AUCTION Septermber 11-12, 2010 by New Orleans Auction Galleries, Inc.

Front Cover:

2010 Auction Schedule:

Lot 674 - Important L. C. Tiffany Walnut Roundabout Chair, ca. 1879‑1890

September 11-12 November 13-14

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

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

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

– AUCTION – Saturday, September 11, 2010 10:00 a.m. – Lots 1-534 Sunday, September 12, 2010 11:00 a.m. – Lots 535-986

Two-Week Exhibition Begins Saturday, August 28 Through Friday, September 10 (Excluding Sundays) 9:00 a.m. to 5:00 p.m.

Due to the NFL kickoff parade our Late-Evening Preview

will be held Wednesday, September 8 from 5:30 p.m. to 8:00 p.m.

Customers, Please Note: We will be closed Monday, September 6 for Labor Day and will return to regular business hours Tuesday, September 7 at 9:00 a.m.

View this entire catalogue online:

www.neworleansauction.com

– UPCOMING – Accepting Consignments For Our Upcoming Major Estates Auction November 13-14

William Henry Buck (Norwegian/New Orleans, 1840-1988) “Two Men at a Fishing Hole Along the Tchefuncte River”, oil on canvas, signed lower right “W. H. Buck”, 18” x 30”

Featuring Important Property From:

The Estate of Kemmie Lou Adair and Paul Neal “Red” Adair

Few men can honestly claim the title of Great American Hero, but surely famed firefighter Paul Neal “Red” Adair stands among them. A native Texan, he brought all the integrity, industriousness, fearlessness and ingenuity of that breed to his endeavors, and became the most famous capper of blowouts and extinguisher of oil well blazes in the history of the pertroleum industry.

The Adair Mansion, Red Acres Ranch, Bellville, Texas

He was born in Houston on June 18, 1915, the son of a blacksmith and one of eight children. He attended local schools and excelled as a halfback at Reagan High School when a freshman. He had hoped to attend college, but his plans were thwarted by the darkest days of the depression; he was forced to drop out of school and start working to help support his family. After a string of odd jobs – including a brief stint as a professional boxer – he landed a job with the Southern Pacific Railroad laying track. One day in 1938, while delivering oilfield equipment near the south Texas town of Alice, he encountered pioneer oil well firefighter Myron M. Kinley (1898-1978) who was there to stop a blaze. “Boy, do you want to work and make some money?” Kinley asked. Adair did. His days in his father’s blacksmith shop gave him a strong back and a fearless respect for fire: qualities which greatly impressed Kinley.

Around this time, Adair married fellow Houstonian Kemmie Lou Wheeler, whose brother Bill landed a coveted oilfield job for the Otis Pressure Control Company. Before he could take the job, though, Red’s new brother-in-law joined the Air Force and Red – with typical bravado – went to Otis and claimed the job. He capped his first well in December, 1940 in Smackover, Arkansas.

Red Acres Ranch “Saloon”

Red spent most of World War II working for Otis, occasionally freelancing for his mentor Myron Kinley, but was inducted in 1945 and served – characteristically – in the 139th Bomb Disposal Squadron. (Red’s wife Kemmie worked during the War as an entertainer, singing at military bases and hospitals as one of “The Trio” and on Houston radio as one of “The Adair Sisters”.) After the war he joined Kinley’s company and by the mid-1950’s was one of Kinley’s ablest men, putting out fires all over the globe, culminating with the successful taming of the 1958 CATCO fire, capping seventeen blazing wells on a single offshore Louisiana platform.

“Red” on the Job

In 1959, with Kinley’s blessing, he formed his own company: the world-renowned Red Adair Company. With its signature red jumpsuits and vehicles (including the Cadillacs and Lincolns which crisscrossed the Texas desert from oilfield to oilfield), the company became renowned capping well fires and controlling blowouts. Adair’s fame was sealed in 1962 when he capped the “Devil’s Cigarette Lighter”: a 450foot tall pillar of fire in the Sahara which had raged for four months and turned the sand into glass. A fictionalized account of the event was made into the film “The Hellfighters” in 1968; Adair served as a consultant on the film, and the character based on him – Chance Buckman – was played by John Wayne. (Less well-known is the fascinating short documentary film of the event made by Houston filmmaker Bob Bailey around 1965, which Adair narrated.)

Among the nearly 3,000 fires and blowouts Adair tamed in his career are the 1968 gas leak on Victoria, Australia’s southeast coast, the 1977 Bravo blowout in the North Sea, the 1979 blowout of Mexico’s Ixtoc-1 well in the Bay of Campeche and the 1988 Piper Alpha explosion off the coast of Scotland. But surely the crowning achievement of his career was in 1991 at the end of the First Persian Gulf War, when he was hired, at age 75, to assist in capping more than seven hundred wells in the Kuwaiti desert

she said “I tell them they’ll never be like him. To be like him he would have to have been a little boy with no shoes”. She died on April 10, 2010.

“Red” and John Wayne on the set of the 1968 movie, “Hellfighters”

deliberately ignited by Suddam Hussein’s fleeing troops. The project was expected to take from three to five years; it was completed in nine months. Adair sold the Red Adair Company in 1993 to form the consulting and investment company Adair Enterprises, Inc. He was the recipient of Letters of Honor from Presidents Johnson, Carter and Bush, Sr., and of both the American Academy of Achievement Gold Plate Award and The Franklin Institute’s Walton Clark Medal. He died on August 7, 2004. His wife Kemmie Lou, an avid and accomplished angler, assisted Red in both companies and directed the couples’ involvement in many children’s and other charities, including the Muscular Dystrophy Association, the Easter Seal Society, the Epilepsy Association, the Cystic Fibrosis Foundation, the Leukemia Society of America and the Special Olympics. When asked by young firefighters how they could be like Red,

New Orleans Auction Galleries is proud to offer items from the estate of Mr. & Mrs. Paul Adair, including some of Red’s firefighting memorabilia and part of Kemmie Lou’s extensive collection of Asian decorative arts. We would like also to extend our thanks to the Adair family; in light of the recent successful containment of Deepwater Horizon disaster in our region, we are particularly grateful for the innovations and accomplishments of the incomparable Red Adair.

Session I

Saturday, September 11, 2010

11:00 a.m. (Lots 1-534)

2 2 Dutch Mahogany, Walnut and Marquetry Cabinet, mid‑19th century, the shaped and domed molded cornice above a frieze centered by an inlaid portrait, over two doors, each inset with a shaped panel and with elaborate floral, foliate and avian inlays, opening to a shelved interior with two lower drawers, the bombe lower section fitted with three graduated long drawers, raised on scrolled feet, the whole with elaborate marquetry inlays, h. 86”, w. 68”, d. 20”. [2000/4000] Illustrated 3 Good Dutch Blown, Applied, Crimped and Engraved Glass Vase, first quarter 20th century, of inverted bell form in the late 18th-century style, h. 6‑1/4”, dia. 6‑1/4”. [125/250] 4 Dutch Mahogany and Marquetry Chest, fourth quarter 18th century, the rectangular top with projecting canted corners and with an elaborate floral-basket inlay, over a conforming case fitted with three graduated long drawers, all with scrolling foliate inlays, the sides inlaid en suite, raised on canted tapering square legs, h. 36”, w. 36”, d. 19”. Provenance: Yellow House Antiques, Mobile, Alabama. [600/900] Illustrated

4 top

1 1 Manner of Jan Van Huysum (Dutch, 1682‑1749) “Still Life of Flowers”, oil on canvas, signed lower left “Van Huysum”, 36‑1/2” x 28”. Presented in a late 19th-century molded giltwood and plaster frame. [900/1200] Illustrated 4

5 Continental Walnut Cabinet, late 18th century and later, the domed and molded cornice above two conforming cabinet doors, each inset with a glazed panel, the lower section with a banded serpentine top above a conforming case fitted with three long banded drawers, raised on bun feet, h. 72”, w. 45”, d. 26”. [1800/2500] Illustrated 6 Attributed to Georgius Jacobus Johannes van Os (Dutch, 1782‑1861) “A Pastoral Landscape with a Herder, Donkey and Sheep Grazing, a Woman and Child Working the Fields Beyond”, oil on canvas, signed lower left “GJJ van Os”, 28” x 36‑1/4”. Handsomely framed. [8000/12000] Illustrated

7 Nils Hans Christiansen (Danish, 1850‑1922) “Bucolic Landscape of Figures Walking on a Riverside Path”, oil on canvas, signed lower right, 24” x 30”. Presented in a contemporary giltwood frame. [1400/1800] Illustrated 8 Frans van Leemputten (Belgian, 1850‑1914) “View of a Country Road with a Herder and His Flock”, oil on canvas, signed lower right “Frans van Leemputten”, 12” x 16‑1/4”. Presented in its original carved frame. [1000/1500] Illustrated

10 8 9 Continental School (Early 20th Century), pair of oils on panel, the first depicting chickens in a barn setting, indistinctly signed lower right, presented in a molded and foliate- and laurel leaf-carved giltwood frame; the second depicting chickens and a rooster in a landscape, initialed lower right “R. K.”, presented in a giltwood frame with egg-and-dart, acorn and oak leaf carving, both examples are 5‑1/4” x 7”. Provenance: Private collection, Sarasota, Florida. [1200/1800] Illustrated 10 Fabrice de Villeneuve and Studio (French/ Contemporary), a trompe l’oeil canvas transfer print of a Dutch walnut cabinet facade filled with blue and white floral-decorated faience dinnerware, signed left center “F. de Villeneuve”, 39‑1/2” x 27‑1/2”. Unframed. [900/1200] Illustrated 9 pair

13 Pair of Bohemian Cranberry Glass Vases, first quarter 20th century, probably the Muhlhaus Glassworks, of footed pyriform and enameled in white and gold within strapwork reserves, h. 7‑5/8”, dia. 5‑1/8”. [400/700] Illustrated

15 14 16 18

11 Continental School (First Quarter 19th Century) “Half-Portrait of a Lady in a Blue Dress Adorned with Lavender Bows”, oil on canvas, unsigned, 23‑1/4” x 20‑1/4”. Presented in a late 19th-century giltwood frame. [600/900] 12 Good Continental Cut-Paper Relief Picture, fourth quarter 18th century, depicting a moated castle with a drawbridge facing a tempietto on a hillock, the moat with a swimming cut-paper swan, the trees populated with elaborately cut exotic birds, with old ink inscription on the reverse “Miller fecit, of Mr. Greens company of (?) 1785”, overall h. 13‑3/8”, w. 17‑1/2”. Shadowboxed and presented in a rope-twist marquetry mahogany-veneered frame. [450/700] Illustrated

14 Fine Bohemian Cut Double-Overlay Glass Vase, third quarter 19th century, of baluster form, the casing of blue over white over clear and cut in an overall pattern of graduated quatrefoils and oculi, the lip “Van Dyck” cut and gilded, h. 13‑1/4”, dia. 4‑3/4”. [500/800] Illustrated

15 Fine Imperial German Blown Glass Pokal, fourth quarter 19th century, probably the Heckert Glassworks (active 1866‑1923, Warmbrun, Silesia) parcel-gilded and enameled in the late 17th-century style, the facade emblazoned with a gold and black crowned imperial German eagle, the domed cover with a prominent oviform finial, h. 17‑3/4”, dia. 5”. Reference: R. & D. Truitt, Bohemian Glass, 1880‑1940 (Kensington, MD: B. & D. Glass, 1995), p. 70‑71. [1000/1500] Illustrated 16 Franco-Bohemian Cut Double-Overlay Glass Vase, fourth quarter 19th century, of attenuated oviform, the parcel-gilt overlay in cobalt blue over white over clear and notch cut, with the center of each notch gilded, the neck and foot with parcel-gilt lappets cut to clear, h. 13‑3/4”, dia. 4‑1/4”. [500/800] Illustrated 17 Good Pair of William IV Ruby Glass Sweetmeat Stands, second quarter 19th century, of petaled and footed form with gold bands, h. 4‑3/4”, dia. 8”. [400/700] Illustrated 18 Large Bohemian Ruby-Stained Glass Comport, fourth quarter 19th century, the flaring bowl boldly cut and engraved with rose blooms, buds and foliage, the circular foot reverse cut with a sixteen-point sunburst, h. 9‑1/2”, dia. 11”. [300/500] Illustrated

24 Good German Stained, Enameled and Leaded Glass Panel, fourth quarter 19th century, in the late Gothic style featuring a pair of winged angels en face centering a stylized fan-form reserve in blue and colorless glass, presented in a narrow, naturally finished pine frame of later date, h. 21‑1/2”, w. 24‑1/2”. [600/900] Illustrated

19 Italian Walnut and Fruitwood Bombe Commode, early 20th century, in the rococo taste, the shaped and banded top above a conforming bombe case fitted with two short drawers over two long drawers, all the drawers banded, raised on splayed molded legs, h. 33”, w. 45”, d. 20”. [600/900] Illustrated 20 Group of Three Italian Polychromed Terra Cotta Armorial Tiles, second quarter 20th century, each with a different full coat-of-arms, presented on a trio of matching custom white-painted wrought-iron stands, h. 11‑3/4”, w. 11‑3/4”. [125/250] 21 Florentine Carved and Painted Wooden Shield, the slate blue ground featuring a parcel-gilded bas-relief fleurde-lys centered by a crown, h. 9”, w. 7”. [60/90] 23

22 Pair of Italian Mahogany Armchairs, early 20th century, the curved crest paneled and with carved foliate accents, joined to the padded seat by stretcher arms to lion’s-head hand rests, raised on paneled and splayed square legs ending in paw feet, h. 30‑3/4”. [1200/1800] Illustrated 23 Italian Flute-Carved and ParcelGilt Fruitwood Looking Glass, in the Directoire taste, the matte-gilded cresting modeled as an upright leaf spray mantled by leaf and pine cone sprays, the basal rail with gilded carved addorsed cornucopiae, h. 43”, w. 22‑1/2”. [150/300] Illustrated

26 Camillo Gioja Barbera (Italian, 19th Century) “Two Women and a Girl Seated in a Church Interior”, oil on canvas, signed lower left, 22‑1/2” x 17‑1/4”. Handsomely framed. [1500/2500] 27 Italian Oak Chest, the banded rectangular top above a case fitted with four long drawers, all with inlaid banding, raised on ogee-molded bracket feet, h. 34”, w. 49‑1/4”, d. 24‑1/4”. [2500/4000]

28 Attractive French Gilt-Brass and Filigree-Work Devotional Frame, first quarter 20th century, of lancetarch form, with a filigree crest and flanked by a pair of filigree fleur-de-lys staffs, presented with a period French hand-colored lithograph of “Christ In Benediction” within a tiered rose fonce velvet mat and glazed, h. 7‑3/4”, w. 7‑1/4”. [300/500]

25 Large Italian Cast-Plaster Bracket Lamp, first quarter 20th century, in the form of a half-length winged angel holding flambeau in her outstretched hands, the basal element a large acanthine spray, the whole painted in patinated monochrome cafe-au-lait enamel, h. 58”, w. 23”. [250/400] Illustrated

29 Victor Salmones (Mexican, 1937‑1989) “Queen of Angels”, number 10 of 10, a large patinated bronze figure of the ascendant Virgin, above the clouds and crescent moon and depicted in prayer, signed on the base “V. Salmones 10/10 M‑42”, h. 47‑1/2”, w. 13‑1/4”, d. 14”. This bronze is being sold to benefit Friends of the Family in Los Angeles, a non-profit family resource center. [1800/2500] Illustrated

30 Pair of German Baroque Carved Lindenwood Figures of Robed Angels, first quarter 18th century, depicted standing on clouds, originally polychromed and now stripped and waxed, fitted at the reverses for carved wings, now lacking, mounted on black lacquered bases with traces of gilding, now wired as table lamps. h. 33” [800/1200] Illustrated 31 Circle of Barend Cornelis Koekkoek (Dutch, 1803‑1862) “A Panoramic Mountainous River Landscape with Travelers on a Path”, oil on canvas, unsigned, 104” x 48”. Presented in a contemporary black-lacquered frame with gilt liner. [6000/9000] Illustrated 32 Continental School (19th Century) “Man with Bagpipe and Girl Holding a Hat”, oil on tin, unsigned, 10” x 8‑3/8”. Presented in a contemporary giltwood frame. [125/250] 33 Franz de Paula Ferg (Austrian, 1689 ‑1740), a pair of oils on panel, “Travelers Conversing in an Italianate Landscape”, monogrammed lower right “FV” and “Travelers with a White Horse Resting on a Bluff Near Ruins”, faintly signed lower left “PF”, artist is identified on a gallery label on the reverse “Rayner MacConnal, Fine Art Dealers, 19 Duke Street, St. James, London”, both are 7” x 8‑5/8”. Presented in matching giltwood frames with brass artist plaques. [4000/7000] Illustrated 34 Large Middle European Contemporary Decorative Panel, depicting an 18th-century town square with welldressed denizens viewing a military drill, canvas transfer print mounted on panel, overall h. 54”, w. 39”. Presented in a good labeled Wayne Pratt and Company antiqued giltwood frame in the neoclassical style. [500/800] Illustrated

35 G. Gordon (Continental School, 19th Century) “A Gypsy Fortune Teller at a Roadside Inn”, oil on canvas, signed lower left “G. Gordon”, 30‑1/2” x 50‑1/2”. Presented in a contemporary giltwood frame. [1000/1500] Illustrated

36 Wilhelm Velten (Russian, 1847‑1929) “Orders for the Blacksmith”, oil on panel, signed lower right “W. Velten”, 10” x 13”. Presented in a contemporary molded giltwood frame with leaf accents at the corners. Provenance: Christie’s, New York, February 26, 1997, lot 258; Private collection, Sarasota, Florida. [5000/8000] Illustrated 37 Continental School (First Quarter 20th Century) “The Fruit Seller”, oil on canvas, indistinctly signed lower right “Herman?”, 6‑1/4” x 9‑1/2”. Framed. [75/125]

33 pair

38 Franz-Xavier Bergman (German, 1861‑1936), a “Vienna Bronze” polychromed figure of a Turkish dancer standing on a square fringed oriental carpet, fourth quarter 19th century, the carpet touchmarked with the Bergman monogram, h. 6‑3/4”, w. 5‑3/4”, d. 5‑3/4”. [800/1200] Illustrated

40 Unusual Continental Carved, Polychromed and Parcel-Gilt Looking Glass, second quarter 19th century, of inverted tear form modeled as a pair of addorsed fruit-filled cornucopiae, the fruit, flowers and foliage polychromed, the cornucopiae gilded, retaining the attractively aged period plate, the reverse with the stenciled paper label of the movers C. T. Bainbridge’s Sons, Brooklyn, and bearing the note “Careful! Rare Antique”, h. 44”, w. 37‑1/2”. [800/1200] 41 Cold-Painted “Vienna Bronze” Figure a Great Horned Owl, fourth quarter 19th century, h. 3‑1/4”, w. 1‑1/2”. [300/500] Illustrated

39 Good French Patinated Bronze Bust of an Algerian Girl, fourth quarter 19th century, modeled and polychromed in traditional costume, presented on a later broadly fluted mahogany and ebonized wooden pedestal of square section, h. 75”. [800/1200] Illustrated

42 “Vienna Bronze”-Style Polychromed Spelter Encrier, first quarter 20th century, in the form of a kneeling caparisoned camel, the saddle lifting to reveal the ink bottle compartment, h. 5‑3/4”, w. 4”, l. 8‑1/2”. [100/200]

43 Italian School (Early 20th Century) “Lively View of Figures on a Promenade and Boats on a Canal”, oil on canvas, indistinctly signed lower right, remnants of an exhibition label on the reverse “(?)EAL, (?)uvres, (S)ociete des (?)”, with “L. Besnard, Paris” canvas stamp, 21‑1/2” x 25‑3/4”. Presented in a period giltwood frame. [1400/1800] Illustrated 44 Laurits Sorensen (Danish, 1882‑1968) “Ships at Sea”, oil on canvas, signed lower right, 27” x 38‑1/2”. Framed. [600/900] 45 Enrique Florido (Spanish, 1873‑1929) “View of a Coastal Town with Ships at Harbor”, oil on board, signed lower right “E. Florido”, 6‑1/2” x 10‑3/4”. Unframed. [300/500] 46 Italian Walnut Savonarola Chair, third quarter 19th century, the leather back joined to the like seat by downswept acanthine-carved arms, raised on a crossover base ending in shaped planks to paw feet, h. 29”. [350/500] 47 Continental Carved and Stained Oak Panel, depicting a seated female figure allegorical of “Abundance” in the 16th-century style, h. 8‑3/4”, w. 8‑1/2”. [200/400]

48 RestaurationStyle Polychromed Four-Fold Screen, early 20th century, featuring classically robed figures and creatures within a likepatterned frieze, h. 48”, w. 64”. [200/400]

50 detail

49 Unusual Scandinavian Looking Glass, second quarter 19th century, composed of reticulate-sawn and parcelebonized fruitwood, the bipartite plate lancet arched, the ebonized corner blocks centered with carved fleurettes, the lower plate broadly beveled throughout, h. 72‑1/2”, w. 29”. [1400/1800] Illustrated 50 Dutch Inlaid Mahogany Dry Sink, fourth quarter 18th century, in the neoclassical taste, the banded and canted rectangular top hinged and opening to an interior metal sink, fold-out leaves and a hinged shelf on the interior of the top, above a case fitted with a single central cupboard door, centered by an ebonized panel with polychromed avian accents in the chinoiserie manner, flanked to either side by like panels, the whole raised on canted, tapering square legs with banded accents and ending in brass ball feet, h. 37‑1/2”, w. 51”, d. 22‑1/2”. Provenance: Private collection, Sarasota, Florida. [7000/10000] Illustrated

51 Pair of French Gilt-Brass-Mounted Bronze-Patinated Columnar Candlesticks, of tall size in the Louis-Philippe style, now mounted as table lamps with custom corded black linen shades with metallic gold linings, h. 33”. [250/400] 52 Abraham Ortelius (Belgian, 1527‑1598), a fine hand-colored engraved map of the mythical kingdom of Presbyter Johannes in Africa, 1570, presented in an attractive bird’s-eye maple frame in the neoclassical style and glazed, overall 18‑3/4” x 23‑3/8”. [700/1000] Illustrated 52

53 Abraham Ortileus (Belgian, 1527‑1598), a fine hand-colored engraved map of the Holy Land, 1584, with intricate Biblical vignettes and Jonah being tossed to the whale, presented in an attractive bird’s-eye maple frame in the neoclassical style and glazed, overall 18‑3/4” x 23‑3/8”. [700/1000] Illustrated 54 Abraham Ortelius (Belgian, 1527‑1598) HandColored Engraved Double Page Map “Turcici Imperii Descriptio” , from the 1606 edition of “Theatrum Orbis Terrarum”, with text on verso, presented in a flat weathered wooden molding frame and double-glazed, sight 16‑1/4” x 2o‑1/4”. [700/1000] Illustrated 55 French Brass-Mounted Rosewood and Marquetry Mantel Clock, fourth quarter 19th century, of “portico” form in the Dutch taste, the dial engine turned with russet Roman chapters, retaining the gilded “Roman rosette” pendulum of weighted brass, h. 30‑3/4”, w. 10”, d. 5‑1/2”. [700/1000] Illustrated

56 Louis-Philippe Gilt-Brass Columnar Candlestick, second quarter 19th century, in the neoclassical taste, the circular base with an encircling bas-relief fruit-and-flower wreath, h. 9‑1/4”, dia. 5”. [60/90] 57 Biedermeier Style Mahogany Semanier, late‑19th century, in two parts, the recessed cavetto-molded top above a case fitted with five long drawers, the fourth with a drop front opening to six small inlaid drawers, the lower section fitted with two long deeper drawers, all with finely figured veneers, raised on scrolled feet, h. 62”, w. 37‑1/4”, d. 18”. [700/1000] Illustrated

58 Good La Barge Black-Painted and Gilded Looking Glass, in the Northern Italian Directoire style, the paneled cresting with gilded crossed arrows centering a gilt threequarter wreath, the plate broadly beveled throughout, h. 53‑1/2”, w. 37‑3/4”. [200/400] 59 Empire-Style Walnut Commode, second quarter 19th century, the rectangular top above a conforming case fitted with a single frieze drawer over three long recessed drawers, flanked to either side by a pilaster, the whole raised on block feet, h. 40”, w. 52”, d. 26”. [500/800] Illustrated

60 Good LouisPhilippe “Pegasus” Mantel Clock, second quarter 19th century, of small size and composed of gilt-brass-mounted patinated bronze, the gilt-brass dial engine turned, the case surmounted by a patinated figure of Pegasus rearing amidst gilded clouds, h. 16‑1/2”, w. 7‑5/8”, d. 4‑7/8”. [1000/1500] Illustrated

61 Continental School (Contemporary) “Interior View of a Monastery”, oil on canvas, unsigned, 44” x 33”. Handsomely framed. [400/700]

62 Opulent French Gilt-Brass Twelve-Light Chandelier, of reticulated corbeille form in the First Empire style, the candle ring surmounted by alternating gilt pedestaled baskets of flowers and beribboned Empire wreaths, the candlearms paired and fitted with “old ivory” faux-wax candles, the oblong link suspension chains centered with flowerheads and pendant from a canopy of upright acanthus leaves, electrified, h. 39‑1/4”, dia. 32”. [1500/2500] Illustrated

63 Opulent French Brass-Mounted Figured Mahogany Daybed, first quarter 19th century, in the First Empire taste, the headboard and footboard of equal height with outscrolled ends featuring floral urn and sprig ormolu mounts, joined by concave front rails with like mounts, h. 41”, inside w. 40”, l. 59”, outside w. 44”, l. 79”. [2500/4000] Illustrated 64 Continental Giltwood and Brass-Mounted Ciel de Lit, late 19th century, in the Empire taste, of demi-lune form, with a giltwood crest depicting an eagle with outstretched wings, his talons gripping a torch, the frame with crotch mahogany veneers and mounted with seven-point giltbrass stars, h. 19‑1/2”, w. 36‑3/4”, d. 24”. [2000/4000] Illustrated 65 Empire-Style Mahogany and Marble-Top Commode, third quarter 19th century, the rectangular Paloma marble top above a conforming case fitted with a frieze drawer over three recessed long drawers, flanked to either side by an ormolu-mounted column, raised on turreted feet, the whole with ormolu accents in the Empire taste, h. 29‑1/4”, w. 32”, d. 21‑1/2”. [3000/5000] Illustrated

66 Pair of French Gilt-Bronze “Atlantid” Four-Light Appliques, in the Louis XVI style, the upper portion of the backplates modeled as draped female half figures, the foliate candle branches stepped, the gilding in a combination of bright and matte finishes, electrified and fitted with ecru faux-wax candles, h. 32”, w. 20‑3/4”, d. 6‑1/2”. [2000/4000] Illustrated 67 Manner of Baron Francois Pascal Simon Gerard (French, 1770‑1837) “Empress Josephine”, oil on canvas, unsigned, 83‑1/2” x 48”. Framed. Provenance: Christie’s East, New York, September 26, 2000, lot 246. This painting was purportedly removed from the famed 24th floor Empire Room of the Woolworth Building, New York City. [10000/15000] Illustrated

68 Fine Twenty-Piece Schoelcher, Paris, Porcelain Tea Service, first quarter 19th century, the blue-striped parcel-gilt “old ivory”-glazed service of “Clauss” form in the neoclassical taste, comprised of a teapot, h. 6‑1/4”, a magnum cream pitcher, h. 5‑5/8”, a covered two-handled sugar basin, a waste bowl, eight paneled teacups, dia. 3”, and eight saucers en suite, dia. 5”, the cream pitcher, sugar basin, waste bowl and one teacup all with the rare Schoelcher black overglaze stencil mark, one cup with a gold overglaze S mark. [1000/1500] Illustrated

69 Two Pieces of Mid‑19th Century Napoleonica, including a copy of Napoleonic Ideas (Des Idees Napoleonienne, 1839) by Emperor Napoleon III (1808‑1873), New York: D. Appleton & Co., 1859, the first American edition, translated by James Augustus Dorr (1812‑1869), duodecimo, full green cloth with blindstamping, gilt lettering and Napoleonic bee on the cover and spine, 7‑1/2” x 5”; and a framed print of Napoleon I (1769‑1821), second quarter 19th century, Germany, engraved by A. Brueckner, published by Louis Rocca of Leipzig, with facsimile of the Ordinary Imperial seal in red wax, in a molded giltwood frame and glazed, overall 10‑1/4” x 7‑1/2”. [100/200]

70 Napoleon III Black Enameled, Polychromed and Parcel-Gilt Lead Humidor, third quarter 19th century, of hexagonal form in the Renaissance taste, the conforming lead cover with a patinated bronze finial of the standing Emperor Napoleon I in military garb, h. 7”, w. 4‑1/2”. [125/250]

71 Six-Piece Group of Miscellaneous Continental Items, consisting of a good, diminutive “Grand Tour” brassmounted carved lava stone mechanical pencil capped with the head of Ajax after the Antique model and inscribed “Pompei”, fourth quarter 19th century, l. 3‑3/4”; a French brass hand seal featuring Emperor Napoleon I in military dress, first quarter 20th century, h. 3‑1/2”; a diminutive patinated and parcel-gilt souvenir spoon capped by a crowned standing griffin and having a masque-form bowl, also first quarter 20th century, l. 4‑1/2”; an English brass tabletop figure of a hunting dog on point, second quarter 20th century, l. 8”; a miniature Furstenberg white and gold porcelain vase of attenuated campana form, h. 3‑1/4”; and an Italian gilded porcelain oval table box in the First Empire style, bearing a bronzed bas-relief crowned Napoleonic “N” surmounting an oak-leaf spray at the center of the cover, second quarter 20th century, h. 3‑1/2”. [60/90]

73 Suite of Eight Neoclassical Mahogany Sidechairs, mid‑19th century, each with a lyre-form back with brass rod accents, the padded seat raised on splayed legs, h. 37”. [2500/4000] Illustrated 74 Italian Neoclassical Maurin Green Marble Pedestal, early 20th century, the square top raised on a ring-turned columnar standard to a heavily molded circular base, h. 43‑1/2”. [500/800] Illustrated 75 Empire-Style Giltwood Jardiniere, early 20th century, the circular planter fitted with a removable metal liner, the caned sides with three ram’s-head carvings, the stand with three imbricate-carved legs joined by a tri-form stretcher and ending in hoof feet, h. 19”, dia. 25”. [1000/1500] Illustrated

76 French Gilt-Brass-Mounted Onyx Table Lamp, in the Louis-Philippe neoclassical taste, the standard of candlestick form on a tall gilt-brass pedestal of square section, each facade set with a hipped onyx boss, h. 29”. [800/1200] 77 Continental Neoclassical Fruitwood Commode, second quarter 19th century, the rectangular top above a conforming case fitted with a single frieze drawer over three recessed long drawers, raised on ebonized paw feet, the whole with ormolu accents, h. 34”, w. 44‑1/2”, d. 19‑3/4”. [1500/2500] 78 Pair of Neoclassical Parcel-Gilded Creme-Peinte Pedestals, late 19th century, each with a square top supported by a gilt ring-turned columnar standard to a square base, h. 49‑1/4”, w. 11‑1/2”, d. 11‑1/2”. [700/1000] Illustrated

72 Set of Four Gilt-Brass-Framed “Porcelaine de Limoges” Rondels, second quarter 20th century, all transfer printed and polychromed overglazed, and depicting, respectively, Emperor Napoleon I in military garb, two “Grape Eaters” inspired by the celebrated Esteban Murillo painting, a lady-of-fashion driving a horsedrawn carriage, and a galants scene, all signed at the basal edge in gold script “Limoges”, dia. 2‑3/8”. [150/300]

79 Neoclassical-Style Composition Pedestal, in the form of a Doric column, h. 42‑1/4”, w. 14‑1/4”, d. 14‑1/4”. [200/400]

81 80

80 Stylish Gray Transfer-Printed and Lacquered Ostrich Egg, in the Piranesi taste, mounted on a Meissen blanc-dechine porcelain stand of capstan form, the four supports modeled as crouched termes, the interior of the porcelain stand marked with the underglaze blue crossed swords of Meissen, h. 10‑1/4”, dia. 5”. [50/80] Illustrated 81 Scottish Carved Mahogany Table Bust of Robert Burns, third quarter 19th century, the poet depicted in the neoclassical style, h. 10‑1/4”, w. 6‑1/4”. [60/90] Illustrated 82 “Grand Tour” Pottery Arched Rope-Twist-Handled Vase, fourth quarter 19th century, of footed baluster form in the ancient Greek “Black Figure” style, one facade with an elaborate reserve of a reclining couple with their quaffing cups and attended by their pet cats, the opposing facade with a pair of horses and riders with circular shields, the whole artfully encrusted throughout, h. 19‑1/2”, w. 7‑1/4”. [450/700] Illustrated 83 Italian “Grand Tour” Carved Carrara Marble Bust of Venus, fourth quarter 19th century, after the Antique model, presented on a matching Carrara marble base of capstan form, h. 8‑1/2”, w. 4‑1/4”. [125/250] Illustrated

84 Unusual German Bronze and Polished Marble Candlestick, first quarter 20th century, in the form of a flambeau-bearing nude youth riding a panther, the panther, youth and candlesockets in patinated bronze, the tall, oblong octagonal base in engraved and polished Sainte-Anne marble surmounting a conforming stepped plinth, h. 13”, w. 3‑3/4”, l. 6‑1/4”. [300/500] Illustrated 85 Pair of French Bookends, each formed of a graduated trio of antique gilt-tooled leather-bound books, the centers of each volume hollowed and weighted, each h. 7”, w. 3‑1/4”, d. 4”. [125/250] Illustrated 86 “Grand Tour” Patinated Bronze Figure of Poseidon, first quarter 20th century, the standing nude god modeled bearing a trident, presented on a square base of polished Grand Antique marble, h. 8‑1/2”, w. 4‑1/4”. [125/250] Illustrated 87 “Grand Tour” Pottery Two-Handled Quaffing Bowl, fourth quarter 19th century, in the ancient Greek “Black Figure” style, featuring a female-headed stylized bird and a panther, the surface encrusted and abraded throughout, h. 4‑1/2”, w. 8-/3/4”. [150/300] Illustrated

88 Unusual French “Napoleon” Mantel Clock, fourth quarter 19th century, composed of bronze-patinated brass and patinated bronze in the First Empire style, with gilt-brass mounts, the square-section case surmounted by a patinated bronze bust of the Emperor in ancient Roman headdress, the gilt-brass dial in the form of a draped Napoleonic shield, the whole supported on four gilded displayed Napoleonic eagles, h. 21‑1/4”, w. 9‑1/4”, d. 8‑1/2”. [1800/2500] Illustrated

89 Handsome Pair of Silverplate-Mounted Brass Table Lamps, of amphora form, supported on a cube plinth of polished “Grand Antique” marble surmounting a matching square base on four square toupie feet, each fitted with a custom gold braid-edged black silk shade of narrow drum form, h. 31”. [1000/1500]

90 Handsome Pair of French EglomiseStyle Panels, one featuring engraved images of the youthful Hercules and the Numidian Boar, the other a robed figure of Ceres bearing a basket of fruit on her head, the engraved images after 18thcentury models, both figures with parcel-gilt detailing, each panel framed in narrow gilt-brass molding and fixed to a larger black-painted wood outer molding in the neoclassical taste, h. 30”, w. 14”. [1200/1800] Illustrated

91 Large Cast and White-Painted Plaster Bust of Venus, first quarter 20th century, the goddess depicted gazing downward after the Antique model, h. 92”. [400/700] Illustrated

94 Italian Carved White Carrara Marble Head of Apollo Belvedere, first quarter 20th century, after the Antique model, the facial features lightly satin polished, the hair matte finished, h. 14‑1/4”, w. 9‑1/2”. [250/400] 95 Pair of English Bleached Oak Tall Fluted Columns, 19th century, each shaft mounted to a molded circular base on a socle plinth, h. 97”. [2000/4000]

92 Italian “Grand Tour” Carrara Marble Bust of Caesar Augustus, after the Antique model, presented on a waisted base of Brescia marble, h. 21”. [1000/1500] Illustrated previous page 93 Glen Keane (American/20th Century) “Classical Figure Study of a Seated Male”, charcoal study on gray paper, signed lower right “G. Keane”, sight 15‑3/4” x 11‑1/2”. Glazed, handsomely matted and framed. [200/400]

99 pair

96 Two Pairs of Plaster Medallions, one a diminutive pair of “Grand Tour” parcel-gilt plaster oval portrait plaques of, respectively, the Roman emperors Nero and Caesar Augustus, 4” x 3‑1/4”, and the other a pair of smaller gilt-plaster elliptical intaglios of Eros with a lion, after the Antique model, 2” x 2‑3/8”. [60/90] 97 Fine Pair of Napoleon III Terra Cotta Garniture Vases, third quarter 19th century, each of two-handled pyriform in the Neo-Grec style and composed of glazed and unglazed terra cotta, the facade of one vase with a vignette of a Roman emperor and attendants, the other with a similar vignette of a Roman empress and her attendants, now mounted as table lamps, h. 30” to top of finial, dia. 6‑3/4”. [1000/1500] Illustrated

98 Fine Twenty-Six-Piece Early Limoges Porcelain Partial Coffee Service, for twelve persons, second quarter 19th century, in “Roman Medallion” decor, comprised of a tall coffeepot, h. 9‑3/4”, a cream pitcher, h. 6‑3/4”, a covered two-handled sugar basin, h. 7”, twelve cups of litron form, h. 2‑1/4”, and eleven deep saucers, dia. 5‑1/4”, the coffeepot, cream pitcher, sugar basin and cups all with “Roman” figures painted en grisaille on a raspberry ground, all marked “HC” in underglaze gray on the base. [1000/1500] Illustrated

101

99 Pair of Large Colored Offset Lithographs, of, respectively, an ancient Greek white-ground lekythos, and a red-ground black-figure two-handled amphora, overall h. 35”, w. 29”. Presented in matching neutral wood molding frames in the neoclassical style and glazed. [1000/1500] Illustrated 100 German Terracotta Urn-Form Vase, third quarter 19th century, of two-handled and footed form with bas-relief black-figure decoration, now fitted with an extravagant arrangement of black and white ostrich plumes, h. 14‑1/2” excluding plumes, w. 10‑3/4”, d. 7‑3/4”. [200/400] 101 Hippolyte Alexandre Julien Moulin (French, 1832‑1884) “Secret d’en Haut” (“A Secret from on High”), fourth quarter 19th century, a black-painted bronze figure after the 1873 model, depicting the adolescent nude Hermes whispering a secret to a herm of his later self, signed, on the reverse of the pillar, “Moulin, Je.un”, h. 20”, w. 10‑7/8”, d. 6‑1/8”. Provenance: Private collection, Sarasota, Florida. The original 1875 marble of this 1873 model is housed at the Musee d’Orsay, Paris. [1500/2500] Illustrated

102 detail

102 Napoleon III Patinated and Parcel-Gilt Brass Bowed Fireplace Fender, third quarter 19th century, in the Louis XVI taste featuring spear-bearing putti, panthers and an eagle amidst gilt-foliate scrolls, h. 16”, w. 40”. [900/1200] Illustrated

102

105 Fine French Empire Gilt- and Patinated Bronze Candelabrum, first quarter 19th century, by Claude Rabiat (1756‑1815), the standard in the form of a female figure in Roman dress raising aloft a stylized fruit basket from which emanate four cornucopia-type branches surrounding a central foliate trumpet, signed under the female figure “Rabiat”, h. 23‑1/2”, w. 7‑7/8”, d. 4‑1/4”. [3000/5000] Illustrated

103 Elegant Pair of French Brass Tripodal Table Lamps, of columnar form in the Louis-Philippe neoclassical style, composed of parcel-gilded bronze and patinated brass, each fluted columnar standard supported on richly gilt-bronzepatinated haunched paw feet surmounting a conforming parcel-gilt and patinated plinth, fitted with custom gilt-banded matte-black card shades and gilt-brass finials in the form of helmeted warrior heads, h. 31‑1/4”, base w. 8‑1/4”, shade dia. 14‑3/4”. [500/800] Illustrated

106 Pair of French Wooden Portrait Miniature Frames, first quarter 20th century, gilt-brass mounted and whitepainted in the First Empire style, each frame with a circular gilt-brass fillet within a square period damask mat and circular glazing, h. 5‑1/2”, w. 5‑1/2”. [100/200]

105

104 Small Pair of French TwoLight “Arrow and Orb” Appliques, composed of gilt and patinated brass in the Directoire style, the gilded candlearms modeled as displayed swans, their heads surmounted by vasiform candlesockets fitted with short bone-white faux candles and electrified, h. 13‑3/4”, w. 8‑1/2”, d. 5”. [800/1200] Illustrated

104 pair

107 European Black-Lacquered Wooden Portrait Miniature Frame, fourth quarter 19th century, giltbrass mounted and dished, with an oval glazed aperture, h. 4‑1/2”, w. 3‑3/4”. [75/125] 103

108 Italian Neoclassical Kingwood and Mixed Woods Cupboard, late 19th century, the rectangular Sainte Anne Francais marble top above a case fitted with a faux frieze drawer over two faux drawers, all with decorative inlaid banding, the sides inlaid en suite, the reverse fitted with a fabric panel opening to reveal an open space above a single drawer, raised on tapering square legs with band inlays, h. 29”, w. 15‑1/2”, d. 10‑1/4”. [1000/1500] Illustrated

108 back

111 Pair of Russian Brass and Malachite Four-Light Nike Candelabra, fourth quarter 19th century, the brass parcel gilded and bronze patinated, the standards modeled as bronzepatinated Nike figures standing on gilded orbs and holding gilded candle rings in their upraised arms, the pedestal bases and plinths of malachite, each candlesocket fitted with a goldrimmed glass bobeche and a tall black wax candle, h. 18‑1/4”, w. 6‑1/4”. [900/1200] Illustrated following page

108

109 Pair of Continental Neoclassical Mahogany Commodes, second quarter 19th century, each with a rectangular top above a conforming case fitted with three long drawers, each with an inlaid shield escutcheon, raised on tapering square legs, h. 34‑1/2”, w. 31‑1/2”, d. 17”. [1800/2500] Illustrated 110 Good Napoleon III Brass-Mounted Glass “Cleopatra” Candlestick, third quarter 19th century, the glass standard pressed and satin-finished, the circular glass base not frosted, h. 15”, dia. 5‑3/4”. [50/80]

112 Gilt-Brass-Mounted Malachite-Grained Wooden Desk Box, by Maitland-Smith, in the neoclassical taste, the interior sponged in malachite green throughout, the cover centered with a gilt-brass upright pomegranate, the base retaining the Maitland-Smith printed gilt-foil label, h. 6‑1/4”, w. 4‑1/4”, l. 9”. [60/90] Illustrated following page 113 Pair of French Gilt-Brass-Mounted Cut Glass Garniture Vases, of campana form in the Restauration style, each on a similarly mounted and cut glass pedestal base of square section surmounting a malachite base, h. 17”, dia. 7‑1/2”. [3000/5000] Illustrated following page

109

118 Large Edwardian Cast-Stone “Medusa Mask” Garden Plaque, first quarter 20th century, the surface weathered throughout, h. 18‑1/2”, w. 18‑1/2”. [75/125]

111

119 Louis XV Old Standard (.958) Silver Tastevin, Paris, 1773‑1774, by Charles-Joseph Fontaine (Master in Meaux 1765, received in Paris 1769), of traditional saucer form, with applied “coiled snake” handle, engraved under the rim “L. Gaboriau”, dia. 3‑1/4”, l. 4”, 2.25 t. oz. [400/700] 113

120 Napoleon III First Standard (.950) Silver Tastevin, third quarter 19th century, by Flisot & Cavenne, active Paris, 1864‑1868, of traditional saucer form, with applied “coiled snake” ring handle, engraved, below the edge, “Achille Dupuy”, dia. 4‑1/8”, l. 5”, 4.95 t. oz. [400/700]

112 114

121 Continental .800 Silver-Mounted Cut Glass Urn, fourth quarter 19th century, of campana form, the glass body with diamond pattern on the lower half and starburst-and-lattice design on the upper half, mounted with a silver gadrooned rim and lip joined by palmette and ram’s-head mounted scrolling handles, raised on a waisted silver foot with shaped dome and square plinth, h. 14‑1/2”, dia. 8‑1/4”, w. 12‑1/2”. [2000/4000] Illustrated

