St. Charles Gallery - November 2010 by New Orleans Auction Galleries, Inc.

1330 St. Charles Avenue New Orleans, Louisiana 70130 (504)-586-8733 2010 AUCTION SCHEDULE: November 20-21

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(504)-586-8841

e-mail: info@stcharlesgallery.com

www.stcharlesgallery.com

2010 AUCTION SCHEDULE: November 13-14 BACK COVER:

Lot 957 Rare and Important American Neo-Grec Bedstead, attributed to Pottier and Stymus, New York, third quarter 19th century, part of a three-piece suite FRONT COVER:

Detail of the above lot Schedules Subject to Change

– AUCTION – Saturday, November 20, 2010 Lots 1-730

Sunday, November 21, 2010 Lots 731-1283

– Exhibition – Wednesday, November 3 through Friday, November 19 9:00 a.m. to 5:00 p.m. (excluding Sundays) Late-Evening Preview Wednesday, November 17 5:00 p.m. to 8:00 p.m.

1330 St. Charles Avenue New Orleans, Louisiana 70130 (504) 586-8733 Fax (504) 586-8841 Website: www.stcharlesgallery.com E-Mail: info@stcharlesgallery.com La. Lic. Vidos #1015 La. Lic. Steinkamp #1265

Featuring Important Property From: The French Quarter Estate of Dr. Ralph Benson New Orleans, Louisiana The Estate of Ann B. Sakowitz Houston, Texas The Estate of David F. Dixon New Orleans, Louisiana The Estate of Victor Leglise New Orleans, Louisiana A Private Collection Quincy, Illinois The Wildlife and African Art Collection of Randal Bales Baton Rouge, Louisiana Property from the Collection of Frederick Guess New Orleans, Louisiana Property from Numerous Other Southern Estates and Private Collections

Session I

Saturday, November 20, 2010 10:00 a.m. (Lots 1-730)

264

Online Catalogue: www.stcharlesgallery.com

1 Regency Rosewood Teapoy, first quarter 19th century, the hinged sarcophagus-shaped lid opening to a compartmented interior, over a conforming carved case, raised on a baluster-turned, reeded and foliate-carved standard to a tripartite concave base ending in rosette feet, h. 34‑1/2”, w. 16‑3/4”, d. 13‑1/2”. [500/800] Illustrated

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3 German Blue and White Jasper Octagonal Plaque, first quarter 20th century, with decoration of a classical maiden, a child attendant and a gambling dog, modeled in the Wedgwood style, w. 4‑1/8”, l. 4‑3/4”. [60/90] Illustrated 4 Wedgwood Blue and White Jasper Sauce Bowl, the exterior with a classical sacrificial procession in white, the interior gloss glazed, the base with full impressed marks, h. 3‑1/2”, dia. 5”. [250/400] Illustrated 5 William IV Mahogany Pot Cupboard, second quarter 19th century, the circular marble-inset top over a fluted columnar case fitted with a door, raised on a plinth base, h. 28‑1/2”, dia. 15‑3/4”. [800/1200]

6 Pair of Regency Mahogany Serving Cupboards, first quarter 19th century, each with a rectangular top above a conforming case fitted with a cupboard door faced as two drawer fronts, over a cellarette drawer, all with shaped panels, raised on a plinth base, h. 34‑1/2”, w. 19‑1/2”, d. 18‑1/2”. [2500/4000] Illustrated

2 Dramatic Wedgwood Royal Blue and White Jasper Tray, first quarter 20th century, of oval form in “Classical Figures” decor, the reverse with full impressed marks, w. 6‑5/8”, l. 9‑1/4”. [400/700] Illustrated

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7 Regency Mahogany and Banded Rosewood Piano Forte Case, first quarter 19th century, now converted to a desk, the stationary top with two drawers across the front and mounted to a trestle base ending in cast-brass paw feet, h. 31‑1/2”, w. 68‑3/4”, d. 27”. [400/700] Illustrated

9 Pair of George V Two-Light Candelabrawith-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”. [900/1200] Illustrated

10 Regency-Style Mahogany Dining Table, the banded and string-inlaid rounded rectangular top with reeded edge, raised on three pedestals, each with a columnar standard to four splayed reeded legs ending in brass paws on casters, with two leaves, h. 28‑1/2”, w. 47‑1/2”, l. 108”, extended l. 150”. [3500/5000] Illustrated Color Plate IX

8 Fine Pair of Anglo-Irish Cut Glass Covered Chestnut Vases, first quarter 19th century, of large size in the neoclassical taste, the high-domed covers with cut finials of “mushroom” form, the feet entrelac-cut, h. 12”, dia. 5‑1/4”. [1200/1800] Illustrated

11 Pair of Late Regency Mahogany Sidechairs, second quarter 19th century, the backs with an oval paneled crest and reeded crown, having slip seats and raised on turned legs joined by an X-form stretcher, h. 34‑1/2”, w. 18‑1/2”, d. 17”. [250/400]

12 Suite of Ten Regency-Style Mahogany Armchairs, 20th century, each with a satinwood rectangular banded crest, over a fretwork and rosette-carved and pierced splat, joined to the cushioned seat by open arms with reeded, turned uprights, raised on tapering square legs ending in spade feet, h. 33‑1/2”, w. 22”, d. 17”. [1500/2500] Illustrated Color Plate VII and following page

12 16 Regency Mahogany DoublePedestal-Form Sideboard, second quarter 19th century, the large, complex molded backsplash above a thick deck fitted with three ogee-form side-byside drawers, the pedestals each fitted with a framed cabinet door, flanked by large scrolled pilasters, h. 49‑1/2”, w. 79‑3/4”, d. 26‑1/2”. [1200/1800] Illustrated

13 Regency-Style Mahogany Dining Table, the rectangular top with rounded corners and three leaves, raised on two pedestals, each with a vasiform standard to three splayed reeded legs ending in brass paw feet, h. 29‑1/2”, w. 42”, l. 62”, extended l. 98”. [150/300] 14 Seventeen-Piece Staffordshire Partial After-Dinner Coffee/Chocolate Service, for ten persons, second quarter 20th century, the gold-trimmed white porcelain comprised of nine cylindrical coffee-chocolate cups, h. 2‑5/8”, dia. 2‑3/8”, and eight saucers, dia. 4‑3/4”, all fully backstamped in underglaze green transfer print. [20/40] 15 English Gloss Russet-Glazed Stoneware Garden Vase, first quarter 20th century, in the 19th-century style, of large campana form on a matching octagonal base, h. 32”, dia. 18‑1/2”. Provenance: Beechwood Mansion, The Estate of William Astor, Newport, Rhode Island. [200/400]

17 Pair of Alexander-Jean Composition Table Lamps, of tall size, composed of turned, silvered and antiqued composition with patinated castiron “palm” mounts in the neoclassical taste, each fitted with a custom taupe linen shade with shirred banding in mocha, each with a tall composition finial of upright pomegranate form, both lamps with the oblong Alexander-Jean printed paper label on the base, h. 30”, w. 7”, d. 7”. [150/300]

18 William IV Carved Mahogany Swing Shaving Mirror, second quarter 19th century, of large size, the stand fitted with a pair of lidded circular stud boxes centering a matching oval accessories compartment, the supports foliate-scroll carved, h. 33”, w. 31”, d. 12”. [200/400] Illustrated 19 Large Regency-Style Mahogany Terrestrial Globe on Stand, second quarter 20th century, the globe labeled “18 inch Terrestrial Globe W. AK Johnson, Limited, Geographers, Engravers, Printers, Edinburgh, A.J. Nystrom & Co. Solo United States Agents, Chicago”, h. 40”, dia. 24”. [500/800] Illustrated

20 William IV Mahogany Library Table, second quarter 19th century, the oval, tooled leather-inset top raised on a bulbous, turned standard to a concave base ending in scroll-carved feet, h. 29‑1/2”, w. 56”, d. 42”. [500/800] Illustrated

21 Victorian Carved Mahogany and Giltwood Sideboard, third quarter 19th century, in the NeoGrec taste, the backsplash with a beveled mirror plate flanked by a pair of broken-arch crests centered by a carved floral basket, with floral swags below, the base with a central door over an arched opening, flanked by pedestal ends, each door with a gilt winged putti masque over a shaped panel, h. 69‑1/2”, w. 84‑1/4”, d. 27”. [3500/5000] Illustrated

22 Victorian Mahogany Stool, fourth quarter 19th century, the padded, shaped square top over a conforming skirt, raised on cabriole legs ending in peg feet, upholstered in floral needlepoint, h. 15‑1/2”, w. 19‑1/2”, d. 19‑1/2”. [100/200] 20

23 George III-Style Mahogany Console, first quarter 20th century, the demi-lune top over a conforming frieze fitted with a central urn- and swag-carved drawer, flanked to one side by a door, raised on tapering square legs ending in spade feet, h. 32‑1/2”, w. 48‑3/4”, d. 21‑5/8”. [600/900] Illustrated

24 Late Victorian Cast-Iron Allegorical Scenic Fireplace Back, fourth quarter 19th century, of large size, the front with an embossed scene of a mother and child and bordered by a lush foliate surround, the back side embossed “Copyright 1885 Caryl Coleman”, h. 30”, w. 24‑1/2”. [300/500]

30 Early Victorian Mahogany Reading Table, third quarter 19th century, the kidney-form top trisected, the central portion with an inset leather surface, hinged and with an adjustable easel back and hinged book rest, the two sides opening out to reveal storage cupboards, above a paneled frieze, raised on cabriole legs headed by shell carving, joined by a crinoline stretcher and ending in sabots, h. 30‑1/2”, w. 29”, d. 15”. [800/1200]

25 Pierre Jules Mene (French, 1810‑1879) “Scottish Hunter with Fox”, patinated bronze, signed at foot “P. J. Mene” on a black marble base affixed with a brass plaque, engraved with bronze title and name of artist, h. 21”, dia. 16”. [1500/2500] Illustrated

31 Japanese Export Bone-Mounted Mahogany Gentleman’s Walking Stick, the highly carved bone grip modeled as a mouse over a peach branch, the ferrule of brass, l. 36”. [150/300] Illustrated

26 French School (Fourth Quarter 20th Century) “Knight on Horseback”, a patinated bronze sculpture, signed at base “Priss”, raised on a marble block pedestal, h. 19‑1/4”, w. 13‑1/2”, d. 4‑3/4”. [300/500] Illustrated 27 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] 28 Good English Pewter-Lidded Caneware Pitcher, dated by British Design Registration lozenge October 7, 1859, with bas-relief game trophees, the pewter lid with a serpent finial, h. 7”, dia. 4”. [75/125] 29 Good Doulton-Lambeth Stoneware HoundHandled Pitcher, third quarter 19th century, the body with five bas-relief hunting reserves in antique white, with full impressed mark underglaze on the base, h. 7”, dia. 6‑3/4”, l. 8”. [200/400]

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36 Continental Brass-Mounted Mahogany Walking Stick, first quarter 20th century, with a carved ivory grip in the form of a dog’s head fronting a curvate body ornamented with foliate strapwork, l. 36‑1/4”. [150/300] Illustrated 37 Two Natural Bentwood Walking Canes, l. 37”. [30/50] 38 Pair of Antique Folding Steel Burglar’s Skeleton Keys, third quarter 19th century, l. 5‑1/8” and 5‑3/4”. [20/40]

32 Japanese Export Bone-Mounted Mahogany Walking Stick, the bone grip in the form of an owl with attenuated folded wings perched on a cylindrical piling, the eyes of black-detailed cinnabar lacquer, the collar of brass, l. 38”. [200/400] Illustrated

33 Japanese Meiji Export Walnut Walking Stick, first quarter 20th century, composed of carved and polished bone and spiral carved, the bone element carved as a trio of horse heads fronting a foliate scroll-carved grip, l. 35”. [150/300] Illustrated 34 Anglo-Chinese Bone-Mounted Mahogany Walking Stick, the bone grip modeled as a stag’s head with attenuated and stylized horizontal antlers, the collar and ferrule of brass, l. 36”. [150/300] Illustrated 35 Continental Brass-Mounted Mahogany Walking Stick, first quarter 20th century, fitted with a carved ivory horse head with bared teeth, l. 37”. [150/300] Illustrated

39 Pair of Staffordshire Pottery Figures of Spaniels, fourth quarter 19th century, the large white-and-gold canines modeled collared and seated, h. 12‑1/4”, w. 10”, d. 4”. [200/400] 40 Two-Piece Grimwade, Staffordshire, Flow Blue Pottery Toilette Service, fourth quarter 19th century, in the “Poppea” pattern, comprised of a toilette ewer, h. 12‑1/2”, dia. 9”, and a large matching basin, h. 5‑1/2”, dia. 17”, both pieces fully marked on the base in underglaze blue transfer-print. [300/500]

41 Miniature Billiard’s Table Top, early 20th century, of traditional form, with six netted pockets, three cues and nine balls, now mounted as a cocktail table on a conforming square-legged stand, with a rounded rectangular glass surface, h. 21‑1/4”, w. 52”, d. 28”. [600/900] Illustrated

45 English Ebonized Wooden Slant-Front Hod Carrier, fourth quarter 19th century, in the Aesthetic taste, the slant front centered with a relief copper plaque in avian decor in the japonesque taste, the knob, hinges and fluted bar handle of brass, h. 14‑1/2”, w. 13‑1/4”, d. 17‑1/4”. [100/200] 46 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] 47 Good English Cast-Brass and Mirrored Glass Fireplace Screen, fourth quarter 19th century, of small size in the Aesthetic taste, the screen supported on four brass chicken feet, the screen panel facade of mirrored glass, h. 18‑3/4”, w. 20‑1/2”, d. 10‑1/2”. [300/500] 48 Pair of Late Victorian-Style Beveled and Leaded Glass Windows, mid‑20th century, the colorless glass panes in a frosted ice pattern, the frames of mahogany and now painted white, h. 80”, w. 18”, d. 2”. [400/700] 50 49 Metal and Glass Floor Torchere, composed of bronzepatinated and silvered metal, the ribbed standard having a ribbed vasiform font fitted with a large frosted glass shades of flared bowl form, the foliate-modeled base of stepped circular form, h. 68”. [75/125]

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42 Victorian BrassInlaid Mahogany Box-on-Stand, fourth quarter 19th century, the rectangular top hinged and opening to reveal a tooled leather writing surface and a variety of cubbyholes, raised on a stand with tapering, slightly splayed legs joined by a box stretcher, h. 22‑1/2”, w. 13”, d. 8‑3/4”. [150/300] 43 French Deux-Couleur Brass Figure of a Stallion, the gold-patinated caparisoned animal modeled rearing, in the “Marly” style of Guillaume Coustou (French, 1678‑1746), signed at the left facade edge “Coustou”, h. 20”, w. 7‑1/4”, l. 16‑1/2”. [200/400] Illustrated previous page 44 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]

50 John Frederick Herring, Sr. (British, 1815‑1907) “A Gray, Bay, Black Blaze and Two Foals at Fence”, oil on canvas, signed lower center “J. F. Herring”, 16” x 16”. Presented in a giltwood frame. Provenance: Purchased in London in the 1950’s by the parents of the present owner. This painting was originally executed for a frame with a round liner. The four corners were later professionally painted in order to frame this piece in a later square frame without the round liner. A faux signature was then added to the lower right corner (in a more prominent place). The original signature is concealed in the contour of the foreground in the lower center of the canvas. [6000/9000] Illustrated Color Plate VIII 51 British School (20th/21st Century) “Autumnal Landscape with a Winding River”, oil on panel, unsigned, 8‑1/2” x 6‑1/2”. Presented in a Beaux Arts-style giltwood and gesso frame. [75/125] 52 British School (20th/21st Century) “Spring Landscape with a Stream”, oil on panel, unsigned, 8‑1/2” x 6‑1/2”. Presented in a Beaux Arts-style giltwood and gesso frame. [75/125]

53 Follower of John F. Herring, Jr. (British, 1820‑1907) “Portrait of a Horse in a Stable”, oil on panel, unsigned, 20th/21st century, 6‑1/2” x 8‑1/2”. Presented in a deeply molded giltwood and gesso frame. [100/200]

54 British School (20th/21st Century) “Portrait of a Horse in a Landscape”, oil on panel, unsigned, 6‑1/2” x 8‑1/2”. Presented in an attractive, deeply molded giltwood and gesso frame. [100/200] 55 American School (Contemporary) “Portrait of a Horse”, oil on canvas, unsigned, sight h. 34”, w. 50”. Presented in a burlwood and parcel-silvered frame. [300/500] 57 Good Pair of Victorian Sterling Silver Salt and Pepper Casters, 1880, Birmingham, the maker’s hallmark abraded and illegible, of spiral-ribbed cylindrical form, h. 4‑1/2”, dia. 2‑1/2”, 7.35 total t. oz. [300/500]

56 Opulent Fourteen-Piece Ellis-Barker Silverplated Punch Service, for twelve persons, third quarter 20th century, in the Georgian style, comprised of a twohandled and footed punchbowl, h. 9‑1/2”, dia. 13‑1/2”, twelve footed punch cups, h. 3‑1/4”, dia. 3‑1/4”, and a double-lipped punch ladle with a spiral-twist shank, l. 17”. [400/700] Illustrated

58 Fifteen-Piece Anglo-American Silverplate Revolving Supper Service, second quarter 20th century, of circular, two-handled form in “Gadroon” decor, comprised of four oval covered entree/vegetable dishes (eight pieces), one covered vasiform ice bucket/bottle cooler (two pieces), two footed sauceboats, two spice casters and one twohandled footed revolving warming stand, the everted handles of turned fruitwood, h. 18”, w. 23”, dia. 18”. [300/500] 59 Attractive Victorian Two-Piece Sterling Silver Fish Serving Set, 1853, Birmingham, maker: H.A., in “Foliate Scroll and Flower” decor, comprised of a fish slice with elaborately pierced and chased blade, l. 12”, and a matching four-tine serving fork with engraved and pierced bowl and tines, l. 10”. [600/900] Illustrated 60 Victorian Vegetable Ivory-Handled Sterling Silver Serving Slice, 1894, London, makers: W.C. & ?, the second hallmark partially obliterated, l. 13”. [400/700]

61 Cased Two-Piece Victorian Vegetable IvoryHandled Sterling Silver Fish Serving Set, 1868, Sheffield, maker: perhaps John Round & Son, comprised of a fish slice with an ivy leaf-engraved blade, l. 13”, and a matching five-tine serving fork, l. 9‑3/4”, the elliptical brass-mounted black leather case with a fitted interior. [400/700]

62 Twenty-Two-Piece Group of Silverplate Utensils, comprised of a cased two-piece English mother-of-pearlhandled silverplate fish serving set, second quarter 20th century; a boxed set of eight similar fruit knives; a similar pair of ovoid-bowled silverplate serving spoons; a pair of mother-of-pearl-handled cold meats forks; a similar pie/ cake slice; a pair of petal-bowled conserve spoons; and a set of five similar seafood forks; the cased lined and fitted, the largest utensil l. 10‑1/8”. [100/200] 63 Asprey, London, Sterling Silver Footed Fruit Bowl, 1965, of shallow circular form with an elaborate floralreticulated border, h. 3‑1/2”, dia. 10‑1/4”, 20.05 t. oz. [600/900] Illustrated previous page 64 Cased Pair of English Silverplate Berry Spoons, third quarter 20th century, with gilded repousse bowls in the Victorian style, the faux-morocco case fitted and lined in ivory satin and black velvet, spoon l. 9‑1/4”. [40/70] 65 Good Pair of Antique Sheffield-Plate Three-Light Candelabra, second quarter 19th century, of large scale in “Leaf Cluster and Scroll” decor, the reeded candlearms spiral turned, the fused silver finish worn to the base copper in scattered areas, h. 21”, w. 19”, d. 5‑3/4”. [300/500] 66 Attractive Sheffield Silverplate Oval Waiter, second quarter 20th century, with an elaborately reticulated gallery rim, the center with an armorial crest and motto, the whole supported on four toupie feet, w. 16‑3/4”, l. 24”. [100/200] 67 Thirteen-Piece Sheffield Silver Company Silverplate Punch Service, for twelve persons, third quarter 20th century, in the “Old Sheffield” style, comprised of a large footed punchbowl in “Shell and Scroll” decor, h. 12”, dia. 16”, and twelve footed punch cups, h. 4”, dia. 3‑1/4”. [150/300]

68 Large Sheffield Silver Company Silverplate Waiter, third quarter 20th century, of oval, footed form in “Vintage” decor in the “Old Sheffield” style, w. 17”, l. 27‑3/4”. [100/200]

69 Group of Five Assorted Gadroon Silverplate Serving Pieces, second quarter 20th century, consisting of an English circular covered and footed soup tureen in the “Old Sheffield” style; a matching gravy boat and stand; a matching circular footed tray; and an English double-walled warming dish in “Antique Bead” decor, the interior fitted with a conforming silverplate divider, the exterior with a detaching stained turned fruitwood handle, the domed cover with a melon finial; accompanied by a Sakowitz, Houston, felt storage bag, the largest silverplate item h. 11‑1/2”, dia. 10”. [125/250] 70 Two Near Pairs of Sheffield Silverplate “King’s Shell” Salad Servers, third quarter 20th century, each set comprised of a long-handled fork and a matching spoon, the largest l. 13‑1/2” (four total pieces). [75/125]

71 English Sterling Silver-Clad Figure of a Bulldog, fourth quarter 20th century, London, maker: W.C., the seated canine fitted with onyx cabochon eyes and a black leather collar, h. 3‑3/4”, w. 3”, l. 4‑1/2”. [200/400] Illustrated 72 Diverse Ten-Piece Collection of Tableware, comprised of a set of four English ivory Bakelite-handled Art Deco dinner knives, second quarter 20th century; a pair of Rogers silverplate seafood forks in a pattern similar to “Chatelaine” of 1929; a Continental coin silver “Shell and Thread” dessert fork hallmarked “Anezin”; a William Rogers silverplate “Fiddle” stuffing spoon in the George III style; a Rogers silverplate “Eudora” double-lipped punch ladle, the pattern introduced in 1900; and an Edwardian silverplate and turned ebonized fruitwood double-lip punch ladle in the George III style, first quarter 20th century, one lip fitted with a pierced strainer guard; the largest l. 14”. [100/200] 73 Good Set of Six Edwardian Sterling Silver “Apostle” Spoons, 1903, London, maker: H.A. & S., of roundbowl form in the Elizabethan style, l. 8”, 15.00 total t. oz. [600/900]

74 Attractive Chinese Export Sterling Silver Box, fourth quarter 19th century, maker: L.C., of cylindrical form in “Bamboo” decor, h. 2”, dia. 3‑1/4”, 5.05 t. oz. [600/900]

75 Tall Sevres-Style Two-Handled Garniture Vase, fourth quarter 19th century, in the Louis XVI taste, the tall bleu-du-ciel-ground vase parcel-lustered and polychrome, the facade with a large polychrome reserve of an allegorical figure of “La Source” attended by putti, signed lower right “Collot”, the reverse with a bucolic river landscape, h. 27‑1/2”, w. 10”, d. 8”. [1500/2500] Illustrated Color Plate VI 76 Imposing Porcelaine de Paris Double Standish, second quarter 20th century, in the Louis XVI style, having a parcel-gilded rose Pompadour ground and fitted with a pair of covered inkwells retaining the original porcelain liners and a covered vasiform nibs container at the center of the back rail, the base fully marked in blue, h. 6‑1/2”, w. 15”, d. 6‑1/2”. [200/400] 77 Continental White Crackle Porcelain Vase, with bronze-patinated brass mounts in the Louis XV taste, the base of the vase with a coronet-surmounted shield mark in overglazed red, h. 18‑1/2”, w. 11”, d. 9”. [100/200]

78 Meyer and Weber, Chicago, Polychromed Baby Grand Piano and Bench, early 20th century, the case retaining Louis XV-style painted scenes with various musicians in lush gardens, h. 38‑1/4”, w. 55‑1/4”, d. 62”. [1500/2500] Illustrated Color Plate XV 79 Franco-Belgian Machine-Woven Tapestry Panel of “Le Concert”, an aristocratic 18th-century family at leisure in their salon, first quarter 20th century, the palette in ivory, ecru and old gold, presented in a matte blackbanded antique giltwood frame in the Louis XVI taste, h. 57”, w. 37”. [300/500]

80 Napoleon III “St. John the Baptist” Figural Mantel Clock, fourth quarter 19th century, in the Louis XVI taste, composed of double-patinated brass, the figure of St. John, his lamb and the drumform case resting on a platform of white alabaster, the basal edge of the facade centered with an alabaster rondel, h. 14‑1/2”, w. 15”, d. 5”. [200/400] Illustrated 81 French Gilt-Brass-Mounted Steel Mesh Firescreen, second quarter 20th century, in the Louis XVI style, the facade centered with a gilt-brass “trophee” of a scroll-mantled quiver, the feet with paw terminals, h. 31”, w. 27”, d. 7‑1/2”. [300/500] Illustrated

83 Louis XVI-Style Mahogany and MarbleTop Occasional Table, fourth quarter 19th century, the oval top inset with variegated lavender marble over a frieze fitted with a drawer, joined to the lower caned shelf by reeded square supports headed by blockpatera carving, raised on fluted tapering legs, h. 28”, w. 17‑1/2”, d. 14‑1/2”. [100/200]

82 Louis XVI-Style Mahogany and Marquetry Tiered Occasional Table, fourth quarter 19th century, the three-quarter pierced brass-galleried top banded and with a floralspray inlay, joined to the like lower shelf by turned and fluted supports, raised on tapering circular legs ending in toupie feet, h. 30‑1/2”, w. 19‑1/2”, d. 13‑3/4”. [300/500]

84 Louis XVI-Style Giltwood Vitrine, mid‑20th century, the floral-basket pierced and carved cornice over a case fitted with a glazed door and sides, above a drop door inset with a floral- and acanthine-carved panel, raised on fluted tapering circular legs ending in toupie feet, h. 68”, w. 27”, d. 15‑1/2”. [200/400] Illustrated

85 Pair of Louis XVI-Style Giltwood Bergeres, fourth quarter 19th century, each with a domed crest centered by a floral carving, above a padded back, joined to the cushioned seat by like arms, over a guillochecarved skirt, raised on fluted tapering circular legs headed by patera and ending in toupie feet, h. 37”, w. 25”, d. 29”. [300/500]

86 Three-Piece Napoleon III Giltwood Parlor Suite, fourth quarter 19th century, consisting of a settee, h. 42‑1/2”, w. 51‑1/2”, d. 24”, and a pair of sidechairs, h. 37”, w. 22”, d. 21”, the settee with a slightly domed crest centered by a cartouche carving, over a conforming padded back, joined to the cushioned seat by scrollend arms, raised on cabriole legs joined by a shaped H-form stretcher and ending in toupie feet, the chairs each with an acanthine- and floral-carved crest above a padded back flanked by fluted columnar uprights headed by pomegranate finials, over a padded seat, raised on tapering circular legs ending in toupie feet. [500/800] Illustrated

87 Usital, Milan, Antique Tapered Pedestal, third quarter 20th century, composed of gilt-brassmounted tulipwood and marquetry in the neoclassical taste, the facade centered with a stenciled faux-marquetry panel surmounted by a giltbrass “Goddess” mask, the top with a conforming slab of polished Breccia de Guillestre marble, the reverse upper edge fitted with an oblong brass plaque reading “Usital/ IS via Davazati/ Milan-Italy”, h. 45‑1/2”, w. 17‑1/4”, d. 10”. [400/700] Illustrated

89 Five-Piece Louis XVI-Style Gilt-Brass-Mounted Mahogany and Parquetry Bedroom Suite, first quarter 20th century, by Ameublement Poulin, Paris, consisting of an armoire with a bonnet crest over a conforming case with two mirrored doors, h. 98”, w. 55”, d. 22”, a bedstead with an arched paneled headboard and footboard, joined by molded rails, h. 67‑1/2”, w. 60‑3/4”, d. 79”, a bedside table with an inset variegated marble top over a case fitted with one drawer over a door, raised on fluted tapering circular legs joined by a shelf stretcher and ending in toupie feet, h. 32‑1/2”, w. 19‑1/2”, d. 15‑3/4”, a ladies desk with a rectangular shaped top over a skirt fitted with one drawer, raised on fluted tapering circular legs on toupie feet, h. 30‑1/4”, w. 35‑1/2”, d. 21‑1/2”, and a chair with a carved crest, over a pierced splat, above a padded seat, raised on fluted tapering circular legs ending in toupie feet, h. 36‑1/2”, w. 16‑1/4”, all five pieces with parquetry inlays and wreath, foliage and patera gilt-brass mounts. [3000/5000] Illustrated

89 five-piece suite

88 Louis XVI-Style Mahogany Secretaire a Abattant, second quarter 19th century, the parquetry frieze with canted corners over a conforming case fitted with a long drawer over a drop-front drawer, opening to reveal a gilttooled leather writing surface, a variety of cubbyholes, banded drawers surrounding a central marquetry cubby flanked by two stenciled satinwood secret drawers, above two paneled doors, to the dentillated skirt, raised on tapering square legs on pad feet, the sides of slated columnar form, h. 58‑1/2”, w. 37”, d. 17”. [1200/1800] Illustrated

89 five-piece suite

92 Pair of French Gilt-Brass-Mounted Porcelain Garniture Vases, fourth quarter 19th century, of attenuated baluster form in the Louis XVI style, the gilt-brass handles with diademed female-masque basal terminals and swan-head finials, the facade of each vase with a gilt-framed galants reserve signed “Aly”, the reverses with bucolic landscapes, now mounted as table lamps, h. 14‑3/4”, dia. 4”. [900/1200] Illustrated

91 93

90 Louis XVI-Style Mahogany and Onyx-Top Console Table, 20th century, the rectangular onyx top with rounded corners, over a conforming frieze fitted with three banded, string-inlaid drawers, raised on fluted tapering circular legs headed by gilt-brass mounts and ending in brass caps, h. 32‑1/4”, w. 40‑1/2”, d. 12”. [300/500] Illustrated 91 Pair of French Rubane Campan Marble Garniture Obelisks, of tall size in the Louis XVI style, the obelisks proper on pedestal bases of square section above stepped plinths, the marble surfaces satin polished throughout, h. 18‑1/4”, w. 5‑1/4”, d. 5‑1/4”. [400/700] Illustrated

93 French Glazed and Biscuit Porcelain Two-Handled Vase, early 20th century, perhaps the manufactory of Gille Jeune, Paris, of large size in the Louis XVI taste, the facade with a gilt-framed polychromed galants reserve, the reverse with a well-painted floral spray, the base with two semi-recumbent biscuit porcelain putti, the interior of the foot with a pseudo-Sevres interlaced L’s mark in blue, h. 15‑1/2”, w. 13‑1/2”, d. 10‑1/4”. [1500/2500] Illustrated Color Plate XIII

94 Louis XVI-Style Giltwood and Upholstered Bedstead, first quarter 20th century, having a floral- and cornucopiacarved crest, plume finials and carved masques on the posts, h. 52”, inside w. 48‑1/2”, l. 78‑1/2”, outside w. 53”, l. 83”. [400/700] Illustrated 95 Set of Twelve Heinrich & Company, Bavaria, Porcelain Dinner Plates, second quarter 20th century, in the Louis XVI taste, each richly gilded, ivory-bordered and polychrome floral-painted plate decorated for Pickard and Company and so marked in gold on the reverse, dia. 11”. [400/700] Illustrated

96 Set of Twelve Black Knight, Hohenberg Porcelain Dinner Plates, second quarter 20th century, the ivory and jade green grounds richly gilded in the Louis XVI taste, dia. 10‑3/4”. [250/400]

97 Pair of Italian Polychromed and Parcel-Gilt Sidechairs, third quarter 19th century, in the neoclassical taste, each with an oval padded back surrounded by a conforming pierced and carved frame, above a padded seat, over an interlocking circlescarved apron, flanked by modified block patera carving, raised on turned and tapering legs ending in acanthine-molded peg feet, h. 38”, w. 20”, d. 18”. [800/1200] Illustrated

98 Pair of American Gilt-Nickel Two-Light Appliques, second quarter 20th century, in the Louis XVI taste, each bobeche dressed with fourteen panel- and facet-cut glass spears, fitted for electrical wiring, h. 14‑1/2”, w. 11‑1/2”, d. 5‑3/4”. [250/400] 99 Attractive Swedish Pottery Stove in the Gustavian Style, fourth quarter 18th century, of large size in shaded yellow and white glaze, the three-part stove supported on large spool-form pottery feet, the doors of period wroughtiron, h. 69”, w. 26”, d. 26”. [500/800] Illustrated

100 Follower of Hyacinthe Rigaud (French, 1659‑1743) “Portrait of a Lady”, oil on canvas, verso affixed with a handwritten label in ink “No, 1291 Portrait de Dame, Hyacinthe Rigaud, France”, 27” x 23‑1/2”, the stretcher signed “Rigaud”. Presented in a Louis XV-style giltwood and gesso frame affixed with a brass plaque inscribed “1659 Hyacinthe Rigaud 1743”. [500/800] Illustrated 101 Pio Ricci (Italian, 1850‑1919) “View of an Elegantly Furnished Interior with a Seated Lady and Her Suitor”, watercolor, signed lower right “Pio Ricci”, 9‑1/4” x 7”. Glazed and presented in an elaborately carved giltwood frame in the Florentine taste. Reference: Benezit. [500/800] Illustrated 102 Henry Stephen Ludlow (British, 1861‑1925) “My Mistress Wants a Chair”, monotone watercolor on paper, signed lower left “Hal Ludlow”, sight 12‑1/4” x 9”. Glazed, matted and framed. [300/500]

100

106 Spanish School (Fourth Quarter 19th Century) “Young Girl Selling Fish on a Basque Beach”, oil on canvas, inscribed on top of stretcher “Basque Provinces by Jacquered (sic)”, 39” x 28‑1/2”. Presented in a period giltwood and gesso frame. [700/1000] Illustrated 107 Continental School (Second Quarter 19th Century) “Mountainous Lake Landscape with an Island and Boaters”, oil on canvas, unsigned, 32” x 43”. Presented in a deeply molded giltwood and gesso frame. [800/1200] Illustrated

101 103 French School (Third Quarter 19th Century) “Reclining Nude”, oil on canvas, unsigned, 9‑1/2” x 13‑1/2”. Presented in a pierced and carved giltwood frame. [300/500] Illustrated 104 German School (17th Century) “Botanical Implements”, four hand-colored woodblock engravings with Latin phrases, by Ferrari, ca.1638, plate 7‑3/4” x 5‑3/4”. All glazed, attractively matted and framed. [500/800] Illustrated 105 Paul B. Pascal (American/French, 1832‑1903) “Peasant Riding a Mule Along a North African Coast”, watercolor and gouache on paper, signed and dated lower left “P. B. Pascal, 1899”, sight 13” x 17‑1/2”. Glazed and presented in a molded and parcel-gilt frame. [1000/1500] Illustrated

103

107 104 108 Continental School (21st Century) “View of a Mountain Valley”, oil on panel, 8” x 10”. Presented in an ebonized and parcel-gilt frame. [75/125] 109 Francisque Asevedo (French, b. 1954) “Basque Country Charm”, ca. 1978, oil on canvas, signed lower right “Asevedo”, 22” x 28”. Presented in a handsome, wide, leaf-carved giltwood frame. [300/500] 110 Frances Robert Nugent (American, 1904‑1963) “Barbizon Forest Dawn”, oil on canvas, signed lower left, 11” x 14”. Presented in a carved giltwood and plaster frame. [300/500]

106 111 Dutch School (First Quarter 20th Century) “Street Scene with a Canal”, offset chromolithograph, sight 21‑1/2” x 16‑1/2”. Glazed, matted and presented in a Beaux Arts giltwood and gesso frame. [100/200]

105

117 Cased Elaborately Carved Pale Green Serpentine Figure of Kwan-Yin, standing on a tiered spray of leaves and backed by clouds and a moon in the Ch’ien Lung style, presented on a Chinese elaborately carved and pierced hardwood stand of oblong form, both pieces in an Oriental oblong fitted and padded blue cloth-upholstered storage box, h. 11”, w. 6”, d. 3”. [200/400] Illustrated 118 Kuang Hsu Carved Jade Group of Two Kittens, first quarter 20th century, the felines carved from shaded green to gray to celadon jade and modeled inspecting a group of birds in a flowering tree, presented on a period highly carved lacquered hardwood base, h. 8”, w. 8‑1/2”, d. 3‑1/4”. [400/700] 119 Chinese Carved Jade Figure of a Man with a Backpack, l. 1‑7/8”. [75/125]

112 112 Italian School (Second Quarter 20th Century) “Portrait of an Old Man Playing a Guitar”, oil on canvas, signed lower right “Valentine”, verso affixed with a vintage gallery label, 27‑1/2” x 20”. Presented in a polychromed and parcel-gilt frame. [500/800] Illustrated 113 After Rembrandt Van Rijn (Dutch, 1606‑1669) “Herman Doomer”, oil on panel, unsigned, fourth quarter 20th century, 10” x 8”. Presented in a Baroque-style giltwood and gesso frame. [200/400] 114 German School (19th Century) “Burgher with Wine Goblet”, oil on canvas, 21” x 18”. Presented in an antique ebonized frame with gilt fillet. [75/125]

117 120 Japanese White Jade Covered Incense Burner, first quarter 20th century, of oblong form, the ebony cover pierced and centered with a rectilinear jade grip, the interior fitted with a copper mesh ash screen, h. 4‑1/4”, w. 4”, l. 7‑1/8”. [75/125]

115 Continental School (Third Quarter 20th Century) “Portrait of an Old Scholar”, oil on canvas, signed lower right “Ballard”, 10” x 8”. Presented in a rococo-style carved fame. [100/200] 116 Interesting Three-Piece Collection of Chinese Carved Jade, second/third quarter 19th century, comprised of an oblong toggle carved in bas-relief with a pair of ducks and lotus; a carved white pendant in the form of a bat, the body and spread wings bas-relief carved with a stylized Celestial Dragon and a Phoenix, in the Ch’ien Lung style; and a stylized ecru/ivory shaded oblong sash plaque similarly carved, with a small hole drilled at either end for fixing the piece to a fabric support; each piece accompanied by a small modern plexiglass display stand, the largest w. 2‑7/8”, l. 2‑3/4”. [300/500] Illustrated

116

121 Collection of Three Kuang Hsu Jade Cabinet Creatures, fourth quarter 19th century through first quarter 20th century, in carved shaded white to gray to black, comprised of a duck, a sleeping Foo dog, a speckled white recumbent Foo dog with turned head, a recumbent bird-billed canine scratching its head with its proper rear leg, a gray to black palm stone in the form of a stylized goat, another hand pacifier in the form of a stylized catfish, and a chop in the form of a stylized bear’s head, entwined by a stylized celestial dragon, the chop proper blank, the largest l. 3”. [200/400]

129

128

131 130

122 Pair of Kuang Hsu Carved Jade Sweetmeats Dishes, first quarter 20th century, in the form of lotus leaves, the jade shaded from charcoal gray to green, w. 5‑3/4”, l. 5‑1/2”. [100/200] 123 Large Kuang Hsu Glass and Jade Flowering Prunus Tree, first quarter 20th century, composed of white and yellow Peking glass and jade, and modeled as an asymmetrically pruned tree, presented in an oblong octagonal cloisonne planter of turquoise ground with multicolor floral decor, the planter interior dressed in white quartz pebbles, h. 16”, w. 14”, l. 27”. [200/400]

127

124 Chinese Carved Pale Gray Jade Scholar’s Desk Boulder, in the Ch’ien Ling style, featuring an elderly mandarin and his pet monkey in the garden below a country villa, the outer layer of the boulder in polished caramel jade, presented on a Chinese custom-carved hardwood stand of cushion form, h. 6‑1/2”, w. 3‑3/4”, d. 2‑1/2”. [300/500] Illustrated 125 Kuang Hsu Elaborately Carved Celadon Jade Scholar’s Desk Boulder, fourth quarter 19th century, featuring two figures dining beneath a pine with a country villa in the upper background, the outer layer of the boulder in polished caramel jade, presented on a Chinese pierced ebonized hardwood display stand of circular form, h. 6‑1/4”, w. 5”, d. 3‑1/2”. [500/800] Illustrated

124

125

126 Group of Three Oriental Hardstone Items, consisting of a Chinese incise-carved gray-brown stone archer’s ring of the traditional type in “Bird and Kylin” decor; a similarly decorated beige stone archer’s ring; and a gray-green polished marble child’s bracelet of the traditional type; the largest dia. 3‑3/8”. [75/125]

127 Kuang Hsu Carved Gray Soapstone Group, mid‑20th century, depicting a recumbent water buffalo and calf surmounted by a robed boy groom, presented on a conforming Chinese carved and ebonized hardwood display stand of oval form, h. 3‑1/2”, w. 3‑1/4”, l. 6‑1/4”. [400/700] Illustrated 128 Tao Kuang Blond Horn Libation Cup, second quarter 19th century, in bas-relief “Mandarin Mountain Garden” decor, h. 4”, w. 2‑1/8”, d. 2‑1/4”. [75/125] Illustrated 129 Tao Kuang Elaborately Carved Horn Brush Cup, second quarter 19th century, in “Pine and Bamboo” decor, the raised portion of the carved decoration softly polished, h. 3‑1/2”, dia. 2‑1/2”. [75/125] Illustrated

132 Kuang Hsu Cabinet a Deux Corps, fourth quarter 19th century, composed of polychromed, parcel-gilt and red-lacquered wood, modeled as a tall two-door cabinet surmounting a horizontal paneled four-door cabinet, its panels decorated with dragon masks, the lower cabinet fitted with a single transverse shelf, h. 41‑1/4”, w. 43‑1/2”, d. 17”. [800/1200] Illustrated

130 Collection of Three Chinese Carved Stone Scholar’s Desk Ornaments, comprised of a gold/brown scroll weight in the form of a water buffalo recumbent on a leaf; a pale green to brown scroll weight of similar configuration; and a larger D-form beige to gray scroll weight in the form of a large carp and a minnow amidst aquatic plants; the largest h. 3‑1/8”, w. 3”. [200/400] Illustrated previous page

132

131 Kuang Hsu Cordovan-Lacquered Wooden Chop, fourth quarter 19th century, elaborately carved in the form of an Immortal and two attendants in a wooded grove, the chop proper carved with calligraphic characters, h. 2‑1/2”. [100/200] Illustrated previous page

135

133 134

133 Chinese Parcel-Gilt Red-Lacquered Two-Door Cabinet, second quarter 20th century and later, the doors with multiple carved figural reserves, one door with a stacked trio of brass-mounted blind drawers, the interior fitted with four slide drawers of natural birch, h. 52”, w. 39”, d. 17”. [300/500] Illustrated 134 Chinese Fretted Open Armchair, second quarter 20th century, of the traditional type in carved, red-lacquered and polychromed wood, the seat polychromed with a view of a mountain lake, the fretted splat centered with a polychromed kylin, h. 37”, w. 23”, d. 18”. [150/300] Illustrated

139 Japanese Meiji Painted GoldGround Three-Panel Screen, first quarter 20th century, featuring figures and horses in a landscape in the Edo style, the panels bordered in floral-figured fabric in the traditional manner, each panel backed in geometrically patterned blocked papers in beige and white, h. 66”, l. 25‑1/4”, extended l. 75‑3/4”. [200/400]

