New Orleans Auction Gallery - July 17-18 by New Orleans Auction Galleries, Inc.

Front Cover: Lot 394 - Maximilien Luce (French, 1858‑1941) “Route de Campagne a Moulineaux”, 1905, oil on board, signed and dated, 16‑3/4” x 13‑3/8”

2010 Auction Schedule: July 17-18 September 11-12 November 13-14

Back Cover: Lot 34 - Impressive Raingo Freres, Paris, Gilt-Bronze Mantel Clock, fourth quarter  19th century

2010 Auction Schedule: July 24-25 September 25-26 November 20-21

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

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

– AUCTION – Saturday, July 17, 2010 – 10:00 a.m. Lots 1-665 Sunday, July 18, 2010 – 11:00 a.m. Lots 666-1122

Two-Week Exhibition Begins Saturday, July 3, 2010 Through Friday, July 16 (Excluding Sundays) 9:00 a.m. to 5:00 p.m.

Late-Evening Preview Thursday, July 15 5:30 p.m. to 8:00 p.m.

Featuring Property From: The Estate of Fredricka Crain River Oaks, Houston, Texas The Estate of Weldon Weekley River Oaks, Houston, Texas The Estate of June Adair Esteemed Appraiser and Collector Houston, Texas The Estate of Warren Spencer Strauss Houston, Texas A Gentleman Collector (Property Acquired in Acadiana and New Orleans Over a Thirty-Year Period)

View this entire catalogue online:

www.neworleansauction.com

Session I

Saturday, July 17, 2010

10:00 a.m. (Lots 1-665)

1 Italian Giltwood Looking Glass, fourth quarter 19th century, in the rococo taste, the shaped ovoid plate featuring a reverse-engraved figure of a maiden within rinceau decorations, the frame surmounted by a shell and foliate crest and with like-carved accents throughout, h. 43”, w. 27”. [1200/1800] Illustrated

2 Pair of Continental Bone-Inlaid Walnut Sidechairs, mid‑19th century, in the Queen Anne taste, each with a shaped crest above a baluster-form splat, the splat with a bone-inlaid figure of a maid in a portico, the shaped seat raised on cabriole legs joined by stretchers and ending in pad feet, the whole with bone-inlaid floral and scrolling designs, h. 40”. [900/1200] Illustrated 3 Good Murano Glass Six-Light Chandelier, second quarter 19th century, composed of multicolored and gold leaf-included colorless glass in the 18th-century Venetian taste, with applied flowerheads and spiral-ribbed rings in pale pink and blue, electrified and fitted with faux candles and custom silk shades, h. 19‑1/2”, dia. 26”. [600/900] Illustrated

6 Pair of Venetian Looking Glasses, early 20th century, each with a beveled ovoid plate surrounded by a raised mirrored frame with a scalloped amber border, h. 37”, w. 24‑1/2”. [1200/1800] Illustrated 7 Good Continental Carved and Partially Gilded Mahogany and Marble-Top Center Table, third quarter 19th century, the circular variegated rouge and gray marble top with a dished edge, above a shaped and paneled frieze, raised on four cabriole legs headed by carved and gilded masques and ending in gilded paw feet, h. 29”, dia. 44”. [3000/5000] Illustrated

4 Continental School (First Quarter 20th Century) “Village Canal Scene with Women on a Boat Doing Laundry”, watercolor, signed lower right “W. Menkman”, sight 12‑1/4” x 18‑1/4”. Glazed, matted and framed. [250/400] 5 Laurits Sorensen (Danish, 1882‑1968) “Ships at Sea”, oil on canvas, signed lower right, 27” x 38‑1/2”. Framed. [700/1000]

8 Neoclassical-Style Painted Bookshelf, the molded cornice with central foliate carving and lower annulated band, above a case fitted with three open shelves, flanked to either side by engaged fluted pilasters, raised on a molded plinth base, h. 60‑1/2”, w. 37”, d. 15”. [500/800]

6 pair

10 Continental School (Third Quarter 19th Century) “The Jealous Suitor”, oil on canvas, unsigned, 10‑3/8” x 13”. Presented in a period giltwood frame. [350/500] 11 Boleslaw Jan Czedekowski (Polish, 1885‑1969) “Allegory of Youth and Age”, 1953, oil on masonite, signed and dated lower right “Czedekowski B. 1953”, 28” x 38”. Handsomely framed. [2500/4000] Illustrated 12 Paolo Ferretti (Italian, 1866‑1937) “Alpine Lovers”, oil on canvas, signed and inscribed on the reverse “Paoletti Ferretti, 15 Via de Fossi, Firenze”, 32” x 27”. Presented in an elaborate period “Foliate and Shell”-carved giltwood frame in the Florentine taste. [2000/4000] Illustrated

12 9 Pair of Italian Giltwood Appliques, early 20th century, each with a foliate-modeled backplate issuing two scrolling candlearms, fitted with clip-on oval front shades, electrified, h. 21”, w. 8‑1/2”. [600/900]

15 French School (Fourth Quarter 19th Century) “The Algerian Water Girl at Dawn”, oil on canvas, signed lower left “Tunis 18 C.G.”, in entwined script, “95”. Presented in a period giltwood and plaster frame in the Aesthetic taste, h. 14‑1/4”, w. 12‑1/2”. [700/1000] 16 Large Austro-German Gilded Wrought-Iron and Cut Glass Twelve-Light Chandelier, in the 18th-century “Maria Theresa” style, the frame outlined in glass bugle beads and distinctively dressed with faceted and cabochon drops, glass fleurettes and pressed “Vintage” drops, the floriform wrought-iron bobeches gilded, fitted with faux candles and electrified, h. 42”, dia. 33”. [3000/5000] Illustrated

13 Camillo Gioja Barbera (Italian, 19th Century) “Two Women and a Girl Seated in a Church Interior”, oil on canvas, signed lower left, 22‑1/2” x 17‑1/4”. Handsomely framed. [1800/2500] Illustrated 14 Continental School (Fourth Quarter 19th Century) “Gypsy Holding a Tambourine”, oil on canvas, indistinctly signed lower right “H. Pyfeld ?”, 16” x 24”. Handsomely framed. [300/500]

17 17 Pair of Italian Provincial Oak Fauteuils, early 19th century, in the Louis XV style, each with a shaped and padded rectangular back joined to the padded seat by curved scrolling arms, raised on molded cabriole legs ending in scrolled toes, h. 39‑1/2”. [600/900] Illustrated 18 Pair of Louis XV-Style Carved Giltwood Looking Glasses, mid‑19th century, exuberantly carved in the transitional Baroque into Rococo taste, each with a shaped rectangular plate surmounted by a foliateand floral-pierced crest, within a like-molded frame, h. 40‑1/2”, w. 24‑1/2”. [500/800] Illustrated

19 Continental Giltwood and Marble-Top Center Table, late 18th century and later, the rectangular Verde Antico marble top inset into a scrolling foliate-patterned border and above a conforming shaped frieze with incised lattice patterns and a central shell, fitted with a single end drawer, raised on cabriole legs ending in acanthine hoof feet, h. 28‑1/2”, w. 37”, d. 22”. [7000/10000] Illustrated 20 Large Italian Carved, Silvered and Gilded Wood Flower-and-Shell Garniture Spray, first quarter 20th century, in the 19th-century neoclassical style, now mounted on a late 19th-century giltwood urn, h. 29‑1/2”, w. 14‑1/4”, d. 4‑1/2”. [1000/1500] 21 French Brass Argente, Glass and Abalone TwelveLight Chandelier, of cage form in the Louis XVI taste, centered by a bulbous glass standard, the candlearms and frame encrusted with abalone chips, the cage issuing two tiers of scrolling arms, all terminating in glass drip pans with crystal prism drops, with a central faceted sphere pendant, the candlearms fitted with faux candles, h. 33”, dia. 37‑1/2”. [1500/2500]

22 Italian Giltwood Looking Glass, 19th century, in the rococo taste, the shaped rectangular plate within a pierced and overlaid frame of scrolling and foliate deigns, h. 36‑3/4”, w. 26”. [1800/2500] Illustrated

18 pair

24 Large Pair of Italian Two-Handled Garniture Vases, composed of carved, ribbed and bronze-painted wood, each vase filled with a bouquet of stacked seashells in the “Grotto” taste, h. 24‑1/2”. [600/900] Illustrated

25 Good French Majolica Figural Calling Card Tray, third quarter 19th century, in the form of a putto holding a circular tray, designed by Albert-Ernest CarrierBelleuse (French, 1824‑1887), and so marked on the interior of the base, h. 15”, w. 10”, d. 8”. [600/900] Illustrated

26 German Ebonized Terra Cotta Figural Calling Card Tray, third quarter 19th century, in the form of a Blackamoor carrying a circular platter, the base fitted with an additional smaller card well, h. 15”. [250/400]

25 23 Monumental Pair of Italian Wooden Pricket Altar Candlesticks, fourth quarter 19th century, the carved and silver-leafed tripodal sticks in the Baroque style, the wrought-iron prickets removed, the finish oxidized and tastefully worn throughout, h. 33‑3/4”, w. 9‑1/2”. [1000/1500] Illustrated

33 pair

27 Two Italian Carved Marble Busts, first quarter 19th century, the first a Carrara and rose marble example of an exotically turbaned Circassian lad, and the second a Carrara marble example of a Circassian girl in a traditional coin-beaded headdress, both presented on turned and polished black slate bases, h. 11‑3/4”. [400/700] 28 Italian School (Early 20th Century) “Grand Canal, Venice”, watercolor, signed and inscribed lower right “P. Bala di Milan”, sight 9‑1/4” x 14”. Glazed, matted and framed. [125/250] 29

Illustrated

29 James Pratt (New Zealand, Contemporary) “St. Mark’s Square, Venice, Italy”, oil on canvas, signed lower right “James Pratt”, 16” x 20”. Handsomely framed. Provenance: Private collection, New Orleans, Louisiana. [1000/1500] Illustrated

30 Three-Piece Italian Turned and Carved Alabaster Garniture, third quarter 19th century, in the NeoRenaissance taste, consisting of a tall pair of ewers with dragon-masque spouts, their facades carved with a Bacchic masque and their handles modeled as attenuated griffins, and a ringed lion-masque-handled circular comport, h. 21‑1/2”. [800/1200] 31 Italian Specimen Marble Game Board, second quarter 19th century, of canted square form, now mounted on a turned gilt-metal base joined by an X-form stretcher and ending in cap feet, h. 17”, w. 17”, d. 17”. [200/400] 32 Louis XVI-Style Polychromed Trumeau, early 20th century, the rectangular plate within a molded frame, surmounted by an eglomise panel of a pastoral landscape, h. 50”, w. 26‑1/2”. [800/1200]

34 back

33 Imposing Pair of French Gilt-Bronze Two-Light Appliques, in the Louis XVI style of Jean-Charles Delafosse (1734‑1789), the fluted tapering backplates surmounted by garland-draped Antique vases with upright pomegranate finials, the candlearms opulently draped with laurel-leaf garlands, electrified and fitted with bone-white faux candles, h. 23”, w. 15”, d. 8”. [1800/2500] Illustrated 34 Impressive Raingo Freres, Paris, Gilt-Bronze Mantel Clock, fourth quarter 19th century, of large size in the Louis XVI style, the case centered with a signed convex enameled dial with black Roman chapters and cut gilded hands, flanked by paired garland-draped console brackets, the works cover decorated in haut relief with a basket of flowers, the case surmounted by a laurel leaf-draped vase in the Antique style, h. 27‑1/2”, w. 18‑1/2”, d. 7‑1/2”. [2500/4000] Illustrated

35 Opulent Pair of French Gilt-Bronze Nine-Light Candelabra, in the Louis XIV taste, each candlesocket fitted with a detachable bobeche, the central standards ringed and tapered, culminating in diademed and draped female masques, supported at their bases by a pair of addorsed stylized dolphins, h. 23‑3/4”, w. 10”, d. 10”. [1800/2500] Illustrated

36 Suite of Eight Louis XVI-Style Beechwood Armchairs, each with a molded crest rail and stiles extending to open arms with fluted and scroll-carved ends, with molded seat rail and turned, fluted legs, ending in toupie feet, h. 40”. [1500/2500] Illustrated

37 Louis XVI-Style Giltwood and Marble-Top Console, the rounded rectangular Skyros marble top above a conforming frieze with dentillated panels centering an urn carving, raised on fluted tapering circular legs headed by foliate carving and ending in like-carved toupie feet, h. 37‑1/4”, w. 47‑1/4”, d. 20‑1/2”. [2000/4000] Illustrated 38 French School (19th Century) “Portrait of a Young Lady with Pearls Adorning Her Hair and Dress”, pastel, en tondo, unsigned, sight 16‑3/4” x 13‑1/2”. Glazed, matted and framed. [350/500] Illustrated

39 Pair of French Brass-Mounted Porcelain Garniture Bowls, in the Restauration style, the bleu du Roi porcelain bowls with gently everted lips with brass-mounted rims and supported on brass foliate-scroll tripodal standards above conforming porcelain plinths, h. 16‑1/4”, dia. 14‑1/4”. [700/1000] Illustrated

40 Attractive Samson, Paris, Porcelain Double Inkstand, fourth quarter 19th century, the floral-enameled and parcel-gilt decoration in the Chinese Export armorial style, the set modeled as an oblong tray, centered with the royal arms of France, w. 7‑5/8”, l. 10‑1/8”, flanked by a pair of square dished wells for the matching covered ink bottles, h. 2‑7/8”, retaining the period porcelain wells, the tray and ink bottle bases with the Samson pseudo-Chinese mark in rouge de fer. [200/400] Illustrated

41 Louis-Philippe Sevres Porcelain Plate, 1837, with later galants decoration and a gold fleur de lys-spangled beau bleu border, the decoration late fourth quarter 19th century, the reverse with the elliptical green Sevres date mark, the Chateau des Tuileries location mark in transfer-printed rouge de fer and a pale blue Louis-Philippe monogram mark for 1844, dia. 9‑1/2”. [250/400]

38 40 42 Pair of French Polychromed Faience Covered Vases, in the 18th-century style, the mulberry scale grounds with an obverse floral reserve and a “Teniers” tavern scene on the reverse of each example, the matching domed covers with polychromed floral reserves, each signed on the base in blue “Fat/par Moy/ Gilot/1773”, h. 13”, dia. 7”. [200/400]

43 Pair of French Blocked Wallpaper Panels, fourth quarter 19th century and later, of large size in the “Pompeian” style, each narrow vertical panel with a polychromed stylized pavilion centered with a figure of a scantily draped figure holding an artist’s palette and a brush, the ground of each panel a pale silvery gray, h. 55”, w. 20‑1/4”. [600/900] Illustrated

44 Pair of Maison Gouffe, Paris, Louis XV-Style Kingwood Side Tables, each with a quarter-veneered rectangular top centered by a diamond inlay, above a case fitted with a leather-lined pull-out slide over two long drawers, joined to a lower quarter-veneered shelf by cabriole legs ending in sabots, the upper drawer of both bearing a brass GOUFFE label, h. 28‑1/4”, w. 21‑1/2”, d. 15‑1/2”. [1000/1500] Illustrated 45 Contemporary Gilt-Metal and Glass Occasional Table, the circular glass top within a brass band with four acorn finials, joined by reeded tubular supports to a like lower shelf, raised on tapering circular legs ending in ball feet, h. 19‑3/4”, dia. 22”. [300/500] 46 Louis XVI-Style Oak Desk, late 19th century, the rounded rectangular top with molded edge and inset leather writing surface, above a frieze fitted to each side with a central drawer, flanked to either side by two small drawers, all paneled, raised on fluted tapering circular legs ending in toupie feet, h. 29‑1/2”, w. 55”, d. 39‑1/2”. [400/700] Illustrated

44 47 Set of Twelve Porcelain Dinner Plates, first quarter 20th century, by Heinrich and Company, Bavaria, the richly gilded and green-bordered ivory plates in the Louis XVI taste, each plate fully backstamped in green underglaze transfer print, dia. 10‑1/2”. [400/700] 48 Fine Gallee, Paris, Porcelain Teacup and Saucer, third quarter 19th century, each of paneled octagonal form in “Fleurs Jetees” decor, the cup signed on the base in rouge-de-fer script “Gallee/Paris”, h. 2”, dia. 3‑1/2”, the saucer signed “Gallee/65 rue Bonaparte/Paris”, also in rouge-defer script, 5” x 5”. [75/125]

46 49 Set of Twelve French Acid-Transfer Plate-Etched Dessert Wine Goblets, first quarter 20th century, the bowls in a delicate overall pattern of interlaced small circles, h. 3‑1/2”, dia. 2‑3/4”. [150/300] 50 Set of Six of French White and Gold Porcelain Dessert Plates, third quarter 19th century, in the rococo taste, each plate marked with an embossed “D.P.” in a plaque, underglaze, dia. 9”. [125/250]

51 French Kingwood, Burlwood and MarbleTop Commode, third quarter 19th century, in the transitional Louis XV into Louis XVI style, the rounded rectangular African Brescia marble top within a pierced three-quarter brass gallery, above a conforming case fitted with three drawers, all within an inlaid rope-twist banding, joined to a brassbound and quarter-veneered shelf by tapering legs ending in sabots, 31” h. 22” w. 15” d. [1200/1800] Illustrated 52 Louis XVI-Style Giltwood Looking Glass, fourth quarter 19th century, the oval plate surrounded by a ribbon-carved crest and within a molded, annulated and ribbon-carved frame, h. 21”, w. 15‑1/2”. [400/700] Illustrated

54 Pair of French Gilt-Brass-Mounted Porcelain Bowls, fourth quarter 19th century, of royal blue ground in the Sevres style, now forming double-handled footed garniture coupes, each bowl with a polychromed floral reserve one each facade and an interior floral garland near the lip, h. 6”, w. 8”. [500/800] Illustrated 55 Amusing Napoleon III Hand-Painted Paris Porcelain Chamberpot, dated June 22, 1853, “Here’s Looking at You”, the exterior walls with well-painted sprays of summer flowers, the interior centered with a large polychromed staring eye, the base signed in overglaze rouge de fer “C.B./22 Juin 1853”, h. 5”, dia. 8‑1/4”, l. 9‑1/2”. [75/125]

53 Louis XVI-Style Commode, third quarter 19th century, the rectangular Granite Belge marble top with turreted corners above a mahogany conforming case fitted with three long drawers, all paneled and flanked to either side by a rounded reeded pilaster, raised on fluted tapering circular legs, h. 33‑1/2”, w. 45‑1/2”, d. 21‑1/4”. [1200/1800] Illustrated

57 Good French Colorless and Opal Glass TenLight Chandelier, second quarter 20th century, in the Napoleon III taste, richly dressed with floral back-cut Albert glass prisms and fitted with pale blue opal glass bobeches of petaled saucer form, electrified and fitted with faux candles, h. 29‑1/2”, dia. 22‑1/2”. [800/1200] Illustrated 58 Pair of French Colorless and Opal Glass Five Light Appliques, second quarter 20th century, in the Napoleon III taste, the central notched glass spear surrounded by five scrolling arms to pale blue opal bobeches richly dressed with back-cut glass prisms, electrified and fitted with faux candles, h. 15”, w. 17”. [500/800] Illustrated 59 French School (19th Century) “Lush Floral Garden Interiors with Songbirds”, pair of oils on panel, each signed “Bertrand” lower right, respectively, 9‑3/4” x 7‑1/4”. Unframed. [1400/1800]

60 French Carved Giltwood Looking Glass, first quarter 19th century, in the Louis XVI style, the tall giltwood cresting modeled as a bowknotted draped laurel-leaf garland over a circular boss, the period plate tastefully disintegrated, h. 35‑1/4”, w. 32‑1/4”. [1500/2500] 61 Eutrope Bouret (French, 1833‑1906) “Sans Famille”, fourth quarter 19th century, a large gilt-bronze figure of a youthful musician carrying a harp, signed on the proper left “Bouret”, now mounted as a table lamp on a gilt-brass-mounted rouge royale marble “collector” base and fitted with a custom “old ivory” silk shade, h. 30”, to finial 43‑1/2”. [1200/1800] Illustrated

56 Seven-Piece Louis-Philippe Sevres Porcelain Cabaret a Deux Service, 1837‑1840, with later bleu de ciel borders and polychrome enamel decoration of putti, the set comprised of a square lobed tray, a coffeepot with the royal LP monogram, a matching cream pitcher, a pair of cups en suite, and a pair of dished saucers, all of the pieces with either an 1837 or 1840 elliptical green Sevres date mark, a chateau des Tuileries inventory mark in rouge de fer and a blue overglaze transfer-printed Louis-Philippe inventory mark for 1844, the bleu de ciel borders and the putto decoration added fourth quarter 19th century, the sucrier lacking, overall h. 6‑3/4”, w. 11‑3/4”. [400/700] Illustrated

63 Unusual Pair of Signed French Accent Lamps, first quarter 20th century, composed of gilded bronze, white biscuit porcelain and rouge royale marble in the form of geishas carrying glass Japanese lanterns, the costumes of gilded bronze, the faces and hands of white biscuit porcelain, the marble bases of teardrop form, signed at the rear proper right basal edge of the metal kimono “Ad. Erussier” (French, fl. ca. 1845‑1910), h. 20”. [800/1200] Illustrated

62 Pair of Brass-Mounted Rose Medallion Porcelain Wall Sconces, each composed of a Chinese rose medallion cylindrical vase mounted in brass fittings with a light socket, electrified, h. 14‑3/4”. [200/400]

64 Louis XV-Style Ebonized and Marble-Top Bombe Commode, late 19th century, in the chinoiserie taste, the shaped Violet Jura Brocatelle marble top above a conforming bombe case fitted with two drawers, each drawer and side featuring gilt and gesso orientalist landscape scenes, raised on splayed legs ending in sabots, the top stamped “Chardonnay”, h. 32‑1/2”, w. 31‑1/2”, d. 16‑1/2”. [2000/4000] Illustrated

65 Good Napoleon III Carved Giltwood and Plaster Looking Glass, third quarter 19th century, of large size in the Louis XV taste, the corners and rail centers with equidistant carved stylized shells and foliate scrolls, the mirror plate broadly beveled throughout, h. 51”, w. 70”. [1500/2500]

68 Pair of Louis XV-Style Kingwood and Parquetry Side Tables, each with a shaped rectangular top with a brass gallery, above a single drawer with a foliate brass pull, raised on brassmounted cabriole legs joined by a single stretcher shelf, h. 27”, w. 16”, d. 11‑1/2”. [700/1000] Illustrated 69 Restauration Waxed Pine Looking Glass, mid‑19th century, the beveled oval plate surmounted by a molded frame with a foliate slip and floral-carved outer band, h. 37”, w. 37‑1/2”. [700/1000] 70 Raoul Vatan (French, 1884‑1952) “Les Saules”, oil on canvas, signed lower right “R. Vatan”, titled and signed in ink on an old label affixed to canvas verso, 15” x 18”. Presented in a handsome antique giltwood frame. Provenance: Private collection, New Orleans, Louisiana. Reference: Benezit. [2500/4000] Illustrated

71 Georges Stein (French, 1870‑1955) “Sunlit View of a Lady Tending to the Lush Gardens of Her Country Home”, oil on canvas, signed lower left “Georges Stein”, 18‑1/4” x 22”. Presented in a contemporary giltwood frame with cream linen liner. [3000/5000] Illustrated

72 Gabriel Spat (French/American, 1890‑1967) “View of the River Oise”, oil on canvas board, signed lower left “Spat”, titled on paper label on the reverse, 8” x 11‑1/8”. Presented in a handsome giltwood frame. [1500/2500] Illustrated

68 66 Stylish French Gilt-Brass, Wrought-Iron, Alabaster and Cut Glass Four-Light Chandelier, of bowl form in the Restauration taste, dressed with cut glass fleurettes, spherical glass drops and draped jewel-cut glass chains, fitted with faux candles and electrified, the interior of the alabaster bowl with a single light socket, h. 33”, dia. 29”. [2500/4000] Illustrated 67 Louis XV-Style Ebonized and Marble-Top Commode, the rectangular white marble top with a projecting center section, above a conforming case fitted with three long drawers, raised on cabriole legs ending in sabots, h. 33‑3/4”, w. 46‑3/4”, d. 19‑1/2”. [2000/4000] Illustrated

73 Gabriel Spat (French/American, 1890‑1967) “Couple in a Park Setting”, oil on canvas laid down on board, signed lower right “Spat”, 5‑1/4” x 6‑1/8”. Framed. [350/500] 74 Andre Gisson (American, 1928‑2003) “Arc de Triomphe, Place Charles de Gaulle”, oil on canvas, signed lower right “Gisson”, verso with label “Miner’s Gallery Americana, Carmel, California”, 16” x 20”. Handsomely matted and presented in a contemporary giltwood frame. Provenance: Private collection, New Orleans, Louisiana. [3000/5000] Illustrated

75 Andre Michel (French, b. 1945) “Flower Market, La Madeleine, Paris”, oil on canvas, signed lower right “A. Michel”, 7‑1/2” x 9‑1/2”. Handsomely framed. [600/900] Illustrated following page

76 Francois Gall (French, 1912‑1987) “Interior Scene with a Girl in a White Hat Seated at Her Vanity”, oil on canvas, signed lower right “F. Gall”, 10‑3/4” x 8‑3/4”. Handsomely framed. Provenance: Private collection, New Orleans, Louisiana. [6000/9000] Illustrated 77 L. Franck (French, b. 1944) “Can-Can Dancer”, oil on canvas, signed lower right “Franck L”, 40” x 32”. Handsomely framed. Provenance: Private collection, New Orleans, Louisiana. [2000/4000] Illustrated 78 Beaux Arts-Style Polychromed Gilt-Metal Looking Glass, the cenotaph-form beveled plate surmounted by a scrolling crest within a pendant floral garland, within an ovoid and circular pierced frame, h. 59”, w. 38‑1/4”. [500/800] 79 Italian Carved Giltwood Looking Glass, late 18th century, in the Louis XVI taste, the rectangular plate surrounded by a floral urn and scrolling crest, surrounded by a molded and annulated frame with diamond-patterned pendants, h. 26‑1/2”, w. 14‑1/2”. [600/900]

80 Large Japanese Inlaid Silver Ikebana Vase, Taisho Period (1912‑1926), of baluster form with waisted neck, extensively incised with a pair of birds among a linden tree and flowering chrysanthemum, inlaid with shibuichi and shakudo, with yellow gold and red copper highlights, with chiseled signature in the body and jungin (pure silver) stamp under the base, h. 12”, dia. 5‑3/4”, 41.99 t. oz. [4000/7000] Illustrated

81 Japanese Silver Jewelry Box, early Showa Period (1926‑1989), of rectangular form, engraved with various hidari mitsudomoe kamon, the hinged lid opening to reveal the crimson velvet interior, fitted with a ring tray and two compartments (one lidded) and a brooch pad in the lid, the underside of the box with inset rosewood bottom and jungin (pure silver) stamp, h. 12”, dia. 5‑3/4”, 41.99 t. oz. [50/80]

82 Japanese Silver Dragon Vase, Meiji Period (1868‑1912), the lobed body decorated with six panels of repousse chrysanthemums with scattered copper inlay and traces of enamel, the tall waisted neck decorated with an applied figural dragon holding a crystal sphere representing the flaming pearl, the rim and foot with flower-top lobes engraved with chrysanthemum, with applied copper seal on the underside, h. 11”, dia. 5‑1/4”, 23.15 t. oz. [3500/5000] Illustrated 83 Gianmaria Buccellati (b. 1929) Sterling Silver Tray, fourth quarter 20th century, by Michelangelo Clementi & Cie., Bologna, of oval form, decorated with a large applied edge of realistically modeled seashells, w. 14‑1/4”, l. 18”, 68.16 t. oz. [18000/25000] Illustrated 84 German .800 Silver-Mounted Engraved Glass Claret Jug, fourth quarter 19th century, by Wilhelm Binder, Schwabisch-Gmund, the glass body of slightly concave conical form and decorated with wheel-engraved floral arabesques, mounted with an inset silver lower band and tall collar, both milled with rococo scrolls joined by a dolphin-crested acanthus-scroll handle and surmounted by a helmet-form spout with hinged lid and scrolling toupie finial, h. 12”, dia. 5”, l. 6‑1/2”. [100/200]

85 Good German Historismus .800 Silver Ewer and Basin, first quarter 19th century, by J. D. Schleissner Soehne, Hanau, probably after a mid‑1880’s design by August Offterdinger (1855‑1934), in the Renaissance taste, the urn-form ewer decorated with bands of fluting, palmettes and shells, with an elaborate annulated and acanthus-mounted eagle-head handle and satyr-masque spout, decorated with embossed vignettes of gods and goddesses, the circular basin with raised center and decorated with elaborately embossed and chased shells and scrolls, quartered by raised vignettes en suite, overall h. 14‑1/4”, dia. 18”, 80.06 total t. oz. Several design elements here - the tondo form, the mixture of Renaissance and Rococo motifs and, above all, the highly detailed convex neoclassical figural cartouches quartering the rim - all point a series of revivalist designs executed by August Offterdinger 1884‑1888. See Bruno-Wilhelm Thiele, Tafel- und Schausilber des Historismus aus Hanau (Tuebingen: Wasmuth, 1992), catalogue numbers 149‑154 (plates 85‑88), for some of these designs, as well as number 133 (plate 78) for a similar ewer and basin produced by Schleissner. [1800/2500] Illustrated

86 German .800 Silver Fruit Bowl, first quarter 20th century, by Adolf Mayer, Frankfurt am Main, in the Historismus taste, of rounded square form, the lattice-reticulated sides embossed with flower-basket medallions, floral swags and rococo-scroll edge, the base embossed with a pastoral scene of frolicking putti, h. 2”, w. 8‑3/4”, 9.32 t. oz. [100/200]

87 Pair of Continental Rococo-Style Silverplate TwoLight Sconces, 20th century, the cartouche-shaped backplate embossed with a neoclassical bust flanked by banners and surmounted by an applied baldachin, decorated with C-scrolls and fan cresting, fitted with two cast scrolling arms, each terminating in a circular drip-pan and cannon-form nozzle, h. 13”, w. 9‑3/4”, d. 3‑1/2”. [400/700] 88 Pair of French Bronze Argente Two-Light Candelabra, first quarter 20th century, of diminutive size in the Louis XV taste, composed of two leafy rococo scrolls around a central standard en suite, the arms with a pair of leafy drip-pans and nozzles, the standard with flammiform finial, the whole raised on a circular base, h. 7‑1/4”, w. 7‑1/4”, base dia. 4‑1/4”. [500/800] Illustrated

89 Continental Silverplate Plateau, fourth quarter 19th century, probably French, of small size and concave square form with canted corners and reed-and-ribbon banded edge, raised on four addorsed Greek-key feet, fitted with a conforming beveled mirrored plate, w. 11”. [200/400] 90 French Pewter Demi-Litre Measure, first quarter 19th century, possibly Norman, of cylindrical form with everted three-quarter collar, plinth base and squared handle, h. 6‑1/2”, dia. 3‑5/8”, l. 4‑3/4”. [60/90] 91 Georg Jensen Sterling Silver Ornamental Pattern No. 21 Sugar Spoon, designed ca. 1925 by Georg Jensen (1866‑1935), Copenhagen, with the post‑1945 Jensen mark, the handle with a stylized “blossom”, l. 6‑1/2”, 1.80 t. oz. [150/300] Illustrated

92 Monumental Continental Silverplate Urn, third quarter 19th century, the traditionally shaped body raised on a square plinth, with a domed lid, large toupie finial and twisted ring handles with mascaron mounts, h. 31”, dia. 16”. [1200/1800] 93 Sixteen Reference Books on Silver, including Seymour B. Wyler, The Book of Old Silver (two copies), Howard Okie, Old Silver and Old Sheffield Plate, Judith Bannister, English Silver, N. M. Penzer, Paul Storr, 1771‑1884: Silversmith and Goldsmith, David S. Shure, Hester Bateman, Queen of English Silversmiths, Ian Pickford, Jackson’s Silver and Gold Marks, 3rd ed., John Culme, Directory of Goldsmiths and Silversmiths 1838‑1914, volume I: The Biographies (lacking the accompanying second volume which contains images of the maker’s marks), Janet Drucker, Georg Jensen: A Tradition of Splendid Silver, Doris and Peter Unitt, Canadian Silver, Silverplate and Related Glass, Hollis French Silver Collector’s Glossary and List of Early American Silversmiths and Their Marks, Hermann Frederick Clarke, John Coney, Silversmith:  1655‑1722, Charles H. and Mary G. Carpenter, Tiffany Silver, Charles L. Venable, Silver in America, 1840‑1940: A Century of Splendor, Fredna H. Davis and Kenneth K. Deibel, Silver Plated Flatware Patterns, and Jessie McNab, Silver. [500/800]

100

95 Unusual Chinese Mandarin’s Necklace, composed of four groups of intricately carved wooden beads separated by large jade beads, terminating in a jade gourd-shaped bead with a cord suspending a jade plaque and an amethyst drop, the wooden beads with three strands of turquoise beads, each terminating in an amethyst or rose quartz drop, l. 45”. [150/300] 96 Chinese Enameled Porcelain Covered Box, of oval outline with lobed edge, decorated in famille rose enamels with a central medallion of six bats surrounding a yin yang symbol and characters, decorated all over with flowers and fruit, the base with a six-character Daoguang reign mark in iron red, presented on a wooden stand, l. 8”. [900/1200] 97 Unusual Group of Chinese Jade and Hardstone Carvings, comprised of sword guards, seals, cicadas, pi disks, animals, buckle, archer’s ring, pendants and plaques in jade, agate and a mineral specimen, l. 1‑3/8” to 3‑3/8”. [400/700] 98 Chinese Export Porcelain Creamer, late 19th century, of bombe form with loop handle and shaped spout, decorated in the “Rose Medallion” pattern with figural and naturalistic reserves, h. 3‑3/4”, l. 7”. [50/80] 99 Large Chinese Famille Rose Porcelain Serving Dish, 20th century, of circular form, the body molded in low relief and glazed in pale celadon-colored glaze, enameled over the glaze in famille rose enamels with birds, insects, flowers and Buddhistic symbols, presented on a wooden display stand, dia. 14‑1/4”. [100/200]

94 Group of Ten Chinese Jade Carvings, in white, celadon, olive and mottled green/black jade, carved as dogs, cats, birds, a horse and a monkey, all carved in the round, l. 1‑1/2” to 2‑1/2”. [600/900] Illustrated

100 Chinese Celadon Porcelain Quatrefoil-Lobed Vase, in the 18th-century style with low-relief scrolling cloud decoration, ruyi borders at the base and lip rim, molded mock ring handles, and an impressed six-character Qianlong seal mark in the recessed base, all under an even pale celadon glaze, h. 15”. [200/400] Illustrated

101 Chinese Carved Nephrite Jade Incense Burner and Cover, the celadon-colored stone with russet inclusions carved as a bulbous incense burner on three monster-head and -foot legs, with two strap handles, the body carved in low relief with archaic designs, the conforming cover with a hydra dragon finial and a pierced border of entwined dragons, h. 7”, l. 7‑1/2”. [12000/18000] Illustrated

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102 Delicate Chinese Carved Spinach Jade Covered Bowl, in the Mogul style, carved as a shallow bowl with pierced rim, floral handles with loose ring handles and conforming cover, the cover with pierced foliate carving and pierced ball finial, presented on a wooden stand, overall h. 7”, l. 6‑3/4”. [12000/18000] Illustrated 103 Chinese Carved Jade Figure of the Deity Shou Lao, the bald and bearded standing figure holding a staff topped by a double gourd in one hand and a large Peach of Immortality in the other, h. 11‑1/2”. [1500/2500] Illustrated 104 Chinese Spinach Jade Saucer Dish, the low open dish resting on a straight foot with a slightly everted lip rim, the stone of mottled spinach green color with black flecking and translucent areas, dia. 5‑1/4”. [900/1200] Illustrated

105 Twenty-Two-Piece Chinese Export Porcelain Dinner Service, comprised of a soup tureen and cover, two sauce tureens, covers and stands, two vegetable dishes and covers, a rectangular vegetable dish and cover, a meat platter and strainer insert, a large oval deep platter and twelve dinner plates, all decorated in the “Rose Canton” pattern, l. 8‑1/4” to 17‑1/2”. [9000/12000] Illustrated 106 Chinese Export Porcelain Vase, late 19th century, of baluster form with dog handles, applied dragons at the shoulders and flared lip rim, decorated in the “Rose Medallion” pattern with figural reserves, h. 10”. [125/250]

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107 Chinese Carved Ivory Statue of a Female Deity, 20th century, the standing figure dressed in flowing robes holding a wind musical instrument, now mounted on a carved wooden stand, h. 7‑1/2”. Ex-collection: Au Vase Etrusque, Paris. [100/200] 108 Group of Fourteen Chinese Carved Jade Toggles, comprised of white, celadon and gray jade toggles, carved variously as dogs, boys, birds, insects, fish, and a single jade tablet, l. 1‑3/4” to 2‑1/4”. [700/1000] Illustrated

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113 Large and Impressive Chinese Carved Jade Grotto Scene, carved from Burmese jadeite in lightly mottled green stone depicting a rocky grotto with pine trees and bamboo, with a seated figure of Guanyin inside the grotto, wearing a cowl and holding a bottle and accompanied by a female acolyte and young boy attendant, h. 12”. [2500/4000] Illustrated 114 Chinese Carved Jadeite Amphora Vase and Stand, the mottled green jadeite body of slender amphora shape with flared lip rim, fitted in a giltwood “gooseneck” stand, overall h. 7”. [1800/2500] Illustrated

108 109 Chinese Carved Nephrite Jade Boulder on Stand, the celadon-colored stone with russet skin retaining the shape of the boulder with a carved area into the interior of a scholar under a pine tree with a pavilion in the background, presented on a custom carved and fitted rosewood stand, overall h. 5‑3/4”, l. 7‑3/8”. [9000/12000] Illustrated 110 Chinese Scholar’s Rock (Lingbi), in the shape of a squared mountain peak with vertical structure, and with a cave at the base, presented on a fitted wooden base, h. 6‑1/2”, w. 5”. [300/500] Illustrated

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111 Group of Three Decorative Chinese Calligraphy Brushes, the handles in agate and low-relief-carved bone, the tops in bone with horsehair bristles, l. 15” to 23”. [100/200] 112 Group of Four Decorative Chinese Calligraphy Brushes, the handles in coral, agate, horn and etched bone, with bone tops and horsehair bristles, l. 10‑1/4” to 12‑1/4”. [100/200] Illustrated

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118 118 Chinese Carved Nephrite Jade Brush Washer, the pale celadoncolored stone carved as an in-curved leaf with smaller leaves underneath and the figures of three bats at the rim, l. 4‑1/2”. [6000/9000] Illustrated 117

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119 Chinese Famille Rose Porcelain Bottle Vase, decorated in famille rose enamels with a continuous scene of a deer with a spray of ling chih fungus in its mouth beneath a maple tree with two red-capped cranes, flowering peonies and rockwork and bats among clouds, with a six-character underglaze blue Tongzhi reign mark on the base, h. 13‑1/4”. [300/500] Illustrated 120 Fine Set of Eight Chinese Sgraffito Tea Cups, each decorated in famille rose enamels with the figure of a different Immortal against a white sgraffito-incised ground, the base with a six-character Qianlong seal reign mark in iron red, dia. 3”. [250/400]

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115 Fine Chinese Carved Jade Group of Immortals, carved from Burmese jadeite, the front with the Three Sages of Good Fortune (Fu Xing, Lu Xing and Shou Xing) and an attendant in a rocky grotto beneath a pine tree, the reverse with a bodhisattva Budai carrying his sack of wealth and attended by an acolyte, the stone of dark green color with areas of light green and russet colors, presented on a wooden stand, h. 11”. [2500/4000] Illustrated previous page 116 Chinese Carved Nephrite Jade Water Coupe, the celadon-colored stone carved as an in-curved lotus leaf with scrolling leaves, two lotus seed pods, a lotus flower, a bird and a smaller in-curved lotus leaf, l. 5‑1/4”. [400/700] Illustrated 117 Fine Chinese Near White Jadeite Carving of Monkeys, late 18th century, carved and undercut as the reclining figure of a mother monkey with two baby monkeys clamoring over her, the three resting atop a lotus leaf, h. 1‑1/2”, l. 2‑3/4”, d. 1‑3/4”. [600/900] Illustrated

121 Chinese Famille Rose Porcelain Vase, Republican Period, ca. 1930, of baluster form, enameled in famille rose enamels with a continuous scene of quail perched on rockwork among bamboo and flowers, the base with an underglaze blue six-character Daoguang seal mark, h. 8”. [100/200]

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122 George III Giltwood Looking Glass, ca. 1800 and later, the shaped and mirrored crest surmounted by a Prince of Wales feather carving and with applied floral and foliate designs, the rectangular plate with a mirrored banding with corner shell and rinceau accents, within a molded frame, h. 60”, w. 31”. [1200/1800] Illustrated 123 George III Mahogany Bureau, late18th/early 19th century, in the Chinese Chippendale taste, the slant front opening to a variety of drawers and cubbyholes flanking a central paneled cupboard, over four graduated long drawers, all surrounded by blind-fret carving, raised on like-carved bracket feet, h. 41”, w. 36”, d. 20”. [2500/4000] Illustrated 124 Provincial English Mahogany Armchair, second quarter 19th century, in the Chinese Chippendale taste, the rectangular back with a patterned splat, joined by scrolling arms to the avian- and floral-patterned needlework seat, raised on circular legs joined by an Hform stretcher, h. 34”. [500/800] 125 George III-Style Polychromed Breakfront Bookcase, in the chinoiserie taste, the molded cornice above four astragal-glazed doors, the lower section fitted with four cupboard doors, each inset with a raised panel, raised on a plinth base, the whole with gilt and gesso avian and landscape scenes in the chinoiserie taste, h. 77‑1/2”, w. 73‑1/2”, d. 16‑1/2”. [500/800]

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126 126 Near Pair of George III-Style Rosewood Silver Tables, 19th century, in the Chinese Chippendale taste, each with a dished shaped rectangular top, one centered by a circular storage well with removable top, above a conforming frieze, raised on tiered cluster-column legs headed by blind-fret carving and ending in block feet, h. 28‑3/4”, w. 28‑1/2”, d. 20‑1/4”. [6000/9000] Illustrated

127 George III Mahogany Armchair, first quarter 19th century, in the Chinese Chippendale taste, the domed and earred crest above a pierced and interlacing splat, joined by fluted arms to the padded needlework seat, depicting various animals in a fanciful garden, above a blind-fretcarved frieze, raised on like-carved square legs joined by a pierced H-form stretcher, h. 39”. [600/900] 128 Pair of Queen Anne-Style Ebonized Wing Chairs, each with a padded back and shaped sides, joined by outscrolled arms to the cushioned seat, raised on cabriole legs ending in pad feet, h. 39”. [800/1200] 129 British School (Mid‑19th Century) “Portrait of a Lady in a Blue Dress”, oil and pastel on canvas, unsigned, 26‑1/2” x 22‑1/2”. Glazed and handsomely framed. [600/900]

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130 Pair of Edwardian Ebonized and Polychromed Demilune Side Tables, ca. 1900 and later, in the Adam taste, each with a demi-lune top with decorative polychromed banding surrounded by a pointed panel of trumpeting cherubs, above a like-banded frieze, raised on tapering square legs headed with bellflower accents, h. 31‑1/2”, w. 48‑1/2”, d. 24‑1/2”. [1200/1800] 131 British School (Late 19th Century) “River Landscape with Cow Watering”, oil on board, unsigned, 7” x 9”. Presented in a giltwood frame. [400/700]

132 British School (Second Quarter 20th Century) “The Hay Collectors” and “Travelers in a Mountain Camp”, pair of chromolithographs, published by Frost and Reed, London, 1932, indistinctly signed in pencil lower right, sight 15” x 11‑3/4”. Glazed and presented in matching giltwood frames. [100/200]

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133 Suite of Eight George III-Style Mahogany Dining Chairs, early 20th century, consisting of two armchairs and six sidechairs, each with a domed foliate-carved crest above an elaborately pierced and interlacing splat, the padded seat raised on cabriole legs headed by acanthine carving and ending in hairy-paw feet, h. 37‑1/2”. [3000/5000] Illustrated

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134 Good Set of Eight Minton Bone Porcelain Dinner Plates, with gilt edges in “Fruits” decor, each plate with a different still life painting of fruit and a cannele border, each example fully backstamped, dia. 10‑3/4”. [400/700] 135 George III-Style Polychromed and MarbleTop Side Table, 19th century, in the Adam Taste, the demi-lune variegated tan marble top above a conforming fluted frieze with floral patera accents, raised on tapering circular legs headed by foliate carving and ending in toupie feet, h. 33”, w. 60”, 21‑3/4”. [1400/1800]

138 Worcester “Dr. Wall Period” Ribbed Porcelain Fruit Bowl, third quarter 18th century, in blue and white, the interior centered with a blue floral sprig with a diapered blue border at the rim, h. 3‑7/8”, dia. 8‑3/4”. [200/400] 139 Good Pair of English Blue and White Delftware Plates, fourth quarter 18th century, well painted in “Chinese Garden Steps” decor, dia. 9”. [250/400] 140 Seventeen Reference Books on Pottery and Porcelain, including Warren E. Cox, Book of Pottery and Porcelain (two volumes), W. B. Honey, French Porcelain, Mary Frank Gaston, Haviland: Collectables and Objects of Art, Gyozo Sikota, Herend: The Art of Hungarian Porcelain, John F. Hotchkiss, Hummel Art II, J. P. Cushion, Pocket Book of English Ceramic Marks, F. A. Barrett, Worcester Porcelain, J. A. Lloyd Hyde, Oriental Lowestoft, Mary Frank Gaston, Collector’s Encyclopedia of Flow Blue China, Geoffrey Godden, Illustrated Encyclopedia of British Pottery and Porcelain (two copies), and Godden’s Guide to English Porcelain, George Savage, The American Birds of Dorothy Doughty (the catalogue raisonne of the Royal Worcester American avian models of Dorothy Doughty (1892‑1962), who died shortly after the publication of this catalogue), Reese Palley, The Porcelain Art of Edward Marshall Boehm, Alice Marriott, Maria: The Potter of San Ildefonso and Sharon and Bob Huxford, The Collector’s Encyclopedia of McCoy Pottery. [200/400]

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136 Pair of George III-Style Polychromed and FauxMarbre Side Tables, each with a faux variegated charcoal marble top above a fluted frieze, raised on tapering square legs ending in peg feet, h. 31‑1/2”, w. 46”, d. 23‑1/2”. [1500/2500] 137 George III-Style Line-Strung Mahogany Barometer, late 19th century, the case with contrasting lightwood stringing about the perimeter and having a thermometer over a small convex looking glass, the barometer dial with a painted and polished metal surface, h. 37‑3/4”, w. 10‑3/4”, d. 2”. [1200/1800]

141 Queen Anne Mahogany Tripod Table, 18th century, the tilting circular dished top raised on a turned columnar standard to three splayed cabriole legs ending in pad feet, h. 29”, dia. 33‑1/4”. [1200/1800] Illustrated 142 Pair of Hepplewhite Mahogany Sidechairs, early 19th century, each with a domed crest above a pierced triform splat, the padded seat raised on tapering square legs joined by an H-form stretcher, h. 36”. [200/400] 143 George III Mahogany Chest, fourth quarter 18th century, the rectangular top with a molded edge above a conforming case fitted with two short drawers over two graduated long drawers, raised on shaped bracket feet, h. 39‑1/2”, w. 36”, d. 19‑1/4”. [800/1200] Illustrated