114 Trio of French Malachite Obelisks, second quarter 20th century, comprised of a center obelisk on ball feet surmounting a block pedestal, h. 6‑1/2”, and a smaller pair of obelisks on paneled pedestal bases in the Louis XVI style, h. 5‑1/4”. [60/90] Illustrated 115 Monumental Pair of Seven-Light “Nike” Candelabra, composed of richly parcel-gilded and black-patinated bronze and malachite, in the Imperial Russian style of Nicholas I, the winged Nike figures standing on large gilded demi-orbs and holding aloft the sever-light candle rings, the square-section pedestal bases of opulent giltbronze-mounted malachite, h. 53”, dia. 19”. [6000/9000] Illustrated 116 Large Parella, Spain, Parcel-Gilded White Stoneware Rhyton Vase, in the neoclassical taste, with an attractive collection of specimen seashells filling the rhyton, the base fully marked in blue stencil, h. 12”, w. 9‑1/2”, dia. 7‑3/4”. [250/400] 117 Large Northern European Console-Bracket Shelf, third quarter 19th century and later, probably Swedish, composed of brass-mounted carved, stained and parcelgilded wood, the console bracket gilded, the stepped rectangular shelf edged in brass, h. 17”, w. 12”, d. 9‑3/4”. [250/400]

115

121

125

122 Fine Christofle Bronze Argente Jardiniere, fourth quarter 19th century, Paris, in the rococo taste, of oval form, the body beautifully chased in a latticework pattern with robust acanthus-scroll feet and edging, quartered by rococo cartouches and fitted with a conforming silvered tin liner, with conjoined monograms on the side cartouches “AG”, and on the ends “EM” and “HC”, h. 5‑1/8”, w. 11”, l. 16‑1/4”. [1800/2500] Illustrated

126

123 Set of Six Christofle Silverplate Butter Spreaders, fourth quarter 20th century, Paris, each with a “blunt”-shaped blade and stylized flat “pistol” handle, with reeded ferrule, l. 3‑3/4”, presented in the original printed olive green pasteboard Christofle box, 3‑1/8” x 4‑1/4”. [75/125]

122

124 Christofle “Cluny”-Pattern Silverplate Asparagus Server, fourth quarter 20th century, Paris, the blade pierced in a palmette pattern, l. 9‑1/4”. [75/125] 125 Pair of Continental Bronze Argente TwoLight Sconces, second quarter 20th century, in the Ottocento taste, the backplates in the form of a pair of addorsed scrolls joined by shells, urns and foliage, with a pair of scrolling arms emanating from the lowermost urn, each arm terminating in a melon-form cup, fitted with faux candles and electrified, h. 18‑1/2”, w. 12”, d. 5‑1/4”. [1800/2500] Illustrated

129 Pair of Georg Jensen “Acorn”-Pattern Sterling Silver Salad Servers, designed in 1915 by Johan Rohde (1856‑1935), with the post‑1945 Jensen mark, including a salad serving fork and spoon, l. 7‑7/8”, 5.14 total t. oz. [200/400]

127

130 Pair of Georg Jensen Ornamental Pattern #141 Sterling Silver Salad Servers, designed in 1912 by Georg Jensen (1866‑1935), with the post‑1945 Jensen mark, including a salad serving fork and spoon with stylized “blossom” finials, l. 10‑1/4”, 8.75 total t. oz. [1500/2500] Illustrated

131 top 126 German .800 Silver “Four Seasons” Coffee and Tea Set, first quarter 20th century, by J. D. Schleissner Sohne, Hanau, in the Historismus style, including a coffeepot, h. 10‑1/4”, a teapot, h. 7‑3/4”, a sugar bowl, h. 5‑1/2”, and a cream jug, h. 4‑3/4”, each with an ovoid body decorated with opposing floral-mantled oval cartouches separated by vertical laurel swags, one cartouche of each piece decorated with a repousse putto allegorical of one of the four seasons, the other cartouche void, the pots with fluted and laurel draped “gooseneck” spouts and hinged, domed lids en suite, with ivory insulated squared handles, the sugar bowl with opposing handle and fitted lid, the jug with one handle and “duck’s beak” spout, each raised on a leaf-and-dart-banded circular foot, no monograms, 58.45 total t. oz. [600/900] Illustrated previous page 127 German .800 Silver Snuffbox, first quarter 20th century, by J. D. Schleissner Sohne, Hanau, of rectangular form, in the neoclassical taste, the sides decorated with embossed circular cartouches of putto between musical trophees, the hinged lid embossed with a winged putto on a floral garland, h. 1‑1/8”, w. 2‑3/8”, d. 2‑1/2”, 2.83 t. oz. [300/500] Illustrated

131

128 German .800 Silver Snuffbox, first quarter 20th century, by Ludwig Neresheimer & Co., Hanau, in the rococo taste, the cartouche-form box decorated with embossed rococo scrolls, the hinged lid with a neoclassical scene, the whole retaining traces of gilding, h. 1‑1/8”, w. 3‑1/4”, d. 3”, 3.67 t. oz. [300/500]

130

131 Large Buccellati .800 Silver Dresser Box, third quarter 20th century, Milan, of oval form, decorated all over with realistically chased oak branches with collet-set, seagreen hardstone cabochons, the hinged lid opening to reveal the gilt interior, marked on the underside “Buccellati / Milano - Roma / 800”, h. 2‑1/2”, w. 9‑1/4”, d. 8”, 33.18 t. oz. [1800/2500] Illustrated

133 Persian Tabriz Carpet, 9’ 9” x 12’ 9”. [2000/4000] 134 Persian Heriz Carpet, 11’ x 13’ 7”. [4500/7000] 135 Agra Serapi Carpet, 9’ 10” x 13’ 7”. [1400/1800] 136 Antique Persian Heriz Carpet, 7’ 10” x 10’ 7”. [2000/4000] Illustrated 137 Northwest Persian Carpet, 5’ 3” x 9’ 3”. [1000/1500] Illustrated

136 132 Buccellati .800 Silver Model of a Fawn, fourth quarter 20th century, Milan, the recumbent figure realistically detailed, signed “M. Buccellati / Italy / 800”, h. 4‑3/4”, l. 8”, 21.09 t. oz. [2500/4000]

137 138 Tabriz Carpet, 12’ x 15’. [7000/10000] 139 Persian Bakhtiari Carpet, 9’ 10” x 12’ 8”. [1800/2500] Illustrated 140 Contemporary Turkish Oushak “Kallegi” Runner, 4’ 10” x 12’ 5”. [1000/1500]

139

141

144

143 151

141 Persian Isfahan Carpet, 11’ 8” x 17’ 4”. [2500/4000] Illustrated

152

142 Angora Oushak Runner, 3’ x 14’ 1”. [2000/4000] 143 Angora Oushak Carpet, 10’ x 14’. [9000/12000] Illustrated

153

154

151 Semi-Antique Kashan Carpet, 9’ x 14’. [1400/1800] Illustrated 152 Louis XVI-Style Giltwood Settee, early 20th century, the rectangular back and downswept sides within an annulated and gadrooned foliate-carved frame, raised on fluted, tapering circular legs headed by floral block carving and ending in toupie feet, h. 40”, w. 55‑1/4”, d. 26”. [1800/2500] Illustrated

144 Isfahan Carpet, 17’ x 10’ 4”. [1800/2500] Illustrated 145 Turkish Oushak Carpet, 9’ x 12’ 1”. [1800/2500] 146 Antique Persian Sarouk Carpet, 10’ x 12’. [5000/8000] 147 Persian Mood Carpet, 10’ x 13’ 3”. [3000/5000] 148 Persian Sultanabad Carpet, 11’ 8” x 16’. [9000/12000] 149 Antique Persian Sarouk Carpet, 8’ 9” x 12’. [2500/4000] 150 Turkish Angora Oushak Carpet, 9’ 3” x 12’ 2”. [2000/4000]

153 French Gilt-Brass Six-Light Chandelier, of reticulated corbeille form in the Louis XV style, the reticulated corbeille element suspended on three double rope-twist bars pendant from a foliatescroll canopy, electrified and fitted with white faux candles, h. 36”, dia. 18”. [3000/5000] Illustrated 154 French Gilt-Brass and Marble “Eros” Accent Lamp, first quarter 20th century, in the Louis XVI taste, the standard modeled as a striding wreath-bearing Eros, his upraised proper right arm holding a bow horizontally, forming the lower rail of the frame, the Carrara marble base of bell form and opulently mounted with gilt-brass floral garlands caught with bowknots, h. 19‑3/4”, w. 8”, base dia 4‑3/4”. [800/1200] Illustrated

155 Louis XVI-Style Polychromed and Parcel-Gilt Oak Cocktail Table, late 19th century and later, the rectangular parquetry oak top over a paneled frieze with applied gilt lotus accents, raised on fluted tapering square legs ending in spade feet, h. 18”, w. 59‑1/2”, d. 21‑1/2”. [600/900] Illustrated 156 French School (Second Quarter 20th Century) “Interior of the Cathedral St. Etienne” and “Interior of Chartres Cathedral”, pair of hand-colored etchings, both examples are pencil signed “Ch. Maurice”, sight 14‑1/2” x 8‑1/4”. Glazed, matted and framed en suite. [100/200]

158

157

159

155

157 Louis XV-Style Giltwood Firescreen, early 20th century, the shaped and pierced crest with shell and acanthine designs, the removable fabric screen surrounded by a molded frame, the whole raised on splayed legs headed by acanthine carving and ending in scrolled toes, h. 43”, w. 27‑1/2”. [500/800] Illustrated

158 Guillaume Lauters (Belgian, 19th/20th Century) and Franz Van Severdonck (Belgian, 1809‑1889) “Farmer with Sheep and Goats Resting by a Boat-Filled Lake”, 1885, oil on panel, double signed lower right “G. Lauters” and along bottom center “Les chevres moutons par F. Van Severdonck”, with an inscription on the reverse “Je soussigne declare que le tableau ci contre est peint par moi sur l’ordre et pour compte de monsieur A. D. Huyvetter fils d’Anvers, G. Lauters, 1885”, retains “Lasslow Art Galleries, 959 Madison Avenue, New York” label en verso, 12” x 17”. Presented in a period gilt and gesso frame with artist plaque. [1500/2500] Illustrated 159 Two Framed Fans, fourth quarter 19th century, one an Anglo-Indian cut, pierced and parcel-gilt vellum lady’s fan with ebonized wood guards and sticks in the Moghul taste, and the other a French embossed bronzed composition and parcel-gilt hand-colored lithograph fan in “Troubadour” decor, presented in matching boldly carved giltwood shadowbox frames of fan form and glazed, overall h. 15‑1/4”, w. 23‑1/4”. [400/700] Illustrated

162

164

165 163

161 160 French BrassMounted Pieced Ivory Table Box, first quarter 20th century, the lid centered with an oval portrait miniature of a Titianhaired beauty, the miniature signed at right center “Dupas”, the interior of ivory-edged ebonized wood, h. 2‑1/4”, w. 4”, d. 3‑1/4”. [200/400]

161 Good, Large Green-Painted and Gilded Wood and Wire Birdcage, first quarter 20th century, in the form of a gabled and turreted mansion with turned giltwood roof finials, presented on a conforming matching table in the Louis XVI manner of Adam Weisweiler, h. 65”, w. 32”, d. 27”. [700/1000] Illustrated 162 Twenty-Seven-Piece Franco-Bohemian Porcelain Doll’s Partial Dinner Service, for twelve dolls, third quarter 19th century, with seafoam green floral-enameled borders in the Paris style, comprised of twelve dinner plates, dia. 3”, two circular footed compotes, dia. 3”, two reticulated footed fruit baskets, two circular trays, dia. 3‑3/4”, an oval platter, l. 5‑1/2”, two elliptical celery dishes, a circular covered two-handled soup tureen, a circular two-handled vegetable tureen, a punchbowl, dia. 3‑3/4”, an oval covered sauce tureen with integral stand, a sauceboat with integral oviform stand, and an extra tureen cover, all with gilded detailing. [125/250] Illustrated 163 Fine and Rare Locre Manufactory, Paris, FloralEnameled Porcelain Bowl, fourth quarter 18th century, the base with the Locre crossed arrows mark in underglaze blue, dia. 9”. [300/500] Illustrated

167

168 Louis XVI-Style Giltwood Side Table, the D-form Breche de Benou Jaune marble top with a projecting center section, above a conforming frieze with laurel-garland carving centered by an oval medallion, raised on fluted tapering circular legs headed by an Ionic capital joined by a shaped stretcher and ending in toupie feet, h. 36”, w. 38‑1/2”, d. 15‑1/2”. [1800/2500] Illustrated

170

164 Good Comte d’Artois Manufactory, Paris, Porcelain Dish, fourth quarter 18th century, of foliate-handled shell form, the interior decorated with multiple well-painted floral sprays, the base signed in underglaze rouge de fer “C.D.”, w. 8‑3/4”, l. 9”. [200/400] Illustrated previous page

169 English Gilt-Brass Dressing Table Looking Glass, third quarter 19th century, the foliate-reticulated frame in the rococo taste, the period plate beveled throughout, supported on the period gilt-brass scrolling swing-bracket at the reverse, h. 16‑3/4”, w. 11‑3/4”. [200/400]

165 Fine and Rare Locre, Paris, Porcelain Verriere, fourth quarter 18th century, of oval form in “Roses de la Reine” decor and with foliate handles, the base marked with the underglaze blue Locre arrows, w. 8”, l. 12‑1/2”. [1000/1500] Illustrated previous page 166 French Stone-Finished Relief-Cast Plaster Tondo, of large size and featuring Flora attended by a bevy of frolicking putti bearing a large floral garland in the manner of Clodion (French, 1738‑1814), the enframing border with bas-relief “Scroll and Flower” ornament in the Louis XVI style, dia. 22”. [75/125] 167 Louis XVI-Style Giltwood Mirror, early 20th century, the large, slightly domed rectangular plate surmounted by a shield crest emanating floral sprays, flanked to either side by a flaming urn finial, surrounded by a molded and annulated frame with applied scrolling pendants, h. 104”, w. 53”. [2000/4000] Illustrated

168

170 Monumental French Gilt-Brass and Cut Glass Twenty-Two-Light Chandelier, first quarter 20th century, of tiered cage form in the Louis XV style, lavishly dressed with four magnum bishops, cut stars and cut pendalogues in four sizes, electrified and fitted with beeswax faux candles, h. 48”, dia. 39”. [3500/5000] Illustrated

172

174 171 Opulent Carved Giltwood and Cane Pet Bed, first quarter 20th century, in the late Louis XVI style, the curvate headboard and footboard of equal height and centered with cane panels, the posts with giltwood pomegranate finials, fitted with a striped silk lining and matching conforming pad, h. 18‑1/4”, w. 24‑1/2”, l. 28”. [400/700] Illustrated

172 Austro-German Porcelain Garniture Vase, fourth quarter 19th century, of attenuated baluster form, richly gilded and polychromed in the “Vienna” style, the facade with a well-painted reserve of “Whisperings of Love”, the reverse with flower-bearing putti and doves in flight, the gilded scroll handles serpent-entwined, the whole supported on a trio of gilded paw feet, h. 23‑1/4”, w. 7‑1/4”, dia. 5‑3/4”. [1800/2500] Illustrated 173 Napoleon III Embossed Brass Earred Table Frame, third quarter 19th century, in the Renaissance taste, the embossed decoration of bas-relief strapwork centering cartouches at the crest rail and basal edge, the reverse of fruitwood, with a Florentine marbled paper backplate, h. 10‑3/4”, w. 8”. [60/90]

174 French Ormolu-Mounted Mahogany Vitrine, early 20th century, in the transitional Louis XV into Louis XVI taste, the rectangular top with a three-quarter pierced brass gallery and projecting center section above a conforming case fitted with a central frieze drawer over three doors, all inset with glazed beveled panels, raised on cabriole legs ending in sabots, the whole accented with ormolu mounts and millwork, with one conforming glass shelf, h 49”, w. 50‑1/2”, d. 17”. [5000/8000] Illustrated

171

175 Flora Danica Porcelain Small Oval Platter, No. 3517, dated 1969‑1974, the oval body with dentil border and a central botanical painting of Viola elatior, the base with a green Royal Copenhagen logo, underglaze blue wave pattern, pattern no. 20, item no. 3517 and initials, l. 14‑1/4”. [2500/4000] Illustrated

179

176 Flora Danica Porcelain Low Round Salad Bowl, No. 3504, dated 1969‑1974, the circular body with dentil border and a central botanical painting of Campanula latifolia, the base with Royal Copenhagen logo, underglaze blue wave pattern, pattern no. 20, item no. 3504 and initials, dia. 9”. [1500/2500] 178

175

177 Ten Flora Danica Porcelain Chocolate Cups and Saucers, No. 3513, dated 1961‑1974, the straight-form bodies with angular handles, the saucers with dentil borders, with botanical paintings of various flowers, the bases with Royal Copenhagen logos, underglaze blue wave patterns, pattern no. 20, item no. 3513 and initials, dia. 5‑1/2”. [8000/12000] Illustrated 178 Flora Danica Porcelain Round Covered Custard Cup and Square Saucer, Nos. 3574 and 3515, dated 1969‑1974, of bombe form with branch and floral handle, conforming cover with branch and floral handle and canted square saucer, the cover and saucer with dentil borders and with a botanical painting of Geranium pusillum, the bases and interior of the cover with Royal Copenhagen logos, underglaze blue wave patterns, pattern no. 20, item nos. 3574 and 3515 and initials, h. 3‑1/2”, w. 4”, l. 4”. [1800/2500] Illustrated

177

179 Flora Danica Porcelain Monteith Ice Basin for Glasses, No. 3531, dated 1969‑1974, the oval body with notched rim and strap handles, decorated on the interior with a botanical painting of Pyrola rotundifolia and on the outside with sixteen botanical paintings, the base with a green Royal Copenhagen logo, underglaze blue wave pattern, pattern no. 20, item no. 3531and initials, l. 13”. [5000/8000] Illustrated

180

184 Flora Danica Porcelain Oval Dish with Handle, No. 3540, dated 1969‑1974, the oval body with dentil border, branch and floral handle and a central botanical painting of Trientalis europaea, the base with a Royal Copenhagen logo, underglaze blue wave pattern, pattern no. 20, item no. 3540 and initials, l. 8‑3/4”. [1400/1800] 185 Flora Danica Porcelain Triangular Cake Dish, No. 3508, dated 1969‑1974, the canted triangular body with dentil border and a central botanical painting of Hypericum quadrangulum Mull, the base with Royal Copenhagen logo, underglaze blue wave pattern, pattern no. 20, item no. 3508 and initials, w. 9”, l. 8‑1/2”. [1800/2500] Illustrated

180 Flora Danica Porcelain Rectangular Tray, No. 3565, dated 1969‑1974, the waisted rectangular body with dentil border, the center with a botanical painting of Salix arenaria, the base with a Royal Copenhagen logo, underglaze blue wave pattern, pattern no. 20, item no. 3565 and initials, l. 11‑3/4”. [1800/2500] Illustrated

185

181 Flora Danica Porcelain Medium Pickle Dish, No. 3543, dated 1969‑1974, the elongated shaped body with angular handle and dentil border, with a central botanical painting of Stellaria edwardsii, the base with a Royal Copenhagen logo, underglaze blue wave pattern, pattern no. 20, item no. 3543 and initials, l. 7”. [600/900] 182 Two Flora Danica Porcelain Sauce Boats on Fixed Stands, No. 3556, dated 1969‑1974, each of conventional form with branch handle and fixed on an oval stand with dentil border, with botanical painting of Hieracium umbellatum B filifolium on one and Vicia sativa on the other, the bases with Royal Copenhagen logos, underglaze blue wave patterns, pattern no. 20, item no. 3556 and initials, l. 9‑1/2”. [5000/8000] Illustrated

183

182

183 Six Flora Danica Porcelain Coffee Cups and Saucers, No. 3597, dated 1969‑1974, the round cups with branch handles, the circular saucers with dentil borders, with botanical paintings of various flowers, the bases with Royal Copenhagen logos, underglaze blue wave patterns, pattern no. 20, item no. 3597 and initials, dia. 5‑1/2”. [3500/5000] Illustrated

188 Flora Danica Porcelain Round Tray, No. 3566, dated 1969‑1974, the circular body with dentil border and a central botanical painting of Rosa fluvialis Mull, the base with a green Royal Copenhagen logo, underglaze blue wave pattern, pattern no. 20, item no. 3566 and initials, dia. 9‑1/2”. [5000/8000] Illustrated

187

189 Two Flora Danica Porcelain Round Cake Plates on High Stands, No. 3588, dated 1969‑1974, the circular deep plates with dentil border and with a central botanical painting of Lathyrus sylvestris, the bases with Royal Copenhagen logos, underglaze blue wave patterns and initials, h. 4‑1/2”, dia. 8”. [3500/5000] Illustrated

188

186

186 Flora Danica Porcelain Covered Mustard Pot, No. 3589, dated 1961‑1963, of bombe shape with branch and floral handle and conforming cover with notch spoon opening and dentil border, with botanical painting of Sedum acre, the base and inside cover with Royal Copenhagen logo, underglaze blue wave pattern, pattern no. 20, item no. 3589 and initials, h. 3”. [1500/2500] Illustrated 187 Two Flora Danica Porcelain Small Oval Salad Bowls, No. 3506, dated 1969‑1974, the oval bodies with dentil borders, the centers with botanical paintings of Pyrola minor on one and Potentilla retusa on the other, the bases with Royal Copenhagen logos, underglaze blue wave patterns, pattern no. 20, item no. 3569 and initials, l. 10”. [2500/4000] Illustrated

189

192 French Gilded Wrought-Iron Three-Light Chandelier, of diminutive modified open bell form in the Louis XVI taste, richly dressed with ice-blue “raindrop” pendants, draped bead chains, cut pendalogues, fleurettes, faceted drops and cut glass bobeches of saucer form, electrified and fitted with white faux-wax candles, h. 23”, dia. 12‑3/4”. [600/900] Illustrated

193

190 Flora Danica Porcelain Oval Salad Bowl, No. 3507, dated 1968, the oval body with dentil border and a central botanical painting of Orchis sambucina, the base with Royal Copenhagen logo, underglaze blue wave pattern, pattern no. 20, item no. 3507 and initials, l. 11”. [1500/2500]

193 Louis XVI-Style Carrara Marble Mantel, late 19th century, the rectangular top with a shaped front above a frieze centered by a fluted panel overset with a floral garland, flanked to either side by an annulated panel with carved floralpatera accents, raised on end supports headed by acanthine carving and ending in block feet, h. 50‑1/2”, w. 61‑1/2”, d. 14”. [2000/4000] Illustrated

192

191 Flora Danica Porcelain Triangular Covered Custard Cup and Triangular Saucer, Nos. 3575 and 3576, dated 1963‑1974, the triangular body with conforming cover with branch handle and conforming saucer with dentil border and a botanical painting of Osmunda lunaria, the base and cover with Royal Copenhagen logos, underglaze blue wave patterns, pattern no. 20, item nos. 3575 and 3576 and initials, h. 3‑1/2”, l. 4‑1/2”. [1800/2500] Illustrated

191

194 Louis XV-Style Painted Bed Frame, early 20th century, the headboard and footboard each padded and surmounted by a molded and floral-carved crest, joined by like-carved rails, raised on scrolled toes, h. 41”, inside w. 34‑1/2”, l. 74”, outside w. 38”, l. 85”. [900/1200] Illustrated 195 French White Biscuit Porcelain Figure of the Nude Andromeda, in the Sevres style, the well-modeled lissome figure standing before a tall crag, her arms upraised, h. 28‑1/2”, w. 7‑1/2”. [500/800] 196 After Albert-Ernest Carrier-Belleuse (French, 1824‑1887) “Infant Support”, a Carrara marble figure after the 1871 model, depicting a scantily draped, seated infant holding his proper right hand aloft as a support for a planter or vase, presented on a circular scagliola faux-marbre socle base, h. 18‑1/4”, dia. 10‑1/2”. Provenance: Private collection, Sarasota, Florida. [1500/2500] Illustrated

200

196

198

194

197 Mottahedeh Glazed, Polychromed and Parcel-Gilt Porcelain Bowl, after the ca. 1810 Worcester model, of twohandled and footed form, the facade with a polychromed reserve of seashells and cherries, the gilded handles modeled as horned rams’ masks, retaining the Mottahedeh printed paper label on the interior of the foot, produced in Italy for the Mottahedeh firm, h. 4”, w. 4‑3/4”, d. 4‑1/4”. [30/50]

198 Louis XVI-Style Fruitwood and Marble-Top Tiered Table, early 20th century, the inset ovoid Calcatta marble top within a foliate-carved frame, joined to two lower like-shaped caned shelves by fluted circular uprights, the whole raised on fluted circular uprights to toupie feet, h. 30‑1/2”, w. 32”, d. 16‑1/4”. [800/1200] Illustrated

202

199 French School (Early 20th Century) “French Countryside View of a Village Church”, oil on canvas, unsigned, 11‑3/4” x 16”. Framed. [350/500] 200 Pair of Louis XVI-Style Polychromed Bergere avec Oreilles, third quarter 19th century, each with a padded slightly domed back surmounted by a floraland rope-carved crest, joined by shaped sides and scrolling foliate arms to the cushioned seat, raised on fluted tapering circular legs ending in toupie feet, h. 42”. [1500/2500] Illustrated 202

201

201 Good Rosenthal Hand-Decorated Covered Soup Tureen, first quarter 20th century, richly gilded with triple horned ram-masque handles in the Louis XVI taste, the interior of the base with full under- and overglaze Rosenthal marks, h. 13”, l. 11‑1/4”. [400/700] Illustrated

203

202 Fine Set of Twelve Edme Samson, Paris, Porcelain Dessert Plates, first quarter 20th century, of octagonal form in the 18th-century Chinese Export Armorial style, each example emblazoned with the arms of Spayne/ Spaigne of Boston, Lincolnshire, each reverse with the Samson underglaze blue barred “S” mark, dia. 8‑5/8”. [600/900] Illustrated 203 Good, Stylish Two-Piece Paris Porcelain Toilette Service, first quarter 19th century, in the neoclassical taste, comprised of a ewer and a basin of navette form, both decorated with polychromed and parcel-gilt fruit sprays and neoclassical lozenges, overall h. 11‑1/2”, w. 9”, l. 14”. [300/500] Illustrated

204 Large Pair of French Porcelain Two-Handled Garniture Vases, fourth quarter 19th century, gilt lacquered and brass mounted in the Louis XVI taste, now mounted as table lamps, both vases painted on the obverses with figural “Manon” decoration, the reverses with, respectively, a riverside pavilion at dawn and a vase-embellished riverside park at dusk, one obverse vignette signed “Poiaud”, lower left, with a pseudo-Sevres signature on the interior of the foot, the other signed “Maxant”, lower right, marked “Manon” on the interior of the foot and bearing a pseudo-Sevres interlaced L’s mark in blue, the high leafed gilt-brass handles with laurel-leaf rings, h. 22”, w. 10‑1/4”. [2000/4000] Illustrated

207

205 Louis XVI-Style Giltwood Looking Glass, mid‑19th century, the rectangular plate surmounted by a pierced foliate and scrolling crest, surrounded by a molded frame with corner foliate designs, h. 49”, w. 29‑1/2”. [1200/1800] Illustrated 206 Pair of French Flower-Bedecked Porcelain Chamber Pails, in the neoclassical taste, the parcel-gilded white porcelain pails fourth quarter 19th century, the later arrangements comprised of a total of nineteen rustfinished wrought-iron stalks with white pottery tulip blooms in the Mennecy-Vincennes manner, h. 22”, w. 22”. [400/700]

205

207 Pair of French Flower-Bedecked Porcelain Chamber Pails, in the neoclassical taste, the parcel-gilded white porcelain pails fourth quarter 19th century, the later arrangements comprised of a total of nineteen rustfinished wrought-iron stalks with white pottery tulip blooms in the Mennecy-Vincennes manner, h. 22”, w. 22”. [400/700] Illustrated

204

208 Pair of Louis XVI-Style Cream-Painted Beechwood Fauteuils, second quarter 19th century, each with a padded medallion back within a molded frame, joined by padded scrolling arms to the like seat, raised on fluted tapering circular legs ending in peg feet, now upholstered in woven stripe silk taffeta, h. 34”. [1500/2500]

209 suite of two

209 suite of two 211 Good Pair of Miles Mason, England, Graduated Porcelain Bowls, first quarter 19th century, in the neoclassical taste, the decoration of alternating gilded stylized “Vintage” sprays and gilt-framed polychromed figural reserves, dia. 7‑1/2” and 8”. [300/500]

209 Group of Two French Gilt-Brass and Cut Glass Chandeliers, one an opulent gilt-brass tiered sixteenlight chandelier in the Louis XVI taste, second quarter 20th century, dressed with large cut ten-point glass stars, cut pendalogues, waffle-cut pendalogues and backpressed cut pendalogues, fitted with gloss white faux candles, h. 46”, dia. 25”; the other a gilt-brass eight-light chandelier of cage form featuring four tall glass bishops, pressed fleurettes and fan-pressed pendalogues, h. 44”, dia. 24‑1/2”; both examples electrified. [3500/5000] Illustrated

210 Good ThirteenPiece Haviland and Company, Limoges, Porcelain Ice Cream Service, for twelve persons, fourth quarter 19th century, the service comprised of an oblong ice cream tray, w. 9‑1/2”, l. 14‑3/4”, and twelve matching square ice cream plates, w. 6‑3/4”, all of the pieces backstamped in underglaze transferprinted green and beige. [250/400]

212 Good Le Tallec, Paris, Porcelain Covered Bowl and Underplate, third quarter 19th century, of trembleuse form, richly gilded and grisaille-decorated in the Louis XVI taste, the bases of each piece fully marked in overglaze blue and rouge de fer, h. 6‑1/2”, dia. 8‑1/4”. [600/900]

213

213 Louis XVI-Style Fruitwood and MarbleTop Commode, fourth quarter 18th century, the rectangular Sainte Anne Francois marble top with a molded edge and turreted corners above a conforming case fitted with three small drawers over two long drawers, all paneled and flanked to either side by stop-fluted pilasters, the whole raised on ring-turned tapering circular legs, h. 37”, w. 52”, d. 24”. [2000/4000] Illustrated

214 Good Chinese Export Famille Rose Porcelain Vase, 19th century, now mounted as a Carcel lamp, the baluster-form vase glazed in overglaze blue with foliate reserves decorated in famille rose enamels of flowers and birds in garden settings, the Napoleon III gilt-brass mounts in the Louis XVI taste, the basal mount of drum form, with a foliate scroll-mantled cartouche at the center of each facade, overall h. 26‑1/2”. [800/1200] Illustrated 215 Unusual Three-Piece Chinese Porcelain and Gilt-Bronze Clock Garniture, 19th century, comprised of a gilt-bronze scroll and foliate stand centered by a porcelain-mounted clock flanked by two porcelain Foo dogs and scrolling foliage mounted with porcelain flowers in the Mennecy-Vincennes manner, accented by two porcelain Foo cubs on gilt-bronze bases, the porcelain all glazed in a rich Kingfisher blue glaze, the foliate-scrolled gilt-bronze mounts in the Louis XV style, the porcelain flowerheads on gilt-brass stems with cut and gilded brass foliage, also in the Louis XV style, clock h. 14‑1/2”, w. 13‑1/2”, Foo cubs h. 2‑1/2”, w. 4‑1/4”. [2000/4000] Illustrated

214

216 Four Books on the Art and Artifacts of the Pacific Rim, including Adrian A. Gerbrands, ed., The Asmat of New Guinea: The Journal of Michael Clark Rockefeller (New York: Museum of Primitive Art, 1962), Sidney Moko Mead, ed., Te Maori: Maori Art from New Zealand Collections (New York: Abrams, 1984), Ernst Loeffer, Papua New Guinea (Richmond, Australia: Hutchinson Group, 1981 rpr.) and George A. Corbin, Native Arts of North America, Africa and the South Pacific (New York: Harper & Row, 1988). Provenance: The Library of the late Luba Glade, New Orleans, Louisiana. [50/100]

217 Unusual Group of Three Akan Ashanti Zoomorphic Gold Weights, each cast in the round in bronze, one in the form of a turtle, one in the form of an iguana, and one in the form of a crested bird on a pyramidal base, l. 2‑1/2” to 3‑1/2”. [125/250]

215

218 Large Akan Ashanti Bronze Zoomorphic Gold Weight, of unusually large size, cast in the round as a crested long-necked bird with a peacock-like tail standing on two feet, h. 5‑1/4”, l. 10”. [150/300] 219 Eight Books on African Art, including Frank Willett, African Art, collection catalogues Douglas Newton, Masterpieces of Primitive Art (The Nelson A. Rockefeller Collection, Metropolitan Museum of Art, New York) and William Rubin, ed., “Primitivism” in 20th Century Art, volumes I & II (The Museum of Modern Art, New York), and exhibition catalogues The Art of Cameroon (Washington, D.C.: National Museum of Natural History: February-April 1984 et al.), Shapes of Power, Belief and Celebration: African Art from New Orleans Collections (New Orleans: New Orleans Museum of Art, March-April 1989 et al.), Africa: The Art of a Continent (London: Royal Academy of Arts, October 1995 - January 1996) and Materials of Africa: African Art in New Orleans Collections (New Orleans: Newcomb Art Gallery, November 2001 - February 2002). Provenance: The Library of the late Luba Glade, New Orleans, Louisiana. [100/200] 220 Haitian Sequined Drapeau of Dambala, the Sky Serpent, along with his consort, the rainbow serpent, representing the spiritual connection between heaven and earth, h. 23‑1/2”, w. 18”. [300/500] 221 Two Haitian Polychromed Hardwood, Rope and Cowhide Rada Drums, used in Voodoo to call the spirits and induce possession, the pegged and rope-bound cowhide tops with Veve decorations below, both inscribed “Oba Dieudonne”, h. 35” and 24‑1/2”, dia. 21‑1/2” and 17”. [500/800] Illustrated

224

225

223 228

226

222

222 Collection of Eight Pakets Kongo, these ribbon and cloth-wrapped feather-topped pakets kongo contain magical ingredients and curative herbs believed to have the power of activating a spirit, h. 9” to 14‑1/2”. [100/200] Illustrated

221

227

223 Collection of Three Satin-, Ribbon- and SequinDecorated Govi Jars, used to house sprits and souls, the underside of each lid is an eight-point star symbol, the intersection of the points representing life, death, good and evil, the interiors with feathers and unknown bits, perhaps the results of a voodoo initiation, h. 10” to 10‑1/2”. [100/200] Illustrated 224 Haitian Sequined Drapeau of Diobolo Bossou, a sacred animal of the voodoo, depicted with various symbols and a veve design, signed “CC or CG”, presented in a rustically molded and ebonized black frame, sight 29‑3/4” x 24”. [300/500] Illustrated 225 Ulysse Dabouze (Haitian, Early 20th Century), a carved, parcel-gilt and polychromed wood sculpture of Toussaint L’Ouverture in military attire, with incised signature near the lower rear edge “Ulysse Dabouze/ Sculpteur Jeremie”, h. 12”. [300/500] Illustrated 226 Haitian Sequined Drapeau of Baron Samedi, the master of the crossroad of life and death, represented by a snake-entwined cross with an offering of Vum among other symbols, signed lower right “CB” and presented in a contemporary brushed silver-tone frame, sight 18” x 16‑1/2”. [300/500] Illustrated

227 Two Haitian Chair Dolls, the native fabric-clothed dolls perched on simple wooden chairs, the smaller figure with a thread-covered metal disk at her feet, h. 7‑1/2” and 10‑1/2”. [50/80] Illustrated previous page

235 237

228 Haitian Polychromed Glass Spirit Bottle, depicting Our Lady of Czestochowa, also called the Black Madonna or Erzulie Dantor, h. 12”. [50/80] Illustrated previous page 229 Haitian Sequined Drapeau of St. George Slaying the Dragon, a voodoo surrogate for the spirit Ogun of political leadership, masculinity, war and triumph, unframed, overall h. 26‑3/4”, w. 25‑1/2”. [300/500] 236

230 Chinese Carved White Jade Covered Incense Burner, of bowl form with conforming cover, on an inverted bowl base with a pierced central knop with loose rings, dragon-head handles with loose rings, and a pierced dome cover with reserve panels of children and a pierced floral-bud finial with loose rings, the bowl body and base with low-relief foliate- and floral-carved decoration, the stone of even white color, h. 6‑1/4”, l. 6‑1/4”. [7000/10000] Illustrated

234

231 Chinese Carved Jade Peach-Form Water Coupe, 19th century, carved as a rounded peach-form low water coupe, resting on three trefoil feet with opposing bat-form handles with loose rings and foliate carving extending from the rim, around the sides and continuing to the base, the stone of white color with faint russet shading, h. 2‑1/2”, l. 7‑1/2”. [18000/25000] Illustrated 232 Chinese Carved Celadon Jade Figure of Guanyin, carved in the round depicting the goddess dressed in flowing robes and cowl, holding a ruyi scepter and seated on a rockwork base, h. 11‑1/4”. [2500/4000] Illustrated

232

233

230

231

233 Chinese White Jade Carved Figural Group of an Elephant and Children, carved in the round as the figure of an elephant draped in an embroidered howdah with two children on his back depicted holding a vase, the elephant with crossed tusks and curled trunk and standing on a cloud base, the children clasping a ling chih and coral branch against the vase, the stone of even white color, h. 6‑1/2”. [18000/25000] Illustrated 234 Chinese Jade and Rosewood Table Screen, composed of a fan-shaped carved white jade plaque decorated in low relief, the carving of scholars admiring a mountainous landscape with pavilions set into a removable frame with floralpierced carving, the frame fitting into a conforming stand, the stone of slightly yellowish white jade with a russet inclusion, h. 14‑3/4”, l. 17‑5/8”. [7000/10000] Illustrated

235 Chinese Carved Celadon and Russet Jade Mountain, the mottled celadon and russet stone carved on the face as two scholars and an attendant in a pine grove among mountains, the reverse carved as a scholar crossing a bridge beneath a spreading pine tree, presented on a carved wooden stand, h. 6” including the stand, w. 5”. [500/800] Illustrated

239 241

236 Chinese Carved Jade Water Coupe, 19th century, of circular form and carved as a partially open five-petaled flower, one end with high-relief carving of flowering and foliate plum branches, the stone of even pale celadon color, h. 1‑1/2”, l. 5”. [9000/12000] Illustrated 237 Chinese Well-Carved Celadon Jade Mountain, the stone of even celadon color, carved on the face as a scholar and attendant in front of a pavilion among pine trees, the reverse carved as a bridge crossing a gorge with trees and a pavilion among rockwork, presented on a custom carved wooden stand, h. 6‑1/4” including the stand. [500/800] Illustrated 238 Chinese Carved Jadeite Figure of a Female Deity, the near white pale green stone carved as a standing haloed female figure in flowing robes with one hand raised in blessing, the other holding an overturned vase pouring out vapors, h. 4”. [350/500]

240 239 Chinese Carved Celadon and Russet Jade Group, composed of two confronting phoenix birds in pale celadon-colored jade with russet mottling, presented on a custom carved wooden stand, h. 4‑1/2”, l. 5”. [600/900] Illustrated 240 Chinese Carved Jade Paper Weight, 19th century, the nearly white stone carved in the round as a recumbent dog with curved tail, resting its head on its front paws, l. 2‑7/8”. [250/400] Illustrated 241 Chinese Carved Celadon Jade Brush Washer, carved in the shape of a mandarin duck with low-relief carving of wings, tail and details, the center hollowed as a water receptacle, l. 7”. [600/900] Illustrated 242 Group of Five Chinese Stone Snuff Bottles, comprised of a carved brown agate foliate bottle, a multicolored agate bottle, a red hair crystal bottle with inscription, a smoky agate gourd-form bottle, and a honey agate rectangular bottle, h. 2‑1/8” to 3”. [500/800] Illustrated

242

243 Group of Ten Chinese Snuff Bottles, including three jade, one bamboo, two inside-painted, two porcelain and two glass examples, presented in a padded case, bottle h. 2” to 3‑1/2”. [1500/2500] Illustrated 243

244 Group of Five Chinese Glass Snuff Bottles, comprised of a multicolored glass bottle, a white-on-blue overlay bottle, a three-colored overlay bottle, a green-on-camphor bottle, and a green-on-mustard glass bottle, h. 2‑1/2” to 3”. [500/800] 245 Group of Six Chinese Hardstone Snuff Bottles, composed of turquoise, tiger-eye quartz, hair crystal, agate and jade examples, all with low-relief carving, one with a pendant mounting, h. 2” to 3”. [500/800]

246 Group of Six Assorted Chinese Snuff Bottles, comprised of two blue and white porcelain bottles, one etched gourd bottle, one inside-painted bottle and two cast resin bottles imitating carved lacquer, h. 2” to 2‑3/4”. [400/700] Illustrated

251

247 Framed Group of Two Indian Miniature Paintings on Ivory, each executed in polychrome paint and gilding depicting men and women in open pavilions with musician entertainers, presented in a green suede mat within a giltwood frame and glazed, h. 14‑1/4”, w. 16‑5/8”. [250/400]

248 Large Southern Indian Bone-Veneered Sandalwood Glove Box, third quarter 19th century, probably Vizagapatam, of rectangular form, veneered all over with carved bone segments, the sides fluted vertically and the lid in a sunburst pattern, the edges engraved with stylized scrolls highlighted with black, h. 6‑1/4”, w. 26‑3/8”, d. 11”. For a nearly identical ivory example in the Victoria and Albert Museum, see Amin Jaffer, Furniture from British India and Ceylon (Salem, MA: Peabody Essex Museum, 2001), p. 210, item number 54. [900/1200] Illustrated

250

249 Japanese Ivory Okimono of Mahatma Gandhi, 20th century, the carved ivory statue depicting the peace advocate standing with a staff wearing glasses and his scant garment with sandals, presented on a wooden base with a metal label, signed and marked with a museum acquisition number, h. 13”. Ex-collection: The Columbus Museum, Columbus, Georgia. [250/400]

250 Group of Five Chinese Carved Ivory Snuff Bottles, comprised of three with relief carving of people in domestic scenes (one with green stones and wire applique) and two with etched designs highlighted in black ink, h. 2‑1/2” to 3‑3/4”. [500/800] Illustrated 248

246 251 Group of Six Chinese Opal and Hardstone Snuff Bottles, composed of two in malachite, one lapis lazuli, one jasper and two in precious opal, all with carving, h. 2‑1/4” to 3‑3/4”. [600/900] Illustrated

252 Group of Five Chinese Lapis Lazuli Snuff Bottles, comprised of four flattened flask-shaped bottles, three with low-relief carving, and one pear-shaped example with relief animalistic carving, h. 1‑1/2” to 2‑3/4”. [800/1200] 253 Group of Six Chinese Snuff Bottles, composed of various materials, including examples in glass, malachite, amethyst, turquoise, mother-of-pearl and assembled amber, three plain and three with carving, h. 1‑7/8” to 3”. [1000/1500] Illustrated 254 George III Mahogany Bookcase, early 19th century, the molded cornice above two astragal-glazed doors, the lower section fitted with a deep drawer over three graduated long drawers, raised on splayed bracket feet, h. 92‑1/4”, w. 50”, d. 21‑1/2”. [3000/5000] Illustrated 255 Large and Fine English Parian Porcelain “Drunken Selinus” Pitcher, third quarter 19th century, perhaps by the Mintons manufactory, h. 8‑3/4”, w. 5‑1/2”, l. 8”. [200/400] 256 Staffordshire Pottery “Bocage” Gatehouse Pastille Burner, second quarter 19th century, of triple-pavilion form in blue-lavender glaze, h. 8”, w. 10”. [100/200] Illustrated following page 254

253

256

258

257

257 Four Staffordshire “Bocage” Pottery Pastille Burners, second quarter 19th century, all in blue-lavender glaze, consisting of a large gabled cottage in the Gothic taste, h. 4‑3/4”; a house with a column at each roof corner, h. 3‑3/4”; a small “Cottage Orne” in parcel-gilt white on a flower-strewn blue-lavender base, h. 3”; and a circular lavender-blue-glazed and parcel-gilt tempietto on a separate dished base, h. 5‑1/4”, base dia. 4‑1/4”. [100/200] Illustrated

