverse, former: 25” x 19”, latter: 11” x 8‑1/2”. Former unframed, latter glazed, mounted on linen background and framed. [300/500]

1874

1873 Ruth Goliwas (Americn/Louisiana, 20th/21st Century) “Woman in Doorway”, oil on canvas, titled and signed in pen on verso stretcher, 48” x 54”. Framed. [1500/2500] Illustrated

1873 1874 Semi-Antique Mashad Carpet, 10’2” x 13’4”. [600/900] Illustrated 1875 Karajeh Runner, 3’9” x 14’7”. [400/700] 1865

235

1876

1878

236

1882

1884

1876 Turkish Oushak Carpet, 10’ x 14’. [4000/7000] Illustrated 1877 Taj Mahal Tabriz Carpet, 8’8” x 11’8”. [1800/2500] 1878 Turkish Oushak Carpet, 10’ x 14’. [4000/7000] Illustrated 1879 Suzani Uzbak Carpet, 6’ x 7’9”. [1500/2500] 1880 Semi-Antique Tabriz Carpet, 4’7” x 6’10”. [400/700] 1881 Bakhtiari Carpet, 8’5” x 10’2”. [500/800] 1882 Persian Heriz Carpet, 9’5” x 12’5”. [3000/5000] Illustrated

1889 1883 Bakhtiari Carpet, 6’6” x 9’2”. [400/700] 1884 Peshawar Zeiglar Mahal Carpet, 8’ x 10’2”. [1200/1800] Illustrated 1885 Turkish Angora Oushak Carpet, 9’4” x 11’10”. [1400/1800] 1886 Antique Persian Heriz Carpet, 7’4” x 9’7”. [2000/4000] Illustrated 1887 Kilim Carpet, 3’ x 5’. [200/400] 1888 Persian Hamadan Carpet, 2’6” x 3’3”. [500/800] 1889 Oushak Carpet, 6’3” x 9’. [2000/4000] Illustrated 1890 Chinese Carpet, 8’10” x 12’7”. [300/500] 1886

237

1891 Antique Art Deco Chinese Carpet, 8’9” x 11’1”. [900/1200] Illustrated 1892 Turkish Oushak Carpet, 12’2” x 16’. [6000/9000] Illustrated 1893 Isfahan Carpet, 10’2” x 13’3”. [800/1200] 1894 Persian Pictorial Carpet, 4’2” x 6’4”. [1500/2500]

1891

1896

1895 Hamadan Carpet, 7’1” x 10’. [500/800] 1896 Semi-Antique Persian Mahal Carpet, 9’9” x 13’1”. [1500/2500] Illustrated 1897 Pair of Contemporary Chinese Ebonized and Mahogany Armoires, each fitted with two short cupboard doors paneled over two deeper banded doors with decorative hardware, opening to a shelved interior with two small drawers, over a paneled apron, raised on square legs, h. 95”, w. 47”, d. 21”. [1800/2500] Illustrated

1892

238

1898 Beautiful Chinese Rosewood, Boxwood and Ivory Ceremonial Fan and Stand, of traditional form with rosewood frame, handle and stand, the body intricately carved and stained with a scene of court ladies enjoying a garden, the face with inlaid, engraved ivory plaques, fitted brocade box, h. 24‑3/8”, including stand. [500/800] Illustrated 1899 Chinese Rectangular Wooden Storage Box, late 19th century, the rectangular wooden body with rounded corners and having bands of woven bamboo splits on the top and bottom, original hardware, h. 3”, d. 7‑1/4”, l. 13”. [200/400] 1900 Two Chinese Carved Boxwood Statues of Workers, each depicting a female in work clothes of The Great Proletarian Cultural Revolution and holding harvested vegetables, both well-carved in boxwood and attached to dark stained bases, h. 6‑7/8”, including stands. [250/400] 1901 Chinese Cast-Brass Covered Incense Burner, 20th century, the body cast in low relief with Shou characters and bats, with ruyi handles resting on lion feet, the domed cover pierced with a design of bats and having a Foo Dog finial, h. 8‑5/8”. [300/500] 1902 Chinese Brass and Champleve Enamel Incense Burner, 20th century, the sectioned body on three strap feet and having Foo Dog handles with low relief casting and enamel decoration, the pierced cover with a Foo Dog finial, h. 12‑3/4”. [400/700]

1905

1897

1904 Chinese Bronze Censer, the base decorated with molded swallows and full figures of monkeys, the bowl paneled with battle scenes and with monkey-form handles, the cover molded with two monkey’s climbing a tree over pierced scrollwork, h. 22”. [600/900] 1905 Chinese Cast-Bronze Figure of a Male Foo Dog, 19th/20th century, the figure with curled mane and feathered tail standing with its forelegs atop an openwork brocade ball, h. 16‑1/2”. [700/1000] Illustrated 1906 Chinese Cast White Brass Incense Burner, 20th century, cast in relief as a crouching Buddhistic lion with slightly turned head, the head removable and having an open mouth for the smoke to escape, h. 6‑1/2”. [300/500] 1907 Two Good Chinese Carved Jadeite Calligraphy Brushes, each with carved jadeite shafts of mint green color with emerald splashes and each with engraved cloud designs, the tops with bamboo bands and white bristles, l. 10‑1/4” to 11”. [300/500]

