AUCTION November 13-14, 2010 by New Orleans Auction Galleries, Inc.

2010 Auction Schedule: November 13-14

Front Cover: Lot 109 - Fine and Rare Chinese White Jade Imperial “Wu fu, wu dai tang; ba zheng mao nian bao” seal, Qianlong (1736-1795) Back Cover: Rare Chinese Celadon and Spinach Jade Calligraphy Brush, 19th century

2010 Auction Schedule: 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, November 13, 2010 – 10:00 a.m. Lots 1-809 Sunday, November 14, 2010 – 11:00 a.m. Lots 810-1562

View this entire catalogue online:

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Two-Week Exhibition Begins Saturday, October 30 Through Friday, November 12 (Excluding Sundays) 9:00 a.m. to 5:00 p.m.

Late-Evening Preview Thursday, November 11, 2010 5:30 p.m. to 8:00 p.m.

Featuring Important Property From: The Estate of Ann B. Sakowitz Houston, Texas The Estate of David F. Dixon New Orleans, Louisiana Pleasant View Plantation in Oscar, Pointe Coupee Parish, Louisiana A Collection of Contemporary Art and Furnishings from a Jackson, Mississippi Home Property Sold for the Benefit of the South Louisiana Wetlands Discovery Center, Houma, Louisiana Detail from Presidential Suite Paneling Warwick Hotel, Houston, Texass

And Property from Numerous Southern Estates and Private Collections

The Estate of Ann B. Sakowitz Houston, Texas A glittering tribute to Ann B. Sakowitz was featured in a recent edition of Paper City, a large, glossy lifestyles publication in her longtime home of Houston, Texas. The images there reveal a glimpse into a “life well-lived”, as the tribute says: gala openings, plush houses, jet-setting snapshots on the tarmac. But also there are the images of a down-to-earth woman of great dedication and affection: gardening at her beloved Thunderbird Ranch, mountains of correspondence with her friends, family and charities, a snapshot of a Galveston fishing trip with her adoring husband. “She was one of those extraordinary women who could tell you with such charm ‘You’re full of it’ - and you accept it with a smile” her son is quoted as saying. New Orleans Auction Galleries, Inc. is proud to offer property from the estate of an iconic Texas matriarch: the elegant and accomplished Ann B. Sakowitz.

She was born on July 28, 1913 in San Antonio, Texas, the daughter of Victor Baum and Sarah Rosenman Baum and the youngest of six siblings. She attended Rice Institute where she met and, after a tumultuous courtship, married Bernard Sakowitz on July 20, 1933. From the beginning they enjoyed an interesting life together as Houston and his specialty store business grew over the decades. When Bernard enlisted in the U.S. Army Air Corps in early 1942, the family was moved to San Angelo, Texas, when he was commissioned to run the Post Exchanges (PXs) at Concho and Goodfellow Fields, where Ann’s charm, beauty and wit became legend. After a brief Army family move to Boston, they returned to Houston at the end of World War II, and resumed their bustling business, family and social life. Ann became a Vice President of Sakowitz Brothers, later Sakowitz Inc., and helped expand the family’s fashion specialty store chain, headquartered in Houston until 1990. She traveled all over the world with Bernard, making friends and finding resources in assisting the store’s buyers to select choices she knew her Houstonian friends would want.

Ann was committed in many ways to serving the city of Houston, a city she loved and whose individualism she sought to preserve. A co-founding member of the Board of Directors of the Society of the Performing Arts (SPA), she served as its Vice President (1966-69), President (1969-1978) and as a continuing Member of the Executive Committee and Board of Directors for a total of forty-four years. In October 2010, the SPA created the Ann Sakowitz Award for Contribution to the Arts in her honor.

She was a Trustee of the Moores School of Music Society, and was honored as one of the schools’ first Trustee Emeriti. Active in numerous other arts organizations, including the Alley Theatre, the Houston Ballet, and Combined Corporate Arts Campaign, she was also a charter member of the original Chamber of Commerce’s Houston Festival, the predecessor to the current iFest. In areas involving medicine she was an involved member for the University of Texas Health Science Center, The Houston Speech and Hearing Center, The Red Cross, the Cancer Fighters of Houston and the Houston Council for the Prevention of Blindness. The February 2011 Eye Ball Gala will posthumously honor Ann’s life and civic contributions. Her interest in people, civic affairs and other cultures led her to participation on the Boards of the YWCA, where she was Chairman of the Public Relations Committee for four years, a member of the Budget Committee for the United Fund, a member of the Japan-America Society of Houston, the Houston PanAmerica Society, the International Institute of Education (IIE), and a founding Governor of The Forum Club of Houston. Ann was singularly recognized for her long-standing participation in the Houston Shakespeare Society in 2006, The Moores School of Music, and the SPA, and received accolades as a Crohn’s/Colitis Woman of Distinction as well as one of the Houston Chronicle’s Best Dressed Women of Houston. Ann had two children, Lynn Sakowitz Wyatt and Robert T. Sakowitz, eight grandchildren, and three greatgrandchildren.

The Estate of David F. Dixon New Orleans, Louisiana Born in 1923, he attended Tulane University and served in the Marines during World War II. His first job was at his father’s company, the Southern Box Company, and soon he started his own business, the Fine Woods Company, which was to become one of the largest plywood distributors in the South. He was also a championship golfer, winning local tournaments and playing in both the U.S. Amateur Championships and the U.S. Open.

In the year 2000, when New Orleans Magazine chose the Ten Most Important New Orleanians of the 20th Century, only one living person was honored with inclusion on the list, alongside such luminaries as Louis Armstrong and Tennessee Williams. That person was David F. Dixon. His death this past summer was met with an outpouring of tributes and media attention, all praising the accomplishments of the man universally known by the twin honorifics “Father of the Superdome” and “Father of the Saints”. Dixon was a native of New Orleans, and a life-long resident of and advocate for the city.

His business acumen and his love for sports fueled a campaign to bring professional football to New Orleans as early as the 1950s. He sold his plywood business to form the New Orleans Professional Football Company with local business leaders and, with the blessings of mayor DeLesseps “Chep” Morrison,

lobbied the National Football League to begin exhibition games at Tulane Stadium. He campaigned tirelessly to bring either an American Football League franchise or an N.F.L. expansion team to the city, and his efforts were rewarded in 1966 when, thanks to House Whip Hale Bogg’s intercession in obtaining antitrust immunity for the proposed merger of the two leagues, New Orleans was awarded the 16th N.F.L. franchise on – fittingly – All Saint’s Day. The New Orleans Saints played their first game at Tulane Stadium on September 17, 1967. By then, however, Dixon had moved on to another project; he and partner Lamar Hunt were launching the first major professional tennis tour, World Championship Tennis. By convincing some of the best players in the world to turn pro, Dixon successfully altered the scope of tennis, which brought the sport to unprecedented heights of popularity in the 1970’s.

But an even more ambitious project lay ahead. Scarcely one week after New Orleans was awarded its professional football franchise, Dixon had persuaded Governor John McKeithen to endorse financing of a massive, state-of-the art stadium to showcase the new team, and gleeful New Orleans voters approved the measure. Having sown the seeds of the Superdome, Dixon returned to see the project to its fruition. He headed the drive to sell bonds to finance the project, and served as executive director during a period which saw a growing number of detractors as costs soared and Dixon’s vision for the Superdome – far beyond the scope of anything then in existence – seemed an impossibility.

The Louisiana Superdome opened on August 3, 1975. Since then, it has hosted countless amateur and professional sports events, heralded the nomination of President Ronald Reagan, served as an auditorium for the Rolling Stones and heard a mass conducted by Pope John Paul II. In 2005, it became a national symbol for the devastation of Hurricane Katrina, and in 2010, the last year of his life, Dixon saw it transformed to a symbol of triumph as his beloved New Orleans Saints became Super Bowl champions.

Any one of the footnotes that are Dixonâ&#x20AC;&#x2122;s many other lesser-known accomplishments would represent a lifetime of achievement: he founded the United States Football League, he ran two car dealerships, he was a tireless fundraiser for charities and institutions, including the Archdiocesan Capital Campaign and Loyola University. But of particular note for us here at New Orleans Auction Galleries, Inc. is Dixonâ&#x20AC;&#x2122;s long presence in the fine art and antiques trade of New Orleans as president and owner of Dixon and Dixon of Royal, one of the most prestigious galleries in a city known for its antiques. No less than four current staff members of New Orleans Auction Galleries began their careers in the trade at Dixon and Dixon, including owner and president Jean R. Vidos. If I may be allowed a personal aside, I myself worked for Mr. Dixon for more than a decade, first as a clerk and eventually as vice-president of the jewelry and silver department of Dixon and Dixon. I was privileged in that time to become quite close to Mr. Dixon and his family, and to see first-hand the driven, charismatic and persuasive force of nature that built the Superdome. No one who ever met Mr. Dixon for even a moment could forget his beaming smile, booming voice and unbridled optimism, but those of us who had the opportunity to know him for many years, know the depth of that ebullience and will never forget his passionate commitment to what he called the greatest city on earth: New Orleans. Charles C. Cage Silver Specialist

Pleasant View Plantation in Oscar, Pointe Coupee Parish, Louisiana Pleasant View Plantation in Oscar, Pointe Coupee Parish, Louisiana, was added to the National Historic Register in April 1984. Built in 1825 and owned by Robert Poierie in 1840, it later became the longtime home of the Hewes family, who purchased it in 1867. The Plantation home is a high, raised cottage of six square brick pillars on the lower section and six slender woden columns of the upper floor.

â&#x20AC;&#x201C; BID LIVE â&#x20AC;&#x201C; Customers, Please note: Lots 109-112 require advance registration to bid, which must be received at least three days prior to the auction. Please contact New Orleans Auction Galleries, Inc. to register and qualify to bid on these lots. Also please note that we will not be able to accept bids placed on these lots through either of our live online bidding services, The Saleroom or Live Auctioneers. All bids must placed directly through New Orleans Auction Galleries, Inc.

Session I

Saturday, November 13, 2010

10:00 a.m. (Lots 1-809)

1 Sumptuous French Gilt-Bronze and Carved Carrara Marble Mantel Clock, ca. 1900, supported by two recumbent lions, the case proper flanked by a pair of putti with white marble vases and surmounted by a large giltbronze group of two Bacchantes in the manner of Mathurin Moreau (French, 1822‑1912), the later circular dial signed “Hamilton/Sangamo”, h. 33‑1/2”, w. 40”, d. 11”. [5000/8000] Illustrated 2 Sumptuous Pair of French Tripodal Nine-Light Candelabra, ca. 1900, composed of gilded bronze and brass and Carrara marble, modeled as Antique vases supported by a trio of gilded putti, the stepped candlearms and sockets rising from the vases, en suite with the previous lot, overall h. 37”, dia. 19”. [2500/4000] Illustrated

3 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 4 Pair of Northern European Creme-Peinte 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] 2

8 5 Louis XVI Gris de Trianon Canape a la Reine, fourth quarter 18th century, probably by Jean-Baptiste Claude Sene (Master 1769), the domed and padded back surmounted by a guilloche-carved crest, joined by padded and scrolling arms to the cushioned seat, above a likecarved frame, raised on stop-fluted tapering circular legs ending in toupie feet, indistinctly signed on the seat rail, h. 39”, w. 53”, d. 29”. The Art Institute of Chicago has in their collection a larger canape and pair of armchairs in the same pattern and finish. [2000/4000] Illustrated

6 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] 7 Provincial Louis XVI Polychromed and MarbleTop Side Table, 18th century and later, the shaped Sainte Anne des Pyrenees marble top with a molded edge, above a conforming frieze fitted with a single drawer, raised on slender molded cabriole legs, h. 27”, w. 41”, d. 21”. [1400/1800] 8 Set of Twelve Pickard Edgerton Porcelain Dinner Plates, second quarter 20th century, richly gilded and having jade green borders, each example fully marked and numbered in gold on the reverse, dia. 10‑3/4”. [400/700] Illustrated

9 Louis XVI-Style Giltwood and Marble-Top Center Table, late 19th century, the rectangular Breche Medicis marble top with molded edge and canted corners above a conforming guilloche-carved frieze with pendant laurelleaf swags, raised on stop-fluted tapering square legs joined by an X-form stretcher centered by an elaborately modeled urn and swag carving, the whole raised on foliate-carved tapering square feet, h. 29‑1/2”, w. 48”, d. 29‑1/2”. [2000/4000] Illustrated 10 Large Hand-Painted Three-Fold Screen, third quarter 19th century, featuring “The Judgment of Paris”, in a flower-bedecked trompe l’oeil Louis XVI-style architectural frame, h. 75”, w. 75”. The “Judgment of Paris” depicts Paris choosing between Aphrodite, Hera and Athena as the fairest of them all, with Aphrodite winning the title; the pastoral setting features a sunset landscape with a river. [3500/5000] Illustrated 11 Pair of Louis XVI-Style Polychromed Bergeres, the padded rectangular backs within a molded frame, joined by padded arms and turned uprights to cushioned seats, raised on stop-fluted tapering circular legs ending in toupie feet, h. 33”. [1400/1800] Illustrated 10

12 Franco-Bohemian Porcelain Pastry Tray, third quarter 19th century, of circular form in the rococo taste, the center with an unusual equestrienne scene of a girl sidesaddle on a stubborn donkey harassed by her brother and his dogs, dia. 13”. [250/400]

13 Louis XV-Style Polychromed Fauteuil, mid‑20th century, the shaped caned back surmounted by a floral crest and within a molded frame, joined to the cushioned seat by scrolling padded arms, raised above a floral-carved apron on cabriole legs ending in foliate-carved toes, h. 36”. [300/500]

14 Group of Three Engravings, consisting of “Grand Parterre de Trianon de St. Cloud”, by Nicholas Langlois (French, 1640‑1721), handcolored engraving, first quarter 18th century, 17” x 13‑1/4”; and “The Parterre du Chateau de Richelieu” and “Royal Monastery of Val de Grace”, by Adam Perelle (French, 1638‑1694), a pair of smaller plain engravings printed by Langlois, Paris, each 16” x 12‑1/2”; all three entitled in French at the basal edge of the image and presented in greenbordered French mats within carved ribbon-bound reeded giltwood frames in the Louis XVI style and glazed. [500/800] 9

15 Large Edme Samson, Paris, Porcelain Cachepot, first quarter 20th century, of bucket form, elaborately painted and enameled in the 18th-century style, the lip with a parcel-gilded bas-relief frieze of baby Nereids and foliate-scroll-mantled vases, the body painted with four equidistant floral rondels on a white enamel interlaced ground, the base with an overglaze pale blue Samson shield mark, h. 10”, dia. 10‑3/4”. [900/1200] 16 Edme Samson, Paris, Armorial Porcelain Barber’s Bowl, fourth quarter 19th century, exuberantly modeled and of crescent form, bears the Samson pseudo-Chinese mark in rouge de fer, plus a later Porcelaine de Paris mark in transfer-printed blue and a partial Porcelaine de Paris printed paper label, w. 13‑3/4”, d. 10‑1/2”. [200/400]

19 Good Paris Porcelain Cologne Bottle, third quarter 19th century, of hexagonal and footed form with mauve, melon and aventurine grounds, the body painted with a frieze of twelve different folk types and parcel gilded with foliate scrolls, retains the original large hexagonal porcelain stopper, h. 8‑3/4”. [150/250]

17 Pair of Cast-Stone Garden Figures, depicting a country youth and maiden, each bearing a basket of flowers, raised on a paneled and bulbous square pedestal to a plinth base, h. 45”. [600/900] Illustrated 18 Highly Diversified Herend Porcelain Partial Dinner Service, for ten persons, in such celebrated Herend patterns as “Rothschild Bird” and “Chinese Flowers”, comprised of ten soup plates, dia. 9‑5/8”, ten dessert bowls, twelve teacups, two triangular serving bowls, a double-handled double-lipped sauceboat, an oval covered two-handled sauce tureen, a sauce tureen stand en suite, three sweetmeat dishes, three covered mustard pots, two double-compartment center-handled salts, a covered box of boulle form, a two-piece cream-and-sugar set, a circular covered bonbon dish, a small oval ashtray, a heart-form covered sugar basin, two spherical reticulated covered potpourri boxes, a smaller matching spherical potpourri, two three-light candelabra, a small oblong table box, and a cabinet figure of a pair of white rabbits, all marked with the Herend blue shield insignia (fifty-eight total pieces). [1800/2500] Illustrated

24 20 Louis XV-Style Polychromed Fauteuil, mid‑20th century, the shaped and padded back surmounted by a floral crest, joined to the cushioned seat by padded scrolling arms, above a floral-carved apron, raised on cabriole legs ending in foliate-carved toes, h. 36”. [400/700] Illustrated

21 Napoleon III Gilt-Lacquered Bronze Kerosene Lamp Base, third quarter 19th century, now mounted as a table lamp and fitted with a custom antique-white silk shade of drum form, the font, shade ring, glass chimney and shade removed in the conversion, overall h. 24”, base dia. 5‑1/4”, shade dia. 15‑3/4”. [200/400] 22 Set of Twelve William Guerin, Limoges, Porcelain Soup Plates, fourth quarter 19th century, richly gilded in the Louis XVI taste, each plate fully marked in underglaze green transfer print and gold overglaze, dia. 7‑1/4”. [125/250]

27 Good Nine-Piece French GiltBrass-Mounted Cut Glass Bar Service, third quarter 20th century, comprised of a ringed lion masque-handled diamond-cut bottle cooler, h. 9”, dia. 8‑1/4”; a trio of diamond band-cut decanters of cylindrical section, each with a gilded collar and spherical stopper, h. 10‑1/4”, dia. 3‑1/4”; a trio of gilded decanter tags (Bourbon, Vodka, Scotch); a side-handled cut glass jigger en suite, l. 5‑1/4”; and a pair of Reed and Barton gilded claw-terminal ice tongs, l. 7”. [300/500] Illustrated

23 French Gilt-Brass-Mounted Cut Glass Miniature Tree Tub, filled with a gilt-brass floral bouquet with matte black-painted foliage, the glass tub cut in “Small Diamond” decor and supported on four diminutive gilt-brass ball feet, h. 8‑1/4”, w. 6‑1/2”, d. 3‑3/4”. [100/200] Illustrated 24 Three-Piece Porcelain de Paris (Bloch and Bloch) Smoker’s Set, second quarter 20th century, comprised of a gilt-brass-mounted oblong table box with grisaille reserves of shipwrecked sailors and rocky coasts, h. 2‑3/4”, w. 5‑1/4”, d. 3‑5/8”, and a pair of square ashtrays en suite, w. 3‑1/4”, all with the Porcelain de Paris crossed arrows mark in blue, the box with an additional circular printed paper label. [100/200] Illustrated 30 detail 25 Set of Ten French Gilt-BrassMounted Diamond-Cut Glass Liqueur Glasses, second quarter 20th century, perhaps the Cristallerie de St. Louis, of beaker form, the gilt-brass mounts modeled as flowerembellished ram masques, each with a gilded lip, h. 2‑3/4”, dia. 1‑3/4”. [200/400] Illustrated 26 Pair of French Gilt-Brass-Mounted Cut Glass Four-Light Candelabra, in “Diamond Band” decor, each centered with a tall panel-cut glass spike, each fitted with “Diamond Band” cut glass bobeches of miniature bowl form, h. 17‑1/2”, w. 9‑3/4”. [400/700] Illustrated

28 Gilt-Metal and Ebonized Serving Trolley, mid‑20th century, the canted rectangular top inset with a beveled glazed plate, removing to become a tray, above a case fitted with a push handle to one end and fitted with beveled panels, one side hinged and opening to the glazed interior, joined by tubular legs to the conforming stretcher shelf, raised on wheel feet, h. 32”, w. 33‑1/2”, d. 19”. [500/800] Illustrated 29 French Diamond-Pressed and Cut Glass Putto Fruit Bowl, with gilt-brass mounts in the Restauration taste, the gilt-brass standard modeled as a running putto, the circular bowl on his head, the whole supported on a crosshatch-cut diamond pedestal base, h. 13‑1/2”, dia. 8‑1/2”. [600/900] Illustrated

31 Four-Piece Group of Continental Porcelain, consisting of a Continental gold-decorated rose du Barry -ground porcelain tea bowl and saucer in “Bird, Melon and Squirrel” decor, third quarter 19th century, overall h. 3”, dia. 6”; and a good Royal Porcelain Manufactory, Berlin (KPM) opulently decorated presentation cup and underplate, 1844‑1847, the facade of the cup inscribed in gold “A.G./ den 5 fen Juni/ 1797/ 1547”, both pieces with the Royal eagle mark over KPM, in underglaze blue, overall h. 3‑3/8”, dia. 7”. [100/200]

32 Group of Two Limoges Enamel and Foil Circular Portrait Miniatures, fourth quarter 19th century, the first depicting Queen Marie-Antoinette of France in her famous plumed soft velvet cap, presented in a mattegilded brass circular tabletop frame surmounted with a diminutive hymeneal trophee, h. 2‑3/4”, w. 2‑1/2”; and the second depicting an 18th-century lady-of-fashion in an extravagant plumed hat, signed in gilt script, lower right, “Dorval”, presented in a period gilt-lacquered brass frame in the Louis XVI style suspended from a matching giltbrass bowknot, h. 8‑1/2”, w. 4‑1/4”. [200/400] Illustrated 30 Stylish Thirteen-Piece Continental Tea, Coffee and Fruit Service, first quarter 19th century, the white and gold partial service for six persons in the neoclassical taste, comprised of a tall coffeepot with anthropomorphic spout, h. 12‑1/2”, a matching teapot, h. 9”, a footed fruit bowl, dia. 8‑3/4”, five teacups with gilt linings, h. 3”, and five deep saucers en suite, dia. 5”, all of the pieces but the saucers with polychromed portrait reserves of ladies-offashion, all marked with underglaze blue crossed swords. [1500/2500] Illustrated previous page

32 37

33 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] 34 Louis XV-Style Mahogany and Marble-Top Occasional Table, mid‑20th century, the oval verde antico marble top above a conforming case fitted with two side pull-out slides and a single drawer over a cupboard door, the door faced as a row of leather book spines, joined by shaped supports to a like-shaped lower shelf, the whole raised on splayed legs, h. 24”, w. 15‑1/4”, d. 11‑1/2”. [300/500]

35 Pair of French Creme-Peinte Fauteuils, late 19th century, in the transitional Louis XV into Louis XVI taste, each with a padded medallion back within a rope-carved frame and surmounted by a floral crest, joined by padded acanthine arms to the padded seat, raised on molded saber legs ending in scrolled toes, h. 41‑1/2”. [1000/1500] Illustrated 36 Louis XVI-Style Polychromed Trumeau, late 19th century, the upper two-thirds with an oil-on-canvas painting of a courting couple in a pastoral landscape within a molded frame, the bottom third mirrored, h. 66‑1/2”, w. 30”. [500/800] 37 French Kingwood, Rosewood and Marble-Top Cabinet, mid‑19th century, in the transitional Louis XV into Louis XVI taste, the Rouge Royale marble top with a shaped front above a conforming case fitted with a single drawer over two cupboard doors, all with banding and quarter veneering, the sides veneered and banded en suite, raised on cabriole feet ending in sabots, h. 40”, w. 41”, d. 16‑1/2”. [1800/2500] Illustrated

38 Amusing Porcelaine de Paris (Bloch and Bloch) Porcelain Teapot, first quarter 20th century, in the form of a monkey embracing a coconut, fully marked on the base in overglaze blue transfer print, with the addition of an underglaze blue pseudo-Capodimonte mark, h. 5‑1/4”, w. 4”, l. 8‑3/4”. [100/200]

39 Pair of Louis XV-Style Mahogany and Marble-Top Occasional Tables, late 19th century, each with a kidneyform Ceris des Ardennes marble top with a three-quarter pierced brass gallery, above a conforming case fitted with three quarter-veneered drawers, joined to a lower likeveneered gallery shelf by tapering square legs terminating in sabots, h. 29‑1/2”, w. 24‑1/2”, d. 13‑1/2”. [1000/1500] Illustrated

39 40 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] Illustrated 41 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]

42 Continental Porcelain Figure of a Long-Haired Cat, first quarter 20th century, probably German, the large cinnamon and white feline depicted seated, h. 14”. [1000/1500] 43 Louis XVI-Style Kingwood, Burlwood and MarbleTop Commode, early 20th century, the demi-lune Byzantine marble top above a conforming case fitted with a frieze, centered by an ormolu plaque of cavorting putti, above two long drawers, inlaid with a floral-basket medallion within an ormolu banding, the sides banded and quarter veneered, raised on molded legs ending in sabots, h. 34”, w. 39‑1/2”, d. 19‑3/4”. [800/1200] Illustrated previous page

49 pair

44 Pair of Louis XV Polychromed Fauteuils, late 18th century, each with a shaped and padded back surmounted by a floral crest, joined by scrolled arms to the padded seat, raised on molded cabriole legs headed by floral carving and ending in scrolled toes, h. 34”. [2500/4000] Illustrated

45 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”. [500/800] Illustrated 46 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”. [2000/4000] 47 Aubusson Tapestry, 4’ 5” x 6’ 2”. [2000/4000] Illustrated 48 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]

49 Large and Elaborate Pair of French Five-Light Appliques, composed of gilt-lacquered bronze in the Louis XVI style, the lyriform backplates surmounted by an Orpheus masque pendant from a furled bowknot, the scrolled candlearms stepped, wired for electricity and fitted with ecru faux-wax candles, h. 36”, w. 20”, d. 11”. [2500/40000] Illustrated

50 Pair of Louis XV-Style Giltwood Stools, early 20th century, each with a padded square top above a conforming shaped foliate- and floral-carved frieze, raised on cabriole legs ending in scrolled toes, h. 19”, w. 16‑1/2”, d. 16‑1/2”. [600/900] Illustrated 51 French Mahogany, Kingwood and Marble-Top Occasional Table, early 20th century, in the transitional Louis XV into Louis XVI style, the circular Carrara marble top within a three-quarter pierced brass gallery, above a conforming frieze fitted with a single parquetry-veneered drawer and two pull-out leather-inset slides, joined by paneled square supports to a circular galleried shelf, with banding and sunburst veneers, raised on cabriole legs ending in sabots, h. 28‑1/2”, dia. 19‑1/2”. [500/800] Illustrated

52 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] 53 Louis XVI-Style Mahogany, Kingwood and MarbleTop Commode, early 20th century, the demi-lune Lunel Fleuri marble top with a molded edge and above a conforming case fitted with a single guilloche-inlaid frieze drawer over two drawers, inlaid with a floral basket, the sides paneled and quarter veneered, raised on tapering square legs ending in brass caps, h. 37”, w. 33”, d. 17”. [1000/1500] Illustrated

54 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”. [1500/2500] Illustrated 55 Pair of Louis XV-Style Fruitwood and Marble-Top Occasional Tables, each with a kidney-form Calacatta marble top within a full pierced gallery with a pendant swag pattern, above a conforming case fitted with three drawers, raised on cabriole legs ending in sabots, h. 29‑1/4”, w. 24‑1/2”, d. 14‑1/2”. [500/800]

56 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]

57 Large Sevres Porcelain TallNeck Garniture Vase, ca. 1866, with later polychromed decoration of frolicking putti, the ground of periwinkle blue, the base with a green underglaze Sevres date oval and an underglaze rouge-de-fer transfer-printed Chateau de Fontainebleau seal, the decoration probably fourth quarter 19th century, h. 21”, dia. 9‑1/2”. [1000/1500] Illustrated

58 French Bleu du Ciel-Ground Porcelain Bowl, fourth quarter 19th century, of rounded square form in the Sevres style on a gilt-brass stand in the Louis XVI taste, the bowl with gilt-framed floral reserves on the exterior and a large spray of summer flowers on the interior, the base of the bowl marked with pseudo-Sevres interlaced L’s, h. 4‑1/2”, w. 9‑1/4”, l. 13‑3/4”. [250/400]

60 Louis XIV-Style Elm and Burlwood Bureau Mazarin, early 19th century, of traditional form, the rectangular top tri-paneled and with decorative diamond-patterned inlays, with shaped front, above a conforming case fitted with a long frieze drawer faced as three, over a central recessed cupboard and flanked to either side by two small drawers, raised on paneled tapering square legs headed by scrolling ormolu mounts and capitals, joined by shaped X-form stretchers and ending in bun feet, h. 31‑1/2”, w. 43‑1/4”, d. 23‑1/2”. [1800/2500] Illustrated 61 Attractive pair of French Six-Light “Putto Under a Bouquet” Candelabra, fourth quarter 19th century, of large size, composed of gilded brass and Saint-Pons marble in the Louis XVI style, the marble bases of fluted pedestal form surmounting a shaped oblong plinth, now electrified and fitted with tall “old ivory” faux candles, h. 33”, w. 14‑3/4”, d. 10”. [1000/1500] Illustrated

62 Assembled German .800 Silver-Mounted Glass Cordial Set, first quarter 20th century, probably Storck & Sinsheimer, Hanau, including four decanters and six cups, the glass decanters each of quartered section and wheel-cut with lattice, flowers and rococo scrolls, with silver collars, handles and figural stoppers, all fitting together in a reticulated base embossed with scenes of courtly life among scrolls and latticework, overall h. 13‑1/4”, w. 4‑1/4”, the cylindrical glass cups each acidengraved with rococo scrolls and latticework and fitting into a reticulated silver zarf with rococo-scroll handle and embossed en suite with the decanter base, h. 2‑3/4”, dia. 1‑3/4”, 12.41 total t. oz. (excluding glass elements). [1800/2500] Illustrated

59 Pair of Napoleon III Kingwood and OrmoluMounted Fauteuils, third quarter 19th century, in the rococo taste, each with a padded back surmounted by an ormolu floral garland crest above a floral-patterned porcelain plaque, joined by padded arms to the like seat, above a shaped frieze with an avian-patterned porcelain plaque, raised on cabriole legs ending in sabots, the whole accented with ormolu mounts and millwork, h. 38”. [800/1200]

63 Dutch Second Standard (.833) Silver-Mounted Glass Decanter, marked 1895, the city and maker’s marks rubbed, the glass decanter of rounded square section with short slender neck and wheel-cut with floral sprays and ribbons, mounted in a reticulated silver base and collar embossed with courting couples between rococo scrolls with beaded edges, the spherical glass stopper clad en suite and with figural putto finial, h. 8‑3/4”, w. 2‑7/8”. [300/500]

64 Set of Four German .800 Silver Figural Salt Cellars, first quarter 20th century, probably Hanau, each of batteau form cast with flowers, rococo scrolls and latticework, and raised on three pad feet, the handle in the form of a triumphant putto, complete with the original salt spoons with swan-head finials, h. 2‑1/2”, w. 1‑1/4”, l. 2‑5/8”, 6.49 total t. oz. [300/500]

66 Dutch Second Standard (.833) Silver Porringer, touchmarked Groningen, 1907, by Fa. Gebr. Niekerk (active 1902‑1927), of lobed form, embossed with vignettes of country life, with a pair of cast and applied floral handles and raised on a short foot-ring, h. 1‑3/4”, dia. 4‑3/4”, w. 8”, 4.57 t. oz. [125/250] 67 Dutch Second Standard (.833) Silver “Marriage” Spoon, touchmarked Schoonhoven, 1895, by Cornelis Reitveld (active 1865‑1912), the oval bowl engraved on the reverse with an armorial, the cast openwork stem decorated with a serpent, scrolls and mascarons, the finial with a large oak branch-enframed double portrait of Louis XVI and Marie Antoinette, l. 12‑3/4”, 5.21 t. oz. [125/250]

65 Pair of German .800 Silver-Mounted Glass Decanters, first quarter 20th century, by Weinranck & Schmidt, Hanau, in the Historismus taste, each with a glass decanter of canted rectangular form with slender neck, the body wheel-cut with acanthus scrolls, flowers and lattice, clad in a reticulated silver base decorated with frolicking putti and flowers, the neck clad en suite with an annular band, fitted with a silver figural putto stopper, h. 11”, w. 4”. [1000/1500] Illustrated previous page

68 German .800 Silver-Clad Glass Decanter, first quarter 20th century, by the Vereinigte Silberwarenfabrik, Hanau, in the Historismus taste, the glass body of square section with a tall, slender neck, wheel-cut with flower baskets and scrolls, clad in a reticulated silver base embossed with scenes of courtly love enframed by rococo scrolls and a silver collar embossed with rococo scrolls and flowers, with a glass inverted pear-form stopper clad en suite, h. 9‑3/4”, w. 3‑3/4”. [800/1200] Illustrated

69 Good Continental Silverplate and Gilt-Bronze Double Tea Caddy, fourth quarter 19th century, probably Dutch or German, the gilt-bronze casket-form body decorated with engraved rococo scrolls and patera, with annulated banding and raised on four scrolling feet, the front, back and lid inset with silverplate panels in high relief depicting Bacchanal scenes, the sides with silverplate ringed ram’s-masque handles, the lid opening to reveal a pair of silverplate tea caddies of oval section with flat engraved hinged lids, the interior lid of the casket en suite, h. 6‑1/2”, w. 9”, d. 7”. [2000/4000] Illustrated

70 German .800 Silver and Silverplate Parcel-Gilt Fish Serving Set, first quarter 20th century, by Franz Mosgau, Berlin, in the Historismus taste, including a fish serving fork, l. 10‑3/4”, and knife, l. 11‑3/4”, each with a filled silver handle with acanthus finial and annulated ferrule, the silverplate fork with four tines and acanthus decoration, the silverplate knife with a scimitar-shaped blade and dolphin decoration, both pierced with satin finish and gilt accents. [800/1200] Illustrated

73 72

71 Set of Sixteen Norwegian Glass, Sterling Silver Gilt and Enamel Salt and Pepper Shakers, third quarter 20th century, by Hroar Prydz A/S, Oslo, each with a tapering pressed glass body of square section and decorated with diamond-banded pattern, and a sterling silver gilt cap decorated with pearlescent white guilloche enamel, h. 1‑3/4”, w. 1‑1/8”. [100/200] Illustrated

74 Georg Jensen Sterling Silver Sauce Ladle, Copenhagen, with the post‑1945 Jensen mark, in an unnamed ornamental pattern with mid-rib handle and stylized pagoda finial, no monograms, l. 5‑1/4”, 1.09 t. oz. [300/500] Illustrated 75 Austrian Third Standard (.800) Silver Jugendstil Compote, ca. 1900, by Brueder Frank, Vienna, the circular bowl with wavy edge decorated with realistically detailed applied daisies, the stems and leaves extending downward to form four supports, each ending in another flower adorning the steeply domed foot with sinuous “whiplash” edging, h. 7”, dia. 10‑1/4”, 37.94 t. oz. [3500/5000] Illustrated

72 Georg Jensen Sterling Silver “Cactus”-Pattern Cold Cut Fork, designed in 1930 by Gundorph Albertus (1887‑1970), Copenhagen, with the post‑1945 Jensen mark, no monograms, l. 7‑3/8”, 1.67 t. oz. [250/400] 73 Two Georg Jensen Sterling Silver “Scroll”-Pattern Serving Pieces, the pattern designed in 1927 by Johan Rohde (1856‑1935), with the post‑1945 Jensen mark, including a serving spoon, l. 8‑3/8”, and a cake knife with stainless steel blade, l. 10‑1/4”, 2.77 t. oz. (spoon only). [700/1000] Illustrated

76 French First Standard (.950) Silver-Mounted Claret Jug, fourth quarter 19th century, the ovoid glass body decorated with wheel-cut flowers and rococo scrolls separated by spiral fluting, the tall slender neck clad in a reticulated silver mounting decorated with rococo shells and scrolls with a shaped spout and crested handle, joined by an openwork strap to the circular foot en suite, the lid replaced by a later English sterling silver-clad stopper, overall h. 11‑1/4”, dia. 5‑3/4”. [1200/1800] Illustrated

77 Pair of Italian .800 Silver Candelabra, third quarter 20th century, Alessandria, the maker’s mark rubbed, in the rococo style, each with a rococo-style scrolling acanthus standard with a pair of hippocampi, all above a “turtleback”form base with rococo shells, flowers and scrolls, the standard branching to form three arms, each with a paneled nozzle above a circular drip-pan, h. 7‑1/4”, w. 8‑3/8”, d. 3‑1/2”, 29.64 total t. oz. [1200/1800] Illustrated

79 Cased Set of Italian .800 Silver CoquilleForm Salt Cellars, third quarter 20th century, by Fabbrica Argenteria Fiorintina, Florence, including ten salt cellars each cast in the form of a realistically detailed coquille, with gilt interior and three spherical feet, w. 1‑7/8”, d. 1‑7/8”, and eight salt spoons with spatulate handles, l. 2‑1/2”, 17.88 total t. oz., presented in the original pair of dark green velveteen and cream satin-lined fitted cases, with places for two additional salts and four spoons, now missing, w. 8‑1/2”, d. 7‑1/4” (eighteen pieces total in two cases). [100/200]

80 Peruvian Sterling Silver Dinner Bell, mid‑20th century, in the form of a Peruvian woman carrying a water jug and dressed in a traditional pollera and iliklla, with a baby wrapped in the latter, h. 3”, dia. 2”, 4.56 t. oz. [75/125] 81 Set of Twelve Chinese Export Silver Menu or Place Card Holders, first half 20th century, each with shop mark idiogram “Tai Ching”, in the form of an octagonal spider web, the spider forming the clip, raised on a plain knopped standard above a domed base, h. 3‑1/2”, 12.54 total t. oz. [400/700] 82 Chinese Export Sterling Silver-Clad Quadruple Decanter, second quarter 20th century, Hong Kong, the French-made four-in-one glass decanter bottle of ovoid form with straight neck, clad in a reticulated silver jacket decorated with chased dragons, pagodas and junks on a background of flowers, bamboo and clouds, with four large open panels to view the four different cordials within, all surmounted by four small spouts with horn-shaped silver stoppers, h. 13”, dia. 5”. [1000/1500] Illustrated 83 Japanese .950 Silver Caddy Spoon, third quarter 20th century, by K. Uyeda, Tokyo, in the form a Japanese lady of fashion, her parasol forming the bowl, l. 5‑5/8”, 1.16 t. oz. [250/400]

77 78 Large Italian Silver Meat Platter and Dome, third quarter 20th century, by Mario Buccellati (1891‑1965), Milan, retailed in New York, unmarked but probably .800 silver, the platter of oval form with applied “Chippendale” shell-and-scroll rim, the conforming dome with a shelland-scroll handle en suite, overall h. 9‑1/2”, w. 18‑1/2”, l. 23‑3/4”, 194 t. oz. [4500/7000] Illustrated

86 “Fauxberge” Silver-Gilt-Mounted Jade Cabinet Urn, late 20th century, the carved spinach jade urn with silvergilt snake-handled mount, the cap set with a medallion of the Imperial arms surrounded by small diamonds, with imitation Imperial and Faberge hallmarks, h. 3‑3/4”, w. 3”, presented in a fitted cream velvet- and satin-lined blonde wood box with imitation Faberge stamp, h. 3‑1/2”, w. 4‑3/4”, d. 5‑1/4”. [300/500] Illustrated

84 Suite of Three Japanese Mixed Metal Bira-Bira Kanzashi, Meiji Period (1868‑1912), including a pair decorated with silver and gilt bamboo, cranes, pine tree, cherry blossoms, minogame and dangling butterflies, with a detachable three-prong pin, l. 9‑3/4”, and a single decorated with silver and gilt cherry blossoms, pine cones, crane, minogame and dangling plaques, with a fixed twoprong pin, l. 7”. [200/400] Illustrated 85 Japanese Silver, Copper and Enamel Figure of a Cockerel, Showa Period (1926‑1989), the realistically detailed figure with copper feet and enameled wattle, wing and tail feathers, h. 5‑1/2”, l. 6”. [4000/7000] Illustrated

87 “Fauxberge” Silver-Gilt Inkwell, late 20th century, embossed in the form of a woven tray, one corner curled up with a double-branch handle, fitted with a silver hamper en suite, the hinged lid with rope-twist handle and opening to reveal a cobalt glass inkwell, the edge with imitation Imperial and Faberge hallmarks, h. 2‑1/4”, w. 8”, d. 7”, 7.2 t. oz. [200/400] Illustrated 88 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]

91 Mexican School (Contemporary) “The Red Mushroom”, aquatint in colors, numbered in pencil lower left “34/50”, indistinctly signed lower right, sight 17‑1/2” x 19‑1/4”. Glazed, matted and framed. Provenance: Private collection, Jackson, Mississippi. [250/400] 92 Ignacio Iturria (Uruguayan, b. 1949) “Sillon Elephante”, color serigraph, pencil signed lower right, numbered lower left “PA IV/VIII”, accompanied by “Iturria, Sonar con los Ojos Abiertos”, published by La Fundacion Praxis, Mexico, 1994, sheet 31‑1/2” x 38”. Glazed and presented in a contemporary frame. Provenance: Private collection, Jackson, Mississippi; acquired from Galeria Praxis Arte Internacional, Mexico City, in October 1998. [350/500]

93 Jose Luis Cuevas (Mexican, b. 1934) “Two Figures”, 1987, etching, signed and dated in pencil lower right, numbered in pencil lower left “47/60”, sight 14‑3/4” x 21”. Glazed and presented in a contemporary molded ebonized frame. Provenance: Private collection, Jackson, Mississippi. [350/500] 94 Xavier de Callatay (Belgian/New Orleans, 1932‑1998) “Amorous Couple and an Iguana Nestled in Tropical Foliage”, etching, plate signed and dated lower right “Xavier 72”, sight 7‑3/4” x 11‑3/4”. Glazed, matted and handsomely framed. Provenance: Private collection, Jackson, Mississippi. [150/300] Illustrated 95 Ignacio Iturria (Uruguayan, b. 1949) “Untitled”, from the Serie Erotica, oil on paper laid down on cardboard, signed lower right “Iturria”, accompanied by “Ignacio Iturria”, catalogue from the exhibition held at the Museo Rufino Tamayo, Mexico, 1998, 8‑1/2” x 10‑1/2”. Glazed and handsomely framed. Provenance: Private collection, Jackson, Mississippi; acquired from Galeria Praxis Arte Internacional, Mexico City, in October 1998. [800/1200] Illustrated

89 Benjamin Canas (Salvadoran, 1933‑1987) “The Artist and His Model”, 1980, pastel on paper, signed and dated lower right, retains gallery label on the reverse “Sindin Galleries, 1035 Madison Avenue, New York”, sight 30” x 41‑1/2”. Glazed, matted and presented in a silver metal frame. Provenance: Private collection, Jackson, Mississippi. [2000/4000] Illustrated 90 Hans Jaenisch (German, 1907‑1989) “Cry of Birds”, 1955, oil on canvas, signed lower right, retains labels on the reverse “Kleemann Galleries, New York” and a museum loan inventory label from the “Rental Gallery of the Baltimore Museum of Art”, 13‑3/4” x 19‑1/4”. Framed. Provenance: Private collection, Jackson, Mississippi. [600/900] Illustrated

96 Continental School (Fourth Quarter 20th Century) “Figures Under the Moonlight”, 1980, mixed media on paper, dated “9.4.80” and indistinctly signed lower right, sight 23” x 23”. Glazed, handsomely matted and framed. Provenance: Private collection, Jackson, Mississippi. [500/800] Illustrated

96 97 Xavier de Callatay (Belgian/New Orleans, 1932‑1998) “Figure and Landscape Studies”, 1987, graphite and watercolor on paper, signed and dated lower right “Xavier 87”, with artist’s annotations in pencil middle and lower right, sheet 22‑1/4” x 30‑1/4”. Glazed and framed. Provenance: Private collection, Jackson, Mississippi. [500/800] Illustrated 98 Hermann Schenkel (German, b. 1948) “Abstract Woman”, 1987, watercolor and crayon on paper, initialed and dated lower right “H.S. 87”, sight 14” x 7”. Glazed, handsomely matted and presented in an ebonized frame with an annulated fillet. Provenance: Private collection, Jackson, Mississippi. [150/300] Illustrated 97

99 Continental School (Contemporary) “Phantasie”, 1995, color lithograph, numbered in pencil lower left “117/250”, signed in pencil lower center “Aidrean Scheeh”, sight 33” x 23”. Glazed and framed. Provenance: Private collection, Jackson, Mississippi. [75/125] 100 Sixteen Catalogues on Contemporary Latin American Artists, including four books on Ana Maria Pacheco Twenty Years of Printmaking, In Illo Tempore, two copies of In the National Gallery (ex./coll. cat., London: National Gallery, 1999‑2000, et al.), and a promotional brochure for the Pratt Gallery (Igtham, Kent., 1998) with a collection catalogue Mario Perez (Buenos Aires: MNBA), exhibition catalogues Mexican Contemporary Art in the 90’s (Washington, D.C. & New York: Mexican Cultural Institute, 1998‑1999), XIII Anniversario (Mexico City: Aura, 1994), Juarez Machado (Paris: Akka, 1998), Antonia Luquin (Mexico City: Praxis, 1998), Santiago Carbonell (Mexico City: Praxis, 1997), Williams Carmona (New York: Praxis, 2000), Ana Fabry (Washington, D.C.: AMAG, 2000), a promotional brochure Eduardo Esquivel (Buenos Aires & New York: Praxis, n.d.), a monograph by Mario de Micheli, David Alfaro Siqueiros, and a guide book La Guia Artes de Mexico (1995). Provenance: Private collection, Jackson, Mississippi. [60/90]

102

103 101 Xavier de Callatay (Belgian/New Orleans, 1932‑1998) “Female Nude Study” 1987, charcoal and gouache on paper, signed and dated “Xavier 87”, with a large oval watermark above signature, sheet 19‑1/4” x 26‑1/4”. Glazed and framed. Provenance: Private collection, Jackson, Mississippi. [450/700]

106

104

102 Francine Van Hove (French, b. 1942) “Le Bras Tendu”, crayon and gouache on paper, signed lower right “Van Hove”, retains gallery label on the reverse “Galerie Alain Blondel, Paris, France”, accompanied by “Van Hove Peintures et Dessins 1991‑1996”, published by Galerie Alain Blondel, Paris, 1997, sheet 24” x 41‑1/2”. Glazed and presented in a contemporary stained wood frame. Provenance: Private collection, Jackson, Mississippi; acquired from Galerie Alain Blondel, Paris, France, in May 2000. Based in Paris, Francine Van Hove uses models to create intimate portraits of women depicted in various peaceful meditative poses or enjoying simple pleasures such as reading a book. [800/1200] Illustrated 103 Xavier de Callatay (Belgian/New Orleans, 1932‑1998) “Allegory of Youth and Age”, 1985, charcoal, crayon, gouache and watercolor on paper, signed and dated lower left “Xavier 85”, sheet 38” x 60”. Glazed and presented in an oyster-stained wood frame. Provenance: Private collection, Jackson, Mississippi. [600/900] Illustrated

107 104 Francine Van Hove (French, b. 1942) “La petite bete a bon dieu”, pastel on paper, signed lower right “Van Hove”, accompanied by “Van Hove, Peintures 1981‑1990”, published by Editions Ramsay and Galerie Alain Blondel, Paris, 1991, and “Francine Van Hove”, published by Snoeck-Ducaju & Zoon, 2002, sight 21‑1/2” x 39”. Glazed and presented in a contemporary stained wood frame. Provenance: Private collection, Jackson, Mississippi; acquired from Galerie Alain Blondel, Paris, France, in May 2000. [1400/1800] Illustrated

105 106 Michael Bastow (British, b. 1943) “Le Petite Collectioneuse”, pastel on paper, signed lower right “Bastow”, accompanied by “Bastow - Pastels et Dessins”, by Marc Auge, published by Galerie Alain Blondel, Paris, 1998, sheet 56” x 22”. Glazed and presented in a contemporary silvered frame. Provenance: Private collection, Jackson, Mississippi; acquired from Galerie Alain Blondel, Paris, France, in May 2000. Michael Bastow studied architecture at Melbourne University and began painting full time in Belgium in 1974. He has had solo exhibitions of his work in England, Argentina, France, Belgium, Peru, United States, and Australia. In 2001 he began the restoration and decoration of the Chapel Saint Alexis in Malaucene. [800/1200] Illustrated 107 Bruno Schmeltz (French, b. 1938) “Autoportrait Avec Pied”, oil on canvas, signed middle right “Bruno Schmeltz”, accompanied by “Bruno Schmeltz Peintures”, published by Editions Ramsay, 1991, 32” x 45‑1/2”. Framed. Provenance: Private collection, Jackson, Mississippi; acquired from Galerie Alain Blondel, Paris, France, in May 2000. [2000/4000] Illustrated 108 Bruno Schmeltz (French, b. 1938) “Midi”, oil on canvas, signed lower left, accompanied by “Bruno Schmeltz Peintures”, published in 2001, 38” x 76”. Framed. Provenance: Private collection, Jackson, Mississippi; acquired from Galerie Alain Blondel, Paris, France, in March 1996. [3500/5000] Illustrated

105 Patrick Bourdon-Giquet (French, b. 1954) “Jeu de Jambes”, diptych, pastel on paper, smaller panel is pencil signed “Bourdon-Giquet” lower left and monogrammed upper left, larger panel is pencil signed lower right “Bourdon-Giquet” and monogrammed upper right, overall framed 44‑1/2” x 52”. Glazed and presented in contemporary blonde wood frames. Provenance: Private collection, Jackson, Mississippi; acquired from Galerie Alain Blondel, Paris, France, in March 1996. [1000/1500] Illustrated

108

Important Jade Objects From a Private Collection

Lots 109 through 112

November 13, 2010 23

The Qianlong Seal

“Wu fu, wu dai tang; ba zheng mao nian bao”

Lot 109 Fine and Rare Chinese White Jade Imperial “Wu fu, wu dai tang; ba zheng mao nian bao” Seal, Qianlong (1736-1795), the rectangular body topped by a knob carved as the horned figure of a dragon with open mouth and clutching the “Pearl of Wisdom” with flowing mane and carved clouds. [100000/200000]

The Qianlong Seal “Wu fu, wu dai tang; ba zheng mao nian bao”

We have before us a relic of history, a white-jade seal to be sold at auction by New Orleans Auction Galleries. This superb piece, topped with the head of an imperial dragon, is made of finest-quality white jade and measures 1.8 by 0.9 inches (4.6 by 2.2 cm) at the base and 2.5 inches (6.35 cm) in height. Where did it come from? What is its significance? Because of the similarity of the inscription with many other Qianlong seals, specialists working with Qing dynasty seals can instantly recognize it as a seal belonging to the Qianlong emperor. This is born out by fact that an impression of the seal appears in Qianlong xi yin pu (Catalog of Impressions of Qianlong Imperial Seals, vol. 4, p. 42), and this impression matches the seal in terms of the layout, style, and variations of the seal characters. The inscription is complex and replete with literary allusions. The first two characters, “wu fu,” refer to the five happinesses in the “Great Plan” chapter of the Shangshu (Book of History). They are long life, wealth, good health and tranquility, consistent love of virtue, and living a purposeful life. The next three characters, “wu dai tang,” mean having five generations under one roof. In 1784 the Qianlong emperor had a great-greatgrandson and thus saw his line extended for four generations. To commemorate this happy state of affairs, the emperor decided to name a hall “Wu Fu, Wu Dai Tang” (The Hall of Five Happinesses and Five Generations) and to commission a seal so inscribed. Three years later the emperor wrote, “At seventy-seven, I see my great-grandchildren and great-great-grandchild

running about my knees. This is worthy of the name of a hall, in order to remember this fact” (quoted in Ming Qing dihou bao xi [Imperial Seals of the Ming and Qing Dynasties], p. 153). In fact, according to the catalog mentioned above, the Qianlong emperor had in his collection some fourteen seals with inscriptions that read, at least in part, “wu fu, wu dai tang,” which can mean either the Hall of Five Happinesses and Five Generations (in the case of hall seals) or five happinesses and five generations under one roof (in the case of laudatory seals). It all depends on the purpose to which the seal was put. The present seal has a laudatory purpose. In any case, one can see how important having a greatgreat-grandson was to the Qianlong emperor. But that is not all. The inscription continues, “ba zheng mao nian,” which means concern over phenomena at eighty. Here the emperor is cryptically referring to Jizi’s council for good government in the “Great Plan” chapter of the Book of History, as the emperor himself explained in “Ba zheng mao nian zhi bao ji” (Notes on the “Ba Zheng Mao Nian” Imperial Seal): When I was seventy, I used Du Fu’s term and had carved the “Guxi tianzi zhi bao” (Seal of the seventyyear-old emperor). I then wrote, “Ever busy day after day, I dare not be lax in governing.” With Heaven’s help, I fortunately have not made any great mistakes, and now another full decade has passed. When I think of the purpose of having an eightieth birthday celebration, engraving a seal, and impressing it at the end of my writing, no phrase is more suited than the “phenomena” phrase, number 8, in the “Great Plan” chapter of the Book of History. Moreover, I have already indicated a desire to pass on the throne at eighty-five, the sixtieth year of my reign. Though I am now eighty, there are still six years till I retire from the throne. I have not rested my weary shoulders for one day and have always cherished the people. How can I not be concerned about number 8, the common phenomena? Being concerned about the common meteorological phenomena is being concerned about the people. The Book of Rites says, “Eighty is called mao,” referring to the fact that the mind becomes feeble with advanced age. I am now

eighty, and, relying on Heaven’s protection, I am still in good health. Though in one day there are a thousand affairs of state, my mind is still up to the task, but I must still strive to do better. If it comes to the point where I can no longer strive to do my best, then I cannot idle in office to fill my term of six years. For how then would I attend to the rites of state, or follow the weather, or daily attend to the domestic and foreign affairs of state, or keep in mind raising crops and providing for the people? If I am remiss in even one of these matters, the empire will disintegrate into a thousand small pieces. Hence, how can I be remiss? This is the reason that though I am eighty, I carefully concern myself with the common phenomena, just as I was diligent every day at seventy. Also, the five happinesses and five generations under one roof are what emperors should seek to administer to the people. I recently read the various theses of the “Great Plan” chapter. Among the six extremes discussed there, the third [worry] cannot be avoided. This is the significance of my worry. Now, from the Tang dynasty, there were only six emperors who made it to seventy, and of these six, only three made it to eighty. Of these three, only Kublai Khan of the Yuan dynasty can be called worthy; the other two I despise. Of all the emperors since the three kingdoms, only six made it to seventy. I have already discussed seventy previously. Of these six emperors, only Emperor Wu of the Liang dynasty, Emperor Gaozong of the Song dynasty, and Kublai Khan of the Yuan dynasty made it to eighty. Emperor Wu left behind an empire on the verge of collapse, and Emperor Gaozong sought peace at the price of humility. Both are plainly despicable. Only Kublai Khan was a capable ruler who accomplished great things. But he succeeded to the throne at a point not early in his career, his reign lasted only thirty-five years, and his posterity extended only to grandsons when he died. Though in the History of the Yuan Dynasty there are no genealogy tables for princes that one can check, yet in view of the fact that the imperial succession was not determined beyond the fourth generation, it is apparent that Kublai Khan did not enjoy our blessing of five generations under one roof. Hence, I am deeply indebted to Heaven’s bounty. Not only have I been blessed with rare good fortune; in all of Chinese history there has never been such a previous case. Thus, when it comes to caring and providing for the populace, how can I restrain and set limits to what I will bear? Since even Kublai Khan was not blessed with

five generations under one roof, as I was, how should I reverently receive Heaven’s munificent bounty? The answer is to carry out Heaven’s will of caring for the people, to sincerely and industriously govern, to mete out the five happinesses to the people (as in no. 5 of the “Great Plan”), to be concerned about meteorological phenomena (as in no. 8), and to worry (as in no. 9). That is, I must apprehensively apply myself more and more every day. If any of my descendents can assume my mindset, govern as I govern, fret as I fret, worry as I worry, and perhaps cultivate Heaven’s favor and live to seventy or eighty, may he continue to use this seal. We the great Qing empire do fervently wish and encourage this, yet do not dare force the matter, for all time. Personally written by Qianlong in the lunar first month of 1790. [Stamped with the following three seals:] To encouragingly use the five happinesses (“Xiang yong wu fu”). Seal of concern over phenomena at eighty (“Ba zheng mao nian zhi bao”). To continuously strengthen oneself (“Zi qiang bu xi”).

So all told, the inscription of the seal translates, “Seal of five happinesses, of five generations under one roof, and of concern over phenomena at eighty.” The phenomena that Jizi had in mind were meteorological phenomena that affected crops. From the above text, the phenomena that the Qianlong emperor seems to have had in mind were Heaven’s responses to his governing. One detail that I should note is that throughout this passage, Qianlong uses the Chinese way of reckoning age: the number of calendar years in which one has lived, not the number of years one has lived. By the Chinese way of reckoning, the emperor turned eighty in the lunar first month of 1790. So we can surmise that the present seal was made around that time. The phrase “Concern over phenomena at eighty” figures even more prominently in Qianlong’s collection, with around fifty seals of his featuring this phrase. The emperor definitely had some imperial seals carved with this phrase. Then quite possibly word got around court that this was a favorite phrase of his, and members of court gave him such a seal as a present for his eightieth birthday. 28

The Qianlong emperor was an avid collector and commissioner of imperial seals. The catalog Qianlong xi yin pu contains impressions of over 1,100 seals. This seal more than most has roots in the literature, is intimately connected with the emperor’s personal life, and at a deep level reflects his thinking.

Alan Thwaits References Qianlong. “Ba zheng mao nian zhi bao ji” (Notes on the “Ba zheng mao nian” Imperial Seal). Available from Gugong shuhua (Calligraphy and Painting from the Forbidden City). Available from http://painting.npm.gov.tw/npm_public/ System/View.jsp?type=1&ObjectID=4987. Ming Qing dihou bao xi (Imperial Seals of the Ming and Qing Dynasties). Beijing: Zijincheng Chubanshe, 1996. Qianlong xi yin pu (Catalog of Impressions of Qianlong Imperial Seals). Beijing: Xianzhuang shuju, 2004.

Provenance: Private New Orleans Collector

Cover of Qianlong xi yin pu (Catalogue of Impressions of Qianlong Imperial Seals).

Impression of the â&#x20AC;&#x153;Wu fu, wu dai tang; ba zheng mao nian baoâ&#x20AC;? imperial seal in the Qianlong xi yin pu (Catalogue of Impressions of Qianlong Imperial Seals).

The Seal

“Xuyandao wei”

Lot 110 Rare, Large Chinese Green Jade Dragon Seal Inscribed “Xuyando wei” by Wang Quishi (1728-1799), the squared body carved in mottled green jade, the knob carved as a crouching horned dragon, the base inscribed “Xuyando wei” meaning Commandant of the Xuyan Circuit. [5000/8000]

The Seal “Xuyandao wei”

The present seal is a massive imperial-like seal measuring 3.6 by 3.6 inches (9.0 by 9.0 cm) at the base and 2.5 inches (6.4 cm) in height. The handle is a squat dragon. The inscription, “Xuyandao wei,” means commandant of the Xuyan Circuit (more on this later). An impression of this seal is given in Zhongguo zhuanke da cidian (A Large Dictionary of Chinese Seal Carving, p. 696), and the creator is listed as Wang Qishu. In particular, note that the corners are more rounded in the impressions in the reference works, the top right character (xu) bleeds off the edge, and the top left character (dao) has a connection between 山 and 目 missing in the impression surface of your seal. Wang Qishu, it seems, cleaned up the defects of primitive carving in the Han period seal. It seems that the image presented in Zhongguo zhuanke da cidian is from the Han period seal even though the attribution is to Wang Qishu. Wang Qishu (1728–1799) had the courtesy name Shenyi, and as sobriquets he used the names Xiufeng and Ren’an. The highest office he held was director of the Bureau of Operations in the Ministry of War. A bibliophile, he had several thousand books in his library, and he contributed over 500 rare books for the compilation of the imperial Siku quanshu (Complete Library in the Four Branches of Literature). He also amassed a collection of seals ranging from the Zhou to Ming dynasties and amounting to several tens of thousands of seals. He even called himself “the gentleman with an addiction for seals” (yin pi xiansheng). His most notable contribution to the tradition of seal carving was the compilation of over twenty catalogs of seal impressions, the largest being Ren’an ji guyin cun (The Ren’an Collection of Extant Old Seals) and Feihongtang yinpu (Catalog of Impressions of Seals from the Flying Geese Hall; the Flying Geese Hall being the name of the building where he housed his collection). His writings include Xu yinren zhuan (Biographies of Seal Carvers, Second Series). And

he himself was skilled at carving seals. In carving, he followed the Zhejiang school, blending in touches of the Anhui school, while also taking Qin and Han seals as models. As mentioned above, the inscription, “Xuyandao wei,” means commandant of the Xuyan Circuit. According to the Qindai zhengqu dili (Geography of Qin Administrative Regions), Xuyan was established as a circuit (dao) by the Qin dynasty (221–206 bce), and according to the Zhongguo lishi da cidian (Large Dictionary of Chinese History, s.v.), Xuyan was established as a district (xian) by the Western Han dynasty (206 bce–8 ce) and abolished by the Eastern Hay dynasty (25–220 ce). The district was located in southeast of the present Yanchi County in Ningxia Provence. And in fact, in Zhuanzi yin hui (A Collection of Seal Impressions with Seal Characters, p. 1323), there is an impression just like that of the present seal, and it is attributed to the Han period. Moreover, the seal website Zhenwei Yin Wang (http://www.sealbank. net) also displays a seal impression just like that of the present seal and attributes it to the Western Han period. However, the website gives the dimensions of the base as 2.1 by 2.1 centimeters. And Qin, Han, Wei, Jin, Nanbeichao guanyin zhengcun (Studies of Extant Official Seals of the Qin, Han, Wei, Jin, and Northern and Southern Dynasties, p. 61, no. 342) tells us that the handle of this Western Han seal is a semicircular knob with a hole through it for a chord. These two differences tell us that the seal by Wang Qishu is a study of the older Western Han seal, at least as regards the impression surface. The massive size and dragon handle of the Wang Qishu seal show the influence of Qing imperial seals. With the present seal, Wang Qishu thus gave us his impression of an official seal of the Western Han period.

Alan Thwaits

References Fu Jiayi, ed. Zhuanzi yin hui (A Collection of Seal Impressions with Seal Characters). Shanghai: Shanghai Shudian Chubanshe, 1999. Han Tianheng, editor in chief. Zhuanke xiao cidian (A Small Dictionary of Seal Carving). Shanghai: Shanghai Cishu Chubanshe, 2005. See p. 140 for a biography of Wang Qishu. Li Yifeng, editor in chief. Zhongguo zhuanke da cidian (A Large Dictionary of Chinese Seal Carving). Zhengzhou: Henan Meishu Chubanshe, 1997. See p. 109 for a biography of Wang Qishu. Luo Fuyi, editor in chief. Qin, Han, Wei, Jin, Nanbeichao guanyin zhengcun (Studies of Extant Official Seals of the Qin, Han, Wei, Jin, and Northern and Southern Dynasties). Beijing: Wenwu Chubanshe, 1987. Wang Qishu. Xu yinren zhuan (Biographies of Seal Carvers, Second Series). In Ming-Qing yinren zhuan jicheng (Biographies of Seal Carvers in the Ming and Qing Periods), by Zhou Liyuan et al. Taipei: Wenshizhe Chubanshe, 1997. See p. 88 for a biography of Wang Qishu. Zhenwei Yin Wang (Zhenwei Seal Web). http://www. sealbank.net. See the catalog of Western Han seals, p. 19. The full address is http://www.sealbank.net/ m3MainFind.asp?LM=3&L1=2&L2=01&L3=133&LS =&SRCHTXT=SSREV&SK=MN201133&PN=19&P NRN=0]

A drawing of Wang Qishu by Ma Chong of Qiantang, drawn in the lunar second month of 1749.

Provenance: Private New Orleans Collector

The impression of the “Xuyandao wei” seal in Zhuanzi yin hui (A Collection of Seal Impressions with Seal Characters, p. 1323). Given here are the reading of the seal characters and the Han period attribution.

The impression of the “Xuyandao wei” seal in Zhongguo zhuanke da cidian (A Large Dictionary of Chinese Seal Carving, p. 696). Here the seal is attributed to Wang Qishu.