260

261

258 Three-Piece Group of Staffordshire “Bocage” Pastille Burners and Vases, second quarter 19th century, of architectural form and including a flowerbedecked hexagonal cottage, h. 4‑1/2”, a double-chimney cottage, h. 4‑3/4”, and a diminutive double-aperture posy vase in the form of a castle, h. 3‑1/4”. [100/200] Illustrated

259

259 Fine Pair of English Cut and Engraved Glass Decanters, fourth quarter 19th century, each with a silver stopper surmounted by a parrot, the bodies decorated with alternating diamond-cut lappets and engraved inverted lappets centered with finely executed rondels, h. 13”, dia. 4‑3/4”. [1500/2500] Illustrated 260 Continental Elaborately Brilliant-Cut Glass TwoHandled Vase, of tall size in “Buzz and Caned Mandorla” decor, the circular foot reverse cut with a large segmented sunburst, h. 20”, dia. 12‑3/4”. [125/250] Illustrated

261 Large Continental Elaborately Cut Glass Footed Bowl, in the Brilliant taste, the deep bowl with diamondcut addorsed leaves centering large buzzes between cut “Peacock Eyes”, the circular foot with a wide diamondcut band at its edge, h. 15”, dia. 12‑3/4”. [125/250] Illustrated 262 Suite of Four George III-Style Mahogany Armchairs, 20th century, each with a shaped and padded back within a molded frame, joined by scrolling arms to the padded and tufted seat, raised on chamfered square legs joined by an H-form stretcher, h. 38‑1/2”. [400/700] Illustrated 263 George III-Style Mahogany Drum Table, late 19th century, the circular top with a leather-inset surface, above a conforming frieze fitted with four drawers and four faux drawers, raised on a turned and bulbous standard to four splayed and reeded legs ending in brass paws, h. 29”, dia. 30‑1/2”. [1400/1800] Illustrated

262

264 Twenty-Four-Piece English Pottery Partial Tea Service, for ten persons, second quarter 19th century, the pink lustre-detailed and cobalt blue-glazed white set in the neoclassical taste, comprised of a teapot with galleried collar, h. 5”, a magnum footed cream pitcher, h. 6‑1/4”, a covered and footed vasiform sugar basin, h. 5‑1/4”, a clotted cream/curd bowl, dia. 4”, a waste bowl, dia. 6‑3/4”, ten teacups, h. 3‑3/4”, and nine saucers, dia. 5‑1/4”, each piece with decoration of a pink lustre vine bearing cobalt blue flowerheads in trios. [300/500] Illustrated

263

265 Large Dutch Bed Warmer, second quarter 19th century, the circular pan of pierced copper, the handle of turned and stained ash, l. 27‑1/2”. [150/300] 266 Anglo-Dutch Brass-Mounted Copper Bed Warmer, first quarter 19th century, the hinged lid of the pan centered with a large bas-relief fleurette, fitted with a turned ebonized wooden handle, w. 10‑1/2”, l. 40”. [100/200]

267 Edwardian Sawn and Carved Mahogany Looking Glass, first quarter 20th century, in the Early Georgian style, the tall scrolled cresting centered with two en face scrolls on either side of a single acanthus leaf, the backplate of mahogany as well, h. 44”, w. 23”. [100/200]

264

268 George III-Style Mahogany and Giltwood Looking Glass, early 20th century, the rectangular plate surmounted by a broken swan’s-neck pediment over a molded frieze, within a shaped frame with raised border and applied floral garland, h. 59‑1/2”, w. 31”. [1000/1500] Illustrated following page

268

272

269 George III-Style Mahogany Sideboard, mid‑20th century, the bowed top with reeded edge above a conforming case fitted with two graduated central drawers flanked to either side by a cupboard door, raised on tapering square legs ending in spade feet, the whole accented with inlaid stringing, h. 37”, w. 68”, d. 21”. [600/900] Illustrated 270

270 Anglo-American Sheraton Mahogany Dining Table, early 19th century, in two parts, each D-end section with a reeded top edge, supported by ring-turned tapering legs ending in brass cup casters, and including a single 21”wide leaf, h. 28”, w. 45‑1/4”, l. 43”, extended l. 64”. [1400/1800] Illustrated

269

271 Fine George IV Cut Glass Strawberry Basket and Conforming Underplate, second quarter 19th century, each of oval two-handled form, h. 5‑1/4”, w. 12”, d. 7‑1/2”. [400/700]

272 Pair of George V Two-Light Candelabra-with-Vases, first quarter 20th century, composed of pressed and cut glass in the Victorian taste, each fitted with petaled bobeches dressed throughout with short “Back-cut Albert” glass spears, h. 23‑1/2”, w. 12‑1/2”, d. 5‑3/4”. [1200/1800] Illustrated 273 Pair of George III-Style Mahogany Demi-lune Side Tables, each with a banded top centered by a half-patera inlay, above a conforming frieze with banded panels, raised on tapering square legs, h. 32‑1/4”, w. 45”, d. 19‑1/2”. [1500/2500] Illustrated 274 Queen Anne Walnut Chest-on-Chest, 18th century, the molded cornice above a case fitted with three short drawers over three graduated long drawers, the lower section also fitted with three graduated long drawers, all drawers with herringbone veneers, raised on bun feet, h. 69”, w. 42”, d. 22”. [1200/1800] Illustrated

274 275 Three Pieces of Staffordshire Pottery, first quarter 19th century, including a fine and rare brown “Rockingham”-glazed figural liquor flask of Irish statesman Daniel O’Connell (1775‑1847), h. 8‑1/4”, and a pair of “tobacco”-glazed pottery stove feet in the form of majestic recumbent lions, h. 4‑1/4”, w. 2‑3/4”, d. 4‑1/4”. [125/250] 278

276 Provincial Oak Fauteuil, mid‑19th century, the shaped crest above three like-shaped ladderbacks, joined by flat arms to the rush seat, raised on circular legs joined by a bulbous front stretcher, h. 40‑1/2”. [400/700]

273

277 Four-Piece Group of Early Staffordshire Pottery Objects, comprised of an AstburyWhieldon spotted songbird, fourth quarter 18th century, h. 3‑1/2”; a similar spotted seated hawk, of like date, h. 3”; a rare basrelief Eros-decorated scent flask of teardrop form, also of like date, h. 2‑1/2”; and a diminutive Toby figure seated on a beer barrel, first quarter 19th century, h. 3‑3/4”. [100/200] 278 Queen Anne Oak Lowboy, mid‑18th century, the rectangular top with molded edge, above a frieze fitted with three small drawers over a shaped apron, raised on cabriole legs ending in pad feet, h. 27‑1/2”, w. 29”, d. 18”. [800/1200] Illustrated

281 After Sir Peter Lely (British, 1618‑1680) “Henry Bennet, First Earl of Arlington”, oil on canvas, unsigned, 30” x 25”. Presented in a 19th-century carved giltwood and plaster frame. [1000/1500] Illustrated 282 Manner of Sir Godfrey Kneller (British, 1646‑1723) “Portrait of a Lady in a Burgundy Dress Seated Before a Landscape”, oil on canvas, unsigned, 50‑1/4” x 40‑3/4”. Presented in a contemporary giltwood frame. [2500/4000] Illustrated

282

279 Queen Anne-Style Mahogany Flip-Top Side Table, late 19th century, of diminutive proportions, the rectangular top with molded edge, hinged and opening to a baize-lined interior, above a frieze fitted with a single drawer, raised on tapering circular legs ending in pad feet, h. 29‑1/2”, w. 24”, d. 12”. [400/700] 280 Queen Anne-Style Mahogany Drop-Leaf Table, late 19th century, the rectangular top with two ovoid drop leaves, raised on tapering circular legs ending in pad feet, h. 27”, w. 42”, d. 18”, extended l. 54‑1/2”. Provenance: Countryside Antiques, Waveland, Mississippi. [600/900] Illustrated

281 283 Fine and Rare Pair of Richly Gilded Porcelain Dinner Plates, second quarter 19th century, by the Worcester Royal Porcelain Company, with Tyrrhian purple borders, the cavettos centered with the full coat-of-arms of Barons Wenman, both examples fully backstamped, dia. 10‑3/4”. Ex-collection: Leo and Doris Hodroff, Minneapolis and Palm Beach, and bearing their green circular printed paper label. Exhibited at the Atlanta Historical Society, 1985. [1400/1800] Illustrated 284 George III-Style Mahogany Tea Table, the rectangular top with an inset gilt-tooled leather surface and a raised ribbon-carved edge, above a shaped and pierced frame, raised on cabriole legs ending in ball-and-claw feet, h. 31”, w. 34”, d. 23”. [200/400]

280

285 George III-Style Mahogany Tripod Table, the shaped circular top with a sunburst inlay and raised foliate-carved edge, raised on a fluted urn-form standard to three splayed legs headed by foliate carving and ending in pad feet, h. 31”, dia. 36”. [300/500]

291

288 288

289 Good South Staffordshire Enamel Oval Sweetmeat Basket, fourth quarter 18th century, lattice-reticulated and polychromed, the interior with a well-painted still life of playing cards, w. 2‑1/2”, l. 3‑1/4”. [200/400] Illustrated 290 Good South Staffordshire Enamel Snuffbox, first quarter 19th century, the lid with a polychromed horse-racing scene edged in gilded brass, the body of cobalt blue enamel, the interior with a single dice gaming piece, w. 2‑3/8”. [100/200] Illustrated

289 290

283 291 Fine South Staffordshire PolychromeEnameled and Parcel-Gilt Tea Caddy, third quarter 18th century, in the rococo taste, the facade with an Italianate oceanside reserve, the reverse with a spray of summer flowers, the domed cap with a diminutive Italianate bayside scene, all on a white ground with raised gilt enamel enframements, h. 4‑1/4”, w. 3‑1/4”, d. 2‑1/2”. [1200/1800] Illustrated

286 Collard and Collard, London, Rosewood Grand Piano, ca. 1900, of traditional form, retaining ivory keys, raised on turned and tapering octagonal legs, h. 36‑1/2”, w. 54‑3/4”, l. 79”. [2500/4000] Illustrated

286 287 Pair of George III-Style Mahogany Armchairs, each with a shaped shell-carved crest above a vasiform splat, joined by crook arms to the padded seat, raised on cabriole legs headed by shell carving and ending in pad feet, h. 40‑1/2”. [150/250] 288 Three-Piece Group of Georgian South Staffordshire Enamels, fourth quarter 18th century, comprised of a brass-mounted rectangular sweetmeats box, h. 2‑1/2”; a floral-painted brassmounted etui of square section, h. 2‑1/4”; and a bas-relief-painted oviform patch box, l. 1‑3/4”. [100/200] Illustrated

292 Extensive Sixty-Eight-Piece Booth, Staffordshire, Ironstone Partial Dinner Service, for twelve persons, first quarter 20th century, in “Fresian” (also known as “Imari”) decor, comprised of twelve generously proportioned dinner plates, dia. 10‑1/2”, nine bread-andbutter plates, dia. 5‑3/4”, ten soup plates, dia. 8‑1/4”, ten salad/dessert plates, dia. 7‑3/4”, seven desert bowls, eight teacups, dia. 3‑1/2”, ten deep saucers, an oblong vegetable bowl, l. 10”, and a cream pitcher, h. 3‑3/4”, all of the pieces with gilded rims and fully backstamped in crimson underglaze transfer print. [250/400] Illustrated

299

293 George III Polychromed Oak Bureau, early 19th century and later, the slant front opening to an interior fitted with a variety of drawers and cubbyholes flanking a central cupboard, over a single frieze drawer with two short and two graduated long drawers below, raised on bracket feet, h. 41”, w. 43‑1/2”, d. 21‑1/2”. [2500/4000] 294 George II-Style Mahogany Stool, late 19th century, the inset padded square top upholstered in period needlework depicting a hunt, raised on square legs, h. 18”, w. 14”, d. 14”. [300/500]

295 Unusual Georgian Engraved Figure of an Aristocratic Gentleman, fourth quarter 18th century, depicted in his garden, the details of his costume in cut and applique damask and lace, the background hand colored, presented in a bright- and matte-finished giltwood frame in the neoclassical style, overall 11” x 7”. [100/200] 300

292

296 Pair of Lithographed Portraits, depicting, respectively, George I and George II of England, third quarter 19th century, each oval portrait presented in an elaborate cartouche surround with figural supporters and a secondary historical tondo, framed overall 25” x 20”. Presented in triple black, gold and celadon mats within rectangular frames in black and gold in the Georgian style and glazed. [100/200]

297 Queen Anne-Style Mahogany Wing Chair, early 20th century, the padded back joined by padded sides and outscrolled arms to the cushioned seat, raised on cabriole legs ending in pad feet, h. 43”. [400/700] 298 Large English Wooden Impaled Coat-of-Arms, composed of carved, polychromed and parcel-gilded oak, with the motto “Dieu Defend le Droit” (“God Defends the Right”), the two tangent shields with wyvern and griffin supporters, surmounted by a royal English crown, h. 29‑1/4”, w. 23”. [200/400]

299 George III Walnut Secretary, fourth quarter 18th century, the shaped and molded cornice above a star-inlaid frieze over two arched doors, each inset with a beveled mirrored panel with an incised crown design, opening to an elaborately fitted interior of various drawers and cubbyholes flanking two central cupboard doors, the lower section fitted with a drop-front secretary drawer, opening to small drawers and storage compartments, over three graduated long drawers, all banded, the lower one with a central recessed starburst pattern, raised on bracket feet, h. 85‑1/2”, w. 41”, d. 22”. [4000/7000] Illustrated 300 George III Walnut Chest, fourth quarter 18th century and later, the rectangular top banded and quarter veneered above a conforming case fitted with three short drawers over three graduated long drawers, all with chevron banding, raised on bracket feet, h. 39‑1/2”, w. 40”, d. 22”. [1200/1800] Illustrated

303

301 British School (Third Quarter 19th Century) “Portrait of Frances Horton”, oil on canvas, extensively inscribed and with a partial signature on the reverse “Frances Horton, daughter of Mr. John Horton, of No. 25 Highbury Place; Islington, near London, in the 17th year of her age, after the original by an artist named Earle, forming one of twelve family portraits painted by him during the year 1792. Copied by me during the autumn of the year 1863. Annie (?)”, 24” x 20”. Presented in a contemporary giltwood frame. [350/500] 302 Queen Anne-Style Mahogany Tea Table, mid‑19th century, the dished rectangular top above a conforming frieze fitted with a single compartmented drawer, raised on cabriole legs ending in pad feet, h. 30‑1/2”, w. 34”, d. 24”. [1200/1800] Illustrated 303 Suite of Eight George III-Style Mahogany Dining Chairs, early 20th century, in the Chippendale taste, consisting of two armchairs and six sidechairs, all with a shaped rail over an intricately carved and pierced splat, the padded seat raised on cabriole legs headed by acanthine carving and ending in ball-and-claw feet, h. 40”. [2500/4000] Illustrated 304 Queen Anne-Style Mahogany Dining Table, 20th century, the ovoid top above a shaped frieze, raised on cabriole legs ending in pad feet, the underside bearing the label “Crafted by Virginia Galleries”, h. 29‑1/4”, w. 42”, l. 64”. [600/900]

302

305 Queen Anne-Style Mahogany Lowboy, the rectangular top with molded edge above a conforming case fitted with a single long drawer over a central short drawer flanked by a deeper drawer, raised on cabriole legs ending in pad feet, h. 28”, w. 35”, d. 22”. [300/500]

308

312 G. Thompson (British, 19th Century) “Woodland Interior Scene with Herders Resting Near Their Flock”, oil on canvas, signed lower left “G. Thompson”, 20” x 26‑1/2”. Presented in a molded giltwood frame. [1200/1800] Illustrated

307

309

313 Octavius T. Clark (British, 1850‑1921) “Rushing Stream Near a Country Farm”and “View of a Riverside Path in an Autumnal Wooded Landscape”, pair of oils on canvas, the latter is dated lower right “1895”, both examples are signed “OT Clark”, 20” x 30‑1/4”. Presented in matching giltwood frames with shell corner accents. Reference: Benezit. [3000/5000] Illustrated

306 British School (Third Quarter 19th Century) “Dover, from the Ramsgate Road”, chromolithograph, after W. H. Bartlett, sight 6‑1/2” x 8”. Glazed, matted and framed. [40/70] 307 Fine and Rare Pair of Staffordshire Pottery “Bocage” Figures, first quarter 19th century, depicting, respectively, a falconer and his lady, both on rococo-style integral bases, h. 6‑1/2” and 6‑3/4”. [300/500] Illustrated 308 Staffordshire Pottery Figure of an Equestrian Highlander, second quarter 19th century, h. 15”. [100/200] Illustrated 309 Two Staffordshire Pottery Figures, second quarter 19th century, one example “Princess Royal and Her Pony”, h. 5‑1/2”, the other a girl-child standing beside a beehive in a bower, h. 7‑1/4”. [125/250] Illustrated 312 310 Attractive Eleven-Piece White Linen Table Dressing, consisting of an oval tablecloth, w. 67”, l. 112”, and ten matching square napkins, w. 16‑1/2”, each with a stylish applied coral linen scalloped edge and monogram of “KFR”. [75/125] 311 George III-Style Mahogany Partner’s Desk, the canted rectangular top with an inset leather writing surface above a case fitted with a long central drawer flanked to one side by three graduated short drawers and to the other by a short drawer over a deep drawer, raised on cabriole legs headed by scroll carving and ending in ball-and-claw feet, h. 30”, w. 58”, d. 37‑1/2”. [1200/1800] Illustrated

311

313 pair

314 Circle of Benjamin Williams Leader (British, 1831‑1923) “Extensive Mountainous Landscape with a Couple and Their Dog Resting on the Riverbank”, oil on canvas, indistinctly signed and inscribed “B. W. Leader” lower left, 48” x 80”. Presented in a handsome elaborate giltwood frame. [6000/9000] Illustrated

314

316 Chinese Carved Hair Crystal Water Coupe, 19th century, of flattened bulbous form, carved in high relief with a hydra dragon on one side and a group of ling chih fungus and foliage on the opposite side, the slightly smoky-colored stone with internal inclusions, h. 2‑3/4”, l. 5‑1/2”. [1200/1800] Illustrated 317 Chinese Carved Rock Crystal Brush Rest, 19th century, the icy stone carved as a threepeaked mountain group, the stone with reflective inclusions, h. 3”, l. 3‑1/4”. [400/700] Illustrated 318 Chinese Carved Rock Crystal Covered Box, 19th century, carved in the form of a Buddha’s hand citron with a cluster of foliage in low relief, the stone with scattered milky inclusions, w. 2‑3/4”, l. 4‑1/4”. [500/800] Illustrated 315 pair

319 Good Chinese Carved Soapstone Figure of Chang Mei, 18th/19th century, the well-carved figure depicted seated and wearing a monk’s robe with elaborate brocade designs, his shaved head and elongated earlobes accentuated by his exceptionally long eyebrows, h. 6‑1/2”. [800/1200] Illustrated 320 Chinese Calcified Quartzite Cicada, Han Dynasty (206 B.C.‑221 A.D.), carved in the shape of a cicada with partially open wings with engraved scrollwork, the reverse displaying the segmented body, now mounted with a gold bail for use as a pendant, l. 3‑1/2”. [100/200] 321 Interesting Natural Abstract Native Copper Specimen, mined in Keweenaw, Michigan, from Precambrian rock, fine form and color, with a variegated granite base, w. 4‑1/2”, l. 5‑3/4”. [75/125]

315 Frances S. Giles (British, fl. Fourth Quarter 19th Century) “Sunlit View of Figures Crossing a Woodland Bridge” and “Fisherman on a River Estuary, Early Morning”, pair of oils on canvas, both examples are signed lower right “F. S. Giles”, 20” x 30‑1/2”. Presented in matching giltwood frames with shell corner accents in the Louis XV style. Reference: J. Johnson and A. Greutzner, Dictionary of British Artists 1880‑1940. [2500/4000] Illustrated

319 316

318

317

325 Chinese Carved Ivory Figural Group, 20th century, carved in high relief and depicting a scholar and two attendants seated on rockwork beneath a pine tree, h. 4‑3/4”. [1200/1800] Illustrated

323

326 Chinese Carved Ivory Figure of a Standing Sage, first half 20th century, the figure clad in scholar’s robes holding a feathered fan, pulling on a long strand of hair, and depicted standing on an oval base, h. 3‑3/4”. [600/900] Illustrated 327 Chinese Carved Ivory Figure of a Buddhistic Monk, 20th century, the robed figure depicted seated with turned head, holding a rosary in one hand and a ball in the other, h. 3‑1/4”. [500/800] Illustrated 328 Elaborate Chinese Carved Ivory Vase, late 18th century, the baluster-form vase resting atop a dragon tortoise, the body carved in low relief with confronting phoenixes on the body, the neck carved in high relief with two hydra dragons and squirrel handles with loose rings, h. 5‑1/2”. [3500/5000] Illustrated 329 Chinese Carved Ivory Figure of the Goddess Guanyin, the figure dressed in loose robes and a cowl over a high coif, holding a lotus in one hand, the other hand raised in a mudra of blessing, h. 5‑5/8”. [125/250] 322 Rare Cretaceous Period Shrimp Fossil, (145‑65 million years B.C.), the freeform sandstone matrix slip with fossils of an adult and a juvenile specimen of Carpopenaeus callirostris showing fine detail against the matrix, h. 5‑1/2”, w. 6‑1/2”. [125/250]

324

328

323 Large Pair of Chinese Carved Ivory Figures, 20th century, depicting an Emperor and Empress, each crowned figure seated on a throne with extremely detailed carving of robes, crowns and thrones, presented on wooden stands, h. 18‑3/4”. [3500/5000] Illustrated

326

325

324 Large Chinese Carved Ivory Figure of a Female Warrior, 20th century, the standing figure dressed in elaborate armor with a quiver of arrows, long lance and sword, attached to a silver wire-inlaid wood and cloisonne stand, h. 16‑1/4”. [7000/10000] Illustrated 327

332 330 Chinese Carved Ivory Votive Figure of Guanyin, 19th century, the standing figure of the goddess depicted in long robes with clasped hands beneath her robes, a high chignon under a cowl and standing on a rockwork base, with an attached wooden lotus stand, h. 8” including stand. [1500/2500] Illustrated

330

331 Chinese Carved Ivory Belt Hook, first half 20th century, carved as a recumbent dragon topped by a crawling hydra dragon, of conventional form with a custom-carved rosewood stand, l. 5‑1/4”. [500/800] Illustrated 332 Pair of Chinese Carved Ivory Vases, 20th century, each of flattened cylindrical form, carved in low relief with archaic designs on the body, the neck with mask and loose-ring handles and Foo-dog-topped covers, presented on wooden stands, h. 7” including stand. [2500/4000] Illustrated

331 333

333 Good, Rare Chinese White Jade and Rosewood Fan and Stand, the body of the fan carved in white jade in the shape of a gourd with low-relief carving of a pheasant atop rockwork, a bird in flight over a flowering peony bush and a two-character inscription, mounted in a conforming rosewood frame and handle with attached tassels, the fan fitted into a fretwork-carved table stand, h. 14‑5/8”, l. 12”. [900/1200] Illustrated 334 Pair of Chinese Spinach Jade Covered Cups with Saucers, each cup of slightly flared shape with conforming footed and fitting cover and saucer, the dark mottled stone with good translucency, dia. 4”. [3500/5000] Illustrated 335 Chinese Carved Nephrite Jade Flute, the mottled green and beige stone carved as a cylindrical flute with seven round finger holes and an oval mouth hole, apparently carved from a single piece of stone, with a four-character etched inscription, l. 14‑3/8”. [125/250]

334

336 Chinese Carved Spinach Jade Covered Urn, carved as an archaic urn with a dragon handle with loose rings at one end and a phoenix at the other end, the body with lowrelief stylized dragon carving, the conforming cover with a winged chimera finial, h. 8”, l. 7‑1/2”. [1000/1500] Illustrated

340

339 Chinese Carved Spinach Jade Saucer Dish, 20th century, of circular form with everted rim, resting on a low foot, the stone of mottled medium green color with scattered black inclusions, dia. 7‑3/8”. [1400/1800] 340 Pair of Chinese Cloisonne Elephant-Form Altar Vessels, each composed of a standing figure of an elephant wearing a howdah on its back, topped with a double-gourd vase with ribbon handles, the elephants standing on rectangular octagonal bases with galleried fences, h. 21”, l. 13”. [2000/4000]

343 337 Chinese Spinach Jade Assembled Magnifying Glass, ca. 1930, composed of a spinach jade handle made from a belt hook with hydra dragons and a spinach jade bangle bracelet surrounding the lens, with white metal mounts, l. 9‑1/2”. [1200/1800] Illustrated 338 Pair of Chinese Spinach Jade Tea Bowls, each of circular form with conforming cover and stand, the mottled dark green stone with engraved decoration of cavorting dragons and foliate scrollwork, all filled in with gold inlay, h. 3‑3/4”, dia. 3‑7/8”. [2000/4000] Illustrated

342

336

338

344

341 Chinese Cloisonne Low Planter, first half 20th century, of circular outline with flattened rim and slightly tapered body, decorated with shaped reserve panels of antiques against a blue ground with lotus and scrolling foliage design, h. 6‑1/2”, dia. 16‑1/4”. [300/500] 342 Pair of Chinese Cloisonne Enamel Incense Burners, 20th century, each in the form of a recumbent goose with back-turned head, the wings pierced to allow the smoke out, enameled in polychrome enamels with oxidized gilded highlights, l. 7”. [250/400] Illustrated

337

343 Pair of Chinese Cloisonne Pricket Candlesticks, each with an inverted bell-shaped base supporting a shallow drip pan and a tapered stem with a smaller drip pan and pricket, enameled in traditional colors with floral decoration, h. 17‑1/2”. [1000/1500] Illustrated

347 Pair of Chinese Blue and White Storage Jars, 19th century, each of baluster form decorated in vivid underglaze cobalt blue with continuous scenes of figures in mountainous lakescapes in the Kangxi style, the bases with underglaze blue double circles, h. 10‑1/2”. [400/700] Illustrated

347

348 Large Chinese Lapis Lazuli Carving of an Archaic Wine Vessel, carved as a shaped body on three elongated legs with a single animal-form handle and two protruding toppers, the stone of good blue color with mottled white and brown inclusions, presented on a fitted wooden stand, h. 14” including the stand. [4000/7000] Illustrated

349

346

344 Pair of Chinese Cloisonne Rhyton Cups, 20th century, each in the form of a horned buffalo head with the neck becoming the cup, enameled in polychrome enamels with gilded highlights, l. 6”. [400/700] Illustrated previous page 345 Pair of Chinese Blue and White Porcelain Covered Ginger Jars, first half 20th century, each of baluster form with cap covers, decorated in underglaze blue with prominent “Happiness” characters on a ground of scrolling vines and flowers, h. 17‑1/2”. [100/200]

346 Good Chinese Imari Porcelain Octagonal Vase, 19th century, now mounted as a lamp, decorated in underglaze blue, iron-red and gilding with a continuous garden scene of pavilions, rockwork, flowering plants and cockerels with hens, opulently mounted in copper gilt in the Louis XVI style at the lip and base, h. 28”. [800/1200] Illustrated

348

349 Chinese Carved Malachite Kuang, nicely carved after an archaic bronzecovered wine vessel with dragon handle and zoomorphic cover, carved in low relief with archaic designs, the stone of rich color, presented on a wooden stand, h. 7” including stand. [2000/4000] Illustrated

350

351

353 Chinese Carved Agate Brush Washer, 19th century, carved in the form of a curved leaf, the stone of translucent light and dark brown, presented on a custom carved wooden stand, h. 2‑3/4” including stand, w. 4”, l. 4‑3/4”. [125/250] 354 Chinese Neolithic-Style Jade Ax Blade, of conventional form, the brown and celadon mottled stone with four drilled holes for attachment to the shaft, mounted on a custom painted steel stand, h. 15”. [600/900] 355 Chinese Neolithic-Style Jade Pi Disk, of typical circular form without carving, the partially calcified stone with dendritic-like inclusions in a cream and brown body color, dia. 5‑7/8”. [250/400]

350 Pair of Chinese Cloisonne PhoenixForm Vases, 20th century, each in the form of an archaic phoenix bird carrying a flattened baluster-form vase on its back, each enameled in polychrome enamels with gilded details, presented on custom fitted wooden stands, h. 13‑1/2” including stands. [700/1000] Illustrated 351 Chinese Champleve Covered Urn, 20th century, the squat bulbous body with conforming cover surmounted by a Foo-dog finial, the gilded body with champleve enamel decoration of lotus blossoms and foliage with bands of ruyi and lappets, h. 5‑3/4”. [200/400] Illustrated

352 Zhongguo Yuqi Qanji [Jade Treasures from China] (Six Volumes), an important reference work on Chinese Jade from the Neolithic Period to the Qing Dynasty, (ca. 4000 B.C.- A.D. 1911), featuring hundreds of items in provincial museums rarely illustrated in previous publications, Chinese text only (no English summary), the series edited by Yang Boda, published in Shijiazhuang by Hebei Fine Art Books, 1994, complete in six volumes, viz.: 1. Neolithic Period, by Yun Xizheng & Mou Yongkong, 2. Shang to Western Zhou Dynasties, by Chen Zhida & Fang Guojin, 3. Spring and Autumn to Warring States Periods, by Jia Er, 4. Qin and Han to Northern and Southern Dynasties, by Lu Zhaoyin, 5. Sui and Tang to Ming Dynasties, by Yang Boda, and 6. Qing Dynasty, by Li Jiufang, each in dark blue cloth boards with gilt title and glossy printed wrapper, presented in a slipcase en suite. [600/900] Illustrated

352

356

359 Chinese Well-Carved Jade Figure of a Scholar, depicted in a mountainous setting, the gray/white stone depicting a reclining scholar beneath a pine tree with a pavilion in the distance, presented on a wooden stand, h. 3‑78”. [300/500] Illustrated

259

257

360 Good Chinese Black and Celadon Jadeite Fondling Piece, carved in the black area as a three-legged toad, the celadon areas carved as ruyi heads and foliage, the reverse carved as a lotus leaf, ruyi head and foliage, presented on a wooden stand, l. 3”. [150/300] Illustrated

258

360

356 Group of Seven Chinese Carved Jade Pieces, comprised of a belt hook, a sword guard, a pi disk and four toggles, the stones varying in color from white to celadon to a semi-calcified dark brown, l. 1‑1/2” to 4”. [900/1200] Illustrated previous page

357 Good Chinese Carved Jade Vase, 18th century, in the Mogul style, of baluster form and carved all over with open fretwork of lotus blossoms and scrolling lance-shaped foliage, the stone of even pale celadon color, h. 4‑1/2”. [700/1000] Illustrated 358 Unusual Chinese Carved Jade Pomander, first half 20th century, the celadon and olive jade skillfully hollowed out, the surface carved as two cats resting among fruiting gourd vines and foliage, suspended on a silk cord with two glass beads, h. 2‑1/2”. [400/700] Illustrated

361 Large, Impressive Chinese Carved Spinach Jade Covered Jar, after an archaic example, the Hu-shaped body with low-relief stylized zoomorphic panels and monster heads with loose ring handles, the conforming cover with smaller monster heads with loose ring handles, topped with two confronting Foo dogs, presented on a fitted wooden base, h. 14‑3/4”. [3500/5000] Illustrated

362 Pair of Chinese Carved Spinach Jade Figures of Kylin, each carved of dark spinach-colored jade as a running kylin with scaled bodies, hooved feet, horned lion heads and feathered tails, each carrying a pack of books on its back, presented on carved wooden stands, h. 9‑1/4” including stands, w. 9‑1/2”. [1500/2500] Illustrated

361

362

363

363 English Gothic Revival Oak Bookcase, the case built mid‑19th century incorporating 17th century gothic elements, the molded cornice above a quatrefoil frieze with four doors below, consisting of six glazed panels with an overlaid pierced pattern of Gothic tracery, flanked to either side by a cluster-column upright, the lower section consisting of a like-carved frieze centered by a polychromed shield, over four cupboard doors, all with a tracery pierced upper portion with fabric backing, the central two doors opening to a secretary drawer fitted with a variety of drawers and cubbyholes over two short drawers, one long drawer and open storage spaces, all flanked by a molded graduated upright, the whole raised on stepped plinth feet, h. 90‑1/2”, w. 92”, d. 25”. [3000/5000] Illustrated

367 Fine English Cameo Glass Cabinet Vase, fourth quarter 19th century, probably Thomas Webb and Sons or Stevens and Williams, Stourbridge area, in white-over-frosted cranberry “Pansy” decor, the obverse with a blooming pansy flower, bud and foliage, the reverse with a cameocut butterfly, h. 4‑1/2”, w. 2‑3/4”. [1000/1500] Illustrated 368 Regency-Style Mahogany Etagere, the rectangular top with a three-quarter shaped gallery, above four likeshaped slatted shelves, supported by turned and bulbous uprights, raised on like legs ending in toupie feet, h. 77”, w. 15‑1/2”, d. 15‑1/2”. [700/1000] 369 Two Polychromed Spelter Figures of English Bulldogs, first quarter 20th century, one a large figure of a gruff seated bulldog, h. 3‑3/4”, l. 4‑3/4”, and the other a smaller figure of a grumpy looking seated bulldog, h. 2”, l. 2‑1/3”. [100/200] Illustrated

369

364 364 William IV Mahogany Linen Press, second quarter 19th century, the overhanging cornice above two doors, each with an applied arched panel, the lower section fitted with two short drawers over two graduated long drawers, raised on bun feet, h. 88”, w. 54‑1/2”, d. 24”. [700/1000] Illustrated

365 Victorian Mahogany Tripod Table, fourth quarter 19th century, the circular tilting top raised on a reeded and bulbous standard to three splayed and reeded legs ending in brass caps on casters, h. 31‑3/8”, dia. 35”. [600/900] 366 Fine English Cameo-Cut Glass DoubleGourd Vase, fourth quarter 19th century, by Thomas Well and Sons or Stevens and Williams, from the Stourbridge area, in the Japonesque taste, the finely wrought decoration in white flowerheads, buds and foliage over shaded pale peach to rose, h. 11‑1/2”, dia. 6”. [8000/12000] Illustrated

367

366

374 Nine Books on Royalty and Jewelry, From Ancient Times to Modern, including Nicholas Reeves, The Complete Tutankhamun, Salvatore Nappo, Pompeii: A Guide to the Ancient City, Hans Wolfgang Muller and Eberhard Thiem, Gold of the Pharaohs, E. Jaiwant Paul, The Unforgettable Maharajas, Jane Roberts, ed., Royal Treasures: A Golden Jubilee Celebration, David Williamson, National Portrait Gallery History of the Kings and Queens of England, Jane Struthers, Royal London, Elizabeth Taylor, My Love Affair with Jewelry, and Sotheby’s sale catalogueThe Duke and Duchess of Windsor, New York, Sale 7000, September 11‑19, 1997, in two volumes, The Public Collections and The Private Collections, presented in a heavy pasteboard slipcase with photographs of the Duke on one side and the Duchess on the other. [125/250]

372 375 370 Polychromed Spelter Figure of an English Bulldog, first quarter 20th century, the doleful canine modeled wearing a collar, h. 2‑1/2”, l. 3‑1/4”. [100/200] 371 Pair of Polychromed Spelter Figures of English Bulldogs, first quarter 20th century, the pugnacious canines modeled standing and wearing broad collars, h. 4”, l. 7”. [100/200] 372 William IV Mahogany Table, mid‑19th century, the rectangular top with a raised three-quarter gallery, above a conforming frieze fitted with a single long drawer, raised on turned and tapering circular legs ending in toupie feet, h. 32”, w. 36”, d. 18”. [400/700] Illustrated 373 Seven Decorative Bindings of Noted Poets and Essayists, including Oliver Wendell Holmes, Sr., Professor at the Breakfast Table, New York: Hurst & Co., n.d. (ca. 1890), medium sextodecimo, quarter cloth with printed scenic boards and embossed silver lettering, 6” x 4‑1/4”, John Greenleaf Whittier, Snowbound, New York, H. M. Caldwell, n.d. (ca. 1905), medium sextodecimo, full extended leather with gilt embossing and lettering and gilt and printed floral endpapers in the manner of William Morris, 6‑1/8” x 4‑1/8”, Alfred, Lord Tennyson, Enoch Arden, New York: Barse & Hopkins, n.d. (ca. 1915), pott octavo, quarter cloth with print and gilt embossed boards and lettering, gilt and rubricated title page and glassine wrapper, 8‑5/8” x 4‑1/8”, Robert Burns, Poetical Works, London, et alibi: Oxford University Press, 1923, crown octavo, in full leather with raised bands and gilt tooling, lettering, dentelle and full edges, 7‑1/4” x 5”, Elizabeth Barrett Browning, Sonnets From the Portuguese, New York: Avenel, n.d. (ca. 1985), illustrations by Fred A. Mayer, crown octavo, in printed faux-leather boards with gilt embossing and lettering, 8‑1/4” x 5‑5/8”, George Gordon, Lord Byron, Childe Harold’s Pilgrimage, Boston: Ticknor & Co., 1886, illustrated, quarto, in ochre cloth boards with black and gilt embossing and lettering and full gilt edges, 9” x 6‑3/4” and Walt Whitman, Leaves of Grass, New York: Doubleday, Doran & Co., 1940, illustrations by Lewis C. Daniel, in olive green hessian boards with applied paper title on the spine, 11” x 8‑1/4”. [50/80]

376

378 Two English Tortoiseshell Boxes, one an Edwardian bone and tortoiseshell rectangular table box, first quarter 20th century, w. 5”; and the other a similar nickel silver-inlaid tortoiseshell trinket box of oblong form, the lid gently arched, fourth quarter 19th century, w. 2‑3/4”. [150/300]

380

379 George III-Style Oak Games Table, third quarter 19th century, the rectangular top hinged and opening to a gaming surface, raised on chamfered square legs, h. 28‑7/8”, w. 35”, d. 17”, open 34”. [700/1000]

377

380 Pair of Edwardian Upholstered and Mahogany Club Chairs, ca. 1900, each with a domed, padded and parceltufted back joined to the padded seat by outscrolled arms, raised on tapering square legs, the upholstery consisting of thin strips of woven leather, h. 36”. [1500/1800] Illustrated 381 Regency-Style Mahogany Jardiniere, early 20th century, the circular lip above a slatted tapering body, raised on three legs joined by a triangular stretcher and ending in splayed feet, h. 36”, dia. 14‑1/2”. [200/400]

375 Attractive Edwardian Tortoiseshell DoubleCompartment Tea Box, first quarter 20th century, in the George III style, the hipped lid centered with a vasiform finial of turned and polished bone, the interior covers of matching tortoiseshell with bone grips of button form, the upper facade centered with an inlaid mother-of-pearl escutcheon, the whole supported on four bun feet of turned bone, h. 8‑3/4”, w. 6‑3/4”, d. 4”. [1000/1500] Illustrated previous page 376 Two English Tortoiseshell Card Cases, fourth quarter 19th century, one a bone-edged chocolate tortoiseshell card case, and the other a similar, slightly smaller russet tortoiseshell card case, h. 4”. [125/250] Illustrated previous page 377 English “Quilted” Mother-of-Pearl-Banded Tortoiseshell Double-Compartment Tea Box, third quarter 19th century, the interior edged in polished ivory and fitted with a pair of tortoiseshell covers with ivory grips of button form, the whole supported on four mother-of-pearl bun feet, h. 5‑1/2”, w. 7‑3/4”, d. 4‑1/4”. [2500/4000] Illustrated 386

382 Contemporary Bridges Brass and Graphite Walking Stick, by the West Georgia Golf Company, Tallapoosa, Georgia, model WC14012A, the polished brass handle in the “1913 Pot of Flowers Doorknob” design, the carbon graphite shaft of the same material as the famed Bridges golf clubs, l. 36”. [40/70] 383 English Cast Brass Novelty Paperweight, in the form of a Georgian tall-case clock, 1954, bears an embossed British Design Registration numeral for 1954 on the reverse, h. 6‑1/4”. [100/200]

390 384 British School (Mid‑18th Century) “Babraham” and “White Nose”, pair of hand-colored mezzotint engravings of race horses, engraved by R. Houston, sight 11‑5/8” and 13‑5/8”. Glazed, handsomely matted and framed en suite. [150/300] 385 C. Ambrose (British, 19th Century) “Portrait of a Gentleman Wearing a Black Coat”, 1846, oil on canvas, signed and dated on canvas verso, retains canvas stamp “Prepared by Charles Roberson, 51 Long Acre, London”. Presented in a period giltwood frame. Reference: Benezit. [600/900] 386 Francis S. Anderton (British, 1867‑1909) “Portrait of a Young Scholar Seated Beneath an Armorial with the Motto Flectimus Nunquam”, oil on canvas, signed and dated lower left “F. S. Anderton 99”, 45‑1/2” x 30”. Presented in an elaborate Louis XV-style frame. [1400/1800] Illustrated

388

387

387 Pair of George III-Style Mahogany Demilune Side Tables, each with a double-banded top and an inlaid half patera, above a conforming frieze with like banding, raised on tapering square legs, h. 32‑1/2”, w. 45”, d. 19‑1/2”. [600/900] Illustrated 388 George III-Style Mahogany Games Table, in the Hepplewhite taste, the rounded rectangular top with reeded edge, hinged and opening to a playing space, above a deep frieze fitted with a single drawer, raised on line-inlaid tapering square legs, h. 32‑1/2”, w. 34”, d. 17”. [400/700] Illustrated

392 David Motley (British, fl. 1898) “Panoramic Autumnal View of a Cliffside Waterfall”, oil on canvas, signed lower right “D. Motley”, 50” x 30”. Presented in a contemporary carved giltwood frame. Provenance: Private collection, Sarasota, Florida. Reference: J. Johnson and A. Greutzner, Dictionary of British Artists 1880‑1940. [2500/4000] Illustrated

391 389 Circle of Charles Towne (British, 1763‑1840) “Travelers with Cattle and Sheep on a Path by a Mountain Lake”, oil on canvas, unsigned, 9‑1/8” x 11‑1/2”. Presented in a later giltwood frame. [500/800] 390 Arthur Joseph Meadows (British, 1843‑1907) “Extensive View of a Riverside Village with Boats, Animals and Townsfolk on the Shore”, oil on canvas, signed lower left “Arthur Meadows”, 30” x 50”. Presented in a contemporary molded giltwood frame. Provenance: Private collection, Sarasota, Florida. [6000/9000] Illustrated previous page 391 Jack M. Ducker (British, fl. 1910‑1930) “Sunset Over a Tranquil River Landscape”, oil on canvas, signed lower left “J. Ducker”, 24” x 32”. Presented in a contemporary molded giltwood frame. [1400/1800] Illustrated 392 393 Joel Owen (British; Active 1892‑1931) “Mountainous Landscape at Sunset with Sailboats on a Lake”, oil on canvas, signed lower right “J. Owen”, 16‑1/4” x 24‑1/4”. Presented in a handsome giltwood frame. [1500/2500] Illustrated 394 British School (Second Quarter 19th Century) “Floral Studies”, suite of three hand-colored lithographs, by Mrs. Badger, one example is sight 13” x 9‑1/2”, the other two are sight 15‑1/2” x 11”. Glazed, matted and framed en suite. [500/800] 395 Edwardian Satinwood Three-Fold Screen, ca. 1900, in the Adam taste, each panel with an arched patera-inlaid crest above a glazed pane with overlaid wooden scrolling and bellflower ribbon accents, the lower section with a double-sided fabric panel, h. 72”, w. 66”. [1400/1800] Illustrated 393

396 Edwardian-Style Mahogany and Satinwood Library Table, mid‑20th century, the rectangular top with an inset leather writing surface and four projecting turreted corners, above a conforming frieze fitted with three drawers to each side, all banded, raised on tapering circular legs ending in brass caps and casters, the interior of the central drawer bearing the label “Wayne Pratt & Co. Custom Furniture Woodbury CT/Nantucket, MA”, h. 30”, w. 66”, d. 42”. [1200/1800] Illustrated

395

400

397 Interesting Collection of Four Letters of Acknowledgment, from, respectively, Kensington Palace, Clarence House, Buckingham Palace and the Castle of May to Mr. W. F. Reed and dated 1964, 1958, 1954 and 1966, presented in matching narrow giltwood frames and glazed, frame 11” x 8”. [100/200] 398 Large Pair of George VI Drapery Valences, composed of matte “Wedgwood blue”-painted, parcel-gilt wood and plaster in the style of Robert Adam (1728‑1792), the facade centered with a giltwood lighted Antique lamp, the flanking blue-painted panels with alternating upright gilded bellflowers and anthemia, h. 6”, w. 48‑1/4”, d. 7‑1/2”. [400/700] Illustrated