1903 Chinese Cast-Brass Incense Burner, 20th century, the body cast in high relief with confronting dragons, with dragon handles and resting on paw feet, the pierced dome cover with a Foo Dog finial, h. 11‑1/2”. [300/500]

1908 Chinese Carved Celadon and Russet Jade Figure of a Horse, 18th century, carved in the archaic style with the horse standing foursquare with draped tail and head lowered and grazing, l. 2‑1/2”. [1000/1500]

1898

239

1909 Chinese Archaic-Style Carved Jade Belt Hook, the stone of mottled gray-brown color, carved in relief as a hydra dragon confronting the head of a recumbent dragon, the reverse with a floral button, wooden stand, l. 5‑1/4”. [100/200]

1911

1910 Large Southeast Asian Cast-Bronze Lion Mask, cast in the form of a lion’s head with open mouth, flaming mane, elaborate low relief decoration and two pins at the base for attachment, h. 16‑1/4”. [400/700] 1911 Pair of Chinese Carved and Gilded Wooden Figures of Buddhistic Lions, 20th century, each carved in intricate detail in the round as figures of lions with figures of pups clamoring over the adult figures each painted in red and gilt paint, h. 12”. [700/1000] Illustrated

1913 Large Japanese Imari Charger, 19th century, decorated in polychrome enamels with three shaped reserve panels decorated with birds in trees, horses in a landscape and bee hives among branches, all against an orange ground with the “cracked ice” pattern, dia. 18‑1/8”. [400/700] 1914 Japanese Imari Deep Serving Bowl, 19th century, decorated heavily in underglaze blue and polychrome enamels with a dense design of curved bands of flowers and phoenix birds emerging from a central mon, the exterior with floral decoration, dia. 11‑7/8”. [300/500] 1915 Japanese Imari Porcelain Umbrella Stand, 20th century, the cylindrical porcelain body enameled in underglaze blue and iron-red with reserve panels of garden scenes against a stylized floral ground, h. 24”. [300/500] 1916 Japanese Imari Large Charger, 19th century, decorated in light and dark underglaze blue and polychrome enamels with a central floral medallion surrounded by four shaped reserve panels with stylized lotus, four free-form reserve panels decorated with flying fish and shi-shi and a floral background, dia. 18‑1/2”. [300/500]

1917 1912 Elaborate Pair of Japanese Polychrome Molded Vases, late 19th century, each of bottle-form with high relief molding of a horned dragon against a ground of elaborate figures of peacocks, peonies and foliage, h. 15‑3/4”. [400/700]

240

1917 Framed Japanese Scroll Painting of a Rooster, 19th century, executed in colors on silk depicting a long-tailed rooster perched on rockwork with flowering magnolias in the background, the rooster gazing down on a hen and chicks on the ground, matted, and glazed in a faux bamboo frame, h. 60”, w. 31‑3/8”. [1200/1800] Illustrated 1918 Small Chinese Rosewood Low Table, late 19th century, the rounded rectangular top banded and above a floral patera applied frieze with a pendant pierced lotus flower apron, raised on shaped circular legs, h. 12”, w. 17‑1/2”, d. 13‑1/2”. [250/400]

1919 Pair of Chinese Red Lacquered Lidded Storage Boxes, late 19th century, of octagonal form, the canted and domed lid opening to an interior with a lift-out tray and open interior, raised on a conforming stand of cabriole legs, the whole with polychrome designs in scrolling foliate, avian and calligraphic patterns, h. 36‑1/2”, dia. 20‑1/2” [1400/1800]

1924 Large Japanese Imari Shaped Charger, 19th century, the charger with molded ribs and scalloped rim, decorated in underglaze blue and polychrome enamels with a central floral medallion surrounded by quatrefoil and commashaped reserve panels of flowers and phoenix birds, dia. 18‑3/8”. [300/500]

1920 Pair of Chinese Brass and Jade Storage Boxes, 20th century, each brass box of quatrefoil outline with engraved decoration, the conforming tops each inset with plaques of carved celadon jade, fitted wooden stands, h. 5‑1/4”, l. 6‑3/8”. [300/500]

1925 Pair of Art Deco Mahogany Armchairs, early 20th century, in the style of André Arbus, each with a square, padded back joined by padded arms to the like seat, raised on square, tapering legs ending in bronze caps, h. 41”. [1500/2500] Illustrated

1921 Chinese Silver and Jade Vanity Box, first half 20th century, the silver frame with embossed design of dragon and lotus, the lid inset with a carved white jade plaque of peaches and foliage, amethyst bead feet, w. 3‑7/8”, l. 4‑1/2”. [100/200]

1926 Pair of Art Deco Mahogany Armchairs, early 20th century, in the style of André Arbus, each with a square, padded back joined by padded arms to the like seat, raised on square, tapering legs ending in bronze caps, h. 41”. [1500/2500] Illustrated

1925 & 1926

1927 Post-Modern Stained Hardwood Dining Table, the square top with incised banding, raised on an X-form base with plank stained hardwood supports, h. 30‑1/2”, w. 70‑1/4”, d, 70‑1/4”. [500/800] 1928 Contemporary Polychromed and Silver-Gilt Upturned Leaf Table Lamp, from a 1980’s limited edition designed by Winifred Ross Reilly, Baton Rouge, Louisiana, signed: “Ross”, fitted with a conical custom shade, overall height 28‑1/2”. [250/400] 1929 Contemporary Polychromed and Giltwood Spiked Table Lamp, from a 1980’s limited edition designed by Winifred Ross Reilly, Baton Rouge, Louisiana, signed: “Ross”, fitted with a conical custom shade, overall height 28‑1/2”. [250/400]