138

142

135 Large Japanese Edo Engraved Yokeback Samurai Chair, second quarter 19th century, composed of brass-mounted red lacquer and carved giltwood, the splat of carved diapered giltwood, the chair supports of X-form fronted by a transverse footrest, h. 35”, w. 32”, d. 31‑1/2”. [200/400] Illustrated 136 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”. [200/400]

140 Indian Shesham Wood Three-Panel Folding Screen, the elaborately carved screen in the traditional style, h. 74”, l. 20‑1/4”, extended l. 60‑3/4”. [300/500] 141 Chinese Gold-Ground Polychromed Lacquer FourPanel Folding Screen, in the coromandel style, featuring cranes on the wing, the reverse with four calligraphy stanzas in Chinese red, h. 72”, l. 16”, extended l. 72”. [300/500] 142 Large Ch’ien Lung Carved Wooden Figure of the Youthful Buddha, fourth quarter 18th century and later, the polychromed figure depicted robed and bird-crowned, his upright hands joined before him, h. 46‑1/2”, w. 12”, d. 12”. [900/1200] Illustrated 143 Set of Seven Kuang Hsu Provincial Carved Wooden Equestrian Figures, fourth quarter 19th century, each horse and figure different, each polychromed and parcel gilt, and presented on a Chinese carved hardwood stand of oval form, h. 4‑1/2”, w. 4‑1/4”, d. 1‑1/2”. [400/700] Illustrated 144 Kuang Hsu Porcelain Vase, fourth quarter 19th century, depicting exotic birds in a floral landscape, h. 12”, dia. 5‑3/4”. [100/200]

137 Unusual Chinese Porcelain Fishbowl-on-Stand Dining Table, the large porcelain bowl in the traditional style, with a pale gray ground, mauve and slate blue flowers and polychromed tangent tondos, now mounted with a turned gold-banded mahogany lid and a large beveled plate glass top to form a dining table, h. 28‑1/2”, dia. 60”. [200/400]

138 Large and Elaborately Carved Kuang Hsu Opium Bed Valance, fourth quarter 19th century, composed of mahoganystained giltwood and featuring multiple figures: The Immortals, bats, kylins and cranes, h. 12”, l. 58”. [100/200] Illustrated

145 Kuang Hsu Elaborately Polychromed Porcelain Vase, fourth quarter 19th century, of tall baluster form in “Roosters and Peonies” decor, now mounted as a table lamp with a satin-finished brass cap, an elaborately carved Chinese hardwood base and a custom hexagonal strie shantung shade, h. 17‑3/4”, dia. 8”. [100/200]

143

146 Diminutive Kuang Hsu Porcelain Birdcage Feeder, first quarter 20th century, of cup form in floral decor, the rear wall fitted with a double-loop projecting element for attachment to the birdcage, h. 2‑1/4”, dia. 2‑1/4”. [20/40] 147 Pair of Chinese Black-Lacquered Yoke-Back Open Armchairs, third quarter 20th century, of commodious proportions and of the traditional type, each polychromed and parcel-gilt in “Celestial Dragon and Phoenix” decor, h. 39”, w. 27‑1/2”, d. 18”. [400/700] Illustrated

151

148

148 Chinese Four-Panel Wooden Folding Screen, in the Ch’ien Lung Coromandel style, composed of parcel-gilt, polychromed and black-lacquered, the facade featuring a riverside garden, figures, pavilions and pleasure boats, the reverse with flowers and rocks in the Coromandel manner, h. 84”, l. 16”, extended l. 64”. [300/500] Illustrated

147

149 Chinese Stained Teak Wood Plant Stand, first quarter 20th century, the square dished top over a pierced and carved frieze, raised on circular legs joined by a shelf-stretcher and ending in pad feet, h. 32‑1/2”, w. 13”, d. 13”. [100/200] 150 Chinese Modern Lacquered and Giltwood Coffee Table, the rectangular top with a carved flowering landscape scene, over a like frieze, raised on cabriole legs ending in pad feet, the top fitted with a protective glass panel, h. 17”, w. 42‑1/4”, d. 20”. [150/300] 151 Chinese-Style Polychromed Display Cabinet, second quarter 20th century, the carved and pierced crest over a molded frieze, above a case fitted with a glazed door and sides over a pair of “Fishermen”painted doors, raised on serpentine legs ending in pad feet, h. 76‑1/2”, w. 45‑1/2”, d. 17‑1/2”. [700/1000] Illustrated

156 Good Japanese Lithograph of a Woodblock Print, depicting a teahouse interior with an elderly male observing nude female bathers in the foreground and robed Geishas and a client in the background, after Harunobu (1725‑1770), presented in an ecru silktextured French-striped mat within a narrow carved fruitwood frame with notched oriental corners, the center basal edge with a calligraphic colophon, sight 14‑1/2” x 14”. [50/80] 157 Good Set of Four Kuang Hsu Painted Scrolls, second quarter 19th century, emblematic of the Four Seasons and featuring, respectively, a pair of cockerels, a crane, a hawk and a heron, all now presented in Occidental giltwood-bordered fruitwood frames and glazed, each panel with a calligraphic stanza at the upper right or left corner, h. 72”, w. 21‑1/2”. [1200/1800] Illustrated Color Plate IX

157 152 Chinese Carved Blackwood Plant Stand, the square top banded in an incised Greek-key pattern, above a nicely foliate-carved shaped frieze, raised on shaped supports joined by a floral-incised stretcher shelf and ending in scrolled toes, h. 36”, w. 20”, d. 20”. [75/125] 153 Collection of Five Oriental Carpet-Faced Sofa Pillows, comprised of a square kilim-faced example with blue wool loop edging at one side; a square Sarouk example in ivory, two-tone blue and rose; an oblong Malayar-faced pillow; a square Hamadan-faced pillow; and a small oblong kilim-faced accent pillow; all but two with matching midnight-blue linen backings, the largest w. 15”, l. 20”. [200/400] 154 Three Japanese Scrolls, comprised of a pair of painted scrolls featuring “The Mill in Autumn”, w. 12”, l. 45”, and “Autumn Mountain Peaks”, w. 12”, l. 45”; and another scroll depicting a noblewoman and attendants in a garden promontory in front of a mountain waterfall, w. 20‑1/2”, l. 73”; all three signed in calligraphy, with scarlet colophons, the edges with traditional figured damask borders, the basal edges with a polished bone weight-rod. [200/400] 155 Group of Four Colored Woodblock Prints, consisting of a pair of Hiroshige (1796‑1858) colored woodblock prints of “Moonlit Night at Tagota, Sarashina” and “Mountain Rice Paddies”, presented in silk-textured celadon mats within narrow black half-round molding frames; another Hiroshige “View of a Bayside Quai” and another of “Waders in a River”, both of the previous prints in ecru silk backplates within very narrow stained wood molding frames, each example fully signed in calligraphy, all of the frame reserves with the label of a Portland, Oregon, framer, the largest sight 10” x 7‑1/2”. [75/125]

162

158 Kuang Hsu Painted Fabric Panel, fourth quarter 19th century, featuring a pair of white geese standing amidst flowering shrubs on the bank of a stream, the panel signed in black calligraphy right center, and having a red colophon below, presented in a wide rose-beige fabric mat within an antique carved giltwood concave frame in the neoclassical taste and glazed, h. 62‑1/2”, w. 31‑1/2”. [800/1200] 159 Two Japanese Folding Panels, fourth quarter 19th century, comprised of a vertical oblong two-panel painted gold leaf-ground screen featuring a duck resting beneath a flowering prunus tree on a lakeshore, h. 42‑1/2”, w. 37”; and a lower two-panel screen with a painted golddappled ground featuring a crested exotic pheasant in a flowing prunus tree surrounded by flowering shrubs on a lakeshore, h. 35”, w. 38‑1/2”; both screens with the traditional figured damask borders and backed in figured blocked papers, each screen fitted with a pair of brass suspension frets. [150/300]

160 Chinese Mahogany and Silk Desk Screen, second quarter 20th century, in the Kuang Hsu style, the elaborately carved and pierced mahogany frame fitted with a doubleglazed (front and back) embroidered silk gauze panel featuring a white cockatiel and a songbird perched on a flowering peony branch, signed on both faces with an embroidered scarlet colophon, the glazed panel fitted to swivel, h. 31‑1/2”, w. 19”, d. 8”. [200/400]

165

161 Framed Antique Chinese Gold-Embroidered Robe Panel, first quarter 19th century, in blue and white linen and featuring a pair of Celestial Dragons cavorting with white cranes amidst clouds above stylized sea waves, the panel enframed in blue and black floral silk-embroidered ribbon, the whole presented in a plain black-painted wooden frame and glazed, h. 45”, w. 16”. [100/200] 162 Chinese Stained Teakwood Occasional Table, first quarter 20th century, the scalloped, beaded and variegated marble-inset top raised on foliate- and floralcarved legs joined by a circular shelf-stretcher and ending in ball-and-claw feet, h. 23‑1/2”, dia. 26”. [250/400] Illustrated previous page 163 Kuang Hsu Porcelain Wash Basin, fourth quarter 19th century, the bowl with a flared outer rim, the interior scenes depicting traditional Asian motifs, h. 4”, dia. 10‑3/4”. [100/200] 164 T’ang Dynasty Green-Glazed Pottery Vessel, 618‑906 A.D., of demi-elliptical form, modeled as a double domed building, h. 5‑1/2”, w. 11‑5/8”, d. 12”. [150/300]

165 Fine, Rare and Diminutive Tao Kuang Engraved Ivory Plaque, second quarter 19th century, of oblong form and depicting a mountain landscape, presented in a flat and welled mahogany scholar’s desk frame, the plaque centering the fabric-lined and glazed shallow well, the slab-form frame of mahogany, w. 1‑3/8”, l. 3‑3/4”. [150/300] Illustrated 166 Framed Japanese Edo Scroll Panel, second quarter 19th century, featuring two figures at a rural teahouse before a mountain, the borders in the traditional figured fabric, presented in a narrow antique giltwood frame and glazed, h. 44‑1/2”, w. 12‑1/2”. [100/200] 167 Trio of Japanese Colored Woodblock Prints, comprised of a Toyokumi (1769‑1825) robed figure with a parasol walking in the snow; another Toyokumi figure of an actor, both examples presented in matching strie ivory-toned mats within narrow black half-round molding frames; and a Toyo-Hiro (d. 1828) figure of an aristocratic male standing on a lakeshore, presented in a pebbled tan mat within a narrow black half-round molding frame; all three examples fully signed in calligraphy. [75/125] 168 Pair of Japanese Colored Woodblock Prints, consisting of a Ritsusho (1813‑1840) shore scene with a windswept cypress tree, and a Masanobu (1686‑1764) of two geishas at tea, presented in matching, wide, nonmetallic gold mats within narrow black half-round wood molding frames, each example fully signed, sight 6‑1/2” x 5‑5/8”. [50/80]

170

169 Four Framed Tao Kuang and Kuang Hsu Embroidered Robe Borders and Panels, second quarter and fourth quarter 19th century, comprised of three blue and white floral borders framed together; a square pair of front and back panels featuring Foo dogs amidst stylized clouds, also framed together; a rectangular back panel enframed in narrow floral-embroidered strips; and a circular front panel featuring a crane in flight; all presented on antique white silk backplates within narrow antique silvered wood molding frames and glazed, the largest h. 27‑3/4”, w. 14‑1/2”. [100/200] 170 Monumental Pair of Chinese Polychromed Porcelain “Palace” Vases, of baluster form, in “Mandarins” decor in the Kuang Hsu style, h. 71”, dia. 21”. [700/1000] Illustrated 171 Pair of Chinese Famille Verte Porcelain Garniture Vases, of tall square section in the Ch’ien Lung style, now mounted in gilded brass as table lamps, the gilt-brass basal mounts with boldly modeled paw feet, the finials modeled as upright pomegranates, h. 23”, w. 6‑1/4”, d. 6‑1/4”. [250/400] 172 Chinese Blue and White Cloisonne Vase, of footed pyriform in “Flowering Shrubs and Exotic Bird” decor, the interior of the neck and the edge of the foot in matte-gilded brass, h. 9‑1/2”, dia. 5”. [75/125] 173 Attractive Japanese Edo Kakiemon Porcelain Covered Wine Ewer, second quarter 19th century, sidehandled and of “lighthouse” form in floral decor, h. 8‑1/2”, w. 6”, d. 5‑1/2”. [200/400] 174 Imposing Pair of Kuang Hsu Blue and White Porcelain Garniture Vases, fourth quarter 19th century, of tall-neck globular form, each with “rose ombre”-glazed bas-relief ornament of “Celestial Dragons and The Flaming Pearl”, the underglaze blue decoration of swirling heavenly clouds, h. 21‑1/2”, dia. 15‑1/4”. [1200/1800] Illustrated

174

175 Near Pair of Tao-Kuang Porcelain “Solitaire” Teapots, second quarter 19th century, the diminutive blue and white side-handled pots of spherical form in avian decor, the handles of canted attenuated funnel form, one pot with a kingfisher, the other with a crane, both birds standing amidst flowering shrubs, h. 4”, dia. 4‑1/4”, l. 6‑1/4”. [50/80] 176 Pair of Kuang Hsu Porcelain Covered Vases, fourth quarter 19th century, of spherical form with claret grounds, each with four mandorla-form white-ground reserves centered with a polychromed male figure, h. 8‑1/2”, dia. 8”. [200/400] Illustrated 177 Kuang Hsu Polychromed Pottery Pillow, fourth quarter 19th century, of traditional “Crawling Boy Child” form, the body washed in pale gray-white, the hair and lips in russet, the pupils black, h. 10‑1/2”, w. 6‑1/2”, l. 15”. [350/500] 178 Kuang Hsu-Style Polychromed Porcelain Pyriform Vase, of tall size in “Immortals” decor, now mounted as a table lamp on a Chinese elaborately carved and ebonized hardwood base, and fitted with a custom gold-banded ecru silk shade of tall cylindrical section, h. 26”, dia. 8”. [300/500]

176

179 Chinese Colorfully Enameled Porcelain Tree Tub, first quarter 20th century, with four beneficent calligraphy characters equidistant on a cinnabar and yellow fretted ground, h. 12‑3/4”, dia. 14‑1/2”. [50/80] 180 Chinese Famille Verte Porcelain Fishbowl, of the traditional type with three equidistant floral/ avian reserves on a crimson and green fretted ground, presented on a Chinese carved hardwood stand of low, footed form, bowl h. 10‑1/2”, dia. 15‑1/2”, overall h. 15”. [75/125]

181

181 Forty-Piece Porcelain-Handled Dessert Flatware Service, for twenty persons, first quarter 20th century, consisting of twenty three-tine dessert forks, l. 6‑1/4”, and twenty matching dessert knives, l. 7”, all with figural chinoiserie porcelain handles of robed gentlewomen, The Immortals and warriors in the 18th-century Chantilly style, the forks with brass tines, the knives with brass blades, all with silver collars. [800/1200] Illustrated 182 Good Japanese Meiji Carved and Polished Ivory Figure, depicting the seated laughing Ho-tei, first quarter 20th century, h. 5”, w. 4‑1/2”, d. 4”. [200/400] Illustrated 183 Group of Two Kuang Hsu Polychromed White Porcelain Bowls, fourth quarter 19th century, consisting of a fruit bowl in “Mandarins and Child in a Garden” decor, with a calligraphy stanza in overglaze black at the lip, h. 4”, dia. 11”; and a similar, slightly smaller bowl in “Girl in the Window” decor, with auspicious symbols and bats in rouge de fer at the lip, h. 3‑3/4”, dia. 11”. [100/200] 184 Large Pair of Kuang Hsu Pottery Figures of Foo Dogs, first quarter 20th century, the figures modeled seated on large paneled octagonal bases in the Ming Dynasty style, the palette in gloss green, ochre and brown, one dog with a forepaw on a sphere, the other holding down a Foo pup, h. 20”, dia. 14”. [200/400] 185 Group of Three Chinese Decorative Objects, first quarter 20th century, consisting of a Kuang Hsu carved green and ivory soapstone ringed two-handled vase on an addorsed kylin base; a Kuang Hsu dark celadonglazed porcelain libation cup of beaker form; and a celadon porcelain ringed two-handled cabinet vase of baluster form; the largest h. 6‑1/8”, w. 4‑1/2”, d. 1‑1/2”. [100/200]

186 Collection of Ten Cased Chinese Snuff Bottles, comprised of a pink-glazed porcelain carp with an aventurine cabochon stopper; a double example of conjoined bottles; a flat-sided square porcelain bottle with rouge de fer “Celestial Dragon” decoration; a porcelain flat-sided bottle of flask design with a carnelian cabochon stopper; a white crackle-glazed porcelain example of baluster form with a rose quartz stopper of disc form; a crimson over clear cameocut Peking glass bottle in “Celestial Dragon” decor with an ivory stopper; a relief-carved bone bottle in ‘Mandarin’s Garden” decor; a reverse-painted glass example with a green and white jade cabochon stopper; and an enameled gilt-brass bottle in the form of a carp standing on its tail and having a rose jasper cabochon stopper; the collection presented in an Oriental fabric-covered and compartmented oblong storage case with a ruby velvet-lined interior, the largest bottle h. 3”, dia. 2‑1/2”. [300/500] 187 Queen Anne-Style Mahogany Corner Chair, ca. 1900, the shaped crest over a baluster-form splat, above a padded seat, raised on cabriole legs joined by an X-form stretcher and ending in pad feet, h. 32‑1/2”, w. 17‑3/4”, d. 16‑1/2”. Provenance: Private collection, Jackson, Mississippi. [100/200] 188 Pair of Provincial George III-Style Stained Elmwood Armchairs, fourth quarter 19th century, each with an oval back centered by a pierced and carved splat, joined to the inset-padded lift-out seat by open arms, raised on slightly cabriole legs joined by an X-form stretcher and ending in pad feet, h. 36‑1/2”, w. 20”, d. 16‑1/4”. [300/500] Illustrated

182

191 George III-Style Mahogany Dining Table, late 19th century, the top with a gadrooned edge and crank opening device to accommodate an additional leaf, raised on large cabriole legs with carved knees and ending in ball-andclaw feet, h. 31”, w. 42”, l. 71”. [700/1000] Illustrated

188

192 Oueen Anne-Style Mahogany Stool, ca. 1900, the oval tapestry-upholstered padded top raised on cabriole legs ending in pad feet, h. 19”, w. 24‑1/2”, d. 20”. [300/500] 193 Queen Anne-Style Mahogany Dining Table, mid‑20th century, the oval top above a carved apron, raised on cabriole legs ending in pad feet, h. 29‑1/2”, w. 42”, l. 64‑1/2”, extended l. 101”. [300/500]

189

194 Suite of Twelve Queen Anne-Style Walnut Dining Chairs, 20th century, consisting of two armchairs and ten sidechairs, each with a shaped crest over a baluster-carved splat above an inset padded seat, raised on cabriole legs, headed by a cartouche-and-acanthine carving, and ending in ball-and-claw feet, upholstered in hunter green leather, h. 38‑1/2”, w. 23‑1/4”, d. 20”. [3000/5000] Illustrated

194

189 Attractive Edwardian Brass-Mounted Mahogany Mantel Clock, ca. 1903, in the George II style, the triple-face dial silvered, the interior of the rear door with the printed paper label of Garrard, Aberdeen, Scotland, the reverse with an engraved gilt-brass presentation shield dated 31 October 1903, h. 14‑1/2”, w. 12‑1/2”, d. 8”. [150/300] Illustrated 190 Provincial George III-Style Elmwood Armchair, third quarter 19th century, the shaped crest over a vasiform splat, joined to the padded seat by open outscrolled arms, raised on square legs joined by a box stretcher, h. 37‑1/2”, w. 23‑1/2”, d. 19‑1/2”. Provenance: Private collection, Jackson, Mississippi. [100/200]

191

199

195 Early Queen Anne Mahogany Drop-Leaf Table, mid‑18th century, the rectangular top with a molded edge and a single drop-leaf, fitted with a writing drawer on one side and faux-drawer-carved apron on the other side, raised on cabriole legs ending in pad feet, h. 26‑3/4”, w. 30”, d. 19‑1/4”. [600/900] 196 Queen Anne-Style Mahogany Drop-Leaf Table, fourth quarter 18th century, the rectangular top with two drop leaves, raised on tapering circular legs ending in pad feet, h. 27‑1/2”, w. 36”, extended l. 44”. [200/400] Illustrated 197 Pair of Polished Brass and Wrought-Iron Andirons, first quarter 19th century, in the George III style, each with double-scroll feet, a double log-stop and wrought-iron billets, h. 21”, w. 12”, d. 20”. [300/500] Illustrated 198 Five-Piece Group of Fireplace Accessories, consisting of a tall pair of Edwardian brass and wrought-iron andirons in the Georgian style, first quarter 20th century; a pair of brass “cannonball’ andirons of like date; and an attractive late Victorian brass double-rail fireplace fender in the Reform taste, fourth quarter 19th century, h. 7‑3/4”, w. 48”, d. 12”; the andirons supported on barbed scroll legs with ball feet, h. 13‑1/4” and 18”. [150/300]

197

199 Pair of George III-Style Mahogany Sidechairs, first quarter 20th century, the serpentine-carved crest over a pierced and carved splat, above a padded seat, raised on tapering square legs joined by an H-form stretcher, h. 36‑1/2”. [150/300] Illustrated 200 George III-Style Mahogany Dining Table, the rounded rectangular top with incised gilt banding, raised on two pedestals, each with a reeded bulbous standard to three splayed and reeded legs ending in brass caps, with one leaf, h. 31‑1/2”, w. 40”, l. 58‑1/2”, extended l. 77‑1/2”. [150/300]

196

201 Large French Bronze-Patinated Brass Figure of “Blind Justice”, in the Belle Epoque style, the figure modeled standing atop a vanquished cobra on a book, holding a downturned sword in one hand and an articulated double-pan scale in the other, h. 33”, w. 20”, d. 15”. [300/500] Illustrated 202 After Demetre Chiparus (French, 1886‑1947, b. Romania) “La Sirene”, a large double-patinated bronze figure of a seductively robed female figure standing before an ornamental grille decorated with the silhouettes of two standing felines, signed at the reverse “D. Chiparus”, presented on a verde antico marble base of oblong slab form, h. 26”, w. 16”, d. 10‑1/2”. [400/700] Illustrated

203 Pair of George III Giltwood Sidechairs, late 18th century and later, in the Sheraton style, each with an annulated canted crest above a garland-draped Prince of Wales-carved splat, flanked to either side by spiral-reeded uprights, the padded seat raised on like reeded legs ending in toupie feet, h. 35‑1/2”. [500/800] 204 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. [50/80]

206 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). [40/70]

208

205 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. [50/80]

202

201

207 Large Polychromed and Parcel-Gilt Looking Glass, in the chinoiserie taste, the deep rectangular frame painted in antique red and matte black with gilt highlights, the mirror plate broadly beveled throughout, the reverse with a Decorative Crafts printed paper label, h. 44”, w. 36”. [300/500] 208 George III-Style Chinoiserie-Lacquered Secretary Bookcase, second quarter 20th century, the brokenpediment cornice over a case fitted with two astragalglazed doors, above a lower case fitted with a drop-front door, revealing a variety of cubbyholes and drawers over four serpentine-front drawers, raised on ball-andclaw feet, h. 84‑1/4”, w. 36‑1/2”, d. 19”. [1200/1800] Illustrated

209 Unusual Midnight Blue-Painted and Japanned Looking Glass, second quarter 20th century, in the early Georgian style, h. 32”, w. 17‑1/4”. [300/500] 210 Contemporary Mahogany Side Table, in the Chinese Chippendale taste, the rectangular top with a molded edge above a fret-pierced frieze, raised on square legs headed by ogee-molded carvings and ending in molded feet, h. 33”, w. 70”, d. 20”. [200/400] 211 Pair of Drexel Heritage Looking Glasses, composed of parcel-gilt black lacquer in the Georgian chinoiserie style, each with a blue printed Drexel Heritage paper label on the reverse, h. 44”, w. 17‑1/2”. [100/200]

212

215 Chinese Export Blue and White Porcelain Punchbowl, fourth quarter 18th century, in “Lakeside Pavilions” decor, one side with an old professional repair, h. 4‑3/4”, dia. 11‑1/4”. [100/200]

213

216 Four-Piece Collection of Chinese Blue and White Porcelain, comprised of a Tao Kuang orchid jardiniere of circular bowl form, second quarter 19th century; a pair of tea bowls in “Fisherman” decor, each with a kiln mark in underglaze blue on the base, also second quarter 19th century; and a Kuang Hsu shallow fruit bowl in “Flowering Tree” decor, fourth quarter 19th century; the largest dia. 9‑1/2”. [50/80] 217 Rare Pair of Chinese Export Porcelain Roasted Meats Platters, fourth quarter 18th century, of large elliptical form in “Blue Fitzhugh” pattern, retaining the rare feature of the matching period pierced mazarines, w. 14”, l. 16‑3/4”. [1800/2500] Illustrated

214 212 George III-Style Mahogany Games Table, first quarter 19th century, the serpentine fold-over top over a conforming frieze, raised on fluted tapering legs and a swing-out support, ending in spade feet, h. 29”, w. 36‑1/4”, d. 18”. [400/700] Illustrated 213 Good George III Figured Mahogany Tall-Case Clock, ca. 1800, the painted dial labeled Andu Millar, Edinburgh, the lift-off case door flanked by fluted quarter columns, the paneled base raised on bracket feet, h. 83”, w. 18”, d. 8‑1/2”. [700/1000] Illustrated 214 Pair of Chinese Blue and White Porcelain Covered Vases, of large “temple jar” form in the Ch’ien Lung style, decorated in blue “Carp and Lotus” decor, the domed covers with seated Foo-dog finials, h. 21”, dia. 11‑1/2”. [700/1000] Illustrated

218 Chinese Blue and White Porcelain Tree Tub, in stylized floral decor in the Ch’ien Lung style, h. 11‑1/2”, dia. 14‑1/2”. [300/500]

217

223 Oval Portrait Miniature, second quarter 20th century, of the hand-colored photo type depicting a white wimpled heavenward gazing nun, presented in a claret velvet mat within an antique-ivory-enameled wooden shallow shadowbox table frame, h. 5‑1/2”, w. 4‑3/4”. It has been suggested that the subject is Princess Alice of Battenberg, later Princess Andrew of Greece and Denmark (1885‑1969), mother of the English Duke of Edinburgh. [300/500] Illustrated

223 222

219 Chinese Export Blue and White Porcelain “Nanking” Platter, fourth quarter 18th century, of deep oval form in “Lakeside Pavilions” decor, w. 12‑3/8”, l. 14‑3/4”. Ex-collection: Alberto Pinto, New York. [600/900] 220 George III-Style Mahogany Tilt-Top Center Table, first quarter 20th century, the rectangular top above a baluster-turned standard raised on three cabriole legs ending in scroll feet on casters, h. 28‑1/2”, w. 39‑1/4”, d. 39‑1/4”. [400/700] Illustrated

224 225

221 George III-Style Mahogany Center Table, the circular string-inlaid satinwood top raised on a turned standard ending in three splayed legs terminating in brass caps on casters, h. 29”, dia. 39‑1/2”. [300/500] 222 After Joseph Von Stieler (German, 1781‑1858), an oval portrait miniature of an 18th-century gentleman with a queue and powdered hair, fourth quarter 19th century, signed lower right “Stieler”, presented in a dished pieced and engraved bone frame with a bronze-patinated brass fillet and convex glazing, h. 3‑7/8”, w. 3‑3/8”. [300/500] Illustrated

220

224 German Oval Portrait Miniature, depicting a young bespectacled gentleman, fourth quarter 19th century, presented in a dished pieced and engraved bone rectangular frame with an antique-gilded brass fillet and convex glazing, signed at the right center “Edy”, h. 4‑3/4”, w. 4”. It has been suggested that the subject of this portrait miniature is the young Ludwig von Beethoven. [300/500] Illustrated 225 German Oval Portrait Miniature, fourth quarter 19th century, depicting a 16th-century veiled and ruffed noblewoman wearing a long gold chain, signed at the right center “LA” conjoined, presented in a dished pieced and engraved bone frame with a bronze-patinated fillet and convex glazing, h. 3‑3/4”, w. 3‑1/4”. [300/500] Illustrated

227 Pair of George III-Style Mahogany Sidechairs, fourth quarter 19th century, each with an acanthine-carved crest over an elaborately interlacing carved and pierced splat, above a padded seat, raised on cabriole legs headed by acanthine carving and ending in balland-claw feet, h. 42”. [200/400] 228 George III-Style Mahogany Dining Table, mid‑20th century, the rectangular parquetry string-inlaid top with canted corners and ropecarved edge above two vasiform standards, each raised on three cabriole legs ending in ball-and-claw feet, with one leaf, h. 29‑1/2”, w. 50”, l. 75”, extended l. 92‑1/2”. [400/700] Illustrated

226

230 pair

226 detail

226 Fine and Rare Suite of Eight Antique George III-Style Mahogany Dining Chairs, third quarter 19th century, in the manner of Giles Grendey (1693‑1780), London, comprised of two armchairs and six sidechairs, each with a serpentine crest over an acanthine- and masquecarved and pierced splat, to the padded seat, over a foliage-carved skirt, raised on cabriole legs headed by lion-head carvings and ending in hairy-paw and ball feet, armchair h. 40‑1/2”, w. 28”, d. 26”, sidechair h. 39‑1/4”, w. 25”, d. 24”. [35000/50000] Illustrated Color Plate V

228

229 George III-Style Mahogany Dining Table, 20th century, the rectangular top with rounded corners, raised on two pedestals, each with a baluster-turned standard and ending in three splayed reeded legs on casters, with three leaves, h. 30”, w. 42”, l. 64”, extended l. 100”. [400/700]

233 Suite of Eight Hepplewhite-Style Mahogany Dining Chairs, early 20th century, consisting of two armchairs and six sidechairs, all with a domed crest above a pierced baluster-form splat, the padded seat raised on tapering square legs, h. 38”, w. 19‑1/4”, d. 21”. [500/800] Illustrated

232

230 Large Pair of English Elaborately Carved Giltwood Looking Glasses, in the style of William Kent (1684‑1748), each broken-scroll pediment centered with a large giltwood putto masque backed by “Prince of Wales” feathers, h. 70”, w. 42”. [1000/1500] Illustrated Color Plate XIII

236

231 George III-Style Mahogany Settee, the double chairback surmounted by shaped and earred foliate-carved crests above interlacing pierced splats, joined by outscrolled arms to the padded seat, raised on blind-fret-carved square legs ending in block feet, h. 41‑1/2”, w. 43‑1/2”, d. 20‑1/2”. [500/800] 232 George III-Style Mahogany Wing Chair, mid ‑19th century, the padded back joined to the cushioned seat by like-shaped sides and arms, raised on cabriole legs ending in pad feet, h. 42‑1/2”, w. 32”, d. 37”. [200/400] Illustrated

234 Pair of Chinese Export “Rose Canton” Porcelain Garniture Vases, second quarter 19th century, of paneled, two-handled form in “Mandarins” decor, the “Mandarins” reserves enframed by a green-latticed ground, h. 8‑3/4”, w. 4”, d. 3”. [150/300]

233

235 Chinese Export “Rose Mandarin” Porcelain Punchbowl, in the 19th-century style, the exterior with alternating polychromed “Mandarin” and floral/avian reserves in the traditional style, the interior with scattered floral sprays, peaches, pears and butterflies, h. 5‑3/4”, dia. 12‑1/4”. [100/200] 236 Large Japanese Meiji Imari Porcelain Vase, fourth quarter 19th century, of baluster form, now mounted as a table lamp with an gilt-brass cap and base in the Louis XVI style, fitted with a custom gilt cord-detailed “old ivory” fabric shade of drum form, h. 18”, dia. 9‑1/2”. [300/500] Illustrated

239 Japanese Meiji Imari Porcelain Covered Vase, first quarter 20th century, of “Temple Jar” form, presented on a later oriental mahogany footed stand of the traditional type, h. 21”, dia. 11”. [300/500]

246

244

237 Attractive Chinese Export Porcelain Ale Jug, fourth quarter 18th century, of barrel form with a double foliate-terminal handle, the body with three equidistant rondels circumscribed in green enamel and centered with small floral sprays in parcel-gilt rouge de fer, h. 5”, w. 3‑3/4”. [150/300]

248

238 Pair of Japanese Meiji Imari Porcelain Shallow Serving Bowls, of large stylized owl form, the birds’ breasts white with asymmetrical polychromed decoration of tubbed flowering plants, w. 12”, l. 13”. [150/300]

249

240 Japanese Meiji Ribbed Imari Porcelain Vase, fourth quarter 19th century, of baluster form in floral/avian decor, now mounted as a table lamp on an oriental square scroll-footed hardwood base and having a gently flared hexagonal antiquewhite fabric shade and a spherical cinnabar lacquer finial, h. 12”, dia. 6”. [100/200]

243

241 Suite of Four George III-Style Mahogany Sidechairs, third quarter 20th century, each with a carved crest over a fretwork-carved and pierced splat, above a padded seat, raised on tapering square legs joined by an H-form stretcher, h. 42‑1/2”, w. 20‑1/2”, d. 18”. [100/200]

242 Suite of Four George III-Style Mahogany Sidechairs, ca. 1900, each with a shaped crest over a pierced and carved splat, above a concave-front padded seat, raised on square legs joined by an H-form stretcher, upholstered in white leather, h. 38‑1/2”, seat h. 18‑1/2”. [200/400] 243 Near Pair of George III-Style Mahogany Planters, third quarter 19th century, each with a lidded kidneyshaped top over a conforming case with a metal liner, one raised on tapering square legs, the other on turned circular legs, ending in toupie feet, h. 17‑1/2”, w. 24‑1/2”, d. 13”. [300/500] Illustrated 244 George III-Style Mahogany Tester Bed, the canopy frame supported by reeded posts adorned with acanthine carving, with a gently arched plank headboard and spade feet, h. 93”, inside w. 69”, l. 61‑1/4”, outside w. 90”, l. 82”. [1000/1500] Illustrated 245 George III-Style Mahogany Wash Basin Stand, mid‑19th century, the top with a recessed cut-out and holes for a basin and bottles, the base fitted with a drawer above a shaped X-form stretcher, h. 32”, w. 12‑1/2”, d. 12‑1/2”. [100/200]

255

246 Fine Georgian Sterling Silver Circular Salver, 1766, London, makers: Thomas Hannam and John Crouch, with a stylized shell and foliate-scroll edge, the center with a handsomely engraved full coat-of-arms surmounted by a draped floral garland, raised on ball-and-claw feet, dia. 12‑1/2”, 30 t. oz. [3000/5000] Illustrated 247 Suite of Four Fine Hester Bateman Sterling Silver Salts, 1782, London, of oval form with reticulated balland-claw feet, each fitted with a period conforming cobalt blue glass liner, h. 2‑1/4”, w. 2‑1/2”, l. 3‑1/4”, 7.70 total t. oz. [2500/4000] 248 Fine and Rare Hester Bateman, London, Sterling Silver Teapot, 1783, of oval form with a carved fruitwood handle and finial, the cover and basal edge with “Small Antique Bead” borders, the facade with a period handsomely engraved full coat-of-arms, h. 5‑11/2”, w. 3‑1/2”, l. 10”. [2500/4000] Illustrated 249 Rare Pair of Hester Bateman Sterling Silver Tablespoons, 1784, London, each with “Bright-Cut” edge”, l. 9”, 4.15 total t. oz. [350/500] Illustrated 250 Two-Piece Sterling Silver Serving Group, comprised of a Georgian sterling silver “Antique Bead” stuffing spoon by Mick Romer, London, 1816; and a matching sterling silver long-handled six-tine fork by William Sumner and Richard Crossley, 1823, l. 12”; both pieces with matching engraved armorials, 6.60 total t. oz. [700/1000] 251 Rare George III Sterling Silver Asparagus Tong, 1817, London, maker: Robert Peppin, the arch of the tong with an engraved armorial, l. 10‑1/4”, 6.85 t. oz. [600/900]

256 252 Good Victorian Sterling Silver “King’s Shell” Sauce Ladle, 1845, London, maker: probably William Kingdon, of oval-bowled form, l. 7‑1/2”, 3.05 t. oz. [200/400] 253 Victorian Sterling Silver Dish Cross with Alcohol Burner, 1864, London, maker: Henry Holland, in the George III style, h. 4”, w. 9‑1/2”, l. 13”, 18.25 t. oz. [1400/1800] 254 Pair of Elkington Silverplated Nickel Silver Wall Planters, fourth quarter 19th century, formed of a bisected antique meat cover, the planters crafted second quarter 20th century, h. 11‑1/2”, w. 14‑1/2”, d. 5‑1/2”. [100/200]

255 David Hagerbaumer (American, b. 1921) “Hardwood Slope (Puffed Grouse)”, watercolor on paper, signed and dated lower right “David Hagerbaumer, 1960”, titled in pencil verso, sight 22” x 29‑1/2”. Glazed, matted and framed. [1500/2500] Illustrated Color Plate XI and previous page 256 David Hagerbaumer (American, b. 1921) “Mallards in Flight”, watercolor on paper, signed and dated lower left “David Hagerbaumer, 1960”, sight 21‑1/2” x 19‑1/2”. Glazed, matted and framed. [1500/2500] Illustrated Color Plate XI and previous page 257 David Hagerbaumer (American, b. 1921) “St. Francis Bookwater (Mallards)”, watercolor on paper, signed and dated lower right “David Hagerbaumer, 1960”, titled in pencil verso, sight 21” x 29‑1/2”. Glazed, matted and framed. [1500/2500] Illustrated Color Plate XI 257

262

259

258 John Dearman (American/Texas, 20th/21st Century) “Quail Hunting Scene”, watercolor on paper, signed and dated lower right “John Dearman, 1990”, sight 29” x 21‑1/2”. Glazed, matted and presented in a molded hardwood frame. [2000/4000] Illustrated 259 John Dearman (American/Texas, 20th/21st Century) “Quail Hunting Scene”, watercolor on paper, signed and dated lower right “John Dearman 1995”, sight 21‑1/2” x 29”. Glazed, matted and presented in a molded giltwood frame. [2000/4000] Illustrated Color Plate X

258

260 John Dearman (American/Texas, 20th/21st Century) “Speckled Trout Fishing”, watercolor on paper, signed and dated lower right “John Dearman, 1990”, sight 21‑1/2” x 29”. Glazed, matted and presented in a molded hardwood frame. [2000/4000] Illustrated 261 John Dearman (American/Texas, 20th/21st Century) “Hunter’s Prairie”, watercolor on paper, signed and dated lower right “John Dearman, 1986”, sight 18” x 26”. Glazed, linen-matted and presented in a molded hardwood and ebonized frame. [1200/1800] Illustrated

260 262 Opulent French Nine-Light Chandelier, of cage form in the Bagues, Paris, style, composed of gilded wrought-iron dressed with rock crystal and green quartz pendalogues in four sizes, emerald green and colorless glass flowerheads, and peridot and colorless glass fleurettes, electrified, modeled as eight outer lights enframing a center light and fitted with buff faux-wax candles, h. 33”, dia. 32”. [5000/8000] Illustrated Color Plate VI 263 Group of Two Continental Porcelain Groups, consisting of a good, large group of “The Concert of Orpheus”, third quarter 19th century, in the 18th-century style, unmarked; and a good Royal Copenhagen “Infant Pan” porcelain figure, second quarter 20th century, fully signed and numbered on the base; the largest h. 12‑1/2”, w. 7”, d. 3‑3/4”. [100/200]

261

264 264 Opulent Three-Piece Napoleon III Bronze Mantel Garniture, third quarter 19th century, gilded and patinated in the Louis XV style, comprised of a mantel clock on base with a gilded circular dial set with enamel chapters with blue Roman numerals, the glass dial cover convex, h. 28”, w. 21”, d. 10”, along with a tall pair of stepped six-light flat-back candelabra, each with flammiform cassolette central finial, h. 32‑1/4”, w. 14”, d. 12”, the clock case with a pair of patinated bronze Bacchic putti at the center of the base and another at the apex, the candelabra each upheld by a patinated bronze putto. Ex-collection: Ann Sothern (1909‑2001), noted Hollywood actress. [4000/7000] Illustrated Color Plate VII

265 Robert Persch (Mildeneichen; Active 1869-ca.1907), a hand-painted porcelain plaque of “The Laughing Cavalier”, fourth quarter 19th century, after Frans Hals (Dutch, 1580/85‑1666), signed on the reverse in black stencil, presented in an antique-gilded carved wood frame in the Regency style, h. 13‑1/2”, w. 11‑1/4”. [250/400] Illustrated 266 Robert Persch (Mildeneichen; Active 1869-ca.1907), a hand-painted porcelain plaque of “The Honorable Mrs. Thomas Graham”, fourth quarter 19th century, after Thomas Gainsborough (English, 1727‑1788), signed on the reverse in black stencil, presented in an antique-gilded carved wood frame in the Regency style, h. 13‑1/2”, w. 11‑1/4”. [250/400] Illustrated 266

265 267 Louis XV-Style Carved Fruitwood Easel, ca. 1900, the elaborate crest depicting a bird in flight with flowers and carved scrolls, the trestle base with pierce-carved aprons and raised on carved paw feet, h. 91”, w. 23”, d. 6”. [2500/4000] Illustrated

267

277

268 Louis XV-Style Cast-Iron and MarbleTop Center Table, the circular variegated cream marble top with a molded edge over a pierced frieze, raised on cabriole legs joined by an X-form stretcher centered by a finial, h. 30‑1/2”, dia. 33‑3/4”. [200/400] 269 Suite of Four Wrought-Iron Garden Fence Panels, first quarter 20th century, each composed of scrolling elements, h. 57‑3/4”, w. 39”. [200/400]

270

270 Louis XV-Style Gilt-Brass-Mounted Parquetry Tiered Occasional Table, first quarter 20th century, the brassbanded turtle-form top joined to the like lower shelf by ram-molded gilt-brass supports, raised on tapering square legs ending in brass caps, h. 37‑1/2”, w. 27‑1/2”, d. 22”. [200/400] Illustrated

272 Louis XV-Style Polychromed and Parcel-Gilt Looking Glass, first quarter 20th century, the shaped plate surrounded by a conforming cartouche and acanthinemolded slip within a rectangular creme-peinte frame surmounted by a gadroon-molded crest, h. 53‑1/4”, w. 41‑1/2”. [200/400] 273 Large Antiqued Brass Five-Light Sconce, first quarter 20th century, in the style of Robert Adam (English, 1728‑1792), electrified and fitted with tall antique-white faux candles, h. 24”, w. 20”, d. 20”. [150/300] 274 Louis XV-Style Kingwood, Marquetry and MarbleTop Bombe Commode, second quarter 20th century, the serpentine top inset with a variegated salmon marble top, above a conforming case fitted with two long brass-banded drawers, with an elaborate floral inlay, over a carved skirt, raised on sabre legs headed by figural bronze mounts and ending in like-capped feet, h. 35‑1/2”, w. 37”, d. 15”. [600/900] Illustrated 275 Louis XV-Style Mahogany Bergere, fourth quarter 19th century, the acanthine-carved crest centered by a cartouche carving, above a conforming padded back, joined to the cushioned seat by like sides and outscrolled arms, over a serpentine-carved skirt, raised on cabriole legs ending in scrolled toes, h. 46”, w. 27”, d. 26”. [300/500]

274

271 Pair of French Brass “Foliate Scroll” Chenets, second quarter 20th century, of tall size in the Louis XV style, the wrought-iron billets lacking, h. 20‑1/2”, w. 11‑1/2”, d. 4”. [200/400]