398

399 Twenty-One-Piece Royal Chelsea, England, Partial Tea and Dessert Service, for eight persons, the parcel-gilt and turquoise enamel-jeweled porcelain service in the “Gothic” pattern, comprised of eight dessert plates, dia. 8‑1/4”, eight large tea saucers, dia. 6”, and five large teacups, h. 3‑1/2”, all of the components fully backstamped in black underglaze transfer print, the plates and saucers with the decorator’s mark in gold. [100/200] 396

400 Regency Mahogany and Burlwood Console, first quarter 19th century, the demi-lune top with a full pierced brass gallery above a banded frieze, joined by a mirrored back and turned gilt uprights to a demi-lune plinth base, h. 38”, w. 34”, d. 17”. [3500/5000] Illustrated previous page

407

405

401 Regency-Style Mahogany Pedestal Desk, the rectangular top inset with three leather writing surfaces, above a frieze fitted with three drawers, raised on two pedestals, each fitted with four short graduated drawers, flanked to either side by a leather-inset pilaster with an ormolu capital, raised on a plinth base, the reverse fitted with a like arrangement of false drawers, h. 30‑1/2”, w. 64”, d. 34”. [1500/2500] Illustrated

406

404

402 Pair of Regency-Style Carved Giltwood and Iron Two-Light Appliques, second quarter 20th century, in the late 18th-century neoclassical style, modeled as ribbons pendant from classical male-masque bosses centering a displayed eagle surmounting a pair of candlearms, the lower backplates modeled as bead-bound sheaves of laurel, not electrified, h. 23”, w. 12‑1/2”. [500/800] 403 Regency-Style Mahogany Bowfront Chest, the bowed top above a conforming case fitted with four graduated long drawers, the whole raised on splayed legs, h. 35”, w. 48”, d. 22”. [300/500] 404 Regency-Style Giltwood Convex Looking Glass, of large size, the central molding in a stylish black and white-painted Greek-key design, dia. 37”. [1800/2500] Illustrated 405 Chinese Export Black-Lacquered and Gilded Wooden Tea Box, second quarter 19th century, with deux-couleur gilding in “Mandarin’s Garden” decor, the interior fitted with a removable black lacquer tea canister of oblong section and a compartment for the mixing glass, h. 6”, w. 11”, d. 7”. [200/400] Illustrated

401

406 Chinese Export Gilded Black Lacquer Tea Box, second quarter 19th century, of octagonal form with deuxcouleur gilding in “Mandarin’s Garden” decor, the interior fitted with the original conforming pair of engraved pewter tea caddies, the whole supported on four stylized carved wood paw feet, h. 5”, w. 7‑3/4”, d. 5‑3/8”. [250/400] Illustrated

407 Good Chinese Export Gilded Black Lacquer Jewel Chest, in the form of a miniature armoire, the deux-couleur gilt decoration in “Mandarin’s Garden” motifs, the two doors opening to reveal five stacked small drawers with turned bone pulls, the drawer fronts with deux-couleur gilt floral decoration, h. 15‑1/2”, w. 13‑1/2”, d. 7‑3/4”. [1000/1500] Illustrated

409

410 Edwardian-Style Mahogany and Ebonized Chairside Lamp Table, mid‑20th century, the lamp supported on a brass standard to a concave rectangular top with a gilt and polychromed oriental landscape, raised on a turned and bulbous ribbed standard to a concave tripartite base to scrolled feet, h. 54”, w. 18”, d. 14”. [400/700] 411 Victorian Tole-Peinte Coal Hod, third quarter 19th century, of tapering rectangular form, the hinged lid and front featuring a pastoral landscape scene, the lid largely worn, the sides fitted with handles, the whole raised on paw feet, h. 18‑1/2”, w. 21‑1/2”, d. 17”. [300/500]

408 Georgian Japanned Swing Shaving Mirror, second quarter 19th century, the gold, red detailed, japanning on a black ground, presented on a serpentine facade base on bun feet, h. 16”, w. 14‑1/2”, d. 6‑1/2”. [250/400]

413

409 Rare English Pontypool Painted and Parcel-Gilt Pewter and Brass Cider Urn, second quarter 19th century, of footed upright barrel form, the body painted en brun with a chinoiserie scene of a Chinese family in a landscape with an obelisk, the whole supported on three modified cabriole legs with ball feet, h. 12‑3/4”, dia. 5‑1/2”, d. 9‑3/4”. [600/900] Illustrated

412

412 Anglo-Colonial Mahogany and Rosewood Games Table, mid‑19th century, the rounded rectangular top banded and opening to a baize-lined interior above an annulated and paneled frieze with gilt patera accents, raised on a giltwood standard with acanthine gadroon carving, to a square base with scrolling legs ending in foliate caps and casters, h. 30”, w. 36”, d. 18”. [1200/1800] Illustrated 413 Regency-Style Mahogany and Marble-Top Occasional Table, the square top with a full pierced brass gallery and specimen marble checkerboard inlay, raised on a circular reeded standard to a concave square base to ormolu paw feet, h. 29”, w. 18‑1/2”, d. 18‑1/2”. [1200/1800] Illustrated

417

416

416 Fine William IV Patinated Bronze DoubleHandled Vase, second quarter 19th century, after the famed ancient “Warwick Vase”, the interior of the bowl with a conforming giltbrass liner, the square polished black slate base with a gilt-brass basal edge, h. 11‑1/2”, w. 14”, dia. 9”. [1200/1800] Illustrated 417 Good Pair of English Black/BrownPatinated Bronze Garniture Coupes, third quarter 19th century, in the form of the celebrated “Warwick Vase”, h. 5‑1/2”, w. 8‑1/2”. [200/400] Illustrated

418 420 top

414 English Etching, Entitled “Two Noble Friends”, depicting two Georgian dandies meeting and shaking hands, dated 1757, monogrammed in the plate lower left “JK” in entwined script, framed overall 11‑1/2” x 9‑1/2”. Presented in a later brass-mounted giltwood frame in the neoclassical taste. [40/70] 415 Victorian Silverplate Figural Centerpiece, third quarter 19th century, unmarked but possibly Elkington & Co., Birmingham, featuring two greyhounds on either side of a pair of twisted palm trees, all on a rocky crag, all realistically modeled and well detailed, h. 17‑1/2”, dia. 10‑1/8”. [200/400]

420

418 Regency Rosewood and Calamander Work Table, first quarter 19th century, the canted rectangular top above a conforming frieze fitted with a single drawer and with corner inlaid foliate accents, above a fabric demilune pull-out storage well, raised on a turned standard to a circular base on cabriole legs ending in brass paws on casters, h. 29‑1/2”, w. 22‑1/4”, d. 15‑3/4”. [1400/1800] Illustrated 419 Far Eastern Slide-Top Desk Box, first quarter 20th century, composed of bone-inlaid ebonized hardwood and quill, probably from the Galle area, h. 2”, w. 4”, l. 6‑3/8”. [75/125] 420 Regency Rosewood Tripod Table, second quarter 19th century, the tilting octagonal top banded and with a molded edge, raised on a fluted columnar standard to a circular base raised on three scrolling legs, the whole with inlaid brass stringing and ormolu mounts in the Empire taste, h. 29”, dia. 33”. [1400/1800] Illustrated

425

424

421 Chinese Export Porcelain Floral-Enameled Ale Tankard, first quarter 19th century, of ringed barrel form, h. 5‑3/4”. [125/250] 422 Chinese Export Famille Rose Porcelain Bowl, 19th century and later, decorated on the interior with a floral bouquet and on the exterior with two three-masted ships flying the Danish flag, dia. 9”. [500/800] Illustrated

422

423

423 Chinese Export Porcelain Mandarin-Pattern Punch Bowl, 19th century, of circular outline, decorated in underglaze blue and famille rose enamels, the exterior with figural reserve panels on a Y-fret figural medallion with a hexagonal underglaze blue rim and polychrome floral border, h. 5”, dia. 11‑3/8”. [600/900] Illustrated 424 Anglo-Colonial Mahogany Armchair, late 19th century, the domed crest above a caned back, joined by downswept arms to the caned seat, raised on bulbous and turned circular legs ending in toupie feet, h. 43”. [1000/1500] Illustrated 425 Victorian Mahogany Campaign Trunk, third quarter 19th century, of rectangular form, the top centered by a brass plaque and with corner brass accents, hinged and opening to a void interior, the whole with brass band accents and side handles, h. 19‑1/2”, w. 41‑1/2”, d. 20‑1/2”. [500/800] Illustrated

426 Campaign-Style Mahogany and Burlwood Trayon-Stand, the rectangular tray with a shaped gallery and pierced handles, raised on a collapsible X-form stand, h. 32‑1/2”, w. 24‑1/4”, d. 18”. [200/400]

427

430 Large English Polychromed Wood Tearoom Sign, second quarter 20th century, the double-faced earred sign reading “Sylvia/Afternoon Tea” beneath a single rose bloom, fitted with wrought-iron suspension loops and link hanging chains, h. 47‑1/2”, w. 37”. [100/200] 431 Attractive Three-Piece English Porcelain Tea Service, first quarter 19th century, attributed to the “Pattern Book Factory”, in the neoclassical style, comprised of an oval teapot, h. 9‑3/4”, a matching oval covered ringhandled sugar basin, h. 5‑1/2”, and a cream pitcher en suite, h. 4‑1/2”, all with gilded ivy borders of cobalt blue. [300/500]

427 Anglo-Colonial Mahogany and Cane Armchair, mid‑19th century, the curved and rounded crest above a caned back and sides, joined by downswept arms and scrolling hand rests to the caned seat, raised on bulbous and reeded circular legs joined by an Xform stretcher and ending in flattened bun feet, h. 43”. [1200/1800] Illustrated 428 Set of Four Worcester, Flight, Barr and Barr Period, Porcelain Dinner Plates, first quarter 19th century, in brilliantly enameled “Chinese Flowers” decor, the bases all with the expected crowned FBB mark impressed underglaze, dia. 9‑1/2”. [300/500] Illustrated 429 Late Regency Rosewood Teapoy, second quarter 19th century, the rectangular plinth top opening to an interior fitted with four lidded compartments and space for two mixing bowls, raised on a paneled standard to a rounded concave base to in-scrolled toes, h. 31‑1/2”, w. 17‑1/2”, d. 14”. [300/500]

433 suite of four

432 British School (Second Quarter 19th Century) “Botanical Studies”, suite of eight hand-colored engravings, engraved by Watts, sight 9” x 5‑1/2”. Glazed, matted and framed en suite. [700/1000]

428

433 British School (Second Quarter 19th Century) “Dahlia”, “Rhododendrum”, “Amaryllis” and “Peony”, group of four hand-colored botanical lithographs, sight 13‑1/2” x 9‑1/2”. Glazed, matted and framed en suite. [600/900] Illustrated 434 Regency-Style Olive Wood and Mahogany Center Table, the highly figured circular top with sunburst veneers and molded edge, raised on a triangular graduated standard to a concave tripartite base with paw feet on casters, h. 31”, dia. 72”. Provenance: Bruce Foreman Design, Baton Rouge, Louisiana. [2500/4000] Illustrated

435 George III-Style Mahogany Bowfront Sideboard, late 19th century, the bowed top above a conforming case fitted with a central cutlery drawer flanked to either side by two small graduated drawers, raised on tapering square legs, h. 31”, w. 48‑1/2”, d. 23‑3/4”. [900/1200] Illustrated 436 A Victorian Picture of Conway Castle, composed of carved cork and sand displayed against a watercolor wash sky, with a small plaque mounted to the mat inscribed “Conway Castle in 1750”, overall h. 19‑1/4”, w. 23‑1/4”. Glazed and presented in a period bird’seye maple frame. [100/200]

434

440

437 George III-Style Mahogany Lamp Table, of diminutive proportions, the square top with a raised scalloped edge, above a conforming frieze fitted with a single candle slide, raised on slender tapering square legs, h. 25‑1/4”, w. 11‑1/4”, d. 11‑1/4”. [500/800] 438 George III-Style Mahogany Side Table, the rectangular top above a conforming frieze fitted with a single drawer, raised on tapering square legs, h. 32”, w. 24‑1/2”, d. 15‑3/4”. [100/200] 439 Regency Mahogany Pembroke Table, first quarter 19th century, the rectangular top with two rounded drop leaves, above a frieze fitted with one end drawer, raised on turned, tapering circular legs ending in peg feet, h. 29”, w. 40”, d. 20”, extended l. 42‑1/2”. [1000/1500]

435

440 Unusual Regency Old Sheffield Plate Hot Water Urn with Sterling Silver Crest Finial, first quarter 19th century, the sterling finial partmarked by Joseph Craddock and William Ker Reid, 1812‑1824, the fused plate body in the form of a horizontal barrel with reeded head hoops, the downturned spigot in one head, with rotating S-shaped handle and turned wooden finial, the body with opposing ringed lion’s-masque handles and raised on four flat columnar legs ending in lion’s-paw feet, above a shaped plinth centering a detachable burner and raised on four spherical feet, the fitted oval lid with a well-cast and chased sterling silver finial in the form of an elephant’s head erased and collared: the crest of Pigeon of Beckham & Yockthorpe, Norfolk, h. 18”, w. 9‑3/4”, l. 13‑3/4”. [500/800] Illustrated

441 Regency Cased Sterling Silver and Stained Ivory Fruit Service, hallmarked Sheffield, 1811‑1826, by Thomas Sanson and John Nowill, including twelve forks, l. 6‑1/4”, and twelve knives, l. 7‑5/8”, the forks with four tines, the knives with blunt-shaped blades, all with green-stained ivory handles carved with a central textured lozenge with radiant palmettes to a gadrooned silver ferrule, presented in the indigo velvet-line fitted mahogany case with two lift-out trays, the lid with inlaid brass plaque and stringing, h. 2‑1/4”, w. 10‑1/4”, d. 9‑1/4”. [900/1200] Illustrated

443

442 Two Pairs of Sterling Silver Master Salt Spoons, the first an English Regency pair, hallmarked London (no city mark), 1815, by Thomas Streetin, in the traditional “Fiddle” pattern, with gilt bowls and engraved crest of a rose and a lion’s head couped, l. 4”, and the second an American pair in Gorham’s “Delhi” pattern, introduced in 1881, Providence, Rhode Island, retailed by Spaulding & Co., Chicago, monogrammed “LRF”, l. 3‑1/2”, 1.48 total t. oz. [100/200] 443 Pair of Victorian Gilt Silverplate and Glass Compotes, bearing a British design registration date of September 16, 1870, in the Renaissance Revival taste, each with a gilt silverplate tripodal base, each foot with an applied figure of a putto riding a fierce wyvern, all below a ring of floral medallions and an ovoid standard surmounted by a receptacle fitted with a scalloped, cut and frosted glass dish, overall h. 9‑1/4”, dia. 8‑3/4”. [1500/2500] Illustrated 444 Late Victorian Sterling Silver Gilt and Cut Glass Compote, hallmarked London, 1897‑1898, by Edward Barnard & Sons, with a central ovoid standard above a stepped and shaped base, decorated with chased floral panels, laurel and ivy leaf banding, and a pair of seated musical putti, surmounted by a circular glass dish in a finely cut diamond and fluted pattern, with a central putti finial, h. 8‑1/2”, dia. 8‑1/4”, 36.27 t. oz. (excluding glass). [1200/1800] Illustrated

444

441

445 Victorian Silverplate and Cut Glass Claret Jug, fourth quarter 19th century, by James Dixon & Sons, Sheffield, the spherical glass body cut in a diamond lattice and oculus pattern with a starburst base, the tall neck clad in a silverplate collar embossed in the form of a fluted column with acanthus and cabochon banding, with a hinged “duck’s beak” spout with gilt interior and C-scroll finial billet, to a scrolling acanthus-mounted handle, h. 13‑1/4”, dia. 5‑1/4”. [1000/1500] Illustrated

446 Pair of Victorian Cased Silverplate and Ivory Fish Servers, fourth quarter 19th century, including a knife with scimitar-shaped blade, l. 12‑3/4”, and a five-tined fork, l. 9‑3/4”, the silverplate blade and fork heel pierced and engraved with scrolls, crosses and swags, each with a baluster-carved ivory handle with annulated and gadrooned base to an embossed silverplate ferrule, presented in the original fitted, ruched blue satin-lined case, w. 5‑1/4”, l. 15‑1/4”. [500/800] Illustrated 447 Good Pair of Edwardian Silverplate Candlesticks, first quarter 20th century, by Hawksworth, Eyre & Co., Sheffield, in the Georgian taste, the baluster standard with a spiral-fluted knop above and a gadrooned one below, surmounted by a gadrooned cannon-form nozzle, fitted with a detachable spiral-fluted square bobeche, raised on a steep spiral-fluted dome above a stepped square base with gadrooned edge, h. 10‑1/2”, w. 4‑7/8”. The design of these candlesticks is taken after a popular model by silversmith Ebenezer Coker (fl. London, 1738‑1783), which he cast extensively as both single sticks and candelabra throughout the 1760’s. [700/1000] Illustrated 448 George V Silverplate and Faux-Tortoiseshell Tea Caddy, first quarter 20th century, by Barker Brothers, Birmingham, in the Adam taste, of oval form, the straight sides decorated with printed celluloid faux-tortoiseshell sections framed by silverplate stringing, the hinged and domed lid with vasiform finial, the whole with narrow reeded banding and raised on four scroll-crested pad feet, h. 7‑3/4”, w. 6‑1/2”, d. 4‑1/2”. [600/900] Illustrated

445

447

449

448

449 Set of Twelve George V Silverplate Service Plates, first quarter 20th century, by Mappin & Webb, Sheffield, each of circular form with recessed plateau and beaded rim, dia. 10‑1/4”. [900/1200] Illustrated 450 Victorian Sterling Silver Sauce Dish, hallmarked London, 1875‑1876, by Barnard & Sons, of flattened spherical form, the body with a pair of realistically detailed coquille handles, the fitted lid with acanthus-bud finial, the interior gilt, engraved on the body with the crest and motto of Solomon Barnato Joel (1865‑1931) of Great Stanhope Street, London, h. 4‑3/4”, dia. 6”, w. 7‑3/4”, 17.23 t. oz. [600/900]

446

454

453 American Silverplate Salver, second quarter 20th century, by the Friedman Silver Co., Brooklyn, New York, in the Georgian taste, with shaped and applied “shell-and-scroll” border, the conforming plateau engraved with a wide band of leafy scrolls on a trellised ground, raised on three shell-and-scroll feet, dia. 14”. [150/300] 454 Pair of English Silverplate Wine Coolers, second half 20th century, by Royal Castle, Sheffield, each with a lobed ovoid body, applied floral-scroll banding and opposing “oak branch” handles, the shaped rocaille rim fitted with a conforming detachable liner, the whole raised on a waisted and gadrooned circular foot, h. 10”, w. 12”, d. 9‑3/4”. [1200/1800] Illustrated

455 English Silverplate Wine Cooler, third quarter 20th century, of campana form, the body lobed on the lower half and decorated with floral rim, opposing handles and applied cartouche of the arms of the United Kingdom, raised on a waisted and cavetto-domed foot en suite, h. 10‑3/4”, dia. 9”, w. 10‑3/4”. [100/200]

456

456 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 457 English Sterling Silver Figure of a Pheasant, hallmarked Sheffield, 2010, by Camelot Silverware, the electroform, bonded porcelain-filled figure realistically detailed and in near life-size, h. 11‑1/2”, l. 20”, weighted. [1400/1800] Illustrated

451 George V Sterling Silver-Mounted Cut Glass Biscuit Barrel, hallmarked Sheffield, 1915‑1916, by James Dixon & Son, the slightly bulbous spherical body cut on the lower half with a diamond and octagon pattern, on the upper half with arching fans, and on the base with a starburst, the sterling silver collar embossed with acanthus and scrolls, with a pierced floral swing handle and fitted lid with stylized floriform finial, h. 5” (8‑1/2” with handle), dia. 6‑1/4”. [900/1200] 452 Edwardian Cased Silverplate and Faux-Ivory Fish Service, first quarter 20th century, including six fish forks, l. 6‑3/4”, and six fish knives, l. 8”, the forks with four tines and waisted heels, the knives with scimitarshaped blades, all with celluloid faux-ivory handles of rounded rectangular section, presented in the original cream satin- and black velvet-lined, fitted trapezoidshaped case, l. 8‑3/4”, w. 9‑3/4”. [125/250]

457

458 Angora Oushak Carpet, 10’ 3” x 14’ 4”. [9000/12000] Illustrated 459 Turkish Angora and Silk Oushak Carpet, 9’ 9” x 14’. [3000/5000] 460 Pair of Verdure Wool and Silk Tapestries, 2’ 6” x 7’ 6”. [2500/4000] 461 Antique Persian Kashan Carpet, 9’ 8” x 13’ 3”. [5000/8000]

458

471 462 Oushak Carpet, 11’ 5” x 15’. [3000/5000] 463 Persian Serapi Carpet, 11’ 3” x 15’ 7”. [9000/12000] 464 Antique Persian Heriz Runner, 2’ 3” x 13’. [1500/2500] 465 Angora Oushak Carpet, 4’ 9” x 6’ 8”. [2000/4000] 466 Peshawar Sultanabad Carpet, 8’ x 10’. [900/1200] Illustrated 467 Mahal Carpet, 5’ 5” x 10’ 2”. [1500/2500] 468 Persian Karajeh Runner, 2’ x 9’ 6”. [500/800] 466

469 Antique Serapi Carpet, ca. 1880, 8’ 9” x 10’ 8”. [3500/5000] 470 Turkish Angora Oushak Carpet, 8’ 1” x 9’ 8”. [1400/1800] 471 Angora Oushak Carpet, 12’ 3” x 15’. [9000/12000] Illustrated previous page 472 Tabriz Carpet, 7’ 5” x 11’ 4”. [600/900] Illustrated

474

475 Framed Chinese Scroll Fragment, the scroll in ink and colors on silk depicting three scholars under a pine tree in a landscape playing Go, two scholars seated on garden seats before a table bearing the board and pieces, the third scholar standing and watching the game, h. 27‑3/4”, w. 17‑3/4”. [100/200] 476 Chinese Cinnabar Cabinet Maker’s Model of a Wardrobe, in two parts, the upper cabinet with two doors and removable bar, the lower cabinet also with two doors and removable bar, the doors carved with scenes of figures enjoying landscapes, the sides carved with archaic designs with flowers, the interior of the lower section with a removable floor opening to a hidden compartment, h. 27‑1/4”, w. 15‑1/2”, d. 7‑3/4”. [3000/5000] Illustrated

472 473 Chinese Softwood Bound Storage Box, 20th century, of slightly rectangular form, the top with a hinged partial opening top, the front with metal hasp and lock and reinforced with metal banding at the edges, lined in calligraphy-printed paper, h. 6‑1/2”, w. 16”, d. 13‑3/8”. [200/400] 474 Monumental Chinese Carved Wood Votive Statue of Buddha, 19th century, composed of a figure of the seated Buddha clad in monk’s robes with one hand raised in a mudra of blessing, the seated figure atop a triple base carved with auspicious symbols of dragons, kylin and deer, a double lotus and base with cabriole feet and shaped apron and stretcher, the entire shrine with painted ground and gilt details, now resting on a later black lacquered wood stand, h. 69”, w. 31”, d. 30”. [1200/1800] Illustrated

476

477 Group of Four Chinese Carved Ivory Figural Snuff Bottles, all with polychromed decoration, one a standing sage with staff, one a conjoined pair of figures, one a female figure riding an elephant, and one a female figure atop a horse, h. 2‑1/2” to 4”. [700/1000] Illustrated

482 481

478 Chinese Modern Lacquered and Painted End Table, 20th century, the wooden body shaped as an inverted “U” with gold lacquer and painted decoration of female figures against a ground of gold lacquer bamboo and clouds, h. 20‑1/4”, w. 19‑7/8”, d. 14”. [150/250] 479 Chinese Cloisonne Bombe-Form Planter, the bulging center resting on a double horizontal band base and topped by a single flat band and everted rim, decorated in polychrome enamels with stylized archaic masks and designs on the exterior and cloud forms on the neck and rim interior, h. 10‑1/2”, dia. 14‑1/4”. [300/500]

480

480 Two Japanese Plique-a-Jour Vessels, 20th century, each with brass wire frames and translucent and opaque enamel decoration of flowers on a “fish scale” ground, dia. 3‑1/2” and 4‑3/4”. [125/250] Illustrated

481 Japanese Plique-a-Jour and Silver Miniature Vase, Meiji Period (1868‑1912), of beaker form with silver wire rim and base, the translucent enamels executed as flowers and foliage, with a two-character mark on the base, h. 3‑1/2”. [400/700] Illustrated

477

482 Unusual Japanese Plique-a-Jour Openwork Vase, 20th century, of baluster form with floral plique-a-jour enamel decoration and two openwork central panels depicting birds among flowering branches, presented on a wooden stand, h. 5”. [200/400] Illustrated 483 Unusual Chinese Carved Rootwood Brush Pot, of freeform outline and carved following the shape of the root with indented knotholes, finished with a lip rim along the top and a soft polished surface, h. 4‑7/8”, l. 5‑3/4”. [600/900] Illustrated

483

484

485

484 Chinese Carved Boxwood Figure of a Seated Louhan, 19th century, the seated figure clad in monk’s robes with brocade trim and with a shaved head, closed eyes and a disapproving look on his face, depicted seated in the “Royal Ease” position with a small bowl held as an offering, h. 5‑1/4”. [500/800] Illustrated 485 Unusual Chinese Carved Jadeite Cave Sculpture, the brown jade stone carved out revealing a green interior with a seated deity and attendant, a table of peaches and a weeping tree in the background, h. 6‑1/4”. [1000/1500] Illustrated

489 490

489 Two Chinese Carved Bamboo Brush Pots, each of cylindrical form with indented relief carving depicting scholars and attendants in naturalistic settings beneath pine trees, h. 5‑1/2” and 6‑1/4”. [250/400] Illustrated

487 492

488

486

491

486 Chinese Dali Marble and Rosewood Wall Plaque, 19th century, composed of a central round plaque of Dali marble of white ground with brown and black rivering, depicting ranges of craggy mountains, mounted in a custom rosewood frame with cast-bronze hanger, h. 17”, w. 17”. [600/900] Illustrated 487 Chinese Carved Clarified Amber Figure of Buddha, 20th century, carved in elaborate detail as a seated figure of Buddha on a double lotus base and framed with a flaming mandorla, the reverse with a single-character inscription, h. 5‑1/2”. [500/800] Illustrated 488 Indian Carved Ivory Figure of Shiva, first half 20th century, carved from the tip of a tusk with a detailed figure of the goddess seated on a lotus throne with six arms, depicted within a cave formed by the tusk, h. 5”. [800/1200] Illustrated

490 Two Chinese Carved Wooden Statues of Deities, comprised of a male and female figure, each clad in elaborate robes and standing on rockwork bases, the male holding a disk with the character for sun, the female a disc with the character for moon, h. 7‑3/4”. [250/400] Illustrated 491 Good Chinese Carved Ivory Figure of an Immortal, 19th century, the bald pate figure with elongated earlobes and dressed in monk’s robes and standing on cresting waves, nicely patinated, h. 4‑3/4”. [400/700] Illustrated

492 Chinese Partial Glazed Tileworks Votive Figure of Buddha, ca. 1780, the seated, crowned figure with clasped hands before a flaming mandorla, flanked by two acolytes, the whole partially glazed in aubergine and turquoise glaze, presented on a fitted giltwood lotus base, h. 12‑1/2” including stand. Excollection: J. C. Naon & Cia. [1400/1800] Illustrated

495 Unusual Chinese Ruyi Scepter Carved from a Burled Root, 19th century, the root carved as a gnarled branch with large burled fungus head at one end and a small fungus head at the other, presented on a custom acrylic display stand, h. 4”, l. 20”. [1800/2500] Illustrated

493

496 Chinese Stacked Wooden Food Carrier, in two stacked sections with conforming cover, seated in a fitted base with carrying handle, the nicely grained wood with smoothed finish, h. 10‑3/4”, w. 9‑1/2”, l. 16”. [200/400] Illustrated 497 Chinese Rootwood Brush Pot, 19th century, of large size following the shape of the trunk, the surface covered all over with burled knots, the interior hollowed leaving a thick wall, h. 8‑1/2”, w. 9‑3/4”. [1800/2500] Illustrated 498 Chinese Two-Color Carved Lacquer Brush Pot, 19th century, the black ground with cinnabar lacquer overlay carved with a continuous scene of pavilions and gardens alongside a mountainous lakescape over a fretwork basal border, h. 5‑3/4”, dia. 5”. [2500/4000] Illustrated

494

497 499 498

493 Chinese Two-Color Scholar’s Gazing Stone and Stand, the layered stone polished to reveal the dark brown figure of a Chinese oak tree on rockwork against a gray/white stone, presented on a wooden stand, h. 23”. [300/500] Illustrated 494 Large Chinese Carved Jadeite Cave Sculpture, the brown jade stone carved out revealing a green interior with two boys carrying a sack surrounded by ruyi heads, a gourd and a Buddha’s hand citron, presented on a custom blackwood stand, h. 8‑1/2” including the stand. [1400/1800] Illustrated

496

495

504 Chinese Jade and Gilt-Metal Shrine, composed of a central figure of Guanyin seated on a lotus throne set in a carved white jade plaque supported by a lotus set with malachite, the figure set between two dragon columns topped by a pagoda roof set with spinach jade, centered with a spinach jade chime, h. 13‑1/4”, w. 8‑1/2”. [1200/1800] Illustrated

501

505 Pair of Chinese Carved Spinach Jade Figures of Female Deities, each standing deity clad in flowing robes, one holding a lantern, the other holding a fly whisk and a flower, the stone of rich spinach color with finely carved details, presented on custom fitted wooden stands, h. 7‑3/8” and 7‑3/4”. [1400/1800] Illustrated

500

503 502

499 Chinese Zitan Wood Brush Pot, first half 20th century, the circular body resting on three short feet with lightly edged lip and foot rims, the body carved in low relief with two quatrefoil-shaped panels with archaic foliate scrollwork carving, h. 6‑1/4”, dia. 6”. [3000/5000] Illustrated previous page 500 Chinese Splash-Gilt Bronze Incense Burner, the circular lobed body resting on three cabriole legs, with two strap handles on the rim, the base with a two-character cast Xuade mark, the dark bronze-patinated body with scattered splashed gold markings, h. 5‑1/4”, dia. 7‑1/2”. [1800/2500] Illustrated 501 Chinese Cast-Bronze Figure of Guanyin, Ming Dynasty (1368‑1644) or later, the seated goddess holding a removable ruyi scepter and having one hand raised in a mudra of blessing, the bronze body with traces of painted and gilt decoration, h. 9‑3/4”. [500/800] Illustrated 502 Fine, Well-Carved Pair of Chinese Rosewood Scroll Weights, late 19th century, each of rectangular form, the tops intricately carved with five bats flying among scrolling clouds, the sides and bases carved with a continuous fretwork pattern, h. 1”, w. 1‑3/8”, l. 11”. These weights were used to hold open a horizontal scroll while viewing on a table. [300/500] Illustrated 503 Good Chinese Framed Circular Painting on Silk, 19th century, the painting executed in colors depicting butterflies hovering above flowering plants, framed in an openwork carved rosewood frame with carved brass hanger, h. 17‑1/2”, w. 17‑1/2”. [1800/2500] Illustrated

504

505

508

506 Framed Chinese Lady’s Silk Collar, 19th century, the elaborate multipetaled lotus collar with embroidered silk decoration, bordered with silk tassels, presented in a glazed silvered frame, h. 31”, w. 31”. [200/400] 507 Pair of Chinese Carved Spinach Jade Bowls, first half 20th century, each of circular outline on slightly flared indented feet, the stone of mottled spinach green with white inclusions, presented on tall (6‑1/2”) stands, each with five turned legs and circular stretchers, h. 3”, dia. 7‑3/8”. [500/800] Illustrated

508 Suite of Four Chinese Applique Hanging Panels, each of rectangular form with rosewood frames, the blacklacquered ground with applied decoration of exotic birds and flowers in colored hardstones, bone and mother-ofpearl, each with a calligraphic inscription, h. 45‑1/2”, w. 19‑5/8”. [700/1000] Illustrated 509 Chinese Carved Jadeite Figure of a Female Deity, the lightly mottled apple-green stone carved as a standing female deity dressed in flowing robes and holding a gourdform bottle vase, h. 3”. [250/400] Illustrated

510

511

509

512

510 Chinese Carved Black and White Jade Snuff Bottle, carved in low relief with a scholar holding scrolls in front of a pagoda-roofed cabinet in white jade against a black jade ground, the reverse with a scholar crossing a bridge over a stream in a rocky gorge, with a coral and brass stopper, h. 3‑1/8”. [4000/7000] Illustrated

511 Chinese Carved Jadeite Miniature Vase, of archaic Gu form with high-relief flanges and low-relief archaic decoration, the stone translucent and of bright green color, presented on a custom carved wooden stand, h. 3‑1/8” including stand. [700/1000]

507

512 Good Chinese Carved White Jade Archer’s Ring, the white/very pale celadon-colored stone with a trace of russet carved in low relief all over with a continuous design of confronting C-scrolls and a field of bosses, h. 1‑1/2”, dia. 1‑1/4”. [400/700] Illustrated

513 Large Pair of Chinese Famille Verte Porcelain Rouleau Vases, first half 20th century, each decorated with reserve panels of landscapes, fish and antiques on a ground of scrolling vines, now converted into lamps and presented on custom wooden bases, h. 35”. [800/1200] Illustrated

513

517

515

514 Chinese Framed Lacquered Wall Panel with Hardstone Appliques, 19th century, the rectangular black-lacquered panel with a wooden frame decorated with hardstone appliques of peonies, chrysanthemums, magnolia and rockwork, with a four-character “title” and metal hanger, h. 41”, w. 13‑1/4”. [75/125] 515 Unusual Chinese Carved Jadeite Brush Washer, the green, white and russet mottled stone carved as a leaf with a scrolling tendril and a group of monkeys among foliage at one end, w. 3‑1/2”, l. 4‑1/2”. [600/900] Illustrated

516 Elaborate Chinese Carved Agate Covered Vase, 20th century, the gray agate stone with caramel skin carved in high relief as an ovate body encircled by vines, flowers and leaves in high relief with caramel details, presented on a custom fitted wooden stand, h. 8”. [500/800] Illustrated

516

522 Pair of Chinese Oxblood Porcelain Bottle Vases, 19th century, each of bulbous form with elongated necks and glazed all over in a rich, even oxblood glaze thinning to white, h. 13‑1/2”. [400/700] Illustrated 523 Good Chinese Carved Shoushan Seal, the caramelcolored stone of square outline, the base carved with a six-character seal, the top carved with a pictograph and one side with an etched artist’s signature, with a customlined rosewood box, h. 1‑1/4”, w. 1‑15/16”, l. 1‑15/16”. [400/700] Illustrated

519

524 Chinese Jade and Rosewood Storage Box, the rectangular lidded box with indented carving and centrally set with an oval white jade plaque carved in relief with a flowering plum tree growing from rockwork, h. 2‑1/2”, w. 3‑1/2”, l. 5”. [250/400] Illustrated

517 Chinese Carved, Lacquered and Gilt Storage Cabinet, late 19th century, the upper section with two openwork doors enclosing a shelved display area, above two drawers and a lower open display area, the surfaces in red and brown lacquer with gilt-carved bats and flowers, h. 62‑3/4”, w. 36‑3/4”, d. 20‑1/2”. [1000/1500] Illustrated

522

518 Group of Nine Jade Thumb Rings, each of plain cylindrical form without carving, the stone ranging in color from white to dark brown, most with mottled coloring, h. 1” to 1‑1/4”. [1000/1500] 519 Chinese Flame-Patterned Wooden Storage Chest, 19th century, of rectangular outline with hinged lid and two doors at the front, the doors opening to reveal four small drawers and one long drawer, with the original hardware, h. 12”, w. 13‑1/2”, d. 9‑5/8”. [2000/4000] Illustrated

520 Two Framed Chinese Reverse Paintings on Glass, one depicting a seated Chinese lady holding a Pekinese dog next to a table with a planter of flowering narcissus, and the other depicting a Chinese lady in informal robes next to a draped table with a teacup, h. 22”, w. 15‑3/4”. [300/500]

524

521 Chinese Blue and White Porcelain Storage Jar, Ming Dynasty (1368‑1644), of molded melon form and decorated in underglaze blue with reserve panels of standing scholars interspersed with floral panels, h. 7‑3/4”. [500/800] 523

525

526

533

525 Chinese Sangue de Boeuf-Glazed Porcelain Water Coupe, late 19th century, of circular form with indented base, glazed in an oxblood glaze thinning to pale green, presented on a wooden stand, dia. 2‑3/4”. [400/700] Illustrated previous page 526 Rare Chicken-Blood Stone Carved Seal, the nearly square stone seal in cinnabar red with beige veining, the top with a four-character seal, the base with a six-character seal and one side with an engraved three-character artist’s signature, presented in a custom rosewood box, w. 1‑7/8”, l. 2”. Chicken-blood stone is one of the most prized stones in China, getting its intense red color from cinnabar. It is believed to give protection from evil and is more powerful than jade. [600/900] Illustrated previous page

531 530

532

527 Chinese Carved Angel Skin Coral Figure of a Deity, 20th century, the even pale pink coral carved as a female deity in flowing robes and standing on a lotus blossom, presented on a wooden stand, h. 7‑1/4”. [200/400]

528

528 Pair of Chinese Export Porcelain Double-Gourd Vases, each of traditional form decorated in famille rose enamels in the “Rose Medallion” pattern with alternating reserve panels of figural decoration and naturalistic decoration against a scrolling foliate ground, h. 14‑1/2”. [600/900] Illustrated 529 Large Chinese Export Porcelain Punch Bowl, of circular form and decorated in famille rose enamels in the “Rose Medallion” pattern, with reserve panels of figural decoration on a ground of flowers and butterflies, dia. 15‑1/2”. [600/900] Illustrated 530 Good Chinese Celadon Porcelain Vase, of mallet form with very delicate molding of lappets at the base, ruyi heads, key-fret and plantain leaves at the shoulder and Tfret border on the lip rim, all under an even celadon glaze, the recessed base with a six-character molded Qianlong seal mark, h. 5”. [500/800] Illustrated

529

531 Delicate Chinese Famille Rose Porcelain Meibing Vase, Republican Period (1917‑1940), of small size, finely enameled in ink and colors with a continuous mountainous scene with a lake, pavilions and boatmen and a poetic inscription, the recessed base with a fourcharacter Yongzheng mark within a square seal in overglaze blue, h. 5”. [400/700] Illustrated

532 Good Pair of Chinese Porcelain Small Bottle Vases, each with a bulbous body and thin elongated neck, decorated in famille rose enamels with delicate scenes of love birds nestled in flowering branches, the recessed base with a four-character Qianlong mark within a double square in overglaze enamels, h. 6‑1/4”. [250/400] Illustrated

534

533 Chinese Famille Rose Porcelain Vase, of elongated baluster shape and decorated in famille rose enamels with a continuous design of flowering peonies and butterflies, the base with a six-character Qianlong seal mark, h. 9‑1/4”. [700/1000] Illustrated 534 Pair of Chinese Export Porcelain Garden Seats, each of hexagonal form with molded bosses and pierced “cash” symbols on the top and sides, decorated in famille rose enamels in the “Rose Medallion” pattern with reserve panels against a floral ground, h. 18‑1/2”. [6000/9000] Illustrated

Lot 611 - Three-Piece Parlor Group

Session II

Sunday, September 12, 2010

10:00 a.m. (Lots 535-986)

535

538 Eighteen-Karat Yellow Gold, Coral and Diamond Pendant, composed of a central carved coral figure of a female deity with diamond-set flowering plants and rockwork, surrounded by a T-fretwork frame with a suspension bail and pin back. [700/1000] Illustrated 539 Pair of Platinum, Jade and Diamond Earrings, each composed of a drop of translucent natural mint green jadeite carved in low relief in a foliate motif with diamond-set platinum floral and geometric mounts in the Art Deco style, each with screw-post backs. [8000/12000] Illustrated

536 535 Dramatic Strand of Chinese Turquoise Beads, the ungraduated strand with beads averaging 18.0 mm in diameter, of intense turquoise color with slight matrix inclusions and with a fourteenkarat yellow gold satin-finish ball clasp, l. 16‑1/4”. [100/200] Illustrated

536 Unusual Pair of Sterling Silver and Gemstone “Tutti Frutti” Drop Earrings, each with pendant flowers of carved lapis lazuli, turquoise, agate and amethyst with mixed-cut aquamarine accents. [100/200] Illustrated 537 Rare and Unusual Strand of Flattened Baroque Freshwater Pearls, of pink color with iridescent orient, good luster and thick nacre, of flattened baroque form ranging from 25.0 mm to 30.0 mm in size, with a fourteen-karat yellow gold locking hoop clasp, l. 17‑1/2”. [1800/2500] Illustrated

540 Good Chinese Carved Jade Bangle Bracelet, of circular form with straight interior and half-round exterior, the stone of pale green color with light mottling of dark green, dia. 2‑7/8”. [125/250]

538

537

541 Pair of Burmese Jadeite Bangle Bracelets, each of circular form, one in gray and black mottled jade, the other in ochre jade with an emerald green splash, dia. 3‑1/2”. [200/400]

545 Spectacular Long Pearl Rope Necklace, of extraordinary length, composed of 12.5 mm to 13.0 mm baroque cultured pearls of ridged round shape, cream rose color and medium/high luster, may be used as a triplestrand necklace, l. 102”. [2500/4000] Illustrated

539

546 Fine Strand of Tahitian Black Pearls, ranging in size from 12.2 mm to 14.8 mm, all of round shape, very high luster, and very well-matched black color, with fourteen-karat white gold diamond-set clasp of ball shape, l. 18‑1/2”. [6000/9000] Illustrated

542 Stunning Fourteen-Karat White Gold and Labradorite Bracelet and Earring Set, composed of a bracelet and pair of drop earrings, each fashioned from faceted freeform labradorite chunks, with a fourteenkarat white gold hoop and bar clasp, l. 7”. [250/400]

545

543 Unusual Strand of Flattened Baroque Keshi Pearls, ranging in size from 25.00 mm to 30.0 mm, each of flattened form, good luster and iridescent cream rose color, with a fourteen-karat yellow gold ribbed ball clasp, l. 19‑1/2”. [1200/1800] Illustrated

546

544 Fine Platinum, Sapphire and Diamond Lady’s Ring, composed of a central prong-set rectangular-cut natural blue sapphire of intense blue color, VVS‑1Clarity, weighing 6.06 carats, surrounded by channel-set square-cut diamonds in a conforming mount, continuing down the shank, total diamond weight 2.30 carats. [14000/18000] Illustrated

544 543

547 Eighteen-Karat White Gold and Diamond Lady’s Ring, composed of a central round brilliant-cut white diamond weighing 2.13 carats, VVS‑1Clarity Grade, of fine brilliance, surrounded by approximately thirty-four round brilliant-cut white diamonds, estimated total weight 1.28 carats. [12000/18000] Illustrated

549

547

548

553

550 Art Deco Platinum and Diamond Lorgnette and Chain, ca. 1925, the platinum canted rectangular frame with a spring-loaded opening mechanism set with diamond accents, suspended on a mixed-link lorgnette chain, l. 16‑1/2”. [500/800]

552

548 Superb Platinum, Emerald and Diamond Lady’s Ring, composed of a central 19.04-carat rectangular step-cut natural Columbian emerald accompanied by an AGL certificate, the emerald flanked by two rectangular step-cut white diamonds, total weight 2.0 carats, each accompanied by GIA certificates, the shank pave set with small brilliant-cut white diamonds. [140000/180000] Illustrated 549 Dramatic Strand of South Seas Pearls, ranging in size from 11.0 mm to 14.5 mm in diameter, of round shape, very high luster, strong cream rose color and nice size graduation, with a fourteen-karat white gold openwork ball clasp with .04 carats of white diamonds, l. 18‑1/2”. [3500/5000] Illustrated

551 Lady’s Fourteen-Karat Yellow Gold and Diamond Link Bracelet, composed of a straight line of S-shaped yellow gold links, each set with a round brilliant-cut white diamond, estimated total diamond weight 4.0 carats. [1000/1500] 552 Gentleman’s Eighteen-Karat Gold Rolex Oyster Perpetual Day/Date Wristwatch, the yellow gold case and band hallmarked Geneva, with black face, diamond bezel and diamond numerals, day window at 12:00 position, date window at 3:00 position, sapphire crystal, boxed with two extra links. [8000/12000] Illustrated 553 Fine Cartier Santos Dumont Gentleman’s Wristwatch, with an eighteen-karat rose gold case, black dial with Roman numerals, manual movement, black leather crocodile-pattern strap, octagon faceted sapphire, gold crown and sapphire crystal. [5000/8000] Illustrated 554 Attractive Pair of Paris Porcelain Two-Handled Cachepots, second quarter 19th century, in well-painted floral decor, the gilded handles modeled as animal masques, h. 6”, dia. 5‑3/4”. [150/300] 555 Suite of Six American Restoration Mahogany Dining Chairs, second quarter 19th century, attributed to Phyfe and Sons, New York, each with a modified balloon-form back with a shaped crotch-veneered splat, the serpentine front seat extending to serpentine sides, the front cabriole legs set at a 45-degree angle, retaining their old surface and original box slip seat frames, h. 33‑1/2”. [1800/2500] Illustrated

555

556 American Late Classical Mahogany Pembroke Table, second quarter 19th century, the rectangular top with two rounded drop leaves, above a frieze fitted with one end drawer, raised on turned and spiral-reeded circular legs ending in toupie feet on casters, h. 30‑1/2”, w. 41‑1/4”, d. 22‑1/2”, extended l. 52‑1/2”. [300/500]

555 detail

557 Attractive Group of American Ink, Graphite and Watercolor Portraits, first quarter 19th century, one oval and two circular, presented in a black eglomise mat with triple apertures, the period frame of “lemon-gilt” wood in the neoclassical style, the center ovoid portrait of a young woman, the flanking circular portraits of two young men, one of them in profile, overall 11‑1/8” x 15”. [100/200]

558

560 Monumental American Late Classical Rosewood TripleSection Armoire, second quarter 19th century, the molded cornice over a recessed central mirrored door, the door opening to reveal an interior with an open shelf over a bank of drawers with three-over-four graduated drawers, the central sections flanked by projecting ends, each with a single door with a shallow upper over a deep lower panel, each panel mounted with molded parallelograms with finely detailed carving at each corner, each section edged in floral rondels, the top rail of each section with lotus-form carving, h. 96‑1/2”, w. 103”, d. 26‑1/2”. [5000/8000] Illustrated

560

558 Ethan Allen Greenwood (American/Massachusetts, 1779‑1856) “Bust Portrait of a Young Gentleman in a Black Overcoat and an Elaborate Neckerchief “, 1817, oil on canvas laid down on panel, signed and dated lower right “Greenwood Pinx 1817”, 26‑1/4” x 20‑1/4”. Presented in a deep giltwood and plaster lemon-gilt frame in the neoclassical taste, fourth quarter 19th century. Provenance: Vose Galleries of Boston, purchased 1967; Sold in these rooms on February 2, 1997, lot 1032; Private collection, Sarasota, Florida. Reference: Groce and Wallace,p. 274, Mantle Fielding’s Dictionary of American Painters, Sculptors and Engravers, p. 346. Greenwood studied under Edward Savage and later succeeded Savage as owner of the New England Museum, Boston. He is known to have painted over 800 portraits. [1800/2500] Illustrated previous page

561 American School (Second Quarter 19th Century) “Portrait of an American Colonel”, 1833, oil on canvas, unsigned, inscribed in pencil on stretcher verso “W. T. Nicolls 1833 Remounted 1855”, the sitter is indistinctly identified on the stretcher verso “Colonel ?”, 13‑1/4” x 11”. Presented in an ogee-molded giltwood frame with corner acanthine carving and applied star accents. Provenance: Private collection, Sarasota, Florida. [1000/1500]

559 American Late Classical Mahogany Games Table, second quarter 19th century, the cross-banded fold-over top over a cyma-molded apron, raised on scroll supports joined to a stepped platform base on ogee bracket feet, h. 30”, w. 36”, d. 18”, extended l. 36”. [300/500]

560 interior

564 extended

562 American Sheraton Poplar Drop-Leaf Breakfast Table, second quarter 19th century, the single-board top flanked by leaves of similar composition, raised on bobbin-turned legs in the Elizabethan taste, h. 29”, d. 41‑3/4”, d. 20‑1/2”, extended l. 50”. [400/700] 563 American Elizabethan Revival Rosewood Armchair, mid‑19th century, Baltimore, Maryland, the pierced foliate-carved crest in the rococo taste, supported by bobbin-turned stiles capped by finials, the arms on bobbin-turned supports, the front legs of like ornamentation, h. 49”. [500/800]

564 American Gothic Revival Mahogany Banquet Table, mid‑19th century, the circular top over a conforming crotch-veneered apron with a ribbon-molded bottom edge, raised on a cluster-column split pedestal joined to shaped legs ending in trefoils, the table opening at the center and extending 140”, the extended table supported by a turned central leg, the runners mounted with inset cast-iron slides, the table accompanied by its period rack of eight leaves, h. 29”, dia. 54”, extended l. 189‑1/2”. A similar table from a New York City brownstone, ca. 1842‑1845, is found at the Munson Williams Proctor Institute, Utica, New York. Provenance: The present table was sold in May, 1986 in dispersal of the furnishings of the Masterson-Dusenberry House, Bronxville, New York.