1922 Japanese Kutani Decorated Vase, first half 20th century, of baluster form with everted lip rim, decorated in polychrome enamels with dragons in quatrefoil cartouches on a ground of phoenix birds and maple leaves, h. 8‑7/8”. [300/500]

1930 Oscar Bruno Bach (German/American, 1884‑1957), wrought steel and copper looking glass, second quarter 20th century, the frame with pierced scrolls and griffons, the crest with addorsed youthful figures and copper roundels, bearing a metal tag on the reverse signed in script, “Oscar B. Bach”, h. 42‑1/2”, w. 26”. [600/900]

1923 Group of Three Japanese Imari Dishes, 19th century, two of circular outline and one of shaped diamond outline, each decorated in traditional polychrome enamels, two with floral decoration, the third with a central floral design surrounded by alternating landscape and fan designs, dia. 7‑3/8” to 8”. [200/400]

1931 After Fanny Corbaux (British 1812‑1883) “Flowers of Loveliness”, pair of hand-colored engravings, titled on reverse label, sight 8‑3/4” x 9‑1/2”. Both glazed, matted and presented in Rococo-style giltwood and gesso frames. [250/400]

241

1932 Ludwig Kainer (German, 1885‑1967) “The Aviator”, watercolor and gouache on paper, signed and dated lower right “Kainer 10”, sight 19” x 15‑3/4”. Glazed, attractively matted and framed. [200/400] 1933 Salvador Dali (Spanish, 1904‑1989) “Don Quixote”, etching, reverse with “The Collector’s Guild, New York City” label, sight 13‑1/3” x 10‑1/4”. Glazed and framed. [300/500] 1934 Romain de Tirtoff, Erte (American/Russian, 1892‑1990) “Mystery of the Courtesan”, limited edition seriograph, signed in pencil lower right, pencil numbered lower left “208/300”, reverse with a “Martin Lawrence Galleries” label, sight 23” x 27”. Glazed, attractively matted and framed. [900/1200] Illustrated

1937 1935 Set of Three Steuben Liquor Glasses, the unadorned bowls atop a stem with a central rib over a round foot, each engraved “Steuben” on the ground pontil mark, h. 4”. [50/80] 1936 Art Deco Cast-Iron Looking Glass, early 20th century, the beveled oval plate within a half slatted frame with side scrolling rose designs and a pendant reeded medallion, h. 23”, w. 47‑1/2”. [600/900] 1939

1937 Le Corbusier (French/Swiss, 1887/1965) “Unite”, color etching with aquatint, initialed and numbered in plate, signed in pencil lower right “Le Corbusier”, pencil numbered lower left “9/130”, sight 19‑1/4” x 14‑3/4”. Glazed, matted and framed. [5000/8000] Illustrated 1938 Bernard Buffet (French, 1928‑1999) “Notre Dame de Paris”, stone lithograph, signed and dated in plate, reverse with “The Collector’s Guild, New York City” label, sight 22‑1/2” x 18‑1/2”. Glazed, matted and framed. [500/800] 1939 Bernard Buffet (French, 1928‑1999) “Le Pont Neuf”, stone lithograph, signed and dated in plate, reverse with “The Collector’s Guild, New York City” label, sight 18” x 22”. Glazed, matted and framed. [500/800] Illustrated 1940 Pablo Picasso (Spanish/French, 1881‑1973) “Musee Municipal d’Art Moderne Ceret”, 1958, linocut printed in colors on thin woven paper, signed lower right margin, sheet size 26‑3/8” x 19‑5/8”. Glazed and framed. [1400/1800] Illustrated

1934

242

1941 Pair of Italian Wrought Iron Floor Lamps, early 20th century, each with a conical-form shade composed of graduating rows of Venetian glass beads, in shades of aqua and coral, raised on a tubular standard to three shaped and splayed legs, h. 72”. [600/900]

1943

1942 Pair of Curled Brass Candlesticks, of fluted brass with inset brass melonform ornament, each supporting a single ribbed candle cup and resting on square marble bases, h. 24”. [400/700]

1946

1947

1943 Thirty-One Piece Group of Steuben Stemware, 20th century, comprised of seven wine glasses with airtwist stems, h. 7”, eight champagne coupes with airtwist stems, h. 5‑3/4”, eight wine glasses with airtwist stems, h. 5”, and eight apperitif glasses, h. 3‑1/2”. [300/500] Illustrated 1944 Forty-Two Piece Partial Set of Wallace Cut-Glass Lead Crystal Stemware, comprised of thirty-three wine glasses, h. 5‑1/2”, and nine champagne coupes, h. 4‑1/2”, all cut with a bulls eye alternating with a palmette. [300/500]