Provenance: Private Collector

Lot 111 Fine Chinese Carved White Jade Scholar’s Mountain, 18th/19th century, the white jade boulder carved in relief as a mountainous landscape, the face depicts two scholars standing on a rocky outcrop among scattered pavilions with pine trees and shrubs growing out of the rockwork, the servant in the lower section fanning a stove and brewing tea for his masters, the reverse depicting a seated scholar on a rocky outcrop beneath a pine tree and above a bridge, the upper portion depicting pavilions among the mountainous landscape, the jade seated in a carved giltwood base of flowers, trees and rockwork, h. 9”, 13-91/2” with stand. [70000/100000] Ex-Collection: Edward I. Farmer 45

Lot 112 Rare Chinese Celadon and Spinach Jade Calligraphy Brush, 19th century, the celadon shaft carved in the round with two dragons among clouds and flames pursuing the Flaming Pearl, all in crisp detail, the ends of the shaft with spinach jade terminals, the tip with yellow wolf tail bristles, l. 11-3/8â&#x20AC;?. [3000/5000]

Customers, Please Note: Lots 109-112 require advance registration to bid, which must be received at least three days prior to the auction. Please contact New Orleans Auction Galleries, Inc. to register and qualify to bid on these lots. Also please note that we will not be able to accept bids placed on these lots through either of our live online bidding services, The Saleroom or Live Auctioneers. All bids must placed directly through New Orleans Auction Galleries, Inc. 46

115 Pair of Chinese Pale Celadon Jade “Quail” Boxes, each of even-colored stone carved in the shape of seated quail, each carved with lowrelief details of feathered bodies, the undersides carved with clawed feet, each opening with central horizontal edges to reveal well-polished interiors, l. 3‑1/4”. [8000/12000] Illustrated

113

111

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116 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 117 Fine Chinese “Mutton Fat” White Jade Water Coupe, 19th century, elaborately carved as a lotus seed pod with a central opening flanked by lotus buds, a bird resting on a lotus leaf and a lotus blossom with the seed head inside it, the base carved in high relief as a cluster of lotus stems, the base with a museum acquisition number, h. 4”, w. 6”, l. 7‑3/4”. [10000/15000] Illustrated

113 Fine Chinese Carved White Jade Hanging Vase, 19th century, the even white translucent stone carved as a flattened baluster-form vase of two conjoined fish with flanged and ribbed sides with two sets of loose rings suspended by two link chains topped by a pierced scrollwork plaque and a pendant of conjoined fish, the body carved in low relief with two fish with scales, fins, whiskers and open mouths, now suspended on a carved rosewood stand with dragons swallowing the Pearl of Wisdom and Knowledge, h. 14‑1/4”, 20” with stand. The symbolism associated with this spectacular vase indicates that it was made as a wedding present. The conjoined fish is a Buddhist symbol for conjugal unity and fidelity as well as happiness, fertility and abundance. [20000/40000] Illustrated 114 Fine Chinese White Jade Covered Vase with Loose Rings, 18th/19th century, of flattened form with slightly bowed sides, resting on a splayed foot, the sides with elaborate lion-head handles, the lions holding twisted ropes, with loose rings, the central body with four panels carved in low relief with prunus, orchid, bamboo and chrysanthemum (mei, lan, zhu and ju), the stone of even white tone with slight yellow variegations, the carving of high artistic quality exhibiting precise attention to detail, h. 9‑1/4”. [9000/12000] Illustrated

115

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121 Chinese Carved Jade Archaic-Style Covered Vase, of squared baluster form with projecting flanges on the edges, monster-head ring handles on the faces and sides, and a conforming cover topped with a dragon finial, the body in even light green-colored stone with low-relief taotic carving, h. 9‑1/4”. [10000/15000] Illustrated

121

118 Delicate Chinese Mogul-Style Carved Jade Bowl, 18th/19th century, of lobed circular outline with openwork floral handles with loose rings, the exterior bowl carved in low relief with a continuous scrolling foliate design above a petal border, the body raised on a conforming lobed foot, the base engraved with a four-character Qianlong mark, the bowl of even celadon-colored jade carved to translucent thinness, dia. 6‑3/4”, l. 9‑3/4”. [20000/40000] Illustrated 119 Good Chinese Carved Celadon Jade Scroll Weight, ca. 1850, of plain rectangular form, the top carved in high relief as two hydra dragons, the stone of even, rich color, l. 7‑1/8”. These weights were used to hold open the ends of scrolls and documents. [250/400] Illustrated 120 Chinese Carved Celadon Jade Brush Pot, first half 20th century, of tapering squared outline resting on four short feet, each side carved in low relief with an idealized landscape with a figure in each contemplating the scenery, the stone of even tone, the base with a carved seal, h. 4”. [4500/7000] Illustrated

118 120

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122 Chinese Carved Translucent Amber Figure of Guanyin, 19th century, the golden amber carved as a seated figure of the goddess carrying a child upon a raised knee, the child holding a ruyi scepter, all above a double lotus base, h. 5‑1/2”. [1800/2500] Illustrated

123

123 Pair of Chinese White Jade Covered Jars, 19th century, each of baluster form with domed covers and pointed finials, the stone of even yellowish white color, the bodies and covers decorated with engraved designs of flowers, rockwork and poems, the base with engraved Qianlong seal mark, all engraving filled with gold highlights, h. 6‑1/2”. [9000/12000] Illustrated

124

124 Chinese White Jade Covered Jar, 19th century, the flattened baluster-shaped body with fitted, domed cover, the body carved in high relief with five qilong dragons, the stone of yellowish/white color with some russet inclusions, h. 5‑3/4”. [4000/7000] Illustrated

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122

128

125 Fine Chinese MogulStyle GreenishWhite Jade Covered Bowl, 19th century, the globular body with curved strap handles, crisply carved with lotus blossoms and scrolling foliage with petal borders at the base and shoulders, the fitted, domed lid carved with scrolling foliage below a petaled border, with a cup-shaped finial, the stone of even color, the carving of high quality, presented on a wooden stand, h. 4‑3/4”, l. 7”. [14000/18000] Illustrated

126

126 Impressive Chinese Carved Jadeite Mountain, 20th century, the lavender and green-colored stone carved as a range of rounded enfolded mountain peaks with pine trees, pagodas and the moon behind a cloud, the forefront carved as a scholar and attendant on a path beneath a pine tree, approaching a stream flowing from the mountains, crossed by a bridge, a willow tree across the bridge growing near the stream, fitted on a conforming rosewood base carved as rockwork, overall h. 10‑1/4”, w. 13”, jade h. 6‑3/4”, w. 10‑7/8”. [2500/4000] Illustrated

127 Chinese Carved Bamboo Brush Pot, late 19th century, carved as a ten-sided oval outline alternating with figural and landscape scenes in deep relief with panels of crosshatching separating the figural panels, h. 4‑1/2”. [250/400] 128 Fine Chinese Pale Celadon Jade Group, first half 20th century, the even-colored stone carved as a recumbent deer holding a sprig of lingzhi fungus in its mouth, and a boy on his back also holding a sprig of lingzhi, l. 5‑1/4”. In Chinese mythology the deer is supposed to be the only animal capable of finding this mythical fungus of long life and the rebus expressed by this carving represents a wish for the young scholar, the boy, to gain a top government office with a high salary and a long life. [8000/12000] Illustrated

129

129 Good Chinese Black and White Jade Snuff Bottle, 19th century, the black jade body carved in relief on the front in white jade as three classical scholars, two seated at a table playing Go, the third holding a staff and observing the game, the reverse carved as rocky outcrops with a gnarled pine tree, the top of coral and brass, h. 3”. [3000/5000] Illustrated

132 130 English Cast-Cement and Verdigris Bronze Columnar Sundial, h. 49”, w. 18‑1/2”, d. 18‑1/2”. [500/800]

133

131 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] 132 Late Regency Mahogany Bookcase, second quarter 19th century, the molded cornice above a case fitted with two banks of open shelves, the lower section fitted with two cupboard doors, each inset with a gilt grille panel with fabric backing, raised on a plinth base, h. 89”, w. 55”, d. 13‑1/2”. [1800/2500] Illustrated 133 Large Pair of Japanese Imari Porcelain Covered “Temple” Jars, 20th century, each of baluster form with domed lid with shi-shi finial, decorated in underglaze blue, iron red and gilding with four reserve panels of flowers and garden pavilions, all against a floral ground, h. 19‑3/4”. [1000/1500] Illustrated

134 Ridgway Pottery “Old Derby” Flat Polygonal Tray, third quarter 19th century, in the Imari taste, now mounted on a later ebonized wooden stand to form a chairside table, the reverse of the tray marked in underglaze iron-red transfer print with the Ridgway quiver logo, overall h. 24‑3/4”, w. 15”, l. 15‑1/4”. [200/400] 135 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]

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136 Regency-Style Mahogany Dining Table, mid‑20th century, by Baker Furniture Company, the rounded rectangular top banded and raised on two pedestals, each with a bobbin-turned columnar standard to a molded circular platform on four splayed and reeded legs ending in brass caps on casters, with two leaves, h. 29”, w. 48”, l. 70”, extended l. 122‑1/2”. [1200/1800] Illustrated

139

138

137 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] 138 Abbeydale, Derbyshire, Porcelain Covered Soup Tureen, second quarter 20th century, of elliptical, two-handled form in “Chrysanthemum” decor, the base and the interior of the cover fully marked in iron-red transfer print, h. 9”, l. 14‑3/4”. [300/500] Illustrated

136

139 Pair of Abbeydale, Derbyshire, Porcelain Covered Sauce Tureens, second quarter 20th century, of footed octagonal form in “Chrysanthemum” decor, each example with a paneled cover of “pagoda roof” form, each marked on the base in iron-red transfer print, h. 7‑3/4”, w. 8”. [300/500] Illustrated 140 Good Pair of English Richly Gilded Porcelain Serving Bowls, second quarter 19th century, of rounded square outline in “Foo Dogs” decor, w. 8‑1/2”. [75/125]

141 Late Regency Rosewood Games Table, first quarter 19th century, the rounded rectangular top hinged and opening to a baize-lined interior, above a conforming frieze paneled with end scroll accents, raised on a bulbous square standard to a concave base on splayed legs ending in foliate-modeled caps on casters, h. 30‑1/2”, w. 36”, d. 18”. [1200/1800] Illustrated 142 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] 143 Regency Bird’s-Eye Maple Games Table, first quarter 19th century, the rectangular top with an inlaid palmetto and scrolling foliate band, hinged and opening to a baize-lined interior, above a paneled frieze with gadrooncarved banding, raised on a graduated square pedestal to a concave base on splayed legs ending in brass caps on casters, h. 28‑3/4”, w. 36”, d. 18”. [1500/2500] Illustrated

146 146 Good Regency Mahogany Secretary Bookcase, first quarter 19th century, the molded cornice above a case fitted with two doors, each inset with a Moorish-arch 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

147

144 J. Gould and H. C. Richter (British, 19th Century) “Threskiornis Strictipennis”, hand-colored lithograph, printed by C. Hullmandel, retains gallery label on the reverse “The Colony Shop Antiques, 1618 St. Charles Avenue, New Orleans”, sight 14” x 20‑1/2”. Glazed, matted and framed. [300/500]

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145 J. Gould and H. C. Richter (British, 19th Century) “Pinicola Enucleator”, hand-colored lithograph printed by Walter, with folio page attached on the reverse, sight 20‑1/2” x 13‑3/4”. Glazed, handsomely matted and framed. [200/400]

147 Chinese Export Black-Lacquered and Parcel-Gilt 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”. [600/900] Illustrated previous page 148 Regency-Style Mahogany Dining Table, the circular banded top raised on four turned columnar standards to a concave stretcher on splayed legs ending in brass paws on casters, h. 30”, dia. 62”. [1800/2500] Illustrated

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149 English Black-Lacquered Papier-Mache Sweetmeats Box, second quarter 19th century, of circular form, the lid hand-painted with a scene of three roistering dandies, the scene entitled at the basal edge “Life in London”, in script, h. 3/4”, dia. 3”. [100/200] Illustrated 150 Ottoman Turkish Ivory Circular Sweetmeat Box, first quarter 20th century, the lid bearing a gilt-brass-enframed double portrait of a Turkish sultan and sultana, the interior lined in tortoiseshell, the double portrait signed, right center, in Kufic script, h. 3/4”, dia. 2‑1/2”. [100/200] Illustrated

148

8 54

151 Regency Mahogany Sofa Table, first quarter 19th century, the rectangular top with a decorative inlaid banding, with two likebanded rounded drop leaves, above a frieze fitted with two side drawers to one side and two faux drawers to the other, raised on shaped end supports joined by a turned and reeded stretcher and ending in splayed legs to brass cap casters, h. 28”, w. 36”, d. 28”, extended w. 58”. [1800/2500] Illustrated

156 Large and Impressive Fifty-Six-Piece Set of Japanese Imari Dinnerware, 20th century, comprised of fourteen dinner plates, dia. 10‑3/4”, fourteen luncheon/ salad plates, dia. 8‑1/2”, fourteen covered soup bowls, dia. 5”, and thirteen saucers, dia. 5‑1/8”, all decorated in polychrome enamels with a central floral medallion, the dishes with three reserve panels against a floral brocade ground. [300/500] Illustrated 157 Large Japanese Imari Porcelain Jardiniere, first half 20th century, decorated in underglaze blue, iron red and gilding with reserve panels alternating with dragons and shi-shi on a floral ground with phoenix birds and smaller fan-shaped reserve panels of flowers and birds, h. 15‑3/4”, dia. 20”. [600/900] Illustrated

154

158 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]

152 Regency-Style Giltwood Convex Looking Glass, late 19th century, the circular convex plate surmounted by a crest of a winged eagle flanked by foliate patterns, the plate within a reeded ebonized slip and molded frame with applied ball accents, h. 35‑1/2”, dia. 22”. [1500/2500] Illustrated 153 Late Regency Mahogany Sofa, second quarter 19th century, the shaped rectangular back surmounted by a paneled crest and joined by out-swept arms to the padded seat, the reeded front rail with paneled accents, raised on spiral-reeded ball legs to bulbous toupie feet, h. 34‑1/2”, w. 75‑1/2”, d. 25”. [800/1200] 154 Late Regency Rosewood Bonheur du Jour, second quarter 19th century, the superstructure banded and with a drop front opening to an interior fitted with an inset leather surface and a variety of drawers and cubbyholes, the lower section with a banded rectangular top above a conforming frieze fitted with a single long drawer, raised on spiral-reeded circular legs ending in toupie feet, h. 45”, w. 36‑1/2”, d. 22‑1/2”. [1000/1500] Illustrated

157

156

155 William IV Mahogany Library Chair, second quarter 19th century, the tufted padded and domed back joined by scrolled arms to the padded seat, raised on turned circular legs ending in casters, h. 40”. [400/700]

159 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”. [75/125]

161

160 William IV-Style Mahogany Banquet Table, the rounded rectangular top banded and raised on three pedestals, each with a large bulbous turned standard to four splayed legs headed by carved patera and ending in brass caps on casters, with two twenty-four-inch leaves, h. 30”, w. 50”, l. 124‑1/2”, extended l. 172‑1/2”. [4500/7000] Illustrated 161 George III North Country Mahogany Tallcase Clock, second quarter 19th century, the hood with a broken swan’s-neck pediment, centered by a turned finial on a carved feather upright, the glazed door flanked to either side by turned and spiral-reeded pilasters opening to a white enamel face featuring an upper scene of the Last Supper, the face signed Wm. Helliwell Leeds (active 1815‑1853), the case fitted with a single shaped door flanked en suite, the lower section paneled and with decorative band molding and like flanked, raised on bun feet, h. 100”, w. 23”, d. 12”. [3000/5000] Illustrated 162 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] 163 Persian Qashqai Carpet, 5’ 5” x 7’ 9”. [600/900] 164 Oushak Carpet, 8’ x 5’ 7”. [500/800] Illustrated 165 Persian Heriz Carpet, 10’ x 13’ 1”. [4500/7000] 166 Antique Caucasian Carpet, 3’ 11” x 6’ 5”. [500/800]

160

167 Antique Persian Boteh-Design Carpet, now reduced in length, 4’ x 6’ 10”. [400/700] Illustrated 168 Semi-Antique Persian Heriz Carpet, 5’ 7” x 7’ 6”. [800/1200] 169 Oushak Carpet, 7’ 9” x 5’ 3”. [500/800] 170 Oushak Carpet, 12’ 2” x 16’. [5000/8000] Illustrated 171 Peshawar Sultanabad Carpet, 10’ x 13’ 10”. [3500/5000] 172 Oushak Carpet, 12’ x 16’. [5000/8000]

164

173 Oushak Carpet, 11’ 7” x 15’ 8”. [5000/8000] Illustrated

170

167 174 Kashan Carpet, 12’ 4” x 8’. [1400/1800]

173

180 178

175 Good Chinese Famille Rose Porcelain Shaped Tray, the shallow tray of lobed outline decorated in famille rose enamels on a turquoise ground with clusters of peaches and scrolling flowers and foliage, the base with a six-character Jiaqing seal mark in iron red, presented in a silk box, w. 5‑3/8”, l. 7”. [900/1200] Illustrated

181

179

176 Chinese Famille Rose Porcelain Dragon Boat Festival Vase, Republican Period, ca. 1920, the bulbous vase decorated in famille rose enamels with a continuous scene of a dragon boat race on a river in a mountainous landscape with spectators, the neck decorated with stylized lotus between shaped handles, the base with a four-character mark in red on a turquoise ground, h. 12‑1/4”. [400/700] Illustrated

182

177 Unusual Pair of Chinese Blue and White and Famille Rose Bowls, bearing a Guangxu (1875‑1908) reign mark and probably of the period, the interiors decorated in underglaze blue with lotus leaves and buds, the exteriors decorated in famille rose enamels with continuous scenes of lotus flowers, leaves and scrollwork with a basal border of cresting waves, dia. 6”. [600/900] Illustrated

176

175

177

178 Chinese Famille Rose Porcelain Double Vase, first quarter 20th century, composed of two conjoined flattened baluster-form vases, one decorated with a yellow ground, the other in a rose ground, each decorated all over with a central lotus blossom surrounded by scrolling foliage, flowers and additional lotus blossoms, each with a six-character Qianlong seal mark in iron red on the base. [1400/1800] Illustrated 179 Unusual Chinese Famille Rose Porcelain Water Coupe, modeled in the form of a pomegranate with applied decoration of a branch and a dragon with bifurcated tail clamoring on the shoulder, the body decorated in a mille fleur design against a gilt ground, h. 4‑1/4”. [500/800] Illustrated

180 Chinese Famille Rose Sgraffito Vase, 19th century, of squat bulbous form with flared lip, the pale blue ground etched in sgraffito with coiled foliate design and enameled over the sgraffito in famille rose enamels with designs of lotus, flowers and clouds bordered by a band of bats at the shoulder, with a border of stylized phoenix birds and lotus at the neck, the turquoise-glazed base with a six-character seal mark of Qianlong in iron red, h. 7‑3/4”. [1200/1800] Illustrated 181 Pair of Chinese Famille Rose Porcelain FloralDecorated Bowls, each decorated on the exterior with flowering peonies and foliage in various colors against a blue ground, the interiors glazed in solid turquoise, the recessed base with a four-character Kangxi yuchi mark in overglaze blue, dia. 6”. [2500/4000] Illustrated 182 Fine Carved White Jade Miniature Vase, 18th/19th century, the slightly gray stone carved in high relief as a group of Buddha’s hand citron (Fo Shou), composed of two fruits, the larger with a butterfly on its side, the openwork base formed of twisted stems, h. 3‑1/2”. [500/800] Illustrated

188

184 Good Chinese Inscribed Spinach Jade Plaque on Stand, the oval plaque of even-toned spinach jade with a long calligraphic inscription surrounded by a floral border on the front and a Bodhisattva surrounded by a floral border on the reverse, all filled in with gold, presented on a custom carved stand, h. 5‑1/2”, including stand. [250/400] 185 Chinese Celadon Jade Carved Mountain, the medium celadon-colored stone deftly carved as a robed scholar beneath a spreading pine tree pointing toward a pagodaroofed pavilion in front of a triple-peaked mountain with a small temple near the crest, presented on a wooden stand, h. 3‑1/4”, w. 3‑3/4”. [300/500]

183 183 Chinese Rosewood and White Jade Table Screen, 19th century with later stand, the elaborate fretwork frame and stand mounted with a circular white jade plaque, the plaque carved in low relief with a scene of rocky outcrops with pine trees and clouds, h. 19”, l. 13”. Scenes such as this were placed on desks to give the reviewer the opportunity to escape from worldly cares. [3500/5000] Illustrated

186 Chinese White Jade and Rosewood Table Screen, composed of an elaborately carved rosewood base and stand of branches and ling-chih fungus heads, the stand inset with a white jade carved plaque depicting two confronting four-clawed dragons on clouds pursuing the pearl of wisdom, h. 9”, w. 12”. [700/1000] 187 Chinese Carved White Jade Dragon and Phoenix Sculpture, the white stone with pale blue and opaque white areas carved in high relief with a winged dragon and phoenix in high relief in front of an open fan, presented on a wooden stand, h. 5‑3/4”, w. 7‑1/2”. [300/500]

189 Louis XV-Style Ebonized and Marble-Top Commode, third quarter 20th century, Paris, the back stamped “M. Hirch”, 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 190 Pair of French Carved Giltwood Looking Glasses, of oval form in the Louis XVI taste, the crest rails centered with carved giltwood hymeneal trophees, the secondary borders of segmented mirrored glass plates divided by four equidistant bosses, h. 45‑1/2”, w. 34”. [3000/5000] Illustrated 190 pair

192

188 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 previous page

191 Royal Vienna Porcelain Manufactory Cup and Saucer, 1860‑1864, of magenta ground, the cylindrical cup with a polychromed reserve depicting classically robed lovers, signed lower right “Hert.” in gilt script, both pieces with the Royal Vienna “beehive” mark in underglaze blue, overall h. 2‑3/4”, dia. 5‑5/8”. [100/200]

189

192 Follower of Gaspar de Witte (Flemish, 1624‑1681) “We’re Forever Blowing Bubbles”, oil on canvas, featuring a quartet of nude infant putti blowing bubbles in a mountainous landscape, first half 18th century, probably cut down from a larger composition, unsigned, 25‑1/2” x 20‑1/2”. Presented in a carved giltwood frame in the Regence style. [1500/2500] Illustrated

194 detail

194

194 Continental Gilt-Bronze, Marble and Glass-Top Coffee Table, in the Louis XV taste, the shaped rectangular glass top supported by two verde antico marble urn supports, each with applied foliate and swag accents, raised on square plinth bases, h. 22”, w. 59”, d. 30”. [2000/4000] Illustrated 195 Napoleon III Ebonized and Boulle Tiered Occasional Table, third quarter 19th century, the top with a three-quarter pierced brass gallery, corner turned finials and an inset boulle panel, joined by columnar supports to two like lower shelves, the whole raised on shaped legs, h. 33”, w. 16”, d. 12”. [600/900]

193 Pair of French Gilt-Brass and Verde Antico Marble Potpourri Vases, first quarter 20th century, of footed oviform in the Louis XVI style, the gilt-brass handles modeled as horned goat masques joined by draped floral garlands, the covers with upright pomegranate finials, h. 18‑1/2”, w. 10‑1/2”. [1800/2500] Illustrated 198

193

196 Louis XVI-Style Giltwood Looking Glass, early 19th century, the rectangular plate within a band of paneled mirrors, surrounded by a molded giltwood frame with elaborate foliate patterns, h. 36, w. 29”. [900/1200] 197 Interesting Pair of Continental Gilt-Bronze Figural Candlesticks, fourth quarter 19th century, featuring tritons seated on grotto-style bases and blowing conch shell trumpets forming the candle sockets, h. 5‑3/4”, base dia. 3‑1/2”. [400/700] 198 Large French Provincial Parcel-Ebonized and Giltwood Barometer, first quarter 19th century, in the late Louis XVI style, the dial of stenciled and calligraphy plaster, retaining the period painted and mercury thermometer, the cresting modeled as a giltwood musical trophee, the basal edge modeled as a beribboned giltwood leaf garland, h. 34‑1/2”, w. 22”. [3000/5000] Illustrated

212 200 Group of Two Portrait Miniatures, one a Continental oval portrait miniature of a seated pale blond youth in a ruff and blue silk jacket, fourth quarter 19th century, presented in a period dished ebonized wooden frame with an oval aperture with a gilt-lacquered brass fillet and glazing, overall 5‑3/4” x 4‑3/4”; the other a good circular portrait miniature of a young gentlewoman, by W. Chapon (French, fl. ca. 1760‑1830), fourth quarter 18th century, the reverse, in old graphite and ink script “Pixt. 1791/ retouche et repaire Par/ W. Chopin, peintre au/ Palais Royal galerie de pierres/ No. 65/ Paris/ 1822/ retouche”, presented in a period double-glazed gilded brass frame, dia. 3”. The Chapons were a dynasty of skilled portrait miniature painters who flourished from the mid‑18th century to the opening years of the 20th. [125/250]

201 Louis XV-Style Ebonized Bureau Plat, early 20th century, the shaped rectangular top with double inset brass banding and a leather writing surface, above a conforming frieze fitted with three drawers to either side, raised on cabriole legs headed by foliate ormolu mounts and ending in sabots, h. 29”, w. 63‑1/2”, d. 37‑1/2”. [800/1200] 202 French Bronze-Patinated and Parcel-Gilt Brass Mantel Clock, fourth quarter 19th century, in the 17thcentury style, the enamel dial with black Roman chapters surmounting a bas-relief plaque of an ancient triumphal procession, the interior backplate touchmarked “Japy Freres”, h. 16‑1/2”, w. 10‑1/4”, d. 6‑1/4”. [450/700]

199 199 French School (Second Quarter 19th Century) “Portrait of a Gentleman in a Black Coat, a Wooded Landscape Beyond”, pastel on board, unsigned, with partial stamp on the reverse “(?) Eleve de (?) Michodiere, Paris”, sight 14‑1/4” x 11”. Glazed and presented in a molded giltwood frame with corner palmetto accents flanked by Caduceus designs within scrolling patterns. The sitter is possibly a physician due to the rare placement of Caduceus accents on the period frame. [2500/4000] Illustrated 203

203 Flemish School (18th Century) “Portrait of a Bearded Man”, oil on canvas, unsigned, 19‑1/4” x 22”. Presented in a handsome giltwood and ebonized frame. [1800/2500] Illustrated 204 Attributed to Jean-Jacques Henner (French, 1829‑1905) “Profile Portrait Study of an Auburn-Haired Girl”, oil on canvas, signed upper left “Henner”, 16‑1/4” x 12‑1/2”. Handsomely framed. [2500/4000] 205 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]

209 Louis XV-Style Parcel-Gilt Walnut Settee, ca. 1900, the serpentine crest rail centered by a pair of carved flowers, extending to open arms, with serpentine seat rail and cabriole legs, h. 40”, w. 54”, d. 22”. Descended in the family of Elizabeth Abbott Stevens, Houston, Texas. By family tradition, the present settee, together with matching arm and side chairs, was purchased at the 1904 Louisiana Purchase Exhibition in St. Louis. [400/700] 210 Pair of Louis XV-Style Parcel-Gilt Walnut Armchairs, ca. 1900, the crest rail with foliate and floral carving, open arms, serpentine seat rail and cabriole legs, retaining its period surface and under-upholstery, descended en suite with the previous lot, h. 36”. [400/700]

208

206 Napoleon III Ebonized Prie Dieu, third quarter 19th century, the padded hand rest hinged and opening to a storage space above a back with scrolling foliate patterns centered by a padded oval medallion, the padded knee rest raised on molded cabriole feet, h. 34‑1/2”. [300/500] 207 Napoleon III Ebonized Prie Dieu, third quarter 19th century, the padded needlework hand rest above a back composed of scrolling patterns, centered by a cross, the padded knee rest raised on molded cabriole feet, upholstered in ecclesiastically-patterned needlework, h. 34”. [300/500]

213 208 Large Emile Galle Pottery Candlestick, fourth quarter 19th century, the richly polychromed and parcel-gilt stick in “Lion, Tower and Shield” decor, the base with the GTE mark in underglaze black, with professional restorations, h. 17”, w. 11‑1/4”, d. 19‑3/4”. [700/1000] Illustrated

211 Pair of Louis XV-Style Parcel-Gilt Walnut Sidechairs, ca. 1900, each with a floral- and foliate-carved crest rail, serpentine seat and cabriole legs, retaining their period surface and under-upholstery, descended en suite with the previous lots, h. 33‑3/4”. [300/500] 212 Large French Earred Overmantel Mirror, fourth quarter 19th century, composed of carved giltwood and plaster in the Louis XVI taste, the primary aperture oval, with four surrounding spandrels with giltwood overlays of bowknotted posy sprays, the crest rail centered by a laurel leaf-mounted cartouche, h. 48”, w. 62”. [2000/4000] Illustrated 213 Large Paris Porcelain Figured Room Scenter, third quarter 19th century, the gilded and polychromed scenter in the form of a richly dressed 15th-century bearded nobleman holding a portrait miniature of his beloved, h. 14‑1/8”. [400/700] Illustrated

214

217 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. [1500/2500] 218 Louis XVI-Style Mahogany and Marble-Top Occasional Table, the circular inset Portor marble top within a molded and annulated frame above a conforming guilloche-carved frieze with pendant carved floral swags, raised on stop-fluted tapering circular legs joined by an stretcher and ending in toupie feet, h. 29‑1/4”, dia. 17‑1/2”. [400/700] 219 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]

214 Pair of French Brass and Cut Glass FourLight Girandoles, second quarter 20th century, of attenuated pyramidal form in the Louis XVI style, richly dressed with cut clear and amber glass pendalogues, amethyst and amber grape clusters and amethyst apples, each fitted with a cut glass spire finial, electrified and fitted with “old ivory” wax faux candles, h. 22‑3/4”, w. 11‑1/2”. [1200/1800] Illustrated 215 Pair of French Brass and Cut Glass Tiered Five-Light Appliques, in the Louis XVI style, each patinated brass frame opulently dressed with cut pendalogues, amber and amethyst glass grape clusters, panel- and facetcut spears, cut fleurettes and draped jewel-cut glass chains, electrified and fitted with beeswax faux candles, h. 28”, w. 14‑3/4”, d. 9‑1/4”. [1400/1800] Illustrated 216 Janos Czencz (Hungarian, 1885‑1960) “Nude in an Interior Holding a Hand Mirror”, oil on board, signed lower right, 15‑1/8” x 18‑5/8”. Handsomely framed. [1800/2500]

215 pair

222

220

220 Continental Engraved, Parcel-Argente and -Gilt Brass Desk Box, fourth quarter 19th century, in floral decor, the interior lined in matte periwinkle blue-painted wood, h. 4”, w. 12”, d. 8‑3/8”. [700/1000] Illustrated 221 Louis XV-Style Kingwood Writing Table, second quarter 20th century, the shaped rectangular top within an ormolu banding, with an inset leather writing surface, above a conforming frieze fitted with a central drawer flanked to either side by a smaller shaped drawer, the back fitted with three like faux drawers, the whole raised on cabriole legs headed by ormolu mounts and ending in sabots, h. 30”, w. 40”, d. 23”. [600/900] Illustrated 221

222 Louis XV-Style Mahogany Vitrine Table, fourth quarter 19th century, the kidney-form top with an inset beveled glass panel, opening to a velvet-lined interior, the conforming frieze inset with glass panels, raised on cabriole legs ending in sabots, the whole accented with ormolu mounts and millwork, h. 30”, w. 23‑1/2”, d. 14‑1/2”. [600/900] Illustrated 223 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

223

224 Pair of Louis XVI-Style Giltwood and Granite-Top Side Tables, each with a rectangular variegated granite top above a conforming annulated and fluted frieze, raised on fluted tapering circular legs headed by a foliate capital and ending in toupie feet, h. 37”, w. 41”, d. 19”. [3000/5000] Illustrated

224

227 226

230

225

228

229

227 Paris Porcelain Coffeepot and Matching Teapot, first quarter 19th century, the gold-ground coffeepot with anthropomorphic spout, the facades centered with circular reserves of, respectively, a pair of frolicking putti and a pair of putti in flight bearing vessels of flowers, h. 11”; the teapot with one reserve of the pair in flight with a floral garland and the second reserve showing the pair bearing flambeaux, h. 8‑1/4”. [1400/1800] Illustrated

225 Paris Porcelain Reticulated White and Gold Corbeille, second quarter 19th century, of circular, footed form, the three feet of parcel-gilt paw form, the base with an old museum accession number in black, h. 4‑1/2”, dia. 9”. [250/400] Illustrated 226 Good, Large Paris Porcelain Gold-Ground Ewer, second quarter 19th century, decorated with a landscape frieze en grisaille, featuring a youthful cowherd, his dog, a spirited horse, a contented recumbent bovine and a sheep, h. 11‑1/4”. [200/400] Illustrated

228 Good Deroche, Paris, Parcel-Gilt Porcelain Bulb Pot, first quarter 19th century, the magenta-ground paw-footed pot of small size, signed on the base in gold overglaze script “deroche”, h. 4”, dia. 3‑1/4”. [200/400] Illustrated

232

233

232 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”. [900/1200] Illustrated 233 Four-Piece French Brass Fireplace Garniture, second quarter 20th century, in the Louis XVI style, comprised of a pair of curvate chenets with vasiform finials, h. 15‑1/2”, a connecting low fender, w. 49‑1/2”, and a folding reticulated brass fire screen of fan form, h. 22‑1/2”. [400/700] Illustrated

234 Set of Nine Baccarat Cut and Parcel-Gilt Glass Liqueur Goblets, first quarter 20th century, in the 18thcentury taste, each with the acid-stamped Baccarat “decanter” mark, h. 3‑5/8”. [150/300] 235 German School (18th Century) “Portrait of a Young Lady in a Gray Dress with Pearl Brooch”, oil on panel, unsigned, the reverse with a partial museum loan inventory label “Baltimore Museum of Art, loan number L.32.9.1, Lender: Mr. Ernest de Weerth, date: April 27, 1932”, and with partial paper label inscribed “(?) Salon”, 14‑1/4” x 12‑1/4”. Presented in a molded giltwood frame, the shaped corners with elaborate scrolling foliate and shell-carved designs. [1200/1800] Illustrated

235 229 Paris Porcelain Richly Gilded and Rouletted Cup and Saucer, first quarter 19th century, the cup with a polychromed oval portrait reserve of a young woman wearing a veil and a diadem of roses, overall h. 4‑1/2”, dia. 4‑1/2”. [200/400] Illustrated

236 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”. [900/1200]

238

230 Good Paris Porcelain Reticulated Sweetmeat Basket, first quarter 19th century, of diminutive navette form in the neoclassical taste, the basket proper supported on two dolphin masques, the royal bluedetailed plinth supported on four gilded paw feet, h. 6”, w. 8‑3/4”, d. 4‑1/4”. [400/700] Illustrated 231 Carl Knoll, Fischern, Porcelain Two-Handled Canapes Tray, fourth quarter 19th century, centered with a polychromed scene of a Bacchic revel in the “Vienna” style, the reverse marked with the Fischern “beehive” mark in blue, w. 8‑3/4”, l. 18‑1/4”. [150/300]

245

238 Imposing Louis XIV-Style Bronze Jardiniere, fourth quarter 19th century, of elliptical, two-handled and footed form, the handles modeled as patinated and parcel-gilt winged female monopods, each side centered with an argente plaque of cavorting woodland nymphs, the feet modeled as alternating paws and tripartite lambrequins, the interior fitted with a conforming removable brass liner, h. 11‑1/2”, w. 18‑1/4”, d. 9‑1/2”. [800/1200] Illustrated previous page 239 Pair of Napoleon III Vasiform Four-Light Candelabra, third quarter 19th century, composed of black-painted and antique-gilded cast-iron, h. 16‑3/4”, dia. 7”. [300/500]

247

237 Near Pair of Napoleon III Rosewood Games Tables, third quarter 19th century, each with a shaped and hinged rectangular top opening to a dished rosewood-veneered surface, above a conforming paneled frieze, raised on molded cabriole legs ending in peg toes, h. 29‑1/2”, w. 33”, d. 16‑1/2”. [400/700]

240 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]

246 two-hundred seventy-two pieces

252

246 Extensive 272-Piece Acid-Transfer PlateEtched Partial Glassware Service, for sixty persons, comprised of sixty red wine goblets, h. 6‑3/4”, sixty white wine goblets, h. 6‑1/4”, sixty champagne goblets, h. 5‑1/2”, twenty brandy snifters, h. 4‑7/8”, twenty-four highball glasses, h. 6”, twenty-four rocks glasses, h. 3‑1/2”, and twenty-four double-rocks glasses, h. 3‑3/4”, all with a wide gold band at the lip, the footed elements with a gold rim at said foot. [1800/2500] Illustrated 247 Louis XVI-Style Mahogany and Marble-Top Center Table, early 20th century, the circular Brocatelle Violette marble top within a full pierced brass gallery, above a conforming paneled frieze with ormolu millwork banding, raised on fluted tapering circular legs ending in peg feet, h. 30‑1/2”, dia. 23‑1/2”. [1800/2500] Illustrated

241 Circle of Auguste Moreau (French, 1834‑1917) “Love Triumphant”, a bronze-patinated spelter figure of a running Eros bearing a flambeau, his quiver discarded at his feet, the flambeau removed and replaced with table lamp fittings and electrified, h. 35‑1/2” to top of finial. [500/800]

254 near pair

242 After Auguste Moreau (French, 1834‑1917) “Eros Arming”, a bronze-patinated spelter figure, fourth quarter 19th century, now mounted as a table lamp on a turned and ebonized wooden “collector’s” base, the figure signed at the proper right basal edge “Aug. Moreau”, with a relief rondel at the right of center rear edge reading “Collection Francaise/Made in USA”, h. 43” to top of finial. [500/800] 243 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] 244 Attractive Pair of French Gilt-Bronze Three-Light Candelabra, first quarter 20th century, in the Louis XV style, marked on the base “VS” flanking a ship, h. 9”, w. 10‑1/2”. [400/700]

254 near pair

245 Assembled Twenty-Eight-Piece “Dresden Floral” Porcelain Dessert Service, first quarter 20th century, including pieces by Schumann, Dresden: twelve dessert plates, dia. 8‑1/4”, a sauce bowl, dia. 4‑3/4”, an elliptical sweetmeat tray, l. 10”, an oval tray, l. 12‑1/2”, two oval nesting fruit bowls with reticulated border, l. 10” and 11‑1/4”, a circular serving tray, dia. 9”, a circular serving tray with reticulated border, dia. 8”, a Schumann “red mark” reticulated border sweetmeats plate in “Chateau” decor, dia. 9‑1/4”, and a matching “red mark” dessert bowl, dia. 5‑1/4”; three German “Dresden Style” dessert plates, dia. 8”; and four Potschappel reticulated border dessert plates, dia. 8‑3/4”. [600/900] Illustrated

254 Near Pair of Gilt-Brass and Cut Glass Stepped Chandeliers, in the Louis XVI taste, one with twelve lights, the other eighteen lights, richly dressed with facetcut glass drops of tear form in three sizes, a pendant lapidary-cut spherical finial, and “Thumbprint and Prism”cut glass bobeches of saucer form, electrified and fitted with short antique white faux candles, h. 22‑1/2”, dia. 26”. [800/1200] Illustrated previous page

248 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] 249 French Enamel-Banded Gilt-Brass and Beveled Glass Mantel Clock, fourth quarter 19th century, of “carriage” form, the circular dial of enamel-enframed white enamel with black chapters, retaining the original double-mercury pendulum and the period winding key, the interior backplate touchmarked “Japy Freres”, h. 10‑1/2”, w. 6‑1/4”, d. 5”. [400/700]

255 Large Set of Carved Oak Paneling from the Presidential Suite of the Warwick Hotel, Houston, Texas, predominantly mid‑19th century French with later additions, including doors, transoms, pilasters, framing, molding and paneling, most carved and white-painted oak with decorations including ribboned oak, laurel and olive branches, rococo scrolls, paterae, shells and acanthus, some segments in a natural buff color, one pair of doors with gilt-painted accents and retaining the “Presidential Suite” plaque, many pieces with their hardware. In 1962, legendary wildcatter John Mecom, Sr. (1911‑1981), one of the richest men in the world at the time, bought Houston’s Warwick Hotel, which had been built in 1926 and was then a sluggish residential hotel. With the assistance of his wife Katsy, he began a $13 million dollar restoration of the property (nearly ten times his original cost) and transformed it into one of grandest hotels in the world. The Warwick was filled with antiques from all over the globe: a 16th century bronze from the Imperial Winter Palace in Peking, Portuguese marble floors, Aubusson tapestries, 18th century French chairs. And then there was the Presidential Suite. It was outfitted with a carved Louis XVI mantelpiece, Ottocento Italian blue and gilt side tables, a Baccarat chandelier, a hand-woven V’Soske carpet, and an assortmant of textiles including Beauvais needlepoint and fine silk damask. The present lot contains both the entrance doors to the main suite and the paneling of the master bedroom, all of which were removed from the Palais Murat in Paris France, home of the Princes Murat and now known as the Palais Elysee, the residence of Presidents of the French Republic. Mecom purchased the period 19th century paneling though noted antiques dealer Jacques Lejeune of Chez Comoglio when they were deaccessioned, and had them installed in the hotel by Richard Skufca of S. & S. Millwork, League City, Texas. The paneling was removed in 2005 when the Mecom family sold the hotel to Givens Properties. A fascinating history of the hotel may be found in the May 2006 edition of Houston lifestyles publication Paper City, pages 26‑27, featuring several photographs of the suite and the panels in situ, including one of famous suite occupant Bob Hope, who proclaimed the view there the “best in the world.” [7000/10000] Illustrated

250 Imposing Near Pair of French Lattice-Cut Glass Table Lamps, second quarter 20th century, of tiered form with gilt-brass mounts in the neoclassical taste, each supported on a tripodal foliate-scroll base of gilded brass, h. 39” to top of finial. [1000/1500] 251 Louis XVI-Style Mahogany and Marble-Top Commode,second quarter 20th century, the rectangular Carrara marble top with a three-quarter pierced brass gallery and turreted front corners, above a conforming case fitted with three graduated long drawers, the upper one faced as three small drawers, all with brass banding, flanked to either side by fluted pilasters, raised on tapering circular legs with ormolu banding and ending in ball feet, h. 35‑1/2”, w. 49‑1/4”, d. 22‑1/2”. [1400/1800] 252 Pair of Louis XVI Kingwood and Marble-Top Encoignures, late 18th century, each with a triangular Paloma marble top with shaped front corners, above a conforming case fitted with a single quarter-veneered and banded cupboard door, flanked to either side by a chevronveneered panel and inlaid fluting, the whole raised on block feet, h. 33”, w. 29”, d. 20”. [3000/5000] Illustrated previous page 253 Attractive Twelve-Piece Paris Porcelain Partial Tea Service, for six persons, second quarter 19th century, of “Clauss” form in “Barbeau” (“cornflower”) decor, comprised of a teapot, h. 7‑1/2”, five paneled teacups, one with a charming barbeau sprig on the interior, h. 2‑1/2”, and six ribbed saucers en suite, dia. 5‑1/2”. [500/800]

255 detail

255

255 partial view of paneling

255

256 Sara Rossberg (British, b. 1952) “Layers”, 1990, acrylic on canvas, titled, dated and signed on stretcher verso, accompanied by “In Human Terms”, catalogue for an exhibition held at Steibel Modern, New York, 1991, 76” x 96”. Handsomely framed. Provenance: Private collection, Jackson, Mississippi; purchased directly from the artist. Sara Rossberg was born in Recklinghausen, Germany, and trained both in Frankfurt and London. Her work ranges from meticulous pencil drawings to over life-size figures painted with dramatically varying surface textures. She applies multiple layers of paint (various acrylic mediums with added colour pigment) building up translucent crusts of material that stand out like a body on the canvas. Sara Rossberg has exhibited extensively in Britain, Europe and the United States. She was the runner-up in the National Portrait Gallery’s BP Portrait Award in 1990. [3500/5000] Illustrated

256 257 Sara Rossberg (British, b. 1952) “Body Over Orange”, 1991, acrylic on canvas, titled, dated and signed on stretcher verso, retains gallery label on the reverse “Stiebel Modern, 32 East 57th St., New York”, 72” x 72‑3/8”. Presented in a contemporary dark-stained wood frame. Provenance: Private collection, Jackson, Mississippi; acquired from Steibel Modern, New York, in 1991. [3000/5000] Illustrated

258

257

258 Sara Rossberg (British, b. 1952) “Race Result”, 1988, acrylic on canvas, monogrammed and dated lower left, signed and dated on stretcher verso, 72” x 48”. Presented in a contemporary stained wood frame. Provenance: Private collection, Jackson, Mississippi; acquired directly from the artist. [1800/2500] Illustrated 259 Sara Rossberg (British, b. 1952) “Icing”, 1989, acrylic on canvas, monogrammed and dated lower left, titled, dated and signed stretcher verso, retains gallery label on the reverse “Stiebel Modern, 32 East 57th Street, New York”, 72” x 60”. Framed. Provenance: Private collection, Jackson, Mississippi; acuired from Steibel Modern, New York, in 1991. [2000/4000] Illustrated 260 Sara Rossberg (British, b. 1952) “Trees”, 1990, acrylic on canvas, titled, dated and signed on stretcher verso, retains gallery label “Stiebel Modern, 32 East 57th Street, New York”, 84” x 55”. Handsomely framed. Provenance: Private collection, Jackson, Mississippi; acquired from Steibel Modern, New York, in 1991. [2500/4000] Illustrated

259

261 Sara Rossberg (British, b. 1952) “Pink Head”, 1997, acrylic on canvas, signed and dated lower center, accompanied by “What is Realism”, by Edward Lucie Smith, published by Albermarle Gallery, London, 2005, 39” x 39”. Presented in a blonde-stained contemporary wood frame. Provenance: Private collection, Jackson, Mississippi acquired from Galerie Vieille du Temple, Paris, France, in May 2003. [1800/2500] Illustrated following page 262 Sara Rossberg (British, b. 1952) “Opposite Corners”, 1988, acrylic on canvas, monogrammed and dated lower right, titled, dated and signed stretcher verso, framer’s label on the reverse “John James Frames Ltd., London,”, 72” x 60”. Framed. Provenance: Private collection, Jackson, Mississippi; acquired directly from the artist. [2000/4000] Illustrated following page 263 Sergio Ceccotti (Italian, b. 1935) “Pluie de juin au parc monceau”, 1994, oil on canvas, monogrammed and dated middle left, accompanied by “Sergio Ceccotti Peintures”, published by Editions Ramsay and Galerie Alain Blondel, Paris, 1992, 25” x 29”. Handsomely framed. Provenance: Private collection, Jackson, Mississippi; acquired from Galerie Alain Blondel, Paris, France, in March 1996. [900/1200]

260

264 Federico Lopez Castro (Mexican/Contemporary) “La Torre de Babel”, 1998, oil on masonite, signed and dated lower right “F. Lopez Castro 98”, titled on frame verso, retains gallery label on the reverse “Aura Galleries”, 24” x 24”. Handsomely framed. Provenance: Private collection, Jackson, Mississippi; acquired from The Aura Galleries, Mexico City, in 1998. [500/800] Illustrated

261

265 Federico Lopez Castro (Mexican/Contemporary) “Hacia Suburbia”, 1998, oil on masonite, signed and dated lower right “F Lopez Castro 98”, retains gallery label on the reverse “Aura Galleries, Mexico”, 34‑3/4” x 34‑3/4”. Handsomely framed. Provenance: Private collection, Jackson, Mississippi; acquired from The Aura Galleries, Mexico City, in 1998. [500/800] Illustrated

262

264

265

267 Sergio Ceccotti (Italian, b. 1935) “Suoni Notturni”, 1998, oil on canvas, monogrammed and dated lower right, titled, dated and signed on the reverse, accompanied by “Sergio Ceccotti”, by Edward Lucie Smith, published by Lachenal & Ritter, Paris, and Galerie Alain Blondel, Paris, 2001, 31‑3/4” x 29‑1/2”. Framed. Provenance: Private collection, Jackson, Mississippi; acquired from Galerie Alain Blondel, Paris, France, in May 2000. Sergio Ceccotti was born in Rome and was a studen of artist Oskar Kokoschka at the Internationale Sommer Akademie fur Bildende Kunst de Salzbourg, Austria, in 1956 - 1957. He has had solo exhibitions of his work in Paris, Brussells and Rome. [1000/1500] Illustrated

267

266 Ivan Loubennikov (Russian/Contemporary) “Aquarium”, 2000, oil on canvas, monogrammed and dated upper right, titled, dated and signed in English and Russian on canvas verso, accompanied by “Ivan Loubenikov”, published by Galerie Alan Blondel, Paris, 1998, 62” x 61”. Provenance: Private collection, Jackson, Mississippi. [1200/1800]

268 268 Ivan Loubennikov (Russian/Contemporary) “Une Femme Fatale”, 2000, oil on canvas, monogrammed and dated on the table top, titled upper center, titled, dated and signed on the reverse of canvas in English and Russian, 35‑1/2” x 31‑1/2”. Framed. Provenance: Private collection, Jackson, Mississippi; acquired from Galerie Alain Blondel, Paris, France, in May 2000. [900/1200] Illustrated 269 Michel Dubre (French, Contemporary) “Stationement Dernier Modele”, acrylic on panel, signed lower right, retains gallery label on the reverse “Galerie Alain Blondel, Paris”, accompanied by a monograph of the artist’s work “Michel Dubre”, 1996, 32” x 45‑1/2”. Handsomely framed. Provenance: Private collection, Jackson, Mississippi; acquired from Galerie Alain Blondel, Paris, France, in March 1996. [1000/1500] Illustrated 269

270 Michael Willmon (American/Louisiana, b. 1951) “Bar Scene”, 1998, oil on board, signed lower left “Willmon”, 14” x 18”. Presented in a contemporary blonde wood frame. Provenance: Private collection, Jackson, Mississippi; acquired from Still-Zinsel Contemporary Fine Art, 328 Julia Street, New Orleans, Louisiana, in October 1998. [450/700] Illustrated 271 Sergio Bustamante (Mexican, b. 1942) “Alligator on a Unicycle”, molded and painted plaster, painted metal and rubber figural group, artist proof, with artist’s copyright and signature near scales behind left shoulder “Sergio Bustamante A.P.”, h. 60”, l. 60”. Provenance: Private collection, Jackson, Mississippi. [900/1200] Illustrated

270 272 Sergio Bustamante (Mexican, b. 1942) “Crescent Moon Taking a Shower”, painted ceramic, metal and wood figural group, with artist’s copyright, signed and numbered on the base top right “Sergio Bustamante 26/100”, h. 22”, w. 13”. Provenance: Private collection, Jackson, Mississippi. [400/700]

271

273 Peter Max (American, b. 1937) “Katrina Relief”, 2006, and “Sailboat East on Blends”, 2005, two handembellished variation prints after original artwork by the artist, both are signed lower right “Max” and with “Peter Max Studio” stamps on the reverse, the former is sheet 24” x 18”, the latter 17” x 13”. Unframed. [1000/1500] 274 George III-Style Mahogany Secretary Bookcase, 19th century, the molded and dentillated cornice above a blind fret-carved frieze with two paneled doors below, opening to a shelved interior, the lower section fitted with a slant front opening to a leather-inset surface and a variety of drawers and cubbyholes flanking a central cupboard, over two short drawers and three graduated long drawers, the whole raised on ogee-molded bracket feet, h. 85”, w. 39”, d. 21‑1/2”. [3000/5000] Illustrated 275 George III-Style Mahogany and Marble-Top Side Table, in the Irish taste, the long rectangular Breche de Benou Jaune marble top with a projecting center section, above a conforming case fitted with three drawers, all with fluting, over a shaped exuberantly carved shield frieze, raised on cabriole legs headed by acanthine carving and ending in ball-and-claw feet, h. 34”, w. 77‑1/2”, d. 20‑1/4”. Provenance: Inessa Stewart’s Antiques, Baton Rouge, Louisiana. [2000/4000] Illustrated 276 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]

279

278

274

277 Pair of George III-Style Oak Marlborough Chairs, early 20th century, each with a padded rectangular back joined by out-swept arms to the padded seat, raised on cabriole legs headed by shield carving and ending in pad feet, now covered in Brunschwig et Fils fabric, h. 37”. [600/900]

278 George III-Style Mahogany Tripod Table, late 19th century, the tilting floriform top with a full raised edge, raised on a stop-fluted columnar and bulbous standard to three splayed cabriole legs headed by floral carving and ending in ball-and-claw feet, h. 29”, dia. 35”. [800/1200] Illustrated

279 George III-Style Mahogany Sofa, early 20th century, the padded and domed back joined by outscrolled arms to the shaped padded seat, raised on cabriole legs headed by shell carving and ending in ball-andclaw feet, h. 37‑1/2”, w. 79”, d. 28”. [1200/1800] Illustrated

275

280 Pair of George III-Style Mahogany Pedestal Tables, 19th century, each with a dished shaped square top above a turned and bulbous standard to three splayed cabriole legs headed by foliate carving and ending in balland-claw feet, h. 34‑1/2”, w. 9”, d. 9”. [1200/1800] Illustrated 281 George III Mahogany Dumbwaiter, late 18th century, fitted with three graduated circular dished tiers, supported by turned columnar standards, raised on a like standard to three splayed cabriole legs ending in pad feet, h. 41‑3/4”, dia. 22‑1/2”. [400/700]

282 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]

293

294

283 Two-Piece Group of Chinese Export “Batavia” Porcelain, 19th century, comprised of a footed tea bowl, dia. 3‑3/5”, and a covered bowl with footed cover, dia. 4‑1/4”, each decorated with floral reserve panels in famille rose enamels against a rich brown ground. [100/200]

280

284 George III-Style Mahogany Armchair, late 19th century, in the style of Thomas Chippendale, the shaped and earred crest above an elaborately carved and pierced “ribband” splat, joined to the padded seat by shaped acanthine-carved arms, raised on cabriole legs headed by foliate carving and ending in ball-and-claw feet, h. 39”. [600/900] 285 Andre Marchand (French, 1877‑1951) “Gyp”, 1897, oil on panel, inscribed lower left “a mon ami Georges”, signed and dated lower left “A Marchand 1897”, the horse is identified upper right, framer’s label on the reverse “Dubus, Paris”, 12‑3/4” x 16”. Presented in a period giltwood frame. [350/500] 286 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]

291 Chinese Famille Rose Porcelain Vase, 20th century, decorated in famille rose enamels with fan-shaped reserve panels of flowers, birds, insects and antiques on an ironred ground with floral decoration and applied relief dragons at the neck, now wired as a lamp, h. 29”. [250/400] 292 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]

296 287 Two-Piece Set of Graduated Tall Lanterns, composed of gray-painted and weathered wood, galvanized metal and wrought-iron, each of square section in “Chinese Fret” decor, with a hipped galvanized metal canopy fitted with an arched wrought-iron suspension handle, the largest h. 33”, w. 14”, d. 14”. [150/250] 288 Graduated Trio of Continental Hanging Lanterns, composed of white-painted wood, glass and sheet iron in the 18th-century provincial style, each of square section, the vented caps of stepped cupola form, each centered with a suspension ring, each facade with four-pane glazing, not fitted for electricity, the largest h. 32”, w. 14”, d. 11‑1/4”. [200/400] 289 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] 290 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]

297

293 Good Regency Mahogany Center Table, first quarter 19th century, by Gillows and Sons, Lancaster and London, the circular tilting top fitted on the underside with pull-out supports to accommodate five rounded extension leaves, raised on a turned and bulbous vasiform base to three splayed and paneled legs ending in brass caps on casters, the top of the base stamped “Gillows”, h. 29‑1/2”, dia. 56”, extended 74”. [1500/2500] Illustrated 294 Pair of George III-Style Mahogany Armchairs, 20th century, each with a shaped crest above an elaborately carved and pierced splat, joined to the padded seat by shaped scrolling arms, raised on cabriole legs headed by foliate carving and ending in scrolled toes, h. 39”. [1200/1800] Illustrated

299 299 George III Mahogany Wing Chair, late 18th century, the domed and padded back joined by shaped sides and outscrolled arms to the cushioned seat, raised on square legs joined by an H-form stretcher, h. 48‑1/2”. [1800/2500] Illustrated 300 George III-Style Mahogany Demi-lune Side Table, ca. 1800 and later, the demi-lune top banded and above a frieze with patera-carved panels, raised on reeded tapering circular legs headed by foliate carving and ending in ringed feet, h. 35”, w. 84”, d. 25‑3/4”. [3500/5000] Illustrated 301 George III Mahogany Bowfront Sideboard, early 19th century, the bowed top above a conforming case fitted with a central cutlery drawer flanked to one side by a cupboard door and to the other by a deep cellarette drawer, each banded and with circular panel inlays, raised on tapering square legs ending in spade feet, h. 36‑1/2”, w. 65‑1/2”, d. 27”. [3000/5000] Illustrated

295 George III-Style Mahogany Dumbwaiter, late 19th century, fitted with three graduated circular dished tiers, supported by balusterform and vasiform supports, the whole raised on a vasiform standard to three shaped splayed legs, h. 45”, dia. 26”. [400/700] 296 J. Renaud (French, 19th Century) “Setter in an Autumnal River Landscape”, oil on canvas, signed lower left “J. Renaud”, 36‑1/2” x 29”. Presented in a period giltwood frame. Provenance: Sotheby’s, New York, October 7, 2003, lot 146. [8000/12000] Illustrated previous page

301

297 George III Mahogany Secretary Cheston-Chest, late 18th century, the molded and dentillated cornice above a case fitted with three short drawers over three graduated long drawers, all flanked to either side by a canted and fluted pilaster, the lower section fitted with a drop front drawer opening to a variety of cubbyholes flanking a central cupboard, over two graduated long drawers, raised on bracket feet, h. 75”, w. 43”, d. 21‑1/4”. [1800/2500] Illustrated previous page 298 Large Chinese Sang-de-Boeuf Porcelain Vase, 20th century, of baluster form with flared neck, glazed all over in an even, rich oxblood glaze, now mounted as a lamp with a pierced wooden base, h. 38”. [400/700]

300

308

305 Vernacular George III-Style Walnut and Pine Chest-on-Chest, 19th century and later, the molded cornice above a case fitted with two short drawers over three graduated long drawers, the lower section fitted with three graduated long drawers, raised on shaped bracket feet, h. 70”, w. 37‑1/2”, d. 22”. Provenance: Private collection, Jackson, Mississippi. [2500/4000] Illustrated 306 Pair of George III Mahogany Sidechairs, late 18th century, in the style of Thomas Chippendale, each with a shaped and earred foliate-carved crest above a like-carved pierced and interlacing splat, the padded seat raised on chamfered square legs joined by an H-form stretcher, h. 38”. [1400/1800] Illustrated

306

307 Twenty-Five Handsome 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, h. 7” to 8‑3/4”. [400/700] 308 George Sand, Amantine Aurore Lucile Dupin, Baroness Dudevant (1804‑1876), Her Masterpieces, twenty volumes, Philadelphia: George Barrie & Son, 1901, the Japanese Vellum Library Edition, no. 178 of 1,000 copies, illustrated with photogravure plates, octavo, in gray fine-rib moire grain cloth, with paper labels on the spine, 9” x 5‑3/4”. [500/800] Illustrated

302 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”. [100/200] 303 English “Grandmother” Tallcase Clock, fourth quarter 19th century, in the Georgian taste, composed of carved oak and mahogany-stained hardwood, the circular dial of engraved silvered brass with gilt-brass winged putto masks at the corners of the square plate, the interior backplate touchmarked “D.R.G.M.”, retains the period movement, h. 49”, w. 10”, d. 6‑1/2”. [500/800] 304 George III-Style Mahogany Gainsborough Chair, late 19th century, the padded rectangular back joined by outscrolled arms to the padded seat, raised on chamfered square legs joined by an H-form stretcher, h. 40”. [600/900]

305

311 Pair of George III Mahogany Knife Boxes, first quarter 19th century, with serpentine fronts and slant tops, the interiors retaining the holly-banded mahogany cutlery racks, h. 14‑1/8”, w. 8‑3/4”, d. 10‑1/2”. [800/1200] 312 George III-Style Mahogany Sideboard, second quarter 20th century, the rectangular top with a shaped front above a conforming case fitted with two central cutlery drawers flanked to either side by a cupboard door, faced as a drawer over a cabinet, one fitted with three slide drawers, all with inlaid stringing and corner patera accents, raised on tapering square legs ending in ringed feet, h. 34”, w. 84‑1/4”, d. 23‑1/4”. [800/1200] 310 309 George III-Style Mahogany Partner’s Desk, late 19th century, the rounded rectangular top inset with a leather writing surface above a frieze fitted with three drawers to either side, raised on two pedestals, each fitted with three drawers to one side and a paneled cupboard to the other, raised on plinth bases, h. 31”, w. 72”, d. 48”. Provenance: Private collection, Jackson, Mississippi. [1500/2500] Illustrated 310 Fine English Needlepoint Hanging or Rug, third quarter 19th century, the needlepoint and petit-point extravaganza comprised of twenty-one blocks, centered with a large block of a Turkish hunter on horseback with a quiver of arrows, 33” x 32”,and twenty other blocks with animals such as dogs, birds, chickens, squirrels, horses, cats, an elephant, family and domestic scenes, approximately 17” x 16”, the grid with acanthus finials marking the corners where the blocks join, with petitpoint details such as parrots in cartouches and flora and fauna, each block with a different needlepoint stitch for background, museum quality, overall 97‑1/2” x 66”, with metal hanging rings across the top edge. [3000/5000] Illustrated

313 Chinese Export Porcelain Covered Soup Tureen and Matching Stand, ca. 1770, all matching pieces decorated in underglaze blue and famille verte enamels with garden scenes, the tureen with dog-head handles, the cover with a recumbent dog finial, h. 9‑1/4”, w. 11‑7/8”, l. 15‑1/8”. [3500/5000] Illustrated

313

314 Pair of Chinese Blue and White Porcelain Deep Dishes, each shaped with a deep well and decorated with a central floral medallion surrounded by a border of eight Buddhistic symbols, the exteriors decorated with a band of scrolling flowers and foliage, the base with six-character Guanzu (1875‑1908) reign marks, dia. 8”. [400/700] Illustrated 309

314

316

317 George III-Style Mahogany Dining Table, mid‑20th century, the rounded rectangular top with reeded edge, raised on three pedestals, each with a turned columnar standard to three splayed and fluted legs ending in brass paws on casters, with three leaves, h. 28‑1/2”, w. 45”, l. 100”, extended l. 148”. [2500/4000] Illustrated

315 315 Chinese Blue and White and Underglaze Red Brush Washer, signed Jiang Cye Gongsi, Jiangxi Porcelain Co., early to mid‑20th century, modeled in the form of a peach with underglaze blue and red decoration of a bat and foliage and branches, the base with the maker’s mark in six characters, l. 4‑1/2”. [150/300] Illustrated

318 Suite of Eight Sheraton-Style Mahogany Dining Armchairs, early 20th century, consisting of two armchairs and six sidechairs, each with a domed back above a modified wheat-sheaf splat, the padded seat raised on chamfered tapering square legs joined by an Hform stretcher, h. 36”. [4000/7000] Illustrated

316 Fine Chinese Blue and White and Iron-Red Covered Teapot, Xuantong mark (1909‑1911), of squared form with conforming cover decorated in underglaze blue, iron red and gilding with bats in iron red and gilding, cavorting among underglaze blue clouds, the recessed base with a sixcharacter reign mark in underglaze blue, h. 7”. [300/500] Illustrated

318

317

319 George III-Style Mahogany Breakfront Bookcase, the broken dentillated pediment above a plain frieze with four astragal-glazed doors below, the lower section fitted with a central secretary drawer opening to a drop-front leather writing surface and a variety of drawers and cubbyholes flanking a central cupboard, over two short drawers over two graduated long drawers, flanked to either side by a paneled cupboard door, raised on a plinth base, h. 92”, w. 76”, d. 15”. [1000/1500] Illustrated following page

320 Georgian Tortoiseshell Block-Front DoubleCompartment Tea Box, second quarter 19th century, with nickel silver wire inlay, the interior edges veneered in polished bone, the interior covers of tortoiseshell centered with vegetable ivory grips of button form, the whole supported on tinted vegetable ivory ball feet, h. 5‑1/4”, w. 7”, d. 4‑1/4”. [1800/2500] Illustrated

319

321 George III Sterling Silver Coffeepot, hallmarked London, 1783‑1784, by Daniel Smith and Robert Sharp, the pear-shaped body with annulated “gooseneck” spout, crested double-scroll wooden handle, hinged domed lid with acorn finial and raised on an annulated foot-ring, the body with later decoration of repousse rococo floral and imbricate cartouches, engraved, on one cartouche, with a crest of a bull passant, its tail passing over its back, probably that of Ridley of Heaton Hall, h. 11‑1/4”, l. 8‑1/4”, dia. 4‑1/2”, 26.36 t. oz. (including wooden handle). The maker’s mark here is overstruck with another, but the original mark is identifiable as that of Daniel Smith and Robert Sharp, with the distintive remnants of the initials “RC” on the top of the mark: those of Richard Carter, who left the Smith & Sharp partnership in 1780 and whose initials were incompletely removed from their mark. The overstriking mark - “I.M” - does not appear to be of the period and may represent the smith who “improved” the piece with the later Victorian decoration. [1000/1500] Illustrated

321

323 George III Sterling Silver Tray, hallmarked London, 1796‑1797, by William Bennett, of oval form, with reeded rim and opposing handles en suite, the plateau engraved with a border of gadrooned fern, with a central foliate cartouche monogrammed “WSW”, w. 14”, l. 22”, 66.87 t. oz. [5000/8000] Illustrated

320

322 George III Sterling Silver Potato Fork, hallmarked London, 1778‑1779, by John Lambe, in the traditional “Old English” pattern, modified from its original form of a stuffing spoon, l. 11‑1/2”, 3.79 t. oz. [100/200]

330 329

328

324 Edwardian Cased Thirteen-Piece Silverplate Tea Service, first quarter 20th century, by Walker & Hall, Sheffield, including twelve teaspoons, l. 4‑3/4”, and bow-style sugar tongs, l .5”, each in a pointed “reed-andribbon” pattern, presented in the original fitted indigo velvet and cream satin-lined case, w. 14‑1/2”, d. 6”. Provenance: Private Collection, Jackson, Mississippi. [100/200]

326 Three-Piece Regency Sterling Silver Tea Set, hallmarked London, 1819‑1820, by Thomas Wilkes Barker, including a teapot, h. 6‑1/4”, l. 11‑1/2”, a creamer, h. 4‑1/2”, l. 8‑1/2”, and a sugar bowl, h. 4‑1/8”, w. 6”, each of bulbous rounded rectangular form with an annular band, applied gadrooned rim and raised on four acanthus-crested shell feet, the teapot with hinged, domed lid, crested and reeded handle and shaped spout, the creamer with one, the sugar bowl with two anthemion-crested arched strap handles, 35.17 total t. oz. [900/1200]

327 George IV Scottish Sterling Silver Stuffing Spoon, hallmarked Edinburgh, 1826‑1827, by William Scott Peat (1790‑1866), in the traditional single-struck “King’s” pattern, engraved with the Elcock crest of a stag salient, l. 12”, 4.12 t. oz. Provenance: Private Collection, Jackson, Mississippi. [100/200] 328 William IV Old Sheffield Plate Tureen, second quarter 19th century, of bulbous oval form, with a gadrooned floral rim, a pair of acanthus-crested reeded handles, and raised on four acanthus-crested lion’s-paw feet, the fitted, domed lid with an acanthus-mounted and -crested doublescroll finial handle, engraved, on each side of the lid with the crest and on each side of the body with the arms of Campbell, probably the Auchinbreck branch, h. 10‑3/4”, w. 11‑1/4”, l. 16”. [3000/5000] Illustrated

325 Regency Twenty-Four-Piece Cased Close Plate and Mother-of-Pearl Dessert Service, first quarter 19th century, by J. Gilbert, Birmingham, including twelve forks, l. 6‑3/4”, and twelve knives, l. 8‑1/4”, each with a carved mother-of-pearl handle joined by a silver ferrule embossed with a rococo cartouche engraved with the crest and canting motto of Montresor, presented in the original fitted mahogany case with a lift-out tray, h. 3”, w. 11‑3/8”, d. 10‑1/8”. [150/300]

323 329 Pair of William IV Old Sheffield Plate Wine Coolers, second quarter 19th century, of campana form, the lower half fluted, the upper half with an applied oak branch banding and floral-acanthus rim, with a pair of opposing “branch” handles, raised on a domed foot en suite, with detachable collar, engraved, on the body, with the arms of Dehany quartering Gregory and Paston quarterly, h. 9‑3/4”, w. 11‑3/4”, dia. 9”. The arms here are those used by Jamaican-born George Dehany (1760‑1807), a noted amateur cricketer, and his son William Knight Dehany (1791‑1844), Solicitor of His Majesty’s Excise in Scotland. [2000/4000] Illustrated

330 Good Pair of Regency Sterling Silver Candlesticks, hallmarked Sheffield, 1812‑1813, by Smith, Tate & Co., each with a tapering standard gadrooned on the lower half, above an acanthus-knopped domed foot decorated with gadrooned shell-andscroll banding, surmounted by a gadrooned vasiform nozzle with detachable circular bobeche en suite with the base, engraved on the bobeche with the Cholmeley crest and on the base with the arms of Cholmeley impaling Puller, h. 13‑1/4”, dia. 5‑3/4”, weighted. The arms here are those of the Reverend John Cholmeley (1773‑1814), fellow of Magdalen College, Oxford (B.A. 1794, M.A. 1797, B.D. 1804) and rector of Brandiston, co. Norfolk and Burton-le-Coggles, co. Lincoln, who married, on August 2, 1810, Selina-Eliza Puller, daughter of Richard Puller, Esq. [4000/7000] Illustrated previous page 331 Pair of William IV Old Sheffield Plate Entree Dishes, second quarter 19th century, each of rounded rectangular form with shaped acanthus, shell and scroll border, the steeply domed lid decorated with acanthus fronds separated by C-scrolls and extending with gadrooning to meet at the acanthus-mounted ring handle, h. 7‑1/2”, w. 9‑1/2”, l. 12‑1/2”. [3500/5000] Illustrated 332 William IV Old Sheffield Plate Tureen, second quarter 19th century, the bulbous oval body with gadrooned rim, floral-mounted double-scroll handles and raised on four robust acanthus-scroll feet, the fitted, domed lid with a foliate-mounted entwined acanthus-scroll handle, engraved, on the lid and body, with a crest of a dexter arm in armour embowed, the hand holding a dagger, that of Montgomery, Preston, Bellew et al., h. 10‑1/4”, w. 9‑1/4”, l. 16”. [800/1200] Illustrated

333

331

332

333 Victorian Silverplate Biscuit Barrel, third quarter 19th century, by James Dixon & Sons, Sheffield, the ovoid body decorated with flat-chased floral swags, with an applied annulated band which extends to form a pair of geometric handles, raised on three legs, each crested by a ram’s-head masque and terminating in a hoof, above a conforming platform, the hinged shallow domed lid decorated with repousse acanthus banding and a cast finial of a nesting songbird, h. 9‑1/2”, w. 6‑1/2”. [400/700] Illustrated 334 William IV Old Sheffield Plate Standish, second quarter 19th century, by the Matthew Boulton Co., Birmingham, of shaped oval form, with dramatic C-scroll border, fitted with three molded circular receptacles containing a pressed glass and silverplate inkwell and pounce-pot centering a nibs compartment with taperstick cap, the sides centered by rococo cartouches with rubbed monograms, h. 4”, w. 8‑3/4”, l. 11‑1/2”. [250/400] Illustrated 335 Good Edwardian Sterling Silver-Mounted Ivory Page Turner, hallmarked Birmingham, 1903‑1904, by Crisford & Norris, the flat spatulate ivory blade and horn-shaped ivory handle set into a simple silver collar and guard, l. 18”. [450/700] Illustrated

335 334

338

338 Twenty-Four-Piece Victorian Sterling Silver Gilt Dessert Service, hallmarked Sheffield, 1870‑1871, by Martin, Hall & Co., in the Elizabethan taste, including twelve forks, l. 7‑1/4”, and twelve knives, l. 8‑1/8”, each with a filled cannon-form handle decorated with annulated and palmette banding, with gadrooned toupie finial, the knife blade and fork heel decorated en suite, presented in a later case, h. 3‑1/4”, w. 14‑1/2”, d. 10‑1/4”. [2500/4000] Illustrated

339 Victorian Silverplate-Mounted Ivory Tea Caddy, fourth quarter 19th century, by John Grinsell & Sons, Birmingham, the body composed of a section of elephant tusk, lined in silverplate and fitted with a silverplate molded foot, collar, hinged and domed lid, ring handles and applied cartouche, h. 6‑1/4”, w. 6”, d. 5‑1/4”. [200/400] Illustrated 340 Victorian Silverplate and Sterling Silver-Mounted Glass Claret Jug, fourth quarter 19th century and later, by Cresswick & Co., Sheffield, the elongated pearshaped glass body decorated with an elaborate wheel-cut monogram “CSL”, with a silverplate collar with Gothic trefoil edging, “duck’s beak” spout, squared handle and hinged, stepped lid with button finial, with a sterling silver base and foot-ring edged en suite, by Dominick & Haff, New York, evidently a later repair, h. 11‑3/4”, dia. 3‑3/4”. [1000/1500] Illustrated following page

336 Pair of Cased Victorian Faux-Ivory and Silverplate Fish Servers, fourth quarter 19th century, by Thomas Turner & Co., Sheffield, in the “Japonaise” taste, including a fish serving knife, l. 12‑1/2”, and fork, l. 9‑3/4”, the knife with scimitar-shaped silverplate blade engraved with a waterfowl and aquatic flora, the fork with silverplate tines engraved with bulrushes on the heel, each with a celluloid “French Ivory” handle decorated with a crane among bulrushes, presented in the original fitted royal purple satin and velvet-lined case, w. 4‑1/4”, l. 14‑1/4”. [100/200]