144 Chinese Export Porcelain Covered Soup Tureen and Stand, the oval tureen with conforming stand and cover, doghead handles and dog finial decorated in underglaze blue, famille verte enamels and gilding with garden scenes and flowers, l. 14‑3/4”. [6000/9000] Illustrated previous page

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147 Monumental Chinese Export Porcelain Vase, late 18th century, of flattened baluster form with tree-limb handles and overall applied decoration, in famille rose enamels and gilding with reserve panels of floral bouquets and central circular panels in encre-de-chine of classical themes, the reserve panels, base and lip decorated with dimensional applique of “squirrels and grapes” among vines, h. 28‑5/8”. [7000/10000] Illustrated

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145 Chinese Export Porcelain Charger, of large circular form with a European rim decorated in famille rose enamels with a central floral and fruit group arranged in a stand bordered by fruit and floral garlands, with a striped outer border, dia. 17‑3/4”. [2500/4000] Illustrated 146 Chinese Export Porcelain Helmet-Shaped Jug, 18th century, of conventional form, glazed all over in white with sparse decoration in rouge de fer with scattered floral sprays and single-line border on the lip rim, the base with an old collection mark in black, h. 5”, l. 6”. [50/100]

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148 Pair of Chinese Export Porcelain Covered Urns, early 19th century, each of neoclassical shield shape with upright pistol handles suspending molded gilt swags, enameled all over in Canton famille rose decoration of court figures and a band of gilt bosses and butterflies among flowers at the rim, with leafmolded pedestal bases, h. 15‑3/4”. [14000/18000] Illustrated 149 Chinese Famille Rose Armorial Shrimp Dish, late 18th century, of shaped outline with a central heraldic device with the arms of Smyth and Densen in encre de chine and gilding surrounded by a border of roses and poppies on a black ground with gilt borders, w. 9”, l. 9‑1/2”. [900/1200] Illustrated 150 Chinese Carved Wooden Votive Figure of a Buddhist Demon, 19th century, the pot-bellied, robed figure seated on a rockwork bench holding a cup to hold souls in one hand, the other hand raised to catch a soul, traces of gilding remaining, now mounted on black lacquered and gilded base as a lamp, h. 11”, overall h. 26”. [200/400]

151 George III-Style Mahogany Desk, late 19th century, the rectangular top with an inset leather writing surface and bowed center section above a conforming frieze fitted with a central drawer flanked to either side by smaller drawers, all with fluted fronts, raised on two pedestals, each fitted with a short drawer over a deeper drawer, raised on tapering square legs ending in spade feet on casters, h. 31”, w. 60”, d. 31‑3/4”. [1500/2500]

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155 George III-Style Mahogany Canape, late 19th century, the shaped and domed padded back joined by downswept arms to the padded seat, raised on paneled, tapering square legs headed by bellflower carving and ending in spade feet, h. 36”, w. 51”, d. 21‑1/2”. [1000/1500] 156 George III-Style Mahogany Sideboard, partially composed of antique elements, the bowed and shaped top with an inlaid central oval panel above a conforming case fitted with a central cutlery drawer over a tambour cupboard, flanked to either side by a cupboard door, raised on tapering square legs ending in spade feet, the whole inlaid with decorative stringing, h. 36”, w. 60”, d. 25‑1/4”. [1000/1500] 157 Set of Six George VI Petal-Cut Glass Wine Goblets, second quarter 20th century, in the early 19th-century taste, h. 6”, dia. 3”. [200/400] 158 Edwardian Satinwood Knife Box, ca. 1900, of traditional slanted form, the lid featuring an avian inlaid oval panel above a foliate spray inlay, opening to an interior now converted to a stationary box, the case with decorative banding throughout, h. 15‑1/4”, w. 8‑1/2”, d. 11‑3/4”. [1000/1500] Illustrated 159 Diminutive Gilt-Brass and Cut Glass Six-Light Chandelier, in the George III taste, the turned glass standard dressed with jewel-cut glass chains, cut bobeches of saucer form and faceted glass teardrops, electrified and fitted with faux candles, h. 18”, dia. 15”. [200/400]

152 Twenty-Five Handsome Scandinavian Decorative Bindings, first quarter 20th century and later, most in half calf with marbled boards, raised bands and gilt lettering, some with marbled or gilt fore-edges, including works by, among others, Karen Aabye (Danish, 1904‑1982), Jonas Lie (Norwegian, 1833‑1908), and Swedish Nobel laureates Selma Lagerlof (1858‑1940) and Erik Axel Karlfeldt (1864‑1931), these last two in full tan calf with gilt facsimile signature on the cover, h. 7” to 8‑3/4”. [400/700]

149

153 George II-Style Mahogany Gainsborough Chair, late 19th century, the padded and domed back joined by shaped arms on acanthine-carved uprights to the padded seat, raised on cabriole legs headed by scroll and acanthine carving and ending in ball-and-claw feet, h. 38”. [800/1200] 154 George III-Style Mahogany Tripod Table, mid‑19th century, the circular dished top raised on a spiral-reeded urn-form standard to three splayed cabriole legs headed by foliate carving and ending in pad feet, h. 22‑1/2”, dia. 20”. [1500/2500]

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162 Group of Two Candlesticks, one an English parcelgilt royal blue-ground porcelain chamberstick, second quarter 19th century, in the rococo style, with two floral reserves in the base, h. 2‑1/4”, dia. 4‑3/4”; and the other a Coalbrookdale flowerhead-encrusted porcelain chamberstick of small size, third quarter 19th century, h. 2”, dia. 4”. [125/250] Illustrated 163 George III-Style Mahogany Pedestal Desk, late 19th century, the rectangular top with an inset leather writing surface, above a frieze fitted with three drawers, raised on two pedestals, each fitted with three graduated short drawers, the sides and back paneled, h. 31”, w. 60”, d. 36”. [1800/2500] Illustrated

160 George II-Style Mahogany Sofa, 20th century, the domed and padded back joined by outscrolled arms to the shaped tri-cushioned seat, raised on cabriole legs headed by foliate carving and ending in hairy-paw feet, h. 36”, w. 83”, d. 32”. [1500/2500] Illustrated 161 Good Early Victorian Porcelain Garniture Vase, second quarter 19th century, by Samuel Alcock, Burslem, with British Design Registration lozenge date February 21, 1843, in the floral-mounted Coalbrookdale manner, with reticulated rim and ribbed body, the registration lozenge on the base in underglaze lavender, h. 9‑1/4”. [125/250] Illustrated

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164 Twenty-Five Handsome Scandinavian Decorative Bindings, first quarter 20th century and later, most in half calf with marbled boards, raised bands and gilt lettering, including two with unusual embossed boards, with translations of Jack London and Charles Dickens, and with works by Scandinavian authors Viktor Rydberg (Swedish, 1828‑1895), Johannes Jorgenson (Danish, 1866‑1956), Arne Garborg (Norwegian, 1851‑1924) and Gunnar Gunnarson (Icelandic, 1889‑1975), among others, h. 7” to 8‑1/4”. [400/700]

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165 Queen Anne-Style Mahogany Tea Table, early 19th century, the rectangular top with shaped corners and a dished edge, above a shaped frieze, raised on cabriole legs ending in pad feet, h. 28‑1/2”, w. 32‑1/2”, d. 21‑1/2”. [1400/1800] Illustrated

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166 Walter Williams (British, 1835‑1906) “Henley”, 1868, oil on canvas, signed and dated lower right “Walter Williams 1868”, titled on an old inventory label on the reverse, 24” x 36”. Handsomely framed. [1200/1800] Illustrated

165

167 Sidney Richard Percy (British, 1821‑1886) “Near Bala, North Wales”, oil on canvas, signed lower left “S. Percy”, verso of canvas with stamp “Prepared by O. Roberson & Co. Ltd., Long Acre, London”, titled on stretcher verso, 12” x 24”. Handsomely framed. [7000/10000] Illustrated

168 Walter Williams (British, 1835‑1906) “Seven Oaks”, 1868, oil on canvas, signed and dated lower left “Walter Williams 1868”, titled on an old inventory label on the reverse, 24” x 36”. Handsomely framed. [1200/1800] Illustrated 169 Elias Wade Durand (American/New Jersey, 1824-1908) “Hudson River Landscape with Cattle and Sailboats Visible in the Distance”, oil on canvas laid down on board, signed and dated “81” lower right, 22” x 35‑1/2”. Handsomely framed. [1000/1500] Illustrated 170 British School (Fourth Quarter 19th Century) “Landscape with a Figure on a Bridge Near a Cottage”, oil on board, unsigned, sight 5‑1/2” x 8‑5/8”. Glazed and framed. [125/250] 168

173 George III Irish Chippendale Mahogany Sidechair, late 18th century, the foliate-carved backswept crest above a like-carved interlacing diamond-patterned splat, the padded seat raised on cabriole legs headed by shield carving and ending in ball-and-claw feet, h. 38”. [1000/1500] Illustrated 174 George III-Style Mahogany Bookcase, early 20th century, the slightly domed and molded cornice above a case fitted with six central open shelves, flanked to either side by an astragal-glazed door over a paneled cupboard door, the whole raised on a plinth base, h. 91”, w. 108”, d. 14‑1/2”. [2000/4000] 169 171 Pair of George III-Style Mahogany Settees, in the Chippendale style, each with a domed double-back with elaborately pierced and carved interlacing splats, joined by outscrolled foliate-carved arms to the padded seat, raised on cabriole legs headed by acanthine carving and ending in ball-and-claw feet, h. 39‑1/2”, w. 48”, d. 19‑1/2”. [600/900] Illustrated 172 George III Mahogany Bowfront Sideboard, early 19th century, the bowed top above a conforming case fitted with a central cutlery drawer, flanked to one side by a cupboard and to the other by a deep cellarette drawer, raised on tapering square legs ending in spade feet, h. 35‑1/2”, w. 54‑1/2”, d. 24”. [1000/1500] Illustrated

171

175 Chinese Scholar’s Rock (Lingbi), in the form of a horizontal mountain with craggy folds and outcrops, the stone in dark brown and ochre, presented on a fitted wooden base, h. 5”, l. 11”. [500/800] Illustrated 173

172

177 Chinese Splash Gilt-Bronze Vase, in the 17th-century style, of squared baluster form with dragon-head handles, the body in bronze with brown patination, the surface with applied gold splash decoration, h. 10‑1/2”. [1800/2500] Illustrated 178 Chinese Carved Horn Libation Cup, carved in high relief with a sage and attendant under a tree with a calligraphy inscription on one side and a boatman poling his skiff on the reverse, h. 4‑1/2”. [3000/5000] Illustrated 179 Group of Four Decorative Chinese Calligraphy Brushes, the handles in serpentine, tiger’s eye and agate, with bone tops and horsehair bristles, l. 12”. [100/200] Illustrated

177

179

176 Chinese Glazed Pottery Tea Bowl, Song Dynasty (960‑1279), of conventional form, the dark brown pottery with straight foot glazed in “Hare’s Fur” glaze, thinning at the rim and stopping short of the foot, dia. 5‑1/8”. Excollection: Mrs. Sachler. [900/1200] Illustrated

178 175

176

180 Group of Four Decorative Chinese Calligraphy Brushes, the handles in agate, serpentine and hardstone with bone tops and horsehair bristles, l. 10‑1/2” to 12”. [100/200] 181 Chinese Scholar’s Rock (Lingbi), in the form of a horizontal mountain, the black and white variegated stone with flattened sloping sides and folds, presented on a fitted wooden base, h. 5‑1/2”, l. 13‑1/2”. [400/700] Illustrated

183

182 181

187 185

188

186

182 Fine Ovate-Shaped Celestite Specimen, Madagascar, the taupe ovate body with dark brown craquelure opened to reveal a crystalline strontium interior contrasting with the smooth exterior, h. 6‑1/4”. [150/300] Illustrated 183 Chinese Shaped and Polished Jasper Specimen, of flattened ovate form with truncated base, the variegated stone exhibiting black, brown, ochre and rose colors, presented on a fitted wooden stand, h. 10‑1/4”, w. 8”. [150/300] Illustrated 184 Elaborate Chinese Carved Agate Covered Jar, 20th century, the tapered globular jar in gray agate carved in very high relief with flowering branches forming the foot, handle and side decoration, the carving with rust-colored inclusions picked out as details, presented on a customcarved fitted wooden base, h. 6”. [100/200]

185 Unusual Chinese Rootwood Libation Cup, 19th century, ingeniously fashioned from a gnarled root as a pinched-lipped libation cup resting on three feet, utilizing the natural root formation with minimal carving, h. 4‑3/4”, l. 6”. [125/250] Illustrated

190

186 Chinese Zitan Wood Small Libation Cup, 19th century, carved in high relief as a conventional-form cup surrounded in high relief with flowering plum branches, h. 3”, l. 4”. [200/400] Illustrated 187 Chinese Huang Hulali Brush Pot, 19th century, of plain circular outline without carving, presenting a lovely grained wood pattern, carved from a single piece of wood, h. 6”. [500/800] Illustrated 188 Unusual Chinese Horn Wine Cup, of butterfly form with a deep central well flanked by undulating flared lips on either end, the horn of striated brown and tan color, presented on a pierce-carved wooden stand, h. 2”, l. 4”. [125/250] Illustrated 189 Chinese Carved Bamboo Small Libation Cup, first half 20th century, carved in relief as a lobed lotus leaf with carving of shrimp, fish, bamboo and lotus and waves on the exterior, h. 3”, dia. 3‑7/8”. [75/125] 190 Chinese Dark Brown-Patinated Metal Statue of an Ancient Sage, the standing figure clad in official robes atop a rockwork base holding a scroll, on a custom painted and backlit wooden base, h. 32”, with stand 60”. [400/700] Illustrated 195

193

191 Chinese Dark Brown-Patinated Metal Figure of an Ancient Sage, the standing figure clad in official robes atop a rockwork base holding a ruyi scepter, on a custom painted and backlit wooden base, h. 32”, with stand 60”. [400/700]

192

192 Chinese Blue and White Porcelain and Rosewood Fire Screen, first half 20th century, composed of a rectangular porcelain plaque decorated in underglaze blue and white with a scene of a mountainous lakescape, mounted in a carved rosewood frame, h. 34”, w. 29‑1/2”. [250/400] Illustrated

194 Good Chinese Blue and White Porcelain Vase, of baluster form with flared lip rim, decorated in vivid underglaze cobalt blue with two confronting dragons facing a flaming pearl with a cloud and flame background and a basal border of cresting waves, h. 9‑1/2”. [100/200] 195 Good Chinese Carved White Jade Table Screen, the rectangular white jadeite plaque carved in relief with a scene of two travelers on horseback with an attendant crossing a bridge over a stream in a mountainous landscape with craggy rockwork, pine trees and a distant pavilion, presented in a custom carved wooden stand, overall h. 18‑1/4”, w. 10‑3/4”. [30000/50000] Illustrated previous page

197

196

200

196 Pair of Chinese Embroidered Pieces of Court Robes, 19th century, each with an embroidered panel in silk and gold thread with three four-clawed dragons pursuing Flaming Pearls above cresting waves, rockwork and a striped lower border, the upper section of each with two woven rondels, one of phoenixes and one of dragons, presented in gilt wooden frames, h. 56‑1/4”, w. 29‑1/4”. [400/700] Illustrates

193 Large, Impressive Chinese Blue and White Porcelain Mounted Vase, 19th century, the cylindrical body with flared neck enameled in an underglaze blue ground with darker blue Buddhistic emblems and mons, the shoulders and neck with applied white dragons, with Foo-dog handles, mounted on an elaborate footed bronze stand and bronze liner and lip rim, h. 30‑1/4”. [700/1000] Illustrated previous page

197 Large Chinese Export Imari Porcelain Charger, late 18th century, of European form with flattened rim decorated in underglaze blue, iron red and gilding with a central floral ground and a rim border of lotus, chrysanthemums, dianthus and foliage, dia. 15‑1/8”. Excollection: J. Louis Binder. [3500/5000] Illustrated 198 Chinese Provincial Musical Instrument, of the Huquin family, fourth quarter 19th century, comprised of a bowed sound box with a carved stick with holes for two tuning pegs, presented on a custom metal display stand, h. 48”. [300/500]

199 Chinese Provincial Musical Instrument, of the Huquin family, fourth quarter 19th century, comprised of a rectangular sound box with a long carved stick with two tuning pegs, presented on a custom metal display stand, h. 56‑1/2”. [300/500] 200 Chinese Carved Gray Agate Incense Burner and Cover, the tapered body resting on three legs with loose ring monster handles, the conforming cover topped with a Foo-dog finial, the stone of even smoky color, h. 6”. [300/500] Illustrated 201 Pair of Imposing Gilt- and Patinated Bronze TenLight Torcheres, in the Empire style, each with a central light above two tiers of lights, all emanating from scrolling foliate arms, raised on a fluted standard with gilt garland accents to three lion-head supports with applied gilt foliate accents and ending in paw feet above a convex tripartite base to scroll feet, electrified, h. 76”. [6000/9000] Illustrated

201

202 Dramatic Gilt- and Patinated Bronze and GraniteTop Center Table, in the Russian Empire taste, the circular charcoal granite top supported by a conforming frieze with applied floral rondel and elongated palmette designs, raised on three supports, each in the form of a winged caryatid, joined by a circular base with inset marble surface within a band of ormolu anthemions, h. 33”, dia. 39”. [4000/7000] Illustrated 203 Large Gilded Cast-Bronze and Brass Bed Couronne, fourth quarter 19th century, in the First Empire style, suspended on four later metal chains, each fitted with a shirred antique-red silk sleeve, h. 6” (excluding chain), dia. 34‑1/4”. [1200/1800] Illustrated

203

202

205 Restauration-Style Brass and Cut Glass TwelveLight Chandelier, of bag form, the circular cap with attached foliate patterns joined by swags of faceted bead chains, joined by like chains and a scrolling standard to two graduated circular tiers, the top issuing four candlearms, the bottom with eight, the whole richly accented with faceted bead chains, panel-cut spears and faceted pendalogues, h. 40‑1/2”, dia. 34‑1/2”. [3000/5000] Illustrated

204 Napoleon IIIStyle Faux-Bois and Marble-Top Pedestal, in the Louis XVI taste, the rectangular Grand Antique marble top above a concave frieze with ormolu gadroon and floral borders, raised on a paneled tapering square standard with like banding and with applied ormolu masques above a socle base, h. 57”, w. 24‑1/4”, d. 21”. [700/1000] Illustrated

206 Imposing Pair of French Gilt-Bronze and Malachite Vases, each of two-handled campana form in the First Empire style of Pierre-Philippe Thomire (1751‑1843), the gilt-bronze bodies with an encircling frieze of dancing classical maidens, the malachite bases of square section, with each facade centered by a gilt-bronze laurel wreath, h. 23”, w. 11‑1/2”. [4000/7000] Illustrated

204

205

206

207 Two Portraits of the Empress Josephine (1763‑1814), the first a gilt-bronze portrait cliche after Jean-Bertrand Andrieu (French, 1763‑1820), dia. 2‑1/4”, in a black bois dure mat within an antique gilt-brass square table frame, 3‑1/2” x 3‑1/2”, and the second an English engraved portrait, sight 4‑3/4” x 3‑1/4”, within a taupe silk mat emblazoned with a gilt foil Napoleonic “N” within a wreath, the outer narrow giltwood frame with carved beadand-bobbin molding, 12” x 10”. [125/250]

208 209 210 Two Napoleonic Bronze Medals, including Baron Dominique Vivant-Denon (French, 1747‑1826), after Jean-Bertrand Andrieu (French, 1763‑1820), a good magnum patinated bronze silhouette portrait medallion of Emperor Napoleon I, with the reverse depicting the Baptism of the King of Rome, 1811, dia. 4‑1/2”; and Emile Rogat (French, 1799‑1852), a regulation-size patinated bronze portrait medallion of Emperor Napoleon I in his celebrated military hat and greatcoat, dia. 2”; both signed, the former presented on an ebonized Oriental hardwood folding stand, the latter on a small acrylic stand. [150/300] Illustrated 210

208 1833‑1834 Guest Register from Napoleon’s Tomb at St. Helena, super royal quarto, quarter leather with marbled boards, filled with names of visitors to the tomb between January 1833 and August 1834, with a pencil notation on the inside cover identifying the tome, 14‑5/8” x 9‑1/2”; together with a Civil War Era Scrapbook, royal quarto, quarter leather with marbled boards, filled with newspaper clippings regarding the Civil War and later, primarily from the Richmond, Virginia, area, 13‑1/4” x 8”. British naturalist George Bennett notes in Wanderings in New South Wales (London: R. Bentley, 1834) of his February 1833 visit to St. Helena: “The French shed tears on visiting the grave of their beloved emperor; and the album, kept at the tomb for the reception of the names and tributary effusions of the visitors gives ample evidence of the feelings which a visit to this spot produced in their minds, and displays the characteristic fervor of the nation.” This is that album, and the effusive offerings - poems, praises and prayers - he mentions are evident here, in French, English, Russian and even Arabic.  Although Bennett did not sign the register, notable signatories include American whaler and inventor Dexter H. Chamberlain (1807‑1887) and, ironically, Gen. Sir Galbraith Lowry Cole (1772‑1842), Governor of Mauritius and Divisional Commander at Waterloo. [300/500] Illustrated

211 Officer’s Commission Signed by Napoleon Bonaparte (1769‑1821), First Consul, 1802, folio, fine vellum printed with engraved heading of a seated Minerva, a commission as Under-Lieutenant for Andre Barthelmy, noting, among other service, his duty in the “Campagne Amerique, 1778‑1779”, signed “Bonaparte”, with applied seal, sight 13‑1/4” x 9‑1/4”, mounted on claret moire in a carved giltwood frame and glazed, 17‑3/4” x 13‑3/4”. [200/400] Illustrated

209 “Grand Tour” Bronze Model of Napoleon’s Tomb, third quarter 19th century, the interior with a gilt-bronze effigy of the deceased emperor, the whole supported on boldly modeled paw feet, h. 3‑1/4”, w. 2‑5/8”, l. 3‑5/8”. [150/300] Illustrated

211

213 & 214

213 Pair of French Gilt-Brass-Mounted Polished Steel Appliques, of Quinquet form in the Directoire style, fitted with ecru faux candles and electrified, h. 6”, w. 10‑1/4”, d. 8‑1/2”. [1000/1500] Illustrated 214 Pair of French Gilt-Brass and Polished Steel Three-Light Appliques, of Quinquet form in the Directoire style, electrified and fitted with ecru faux candles, h. 6”, w. 10‑1/4”, d. 8‑1/2”. [1000/1500]Illustrated

215 French School (19th Century) “Corinthian and Ionic Column Studies”, pair of hand-colored engravings, after Cochin and Babel, engraved by Charpentier, with decorative cartouches, 13‑1/4” x 7‑5/8”. Glazed, matted and framed en suite. [75/125] 216 Trio of French Hand-Colored Lithographs, fourth quarter 19th century, depicting ancient Roman murals, sight 9‑1/2” x 12‑1/4”. Presented in matching claretedged white mats within carved giltwood frames in the neoclassical style and glazed, overall h. 17‑1/4”, w. 20”. [600/900]

217

217 Empire Mahogany and Marble-Top Secretaire Abattant, second quarter 19th century, the rectangular Sainte-Anne Francais marble top above a conforming case fitted with a single frieze drawer over a drop front opening to an inset leather writing surface and a variety of drawers and cubbyholes, with three long drawers below, all banded and flanked to either side by engaged pilasters headed by ormolu maidens’ heads, raised on block feet, h. 55‑1/2”, w. 38‑1/2”, d. 17”. [3000/5000] Illustrated

212 Rare Polychromed Napoleonic Caricature Pottery Bowl, depicting “Napoleon and Fate, 1814”, probably Austrian or German, signed at the seat of Fate “Schmitt, 1816”, w. 14‑1/4”, the reverse fitted with a brass suspension frame. Alexander M. Broadley’s Napoleon in Caricature, 1795‑1821 (London: J. Lime, 1911), page 52, notes of this sardonic caricature, a comment of the costly loss of the October 1813 Battle of Leipzig: “The striking caricature ‘Napoleon and Fate”, in which Napoleon vainly stakes crown and conscripts in the game he is playing with his adversary Fate, only to be pitilessly raked up by Death the Croupier, figures as Plate 140 in [E. Jaime’s] Musee de la Caricature, and is the subject of an eloquent essay by Jules Janin.” [125/250] 219

222

223 Large Stone-Finished Composition Figure of an Archaic Greek Maiden or “Kore”, in the manner of the Antique at the Acropolis, the figure mounted on a tall square base of square section, h. 52”. [800/1200]

218 French Gilt-Brass Six-Light Chandelier, third quarter 19th century, of small size in the Louis XV style, with stylized floriform ceiling canopy and bobeches, fitted with faux candles and electrified, h. 20”, dia. 19”. [800/1200] 219 Empire-Style Mahogany and Marble-Top Side Table, late 19th century, the rectangular white marble top above a conforming frieze fitted with a single ormolu pateramounted drawer joined to a recessed lower shelf by a mirrored back and front supports headed by ebonized maiden’s heads and ending in like paw feet, h. 36‑1/4”, w. 50‑1/2”, d. 20”. [2500/4000] Illustrated

224 suite of four

220 Empire Mahogany and Marble-Top Center Table, early 19th century, the circular dished Noir Francais marble top raised on three ormolu-mounted columnar supports to the concave tripartite base, raised on block feet, h. 29‑1/2”, dia. 38‑1/2”. [1800/2500] 221 Empire Mahogany and Marble-Top Pedestal Table, first quarter 19th century, the circular Sainte Anne des Pyrenees marble top above a plain frieze, raised on three rectangular supports with ormolu mounts to a concave tripartite base on block feet, h. 35‑1/2”, dia. 12”. [1000/1500] 222 Pair of Empire-Style Gilt-Metal and MarbleTop Occasional Tables, each with a circular Rouge de Verone marble top above a conforming pierced anthemion-modeled frieze, raised on reeded tubular legs headed by a foliate cap, joined by a concave tripartite stretcher and ending in foliate toupie feet, h. 32”, dia. 16‑1/2”. [1400/1800] Illustrated

225

224 Attractive Set of Four Italian Hand-Colored Engravings, fourth quarter 18th century, depicting ancient Roman intaglio gems, the set comprised of a pair of frames each containing five oval engravings, and a pair of square frames each containing four oval engravings, the matching carved giltwood frames in the neoclassical style, each fitted with a burnt orange liner, smallest sight 7‑3/4” x 7‑1/2”, largest 11‑3/4” x 7‑3/4”. [200/400] Illustrated

225 Composition Marble Figure of the “Nike of Samothrace”, modeled after the Antique, h. 37”. [600/900] Illustrated previous page

229

226 After Ludwig Friebel (German, 1812‑1856) “Minerva”, a gilt-bronze cabinet figure, first quarter 20th century, the goddess depicted standing, robed and helmeted, holding an upright spear, signed, on the plinth base, “L. Friebel”, now mounted as a table lamp on a black-painted bronze plinth base with tubular upright with a double light, conical black tole shade and pyriform finial, overall h. 10‑1/2”, dia. 12‑3/4”. [300/500]

231

230

227 Pair of French Patinated Bronze “Medusa Masque” Appliques, each with three candlearms modeled as writhing serpents emerging from the head of the shrieking Medusa, h. 12‑1/4”, w. 13‑1/2”, d. 8”. [1000/1500] Illustrated

227

228 French Neoclassical Fruitwood and Marble-Top Commode, second quarter 19th century, the rectangular variegated gray marble top above a case fitted with three long drawers, raised on block legs, h. 31‑3/4”, w. 38‑1/2”, d. 21‑1/2”. [1200/1800] 229 Neoclassical-Style Mahogany Settee, late 19th century, of box form, the padded back and outscrolled sides above a padded seat, the paneled apron raised on shaped bracket feet, h. 32”, w. 77‑1/2”, d. 27‑1/2”. [1000/1500] Illustrated 230 Louis-Philippe Rosewood and Marble-Top Console Table, mid‑19th century, the rectangular Carrere blanc veine marble top above an ogee-molded frieze fitted with a single scroll and palmetto-inlaid drawers, joined by a mirrored back and like-inlaid scrolling supports to a stepped plinth base on squat gilt feet, h. 37”, w. 45”, d. 18”. [2000/4000] Illustrated

232

233 Pair of French Sanguins d’ Oran Marble Obelisks, in the Louis XVI style, the marble richly figured and polished, the pedestal bases detailed in satin-polished black slate, h. 19‑1/2”. [600/900] Illustrated 234 French Campan Marble Rectangular Box, first quarter 20th century, the top and sides of Campan Grand Melange marble, the bottom of Campan Vert marble, with narrow silverplate edging and hinge, the interior lined in russet baize, l. 3‑1/2”, w. 2‑1/8”. [150/300]

233

237

231 Restauration Mahogany Fauteuil de Bureau, first quarter 19th century, the downswept and curved padded back ending in a concentric medallion, the padded seat raised on bulbous and turned reeded legs to toupie feet, h. 30”. [1200/1800] Illustrated 232 Good Swedish Verde Antico Marble and Porphyry Garniture, first quarter 19th century, in the classical taste, modeled as a Roman elliptical footed tub of verde antico marble on a Swedish porphyry oblong plinth, h. 6‑3/4”, w. 7‑3/4”, l. 17‑3/8”. [6000/9000] Illustrated

235 235 Austro-German Patinated Bronze Figure of “Love Conquers the World”, first quarter 20th century, modeled as an androgynous figure of the nude Eros bearing a bow and a hymeneal flambeau while standing on a world globe, presented on a satin-polished columnar Emperador marble base, the underside of one wing tip touchmarked “Geshutz/4271”, h. 9”. [300/500] Illustrated 236 Continental Neoclassical Walnut Looking Glass, the bisected plate within a molded frame with a molded overhanging crest, h. 71‑1/4”, w. 30‑1/2”. [600/900]

239 Louis XVI-Style Fruitwood and MarbleTop Side Table, fourth quarter 19th century, the rectangular black marble top above a conforming frieze fitted with two drawers, each with ebonized banding and brass moldings, the sides en suite, joined to a brass-bound lower shelf by fluted, bulbous circular legs, the whole raised on turned, tapering circular feet, h. 33‑1/2”, w. 51‑1/4”, d. 23‑1/2”. [2000/4000] Illustrated

239

240 French Brass and Cut Glass Four-Light Chandelier, first quarter 20th century, of small size in the Restauration style, the dished central element of embossed brass and fitted with a quartet of concealed light sockets, the candlearms fitted with candles, the bobeches with cut glass prisms, retains the cut brass suspension chains, h. 24”, dia. 19”. [400/700]

241 French Three-Piece Brass Fireplace Fender, first quarter 20th century, the low central fender centered by a pair of addorsed rosettes and scrolls, the flanking chenets in the form of oil lamps surmounted by columns in the Restauration style, the brass in a combination of bronzepatinated and natural finishes, h. 16”, w. 35”, expandable to 43‑1/2”. [500/800] Illustrated 242 Diminutive Pair of Empire Gilt-Brass Lyriform Single-Light Appliques, first quarter 19th century, h. 8‑3/8”, w. 2‑3/4”, d. 4”. [400/700]

243 237 Louis-Philippe Mahogany and MarbleTop Side Table, mid‑19th century, the rounded rectangular Carrara marble top above a conforming ogee-molded frieze fitted with a single drawer, joined by scrolling supports to a shaped stretcher shelf raised on ebonized paw feet, the whole accented with ormolu mounts and millwork, h. 30”, w. 33”, d. 18”. [1400/1800] Illustrated previous page 238 Louis-Philippe Carved Mahogany Fauteuil, mid‑19th century, the slightly domed and padded back joined by padded swan-carved arms to the padded seat, raised on reeded bulbous legs ending in brass caps on casters, h. 42”. [500/800]

243 Biedermeier Elm and Mahogany Bureau Cylindre, first quarter 19th century, the rectangular top with ebonized banding above a cylinder opening to a pull-out baize-lined writing surface flanked to either side by a covered storage well, the interior fitted with a variety of drawers and cubbyholes surrounding a central portico cupboard, all drawers with ebonized banding, above two long drawers, raised on ebonized block feet, h. 39”, w. 44‑1/2”, d. 23”. [1200/1800] Illustrated

241

244 Empire Walnut and Marble-Top Commode, early 19th century, the rectangular Carrara marble top above a conforming case fitted with two drawers, joined by turned columnar supports to a concave plinth shelf to block feet, h. 30”, w. 18‑3/4”, d. 13‑1/4”. [1200/1800]

246

245 Unusual Restauration Fruitwood Settee, first quarter 19th century, the back formed by three padded arches, joined by downswept sides to the cushioned seat, raised on tapering square saber legs, h. 33‑1/2”, w. 65”, d. 16‑1/2”. [2000/4000] Illustrated 246 Good Danish Pine Armoire, mid‑18th century, the heavily molded cornice with a domed center section and ebonized accents, above a case fitted with two doors, each paneled and with a stepped diamond pattern in the center, divided and flanked by engaged pilasters above two drawers, raised on block feet, the whole with ebonized molded accents, h. 89”, w. 81”, d. 30”. [3500/5000] Illustrated

247 Continental Neoclassical Mahogany and Satinwood Center Table, early 19th century, the ovoid top triple banded and centered by a shell-inlaid panel, above a conforming banded frieze, raised on banded tapering square legs, h. 28”, w. 37‑1/2”, d. 25‑1/2”. [1800/2500] Illustrated

247

248 Provincial Northern European Polychromed Tallcase Clock, mid‑19th century, of kettle form, the enameled face indistinctly signed, the shaped body with one door inset with a glass viewing hole, h. 76”, w. 22‑1/2”, d. 8‑1/2”. [1200/1800]

245 249 Good Danish Mahogany Settee, fourth quarter 18th century, in the Directoire style, of box form, the padded back joined to the like seat by out-swept slatted arms fitted with removable cushions, raised above a reeded apron on tapering square legs, accompanied by a pair of matching bolster pillows and four coordinating fabric throw pillows, h. 32”, w. 82”, d. 27”. [3000/5000]

252 Pair of Continental Polychromed Demi-lune Side Tables, in the neoclassical taste, each with a scrolling foliate- and palmetto-painted band, centered by a halfpatera design issuing floral garlands, above a conforming frieze, raised on paneled tapering square legs headed by foliate carving and ending in toupie feet, h. 33”, w. 45”, d. 21”. [4500/7000] Illustrated

251

250

250 Northern European Brass and Cut Glass Eight-Light Chandelier, early 20th century, the scrolling cap joined by double tiers of faceted bead swags with faceted spear and pendalogue drops, joined to a lower circular tier by a lattice-work pattern of beaded chains with rosette accents, the tier fitted with eight scrolling arms, the lower section richly dressed with faceted spear prisms and a spherical pendant, h. 40”, dia. 32”. [3000/5000] Illustrated

251 Fine Swiss Cased Gilt-Brass, Silver, Chalcedony and Enamel Boudoir Clock, first quarter 20th century, retailed by Coleman E. Adler, New Orleans, of oval form, the face with a painted miniature of Eros seated on a flowering bough among roses, with gilt-brass hands, enframed by a lavender guilloche enamel band with white enamel Arabic numeral chapters separated by enameled roses, all glazed and set in a floral-crested and ribbon-banded gilt-metal frame with engine-turned reverse, raised on a .935 silver gilt rectangular cavetto plinth above a conforming dove-gray chalcedony base en suite, the dial signed “Coleman E. Adler / New Orleans” and “Swiss”, h. 7‑7/8”, w. 5‑3/8”, d. 2‑3/8”, presented in the original cenotaph-form brown leather case, the double doors opening to reveal the fitted, pale gold satin- and velvet-lined interior, h. 9”, w. 6‑3/4”, d. 3‑1/2”. Provenance: Sara Stern, sister of Edgar Stern, Longue Vue House and Gardens, New Orleans, Louisiana, by descent to the consignor. [800/1200] Illustrated

253 Louis-Philippe Carved and Painted Beechwood Monopodal Console Table, second quarter 19th century, the bowfront top in a gray faux-marbre finish, the scrolled monopod carved with a bold acanthus leaf at the knee and a bold paw foot at the terminus and painted in a complimentary gray, h. 30”, w. 34”, d. 15”. [400/700]

252

254 258

256

254 Continental Provincial Polychromed and Parcel-Gilt Looking Glass, second quarter 19th century, in the neoclassical taste, the rectangular plate surmounted by a domed and dentillated crest centered by a winged masque, flanked to either side by a flaming urn finial and an applied fruit-and-foliate pendant, h. 59‑1/2”, w. 41‑1/2”. [2000/4000] Illustrated 255 Swedish Neoclassical-Style Creme-Peinte Settee, of box form, the tri-cushioned back surmounted by a bellflower-carved frame and joined by downswept arms to the padded seat, above a patera-carved apron, raised on bulbous legs headed by lotus carving and ending in toupie feet, h. 36”, w. 80”, d. 29‑1/2”. [1400/1800] Illustrated

255 256 Set of Four Royal Copenhagen Flora Danica Dinner Plates, 1935‑1937, each with a different well-painted botanical center and identified on the reverse in black overglaze Latin script, each example fully backstamped in underglaze green and blue, dia. 10‑1/8”. [3500/5000] Illustrated

260 Persian Kurdish Bidjar Runner, 3’ 10” x 8’ 3”. [1000/1500]

268 257 Pair of Northern European Carved and CreamPainted Beechwood Sidechairs, fourth quarter 18th century, in the rococo taste, each with a shaped and padded back within a molded frame, the padded seat raised on cabriole legs ending in acanthine-carved peg feet, finely upholstered in Colony “Melagrano” silk lampas fabric, h. 34‑3/4”. [1800/2500]

271

258 Elegant Swedish White Marble Mantel Clock, fourth quarter 19th century, the giltbrass-mounted clock of portico form in the Gustavian style, the bowfront portico embellished with lidded trophees at the rear and with draped tasseled chains, the drum-form clock case mantled by a threequarter laurel-leaf wreath, with a convex glass dial cover, h. 19”, w. 11”, d. 6”. [2000/4000] Illustrated previous page

261 Persian Tabriz Carpet, 9’ 9” x 12’ 6”. [2000/4000] 262 Persian Tabriz Carpet, 9’ 8” x 12’ 10”. [2000/4000] 263 Angora Oushak Carpet, 5’ x 7’. [2000/4000] 264 Oushak Carpet, 3’ 8” x 2’ 6”. [200/400]

259 Striking Northern European Silvered Wrought-Iron Eight-Light Chandelier, of bag form in the neoclassical taste, opulently dressed with parallel and draped chains of smoky quartz faceted beads, rough-cut rutilated quartz oblong spacers and larger magnum-facet spherical glass beads, h. 50‑1/4”, dia. 36‑1/2”. [1800/2500]

265 Oushak Carpet, 8’ 1” x 3’ 10”. [400/700] 266 Oushak Carpet, 5’ 3” x 3’ 3”. [300/500] 267 Angora Oushak Carpet, 5’ 1” x 7’ 2”. [2000/4000]

281

268 Angora Oushak Carpet, 11’ 9” x 15’ 1”. [12000/18000] Illustrated 269 Angora Oushak Carpet, 11’ 6” x 15’ 6”. [12000/18000]

284 Angora Oushak Carpet, 10’ 1” x 14’ 5”. [8000/12000]

270 Antique Sivas Carpet, 4’ 11” x 7’ 4”. [2000/4000]

285 Regency Mahogany Secretary Bookcase, first quarter 19th century, the molded cornice above a plain frieze and four astragal-glazed doors, the lower section fitted with two banks of drawers, one side with a secretary drawer opening to a dropfront leather-inset writing surface and a variety of drawers and cubbyholes flanking a central shellinlaid cabinet over two graduated drawers, the other side fitted with four graduated drawers, the whole raised on splayed bracket feet, h. 93‑1/2”, w. 72‑1/4”, d. 21”. [3500/5000] Illustrated

271 Antique Sivas Carpet, 5’ x 7’. [2000/4000] Illustrated 272 Angora Oushak Runner, 2’ 9” x 12’ 5”. [2000/4000] 273 Empire-Style Aubusson Carpet, 8’ x 10’. [2500/4000] 274 Louis-Philippe-Style Aubusson Carpet, 9’ x 12’. [2000/4000]

285

275 Wool and Silk Verdure Tapestry, 4’ 4” x 7’. [1400/1800] 276 Wool and Silk Verdure Tapestry, 4’ x 5’. [1000/1500]

286

277 Oushak Carpet, 9’ x 12”. [3000/5000] 278 English-Design Needlepoint Carpet, 9’ 6” x 12’ 2”. [2000/4000] 279 English-Design Needlepoint Carpet, 8’ x 10’. [1500/2500] 280 Pair of Wool and Silk Verdure Tapestries, 2’ 6” x 7’ 5”. [2500/4000] 281 Pair of Wool and Silk Verdure Tapestries, 2’ 2” x 6’ 2”. [2000/4000] Illustrated 282 Angora Oushak Carpet, 9’ x 11’ 7”. [7000/10000] 283 Oushak Carpet, 8’ x 10’ 5”. [2000/4000]

286 Regence-Style Giltwood Looking Glass, early 19th century, the arched crest surmounted by a foliate shieldform crest and within a paneled mirrored frame with corner foliate floral accents and incised patterns, h. 31”, w. 18”. [1200/1800] Illustrated previous page

287

287 Regency Mahogany and Burlwood Breakfast Table, early 19th century, the tilting oval top banded and with burled veneers, raised on a turned vasiform standard to four splayed molded legs ending in brass caps on casters, h. 29‑1/2”, w. 53”, d. 43‑1/2”. [3000/5000] Illustrated 288 Five-Piece Set of Vista Alegre, Portugal, Porcelain, in the 18th-century Chinese famille verte style, consisting of four chargers, dia. 13”, and a matching octagonal meat platter, w. 12‑1/2”, l. 15‑1/4”, all produced for the Metropolitan Museum of Art by Mottahedeh, New York, each example fully backstamped. [300/500]

291

289 Suite of Eight Late Regency-Style Mahogany Dining Chairs, 20th century, consisting of two armchairs and six sidechairs, each with a shaped crest above a lotus-carved patera-centered splat, the padded seat raised on turned and tapering circular legs ending in toupie feet, h. 37”. [1200/1800] Illustrated 290 William IV Mahogany Piano Stool, second quarter 19th century, the circular padded top raised on a turned and reeded circular standard to three shaped and splayed legs headed by foliate carving and ending in scrolled toes on pegs, h. 21”, dia. 13”. [400/700] 291 Monumental Pair of Blown and Trellis-Cut Glass Vases, in the early 19th-century Anglo-Irish style, each inverted pyriform vase above an integral stepped hexagonal base, h. 20”, dia. 10‑1/2”. [900/1200] Illustrated

289

292 Good George IV Cut Glass Fruit Bowl, second quarter 19th century, well cut in “Ribs and Stars” decor, the rim with sunburst crenellation, the base reverse-cut with a magnum thirty-eight-point sunburst, h. 3‑3/4”, dia. 8‑3/4”. [125/250]

293 Regency Rosewood Teapoy, first quarter 19th century, the hinged rectangular top opening to three lidded compartments and a mixing bowl, the rounded graduated case raised on a paneled graduated standard to a concave rectangular base on bun feet, h. 33‑1/4”, w. 16‑1/8”, d. 13‑3/4”. [1200/1800]

297

294 Good Regency Mahogany Secretary Bookcase, first quarter 19th century, the molded cornice above a case fitted with two doors, each inset with a Moorisharch panel, the lower section fitted with a slant front door opening to a variety of drawers and cubbyholes, over four graduated long drawers, all with inlaid string banding, raised on ogee molded bracket feet, h. 79‑1/2”, w. 43‑1/4”, d. 22‑3/4”. [3500/5000] Illustrated 295 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”. [400/700]

298

296 Provincial Regency-Style Pine Etagere, late 19th century, fitted with six rectangular shelves, joined by turned and bulbous supports, raised on bulb feet, h. 81”, w. 26‑1/4”, d. 16‑1/4”. [600/900] 297 Sixty-Eight Pieces of Royal Crown Derby “Red Aves”Pattern Dinnerware, the pattern introduced in 1936, these examples with various date marks 1944‑1973, including ten dinner plates, dia. 10‑1/2”, fourteen dessert/ salad plates, dia. 8‑1/4”, eighteen cups, dia. 3‑3/4”, eighteen saucers, dia. 5‑3/4”, four bread and butter plates, dia. 6-/8”, a creamer, l. 4‑3/4”, a covered sugar bowl, l. 7”, and two teapot lids (the pots lacking), l. 4‑7/8”, each example fully backstamped in red with the Crown Derby cypher. [700/1000] Illustrated 298 Late Regency Mahogany Pembroke Table, second quarter 19th century, the rectangular top with two rounded drop leaves, above a frieze fitted with a single end drawer and a faux end drawer, raised on four turned supports to a rectangular base, to four splayed legs ending in brass caps and casters, h. 28‑1/4”, w. 43‑5/8”, d. 22‑1/2”, extended l. 42‑7/8”. Provenance: Godolphin House, Helston, Cornwall, England. [1500/2500] Illustrated 294

302 Edmund John Niemann, The Younger (British; Active 1863‑1867) “River Landscape”, oil on panel, unsigned, 10‑1/4” x 18”. Presented in a period giltwood frame. [600/900] 303 E. Cole (British, 19th Century) “Country Landscape with Cottage”, oil on canvas, signed lower right “E. Cole”, 12” x 16”. Handsomely matted and framed. [500/800]

299 304 Regency Rosewood Work Table, first quarter 19th century, the rounded rectangular top with inlaid brass stringing, hinged and opening to a compartmented interior above a like-inlaid frieze, raised on a lyre-form support to a concave rectangular shelf on four splayed supports ending in brass paws on casters, h. 21‑1/2”, w. 17”, d. 15”. [800/1200] Illustrated 305 Regency Rosewood Cabinet, first quarter 19th century, the rectangular top above a conforming case fitted with an egg-and-dart-carved frieze over a single cupboard door inset with a mirrored panel, raised on a gadroon-carved plinth base, h. 38”, w. 28”, d. 12‑1/2”. [2500/4000] Illustrated

300 299 William Anslow Thornbery (British; Active 1858‑1898) “Coastal View with Fishermen Unloading Their Boats”, oil on canvas, signed lower left “W. A. Thornbery”, 12” x 24”. Presented in a late 19th-century giltwood frame. [2500/4000] Illustrated 300 Edward Arden (British, 1847‑1910) “A Busy Harbor View”, watercolor, 16‑1/4” x 28‑1/4”, signed lower left, frame bears label en verso “Joseph Sawers, Picture Frame Maker & Seller, 39 High Street Paisly”. Glazed and presented in a period wide giltwood fillet within a carved giltwood and plaster frame in the neoclassical taste. [600/900] Illustrated 301 Daniel Sherrin (British, 1868‑1940) “Early Morning View of Sand Dunes by the Sea”, oil on canvas, signed lower right “D. Sherrin”, 20” x 30”. Glazed and presented in a period giltwood frame. [900/1200]