1945 “Sculptured” Vase in the Chrysanthemum Pattern, c. 1925, attributed to Frederic Carder, Corning, New York, the green vase acid-etched, unsigned, h. 12”. Dating to the period when Calder was manager of Steuben Glass Works, this vase is one of the Chinese shapes he favored. This line was called “Sculpted” but was acid-etched. Many examples originally had paper labels. [400/700] 1946 Fornasetti White Porcelain Covered Vase, 20th century, model 10400, produced in a limited edition by Bitossi Ceramiche, Italy, from a 1950’s plaster form by Fornasetti, fully marked, number 293 of 299, accompanied by the original box and quality card, h. 12”. [400/700] Illustrated 1947 Fornasetti Red Porcelain Covered Vase, 20th century, model 10401, produced in a limited edition by Bitossi Ceramiche, Italy, from a 1950’s plaster form by Fornasetti, fully marked, number 172 of 299, accompanied by the original box and quality card, h. 12”. [400/700] Illustrated 1940

243

1957

1952 Two Waterford Cut-Glass Lead Crystal Vases, Waterford, Ireland, the tall trumpet vase with vertically cut lines alternating with cut leaves on the diagonal, the smaller vase cut with faceted swags over cut vertical lines, presented in original box, h. 7‑1/2” to 12”. [75/125]

1950 1953 Two Pieces of Modern Blown Glass, the swirled ashtray, plated with a chartreuse interior and etched “Val St.Lambert” on the base,h. 3”, and the egg-shaped vase with a mottled blue top and amber base and is engraved with two seagulls, unsigned, h. 5”. [50/80] 1954 Waterford Lead Crystal Bonbon Dish, Waterford, Ireland, the square tapering form decorated with fanmolded borders over alternating vertical banding, signed “Marquis by Waterford”, h. 3‑3/4” dia. 5‑3/4”. [50/80]

1948 Interesting Contemporary Buffed Steel and Crinkled Paper Floor Lamp, the square metal base with internal shaft and three sockets, fitted with a tall rectangular crinkled paper shade, electrified, h. 58”, w. 10”, d. 10”. [100/200] 1949 Stylish Scandinavian Modern Walnut and Linen String Hanging Lamp, of “coolie hat” form, h. 32‑1/2”, dia. 25”. [200/400] 1950 Collection of Steuben Glass Stemware, second quarter 20th century, pattern number 7846, with a square bowl and square foot, designed by Arthur A. Houghton, Jr. in 1939, comprised of six red wines, h. 6‑7/8”, six white wines, h.6”, five claret wines, h. 5‑7/8” and five sherry’s, h. 5‑1/4”. [500/800] Illustrated 1951 Tiffany-Style Iridescent and Opalescent Glass Perfume Flacon, early 20th century, the elongated iridescent gold teardrop stopper with an acid etched and clear stem, the flared rim with an iridescent gold interior, the tapering opalescent body with a green iridescent pulled feather design, the circular foot iridescent gold, signed underneath counterclockwise along the edge: “ L.C. Tiffany-Favrile”, h. 11‑1/8”, dia. 2‑1/12”. [1000/1500]

244

1955 Art Glass Vase, first quarter 20th century, the trumpetform vase in emerald green fading to clear, intaglio cut with a pattern of swirling lilies and leaves, h. 11‑1/2”. [100/200] 1956 Blown and Molded Daum Trumpet Vase in the Art Nouveau Style, made in France, the green and lavender base molded in the form of swirling aquatic vegetation, the vase retaining a Daum France label, engraved with the Daum France pontil mark, h. 13‑1/2”, w. 4‑3/4”. [200/400] 1957 Lalique Crystal Centerpiece Bowl, third quarter 20th century, molded to resemble a spray of leaves, with leaves cut and etched into the center of the bowl, and with veins left clear, signed, “Lalique Cristal France”, h. 7‑1/4”, w. 9‑3/4”, l. 17‑3/4”. [600/900] Illustrated 1958 Two Pieces of Jade Green Molded Glass Bowls, c. 1925, the first a jade green bowl in a classic Chinese shape, the unusual stand in the form typically made of ebonized wood, h. 5”, dia. 10‑1/4”, together with a pressed glass bowl of Chinese form and jade color, dia. 5”. [100/200]

1959 Interesting Hammered Copper and Brass Mounted Jardiniere on Stand of Art Nouveau Influence, fourth quarter 19th century, the jardiniere featuring embossed lizards and stylized crabs and large brass handles, the wrought-iron stand with applied swirling art nouveau decor and ending in cloven feet, h. 56”, dia. 25”. [1500/2500] Illustrated

1959

1960 Early Dendrite Specimen on Limestone Plate, Middle Jurassic Period, 176‑161 million years old, the gray limestone with clear dendrite specimens visible in three separate layers, presented on a carved wooden display stand, h. 5‑1/2”. [100/150] 1961 Baule Cast Copper Alloy Mask, 20th century, well cast in high relief with wide, narrow eye slits, partially open mouth, facial scarification and braided facial hair, the head topped with a ribboned headdress with decoration of birds attacking serpents, the ears doubling as attachment hoops, h. 7‑1/2”, w. 5‑1/2”. [300/500] Illustrated