339

337 Victorian Gilt Britannia Metal Plateau, third quarter 19th century, of circular form, cast as a rocky crag with flowers, foliage and tree stumps, fitted with a circular mirrored plate and raised on three button feet, h. 2‑1/2”, dia. 16”. [400/700]

340 341 Victorian TwentyFour-Piece Silverplate and Ivory Fish Service, fourth quarter 19th century, by Walker & Hall, Sheffield, including twelve knives, l. 9‑1/4”, and twelve forks, l. 8‑1/4”, the knives with scimitar-shaped blades engraved with a fish and wrigglework imbrication, the forks with four tines and openwork heels, all joined by an embossed ferrule to a shaped ivory handle with calyx finial, the forks presented in an associated scarlet velvet and ruched satin-lined mahogany case, w. 14”, d. 10”, the knives in a Pacific cloth roll. [250/400]

344

348

342 Victorian Cased Thirteen-Piece Silverplate Tea Service, fourth quarter 19th century, including twelve teaspoons, l. 5‑1/4”, and bow-style sugar tongs, l. 5”, each in a single-struck bellflower pattern, presented in the original fitted ruched cerulean satin-lined case, w. 8‑3/4”, d. 6”. Provenance: Private Collection, Jackson, Mississippi. [125/250]

343

343 Victorian Sterling Silver Cake Basket, hallmarked Sheffield, 1858‑1859, by PS & Co., of oval form, the sides realistically woven of silver wire to resemble a straw basket, the edge with applied wheat stalks, the hinged strap handle decorated en suite, the plateau engraved with a laurel wreath, h. 2” (10‑1/4” with handle), w. 10‑1/2”, l. 13”, 45.72 t. oz. [6000/9000] Illustrated 344 Edwardian Sterling Silver Tray, hallmarked Sheffield, 1903‑1904, by Walker & Hall, of oval form, with a pierced gallery and opposing gadrooned handles, the plateau engraved with a wide foliate scroll and lozenge arabesque border, the whole raised on four flattened spherical feet, w. 14”, l. 23‑3/4”, 77.48 t. oz. [3000/5000] Illustrated 345 Suite of Three English Silverplate Wine Coasters, first quarter 20th century, each of cylindrical form with a pierced gallery with engraved leaf banding surrounded by a turned wooden base, h. 1‑7/8”, dia. 4”. [100/200]

346 Cased Set of Twelve Silverplate and Ivory Fruit Knives, first quarter 20th century, by Walker & Hall, Sheffield, each with a slightly curved “blunt”-shaped blade and ivory handle of rounded rectangular section, joined by a sterling ferrule hallmarked 1919‑1920, l. 6‑3/4”, presented in the original olive velvet and cream satinlined cased, the interior lid stamped with the Walker & Hall logo, w. 11”, d. 4‑1/2”. Provenance: Private Collection, Jackson, Mississippi. [100/200] 347 Set of Four Edwardian Sterling Silver Sweetmeat Dishes, hallmarked 1908‑1909, Birmingham, by William Devenport, each of lobed circular form, the rim decorated with alternating embossed flower and shell cartouches and reticulated latticework, raised on four shell-crested pad-and-ball feet, h. 2”, dia. 6‑3/4”, 19.93 total t. oz. [500/800] 348 English Silverplate Salver, third quarter 20th century, by Walker & Hall, Sheffield, in the Georgian taste, of circular form with shaped floral-scroll border, raised on three scrolling feet en suite, the plateau engraved with a leafy-mantled cartouche, dia. 14‑1/2”. [100/200] Illustrated

352

349 Two English Silverplate Galleried Drinks Trays, third quarter 20th century, by William Adams, Inc. of Birmingham, one of oval form with bead-and-bobbin edge, integral handles and spherical feet, w. 10”, l. 14”; the other of “turtleback” form with beaded edge and acanthusscroll feet, the center with a pseudo-crest, w. 7‑1/2”, l. 11‑3/4”. [125/250]

350

350 Eight-Piece Edwardian Sterling Silver-Mounted Faux-Tortoiseshell Vanity Set, hallmarked Sheffield, 1904‑1905, by Walker & Hall, including a hand mirror, l. 10‑1/8”, a pair of handled brushes, l. 9”, a pair of hand brushes, l. 6‑1/2”, a shoe horn, l. 8‑1/4”, a buttonhook, l. 8‑1/2”, and a faux-ivory glove stretcher, l. 8‑1/2”, all with a wavy-edge silver handle inset with a fauxtortoiseshell plaque inlaid with a silver cartouche, the glove stretcher with later repair hallmarked Birmingham, 1914‑1915. [1200/1800] Illustrated

351 Edwardian Sterling Silver Fruit Bowl, hallmarked Sheffield, 1907‑1908, by George Wish, Ltd., of hemispherical form, decorated with large lobes crested by embossed acanthus scrolls below a gadrooned edge, raised on a lobed circular foot-ring, h. 5‑1/4”, dia. 7‑5/8”, 14.92 t. oz. [250/400] 352 Set of Four George V Sterling Silver Candlesticks, hallmarked London, 1927‑1928, by Crichton Brothers, in the neoclassical taste, each with a tapering standard above a waisted knop, raised on a cavetto-domed circular foot and surmounted by a vasiform candle nozzle with detachable bobeche, decorated throughout with subtle reeded banding, h. 11‑1/4”, dia. 5‑1/2”, weighted. [2500/4000] Illustrated

355 Canadian Cased ThirteenPiece Silverplate Tea Service, 1892‑1903, by Olmstead & Hurdman, Ottowa, including twelve teaspoons, l. 5‑1/4”, and bow-style sugar tongs, l. 5”, each in a spatulate engraved acanthus pattern, monogrammed “D”, presented in the original fitted olive green velvet and ruched satinlined case, w. 8‑1/2”, d. 6‑1/2”. Provenance: Private Collection, Jackson, Mississippi. [125/250]

353

356 Contemporary American Silverplate Tea Caddy and Underplate, in the Anglo-Colonial taste, of oval gadrooned form, the fitted, domed lid with cast floral border and toupie finial decorated with a maroon cord tassel, presented on the conforming underplate en suite, overall h. 5‑3/4”, w. 5‑1/4”, l. 6‑1/4”. [75/125]

354

353 Four-Piece George IV Sterling Silver Coffee and Tea Set, hallmarked London, 1824‑1826, by Edward Barton, including a coffeepot, h. 9”, l. 10‑1/4”, a teapot, h. 5‑1/4”, l. 11”, an open sugar bowl, h. 3‑3/4”, l. 8‑1/4”, and a cream jug, h. 3‑3/4”, w. 7”, each of flattened oval form and gadrooned about the lower half, with applied gadrooned rim quartered by acanthus scrolls, the pots with shaped spouts and acanthus-crested handles, the cream and sugar with gilt interiors and acanthus strap handle(s), all but the coffeepot raised on four shell-and-acanthus crested lion’s-paw feet, the coffeepot with a later cavettodomed circular foot, each piece engraved with a badge of a wild man with a club over the shoulder and the motto “animo et fide”, 68.80 total t. oz. [2000/4000] Illustrated 354 Contemporary English Sterling Silver Punchbowl, hallmarked London, 2010, by “SA Ltd.”, in the Victorian taste, of hemispherical form, with shaped shell-and-scroll rim, the body decorated with repousse leafy scrolls and lattices between rococo cartouches, all on a textured ground, raised on a domed foot en suite, the interior gilded, h. 11”, dia. 16”, 118.64 t. oz. [6000/9000] Illustrated

357 Lovely Chinese Carved Ivory Statue of a Female Immortal, 20th century, the reconstituted ivory body finely carved as a standing female figure in flowing robes holding a flute with a phoenix attendant holding a sprig of flowers in her beak, presented on a custom blackwood stand carved as pine branches, h. 10‑1/4”, including stand. [125/250] 358 Pair of Chinese Miniature Ivory Vases on Stands, each of baluster shape with flared lip rims, with etched and stained decoration, the central panels with scenes of ladies and attendants in gardens, the bases with a band of plantain leaves, the necks with scattered cloud decoration, h. 3‑1/4”. [900/1200] Illustrated 359 Unusual Chinese Carved Jade Bi Disk, 18th/19th century, the white and russet stone carved as a bi disk with low-relief cloud pattern on one side, the reverse carved as a reticulated dome of a coiled hydra dragon with bifurcated tail among scrolling branches and lingzhi fungus, dia. 2‑1/2”. [1200/1800] Illustrated 360 Rare Chinese Carved Jade Figure of a Recumbent Hound, Song Dynasty (960‑1279) or later, the white stone with russet inclusions carved as the stretched figure resting on its rear legs with the front legs stretched out with its head resting on them, the animal’s sides with incised ribs, l. 5‑1/4”. [400/700] Illustrated 361 Group of Three Chinese White Jade Articles, 19th century, comprised of the well-carved figure of a boy holding a goose, a cylindrical jade seal topped by the figure of a lion, and a figure of two twin boys (He He), h. 2‑1/4” to 2‑3/4”. [400/700] Illustrated

363 Delicate Chinese Tortoiseshell DoubleGourd Vase, 18th century, the molded and carved tortoiseshell body in the shape of a flattened double gourd, carved and pierced all over with scrolling fruiting grapevines with squirrels scampering through the foliage, the lip and central join carved with a band of Greek-key design and foliate lappets, h. 8”, including stand. [1200/1800] Illustrated

359

361

364 Good Chinese Rosewood and Jade Storage Box, 19th century, of squared form with projecting corners, the cover carved in relief with swirling clouds above waves cresting on rockwork and inset with five dragons cavorting among the clouds, the design reminiscent of that on court robes, w. 7‑3/4”, l. 7‑3/4”. [2500/4000] Illustrated

360

358

365 Group of Three Japanese Parasol Handles, 19th/20th century, composed of a long handle carved in the round in low relief with figures of deities, sages and a samurai in a garden with Mt. Fuji in the background; a cloisonne handle in polychrome enamels; and an ivory handle carved in the round in low relief with a myriad of faces; l. 4‑3/4” to 14‑1/4”. [200/400] Illustrated

365

362 Unusual Small Chinese Table Screen, 19th century with later additions to base of stand, the wooden base and frame inset with a panel of delicately carved tortoiseshell depicting five dragons cavorting among clouds, the tortoiseshell of variegated dark brown and ochre, h. 8‑3/4”, l. 7‑1/2”. [1400/1800] Illustrated

362

364 363

366 Pair of Kuang Hsu Carved Ivory Figures of Bearded Robed Immortals, first quarter 20th century, with engraved and gray enamel details, one bearing a large fan and the other a bamboo vase with two shoots, presented on matching Chinese carved hardwood stands of footed tuffet form, h. 7”. Ex-collection: The Columbus Museum, Columbus, Georgia. [150/300] 367 Attractive Pair of Kuang Hsu Carved Ivory Figures, first quarter 20th century, depicting respectively, a bearded Chinese Immortal with a sheathed sword on his shoulder, and a smiling robed figure bearing a flute, presented on matching carved Chinese hardwood stands on footed tuffet form, h. 7”. Ex-collection: The Columbus Museum, Columbus, Georgia. [150/300] 368

368 Unusual Chinese Lacquer and Hardstone-Applique Six-Panel Folding Screen, first half 20th century, the black-lacquered panels with carved appliques of jade, agate, serpentine, ivory and soapstone, forming a continuous scene of a two-tiered pavilion facing a walled garden and enclosed lotus pond, the courtyard in front of the pavilion filled with courtesans playing musical instruments and dancing with rockwork grottos, banana, pine and willow trees and dancing cranes, the lower portion of each panel with appliques of birds and flowers, each panel h. 78”, w. 17‑1/4”. [1800/2500] Illustrated

370

369 Chinese Glass Scholar’s Table Vase, 18th century, of tapering form with flattened lip, the mottled glass made to imitate realgar (arsenic sulfide), a substance much admired by Chinese scholars but due to its poisonous nature was imitated in glass, h. 4”. [200/400] 370 Pair of Chinese Tri-Color Glaze Tilework Figures of Foo Dogs, 19th century, each on a pierced plinth base, seated on their haunches with open mouths, curled manes and flamed tails, the green-glazed bodies with yellow and brown details, h. 15‑3/4”. [1000/1500] Illustrated

371

375 376 377

374

375 Fine Chinese Impressed Gray Pottery Storage Jar, Warring States Period (475‑221 B.C.), the tapered globular body with allover impressed mesh decoration beneath an incised border of horizontal lines at the shoulder, the mouth with a slightly curled lip rim, h. 8‑1/8”, dia. 10”. [400/700] Illustrated 376 Chinese Cast Bronze Jue, 19th century, after an archaic model, with elongated pouring spout, two handles and three saber feet, the body cast with ancient designs, h. 7”, l. 6”. [300/500] Illustrated

371 Buddhist Priest’s Robe, with silk strips stitched by hand by a Buddhist priest novice as part of his training, prayers are said with each stitch; upon completion the novice (now priest) wears his robe, w. 46”, l. 78”. [600/900] Illustrated

378

372 Large and Impressive Chinese Carved Wooden Head of Guanyin, carved in the round with the placid expressive face of the goddess with elongated earlobes, closed eyes and wearing an elaborate headdress with a small seated figure of the Buddha in the front, presented on a wooden stand of cube form, h. 30”. [700/1000] 373 Chinese Celadon Jade Covered Vase, 19th century, of flattened baluster form with canted edges, scrollwork handles and conforming cover, the front and back panels with engraved decoration of a bird on flowering branches, the sides with engraved calligraphic inscriptions, the lip and base of the top with engraved key-fret borders, the top with a fan-shaped inscription, h. 7‑3/4”. [2500/4000] Illustrated 374 Good Chinese Ching Pai Shallow Saucer Dish, Song Dynasty (960‑1279), the shallow dish with molded decoration of a phoenix in the center and a border of scrolling flowers and foliage, glazed on the interior and exterior in a beautiful pale blue Ching Pai glaze, with a blue cloth presentation box, h. 7/8”, dia. 5‑1/4”. [600/900] Illustrated

373

377 Good Chinese Ching Pai-Glazed Bowl, Song Dynasty (960‑1279), of conventional shape with slightly flared lip rim and a shallow straight foot and recessed glazed base, the interior with low-relief molded decoration of peonies and foliage with crisp definition, presented in a cloth-covered fitted box, bowl dia. 6‑3/8”. [4000/7000] Illustrated 378 Three-Piece Group of Carved Hardstones, consisting of a Chinese carved white jade monkey toggle, the white stone carved as a figure of a monkey clinging to a branch, suspended on a wooden stand with a dragon-head finial; a carved malachite toggle of a Mandarin duck and foliage; and a carved white jade snuff bottle with angel fish and a tropical water scene with a palm tree; h. 1‑7/8” to 5‑1/4”. [250/400] Illustrated

379 Chinese Carved Jade Miniature “Doctor’s Lady”, the white jade with black mottling carved as a reclining nude female figure in a provocative position resting on a banana leaf, l. 1‑7/8”. [500/800] Illustrated 380 Group of Ten Chinese Snuff Bottles, presented in a silk box, comprised of examples in wood, amber, motherof-pearl, lac burgate, porcelain, rose quartz, seed pod, turquoise, ivory and champleve enamel, h. 2” to 3‑1/4”. [1800/2500] 381 Group of Nine Chinese Hardstone Archer’s Rings, all plain but one with stylized engraved characters, each with one rounded lip rim, the opposite end either flat or indented, the stones ranging from cream to brown to olive green in color, h. 1” to 1‑1/4”. [1200/1800]

387

382 Group of Nine Jade Archer Rings, each of tubular form, one end with rounded edges, the other with indented edges, the stones of mottled green, white and black colors, h. 1” to 1‑1/4”. [1200/1800]

384 Chinese Famille Rose Porcelain Vase, 20th century, of baluster form with flared lip rim, decorated in famille rose enamels with a scene of women and children in a gated garden beneath a banana tree, the reverse with a calligraphic inscription and signature, now wired as a lamp, h. 33‑1/2”. [300/500]

383 Large Chinese Famille Rose Porcelain Vase, ca. 1900, of baluster form with flared lip rim and openwork handles, decorated in soft famille rose enamels depicting a group of ladies in a gated garden setting, with a calligraphic inscription in black on the reverse, h. 21‑3/4”. [300/500] 386

379

385

385 Chinese White Jade Bi Disk and Two Jade Toggles, the disk carved in low relief on the face with two hydra dragons, the reverse with low-relief carving of “C” scrolls, presented in a silk brocade box; the two Chinese carved jade toggles comprised of one in white jade of two cats and a celadon jade carving of two sacks with a bat, dia. 2‑1/4”. [250/400] Illustrated 386 Group of Three Carved Jade Items, composed of a celadon jade duck, a brown jade bi disk and a celadon jade carving of lotus root slice, the largest l. 3‑3/4”. [125/250] Illustrated

388

389

388 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 389 Chinese Carved Rock Crystal (Quartz) Model of a Pagoda, 20th century, the included colorless stone carved in sections as a nine-storied pagoda of octagonal outline with frosted doors in each level and a spherical finial, h. 15‑1/4”. [3500/5000] Illustrated 390 Mashad Carpet, 9’ x 13’. [1800/2500] 391 Chinese Persian-Design Carpet, 6’ x 9’. [400/700]

387 Chinese Export Rosewood and Marble-Top Table, late 19th century, the highly carved table with four feet and “cash”-shaped stretcher, floral-carved apron and top band inset with a circular rose marble top, h. 32”, dia. 22”. [450/700] Illustrated

399

392 Northwest Persian Runner, 3’ 9” x 13’ 9”. [1400/1800] 393 Antique Heriz Carpet, 7’ 4” x 10’ 4”. [600/900] 394 Tabriz Carpet, 12’ 9” x 10’. [1800/2500] Illustrated 395 Antique Persian Sarouk Carpet, 3’ 4” x 5’ 3”. [700/1000]

394

402

396 Antique Malayer Carpet, 5’ x 5’ 6”. [500/800] 397 Oushak Carpet, 8’ 2” x 5’ 5”. [800/1200] 398 Oushak Carpet, 6’ x 3’ 8”. [300/500] 399 Persian Heriz Carpet, 9’ 6” x 12’ 9”. [3000/5000] Illustrated previous page 400 Semi-Antique Persian Heriz Carpet, 9’ 5” x 12’ 2”. [1500/2500] 401 French Aubusson-Style Carpet, 9’ x 12’. [500/800]

96 96

402 Monumental and Opulent French Mahogany Buffet a Deux Corps, third quarter 19th century, with gilt- and patinated bronze mounts in the First Empire style in the manner of Jacob Freres (1796‑1803), the tall arched backplate centered with a circular clock flanked by two tall narrow vertical mirrored glass plates and a pair of patinated bronze winged caryatids supporting two shelves, the outer edges of the upper section veneered in giltbronze-mounted verde antico marble, the doors centered with demi-wreathed silhouette portraits of Napoleon I and the Empress Josephine, the whole supported on a quartet of boldly modeled gilt-bronze paw feet, h. 105”, w. 76‑3/4”, d. 20‑1/2”. [7000/10000] Illustrated

402 detail

402 detail 403 Opulent French Gilt-Brass-Mounted Mahogany Split-Pedestal Dining Table, fourth quarter 19th century, in the First Empire style, the foliate-carved pedestal below a fluted columnar section and raised on four legs of console-bracket form, the apron mounted with multiple gilt-brass reserves of a fleurette centered by addorsed, reticulated and attenuated palmettes, accompanied by two matching 18‑1/2” leaves, h. 29”, w. 62”, l. 56”, extended l. 93”. [3000/5000] Illustrated

403

403 extended

97 97

405 Good French Gilt-Bronze-Mounted Mahogany Two-Door Cabinet, third quarter 19th century, in the First Empire style in the manner of Jacob Freres (1796‑1803), the two doors surmounted by a pair of drawers with winged swan-masque pulls, the doors centered with three-quarterwreathed silhouette portraits of Napoleon I and the Empress Josephine, the interior fitted with a transverse shelf, the top of Bleu Turquin marble, the whole supported on boldly modeled gilt-bronze paw feet, h. 38”, w. 50‑1/4”, d. 22‑1/4”. [3000/5000] Illustrated 404

407

404 detail

404 Suite of Eight Empire-Style Mahogany Sidechairs, fourth quarter 19th century, each with a backswept paneled crest with an ormolu patera mount, above a paneled splat centered by an ormolu gilt winged female figure, the padded seat raised on paneled tapering square legs accented with ormolu mounts, h. 38‑1/2”. [3000/5000] Illustrated

98 98

406 Good French Gilt-Bronze-Mounted Mahogany Two-Door Cabinet, third quarter 19th century, in the First Empire style in the manner of Jacob Freres (1796‑1803), the two doors surmounted by a pair of drawers with winged swan-masque pulls, the doors centered with three-quarter-wreathed silhouette portraits of Napoleon I and the Empress Josephine, the interior fitted with a transverse shelf, the whole supported on boldly modeled gilt-bronze paw feet, h. 40”, w. 57‑1/2”, d. 24”. [3000/5000] Illustrated

406

408

405

407 Pair of French Gilt-Brass-Mounted Mahogany Demilune Stands, in the First Empire style, each surmounted by a matching tall, narrow, vertical looking glass, with the platform stretcher centered by a tall gilt-brass vase of baluster form in the Antique taste, one stand fitted as a plant stand with a conforming metal liner, the second with a polished verde antico marble top, h. 120”, w. 21”, d. 12”. [3500/5000] Illustrated 408 Empire-Style Mahogany Cheval Mirror, 19th century, the domed mirror plate within a paneled frame with applied candleholders in the form of adjustable swan’s necks, supported by columnar uprights headed by ormolu bands and ending in runner supports to bun feet, h. 70‑1/2”, w. 40”, d. 25”. [1800/2500] Illustrated

99 99

409 Pair of Empire-Style Mahogany Twin Beds, early 20th century, each with a headboard with a molded cornice above a paneled back, flanked to either side by uprights with inlaid banding simulating fluting and topped by shieldpatterned ormolu mounts, joined by plain rails to the like lower footboard, raised on fluted tapering circular feet, h. 55‑1/4”, inside w. 45”, l. 78”, outside w. 47”, l. 82”. [1400/1800] Illustrated

412

410 Continental Neoclassical Mahogany Tub Chair, second quarter 19th century, the shaped and molded downswept padded back and arms continuing to the padded seat, raised on shaped saber legs ending in casters, h. 32”. [500/800]

411 Empire-Style Burlwood Occasional Table, mid‑20th century, the circular quarter-veneered top above a conforming frieze, raised on tapering square legs headed by an ormolu winged female figure mount, joined by a tripartite stretcher and ending in brass feet, h. 23”, dia. 25”. [800/1200] Illustrated

411

409 pair

412 Tall Pair of French Four-Light “Nike” Candelabra, composed of gilt-lacquered and patinated bronze in the Restauration style, each bronze-patinated winged Nike bearing a pair of gilded flambeaux and supporting the four candle arms on her head, the front three with eagle cresting, the square-section pedestal bases mounted at the facade with a gilded flaming brazier in the Antique style, the sides mounted with gilded figures of Vestals, each candlesocket fitted with a detachable gilt-brass bobeche, h. 26”, w. 10”. [2000/4000] Illustrated 413 Baltic Neoclassical Mahogany Cabinet, second quarter 19th century and later, the superstructure with a pyramidal pediment above a small case fitted with a single cupboard door, with a recessed arched panel, on a stepped plinth molding to the main case fitted with a wreath- and palmetto-applied frieze over a single cupboard door with an inset octagonal glazed panel, over a single deep drawer, flanked to either side by ormolumounted pilasters, raised on block feet, the sides each with an applied ormolu torchere wreath, h. 85”, w. 42”, d. 21‑3/4”. [2000/4000] Illustrated

100

413

415 pair

414 Pair of Empire-Style Ormolu-Mounted Mahogany Jardinieres, early 20th century, each with an oval top with a conforming inset metal liner, the bodies paneled and with ormolu millwork banding, raised on shaped legs headed by a winged masque and ending in paw feet, h. 26”, w. 22‑3/4”, d. 17”. [1800/2500] Illustrated

414

415 After Giovanni Battista Piranesi (1720‑1778) “Veduta di Piazza di Spagna”, sight 16‑1/2” x 24‑1/2” and “Veduta del Romano Campidoglio con Scalinata che va alla chiesa d’Araceli”, sight 16‑1/2” x 22‑1/2”, pair of etchings, both retain labels on the reverse “New York Graphic Society Greenwich Connecticut”. Glazed, matted and framed en suite. [1400/1800] Illustrated

101

416 Empire-Style Mahogany and Marble-Top Occasional Table, late 19th century, the circular Carrara marble top with a full pierced brass gallery, raised on three ormolu winged swan supports to a concave tripartite base to ormolu paw feet, h. 33”, dia. 23”. [2000/4000] Illustrated

418

417 Empire-Style Polychromed Bergere, late 19th century, the padded backswept back joined by padded arms on turned uprights to the cushioned seat, raised on turned and tapering circular legs ending in peg feet, h. 36”. [500/800] Illustrated 418 Empire-Style Mahogany Lit du Jour , first quarter 20th century, each end with a rounded crest fronted by two engaged ormolumounted pilasters, joined by a downswept front rail, raised on block feet, the whole with ormolu accents in the Empire taste, h. 44”, inside w. 44”, l. 72”, outside w. 48”, l. 76”, with a circular gilt-brass-mounted mahogany couronne-de-lit, the interior in gathered and pleated gold linen, dressed with long “Pompeian red” and ivory toile de Jouy panels, also in the neoclassical taste, the basal edge of the canopy covered in claret moire and “old gold” and claret spiraled cord, the multiple gilt-brass mounts in the form of five-pointed stars., together with a pair of cylindrical bolsters in like upholstery. [3000/5000] Illustrated

417

416

102

424 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”. [500/800] 425 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] Illustrated

420 421 419 French Giltwood Looking Glass, third quarter 19th century, the rectangular plate within an annulated and acanthine-carved frame, h. 62‑1/2”, w. 46‑1/2”. [700/1000] 420 Empire Mahogany and Marble-Top Secretaire a 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 421 Tall Pair of Campana-Form Vases-on-Stand, composed of gilt- and bronze-patinated brass in the Restauration style, the vases with relief classical figures and gilded double masque-terminal handles, the obverse and reverse of each pedestal base centered with a giltbrass bowknotted wreath, h. 17”, w. 6‑1/4”, d. 6‑1/4”. [3000/5000] Illustrated 422 Pair of French Gilt-Brass and Polished Steel ThreeLight 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] 423 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]

425

103

428

428 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

431

426 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]

427

427 Good French First Empire Mahogany Flower Stand, first quarter 19th century, the three-column stand with gilt-brass-mounts, the interior fitted with a bronzepatinated copper jardiniere, the platform stretcher centered with a columnar marble-topped mahogany vase stand, h. 37”, dia. 13”. [3000/5000] Illustrated

104

430

429 Pair of Empire-Style Mahogany Fauteuils, late 19th century, each with a padded square back within a molded frame, joined by flat foliate-carved arms and gilt winged swan uprights to the padded seat, raised on tapering square legs ending in gilt paw feet, h. 35”. [1800/2500] 430 Handsome French Malachite and Cut Glass Double Encrier, with gilt-lacquered brass mounts in the Restauration taste, the ink bottles modeled as cut glass vases, footed and covered in gilt-lacquered brass, and flanking a gilt basket-woven nibs and clips container, all fronted by a concave oblong stylus well, h. 7‑1/2”, w. 12”, d. 6‑1/4”. [800/1200] Illustrated

431 Pair of Imperial Russian Champagne Flutes, first quarter 20th century, each copper wheel engraved with the imperial double-headed eagle, overall h. 7‑3/4”. [300/500] Illustrated 432 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 patera-mounted 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 433 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] 434 Stylish Pair of Italian Neoclassical Inlaid Mahogany Sidechairs, with splats of octagonal plate form inlaid with alternating oblong and wedge-form sections of burled maple and flame mahogany, centered with a marquetry fleurette of yew and tinted holly wood, the whole supported on klismos legs, the seats upholstered in black leather with brass nailhead edging, h. 33‑1/2”. [800/1200] Illustrated

432

435

435 Biedermeier Mahogany Secretaire a Abattant, second quarter 19th century, the stepped cornice above a case fitted with a single frieze drawer over a drop front, opening to reveal a variety of drawers flanking a central cupboard, flanked to either side by Corinthian columnar uprights, over a single drawer, the lower section fitted with two long drawers, raised on block feet, h. 62”, w. 42”, d. 20‑5/8”. [2000/4000] Illustrated

434

436 Tall Swedish Mahogany Looking Glass, in the late neoclassical taste, the tall serpentine-edge cresting modeled as a pair of foliate scrolls en face and surmounting a foliate-carved stylized patera, h. 64”, w. 26‑1/2”. [800/1200]

105

437 Pair of Porcelain de Paris Black-Ground Porcelain Garniture Vases, second quarter 20th century, in the Restauration style, each with grisaille reserves from “Robinson Crusoe”, the handles modeled as parcel-gilded monopodal winged Nike figures, now mounted as table lamps on custom gilt-brass-edged stepped square blackpainted wooden bases and fitted with matching gilt-brass finials in the form of upright pomegranates, h. 35‑1/2” to top of finial. [500/800] Illustrated

438

437

440

438 Good Italian Patinated Bronze “Grand Tour” Group, fourth quarter 19th century, depicting a two-horse Roman chariot with driver, presented on a polished slab base of rouge royale marble with bronze paw feet, h. 10”, w. 14‑1/4”, d. 8”. [1200/1800] Illustrated

439 Italian Patinated Bronze Figure of “The Dancing Faun of Pompeii”, fourth quarter 19th century, after the Antique model, h. 12‑1/2”, w. 5‑3/4”, d. 4‑1/4”. [400/700] 445

106

440 Marius-Jean-Antonin Mercie (French, 1845‑1916) “David Standing on the Severed Head of Goliath”, a large patinated bronze figure group, h. 36”, w. 19”. Mercie modeled the “David” in 1872 and was awarded a Medaille d’Or for it at the Paris Salon of that year. It became one of the most revered and famous sculptures of the late 19th century. [3000/5000] Illustrated

446 441 Ruffino Besserdich (Austrian, fl. ca. 1880‑1925), a brown and goldpatinated bronze tabletop figure of a scantily clad singing grape harvester, first quarter 20th century, signed at the rear, in script, “Besserdich”, presented on a square angled edge rouge royale marble base, h. 9”, w. 6‑1/2”. [250/400] 442 “Grand Tour” Patinated Bronze Group of “The Three Graces”, after Antonio Canova (Italian, 1757‑1882), of small size, presented on an oblong Brocatelle de Sienna marble base, h. 6‑1/4”, w. 3‑7/8”. [200/400]

443 Pair of Cast-Stone Garden Figures, early 20th century, in the neoclassical taste, each depicting a classical maiden in a caryatid pose, the scroll- and shell-modeled standards raised on plinth bases, h. 22”, d. 10”. [250/400]

449

444 Large Louis-Philippe Overmantel Mirror, second quarter 19th century, composed of giltbrass-mounted carved giltwood and plaster in the neoclassical taste, the crest rail centered with a Medusa masque flanked by two elongated palmettes in gilded brass, h. 79”, w. 61”. [700/1000] 445 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

446 Restauration Mahogany Settee, early 19th century, the padded rectangular back surmounted by a paneled crest, joined by downswept reeded arms to the cushioned seat, raised on saber legs, h. 36”, w. 69”, d. 26”. [1500/2500] Illustrated 447 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”. [500/800] 448 Restauration Giltwood Looking Glass, second quarter 19th century, the rectangular plate within a deeply molded frame with corner scrolling palmetto accents, h. 22”, w. 18”. [300/500] 449 Stately Louis-Philippe Gilt-Brass Candelabrum Base, second quarter 19th century, of tripodal form in the neoclassical style, the candle branches removed to form a table lamp, each facade of the triangular base centered with a beribboned palm frond wreath in relief, h. 35”. [1200/1800] Illustrated 450 Pair of Decoupage Engraving Panels, in the neoclassical taste, one panel featuring a putto allegorical of Vanity, the other a putto bearing a flambeau and unveiling a noble coat-of-arms, both with blush pink grounds, presented in pink-pebbled gold mats within rope twist-edged giltwood frames, 16‑3/4” x 16‑1/2”. [200/400] 451 Sevres Porcelain Covered Sauce Tureen with Integral Stand, 1853, of elliptical form with a gray-blue ground and gilded “Anthemion” decoration, produced for the Chateau de St. Cloud and so marked on the base, with old professional repair to the stand, h. 6”, l. 10‑3/4”. [300/500]

107

452 Napoleon III Polychromed and ParcelGilt Chaise Longue, third quarter 19th century, in the Empire taste, the shaped and raised end with a molded crest and scrolling frame to a front caryatid upright and a downswept back ending in a foliate-carved panel, the long padded seat raised on fluted and foliate-carved circular legs ending in lotus-carved toupie feet, h. 40”, w. 28”, l. 78”. [1400/1800] Illustrated

457

453 Empire-Style Carrara Marble and Ormolu Occasional Table, third quarter 19th century, the circular top with a molded edge, above a conforming frieze with an inset bellflower and fluted patterned ormolu band, raised on columnar marble legs headed by an elaborately modeled capital, joined by a domed tripartite stretcher and ending in spiral-fluted toupie feet, h. 31”, dia. 17‑1/2”. [1000/1500]

454 Russian Neoclassical-Style Gilt- and Patinated Bronze and Marble-Top Center Table, the circular Swedish green marble 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. 34‑1/2”, dia. 38”. [4000/7000] Illustrated 455 Empire-Style Giltwood Vitrine, early 20th century, the cavetto-molded cornice above a gadroon- and foliatecarved frieze, over a case fitted with a single glazed side door, the front and other side also glazed, the interior lined in velvet, above a garland-carved panel, the whole raised on bun feet, h. 64‑1/2”, w. 33”, d. 17‑3/4”. [800/1200]

454 452

456 Empire-Style Mahogany and Rosewood Tub Chair, late 19th century, the curved crest with inset brass banding above a shaped rosewood-banded splat, the padded leather seat raised on cabriole legs headed by ormolu mounts and ending in sabots, h. 29”. [400/700]

108

459 Suite of Four Restauration Mahogany Fauteuils, mid‑19th century, each with a padded back surmounted by a backswept crest, joined by scrolling downswept arms to the padded seat, raised on shaped saber legs, h. 37‑1/2”. [2000/4000] Illustrated 460 Germano-Bohemian Porcelain Portrait Chocolate Cup, fourth quarter 19th century, the gilded and polychromed cup featuring Emperor Napoleon I, with a matching saucer, each with a pseudo-Sevres crowned “N” mark in rouge de fer on the base, overall h. 4‑1/2”, dia. 4‑1/2”. [100/200] 461 Attractive Pair of Louis-Philippe Brass Candlesticks, second quarter 19th century, in the neoclassical taste, h. 6‑1/4”, dia. 5‑1/2”. [200/400] 459

462 Attractive Pair of Restauration Engine-Turned Brass Candlesticks, first quarter 19th century, of columnar form, each example fitted with a detachable bobeche, h. 8‑1/2”, dia. 4”. [400/700] Illustrated

462

463 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] 464 French Bronze-Patinated Brass and Verde Antico Marble Standish, fourth quarter 19th century, in the First Empire style, fitted with a pair of covered inkwells, one retaining the two-part glass liner, the whole supported on four feet modeled as Napoleonic eagles surmounting spheres, h. 8”, w. 14‑3/4”, d. 10‑1/2”. [500/800] 465 Neoclassical-Style Mahogany Pedestal, 20th century, the dished square top supported by a paneled tapering square standard to a socle base, h. 33”, w. 9”, d. 9”. [150/300]

457 Imposing Pair of Napoleon III Vasiform Footed Cachepots, third quarter 19th century, composed of patinated and parcel-gilt bronze with sphinx-surmounted ringed lion-masque handles in the Antique taste, the bodies with a frieze of relief classical portrait medallions and shelldiademed female masques, each interior fitted with a removable conforming gilt-brass liner, h. 14”, w. 14”. [1000/1500] Illustrated 458 Empire-Style Birch Desk, late 19th century, the rectangular banded top above a frieze fitted with three drawers, over two recessed pedestal cupboards, each fronted by two ormolu-mounted columns, the back paneled and with ormolu mounts in the Empire taste, raised on turreted feet, h. 31”, w. 51”, d. 27‑1/2”. [1200/1800] Illustrated

458

109

467

466 Restauration Mahogany Fauteuil, first quarter 19th century, the slightly domed padded rectangular back surmounted by a backswept crest, joined by scrolling arms to the padded seat, raised on molded saber legs ending in upturned toes, h. 37”. [400/700] Illustrated

467 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”. [2500/4000] Illustrated 468 Empire Mahogany and Marble-Top Side Table, early 19th century, the rounded rectangular Bleu Turquin marble top above a conforming frieze fitted with a single drawer, joined by ormolu-mounted columnar uprights to a lower shelf, raised on turret feet, h. 35”, w. 51”, d. 23”. [1500/2500] Illustrated

468

466 469 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 an oblong plinth of Swedish porphyry, h. 6‑3/4”, w. 7‑3/4”, l. 17‑3/8”. [4500/7000] Illustrated 470 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] Illustrated 471 Neoclassical-Style Noir Francais Marble Pedestal, 20th century, the square top above a turned Doricform column to a square plinth base, h. 40”, w. 8‑3/4”, d. 8‑3/4”. Provenance: Private collection, Jackson, Mississippi. [300/500]

110

472 Fine Viennese Arcaded “Portico” Mantel Clock, second quarter 19th century, composed of gilt-brassmounted parcel-ebonized fruitwood and Saint-Pons marble, the base centered with a gilt-brass-mounted ebony lacquered and parcel-gilt hymeneal altar backed by a mirrored glass plate, the dial cover of convex glass, the two ornaments flanking the clock case proper lacking, h. 21‑1/2”, w. 15”, d. 7”. [900/1200] Illustrated

472

473

469 473 Pair of Biedermeier Walnut Sidechairs, mid‑19th century, each with a domed crest above an open back with two lower rod splats, the padded seat raised on tapering square legs, h. 36”. [450/700] Illustrated

474 Fine Italian Linen and Lace Tablecloth and Twelve Napkins, ca. 1920, convent made in Italy, with handmade filet lace medallions (12” x 24”) of mythological figures such as Zeus, Diana and Persephone and lace medallions of putti (18”), with swags and borders of cutwork and white-work embroidery, with fine needle lace medallions in the center and oval ends; each napkin with a cutwork and white-work corner, museum quality, 22” x 22”. [3000/5000] Illustrated following page

470

111

475 Pair of French Two-Light Mantel Lamps, second quarter 20th century, composed of gilt-lacquered and midnight blue-painted brass in the Restauration style, the drum bases with midnight blue grounds and basrelief figures of dancing classical figures, each richly dressed with pendant jewel-cut chains and panel-cut spears with faceted tips, electrified and fitted with small custom pleated bone-white shades, h. 18‑1/2”, w. 10‑1/2”. [700/1000] Illustrated 476 Pair of French Gilt-Lacquered Bronze Garniture Coupes, with double-serpent handles, raised on lapis-lazuli pedestal bases of square section in the Restauration style, each facade of the bases centered with a gilt-lacquered bronze mount of a hymeneal altar in the Antique style, h. 11‑1/2”, w. 9‑3/4”. [1500/2500] Illustrated 474 suite of thirteen

475

477

476

477 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 478 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”. [800/1200]

112

479 Charles X Walnut Bergere, mid‑19th century, the tall padded rectangular back surmounted by a curved crest, joined by closed arms to the padded seat, raised on saber legs, h. 48”. [1200/1800] 480 Empire-Style Mahogany Display Case, early 20th century, the rounded cavetto-molded cornice above a case fitted with two sliding glass doors, each with finely executed foliateand palmetto-patterned ormolu mounts, and a shelved mirrored interior, flanked to either side by an engaged parcel-gilt pilaster above three drop-front cabinets, all paneled, raised on gilt paw feet, the whole with gilt accents in the Empire taste, the top electrified and fitted with a frosted glass panel, h. 67‑1/2”, w. 76”, d. 17‑1/4”. [4000/7000]

480 & 481 detail 480

481 Empire-Style Mahogany Display Case, early 20th century, the rounded cavetto-molded cornice above a case fitted with two sliding glass doors, each with finely executed foliateand palmetto-patterned ormolu mounts, and a shelved mirrored interior, flanked to either side by an engaged parcel-gilt pilaster above three drop-front cabinets, all paneled, raised on gilt paw feet, the whole with gilt accents in the Empire taste, the top electrified and fitted with a frosted glass panel, h. 67‑1/2”, w. 76”, d. 17‑1/4”. [4000/7000] Illustrated

481

113 113

482

482 Pamela Jane Crook (British, b. 1945) “Cosmopolitans”, 1995, liquitex acrylic on canvas and wood, composition extends across the custom frame, signed lower right “P. J. Crook”, further inscribed, signed and dated on the reverse of frame “P. J. Crook, Liquitex Acrylic, 1995”, accompanied by “P. J. Crook”, published by Editions Ramsay and Galerie Alain Blondel, Paris, 1993, 21‑3/4” x 46”. Provenance: Private collection, Jackson, Mississippi; acquired from Galerie Alain Blondel, Paris, France, in March 1996. P. J. Crook was born in Cheltenham and studied at Gloucester College of Art and Design. Her paintings depict people interacting with one another, often in a crowd. Her work borders on the surreal and is further enhanced by her practice of extending the composition across and around the frame. Her paintings have been widely exhibited in solo and group exhibitions including, The Theo Waddington Gallery, London; Galerie Alain Blondel, Paris; Roayl Academy of Arts, London; National Portrait Gallery, London; and the Salon des Independants, Paris. [5000/8000] Illustrated 483 483 Pamela Jane Crook (British, b. 1945) “The Card School”, 1999‑2000, liquitex acrylic on canvas and wood, composition extends across the custom frame, signed lower left “P. J. Crook”, and further signed, inscribed and dated on frame verso “P. J. Crook, The Card School, 1999‑2000, Liquitex Acrylic”, accompanied by “P. J. Crook”, published by Cheltenham Art Gallery & Museum, 1995, 23” x 27”. Provenance: Private collection, Jackson, Mississippi; acquired from Galerie Alain Blondel, Paris, France, in May 2000. [4000/7000] Illustrated

114 114

484 Victor Vasarely (French/Hungarian, 1908‑1997) “Composition”, color silkscreen, pencil signed lower right, numbered lower left “27/50”, with blind stamp “Denise Rene Editeur” lower left, sight 32‑1/2” x 25‑3/4”. Handsomely framed. [400/700] 485 Mon Levinson (American, b. 1926) “Positive Moving Planes IV”, 1965, plexiglass, acetate and paper, retains gallery label on the reverse “Kornblee 58e79, New York”, 24” x 24”. Framed. Provenance: Private collection, Jackson, Mississippi. [350/500]

486

488 Roberto Turnbull (Mexican, b. 1959) “Hueso”, engraving, pencil signed lower right “Turnbull”, numbered in pencil lower left “22/25”, sheet 39‑1/2” x 31‑1/2”. Glazed and handsomely framed. Provenance: Private collection, Jackson, Mississippi; acquired from Galeria Praxis Arte Internacional, Mexico City, in October 1998. [200/400] Illustrated

487

486 Kim Hamisky (French, b. 1943) “Les Eqilibristes”, an impressive patinated bronze of two acrobats, one doing a handstand on a sheet of bronze, reticulated as a negative image to form the other acrobat, balanced on two circular beams, signed and numbered on the lower right edge “K. Hamisky 1/8”, presented on a custom ebonized stand, accompanied by “Kim Hamisky, Oeuvres Recentes 1993‑1994”, published by the Guy Pieters Gallery, overall h. 92”, w. 27”. Provenance: Private collection, Jackson, Mississippi; acquired from Galerie Alain Blondel, Paris, France, in March 1998. [2000/4000] Illustrated 487 Charles Pebworth (American/Texas, b. 1926) “What Do I Wonder”, mixed metal relief plaque, incised signature at center “C. Pebworth”, retains gallery label on the reverse “DuBose Gallery, Houston, Texas”, 6‑1/4” x 5‑1/4”. [250/400] Illustrated

488

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490 Walter Philips (Belgian, b. 1939) “La Chambre du bien et du mal”, 1985, mixed media on paper, signed in pencil lower right “W. Philips”, sight 19‑1/4” x 23‑1/2”. Glazed, handsomely matted and presented in a contemporary silvered frame. Provenance: Private collection, Jackson, Mississippi; acquired from Galerie Alain Blondel, Paris, France, in May 2000. [500/800] Illustrated 491 Walter Philips (Belgian, b. 1939) “Le couple dans une grande aventure”, oil and lacquer on wood panel, signed lower right “W. Philips”, retains gallery label on the reverse “Alain Blondel Galerie 2, Paris”, 49‑1/2” x 49‑1/2”. Handsomely framed. Provenance: Private collection, Jackson, Mississippi; acquired from Galerie Alain Blondel, Paris, France, in May 2000. [1200/1800]

489

492 Mark Kostabi (American/New York, b. 1960) “The Devil Hath Power to Assume a Pleasing Shape”, 1989, acrylic on canvas, signed and dated lower left “Kostabi 1989”, accompanied by “Sadness Because the Video Rental Store was Closed”, by Mark Kostabi, published by Abbeville Press, Inc., New York, 1988, 54” x 48”. Presented in a contemporary silvered frame. Provenance: Private collection, Jackson, Mississippi; acquired from Hanson Galleries, 153 Maiden Lane, San Francisco, in August 1989. [4000/7000] Illustrated 493 Walter Philips (Belgian, b. 1939) “Le Phare”, gouache and watercolor on paper, signed in pencil lower right “W. Philips”, sight 22‑1/2” x 29‑1/2”. Glazed, handsomely matted and framed. Provenance: Private collection, Jackson, Mississippi; acquired from Galerie Alain Blondel, Paris, France, in May 2000. [600/900] Illustrated

492

489 Walter Philips (Belgian, b. 1939) “Le Serpent Flammes”, oil on panel, signed lower right “W. Philips”, accompanied by “Walter Philips”, published by EnschedeVan Muysenwinkel, 1999, 32” x 36”. Handsomely framed. Provenance: Private collection, Jackson, Mississippi; acquired from Galerie Alain Blondel, Paris, France, in May 2000. [800/1200] Illustrated

490

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494 Walter Philips (Belgian, b. 1939) “Le Grande Erreur”, oil and lacquer on wood panel, signed lower left “W. Philips”, accompanied by “Walter Philips”, published by Enschede-Van Muysenwinkel, 1999”, 49” x 49”. Handsomely framed. Provenance: Private collection, Jackson, Mississippi; acquired from Galerie Alain Blondel, Paris, France, in May 2000. [1200/1800] Illustrated

493

495 Juan Sanchez Juarez (Mexican, b. 1946) “Beach Party”, 1992, triptych, acrylic on canvas, one panel is signed lower right “Juan Sanchez Juarez”, each panel framed is 75” x 33”. Provenance: Private collection, Jackson, Mississippi; acquired from The Aura Galleries, Mexico City, in 1998. The artist is the great-greatgrandson of Benito Juarez, President of Mexico from 1861‑1865. He studied at the Real Academia de San Carlos and won First Prize at Concurso Annual de Bellas Artes in Guadalajara. His work is represented in prestigious collections internationally, including the Museum of Modern Art in Mexico City and the Philadelphia Museum of Art. [2000/4000] Illustrated

494

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496 496 Charles Schorre (American/Texas, 1925‑1996) “MorningGod’Sound”, 1987, oil on canvas, signed lower right “Charles Schorre”, dated lower left “5-VIII‑87”, titled on stretcher verso, retains gallery inventory label on the reverse “DuBose Gallery, Houston, Texas”, 72” x 96”. Unframed. Provenance: Private collection, Tucson, Arizona. Charles Schorre was born in Cuero, Texas, and was a graduate of the University of Texas at Austin. Schorre was an instructor at the Museum School of the Museum of Fine Arts, Houston, and later served as an Assistant Professor of Fine Arts at Rice University from 1960 to 1972. His large, expressive canvases painted in bright colors were well received and critically acclaimed. His work was shown at the DuBose Gallery and Meredith Long Galleries in Houston, Texas. He exhibited in group shows at the American Watercolor Society in New York, the New Orleans Museum of Art, and the Museum of Fine Arts, Houston, Texas. [4500/7000] Illustrated 497 Veloy Joseph Vigil (American/New Mexico, 1931‑1997) “Deer Dance, Taos Pueblo”, 1980, oil on canvas, signed lower right “V. Vigil”, titled and dated on stretcher verso, 30” x 30”. Framed. Provenance: Private collection, Tucson, Arizona. [2500/4000] Illustrated 497

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498 Continental School (Contemporary) “Abstract Composition”, 1999, mixed media on paper, signed and dated lower right “V. Dubach 99”, sight 8‑1/4” x 34”. Glazed, matted and framed. Provenance: Private collection, Jackson, Mississippi. [500/800] Ilustrated 499 Xavier de Callatay (Belgian/New Orleans, 1932‑1998) “Ariel Toucan”, 1962, watercolor on paper, monogrammed and dated lower left, titled lower center, sight 8‑3/4” x 8‑1/2”. Glazed, matted and handsomely framed. Provenance: Private collection, Jackson, Mississippi. [400/700] Illustrated

499 500 Xavier de Callatay (Belgian/New Orleans, 1932‑1998) “Abstract Landscape”, 1982, mixed media on paper, signed and dated in pencil lower right “Xavier 82”, inscribed by the owner on the reverse “A Gift from Xavier to me, In N.O. Feb. 1985 show at Academy, Xavier’s b’day 11 Feb, The Willow Tree coming in May or June. World’s Fair N.O. 1984”, sight 8‑3/4” x 8‑3/4”. Glazed, matted and framed. Provenance: Private collection, Jackson, Mississippi. [400/700] Illustrated 501 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]

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502 Good Continental Silvered Pewter Haut-Relief Plaque, fourth quarter 19th century, depicting a 16thcentury galants couple in a palace garden, presented in the original claret velvet-covered frame with silvered pewter corner mounts in the Renaissance style, h. 24‑1/4”, w. 18‑3/4”. [250/400] Illustrated 503 Pair of German Patinated Bronze Figures, third quarter 19th century, depicting a surly toper carrying an umbrella and an elderly importunate female street vendor, both in early 19th-century dress, presented on matching circular coral Brocatelle marble bases, h. 6‑3/4”, dia. 3‑1/4”. [200/400]

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504 Magnum Villeroy and Boch Standard-Glazed PewterMounted Stein, first quarter 20th century, centered with the portrait of a smiling toper in the manner of Frans Hals (Dutch, 1580‑1666), the base fully marked and numbered, the pewter lid lacking, h. 18‑1/4”. [300/500] 505 Continental Engraved Silver and Black Champleve Enamel Footed Box, fourth quarter 19th century, in the 17th-century style, the lid set with a painted miniature of a tavern scene in the manner of David Teniers the Younger (Dutch, 1616‑1690), set under a crystal panel, the whole supported on four diminutive ball feet of silver, h. 2‑1/8”, w. 3‑3/4”, d. 3‑3/4”. [2500/4000] Illustrated 506 Continental Provincial Polychromed and ParcelGilt 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

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507 Three-Piece Group of Bohemian Glass, fourth quarter 19th century, consisting of a graceful Bohemian richly gilded, polychromed and cut lattimo-over-cranberry overlay glass garniture vase attributed to the Pfohl Glassworks, the attenuated baluster-form body decorated with alternating lattimo overlay panels of polychromed floral garlands and white-diapered vertical reserves, the cranberry ground gilded in an overall pattern of scrolling leaves and foliage, h. 14”; a large Bohemian richly gilded and floral-enameled cranberry-bowled wine goblet in the 18th-century style; and a similar goblet with the clear bowl bearing gilded lappets centered with enameled floral sprays, h. 8‑1/2”; both goblets inscribed with museum accession numbers on the interiors of the circular feet. Excollection: The Columbus Museum, Columbus, Georgia. [200/400]

510

508 Austro-German Glass Dessert Coupe and Matching Underplate, fourth quarter 19th century, elaborately enameled in pale rose in the neoclassical taste, the bowl of the coupe and the border of the plate with polychromed neoclassical figures, probably the Karlsbad area, both pieces inscribed with museum accession numbers on their bases, coupe h. 5‑3/4”, plate dia. 7‑1/4”. Ex-collection: The Columbus Museum, Columbus, Georgia. [125/250] 509 Venetian Gold Leaf Glass-Mounted Colorless Glass Cabinet Ewer, fourth quarter 19th century, in the late 16th-century style, probably Salviati and Company, the gold leaf glass mounts modeled as leonine masks or as raspberry prunts, h. 9‑3/4”, w. 4”, l. 5‑1/2”. [75/125]

512

510 Large Venetian Glass Tiered Twelve-Light Chandelier, second quarter 20th century, in the 18thcentury style, composed of colorless glass with goldleaf inclusions, elaborately dressed with upright and downturned glass feathers, leaves, flowerheads, pendant bellflowers and bowl-form bobeches, fitted with short bone-white faux candles, h. 55”, dia. 42”. [2500/4000] Illustrated 511 Italian Polychromed Occasional Table, second quarter 20th century, probably Venetian, the circular top with a shaped gilt edge centered by a polychromed floral spray, above a conforming frieze, raised on cabriole legs ending in shaped toes, h. 20”, dia. 28‑1/2”. [200/400] 512 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 513 Northern European Walnut and Burlwood Jewel Chest, second quarter 19th century, in the form of a miniature chest of drawers, each drawer fitted to swing out from the right, the whole supported on ribbed demi-lune feet, h. 14‑1/4”, w. 15”, d. 7‑1/4”. [600/900]

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514 Continental School (Second Quarter 20th Century) “A View of the Amalfi Coast”, oil on canvas, signed and dated lower left “J. Hager 1941”, 64” x 43”. Handsomely framed. Provenance: Private collection, Sheffield, Alabama. [1800/2500] Illustrated 515 Continental School (Second Quarter 20th Century) “Mountainous River Landscape”, oil on canvas board, signed and dated lower left “F. Wosatka 1934”, with artist stamp on the reverse “Franz Wosatka, Architect”, 18” x 14‑1/4”. Handsomely framed. [400/700] 516 Dutch Mahogany and Marquetry Games Table, second quarter 19th century, the canted triangular top with floral inlays centering an inlaid portrait medallion of a gentleman suspended from a garland, hinged and opening to a baize-lined surface surrounded by an inlay of gaming pieces, raised on floral-patterned tapering square legs, h. 31”, w. 38‑1/2”, d. 19”. [500/800] Illustrated 517 Dutch Mahogany and Marquetry Sidechair, second quarter 19th century, in the neoclassical taste, the padded back surmounted by a backswept crest with cherub and urn inlays, the padded seat raised on saber legs, h. 34‑1/2”. [500/800] Illustrated 514 518 Salomon Savery (Dutch, 1594‑1665) “Patriae Antiquae: Inter Iuly et Caroli Magnirare”, hand-colored Hewich engraved map, second quarter 17th century, presented in a deep charcoal-gray mat within a narrow Etruscan red-detailed narrow giltwood frame and glazed in non-glare glass, overall 24” x 21‑1/2”. [400/700] Illustrated 516 top

519 Italian Parcel-Gilt Bianco Pottery Covered Soup Tureen and Stand, produced for Sakowitz, Houston, and so marked on the base of the stand, the two-handled tureen cover centered with a parcelgilt maize finial, overall h. 11‑1/2”, w. 14”, l. 19‑1/2”. [400/700] 516

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521

525

520 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]

522 Continental Architect’s Model of a Domed Baroque Chapel, composed of fruitwood and mahogany, of octagonal form, the attenuated domed roof with registers of arched and oculus windows surmounted by an arcaded cupola, h. 24‑1/2”, dia. 10”. [250/400] Illustrated

521 Pair of Fruitwood-Mounted Polished Nautilus Shells, in the Edwardian style, the wooden mounts spiral turned, h. 12‑1/4”. [125/250] Illustrated

523 Continental Architect’s Model of a Spiraled Domed Tower Staircase, composed of fruitwood and mahogany in the Renaissance style, the domed ribbed roof with a tall cupola, the whole supported on a stepped circular base, h. 35‑1/2”, dia. 14‑1/4”. [300/500] Illustrated

524 Antonio Macelli Wooden Architect’s Model of a Winged Staircase, composed of fruitwood and mahogany, the staircase modeled within a demi-lune domed bay in the Renaissance style, h. 16”, w. 18”, d. 10”. [250/400] Illustrated 525 Italian Architect’s Model of an Arcaded Loggia, composed of fruitwood and mahogany in the Renaissance style, the paved floor stenciled in deep brown and birch, h. 9‑1/2”, w. 16”, d. 7”. [150/250] Illustrated 526 Italian School (18th Century) “An Architectural Capriccio with Figures and Animals Among Classical Ruins”, oil on canvas, unsigned, 28‑3/4” x 38”. Framed. [1500/2500]

518

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527 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

531

528 Handsome “Grand Tour” Terra Cotta Ram’s-Head Rhyton, in the ancient fourth century B.C. Greek style, presented on a custom fabricated black-finished steel display stand, the rhyton professionally cleaned and lightly waxed, overall h. 8‑1/4”, w. 9”, rhyton l. 6‑1/4”. [300/500] 529 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]

530

537

527

530 Large Italian Provincial Tiered Twelve-Light Chandelier, composed of turned white-painted wood and wrought-iron, of cage form, each double-scrolled wrought-iron arm fitted with a tiered pair of wrought-iron candlesockets and crimped bobeches of saucer form, not electrified, h. 39”, dia. 43‑1/2”. [1000/1500] Illustrated 531 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”. [500/800] Illustrated 532 Diminutive Pair of Red Branch Coral and Black Lacquer Accent Lamps, the coral branches presented on modified teardrop-form black-lacquered wooden “collector” bases, h. 11”. [400/700]

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536 539 Large Pair of Italian Polished Brass and WroughtIron Chenets, first quarter 20th century, in the Baroque style, modeled as tall two-handled and paw-footed tiered spires, with the lower facades centered with winged putto masques, resting on a sphere, h. 21”, w. 12”, d. 10‑1/2”. [500/800] Illustrated

539 533 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] 534 Italian Slate and Scagliola Panel, 19th century, the rectangular top with a band of cavorting putti with corner avian accents, the center with three panels, all depicting scenes of pastoral life, raised on two truncated vasiform chenet urns in the Antique taste and continuing to stepped square bases, h. 20‑3/4”, w. 45‑1/2”, d. 21‑1/2”. [6000/9000] Illustrated 535 Collection of Eight Italian Carved White Marble Architectural Elements, fourth quarter 19th century, in the Gothic taste, comprised of four colonnettes, h. 15‑1/2”, two Gothic-arched tabernacle fragments, h. 13‑1/2”, w. 10”, and a pair of oblong base elements, h. 10”, w. 9‑1/8”. [125/250] 534

536 Florentine Exuberantly Carved Giltwood Overmantel Mirror, first quarter 20th century, of large size in the Baroque style, the plate with broad beveling throughout, h. 40”, w. 51”. [3000/5000] Illustrated 537 After Nicolas Poussin (French, 1594‑1665) “L’Arcadie”, stipple engraving, engraved by Jean Mathieu (French, 1749‑1815), sight 14‑1/2” x 16‑3/4”. Glazed, handsomely French matted and presented in a deep gilded frame in the Neo-classical style, 19th century. [1000/1500] Illustrated 538 After Raphael Sanzio da Urbino (Italian, 1483‑1520) “St. Marguerite”, stipple engraving, titled and extensively inscribed lower legend, engraved by Auguste-Gaspard-Louis-Boucher Desnoyers (French, 1779‑1857), sight 21‑3/4” x 15”. Glazed, French matted and presented in an ebonized wood frame. [500/800]

534 top

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542 British School (Early 20th Century) “View of a Lakeside Cottage with Figures and Cattle”, oil on canvas, signed and dated lower left “T. Clarke 1901”, canvas stamp on verso “G. Rowney & Co., London”, 16” x 24”. Handsomely framed. [1200/1800] Illustrated 543 British School (Fourth Quarter 19th Century) “Farmers with Horse-Drawn Wagon on a CottageLined Country Road”, oil on canvas, signed lower right “H. Smith”, 15” x 20”. Handsomely framed. [900/1200] Illustrated

542

544 French School (Fourth Quarter 19th Century) “View of a Country Cottage and Figures by a River, Mountains Beyond”, oil on canvas, unsigned, 19‑1/4” x 25‑3/4”. Handsomely framed. [1000/1500] Illustrated 545 Continental School (19th Century) “View of a Country Road with Horses Pulling a Hay Wagon”, oil on canvas, unsigned, label on the reverse “Julius Scholz, Philadelphia, Pennsylvania”, 29” x 36”. Handsomely framed. [900/1200] Illustrated

543

540 Italian Turned Wooden Candlestick Lamp, with silver-gilt finish, in the 18th-century style, fitted with a custom black linen shade, h. 19‑3/4” with shade. [100/200] 541 Anne Rushout (British, ca. 1768‑1849) “Pastoral Landscape with Deer Grazing on a Hillside”, 1797, watercolor, signed and dated lower right “Anne Rushout 1797”, sight 11” x 15‑3/4”. Glazed, matted and framed. [450/700]

544

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546 Spanish Cordoba Leather Two-Panel Folding Screen, fourth quarter 19th century, the embossed, gilded and polychromed screen in the early 18th-century style, the crest rails gently arched, the borders of gilded leather embellished with gilded brass nailheads, the leather in an overall stylized floral-damask pattern, each panel h. 82”, w. 28‑1/2”. [1800/2500] Illustrated

546

547

547 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

545

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A 548 Four-Panel Set of German Leaded, Stained and Enameled Glass Panels, fourth quarter 19th century, in the 16th-century style, the outer panels depicting a crowned monarch and his consort with their son and his wife as donors, and centering two panels depicting the Holy Family, retaining the period wrought-steel frames and hinges, h. 5‑3/4”, w. 25”. [1800/2500] Illustrated

548

549 549 Pair of German Leaded, Stained and Enameled Glass Portrait Windows, fourth quarter 19th century, in the 16th-century style, the left a portrait of Bishop Milo Tarven and the right of Watterus Laudun, the enameled and leaded glass portraits surrounded by pale green transparent glass reserves, each portrait identified in Latin-enameled glass below the figure, retaining the period mahogany frames, h. 78‑1/2”, w. 17‑1/4”. [2000/4000] Illustrated 550 German Leaded and Enameled Glass Double-Portrait Panel, fourth quarter 19th century, depicting the noble robed donors Hermann Cappenberg (left) and Otto Cappenberg surmounted by a canopy of fruit and leaves in the 16th-century style, the donors identified in Latin below, retaining the mullioned mahogany frame, h. 78”, w. 53‑1/2”. [2500/4000] Illustrated 550

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551 R. Moretti (Italian, 19th/20th Century) “Cardinal Reading a Book in an Elegantly Furnished Room”, watercolor, signed and inscribed lower left “R. Moretti Roma”, sight 21” x 14”. Glazed and presented in a contemporary giltwood frame. [900/1200] Illustrated 552 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 554

553 German Bas-Relief Bronze-Patinated Cast-Iron Shield, third quarter 19th century, of teardrop form, the center with a relief equestrian battle scene, the basal point with a ram’s masque flanked by two addorsed seated male figures, h. 25”, w. 17‑1/2”. [250/400]

555 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]

552

554 Paul Aichele (German, 1859‑1910), an impressive patinated bronze figure of an eagle hunter, standing on a rock, arms raised holding the eagle by its outstretched wings, brun fonce patina, signed “Aichele” and with circular foundry mark, h. 41”, w. 43”. Provenance: Private collection, Tucson, Arizona. Paul Aichele first exhibited at the Berlin Art Exhibition of 1891 and was made a member of the German Academy of Arts. He later exhibited in the Berlin exhibitions, the Crystal Palace exhibition in Munich and the Dusseldorf Arts Exhibition. [8000/12000] Illustrated

551

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556 Thirty-One-Piece Set of Italian Spiral-Ribbed Bianco Pottery, third quarter 20th century, in the 18th-century taste, consisting of ten twohandled covered creamed soup bowls, nine covers and twelve matching underplates, all with gold floral decoration, one bowl lacking its cover, produced for Sakowitz, Houston, and so marked on the bases of the underplates, overall h. 4‑3/4”, dia. 6‑1/4”. [200/400] 557 Good Pair of French Giltwood Figures of Angels, early 19th century, each of the facing pair modeled with up-stretched arms, fully robed and with well-articulated wings, h. 18”, w. 16”, d. 6”. [1200/1800]

571

558 Italian School (Second Quarter 19th Century), After Raphael Sanzio da Urbino (Italian, 1483‑1520) “Madonna della Sedia”, oil on canvas, signed and dated lower left “J. Gioviani Firenze 1827”, 27” x 22”. Presented in a contemporary giltwood frame. [1400/1800] Illustrated

559

559 Life-Size German Carved Pine Figure of the Standing Madonna and Infant Jesus, fourth quarter 19th century, in the Late Gothic style, presented on a provincial white-painted paneled stand of later date, the sculpture stripped to the natural wood finish, figure h. 64‑1/2”, base h. 29”, w. 16”, d. 16”. [2500/4000] Illustrated 560 French School (Third Quarter 19th Century) “The Virgin of the Sacred Heart”, lithograph, image of the young virgin pointing to a flaming heart pierced by a sword, sight 17” x 10”. Presented in an “antique bead”-carved giltwood frame with an arched aperture and glazed. [75/125] 561 Italian School (19th Century) “Madonna and Child”, stipple engraving, engraved by Francesco Garzoli, with label “Sheryl Campbell, Prints and Paintings, Baton Rouge”, sight 15” x 12”. Glazed, matted and handsomely framed. [125/250] 562 After Raphael Sanzio da Urbino (Italian, 1483‑1520) “The Bridgewater Madonna”, stipple engraving, titled and inscribed lower legend “Vierge du Palais de BridgeWater -- d’apres le tableau original expose jadis la Galerie du Palais Royal”, engraved by Lorichon, sight 22” x 17”. Glazed and presented in a stained oak frame with gilt filet. [150/300]

558

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563 Italian Giltwood Pricket Stick, 19th century, of tripartite vasiform design, raised on outscrolled feet, now electrified as a table lamp Proenance: Mac Maison, New Orleans, Louisiana, h. 25”. [400/700]

564 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] 565 Spanish Colonial Figure of a Demi-Kneeling Peasant, second quarter 19th century, composed of carved and polychromed wood, the proper right arm lacking, probably from a creche group, presented on a detaching period wooden pedestal base, h. 15‑1/4”. [250/400] Illustrated

568

566

569 570

565

566 Spanish Colonial Figure of St. Benedict, fourth quarter 18th century, composed of carved and polychromed wood, the proper left hand lacking, presented on an integral carved wooden pedestal base of square section, h. 16‑1/4”. [200/400] Illustrated

567

568 Good, Large Italian Figure of St. Nicholas, first quarter 19th century, composed of carved, polychromed and parcel-gilt wood, the figure depicted bearing a book and the trio of golden balls, his proper right hand raised in benediction, the well-carved head fitted with glass eyes, h. 25‑1/2”. [1000/1500] Illustrated

573

567 Greek Polychromed Wooden Ikon, fourth quarter 18th century and later, depicting “The Virgin and Child”, the image considerably over-painted, the reverse fitted for a cradling bar, h. 11”, w. 9‑3/4”. [150/250] Illustrated

569 Spanish Colonial Figure of St. Anthony of Padua and the Christ Child, third quarter 19th century, composed of carved, polychromed and parcel-gilt wood, both figures robed in antique white with gilded detailing, the Child bearing a small cross, h. 17”. [150/300] Illustrated 570 Pair of Italian Carved Wooden Tripodal Candlesticks, first quarter 20th century, the weighted, brown-painted and parcel-gilt candlesticks in the neoclassical taste, each supported on a trio of giltwood ball feet, h. 17‑3/4”, w. 5‑1/2”. [300/500] Illustrated 571 Continental Carved and Polychromed Wooden Corpus Christi, fourth quarter 18th century, h. 23”. [600/900] Illustrated 572 Large Spanish Colonial Figural Candlestick, third quarter 19th century, composed of carved, polychromed and parcel-gilt wood and depicting a robed figure holding a flambeau aloft, now mounted as a table lamp and fitted with a faux candle and gold-toned paneled mica shade, h. 33‑1/2” (40‑3/4” to top of finial), base w. 8‑1/4”. [600/900]

131

574

573 Large and Unusual Cast and Polychromed Iron Corpus, third quarter 19th century, in the 18th-century style, on a sawn oak cross with stylized spade terminals, h. 43‑1/4”, w. 20”. [350/500] Illustrated previous page 577

574 Good Italian Carved and Polychromed Wood “Virgin and Child”, fourth quarter 18th century, probably Neapolitan, the figures modeled standing, the heads fitted with glass eyes, presented on an integral waisted square base, h. 37”. [1800/2500] Illustrated 575 Large Spanish Colonial Figure of the Virgin, second quarter 19th century, composed of carved and deuxcouleur-stained wood, both lower arms and hands lacking, h. 38”. [800/1200] Illustrated