304

306 Late Regency Ebonized and Polychromed Parlor Cabinet, second quarter 19th century and later, the shelved superstructure joined by giltwood uprights to the rectangular top, above a conforming case fitted with a single drawer over two recessed paneled cupboard doors, flanked to either side by freestanding giltwood columns, raised on bulbous feet, the whole with gilt and polychromed figural landscape scenes in the orientalist taste, h. 42” w. 34” d. 15 1/2”. [2500/4000] Illustrated 307 Victorian Black-Lacquered Papier-Mache Work Table, mid‑19th century, the rounded rectangular top with an elaborate gilt oriental scene, hinged and opening to an interior fitted with a variety of lidded compartments and cubbyholes, with a pull-out storage bin below (the bin now lacking), raised on pierced end supports joined by a flat stretcher and ending in runner feet on paws, the whole with gilt and polychromed decorations in the oriental manner, h. 27‑1/2”, w. 24‑1/2”, d. 16‑1/2”. [700/1000] Illustrated 308 Regency-Style Burl Maple Cocktail Table, early 20th century, the highly figured rounded rectangular top above a single frieze drawer flanked to either side by gilt scrolling patterns, raised on end supports to gilt paw feet, h. 20”, w. 36”, d. 17‑1/2”. [1000/1500]

305

306

307

309 Attractive Pair of English Porcelain Serving Bowls, second quarter 19th century, of oblong form with basrelief polychromed floral borders, w. 7‑1/4”, l. 9‑3/8”. [75/125]

310 Regency-Style Mahogany Armchair, late 19th century, the backswept rectangular padded back joined by padded scrolling arms, the padded seat raised on paneled splayed square legs ending in ormolu paw feet on casters, h. 39”. [600/900] Illustrated

310

311

312

312 Italian Carved Carrara Marble Addorsed DoubleFaced Heads of “Flora”, first quarter 20th century, in the classical style, the marble lightly weathered throughout, h. 13‑3/4”, w. 7‑1/2”, d. 10‑3/4”. [250/400] Illustrated

311 Regency-Style Polychromed Cane Armchair, early 20th century, the backswept crest with a polychromed palmetto arcade, above a demi-lune caned back centered by a carved lion’s mask, joined by downswept scrolling arms to the caned seat, raised on turned circular legs headed by polychromed geometric accents and ending in splayed feet, h. 34”. [900/1200] Illustrated

314 313 Graduated Set of Two Fenton, Staffordshire, Ironstone Pitchers, second quarter 19th century, paneled in “Greek Figures” decor, h. 6‑1/2” and 8‑3/4”. [75/125]

318

317

314 Pair of Regency-Style Faux-Bois Window Seats, late 19th century, each with a padded rectangular seat flanked to either end by in-scrolled sides with an annulated gallery, raised on shaped legs headed by a gilt-ribbed carving and ending in upturned toes, h. 30”, w. 36‑1/2”, d. 17”. [3000/5000] Illustrated 315 Regency-Style Giltwood Throne Chair, late 19th century, in the manner of Thomas Hope (1769‑1831), the padded and slightly domed back joined to the padded seat by downswept arms to winged lion armrests, raised on realistically formed legs ending in paw feet, h. 34”. [1800/2500]

319

317

319 Pair of Chinese Famille Rose Elephant-Form Joss Stick Holders, each modeled in the shape of a standing caparisoned elephant with turned head, the body enameled in iron red and gilding with “Rose Medallion”-decorated drapery, h. 4”, l. 4‑3/4”. [2500/4000] Illustrated 320 European Chased Silver Bowl on Chinese Carved Jade Stand, the silver bowl chased with floral decoration and mounted on a floral-carved green jadeite stand with scrolling lotus, h. 5‑1/4”, dia. 4‑7/8”. [1800/2500]

321 Chinese Embroidered Silk Picture, 19th century, now framed and glazed, the cream silk ground embroidered as a flower seller and his goat cart filled with flowers under a clump of bamboo with birds, butterflies and insects, all within a scrolling cloud border, h. 33”, w. 26‑1/4”. [250/400]

316

316 Pair of Chinese Export Porcelain Bough Pots and Covers, ca. 1800, each of flared square form with handles and fitted covers, decorated in cream enamels with gilt highlights and landscape reserve panels in encre de chine, the covers with five holes for holding branches, h. 7”, w. 5‑3/4”, l. 7‑1/2”. [2500/4000] Illustrated 317 Pair of Chinese Export Porcelain Covered Sauce Tureens and Stands, late 18th century, decorated in the “Rockefeller” pattern in famille rose enamels, each of oval outline over splayed bases with foliate handles, the conforming covers with fruit-form finials, each having an oval stand with slightly cupped lip rim, h. 5”, w. 6‑1/8”, l. 8‑1/2”. [12000/18000] Illustrated 318 Chinese Famille Verte Porcelain Wine Server, of flattened openwork design in the form of a double gourd with handle, spout and conforming top with a Foo-dog finial, decorated all over in famille verte enamels with a reserve landscape panel against a geometric ground, h. 10‑1/8”. [1800/2500] Illustrated

322 Regency Mahogany Drop-Leaf Table, first quarter 19th century, the rectangular top with two rounded leaves, above a frieze fitted with a single end drawer and a faux drawer to the other end, each flanked by reeded panels and with pendant end finials, raised on a heavily turned standard to four splayed legs ending in brass caps on casters, h. 29”, w. 35‑1/2”, d,. 20‑1/4”, extended l. 40‑3/4”. [1200/1800]

326

327 Good George III Sterling Silver TwoHandled Covered Cup, hallmarked London, 1807‑1808, by William Frisbee, the ovoid body gadrooned on the lower half, with opposing acanthus-mounted, arched, squared handles, raised on a cavetto-domed and gadrooned-banded foot, fitted with a waisted domed lid with pyriform finial, engraved on the body with the arms of Wylde of Nettleworth, h. 17‑1/4”, dia. 8‑3/8”, w. 12‑1/4”, 82.24 t. oz. [8000/1200] Illustrated

327 323 Regency Mahogany Library Chair, first quarter 19th century, the cushioned and caned back joined by caned sides to turned uprights to the cushioned seat, raised on square legs to casters, h. 36‑1/2”. [900/1200] 324 William IV Mahogany Tub Chair, second quarter 19th century, the rounded leather-upholstered padded crest above a slatted back and sides, the contoured wooden seat raised on turned circular legs ending in brass caps, h. 28”. [500/800] 325 Large Pair of Matthew Boulton Old Sheffield Plate Candelabra, first quarter 19th century, Birmingham, each with a reeded tapering standard above an acanthus calyx, raised on a domed foot with gadroon-and-acanthus banding and terminating in a campana-form nozzle into which fits the superstructure of a second, cylindrical standard surrounded by three scrolling, reeded arms, all terminating in a campana-nozzle, the central one annulated and each fitted with a detachable nozzle, the whole decorated with acanthus knops and mounts, h. 25‑1/4”, w. 19”. [10000/15000] Illustrated 326 George III Sterling Silver Epergne and Associated Old Sheffield Plate Plateau, the epergne hallmarked Birmingham, 1803‑1804, by Matthew Boulton, comprising a gadrooned oval frame raised on four flat columnar legs, each chased in a laurel pattern, crested with a lion masque, mantled with acanthus scrolls and terminating in a lion’s-paw foot, joined by a shaped strapwork stretcher to a central oval dome, crested by an acanthus bud and fitted with four reeded, scrolling arms, each terminating in an oval frame fitted with a cut glass basket, the central frame with a larger cut glass basket en suite, h. 13‑1/2”, w. 17‑1/4”, l. 17‑1/4”, 65.27 t. oz. (excluding glass baskets), the plateau unmarked but clearly of similar date and origin, of rounded rectangular form, the gadrooned frame fitted with a conforming mirrored plate and raised on four lion’s-paw feet, w. 17‑1/4”, l. 24‑3/8”. [12000/18000] Illustrated

325

330 George III Sterling Silver Waiter, hallmarked London, 1795‑1796, by Henry Chawner, of navette form, with reeded rim and raised on four threaded spatulate feet, the plateau engraved with a leafy cartouche containing a crest: out a ducal coronet, a demilion rampant, w. 4‑3/4”, l. 6‑5/8”. [200/400] Illustrated

329 328

330

331 Regency Old Sheffield Plate Cordial Frame, first quarter 19th century, of canted triangular form, with gadroon-and-shell edging and raised on three spherical feet, with a central strapwork standard with scrolling finial handle, surrounded by three canted square receptacles separated by stopper holders, fitted with three glass bottles of later date, of canted square section with flattened spherical stoppers, h. 11”, w. 8‑3/4”. Provenance: Martin Chasin Fine Arts, Fairfield, Connecticut. [400/700]

332 Good Victorian Silverplate Tankard, 1875, by Elkington & Co., Birmingham, of oval section, the body decorated with a high-relief scene of a Bacchanalian procession, raised on a domed foot decorated with a band of rococo scrolls, with a double-scroll handle to the hinged lid banded en suite, with an “Onslow” scroll billet and figural huntsman finial, the interior gilt, h. 13”, w. 5‑3/4”, l. 8”. [2000/4000] Illustrated

332

???

328 George II Sterling Silver Waiter, hallmarked London, 1757‑1758, by Richard Rugg, of circular form, with “Chippendale” shell-and-scroll border and raised on three C-scroll pad feet, the plateau engraved with the arms of Tucker of Kent impaling Swytham of Hershire in a rococo leafy-mantled cartouche, dia. 6‑1/2”, 6.82 t. oz. [300/500] Illustrated 329 George IV Sterling Silver Waiter, hallmarked London, 1829‑1830, by John Wakefield, of circular form with rococo shell-and-scroll “Chippendale” rim, the plateau engraved with a wide band of leafy C-scroll-mantled shells and flowers, raised on three cast and applied rococo feet en suite, engraved, on the plateau, with the arms of Barton of Smithills, co. Lancaster, dia. 8‑1/4”, 13.89 t. oz. [300/500] Illustrated

333 Victorian Scottish Sterling Silver Sugar Bowl, hallmarked Edinburgh, 1864‑1865, by James McKay V, of bulbous ovoid shape, the shoulder decorated with a wide band of repousse fruit baskets and floral garlands separated by chased arabesques, with opposing acanthusmounted C-scroll handles and raised on a waisted foot decorated en suite, engraved, on the body, with the crest (a unicorn’s head) and motto (“Ora et Labora”) of the Clan Ramsey, opposing “To J. T from A. R. 1865”, h. 5‑1/4”, w. 81/2”, d. 5‑3/4”, 13.50 t. oz. [200/400] 334 Set of Four Late Victorian Sterling Silver Candlesticks, hallmarked Sheffield, 1892‑1893, by James Dixon & Sons, each in the form of a Corinthian column, the stop-fluted standard above a cavetto-domed square base decorated with acanthus scrolls and bellflower swags, and surmounted by an acanthine capital fitted with a canted cavetto square nozzle with conforming detachable bobeche, the whole decorated throughout with annulated banding, h. 6‑1/2”, w. 3‑1/2”, weighted. [1800/2500] 335 Rare Victorian Figural Egyptian Revival Sterling Silver Cream Jug, hallmarked London, 1874‑1875, by Robert Hennell, in the form of a ba-bird, with a welldetailed face and engraved wings, h. 3‑5/8”, w. 2‑1/2”, l. 4”. This unique piece dates from the second wave of Egyptian Revival which followed the mid-century discoveries of Auguste Mariette (1821‑1881) and the opening of the Suez Canal in 1869. The form here is a “ba” or “ba-bird”: a human-bird hybrid from Egyptian mythology representative of that intangible essence of humanity which survives death, akin to - but not quite the same as - our notion of a “soul” or “spirit”. [6000/9000]

338

336 Victorian Three-Piece Sterling Silver Dinner Service, hallmarked London, 1875‑1876, by Barnard & Sons, including a footed tureen, h. 10‑1/4”, dia. 10”, and a pair of entree dishes, h. 6‑1/4”, dia. 9”, each of flattened spherical form, the body with a pair of realistically detailed coquille handles, the fitted lid with acanthusbud finial, each engraved on the body with the crest and motto of Joel of Great Stanhope Street, London, 132.46 total t. oz. The crest and motto here are those granted to Solomon Barnato Joel (1865‑1931), the son of a Jewish tavernkeeper and who was to become a financier, gold and diamond miner, brewer, horse breeder, railroad magnate and, for a time, the richest man in the world. For a fascinating biography of “Solly” Joel, see Ace of Diamonds: The Story of Solomon Barnato Joel (London: F. Muller, 1958) by his son Stanhope Joel (1903‑1983). [6000/9000] Illustrated

337

336

337 Victorian Sterling Silver Gilt Cased Berry Service, hallmarked London, 1870‑1871, by Chawner & Co. (George Wm. Adams), in the traditional “Old English Bead” pattern, including four berry spoons, l. 7‑3/4”, and a sugar sifter, l. 6”, each with coquille bowl, the sifter bowl pierced, 8.49 total t. oz., presented in the original indigo velvetand cream satin-lined case, 8‑1/8” x 8‑3/4”. [400/700] Illustrated

338 Monumental Pair of George IV-Style Sterling Silver Wine Coolers, first quarter 20th century, retailed by Irvine Hindle, Halifax, Yorkshire, after the 1824 originals by Paul Storr (1771‑1844), of campana form, each with a bulbous gadrooned base raised above a trumpeting foot, the flaring body with gadroon-and-dart rim and ovolo banding, with opposing high arched and scrolling reeded handles with acanthus bands and mascaron mounts, h. 13‑3/4”, dia. 131/4”, w. 16”, 305.43 total t. oz. Little is known about Irvine Hindle. Census records show him born in Halifax, Yorkshire in 1883. He does not appear to ever have registered a mark at London’s Goldsmith’s Hall in London nor any of the provincial assay offices, so he was apparently primarily a retailer, though he may have been trained as a clockmaker, given the handsome tallcase clocks which bear his name. However, some truly extraordinary reproduction silver from the first three decades of the 20th century bear his retailer’s mark. Some of these pieces bear British hallmarks - William Comyns & Sons appears to have been a favored supplier - while others, the present lot included, bear none at all and are almost certainly unique private commissions manufactured on the continent. Whatever their origin, Hindle’s pieces are uniformly of the highest quality and show a level of detail absent from most other replicas made during what is now the golden age of historical revival silver. [25000/40000] Illustrated

342 340 Contemporary English Sterling Silver-Mounted Cut Glass Cologne Bottle, hallmarked Birmingham, 1997, by M. M. Henderson, Ltd., the glass body of spherical form and cut in an octagon-and-diamond pattern, the short neck clad in a sterling collar with hinged, flattened spherical lid opening to reveal the glass stopper, h. 5‑1/4”, dia. 4”, presented in the original forest-green storage pouch and white pasteboard box as retailed by the Beverly Bremer Silver Shop, Atlanta, Georgia. [75/125] 341 Dutch Rosewood Kas, second quarter 19th century, the molded cornice above a case fitted with two long doors, flanked and separated by paneled pilasters with ebonized accents, with two paneled drawers below, raised on ebonized bun feet, h. 79”, w. 67”, d. 26‑1/2”. [1800/2500] 342 Heinrich Weber (German, 1843‑1913) “The Merry Drinkers”, 1890, oil on canvas, signed, dated and inscribed upper right “Heinr. Weber 1890 Munchen”, 21” x 18”. Handsomely framed. [1800/2500] Illustrated 343 Dutch 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. [700/1000] Illustrated

343 339 Twelve-Piece Edwardian Sterling Silver and Ivory Picnic Dessert Set, hallmarked Sheffield, 1903‑1904, by Martin & Hall Co., Ltd., including six two-tined forks, l. 6‑1/4”, and six pointed knives, l. 7‑3/4”, each with a green-stained ivory handle of oval section with a sterling ferrule and finial, presented in the original leather and suede roll. [150/300]

344 After Rembrandt van Rijn (Dutch, 1606‑1669) “Rembrandt and His Wife Saskia”, etching, first quarter 20th century, verso with label from Robert Blaine Browne Enterprises, New Orleans, Louisiana, inscribed “This is plate VIII, from The Etchings of Rembrandt, copy 34 of a limited edition of 250 (Seeley and Co., London, 1905), each folio containing 50 plates and text, the volume was originally in the library of Henry Ferdinand Westheimer and was acquired by me from Boris Baranovich of Washington D. C., 1975, signed Blaine Butler, Nov. 13, 1978”, sight 12” x 10”. Glazed, matted and framed. [200/400]

345 After Rembrandt van Rijn (Dutch, 1606‑1669) “The Descent from the Cross by Torchlight, 1654”, etching and drypoint, later impression, 8‑1/4” x 6‑3/8”. Glazed, matted and framed. [700/1000] 346 Austro-German Black Forest Cabinetmaker’s Sample Armchair, third quarter 19th century, composed of linden, walnut and rosewood, and highly carved in the rococo taste, the vine-carved splat centered with an oval marquetry plaque of a doe, the seat inlaid with a rondel of a partridge family, the whole supported on carved hoofed feet, h. 23‑3/4”, w. 13”, d. 11‑1/2”. [900/1200] Illustrated

346

349 349 German Grobe (German, 1857‑1938), an oval handpainted porcelain portrait plaque of a demure young Renaissance gentlewoman wearing a gold-embroidered wimple and a cross on a golden chain, fourth quarter 19th century, the plaque signed “Grobe” lower right, the porcelain “12”, sumptuously presented on an ivory moire backplate with a giltwood fillet within a matching ivory moire liner within a giltwood frame in the neoclassical taste, h. 5”, w. 4”, frame 14‑1/2” x 12‑1/4”. [250/400] Illustrated 350 Meissen Richly Gilt Cobalt-Blue Porcelain Garniture Vase, third quarter 19th century, the model designed for Meissen in 1866, with double-serpent handles, h. 16”, now mounted as a lamp, overall h. 24”. [300/500] Illustrated

350 347 Austro-German Carved and Polychromed Wooden Winged Putto Head, fourth quarter 19th century, in the provincial Baroque taste, the polychromy tastefully weathered and worn throughout, h. 10‑1/4”, w. 35‑1/2”. [300/500] 348 German Elaborately Carved Wooden Six-Light Chandelier, first quarter 20th century, in the Baroque taste, the light sockets issuing alternately from humanfaced dolphins and rope-caught foliate scrolls, presented in a stripped and softly waxed natural finish, w. 25”, l. 28”. [300/500]

352 351

351 Meissen Porcelain Shallow Fruit Bowl, third quarter 19th century, in “Summer Fruits” decor, the richly bright- and matte-gilded foliate border in bas relief, the reverse marked with the crossed swords of Meissen in underglaze blue, dia. 9‑7/8”. [250/400] Illustrated 352 Meissen Cobalt-Blue Porcelain Fruit Bowl, third quarter 19th century, of shallow, petaled form with matte and bright gilding in “Deutsche Blumen” decor, the reverse with the crossed swords of Meissen in underglaze blue, dia. 10‑3/4”. [200/400] Illustrated

353 356 Large Pair of Southern German Bowfront Bracket Shelves, third quarter 19th century, composed of carved and black-stained oak and lindenwood in the Schwarzwald style, each shelf supported on the wings of a displayed eagle surmounting a pendant swag of fruit and foliage, h. 18‑1/4”, w. 17”, d. 8‑3/4”. [1200/1800] 357 F. Wunsch (German, 19th/20th Century) “Interior Scene with a Cardinal Seated at His Desk Reading a Paper”, oil on paper, signed lower left “F. Wunsch”, 10‑1/2” x 8‑1/4”. Handsomely framed. [500/800] Illustrated 358 Good Viennese Silver-Edged Enamel Cabinet Plate, fourth quarter 19th century, with a cavetto reserve of “Juno Enthroned” and four enframing reserves of modified kidney form featuring “The Chariot of Aurora”, “Orpheus at Sea”, “Venus with Doves and Putto” and “Whisperings of Love”, dia. 8‑7/8”. [3000/5000] Illustrated

358 357 353 B. Lambert (Austrian, 1843‑1902) “Wooded River Landscape with a Man Chopping Wood”, oil on canvas, signed lower left “B. Lambert”, 18‑1/2” x 40‑1/4”. Handsomely framed. [800/1200] Illustrated

359

354 M. Bandouch (Continental, 19th/20th Century) “Springtime View of a Cottage in the Country”, signed lower right “M. Bandouch”, 18‑1/4” x 40”. Framed. [350/500] 355 Wilhelm Olbrich (Austrian, 19th Century) “Autumnal Landscape with Rushing Stream”, oil on canvas, signed lower right “W. Olbrich”, 23” x 14‑3/4”. Handsomely framed. [500/800]

366 360 Polychromed Vienna Bronze Figure of a Seated Arab Scribe, fourth quarter 19th century, the figure holding a tablet and calligraphy stylus, impressed: “GESCHUZTZ” underneath the figure and “2746/ GESCHUZT” underneath the chair seat, the final “Z” lost to the screw hole, 4”, w. 2‑1/2”, d. 3‑1/4”. Reference: J. Zobel, Antique Vienna Bronzes (Atglen, PA: Schiffer, 2008), p. 163. [400/700] Illustrated 361 Polychromed Vienna Bronze Figure of a Reclining Arab Boy, fourth quarter 19th century, the figure heating a coffee can over a fire, touchmarked on the underside “Geschutzt/3065” and the Bergman urn-enclosed “B”, h. 2”, l. 7‑1/2”. Reference: J. Zobel, Antique Vienna Bronzes (Atglen, PA: Schiffer, 2008), p. 160. [400/700] Illustrated

362 German .935 Silver, Enamel and Ivory “Jenny Lind” Dresser Jar, with London import marks for 1926‑1927, sponsored by KA & Co., of circular form, the silver body covered entirely in niello and decorated with a polychrome “Swiss” enamel “ribbon and flower” band with tiny raised gilt highlights, the fitted domed lid decorated en suite and with a carved figural finial of “Jenny Lind” in a hoopskirt and receiving a bouquet of flowers inset with pearls, opening to reveal a gilt interior, the whole raised on spherical ivory feet with engraved vertical banding and joined by a circular wire, h. 4‑1/2”, dia. 4”. The Art Deco form of this charming and beautifully detailed dresser jar belies its 1920’s origin, long after the height of popularity of its namesake:  19th-century pop culture phenomenon Jenny Lind (1820‑1887), the “Swedish Nightingale”. It is to be noted, however, that Lind did experience a wave of nostalgic interest in 1926, thanks to the the publication that year of her biography, The Life of Jenny Lind by her daughter, Jenny Maria Catherine Goldschmidt Maude. [150/300]

363 359 Diminutive Austrian Third Standard (.800) Silver Gilt-Mounted Enamel Cabinet Vase, fourth quarter 19th century, Vienna, the pyriform body enameled with scenes depicting the lives of the gods in tree registers, the interior of the waisted circular foot also figure-enameled, the acanthine silver collar everting to form two handles, h. 5‑3/4”, w. 3‑1/2”, d. 2‑3/4”. [4000/7000] Illustrated previous page

360

361

363 Aleksander Augustynowicz (Polish, 1865‑1944) “Full-Length Portrait of a Young Girl in a Blue Dress Leaning Against a Chair”, 1902, oil on canvas, signed and dated lower right “Augustynowicz 1902”, 60‑1/2” x 33‑1/2”. Handsomely framed. [2500/4000] Illustrated 364 Unusual German Carved Meerschaum and Amber Pipe, ca. 1900, by Franz Rosensteil, Berlin, intricately carved in the form of a taloned foot clutching the ovoid bowl, with shaped amber mouthpiece, l. 6‑1/4”, presented in the original russet velvet- and satin-lined leather case, stamped “Fr. Rosenstiel/Berlin”, l. 71/4”. The meerschaum, ivory and amber purveyor Franz Rosensteil was founded in 1861 when he succeeded the firm of S. Scramm, Koenigstrasse 12, Berlin. The company is first listed at its familiar Unter den Linden address in 1868, where it remained well into the 20th century, regularly listed in English-speaking guidebooks from the 1880’s onward as one of the best retailers of meerschaum. Under the direction of brothers Johann Carl and Ernst Rosensteil the company was awarded Grand Prix at both the 1900 Paris and 1904 St. Louis Expositions; indeed, one of the company’s offerings in St. Louis was a carved amber “claw and ball” cane handle very similar to this pipe and designed by Ernst Rosenstiel. [150/300] 365 Nicholas II Polychromed Porcelain Footed Bowl, fourth quarter 19th century, by Matvey Kuznetsovsky, Dulevo, the burnt orange ground with “Leaf Tip-andVine” decor, the base fully marked in Cyrillic rouge-de-fer transfer print, h. 3‑1/2”, dia. 6‑3/4”. [75/125] 366 Pair of Monumental Baronial-Style Mahogany Armchairs, mid‑19th century, each with a shaped and padded back joined to the like seat by downswept arms headed by lion masks, supported by caryatid uprights, raised on shaped legs, each headed by a lion mask, joined by an X-form stretcher and ending in hairy-paw feet, h. 59”. [900/1200] Illustrated

369

367 Italian School (19th Century) “Saint Cecilia”, oil on canvas, unsigned, 10” x 8”. Presented in a contemporary giltwood frame. [600/900] 368 Pair of Italian Wrought-Iron and Alabaster ThreeLight Appliques, in the neoclassical taste, each circular wrought-iron hoop with an alabaster cup, the central cup pendant and surmounted by an upright, reticulated anthemion, the wroughtiron bronze patinated throughout, electrified, dia. 14”. [800/1200]

369 Pair of Monumental Italian Gilt-Bronze Altar Sticks, 19th century, each with a floriform bobeche raised on a turned and paneled standard with incised geometric accents and foliate designs, above a tripartite base with shield patterns, raised on scrolled toes, h. 47”. [400/700] Illustrated 370 Provincial Italian Oak Refectory Table, 17th century, the planked rectangular top above a gadroon-carved frieze, raised on turned legs centered by a ribbed and foliate-carved sphere, joined by a box stretcher and ending in block feet, h. 29”, w. 57‑1/2”, d. 27”. [1500/2500] Illustrated

371 Spanish Colonial School (Late 18th Century) “The Penitent Magdalene”, oil on copper, unsigned, 8” x 6‑5/8”. Presented in an attractive antique LouisPhilippe carved giltwood and plaster frame in the neoclassical taste, second quarter 19th century. [700/1000] 370

372 Italian Provincial Wrought-Iron and Brass Brazier, early 20th century, in the neoclassical taste, the brazier suspended by three scrolling wroughtiron supports, h. 65‑3/4”, dia. 21”. [400/700]

373 Victor Salmones (Mexican, 1937‑1989) “Queen of Angels”, number 10 of 10, a large patinated bronze figure of the ascendant Virgin, above the clouds and crescent moon and depicted in prayer, signed on the base “V. Salmones 10/10 M‑42”, h. 47‑1/2”, w. 13‑1/4”, d. 14”. This, and the following to Salmones bronzes are being sold to benefit Friends of the Family in Los Angeles, a non-profit family resource center. [4500/7000] Illustrated

376 Louis XIII-Style Carved Fruitwood Fauteuil a la Reine, third quarter 19th century, the padded rectangular back joined to the like seat by downswept acanthinecarved arms, raised above a pierced foliate-carved front stretcher on turned and block legs with finely executed foliate carving, joined by a like H-form stretcher and ending in peg feet, h. 45”. [1500/2500] Illustrated

373

377 Italian Giltwood Looking Glass, first quarter 19th century, in the rococo taste, the domed crest surmounted by a pierced floral-carved crest and surrounded by a molded and foliate-modeled frame, with an urn-form pendant, h. 38”, w. 22”. [1000/1500] Illustrated

376

374 Good Pair of French Giltwood Figures of Angels, early 19th century, each of the facing pair modeled with upstretched arms, fully robed and with well-articulated wings, h. 18”, w. 16”, d. 6”. [1500/2500]

375

375 Russian Polychromed Wood Ikon of Christ Pantocrator, second quarter 19th century, presented in a period repousse 84 zolotnik (.875) silver gilt riza marked St. Petersburg, 1845, assayer Dmitri Tverskoy, unknown maker “PKA”, the reverse covered in silk velvet, h. 8‑3/4”, w. 7‑1/8”. [600/900] Illustrated

378 Fine Spanish Bone-Inlaid Walnut Vargueno-onStand, second quarter 16th century, with wrought-iron mounts, the fall front opening to reveal a carved bonemounted and -inlaid walnut interior of nine drawers and two compartments, the upper element supported on a period oblong, ring-turned walnut stand, the present gilt-brass bun feet of the upper element a tasteful replacement, cabinet h. 21‑1/2”, w. 36‑1/2”, d. 15‑1/2”, open d. 33”, overall h. 54”, w. 41”. [6000/9000] Illustrated

379 Fanciful Metal and Polychromed Wood Six-Light Chandelier, of cage form in the grotto style of Tony Duquette, the case encrusted in its entirety with strands of sea urchin choco stick beads, with two tiers of scrolled protrusions, each terminating in a starburst pattern of lisway shells centered by a faceted crystal, the six lower candlearms each terminating in a mother-of-pearl bobeche with pendant lisway shells and crystal drops, the cage centered by a turned finial capped by cut lisway shells and a crystal with a like drop pendant, h. 39”, dia. 36‑1/2”. [1800/2500] Illustrated

377

378

378 detail

379

380 Continental School (Late 19th/Early 20th Century) “Head of a Bearded Man in a Turban”, oil on board, unsigned, framed 26‑1/2” x 21‑1/2”. Presented in a stylish geometric carved and ebonized wood frame with turned giltwood bosses at each corner in the 17th-century style. [500/800]

381 Italian Elaborately Carved Walnut Hall Chair, third quarter 19th century, in the Renaissance taste, the scrolling crest above a tapering back centered by pierced foliate designs flanked to either side by caryatid figures, the cushioned seat raised on a shaped support with carved caryatid figures to paw feet, h. 43”. [400/700]

388

386

390

382 Italian Grotto-Style Looking Glass, the rectangular crest surmounted by a shaped shell crest, the rectangular frame with applied scrolling patterns, the entirety encrusted with a variety of shells and other sea creatures, h. 30‑1/2”, w. 24”. [1000/1500] Illustrated

387

382

389

384 Continental Wrought-Iron Tiered Sixteen-Light Chandelier, of broad cage form in the Baronial style, the upper candlesockets fitted for columnar or spherical candles of small size, the lower candlesockets dished for large columnar or spherical candles, the whole in a lightly rusted finish, h. 35”, dia. 35”. [400/700] 385 Renaissance Revival Carved Oak Desk, early 20th century, the rectangular top with a carved edge above a frieze fitted with three drawers, over two cupboard doors, each opening to two deep drawers, faced as four drawers, the sides and back all paneled and with elaborate scrolling foliate-, shield- and mask-carved accents, with corner barley-twist uprights, the whole raised on a dentillated and molded plinth, h. 31”, w. 59‑1/2”, d. 31‑1/2”. [900/1200] Illustrated

383 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 masque-carved 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”. [1800/2500] 385

Illustrated

386 Charming Russian Provincial Polychromed Wood Ikon, third quarter 19th century, depicting the mounted “St. George Slaying the Dragon”, the reverse fitted with a pair of horizontal cradling bars, h. 16‑3/4”, w. 13‑1/2”. [300/500] Illustrated 387 Russian Polychromed Wood Ikon, third quarter 19th century, depicting the standing Christ attended by four saints, each figure identified in red, h. 14‑1/8”, w. 12‑1/4”. [400/700] Illustrated 388 Large Russian Polychromed Wood Ikon, fourth quarter 19th century, depicting Christ and God the Father flanking a celestial sphere surmounted by the Dove of the Holy Spirit, the polychromed strapwork borders in the “Old Russian” taste, h. 17‑1/2”, w. 14‑3/4”. [400/700] Illustrated 389 Russian Polychromed Wood Ikon, fourth quarter 18th century, depicting the elaborately robed St. Nicholas, the Wonder Worker, with Christ and the Virgin, at the upper left and right corners, the reverse with two cradling bars, h. 14”, w. 11‑1/2”. [400/700] Illustrated

390 Russian Polychromed Wood Ikon, fourth quarter 19th century, of rectangular form, depicting “The Tikhvin Virgin”, in the Byzantine style, the reverse fitted for two cradling bars (now lacking), h. 13‑7/8”, w. 11‑5/8”. [500/800] Illustrated 391 Italian Carved Walnut Coffer, early 19th century, the hinged top opening to a void interior, the front inset with three panels divided by three smaller panels and flanked to either corner by a carved figure of a peasant, raised on bracket feet, h. 27‑1/2”, w. 60‑1/2”, d. 23”. [1800/2500]

394 392 Important Signed Terra Cotta Relief Plaque, third quarter 19th century, by Robrecht-Jan Fabri (French, 1839-ca. 1909) after Evert Jan Boks (Dutch, 1838‑1914), depicting a serving man offering refreshment to two seated ladies-of-fashion, signed lower right “FABRI/d’ apres/BOKS”, presented in a deep mahogany frame, overall h. 20‑1/4”, w. 22‑1/2”. [700/1000] 393 Continental Carved and Stained Beechwood Figure of a Putto, second quarter 19th century and later, probably German, in the provincial taste, the figure depicted playing a bassett-horn, stripped of the original polychromy and now stained and waxed, h. 18‑1/4”. [300/500] 394 Maximilien Luce (French, 1858‑1941) “Route de Campagne a Moulineaux”, 1905, oil on board, signed and dated lower right “Luce 1905”, 16‑3/4” x 13‑3/8”. Handsomely matted and framed. [25000/40000] Illustrated

396

397 Good French Gilt-Bronze Tiered TwentyLight Chandelier, fourth quarter 19th century, in the late Louis XVI taste, of cage form, the candlearms modeled as generous foliate scrolls alternately centered by diademed female masques, electrified and fitted with faux candles, h. 33”, dia. 32‑1/2”. [1000/1500] Illustrated 398 Louis XVI-Style Polychromed Sofa, 20th century, the low padded rectangular back joined by padded downswept arms on scrolling annulated uprights to the tri-cushioned seat, raised on spiral-fluted tapering circular legs ending in toupie feet, h. 31”, w. 75‑1/2”, d. 33”. [1000/1500] Illustrated 399 Large Gros-Point and Petit-Point Tapestry Panel, ca. 1900, in the 17th-century style featuring a recumbent figure of Narcissus gazing at his reflection in a pool while surrounded by attendants, the panel properly backed in linen, h. 92”, w. 83”. [1000/1500] Illustrated

395

400 Pair of Contemporary Polychromed Display Cases, in the rococo taste, each with a molded cornice above a case fitted with an electrified circular opening with an engaged bracket for display, above a rectangular opening fitted to accommodate four glass shelves, the whole raised on a molded base, h. 94”, w. 35”, d. 12‑1/2”. [1000/1500] Illustrated

397

395 Napoleon III Giltwood Looking Glass, late 19th century, the oval plate surmounted by an elaborate ribbon and torchere crest with a pendant floral garland, surrounded by a molded and annulated frame, h. 33”, w. 28”. [700/1000] Illustrated 396 Pair of Louis XV-Style Giltwood Bergeres, early 20th century, each with a shaped and padded back surmounted by a gilt foliate crest, joined to the cushioned seat by padded, outscrolled arms, raised on cabriole legs headed by floral carving, joined by an H-form stretcher and ending in scrolled toes, sumptuously upholstered in Scalamandre mauve and gold silk damask, h. 35‑3/4”. [1500/2500] Illustrated

401

400

401 Pair of Louis XV-Style Kingwood and Marquetry Side Tables, each with a shaped rectangular top with floral inlay, above three floral-inlaid drawers mounted with foliate brass pulls, raised on brass-mounted slender cabriole legs, h. 28‑1/2”, w. 15”, d. 12”. [1200/1800] Illustrated

399

402 Large Pair of French Vasiform Two-Light Appliques, composed of gilded brass and rock crystal in the Louis XVI taste of Bagues, Paris, modeled as baluster-form vases from which emanate tall stylized floral sprays, richly dressed with rock crystal drops in three sizes, cut glass fleurettes, and facet-cut and plain beads, not electrified, h. 28”, w. 13”, d. 7”. [5000/8000] Illustrated following page 398 403 Monumental Beaux Arts Polychromed Looking Glass, late 19th century, the molded and dentillated cornice above a paneled frieze, the rectangular quartered plate surrounded by a heavily carved foliate-patterned frame, flanked to each side by a pilaster headed by a lion’s masque issuing a fruit garland, h. 71”, w. 67”. [3500/5000] Illustrated following page

407 Northern European Gilt-Brass and Crystal Six-Light Chandelier, early 20th century, the cap with scrolling crystal bead-draped arms, the paneled glass-encased standard issuing six arms, the whole richly dressed with spherical crystal bead chains and tear-form and pendalogue drops, h. 33”, dia. 19‑1/2”. [1500/2500] Illustrated 408 Pair of Napoleon III Kingwood, Burl and MarbleTop Cupboards, third quarter 19th century, with porcelain and gilt-brass mountings, each with a slightly bowed variegated lavender-and-cream marble top, above a case fitted with two cupboard doors, each inlaid with a parquetry panel and inset with a brass-framed porcelain plaque of a courting couple, raised on cabriole legs ending in sabots, h. 30”, w. 24”, d. 14”. [1200/1800] Illustrated

405 403

404 French Decoupaged Wooden Jewel Casket, second quarter 20th century, in the Restauration tole-peinte style, with a Pompeian red-painted ground and decoupage appliques of putti, the interior lined in goldcorded gold velvet, the whole supported on four brass paw feet, h. 3‑1/2”, w. 6‑1/4”, d. 5”. [75/125] 405 Large French Brass and Wire Mesh Firescreen, first quarter 20th century, of footed cartouche form, the cresting modeled as a writhing stylized dragon, h. 36”, w. 26”. [300/500] Illustrated 406 French Three-Piece Brass Fireplace Fender, first quarter 20th century, in the Louis XV taste, the low central fender centered by a pair of addorsed rosettes and scrolls, the flanking chenets in the form of oil lamps surmounted by columns in the Restauration style, the brass in a combination of bronze-patinated and natural finishes, h. 16”, w. 35”, expandable to 43‑1/2”. [500/800] Illustrated

402 pair

409 Napoleon III Painted Looking Glass, third quarter 19th century, the large rounded rectangular plate surmounted by a lattice-pierced crest centered by a foliate spray within a pierced shield, surrounded by a molded frame with applied pendants, h. 72”, w. 43”. [2000/4000] Illustrated 410 Continental Giltwood and Crystal Six-Light Chandelier, early 20th century, in the neoclassical style, the scrolling cap joined by faceted bead chains to a lower circular tier issuing six candlearms, all joined by beaded swags and with drop faceted pendalogues, joined by like chains to a glass bowl-form pendant, h. 33”, dia. 24”. [1800/2500]

412 Louis XVI-Style Gilded and Polychromed Wood and Marble-Top Side Table, late 19th century, the rounded rectangular variegated lavender and cream marble top with molded edge above a fluted and guilloche-carved frieze, raised on foliatecarved, fluted, tapering circular legs, joined by an urn-centered, imbricate-carved, X-form stretcher, ending in toupie feet, the whole with gilt accents, h. 36‑1/2”, w. 48‑1/2”, d. 18”. [1500/2500]

408

413 Napoleon III Polychromed Looking Glass, third quarter 19th century, in the Louis XVI taste, the oval plate within a molded frame featuring oak garland carving, h. 33”, w. 30”. [700/1000]

409

407

411 Pair of Louis XV-Style Gilt-Metal and Crystal Appliques, each with an interlacing foliate-modeled backplate issuing three like-modeled arms terminating in faux candles, electrified and fitted with ivory silk shades, the whole dressed with faceted crystal drops, h. 20‑1/2”, w. 15”, d. 10”. [500/800]

406

416 Beaux Arts Faux-Bois and Parcel-Gilt Looking Glass, late 19th century, the beveled rectangular plate surmounted by a griffin crest over a lion masque- and cornucopia-carved frieze, within an annulated and gadroon-carved frame, h. 90”, w. 45”. [600/900] 417 Airy and Elegant French Gilt-Lacquered Brass and Cut Glass Six-Light Chandelier, in the Louis XVI taste, dressed with draped cushion-cut glass chains, cut fleurettes, faceted and spherical drops in three sizes and cut spears, electrified and fitted with faux candles, h. 35”, dia. 19‑1/2”. [1000/1500] Illustrated 418 Pair of Louis XVI-Style Gilt-Metal and Mirrored Glass End Tables, each with two rectangular tiers with inset distressed mirrored glass panels, supported by reeded tubular supports, the whole raised on toupie feet, h. 21‑3/8”, w. 24‑3/8”, d. 13‑3/8”. [800/1200]

414

421

414 Louis XVI-Style Rosewood, Kingwood and MarbleTop Commode, fourth quarter 19th century, the rectangular Saint-Pons marble top with molded edge, above a conforming case fitted with two long drawers, each with three inlaid and banded panels, the sides inlaid en suite, raised on tapering square legs ending in brass caps, h. 34‑1/4”, w. 41‑3/4”, d. 19‑1/2”. [2500/4000] Illustrated 415 Louis XVI-Style Mahogany and Marble-Top Occasional Table, fourth quarter 19th century, the rectangular white marble top with a three-quarter pierced brass gallery, above a paneled frieze fitted with a single drawer, joined by fluted bulbous uprights to a lower shelf, raised on tapering circular feet, h. 30”, w. 18‑1/2”, d. 14‑1/2”. [500/800]

417

419 Napoleon III Rosewood Firescreen, third quarter 19th century, the glass-fronted removable fabric screen surmounted by a foliate crest and side finials, supported by foliate-formed uprights, raised on runner feet joined by a turned stretcher, h. 40”, w. 19”. [600/900] 420 Napoleon III Polychromed Terra Cotta Figure of a Pensive Young Girl, third quarter 19th century, the child modeled carrying her doll, raised on a molded circular base, h. 26‑1/2”. [500/800]

422 Jacques-Philippe LeBas (French, 1707‑1783) “The Arrival of King Louis XV Before the Cathedral of Strasbourg, 1744”, 17‑3/4” x 30‑1/2”, and “The Cathedral of Strasbourg en Fete”, 27‑1/2” x 21”, engravings. Presented in deux-couleur blue French mats within matching spiral-dentillated giltwood frames and glazed. [300/500] 423 Good French Gilt-Bronze-Mounted White Marble Figural Mantel Clock, fourth quarter 19th century, in the Louis XVI style, the figural subject being “Love’s Yearning”, the circular dial enameled with a floral garland and with pierced gilt-brass hands, the interior backplate touchmarked “L.F.”, h. 12‑1/2”, w. 9‑3/4”, d. 4‑1/2”. [1800/2500] Illustrated 424 Large French Floral-Carved Giltwood Architectural Fragment, fourth quarter 18th century, featuring two facing leaf clusters centered by a trio of giltwood flowerheads, h. 8”, w. 34”. [500/800]

425

423

425 Regence-Style Polychromed and Parcel-Gilt Looking Glass, mid‑19th century, fitted with an upper panel with a carved fruit basket emanating elaborate scrolling foliate garlands, the lower rectangular plate within an annulated and egg-and-dart-carved frame, h. 64‑1/4”, w. 51”. [2000/4000] Illustrated 426 Large Napoleon III Carved Giltwood Element, third quarter 19th century, featuring a basket of flowers over crossed pomegranate-headed staffs in the Louis XVI taste, h. 9”, w. 21”. [500/800] Illustrated

421 Large Louis XVI-Style Fruitwood and Marble-Top Bouillotte Table, late 19th century, the circular top with an inset charcoal gray marble top above a frieze fitted with two small drawers and two candle slides, raised on stop-fluted, tapering square legs headed by brass panels and ending in caps and casters, h. 28‑1/4”, dia. 35”. [1800/2500] Illustrated

426

427 Italian Neoclassical-Style Gilt-Brass and Cut Glass Twelve-Light Chandelier, ca. 1900, of large scale, the standard with bulbous crystal casings and issuing two tiers of double scrolling arms, the upper tier with four, the lower with eight, the whole opulently dressed with chains of faceted crystal beads and faceted spears, with a faceted sphere pendant, h. 45”, dia. 26”. [3000/5000] Illustrated 428 Attractive Nine-Piece French Liqueur Service, fourth quarter 19th century, the engraved and parcel-gilded glass service for eight people, comprised of a circular two-handled, double-lipped and flat-sided decanter, with parcel-gilt spiral-ribbed handles, h. 6‑1/2”, w. 4‑7/8”, and eight richly gilded liqueur goblets with parcel-gilt and spiral-ribbed stems, h. 3‑3/8”, dia. 1‑3/8”. [250/400] Illustrated

427

433 429 Good Set of Eight Baccarat Liqueur Goblets, first quarter 20th century, the richly gilded cut glass stems in “Empire” pattern, the base of each goblet with the acidstamped Baccarat “decanter” mark, h. 3‑3/4”, dia. 1‑7/8”. [150/300] 430 Louis XVI-Style Gilt-Metal and Smoked Mirrored Glass Cocktail Table, the inset rectangular mirrored glass plate with corner acorn finials and joined to a like lower shelf by turned and shaped supports continuing to circular feet, h. 17‑1/2”, w. 34‑1/4”, d. 18‑1/2”. [600/900]

428

431 Fanciful French Brass and Iron Three-Light Foyer Lantern, second quarter 20th century, of squared pagoda form, painted in matte Chinese red with patinated cut-iron detailing, the canopy modeled as a pagoda roof with antique-gilded brass bells at the corners, the interior fitted with a trio of pendant faux candles, the panes glazed, h. 23”, w. 11‑1/2”, d. 11‑1/2”. [200/400] 432 Louis XVI-Style Mahogany and Marble-Top Commode, mid‑19th century, the rectangular variegated gray marble top with canted corners above a conforming case fitted with three long drawers, flanked to either side by a fluted pilaster, raised on tapering square legs, h. 35”, w. 47”, d. 26”. [1200/1800]

434 Pair of Cloisonne Enamel-Mounted Marble Garniture Vases, first quarter 20th century, the Sanguine Oran Cipolin marble vases of baluster form in the Louis XVI taste, now mounted as table lamps on later lobed circular brass bases, the cover finials removed in the conversion, fitted with spherical polished green onyx and gilt-brass finials, h. to top of finial 30”. [600/900] 435 Pair of Napoleon III-Style Ebonized Stools, 20th century, in the Japonesque taste, each with a padded circular top above a faux-bamboo-patterned frieze, raised on turned and splayed legs joined by an X-form stretcher, h. 18‑1/2”, dia. 18”. [800/1200]

437

436 Good, Large Pair of Paris Porcelain Sauceboats, third quarter 19th century, each of “melon”-banded, twohandled and double-lipped form, with matching stands, overall h. 5‑1/4”, w. 6‑1/2”, l. 10‑1/2”. [75/125] 437 Good Napoleon III Carved Giltwood and Plaster Looking Glass, third quarter 19th century, of large size in the Louis XIV style, the frame boldly carved with equidistant floral sprays and stylized scallop shells at the corners, h. 38”, w. 38”. [1800/2500] Illustrated

438

433 Good Louis XV-Style Lacquered “Chinoiserie” Cabinet, early 20th century, attributed to Maison Jansen, the molded and domed cornice above a deep cordovanlacquered case fitted with two doors, each inset with two red-lacquered panels featuring gilt oriental landscape scenes, the whole raised on bulbous cabriole feet, h. 69”, w. 48”, d. 17”. [4500/7000] Illustrated

438 Good French Patinated Bronze Figure of Horace (65‑8 B.C.), third quarter 19th century, the famed poet depicted seated in a klismos, holding a stylus, and with a scroll bearing lines from the second “Epode” over his knee, h. 25‑3/4”. [1200/1800] Illustrated