276 Louis XV-Style Walnut Fauteuil a la Reine, fourth quarter 19th century, the shaped, acanthine-carved crest over a conforming caned back, joined to the cushioned seat by open, carved arms, over a serpentine skirt, raised on cabriole legs joined by an X-form stretcher and ending in scrolled toes, h. 51”, w. 26‑1/2”, d. 23”. [300/500] 277 Louis XV-Style Gilt-Brass-Mounted Burlwood and Elmwood Poudreuse, fourth quarter 19th century, the shaped and banded tripartite top hinged and opening to reveal a variety of cubbyholes and a central mirrored panel, above a frieze drawer, raised on cabriole legs ending in sabots, h. 29”, w. 22”, d. 15‑1/2”. [500/800] Illustrated 278 Louis XV-Style Mahogany and Marquetry Bureau, fourth quarter 19th century, the galleried top over a case fitted with a slant front, shaped door inset with a floralinlaid panel, opening to reveal a writing surface, a slide-out secret cubby and a variety of drawers, above a serpentine, like-inlaid apron, raised on cabriole legs headed by giltbrass mounts and ending in like feet, h. 36”, w. 26”, d. 17”. [400/700] Illustrated 279 French Kingwood and Marquetry Occasional Table, fourth quarter 19th century, in the transitional Louis XV into Louis XVI style, the shaped, quarter-veneered, banded and foliate-inlaid top above a frieze fitted with a like-inlaid drawer, raised on cabriole legs, headed by giltbrass acanthine mounts, joined by a shelf-stretcher and ending in sabre feet, h. 25”, w. 17‑1/2”, d. 12”. [125/250]

278

281 286 Persian Mahal Runner, 3’ 5” x 9’ 9”. [200/400] 287 Agra Serapi Carpet, 6’ x 9’. [700/1000]

282

280 Pair of Provincial Louis XV-Style Fruitwood Fauteuils a la Reine, fourth quarter 20th century, by Hickory White, each with a slightly domed floral-carved crest above a conforming padded back, joined to the cushioned seat by open arms, over a serpentine-carved skirt, raised on cabriole legs headed by floral carving and ending in scrolled toes on pegs, h. 41”, w. 31”, d. 25”. [500/800] Illustrated 281 Suite of Six Louis XV-Style Fruitwood Dining Chairs, fourth quarter 19th century, consisting of two armchairs and four sidechairs, each with a shaped crest centered by a floral-bouquet carving above a caned back, with a serpentine padded seat, and a floral-carved skirt, raised on cabriole legs ending in scrolled toes, h. 43”, w. 20”, d. 18‑1/2”. [700/1000] Illustrated 282 Louis XV-Style Giltwood and Marble-Top Console Table and Pier Mirror, the variegated serpentine marble top above an acanthine-pierced and carved apron, raised on cabriole legs headed by floral molding, joined by an X-form stretcher and ending in scroll feet, the mirror with a serpentine carved and pierced crest, above a conforming mirror plate, with scroll-molded sides and bottom, mirror h. 61‑1/2”, w. 37”, console table h. 36”, w. 52”, d. 16”. [800/1200] Illustrated 283 Monumental Cast- and Wrought-Iron Garden Fence Panel, of rectangular, elaborately pierced and molded form, h. 126”, w. 42”. [300/500] 284 Suite of Three Painted Wrought-Iron Fence Panels, first quarter 20th century, composed of serpentine and circular elements, with rosettemolded mounts, the paint generally weathered, the largest h. 85‑1/2”, w. 39”. [75/125] 285 Two Painted Wrought-Iron Garden Fence Panels, of stylized geometric form, the tallest h. 47‑3/4”, w. 31‑3/4”. [30/50]

280

288 Semi-Antique Persian Heriz Carpet, 8’ 11” x 11’ 5”. [1000/1500] Illustrated 289 Jaipur Runner, 2’ 6” x 11’ 4”. [200/400] 290 Jaipur Runner, 2’ 4” x 9’ 10”. [150/300]

288 297 Karaja Runner, 2’ 1” x 6’ 11”. [75/1250] 298 Bhadohi Jaipur Carpet, 4’ 1” x 6’. [150/300]

293 291 Indo-Jaipur Carpet, 9’ 9” x 14’ 3”. [500/800] 292 Persian Hamadan Runner, 4’ 8” x 12’ 9”. [300/500] 293 Peshawar Zeiglar Mahal Carpet, 9’ x 11’ 10”. [2500/4000] Illustrated 294 Two Bidjar Runners, 1’ 11” x 6’ 7” and 1’ 9” x 7’ 11”. [150/300] 295 Turkoman Carpet, 5’ x 6’ 4”. [150/300] 296 Agra Serapi Carpet, 9’ 2” x 11’ 10”. [1400/1800] Illustrated

296

307 French Art Deco Patinated Bronze Tabletop Sculpture, second quarter 20th century, modeled as a crested long-tailed bird perched on a natural gray stone boulder, h. 9”, w. 6”, d. 4”. [50/80]

299 299 Chinese Carpet, 8’ x 10’. [400/700] Illustrated 300 Persian Mahal Carpet, 4’ 5” x 7’ 1”. [200/400] 302

301 Two Chinese Carpets, the first a rug, 1’ 11” x 3’ 6”, and the second a runner, 2’ 1” x 8’. [100/200]

308 After Demetre Chiparus (Rumanian, 1888‑1950; Worked in Paris) “Pluto Abducting Proserpine in the Presence of Cerberus”, a complex patinated bronze group and early Chiparus model, signed at the rear edge of the plinth “Chiparus” in script, presented on a square “Grand Antique” marble base of block form, h. 14‑3/4”, w. 6‑1/4”, d. 6‑1/4”. [400/700] Illustrated

302 Persian Tabriz Carpet, 9’ 7” x 12’ 10”. [700/1000] Illustrated 303 Tabriz Carpet, 4’ 10” x 6’ 4”. [300/500] 304 Tabriz Carpet, 4’ 11” x 6’ 6”. [250/400] 305 Bakhtiari Persian Carpet, 7’ 10” x 10’ 5”. [300/500]

309 Eugene Marioton (French, 1854‑1933) “The Embrace”, a black-patinated bronze tabletop group on a circular disc base of polished black slate, first quarter 20th century, signed on the base, proper right, “E. Marioton”, h. 11”, dia. 5‑1/2”. [400/700] Illustrated

306 Turkish Oushak Carpet, 8’ 4” x 9’ 10”. [1000/1500] Illustrated

306

308 309

313 Contemporary Blonde Wood and Steel Inlaid Banquet Table, the rectangular top with two geometric inlays, raised on tapering square legs, h. 28‑3/4”, w. 95‑1/2”, d. 59‑1/2”. Provenance: Private collection, Jackson, Mississippi. [1000/1500] 314 Pair of Turkish Silver-Inlaid Brass Long-Neck Vases, fourth quarter 19th century, of inverted pyriform with multiple relief tracery reserves, now mounted as table lamps on brass bases of flat disc form, h. 20‑1/2”, dia. 8”. [1000/1500] Illustrated 315 Modern Silvered Wood Looking Glass, of rectangular form within a conforming molded frame, h. 34‑1/2”, w. 42‑1/2”. Provenance: Private collection, Jackson, Mississippi. [50/80]

310 Pair of Barcelona-Style Leather and Chrome Lounge Chairs, manufactured after a design by Ludwig Mies (Van der Rohe), first introduced in 1929, with black welted leather back and seat, on a chrome stainless steel flat bar X-form frame with black straps, unlabeled, h. 28”, w. 30”, d. 33‑1/2”. [1000/1500] Illustrated

314

311 Pair of Barcelona-Style Leather and Chrome Lounge Chairs, manufactured after a design by Ludwig Mies (Van der Rohe), first introduced in 1929, with black welted leather back and seat, on a chrome stainless steel flat bar X-form frame with black straps, unlabeled, h. 28”, w. 30”, d. 33‑1/2”. [1000/1500] 312 Pair of Barcelona-Style Leather and Chrome Lounge Chairs, manufactured after a design by Ludwig Mies (Van der Rohe), first introduced in 1929, with black welted leather back and seat, on a chrome stainless steel flat bar X-form frame with black straps, unlabeled, h. 28”, w. 30”, d. 33‑1/2”. [1000/1500]

310 316 Group of Four Leaded Glass Windows, first quarter 20th century, consisting of a pair of English Art Deco pebbled amber and blue leaded glass rectangular windows, h. 18”, w. 22”; and a near-square pair featuring stylized swags of amber, sky blue and cobalt leaded glass, h. 19‑1/8”, w. 20”; all four examples in the period painted wood frames and fitted with later metal suspension eye-screws. [100/200]

324

321 Good Twenty-Four-Piece Group of Waterford Cut Glass Stemware, for eight persons, in the “Lismore” pattern, comprised of eight red wine/iced water goblets, eight white wine goblets and eight dessert wine goblets, each piece with the Waterford acid-stamp on the underside of the circular foot, the largest, h. 7”, dia. 3”. [150/300] 322 Pair of Contemporary Rosewood Occasional Tables, of Asian inspiration, each with a square top over a recessed frieze, raised on square legs ending in carved feet, h. 22‑1/4”, w. 24”, d. 24”. [200/400]

317 Domed Leaded Glass Parlor Lamp, in the Art Nouveau style, the russet-patinated base of stylized tree trunk form, the dramatic domed leaded glass shade set with scarlet glass caladium leaves with slag glass panels above, h. 23‑1/2”, dia. 18”. [100/200]

323 Contemporary Ash and Marble-Top Coffee Table, of Renaissance inspiration, the rectangular variegated black marble top above a modified Greek-key-carved frieze, raised on two paneled columnar pedestals to a banded plinth base, h. 15”, w. 72”, d. 21”. [100/200] 324 Pair of Contemporary Club Chairs, of Art Deco inspiration, each with a rectangular back, joined to the cushioned seat by the like arms, raised on tapering square legs, upholstered in gathered straw chenille with chocolate leather trim, h. 35”, w. 31”, d. 39”. [300/500] Illustrated 325 Pair of Contemporary Club Chairs, of Art Deco inspiration, each with a rectangular back, joined to the cushioned seat by like arms, raised on tapering square legs, upholstered in gathered straw-colored chenille with chocolate brown leather trim, h. 35”, w. 31”, d. 39”. [300/500]

318

326 Contemporary Ottoman, of Art Deco Inspiration, the rectangular padded seat over a like skirt, raised on tapering square legs, upholstered in gathered strawcolored chenille with a chocolate leather trim, h. 17”, w. 24‑1/2”, d. 21”. [200/400]

318 Daum, Nancy, Free-Form Ribbed Crystal Vase, third quarter 20th century, the basal edge signed in diamond stylus script “Daum Cross of Lorraine France”, of good weight, h. 8‑1/4”, dia. 8‑1/2”. [100/200] Illustrated 319 Good Steuben Crystal “Trillium Bowl, 9089”, designed by Donald Pollard in 1958, signed on the center of the foot in diamond stylus script “Steuben”, h. 4‑3/4”, dia. 10”. [700/1000] Illustrated 320 Good Early Steuben Crystal “Flower Vase 7913”, designed by George Thompson in 1942, the base signed in diamond stylus script “Steuben” at the center, h. 8‑1/2”, dia. 5”. Many Steuben collectors regard “Flower Vase 7913” as one of the best of Thompson’s many designs for Steuben from 1937 to 1977. [300/500] Illustrated

320 319

332 Circle of Jean Despujols (French, 1886‑1965), a patinated bronze tabletop portrait head of “Nguon”, a Vietnamese woman, second quarter 20th century, signed to the left of the chignon in calligraphy “V-N”, presented on a satin black-patinated block base, h. 10‑1/2”, w. 4‑1/2”, d. 5‑1/2”. [200/400] 333 Victor Salmones (Mexican, 1937‑1989), an attractive verigris-patinated bronze “Maternite” group depicting a young mother bent over the infant cradled on her proper right arm, signed at the lower proper right rear “Victor Salmones”, presented on a rectangular polished “Grand Antique” marble slab base, h. 13‑1/4”, w. 12”, d. 9”. [800/1200] Illustrated Color Plate XV

337

334 Large Quarter-Cut and Polished Quartz Specimen Bookend, the outer band exhibiting rich violet color, h. 5‑1/4”, w. 4”. [50/80]

327 Modern Basket-Weave Oversized Ottoman, of circular form, raised on turned and tapering legs, h. 19”, dia. 42”. [200/400] Illustrated 328 Modern Bamboo Armchair, the arched back joined to the padded seat by open arms, raised on circular legs joined by a X-form stretcher, h. 34”, w. 23”, d. 17”. [40/70]

333

329 Contemporary Tiger Maple-Veneer and Stainless Steel Desk, the top fitted with a Lazy Susan for a computer monitor and the underside with a built-in storage cabinet with hinged door for the hard drive, raised on tapered tubular steel legs, h. 30”, w. 63”, d. 33”. Provenance: Private collection, Jackson, Mississippi. [250/400] 330 Contemporary Blonde Wood and Ebony Coffee Table, the rectangular top joined to a diamond-shaped shelf stretcher by curved supports, h. 15‑1/2”, w. 52‑1/2”, d. 38”. Provenance: Private collection, Jackson, Mississippi. [300/500] 335 Contemporary Bamboo and Glass-Top Coffee Table, the circular top raised on splayed bamboo legs joined by a shelf-stretcher, h. 20”, dia. 23‑3/4”. [50/80]

331 Large Contemporary Overstuffed Sofa, having turned and reeded legs, and accompanied by seven pillows and a slip cover, h. 38‑1/2”, w. 91”, d. 38”. [300/500]

327 336 Contemporary Bamboo and Jute Side Table, the circular glass top above a bamboo and jute columnar pedestal, h. 17‑1/4”, dia. 20”. [50/80] 337 Contemporary Life-Sized Cast Bronze Sculpture of a Bear, h. 34”, w. 59‑1/2”, d. 18‑1/2”. [1500/2500] Illustrated

338 Pair of Art Deco-Style Cast and WroughtIron Garden Planters, each of rectangular form with curved ends and fanning scroll sides, the top fitted with five circular planter holders, h. 24‑1/2”, w. 59‑1/4”, d. 12‑1/2”. [100/200] 339 Suite of Five Cast-Iron Garden Fence Panels, of rectangular, pierced interlocking diamond form, h. 95”, w. 42”. [300/500] 340 Cast and Wrought-Iron Garden Gate, first quarter 20th century, the domed, scrolled fan-form transom over a lower pierced panel, h. 110”, w. 46”. [200/400] 341 Franz Josef Kline (American, 1910‑1962) “Abstract Untitled”, charcoal signed lower right “Kline”, signed in ink en verso, sheet size 19‑1/2” x 23‑1/2”. Provenance: Acquired by the present owner in 1992, from a private Swiss collector who purchased it directly from the artist in 1957. Born in Wilkes-Barre, Pennsylvania, Franz Kline became one of the most prominent 20th-century American abstract and non-objective artists. His name is most associated with large-scale black and white paintings, and these linear abstractions brought him his first notable public attention in 1950 when they were shown in New York City. [45000/80000] Illustrated Color Plate XV

341

341 detail

345

342

342 Joan Mitchell (American, 1926‑1992) “Abstract Untitled”, chromolithograph, signed, dated and numbered in pencil lower right “19/25, Joan Mitchell, 1992”, overall sight 33‑1/4” x 22‑1/2”. Glazed, matted and presented in a blonde wood frame. [2000/4000] Illustrated 343 Pablo Picasso (Spanish, 1881‑1973) “Faunes et Chevre”, linocut in colors, signed in pencil lower right, sheet size 12‑1/2” x 15”. Glazed and framed. [300/500] 344 British School (Contemporary) “Untitled”, black and white etching, numbered in pencil lower left “1/1”, signed and dated in pencil lower right “Halpin, 1982”, sheet size 20” x 30”. Glazed, matted and framed. [200/400] 345 Salvador Dali (Spanish, 1904‑1989) “The Centaur”, woodblock engraving, signed lower right, numbered lower left “26/150”, verso affixed with authentication label from “The Collector’s Guild, Ltd.”, sight 12‑1/4” x 8‑3/4”. Glazed, matted and framed. [500/800] Illustrated 346 American School (First Quarter 20th Century) “Great Eastern”, gouache on board, signed and dated lower right “RoKing, 1925”, verso signed “Raymond King” and titled, 7‑1/2” x 9‑1/2”. Glazed and presented in a Beaux Arts giltwood and gesso frame. [150/300] 347 George Segal (American, 1924‑2000) “Woman Stretching”, color silkscreen, artist proof, signed and dated “1970” lower right, sight 31‑3/4” x 23”. Glazed and presented in a contemporary metal frame. [200/400]

355

348 Lois Fine (American, b. 1931) “The Triumph of Evil”, lithograph, pencil signed and dated lower right “Lois Fine, 1967”, titled in pencil lower center and numbered lower left “1/50”, sight 37” x 19”. Glazed, matted and framed. [75/125]

358

349 American School (20th Century) “Architectural Elevation”, hand-colored lithograph, sight 20” x 15”. Glazed and presented in a giltwood frame. [40/70] 350 Neil Welliver (American, 1929‑2005) “The Maine Coast, Near Camden”, gouache on paper, unsigned, sight 14‑1/2” x 19‑1/2”. Glazed, matted and framed. Provenance: Purchased directly from the artist by the consignor. [400/700] 351 Nat Lewis (American, 20th Century) “Kitchen Still Life with Popcorn and Lemons”, watercolor on paper, signed lower right, sight 13‑1/4” x 20”. Glazed, matted and framed. Provenance: Private collection, Jackson, Mississippi. [100/200] 352 LeRoy Neiman (American, b. 1921) “Beachside Cafe”, color silkscreen, pencil signed lower right, numbered lower left “175/375”, sight 30” x 37”. Glazed, attractively double-matted and presented in a rope-molded silvered frame. [600/900] 353 Ralph Sweet (American/California, 1892‑1961) “Street Flower Vendor”, watercolor on paper, initialed lower right, sight 20‑1/2” x 27‑1/2”. Glazed, matted and framed [75/125] 354 French School (Mid‑20th Century) “Paris, Les Bouquinistes”, watercolor on paper, signed illegibly and dated “52” lower right, titled in pencil lower right margins, sight 5‑3/4” x 8”. Glazed, matted and framed. [75/125] 355 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”. [700/1000] Illustrated

356 Good Pair of French Gilt-Brass and Carrara Marble Garniture Coupes, fourth quarter 19th century, of two-handled form in the Neo-Grec style, with bas-relief medallion centers, each coupe surmounting a Carrara marble columnar pedestal base, h. 8‑3/4”, w. 8”, dia. 6”. [100/200]

363

357 Good French Panel-Cut Glass Garniture Vase, third quarter 19th century, in parcel-gilt white-over-emerald overlay glass with a lambrequin pattern at the shoulder, h. 10”, dia. 4‑1/2”. [75/125] 358 After Clement-Edouard Rousseau (French, 1872‑1921) “Le Travail”, a bronze-patinated spelter figure allegorical of Labor, in the form of a well-muscled blacksmith at the anvil, signed at the rear upper surface of the base “Rousseau”, conjoined, the base fitted with an engraved brass title plaque, h. 32”, dia. 10‑1/2”. [300/500] Illustrated previous page

360 Pair of Belle Epoque Bronze-Patinated Cast-Iron Bookends, fourth quarter 19th century, with bas-relief decoration of “The Angelus” in the manner of JeanFrancois Millet (French, 1814‑1875), h. 5”, w. 5”, d. 2‑1/4”. [100/200]

359 Isidore-Jules Bonheur (French, 1827‑1901), a patinated bronze equestrian group of a uniformed French officer and his mount, fourth quarter 19th century, signed “I. bonheur” at one end of the elliptical faux-turf base and with the Peyrol foundry mark, h. 16‑1/2”, w. 15”, d. 4‑1/2”. [3500/5000] Illustrated

362

359

361

361 R. St. Yves (French, fl. ca. 1865‑1925), a verdigris- and brown-patinated bronze inkstand of a tiger drinking at a sylvan pool, first quarter 20th century, the right side fitted with a covered inkwell modeled as a flat rocky outcrop (the glass or ceramic liner lacking), the tiger patinated in brown, signed in script at the right facade “R. St. Yves”, h. 4”, w. 12”, d. 8”. [400/700] Illustrated

362 Good Pair of Napoleon III Vasiform Five-Light Candelabra, third quarter 19th century, composed of patinated and parcel-gilt bronze in the Neo-Grec style, the vasiform bodies decorated with bas-relief friezes of classical female dancers, the candlearms with draped metal chains terminating in gilt-bronze spheres, presented on gilt- and patinated bronze-mounted polished black slate bases above gilt-bronze disc feet, h. 28”, dia. 12”. Provenance: Beechwood Mansion, The Estate of William Astor, Newport, Rhode Island. [500/800] Illustrated

366 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] 367 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] 368 Napoleon III Ebonized and Boulle Vitrine, third quarter 19th century, the case fitted with a boulle-work frieze above two doors, each inset with a glazed panel over a boulle panel, flanked to each side by like-paneled uprights headed by an ormolu shield, raised on ormolubanded toupie feet, the whole accented with ormolu mounts and millwork, h. 67‑1/2”, w. 38‑1/4”, d. 16”. [600/900] Illustrated 369 Napoleon III Kingwood and Marquetry Tilt-Top Tripod Table, fourth quarter 19th century, the turtleshaped top with interlacing foliate inlay, centered by monogrammed brass plaques within an armorial design, raised on a pierced standard ending in three cabriole legs with gilt-brass mounts, h. 28”, w. 22”, d. 15”. [75/125]

368 371 363 Good Napoleon III Gilt-Brass Jewel Casket, third quarter 19th century, fitted with black slate and eight small pietra dure rondels of avian and floral subjects, the interior partially lined in marbled Florentine papers, h. 4‑1/2”, w. 8‑1/4”, d. 4”. [400/700] Illustrated 364 French Neoclassical-Style Oblong Mantel Clock, fourth quarter 19th century, composed of fluted rose marble and parcel-gilt incise-carved black slate, the circular dial of white enamel with black chapters and enframed in embossed gilt-brass, with a beveled glass cover, h. 10”, w. 14‑1/4”, d. 6”. [125/250] 365 Attractive French Burlwood, Marquetry and Beveled Glass Cave-a-Liqueurs, fourth quarter 19th century, the interior fitted with gilt-brass racks for four liqueur decanters (one lacking) and fourteen liqueur goblets, the decanters and goblets acid-transfer plate-etched and having gilt banding, retains the period steel key, h. 11‑1/4”, w. 13‑3/4”, d. 10‑1/2”. [400/700]

370 Napoleon III Faux-Bamboo Stool, fourth quarter 19th century, the square needlepoint-upholstered padded top raided on slightly splayed faux-bamboo legs joined by a like X-form stretcher centered by a turned finial, h. 18”, w. 14‑1/4”, d. 14‑1/4”. [125/250] 371 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”. [800/1200] Illustrated

372 Good Fourteen-Piece Limoges Porcelain Pots-deCreme Set, first quarter 20th century, consisting of two rounded rectangular trays and twelve covered pots-decreme en suite, all in “Floral Garlands” decor in the Louis XVI style, pot h. 3‑3/4”, dia. 2”, tray w. 8‑3/4”, d. 6‑1/4”. [100/200] 373 Pair of Napoleon III Gilt-Bronze Five-Light Candelabra, third quarter 19th century, in the Neo-Grec taste, raised on paw feet, h. 21”, dia. 11”. [600/900] Illustrated 374 French Carved Silver-Giltwood and Plaster Looking Glass, in “Creatures in the Wood” decor in the late 19th-century Aesthetic taste, the plate broadly beveled throughout, the frame bas-relief carved with tangent leaf sprays and vines inhabited by small woodland creatures, also in bas-relief, h. 45”, w. 33”. [100/200]

378 377

373

375 376

375 French Gilt-Brass-Mounted Flute-Cut Glass Table Box, first quarter 20th century, in the St Louis style, the lid centered with a reliefgilded “galants” reserve, the whole supported on gilt-brass paw feet, h. 6”, w. 7‑1/2”, d. 5‑3/4”. [600/900] Illustrated 376 French Gilt-Brass-Mounted PressedCut Glass Table Box, fourth quarter 19th century, in “Cane” decor, h. 4”, w. 7”, d. 4‑1/2”. [500/800] Illustrated

378 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”. [3500/5000] Illustrated Color Plate VII 379

379 Louis XV-Style Mahogany Console Table, fourth quarter 19th century, the serpentine marble top over a conforming foliate-carved frieze, raised on cabriole legs headed by acanthine carving and ending in scrolled toes, h. 31”, w. 40”, d. 18‑1/4”. [600/900] Illustrated 380 Pair of French Six-Light Candelabra, fourth quarter 19th century, composed of gilt-brass-mounted gray Turquin marble in the Neo-Grec taste, the central elements mounted with gilded ringed lion masques, h. 21”, w. 12”, d. 9”. [400/700] Illustrated

380

381 Napoleon III Mahogany and Parquetry Commode, third quarter 19th century, the inset rectangular variegated green marble top over a frieze drawer, flanked by patera-formed gilt-brass mounts, above a recessed case fitted with three long drawers, flanked by fluted columnar supports, over a laurel leaf-carved skirt, raised on fluted tapering circular legs ending in toupie feet, h. 44‑1/4”, w. 49”, d. 22‑1/2”. [2000/4000] Illustrated

377 Pair of Belle Epoque Tiered Five-Light Appliques, first quarter 20th century, composed of polished brass in the Louis XVI taste, each of the downturned candlearms fitted with a satin glass shade of rose bloom form, the backplates pendant from a bowknotted and looped laurel-leaf garland of brass, electrified, h. 38”, w. 14”, d. 11”. [600/900] Illustrated

381

384 Set of Twelve Charles Ahrenfeldt, Limoges, Porcelain Dinner Plates, first quarter 20th century, in the early Art Deco style, decorated in polychromed “Flower Basket” decor on a silver-gray “vermicelli” ground, each example fully backstamped, dia. 10”. [75/125]

382

385 Two Charles Ahrenfeldt, Limoges, Porcelain Sweetmeat Servers, first quarter 20th century, consisting of a center-handled triple-compartment example in the chinoiserie taste; and a similar doublecompartment server in “Flowering Tree” decor; the largest h. 4”, w. 12”, l. 11‑1/2”. [100/200]

391

382 Napoleon III Walnut and Marble-Top Dresser, fourth quarter 19th century, the tripartite beveled mirror with a serpentine-molded frame above a variegated rouge marble top over a case fitted with two short over three long drawers, raised on cabriole legs headed by foliate carving and ending in scrolled toes, h. 73‑1/2”, w. 49”, d. 22”. [800/1200] Illustrated 383 Opulent Four-Piece French Gilt-Brass Dressing Table Set, comprised of an oval perfume bottle tray with mirrored glass center, a long-handled hand mirror, a large brass-mounted beveled glass scent bottle, and a matching brass-mounted beveled glass footed jewel casket with a tufted peach velvet interior, the largest w. 15”, d. 8‑1/2”. [100/200]

389

386 Attractive French Faience Tray, second quarter 20th century, of circular, two-handled form in the 18th-century Rouen style, the foot-ring pierced at the upper edge to accommodate a suspension wire, the reverse fully marked in underglaze black, w. 12‑1/2”, dia. 11”. [75/125] 387 Attractive Pair of Paris Porcelain Dinner Plates, second quarter 19th century, each parcel-gilt and blackbanded plate in polychromed “Summer Flowers” decor, dia. 9‑1/2”. [100/200] 388 Three Piece Group of Paris Porcelain White and Gold Vases,a richly gilded and paleled vase in Summer flowers decor, together with a pair of of oval and footed form, with polychromed facade reserves of summer flowers, the pair: h. 6‑1/2”, w. 6‑3/4”. the single vase: h 9 1/2”, w. 9 [200/400]

389 Fine and Rare Emile Galle Blue and White Pottery Encrier, modeled as an armorial lion flanked by a knight’s helmet and a crenellated tower as ink bottle wells, all surmounting a serpentine-edged integral pens tray, the base with the stylized GTE mark in underglaze black, restorations, h. 7‑1/2”, w. 13‑1/2”, d. 10‑1/2”. [400/700] Illustrated 390 Paris Porcelain Double Foliate Scroll-Handled Pitcher, third quarter 19th century, in “Summer Flowers” decor, with old professional repairs, now slightly discolored, h. 8”. [200/400]

392

394 Napoleon III Ebonized and Marble-Top Pier Mirror Base, fourth quarter 19th century, the white marble deck resting on a rectangular base with large turned and carved standards, h. 18”, w. 35”, d. 10‑1/2”. [200/400] 395 Napoleon III Ebonized, Parquetry and Marquetry Tiered Occasional Table, fourth quarter 19th century, the brass-bound shaped top with scrolling foliate inlays and brass finials, joined to the two like lower shelves by circular supports, raised on cabriole legs, h. 30‑1/2”, w. 16”, d. 12”. [100/200] 396 Napoleon III Ebonized Vitrine, third quarter 19th century, the upper case with a serpentine acanthinecarved crest over a conforming glazed door and two short serpentine shelves, above a lower case with a rectangular serpentine top over a conforming foliate-carved frieze drawer, and an incised and ribbon-carved central long door flanked on both sides by two open shelves, joined by deeply carved, serpentine supports raised on cabriole legs and ending in scrolled toes on pegs, h. 82”, w. 39‑1/2”, d. 19‑1/4”. [1500/2500] Illustrated

396

391 Group of Two Porcelain Figural Garniture Groups, first quarter 20th century, comprised of a Reus, Spain, polychromed and parcel-gilt figure of a Russian muzhik in holiday attire, h. 10”; and a similar group of a courting rural couple, h. 11”; both figures signed on the bases. [600/900] Illustrated 392 Fine, Large and Rare Pair of Paris Porcelain Figural Cologne Bottles, third quarter 19th century, one depicting “Jeanne d’Arc”, fitted with a diminutive wroughtiron sword and the other “Jeanne Hachette”, depicted with an integral porcelain battle axe, both bases titled in period gold script, h. 11‑1/2”. [500/800] Illustrated 393 Napoleon III Tole-Peinte and Mother-of-PearlInlaid Bed, fourth quarter 19th century, the serpentine parcel-gilt headboard with faux-satinwood banding, surmounted by a crest centered by a cartouche-formed gilt-brass mount and flanked by ball finials, joined to the like footboard by a metal frame, raised on baluster-formed legs ending in plinth feet, h. 69”, w. 36‑1/2”, l. 80‑1/2”, inside w. 32”, l. 76”. [200/400]

399 Interesting Eighteen-Volume Collection of Art Books, including Parissien’s Palladian Style, 1994; J. D. Draper and G. Scherf’s Augustin Pajou, Royal Sculptor, 1997; Taschen’s Sculpture from the Renaissance to the Present Day, 1999; and M. F. Foley’s The American House, 1980 and; fourteen other tomes, the largest h. 13‑1/2”, w. 10‑1/4”, d. 2”. [100/200] 400 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”. [50/80]

401 397 First Edition Two-Volume Set of Thomas E. Watson’s The Story of France, The MacMillan Company, New York and London, 1909, both volumes in gold-stamped crimson cloth bindings and in generally good condition, h. 8‑1/2”, w. 6”, d. 2”. [30/50] 398 Comprehensive Fourteen-Volume Collection of Napoleonic Subjects, including J. C. Herold’s The Age of Napoleon, 1963; D. Stacton’s The Bonapartes, 1966; E. P. de Lorme’s Josephine Napoleon’s Incomparable Empress, 2002; and eleven other significant works on the subject, h. 12‑1/2”, w. 9‑1/2”, d. 1‑1/2”. [100/200]

405

401 James Abbott McNeill Whistler (American, 1834‑1903) “Black Lion Wharf”, etching, signed and dated in plate “Whistler, 1859”, plate size 6” x 8‑3/4”, sight size 12‑1/2” x 15‑1/2”. Glazed, matted and framed. [2000/4000] Illustrated Color Plate XIII 402 James S. King (American, 1852‑1925) “Rhoda Holmes Nicholls”, black and white engraving, signed in pencil lower right “Jas S. King”, titled in pencil lower left, sight 27” x 18‑1/2”. Glazed, matted and presented in a period giltwood and gesso pierced and molded frame. [100/200] 403 American School (Third Quarter 20th Century) “Conquered People”, graphite on paper, signed and dated lower left “Moore ‘63”, sight 10” x 15”. Glazed, matted and presented in a carved and polychromed frame. [75/125]

407

404 The Balance and Columbian Repository, Hudson, New York, Tuesday, July 19, 1803, an editorial article reflecting on the perceived failure at the English commonwealth, an attempt to replace monarchy with democracy in England, sight 10” x 7‑3/4”. Glazed, attractively matted in hunter green felt, edged in Florentine paper, affixed with a brass plaque and presented in a burlwood frame. [250/400]

410 Josef Eidenberger (Austrian, 1899‑1991) “Vienna, University” and “Innsbruck, Maria Theresa Street”, two color etchings, both signed in pencil lower right “Eidenberger”, the former titled in print lower right, sight 7‑3/4” x 6” and 10‑1/4” x 7”. Both attractively matted and presented in molded giltwood frames. [200/400]

409 405 After Kathe Kollwitz (German, 1867‑1945) “Sitzender Mannlicher Akt”, black and white etching, unsigned, blind-stamped “And. Becke Muenchen‑22”, image size 6‑1/4” x 5”, sheet size 13‑3/4” x 10”. Matted and unframed. [500/800] Illustrated 406 Luigi Kasimir (Austrian/American, 1881‑1962) “Berlin, Brandenburg Gate”, color etching, signed in pencil lower center margins, sight 14‑1/4” x 17‑1/4”. Glazed, attractively triple matted and presented in a molded giltwood frame. [200/400] 407 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. [800/1200] Illustrated 408 Luigi Kasimir (Austrian/American, 1881‑1962) “Snow-Covered Village Road” and “Snow-Covered Landscape”, soft-ground etchings and aquatint, pencil signed middle margins, the latter titled in print “An Der Himmelstrasse”, sight 10‑3/4” x 10”. Both glazed, attractively double matted and presented in giltwood frames. [200/400] 409 Luigi Kasimir (Austrian/American, 1881‑1962) “Winter Park Scene” and “February in Grinzing”, two color etchings, both signed in pencil lower center margins, the latter titled and dated “1940” in print, sight 16‑3/4” x 23” and 17‑3/4” x 22‑3/4”. Both glazed and attractively matted and framed. [400/700] Illustrated

411 Josef Eidenberger (Austrian, 1899‑1991) “Williamsburg in Winter” and “Lermoos”, two color etchings, both signed in pencil lower right margins “Eidenberger”, titled in print lower left, with dedication lower left margins, sight 12” x 14‑1/2” and 9‑1/2” x 10‑3/4”. Both glazed, attractively triple matted and presented in parcel-silvered frames. [300/500] 412 Kurt Meyer-Eberhardt (German, 1895‑1977) “Portrait of a German Shepherd”, color engraving, pencil signed lower right, sight 21‑1/4” x 16‑1/2”. Glazed, matted and presented in an ebonized and parcel-gilt frame. [75/125] 413 After William Blake (British, 1757‑1827) “Then the Lord Answered Job Out of the Whirlwind”, black and white engraving, 1930’s edition, sheet size 15” x 10‑1/2”. Unframed. [200/400] 414 American School (Second Quarter 20th Century) “Sweet Potato Vine”, color engraving, pencil signed illegibly lower right, numbered in pencil lower left “4/150” and titled lower center, sight 8‑1/2” x 6‑1/2”. Glazed, attractively linen matted and presented in an ebonized and parcel-gilt frame. [50/80] 415 American School (First Quarter 20th Century) “Studies of a Flowering Vine”, pair of watercolors and gouaches on board, both signed lower right “H. Palao”, sight 18‑1/2” x 5‑1/2”. Both glazed and presented in molded giltwood frame. [200/400] 416 Suite of Nine Various Vegetable Seed Packet Offset Chromolithographs, sight 18” x 14‑1/2”. All glazed and presented in weathered polychromed frames. [250/400]

417 Pair of French ParcelGilt Wrought-Iron and Marble-Top Plant Stands, the circular, tripodal stands in the Directoire style, each stand supported on three pairs of crossed gilttipped arrows and fitted with a top of polished Campan Vert marble, h. 42‑1/2”, dia. 13”. [200/400]

420

423 Set of Five Polychromed Terra Cotta Corinthian Capitals, third quarter 19th century, h. 14‑1/2”, w. 15”, d. 15”. [200/400] 424 Stately Pair of French Columnar Table Lamps, second quarter 20th century, in the late Louis XVI style, composed of antique ivory-painted and parcel-gilt plaster, and modeled as tall gilt cord-draped fluted columns surmounting stepped pedestal bases of square section, the obverse and reverse facades of the pedestals with a basrelief gilded displayed eagle, h. 44”. [400/700] Illustrated 425 Pair of Continental Silverplate-Mounted Garniture Vases, composed of matte terra cotta-painted metal in the neoclassical taste, of covered and two-handled form, raised on tall pedestal bases of square section, the facades of each pedestal base centered with a silverplate beribboned three-quarter wreath, h. 14‑1/2”, w. 10‑1/4”, d. 7‑1/2”. [250/400]

418 Provincial Neoclassical-Style Polychromed Looking Glass, first quarter 20th century, the rectangular beveled mirror plate within a flowering trellismolded frame with an outer rope-molded band, h. 38‑1/2”, w. 32‑1/4”. [100/200] 419 Neoclassical-Style Giltwood Looking Glass, the rectangular mirror plate surrounded by a gadroonmolded slip within a deeply molded frame, h. 40”, w. 58”. Provenance: Private collection, Jackson, Mississippi. [50/80] 420 Attractive French Carved Carrara Marble Mantel Clock, fourth quarter 19th century, of “portico” form with gilt-brass-mounts in the neoclassical style, the circular dial of gilded engine-turned brass with a white enamel chapter ring, retains the long steel and brass pendulum, h. 20”, w. 10‑1/2”, d. 6‑3/4”. Provenance: Beechwood Mansion, The Estate of William Astor, Newport, Rhode Island. [500/800] Illustrated

424

421 Pair of Continental Patinated Brass Candlesticks, second quarter 19th century, of tall baluster form, h. 17‑3/4”, w. 5‑1/2”, d. 5‑1/2”. [100/200] 422 Pair of Louis-Philippe Brass Three-Light “Putto” Candelabra, second quarter 19th century, the cast, chased and engine-turned candelabra of small size, the standards modeled as winged putti poised on a sphere holding aloft the three candle branches, the plinths modeled as stylized flowerheads surmounting square brass bases, h. 19”. [500/800]

426

426 Large Pair of French Cast-Plaster Figures of Recumbent Whippets, in the Restauration style, each deep ivory-painted canine modeled with a buckled collar and surmounting an oblong plinth with beveled upped edges, h. 13”, w. 15”, l. 35”. [600/900] Illustrated

427 Empire-Style Mahogany Cabinet, 20th century, the molded cornice above a case fitted with two doors, each with an upper glazed section and a lower paneled section, flanked to either side by engaged ormolu-mounted pilasters, raised on a plinth base, the whole with ormolu mounts in the Empire taste, h. 78”, w. 52‑1/2”, d. 14‑1/2”. [1000/1500] Illustrated 428 Sorrento Marquetry Chairside Table, third quarter 20th century, in the Directoire taste, the marquetry top lifting to reveal a compartmented interior fitted with a music box, the facade apron fitted with a diminutive brass lock, the music box in playing order, h. 17”, w. 14‑3/4”, d. 10‑3/4”. [75/125]

427

429 Handsome Pair of French Eglomise-Style 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 18th-century 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”. [600/900] Illustrated 429 430 Large Two-Panel Folding Screen, in stenciled bird’s-eye maple in the Directoire style, each panel stenciled with a large fourteen-point wood-grained star, the borders geometrically stenciled, h. 84”, l. 30”, extended l. 60”. Provenance: Private collection, Jackson, Mississippi. [200/400] 431 Good Pair of French Gilt-Brass and Marble-Top Guerdons, mid‑20th century, each with a circular gadrooned rim and inset Maurin green marble top, the legs featuring rams’ heads at the top, joined by a similar circular shelf and ending in cloven hoofed feet, h. 26”, dia. 27‑3/4”. [3000/5000] Illustrated Color Plate VI 431

432 Pair of DirectoireStyle Brass-Mounted Mahogany Side Tables, each with a rectangular brassedged top over a plain apron, flanked by brass patera mounts, raised on tapering circular legs joined by a shelf stretcher and ending in brass caps, h. 26‑1/4”, w. 30‑1/4”, d. 20‑1/4”. [300/500]

433 435 Attractive and Rare French Gilt-Brass Figural Mantel Clock, second quarter 19th century, surmounted by the seated figure of author Sir Walter Scott, retains the period pendulum and winding key, h. 18”, w. 14”, d. 5”. [1200/1800] Illustrated Color Plate VI 436 Attractive French Gilt-Brass-Mounted Mahogany Jewel Box, first quarter 20th century, in the First Empire style, the lid featuring a diminutive beribboned gilded brass wreath at each corner and centered with a gilded brass mount of two dancing classical maidens flanking a similar larger wreath, the lower facade fitted with a period key, the interior lined in period padded coral moire, h. 3‑1/4”, w. 14‑1/8”, d. 5‑1/4”. [400/700] Illustrated

433 Empire-Style GiltBrass-Mounted Mahogany Sidechair, early 20th century, the padded back with applied ormolu to the frame, the legs depicting winged lions and terminating in paw feet, h. 36”, w. 21”, d. 18”. [800/1200] Illustrated

437 Empire-Style Brass-Mounted Mahogany and MarbleTop Dressing Table, fourth quarter 19th century, the arched mirror supported by a pair of turned standards with detailed cast capitals and finials, the base with a white marble top above a single drawer and columnar legs, h. 56”, w. 32”, d. 17‑3/4”. [500/800] Illustrated

435

434

434 Russian or Baltic Tole-Peinte and Brass Occasional Table, fourth quarter 19th century, the circular parcel-gilt and floral-painted top raised on a circular X-form pedestal ending in ball feet, the top fitted with ringed ball-shaped finials, h. 33‑3/4”, dia. 28”. [2000/4000] Illustrated

436

437

438 Directoire-Style Brass-Mounted Mahogany Commode, 20th century, the rectangular top with rounded corners, above a case fitted with two short drawers over two long drawers, all brass-banded, flanked by fluted columnar stiles, ending in tapering circular legs on brass-capped toupie feet, h. 33‑1/2”, w. 49‑1/2”, d. 18‑1/2”. [500/800] Illustrated

439 Empire-Style Brass-Mounted Mahogany and Curved Glass Vitrine, ca. 1900, the central door with beveled glass, flanked by turned columns with brass capitals, the sides with curved and beveled glass ends with beaded brass trim, h. 73‑1/4”, w. 55”, d. 17‑1/4”. [1800/2500] Illustrated 439

440 Directoire-Style Giltwood Vitrine, fourth quarter 20th century, the molded cornice over a patera- and laurel leaf-centered frieze, above a glazed panel and glazed side doors, the lower case fitted with two long drawers, ending in a plinth base, h. 68”, w. 28”, d. 15‑1/2”. [200/400] 438