576

132

576 Follower of Lucas Gassel (Flemish, b. ca. 1500d. ca. 1570) “An Extensive Landscape with the Flight Into Egypt”, oil on panel, unsigned, 20‑3/4” x 32‑1/4”. Presented in a contemporary ebonized frame in the Dutch style with a gilt fillet. This lot is accompanied by three responses to letters written by the owner regarding the authorship of the painting; the responses are from Robert A. Koch, Professor of Art & Archaeology, Emeritus, Princeton University, Department of Art & Archaeology, New Jersey, dated December 10, 1993; and Walter S. Gibson, Professor and Department Chair, Department of Art History and Art, Case Western Reserve University, Cleveland, Ohio, dated January 22, 1994 and March 9, 1994. [7000/10000] Illustrated

575

577 Continental School (18th Century) “Mary Magdalene Washing the Feet of Christ”, oil on canvas, unsigned, 27‑1/2” x 34‑1/4”. Presented in a giltwood frame. [2000/4000] Illustrated 578 Italian School (18th Century) “Christ Carrying the Cross”, oil on canvas, unsigned, 30‑1/2” x 29”. Presented in a contemporary giltwood frame. [1400/1800] Illustrated 579 After Sir Peter Paul Rubens (Flemish, 1577‑1640) “The Incredulity of Saint Thomas”, late 18th century oil on canvas, unsigned 46‑1/4” x 36‑1/4”. Presented in a contemporary giltwood frame. Provenance: Gerard’s Antiques, Atlanta, Georgia. [3500/5000] Illustrated

579

580

578 580 Monumental Leather and Ebonized Six-Fold Screen, in the Baronial taste, each fold with an arched top over three leather-upholstered panels, the upper two with brass tack accents, the lower one with an embossed design, within an ebonized frame with brass tack accents, overall h. 109”, w. 141”. [1400/1800] Illustrated 581 Large Pair of Continental Blackened Wrought-Iron Appliques, first quarter 20th century, of flambeau form in the Baronial style, the backplates modeled as large fleursde-lys, h. 20‑1/4”, w. 5‑3/4”, d. 9”. [250/400] 582 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]

133

584 Italian Provincial Wrought-Iron and Brass Brazier, early 20th century, in the neoclassical taste, the brazier suspended by three scrolling wrought-iron supports, h. 65‑3/4”, dia. 21”. [400/700] 585 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”. [1000/1500] 588 583 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]

591

586

586 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”. [1000/1500] Illustrated

134

587 Fine, Large Royal Berlin (KPM) Porcelain Cup and Saucer, 1847‑1849, the facade of the cylindrical, tripodal, paw-footed cup polychromed with the portrait of a seated brooding warrior king, with the colors and arms of the Corps Saxonia Jena, a German student fraternity, both pieces with the circular KPM eagle mark in underglaze blue as well as the royal scepter mark in underglaze blue, overall h. 5‑1/2”, dia. 7”. [100/200]

591 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 592 Large Spanish “Don Quixote de la Mancha” LacquerCased Chess Set, the chess pieces of polychromed lead and all present, the lid of the lacquer case forming the playing board, the interior lined in crimson silk velvet and fitted, h. 4‑1/4”, w. 22‑3/4”, pieces h. 3‑1/4” to 4‑3/4”. Provenance: Private collection, Jackson, Mississippi. [125/250] 593 Six Books on the Old Masters, including Frederick S. Wight, Goya, A. Richard Turner, Inventing Leonardo, Martin Clayton and Ron Philo, Leonardo da Vinci: The Anatomy of Man, Herbert Wiesner, Master Painters of Holland, Simonetta Rasponi, Michelangelo, and John F. Matthews, El Greco. Provenance: Private collection, Jackson, Mississippi. [40/70] 594 Louis Fabien (French, b. 1924) “Trees”, 1962, oil on canvas, signed and dated lower right “Fabien 62”, retains label on the reverse “DuBose Gallery, Houston, Texas”, 32” x 26”. Handsomely framed. [600/900] Illustrated

594

588 After Sir Peter Paul Rubens (Flemish, 1577‑1640) “The Munich Lion Hunt”, oil on tin, unsigned, the backing wood panel with red wax seal, indistinctly inscribed on an old paper label and with stamp “Holburne Bath Museum”, 14” x 20‑1/2”. Presented in a 19th-century carved giltwood and plaster frame. [2000/4000] Illustrated 589 Spanish School (Fourth Quarter 18th Century) “Portrait of an Elderly Military Officer”, unsigned, 28‑1/2” x 23‑1/2”. Presented in a contemporary giltwood frame. [300/500] 590 Austrian School (Third Quarter 19th Century) “The Armorer”, oil on canvas, featuring a seated crafter of armor and weaponry, unsigned, 28” x 22”. Presented in a handsome period carved giltwood and plaster frame in “Leaf and Fruit Garland” decor. [400/700]

595 595 Joseph Muslin (French, b. 1911) “Provence”, oil on canvas, signed lower right “Muslin”, titled and signed on the reverse, with gallery stamp en verso “Van Der Straeten, Gallery of Contemporary Artists, 931 Madison Avenue, New York”, 24” x 28‑3/4”, accompanied by an exhibition announcement card for the artist’s gallery show, “Joseph A. Muslin”, Van Der Straeten Gallery, New York, March 27 through April 13, 1968. Handsomely framed. [1000/1500] Illustrated

135

596 596 Robert Antoine Pinchon (French, 1886‑1943) “Le Toquesac Aout”, 1912, oil on canvas, signed, dated and titled lower left “Le Toquesac Aout 1912”, Robert Pinchon”, retains gallery label on the reverse “Galerie Herve, 18 Avenue Matignon, Paris”, and framer’s label “DuBose Gallery, Houston, Texas”, 25‑1/2” x 32, accompanied by an exhibition catalogue of the artist’s work, “Retrospective - Robert A. Pinchon”, Galerie Herve, Paris, 1971. Handsomely framed. Provenance: Galerie Herve, Paris. Born in Rouen to an upper middle class family, Robert Pinchon studied at the Ecole des Beaux Arts in Paris. In 1905, he exhibited at the Salon d’Automne and the Salon des Independants in Paris, and met Henri Matisse, Raoul Dufy and Maurice de Vlaminck, founders of the Fauvist movement. The work inspired him and he began incorporating bold and brighter colors in his impressionist landscapes and later was the founder of the Societe Normande de Peinture Moderne. [20000/40000] Illustrated

136 136

597 Jean Venitien (French, b. 1911) “Bouquet of Spring Flowers in a Glass Vase”, oil on canvas, signed lower left “Venitien”, with gallery stamp on the reverse “Van Der Straeten, Gallery of Contemporary Artists, 981 Madison Avenue, New York”, 21‑3/4” x 18‑1/4”, accompanied by an exhibition announcement pamphlet for the artist’s gallery show, “Jean Venitien”, Van Der Straeten Gallery, New York, 1970. Handsomely framed. [1200/1800] Illustrated 598 Paul Lucien Maze (French, 1887‑1979) “Jessie Cutting Flowers”, pastel on paper, signed lower left “Paul Maze”, retains gallery label on the reverse “Acquavella Galleries, Inc., New York”, sight 14‑1/2” x 21‑1/2”. Glazed, handsomely matted and presented in a molded giltwood and gesso contemporary frame. [2000/4000] Illustrated

600 Jean Venitien (French, b. 1911) “Les Frondaisons Roses”, oil on canvas, signed lower right “Venitien”, stretcher and frame with gallery stamp en verso “Van Der Straeten, Gallery of Contemporary Artists, 981 Madison Avenue, New York”, titled in black marker on stretcher verso, 22” x 18”. Handsomely framed. [1000/1500] Illustrated following page

597

599 David Pryor Adickes (American, b. 1927) “Vibrant Hillside”, oil on canvas, signed lower right “Adickes”, retains gallery label on the reverse “DuBose Gallery, Houston, Texas”, 20” x 16”. Handsomely framed. [800/1200] Illustrated 599

598

137 137

604 Eight Books on Van Gogh and the PostImpressionists, including Martin Bailey, ed., Van Gogh: Letters from Provence, David Sweetman, Van Gogh: His Live and His Art, Vincent Van Gogh (ex. cat., Baltimore: BMA, October 11 - November 29, 1970, et al.), A. M. Hammacher, Van Gogh, George S. Keyes, et al., Van Gogh: The Portraits, Robert Wallace, The World of Van Gogh, 1853‑1890, Robert R. Brettell, Post-Impressionists (coll. cat., Art Institute of Chicago), and Michael Howard, Monet. Provenance: Private collection, Jackson, Mississippi. [75/125]

600 601 Andrea de Kerpely-Zak (Hungarian/American, b. 1943) “Spring Flowers”, pair of watercolors on paper, both examples signed lower right, sight 23‑1/4” x 17‑1/4”. Glazed, matted and framed. [600/900] Illustrated 602 Margo Terzian Lang (American/Arizona; Active) “Mountainous Landscape of a Tree with Golden Leaves”, watercolor on paper, signed lower right “Margot Terzian Lang”, sight 21‑1/2” x 28‑1/2”. Glazed, matted and framed. [600/900] 603 Ten Books on French Impressionists and Salon Artists, including Francois Daulte, Auguste Renoir: Watercolors and Pastels and Patrick Bade, Degas: The Masterworks, with two collection catalogues Richard R. Brettell, French Salon Artists, 1800‑1900 (Art Institute of Chicago) and Germain Bazin, French Impressionist Paintings in the Louvre, two exhibition catalogues Corot to Braque: French Paintings from the Museum of Fine Arts, Boston (Atlanta: High Museum of Art, April 21 - June 17, 1979, et al.) and The Taste of Paris from Poussin to Picasso (Atlanta: High Museum of Art, October 5 - December 1, 1968), three sale catalogues Year of the Impressionists (Southfield, Michigan: Park West Gallery, 1989), Fine 19th and 20th Century American and European Paintings (Los Angeles: Sotheby Parke Bernet, June 23‑24, 1980) and The Greta Garbo Collection (New York: Sotheby’s, November 15, 1990), and a promotional brochure Five Twentieth Century Masterworks at Sotheby’s (New York & London, Fall, 1992). Provenance: Private collection, Jackson, Mississippi. [60/90]

138

601 pair

606 John Morgan (British, 1823‑1885) “Portrait of a Girl in a Pink Dress, Holding a Seashell”, oil on canvas, signed lower left “John Morgan”, with canvas stamp on the reverse “Winsor & Newton, London”, 21” x 18”. Handsomely framed. [8000/12000] Illustrated 607 After Elizabeth Louise Vigee-LeBrun (French, 1755‑1842) “Self Portrait”, oil on porcelain, oval portrait miniature, signed lower right “Volk”, porcelain with stamp “Swaine & Co., Huttensteinach 766”, 5‑1/4” x 3‑3/4”. Presented in a polychromed and giltwood frame composed of three bands of decorative carving. [200/400]

609

605

606

608 Manner of Elizabeth Louise Vigee-LeBrun (French, 1755‑1842) “Portrait of a Lady in a White Dress with Blue Sash Leaning Against a Stone Pedestal”, oil on canvas, inscribed and dated lower left “L. E. Vigee LeBrun 1788”, 30” x 26”. Presented in a handsome giltwood frame with foliate accents at the corners. [1200/1800] 605 Adrien Moreau (French, 1843‑1906), a charming oval oil-on-panel portrait of a young girl with a white ruff and a blue hair ribbon, ca. 1885, the upper edge of the panel inscribed and signed “A mon ami Lebrasseur/Adrien Moreau” and monogrammed at left “CL”, probably a portrait of Monsieur Lebrasseur’s daughter, 6‑3/4” x 5”. Presented in a handsome period Florentine carved and gilded wooden frame in the baroque style on a custom plaited wire stand. [2500/4000] Illustrated

609 After Jean-Baptiste Greuze (French, 1725‑1805) “The Broken Pitcher”, mid‑19th century oil on canvas laid down on masonite, unsigned, verso with partial label “Kensington Antiques Fair”, 32” x 24”. Presented in a period carved giltwood frame. [2500/4000] Illustrated

139

610 French School (19th Century) “A Kiss at the Garden Gate”, oil on panel, indistinctly signed lower left, 20” x 15‑3/4”. Handsomely framed. [2500/4000] Illustrated

610

612

613 611 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. [600/900] 614

140

612 German School (Fourth Quarter 19th Century) “Peasant Girl Holding a Basket of Fruit”, oil on canvas laid down on wood panel, signed, dated and inscribed lower left “Kern Hermann Munchen 1892”, 20” x 17”. Presented in a molded giltwood frame with floralcarved bands and boldly carved acanthine corners. [1000/1500] Illustrated

618 618 Pair of Thai Bronze Figures of Buddha, 20th century, each depicting a standing figure with both hands raised in blessing, clad in traditional Thai clothing and crowned with a Thai royal headdress, h. 28‑3/4”. [600/900] Illustrated 619 Chinese Rosewood and Burlwood Drum-Shaped Stool, 20th century, the bowed body composed of interlaced, stylized cloud shapes with vertical staves with pierced centers, the circular top with burlwood inset, h. 18‑1/2”, dia. 16”. [200/400] 620 Unusual Pair of Chinese Carved Wood Figures of Buddhistic Lions, 19th century, each elaborately carved, gessoed and painted, each holding a ribbon in its mouth and paws, with attached brocade ball, the female with a cub beneath her playing with the end of the ribbon, h. 11‑1/2”. [250/400] Illustrated

613 Continental School (19th Century) “The Lute Player”, oil on canvas, tondo, unsigned, 29” x 23‑1/2”. Presented in a handsome giltwood and parcelebonized frame with an annulated slip surrounded by a foliate-carved outer band. [1500/2500] Illustrated

621 Unusual Chinese Porcelain Miniature Garden Seat, first quarter 20th century, of barrel form with alternating piercings of cash and foliate symbols, the base and top rims with rows of bosses, glazed all over in a streaked turquoise glaze, h. 6‑1/2”, dia. 8”. [250/400] Illustrated

614 Lucia Angell (Italian, 19th/20th Century), After Pierre August Cot (French, 1837‑1883) “The Storm”, oil on canvas laid down on panel, signed and dated lower left “Lucia Angell 1901”, 34” x 23”. Presented in an elaborately carved giltwood frame, the whole molded and with a foliate patterned slip, the corners and side accents with boldly carved and pierced acanthine foliate-shell designs, 19th century. [2000/4000] Illustrated 615 Thai Cast-Bronze Figure of Buddha, 20th century, the seated figure clad in monk’s robes seated on a plain double base, the figure with one hand resting on a leg, the other in his lap with upturned palm, the head with curled hair and a flame issuing from the top of his head symbolizing wisdom, depicted seated on two wood enclosed reed mats, figure h. 13”. [125/250]

622

620

621

616 Japanese Bronze Ikebana Dish, first half 20th century, of circular form with incurved rim, resting on a straight foot, with dark patination, dia. 9”. [75/125] 617 Good Thai Bronze Fragment of a Figure of Buddha, probably 19th century, consisting of the upper torso, head and upper arms, the figure clad in monk’s robes with curled hair and a flame atop the head, mounted on a wooden base, h. 14”. [300/500]

141

623 Chinese Cast and Gilt-Bronze Figure of Buddha, 19th century, the seated figure clad in a brocade-edged robed, depicted in the lotus position with one hand resting on a leg and the other upheld with palm up, with scattered remaining gilding, h. 8”. [400/700] 624 Chinese Rosewood Three-Part Desk, first half 20th century, composed of a rectangular plank top with floating panel resting on two support stands, each with two drawers above shaped aprons, the squared legs connected to a geometric fretwork base, h. 30‑5/8”, w. 49‑1/4”, d. 21‑3/4”. [1400/1800] Illustrated

624

626

625 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”. [600/900]

626 Trio of Chinese Carved Hardwood Canoe Paddles, ca. 1900, composed of Southern softwood and of different lengths, the wood cleaned and waxed, each mounted upright on a custom black-painted wrought-steel stand, h. 42” to 54‑1/2”. [300/500] Illustrated

622 Fine Chinese Export Gold Lacquer-Decorated Jewel Casket, ca. 1830, of rectangular form with fitted interior tray and key, decorated in gold, black and red lacquer on the exterior, each side and the top with shaped reserve panels of figures in domestic scenes against a ground of fierce dragons on the top, edged by borders of feathers, the reserve panels on the sides set against a ground of scrolling foliage and flowers, h. 3‑5/8”, w. 4‑3/8”, l. 10‑7/8”. The decoration on this piece is especially notable for its incredibly skillful execution and wonderful condition. [1500/2500] Illustrated previous page

142

627 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]

628

632 Brilliant Chinese Famille Rose Porcelain Tea Cup, exquisitely decorated with orchids and bamboo sprouting from a rocky outcrop and two butterflies in flight, all against a white ground, the enamels strong yet delicate in perfect taste and delicate hue, the base with a six-character Qianlong seal mark in underglaze blue and probably of the period, presented in a wooden box, h. 2‑1/4”, dia. 3‑1/2”. [900/1200] Illustrated

631

628 Chinese Export Champleve Floor Lamp, late 19th century, the multi-tiered bronze body decorated in floral and avian designs with inlaid polychrome enamels against a textured ground, with a white silk fringed shade, h. 67”. [600/900] Illustrated

633 Fine Pair of Chinese Famille Rose Porcelain Vases, each of flattened rectangular form with waisted lip rims and feet, forming mirror images of one another, the centers decorated in finely executed enamels with continuous scenes of watery landscapes depicting figures of women and men in fishing and crabbing pursuits, the central scenes edged with borders of ruyi heads at the tops and borders of fleur-de-lys at the bottoms, the waisted rims and feet decorated with scrolling lotus blossoms against a yellow ground and puce borders, the recessed bases with six-character Qianlong reign marks in iron red in single lines, h. 9‑1/2”. [1400/1800] Illustrated

629 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]

630 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]

632

633

631 Chinese Carved Jade Dragon/Phoenix Vase, 20th century, of flattened baluster form with lion-head handles and loose rings, the face carved in low relief depicting a five-clawed dragon chasing the Flaming Pearl above waves, the reverse carved in low relief with an elegant phoenix among clouds and flowers above waves, the neck with a border of plantain leaves, the fitted, domed cover with two loose rings, the stone of mottled green and pale lavender color with veins of bright apple green, presented on a fitted wooden stand, h. 11‑3/4”, including stand. [9000/12000] Illustrated

143

637 Turkish Oushak Carpet, 7’ 10” x 10’ 10”. [1200/1800] Illustrated 638 Turkish Angora Oushak Carpet, 9’ 1” x 12’ 3”. [1800/2500] 639 Jaipur Carpet, 8’ x 9’ 7”. [1400/1800] Illustrated

636 640 Oushak Carpet, 7’ 7” x 5’ 7”. [1000/1500] Illustrated

634 Fine Pair of Yellow-Ground Sgraffito Wine Cups, Tongzhi (1862‑1874) reign mark and probably of the period, each thinly potted in an inverted bell shape, engraved with a continuous design of dragons pursuing the Flaming Pearl under a lemon yellow glaze, the recessed base with six-character reign marks in underglaze blue, h. 2‑1/4”. [600/900] Illustrated

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

635 Chinese Glazed Porcelain Meibing Vase, 20th century, of traditional meibing shape glazed in underglaze blue on an egg-yolk ground with fruiting branches and a lower border of plantain leaves and a border of Tibetan-style flames in lappet borders at the shoulder, h. 11‑1/4”. [500/800] Illustrated

635

636 Pair of Framed Chinese Porcelain Plaques, first half 20th century, each of rectangular form and decorated in famille rose enamels with scenes of birds among branches and flowering plants with rockwork and calligraphic inscriptions, presented in wooden frames, h. 22‑1/4”, w. 15”. [200/400] Illustrated

634

144

642 Oushak Carpet, 4’ 10” x 2’ 6”. [200/400] 643 Agra Zeiglar Mahal Carpet, 8’ 1” x 11’ 10”. [1400/1800] 644 Agra Serapi Carpet, 10’ x 14’. [1800/2500] 645 Uzbek Kazak Carpet, 6’ x 9’ 4”. [700/1000]

639

637

646 Agra Serapi Carpet, 8’ 1” x 10’. [1000/1500] 647 Pair of Agra Serapi Runners, 2’ 7” x 8’ 2” and 2’ 6” x 8’. [600/900]

640

145

651 Provincial Mediterranean Parcel-Glazed Terra Cotta Storage Jar, 19th century, the circular molded lip with an ochre glaze above a teardrop-form body, the interior glazed, h. 35‑1/2”, dia. 28”. [1200/1800] Illustrated 652 Pair of Turned Wood Vasiform Newel Post Finials, fourth quarter 19th century, presently in a stripped and lightly waxed finish, h. 26‑1/2”, w. 7”. [300/500] 653 Louis XV-Style Provincial Fruitwood Center Table, fourth quarter 19th century, the shaped top with a full, raised, foliate-carved edge above a shaped, likecarved frieze, raised on cabriole legs headed by foliate carving and ending in paw feet, h. 29”, w. 45”, d. 34”. [1200/1800] Illustrated

651

648 648 French Provincial Cherrywood Buffet a Deux Corps, mid‑19th century, the molded and canted cornice above a frieze with inlaid geometric banding, above two doors, each inset with a shaped panel, opening to a shelved interior, the canted lower section fitted with two drawers over two cupboard doors, each inset with a shaped panel and above a fan-carved apron, raised on shaped toes, the whole with decorative geometricpatterned inlays and banding, h. 96”, w. 58‑1/2”, d. 26‑1/4”. [3500/5000] Illustrated 649 Pair of Provincial Louis XV 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 floralcarved apron raised on cabriole legs joined by a turned stretcher, h. 35”. [800/1200] 650 Collection of Four French Mounted Dried Botanical Specimens, fourth quarter 19th century, presented nine-to-a-frame on taupe backplates within white-painted 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]

146

653

662

656 Henry Maurice Cahours (French, 1889‑1974) “Sailboats and Fishermen at Sea”, oil on board, signed lower right “Henry Maurice Cahours”, verso with label inscribed “Henry-Maurice Cahours, 2 Nu Cortot 18”, 7‑1/2” x 9‑1/2”. Handsomely framed. [1500/2500] 657 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]

661 654 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] 655 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]

658 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 659 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 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]

660 Good French Tole-Peinte and Cut Glass Cruet Frame, second quarter 19th century, of footed navette form, the frame centered with a matching, pierced, covered tole-peinte vase in the antique style, each cruet retaining the tall, period, lapidary air-trap glass stopper, h. 10‑3/4”, w. 9‑3/4”. d. 4”. [1200/1800]

658

661 French School (Late 19th/Early 20th Century) “Tournee des Folies-Dramatiques, Une Nuit de Noces”, Vaudeville en 3 Actes de M.M.H. Keroul and Albert Barre, vintage lithographic poster, plate signed lower right “G. Eros”, printed by Imp. Glaise, Paris, sight 47” x 30‑3/4”. Handsomely framed. [600/900] Illustrated

147

662 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 previous page 663 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”. [700/1000] Illustrated 664 Provincial Louis XVI-Style Fruitwood Poudreuse, late 19th century, the trisected top banded and with floral basket inlays in various woods, the center section hinged and opening to a mirrored interior, the two side sections opening outward to reveal storage spaces, above a conforming case fitted with a central pullout slide over a drawer flanked to one side by two small faux drawers and to the other by a small drawer over a faux drawer, all with inlaid diamond banding, raised on tapering square legs ending in brass caps, h. 29‑1/2”, w. 32”, d. 17”. Provenance: Private collection, Jackson, Mississippi. [400/700] Illustrated

663

665

664

665 French Provincial Walnut Armoire, second quarter 19th century, the domed and heavily molded cornice above a dentillated frieze, above a case fitted with two doors, each inset with three panels, the center one with fluted accents, above a shaped frieze, raised on heavily scrolled feet, h. 104”, w. 60”, d. 27”. [5000/8000] Illustrated 666 French School (Third Quarter 19th Century) “Little Boy Feeding His Rabbits”, oil on canvas, indistinctly signed lower left “A. (?)iez”, with canvas stamp on the reverse “Dupin”, 9‑1/2” x 7‑1/2”. Presented in a molded giltwood frame with incised patterning and corner foliate accents. [1400/1800] Illustrated 667 Large French Provincial Pyriform Storage Jar, first quarter 20th century, in partially russet-glazed buff terra cotta and fitted with two handles, h. 16‑1/2”, dia. 11‑3/4”. [200/400]

148

668 French Provincial Terra Cotta Two-Handled Oil Ewer, fourth quarter 19th century, of the traditional type, the buff clay vessel partially glazed in ochre spatter and brown, h. 11”, dia. 9‑1/4”. [125/250] 669 Provincial Fruitwood Plate Rack, third quarter 19th century, fitted with three shelves, all with a protective front bar and with incised racks, above a shaped apron, raised on runner feet, the back fitted for hanging, h. 42”, w. 50”, d. 7‑1/4”. [250/400] 670 Provincial Louis XV Fruitwood Side Table, late 18th century, the banded rounded rectangular top with a molded edge, above a conforming case fitted with three short compartmented drawers, raised on cabriole legs ending in hoof feet, h. 27”, w. 49”, d. 21‑1/2”. [1500/2500] Illustrated 671 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]

666

672 Provincial Louis XV-Style Fruitwood Vanity Chair, the padded and domed tufted back above a padded seat, the shaped apron raised on molded cabriole legs ending in scrolled toes, h. 29”. [150/300] 673 French Provincial Green-Glazed Buff Terra Cotta Tree Tub, second quarter 20th century, with quadruple handles, h. 16”, dia. 16”. [200/400]

670

674 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. [2000/4000]

675 675 French Provincial Elm and Fruitwood Farmhouse Table, early 19th century, the long rectangular planked top above a conforming frieze, raised on heavily turned tapering circular legs ending in ball feet, h. 30‑1/2”, w. 27‑1/4”, l. 77”. [800/1200] Illustrated

149

676 French Provincial Fruitwood Armoire, late 18th century, the rounded cornice above a case fitted with a paneled and star-carved frieze over two long doors, each inset with three shaped panels, above a shaped and fluted apron, raised on shaped feet, h. 84”, w. 58‑1/2”, d. 24‑1/2”. [2500/4000] Illustrated

687

676

677 Rare, Large Polychromed “Vienna Bronze” Encrier, fourth quarter 19th century, depicting a pair of owlets perched on a branch arching over a large rhubarb leaf, the owlet heads lifting to reveal period gilt-brass-capped frosted glass ink bottles, h. 7‑1/4”, w. 18”, d. 10”. [1800/2500] Illustrated

678

678 Jules Moigniez (French, 1835‑1894) “Golden Pheasant”, a large dark golden brown-patinated bronze group of a golden pheasant and a lizard on a crag, fourth quarter 19th century, signed on the base, below the lizard, “J. Moigniez” in script, h. 10”, w. 8”, l. 21”. [900/1200] Illustrated

677

679 Large Provincial Pine and Fruitwood Farmhouse Table, third quarter 19th century, the long narrow planked top with rounded ends, above a plain frieze, raised on turned and bulbous legs ending in toupie feet, h. 30”, w. 33”, l. 122”. [1200/1800] Illustrated 680 Pair of French Provincial Oak Farmhouse Benches, early 19th century, each with a long planked top raised on splayed end supports and a central tapered leg joined by stretchers, h. 18”, w. 7‑3/4”, l. 98”. [500/800] Illustrated

150

681 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] 682 Large Austro-German Canvas-Backed Colored Lithograph Classroom Scroll of the Lobster Thoracostraca astacus, including the creature and diagrams of its internal structure, late 19th century, by Prof. Paul Pfurtscheller, h. 55”, w. 50‑1/2”. [350/500] 683 French Provincial Partially Ochre-Glazed Buff Terra Cotta Ewer, first quarter 20th century, of spherical form in the traditional manner with two handles, h. 12‑1/2”, dia. 8‑3/4”. [150/300] 684 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”. [500/800] 685 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]

686

686 Attributed to Narcisse-Virgil Diaz de la Pena (French, 1807‑1876) “Figure Seated by the Forest’s Edge”, oil on board, signed lower left “N. Diaz”, 9‑3/4” x 13”. Handsomely framed. [700/1000] Illustrated

680

687 Pair of French Provincial Fruitwood Fauteuils, late 19th century, each with a scalloped crest flanked to either side by a ball finial and above two like splats, joined by scrolling arms to cushioned rush seats, raised on banded circular legs joined by a turned H-form stretcher and ending in peg feet, h. 43‑1/2”. Provenance: Antique Collection, Baton Rouge, Louisiana. [600/900] Illustrated 688 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]

679

689 Large French Provincial Terra Cotta Storage Jar, first quarter 20th century, of the traditional type, partially green glazed with two handles, now mounted as a table lamp on a turned wooden base and fitted with a large paneled antique-white fabric shade, h. 30” to top of finial. [300/500]

151

697 pair

690

692 Bernardo Hay (British, 1864‑1931) “View of a Market in Naples”, oil on board, signed lower left “B. Hay”, inscribed lower right “Napoli”, 10‑1/4” x 7‑1/4”. Presented in a giltwood frame, heavily carved with pierced and foliate-scroll accents within a plain slip. [1200/1800] Illustrated

692 690 Provincial Louis XV-Style Oak Buffet, early 20th century, the shaped rectangular top with a molded edge above a case fitted with three drawers over three cupboard doors, all inset with shaped panels, above an acanthine-carved apron, raised on scrolled toes, h. 42”, w. 85”, d. 23”. [1800/2500] Illustrated 691 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”. [300/500] 696

152

693 Provincial Louis XV-Style Fruitwood Commode Chair, second quarter 19th century, the caned back with an upholstered upper piece, surmounted by a foliatecarved crest, joined by scrolling arms to the caned and hinged seat, lifting to the pot cupboard, above a deep floral-carved apron, raised on molded cabriole legs ending in scrolled toes, h. 38”. [300/500]

700

694 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] 695 Provincial Louis XV Fruitwood Stool, 18th century, the padded rectangular top above a shaped foliate-carved apron, raised on like-carved cabriole legs ending in scrolled toes, h. 17‑1/2”, w. 23”, d. 21”. [1200/1800]

696 Suite of Four Provincial Louis XV-Style Fruitwood Sidechairs, early 20th century, each with a shaped caned back surmounted by a shield crest, the caned seat raised on molded cabriole legs headed by shield carving and ending in scrolled toes, h. 37”. [700/1000] Illustrated

699

701

697 Pair of Louis XVI-Style Giltwood Pier Mirrors, 19th century, each tri-paneled and of elongated rectangular form, all within a foliate-carved frame, h. 72”, w. 24”. [1400/1800] Illustrated 698 Three-Piece German PolychromeDecorated Majolica Mantel Garniture, fourth quarter 19th century, in the Renaissance taste, comprised of an oval center bowl, h. 9‑3/4”, w. 19”, d. 8‑1/4”, and a pair of smaller flanking vases, h. 9‑1/2”, w. 14”, d. 8‑1/4”, all with stag’s-head handles and gloss cerulean blue interiors. [200/400] 699 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”. [2000/4000] Illustrated

153

702

703 French Provincial Oak Cabinet, fourth quarter 18th century, the rounded rectangular top with a molded edge, hinged and opening to a shallow storage space, above a case fitted with two cupboard doors, each inset with a shaped panel, raised on shaped feet ending in pointed toes, h. 35”, w. 50‑1/2”, d. 24‑3/4”. [2000/4000] Illustrated 704 Regence-Style Oak Fauteuil, 19th century, the shaped and padded back surmounted by a shell and foliate crest, joined by padded foliate-carved arms to the padded seat, raised on cabriole legs headed by shield carving and ending in scrolled toes, h. 41‑1/2”. [1200/1800] Illustrated

704

700 Louis XV-Style Mahogany Armoire, second quarter 20th century, the molded and domed cornice centered by an elaborately carved shell and foliate crest, above a case fitted with two long doors, each inset with a beveled glazed panel, the interior mirrored and electrified, the sides quarter veneered, above a foliate-carved apron, raised on cabriole feet headed by acanthine carving and ending in scrolled toes, h. 106”, w. 65‑1/2”, d. 20‑1/2”. Provenance: Fireside Antiques, Baton Rouge, Louisiana. [2000/4000] Illustrated previous page 701 Provincial Louis XV Fruitwood and Oak Chaise Longue, late 18th century, the padded end surmounted by a shaped floral-carved crest, joined by shaped sides to the long padded seat, raised above a shaped foliate-carved apron on cabriole legs ending in foliate-carved feet, h. 38”, w. 32”, l. 74‑1/2”. [2500/4000] Illustrated previous page 702 Provincial Louis XV Walnut Armoire, early 19th century, the heavily molded and domed cornice above a conforming case fitted with a floral basket-centered frieze flanked to either side by floral lattice-patterned incised panels, over two long doors, each inset with three shaped panels within an annulated molding, the doors separated by an elongated fluted panel, raised above a shaped apron on pointed toes, h. 95”, w. 74”, d. 30”. [3000/5000] Illustrated

154

703

708 Architectural Mansard Looking Glass, the ovoid plate surmounted by a heavily molded crest within a wooden frame, h. 37‑1/2”, w. 41”. [300/500] 709 French Provincial Polychromed Tallcase Clock, mid‑19th century, the hood featuring a single glazed door opening to the face with an upper brass repousse reserve of “Christ Bearing the Cross”, the white enamel face with pale blue oval outlines to each numeral, the kettle-form case fitted with a single door and featuring a painted sheep and horse, raised on bracket feet, h. 92‑1/2”, w. 15‑1/2”, d. 7‑1/2”. [1000/1500]

706

707

710 Pair of Louis XIII-Style Fruitwood Fauteuils a la Reine, third quarter 19th century, each with a padded rectangular back joined by downswept scrolling arms to the padded seat, raised on block-and-ball legs joined by a like front stretcher and ending in ball feet, h. 45”. [800/1200]

705 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] 706 Suite of Eight Louis XVI-Style Mahogany Sidechairs, early 20th century, each with a shaped and padded back within a molded frame, the padded seat raised on tapering circular legs headed by lotus carving and ending in toupie feet, upholstered in crimson leather, h. 36‑1/2”. [3000/5000] Illustrated 707 French Provincial Oak Narrow Shelf, early 19th century, the rounded rectangular cornice above a scalloped frieze, above three open shelves, all supported by molded uprights, raised on shaped legs, h. 50”, w. 91‑1/2”, d. 10‑1/4”. [700/1000] Illustrated

711 Regence Walnut Fauteuil a la Reine, 18th century, the padded rectangular back surmounted by a shaped crest and joined by downswept scrolled arms to the padded seat, raised on scrolled legs joined by a shaped X-form stretcher and ending in in-scrolled toes, h. 43‑3/4”. [1800/2500] 712 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]

155

713

714 Worcester “Dr. Wall Period” Porcelain Dessert Plate, 1755‑1790, in blue and white floral decor, the edge fluted, the reverse marked with an underglaze blue crescent, dia. 8‑1/4”. [150/250]

720

715

713 Sixty-One-Piece Royal Copenhagen Porcelain Partial Dinner Service, for eight persons, second quarter 20th century, in the 18th-century style, the blue and white service comprised of eight dinner plates with basket-weave pattern rim, dia. 10”, eight soup plates en suite, eight bread-and-butter plates, eight salad/dessert plates, eight cups, eight saucers, a three-piece after-dinner coffee service (coffeepot, covered sugar basin and cream pitcher), a beaker, a paneled milk pitcher, a teapot, h. 6‑1/2”, a bullet-form sugar caster, a circular serving platter, dia. 11‑1/2”, a triangular sweetmeats tray, a sauceboat with integral stand, a leaf-form sweetmeats dish, l. 9”, a covered pot-de-creme, and a square octagonal pot-de-creme underplate, all of the pieces fully backstamped. [800/1200] Illustrated

156

715 French Provincial Fruitwood Rack, third quarter 19th century, the rounded and dentillated cornice above three shelves, all fronted by a spindled arched gallery, raised on shaped feet, h. 49‑1/4”, w. 48”, d. 13”. [400/700] Illustrated

716

716 French Provincial Fruitwood Dough Trough, fourth quarter 18th century, the rectangular planked top removing to a tapering rectangular storage space, raised on a stand composed of heavily turned legs joined by an H-form stretcher and ending in bun feet, h. 29‑1/2”, w. 44‑1/2”, d. 24”. [1500/2500] Illustrated 717 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

717

718 Monumental French Verdure Tapestry, mid‑19th century, depicting “The Meeting of Mars and Venus”, the palette in ecru, ivory, ultramarine blue and brown, the upper and basal borders of fruit and flowers, each centered with an armorial reserve of a large fully leafed tree, the side borders folded back and basted to the linen backing, 9’ x 13’. [10000/15000] Illustrated 719

719 French Provincial Oak and Fruitwood Cupboard, third quarter 18th century, the rectangular top above a conforming case fitted with two drawers, each with incised diamond patterning, over two cupboard doors, each paneled and with like patterning, the whole raised on a molded plinth base, h. 50”, w. 52”, d. 19‑1/2”. [900/1200] Illustrated 720 French Provincial Pine and Oak Wine Table, early 19th century, the tilting, banded and planked circular top raised on a swinging support and end supports to runner feet, h. 27”, dia. 42”. [400/700] Illustrated

718

157

721 French Iron Wine Bottle Rack, early 20th century, fitted with twelve circular tiers, each with hooks to hold bottles, raised on a circular base, h. 59”, dia. 22‑1/2”. [500/800] Illustrated 722 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]

727 Northern European Provincial “Cookie Mold”Carved Wooden Box, second quarter 19th century, of oblong form with a slide top, the base of one end fitted with a shallow “secret” drawer, h. 6‑7/8”, w. 17‑5/8”, d. 8‑1/8”. [900/1200] Illustrated 728 Pair of French Cast Terra-Cotta Balustrade Spindles, first quarter 20th century, now mounted as table lamps and fitted with custom vellum shades, h. 31” to top of finial. [800/1200] 729 Three-Piece Provincial Oak Mortar and Pestle Set, 19th century, consisting of a trunk-form mortar, h. 17”, dia. 16‑1/2”, and two large double-sided pestles, l. 46” and 32”. [350/500] 730 French Provincial Fruitwood Farmhouse Table, second quarter 19th century, the rectangular top above a conforming frieze fitted with a single central side drawer, raised on octagonal legs joined by an H-form stretcher and ending in octagonal feet, h. 29‑1/2”, w. 47‑1/2”, d. 29‑1/4”. [1500/2500] Illustrated

721

723 Victorian-Style Green-Painted Sheet Metal Birdcage, the stepped conical top above a cylinder-form wire mesh cage, fitted with a perch and a single arched door and removable cleaning tray, raised on tubular legs joined by a circular stretcher, h. 88”, dia. 23”. [300/500] 724 Large Copper Two-Handled Laundry Cauldron, fourth quarter 19th century, of cylindrical form, the exterior with verdigris patination, h. 19‑1/2”, dia. 26”. [600/900] Illustrated

724

725 French Provincial Oak Coffer, late 18th century, the planked rounded rectangular top hinged and opening to a storage space, above a paneled case, the whole raised on shaped legs, h. 28”, w. 51”, d. 24‑1/4”. [500/800] 726 Provincial Fruitwood Armoire, mid‑19th century, possibly Iberian, the molded cornice above a case fitted with two long doors, each inset with a single panel with corner accents, decorative nail head patterning above and below , raised on tapering square feet, the interior fitted for shelves with one shelf present h. 79‑1/2”, w. 56”, d. 29”. [1200/1800]

158

727

731 Nineteenth-Century New Orleans Needlework Tapestry Panel of the Mater Amabilis, dated 1882 (or 1884), signed “R. Billgery”, depicting the Virgin and Child in gros point with petit point details, signed on the basal edge “R. Billgery, St. Marien Schule, N. O. 1882”, presented in a carved giltwood frame in the neoclassical taste and glazed, overall 31” x 25‑3/4”. A search of city records reveals the artist to have been Rosa Billgery, who was born in New Orleans on February 11, 1872, the daughter of Joseph N. Billgery (1828‑1877) and his wife Mary Magdalene Horsch (1838‑1892). Joseph was a brewer, distiller and liquor merchant of French birth who worked briefly in Vicksburg, Mississippi, before settling in New Orleans. He was naturalized as an American citizen on October 2, 1874 and died in New Orleans on September 15, 1877. He is buried in St. Joseph’s Cemetery. Rosa married Frederick Benjamin Freeland (1868‑1899), a postal carrier, on July 14, 1891 in New Orleans and by him had four children: Frederick, Jr. (b. 1892), Thomas (b. 1894), Robert (b. 1895) and Frances (b. 1897). She died of complications from childbirth on February 13, 1897; tragically, her daughter died four months later on June 29, 1897 and her husband two years later on August 27, 1899. Their orphaned sons were reared by their paternal grandmother, Margaret Zwiebel Freeland (1839‑1914). Rosa would have been a young girl of ten or twelve at the time she created this tapestry while matriculating the St. Marien Schule fuer die Deutschen [St Mary’s School for Germans], the grammar school of the German community’s St. Mary’s Assumption Church in the Lower Garden District. The school, run by the School Sisters of Notre Dame, was built in 1867 on property purchased by the sisters under the direction of Mother Caroline Friess (1824‑1892). The three-story Gothic structure still stands at 2118‑2121 Constance Street. Tapestries such as this were often joint efforts - the sisters working the petit point faces and hands and the students working the gros point backgrounds - and were sold at school fairs or given as presents to retired church and school officials. They are highly soughtafter today by American corporations and private collectors, and this example is unusual in the wealth of information regarding the life and times of the student who created it. [125/250] 732 Italian School (19th Century) “Saint Cecilia”, oil on canvas, unsigned, 10” x 8”. Presented in a contemporary giltwood frame. [600/900]

735 French Limestone Baptismal Font, 19th century, of octagonal form, the paneled body with a Maltese cross carved into four sides, now raised on a conforming oak stand to a square standard to four splayed supports on runner feet, h. 34”. [125/250] 736 Jean d’Arc Ecru Linen Tablecloth with Twenty-Four Napkins, the Madeira tablecloth with historically correct sites embroidered on the edges of the cloth, including chateau Mesmeres, chateau de Tournoel, the Coronation of Charles VII, Jean in Paris, and Jean taken captive, with masterful embroidery and cutwork, w. 68”, l. 180”, the napkins with large Jean D’arc face in the corner, museum quality. [2500/4000] Illustrated 737 Spanish Colonial School (Late 18th Century) “The Penitent Magdalene”, oil on copper, unsigned, 8” x 6‑5/8”. Presented in an attractive antique Louis-Philippe carved giltwood and plaster frame in the neoclassical taste, second quarter 19th century. [700/1000]

736

733 After Moretto da Brescia (Italian, 1498‑1554) “The Visitation of the Virgin to St. Elizabeth”, engraving by Francesco Cecchini, Rome, 1799, verso with label “Sheryl Campbell, Prints and Paintings, Baton Rouge”, sight 16” x 17”. Glazed, matted and presented in a giltwood frame. [400/700] 734 Pair of French Provincial Fruitwood Church Chairs, late 19th century, each with a flat crest above two shaped splats, the back fitted with a container for prayer books, the rush seat raised on turned legs joined by stretchers, h. 32‑1/4”. [150/300]

730

159

738 Spanish Colonial School (Fourth Quarter 18th Century) “St. Clare of Assisi Bearing a Monstrance”, unsigned, 21” x 17”. Presented in a period Spanish Colonial foliate-carved giltwood frame. [1800/2500] Illustrated 739 Cuzco School (Third Quarter 19th Century) “The Seated Crowned Virgin and Child”, a large Spanish Colonial painting, unsigned, 34” x 25‑1/2”. Presented in a period black-painted wooden frame with a bobbin-turned ebonized wood fillet. [1500/2500] Illustrated

738 743 Three-Piece Group of Chinese Desk Articles, ca. 1970, consisting of a filigree, enamel and jade ashtray; a filigree, enamel and jade rectangular box; and a filigree, enamel, jade, turquoise and coral covered cylindrical cigarette box, h. 1‑1/4” to 4‑3/4”. [200/400]

739 740 Spanish Colonial School (Late 18th Century) “St. Anthony of Padua Bearing a Lily Spray and Cradling the Infant Jesus in His Arms”, the scene attended by two putti, unsigned, 32” x 21”. Presented in a Spanish Colonial-style black-painted frame with a giltwood fillet. [1000/1500] Illustrated 741 Pair of Cotton Paisley Drapes, exceptionally long, with inner lining and blackout, the 24-inch repeat pattern with medallions, each one with a single exotic depiction of an animal (elephant, camel, zebra and alligator) surrounded by flora and fauna, with two pleats across the top, w. 37”, l. 111”. [400/700] 742 Pair of Chinese Blue Glass Gu Vases, each with a dark blue glass flared base and lip and a central knob, the bases with wheel engraved seal marks, h. 13‑1/2”. [2500/4000] Illustrated 740

160

742

746 Exceptional Chinese Export Carved Ivory Jewel Casket, third quarter 19th century, of rectangular form with interior fitted tray and red velvet lining, the exterior with delicately carved foliate and floral borders and corner pillars of bamboo, each exterior panel with intricate panels of high-relief carving of exceptional quality and delicacy, the panels on the sides all floral, the panel on the top depicting an amazing thirteen figures within a fenced compound and a pavilion in an area approximately 1‑3/4” x 2”, each exhibiting perfectly executed facial and costume details, h. 4‑1/4”, w. 5‑7/8”, l. 7‑3/4”. [6000/9000] Illustrated 747 Chinese Juanyao Pear-Shaped Vase, Yuan Dynasty (1279‑1368), the elegant pear-shaped body tapering to the neck with flared lip rim, glazed in a thick blue glaze with rose/purple splash stopping short of the unglazed foot with recessed base, h. 6‑3/4”. [900/1200] Illustrated

744 Group of Five Chinese Lapis Lazuli Snuff Bottles, composed of two flattened flask-shaped bottles with relief carving, a gourd-shaped bottle with low-relief carving, a double gourd-shaped bottle, and a baluster-shaped bottle, h. 1‑3/4” to 3”. [700/1000] 745 Chinese Polychromed Ivory Figure of a Maiden, 20th century, the ivory carved as a standing maiden in brocade-trimmed robes with a high chignon holding a fan in one hand and a peony in the other, h. 9”. [900/1200] Illustrated

748 Chinese Glazed Porcelain Beehive-Shaped Water Coupe, 18th/19th century, of conventional beehive dome shape with flared top opening and glazed in a mottled liver red glaze, the base with a six-character Kangxi mark in underglaze blue, dia. 3‑5/8”. [800/1200] Illustrated

747 749 748

745 750

746 749 Good Chinese Glazed Porcelain “Apple” Vase, 19th century, the appleshaped body with flared opening, glazed in a dark peachbloom-type glaze with scattered green spotting stopping short of the base, the recessed base glazed in a crackled pale celadon, h. 4”. [600/900] Illustrated

161

752 753

752 Good Chinese Blue and White Porcelain Cylindrical Covered Jar, Qianlong reign (1736‑1794), the body decorated with a central band of geometric reserves with floral centers between two bands of scrolling flowers and foliage, the neck with a band of cresting waves, the low domed cover en suite, presented in a wooden box, h. 11‑1/2”. [1200/1800] Illustrated 753 Chinese Blue and White Porcelain Pilgrim’s Flask, decorated in underglaze cobalt blue with a slightly raised peach-shaped medallion decorated with peaches and bats, surrounded by a border of scrolling lotus and foliage, the handles with ruyi terminals, with Sotheby Parke-Bernet lot stickers on the base, the base with a Qianlong seal mark in underglaze blue and possibly of the period. h. 9‑1/4”. [600/900] Illustrated

751 758 754 Chinese Famille Rose Porcelain Inkstone, first half 20th century, of rectangular box form, the interior with glazed water well and unglazed “inkstone”, the exterior decorated with a rural mountainous landscape and underglaze blue borders, w. 2‑1/4”, l. 3‑1/2”. [500/800]

750 Chinese Glazed Porcelain Dome-Shaped Water Pot, second half 19th century, of mushroom cap shape with central opening, glazed in a mottled liver red glaze, the base with a six-character underglaze Kangxi mark in underglaze blue, dia. 3‑3/4”. [600/900] Illustrated previous page 751 Chinese Glazed Porcelain Miniature Incense Burner, 19th century, modeled after an archaic bronze original, the rectangular body supported on four animal-form feet and glazed all over in a rich oxblood glaze, with a carved rosewood pierced fitted cover, w. 2‑1/4”, l. 3”. [600/900] Illustrated

162

755

759 Good Chinese Carved Bamboo Brush Pot, 20th century, made from a section of bamboo and delicately carved with a central laudatory panel and a continuous panel of small cells, each carved in relief with Chinese characters, h. 4‑1/2”. [800/1200]

755 Good Pair of Chinese Blue and White Porcelain Bowls, Daoguang (1821‑1850) seal mark on the base and probably of the period, decorated on the interior with the three Star Gods (Fu, Lu and Shou) in a garden setting beneath a pine tree, the exterior decorated with the eight Daioist Immortals (He Xiangu, Cao Guojiu, Tieguai Li, Lan Caihe, Lu Dongbin, Han Xiang Zi, Zhang Guo Lao and Han Zongli) among clouds and standing on a wave border, dia. 5‑7/8”. [1000/1500] Illustrated

760 Chinese Rosewood and Boxwood Ruyi Scepter, first half 20th century, composed of a rosewood handle of undulating shape carved as two sections of bamboo stems with low-relief bamboo foliage and lingzhi fungus, the boxwood head carved as a piece of lingzhi fungus, l. 13‑3/4”. [1800/2500] Illustrated

756 Wa Japanese Calligraphy Panel, of narrow horizontal form, signed with two red colophons and presented in a narrow black wooden molding frame and glazed, the basal rail with an engraved brass presentation plaque, h. 13”, w. 51‑1/2”. Ex-collection: The Columbus Museum, Columbus, Georgia. [50/80] 757 Wa Japanese Calligraphy Panel, of narrow horizontal form, signed with two red colophons and presented in a narrow black wooden molding frame and glazed, the lower rail with an engraved brass presentation plaque, h. 13”, w. 44”. Ex-collection: The Columbus Museum, Columbus, Georgia. [50/80]

762

758 Chinese Famille Rose Porcelain Miniature Vase, Republican Period, ca. 1920, of baluster form with elongated neck enameled with a figure of a sage in informal robes with a basket of flowers, indistinct iron-red seal mark on the base, h. 5‑1/8”. [250/400] Illustrated

761

761 Chinese Embellished Hardwood Storage Box, 19th century, of rectangular outline with carved key-fret borders, the cover embellished with carved hardstone depicting a cat watching a butterfly with orchids and fruiting trees emerging from rockwork, w. 5‑1/2”, l. 9‑1/2”. [900/1200] Illustrated

760

762 Chinese Famille Rose Porcelain Butterfly Vase, 20th century, the bulbous body with elongated flared neck decorated with butterflies against a coral ground and a border of lotus and characters at the shoulder, the base with a six-character Guangxu mark in iron red, h. 15‑1/2”. [600/900] Illustrated

163

763 764

763 Good Pair of Chinese Doucai Saucer Dishes, 19th century, each of shallow saucer form decorated in underglaze blue and soft doucai enamels with a central flower and radiating foliage within double line borders, the outside with scrolling flowers and foliage, the base with a six-character Tongzhi reign mark in underglaze blue, dia. 5‑1/2”. [400/700]

765

764 Chinese Polychromed Porcelain Stem Cup, 19th century, the wide bowl raised on a flared base, decorated in underglaze blue, iron red and polychrome enamels, with a dragon and a carp on the interior and scholars riding a dragon and a carp among waves on the exterior, the base with engraved wave decoration under a clear glaze, six-character Kangxi mark in underglaze blue inside the foot, h. 4‑3/8”, dia. 5‑1/2”, presented in a silk box. This piece was probably intended as a gift for a scholar who passed the Imperial examinations, the carp representing the struggling student, the dragon representing success in passing the examinations. [900/1200] Illustrated

767

765 Pair of Chinese Famille Rose Porcelain Teacups, 1916‑1920, each delicately enameled with a continuous landscape scene of a mountainous lakescape with a pavilion among mountains, pine and flowering trees, a scholar admiring the view and boats and a boatman on the lake, with a four-character mark in iron red on the base, h. 2‑1/4”. [400/700] Illustrated

769

164

766 Chinese Carved Bamboo Cylindrical Cricket Cage, first half 20th century, the tubular body carved and pierced with a continuous design of two seated persons and two servants having tea in an open pavilion beneath trees, surrounded by rockwork, the pierced and carved cover depicting two dragons and a Flaming Pearl finial, h. 12‑1/2”. [1200/1800]

770

771

769 Sixty-Two-Piece Herend Porcelain Partial Dinner Service, for twelve persons, in the green and white “Chinese Bouquet” pattern, comprised of eleven dinner plates, dia. 10‑3/4”, twenty-one tea saucers, twenty-four teacups, four breakfast saucers, and two dessert bowls, all with the blue Herend shield insignia on the bases. [1200/1800] Illustrated 770 Early Victorian Rosewood Cabinet, second quarter 19th century, the shaped top with a bowed center section above a conforming case fitted with two paneled cupboard doors, flanked to either side by a paneled cupboard door with an applied pierced foliate-patterned wood overlay, the doors with upper applied scrolling foliate-carved accents, the whole raised on a plinth base, h. 40”, w. 78”, d. 22‑1/2”. [1800/2500] Illustrated 771 Pair of Continental Porcelain Vases, first half 20th century, in the chinoiserie taste, each of slightly flared tubular form, with applied decoration in high relief of fruiting grape vines decorated in polychrome enamels, h. 9‑3/4”. [400/700] Illustrated

767 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 768 Unusual Set of Twelve Wedgwood Pottery Dessert Plates, fourth quarter 19th century, the pale gray and pink lustre plates in the Hispano-Moresque style, each example marked on the reverse in overglaze pink lustre transfer print, plus underglaze impressed marks and decorator’s marks, also in pink lustre, dia. 10”. [300/500]

772 Chinese Overlay Glass Bowl, 20th century, the opaque milk white ground overlaid in rich green glass carved as a continuous scene of peaches, gourd, pomegranate and foliage, dia. 7”. [100/200] 773 Chinese Silvered Metal and Enamel Figure of a Goldfish, ca. 1960, the fish with articulated scales and loose eyes, all enameled, the filigree fins with enamel veins, suspended by a chain from a custom wooden dragon-headed stand, h. 9”. [50/80] 774 Chinese Overlay Glass Bowl, 20th century, the opaque milk white ground overlaid in orange-red glass carved as a continuous design of lotus flowers, leaves and buds, dia. 6‑3/4”. [100/200]

165

775 Chinese Boxed Set of Colored Ink Sticks, first half 20th century, comprised of a black-stained wooden box and cover and ten ink sticks, the cover carved in low relief with a scene of pavilions in a mountainous lakescape with a partially open border, the interior with ten various-shaped molded ink sticks in fitted compartments, the ink sticks with molded designs of various landscapes on one side and calligraphic inscriptions on the reverse, with gilt highlights, box w. 7‑3/4”, l. 12‑1/8”. [1200/1800] Illustrated 776 Early Victorian Walnut Center Table, third quarter 19th century, the highly figured circular top above a plain frieze, raised on a fluted and turned bulbous standard to three splayed and molded legs ending in scrolled toes, h. 30‑1/2”, dia. 54”. [700/1000] 777 Victorian Mahogany Sewing Table, third quarter 19th century, the quarter-veneered concave rectangular top hinged and opening to a variety of covered compartments, above a conforming ogee-molded frieze, with a pull-out storage well below, raised on a bulbous acanthine-carved standard to a molded tripartite base to in-scrolled toes, h. 29‑3/4”, w. 19‑1/4”, d. 16”. [600/900]

790

775

779 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. [600/900] 780 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”. [200/400] 781 Siegel et Stockmann, Paris, Wasp-Waisted 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. [300/500] 782 Henry George Todd (British, 1846‑1898) “Still Life with Grapes, Peaches and Plums” and “Still Life with Grapes, Peaches, Plums and a Strawberry”, pair of oils on canvas, the former signed and dated lower right “HG Todd 1895” and with canvas stamp on the reverse “J. Tibbenham”, the other example signed and dated lower right “HG Todd 1894”, 12” x 10”. Presented in matching period giltwood frames. [1800/2500] Illustrated

778 Circle of John Atkinson Grimshaw (British, 1836‑1894) “Nocturnal View of Figures and Carriages on a Bridge”, oil on canvas, unsigned, 12” x 14”. Presented in a giltwood frame. [800/1200]

166

783 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”. [800/1200]

782

782 785 Victorian Gilt-Metal and Mother-of-Pearl TussieMussie, fourth quarter 19th century, the body composed of a pair of gilt-metal rope-work arches joined by oval plaques and foliage, one plaque set with a glass “turquoise” cabochon, to a turned mother-of-pear handle with the original chained pin and finger-ring, l. 5 3/4”. [125/250]

784 Victorian-Style Mahogany Desk, second quarter 20th century, the superstructure with a three-quarter spindled gallery above three drawers over two end drawers and a central open storage space, over the rectangular top with a pull-out inset leather writing surface, above a conforming frieze fitted with three drawers over a short drawer to either end, raised on turned circular legs joined by an Hform stretcher and ending in bun feet, h. 43‑1/2”, w. 51”, d. 26‑1/2”. Provenance: Antique Collection , Baton Rouge, Louisiana. [1800/2500] Illustrated

784

786 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] 787 Victorian Ebonized Tripod Table, third quarter 19th century, in the chinoiserie taste, the circular dished top with gilt vessel and foliate accents, raised on a turned baluster-form standard to three splayed legs with like accents and ending in pad feet, h. 30”, dia. 16”. [300/500]

167

791 Unusual Chinese Yellow-Ground Porcelain Jardiniere, late 19th/early 20th century, of waisted form decorated in encre-de-chine with flowering branches and flowering narcissus on the yellow-ground body with a Greek-key border, an over iron-red cartouche with three characters surrounded by dragons pursuing the Flaming Pearl among the flowering branches, h. 12‑1/2”, dia. 14”. [300/500]

793

792 Pair of Porcelaine de Paris (Bloch and Bloch) Circular Bowls, first quarter 20th century, each example hand-painted in the Chinese taste and featuring a different scene of a parrot and flowering prunus on a butter yellow ground, the reverses fully marked in transfer-printed blue, dia. 8‑5/8”. [40/70]

795

794

796

788 Pair of Chinese Bamboo Incense Stick Holders, first quarter 20th century, each of squared cylindrical form, each carved and pierced with continuous scenes of a couple eating in an open pavilion with servants, surrounded by pine trees and rockwork, the tops with small circular holes, h. 9‑1/4”. [1200/1800] 789 Pair of Framed Chinese Porcelain Plaques, first half 20th century, each of rectangular form and decorated in famille rose enamels with scenes of early spring flowering branches, one plaque with a bird perched on a branch, presented in wooden frames, h. 22‑1/4”, w. 15‑1/4”. [200/400] 790 Elegant Chinese “100 Butterfly” Porcelain Vase, bearing a Guangxu (1875‑1908) six-character reign mark and probably of the period, of bulbous shape with slightly flared neck, delicately enameled in famille rose enamels with multicolored butterflies on the body and the neck, the shoulder with a band of scrolling lotus, foliage and Chinese characters, with a band of ruyi heads at the lip rim, the recessed base with a six-character Guangxu reign mark in iron red, h. 16”. [700/1000] Illustrated previous page

168

793 Chinese Carved Horn Figure of the Goddess Guanyin, first quarter 20th century, of large size, the slightly translucent horn carved as the standing figure clad in loose robes holding a lotus blossom and a Buddhist rosary, h. 12‑1/4”. [500/800] Illustrated 794 Good Japanese Carved and Polychromed Ivory Figure of a Buddhist Deity, first half 20th century, carved as a standing corpulent figure clad in loose robes holding a fan in one hand, with a walking stick across his shoulder suspending a sack over his back, and an inset signature plaque in the base, h. 5”. [1200/1800] Illustrated 795 Indian Well-Carved Ivory Figure of Krishna, late 19th century, the figure depicted standing clad in scant garments with drapery and holding a flute, standing on a foliate base with two peacocks, the ivory with prominent veining, h. 6”. [1200/1800] Illustrated

806

796 Fine Chinese Carved Ivory Female Figure, 18th century, the wellpatinated ivory carved as a kneeling female figure in informal dress with an apron of leaves holding a lotus leaf and blossom, her robe with brocade designs, her hair coming loose from her coiffure and set with a single flower, with stained details, h. 4”. [3000/5000] Illustrated 797 Large Pair of Chinese Stoneware Tree Tubs, glazed in shaded gloss russet, the bodies decorated with bas-relief bands of stylized foliage, both retain the original matching drain plates, h. 18‑1/2”, dia. 22‑3/4”. [400/700] 798 Chinese Famille Rose Porcelain Squared Vase, 20th century, the squared body with tapering neck and applied qilong at the corners, decorated on each side with butterflies against a floral ground, h. 5”. [400/700] Illustrated

799 Chinese Famille Rose Porcelain Bowl, bearing a Guangxu (1875‑1908) six-character reign mark and probably of the period, decorated on the exterior in famille rose enamels with a continuous scene of lotus flowers, leaves and scrollwork, the interior plain, dia. 6”. [250/400] 800 Unusual Chinese Green Jadeite Plaque, first quarter 20th century, the plaque in the shape of a ruyi head in bright mottled green stone, the face carved in intricate detail with a writhing dragon among clouds, the reverse carved in relief as two characters among clouds with a raised border, l. 3”. [800/1200] 801 Chinese Carved Horn Rectangular Pendant, first quarter 20th century, the dark brown material carved on both sides with a scene of two figures in garden settings within a border topped by two confronting archaic dragon heads, h. 2‑3/8”, w. 1‑3/4”. [700/1000] 802 Chinese Carved Celadon Jade Pendant, 19th century, of rectangular outline, carved in low relief with a calligraphic poem within a border below a band of archaic designs on the front, the reverse with a sage in a gated garden and also within a border below a band of archaic decoration, h. 2‑7/8”. [700/1000] 803 Chinese Carved Pale Celadon Jade Pendant, 19th century, of rectangular outline carved in low relief depicting a scholar and a goose among foliage, the figures and trees outlined in open carving, h. 2‑1/2”, w. 1‑7/8”. [500/800]

804 Group of Five Chinese Jade Snuff Bottles, ca. 1870‑1940, composed of a white jade bottle with phoenix carving; a green double fish bottle; a green jade coin-shaped bottle; a pale celadon bottle carved as a frog, a turtle and a bat; and a pale celadon jade bottle carved as Shou hao; h. 2‑1/4” to 3”. [250/400] 805 Decorative Chinese Six-Panel Coromandel Standing Screen, second half 20th century, decorated in colors on a black ground with a garden scene of birds among flowering plants and a gnarled tree with rockwork, the reverse decorated with pine trees, lotus and peonies, h. 81”, each panel w. 18”. [1000/1500] Illustrated

805 806 Rare Chinese Gilt and Polychromed Marble Votive Statue, carved from a piece of marble depicting a seated figure of the Buddha wearing brocade robes seated on a lotus base and holding an offering jar in clasped hands and framed by a flaming mandorla, the statue painted in polychrome paint and gilding except for the face, left in white marble, h. 20”. [700/1000] Illustrated 807 Tao Kuang Woven Cotton, Hemp and Cord Warrior’s Sling, second quarter 19th century, of the traditional type, l. 48”. Ex-collection: The Columbus Museum, Columbus, Georgia. [20/40] 798 808 Set of Three Framed Chinese Rice Paper Paintings, 19th century, each executed in gouache on rice paper depicting figures and immortals, each matted, framed and glazed, h. 9‑1/4”, w. 13‑1/2”. [400/700] 809 Chinese Famille Rose Porcelain Figure of a Bodhisattva, 20th century, modeled as a female figure in brocade robes seated in a lotus position wearing an elaborate tiara and holding a golden vase of scrolls, lotus and flames, the figure seated on a double lotus base, h. 12‑3/4”. [600/900]

169

Session II

Sunday, November 14, 2010

11:00 a.m. (Lots 810-1562)

810

810 Pierre-Renaud Daytime Black Straw Hat, ca. 1970, for Sakowitz Salon, Houston, Texas, with a finely woven high, straight crown, full black grosgrain hatband with flat bow, and a downturned brim, the interior black velvet band with applied label “Pierre-Renaud Exclusive with Sakowitz Salon”, size 6‑3/4, h. 4‑1/2”, dia. 15-1/4”, with the original Sakowitz hatbox. [150/300] Illustrated 811 Six-Piece St. Laurent Rive Gauche Group of Apparel, consisting of a silk foulard crepe de chine blouse with soft collar tie neck and inset French seam sleeves, with front button closure and single-button cuffs, labeled “St. Laurent Rive Gauche/ Made in France/ Paris”, size 38; a tan wool twill pants suit, the jacket with a small skirt collar and yoke, the front slightly gathered from the yoke seam, with five-button front closure and stitched front buttonhole placket, inset sleeves with tab trim at the one-button cuffs, matching self-tie belt, and two side pockets, sleeve l. 23”, size 40, the trousers’ waistband with two buttons, front zipper and belt loops, with side pockets, unlined l. from waistband 37‑3/4”; a double-breasted suit of white wool with black and red pencil stripes, the jacket with a wide notched collar, set-in sleeves with two-button treatment at the cuff, with a breast pocket and two front pockets, all faced with self fabric buttons, lined with white silk, sleeve l. 22”, the skirt with a waistband and side zipper closure, slanted pockets, and inverted front pleat, l. from waistband 29”, the suite labeled “St. Laurent Rive Gauche/ Made in France/ Paris”, size 38, ca. 1960‑1970; and a navy wool striped coat dress with notched collar and front pockets, five-button front closure, split cuff with five buttons and trim on the sleeves, lined with navy silk, labeled “Saint Laurent Rive Gauche/ Made in France/ Paris”, sleeve l. from shoulder 38‑1/2”, size 38, ca. 1960‑1970. [200/400] Illustrated 812 Group of Two Vintage Bags, consisting of a tan leather satchel bag with straps and snap fastener on the fold over, the front with an elaborate metal figure of a 17th-century gentleman wearing a plumed hat framed by floral lily escutcheons, lined with ostrich, with two inside zipper pockets and wallet pockets, labeled “Ginataisa Articulos de Pied/Hecho en Mexico/Cegula #2954”; and an ostrich leather luncheon-size purse with adjustable shoulder strap, brass fittings, an English metal coat of arms on the front, lined, with one zipper and one wallet pocket, the label stamped on the lining “Block”. [100/200]

172

813 Group of Two Bottega Veneta Handbags, comprised of a never used grass green handbag of braided fabric with double green leather handles and brushed chrome fittings, the interior cloth pocket with Bottega Veneta logo hallmark, recessed zipper with leather pull, labeled “Bottega Veneta”, with Neiman-Marcus original tag, ca. 2002; and a black braided woven hemp bag with flip-over top and wooden button toggle, stitched black leather double handles along with separate front and back straps to hold a small umbrella on one side and a rolled newspaper on the other, straps and a leather loop over wooden closure button, trimmed throughout with black leather piping, lined with black silk, a logo plaque inside labeled “Bottega Veneta Made in Italy”, ca. 2002. Bottega Veneta, an Italian luxury goods firm headquartered in Vicenza, Italy, was acquired by the Gucci group in 2001 and presented their first spring/summer collection in 2002. These bags feature their signature “intrecciate” weave. [400/700]

814 Vintage Christian Dior Strapped Case with Handles, the signature “Dior” cloth “Doctor Bag” with leather frets attached to the handles, zipper closure, side fittings, pull tab of matching leather, lined inside with leather, tagged “Made in France”, ca. 1980’s‑1990’s. Christian Dior, the designer, exploded into the fashion world with his “New Look” in 1957. After his untimely death in 1967, Yves St. Laurent, his protege, took over and also expanded the Dior line to include luxury goods, such as jewelry, purses and accessories. [300/500]

811

815 Vintage Kieselstein-Cord Plastic Handbag, the orange plastic handbag with molded plastic bottom and handles, with decorative screws used as fasteners, the pliable body with stitched interior pockets, insignia on the handle, logoed “Barry Kieselstein-Cord, 1991”, mounted on diminutive placard with tiny screws. Barry KieselsteinCord started his business in 1972 as an extension of his artist mother’s and architect father’s encouragement to create artistic objects, not only jewelry, belt buckles, and clocks. His purses and silverware are among the objects and finery coveted and collected by Sir Elton John, Steven Spielberg, Spike Lee, and Oprah Winfrey. His fashionable accessories are in collections at the Metropolitan Museum of Art and the Fine Arts Museum of Houston. His stores are in sixteen countries throughout the world; his handbags and luggage are coveted by men and women in every country. [300/500]

819

818

818 Kieselstein-Cord Brushed Brown Leather Handbag, the simple brown leather bag with rolled, stitched handles attached to the bag with a tab, the silhouette flanged toward base which rests on brass fittings, the KieselsteinCord coat of arms with sun and moon in brass mounted between the handles, with snap closure, brass key or cell phone holder inside, and one zipper pocket inside, lined, tab with “Handmade in Italy M 271”, ca. 2004. [500/800] Illustrated 819 Hermes Satchel Bag, ca. 1950’s, the cordovan leather satchel bag with self handles and dust cover, zipper closure, two deep side pockets and one long wallet pocket inside, labeled “Hermes Paris France” initials “R.B.”, condition: good, with slight scuffing at the corners. [1500/2500] Illustrated 816 Valentino Fringed Shawl, the brown cashmere stole with wide knotted fringe of double thickness, labeled “Valentino Miss V Made in Italy”, w. 27”, l. 82”, ca. 1995. Valentino Garavani is a famed fashion designer both for his couture and his ready-to-wear. He apprenticed with Balenciaga and later started his own couture house where he has an international clientele. He has won numerous awards, most recently from Neiman-Marcus and the Medal of the City of Paris. He retired in 2008. [150/200]