440

441 Honore Daumier (French, 1808‑1879), two prints from Les Gens de Justice, one a hand-colored lithograph, plate 24, “Quel dommage que cette charmante petit femme ne mait pas charge de defendre sa cause....”, plate signed, sight 11‑1/2” x 9”, and the other a black and white lithograph, “Les Deux Avocats”, plate signed lower right and pencil signed lower right “De H. Daumier”, numbered in pencil lower left “182/500”, sight 14” x 10‑3/4”. Both examples are glazed and framed. [300/500]

445

439 Pair of Gilt Brass-Mounted Biscuit Porcelain Garniture Vases, first quarter 20th century, in the Louis XVI style, each of ribbed and fluted urn form, now mounted as table lamps, the porcelain cover of one with the finial removed in the conversion, the cover of the other lacking and replaced with a custompainted brass model, h. 22”, to finial 35‑1/2”. [1000/1500]

448 442 After Jacques de Seve (French, fl. 1742‑1788) “The Mouttlon”, “The Wolf”, “The Reindeer”, “The Lynx”, “The Male Panther”, and “The Lion”, group of six engravings from Buffon’s Histoire Naturelle, Paris”, engraved by Taylor, all examples titled and are from volume III, sight 5‑1/2” x 3‑1/2”. Glazed, matted and presented in argente frames en suite. [400/700]

440 Good Italian Giltwood Looking Glass, second quarter 19th century, in the rococo taste, the tapering ovoid plate surmounted by a shell crest flanked to either side by a winged putti head, the plate surrounded by a paneled mirror and foliate-carved frame to a foliate pendant, h. 33”, w. 20”. [2000/4000] Illustrated previous page

443 Pair of Agra Serapi Carpets, 4’ 1” x 6’ and 3’ 10” x 6’. [600/900]

451

444 Agra Oushak Carpet, 6’ x 9’ 2”. [600/900] 445 Agra Gerus Carpet, 8’ x 9’ 10”. [1000/1500] Illustrated 446 Peshawar Sultanabad Carpet, 8’ x 9’ 9”. [1800/2500] 447 Pair of Uzbek Lesghi Kazak Runners, 2’ 5” x 14’ 3” and 2’ 6” x 14’ 4”. [1400/1800] 448 Antique Persian Serab Runner, 2’ 11” x 10’ 10”. [900/1200] Illustrated 449 Turkish Angora and Silk Oushak Carpet, 6’ 6” x 9’ 9”. [1400/1800] 450 Peshawar Zeiglar Mahal Carpet, 8’ 3” x 9’ 9”. [1800/2500] 451 Uzbek Wool and Silk Suzanne Carpet, 7’ 5” x 10’ 7”. [1800/2500] Illustrated 452 Agra Serapi Carpet, 8’ 9” x 12’. [1000/1500] 453 Peshawar Sultanabad Carpet, 8’ 10” x 11’ 10”. [2000/4000]

456 454 Greek Flokati Rug, 4’ 6” x 6’ 4”. [500/800] 455 Turkish Toulou Carpet, ca. 1950, 3’ 6” x 5’ 4”. [700/1000] 456 Antique Chinese Peking Carpet, 9’ 3” x 11’ 8”. [3000/5000] Illustrated 457 Peshawar Zeiglar Mahal Carpet, 9’ 9” x 13’ 7”. [2500/4000] 458 Agra Serapi Carpet, 12’ x 15’. [2000/4000] Illustrated 459 Peshawar Sultanabad Carpet, 9’ 9” x 13’ 6”. [2500/4000] 460 Spanish Konca Carpet, 6’ 3” x 9’ 3”. [1800/2500] 461 Oushak Carpet, 6’ x 3’ 8”. [300/500] 462 Oushak Carpet, 6’ 8” x 4’ 6”. [300/500] 463 Oushak Carpet, 7’ 6” x 4’ 8”. [300/500]

458

464

464 Good Pair of Chinese Porcelain Foo Dogs, 18th/19th century, decorated in famille jaune enamels, modeled as a male and female dog, each seated on its haunches on pierced plinth bases, the dogs with yellow bodies and details in green, aubergine, black and yellow, the bases with diamond patterns and chrysanthemums and enameled in like colors, h. 18‑3/4”. [1800/2500] Illustrated

467

465 Group of Jade, Agate and Serpentine Clothing Appliques, 19th/20th century, carved as figures, flowers, antiques and symbols, each with holes or appendages for sewing onto clothing, h. 1/2” to 2‑1/8”. [250/400] Illustrated 466 Chinese Silver and Jade Hand Mirror, the cast silver body with inset mirror, now mounted with a nephrite jade belt hook in the handle and a carved nephrite jade plaque from a scepter mounted as the back of the oval mirror, l. 9‑1/4”. [800/1200] 467 Chinese Carved Jade and Brass Picture Frame, first quarter 20th century, composed of a carved and reticulated spinach jade frame with floral and landscape decoration, mounted in the top center with an oval “moss in melting snow” jadeite plaque, all on a brass backing, h. 14‑1/8”, w. 10‑3/4”. [800/1200] Illustrated

468 Decorative Pair of Burmese Dancers’ Crowns, each of traditional pagoda-spire shape, the gilt leather bodies set with mounted and suspended rhinestones and mirrored drops, presented on black display stands, h. 25” and 28”. [125/250] 469 Group of Four Decorative Chinese Calligraphy Brushes, the handles in coral, agate and soapstone, with bone tops and horsehair bristles, l. 10‑1/2” to 12‑1/4”. [100/200]

465

470 Early Dendrite Specimen on Limestone Plate, Middle Jurassic Period, ca. 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”. [150/250]

472

473 Chinese Famille Rose-Decorated Porcelain Covered Food Container, 19th century, of lightly ribbed barrel form with conforming cover and twisted wire handles, decorated in delicate famille rose enamels with scenes of ladies, attendants and children in garden settings, presented on a wooden stand, h. 7”. [300/500] Illustrated 474 Chinese Rosewood and Jade Table Box, 19th century and later, the rectangular covered rosewood body divided into four compartments, the top inset with an oval black and white jade plaque carved as a group of two peaches with foliage and bats, h. 2‑1/2”, w. 5‑3/8”, l. 6‑5/8”. [100/200] Illustrated 475 Chinese Enameled Porcelain Covered Box, modeled after a stack of books, the body decorated in iron red with gilt decoration imitating brocade with white and blue enamel ends and a black and white enamel label, presented on a wooden stand, h. 3”, w. 5‑1/2”, d. 3‑1/4”. [1000/1500] Illustrated

473

471

471 Group of Four Decorative Chinese Calligraphy Brushes, the handles in agate, etched bone and serpentine, with bone tops and horsehair bristles, l. 11” to 14”. [100/200] Illustrated 472 Two Chinese Lacquered End Cabinets, of near pair size and decoration, each in black lacquer with two front doors with patinated metal locks, the doors decorated in gold lacquer with landscape scenes and surrounds of flowers and butterflies, h. 33‑1/2”, w. 22‑1/2” and 23‑1/2”, d. 15” and 15‑3/4”. [400/700] Illustrated

476 474 475

477

476 Chinese Rosewood, Zitan and Jade Rectangular Box, 19th century and later, the rectangular rosewood body inset on the cover with two deep relief-carved zitan dragons centered by a plain variegated jade plaque, h. 2‑1/4”, w. 3‑1/2”, l. 7‑1/4”. [300/500] Illustrated previous page

481

477 Chinese “Peachbloom”-Glazed Covered Box, late 19th century, of large circular form with fitted cover, glazed on the exterior in mottled “peachbloom” and green glaze, the interior with crackled glaze, the base with a sixcharacter underglaze blue Yongzheng reign mark within a double circle, dia. 5‑1/2”. [600/900] Illustrated previous page 478 Chinese Carved Agate Covered Vase, 20th century, the variegated brown and gray stone carved in high relief as a baluster-form vase surrounded by leafy branches, the conforming cover carved as a bird on fruiting branches, h. 8”. [600/900] 479 Large Chinese Carved Agate Covered Vase, the brown and gray mottled stone carved as a flattened baluster-form vase surrounded by high-relief carving of a deer and birds among flowering branches, the conforming cover carved as a bird among pine branches, presented on a fitted wooden stand, overall h. 11‑1/4”. [1400/1800] Illustrated

479 480 Chinese Carved Amber Figure of Hotei, the corpulent figure seated wearing loose robes, a necklace and holding a rosary in his left hand, the rockwork base with a fourcharacter inscription in the front, h. 3‑1/2”, w. 4”, d. 4”. [600/900] 481 Group of Four Decorative Chinese Calligraphy Brushes, the handles in coral, bone, amethyst and agate, with bone and horn tops and horsehair bristles, l. 9” to 11‑1/4”. [100/200] Illustrated 482 Group of Four Decorative Chinese Calligraphy Brushes, the handles in coral, agate and bone, with bone tops and horsehair bristles, l. 10” to 12”. [100/200] 483 Abigail Porcelain Works Export Porcelain Platter, of large size in “Chinese Boys” decor, the parcel-gilt sky-blue border in polychromed “Auspicious Objects” decor, the reverse fitted with suspension wire apertures, w. 17‑1/2”, l. 25”. [150/300] 484 Chinese Ching Pai-Glazed Large Tea Bowl, Song Dynasty (960‑1279), the rim with notched lip, the interior with incised peony and foliage decoration, glazed all over with a pale blue/green transparent glaze, dia. 7‑3/4”. [700/1000] Illustrated

484

485 Chinese Yingqing Funerary Vase, Song Dynasty (960‑1279), the buff-colored stoneware body molded with an encircling row of attendants, a dragon among clouds and an undulating rim, glazed in a pale green glaze, h. 15”. [150/300]

486 Two Thai Sawankalok Tea Bowls, ca. 14th century, each with flared lip rim and straight feet, recovered from a shipwreck, now encrusted in marine growth and salt, largest dia. 4”. [75/125]

491

487

487 Pair of Lucite Wall Displays with Chinese Tomb Figures, each Lucite case with a cream silk back and a single shelf displaying two figures, one case with two Ming Dynasty (1368‑1644) glazed figures of servants, the other case with two Tang Dynasty (618‑907) figures, one a straw-glazed figure of a servant, the other a carved stone figure of a Bodhisattva, h. 17‑1/2”, w. 13‑1/2”, d. 5‑5/8”. [800/1200] Illustrated

488 Fine Indian Carved Ivory Group of a Procession, first half 20th century, presented on a galleried platform with carved elephant feet, depicting a rajah and ranee in an elaborately carved and canopied cart being pulled by a pair of caparisoned oxen and guided by a seated driver, the cart guarded by six armed attendants, h. 9”, w. 14‑1/2”, d. 9‑3/4”. [1200/1800] Illustrated 489 Indian Carved Ivory Figure of Saraswati, first half 20th century, the multi-armed figure of the goddess standing on a lotus and holding a musical instrument, presented on a custom wooden base with metal label, h. 15‑1/4”. [500/800] Illustrated

490 Elaborate Indian Ivory Carving of a Merchant and His Ox, first half 20th century, presented on a galleried base with carved elephant feet, the ox laden with bags of merchandise and loose food and water containers, the turbaned merchant following behind with a prod, h. 7‑1/4”, w. 8‑1/2”, d. 6‑1/2”. [600/900] Illustrated

489

488 490

491 Chinese Partial SansaiGlazed Tomb Figure of a Court Official, Tang Dynasty (618‑907), the standing pottery figure clad in informal robes with hands clasped, wearing an official headdress, the robes in ochre, green and straw-colored glazes, the head, headdress and chest unglazed, h. 16‑1/4”. [700/1000] Illustrated

493 Chinese Porcelain Shallow Conical Bowl, decorated in underglaze celadon and pale blue with a central character surrounded by three foliate medallions, bordered in a “Greek-key” pattern, the exterior with three underglaze blue bamboo groups, dia. 8‑3/8”. [500/800]

492

497

499

492 Chinese ChingPai Glazed Shallow Bowl, Song Dynasty (960‑1279), the molded lobed body with a central impressed peony design, glazed all over in a pale blue/green transparent glaze, dia. 5‑3/4”. [4500/7000] Illustrated

494 Large Kuang Hsu Patinated Cast-Iron Table Leg, fourth quarter 19th century, now mounted as a striking table lamp on a custom wrought-iron base, h. 28‑1/2”. [300/500]

498

495 Group of Eleven Chinese Jade Seals, on square, rectangular and oval bases, the tops carved variously with dogs, turtles and mythical creatures, h. 1‑1/8” to 2”. [150/250]

507

496 Chinese Lacquered Storage Chest-on-Stand, of rectangular form, decorated in red lacquer with gilt lotus and geometric decoration, with patinated metal lock and carrying handles, resting on a like-decorated stand with horse-hoof feet, h. 18‑1/2”, w. 32‑1/4”, d. 22”. [400/700] 497 Chinese Rosewood and Embroidery Table Screen, the frame 19th century, composed of a heavy, well-carved rosewood frame with low-relief carving of lotus, T-fret and dragon decoration, now inset with a 20th-century silk embroidery of flowering plants, a cricket and a bird on a cream silk ground, h. 31‑1/2”, l. 22‑1/2”. [300/500] Illustrated 498 Good Framed Chinese Scroll, 19th century, ink and colors on silk depicting a pair of birds perched in a flowering tree above rockwork and blooming narcissus, matted in linen with a gilt and black frame, glazed in non-reflective glass, h. 52‑1/4”, w. 22‑1/8”. [200/400] Illustrated

504

500 Good Framed Specimen of Chinese Embroidery, late 19th century, composed of a central piece of “Forbidden Stitch” embroidery of Buddhistic symbols and foliage in multi-colors on a persimmon ground surrounded by a floral ribbon and matted in silk brocade, h. 15‑3/8”, w. 8‑3/8”. [75/125] 501 Pair of Chinese Glazed Porcelain Foo Dogs, depicting a male and female seated on their haunches on openwork plinth bases, glazed all over in Kingfisher blue glaze, the female with her cub, the male with a brocade ball, h. 16‑3/4”. [400/700] 502 Chinese-Style Rosewood Hanging Vitrine, with a single glazed door, the interior fitted with a series of shelves, h. 33‑1/4”, w. 19‑3/4”, d. 3‑1/2”. [250/400] 503 Georgian-Style Mahogany Hanging Vitrine, in the Chinese Chippendale taste, with a shell-carved crest, the glazed door over a labyrinth of interior shelves, h. 33‑1/2”, w. 19‑3/4”, d. 3‑1/2”. [200/400] 504 Group of Eight Chinese Snuff Containers, comprised of seven snuff bottles: three cloisonne, one ivory, one inlaid, one inside-painted and one cinnabar lacquer, together with a lacquered wood covered container, h. 2” to 3‑3/4”. [150/300] Illustrated

499 Chinese Famille Rose Porcelain Baluster-Form Vase, of full baluster form with flared lip rim and slightly flared foot, delicately enameled in famille rose enamels with flowering trees, garden flowers, ling chih fungus and four forked-tailed birds perched on branches, with a sixcharacter Guangxu reign mark in red on the base, h. 12”. [250/400] Illustrated

505 Group of Three Chinese Carved Bone Snuff Bottles, consisting of a flat-back example depicting two turtles amongst grasses; a flattened urn-form bottle carved all around and depicting figures in a garden setting; and a bottle-form example featuring, respectively, a rooster and a red-headed crane; all three examples retaining their original stoppers, the largest h. 3”. [150/300] 506 Chinese Porcelain Covered Ginger or Tea Storage Jar, 20th century, of globular form with conforming dome cover, glazed all over in a crackled celadon glaze, presented on a carved wooden stand, h. 11”. [150/300]

507 Pair of Chinese Famille Rose Porcelain Garden Seats, each of barrel form with applied bosses and pierced “cash” symbols, decorated with continuous scenes of peaches and bats over waves, with borders at the top and the base, h. 19”, dia. 15”. [700/1000] Illustrated previous page 508 Unusual Chinese Porcelain Scholar’s Desk Vase, of baluster form with flared lip rim, glazed overall in a pale blue glaze and decorated in puce enamel with a dragon above a cluster of ling chih fungus, a six-character underglaze blue Xuantong mark on the slightly recessed base, h. 7”. [150/250] Illustrated

510

511

512

509

509 Chinese Carved Lapis Lazuli Miniature Covered Incense Burner, 20th century, of conventional form resting on three legs with lion-mask handles and conforming cover with lion finial, the stone of intense blue with included matrix, presented on a wooden stand, overall h. 5”. [900/1200] Illustrated

513

510 Chinese Carved Lapis Lazuli Water Coupe, in the shape of a Buddha’s hand citron with a hallowed central section for water, the stone in bright lapis blue with mottled gray matrix, l. 8‑1/2”. [2000/4000] Illustrated

511 Chinese Highly Figured Burlwood Document Box, 19th century, of rectangular form and mounted with a brass hasp and plate and brass wire reinforcements, h. 5”, w. 17‑3/4”, d. 4‑3/4”. [1200/1800] Illustrated 512 Chinese Glazed Pottery Tea Bowl, Song Dynasty (960‑1279), of open bubble shape, the brown pottery body glazed all over in sky blue glaze with a purple splash on the interior and a purple stripe on the exterior, dia. 6‑3/4”. Ex-collection: Warren Cox, New York. [8000/12000] Illustrated

508

513 Chinese Flambe-Glazed Porcelain Bulbous Vase, 19th century, the swollen body on a straight recessed foot with straight neck applied with two bat handles, the rich blue, crimson and white-streaked glaze thinning to olive green at the neck, h. 13”. [250/400] Illustrated 514 Chinese Mother-of-Pearl-Inlaid Black Lacquer Folding Screen, 19th century, in the Qianlong taste, consisting of four panels, the facades with tinted and engraved songbirds, bamboo and flowering peonies over “Precious Objects” reserves, the reverses in gold and gray lacquer vignettes of songbirds perched on prunus branches over circumscribed gilt sprays of fruited branches, overall h. 72”, w. 64”. [400/700] Illustrated

518 Chinese Rock Crystal Vase, 20th century, the colorless stone carved in high relief as a tree branch enclosed by leafy and fruiting branches, the stone nearly flawless, h. 4‑1/2”. [1400/1800] Illustrated 519 Good Set of Four Framed Chinese Blue and White Porcelain Panels, first half 20th century, each with a finely painted underglaze blue porcelain landscape panel mounted in a carved and reticulated rosewood frame with iron ruyi-shaped suspension handles, the finely painted porcelain plaques each depicting a different mountainous landscape, each with a calligraphic inscription and artist’s signature, h. 47‑1/4”, w. 14”. [1400/1800] Illustrated

517

514

515 Chinese Carved Rock Crystal Water Coupe, of ornate outline carved in high relief on the exterior with a cluster of ruyi mushrooms and a bamboo spray, the stone of slightly smoky tone, dia. 4‑1/2”. [1400/1800] Illustrated

516

518

515

516 Pair of Chinese Rock Crystal Seals, each with a cylindrical base topped with a figure of a Foo dog standing on a scrollwork stand, the bases uncarved, h. 4‑1/2”. [400/700] Illustrated 519

517 Chinese Carved Rock Crystal Covered Vase, 19th century, of flattened baluster form with loose ring handles and conforming cover, the colorless stone nearly flawless, presented on a wooden stand, h. 13”. [8000/12000] Illustrated

520 Chinese Carved Agate Dish, the thinly carved dish with upturned lip, rising from a straight foot in slightly mottled gray agate, the base with an engraved two-character inscription in seal script, dia. 7‑1/4”. [1200/1800]

521 Pair of Chinese Blue and White Porcelain Saucer Dishes, each decorated in underglaze blue with a central five-clawed horned dragon among flames, depicted reaching for the Flaming Pearl, the exterior with two dragons pursuing Flaming Pearls, the base with a sixcharacter Xuantong reign mark in underglaze blue, dia. 5‑7/8”. [150/300]

524

522 Pair of Chinese Blue and White Porcelain Covered Storage Jars, each of baluster form with hat-form covers with metal hoops, the jars decorated in underglaze blue with continuous scenes of fish among lotus and water plants, h. 17‑1/4”. [800/1200] 523 Chinese Straw-Glazed Figure of a Tomb Guardian, Tang Dynasty (618‑907), the standing figure of a soldier in full armor, helmet, breastplate and tunic, with one hand raised to his chest (at one time holding a spear), the other at his waist, under a straw-colored glaze, h. 15”. [700/1000] 524 Group of Five Chinese “Archaic” Jade Pieces, comprised of a sword guard, two feather holders, an animalistic toggle and a rectangular bead carved all over in relief, presented in a custom fitted box, l. 1‑3/4” to 2‑1/2”. [400/700] Illustrated

525 Chinese Pottery Basin and Stand, late 19th century, composed of a circular pottery basin with scored interior seated on a five-legged wooden stand with green lacquer finish, h. 30‑1/2”, dia. 20‑1/2”. [400/700] 526 Persian Glazed Pottery Vase, second quarter 19th century, of two-handled pyriform in the traditional style, glazed in satin black, green and brown, h. 8‑1/2”. [100/200]

531

527 Chinese Bleached Carved Wood Shop Sign, 19th century, the rectangular sign with four large carved characters and a set of relief-carved characters at either end, framed in a border with low-relief carving of floral scrollwork at the lower center and Chinese characters at the top center, h. 34”, w. 69”. [350/500]

528 Pair of Chinese Porcelain Hexagonal Garden Seats, each with molded bosses and pierced “cash” symbols, decorated in famille rose enamels in the cabbage-leaf pattern with butterflies and Buddhistic emblems, h. 17‑1/2”, dia. 14”. [3500/5000] Illustrated 529 Pair of Chinese Famille Rose Porcelain Saucer Dishes, each decorated with a central peony surrounded by four circular reserves of flowers, the exterior decorated with four reserves with characters on a yellow ground with peonies, roses and asters, the base with a four-character inscription in underglaze blue reading “Qing National Treasure”, dia. 7‑3/8”. [75/125] 528

530 Pair of Chinese Glazed Porcelain Figures of Cranes, each realistically modeled as a figure of a red-headed crane standing on a wooden stump, the bodies glazed in brown with famille rosecolored feathered wings and red-crested topknots, h. 16‑3/4” and 17”. [150/300]

532

531 Chinese Famille Rose Porcelain Bowl, of circular outline with slightly flared rim, decorated in dark puce enamels with four reserve landscape panels bordered in yellow, blue and lime green, the base with a four-character Qianlong reign mark in overglaze blue within a double square, dia. 6‑3/8”. [1800/2500] Illustrated 532 Trio of Chinese Painted Pottery Figures, one depicting a cowherd atop a water buffalo, one depicting a dancing opera actor clad in armor, and one depicting a peasant practicing tai chi chuan, all with wooden and Lucite bases with protective Lucite boxes, h. 8” to 12”. [500/800] Illustrated

535

534

533 Pair of Chinese Cloisonne Bulbous Planters, 20th century, each of bulbous shape tapering to a narrowed foot, enameled in polychrome enamels on a blue ground with continuous scenes of carp and fancy goldfish among lotus and flowers, with a ruyi band at the neck and a plantain-leaf band at the base, h. 13‑1/2”, dia. 19”. [600/900] Illustrated

533

534 Good Chinese Cloisonne Figure of a Buddhistic Lion, mid‑20th century, executed in the Qianlong style, standing four square with removable head for use as an incense burner and enameled in polychrome enamels on a blue ground, with gilded details, presented on a custom wooden stand, h. 8”, l. 9‑1/2”. [300/500] Illustrated 535 Chinese Blue and White Porcelain Jardiniere, of circular form with slightly flared sides, decorated in underglaze blue with a continuous lakeside scene of figures and pavilions in a wooded mountainous setting, h. 7‑3/4”, dia. 10‑1/2”. [600/900] Illustrated

542 Elaborate Japanese Ivory Carving of the Dragon Festival, intricately carved as figures in the dragon boat riding in cresting waves among eddies, topped by a figure of a crane, signed, h. 2‑1/2”. [1200/1800] Illustrated

541

538

539

542

540

543 Chinese White Jade Pilgrim-Form Hanging Vase, the flattened pilgrim-form vase carved in low relief with archaic designs, elaborate dragon handles above loose rings, dragon heads with loose rings at the neck, a fitted cover with dog finial, and suspension chains attached to a floral scrollwork plaque, fitted on a custom stand with suspension surround and inlaid with silver wire at the base, overall h. 14”. [14000/18000] Illustrated 544 Fine Chinese White Nephrite Jade Ruyi Scepter, 19th century, the white stone carved as a fungus head atop a curving branch stem, the head carved as two bats among swirling clouds, the stem deeply undercut and carved as bats among foliage and a small fungus head, l. 11‑1/2”. [4500/7000] Illustrated

536 Chinese Blue and White Porcelain Jardiniere, of circular form with everted lip rim, decorated in underglaze blue with a central band of chrysanthemums and foliage, a basal lappet band and a border of ruyi heads at the top, dia. 10‑5/8”. [1000/1500] 537 Unusual Chinese Famille Rose Porcelain and Rosewood Condiment Set, late 19th century, composed of nine shaped porcelain condiment dishes, each decorated in famille rose enamels with figural decoration on the exteriors, in a custom fitted rosewood base with strap handles, w. 17‑1/4”, l. 17‑1/4”. [400/700]

543

538 Japanese Carved Ivory Figure of a Deity, the standing figure clad in draped robes and a tiara holding a lotus blossom atop a lotus seed pod on a galleried base, signed in the base, h. 8‑1/8”. [1400/1800] Illustrated 539 Chinese Carved Ivory Figural Group, depicting a group of male figures beneath a leafy canopy playing “Go”, attended by a female servant, h. 4”. [400/700] Illustrated 540 Chinese Carved Ivory Maternal Group, depicting a reclining Chinese woman lying on a banana leaf and holding a fan, with two children clamoring over her recumbent torso, l. 4”. [300/500] Illustrated 541 Chinese Carved Ivory Figure of the Daoist Deity Shou Lao, the standing bearded deity clad in loose robes holding his staff and a peach, with an acolyte clinging to his master, presented on a wooden scroll stand, h. 7‑1/4”. [600/900] Illustrated

544

546

545 Group of Six Books on Chinese Art, including The Freer Gallery of Art I, China and The Freer Gallery of Art II, Japan by The Freer Gallery of Art, The World of Ancient China by J. B. Grosier, Jade by J. P. Palmer, Chinese Bronzes by Mario Bussagli, and Antique Jade by Oscar Luzzatto-Bilitz. [50/80] Illustrated 546 Victorian Mahogany “Kidney”-Form Pedestal Desk, late 19th century, the superstructure with a threequarter pierced brass gallery and above central slotted compartments over a single long drawer, flanked to either end by a cupboard door, the kidney-form top with an inlaid leather surface above a conforming frieze fitted with three drawers, raised on two banks fitted with three small drawers, the sides and back all paneled, the whole inlaid with delicate foliate scrolling and urn patterns in the Adam taste, 42” h. 48” w. 26” d. [3000/5000] Illustrated 547 Fine Pair of Edwardian Gilt-Bronze Bowknotted Shadowboxes, first quarter 19th century, in the style of Robert Adam (English, 1728‑1792), each containing twelve plaster intaglios after Antique gems, h. 16”, w. 7‑1/2”. [1200/1800] 548 Edwardian Satinwood Armchair, ca. 1900, the domed crest above a vasiform splat, painted in the manner of Angelica Kauffmann (Swiss, 1741‑1807) to represent a vase of flowers, joined by high downswept arms to the caned seat, raised on paneled tapering square legs headed by a polychromed musical medallion and ending in toupie feet, h. 36”. [1200/1800] Illustrated

548

549 Pair of Edwardian Satinwood Occasional Tables, ca. 1900, each with an octagonal top with polychromed floral border surrounding a portrait medallion of a young maiden, above a conforming frieze with a polychromed garland, raised on delicate tapering square legs joined by an X-form stretcher, h. 28”, dia. 12‑1/2”. [1500/2500] Illustrated following page

545

550 Pair of George IV-Style Cut Glass Two-Light Sconces, each with a faceted spear back topped by a finial with pendant faceted bead chains, the two arms with like pendants and joined by a garland of beads, h. 20”, w. 18”. [200/400]

551 Good Victorian Carpathian Burl Elm and Mahogany Breakfast Table, third quarter 19th century, the highly figured tilting rectangular top raised on a heavily reeded, bulbous, foliate-carved standard to four scrolling likecarved legs ending in foliate toes, h. 28‑1/2”, w. 48”, d. 30‑3/4”. [3000/5000] Illustrated

549

555 Victorian Oak Sidechair, third quarter 19th century, having curvate stiles with ebonized flutes, a tufted seat and backrest, and fluted trumpet legs, h. 34‑1/2”. [100/150] 556 English Pre-Raphaelite Giltwood Looking Glass, third quarter 19th century, the rectangular plate surmounted by a winged cherub’s-head crest, each side pilaster featuring haloed maidens atop rocky crags emanating rays, h. 62‑1/2”, w. 52‑1/4”. [1500/2500] 551 552 552 Edwardian Satinwood Armchair, ca. 1900, in the Hepplewhite taste, the shield-form back centered by an oval panel of a painted cherub, joined by high downswept arms to the cushioned seat, raised on tapering circular legs headed by lotus accents and ending in toupie feet, the whole with delicate polychromed floral accents, h. 36”. [600/900] Illustrated 553 Pair of Edwardian-Style Satinwood Armchairs, 20th century, each with an ovoid caned crest within a floral-painted frame, joined by flat arms on turned uprights to the cushioned caned seat, raised on turned circular legs ending in splayed feet, the whole with decorative polychromed floral accents, h. 32”. [700/1000] Illustrated 554 Good English Chenille-Work Figure of a Spaniel, third quarter 19th century, the dog depicted seated on a petit-point cushion, the whole mounted on a brun fonce linen backplate within a period bird’s-eye maple frame with a giltwood fillet and glazed, overall 18‑1/2” x 16‑1/4”. [100/200]

557 Robert Fowler (British, 1853‑1926) “Portrait of a Maiden with a Garland of Flowers”, oil on canvas, signed lower right “Robert Fowler”, 19‑1/2” x 12”. Handsomely framed. [1400/1800]

558 Siegel et Stockmann, Paris, WaspWaisted Dressmaker’s Form, model 58 (32‑1/2” x 19‑1/2” x 38”), fourth quarter 19th century, the torso covered in close-weave muslin, presented on a tripodal ebonized wood stand, h. 59”. Siegel et Stockmann remain today the premier supplier of dressmaker’s forms and mannequins in the world; their “Confection Atelier” model B406 is the international standard form for haute couture. [600/900]

560

559 Siegel et Stockmann, Paris, Tailor’s Dummy, first quarter 20th century, gentleman’s size 30, the torso covered in close-weave muslin, presented on a tripodal wooden stand, h. 55”. [350/500]

560 Nine Books of “Gilded Age” Illustration, including four works with illustrations by Harrison Fisher (1877‑1934): Bachelor Belles (New York: Grosset & Dunlop, 1908), American Beauties (Indianapolis: Bobbs-Merrill, 1909; the inside board pasted with a presentation letter dated May 27, 1910 to “Miss Hattie” of Greenville, Texas from “The Orchestra” on behalf of Charles C. Robey of the Texas 62nd Judicial District), Pictures in Color (New York: Scribner’s, 1910), and Fair Americans (New York: Scribner’s, 1911); works with illustrations by C. Coles Phillips (1880‑1937), A Gallery of Girls, (New York: Century, 1911), Howard Chandler Christy (1873‑19582), Tennyson’s The Princess (Indianapolis: BobbsMerrill, 1911), and Caroline C. Lovell (fl. 1895‑1903), Peck’s Fair Women of Today (New York: Stokes, 1895); with the 1911 Annual of the Society of Illustrators (New York: Scribner’s, 1911), and a copy of Alexis Gregory’s Families of Fortune: Life in the Gilded Age (New York: Rizzoli, 1993). [125/250] Illustrated

561

553 561 Group of Three Evening Bags, including a petit-point evening bag, ca. 1920‑1940, with floral and pressed rose motif needlework, and having a small basket-mounted chain handle, lined in moire taffeta, h. 7‑1/2”, w. 7‑1/2”; a beaded bag, ca. 1885‑1900, with floral motifs including morning lilies, antique roses and sweet peas, with clear beaded fringe, complete with the original cording handle and adjustable threaded fitting, h. 11‑1/2”, w. 8”; and a seed pearl clutch, ca. 1940‑1950, with floral-enamel fittings, the satin lining with three pockets, original mirror and label reading “Hand Beaded / Made in France”, h. 5‑1/4”, w. 7‑1/2”. Provenance: Sara Stern, sister of Edgar Stern, Longue Vue House and Gardens, New Orleans, Louisiana, by descent to the consignor. [100/200] Illustrated

563

563 top

564 Sixteen Miscellaneous Reference Books on Antiques and Decorative Arts, including Judith Miller, A-Z of Antiques and Collectibles, Plantagenet Somerset Fry, World of Antiques, James Mackay, Encyclopedia of Small Antiques Oliver Brackett, Encyclopedia of English Furniture, Jeremy Cooper, Victorian and Edwardian Decor, Ignace Schlosser, The Book of Rugs: Oriental and European (two copies), Lucy Maxim, Russian Lacquer, Legends and Fairy Tales, Caron I. A. Ritchie, Modern Ivory Carving, Rene Clemenicic, Old Musical Instruments, Herbert F. Schiffer, The Mirror Book, Francoise de Bonneville, The Book of Fine Linen (two copies), and three sale catalogues, The Estate of Michael Taylor, Butterfield & Butterfield, San Francisco, April 7‑9, 1987, The Palm Beach International Art and Antique Fair, February 1‑11, 2001 and English and French Furniture of the Eighteenth Century, The Baker Furniture Co., Holland, Michigan, v. 39, no. 2104, complete with the original price list dated August 1, 1939. [150/300]

565 Pair of Edwardian Brass Two-Light Girandole Sconces, first quarter 20th century, in the Anglo-Irish style of the early 19th century, the scalloped octagonal backplates of reverse sunburst-cut mirrored glass, not electrified, h. 14‑1/4”, w. 12”, d. 5‑1/2”. [800/1200] Illustrated 566 Victorian Ebonized and Polychromed Tripod Table, mid‑19th century, the metallic circular top featuring a scene of spectators viewing the Crystal Palace across the river, raised on a turned baluster-form standard to three splayed scrolling legs, h. 20”, dia. 28”. [5000/8000] Illustrated 567 Pair of Victorian-Style Mahogany Cabinets, each with a rectangular top above a case fitted with six faux drawers with side locking mechanism simulating a Wellington chest, forming a single cupboard door, raised on a plinth base, h. 36‑1/4”, w. 21‑1/4”, d. 14‑3/4”. [1200/1800]

565 562 French Wedding Fan, fourth quarter 19th century, composed of ecru Brussels lace and brise mother-ofpearl, the sticks and guards pierced, engraved and silver painted, with a silk knotted tassel suspended from the ring, presented in the original satin-covered box, stick l. 9‑1/2”. Provenance: Sara Stern, sister of Edgar Stern, Longue Vue House and Gardens, New Orleans, Louisiana, by descent to the consignor. [200/400] 563 Victorian Rosewood Center Table, third quarter 19th century, the tilting, turtle-form, highly figured top with molded edge, raised on a reeded bulbous standard to four splayed scrolling supports ending in scrolled toes on casters, h. 30”, w. 58‑1/2”, d. 41‑1/2”. [2500/4000] Illustrated

566 top

568 JaponesqueStyle Lacquered Cabinet, mid‑20th century, the case fitted with two doors, each hinged to make four panels, the whole with gilt polychrome floral vases, raised on a square leg stand joined by a lower shelf and headed by pierced fretwork, h. 51”, w. 34‑1/2”, d. 18”. [800/1200]

566

569

572 detail

569 Anglo-Colonial Rosewood Center Table, mid‑19th century, the circular top with a gadroon-carved edge above a conforming floral- and foliate-carved frieze, raised on a bulbous and turned foliate standard to a concave tripartite base to paw feet, h. 29”, dia. 53”. [2500/4000] Illustrated

572

570 Paisley Wool Tablecloth, third quarter 19th century, in red, orange, gray, ochre, olive drab and gold, w. 62”, l. 131”. [200/400]

571 Collection of Six French Magnum Drapery Tiebacks, tasseled and corded in green, gold and scarlet cotton, l. 29”. [250/400]

583

572 Anglo-Colonial Rosewood Library Table, mid‑19th century, the rectangular top with a scroll-carved edge above a conforming frieze fitted with two drawers, the whole frieze with carved scrolling foliate and floral patterns, raised on end supports composed of a lyre design over a floral-carved rondel, terminating in splayed legs to acanthine toes, h. 28”, w. 53”, d. 22‑1/2”. [800/1200] Illustrated previous page

582

573 Pair of Dramatic Sculpted Tusks-on-Stands, the composite bodies realistically carved in the form of a pair of curved tusks with brass caps, mounted on attractive brass display stands, h. 21”, l. 16”. [600/900] 574 Indian Teak Shrine Cabinet, the cushion-molded cornice above two recessed cupboard doors, each paneled and with elaborate floral and foliate designs, opening and sliding to the side, over two hinged cupboard doors, paneled and with carved patera, the whole fronted by square uprights, raised on block feet, h. 83”, w. 61‑1/2”, d. 43”. [800/1200]

577

575 Pair of North African Carved Wooden Arch-Top Doors, first quarter 20th century, of tall size in the traditional style, each door carved, pierced and wroughtiron mounted, and bearing traces of old weathered paint, h. 89”, w. 29‑1/2”. [700/1000] 576 English Polychromed Black Lacquer Tray Table, early 20th century, the square tray with a full raised edge, and featuring a gilded and polychromed scene of ducks in an aquatic garden, in the chinoiserie taste, raised on a collapsible black-painted wooden stand with shaped legs, h. 22”, w. 21”. [350/500] 577 North African Wooden Two-Door Cabinet, first quarter 20th century, elaborately bone inlaid in “Tree and Foliage” decor, the velvet-lined interior fitted with four stationery slots, the doors surmounting a shallow transverse drawer, the reverse fitted with a later pair of aluminum suspension spandrels, h. 24‑1/2”, w. 14‑1/2”, d. 6‑1/4”. [400/700] Illustrated

584 Victorian-Style Wrought-Iron and Marble-Top Conservatory Table, the rectangular Saint-Jean Fleur marble top above a pierced frieze in the form of oak leaves and acorns, raised on scrolling supports joined by a fruitpatterned stretcher and ending in scrolled patera feet, h. 35”, w. 42”, d. 19‑1/2”. [1000/1500] Illustrated

584

585 Graduated Trio of English Provincial Lanterns, composed of antiqued wood and galvanized metal in the Georgian taste, each panel glazed, the galvanized metal canopies each fitted with a suspension ring, the largest h. 32‑1/2”, w. 18”. [250/400] 586 French Four-Fold Shadowbox Screen, early 20th century, composed of alternating ebonized and natural wood shadowbox frames, each containing a collection of moths or leaves, h. 43‑1/4”, w. 48”. [500/800]

578 Pair of Painted Cast-Iron Garden Urns, 19th century, of campana form, each with a circular gadroon-modeled lip above a reeded body, the waisted, fluted standard above a socle base, h. 19‑1/2”, dia. 15‑1/2”. [400/700] 579 Graduated Pair of English Provincial Lanterns, of large hexagonal form in the Georgian taste, composed of white-painted wood and galvanized metal, each glazed panel above a horizontally slatted reserve, each galvanized metal canopy fitted with an annular suspension ring, the largest h. 28”, w. 17”. [150/300]

587 Good Japanese Two-Part Tansu Chest, Meiji Period (1868‑1912), each rectangular section with two long drawers, original iron and bronze hardware and locks, the sides with handles for carrying and U-shaped joining locks, with a later plinth base for raising off the floor, h. 40”, w. 37‑1/4”, d. 16‑1/2”. Provenance: Major General Hugh John Casey, U.S. Army (1898‑1981). [1200/1800] Illustrated 588 Japanese Kutani Porcelain Covered Tea Storage Jar, 20th century, of tapered baluster form with inner lid and conforming cover, decorated in traditional enamels and gilding with a continuous scene of sages and attendants with a fretwork border at the base and a floral border at the shoulder, h. 8”. [75/125]

580 Victorian Painted Wrought-Iron Garden Armchair, late 19th century, the shaped back above a scrolling back, joined to the slatted seat by slatted scrolling arms, raised on cluster legs, h. 44‑1/2”. [350/500] 581 Victorian Painted Wrought-Iron Garden Chair, late 19th century, the rounded crest over a scrolling back, the slatted seat raised on twisted cluster legs, h. 44‑1/2”. [200/400] 582 Pair of Victorian Cast-Iron Garden Tables, late 19th century, each with a circular zinc-clad top raised on three scrolling supports terminating in splayed scrolled toes, h. 29”, dia. 25”. [600/900] Illustrated 583 Pair of Victorian Cast-Iron and Wooden Plank Garden Benches, late 19th century, each with rustically modeled iron legs and back in the form of gnarled branches, the seat and back with a weathered plank, h. 34”, w. 72”, d. 25”. [1000/1500] Illustrated 587

589 Good Framed Japanese Woodblock Print, 19th century, depicting a placid stream meandering through a rural village with figures promenading along the bank, h. 20”, w. 14‑3/4”. [200/400]

592

590 Three Rare and Fine Japanese High-Karat Gold Ojime Beads, Meiji Period (1868‑1912), the first of gourd shape with relief decoration of a figure, rockwork and plants, the second cast as a crouching tiger, and the third cast as a sage seated on a draped chair, each signed, h. 1/2” to 7/8”. [2500/4000] Illustrated 591 Japanese Split-Bamboo Screen Panel, first quarter 20th century, now mounted in a lacquered wood frame as a wind screen, the central panel of finely split bamboo strips mounted in a lacquered wood frame and stand above a panel of hares and foliage, h. 38‑1/4”, l. 52”, d. 11”. [250/400]

590

594 Japanese Carved Ivory Okimono, 20th century, depicting the well-carved figure of a boy dressed in an informal kimono holding a dragonfly in one hand while the other reaches out to catch another, signed, h. 7‑1/2”. [3000/5000] Illustrated 595 Japanese Kakiemon Saucer Dish, Meiji Period (1868‑1911), of slightly lobed outline, decorated in underglaze blue and polychrome enamels with a central floral spray bordered by a band of floral decoration, dia. 5‑1/4”. [1200/1800] Illustrated

594

592 Interesting Group of Japanese Carved and Natural Inro Accessories, comprised of five manju (three ivory, one cinnabar and one carved crystal), two carved ojime, two mask netsuke and an uncarved natural seed, l. 1‑5/8” to 2‑1/2”. [700/1000] Illustrated 593 Good Japanese Kakiemon Scalloped Bowl, the ribbed and scalloped body decorated in polychrome enamels with a central medallion of a kylin surrounded by floral decoration on both the interior and exterior, dia. 5‑3/4”. [300/500] Illustrated

596 Two Japanese Glazed Pottery Tea Bowls, 19th century, one example glazed all over in a dark brown glaze with blue and cream streaking in the center and at the foot rim, dia. 3‑1/2”, and the other, larger bowl glazed in mottled brown and ochre with gold lacquer repairs, one at the rim and the other in the interior bowl, dia. 4‑1/2”, presented together in a fitted, painted storage box. [500/800] Illustrated

593

596

599 Unusual Japanese Arita Porcelain Serving Dish, first half 20th century, decorated in underglaze blue, polychrome enamels and gilding with flowers, butterfly and stylized mon against a blown powderblue ground, dia. 14‑7/8”. [100/200] 600 Pair of Framed Japanese Woodblock Prints, 19th century, one depicting a pavilion interior with a harbor view and the other a landscape view in the snow from the steps of a temple, each matted, glazed and presented in a giltwood frame, h. 20”, w. 15”. [300/500]

601 Good Pair of Japanese Imari Porcelain Chargers, Meiji Period (1868‑1912), each of slightly lobed circular form decorated in underglaze blue and polychrome enamels with a central foliate medallion surrounded by alternating reserve panels of bamboo with flowers and shaped reserves of peacocks on rockwork, with a fuku mark on the base, dia. 12‑1/2”. [300/500]

595

602 Unusual Japanese Imari Porcelain Shallow Bowl, second half 19th century, elaborately enameled in polychrome enamels and underglaze blue with a central Kylin among blue and gilt foliage bordered by flowering plants and mons, dia. 9‑1/4”. [300/500] 603 Group of Four Oriental Carvings, comprised of a netsuke of a demon mask, a netsuke of a shi-shi, a jade carving of twin cats and a jade tubular bead with overall “cash”-carved decoration, h. 1‑3/4” to 2”. [600/900]

597 Large Japanese Porcelain Presentation Covered Bowl, 19th century, the hemispheric bowl with an underglaze blue squash finial, decorated on the exterior in red and black glaze with exotic birds and on the interior with peacocks amongst foliage in underglaze blue, h. 11”, dia. 12‑1/2”. [400/700]

598

598 Fine Japanese Lacquered Food Server, Tokugawa Period (1603‑1867), the outer case containing four stacking food containers, one footed tray and two individual trays, an open food container, a water container and waste container, all pieces decorated in black and gold lacquer with abalone inlay, with designs of various seashells and seaweeds indicating that the server was probably intended for serving sushi, h. 13”, l. 13‑1/2”, d. 7‑1/4”. [500/800] Illustrated

607

604 Group of Four Japanese Inro Items, comprised of a miniature single-compartment inro, an elaborate carved wooden manju of a coiled dragon with ivory eyes, and two netsuke: one a wooden figure of a tiger, the other a lacquered figure of a dog, h. 7/8” to 2”. [800/1200]

605 Group of Three Framed Japanese Woodblock Prints, 19th/20th century, one depicting figures on a bridge before a government building, another depicting a woman preparing ink at a table in a landscape, and one depicting two geishas in a forest setting, each floated on gold paper, matted, glazed and presented in a fauxbamboo frame, h. 21”, w. 16‑1/4”. [400/700]

610

606 Japanese Imari Porcelain Bowl, 19th century, of circular form with slightly scalloped rim, decorated in underglaze blue and polychrome enamels with a central mons, the sides with reserve panels of flowers on a floral ground, dia. 8‑7/8”. [250/400]

612

607 Good Set of Nine Japanese Imari Porcelain Rectangular Dishes, Meiji Period (1868‑1912), each with slightly canted corners, richly decorated in underglaze blue and polychrome enamels, with a central floral panel surrounded by reserve panels of landscapes with pavilions and panels of baskets with flowering branches, w. 5”, l. 8”. [500/800] Illustrated 608 Unusual Pair of Japanese Imari Porcelain Plates, Meiji Period (1868‑1912), each of slightly lobed circular form decorated in underglaze blue and polychrome enamels with peonies and asters on a bamboo frame, with sparrows flying among stylized clouds, dia. 9‑1/4”. [200/400] 609 Set of Six Japanese Porcelain Covered Rice Bowls, first half 20th century, each of circular form with conforming footed cover, decorated in underglaze blue, polychrome enamels and gilding in the Imari style, dia. 5”. [200/400]

610 Group of Nine Kagamibuta and Manju, comprised of seven Kagamibuta with ivory, wood or seed round beads with metal insets, a round porcelain manju and a square carved wooden manju, dia. 1‑3/8” to 1‑7/8”. [800/1200] Illustrated

617

611 Unusual Japanese Imari Porcelain Shaped Dish, 20th century, of oval outline with partially scalloped rim, decorated in underglaze blue, green and red overglaze enamels with gilt details as the “Three Friends” with ling chih fungus and two geometric brocade panels, l. 9‑1/4”. [200/400] 612 Large Japanese Covered Porcelain Vase, presented on a Continental gilt-metal base, the vase of baluster form with domed cover and a shi shi finial, decorated in underglaze blue and polychrome enamels with reserve panels of flowers and animals on a floral scrollwork ground, mounted on a gilt-metal base, h. 26‑1/2”. [7000/10000] Illustrated