564

Alexander Masterson (1797‑1859) immigrated to the United States from his native Scotland in 1814. By the early 1820’s, he had established himself as a major architect-builder. The first major building that he worked on was the Bank of the United States of Wall Street, (also known as the Assay Office Building) whose facade is now preserved as the south facade of the Metropolitan Museum of Art. Masterson’s craft bought into an association with the noted Gothic Revival architect and designer Alexander Jackson Davis. Most of Masterson’s work was executed in the Greek-Revival style. Masterson established a marble cutting processing mill in Westchester county to exploit the local high quality marble. Masterson’s Tuckahoe marble was used in building projects throughout the United States, including James Gallier’s New Orleans City Hall, and the Naval Observatory, General Post Office and Washington Monument in Washington, D.C. The present table was lot 201, in the Masterson-Dusenberry House sale by the Marc Matz Gallery, and is so illustrated in the catalogue. A copy of the catalogue accompanies the table. [7000/10000] Illustrated

565

565 Fine American Gothic Revival Rosewood Center Table, second quarter 19th century, New York, the period rectilinear marble top with delicate projecting ovolo corners, over an apron with turreted corners and a frieze with quatrefoil cut-outs over drop finials, raised on a scrolling trestle base with foliate carving above the knee and a scroll stretcher with like-carved ends, h. 29‑3/4”, w. 43”, d. 25”. A similar table is illustrated in plate 77 of the Houston Museum of Fine Arts exhibition catalogue The Gothic Revival Style in America, 1830‑1870 by Howe and Warren. That table, executed in mahogany rather than rosewood, utilizes the same form as the present example but lacks the carved ornament on the stretcher and feet that the present example exhibits. A table with similar pierced quatrefoils in the apron, attributed to J. and J. W. Meeks, is illustrated on page 63 of American Furniture of the 19th Century, 1840‑1880 by Richard and Eileen Dubrow. A table similar to that example sold in these salerooms in March 2002, lot 1338, for $16,675.00. [8000/12000]

566

566 American Gothic Rosewood Hall Stand, second quarter 19th century, the arched pediment centered by a pierced quatrefoil flanked by molded cut-outs, over a pivoting central arched mirror plate in an openwork frame with turned garment pegs, on a marble-top base fitted with a single drawer and flanked by umbrella supports, each over an original boldly modeled shell-form cast-iron drip pan, h. 83”, w. 62‑1/2”, d. 29‑3/4”. [4000/7000] Illustrated

8 100

567

567 Rare and Important American Gothic Revival Rosewood Etagere, mid‑19th century, New York, of monumental proportions, the towering crests exuberantly modeled employing a panoply of Gothic ornamentation, including crockets, spires, trefoils, quatrefoils and Gothic arches, with an arched central crest flanked by curved side crests, the central crest over an arched mirror plate flanked by shaped shelves, each with a pierced apron, each on turned supports, the exaggerated serpentine base with bold applied reeding to its face, and a pair of tall turned spires, raised on turned feet, h. 111‑1/2”, w. 55”, d. 18”. A similar etagere, clearly from the same body of work, is in the collection of the Metropolitan Museum of Art, New York. The Metropolitan’s example shares a similar base, supports and ornament with the present example, but is not as tall and is less exuberantly modeled. [30000/50000] Illustrated

101101

571 detail

571

568 American Hand-Wrought Copper Figure of an Egret, depicted in flight in the “weathervane” style, the support rod with a printed silver foil label “Good Directions”, the whole with verdigris patination, h. 25”, l. 29”. [100/200] 569 American Colonial Revival Figured Maple Lowboy, ca. 1900, in the Queen Anne style, the molded top over a shallow central door flanked by a pair of deeper drawers, with a scalloped apron, cabriole legs and pad feet, h. 28‑1/4”, w. 29‑3/4”, d. 17‑1/4”. [500/800]

570 American Colonial Poplar, Chestnut and Pine Mule Chest, second half 18th century, New England, in the Chippendale taste, the lifting top over a pair of faux-drawer faces and a pair of drawers below, raised on a later base with bracket feet, with restoration to the feet, h. 42”, w. 36”, d. 16‑1/2”. [900/1200] Illustrated

570

102

571 Fine American Chippendale Cherry Tallcase Clock, third quarter 18th century, Pennsylvania, the case with a scrolling broken-arch pediment with sunburst-carved rondels, the painted face with moon phase dial, the flase plate marked "Wilson", flanked by reeded columns, reducing to the waist with a cyma molding, the waist door with a scalloped top, the scalloped-top design repeated on the base panel, the waist with reeded pilasters at the corners, raised on period ogee-bracket feet, the bottoms of the feet reduced, the back in its natural patina, retaining a pair of rose-head nails at the shelf that supports the works, h. 93”, w. 18”, d. 11”. [3000/5000] Illustrated

572 American Colonial Revival Pine Hanging Wall Shelf, ca. 1700, in the Chippendale taste, the scalloped crest over three graduated shelves, the lowermost over a pair of drawers, with a scalloped apron, h. 43‑1/2”, w. 23”, d. 7‑1/2”. [200/400] 573 Chippendale-Style Mahogany Block-Front, Slant-Lid Secretary, the lid opening to reveal a fitted interior with drawers and niches, with mechanically-activated slides supporting the lid, the case with four drawers and ball-andclaw feet, h. 39‑1/4”, w. 43”, d. 23”. [500/700] 574 Fine American Embroidered Linen Sampler, featuring registers of flowers and figures, birds, rabbits and trees, a house and figures, a motto, and a house and deer herd, dated 1842, by Mary Ann Tilley, aged 8, and so signed, presented in a period black and dark gold wooden frame in the “Hogarth” style, overall 19” x 15‑7/8”. [300/500] Illustrated 577

576 Large American Embroidered Linen Sampler, first quarter 19th century, by Sarah Law and featuring a motto, a house, fruit, flowers and birds, presented in a goldbanded black eglomise mat within a parcel-gilt black flat molding frame in the neoclassical taste, overall 22‑1/2” x 18‑1/8”. [250/400] 577 Vernacular American Faux-Bois and Pine Jelly Cupboard, second quarter 19th century, Pennsylvania, the face retaining its period faux-bird’s-eye maple and banded maple decoration, the case with a single drawer over a pair of paneled doors, raised on bracket feet, h. 43”, w. 43‑1/4”, d. 18‑3/8”. [700/1000] Illustrated 578 Vernacular American Rocking Cradle, 19th century, composed of mahogany and pine with dovetailed construction, the hooded lid on scalloped supports, h. 31”, w. 25”, d. 43”. [300/500] 579 Vernacular American Poplar Dry Sink, second quarter 19th century, Pennsylvania, the top with a band of three drawers over a shallow basin, the case with a pair of paneled doors, raised on bracket feet, h. 45‑1/2”, w. 50”, d. 20”. [400/700] 574

575 American Alphabet and Motto Sampler, signed “Ruth Pellen” and dated 1802, presented in a gold-banded black eglomise mat within a narrow black and gold wood frame in the early 19th-century neoclassical taste, overall 17‑5/8” x 17‑5/8”. [200/400]

580 Large Carved and Painted American Wooden Sign, for Cape Cod, Massachusetts, crafted of weathered barn wood and featuring a large wooden decoy of a seagull, in the American style, h. 29‑1/2”, w. 36”. [300/500] 581 Vernacular American Painted Oak Ladderback Rocking Chair, ca. 1900, with turned arms, woven reed seat and box stretchers, h. 44”. [200/400]

103

584 Vernacular Oak and Mixed Woods Pull Wagon, fourth quarter 19th century, with a caged box, the wooden wheels with iron threads, h. 47”, w. 25”, d. 43”. [500/800] 585 American Vernacular Polychromed Pine Hanging Shelf, 19th century, having two shelves, each with a plate rack rod and a pendant diamond-patterned frieze, with a hanging rod below, joined by shaped supports, h. 25”, w. 32”, d. 8”. [100/200] 586 Provincial Pine Gardener’s Bench, the low rectangular plank top raised on end supports with arched openings to runner feet, h. 17”, w. 13”, l. 61‑1/4”. [100/200] 587 Group of New Orleans Cast-Iron Stair Risers, third quarter 19th century, probably from the St. Charles Hotel, St. Charles and Common, New Orleans, comprised of two groups of three risers, one shorter angled riser and a group of six marble stair treads found en suite, the risers modeled in a fleur-de-lis and bellflower motif, three longer sections An interior photograph of the hotel reveals a stairway with similar risers and marble treads h. 8”, w. 57”, d. 18”, the smaller sections h. 8”, w. 43”, d. 7”. [400/700] 588 Approximately Twenty-Two Feet of New Orleans Cast-Iron Balustrade, mid 19th century, found en suite with items from the historic St. Charles Hotel, comprised of forty-seven uprights and twenty-six decorative control elements modeled as a lyre encircled by a wreath and capped by an anthemiom, each post and center element fitted with pins and corresponding holes, each section h. 32”, w. 10”. [1000/1500]

582

582 detail 582 Rare American Inlaid Cherry Corner Cabinet, ca. 1800, probably Pennsylvania, in two parts, the projecting cornice with inlaid rope stringing, the pair of mullioned doors on H-form brass hinges, the base a pair of paneled doors over a bowed apron with inlaid rope stringing, centered by shaded fan inlay, raised on bracket feet, the back original, h. 93‑1/4”, w. 48‑1/4”, d. 24”. [3000/5000] Illustrated 583 American Stave and Hoop Butter Churn, 19th century, of tapering conical form, the staves joined by iron bands, h. 41”, dia. 12”. [200/400]

104

589 New Orleans Three-Piece Cast-Iron Fireback/ Fireplace Liner, mid 19th century, found en suite with items from the St. Charles Hotel, each modeled in a fleurde-lis pattern, comprised of a central fireback and two returns, the latter reduced in depth, one return with losses, h. 30”. [400/700] 590 New Orleans Three-Piece Cast-Iron Fireback/ Fireplace Liner,mid 19th century, found en suite with items from the historic St. Charles Hotel, each modeled depicting swallows in flight, comprised of a fireback and two returns, one of the latter reduced in depth, h. 30”. [300/500] 591 Large Cast-Iron Foliate-Bracket Sidelight, first quarter 20th century, in the Beaux Arts style, fitted with a blown spherical “Frosted Band” glass shade and electrified, h. 20”, w. 10”, d. 16”. [125/250] 592 Monumental Pair of Iron and Glass Entrance Lanterns, first quarter 20th century, composed of barkgrained cast-iron in the Beaux-Arts style, the cast-iron brackets modeled as fluted flambeaux extending from circular backplates of medallion form, the large opalescent glass shades of stylized pyriform, fitted for electricity, h. 56‑1/2”, d. 19”, dia. 42”. Provenance: The Houston, Texas, estate of Warren Strauss. [2500/4000] Illustrated

593 Rare Copy of the March 1, 1843 American and Foreign Anti-Slavery Reporter, vol. II, no. 8, published by the American and Foreign Anti Slavery Society, printed by S. W. Benedict & Co., New York, royal quarto newsprint, 16 pages, 12” x 9‑1/2”, containing the complete text of noted abolitionist Lewis Tappan’s “Address to the NonSlaveholders of the South”. Massachusetts-born Lewis Tappan (1788‑1873) was an uncompromising leader of the abolitionist movement. He was an early supporter of the American Colonization Society, which promoted the repatriation of slaves to Africa, but soon broke with the ACS, frustrated with their slow pace and attempts at placation and compromise. In December 1833 he founded, with his brother Arthur and other abolitionists, the American Anti-Slavery Society. The devoutly Calvinist Tappan was an “Immediatist” - one committed to the immediate and complete abolition of slavery - and his propagation of abolitionist tracts in the South and Midwest engendered the enmity of slaveholders, who accused him of attempting to destroy the Union. But his radical views also distanced him from even moderate abolitionists: he was, for instance, a strong believer that intermarriage as the only permanent solution to eradicating racism. It was over the issue of women’s rights, however, that Tappan broke with the AAS in 1840 and formed the American and International Anti-Slavery Society. (Tappan, even though he had helped establish Oberlin College in Ohio which was open to all races and genders, strongly opposed the election of female abolitionist and suffragist Abby Kelly [1811‑1887] to the AAS business committee.) Tappan was one of the driving forces behind the cause of the Amistad captives, tirelessly campaigning for their freedom and recording each day of their 1841 trial in The Emancipator. (He was portrayed by Swedish actor Stellan Skarsgard in the 1997 Steven Spielberg film.) Tappan established numerous abolitionist journals, including Human Rights, The Slave’s Friend (a magazine for children), and, of course, The American and International Anti-Slavery Society Reporter. His manifesto “Address to the Non-Slaveholders of the South” was first published in early 1843, which quickly sold out and was followed by a second printing and its publication in full in this edition the Journal. In it, Tappan creates a reasoned but passionate argument against the sin of slavery, denouncing it as an economic, military, social and - above all - moral blight on America, and condemns the non-slaveholders of the South as culpable in the crime by their inaction. It was to become one of the most significant pieces of literature of the abolitionist movement. Tappan continued his tireless efforts through the 1850’s, working both for emancipation and the rights of freedmen, using his wealth (he founded the credit-reporting Mercantile Agency which would eventually become Dun & Bradstreet) to fund the Underground Railroad. He denounced the Democratic party as pro-slavery and became a supporter of the new Republican party and its candidate, Abraham Lincoln. After the Civil War, he worked with the American Missionary Association (another organization which he helped create) to establish educational institutions for freedmen which were to form the core of the HBCU: the Historically Black Colleges and Universities. Tappan died in Brooklyn in 1873. [100/200]

594 Pair of American “Muse” Girandole Garniture Vases, third quarter 19th century, composed of giltlacquered brass and marble, each seated Muse holding a reticulated gilt-brass trumpet vase frame with period “corn starch blue” glass liner in her proper left hand and a dove in her upraised proper right hand, presented on oblong pale gray-veined white marble bases, the rare bright and matte finish gilt lacquering largely intact, h. 14‑1/4”, w. 7”. [700/1000] Illustrated

592 pair

595 Pair of Victorian Ebonized Sidechairs, third quarter 19th century, each with a shaped back and floralpainted crest, above three spindled splats, the caned seat raised on turned and tapering circular legs joined by turned stretchers and ending in toupie feet, h. 35”. [300/500]

594

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601 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. [500/800] 602 American School (Fourth Quarter 19th Century) “Still Life with Grapes, Strawberries and an Orange in a Basket”, oil on canvas, unsigned, 10” x 12”. Presented in a period molded giltwood and plaster frame. [150/300]

598

596 Victorian Ebonized Papier-Mache Serving Table, third quarter 19th century, the cushion-form top with an elaborate gilt and mother-of-pearl-inlaid fanciful landscape, hinged and opening to the now void interior, raised on a barley-twist standard to an undulating circular base to splayed feet on casters, the whole with gilt and mother-of-pearl-inlaid accents, h. 31”, w. 16‑1/2”, d. 13‑1/2”. [300/500]

604

597 Group of Two Pittsburgh Bar Bottles, third quarter 19th century, one a rare, large and weighty Pittsburgh “Steam-Boat” pillar-molded glass bar bottle, and the other a matching bitters bar bottle, both examples of the type famously utilized on Mississippi River packet boats, h. 7‑1/4” and 12‑1/4”. [200/400] 598 American Rococo Revival Mahogany Chest, third quarter 19th century, attributed to Mitchell and Rammelsburg, Cincinnati, Ohio, the top with serpentine front and serpentine sides, the conforming case with a bank of three drawers, each with crotch-veneered faces adorned with applied foliate and scroll carving, the canted corners mounted with exuberantly modeled foliate-carved brackets, raised on attenuated bun feet, h. 38”, w. 50‑1/4”, d. 25‑1/2”. [800/1200] Illustrated 599 Ira Monte (Spanish, b. 1918) “Still Life with a Glazed Covered Jar and a Platter of Oranges”, oil on canvas, signed lower right “Ira Monte”, 24‑1/4” x 30‑1/4”. Handsomely framed. [1000/1500] 600 Large American Foil-Ground Eglomise Floral Still Life, third quarter 19th century, presented in a good period bright- and matte-finished deep giltwood neoclassical frame, overall 22‑1/4” x 19‑3/8”. [200/400]

106

605

603 Pair of Victorian-Style Cast-Stone Garden Urns, 20th century, each with a molded circular lip above a ribbed body, raised on a waisted standard to a molded circular base, each with applied metal handles in the form of a rose garland, h. 19”, dia. 27”. [300/500] 604 Large American Cast-Iron Garden Urn, late 19th century, in the NeoRenaissance taste, retaining the molded label “Mfg. by the Kramon Bros. FDY Co. Dayton OH”, the basin with deeply modeled applied foliate decor, each leaf-carved scroll handle with a leonine mask, supported by a tapering square pedestal on a stepped base, h. 58”, w. 43”, dia. 28”. [700/1000] Illustrated

607

606

605 English Victorian Painted Iron and Wood Garden Bench, late 19th century, in the Gothic taste, the double arched crests above an elaborately pierced back in Gothic tracery patterns, joined by downswept arms to the slatted wooden seat, raised on splayed legs ending in shaped feet, h. 38”, w. 44‑1/2”, d. 24”. [600/900] Illustrated 606 American Renaissance Revival Giltwood Pier Mirror, third quarter 19th century, the arched mirror plate beneath a shell- and scroll-carved crest, the supports with rounded pilasters with palmette- and floral-carved top and base, h. 85”, w. 37”, d. 9”. [1200/1800] Illustrated 607 American School (Late 19th Century) “Autumnal View of a Wooded Landscape”, oil on canvas, unsigned, 22” x 36”. Presented in a period carved and giltwood frame. [800/1200] Illustrated 608 Charles J. Hagberg (American/Illinois; Active Late 19th Century) “Wooded Landscape with a Tranquil Stream”, oil on canvas, signed lower right “Chas. J. Hagberg”, 16‑1/4” x 21‑1/4”. Presented in a period carved giltwood and plaster frame. [250/400] 609 American School (Fourth Quarter 19th Century) “View of Sabbath Day Point, Lake George, New York”, oil on canvas, indistinctly signed lower right “(?) Hall”, 10” x 20”. Presented in a period giltwood and plaster frame. [125/250] 610 Italian Carrara Marble Pedestal, early 20th century, the canted square top raised on a ring-turned standard to a molded base on an octagonal plinth, h. 40”, w. 8‑1/2”, d. 8‑1/2”. [200/400]

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611 three-piece suite

611 detail

611 three-piece suite

611 American Neo-Grec Painted and Gilt-incised Rosewood Parlor Suite, attributed to Herter Brothers, New York, 1868‑1872, comprised of a sofa, h. 45‑1/2”, w. 67‑1/2”, d. 27”, and a pair of armchairs, each with a crest centered by a painted panel depicting a female mask, flanked by foliate and scroll carving, over gilt incising, raised on trumpet legs with characteristic Herter gilt blocks and lines at the top of the trumpet section and reeding below, raised on India Comb Rubber casters, now upholstered after the period fashion in tufted pale blue cream and ivory brocade. [15000/25000] Illustrated A similar suite of Herter Brothers parlor furniture is in the Lockwood Mathews mansion in Norwalk, CT. The side chairs in that suite share the same form with those in the present lot, with differences in ornament. The sofa legs, crest carving and painted plaque are similar to those of ths sofa. A suite of furniture by Herter Brothers for Jay Gould's Lyndhurst Castle, Tarrytown. NY, exhibits similar carved crests and upwhard-angled masks on the arm supports.

611 detail

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616 Set of Six New Orleans-Retailed Sterling Silver Coffee Spoons, third quarter 19th century, by the Whiting Mfg. Co., Providence, Rhode Island, in the “Empire” pattern designed in 1858 by John Polhamus and Henry Hebbard, retailed by Edward Augustus Tyler (1815‑1879) of New Orleans, Louisiana, monogrammed “RLS”, l. 4‑1/8”, 2.25 total t. oz. [75/125]

614

617 Six Whiting “Madam Jumel”-Pattern Sterling Silver Dinner Forks, the pattern introduced in 1908, Providence, Rhode Island, each monogrammed “B” and variously dated on the reverse 12‑19‑1911 through 1914 and 12‑25‑1922 and 1923, l. 6‑3/4”, 7.84 total t. oz. [60/90] 618 Pair of Whiting “Lily”-Pattern Sterling Silver Salad Servers, the pattern introduced in 1902, Providence, Rhode Island, including a salad serving fork and spoon, l. 11‑1/2”, no monograms, 8.55 total t. oz. [600/900] Illustrated 612 Italian Alabaster Pedestal, early 20th century, in the neoclassical taste, the circular top raised on a banded columnar standard to a molded circular base, h. 42”, dia. 9‑3/4”. [200/400]

615

613 Pair of American Renaissance Revival Maple and Mixed Hardwood Occasional Chairs, third quarter 19th century, New York, each with an incised and carved top rail joined to a pierced splat, with bowed front seat and fluted trumpet legs, h. 35”. [350/500] 614 Fine Pair of Limoges Porcelain Two-Handled Garniture Vases, third quarter 19th century, richly polychromed and parcel gilded in the Neo-Grec taste, one example with a facade reserve of the Muses Terpsichore and Erato, the other with Apollo and Calliope, both with gilded Greek fret handles, and both with impressed underglaze marks “HA & Cie” on the foot interiors, h. 14‑1/4”, w. 9‑3/4”, dia. 8‑3/4”. [3000/5000] Illustrated

615 Five New Orleans-Retailed Coin (.900) Silver Tablespoons, third quarter 19th century, probably New York, retailed by Henry Peat Buckley (1822‑1903), New Orleans, Louisiana, in an up-tipt “Fiddle” pattern, engraved, on the reverse, “Lamkin”, l. 6‑3/4”, 4.50 total t. oz. By tradition, these spoons belonged to John Tillman Lamkin (1811‑1870) of Holmesville, Mississippi, who served as District Attorney of Bay St. Louis in the 1840’s and, during the Civil War, as Captain of Co. E, 33rd MS Inf., C.S.A. and later Representative (MS) to the 2nd Confederate Congress. [150/300] Illustrated

618

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619

622

620 Four American Sterling Silver-Handled Serving Pieces, first quarter 20th century, including a Gorham cake knife, pattern H941, with serrated steel blade, l. 14‑3/4”, a Baltimore “Repousse”-style carving knife, l. 11‑3/4”, and fork, l. 10‑3/4”, with steel blade/tines, and a G. H. French & Co. “Repousse”-style tomato server with pierced silverplate spade, l. 8‑7/8”. Provenance: Lucille Gillis (Mrs. John Duncan) Minor (1889‑1954), by descent through the family. [100/200] 621 Nine Pieces of Kirk “Repousse”-Pattern Sterling Silver Flatware, second quarter 20th century, Baltimore, Maryland, including four seafood/cocktail forks, l. 5‑1/4”, three demitasse spoons, l. 4‑1/2”, one bouillon spoon, l. 5”, and one master butter knife, l. 6‑1/2”, all but the butter knife monogrammed “O”, 6.43 total t. oz. [75/125]

619 Six-Piece Samuel Kirk & Son Sterling Silver Coffee and Tea Set, 1925‑1932, Baltimore, Maryland, in the American neoclassical taste, including a kettle-on-stand, h. 13‑1/2”, l. 6‑1/4”, a coffeepot, h. 11”, l. 9”, a teapot, h. 9‑3/4”, l. 9-/2”, a covered sugar urn, h. 9‑1/4”, w. 7”, a cream jug, h. 7‑1/2”, l. 6‑1/4”, and a waste bowl, h. 4‑7/8”, dia. 6‑3/4”, each of goblet form with a wide bulbous band of chased acanthus leaves and a repousse acanthus leaf-and-bud calyx, with crested floral handle(s), milled leaf-and-dart banding and raised on a circular domed foot, the kettle stand with four acanthusscroll legs centering a spirit burner, the kettle, tea and coffee pots with figural dolphin’s-head spout, each piece monogrammed “G/E*D”, 192.07 total t. oz. [8000/12000] Illustrated

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623

622 Tiffany & Co. Sterling Silver Cream Jug, the pattern introduced in 1884, this example before 1891, New York, the ovoid body with milled acanthus-scroll band above a gadrooned calyx, the waisted neck with integral spout and applied acanthus banding and crested handle, raised on a circular domed foot en suite, h. 6‑1/4”, l. 5‑3/4”, dia. 4”, 15.82 t. oz. [300/500] Illustrated 623 Pair of Tiffany Sterling Silver Compotes, the pattern introduced in 1883, these examples before 1891, New York, each of circular form, with a stylized wavy edge and decorated with a band of repousse floral cartouches flanked by wavy gadroons, raised on a waisted stem and domed foot en suite, h. 4‑1/2”, dia. 8‑3/4”, 37.23 total t. oz. Several distinctive elements here e.g., the heart-shaped cartouches and the gracefully undulating wave edge - indicate that these compotes were almost certainly designed by Charles Osborne (1847‑1920). [3000/5000] Illustrated

628

624

626

625

624 Tiffany & Co. “Lap Over Edge”-Pattern Sterling Silver Ice Cream Server, the pattern designed in 1880 by Charles Grosjean (1841‑1886), New York, the handle acid engraved with pomegranates and butterflies, the curved bowl gilt, monogrammed on the reverse “M”, l. 11”, 4.18 t. oz. [1800/2500] Illustrated 625 Pair of Tiffany & Co. “English King”Pattern Sterling Silver Gilt Serving Spoons, the pattern designed in 1885 by Charles Grosjean (1841‑1886), New York, no monograms, l. 8‑3/4”, 8.62 total t. oz. [700/1000] Illustrated

626 Tiffany & Co. “English King”-Pattern Sterling Silver Gilt Sauce Ladle, the pattern designed in 1885 by Charles Grosjean (1841‑1886), New York, no monograms, l. 7”, 3.67 t. oz. [250/400] Illustrated 627 Tiffany & Co. “Japanese”-Pattern Sterling Silver Fish Slice, the pattern designed in 1871 by Edward Chandler Moore (1827‑1891), New York, the scimitar-shaped blade engraved with a butterfly and bamboo, l. 12‑1/4”, 4.95 t. oz. [1200/1800] 628 Tiffany & Co. “Chrysanthemum”-Pattern Sterling Silver Soup Ladle, the pattern designed in 1880 by Charles Grosjean (1841‑1886), New York, monogrammed “S”, l. 12‑1/2”, 14.08 t. oz. [1200/1800] Illustrated 629 Tiffany & Co. “Chrysanthemum”-Pattern Sterling Silver Sugar Tongs, the pattern designed in 1880 by Charles Grosjean (1841‑1886), New York, no monograms, l. 4”, 0.90 t. oz. [100/200]

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631

632 New Orleans-Retailed Gorham “Patrician”Pattern Sterling Silver Sugar Tongs, the pattern introduced in 1902, Providence, Rhode Island, retailed by Loewengardt & Armstrong, Ltd., New Orleans, l. 4‑1/2”, 1.22 t. oz. The December 24, 1905 edition of L’Abeille de la Nouvelle Orleans contains an advertisement for Loewengart & Armstrong, owned by Isidore Loewengardt and Frank L. Armstrong, at 122 rue Baronne, purveyors of jewelry, silverware and crystal. [100/200]

633 Six Pieces of American Sterling Silver Tableware, including an unusual 1871 Gorham salt cellar in the form of a boat, the keel and anchor forming the foot, l. 5‑1/4”, monogrammed “M”, a Gorham “Douglas”-pattern salad serving fork and spoon, both 8”, retailed in New Orleans by Henry Peat Buckley (1822‑1903), monogrammed “LGM”, a pair of first quarter 20th-century Reed and Barton condiment dishes decorated with pierced and embossed rococo scrolls and poppies, monogrammed “M”, dia. 5‑1/2”, and a first quarter 20th-century Pryor Mfg. Co. tea/punch strainer with applied “carnation” rim and turned wood handle, monogrammed “LGM”, l. 8”, 10.03 total t. oz. (excluding wood-handled strainer). Provenance: Lucille Gillis (Mrs. John Duncan) Minor (1889‑1954), by descent through the family. The 1871 Gorham salt cellar probably belonged to Mrs. Minor’s father-in-law Henry Chotard Minor (1841‑1898) of Southdown Plantation, Houma, Louisiana. [200/400]

630 Rare Gorham “Bird’s Nest”-Pattern Sterling Silver Preserve Spoon, the pattern introduced in 1865, Providence, Rhode Island, the shaped bowl gilded, monogrammed “RLS”, l. 9‑1/8”, 2.06 t. oz. [400/700] Illustrated 631 Good 19th-Century “Medallion”-Pattern Sterling Silver Sauce Ladle, the pattern designed in 1862 by John R. Wendt, New York, the finial with a medallion of Mars, the gilt bowl with everted spout and upturned edge with a neoclassical medallion at the crest, l. 6‑3/4”, 1.54 t. oz. [400/700] Illustrated

634 Gorham Sterling Silver “Poppy”-Pattern Berry Spoon, the pattern introduced in 1902, Providence, Rhode Island, retailed by Coleman Adler, New Orleans, Louisiana, with gilt bowl, monogrammed “CLH”, l. 8‑5/8”, 2.64 t. oz. [75/125]

635 Contemporary Gorham Sterling Silver and Glass Preserves Jar, fourth quarter 20th century, in the form of an apple, with a bulbous glass body and fitted silver lid, the “stem” forming the handle, the interior gilt, h. 3‑7/8”, dia. 3‑1/4”, 1.61 t. oz. (the silver lid only). [300/500]

637

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636 Gorham Sterling Silver “Cambridge”Pattern Pickle Fork, the pattern introduced in 1899, Providence, Rhode Island, with gilt tines, monogrammed “EDA”, l. 8‑1/2”, 0.84 t. oz. [75/125]

642

641 Four Pieces of American Sterling Silver Children’s Flatware, including a child’s fork in International Sterling’s 1927 “Pine Tree” pattern, monogrammed “LAO”, l. 4‑1/4”, a child’s fork in Frank M. Whiting’s ca. 1900 “Puritan” pattern, engraved “Lirly”, l. 4‑1/2”, and a child’s fork and spoon in Gorham’s 1958 “Sea Rose” pattern, both l. 4‑1/2”, 2.25 total t. oz. [75/125]

637 Gorham Sterling Silver Bread Tray, 1898, Providence, Rhode Island, of shaped, lobed oval form, the everted rim pierced and decorated with embossed and chased rococo scrolls and flowers, the plateau monogrammed “RLD”, w. 8‑3/4”, l. 15‑1/2”. [200/400] Illustrated 638 American Sterling Silver and Enamel Orientalist Presentation Dish, dated 1922, by the Mount Vernon Silversmiths, Mount Vernon, New York, in the Chinese taste, of circular form, decorated with acid-engraved pagoda, rocky crags, trees, clouds surrounded by a sea with a swan and sailing junk, the peaked center with a cast figural finial of a Mandarin, the edge with blue champleve enamel meander line, with engraved inscription on the side “Lake Worth Championship 1922 / Won By / W. B. Langford”, h. 5”, dia. 10‑1/2”, 17.75 t. oz. [1400/1800] 639 Twelve Assorted Sterling Silver Seafood/Cocktail Forks, including three in Gorham’s 1897 “Cambridge” pattern, monogrammed “EDA”, l. 5‑3/8”, three in Gorham’s 1899 “Strasbourg” pattern, monogrammed “SHH”, l. 5‑1/2”, and six in Reed & Barton’s 1909 “Chambord” pattern, monogrammed “FWO”, l. 5‑1/4”, 6.43 total t. oz. [100/200] 640 Towle Sterling Silver “Richmond”-Pattern Lettuce Fork, the pattern introduced in 1901, Newburyport, Massachusetts, the broad trident tines gilded, l. 7‑3/4”, 0.71 t. oz. [60/90]

642 Ninety-One Pieces of Wallace “Grand Baroque” Sterling Silver Flatware, the pattern designed in 1941 by William S. Warren, Wallingford, Connecticut, including ten place forks, l. 7‑1/2”, eleven salad/pastry forks, l. 6‑1/4”, thirteen teaspoons, l. 6”, eight dessert/ soup spoons, l. 7”, eight iced tea spoons, l. 7‑5/8”, four demitasse spoons, l. 4”, nine place knives with stainless steel “Modern”-shaped blades, l. 8‑3/4”, nine butter spreaders with stainless steel “Modern”-shaped blades, l. 6‑1/4”, one tablespoon, l. 8‑3/4”, one pierced tablespoon, l. 8‑3/4”, one cold meat fork, l. 8”, one gravy ladle, l. 6‑1/2”, one cream ladle, l. 6”, one jelly server, l. 6‑3/4”, one flat server, l. 8”, one bon-bon spoon, l. 5‑1/4”, one sugar spoon, l. 6”, one lemon fork, l. 5‑1/2”, one olive/pickle fork, l. 5‑1/4”, a two-piece salad serving set with plastic fittings, l. 12‑3/8”, and items with stainless steel fittings: a two-piece carving set, fork l. 10”, knife l. 11”, a butter serving knife, l. 6‑1/2”, a pie server, l. 10‑1/2”, a cheese server, l. 7”, and a letter opener, l. 7‑3/4”, with additional pieces: a Steiff “Betsey Palmer” jelly server, l. 6‑1/4”, two Rogers, Lunt & Bowlen “Narcissus” teaspoons, l. 5‑3/4”, a Weidlich cream ladle in an unidentified pointed Colonial pattern, l. 5‑1/4”, and an unidentified floral-handled cheese server with stainless steel blade, l. 6‑3/4”, presented in a Pacific cloth-lined fitted case, h. 5‑1/2”, w. 16”, d. 11‑1/2”, 103.39 total t. oz., excluding items with stainless or plastic fittings (96 total pieces, plus case). [2000/4000] Illustrated

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646

646 Thirty-Seven Pieces of Gorham “Buttercup”-Pattern Sterling Silver Flatware, the pattern introduced in 1899, Providence, Rhode Island, including eight dinner forks, l. 7‑1/2”, eight salad forks, l. 6‑3/4”, ten teaspoons, l. 5‑3/4”, three demitasse spoons, l. 4”, and eight dinner knives with “Modern”-shaped stainless steel blades, l. 9”, no monograms, 34.85 total t. oz. (excluding knives). [800/1200] Illustrated 647 Porter Blanchard (1886‑1973) Studios Sterling Silver Ice Tongs, third quarter 20th century, Calabasas, California, in the “Fiddle” pattern, the bowls with “hammered” finish, l. 7‑1/2”, 3.54 t. oz. [100/200] 648 Seven Reed & Barton “Harlequin”-Pattern Sterling Silver Demitasse Spoons, third quarter 20th century, Taunton, Massachusetts, each with variant floral handle: calla lily, goldenrod, hollyhock, rose, wild rose, forget-menot, and water lily, l. 4”, 2.38 total t. oz. [75/125]

643 Ten Assorted American Sterling and Other Small Silver Spoons, including sterling pieces: an Alamo souvenir spoon, l. 3‑1/2”, a Mexican salt spoon with 1912 five-centimo piece bowl and “coffee bean” finial, l. 2‑3/4”, a Gorham H233-pattern salt shovel, l. 3‑4/8”, a Watson “Marlborough”-pattern demitasse spoon, monogrammed “M”, l. 4”, an unusual pair of 19th-century Gorham salt shovels with gilt spades, l. 4‑1/2”, a Webster Co. “Thread and Scroll” salt spoon, l. 3‑3/4”, and a pair of Victorian demitasse spoons hallmarked London, 1880‑1881, by E. Barnard & Sons, in an engraved “Old English” pattern, l. 4‑1/8”, with a Samuel Kirk & Son “New Standard” (.846) silver egg spoon in the “Engraved Old Baltimore” pattern with gilt bowl, monogrammed “M””, l. 4‑3/8”, 2.89 total t. oz. [100/200] 644 Pair of American Sterling Silver Salt and Pepper Casters, second quarter 20th century, by the Webster Co., North Attleboro, Massachusetts, each of baluster form with gadrooned rim, h. 3‑1/2”, dia. 1‑1/2”, 1.48 total t. oz. [75/125] 645 American Sterling Silver Crumb Tray, 1906, by the Whiting Mfg. Co., Providence, Rhode Island, the “B”-shaped tray with elaborate applied rococo-scroll rim, monogrammed center “LGM”, w. 10‑1/4”, d. 6”, 7.72 t. oz. [60/90]

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649 Eight Reed & Barton “Harlequin”-Pattern Sterling Silver Demitasse Spoons, third quarter 20th century, Taunton, Massachusetts, each with a gilt bowl and variant floral handle: calla lily, apple blossom, goldenrod, hollyhock, rose, wild rose, forget-me-not, and water lily. l. 4”, 2.64 total t. oz. [100/200] Illustrated 650 Mexican Silverplate and Hardstone Parrot Pitcher, fourth quarter 20th century, by Los Castillo, Taxco, the hand-hammered pear-shaped body with integral spout, the handle in the form of a perched parrot, inlaid with lapis lazuli and malachite, with gilt beak, h. 11”, l. 8”, dia. 6‑1/4”. [1500/2500] Illustrated

649

650

653 Seven Books on Louisiana and Natchez Architecture and Interiors, including Kerri McCaffety, The Majesty of the French Quarter and The Majesty of St. Charles Avenue, Lee Malone, The Majesty of the Garden District, William Mitchell, Jr., Classic New Orleans, Richard Sexton, Vestiges of Grandeur: The Plantations of Louisiana’s River Road, David King Gleason, Plantation Homes of Louisiana and the Natchez Area, and Randolph Delehanty and Van Jones Martin, Classic Natchez. [75/125]

651 651 Good Mexican Sterling Silver Water Pitcher, third quarter 20th century, by Gonzalo W. Moreno, Mexico City, in the modernist taste, the pear-shaped body with flared integral spout, the C-scroll handle wrapped with coiled silver wire, h. 9‑1/4”, dia. 5”, l. 7”, 27.00 t. oz. [800/1200] Illustrated 652 Twelve Reference Books on Antiques and Collectibles, including Thomas Michael and George S. Cuhaj, ed., Collecting World Coins: Circulating Issues, 1901-Present (12th ed., 2008), Richard Holiner, Antique Purses: A History, Identification and Value Guide (rev. 2nd ed., 1987), Alan & Rita Shenton, Collectable Clocks: 1840‑1940, Richard O’Brien, Collecting Foreign-Made Toy Soldiers, Robert Bishop, The American Chair: Three Centuries of Style, Geoffrey Godden, Godden’s Guide to European Porcelain, Tim Forrest, Bullfinch Anatomy of Antique China and Silver, Paul Greenhalgh, ed., Art Nouveau: 1890‑1914, Robert Koch, Louis C. Tiffany’s Glass, Bronzes and Lamps, Jo Evers, Standard Cut Glass Value Guide, Gene Florence, Elegant Glassware of the Depression Era (rev. 2nd ed., 1985), and Gilvert Bahl, Music Boxes. [100/200]