1961

245

Index of Artists and Printmakers

March 2, 3 & 4, 2012

Carter, Henry Barlow 1299

Adolphe, Albert Jean 30, 1781, 1782, 1783

Cauchois, Eugene Henri (manner) 77, 78

Alessandrini, Francisco 1816

Cezanne, Paul 982

Alexander, John 1827, 1828

Chaudet, Denis-Antoine 1175

American School 32, 1148, 1672, 1677, 1724

Cignati, Carlo (after) 321

Arnau, Juan (after) 1150

Clodion, Claude-Michael (after) 1038

Arson, Alphonse-Alexandre 1006

Clodion, Michael Claude 1037

Asian School 800

Clodion, Michael Claude (After) 83

Audubon, John James (after) 1569, 1570, 1588

Colin, Georges 1019

Colombo, Renzo 1082

Barye, Antoine-Louis 271

Continental School 16, 29, 31, 1017, 1048, 1142, 1146, 1258, 1259

Bassano, Jacopo (manner) 349 Bernstein, Janet 1868 Bisschop, Jan de 1149 Blanchard, Antoine 980 Boucher, Francois (after) 1014 Braley, Clarence E. 1766 Brayer, Yves 1192 British School 195, 407, 410, 1145, 1245, 1246, 1247, 1248, 1249, 1301, 1767

Corbaux, Fanny (after) 1931 Cornoyer, Paul 1681 Coulon, George David (manner) 1655 Cucuel, Edward Alfred 1865 Currier, Nathaniel 1535 Curtis, Edward S. 1723 D Dali, Salvador 1933

Brown, Mather (after) 1010

Damschroeder, Jan Jac Matthys 1257

Buck, William Henry 1653

De Groot, Frans Breuhaus 1239

Buffet, Bernard 1938, 1939

Dedecker, Thomas 1718, 1721, 1722

Delabriere, Edouard 1007

Cain, Auguste 265

Delabrierre, Paul Edouard 264

Cain, Auguste Nicolas 269

Delaman, Jacques Barthelemy (attributed) 354

Calcott, Augustus Wall (follower) 406

Diaz de la Pena, Narcisee-Virgil 1202

Campi, Giacomo 33

Dodd, Robert 531

Index of Artists and Printmakers Drummond, Arthur 459 Dunbar, George Bauer 1809, 1810, 1811, 1812 Durer, Albrecht 345 Dyf, Marcel 79 E Edwards, Ethel 1871, 1872 Eichinger, Otto 372, 374, 375 Epstein, Sir Jacob 506 Erte, Romain de Tirtoff 1934 F Falat, Julian 1223 Ferville-Saan, Charles-Georges 738 Finley, Donny 1819 Fiot, Maximilien Louis 268 Flint, William Russell 508

March 2, 3 & 4, 2012

Goliwas, Ruth 1873 Goodwin, Philip Russell 1764 Gordy, Robert 1825 Gould & Richter 1571 Goya, Francisco 981 Grant, Marianne 1866, 1867 Grieves, Bob 1725 H Hagerbaumer, David 1765 Halpert, Samuel 1864 Hasbrouck, Maggie 1815 Haseltine, James Henry 1160 Heldner, Colette Pope 1594 Henry, Charles Napier (circle) 1300 Hill, James John 196

Fraikin, Charles-Auguste 1022

Hoffman, Helen Bacon 1870

French School 1012, 1050, 1083, 1124, 1143, 1144, 1194

Honda, Hiroshi 1861

Fried, Pal 532

Horlor, Joseph 409 I

G Galien-Laloue, Eugene 979 Gerhard, Adolf 1225 Germain, Jean-Baptiste 1097 German School 1260 Giambologno (after) 1096 Gillespie, George 551 Gisson, Andre (Gittelson) 1193, 1195, 1196 Glackens, William (attributed) 1780

Italian School 320, 1013, 1018 J John, Augustus Edwin 509 John, Augustus Edwin (attributed) 507 Jones, George A. 408 K Kainer, Ludwig 1932 Karpathy, Jeno 1226 Kauffmann, Angelica (manner) 1128

Index of Artists and Printmakers

March 2, 3 & 4, 2012

Kaufmann, Adolf 15

Keiffer, Edwin 1821

Neiman, Leonardo 1822

Kemper, Henry W. 1671

Netscher, Caspar (after) 1046

Kennedy, Joseph 1302

Noble, Mary Evol 1858, 1859, 1860

Korner, John 1654

Obel, Nils 1829, 1830, 1831, 1832

Ladell, Edward (circle) 1231

Ottaviani, Giovanni 1152

Laffitte, L. R. 1250

Lamberton, Joseph 1208, 1209, 1210

Paccheco, Francisco (manner) 348

Laurent, Eugene 1023

Persian School 1471

Lawrence, Sir Thomas 227

Picasso, Pablo 1940

Le Corbusier 1937

Picou, Henri Pierre 330

Leader, Benjamin Williams 410

Pomel, Claude-Joseph 1085

Legrand, Paul Emmanuel 1178

Powell, Gill 1174

Louisiana School 1656

Rainey, Clifford 1818

Maincent, Gustave 1200

Ramsey, James 188

Marcillo, Torres de 347

Raphael (after) 1147

McKenney & Hall 1719

Rembrandt, van Rijn (after) 322

Mene, Pierre Jules 262, 270, 1469

Reni, Guido (follower) 329

Merian, Caspar 701

Renoir, Pierre-Auguste 982

Michalopoulos, James 1592, 1593

Rigaud, Francois Hyacinthe (after) 1049

Milles, Ruth 1020

Roziere, Francois-Michel (after) 1084

Moigniez, Jules 261

Rucker, Robert 1599, 1600, 1601, 1602

Moreau, Auguste 68, 1036

Moreau, Hippolyte Francois 1039

Sachse, Janice R. 1817, 1824

Murphy, Todd 1814

Sacks, Joseph 1779 Scott, John Tarrell 1823

Index of Artists and Printmakers

March 2, 3 & 4, 2012

Seigneurgens, Ernest (attributed) 1201 Spang, Adelaide Paris 353 Spanish School 14 Stuempfig, Walter 1863 Surber, Paul 1720 Surendorf, Charles Frederick 1826 Symons, George Gardner 1595 T Tamariz, Francisco 1869 Thieme, Anthony 1862 V