820

817 Group of Three Jackets, one a classic black wool jacket with double flared lapels, lined throughout, with onebutton closure and buttons at each cuff, and front pockets, labeled “Sakowitz”, size 10, ca. 1940’s; another a silk abstract print with collar and lapels, set-in sleeves, the waist slightly nipped in, the seams serged in bust darts and sleeves, with toggle buttons at the front closure and sleeves, lined with gold silk satin, labeled “Armani Collection”, size 8, ca. 2000; and the third a black and white wool jacket with white flannel backing, wide neck opening, dolman sleeves, silver center zipper and zippers at the cuffs, the chevron stripes of black and white, unlined, labeled “Veronique Leroy”, size 8, ca. 1995. [300/500]

173

824

822 Fourteen-Karat White Gold, Opal and Diamond Lady’s Ring, composed of a pear-shaped white opal surrounded by a single row of round brilliant-cut white diamonds above a triple wire shank. [1800/2500] Illustrated 823 Stylish Pair of Elizabeth Locke Nineteen-Karat Gold Earrings, with square green intaglio glass mountings featuring angels in flight, one of Ms. Locke’s classic designs. [500/800] Illustrated 824 Fine Edwardian-Style Eighteen-Karat Yellow Gold, Opal and Diamond Brooch, by Casbah, in the form of a spread-wing butterfly, the body and wing tips set with strong-colored precious opals, the wings, body and antenna set with round brilliant-cut white diamonds. [2000/4000] Illustrated

??? 822

820 Lana Marks Brown Crocodile Purse, with brass fittings and adjustable handle, the flap stitched on the back with contoured band to clasp, the side seams piped with hide, the interior lined throughout with leather including one zipper pocket and one cell phone holder, ca. 1990. Lana Marks, based in Florida, was asked by Princess Diana to design a bag just for her. Upon completion, Princess Diana ordered fifteen of them. [900/1200] Illustrated previous page 821 Lovely Pair of Elizabeth Locke Nineteen-Karat Gold Circular Earrings, with a central circular blue glass intaglio featuring a recumbent goat, the gold forming a barrel design quartered by two balls encased with gold framing on two sides. [500/800]

174

823

825 Dramatic Fourteen-Karat Yellow Gold, Turquoise and Diamond Lady’s Dome Ring, composed of a central oval cabochon of Persian turquoise surrounded by a border of mixed-cut white diamonds in a foliate setting with an estimated weight of 3.0 carats and an outer border of Persian turquoise cabochons. [2000/4000] Illustrated 826 Jean Gilbert Tabaud (French, 1914‑1996) “Portrait of Mrs. Ann B. Sakowitz”, oil on canvas, signed lower right “Tabaud”, retains gallery label on the reverse “DuBose Gallery, Houston, Texas”, 28” x 20”. Handsomely framed. [600/900] Illustrated

825

826 829 Lady’s Fourteen-Karat Two-Color Gold, Coral and Diamond Dinner Ring, composed of a central coral cabochon of even coral color surrounded by a single row of round brilliant-cut white diamonds above a mount of rose and yellow gold twisted wire with leaf appliques. [300/500] 827 Double Strand of Graduated Coral Beads, the wellmatched graduated coral beads with attached eighteenkarat yellow and white gold circular clasp with a central coral cabochon in a square setting, bead set with round brilliant-cut white diamonds. [500/800] Illustrated 828 Pair of Fourteen-Karat White Gold, Coral and Diamond Clip Earrings, each composed of a leaf-shaped coral cabochon in a conforming white gold frame bead set with round brilliant-cut white diamonds. [400/700]

830 Pair of Eighteen-Karat Yellow Gold, Lapis Lazuli and Diamond Earrings, each composed of an oval lapis lazuli cabochon in a textured gold foliate mounting, the upper cabochon set with two round brilliant-cut white diamonds, the lower cabochon detachable. [700/1000] Illustrated 831 Pair of Fourteen-Karat White and Yellow Gold, Lapis Lazuli and Diamond Clip Earrings, each composed of a leaf-shaped piece of lapis lazuli with engraved ribbing and a central white gold rib set with round brilliant-cut white diamonds, estimated total weight 1.50 carats. [700/1000]

827

175

834 Pair of Fourteen-Karat Yellow Gold, Malachite and Diamond Clip Earrings, each composed of an open malachite rectangle with ribbed surface set with three white gold bands with round brilliant-cut white diamonds, suspended from a textured gold “Keystone” mount set with a marquise-cut white diamond. [700/1000] Illustrated 835 Eighteen-Karat Yellow Gold, Ivory and Malachite Cuff Bracelet, composed of a wide ivory bracelet with convex outer surface set with yellow gold bosses and yellow gold fleurettes set with tubular malachite beads. [400/700] Illustrated

833

836 Stunning Eighteen-Karat Yellow Gold, Ivory and Diamond Lady’s Ring, the heavy gold mounting case in an interpretation of classical architectural details topped by a rectangular ivory plaque with rounded corners, centrally set with five baguette-cut white diamonds in a foliate gold mounting. [600/900]

832 834

832 Eighteen-Karat Yellow Gold, Lapis Lazuli and Diamond Lady’s Dome Ring, composed of a large, pointed and ribbed lapis lazuli stone mounted in a lattice-textured gold mount set with round brilliant-cut white diamonds, estimated total weight 3.85 carats. [1500/2500] Illustrated 833 Fine Eighteen-Karat Yellow Gold, Lapis Lazuli, Emerald and Diamond Pendant Brooch, designed as a star shape in lapis lazuli with four solid arms, each set with a diamond in a floral mount, interspersed with four ribbed arms outlined with rows of round-cut emeralds, the center with a white gold plaque with four pointed arms centrally set with an oval cabochon-cut emerald, estimated weight 3.0 carats, total diamond weight 3.20 carats, the reverse of the brooch in eighteen-karat yellow gold with pin back and suspension wire. [4000/7000] Illustrated

176

835

837 Fourteen-Karat Yellow Gold and Ivory Hinged Cuff Bracelet, composed of two tapered ivory pieces with canted terminals overlaid with yellow gold flat strips in geometric designs, the bracelet with hinged opening. [250/400] 838 Pair of Eighteen-Karat Yellow Gold, Onyx and Diamond Clip Earrings, each composed of two onyx hexagons with yellow gold bands, the lower hexagon with a section pave set with round brilliant-cut white diamonds, the suspension joining the two hexagons also set with round brilliant-cut white diamonds. [700/1000]

842

839

842 Dramatic Eighteen-Karat Yellow Gold, Pearl and Diamond Lady’s Dome Ring, the yellow gold mounting topped with a 13.6 mm white/rose South Seas pearl and surrounded by an openwork gold frame set with pear-cut, marquise-cut and round brilliant-cut white diamonds, estimated total weight 10.8 carats. [3500/5000] Illustrated 843 Pair of Contemporary Eighteen-Karat Gold and Diamond Earrings, in the form of large half-hoops with spiraled ridged bands set with diamonds, eighty-two diamonds weighting approximately 3.25 carats total, l. 1”. [3000/5000] Illustrated 844 Single Strand of Creme Rose Cultured Pearls, slightly graduated from 8.5 mm to 9.0 mm in diameter and attached by a diamond-set rondel-shaped clasp. [400/700]

839 Stunning Eighteen-Karat Yellow Gold, Tourmaline and Pearl Necklace, composed of a single strand of conjoined baroque pearls terminating in yellow gold “beehive” mounts, centered by a gold-mounted rectangular slab of “watermelon tourmaline” with striking colors of pink and green in alternating bands. [1500/2500] Illustrated

843

840 Pair of Fourteen-Karat Yellow Gold, Rose Quartz and Ruby Drop Earrings, each composed of a pendant ovalshaped rose quartz ring with a central oval rose quartz cabochon in a gold bezel, the oval pendant suspended from a gold mount set with cabochon rubies and a central rose quartz cabochon. [500/800] 841 Fine Eighteen-Karat Yellow Gold, Rose Quartz and Ruby Multi-Strand Pendant Necklace, composed of three strands of rose quartz spherical beads separated by five double C-scroll spacers set with cabochon rubies and suspending a Chinese carved rose quartz pendant in the form of a group of peaches. [1500/2500]

177

845 Dramatic Pair of Eighteen-Karat Yellow Gold, Pearl and Diamond Earrings, each composed of a yellow gold frame and set with five pear-shaped rose-cut diamonds, suspending a pear-shaped pearl drop, one pearl white, the other golden, the pearls detachable, measuring approximately 12.5 mm x 16.0 mm, accompanied by an appraisal from Coleman E. Adler and Sons, New Orleans. [3000/5000] Illustrated

846

847 Judith Leiber Bone Karung Fold-Over Clutch Bag, ca. 1985, style #8614, with pink quartz and jade bezel stone fastener, four interior bone grosgrain section, mirror, coin purse, tasseled comb and pouches, the shoulder strap with toggles, detachable, presented in the original box, h. 4‑1/2”, w. 7”, d. 3”. [500/800] 848 Judith Leiber Red Karung Classic Clutch Purse, ca. 1985, with a gathered body, self piping and retractable shoulder strap, the red-lined interior with a small coin purse, mirror and tasseled comb, 7” x 8‑1/2”. [400/700] 849 Judith Leiber Orange Karung Clutch Purse, ca. 1985, style #8793, with semi-circular flap panel on both sides, fitted stationary gold handle with semi-precious stones comprised of rose quartz, jade, lapis, onyx and carnelian, and retractable gold link shoulder chain, the twin fasteners with bezel carnelian stones, lined with coral satin, the interior with coin purse, mirror, tasseled comb and pouches, accompanied by the original box, h. 6‑1/4”, w. 8‑1/2”, d. 2”. [400/700] Illustrated

850

845

849

846 Lady’s Fourteen-Karat Yellow Gold, Pearl and Diamond Ring, composed of a central 13.0 x 13.5 mm South Seas white pearl surrounded by a double row of round brilliant-cut white diamonds and two clusters of three each of marquise-cut white diamonds, estimated total diamond weight .88 carats. [2500/4000] Illustrated

8 178

850 Judith Leiber Black Suede and Karung Day-toNight Bag, ca. 1985, with black suede front and back, the pleated body of black karung, with a semiprecious cluster ornament fastener of black onyx, rose quartz, tiger eye, jade, amethyst and garnet, with mirror, comb, change purse and pouches, 7‑1/2” x 8‑1/2”. [600/900] Illustrated

851

851 Judith Leiber Brushed and Polished Gold Evening Bag, ca. 1985, the semi-precious gemstone push clasp with rhinestone border, the gold leather interior with a small gold coin purse, mirror and tasseled comb, 5” x 6‑1/2”. [600/900] Illustrated

853

852 Judith Leiber Black Karung Classic Clutch Bag, ca. 1985, style #8555, with self-piping, detachable toggle shoulder strap, scalloped gold trim with semi-precious stones, comprised of onyx, rose quartz, amethyst, jade, garnet, lapis and carnelian, fold-over fastener with self trim and black onyx fastener, the interior with black coin purse, tasseled comb, mirror and pouches, 7” x 9”, accompanied by the original box. [400/700] Illustrated 853 Judith Leiber Evening Minaudiere, ca. 1990, the tiny brilliant-covered compact-size minaudiere with nineteeninch gold chain link shoulder strap and a rose quartz stone closure, lined with gold leather, accompanied by a pouch and the original box, dia. 3”. [700/1000] Illustrated

852

854 Group of Two Summer Ball Gowns, one a “Pullover” ball gown of ecru embossed velvet on chiffon, sleeveless with a “V” neck, lined in silk, labeled “Marian Clayden”, size Small; the other gown of cerise satin with a flapper top and spaghetti straps, the long tunic with velour feathers culminating with silver beads below the hipline, with a self belt, the slip-over style of 100% silk, labeled “Su Yung Lee”, size 6, ca. 1990’s. [300/500]

179

855 Two Bustiers, “Harem” Culottes and a Red Silk Skirt, the black cotton jersey bustier with a black satin inset in the front and a center back zipper, labeled “Le Garage Made in France”, size 1 (Small); the other black boned jersey bustier with velvet ribbed straps and stomacher, also with a center back zipper, labeled “Vivienne Westwood”, size 42 (6); the black “Art Moderne” lace and black crepe “Harem” culottes wrapping around the legs with side zipper and long ties, labeled “Christian Lacroix Paris”, size 36 (2‑4); the red silk skirt with reptile-patterned pleats descending from a yoke and waistband and side zipper, lined throughout, labeled “Cleopatra”, size 6, l. 38” from waistband. Christian Lacroix was educated in France and studied costume design and curatorial academics. However, while writing a dissertation on 18th-century dress in paintings, he received a proposal from his friend Jean-Jacques Picart, who was a press attache for several French couture houses, to work for Hermes in 1978. His career flourished and in 1987, he opened his own couture house. He also began to design jewelry, handbags and accessories in 1989, along with ready-to-wear. His sense of fun comes through with the “pouf” and rich fabric and fantasy creations such as crinolines and corsets. [300/500]

857

856 Group of Three Evening Gowns, comprised of a royal blue silk crepe ball gown with a side zipper, three spaghetti straps per side braid across the back, labeled “Alexadra Acey”, size 8; an exotic midnight blue chiffon gown with orange, green and red ombre velour down the front, chiffon straps form a “V” neck and flow to the back of the dress, labeled “Carol Peretz”, size 8; and a red lustrous striped fabric purchased in Rome for the strapless dress with draped bodice and slightly gathered skirt with side zipper, made by New Orleans couture seamstress Ashley Acree in 1995, labeled “Ashley Acree”, size 8‑10. [400/700]

859

858

180

857 Group of Two Beaded Cocktail Dresses, one a beaded holiday sheath with long sleeves, banded with random pattern beads and sequins in red, black, white, green, gold and turquoise, with a center back zipper, lined throughout, size 6; the other cocktail dress of black lace embellished with silver sequins on black lace with nude underlay, the draped bodice and skirt treatment of black polyester chiffon, with a center back zipper, lined throughout, labeled “Tadashi”, size 4, ca. 1990. Tadashi Shoji studied art in his native Japan, but on a trip to California he was smitten by its life style and enrolled in L. A. Trade Technical College and majored in fashion design. After working with Elton John, Stevie Wonder and Neil Diamond--and favorite designer Bill Whitton--Tadashi found a career for himself in Hollywood. He realized that there was a market for upscale, glitzy occasion dresses for women; his designs were picked up by Saks Fifth Avenue and BergdorfGoodman in 1982. He continues to design. [200/400] Illustrated

858 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”. [5000/8000] Illustrated

859 Good Eighteen-Karat Yellow Gold, Ruby and Diamond Link Bracelet, composed of squared links separated by gold bars, each link of slight dome shape set with two bands of calibre-cut rubies and a single band of round brilliant-cut diamonds with oval cabochon rubies on each end. [7000/10000] Illustrated

865

860 Cartier Fourteen-Karat Yellow Gold Diamond Brooch and Earring Suite, composed of a brooch and a pair of earrings, each of twisted, ribbed design, the earrings each set with a round brilliantcut diamond. [1800/2500] 861 Good Eighteen-Karat Two-Color Gold and Diamond Brooch, cast in the shape of two overlapping leaves with matte yellow gold finish and pave set with round brilliantcut diamonds. [1200/1800] 862 Superb EighteenKarat Two-Color Gold, Aquamarine and Diamond Ladyâ&#x20AC;&#x2122;s Ring, by Buccellati, Rome, composed of a central 22.50-carat aquamarine of fine color, internally flawless, surrounded by a yellow gold mounting above a single row of round brilliant-cut white diamonds and a double row of textured yellow gold mounting, the shank composed of five bands of white gold leaves, custom made in 1971. [3500/5000] Illustrated

862

864

866

863 Fine Ladyâ&#x20AC;&#x2122;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. [1500/2500] 864 Chinese Carved Jadeite and Fourteen-Karat Yellow Gold Pendant, composed of a circular mottled apple green jadeite pendant of lotus leaves and flowers in a twisted gold frame with a bail for suspension. [1400/1800] Illustrated 865 Double Strand of Graduated Jadeite Beads, each strand composed of graduated mottled apple green jadeite beads attached to a silver and marcasite bowed rectangular clasp. [800/1200] Illustrated 866 Chinese Carved Jadeite Pendant, the mottled green stone with emerald green inclusions carved in relief with fish among lotus leaves, suspended on a silk cord. [1500/2500] Illustrated

181

871 867 Chinese Carved Jadeite Pendant, of intense apple green color carved in low relief as a flattened pillar, one side carved as a sinuous hydra dragon climbing upward, the reverse with a “cash” symbol above a coiled dragon, the top with a hole for suspension, h. 2‑1/2”. [500/800]

868

872

868 Four-Piece Silk Pajama Outfit, comprised of a white silk long-sleeved top with black embroidered flowers and lantern pattern, soft collar with black stitching; sleeveless black silk pajama/lounging top with white flower/lantern pattern; white silk pants with the same black pattern; and a black satin unlined kimono-style robe with quilted hem and white embroidered roses with trailing leaves, with fringed sash, size medium. [150/300] Illustrated 876A

869 Two Oriental Coats, one a green satin robe with multicolored embroidered birds, chrysanthemums and sakuras (plum blossoms) on the center back, front and sleeves, with satin lapels, lined with grass-green silk, l. 54”, labeled “Large”, of Korean origin, ca. 1980; the other a black satin opera coat with mandarin collar, blue silk embroidery tape and accent yellow silk tape around the collar area, embroidered with iris and quince and scattered butterflies, the cuffs and hem of embroidered white satin with the same trim as the collar, with four brass buttons and toggles on the front, lined with blue silk, of Chinese origin, size large, ca. 1920. [150/300] 870 Silk Opera Coat, with silk blocks of beige, orange, brown and coral, all embroidered by hand with silk and metallic paisleys, the set-in sleeves with flared cuffs, the front closure piped with orange silk, with four orange silk-covered buttons and frogs, orange silk lining and soft shoulder pads with lingerie fasteners, labeled “Subina of India 100% Silk, Hand Loomed and Made in India”, and “Sakowitz”, ca. 1970‑1980. [100/200]

182

877

875 Chinese Wooden Bead, Jadeite and Glass Necklace, first quarter 20th century, composed of groups of three wooden beads separated by green silk “Endless Knots” and spherical jadeite beads, with a green glass and brass plaque joining the two sides near the base, the terminus a spherical jadeite bead topped by a tapered jadeite bead and a green silk Buddhist knot, l. 28”. [250/400] 876 Pair of Burmese Jadeite Bangles, each of celadon color with variegations of dark green and rust, each with engraved fourteen-karat yellow gold hinges and clasps. [300/500] 876A Strand of Large Dyed Lavender Jadeite Beads, composed of nineteen spherical jadeite beads, 19‑20 mm, of even lavender color created by dyed enhancement, with a fourteen karat yellow gold clasp. [600/900]

878

877 Diane Love Evening Bag, ca. 1980, the “envelope”style bag in modern brocade obi fabric in navy blue, terra cotta, turquoise and metallic copper, with a single accordion fold and one interior pocket, snap closure and collapsible gilt metal closed curb link chain of “half moon” section, bag 7‑1/2” x 8”, l. (with chain) 23‑3/4”. [100/200] Illustrated 878 Whiting and Davis Gilt Tomato Evening Bag, ca. 1970, the brushed gilt-metal evening bag with gold stem on the top and retractable chain strap, lined with velvet and silk ribbon-lined seams, stamped “Made in Italy”, 5‑1/2” x 2‑1/2”, accompanied by a pouch and the original box. [300/500] Illustrated

880 871 Good Chinese Jadeite Bangle Bracelet, of circular form with carved decoration of twisted rope, the white stone with emerald green splashes. [1400/1800] Illustrated 872 Art Deco Fourteen-Karat White Gold, Jadeite, Diamond and Enamel Lady’s Ring, composed of a central apple green oval jadeite cabochon flanked by diamond-set fans with black enamel terminals. [3500/5000] Illustrated 873 Pair of Eighteen-Karat Yellow Gold, Jadeite and Diamond Earrings, each composed of an oval jadeite cabochon set in a ribbed yellow gold frame with side panels of pave-set white diamonds. [3500/5000] 874 Fourteen-Karat Yellow Gold, Chinese Jade, Diamond and Enamel Lady’s Ring, composed of a central leafshaped green jade cabochon outlined in black enamel and set with single-cut diamonds in white gold as the leaf rib and stem. [800/1200]

879 Judith Leiber Chocolate Brown Clutch Bag, ca. 1985, with amethyst, lapis, carnelian, onyx, rose quartz, garnet and tiger-eye bezel-mounted, semi-precious stone trim and tiger-eye stone fold-over latch, the chain shoulder strap retractable, the interior with small coin purse, mirror, tasseled comb and pouches, 7” x 9‑1/2”, presented in the original box. [500/800] 880 Fine Platinum, Eighteen-Karat White Gold, Golden Sapphire and Diamond Lady’s Ring, composed of a central oval-cut 5.88-carat golden sapphire of fine color and brilliance, flanked on either wide by a rectangular-cut white diamond. [6000/9000] Illustrated

183

881

883 Outstanding Platinum, Black Opal, Emerald and Sapphire Lady’s Ring, composed of a bezel-set Australian black opal, weighing 6.88 carats, surrounded by a border of alternating calibre-cut emeralds and blue sapphires, with an under border of round brilliant-cut white diamonds extending part way down the shank. [7000/10000] Illustrated

882

884

883

881 Fine Platinum and Diamond Lady’s EngagementStyle Ring, composed of a central rectangular emerald-cut diamond surrounded by baguette-cut and keystone-cut diamonds in a canted rectangular mounting above a plain polished shank, total weight estimated 2.82 carats. [8000/12000] Illustrated 882 Sensational Platinum, Sapphire and Diamond Lady’s Ring, composed of a fine 26.60-carat oval cabochoncut natural blue sapphire surrounded by a row of round brilliant-cut and pear-cut white diamonds, total weight 2.40 carats. [14000/18000] Illustrated

184

884 Dyed Blue Pony Skin “Miss Dior” Overcoat, with white leather piping and buttons, the military collar, pocket slits, flaps over the pockets and cuffed sleeves all with leather trim, half belted on the back, also with leather trim and two accent buttons, size 6, l. 41”. [200/400] Illustrated

886

888 Judith Leiber Navy Blue Karung Classic Clutch Purse, ca. 1985, style #8375, with gold link retractable shoulder strap, gold metal frame and self piping, the fold-over toggle with self trim and lapis stone, lined with navy satin, the interior with mirror, tasseled comb, coin purse and pouch, presented in the original box, h. 5‑3/4”, w. 10‑1/2”, d. 2‑1/4”. [500/800] 889 Judith Leiber Gray Karung Daytime Shoulder Bag, ca. 1985, style #8255, with gathered body, retractable self strap, covered Art Deco frame, and push black onyx opener, lined with gray corded silk, the interior with coin purse, mirror, tassel comb and pouch, 7‑1/2” x 5”. [400/700]

892 890 Good EighteenKarat White Gold Lady’s ThreeStone Diamond Ring, composed of three round brilliant-cut white diamonds, with a total weight of 1.44 carats, each stone prong set in a square white gold mounting. [5000/8000] Illustrated

890

885 Group of Two Cloche Hats, one a black sculpted and pleated cloche with black and white cashmere cording, labeled “Woodmere New York - 22”; the other a Yves St. Laurent cloche with seventeen rows of white stitching, a four-point bow with the same trim and a large button, labeled “YSL Paris New York”, ca. 1960. [100/200] 886 Group of Three Straw Hats, the first with a navy crown and tri-colored red, white and navy brim with grosgrain ribbon bow, labeled “Yves St. Laurent Paris New York”; another with a red straw hat crown and brim edged with navy and white straw, navy and white grosgrain hat band and bow, labeled “Mr. John Jr.”; the third a black braided straw pillbox with two side combs, labeled “Jonquil Original”. [100/200] Illustrated 887 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]

891

891 Eighteen-Karat Two-Color Gold, Ruby and Diamond Bow Pin, in the shape of a bowed ribbon with pendant ends, the body pave set with round brilliant-cut white diamonds and bezelset oval-cut rubies and channel-set rubies at the edges. [12000/18000] Illustrated

185

893 894 Art Deco Platinum and Diamond Lady’s Ring, composed of a central old mine-cut natural light fancy yellow diamond, weighing 4.03 carats, set in an Art Deco filigree mounting pave set with .98 carats of round brilliant-cut white diamonds. [25000/40000] Illustrated 895 Delicate Platinum and Diamond Lady’s Engagement Ring, composed of a central 1.52-carat natural fancy yellow diamond flanked on either side by white pear-cut diamonds with a total weight of .82 carats. [12000/18000] Illustrated

894

897

892 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. [1200/1800] Illustrated previous page 893 Fine French Eighteen-Karat White Gold and Diamond Brooch, ca. 1915, the frame composed of two bows with pierced scrollwork design, the body set with twenty-nine Old European-cut diamonds in prong and bead settings, estimated total weight 4.89 carats, the pin with French touchmark. [3000/5000] Illustrated

895

186

898

896 Six-Piece Group of Zoo-to-Do Apparel, consisting of a bustier with metallic gold lace over turquoise silk, boned and with tiny gold satin spaghetti straps, labeled “Josephine Sasso New York”, size small; a turquoise silk organza skirt with gold lining and center back zipper, size 6; a whimsical Duke and Duchess of Windsor yellow silk damask-print vest with rhinestone buttons commemorating their marriage; a matching silk organza full skirt with gathered waistband; a matching slip with elastic waist, labeled “Adelaide of Chicago”, size 8‑10, ca. 1994; and a cerulean blue velvet Empire gown with deep decolletage, gathered long skirt, and center back zipper, labeled “Norma Kamali”, ca. 1970. Jacqueline Sasso is a New York-based fashion designer who regularly creates dresses for Oprah Winfrey and other celebrities. She works with Martha Stewart weddings and her dresses are regularly shown in “Town and Country”, “Glamour”, “InStyle” and “Lucky”. As a 1964 graduate of the Fashion Institute in New York, Kamali made her name quickly by designing clothing from real silk parachutes. In 1978 she launched OMO (On My Own) label and went on to win several Coty awards; she was inducted into its Hall of Fame. She subsequently designed film, dance (Twyla Tharp Co.), and movie costumes (Lumet’s “The Wiz”). Her own designer exclusive private collection was unveiled in Europe in 1987 and she was among the first designers to use videos of her clothing for advertisement. [400/700] 897 Mink Swing Coat with Leather Sash Belt, with an inside pocket, lined throughout, l. 38”, labeled “Sakowitz”, size 10‑12. [1200/1800] Illustrated 898 Dark Ranch Mink Fur Sport Jacket, the vertical pelt vest with fox-inset sleeves, stand-up collar and hook closure, labeled “Blackglama World’s Finest Ranch Mink, Great Lakes Mink Association” and “Koslow’s”, size 8. [400/700] Illustrated

899 Midnight Blue Gown, Stole and Coat Ensemble, the strapless gown with boned bodice and draped yardage across the bustline, anchored slightly to the left side with a self-covered button, three layers of lettuce-edged hem silk fall from the Empire bodice, eighteen selfcovered buttons flank the center back zipper, lined throughout; the stole with oval ends and lettuce-edged hem in matching chiffon, labeled “Pavel Mieses Couture/Made in Venezuela”, size 8; the midnight satin evening coat lined in self fabric, with two invisible pockets, a mandarin collar, long sleeves and frog closure, attributed to Charles James, size 4‑6. [400/700]

900

901

900 Black “Madame X” Evening Gown, of velvet with black lace, lined with black chiffon yoke and sleeves with high neck, center back zipper, dropped velvet V-line back treatment with black lace, labeled “Victor Costa”, size 6‑8. [300/500] Illustrated

187

901 Lady’s Platinum and Diamond Engagement Ring, composed of a central prong-set round brilliant-cut diamond with an estimated weight of 3.87 carats, by formula, SI‑2-I‑1 Clarity Grade, H-I Color Grade, flanked on either side by a tapered baguette, the solitaire fits into a fourteen-karat white gold ring guard set with baguette and tapered baguettes in the shape of fans, estimated total weight 2.50 carats, by formula. [20000/40000] Illustrated previous page

907

902

903

904 Good Lady’s Platinum, Emerald and Diamond Art Deco Ring, composed of a central rectangular step-cut deep green emerald, weighing 3.0 carats, surrounded by a conforming border of round brilliant-cut white diamonds extending part way down the shank with a total weight of .50 carats. [10000/15000] Illustrated

904

902 Fine Platinum, Tanzanite and Diamond Lady’s Ring, composed of a central bulging rectangular cut tanzanite, weighing 9.0 carats, of rich lavender/blue color and brilliant cut in a heavy platinum mount set with round brilliant-cut white diamonds on the top and sides of the shank. [7000/10000] Illustrated 903 Lady’s Platinum, Sapphire and Diamond Ring, composed of a central oval-cut blue sapphire, weighing an estimated 2.50 carats, in a ballerina-style mounting set with round and tapered baguette-cut white diamonds. [3000/5000] Illustrated

188

905 Pair of Eighteen-Karat White Gold, Pearl and Diamond Drop Earrings, each composed of a white gold floral top and sphere pave set with white diamonds, suspending a 13.2 mm white South Seas pearl with high luster and white color. [1500/2500] 906 Two Fox Scarves with Fur Tail Trims, ca. 1960, comprised of a black fox with pelts on both sides, l. 90”, and a white fox with variegated coloration white to gray with white tips, lined with gray velvet, l. 83”, together in a Sakowitz, Houston, Texas storage box. [200/400]

908 White Fox and Raccoon Sport Fur Jacket, the standup collar of fox fur, the body and sleeves fox with raccoon accents, lined throughout with satin, with inside ties and hooks for closure, with a breast zipper pocket, size 8‑10, ca. 1980. [300/500] Illustrated

908

909 909 Reversible Silk Satin Champagne and Gold-Colored Evening Coat, with a stand-up collar and setin sleeves, two sets of pockets trimmed with bias-cut satin, hook and eye closure at the neck and darts in the bust area, the fabric with gold “Double Happiness” motifs throughout in the same color as the reversible side, l. 45”, size 10, ca. 1960‑70. [200/400] Illustrated

907 White Fox Fur Jacket, the white fox with long tips, the collar and jacket lined with white satin, embroidered “Courtney”, with a hook at the waist, labeled “Kreeger’s New Orleans”, ca. 1970. [400/700] Illustrated

910 910 Fine Strand of South Seas White/Rose Pearls, composed of thirty-two South Seas pearls, ranging from 12.8 mm to 14.0 mm in diameter, with six fourteenkarat white gold and diamond rondels and a fourteenkarat white gold and diamond knot-form catch, l. 18”. [6000/9000] Illustrated

911

911 Fine Single Graduated Strand of South Seas Pearls, composed of twenty-six silver-white spherical pearls with three additional matching pearls, the strand graduated in size from 12.0 mm to 16.0 mm in diameter and terminating with an eighteen-karat white gold spherical clasp pave set with an estimated 1.0 carat of single-cut diamonds, accompanied by an appraisal from Coleman E. Adler and Sons, New Orleans. [6000/9000] Illustrated

189

916

913 Brown Mink Jacket with Notched Lapels, with vertical pelts and concealed outside pocket, lined and trimmed with velvet, labeled “Sakowitz”, with a cloth bag. [400/700]

912 Four-Piece Group of Holiday Attire, consisting of a black knitted A-line mini dress with large black sequins in a chevron pattern, size 8, (sold at Doyle’s, Lot 153, November 16, 1999); a silk “float” party top with abstract print in fuschia, black, coral and pink, a black placket topped off with black and brilliant rhinestone collar, with long full draped sleeves, labeled “Maeaschom Collection”, size medium; a red violet knit sweater dress, 100% merino wood, with set-in sleeves, inverted pleat in the back, black beaded placket and trim, the placket with snaps, and three-quarter length sleeves, labeled “Tracey Reese, NY”, size medium; and an Ungaro slit skirt, the black viscose and elastum double side-slit skirt with adjustable waistband with metal loops and sash, two front pockets with covered flap and center back zipper, labeled “Ungaro/ Fuchsia”, size 8, ca. 1990’s. Emanuel Ungaro was a child artist with great promise who “took to sewing”. At the age of 22, he went from his native Italy to work with Balenciaga. In 1965 he opened his first couture house and has flourished. His clothing is distinctive and his clients are appreciative and loyal. In 1996, he formed a partnership with Salvatore Ferragamo. [300/500]

920

919

914 Ritter Brothers Fur Stole with Three End Tabs, with the original Ritter fabric liner, w. 13” (four pelts), l. 77”, accompanied by a cloth bag. [250/400]

917

915 Autumn Haze Mink Stole, with shaped shoulders and standup collar, lined with satin, monogrammed “Margaret B”, labeled “Goldring’s”, ca. 1960’s. [150/300] 916 Exceptional Single Strand of Spherical South Seas Pearls, composed of twentyseven silvery white South Seas pearls of graduated size ranging from 14.1 mm to 18.1 mm in diameter, each with high luster and thick nacre. [7000/10000] Illustrated

190

917 Glamorous Ermine and Sable Coat, with vertical pelts throughout, a wide brown sable collar, lapels and cuffs, lined with ecru satin throughout, with floral embroidery on the interior front panels, with inside pockets, labeled “Furs by Mannis, Beverly Hills, Las Vegas & New York”, size 8, l. 43‑1/2”. [1000/1500] Illustrated

919 Winter Brocade Evening Coat and Belt, with mink trim at the collar, front closure, hem and cuffs, the brown Italian Lurex with gold and silver lame flowers with metallic centers in varying sizes, with inset sleeves, two concealed pockets and self belt with buckle, labeled “Bonwit Teller, NYC”, attributed to Donald Brooks, size 8, waist 25‑1/2”, ca. 1970. [400/700] Illustrated

918 Coral Satin Chrysanthemum Starburst Gown, the flared skirt embellished with sparkling velour starburst patterns from hem to waist, with spaghetti straps and center back zipper, totally lined, labeled “Tom and Linda Platt”, size 8, ca. 1990. This husband and wife team found a cache of 1950’s fabric and constructed only ten dresses using this extraordinary brocade. These two designers met in 1969 at Pratt School of Design in New York City, married and started a career in fashion with Giorgio Sant’Angelo, then started their own couture line featuring stunning color combinations and elegant form and line. [300/500] 924 925

920 Fine and Rare French Eighteen-Karat Yellow Gold and Sardonyx Cameo Brooch, ca.1870, the central oval two-layered stone carved as a classically dressed Victorian lady in the white layer backed by a gem quality sard layer, the stone framed in a finely executed classical border of laurel leaves topped by a ribboned knot and streamers. [1400/1800] Illustrated 921 Antique Fourteen-Karat Gold and Enamel Long Chain in the Elizabethan Taste, ca. 1900, composed of alternating enameled and engraved plaques separated by small braided wire links, with a rectangular enameled clasp, l. 51”, 62 gr. [400/700] 922 Eighteen-Karat Yellow Gold Tiffany and Company Pendant Lapel Watch, the open face with a repousse panther head on the rear cover, suspended from a fourteen-karat gold bow-shaped lapel pin. [400/700]

926

923 Lady’s Fourteen-Karat Yellow Gold Hunt Case Watch, the yellow gold case with floral engraving, a white enamel face with black enamel Roman numerals, and the maker’s name “Elgin”. [700/1000] 924 Good Victorian Fifteen-Karat Gold and Amethyst Brooch, third quarter 19th century, set with a large round mixed-cut amethyst weighing approximately 25.0 carats, held by sixteen prongs, each tipped with a small rose-cut diamond, surrounded by an elaborate two-color gold floral and scroll mounting set with fifteen small split pearls and a single solid pearl, suspending gold chain garlands and floral drops, h. 3‑1/2”, w. 2‑1/8”. [2500/4000] Illustrated

191

925 American Fourteen-Karat Gold Slide Bracelet, composed of fifteen late 19th-century watch chain slides of various karatage and set with opals, garnets, sardonyx and other gemstones, all assembled later into a bracelet, each separated by a pair of gold beads, l. 7‑5/8”, 18 gr. [500/800] Illustrated previous page

929

926 American Fourteen-Karat Gold Slide Bracelet, mid‑20th century, with six slides of various shapes and sizes and a clasp en suite, each set with a different natural or simulated gemstone, including amethyst, coral, turquoise and a glass scarab among others, l. 7”. [500/800] Illustrated previous page 927 Victorian Shell Cameo Brooch of Ceres, fourth quarter 19th century, probably Italian, the goddess depicted in profile with her crown of wheat stalks, presented in a plain fifteen-karat gold bezel, with rope-twist edge, h. 1‑3/4”. [300/500] Illustrated 928 Victorian Shell Cameo Brooch of a Bacchante, fourth quarter 19th century, probably Italian, the acolyte depicted with her thyrsus and crown of grape leaves, presented in a plain fourteen-karat gold bezel, h. 1‑5/8”. [300/500]

931

929 Victorian Eighteen-Karat Gold and Guilloche Enamel Brooch, fourth quarter 19th century, of oval form, decorated with fuschia translucent guilloche enamel set with a silver wreath of diamond chips and surrounded by a border of black enamel stringing and split pearls, the reverse fitted with open locket compartment, w. 2”. [1000/1500] Illustrated

927

931 Antique Victorian Fourteen-Karat Yellow Gold Mesh Bracelet, composed of a wide mesh band with a pseudo buckle with a mesh band surplus with engraved terminal and beaded fringe. [1400/1800] Illustrated 932 Pair of Victorian Fifteen-Karat Gold Earrings, third quarter 19th century, of oval form, centered with woven hairwork under a beveled crystal, surrounded by a blackenameled Greek-key meander line, suspending a single small gold bead, l. 1‑1/4” [200/400]

930 Pair of Victorian “Grand Tour” Silver Earrings, fourth quarter 19th century, probably Middle Eastern, each in the revivalist manner and set with a central medallion of a Lamassu: a human-headed winged lion from ancient Assyrian mythology, which stood at doorways and temples entrances to frighten away the forces of chaos, l. 2”, 16 gr. total weight. [300/500]

192

933 Pair of Antique American Gold, Onyx and Pearl Earrings, fourth quarter 19th century, each with a carved onyx trefoil drop set with seed pearls mounted in a gold frame, suspended from an enamel and pearl cap en suite, the original “fish-hook” backs with later friction-posts, l. 1‑1/8”. [250/400]

938 Fine French Art Nouveau Eighteen-Karat Gold Watch Chain Slide, ca. 1900, by Savard et Cie., Paris, engraved by Edmond-Henri Becker, featuring the helmeted Marianne in profile, the reverse with mistletoe and fixed with a slide fitting, dia. 3/4”, 2 gr. [250/400] Illustrated

936

939 European Eighteen-Karat Yellow Gold and Diamond Victorian Watch Pin, ca. 1885, the frame cast as a floral center surrounded by scrolling foliage and flower buds, the brooch set with twelve mixed-cut diamonds, estimated total weight .98 carats. [1500/2500] Illustrated

939

938

934 Collection of Four Victorian Gold-Filled Knot Brooches, fourth quarter 19th century, three set with faceted or polished glass simulating amethyst, aquamarine, citrine and bull’s-eye onyx, w. 1‑3/4” to 2‑1/2”. [150/300]

940

935 Antique American Ten-Karat Two-Color Gold Lorgnette, fourth quarter 19th century, the rose gold body with round spring-action frames and slender shaft, decorated with a coiling yellow gold snake, l. 5”. [250/400] 936 French Art Nouveau Eighteen-Karat Gold Chimerical Brooch, ca. 1900, in the form of a chimera hidden among scrolls, with a single diamond weighing approximately .15 carats, the reverse fitted with a watch-hook, w. 1‑1/2”, 2 gr. [400/700] Illustrated 937 Two Antique American Fourteen-Karat Gold Watch Pins, fourth quarter 19th century, one in the Art Nouveau taste with whiplash lines surrounding a water lily and centered by a freshwater pearl, the other in the Egyptian Revival taste with a pair of enameled lotuses flanking a small cluster of three imitation diamonds and a single pearl, each with a watch-hook on the reverse, the largest w. 3/4”. [200/400]

940 Good Pair of Edwardian Sapphire and Diamond Earrings, ca. 1900, each with a central round sapphire (one estimated at .56 carats, the other at .73 carats), surrounded by ten old mine-cut diamonds (twenty diamonds in all weighing approximately 1.00 carat total), the reverse with the original “French” backs, dia. 3/8”, presented in the original case, w. 2”. [1800/2500] Illustrated

193

941 Two Black Lace Carriage Parasols, ca. 1875‑1900, of black Chantilly lace with original silk linings and scalloped edges, the handles and ferules at the top of carved ivory, the fittings brass, l. 22‑1/4” and 23”. [250/400] 942 Victorian Fifteen-Karat Gold Brooch and Earring Suite, third quarter 19th century, the oval brooch with a central cobalt enameled star and seed pearl, with an open locket reverse and suspending a detachable pendant, w. 1‑1/2”, and a pair of drop earrings en suite, l. 1‑3/4”, presented in a period, but not original, case. [2000/4000] Illustrated

943

943 Fine and Important Italian Arts and Crafts Pendant, late 19th century, of basic cruciform with scrolled ribbons between the arms with an oval pendant drop, the face with five precious opal oval cabochons in bezel settings forming the cross and the pendant drop, the scroll ribbons enameled in blue with mottos in gold with the words “Fides Spes Amor Semp”, the face additionally bezel set with rose-cut diamonds at the outer edges of the arms and round-cut rubies at the central intersection, the reverse with the cross and pendant in green enamel and gold depicting tri-lobed lilies, the reverse of the scrolled ribbons enameled in red enamel, the original attached bail bearing three stamps “Bologna”, “Marchi” and “Aemilia Ars”, l. 3‑1/4”. The design probably by Alphonso Rubbiani and made by Luigi Marchi (1824‑1906). A pendant by the same maker is in the collection of the British Museum, London, illustrated in “The Art of the Jeweler, The Hull Grundy Bequest”. [1800/2500] Illustrated 944 Pair of Eighteen-Karat Yellow Gold and Gemstone Elongated Earrings, each of stylized leaf outline with stippled and polished surface, each mounted with three bezel-set gemstones: an oval amethyst, a rectangular green tourmaline and an oval citrine. [250/400] 945 Pair of Fourteen-Karat Yellow Gold and Gemstone Lady’s Rings, both of flared saddle shape and set with oval cabochons, one in tiger’s-eye quartz, the other in gem-quality lapis lazuli. [600/900] 946 Stunning “Me Era” Eighteen-Karat Yellow Gold and Rubelite Cross Finger Ring, the wide gold body crossing three fingers set with a superb oval cabochon cut Brazilian rubelite bezel set in a textured gold body and shank. [400/700] Illustrated

194

943

947 Group of Two Gus Mayer, New Orleans, Hats, one a cranberry felt cloche with grosgrain ribbon trim and bow, the other a 1960’s spring pillbox of floral leaves and scattered blossoms, with two combs attached, both labeled “Miss Anne Gus Mayer”, presented in a Gus Mayer box. [50/100]

942

948 Group of Two Pillbox Hats, one with pleated Lurex edges of blue, green and silver and circular pleated brim, labeled “Royce Exclusive” and a union label; the other a gray velvet pillbox with two side combs, labeled “Coifettes by Miss Eileen”, ca. 1960’s. [50/100]

957

949 Jeanne Lanvin Hat Reproduction, ca. 1962, the purple double crown felt hat trimmed with contrasting satin binding at the edge, labeled “Reproduction of Jeanne Lanvin Paris by Castillo”, and a stamped label in the crown “Musketeer Imported Body Made in Austria”. [100/200] 950 Quartet of Turned and Enameled Wood Lady’s Hat Stands, second quarter 20th century, each example enameled in blush pink, h. 9”, dia. 5‑1/4”. [100/200] 951 Pucci Cotton Velvet Skirt , with geometric patterns in fuschia, purple, lime green, kelly green and white, signed “Emilio” in white areas, banded with diamonds and lozenges at the waistband side seams and hem, with a side zipper, snap and hooks self closure on tab, lined in white silk, labeled “Emilio Pucci Florence Italy exclusively for Saks Fifth Avenue”, size 14, waist 30”, hips 42‑1/2”, ca. 1970’s. [200/400] 952 Impressive Eighteen-Karat Yellow Gold Dome Ring, by Henry Dunay, the oval outline cast with ribs, each with engraved lines following the lines of the ribs. [1200/1800] Illustrated

952

953 Pair of Eighteen-Karat Yellow Gold Pendant Earrings, each composed of two textured finish oval pendants joined by a textured gold half-hoop. [300/500] 954 Strand of Tahitian Gray Cultured Pearls, composed of thirty-three gray pearls, ranging from 12.1 mm to 14.7 mm in diameter, on the original silk tasseled string, l. 16‑1/2”. [6000/9000] 955 Unusual Eighteen-Karat White Gold, Pearl and Diamond Bangle Bracelet, composed of crossover white gold wires set with 1.20 carats of white diamonds, the crossover top set with a 10.9 mm white and a 10.9 mm black pearl. [2500/4000] 956 Good Pair of Eighteen-Karat White Gold, Pearl and Diamond Earrings, of futuristic design, composed of eighteen-karat white gold tubular wire shaped into two overlapping ovals, each set with a 9.7 mm Tahitian black pearl and accented with white diamonds, with post backs. [1200/1800] 957 Art Deco-Style Eighteen-Karat White Gold, Diamond and Hardstone Brooch, of shaped outline, pave set with single-cut diamonds and inlaid with geometric and stylized floral designs in onyx and coral. [4000/7000] Illustrated 958 Good Fourteen-Karat Yellow Gold and Diamond Semi-Eternity Band Ring, composed of twelve channelset round brilliant-cut diamonds in a yellow gold band, estimated total diamond weight 1.0 carat. [400/700]

946

195

959 Classic Gray Wool “New Look” Coat, with black velvet trim, belted waist and full skirt, the wide cowl collar trimmed around with rows of stitching, the dolman sleeves trimmed with button closures, the skirt heavily stitched with eight bands, the gapped front with snap closure to one side with a button and loop, lined throughout, with a black velvet belt, size 6, ca. 1957. [500/800] Illustrated

959

960 Mink “Sweater”, with horizontal pelts and set-in sleeves, l. 22”, two invisible front pockets and a center back zipper with hook at the top, satin lined throughout, size 6. [300/500] Illustrated

961

962

960

961 Yves St. Laurent Cloche Hat, the black sheared fur winter hat with a wide brim and felt feather secured at the brim trailing behind the ear, labeled “Yves St. Laurent Paris/ New York”, with a stamped crown label “Madrig/ Imported Body Made in Italy”, ca. 1965‑1970. [50/100] Illustrated 962 Black-Dyed Turkey Ruff Boa, ca. 1970, dia. 8”, l. 79”. [50/80] Illustrated

196

968

963 Two Cocktail Hats, one a 1960’s black sheared beaver example with stiff horsehair brim, labeled “Mr. John”; the other a bow headband taffeta hat with a face veil. [100/200] 964 Bob Mackie Evening Gown, the black caen lace gown with sweetheart neckline, trimmed with double black satin bows on the shoulder straps, the fabric embellished with black sequins stitched to a rose pattern throughout, lined with flesh silk, the fitted silhouette with center back zipper, slightly trained in the back, labeled “Bob Mackie Boutique”, purchased at Tootsie’s, Houston, Texas, size 6, ca. 1990’s. As a major form in fashion and film costume design, Bob Mackie has achieved many awards. His long association with both Cher and Carol Burnett allowed him to design costumes for these stars on a continuing basis (with Carol Burnett, 42 years). His attention to detail, elaborate embellishment and fabric selection make him the top choice for the woman who wants to be noticed. [500/800] Illustrated

964

965 Elegant Mink Coat with Sable Notched Collar, vertical pelts and inset sleeves, labeled “Koslow’s”, l. 44”, sleeve l. 24”. [1000/1500] Illustrated

965

966 Group of Two Mink Hats, one a mink fur cloche with a torn-back front brim, labeled “Fashions by Winter, New York”, approximate size 7‑1/2; the other a mink pillbox (Jackie Kennedy style), labeled “Norman Durano Original”. [125/250]

967 Collection of Three Fur Accessories, ca. 1960, including an “Autumn Haze” mink hat, lined, with grosgrain interior band, approximate size 6‑3/4; a white mink hat, lined, with velvet interior band and “Sakowitz Salon” label, approximate size 6‑3/4; and an arctic fox muff, with interior zippered compartment and grosgrain strap, with the original “House of Jules” supporting storage sleeve, w. 8”, dia. 10”; all in a Sakowitz, Houston, circular hatbox. [100/200] 968 Portuguese Fourteen-Karat Yellow Gold, Silver and Diamond Victorian-Style Bracelet, of oval outline, the yellow gold openwork body with silver top bezel set with rose-cut diamonds and bead set with round brilliant-cut diamonds, estimated total diamond weight 23.06 carats. [6000/9000] Illustrated

197

969 972 Pair of Eighteen-Karat Yellow Gold and Diamond “Freeform” Drop Earrings, each cast as two pieces of freeform entwined branches, each earring set with six round brilliant-cut white diamonds. [400/700] 973 Large Italian Eighteen-Karat Gold Fur Clip, third quarter 20th century, by Bernardo Legnani, Valenza, in the form of a ram’s head, with pear-shaped emerald eyes (one lacking), the remaining weighing approximately .20 carats, and accented throughout with thirty-seven small single-cut diamonds weighing approximately 0.50 carats total, 114 gr. (including gemstones), h. 3‑5/8”, w. 2‑1/2”, d. 1‑3/8”. [2500/4000] Illustrated

971

973 969 Dramatic Victorian-Style Bakelite, Silver and Diamond Cuff Bracelet, composed of a wide black Bakelite cuff bracelet topped with three silver Victorian medallions with bezel-set rose-cut diamonds and bead-set single-cut diamonds, estimate total weight 5.08 carats. [6000/9000] Illustrated 970 Unusual Snakeskin, Silver and Diamond Lady’s Cuff Bracelet, composed of a dyed green snakeskin cuff bracelet with a silver top, gold back Victorian-style medallion with bezel-set rose-cut diamonds and bead-set single-cut diamonds, estimated total weight 4.10 carats. [4000/7000] Illustrated 971 Amusing Pair of Fourteen-Karat Yellow Gold and Coral Gentleman’s Cufflinks, each realistically carved as a coral octopus with splayed tentacles and black eyes, mounted on fourteen-karat yellow gold backs. [900/1200] Illustrated

198

970

974 Eighteen-Karat Yellow Gold, Ruby and Diamond Saddle-Shaped Ring, composed of six channelset calibre-cut rubies in a navette mounting set with accent diamonds on the top and bordering on the sides. [250/400]

975

975 Assembled Moghul-Style Gold and Gemstone Brooch and Earring Suite, including a late 19th-century fourteen-karat gold dress clip made from half of a buckle, set with fifty old mine- and rose-cut diamonds weighing approximately 3.00 carats total, two square-cut emeralds weighing approximately .30 carats total, and fourteen old cushion-cut rubies weighing approximately 1.25 carats total, the reverse with later brooch fitting, w. 1‑3/4”; and a pair of contemporary, complimentary drop earrings in eighteen-karat yellow gold and set with sixty-six diamonds weighing approximately 1.00 carat total, twenty-six rubies weighing approximately .60 carats total, and four emeralds weighing approximately .40 carats total, l. 1‑1/2”. [2000/4000] Illustrated

981 976 Fourteen-Karat Yellow Gold, Emerald, Pearl and Diamond Ring and Earring Set, the ring with a central cluster of seven emeralds surrounded by pearls, all encased in a filigree gold design, the earrings set with a central emerald, each surrounded by diamonds of .40 carat weight, ending with a drop pear-shaped emerald. [500/800] 977 Red Tartan Wool Swing Coat, trimmed with black velvet hooded collar, with banded hem, ruched cuff trim, two copper toggle buttons and diagonal front pockets faced with black velvet, lined throughout, size 10, ca. 1940’s. [200/400]

978 Trifari Costume Necklace and Bracelet Set, with clear rhinestones in the shape of oval diamonds and smaller accent stones, set in smooth and textured gold tone metal, signed, ca. 1960’s. [200/400] 979 Fourteen-Karat Yellow Gold Lady’s Link Necklace, composed of graduated “enframed circles” of flattened links. [1400/1800]

980 980 European Eighteen-Karat Yellow Gold and Gemstone Link Bracelet, ca. 1900, composed of closed links separating oval links, the oval links set with gemstones including diamond, emerald, pearl, sapphire and ruby. [1400/1800] Illustrated 981 Vintage Lady’s “Sugar Loaf” Cabochon Sapphire and Diamond Ring, first quarter 20th century, set with a single oval “sugar loaf” cabochon blue sapphire weighing approximately 4.50 carats, surrounded by fourteen old European-cut diamonds weighing approximately .50 carats total, to a fourteen-karat gold shank. [1800/2500] Illustrated

199

982 American Fourteen-Karat Two-Color Gold and Diamond Bracelet, featuring a straight line of forty brilliant-cut diamonds weighing approximately four carats total, in single white gold box links, permanently fixed into a heavy flexible braided gold wire jacket, l. 8”. [3500/5000] Illustrated 983 Adolpho Daytime Three-Piece Suit, consisting of a white wool tricot boucle ribbed boxy jacket with long set-in sleeves, trimmed with red and white polka pot grosgrain ribbon on the collar, front and cuffs, with two front pockets, unlined, sleeve l. 23‑1/2”; a red pleated silk skirt with side zipper closure, the waistband and hem with the same fabric as the blouse, l. from waistband 21‑1/2”, waist 29‑1/2”; and a red and white printed silk blouse with tie collar, front button closure and cuffs with two buttons, sleeve l. 24”; labeled “Adolpho New York”, size 10, ca. 1960‑1970. [100/200] Illustrated

983

987

985 Judith Leiber White Karung Clutch Bag, ca. 1985, with a retractable gold chain shoulder strap and rose quartz fastener, the two-compartment interior with a small coin purse, mirror and tasseled comb, 6” x 9‑1/2”. [400/700] 986 Judith Leiber Charcoal Gray Karung Classic Purse, ca. 1985, with a gathered body, self piping and retractable shoulder strap, the gray-lined interior with a small coin purse, mirror and tasseled comb, 6‑1/2” x 8‑1/2”. [400/700] 987 Dramatic Italian Fourteen-Karat Yellow Gold and Diamond Fringe Necklace, 19th century and later, the chain back suspending a row of square bezels, each suspending alternating length pendant bars set with bezeland floral-set diamonds, most of the diamonds recycled 17th-century rose and native cuts, the central diamond an Old European cut. [1800/2500] Illustrated

982

984 Miss Dior Straw Hat, the straw with scattered black polka dot jet beads in graduated rows from largest to smallest, a la Mamie Eisenhower, labeled “Miss Dior/ Created by Christian Dior”, ca. 1950’s. [100/200]

200

988 Lady’s Fourteen-Karat Yellow Gold and Gemstone Ring, the Retro Moderne setting with upturned sides set with a central round-cut citrine flanked by two round-cut amethysts, the mounting with a polished finish. [400/700]

991

989 Lady’s Italian Eighteen-Karat Yellow Gold and Diamond Pendant Necklace, composed of a heart-cut diamond weighing an estimated 1.22 carats, by formula, attached to an eighteen-karat yellow gold flat triangularshaped link chain. [1000/1500] 990 Fourteen-Karat Gold Link Bracelet, the yellow gold body composed of flexible V-shaped links with invisible clasp. [400/700] 991 Rare and Magnificent Platinum, Eighteen-Karat Yellow Gold, Emerald and Diamond Lady’s Ring, composed of a fine rectangular step-cut Columbian emerald weighing 11.0 carats, of fine color, clarity and brilliance in a yellow gold and platinum mounting with a double shank set with an estimated 1.5 carats of round brilliant-cut white diamonds. [40000/70000] Illustrated

992

992 Eighteen-Karat White Gold and Diamond Lady’s Engagement Ring, composed of a central square-cut diamond, weighing an estimated .76 carats, surrounded by a border of round brilliant-cut diamonds which extend down the shank, estimated total weight .80 carats. [1800/2500] Illustrated 993 Stunning Fourteen-Karat White Gold, Emerald and Diamond Ring, centrally set with a 7.06-carat squarecut emerald with intense color in a yellow gold bezel and surrounded by an estimated 1.40 carats of pave-set round brilliant-cut diamonds. [8000/12000] Illustrated

995 American Fourteen-Karat Two-Color Gold Jewelry Suite, second quarter 20th century, including a lavaliere, l. 14‑1/4”, brooch, l. 2‑3/4”, and stud earrings, dia. 1/2”, each decorated with a rose gold rose(s) with yellow gold flowers, 32 gr. total weight. [300/500] 996 Large Contemporary Italian Fourteen-Karat Gold Necklace, composed of graduated double-curb links, l. 17‑1/2”, 110 gr. [2500/4000]

993

994 American Fourteen-Karat Rose Gold Retro Modern Bracelet, second quarter 20th century, composed of narrow geometric “tank track” links, l. 8”, 18 gr. [150/300]

997 Contemporary Italian Eighteen-Karat Yellow Gold Choker and Bracelet Suite, by Ivo Spina, Arezzo, each alternating with a single large curb link and two small twisted curb links, the clasp with an embossed medallion of a neoclassical maiden, choker, l. 17”, bracelet l. 8‑1/4”, 110 gr. total. This suite may be worn together as a single 25‑1/4” necklace. [2500/4000] 998 Lady’s Costume Gilt-Brass Multi-Strand Necklace, composed of five groups of chains, each group with five strands of chain in flat oval and small round links, the ends with ribbed bar terminals and a ball and chain catch. [100/200]

201

999

999 Signed “Miriam Haskell” Costume Bar Brooch, ca. 1940’s‑1950’s, consisting of turquoise beads and signature seed pearls with faceted and baguette rhinestones, set in Haskell’s exclusive antique Russian gold finish with fleur-de-lis design. [250/400] Illustrated

1005 Vintage Fourteen-Karat Gold Charm Bracelet, mid‑20th century, with sixteen gold charms, nine- to fourteen-karat, commemorative of world travels, including the Coliseum, a Spanish bull, a Swiss guard, a Venetian gondola, a San Francisco cable car, a working Las Vegas roulette wheel, the Little Mermaid of Copenhagen, a pair of sabot, a map of France, a Viking ship, a wicker-wrapped wine bottle, a Beefeater station, a pair of skis and poles, a Casino de Paris signpost, a family crest, and a house which opens to reveal a pair of enameled hearts, l. 7”, 70 gr. [300/500]

1004

1000 Double-Strand Citrine Necklace and Bracelet Set, composed of alternating tumbled and polished irregular citrine beads arranged in two strands, with gold-tone bar and hoop clasp on the necklace, l. 18”, and plunger clasp on the bracelet, l. 7”. [100/200] Illustrated 1001 Scaasi Triple-Strand Costume Necklace, strung with imitation lapis lazuli, jade and gold beads centered by a clasp set with imitation lapis lazuli, emerald and jade in a gold-toned mounting. [125/250] 1002 Lady’s Fourteen-Karat Yellow Gold, Pearl and Diamond Necklace, composed of a 12.4 x 13.5 mm silver/blue pearl suspended from a yellow gold Art Nouveau-style frame set with an estimated .30 carats of round white brilliant-cut diamonds, suspended on a gold link chain. [3000/5000] 1003 Elegant Lady’s Eighteen-Karat White Gold and Sapphire Necklace, bezel set with blue sapphires in round, square, rectangular, navette and pear cuts, estimated total weight 6.5 carats, the center of the necklace bezel set with a single round brilliant-cut white diamond. [1400/1800] 1004 Graduated Natural Iolite Necklace, the single strand composed of faceted pyramidal beads with larger beads at the front, with a gold-tone hoop and bar clasp, l. 17”. [125/250] Illustrated

202

1000

1006 Collection of Twelve Fourteen-Karat Gold Charms, mid‑20th century, many with working parts, including two bells with working clappers, a working hourglass, a mailbox with working chute, a boat with moving outboard motor, an ox-drawn covered wagon with moving wheels, a sewing machine with rotating hand wheel, a violin, a golf bag with moving clubs, a mortar with moving pestle, a lamplight, and the old woman who lived in a shoe, which opens to reveal her children, l. 1/2” to 1”, 30 gr. total weight. [300/500]

1014

1007 Fourteen-Karat Yellow Gold Tennis “Love” Bracelet, composed of links formed as two crossed tennis rackets joined by links shaped as the word “Love”. [200/400] 1008 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. [3500/5000] 1009 Green Rutilated Tourmaline and Labradorite Graduated Necklace, composed of faceted labradorite beads with pear-shaped faceted rutilated green tourmaline pendants at the front, with a sterling silver bar and hoop clasp, l. 17”. [100/200] 1010 Large Tourmaline/Quartz Necklace and Bracelet, composed of a single strand of flattened faceted pieces of quartz with tourmaline inclusions of varying densities, with a sterling silver hoop and bar clasp, l. 19”, and a bracelet of varicolored quartz beads with rutile and opaque inclusions. [100/200] Illustrated

1013

1011 Matched Rutilated Quartz Necklace and Bracelet Set, each piece composed of hexagonal faceted quartz beads with black tourmaline included needles designed as a cluster strand, each piece with hoop and bar clasps, necklace l. 19”, bracelet l. 8”. [125/250]

1012 Dramatic, Long Chinese Crystal Opera-Length Necklace, composed of a single strand of faceted oblong beads of reflective gray/brown color, l. 38”. [50/100]

1010

1013 Dobbs Model Fifteen Western Hat, ca. 1950‑1970, by Dobbs Fifth Avenue, New York, retailed by Sakowitz Brothers, Houston, Texas, in pale gray felt with shaped crown, the brim embellished with silver braid and brilliants, with white grosgrain hatband and edging, the red satin crown lining with “Dobbs Fifth Avenue” and logo, the interior leather band gilt stamped “Dobbs Fifteen” and blind stamped “Sakowitz Bros., Houston, Tex.”, size 6‑7/8, h. 5‑1/2”, w. 12‑1/2”, l. 14‑1/2”, with the original Dobbs octagonal hatbox. [150/300] Illustrated

203

1015 Byer-Rolnick “Resistol” Western Hat, ca. 1970, designed by Harry Rolnick, Garland, Texas, in buff felt with one-quarter-inch brown and white spotted cowhide band with buckle, the red satin crown lining with “Resistol” and logo, the patented “Self-Conforming” interior leather band gilt stamped “Designed by Harry Rolnick for Ann Sakowitz”, size 6‑3/4, h. 5‑1/2”, w. 13”, l. 14‑3/4”, with the original hatbox. [150/300]

1017

1016 Thunderbird Ranch Western Hat, ca. 1970, designed by Harry Rolnick, Garland, Texas, in kelly green felt with matching grosgrain edging, single knotted rawhide band and matching chin strap, the white satin crown lining with “Thunderbird Ranch” and logo, the interior leather band gilt stamped “Designed by Harry Rolnick for Ann Sakowitz”, size 6‑7/8, h, 5‑1/2”, w. 12”, l. 15”, with the original hatbox from the Kevin McAndrew, Hatmaker division of Sakowitz Brothers, Houston, Texas. [150/300]

1023

1014 Three-Piece Group of “Ranch Wear”, consisting of a navy cotton bandana blouse with threequarter sleeves with turn back, the front closure with white buttons; a matching white unlined skirt, the waistband stitched in matching blue thread with four bandanas stitched into the waistband, two in front and two in back, with side zipper closure, l. 22‑1/2”, waist 29”, labeled “Design by Sabut, Goodman & Scheinotorin Inc.”; and a red cotton bandana-print dress with empire waist, long sleeves with ruffles, scoop double ruffled neckline, full skirt with flounce and pockets, the flounces pleated, and center back zipper, labeled “Victor Costa for Sakowitz”, size 10, ca. 1970. [100/200] Illustrated previous page

204

1018

1017 Fine Gentleman’s Eighteen-Karat Gold Patek Philippe Navigator Wristwatch, with mechanical selfwinding movement, white enamel face with gold applied hour markers, date in aperture, original eighteen-karat yellow gold navigator link bracelet and an extra link, presented in the original box. [20000/40000] Illustrated 1018 Fine Quality Gentleman’s Double-Breasted, FullLength Canadian Mink Coat, with vertical pelts, seamed sleeves and a twenty-inch slit in the back, with two concealed pockets and one interior pocket, size 44. [2500/4000] Illustrated

1019

1019 Unusual Gentleman’s Car-Length Coyote Coat, with a shawl collar, three bone toggles with leather holders for closure, seamed sleeves, two concealed pockets and one interior pocket with a zipper, size large, l. 36”. [600/900] Illustrated 1020 Fourteen-Karat Gold and Cultured Pearl Gentleman’s Tie Bar, in the shape of a gold club with a pearl ball. [150/300]

1024 Rare Alaskan Gold Rush Brooch, ca. 1900, by W. H. Mendham, Fairbanks, Alaska, in eighteen-karat gold, centering an eagle displayed above a crossed pick and shovel and below the word “Tanana”, all above a crescent made of twenty-two-carat gold nuggets, the reverse fitted with a watch-hook, marked on the reverse “18 Kt/ Made in Tanana/ Mendham” and “22 Kt”, w. 1‑1/2”, 8 gr. Manufacturing jeweler W. H. Mendham is listed in Fairbanks directories from the very late 19th century into the second decade of the 20th; he is also known to have operated a branch in Juneau at the same time. Despite the markings on this well-crafted brooch, it is unlikely that it was made in Tanana, 100 miles west of Fairbanks and today with a population of only 300. More likely the brooch is made from gold panned from the Tanana River, on which both cities lie, though it is to be noted that period photographs show Mendham’s waterfront jewelry store abutted the Tanana Saloon. [200/400] Illustrated 1025 Antique Half-Albert Watch Chain and Masonic Fob, fourth quarter 19th century, the gold-filled chain composed of five elaborate geometric links separated by segments of rolo chain, with the original swivel and T-bar, l. 12”, the fourteen-karat rose gold fob of rectangular form, with hinged locket, each side set with, respectively, a carved onyx intaglio of a warrior and a carved onyx intaglio of a Masonic compass and square, swiveling in a scrolling frame, l. 1‑1/2”. [300/500] 1026 Collection of Six Gold and Gold-Filled Religious Medals, including a fine Cartier eighteen-karat gold medal of the Centenary of the Apparitions at Lourdes, a fourteenkarat gold Miraculous Medal of St. Catherine Laboure, a fourteen-karat gold and red enamel Jerusalem cross, a small eighteen-karat gold medal of John Paul II, a larger gold-plated medal of John Paul II, and a gold-filled St. Christopher medal, dia. 1/4” to 1”. [200/400]

1021 Collection of Six Gold Stickpins and a Toothpick, late 19th to mid‑20th century, including stickpins in the form of a wishbone with diamond chip and a gold-handled walking cane, another with an oval plaque monogrammed “G”, one with a pearl head and two enameled with the red Jerusalem cross of the Order of the Holy Sepulchre, the toothpick with a spherical finial, l. 1‑3/4” to 3‑1/4” (seven total pieces). [250/400] 1022 Edwardian Nine-Karat Gold Gentleman’s Watch Chain, first quarter 20th century, composed of elongated curb links, with the original swivel, l. 15‑3/8”, 46 gr. [150/300] 1023 Franck Muller Gentleman’s Casablanca Watch, Geneva, with a mechanical movement, automatic winding, and Swiss works, the face white enamel in a stainless steel case, the band calf leather in a faux-alligator design, presented in the original faux-alligator box. [4500/7000]

1024

205

1039

1028 1027 Two Fine French Eighteen-Karat Gold Religious Pendants, first quarter 20th century, Paris, including a crucifix by Raoul Chretien, the trefoils of extremities of the cross with the attributes of the four evangelists (the lion of Mark, the eagle of John, the ox of Luke and the man of Matthew), h. 1‑1/2”; and a medal by Adrien Chobillon, the obverse with the Sacred Heart, signed C. Charl”, the reverse with Our Lady of Mt. Carmel, signed “Tairac”, dia. 13/16”; both in a fine satin finish, 6 gr. total weight. [200/400]

1032 Agra Serapi Carpet, 12’ x 14’ 10”. [2500/4000] 1033 Peshawar Zeiglar Mahal Carpet, 6’ 1” x 8’ 9”. [1000/1500] 1034 Uzbek Wool and Silk Suzanne Carpet, 7’ 4” x 10’ 9”. [1800/2500] Illustrated 1035 Oushak Carpet, 9’ 3” x 5’ 8”. [500/800]