618

613 Three Japanese Imari Porcelain Dishes, 19th century, comprised of a pair of plates with scalloped rims decorated in underglaze blue and polychrome enamels with scrolling foliage and avian reserves, and a deep saucer dish with alternating reserve panels of flowers and birds, dia. 5‑7/8” and 9‑3/4”. [125/250]

614 Good Framed Japanese Woodblock Print, 19th century, depicting a geisha in an elaborate kimono standing alongside a thatched rock hut, overall 20” x 14‑3/4”. [200/400] 621

615 Good Framed Japanese Woodblock Print, 19th century, depicting two geishas holding umbrellas and two fish vendors on a bridge, with a town and a bay in the distance, overall 20” x 14‑3/4”. [200/400] 616 Good Framed Japanese Woodblock Print, 19th century, depicting a lady in a brocade robe standing next to a palanquin in a garden setting, overall 20” x 14‑3/4”. [200/400] 617 Set of Three Japanese Kutani Porcelain Bowls, of graduated sizes, each decorated in iron red and gilding with central shaped medallions of a scholar and attendants bordered on the interior and stylized floral decoration on the exterior, dia. 7‑3/8” to 9‑3/4”. [300/500] Illustrated 618 Group of Ten Japanese Ivory and Lacquer Articles, comprised of eight ivory netsuke figures, masks, skull, monkey and shell, an ivory snuff dish, and a miniature lacquer inro with ivory and lacquer manju, h. 1‑3/4” to 2‑3/4”. [700/1000] Illustrated

621 The Baur Collection, Geneva: Japanese Sword Fittings and Associated Metalwork, by B. E. Robinson, 1980, limited edition of 1,500 copies, 444 pages, hardbound with slip cover, h. 11‑1/2”, w. 9‑1/4”. [150/250] Illustrated previous page

622

622 Group of Seven Japanese Netsuke, comprised of three figural and four canine examples, six in ivory and one in red and black lacquered wood, one ivory netsuke of a woman on a platform opens into two parts, h. 3/4” to 2‑3/8”. [800/1200] Illustrated

624

623 Japanese Edo Parcel-Gilt Black Lacquer Box, first quarter 19th century, of rectangular form, the lid gilded in “Lakeside Pavilions” decor, the interior fitted with four matching black lacquer boxes now containing French tinted bone game pieces, the interiors of all the boxes in dark “goldstone” lacquer, the bronze hasp of the primary box of yingyang configuration, h. 2‑1/2”, w. 8‑1/2”, d. 6”. [300/500] 624 Group of Six Japanese Ivory Netsuke and a Fruit-Form Snuff Bottle, the netsuke carned as masks, animals and a figure, the snuff bottle carved as a fruit with leafy branches, h. 1‑1/2” to 3‑1/4”. (7 pieces total.) [900/1200] Illustrated 625 The Signature Book of Netsuke, Inro and Ojime Artists in Photographs, by George Lazarnick, Reed Publishers, 1976, 455 pages, signed, in clear plastic cover, h. 11‑1/4”, w. 8‑3/4”. [100/200] Illustrated

619 Japanese Molded Imari Porcelain Umbrella Stand, the cylindrical body with low-relief ribbed molding decorated in underglaze blue, iron red and gilding with reserve panel decoration of flowers between scrollwork borders, h. 24”. [1200/1800] 620 Group of Fifteen Books on Oriental Arts and History, including Japanese Sword Fittings - Naunton Collection by H. L. Joly, The Hartman Collection of Japanese Metalwork by Christie’s, Legend in Japanese Art by Henri L. Joly, Introduction to Japanese Swords by W. M. Hawley, Japanese Arms and Armor by H. Russel Robinson, Japanese Sword Guards by John D. Hamilton, Arms and Armor of Old Japan by the Victoria and Albert Museum, The Samurai Sword by John M. Yumoto, Bonsai by Chartwell Books, Japanese Art by Alex R. Newman and Egerton Ryerson, Japan, a History in Art by Bradley Smith, It’s About Japan by Betty Killam, The Illustrated Library of the World and Its People, two volumes, Japan and Korea by Greystone, and Japanese Gardens for Today by David H. Engel. [150/250]

625

626 Netsuke and Inro Artists, and How to Read Their Signatures, by George Lazarnick, two volumes, Reed Publishers, 1981, 1,376 pages in clear plastic covers and original publisher’s shipping boxes, inscribed and signed by the author, h. 11‑1/2”, w. 9”. [500/800]

627

627 Three Books on Japanese Netsuke, comprised of Masterpieces of Netsuke Art by Bernard Hurtig, first edition, 1973, signed with a slip cover, Netsuke by Neil K. Davey, 1974, signed, and Netsuke - A Miniature Art of Japan, second edition, 1953. [150/250] Illustrated

631 Two Netsuke Collector’s Society Binders, consisting of the Journal of the International Netsuke Collector’s Society, 1973‑1981, Volume 1, number 1 through Volume 8, number 4, in two binders, along with Volume 20, numbers 1, 3 and 4, Volume 21, number 2, and Summer 2001 Journal Index, h. 10”, w. 6‑7/8”. [150/250] 632 Group of Eight Japanese Ojimi Beads, comprised of three inlaid metal beads, three carved ivory beads, an agate bead and a wooden bead carved as daruma, founder of the Zen sect of Buddhism, h. 1/2” to 1”. [400/700] Illustrated

632

633 Group of Eleven Carved Jade Toggles, in varying shades of celadon and rust-colored jade, carved as various animals, birds, insects and plants including lotus and fungi, l. 1‑1/4” to 3‑3/4”. [600/900] Illustrated

628 Large Japanese Bronze Ikebana Dish, first half 20th century, of circular form with incurved rim and resting on three integrally cast feet, with dark patination, dia. 12‑1/2”. [125/250]

629 Japanese Bronze Ikebana Dish, first half 20th century, of circular form with incurved rim, resting on a straight foot, with dark patination, dia. 9”. [125/250]

633

630 Unusual Japanese Lacquer Document Box, Meiji Period (1868‑1912), the rectangular box lacquered in black, the cover with gold lacquer decoration of sea shells and seaweed and recessed, shaped, pierced openings with inset pieces of tortoiseshell, mother-of-pearl, porcelain and bone with floral decoration, h. 2‑3/4”, l. 15‑1/2”, w. 4‑1/2”. [250/400]

637 English Carved Oak Hall Chair, mid‑19th century, in the Jacobean taste, the scalloped crest flanked by ball finials and over three reeded splats flanked by turned uprights, the wooden seat raised on turned and block legs ending in ball feet and joined by a turned stretcher, h. 46‑3/4”. [150/300] 638 English Oak Gate-Leg Table, early 19th century, the rounded rectangular top with two ovoid drop leaves, above a frieze fitted with a single end drawer, raised on a gateleg support of turned and bulbous legs joined by a box stretcher and ending in ball feet, h. 29”, w. 19‑1/2”, l. 48”, extended l. 59‑1/2”. [1800/2500] Illustrated 639 Good Spode Ironstone Combed-Back Platter, second quarter 19th century, of oblong octagonal form in the Imari taste, the reverse with a blue transfer-printed mark underglaze “Spode/Stone-China” and a gilder’s numeral in overglaze iron red, w. 10‑3/4”, l. 14‑1/2”. [100/200] Illustrated

639 635

634 Nine Books on Japanese Netsuke, comprised of Collectors’ Netsuke by Raymond Bushell, Netsuke - A Guide for Collectors by Mary Louise O’Brien, The Art of the Netsuke Carver by Frederick Meinertzhagen, The Netsuke Handbook by Ueda Reikichi, Netsuke - The Miniature Sculpture of Japan by Richard Barker and Lawrence Smith, An Introduction to Netsuke by Joe Earle, Japanese Netsuke by Werner Forman, Netsuke by F. M. Jonas, and The Wonderful World of Netsuke by Raymond Bushell. [100/200] 635 English Oak Welsh Dresser, early 19th century, the molded cornice above a floral guilloche-carved frieze, over a long open shelf and two smaller central shelves flanked to either side by a paneled cupboard door, the lower section with a rectangular top with molded edge above a case fitted with two drawers, each fronted by two raised and shaped panels, the whole raised on turned baluster-form legs to block feet, h. 81‑1/2”, w. 59”, d. 20‑1/2”. [1800/2500] Illustrated 636 Suite of Eight Carolean-Style Oak Dining Chairs, late 19th century, consisting of two armchairs and six sidechairs, each with a domed and pierced foliatepatterned splat, the cushioned seat raised on turned and carved inverted cup legs joined by a shaped X-form stretcher and ending in flattened bun feet, upholstered in Scalamandre chenille fabric, h. 50”. [1500/2500]

100

638

647 Good Staffordshire Earthenware Platter, first quarter 19th century, of deep elliptical form and blue transfer printed in “Oriental Pavilions” decor, w. 14”, l. 18”. [250/400] 648 English Cobalt Blue Glass Punch Ladle, first quarter 19th century, l. 11‑1/4”, probably of Bristol origin. [75/125]

644

649 Rare, Large English Cobalt Blue Glass Whimsy, first quarter 19th century, in the form of a Georgian pipe, probably of Bristol origin, l. 20”. A similar pipe whimsy is in the famed Billups Collection of glass at the New Orleans Museum of Art. [50/80]

640 Graduated Pair of Staffordshire Pottery Pitchers, third quarter 19th century, the lustre-banded, transferprinted and polychrome-overglazed pitchers in floral decor, h. 6‑1/2” and 9”. [100/200] 641 Caroleon-Style Mahogany Armchair, late 19th century, the shaped crest centered by a crown carving flanked by scrolls and finials, the bisected caned back flanked by barley-twist uprights and joined to the cushioned and caned seat by downswept arms, raised on saber legs joined by a scroll-and-crown front stretcher, h. 45‑3/4”. [400/700]

650

642 Pair of English Walnut Sidechairs, partially composed of antique elements, in the Jacobean taste, each with a padded rectangular back above the padded seat, raised on block and bulbous legs joined by turned stretchers and ending in bun feet, h. 40‑1/2”. [800/1200] 643 Dutch Oak Vitrine Cabinet, third quarter 19th century, the domed and molded cornice above an astragal-glazed door, the sides also glazed, the lower section fitted with two shaped drawers, raised on paneled, tapering circular legs joined by shaped stretchers and ending in bun feet, h. 66‑1/2”, w. 33‑1/2”, d. 10”. [1000/1500] 644 English Oak Drop-Leaf Gate-Leg Table, 19th century, the rounded rectangular top with two drop ovoid leaves, raised on a gate-leg support of turned balusterform legs joined by stretchers and ending in block feet, h. 30”, w. 63‑1/2”, d. 19”, extended l. 71”. [1500/2500] Illustrated 645 Good English Manganese-Ground Delftware Punchbowl, third quarter 18th century, with a blue and white floral interior, h. 3‑7/8”, dia. 10‑1/2”. [200/400] 646 English Blue and White Ironstone Shaped Serving Platter, second half 19th century, in underglaze blue with a “Nanking”-style lakescape bordered by an oriental-style border, w. 13‑1/2”, l. 17”. [250/400]

650 Provincial Fruitwood Library Ladder, fitted with five rungs and a banister, the back supported by turned bulbous supports and a like S-form stretcher, h. 81”, w. 19”, d. 37”. [600/900] Illustrated

101

651 English Oak Secretary Bookcase, mid‑19th century, in the George III style, the molded cornice above a grapevine-carved frieze, with two astragal-glazed doors below, each door with a lower vine-carved panel and like-carved banding, the lower section fitted with a slant front opening to a variety of drawers and cubbyholes, flanking a central cupboard, over three short drawers and three graduated long drawers, raised on bracket feet, the lower section carved en suite, h. 92‑1/2”, w. 42”, d. 21”. [2000/4000] Illustrated

652

651 654 652 English Carved Oak Stool, mid‑19th century, in the Gothic Revival taste of Augustus Welby Northmore Pugin (1812‑1852), the padded rectangular top above an arched frieze with pendant trefoils, raised on molded legs joined by a box stretcher, h. 21”, w. 24”, d. 16”. [800/1200] Illustrated 653 Three-Piece Group of English Majolica, fourth quarter 19th century, consisting of a dessert plate in “Leaf and Berry” decor, with an attractive sponged cavetto; a slightly larger shallow fruit dish in “Strawberry Spray” decor, with a basket-weave interior; and an attractive shaded green circular two-handled footed pastry stand in “Grape Leaf and Fern” decor with a Greek-key border; dia. 8‑3/4” to 10”. [125/250] 654 Provincial Oak and Metal Bird Cage, early 20th century, of traditional domed form, the cage fitted with a swing, a perching bar and food dish, h. 36”, dia. 18‑1/2”. [200/400] Illustrated

102

656 Queen Anne-Style Walnut Settee, late 19th century, the double-domed back bisected and padded, joined to the cushioned seat by shaped sides and outscrolled arms, raised on reeded ball and block legs joined by shaped Xform stretchers and ending in whole-scrolled feet, now upholstered in Scalamandre “Igor” extravagant dragon lampas, h. 48‑1/2”, w. 62‑1/2”, d. 25”. [2000/4000] 657 English Oak Bookcase, early 20th century, in the Arts and Crafts taste, the molded cornice above a bisected case fitted with nine open shelves, the fronts with brass tack accents, raised on a plinth base, h. 90”, w. 54‑1/4”. [1000/1500]

655

658

659

658 Rare Swedish Ashwood Armchair, late 18th century, in the Queen Anne taste, the domed crest centered by a large carved shell above a baluster-form splat, joined by shaped foliate-carved arms to the padded seat, raised above a shell-carved apron on cabriole legs ending in pad feet, h. 45”. [1200/1800] Illustrated

655 H. M. Wilson (British, 19th Century) “The Flower Seller”, oil on canvas, signed and dated lower right “H. M. Wilson, 1875”, 26‑3/4” x 23”. Presented in a period giltwood frame. [800/1200] Illustrated

659 George III Mahogany Linen Press, partially composed of antique elements, the molded cornice above a case fitted with two paneled doors, the lower section fitted with a single long drawer over three small drawers, the domed and shaped apron raised on cabriole legs ending in pad feet, h. 69‑1/2”, w. 40‑1/2”, d. 22‑1/2”. [800/1200] Illustrated

103

660 George III Mahogany Drop-Leaf Dining Table, third quarter 18th century and later, of generous proportions, the demi-lune drop leaves supported by fly legs, the legs of cabriole form ending in ball-and-claw feet, h. 29”, w. 54‑1/2”, l. 25”, extended l. 66”. [1400/1800] Illustrated

663

661 Set of Six Continental Floral-Decorated Porcelain Dessert Plates, of oblong form in the 18th-century style, each with an underglaze blue backstamp, w. 8‑1/2”. [400/700] 662 Queen Anne-Style Elm and Burl Armchair, 19th century, the shaped back joined by shepherd’s-crook arms to the padded oval seat, raised on cabriole legs headed by shell carving and ending in ball-and-claw feet, h. 36”. [800/1200] Illustrated 663 Dutch Mahogany and Oak Hanging Vitrine Cabinet, early 19th century, the molded and domed crest above a case fitted with a single astragal-glazed door opening to a mirrored interior, raised on a molded base, the whole accented with floral marquetry inlays, h. 25‑1/2”, w. 35”, d. 8‑3/4”. [700/1000] Illustrated

662

664 Unusual American Copper and Brass Patented Foot Warmer, first quarter 20th century, patented December 2, 1911 by Paul G. Leistner (1858‑1916), St. Charles, Missouri, the copper body of elliptical form, the brass screw-cap with elliptical swing handle, w. 7‑1/2”, l. 12”. After two successful but short-lived partnerships, Bavarian-born Leistner opened his own foundry in St. Charles in 1898. He manufactured primarily plumb bobs on machinery powered by dogs running in a large “hamster” wheel which was not replaced by a gasoline engine until 1911. Among his patented designs a shaded garden table, an improved “reversible” railroad car seat, and here, patent number 1,011,452: a “hot water bottle” which also came in a model which had a compartment for warming a baby bottle. The firm was run by Leistner’s sons - Oscar, Paul, Jr. and Theodore - and later his grandsons until the 1950’s. [100/200]

665 Two-Piece Group of Staffordshire Pink Lustreware, consisting of an English pinklustred creamware footed bowl in “Strawberry Vine” decor, second quarter 19th century, h. 8‑1/2”, dia. 6‑3/4”; and a fine, large and rare English pink resist lustre sparrow-beak pitcher, first quarter 19th century, in floral decor, h. 9”, dia. 7‑1/4”. [125/250]

660

104

Session II

Sunday, July 18, 2010

11:00 a.m. (Lots 666-1122)

666

668 Lady’s Fourteen-Karat White Gold, Quartz and Diamond Pendant Necklace, composed of a pear-cut orangey-brown quartz, weighing an estimated 5.50 carats, set in a white gold frame set with an estimated .72 carats of white diamonds, suspended on a white gold link chain. [100/200] 669 Pair of Fourteen-Karat White Gold, Diamond and Sapphire Pendant Earrings, each composed of diamond- and sapphire-set tops suspending a three-pronged drop with two sapphires and diamonds. [125/250]

666 Lady’s Eighteen-Karat Yellow Gold, Tourmaline, Onyx and Diamond Art Deco-Style Brooch, the navette-shaped gold frame centrally set with a bulletshaped tourmaline composed of pink ends with a ribbed green center, surrounded by a black onyx and diamond border, estimated total diamond weight 1.53 carats. [400/700] Illustrated

670 Fourteen-Karat Yellow Gold, Amethyst and Diamond Pendant Attachment, the oval, floral yellow gold frame centrally set with an estimated 9.35-carat deep purple amethyst, and an estimated .32 carats of round brilliantcut diamond in the foliate border. [150/300]

667 Dramatic Eighteen-Karat Yellow Gold, Platinum, Ruby and Diamond Necklace and Earrings Suite, composed of an open link necklace, detachable pendant drop and a pair of earrings, en suite, the suite set with eleven oval cabochon rubies, estimated total weight 110 carats, and three hundred seventy-seven round brilliantcut white diamonds, estimated total weight 30 carats, the earrings with clip backs, each piece with applied plaques stamped “Chaumet N.Y.”. [14000/18000] Illustrated

672

667

671 Lady’s Eighteen-Karat Yellow Gold, Amethyst and Diamond Lady’s Ring, of squared outline, composed of five sugar-loaf amethyst cabochons set in a cross pattern and accented by round brilliant-cut white diamonds. [600/900]

673

108

674 672 European Cuff Bracelet, composed of fourteen-karat yellow and white gold, enamel, diamonds and a sapphire, the gold and cobalt enamel body with a central circular medallion set with a stylized diamondset flower with a central oval-cut blue sapphire, executed in the late Victorian style. [2000/4000] Illustrated

675

675 Dramatic Boucheron, Paris, Eighteen-Karat Yellow Gold, Opal and Diamond Fanciful Fish Brooch, the oval body formed from an intense colored black opal doublet set in an eighteen-karat yellow gold body with fins formed of twisted and pulled gold wires, set with an estimated 1.0 carats of round brilliant-cut white diamonds, signed Boucheron Paris, with a double-pin clasp. [600/900] Illustrated 676 Lady’s Eighteen-Karat Yellow Gold, Tanzanite and Diamond Ring, composed of a central rectangular-cut tanzanite, weighing an estimated 13.26 carats, mounted above eighteen round brilliant-cut diamonds, estimated total weight .76 carats, in a heavy yellow gold mount. [1000/1500] Illustrated

676

677 Group of Four Fourteen-Karat Yellow Gold, Lapis Lazuli and Diamond Necklaces, each composed of faceted lapis lazuli beads with diamond-set yellow gold rondels, each necklace with a disappearing screw clasp capable of joining to the others creating variations of use and length. [300/500]

680 673 Lady’s Fourteen-Karat Yellow Gold, Lapis Lazuli, Sapphire and Diamond Link Bracelet, composed of five lapis lazuli square plaques joined by yellow gold links set with an estimated 1.68 carats of blue sapphires and 2.16 carats of white diamonds, joined by a square enamel and rose-cut diamond clasp, l. 7‑1/2”. [1400/1800] Illustrated 674 Pair of Portuguese Victorian-Style Pendant Earrings, of twelve-karat yellow gold, lapis lazuli, rubies and diamonds, each composed of a trefoil lapis drop overlaid in gold, set with rose-cut diamonds and rubies, with diamond-set silver side supports, suspended from a circular lapis top with a central diamond-set silver flower, h. 2‑5/8”. [1200/1800] Illustrated

678 Unusual EighteenKarat Yellow Gold and Sapphire Pendant, the yellow gold frame centrally set with a heart-shaped white sapphire, weighing an estimated 11.04 carats, surrounded by an inner row of oval-cut blue sapphires and an outer row of pear-cut yellow sapphires, total estimated weight of auxiliary sapphires 5.98 carats. [250/400]

109

679 English Victorian Fifteen-Karat Yellow Gold and Carnelian Fob Seal, ca. 1870, the yellow gold mount cast as confronting fish with entwined tails over a ribbed and foliate base, the base set with a carnelian intaglio monogram, suspended on a wooden display stand, overall h. 5”. [300/500] 680 Dramatic Italian Eighteen-Karat Yellow Gold, Enamel, Diamond and Ruby Bangle Bracelet, the gold body cast as the head of a horse with a segmented serpentine body and twisted hair tail, enameled in translucent turquoise and opaque blue and white enamels, with diamond-set details to the horse’s nose and tail and ruby eyes, total estimated diamond weight .65 carats. [2500/4000] Illustrated previous page

681

681 Pair of Eighteen-Karat Yellow Gold, Chalcedony and Diamond Clip Earrings, each cast as layered fans set with blue and green chalcedony edged in an estimated 1.74 carats of round brilliant-cut white diamonds. [300/500] Illustrated

688

682 European Fourteen-Karat Yellow Gold and Diamond Bangle Bracelet, the flattened body with random etched decoration, topped by prong-set rose-cut diamonds of varying shapes on a wavy shaped band. [1800/2500] Illustrated

683

683 Pair of Fourteen-Karat Yellow Gold, Coral, Onyx and Diamond Clip Earrings, each in the form of a cougar’s head pave set with an estimated 1.59 carats of round brilliant-cut white diamonds, suspending a coral circle in its mouth. [300/500] Illustrated 684 Pair of Eighteen-Karat Yellow Gold, Enamel, Diamond and Citrine Earrings, each composed of confronting hearts with black enamel topped by a field of pave-set white diamonds, the lower heart centered with a bezel-set citrine and attached to the upper heart by a horizontal bar with citrine terminals. [100/200]

682

685 Fourteen-Karat Yellow Gold, Onyx, Diamond and Sapphire Necklace, composed of spherical onyx beads with gold rondels and a frontal V-shaped clasp set with brilliant-cut white diamonds, estimated .58 carats, and an oval-cut golden sapphire, estimated 16.11 carats. [800/1200] 686 Lady’s Six-Strand Choker, with fourteen-karat yellow gold, blue topaz and diamond clasp, composed of six strands of onyx beads joined by a fourteenkarat yellow gold rectangular clasp set with an estimated 58.67-carat oval-cut blue topaz, flanked at the corners by white diamonds, estimated .64 carats. [500/800]

110

687 Lady’s Eighteen-Karat Yellow Gold, Onyx and Diamond Band Ring, composed of a yellow gold body set with three black onyx plaques, the plaques separated by channel-set groups of three white diamonds on either side of the central onyx plaque. [40/70]

694

688 Lady’s Custom Fourteen-Karat Yellow Gold, Tourmaline and Diamond Ring, composed of a central rectangular-cut chrome tourmaline, weighing an estimated 8.10 carats, set in a cast-foliate mounting with eleven round brilliant-cut white diamonds, estimated total weight .61 carats. [300/500] Illustrated 689 European Eighteen-Karat Yellow Gold, Emerald and Diamond Lady’s Ring, the tapering yellow gold body with a narrow opening at the center, set with two rows of calibre-cut emeralds, estimated total weight .70 carats, flanked on three sides by rows of bead-set white diamonds, estimated total weight 1.30 carats. [1000/1500]

691

690 Fine Lady’s Eighteen-Karat White Gold, Aquamarine and Diamond Art Deco-Style Brooch, composed of a rectangular step-cut aquamarine, weighing an estimated 27.8 carats, set with a white gold floral spray set with an estimated .68 carats of white single-cut diamonds, also with a bail for suspension as a drop. [2000/4000] Illustrated

690

692 Pair of Eighteen-Karat White Gold, Aquamarine and Diamond Drop Earrings, composed of a matched pair of rectangular step-cut aquamarines in cage mounts, each suspended from a top set with two baguette-cut and one round brilliant-cut white diamond, estimated total diamond weight .66 carats. [1800/2500] 693 Lady’s Eighteen-Karat White Gold, Zircon and Diamond Ring, composed of a central prong-set roundcut blue zircon, weighing an estimated 17.59 carats, and a pave-set mounting containing .76 carats of white diamonds and 1.73 carats of cognac and brown-colored diamonds. [500/800] 694 Good Pair of Eighteen-Karat Yellow Gold, Aquamarine and Diamond Earrings, each composed of a central pear-cut aquamarine surrounded by a border of round brilliant-cut white diamonds, with an estimated total of 20.00 carats of aquamarines and 2.50 carats of diamonds. [4500/7000] Illustrated

691 Stunning Lady’s Eighteen-Karat White Gold, Aquamarine and Diamond Dinner Ring, composed of a central rectangular step-cut aquamarine, weighing an estimated 15.53 carats, flanked by thirty-two round brilliant-cut white diamonds, estimated total diamond weight 2.80 carats. [2500/4000] Illustrated

695 Lady’s Custom Eighteen-Karat Yellow Gold, Aquamarine and Diamond Cocktail Ring, composed of a central prong-set rectangular cushion-cut aquamarine, weighing an estimated 2.41 carats, in a wire setting accented by eighteen round brilliant-cut white diamonds, estimated total weight .90 carats. [1200/1800]

111

701 Two Woven Cane and Rattan “Nantucket Lightship” Handbags, 20th century, each of oval form, one example with an ivory whale-mounted cover along with an ivory latch peg and knobs, the base signed “EJD III 2‑84”, h. 12”, w. 10”, d. 7‑1/2”; the other example with an undecorated hardwood-centered cover along with a bone latch peg and knobs, the interior base signed “Terry Sylvio/ Nantucket Island”, h. 11‑3/4”, w. 10”, d. 7”. [800/1200] Illustrated

699

698

702 Large Vintage Chocolate Brown Alligator Frame Handbag, the interior lined in cognac faux leather, bag h. 10‑1/4”, w. 13‑1/4”, overall h. 17”. [50/80]

697

696

701 696 Gucci Silk Scarf, having a red ground decorated with assorted Empire-style coffee cups, the border with various scenes of putti and chinoiserie figures, with a Bergdorf Goodman and Gucci tag attached at the edge, 34” x 34”. [40/70] Illustrated 697 Gucci Black Leather Belt, the leather strap, h. 1”, stamped in gold on the rounded exterior end with the Gucci coat of arms and “85‑34” below it, “036/084/09390” stamped on the reverse, the silver and gold-tone brass Gucci logo buckle with impressed “GUCCI ITALY MOD. BREV.” [50/80] Illustrated 698 Two Gucci Contoured Leather Belts, one leather strap black and the other tan, both h. 1‑3/4”, with matching gold-tone brass Gucci logo buckles stamped “GUCCI ITALY MOD. BREV. 153092”, both size 34. [50/80] Illustrated 699 Gucci Polished Black Alligator Handbag, having two flat alligator handles and flip tab gold-tone clasps at both upper corners, the zippered interior pocket stamped in gold “GUCCI pour G. DEBY/BRUXELLES/MADE IN ITALY”, accompanied by a Gucci cotton dust bag, overall h. 14”, w. 12‑1/4”. [400/700] Illustrated 700 Two Louis Vuitton Monogram Handbags, comprised of a structured shoulder bag with a rigid strap and top zippered closure, bag h. 9‑1/2”, top of strap h. 18”, w. 11”; and a small clutch, also with a top zippered closure, h. 5‑3/4”, w. 7‑1/2”. [200/400] Illustrated

112

700

703

703 Two Ferragamo Black Leather Handbags, one example a large double-strap tote with “Ferragamo”stamped gunmetal trim including five small feet, the zippered top opening to one long zippered compartment, the exterior bearing a black leather tab gold-stamped “Salvatore Ferragamo/AQ‑21 065 MADE IN ITALY”, and several drop-in pouches all covered in logo fabric, the optional shoulder strap lacking, bag h. 11”, w. 16”, overall h. 19‑3/4”; the other example a logo-stamped gilt-brass-mounted camera bag, model number 21‑4020, with zippered top and flap front pocket having a circular gilt-brass snap closure, the black leather-lined interior with a side zippered pocket gold-stamped “Salvatore Ferragamo/Firenze 17/MADE IN ITALY”, the shoulder strap adjustable, accompanied by the original Ferragamo care card, inventory tag and cotton drawstring dust bag, bag h. 8”, w. 9‑1/2”, overall h. 26”. [200/400] Illustrated 704 Two Rare Vintage Large Bottles of Guerlain Extrait de Parfum Shalimar No. 92, ca. 1959, Paris, each presented in a Baccarat urn-shaped crystal flacon, the fluted body with inset black and gold label “Shalimar” and raised on a scalloped oval foot, the bottle still sealed with cork, paper wrapper, black and gold silk cord and gold seal stamped “G” and “Paris”, and retaining the blue ventaille-form stopper, in the original “Presentation Avion” packaging, the bottle acid etched on the underside with “Guerlain/Paris” and the Baccarat mark, estimated size overall h. 8”, w. 5‑1/2”, d. 2‑1/2”, each presented in the original fitted lilac-flocked box, one example still sealed in the original cellophane and paper wrapping with paper ribbon and Guerlain seal, with notation in pencil on the top “Paris 1959”, h. 9‑3/4”, w.  6‑3/4”, d. 3”. Jacques Guerlain (1874‑1963) began to formulate Shalimar, which was to become the parfumier’s flagship scent, in 1921. Named for the garden of Shalimar in Lahore, it was the first perfume of note to use the synthetic fixative vanillin, giving it a lighter note than traditional civet-based scents. Shalimar opens with a powerful note of bergamot before melding into a sensual mixture of lemon, flowers and sweet myrrh that remains the archetype of fragrances classified as “Oriental”. The perfume was introduced at the 1925 Paris Exposition Universelle des Arts Decoratifs (which gave Art Deco its name) in the now-iconic bottle designed by Raymond Guerlain (1900‑1969) and manufactured by Cristalleries de Baccarat (bottle design No. 597) in four sizes - of which those in the present lot are the largest. [300/500] Illustrated

705 Furla Navy Blue Leather Double Strap Shoulder Bag, comprised of two large top-zippered compartments, the exterior of one with impressed: “FURLA”, flanking a void center with a circular Furla-stamped magnetic closure, retaining the original black Furla hang tag with a white sticker marked: “#1271” accompanied by the powder blue cotton drawstring dust protector, overall h. 24‑3/4”, bag h. 8‑3/4”, w. 11‑1/2”. [100/200] 706 Paloma Picasso Black Saffiano Leather Envelope Clutch, the gilt-brass shield and crescent closure engraved “Paloma Picasso” in script, the black faille interior with a zippered side pocket bearing a leather tab gold-stamped “Paloma Picasso” in script, the leather strap removable, h. 8”, w. 11‑3/4”. [125/250]

704

113

710

709

711

709 Judith Leiber Pleated Black Ostrich Frame Clutch, the shaped gilt-brass and ostrich bar with a cabochon onyx clasp, the interior lined in black faille and bearing a gilt-brass Leiber signature plaque, fitted with a gilt-brass swing-arm two-sided purse mirror and a small gilt-brass comb, the thin ostrich shoulder strap removable, h. 7‑1/4”, w. 10”. [300/500] Illustrated 710 Judith Leiber Gathered Black Snake and Onyx Frame Clutch, the undulating reeded and onyx-set gilt-brass bar with a step-cutonyx flip-over clasp, the interior lined in black faille bearing a gilt-brass Leiber plaque and fitted with a gilt-brass swing-arm two-sided purse mirror and comb, the thin lizard strap removable, h. 8”, w. 12‑1/4”. [300/500] Illustrated

707 715

707 Hermes, Paris, Chocolate Brown Alligator Handbag, with double rigid horseshoe-shaped handles and flap closure with two “HERMES”-stamped H-form gilt-brass clasps, resting on four tapering circular feet and stamped in gold at the upper exterior edge beneath the cover “HERMES/PARIS/MADE IN FRANCE/O”. [400/700] Illustrated 708 Two Judith Leiber Contoured Belts, one example a black-edged ecru snake strap and matching two-tone gilt-brass-edged trapunto buckles, the other example in red lizard with buckles fashioned as brushed gold sleeping cats with silver bows, both buckles bearing a raised banner label stamped “Judith Leiber”, the adjustable straps stamped in gold on the interior “Judith Leiber” in script, l. 37” and 26”. [100/200]

8 114

714

711 Judith Leiber Shirred Black Snake and Semiprecious Stone Frame Clutch, the bar set with a single rectangular cabochon onyx, carnelian, sodalite, aventurine, rose quartz and tiger’s eye stones, the side closure set with a cabochon onyx , the black faille-lined interior bearing a gilt-brass Leiber plaque and fitted with a faille coin purse and a thin drop-in lizard strap, h. 6‑1/2”, w. 8‑3/4”. [300/500] Illustrated

716

716 Exceptional Pair of Platinum, Emerald and Diamond Drop Earrings, each composed of a central round-cut intensely colored emerald surrounded by round brilliantcut white diamonds and suspended from a circular top set with a central Old European-cut diamond surrounded by brilliant-cut white diamonds, with a total emerald weight of 16.31 carats and 3.51 carats of diamonds. [40000/70000] Illustrated 717 Lady’s Fourteen-Karat Yellow Gold and Diamond Engagement Ring, composed of a central round brilliantcut diamond, 3.03 carats, H color, SI2 clarity, in a sixprong setting, flanked on either side by two marquise-cut and nine tapered baguette-cut diamonds averaging I color and SI1 clarity. [8000/12000] Illustrated

717

712 Lady’s Eighteen-Karat Yellow Gold, Emerald and Diamond Ring, composed of a central square step-cut emerald, weighing an estimated 1.62 carats, surrounded by an estimated 4.50 carats of round brilliant-cut white diamonds in a pave setting bordered by outer borders of yellow gold prongs. [600/900]

718

713 Fine Art Deco Platinum and Diamond Dress Clip, the body cast as groups of flowers and stems crossing into an arch shape and above a rayed sunrise, with a total estimated diamond weight of 4.50 carats. [4000/7000] 714 Fine Eighteen-Karat White Gold, Emerald and Diamond Lady’s Ring, composed of three intensely colored rectangular step-cut emeralds, with a total weight of 2.76 carats, surrounded by an estimated 1.50 carats of round brilliant-cut white diamonds. The emeralds in this ring exhibit an incredible intensity of color. [14000/18000] Illustrated 715 Spectacular Platinum, Tourmaline and Diamond Lady’s Dinner Ring, composed of a central rectangular step-cut green tourmaline, weighing 25.05 carats, surrounded by a foliate border of round brilliant-cut white diamonds with an estimated total of 6.00 carats. [12000/18000] Illustrated

718 Good Pair of Fourteen-Karat White Gold and Diamond Stud Earrings, composed of round brilliant-cut white diamonds in basket settings with screw-post backs, with a total estimated diamond weight of 4.02 carats. [12000/18000] Illustrated

115

721 Brilliant Eighteen-Karat White Gold, Sapphire and Diamond Lady’s Spray Brooch, composed of sixteen marquise-cut blue sapphires with an estimated total weight of 2.76 carats and fifty-eight round brilliant-, baguette- and marquise-cut white diamonds, estimated total diamond weight 4.70 carats, all set in a spray-form mounting. [1500/2500] Illustrated

720

719 Fine Art Deco-Style Platinum, Diamond, Emerald and Sapphire Flexible Link Bracelet, composed of twenty square links, each set with round brilliant-cut white diamonds and either calibre-cut blue sapphires or emeralds, with a total of 4.97 carats of diamonds, 3.70 carats of emeralds and 9.59 carats of sapphires. [14000/18000] Illustrated 720 Fourteen-Karat White Gold and Diamond Tennis Bracelet, composed of semi-channel-set round brilliantcut white diamonds with an estimated total weight of 3.0 carats, the links creating a supple, sensuous bracelet. [1200/1800] Illustrated

721

722

719

722 Exceptional Platinum, Sapphire and Diamond Lady’s Ring, composed of a central cushion-cut blue sapphire of intense, velvety color, 7.05 carats, VVS1 clarity, surrounded by 2.24 carats of round brilliant- and tapered baguette-cut white diamonds. [30000/50000] Illustrated

116

723 Dramatic Platinum, Diamond and Sapphire Art Deco Octagonal Lady’s Ring, composed of a central bezelset 1.45-carat Old European-cut diamond surrounded by two rows of calibre-cut sapphires totaling 1.90 carats, arranged in octagonal outlines. [7000/10000] Illustrated

726 Pair of Fourteen-Karat White Gold, Ruby and Diamond Drop Earrings, in the Art Deco style, composed of a central filigree white gold disk set with mixed cut diamonds surrounded by a circle of calibre-cut rubies. [1200/1800] Illustrated

723

724 Unusual Platinum and Diamond Engagement Ring, composed of a central 2.05-carat heart-cut diamond in a bezel setting, flanked on either side by an estimated 0.15 carats of round brilliant-cut diamonds. [7000/10000] Illustrated

725

726

725 Fine Eighteen-Karat White Gold, Ruby and Diamond Lady’s Cluster Ring, composed of five oval-cut rubies, estimated weight 2.58 carats, and baguette- and singlecut white diamonds, estimated total weight 2.35 carats, all in a cluster setting. [1500/2500] Illustrated

728

727 Lady’s Eighteen-Karat Yellow Gold, Sapphire, Ruby and Pearl Enhancer Necklace, composed of four strands of pink sapphire beads with eighteen-karat yellow gold enhancer with a central fantasy-cut synthetic pink sapphire with ruby and pearl appendages. [300/500]

724

728 Eighteen-Karat White Gold and Three-Diamond Engagement Ring, the geometric Art Deco-style mounting set with three round brilliant-cut white diamonds over a polished shank, with an estimated total diamond weight of 1.45 carats. [3500/5000] Illustrated

117

732 Stunning Fourteen-Karat Yellow Gold, Diamond, Ruby and Pearl Necklace, composed of a double strand of 8.5 to 9.0 mm cultured pearls, well matched, light cream color, spherical shape, attached to a yellow gold panther-head clasp and hook set with fifty round brilliant-cut white diamonds, estimated total weight 2.0 carats, and two round-cut rubies as the panther’s eyes, l. 16”. [6000/9000] Illustrated 732

733 Pair of Fourteen-Karat White Gold, South Seas Pearl and Diamond Earrings, each composed of a near-round 15.0 mm cream/white Australian South Seas pearl topped by a triangularcut diamond. [1200/1800] Illustrated

733 737

729 Pair of Fourteen-Karat White Gold and Diamond Drop Earrings, each composed of two pear-shaped drops suspended from rectangular tops, one drop and the top pave set with white diamonds, the other set with brown diamonds, estimated total diamond weight 4.52 carats. [200/400] 730 Pair of Fourteen-Karat White Gold and Diamond Pendant Drops, each composed of a white gold frame with a single round brilliant-cut white diamond suspending a single pear-cut white diamond, estimated total diamond weight 1.90 carats. [400/700] 731 Pair of Eighteen-Karat White Gold and Diamond Stud Earrings, each with a central prong-set center stone encircled by a border of round brilliant-cut diamonds, with an estimate total weight of 2.05 carats. [700/1000] 738

118

734 Lady’s Jaeger-LeCoultre Diamond Reverso Wristwatch, the squared stainless steel body with diamond-set border, the mother-of-pearl face with diamond-set numerals, on a leather strap, accompanied by the original box. [4000/7000] 743

739 Chinese Carved Red Jadeite Pendant, carved as two joined bean pods with entwined tendrils, the stone of dark and light reddish-brown color on the front and red and white color on the reverse, the top with an oval suspension bail carved from the same piece of stone, h. 2‑3/4”. [400/700] 740 Lady’s Eighteen-Karat Yellow Gold, Turquoise and Diamond Dome Ring, composed of a large greenishblue oval turquoise cabochon flanked on either side by an estimated 1.50 carats of round brilliant-cut white diamonds. [250/400] 741 Lady’s Fourteen-Karat Yellow Gold-Mounted Angel Skin Coral Cameo Pendant Brooch, the large oval pale pink cameo carved in relief in the white layer with a male and female figure attended by two putti. [125/250] 742 Gentleman’s Fourteen-Karat Yellow and White Gold Diamond Ring, composed of a central bezel-mounted Old European-cut diamond, weighing an estimated 1.70 carats, the yellow gold mounting with white gold foliate branches. [600/900] 743 Gentleman’s Stainless Steel Bulgari Diagono Professional Chronograph Wristwatch, with black face and rubber strap, serial number SC 405 D0091, presented in the original box with papers. [3000/5000] Illustrated

735 Lady’s Eighteen-Karat Yellow Gold and Diamond Bulgari Wristwatch, composed of a yellow gold case with pave diamond face, the bezel with diagonal bands, the alternating bands pave set with diamonds to compliment the pave face. [800/1200] 736 Lady’s Platinum and Diamond Watch, retailed by Neiman Marcus, the circular white metal face attached to a diamond-set circular link bracelet set with round brilliant- and marquise-cut white diamonds, estimated total weight 2.75 carats, the seventeen-jewel movement signed by M. and W. Ullman, Switzerland. [400/700]

744 Vacheron Constantin Gentleman’s Overseas Wristwatch, special U.S. edition, model 49150/00A, case no. 1140466, black face, with all original papers and boxes. [7000/10000] Illustrated

744

737 Good Chinese Fourteen-Karat Yellow Gold and Jadeite Pendant, composed of a central jadeite plaque carved in relief with a figure holding a string of “cash” above a Kylin on the face and a bat and ling chih fungus on the reverse, the stone of an unusual bluish/lavender and near white color, mounted in a yellow gold frame with key-fret design and a locking bail at the top, h. 2‑3/4”. [1200/1800] Illustrated 738 Strand of Large Lavender Jadeite Beads, composed of nineteen spherical jadeite beads, 19‑20 mm, of even lavender color, with a fourteen karat yellow gold clasp. [250/400] Illustrated

119

745 Angela Gregory (American/ New Orleans, 1903‑1990; Active Newcomb College 1921‑1925, 1935‑1942) “Plantation Madonna”, ca. 1938, cast bronze figural group of a nanny holding an infant, surrounded by three children and a sleeping dog, with cast signature on plinth, h. 11‑1/2”, w. 7‑1/4”, d. 6‑1/2”. [4500/7000] Illustrated

745

746 746 George Overbury “Pop” Hart (American, 1868‑1933) “Boats and Natives”, ca. 1924, watercolor on paper, signed lower right “Pop Hart”, sight 11‑3/4” x 18‑3/4”. Glazed, matted and framed. A drypoint print of a similar image is in the collection of the Smithsonian American Art Museum, Washington, D.C. [1800/2500] Illustrated 747 Clementine Hunter (American/ Louisiana, 1887‑1988) “Swinging”, ca. 1943, oil on paper, with later monogram ca. 1982, sight 9‑3/4” x 12‑1/2”. Glazed, matted and framed. Provenance: Gasperi Gallery, New Orleans, Louisiana. [1800/2500] Illustrated

750

120

747

748 Clementine Hunter (American/ Louisiana, 1887‑1988) “The Kiss”, ca. 1945, oil on paper, with later monogram ca. 1982, sight 9‑1/2” x 12”. Glazed, matted and framed. Provenance: Gasperi Gallery, New Orleans, Louisiana. [1800/2500] Illustrated 749 Vernacular American Blue-Painted Cypress Bassinet/Bench, early 19th century, each member of single-board construction, the horizontal board tennoned into side uprights, each of which is fitted with a hand hold, h. 33”, w. 43‑1/2”, d. 19”. Bassinets and cribs of this type have been found across Acadiana; the present example was found in an attic in St. Martinville, Louisiana. [1200/1800] Illustrated 750 After John James Audubon (American, 1785‑1851) “Blue Yellow-Backed Warbler”, Plate XV, hand-colored engraving, Havell Edition, on J. Whatman paper, from the Birds of America, sight 38” x 25‑1/4”. Glazed, matted and framed. [1400/1800] Illustrated

748

749

751

751 Rare Louisiana Painted Cypress and Mixed Woods Punkah, early 19th century, of mortised construction, the ceiling fittings now lacking, h. 23‑1/2”, w. 37‑1/4”. Sometimes called a “shoofly”, the punkah was affixed to the ceiling with a framework that allowed it to pivot and operated with a string to create air movement over a kitchen or dining table. This example was found in the attic of the Dutreuil house, St. Martinville, Louisiana. [1500/2500] Illustrated

752

752 Louisiana Blue-Painted Cypress Kitchen Table, early 19th century, the top constructed of two wide boards over a plain apron, joined via pegs to tapering square legs, h. 30‑1/2”, w. 57‑1/4”, d. 33‑1/2”. [1500/2500] Illustrated

121

755 Near Pair of Vernacular American Oak and Mixed Woods Rocking Chairs, 19th century, Southern, each with ladderbacks joined to turned stiles, with generously modeled armrests and turned legs joined by box stretchers, each with a hide seat, h. 36”. [250/400] 756 After John James Audubon (American, 1785‑1851) “Yellow-Crowned Heron”, Plate CCCXXXVI, hand-colored engraving, Havell Edition, on J. Whatman paper, 1836, from the Birds of America, sheet 38‑7/8” x 25‑3/4”. Glazed, matted and framed. [8000/12000] Illustrated

753 753 Circa 1814 Map of the State of Louisiana, by Matthew Carey and Son, Philadelphia, depicting the rivers, lakes, topography and settlements in the state, most notably Southeast Louisiana and the areas along the Red and Mississippi Rivers, from “Carey General Atlas”, h. 17‑1/4”, w. 18‑5/8”. Matthew Carey’s map publishing enterprise was initially financed by the Marquis de Lafayette. In 1813 Carey issued the first map of Louisiana as a state. The 1814 edition of the atlas was the first cartography to incorporate the observations of the Lewis and Clark Expedition. [200/400] Illustrated 754 Assembled Suite of Six Vernacular Oak and Mixed Woods Ladderback Chairs, 19th into early 20th century, found in the Ville Platte, Louisiana, area, each with three splats, turned stiles ending in a tapering finial, turned legs and a box stretcher, with hide seats, h. 34”. [400/700] Illustrated 756

754 757 Vernacular Louisiana Cypress Kitchen Table, ca. 1900, retaining traces of blue paint, the top constructed of three planks over a plain apron, joined to tapering square legs, of nailed construction, h. 28”, w. 34‑1/2”, l. 60”. [700/1000]

122

759 After John James Audubon (American, 1785‑1851) “American Avocet”, Plate CCCXVIII, hand-colored engraving, Havell Edition, on J. Whatman paper, from the Birds of America, sight 15‑1/2” x 21‑1/4”. Glazed, matted and framed. [2000/4000] Illustrated