441

441 Portuguese Sterling Silver Waiter, second quarter 19th century, of oblong, two-handled and footed form with a “Vintage” reticulated gallery rim, the center with foliate scroll-engraved borders, weighted, w. 14”, l. 22‑1/2”. [2000/4000] Illustrated 442 Austrian Sterling Silver Double-Lipped Sauceboat, fourth quarter 19th century, in the Louis XV style, of twohandled and footed form with integral stand, dia. 8”, 21.90 t. oz. [600/900] 443 Handsome French Sterling Silver Tray, second quarter 19th century, maker: P.B., of oval form in the neoclassical style, with a narrow ribbed border, one inner edge engraved with a full mantled coat-of-arms, w. 10‑1/2”, l. 17‑1/2”, 41.10 t. oz. [1800/2500] 444 Pair of Austro-Hungarian Silverplate Three-Light Candelabra, fourth quarter 19th century, of small size in relief strapwork decor, detach at the centers to form a pair of single-light candlesticks, h. 12‑1/2”, w. 9”, d. 4‑1/2”. [700/1000]

450 Pair of German .800-Standard Covered Mustard Pots, first quarter 20th century, of diminutive, oval, back-handled form in the 18th-century style, each fitted with a period conforming blown and cut colorless glass liner, l. 3”, 2.45 total t. oz. [100/200]

451 Continental Silver-Mounted Beveled Glass FlatSided Scent Flacon, second quarter 20th century, the scent container proper with an interior silver-mounted glass body of cylindrical section capped with a large, circular silver-mounted beveled glass stopper fitted with a glass dabbing rod, h. 8”, w. 4‑3/4”, d. 3”. [50/80] 452 Pair of Continental Silver Heart-Form Footed Posy Vases, first quarter 20th century, of diminutive size with triple apertures, both facades with bas-relief decoration of flower basket-bearing putti in flight, the borders with basrelief foliate scrolls, h. 4‑1/2”, w. 3‑1/2”, d. 2‑7/8”, 6.45 total t. oz. [450/700] 453 Set of Four German Sterling Silver-Mounted Glass Posy Vases, first quarter 20th century, each panelcut and engraved, the silver mounts with triple dolphin supports joined by a disc platform stretcher, the rims of the vases scallop-cut, h. 4‑1/2”, dia. 3”. [800/1200]

445 German .800-Standard Silver-Mounted Glass Decanter, first quarter 20th century, the ewer-form decanter composed of brilliant-cut glass in “Buzz” pattern, retains the period “Buzz”-cut spherical glass stopper, h. 11”, w. 6‑1/2”, d. 4‑1/4”. [600/900] 446 Set of Six Lalaounis, Athens, Sterling Silver Place Mint/Nut Dishes, third quarter 20th century, in the form of miniature serpent-handled tastevins, dia. 2‑1/2”, 4.90 total t. oz. [300/500] 447 Elaborate Pair of Dutch Silver Salad Servers, fourth quarter 19th century, in the Baroque taste, comprised of an oviform-bowled serving spoon and a three-tine fork, both with large shield-form terminals centered with basrelief decoration of a near nude classical warrior, l. 12‑1/2”. [700/1000] Illustrated 448 Coppini Silversmiths, Italy, .800-Standard Silver Embroidery Scissors, first quarter 20th century, in the “Dutch” taste, l. 5‑1/2”, 1.45 t. oz. [100/200] 449 Good Set of Seven French Mother-of-Pearl-Handled Silver-Gilt Fruit Knives, third quarter 19th century, l. 8”. [200/400]

447

454 Three-Piece Group of Sterling Silver Items, comprised of an attractive Swedish .830-standard silver side-lipped sauce ladle, first quarter 20th century, in “Olga” pattern by A. G. Carlberg, Eksjo, 1865, the bowl of the sauce ladle gilded, l. 8”; a Gorham sterling silver child’s cup in the Early American style, second quarter 20th century, h. 2‑1/8”, dia. 2‑3/4”; and an American sterling silver “Antique Bead” napkin ring, first quarter 20th century, dia. 1‑1/2”; 3.90 total t. oz. [75/125]

455 Georg Jensen Sterling Silver “Acanthus” Slice, second quarter 20th century, with a stainless steel blade, l. 10‑1/2”. [200/400] 456 Georg Jensen Sterling Silver-Handled Teak Salad Serving Spoon, in “the Cactus” pattern, second quarter 20th century, l. 11”. [250/400] 457 Cased Fourteen-Piece Norwegian Silver-Gilt and Enamel Tea Service, for twelve persons, first quarter 20th century, in the “Sezession” taste, comprised of twelve silver-gilt teaspoons, l. 4‑1/2”, each in a different enamel color, a claw-terminal sugar tong in deep cream enamel, l. 4‑1/2”, and an over-the-cup tea strainer also in deep cream enamel, dia. 2‑1/2”, the silk-lined fitted case with the mark of the Christiania jeweler J. Tostrup. [400/700]

461

462 458

463

459

458 Attractive French Verdure Tapestry Panel, fourth quarter 17th century, depicting a pensive maiden observing a Nereid in a sylvan pool, fitted with the proper suspension loops and linen backing, h. 109”, w. 86”. [4000/7000] Illustrated Color Plate V

459 Pair of Louis XIII-Style Stained Elmwood Fauteuils a La Reine, fourth quarter 19th century, each with a slightly domed padded back, joined to the padded seat by acanthine-carved open arms, raised on block-and-ball turned legs, joined by a framed and carved stretcher, and ending in paw feet, h. 44”, w. 25”, d. 27‑3/4”. [500/800] Illustrated 460 French Color Lithograph Canvas Panel of “Le Vernissage”, an 18th-century art opening in the painter’s studio, first quarter 20th century, signed lower left “A. Borsari da V. Taredas”, probably Antonio Borsari (Italian, fl. ca. 1770‑1849), presented in a period bronzed and incised-carved giltwood frame, h. 35”, w. 50”. [200/400] 461 French Patinated Bronze Figure of Diana the Huntress, fourth quarter 20th century, the goddess modeled standing on a demi-sphere in the Louis XIV style, h. 17‑1/2”, dia. 6‑1/2”. [150/300] Illustrated

465 French Provincial Brass-Bound Copper Chocolate Pot, second quarter 19th century, fitted with a side handle, h. 8‑3/4”, dia. 4”, l. 11”. [50/80] 466 Two Continental Transfer-Printed Items, comprised of a good Choisy-Le-Roi faience fine lobed oval platter in Louis XIII decor, fourth quarter 19th century; and a Royal Doulton tinted transfer-printed jug in “Arundel Castle” decor, first quarter 20th century; both pieces fully marked and numbered on the bases, w. 13”, l. 17”. [75/125] 467 Provincial Louis XV-Style Fruitwood Settee, fourth quarter 19th century, the serpentine crest over a conforming padded back, joined to the like seat by open downswept arms, raised on cabriole legs ending in pad feet on pegs, h. 39‑1/2”, w. 66‑1/2”, d. 26”. [1200/1800] Illustrated

468 464 462 After Auguste Moreau (French 1834‑1917) “Fairy Goddess”, a copperplate bronze-patinated spelter figure of a gesturing woodland sprite, fourth quarter 20th century, signed indistinctly at the proper left side of the crag “Aug. Moreau”, below and to the right a pseudo-Parisian foundry mark, entitled at the center of the facade, in bas-relief small script, “Fairy/Head of a bonneted woman/Goddess”, presented on a gray turquin marble base of disc form, h. 16‑3/4”, dia. 6”. [150/300] Illustrated previous page

463 After Auguste Moreau (French, 1834‑1917) “The Lute Player”, a doublepatinated bronze figure of a seated female lutinist, fourth quarter 20th century, signed at the right front corner of the plinth “A Moreau” in script, presented on an oblong base of Grand Antique marble, h. 13”, w. 11”, d. 7‑1/2”. [200/400] Illustrated previous page 464 Louis-Philippe Mahogany Bibliotheque, second quarter 19th century, the molded cornice above a case fitted with two glazed doors, raised on molded block feet, h. 82”, w. 58‑1/2”, d. 17‑1/4”. [1200/1800] Illustrated

467

468 Pair of Louis XV-Style Stained Fruitwood Fauteuils a la Reine, fourth quarter 20th century, each with a slightly domed crest, over a conforming padded back, joined to the like serpentine seat by open carved arms, raised on cabriole legs ending in scrolled toes, h. 38‑1/2”, w. 25”, d. 23”. [400/700] Illustrated 469 Provincial Louis XV-Style Fruitwood Buffet, the serpentine parquetry top above a conforming case fitted with a central pair of domed doors flanked by a single door headed by a short drawer, each door inset with a shaped and floral-carved panel, the whole raised on cabriole legs ending in scroll feet, h. 41‑1/2”, w. 76‑1/2”, d. 20‑1/2”. [1000/1500] Illustrated 470 French Provincial Fruitwood Cocktail Table, in the transitional Louis XV into Louis XVI style, the circular dished top raised on sabre legs, fitted with four pull-out sections, each with a triangular top over a serpentinecarved apron, raised on sabre legs, h. 23‑3/4”, dia. 23”. [250/400]

473

471

472 Louis XV-Style Fruitwood Armoire, fourth quarter 19th century, the domed cornice surmounted by a carved foliate shell crest, above a case fitted with two doors, each inset with a beveled mirrored panel, raised on a stand consisting of a single drawer and having scrolled feet, h. 101‑1/2”, w. 55”, d. 20”. [700/1000]

471 Provincial Louis XVI-Style Walnut Armoire, first quarter 19th century, the projecting molded bonnet top over a conforming frieze with patera and leaf carving above a case fitted with two doors flanking a fluted support, over three drawers, raised on cabriole legs, h. 93”, w. 62”, d. 27”. [800/1200] Illustrated

469

473 Pair of Louis XIVStyle Walnut Sidechairs, fourth quarter 19th century, each with a rectangular padded back above a like seat, over a carved skirt, raised on C-scroll legs joined by a shaped X-form stretcher, centered by a finial, and ending in block feet, h. 42‑1/2”, w. 21”, d. 19‑1/2”. [500/800] Illustrated

476 Pair of Louis XV-Style Fruitwood Bergere avec Orielles, late 19th century, each with a domed and padded back and shaped sides joined to the cushioned seat by padded foliate-carved arms, the seat above a shell-carved apron, raised on cabriole legs ending in scrolled toes on pegs, h. 44‑3/4”. [1500/2500] Illustrated 477 Provincial Elmwood Refectory Table, third quarter 19th century, the rectangular top raised on two shaped, bulbous standards joined by an H-form stretcher and ending in plinth feet, h. 28‑1/2”, w. 64”, d. 29”. [1000/1500] Illustrated

475

474 Provincial Regence-Style Mahogany Center Table, ca. 1900, the rectangular top with a molded edge, above a recessed apron, raised on fluted tapering circular legs joined by a shaped stretcher and ending in bun feet on casters, h. 29”, w. 57”, d. 40‑1/2”. [600/900]

478 Provincial Vernacular Fruitwood Side Table, third quarter 19th century, the cloverleaf-shaped top over a frieze fitted with a drawer, raised on tapering square legs, h. 28‑1/2”, dia. 22‑1/4”. [100/200] 479 Pair of Louis XIII-Style Elmwood Fauteuils-A-LaReine, fourth quarter 19th century, the slightly domed padded back joined to the padded seat by downswept arms, raised on block-and-ball legs joined by a turned stretcher and ending in pad feet, h. 47”, w. 24”, d. 19”. [800/1200] Illustrated

475 Provincial Teakwood Bowfront Corner Cabinet, early 20th century, the top front edge with a scalloped border above a pair of bowfront doors, each with scalloped framing and raised on ball-andclaw feet, h. 47‑1/2”, w. 48”, d. 31‑1/4”. [700/1000] Illustrated 477

476

480 Provincial Continental Elmwood Child’s High Chair, the ladder back joined to the shaped seat by carved open arms, raised on turned legs joined by an H-form stretcher and a curved foot-rest, and ending in tapering feet, h. 31”, w. 15”, d. 14”. [50/80] 481 Painted Iron and Marble-Top Garden Table, the circular variegated cream marble top with a molded edge, raised on serpentineformed legs joined by a circular stretcher, h. 30‑1/2”, dia. 33‑3/4”. [125/250]

479

488 Suite of Three Iron Garden Fence Panels and a Pediment, first quarter 20th century, each gate panel with a domed crest over a scrolling frieze, above a spindled body, the pediment of Gothic-arch form, h. 33”, w. 31‑3/4”. [50/80] 489 Suite of Three Middle Eastern Hardwood Windows, each of arched, rectangular form with a spindled grille, h. 88‑1/2”, w. 38‑1/2”. [200/400] 490 Two Painted Hardwood Windows, each with a roughhewn frame fitted with two hinged, astragal-glazed panels, h. 57‑3/4”, w. 58‑1/4”. [100/200] 491 Italian Highly Carved Verde Antico Marble Pedestal, fourth quarter 19th century, in the neoclassical taste, h. 44”, dia. 14”. [400/700] Illustrated

482 Pair of Painted Wrought-Iron Floor Candelabra, each fitted with four floral-formed candleholders on C-scrollformed arms, and raised on a like-formed standard ending in three splayed legs with scrolled feet, h. 50”, w. 28”. [50/80] 483 Cast-Iron Console Table Base, the rectangular base composed of scrolling elements, h. 36‑3/4”, w. 43‑1/8”, d. 11‑3/4”. [50/80] 484 Suite of Three Cast- and Wrought-Iron Garden Gate Transoms, each of semi-circular, pierced and scrollmolded form, h. 34”, w. 56”. [150/300]

492 Italian Exuberantly Modeled Carved Carrara Marble Bust, of a Beauty in a vagrant hat, first quarter 20th century, presented on a Carrara marble base of spool form, h. 20”, w. 11”, d. 8”. [500/800] 493 Italian-Style Mosaic and Silvered Wrought-Iron Center Table, the circular top inlaid with various hardstones, raised on a circular pedestal and C-scroll supports ending in splayed cabriole legs on scrolled toes, h. 30”, dia. 35‑1/2”. [1800/2500] Illustrated

485 Pair of Polychromed Wood and Wrought-Iron Entrance Gates, first quarter 20th century, of rectangular form, with grille-inset transom windows over the like lower panels, the lower section paneled, h. 108”, w. 50‑1/2”. [100/200] 491

486 Pair of Unfinished Pine Arched Doors, with double trellis-form panels, h. 85‑1/4”, w. 65”, d. 3‑1/4”. [50/80] 487 Polychromed Cast-Iron Garden Table, the rectangular, scrollworkand rosette-molded top surmounted by a glass panel, raised on square legs joined by a box stretcher, h. 33‑1/2”, w. 59‑3/4”, d. 37‑1/2”. [150/300]

493

498 Continental Highly Carved Oak Cupboard, 20th century, the overhanging cornice above a foliate-carved frieze above three cupboard doors, each bi-paneled, the central door featuring shield carving, the side doors with deeply carved masques, all flanked to either side by an engaged pilaster headed by a masque and with fruit and foliate carving, joined to a lower shelf by scrolling acanthine-carved supports, the whole raised on flattened bun feet, h. 73”, w. 80”, d. 23”. [1200/1800] Illustrated 499 Large and Impressive Florentine Giltwood Looking Glass, third quarter 19th century, the central crest with conjoined scrolls and foliate motifs, the inner frame of a twisted ribbon and bead design, h. 76”, w. 47”. [1500/2500] Illustrated Color Plate XIII

499 498 494 Italian “Magnum Diamond”-Carved Alabaster Table Box, first quarter 20th century, of square form with giltlacquered brass mounts, h. 5”, w. 5”, d. 5”. [250/400] 495 Italian Veined Carrara Marble Columnar Pedestal, first quarter 20th century, in the neoclassical taste, the square top over a cylindrical standard terminating in a circular plinth above a square base, h. 44‑1/2”, w. 13‑1/2”, d. 13‑1/2”. [300/500] Illustrated

495

496 Good Venetian Glass Six-Light Chandelier, third quarter 20th century, composed of frosted colorless and pale pink glass in the 18th-century style, richly dressed with cut pendalogues, faceted panelcut glass spears, pendant pale pink frosted bellflowers, draped jewel-cut chains and frosted bobeches of saucer form, electrified and fitted with short bone-white faux candles, h. 24”, dia. 19”. [200/400] 497 Attractive Venetian Glass Mirror, third quarter 20th century, in the 18th-century style, with a serpentine edge, the colorless glass frame backed in gold foil and set with ten equidistant dapple vieux rose glass flowerheads, the plate signed lower right “Teri M”, in engraved script, h. 23”, w. 19”. [200/400]

500 Italian Provincial Majolica Table Lamp, of flatsided bottle form, the blue ground with avian and floral enameling, mounted on an ebonized wooden base of flat elliptical form and fitted with an oblong paneled antiquewhite fabric shade, h. 10‑1/4”, w. 6‑1/2”, d. 4‑1/2”. [75/125] 501 Large Italian Provincial Majolica Fruit Bowl, of shallow, rounded square form, glazed in blue, white and yellow, and featuring a bird and a stylized flowering branch in the traditional style, the reverse fitted with a plaited wire suspension ring, w. 19‑3/8”, l. 19‑3/8”. [100/200]

502 Italian Polychromed Majolica Figural-Handled Garniture Vase, fourth quarter 19th century, in the Renaissance taste, now mounted as a table lamp on a bronze-patinated brass base and fitted with a custom “deep old ivory” fabric shade with rich bead fringe at the upper edge, h. 15‑1/4”, w. 9”, d. 4‑1/4”. [100/200]

507

503

506 Pair of Italian Carved Giltwood “Putto Masque” Bracket Shelves, fourth quarter 19th century, in the Baroque style, the under-shelves and backplates covered in tastefully faded and worn antique claret silk velvet, the gilding in bright and matte finishes, h. 12”, w. 13”, d. 7”. [100/200] 503 Italian Exuberantly Modeled Giltwood Looking Glass, foliate carved and antiqued in the rococo style, the plate broadly beveled throughout, h. 48”, w. 31‑1/2”, d. 13”. [1200/1800] Illustrated 504 Imposing Italian Mahogany Tiered Print/Folio Easel, first quarter 20th century, grillecarved and parcel-gilt in the neoclassical taste, h. 87”, w. 36”. [800/1200] Illustrated 505 Large Pair of Italian Demilune Bracket Shelves, in the neoclassical taste, composed of carved, antique white-painted and periwinkle blue-detailed wood, the shelf supports upward flaring and carved with graduated registers of leaves, h. 15‑1/2”, w. 13”, d. 6‑1/2”. [150/300]

504

507 Tall Pair of Italian Blackamoors, in the Venetian 18th-century style, constructed of polychromed and parcel-gilt composition, each exotically clad figure supporting a ribbed flaring vase on his head, h. 71”, dia. 22”. [500/800] Illustrated 508 Pair of Italian Bronze Blackamoor Candlesticks, patinated and black-painted in the 18th-century Venetian taste, each turbaned Blackamoor holding a staff with the upper terminus forming the candle socket, h. 16”, w. 6‑1/2”, d. 5‑1/2”. [250/400] 509 Highly Amusing Pair of Italian Pottery Garniture Figures, second quarter 20th century, the ochre- and white-glazed figures depicting ancient Roman warriors in elaborately feathered helmets and bearing shields, each signed on the base “Z/Italy/A.1911”, h. 14‑1/4”, w. 6‑1/2”, d. 3”. Provenance: Beechwood Mansion, The Estate of William Astor, Newport, Rhode Island. [100/200]

510 Federico deLuca (Italian, ca. 1847‑1920), a giltlacquered and parcel-bronze-patinated spelter figure of a scantily clad smiling boy water vendor, first quarter 20th century, signed at the rear basal edge of the plinth “F. deLuca” and “Fonderia P. Mucello”, presented on a white marble base of oblong octagonal form, h. 22”, w. 9”, d. 7”. [300/500] 511 Nippon Glazed and Bas-Relief-Enameled Pottery Garniture Vase, 19th century, with two handles, the raised enamel featuring a stylized phoenix amidst foliage in jade green accented with white, with professional restorations, h. 10‑5/8”. [125/250] 512 Italian Capodimonte Tapered Pedestal, third quarter 19th century, composed of gilt-brass- and plaquemounted and incised-carved ebonized wood, the reverse fitted with a conforming “secret” storage compartment, h. 43”, w. 11‑1/2”, d. 11‑1/4”. [400/700] Illustrated 513 Elegant Italian Sfumato-Glazed Pottery Globular Vase, third quarter 20th century, in mirror and matte black, h. 7‑1/4”, dia. 9‑1/2”. Provenance: Private collection, Jackson, Mississippi. [75/125] 514 Pair of Italian Cast-Brass Tripodal Pricket Candlesticks, third quarter 20th century, of tall size in the Baroque style, each facade of the base centered with a Bacchante masque, each candlestick fitted with a short cylindrical candle in shaded green, h. 23‑1/2”, w. 7‑1/2”, d. 7”. [150/300]

516

515 Exotic Hardwood Footed Centerpiece Bowl, composed of turned, chiseled, carved and stained hardwood, of free-form stylized floral configuration, h. 8‑1/2”, w. 13‑1/2”, d. 10‑1/4”. [40/70]

512

516 Continental Carved Oak Buffet a Deux Corps, late 19th century, the molded cornice above a case fitted with a tri-paneled foliatecarved frieze over three cupboard doors, each inset with an arched panel and with scrolling foliate carving, all flanked and divided by cluster columns, the lower section fitted with two drawers with ribbed carving over two cupboard doors, each paneled and with foliate carving, flanked to either side by fluted pilasters, raised on bun feet, h. 80”, w. 58”, d. 21‑1/4”. [600/900] Illustrated

517

517 Italian Baroque-Style Carved and Ebonized Beechwood Stand, fourth quarter 19th century, the serpentine-shaped top with carved edge over a like apron, raised on a Dionysian putto-carved standard having three cabriole legs ending in scroll feet, h. 36”, dia. 14”. [800/1200] Illustrated 518 Rococo Revival Black Forest Inlaid Lindenwood Side Chair, fourth quarter 19th century, the foliate-pierced and -carved back surrounding a central inlaid plaque of a stag and fawn, the seat with a similar inlaid motif and raised on cabriole legs, h. 36”, w. 18”, d. 14‑1/2”. [75/125]

520 Italian Elaborately Polychromed Pottery Figure of a Cow, of large size, the body diapered, black-spotted and floral-enameled, h. 15‑1/2”, w. 10”, l. 23”. [150/300] 521 Rococo-Style Cast and Wrought-Iron Center Table, the circular glass top over a serpentine-molded frieze, raised on cabriole and C-scroll legs joined by an X-form stretcher, centered by a finial, and ending in scrolled toes, h. 32‑3/4”, dia. 35‑3/4”. [150/300] 522 Painted Iron Three-Panel Garden Screen, each panel with a scroll-formed crest over a floral-centered latticemolded section on scroll feet, h. 78”, w. 59”. [100/200] 523 Pair of Painted Wrought-Iron Garden Planters, each with a pierced and molded tapering circular plant holder embellished with grape leaves and flowerheads, raised on like-formed tapering legs joined by a circular stretcher centered by a floral-bouquet molded finial, h. 34”, dia. 14‑3/4”. [100/200]

530

519

519 Continental Carved Walnut Buffet a Deux Corps, early 20th century, the molded cornice above a foliatecarved frieze with three cupboards below, all paneled and with carved foliate patterns, the middle one centered by a carved masque, joined by a paneled back with spindled gallery to the lower section, the lower section fitted with two drawers over two cupboard doors, each paneled and centered by a shield carving, raised on flattened bun feet, h. 79”, w. 59”, d. 21‑1/2”. [600/900] Illustrated

524 Pair of Painted Wrought-Iron Garden Planters, each with a pierced and molded tapering circular plant holder embellished with grape leaves and flowerheads, raised on like-formed tapering legs joined by a circular stretcher centered by a floral bouquet-molded finial, h. 34”, dia. 14‑3/4”. [100/200] 525 Pair of Art Deco Cast-Iron Garden Gates, first quarter 20th century, each tall, rectangular panel with circular and scrolling designs, h. 112”, w. 27‑1/2”. [500/800] 529

529 Jacobean Oak Blanket Chest, fourth quarter 17th century, the paneled rectangular hinged top above a conforming case with a carved frieze, raised on plinth feet, h. 26”, w. 50‑1/2”, d. 21”. Provenance: Beechwood Mansion, The Estate of William Astor, Newport, Rhode Island. [400/700] Illustrated previous page 530 Pair of Renaissance-Style Sidechairs, fourth quarter 19th century, the rectangular leather-padded back with a gilt-tooled “WM” monogram, surmounted by carved finials, above a like-padded seat, raised on square legs joined by a carved stretcher and ending in paw feet, h. 37”. Provenance: The Beechwood Mansion of William Astor, Newport, Rhode Island. [300/500] Illustrated previous page

533

531

526 Suite of Five Cast- and Wrought-Iron Garden Gate Panels, first quarter 20th century, of rectangular form, and geometric and C-scroll design, h. 83‑1/2”, w. 44‑1/2”. [500/800] 527 Patinated Cast and Wrought-Iron Garden Gate Panel, of rectangular form, composed of interlocking scrolling and circular design, h. 113‑1/2”, w. 42”. [400/700]

531 English Carved Oak Court Cupboard, late 19th century, the upper section with an ogee-molded cornice above a foliate-carved frieze and two central cupboards, each paneled and with a carved portrait bust, flanked to either side by a canted linenfold-carved panel, joined to the lower section by large foliate-carved columnar supports, the lower section fitted with a tall central cupboard with linenfold carving, flanked to either side by a drawer over a paneled cupboard door, all with foliate-carved accents, raised on block feet, h. 77‑1/2”, w. 81‑1/2”, d. 22‑3/4”. [800/1200] Illustrated

528 Two Cast-Iron Garden Gate Fragments, first quarter 20th century, each of rectangular, slightly domed form with interlocking scroll, circular and diamond, pierced and molded panels, h. 33‑1/2”, w. 63”. [200/400]

532 Continental Gilt-Brass Jewel Casket, first quarter 20th century, in the Baroque style, the upper corners ornamented with putto heads, the facade centered with a keyhole, the interior fully lined in scarlet velvet, h. 5‑1/2”, w. 6‑3/4”, d. 4‑3/4”. [500/800] Illustrated

534

533 Lenzkirch, Germany, Gilt-Brass and BronzePatinated Spelter Medallion Wall Clock, first quarter 20th century, of lobed dish form in the Baroque style, the circular dial enameled in pale blue with bas-relief black enamel Roman chapters, the everted rim set with six bronze-patinated bas-relief putto medallions, the interior backplate touchmarked “Lenzkirch/branch/A.G/U”, dia. 17‑1/2”. [600/900] Illustrated

538 Group of Three Bohemian Glass Covered Garniture Vases, fourth quarter 19th century, in cranberry-overclear cut and engraved overlay glass, each with a different “Deer in the Woods” engraved scene, each vase with a panel-cut spire finial, h. 9‑1/2”, dia. 3‑1/4”. [800/1200] Illustrated 539 Pair of Bohemian Glass Covered Candy Jars, first quarter 20th century, each composed of ruby- and amber-stained cut glass with floral engraving, h. 6‑1/4”, dia. 4‑1/2”. [400/700] Illustrated

536

537 534 George I Oak Blanket Chest, first quarter 18th century, the hinged, planked top, opening to reveal a deep storage area, over a paneled case, raised on block feet, h. 24‑1/2”, w. 46”, d. 21”. [250/400] Illustrated

540 Pair of Bohemian Glass Covered Vases, first quarter 20th century, composed of ruby-stained, cut and engraved overlay glass in floral decor, h. 12‑1/2”, dia. 5‑3/4”. [1200/1800] Illustrated 541 Unusual Bohemian Glass “Wedding Toasts” Chalice, first quarter 20th century, of traditional form, composed of richly gilded and ruby- and amber-stained cut overlay glass, the chalice inverting from a round-bowl (groom) drinking vessel to a flaring (bride) vessel, h. 8‑3/4”, dia. 4‑1/4”. [300/500]

538

535 English Oak Occasional Table, 20th century, the rectangular top over a recessed frieze, joined to the lower shelf by turned supports, raised on turned and block legs, h. 25”, w. 26”, d. 17‑1/2”. Provenance: Private collection, Jackson, Mississippi. [100/200]

536 English Oak Gateleg Table, fourth quarter 18th century, the rectangular top with two ovoid drop leaves, over a carved apron, raised on balusterturned legs and a swing-out support joined by a box stretcher, h. 30”, w. 40”, d. 14‑1/2”, extended d. 44‑1/2”. [300/500] Illustrated

540

539

537 German Patinated Bronze Figure of a Young Hunter, fourth quarter 19th century, the figure modeled with a pair of deceased game birds in his belt, his proper left hand holding an equally dead hare by its rear legs, h. 21”, w. 7”, d. 5‑1/2”. [300/500] Illustrated

542 Good Bohemian Panel-Cut Glass Vase, fourth quarter 19th century, attributed to the Harrach Glassworks, of tall cylindrical form, composed of parcel-gilt clear-overcranberry glass, on a gilt-edged petal-cut foot, h. 17‑1/4”, dia. 5”. [400/700] Illustrated 543 Pair of Bohemian Ruby-Stained Glass Trumpet Vases, second quarter 20th century, probably the Goldberg Glassworks, Bohemia, each cut and floralengraved glass vase on a circular colorless glass foot, the collars lattice-cut, the rims scallop-cut, h. 11”, dia. 5”. [100/200] 550

548 Thirty-Nine-Piece Collection of Blue and White Porcelain and Pottery, including Danish, Finnish, German and English examples, consisting of a seventeen-piece group of Royal Copenhagen pottery rondels depicting Danish urban landmarks; a pair of circular Bing & Grondahl “Antoni” porcelain trivets, third quarter 20th century; a set of eleven German “Blue Onion” porcelainhandled fruit knives with StahlBronce, Solingen, blades; an Arabic square relishes dish in “Lapplander Children” decor; a set of four Royal Copenhagen porcelain breakfast tea saucers in floral decor; a matching set of four bread-and-butter plates; and a Johnson Brothers, Staffordshire, Flow Blue sauceboat in “St. Louis” decor, first quarter 20th century; all of the pieces fully marked and/or numbered, the largest h. 4‑1/2”, w. 3‑1/4”, l. 8”. [100/200]

542

549 Good Bohemian Glass Vase, ca. 1900, attributed to the Harrach Glassworks, in the Orientalist style, in white cameo-enameled shaded and frosted pale green glass, h. 11‑1/4”, dia. 6”. [100/200]

544 Franco-Belgian Machine-Woven Tapestry Panel, second quarter 20th century, featuring a galants group at a swing in a sylvan glade in the 18th-century style, the primary palette in vieux rose, antique white, ecru, green and taupe, w. 40”, l. 59”. [300/500] 545 Good Franco-Belgian Crackle-Glazed Pottery Vase, second quarter 20th century, of paneled hexagonal form in the Art Deco taste, the body stylishly decorated in blackoutlined floral and avian motifs, h. 10‑1/4”, dia. 8‑1/2”. [40/70] 546 Pair of Bohemian White Cased Cut-to-Clear Glass Vases, second quarter 20th century, of baluster form, the underside of each example etched “Made in Czechoslovakia” within a circle, one vase with a slight bluegray hue, h. 9‑1/4”. [125/250] 547 Pair of Austro-German Patinated Copper and Brass Vases, first quarter 20th century, of footed bullet form in the “Sezession” taste, each fitted with a period flutecut glass liner of conforming bullet form, h. 13‑1/4”, dia. 4‑1/2”. Provenance: Beechwood Mansion, The Estate of William Astor, Newport, Rhode Island. [75/125]

550 Royal Bavarian Porcelain Manufactory White Biscuit Vase, second quarter 20th century, of upright oblong form in bas-relief “Lowing Stag in the Forest” decor, the base fully marked in green transfer-print, h. 9‑1/4”, w. 6‑1/2”, d. 3‑1/2”. [100/200] Illustrated

551

551 Jacques Marin (French, 1877‑1950), a good Belle Epoque sculpted Carrara marble portrait bust of a fine-featured aloof gentlewoman with an upswept coiffure, dated 1903, h. 18”, w. 17”, d. 10”. [300/500] Illustrated

559

552 Unusual Pair of Bohemian Frosted Smoky Quartz Glass Lustres, first quarter 20th century, each elaborately parcel gilded and dressed with period magnum cut glass prisms, h. 13”, dia. 7‑3/4”. [200/400] 553 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. [700/1000]

557

554 Good Pair of Tielsch and Company, Altwasser, Porcelain Pastry Serving Trays, third quarter 19th century, in the rococo taste, each of two-handled form and centered with a well-painted fruit still life, each tray marked with the Tielsch “eagle” in blue on the base, h. 1‑1/2”, w. 9”, l. 10”. [50/80] 555 German Walnut and Ebony-Lacquered Wooden Wall Clock, fourth quarter 19th century, in the Renaissance taste, the circular dial of ivory enamel with black chapters, retains the period brass pendulum of “moon” form, the arched cresting centered with a carved upright scallop shell, h. 32”, w. 15‑1/2”, d. 8”. [250/400] 558 Reinhold Schlegelmilch (RS, Prussia), polychromed bat-decorated porcelain sweetmeat tray, of circular, two-handled form, featuring a central reserve of “The Dice Players” after Murillo, first quarter 20th century, dia. 9‑3/4”. [50/80]

556 Attractive Continental Copper-Relief Garniture Vase, first quarter 20th century, gilt-brass mounted and bronze patinated in “Procession of the Gods” decor, the bronze finish tastefully worn lightly to the underlying copper, h. 12‑1/2”, w. 6‑1/4”, d. 6”. [400/700] Illustrated 557 Six-Piece Continental Enameled Cobalt Blue Glass Liqueur Service, for four persons, fourth quarter 19th century, consisting of a circular tray with gallery rim, dia. 6‑5/8”, a ringed decanter, h. 6‑1/2”, dia. 2‑1/2”, and four small goblets, h. 3”. [300/500] Illustrated

559 Unusual Pair of Franco-Bohemian Porcelain Garniture Vases, third quarter 19th century, of twohandled form in the Neo-Grec style, each facade painted in the Luminist manner with a moonlit river scene, the black and gold handles sharply rectilinear, h. 10‑3/4”, w. 10”, d. 4‑3/4”. [200/400] Illustrated

556

560 Two-Piece Group of Cabinet Porcelain, comprised of a Carl Knoll, Fischern, elaborately gilded porcelain cabinet plate centered with the portrait of a long-tressed Beauty, fourth quarter 19th century; and a Zeh, Scherzer and Company, Bavaria, porcelain fruit bowl in “Orleans” pattern, first quarter 20th century, the center of the bowl with a neoclassical figural vignette in the style of Angelica Kauffmann (Swiss, 1741‑1807) and so signed; the largest h. 2‑1/2”, dia. 10‑1/4”. [100/200]

561 Translucent Blue and White Composition Glove Box, with serpentine edges and featuring “Galatea and Frolicking Water Sprites” on the lid, the body decorated with white relief ivy vines, h. 3‑1/4”, w. 11‑1/2”, d. 4‑1/2”. [500/800] Illustrated 562 Collection of Four German Stoneware Steins, first quarter 20th century, comprised of a “Mettlach”-type pewter-lidded motto example; a Mettlach “Tavern Bowlers” stein in the “Illustrator” style; a similar Mettlack “Storyteller” example also in the “Illustrator” style; and a German polychromed pottery musical stein with “Bavarian Topers” decor; both Mettlach examples fully marked, the musical stein in working order, h. 11‑1/2”, dia. 4‑3/4”. [150/300]

564

563 Four-Piece Von Schierholz Porcelain Mantel Garniture, first quarter 20th century, in the “Dresden” rococo style, comprised of a mantel clock, h. 22‑1/2”, w. 15”, d. 9‑1/2”, a matching bowfront clock stand, and a pair of four-light candelabra, all with putto figures and lavish applied flowerhead decoration, the candelabra with standing putto supports, each holding aloft the candlearms, h. 18‑1/4”, dia. 11”, all of the pieces fully marked. [1000/1500] Illustrated Color Plate IV

563

564 Beaux Arts-Style Giltwood and Plaster Looking Glass, first quarter 20th century, the rectangular mirror plate within a floral and annulated slip surrounded by an acanthine- and floral-molded frame, h. 32‑1/2”, w. 47”. [400/700] Illustrated

565 Franco-Belgian Machine-Woven Tapestry Panel, first quarter 20th century, depicting “The Card Players” in the manner of David Teniers the Younger (Flemish, 1620‑1690), fitted with a linen rod sleeve at the upper edge and accompanied by a later bronzed metal rod with fleur-de-lys finials, h.53”, w. 47”. [400/700] Illustrated

566 Continental Carved Oak Looking Glass, mid‑19th century, possibly Black Forest, the rectangular plate surrounded by an elaborately carved naturalistic frame with side star accents, h. 42”, w. 33‑3/4”. [300/500] 567 Good Meissen .800-Standard Silver-Mounted Blancde-Chine Porcelain Vase, of sleeve form in the Chinese taste and featuring a blue dragon with the Flaming Pearl, h. 9”. [75/125]

561

568 Framed Arched Franco-Belgian Tapestry Panel, first quarter 20th century, the machinewoven tapestry depicting mounted huntsmen, hounds and a standing hornsman in a wood, the period frame in old gold with a concave burl-grained center molding embellished at the rounded corners with polychromed bas-relief floral garlands, h. 27‑1/2”, w. 17‑3/4”. [100/200]

570 Venetian Polychromed Bedside Commode, first quarter 20th century, the serpentine top over a conforming case fitted with two paneled drawers, above a carved apron, raised on cabriole legs ending in peg feet, h. 25‑1/4”, w. 23‑1/2”, d. 13”. [125/250] 571 Monumental Beaux Arts-Style Giltwood and Plaster Looking Glass, the outer frame with foliage carving, the inner molding with acanthine designs within a beaded band, h. 78”, w. 40‑1/2”, d. 3”. [200/400] 572 Monumental Beaux Arts-Style Giltwood and Plaster Looking Glass, the outer frame with foliage carving, the inner molding with acanthine designs within a beaded band, h. 78”, w. 40‑1/2”, d. 3”. [200/400] 573 Suite of Four Continental Painted Metal Bistro Chairs, first quarter 20th century, each with a shaped and pierced crest over a pierced columnar splat, above a caned seat, raised on circular legs ending in pad feet, h. 34‑3/4”, w. 20”, d. 17”. Provenance: Private collection, Jackson, Mississippi. [300/500] 565 569 Eight-Piece Continental Rococo-Style Polychromed Bedroom Suite, first quarter 20th century, consisting of a bedstead, h. 52‑1/2”, inside w. 56‑1/2”, l. 83”, outside w. 60”, l. 85”, with a shaped padded headboard, a pair of bedside tables fitted with four drawers, h. 28”, w. 13‑3/4”, d. 10”, a kidney-shaped dressing table and a stool, a looking glass, a two-drawer side table, h. 27‑1/2”, w. 27”, d. 12”, a tall dresser with a shaped mirror plate over a short drawer above a case fitted with two frieze drawers over four long drawers, h. 72”, w. 36”, d. 23”, and a giltwood armchair with padded back joined to the like seat by open arms, h. 36‑1/2”, w. 25‑1/2”, d. 27”, all eight pieces raised on cabriole legs on peg feet; all except the armchair painted apple green with accents of floral bouquets. [800/1200] Illustrated

569 eight-piece suite

574 Good Vienna Bronze-Patinated Metal Orientalist Accent Lamp, fourth quarter 19th century, modeled as a Turkish crenellated tower occupied by a robed male, the exterior with an ivory vendor under a canopy and a caparisoned mule under a palm tree, the upper portion and sides of the tower set with crimson and green glass windows, fitted for electrical wiring, h. 14‑1/4”, w. 12‑1/4”, d. 7‑1/2”. [600/900] Illustrated

578

577

579

576

575 Manner of Jane DeDecker (Contemporary), a monumental patinated bronze garden sculpture of a boy trying to escape from a bulldog, signed at the base “Jim Davidson”, h. 80”, w. 38”, d. 28”. [1800/2500] Illustrated

574

579 Two Japanese Meiji Patinated Bronze Figures, fourth quarter 19th century, comprised of a standing robed and armored samurai offering a sack of tribute money, h. 13‑1/2”; and an elaborately robed and diademed female figure, the diadem fitted with a tall pair of detachable bronze feathers, h. 9‑1/4”. [150/300] Illustrated 580 Pair of Kuang Hsu Bronze and Champleve Enamel Candlesticks, fourth quarter 19th century, each featuring a relief Celestial Dragon and bas-relief calligraphic symbols, h. 14‑1/4”, dia. 4”. [100/200] Illustrated

575

576 Japanese Meiji Patinated Bronze Figure of an Immortal, fourth quarter 19th century, the bearded figure modeled robed and crouched, the base with a bas-relief calligraphic rondel, h. 8‑1/2”, w. 9‑1/4”, d. 7”. [200/400] Illustrated 577 Thai Patinated Cast-Iron Figure of a Dancing Girl, third quarter 19th century, the bronze-patinated figure modeled in a traditional dancing costume, presented on a mahogany-stained wooden block base with beveled upper edges, h. 12‑1/2”, w. 4‑3/4”, d. 4‑1/2”. [100/200] Illustrated 578 Thai Patinated Bronze Figure of the Youthful Buddha, second quarter 19th century, the figure modeled seated on a lotus throne, h. 18‑3/4”, w. 7‑1/4”, d. 5‑1/4”. [250/400] Illustrated

581 Kuang Hsu Bronze and Champleve Enamel Brazier, fourth quarter 19th century, h. 9”, w. 13‑1/2”, dia. 9”. [100/200] Illustrated 582 Japanese Meiji Provincial Glazed Stoneware Storage Jar, fourth quarter 19th century, the shoulders with rows of stamped barred decoration, h. 19‑1/2”, dia. 13‑1/2”. [150/300]

580 581

587 Japanese Meiji Bronze Figure of a Snarling Foo Dog, fourth quarter 19th century, the goldand brown-patinated figure modeled with its forepaws on a ribbed sphere and a Foo pup on its bag, the pup removing to reveal the hollow interior of the primary figure, presented on an oriental hardwood stand of stepped oblong form, h. 11”, w. 5‑1/2”, l. 8‑1/2”. [200/400] Illustrated 588 Kuang Hsu Patinated Bronze Figure of a Foo Dog, fourth quarter 19th century, the figure modeled standing on its hind legs, its proper right foreleg on a reticulated bronze sphere, h. 10”, w. 11”, d. 5‑1/2”. [150/300] Illustrated

589

585

583 Japanese Meiji Provincial Storage Jar, fourth quarter 19th century, composed of glazed stoneware, the shoulders with rows of stamped barred decoration, h. 19‑1/2”, dia. 13‑1/2”. [150/300] 584 Japanese Meiji Cloisonne Pyriform Vase, fourth quarter 19th century, the melon-ribbed bowl with elaborately patterned cloisonne panels and goldstone inclusions, h. 9‑1/4”, dia. 12”. [500/800] 585 Kuang Hsu Black-Patinated Bronze Footed Cachepot, fourth quarter 19th century, of large sze, the exterior with bas-relief reserves of mythical beasts, h. 11‑1/2”, dia. 14”. [300/500] Illustrated

587

588

586 Kuang Hsu Bronze Gourd-Form Jardiniere, fourth quarter 19th century, the exterior walls with relief decoration of fruited vines and a diminutive pair of snails, the feet modeled as stylized fruits, h. 3”, w. 9”, l. 14‑1/2”. [100/200]