1028 Semi-Antique Persian Kerman Carpet, 8’ 9” x 12’. [1500/2500] Illustrated

1036 Northwest Persian Carpet, 4’ x 7’. [600/900]

1029 Agra Oushak Carpet, 6’ 2” x 9’ 1”. [600/900]

1037 Oushak Carpet, 7’ 5” x 5’ 2”. [600/900]

1030 Persian Tabriz Carpet, 10’ x 13’ 5”. [4500/7000]

1038 Persian Sultanabad Carpet, 10’ x 13’. [4000/7000]

1031 Pair of Agra Serapi Carpets, 4’ x 6’ 2” and 4’ x 6’. [700/1000]

1039 Agra Carpet, 12’ x 15’. [3000/5000] Illustrated

206

1034

1041

1040 Sivas Carpet, ca. 1940, 8’ 2” x 5’. [800/1200] 1041 American Colonial Cherrywood Bonnet-Top High Chest, mid‑18th century, in the Queen Anne taste, in two parts, the scrolling broken-arch pediment terminating in floral-carved rondels, centered and flanked by flamecarved finials, the shell-carved central drawer flanked by a pair of smaller drawers over three graduated drawers, the base with a drawer over a shell-carved drawer flanked by a pair of drawers, raised on cabriole legs on pad feet, the associated base and top both of the period, h. 81”, w. 38”, d. 23”. [4000/7000] Illustrated

1045

1043

1044

1042 American Colonial Revival Marquetry-Inlaid and Line-Strung Mahogany Sideboard, fourth quarter 19th century, after a Baltimore Federal masterpiece, probably by Potthast Brothers, Baltimore, the serpentine top edged with barber-pole stringing, the case with a bowfront central drawer over a pair of doors, each with stringing around figured panels and each edged with fine barber-pole stringing flanked by concave doors with like adornments, raised on Hepplewhite legs with bellflower inlay, h. 39‑1/2”, w. 66”, d. 28‑1/2”. [1800/2500] Illustrated 1042

1043 Fine Anglo-American Magnum Glass Hurricane Shade, second quarter 19th century, the free-blown shade wreath cut and “Vintage” engraved, h. 22‑3/4”. [700/1000] Illustrated

207

1048 1048 Simon Willard, Boston, Massachusetts, Wall Clock, first quarter 19th century, composed of brassmounted mahogany and eglomise, of “banjo” form in the Federal style, the central eglomise section with a foliage-filled gilt vase surmounting an American eagle shield over a stylized gilt dolphin, the lower door panel set with an eglomise scene of “Perry’s Victory”, the circular dial signed “Simon Willard/Boston”, retains the period movement, h. 30”, w. 10”, d. 3‑1/2”. [3000/5000] Illustrated

1047 1044 Fine Anglo-American Magnum Glass Hurricane Shade, second quarter 19th century the free-blown and cut glass shade with a broad frosted band at the lip and foot, the body “Vintage” engraved, h. 23‑1/4”. [700/1000] Illustrated previous page

1049 American Classical Mahogany Pembroke Table, first quarter 19th century, school of Duncan Phyfe, New York, the figured single-board top flanked by a pair of like drop leaves with canted corners, the frieze with a single drawer on a pedestal with four acanthine-carved turned columns joined to a platform with foliate-carved saber legs ending in carved hairy-paw feet, h. 28‑1/2”, w. 36”, l. 22‑1/2”, extended l. 42‑1/4”. [1400/1800] Illustrated

1045 Fine Anglo-American Magnum Glass Hurricane Shade, second quarter 19th century, the free-blown shade wreath cut with frosted grapevine leaves in “Vintage” engraving, h. 23‑1/4”. [700/1000] Illustrated previous page 1046 Federal-Style Giltwood Looking Glass, the rectilinear mirror plate in an egg-and-dart-molded frame with each corner block centered by a floral rondel, the top rail centered by a swag-carved panel supporting a splayedwing eagle on a rocky crag, its beak clutching chains with tassel ends, h. 60”, w. 31‑1/4”, d. 5‑3/4”. [600/900] 1047 Louisiana Federal Mahogany Armoire, first quarter 19th century, the projecting molded cornice with canted corners, over a conforming case with a pair of doors, each framed with mitered corners and flush single-board panels, the interior with a medial band of drawers, the doors mounted to the case with fiche hinges, the whole on turned Sheraton legs, h. 85”, w. 60”, d. 24”. [4000/7000] Illustrated

208

1049

1052 American Late Classical Mahogany and Figured Maple Sideboard, second quarter 19th century, the top with a crotch-veneered splash, the case with a pair of projecting molded drawers over a pair of paneled doors flanked by figured maple columns, raised on turned legs, h. 49‑1/2”, w. 61”, d. 24‑3/4”. [600/900] 1053 American Federal-Style Giltwood Looking Glass, late 19th century, the projecting molded cornice over a row of spheres, the rectilinear upper mirror plate also edged in giltwood spheres, the long vertical mirror flanked by columns with carved capitals, h. 50, w. 28‑1/2”. [600/900] 1054 Pair of Anglo-Bohemian Richly Cut Glass Sweetmeat Dishes, second quarter 19th century, the footed and covered dishes with everted “Van Dyck” rims, the domed covers with tall cut “steeple” finials, h. 13‑1/2”, dia. 7”. [400/700] Illustrated

1051

1050 American Late Classical Mahogany Pier Table, second quarter 19th century, the cove-molded frieze raised on gilt-bronze-mounted columns, the back with a mirror plate flanked by turned pilasters, fronted by a shaped low shelf centered by a demi-lune banded and fan-veneered panel, restorations, h. 39”, w. 44‑1/2”, d. 18”. [1000/1500]

1055 Good Anglo-Irish Richly Cut Glass Fruit Bowl, first quarter 19th century, of navette form in “Paterae and Diamond Band” decor, the base reverse cut with a sixteenpoint sunburst, the rim cut with alternating scallops and double points, h. 5‑1/2”, w. 13‑1/2”. [200/400] Illustrated

1051 Pair of Paris Porcelain Two-Handled Garniture Vases, first quarter 19th century, perhaps the Neppel Manufactory, of footed baluster form in the neoclassical taste, the facades with well-painted Italianate landscape reserves, the reverses with figural “Teniers” reserves, the upper terminals of the handles modeled as biscuit porcelain ram’s heads, h. 13‑1/2”, w. 7‑1/2”. [1500/2500] Illustrated

1055

1054

1056

209

1056 Good New England Area Glass Compote, third quarter 19th century, the blown and “Oculus and Panel”-cut glass either Boston and Sandwich or the New England Glass Company, h. 8‑1/2”, dia. 10”. [100/200] Illustrated previous page 1057 American Late Classical Parcel-Gilt and Polychromed Looking Glass, second quarter 19th century, in two parts, the crest with a carved eagle grasping a ring in its talons, the ring supporting an ovoid mirror plate set in a beaded and cornucopia-carved frame, overall h. 48”, mirror h. 34”, w. 35”, d. 5”. [1400/1800] Illustrated

1060

1059

1057

1058 American Classical Mahogany Writing Table, early 19th century, the rectilinear single-board top over an apron with a pair of drawers, raised on foliate-carved Sheraton legs on brass ball feet, h. 29‑7/8”, w. 36”, d. 23”. [800/1200] 1059 Louisiana Cherry Armoire, second quarter 19th century, in the classical taste, the projecting stepped cove-molded cornice over a pair of doors, each with mitered corners and single-board panels, opening to reveal an interior fitted with a medial belt of drawers, with molded apron, raised on generously proportioned turned legs on brass ball feet, h. 78‑1/4”, cornice w. 50‑1/2”, case w. 44‑1/4”, d. 18”. [3500/5000] Illustrated

210

1062 Pair of Paris Porcelain Vanille-Ground Garniture Vases, second quarter 19th century, of campana form in “Summer Flowers” decor, the handles with double “River God” masque terminals, h. 8‑5/8”, dia. 6‑1/2”. [200/400]

1061

1063 Rare Pair of American Lyriform Three-Light Girandoles, second/third quarter 19th century, composed of silvered brass and white marble, dressed throughout with large period cut glass prisms, presented on oblong white marble bases of block form, h. 19”, w. 17‑1/2”. [300/500] 1064 Fine American Late Classical Mahogany Center Table, second quarter 19th century, New York, the sixteen-sided polygon top with wedge-figured crotch mahogany veneers, the cyma-molded apron with like veneer, raised on a tripodal pedestal on scrolled feet, h. 20‑12”, dia. 35‑1/2”. [2000/4000] Illustrated

1060 Vernacular American Late Classical Walnut and Cherry Tall-Post Bedstead, early 19th century, lower Mississippi Valley, the turned posts supporting a paneled headboard with a turned top rail, the posts joined by period rails, h. 90”, inside w. 54‑1/2”, l. 74‑3/4”, outside w. 61”, l. 81‑1/2”. [1500/2500] Illustrated 1061 Pair of Paris Porcelain Paneled Swan-Handled Garniture Vases, second quarter 19th century, in the neoclassical taste, each featuring an “Eros” facade reserve and a floral spray on the reverse, each surrounded by smaller floral reserves of varying configuration, both with unusual black and blush pink grounds, h. 14”, w. 7‑1/2”, d. 3‑3/4”. [1200/1800] Illustrated

1066

1065 American Late Classical Mahogany Cheval Mirror, ca. 1900, the beveled mirror plate in an ogee-molded frame supported by scroll columns, the trestle base on scroll feet, h. 72‑1/2”, w. 34‑1/4”, d. 21”. [500/800] 1066 After John James Audubon (American, 1785‑1851) “Republican Cliff Swallow”, plate 68, 1829, hand-colored etching and aquatint, from the Birds of America, Havell edition, sight 20” x 12‑3/4”. Glazed, matted and presented in a mid‑19th century annulated gilt frame. [1400/1800] Illustrated 1064

211

1067 Vernacular Southern Walnut, Cypress and Yellow Pine Armoire, 19th century, of pegged construction, the projecting cornice over a pair of paneled doors, the interior with a medial belt of two drawers, raised on shaped bracket feet, h. 87”, w. 53”, d. 18”. [2000/4000] Illustrated 1068 Vernacular Southern Yellow Pine Standing Plantation Desk, early 19th century, the slant lid of single-board construction with breadboard ends joined with paired pegs, over a single drawer, the case of dovetailed construction, raised on turned legs, retaining its untouched alligatored finish, h. 44”, w. 36‑3/4”, d. 24‑1/2”. [200/400]

1070

1067

1069 Unusual Child’s Orkney Island Chair, ca. 1900, of traditional form, the reeded curved back joined to the rush seat by shaped arms, raised on tapering square legs joined by a box stretcher, h. 32”. A similar chair is illustrated in Poesch, Early Furniture of Louisiana, plate 28. [500/800] Illustrated 1070 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 1071 American Cast-Iron Indigo Pot, mid‑19th century, the vessel with a flared rim, the body with four integral handles, h. 23”, dia. 40”. [1000/1500] Illustrated

212

1069

1072 Vernacular American Paint-Decorated Pine Hooded Rocking Cradle-on-Stand, mid‑19th century and later, the base of dovetailed construction at the foot, the head and hood of nailed construction, the back retaining its period yellow sponge paint, the balance in later paint depicting frolicking putti amongst floral garlands, on a later stand with grooves to stabilize the rockers, the stand in like paint, stand h. 18”, w. 19”, l. 33”, cradle h. 26”, w. 17”, l. 33‑1/2”. By family tradition, crafted for Henry Frederick MacGregor (b. 1855) and his siblings in Derey, New Hampshire, descended among heirs to the present. The MacGregor family has been in the Houston, Texas, area since the 1870’s. [250/400]

1074

1073 Hortaire J. Guenard (American/New Orleans, b. ca. 1827‑1899; Active New Orleans 1850‑1899), After Jean Joseph Vaudechamp (French, 1790‑1866; Active New Orleans 1831‑1839) “Portrait of Marie Joseph Guenard, Madame Domingo de Fleitas”, oil on canvas, signed and inscribed “After Vaudechamp” upper left, 32” x 26”. Presented in a giltwood frame. Provenance: Ex-collection William E. Groves, New Orleans, Louisiana; illustrated in Louisiana Painters and Paintings from the Collection of W. E. Groves, 1971, page 57. [2000/4000] Illustrated 1074 Two-Piece Paris Porcelain Toilette Service, third quarter 19th century, lavishly gilded and polychromed in “Summer Flowers” decor, comprised of a toilette ewer, h. 9”, and a large matching basin, h. 4”, dia. 13”. [2000/4000] Illustrated 1075 Paris Porcelain Covered Soup Tureen and Stand, third quarter 19th century, of oval form in “Summer Flowers” decor, the domed cover of the two-handled tureen with a gilded pear finial, both pieces banded in teal green, h. 13”, w. 14‑1/2”. [400/700]

1073

1076 Unusual Paris Porcelain Garniture Vase, third quarter 19th century, of diminutive size and scrollfooted coquille form, the interior with five equidistant polychromed floral sprays, h. 4‑1/4”, w. 5”. [125/250]

1071

1077 Twenty-Four-Piece Group of Richard Ginori Porcelain Cups and Saucers, in “Views of Doccia” decor, in the early 19th-century style, consisting of an attractive set of eight Ginori porcelain footed afterdinner coffee cups, h. 3”, dia. 2”, and eight saucers, dia. 3‑5/8”, and a matching set of four footed coffee cups, h. 4‑1/8”, dia. 3”, and four saucers, dia. 5”, each piece fully marked and titled on the base. [150/300]

213

1078 American Gothic Revival Mahogany Sidechair, mid‑19th century, the back in the form of an arch, the interior of the back with a series of finely detailed quatrefoils and a row of three arches, the lower rail of the back with a row of deep trefoil pendants, the back panel joined to shaped stiles with spire finials, with scalloped front seat rail and cabriole legs, h. 34‑3/8”. [400/700] 1079 Southern School (19th Century) “Half-Portrait of a Mother and Child”, oil on canvas, unsigned, 30” x 25”. Presented in a period giltwood frame. Provenance: Excollection William E. Groves, New Orleans, Louisiana. [1800/2500] Illustrated 1080 American Restauration-Style Mahogany Secretary Abattant, mid‑19th century, the marble top over a cymamolded drawer, the paneled fall front with applied shell carving at each corner, opening to reveal a satinwood interior fitted with drawers and partitions with a pair of paneled doors below, the apron with a concealed drawer and shell carving, h. 54‑1/2”, w. 43”, d. 18‑1/4”. [1200/1800] Illustrated

1079

1081 American Rococo Revival Six-Arm Gasolier, mid‑19th century, in the “Three Graces” pattern, attributed to Cornelius and Baker, Philadelphia, the stem retaining its canopy with a tree of female masks, mounted with three standing figures of the graces, the arms each modeled in the form of foliage with classical masks, retaining its gas keys, now mounted with small fitter frosted blown glass shades after the period fashion, h. 52”, w. 34‑1/2”. A similar gasolier in the collection of the Metropolitan Museum of Art is discussed as item 135 of 19th-Century America: Furniture and Other Decorative Arts by Tracy, Johnson, Schwartz and Boorsch. The gasolier is also illustrated on the front wrapper of the book. [8000/12000] Illustrated

1080

214

1081 detail

1081

1082

1082 Rare New Orleans Market Mahogany Half-Tester Youth Bed, mid‑19th century, the canopy with serpentine sides and bowed front, raised on turned posts supporting a paneled headboard, the panel edged with ribbon molding, the crisply carved crest centered by a shell flanked by foliate-carved scrolls, the wrap footboard and rails each with a recessed panel and spindle-supported rail, h. 82”, inside w. 28‑3/4”, l. 63”, outside w. 31”, l. 64”. The present bed is a very rare small example of the half-tester beds crafted in and for the antebellum New Orleans market by such noted New Orleans retailers/ cabinet makers as Prudent Mallard, Dutriel Barjon and the McCracken brothers. The finely detailed crisp carving on this lot is exceptional even by the lofty standards of these firms. [6000/9000] Illustrated

215

1085 Anglo-American Cast-Iron Garden Bench, late 19th/early 20th century, in the “Gothic Arch” pattern, the back adorned with floral clusters over a series of joined arches, with foliate-modeled apron and cabriole legs, h. 35‑3/4”, w. 45”, d. 18”. A suite of garden furniture in this pattern graces the lawn of the White House Rose Garden, Washington, D.C. [700/1000] Illustrated 1086 Pair of Anglo-American Cast-Iron Garden Armchairs, early 20th century, in the “Gothic Arch” pattern, each with a floral swag on the crest rail over a series of joined arches, pierced seat panel and cabriole legs, h. 35‑3/4”. A similar suite of garden furniture is in the White House Rose Garden, Washington, D.C. [600/900] 1087 Pair of Anglo-American Cast-Iron Garden Armchairs, early 20th century, in the “Gothic Arch” pattern, each with a floral swag on the crest rail over a series of joined arches, pierced seat panel and cabriole legs, h. 35‑3/4”. A similar suite of garden furniture is in the White House Rose Garden, Washington, D.C. [600/900]

1083

1085 1083 John Antrobus (American/ Michigan, 1837‑1907; Active New Orleans 1859‑1860) “Early Morning View of Cypress Trees Along the Bayou with Two Fishermen in a Pirogue”, oil on canvas, signed lower left “Antrobus”, faintly inscribed in pencil on stretcher verso “(?) Bayou, La”, 13” x 9”. Presented in a contemporary frame. [8000/12000] Illustrated 1084 Large and Fine American Blown Glass Fishbowl, third quarter 19th century, the footed bowl of spherical form, h. 15‑1/2”. [250/400]

216

1088 New Orleans School (Third Quarter 19th Century) “Husband and Wife Portraits of Adam Gehl and Anna M. C. Bultman Gehl”, pair of oils on canvas, unsigned, both are 27” x 22”. Presented in matching giltwood frames. Provenance: Descended in the family of the sitters. Adam Gehl was born in Lorraine, France in 1822, and arrived in New Orleans in 1840. German-born Anna M. C. Bultman was 19 years old when she arrived in New Orleans in 1840; she married Adam Gehl that same year. [1000/1500] Illustrated

1089 detail

1088 one of a pair 1089 Suite of Five American Louis XVI Revival Gilt-BrassMounted Ebonized Cherry Parlor Chairs, comprised of a pair of armchairs, h. 37‑3/4”, and three sidechairs, h. 36‑3/4”, each with a gadrooned crest rail over an upholstered panel edged with gilt-brass banding, the stiles capped by a carved finial over a gilt-bronze rondel, with fluted stiles, bowed seat rails and fluted trumpet legs, all upholstered after the period fashion with deeply tufted backs and seats in purple and gold damask. Ex-collection: Virginia Museum of Fine Arts. Provenance: Virginia Museum of Fine Arts; Northeast Auction; Judith Hollander to the consignor. [1500/2500] Illustrated

1090 Paula Bensliman (American, 20th Century) “Extensive View of a Camp in a Mountain Valley Landscape”, oil on canvas, signed and dated lower right “P. Bensliman 1952”, signed and dated on canvas verso, 28” x 24”. Framed. [500/800]

1089

217

1091 1092

1091 William Henry Buck (Norwegian/New Orleans, 1840‑1888) “Two Men at a Fishing Hole Along the Tchefuncte River”, oil on canvas, signed lower right “W. H. Buck”, 18” x 30”. Presented in a period carved giltwood frame. [150000/300000] Illustrated 1092 American Renaissance Revival Burled Walnut and Ebonized Cheval Mirror, third quarter 19th century, the arched looking glass in a burled and gilt-incised frame with a shell-carved crest, supported by fluted parcel-gilt columns joined to a trestle base with a shaped gilt-incised stretcher, h. 78‑1/2”, w. 50‑1/2”, d. 28”. [1000/1500] Illustrated

218 218

1093 Egyptian Revival Patinated Bronze, Polychromed and Marble Three-Piece Clock Garniture, third quarter 19th century, the clock face inscribed “J. W. Caldwell & Co., Philadelphia”, comprised of a pair of obelisks, h. 23‑1/4”, and a clock, h. 19”, w. 21”, d. 7‑3/4”, each constructed of Belgian black and sienna marble, the clock with a recumbent sphinx, each side mounted with metal ram’s heads with rings, the clock face with a gilt-metal ring and hands. An apparently identical clock set with a Tiffany and Company retailer’s label in the collection of the Metropolitan Museum of Art, is discussed as item 232 in 19th-Century America: Furniture and Other Decorative Arts by Tracy, Johnson, Schwartz and Boorsch. [4000/7000] Illustrated

1093

1094

1094 American Neo-Grec Marquetry-Inlaid Ebonized and Rosewood Cabinet, third quarter 19th century, New York, the top with a central plinth with a veneered splash, the projecting central door inlaid with musical trophies, flanked by ebonized and gilt-incised pilasters with gilt-brass capitals, the concave ends each with foliate and floral marquetry panels, h. 55”, w. 58‑1/4”, d. 18‑1/2”. Provenance: Among the original furnishings of William McDonald’s country Italianate-style home, Guilford, acquired in 1872 by Arwnah Arbell by descent to Anne Arbell to the Baltimore Museum of Art. Sold at Sotheby’s to the consignor. For a discussion of this cabinet, see pages 100 and 101 of American Furniture, 1680‑1880, from the Collection of the Baltimore Museum of Art. [3500/5000] Illustrated

219 219

1100

1095 American Walnut Bentwood Rocking Chair, fourth quarter 19th century, the barrel-form back and seat caned, joined to the base with a spring-mounted cast-iron apparatus, bearing an embossed brass plaque beneath the arch scroll arm “Haywood Brothers & Co. Gardner Mass. Patent Jan 7 1873”, h. 34”. [200/400]

1096

1096 American School (19th Century) “Half-Portrait of a Gentleman Holding a Cane”, oil on canvas, unsigned, with canvas stamp on the reverse “S. N. Dodges, Artist and Painters Supply Store, N. York”, 27” x 30”. Presented in a period molded giltwood frame with a pierced shell and foliate crest and like corner accents. [1800/2500] Illustrated

1097

220

1097 William Cullen Bryan (1794‑1878), ed., Picturesque America, New York: D. Appleton & Co., 1872‑1874, complete in two volumes, the first book edition in the publisher’s deluxe binding, royal quarto, in full blind-tooled brown morocco with raised bands, gilt lettering, edges and dentelle, with marbleized endpapers, illustrated with over fifty steel engravings and nine hundred woodcuts of North American scenery, with owner’s signature and date on the second frontpaper “C. W. Van de Mark, Pittsville, Mass., 1875”, 13” x 10‑1/2”. Picturesque America was a publishing phenomena of post-Civil War America. Edited by noted poet William Cullen Bryan, it was first published as a serial in Appleton’s Journal before this, a subscription book edition. It was the first view many Americans had of the country beyond their own hometowns or the ravaged battlefields of the war. It remains a unique view of Americans’ perception of themselves in the Reconstruction era. The owner of this particular edition can be identified as Charles W. Van de Mark (1841‑1917), a native of Seneca county New York who attended Williams College in Williamstown, Massachusetts. After graduating in 1867, he worked at several law firms in Pittsville, Massachusetts, and served as clerk of the district court before being admitted to the bar in Pittsville in 1869. He was appointed a justice of the district court in 1873 and continued to practice law in Pittsville until 1877. He lived and worked subsequently in California and Chicago, finally settling in Clyde, Kansas in 1881, where his built the Van de Mark House, now on the National Register of Historic Places. He died there in 1917. [200/400] Illustrated 1098 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]

1103

1102

1099 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] 1100 Monumental Continental Oak Sideboard, late 19th century, in the Neo-Renaissance taste, the upper section with a broken-arch pediment centered by a carved mask of a satyr, over a pair of glazed doors flanked by a Northwind mask and fruit carving, the upper cabinet on winged griffin supports centered by urn- and foliate-carved panels, the base with a pair of drawers and a pair of doors, with curved corners of like configuration, each door panel mounted with carved game and trophies, h. 112”, w. 88”, d. 23”. [2500/4000] Illustrated 1101 Clarence E. Braley (American/Massachusetts, 1854‑1927), a reverse painting on glass of a mallard drake, with mother-of-pearl inlay to the neck, head and tail, signed lower left “C. Braley”, overall h. 29”, w. 15‑3/4”. Presented in an oak frame with shaped inner border with scrolling and leaf design. [800/1200] 1102 American Victorian Cast-Iron Garden Bench, late 19th/early 20th century, in the “Renaissance Scroll” pattern, the back modeled with a classical female mask overlapping ovals, serpentine seat, floral scroll-andshell apron and cabriole legs, h. 31‑1/2”, w. 44”, d. 20”. Cast Iron furniture was easily duplicated, with English and French patterns quickly adopted by American Founderies. The present pattern is one of the few believed to be an exclusively American form. A similar bench, in the collection of the Metropolitan Museum of Art, NY, is illustrated as plate 171 in “19th Century America Furniture and Decorative Art” by Tracy, Johnson, Schwartz and Boorsch [800/1200] Illustrated

221

1108 1103 Fine American Cased Sterling Silver “Medallion” Punch Ladle, third quarter 19th century, possibly by Wood & Hughes, New York, the tubular handle with a spherical knop and an elaborate finial of a pair of openwork leafy scrolls and a cast medallion of a neoclassical maiden in high relief, the gilt bowl with a fluted heel and scalloped spouts on each side, joined by leafy scrolls en suite, monogrammed, on the reverse of the medallion, “M. & L.R. to F. & A.R.”, l. 16‑1/4”, 7.33 t. oz., presented in the original purple satin-and velvetlined case with embossed cover, w. 5”, l. 18”. Although unsigned, this magnificent ladle surely represents the most extravagant expressions of the mid‑19th century American fascination with “Medallion” silver. A similar silver punch ladle finial by Wood & Hughes may be found in Charles Venable’s Silver in America, 1840‑1940: A Century of Splendor (New York: Abrams, 1995), page 65, figure 3.21. [1500/2500] Illustrated previous page 1104 Nine 19th-Century Gorham “Corinthian”-Pattern Sterling Silver Dessert Knives, the pattern introduced in 1872, Providence, Rhode Island, retailed by Ernest A. Jaccard & Co., St. Louis, Missouri, each with flat blade and handle, monogrammed “M”, l. 7‑1/4”, 7.78 total t. oz. [125/250] Illustrated 1105 Two American Silverplate Figural Napkin Rings, fourth quarter 19th century, including a Pairpoint model 82 napkin ring with a figure of a dancing faun beside a log, h. 3”, w. 2‑1/2”, and a Wilcox Silverplate Co. model 1658 combination set with a napkin ring held between the wirework strap handle, decorated with an applied bird and nest, the shaped base with a later sterling silver salt and pepper caster and silverplate salt shovel, overall h. 6‑3/4”, w. 4‑7/8”. [100/200]

1104 1106 Five New Orleans-Retailed Coin (.900) Silver Forks, third quarter 19th century, in Gorham’s “Josephine” pattern introduced in 1855, with the retailer’s mark of Henderson & Gaines (active New Orleans, 1841‑1865), including three dinner forks, l. 7‑3/4”, and two dessert forks, l. 7‑1/2”, monogrammed “HSZ”, 9.32 total t. oz. [125/250] 1107 Pair of New Orleans-Retailed Coin (.900) Silver Teaspoons, third quarter 19th century, retailed by Julius Lilienthal (1827‑1867), New Orleans, in the traditional “up-tipt fiddle” pattern, no monograms, l. 5‑3/4”, 1.22 total t. oz. [50/100]

1109

222

1108 Tiffany & Co. Sterling Silver Salver, third quarter 19th century, by Edward C. Moore (1827‑1891), New York, of oval form raised on four scroll-crested plinth feet, with milled ovolo and annulated edge, the plateau engraved with concentric bands of laurel, waves and annulation centering the monogram “C.O.”, w. 12”, l. 16”, 36.01 t. oz. [2500/4000] Illustrated

1110

1112 Tiffany & Co. Sterling Silver Salver, third quarter 20th century, New York, in the Georgian taste, of square shape, with serpentine-canted corners and molded rim, w. 14”, 44.88 t. oz. [1000/1500] Illustrated 1113 Tiffany & Co. Sterling Silver Punch Ladle, fourth quarter 19th century, in the pattern commonly called “Daisy”, with a satin finish and gilt bowl, monogrammed on the reverse “V.V.”, l. 10‑3/4”, 5.59 t. oz. [500/800] 1114 American Art Nouveau Sterling Silver Fruit Bowl, first quarter 20th century, by the Whiting Mfg. Co., Providence, Rhode Island, of shaped heptagonal form, the bowl embossed with the face of a serene maiden, her tresses extending to form the scrolling grapevine everted rim, dia. 8‑3/4”, 5.92 t. oz.. [900/1200] Illustrated

1114

1111

1109 Monumental Tiffany & Co. Sterling Silver Two-Handled Cup, the pattern introduced in 1890, this example after 1907, New York, the waisted body lobed on the lower half, the upper half flanked by a pair of robust acanthus-crested reeded handles, the leafy scrolling extending in repousse on the body, with molded rim and foot ring, h. 12”, w. 13”, d. 9‑1/2”, 107.06 t. oz.. [18000/25000] Illustrated

1112

1110 Tiffany & Co. Sterling Silver Dish, the pattern introduced in1902, this example before 1907, New York, of circular form, the broadly everted rim decorated with lattice-reticulated cartouches separated by embossed floral bouquets, with applied floral-scroll rim, dia. 9‑3/4”, 19.16 t. oz. [1200/1800] Illustrated 1111 Tiffany & Co. “English King”-Pattern Sterling Silver Asparagus Server, the pattern designed in 1885 by Charles Grosjean (1841‑1888), New York, no monograms, l. 9‑3/4”, 7.07 t. oz. [1200/1800] Illustrated

223

1115 Two American Sterling Silver Floral Art Nouveau Candy or Condiment Dishes, first quarter 20th century, the first by the Whiting Mfg. Co., Providence, Rhode Island, of shaped and elongated hexagonal form, the everted rim embossed with naturalistic hibiscus, monogrammed “NHB”, w. 5‑1/2”, l. 6‑3/4”; the other by the Mauser Mfg. Co., New York, of circular form, embossed into spiraling quarters, each decorated with a different flower: poppy, daisy, chrysanthemum and carnation, dia. 5‑3/4”; 5.72 total t. oz. [150/300]

1117

1116 Gorham Martele .950 Silver Sauceboat and Stand, 1902, Providence, Rhode Island, both decorated with chased and repousse clover, with everted edges, the boat with an arched handled and four integral feet decorated with mascarons, the stand of “turtleback” form with stylized melons at the sides and corners, overall h. 5‑1/4”, w. 6‑1/4”, l. 9‑1/4”, 25.27 t. oz. Gorham’s ledgers show both the boat and stand were finished on May 23, 1902, made by Adolph C. E. Erichsen and chased by William E. Jordan. Records also show that these were part of a set which included a tureen and vegetable dish, and notes that an entire duplicate set was probably commissioned in October 1905. Ref: L. J. Pristo, Martele: Gorham’s Art Nouveau Silver (Phoenix, Arizona: Phoenix Publishing, 2002), p. 278. [20000/40000] Illustrated

1118

1117 Gorham Sterling Silver Well-and-Tree Platter, 1907, Providence, Rhode Island, of “turtleback” form, with handsome applied rococo-scroll edge, the rim decorated with alternating floral and vacant rococo cartouches, raised on four robust acanthus-scroll feet, w. 16‑1/2”, l. 22‑1/2”, 65.97 t. oz. [2000/4000] Illustrated 1118 Twelve Gorham “Buttercup”-Pattern Sterling Silver Dinner Knives, the pattern introduced in 1899, Providence, Rhode Island, with stainless steel “blunt”shaped blades, monogrammed “S”, l. 9‑3/4”. [250/400] Illustrated

1116

1119 Twelve Pieces of Gorham “Lancaster”-Pattern Sterling Silver Flatware, the pattern introduced in 1897, Providence, Rhode Island, including six dinner forks, monogrammed “D”, l. 7‑3/4”, and six tablespoons, monogrammed “C”, l. 8‑3/8”, 21.35 total t. oz. [300/500] 1120 Set of Eleven Gorham Sterling Silver Service Plates, 1909, Providence, Rhode Island, each of rounded hexagonal form with molded rim and recessed circular plateau, dia. 10‑1/4”, 158.76 total t. oz. [2500/4000] Illustrated

224

1122 Gorham Sterling Silver Yachting Presentation Pitcher, 1936, of ovoid form with waisted neck, integral spout and crested handle, engraved “Larchmont Yacht Club/ Race Week Series Prize/ Handicap Class A Division/ 1936/ Won By/ [blank]/ Presented by/ Walter L. Coursen”, h. 8‑1/4”, dia. 6‑1/4”, l. 9”, 23.28 t. oz. [250/400]

1120

1123 Pair of Reed and Barton “Francis I” Sterling Silver Vegetable Bowls, the pattern introduced in 1907, Taunton, Massachusetts, w. 10”, l. 12‑1/2”, 38.90 total t. oz. [2500/4000] Illustrated

1121

1124 Pair of Reed and Barton “Francis I” Sterling Silver Compotes, the pattern introduced in 1907, Taunton, Massachusetts, h. 4‑3/4”, dia. 7‑3/4”, 28.10 total t. oz. [1800/2500] Illustrated 1125 Two Pieces of Reed & Barton “Francis I”-Pattern Sterling Silver Flatware, the pattern designed in 1907 by Ernest Meyer, Taunton, Massachusetts, including an olive/pickle fork, l. 6”, and a cream soup spoon, l. 5‑3/4”, no monograms, 2.06 total t. oz. [100/200]

1121 Sixty-Eight Pieces of Gorham “Buckingham”-Pattern Sterling Silver Flatware, the pattern introduced in 1910, Providence, Rhode Island, including ten dinner forks, l. 7‑1/2”, ten salad forks, l. 6‑1/4”, ten cream soup spoons, l. 5‑3/4”, ten dinner knives with stainless steel “Modern”-shaped blades, l. 9‑3/8”, ten butter spreaders with stainless steel “Modern”-shaped blades, l. 6‑1/8”, one butter serving knife with stainless steel blade, l. 6‑1/2”, two serving spoons, l. 8‑1/2”, one slotted serving spoon, l. 8‑1/2”, one serving fork, l. 8‑3/4”, one sauce ladle, l. 7‑1/4”, one sugar spoon, l. 6”, and one cake/pie server with stainless steel blade, l. 1‑1/4”, no monograms, 75.49 total t. oz. (excluding pieces with stainless steel blades). [700/1000] Illustrated

1123

1124

225

1126 One Hundred Twenty-Nine Pieces of “Burgundy”-Pattern Sterling Silver Flatware, the pattern introduced in 1909 by Reed & Barton, Taunton, Massachusetts, including ten dinner forks, l. 7‑3/4”, thirty salad forks, l. 6‑1/2”, six seafood/cocktail forks, l. 5‑1/4”, twentyfour teaspoons, l. 5‑7/8”, twelve soup spoons, l. 6‑1/4”, twenty-two demitasse spoons, l. 4‑1/4”, eleven dinner knives with stainless steel “New French”-shaped blades, l. 9‑1/4”, twelve butter spreaders, l. 5‑3/4”, one sugar shell, l. 6”, and one serving fork, l. 9”, forty-eight pieces monogrammed “MSD”, 143.78 total t. oz. (excluding dinner knives). [3000/5000] Illustrated

1126

1127 American Silverplate Punch Bowl, third quarter 20th century, by the Birmingham Silverware Co., Yalesville, Connecticut, of hemispherical form, with an applied shell-and-scroll border and decorated with repousse acanthus scrolls, raised on a waisted foot en suite, h. 10‑3/4”, dia. 16”. [400/700]

1128

1128 Alvin “Bridal Rose”Pattern Sterling Silver Punch Ladle, the pattern introduced in 1903, Providence, Rhode Island, monogrammed “JvS”, l. 12‑1/4”, 7.07 t. oz. [1000/1500] Illustrated

1130

1129

1129 American Silverplate Box, first quarter 20th century, by E. G. Webster & Son, Brooklyn, New York, of short cylindrical form, with hinged lid and gilt interior, the lid and body decorated with high-relief embossed scenes of country life, h. 3‑3/4”, dia. 6”. [100/200] Illustrated 1130 Pair of Whiting “Lily”-Pattern Sterling Silver Salad Servers, the pattern introduced in 1902, Providence, Rhode Island, including a salad serving fork, l. 11‑3/4”, and spoon, l. 11‑1/4”, no monograms, 8.84 total t. oz. [400/700] Illustrated

226

1131

1133 Two Gorham Sterling Silver Bowls, second quarter 20th century, Providence, Rhode Island, one in the “Marie Antoinette” pattern with the Gorham date code for 1949, dia. 9”; the other in a wave-edge pattern reminiscent of the “Eventide” pattern introduced in 1936, no monograms, dia. 10‑1/4”; 20.32 total t. oz. [300/500] 1134 American Sterling Silver Porringer, 1957, by The Stieff Co., Baltimore, Maryland, in the traditional American Colonial taste, dia. 4‑1/2”, l. 6”, 4.12 t. oz. [75/125] 1135 Reed & Barton “Winthrop”Pattern Silverplate Bowl, 1951, Taunton, Massachusetts, h. 3‑3/4”, dia. 6‑1/4”. [60/90]

1142 1136 American Silverplate Hors d’Oeuvres Dish, mid‑20th century, of coquille form, fitted on the handle with a sauce dish flanked by a pair of toothpick holders, the whole raised on four scrolling legs, h. 4‑3/4”, w. 10”, d. 10‑1/4”. [75/125] 1137 American Sterling Silver-Mounted Glass Flask, ca. 1900, by the Woodside Sterling Co., New York, the glass body of fluted oval section, wheel-cut with a realistic stemmed rose, the lower third clad in a silver base, the top with a silver collar and screw cap, with narrow bead-and-bobbin banding, h. 6‑3/8”, w. 3”, d. 1‑3/8”. [125/250]

1131 Seven Whiting “Lily”-Pattern Sterling Silver Serving Pieces, the pattern introduced in 1902, Providence, Rhode Island, including a tablespoon, l. 8‑1/4”, a casserole spoon, l. 9”, a berry spoon, l. 7‑1/2”, a sugar spoon, l. 6”, a cream ladle, l. 5‑3/4”, a serving fork, l. 8‑3/4”, and a cold meat fork, l. 7‑5/8”, all but the casserole spoon and serving fork variously monogrammed, 17.68 total t. oz. [1200/1800] Illustrated

1138 American Sterling Silver-Mounted Glass Preserves Jar, third quarter 20th century, the pressed glass body of tapering cylindrical form decorated in a “cut diamond” pattern, mounted with a silver collar and hinged, domed lid opening by mechanical action of the squared strap handle, h. 6”, dia. 3‑1/4”, complete with the original preserves spoon with flat twisted handle and spherical finial, l. 4‑3/4”. [75/125]

1132 Three Miscellaneous American Sterling Silver Dishes, third quarter 20th century, including a reticulated sandwich plate by Newport Sterling, Newport, Rhode Island, dia. 9”; a “Normandie”-pattern candy/condiment dish by Dominick & Haff, New York, monogrammed “JCW”, dia. 6‑1/2”; and a wavy-edge candy/condiment dish by the Amston Silver Co., Meriden, Connecticut, dia. 6‑1/2”; 13.31 total t. oz. [200/400]

1139 Set of Twelve Sterling Silver Bread-and-Butter Plates, first quarter 20th century, by the Woodside Sterling Co., New York, of circular form with beaded rim, the plateau of each monogrammed “S”, dia. 6”, 37.62 total t. oz. [300/500] 1140 Set of Twelve Sterling Silver Bread-and-Butter Plates, third quarter 20th century, by the Revere Silver Co., Brooklyn, New York, of circular form with reeded rim, dia. 6”, 32.67 total t. oz. [300/500]

227

1143

1145

1144

1141 American Silverplate Drinks Pitcher, third quarter 20th century, by the Wilcox division of International Silver, Meriden, Connecticut, in their Danish Moderninspired “Silver Apple” pattern, including a drinks pitcher, h. 9”, dia. 4‑1/2”, and a stirrer with an apple finial, l. 12”. [75/125] 1142 One Hundred Thirty Pieces of “Minuet”-Pattern Sterling Silver Flatware, the pattern introduced in 1925 by International Sterling, Meriden, Connecticut, including eleven dinner forks, l. 7‑3/4”, twelve luncheon forks, l. 7‑1/4”, twelve salad forks, l. 6”, eighteen teaspoons, l. 5‑3/4”, five tablespoons, l. 8‑1/2”, twelve dessert/ place spoons, l. 7‑1/4”, twelve cream soup spoons, l. 7”, twelve iced tea spoons, l. 7‑3/8”, twelve citrus spoons, l. 5‑3/4”, eleven dinner knives with stainless steel “New French”-shaped blades, l. 9‑5/8”, twelve luncheon knives with stainless steel “New French”-shaped blades, l. 9”, and a sugar spoon, l. 5‑3/4”, monogrammed “S” (the twelve citrus spoons and seven of the teaspoons with no monograms), 139.92 total t. oz. (excluding pieces with stainless steel blades). [2500/4000] Illustrated previous page

228

1143 Six-Piece Mexican Sterling Silver Tea and Coffee Set, second quarter 20th century, by Sanborns Hermanos, Mexico City, including a teapot, h. 7‑3/7”, l. 10”, a coffeepot, h. 8‑1/4”, l. 9‑1/4”, a cream jug, h. 4‑3/8”, l. 5‑3/4”, a sugar bowl, h. 5‑1/4”, w. 7‑1/4”, a waste bowl, h. 3‑1/4”, w. 4”, and a tray, w. 16‑1/4”, l. 25‑3/8”, the hollowware all of oval section with straight sides, decorated with two chased floral bands above and below, with arched geometric handles, “gooseneck” spouts and floriform finials, the oval tray decorated with a chased floral band and with handles en suite, 172.52 total t. oz. [5000/8000] Illustrated 1144 Set of Four Mexican Sterling Silver Candlesticks, second quarter 20th century, by Sanborns Hermanos, Mexico City, each with a baluster standard above a fluted trumpeting foot, surmounted by a large knop and vasiform candlesocket with detachable bobeche, the whole raised on three foliate feet and decorated throughout with chased leafy banding, h. 13”, dia. 5‑1/4”, 116.84 total t. oz. [3500/5000] Illustrated

1146

1155 1153 1150

1159 1157

1149 1160 1148 1161

1154 1156 1151

1152

1145 Large Mexican Sterling Silver Tray, second quarter 20th century, by the Maciel Silver Factory, Mexico City, Mexico, of oval form, the plateau chased with a simplified Aztec calendar, the edge decorated with Mesoamerican symbols, with a pair of opposing foliate-crested and floralmounted handles on the narrow ends, raised on four pad feet, w. 20‑1/4”, l. 33”, 112.85 t. oz. [1200/1800] Illustrated 1146 Good William Spratling (1900‑1967) Sterling Silver Teapot, second quarter 20th century, Taxco, Mexico, the bulbous body with a tall, slightly tapering cylindrical neck, the domed, hinged lid with a spherical finial, with a straight spout and strap-and-block-mounted carved rosewood handle of crested “C” shape, h. 6‑1/4”, w. 4”, l. 8‑1/4”, 21.61 t. oz. (including wooden handle). [400/700] Illustrated 1147 Interesting Four-Piece Group of American BrilliantCut Glass, first quarter 20th century, comprised of an elegant Libbey “Wedgemere” elliptical celery boat, w. 11‑1/2”; a “Russian”-cut footed sweetmeat stand, h. 3”, dia. 8”; a cream pitcher with lapidary-cut handle, h. 3”; and an unusual three-handled spherical posy vase in “Hobstar and Half Fan” decor, h. 3”. [150/250] 1148 Fine Set of Ten Christian Dorflinger and Sons Brilliant-Cut White Wine Goblets, first quarter 20th century, with “Harvard”-cut green bowls on panel-cut colorless air-trap stems with lapidary-cut knops, h. 6‑3/4”. [800/1200] Illustrated 1149 Rare Pairpoint Brilliant-Cut Glass Footed Oranges Bowl, first quarter 20th century, of ovoid form in an opulent hobstar, fan and cane “bowtie” decor, the circular foot reverse cut in a “snowflake”-centered fanned hobstar pattern, h. 6‑1/2”, w. 9‑1/4”, d. 6‑1/2”. [200/400] Illustrated

1158 1150 Libbey Richly Brilliant-Cut Glass Berry Bowl, first quarter 20th century, in “Ellsmere” decor, this example with the unusual feature of one turned-in lobe, signed with the acid-stamped Libbey “sabre” signature in use from 1897 to 1907, h. 3‑1/4”, dia. 10”. [300/500] Illustrated 1151 Group of Four American Glass Goblets, consisting of a pair of flute-cut cranberry-over-clear overlay glass wine goblets, h. 4‑1/4”; and a pair of matching liqueur goblets, h. 4”, all on circular reverse-cut feet in “Sunburst” decor. [250/400] Illustrated 1152 Good Libbey Glass Company Cut Ruby Overlay Glass Rum Jug, first quarter 20th century, in “Flute” decor, retaining the annular petal-cut clear glass stopper, h. 6‑1/2”. [300/500] Illustrated 1153 Opulent American Brilliant-Cut Glass Vase, first quarter 20th century, of footed fan form, the stem lapidary cut, the body cut with alternating stepped and hobstar panels, the circular foot with a large flash-cut sixteen-point hobstar, h. 11‑1/4”, w. 7”. [250/400] Illustrated 1154 Fine and Rare Tuthill, New York, Brilliant-Cut and Engraved Flower Glass Vase, first quarter 20th century, in two parts, consisting of a squat baluster-form vase and a cylindrical liner with a flaring vine-engraved lip, the liner acid stamped “Tuthill” on the basal rim, h. 6‑3/4”. [500/800] Illustrated 1155 Good American Brilliant-Cut Glass Pastry/Sandwich Tray, fourth quarter 19th century, in “Variant Festoon” decor, dia. 10”. [400/700] Illustrated

229

1160 Good Christian Dorflinger and Sons Brilliant-Cut Glass Decanter, first quarter 20th century, in grass green-over-clear overlay glass in “Mitre” decor, retaining the original matching cut overlay glass stopper, h. 8‑1/4”. [300/500] Illustrated previous page 1161 Good Set of Twelve American Brilliant-Cut Cranberry-Overlay Glass Wine Goblets, first quarter 20th century, probably the Stourbridge area, the latticecut glasses with paneled stems delicately notch-cut at the edges, h. 4‑1/2”, dia. 2‑3/4”. [600/900] Illustrated previous page 1162 Good Tuthill Intaglio-Cut Glass Flaring Vase, first quarter 20th century, with an undulate rim in “Vintage” decor, signed on the base with the Tuthill acid stamp, h. 6‑3/4”, dia. 9‑1/4”. [250/400]

1167

1156 Group of Twelve Glass Wine Goblets, first quarter 20th century, consisting of a good set of eleven Sinclair intagliocut cranberry-over-clear overlay wine goblets; and a similar Brilliant-cut overlay goblet in “Strawberry Diamond and Fan” decor, h. 4‑1/4”. [600/900] Illustrated previous page 1157 Opulent American Brilliant-Cut Glass Square Bowl, first quarter 20th century, by William Anderson for the American Cut Glass Company, the centers of each edge turned in, of good weight, h. 3”, w. 10”, d. 10”. [250/400] Illustrated previous page 1158 Opulent American Brilliant-Cut Glass Rose Globe, fourth quarter 19th century, of small size in “Interlaced Hobstar” decor, h. 5‑1/4”, dia. 6”. [150/250] Illustrated previous page 1159 Alamy Thomas, Corning, Brilliant-Cut Glass Vase, first quarter 20th century, of attenuated baluster form on a broad circular foot, in “Cross Hatched Mandorla and Interlaced Hobstar” decor, signed on the base in a circular acid stamp “Alamy Thomas Corning”, h. 12‑1/2”. [125/250] Illustrated previous page

230

1163 Libbey Glass Company Brilliant-Cut Glass Ice Cream Tray, first quarter 20th century, of two-handled form in “Victoria” decor, h. 2‑1/4”, w. 8‑1/4”, l. 13‑1/2”. [250/400] 1164 Good Twenty-Two-Piece American Brilliant-Cut Glass Partial Stemware Service, for six persons, first quarter 20th century, perhaps Christian Dorflinger and Sons, White Mills, Pennsylvania, in “Russian with Sunburst” decor, comprised of six red wine goblets, h. 6‑1/4”, five white wine goblets, h. 5”, five saucer champagnes, h. 4‑1/2”, dia. 3‑3/4”, and six dessert wine goblets, h. 4‑1/2”. [400/700] 1165 Good Eleven-Piece Christian Dorflinger Partial Dessert/Finger Bowl Service, for five persons, first quarter 20th century, in cut green overlay glass in “Mitre” decor, comprised of five finger/dessert bowls, h. 2”, dia. 4‑1/4”, and six underplates en suite, dia. 6”. [200/400] 1166 Good Ten-Piece Collection of Christian Dorflinger and Sons Glassware, first quarter 20th century, the brilliant-cut glass in “Old Colony” decor, comprised of three white wine goblets, a champagne goblet, h. 4‑1/2”, three footed dessert cups, h. 3‑1/4”, dia. 3”, a matching finger/dessert bowl, and a pair of underplates en suite, dia. 5‑1/4”. [125/250] 1167 Hudson River School (19th Century) “Mountainous Landscape with Figure on the Riverbank”, oil on canvas, unsigned, 20” x 24”. Presented in a period molded giltwood frame with corner scrolling foliate accents. [1200/1800] Illustrated

1168 American Aesthetic Movement Mixed-Woods and Metal-Inlaid Five-Piece Rosewood Parlor Suite, ca. 1881‑1885, attributed to Pottier and Stymus Manufacturing Company, New York, comprised of a settee, h. 37”, w. 61‑1/2”, d. 30”, a gentleman’s armchair, h. 37‑1/2”, a lady’s armchair, h. 36”, and a pair of sidechairs, h. 34‑1/2”, each piece with a line-incised top rail, the verso of the rail with a carved panel on the chairs, joined to stiles with banded brass and light wood inlay on a dark ground, the arm supports with like inlay, the supports on the armchairs each distinctly modeled, the sofa and armchairs raised on reeded saber-inspired legs, the sidechairs on turned legs, the sofa and sidechair each with a gilt-incised pierced carved panel joining the front and rear legs, the casters marked “I. R. Comb and Col, Goodyear 1881”. A sofa in the same pattern as the present suite sold in this gallery on September 12, 2010, lot 983. A three-piece suite in this pattern, comprised of a settee and a pair of armchairs, was offered in this gallery on January 23, 2000, lot 987; that set had a Flagler College Provenance. Flagler, a former partner in Standard Oil, and one of the wealthiest men in America, maintained a long working relationship with Pottier and Stymus Manufacturing Company and its successor firm, Pottier and Stymus Company. He utilized Pottier and Stymus on a number of occasions, including the furniture and decoration for his Palm Beach manse “Whitehall” in 1902. None of the previously offered pieces included the carved wood panels extending from the front to back legs that the present suite exhibits. [8000/12000] Illustrated

1168 five-piece suite

1168 fve-piece suite

1168 five-piece suite

1168 detail 1168 detail

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1169 American Aesthetic Movement Art Brass and Colored Beveled Glass Firescreen, fourth quarter 19th century, the gold and burnt orange glass with beveled and faceted glass cuts, in a repousse frame supported by a tubular spiral-twist and foliate-modeled stand, h. 38”, w. 30”, d. 12‑1/2”. Provenance: Associated Artists LLC, Southport, Connecticut. For a discussion of similar Aesthetic period art brass objects, see Anna Tobin D’Ambrosio, A Brass Menagerie: Metalwork of the Aesthetic Movement. [5000/8000] Illustrated

1169

1171 Pair of American Aesthetic movement cherrywood Hanging Shelves, fourth quarter 19th century, composed of turned and jig-sawn cherry wood, with double-bracket shelves of demi-octagonal form, the backplates sawn with scalloped edge arches, six-point stars and “keyhole” arcades, h. 14‑1/4”, w. 18”, d. 5‑1/2”. [600/900] 1172 Victorian Mahogany Banquet Table, fourth quarter 19th century, in the Aesthetic taste, the rectilinear top opening in the center and extending via a crank worm drive system to accommodate three leaves, the top extending over an apron with a lower reeded molding, raised on four generous turned and line-incised legs with ebonized accents, h. 29”, w. 54”, l. 61‑3/4”, extended l. 121‑1/2”. [2500/4000] Illustrated

1173

1170 Pair of American Decoupage Vasiform Table Lamps, third quarter 20th century, composed of brass-mounted gold leaf and chinoiserie decoupage, presented on goldbacked pedestal bases with giltwood basal moldings, fitted with large custom ivory silk shades of drum form, overall h. 35”. [400/700]

1173 Fine Daum, Nancy, Glass Cabinet Vase, fourth quarter 19th century, the silver-giltmounted parcel-gilt and enameled amethyst glass vase in the “Islamic” taste, the base signed in gold script “Daum/ Cross of Lorraine Nancy”, the French First Standard (.950) silver-gilt foot by Henri Ofti, working in Paris at 8 rue Bisson, 1890‑1903, h. 3‑1/2”. [1500/2500] Illustrated

1172

232

1174 American Aesthetic Movement MarquetryInlaid Mahogany Slant-Lid Desk, ca. 1878‑1884, attributed to Herter Brothers, New York, the lower front rail of the case twice stamped with the digits 4131, the upper section with a shelf with a reeded back over a panel mounted with silk upholstery, the shelf on turned and reeded supports, the slant lid with inlay depicting a pair of ribbons joined by a floral swag, and opening to reveal a maple interior with drawers and niches, fronted by a baize writing surface, raised on turned and reeded legs, the legs flaring at the bottom, and a recessed low shelf, the back of the case paneled, veneered and finished, h. 54”, w. 30”, d. 20”. The present desk has a Washburn family provenance. In 1884, Herter Brothers billed Drew Washburn for work at his Minneapolis residence, including furniture for the library and drawing room. Reference: Howe, Frelinghuysen and Voorsanger Herter Brothers: Furniture and Interiors for a Gilded Age, page 235. [4000/7000] Illustrated 1175 Aesthetic Movement Upholstered Sofa, late 19th/ early 20th century, in the Turkish taste, the padded rectangular backswept back joined by outscrolled arms to the padded seat, above a fringe skirt, raised on molded bun feet, h. 37”, w. 58”, d. 33‑1/2”. [800/1200] Illustrated

1175

1176

1174

1177

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1176 Aesthetic Movement Upholstered Sofa, late 19th/early 20th century, in the Turkish taste, the padded rectangular backswept back joined by outscrolled arms to the padded seat, above a fringe skirt, raised on molded bun feet, h. 37”, w. 58”, d. 33‑1/2”. [800/1200] Illustrated previous page 1177 American Aesthetic Movement Mahogany Center Table, fourth quarter 19th century, in the Moorish taste, the octagonal top with a perimeter ring of foliate carving, the apron with alternating carved and stick-and-ball panels, each over a Moorish arch, the spiral-reeded and incised legs joined by a stretcher centered by a stickand-ball panel, crafted to appeal to the late 19th-century fascination with exotic forms, h. 28‑1/2”, w. 32”, d. 32”. L. C. Tiffany employed a somewhat similar lacquer-painted table in the George Kemp house. [1200/1800] Illustrated previous page

234 81

1179

1179 detail

1178 Near Pair of Turkish Brass- and Silver-Inlaid Flintlock Pistols, 19th century, made in the Western manner, the iron barrel with brass inlay, the walnut stock inlaid in silver and brass, one pistol with a false “signature” engraved in the breach of the barrel, l. 16” and 17”. [800/1200]

1179 Guy Carleton Wiggins (American/New York, 1883‑1962) “Looking Towards the Plaza on 59th Street”, oil on canvas, signed lower left “Guy Wiggins”, titled and signed on canvas verso “Looking Towards the Plaza on 59th St. Guy Wiggins”, 25” x 30”. Handsomely framed. Provenance: Private collection, Dallas, Texas. [80000/120000] Illustrated

1187 American Cut Glass Carafe and Four Whiskey Beakers, first quarter 20th century, consisting of a good Libbey Brilliant-cut glass flat-bottom carafe with the acidstamped Libby “sabre” mark, 1897‑1907, h. 5‑1/2”; and a set of four whiskey beakers in “Double Lozenge” decor, h. 2‑5/8”. [125/250] 1188 Assembled Set of Ten American Brilliant-Cut Glass Punch Cups, all first quarter 20th century, in varied patterns, h. 2‑1/4”. [80/120] 1184

1180 Carleton Wiggins (American, 1848‑1932) “Holstein Cow”, oil on canvas, titled, inscribed and signed “Carleton Wiggins 1137 Broadway N.Y.” on canvas verso, “A. O. Friedrichs Fine Arts, 541 Fifth Ave., N.Y.” canvas stamp, 25” x 30”. Presented in a period giltwood and gesso frame. [1000/1500] 1181 Good Trio of American Brilliant-Cut Glass Berry Bowls, first quarter 20th century, the first a Libbey “Variant Florence”-cut bowl (signed); the second a Hoare “Hindoo”-cut example (signed); and the third a “Horseshoe and Hobstar”-cut bowl; h. 3‑1/2” to 4”, dia. 7‑1/4” to 8‑1/2”. [250/400]

1189 Attractive Frye Glass Company Brilliant-Cut Glass Flower Bowl, first quarter 20th century, of circular cushion form, signed on the interior, near the center, h. 3‑1/2”, dia. 8”. [150/250] 1190 Two-Piece Group of Tuthill, New York, Glassware, first quarter 20th century, comprised of a circular, pegfooted, floral-engraved pastry platter with a “Bead and Bar”-cut gallery rim, h. 2‑1/8”, dia. 9‑3/4”; and a circular floral-engraved sweetmeats serving plate, dia. 9‑5/8”; both pieces with the acid-stamped Tuthill signature. [400/700]

1196

1182 Two-Piece Group of American Glassware, consisting of a good American Brilliant-cut glass sterling silvercapped candy jar of circular cushion form, first quarter 20th century, the silver cover by Dominick and Haff, the body cut in “Interlaced Hobstar” decor, h. 5”, dia. 7”; and a Dorflinger “Notched Prism”-cut glass champagne pitcher with a Gorham sterling silver mount dated 1888, h. 9‑1/4”. [200/400] 1183 Two-Piece Group of American Brilliant-Cut Glassware, first quarter 20th century, one a large ovoid ice cream tray in “Interlaced Hobstar” decor, w. 7‑3/4”, l. 14‑1/4”; the other a Brilliant-cut and floral-engraved glass vase of waisted baluster form, h. 12”, dia. 5‑1/2”. [200/400] 1184 Fine American Brilliant-Cut Glass Punchbowl, first quarter 20th century, elaborately cut in “Hobstar Fan and Ribbed Fan” decor, h. 7”, dia. 14‑1/4”. [1200/1800] Illustrated 1185 Rare Hawkes Brilliant-Cut Glass Bowl, first quarter 20th century, of shallow circular form in “North Star” pattern, signed at the center of the interior with the acidstamped Hawkes trefoil, h. 2‑1/4”, dia. 8‑3/8”. [250/400] 1186 Good Set of Eight American Brilliant-Cut Glass Champagne Goblets, first quarter 20th century, in “Strawberry Diamond Point and Fan” decor with airtrap panel-cut stems and lapidary-cut knops, h. 4‑3/4”, dia. 3‑1/4”. [200/400]

1191 Good Clarke Brilliant-Cut Glass Ewer-Form Decanter, first quarter 20th century, in “Adonis” pattern, retaining the original spherical lapidary-cut stopper, signed on the base in script “Clarke”, h. 6‑1/2”, w. 6‑1/4”. [125/250]

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1203

1192 Interesting Four-Piece Collection of American Brilliant-Cut Glass, first quarter 20th century, comprised of a circular shallow fruit bowl with alternating sunbursts and flowerheads; a bonbon dish of trefoil form in “Hobstar and Fan” decor; a circular hoop-handled nappy in “Expanding Star” decor; and an opulent relishes dish of modified shell form in “Hunt Royal” pattern; w. 6” to 9‑3/4”. [200/400]

1201

1193 Thirty-Six-Piece American Brilliant-Cut Glass Dessert Service, for twelve persons, first quarter 20th century, in “Strawberry Diamond and Fan” decor, comprised of twelve saucer champagne goblets, h. 5‑1/2”, dia. 4‑1/4”, twelve dessert/finger bowls, h. 1‑3/4”, dia. 4‑1/8”, and twelve underplates en suite, dia. 7‑3/8”. [300/500] 1194 Set of Eight American Lace-Pressed Glass Dessert Plates, second quarter 20th century, in “Old Sandwich” decor, dia.8‑1/2”. [100/200] 1195 Bohemian Glass Decanter and Nine Brandy Snifters, the decanter of elaborately cut green-over-clear glass, fourth quarter 19th century, h. 10‑1/2”, w. 4‑3/4”, the set of American Brilliant-cut footed snifters in “Buzz and Dart” decor, first quarter 20th century, h. 4‑1/2”, dia. 2‑1/2” (ten total pieces). [100/200] 1196 Fine Baccarat Crystal Two-Light Centerpiece Candelabrum, first quarter 20th century, composed of pressed rose teinte and colorless crystal, modeled as a central rose teinte flared vase flanked by a pair of cannele rose teinte candlesockets, all three with rose teinte bobeches dressed with back-cut glass spears, the circular base oculus cut at the edge and reverse sunburst cut at the center, h. 22‑3/4”, w. 12‑1/2”, d. 6‑1/4”. [1500/2500] Illustrated previous page

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1201 Attractive Newcomb College Vellum-Glazed Pottery Vase, 1914, in “Narcissus” decor, potted by Joseph Fortune Meyer (1848‑1931) and decorated by Cynthia Pugh Littlejohn (d. 1959; active at the Newcomb Pottery 1908‑1910 and 1914‑1920), the base fully marked and numbered, h. 3”, dia. 5‑1/2”. [900/1200] Illustrated 1202 Fine and Rare New Orleans Pottery Club Vase, the animal mask-handled gloss green and yellow dripglazed globular vase decorated by William Woodward (1859‑1939), the base signed in brown “New Orleans/ W.W. 1914”, with a paper label illustrating the inked numeral “2”, h. 5‑3/4”, dia. 5”. [400/700] 1203 Walter Inglis Anderson (American/Mississippi, 1903‑1965) “2 Dead Baby Birds”, graphite and watercolor on paper, possibly dated in pencil upper right “61‑6”, titled in pencil on the reverse, verso with Certificate of Authenticity from the Estate of Walter Anderson, numbered 10798, dated April 26, 1994, sheet 8‑3/8” x 11”. Glazed, handsomely matted and framed. Provenance: Private collection, Fairhope, Alabama. [9000/12000] Illustrated 1205 1197 Interesting Seven-Piece Collection of Cut Cranberry Overlay Glass, comprised of a diminutive Val St. Lambert sweetmeat stand with waisted panel-cut air-trap stem, numbered in diamond stylus script, h. 4”; a pair of American cut footed beakers, h. 4”; a pair of petal-cut long-stemmed flared liqueur goblets, h. 5‑1/2”; and a similar pair of Baccarat petal-cut cranberry overlay liqueur goblets, with the acid-stamped Baccarat “decanter” mark, h. 5”. [100/200] 1198 Two-Piece Group of Bohemian Cut Glass, first quarter 20th century, consisting of an unusual ruby-cased Brilliantcut glass sweetmeats server with upright center handle, with a spherical lapidary-cut stopper, h. 6‑1/2”, dia. 8”; and a brilliant green cut overlay glass decanter in “Vintage” decor, retaining the original oviform cut overlay stopper, h. 12‑3/4”. [100/200] 1199 Set of Eleven Bohemian Cut Amber Overlay Glass White Wine Goblets, second quarter 20th century, in “Petal and Flower” decor, h. 7‑3/4”, dia. 3‑1/4”. [200/400] 1200 Diminutive Newcomb College Pottery Cabinet Vase, 1927, of baluster form in “Apple Blossom” decor by Estelle Agnes “Sadie” Irvine (1887‑1970; active at Newcomb 1908‑1929), fully marked and numbered on the base, h. 4‑7/8”. [500/800]

1204 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: Collectibles 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] 1205 John Kennedy Toole (1937‑1969), A Confederacy of Dunces, Baton Rouge: LSU Press, 1980, first edition, first printing, octavo, buff cloth boards with black lettering on the spine, in the original paper jacket designed by Ed Lindlof, forward by Walker Percy, 9‑1/4” x 6‑1/4”. Provenance: Property of an editor at LSU Press at the time of publication, who received this as a reading copy from the first print run of 2,500 copies. [300/500] Illustrated

237

1208 Fine Trio of Rookwood Pottery “Standard”Glazed Vases, comprised of a flat-sided cardioform example in “Yellow Lily” decor, 1904, decorated by Edward Diers (1871‑1947); a broad long-neck spherical vase in “Nasturtium” decor, 1904, decorated by Frederick Rothenbusch (active at Rockwood (1896‑1931); and a baluster-form example in “Dogtooth Violet” decor, also 1904, by Olga Geneva Reed (1873-ca. 1951); all of the pieces fully signed and numbered in addition to the decorator’s mark, h. 6‑34” to 8‑1/2”. [900/1200] Illustrated 1209 Fine Early Rookwood Pottery “Standard”Glazed Vase, 1898, decorated by Kataro Shirayamadani (1865‑1948) and so signed underglaze, decorated in “Leaf and Berry” decor, the base fully signed and numbered in addition to the Shirayamadani signature, h. 10‑1/2”. [900/1200] Illustrated

1206

1206 detail

1206 Suite of Eight American Arts and Crafts Dining Chairs, first quarter 20th century, composed of quarter-sawn oak and oak, attributed to Gustav Stickley (1858‑1942), model no. 370, each of ladderback form, of pegged construction and fitted with slip seats in deep forest green leather upholstery, h. 37‑1/8”. [2500/4000] Illustrated

1209 1210 1208

1207 1207 American Arts and Crafts Oak and QuarterSawn Oak Library Table and Chair, first quarter 20th century, the quarter-sawn table with three drawers, the under-section of one drawer retaining the paper label of Gustav Stickley, Craftsman, the projecting rectilinear top over a frieze with a band of three drawers, each drawer with a brass bail pull joined to a hammered backplate, raised on pegged square legs, each end with three vertical slats joined to a low shelf stretcher, h. 20”, w. 54”, d. 22”; together with an Arts and Crafts sidechair of like date, with arched top rail over five shaped slats, h. 37‑3/4”. [2500/4000] Illustrated

238

1212 Collection of Apollo-Soyuz Test Project Launch Memorabilia, from the July 15, 1975 launch at the Kennedy Space Center, Florida, as attended by Mr. & Mrs. Bernard Sakowitz, including a photograph of the entire crew (Apollo members Thomas Stafford, Vance Brand and Donald “Deke” Slayton and Soyuz members Alexei Leonov and Valeri Kubasov), mounted on a mat card inscribed to the Sakowitz’s and autographed by each crewman, presented in a narrow gilt-metal frame and glazed, overall 11‑3/4” x 14‑3/4”; a commemorative poster of the mission with artwork by Bert Winthrop of Rockwell International, builders of the Apollo spacecraft, mounted with an embroidered crew patch, designed by Jean Pinataro and manufactured by AB Emblem, Weaverville, North Carolina, a bronze-patinated Apollo/Soyuz medal, a similar, smaller enameled medallion, a pair of Rockwell International guest badges for Mr. & Mrs. Sakowitz, a section “E” viewing pass, and a photograph of the Sakowitz’s at the launch, wearing the viewing pass, all in a narrow gilt-metal frame and glazed, overall 30” x 29”; and a copy of the official mission guide, 11” x 8‑1/2”, preserved in a manila envelope, the flap affixed with a commemorative ten-cent stamp of the mission (three total pieces). [200/400] Illustrated 1212 1210 Early Rookwood Pottery “Standard”-Glazed Four-Fluted Vase, 1896, of cylindrical section in floral decor by Olga Geneva Reed (1873-ca. 1951; active at Rookwood 1890-ca.1903), the unglazed base fully signed and numbered in addition to the incised decorator’s monogram, h. 9‑1/2”. [900/1200] Illustrated 1211 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]