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.

Vacossin, Georges Lucien 263

Manner of: In New Orleans Auction Galleries opinion, a work in the style of the artist, p ossibly of a later period.

Vaes, Walter 1224

After: In New Orleans Auction Galleries opinion, a copy of the work of the artist.

Van Dyck, Sir Anthony (after) 1045 Van Dyck, Sir Anthony (manner) 1047 Villa, Mario 1813

Signed: Has the signature which in New Orleans Auction Galleries opinion is that of the artist.

Volpato, Joannes 1151

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.

Weinmann, Johann 700 Wheeler, John Alfred 533 Wiggins, John Carleton 1676 Wolfe, Franz Xavier 373 Wright, Don 1820 Y Yeames, William Frederick 350

Bears Date: Is so dated and in New Orleans Auction Galleries opinion may have been executed at about that date.

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absentee / telephone bid form

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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.

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Conditions Of Sale

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

Customers, Please Note: Deadline for Absentee/Telephone Bidding 5:00 P.M. Central – Thursday, March 1, 2012 Guidelines for Telephone Bidding 1. Each item must have a low estimate of at least $500 2. Telephone bidders must agree to bid the low estimate on each item. Deadline for Condition Report Requests 5:00 P.M. Central – Thursday, March 1, 2012

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

Page No. 1

02/15/2012 10:48:48 New Orleans Auction Prices Realized for Sale 1106 December 06, 2011 Important Art / Asian December Sale

Lot# 1 2 3 4 5 7 12 16 19 24 25 26 27 28 29 33 36 37 41 42 44 45 46 49 53 55 56 58 61 64 65 66 67 68 69 70 71 72 75 76 77 78 79 80

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

615 1,107 338 430 861 1,353 246 307 430 1,476 5,658 2,214 492 430 984 369 2,706 1,353 153 92 153 522 5,166 338 369 184 553 110 215 153 215 276 861 984 184 399 276 184 79 110 61 984 123 123

81 83 84 85 86 88 89 90 91 92 93 94 95 97 99 102 104 105 107 110 113 114 115 116 117 118 119 120 123 125 127 130 131 132 133 136 137 141 143 145 146 148 149 150

123 153 522 184 123 276 369 129 98 615 153 184 246 738 221 153 110 123 153 246 369 399 1,599 861 738 1,353 246 98 799 984 7,687 399 215 1,230 1,845 492 492 5,904 246 738 492 738 184 215

151 152 157 158 161 163 165 167 173 175 176 177 180 182 191 195 196 199 200 214 215 216 217 219 221 222 224 228 231 234 236 237 243 247 248 251 252 256 257 258 259 263 264 266

307 246 4,913 1,881 338 922 246 676 215 153 153 307 215 98 123 676 676 276 123 922 1,845 676 553 676 313 430 246 123 153 615 553 553 430 307 1,230 215 276 123 123 98 153 86 98 73

267 268 270 296 307 308 311 312 314 315 316 317 325 327 334 335 337 340 341 344 345 346 347 348 349 350 352 357 362 369 373 375 383 386 387 388 391 392 394 407 408 410 411 413

246 73 307 184 338 86 246 676 369 553 184 307 615 123 861 922 4,182 1,722 676 1,722 1,476 123 2,952 4,674 553 1,045 584 2,337 98 553 98 110 129 307 215 676 338 184 399 313 258 369 153 153

414 416 417 420 421 427 436 438 449 450 453 455 459 460 463 465 467 477 491 492 494 496 497 499 501 504 516 518 519 520 521 523 525 529 554 555 558 559 562 564 567 569 570 572

123 246 123 584 123 307 369 153 492 246 24,600 246 2,460 12,300 799 153 522 215 215 276 307 246 984 307 399 153 153 153 676 73 98 369 615 110 1,230 1,476 11,685 98 123 36 553 184 61 153

577 596 597 608 611 619 621 623 631 632 633 635 637 638 641 644 645 646 647 651 668 669 671 676 677 678 679 680 681 682 683 685 686 688 690 693 695 696 697 698 703 709 719 722

110 98 307 584 369 369 156 2,214 2,337 2,460 1,045 799 184 184 4,428 8,302 799 10,455 98 430 221 104 338 738 79 79 110 984 215 707 153 98 92 369 123 4,305 4,305 104 153 98 98 98 98 276

724 726 728 736 742 745 746 747 748 750 751 752 753 754 757 762 765 766 767 769 770 772 776 779 780 781 787 788 793 795 798 803 804 806 807 812 813 820 831 834 835 836 837 846