591 Henredon Brass-Mounted Stained Fruitwood Bedstead, of Asian inspiration, the molded cornice over a fretwork pierced and carved frieze fitted with spotlights, joined to the like headboard by square supports, over a platform base, raised on C-curved legs ending in carved feet, h. 84”, w. 66‑1/2”, inside l. 66”, outside l. 88”. [200/400] Illustrated 591

589 Kuang Hsu Elaborately Carved Noble’s “Dragon” Throne, fourth quarter 19th century, of the traditional type, composed of carved, red-lacquered and parcelgilded wood, the yoke-form crest rail centered with a large gilded Flaming Pearl and having Celestial Dragon terminals, h. 45‑1/2”, w. 22‑1/2”, d. 23‑1/2”. Provenance: Beechwood Mansion, The Estate of William Astor, Newport, Rhode Island. [500/800] Illustrated Color Plate VII and previous page

594

592

590 Modern Mahogany-Veneered Sideboard, of Asian inspiration, the banded rectangular top with a low-reliefcarved “Samurai in a Landscape” scene and fitted with slide-out ends, over a case fitted with a silverware drawer and another short drawer above two like-carved doors, ending in a shaped plinth base, h. 31‑1/2”, w. 42”, d. 19”. [200/400] Illustrated

590

592 Three-Piece Group of Nepalese and Japanese Metal Figures, comprised of a tall Nepalese gilded cast-iron figure of the young crowned Buddha standing atop a lotus, second quarter 19th century, now mounted on a bronze-patinated brass “collector’s” base as a table lamp; a Nepalese weighted and gilded brass figure of Ganeesh seated on a skull-ringed platform, fourth quarter 19th century; and a Japanese Meiji brass figure of the robed seated Buddha, also fourth quarter 19th century; the largest h. 23”. [600/900] Illustrated

602

596 Group of Three Thai and Nepalese Figures of Buddha, comprised of a Nepalese weighted brass figure of an elaborately crowned Buddha seated in the lotus position, fourth quarter 19th century; a smaller Thai parcel-gilt and patinated weighted bronze figure of Buddha seated on a tiered throne, third quarter 19th century; and a yet smaller Thai parcel-gilt cast-iron figure of a lotus-seated Buddha on a serpent throne, third quarter 19th century; the largest h. 15”. [200/400] 597 Diminutive Ch’ien Lung Patinated Bronze Table Incense Burner, third quarter 18th century, in the form of a standing Foo dog with a fan-form tail, the head of the creature lifts off for the filling and cleaning of the vessel, h. 7”, w. 2‑1/2”, d. 2‑1/2”. [100/200]

601

598 Nepalese Brass Figure of Buddha, second quarter 19th century, the figure depicted seated on a throne supported on the back of a dog, the whole set in a footed “tabernacle” stand, the reverse of the tabernacle with a script stanza at the arch, h. 6”, w. 3”, d. 2‑1/2”. [40/70] 599 Two Large Asian Table Lamps, second quarter 20th century, comprised of a good Chinese engraved brass ringhandled tea canister of cylindrical section, now mounted as a table lamp on a stained Oriental pine base of disc form, h. 27”, dia. 12”; and a tall serpentine-edge antiqued and floral-engraved brass table lamp of tea canister form on a conforming black-lacquered chinoiserie base, h. 32”, w. 11”, d. 6‑1/2”; the former with a custom pale green linen shade, the latter with a drum shade in antique white silk shantung. [250/400]

593 Attractive Kuang Hsu Domed Gong, fourth quarter 19th century, of bell form with bas-relief decoration of Celestial Dragons and stylized clouds, the striker lacking, h. 7”, dia. 5”. [75/125] 594 Graduated Near Pair of Kuang Hsu “Celestial Dragons Entwined” Vases, fourth quarter 19th century, composed of natural bronze, the larger with alternating reserves of kylin and flowers on the body and presented on a Chinese hardwood footed stand, h. 11”, w. 6”, d. 5‑1/2”; the smaller with a pair of Celestial Dragons and The Flaming Pearl on the body, h. 10”, dia. 5”; each signed in bas-relief calligraphy on the base. [100/200] Illustrated 595 Pair of Chinese Satin-Finished Gilt-Brass Vases, third quarter 20th century, of tall “Gu” form, mounted as table lamps on black-lacquered wooden disc bases, each fitted with an interior white opal glass shade of flaring bowl form, h. 31”, dia. 8”. [100/200]

600 Five-Piece Group of Oriental Metalware, consisting of a Japanese Meiji patinated bronze tall-neck vase of small size in relief “Songbirds and Flowering Branch” decor, the base lacking, fourth quarter 19th century; an attractive Meiji tri-metal-inlaid bronze cabinet vase of small baluster form in “Songbird and Asters” decor, signed in a calligraphy lozenge on the base, fourth quarter 19th century; a Chinese cloisonne napkin ring in “Celestial Dragon” decor; and a boxed pair of Chinese cloisonne sweetmeat boxes in the form of fledglings in the Chien Lung style; the largest h. 6‑1/2”, dia. 4”. [75/125] 601 Japanese Meiji Brass Figure of an Eagle, first quarter 20th century, the bird modeled perched on crossed logs, with wings spread and gazing downwards, h. 22‑1/2”, w. 33‑1/2”, d. 27”. [150/300] Illustrated 602 Graduated Group of Six Thai Gilded Cast-Iron Figures, third quarter 19th century, each depicting a seated, enthroned young Buddha with scarlet paint details, all of the figures but one with the elaborate traditional spiked Siamese crown, the largest h. 17”, w. 10‑1/4”, d. 5‑1/2”. [400/700] Illustrated

603 Tao Kuang Gilded Cast-Iron Figure of an Immortal, second quarter 19th century, the bearded figure depicted robed and seated, his proper right hand raised, his throne of elaborately carved dark mahogany, h. 18”, w. 9”, d. 6”. [700/1000] Illustrated

603

604 Kuang Hsu Patinated Bronze Covered Ewer, fourth quarter 19th century, in the form of a horned bovine in the T’ang Dynasty style, the bovineheaded cover removing to reveal the underlying ewer form, h. 7‑3/4”, w. 4”, l. 8”. [150/300]

605 Circle of Jean Despujols (French, 1886‑1953), a small patinated bronze head of an Indonesian woman with an elaborate chignon, second quarter 20th century, presented on a black-painted wooden base of square block form, h. 7‑1/4”. [75/125] 606 Chinese-Style Lacquered Display Cabinet, the pagoda-molded cornice over a case fitted with two long astragal-glazed doors and sides, raised on curved feet, the whole painted with interlacing floral sprays, h. 85‑1/2”, w. 47”, d. 14‑3/4”. [300/500] Illustrated

609

607 Drexel Heritage Mahogany-Veneered Console Table, of Asian inspiration, the rectangular top carved in low relief with three Chinese landscape scenes, over a like-carved frieze centered by a drawer, raised on square legs ending in carved feet, the top fitted with a glass panel, h. 28”, w. 56”, d. 16”. [100/200] 608 Pair of Chinese Modern Black-Lacquered and Polychromed Pedestals, each of circular form depicting avian and foliage scenes throughout, and raised on a circular plinth base, h. 36‑1/4”, dia. 12‑1/4”. [150/300] 609 Drexel Heritage Lacquered Faux-Bamboo Chinoiserie, Desk, of George III form, the rectangular top with a gilt-tooled leather writing surface, over a central frieze drawer, flanked by two pedestals, each fitted with three drawers, raised on a plinth base, h. 30”, w. 59‑1/2”, d. 30”. [300/500] Illustrated 610 Drexel Heritage Black-Lacquered Chinoiserie Vitrine, the molded cornice over a case fitted with two glazed doors above a pair of Chinese village landscapepainted doors, raised on a plinth base, h. 80”, w. 35”, d. 15”. [300/500]

606

611

612 Five-Piece Drexel Heritage Cream-Lacquered Dining Suite, of Asian inspiration, consisting of a dining table, h. 29”, w. 35‑1/4”, d. 35‑1/4”, and four armchairs, h. 36”, w. 22”, d. 19”, the table with a square top with a molded edge and corners, raised on square legs ending in shaped feet; each armchair with a shaped crest above a Chinese dragons-carved splat, joined to the cushioned seat by undulating downswept arms, raised on square legs joined by a stretcher. [200/400] 613 Three-Piece Drexel Heritage Cream-Lacquered Living Room Suite, consisting of a side table, h. 28‑1/2”, w. 54”, d. 16”, a cabinet, h. 32‑1/4”, w. 36”, d. 18”, and a sofa table, 23‑1/2”, w. 20‑1/4”, d. 20‑1/4”, the side table with a rectangular top, raised on square legs ending in block feet; the cabinet with a paneled rectangular top over a conforming case fitted with two lotus-carved doors, ending in a plinth base; the sofa table with a quatrefoilform top, over a conforming case fitted with a door, ending in a plinth base. [200/400]

618

611 Drexel Heritage Lacquered Faux-Bamboo Television Cabinet, in the Chinese taste, the pagoda crest over a dentillated frieze above two “Scholars in a Landscape”painted doors, the lower case fitted with a pair of doors depicting “Pavilions in a Landscape”, raised on fretworkcarved bracket feet, h. 84‑1/2”, w. 42‑1/4”, d. 23”. [200/400] Illustrated

615

614 Collection of Four Japanese Meiji “Bento” Basket Woven Picnic Boxes, first quarter 20th century, comprised of a square bamboo-handled three-tier example, a rounded square three-tier stained example with a bentwood handle, a square paneled box with octagonal reserves at the obverse and reverse, and a circular three-tier example with carved giltwood embellishments, the largest h. 15”, w. 9”, d. 9”. Provenance: Private collection, Jackson, Mississippi. [50/80] 615 Pair of Tao Kuang Verdigris-Patinated Bronze Vases, of tall, two-handled “Hu” form in the T’ang Dynasty style (206 B.C.‑220 A.D.), now mounted as table lamps with ovoid mahogany caps and bases, and fitted with tall oval drum shades in “old ivory” silk, h. 22”, w. 13”, d. 8”. [300/500] Illustrated

618 Attractive Pair of Han Dynasty (206 B.C.- 220 A.D.) Pottery Vases, of large “Hu” form, polychromed and patinated gray, the spherical bodies with traces of the period red-orange painted banding, presented on matching lacquered wooden display stands of square block form, h. 14‑1/2”, dia. 9‑1/2”. [1500/2500] Illustrated previous page 619 Pair of Kuang Hsu Patinated Pottery Figures of Bulls, fourth quarter 19th century, in the T’ang Dynasty (618‑970 A.D.) style, each figure modeled with a slightly covered head, its proper right hoof pawing the ground, h. 10‑1/2”, w. 6”, l. 14”. [300/500] Illustrated 620 616 Diverse Four-Piece Collection of Bronze and Silver Objects, comprised of a Flemish cased set of five graduated gold weights, second quarter 18th century; a Kuang Hsu bronze ashtray in the form of a gourd, fourth quarter 19th century; a Japanese Meiji patinated bronze brush cup of like date; and a William Spratling silver head of a Mayan nobleman mounted on a black lacquer stand as a tabletop ornament, the base of the silver head’s stand with an inset “WS” monogram disc, second quarter 20th century; the largest h. 3‑3/4”. [100/200] 617 Japanese Meiji Bronze Traveling Scribe’s Inkstand/ Brush Case, fourth quarter 19th century, the polygonal inkstand with dark russet patination and bas-relief figures of Foo dogs, the scroll-terminal handle hollow for the containment of brushes, l. 13‑1/2”. [75/125]

620 Turkish Oushak Carpet, 8’ 5” x 10’ 2”. [1200/1800] Illustrated 621 Agra Serapi Runner, 2’ 7” x 12’. [400/700] Illustrated 622 Semi-Antique Sparta Carpet, 11’ 11” x 17’ 8”. [300/500] 623 Aubusson-Style Needlepoint Carpet, 5’ 3” x 8’ 5”. [200/400]

621

624 Persian Kashmar Carpet, 9’ 7” x 13’ 3”. [600/900] Illustrated

619

625 Hamadan Carpet, 3’ 5” x 4’ 8”. [50/80] 626 Karaja Runner, 2’ 2” x 6’ 3”. [75/125] 627 Agra Serapi Carpet, 8’ 1” x 10’. [1000/1500] Illustrated

627 628 Indo-Oushak Carpet, 5’ 8” x 7’ 10”. [350/500] 629 Persian Mir Carpet, 3’ 8” x 6’ 7”. [150/300]

624 631 Persian Tabriz Carpet, 9’ 8” x 12’ 10”. [500/800] Illustrated

630 Persian Azerbaijan Runner, 3’ 2” x 9’ 8”. [250/400]

631

635

636 Pakistan Lahore Runner, 2’ 8” x 8’ 4”. [150/300] 637 Indo-Oushak Runner, 2’ 7” x 8’. [200/400] 638 Agra Zeiglar Mahal Carpet, 7’ 10” x 10’. [800/1200] Illustrated 639 African, Kenyan Charcoal and Pastel Self-Portrait of a Kalahari Bushman Tracker, signed and dated, together with a bow and arrow belonging to the subject in the painting, painting 26‑1/2” x 20‑3/4”, bow l. 47”. The portrait glazed, matted and framed. This bushman went by the American name “Mack” which was given to him because his real name was too hard to pronounce. He was later killed by a water buffalo during a hunting exposition. [500/800] Illustrated 640 African Cowhide and Wood Tribal Shield and Spear, the shield oval, h. 27”, w. 20”, the spear long, l. 55”, both polychromed. [40/70] 638

641

641 Triple-Faced Wooden Helmet Mask, of conical shape, each face with large rectangular eyes with traces of red and white pigment, and small conical mouth, each bottom perimeter with attached fiber ruff, h. 13‑1/2”, dia. 12”. [150/300] Illustrated

639

632 Persian Bakhtiari Carpet, 9’ 7” x 11’ 10”. [450/700] 633 Bidjar Circular Carpet, dia. 8’ 3”. [300/500] 634 Heriz Carpet, 6’ x 9’. [200/400] 635 Louis XIV-Style Needlepoint Carpet, 8’ 7” x 11’ 8”. [400/700] Illustrated Color Plate II and previous page

642

642 Cameroon-Style Head with Pedestal, composed of a large head on a circular cloth and wrap base, the head with four-ridged hairdo, C-shaped ears, dome-shaped protruding eyes, bulbous cheeks painted white, exposed rows of teeth painted white, and large voluminous fiber ruff attached to the circumference of the neck, presented on a tall ebonized squared columnar pedestal, h. 21”, with stand h. 63”. Provenance: Private collection, Jackson, Mississippi. [700/1000] Illustrated

644 Two Vietnamese Bamboo Root Sculptures, comprised of a table sculpture of a smiling Buddha, h. 15”, w. 11”, d. 4”; and a wall-mounted example of a bearded sage, h. 13”, w. 7”, d. 3‑1/2”. [75/125] Illustrated 645 African-Style Wooden Kneeling Female Figure, with exaggerated features, her arms extending to the base, one hand with a finger inserted into a jar-like container, having pendulous breasts and protrusions from forehead, presented on an ebonized wooden pedestal of cube form, h. 48‑1/2”, w. 11”, d. 11”. Provenance: Private collection, Jackson, Mississippi. [200/400] Illustrated

645

646

643 Group of Two African Masks, comprised of a Baule-style horned face mask with an oval-shaped wooden face with tubular horns, h. 18”, w. 10”; and an African-style face mask with copperized patina and red metal applications on the mouth, above the eyes and on the forehand, with ropelike wire decoration on the mouth, ears, eyes and abstract decoration on forehead, h. 17‑1/2”, w. 9‑1/2”. [200/400] Illustrated

644 643

646 Baule-Style Wooden Female Figure, with bulbous domed hairdo, depicted seated on a stool, her feet on a low platform, her hands resting on her abdomen, with raised scarification marks on her breasts, abdomen, cheeks, forehead, shoulders and forearms, presented on an ebonized wooden pedestal of cube form, h. 45‑1/2”, dia. 9”. Provenance: Private collection, Jackson, Mississippi. [200/400] Illustrated

647

647 Senufo-Style Standing Bird, West African, the wooden bird standing on a low platform, with rectangular wings extended, domed-shaped torso, long beak touching abdomen, long tubular legs and crest atop head with multiple conical protrusions, incised decoration overall, presented on a black wooden base of cube form, h. 75”, w. 27”, d. 20”. Provenance: Private collection, Jackson, Mississippi. [400/700] Illustrated 648 Kenyan Carved Wooden Tribal Figure, second quarter 20th century, of tall, attenuated form with a bristle topknot and a fiber head wrap, the wood in a dark stained and rubbed finish throughout, h. 45”. [30/50]

652 Suite of Six Various African Hand-Woven and Dyed Trays, consisting of four Pima design examples, a Zulu example and a Nigerian flat example, the largest dia. 12‑1/2”. [100/200] 653 Navajo Indian Red Fox Quiver and Two Arrows, fitted with a hanging strap, h. 17”, l. 58”, d. 3”. [200/400] Illustrated 654 Amahuaca Indian Bow and Three Arrows, bow l. 53”, largest arrow l. 45”. The Amahuaca Indians are one of the smallest population tribes known in the Amazon today. [200/400] 655 Vintage Shotgun Cleaning Rod and Native Indian Arrow, the arrow bearing the maker’s name along the shaft, with a knapped stone-tipped arrowhead, l. 33‑1/2”; together with a vintage hand-made shotgun cleaning rod, l. 39‑1/4”. [50/80] 656 Two Powder Horns, third quarter 20th century, one a hand-crafted white/gray/black polished buffalo horn powder horn with a carved antler plug and stopper in the traditional style, l. 10”; the other a brass-, leather- and turned horn-mounted goat horn powder horn with pendant horsehair embellishments, l. 13”. [50/80] Illustrated

649 Trio of Patinated Bronze “Manilas”, (also called “slave bracelets”), 1600‑1700, all barter pieces used during the European slave trade with Africa, w. 2‑1/4”, l. 2‑1/2”. [50/80] 650 African-Style Carved Wooden Female Figure with a Bird, the figure modeled seated on a stool, her arms upraised and holding the tips of extended wings of a large bird standing on her head, the bird with a long beak touching its chest, presented on a black wooden base of cube form, h. 50”, w. 19”, d. 10‑1/2”. Provenance: Private collection, Jackson, Mississippi. [400/700]

651 Suite of Nine Various North American Hand-Woven Baskets, consisting of six Papago, Tohono O’oDham; an early 20th-century Alaskan coiled vase; and two Seminole Indian, Florida, bound pine needle baskets; the largest dia. 8‑1/2”. [100/200] Illustrated

651

653

657 Rare Mayoruna Indian Poison Dart Quiver, h. 11‑1/2”, dia. 3”. Also known as Matses, this Amazon tribe stored their darts in this container. The darts were impregnated with frog poison by rubbing the tips across the backs of poison frog species from the Amazon jungle. [50/80] Illustrated 658 Two Coiled and Dyed Hand-Woven Tribal Baskets, consisting of an Amazonian Mats’es Indian leaf gathering example and a vintage Navajo Indian medicine basket, the largest dia. 13‑1/2”. [50/100] Illustrated

657

656

659 Large African Coiled and Dyed Wedding Basket, Kenyan, of Navaho Indian design, dia. 23‑1/2”. [100/200] Illustrated 660 Suite of Three Hand-Woven Tribal Baskets, consisting of a vintage African string bowl, a large Yanomamo Indian gathering basket and a Heminaku Indian banana leaf platter basket, all from the Amazon rain forest, the largest dia. 19‑1/2”. [50/80]

661 Group of Two American Woven Splint Baskets, first quarter 20th century, the first a large example of deep, oblong form with a bentwood center handle, h. 19”, w. 11”, l. 19”; and the second of oval cushion form with an arched woven splint-covered handle, h. 15”, w. 15”, l. 19”. [150/300] 662 Five-Piece Collection of Hand-Woven Baskets, consisting of two Botswana lidded hanging medicine storage baskets; a Kenyan bowl; a Ukhamban beaded, lidded example; and a Louisiana, dyed and antler-handled example, fitted with a leather tassel, made by Randal W. Bales, Baton Rouge; the largest h. 7‑1/2”, w. 9”, l. 11‑1/2”. [100/200]

659

663 Native American Ojibway Bow and Four Arrows, the buckskin-wrapped bow adorned with trade beads and feathers and a sinew flemish bow string, l. 68”, the quiver of buffalo hair-on-hide with tanned tassels and soft leather strap, l. 23”; the arrows with flint bird tip arrowheads attached with sinew and resin, and turkey feather flights, l. 32”. [400/700] Illustrated 664 Group of Ten Handmade Indian Arrows, some examples with decorated shafts, and all having flint arrowheads, the largest l. 36‑1/2”. [100/200]

658

663

665 Matses Indian Bow and Two Arrows, one a spear arrow with a long projectile tip, bow l. 96”, arrows l. 56” and 58”. The Matses Indians are known as “The Guardians of the Rainforest” and can only be reached with a guide. The spear arrow was often launched using another stick notched like a ladle. [200/400]

666 Collection of Five Native American Pine Needle Baskets, consisting of two Seminole Indian open examples; two Louisiana Chitimacha lidded examples; and one Coushatta lidded example; the largest h. 3‑1/2”, dia. 5”. [100/200] Illustrated

666

667 Large Hand-Woven Vine Floor Basket, of tapering cylindrical form with two handles and a hardwood base, h. 20‑1/2”, dia. 15”. [30/50]

669

668 Two African Tribal Dyed Hand-Woven Baskets, including a Swazi sisal example, dia. 8‑1/4”; and a wedding trinket basket of Navajo design, dia. 7‑1/2”. [50/80] 669 Collection of Five Ethiopian Woven Baskets, consisting of a vintage dyed example with a V-figure design; a vintage dyed example with a figural design; two dyed examples with a Navaho design; and a natural coil woven example; the largest dia. 15‑1/2”. [50/80] Illustrated 670 Group of Three Seminole Indian Arrows, each made with a garfish scale arrow tip, sinew and resin, l. 32”. [100/200] Illustrated 671 Yanomami Indian Bow and Two Arrows, bow l. 71”, arrow l. 45”. These bows were not very powerful but required tremendous skill and were sometimes used with poisonous arrow tips. There are less than 20,000 Yanomami Indians known to exist today in the Amazon rain forest. [200/400] Illustrated

673 Huaorani Indian Bow and Two Arrows, one arrow for fishing, l. 64”, and one for hunting, l. 68”, bow l. 68”. The Huaorani Indians are known as “The Warriors of the Amazon”; there are less than 2,000 known to exist today. [200/400]

672 Group of Four Indian Arrows with Stone Arrowheads, some examples with decorated shafts and turkey feather flights, the largest l. 33”. [50/80] Illustrated

674 American Wooden Bowl with Apples, the turned, stained and intaglio-carved fruitwood footed compote, probably American cherry wood, with a dozen turned and green-painted wooden apples, each with a single fabric apple leaf at the stem, h. 7‑1/2”, dia. 10‑1/2”. [30/50]

672

670

671

675 Collection of Three American Wood Art Vessels, comprised of a “map-marked” worm wood fruit bowl by D. Carroll, Varbado, Louisiana; a turned box elder vase with natural bark rim, signed H. B. Hutchinson; and a small turned oak bowl of cup form, 1989, by R. W. Bales; all three pieces in a softly waxed natural finish, the largest h. 4”, dia. 11‑1/2”. [100/200]

679 677

678

677 Good Three-Piece Collection of American Turned Wood Art Vessels, comprised of an Australian york gum burl bowl with a natural edge; a turned poplar vase of baluster form; and an elm burl vase with a natural “buttress” shoulder; all three pieces in a softly waxed natural finish, the largest h. 11”. [150/300] Illustrated

678 Good Three-Piece Collection of Turned Wood Art Vessels, comprised of a richly grained poplar bowl of traditional Native American form; a similarly grained poplar spherical short flared-neck vase; and a larger chestnut long-neck vase; all three pieces in a satinwaxed natural finish, the largest h. 10‑1/2”. [150/300] Illustrated

676 Group of Two West African-Style Masks and a Nigerian Figure, comprised of a Baule-style wooden face mask, West Africa, with oval-shaped face, striated hairdo and crescent-shape piercing at the eyes, the surface of face with abraded wire attached to pierced holes behind ears, h. 11”, w. 6‑1/4”; another West African-style face mask with serene features, crescent piercing at eyes, band representing a beard around perimeter at bottom and striated hairdo at top, with vertical chevron raised scarification down forehead from hairline to eyebrows, h. 15”, w. 7‑1/2”; and a Yoruba People’s Twin Figure, Nigeria, the wooden female figure modeled standing on a platform, with arms at sides touching legs, protruding breasts, crested hairdo and wearing a glass bead necklace, h. 9‑1/2”. [100/200]

679 Two Cypress Items, one a large American freeform turned cypress burl bowl with integral arched handle, accompanied by five turned and green-painted wooden apples, each with a single fabric leaf at the stem; and the other a similar elaborately grained cypress burl basket; the largest h. 11”, w. 13”, d. 11”. [100/200] Illustrated

682

680 Interesting Collection of Four Native American Gourd Vessels, comprised of a black-green-patinated gourd decorated with beads and tan feathers, signed “Baumgartner, ‘92”; a smaller gourd vase with coilwrapped and pendant beaded neck by Beth Pellett, retaining the artist-placed talismanic contents of an obsidian arrowhead, two wax fragments, a cinnamon stick, a pyrite-veined rock, an onyx thumb stone and a gilt-metal putto head; a covered gourd bowl decorated in maque technique, Florida, 1998; and a smaller Beth Pellett spherical gourd vase with a coil-wrapped and turquoise-beaded lip; the largest h. 5”, dia. 6”. [30/50] 681 Two-Piece Turned Wood Group, consisting of an American turned mesquite wood spherical vase/ candleholder, h. 4‑1/2”, dia. 4‑1/2”; and a small turned cherry wood oval dip-sided sweetmeat bowl, with a natural bark rim, dated 1988, the bowl signed on the base “Oct’ 88/ M.Howle”, h. 3”, l. 5”. [40/70]

684

682 Collection of Five Tribal Woven and Dyed Coil Baskets, consisting of a Choco Panama Indian example, three Wouaan Panama Indian examples and a Ugandan example, the largest dia. 13‑1/4”. [100/200] Illustrated 683 West African Woven Prayer Mat Hamper Basket, made by Wolof women in Senegal, h. 20”, dia. 13”. [100/250]

687 Raymond Chirambadare (Aimbabwe, d. 2006) “Shona”, a polished black-to-brown-to-red polished marble sculpture depicting a sleeping figure with an African mask-inspired face, signed on the right rear edge in incised letters “R. Chirambadare”, h. 15”, w. 7‑1/4”, d. 5‑1/2”. [200/400] 688 William Anzalone (American/Texas, b. 1935) “Landscape in Blue and Gold”, oil on canvas, signed lower left “Anzalone”, sight 30” x 40”. Presented in an ebonized and parcel-gilt frame with linen liner. [1200/1800] Illustrated 689 American/Texas School (Second Quarter 20th Century) “Texas Landscape with Bluebonnets”, oil on canvas board, verso pencil signed “Miss Maggie Chuderwood”, 9” x 13. Framed. [500/800] 688 690 Dan Wingren (American/Texas, 1923‑1998) “Snow-Covered Landscape”, oil on canvas, signed and dated lower right “Dan Wingren 1960”, sight 18” x 24”. Presented in a gilt-painted frame. [1200/1800] Illustrated 691 Marie Gruber (American/South Carolina, Contemporary) “Window” and “Doorways”, pair of black and white silver gelatin prints, numbered, respectively, “6/50” and “8/50”, each signed lower right “Marie Gruber”, 20” x 13”. Glazed, matted and presented in stained wooden frames. [150/300]

690 684 Suite of Five Tribal Hand-Woven Baskets, consisting of a Wounaan Indian example and four African Tonga Binga, Zimbabwe, plateau examples, the largest dia. 14”. [150/300] Illustrated previous page 685 Two African Massai Elder Spears, each of forged steel and wood, dismantling into three sections, l. 100”. Elder spears were used by the young Massai warriors to prove their manhood by killing a lion. One end of the spear was planted in the ground and the other end pointed toward the charging lion. [100/200] 686 African Masai War Shield and Spear, the shield made from hardened and painted animal hide, w. 20”, l. 26‑1/2”, the spear with a protective animal hide spear point cover, l. 52”. [100/200] 698

692 Katherine Kuharic (American, b. 1962) “Chipmunk and Squirrel Amongst Ancient Ruins”, oil on canvas, signed lower right “Kuharic”, 46” x 56”. Presented in a molded giltwood frame. Provenance: Private collection, Jackson, Mississippi. [800/1200] 693 Katherine Kuharic (American, b. 1962) “Chipmunk and Squirrel Amongst Ancient Ruins”, oil on canvas, signed lower right “Kuharic”, 46” x 57‑1/2”. Presented in a molded giltwood frame. Provenance: Private collection, Jackson, Mississippi. [800/1200] 694 John Andrew Schooler (American, b. 1954) “Gitano”, oil on canvas, signed, titled and dated “1993” on canvas verso, overall 21‑1/2” x 18”. Presented in a custom handpainted frame. Provenance: Private collection, Jackson, Mississippi. [150/300] 695 American School (Contemporary) “Three Stylized Figures”, mixed media on paper, signed lower right “B. Ventura”, sight 9‑1/2” x 7”. Glazed, double-matted and presented in a molded giltwood frame. Provenance: Private collection, Jackson, Mississippi. [75/125] 696 Continental School (Fourth Quarter 20th Century) “The Masked Man”, graphite on paper, signed illegibly lower left, sight 23‑1/8” x 18‑1/2”. Glazed, matted and framed. Provenance: Private collection, Jackson, Mississippi. [75/125] 697 American School (Contemporary) “Bunny” and “The Beetle”, two limited edition lithographs, initialed and dated lower right “NS ‘96” and “NS ‘91”, numbered lower right, sight 21‑1/2” x 29”. Glazed and presented in parcelgilt frames. Provenance: Private Collection, Jackson, Mississippi. [350/500]

700 Angel Serrano (American, 20th/21st Century) “Cubist Nude”, oil on canvas, signed and dated lower right “CA ‘87, Angel Serrano”, 24‑1/2” x 18”. Presented in a molded giltwood frame. Provenance: Private collection, Jackson, Mississippi. [150/300] 701 Angel Serrano (American, 20th/21st Century) “Cubist Nude”, oil on canvas, signed and dated lower right “A. Serrano ‘87”, with dedication verso, 20” x 16”. Presented in a Louis XV-style giltwood and gesso frame with a linen liner. Provenance: Private collection, Jackson, Mississippi. [150/300] 702 Alexis Karl (American, Contemporary) “Portrait of a Young Woman”, oil on canvas, signed lower right and verso, dated “1995” and titled stretcher verso, 18” x 14”. Presented in a deeply molded giltwood frame. Provenance: Private collection, Jackson, Mississippi. [75/125] 703 American School (Fourth Quarter 20th Century) “Tropical Coastal Seascape with Sailboats”, oil on canvasboard, initialed lower right “LBA”, sight 13‑1/4” x 10‑3/4”. Presented in a molded polychromed frame with a linen liner. Provenance: Private collection, Jackson, Mississippi. [75/125] 704 Jon Andrew Schooler (American, b. 1954) “The Red Voohoo In the Canyon of the Virgin of Guadalupe”, acrylic on canvas, signed, dated “1993” and titled verso, 31‑1/2” x 40‑1/4”. Presented in a custom-painted frame. Provenance: Private collection, Jackson, Mississippi. [300/500]

698 Raymond Moretti (French, b. 1931) “Claude 1”, oil on canvas, signed upper right corner “Moretti”, signed and titled verso, 28‑1/2” x 23”. Framed. Provenance: Private collection, Jackson, Mississippi. [700/1000] Illustrated

705 Mexican School (Fourth Quarter 20th Century) “View of a Mountainous Village” and “Venetian Canal Scene”, oils on panel, the former unsigned, the latter signed illegibly lower right, 22” x 17‑1/2”. Presented in matching Baroque-style ebonized, parcel-gilt and felt-lined frames. [600/900]

699 Angel Serrano (American, 20th/21st Century) “Untitled Abstract”, oil on canvas, signed and dated lower left “CA ‘87, Angel Serrano”, 24” x 18”. Presented in a molded giltwood frame. Provenance: Private collection, Jackson, Mississippi. [150/300]

706 Group of Four Bead Necklaces, composed of gemstone, pearl and wooden beads, one with a reticulated pendant, the stones including onyx, jade, pearl, agate and rock crystal, the largest l. 1‑1/4”. [75/125] Illustrated following page

715 Group of Six Charms and Intaglios, comprised of three hardstone charms, a devil’s horn pendant and two onyx intaglios, the largest l. 40”. [75/125] 716 Six-Piece Group of Amber, Coral and Pearl Jewelry, consisting of four necklaces and two bracelets, each composed of tubular amber beads with pearl or coral spacers, the largest l. 20”. [250/400] Illustrated

707 706

707 Chinese Jade, Silver-Gilt and Enamel Cuff Bracelet, composed of a reticulated white jade plaque set in a silvergilt filigree mount with enamel decoration, dia. 2‑1/4”. [100/200] Illustrated 708 Two Asian Hardstone Necklaces, composed of a white jade pendant necklace with flattened carved oval beads, l. 16”, and a pendant in the shape of a banana leaf and a single strand of carnelian beads, l. 28”. [125/250] 709 Group of Two Antique Rosaries, comprised of a silver and gemstone rosary necklace set with gemstone and enamel beads, l. 36”, and a gold-filled rosary with coral beads and medallion spacers, l. 18‑1/4”. [300/500] 710 Dramatic Black Bead and Citrine Choker Necklace, composed of eight rows of black beads with a central medallion of six citrine cabochons in bezel settings, dia. 5”. [125/250] 711 High-Karat Gold and Cameo Lady’s Ring, the Easternstyle cast mounting set with a large onyx cameo depicting a Roman lady in profile secured with fleur-de-lis-shaped prongs, size 7. [300/500]

717 Dramatic Amber and Vermeil Toque Necklace and Amber Bracelet, the gilt-silver modernist tapered necklace set with a large pear-shaped amber cabochon at the front, l. 7”, w. 5‑1/4”, the bracelet composed of a large triangular amber cabochon with tubular sides, dia. 2‑5/8”. [125/250] Illustrated 718 Group of Assorted Mineral Specimens, comprised of various stones and crystals with accompanying labels, the largest w. 1‑1/4”, l. 1‑5/8”. [75/125] 719 Fourteen-Karat Yellow Gold Lady’s Wire Necklace, composed of a single polished yellow gold rigid-wire necklace with a double rectangle locking clasp, l. 11”. [150/300] 720 Group of Four Fourteen-Karat Yellow Gold and Gemstone Clasps, three set with gemstones including diamonds, emeralds and pearls; one an openwork hollow sphere. [150/300]

712 Silver and Amethyst Demi-Parure, composed of a silver and amethyst necklace, l. 14‑3/4”, and two pairs of amethyst and silver earrings, l. 5/8” and 1‑1/2”. [250/400] 713 Silver and Ivory Pendant Necklace, composed of a silver serpentine link chain with bar and hoop clasp, suspending an ivory tooth-shaped pendant, l. 27”. [75/125] 714 Antique Silver and Shell Cameo Brooch, composed of an Italian shell cameo of a female profile in a silver mount, w. 1‑1/4”, l. 1‑1/2”. [75/100]

717 716

721 Group of Ten Assorted Chains, including modern and antique examples in assorted metals including pinchbeck, fourteen-karat yellow gold and eighteen-karat yellow gold; a nice, varied assortment, the largest l. 44”. [250/400] 722 Group of Three Pieces of Antique Jewelry, comprised of a pair of fifteen-karat yellow gold and diamond earrings in a leather case; a nine-karat yellow gold and carnelian brooch; and a twelve-karat yellow gold bangle bracelet with engraved ribboned attachment (loose), the largest w. 2‑1/2”, l. 2‑1/4”. [300/500] 723 Pair of Fourteen-Karat Gold and Gemstone-Inlaid Earrings, each of oval shape, inlaid with gemstone plaques of turquoise, lapis lazuli, mother-of-pearl, onyx and agate, h. 1‑1/2”, w. 1”. [100/200] 724 Eighteen-Karat Yellow Gold and Diamond Nadine Ring Watch, in the form of a lady’s ring with a white enamel-faced watch accented at each end with three round brilliant-cut white diamonds, size 6‑1/2. [100/200] 725 Single Strand of Imitation Pearls, the ungraduated cream rose-colored imitation pearls with a silver filigree clasp, l. 20”. [60/90] 726 Group of Four Pairs of Antique and Modern Earrings, comprised of a pair of fourteen-karat yellow gold Victorian earrings; a pair of fourteen-karat yellow gold retro modern earrings; a pair of fourteen-karat yellow gold lion-head hoop earrings; and a pair of fourteen-karat yellow gold carved blue sapphire and diamond earrings. [600/900] 727 Group of Seven Assorted Jewelry Items, including antique and modern charms, pendants and fobs in silver, gold-fill and fourteen-karat yellow gold set with natural and synthetic stones. [125/250] 728 Group of Two Lady’s Charm Bracelets, comprised of a double link bracelet with seven charms in fourteen-karat yellow gold set with jade, aventurine and amethyst, l. 7”; and a gold-filled single-link bracelet set with twelve small charms, l. 6‑3/4”. [200/400] 729 Group of Two Fourteen-Karat Yellow Gold and Gemstone Rings, comprised of a yellow gold ring cast as a lion’s head set with three diamonds; and a basketweave shank yellow gold ring set with a rectangular stepcut emerald, estimated weight 2.0 carats, flanked by diamond-set hexagons; both size 8‑1/2. [900/1200] 730 Fourteen-Karat Yellow Gold, Enamel and Tourmaline Lady’s Indian Ring, of elongated shape, enameled on the interior with floral enamel on a white ground, the exterior enameled in translucent red enamel with bezel-set green tourmaline cabochons. [300/500]

Session II

Sunday, November 21, 2010 11:00 a.m. (Lots 731-1283)

957

731 Gentleman’s Rolex Oyster Perpetual Datejust Chronometer Wristwatch, of stainless steel with fourteen-karat yellow gold trim, black enamel face with date window at 3:00 position, gold and stainless bracelet, presented in a Rolex box. [1500/2500] Illustrated

731

731A Gentleman’s Movado Calendomatic Wristwatch, with gold top and stainless back, the blue and white enamel face with month and day windows, fitted with a leather strap. [400/700] 732 Stunning Platinum and Diamond Lady’s Engagement-Style Ring, composed of a platinum body set with three round brilliant-cut diamonds across the top, the center stone weighing an estimated 3.50 carats, the two side stones with an estimated 1.50 carats total weight, the diamonds SI‑1 clarity grade and I-M color grade. [25000/40000] Illustrated Color Plate XV

732

735 Lady’s Platinum and Diamond Engagement Ring, set with a central round brilliant-cut white diamond weighing an estimated 1.48 carats, SI‑2 clarity grade, I color grade, flanked to either side by two baguette-cut diamonds. [900/1200] Illustrated Color Plate XVI

733 Eighteen-Karat White Gold and Diamond Wedding Ring, featuring a central prong-set round brilliant-cut white diamond, total weight 1.0 carat, supported by white diamond-set shoulders, featuring a mix of twentysix prong-set round brilliant-cut and sixteen channel-set baguette-cut white diamonds, total diamond weight 0.59 carats, size 7. [4000/7000]

734 Eighteen-Karat White Gold and Diamond Wedding Ring, composed of a central prongset radiant shaped-cut white diamond, set within a bead-set round brilliant-cut white diamond lattice gallery, supported by bead-set round brilliant-cut white diamond-set shoulders, total diamond weight 2.55 carats, size 7. [8000/12000]

736 Fourteen-Karat White Gold and Diamond Band Ring, composed of three central rectangular-cut diamonds flanked on either side by three channel-set princess-cut diamonds, estimated total weight 2.0 carats. [4500/7000] Illustrated Color Plate XVI 737 Lady’s Fourteen-Karat White Gold and Diamond Eternity Band, cast as entwined ribbons set with round brilliant-cut white diamonds (two lacking). [200/400] Illustrated Color Plate XVI

735 736

737

738 Pair of Fourteen-Karat White Gold and Diamond Solitaire Earrings, each with a prong-set round brilliant-cut diamond, total weight 3.08 carats, ending with screw backs. [7000/10000]

740 Eighteen-Karat White Gold and Diamond Lady’s Engagement-Style Ring, composed of a central .74carat round brilliant-cut white diamond in a ribboned openwork setting pave set with round brilliant-cut white diamonds, size 6‑1/2. [2500/4000] Illustrated

740

741 Pair of Eighteen-Karat White Gold and Diamond Earrings, each composed of a central diamond surrounded by a border of round brilliant-cut white diamonds, extending up the suspension post, estimated total weight .47 carats. [900/1200] Illustrated

739 741

742

739 Fourteen-Karat Yellow Gold, Blue Topaz and Diamond Lady’s Ring, composed of a central pear-cut blue topaz weighing an estimated 3.5 carats, surrounded by a conforming row of round brilliant-cut white diamonds, estimated total weight 1.0 carat, size 8. [500/800] Illustrated

746 742 Eighteen-Karat Yellow Gold, Pearl, Sapphire and Diamond Floral-Style Ring, composed of a central post-set pearl surrounded by flower petals set with multicolored sapphires and edged in round brilliant-cut white diamonds, size 7‑1/2. [3500/5000] Illustrated 743 Fourteen-Karat White Gold and Black and White Diamond Lady’s Pendant, featuring a prong-set ovalshaped cut diamond, total weight 5.15 carats, within a prong-set round brilliant-cut diamond bezel, completed by an elaborate diamond-set bail, total weight of diamonds 2.75 carats, suspended on a fourteen-karat white gold chain ending in a lobster-claw clasp, l. 18”. [3500/5000] Illustrated Color Plate XVI

745

743

744

744 Pair of Fourteen-Karat White Gold, Black and White Diamond Cluster Earrings, each with a prong-set round brilliant-cut deep black diamond, total weight 9.06 carats, surrounded by fifty-six flush-set round brilliant-cut white diamonds, total weight 0.33 carats, ending with standard backs. [2000/4000] Illustrated Color Plate XVI 745 Tahitian Cultured Black Pearl Necklace, composed of a single graduated strand of thirty-five Tahitian cultured black pearls, ranging from 11.00 mm to 13.50 mm in size, knotted with a fourteen-karat white gold scalloped plunger-style clasp, l. 18”. [2500/4000] Illustrated

749 Eighteen-Karat White Gold and Diamond LavaliereStyle Necklace, composed of an Art Nouveau-style diamond-set pendant with two diamond-set suspensions and an oval link chain, estimated total diamond weight 1.70 carats, including the diamond-set clasp, chain 14”. [4500/7000] Illustrated Color Plate XVI

749

750 Fourteen-Karat White Gold, Aquamarine and Diamond Lady’s Pendant, featuring a prong-set square cushion mixed-cut natural aquamarine, total weight 8.60 carats, set within a two-tiered diamond bezel, total weight of diamonds 0.86 carats, supported by an elaborate lattice under-gallery, completed by a diamond-set bail, suspended on a fourteen-karat gold designer-style chain, l. 18”. [2500/4000] Illustrated

748

751 Eighteen-Karat Yellow Gold, Amethyst and Diamond Lady’s Cocktail Ring, composed of a central bulging rectangular fantasy-cut amethyst surrounded by a single border of round brilliant-cut white diamonds, size 6‑1/2. [1800/2500] Illustrated