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654 Unique Presentation of Thanks to Henry C. Minor (1841‑1898) of Southdown Plantation, Houma, Louisiana, from the American Bankers’ Association, in appreciation of a luncheon hosted by Minor at Southdown for the Association at their annual convention on November 13, 1891, consisting of four illustration boards containing calligraphic text “To the Honorable and Mrs. Henry C. Minor and to Miss Catherine Minor: The American Bankers’ Association in grateful remembrance of a most agreeable and never-to-be-forgotten day of novel instruction and unalloyed pleasure of its representatives, in witnessing the in-gathering of the sugar cane and its conversion into sugar, and enjoying the delightful society and unstinted hospitality of true Southern gentlefolk, sends greeting, with its most sincere and heartfelt thanks, to the Honorable and Mrs. Henry C. Minor and to Miss Catherine L. Minor for their most cordial reception and sumptuous entertainment so gracefully and generously given - at their beautiful Louisiana home at Southdown Plantation, Houma”, etc., signed by the Chairman, Secretary and President of the Association, each board illuminated with ink, gouache and gilt, with gouache and watercolor illustrations of, respectively, sugarcane cutters, satsumas, cotton pickers and the seal of Louisiana with magnolias, each board protected by tissue and mounted with linen into full brown leather boards, with tan silk moire endpapers, gilt dentelle and raised bands, the cover with gilt lettering “American Bankers’ Association in Account with Southdown Plantation, Louisiana, November 13, 1891”, crafted by Dakin & Co., Philadelphia, 8‑3/4” x 11‑1/2”, accompanied by the original typewritten letter of presentation on the letterhead of the Executive Council of the American Bankers’ Association, dated Philadelphia, July 19, 1892 and signed by Chairman William H. Rhawn, with the original envelope. Provenance: Henry Chotard Minor, to his son John Duncan Minor, thence by descent in the family to the consignor. Henry Chotard Minor, along with his sister Katherine “Kate” Lintot Minor (1849‑1923), inherited Southdown after the death of their father, William John Minor (1808‑1869). The Greek Revival house with two-story wings flanking a central courtyard had been constructed with bricks made in the elder Minor’s own kiln, and with cypress timbers from the surrounding bayous. Eventually the plantation would boast its own sawmill and racing stables and with private railroad lines and barges to transport its abundant sugar cane. Henry, his wife Anne Louise Butler (1843‑1906), and Kate Minor made even more additions and improvements to the grounds, including the addition of a second story between the flanking turrets of the front entrance. Descendant Anne Butler describes the manor in The Bayou Country Cookbook: “The double front entrance doors feature side and overhead panels of glorious stained glass depicting sugarcane scenes, palmettos, colorful native birds, and magnolia blossoms. The broad, arched entrance hall leads to a carved staircase and, beyond, the original formal dining room.” It was in this last room that the luncheon commemorated in this handsome souvenir was held. Upon hearing that the American Bankers’ Association was to hold its annual convention in New Orleans, Minor extended his invitation in a letter of November 2, 1891: “Mr. and Mrs. H. C. Minor will be happy to entertain the assembly of Bankers at Southdown Plantation on any day designated by them.” The Southern Pacific Railroad offered to transport members of the Association on a special train “leaving our Ferry landing, Elysian Field street, 9 a.m., Friday, 13th November and returning to the city before dark the same afternoon. The published Proceedings of the Convention records the event: “Southdown Plantation

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is about sixty miles from New Orleans, and the lay through the impressive scenery peculiar to the delta of the Mississippi. On reaching the Plantation the guests were received by Mr. H. C. Minor and his brother, and conducted through the sugar-houses. Mr. Minor has a plant costing over $150,000 which is necessary to work up the sugar cane growing on his own land. No other cane is taken at this plantation, and in good seasons over 3,000,000 pounds of sugar are made. After the examination of the sugar-making the guest were conducted to the Minor residence. It is unlike most plantation houses in construction. The massive columns, the broad galleries are missing, and the structure is of brick instead of wood. It is a brick cottage, with rounded wings, built closer to the ground than usual, with broad steps leading up to a pretty porch and a broad hall. Different in form, it is still a typical southern home, with distinctive accommodations and comforts necessary to a house of lavish entertainment, such as plantation houses always are. The pillars of the portico were hidden by tall cane and hung with clusters of oranges. The broad lawn was dotted with chairs and benches. Through the long hall there was a vision of tables burdened with delicate porcelain, sparkling crystal, massive silver, and a profusion of flowers spreading fragrance. Mrs. Minor and Miss Kate S. Minor, Louisiana’s Vice-President on the World’s Fair Board of Lady Managers, received the guests and showed them through the mansion. The place was a treasure-house of bric-a-brac and antiquities. There were carved pieces of furniture of the days of old, antique china to charm a connoisseur, family portraits by distinguished artists dating back three or four generations, portraits of famous horses - the raising of thoroughbred horses having been introduced by the Minors to the South - a massive silver cup won by one of these early racing kings, and other objects rare, costly and beautiful. The hosts accomplished a feat few private establishments would undertake. The eight score guests were seated at a table at one time, and what was intended for a lunch was turned into a banquet. At its close there were toasts to Louisiana, the hosts, the World’s fair and other subjects close to the hearts of the entertainers and guests were drank, and the departure of the train was delayed until the afternoon was far advanced . . . Mr. W. D. Van Vleck, of New York, expressed agreeable surprise at all he had seen in the South and its hospitality had completely outdone him. The people seemed to be offended because he could not eat once each hour . . . Hon H. C. Minor came forward in response, welcomed visitors to Louisiana, to Southdown, to his family and fireside, and hoped that all the visitors would enjoy themselves to their heart’s content . . . On the train the memory of the Minor hospitality came back, growing stronger with each mile of further separation from the scene of the delightful experience, and more resolutions were passed to the gracious hosts.” The Proceedings of the next convention, held in San Francisco in 1892, contains the comments of Chairman Rhawn: “Those of you who attended the New Orleans Convention, or have read the proceedings of that Convention, will know of the very handsome entertainment which was tendered to us by a private citizen, the Hon. Henry C. Minor, and his wife and sister, at their plantation at Southdown . . . where we spent a most enjoyable day in witnessing the process of sugar making, and where we were most bountifully entertained. The Council directed that the following resolution should be handsomely prepared, in the form of an illuminated album, and sent to Mr. Minor and his wife and sister”, after which follows the text of the resolution in the present lot. The Proceedings also record Minor’s acknowledgement of the gift in a letter of August 3, 1892: “My Dear Mr. Rhawn:

Permit me in the name of Mrs. Minor and my sister and myself to acknowledge the receipt of the beautiful illuminated souvenir sent to us by the Bankers’ Association through yourself . . . The little book is a gem, and will always serve as a memento of a ‘red letter day’ in the annals of Southdown.” Reference: Anne Butler, Bayou Plantation Country Cookbook (Gretna, LA: Pelican, 2006); Proceedings of the 17th Annual Convention of the American Bankers’ Association held at New Orleans, Louisiana (New York: ABA, 1891) and Proceedings of the 18th Annual Convention of the American Bankers’ Association held at San Francisco, California (New York: ABA, 1892). [200/400] Illustrated

657 One Hundred Volumes of the “Little Leather Library”, New York, ca. 1920‑1924, the Roycroft edition, each small sextodecimo volume in a flexible faux-leather cloth cover with embossed lettering on cover and spine and publisher’s crest on reverse, with works by Dickens, Emerson, Kipling, Longfellow, Shakespeare, Stevenson, Tennyson, Wilde and many others, 4” x 3‑1/8”, presented in four original card stock boxes, h. 4‑1/8”, w. 9”, d. 3”. The Little Leather Library was created in New York in 1916 and was one of the first attempts to mass-market inexpensive classics in the United States. (One of its founders, Albert Boni, sold his interest in the company to establish the Modern Library, which would in turn later create the subsidiary Random House.) Although the earliest editions were in genuine leather, later versions including those in the present lot - were bound in a durable latex-covered canvas. These were sold via mail order in popular magazines, most notably National Geographic, and sold for around ten cents each. This unusually complete set contains all but one of the 101 known volumes (excluding the special edition of the Bible in thirty volumes). [150/300]

655 Four Reference Books on Fine Art, including Susan Theran, Fine Art Identification and Price Guide (New York: Avon, 1992, 2nd ed.), Gerard Leduc and Joseph D. Ferrara, eds., Huxford’s Fine Art Value Guide, vol. II (Paducah, Kentucky: Collector Books, 1991), Peter Hastings Falk, ed. Who Was Who in American Art (Madison, Connecticut: Sound View Press, 1985), and H. H. Caplan and Bob Creps, Encyclopedia of Artists’ Signatures, Symbols and Monograms (Land O’ Lakes, Florida: Dealer’s Choice Books, 1999). [50/80] 656 Seven Reference Books on Antique Furniture and Decorative Arts, including William Chaffers, Marks and Monograms on European and Oriental Porcelain and Pottery (14th ed.), Elizabeth Norfolk, ed., Miller’s International Antiques Price Guide (21st ed., 2000), Rachel Field, Macdonald Guide to Buying Antique Furniture, Huon Mallalieu, ed., Illustrated History of Antiques, Paul Atterbury & Lars Tharp. ed., Bullfinch’s Illustrated Encyclopedia of Antiques, and Judith Miller, Miller’s Antique Encyclopedia and A Closer Look at Antiques. [100/200]

654 654

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658

659 Howard Logan Hildebrandt (American/Pennsylvania, 1872‑1958) “Arabian Nights”, oil on canvas, signed lower right “H. L. Hildebrandt”, 46” x 36”. Handsomely framed. [1200/1800] Illustrated

658 side

658 Fine Pair of American Aesthetic Movement Rosewood Armchairs, ca. 1875‑1885, marquetry inlaid and gilt incised, the tufted seat cushion over a spindle gallery and joined to stiles faced with geometrically modeled marquetry banding, the armrest over a turned gallery to saber-inspired front legs with geometrically modeled marquetry inlay extending to the arm supports, the top surface of the seat returns adorned with similar banding, now upholstered after the period fashion in Japonesque-inspired floral damask, the legs on India comb rubber casters, h. 39”. A chair with similarly modeled front legs and spindle galleries is illustrated as #317 in the 1875 Kimbel and Cabus catalogue conserved by the Smithsonian Institute Cooper-Hewitt Museum. Gilt incising similar to the present chair is illustrated on the return seat rail of the sofa and armchair, #303 of the catalogue. [8000/12000] Illustrated

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659

660

660 American Aesthetic Movement Gilt-Incised, BrassMounted and Ebonized Cabinet, ca. 1880‑1885, attributed to Pottier and Stymus Manufacturing Company, New York, in two parts, the upper section with a hooded cornice over three arched etched mirrored glass panels joined at the top by embossed gilt-brass panels, over a large beveled mirror plate flanked by a shelf at each corner, the base with a figured black granite top over a pair of pedestal ends, each with a single door fitted with an etched glass panel, each corner of the door and the escutcheon mounted with exotically modeled brass brackets, the recessed center section with open shelves, raised on four carved feet, each in the form of an elephant head with tusks, the trunk extending down to form the foot, the top and the base each exhibit a five-digit production number “35569”, h. 84‑1/2”, w. 58‑1/2”, d. 20”. [8000/12000] Illustrated 661 Attractive Anglo-American Double Standish, fourth quarter 19th century, composed of verdigris-detailed reticulated cast-iron in the Aesthetic taste, fitted with the period pair of square melon-ribbed glass ink bottles with hinged cast-iron covers and a stationery rack at the rear edge, h. 5‑1/4”, w. 8‑1/2”, d. 4‑3/4”. [350/500]

660 detail

662 American Aesthetic Movement Ebonized Easel, ca. 1875, of traditional A-frame form, the display tray fitted with a height-adjustment mechanism, with a foldout storage bin below, the face centered by a panel with a carved rondel, h. 73”, w. 24‑1/2”, d. 30”. [500/800]

660 detail

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663 two-piece suite

663 Fine American Aesthetic Movement Mixed Wood and Metal-Inlaid Parlor Group, New York, ca. 1880, probably by Herter Brothers or Pottier and Stymus, comprised of a sofa, h. 36‑1/4”, w. 78‑1/2”, d. 29”, and an armchair, h. 39”, the sofa with an incised top rail joined to stiles with banded brass and light wood inlay on a dark ground, framed with inlaid brass stringing, the arms supports with like inlay, raised on reeded legs, the armchair with a gently arched crest rail centered by a wood and brass inlay depicting a vase and twining foliage, the apron corner blocks with metal and wood inlaid vines, the seat apron and returns with inlaid banding, both pieces upholstered after the period fashion in gold and terracotta brocade, the seats button tufted, the arms trimmed with tassels and fringe. [10000/15000] Illustrated

663 two-piece suite

664 Attractive American Brass-Mounted Hanging Lantern, fourth quarter 19th century, of pyriform in deep “Hobnail” cranberry, now electrified, retains the period elliptical-link suspension chains, canopy and basal shield of cup form, h. 13‑1/4”, 29” to canopy, dia. 9”. [300/500]

663 detail

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666 American Aesthetic Movement Mahogany HalfTester Bed, fourth quarter 19th century, the tester adorned with sunflower, foliate and scroll carvings, joined to carved posts with twist-reeded band columns capped by Corinthian capitals, the shaped brackets with reeding, floral and foliate carving, the headboard and footboard with inset circular panels flanked by molded pilasters and rectilinear panels centered by raised panels with floral and urn carving, h. 120”, inside w. 61”, l. 78”, outside w. 64‑1/2”, l. 86”. [5000/8000] Illustrated 666

667

665 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. [1200/1800] Illustrated

667 Fine and Rare American Intaglio-Cut Glass Cologne Bottle, with a fourteen-karat gold stopper, the body intaglio cut with alternating floral reserves and ovoid cartouches centered by stylized quatrefoils, the stopper by Black, Starr and Frost, New York, h. 6‑1/2”, dia. 4‑1/4”. [1200/1800] Illustrated

665 669

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674

669 Charles Salis Kaelin (American/Ohio, 1858‑1929) “Trees in Blossom”, pastel, signed in pencil lower left “C. S. Kaelin”, retains partial gallery inventory label on the reverse “ACA American Heritage Gallery, 63 East 57th St., NY”, sight 15‑1/2” x 15‑1/2”. Glazed, matted and framed. Provenance: Acquired in 1965 from ACA American Heritage Gallery, Inc., 63 East 57th Street, New York. [1400/1800] Illustrated previous page 670 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. [1400/1800] 671 California School (20th Century) “Pacific Sunset”, oil on canvas, signed lower left ‘Sherman”, 24” x 48”. Handsomely framed. [400/700] 672 Pair of Buffalo Studios, California, ThreeLight Sconces, composed of bronzed and verdigris-patinated brass in the Art Nouveau style, each sconce electrified and fitted with a trio of ribbed iridescent gold lily-form glass shades in the Favrile style of Louis Comfort Tiffany, the reverse of one example stamped “BUFFALO STUDIOS / PASADENA CALIFORNIA / 159”, the mate stamped “166”, the shades signed in script “Zephyr”, h. 18”, w. 8”. [200/400]

673 American Patinated Bronze Seven-Light “Lily” Table Lamp, in the Art Nouveau style of the Tiffany Studios, New York, each light fitted with an iridescent ribbed glass floriform shade signed in script “Zephyr”, h. 20‑1/2”. [300/500]

674 detail 674 detail 668 American “Eastlake” Burled Walnut and Walnut Writing Table, fourth quarter 19th century, with an inset tooled leather writing surface framed by burlwood banding, the apron with a single drawer, raised on a trestle base, h. 28”, w. 30‑1/4”, d. 17‑1/2”. [400/700]

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674 Important L. C. Tiffany Walnut Roundabout Chair, ca. 1879‑1890, each stile capped by a finely carved finial depicting a bear grasping a pumpkin, each finial differently ornamented, centered by an oak- and acorn-carved panel, the arms on bobbin-turned supports, the seat rail adorned with brass studs, raised on square legs with doubleknuckled paw feet on glass balls, h. 41”. Part of a very small group of seating furniture, armchairs and sidechairs in this form have occasionally surfaced. The present example in its curvate roundabout form may be unique in this body of work. Louis Comfort Tiffany was involved in several furniture and decorating enterprises from 1879 through the following decade, most notably Associated Artists, active 1879‑1883, Tiffany and DeForest, active 1880‑1883, and L. C. Tiffany and Company which was created to manufacture furniture and went bankrupt in 1885 while executing the Lyceum Theatre commission in New York. Tiffany continued to design interiors throughout his career, including the William Kimball house in 1887. Feet on several pieces executed for that commission resemble those on the present example. [30000/50000] Illustrated

676

675 Pair of American Studio Glass Candlesticks, of tall size and modeled as iridized “Feather Combed” inverted trumpets with colorless glass candlesockets and bobeches, each signed in diamond-stylus script on the interior of the trumpet element, h. 13‑3/4”, dia. 5‑3/8”. [200/400] 676 Indo-American Aesthetic Movement Teak Dressing Bureau, ca. 1880‑1891, attributed to Lockwood DeForest's Ahmedabad Woood Carving Company, or a contemporary, in two parts, the upper section with a mirror in a carved frame joined to a like-carved frame, on a base with two-over-two drawers, each drawer with twining foliage and scrolls carved in shallow relief, each with an organically modeled carved pull, on a plinth base with paneled sides, h. 83”, w. 48”, d. 22”. Similar wood carvings are illustrated in Illustrations of Design Based on Notes of Line as Used by the Craftsmen of India by Lockwood DeForest. From 1880-83, Deforest, in partnership with Louis Comfort Tiffany, spent extensive time in Eastern India, studying the carving and art, and intitiating production and importation fo pieces. After the dissolution of Tiffany and Deforest, he was involved in several furniture manufacturing enterprises. DeForest, among others, manufactured furniture in India and New York to cater to the taste for the exotic during the Aesthetic Movement. While unabashedly western in form, the present piece exhibits several unusual features atypical of massmarket furniture of the period, including use of oak or ash secondary wood throughout, the lack of drawer locks, an Asian paper lining behind the mirror plate, and lettering on the back of the case in an undetermined Oriental script. Drawer chamfers cut witha power machine tool indicates the producer of this chest had access to modern woodworking equipment. [2500/4000] Illustrated

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677

678 Fine Newcomb College Pottery Vellum-Glazed Motto Chamberstick, 1901, potted by Joseph Fortune Meyer (1848‑1931) and decorated by Henrietta Bailey (1874‑1950), the gallery rim of the bobeche inscribed “No Night But Hath It’s (sic) Morn”, with a dished base, h. 6‑1/2”, dia. 5”. Ex-collection Daisy Wade Bridges, Charlotte, North Carolina. Exhibited Mint Museum of Art, Charlotte, North Carolina. [2000/4000] Illustrated

677 detail

677 American Aesthetic Movement Walnut Writing Desk, ca. 1870‑1890, attributed to Benjamin Pittman and William Fry’s Cincinnati Women’s Woodcarving Movement, Cincinnati, Ohio, in two parts, the recessed upper section with a central cupboard with an arched gallery, adorned with butterfly, leaf and vine carving, over a pair of doors, each depicting a bird amidst flora and foliage, over an open niche, flanked by a bank of two drawers, each with spoon-carved faces, the returns with pegged through tenons, the base with a gently sloping slant lid with a panel carved depicting birds amidst leaves and branches, over a spoon-carved drawer and three recessed carved panels, the returns and back also adorned with carving, the lower back with a drop-down door opening to utilize the void behind the three lower panels, h. 61‑5/8”, w. 41‑1/2”, w. 17‑1/4”. For a discussion of similar works, see Howe, Cincinnati Art-Carved Furniture and Interiors. A similar desk by Catherine Peachey is illustrated on page 210. [10000/15000] Illustrated

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677 detail

679 Good Newcomb Guild “Spindrift”-Glazed Pottery Vase, ca. 1944‑1948, of flared beaker form, the base with a pair of “NC” monograms impressed underglaze, h. 6‑1/4”, dia. 5‑7/8”. [500/800] 680 Rare Shearwater Pottery Gloss-Glazed Vase, 1983, thrown by Peter Anderson and decorated by Adele Anderson Lawton (b. 1951), with a butterfly design, modeled as a trio of segmented leaf panels in, respectively, Shoal Blue, teal and Blue Rain glazes, signed and dated on the base with the arched impressed Shearwater mark impressed underglaze and “Adele/83”, h. 4‑3/4”, dia. 4‑1/2”. [500/800] Illustrated 681 Good Shearwater Pottery Cast Alkaline Blue-Glazed Vase, ca. 1940, designed by Walter Inglis Anderson, and cast and glazed by Peter Anderson (1901‑1984), accompanied by a Shearwater Pottery certificate of authenticity signed by Marjorie Anderson Ashley, h. 9‑1/4”. Reference: Dod Stewart, Shearwater Pottery, Bristol Publishing Company, Slidell, Louisiana, 2005, p. 65, illustrated. Exhibitions: “Shearwater Pottery Centennial Exhibition”, The Smithsonian Institution, Washington, D.C., 2005. [4000/7000] Illustrated

681 682

680

683

682 Good Shearwater Pottery Cast Vase, in turquoise drip-glazed carved “Fish” decor, ca. 1950, potted by Peter Anderson (1901‑1984) and decorated by James McConnell Anderson (1907‑1938), the base with the impressed Shearwater mark in uppercase letters underglaze, accompanied by a 2007 Shearwater Pottery certificate of authenticity signed by Marjorie Anderson Ashley, h. 7‑1/2”, dia. 7‑1/2”. [3500/5000] Illustrated

678

683 Fine Early Shearwater Pottery Carved and BronzeGlazed Vase, with blue interior, potted by Peter Anderson (1901‑1984) and carved by Walter Inglis Anderson (1903‑1963), ca. 1940, the base with a circular impressed Shearwater mark, accompanied by a Shearwater Pottery certificate of authenticity signed by Marjorie Anderson Ashley, h. 8‑1/2”, dia. 6”. [3500/5000] Illustrated

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687 Eugenie Gershoy (American/New York, 1901‑1983) “New Orleans”, 1941, ink on paper, pencil signed and dated lower right “Eugenie Gershoy 1941”, sight 8‑3/4” x 11‑3/4”. Glazed, matted and framed. [200/400] 688 Southern School (20th Century) “Mississippi High I”, oil on paper, signed lower left “Flo Campbell”, with gallery label on the reverse “R&W Gallery Inc., Memphis, Tennessee”, sight 6” x 9‑3/4”. Glazed, matted and framed. [100/200]

689

692

690 684 Caddo Pottery Incised Blackware Vase, by Jereldine Redcorn, Oklahoma, dated 1995, of spherical form with straight cylindrical neck, the body incised with serpentine scrolls, signed and dated sgraffito on the underside “Redcorn / Caddo / 1995”, h. 7‑1/2”, dia. 4‑1/4”. In November 2009, a similar Jeri Redcorn vase was chosen by President Obama and First Lady Michelle Obama to remain on permanent display in the White House Oval Office. [150/300] 685 Santa Clara Pueblo Blackware Pottery Jar, ca, 1980, by Julia Martinez, New Mexico, the slightly concave upper half decorated with a band of stylized feathers, signed sgraffito on the underside “Julia / Martinez / Santa Clara / Pueblo”, h. 3‑1/2”, dia. 3‑1/2”. [150/300] 686 Eugenie Gershoy (American/New York, 1901‑1983) “On the Levee, New Orleans”, 1941, ink drawing on paper, pencil signed and dated lower right “Eugenie Gershoy 1941”, 8‑3/4” x 11‑3/4”. Glazed, matted and framed. [200/400]

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693

692 Colette Pope Heldner (American/Louisiana, 1902‑1999) “Swamp Idyll”, oil on canvas, signed lower left “Colette Pope Heldner”, titled and signed on the reverse, 36” x 30”. Handsomely framed. [1500/2500] Illustrated 693 George Rodrigue (American/Louisiana, b. 1944) “Polly Island”, 1985, signed lower left “Rodrigue”, titled, signed and with artist’s copyright on stretcher verso and inscribed on stretcher verso “#8512”, 20” x 24”. Handsomely framed. Provenance: Private collection, Donaldsonville, Louisiana. [10000/15000] Illustrated 694 Alvyk Boyd Cruise (American/Louisiana, 1909‑1988) “King and Queen of Carnival”, watercolor on paper, signed lower right “Boyd Cruise”, 21” x 15”. Unframed. [1500/2500]

695

689 Emery Ann Clark (American/Louisiana, b. 1950) “Bayou St. John”, 1997, mixed media on paper, signed and dated in pencil lower right “Emery Clark 1997”, sight 20‑1/2” x 31”. Glazed, handsomely matted and framed. Provenance: Acquired directly from the artist by a private collector, New Orleans, Louisiana. [2000/4000] Illustrated

695 Bernice Brown (American/Texas, Contemporary) “Commemorative Portrait of Paul “Red “Adair”, oil on canvas, signed and dated 1981, framed, sight 35‑1/2” x 29‑1/2”. This painting depicts “Red” Adair in evening dress holding the prestigious “Walton Clark Medal” for his outstanding contributions to the fighting of oil well fires and the capping of wild wells, for his development and use of advanced techniques in carrying out these activities, and for his development of equipment to reduce the time required to control offshore blow-outs. Adair is shown surrounded by significant images from his career (clockwise from lower left): Mr. Adair on the job in his signature red work suit; one of the many blow-outs he capped; Mr. Adair wearing the Native American war bonnet as Parade Marshal in the Calgary, Alberta Stampede of 1966 (a color photograph of him at this event accompanies this portrait); and the 1968 blow-out he conquered on Australia’s Bass Straits Marlin rig (the event which sealed his reputation as Australia’s “Last American Hero”). [700/1000] Illustrated

690 William Tolliver (American/Louisiana, 1951‑2000) “Sunlight Over the Louisiana Bayou”, oil on canvas, 1983, signed and dated lower right “William Tolliver 83”, verso with gallery label “Crutchfield’s Live Oak Gallery, Lafayette, Louisiana”, 16” x 20”. Provenance: Bob Crutchfield’s Live Oak Gallery, Lafayette, Louisiana, to a private collector, Lafayette, Louisiana. [3500/5000] Illustrated 691 John Peter Pemberton (American/New Orleans, 1879‑1914) “Louisiana Irises”, 1908, watercolor and gouache, signed and dated in pencil lower right “J. P. Pemberton N.O. ‘08”, inscribed lower margin “Affectionate remembrance to (?) Lambert her old friend and pupil”, sight 11” x 10‑3/4”. Glazed, matted and framed. [350/500] Photograph of Marlin Rig Blow-Out

127 127

696 Red Cotton Walls Master Made Worksuit Worn by “Red” Adair, with zipper and snap closures, “Red” embroidered in bright gold at one side of the chest and the “Red Adair Co.” oval patch at the opposite side, a large oval “Red Adair Co.” patch across the back, men’s size 42 short. [600/900] Illustrated

696

Photograph of Red on the job 696 detail 698

696 detail

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697

697 Ecru Lady’s Suntanner by Dorothy Cox, the sleeveless sport dress or tunic belonging to Robyn, the daughter of “Red” and Kemmie Adair, the side with long slits, with an ecru shield-form patch “Red Adair/Racing Team/ Houston” at one front shoulder. [150/300] Illustrated

697 detail

698 Red Whang Sports Apparel Polished Cotton Long-Sleeve Windbreaker Jacket, belonging to Robyn, the daughter of “Red” and Kemmie Adair, with “Robyn” embroidered in bright gold at one side of the chest, the oval “Red Adair Co.” patch on the opposite side, a large oval “Red Adair Co.” patch across the back with “desert fire 1991” embroidered above it, one arm bearing an American flag patch, the other with a Texas state flag patch. [400/700] Illustrated

699

699 Red Cotton Denim Stanley Miller Duster Belonging to “Red” Adair, with snap front closure to the hemline and down the long rear slit, the back embroidered “Adair” and “Houston Texas” in black, size XS. [300/500] Illustrated

700 Group of Three Red Adair and Company Die-Cast Model Banks, fourth quarter 20th century, each by the Ertl Co., Dyersville, Iowa, including a model of an 1826 Seagrave fire truck, l. 8‑1/4”, and two 1932 Ford delivery vans, l. 6‑1/2”, each with decals reading “Red Adair Co. Inc. Wild Well Control Oil Well Fires Blowouts”. [150/300] Illustrated

700

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703

Gates to Red Acres with its brand

701 French “Modele 1933” Nickel, Brass and Leather Fire Helmet, third quarter 20th century, the stainless chromium-nickel crown and brim of single construction, with applied ventilated crest and brass badge and rim, with leather liner and strap, the badge of the Sapeurs Pompiers Sonatrach, Algeria, h. 6‑1/2”, w. 9”, l. 12‑1/4”. Provenance: The Estate of Paul Neal “Red” Adair, Houston, Texas. The iconic “Le Casque Modele 1933” was commissioned by the French government in January 1932 from Bernard Franck et Fils, a supplier of military helmets. It was put into service on October 5, 1933, replacing the earlier 1895 model, and it soon earned the nickname “Casque Bol” (“Bowl Helmet”). It remained in service until 1985, when it was replaced by the model F1, and it still holds the record for the longestused casque of the Sapeurs Pompiers. The badge of this particular helmet is that of the Algerian national oil and petrochemical company Sonatrach (National Society for the Research, Production, Transport, Transformation and Commercialization of Hydrocarbon Resources). “Red” Adair became a hero in Algeria - and the world for extinguishing the “Devil’s Cigarette Lighter” there in November, 1961: a blowout of a Phillip’s Petroleum well so large that John Glenn reported seeing it from space. As this event pre-dated the 1963 creation of Sonatrach, this helmet of Adair’s is probably connected to a second fire he extinguished in Algeria in February, 1972. [100/200]

130

702 Trio of Austro-Bavarian Pre-WWI Steel, Leather and Brass Fire Helmets, late 19th/early 20th century, each in the traditional Bavarian form, two with a leathercovered steel crown and black-painted steel brim, with applied brass crest, badge and lion’s-masque ear bosses (retaining the chin strap fittings but lacking the strap), with tan leather liner, the larger with the badge of the Freiwillige Feuerwehr Ketzelsdorf, h. 7‑3/4”, w. 7‑1/2”, l. 10‑3/4”, the smaller h. 7”, w. 6‑1/2”, l. 8‑1/2”, the third helmet with leather crown and leather-covered steel brim, with brass crest, badge, front brim edge and cabochon earbosses, complete with leather liner and chin strap, h. 7, w. 6‑3/4”, l. 9‑5/8”. Provenance: The Estate of Paul Neal “Red” Adair, Houston, Texas. The only identifiable badge here is from the FF Ketzelsdorf (Ketzelsdorf Volunteer Fire Department), a suburb of Poysdorf in Lower Austria; the organization celebrated its jubilee in 2006. [100/200] 703 Stelzig’s of Texas Fringed Cowhide Chaps Belonging to “Red” Adair, bearing the applied Red Acres Ranch brand at one lower leg. [250/400] Illustrated 704 World War II-Era U. S. Navy Lifeboat Binnacle Lamp, the 5” fluid gimbaled brass compass by John Bliss & Co., New York, serial number 7369, the black and white card divided into 124 points (2.81 degrees) with fleur-de-lis north point, fitted in a black-painted brass and copper case with white interior, side kerosene lamp and stirrup-shaped wire handle, the case by the Lionel Corp., New York, overall h. 10”, w. 8‑1/2”, d. 7‑1/4”. The Lionel Corporation, famous for its electric model trains, ceased toy production in 1942 to assist the war effort by producing items for the U.S. Navy of which this, the Lifeboat Binnacle Lamp, was undoubtedly the most iconic. The company resumed the production of model trains in late 1945. [250/400]

705 Native American Breastplate and Choker, the breastplate composed of a heavy rawhide frame with a bell at each corner, centered with a row of metal and turquoise glass beads, topped with an abalone disc and silk streamers and flanked by two rows of bone hair pipe, the outer edges finished with knotted rope and metal bead spacers, the lower corners with glass bead, metal and horsehair tassels, h. 15”, w. 10‑1/4” (excluding tassels); the choker composed of rawhide, bone hair pipe and metal beads centered with red and striped green glass beads suspended from an abalone disc, h. 1‑1/4”, l. 12”. [300/500]

710

706 A. Aubrey Bodine (American, 1906‑1970) “Pops in His Patio”, 1944, vintage photograph of noted New Orleans photographer Joseph Woodson “Pops” Whitesell and an unidentified woman seated on the patio of his French Quarter home, now the site of the world famous jazz club Preservation Hall, signed and dated in ink on the mount “A. Aubrey Bodine 1944”, titled lower left, and dedicated by the artist “To a Grand Old Man Who Hung Prints in his First Year of Exhibiting”, 18‑1/2” x 14‑1/2”. Glazed, handsomely matted and framed. [1000/1500] Illustrated

707

707 Pair of American Art Deco Electric Sconces, composed of bronzed metal and frosted topaz glass, the reverses of the backplates hallmarked “M.E.P. Inc. Design Pat/Appl. for”, the canopy-form topaz glass shades with bas-relief decoration of stylized flowerheads, h. 11”, w. 7‑3/4”, d. 6‑3/4”. [700/1000] Illustrated 708 Pair of Contemporary Hardwood Garden Settees, each with a slatted back joined by shaped arms to the like seat, raised on square legs, h. 33”, w. 48”, d. 23”. [250/400] 709 Contemporary Painted Wooden Garden Bench, the rectangular back with two splats, each with pierced designs in the Chinese Chippendale taste, joined by flat arms to the slatted seat, raised on square legs, h. 36”, w. 47‑1/2”, d. 21”. [100/200]

706

131

710 George (1898‑1937) and Ira Gershwin (1896‑1983) Pair of Autographs, the first an autograph letter of introduction from George Gershwin to Florenz Ziegfeld (1867‑1932) for Marcia Dane, one page, octavo, undated but “Tuesday” [1929], on Gershwin’s personal letterhead from 33 Riverside Drive, New York, reading “Dear Flo- This will introduce a very good friend of Ira’s and mine who is desirous of being in the chorus of “Show Girl”. She is a distinctive type as you can see so please do what you can for her and oblige. Yours, George (Her name is Marcia Dane.) G.”, 9‑5/8” x 7‑3/4”, mounted with the accompanying envelope, addressed by Gershwin to “Mr. Florenz Ziegfeld, Ziegfeld Theatre, 6th Ave & [54th St.]” (this last presumed, as it is obscured by the letter), with additional pencil notation in another hand “1. From George Gershin [sic]”, 4” x 5”, on an ivory velvet backing and presented in a gilt-brass-mounted ivory velvet neoclassical frame with cenotaph crest and laurel wreath and vase medallions and glazed, 19‑1/4” x 20‑5/8”, the second a photograph of George and Ira Gershwin, at the piano, with Ira Gershwin autograph inscription “To Marcia - With all the best - Ira Gershwin Beverly Hills Nov. 1941.”, sight 9‑1/4” x 10‑3/4”, mounted with a small George Gershwin autograph cut from an unidentified document, 1” x 2‑3/4”, presented in an elaborate pierced shell-andscroll giltwood frame with antique gold matte and glazed, 15” x 18”. Provenance: Private collection, Sarasota, Florida. The George Gershwin letter here can be dated to the first half of 1929; George and Ira moved to adjoining penthouses at 33 Riverside that year, and “Show Girl” opened on July 2, 1929. It starred Ruby Keeler and Jimmy Durante and ran for 111 performances. Marcia Dane Rubin (1907‑1996) was a New York and later Sarasota, Florida socialite. An article in the April 1, 1994 issue of “Sarasota Magazine” discusses her antique-filled Sarasota Bay highrise apartment, where these autographs were prominently featured and notes - that’s show biz - she did not get the part. [3500/5000] Illustrated previous page

711 Helen Trivigno (American/Louisiana, 1920‑1985) “A Florentine Night”, triptych, enamel on wood, titled and signed on an old paper label on the reverse, signed lower right “Trivigno”, 12” x 36‑1/2”. Framed. [600/900] 712 Helen Trivigno (American/Louisiana, 1920‑1985) an enameled gently tapered plaque of a mother and child, third quarter 20th century, signed lower right “Trivigno”, presented on a conforming weathered wood block base, h. 10‑1/4”, w. 4‑1/2”. [250/400] 713 William Tolliver (American/Louisiana, 1951‑2000) “Working in the Fields”, oil on canvas, signed lower right “William Tolliver”, with “Crutchfield’s Live Oak Gallery” label on the reverse, 40” x 30”. Unframed. [3000/5000] Illustrated

713 714 Southern School (Second Quarter 20th Century), “Pearl”, 1944, oil on canvas, signed lower right “Verna Dennis”, dated and inscribed on stretcher verso “Pearl ‘44”, 30” x 24”. Presented in an ebonized wood frame. [600/900] 715 Harry Fisk (American, 1887‑1974) “Lively Street Scene, French Quarter, New Orleans”, gouache on paper, signed lower right, 13‑3/4” x 10‑1/4”. Matted and framed. [400/700] Illustrated 716 Paul Hermann Rohland (American, 1884‑1953) “Jazz Musicians”, oil on canvas board, signed lower left “Rohland”, 9‑3/4” x 11‑3/4”. Unframed. [300/500]

715

132

717

719 Marshall D. Smith (American/Illinois, 1874‑1973) “Gossip - Old New Orleans”, oil on board, signed lower left “Marshall D. Smith”, titled and signed in pencil on the reverse, 24” x 24”. Framed. [1200/1800] Illustrated 720 Northwest Persian Carpet, 4’ 9” x 9’ 3”. [1400/1800] 721 Persian Bakhtiari Carpet, 5’ x 8’ 9”. [2500/4000]

718

717 Noel Rockmore (American/New Orleans, 1928‑1995) “Mardi Gras Street Scene, New Orleans”, 1980, oil on canvas, dated, inscribed and signed lower right “Rockmore ‘80, New Orleans”, 24” x 48”. Unframed. Provenance: Purchased by the consignor from Bryant Galleries, New Orleans, Louisiana. [6000/9000] Illustrated 718 Paul Hermann Rohland (American, 1884‑1953) “French Quarter Courtyard”, oil on canvas board, signed lower right “Rohland”, 10” x 8”. Unframed. [300/500] Illustrated

719

133

722 Persian “Kallegi” Runner, 4’ 7” x 11’ 2”. [1000/1500] Illustrated 723 Angora Oushak Carpet, 6’ x 9’ 5”. [3000/5000] 724 Angora Oushak Carpet, 5’ 9” x 9’ 1”. [3000/5000] 725 Kurdish Carpet, 4’ 10” x 8’ 1”. [800/1200] Illustrated 726 Peshawar Zeiglar Mahal Carpet, 5’ 3” x 8’ 8”. [700/1000] 727 Turkish Caucasian Runner, 2’ 8” x 15’ 3”. [500/800] 728 Petit-Point Needlepoint Tapestry, first quarter 20th century, depicting a bucolic village landscape with a fruit and floral border, 6’ 11” x 5’ 5”. [1800/2500]

735 lot of two

729 Persian Bakhtiari Carpet, 6’ 8” x 10’ 4”. [2000/4000] 730 Semi-Antique Persian Heriz Carpet, 10’ 2” x 12’ 7”. [4000/7000] 731 Peshawar Zeiglar Mahal Carpet, 8’ 10” x 10’ 6”. [900/1200] 722 732 Pair of Agra Serapi Runners, 2’ 7” x 12’ 2” and 2’ 7” x 11’ 10”. [700/1000] 733 Persian Qashqai Carpet, 5’ x 9’ 2”. [2000/4000] 734 Caucasian Carpet, 3’ 6” x 6’ 3”. [600/900] 725

8 134

739 Suite of Four Italian Polychromed Sidechairs, late 19th century, each with a double-domed back over an intertwining splat, the padded seat raised on cabriole legs ending in peg feet, the whole accented with delicate floral and gilt scrolling accents, h. 36”. [1800/2500] Illustrated 740 Pair of Italian Tiered Seven-Light Pricket Appliques, of large size in the late 18thcentury neoclassical style, composed of carved, gray-blue painted, and parcel-gilded wood and wrought iron, the gray-blue painted finish tastefully abraded throughout, h. 60”, w. 30”, d. 17”. [4000/7000] Illustrated

739

740

741 Pair of Italian Giltwood and Faux-Marbre Console Tables, late 19th century, each with a bowed faux-verde antico marble top above an annulated frieze, raised on a single support of a putti ending in a scrolled standard to a shaped base, h. 33‑1/4”, w. 27‑3/4”, d. 13‑1/2”. [1800/2500] Illustrated

735 Pair of Persian Qashqai Runners, 2’ 8” x 7’ and 2’ 8” x 6’ 3”. [2500/4000] Illustrated 736 Agra Serapi Carpet, 9’ x 11’ 10”. [1000/1500] 737 Peshawar Sultanabad Carpet, 9’ 3” x 11’ 10”. [1800/2500]

741 pair

738 Agra Serapi Carpet, 8’ x 10’ 2”. [900/1200]

135

743 Pair of Italian Giltwood and WroughtIron Pricket Candlesticks, second quarter 20th century, of low form in the Early Renaissance style, now mounted as accent lamps and fitted with black ultrasuede shades, the prickets removed in the conversion and replaced with faux candles, h. 17”. [150/300]

745

744 pair

744 Pair of Italian Carved Giltwood Bracket Lights, fourth quarter 19th century, of large flambeau form in the Renaissance style, the bracket arms modeled as stubby classical dolphins with leafed trefoil tails, h. 25”, w. 6‑3/4”, d. 13‑1/2”. [400/700] Illustrated

747

742 742 Pair of Italian Provincial Wood and Wrought-Iron Two-Light Appliques, third quarter 19th century, the carved, white-painted and parcel-gilt wood of neoclassical inspiration, the wrought-iron candle branches surmounted by floriform carved and white-painted wood candlesockets, the backplates centered with mirrored glass plates, the white-painted finish tastefully worn and abraded throughout, h. 12‑1/2”, w. 13‑1/4”, d. 3‑1/4”. Provenance: Waldhorn & Adler’s, New Orleans, Louisiana. [500/800] Illustrated

136

745 Suite of Six Italian Polychromed Sidechairs, late 18th century, probably Venetian, each with a shaped crest above a baluster-form splat, the padded seat above a scalloped apron, raised on cabriole legs joined by an H-form stretcher and ending in pad feet, the whole with floral and avian polychromed accents, h. 40”. [2500/4000] Illustrated 746 Continental School (20th Century), a decorative panel on canvas depicting a garden sculpture of a putto draped in a floral garland, seated atop a large sphere on a pedestal, unsigned, 40” x 30”. Framed. [150/300]

749 pair

751

747 Pair of Continental Baroque Carved and Patinated Giltwood Pilasters, fourth quarter 18th century, each modeled as a putto head above a ribbed scroll over a pendant lambrequin with bellflower terminals, h. 32”, w. 5”. [700/1000] Illustrated 748 Pair of Northern Italian Two-Light “Drape” Appliques, composed of carved giltwood and plaster in the 18th-century neoclassical style, electrified and fitted with card faux candles, h. 16”, w. 10”, d. 6‑1/2”. [1000/1500] Illustrated 749 Pair of Italian Carved and Gilded Wooden Looking Glasses, second quarter 20th century, in the late 18thcentury neoclassical style, the side rails modeled as squared colonnettes mantled by foliate scrolls and flowerheads, the tall giltwood cresting modeled as a foliate-scroll spray surmounting an open cartouche, h. 49”, w. 27”. [1500/2500] Illustrated

750 Pair of Italian Carved and Parcel-Ebonized Giltwood Lyriform Appliques, first quarter 20th century, the base of each lyre fitted with a patinated brass swing candlearm, the frames centered with furling ribbon ends, not electrified, h. 22”, w. 11”. [100/200] 748

751 Italian Carved Giltwood Torchere, third quarter 19th century, the circular top raised on an acanthine-carved tripartite standard centered by a central bellflower-carved upright, to a base of scrolling legs joined by a laurel-leaf garland, h. 63”, dia. 11‑1/2”. [1200/1800] Illustrated 752 Italian School (18th Century) “Winter”, engraved allegorical portrait by Rosalba Carriera (Italian, 1675‑1757), printed in Paris, second quarter 18th century, and “Boy and Fighting Cocks”, hand-colored engraving by Francesco Bartolozzi (Italian 1724/27‑1815), third quarter 18th century, 10” x 8”. Presented in matching gold-banded seafoam-green French mats within giltwood frames in the neoclassical style and glazed. [50/80]

137

756 Continental School (Second Quarter 19th Century) “Bust Portrait of a Lady in a Burgundy Empire-Style Dress and Gold Wrap”, oval oil on canvas, 26” x 21‑1/2”, unsigned. Presented in an early 20th-century giltwood frame. [1000/1500] Illustrated