758

759

760 American Federal Three-Piece Fire Back/Liner, early 19th century, the central panel with the molded inscription “Cumberland Furnace”, each adorned in the form of large paterae flanked by reeded classical columns, h. 35”, w. 27”, d. 15”. There were at least three firms doing business as “Cumberland Furnace” at the dawn of the 19th century. One was in operation from 1794‑1854 near Carlisle, Pennsylvania; another firm named “Cumberland Furnace” is believed to have begun operating just prior to 1800 along the Delaware River near Millville, New Jersey, until it was closed in 1840. Perhaps the most prolific foundry of that name was operating in Dickson County, Tennessee, west and north of Nashville. Founded around 1793, the foundry became a large supplier of items to the U. S. government, including the cannon balls used in the “Battle of New Orleans” in 1814. That foundry remained in operation in various iterations until well into the 20th century. The present example was found at a garage sale in New Orleans. [800/1200] Illustrated

758 Vernacular Southern Walnut and Cherry Child’s Crib, early 19th century, in the Southern taste, the turned posts joined by beaded rails, three sides fitted with beaded slats, the inset pine mattress frame later, h. 38”, w. 45‑1/2”, d. 23”. Child cribs of this form were utilized throughout Acadiana. The open end was placed against the larger adult bed, facilitating access to the child by the caretaker. Provenance: Found in the attic of the Dutreuil House, St. Martinville, Louisiana. [1200/1800] Illustrated

760

123

761 William Aiken Walker (American/ South Carolina, 1838‑1921; Active New Orleans 1876‑1905) “Lively Southern Cabin Scene with Figures and Farm Animals, a Cotton Field in the Distance”, oil on board, signed lower left “WA Walker”, inscribed in pencil on board verso “6 x 12, $12.50, Cabin”, 6‑1/8” x 12‑1/4”. Unframed. To be included in John Fowler’s forthcoming catalogue raisonne on William Aiken Walker. [8000/12000] Illustrated

761

762 Large Louisiana Cypress Armoire, ca. 1800, in the French colonial taste, the projecting molded cornice over a pair of paneled doors, each joined to the case by fiche hinges, the interior fitted with a medial pair of drawers and a pair of shelves with molded faces, with a scalloped apron and cabriole legs, h. 91”, w. 57”, d. 21‑1/2”. The present piece was previously on exhibit in the Vermillion Museum, Lafayette, Louisiana, for nearly 20 years. When the piece was purchased by the consigner from Jenny East, Lafayette, it was represented as having come from the Cane River area, near Natchitoches, Louisiana. [3000/5000] Illustrated 763 Vernacular American Pine and Cypress Stand, ca. 1900, Southern, in the Sheraton taste, the top over a single frieze drawer with doweled joints, raised on turned legs joined to a medial shelf, h. 38‑3/4”, w. 17‑1/2”, d. 14”. [300/500] 764 Vernacular Gothic Revival Pine and Cypress Tripartite Church Pew, early 19th century, the back in three sections, each with a crest rail over a turned gallery, the columns bisecting Gothic arches, each section segmented by a shaped armrest, with a single-board plank seat and turned legs joined by plain stretchers, h. 37”, w. 63”, d. 15‑3/4”. [1200/1800] Illustrated

124

762

765 William Aiken Walker (American/ South Carolina, 1838‑1921; Active New Orleans 1876‑1905) “Old Cotton Picker Standing in the Fields”, oil on board, signed lower left “WA Walker”, 8‑1/4” x 4‑1/2”. Presented in a contemporary giltwood frame. To be included in John Fowler’s forthcoming catalogue raisonne on William Aiken Walker. [6000/9000] Illustrated

765 766 Mary Alice Foster (American/Contemporary) “Primitive Portrait of a Girl in a Red Dress with a Dog and a Cat”, oil on canvas, signed on the reverse, 10” x 8”. Framed. [75/125]

767

764 767 Louisiana Cherry Armoire, first quarter 19th century, in the French Colonial taste, the projecting cornice over a pair of bi-sected paneled doors, the returns of like form, the doors opening to reveal a medial belt of two drawers, raised on cabriole legs, the case of pegged construction throughout, h. 89‑1/4”, w. 50”, d. 21”. Provenance: Purchased by the consigner from Robert Smith, Breaux Bridge, Louisiana. [3000/5000] Illustrated

125

770 Twelve Books on American Antiques and Decorative Arts, including Thomas H. Ormsbee, Field Guide to Early American Furniture, Richard Saunders, Collector’s Guide to American Wicker Furniture, Ian Bennett, Book of American Antiques, Joseph Downs, American Furniture: Queen Anne and Chippendale Periods, Richard Pratt, Treasury of Early American Homes, J. Michael Flanigan, American Furniture from the Kaufman Collection, Wendy A. Cooper, Classical Taste in America:  1800‑1840, William C. Ketchum, Jr., Catalogue of American Antiques, Frances Lichten, Folk Art of Rural Pennsylvania, Robert Polley, ed, America’s Folk Art, Emyl Jenkins’ Reproduction Furniture, and Joseph Downs and Alice Winchester, The Henry Francis du Pont Winterthur Museum: A Selection of American Interiors, 1640‑1840. [250/400] Illustrated

769

770

771 Group of Eleven Books on Decorative Arts and History, including The Book of Pottery and Porcelain by Warren E. Cox (two slip-cased volumes), Ivories of the West by Massimo Carra, Pre-Columbian Terracottas by Franco Monti, Wallace Collection - Gold Boxes by A. V. B. Norman, Worcester Blue and White Porcelain, 1751‑1790 by Lawrence Branyan, Neal French and John Sandon, The World’s Mythology in Color by Veronica Ions, Facing History: The Black Image in American Art, 1710‑1940 by Guy C. McElroy, Art and Artists of the South by Bruce W. Chambers, New Orleans Interiors by Mary Louise Christovich, The Old South: A Picture Book to Remember Her By by David Gibbon, and Historic Houses of the South by Southern Accents Press. [125/250] Illustrated

772

768 Rare Vernacular American Stained Pine “Hired Hands” Bed, 19th century, with the unusual feature of folding legs, the rails drilled for rope mattress supports, h. 23”, outside w. 55”, l. 75”. [100/200] 769 Group of Seven Books on American Furniture, including The Furniture of Coastal North Carolina, 1700‑1820 by John Bevins, Jr., Classical Taste in America, 1800‑1840 by Wendy A. Cooper, Charleston Furniture, 1700‑1825 by E. Milby Burton (shrink wrapped), Furniture of Williamsburg and Eastern Virginia, 1710‑1790 by Wallace B. Gusler, The Museum of Early Southern Decorative Arts, Kentucky, a Pictorial History by J. Winston Coleman, Jr., and The Swisegood School of Cabinetmaking by Frank L. Horton and Carolyn J. Weekley. [300/500] Illustrated

126

771

772 Six Books on Clocks, Watches and Jewelry, including Marvin D. Schwartz, Collector’s Guide to Antique American Clocks, E. J. Tyler, American Clocks for the Collector, Eric Bruton, Clocks and Watches, Cecil Clutton, ed., Britten’s Old Clocks and Watches, 8th ed., Harry Emanuel, Diamonds and Precious Stones, G. R. Dawes and C. Davidov, Victorian Jewelry: Unexplored Treasures. [75/125] Illustrated 773 George Rodrigue (American/Louisiana, b. 1944) “Louisiana Oaks”, 1983, oil on canvas, signed lower right “Rodrigue”, titled and inscribed “#8306” on stretcher verso, signed, dated and with artist’s copyright on canvas verso, further inscribed on stretcher “La Chatelaine de Louisiane”, 18” x 24”. Provenance: Private collection, Donaldsonville, Louisiana. [14000/18000] Illustrated

773

774 George Rodrigue (American/Louisiana, b. 1944) “Match Racing in Carencro”, 1984, oil on canvas, signed lower right “Rodrigue”, signed and with artist’s copyright on canvas verso, titled and inscribed “#8410” on stretcher verso, 24” x 36”. Handsomely framed. Provenance: Private collection, Donaldsonville, Louisiana. [15000/25000] Illustrated

774

127

776 Diminutive American Classical Looking Glass, second quarter 19th century, grained and parcel gilded and of bipartite form, the upper panel an eglomise panel of a provincial church, retaining the tastefully disintegrating period plate, h. 19‑3/4”, w. 10‑3/4”. [150/300] Illustrated 777 Attractive Pair of American Blown Glass Hurricane Sconces, first quarter 19th century, with patinated brass mounts, the colorless glass shades of inverted bell form with folded rims, h. 13‑1/2”. [1000/1500] Illustrated 778 American Federal Mahogany Corner Washstand, ca. 1800, in the Hepplewhite taste, the scalloped gallery joined to a top with a cut-out for a washbasin, the medial bowfront shelf fitted with a single drawer, flanked by a pair of faux drawer faces, each trimmed with rosewood crossbanding, the flaring legs joined by a low stretcher with a central circular shelf, h. 37‑1/2”, w. 21”, d. 15”. [300/500] 775

777

775 George Rodrigue (American/Louisiana, b. 1944) “Polly Island”, 1985, signed lower left “Rodrigue”, titled, signed and with artist’s copyright on stretcher verso and inscribed on stretcher verso “#8512”, 20” x 24”. Handsomely framed. Provenance: Private collection, Donaldsonville, Louisiana. [14000/18000] Illustrated

128

779 American Late Classical Mahogany Looking Glass, mid‑19th century, the gently arched mirrored plate in a crotch-veneered frame, h. 29”, w. 15”. [100/200] Illustrated

776

780 Louisiana Federal Cherry Armoire, first quarter 19th century, the projecting molded cornice over a pair of flush panel doors on fiche hinges, the doors opening to expose its medial belt of three drawers, raised on turned Sheraton legs, of pegged construction throughout, h.  86‑1/2”, w. 50”, d. 21‑1/4”. Provenance: By tradition, descended in the family of a common ancestor of Carrie Wolford, Jeanerette, Louisiana, and Eileen Bourgeois Yeutter, and reputedly built by one of their common ancestors; it was purchased by the consignor at Justine Plantation, New Iberia, Louisiana. [3500/5000] Illustrated

780

779

781

781 American School (19th Century) “Portrait of a Gentleman”, oil on canvas, unsigned, 30” x 25”. Presented in a period giltwood frame. [800/1200] Illustrated

129

784 American Late Classical Mahogany Sidechair, Boston, second quarter 19th century, the crest with scroll carving above a reeded splat, the slip seat raised on fluted saber legs, h. 32”. [200/400] 785 American Colonial Revival Giltwood Tripartite Mantel Mirror, fourth quarter 19th century, in the Federal taste, the molded cornice over a row of spheres, the frieze with crosshatching, bisected by carved swags, with foliate and musical trophies below, the mirror plates flanked by clustered colonnette pilasters, h. 32‑1/4”, w. 58‑1/2”. A similarly modeled mirror, attributed to Samuel McIntyre, is in the Pierce-Nichols house, Salem Massachusetts. [600/900]

782 782 1829 Mediterranean Passport Signed by Andrew Jackson and Martin Van Buren, a passport for the Barbary coast for the ship Jubilee of New York and its seventeen men under the command of Moses G. Chaddock, number 100, dated September 11, 1829, signed by President Andrew Jackson (1767‑1845), Secretary of State (later Vice-President and President), Martin Van Buren (1782‑1862), and New York Customs Collector Samuel Swarthout (1783‑1856), printed on fine parchment with scalloped top edge and applied seal, 14‑3/4” x 10”, presented in a narrow molded mahogany frame glazed on both sides, 16‑1/2” x 12”. Mediterranean passports were a result of the 1795 treaty with the Dey of Algiers which provided unmolested passage of American ships along the Barbary Coast. The top edge of the passport was deliberately cut in a unique scalloped pattern across the detailed engraving, allowing it to be compared with an identical counterpart supplied to the Algerine warships, thus guaranteeing its authenticity; Barbary corsairs were instructed to let pass all vessels holding passports which matched the unique pattern. Moses Gill Chaddock, captain of the 409-tonJubilee, was born in Massachusetts in 1795, and served in the War of 1812. He is last listed in the 1860 Cohasset, Norfolk Co., Massachusetts Census as a master mariner, aged 65. [400/700]

786

783 American Sheraton Mahogany Games Table, early 19th century, the top with ovolo corners and molded edge, the leaf supported by a fly leg, the frieze with a central bowed drawer flanked by concave faces, raised on foliate-carved reeded legs ending in ball feet, h. 29‑1/4”, w. 38‑1/2”, d. 17‑3/4”, extended l. 35‑1/2”. [800/1200] Illustrated 783

130

786 After George Catlin (American, 1796‑1872) “MAHTO-TOH-PA”, hand-colored lithograph, from Catlin’s North American Indian Portfolio, printed by Day & Hague, sight 20” x 14”. Glazed, matted and framed. [1000/1500] Illustrated 787 American Late Classical Pier Table, second quarter 19th century, New York, composed of stenciled and ebonized mahogany with gilt-brass mounts, the marble top over an arched stenciled frieze supported by marble columns with brass capitals and bases, the columns on a low concave shelf with ebonized, gilt and carved feet, the back fitted with a looking glass flanked by marble pilasters, h. 38”, w. 35”, d. 21”. [6000/9000] Illustrated

787

788

788 Pair of Henry Hooper, Boston, Argand Lamps, early 19th century, the patinated bronze and giltlacquered bases each with a cut and frosted glass shade, each retaining the label “Manufactured by H. N. Hooper & Co. Boston”, h. 16”, w. 10‑1/2”. [2000/4000] Illustrated

789 789 American Late Classical Mahogany Sideboard, second quarter 19th century, Philadelphia, the drop center backed by a pair of looking glasses between a figured panel flanked by carved cornucopiae, the central section with a drawer over a paneled door, flanked by taller pedestal ends, each with a drawer over a door, fitted with detached tapering columns, the base with foliate-carved turned feet, retaining its polished period surface h. 57‑1/2”, w. 71‑1/4”, d. 24”. [1200/1800] Illustrated 790 Pair of American “Mary Had a Little Lamb” Girandoles, mid‑19th century, composed of prism-hung gilt-lacquered brass and marble, each with three lights, each arm dressed with backcut glass spears, h. 15‑1/2”, w. 17”, d. 3‑1/2”. [250/400]

131

793 American Classical Mahogany Stool, first quarter 19th century, the upholstered cushion of square form, set in a conforming crotch-veneered apron, on a curule-form base joined by turned stretchers, now upholstered in gold brocade with laurel wreaths and palmettes on a pale blue ground, h. 18‑1/2”, w. 16”, d. 16”. [200/400] 794 American Late Classical Mahogany Stool, second quarter 19th century, Boston, the rectilinear box cushion on a cyma-molded apron, raised on curuleform legs joined by a turned stretcher, now upholstered in pale blue and gold brocade depicting laurel wreaths and palmettes, h. 18‑1/2”, w. 22”, d. 16”. [250/400]

791

795

798

791 Suite of Six American Late Classical Mahogany Dining Chairs, fourth quarter 19th century, of gondola form, composed of a pair of armchairs, h. 37”, and four sidechairs, h. 34”, each with a foliate-carved crest over a shaped splat, with a bowed seat rail and sabre legs. [1200/1800] Illustrated 792 After John James Audubon (American, 1785‑1851) “Brown Pelican”, Plate CCCCXXI, offset chromolithograph, from the Amsterdam edition of the Birds of America, 1971, sleeve on the reverse with colophon page from the edition, sight 24‑3/4” x 38‑1/4”. Glazed, matted and framed. [800/1200] Illustrated

792

132

796 American Sheraton Cherry Drop-Leaf Breakfast/ Dining Table, second quarter 19th century, the top and each deep drop leaf constructed of single boards, each supported by a fly leg, the legs turned and reeded, the apron with foliate-carved corner blocks, h. 30”, w. 52‑1/2”, d. 22‑1/4”, extended l. 67”. [500/800] Illustrated

800 795 Pair of English Gilt-Brass and Cut Glass Candlestick Lustres, second quarter 19th century, dressed with period magnum cut glass spears, the circular petaled bases reverse cut, h. 9‑1/2”, dia. 4‑5/8”. [100/200] Illustrated 802 797 Suite of Six American Late Classical Mahogany Dining Chairs, second quarter 19th century, the crest rail centered by a floral- and foliate-carved crest over a spindle gallery, with bowed seat rail and saber legs, h. 32‑1/2”. [600/900] Illustrated 798 Pair of American Classical Brass Andirons, early 19th century, each with a vasiform finial over a baluster column on a square base with scalloped apron, probably from the Murray Shop, New York, which crafted andirons for the Charleston and Southern markets, h. 21”, w. 6”, d. 21”. In “as found” condition; the present example was found at a garage sale in New Orleans about a generation ago. [250/400] Illustrated

797

799 American Late Classical Mahogany Looking Glass, second quarter 19th century, the period mirror plate in a crotch-veneered and banded frame, h. 32”, w. 22”. [150/300] 800 Robert M. Rucker (American/ Louisiana, 1932‑2001) “Steamboat Along the Mississippi River”, oil on masonite, signed lower left “Robert Rucker”, 8” x 10”. Framed. [700/1000] Illustrated 796

133

804 Suite of Six American Classical Mahogany Dining Chairs, mid‑19th century, each with a figured arched crest rail over a vasiform splat, with serpentine front seat rail and cabriole legs, the chairs retaining both their upholstered slip seats and three slip seats with their summer rush seats, h. 31‑1/4”. [500/800] Illustrated 805 American School (First Quarter 20th Century) “Autumnal River Landscape”, unsigned, oil on canvas, 12” x 24”. Presented in a contemporary giltwood frame. [300/500] 804

801 American Classical Giltwood Looking Glass, second quarter 19th century, of small size, turned and carved in the traditional manner, h. 20”, w. 13‑1/8”. [75/125] 802 Robert M. Rucker (American/ Louisiana, 1932‑2001) “View of a Steamboat Docked on the River”, oil on masonite, signed lower left “Robert Rucker”, 8” x 10”. Framed. [700/1000] Illustrated previous page 803 American Sheraton String-Inlaid Mahogany DropLeaf Breakfast Table, first quarter 19th century, probably Boston or Salem, Massachusetts, with singleboard top and drop leaves, the leaves supported by fly legs, each with ring and vasiform turnings over reeded legs, the aprons with line inlay, h. 29”, w. 40‑1/4”, d. 20‑1/4”, extended l. 57”. [250/400] 808

807

806 William Birdsall Gifford (American, 1842‑1929) “Woodcliff Reeds Lake, View from Dock Looking Into Channel”, 1920, oil on board, signed and dated lower left “W. B. Gifford”, titled, dated and signed on the reverse and inscribed “To the Charming Miss Ugger, from her old Artist Friend”, 8” x 10‑1/2”. Framed. [125/250] 807 American Late Classical Mahogany Sleigh Bed, mid‑19th century, the headboard and footboard each with scroll ends edged with applied beading and capped by a carved eagle’s head, with a panel below, and each with a figured panel edged with beading, joined by rails with a beaded panel, h. 41”, inside w. 56”, l. 76”, outside w. 60”, l. 91”. [800/1200] Illustrated

134

808 American Late Classical Mahogany Chest, mid‑19th century, the projecting deep cyma-molded upper drawer over a bank of recessed graduated drawers, each edged with ribbon moldings, flanked by scroll columns, raised on scroll legs, h. 47‑1/2”, w. 42‑1/4”, d. 23”. [700/1000] Illustrated 809 American School (20th Century) “Man Walking on a Tree-Lined Road”, hand-colored lithograph, indistinctly signed in pencil lower right “H. Hebbebind?”, numbered lower left “104/350”, sight 17” x 13”. Glazed, matted and framed. [75/125] 810 John Reed Campbell (American/ Louisiana, 1925‑1997) “Malus-Beauregard House, Chalmette Battlefield”, 1965, oil on masonite, signed and dated lower right “J R Campbell 1965”, inscribed on board verso “Antebellum Home, Southern Mansion, Chalmette, La, Battle Ground”, 18” x 24”. Framed. [450/700] 811 American Late Classical Mahogany Sleigh Bed, mid‑19th century, of twin size, the headboard and footboard of scroll form, the uprights with a gothic panel at the base, the rails extended to accommodate a contemporary mattress, h. 41”, inside w. 40”, l. 75”, outside w. 43”, l. 81”. [250/400] 812 American Late Classical Mahogany Looking Glass, second quarter 19th century, the rectilinear mirror plate in a crotch-veneered cyma-molded frame, h. 44”, w. 29”, d. 1”. [125/250]

813 Selection of Senatorial Letters to Sam Houston (1793‑1863), a collection of ninety-three letters received by Houston during his tenure as U.S. Senator from Texas (1846‑1859), including three with autograph endorsements (“Sam Houston” and “Houston”) and an autograph cover sheet “Miscellaneous Letters”, variously dated November 1855 to March 1856, from numerous correspondents on a variety of subjects, including matters political (“to insure success in the North, the [Presidential] N[ominating] C[ommittee] must strike out the 12th sec. of the National Platform, leaving the subject of slavery a local question with each particular state”, B. J. C. Morgan, Pittsburg, January 17, 1856), financial (“I am in possession of a California War Bond for one thousand dollar bearing interest”, John C. Black, Walker Co. Texas, January 20, 1856), personal (“Your family is well - Judge McCreary is still sorely afflicted with rheumatism”, Proctor P. Porter, Huntsville, Texas, January 27, 1856) and agricultural (“I have been thinking of going to Texas to reside therefore would be greatly obliged to you if you will give me some account of the soil, climate, productions, etc.”, William Brindle, Muncy, Pennsylvania, February 9, 1856) and contentious (“Muzzled as I am politically by my profession and ‘gagged’ by a clause of the constitution of Texas, I am incapable of being much service to the competitors for our ‘civic’ crown & consequently am treated with such contempt by our public servants”, Edward Fontaine, Austin, Texas, December 4, 1855), 93 letters, approximately 125 pages (a few fragmentary), plus cover sheet. [2000/4000] Illustrated

813

135 135

814

815

814 American Federal Coin (.897) Silver Coffee and Tea Service, dated 1800, by George Aiken (1765‑1832), Baltimore, Maryland, including a coffeepot, h. 11”, a teapot, h. 8‑3/4”, a covered sugar bowl, h. 8‑1/4”, a cream jug, h. 6‑1/4”, and seven teaspoons, l. 5‑3/4”, each pot with an ovoid-form body below an ogee collar decorated with engraved scroll-and-patera banding, with a fitted domed lid with wrigglework edging and vasiform finial, a crested wooden handle, a gooseneck spout and raised on an oval foot with cavetto edge, the handle-less covered sugar bowl en suite, the cream jug of helmet form with reeded square-arch handle and wriggle-work banding, each piece engraved with a drapery-mantled shield-form cartouche monogrammed “MRC” and dated “1800”, the teaspoons with down-tipt pointed handle, monogrammed and dated “MW/1800” on the top of the handle and “JL/1900” on the reverse, 81.73 total t. oz. (including wooden handles). [1800/2500] Illustrated

136

815 Assembled Franco-American Five-Piece Silver Tea Set, second quarter 19th century, by Marquand & Co., New York, with later first quarter 20thcentury additions by Tetard Freres, Paris, including Marquand coin (.900) silver pieces: a teapot, h. 11”, a coffeepot, h. 11‑1/4”, and a covered sugar bowl, h. 9‑3/4”, and Tetard first standard (.950) silver pieces: a hot water urn, h. 19‑1/4”, and a cream jug, h. 6”, each with an inverted pear-shaped body decorated with repousse scrolls and flowers centering a pair of rococo cartouches, with milled palmette banding and acanthus-crested handles, the pots with hinged, domed lids with applied floral finial, ivory-insulated handles and “goose-neck” spouts, the sugar bowl with loose lid en suite and a pair of cast handles, the cream jug with a single handle and “duck’s beak” spout, the urn with a pair of acanthus-mounted turned ivory handles, ivory-handled spigot, and raised on four scrolling legs, each with an ivory plinth foot and centering an ivory-handled burner, each piece monogrammed, on one cartouche, “AMV”, 177.67 total t. oz. Despite the near century difference in their manufacture, the additions here perfectly duplicate the design and decor of the earlier pieces, and are made with consummate skill. There can be no doubt that they were specifically commissioned to enhance the set, their more recent date belied only by the hallmarks and subtle early 20th-century touches, e.g., the abundant ivory fittings of the urn. Why a French firm was chosen to re-create American Expansionist-Era pieces can only be conjectured, though Tetard Freres would have been one of only a handful of firms up to the task. [8000/12000] Illustrated

816 Tiffany & Co. Sterling Silver Vase, the pattern introduced in 1893, New York, this example before 1902, the baluster-form body of lobed section, the broad rim decorated with applied openwork acanthus fronds and gilt interior, the whole raised on a domed foot with four feet en suite, h. 11‑1/4”, dia. 6”. [3000/5000] Illustrated 817 Good Kirk & Son Baltimore Standard (.917) Silver Gilt Covered Cup, fourth quarter 19th century, by Samuel Kirk & Son, Baltimore, in the Mannerist taste, the body of slightly tapering cylindrical form, decorated with deep chased repousse bands of, from top to bottom, scrolling mythological creatures, cabochons and ovolos, beribboned flowers and an acanthus-and-dart calyx, raised on a domed foot decorated with gadroons and leaf-and-dart banding, with opposing acanthus-crested S-scroll handles, the fitted, high-domed lid decorated with a chased band of palmettes below a band of calla lilies, with a helmet-form finial, h. 11‑3/4”, dia. 4‑3/4”, w. 10‑1/4”, 50.93 t. oz. [6000/9000] Illustrated

818 Good Five-Piece Philadelphia Neo-Grec Sterling Silver Presentation Tea Service, dated 1865, by George B. Sharp for Bailey & Co., Philadelphia, Pennsylvania, including two teapots, h. 10‑1/2”, a cream jug, h. 7‑1/2”, a sugar bowl, h. 6”, and a hot water urn, h. 17‑1/2”, each with an ovoid body decorated with engraved neoclassical palmette and trefoil swags, with palmette-crested squared handles, waisted neck, domed lid and gooseneck spout, the whole decorated with milled Greek-key banding, the urn base with acanthusmounted caryatid putto legs centering the original spirit burner, the urn engraved on the reverse with presentation inscription: “Presented to S. M. Felton/by his friends of the City of/Philadelphia, and its vicinity, 1865” and additional later dated monograms “ESB/1889” and “ECF/1909”, 160.75 total t. oz. The inscription refers to Samuel Morse Felton, Sr. (1809‑1899), president of the Philadelphia, Wilmington and Baltimore Railroad. Under his direction, the railway provided the first successful coalburning passenger engine in regular service - the “Daniel Webster” - and opened the United States to Pennsylvania steel. The railroad was of strategic importance during the Civil War, transporting both troops and supplies. Upon his departure from P.W.B.R.R. in 1865 to become president of the Pennsylvania Steel Company, Felton was the recipient of numerous public gifts in recognition of the accomplishments of his railroad, which is today still part of Amtrak’s Northeast Corridor. [8000/12000] Illustrated

817

819 Good Gorham Sterling Silver Neoclassical Hot Water Urn, third quarter 19th century, Providence, Rhode Island, the body with hemispherical lower half and steeply domed and waisted upper half, with large palmettemounted ring handles, the gadrooned and domed fitted lid surrounded by milled geometric banding on the body, the spherical handle of the downturned spigot adorned with beaded banding and three laurel wreaths, the whole above a reticulated base raised by four palmette-mounted sabre legs, engraved, on the back of the body, “B”, h. 14”, w. 8‑1/2”, d. 9‑1/2”, 57.48 t. oz. [1800/2500] Illustrated following page

818

816

137

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

819

821

821 Gorham Martele .950 Silver Waiter, 1899, Providence, Rhode Island, order number 1466, of square form with serpentine sides and scrolled canted corners, the rim decorated with hand-chased acanthus scrolls, engraved, on the plateau, with an elaborate conjoined monogram “MWL”, w. 10”, 25.98 t. oz. According to L. J. Pristo’s Martele: Gorham’s Art Nouveau Silver, this waiter was completed on February 28, 1899, making it among the earliest of Martele pieces. Workers recorded 15 hours manufacturing and 57 hours chasing time for the piece, with a final company cost of $96.00. [5000/8000] Illustrated 823

822 Good Art Nouveau Sterling Silver Lady’s Calling Card Case, ca. 1900, by R. Blackinton & Co., North Attleboro, Massachusetts, of rounded rectangular form, beautifully embossed with a dolphin in a tempestuous sea, opening to reveal the rose taffeta pocketed interior, complete with the original silver chain, h. 4”, w. 3‑1/8”, l. (with chain) 12”, 4.89 t. oz. (including interior lining). [50/100] 823 Three Sterling Silver “Oval Twist”-Pattern Serving Pieces, the pattern introduced in 1880 by the Whiting Mfg. Co., Providence, Rhode Island, including two serving spoons, l. 9‑1/8”, and a platter spoon, l. 12‑1/4”, no monograms, 7.46 total t. oz. [100/200] Illustrated 824 Three American Sterling Silver Serving Pieces, first quarter 20th century, including a Gorham “Luxembourg”pattern fish slice, no monograms, l. 10‑1/4”, a Kirk & Son “Repousse”-pattern serving spoon, monogrammed “WLR”, l. 5‑1/8”, and a Manchester Mfg. Co. “Floral”-pattern sauce ladle with gilt bowl, monogrammed “K”, l. 7‑5/8”, 7.91 total t. oz. [100/200]

138

825

825 One Hundred Twenty-Piece Set of Tiffany & Co. Sterling Silver “St. Dunstan”-Pattern Flatware, the pattern designed in 1909 by Albert Angell Southwick (1872‑1960), including twelve each of the following: dinner forks, l. 7‑3/4”, luncheon forks, l. 6‑7/8”, salad forks, l. 6‑5/8”, seafood/cocktail forks, l. 6”, teaspoons, l. 5‑7/8”, soup spoons, l. 7‑1/4”, demitasse spoons, l. 4”, dinner knives with “Blunt”-shaped stainless steel blades, l. 10”, luncheon knives with “Blunt”-shaped stainless steel blades, l. 9”, and butter spreaders, l. 5‑7/8”, each monogrammed “B”, presented in the original fitted, Pacific cloth-lined oak case, the interior lid stamped “Tiffany & Co./Makers”, h. 5”, w. 16”, d. 12‑3/4”, 146.10 total t. oz. (excluding steel-bladed pieces). [12000/18000] Illustrated 826 Tiffany & Co. Sterling Silver-Handled “Chrysanthemum”-Pattern Pie Server, designed in 1880 by Charles Grosjean (1841‑1888), New York, the spatulate stainless steel blade with finely serrated cutting edge, monogrammed “LAS”, l. 10‑1/2”. [300/500]

830 Reed & Barton Silverplate Tulane University Presentation Tray, 1938, Taunton, Massachusetts, in the “Lafayette” pattern, of oval form with integral handles and milled laurel-and-trumpet rim, engraved, on the reverse, with a presentation inscription “The Tulane University/Tea Committee/1937‑1938”, l. 24”, w. 14‑1/2”. [75/125] 831 One Hundred Forty-Five Pieces of Wallace “Grand Baroque” Sterling Silver Flatware, the pattern designed in 1942 by William S. Warren, Wallingford, Connecticut, including eight dinner forks, l. 7‑3/4”, nine luncheon forks, l. 7‑1/4”, twelve salad forks, l. 6‑3/8”, eleven seafood/cocktail forks, l. 5‑1/2”, twenty teaspoons, l. 6”, ten cream soup spoons, l. 5‑7/8”, twelve iced tea spoons, l. 7‑1/2”, twelve demitasse spoons, l. 4”, eight dinner knives with “Modern”-shaped stainless steel blades, l. 9‑5/8”, eight luncheon knives with “Modern”-shaped stainless steel blades, l. 8‑3/4”, twelve flat-handled butter spreaders, l. 6”, one master butter knife, l. 6‑3/4”, ten salt spoons, l. 2‑1/4”, three serving spoons, l. 8‑1/2”, one serving fork, l. 8”, a two-piece carving set including a carving knife, l. 10‑3/4”, and fork, l. 9‑1/4”, with stainless steel blade/tines, a cake/pie server, l. 10‑1/2”, a cheese/ pate server, l. 6‑1/4”, a sauce ladle, l. 6”, a cream ladle, l. 5‑1/2”, a lemon fork, l. 5‑1/4”, and a jelly/condiment spoon, l. 6‑1/4”, all but the salt spoons monogrammed “P”, 120.89 total t. oz. (excluding pieces with stainless steel elements), presented in a faux-leather, fitted, Pacific cloth-lined case, h. 3‑1/2”, w. 21‑1/2”, d. 12‑3/4”. [800/1200] Illustrated

831

827 Tiffany & Co. Sterling Silver-Handled “Chrysanthemum”-Pattern Cake Knife, designed in 1880 by Charles Grosjean (1841‑1888), New York, with finely serrated stainless steel blade, no monogram. l. 12‑1/4”. [300/500] 828 Tiffany & Co. Sterling Silver “Cordis”-Pattern Brandy Warmer, designed in 1958 by Oscar Riedener (1901‑2000), monogrammed, on the handle, “C”, l. 5‑1/2”, 1.93 t. oz. [100/200] 829 Nine Sterling Silver Condiment Dishes, second quarter, 20th century, by the Webster Co., North Attleboro, Massachusetts, including a large condiment dish, h. 2‑3/4”, l. 5‑1/4”, and eight individual salt cellars, h. 1‑3/8”, l. 2‑1/4”, each of oval form with upswept ends and raised on an oval foot, the condiment dish quartered with serpentine lobes, the cellars quartered with fluting, 5.53 total t. oz. [75/125]

139

832 Two-Piece Sterling Silver “Tyrolean”-Pattern Salad Serving Set, the pattern introduced ca. 1905 by the Amston Silver Co., Meriden, Connecticut, including a salad serving fork and spoon, both l. 9‑1/4”, 6.94 total t. oz. [75/125] 833 Two Pairs of American Sterling Silver Salt and Pepper Shakers, mid‑20th century, including one pair by the Gorham Corp., Providence, Rhode Island, h. 4‑3/8”, dia. 1‑3/4”, 2.64 total t. oz., and one pair by the La Pierre Mfg. Co., Wallingford, Connecticut, h. 4‑3/4”, dia. 1‑7/8”, weighted, each of baluster form, the La Pierre pair with cabochon-and-flower banding. [100/200] 834 Twelve Assorted Sterling Silver Salt and Pepper Shakers and Cellars, mid‑20th century, including two pairs of shakers by the Gorham Corp., Providence, Rhode Island, one pair of lobed baluster form, 1924, h. 2‑1/4”, and one conical pair mounted on black and white polystyrene, design patent 1953, h. 2‑3/4”; a set of four unmarked shakers of textured and paneled ovoid form, h. 1‑3/8”; a pair of bulbous circular salt cellars by the Webster Co., North Attleboro, Massachusetts, dia. 1‑1/2”; and pair of paneled ovoid form with annulated banding by the Valentine-Linsley Silver Co., Wallingford, Connecticut, h. 2‑1/4”; 3.09 total t. oz. (excluding the mounted polystyrene pair). [75/125]

839

835 Pair of Mexican Sterling Silver Butter Pats, third quarter 20th century, by the unidentified “PH”, each of circular form, with serpentine hexagonally lobed rim, each lobe hand-chased with a rose on a matte ground, with a recessed circular plateau, dia. 3‑3/4”, 3.67 total t. oz. [30/50] 836 Four Pieces of North American Sterling Silver Tableware, 20th century, including an Alvin “Orange Blossom”-pattern tea strainer with silverplate bowl, l. 7‑1/2”, a Durgin “Fairfax”-pattern cake knife, l. 10‑1/8”, and pie knife, l. 9‑58”, each with stainless steel blade, and a Mexican hand-hammered oval butter pat with gadrooned edge, w. 3”, l. 5”, 0.77 t. oz. (butter pat only). [100/200] 837 Group of Seven Books on Silver, including A Directory of American Silver, Pewter and Silver Plate by Ralph M. and Terry H. Kovel, Early American Silver and Its Marks by Jane Bentley Kolter, English Domestic Silver by C. c. Oman, Small Antique Silverware by G. Bernard Hughes, English Silver by Judith Banister, Historic Silver of the Colonies and Its Makers by Francis Hill Bigelow, and Hallmarks on Gold, Silver and Platinum by Assay Offices of Great Britain. [50/80] 838 Richard Turner (American/Texas, b. 1948) “Yellow Lab with His Catch”, oil on canvas, signed lower left “Kenneth Richard Turner”, 24” x 20”. Handsomely framed. Provenance: The estates of David and Eula Wintermann, Eagle Lake, Texas. [1500/2500] Illustrated

140

838 839 Allen Blagden (American/Connecticut, b. 1938) “Stray”, 1983, watercolor on paper, signed lower right, retains gallery label en verso “Kennedy Galleries, Inc., New York”, 22‑1/4” x 30”. Glazed, matted and handsomely framed. Provenance: The estates of David and Eula Wintermann, Eagle Lake, Texas. [1800/2500] Illustrated 840 James Harvey Johnson (American/Texas, Contemporary) “Specks” and “Reds”, pair of handcolored lithographs, both signed, titled and numbered “1/25 AP” in pencil lower margins, sight 6” x 9”. Glazed, matted and framed en suite. [125/250]

841 Herb Rather (American/Texas, b. 1930) “Nature Morte: Fish”, oil on canvas, signed lower left “H. Rather”, 22” x 10”. Presented in a wooden frame with applied decorative floral accents at the corners, two rifles at the sides and a dog at the lower center. [150/300]

843

842

842 New Orleans Market Late Classical Mahogany and Walnut Armoire, mid‑19th century, the projecting molded cornice over a pair of doors, each door with an arched figured panel framed by cyma molding, the base on ogee-bracket feet, h. 95”, w. 70”. Cypress secondary woods point to manufacture in the New Orleans environs. [1500/2500] Illustrated 843 Transitional American Late Classical into Rococo Revival Mahogany Tester Bed, third quarter 19th century, of the type crafted for the Antebellum Southern market, with the incised stamped “C. Lee” for Charles Lee, Manchester, Massachusetts, whose small manufactory made beds for the Southern market, the cyma- and ogee-molded tester supported by octagonal posts, the headposts supporting a paneled headboard with an arched crest centered by foliate-scroll carvings, h. 109”, inside w. 59‑1/2”, l. 77”, outside w. 76”, l. 90”. [3500/5000] Illustrated 844 American Late Classical Mahogany and Cherry Chest, mid‑19th century, the case with a pair of serpentine drawers over a graduated bank of three drawers, flanked by scroll columns, raised on scroll feet, h. 44”, w. 42‑1/4”, d. 21”. [700/1000] Illustrated

844

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845

846 American Rococo Revival Mahogany Looking Glass, third quarter 19th century, the molded frame with arched top and foliate carving at the base, h. 23”, w. 21”. [100/200] 847 British School (19th Century) “Portrait of a Gentleman in a White Cravat”, oil on canvas, unsigned, 27‑1/4” x 21‑1/2”. Handsomely framed. [350/500] 848 American School (19th Century) “Portrait of a Woman in a Bonnet”, oil on canvas, unsigned, 27” x 22”. Presented in a handsome period giltwood frame. [250/400] 849 American Rococo Revival Walnut Banquet Table, third quarter 19th century, the circular top supported by a stationery central pedestal joined to foliate-carved legs, the extending ends each supported by a pair of fruit-carved cabriole legs, accompanied by one period walnut leaf and three later leaves of mixed woods, h. 28‑1/2”, dia. 56”, extended l. 125”. [1500/2500] Illustrated

845 American Rococo Revival Cherry and Figured Cherry Armoire, third quarter 19th century, the shaped cornice centered by a fruit- and floral-carved basket flanked by open carving, over a pair of doors, each with a single figured arched panel, the base with a pair of drawers over a scalloped apron, on bracket feet, h. 102‑1/2”, w. 60”, d. 22”. [1400/1800] Illustrated 852

850 Jonathan Bradley Morse (American, 1834‑1898) “Seascape”, oil on canvas, signed lower right “J. B. Morse”, 21” x 36”. Presented in a period giltwood frame. [1200/1800]

849

142

851 Suite of Eight American Renaissance Revival Burled Walnut and Walnut Dining Chairs, third quarter 19th century, comprised of an armchair, h. 39”, and seven sidechairs, h. 35‑1/4”, each with a shaped crest rail with an incised foliate carving flanked by turned braces, with bowed seat rail and turned legs joined by Hform stretchers. [1000/1500] Illustrated

856 Five Books on Toys and Miniatures, including Robert Culff, The World of Toys, Linda Baker, Modern Toys: American Toys, 1930‑1980, Antonia Fraser A History of Toys, Andy & Susan Moore, The Penny Bank Book: Collecting Still Banks, and Katharine Morrison McClinton, Antiques in Miniature. [75/125] 851

852 Orlando Vincent Schubert (American, 1844‑1928) “River Landscape with Bridge”, watercolor on paper, signed in pencil lower left “Schubert” and twice in black ink lower right, verso retains gallery label “Tilden-Foley Gallery, 4119 Magazine Street, New Orleans”, sight 5‑1/2” x 8‑1/2”. Glazed, matted and framed. [500/800] Illustrated 853 Two Pieces of American Brilliant-Cut Glass, first quarter 20th century, including a shallow bowl in “Hobstar and Fan” decor, h. 2”, dia. 8”; and a good J. Hoare & Co. bonbon dish in “Interlaced Hobstar” decor, signed at the interior center with the Hoare circular acid stamp, h. 3‑3/4”, dia. 9”. [150/300]

857 Eight Books on Texas and Other Southern Art and Culture, including Charles Beckendorf, Texas, Leon Hale, introduction, The Texas Gulf Coast: Interpretations by Nine Artists, Cecilia Steinfeldt, The Onderdonks: A Family of Texas Painters, Irwin Glusker, ed. A Southern Album, Antiques in Texas (a hardcover reprint of the September, 1975 “Magazine Antiques”), Steve Bender, Callaway Gardens: Legacy of a Dream, Eliza Griffin Johnston, Texas Wild Flowers, and the 1947 reprint of the Times-Picayune Original Creole Picayune Cook Book. [200/400] Illustrated

854 Handsome American Brilliant-Cut Glass Fruit Bowl, first quarter 20th century, of ovoid form, the upper border “Russian” cut and surmounting a register of interlaced hobstars, h. 4‑3/4”, w. 8‑1/4”, l. 11‑1/2”. [125/250] 855 Twenty Reference Books on Glass, including Rhea Mansfield Knittle, Early American Glass, Victor Arwas, Glass: Art Nouveau to Art Deco, Bernice and Henry Blount, French Cameo Glass, Ray and Lee Grover, Art Glass Nouveau, John A. Shumann III, Collector’s Encyclopedia of American Art Glass, two copies of John Quentin Feller, Dorflinger: America’s Finest Glass, 1852‑1921, Dorothy Daniel, Cut and Engraved Glass, Estelle S. Farrar and Jane S. Spillman, The Complete Cut and Engraved Glass of Corning, Albert C. Revi, American Cut and Engraved Glass, George C. Avila, The Pairpoint Glass Story, Ida Grehan, Waterford: An Irish Art, Derek C. Davis and Keith Middlemas, Colored Glass, Jacqueline Y. J. North, Perfume, Cologne and Scent Bottles, Bill Edwards and Mike Carville, Standard Encyclopedia of Carnival Glass, Gene Florence, The Collector’s Encyclopedia of Depression Glass, Elegant Glassware of the Depression Era and Very Rare Glassware of the Depression Years, Paul V. Gardner, The Glass of Frederick Carder,, and Poetry in Crystal, an unusual 1963 promotional book by Steuben Glass featuring thirty-one crystal designs inspired by contemporary poets. [400/700] Illustrated

857

855

143

861 American Modern Gothic Tile-Mounted Walnut Sideboard, ca. 1875, after a model illustrated in Charles Locke Eastlake’s Hints in Household Taste, in two parts, the upper section with a carved top rail over a row of tiles, each labeled “Minton China Works”, over a pair of shelves, each with sawtooth faces and raised on turned and shaped brackets, the base with a row of drawers over doors and an open niche, the panels throughout of beadboard at varying angles, h. 86‑1/4”, w. 60‑1/2”, d. 23‑1/2”. [1800/2500] Illustrated 862 American Innovative Rocking Chair, late 19th century, comprised of tubular steel, brass, wood, spring steel and leather, the armrests and sling seat in tufted leather upholstery, with wooden rockers, h. 57‑3/4”. For a discussion of a similar chair by R. W. Winfield and Company and its American versions including the Berg and Hoffman 1867 patent, see David A. Hanks, Innovative Furniture in America from 1800 to the Present, pp. 130‑131. [300/500] 863 Alexander John Drysdale (American/ New Orleans, 1870‑1934) “Sunlit View of Oak and Cypress Trees Along the Louisiana Bayou”, oil wash on board, signed in pencil lower right “A. J. Drysdale”, sight 9‑1/2” x 30”. Glazed and framed. [2500/4000] Illustrated

861 860

858 Three Books on Louis Comfort Tiffany (1848‑1933), including Robert Koch, Louis C. Tiffany: Rebel in Glass and Louis C. Tiffany’s Glass, Bronzes and Lamps, and Vivienne Couldrey, The Art of Louis Comfort Tiffany. [60/90] 859 The South in the Building of the Nation, Richmond, Virginia: The Southern Historical Publication Society, 1909, complete in twelve volumes, octavo, in half dark brown leather with embossed boards, the spines with raised band and gilt-tooled panels and lettering, with marbled endpapers and engraved colored frontispiece, 9‑3/8” x 6‑3/4”. [200/400] Illustrated 860 Three Books on Andrew Wyeth (1917‑2009), including John Wilmerding, The Helga Pictures (New York: Abrams, 1987), Richard Meryman Andrew Wyeth (Houghton-Mifflin, Boston, 1968), and Lloyd Goodrich, The Four Seasons (New York: Art in America, 1962), a folio collection of twelve full-color reproductions of the artist’s drybrush work. [75/125] Illustrated

144

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864 Florida School (First Quarter 20th Century) “Sunset Over a Florida Swamp”, oil wash on board, signed lower right “M. E. S. Howe”, dated in pencil on verso “May 27 1924”, sight 13‑1/2” x 9”. Glazed and framed. [350/500] 865 Southern School (Fourth Quarter 19th Century) Suite of five graphite drawings depicting landscape views of Ocean Springs, Mississippi, all examples dated 1887, unsigned, sheet size 5‑1/2” x 9”. Unframed. [250/400]

863

866 Colette Pope Heldner (American/ Louisiana, 1902‑1999) “Swamp Idyll”, oil on canvas board, signed lower left “Colette Pope Heldner”, 20” x 24”. Framed. [1000/1500] Illustrated

866 868

867 George Dureau (American/Louisiana, b. 1930) “Study of a Bearded Man”, 1969, charcoal on paper, signed and dated lower left “dureau 69”, sight 17‑1/2” x 11‑1/2”. Glazed and framed. [100/200]

868 Kent Ullberg (b. Sweden, 1945; Active Texas) “Cougar Head”, a copper-patinated bronze sculpture, ca. 1970’s/1980’s, signed “(c) Ullberg” and numbered “59/100”, bearing foundry mark “Art Castings of Colorado”, mounted on a black marble base, overall h. 11”, w. 5”, d. 5‑3/4”. Provenance: The estates of David and Eula Wintermann. Ullberg is one of the world’s premier wildlife sculptors. While he has done hundreds of works on a small scale (such as this lot), he is perhaps best known for the 27 monumental works he has executed for museums and cities from Washington, D.C. to Cape Town, South Africa. [900/1200] Illustrated 869 Caroline Spellman Wogan Durieux (American/ New Orleans, 1896‑1989) “Beauty Salon”, lithograph, titled in pencil lower left, signed in pencil lower right “Caroline Durieux”, sight 15‑1/2” x 11‑1/2”. Glazed, matted and framed. Provenance: Collection of Mrs. Shirley Marvin, Baton Rouge, Louisiana. Reproduced in “Caroline Durieux:  43 Lithographs and Drawings”, Louisiana State University Press, 1949, catalogue number 13. [500/800]