750

752 Good Eighteen-Karat White Gold, Tanzanite and Diamond Ring, composed of a prong-set oval brilliantcut natural tanzanite, total weight 15.28 carats, set with elaborate prong-set round brilliant-cut white diamond shoulders, total diamond weight 2.31 carats, size 7. [12000/15000] Illustrated

751

746 Pair of Fourteen-Karat Yellow Gold, Pearl and Diamond Earrings, each composed of an 11.0 mm black Tahitian pearl set above a triangular single-cut diamond in a prong mount. [2000/4000] Illustrated previous page

753 Elaborate Fourteen-Karat White Gold, Tanzanite and Diamond Lady’s Ring, composed of a central prongset oval mixed-cut natural tanzanite, total weight 5.23 carats, set with elaborate pave- and prong-set round white diamonds, mixed with channel-set baguette-cut white diamonds, total weight 2.66 carats, with white gold lattice under-carriage, size 7.5. [6000/9000] Illustrated Color Plate XVI

755

747 Group of Two Pieces of Fourteen-Karat Yellow Gold, Mabe Pearl and Diamond Jewelry, comprised of a yellow gold openwork ring with a central mabe pearl with diamond accents; and a pair of yellow gold earrings with central mabe pearls and twisted wire settings, size 6‑1/2. [300/500] 748 Interesting Fourteen-Karat White Gold, Tanzanite and Diamond Pendant, featuring a prong-set triangle mixedcut natural tanzanite, total weight 8.29 carats, set within a graduating bead-set round brilliant-cut diamond bezel and a bead-set round brilliant-cut diamond set under-carriage, supported by ribbons of bead-set round brilliant-cut diamonds, total weight of diamonds 1.60 carats, suspended on a designer-style chain ending in a lobster-claw clasp, l. 18”. [7000/9000] Illustrated Color Plate XVI

756

753 752

754

757 Platinum, Sapphire and Diamond Lady’s “Solitaire” Ring, composed of a central prong-set rectangular cushion-cut Ceylon blue sapphire weighing an estimated 8.0 carats flanked on either side by a tapered baguette-cut white diamond, size 7. [6000/9000] Illustrated Color Plate XVI 758 Beautiful Sapphire and Diamond Lariat-Style Necklace, composed of a bezel-set oval mixed-cut natural blue sapphire and bezel-set round brilliant-cut white diamond clusters, connected to white gold bar links, supported by a sapphire and diamond flowerhead, total sapphire weight 10.12 carats, total diamond weight 2.06 carats, l. 17‑1/2”. [2500/4000] Illustrated Color Plate XVI

758

754 Beautiful Fourteen-Karat White Gold, Tanzanite and Diamond Lady’s Ring, featuring a central prong-set rectangular cushion mixed-cut natural tanzanite, total weight 3.57 carats, set within a two-tiered bezel with the first tier featuring prong-set round brilliant-cut white diamonds and the second tier with channel-set baguettecut white diamonds, supported by a white gold lattice under-carriage and prong-set round brilliant-cut white diamond-set split shoulders, total diamond weight 1.35 carats, size 7.5. [4000/7000] Illustrated

759 Eighteen-Karat White Gold and Yellow and White Diamond Lady’s Ring, featuring a prong-set cushion-cut fancy yellow diamond, total weight 3.47 carats, set within a one hundred twenty-seven pave-set round brilliant-cut white diamond bezel and white diamond-set shoulders, total diamond weight 0.75 carats, size 7. [7000/10000] Illustrated Color Plate XVI 760 Lady’s Fourteen-Karat White Gold and Yellow and White Diamond Ring, composed of a central prong-set brilliant-cut fancy pale yellow diamond, total weight 1.28 carats, set within a prong-set round brilliant-cut white diamond bezel and shoulders, total white diamond weight 1.20 carats, size 7. [3500/5000] Illustrated Color Plate XVI

757

755 Fine Fourteen-Karat White Gold, Tanzanite and Diamond Dinner Ring, featuring a prong-set oval mixedcut natural tanzanite, total weight 3.93 carats, set within a two-tiered bead-set round brilliant-cut white diamond lattice gallery, total diamond weight 1.67 carats, size 7.5 [3500/5000] Illustrated Color Plate XVI

756 Beautiful Fourteen-Karat White Gold, Tanzanite and Diamond Lady’s Ring, featuring a prong-set rectangular cushion mixed-cut natural tanzanite, total weight 4.10 carats, set within a two-tiered prong-set round brilliant-cut white diamond lattice gallery, total diamond weight .049 carats, size 7.5 [3000/5000] Illustrated Color Plate XVI

759 760

761 762

765

765 Fourteen-Karat Yellow Gold, Ruby and Diamond Lady’s Ring, composed of a featured prong-set rectangular cushion mixed-cut natural ruby, total weight 11.58 carats, surrounded by a single row of prong-set round brilliant-cut white diamonds, total weight 2.44 carats, size 7. [2500/4000] Illustrated

766 Fourteen-Karat Yellow Gold, Ruby and Diamond Lady’s Ring, featuring a prong-set oval faceted-cut genuine ruby, total weight 4.13 carats, surrounded by thirty-two prong-set round full faceted white diamonds, total diamond weight 2.00 carats, size 5. [2000/4000] 767 Fine Fourteen-Karat Yellow Gold, Ruby and Diamond Lady’s Ring, composed of a prong-set oval faceted genuine ruby, total weight 4.31 carats, surrounded by a single row of round full faceted white diamonds, finished with round full faceted white diamond shoulders, total diamond weight 1.49 carats, size 5. [1500/2500] Illustrated

761 Eighteen-Karat White Gold and Brown and White Diamond Lady’s Ring, featuring a prong-set princesscut fancy light brown diamond, total weight 2.04 carats, set within a pave-set round brilliant-cut white diamond bezel and split shoulders, total diamond weight .076 carats, size 7. [6000/9000] Illustrated

768 Eighteen-Karat White Gold, Ruby and Diamond Lady’s Ring, composed of a central 5.07-carat squarecut ruby surrounded by a border of round brilliant-cut white diamonds extending down the double shank, size 7. [4000/7000] Illustrated Color Plate XVI

767 762 Platinum and Diamond Lady’s Engagement-Style Ring, composed of a central prong-set princess-cut yellow diamond weighing 1.39 carats, flanked on either side by a baguette-cut white diamond, size 7‑1/2. [5000/8000] Illustrated 763 Fourteen-Karat Yellow Gold, Ruby and Diamond Cluster Bracelet, featuring a flexible strap composed of fifteen prong-set oval mixed-cut natural rubies, total weight 28.40 carats, surrounded by two hundred ten prong-set round brilliant-cut white diamond clusters, total weight 4.91 carats, having a concealed clasp with safety. [3000/5000] 764 Fourteen-Karat Yellow Gold, Ruby and Diamond Cluster Necklace, featuring a flexible ribbon of thirtyfive prong-set oval mixed-cut natural rubies, total weight 60.49 carats, and white diamond clusters set in a contiguous chevron-inspired design, total weight of diamonds 10.71 carats, the concealed clasp with safety, l. 16‑1/2”. [6000/9000]

100

768

772 Fourteen-Karat White Gold and Diamond Lady’s Tennis Bracelet, composed of forty-six individually prong-set brilliant-cut diamonds, total weight 8.18 carats, terminating in a concealed clasp, l. 7”. [5000/8000]

775

773 Eighteen-Karat Yellow Gold and Diamond Lady’s Boucherer Bracelet Wristwatch, the circular face surrounded by a border of single-cut white diamonds and attached to an engraved flexible link bracelet. [600/900] Illustrated

770

774 773

769 Lady’s Platinum and Diamond Art Deco-Style Ring, of cantered rectangular outline, set with an estimated 2.0 carats of emerald-cut, baguette-cut and round brilliant-cut white diamonds, size 8‑1/2. [1400/1800] 770 Fine Eighteen-Karat White Gold, Emerald and Diamond Lady’s Ring, composed of a central bezel-set 3.52-carat rectangular step-cut emerald surrounded by 1.70 carats of pave-set round brilliant-cut white diamonds in a dinner ring-style setting, size 8. [6000/9000] Illustrated

771

774 Fourteen Karat Yellow Gold and Diamond Lady’s Link Bracelet, composed of thirty-two bezel-set round brilliant-cut white diamond links, trimmed in one hundred ninety-two bead-set round brilliant-cut white diamonds, having a concealed clasp with safety, total diamond weight 3.89 carats, l. 7”. [4000/7000] Illustrated 775 Eighteen-Karat Two-Color Gold and Diamond Lady’s Cluster Ring, composed of a central diamond-shaped cluster of round brilliant-cut white diamonds surrounded by a ballerina-style border of baguette-cut white diamonds, estimated total diamond weight 2.50 carats, size 7‑1/2. [600/900] Illustrated 776 Dramatic Fourteen-Karat Yellow Gold and Gemstone Lady’s Charm Bracelet, composed of an elaborate wirework and chain bracelet with seven charms set with gemstones including coral, amethyst, sapphire, emerald, ruby and pearls, l. 8”. [900/1200] Illustrated

771 Fine Fourteen-Karat Yellow Gold, Emerald and Diamond Lady’s Ring, composed of a featured prong-set square step-cut natural emerald, total weight 4.25 carats, within a bezel of prong-set round brilliant-cut diamonds, supported by diamond-set shoulders, total weight of diamonds 2.25 carats, completed with a yellow gold lattice under-carriage, size 6. [3000/5000] Illustrated

776

101

777 Fourteen-Karat Yellow Gold and Smoky Quartz Pendant Necklace, the link chain supporting an oval-cut smoky quartz in a fish-scale openwork frame. [400/700] Illustrated 778 Eighteen-Karat Yellow Gold, Quartz and Diamond Lady’s Ring, composed of a fantasy kite-cut smoky quartz weighing an estimated 22.0 carats surrounded by an estimated 2.0 carats of round brilliant-cut white diamonds, size 7. [1200/1800] Illustrated

778

783 Miriam Haskell Faux-Pearl Necklace and Earring Set, comprised of a double-strand necklace with pearl floral cluster at the center and matching earrings. [150/300] 784 Lady’s Platinum and Diamond Eternity Band, composed of a platinum body channel set with round brilliant-cut white diamonds, estimated total weight 1.20 carats, size 8.5. [500/800] 785 Provincial American Bench-Mode Tiger Maple StepBack Cupboard, composed of antique elements, the molded cornice over a case fitted with two astragal-glazed doors, above a lower case with three frieze drawers, over two paneled doors, raised on bracket feet, hand-made in the traditional manner with mortise and pin joints, h. 88‑1/2”, w. 53‑1/4”, d. 21”. [2500/4000] Illustrated 786 Early American Chippendale Walnut Blanket Chest, fourth quarter 18th century, the rectangular lifting top over a conforming case fitted with a deep storage compartment above two short drawers, raised on bracket feet, the corners with exposed mortise and tenon joints, h. 23”, w. 47‑3/4”, d. 17”. [350/500] Illustrated 787 Pair of American Vernacular Red-Painted Ladderback Plantation Chairs, late 19th century, each with three slats across the back and having woven rush seats, the runzs mortised through the legs, h. 32”, w. 18”, d. 13‑1/2”. [50/80]

777

780 779 Bombe-Style Silver, Gold and Diamond Suite, composed of a graduated necklace set with multi-shaped rose-cut diamonds, surrounded by numerous beadset single-cut diamond clusters, completed by a pair of matching graduated dangle earrings, total diamond weight 13.41 carats, the necklace terminating in a hidden box clasp with safety, l. 18”, the earrings with standard backs. [6000/9000] 780 Unusual Silver, Gold, Quartz and Diamond Lady’s Dinner Ring, composed of an 18.67-carat central bezelset fancy shape briolette mixed-cut natural quartz set within a bombe-style ring, supported by numerous multishaped-cut rose-cut diamond tablets, total diamond weight 8.00 carats, size 7. [2500/4000] Illustrated 781 Group of Three Pieces of Costume Jewelry, comprised of a gold-tone bee pin with crystal body, a pair of blue aurora crystal screw-back earrings and a Lisner crystalmounted foliate link bracelet. [75/125] 782 Fourteen-Karat White Gold and Diamond Wide Band-Style Ring, composed of an estimated 1.0 carat of round brilliant-cut and baguette-cut white diamonds set in alternating rows, size 7. [700/1000]

8 102

788 Pair of American Hickory Ladderback Sidechairs, mid‑19th century, each with a four-slat back with the top slat mortised and pegged into the turned back posts, the legs joined by turned stretchers, the seats in old rush, h. 38”. [200/400]

789

791 American Contemporary Patinated Bronze Bust, depicting General PierreGustave-Toutant Beauregard, C.S.A., (1818‑1893), the distinguished Confederate general depicted in his famous military cape and kepi, and sporting a moustache and goatee, h. 16‑1/2”, w. 12”, d. 8”. [500/800] Illustrated 792 ConfederateStyle Field/Staff Officer’s Sword and Scabbard, the brass guard bearing the initials “CS”, l. 41”. [200/400] 793 Liberty Head One Dollar Gold Coin, type 1, 1851-0 very fine, dia. 5/8”. [400/700]

785 789 Provincial American Carved and Polychromed LifeSize Tobacco Store Indian, mid‑20th century, the figure with a full headdress and clenching a tomahawk in one hand and cigars in the other, h. 77”, w. 21”, d. 20”. [3000/5000] Illustrated Color Plate XI 790 P. F. Collier and Sons, New York, Clothbound Set of the Works of Mark Twain, 1917, twenty-one volumes, gold-stamped, each with a facsimile Twain autograph, the frontispieces with various photographs of the celebrated American author, h. 8”, w. 5‑1/2”, d. 1‑1/4”. [75/125]

791

786

103

795 799 Rare American Wooden Spoke Bicycle, third quarter 19th century, each wheel with shaped wooden spokes and wrought-iron band, the leather seat mounted to a redpainted frame, h. 70”, w. 48‑1/4”. [1200/1800] Illustrated 800 Large American Copper Hotel Coffee/Beverage Urn, first quarter 20th century, with a trio of spigots and tubular glass contents level indicators, the domed cover centered with a turned wooden finial of mushroom form and a brass crank, h. 38”, dia. 14”. [150/300] 801 Interesting Cypress Stump Six-Bottle Wine Rack, h. 12”, w. 16”, l. 19”. [200/400]

799

794 Collection of Seven New Orleans Mint Morgan Silver Dollar Coins, including an 1880-0 very good, an 1882-0 very good, an 1885-0 very good, an 1887-0 fine, an 18880 very good, an 1887-0 extra fine, and a 1902-0 very fine, dia. 1‑1/2”. [400/700] 795 Vernacular Polychromed Cypress Wardrobe, the starburst-carved pediment over a case fitted with two paneled doors, the interior fitted with a bank of shelves and a hanging cubby, the whole raised on a recessed plinth base, h. 83”, w. 54”, d. 24”. [500/800] Illustrated 796 Group of Three Decorative Pottery Vases, one mounted with whitetail deer antlers and having a dried flower arrangement with pheasant feathers, another with wooden flowers and one an African reed vase, the largest h. 20‑1/2”, dia. 9”. [150/300] 797 Four-Gallon Stoneware Pottery Butter Churn and Dasher, early 20th century, the shoulder decorated with blue lines and stenciled “L. L. Pottery, 4, Amory, Miss”, h. 16”, w. 10”. [50/80] 798 Unusual Pair of American Cast-Iron Andirons, second quarter 20th century, in the form of rabbits seated on scroll-footed pedestals, presented in an old, naturally rusted finish, h. 13‑1/4”, w. 8‑1/2”, d. 13”. [100/200] 804

104

802 American Glass Kerosene Parlor Lamp, fourth quarter 19th century, the copper-plated reticulated cast-iron and brass-mounted shaded ice-blue enameled white opal glass lamp in floral decor, now electrified and fitted with a shaded sky-blue spherical opal glass shade, the blown glass chimney removed in the conversion, h. 21”, dia. 10”. [125/250] 805

805 American Hepplewhite Mahogany Secretary Bookcase, second quarter 19th century, the carved, burlwood-inset cornice above a case fitted with a pair of Gothic-arch-molded and glazed doors over three drawers, the lower case fitted with a hinged top opening to reveal a writing surface above three graduated drawers, ending in splayed bracket feet, h. 74‑1/2”, w. 33‑3/4”, d. 19‑3/4”. [1500/2500] Illustrated 806 Large American Paneled Brass Double Kerosene “Student” Lamp, fourth quarter 19th century, fitted with ribbed cased pink-over-white opal glass shades and electrified, the blown glass chimneys removed in the conversion, h. 23‑1/2”, w. 27”, d. 12”. [100/200] 807 Set of Eight Wedgwood Claret Transfer-Printed Dinner Plates, 1949, commemorating the Washington and Lee University bicentennial, each featuring a different campus view or landmark, imported by Jones, McDuffee and Stratton, Boston, and so backstamped, dia. 10‑7/8”. [100/200] 808 Chippendale-Style Mahogany Sidechair, fourth quarter 19th century, the shaped crest over a pierced and carved splat above a padded seat, raised on cabriole legs headed by acanthine carving and ending in ball-and-claw feet, h. 38”, w. 23”, d. 21”. [100/200] 809

803 American Kerosene Parlor Lamp, fourth quarter 19th century, the bronze-patinated brass-mounted maroon shaded white opal glass in polychromed “Cronus” decor, now electrified and retaining the matching spherical opal glass shade, the blown glass chimney removed in the conversion and the wick adjuster embossed “Success”, h. 24‑1/2”, dia. 10”. [150/300] 804 American Sheraton Mahogany Bowfront Chest, first quarter 19th century, the bowfront rectangular top over a conforming case fitted with four long drawers, flanked by reeded columnar stiles, ending in turned legs with toupie feet, h. 35‑1/2”, w. 40”, d. 19”. [800/1200] Illustrated

809 American “Centennial” Giltwood Looking Glass, fourth quarter 19th century, composed of carved and sawn mahogany in the early Georgian style, the scrolled cresting centered with a carved giltwood displayed eagle, the basal edge centered with a gilt patera, the plate beveled throughout, h. 38‑1/2”, w. 22”. [500/800] Illustrated

105

810 American Brass Double-Pan Scale, first quarter 20th century, in the Centennial style, modeled as a fluted column surmounted by a sphere with a displayed eagle finial, the pans of silvered brass and suspended on three silvered chains each, h. 25”, w. 22‑1/2”, d. 6”. [50/80]

816

811 Good Pair of Gold-Lacquered Brass Candlesticks, first quarter 20th century, attributed to Bradley and Hubbard, of paneled hexagonal form in the “Centennial” style, the period lacquered finish largely intact, h. 12‑1/2”, dia. 6‑1/2”. [150/300] 812 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] 813 Federal New England Tripod Tilt-Top Table, ca. 1800, the oval top raised on a baluster-turned standard ending in cabriole legs on pad feet, h. 27”, w. 22‑3/4”, d. 15‑3/4”. [100/200] Illustrated

815 Two American Matte Black-Painted Metal Chandeliers, second quarter 20th century, composed of a tiered ten-light chandelier of baluster form in the Georgian taste, h. 22”, dia. 20”; and an eight-light chandelier in the Early American style, h. 18”, dia. 27‑1/2”; each of small size, electrified and fitted with short bone-white faux candles. [200/400] 816 American Federal Flame Mahogany Slant-Front Desk, fourth quarter 19th century, the slant-front door banded and inlaid with corner accents, and opening to a variety of drawers and cubbyholes, over a case fitted with three like-inlaid graduated doors, raised on slightly splayed bracket feet, h. 42”, w. 45‑1/2”, d. 22‑1/4”. [350/500] Illustrated Color Plate XII

819

814 American Federal Cherrywood Tripod Table, ca. 1800, the square tilting top with rounded corners and centered by a star inlay, raised on a baluster-turned standard ending in cabriole legs and pad feet, h. 24‑1/4”, w. 16‑1/2”, d. 16‑1/2”. [100/200] Illustrated

106

814

813

817 Good American Late Federal Walnut and Tiger Maple Drop-Leaf Dining Table, second quarter 19th century, the top with two long drop leaves supported by turned swing-out legs, h. 29‑3/4”, w. 49‑1/2”, l. 21‑1/4”, extended l. 74‑1/2”. [300/500] 818 Queen Anne-Style Bench-Made Cherrywood Porringer-Top Tea Table, the porringer-shaped top over a carved apron, raised on tapering circular legs ending in pad feet, h. 27‑1/2”, w. 36”, d. 26”. [100/200] 819 English or American Federal Mahogany Tilt-Top Table, fourth quarter 18th century, the dished, birdcage tilt-top over a tapering columnar standard ending in three cabriole legs on pad feet, h. 28‑1/2”, dia. 26‑1/2”. [300/500] Illustrated 820 Attractive Pair of Anglo-American Kerosene Lamps, third quarter 19th century, composed of brass and white marble in the neoclassical taste, now electrified, the shade rings and blown glass chimneys removed in the conversion, each lamp now fitted with a custom antique-white paneled fabric shade, the stepped bases of white marble mounted in gilded brass, h. 22‑1/2”. [200/400] 821 Tall Pair of American Blown Glass Hurricane Shades, of traditional form in the early 19th-century style, h. 20”, dia. 7‑1/4”. [200/400]

827 822 Reed and Barton Sterling Silver-Rimmed BrilliantCut Glass Salad Bowl, first quarter 20th century, in “Hobstar and Fan” decor, h. 4‑1/2”, dia. 8‑1/2”. [800/1200] 823 Four-Piece Collection of Brilliant-Cut and -Pressed Glass, comprised of an attractive decanter of squat ewer form in “Dart and Snowflake” decor, first quarter 20th century; a cut and floral-engraved circular shallow bowl of like date; a Brilliant-pressed and crosshatch-cut berry bowl in “Hobstar and Petal” decor; and an unusual Brilliantpressed and floral-engraved oblong bowl of like date; the largest h. 3‑1/2”, w. 6”, l. 12”. [100/200] 824 Fine Clark Brilliant-Cut Glass Cream-and-Sugar Set, first quarter 20th century, in the “Clark” pattern, comprised of a two-handled and footed open sugar basin, h. 4‑1/4”, and a matching footed cream pitcher, dia. 4‑1/2”. [150/300] 825 Libbey Glass Company Brilliant-Cut Bread Tray, first quarter 20th century, in the “Neola” pattern, the interior centered with the acid-stamped Libbey sabre mark, w. 7‑3/4”, l. 11‑3/4”. [150/300] 826 Attractive American Intaglio-Cut Glass Vase, first quarter 20th century, of modified trumpet form in floral decor, h. 12”, dia. 4‑1/2”. [200/400] 827 After John James Audubon (American, 1785‑1851) “Long-Tailed Duck”, hand-colored engraving with aquatint by R. Havell, Plate CCCXII from Birds of America, London, 1827‑1838, sight 24‑1/2” x 34‑1/2”. Glazed, doublematted and presented in a burlwood frame. [3000/50000] Illustrated Color Plate XIII

828

107

829 After John James Audubon (American, 1785‑1851) “Trumpeter Swan”, offset chromolithograph, 20th century, sight 26” x 39”. Glazed and presented in a giltwood frame with a linen liner. [300/500] 830 After John James Audubon (American, 1785‑1851) “Mangrove Humming Bird”, hand-colored engraving with aquatint, on J. Whatman paper, by R. Havell, Plate CLXXXIV from Birds of America, London, 1827‑1838, sheet size 38” x 25‑1/2”. Glazed, matted and framed. [2000/4000] Illustrated 831 After John James Audubon (American, 1785‑1851) “Iceland or Jer Falcon”, offset chromolithograph, sight 38” x 24‑1/2”. Glazed, attractively matted and presented in a molded giltwood frame. [500/800]

836

830 828 After John James Audubon (American, 1785‑1851) “Booby Gannet”, hand-colored engraving on J. Whatman paper, by R. Havell, Plate CCVII from Birds of America, London, 1827‑1838, sight 38” x 25‑1/2”. Attractively matted and framed. [2500/4000] Illustrated Color Plate XIII and previous page

832 After John James Audubon (American, 1785‑1851) “Blue Bird”, hand-colored engraving with aquatint on J. Whatman paper, by R. Havell, Plate CXIII from Birds of America, London, 1827‑1838, sheet size 37‑3/4” x 25”. Glazed, matted and framed. [1200/1800] Illustrated 833 After John James Audubon (American, 1785‑1851) “Glofsy Ibis”, facsimile print, Leipzig edition, verso affixed with the “Ariel Press” label, sight 23” x 29”. Glazed, attractively matted in silk and Florentine paper and presented in a faux-burlwood frame. [400/700] 834 Dell Weller (American/New Orleans, b. 1927) “Turkeys”, limited edition etching, signed in pencil lower right, numbered in pencil lower left “19/150” and titled lower center, sight 10‑1/2” x 13”. Glazed, matted and framed. [150/300] 832

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839

839 Seventy-Five-Piece Reed and Barton Sterling Silver “Francis I” Flatware Service, for eight persons, the pattern introduced in 1907, comprised of eight luncheon knives, eight luncheon forks, eight salad/pastry forks, eight grilled meats knives, sixteen teaspoons, eight citrus spoons, eight soup spoons, eight creamed soup spoons, one vegetable serving spoon, one cold meats fork and one master butter knife, the largest l. 9‑1/2”. [3000/5000] Illustrated 840 Two Gorham Sterling Silver “Chantilly” Dinner Forks, the pattern designed by William Christmas Codman and introduced in 1895, l. 7‑1/2”. [50/80] 841 Set of Six Wallace Sterling Silver “Cabot” Dinner Knives, with hollow handles, the pattern introduced in 1917, l. 8‑1/2”, 11.05 total t. oz. [50/80]

835 After John James Audubon (American, 1785‑1851) “American Woodcock”, Plate 352, hand-colored lithograph from the royal octavo, first edition of the Birds of America, sight 6” x 8”. Glazed, matted and framed. [200/400]

842 William R. Durgin Sterling Silver “Chrysanthemum” Vegetable Serving Spoon, the pattern introduced in 1893, the bowl of oval form, l. 9”, 3.85 t. oz. [350/500]

836 Gorham Sterling Silver Fruit Bowl, third quarter 20th century, with an everted lip in relief “Flower and Scroll” decor, dia. 11‑1/2”, 17.25 t. oz. [900/1200] Illustrated

843 Pair of Reed and Barton Sterling Silver “Francis I” Serving Bowls, of small size, the pattern introduced in 1907, dia. 8”, 19.85 total t. oz. [1200/1800] Illustrated Color Plate IX

837 Pair of American Sterling Silver Serving Bowls, first quarter 20th century, in the Louis XVI taste, with everted narrow rims, the centers handsomely monogrammed in entwined Art Nouveau script, dia. 7‑1/2”, l. 9‑1/2”, 25.7 total t. oz. [1200/1800]

844 Reed and Barton Sterling Silver “Francis I” Bread Tray, of elliptical form, the pattern introduced in 1907, w. 7‑1/2”, l. 12”, 14.35 t. oz. [900/1200] Illustrated Color Plate IX

847

845 Trio of Gorham Sterling Silver Mint/ Nut Dishes, first quarter 20th century, of flowerhead form, dia. 3”, 2.20 total t. oz. [100/200] 846 Attractive Pair of Wallace Silverplate “Baroque” Goblets, third quarter 20th century, with gilded Interiors, h. 6‑1/8”, dia. 3‑3/8”. [50/80]

838 Whiting Manufacturing Company Fluted Sterling Silver Berry Bowl, fourth quarter 19th century, with an undulating rim in the Aesthetic taste, h. 3”, dia. 9‑1/2”. [300/500]

844

843

109

850 Pair of Stieff Sterling Silver Footed Sweetmeats Stands, mid‑20th century, in “Rose and Chrysanthemum” decor, h. 4‑1/2”, dia. 4‑1/2”, 10.30 total t. oz. [400/700]

852

853

847 Attractive Meriden Silverplate Six-Piece Tea and Coffee Service, first quarter 20th century, in the 19thcentury style, comprised of a tall, two-handled hot water urn, a coffeepot, a teapot, a large covered two-handled sugar basin, a footed vasiform waste bowl and a large cream pitcher, the largest h. 16‑1/4”, w. 10‑1/4”, d. 10‑1/4”. [400/700] Illustrated previous page 848 Reed and Barton “King Francis” Silverplate Supper Tray, second quarter 20th century, of oval, triplecompartment form, the central compartment of “well and tree” configuration, w. 12‑1/2”, l. 16‑1/2”. [40/70]

851 Highly Varied Twenty-Four-Piece Collection of Silverware, comprised of a Wallace sterling “Washington” teaspoon, the pattern introduced in 1911; a Reed and Barton sterling “Heritage” flat butter knife, the pattern introduced in 1924; an American hollow-handle sterling butter knife in a pattern similar to Dominick and Haff’s “Number 10” of 1896; a Rogers sterling long-handled baby feeding spoon in a pattern similar to Alvin’s “Pirouette” of 1961; a set of twelve American silverplate cream soup spoons in a pattern similar to Rockford’s “Emerson” of 1915; a pair of matching pastry forks and a citrus spoon en suite, with this pattern patented in 1914; a pair of English silverplate oval bowl “Fiddle” soup spoons, first quarter 20th century; an Edwardian plated “King’s Shell” master salt spoon of like date; and a pair of American silverplate “Variant Medallion” master salt spoons, fourth quarter 19th century; the largest l. 7‑1/4”. [100/200]

849 Pair of Stieff Sterling Silver Bonbon Bowls, h. 1‑1/4”, dia. 4‑1/2”, 6.80 total t. oz. [250/400]

854

110

852 Fine and Rare American Classical Brass-Inlaid Rosewood Center Table, first quarter 19th century, probably Boston, the square top with rounded corners, the edge banded with rosewood veneers and thin brass stringing, mounted to a tapering central pedestal and platform base with four out-curved legs ending in castbrass paw feet, h. 29‑1/4”, w. 30”, d. 30”. [1500/2500] Illustrated

853 Fine and Rare American Late Classical Mahogany and Banded Rosewood Games Table, second quarter 19th century, Philadelphia, the fold-over top with a wide banded rosewood edge and supported by J-form legs with carved paw feet, h. 29‑1/2”, w. 36”, d. 17‑1/2”. Two nearly identical examples to this table are in the Metropolitan Museum of Art, New York, and are attributed to Anthony Quervelle of Philadelphia. [1500/2500] Illustrated Color Plate VIII 854 Fine Pair of Bronze-Patinated and ParcelGilt Brass Tripodal Argand Lamps, second quarter 19th century, in the neoclassical taste, now electrified, retaining the period cut glass prisms and frosted and cut glass shades of inverted pyriform, h. 19‑1/4”, w. 11”, d. 7‑1/2”. [2000/4000] Illustrated Color Plate III

855

855 Suite of Four American Classical Mahogany and String-Inlaid Sidechairs, first quarter 19th century, the back with a spiral-twisted carved crest rail above a foliatecarved slat and additional spiral slat, the back posts, seat frame and leg fronts with a string-inlaid detail, h. 32”, w. 18”, d. 21”. [500/800] Illustrated

856

856 Rare American Classical/Rococo Revival Cast-Brass and Prism-Hung Four-Arm Gasolier, second quarter 19th century, possibly by Henry Hooper & Co., Boston, each arm depicting a stylized serpent or dolphin with a swirling tail perched along the top edge, the shaft fitted with concentric cast rings and draped with graduated prisms, the arms retaining period etched glass shades, h. 60”, dia. 40”. [3000/5000] Illustrated Color Plate XII 857 Pair of American Late Classical Mahogany Stools, second quarter 19th century, each of diminutive bench form and having turned rails at each end supported by scrolled arms, the seat frame of large ogee form and raised on scrolled legs, h. 20‑1/2”, w. 23‑1/2”, d. 15”. [500/800]

111

858 858 Rare and Important American Gothic Revival Oak Hall Chair, mid‑19th century, possibly New Orleans or New York, the tall back supported by pierced and carved stiles terminating in crocketed spires, the central pierced and carved splat with an additional carved spire, the solid plank seat with molded edge hinged along the back edge and opening to a void cavity, supported by pierced front legs, h. 70‑1/2”, w. 20‑1/4”, d. 20”. This chair belongs to a small but important group of furniture associated with the antebellum South. Related chairs have been found in Vicksburg, New Orleans, and most notably Stanton Hall Plantation in Natchez, Mississippi. It has been suggested that New Orleans may have been the source of this body of furniture since the Stanton Hall examples were invoiced by Henry Siebrecht of New Orleans. Related examples are in the collection of the Metropolitan Museum of Art, New York, the Bybee Collection, the Dallas Museum of Art, the Henry Francis duPont Winterthur Museum and the New Orleans Museum of Art. A mate to the Winterthur chair sold at New Orleans Auction Galleries in March, 1998, for $40,700, and another sidechair in March, 2000, for $56,000, and a third example which sold in this room in January 2009 for $28,800. The New Orleans Auction St. Charles Gallery also sold the matching recamier Color Plate IX 859 American Gothic Revival Rosewood and Marble-Top Center Table, mid‑19th century, possibly by J. & J. W. Meeks, New York, the hexagonal white marble top above a straight frieze with ribbon-molded border and acorn drop finials, the base with a hexagonal tapering pedestal and three outstretched bracketed legs, h. 31‑3/4”, w. 28‑1/2”, d. 28‑1/2”. [1800/2500] Illustrated

859

112

860 Very Rare and Important Pair of American Gothic Revival Mahogany Sidechairs, third quarter 19th century, attributed to the workshop of Alexander Roux or J. & J. W. Meeks, New York, each with a curved back with shaped spindles and trefoil cut-outs to the crest rail, h. 34”, w. 19”, d. 16‑1/2”. Near identical chairs were used in the Lincoln White House and are seen in the famous engraving of “The First Reading of the Emancipation Proclamation Before the Cabinet”, for further discussion, another example bearing an Alexander Roux label is illustrated in “19th Century America-Furniture and Other Decorative Arts”, The Metropolitan Museum of Art, plate 99. [800/1200] Illustrated

863 American Late Classical Mahogany and Marble-Top Wig Dresser, second quarter 19th century, the upper section with an ogee framed and tilting mirror mounted between long cabinets on each side, the base with a central marble deck and glove drawers to each side and four long drawers below, h. 75”, w. 48”, d. 20”. [200/400]

860

861 American Gothic Revival Mahogany Hall Chair, mid‑19th century, the carved back with a steeple-form crest and upholstered in a floral needlepoint, h. 47‑1/2”, w. 18”, d. 18”. [200/400] 862 American Transitional Late Classical into Rococo Revival Rosewood Armoire, mid‑19th century, attributed to J. and J. W. Meeks, New York, now converted to a display cabinet, the top with a large overhanging cornice above a single door, with a drawer in the base, h. 83”, w. 47”, d. 24”. [800/1200] Illustrated

862

864 American Late Classical Cherry and Flame Mahogany Four-Post Canopy Bedstead, second quarter 19th century, the large turned cherry posts joined by flame mahogany-veneered rails and arched headboard, the posts terminating in large brass feet (one foot lacking), h. 102”, inside w. 57”, l. 79”, outside w. 61‑1/4”, l. 84‑1/2”. [2500/4000] Illustrated Color Plate XII 865 American Late Classical Mahogany and Stenciled Chest of Drawers, second quarter 19th century, the deeply framed top drawer above three graduated long drawers and flanked by turned and blocked half columns, the drawer fronts and cabinet sides paint decorated with grape and leaf motifs and stenciled emblems in the manner of Soap Hollow Furniture, h. 48‑1/4”, w. 42‑3/4”, d. 21‑1/2”. [800/1200] Illustrated following page 864

113

868 Good American Late Classical Mahogany Fold-Over Games Table, second quarter 19th century, attributed to Anthony Quervelle, Philadelphia, the hinged top mounted to a framed rim with carved corners and supported by a large turned and elaborately carved pedestal, raised on carved paw feet, h. 29‑1/4”, w. 45‑1/2”, d. 22”, extended l. 44”. [2500/4000] Illustrated Color Plate XIII 869 American Late Classical Revival Mahogany Banquet Table, fourth quarter 19th century, in the Philadelphia style, the circular top with a gadrooned edge and raised on a circular standard to a concave base ending in claw feet on casters, accompanied with six 12” leaves, finished to match, h. 30”, dia. 54”, extended l. 120‑1/2”. [2500/4000] Illustrated Color Plate XV

865

869 866

866 American Late Classical Mahogany and Marble-Top Center Table, second quarter 19th century, the circular white marble top over a conforming rim and supported by a shaped pedestal mounted to a platform base with large scrolled feet, h. 30”, dia. 36”. [500/800] Illustrated 867 Unusual American Late Classical Mahogany Work Table, second quarter 19th century, the rectangular hinged top opening to a void cavity, possibly as a dry sink, and raised on scroll-cut legs, h. 29”, w. 28”, d. 17‑5/8”. [50/80]

114

868

870 American Late Classical Mahogany Sideboard, second quarter 19th century, in the manner of J. and J. W. Meeks, New York, the backpiece with two corniced paneled ends, above a case with a rectangular top above a conforming case fitted with two rounded drawers above three recessed paneled cupboard doors, the end two with curved fronts, flanked to either side by a freestanding columnar upright, raised on in-scrolled feet, h. 58‑1/2”, w. 67‑1/4”, d. 25”. [1500/2500] Illustrated 871 American Late Classical Mahogany Display Cabinet/Bookcase, second quarter 19th century, of large scale, the top with a flared cornice above a pair of glazed doors, raised on pineapple-carved legs, h. 83”, w. 68‑1/4”, d. 25‑1/2”. [1000/1500] Illustrated 870

871 872 American Late Classical Mahogany and Banded Rosewood Secretary, second quarter 19th century, New York, the double-door bookcase top with a flared crown above and a pair of drawers below and mounted to a fold-open writing surface, the complex base with scrolled supports mounted to a platform base with large scrolled feet, h. 76‑1/2”, w. 46”, d. 23”. [2500/4000] Illustrated Color Plate XIII

872

115

873

873 Late Classical Mahogany Bench, mid‑19th century, the serpentine crest over a conforming padded back, above a like seat, raised on bracket feet, h. 37‑1/2”, w. 48”, d. 20”. [200/400] Illustrated

877 three-piece suite

874 Early Empire Mahogany and Birch Tripod Table, ca. 1830, the circular dished top over a bulbous balusterturned standard to three curved legs ending in spade feet, h. 28”, dia. 21‑1/8”. Provenance: Private collection, Jackson, Mississippi. [100/200] 875 American Brass, Marble and Glass Solar Lamp, second/third quarter 19th century, now electrified, the columnar brass standard with a square Danby marble base, surmounted by a blown glass chimney and spherical “Vintage”-engraved and partially frosted glass shade, h. 22”. [150/300] 876 Set of Six Mason’s Patent Ironstone “Vista” Dinner Plates, second quarter 20th century, rose transferprinted in the mid‑19th century style, dia. 11”. [50/80]

116

877 Three-Piece American Late Classical Revival Mahogany Bedroom Suite, fourth quarter 19th century, consisting of a four-post bedstead, h. 69”, inside w. 55”, l. 76”, outside w. 59”, l. 81”, a dresser, h. 75”, w. 60‑1/2”, d. 25‑1/2”, and a vanity, h. 58‑1/2”, w. 45”, d. 22‑1/2”, the dresser and vanity each with an oval mirror within a molded frame, joined to the lower case by circular acanthine-carved supports, the dresser fitted with two frieze drawers over two long recessed drawers, the vanity with a frieze fitted with two short drawers over an arched apron flanked by a short drawer on both sides, the bed with turned, acanthine-carved posts surmounted by acorncarved finials, joined to the serpentine paneled headboard and footboard with rosette- and foliate-carved crests. [1500/2500] Illustrated

877 three-piece suite

878 Late Classical Revival Mahogany Settee, fourth quarter 19th century, the shaped gadroon- and cornucopia-carved crest over a conforming padded back, joined to the like seat by outscrolled padded arms, over a reeded skirt, raised on splayed legs ending in paw feet on casters, h. 38”, w. 56”, d. 21”. [400/700] Illustrated

878

879 American Late Classical Revival Mahogany Card Table, fourth quarter 19th century, the rectangular foldover top with curved ends above a conforming gadrooncarved apron flanked by acanthine carvings, raised on a turned bulbous pedestal over a concave base ending in paw feet, h. 29”, w. 36”, d. 18”. [500/800] Illustrated

880

880 Fine American “Centennial” “Patented Superior” Kerosene Student Lamp, fourth quarter 19th century, of weighted brass with an opalescent white-banded glass shade of inverted teardrop form, fitted with a brass finial of a displayed American eagle, h. 22‑1/2”, w. 14‑1/2”, d. 7‑1/2”. [300/500] Illustrated

879

883

881 American Late Classical Mahogany Sofa, second quarter 19th century, the scrolling back with conforming padded cushion and joined by out-scrolled arms, h. 30”, w. 73”, d. 25‑1/2”. [150/300] 882 American “Centennial” Tripartite Looking Glass, first quarter 20th century, in the early 19th-century Classical style, retains the period plates, h. 21‑1/2”, w. 54”, d. 2‑1/4”. [150/300] 883 Bergmann Heritage Series Ebonized Baby Grand Piano and Bench, by Young Chang, ca. 2004, the interior marked TG0010605, h. 39‑3/4”, w. 58‑1/2”, l. 64”. [5000/8000] Illustrated Color Plate XIII

117

884 884 Thomas Moran (American, 1837‑1926) “Mount Moran”, oil on canvas, signed and titled lower right “Mount Moran, Idaho, T. Moran”, 30” x 19‑1/2”. Presented in a period giltwood and gesso frame. Provenance: Private collection, Mississippi. Thomas Moran was born in Bolton, Lancashire, England in 1837, but emigrated, with his family to the United States at age seven, settling in Philadelphia. Though he received no formal art training, he was an apprentice to a wood engraver in his teens and received much encouragement and advice from the Philadelphia-based painter James Hamilton. He also studied with his older brother, Edward, a marine and historical painter, whose studio he shared. Moran became a western artist after working as an illustrator for magazines including Harper’s and Scribner’s. In 1871, he was invited to accompany Ferdinand V. Hayden’s Geological Survey Expedition to the Yellowstone Territory. Moran’s paintings of Yellowstone’s geysers, hot springs, canyons and cliffs, combined with the photographs taken by pioneer photographer William Henry Jackson, played a major role in convincing Congress to make the region a national park in 1872. After the Yellowstone trip, Moran’s career as an expedition artist and painter blossomed. He continued to travel with subsequent Hayden surveys and painted Yellowstone, Yosemite and the Grand Canyon as well as other wilderness regions for the next forty years. Amongst the sites he visited were the Teton Mountains in Wyoming, whose peak Dr. Hayden had named Mount Moran in his honor. Examples of Moran"s work can be found in major public collections throughout the United States, including the High Museum of Art, Atlanta; the Museum of Fine Arts, Boston; the Denver Art Museum; the Amon Carter Museum, Fort Worth; Los Angeles County Museum of Art; the Metropolitan Museum of Art, New York; the Pennsylvania Academy of the Fine Arts; the Philadelphia Museum of Art; the Carnegie Museum of Art, Pittsburgh; the M. H. de Young Museum, San Francisco; and the Corcoran Gallery of Art, Washington, D.C. [125000/250000] Illustrated Color Plate V