1212

239

1213 Twelve Books of Houston and Texas Interest, including Howard Barnstone, The Architecture of John F. Staub: Houston and the South, (inscribed and dated on the half-title page by both the architect and the author), E. M. “Buck” Schiwetz, The Schiwetz Legacy: An Artist’s Tribute to Texas, 1910‑1971, Leon Hale, The Texas Gulf Coast: Interpretation by Nine Artists, Charles L. Allen, Kenneth Wyatt’s Art Interpreted, Emily Ballew Neff and Wynne H. Phelan, Frederick Remington: The Hogg Collection of the Museum of Fine Arts, Houston (autographed on the title page by both authors), Cecilia Steinfeldt, Texas Folk Art: One Hundred and Fifty Years of the Southwest Tradition, Anne Nathan Cohen, The Centenary History of Congregation Beth Israel of Houston, Texas: 1854‑1954, Ann Quinn Wilson, Native Houstonian: A Collective Portrait, Jim Bones, Jr. and John Graves, Texas Heartland: A Hill Country Year, Glen Evans, Texas in Bloom: Photographs from Texas Highway Magazine, Prosperity International, Texas: A State of Mind, Houston magazine, 1973, an omnibus edition of twelve issues and various supplements, in a blue library binding with gilt lettering and owner’s stamp of Bernard Sakowitz, who at the time of publication served as Chairman of the Houston Chamber of Commerce, the publisher of the magazine; editorials by Sakowitz appear in each issue. Provenance: The library of Bernard and Ann Baum Sakowitz, Houston, Texas. [100/200] 1214 Collection of Dr. Albert Schweitzer (1875‑1965) Autographs and Memorabilia, including three signed olographic letters from Dr. Schweitzer at his hospital in Lambarene, Gabon to Mrs. Ann Sakowitz of Houston, Texas, thanking her for her contributions and support, dated February 14, 1962 (two pages), January 19, 1963, and January 12, 1965, each on a quarto sheet and framed individually, the first in a painted black wood frame matted with nine surrounding photographs of Marion Mill Preminger at Dr. Schweitzer’s hospital, the lower center photograph of Preminger and Dr. Schweitzer together, 21‑3/4” x 33‑1/4”, the second in a painted black wooden frame, 14‑3/4” x 12‑3/4”, and the last in a gilt-brass frame, 10‑1/4” x 8‑1/4”, all glazed, with a screentone printed photograph of Dr. Schweitzer, 5‑3/4” x 4‑1/8”, dated, signed and inscribed January 18, 1963, to Ann Sakowitz, presented in a gilt-brass frame and glazed, 7‑1/4” x 5‑1/8”, a brown and black-painted composition stone bust, “Albert Schweitzer”, 1955, by Leo Cherne (American, 1912‑1999), h. 13‑3/4”, w. 5”, and a copy of Erica Anderson’s Schweitzer Album (New York: Harper & Row, 1965), inscribed and dated on the half-title page to “Ann and Bernard” [Sakowitz] from “Marion” [Mill Preminger], 11‑3/4” x 10” (six total pieces). Provenance: The Estate of Ann Sakowitz, Houston, Texas. One of Mrs. Sakowitz’s good friends was Marion Mill Preminger (1913‑1972), the first wife of film director Otto Preminger and one of the leading champions of the philosophy and works of Dr. Albert Schweitzer. It was through Preminger that Mrs. Sakowitz met Dr. Schweitzer and, convinced by him of the great needs of his Lambarene Hospital, Mrs. Sakowitz turned her considerable talents to assisting the hospital. For several years she worked with home furnishing, clothing and accessories manufacturers in the United States, such as Martex, Wamsutta and Fieldcrest, to donate sheets, bedding, towels and other necessities to Dr. Schweitzer’s hospital. This collection represents Dr. Schweitzer’s expressions of gratitude for her efforts, as well as thanks from Marion Mill Preminger and Mrs. Sakowitz’s personal mementos of the Nobel laureate. [200/400] Illustrated

240

1214

1214 1215 Glenna Goodacre (American/Texas, b. 1939), a patinated miniature bronze bust of a woman with her hair in a chignon, incised signature and numbered “157/200” on the reverse, mounted on a white onyx pedestal to a molded oak base, overall h. 8”. [250/400] Illustrated 1216 Ray Renfroe (American/Arizona, 1918‑1989) “Win, Place & Show”, a patinated and polychromed bronze figural group, signed and numbered lower right “R. Renfroe AP/75”, presented on a green marble base, h. 20”, w. 43”, d. 15”. Provenance: Private collection, Jackson, Mississippi. [1000/1500] Illustrated 1217 Peter P. Briant (American/New Orleans, Contemporary) “Cartier Building, 651 Fifth Avenue, New York”, watercolor on Arches/France paper, sight 21” x 14‑1/2”, signed lower left “Briant”. Double matted and presented in a black metal frame. [150/300] 1218 Alexander John Drysdale (American/New Orleans, 1870‑1934) “Blue Bayou”, oil wash on board, signed lower right “A. J. Drysdale”, sight 16‑1/2” x 22‑3/4”. Glazed, matted and framed. [5000/8000] Illustrated

1219 Alexander John Drysdale (American/ New Orleans, 1870‑1934) “Oak Trees Along the Bayou”, oil on canvas, signed lower left “A. J. Drysdale”, 10” x 20”. Presented in a wide contemporary giltwood frame. [2500/4000] Illustrated 1220 John McCrady (American/Louisiana, 1911‑1968) “The Robert E. Lee and the Natchez”, lithograph, pencil signed lower right “John McCrady”, titled in pencil lower left, sheet 12‑3/4” x 17‑1/8”. Matted and unframed. [500/800] 1221 Merritt Mauzey (American/Texas, 1898‑1973) “Sampling Cotton”, lithograph, pencil signed lower right “Merritt Mauzey”, titled and numbered “1/19” in pencil lower left, sheet 13‑1/2” x 12‑3/8”. Matted and unframed. [350/500]

1219

1222 Phillip Sage (American/Louisiana, b. 1942) “Claiborne Ice Company”, etching in colors, signed in pencil lower right “Sage”, titled in pencil bottom center, inscribed in pencil lower left “Artist Proof”, sheet 18‑1/4” x 21”. Unframed. [250/400] 1223 Phillip Sage (American/Louisiana, b. 1942) “Hansen’s Sno-Bliz”, 1980, etching, pencil signed and dated lower right “Sage ‘80”, titled in pencil bottom center, numbered in pencil lower left “25/200”, signed, dated and with artist’s copyright in the plate bottom center, sheet 18‑1/4” x 21”. Unframed. [250/400]

1215

1218

1216

241

1225 Homer E. Turner (American/Louisiana, 20th Century) “Autumnal Pastoral Scene with a Roadside Farm”, oil on panel, signed lower left “H. E. Turner”, 15‑1/2” x 19‑1/2”. Handsomely framed. [1400/1800] Illustrated 1226 Robert Helmer (American/Louisiana, 1922‑1990) “View of a Lady in a Blue Dress Standing Beside a French Quarter Home”, linocut heightened with pastel, signed lower left “Helmer”, sheet 24” x 16‑1/4”. Glazed and framed. [350/500] 1227 Harry Armstrong Nolan (American/Louisiana, 1891‑1929) “Toulouse Street, French Quarter”, oil on canvas laid down on board, signed lower right “Harry A. Nolan”, titled and signed on board verso, 13‑3/4” x 11”. Presented in a period giltwood frame. [1200/1800] Illustrated 1225

1228 Alberta Kinsey (American/Louisiana, 1875‑1952) “Lively View of a French Quarter Street with a Vendor Standing by Her Storefront”, oil on masonite, signed lower right “Alberta Kinsey”, with old paper label on the reverse inscribed in pencil “Zwick #68”, 22‑3/4” x 19‑1/4”. Handsomely framed. [5000/8000] Illustrated

1227 1224 William Woodward (American/New Orleans, 1859‑1939) “Looking Up Rue St. Pierre (St. Peter Street) from Rue de Chartres in 1905”, etching, plate signed and dated “’36” lower right, signed in pencil lower left “Wm. Woodward”, sight 11‑1/2” x 8‑1/2”. Glazed, matted and framed. Reference: French Quarter Etchings of New Orleans by William Woodward, plate 12. [700/1000]

1228

242

1229 William Collins (American/New Orleans, 20th Century) “French Quarter Street Scenes”, group of four watercolors on paper, the two larger depicting views of the St. Louis Cathedral from Pirate’s Alley, the other from Orleans Street, both are signed and dated lower right “Wm. Collins ‘59”, sight 14” x 10‑1/2”, the two smaller watercolors are both signed lower right “Wm. Collins”, one is a side view of Cafe Du Monde, the other of figures walking down Pirate’s Alley, sight 10‑1/4” x 7‑3/4”. Glazed, matted and presented in matching ebonized wood frames. [700/1000] 1230 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. [150/300] 1231 Mary Louise Liddell Jordan Hemenway (American/ Alabama, 1893 - ?) “Still Life with Roses in a Porcelain Shoe-Shaped Vase”, oil on canvas, signed lower right “L. Jordan Hemenway”, 20” x 24”. Framed. [400/700] 1232 William Posey Silva (American/Georgia, 1859‑1948) “Rural Country Landscape with a Wooden Fence”, oil on canvas board, signed lower left “William P. Silva”, 8” x 10”. Presented in a wide giltwood frame. [2500/4000] Illustrated 1233 Eleven Books on New Orleans Cooking and Culture, including Ella & Dick Brennan, The Commander’s Palace New Orleans Cookbook, Kit Wohl, New Orleans Classic Desserts and Arnaud’s Restaurant Cookbook, Pip, Jimmy and Ted Brennan, Breakfast at Brennan’s, Mary Moore Bremer, New Orleans Recipes, Roy F. Guste, Jr., Antoine’s Restaurant Cookbook, Virginia Elverson, Gulf Coast Cooking, Joyce Wilde, Any Bitch Can Cook, Rosie Daley, In the Kitchen with Rosie, Mary Louise Christovich, New Orleans Interiors, and Lyle Saxon, Old Louisiana. [100/200]

1232 1234 Rare Set of Original Half-Size Architectural Plans for the Louisiana Superdome, Curtis and Davis Architects, New Orleans, dated November 16, 1970, 221 screwbound folio sheets plus cover and index, 22” x 17‑1/4”, featuring every design detail of the Superdome including elevation, floor plans, sections, ceiling details, walls, partitions, elevators and escalators, stairs, moveable and fixed seating and garage, numbered “249” on the front cover. This rare set of plans was one of an unknown number - probably over a thousand - of bidding copies prepared for subcontractors and tradesmen to assist them in preparing bids for smaller jobs and supplies (e.g. painting, carpeting, paneling, seating, electrical,etc.) for the project. As a security measure, a hefty deposit was required to obtain a set, and their distribution was strictly recorded. As a result, almost all of these copies were returned to the Louisiana Stadium Project (as it was called) after which, in keeping with industry practice on large projects such as this, the bidding plans were all incinerated. This rare set was rescued from destruction and represents one of the very few full sets of these halfsize plans in private hands; the originals were on file at the Construction Industry Association, originally at 840 St. Charles Avenue, New Orleans, Louisiana. [700/1000] 1235 Four Books of New Orleans Interest, including Art of the Windsor Court Hotel, Lake Douglas and Jeannette Hardy, Gardens of New Orleans: Exquisite Excess, Richard Sexton and Randolph Delehanty, New Orleans: Elegance and Decadence, and Mel Leavitt and David H. Jones, New Orleans: America’s International City. Provenance: Private collection, Jackson, Mississippi. [30/50]

1234

1236 Six Books on Mississippi Art and Photography, including Wendell Berry, Harlan Hubbard: His Life and Work, Agnes Grinstead Anderson, Approaching the Magic Hour: Memories of Walter Anderson, Lauren Rogers Museum of Art, Handbook of the Collection, Edward M. Akin and Charles C. Bolton, Mississippi: An Illustrated History, Willie Morris and William Eggleston, Faulkner’s Mississippi, and Stephen Kirkpatrick, Wilder Mississippi. Provenance: Private collection, Jackson, Mississippi. [30/50]

243

1237

1237 Steele Burden (American/Louisiana, 1900‑1995) “The Moss Pickers”, oil on plywood, signed lower right “Steele Burden”, 36” x 48”. Presented in a custom-made cypress frame. This lot and the following two lots are being sold to benefit the South Louisiana Wetlands Discovery Center (SLWDC), Houma, Louisiana. The mission of the SLWDC is to provide an educational resource which utilizes the ecology of the Gulf Coast as the focus of experimental learning and expands existing resources in science, mathematics and technology. Through the use of interactive exhibits and displays, the dynamics of the SLWDC serves to encourage a passion in local citizens and ecotourists to conserve and preserve the Louisiana wetlands. For more information about the SLWDC and its programs, please visit the organization’s website: www.slwdc.org. [5000/8000] Illustrated

1239

244

1238 Louisiana School (Contemporary) “Swamp Scene”, watercolor on paper, indistinctly signed lower right “(?) Meck (?)”, sight 17‑1/2” x 23‑1/2”. Glazed, handsomely matted and framed. This lot is being sold to benefit the South Louisiana Wetlands Discovery Center, Houma, Louisiana. [700/1000] Illustrated

1240

1239 Steele Burden (American/Louisiana, 1900‑1995) “Cotton Gin”, oil on plywood, signed lower right “Steele Burden”, 47” x 44”. Presented in a custom painted wood frame. This lot is being sold to benefit the South Louisiana Wetlands Discovery Center, Houma, Louisiana. [3500/5000] Illustrated

1238

1240 Clarence Millet (American/ Louisiana, 1897‑1959) “MossLaden Oak Trees”, oil on canvas board, signed lower left “C. Millet”, 16” x 20”. Handsomely framed. [3000/5000] Illustrated 1241 Clarence Millet (American/ Louisiana, 1897‑1959) “View of a Homestead on the Mississippi River”, oil on canvas, signed lower right “C. Millet”, partial label on the reverse “Williams Frame Shop, (?) St. Louis St., New Orleans”, 12‑1/4” x 18‑1/4”. Presented in a period giltwood frame. [4000/7000] Illustrated

1241

245

1246 Southern School (First Quarter 20th Century) “A Family Gathering”, oil on panel, unsigned, 11‑1/4” x 8‑1/2”. Framed. [500/800] 1247 Valoy Eaton (American/Utah, b. 1938) “Warm Day”, 1982, oil on board, signed and dated lower left “Valoy Eaton 1982”, titled, dated, inscribed and signed “Valoy Eaton Midway Utah” on board verso, with artist’s copyright on verso, 13‑3/4” x 19‑3/4”. Handsomely framed. Provenance: Private collection, Tucson, Arizona. [3000/5000] Illustrated

1242

1242 Marie Therese Bernard de Jaham (American/ New Orleans, 1869‑1916) “View of a Country Road by a Tranquil stream”, oil on canvas, signed lower left “M. de Jaham”, 10” x 20”. Presented in a period giltwood frame. A student of George David Coulon and Andres Molinary, Marie Therese Bernard de Jaham maintained a painting studio on Burgundy Street in the French Quarter from 1900 to 1915. [250/400] Illustrated

1243 1243 Robert M. Rucker (American/Louisiana, 1932‑2000) “Cabin on the Louisiana Bayou”, watercolor, signed lower right “Rucker”, ex-collection label en verso “Dr. James Nelson”, sight 6” x 8‑1/2”. Glazed, matted and framed. Provenance: Excollection Dr. James W. Nelson, Gonzales, Louisiana. [900/1200] Illustrated 1244 Robert M. Rucker (American/Louisiana, 1932‑2000) “Moonlit View of a Train Approaching a Rural Town Depot”, oil on canvas, signed lower right “R. Rucker”, 24” x 30”. Presented in a contemporary giltwood frame. [4500/7000] Illustrated 1245 Colette Pope Heldner (American/Louisiana, 1909‑1990) “Swamp Idyll, Louisiana Bayou Country”, oil on canvas, signed lower left “Colette Pope Heldner”, titled and signed on canvas verso, 36” x 30‑1/4”. Presented in a polychromed wood frame. [1400/1800] Illustrated

1244

246

1248 Butler Brown (American/Georgia, Contemporary) “Farmhouse in the Country”, 1972, oil on board, signed and dated lower right “Butler Brown 72”, 12” x 20”. Handsomely framed. [1400/1800] 1249 Robert Henri (American, 1865‑1929) “Still Life with Vase of Flowers”, ink on paper, paper is embossed with artist’s initials lower right, sight 7” x 4‑3/4”. Glazed, matted and framed. [200/400] 1250 Nine Books of Landscape and Architectural Photography, including Linda Butler, Inner Light: The Shaker Legacy, Rick Smolan, ed., A Day in the Life of America, Joel Sternfeld, American Prospects, Samuel Chamberlain, The New England Image, Barbara Hitchcock, Sightseeing: A Space Panorama, Barry Pritzer, ed. Ansel Adams, Emil Schulthess, Eternal Landscape, Freeman Patterson, Portraits of Earth, and William Stroude, Washington and Lee University. Provenance: Private collection, Jackson, Mississippi. [50/80]

1245

1253 Five Books of Cartoons and Illustrations, including Frans Masereel, The City, Alexander Calder, A Bestiary, The Complete Book of Covers from the New Yorker, 1925‑1989, The New Yorker Cartoon Album, 1975‑1985, and The World of Charles Addams. Provenance: Private collection, Jackson, Mississippi. [40/70]

1247

1251 Four Books on the Wyeth Family of Artists, including James H. Duff, The Western World of N. C. Wyeth, Andrew Wyeth, Autobiography, Jamie Wyeth and David Michaelis, et al., Wondrous Strange: The Wyeth Tradition. Provenance: Private collection, Jackson, Mississippi. [40/70] 1252 Seven Books on American Art and Artists, including Arnold Skolnick, Paintings of Maine, and Paintings of the Southwest, Ron Ranson, Modern Oil Impressionists, Alfred Werner, Inness Landscapes, Thomas S. Beuchner, Norman Rockwell: A Sixty Year Retrospective, Barbara Gallati, William Merritt Chase and Nicolai Cikovsky, Jr., ed., Winslow Homer Watercolors. Provenance: Private collection, Jackson, Mississippi. [40/70] 1255

247

1255 Margo Terzian Lang (American/Arizona; Active) “Arizona Desert Landscape”, watercolor on paper, signed lower left “Margo Terzian Lang”, sight 21” x 29”. Glazed, matted and framed. [600/900] Illustrated previous page 1256 Caroline Spellman Wogan Durieux (American/ Louisiana, 1896‑1989) “Study of Horses”, 1970, graphite on paper, titled, dated and signed “Caroline Durieux” middle left, sheet 11” x 7‑3/4”. Glazed, handsomely matted and framed. [800/1200] Illustrated 1257 Zao Wou-Ki (Chinese, b. 1921) “Untitled”, color etching, signed in pencil lower right, numbered in pencil lower left “37/60”, verso with gallery label “DuBose Gallery, Houston, Texas”, sight 15‑1/2” x 20‑1/2”. Glazed, matted and handsomely framed. [1000/1500] Illustrated

1257 1258 Xavier de Callatay (Belgian/New Orleans, 1932‑1998) “Majestic Oak Tree”, 1974, ink wash on paper, pencil signed and dated lower right “Xavier 74”, sight 16” x 14‑1/2”. Glazed, matted and framed. Provenance: Private collection, Jackson, Mississippi. [250/400] Illustrated 1259 Xavier de Callatay (Belgian/New Orleans, 1932‑1998) “Lexington Spring”, 1983, woodcut in colors, pencil signed and dated lower right “Xavier de Callatay 82”, inscribed in pencil lower left “Artist Proof”, sight 13” x 17”. Glazed, matted and framed. Provenance: Private collection, Jackson, Mississippi. [100/200]

1256 1254 Attributed to Diego Rivera (Mexican, 1886‑1957) “Group of Bandits Firing Shots at a Train”, watercolor on paper, signed lower right “D. Rivera”, verso of mat with inventory number in pencil “#9521”, verso of sheet inscribed in blue “7”, verso with gallery label “Elaine Horwitch Galleries, Scottsdale, Arizona, and Santa Fe, New Mexico, sheet 11” x 7‑3/4”. Glazed, matted and framed. [1800/2500]

1258

248

1260 Xavier de Callatay (Belgian/New Orleans, 1932‑1998) “Bayou Winter Rain”, woodcut in colors, pencil signed lower right, titled bottom center, inscribed and numbered lower left “artist’s proof 6/10”, sight 21” x 17‑1/2”. Glazed, matted and framed. Provenance: Private collection, Jackson, Mississippi. [100/200] 1261 Xavier de Callatay (Belgian/New Orleans, 1932‑1998) “Landscape”, 1985, watercolor on paper, pencil signed and dated lower right “Xavier 85”, sheet 15‑1/2” x 22‑1/4”. Glazed, handsomely matted and framed. Provenance: Private collection, Jackson, Mississippi. [350/500] Illustrated 1262 Xavier de Callatay (Belgian/New Orleans, 1932‑1998) “Willow Tree”, 1983, oil on canvas, titled, dated and signed on the reverse of canvas, 70‑1/4” x 60‑1/2”. Framed. Provenance: Private collection, Jackson, Mississippi. [1400/1800] Illustrated

1261

1263 Xavier de Callatay (Belgian/New Orleans, 1932‑1998) “Sewing Machine”, 1963, oil on canvas, monogrammed lower right, signed, dated and inscribed on the reverse “Xavier de Callatay, 1963, New York”, 20” x 23”. Framed. Provenance: Private collection, Jackson, Mississippi. [500/800] 1264 Daum, Nancy, Enameled Cameo-Cut Glass Footed Cabinet Ewer, first quarter 20th century, in “Prunus” decor, signed in cameo script “Daum/Nancy”, with the tail of the D forming a partial Cross of Lorraine, h. 4‑7/8”, w. 4”, d. 2‑1/4”. [800/1200] Illustrated

1262 1265 Unusual Daum, Nancy, Cameo Glass Vase, first quarter 20th century, in white over frosted yellow glass, of oblong section in “Woodland Stream and Footbridge” decor, one side signed, in cameo “Cross of Lorraine Daum/ Nancy”, h. 7‑3/4”, w. 6‑3/4”, d. 3”. [1200/1800] 1264

1266 Rare Daum, Nancy, Enameled Cameo-Cut Glass Vase, fourth quarter 19th century, the amethyst-to-gold shaded vase of square section in “Winterberry” decor, signed at one side in enameled cameo lettering “Daum/ Nancy, Cross of Lorraine”, h. 4‑3/4”. [1400/1800] Illustrated following page

249

1271

1269

1266

1268 Early Emile Galle (1846‑1904) Glass Vase, fourth quarter 19th century, the enameled pale green glass vase of lozenge section in parcel-gilt floral decor, one basal edge signed in gold “Galle” in script within a flowerhead/depose, h. 7‑1/4”. [400/700]

1270 1267 Fine Emile Galle (1846‑1904) Glass Scent Bottle, first quarter 20th century, the white and gold enameled grass green over frosted clear cameo-cut bottle of drum form in “Queen Anne’s Lace” decor, signed in green cameo-cut pseudo-Chinese script “Galle”, h. 4‑1/4”. [400/700]

250

1269 Tiffany Studios, New York, Patinated Bronze and Glass Three Light Table Lamp ca. 1900 and later, the “Drapery Glass” accented “Daisy” shade with small interior wire loop and three metal tags along the rim, one stamped: “TIFFANY STUDIOS”, the next: “New York” and lastly: “1447”. The later reticulated Tiffany -Style footed base with blown-out lime green glass, stamped underneath: “TIFFANY STUDIOS/New York/21667” together with an additional stylized mark, overall h. 22”, shade h. 6‑3/4”, diameter 16”. [6000/9000] Illustrated 1270 One of a Kind Tiffany Studios Experimental Chromed-Metal and Glass Two Light Table Lamp first quarter 20th century, the weighted base stamped along the underside rim: “TIFFANY STUDIOS/New York” and “1784 EX 5”. The mottled sea green “Geometric” shade bearing a metal tag at the interior rim stamped: “TIFFANY STUDIOS/New York”, overall h. 21‑1/4”, shade h. 6‑7/8”, diameter 16”. [6000/9000] Illustrated

1273

1274 Unusual Marvered and Iridized Amber and Translucent Ivory Glass Vase, first quarter 20th century, attributed to Johann Loetz-Witwe, Klostermuhle, of bottle form, unsigned, h. 8‑1/4”, dia. 3‑1/4”. [250/400]

1272

1275

1271 Tiffany Studios, New York, Patinated Bronze and Glass Two-Light Table Lamp, ca. 1900, the favrile glass "tulip" shades with etched “LCT”, the “Cypriote” glass-centered footed base stamped “TIFFANY STUDIOS/ New York/ 574” underneath, h. 21‑1/2”. [3500/5000] Illustrated 1272 L. C. Tiffany (1848‑1933) Iridescent Favrile Glass Vase, first quarter 20th century, the pale yellow vase in “Cypriote” decor, the base signed “V 278 L.C.T. Favrile”, h. 5”. [600/900] Illustrated 1273 L. C. Tiffany Iridescent Gold Favrile Glass Candlestick Lamp, first quarter 20th century, the spiral-ribbed lamp with a ruffled Favrile glass shade and the original glass “Twilight” candlestick burner, the base signed “L.C.T.” and “8429” in diamond stylus script, overall h. 12‑1/4”. [800/1200] Illustrated

1275 Fine and Rare Tiffany Studios, New York, Patinated Bronze Inkwell, first quarter 20th century, in the form of a crab clutching a clamshell, the shell forming the cover of the inkwell, the interior with a cut glass liner, signed on the base “Tiffany Studios/New York”, h. 3‑3/4”, w. 7‑1/4”, d. 8”. [3500/5000] Illustrated

251

1280 Emile Galle (1846‑1904) Cameo-Cut Glass Vase, fourth quarter 19th century, in lavender over frosted white glass, of tubular form in “Flowering Vine” decor, the foot formed as a dentillated ruff, signed “Galle”, in a pseudoChinese cameo script, h. 15‑1/4”, dia. 3‑7/8”. [600/900]

1276

1281

1276 Fine Thomas Webb and Sons, Stourbridge, Glass Tall-Neck Vase, fourth quarter 19th century, the cameo-cut white over shaded amber vase in “Leaf” decor, h. 8‑3/4”. [6000/9000] Illustrated

1277 Diminutive English Cameo-Cut Glass Cabinet Vase, fourth quarter 19th century, attributed to Thomas Webb and Sons, Stourbridge, in white over satin-finished yellow/brown glass, h. 1‑3/4”, dia. 2”. [100/200] 1278 Unusual Daum, Nancy, Schwarzlot Cologne Bottle, fourth quarter 19th century, in enameled acid-finished opalescent white glass in “River Landscape with Boats and Windmill” decor, signed on the base in engraved script “Daum/Nancy/Cross of Lorraine”, h. 8”, dia. 3‑7/8”. [1500/2500] Illustrated 1279 Daum, Nancy, Footed Cylindrical Glass Vase, first quarter 20th century, the cameocut and enameled glass vase in “Dawn Landscape with Birches” decor, the base signed on the underside in black enamel “Daum/ Nancy/ Cross of Lorraine”, h. 8”. [1400/1800] Illustrated

252

1279

1278

1281 Emile Galle (1846‑1904) Glass Cabinet Vase, first quarter 20th century, the green-over-blue-over pale rose cameo-cut vase in “Grasshopper and Hydrangea” decor, signed above the grasshopper “Galle” in stylized Art Nouveau cameo script, h. 5”. [500/800] Illustrated 1282 Emile Galle (1846‑1904) Cameo-Cut Glass Cabinet Vase, fourth quarter 19th century, in coral over yellow glass, of diminutive size in floral Art Nouveau decor, signed in cameo script “Galle”, h. 4‑1/2”, dia. 2‑1/4”. [250/400]

1285 1283 Color Satellite Photograph of Cat Island, Mississippi, sight 19‑1/4” x 23‑1/4”. Glazed, handsomely matted and framed. Provenance: Private collection, Jackson, Mississippi. [75/125] 1284 American School (Fourth Quarter 20th Century) “Still Life”, 1977, mixed media on paper mounted on board, signed and dated lower right “Farley ‘77”, 3‑1/4” x 3‑1/4”. Glazed and framed. Provenance: Private collection, Jackson, Mississippi. [75/125]

1287

1285 David H. Ligare (American/California, b. 1945) “Single Conch”, 1971, oil on canvas, signed lower right “D. H. Ligare”, retains gallery label on the reverse “ACA Galleries, New York” and exhibition entry label “Audubon Artists Annual, National Academy Galleries, New York”, 24” x 19‑3/4”. Handsomely framed. Provenance: Private collection, Jackson, Mississippi. [1500/2500] Illustrated 1286 American School (Contemporary) “Boys Playing at the Beach”, oil on canvas, signed lower right “Scherone”, 24” x 36”. Handsomely framed. [1000/1500] Illustrated 1287 Robert J. Lee (American/New York, 1921‑1994) “Two Children on Sunday”, oil on canvas, signed lower left “Robert J. Lee”, titled, inscribed and signed in ink on stretcher verso “Robert J. Lee, Carmel, N.Y.”, 20” x 16”. Handsomely framed. [900/1200] Illustrated 1286

253

1289 Marie Stobbe (American/New York, 1909‑2003) “Mother and Child in Central Park, New York City”, oil on masonite, signed lower right “Stobbe”, 18” x 24”. Handsomely framed. [600/900] 1290 American School (Third Quarter 20th Century) “Girl Seated in a Chair Before a Landscape”, 1964, oil on canvas, signed and dated lower right “H. Carney 64”, 102” x 48”. Framed. Provenance: Private collection, Jackson, Mississippi. [800/1200] Illustrated 1291 Davain Lesage (French, b. 1908) “Beach Scene”, oil on board, signed lower right “Devain Lesage”, 8‑3/4” x 12‑3/4”. Framed. [1200/1800] Illustrated 1292 Marie Atkinson Hull (American/ Mississippi, 1890‑1980) “Pink Morning”, oil on canvas, signed lower right “Marie Hull”, titled, inscribed and signed in pencil on stretcher verso “Pink Morning, Marie Hull, Jackson, Mississippi”, 36‑1/4” x 33‑3/4”. Handsomely framed. Provenance: Private collection, Hattiesburg, Mississippi. [4500/7000] Illustrated 1292 1288 British School (Contemporary) “Lighthouse”, oil on canvas, unsigned, with canvas stamp on the reverse “Robert Dyas, London, E. C.”, 7” x 9”. Framed. Provenance: Private collection, Jackson, Mississippi. [75/125]

1291

254 254

1290

1294 Ida Kohlmeyer (American/New Orleans, 1912‑1997) “Abstract Composition”, ca. 1969, triangular-shaped sculpture, mixed media on canvas on wood, unsigned, presented in a custom acrylic shadowbox, sculpture h. 10‑1/2”, w. 5‑1/2”, d. 6‑3/8”. Provenance: Luba Glade, New Orleans, Louisiana. Only three examples from this series are illustrated in Michael Plante’s Ida Kohlmeyer: Systems of Color, catalogue numbers 83, 84 and 85. [3500/5000] Illustrated

1293

1293 Ida Kohlmeyer (American/Louisiana, 1912‑1997) “Mythic Print State II”, 1985, color silkscreen, pencil signed and dated lower right “Kohlmeyer 1985”, titled and numbered “17/35” in pencil lower left, sight 46” x 34”. Glazed, handsomely matted and framed. Provenance: Private collection, Tucson, Arizona. [1500/2500] Illustrated 1295

1294

1294 1295 Robert Gordy (American/ Louisiana, 1933‑1986) “Hot Lips”, 1979, acrylic on canvas, titled, dated and signed on stretcher verso “Hot Lips, R. Gordy Feb. ‘79”, 29” x 22”. Presented in a contemporary narrow silver metal frame. [2000/4000] Illustrated

255 255

1297 Jeffrey Pitt (American/Louisiana, Contemporary) “Black & Blue”, 2004, acrylic on canvas, titled, dated and signed on stretcher verso, 72” x 36”. Unframed. Provenance: Jonathan Ferrara Gallery, New Orleans, Louisiana. [1200/1800] Illustrated 1298 George Dunbar (American/Louisiana, b. 1927) “Heart”, gold leaf over red clay, from the “Hardedge Hearts” series, signed bottom center “dunbar”, 13‑3/4” x 12”. Framed. [2500/4000] Illustrated 1299 George Dunbar (American/Louisiana, b. 1927) “Torso”, 1990, clay relief, signed and dated on the reverse “George Dunbar 1990”, 23” x 25‑3/4”. Framed. [9000/12000] Illustrated

1296

1298

1297 1296 Robert Gordy (American/Louisiana, 1933‑1986) “Too-Faced”, 1976, acrylic on canvas, titled, signed and dated on stretcher verso “Too-Faced, Robert Gordy Aug. ‘76”, this painting was used as the cover illustration on the invitation for Gordy’s show in 1976 at the Phyllis Kind Gallery, Chicago, Illinois, 44‑1/2” x 62‑1/2”. Presented in a contemporary narrow metal frame. Provenance: Private collection, Chicago, Illinois. [9000/12000] Illustrated

1299

256 256

1301

1300 Terrington “Ted” Calas (American/Louisiana, Contemporary) “Titotma IV”, 1989, oil on canvas, signed lower left “Calas”, 39” x 61”. Framed. Provenance: Private collection, Jackson, Mississippi; acquired from Galerie Simonne Stern, New Orleans, Louisiana, in March 1989. [900/1200] Illustrated 1301 George Rodrigue (American/Louisiana, b. 1944) “Voodoo Will Get Me Back To You”, 1995, acrylic on canvas, signed lower left “Rodrigue”, accompanied by a copy of an appraisal by the Rodrigue Studios, Lafayette, Louisiana, dated October 2008, 58” x 78”. Presented in a black-lacquered contemporary frame. Provenance: Acquired in 2000 by a private collector, Miramar Beach, Florida. [50000/80000] Illustrated 1300

257 257

1303 Noel Rockmore (American/New Orleans, 1928‑1995) “Metaphysical Chamber 1”, 1981, tempera and oil on masonite, signed and dated lower right “Rockmore ‘81”, titled, dated and signed on board verso, 16” x 12”. Handsomely framed. Provenance: Collection of Mrs. Shirley Marvin, Baton Rouge, Louisiana. [1200/1800] Illustrated 1304 Clementine Hunter (American/Louisiana, 1886‑1988) “Cane River Scene with Women Dressed for Church, Tending to the Sick and Looking After Children”, oil on paper board, monogrammed in pencil lower right, sight 17‑1/2” x 24‑1/2”. Glazed and presented in a bird’s-eye maple frame. [8000/12000] Illustrated

1302

1302 George Rodrigue (American/Louisiana, b. 1944) “Cosmic Cousins”, acrylic on canvas, signed lower left “Rodrigue”, 12” x 16”. Presented in a contemporary giltwood frame with a cream linen liner. Provenance: Private collection, Miramar Beach, Florida. [9000/12000] Illustrated

1303 1305 Sister Gertrude Morgan (American/Louisiana, 1900‑1980) “Let Him Come In, Open the Door, Open it Wide, Let Him Come In, Revelation 3:20”, mixed media on board, signed along the upper edge “Sister Gertrude Morgan”, titled around the figure, 5‑1/2” x 4‑1/4”. Glazed, matted and framed. Provenance: Collection of Mrs. Shirley Marvin, Baton Rouge, Louisiana. [1500/2500] Illustrated 1305

258

1304

1306 Noel Rockmore (American/New Orleans, 1928‑1995) “Clementine Hunter - Melrose”, mixed media on artist’s sketch paper, titled and signed “Rockmore” lower right, sight 13‑1/2” x 10‑1/2”. Glazed and framed. Provenance: Collection of Mrs. Shirley Marvin, Baton Rouge, Louisiana. [1200/1800] Illustrated

1306

259

1307 Xavier de Callatay (Belgian/New Orleans, 1932‑1998) “Papa John Joseph, 86 Years Old”, 1962, oil on canvas, signed upper left “Callatay”, titled and dated on canvas verso, 52” x 50”. Framed. Provenance: Private collection, Jackson, Mississippi. [2500/4000] Illustrated 1308 Noel Rockmore (American/New Orleans, 1928‑1995) “Alice Mae - Gospel Tent”, mixed media on artist’s sketch paper, titled and signed “Rockmore” lower right, sight 10‑1/2” x 13‑1/2”. Glazed and framed. Provenance: Collection of Mrs. Shirley Marvin, Baton Rouge, Louisiana. [1000/1500] Illustrated

1307

1308 1309 Patterson and Barnes (American/Alabama, Contemporary) “The Trio”, acrylic on wood, signed lower right “Patterson Barnes”. Presented in a custom-made polychromed wood frame. Provenance: Angela King Gallery, New Orleans, Louisiana, sight h. 34”, w. 39‑1/2”. [1800/2500] Illustrated 1309

260

1310 Phillip Sage (American/ Louisiana, b. 1942) “Fats Houston”, 1977, etching in colors, pencil signed and dated lower right “Sage 77”, titled in pencil bottom center, inscribed in pencil lower left “Artist Proof”, sheet 23‑1/2” x 18‑1/4”. Unframed. [300/500]

1314 Georges Rouault (French, 1871‑1958) “Le Vieux Clown”, 1930, color aquatint, plate signed and dated lower left, from the total edition of 270, published by Ambroise Vollard, Paris, retains gallery label on the reverse “Irving Galleries Fine Arts, Palm Beach, Florida”, sight 14” x 10”. Glazed, matted and framed. [500/800]

1311 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. [600/900] 1312 Five Books on African Art, including Robert Farris Thompson, Flash of the Spirit, Frank Willett, African Art, Ladislas Segy, African Sculpture, William A. Fagaly, Shapes of Power, Belief and Celebration (ex. cat., New Orleans: NOMA, March 11 - April 16, 1989, et al.), and George Nelson Preston, African Art Masterpieces. Provenance: Private collection, Jackson, Mississippi. [30/50] 1313 Large Pair of Pre-Ban African Elephant Ivory Tusks, one measuring 94‑1/2” along its curve, with Republic of South Africa registration number ZA‑82‑193, 36.5 kilograms, the other measuring 100” along its curve, with Republic of South Africa registration number ZA‑82‑194, 39 kilograms, each mounted in a gilt-metal collar and black-lacquered composition stone base, h. 85” and 81‑1/2” (including base), base w. 13‑1/2”. Provenance: The Estate of Ann B. Sakowitz, Houston, Texas. Note: In accordance with regulations established by the Convention on International Trade in Endangered Species (CITES), the U.S. Fish and Wildlife Service and the U.S. Environmental Protection Agency, this lot may be sold only to bidders within the United States. We will not not be able to accept bids on this lot from non-U.S. bidders, nor any bids placed through our live online bidding services. This lot is accompanied by CITES-compliant original invoices and shipping documents verifying that these tusks were harvested, registered and imported into the United States before the 1989 ban. [9000/12000] Illustrated

1313

1315 Yoruba People Eshu Figure, Nigeria, wood, leather, cowry shell, the male figure standing on elongated feet beneath short legs, the body sheathed in a carved and incised tunic with leather straps, draped in numerous strands of cowry shells and holding a staff, the elongated head with bulging eyes and elaborate upswept coiffure, the figure with a leather attachment for suspension. Provenance: Collected in situ, 1987, Davis Gallery, New Orleans. Private collection, Jackson, Mississippi. [400/700]

1316 After Amedeo Modigliani (Italian, 1884‑1920) “Testa Scultorea”, color silkscreen poster, printed in Italy by Acte III, Florence, sheet 35” x 23‑1/2”. Glazed and framed. Provenance: Private collection, Jackson, Mississippi. [75/125] 1317 Baule Goli Female Mask, Ivory Coast, wood, raffia, of hollowed oval form, the clear oval design with a slightly bulging forehead, the small oval pursed mouth beneath an elongated nose and pierced crescent eyes framed by raised eyebrows, with short rows of raised scarification on the forehead and corners of the mouth, the mask surmounted by a ridged coiffure and backed by raffia, presented with a custom stand and pedestal, h. 12”, w. 8‑1/2”. Provenance: Collected in situ, April 1990, Davis Gallery, New Orleans. Private collection, Jackson, Mississippi. [2500/4000] Illustrated following page

261

1318 Max Ernst (German, 1891‑1976) “Masques”, 1950, color lithograph, pencil signed lower right “Max Ernst”, inscribed lower left “ep. d’artist”, sight 14‑5/8” x 21‑3/4”. Glazed, matted and presented in an ebonized frame. [1800/2500] Illustrated

1318

1319

1319 Baga Tribe Snake Figure , Guinea, wood, polychrome, the carved abstract wooden female snake representing the spirit of a-Mantsho-na-Tshol, the undulating form decorated in blue, reddish brown and white polychrome with incised geometric motifs terminating in a flared head with round eyes, presented on a custom stand and pedestal, h. 74”. Provenance: Collected in situ, June 1990, Davis Gallery, New Orleans. Private collection, Jackson, Mississippi. Among the Baga, the serpent spirit a-Mantsho-na-Tshol reigned supreme. Passing through the village at night, it kills sorcerers and it is thought to be the strongest adversary against destructive forces that could endanger the well being of the village. Manifested in the form of a tall, colorful, wooden serpent figure, it is set vertically on top of a costume requiring great skill and agility on the part of the dancer. [14000/18000] Illustrated

1317

262

1322 Yoruba People Gelede Mask, Ohori Region, Nigeria, wood and pigment, representing a super male with horizontally stripped elongated ears, coffee-bean eyes and broad beard, the face with a flattened nose, protruding mouth baring teeth and incised scarification, presented with a custom stand and pedestal, h. 24‑1/2”, w. 8‑1/2”. Provenance: Collected in situ, February 1990, Davis Gallery, New Orleans. Private collection, Jackson, Mississippi. [2500/4000] Illustrated

1320

1321 1322

1320 After Pablo Picasso (Spanish, 1881‑1973) “The Artist and His Model”, offset lithograph in colors after an original design from 1954, published by Editions Verve, Paris, stamp signed lower left, sight 9‑1/2” x 12‑1/2”. Glazed, handsomely double matted and presented in a deep giltwood and ebonized Spanish frame in the 18th-century style. [900/1200] Illustrated 1321 Ibo Tribe Ekeleke Headdress, Nigeria, wood, human hair, kaolin, of elongated form, the top of the head crest with areas of applied human hair interwoven with long plaits, the forehead and face with protruding scarification, the oval-shaped eyes, ears and protruding mouth outlined in black pigment, h. 22”. Provenance: Collected in situ, December 1988, Davis Gallery, New Orleans. Private collection, Jackson, Mississippi. [1800/2500] Illustrated

263

1323

1323 Clyde Connell (American/Louisiana, 1901‑1988) “Lake Stilts” 1982, a unique sculpture group comprised of five individual stilts, each topped with a shadowbox containing various stones, mixed media on wood, each is 68” x 12”. Provenance: Private collection, Fort Worth, Texas. Louisiana artist Clyde Connell is best known for her collages, abstract drawings and spiritual sculptures inspired by the scenery surrounding her Lake Bistineau studio. In the early 1980’s, Connell was embraced by the New York art scene and was considered to be one of the few remaining American-born artists to use authentic primitive imagery to express Abstract Expressionist principles. From 1980 to 1990, she was the recipient of several awards and honors, including a solo exhibition of her work at New York’s influential Clocktower Gallery in 1981; an Adolph Gottlieb Foundation award in 1982; a show at the National Sculpture Conference in 1987; and inclusion in “Different Drummers”, an important exhibition held at the Hirshhorn Museum, Washington D.C., in 1988. It is believed that Connell produced her best work between 1978 and 1982. She incorporated components of the Louisiana landscape and nature to design ladders and stilts that facilitated elevation to higher places. Here she created three-sided boxes atop the stilts and carefully placed stones and pebbles inside the boxes identifying each as the ultimate “ritual place”. The boxes are set just out of reach to the viewer encouraging a visual climb higher up the stilt’s ladder; a glimpse into each box gaining the viewer access to sacred mysteries. Clyde Connell’s work is included in the collections of The Metropolitan Museum of Art, New York; The New Orleans Museum of Art, New Orleans; and The Modern Art Museum of Fort Worth, Texas. Reference: Charlotte Moser, Clyde Connell, The Art and Life of a Louisiana Woman, University of Texas Press, 1988; this lot is illustrated on page 61. [9000/12000] Illustrated

264 264

1324 After Pablo Picasso (Spanish, 1881‑1973) “L’Atelier de la Californie III”, offset lithograph in colors after an original design from 1955, published by Editions Cercle d’Art, Paris, 1960, stamped upper left, sight 10‑1/4” x 16‑1/4”. Glazed, double matted and presented in a fluted giltwood and plaster frame in the Louis XVI style. [900/1200]

1323 detail

1325 After Pablo Picasso (Spanish, 1881‑1973) “La Comedie Humaine”, offset lithograph in colors after an original design from 1954, published by Editions Verve, Paris, stamp signed lower left, sight 9‑1/2” x 12‑1/2”. Glazed, handsomely matted and presented in a deep giltwood and ebonized Spanish frame in the 18th-century style. [900/1200] 1326 After Pablo Picasso (Spanish, 1881‑1973) “Circus Scene with Acrobat”, offset lithograph after an original design from 1954, published by Editions Verve, Paris, stamp signed lower left, sight 9‑1/2” x 12‑1/2”. Glazed, handsomely double matted and presented in a deep giltwood and ebonized Spanish frame in the 18th-century style. [900/1200] 1327 After Pablo Picasso (Spanish, 1881‑1973) “The Artist and His Model”, offset lithograph in colors after an original design from 1954, published by Editions Verve, Paris, stamp signed lower right, sight 9‑1/2” x 12‑1/2”. Glazed, handsomely double matted and presented in a deep giltwood and ebonized Spanish frame in the 18th-century style. [900/1200] 1328

1329 Salvador Dali (Spanish, 1904‑1989) “Battle Scenes”, ca. 1970, pair of chromolithographs, both numbered in pencil “46/150” and signed in pencil lower right “Dali”, 31” x 23‑1/2” and 24” x 30”. Glazed, handsomely matted and framed. [1800/2500] Illustrated

1329 pair 1328 After Pablo Picasso (Spanish, 1881‑1973) “Circus Scene”, offset lithograph in colors after an original design from 1954, published by Editions Verve, Paris, stamp signed lower right, sight 9‑1/2” x 12‑1/2”. Glazed, handsomely double matted and presented in a deep giltwood and ebonized Spanish frame in the 18th-century style. [900/1200] Illustrated 1329 pair

265

1330

1330 Olivia Guzman (Mexican/Contemporary) “Nureyev”, 1999, a patinated bronze figure of a dancer in a dramatic pose, signed and dated on the underside of lowered foot, mounted on a white marble plinth, h. 28”. Provenance: Private collection, Jackson, Mississippi; acquired from The Aura Galleries, Mexico City, in 1998. [700/1000] Illustrated 1331 Olivia Guzman (Mexican/Contemporary) “Desesperanza”, a large patinated bronze figure of a nude female dancer, the figure depicted seated, her proper right leg tucked and her arms crossed over her head, with incised signature on the underside of her foot, seated on a custom polished black marble base, h. 28‑1/2”, l. 27‑1/2”. Provenance: Private collection, Jackson, Mississippi; acquired from The Aura Galleries, Mexico City, in 1998. [800/1200] Illustrated 1332 Carved Stone Bust of an African Woman, 20th century, Zimbabwe, by Gladmore Resa, the carved stone bust depicting an African woman in the round, with an upswept coiffure and traditional bead jewelry, h. 10‑1/2”. Provenance: Private collection, Jackson, Mississippi. [200/400] 1333 Handsome Set of Sixty-Four Decorative Leather Bindings of Modern Masters, Norwalk, Connecticut: the Easton Press, 1982‑1986, their subscription “Collector’s Edition”, each medium quarto with full leather boards in a wide variety of colors, with matching or contrasting register ribbon, gilt edges, raised bands and gilt-stamped facsimile of the represented artist’s signature on the spine and front, with glossy pages and numerous color illustrations, including volumes on Klimt, Matisse, Pissaro, Modigliani, Whistler, Manet, Mondrian, Munch, Toulouse-Latrec, Rodin, Utrillo, Turner, Rousseau, Seurat, Hopper, Renoir, Kandinsky, Picasso, Braque, Magritte, Van Gogh, Cezanne, Monet, Dufy and forty others, each 12‑1/4” x 9”. [450/700]

266

1334 Twenty-Four Books on Matisse, Picasso, Dali and Other Modern Masters, including Frederick Brill, Matisse, John Elderfeld, Henri Matisse: A Retrospective (ex. cat., New York: MOMA, September 24, 1992 January 12, 1993), Leonard Cohen, Dance Me To the End of Love, Lawrence Gowing, Henri Matisse: 64 Paintings, Matisse (ex. cat., Boston: MFA, May 5- July 3, 1966), Monroe Wheeler, Last Work of Henri Matisse (ex. cat., New York: MOMA, October 17-December 3, 1961, et. al.) [two copies, both the hardcover and softcover editions], Alicia Legg, Sculpture of Matisse (ex. cat., New York: MOMA, February 24 - May 8, 1972, et al.), Jean GuichardMeili, Matisse [two copies], Jacques Lassaigne, Matisse, Hans Jaffe, Picasso, Keith Sutton, Picasso, John Berger, The Success and Failure of Picasso, Picasso Contemporain (ex. cat., Lausanne: MAC, May 11 September 25, 1994), The Marguerite and Aime Maeght Foundation (mus. cat., St. Paul, Provence), Ferdinand Leger (ex. cat., New York: Acquavella Galleries, October 23 - December 12, 1987), Christopher Green, Braque ,Gris, Leger, Picasso: Cubism and Beyond (ex. cat., London: Helly Nahmad, January 1 -June 30, 2001), Who is Afraid of Red?, (ex. cat., Basel: Gallery Beyeler, June 1-September 30, 1995), Art of the Forties (ex. cat., New York: MOMA, February 24 - April 30, 1991), Selections from the Walter Davis Collection (coll. cat., Malter International, New Orleans, Louisiana), Giorgio Cortenova, Miro, Dali, Picasso e il Surrealismo Spagnolo (ex. cat., Verona: GAM, July 29-October 22, 1995), Rober Descharnes, Dali and Salvador Dali, Diary of a Genius. Provenance: Private collection, Jackson, Mississippi. [100/200]

1331

1335 Twenty-One Miscellaneous Art Journals and Periodicals, including a library-bound omnibus edition of Realites, (January-December 1963), inclusive, seven issues of Artforum International (2006: vol. XLIV, nos. 6‑7 and 9‑10, and vol. XLV, nos. 1‑3), Art International New York (1998), 44th Biennale de Venezia (May-September 1990), 73rd Arena di Verona (JulySeptember 1995), New Orleans Art Review (May/June 1989), Art News (April 2006), Arts of Asia (September/ October 1986), three volumes of the Art News Annual (vol. XX, vol. XXIII: The Academy, vol. XXXIV: The Avant Garde), two volumes of Art in America (1962: vols. 1 & 4), Art Basel 31 (June 21‑26, 2000), and Sotheby’s Preview (May 1995). Provenance: Private collection, Jackson, Mississippi. [75/125]

1337 Group of Thirty-One Catalogues and Monographs on Contemporary Artists, including two European catalogues Max Cole (Zurich: Nicole Schlegl, 2004) and Edward Lucie-Smith, Artists of the Ideal: Nuovo Classicismo (Verona: GAM, 2002) eight British catalogues Harry Holland (Cardiff: Martin Tinney, 1999), John D. Edwards (London: Lefevre, 1999), Auerbach - Bacon - Freud - Kossof (London: Blains, 2000), Vayreda C. (London: Bruton Street, 2000), David Backhouse (London: Bruton Street, n.d. [ca. 2000]), Michael Fairclough (London: Berkeley Square, 2000), Neil Faulkner/James Longueville (London: Oakham, n.d. [2000]), and Ray Richardson (London: Beaux Arts, 1996), seventeen American catalogues, eight from the Weinstein Gallery, San Francisco including Leonor Fini and Her Contemporaries (2001), Ruth Bloch (2001), Robert Kipniss (2001), Odd Nerdrum (2003), Robert Kipniss (2004), Gordon Onslow Ford (2004), Claude Lazar (2005) and Gordon Onslow Ford (2005), seven from the Forum Gallery, New York and Beverly Hills, including Wade Schuman (2002), Paul Fenniak (2004), Bernardo Siciliano (2006), Richard Maury (2006), Sean Henry (2006), Steven Assael (2007), and Odd Nerdrum (2007) with People (New York: Gallery Three Zero, 1992) and The Human Figure (New Orleans: Contemporary Arts Center, 1982), and three monographs, The Art of Pamela Kay, [Louise] Bourgeois and Paul Critchley (two copies). Provenance: Private collection, Jackson, Mississippi. [60/90]

1336 Twenty-Five Books on Art History, Collections and Criticism, including The Figure in 20th Century American Art (ex. cat., New York: MMA, February 1985 - June 1986), Alvin Martin, American Realism: 20th Century Drawings and Watercolors (ex. cat., San Francisco: MMA, February 13 1985 - January 12, 1986, et al.), Contemporary Art of the United States (coll./ex. cat., IBM collection, New York World’s Fair, 1940), Sam Hunter, American Art of the 20th Century, Milton Rugoff, ed., Britannica Encyclopedia of American Art, National Geographic: The Age of Chivalry and The Renaissance (two volumes, slipcased) Jean Leymarie, French Painting: The 19th Century, Horst Keller, Marc Chagall: Life and Works, Libby Lumpkin, The Bellagio Gallery of Fine Art (coll. cat. The Bellagio, Las Vegas, Nevada), Christian Geelhaar, Kunstmuseum Basel: The History of the Paintings Collection (coll. cat., Kunstmuseum Basel, Switzerland) Frederick Hartt, Art: A History of Painting, Sculpture & Architecture, v. I Prehistory, Ancient World & Middle Ages, Ti-Fu Tuan, Passing Strange and Wonderful: Aesthetics, Nature and Culture, Andre Malraux, The Voices of Silence, Elie Laure, History of Art: Modern Art, Paul Hendrickson, Looking for the Light: The Hidden Life and Art of Marion Post Walcott, John Updike, Just Looking: Essays on Art, Paul Alexander, Death and Disaster: The Rise of the Warhol Empire and the Race for Andy’s Millions, Anne Hollander, Moving Pictures (two copies), Andrew Solomon, The Irony Tower: Soviet Artists in a Time of Glasnost, and five volumes in the Dolphin World of Art Series: Phoebe Pool, Impressionism, Lawrence Gowing, Matisse, Edward Lucie-Smith, Sexuality in Western Art, Peter and Linda Murray, Art of the Renaissance, and The Thames and Hudson Dictionary of Art and Artists. Provenance: Private collection, Jackson, Mississippi. [75/125]

1338 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”. [800/1200] Illustrated 1339 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”. [1400/1800] Illustrated following page

1338

267

1340 Contemporary Silvered Metal and Granite-Top Side Table, in the Directoire taste, the rectangular speckled granite top above an Xform frieze, raised on square legs with gilt band accents, joined by an X-form stretcher and ending in block feet, h. 30‑1/2”, w. 59‑1/2”, d. 18”. Provenance: Private collection, Jackson, Mississippi. [400/700] Illustrated

1340

1342

1341

1339 1341 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 1342 Good Schneider (a.k.a. “Charder” or “Le Verre Francais”) Cabinet Ewer, first quarter 20th century, in chocolate-spangled translucent butter yellow and opaque black glass, unsigned, h. 12”, dia. 5”. [400/700] Illustrated

268

1346 Fine Steuben “Ivorene” Glass Triple-Handled Vase, of large baluster form, designed by Frederick Carder (1863‑1963), signed on the base in diamond stylus script “Steuben”, h. 11‑3/4”. [400/700] 1345

1344

1347 David C. Halliday (American/New Orleans, b. 1958) “White Bowls”, 1995, sepia-toned silver gelatin print, pencil signed and dated lower right “David C. Halliday 1995”, numbered in pencil lower left “1/15”, with artist’s copyright stamp lower right, sheet 8‑3/4” x 13‑1/2”. Glazed, handsomely matted and framed. [450/700] Illustrated 1348 David C. Halliday (American/New Orleans, b. 1958) “Leaf”, 1995, sepia-toned silver gelatin print, pencil signed and dated lower right “David C. Halliday 1995”, numbered in pencil lower left “4/15”, with artist’s copyright stamp lower right, sheet 8‑3/4” x 14”. Glazed, matted and handsomely framed. [450/700] 1349 American School (20th Century) “Male Nude Study”, silver gelatin print, unsigned, sight 12” x 18‑1/2”. Glazed, matted and handsomely framed. [200/400]

1343 Daum, Nancy, Glass Footed Trumpet Vase, second quarter 20th century, the wheel-engraved and cut glass “smoky topaz” frosted vase in “Daisy and Dart” decor, the underside of the circular foot signed “Daum Nancy”, h. 10‑1/2”, dia. 6‑1/4”. [400/700]

1350 Eleven Books of Portrait and Documentary Photography, including Roger Grenier, intro., Brassai, James Danziger, Visual Aid, Robert Frank, Photographs, Matthew Nayons, ed., The Face of Mercy: A Photographic History of Medicine at War, Sally Mann, Immediate Family, Phil Stern’s Hollywood: Photographs, 1940‑1979, Eve Arnold, Marilyn: An Appreciation, Jacques Lowe, JFK Remembered, Yves Saint Laurent, Images of Design, Ilya Kabakov, My Mother’s Album, and Edward Steichen, ed., Memorable Life Photographs. Provenance: Private collection, Jackson, Mississippi. [75/125]

1344 Large and Stylish Daum, Nancy, Glass Vase, ca. 1925, the copper argente-mounted spherical cut and acid-finished glass vase in the Art Deco style, the blackspeckled colorless glass body deeply cut at the shoulder with “Mycenaean” scrolls and polished, the rest of the body acid finished, the base signed “Daum Nancy, Cross of Lorraine, France”, h. 12‑3/4”. [1800/2500] Illustrated 1345 Good French Silver-Mounted Daum Art Nouveau “Eau de Melisse” Flask, fourth quarter 19th century, the torpedo-shaped glass body in emerald-to-clear cameo-cut, acid-etched, enameled and parcel-gilt glass in “Mistletoe” decor, the first standard (.950) silver mounts by Antoinette Lagriffont (active 157 rue du Temple, Paris, 1896‑1899), including an acorn-shaped screw cap and conical foot, with engraved and repousse mistletoe banding en suite, l. 6‑1/4”. [400/700] Illustrated

1347

269

1354 Sandra Russell Clark (American/New Orleans, b. 1949) “Isola Bella Italy”, hand-colored photograph, from the Gardens of Reflection series, sight 25” x 38”. Glazed, handsomely matted and framed. Provenance: Private collection, Jackson, Mississippi. [350/500] Illustrated 1355 Sandra Russell Clark (American, b. 1949) “Isola Bella, Italy”, hand-colored photograph, from the Gardens of Reflection series, sight 11‑3/4” x 17‑3/4”. Glazed, matted and framed. Provenance: Private collection, Jackson, Mississippi. [350/500]

1351

1353

1354 1351 Jansen, Paris, Art Moderne Games Table, mid‑20th century, composed of gilt- and argente metal and glass, 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 1352 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] 1353 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”. [800/1200] Illustrated 1356

270

1356 Sandra Russell Clark (American, b. 1949) “Isola Bella, Italy”, hand-colored photograph, from the Gardens of Reflection series, sight 11‑3/4” x 17‑1/2”. Glazed, handsomely matted and framed. Provenance: Private collection, Jackson, Mississippi. [350/500] Illustrated 1357 Pair of French Art Deco Brass and Black-Lacquered Wood Table Lamps, second quarter 20th century, in the form of brass Pharaonic heads on black lacquer “collector” bases, each fitted with a custom scooped oblong shade of black-lacquered card with a satin-finished gold lining, overall h. 22‑1/2”. [250/400] 1358 Seven Reference Works on Martin Disler (Swiss, 1949‑1996), including the journal Plant Sueden (vol. 4, 1995), inscribed and autographed in pencil by the artist on the title page “To Andy, Martin Disler”, a trilingual (German, English and Japanese) monograph, At Random (Kyoto: Kyoto Shoin International, 1990), and five exhibition catalogues Martin Disler (Essen, Germany: Museum Folkwang, May 5 - June 30, 1985, et al.), Martin Disler (Milan: Studio Cannaviello, May 1 - June 30, 1987), Das Gedgraenge der Goetter, Der Wucher des Menschen (Vienna: MMK, September 6 -October 26, 1987), Shedding of Skin and Dance/Haeutung und Tanz (London: Whitechapel Art Gallery, June 7- July 21, 1991, et al.) and the very unusual ring-bound catalogue Martin Disler (Solothurn, Switzerland: Kunstmuseum, August 24 - October 27, 1991) with various paper stocks and sizes, color inserts, pockets with postcards, fold-out pages and magazine supplement. Provenance: Private collection, Jackson, Mississippi. [40/70]

1359 Fourteen Books on Contemporary European Artists, including Jean-Marie Poumeyrol, Peintures, 1986‑1990, Monique de Roux (ex. cat., Paris: Galerie Alain Blondel, May 27, 1999), Velimir Trnski (ex. cat., Paris: Galerie Romanet, December 12, 1995 - January 27, 1996), Henning von Gierke (ex. cat., Cologne: Galerie Orangerie, 1988), Henning von Gierke: Scenic and Costume Designs for Wagner’s “Lohengrin” at the Bayreuth Festival, 1987 [German text], Miguel Ortiz Berrocal (studio cat., Negrar, Verona, 1991, with 1995 price list), Ceccarelli (ex. cat., Paris: Galerie Jeanne-Bucher, November 6 - December 1, 1990), Alessandro Papetti (ex. cat. Milan: Galeria Forni, October 3 - November 9, 2002), Alessandro Papetti (ex. cat., Paris: Galerie Alain Blondel, November 14 - December 31, 1997), Paul Day (ex. cat., Frankfurt: Galerie Ulrich Gering, June 18 - July 22, 2000, et al.), Josef Felix Mueller (ex. cat., Basel: Museum fur Gegenwartkunst, October 19 - January 19, 1986), Biennale di Venezia 1990: First Gallery, Moscow, Hugues Malbreil, Six Bois, and Edward Lucie-Smith, Artists of the Ideal: Nuovo Classismo. Provenance: Private collection, Jackson, Mississippi. [40/70] 1360 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”. [200/400] 1361 Suite of Eight Harvey Probber Mid-Century Modern Black-Lacquered Dining Chairs, consisting of two armchairs and six sidechairs, each with padded rectangular backs above a padded seat, raised on tapering square legs, h. 38”. [1800/2500] Illustrated 1362 Mid-Century Modern Ebonized Dining Table, third quarter 19th century, the top of butterfly form, opening at the center to accommodate leaves (not present), supported on each end by a tapering panel with beveled edges, h. 30”, w. 42”, l. 78”. [500/800]

1361

271

1363 Unusual and Striking Daum, Nancy, Cased Glass Vase, second quarter 20th century, the emerald green and black vase with gold leaf inclusions in the Art Deco style, signed in engraved letters “Daum, Cross of Lorraine, Nancy France”, in a line, h. 11‑1/4”. [700/1000] Illustrated

1363

1367 Fifty-Seven Issues of Realites Monthly, the English Language edition, including 1957 (Jan, Apr), 1958 (Jan), 1959 (Apr), 1960 (Mar, Jun), 1961 (Feb, Mar, Apr, Aug), 1962 (Dec), 1963 (Jan, Feb), 1965 (Apr, May, Jun, Jul, Aug, Sep, Oct), 1966 (Jan, Feb, Mar, Apr, May, Jul, Nov, Dec), 1967 (Jan, Apr, Jul, Sep), 1968 (Jan, May), 1969 (Aug, Nov, Dec), 1970 (Jan, May, Jul, Aug, Sep, Oct), 1971 (Jan, Feb, Aug, Oct), 1972 (Mar, May, Jul, Aug, Sep, Dec) and 1973 (Feb, Mar, Apr, Jun). [150/300] Illustrated 1368 Seven Miscellaneous Fine Art Books, including Georges and Rosamond Bernier, The Selective Eye, John Herbert, ed., Christie’s Review of the Year 1970/1971, Jules David Prown, American Painting from its Beginnings to the Armory Show, Barbara Rose, American Painting: The Twentieth Century, (these last two Skira editions presented together in a pasteboard slipcase), Ann Rouzet, Flores Artes Belgica, (slipcased ex. cat., Montreal: Expo 1967), and two oversize coffee table books, J. B. de la Faille, The Works of Vincent Van Gogh and Diane Kelder, The Great Book of French Impressionism. Provenance: The Library of Bernard and Ann Baum Sakowitz, Houston, Texas. [100/200]

1364 Diminutive Johann Loetz-Witwe, Klostermuhle, Cabinet Vase, first quarter 20th century, the satin finished and lightly iridized green glass vase with “tadpole” prunts, unsigned, h. 3‑1/2”, dia. 3‑1/4”. [250/400]

1367

1369 Five Lavishly Illustrated Books on Luxury Lifestyles, including Nick Foulkes, The Carlyle, Henri Bouilhet, 150 Ans d’Orfevrerie Christofle, Peter Kurth, Tsar: The Lost World of Nicholas and Alexandra, John Loring, Tiffany Jewels, and Gerald van der Kamp, Versailles. Provenance: The library of Bernard and Ann Baum Sakowitz, Houston, Texas. [100/200]

1372 1365 Diminutive Glass Cabinet Vase, first quarter 20th century, attributed to the Daum glassworks, Nancy, in pale bluespangled celadon shaded to sapphire glass, unsigned, h. 3‑3/4”, dia. 2”. [100/200] 1366 Pair of Black-Lacquered and Upholstered Armchairs, in the style of T. H. Robsjohn-Gibbings, each with a spindled seat back and horseshoe-form arms supported by canted tapering round legs, h. 27”. [800/1200]

272

1370 Eleven Books and Catalogues on Modern and Contemporary Art, including Jean Lipman, Calder’s Universe, Helen Kay, Picasso’s World of Children and Lloyd Goodrich, Raphael Soyer, with exhibition/ sale catalogues, Renata Guttuso (New York: Aquavella, April 14 - May 14, 1983), Lyonel Feininger (New York: Aquavella, October 15 - December 20, 1985, et al.), Fernand Leger (New York: Aquavella, October 23 - December 12, 1987), Jules Olitski (New York: Andre Emmerich, December 1 - 31, 1988), Master Drawings 1879‑1984 (New York: Janie C. Lee, November 13, 1984), Charcoal Drawings 1880‑1985 (Houston: Janie C. Lee, October-November, 1985), Ink Drawings 1890‑1986 (New York: Janie C. Lee, February-March, 1987), and Abstract Expressionist Drawings 1941‑1955 (New York: Janie C. Lee, November 5 December 6, 1988). Provenance: The library of Bernard and Ann Baum Sakowitz, Houston, Texas. [200/400]

1371 Five Books on Warhol, Hockney and Other New York/Los Angeles Contemporary Artists, including Jesse Kornbluth, Pre-Pop Warhol, Nikos Stangos, ed., David Hockney by David Hockney, and Pictures by David Hockney, and Marva Marrow, Inside the L. A. Artist, and an exhibition catalogue New Generations: New York (Pittsburgh: Carnegie Mellon Art Gallery, May 17 - June 30, 1991). Provenance: Private collection, Jackson, Mississippi. [50/80] 1372 Four Sets of New Orleans Modernist Architectural Plans by Albert Ledner, 1969, all for a proposed luxury hotel at the intersection of Simon Bolivar Ave. and Clio St., including three comb-bound sets of plans dated successively February 1969 (10 pages), April 1969 (eight pages) and July 1969 (eight pages), all 12” x 15‑3/4”, and a full size set, undated but corresponding to the February 1969 plans (three stapled pages), 24” x 36”. This unusual set represents a period of “Superdome Fever” in the development of Downtown New Orleans. These plans trace the evolution of a proposed modernist hotel from an eleven-story circular building in the earliest plans to a twenty-eight-floor tower in the last. The final revision includes an aerial photograph of New Orleans retouched to show the proposed hotel’s proximity to the then nonexistent Louisiana Superdome, optimistically noted “anticipated completion 1973”. The stadium was not finished until the summer of 1975, and the hotel was never built. The plans, however, remain a good example of the eye of New Orleans modernist architect Albert C. Ledner (b. 1925), best remembered for the National Maritime Union in New York and the Galatoire House on Park Island in New Orleans. Ledner is the son of another noted New Orleans artist: his mother, Beulah Ledner, was the originator of the famous doberge cake. [100/200] Illustrated

1373

1373 Suite of Six Chrome-Plated and Black LeatherUpholstered Cantilevered Armchairs, third quarter 20th century, in the style of Marcel Breuer (b. Hungary, 1902‑1981), h. 31”. Provenance: Private collection, Jackson, Mississippi. [1000/1500] Illustrated 1374 Contemporary Ebonized Formica Display Pedestal, of square form, h. 42”, w. 12”, d. 12”. Provenance: Private collection, Jackson, Mississippi. [200/400] 1375 American School (Contemporary) “Rooftop”, gelatin silver print, unsigned, sight 5‑1/4” x 7‑3/4”. Glazed, matted and framed. Provenance: Private collection, Jackson, Mississippi. [30/50]

1376

273

1376 Young Chang Automated Baby Grand Piano, 1984, Incheon, South Korea, Model G185, serial number 013688, of traditional form, the black-lacquered case raised on legs of tapering square section ending in spade feet, outfitted with an electronic QRS Pianomation 2000CD MIDI player mechanism, h. 39”, w. 59‑1/2”, l. 72”, complete with the matching bench, h. 18‑1/2”, w. 30”, d. 14”, and a ring-bound book of thirty-three compact discs for the automated system with original owner’s manual and remote. Provenance: Private collection, Jackson, Mississippi. [3000/5000] Illustrated previous page 1377 Yousuf Karsh (Canadian, 1908‑2002) “Portrait of Sir Winston Churchill”, 1941, gelatin silver print, signed in ink on the mount lower left, printed in the 1980’s, 19‑3/4” x 15‑7/8”. Glazed, matted and framed. Provenance: Private collection, Jackson, Mississippi. [3000/5000] Illustrated