754

757 Large Pair of Italian Carved Giltwood BracketConsole Tables, in the Baroque taste, each fitted with a conforming polished mocha and white marble top, the bases of demi-font form and decorated with a pair of boldly modeled relief scrolls enface surmounting a similar pair of addorsed relief scrolls, h. 32”, w. 36”, d. 10”. [800/1200] Illustrated

758 Pair of Italian Polychromed and Parcel-Gilt “Blackamoor” Torcheres, each in the form of an elaborately costumed and turbaned Blackamoor figure holding aloft a three-tiered ten-light candelabrum, the figure raised on a tripartite base ending in scrolled feet, h. 89‑1/2”. [2000/4000] Illustrated

757 pair

759 Baronial-Style Giltwood Fauteuil, early 20th century, by Ralph Lauren, the shaped and padded back joined by scrolling foliate-carved arms to the padded seat, raised on exaggerated scrolling legs joined by a foliatecarved stretcher and ending in in-scrolled toes, h. 44”. [700/1000] Illustrated

753 Continental School (Third Quarter 19th Century) “Portrait of a Noblewoman in a Celadon Dress with a Jeweled Bodice”, oil on canvas, unsigned, verso with canvas stamp “Karl Anwander, Munchen”, 31‑3/4” x 22”. Handsomely framed. [500/800] 754 Pair of Italian Giltwood Fauteuils, fourth quarter 19th century, in the rococo taste, each with a shaped and padded back surmounted by a floral foliate crest, joined by padded scrolling arms to the padded seat, raised on cabriole legs headed by lotus carving and ending in scrolled toes, h. 38”. [700/1000] Illustrated 755 Pair of Italian Giltwood, Plaster and Iron Two-Light Appliques, in the 18th-century Antique style, having gilded wrought-iron backplates entwined with upwardgraduated bellflower vines surmounting an Antique-style giltwood vase, electrified and fitted with glossy bone-white faux candles, h. 42‑1/2”, w. 14‑1/4”, d. 8‑1/2”. [300/500]

138

756

760 Pair of Carved Giltwood “Scallop Shell” Bracket Shelves, Palladio, Italy, in the neoclassical style, each shelf with the temple-enframed rouge-de-fer Palladio stencil on the reverse of the shelf, h. 8‑1/2”, w. 9‑3/4”, d. 5‑1/2”. [200/400]

758

761 Italian White Branch Coral and Seashell Garniture, first quarter 20th century, presented on a parcel-gilt faux-marbre base of capstan form, h. 14”, w. 8‑1/2”. [1200/1800] Illustrated

759

761

762 Large Continental Cast-Stone Garden Birdbath, in the form of a giant Pacific clamshell, the surface weathered throughout, h. 10”, w. 20”, d. 31”. [125/250] 763 La Barge Carved and Silvered Oval Looking Glass, in the Italian Baroque style, the crest and basal rails centered with carved scallop shells, the side rails boldly carved with foliate scrolls, the backplate with a printed La Barge label, h. 53”, w. 67”. [200/400] 764 Large Continental Cast-Stone Fountainhead, in the form of a snarling lion mask, the surface attractively weathered throughout, h. 13”, w. 10”, d. 5‑3/4”. [50/80]

139

765 Chinese Bronze Bottle Vase with GarlicHead Mouth, Han Dynasty (206 B.C.‑220 A.D.), the squat bulbous body resting on a slightly splayed recessed foot with a tubular neck and a “garlic head” mouth, with overall green patination, h. 15”. [1200/1800] Illustrated

767

766 Southeast Asian Hollow Cast Bronze Figure of a Mythical Beast, cast as a creature with the body of a goose and the head of a dragon, with feathered ears, hairy nostrils and long flattened tongue, h. 39”, l. 22‑1/2”. [300/500] 767 Eight Reference Books on Chinese and Vietnamese Bronzes, including Chinese Archaic Jades and Bronzes From the Collection of Professor Max Loehr and Others, an exhibition/sale catalogue, New York, J. J. Lally & Co., June 4‑30, 1993, John Alexander Pope, et al., The Freer Chinese Bronzes, v. I: Catalogue, a collection catalogue, The Smithsonian Institution, Washington, D.C., 1967, Ha Thuc Can & Nguyen van Trung, The Bronze Dong Son Drums (Singapore: Spectrum Press, 1989), slipcased, Toru Nakano, et al., Bronze Mirrors from Ancient China, a collection catalogue, Doland H. Graham, Jr., Honolulu, 1994, slipcased, Jessia Rawson, et al., The Chinese Bronzes of Yunnan, (London: Sidgwick & Jackson, 1983), slipcased, and the complete three-volume set of Ancient Chinese Bronzes in the Arthur M. Sackler Collections: volume I, Robert W. Bagley, Shang Ritual Bronzes, volume II, Jessica Rawson Western Zhou Ritual Bronzes (in two books, slipcased together), and volume III, Jenny So, Eastern Ritual Bronzes, (Washington, D.C.: Arthur M. Sackler Foundation, 1987, 1990 & 1995). [500/800] Illustrated

768 Chinese Cast-Bronze Figure of a Lohan, Ming Dynasty (1368‑1644), cast as a standing figure with bald pate, elongated earlobes and dressed in brocadetrimmed robes on a lotus base with clasped hands, presented on a wooden base, h. 17‑1/2”. [600/900] Illustrated 769 Two Chinese Cast-Bronze Ritual Vessels, first quarter 20th century, consisting of a covered tripodal incense burner with strap handles and archaic decoration, and a cylindrical vessel on plantain-leaf feet with horizontal bands of archaic decoration, h. 6‑78” and 7‑3/4”. [1200/1800] Illustrated 770 Chinese Cast-Bronze “Lion and Grape” Mirror, Tang Dynasty (618‑906), of circular outline cast in relief with a central zoomorphic knob surrounded by a row of lions, grapes and birds and another of lions, grapes and birds with a rim of cloud scrolls, the reverse with a smooth surface and an applied coating, dia. 6‑1/2”. [2500/4000] Illustrated

140

771 Chinese Cast Bronze “TLV” Mirror, Han Dynasty (206 B.C.‑220 A.D.), of circular outline with a central knob within a square with twelve bosses surrounded by zoomorphic figures, TLV and eight bosses, and outer borders of triangles and geometric lines, the reverse with green and red encrustation and portions of the silvered reflective surface, dia. 5‑1/2”. [1200/1800]

768

765

774

774 Two Important Books on Chinese Enamels and Snuff Bottles, including Hugh Moss, By Imperial Command: An Introduction to Ch’ing Imperial Painted Enamels (Hong Kong: Hibiya, 1976), in two volumes, one of plates and one of text, both with cloth boards and printed paper wrappers, presented together in a printed box case, and Helen White, Snuff Bottles From China: The Victoria and Albert Museum Collection (London: Bamboo Publishing, 1992), in cloth boards with gilt embossing and printed paper wrapper, presented in a cloth slipcase en suite. [500/800] Illustrated

772

772 Chinese Celadon Porcelain Tea Bowl, Song Dynasty (960‑1279), of circular outline with slightly everted lip rim, recessed base and straight foot, the interior with impressed design of overlapping scales in the center, surrounded by panels of ducks, fish and floral decoration, in a silk presentation box, dia. 4‑1/2”. Ex-collection: Robert Ellsworth. [1800/2500] Illustrated

770

769

773 Five Reference Books on Chinese Ceramics, including R. L. Hobson, The Wares of the Ming Dynasty, Suzanne G. Valenstein, A Handbook of Chinese Ceramics, He Zhengguang, et al., Chinese Ceramics, Song Yuan Dynasty, (Chinese text with dual Chinese/English plate descriptions), and two volumes in the Rizzoli series, William Watson, Tang and Liao Ceramics and Mary Tregar, Song Ceramics, both with pasteboard slipcases. [150/300]

141

775 Good Pair of Chinese Porcelain Scraffiato Bowls, Daoguang mark (1821‑1850), each finely decorated in famille rose enamels with an interior spiked medallion, the exteriors decorated in an engraved scraffiato puce ground with flowers and circular reserve panels of delicate landscapes, the bases with underglaze blue six-character seal marks of Daoguang, in a presentation box, bowl dia. 5‑5/8”. [2500/4000] Illustrated

776

776 Unusual Chinese Reticulated Porcelain Ruyi Scepter, of large size and decorated in famille jaune enamels with scrolling floral and foliate designs, the head, central and lower panels in reticulated porcelain enameled in turquoise glaze, l. 23‑1/2”. [2000/4000] Illustrated

777

777 Pair of Chinese Famille Rose Porcelain Ancestral Figures, first half 20th century, depicting seated male and female figures in informal robes, the female holding a fly whisk, the male holding a peach, h. 13‑1/2” and 14”. [800/1200] Illustrated

778

778 Elegant Chinese Porcelain Double-Gourd Vase, of traditional double-gourd form with a bulbous lower section and a tear-shaped upper section with a small tubular neck, glazed all over in an even lavender glaze, the white glazed base with a six-character Jiaqing seal mark in underglaze blue, h. 13‑1/4”. [400/700] Illustrated 779 Framed Chinese Famille Rose Porcelain Wall Plaque, depicting a sage and attendant with a red-crowned crane beneath a tree, the reverse stating that the painting is by Ren Yi (1840‑1896), referring to the colophon and seal in the upper right of the plaque, presented in a wooden frame with brass hanger, h. 20‑1/2”, w. 15‑1/2”. [700/1000] 780 Chinese Junyao Deep Bowl, of circular outline resting on an unglazed brown stoneware foot, glazed in medium blue hard glaze with purple splash on the interior rim, thinning to olive green at the rim and paler olive green on the lower half of the exterior, dia. 7‑5/8”. [1000/1500] Illustrated

775

781 Good Chinese Junyao “Lotus Bud” Vase, the tapered bulbous body resting on a slightly tapered recessed unglazed base, glazed all over in a soft blue glaze with a crimson splash extending down from the lip rim, presented on a carved wooden stand, h. 3‑3/4”. [1800/2500] Illustrated 782 Chinese Junyao Deep Bowl, of circular outline with slightly recessed glazed foot with unglazed foot rim, glazed in sky-blue glaze with lavender splashes on both interior and exterior, the exterior splash reminiscent of a Chinese character, h. 3‑3/4”, dia. 5‑1/2”. [1400/1800] Illustrated

142

783 Chinese Junyao Porcelain Saucer Dish, Song Dynasty (960‑1279), of shallow form with flattened rim resting on a recessed glazed base with unglazed foot rim, the pale blue glaze with a slight, pale purple splash in the well, dia. 7‑7/8”. [2500/4000] Illustrated

783

781 780

784 Chinese Turquoise-Glazed Brush Washer, 20th century, the pottery body molded as a basin surrounded by three standing boys, glazed all over with a thin turquoise glaze, h. 3‑1/2”, w. 5”. [75/125]

785 Chinese White-Glazed Porcelain Incense Burner, first half 20th century, made for a funerary altar, of squat bombe form with everted lip rim and molded lion-head handles, presented on a fitted carved wooden stand with cabriole legs, h. 6‑1/4” including stand, dia. 6”. [125/250]

782

788

790

786 Impressive Pair of Chinese Famille Jaune Porcelain Vases, each of baluster form with pleated molded bodies, decorated in famille rose enamels with reserve panels of birds and flowers, against a yellow ground decorated with flowers and foliage, the shoulders decorated with a shaped border of lotus, peonies, foliage and cash symbols, h. 24‑3/4”. [1800/2500] Illustrated 789

786

787 Chinese Famille Jaune Porcelain Bowl, first half 20th century, of circular outline with slightly flared lip rim, decorated on the exterior with circular reserve panels of antiques on a gourd and floral ground, the interior with a circular medallion of a dragon and pearl, the base with a six-character Qianlong reign mark in iron red, h. 3‑1/4”, dia. 7‑3/4”. [500/800] 788 Chinese Famille Rose Porcelain Reticulated Rotating “Puzzle” Vase, of baluster form with flared lip rim and pierced body with ruyi lappets and I-Ching trigrams, the outer body decorated with flowers and scrolling foliage on a blue sgraffito ground, the neck, top and inner vase rotate separate from the exterior, the base with a six-character Qianlong seal mark, h. 8‑1/4”. [1800/2500] Illustrated 789 Chinese Famille Jaune Porcelain Covered Box, of rectangular form and decorated in famille rose and gilding on a yellow ground with lotus, scrolling foliage and bats, the top with a central medallion and two cartouches in gilt, the interior and base enameled in turquoise, the base with a six-character Jiaqing reign mark in iron red, presented on a custom wooden stand, h. 2‑1/2”, w. 6‑1/2”, d. 3‑1/2”. [900/1200] Illustrated

143

790 Chinese Famille Jaune Porcelain Bowl, of circular shape with slightly everted rim and straight foot, the exterior glazed in famille rose enamels with flowers among foliage on a lemon-yellow ground, the interior with five bats in iron red, the base with a six-character Daoguang seal mark in underglaze blue, dia. 7‑3/8”. [1400/1800] Illustrated previous page 791 Three Reference Works on Chinese Painting and Calligraphy, including Richard M. Barnhart et al., The Jade Studio: Masterpieces of Ming and Qing Painting and Calligraphy, an exhibition catalogue of the collection of Wong Nan-p’ing (1924‑1985), New Haven: Yale University Art Gallery, April 9, 1993 - July 31, 1994, et alibi, and two volumes (complete) of Wai-Kam Ho, ed. The Century of Tung Ch’i-ch’ang: 1555‑1636, an exhibition catalogue, Kansas City, Missouri: The Nelson-Atkins Museum of Art, April 19 - June 14, 1992, et alibi, all with cloth boards and printed covers. [125/250]

795

793 792

794 799

794 Chinese Carved White Jadeite Foo Dog, elaborately carved in the form of a recumbent figure with open mouth emitting a plume of vapor, with good detailed carving and high polish, l. 4”. [3000/5000] Illustrated 795 Chinese Carved Celadon Jade Covered Vase, of squared form with turned feet, strap-loop handles and pagoda roof-shaped cover, carved in low relief with horizontal bands of ruyi heads and archaic designs on the body, a border of feather lappets at the neck and foliate scrollwork on the cover, the stone of even celadon color with scattered russet inclusions, h. 9‑3/4”. [25000/40000] Illustrated

792 Chinese Carved Jadeite Covered Vase, the stone of pale translucent green color, of flattened baluster form with conforming cover and high relief carving of plum blossoms and trailing vines, presented on an ivory stand, h. 5‑1/2”. [3500/5000] Illustrated 793 Chinese Carved White and Russet Jade Figure of Guanyin, first half 20th century, the standing figure clad in loose robes and cowl, with hands clasped in front holding an overturned gourdshaped vase, the white stone with scattered russet inclusions, presented on a custom wooden stand, h. 7‑3/4” including stand. [14000/18000] Illustrated

144

798

796 Six Books on Chinese Jade, including Joan HartmanGoldsmith, Chinese Jade, Roger Keverne, Jade, Yang Mei-li, Circular Jade, an exhibition catalogue, Taiwan, the National Palace Museum, January 1, 1995 - January 1, 1996, dual Chinese/English text, slipcased, Ip Yee, Chinese Jade Carving, an exhibition catalogue, Hong Kong Museum of Art, October 21 - December 24, 1983, dual Chinese/English text, Teng Shu-p’ing, Neolithic Jades in the Collection of the National Palace Museum, a collection catalogue, Taiwan, dual Chinese/English text, slipcased, and Liu Lian-yu, Archaic Chinese Jade: A New Approach, (Taipei: Aries Gemini Publishing, 1992), Chinese text, slipcased. [150/300]

801 Good Burmese Jadeite Pendant, carved as a pi disk with relief carving of a horned dragon among foliage and a figure of a Foo dog at the top, the stone of pale lavender color with vibrant emerald green splotches, h. 3‑3/8”. [900/1200] Illustrated

801

797 Chinese Brass and Jade Cigarette Box, 20th century, composed of a brass body with two compartments and a brass cover inset with a pierced jade plaque with bamboo and foliate decoration, w. 4‑5/8”, l. 6‑1/4”. [100/200] 798 Group of Three Chinese Carved Jade Animals, comprised of a white and russet figure of a dog, a celadon figure of a water buffalo, and a grayish green figure of a recumbent horse, l. 2” to 3”. [1000/1500] Illustrated 799 Good Chinese Carved Jadeite Mountain-on-Stand, the mint green stone with bright green splashes carved as a craggy mountain with a scholar and attendant crossing a bridge beneath a gnarled pine tree, mounted on a carved rootwood stand, h. 8” including stand, w. 6”. [1400/1800] Illustrated

802

800 Chinese Carved White Jade Group, composed of an open fan with a flowering plum tree growing from a gnarled base, with a bird perched in its uppermost branches, presented on a wooden stand, h. 4‑5/8”, l. 6‑1/2”. [150/300]

805

802 Chinese Carved White Jadeite Group of Boys, carved in the round as two boys standing on weathered rockwork, one boy holding a lotus, the other carrying a covered basket, well carved with fine details, the stone of even white color, h. 5‑1/2”. [8000/12000] Illustrated 803 Chinese Molded Porcelain Compressed Bottle Vase, modeled as a squat bulbous body with flared neck and lip rim, glazed in a good celadon glaze with raised decoration of flowering plants in contrasting white glaze, h. 13‑1/2”. [300/500]

145

807 pair

804 Chinese Carved Ivory Figure of a Female Musician, 20th century, carved as a standing female figure in informal robes and elaborate chignon, holding a stringed musical instrument, the engraved details highlighted with black ink, presented on a wooden base, h. 13‑1/4”. [400/700]

807 French School (18th Century) “Portrait of a Gentleman in a Maroon Velvet Coat” and “Portrait of a Lady in a Gray Dress with Ornate Pearl Bodice and Red Wrap”, pair of oils on canvas, unsigned, 30” x 24”. Presented in matching 19th-century carved giltwood and plaster frames. [3500/5000] Illustrated

805 Monumental Pair of Marbro Lamp Company Carved and Brass-Mounted Alabaster Covered Two-Handled Vases of Chinese Hu form, mid‑20th century, now mounted as table lamps on rectangular wood bases, fitted with the original partially knife-pleated white fabric shades of oblong truncated pyramidal form, one example retains the paper “MARBRO” label, overall h. 41‑1/2”. [1000/1500] Illustrated previous page

808 Napoleon III Ebonized Tiered Occasional Table, third quarter 19th century, the ovoid top with a decorative inlay and three-quarter pierced brass gallery, with corner mask accents joined by suspended chains, joined by rounded supports to two lower like shelves, the whole raised on splayed legs ending in sabots, h. 35”, w. 20‑1/2”, d. 14”. [800/1200] Illustrated

806 Louis XV-Style Kingwood and Ebonized Bureau Plat, late 19th century, the rectangular top with an inset shaped leather writing surface and corner ormolu mounts, above a frieze fitted with two end drawers, raised on ebonized cabriole legs headed by ormolu mounts and ending in sabots, h. 30‑1/2”, w. 56”, d. 28”. [2500/4000] Illustrated

146

806

809 French Carved Giltwood Looking Glass, first quarter 19th century, in the neoclassical style, the tall cresting modeled as a bound sheaf trophee mantled by foliate giltwood scrolls and flanked by upright pomegranate finials, retains the discretely aged period plate, h. 44”, w. 24”. [600/900] Illustrated

810 Opulent French Gilt-Brass TenLight Chandelier, first quarter 20th century, in the Louis XIV style, the struts of the vasiform central element with diademed female masques mantled by foliate scrolls, electrified and fitted with white faux candles, h. 30”, dia. 29”. [3000/5000] Illustrated

812 Napoleon III Gilt-Bronze and Black Slate Tazza, the bronze standard modeled as a trio of standing putti, their upraised arms supporting the polished black slate bowl centered with a bronze plaque of a classical hymeneal altar scene and fitted with a pair of bronze foliate-scroll handles, h. 12‑3/4”, w. 15”, dia. 12‑3/4”. [1200/1800] Illustrated

809

808

810

811 Pair of Cardeilhac, Paris, Gilt-Bronze Console Candlesticks, fourth quarter 19th century, well cast and chased in the Louis XV style, each fitted with a detachable foliate-scrolled gilt-bronze bobeche, each example stamped “Cardeilhac, Paris”, h. 3‑7/8”. [125/250]

812

147

813

813 Tall Napoleon III Kerosene Lamp, third quarter 19th century, composed of bronzepatinated and parcel-gilt brass and cut glass in the Louis XVI style of Clodish (French 1738‑1814), now electrified, the standard modeled as a trio of addorsed putti surmounting a gilded garland-draped fluted pedestal base, the drum-form font prism cut, the blown glass chimney and spherical glass shade removed in the conversion, fitted with a tall custom strie silk shade in “old ivory” with a gently lobed basal edge, fitted with a tall patinated brass finial of wreath form, h. 38” to top of finial. [600/900] Illustrated

818 After Nicolas de Largilliere (French, 1656‑1746) “Portrait of King James II”, oval oil on canvas, unsigned, inscribed far middle right “King James 2nd”, 29‑3/4” x 25”. Presented in a late 19th-century carved giltwood and plaster frame. [3000/5000] Illustrated

814

814 Large Pair of French Gilt-Bronze Three-Light Appliques, second quarter 20th century, in the Louis XVI style of Jean-Charles Delafosse (French, 1734‑1789), modeled as tapering fluted backplates surmounted with a garland-draped covered vase in the Antique style, centered with a ram masque, fitted for electricity and having gloss-white faux candles, h. 22”, w. 13”, d. 8”. [500/800] Illustrated 815 Napoleon III Giltwood Looking Glass, third quarter 19th century, in the rococo taste, the rectangular plate within an ebonized slip and molded frame with elaborate corner floral accents, h. 31”, w. 26‑1/2”. [500/800] 816 French Patinated Brass and Cut Glass Six-Light Chandelier, of cage form in the Louis XVI style, opulently dressed with cut glass pendalogues in three sizes, cut prisms of kits form, cabochon glass drops and a large spherical finial, the bobeches of flowerhead form, electrified and fitted with bone-white faux candles, h. 31”, dia. 25”. [300/500] Illustrated 817 Napoleon III Kingwood and Gilt-Metal Occasional Table, in the Empire taste, the shaped top with a full heartpierced gallery, banded and centered by an inlaid floral spray, above a conforming paneled frieze with scrolling mounts, raised on three stork-form supports joined by a basket stretcher and ending in splayed legs to claw feet, h. 31‑1/2”, dia. 16‑1/2”. Provenance: Private collection, Sarasota, Florida. [500/800] Illustrated

148

816

819

821 Attractive Pair of Louis-Philippe Gilt-Brass “Moderator” Lamp Bases, in the Troubadour style, second quarter 19th century, each with an embossed patent plaque on the base, now mounted as table lamps with pleated ecru linen shades, h. 27 1/2”. [600/900] Illustrated 822 Louis XVI-Style Mahogany Occasional Table, ca. 1900, the rectangular top with a three-quarter pierced brass gallery above a banded top with a parquetry lattice-paneled center panel, above a conforming case fitted with a single frieze drawer, raised on tapering circular legs with ormolu ring accents, joined by a concave stretcher shelf with a like-inlaid panel and full pierced gallery, and ending in ormolu pegs, h. 27”, w. 23‑12”, d. 17”. [1500/2500] Illustrated following page

817

818

819 French Gilt-Bronze Jewel Casket, fourth quarter 19th century, in the Louis XVI taste, all four sides set with relief plaques, the lid centered with a gilt-bronze relief plaque of martial putti in the manner of Clodion (French, 1738‑1814), the interior lined in the period tufted Tyrrhian purple velvet, h. 5‑1/4”, w. 9‑1/4”, d. 6‑1/2”. [300/500] Illustrated

821

820 Continental Reticulated Brass Dressing Table Looking Glass, fourth quarter 19th century, the tall cresting centered with a leering Bacchic satyr masque, the reverse fitted with an easel back as well as an iron suspension ring for wall display, h. 14”, w. 10‑1/4”. [200/400]

149

823 Fine French Gilt-Bronze and Cut Glass Tiered SixLight Chandelier, fourth quarter 19th century, in the Louis XVI taste, richly dressed with jewel-cut and bead glass chains, diminutive cabochon and cut amethyst glass drops, cut glass sunbursts and prism-cut drops, and broadly faceted rose glass pendants, electrified and fitted with wax faux candles, h. 31”, dia. 20”. [2500/4000] Illustrated

823

822

825

150

824

824 French Carved and Gris de TrianonPainted Beechwood Trumeau Mirror, fourth quarter 19th century, in the Louis XVI style, the upper panel arched and containing an oil on canvas panel of a shaded terra cotta castellated river scene in the manner of Joseph Vernet (French, 1714‑1789), h. 79‑1/2”, w. 35‑1/4”. [1200/1800] Illustrated

825 Louis XV-Style Mahogany Bonheur du Jour, fourth quarter 19th century, the rectangular superstructure with a threequarter pierced brass gallery top over six small drawers, all with inlays of various vessels and writing implements, the rectangular top banded and with an ormolu edging, above a frieze fitted with a like-inlaid single drawer joined to a concave stretcher shelf inlaid en suite and with a pierced brass gallery, the cabriole legs headed by ormolu mounts and ending in sabots, h. 38”, w. 28‑1/2”, d. 20”. [800/1200] Illustrated 826 Louis XV-Style Fruitwood Occasional Table, fourth quarter 19th century, the rectangular top with a floral inlay and threequarter raised edge, above a conforming case fitted with three banded and like-inlaid drawers, the sides with chevron veneers, raised on slender cabriole legs, h. 29”, w. 14‑1/2”, d. 12”. [500/800] Illustrated

829

828

826 827 Large French Carved Giltwood Looking Glass, in the Louis XV taste, the plate broadly beveled throughout, h. 47”, w. 35”. [100/200] 828 French Gilt-Brass and Cut Glass Nine-Light Chandelier, fourth quarter 19th century and later, in the Louis XVI taste, the engraved and gilded brass frame profusely dressed with draped jewel-cut glass chains, cut pendalogues, kite-form prisms, panel-cut glass spears, small “Back-cut Albert” spears and faceted amber glass drops of tear form, electrified and fitted with “old ivory” wax faux candles, h. 31”, dia. 20‑1/2”. [1500/2500] Illustrated

829 Attractive French Gilt-Bronze-Mounted Kingwood Bureau Plat, in the Louis XV style of Bernard van Risamburgh, finished in the round with the facade centered with a transverse drawer, the cabriole legs with gilt-bronze espagnolettes at the knees and gilt sabots, the top finished with tripartite gilt-tooled black leather, h. 30”, w. 29‑1/2”, l. 56”. [1500/2500] Illustrated

151

830 Pair of Napoleon III Carved and Beaded Giltwood Looking Glasses, third quarter 19th century and later, each of small size in the Louis XVI taste, the cresting and basal edge finial modeled as sprays of flowers and foliage, the inner edge bead carved, the gilding partially renewed, retaining the tastefully clouding period plates, h. 27‑1/2”, w. 17‑1/2”. [600/900] Illustrated 831 Louis XVI-Style Mahogany and Marble-Top Pedestal, early 20th century, the square Anzo Breccia marble top above a shaped frieze with applied foliate ormolu mounts, joined by square supports to a lower shelf, raised on splayed legs, h. 42”, w. 11‑3/4”, d. 11‑3/4”. [400/700] Illustrated

830 pair

832

831

832 Louis XV-Style Kingwood and Marble-Top Commode, early 20th century, the shaped Trets marble top with molded edge above a conforming case fitted with five drawers, all banded and with inlaid foliate panels, the sides with chevron veneers, raised on splayed legs ending in sabots, h. 40‑1/2”, w. 24”, d. 15‑1/2”. [700/1000] Illustrated 833 Unusual Pair of French Gilt-Bronze Tiered ThreeLight Appliques, first quarter 20th century, in the Beaux Arts style, each example capped by a seated helmeted female figure with her feet upon an animal rug surmounting an attenuated gargoyle, the two upper candlearms modeled as helmeted winged termes, now electrified and fitted with white faux candles, h. 24‑1/4”, w. 11‑1/2”, d. 7”. [1000/1500] Illustrated

152

834 Unusual Pair of French Gilt-Bronze Appliques, first quarter 20th century, of tiered three-light form in the Beaux Arts style, each example capped by a seated helmeted female figure with her feet upon an animal rug surmounting an attenuated gargoyle, the two upper candlearms modeled as helmeted winged termes, now electrified and fitted with white faux candles, h. 24‑1/4”, w. 11‑1/2”, d. 7”. [1000/1500] Illustrated 835 Louis XV-Style Kingwood and Exotic Woods Occasional Table, 18th century, the shaped rectangular top banded and with a floral inlay, the back with a pull-up pleated fabric screen, above a conforming case fitted with a leather-inset writing slide over two drawers, the drawers and sides all inlaid en suite, raised on cabriole legs ending in sabots, h. 27”, w. 19‑1/2”, d. 13‑1/2”. [3500/5000] Illustrated

836 Pair of Louis XVI-Style Mahogany Bergeres, late 19th century, each with a padded and domed back surmounted by a dentillated frame, joined by padded arms to the cushioned seat, raised on spiral-fluted tapering circular legs ending in peg feet, h. 36‑1/4”. [1800/2500] Illustrated

834

833

837 Louis XVI-Style Kingwood and Marble-Top Commode, late 19th century, the rectangular Griotte Rouge marble top with a three-quarter pierced brass gallery, above a conforming case fitted with three drawers, all banded and with chevron veneers, the sides and back veneered en suite, raised on tapering square legs ending in brass caps, h. 32”, w. 16”, d. 11‑1/2”. [400/700]

836

835

838 French Carved and Parcel-Gilded Wooden Looking Glass, in the Louis XVI style, with grisde-Trianon accents, the plate broadly beveled throughout, h. 44‑1/2”, w. 32”. [100/200]

153

839 French Gilt-Brass and Rock Crystal Six-Light “Mars” Chandelier, of cage form in the Louis XVI style, the canopy modeled as a plumed baldacchino, the foliate candlearms with inner terminals of eagle heads, the whole dressed with large cabochon rock crystal drops, electrified and fitted with gloss-white faux candles, h. 37”, dia. 23”. [4000/7000] Illustrated

840

839

840 Pair of French Giltwood and Crystal Three-Light Appliques, in the Louis XIV style, each candlearm dressed with a large cut rock crystal drop of kite form and another of cabochon teardrop form, drilled for electrical wiring although not presently electrified, h. 25”, w. 16”, d. 11”. [1200/1800] Illustrated

841

842

154

841 Louis XV-Style Mahogany and Marble-Top Petite Commode, late 18th century, the shaped Escallette marble top with molded edge, above a conforming case fitted with three drawers, raised on cabriole legs ending in sabots, h. 26‑1/2”, w. 21‑1/2”, d. 15”. [1000/1500] Illustrated

842 Fine and Rare Darte Twelve-Piece Paris Porcelain Tea Service, first quarter 19th century, the elaborately gilded bleu du Roi service of the Clauss Manufactory form, comprised of a teapot with chamfered corners, with a pseudo-Sevres mark in rouge de fer on the base, h. 6”, l. 9”, a matching cream pitcher of large size, h. 6‑1/2”, a large covered two-handled sugar basin, en suite, h. 6‑1/4”, a waste bowl with gilded interior and a pseudoSevres mark in rouge de fer on the base, h. 4”, dia. 7‑1/2”, four paneled teacups, h. 2‑1/2”, and four paneled tea saucers, six pieces impressed “Darte 20 Rue Palais”, dia. 5‑1/2”. [400/700] Illustrated

845 Louis XVI-Style Mahogany and MarbleTop Pedestal Table, early 20th century, the square Sarrancolin marble top within an ormolu banding, above a frieze with applied torchere and floral-basket mounts, raised on tapering square legs, edged in ormolu millwork, joined by a raised urncentered X-form stretcher and terminating in brass caps, h. 35”, w. 11‑3/4”, d. 11‑3/4”. [400/700] Illustrated 845

844

843 Meissen Richly Gilded Cobalt Porcelain Garniture Vase, third quarter 19th century, with entwined double-serpent handles, the interior of the foot with the underglaze blue swords mark of Meissen, h. 11”. [100/200] 844 Louis XVI-Style Mahogany and Marble-Top Occasional Table, the kidney-form top with ormolu banding and three-quarter pierced brass gallery surrounding a Breche de Benou Jaune marble top, above a conforming frieze fitted with a single drawer and brassbound panels, joined to a like-shaped lower galleried shelf by fluted uprights, the whole raised on ormolu-mounted cabriole legs ending in sabots, h. 30”, w. 27‑1/2”, d. 17”. [700/1000] Illustrated

846

846 French Gilt-Brass and Carrara Marble Kerosene Salon Lamp, fourth quarter 19th century, in the Louis XVI style, in the form of an antique tripodal brazier, the legs with horned ram’s-masque upper terminals and hooved feet, the conforming marble base set with six gilt-brass plaques, retaining the white-to-clear cut glass shade of tulip form, now electrified, h. 27‑1/2”, dia. 9”. Provenance: Private collection, Sarasota, Florida. [900/1200] Illustrated

155

847 Tall and Attenuated Pair of French Lyriform FourLight Appliques, first quarter 20th century, composed of antiqued brass in the Louis XVI style, the central lyriform backplates surmounted by female masques, the candlearms and -sockets formed as laurel branches and clusters, each applique dependent from a furled bowknot, not electrified, accompanied by a set of eight bee’s-wax candles, h. 55”, w. 12‑1/2”. [900/1200] Illustrated

849 Nine Books on Interiors and Antiques, including Alexis Gregory and Marc Walter, Private Splendor, The Duchess of Devonshire, Chatsworth House, Michele Lalande, The New Eighteenth Century Style, three titles by Henrietta Spencer-Churchill, Classic Design Styles, Classic Interior Design, and Classic English Interiors, an exhibition catalogue Jefferson’s America and Napoleon’s France, New Orleans Museum of Art, April 12 - August 31, 2003, and two handbooks for the Grosvenor House Art and Antiques Fair, 1995 and 2000. [100/200]

847

851

848 Pair of Napoleon III Porcelain Kerosene Lamp Bases, third quarter 19th century, the gilt-brassmounted ovoid-form bodies polychromed in the classical taste, one painted with Venus reclining against a dolphin and attended by putti, the other of Galatea riding a dolphin and attended by Acis, a female attendant and putti, now electrified as table lamps, the glass fonts, shade rings and glass chimneys removed in the conversion, h. 12‑1/8” (22‑1/4” to finial), dia. 4‑1/2”. Provenance: Private collection, Sarasota, Florida. [900/1200]

156

852

850 Emmanuel Benezit (1854‑1920), Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs, Paris: Librairie Gruend, 1976, the third edition, number 47670, complete in ten volumes, octavo, with blue buckram boards with gilt lettering, 9‑3/4” x 6‑1/2”. [125/250]

851 Louis XVI-Style Mahogany and Marble-Top Occasional Table, third quarter 19th century, the ovoid Breche de Verdun marble top with a full pierced brass gallery, above a conforming frieze fitted with a single drawer, with an inlaid geometric banding, raised on tapering square legs ending in brass caps, h. 29‑3/4”, w. 24”, d. 16‑1/4”. [300/500] Illustrated

855

858 852 Directoire Mahogany and Marble-Top Occasional Table, early 19th century, the ovoid Carrara marble top with a three-quarter pierced brass gallery above a conforming frieze fitted with a single drawer, raised on a ring-turned bulbous standard to three splayed legs ending in anthropomorphic feet, h. 29‑3/4”, w. 19”, d. 15‑1/4”. [800/1200] Illustrated 853 Richly Patterned Mahogany and White Full Steer Hide Rug, 83” x 88”. [200/400] 854 Antique Khotan Carpet, 5’ 6” x 7’ 6”. [3000/5000] 855 Turkish Toulou Rug, 3’ 3” x 5’ 1”. [700/1000] Illustrated 856 Antique Khotan Carpet, 5’ 9” x 9’ 8”. [2000/4000] 857 Lavar Kerman Runner, 2’ 6” x 14’. [2000/4000] 859

157

868

867

858 Peshawar Carpet, 8’ 8” x 5’ 5”. [900/1200] Illustrated previous page

865 Savonnerie Carpet, flat weave with high-knotted flowers, 9’ 8” x 12’ 6”. [2000/4000]

859 Antique Persian Kashan Carpet, 9’ 8” x 13’ 4”. [5000/8000] Illustrated previous page

866 Antique Persian Mahal Carpet, 9’ 8” x 12’ 6”. [3000/5000]

860 Peshawar Sultanabad Carpet, 9’ x 11’ 8”. [2500/4000]

867 Striking American Art Deco Tiered Eighteen-Light Chandelier, second quarter 20th century, composed of silvered nickel, Lucite and glass, in the neoclassical taste, the curvate candlearms and disc-form bobeches dressed with cut glass prisms pendant from square-cut jewels, fitted with tall blown glass hurricane shades, electrified and fitted with tall bone-white faux-wax candles, h. 79‑1/2”, w. 53”. [3000/5000] Illustrated

861 Persian Sultanabad Carpet, 13’ x 19’ 3”. [3000/5000] Illustrated 862 English-Design Needlepoint Carpet, 10’ x 14’. [2000/4000] 863 English-Design Needlepoint Carpet, 10’ 3” x 14’. [2000/4000] 864 Angora Oushak Carpet, 11’ 5” x 15’ 5”. [7000/10000] 861

158

868 Striking American Art Deco Tiered EighteenLight Chandelier, second quarter 20th century, composed of silvered nickel, Lucite and glass, in the neoclassical taste, the curvate candlearms and disc-form bobeches dressed with cut glass prisms pendant from square-cut jewels, fitted with tall blown glass hurricane shades, electrified and fitted with tall bone-white faux-wax candles, h. 79‑1/2”, w. 53”. [3000/5000] Illustrated 869 Marc Chagall (b. Russia; Active France, 1887‑1985) “Romeo and Juliet”, color lithograph, signed and dated in pencil lower right “Marc Chagall 1977”, sight 24” x 38”. Glazed, matted and framed. [1400/1800] Illustrated 870 Attractive Sixty-Four-Piece Richard Ginori, Italy, Porcelain Partial Dinner Service, for fourteen persons, in the neoclassical style with classical red borders, comprised of twelve dinner plates, dia. 10‑1/4”, twelve bread-and-butter plates, twelve salad/dessert plates, and fourteen cups of cylindrical form, dia. 3‑1/8”, all of the pieces fully backstamped. [700/1000] Illustrated 871 Ten-Piece Set of Baccarat “Montaigne Optic” Barware, including six Old Fashioned glasses, h. 4”, dia. 3‑1/2”, and four Double Old Fashioned glasses, h. 4‑1/2”, dia. 4”, all of the glass with the acid-stamped Baccarat mark on the bases. “Montaigne Optic” has been discontinued by the Cristalleries de Baccarat and is no longer available. [600/900] Illustrated

869

872 Thirty-Five-Piece Arabia, Finland, Porcelain Partial Coffee and Dessert Service, for twelve persons, in white “rice grain” porcelain, comprised of twelve dessert plates, dia. 7‑1/2”, eleven after-dinner coffee cups, h. 3‑1/2”, and twelve coffee saucers en suite, dia. 4‑1/2”, all with the distinctive Arabia translucent “rice grain” patterning, all of the pierces with faint impressed marks underglaze. [200/400]

871 873 Salvador Dali (Spanish, 1904‑1989) “The Traitor of Montaperti”, woodcut in colors, from the “Divine Comedy” series, plate signed lower center, inscribed in pencil lower left “EA”, signed in red pencil lower right “Dali”, sight 12” x 9”. Glazed, matted and framed. [350/500]

870

874 Salvador Dali (Spanish, 1904‑1989) “Cacciaguida’s History Lesson”, woodcut in colors, from the “Divine Comedy” series, plate signed lower center, inscribed in pencil lower left “EA”, signed in blue pencil lower right “Dali”, sight 12” x 9”. Glazed, matted and framed. [350/500]

159

876 Donald Roller Wilson (American/Arkansas, b. 1938) “One of Mrs. Jenkins’ Big Kitchen Matches Directly Under Her Olives Which Was About to Land (After Having Been Whipped Up Into the Air During a Strong Wind Which Blew Out the Contents of Her Cupboard)”, 1989, oil on panel, signed, dated and inscribed upper edge “Donald Roller Wilson 89/30”, retains gallery labels on the reverse “John Berggruen Gallery, San Francisco, California” and “Coe Kerr Gallery, New York”, h. 3‑3/4”, w. 2‑3/4”. Handsomely matted and presented in a cenotaph-form giltwood frame with incised foliate corner accents. [1800/2500] Illustrated

877

876

875 Fine Twenty-Five-Piece Group of Val St. Lambert Crystal Stemware, the partial service for twelve persons in the 18th-century style, comprised of twelve dessert coupes, h. 4”, four red wine goblets, h. 6‑1/2”, and nine white wine goblets, h. 5”, the goblets with bucket-form bowls and knopped stems. [125/250]

877 Pedro Friedeberg (American, b. Italy, 1936) “Adamastor”, 1987, a carved, polychromed, silvered and natural wooden and glass tabletop sculpture, signed on the basal edge in black uppercase letters “Pedro Friedeberg”, accompanied by a holographic statement of authenticity by the artist, h. 11”, dia. 6”. [2000/4000] Illustrated 879

160

878 Philip and Kelvin Laverne “Chan” Cocktail Table, third quarter 20th century, of circular form and composed of patinated and enameled bronze, the acid-etched and carved chinoiserie scene including a raised signature, the octagonal base with marine-blue enameled panels, h. 17‑3/4”, dia. 47‑1/2”. [2500/4000] Illustrated 879 Suite of Six Contemporary Italian Ebonized and Parcel-Gilt Dining Chairs, in the neoclassical taste, consisting of two armchairs and four sidechairs, each with a rectangular back with pierced ovoid splats, the padded seat raised on gilt and ring-turned tapering circular legs, upholstered in Bergamo fabric, h. 35”. [1000/1500] Illustrated

878

882

878 top

880 Adele Sypesteyn (American/New Orleans, Contemporary) “Harmonic Geometry”, mixed media on canvas, signed lower right “A. Sypesteyn”, titled and inscribed “020607” in black marker on stretcher verso, 48” x 60”. Unframed. [4500/7000] Illustrated 881 Chinese Cast and Engraved Bronze Bust of Mao Zedong, the hollow cast bust depicting the chairman of the People’s Republic of China in his traditional jacket, with an engraved inscription on the front of the base, h. 5‑1/4”. [200/400] 882 French Art Nouveau Cameo-Cut Glass Iced Beverages Pitcher, first quarter 20th century, with an opulent gilded brass collar and pouring lip, the body of the pitcher in parcel-gilded grass green flowerheads and foliage over a rippled, frosted clear, h. 12‑1/4”, l. 7‑1/4”, dia. 6‑1/2”. [300/500] Illustrated 880

161

883 Alfred Braendgaard Andersen (Danish/20th Century) “A Winding Country Road Through Rolling Hills”, 1956, oil on masonite, signed and dated lower left, inscribed on board verso “Baber Haven Mols 1956”, 12” x 15‑1/2”. Framed. [200/400] 884 Gerda Strom (Danish/Contemporary) “Spring Landscape with Rolling Hills”, 1949, oil on board, signed and dated lower left “Gerda Strom”, verso with label “Kunsthandler Spardal Aabenraa 29 Kobenhavn K”, signed and inscribed on the reverse “Gerda Strom Uden Censur”, 10‑1/2” x 15”. Handsomely framed. [250/400]

888

886

885 Danish School (Contemporary) “Cypress Trees”, oil on canvas, initialed lower right “AK”, 21‑1/4” x 29‑1/4”. Handsomely framed. [300/500] 886 Rosalyn Drexler (American, b. 1926) “Love in the Green Room”, 1964, liquitex, oil and collage on canvas, signed and dated in black marker on stretcher verso “Rosalyn Drexler ‘64”, retains gallery label on the reverse “Kornblee, 58 e. 79, New York”, and remnants of a label for the “Art Lending Service of the Museum of Modern Art, New York”, 30” x 24”. Framed. [1200/1800] Illustrated 887 French Brass-Framed Looking Glass, in the neoclassical taste, the inner molding of polished chrome, h. 27”, w. 34‑3/4”. [700/1000]