884 detail

118

886

886 detail

885 American School (Second Quarter 20th Century) “Cottage in the Woods”, oil on canvas, signed lower right “I. Cafieri”, sight 24” x 36”. Presented in a hardwood frame. [200/400]

886 Alexander Helwig Wyant (American, 1836‑1892) “Misty Landscape with a Pond”, oil on canvas, signed lower right “A. H. Wyant”, 28” x 38”. Presented in a giltwood and gesso exhibition frame affixed with a brass plaque incised with the artist’s name. Provenance: Private collection, Mississippi. Born in Evans Creek, Ohio, Alexander Helwig Wyant was part of the Hudson River School early in his career. He was influenced by the French Barbizon impressionists, but later turned to tonalism, having seen the work of George Innes, whom he eventually met and who recognized his talent and helped him secure the patronage of Nicholas Longworth of Cincinnati. Wyant went on to study at the National Academy in New York, and in Germany with Fredrik Gude of the Dusseldorf School of Artists. He frequently exhibited at the National Academy, Brooklyn Art Association, Boston Arts Club, Pennsylvania Academy of Fine Arts and the Art Institute of Chicago. In 1873 he was part of an expedition into New Mexico and Arizona where he suffered a stroke, which paralyzed his right hand and forced him to paint with his left. It was said that this led to a freer style, lighter tone, and looser technique, all of which correlated with the growing taste of the American public. The critic, Charles Caffin, wrote of his paintings that they were “pregnant with suggestion” and were a “search for the spiritual, poetic side of nature through an expressive simplification of composition and tone.” He exhibited at the National Academy of Design, 1865‑92; Brooklyn Art Association, 1867‑92; Boston Arts Club, 1877‑82; Pennsylvania Academy of Fine Arts, 1879‑81; Art Institute of Chicago; and Metropolitan Museum of Art. Public collections that include Alexander Helwig Wyant’s work can be found in the National Museum of American Art, Brooklyn Museum, Metropolitan Museum of Art, Toledo Museum of Art, Tennessee State Museum, and the Kentucky Art Museum. [40000/70000] Illustrated Color Plate I

119

887 Worthington (Thomas) Whittredge (American, 1820‑1910) “Wooded Interior with a Stream”, oil on canvas, signed lower left ‘W. Whittredge”, 18” x 40”. Presented in a period giltwood and gesso frame. Provenance: Private collection, Mississippi. Worthington Whittredge, an important member of the later Hudson River School, is best remembered as a landscape painter who celebrated the beauty of the Catskill Mountains as well as the American West. Born in 1820, on a farm near Springfield, Ohio, he moved to Cincinnati in 1837 where he began working as a house painter’s assistant and gradually advanced to sign and banner painting and to a little portrait work. He went to West Virginia where he painted portraits but turned exclusively to landscape painting in 1843. With the help of a Cincinnati art patron, Nicholas Longworth, Whittredge moved to Europe to study painting in 1849. In the end Whittredge came to find extended European study undesirable, asserting the idea that it "undermined the distinctive quality of his work". Upon his return to America he settled in New York, was elected to the National Academy in 1861 and in 1865 he accompanied Major General John Pope on an expedition to the Rockies, journeying through Colorado and New Mexico as far as Fort Union. He traveled extensively throughout New England, especially Newport, Rhode Island, the North Shore of Massachusetts, the Catskill Mountains, Lake George in New York, and in New Jersey. He served as President of the National Academy from 1874 to 1877 and was a member of various New York Clubs: Union League, the Century Association and the Lotos Club. In 1880, he built a house in Summit, New Jersey, where he resided until his death in 1910. Worthington Whittredge’s work is in the collections of the Worcester Museum of Art, Massachusetts; the Cincinnati Art Museum; the Brooklyn Museum; the Metropolitan Museum of Art; and the Newark Museum, New Jersey among other institutions. [60000/90000] Illustrated Color Plate II

887 888 Alfred Thompson Bricher (American, 1837‑1908) “Rocky Coastal Scene with Distant Sailboats”, oil on panel, signed lower left “ ATBricher”, 6” x 12‑1/4”. Presented in a molded giltwood frame. [4000/7000] Illustrated 889 Harvey Ellis (American, 1852‑1904) “Great Supper”, oil on canvas board, signed lower left “H. Ellis”, 12‑3/4” x 16”. Presented in a molded giltwood frame. [3000/5000] Illustrated

889

120

893 Rare and Important American Rococo Revival Rosewood Dressing Bureau, third quarter 19th century, bearing the stenciled label of “Springmeyer Bros/ J. H. Belter & Co.”, the pierced and carved foliate- and armorialcentered crest over a tripartite looking glass, the central arched panel flanked by two smaller ones, each fitted with three open shelves over a short drawer, the lower case with a rectangular top and protruding rounded ends, above a conforming case with four graduated long drawers, fitted with carved pulls, flanked by columnar supports and ending in plinth feet, h. 84”, w. 55‑1/2”, d. 27”. [2500/4000] Illustrated Color Plate III 888 890 American Naive School (Second Quarter 19th Century) “Still Life with Fruit”, oil on canvas, unsigned, 23‑1/2” x 34”. Unframed. [300/500] 891 American Naive School (Fourth Quarter 19th Century) “Georgian Country House”, oil on board, unsigned, 12” x 18”. Presented in a giltwood and gesso frame. [300/500]

893

892 American Rococo Revival Rosewood Bedstead, third quarter 19th century, attributed to Alexander Roux, New York, the fruit- and foliage-carved and pierced crest above a serpentine paneled headboard, joined to the like wrap footboard by carved rails, ending in plinth feet, h. 71‑1/4”, inside w. 57”, l. 81‑1/2”, outside w. 74‑1/2”, l. 85”. [3000/5000] Illustrated

892

121

897 American Rococo Revival Walnut Parlor Chair, third quarter 19th century, the crest centered by a grapecluster carving over a tufted and padded corset-form back, joined to a like serpentine seat by closed and tufted arms, raised on cabriole legs ending in scrolled toes on pegs, upholstered in floral needlepoint, h. 43”, w. 28”, d. 25”. [200/400]

894 895

894 Fine American Rococo Revival Six-Arm Gasolier, third quarter 19th century, composed of polished brass and bronze-patinated spelter, the lower bowl fitted with six griffin-form arms and brass cherub heads and seated maidens above the bowl with brass palm leaves and masks continuing up the spiral brass shaft, h. 45”, dia. 32”. [5000/8000] Illustrated Color Plate II 895 Extremely Rare Pair of American Rococo Revival Gilt-Bronze “Winged Cupid” Gas Sconces, mid‑19th century, each fitted with a period hand-blown opalescent gas shade, h. 16”, w. 7”, d. 14”. [2500/4000] Illustrated 896 Three-Piece Group of Continental Porcelain Items, comprised of a Germano-Bohemian porcelain cabinet ewer in the rococo taste, with hand-painted floral decoration by Edna Jones (American, ca. 1882‑1940) and dated April 1902; and a two-piece Limoges porcelain footed cream and sugar set, also hand-painted in “Rose Garlands” decor, first quarter 20th century; all three pieces with gilded handles, the largest h. 10”, dia. 3‑1/4”. [150/300]

122

899 898 American Rococo Revival Rosewood and Faux-Rosewood Canterbury/ Bookshelf, third quarter 19th century, the threequarter pierced and carved galleried top surmounted by turned finials, over a graduated open shelf over a magazine rack with elaborately pierced and carved sides and scroll-carved dividers, above a serpentine skirt fitted with a drawer, raised on turned legs ending in toupie feet, h. 39”, w. 20”, d. 15”. [150/300]

899 American Rococo Revival Rosewood Child’s Armchair, third quarter 19th century, the padded corset-form back surmounted by a foliate- and fruitcarved crest, joined to the like seat by open downswept arms, raised on cabriole legs ending in casters, h. 35‑1/2”, w. 22”, d. 21”. [1000/1500] Illustrated

900

902 American Rococo Revival Two-Piece Mahogany Bed Set, third quarter 19th century, comprised of a bed with an arched headboard and carved cartouche with central egg motif, h. 78‑1/2”, w. 59‑1/2”, l. 77”, and a dresser with an arched mirror and similar cartouche, the base with a white marble top above three drawers with carved pulls and a secret drawer along the bottom, h. 89”, w. 46”, d. 19‑3/4”. [1500/2500] Illustrated 902 two-piece suite

900 Rare American Rococo Revival Laminated Rosewood Child’s Chair, third quarter 19th century, New York, the pierced and carved back with scroll motifs, depicting a central patriotic shield with stripes and a single star, h. 32‑1/4”. a similar chair in the form of a swivel piano stool is pictured in The Furniture of John Henry Belter and the Rococo Revival, p. 67, by Schwartz, Stanek and True, from the Richard and Gloria Manney collection, and is currently on display at the Metropolitan Museum of Art, New York. [1500/2500] Illustrated 901

902 two-piece suite

901 Very Rare and Fine American Rococo Revival Mahogany Child’s Armchair, third quarter 19th century, possibly by Charles A. Baudouine, New York, the back with a molded frame and scroll-carved arm fronts, h. 29‑1/2”, w. 19‑1/2”, d. 20‑1/2”. A parlor suite of similar form made by Baudouine is in the collection of the MunsonWilliams-Proctor Institute and is illustrated on pages 85‑86 of Masterpieces of American Furniture. Baudouine was known not only for designing and manufacturing exuberant furniture in the Rococo Revival style but also for furniture in the more restrained Louis XV style as the chair featured here. [1000/1500] Illustrated

123

905

903 American Rococo Revival Mahogany and Marble-Top Center Table, third quarter 19th century, the top with its original tortoise-form white marble resting on a floralcarved frame and supported by cabriole legs joined by stretchers and a central turned finial, h. 30‑1/2”, w. 41”, d. 28‑3/4”. [500/800] Illustrated 904 American Rococo Revival Walnut and Marble-Top Etagere, third quarter 19th century, the top with an arched bonnet with foliate-carved crest above a central mirror flanked by shaped open shelves supported by turned finials, the base with a white marble top and a central cabinet with a drawer above and open shelves to each side, h. 96”, w. 47‑1/2”, d. 18”. [2500/4000] Illustrated Color Plate VIII

903

124

904

905 Rare and Important American Rococo Revival Laminated Rosewood Sofa, mid‑19th century, in the pattern referred to as “Tuthill King”, attributed to John Henry Belter, New York, the undulating back with tall fruit- and floral-carved crests at each end and one in the center, above a pierced and carved scrolling frame featuring vines with grape clusters and leaves, raised on cabriole legs with floral-carved knees, h. 48”, w. 87”, d. 32”. The pattern names for both Meeks and Belter furniture has been derived, in most cases, from historical records of the names of original clients and owners of this furniture. In the case of Tuthill King, he was a very wealthy real estate tycoon in Chicago during the mid‑19th century. The Tuthill King pattern of laminated and pierced carved parlor furniture has long been revered as one of the most elaborate and coveted patterns produced by John H. Belter. A sofa in this same pattern is illustrated in American Furniture of the 19th Century, by Eileen and Richard Dubrow, page 123. [30000/50000] Illustrated Color Plate III

907 Rare and Fine American Rococo Revival Rosewood Ottoman, third quarter 19th century, possibly by John Henry Belter, New York, the padded silk damaskupholstered top over a serpentine frame with carved shells along each side, raised on cabriole legs, h. 15”, w. 17‑1/2”, d. 17‑1/2”. A similar ottoman attributed to Belter is illustrated in The Furniture of John Henry Belter and The Rococo Revival by Schwartz, Stanek and True, page 67, and is currently in the collection of the Metropolitan Museum of Art, New York. [1500/2500] Illustrated

908

906 Rare Pair of American Rococo Revival Laminated Rosewood Meridiennes, mid‑19th century, attributed to John Henry Belter, New York, each with a scrolling back frame and diamond-tufted back, raised on cabriole legs, h. 32”, w. 28”, l. 41”. [5000/8000] Illustrated Color Plate IV

907

906

908 American Rococo Revival Laminated Rosewood Sidechair, mid‑19th century, attributed to John Henry Belter, New York, the pierced and carved back frame with floral and grape details, the serpentine seat with a rose-carved front, raised on cabriole legs, h. 38”, w. 18”, d. 16”. [700/1000] Illustrated Color Plate IX 909 American Rococo Revival Rosewood Three-Tier Corner Shelf, third quarter 19th century, the back having pierced and scroll-carved foliate motifs, the interior with three curved shelves, h. 31”, w. 16”, d. 10”. [300/500]

125

910 Petite American Rococo Revival Rosewood Work Table, third quarter 19th century, attributed to Alexander Roux, New York, the top with a hinged lid opening to a figured maple interior and supported by turned and fluted columns mounted to a trestle-form base joined by a turned and carved stretcher, a near identical stand is illustrated in “19th Century America-Furniture and Decorative Arts” plate 122, and is in the collection of the Metropolitian Museum of Art, h. 28‑1/2”, w. 24‑1/2”, d. 17”. [800/1200] Illustrated

915

911

913 American Rococo Revival Walnut Cameo-Back Settee, third quarter 19th century, the serpentine-shaped carved crest over a padded conforming back, joined to the like seat by undulating arms, raised on cabriole legs ending in peg feet, h. 34‑1/2”, w. 60‑1/2”, d. 30”. [300/500]

911 American Rococo Revival Walnut Drop-Front Secretary Bookcase, third quarter 19th century, the upper case featuring a pierced and carved crest with the bust of Sir Walter Raleigh over a pair of arched and glazed doors, the protruding base fitted with two framed and paneled doors, h. 89”, w. 47”, d. 20”. [2500/4000] Illustrated 912 American Rococo Revival Walnut Center Table, third quarter 19th century, the serpentine top with a molded edge above a carved frame extending into cabriole legs, one side fitted with a drawer, h. 27‑1/2”, w. 35”, d. 22”. [250/400]

126

910

914 Pair of Napoleon III Rococo Revival Mahogany Armchairs, third quarter 19th century, each with carved and molded crest rails, open arms and raised on cabriole legs, h. 38‑1/2”, w. 23‑1/2”, d. 29”. [300/500] 915 American Rococo Revival Rosewood Etagere, third quarter 19th century, attributed to J. H. Belter, New York, in a rare low version of the etagere sold by Belter to “Rosalie” in Natchez, Mississippi, the crest centered by fruit carving amidst a pierced foliate- and grape-carved field, on an arched central mirror flanked by two graduated serpentine shelves on a pair of larger serpentine shelves each backed by a mirror plate, on a low serpentine marbletop base with central shell, foliate and fruit carving, h. 76‑1/2”, w. 54”, d. 16”. [15000/25000] Illustrated Color Plate II

916 American Rococo Revival Laminated Rosewood Slipper Chair, third quarter 19th century, attributed to J. H. Belter, New York, the back with a fruitand floral-carved crest over a narrow ovoid backrest set in a pierced ground with serpentine front seat rail centered by floral and fruit carving and cabriole legs, h. 42”. A similar Belter slipper chair is illustrated on the back slip cover of "John Henry Belter and the Furniture of the Rococo Revival "by Schwartz, Stanek and True. [3000/5000] Illustrated

917

916

917 American Rococo Revival Walnut, Faux-Rosewood and Marble-Top Corner Etagere, third quarter 19th century, the pierced and molded upper section with four graduated serpentine shelves over a conforming white marble deck, the base with a single door with applied carved motifs, h. 81”, w. 32”, d. 24”. [2500/4000] Illustrated

918

918 American Rococo Revival Walnut and Marble-Top Center Table, third quarter 19th century, the oval white marble top with a molded edge over an acanthine- and cabochon-carved apron, raised on a turned and reeded standard, with serpentine brackets, to four like legs ending in scroll feet, h. 28‑3/4”, w. 37‑1/2”, d. 27‑3/4”. [800/1200] Illustrated

127

920 Rare American Cast-Iron and Spring Steel Centripetal Stool, mid‑19th century, the padded brown leather swivel seat mounted to a central turned wooden standard with ornate cast-iron legs, h. 20”, dia. 16‑1/4”. [500/800] Illustrated

919

920

919 American Rococo Revival Centripetal Spring Chair, third quarter 19th century, possibly manufactured by the American Chair Company, Troy, New York, the padded back with a pierced cast-iron head rest of foliate design, the whole mounted to a spring steel and ebonized wooden base, h. 42”, w. 24‑1/2”, d. 22”. A similar example is in the collection of the Munson-Williams-Proctor Institute. [1000/1500] Illustrated

921 922

921 American Rococo Revival Gilt-Brass Four-Arm Gasolier, attributed to Cornelius & Co., Philadelphia, mid‑19th century, the shaft with three concentric tiers of ornamentation and female busts, the arms of foliate design and the exterior frame draped with grape and vine chains, h. 36”, dia. 30”. [3000/5000] Illustrated Color Plate I 922 American Rococo Revival Giltwood and Marble-Top Pier Mirror, third quarter 19th century, the arched top with an ornate crest with hanging grapes, the base with a white marble top and raised on cabriole legs, presented in a gold-painted surface, h. 110”, w. 41”, d. 13”. [1500/2500] Illustrated Color Plate XII

128

923 Rococo Revival Walnut and Parcel-Ebonized Double-Chairback Settee, third quarter 19th century, probably Austrian, the central padded and tufted medallion with a foliate-carved frame flanked on both sides by an oval padded and tufted back surmounted by scrolling foliage and fruit, and pierced and carved crests, joined to the serpentine padded seat by open arms, over an apron centered by a fruit carving, raised on cabriole legs ending in peg feet, h. 43”, w. 60”, d. 30”. [1500/2500] Illustrated

923

924 American Rococo Revival Walnut and Burl Walnut Center Table, third quarter 19th century, the oval burl walnut-veneered top with a molded edge and piercecarved skirt, supported by a turned pedestal with four carved outstretched legs, h. 28‑3/4”, w. 31‑1/2”, d. 22‑1/2”. [500/800] Illustrated 925 Two-Piece Group of Brilliant-Cut Glass Bowls, comprised of an American flared glass berry bowl in “Graduated Hobstar” decor, first quarter 20th century, h. 4”, dia. 8‑1/2”; and a GermanoBohemian cut glass scroll-footed fruit bowl in “X and Oculus” decor, third quarter 20th century, h. 4‑3/4”, dia. 9”. [100/200]

930

924

926 Trio of Cut Glass Decanters, comprised of a German tall tapered example with Brilliant-cut palmettes and diamond polygons; an English “Diamond Band and Notched Prism”cut tall-neck decanter; and an English “Palmette and Diamond Shield”-cut decanter of “ships” form; all with their original stoppers, the largest h. 16‑3/4”, dia. 5‑3/4”. [125/250] 927 Fifteen-Piece Collection of English and American Cut Glass, comprised of an Anglo-Irish hurricane-shaded tea light lamp; an attractive American Brilliant-cut carafe in “Strawberry Diamond and Fan” decor, first quarter 20th century; a pair of matching beakers of like date; a twopiece Brilliant-cut cream-and-sugar set in “Hobstar and Fan” decor, also first quarter 20th century; a diminutive “Strawberry Diamond and Fan”-cut posy vase; a Brilliantcut loop-handled nappy, first quarter 20th century; a Waterford cut glass elliptical celery/olives bowl (signed); and a set of six cut glass liqueur goblets in the Waterford style; the largest h. 7‑3/4”. [100/200]

129

928 Twenty-One-Piece-Collection of English and Continental Glassware, comprised of a set of six diamond-pressed annular napkin rings; a pair of lapidarypressed knife rests of “dumbbell” form; a set of four German olive-footed white wine goblets with “Vintage”etched bowls in the traditional style; a small Brilliant-cut glass decanter of baluster form; an acid transfer-plateetched red wine goblet in “Fleur-de-Lys” decor, first quarter 20th century; a pair of English “Diamond and Fan”cut whiskey glasses, first quarter 20th century; a labeled Galway crystal posy vase of waisted flared form; a pressed glass toothpicks vase; a Brilliant-cut glass table bell in “Buzz” pattern; and a pair of English cut glass candlesticks in the Anglo-Irish style, third quarter 20th century; the largest h. 9‑1/4”. [100/200]

932 American School (Mid‑19th Century) “Portrait of a Gentleman Holding a Writing Instrument” and “Portrait of a Woman Holding a Book”, pairs of oils on canvas, unsigned, 36” x 30”. Presented in parcel-gilt and ebonized frames. [1000/1500] Illustrated

932 pair

931 929 Good Rococo Revival Carved Carrara Marble Mantel, third quarter 19th century, the arched facade with foliatecarved ornamentation and supporting the thick serpentine marble deck, the front with an arched cast-iron ventilated door and frame, h. 41”, w. 64”, d. 16”. Provenance: A New Orleans Garden District residence. [1500/2500] 930 Napoleon III Oval Looking Glass, third quarter 19th century, composed of carved giltwood and plaster, the tall cresting modeled as interlaced foliate scrolls surmounted by a bold stylized lily bloom, the period plate tastefully speckled, the primary border in “Gadroon” decor, h. 68”, w. 32”. [300/500] Illustrated previous page 931 American School (Third Quarter 19th Century) “Portrait of a Woman with a Lace Collar”, oil on canvas, signed illegibly lower right, 26” x 22”. Presented in a NeoGothic-style ebonized and parcel-gilt frame. [800/1200] Illustrated

130

932 pair

933 936 Persian Sarouk Carpet, 2’ x 4’ 1”. [100/200] 938

937 Oushak Carpet, 4’ 4” x 6’ 6”. [150/300] 938 Antique Serapi Carpet, 9’ 7” x 12’ 8”. [3000/5000] Illustrated

933 American School (19th Century) “Portrait of a Woman Wearing a Mourning Brooch”, oil on canvas, 30” x 24”, signed and dated lower right “Clement 1875”. Presented in a later gilt and gesso exhibition frame. [300/500] Illustrated

939 Pair of Agra Serapi Carpets, 4’ x 6’ and 4’ 1” x 6’ 1”. [600/900] 940 Peshawar Sultanabad Carpet, 4’ 3” x 7’. [200/400]

934 American School (First Quarter 20th Century) “Portrait of a Boy with a Red Hat”, oil on canvas, sight 10‑1/4” x 8”. Presented in a molded giltwood frame. [150/300]

941 Sarouk Carpet, 9’ 11” x 12’ 7”. [500/800] Illustrated 942 Peshawar Zeiglar Mahal Carpet, 5’ 4” x 8’ 5”. [700/1000]

935 American School (Fourth Quarter 19th Century) “Portrait of a Lady with a Gold Brooch”, pastel on paper, unsigned, sight 16‑1/2” x 13‑1/2”. Glazed and presented in an oval veneered frame. [150/300]

941

131

943

945

132

949

951

943 Persian Kerman Carpet, 9’ 10” x 13’ 6”. [700/1000] Illustrated Color Plate IV 944 Persian Karaja Carpet, 2’ 2” x 6’ 3”. [200/400] 945 Agra Serapi Carpet, 10’ x 14’ 3”. [1800/2500] Illustrated 946 Kashan Carpet, 2’ 4” x 12’ 1”. [100/200] 947 Agra Mahal Carpet, 9’ x 12’. [700/1000] 948 Peshawar Zeiglar Mahal Runner, 2’ 9” x 9’ 6”. [500/800] 949 Persian Kerman Carpet, 10’ 1” x 13’ 1”. [600/900] Illustrated 950 Heriz Runner, 4’ 8” x 15’ 2”. [200/400]

953

951 Semi-Antique Heriz Carpet, 11’ x 14’ 3”. [500/800] Illustrated 952 Peshawar Sultanabad Carpet, 6’ 1” x 9’ 2”. [800/1200] 953 Persian Heriz Carpet, 8’ 1” x 10’ 10”. [1200/1800] Illustrated Color Plate XIII 954 Persian Mashad Carpet, 9’ 10” x 10’ 9”. [500/800] 955 Needlepoint Carpet, 20’ 10” x 13’ 8”. [600/900] 956 Persian Tabriz Carpet, 8’ 2” x 12’ 2”. [450/700] Illustrated

956

133

957 Fine and Rare Three-Piece American Neo-Grec Tiger Maple Bedroom Suite, third quarter 19th century, attributed to Pottier and Stymus, New York, comprised of parcel-gilt, ebonized and stained wood, consisting of a high-back bedstead with two circular painted plaques and cast gilt-bronze plaque, h. 85”, inside w. 58‑1/2”, l. 78”, outside w. 65”, l. 86”, a mirrored dressing bureau with painted plaque, h. 87‑1/2”, w. 52‑1/4”, d. 24‑1/4”, and a matching work table, h. 29‑1/2”, w. 34‑1/2”, d. 22‑1/2”, each piece retains a five-digit hand-painted item number “29812” along with the name “Magee” written in multiple places, the cast plaque on the headboard displays this same number engraved on the back side and the date of 1867 cast into the front lower right corner. [25000/40000] Illustrated Color Plate I

957 three-piece suite

958 Unusual American Renaissance Revival Inlaid Mixed Woods and Cast-Iron Checkerboard Table, third quarter 19th century, the circular molded top with inlaid checkerboard squares and mounted to a cast-iron and parcel-gilt tripodal base, h. 28”, dia. 21‑1/2”. [500/800] Illustrated 959 American Renaissance Revival Walnut and Burl Walnut Stand, third quarter 19th century, of circular form with a checkerboard top, the central standard flanked by three smaller turned supports, each with gilt-incised details and mounted to a base with outstretched legs and carved rosettes, h. 29‑1/2”, dia. 17”. [700/1000] Illustrated 960 American Neo-Grec Ebonized and Inlaid Circular Center Table, third quarter 19th century, probably New York, the top with a central inlaid scene depicting musical instruments and a floral bouquet and ribbons, the outer rim trimmed with a beaded brass border, the turned and carved central pedestal surmounted by three shaped buttresses with incised and gilded details, raised on outstretched legs ending in hooved feet, h. 30‑1/2”, dia. 25‑1/2”. [2000/4000] Illustrated Color Plate V

134

960 top

960

962 963 American Renaissance Revival Walnut Canterbury, third quarter 19th century, the front and back sides with line-carved and gilt-incised detailing, the base fitted with a drawer from both directions, raised on turned trumpetform legs, h. 21‑1/4”, w. 23”, d. 14‑1/2”. [500/800] 961 Bohemian Ruby-Over-Clear Cut Glass Decanter, fourth quarter 19th century, polychrome floral enameled and parcel gilded, retains the tall ruby overlay glass stopper of steeple form, h. 20‑1/2”, dia. 6”. [300/500] Illustrated

961

962 Bohemian Blown Ice-Blue “Vertical Optic Rib” Glass Tall-Neck Vase, fourth quarter 19th century, with floral enameling in coral and pale ochre, the lip gauffered, h. 15”, dia. 16‑1/2”. [100/200] Illustrated

962

958

959

135

964 American Renaissance Revival Parcel-Gilded Walnut, Ebonized and Inlaid Three-Tier Shelf, third quarter 19th century, the top shelf with an inlaid panel depicting music and instruments and supported by turned columnar supports, h. 32‑1/2”, w. 19‑1/2”, d. 14”. [800/1200] Illustrated

968

967

965 American Renaissance Revival Rosewood and Burl Walnut-Veneered Inlaid Three-Tier Shelf, third quarter 19th century, the top shelf depicting an inlaid panel with a bow and arrow with quiver amongst a floral bouquet, the turned columnar supports with gilt and ebonized details and brass chain swags draping from the top shelf, h. 32”, w. 20”, d. 13”. [800/1200] Illustrated

964

965 966

966 American Aesthetic Movement Giltwood Salon Chair, attributed to Herter Brothers, New York, the back with turned spindles and line-carved details, the upholstered seat over a similar line-carved frame, raised on curved legs with a spindled apron across the front, h. 26”, w. 18‑1/4”, d. 17”. [450/700] Illustrated

136

967 Rare Set of Four Rococo Revival Cast-Brass Gas Sconces, third quarter 19th century, each with an ornate backplate with scrolled and foliate arms, and fitted with cut glass shades, h. 18”, w. 6‑1/2”, d. 12”. [1500/2500] Illustrated

972

968 Large Napoleon III Giltwood Overmantel Mirror, fourth quarter 19th century, the top having rounded corners, the mirror plate not beveled, h. 70‑1/2”, w. 55”. [300/500] Illustrated

973

970 Two Good English “Diamond”-Cut Glass Decanters, consisting of a “ships”-form example with a spherical lapidary-cut stopper, h. 9‑3/4”, dia. 7‑1/2”; and a cylindrical section decanter with a matching cut stopper of drum form, h. 11‑1/2”, dia. 4”. [100/200] Illustrated 969 Attractive Pair of English Lattice-Cut Glass Decanters, in the Georgian style, each with the original cut stopper of “mushroom” form, h. 9‑1/2”, dia. 5”. [100/200] Illustrated

971 Good Val St. Lambert Fluted Crystal Vase, third quarter 20th century, of gently flaring form, the base signed in diamond stylus script “Val St. Lambert”, h. 8‑1/4”, dia. 7”. [100/200] Illustrated

970 969

971

972 Rare American Renaissance Revival Extra Grade Wooton Patent Secretary, Indianapolis, Indiana, third quarter 19th century, constructed of walnut, burl walnut and figured maple, the case with an elaborate gallery above two large swinging banks, each fitted with cubbyholes and compartments, the center section with a drop-front desk with drawers and cubbyholes, retaining its original gallery, lock and key along with the retailer’s label of T. G. Sellew, 111 Fulton St., New York, h. 79”, w. 45‑1/2”, d. 32‑1/2”. [20000/40000] Illustrated Color Plate VII

137

974 three-piece suite

973 Fine American Bronze-Patinated Brass and Spelter Four-Light Gasolier, third quarter 19th century, attributed to Cornelius and Company, Philadelphia, now electrified, the light arms surmounted by seated gesticulating putti, the standard with four armored knights standing before arcades, fitted with pierced etched colorless glass gas shades, h. 45”, dia. 33”. [8000/12000] Illustrated Color Plate VIII and previous page 977

974 three-piece suite

974 Impressive Three-Piece American Renaissance Revival Walnut and Burl Walnut Bedroom Suite, third quarter 19th century, Philadelphia, comprised of a high-back bedstead with large arched and foliatecarved crest, h. 95”, inside w. 65”, l. 80”, outside w. 72”, l. 86”, and a matching pair of marble-top dresser bureaus with large mirrors, each with a threedrawer base, h. 90”, w. 49‑1/4”, d. 22”. [6000/9000] Illustrated Color Plate VI

138

975 Eight-Piece American Renaissance Revival Walnut and Burl Walnut Parlor Suite, third quarter 19th century, consisting of two sofas, h. 41‑1/2”, w. 70”, d. 28”, two armchairs, and four sidechairs, each with a carved crest above a padded back, raised on turned trumpet legs. Provenance: The Claiborne Mansion, Esplanade Avenue, New Orleans. [1200/1800] Illustrated

975 eight-piece suite

978 American Renaissance Revival Walnut Work Table, third quarter 19th century, the rectangular top with canted corners, above a conforming frieze fitted with a paneled drawer above a tapering, carved deep storage drawer, raised on carved and pierced supports joined by an H-form stretcher centered by a turned finial, h. 28‑1/2”, w. 23‑3/4”, d. 16‑1/2”. [200/400]

975 eight-piece suite

976

976 American Renaissance Revival Walnut and MarbleTop Sideboard, third quarter 19th century, the top with a peaked crest and a central carved plaque above a beveled mirror and large shelf brackets, the base with a marble deck above a curved base having a row of three drawers above three doors, h. 90‑1/2”, w. 57”, d. 25”. [2000/4000] Illustrated 977 American Renaissance Revival Giltwood and MarbleTop Pier Mirror, third quarter 19th century, the crest with a central palmette, flanked by smaller palmettes to each side, the base with a marble top, supported by brackets, presented in an old gold-painted surface, h. 94”, w. 32”, d. 11‑1/2”. [800/1200] Illustrated

139

980 American Renaissance Revival Walnut and Burl Walnut High-Back Bedstead, third quarter 19th century, of large scale, with a tall arched crest and a central shell-carved cartouche above the double paneled and burled headboard, the footboard with a thick molded frame and raised burl panels, h. 105”, inside w. 62”, l. 78”, outside w. 66”, l. 82”. [1500/2500] Illustrated 980

981

979 American Rococo Revival Cast-Brass Six-Arm Chandelier, fourth quarter 19th century, each arm with grapevine and pine cane motifs, currently wired for electricity but lacking the sockets, h. 36”, dia. 26”. [500/800] Illustrated

981 American Renaissance Revival Rosewood and Marble-Top Low Table, third quarter 19th century, the oval cream marble top with a molded edge, over a conforming carved apron centered by patera designs, raised on a square standard and four C-form brackets, to the concave base ending in bun feet, h. 22‑3/4”, w. 38‑1/2”, d. 26‑1/2”. [300/500] Illustrated

982 three-piece suite

979

140

985

982 Three-Piece American Renaissance Revival Walnut Bed Set, third quarter 19th century, consisting of an arched top, double oval paneled bedstead, h. 72”, inside w. 60‑1/4”, l. 78”, outside w. 64‑1/4”, l. 82”, a drop center marble-top mirrored dressing bureau, h. 104”, w. 47‑3/4”, d. 19”, and a mirrored double-door armoire, h. 89”, w. 60‑1/4”, d. 21‑1/2”. [1500/2500] Illustrated 983 American Rococo Revival Walnut “Lincoln Rocker”, third quarter 19th century, h. 39‑1/2”, w. 23‑1/4”, d. 36”. [100/200]

985 detail

984 Ithaca Calendar Clock Company Double-Dial Calendar Mantel Clock, fourth quarter 19th century, composed of carved and stained walnut, the calendar dial signed “Manufactured by/ Ithaca Calendar Clock Co./ Ithaca, N.Y./ Patented”, retains the period brass winding key, h. 26‑1/2”, w. 12‑1/8”, d. 4‑3/4”. [200/400] 985 Richard Clague (American/Louisiana, 1816‑1878) “Portrait of a Gentleman”, oil on canvas, signed “R. Clague”, 30” x 25”. Presented in a giltwood and gesso frame with a linen liner. [75000/100000] Illustrated Color Plate III

141

986 Louisiana School (Third Quarter 19th Century) “Gulf Shores Landscape with a Boat Under a MossCovered Oak”, oil on panel, signed lower left “Jasop”, 10” x 13”. Presented in a giltwood frame. [600/900] Illustrated 987 Alexander John Drysdale (American/Louisiana, 1870‑1934) “Louisiana Bayou Landscape”, oil wash on board, pencil signed lower right “A. J. Drysdale”, sight 6” x 19‑1/2”. Glazed, matted and framed. [800/1200] Illustrated Color Plate IX

987

989

988 Louisiana School (First Quarter 20th Century) “French Quarter Courtyard”, painting on a plaque, signed lower right “Ch. Emmette Moore, New Orleans”, 4‑1/4” x 3‑1/4”. Presented in a molded giltwood frame. [40/70]

989 American Eastlake Walnut Dining Table, fourth quarter 19th century, the rectangular top with rounded corners and a carved edge, above a paneled standard and block-and-ball turned supports, raised on four carved legs ending in plinth feet, with three original leaves, h. 29”, w. 51‑1/2”, d. 51‑1/2”, extended l. 100‑1/4”. [500/800] Illustrated 990 American Eastlake Victorian Walnut and Marble-Top Sideboard, fourth quarter 19th century, the top with a central beveled mirror and flanked by open shelves with spindled galleries, the base with a rouge marble deck over a cabinet fitted with three drawers above three cabinets, h. 80‑1/2”, w. 55”, d. 22‑1/4”. [1000/1500] Illustrated

986

142

990

991

992 four-piece suite 991 American Eastlake Victorian Mahogany Library Table, fourth quarter 19th century, each side fitted with a working drawer and a faux drawer, the base with turned and carved legs with a relief-carved panel between, the ends joined by a thick carved stretcher, h. 30”, w. 48”, d. 28”. [800/1200] Illustrated 992 Elaborate FourPiece Eastlake Victorian Walnut and Burl Walnut Bedroom Suite, fourth quarter 19th century, comprised of a high-back bed with burl panels and foliate relief-carved details, h. 77”, inside w. 57”, l. 74‑1/2”, outside w. 59”, l. 81”, a large marble-top dressing bureau with beveled mirror, h. 81”, w. 60”, d. 24”, a singledoor armoire with beveled mirror h. 94”, w. 56”, d. 22”, and a matching marbletop washstand, h. 38”, w. 36‑1/4”, d. 18”. [2000/4000] Illustrated

992 four-piece suite

143

993 Fine Pairpoint Corporation Silvered Brass Parlor Lamp, first quarter 20th century, of two-handled vasiform, with a narrowribbed glass panel-set cut brass shade, the four reverse-painted glass panels in “Thistle and Butterfly” decor, one panel signed on the reverse “Pairpoint Corp”, h. 24‑1/2”, w. 12”, d. 12”. [1500/2500] Illustrated Color Plate IV

996 American Eastlake Victorian Walnut Child’s HalfTester Bed, fourth quarter 19th century, the diamondtufted tester supported by a pair of brackets, the headboard with a line-carved crest above a rectangular raised burl panel, h. 88”, w. 65”, d. 38”. [500/800] Illustrated

995

993

994 American Eastlake Victorian Walnut and Burl Walnut Flat-Top Desk, fourth quarter 19th century, the front with a narrow central drawer above a kneehole opening and flanked by two drawers on the left and a cabinet on the right, each bank with a shelf below and a spindled gallery, h. 28”, w. 47‑1/2”, d. 29‑3/4”. [500/800] Illustrated 995 American Eastlake Walnut and Burl Walnut SideLock Chest, fourth quarter 19th century, the rectangular mirror surmounted by a dentillated crest centered by an incised cartouche carving flanked by columnar sides over two blind fretwork-carved drawers, above the lower case with a dentillated, carved and incised drawer, over four paneled drawers flanked by columnar frieze-carved stiles, ending in a plinth base on casters, h. 87”, w. 36‑1/2”, d. 20”. [500/800] Illustrated

997 American Eastlake Victorian Walnut and Iron-Mounted Stand, fourth quarter 19th century, the circular framed top mounted to a turned column with three line-carved legs, each surmounted by a cast-iron and goldpainted eagle, h. 33”, dia. 13”. [100/200] 998 American Turned and MahoganyStained Wood Three-Panel Folding Screen, fourth quarter 19th century, each panel set with a different oil-on-canvas scene, from left to right, the Natural Bridge of Virginia, a pair of white herons in a swamp, and a pair of deer on a river bank, the upper edge of each panel with a spindled gallery, h. 55”, l. 24”, extended l. 72”. [800/1200] Illustrated 994

144

1003 Diverse Three-Piece Collection of Glass, comprised of a Brilliant-cut vase of gently flaring cylindrical section in “Graduated Hobstar and Diamond” panels; a Fostoria “Georgian Block” rose globe of cushion form, second quarter 20th century; and a Scandinavian Modern blown glass vase of “bean” form with a cut and polished lip, third quarter 20th century; the largest h. 11‑1/2”. The modern glass vase in this lot is by Peill & Sohn of Duren, Westphalia, Germany (active 1903-present) and an addorsed P mark is used on the firm’s art wares. [150/300] 996

1004 Good Four-Piece Collection of American Pressed Glass, third quarter 19th century, comprised of a “King’s Crown” covered compote; a “Diamond Thumb-Print” tall celery vase; and a “Four Petal” covered and footed sugar basin and matching cream pitcher of generous size; the largest h. 11”, dia. 7‑1/4”. [100/200]

1002

999 American Eastlake Victorian Overmantel Mirror, fourth quarter 19th century, the crest with stylized carved flowers above a line-carved frieze, the beveled plate glass mirror flanked by turned columns, h. 63”, w. 49”. [300/500] 1000 Ansonia Slate Mantel Clock, fourth quarter 19th century, composed of gilt-brass-mounted and incisecarved polished black slate, the interior backplate signed “Ansonia Clock Co./ New York”, the circular dial enameled and having a convex glass cover, h. 10‑1/4”, w. 9‑1/2”, d. 4‑5/8”. [150/300] 1001 Ansonia Pottery Mantel Clock, first quarter 20th century, in “Clematis” Decor, in shaded sky-blue and white pottery, the circular enamel dial gilt-brass enframed and marked with the lozenge-surrounded Ansonia A and the Ansonia legend at the basal edge; Ansonia called this pattern “Terrace” and so marked on the backplate of the case, h. 10‑1/2”, w. 9‑1/2”, d. 5”. [200/400] 1002 Good Pair of English Brilliant-Cut Glass Decanters, fourth quarter 19th century, of tall size in “Palmetto and Mandorla” decor, with matching cut “spear point” stoppers, h. 14‑1/4”, dia. 5‑1/4”. [900/1200] Illustrated 998

145

1005

1008 Group of Two Glass Cake Stands, one a good American pressed amber glass footed cake stand in a variant “Daisy and Button” pattern, of square form with chamfered corners, fourth quarter 19th century, h. 60‑1/2”, w. 9‑1/2”; and the other a Fostoria Limited Edition circular cake stand in a Brilliant-pressed “Diamond Swirl” pattern, h. 6‑1/2”, dia. 10‑1/4”. [75/125] 1009 Attractive Four-Piece Ellmore Sterling Silver Coffee and Tea Service, second quarter 20th century, in “Rope Edge” decor, in the Early American taste, comprised of a footed coffeepot, a footed teapot, a covered two-handled sugar basin and a footed waste bowl, the largest h. 11”, w. 5‑1/2”, l. 10”, 54.30 total t. oz. [1000/1500] Illustrated Color Plate II

1005 Fine and Rare Steuben Cast, Cut, and Engraved “Castle of Dreams” Sculpture, 20th century, designed by David Dowler, signed in diamond stylus script “Steuben”, presented in the original Steuben maroon morocco case with a crimson satin- and velvet-lined fitted interior, the case fitted with a two-piece black fauxmorocco and crimson velvet display platform of lozenge configuration, h. 5‑1/2”, w. 9‑1/2”, d. 6”. [1400/1800] Illustrated 1006 Three Good American Pressed Glass Cream Pitchers, third quarter 19th century, comprised of a “Horn of Plenty” pitcher; a “Paneled Waffle” pitcher; and a “Diamond Thumbprint” pitcher; the largest h. 6‑3/4”. [75/125]

1010 Pair of Gorham Weighted Sterling Silver Candlesticks, third quarter 20th century, in the Georgian taste, with attenuated nozzle-form candlesockets, h. 8‑3/4”, dia. 4”. [50/80] 1011 Rare Early American Silver Octagonal Salver, third quarter 18th century, hallmarked RDE, of footed form, dia. 6‑1/2”, 6.30 t. oz. [600/900] Illustrated

1012

1011

1007 Three-Piece Group of Pressed Glassware, consisting of an American pressed “King’s Crown” tall iced beverages pitcher, ca. 1891; a pressed “Manhattan” soda fountain straw jar of cylindrical section with a domed metal cover, ca. 1902; and an American ruby-stained pressed “King’s Crown” milk pitcher, also ca. 1891; the largest h. 11‑5/8”. [75/125]

1009

1012 American Sterling Silver Footed Iced Water Pitcher, first quarter 20th century, in the “Early American” taste, h. 9‑1/2”, w. 6”, l. 9”, 17.35 t. oz. [125/250] Illustrated 1013 Two Silverplate Serving Trays, second quarter 20th century, comprised of a large American oval, footed and compartmented supper tray in the Georgian taste, with a central “well and tree” roasted meats compartment flanked by two vegetable compartments, w. 16”, l. 22‑1/4”; and a Webster-Wilcox “Joanne” circular sandwich/pastry tray with a bar-pierced rim, dia. 14‑1/2” [75/125]