307 98 110 5,904 676 676 1,353 3,444 799 430 430 307 153 430 184 184 153 184 246 276 492 369 430 215 215 861 153 430 307 430 276 338 215 153 110 246 1,476 246 123 307 215 246 153 307

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Page No. 2

02/15/2012 10:48:49 New Orleans Auction Prices Realized for Sale 1106 December 06, 2011 Important Art / Asian December Sale

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

849 852 856 857 866 877 880 881 883 884 885 886 887 890 895 902 911 912 913 914 918 920 925 928 934 937 943 944 945 949 951 953 959 960 963 967 971 979 991 993 996 1001 1004 1005

153 246 738 1,107 418 3,444 430 5,658 3,567 2,214 2,091 1,968 553 1,045 676 215 49 215 110 307 338 153 276 2,091 861 430 184 184 184 369 276 98 676 1,599 1,476 98 79 153 184 98 61 123 104 153

1008 1010 1011 1012 1013 1017 1018 1019 1021 1024 1028 1042 1043 1044 1046 1047 1048 1070 1071 1083 1088 1089 1090 1091 1098 1103 1104 1105 1106 1107 1108 1112 1135 1139 1144 1146 1149 1150 1151 1152 1159 1176 1178 1211

73 559 307 1,353 584 153 184 98 104 615 7,995 246 307 1,045 1,230 49 49 3,444 2,952 369 123 123 51 92 553 31,980 1,568 184 553 1,045 2,091 1,968 246 1,107 615 922 1,230 2,952 1,599 922 246 338 246 123

1229 1236 1238 1241 1244 1248 1249 1261 1264 1265 1276 1283 1285 1289 1290 1310 1311 1313 1317 1320 1336 1339 1340 1345 1348 1351 1357 1364 1370 1373 1375 1376 1377 1380 1381 1383 1387 1390 1397 1399 1400 1401 1429 1430

246 10,455 1,230 307 246 153 215 184 246 307 1,045 369 215 246 246 922 799 3,690 799 861 1,107 184 615 738 307 492 430 123 307 10,455 215 738 313 215 276 73 1,476 1,476 4,674 86 153 178,350 3,690 246

1431 1435 1436 1437 1439 1442 1444 1445 1448 1451 1455 1458 1459 1467 1470 1473 1480 1483 1484 1485 1493 1506 1508 1511 1513 1518 1519 1520 1521 1522 1523 1525 1526 1528 1529 1532 1533 1534 1536 1538 1539 1540 1541 1542

1,845 307 492 399 369 215 184 522 399 123 1,476 2,460 492 461 676 492 98 615 307 184 676 1,968 553 184 1,045 215 738 492 153 1,353 153 153 153 129 153 369 319 553 98 123 153 584 369 215

1543 1544 1548 1555 1560 1561 1562 1564 1570 1583 1586 1587 1591 1593 1594 1595 1596 1597 1599 1600 1601 1602 1603 1604 1605 1607 1608 1609 1610 1611 1612 1614 1615 1617 1618 1619 1622 1623 1624 1625 1630 1635 1640 1644

1,599 215 246 615 246 307 123 369 246 246 123 123 492 27,060 20,295 24,600 27,060 46,740 1,107 1,722 1,845 461 153 98 369 153 430 861 184 246 110 98 1,599 738 153 13,222 522 584 2,214 1,353 3,690 861 3,690 3,936

1646 1647 1649 1650 1656 1657 1658 1664 1665 1666 1667 1670 1671 1674 1675 1676 1677 1678 1679 1680 1681 1682 1684 1685 1686 1687 1688 1689 1691 1693 1697 1698 1699 1700 1701 1702 1703 1704 1705 1706 1707 1708 1709 1710

2,952 584 2,091 1,968 1,107 1,107 1,107 553 2,091 307 123 123 2,214 1,353 738 861 584 522 1,168 984 1,107 1,353 73 123 215 215 276 215 123 98 584 30 98 73 153 2,460 1,353 98 184 338 98 153 430 430

Lot# 1711 1712 1713 1714 1715 1716 1717 1718 1719 1720 1721 1722 1723 1724 1725 1726 1728 1729 1730 1731 1732 1733 1734 1737 1738 1738A 1745 1747 1748 1749 1750 1752 1753 1755 1761 1762 1763 1764 1767 1770 1772 1773 1778 1779

Realized 461 98 73 2,091 153 184 98 184 153 246 184 24 1,230 276 123 184 799 55 738 338 338 1,968 83,640 861 984 1,476 522 615 492 492 492 492 492 1,045 1,045 984 338 553 338 276 338 861 49 123

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Page No. 3

02/15/2012 10:48:49 New Orleans Auction Prices Realized for Sale 1106 December 06, 2011 Important Art / Asian December Sale

Lot#

Realized

1781 1782 1785 1788 1789 1790 1792 1795 1796 1797 1798 1799 1801 1802 1803 1804 1807 1808 1809 1812 1813 1814 1815 1817 1818 1820 1822 1823 1824 1825 1828 1829 1830 1831 1832 1834 1835 1837 1838 1839 1842 1843 1844 1845