162

889

888 Victor Salmones (Mexican, 1937‑1989) “Leap Frog”, 1976, a life-sized bronze figural group of two young boys playing leap frog on a rocky base, number 2 of an edition of 10, stamped on the base “H‑17 Victor Salmones 2/10”, h. 63”, w. 40”, d. 44”. An identical bronze from this edition is on permanent display in the lily pond at the Houston Zoological Gardens, a gift of Mrs. Jules Ross Frankel, Houston, Texas. [5000/8000] Illustrated

893 889 Irish Georgian-Style Oval Looking Glass, composed of pieced and reverse-etched mirrored glass, the oval plate segmented with four equidistant shaped mirrored glass bars and beveled fleurettes, the backplate finished in satin-black paint, h. 32”, w. 24‑1/2”. [600/900] Illustrated

894

890 Contemporary Glass and Cast-Stone Cocktail Table, the rectangular glass top with a molded edge, raised on two cast-stone bases in the form of en face foliate scrolls, flanking an anthemion-bearing urn, h. 19‑1/2”, w. 72”, d. 40‑1/4”. [800/1200] 891 French Ebonized and Mirrored Armoire, late 20th century, in the Louis-Philippe taste, the molded cornice above a case fitted with two doors, each inset with two beveled mirror panels, raised on block feet, h. 84”, w. 44‑1/4”, d. 21‑1/4”. [700/1000] 892 Large Satin Black and Mirrored Looking Glass, stepframed in the Neo-Art Deco taste, of near-square form, the frame modeled as graduated stepped registers of mirrored glass separated by satin black wood bands, h. 37‑3/4”, w. 37‑1/2”. [700/1000]

893 Promotional Model of the United States Liner “Project America”, ca. 1999, l. 28‑1/4”, identified by small plaque, presented in a wood and plexiglass case, h. 11‑1/2”, w. 8‑3/4”, l. 33‑7/8”. “Project America” was the code name for a pair of luxury liners contracted by the short-lived American Classic Voyages of New Orleans, a subsidy of the United Stated Lines. Soon after its 1999 inception, the company acquired American Hawaii Cruises and the Delta Steamboat Company, operators of the Delta Queen. The company then purchased the 704-foot, 34,000-gross ton Nieuw Amsterdam from the Holland America cruise line and re-christened her the Patriot to operate in Hawaii. This ship, however, was merely a precursor to their grand design of building, with the assistance of generous government loans, two 850foot, 72,000-gross ton liners: their “Project America”. Construction on the first ship began at the Litton Ingalls Shipyard in Pascagoula, Mississippi, in June 2000; the liner was to have featured a four-deck atrium, a 1,060seat dining room, an 840-seat theater, an outdoor stage, a 590-seat cabaret lounge, 950 cabins (77 percent of them “outside”), with a health spa, gymnasium and conference rooms. The aftermath of the September 11th terrorist attacks, however, plunged the company in to financial difficulty and ultimately bankruptcy in October 2001, leaving the ship - which would have been the first U.S. cruise ship constructed in 40 years - no more than a partially constructed hull. The Norwegian Cruise Line purchased the hull and materials in late 2002 and modified the ship’s design to increase her size to 920 feet and 81,000 gross tons. Completed at Lloyd Werft Shipyard in Bremerhaven, Germany, the ship was christened the Pride of America and finally entered service on July 23, 2005 in Hawaii, where it remains the only major Americanregistered cruise ship serving the Hawaiian market from Honolulu. [500/800] Illustrated 894 Louis Vuitton Cabin Suitcase, second quarter 20th century, composed of brass-mounted and leather-edged treated canvas, the canvas printed with the “LV” cipher, quatrefoils, circles and lozenges on a brown ground in the expected fashion, the interior with a printed Vuitton label and the factory number 848339, h. 8‑1/2”, w. 32”, d. 21”. [700/1000] Illustrated

163

900 Glenna Goodacre (American/Texas, b. 1939), a large patinated bronze outdoor wall sculpture of a female nude seen from the reverse, seated on a plinth, with her hair pulled back in a loose bun, her body tilted at a slight angle, leaning on her left arm, right arm stretched atop her bent right leg, and the sole of her left foot peaking from behind her right knee, signed, numbered, dated and with artist’s copyright on lower left of plinth “G. Goodacre 9/15 1998”, 65” x 40” x 10”. Provenance: Private collection, Sarasota, Florida. Born in Lubbock, Texas, sculptor Glenna Goodacre was a graduate of Colorado College and attended classes at the Arts Student League of New York. She has been an academician of the National Academy of Design since 1994 and a fellow of the National Sculpture Society since 1981. She has been awarded many important public commissions including: The Vietnam Women’s Memorial, Washington D.C., 1993; the Irish Memorial, her most ambitious public sculpture - with 35 life-size figures installed at Penns Landing, Philadelphia, 2003; Portrait of President Ronald Reagan, Reagan Library, Simi Valley, California, 1998; and her design for the reverse side of the Sacagawea Dollar was unveiled at the White House by First Lady Hillary Clinton in 1999. [6000/9000] Illustrated

900

907

905

895 Marian Ford (American/Contemporary) “He Sat Down Beside Her”, silkscreen with embossing, signed in pencil lower right, titled lower left and numbered “247/250”, sight 21” x 21”. Glazed, matted and framed. [100/200] 896 Contemporary Patinated Metal and Glass Cocktail Table, the rectangular top with an inset rectangular glass surface, with an under-banding of circular designs, raised on square legs joined by an X-form stretcher, h. 18”, w. 55”, d. 35‑1/2”. [800/1200]

906

897 Steuben “Pomona Green” Spiral-Ribbed Glass Vase, first quarter 20th century, designed by Frederick Carder (American, b. England, 1863‑1963), of large footed beaker form, the base marked with the acid-stamped Steuben ribboned fleur-de-lis insignia, h. 10”, dia. 7‑1/2”. [150/300] 898 Danish Modern Rosewood Desk, mid‑20th century, the banded rectangular top above two suspended side banks, each fitted with three short drawers, the whole raised on square legs, h. 28‑1/4”, w. 68‑3/4”, d. 30‑1/2”. [1200/1800] 899 Contemporary Upholstered Sofa, of canted form, the back and seat each fitted with four cushions, the arms padded and outscrolled, the base skirted, h. 31”, w. 112”, d. 39”. [400/700]

164

904

901 George Valentine Dureau (American/ Louisiana, b. 1930) “Troy Brown”, 1983, gelatin silver print, titled and dated lower left, signed lower right, sight 7‑3/4” x 7‑5/8”. Glazed, matted and framed. [250/400]

911

902 George Valentine Dureau (American/ Louisiana, b. 1930) “Chico Rodriguez”, 1981, gelatin silver print, titled and dated lower left, signed lower right, sight 8‑1/4” x 8”. Glazed, matted and framed. [250/400] 903 Debbie Fleming Caffery (American/Louisiana, b. 1948) “Untitled”, silver gelatin print, sight 18‑1/2” x 18‑1/2”. Glazed, matted and framed. [500/800] 904 Group of Five Japanese Ivory Netsuke, comprised of a pair of shoes in wood, a monkey group, a tree segment, a rat catcher, and a deity with fan, h. 5/8” to 2”. [700/1000] Illustrated

908

905 Elegant Japanese Bronze Ikibana Vase, ca. 1910, of bottle form with elongated slightly flared neck, resting on a slightly splayed foot rim, the metal with mottled patination, presented on a later wooden stand, h. 8‑1/8” including stand. [200/400] Illustrated 906 Good Chinese Cast-Bronze Censer, 19th century, produced for the Arabic market, of quatrefoil outline with linear handles and four feet cast on both sides with an Arabic inscription within a shaped reserve panel, the base with a cast Xuade mark, with a good dark patina, h. 2‑7/8”, w. 4‑3/8”, l. 7”. [500/800] Illustrated 907 Unusual Japanese Bronze Vase, with silver and gold inlay, Meiji Period (1868‑1912), of flattened pear shape with tubular handles and splayed foot, inlaid with horizontal bands of silver geometric inlay on the body and neck, with silver and gold mons on the body bands, the tubular handles with inlaid silver decor, h. 8‑1/2”. [4000/7000] Illustrated 908 Group of Five Japanese Ivory and Metal Manju, four with circular ivory backs, three with shakudo inserts, one with engraved bronze and one two-sided in ivory with engraved decoration, dia. 1‑3/8” to 2”. [1400/1800] Illustrated 909 Five Reference Books on Asian Decorative Arts, including George Lazarnick, Netsuke and Inro Artists, and How to Read Their Signatures, Honolulu: Reed Publishers, 1981, in two large gray buckram volumes with clear vinyl wrappers, Sandra Andacht, Oriental Art and Antiques, Hazel H. Gorman, Japanese and Oriental Ceramics, and Joan M. Hartman, Chinese Jade of Five Centuries. [200/400]

910 Japanese Imari Porcelain Shaped Charger, first half 20th century, molded with a scalloped rim and decorated in polychrome enamels with a central vajra medallion surrounded by rayed panels of flowers and Buddhistic symbols, dia. 12”. [100/200] 911 Group of Nine Japanese Carved Ivory Netsuke, composed of four animal-form pieces including a horse, a pair of quail and two figures of rats, along with five figural carvings of people and deities, h. 3/4” to 2‑1/4”. [300/500] Illustrated 912 Thai Carved Wooden Figure of an Absornsi as a Guardian, the carved half-angel, half-lion figure in a crouching position wearing armor and helmet with traces of painted decoration, now mounted on a black wooden base, h. 28‑1/2”. [800/1200] 913 Elaborate Javanese or Balinese Dragon Headdress, the wooden body with painted, mirrored and jeweled adornment carved as a horned, eared dragon head with snarling mouth and a three-headed dragon-like creature with wings perched on its head, h. 14‑1/2”, w. 17”, l. 27”. [100/200]

165

914 Interesting Japanese Carved Ivory Netsuke, carved in the shape of a recumbent dog with crossed front paws, the tail wrapped about its back legs, with inlaid eyes, signed, l. 2‑1/4”. [150/300] 915 Two Japanese Carved Ivory Statues, comprised of a carving of the Happy Buddha seated with his fan and with inked details, and a larger carving of a boy in a brocade robe sleeping atop a woven bundle with polychrome decoration, h. 2” and 2‑3/4”. [100/200] 920

922

918 Framed Japanese Woodblock Print, by Kunisada, dated 1859, depicting a geisha and child beneath flowering trees, the geisha clad in an elaborate kimono with a giant carp, with carver and publisher cartouche, h. 22‑3/8”, w. 18‑1/2”. [250/400] 919 Set of Three Elaborately Mounted and Framed Wooden Combs, two of matching size and one larger, each with an elaborate wooden comb mounted on textured gold paper, double matted in black and brown, presented in giltwood frames and glazed, 19‑1/2” x 15‑1/2” and 33‑1/2” x 21‑1/2”. [250/400] 920 Japanese Four-Panel Folding Wall Screen, first half 20th century, painted in ink and white on a gold leaf ground as a continuous scene of egrets perched on willow branches and in flight, signed, h. 36‑1/4”, l. 72”. [600/900] Illustrated 921 Japanese Silk Brocade Obi, 20th century, woven with silk and gold thread, the continuous scene of gardens with trees, flowers, pavilions, bridges and palanquins, the silk threads highlighted by gold and silver metallic threads, w. 12‑3/4”, l. 159”. [125/250]

916 Japanese Taisho Blue and White Polychromed Porcelain Tea Canister, of hexagonal form, and signed with a pair of red colophons and black calligraphy at the upper edge, now mounted as a table lamp on a custom-carved conforming footed hardwood base, and fitted with a custom garnet silk paneled shade and cut brass calligraphic finial, h. to top of finial 22”. [250/400] 917 Japanese Painted and Gilded Wooden Display Stand, composed of two tiers with scrolled legs and shaped apron, the exterior painted red, the interior gilded, h. 4‑1/2”, l. 7‑3/4”. [200/400]

166

925

922 Unusual Japanese Satsuma Porcelain Lamp, 20th century, modeled as an enameled coiled dragon base supporting a candle holder covered by a pierced spherical shade decorated in Satsuma enamels with figural groups of lohan, presented on a wooden base, h. 10‑3/4”. [700/1000] Illustrated

928

923 Amusing Japanese Carved Ivory Netsuke, depicting two figures in upside-down, back-to-back position, both holding fans and dressed in brocade robes with polychrome decoration, presented on a wooden stand, h. 1‑3/4”. [100/200] 924 Group of Four Japanese Carved Ivory Netsuke, each of figural form with ink-stained etched details, comprised of two figures of sages, one of a long-haired figure with rotating faces and the figure of a boy sleeping on a bolt of folded cloth, h. 1‑5/8” to 2‑1/2”. [400/700] 925 Group of Seven Japanese Carved Ivory Netsuke, each of animalistic shape including two rabbits, a rat, a tiger, a pig, a goose and a turtle atop an ear of corn, h. 1/2” to 2‑1/2”. [500/800] Illustrated 926 Framed Japanese Woodblock Print, 19th century, a surimono depicting a reclining geisha with an open box of bamboo shoots and a basin of sprouting plants, after Hokkei, matted, glazed and framed, h. 17‑5/8”, w. 13‑5/8”. [250/400] 927 Captivating Framed Color and Gold Leaf Orientalist Print, by L. Augustine, titled “Imperial Courtesans”, depicting four geishas and two attendants wearing colorful kimonos and posed preparing to entertain guests, the colored print with gold leaf background creating a dramatic scene, signed, edition 48/275, matted, framed and glazed, h. 42‑1/4”, w. 52‑3/4”. [200/400]

929

928 Elaborate Japanese Carved Wood Display Cabinet, ca. 1900, the cabinet in multiple tiers with enclosed storage compartments with hinged and sliding doors and open display platforms, carved all over with intricate naturalistic scenes, a top crest of a phoenix bird and resting on cabriole feet with an all-around stretcher base, h. 86”, w. 48”, d. 17”. [2000/4000] Illustrated 929 Group of Three Asian Lacquered and Gilt Boxes, 19th century, comprised of an elongated glove box decorated with geishas on a balcony, h. 1‑1/2”, w. 3‑3/4”, d. 12”; a rectangular storage box decorated with figures in a garden practicing shooting a Western gun, h. 1‑3/4”, w. 6”, d. 7‑3/4”; and a cylindrical box decorated with figures in garden scenes, h. 2‑3/4”, dia. 3‑1/4”. [250/400] Illustrated 930 Rare and Unusual Japanese Two-Color Lacquer Box, ca. 1890, in the Art Nouveau style, the red lacquer base overlaid in black, the cover with confronting trees, the sides with stylized leaf lappets, h. 2”, w. 3‑1/2”, l. 5”. Japanese wares in the Art Nouveau style are rare and were used by the upper classes influenced by Western culture. [250/400] Illustrated

930

167

935 931 Unusual Pair of Japanese Bamboo, Lacquer and Bronze Vases, Meiji Period (1868‑1912), each composed of a section of timber bamboo with applied lacquer and bronze animalistic and floral appliques, the bases and lip rims with applied decoration of flowering plum branches, pine boughs and birds, the lip rim with attached interior patinated copper vase-form inserts, h. 21”. [1200/1800] Illustrated

932 Elaborate Japanese Satsuma Covered Storage Jar, 20th century, of cylindrical form resting on a footed base with a coiled dragon in high relief, topped by a domed cover with a shi-shi finial, the body decorated in Satsuma enamels with reserve panels of battle scenes and lohans in landscapes against a brocade ground, h. 15‑3/4”. [1000/1500] Illustrated 933 Four Books on Japanese Art and Architecture, including Robert T. Singer, et al., Edo: Art in Japan, 1615‑1868, an exhibition catalogue, The National Gallery of Art, Washington, D.C., November 15, 1998 February 15, 1999, Money L. Hickman and Yasuhiro Sato, The Paintings of Jakuchu (1716‑1800), an exhibition catalogue, New York, The Asia Society Galleries, October 5 - December 6, 1989 and Los Angeles County Museum of Art, December 21, 1989 - February 2, 1990, Martin Foulds, et al., The Art of Shibata Zeshin (1807‑1891), a catalogue of the Mr. and Mrs. James E. O’Brien collection at the Honolulu Academy of Arts, and Heinrich Engel, The Japanese House: A Tradition for Contemporary Architecture, 12th printing, (Rutland, VT and Tokyo: Charles Tuttle, 1985), all in cloth boards with glossy printed wrappers, the latter with corrugated cardboard slipcase. [200/400]

931 932

934

934 Framed Japanese Woodblock Print, 19th century, depicting two geishas on a balcony flirting with people outside of the print, a group of people on an adjacent balcony watching the flirtation, signed Hiroshige, from the Takaido road series, matted, framed and glazed, h.18‑1/4”, w. 14‑1/4”. [250/400] Illustrated 935 Four Important Collection Catalogues of Japanese Prints and Swords, including three volumes of Ukiyo-E Masterpieces in European Collections (Tokyo: Kodansha, 1988), edited by Muneshige Narazaki, including volumes 1: British Museum I, 2: British Museum II, and 10: Museo d’Arte Orientale, Genoa I, all Japanese text with separate English supplement, presented in embossed cloth boards with gilt titles and cloth slipcase embossed and gilded en suite, and William Tilley, et al. One Hundred Masterpieces from the Collection of Dr. Walter A. Compton: Japanese Swords, Sword-Fittings and Accoutrements (New York: Christie, Manson & Woods, 1992), presented in cloth boards with gilt title, glossy paper wrapper and printed slipcase. [400/700] Illustrated

168

938

936 Four Books on Japanese Prints, including Matthi Forrer, Hokusai, Dean J. Schwaab, Osaka Prints, Roger Keyes, The Male Journey in Japanese Prints, and J. Hillier, Catalogue of Japanese Paintings and Prints in the Collection of Mr. & Mrs. Richard P. Gale (in two volumes, slipcased together). [200/400] 937 Jack Hillier, The Art of the Japanese Book, (New York: Sotheby’s, 1987), in two volumes, each with buff buckram boards and printed wrappers, presented in a single taupe buckram slipcase, overall h. 14”, w. 4‑3/4”, d. 10‑1/4”. [150/300]

938 Albert Charpin (French, 1842‑1924) “Return of the Flock”, 1887, oil on canvas, signed and dated lower right “A. Charpin 1887”, verso with remnants of an exhibition label “Exposition d’ (?), Pottier Embal (?), de Tableaux & Objets d’art, Rue Gaillon, Paris”, 57” x 78”. Presented in a period giltwood frame. Reference: Benezit; ThiemeBecker Lexicon; Dictionnaire General Des Artistes, Bellier. Charpin was a student of Daubigny and exhibited in the Salons regularly from 1875‑1923. He was greatly influenced by the Barbizon School, whose romantic depictions of rural life he favored, as well as the later realists like Rosa Bonhour. [10000/15000] Illustrated

169

939 Provincial Louis XV Fruitwood Fauteuil, late 18th century, the shaped and padded back surmounted by a floral-carved crest, joined by scrolling padded arms to the padded seat, raised on molded cabriole legs ending in scrolled toes, h. 37‑1/2”. [900/1200] Illustrated 940 Napoleon III-Style Fruitwood Bergere, in the Louis XV taste, the shaped and domed padded back surmounted by a floral crest, joined by padded arms to the cushioned seat, raised on cabriole legs headed by floral carving and ending in scrolled toes, now upholstered in Brunschwig et Fils tapestry damask, h. 38”. [1000/1500] 941 French Mahogany and Upholstered Bench, late 19th century, the padded and tufted rectangular top above a paneled frieze, raised on shaped legs headed by foliate carving and ending in scrolled toes, h. 12”, w. 26”, d. 20”. [250/400] 942 Pair of 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”. [600/900]

943

939

943 French Provincial Fruitwood Shelf, late 19th century and later, the molded cornice above a shaped frieze with stylized wheat sheaf carving, above four open adjustable shelves, flanked to either side by fluted uprights, raised on shaped feet, h. 77”, w. 82‑1/2”, d. 12”. [2000/4000] Illustrated 944

170

946

946 Pair of Provincial Louis XV-Style Fruitwood Bergeres, late 19th century, each with a shaped foliatecarved crest above a bi-paneled caned back, joined by caned arms and scrolling hand rests to the padded seat, raised on cabriole legs headed by foliate carving and ending in scrolled toes, h. 38”. [500/800] Illustrated 947 Provincial Louis XV-Style Walnut Desk, third quarter 19th century, the superstructure fitted with two banks of three small drawers flanking two open shelves, the shaped rectangular top with an inset leather surface above a frieze fitted with three small drawers, raised on cabriole legs headed by a cabochon and ending in pointed toes, h. 43‑1/2”, w. 43”, d. 27”. [700/1000] Illustrated 948 French Provincial Glazed Pottery Bundt Bowl, first quarter 20th century, of circular spiral-ribbed form and having a medium brown glaze, h. 5”, dia. 11‑1/2”. [125/250]

949 French Provincial “Tobacco”-Glazed Terra Cotta Storage Jar, fourth quarter 19th century, of inverted bell form and fitted with two handles, the body with two applied crimped decorative bands, h. 17”, dia. 14”. [150/250] 950 Pair of Northern European Pottery Figures of Ducks, first quarter 19th century, the diminutive gloss greenglazed birds modeled swimming on stylized waves, h. 4‑1/2”, l. 4‑3/4”. [100/200]

947

944 French Provincial Oak and Fruitwood Cabinet, midto-late 18th century, probably Brittany, the overhanging dentillated cornice above a case fitted with two cupboard doors over two drawers over two further cupboard doors, raised on block feet, the whole with intricate carving in a variety of foliate and geometric patterns, h. 76”, w. 62”, d. 24”. [5000/8000] Illustrated 945 Max Stentzer (Continental, 20th Century) “Still Life”, oil on canvas, signed lower right “Max Stentzer”, 19‑1/2” x 16”. Framed. [150/300]

952

171

955 951 Victorian-Style Polychromed Metal and Wire Birdcage, of breakfront triple-gabled form, fitted with two doors in the central section, a perching bar and three pull-out cleaning trays, raised on claw feet, h. 49‑1/2”, w. 45”, d. 14”. [300/500] 952 Continental Provincial Pine Armoire, third quarter 19th century, the molded cornice above a case fitted with two long doors, each inset with three shaped panels, both within a molded frame, raised on large squat bun feet, h. 84”, w. 66”, d. 22‑1/2”. [1800/2500] Illustrated previous page 953 After Marc Antonio Franceschini (Italian, 1648‑1729), Engraved by Francesco Bartolozzi (Italian, 1727‑1815), a pair of stipple engravings in sanguine of, respectively, classical landscape with putti cavorting while a satyr sleeps, and a bacchanal of putti in a classical landscape with a castle visible beyond, published in 1765, London, with framer’s label on the reverse “Braxton Picture Frames, 353 East 58th Street, New York”, sight 11” x 16”. Glazed, handsomely matted and presented in matching giltwood frames. [350/500]

954

954 Louis XV-Style Fruitwood Bergere, late 19th century, the low padded and shaped back surmounted by a floral crest, joined by padded scrolling arms to the cushioned seat, raised on cabriole legs headed by floral carving and ending in scrolled toes, h. 32”. [300/500] Illustrated 955 Provincial Louis XV-Style Walnut Settee, mid‑19th century, the caned back surmounted by a foliate-carved crest and joined by scrolling arms, raised on a foliatecarved apron on cabriole legs ending in scrolled toes, h. 32”, w. 36‑1/2”, d. 18”. [1200/1800] Illustrated 956 Pair of French Provincial Fruitwood Benches, fourth quarter 19th century, the rounded plank top raised on shaped end supports ending in runner feet, h. 19”, w. 12‑1/2”, l. 78‑1/2”. [900/1200] Illustrated

956

172

957 Moreira Aguiar (Spanish, b. 1947) “Cottages Along a Village Road”, 1984, oil on masonite, signed and dated lower left, signed, dated and inscribed “Mosanto” en verso, 27‑1/2” x 22”. Handsomely framed. [800/1200] Illustrated

958 Large Provincial Pine Farmhouse Table, mid‑20th century, the rectangular top inlaid with two banded X-form panels, raised on four turned and bulbous interior balusterform legs joined by a plank stretcher and ending in runner feet, h. 30‑1/2”, w. 48”, l. 101‑1/2”. [300/500] 959 Collection of Three French Cast-Stone Garden Plaques, first quarter 20th century, comprised of a large elliptical trophee of game, 19” x 30”; a similar but smaller oval cast-stone plaque, 13” x 17”; and an elaborate cartouche-form plaque with suspended game birds, 18” x 31”; the surfaces of all three examples weathered throughout. [125/250]

966

957 960 After Jacques Lamy (French, b. 1946), a transfer print on canvas decorative panel featuring a sedum-filled footed compote in the Antique style on an antiqued black background, with printed signature lower right, overall h. 41”, w. 52‑1/4”. Presented in a black-painted antique gilded wood frame with foliate-carved corners in the Spanish 18th-century manner. [350/500] 961 Suite of Four French Provincial Mahogany Sidechairs, fourth quarter 19th century, each with a slightly domed and caned back surmounted by a shell- and foliate-carved crest, the caned seat above a shell-carved apron, raised on cabriole legs joined by an H-form stretcher and ending in scrolled toes, h. 40‑1/4”. [1000/1500] Illustrated 962 French School (First Quarter 19th Century) “Camellias”, suite of four hand-colored stipple engravings, after J. J. Jung, engraved by Oudet, all camellia species are identified lower margins, sight 13” x 9”. Handsomely matted and framed en suite. [600/900] 963 Continental School (Mid‑19th Century) “Botanicals”, suite of four hand-colored engravings, sight 9” x 10‑1/2”. Glazed, matted and framed en suite. [500/800] 964 Continental School (Third Quarter 19th Century) “Tulips”, “Pink Roses”, Yellow Roses” and “Striped Tulips”, group of four offset chromolithographs of botanicals, after Horto Van Houtteano, sight 12‑1/2” x 9‑1/4”. Glazed, matted and framed en suite. [500/800]

961

173

967 French Provincial Fruitwood Armoire, first quarter 19th century, the rounded and molded cornice above a conforming case fitted with a scroll-carved frieze over two long doors, each inset with two shaped panels and with foliate vine-carved accents, above a like-carved frieze, raised on shaped feet, h. 88‑1/2”, w. 53”, d. 24”. Provenance: Private collection, Sarasota, Florida. [2500/4000] Illustrated 968 Mediterranean Terra Cotta Two-Handled Tree Tub, of large globular form with everted lip in the traditional style, h. 24‑1/2”, w. 25”. [100/200] 969 Mediterranean Terra Cotta Ring-Handled Pyriform Tree Tub, of monumental size in the traditional style, the exterior surface attractively gently weathered throughout, h. 28‑1/2”, w. 25”. [250/400]

972

967

965 Attractive French Faience Plate, fourth quarter 18th century, in “Oiseau, Papillon et Fleur” decor, presented on a later diminutive brass stand of easel form, plate dia. 9‑3/4”, stand h. 5”. [50/80] 966 Regence-Style Mahogany Fauteuil a la Reine, third quarter 19th century, the padded and slightly domed back joined by downswept foliate-carved arms to the padded seat, the shaped like-carved apron raised on cabriole legs ending in scrolled foliate toes, h. 44”. [600/900] Illustrated previous page

971

174

970 French Provincial Terra Cotta Oil Storage Jar, first quarter 20th century, of large pyriform, the surface attractively patinated, h. 31”, w. 19”. [250/400] 971 Provincial Oak and Fruitwood Refectory Table, early 20th century, the plank top raised on end supports joined by stretchers and ending in runner feet, h. 31‑1/2”, w. 25‑1/2”, l. 87‑1/2”. [500/800] Illustrated 972 Provincial Louis XV-Style Fruitwood Fauteuil, early 19th century, the slightly domed caned back surmounted by a foliate-carved crest, joined by downswept arms to the caned seat, raised above a shaped apron on cabriole legs headed by shield carving and ending in scrolled toes, h. 36‑1/2”. [1200/1800] Illustrated 973 Pair of European Terra Cotta and Iron Jars, each jar of compressed flask shape, one side of each with three iron bosses and a shaped iron corner applique, with weathered surfaces, h. 23”. [100/200]

976

975 suite of six

974 French Provincial Terracotta Two-Handled Confit Jar, first quarter 20th century, the large and attractively weathered jar of baluster form, the collar with a broad emerald green-glazed band, now mounted as a table lamp and fitted with a custom ivory linen shade of truncated cone form with a spherical fruitwood finial, h. to top of finial 30‑3/4”, dia. 10‑1/2”. [100/200] 975 French School (18th Century), suite of six hand-colored engravings of various floral bouquet arrangements, by Jean Baptiste, sight 9” x 6‑1/2”. Glazed, matted and framed en suite. [700/1000] Illustrated 976 Provincial Empire Buffet a Deux Corps, second quarter 19th century, the triangular pediment paneled and flanked to either side by a projecting applied black lozenge, over two bi-paneled cabinet doors flanked to either side by a columnar upright, over a single shallow drawer, the lower section fitted with two drawers over two paneled cupboard doors, flanked en suite, raised on turret feet, the whole accented with ebonized moldings, h. 91”, w. 44‑1/2”, d. 22‑1/2”. [1500/2500] Illustrated

175

977 Suite of Six French Provincial Fruitwood Sidechairs, late 19th century, each with a scalloped crest over two like horizontal splats, the rush seat over a scalloped floral-carved apron, raised on cabriole legs joined by a turned X-form stretcher and ending in bulb feet, h. 37”. [1000/1500] Illustrated 978 Paul Charles Chocarne-Moreau (French, 1855‑1931) “Still Life of a Bouquet of Flowers in a Blue and White Porcelain Vase”, 1886, oil on canvas, signed and dated lower right “Chocarne Moreau 86”, 31‑1/2” x 24”. Presented in a later carved giltwood and plaster frame in the Art Nouveau style. [800/1200] Illustrated

978 979 Restauration Fruitwood Occasional Table, mid‑19th century, the dished rectangular top above a conforming frieze fitted with a single drawer, raised on double pierced ovoid end supports joined by a stretcher and ending in splayed feet, h. 33”, w. 17‑1/2”, d. 12”. [500/800] Illustrated

979

980 Pair of Provincial Louis XV-Style Fruitwood Fauteuils, third quarter 19th century, each with a shaped and padded back surmounted by a floral crest, joined by padded scrolling arms to the padded seat, raised above a shaped floral-carved apron on cabriole legs ending in scrolled toes, h. 35”. [900/1200] Illustrated

981 French School (Third Quarter 18th Century) “Shore Birds”, a pair of fine hand-colored engravings by Bernard of Paris, from Histoire Naturelle Ornithologie. Exhibition frames en suite. [100/200] 982 Provincial Painted Library Ladder/ Chairside Table, fitted with three steps supported by a back-turned and ribbed upright, raised on bulbous and turned circular legs ending in toupie feet, h. 33”, w. 18”, d. 20‑1/4”. [200/400] 977

176

980

983 Continental Provincial Polychromed Pine Coffer-onStand, 19th century, of rectangular form, the case hinged and opening to a void interior, raised on a stand of bulbous turned legs to toupie feet, h. 31‑1/2”, w. 34”, d. 18‑1/2”. [400/700] 984 Fabrique de Luxembourg, Septfontaines, Blue and White Faience Fine Platter, fourth quarter 18th century, of oval form in floral decor, the reverse with the entwined F2 monogram in underglaze blue, w. 10”, l. 13‑1/2”. [125/250] 985 John Anthony Conner (American/California, 1892‑1971) “Mission San Juan Capistrano”, oil on board, signed lower right “John A. Conner”, 17‑1/2” x 21‑3/4”. Framed. [200/400] 986 Byron Galvez (Mexican, b. 1941) “Grupo”, color mixograph, plate signed and dated lower right “Byron ‘64”, retains ex-collection Vincent Price label on the reverse, sight 24” x 18‑1/2”. Glazed, matted and framed. [500/800]

177

Index of Artists and Printmakers

September 11-12, 2010

Dali, Salvador 873, 874

Aguiar, Moreira 957

Danish School 885

Ambrose, C. 385

De Largilliere, Nicolas (after) 818

American School 561, 602, 607, 609

Drexler, Rosalyn 886

Andersen, Alfred Braendgaard 883

Ducker, Jack M. 391

Anderton, Francis S. 386

Dureau, George Valentine 901, 902

Barbera, Camillo Gioja 26

Ferg, Franz de Paula 33

Bodine, A. Aubrey 706

Fisk, Harry 715

Braley, Cllarence E. 665

Florido, Enrique 45

British School 296, 301, 306, 384, 394, 414, 432, 433, 436

Ford, Marian 895

Brown, Bernice â&#x20AC;&#x153;Bernieâ&#x20AC;? 695 C Caffery, Debbie Fleming 903 California School 671 Carrier-Belleuse, Albert-Ernest 196 Chagall, Marc 869 Charpin, Albert 938 Chocarne-Moreau, Paul Charles 978 Christiansen, Nils Hans 7 Clark, Emery Ann 689 Clark, Octavius T. 313 Conner, John Anthony 985 Continental School 9, 11, 12, 32, 34, 37, 61, 746, 753, 756, 963, 964

Franceschini, Marc Antonio (after) 953 Freideberg, Pedro 877 French School 156, 199, 807, 962, 975, 981 G Galvez, Byron 986 Gerard, Francois Pascal Simon (manner) 67 Gershoy, Eugenie 686, 687 Giles, Frances S. 315 Goodacre, Glenna 900 Gordon, G. 35 Greek School 99 Greenwood, Ethan Allen 558 H Hagberg, Charles J. 608

Cruise, Alvyk Boyd 694

Heldner, Colette Pope 692

Hemenway, Mary Louise Liddell Jordan 601

Dabouze, Ulysse 225

Hildebrandt, Howard Logan 659

Index of Artists and Printmakers

September 11-12, 2010

I Italian School 43, 752 K Keane, Glen 93 Kneller, Sir Godfrey (manner) 282 Koekkoek, Barend Cornelis (circle) 31 L Lamy, Jacques (after) 960 Lauters, Guillaume 158 Leader, Benjamin Williams (circle) 314 Leemputten, Frans van 8 Lely, Sir Peter (after) 281 M Meadows, Arthur Joseph 390 Monte, Ira 599 Motley, David 392 Moulin, Hippolyte Alexandre Julien 101 N New Orleans School 688 O Owen, Joel 393 P Pemberton, John Peter 691 R Rockmore, Noel 717 Rodrigue, George 693 Rohland, Paul Hermann 716, 718

S Salmones, Victor 29, 888 Severdonck, Franz Van 158 Smith, Marshall D. 719 Sorensen, Laurits 44 Southern School 714 Stentzer, Max 945 Stobbe, Marie 670 Strom, Gerda 884 Sypesteyn, Adele 880 T Thompson, G. 312 Tolliver, William 690, 713 Towne, Charles (circle) 389 Trivigno, Helen 711, 712 V Van Huysum, Jan (manner) 1 Van Os, Georgius Jacobus Johannes (att) 6 Velten, Wilhelm 36 Villeneuve, Fabrice de 10 W Wilson, Donald Roller 876

Glossary and Time Chart

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

September 11-12, 2010

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

Saturday September 11, 2010 Lots 1-534 10:00-11:00 11:00-12:00 12:00-1:00 1:00-2:00 2:00-3:00 3:00-3:30

1-99 100-199 200-299 300-399 400-499 500-534

Sunday September 12, 2010 Lots 535-986 11:00-12:00 12:00-1:00 1:00-2:00 2:00-3:00 3:00-3:30

535-634 635-734 735-834 835-934 935-986

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, September 10, 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, September 9, 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.

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, SEPTEMBER 9 AT 5:00 P.M.) Condition reports are completed in the order in which they are received. Please allow ample time for large requests. Condition reports will not be given verbally. Photo requests will only be processed for items not illustrated in our catalog or website (www.neworleansauction.com). Detail photographs will be provided at our discretion. Name (Please Print): _______________________________________________________

Date: __________

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

State: __________ ZIP: ____________

Home: (_______)___________

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

Fax: (_______)__________

Email Address: __________________

Method of Receiving Photographs: _____Mail

_____Email

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

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

Page No. 1

08/23/2010 15:44:46 New Orleans Auction Prices Realized for Sale 1004 July 17, 2010 Major Estates Sale

Lot# 1 2 3 6 7 8 9 10 11 12 16 17 18 20 21 23 25 27 28 29 33 34 35 36 37 38 39 40 41 42 44 45 46 47 48 49 50 54 55 56 57 58 59 61

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1,168 984 615 1,722 3,444 522 553 369 4,182 1,845 3,936 1,168 1,968 1,107 2,214 1,168 3,690 799 1,722 1,168 2,091 8,302 3,690 3,444 3,444 338 1,968 215 369 246 1,968 369 492 615 61 307 123 922 461 1,845 1,722 1,107 1,599 2,952

62 63 68 71 72 73 75 76 78 81 84 85 86 87 88 89 90 91 93 94 95 96 97 98 99 100 106 107 108 110 111 112 113 114 116 117 119 120 121 122 124 125 128 130

184 1,353 799 3,444 3,198 738 369 6,765 492 799 615 3,444 369 430 492 184 49 246 369 4,182 3,936 5,412 2,091 86 153 1,722 123 861 9,840 399 430 399 2,952 1,845 6,150 2,460 7,687 7,380 276 1,845 492 1,230 1,107 1,230

131 132 133 134 135 136 142 143 146 150 153 157 160 161 162 164 166 168 169 170 171 172 176 177 179 180 181 182 184 185 186 187 188 190 192 193 194 195 196 199 200 201 202 203

369 86 3,936 369 1,230 1,722 153 922 153 246 861 215 1,722 246 153 369 3,444 4,182 2,706 98 615 1,045 953 2,460 369 246 338 184 738 123 738 1,476 1,845 430 2,706 6,457 123 36,900 8,302 307 430 12,300 4,674 1,353

204 205 206 207 208 209 210 211 212 215 222 223 224 225 228 229 231 233 235 236 237 238 239 240 241 242 243 250 251 252 253 255 258 259 263 264 265 272 281 285 286 290 292 297

1,045 3,444 4,920 461 1,168 430 584 1,353 399 61 1,722 861 553 1,599 1,353 984 1,845 861 799 553 1,845 553 2,091 615 1,107 307 1,230 3,690 1,107 4,674 430 1,845 2,214 2,091 2,952 246 1,045 2,706 2,214 5,412 1,230 369 123 3,198

300 302 304 305 309 312 313 314 315 320 321 324 328 329 330 333 336 337 339 340 342 344 345 346 347 348 349 350 351 352 353 354 355 357 360 361 362 363 364 365 366 368 369 370

553 615 984 2,460 73 2,952 98 2,952 1,968 1,845 338 799 676 584 399 246 6,150 522 615 399 3,075 184 738 984 338 307 246 522 246 184 922 369 922 553 1,599 2,460 676 3,936 276 86 1,045 861 1,353 2,337

376 377 379 382 385 386 388 390 391 392 394 396 397 401 402 403 404 407 408 412 415 422 424 425 426 428 429 431 435 436 437 438 441 442 443 444 445 451 452 453 457 458 463 465

1,722 1,353 1,845 1,107 738 307 676 553 2,214 799 27,060 1,722 4,674 1,230 6,457 3,936 61 1,230 1,230 1,845 492 369 584 2,214 2,337 799 1,845 1,476 1,353 86 2,091 3,936 492 461 1,045 676 922 1,968 1,168 2,337 2,952 1,968 369 861

466 467 468 469 471 472 474 475 476 477 480 481 482 484 487 488 489 490 495 497 498 499 500 501 502 503 504 505 507 508 509 510 512 513 514 515 516 519 520 521 524 527 528 529

1,107 922 338 215 215 738 615 7,380 2,952 676 799 430 184 738 1,476 4,920 1,968 984 2,952 1,230 399 2,091 73 584 307 369 2,091 153 861 1,168 1,045 2,337 24,600 1,353 676 1,476 615 1,476 7,380 1,107 7,072 338 3,936 1,168

columns72.frx

Page No. 2

08/23/2010 15:44:47 New Orleans Auction Prices Realized for Sale 1004 July 17, 2010 Major Estates Sale

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530 531 532 533 534 537 539 540 541 543 545 546 550 552 553 554 556 560 561 562 563 564 565 570 571 572 575 577 579 582 583 584 585 587 588 589 590 592 593 596 597 599 600 604

123 2,337 799 1,599 738 584 615 1,045 676 31,980 73 5,412 430 676 615 246 1,968 615 399 338 2,460 184 861 1,476 246 922 738 430 215 1,230 676 1,968 461 1,476 61 215 2,460 1,476 338 861 430 98 307 1,722

605 607 608 610 611 617 618 620 621 622 624 625 626 627 631 633 634 636 639 647 648 649 652 657 662 664 665 666 668 669 670 671 672 674 675 676 677 678 679 680 681 682 683 684

492 891 338 2,952 369 430 1,107 307 246 4,428 1,968 276 553 799 676 4,920 215 2,337 153 246 49 153 1,353 1,107 1,168 98 123 1,353 369 676 399 861 2,214 2,337 1,722 2,214 461 984 1,968 4,182 1,845 2,337 1,476 1,107

685 686 687 688 691 692 693 696 697 698 699 700 701 702 703 704 705 706 707 709 710 711 712 716 717 718 720 721 722 726 727 729 730 731 733 735 736 737 738 739 740 741 742 743

1,968 799 615 676 2,952 1,968 1,845 246 86 86 1,353 1,168 922 861 799 553 110 184 9,532 861 615 676 1,107 46,740 9,532 12,300 1,230 1,968 39,360 2,214 676 738 1,722 799 1,353 799 799 1,476 9,840 430 522 676 3,444 3,444

744 747 748 750 752 753 754 756 757 758 759 760 761 762 763 765 766 767 769 770 771 772 773 774 776 777 778 780 781 782 784 786 787 788 790 791 793 795 796 798 800 801 802 803

7,995 1,845 1,845 1,722 2,214 399 922 19,680 738 1,168 2,214 1,353 9,532 10,147 307 6,765 123 5,166 615 430 246 153 16,605 17,220 369 1,845 307 5,412 1,476 1,968 276 1,168 6,150 2,214 246 1,845 276 553 492 246 2,706 86 2,706 215

805 806 807 808 809 810 814 817 821 822 823 824 826 828 829 830 831 832 833 834 835 836 837 838 840 841 842 843 845 847 848 849 850 853 854 855 856 858 859 860 861 862 863 866

738 123 1,045 799 73 492 4,920 6,150 5,658 338 184 123 307 123 492 61 2,706 153 184 307 73 123 86 1,476 153 399 1,230 3,936 1,476 399 399 1,722 1,230 246 553 399 61 98 861 153 1,845 307 4,674 1,230

867 868 869 870 871 872 873 874 875 876 877 880 881 882 886 887 889 890 892 895 896 897 900 901 902 903 904 905 906 907 908 909 913 914 915 920 922 923 924 925 926 927 928 929

123 799 2,091 522 246 2,952 246 2,214 369 615 584 738 922 307 3,444 553 1,230 153 184 676 615 1,045 584 338 1,230 8,302 18,450 215 553 123 184 461 246 369 338 1,230 338 338 492 553 492 276 246 246

930 931 932 933 937 938 939 940 941 942 943 944 945 946 948 950 951 952 953 954 955 956 957 958 960 961 964 965 966 968 970 971 972 976 978 982 987 988 990 991 994 995 997 998

276 307 984 2,091 861 399 246 184 246 276 276 1,045 3,936 492 615 399 276 184 307 276 369 369 861 1,599 430 430 615 430 861 184 1,045 615 153 1,230 615 246 2,337 615 984 98 215 153 276 276

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Page No. 3

08/23/2010 15:44:47 New Orleans Auction Prices Realized for Sale 1004 July 17, 2010 Major Estates Sale

Lot#

Realized

Lot#

Realized

999 1000 1001 1002 1005 1020 1021 1022 1029 1031 1032 1033 1037 1038 1040 1042 1044 1047 1049 1051 1052 1053 1054 1055 1056 1057 1058 1063 1064 1066 1068 1069 1070 1073 1074 1077 1078 1079 1080 1082 1085 1089 1090 1091

276 307 307 1,845 307 2,214 1,230 276 492 1,599 2,091 461 861 1,168 184 861 369 2,337 307 799 522 4,182 1,045 1,353 2,460 1,230 1,968 1,476 399 984 799 430 615 43 98 430 246 246 246 492 153 246 276 1,107

1102 1103 1110 1113 1114 1115 1116 1117 1118 1120 1122

276 338 246 430 738 522 676 984 615 307 430

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