1377

1382 Oushak Carpet, 8’ 2” x 4’ 10”. [800/1200] 1383 Oushak Carpet, 9’ 1” x 5 ‘8”. [900/1200] 1384 Peshawar Sultanabad Carpet, 10’ x 13’ 10”. [2500/4000] 1385 Konya Carpet, 8’ x 4’ 10”. [800/1200] Illustrated 1386 Persian Esfahan Carpet, 8’ 7” x 13’ 2”. [4000/7000] 1387 Persian Serapi Carpet, 6’ 10” x 10’ 3”. [3000/5000] 1378

1378 Yousuf Karsh (Canadian, 1908‑2002) “Albert Einstein”, 1948, gelatin silver print, signed on the mount lower left, stamped on mount verso “Photograph by Yousuf Karsh -- Albert Einstein (in pencil)”, 16‑7/8” x 15‑7/8”. Provenance: Private collection, Jackson, Mississippi. [4000/7000] Illustrated 1379 Konya Carpet, 9’ 6” x 5’. [600/900] 1380 Oushak Carpet, 6’ 8” x 4’ 6”. [300/500] 1381 Peshawar Zeiglar Mahal Carpet, 8’ 2” x 9’ 9”. [1500/2500] Illustrated

274

1395

1390 Oushak Carpet, 5’ 3” x 3’ 3”. [300/500] 1391 Oushak Carpet, 7’ 7” x 5’ 8”. [800/1200] 1392 Agra Serapi Carpet, 9’ x 12’. [1400/1800] 1393 Graduated Trio of Italian Satin-Finished Glass Candlesticks, of cylindrical column form, the smallest h. 13‑1/2”, dia. 5‑1/4”, the largest h. 19‑1/2”, dia. 7”. [125/250]

1385 1388 Oushak Carpet, 8’ x 5’ 1”. [800/1200] 1389 Turkish Angora Oushak Carpet, 9’ 5” x 13’ 8”. [2500/4000] Illustrated

1389

1394 Pair of French Modernist White Opal Glass Lamps, third quarter 20th century, the tall-waisted glass bodies in a satin finish, their interiors also electrified, and raised on circular chrome bases, h. 20” (35” to finial), dia. 8‑3/4”. [300/500] 1395 Pair of Art Deco-Style Mirrored Demi-lune Console Tables, in the manner of Serge Roche (French, 1898‑1988), each with a mirrored demi-lune top above a conforming paneled frieze, raised on a tri-form support to a conforming ebonized base, h. 34”, w. 28‑1/2”, d. 14‑1/4”. [2500/4000] Illustrated

1381

275

1398 1396 Tiffany and Company Pleat-Pressed Crystal Ice Bucket/Bottle Cooler, dated 2004, the base engraved “Moores School of Music Society and Gala/ Champagne and Gershwin/ honoring/ Ann B. Sakowitz/ February 28, 2004, accompanied by the original “Tiffany blue” presentation box, h. 7‑1/2”, dia. 7‑3/4”. [200/400] Illustrated

1397 Art Deco Pale Green Jade Jewel Casket-on-Stand, second quarter 20th century, with silver mounts in the Chinese taste, the basal edge of the box rimmed in fruitwood and the whole attached to an ebonized Chinese hardwood scroll-footed base, the interior of the box fitted with a black velvet pad, h. 5”, w. 9”, d. 6. [800/1200] Illustrated

1397

1398 Pair of Art Deco-Style Walnut Center Tables, 20th century, each with a highly figured circular top raised on four curved supports to a smaller circular plinth, h. 30”, dia. 35‑1/2”. [1800/2500] Illustrated

1399 Attractive French Cased Glass Cabinet Vase, second quarter 20th century, attributed to the Schneider brothers (also known as Charder and Le Verre Francais), the scarlet-spangled transparent orange vase of modified “moon flask” form, h. 6‑1/4”, w. 5‑1/2”. [300/500]

1396

1400 Unusual Emile Galle (1846‑1904) Glass Vase, fourth quarter 19th century, in blown and cut clear over amber glass, of modified trumpet form in the Art Nouveau style, the base stamped in polished bas-relief script “Cristallerie/ d’Emile Galle/Nancy”, h. 15‑3/4”, w. 5‑3/4”. [400/700] 1401 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]

276

1402

1402 detail

1402 Mischa Levitzki Autographed Steinway & Sons Medium Grand Piano, 1926, Long Island City, New York, Model “M”, serial number 244790, of traditional form, the mahogany case raised on legs of tapering square section, ending in spade feet, the harp frame autographed “Mischa Levitzki”, h. 39”, w. 57‑3/4”, l. 67”, with a matching bench, h. 20”, w. 37‑3/4”, d. 15‑1/2”. Mischa Levitzki (1898‑1941) was a Russian-American concert pianist known for his technical virtuosity. He traveled extensively, being one of the first major pianists to tour Australia and New Zealand, and between 1916 and 1930 he made twelve United States tours visiting over one hundred cities. During this time he was, with Josef Hofmann, on Steinway’s “A List” and received a stipend from the company for every concert he played on one of their instruments. He also appeared in several of their advertisements during the 1920’s praising the Steinway product. By reputation, this instrument was signed by Levitski after he performed a concert on it. Levitzki made a number of recordings between 1924 and 1938, including several of his own compositions. He died suddenly of a heart attack in 1941 at only 42. His papers are conserved at the New York Public Library for the Performing Arts. [5000/8000] Illustrated

1403 Christopher Maier (American, 1956‑2004; Active New Orleans), a lacquered dark gold leaf wooden drawend dining table with a shaped apron, raised on cabriole legs ending in hoof feet, h. 32”, w. 47”, l. 72”, extended l. 120”. [3000/5000] Illustrated

1403

277

1404 Harvey Probber Mid-Century Modern Three-Piece Bedroom Suite, composed of brown-stained and bleached rosewood, consisting of two cabinets and a headboard with frame, one cabinet with a pair of bleached wood sliding doors opening to expose open-face shelves, the other half with a bank of four drawers, h. 36‑1/2”, w. 77‑1/4”, d. 18”; the second cabinet with three bleached sliding doors, two opening to reveal a bank of drawers, the other an open storage area, h. 36‑1/2”, w. 63‑1/4”, d. 18”; the headboard in the form of a row of arches joined by panels, h. 39‑1/2”, w. 81”. [2000/4000] Illustrated 1405 Pair of Mid-Century Modern Teak Table Lamps, third quarter 20th century, each standard composed of five graduated slats and terminating in a circular base, each fitted with its original pleated deep cream strie silk shade with a white fabric lining, overall h. 30‑1/4”, base dia. 8‑3/4”, shade dia. 18‑1/2”. [300/500] 1406 Ulrica Hydman-Vallien (Swedish, b. 1938), 1995 Kosta Boda Editions pair of painted glass vases, of waisted cylindrical form, decorated with abstract faces, in pink and black, the other in salmon and black, both are signed “Ulrica HV/ES”, signed and with Kosta Boda inventory numbers on the underside, h. 12”, dia. 6‑1/2”, accompanied by the book Ulrica Hydman-Vallien, Edition Apel, 1990. Provenance: Private collection, Jackson, Mississippi. [100/200]

1404 tree-piece suite

278

1404 three-piece suite

1407 Ulrica Hydman-Vallien (Swedish, b. 1938), 1991 Kosta Boda Editions painted glass vase, of ovoid form, decorated with four masked women surrounded by various floating sea creatures, signed, dated and numbered “6/12” on the underside, h. 8”, dia. 5‑1/2”. Provenance: Private collection, Jackson, Mississippi. [50/100]

1408 Donald Roller Wilson (American/Arkansas, b. 1938) “Mrs. Jenkins...”, oil on canvas, signed and dated upper middle “Donald Roller Wilson 1984/6 6:07 PM Tuesday April 4”, and extensively titled upper center, “MRS. JENKINS HIRED A GIRL (BY PHONE) TO COME STAND IN THE HALL OOUTSIDE HER ROOM BUT SHE NEVER DID GO OUT TO TAKE A LOOK AT HER BUT SHIRLEY DID SEE HER AND SHE TOLD MRS. JENKINS THE GIRL WASN’T WEARING A BRASSIERE AND THAT HER TONGUE WAS STICKING OUT A LITTLE”, 16” x 12”. Presented in a custom crimson fabric-wrapped frame. Provenance: Moody’s Gallery, Houston, Texas. [9000/12000] Illustrated

1410 1410 After Pablo Picasso (Spanish, 1881‑1973) “L’Atelier de la Californie IV”, offset lithograph in colors after an original design from 1955, published by Editions Cercle d’Art, Paris, 1960, stamp signed upper left, sight 10‑1/4” x 16‑1/4”. Glazed, double matted and presented in a fluted giltwood and plaster frame in the Louis XVI style. [900/1200] Illustrated

1409

1409 Clare Henshaw (British, b. 1964), a large art glass vase in black, amber, gold and purple, decorated with two women in a boat on a river winding through a tropical landscape, and a more prominent figure of a woman with her oversized hands reaching towards the sky, with incised signature and date on the underside “Clare Henshaw 1994”, h. 9‑1/2”, dia. 12”. Provenance: Private collection, Jackson, Mississippi. [200/400] Illustrated

1408

279

1411

1411 Dale Chihuly (American, b. 1941), a fine blown and combed Macchia glass bowl in fresh pea green with yellow, blue, lavender and black inclusions, the interior in solid fresh pea green, signed and dated on the base in diamond stylus script “Chihuly 1982”, h. 6‑1/4”, w. 12”. [1400/1800] Illustrated

1412 Georges Braque (French, 1882‑1963) “Nature Morte Oblique”, etching in colors, plate signed lower left, signed in pencil lower right “G. Braque” and numbered lower left “159/300”, sight 13‑1/2” x 12‑1/2”. Glazed, handsomely matted and framed. [1200/1800] Illustrated

1413 After Pablo Picasso (Spanish, 1881‑1973) “L’Atelier de la Californie I”, offset lithograph in colors after an original design from 1955, published by Editions Cercle d’Art, Paris, 1960, stamped upper left, sight 10‑1/4” x 16‑1/4”. Glazed, handsomely double matted and presented in a fluted giltwood and plaster frame in the Louis XVI style. [900/1200] Illustrated 1414 Alexander Calder (American/New York, 1898‑1976) “Snakes and Fish in the Sea”, color lithograph, signed in pencil lower right “Calder”, numbered in pencil lower left “57/75”, 26‑1/4” x 38‑1/4”. Glazed and presented in a contemporary silver metal frame. Provenance: Private collection, Hattiesburg, Mississippi. [1400/1800] Illustrated

1412

280 280

1415

1414

1413 1415 Robert W. Willson (American/Texas, 1912‑2000) “At Rest”, 1990, blown glass sculpture in red, blue and clear glass, with incised signature on plinth “Robert Willson”, h. 17”, w. 8”, accompanied by “Trail of a Maverick, Watercolors and Drawings by Robert Willson, 1975‑1998”, published by The New Orleans Museum of Art, 1999, and a custom-made white-painted wood pedestal, electrified, h. 42”, w. 12”. Provenance: Private collection, Jackson, Mississippi; acquired from Still-Zinsel Contemporary Fine Art, 328 Julia Street, New Orleans, Louisiana, in July 1999. [1400/1800] Illustrated

1416

1416 Rufino Tamayo (Mexican, 1899‑1991) “Sandias”, 1977, mixograph on handmade paper, signed lower right “R. Tamayo”, numbered lower left “96/100”, retains gallery label on the reverse “Eleonore Austerer Gallery, San Francisco, California”, sheet 29‑1/8” x 20‑1/2”. Glazed, handsomely matted and framed. Provenance: Private collection, Jackson, Mississippi; acquired from the Eleonore Austerer Gallery, San Francisco, California, in 1999. [3500/5000] Illustrated

281

1417 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] Illustrated

1425

1418 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]

1424

1419 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] 1420 Continental White-Glazed Pottery “Sea Urchin” Table Lamp, mid‑20th century, fitted with a custom graduated circular white fabric shade with grosgrain trim, h. 13”, dia. 10”. [200/400] 1421 Contemporary Upholstered Settee, the padded frame with a bi-cushioned back and seat with two conforming accent pillows, h. 28”, w. 61”, d. 36”. [400/700]

1422 Contemporary Upholstered Settee, the padded frame with a bi-cushioned back and seat with two conforming accent pillows, h. 28”, w. 61”, d. 36”. [400/700] 1423 Contemporary Upholstered Armchair, the padded frame with a cushioned back and seat with conforming accent pillow, h. 35‑1/2”, w. 31”, d. 35”. [300/500] 1417

282

1429

1427 Baccarat Molded and Cut Crystal Figure of a Pelican, the base with the Baccarat acidstamped “decanter” mark, h. 6‑1/2”, d. 3”. [200/400] 1428 Set of Six Baccarat Blown Glass Red Wine Goblets, in “Perfection” decor, each with the acid-stamped Baccarat “decanter” mark at the center of the circular foot, h. 6‑3/4”, dia. 4‑3/4”. [250/400] 1429 Fourteen-Piece Group of Baccarat Crystal, third quarter 20th century, consisting of a set of ten cut crystal square butter pats, w. 2‑1/2”, and four diminutive crystal caviar knives, l. 4”, each piece signed with the Baccarat acid-stamped “decanter” mark. [200/400] Illustrated

1426

1430 Baccarat Prism-Cut Crystal Obelisk, the base with the acid-stamped Baccarat “decanter” mark, h. 15”. [300/500] Illustrated 1431 Baccarat Prism-Cut Crystal Tall Obelisk, the base with the acid-stamped Baccarat “decanter” mark, h. 18”. [300/500] Illustrated

1431 1430

1424 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

1432

1425 Baccarat Prism-Cut Crystal Vase, of tall cylindrical form, the base marked with the Baccarat “decanter” acid stamp, in the original scarlet presentation box with the original Baccarat brochure, vase h. 11‑3/4”, dia. 4‑1/2”. [300/500] Illustrated 1426 Unusual Baccarat Cut Cranberry Overlay Glass Sweetmeats Bowl, first quarter 20th century, of papillon form, w. 7‑1/2”, d. 6‑3/4”. [125/250] Illustrated

283

1434

1435

284 284

1436

1432 Baccarat Crystal Obelisk, the base with the acid-stamped Baccarat “decanter” mark, h. 10”. [200/400] Illustrated previous page

1440 1438

1433 Tiffany and Company Cut Glass Table Obelisk, dated 1990, the facade engraved “The/ Winter Ball/ Tiffany & Co./ and/ The Houston Post/ Women of Distinction/ Award/ January 20, 1990/ Ann B. Sakowitz”, h. 9‑3/4”, w. 2‑1/4”. [200/400] 1434 Henri Cartier-Bresson, (French, 1908‑2004) “Syphnos, Greece”, 1961, silver gelatin print, signed in ink lower right “Henri Cartier-Bresson”, with copyright blind stamp lower left, printed 1988, verso with gallery label “A Gallery for Fine Photography, New Orleans, Louisiana”, sight 14‑1/2” x 19‑1/2”. Glazed, matted and framed. Provenance: Private collection, Jackson, Mississippi; acquired from A Gallery for Fine Photography, New Orleans, Louisiana, in April 1989. [7000/10000] Illustrated 1435 Willy Ronis (French, 1910‑2009) “Le Nu Provencal, Gordes”, 1948, gelatin silver print, signed in ink lower right “Willy Ronis”, titled and dated en verso, printed later, sight 13” x 10”. Glazed, matted and framed. Provenance: Acquired directly from the artist. [3500/5000] Illustrated 1436 Willy Ronis (French, 1910‑2009) “Vigneron en gironde”, 1945, gelatin silver print, printed in 1986, signed in ink lower right “Willy Ronis”, annotated “tirage 1986”, titled and dated on the verso, sight 13‑1/8” x 10‑3/8”. Glazed, matted and framed. Provenance: Acquired directly from the artist. [3000/5000] Illustrated

1437

1437 Sixteen-Piece Group of Lalique Partially Satine “Bourgueil” Glassware, consisting of eight liqueur goblets, h. 3”, dia. 2”, and a set of eight matching sweetmeat dishes, dia. 3”, each piece signed on the base in diamond stylus script “Lalique/France”. The “Bourgueil” design was created by Rene Lalique (French, 1860‑1945) in 1930 and was discontinued in 1951. [300/500] Illustrated 1438 Good Daum, Nancy, Vasa Murrhina Glass Cabinet Vase, first quarter 20th century, the cameo-cut and enameled pale citron, white and rose vase in “Rudbeckia” decor, signed at one side in black “Daum/ Nancy/ Cross of Lorraine/ France”, h. 7”. [1500/2500] Illustrated 1439 Verreries d’Art Lorrain Art Nouveau Glass Vase, first quarter 20th century, the enameled vasa murrhina vase in “Cyclamen” decor, the murrhina glass in pale orange and ecru, the foot signed in script “Lorrain”, h. 10”, w. 4‑1/2”. [300/500] 1440 Daum, Nancy, Cameo-Cut Glass Vase, fourth quarter 19th century, in brown over red over orange-spangled yellow glass, of baluster form in “Champignons” (“mushrooms”) decor, signed on the base in engraved script “Daum/Nancy”, h. 4‑3/4”, dia. 2‑1/2”. [1500/2500] Illustrated 1441 Daum, Nancy, Cameo-Cut Glass Vase, first quarter 20th century, in dark red over shaded orange-yellow glass, of cushion form in “Flowering Tobacco” decor, the base faintly signed “Daum”, in block letters, h. 4‑1/2”, w. 6‑3/4”, d. 2‑3/4”. [700/1000]

285

1448 pair

1444 Diminutive Silver-Gilt Figure of a Scantily Draped Female, modeled holding aloft an emerald-cut smoky quartz and standing on a polished red jasper sphere, resting on a rectangular rock crystal plinth surmounting a two-tier black onyx base with silver-gilt dragon feet, the underside of the base with a signed and hallmarked silvergilt plaque, #50 of an edition of 94, h. 6‑1/8”. [600/900] Illustrated

1443

1442 Daum, Nancy, Cameo-Cut Glass Quatrefoil Bowl, first quarter 20th century, in verdigris over burnt orange over yellow glass and floral decor, the side signed in cameo “Daum/Nancy”, with the tail of the D forming the Cross of Lorraine, h. 3”, dia. 6”. [500/800] 1443 Tom Bennett (American, b. 1935), a patinated bronze figure of a nude dancer on point, one arm raised over her thrown-back head, presented on a polished Grand Antique marble disc base, signed on the proper left toe shoe “Tom Bennett/’82 14/500”, h. 13”. [400/700] Illustrated

286

1444 1445 French Campan Marble Desk Box, first quarter 20th century, of rectangular form, the top and sides of Campan Grand Melange marble, the bottom of Campan Vert marble, with narrow silverplate edging and hinge, the interior lined in russet baize, w. 2‑1/8”, l. 3‑1/2”. [150/300] 1446 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 flesh-colored 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] 1447 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]

1448 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”. [1000/1500] Illustrated 1449 French Wrought-Iron and Marble-Top Console Conservatory Table, the demi-lune verde antico marble top above a conforming pierced foliate frieze, raised on open scroll legs headed by foliate patterns, joined by a scrolling box stretcher and ending in scrolled toes, h. 33‑1/2”, w. 54”, d. 15‑1/2”. Provenance: Private collection, Jackson, Mississippi. [400/700] Illustrated 1450 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”. [300/500] 1451 After Henri Toulouse-Lautrec (French, 1864‑1901) “Elsa, La Viennoise”, facsimile lithograph in colors, numbered lower left “121/275”, printed signature lower right, sight 26‑1/2” x 18‑1/2”. Glazed, handsomely matted and framed. [450/700] 1453

1452 After Henri Toulouse-Lautrec (French, 1864‑1901) “Seated Female Clown, Mademoiselle Cha-U-Kao”, facsimile lithograph in colors, numbered lower left 34/275, printed signature lower right, sight 26‑1/4” x 19‑3/4”. Glazed, handsomely matted and framed. [450/700]

1449

1453 Rene Gruau (French, 1909‑2004) “The Redhead in Black Gloves”, an ink and gouache portrait of a lady-of-fashion, signed lower right, second quarter 20th century, possibly a study for one of Gruau’s fashion illustrations for Perrin Gloves, Paris, image 11‑1/2” x 9”, framed 20‑1/2” x 15‑1/4”. Presented with an inscribed presentation card “Pour Flossie avec/toute mon amitie/R. Gruau”, in a whiteedged cinnamon double-aperture mat within a narrow satin black wood molding frame and glazed. [6000/9000] Illustrated

287

1456 Henry Moore (British, 1898‑1986) “Reclining Nude”, 1983, etching and aquatint in colors on Arches paper, plate signed lower right “Moore”, numbered in pencil lower left “70/75”, pencil signed lower right “Moore”, from the series Sketchbook 1980, retains gallery label on the reverse “Eleonore Austerer Gallery, San Francisco, California”, sight 9‑1/2” x 11‑1/2”. Glazed, handsomely matted and framed. Provenance: Private collection, Jackson, Mississippi; acquired from the Eleonore Austerer Gallery, San Francisco, California, in 1999. [1800/2500] Illustrated 1457 After Pablo Picasso (Spanish, 1881‑1973) “The Artist and Model”, offset lithograph in colors after an original design from 1954, published by Editions Verve, Paris, stamp signed upper right, sight 9‑1/2” x 12‑1/2”. Glazed, handsomely double matted and presented in a deep giltwood and ebonized Spanish frame in the 18th-century style. [900/1200] Illustrated 1454 1454 Rufino Tamayo (Mexican, 1899‑1991) “Manos”, 1975, color aquatint and carborundum on Guarro paper, numbered lower left “HC 2/10”, signed lower right “R. Tamayo”, sheet 22” x 29‑1/4”. Glazed, handsomely matted and presented in an ebonized wood frame. Provenance: Private collection, Jackson, Mississippi; acquired from the Eleonore Austerer Gallery, San Francisco, California, in 1999. [1800/2500] Illustrated 1455 Bernard Buffet (French, 1928‑1999) “Still Life with Flowers”, color lithograph, plate signed upper center, numbered in pencil lower left “94/300”, pencil signed lower right “Bernard Buffet”, sight 13‑1/4” x 10”. Glazed, matted and framed. [400/700]

1463

1456

1457

288

1470 1469

1461 Aristide Maillol (French, 1861‑1944) “Study of a Nude”, lithograph, initialed lower left “M”, 17‑1/2” x 12”. Unmatted and unframed. Ex- Collection: The Columbus Museum, Columbus, Georgia. [75/125] 1462 After Pierre-Auguste Renoir (French, 1841‑1919) “Sirens”, facsimile lithograph in colors, printed signature lower left, sight 9” x 8”. Glazed, handsomely matted and presented in a giltwood frame. [500/800]

1471

1463 Emmanuel Villanis, also “Villane” (French, 1858‑1914) “Salome”, a good Art Nouveau patinated bronze bust of the celebrated seductress, a dagger tucked into her cleavage, the facade of the base emblazoned “Salome”, presented on a square polished slab base of Noir Francais marble, h. 21‑12”, w. 11‑1/2”, d. 10‑1/2”. [400/700] Illustrated 1464 Continental Galvanized and Riveted Cistern, ca. 1900, of large oblong section, h. 39‑1/2”, w. 35”, d. 22‑1/2”. [500/800] 1465 Pair of Industrial-Design Galvanized Metal Cabinets, second quarter 20th century, each of square form and fitted with a single cupboard door, raised on square legs, h. 26‑1/4”, w. 18”, d. 16”. [300/500] 1466 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]

1458 After Pablo Picasso (Spanish, 1881‑1973) “Femme Endormie et homme assis”, facsimile print, published by “Editions de la Reunion des Musees Nationaux a Paris”, 1980, sight 15” x 19‑1/2”. Glazed, handsomely matted and framed. Provenance: Private collection, Jackson, Mississippi. [100/200] 1459 Jean Cocteau (French, 1889‑1963) “Couple in Venice”, 1956, lithograph on Arches paper, titled, plate signed and dated lower right, numbered in pencil lower right “118/150”, signed in pencil lower left, sight 19” x 25”. Glazed, matted and framed. [600/900] 1460 Xavier de Callatay (Belgian/New Orleans, 1932‑1998) “Hand Study”, charcoal on paper, signed, dated and inscribed lower left “My hands, Xavier, 1977”, sheet 11” x 8”. Glazed, matted and framed. Provenance: Private collection, Jackson, Mississippi. [250/400]

1467 Four Books on Luxury Sea and Air Travel, including James Steele, Queen Mary, Gary Buchanan, Queen Elizabeth 2, Silversea: The First Ten Years, and Christopher Orlebar, The Concorde Story, accompanied by a certificate of passage aboard the Concorde dated May 31, 2000. Provenance: Private collection, Jackson, Mississippi. [30/50] 1468 Thirteen Books on Architecture and Interior Design, including Mies van der Rohe, Barcelona Pavilion, Katharina Steib, Museum fur Gegenwarts Kunst Basel, Framton Larkin, American Masterworks: The Twentieth Century House, Suzanne Slesin and Stafford Cliff, English Style, Caribbean Style and The International Book of Lofts, Giorgio Saporiti, Il Loft, Mary Emmerling, American Country West, John Sutcliffe, Decorating Magic, Nonie Niesewand, Contemporary Details and Lighting, Val Clery, Doors, and Alecia Beldegreen, The Bed. Provenance: Private collection, Jackson, Mississippi. [50/80]

289

1469 Elaborate Pair of Chinese Porcelain Deep Bowls, each decorated on the exterior with circular reserve panels containing an auspicious character surrounded by five bats and a border of ruyi heads, the panels against a wan pattern yellow ground and bordered on top and bottom by a band of ruyi heads, the interiors decorated with fruiting and flowering gourd vines on an iron-red ground, bordered at the rim with an edge of ruyi heads, the recessed base with a Buddhist emblem on a yellow ground, h. 3‑1/4”, dia. 5‑3/8”. [700/1000] Illustrated previous page

1476

1475

1477

1473

1471 Chinese Cinnabar Lacquer Plate, early 20th century, of shaped lobed outline, well carved with a central design of two long-tailed birds and a flowering rose, the well walls decorated with panels of confronting phoenix birds separated by floral groups, the rim with a border of dragons, presented on a wooden stand, dia. 21‑3/4”. [500/800] Illustrated previous page 1472 Set of Four Chinese Iron-Red Decorated Porcelain Tea Cups, of conventional form, decorated on the exterior in iron-red ground with a continuous scene of peonies and scrolling foliage in white, the recessed bases with six-character Guangxu (1874‑1908) reign marks in iron red and probably of the period, h. 2‑5/8”, dia. 3‑1/2”. [250/400]

1478

1470 Elaborate Pair of Chinese Porcelain Saucer Dishes, each decorated on the exterior with circular reserve panels containing an auspicious character surrounded by five bats and borders of ruyi beads, the panels against a wanpattern yellow ground, bordered on top and bottom by a band of ruyi heads, the interiors decorated with fruiting and flowering gourd vines on an iron-red ground, bordered at the rim with an edge of ruyi heads, the recessed base with a Buddhistic emblem on a yellow ground, dia. 7”. [400/700] Illustrated previous page

290

1480

1479

1473 Large Chinese Famille Verte Porcelain SaucerShaped Dish, 18th/19th century, decorated with a central medallion of peonies bordered by bands of stylized clouds and a floral band, the trim decorated with a border of scrolling foliage and flowers, the base with an underglaze blue Buddhistic emblem, dia. 15‑1/2”. [500/800] Illustrated 1474 Chinese Carved Cinnabar Lacquer Box, 19th century, of circular outline carved on the cover with the seated figure of a woman playing music to a young child in a mountainous landscape surround, the cover and the base with a border of lotus against a diaper ground, dia. 4‑1/2”. [250/400] 1475 Chinese Carved Soapstone Figure of a Sage, 20th century, the figure carved in caramel-colored stone and depicted in military dress holding a rolled scroll and pulling his beard, the figure attached to a black stone base carved as weathered rockwork, h. 11‑3/4”. [200/400] Illustrated

1476 Large Chinese Famille Verte Porcelain Saucer Dish, 19th century, decorated with a central scene of a walled, fortified group of buildings including a tower and a pagoda bordered in a brocade pattern with reserve panels of Buddhistic symbols, probably produced for the Portuguese market. dia. 15”. [600/900] Illustrated

1477 Chinese Famille Verte Porcelain Saucer Dish, 19th century, the shallow dish enameled with a central scene of a garden and pavilion with a horse and four figures in front of an open pavilion with a figure seated at a desk with an attendant, dia. 9‑1/4”. [125/250] Illustrated 1478 Chinese Carved Cinnabar Lacquer Shaped Box, late 19th century, of irregular outline, carved on the cover as a long-tailed bird among a flowering peony bush with rockwork, the sides with borders of scrolling foliate decoration, l. 4‑5/8”. [600/900] Illustrated 1479 Set of Four Chinese Famille Rose Porcelain Wine Cups, Republican Period, ca. 1920, each of inverted bell form, finely decorated with two figures of deities alternating with calligraphic panels, in total depicting eight different figures executed in fine detail, the bases each with an iron-red six-character mark, h. 3‑1/8”. [400/700] Illustrated 1480 Suite of Five Chinese Porcelain Saucer Dishes, probably Republican Period, each decorated in famille rose enamels, the interior with a central stylized lotus blossom and an outer double ring in iron red, the exterior decorated with a central band of fourteen figures of deities, animals and Buddhistic emblems, each standing on a flower base among waves and bordered on the top and bottom with bands of Buddhistic symbols and characters, the base with a stylized mark in Mongolian characters, dia. 7‑7/8”. [700/1000] Illustrated 1481 Attractive Ninety-Piece “Starlight” Cut Glass Partial Stemware Service, for twenty-four persons, by Royal Leerdam, the Netherlands, comprised of nineteen iced water goblets, 8”, dia. 3‑3/4”, eleven red wine goblets, h. 5‑7/8”, dia. 3‑1/2”, thirteen white wine goblets, h. 5‑1/2”, dia. 3‑1/4”, ten champagne flutes, h. 8”, dia. 3”, twelve saucer champagnes, h. 5”, dia. 4”, one dessert wine flute, h. 7‑1/4”, dia. 2‑3/4”, three iced tea goblets, h. 6‑1/2”, dia. 3 ‑1/8”, nine finger/dessert bowls, h. 2‑1/4”, dia. 4‑1/2”, and twelve underplates en suite, dia. 7‑1/4”. [1000/1500] Illustrated

1481

291

1483

1483 side

1487

1484 1482 Eighteen-Piece Waterford Cut Glass Partial Bar Service, for ten persons, in the "Lismore" pattern, comprised of ten double old-fashioned, or rocks, glasses, h. 4‑1/2”, dia. 3‑1/2”, and eight highball glasses en suite, h. 5‑3/4”, dia. 2‑7/8”. [300/500] 1483 Unusual Edwardian Satinwood Desk, ca. 1900, the oval top with a floral-inlaid banding surrounding an inset leather surface, above a conforming frieze fitted with four drawers and four faux drawers, all with rosewood banding, raised on a concave base fitted with three cabinets to either side, all with like banding and inlaid quarterveneered oval panels, raised on a conforming plinth base, h. 30”, w. 59”, d. 42‑1/2”. [10000/15000] Illustrated 1484 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

292

1485 Edwardian Mahogany Desk, ca. 1900, the rectangular top with an inset leather surface above a case fitted with a central drawer flanked to either side by two short drawers, all banded, raised on tapering square legs headed by bellflower inlays, h. 31”, w. 48”, d. 22”. [1500/2500] 1486 British School (Early 20th Century) “View of a Coastal Town with Boats Approaching a Lighthouse”, oil on canvas, signed lower left “Moody”, 20” x 24”. Presented in a handsome period annulated giltwood frame. [1200/1800] 1487 Edwardian Mahogany Etagere, early 20th century, in the Georgian taste, the galleried square top with four corner ball finials above a slightly graduated case fitted with two like shelves over a single cupboard door, raised on bun feet, h. 53‑1/2”, w. 17”, d. 17”. [1800/2500] Illustrated 1488 Suite of Eight Edwardian-Style Mahogany Dining Chairs, third quarter 20th century, consisting of two armchairs and six sidechairs, each with a pierced concave crest centered by a fleur-de-lys-carved medallion, above three like splats, joined by downswept arms to the padded seat, raised on paneled tapering square legs ending in spade feet, h. 37‑1/2”. [1500/2500]

1493

1490

1489 American Sterling Silver and Briarwood Cane, fourth quarter 19th century, by Simons, Brother & Co., Philadelphia, Pennsylvania, the “gunstock” sterling silver handle decorated with embossed stylized scrolls to a knobby briarwood shaft, inscribed, on the handle butt, “H.F. to G.B.S.”, l. 33‑1/4”. [100/200]

1490 Three Edwardian Canes, first quarter 20th century, including an ebony example with buffalo horn “crutch” handle, brass tip and sterling silver ferrule hallmarked Birmingham, the date letter rubbed, by T. Chetland & Co., l. 34‑1/4”; a knobby hardwood example with carved stag horn handle and sterling silver ferrule hallmarked Chester, 1909‑1910, by Edward Cullen & Son, l. 33”; and a malacca example with walrus ivory crop handle, iron tip and gilt copper ferrule, l. 34‑1/8”. [75/125] Illustrated 1491 Collection of Three Stylish Walking Sticks, the first Anglo-Colonial with a sterling silver pommel hallmarked London, 1925‑1926, by Henry Howell & Co., malacca shaft and horn tip, l. 34‑1/2”; the second American, third quarter 20th century, with a rosewood shaft of rounded square section with inset brass monogram plaque “AS”, brass cap and tip, the latter with rubber pad, l. 35‑3/8”; and the third also American, third quarter 20th century, by Saks Fifth Avenue, New York, with “eggshell enamel” pommel monogrammed “BS”, ebony shaft of rounded square section and horn tip, l. 36”. Provenance: The Estate of Ann B. Sakowitz, Houston, Texas. [100/200]

1494

1492 English Parcel-Gilt Mahogany Music Stand, the double-sided top with two adjustable stands, each centered by a lyre-form design, raised on a ring-turned columnar stand to a lower slotted storage section above an ebonized concave base to ball-and-claw feet, h. 54‑1/2”, w. 24”. [600/900] 1493 Elegant Edwardian Inlaid Tortoiseshell Slant-Front Desk Box, first quarter 20th century, in the style of Robert Adam (1728‑1792), with silver mounts, the interior lined in scarlet silk moire and divided into a shallow horizontal pens well and five stationery compartment of two sizes, h. 8”, w. 11‑1/4”, d. 5‑3/4”. [2000/4000] Illustrated

293

1494 Regency-Style Ebonized Window Seat, early 20th century, of curule form, the caned seat flanked to either side by in-scrolled arms, raised on splayed legs ending in scrolled toes, h. 24”, w. 36”, d. 15”. [1400/1800] Illustrated previous page

1503

1495 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] 1496 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”. [800/1200] 1501

1498 Abbeydale, Derbyshire, Porcelain Cake/Pastry Tray and Server, second quarter 20th century, in “Imperial” decor, consisting of a shaped circular tray, fully marked on the base in iron-red transfer print, dia. 11‑1/2”, and a porcelain-handled server with stainless steel blade, l. 10‑1/4”, in the original Sakowitz, Houston, gray felt storage sleeve. [75/125]

1497 Pair of Edwardian Polychromed Ceramic Figures of Boxer Dogs, first quarter 20th century, the large, collared canines modeled standing and alert, the shaded buff-painted finish attractively worn throughout, h. 23‑1/2”, w. 22”. [2000/4000] Illustrated

1500

294

1499 Japanese Kutani Porcelain Circular Dish, first half 20th century, decorated in iron red, black and gilding with a five-petaled flower-form central panel of a peacock and peahen among flowering plants and pine trees, the iron-red border with a stylized brocade pattern in gilding, dia. 12”. [125/250]

1497

1500 Good Japanese Lacquered Letter Box, Meiji Period (1868‑1911), the rectangular covered box with rounded corners decorated in brown lacquer, the cover in colored lacquer depicting album pages decorated as various Zodiac animals and Japanese calligraphy among scattered maple leaves, the designs continuing to the sides of the cover, the long sides each with metal mounts and loops and attached woven silk ribbons for securing the box, presented in a wooden storage box h. 1‑3/4”, l. 8‑7/8”, w. 2‑3/4”. [700/1000] Illustrated

1504

1501 Unusual Japanese Lacquered and Inlaid Incense Box, 18th century, the cover lacquered in gold lacquer with cresting waves and exposed metal rockwork, with a raised walkway and inlaid mother-of-pearl supports, the interior and inside of the cover lacquered in gold with swirling water, an exposed metal raised walkway and mother-of-pearl flowering Japanese iris, w. 2‑3/4”, l. 2‑3/4”. [600/900] Illustrated 1502 Unusual Japanese Carved Wood and Lacquer Storage Box, late 19th century, the wooden cover and sides deeply carved with decoration of a gnarled peach tree with flowers, leaves and fruit and a group of lingzhi fungus at the base of the tree, with an attached leather and metals trap for closure, w. 2‑1/4”, l. 8‑1/8”. [1200/1800] 1503 Impressive Japanese Bronze Figure of a Caparisoned Elephant, Meiji Period (1868‑1911), the large and intricately cast figure with raised trunk and dragon-decorated howdah, standing foursquare and carrying an intricate two-storied pagoda with lattice windows, a high-domed roof and dragon finial, presented on a wooden base, h. 27”, including stand. [1200/1800] Illustrated

1506

1504 detail 1504 Stunning Japanese Lacquered Storage Box and Cover, first quarter 20th century, the body lacquered in two tones of brown-speckled lacquer, decorated in gold lacquer with peonies and foliage, the interior of the cover decorated with two ancient turtles alongside a stream with rockwork and clumps of bamboo, all very finely executed with superb detail, h. 6‑1/2”, w. 13”, l. 16‑3/4”. [1800/2500] Illustrated 1505 Japanese Glazed Pottery Miniature Mask, late 19th century, delicately modeled as the face of an elderly bearded man with intricate details of facial and skin features, mounted with wire supports above a carved rosewood base, h. 3‑1/2”. [250/400]

295

1506 Japanese Meiji Wooden-Cased Tea Set, first quarter 20th century, the set comprised of a dove gray-glazed thrown tea bowl and a handcrafted bamboo whisk of the traditional type, h. 6”, w. 8‑5/8”, d. 6‑3/4”. Ex-collection: The Columbus Museum, Columbus, Georgia. [30/50] Illustrated previous page 1507 Fine Paul Jacoulet (1902‑1960) Woodblock Print of “Les Jades ‘Chinoise’”, ca. 1940, depicting a Manchu lady holding a jade hairpin, signed with ship seal, sharp impression, strong colors, sight 15‑3/4” x 11‑3/4”, paper 18‑1/2” x 14”. The actual model was not a Manchu but one of his mother’s servants. For more information, see Richard Miles, The Prints of Paul Jacoulet, p. 103. [1400/1800] Illustrated 1508 Fine Paul Jacoulet (1902‑1960) Woodblock Print of “Jeu Princier, Mongol”, 1956, the most technically complicated of Jacoulet’s prints, depicting a Mongol noble with a hunting raptor and a rabbit and pheasant trophy and the hunter’s feet, signed and with floral seal, sharp impression, strong colors, sight 15‑3/8” x 11‑3/4”, paper 18‑3/4” x 14”. For more information, see Richard Miles, The Prints of Paul Jacoulet, p. 122. [1800/2500] Illustrated

1516

1507

1509 Japanese Meiji Arita Porcelain Brush Rinser, first quarter 20th century, of circular, tripodal, bowl form, signed on the base with an overglaze brown colophon, the base also with an old museum accession number in black, dia. 3”. Ex-collection: The Columbus Museum, Columbus, Georgia. [30/50] 1510 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] 1511 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 1508

296

1512 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] 1513 American “Westward Ho” Needlepoint Hanging, 19th century, the wool hanging depicting a family of four in a wagon with an extra horse for the journey, with stylized corn plants framing the vertical borders, generic foliage underfoot, the faces hand-painted, lined with green felt, trimmed with cord, originally a framed piece, 60‑1/2” x 40‑1/2”. [1800/2500] Illustrated 1513 1514 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] 1515 Chinese Blue and White Porcelain Vase, first half 20th century, of baluster form with flared lip rim, decorated in rich cobalt underglaze blue with a continuous lakeside landscape scene with buildings nestled among wooded mountains, a traveler and attendant crossing a bridge and a boatman with passengers, the base with a six-character Qianlong seal mark, h. 17‑1/2”. [400/700]

1511

1516 Group of Two Chinese Items, comprised of a carved veined ivory figure of a bearded scholar depicted asleep and wrapped in long robes, h. 2”; and a blue and white porcelain seal paste box decorated on the lid with a scholar and an attendant in a garden with rockwork, dia. 3‑5/8”. [250/400] Illustrated 1517 Pair of Chinese Blue and White Porcelain Vases, 20th century, each of double-gourd shape and decorated in underglaze blue with continuous scenes of people and pavilions with willow trees in lakeside vistas, h. 12‑1/2”. [300/500]

1518

1518 English Oak Refectory Table, late 19th century, in the Elizabethan taste, the rectangular top with two draw ends, raised on a pair of large reeded acanthine-carved cup-andcover supports, each terminating in four splayed feet, h. 29‑1/2”, w. 39”, l. 96”, extended l. 168”. [2500/4000] Illustrated

297

1521 Suite of Eight Portuguese Walnut Sidechairs, 19th century, each with an oval caned back surmounted by a pierced shell and foliate crest, the caned seat raised on cabriole legs joined by an H-form stretcher and ending in molded pad feet,Provenance: Waldhorn & Adler Antiques, New Orleans, Louisiana, h. 47”. [2500/4000] Illustrated

1524

1521

1519 Pair of Chinese Blue and White Porcelain Covered “Temple” Jars, 20th century, each of large baluster shape with applied Foo-dog handles and domed covers with Foo-dog finial, decorated with central panels of Buddhistic lions playing with brocade balls above a border of cresting waves, h. 26”. [500/800] 1520 Chinese Blue and White Porcelain Sectioned Food Container, 20th century, of three sections with domed cover, decorated in underglaze blue and overglaze white depicting a flowering plum tree, the design running across the sections and onto the cover, h. 8‑1/4”. [100/200]

1522 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] 1523 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]

1526

298

1524 Gothic Revival Oak Cabinet, third quarter 19th century, the pointed arched cornice above a conforming case fitted with two doors, each fitted with four spindled gallery tiers, opening to a shelved interior, raised on a molded plinth base, h. 63‑1/2”, w. 32‑3/4”, d. 15”. [450/700] Illustrated

1525

1525 Good Pair of Flemish Walnut Armchairs, mid‑19th century, each with a shaped shield-carved crest above a pierced baluster-form splat, joined by molded scrolling arms to the padded seat, above a scalloped apron, raised on cabriole legs ending in scrolled toes, h. 40‑1/2”. [2500/4000] Illustrated

1526 Frank W. Cassell (British, 19th Century) “Expansive Woodland Interior with Three Terriers Waiting by a Rabbit Hole”, oil on canvas, signed lower right “F. Cassell”, 30’” x 49‑3/4”. Handsomely framed. [7000/10000] Illustrated 1527 Queen Anne-Style Walnut Armchair, 19th century, the rounded and padded rectangular back joined by outscrolled arms to the padded seat, raised on cabriole legs ending in pad feet, upholstered in black leather, h. 41”. [800/1200] 1528

1528 Queen Anne Walnut Side Table, 18th century and later, the rounded rectangular top with a pierced back gallery above a conforming frieze fitted with two small drawers, raised on tapering circular legs ending in pad feet, h. 28‑1/4”, w. 29‑1/2”, d. 19‑1/2”. [1800/2500] Illustrated 1529 Queen Anne-Style Walnut Chest, late 18th century, the rectangular top with herringbone banding above a conforming case fitted with two short drawers over three graduated long drawers, all banded, raised on bracket feet, h. 35‑1/2”, w. 39‑3/4”, d. 22”. [1800/2500] Illustrated 1529

299

1530 1530 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] Illustrated 1531 George III Mahogany Drum Table, late 18th century, the circular top with an inset leather surface above a conforming frieze fitted with three small drawers, raised on a turned baluster-form standard to three splayed cabriole legs ending in pad feet, h. 30”, dia. 29‑1/4”. [900/1200]

1532 Pair of George III-Style Mahogany Wig Stands, late 19th century, each with a molded circular open top joined by scrolling supports to a triangular stretcher fitted with a single drawer, faced as two small drawers, joined by turned supports to a shaped circular base with a central opening, raised on cabriole legs ending in pad feet, h. 32”, dia. 11‑1/2”. [250/400] 1533 Country English Mahogany Welsh Dresser, the molded cornice above a pierced and shaped apron and three open shelves, flanked to either side by fluted uprights, the lower section fitted with three banded drawers over a shaped frieze, raised on cabriole legs headed by foliate carving and ending in pointed toes, h. 89”, w. 68”, d. 19”. [2500/4000]

1534 Eighty-Seven-Piece Japanese Porcelain Dinner Set Made for Sakowitz, comprised of nine dinner plates, dia. 10‑3/8”, twenty luncheon/dessert plates, dia. 8”, twelve bowls, dia. 4‑1/2”, nine finger bowls, dia. 4”, six sauce dishes, dia. 4”, twelve wasabi dishes , dia. 2‑3/4”, eight tea bowls, dia. 2‑3/4”, seven wine cups, dia. 2‑1/8”, two oval serving platters, l. 14‑3/4”, and a covered tureen, l. 10‑3/4”, all decorated in Hong Kong in overglaze blue and iron red enamels in a modified Chinese Export porcelain design. [400/700] Illustrated 1535 Chinese Export Porcelain Small Punchbowl, 18th/19th century, sparsely decorated on the interior with a single rose, the exterior decorated with floral bouquets beneath a swagged border of floral wreaths and brocade grounds, presented on a wooden stand, dia. 9”. [250/400] Illustrated

1534

300

1538 Group of Two Blue and White English Bowls, one a 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”; the other a 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]

1539

1537 1539 George III Mahogany Sideboard, early 19th century and later, the rectangular top with a shaped and bowed front section, above a conforming case fitted with a central patera-inlaid cutlery drawer flanked to one side by a shallow over a deep drawer and to the other by a single deep cellarette drawer, raised on tapering square legs ending in spade feet, h. 35”, w. 72”, d. 29‑1/2”. [4000/7000] Illustrated

1536

1540 Suite of Four George III Polychromed Sidechairs, 19th century, each with a rectangular back with end turned finials, the crest with stencildecorated foliate patterns above a pierced splat, the padded seat raised on tapering circular legs with polychrome line accents and ending in toupie feet, h. 36”. [700/1000] Illustrated 1535

1536 Chinese Export Porcelain Shaped Serving Platter, 18th century, decorated in famille rose enamels on a white ground with roses, scattered flowers and foliage on the well and rim, the rectangular outline with curved oval scalloped edge, w. 12‑3/4”, l. 17”. [600/900] Illustrated 1537 Chinese Famille Rose Porcelain Vase, 19th century, of baluster form with flared neck, decorated in soft famille rose enamels with a scene of three figures and a Buddhistic lion with a rocky outcrop and pine tree with bats and a crane in flight, h. 16‑3/4”. [300/500] Illustrated 1540

301

1541 George III Mahogany Pembroke Table, late 18th century, in the Adam taste, the rounded top with a floralpolychromed banding and two ovoid drop leaves, centered by an oval panel featuring a musical grouping, above a frieze fitted with a single drawer to one end and a faux drawer to the other, raised on tapering square legs headed by bellflower accents, h. 28”, w. 32‑1/2”, d. 20”, extended l. 38‑1/2”. [3000/5000] Illustrated 1542 Vernacular English Pine and Ebonized Occasional Table, late 18th century and later, in the Hepplewhite taste, the dished kidney-form top with a decorative polychromed banding above a frieze fitted with a single drawer, raised on tapering square legs joined by a raised X-form stretcher centered by a small oval shelf, the whole with polychromed diamond and star accents, h. 29”, w. 37‑1/2”, d. 26”. [1800/2500]

1543 1544

1546

1543 Good Japanese Lacquered Wood Cigarette Box, first quarter 20th century, the varnished wooden box in three parts (base, match holder and cover), decorated in gold lacquer with a spray of foliage and grasses on all three parts, the match holder fitting into the cover, removable by a ribbon, h. 4”, w. 2‑1/4”, l. 3‑3/4”. [500/800] Illustrated

1541

302

1544 Japonesque-Style 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] Illustrated

1549

1545 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]

1547

1546 Unusual Japanese Lacquer Document Box, Meiji Period (1868‑1912), the rectangular box lacquered in black, the cover with gold lacquer decoration of seashells and seaweed and recessed, shaped, pierced openings with inset pieces of tortoiseshell, mother-of-pearl, porcelain and bone with floral decoration, h. 2‑3/4”, l. 15‑1/2”, w. 4‑1/2”. [250/400] Illustrated 1547 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 ying-yang configuration, h. 2‑1/2”, w. 8‑1/2”, d. 6”. [300/500] Illustrated 1548 Good Japanese Lacquered Letter Box, Meiji Period (1868‑1911), the brown-lacquered body decorated in shades of gold, silver and bronze-colored lacquer, the cover decorated with bamboo and chrysanthemums, the design extending down the sides of the cover and onto the sides of the base, presented in a wooden storage box, w. 3‑3/8”, l. 9‑1/4”. [700/1000]

1551

1549 Pair of Framed Japanese Prints by Shiho Sakakibara (1887‑1971) “Magpies and Pomegranates”, no. 32/200, and “Waxwing and Persimmons”, no. 51/200, printed from the original Akiho blocks in 1960, both glazed, matted and framed, h. 28‑1/2”, w. 28”. [400/700] Illustrated

303

1550 Two Framed Japanese Prints by Shiho Sakakibara (1887‑1971) “Chestnuts and Wood Cracker”, no. 31/200, and “Peaches and Paradise Flycatcher”, no. 24/200, printed from the original Akiho blocks in 1960, glazed, matted and framed in one frame, h. 43”, w. 27‑5/8”. [300/500]

1552

1551 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 previous page

1552 Group of Five Asian Metal Pieces, comprised of a Japanese cast-bronze water dropper in the form of a bird; three single cufflinks, each set with a piece of Japanese shakudo work, consisting of an oval depicting quail and flowers, a rectangle depicting an egret and tall grasses, and an oval depicting a man in a rickshaw pulled by a servant; and a Thai silver oval with the engraved figure of a dancer, l. 1‑1/8” to 2‑1/4”. [100/200] Illustrated 1553 Good Japanese Landscape Scroll, 19th/20th century, in ink and colors depicting a mountainous landscape with a foreground of boatmen among choppy waters, the background with a pavilion among forested hills, signed and with artist’s seal, with brocade mount (now lacking top bar), presented in a wooden storage box. Provenance: Collection of Mrs. Shirley Marvin, Baton Rouge, Louisiana. [500/800] Illustrated

1553

1554 Two Framed Indian Miniatures-on-Ivory, 20th century, one depicting a sultan with court ladies on a terrace, the other depicting court ladies and musicians on a terrace, presented together with green “suede” matting in a giltwood frame, both executed in colors on ivory plaques, h. 16‑7/8”, w. 16”. [75/125] 1555 Suite of Three Pakistani Woven Rush Storage Baskets, all of broad circular form and with various colorful tribal patterns, h. 6” to 7”, dia. 22” to 26”. [200/400] 1556 Large Indian Carved and Pierced Wood Panel, fourth quarter 19th century, in the form of a palace portal, presented on an oblong slab base of mahogany with broad beveled edges, h. 32‑1/2”, w. 28‑1/2”, d. 7”. [700/1000] Illustrated 1557 Moroccan Fruitwood and Marquetry Two-Door Tabletop Cabinet, first quarter 20th century, of diminutive size, fitted with twelve interior small drawers surmounting a single shallow transverse drawer, the wood marquetry highlighted with bone and mother-of-pearl inlays, h. 11‑1/4”, w. 14‑3/8”, d. 9‑1/2”. [1000/1500] Illustrated 1558 Pair of Turned Fruitwood Garnitures Centered by Ostrich Eggs, each garniture with a tall turned “spire” finial, h. 20”. [125/250] Illustrated 1559 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] 1560 Carved Wooden Draughtsman’s Model of a Jointed Adjustable Horse, presented on a brass-mounted mahogany-stained hardwood adjustable stand, h. 18‑1/2”, w. 10‑1/2”, d. 3‑1/2”. [125/250]

304

1558

1557

1556

1561 Group of Three Mounted Wooden Animal Heads, consisting of two Indian provincial carved and painted wooden post finials in the form of horse heads, second quarter 19th century; and another similar carving in the form of a mule’s head; all on custom wrought-iron tabletop display stands with square bases, h. 20”. [150/300] 1562 Indian Carved and Painted Model of an Equine Head, 19th century, carved in the round with painted details, with a leaf between its ears and a bridle through its nostrils h. 14‑1/2”. [100/200]

305

Index of Artists and Printmakers A Adickes, David Pryor 599 Aichele, Paul 554 American School 1096, 1284, 1286, 1290, 1349, 1375

November 13-14, 2010 Cassell, Frank W. 1526 Castro, Federico Lopez 264, 265 Ceccotti, Sergio 263, 267 Chihuly, Dale 1411

Anderson, Walter Inglis 1203

Clark, Sandra Russell 1354, 1355, 1356

Angell, Lucia 614

Cocteau, Jean 1459

Antrobus, John 1083

Collins, William 1229

Audubon John James (after) 1066

Connell, Clyde 1323

Austrian School 590

Continental School 96, 99, 498, 514, 515, 545, 577, 613, 659, 682

B Bastow, Michael 106 Bennett, Tom 1443 Bensliman, Paula 1090 Bourdon-Giquet, Patrick 105 Braley, Clarence E. 1101 Braque, Georges 1412 Briant, Peter P. 1217 British School 542, 543, 1288, 1486 Brown, Butler 1248 Buck, William Henry 1091 Buffet, Bernard 1455 Burden, Steele 1237, 1239 Bustamante, Sergio 271, 272 C Cahours, Henry-Maurice 656 Calas, Terrington â&#x20AC;&#x153;Tedâ&#x20AC;? 1300 Calder, Alexander 1414 Canas, Benjamin 89 Cartier-Bresson, Henri 1434

Cot, Pierre August (after) 614 Crook, Pamela Jane 482, 483 Cuevas, Jose Luis 93 Cuzco School 739 Czencz, Janos 216 D Da Brescia, Moretto (after) 733 Dali, Salvador 1329 Davis, L. Theodore 1311 De Callatay, Xavier 94, 97, 101, 103, 499, 500, 1258, 1259, 1260, 1261, 1262, 1263, 1307, 1460 De Jaham, Marie Therese Bernard 1242 De Kerpely-Zak, Andrea 601 De Witte, Gaspar (follower) 192 Diaz de la Pena, Narcisse-Virgil (attr) 686 Drysdale, Alexander John 1218, 1219 Dubre, Michel 269 Dunbar, George 1298, 1299 Durieux, Caroline Spellman Wogan 1256

Index of Artists and Printmakers

November 13-14, 2010

E Eaton, Valoy 1247

Henri, Robert 1249

Ernst, Max 1318

Henshaw, Clare 1409

Hudson River School 1167

Fabien, Louis 594

Hull, Marie Atkinson 1292

Flemish School 203

Hunter, Clementine 1304

Franck, L 217

Hydman-Vallien, Ulrica 1406, 1407

French School 14, 199, 204, 544, 560, 610, 661, 666, 684

Fruge, Nestor Hippolyte 1230

Iturria, Ignacio 92, 95

Gassel, Lucas (follower) 576

Jaenisch, Hans 90

German School 235, 612

Japanese School 756, 757

Goodacre, Glenna 1215

Juarez, Juan Sanchez 495

Gordy, Robert 1295, 1296

Gould & Richter 144, 145

Karsh, Yousuf 1377, 1378

Gregory, Angela 1070

Kinsey, Alberta 1228

Greuze, Jean-Baptiste (after) 609

Kohlmeyer, Ida 1293, 1294

Grimshaw, John Atkinson (circle) 778

Kostabi, Mark 492

Gruau, Rene 1453

Guenard, Hortaire J. 1073

Lang, Margo Terzian 602, 1255

Guzman, Olivia 1330, 1331

Lee, Robert J. 1287

Lesage, Davain 1291

Halliday, David C. 1347, 1348

Levinson, Mon 485

Hamisky, Kim 486

Ligare, David H. 1285

Hay, Bernardo 692

Loubennikov, Ivan 266, 268

Heldner, Colette Pope 1245

Louisiana School 1238

Helmer, Robert 1226 Hemenway, Mary Louise Liddell Jordan 1231

Italian School 526, 558, 561, 578, 732

Index of Artists and Printmakers

November 13-14, 2010

Poussin, Nicolas (after) 537

Maillol, Aristide 1461

Marchand, Andre 285

Raphael (after) 538, 558, 562

Mauzey, Merritt 1221

Renaud, J. 296

Max, Peter 273

Renfroe, Ray 1216

Maze, Paul Lucien 598

Renoir, Pierre-Auguste (after) 1462

McCrady, John 1220

Resa, Gladmore 1332

Mexican School 91

Rivera, Diego 1254

Millet, Clarence 1240, 1241

Rockmore, Noel 1303, 1306, 1308

Modigliani, Amadeo (after) 1316

Rodrigue, George 1301, 1302

Moigniez, Jules 678

Ronis, Willy 1435, 1436

Moore, Henry 1456

Rossberg, Sara 256, 257, 258, 259, 260, 261, 262

Moreau, Adrien 605

Rouault, Georges 1314

Moretti, R. 551

Rubens, Sir Peter Paul (after) 579, 588

Morgan, John 606

Rucker, Robert M. 1243, 1244

Morgan, Sister Gertrude 1305

Rushout, Anne 541

Muslin, Joseph 595

Sage, Phillip 1222, 1223, 1310

New Orleans School 1088

Schenkel, Hermann 98

Nolan, Harry Armstrong 1227

Schmeltz, Bruno 107, 108

Schorre, Charles 496

Patterson and Barnes 1309

Sherrin, Daniel 779

Pebworth, Charles 487

Silva, William Posey 1232

Philips, Walter 489, 490, 491, 493, 494

Southern School 1079, 1246

Picasso, Pablo (after) 1320, 1324, 1325, 1326, 1327, 1328, 1410, 1413, 1457, 1458

Spanish Colonial School 737, 738, 740

Pinchon, Robert Antoine 596 Piranesi, Giovanni Battista 415 Pitt, Jeffrey 1297

Spanish School 589 Stobbe, Marie 1289

Index of Artists and Printmakers

November 13-14, 2010

T Tabaud, Jean Gilbert 826 Tamayo, Rufino 1416, 1454 Todd, Henry George 782

Glossary

Toulouse-Lautrec, Henri (after) 1451, 1452 Turnbull, Roberto 488 Turner, Homer E. 1225 V Van Hove, Francine 102, 104 Vasarely, Victor 484 Vatan, Raoul 674 Vaudechamp, Jean Joseph (after) 1073 Venitien, Jean 597, 600 Vigee-LeBrun, Elizabeth Louise (after) 607 Vigee-LeBrun, Elizabeth Louise (manner) 608 Vigil, Veloy Joseph 497 Villanis, Emmanuel 1463 W Wiggins, Carleton 1180 Wiggins, Guy Carleton 1179 Willmon, Michael 270 Willson, Robert W. 1415 Wilson, Donald Roller 1408 Wilson, H. M. 611 Woodward, William 1224 Wou-Ki, Zao 1257

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

Index of Vintage Couture and Jewelery

Acey, Alexadra

November 13-14, 2010

Marks, Lana 820

856

Acree, Ashley 856

Mieses, Pavel

899

Adolpho

Muller, Franck

1023

Patek Philippe

1017

983

Armani, Giorgio

817

Peretz, Carol 856

Blackglama 898 Bottega Veneta

Pierre-Renaud

813

Brooks, Donald (Attr.)

919

810

Platt, Tom and Linda

Buccellati

862

Pucci, Emilio 951

Cartier

860

Reese, Tracey 912

918

Clayden, Marian 854

Ritter Brothers

914

Costa, Victor 900; 1014

Rolnick, Harry

1015; 1016

Dior, Christian

Sabut, Goodman & Scheinotorin 1014

814; 884; 984

Dobbs Fifth Avenue 1013

Sasso, Josephine

896

Dunay, Henry

952

St. Laurent, Yves

811; 885; 886; 961

Durano, Norman 966

Su Yung Lee 854

Haskell, Miriam

Subina of India

Hermes

999

Tadashi

819

870

857

Jaeger-LeCoultre

1008

Tiffany & Co.

James, Charles

899

Trifari 978

Kamali, Norma

896

Ungaro, Emanuel 912

Kieselstein-Cord, Barry

815; 818

Valentino

922

816

Lacroix, Christian 855

Westwood, Vivienne 855

Leiber, Judith 847; 848; 849; 850; 851; 852; 853; 879; 887; 888; 889; 985; 986

Whiting & Davis

Leroy, Veronique

817

Love, Diane 877 Mackie, Bob 964 Mannis of Beverly Hills

917

878

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.

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

Customers, Please Note: Deadline for Absentee/Telephone Bidding 5:00 P.M. Central – Friday, November 12, 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, November 11, 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.

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

Saturday November 13, 2010 Lots 1-809 10:00-11:00 11:00-12:00 12:00-1:00 1:00-2:00 2:00-3:00 3:00-4:00 4:00-5:00 5:00-6:10

1-99 100-199 200-299 300-399 400-499 500-599 600-699 700-809

Sunday November 14, 2010 Lots 810-1562 11:00-12:00 12:00-1:00 1:00-2:00 2:00-3:00 3:00-4:00 4:00-5:00 5:00-6:00 6:00-6:40

810-909 910-1009 1010-1109 1110-1209 1210-1309 1310-1409 1410-1509 1510-1562

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, NOVEMBER 11 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: ____________

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Page No. 1

10/25/2010 12:08:13 New Orleans Auction Prices Realized for Sale 1005 September 11, 2010 Major Estates Auction

Lot# 1 2 3 4 5 7 8 11 12 13 14 16 17 18 19 20 21 22 23 24 25 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 48 51 52 55 56 57

Realized

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1,230 11,992 307 922 2,460 1,476 1,107 676 522 984 861 676 799 984 1,107 276 123 2,091 246 1,107 1,045 2,337 922 7,995 123 12,915 984 861 6,457 153 2,214 1,353 1,168 1,476 123 1,845 615 615 246 369 861 738 61 1,353

58 59 60 61 62 64 66 67 68 69 71 72 74 75 80 81 83 84 85 86 87 88 89 92 93 94 96 98 101 102 103 104 107 108 109 110 111 112 114 115 116 118 119 121

430 2,337 1,107 430 3,444 3,690 2,214 11,685 1,968 246 276 153 676 1,476 307 246 123 522 246 338 110 1,845 984 2,214 153 615 110 1,722 3,690 4,920 2,337 1,722 123 2,337 3,690 110 2,091 984 399 7,687 430 922 369 2,214

122 123 124 126 129 135 141 152 153 154 156 159 160 161 162 164 165 166 168 170 171 173 181 192 193 195 196 197 198 199 200 201 202 205 206 207 213 215 216 217 218 219 220 221

2,091 110 123 1,045 246 1,599 7,687 4,428 3,444 1,230 98 369 153 2,337 307 215 1,107 184 2,091 3,690 1,168 153 676 861 3,198 553 1,968 49 1,168 676 4,674 922 738 1,230 738 1,045 2,214 2,952 49 123 123 98 246 553

222 224 225 226 227 228 232 233 235 236 237 240 242 243 245 246 247 248 249 250 251 252 253 256 257 258 259 260 261 262 263 264 268 270 271 273 274 275 277 278 279 282 284 286

98 276 276 307 49 73 3,936 20,910 4,920 11,685 2,460 553 1,168 1,845 615 522 215 1,045 799 738 984 861 1,107 276 246 338 2,091 98 153 861 1,599 338 1,107 1,107 369 2,091 1,353 123 98 1,045 553 2,460 246 3,690

288 289 292 294 296 297 298 300 301 303 307 310 312 313 314 315 319 321 322 323 327 328 329 331 332 333 334 335 336 337 338 340 341 342 343 344 345 346 347 350 352 357 358 359

399 123 276 246 86 430 2,952 1,353 369 4,674 338 61 1,230 3,444 6,765 2,460 1,845 153 430 7,995 553 5,412 922 522 2,706 1,968 3,690 399 2,460 1,230 2,214 2,706 399 246 1,845 799 369 922 2,706 7,072 615 1,845 430 1,353

360 361 362 363 365 366 367 369 372 373 374 375 376 378 380 382 384 387 388 389 391 397 398 399 401 403 404 406 407 409 411 412 414 415 416 417 421 422 423 425 426 427 429 431

492 4,182 1,722 3,444 615 10,762 1,353 98 430 55 98 2,214 123 184 1,722 55 461 2,091 553 1,107 2,952 98 799 246 1,722 307 2,706 338 1,476 615 430 1,230 153 522 2,337 615 153 1,045 3,444 984 215 1,230 492 430

432 433 434 435 436 437 438 440 441 443 444 445 446 449 450 451 453 454 455 457 462 465 468 472 473 474 475 476 478 479 480 482 483 484 485 486 487 488 489 490 491 495 498 499

738 676 4,182 984 123 492 184 799 1,230 1,722 2,214 1,476 738 984 1,045 984 215 1,353 338 1,599 3,444 2,214 430 492 184 2,460 215 3,444 123 922 153 246 799 861 1,353 738 492 861 1,045 276 799 2,214 2,706 3,198

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Page No. 2

10/25/2010 12:08:14 New Orleans Auction Prices Realized for Sale 1005 September 11, 2010 Major Estates Auction

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501 502 504 505 507 508 510 512 514 515 516 517 521 522 523 524 525 527 528 529 530 531 533 537 538 541 542 543 550 551 552 554 555 557 558 561 562 563 564 565 566 568 571 573

2,337 1,599 3,198 2,091 1,045 799 23,370 1,168 153 738 553 1,353 676 1,168 369 553 492 522 1,107 861 492 369 738 3,936 615 184 215 1,230 492 3,936 9,225 153 1,968 98 1,845 1,845 369 615 10,147 9,225 4,428 184 4,428 553

574 576 584 586 587 589 590 591 593 594 598 600 602 603 604 605 607 608 609 610 611 612 615 616 617 620 621 622 625 626 627 628 629 630 631 632 633 634 637 639 642 644 645 647

492 276 553 92 1,353 461 307 153 184 738 984 246 338 307 1,599 1,045 922 215 4,428 215 17,220 184 153 73 61 307 86 738 861 369 1,230 1,353 123 1,599 615 98 738 73 215 86 2,214 73 184 276

648 649 653 654 657 658 659 660 662 663 667 668 672 673 674 675 678 679 680 681 682 684 688 691 700 701 702 704 705 707 708 709 710 711 712 713 714 715 716 718 725 727 728 732

98 399 86 2,460 123 8,610 1,599 8,610 1,168 11,070 1,476 492 1,599 861 35,670 246 4,428 615 615 4,674 5,166 153 98 369 123 73 110 246 307 984 522 184 3,690 676 246 5,166 676 430 246 246 799 492 1,968 799

734 736 738 741 744 748 749 750 751 752 753 755 757 759 760 761 762 764 766 767 768 772 773 774 775 776 777 778 781 782 784 785 786 788 789 791 795 796 799 800 803 804 805 808

738 1,168 984 1,845 1,599 1,107 1,845 738 1,230 246 522 553 1,845 2,706 338 1,230 246 49 338 338 1,476 1,845 399 799 3,936 2,460 861 1,168 3,444 1,476 73 123 1,845 3,198 1,045 98 34,440 369 3,936 276 307 1,107 2,214 1,168

809 810 811 813 814 816 817 819 820 821 822 824 825 826 829 830 832 833 834 836 837 838 840 842 843 845 846 847 849 851 853 861 867 868 869 870 871 874 875 876 877 878 880 881

1,968 3,444 153 615 553 399 492 676 215 615 3,690 984 861 492 1,722 1,045 799 1,168 1,168 3,690 1,599 110 1,230 399 246 369 1,722 3,444 98 338 338 2,767 4,182 6,150 1,845 1,045 984 369 79 2,952 2,214 5,166 4,920 215

883 884 885 886 888 889 893 894 897 899 900 901 902 903 906 909 910 911 913 914 915 918 920 922 923 924 927 928 931 932 934 937 938 939 945 946 949 953 954 955 956 957 958 959

461 922 307 3,198 6,457 615 553 861 153 461 5,043 338 522 492 492 369 98 307 246 153 98 215 615 861 98 399 184 2,214 1,722 1,353 215 153 36,900 1,968 338 553 123 1,230 738 984 1,045 984 676 399

960 961 965 966 967 968 969 970 971 973 974 976 977 978 979 980 981 982 985 986

369 1,107 110 676 2,706 153 246 276 799 584 184 1,476 1,107 922 1,353 984 61 184 246 522

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Jean Vidos President Kelly Eppler Managing Director Tessa Steinkamp Auctioneer Charles C. Cage Office Manager / Silver Specialist Ireys Bowman Consignments John Abajian Consignments Richerson L. Rhodes, G.G., N.J.A. Consignments / Oriental Specialist / Jewelry Specialist Thomas Halverson Director of American Furniture and Decorative Arts Michelle Castro Fine Art Consignments

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