738 3,690 3,444 1,476 276 3,444 522 430 9,532 3,690 1,476 984 922 738 369 1,230 2,952 984 1,968 3,444 123 615 922 2,460 461 246 615 399 738 246 584 369 307 338 246 461 430 1,230 6,457 246 123 307 184 98

Lot# 1846 1847 1848 1849 1852 1853 1856 1857 1858 1859 1860 1861 1862 1863 1865 1866 1867 1867A 1868 1869 1872 1874 1875 1876 1877 1878 1879 1880 1881 1882 1883 1884 1885 1888 1889 1890 1892 1893 1894 1895 1896 1897 1898 1900

Realized 276 215 9,840 307 276 5,166 36 307 1,168 2,952 1,353 307 1,968 3,198 246 922 738 615 307 369 861 1,722 584 553 276 1,722 2,706 3,198 3,198 2,706 5,412 338 307 553 369 461 110 2,091 861 1,107 8,610 922 861 4,920

Lot# 1902 1903 1906 1911 1912 1914 1915 1916 1917 1919 1920 1921 1922 1923 1925 1926 1927 1928 1929 1930 1931 1932 1932A 1933 1934 1936 1937 1938 1939 1942 1944 1946 1947 1949 1950 1953 1955 1957 1960 1961 1962 1964 1965 1966

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

1,476 1,045 5,412 4,920 4,674 1,476 2,214 984 2,337 2,214 3,198 307 615 430 861 3,198 1,722 1,045 861 461 276 399 1,845 738 738 246 215 246 492 123 522 1,722 307 615 615 1,845 430 246 246 2,952 2,952 1,845 1,045 553

1967 1970 1971 1972 1974 1975 1977 1979 1980 1981 1982 1983 1984 1986 1987 1988 1989 1991 1992 1993 1994 1995 1996 1998 1999 2001 2005 2007 2008 2009 2010 2012 2014 2015 2019 2021 2023 2025 2026 2027 2029 2030 2031 2033

1,599 153 276 369 1,168 6,457 615 276 86 861 738 246 2,460 246 984 215 307 307 276 2,091 2,214 43 1,230 1,845 1,722 5,904 10,455 799 2,460 307 2,952 276 1,722 430 338 215 2,337 1,230 676 1,845 2,460 1,353 1,722 1,845

2034 2035 2036 2038 2039 2040 2041 2044 2045 2048 2049 2050 2054 2055 2059 2060 2062 2066 2067 2068 2069 2071 2072 2073 2075 2077 2080 2081 2087 2088 2089 2092 2093 2094 2095 2098 2099 2102 2105 2108 2109 2110 2111 2112

861 1,045 799 276 86 153 153 1,476 2,706 553 215 369 2,091 1,230 215 738 184 1,722 276 98 153 307 615 615 584 615 1,722 1,968 399 430 430 461 1,168 799 215 584 246 369 615 110 153 369 2,091 676

2113 2114 2115 2116 2117 2118 2119 2121 2122 2123 2124 2130 2131 2132 2134 2135 2136 2137 2138 2139 2142 2143 2144 2146 2149 2152 2153 2154 2156 2157 2158 2159 2160 2161 2162 2164 2165 2166 2167 2171 2172 2173 2174 2176

799 522 492 522 338 676 153 676 461 1,599 4,674 492 553 984 1,476 23,370 922 1,968 461 1,045 799 861 430 338 738 276 4,428 615 1,599 676 922 553 1,845 2,214 553 553 1,353 461 738 36 276 676 3,444 676

2177 2178 2181 2182 2183 2184 2186 2187 2188 2190 2191 2193 2194 2195 2196 2197 2198 2199 2200 2201 2204 2205 2206 2207 2209 2212 2213 2214 2215 2216 2217 2218 2219 2220 2221 2224 2225 2226 2227 2228 2229 2230 2233 2235

553 799 799 922 1,230 922 2,952 4,674 246 153 1,107 738 430 2,214 861 615 276 584 461 1,968 461 399 799 276 307 584 153 1,045 5,412 86 2,952 369 86 584 430 1,230 184 430 215 584 307 246 215 215

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Page No. 4

02/15/2012 10:48:50 New Orleans Auction Prices Realized for Sale 1106 December 06, 2011 Important Art / Asian December Sale

Lot#

Realized

Lot#

Realized

2236 2238 2243 2244 2245 2247 2250 2251 2252 2256 2257 2260 2261 2264 2265 2266 2267 2268 2269 2270 2271 2273 2274 2277 2278 2279 2280 2282 2286 2288 2292 2293 2295 2301 2302 2309 2312 2313 2314 2318 2320 2321 2322 2324

338 676 86 2,829 338 2,214 430 307 399 1,230 3,690 2,214 2,952 215 1,968 3,198 553 1,168 492 1,168 430 1,968 799 338 1,968 98 123 1,476 3,936 369 123 984 5,904 461 1,168 153 215 215 153 123 738 8,302 11,685 1,722

2325 2326 2328 2329 2330 2332 2335 2337 2338 2339 2340 2342 2345 2346 2347 2348 2350 2354 2355 2356 2358 2359 2360 2361 2363 2366 2367 2371 2372

2,952 2,706 2,214 2,091 1,722 2,214 338 2,091 215 2,091 1,353 215 553 922 2,214 1,722 584 553 492 276 461 153 2,460 738 2,460 338 246 110 1,476

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Staff Specialists

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

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