145

870 Ken Reynolds (American/Louisiana, Contemporary) “Evening, Louisiana”, oil on canvas, signed lower left “K. Reynolds”, titled and signed on the reverse, 24” x 20‑1/4”. Handsomely framed. [300/500] Illustrated 871 Rudolph Guzzardi (American/Texas, 1903‑1962) “Self Portrait”, oil on board, 1939, signed and dated on the reverse, 8” x 6”. Handsomely framed. [125/250]

874

870 877

872 Robert Malone (American/Contemporary) “Autumnal Pastoral Landscape”, 1999, oil on canvas, signed and dated lower right “Malone 99”, 44” x 60”. Unframed. Provenance: Carol Robinson Gallery, New Orleans, Louisiana, to a private collector, New Orleans. [2500/4000] Illustrated 873 Pair of Cast-Iron Garden Lanterns, 19th century, each in three parts, in the form of a pagoda with removable overhanging circular tops, the cylindrical bodies pierced and raised on a circular base on scrolled feet, h. 15‑1/2”, dia. 17”. [100/200]

872

146

874 Victorian Cast-Iron Wall Fountain, ca. 1900, the crest architecturally modeled, the body depicting Neptune holding a fish, the fountain spewing water from the fish’s mouth, the lower section with a shaped basin, h. 61‑1/2”, w. 34”, d. 24”. [1200/1800] Illustrated

877 Pair of Painted Cast-Iron Garden Urns, early 20th century, each with a gadroon-modeled lip above a ribbed body, the waisted standard above a circular molding on a square plinth, h. 30‑1/2”, dia. 23”. [800/1200] Illustrated 878 Nantucket-Style Polychromed Wicker Occasional Table, the rounded square top featuring a polychromed quatrefoil floral pattern, raised on a graduated square base to splayed legs, h. 26‑1/2”, w. 18”, d. 18”. [300/500] 879 Unusual Contemporary Painted and Decoupaged Occasional Table, the rectangular top with a molded edge, centered by a print of an allegorical gardening figure, above a deep shaped frieze featuring various decoupage designs of fruits, insects and butterflies, raised on tapering square legs, h. 19‑1/4”, w. 11‑1/4”, d. 15‑1/4”. [300/500]

880

881 880 Marie Stobbe (American/New York, 1909‑2003) “Jean”, pastel on paper, sight 18” x 13”, retains gallery label en verso “Grand Central Art Galleries, NY”. Glazed and framed. Provenance: The estates of David and Eula Wintermann, Eagle Lake, Texas. [500/800] Illustrated

882

875 Pair of Painted Cast-Iron Garden Urns, 19th century, each of campana form with a circular annulated lip above a body featuring a procession of classical figures, fitted to either side with a handle, the waisted and fluted standard to a plinth base, presented in a distressed painted and lightly rusted finish, h. 19‑1/2”, dia. 16”. [400/700] 876 Pair of Painted Cast-Iron Garden Urns, in the classical taste, each with a circular molded lip above a broadly ribbed body, fitted with a lion’s-masque ring handle to each side, raised on a molded circular base, h. 13‑1/2”, dia. 16”. [200/400]

881 Woody Gwyn (American/Texas, b. 1944) “Dark Water”, oil on masonite, signed lower left, retains gallery label en verso “Meredith Long & Company, Houston”,  11‑3/8” x 10‑3/8”. Framed. Provenance: The estates of David and Eula Wintermann, Eagle Lake, Texas. [450/700] Illustrated 882 Ann Herzog Wright (American, b. 1945) “Woman Holding a Basket of Apples”, oil on canvas, signed lower center “Anne Herzog Wright”, 18” x 12”. Framed. [400/700] Illustrated

147

883 Max Standley (American/Kansas, b. 1942) “Composition in Green”, oil on board, signed lower right, retains gallery label en verso “Long & Company, Houston”, 11” x 22”. Framed. Provenance: The estates of David and Eula Wintermann, Eagle Lake, Texas. [600/900] Illustrated 884 L. Theodore Davis (American/ Maine, 1908‑1995) “Monhegen Musicale”, 1948, watercolor on paper, signed and dated lower right “L. Theodore Davis 1948”, titled, dated, signed and inscribed “Monhegan Island, Maine #19”, on the reverse of sheet, 22” x 31”. Glazed, handsomely matted and presented in a contemporary narrow giltwood frame. [800/1200] Illustrated

883

884

885 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. [2000/4000] Illustrated

886

886 Dean Lamont Mitchell (American/ Florida, b. 1957) “The Next Generation”, 2005, watercolor, signed, dated and with artist’s copyright lower right “Dean Mitchell AWS 05”, sight 19‑1/2” x 14‑1/4”. Glazed and handsomely framed. Provenance: Bryant Galleries, New Orleans, Louisiana. [3500/5000] Illustrated

885

148

890 New Orleans School (Contemporary) “The Pontalba Apartments, Jackson Square”, oil on board, signed lower right “McCaffery”, dated lower left “68”, 16‑1/2” x 21‑1/2”. Framed. [150/300] 891 Nestor Hippolyte Fruge (American/New Orleans, b. 1916) “View of Orleans Avenue and the Back of The St. Louis Cathedral, French Quarter”, watercolor, signed lower right “N Fruge”, sight 14‑1/2” x 10‑1/2”. Glazed, matted and framed. [450/700] Illustrated 892 Harrison Rucker (American, b. 1930) “Images of the Shore”, oil on board, signed lower right, 16” x 20”. Glazed, matted and framed. Provenance: The estates of David and Eula Wintermann, Eagle Lake, Texas. [200/400] 893 Noel Rockmore (American/ New Orleans, 1928‑1995) “The Scribe”, 1990, oil on canvas, signed and dated upper right “Rockmore 90 Jan”, 30” x 48”. Framed. Provenance: Bryant Galleries, New Orleans, Louisiana. [1000/1500] 889 one of three 887 Phillip Sage (American/Louisiana, b. 1942) “New Orleans Jazz Funeral”, 1975, hand-colored etching, pencil signed and dated lower right “Phillip Sage 1975”, inscribed in pencil lower left “Artist Proof”, titled in pencil lower center, signed and dated in the plate lower right, sight 19” x 25‑1/2”. Glazed, handsomely double matted and presented in a contemporary giltwood frame. Provenance: Private collection, Uptown New Orleans. [500/800] 888 Phillip Sage (American/Louisiana, b. 1942) “The Olympia Brass Band”, 1974, etching, signed and dated in pencil lower right “Phillip Sage ‘74”, titled in pencil lower center, numbered in pencil lower left “5/200”, signed and dated in the plate lower left, sight 19” x 25‑1/2”. Glazed, handsomely double matted and presented in a contemporary giltwood frame. Provenance: Private collection, Uptown New Orleans. [400/700] 889 Clarence Millet (American/ New Orleans, 1897‑1959), a collection of three French Quarter prints, consisting of “Pirate’s Alley”, sight 7‑1/4” x 6”, “Old French Market”, sight 6” x 7”, and “Corner Jackson Square”, sight 7‑1/4” x 6‑1/2”, hand-colored woodblock prints, all titled in pencil lower left corner and inscribed “New Orleans” lower right. All three examples are glazed, matted and framed. [900/1200] Illustrated

891

149

897 Noel Rockmore (American/ New Orleans, 1928‑1995) “Mardi Gras Indians at Festival”, 1970, graphite and watercolor on paper, signed and dated in black ink lower right “Rockmore 70”, titled lower right, sight 10‑1/2” x 13‑1/4”. Glazed and framed. Provenance: Collection of Mrs. Shirley Marvin, Baton Rouge, Louisiana. [350/500] Illustrated 898 Noel Rockmore (American/ New Orleans, 1928‑1995), “Mardi Gras Horses”, 1983, oil on canvas, signed and dated lower right “Rockmore ‘83”, 32” x 46”. Provenance: Collection of Mrs. Shirley Marvin, Baton Rouge, Louisiana. [800/1200]

894 894 Noel Rockmore (American/ New Orleans, 1928‑1995) “Yellow Girls - Old Kingdom”, 1990, mixed media on canvas, signed and dated upper right “Rockmore ‘90 Jan”, 36” x 48”. Handsomely framed. Provenance: Bryant Galleries, New Orleans, Louisiana. [1000/1500] Illustrated

899 Noel Rockmore (American/ New Orleans, 1928‑1995) “Split Level Grid”, 1988, mixed media on paper, signed and dated lower right “Rockmore 88 Dec”, titled lower center, verso with “Cassell Gallery, New Orleans” label, sight 9‑1/4” x 8‑3/4”. Glazed, matted and framed. Provenance: Collection of Mrs. Shirley Marvin, Baton Rouge, Louisiana. [500/800]

895 Noel Rockmore (American/ New Orleans, 1928‑1995) “Nude in Red Stockings”, 1981, oil on masonite, signed and dated lower left “Rockmore 81”, 8” x 10”. Handsomely framed. Provenance: Collection of Mrs. Shirley Marvin, Baton Rouge, Louisiana. [500/800] 896 Noel Rockmore (American/ New Orleans, 1928‑1995), “Pandora”, 1985, mixed media on paper, titled lower left, signed and dated lower right “Rockmore 85”, sight 23” x 17‑1/4”. Glazed, matted and framed. Provenance: Collection of Mrs. Shirley Marvin, Baton Rouge, Louisiana. [600/900] 902

900 Noel Rockmore (American/ New Orleans, 1928‑1995), “Ganesha with Observer”, 1992, mixed media on paper, titled lower right, signed, dated and inscribed lower right, “Rockmore July 92, Tauro”, sight 24” x 18‑1/2”. Glazed, matted and framed. Provenance: Collection of Mrs. Shirley Marvin, Baton Rouge, Louisiana. [350/500] 901 Noel Rockmore (American/ New Orleans, 1928‑1995) “Alien, Female Nude and the King of Clubs”, 1991, mixed media on paper, signed and dated lower left “Rockmore 91 Mar”, verso with “Cassell Gallery, New Orleans” label, sight 11‑1/2” x 9”. Glazed, matted and framed. Provenance: Collection of Mrs. Shirley Marvin, Baton Rouge, Louisiana. [300/500] 897

150

904

902 Gabriel Coutard (Haitian, b. 1960) “Jungle at Night”, oil on canvas, signed lower right “G. Coutard”, 50” x 70”. Handsomely matted and framed. Provenance: Bryant Galleries, New Orleans, Louisiana. [1200/1800] Illustrated 903 George Rodrigue (American/Louisiana, b. 1944) “Blue Dog on Pink”, 1998, acrylic on linen, signed lower right “Rodrigue”, dated, signed and with artist’s copyright on canvas verso, 14” x 11”. Unframed. Provenance: Blue Dog Gallery, Carmel, California. [6000/9000] Illustrated 904 George Rodrigue (American/Louisiana, b. 1944) “Blue Dog with Red Flowers”, ca. 2001, oil on canvas, signed lower left “Rodrigue”, 24” x 36”. Unframed. [12000/18000] Illustrated

903

151 151

905 Charming Pair of French Portraits of Boston Terriers, late 19th century, the dark brown and white dogs well painted in gouache and watercolor, indistinctly monogrammed lower center, sight 3” x 2‑1/2”. Presented in brun fonce card mats within narrow black-lacquered wooden frames with giltwood fillets and glazed. [125/250] Illustrated 906 Charming American Naive Painted Tin Portrait of a Black and White Dog, late 19th century, the circular portrait flanked by a pair of painted leather collars, 9‑1/2” x 14”. Presented in a period honey-pine frame in the neoclassical style. [150/300] Illustrated 907 American School (First Quarter 20th Century) “Family Portrait”, oil on canvas, initialed and dated lower right “W. S. 1919”, 8” x 11‑1/2”. Handsomely framed. [125/250]

905 pair

910 American School (Early 20th Century) “On the Scent”, oil on canvas board, unsigned, board verso retains label “Russell’s Canvas Board, patented March 18, 1879”, 7” x 14”. Presented in a period giltwood frame. [400/700] Illustrated 911 Elegant Pair of French Art Deco Argente Brass Tiered Six-Light Appliques, second quarter 20th century, of Louis XVI inspiration, the bobeches of stylized flowerhead form, the centers caught with large antiqued furled bowknots, electrified and fitted with faux candles, h. 2‑1/2”, w. 17‑1/4”, d. 10”. [1200/1800] Illustrated

906

908 After Sir Edwin Henry Landseer (British, 1802‑1873) “Suspense”, graphite on paper, signed and dated lower right, “D. A. Godbold 1908”, sight 10” x 7”. Glazed, matted and framed. [150/300] 909 Continental School (First Quarter 20th Century) “Greyhound Sleeping”, oil on board, indistinctly monogrammed lower right, the reverse with an oil sketch of a garden as seen through a gated entrance, 4‑3/8” x 8‑3/4”. Framed. [100/200]

910

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912 Contemporary Laminated Gray Steel Cabinet, ca. 1970, of elongated rectangular form, fitted with two sliding and overlapping doors, the interior shelved, raised on square metal legs, h. 27”, w. 88‑1/2”, d. 20”. [900/1200] Illustrated 913 Pair of Grosfeld House Polychromed and Glass Occasional Tables, each with a circular glass top raised on three “Prince of Wales”-plume supports to a stepped circular base, h. 19”, dia. 28”. [300/500]

912

914 French Black and White Drum-Shaded Chandelier, dressed with parallel chains of onyx hoops centered with rhinestone spheres, the matte white drum shade banded in black ribbon and fitted with an interior downlight, h. 19”, dia. 13‑1/2”. [400/700]

911 pair

916 Ebonized, Gilded and Marble-Top Cocktail Table, in the style of James Mont (American, 1904‑1978), the circular Carrara marble top above an ebonized stand of chinoiserie inspiration, raised on square legs, all with gilt banding, h. 18”, dia. 36”. [300/500] 917 Attractive Iridescent Colorless Glass Vasiform Table Lamp, second quarter 20th century, in the Art Deco taste, overall h. 20”. [75/125] 918 Victor Pasmore (British, 1908‑1998) “The Tear that Falls”, 1974, etching in colors, initialed and dated lower right “VP 74”, numbered in pencil lower left “27/60”, retains gallery label en verso “Marlborough Godard, Canada”, 27‑1/2” x 23‑1/2”. Glazed and presented in a narrow silvered frame. [900/1200] 919 Continental Art Moderne Lacquered Display Cabinet, first half 20th century, consisting of a gilded metal superstructure with two tall sets of glass shelves flanking a short pair of glazed cupboard doors, above a rectangular painted base with two doors and painted chinoiserie decoration of landscapes and water scenes, h. 79”, w. 53‑1/4”, d. 13‑3/4”. [500/800] 920 Striking Pair of French Art Moderne Gilt-Brass and Colorless Glass Appliques, mid‑20th century, composed of asymmetrically crossed brass bars, each example fitted with a parcel-gilded electric bulb, h. 14”, w. 15”, d. 5”. [1500/2500] 921 Pair of Continental Brass and Wood Table Lamps, first half 20th century, interestingly composed of an engraved Chinese brass panel of flowering plants and a butterfly set into a conforming brass frame, mounted on a wooden base and wired, h. 15”. [800/1200]

915 Art Deco-Style Electrified Looking Glass, the domed and beveled plate with an etched floral-band pattern, the reverse electrified with bulbs to illuminate the blooms, h. 51”, w. 47”. [400/700]

922 Pair of French Art Moderne Two-Light Appliques, second quarter 20th century, composed of brass and matte black tole-peinte and of Directoire inspiration, each candlearm fitted with a frosted opal glass shade of inverted rounded bell form, electrified, h. 11‑3/4”, w. 11‑1/4”, d. 8‑1/4”. [400/700]

153

932 923 Striking Pair of French Retro Appliques, ca. 1950‑1955, the brass, wrought-iron and brass wire appliques of stylized flambeau form, the flared candlesockets of bowl form surmounting brass wire cages of closed tulip form, electrified, h. 12‑1/4”, w. 10‑3/4”, d. 6”. [400/700] 924 Elegant French Satin-Finished Brass Wall Lamp, of circular form and large scale, composed of pierced brass and mirrored glass in the 1950’s style, electrified, dia. 26”. [700/1000] 925 Elegant French Satin-Finished Brass Wall Lamp, of circular form and large scale, composed of pierced brass and mirrored glass in the 1950’s style, electrified, dia. 26”. [700/1000] 926 Elegant French Satin-Finished Brass Wall Lamp, of circular form and large scale, composed of pierced brass and mirrored glass in the 1950’s style, electrified, dia. 26”. [700/1000] 927 Unframed Russian Propaganda Poster, 1961, with English translation inscribed in pencil on the reverse of sheet “Don’t Dare to Spy Now or in the Future”, 40‑1/4” x 26‑1/4”. Ex-collection: The Columbus Museum, Columbus, Georgia. [75/125] 928 Unframed Russian Propaganda Poster, 1961, with English translation inscribed in pencil on the reverse of sheet “The Colonizers Must Answer for Their Crimes”, 26” x 38‑3/4”. Ex-collection: The Columbus Museum, Columbus, Georgia. [75/125] 929 Unframed Russian Propaganda Poster, 1961, with English translation inscribed in pencil on the reverse of sheet “We Shall Meet the 22nd Congress of the Communist Party with New Victories of Labor”, 22” x 43‑1/2”. Excollection: The Columbus Museum, Columbus, Georgia. [75/125]

930 Unframed Russian Propaganda Poster, 1961, with English translation inscribed in pencil on the reverse of sheet “Marxism and Leninism are the Guiding Star of the Working Class and the Laborers of All the World”, 25‑3/4” x 38‑1/2”. Ex-collection: The Columbus Museum, Columbus, Georgia. [75/125] 931 Unframed Russian Propaganda Poster, 1961, with English translation inscribed in pencil on the reverse of sheet “By the Splendid Labor We Bring Communism Closer”, 32‑3/4” x 45‑3/4”. Ex-collection: The Columbus Museum, Columbus, Georgia. [75/125] 932 Italian Stained, Inlaid and Brass Bar/Serving Cabinet, ca. 1970, with a pair of drawers and light-wood banding, the bisected top with an inset brass work surface on one side, the other with a lift top opening to reveal a mirror-lined storage well, h. 35”, w. 44‑1/4”, d. 20‑1/2”. [600/900] Illustrated 933 Twenty-Three-Piece Collection of Baccarat Stemware, in the elegant “Massena” pattern, consisting of eight champagne flutes, h. 8‑5/8”, eight white wine glasses, h. 6‑1/2”, and seven red wine glasses, h. 7”. [500/800] Illustrated

933 934 Polished Agate Spherical Geode, the polished exterior showing olive, green, cream and gray color in “moss” agate formations, the polished surface displaying open areas giving a view of the crystalline geode interior, presented on a custom gray steel stand, h. 11”, dia. 5”. [200/400]

154

935 Large Polished Agate “Planetary” Sphere, cut and polished to reveal horizontal rows of translucent quartzite with a base of brown and white agate and a top of fleshcolored jasper, reminiscent of the planet Jupiter, now mounted on a custom matte gray steel display stand, h. 13‑1/2”, dia. 5‑1/2”. [200/400]

939 Unframed Russian Propaganda Poster, 1956, with English translation inscribed in pencil on the reverse of sheet “Master Battle Technology with Perseverance”, 21‑3/4” x 29‑3/4”. Ex-collection: The Columbus Museum, Columbus, Georgia. [75/125] 940 Unframed Russian Propaganda Poster, 1960, with English translation inscribed in pencil on the reverse of sheet “For Peace and Happiness in All the World”, 41” x 29”. Ex-collection: The Columbus Museum, Columbus, Georgia. [75/125] 941 Unframed Russian Propaganda Poster, 1961, with English translation inscribed in pencil on the reverse of sheet “The Ideas of Lenin are Victorious, Peace”, 26” x 37”. Ex-collection: The Columbus Museum, Columbus, Georgia. [75/125] 942 Unframed Russian Propaganda Poster, 1961, with English translation inscribed in pencil on the reverse of sheet “Peace, Democracy, Socialism”, 22‑1/4” x 43‑1/4”. Ex-collection: The Columbus Museum, Columbus, Georgia. [75/125] 943 Unframed Russian Propaganda Poster, 1961, with English translation inscribed in pencil on the reverse of sheet “Falsifiers Must be Grabbed by the Ear and Brought to Light”, 21‑1/2” x 30‑1/2”. Ex-collection: The Columbus Museum, Columbus, Georgia. [75/125]

938

936 Art Deco Polychromed and Gold-Painted Display Cabinet, early 20th century, in the chinoiserie taste, the rectangular top centered by a scrolling floral and foliate design, above a conforming case fitted with a single glazed door, opening to a mirrored interior, the sides also glazed, raised on a molded base and in-scrolled toes, h. 43‑1/2”, w. 40”, d. 14‑7/8”. [700/1000] 937 Italian Pietra Dure Game Board, of square form with a molded edge, the specimen marble game board within a geometric border, now raised on a contemporary satinfinished steel stand, h. 24”, w. 25‑1/2”, d. 25‑1/2”. [500/800] 938 Unframed Russian Propaganda Poster, 1959, with English translation inscribed in pencil on the reverse of sheet “Glory to the Great Unity, The Union of the Working Class and the Peasantry is the Unshakable Soviet State”, 37” x 25‑1/4”. Ex-collection: The Columbus Museum, Columbus, Georgia. [75/125] Illustrated

944

944 Alexei Kazantsev (Russian/American, Contemporary), a carved white Carrara marble figure of a headless, armless female nude, signed and dated “00” on the proper right rear basal edge, h. 24‑3/4”, w. 10‑1/2”, d. 6‑1/2”. Provenance: Carol Robinson Gallery, New Orleans, to a private collector. [900/1200] Illustrated

155

947 Pair of Mahogany and Upholstered Gondola Chairs, mid‑20th century, in the Empire taste, each with a padded back joined by downswept sides to the padded seat, above an interlacing archapplied ormolu frieze, raised on square legs, h. 30”. [500/800] Illustrated 948 French Gilt-Brass and Cut Glass Five-Light Chandelier, in the manner of Gilbert Poillerat, the standard enframed by upright gilt-brass stems tipped with pressed topaz glass leaves, electrified, the candlesockets of pressed-cut colorless glass, h. 17‑1/2”, dia. 17”. [600/900] 949 French Overmantel Looking Glass, ca. 1940, the long rectangular plate bordered by mirrored segments with polychromed rinceau accents, the whole within a molded giltwood frame, h. 40‑1/4”, w. 91‑1/2”. [1000/1500] 950 Suite of Four Art Moderne Burlwood Dining Chairs, first half 20th century, consisting of two armchairs and two sidechairs, each with a tall, padded, tufted back above a tufted seat, raised on square legs, h. 42‑1/2”. [400/700] 951 Unframed Russian Propaganda Poster, 1960, with English translation inscribed in pencil on the reverse of sheet “Powerful and Monolithic”, 31‑3/4” x 22”. Ex-collection: The Columbus Museum, Columbus, Georgia. [75/125] Illustrated

945

952 Unframed Russian Propaganda Poster, 1959, with English translation inscribed in pencil on the reverse of sheet “We Propose to Trade and Compete, Signing the Trade Agreement”, 22‑1/4” x 32”. Ex-collection: The Columbus Museum, Columbus, Georgia. [75/125] 945 detail

945 Pair of Stylish Italian Mariani Leather and Chrome Cabinets, early 1970’s, designed by Guido Faleschini, each of rectangular form and fitted with a cupboard door over six drawers, the front upholstered in leather and with tubular chrome hardware, the sides and back felt-clad, h. 67”, w. 20‑1/2”, d. 18”. [3000/5000] Illustrated 946 French Black-Patinated Metal and Alabaster Basin-Form Hanging Lamp, the stepped circular basin of alabaster and fitted with a pair of interior lights, h. 46”, dia. 15‑3/4”. [500/800]

156

947

953 Unframed Russian Propaganda Poster, 1961, with English translation inscribed in pencil on the reverse of sheet “True to the Task of Lenin”, 44” x 26”. Ex-collection: The Columbus Museum, Columbus, Georgia. [75/125] 954 Unframed Russian Propaganda Poster, 1960, with English translation inscribed in pencil on the reverse of sheet “We Approve of the Policies of the Soviet State, Shame to the Provocateurs, the Military Clique of the United States”, 26” x 37‑1/4”. Ex-collection: The Columbus Museum, Columbus, Georgia. [75/125]

958

956

951

957

955 Unframed Russian Propaganda Poster, 1961, with English translation inscribed in pencil on the reverse of sheet “12th April, The Way to the Planets is Open to Man”, 43‑1/4” x 22‑1/4”. Ex-collection: The Columbus Museum, Columbus, Georgia. [75/125] 956 Contemporary Faux-Bois, Ebonized and Marble-Top Cocktail Table, the circular variegated charcoal and ochre marble top raised on four double-column supports to a canted square base raised on bun feet, h. 18”, dia. 32”. [400/700] Illustrated 957 Pair of Art Deco Mahogany Wing Chairs, early 20th century, in the Louis XVI taste, each with a slightly molded and padded back joined by shaped sides and outscrolled arms to the cushioned seat, raised on tapering square legs ending in spade feet, h. 40”. [800/1200] Illustrated

157

960 Pair of Danish Modern Birch Armchairs, mid‑20th century, the padded rectangular back joined by curved arms to the padded seat, the arms with chrome accents, raised on square legs, h. 31”. [400/700] Illustrated

960

961 Large Italian Caramel Alabaster Luminaire, of square section on a conforming matte steel and ebony base, the interior fitted with a single bulb, overall h. 20‑1/2”, w. 10‑1/4”. [400/700] 962 Good Thomas Webb and Sons Glass Vase, fourth quarter 19th century, the cameo-cut white-over-rose-over-citron glass vase in floral decor with a butterfly, the citron ground frosted, signed on the base with the embossed arched Webb “cameo” mark, h. 6‑1/2”. [7000/10000] Illustrated 963 Sterling Silver and Silver-Gilt-Mounted Thomas Webb and Sons Scent Bottle, fourth quarter 19th century, the cameo-cut white-over-citron glass lay-down bottle in floral decor, l. 4‑1/4”. [1400/1800] Illustrated

962

964 Mid-Century Modern Brushed Steel Drinks Trolley, mid‑20th century, the rectangular top flanked to either end by outswept brass push handles, above two like-shaped lower shelves, raised on casters, h. 28”, w. 34‑1/2”, d. 16”. [500/800]

963

958 Rufino Tamayo (Mexican, 1899‑1991) “Mujer Azul”, 1976, etching in colors on Guarro paper, signed in black crayon lower right “R Tamayo”, numbered lower left “43/75”, from the series Rufino Tamayo 16 Aquafuertes 1976, published by Ediciones Poligrafa, Barcelona, sheet 30” x 22”. Glazed, matted and presented in a contemporary silver studio frame. Provenance: Collection of Mrs. Shirley Marvin, Baton Rouge, Louisiana. Reference: Juan Carlos Pereda, Rufino Tamayo: Catalogue Raisonne: Grafica/Prints 1925‑1991; catalogue number 203, page 171. [1200/1800] Illustrated previous page 959 Stylish Art Deco Gilt-Brass and Cut Glass Six-Light Chandelier, second quarter 20th century, of Louis XVI inspiration, the canopy with alternating pendant six-drop cluster and faceted drops of tear form, the dipped arms outlined in colorless glass beads and pairs of faceted drops, electrified and fitted with taupe faux-wax candles and knife-pleated off-white fabric shades, h. 34”, dia. 25”. [600/900]

158

965 American Brushed Nickel Sculpture, depicting three attenuated maidens supporting a (detachable) sphere in the Art Deco style, h. 23‑3/4”, dia. 7‑3/4”. [400/700] Illustrated 966 Edvard Eriksen (Danish, 1870ca. 1951) “La Petite Serene” (also known as “The Little Mermaid”), first quarter 20th century, patinated bronze, fully signed on the reverse, h. 9‑1/4”, w. 7‑1/4”. This is a small-scale version of the celebrated figure on the Langelinie promenade in Copenhagen. [300/500] Illustrated

965

967 Follower of Romain de Tirtoff , Called Erte (1892‑1990), a frosted pale yellow plastic attenuated figure of a 1920’s lady of fashion in a Paul Poiret-like evening ensemble, h. 18‑3/4”, w. 8‑1/4”. [500/800]

971 Pierre Bisiaux (French, b. 1924) “Nature Morte aux Deux Bouquets”, oil on canvas, signed lower left “P. Bisiaux”, titled on stretcher verso, 29” x 21‑1/2”. Handsomely framed. [600/900] 972 Collection of Seashells in a Blown Glass Parlor Dome, comprised of eight white seashells and a white branch coral specimen, custom mounted in a blown glass parlor dome with elliptical black-painted wooden base, h. 15‑1/2”, w. 11”, d. 5‑3/4”. [75/125]

969

973 Fanciful White-Glazed Pottery Table Lamp, mid‑20th century, in the form of a sea urchin, fitted with a custom graduated circular white fabric shade with grosgrain trim, h. 13”, dia. 10”. [250/400]

966

968 Nine Miscellaneous Books on Art, including Colin Simkin, ed. Currier and Ives’ America, E. Thomas Gilliard, fwd., Audubon Animals, James Hancock and Hugh Elliott, Herons of the World, G. S. Sandilands, Famous WaterColour Painters II: W. Russell Flint, A.R.A., Robert Descharnes and Gilles Neret, Dali, Elizabeth de Veer and Richard J. Boyle, Sunlight and Shadow: The Life and Art of Willard L. Metcalf, The Prestel Dictionary of Art and Artists in the 20th Century, S. Michael Schnessell, Icart, and the New York Graphic Society catalogue of Fine Art Reproductions: Old and Modern Masters. [125/250] 969 Italian Wrought-Iron and Cut Glass Nine-Light Chandelier, second quarter 20th century, the parcel-gilt and ivory-painted iron frame of cage form in the Directoire taste, the interior featuring a wrought-iron-stemmed bouquet of cut glass flowerheads, the frame opulently dressed with facet-cut glass drops in two sizes, amber glass fleurettes, cabochon drops and amber kite-form drops in two sizes, fitted with faux candles and electrified, h. 30”, dia. 25”. [2500/4000] Illustrated 970 Guillaume Azoulay (Moroccan, b. 1949) “Derby” and “Last Furlong”, pair of color etchings, both examples titled, signed and inscribed in pencil “epreuve d’artiste” lower margins, sight 19” x 25”. Glazed, matted and framed en suite. [900/1200] Illustrated

970 pair

159

974 French Art Deco Brass, Glass and Magnum Bugle Bead Six-Light Chandelier, second quarter 20th century, of lantern form, each incurvate side of the lantern fitted with a rod candlearm with a white faux candle surmounted by a small black corded shade, each candlearm terminal dressed with a large pendant glass cabochon drop, h. 27” (including drops), dia. 19‑1/2” (including shades). [1200/1800] Illustrated 975 Stylish Pair of French Retro Single-Light Appliques, ca. 1950‑1955, composed of wrought brass, plate glass and ivory-painted wrought iron, electrified and fitted with bone-white faux candles surmounting tiered square plate glass bobeches, h. 9‑1/2”, w. 6”, d. 6‑1/4”. [400/700] 976

976 French Wrought-Steel and Sarrancolin MarbleTop Demi-lune Console Table, in the Louis XVI style, ca. 1960, the open guilloche apron supported on a pair of boldly scrolled legs with flowerhead upper terminals, h. 37‑1/2”, w. 43‑1/2”, d. 19‑1/2”. [1000/1400] Illustrated 977 Handsome, Large Pair of French Appliques, ca. 1950‑1955, composed of pressed colorless glass and brass, each flammiform glass facade lit from behind with a single bulb, the brass backplates of upright oblong configuration, h. 21”, w. 10‑1/2”, d. 4‑1/2”. [1500/2500] Illustrated

974

977

977A Henri de Toulouse-Lautrec (French, 1864‑1901) “Elsa, Dite la Viennoise”, lithograph in colors, later printing, with blind stamp lower left, sight 17” x 12”. Glazed, handsomely matted and presented in a contemporary silvered frame. [600/900]

160

978 French Art Deco Gilt-Brass Eight-Light Chandelier, second quarter 20th century, of simplified and stylized sunburst form, the terminus of each ray fitted with a bulb socket, retaining the period brass suspension rods and inverted bell-form canopy, h. 22”, dia. 32‑1/2”. [800/1200] Illustrated

979 Directoire-Style Gilt-Metal and Marble-Top Cocktail Table, mid‑20th century, the rectangular verde antico marble top within a reeded frame, raised on tubular legs joined by a shaped X-form stretcher and ending in hoof feet, h. 19‑1/2”, w. 45‑1/2”, d. 20”. [600/900] Illustrated

978

980 Stylish Contemporary Mahogany Armchair, of Chinese Chippendale inspiration, the padded rectangular back joined by shallow padded sides and pierced arms to the padded seat, raised on rounded square legs with decorative knees, h. 43”. [400/700] 981 French Crystal Sphere and Brass Table Lamp, second quarter 20th century, modeled as alternating large and smaller crystal spheres surmounting a hexagonal stepped brass base, fitted with a custom mirror-black card shade of truncated conical form lined in gilt paper, h. 26”. [400/700]

984 Jansen Art Moderne Gilt and Argente Metal and Glass Games Table, mid‑20th century, the square inset smoked glass top above a frieze fitted with a small end drawer to each side, raised on square legs, h. 29”, w. 31‑7/8”, d. 31‑7/8”. [2000/4000] Illustrated 985 Pair of French Cast- and Wrought-Brass Two-Light Appliques, second quarter 20th century, in the manner of Gilbert Poillerat, fitted with unusual tapering painted wood faux candles and electrified, h. 11‑1/2”, w. 8”, d. 6‑1/2”. [400/700] Illustrated following page

984

986 Art Moderne Gilt-Brass Looking Glass, mid‑20th century, the rectangular plate within a deep molded brass frame, h. 44‑1/4”, w. 28‑1/2”. [600/900]

982 Pair of Upholstered and Mahogany Stools, each with a cushioned rectangular top raised on reeded tapering circular legs ending in toupie feet, h. 18”, w. 27”, d. 18‑1/2”. [125/250]

983 French Argente and Gilt Six-Light Chandelier, third quarter 20th century, in the Art Deco style, the turned and paneled standard issuing six shaped arms, with a tapering paneled pendant to a gilt finial, attributed to the atelier Charles, h. 27‑1/2”, w. 24”. [1000/1500]

979

161

987 Art Moderne Gilt- and Patinated Metal Cocktail Table, mid‑20th century, in the Directoire taste, the rectangular top with an inset smoked glass surface, raised on shaped legs joined by a knotted X-form stretcher and ending in tassel feet, h. 18‑1/2”, w. 48”. [1000/1500] Illustrated 988 Suite of Three Ebonized Metal and MarbleTop Pedestals, each with a square gray marble top raised on square legs joined by a plinth box stretcher, h. 32‑7/8” to 56‑1/2”. [1200/1800]

995 993

992

989 Pair of American Art Deco “Hematite”Detailed Brass Two-Light Sconces, second quarter 20th century, of Directoire inspiration, the “hematite”-finished backplates of scalloped octagonal form, each faux-wax candle base fitted with a cut plate glass bobeche of disc form, electrified, h. 7”, w. 8‑3/4”, d. 6”. [400/700]

994

985 pair

997 987

990 Suite of Four Mid-Century Modern Fiberglass, Wood and Wire PAW Chairs, ca. 1975, each embossed underneath with the Herman Miller logo, designed by Charles and Ray Eames for the Herman Miller Company, Zeeland, Michigan, h. 30‑3/4”. [1000/1500] 991 Robert I. Russin (American, 1914‑2007) “Draped Figure”, patinated bronze, ca. 1956, presented on an oblong polished verde antico marble block base fitted with an engraved brass artist’s plaque, the figure signed on the reverse “Russin”, overall h. 7‑1/4”, w. 5‑1/2”, d. 2‑3/4”. [100/200]

162

996 Woodrow Nash (American/ Ohio, Contemporary), sculpted stoneware African female torso in a red iron oxide patina, ornamented with large copper disc earrings, triple strand of sculpted stoneware multicolored beadwork around her neck and royal purple-painted drape, mounted on a steel plate, h. 27”, w. 20‑1/2”. [1800/2500]

992 Akan Ashanti Antelope-Form Gold Weight, cast as a standing figure of a horned antelope on four legs, the body decorated with a series of coiled circles, h. 4‑1/4”, l. 5‑1/2”. [100/200] Illustrated 993 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”. [900/1200] Illustrated

997 Unframed Russian Propaganda Poster, 1961, with English translation inscribed in pencil on the reverse of sheet “Shake Off the Colonizers”, 35‑1/2” x 22‑3/4”. Excollection: The Columbus Museum, Columbus, Georgia. [75/125] Illustrated

994 Akan Ashanti Turtle-Form Gold Weight, cast as a standing figure of a turtle on four legs with outstretched head, the carapace cast as a series of coiled circles with scattered bosses, h. 2‑1/8”, l. 5‑3/4”. [100/200] Illustrated

998 Unframed Russian Propaganda Poster, 1961, with English translation inscribed in pencil on the reverse of sheet “There is No Room for Colonization on this Earth, Footsteps: Slavery, Robbery, Hunger, Terror”, 39‑1/2” x 22‑3/4”. Ex-collection: The Columbus Museum, Columbus, Georgia. [75/125]

995 Good Carved Verdite Bust of a Shona Elder, by Tandai Rutendo Jethro Dodzo, the lightly mottled stone well and sympathetically carved with a realistically carved depiction of the elder, h. 8”. Dodzo is a member of the “Fine Artists” group in Zimbabwe and is one of the group’s Masters whose work is internationally acclaimed and collected . The “Fine Artists” group is dedicated to only carving realistic sculptures in hard, beautiful stones native to Zimbabwe. [150/300] Illustrated

999 Unframed Russian Propaganda Poster, 1961, with English translation inscribed in pencil on the reverse of sheet “We the Children of a Great Country”, 22” x 42‑1/2”. Excollection: The Columbus Museum, Columbus, Georgia. [75/125]

1002

1000 Unframed Russian Propaganda Poster, 1959, with English translation inscribed in pencil on the reverse of sheet “Long Live Our May Day”, 33” x 22‑1/4”. Ex-collection: The Columbus Museum, Columbus, Georgia. [75/125]

1001 Unframed Russian Propaganda Poster, 1959, with English translation inscribed in pencil on the reverse of sheet “Away with the Colonizers”, 26” x 36‑3/4”. Excollection: The Columbus Museum, Columbus, Georgia. [75/125] 1002 Malayer Runner, 3’ 1” x 13’ 1”. [2000/4000] Illustrated 1003 Oushak Carpet, 4’ 10” x 2’ 6”. [200/400] 1004

1004 Oushak Carpet, 5’ 4” x 3’ 9”. [300/500] Illustrated

163

1016 Kilim Carpet, 7’ 2” x 10’ 2”. [200/400] 1017 Persian Tabriz Carpet, 9’ 3” x 12’ 4”. [2500/4000] 1018 Semi-Antique Persian Hamadan Carpet, 3’ 11” x 6’ 2”. [200/400] 1019 Kilim Carpet, 7’ 11” x 11’ 2”. [200/400] 1020 Sarouk Carpet, 8’ 8” x 12’. [2500/4000] 1021 Lilihan Runner, 3’ 1” x 20’ 2”. [1200/1800] 1022 Feraghan Sarouk Carpet, 3’ 2” x 4’ 8”. [250/400] 1023 Tabriz Carpet, 12’ 8” x 9’ 8”. [1200/1800] 1024 Heriz Carpet, 12’ 1” x 9’ 2”. [2500/4000] 1025 Isfahan Carpet, 6’ 6” x 4’ 8”. [600/900] 1009 1005 Oushak Carpet, 5’ 3” x 3’ 3”. [300/500] 1006 Persian Serapi Carpet, 6’ 8” x 10’. [2500/4000] 1007 Angora Oushak Carpet, 6’ 3” x 8’ 8”. [1500/2500] 1008 Persian Sultanabad Carpet, 8’ 5” x 9’ 8”. [2500/4000] 1009 Angora Oushak Carpet, 9’ 7” x 13’ 9”. [8000/12000] Illustrated 1010 Zeiglar Mahal Carpet, 12’ 3” x 17’. [7000/10000] 1011 Persian Tabriz Carpet, 9’ 4” x 12’ 7”. [2500/4000] 1012 Persian Tabriz Carpet, 6’ 4” x 10’. [1800/2500] 1013 Persian Mashad Carpet, 9’ 5” x 12’. [2500/4000] Illustrated 1014 Kilim Carpet, 7’ 7” x 9’ 5”. [200/400] 1015 Kilim Carpet, 6’ 6” x 9’ 5”. [200/400]

164

1013

1026 Heriz Carpet, 11’ 3” x 8’. [1800/2500] 1027 Heriz Carpet, 11’ 9” x 8’ 1”. [1800/2500] 1028 Isfahan Carpet, 12’ 7” x 9’ 2”. [1800/2500] 1029 Elegant Italian Brass and Cut Glass Six-Light Chandelier, second quarter 20th century, of small size in the 18th-century neoclassical style, richly dressed with multiple draped bead chains, dark amber facet-cut glass drops in two sizes and cut glass bobeches of saucer form, electrified and fitted with faux candles, h. 25”, dia. 16”. [500/800] Illustrated

1031 1030 Henri IV-Style Carved and Ebonized “Dame a Licorne” Armchair, mid‑19th century, the padded rectangular back surmounted by two bulbous finials and with period needlework after “La Vue”, one of the six late 15th century “La Dame a Licorne” tapestries now housed at the Musee National du Moyen Age, Hotel de Cluny, Paris, joined by imbricate- and foliate-carved arms to the padded seat, raised on bobbin-turned legs joined by a shell- and foliate-carved front stretcher and ending in block feet, h. 53‑1/2”. [1500/2500]

1029

1031 Tiziano Vecellio, Known as Titian (Italian, 1488/ 1490‑1576) “Woman with a Mirror”, mid‑19th-century oil on canvas, unsigned, 35‑1/2” x 28‑1/2”. Presented in a contemporary molded giltwood frame. [1400/1800] Illustrated 1032 Spanish Provincial Walnut Refectory Table, early 20th century, the rectangular top with a fluted edge, raised on six turned and bulbous legs to a rectangular plinth stretcher on molded runner feet, h. 32”, w. 31”, l. 79”. [1800/2500] Illustrated

1032

1033 Attractive Italian Patinated Bronze Hanging Lamp, in the ancient Roman style, the handle of the lamp proper with a horse-head terminal, now electrified and fitted with a white faux candle, h. 22”, w. 5”, d. 8”. [400/700]

165

1034 1034 Spanish Carved Walnut and Embossed Leather Armchair, second quarter 19th century, in the Baronial taste, the domed and padded back upholstered in embossed leather featuring a shield and a warrior bearing a banner, joined by padded ram’s-head arms to the seat, with like upholstery with a mounted warrior, raised on block and turned legs joined by a foliate-carved front stretcher and ending in bulbous turned feet, h. 51‑1/2”. [1200/1800] Illustrated

1037 pair

1036

1035 Pair of Continental Brass-Mounted Carved and Dark-Stained Oak Bracket Shelves, first quarter 20th century, h. 24”, w. 10”, d. 3‑3/4”. [300/500] 1036 Continental Carved Oak Coffer, mid‑19th century, the hinged rectangular top with carved edge and opening to a void interior, the front with a scroll-carved frieze above two portrait bust-carved panels, raised on molded bun feet, h. 31‑1/4”, w. 42”, d. 22”. [1200/1800] Illustrated

166

1037 Pair of Northern Italian Carved Giltwood Looking Glasses, third quarter 19th century, of diminutive size and cartouche form in the 15th-century Venetian taste, fitted with tastefully antiqued plates, h. 15‑1/4”, w. 11‑3/4”. [300/500] Illustrated

1038 Spanish Walnut and Leather Sillon de Frailenos (Armchair), third quarter 19th century, the domed embossed leather back flanked to either side by floriform finials and featuring elaborate floral and foliate patterns with frolicking nude figures, joined to the like-decorated seat by acanthinecarved scrolling arms, raised on turned and block legs joined by a pierced and interlacing front stretcher and ending in ball feet, the whole with large brass tack accents, h. 53”. [1000/1500] Illustrated

1038

1039 Two Wooden Printing Blocks, 19th century, carved for printing fabric or wallpaper, now mounted on a patinated steel display stand fitted as a table lamp, overall h. 33”. [200/400]

1042

1042 Italian Giltwood Looking Glass, mid‑19th century, the shaped plate surmounted by a foliate fan crest and surrounded by a scrolling floral and foliate frame with a medallion pendant, h. 36”, w. 21”. [700/1000] Illustrated 1043 Iberian Carved Walnut Hall Chair, third quarter 19th century, in the renaissance taste, the rectangular padded back flanked to either side by lion finials and caryatid figures, joined to the padded seat by downswept arms ending in ram’s-head hand rests, the apron with foliate carvings centered by a satyr, joined to the box stretcher by fluted and bulbous circular uprights, raised on turned bun feet, the whole upholstered in period embroidered velvet, h. 42‑1/2”. [800/1200] Illustrated

1040 Three Wooden Printing Blocks, 19th century, carved for printing fabric or wallpaper, now mounted on a patinated steel display stand and fitted as a table lamp, overall h. 37‑1/2”. [200/400]

1044 Pair of Italian Silvered and Antiqued Iron ThreeLight Sconces, second quarter 20th century, of large size in “Vintage” decor, electrified and fitted with faux candles, h. 30”, w. 36”. [400/700]

1043

1046

1041

1041 Italian Walnut and Mahogany Coffer, late 18th century, the hinged top opening to a void interior, the front inset with three arched panels divided by projecting geometric and foliate-carved uprights, the molded plinth raised on block feet, h. 31”, w. 45”, d. 22‑1/2”. [1800/2500] Illustrated

167

1046 Italian Neoclassical Fruitwood Commode, mid‑19th century, the rectangular top with a molded edge above a conforming case fitted with three long drawers, all paneled, raised on tapering square legs, h. 43‑1/2”, w. 31”, d. 21”. [1000/1500] Illustrated previous page

1053

1050

1051

1052

1055

1054

1045 After Basilius Besler (German, 1561‑1629), “Piper Minimum and Piper Indicum”, hand-colored engraving, sight 19‑1/2” x 16”. Glazed and handsomely framed. [500/800]

1047 Opulent French GiltBrass Eight-Light Chandelier, of bag form in the Louis XVI style, the frame wrapped in citrine nuggets and dressed with parallel and draped roughcut amethyst and citrine briolette chains, electrified and fitted with “old ivory” faux-wax candles, h. 36”, dia. 32”. [2000/4000] Illustrated

1048 Spanish Provincial Oak Table, 19th century, the irregular top with corner iron hardware accents, above a frieze fitted with a single drawer, with an inlaid geometric panel, raised on splayed block legs, h. 25”, w. 34”, d. 22”. [500/800] 1049 Unusual Italian Carved Oak Wall Bracket, mid‑19th century, carved in the form of an allegorical head of America, being a native American with feathered headdress, boldly mantled by rococo scrolls, h. 15”, w. 12”, d. 8‑1/2”. [300/500]

1047

1050 Southern Italian Canosan or Tarantine Lid in the Form of Athena, ca. 300‑275 B. C., from either a pixis (box for feminine articles) or lekanis (dish), repaired from pieces, the helmeted head of Athena surmounted by a figure of a woman in a cloak, possibly an Amazon, the reconstruction especially visible at and around the handle zone and the goddess’ visor, h. 15‑3/4”. [800/1200] Illustrated 1051 Southern Italian Apulian “Gnathian Ware” Terra Cotta Olpe (Pitcher), ca. 350‑325 B.C., the body appearing largely intact, the tall flaring neck decorated with incised friezes containing an added white lamb’stongue pattern, above an added red filet between added cream and white dots, the spherical body with incised ribbing throughout, with strap handle, the whole above a circular foot, h. 4‑3/4”, dia. 3”, l. (with handle) 3‑3/4”. [400/700] Illustrated

168

1052 Southern Italian Apulian “Gnathian Ware” Terra Cotta Skyphos (Drinking Mug), ca. 350‑325 B.C., Puglia, Egnathia, Italy, repaired from fragments with one piece still missing, the ovoid body decorated with bands of flowers, grapevines and grape clusters in added red, white and cream, h. 3‑1/2”, dia. 4‑3/4”. [400/700] Illustrated 1053 Classical Roman Bronze Figure of Hermes, A.D. 100‑199, presented in a Comm. B. Farina, Rome, claret silk-lined leather tabernacle case fitted with a leather-upholstered block pedestal emblazoned “Hermes / Rome / 2nd Century A.D.”, accompanied by a 1994 letter of appraisal from Christie’s, New York, figure h. 5”, tabernacle h. 12‑1/2”, w. 8‑1/4”, d. 5‑1/4”. [2500/4000] Illustrated 1054 Southern Italian Apulian Trefoil Terra Cotta Oinochoe (Head Vase/Wine Jug), ca. 400‑375 B.C., probably Puglia, Italy, the body appearing largely intact, the trefoil spout with plain strap handle above the figure of a maiden’s head crowned with a laurel wreath in added red, the details of the eyes in added white ground and black glaze, with the eyebrows and curled ringlets additionally in black glaze, h. 5‑1/2”, dia. 2‑1/2”. [600/900] Illustrated

1056

1055 Southern Italian Apulian Terra Cotta Paestan Ware Kantharos (Drinking Cup), 325‑300 B.C., Paestum, Italy, repaired from fragments, decorated on either side with a figure of a bejeweled lady seen in profile in added red, white and cream, one or two pieces lacking at and around the lip where the handle joins, another lacking from one handle itself and one of the handle sprays on the opposite side, with a crack in the elongated foot where the base and foot meet, h. 7‑5/8”, dia. 4‑1/2”, l. (with handles) 7”. [500/800] Illustrated 1056 Attributed to Leonard Saurfelt (French, b. 1840) “A Busy Flower Market in a French Town Square”, oil on canvas, signed lower right, 29” x 36‑1/2”. Presented in a period deeply carved giltwood acanthine-patterned frame with an annulated slip. [2500/4000] Illustrated

169

1057 Provincial Louis XVI Oak Commode, late 19th century, the banded rectangular top with turreted corners above a conforming case fitted with three long drawers, all with foliate carving, flanked on either side by fluted pilasters, raised on stopfluted, tapering circular legs ending in peg feet, h. 31”, w. 48‑1/2”, d. 23‑3/4”. [800/1200] Illustrated 1058 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. [1800/2500]

1057

1059 Louis XVI-Style Mahogany Chaise Longue, 19th century, the padded back surmounted by a molded frame with end foliate finials, joined by padded downswept arms to the long cushioned seat, raised on fluted tapering circular legs ending in toupie feet, with two accent pillows, h. 37‑1/4”, w. 28”, l. 66”. [2000/4000] Illustrated

1060 French Provincial Oak Armoire, mid‑19th century, the rounded and molded cornice above a case fitted with two long doors, each inset with three panels, the molded plinth raised on bun feet, h. 82”, w. 63”, d. 25”. [1800/2500] Illustrated

1063

1061 French Provincial Oak and Fruitwood Armoire, mid‑19th century, the molded cornice above a case fitted with two long doors, each inset with two shaped panels above a paneled frieze and scalloped apron, raised on molded block feet, h. 81”, w. 55‑1/2”, d. 26‑1/4”. [1500/2500] 1062 Louis XIII-Style Walnut Fauteuil a la Reine, fourth quarter 19th century, the padded rectangular back joined by downswept arms to the padded seat, raised on block and turned legs joined by a like front stretcher and ending in ball feet, h. 47”. [700/1000]

1059

170

1063 Attractive Sixty-Piece Jammet Seignolles “Osiris”-Pattern Porcelain Dinner Service, Limoges, including eight dinner plates, dia. 9‑3/4”, eight bread and butter plates, dia. 6‑1/4”, eight salad/dessert plates, dia. 9”, eight teacups, h. 2‑1/8”, eight tea saucers, dia. 5‑1/4”, eight coffee cups, h. 2‑1/4”, eight coffee saucers, dia. 6” a coffeepot, h. 8‑1/2”, a teapot, h. 6‑1/2”, a covered sugar basin, h. 4‑1/4”, and a cream pitcher, h. 3‑1/2”,all of the pieces fully backstamped in underglaze blue transfer-print. [1400/1800] Illustrated

1069 Pair of White-Painted Wooden Planters, in the French taste, each of square form with corner ball finials, each paneled side with an X-form accent, raised on bun feet, the painted finish attractively distressed, h. 24”, w. 14”, d. 14”. [250/400] 1070 Three-Piece Hardwood and Metal Garden Suite, in the Rustic taste, consisting of a table and two sidechairs, the table with a rectangular slatted top raised on a collapsible X-form base, h. 30”, w. 47‑1/2”, d. 31‑1/2”, the chairs each of folding form and slatted construction, h. 37‑1/2”. [250/400]

1064

1060 1064 French Provincial Painted Looking Glass, third quarter 19th century, in the Louis XVI taste, the rectangular plate surmounted by a scrolling foliate crest and within a molded egg-and-dart-carved frame, the white-painted finish tastefully distressed, h. 38”, w. 17”. [250/400] Illustrated 1065 Set of Six Sarreguemines Creamware Dessert Plates, first quarter 20th century, the gray transferprinted plates featuring different scenes from “La vie Militaire” in the early 19th-century style, each example fully backstamped, dia. 7‑1/4”. [200/400]

1071 French Provincial Fruitwood Farmhouse Table, third quarter 19th century, the planked rectangular top above a frieze fitted with an end drawer and a pull-out slide to the other end, raised on tapering circular legs ending in ring-turned feet, h. 29”, w. 30‑1/2”, l. 79‑1/2”. [2000/4000] Illustrated

1066 Provincial Polychromed Oak Occasional Table, second quarter 19th century, the planked top above a frieze fitted with a single drawer, raised on tapering square legs, h. 26”, w. 23‑3/4”, d. 23”. [250/400] 1067 Two French Ancien Regime Faience Dinner Plates, fourth quarter 18th century, including a good Moustiers floral polychromed example of “Louis XV” shape, and an attractive Strasbourg faience plate of like date, the latter marked with a stylized conjoined “PM” in blue, dia. 9‑1/2”. [200/400] 1068 Pair of White-Painted Wooden Planters, in the French taste, each of square form with corner ball finials, each paneled side with an X-form accent, raised on bun feet, the painted finish attractively distressed, h. 30”, w. 19‑3/4”, d. 19‑3/4”. [400/700]

1071

171

1072 French Provincial Oak and Fruitwood Vasselier, early 20th century, the molded cornice centered by an arch and above a spindled frieze with a central projecting arcade, with three open galleried shelves below over two cabinet doors centering an open area, the lower section fitted with two drawers over two paneled cupboard doors, all with foliate carving, raised on shaped block feet, h. 94”, w. 52”, d. 21”. [1800/2500]

1081

1073 French Provincial Tobacco-Glazed Pottery “Bundt”-Form Food Mold, first quarter 20th century, h. 3”, dia. 5‑1/2”. [40/70] 1074 French Wrought-Steel-Handled Copper Egg-Poaching Pan, first quarter 20th century, the copper newly burnished, h. 1‑3/4”, w. 15”. [100/200]

1080

1075 Large French Brass Poaching Pan, early 20th century, of oval form, the lid fitted with a handle, the body fitted with a swinging handle, h. 11”, w. 13‑1/2”, l. 25”. [300/500] 1076 Louis XVI-Style Provincial Mahogany Commode, second quarter 19th century, the rectangular top above a case fitted with three long drawers, all inset with three panels with foliate-carved banding, raised on fluted, tapering square feet, h. 33‑1/2”, w. 51”, d. 25”. [1500/2500] Illustrated 1077 Provincial Fruitwood Fauteuil, fourth quarter 19th century, the slightly domed crest above a shaped horizontal splat, joined by scrolling arms to the cushioned rush seat, raised on saber legs joined by a box stretcher, h. 38‑1/4”. [400/700]

1078 Two Continental Provincial Polychromed Faience Dishes, first quarter 19th century, including a shallow circular example in “Farmhouse” decor, and a shaped-edge example in “Interlaced Floral Garland” decor, dia. 9‑1/4”. [200/400] 1079 Good Nove, Italy, Polychromed Majolica Covered Vase-on-Stand, early 20th century, of tall, paneled pyriform in the 18th-century style, with blue and lavender floral sprigs decor, the base of the vase signed “Nove”, h. 22”. [250/400]

1076

172

1080 Italian “Grand Tour” Polychromed Majolica Charger, fourth quarter 19th century, in the 16th-century Deruta style, depicting Venus and Cupid amidst clouds, dia. 14”. [250/400] Illustrated 1081 Pair of Louis XV Provincial Fruitwood Fauteuils, early 19th century, each with a padded back surmounted by a floral crest, joined to the padded seat by like arms on turned bulbous uprights, the floral-carved apron raised on cabriole legs joined by a turned stretcher, h. 35”. [800/1200] Illustrated 1082 Pair of Provincial Fruitwood Benches, late 19th century, each with a long rounded rectangular planked seat, raised on turned bulbous and block splayed legs joined by end stretchers and ending in bulb feet, h. 18‑3/4”, w. 78‑1/2”, d. 17”. [500/800] 1083 French Provincial Fruitwood Occasional Table, late 19th century, the rounded rectangular top above a frieze fitted with one drawer, joined to a concave lower shelf by turned and bulbous supports, terminating in toupie feet, h. 29”, w. 22”, d. 17‑1/2”. [300/500]

1087

1088 pair 1087 Provincial Louis XV-Style Fruitwood Stool, second quarter 19th century, the shaped and padded square top above a conforming foliate-carved frieze, raised on molded cabriole legs ending in scrolled toes on pegs, h. 18”, w. 27‑1/2”, d. 27‑1/2”. [600/900] Illustrated 1088 Edouard Celerier (French, active fourth quarter 19th Century), a pair of still life oils on panel, one depicting peaches and grapes on a tabletop, the other of peaches and berries on a tabletop, both panels signed and dated upper right “E. Celerier ‘91”, 10‑1/2” x 14‑3/8”. Presented in matching wooden frames with molded giltwood slips. [900/1200] Illustrated 1089 Large Graduated Set of Four French Topiary Tuteurs, each of obelisk form and composed of sheet-iron, wroughtiron and wire, the domed canopies fitted with circular “cushion” finials, all four pieces in a lightly rusted finish, h. 28‑1/2” to 42‑1/2”. [250/400]

1084 Northern European Polychromed Armoire, second quarter 19th century, the molded and dentillated cornice above a baluster-carved frieze, over two tri-paneled doors flanked to either side by engaged uprights, over two deep drawers, raised on bracket feet, h. 80”, w. 57‑1/4”, d. 24‑7/8”. [2500/4000] 1085 Trio of Large French Provincial Square Tiles, each polychromed terra cotta tile presented on a custom wrought-iron stand with ball feet, tile 11‑1/2” x 11‑1/2”, overall h. 14‑1/2”. [150/300] 1086 Good French Tole-Peinte and Cut Glass Cruet Frame, second quarter 19th century, of footed navette form, the frame centered with a matching, pierced, covered tolepeinte vase in the antique style, each cruet retaining the tall, period, lapidary air-trap glass stopper, h. 10‑3/4”, w. 9‑3/4”. d. 4”. [1200/1800]

1090 French Provincial Patinated Wrought-Iron Table Lamp, with a bowfront “book rack” base with a shelf for books, decanters or a sculpture, fitted with a custom elliptical hand-painted linen shade in “Papillons” decor, h. 31‑1/2”, w. 19‑1/2”. [250/400] 1091 Pair of Diminutive Louis XV-Style Carved Beechwood Musician’s Armchairs, fourth quarter 19th century, upholstered in sage green leather with brass nailhead edging, the cabriolet backs and the seat rails centered with carved floral sprays, the whole supported on slender cabriole legs leaf carved at the knees, h. 30”. [1000/1500] 1092 Provincial Restauration Fruitwood Armchair, third quarter 19th century, the domed crest flanked to either side by ebonized ball finials above a like-shaped splat, joined by flat arms to the rush seat, raised on tapering square legs joined by stretchers, h. 34”. [300/500]

173

1093

1095 Collection of Four French Mounted Dried Botanical Specimens, fourth quarter 19th century, presented nine-to-a-frame on taupe backplates within whitepainted wooden frames, each specimen accompanied by a handwritten Latin botanical name and a description of the particular plant in French, h. 34‑1/2”, w. 27‑3/4”. [1000/1500] Illustrated

1098

1096 Louis XV-Style Giltwood Fauteuil, third quarter 19th century, the shaped and padded back surmounted by a molded frame and foliate crest, joined by padded arms to the like seat, raised on molded cabriole legs ending in scrolled toes on pegs, h. 37”. [500/800] 1097 Louis XV-Style Provincial Fruitwood Center Table, fourth quarter 19th century, the shaped top with a full, raised, foliate-carved edge above a shaped, like-carved frieze, raised on cabriole legs headed by foliate carving and ending in paw feet, h. 29”, w. 45”, d. 34”. [1200/1800]

1102

1095 suite of four

1093 Provincial Louis XV-Style Walnut Canape, early 19th century, the shaped rectangular back surmounted by a floral-carved crest, joined by molded outscrolled arms to the serpentine padded seat, raised on cabriole legs headed by floral carving and ending in scrolled toes, h. 37”, w. 48”, d. 22‑1/2”. [800/1200] Illustrated 1094 Provincial Louis-Philippe Faux-Bois and FauxMarbre Chest, mid‑19th century, the faux sienna marble top over a belt of three drawers, each with faux-grained faces, raised on bun feet, h. 42”, w. 44‑1/2”, d. 19‑1/2”. [500/800]

174

1098 Attractive French Provincial Oak Tallcase Clock, second quarter 19th century, in the Directoire taste, the brass dial frame modeled as a pair of griffins en face centering a tall ribbed palmette over a vase of flowers and fruit, the circular dial enameled with black Roman chapters, the brass pendulum modeled as a sunburst, h. 89‑1/4”, w. 20‑1/4”, d. 12”. [1500/2500] Illustrated 1099 Provincial Louis XV-Style Oak Bedside Commode, late 19th century, the rectangular top with a slightly bowed top above a conforming case fitted with two drawers, each paneled and with foliate carving, above a shaped apron, raised on cabriole legs ending in upturned toes, h. 26‑1/2”, w. 25”, d. 15‑1/2”. [600/900] 1100 Louis XV-Style Fruitwood Games Table, mid‑19th century, the square top with canted corners, now with an inset floral needlework panel, each corner with a pull-out tray with recessed circular section, above a shaped frieze fitted with a small drawer to each side, raised on cabriole legs, h. 29”, w. 31”, d. 31”. [600/900] 1103

1101 Pair of Louis XVI-Style Polychromed Fauteuils, third quarter 19th century, each with a padded back surmounted by a foliate-carved crest, joined by padded arms and reeded uprights to the padded seat, raised on stop-fluted tapering circular legs ending in toupie feet, h. 37‑1/2”. [1000/1500]

1103 French School (Second Quarter 20th Century) “Floral Still Life with Red Petunias and White Daisies”, oil on board, signed lower right “Lerniere”, 18” x 21”. Framed. [300/500] Illustrated

1102 Louis XV-Style Fruitwood Fauteuil, late 19th century, the shaped and padded back surmounted by a foliate crest, joined by scrolling padded arms to the like seat, raised on cabriole legs ending in foliate toes, h. 38”. [400/700] Illustrated

1104 Provincial Fruitwood Armoire, mid‑19th century, the molded cornice above a case fitted with two long doors, each inset with a single panel with corner accents, raised on tapering square feet, h. 79‑1/2”, w. 56”, d. 29”. [1400/1800] 1105 Provincial Polychromed Pine Wine Rack, fourth quarter 19th century, of slatted construction, fitted with three shelves and a bottom galleried shelf, raised on later casters, h. 47”, w. 34‑1/2”, d. 15‑1/2”. A similar antique wine bottle rack is in the collection of San Francisco Plantation on the Great River Road, Garyville, Louisiana; another was once at the Houmas House Plantation, Darrow, Louisiana. [500/800] 1106 Pair of Continental Mahogany and Marble-Top Pedestal Tables, late 19th century, each with a hexagonal top inset with a conforming brown marble surface, raised on circular supports joined by a concave hexagonal stretcher and terminating in a tripartite brass applied base, h. 30‑3/4”, dia. 19”. [1000/1500]

1107

1107 Good Provincial Louis XV-Style Oak and Walnut Center Table, second quarter 19th century, the shaped square top above a shaped and shell-carved frieze, raised on molded cabriole legs ending in in-scrolled feet, h. 30”, w. 34”, d. 33”. [2500/4000] Illustrated

175

1109 Architectural Mansard Looking Glass, the ovoid plate surmounted by a heavily molded crest within a wooden frame, h. 37‑1/2”, w. 41”. [400/700] 1110 Ten-Piece Basque Hand-Turned and -Carved Wooden Skittles Set, first quarter 20th century, comprised of a wooden ball, dia. 11”, and nine skittles pins, l. 38”. [300/500] 1111 Group of Four French Turned Wood Implements, consisting of a stained barbell rolling pin, a cylindrical rolling pin in natural finish, a maple pestle of bell form and a double-headed maple pestle, all first quarter 20th century, h. 3”, w. 19”. [100/200]

1108

1108 Good Continental Provincial Walnut Cabinet, late 17th century, possibly Iberian, the rectangular molded cornice above a case fitted with two cabinet doors over three small drawers, with two like doors below, all the doors with heavily molded geometric panels, raised on block feet, h. 77‑1/2”, w. 58”, d. 23‑1/4”. [3000/5000] Illustrated

1115

1117 pair

1112 Provincial Louis XV-Style Walnut Cocktail Table, early 20th century, the rectangular top with a needlework panel in scrolling foliate and fruit patterns, under a glass surface, above a scroll-carved shaped apron, raised on foliate-carved cabriole legs ending in scrolled toes, h. 15‑3/4”, w. 35‑1/2”, d. 26”. [1000/1500] 1113 Provincial Mediterranean Terra Cotta Storage Jar, of ovoid form, the neck fitted with two small rope-twist handles, h. 33”, dia. 23”. [400/700] 1114 Large French Provincial Wrought-Iron Bird Cage, fourth quarter 18th century, of tower form, the interior fitted with a bar perch and a pendant ring, the turned wood base lacking, presented in an old blackened finish, h. 26‑3/4”, dia. 17‑1/2”. [700/1000]

176

1115 Pair of Cast-Iron Garden Figures of Roosters, each on an integral square plinth, the surface lightly rusted, h. 27”. [150/250] Illustrated 1116 Fine, Large Minton Majolica Cachepot, dated 1864 by Minton date symbol, in the Neo-Grec style, with clovenhoof feet and wyvern handles, full impressed marks on one foot, the sky-blue ground with claret, white and old ivory detailing, h. 17‑1/2”, w. 18”. [400/700] 1117 Pair of French Botanical Ornithological Paintings, depicting, respectively, a pair of billing doves on a flowering branch and a trio of orioles at a pendant nest on a flowering branch, first quarter 20th century, unsigned, 30” x 24”. Presented in matching narrow carved giltwood and plaster frames in the neoclassical taste. [300/500] Illustrated 1118 Provincial Polychromed and Glazed Terra Cotta Tub, of large size and ovoid form, the molded lip above the tapering ovoid body, the interior with a teal glaze, h. 23‑1/2”, w. 32‑1/2”, l. 56”. [800/1200] 1119 French Polychromed Zinc Looking Glass, the rectangular plate within a molded frame with overlaid palmetto and whorl patterns, h. 39”, w. 19‑1/4”. [300/500] 1120 Pair of Italian Provincial Wooden Garniture Vases, in the neoclassical taste, each turned, sawn and staved vase with two handles, and painted in a lightly distressed matte white finish, now mounted as table lamps with custom gray linen shades of truncated conical form, overall h. 31”. [300/500] 1121 Continental Galvanized and Riveted Cistern, ca. 1900, of large oblong section, h. 39‑1/2”, w. 35”, d. 22‑1/2”. [800/1200] 1122 Dramatic Pair of Continental Gray-Washed Wrought-Iron Eight-Light Candelabra, of epis de faitage form, the S-curved candlearms emanating from large central orbs, the tall finials modeled as ringed spikes, h. 41”, w. 25‑1/4”. [400/700]

177

Index of Artists and Printmakers A American School 781, 805, 809, 848, 906, 907, 910

July 17-18, 2010

Durand, Elias Wade 169 Dureau, George 867

Arden, Edward 300

Durieux, Caroline Spellman Wogan 869

Audubon, John James (after) 750, 756, 759, 792

Dutch School 343

Augustynowicz, Aleksander 363 Azoulay, Guillaume 970 B Bandouch, M 354 Barbera, Camillo Gioja 13 Besler, Basilius (after) 1045 Bisiaux, Pierre 971

F Fabri, Robrecht-Jan 392 Ferretti, Paolo 12 Florida School 864 Foster, Mary Alice 766 Fowler, Robert 557 Franck, L 77

Blagden, Allen 839

French School 15, 38, 59, 215, 905, 1103, 1117

Boks, Evert Jan (after) 392

Fruge, Nestor Hippolyte 891

British School 129, 131, 132, 170, 847

Gall, Francois 76

Campbell, John Reed 810

Gifford, William Birdsall 806

Catlin, George (after) 786

Gisson, Andre 74

Cole, E. 303

Gregory, Angela 745

Continental School 4, 10, 14, 380, 909, 1088

Guzaardi, Rudolph 871

Coutard, Gabriel 902 Czedekowski, Boleslaw Jan 11 D Daumier, Honore 441 Davis, L. Theodore 884 De Seve, Jacques (after) 442 Drysdale, Alexander John 863

Gwyn, Woody 881 H Hart, George Overbury “Pop” 746 Heldner, Colette Pope 866 Hunter, Clementine 747, 748 I Italian School 28, 224, 367

Index of Artists and Printmakers

July 17-18, 2010

Reynolds, Ken 870

Johnson, James Harvey 840

Robert Malone 872

Rockmore, Noel 893, 894, 895, 896, 897, 898, 900, 901

Kazantsev, Alexei 944 Keiffer, Edwin 885 L Lambert, B. 353

Rodrigue, George 773, 774, 775, 903, 904 Rucker, Harrison 892 Rucker, Robert M. 800, 802

LeBas, Jacques-Philippe 422

Russian School 927, 928, 929, 930, 931, 938, 939, 940, 941, 942, 943, 951, 952, 953, 954, 955, 997, 998, 999, 1000, 1001

Luce, Maximilien 394

Sage, Phillip 887, 888

Michel, Andre 75

Salmones, Victor 373

Millet, Clarence 889

Saurfelt, Leonard (attributed) 1056

Mitchell, Dean Lamont 886

Schubert, Orlando Vincent 852

Morse, Jonathan Bradley 850

Sherrin, Daniel 301

Sorensen, Laurits 5

Nash, Woodrow 996

Southern School 865

New Orleans School 890

Spanish Colonial School 371

Niemann The Younger, Edmund John 302

Spat, Gabriel 72, 73

Standley, Max 883

Olbrich, Wilhelm 355

Stein, Georges 71

Stobbe, Marie 880

Pasmore, Victor 918

Percy, Sidney Richard 167

Tamayo, Rufino 958

Pratt, James 29

Thornbery, William Anslow 299

Titian 1031

Rather, Herb 841

Toulouse-Lautrec, Henri de 977A

Rembrandt van Rijn (after) 344, 345

Turner, Richard 838

Landseer, Sir Edwin Henry (after) 908

Index of Artists and Printmakers

July 17-18, 2010

V Vatan, Raoul 70 W Walker, William Aiken 761, 765 Weber, Heinrich 342 Williams, Walter 166, 168 Wilson, H. M. 655 Wright, Ann Herzog 882 Wunsch, F 357

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

Please note that the following are estimates only and the actual time each lot is offered may vary.

Saturday July 17, 2010 Lots 1-665 10:00-11:00 11:00-12:00 12:00-1:00 1:00-2:00 2:00-3:00 3:00-4:00 4:00-4:30

Sunday July 18, 2010 Lots 666-1122 1-99 100-199 200-299 300-399 400-499 500-599 600-665

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

666-765 766-865 866-965 966-1065 1066-1122

Customers, Please Note: Deadline for Absentee/Telephone Bidding 5:00 P.M. Central – Friday, July 16, 2010 Guidelines for Telephone Bidding 1. Each item must have a low estimate of at least $500 2. Telephone bidders must agree to bid the low estimate on each item. Deadline for Condition Report Requests 5:00 P.M. Central – Thursday, July 15, 2010

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.

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.

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

absentee / telephone bid form

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

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

Lot #

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

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

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

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

ABSENTEE/TELEPHONE BID FORM (CONTINUED)

Name (Please Print): ______________________________________ Lot #

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

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

REQUEST FOR CONDITION REPORTS (DEADLINE: THURSDAY, JULY 15 AT 5:00 P.M.) Condition reports are completed in the order in which they are received. Please allow ample time for large requests. Condition reports will not be given verbally. Photo requests will only be processed for items not illustrated in our catalog or website (www.neworleansauction.com). Detail photographs will be provided at our discretion. Name (Please Print): _______________________________________________________

Date: __________

Business Name: ____________________________________________________________________________ Address: __________________________________________________________________________________ City: __________________________________________________ Telephones: Work: (_______)____________

State: __________ ZIP: ____________

Home: (_______)___________

(For Fed-Ex Requests) Federal Express Account #: _________________ Please Select: Method of Receiving Reports: _____Fax _____Mail _____Email

Fax: (_______)__________

Email Address: __________________

Method of Receiving Photographs: _____Mail

_____Email

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

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

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

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

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

X________________________________________________

Date____________________

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

Note: Items will not be released without a signed authorization

Page No. 1

06/28/2010 14:42:02 New Orleans Auction Prices Realized for Sale 1003 May 22, 2010 Estate of Warren S. Strauss Sale

Lot# 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 40 41 42 43 44 45

Realized 4,182 399 1,722 2,460 615 1,107 492 861 3,936 3,690 307 584 799 861 246 4,428 861 461 1,168 799 3,936 R 799 461 1,968 3,936 2,337 1,107 1,353 5,904 922 1,353 615 861 861 1,230 1,968 2,091 1,599 1,230 6,150 2,460 522 3,198

Lot# 46 47 48 49 50 51 52 53 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

1,476 4,428 4,182 1,968 3,936 2,214 5,658 1,353 492 36 3,198 399 73 9,532 276 153 3,936 153 522 246 1,353 861 1,599 1,045 4,674 184 3,690 584 1,845 1,476 522 1,107 922 399 3,936 676 2,091 430 430 2,214 522 984 2,952 215

91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 115 116 117 118 119 120 121 122 123 124 125 126 127 128 130 131 132 133 134 135 136

153 86 461 522 246 861 584 276 4,674 3,198 1,968 123 246 246 276 276 98 184 922 461 246 153 307 4,674 184 184 184 36 676 461 2,460 3,690 276 246 110 246 1,845 7,687 799 369 5,412 276 984 246

137 138 139 140 141 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181

492 73 369 98 553 984 307 123 209 399 492 123 922 307 430 338 738 615 461 184 369 338 430 307 1,107 215 399 307 307 430 307 307 522 215 461 246 276 184 430 369 399 215 3,690 110

182 192 193 196 198 199 200 201 202 203 205 206 208 209 210 211 212 213 217 218 220 221 222 223 224 225 226 227 229 230 231 232 233 234 235 236 237 238 240 241 242 244 245 246

369 1,045 2,214 3,444 1,230 430 338 369 1,045 922 615 615 615 1,107 4,182 1,107 430 338 430 1,722 4,920 2,337 1,168 6,765 3,690 615 1,845 246 246 676 430 307 461 123 9,225 1,168 615 922 1,353 19,680 3,198 1,476 369 61

247 248 249 250 251 252 253 255 260 261 264 266 267 270 271 272 274 277 278 279 280 281 282 284 285 286 287 288 290 291 292 293 294 295 296 297 298 299 300 301 302 303 304 305

2,952 184 1,722 1,107 7,380 522 430 738 1,968 3,690 553 861 153 1,107 5,166 49 36 184 2,706 1,353 153 1,599 2,337 1,107 307 246 1,230 307 861 399 984 2,214 430 615 399 553 184 984 184 215 61 123 338 738

306 307 313 314 315 316 317 318 319 320 322 323 325 326 327 328 329 330 331 332 333 334 335 336 337 338 339 340 341 342 344 346 347 348 349 351 352 353 355 358 359 360 361 362

73 123 3,690 4,182 615 2,460 2,460 3,690 86 215 430 461 276 307 522 1,476 4,920 1,045 799 276 307 553 522 61 276 522 338 799 584 399 153 246 1,968 2,460 307 861 399 34,440 676 2,337 1,599 1,353 98 2,091

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Page No. 2

06/28/2010 14:42:02 New Orleans Auction Prices Realized for Sale 1003 May 22, 2010 Estate of Warren S. Strauss Sale

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

363 364 365 367 368 369 370 371 372 373 374 377 378 379 380 381 382 383 384 385 386 387 388 389 390 391 392 393 394 395 396 397 398 399 401 402 403 404 405 406 407 409 415 422

738 1,476 1,045 3,444 861 676 399 246 184 430 1,537 922 738 215 184 153 738 184 123 215 246 399 123 98 184 338 492 522 399 276 1,168 615 553 2,460 338 307 799 1,722 123 110 73 11,992 1,107 861

423 431 432 433 434 435 436 437 438 440 441 442 443 444 445 446 447 448 449 450 451 452 453 454 455 457 459 460 461 462 463 464 465 467 468 469 470 471 472 473 474 475 476 477

492 3,444 369 430 3,198 2,706 2,706 5,904 1,168 861 553 584 553 215 553 338 307 676 1,107 215 98 1,045 1,230 1,353 922 1,168 215 399 307 369 307 338 584 307 584 492 553 98 1,107 492 2,091 461 984 1,353

478 479 480 481 482 483 484 485 488 489 490 491 492 493 494 495 496 497 498 499 500 501 502 504 505 507 508 511 512 513 514 515 516 517 518 519 520 521 522 524 525 526 529 530

584 1,968 553 6,765 2,952 369 369 3,936 861 153 338 553 2,952 1,353 307 86 1,968 615 984 215 461 43 984 276 1,230 1,045 1,845 3,198 492 246 307 246 184 123 153 73 1,107 73 492 2,706 584 1,045 399 1,045

532 533 534 535 536 537 538 540 541 542 543 544 545 546 547 548 549 550 551 552 553 554 555 556 557 558 559 560 561 562 563 564 565 566 567 568 569 570 571 572 573 574 575 577

492 110 2,460 615 1,845 1,599 1,107 461 276 184 246 399 2,460 184 246 922 153 1,107 3,936 2,460 1,968 3,198 861 1,353 492 584 307 98 73 399 1,722 1,968 861 5,412 2,214 399 2,460 984 3,198 1,722 3,690 1,722 369 3,444

578 579 580 581 583 584 585 586 587 588 589 590 591 592 593 594 595 596 597 598 599 601 602 603 604 605 606 607 608 609 610 611 612 613 614 615 616 618 619 620 621 622 623 624

1,107 2,214 1,353 799 73 461 110 399 123 110 49 73 30 49 4,182 184 215 307 246 430 110 461 184 1,845 307 553 215 3,936 3,198 2,460 922 738 1,045 215 246 1,107 584 522 799 584 2,337 307 1,968 2,460

625 627 629 631 632 633 634 635 636 637 638 639 640 641 642 643 644 646 647 648 649 650 651 652 653 654 655 656 657 658 660 661 662 663 664 665 666 667 668 669 670 673 674 676

369 1,353 861 2,091 73 584 338 492 738 153 1,353 5,658 1,045 984 276 184 338 86 2,706 1,968 1,353 1,845 522 522 8,610 86 399 369 4,674 184 369 492 984 1,045 49 276 399 61 430 12,300 15,990 10,147 4,674 4,428

681 682 685 686 687 689 690 691 693 696 697 698 700 702 706 707 708 709 710 711 712 713 714 715 717 718 719 720 721 722 723 724 725 726 727 728 729 730 731 732 733 734 735 737

738 12,300 4,182 5,166 5,166 2,214 3,198 17,220 1,476 2,460 2,952 2,091 1,968 5,412 9,225 1,599 276 9,840 522 615 98 369 184 307 123 307 61 215 984 1,230 215 369 184 461 676 1,230 615 922 1,045 73 738 153 153 4,674

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Page No. 3

06/28/2010 14:42:03 New Orleans Auction Prices Realized for Sale 1003 May 22, 2010 Estate of Warren S. Strauss Sale

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

739 750 755 756 757 758 761 762 763 765 766 767 768 769 770 771 772 773 774 775 776 777 778 779 780 781 782 784 785 786 787 788 789 790 791 792 793 794 796 797 798 799 800 801

246 369 522 184 215 799 492 369 2,214 3,198 3,198 4,428 1,599 3,198 3,444 861 36 430 615 738 1,722 1,168 2,460 676 276 246 215 676 984 1,168 553 1,168 861 369 492 492 676 2,337 430 3,198 3,444 492 430 553

802 803 804 805 806 807 809 810 811 813 816 817 819 820 821 822 823 824 826 827 828 830 831 834 836 837 838 840 841 842 843 844 845 846 847 848 849 850 852 853 854 855 856 857

1,230 1,599 922 1,230 36 492 2,214 2,214 215 3,690 1,722 184 7,072 492 430 276 153 184 5,412 461 615 307 2,091 492 3,198 369 984 1,968 553 615 738 522 369 922 215 276 738 307 184 246 1,230 430 2,214 1,107

858 859 861 862 863 864 865 866 867 868 869 870 871 873 874 877 878 880 882 883 884 885 886 887 888 889 891 892 893 894 895 897 898 899 900 901 903 905 906 907 908 910 911 912

492 307 73 153 615 153 153 86 86 461 461 584 584 461 2,460 738 922 246 215 73 153 492 61 98 922 184 1,968 1,230 615 246 307 676 922 184 338 307 246 8,610 1,353 1,845 738 276 2,952 98

913 914 915 916 917 918 919 920 921 922 923 924 925 926 927 928 929 930 932 933 935 936 937 938 939 940 941 942 943 944 945 946 949 950 952 953 954 956 957 958 959 960 961 962

184 861 246 110 1,230 615 615 338 861 184 430 73 584 2,460 922 430 1,845 1,230 461 799 522 861 492 738 3,690 1,230 98 98 98 98 98 215 276 430 676 153 1,353 2,091 492 522 1,045 184 215 110

963 964 965 966 967 968 969 970 971 972 973 974 975 976 977 978 979 980 981 982 983 984 985 986 988 989 990 992 994 995 996 997 998 999 1000 1002 1003 1004 1005 1006 1007 1008 1009 1010

492 276 1,353 676 492 553 184 307 738 123 246 584 492 399 1,168 1,107 276 984 17,220 1,045 153 1,168 584 246 73 153 492 1,107 461 676 215 369 738 553 153 738 307 369 399 184 73 430 3,444 922

1011 1012 1013 1014 1015 1016 1017 1020 1021 1023 1027 1028 1029 1030 1031 1033 1034 1035 1036 1037 1038 1039 1040 1041 1042 1043 1044 1045 1046 1047 1048 1050 1051 1052 1053 1054 1056 1057 1058 1059 1060 1061 1062 1063

399 2,460 615 492 8,610 246 861 430 307 1,353 2,337 676 246 1,476 10,455 2,706 110 246 86 73 1,168 3,690 3,198 861 492 1,968 615 430 98 184 98 1,353 2,337 1,107 2,091 215 430 399 276 1,045 246 246 86 98

1064 1065 1066 1068 1069 1070 1071 1072 1073 1074 1075 1076 1077 1078 1080 1081 1082 1083 1084 1085 1090 1091 1092 1093 1094 1095 1096 1097 1098 1099 1100 1102 1103 1105 1107 1108 1109 1111 1112 1113 1114 1115 1116 1117

98 215 369 184 246 1,230 307 215 369 2,091 338 1,476 4,920 738 676 98 184 369 61 492 861 922 61 61 9,532 98 399 246 2,337 3,198 34,440 11,070 3,198 1,845 19,680 861 110 1,353 1,230 215 49 615 1,476 399

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Page No. 4

06/28/2010 14:42:04 New Orleans Auction Prices Realized for Sale 1003 May 22, 2010 Estate of Warren S. Strauss Sale

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

1118 1119 1120 1121 1122 1123 1124 1125 1126 1127 1128 1129 1130 1131 1132 1133 1134 1136 1137 1139 1141 1142 1143 1144 1146 1147 1148 1149 1150 1151 1153 1154 1155 1156 1157 1158 1160 1165 1166 1168 1169 1170 1171 1172

461 43 492 246 246 246 184 984 430 215 86 2,460 61 307 369 338 307 123 1,845 461 73 1,107 73 123 307 1,476 861 461 1,845 676 553 338 676 276 492 1,230 307 553 246 1,045 5,658 738 393 307

1173 1174 1175 1176 1177 1178 1179 1180 1181 1183 1184 1185 1186 1188 1189 1190 1192 1193 1194 1195 1196 1197 1198 1200 1201 1202 1203 1204 1205 1206 1209 1210 1211 1213 1215 1216 1217 1218 1219 1220 1221 1222 1223 1224

334,000 2,091 5,412 3,198 1,045 2,952 9,840 2,706 1,968 1,168 5,658 7,072 2,214 3,936 4,182 5,658 2,091 2,460 922 2,952 1,045 215 307 215 1,045 153 246 492 98 369 276 1,107 1,168 276 307 1,107 55 98 615 338 4,674 1,476 615 307

1225 1226 1228 1229 1230 1231 1232 1234 1235 1236 1237 1238 1239 1240 1241 1242 1243 1244 1245 1246 1247 1248 1249 1250 1251 1253 1254 1255 1256 1258 1259 1260 1261 1262 1263 1264 1265 1267 1268 1269 1270 1272 1273 1274

553 584 430 1,722 799 3,690 246 553 984 369 1,168 861 522 492 110 1,476 676 110 153 153 184 492 492 369 338 861 430 1,845 5,658 369 369 369 584 492 1,599 861 430 584 1,476 738 984 738 1,353 799

1276 1277 1278 1279 1280 1281 1282 1283 1284 1285 1286 1287 1288 1289 1290 1291 1292 1293 1294 1295 1296 1299 1300 1301 1302 1303 1304 1305 1306 1307 1308 1309 1310 1312 1313 1314 1317 1326 1330 1331 1332 1333 1334 1335

615 3,198 3,444 1,353 522 1,968 1,968 2,214 2,337 5,412 2,706 615 584 676 3,690 399 861 1,722 1,599 984 184 615 1,230 861 676 2,706 1,107 399 861 1,045 1,353 738 1,722 1,353 676 246 13,530 922 9,225 984 307 430 369 4,674

1336 1337 1338 1339 1340 1341 1342 1344 1345 1347 1349 1350 1351 1353 1354 1357 1358 1359 1360 1361 1363 1364 1365 1366 1367 1368 1369 1370 1371 1372 1373 1374 1375 1377 1378 1379 1380 1381 1382 1383 1384 1385 1386 1387

461 1,168 1,353 4,428 799 11,685 1,599 3,690 184 1,599 4,182 3,444 4,674 4,428 2,706 3,198 4,674 276 276 1,353 49 55 23,370 17,835 276 123 861 215 922 338 153 7,995 1,722 738 338 984 984 1,476 123 123 3,444 98 246 615

1388 1389 1390 1391 1392 1393 1394 1397 1398 1399 1400 1401 1402 1403 1405 1407 1408 1409 1410 1411 1412 1413 1414 1415 1416 1417 1418 1419 1420 1421 1422 1423 1424 1425 1427 1428 1429 1430 1431 1432 1434 1435 1436 1437

2,952 399 123 4,674 1,599 1,968 399 3,444 1,045 1,968 922 984 584 799 1,107 4,920 17,835 399 369 369 49 338 492 522 676 1,168 2,706 615 1,968 246 461 307 676 1,045 11,685 98 430 4,182 676 1,107 861 1,845 6,150 4,182

1438 1439 1440 1441 1442 1445 1446 1447 1448 1449 1450 1451 1454 1456 1457 1461 1462 1463 1464 1465 1467 1468 1469 1470 1471 1472 1473 1474 1475 1476 1477 1478 1479 1480 1481 1482 1483 1484 1485 1486 1487 1488 1489 1490

1,476 73 24 4,920 338 215 3,444 369 18 461 184 92,250 307 584 522 8,917 123 461 430 61 430 307 2,460 522 430 861 369 369 338 799 307 153 276 307 246 1,722 1,353 4,182 3,936 399 1,168 922 522 522

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Page No. 5

06/28/2010 14:42:05 New Orleans Auction Prices Realized for Sale 1003 May 22, 2010 Estate of Warren S. Strauss Sale

Lot#

Realized

Lot#

Realized

1491 1492 1493 1494 1495 1496 1497 1498 1499 1500 1501 1502 1503 1504 1505 1506 1507 1509 1510 1512 1513 1516 1518 1519 1520 1521 1522 1523 1524 1525 1526 1527 1528 1529 1530 1532 1533 1536 1537 1538 1539 1540 1541 1542

22,140 3,690 2,337 1,107 922 615 2,337 4,182 1,230 1,599 2,091 584 676 2,952 2,706 98 49 4,182 246 2,706 399 676 1,168 1,045 615 43 123 153 110 676 43 215 615 36 1,107 307 98 676 1,722 1,722 1,353 1,168 307 1,845

1543 1544 1545 1546 1547 1548 1549 1550 1551 1552 1553 1554 1555 1556 1557 1558 1559 1560 1561 1562 1564 1565 1566 1567 1568 1569 1571 1572 1573 1574 1575 1576 1577 1578 1579 1580 1581 1582 1583 1584 1585 1586 1587 1588

461 492 615 4,428 7,380 553 1,045 1,230 738 86 1,722 522 215 184 123 338 399 4,920 5,166 1,230 2,952 2,952 1,353 9,532 153 8,302 4,428 430 1,230 984 615 399 553 584 1,599 676 1,168 11,070 2,091 1,353 553 738 1,168 1,476

Lot# 1589 1590 1591 1592 1593 1594 1595 1596 1597 1598 1599 1600 1601 1602 1603 1604 1605 1607 1608 1609 1610 1611 1612 1613 1614 1615 1616 1617 1618 1619 1620 1621 1622 1623 1624 1625 1626 1627 1628 1628A 1629 1629A 1630 1631

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

4,920 1,107 2,952 1,476 1,599 1,230 430 215 276 123 123 215 307 246 922 676 215 215 123 98 1,353 369 399 86 215 110 246 4,182 307 276 492 98 246 553 2,091 110 1,968 922 2,706 2,337 307 799 12,300 1,045

1632 1633 1634 1635 1637 1638 1639 1640 1641 1642 1644 1645 1646 1647 1648 1649 1650 1651 1652 1653 1654 1656 1658 1659 1660 1661 1662 1663 1664 1665 1666 1667 1668 1669 1670 1671 1672 1673 1674 1675 1676 1677 1678 1679

12,915 553 1,599 6,765 430 430 1,476 2,460 861 492 276 492 215 123 27,060 676 153 153 1,968 61 153 110 123 584 307 676 553 799 123 276 98 246 184 338 123 215 922 2,952 430 738 110 246 123 369

1680 1681 1682 1683 1684 1685 1686 1687 1688 1689 1690 1692 1694 1695 1697 1699 1700 1701 1705 1706 1707 1711 1712 1713 1714 1715 1716 1718 1719 1720 1721 1722 1724 1725 1726 1727 1728 1729 1730 1731 1732 1733 1734 1735

215 184 110 98 276 399 369 8,610 338 1,599 1,599 738 738 861 738 615 553 3,198 738 553 584 861 276 215 276 984 2,337 1,353 3,444 1,476 98 73 98 98 2,460 123 984 1,476 676 1,968 36 36 18,450 46,740

1736 1737 1738 1740 1741 1742 1743 1744 1745 1746 1747 1750 1751 1752 1753 1754 1755 1756 1758 1759 1760 1762 1763 1764 1765 1766 1767 1768 1769 1770 1771 1772 1773 1774 1775 1776 1777 1779 1780 1783 1784 1785 1786 1787

13,530 922 184 153 338 738 861 522 399 7,380 6,150 184 153 55 1,230 4,182 399 553 153 98 399 1,353 1,722 2,337 461 2,460 1,045 246 338 399 36 215 307 276 184 184 215 584 1,722 215 399 615 984 338

1788 1790 1792 1798 1800 1801 1805 1807 1808 1809 1810 1811 1812 1813 1814 1815 1816 1817 1819 1822 1823 1824 1825 1827 1828 1829 1830 1831 1833 1834 1835 1838 1839 1840 1841 1842 1843 1844 1845 1846 1847 1848 1849 1850

3,444 10,762 123 61 123 1,230 2,214 861 1,599 4,920 5,412 86 13,530 34,440 738 922 36 49 1,845 738 153 430 13,530 430 184 307 984 276 1,476 861 1,599 922 1,476 307 98 1,722 461 73 461 369 430 276 984 399

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Page No. 6

06/28/2010 14:42:06 New Orleans Auction Prices Realized for Sale 1003 May 22, 2010 Estate of Warren S. Strauss Sale

Lot#

Realized

Lot#

Realized

1851 1852 1853 1854 1855 1856 1857 1858 1859 1860 1862 1865 1866 1870 1871 1873 1876 1877 1878 1879 1880 1882 1885 1886 1889 1892 1893 1897 1898 1899 1900 1902 1903 1905 1908 1911 1912 1913 1914 1915 1916 1918 1919 1920

184 98 73 73 43 153 153 110 215 15,375 1,230 369 98 55 36 61 492 522 522 584 307 55 1,476 307 1,968 1,045 2,706 9,532 15,990 553 1,968 1,968 2,706 922 246 1,045 522 4,428 676 922 1,107 615 1,968 1,230

1921 1922 1923 1925 1926 1927 1928 1929 1930 1932 1933 1934 1935 1936 1937 1938 1939 1940 1941 1942 1943 1944 1945 1946 1947 1948 1949

1,722 1,722 1,107 922 3,198 1,353 922 676 799 369 2,091 1,353 307 1,968 1,599 861 1,230 1,168 522 98 17,835 461 1,599 3,444 2,706 9,840 98,400

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