146

1014 Group of Four Weighted Sterling Silver Items, second quarter 20th century, comprised of an International weighted sterling tall, footed jelly stand in the Georgian taste; a similar Newport weighted sterling stand; a smaller Poole Art Deco weighted sterling stand; and an Otto Richard, New York, weighted sterling footed bonbon bowl in the Georgian taste; all four examples fully hallmarked on the bases, the largest h. 5‑3/4”, dia. 6‑1/4”. [100/200]

1015

1015 Imposing American Silverplate FourHandled Revolving Supper Service, comprised of a warming base, a central footed soup tureen, four oval covered vegetable dishes, a pair of sauce bowls and a pair of salt-andpepper casters, all in “Gadroon” pattern, the four handles lacquered in gloss black, h. 19”, dia. 24”. [300/500] Illustrated

1016 Four-Piece F. B. Rogers Silverplate Chafing Dish-on-Stand with Tray, second quarter 20th century, in the Old Sheffield style, the chafing dish composed of a fruitwood-handled pan, cover bowl liner and stand, h. 13”, dia. 11”, l. 19”, along with a matching circular, lobed and footed tray, dia. 17”, all of the pieces in “Flower and Scroll” decor, the alcohol lamp for the chafing dish lacking. [100/200]

1017

1017 Fine Pair of William Gale and Son, New York, Sterling Silver Sauceboats, third quarter 19th century, in a “Floral Repousse” pattern with high foliate-scroll handles, h. 7”, w. 4‑1/8”, l. 8”, 26.20 total t. oz. [2500/4000] Illustrated

1018 Pair of Godinger Silverplate Circular Pastry Trays, with garlanded reticulated borders in the Louis XVI taste, dia. 13‑1/8”. [250/400] 1019 Handsome Pair of Meriden Silverplate Three-Light Candelabra, first quarter 20th century, in the “Old Sheffield” style, each candlesocket fitted with a detachable bobeche (one lacking), h. 17”, w. 19”, d. 6”. [350/500] 1020 Good Reed and Barton Sterling Silver Two-Handled Trophy Cup, first quarter 20th century, the facade handsomely engraved with an American Agriculturist presentation inscription, h. 12‑1/4”, dia. 6”. [200/400] Illustrated 1020

1021 Good Bigelow, Kennard and Company, Boston, Sterling Silver Presentation Porringer, dated 1898, in the Early American style, dia. 5”, 8.00 t. oz. [250/400]

147

1022 Interesting Fourteen-Piece Group of Sterling Silver Items, second and third quarter 20th century, comprised of an eight-piece collection of Frank M. Whiting sterling silver-rimmed sunburst-pressed glass drink coasters in “Antique Bead” decor; an unusual set of four Saart Brothers sterling silver and star-cut glass drinks coasters with integral canape/ash wells; an Attleboro Chain Company sterling silver circular place ashtray with attached matchbook stand; and a Ronson silver “Crown” table lighter; the largest dia. 3‑1/8”, l. 5‑1/8”. [100/200] 1023 Whiting Manufacturing Company Sterling Silver Trophy Tankard, dated 1890, of large size, the base engraved “Tuxedo/3‑15‑90/ Kent twice/Macalester once”, the basal edge with a relief foliate-scroll border, h. 6”, dia. 4‑3/4”. [500/800] Illustrated

1031

1023

1030

1024 Alvin Sterling Silver-Overlay Glass Decanter, first quarter 20th century, of ewer form in “Vintage” decor, retains the period silveroverlay glass stopper of tall spherical form, h. 13”, dia. 5‑1/2”. [500/800] 1025 Reed and Barton Silverplate Iced Water Pitcher, third quarter 20th century, in the “Winthrop” pattern, of substantial weight, h. 10”, w. 6‑1/2”, l. 9”. [100/200]

1029

148

1026 Handsome Pair of Gorham-Thurber Paneled Sterling Silver Footed Presentation Goblets, 1850‑1852, each engraved in script on one panel “Dexter”, h. 5‑5/8”, dia. 3‑1/4”, 12.50 total t. oz. [1200/1800]

1027 Large Silverplate-Rimmed Cannele Glass Salad Bowl, second quarter 20th century, the rim stamped “14640 Bointaburet a Paris”, the base with a reverse-pressed thirty-two-point sunburst, h. 5‑1/4”, dia. 15‑3/4”. [75/125]

1032

1028 Fisher Sterling Silver “Gadroon” Footed Teapot, second quarter 20th century, in the Early American taste, h. 10”, w. 6”, l. 11”, 24.50 t. oz. [150/300] 1029 Good American Late Victorian Mahogany Partner’s Desk, fourth quarter 19th century, attributed to R. J. Horner and Co., New York, the rectangular top with a molded edge and carved ends over a central drawer flanked by a bank of two drawers, all with foliate carvings and lionhead pulls, h. 30”, w. 56”, d. 34”. [5000/8000] Illustrated Color Plate V 1030 Fine and Rare Pairpoint Corporation BronzePatinated Brass Parlor Lamp, first quarter 20th century, with a Pairpoint reverse-painted domed glass shade depicting “Peacocks in a Garden”, the shade signed in miniscule stencil at the basal edge “Pairpoint Corp.”, the base also signed and numbered “D‑3065”, h. 25”, dia. 18”. [2500/4000] Illustrated Color Plate V

1034

1031 Fine Moe Bridges Company, Milwaukee, Cast-Iron Parlor Lamp, first quarter 20th century, the gilded and polychrome-detailed paw-footed lamp with a large reverse-painted domed glass shade in “Crested Birds, Butterflies, Trees and Flowers” decor, the exterior of the shade pebbled and lightly frosted, the base of the lamp embossed “Moe Bridges Co./Milwaukee, Wis.”, h. 23”, w. 18”. [500/800] Illustrated Color Plate VIII 1032 American Late Victorian Mahogany Settee, fourth quarter 19th century, in the manner of Karpen, the curved back with a deep pierced and scroll-carved wraparound crest and terminating into scrolled knuckles at the arm fronts, raised on cabriole legs ending in paw feet, h. 36”, w. 54”, d. 29”. [500/800] Illustrated

1033 1033 Stylish Handel Gilt-Brass-Mounted Copper Vasiform Kerosene Parlor Lamp, in the Art Nouveau style, the wick adjuster with an 1895 patent date, the font cap touchmarked “Miller”, retains the blown glass chimney and frosted shaded peach-to-clear glass shade with enameled “Cherries” decor and signed Handel Co. 2853, h. 22”, dia. 12‑3/4”. [800/1200] Illustrated 1034 Italian Spelter Putto Candelabrum Stand, fourth quarter 19th century, of tall size in the Venetian style, composed of gilt-brass-mounted carved ebonized wood and bronze-patinated spelter, the bronze-patinated figure of the putto surmounting a carved monopodal figure of a winged roaring dragon, the whole supported on a box base with four carved paw feet, h. 54”, w. 12”, d. 12”. [800/1200] Illustrated

149

1035 American Late Victorian Mahogany Fireplace Mantel, ca. 1900, the top with an egg-and-dart molding above a shelf supported by large columns and a central oval beveled mirror, h. 87”, w. 59‑1/2”, d. 14”. [400/700] Illustrated 1036 American Late Victorian Mahogany Settee, fourth quarter 19th century, the padded and tufted back back with scrolled feather-carved returns, the arm fronts depicting lion heads, raised on cabriole legs with paw feet, h. 41‑1/2”, w. 41”, d. 23”. [250/400]

1039

1040 Fine Set of Eight Simon Pearce, Quechee, Vermont, Tankards, composed of hand-blown and tooled colorless glass, and of the “Windsor” type in the George III style, each example signed on the base in diamond stylus script “Simon Pearce”, h. 5”, dia. 4”. [200/400]

1035

1041 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”. [250/400]

1037 American Late Victorian Walnut Figural Side Table, ca. 1900, the shaped top with a carved drawer and supported by cabriole legs with carved putti, h. 29‑1/4”, w. 22”, d. 16”. [150/300] 1038 Continental Walnut-Stained and Marble-Top Center Table, fourth quarter 19th century, the circular rim with line-carved details and supported by four standing putti, h. 32‑1/2”, dia. 54”. [1200/1800] Illustrated Color Plate IV 1039 Imposing American Brass Fifteen-Light Chandelier, first quarter 20th century, in the Louis XIV taste, modeled as alternating large bust-capped foliate arms and plain paired arms, the longer arms fitted with vasiform frosted glass shades with gauffered rims, the paired arms fitted with leaf-etched glass shades of bell form (one lacking), h. 40”, dia. 36”. [7000/10000] Illustrated Color Plate IV

150

1038

1045 American Chippendale-Style Mahogany Desk, fourth quarter 19th century, the rectangular top with a molded edge over a frieze fitted with two drawers above an arched, carved apron flanked on both sides by a short drawer, raised on cabriole legs headed by acanthine carving and ending in ball-and-claw feet, h. 30”, w. 55”, d. 32”. [300/500] Illustrated

1047

1048

1046 American Cast-Iron Parlor Lamp, first quarter 20th century, in black and green “Lotus” decor, with a puffy reverse-painted glass shade in the Pairpoint style, the mold-blown shade in “Poppies” decor, h. 21‑3/4”, dia. 12”. [1000/1500] Illustrated Color Plate III 1047 Tall Cameo-Cut Glass Vase, the blue over smoky topaz over yellow glass vase of tall baluster form in “Mountain Lake” decor in the manner of Emile Galle (1846‑1904), the side with a pseudo-Galle signature in cameo script, h. 14‑1/2”, dia. 4”. [300/500] Illustrated

1042 Lalique Satin-Finished Crystal Head of a Horned Ram, fourth quarter 20th century, designed by MarieClaude Lalique, signed at the proper left basal edge in diamond stylus script “Lalique R France”, h. 6‑1/4”, w. 3‑3/4”, l. 8”. [250/400] 1043 Five-Piece Collection of Brilliant-Cut and Pressed Glass, second/third quarter 20th century, comprised of a Germano-Bohemian scroll-footed fruit bowl cut in “X and Buzz” decor; a similar Brilliant-pressed tall vase in “Fan and Star” decor; a Germano-Bohemian Brilliant-cut large covered compote in “Interlaced Buzz” decor; a silverplatemounted prism-pressed salad bowl; and a Continental pressed bowl of coronet form; the largest h. 12‑3/4”, dia. 8”. [100/200] 1044 Interesting Fourteen-Piece Glass and Silverplate Collection, comprised of a set of four blown glass Irish coffee glasses of cylindrical section; a set of six Reed and Barton silverplate cafe brulot spoons produced for Adler’s, New Orleans; a pair of cut dessert wine goblets, first quarter 20th century; a two-piece English lattice-cut creamand-sugar set consisting of a circular open sugar basin and a matching cream pitcher; a Baccarat “Petal” covered mustard pot and matching longhandled mustard spoon, signed on the base with the Baccarat “decanter” acid stamp; an American Brilliant-cut glass scroll-footed rose globe of small size in “Buzz” decor, first quarter 20th century; an English diamond-cut water pitcher in the Waterford style; an American candlestick of square section, second quarter 20th century; and an English “Oculus and Star”-cut glass fruit bowl; the largest h. 3‑1/2”. [150/300]

1048 Emile Galle-Style (1846‑1904) Cameo-Cut Glass Vase, early 20th century, of modified flask form in “Mountain Lake” decor, signed at one side “Galle”, in wavy script within a freeform reserve, h. 8‑3/4”, w. 5‑1/4”, d. 3‑1/2”. [250/400] Illustrated

1046

1045

151

1049 Louis Comfort Tiffany (1848‑1933) Dome-Footed Vase, first quarter 20th century, of modified nozzle form in “Leaf Comb-Up” Favrile glass, signed on the rim of the foot “L.C.T.”, h. 9‑3/4”, dia. 5‑1/4”. [600/900] Illustrated 1050 Good Louis Comfort Tiffany (1848‑1933) Calyxiform Vase, first quarter 19th century, in shaded amber to rose and ivory “Leaf Comb-Up” Favrile glass, the underside of the circular foot signed “635 J L. C. Tiffany-Favrile”, in script, h. 8‑1/4”, dia. 3‑1/4”. [600/900] Illustrated

1051

1051 American Eastlake Victorian Mahogany Dresser, fourth quarter 19th century, the top with a tilting beveled mirror above three long drawers, each with heavy castbrass hardware, h. 78”, w. 49‑1/2”, d. 24”. [700/1000] Illustrated 1052 Victorian-Style Mahogany Window Seat, the cushioned seat flanked to either end by padded outscrolled arms to lion’s-head terminals, raised on splayed legs ending in ball-and-claw feet, h. 28‑1/4”, w. 55‑1/4”, d. 18‑1/2”. [300/500] Illustrated 1053 American Brass-Inlaid Figured Mahogany Bedstead, early 20th century, in the manner of Duncan Phyfe, New York, the headboard with a turned and reeded crest rail above a paneled frame with brass-inlaid details, raised on turned and reeded legs, h. 42”, inside w. 56”, l. 76”, outside w. 59”, l. 80”. [50/80]

1049

1050 1052

1054 Stylish Two-Handled Vasiform Kerosene Lamp Base, in the early manner of Louis Comfort Tiffany (American, 1848‑1933), bronze-patinated, now electrified and fitted with a leaded glass “Purple Clematis” shade, also in the Tiffany style, the lamp base touchmarked with a pseudoTiffany Studios, New York, punch marked, the upper interior edge of the shade with an applied Tiffany Studios plaque and a stamped pseudo-Tiffany numeral, h. 21”. For the “Purple Clematis” shade, see E. Neustedt, The Lamps of Tiffany, New York, 1970, p. 98, # 142. [500/800] Illustrated

152

1054 1058 American Bronze-Patinated Spelter and Brass Parlor Lamp Base, first quarter 20th century, with a later domed leaded glass “Cherry Blossom” shade in the Handel style, the weighted circular foot of the base with a trio of bud-and-stem wreathed Art Nouveau female heads, the upper terminus with a pair of spiraled light sockets, h. 25”, dia. 19‑1/2”. [400/700] 1059 Stylish Leaf-Etched Leaded Glass Transom Window, first quarter 20th century, composed of caramel slag and rose, cobalt, citron yellow, emerald green and ruby leaded glass, featuring a beribboned swagged garland, h. 17‑1/4”, w. 36‑3/4”. [100/200]

1057 1055 Unusual Metal and Iridescent Gold Glass Vasiform Five-Light Table Lamp, third quarter 20th century, in the manner of Louis Comfort Tiffany (American, 1848‑1933), modeled as a bronze-patinated metal central vasiform element capped by a single upright lily-form shade and enframed by four separate inverted lily-form shades, the shades with diamond stylus-engraved L.C.T. monograms, h. 19‑1/2”, dia. 27”. [400/700] 1056 Verdigris-Patinated Tripodal Table Lamp, in the manner of Louis Comfort Tiffany (American, 1848‑1933), the bulb socket fitted with upright iridescent gold “Federzeichnung” glass shade, h. 22‑1/4”, dia. 7”. [400/700] 1057 Attractive American Metal and Leaded Glass Parlor Lamp, third quarter 20th century, bronze-patinated in “Nasturtium” decor in the manner of Louis Comfort Tiffany (1848‑1933), the footed “Library Lamp” base fitted with a trio of spiraled bulb sockets and touchmarked with a pseudo “Tiffany Studios/New York”, h. 22”, dia. 16‑1/2”. Reference: For the “Library Lamp” base, see E. Neustadt The Lamps of Tiffany, New York, 1970, p. 93, #130. [500/800] Illustrated

153

1060 Morris Henry Hobbs (American/Louisana, 1892‑1967) “Bromeliad and Butterfly”, watercolor on paper, signed lower right “Morris Henry Hobbs”, sight 17‑1/2” x 11‑1/2”. Glazed, French-matted and framed. [1200/1800] Illustrated 1061 Morris Henry Hobbs (American/Louisiana, 1892‑1967) “Bluebird on a Branch”, watercolor on paper, signed lower right “Morris Henry Hobbs”, sight 16‑1/2” x 11‑1/2”. Glazed, French-matted and framed. [1000/1500] Illustrated 1062 Morris Henry Hobbs (American/Louisiana, 1892‑1967) “Bromeliad and Butterfly”, watercolor on paper, signed lower left “Morris Henry Hobbs”, sight 19‑1/2” x 13”. Glazed, French-matted and presented in a polychromed and parcel-gilt frame. [1500/2500] Illustrated

1060

1063 Louisiana School (Contemporary) “New Orleans Cemetery Scene”, black and white digital print, signed verso “E. S. Romig”, sight 9‑3/4” x 6‑1/2”. Glazed, matted and framed. Provenance: Private collection, Jackson, Mississippi. [75/125] 1064 Charles Reinike III (American/Louisiana, b. 1947) “Nocturnal Street Scene”, watercolor on paper, signed in pencil lower left “C. Reinike III”, sight 10” x 14”. Glazed, matted and framed. [700/1000] Illustrated 1065 Earl Horter (American/Louisiana, 1881‑1940) “Balconies, New Orleans”, black and white etching, signed in pencil lower right “E. Horter”, titled in pencil lower left, sight 11‑1/2’ x 8”. Glazed, triple-matted and presented in a giltwood and gesso frame. [400/700] Illustrated

1061

154

1064

1062

1065

155

New Orleans Auction St. Charles Gallery is pleased to offer the wildlife collection of avid bow-hunter Randal W. Bales, Baton Rouge, Louisiana.

Randal Bales is a United States Marine Corps Veteran with twenty years active military service and duties that included three tours in the Republic of Vietnam, duties in military intelligence with five years as Senior Marine Instructor at the Intelligence Center and School at Ft. Huachuca, Arizona. He was also an instructor at Marine Survival, Evasion, Resistance to Interrogation and Escape School (SERE), with duties in Korea, Okinawa, Turkey and the Middle East, as well as Assistant Naval Attache to the Republic of Malagasy. During his travels and duties, Randy developed a love for bow hunting and fishing. During his stay in Africa, he was priviledged to have many safaris where he developed and perfected the skill of bow hunting. Randy also enjoys making antler art including lamps, tables, chandeliers, candles, baskets, knives, etc. All of the trophies and antler art featured in this sale were taken with his bow and arrow.

156

1066 Taxidermy Shoulder-Mounted Trophy Whitetail Deer, with a nine-point rack and a 25‑3/4” spread, h. 40”, w. 25‑1/2”, d. 16‑1/2”. [300/500] Illustrated 1067 Very Large Taxidermy Shoulder-Mounted Ten-Point Whitetail Buck, h. 49”, w. 18”, d. 19‑1/2”. [300/500] Illustrated

1066

1068

1067

1068 Taxidermy Shoulder-Mounted Ten-Point Trophy Whitetail Deer, included in the Boone and Crockett Record Book, 1964, Alabama state record and a 177‑318 score, National Rifle Association Silver Bullet Award Winner, along with an NRA Award plaque and a framed photograph of the hunter and the tagged deer, h. 34”, w. 19‑1/4”. [800/1200] Illustrated

157

1069

1073 Large Taxidermy Shoulder-Mounted Indian Axis Deer, with in-velvet antlers, h. 40”, w. 26‑1/2”, d. 23”. This is an example of an Axis deer before the velvet is rubbed off and the hardened antlers are exposed. [400/700] Illustrated

1076

1075

1069 Taxidermy Mounted Full-Size Coyote, presented on a driftwood stump, h. 48”, w. 36”, l. 40”. [300/500] Illustrated 1070 Symmetrical Ten-Point Whitetail Deer Rack, retaining its registered deer tag, h. 15”, w. 16”, d. 11‑1/2”. [75/125]

1073

1071 Taxidermy-Mounted Grizzly Bear Rug, a full, lifesize Alaskan grizzly bear presented with full open mouth bearing teeth and claws, mounted on a double felt twotone backing, 80” x 88”. This is an “A” grade rug with great blond color winter coat. [1500/2500] Illustrated 1072 Taxidermy Shoulder-Mounted Japanese Sika Deer, also known as “spotted” or “Japanese” deer, h. 33”, w. 12”, d. 18”. [400/700] Illustrated

1072

1071

1074 Pair of Moose Antlers, each separated from the skull, w. 25‑1/2”, l. 21‑1/2”. [50/80] 1075 Taxidermy-Mounted GreenWinged Teal Duck, presented in-flight on a hardwood wall plaque, h. 16”, w. 24”, d. 17”. [150/300] Illustrated

158

1081 Large Taxidermy Shoulder-Mounted Cinnamon European Mouflon Ram, h. 23‑1/2”, w. 26‑1/2”, d. 13”. [300/500] Illustrated 1082 Taxidermy Shoulder-Mounted Large Mouflan Ram, from Texas, h. 24‑1/2”, w. 15‑1/2”, d. 13”. [200/400] Illustrated

1079

1083 Indian Nilgai Antelope Horns, with a full bleached skull, mounted on a shield-form wall plaque, h. 17‑1/2”, w. 10”, d. 9”. [100/200] 1084 Collection of Miscellaneous Deer Antlers, presented in a rolled vine basket, h. 18”, dia. 14”. [50/80] 1085 Zebra Rug, full-size perfect trophy grade Burchell zebra rug, presented with felt backing and exceptionally large, 82” x 120”. [1500/2500] Illustrated

1076 Taxidermy-Mounted Female Mallard Duck, presented in flight on a driftwood wall plaque, h. 24”, w. 17”, d. 21”. [150/300] Illustrated 1077 Taxidermy Wall-Mounted Bufflehead Duck, presented on a cut log, h. 13”, w. 6”. [75/125]

1082 1080

1078 Interesting Taxidermy-Mounted Rosy-Billed Pochard Duck, presented in flight and mounted to a driftwood base, h. 19”, w. 29”, l. 20”. [200/400] 1079 Taxidermy-Mounted Full-Maned African Lion, presented as a half-size, full mount on an artificial rock base, h. 54”, w. 34”, d. 21”. This was an old, solitary lion, scarred due to many fights over the years. [1500/2500] Illustrated

1080 Taxidermy Shoulder-Mounted Small Aoudad Ram, from Catalina Island, California, h. 17”, w. 14‑1/2”, d. 11‑1/2”. [100/200] Illustrated

1081

1085

159

1086 Taxidermy Shoulder-Mounted African Springbok Antelope, h. 26”, w. 12”, d. 13”. The name for this antelope is derived from the buck’s springy hop as it runs. [200/400] Illustrated

1092

1093

1087 Taxidermy Shoulder-Mounted African Reed Buck Antelope, h. 32”, w. 13”, d. 13”. [200/400] Illustrated

1091

1088 Taxidermy Shoulder-Mounted African Thompson Gazelle, h. 24”, w. 8”, d. 13‑1/4”. [200/400] Illustrated

1089 Eight-Point New Mexico Bull Elk Antlers, with full bleached skull, mounted on a shield-form wall plaque, h. 31‑1/2”, w. 24‑1/2”, d. 13”. [100/200]

1086

1094

1088

1087

1090 Taxidermy-Mounted Alaskan Ptarmigan, presented in its winter white plumage and mounted on a driftwood base, h. 9”, w. 15‑1/2”, l. 13”. [50/80]

1095

1096

160

1097

1091 Taxidermy-Mounted Argentinian/Peruvian Plains Viscacha, presented on its hind legs, on a vegetation diorama, h. 17”, w. 9”, d. 18”. This unusual animal is a prolific burrower. [200/400] Illustrated

1095 Large African Sable Antelope Horns, on a skull cap, h. 15”, w. 12”, l. 32”. [100/200] Illustrated 1096 African Waterbuck Antelope Horns on a Full Skull, h. 16”, w. 20”, l. 32”. [100/200] Illustrated 1097 Large African Oryx Antelope Horns, on a bleached skull, h. 12”, w. 17”, l. 44”. [100/200] Illustrated

1099

1098 African Water Buffalo Horns, with a skull cap, mounted on an oval hardwood wall plaque, h. 17”, w. 25”, d. 10‑1/2”. [100/200]

1099 Taxidermy-Mounted African Cape Buffalo Horns, presented with the skull cap and mounted to a wooden wall plaque, h. 22”, w. 31”, d. 13”. [200/400] Illustrated 1100 Taxidermy Full-Mounted, Life-Size African Impala, presented in a leaping pose in mid-air, anchored to a driftwood tree stump, h. 82‑1/2”, w. 87‑1/2”, d. 18”. [1500/2500] Illustrated 1101 African Grants Gazelle Horns and Waterbuck Antelope Horns, each with a skull cap, mounted on an oval hardwood wall plaque. [150/300] Illustrated

1101

1092 Taxidermy-Mounted Raccoon, presented standing on its hind legs on a driftwood base, h. 30”, w. 9‑1/2”, d. 26”. [200/400] Illustrated 1093 Taxidermy-Mounted Bobcat, presented on a natural plant and rock diorama base, a caught bird at its feet, h. 22”, w. 24‑1/2”, d. 14”. [300/500] Illustrated 1094 Taxidermy Shoulder-Mounted Indian Nilgai Antelope, h. 37”, w. 15”, d. 27”. The Nilgai Antelope is Asia’s largest antelope and sometimes called the “Blue Bull”. [300/500] Illustrated

1100

161

1102 African Blesbok Horns, with skull cap, mounted on an oval hardwood wall plaque, h. 14”, w. 15”, d. 9”. [75/125] Illustrated 1107

1103 African Red Lechwe Antelope Horns, with skull cap, mounted on an oval hardwood wall plaque, h. 21”, w. 20”, d. 15”. [100/200] Illustrated 1104 African Tsessebe Antelope Horns, with a skull cap, mounted on an oval wall plaque, h. 21”, w. 7”, d. 10”. [100/200] Illustrated 1105 Two Taxidermy-Mounted Skull Cap Antelope Horns, one an African Duiker antelope, h. 7”, w. 5”; and the other an African Steenbok antelope, h. 12”, w. 7”; each mounted to a wooden wall plaque. The Duiker antelope is the smallest antelope in Africa. [75/100] 1106 Axis Deer Antlers, with a skull cap, mounted on a shield-form wall plaque. [50/80] 1107 Rare Taxidermy Full-Mounted, Life-Size European Albino Fallow Buck, presented standing, on a carpeted plinth base, h. 66‑1/2”, w. 71”, d. 25‑1/2”. [400/700] Illustrated

1110 1103

1109

1102 1104

1108 Large White Arctic Timberwolf Carpet, an Alaskan taxidermy-mounted solid white rug, presented with head and claws, with felt backing, 63” x 74”. [300/500] Illustrated Color Plate XI

1108

162

1109 Taxidermy Shoulder-Mounted Asian “Black” Fallow Buck, h. 33”, w. 16”, d. 20”. The “black” fallow deer ranges in color from a dark chocolate brown to a spotted brown. [200/400] Illustrated

1112

1110 Taxidermy ShoulderMounted Asian “White” Fallow Buck, h. 35”, w. 23”, d. 21”. The “white” fallow deer ranges in color from a solid white to a light spotted white and brown. [200/400] Illustrated

1114 Cowhide Rug, 75” x 83”. [300/500] Illustrated 1115 Collection of Whitetail Deer Antlers, presented in an Antique Remington Arms wooden cartridge box, h. 12”, w. 12‑1/2”, l. 18‑1/2”. [100/200]

1111 European Fallow Buck Antlers on a Bleached Skull, h. 32”, w. 24”, d. 9‑1/4”. [100/200]

1113

1116 Large Thirteen-Point Whitetail Deer Antlers, with a skull cap, mounted on a shield-form wall plaque, h. 17”, w. 15”, d. 11‑1/2”. [150/300] 1117 Alaskan Caribou Twenty-Point “Double Shove” Antlers, with a skull cap, mounted on a shield-form wall plaque, h. 33”, w. 25”, d. 15”. [150/300] Illustrated 1117

1112 Taxidermy Shoulder-Mounted African Red Hartebeest, h. 42”, w. 13”, d. 28”. [300/500] Illustrated 1113 Eleven-Point Bull Elk Antlers, with skull cap mounted on a shield-form wall plaque, h. 43”, w. 37”, d. 15‑1/2”. [100/200] Illustrated

1114

163

1118 1122

1124

1123

1120 Springbok Hide Rug, with felt backing, 27” x 33”. [50/80] Illustrated 1121 African Puku Antelope Horns, with skull cap, mounted on an oval hardwood wall plaque, h. 11”, w. 12”, d. 12”. [50/80]

1127

1122 Taxidermy Shoulder-Mounted African Puku Antelope, h. 35”, w. 9‑1/2”, d. 16”. [200/400] Illustrated

1126

1123 Taxidermy Shoulder-Mounted Male Pronghorn Antelope, from Arizona, h. 32”, w. 10”, d. 15”. [200/400] Illustrated

1128

1118 Taxidermy-Mounted Bobwhite Quail Terrarium, having two Bobwhite quail presented in a winter snow diorama scene under a glass dome, with a turned and polished mahogany base, h. 19”, dia. 13”. [200/400] Illustrated 1119 1119 African Antelope Rug, of circular shape and made using six antelope hides, dia. 42”. [100/200] Illustrated

164

1124 Taxidermy Shoulder-Mounted African Impala, h. 36”, w. 13‑1/2”, d. 17‑1/2”. [200/400] Illustrated 1125 Group of Four Large Bull Elk Antlers, three having six points and one with seven points, the largest w. 21”, l. 45”. [100/200]

1120

1130 Ten-Point Red Stag Antlers, on a skull cap, mounted on a brass-studded, shieldform wall plaque, h. 22”, w. 33”, l. 32”. [100/200] Illustrated 1131 Group of Two Desert Ram Horns on Skulls, the larger h. 10”, w. 24”, d. 8‑1/2”, the smaller h. 10”, w. 14”, d. 10”. [100/200]

1133

1134

1132 Group of Two Ram Horns on Skulls, one a small desert ram, h. 7‑1/2”, w. 11”, d. 10”; and the other an aoudad ram, h. 7‑1/2”, w. 22”, d. 13‑1/2”. [75/125]

1133 Rare Sixteen-Point Pere David’s Deer Antler Rack with Full Bleached Skull, h. 23”, w. 27”, l. 39”. The Pere David’s deer lives only in remote parts of China or in captivity and is considered one of the hardest trophies to obtain by hunters. [200/400] Illustrated

1130

1134 Rare Ten-Point Pere David’s Deer Antler Rack on Skull Cap, h. 18‑1/2”, w. 26”, l. 27”. The Pere David’s deer lives only in remote parts of China or in captivity and is considered one of the hardest trophies to obtain by hunters. [200/400] Illustrated 1135 Large Collection of European Axis Deer and Mule Deer Antlers, presented in a large woven basket, h. 14”, dia. 24”. [100/200] Illustrated

1129

1126 Rare Asian Sambar Deer Antlers, on a skull cap, mounted on a shield-form wall plaque, h. 25‑1/2”, w. 14‑1/2”, d. 15‑1/2”. [100/200] Illustrated 1127 Large Mule Deer Antlers, mounted on a cast-metal wall plaque, h. 28”, w. 29”, d. 12‑1/2”. [200/400] Illustrated 1128 Western Mule Deer Antlers, on a skull cap, mounted on a shield-form wall plaque, h. 26”, w. 23”, d. 15”. [100/200] Illustrated

1136 Large Collection of Miscellaneous Deer Antlers, presented in a large woven basket, h. 24”, dia. 22”. [200/400] Illustrated 1137 Collection of European Fallow Deer Antlers, in a large woven basket, h. 21”, w. 22”, l. 26”. [100/300] Illustrated 1138 Eland Antelope Horns, with a partial bleached skull, mounted on an oval wooden plaque, h. 32”, w. 14”. The eland is Africa’s largest antelope. [100/200]

1136 1135

1137

1129 Taxidermy-Mounted Nine-Point Red Stag Antlers, presented with its skull cap and mounted to a wooden plaque, h. 27”, w. 26‑1/2”, d. 19‑3/4”. [100/200] Illustrated

165

1139 John P. Cowan (American/Texas, 1920‑2008) “Flock of Mallards Being Flushed”, watercolor on paper, signed lower right “Cowan”, sight 20” x 28”. Glazed, matted and presented in a burlwood-veneered frame. [3000/5000] Illustrated 1140 John P. Cowan (American/Texas, 1920‑2008) “Fishing Jamaica”, watercolor on paper, signed lower left “Cowan”, sight 19‑1/2” x 28‑1/2”. Glazed, linenmatted with an affixed brass plaque incised with the artist’s name and work’s title, and presented in a molded burlwood frame. [3000/5000] Illustrated Color Plate X

1139

1143 After John Cowan (American/Texas, 1920‑2008) “Too Soon”, offset chromolithograph, published in 1973 by Long & Company and Long Resources of Hudson, TX, sight 21” x 28”. Glazed, matted and framed. [100/200] 1144 Herb Booth (American/Texas, b. 1942) “Mallards in Flight”, watercolor on paper, signed lower left “Herb Booth”, sight 13‑3/4” x 19‑3/4”. Glazed, matted and framed. [1200/1800] Illustrated

1140

1141 John P. Cowan (American/Texas, 1920‑2008) “Spur Ranch”, watercolor on paper, signed lower left “Cowan”, sight 21” x 29”. Glazed, matted with an affixed brass plaque incised with the artist’s name and the work title, and framed. [3000/5000] Illustrated Color Plate X 1142 Ervin LeBlanc (American/Louisiana, 20th/21st Century) “Bird Studies”, pair of watercolors on paper, both signed lower right “Ervin LeBlanc”, sight 5” x 3”. Both glazed, matted and presented in hardwood frames. [50/80]

1141

166

1145 Herb Booth (American/Texas, b. 1942) “Pintail Passing”, watercolor on paper, signed lower left “Herb Booth”, sight 21‑1/2” x 28‑1/2”. Glazed, linen-matted and presented in a molded giltwood frame. This work is illustrated on page 58 of Texas Brush Strokes by Ray Sasser. [1500/2500] Illustrated Color Plate X 1146 Herb Booth (American/Texas, b. 1942) “Mallards in Flight”, watercolor on paper, signed lower right “Herb Booth”, sight 21‑1/2” x 29‑1/2”. Glazed, matted and framed. [1500/2500] Illustrated Color Plate X 1147 Herb Booth (American/Texas, b. 1942) “In the Bush”, watercolor on paper, signed lower right “Herb Booth”, sight 29” x 41”. Glazed, French-matted and presented in a giltwood frame. [3000/5000] Illustrated Color Plate X

1144

1146

1145

1148 Herb Booth (American/Texas, b. 1942) “Pintail Pageant” and “Bachelor’s Club”, two limited edition chromolithographs, both signed in pencil lower right margins “Herb Booth”, the former pencil numbered lower left “436/5300”, the latter “159/450”, the larger sight 19‑1/2” x 25”. Both glazed, matted and framed. [300/500] 1149 Group of Three American Prints, consisting of “Florida Jay”, offset chromolithograph, “Winter Beach”, offset chromolithograph by Tom Nicholas, signed and dated in pencil lower right “Tom Nicholas 1977”, and “The Old Georgia Farmhouse”, chromolithograph by Butler Brown, signed and dated in pencil lower right “Butler Brown ‘77”, the largest sight 19‑1/2” x 23”. All glazed and framed. [400/700]

1147

167

1151 1154 American Oak Arts and Crafts Prie-Dieu, first quarter 20th century, the padded crest hinged and lifting to reveal a storage compartment over a caned folding seat, raised on carved legs, h. 36”, w. 20”, d. 24”. [100/150] 1155 Rare Strait & Richards, Newark, New Jersey, Terra Cotta “Driftwood”-Pattern Gas Log, the underside so stamped and patented May 7, 1907, accompanied by a pair of cast-iron log holders and fender, h. 15”, w. 26”, d. 11‑1/2”. [700/1000] 1156 Pair of Arts and Crafts Patinated Bronze FiveLight Candelabra, first quarter 20th century, of modified T-form, the candlesockets of truncated nozzle form, the bases of broad circular form, h. 14”, w. 16”, d. 6‑1/2”. [50/80]

1150 Charles L. McCann (American, 20th Century) “Regent Park, London”, watercolor and gouache on paper, signed lower right, sight 14” x 18‑1/2”. Glazed, matted and presented in a molded giltwood frame. [200/400] 1151 American Late Victorian Heavily Carved QuarterSawn Oak Sideboard, fourth quarter 19th century, of large scale, the upper section with a masque- and foliatecarved crest, over a cabochon-carved frieze to a mirrored backsplash joined to the lower case by Dionysian creaturecarved brackets, the lower case with a rectangular top over two drawers, above two paneled and “masque within foliage”-carved doors and an apron fitted with a long drawer, the whole flanked by columnar supports and ending in paw feet, h. 89”, w. 72”, d. 28‑3/4”. [1500/2500] Illustrated 1152 American Late Victorian Oak Dining Table, the circular top supported by a columnar pedestal on scroll feet, the top opening to accommodate leaves, h. 28‑1/2”, dia. 51”. [200/400] 1153 American Arts and Crafts Quarter-Sawn Oak Fireplace Mantel, ca. 1900, the upper section with a protruding shelf above a rectangular mirror, flanked by wrought-iron hooks, h. 85”, w. 60”, d. 15”. [200/400]

168

1157

1158

1166

1161 Southwestern-Style Ceramic Jar, in a white-glazed crackle pattern with eight Kokopelli dancing flute players around the circumference and five undulating rows of bound grasses around the perimeter lip, the bottom signed “Shuman”, h. 9”, dia. 8”. Provenance: Private collection, Jackson, Mississippi. [75/125] 1162 Fourteen-Piece Group of American Studio Pottery Serving Pieces, third quarter 20th century, in polychromed “Dogwood” decor, consisting of a set of seven buffet plates and a set of seven matching soup/ salad bowls, all of the pieces signed on the reverses in rose conjoined lowercase script “aw”, plate dia. 12”, bowl dia. 9”. [200/400] 1163 Forty-Nine-Piece Metlox Pottery, California, “Poppytrail” Partial Dinner Service, for twelve persons, third quarter 20th century, in “Peach Blossom” decor, comprised of eight dinner plates of rounded square form, four dessert bowls, twelve cups, twelve saucers, four iced beverages glasses, two graduated serving bowls, one platter, one oval divided vegetable bowl with crabstock handle, one relish/olive bowl of elongated teardrop form, two salt-and-pepper casters, one cream pitcher, and one covered two-handled sugar basin, all of the pieces fully backstamped in underglaze black, the largest w. 12‑3/4”, l. 12‑1/2”. [200/400]

1157 Good Rutledge Brass Company Etched Brass Plaque, depicting “The Courtship of Miles Standish”, first quarter 20th century, in the Arts and Crafts style, presented in the original fumed oak Arts and Crafts frame retaining its Rutledge printed paper label, h. 15‑1/2”, w. 11‑1/2”. [50/80] Illustrated

1164 American Late Victorian Oak DropFront Desk, fourth quarter 19th century, the superstructure with a serpentine crest over a mirrored backsplash flanked by a shelf on both sides over three short drawers, the lower case with a dropfront drawer, opening to a variety of cubbyholes, centered by a short drawer, over a skirt fitted with a drawer flanked by a short open shelf, over a long concave shelf, raised on square legs ending in ball feet on casters, h. 71‑1/2”, w. 31”, d. 17”. [700/1000] Illustrated

1158 Good Rookwood Pottery Circular, Footed Bulb Bowl, dated 1914, of cushion form in the Arts and Crafts style, the in-turned rim with stylized bas-relief ornament of leaves and berries, the base fully marked and numbered underglaze, h. 2‑1/2”, dia. 8”. [300/500] Illustrated 1159 Three-Piece Collection of Rookwood VellumGlazed Pottery, comprised of a shaded cinnamon “Cattails” vase, 1926, h. 5”, dia. 3‑1/4”; a triple-buttress blue cigar ashtray, 1929, dia. 6”; and a shaded green floriform low candlestick, 1923, dia. 3‑1/2”; all three pieces fully signed and numbered. [300/500] 1160 Interesting Collection of Three American Art Pottery Pieces, second quarter 20th century, comprised of a Roseville “Zephyr Lily” vase of flared cornucopia form, h. 8‑3/8”; a Weller double-aperture “Marvo” vase in matte green in the Arts and Crafts taste, h. 5”, w. 7‑1/2”, d. 3‑1/4”; and a rare Weller “Rosemont” octagonal cachepot with a cream ground, h. 5”, dia. 6”, the line introduced ca. 1927‑1930; the Roseville vase with full embossed marks underglaze, the Weller examples not signed; Weller’s “Rosemont” line typically was produced with a black ground but some examples were made with the rarer ivory ground. [200/400]

1164

169

1174

1165 American Quarter-Sawn Oak File Drawer Cabinet, ca. 1900, of two-part construction, each section fitted with three rows of three short drawers, for a total of eighteen drawers, h. 15‑1/2”, w. 19”, d. 17”. [300/500] 1166 American Late Victorian Quarter-Sawn Oak Hall Tree, fourth quarter 19th century, the upper half with a large beveled mirror, the frieze above with two carved serpents and the sides with standing winged griffins, the curved base with a lift seat, h. 86”, w. 62”, d. 20‑1/2”. [1500/2500] Illustrated previous page

1167 American Late Victorian Mahogany Rotary Bookshelf, fourth quarter 19th century, the square top with a molded edge over two open shelves joined by a square standard, with slated supports, raised on four carved splayed legs ending in casters, h. 36”, w. 19‑1/2”, d. 19‑1/2”. [300/500] 1168 American Late Victorian Mahogany Three-Section Stacking Bookcase, ca. 1900, each section bearing a Globe Wernicke Label, h. 49”, w. 34”, d. 11”. [200/400] 1169 American Turned Mahogany Floor Lamp, first quarter 20th century, in the Centennial style, h. 63‑1/2”, dia. 14”. [100/200] 1170 Fine and Rare Mount Washington Glass Company “Crown Milano” Biscuit Jar, fourth quarter 19th century, in “Thistle” decor, richly gilded and silverplatecovered, the base with a crowned CM monogram in entwined script, the silverplate bas-relief cover in floral decor with a raised butterfly and hallmark “M.W./4418/e”, h. 6‑1/2”, dia. 7‑1/2”. [100/200] 1171 Two American Pressed Glass Cake Stands and a Serving Bowl, first quarter 20th century, comprised of a circular footed cake stand in “Dakota” pattern, ca. 1885‑1898, h. 6‑3/4”, dia. 9‑1/2”; a slightly smaller footed cake stand in “Plume” decor, ca. 1890, h. 6”, dia. 9‑1/2”; and a “Laurel Wreath” glass oval serving bowl, w. 7‑1/2”, l. 10” (three total pieces). [75/125] 1172 Two Good American Pressed Glass Cake Stands, first quarter 20th century, composed of a “Broken Column” footed cake stand, h. 8”, dia. 10‑1/2”; and a Brilliantpressed “Laurel Wreath” circular footed cake stand, h, 7”, dia. 10‑1/4”. [75/125]

1177

1173 Two Good American Pressed Glass Circular Footed Cake Stands, third quarter 19th century, one an “O’Hara Diamond” example, h. 7‑5/8”, dia. 10‑1/4”; the other a petal-pressed example, h. 7”, dia. 10‑1/2”. [75/125] 1174 Impressive Elk Antler Floor Lamp, composed of six intertwined bull elk antlers, reinforced with three blacktail deer antlers, fitted with a rawhide lamp shade and an antler-mounted light pull, h. 63”, dia. 22‑1/2”. [700/1000] Illustrated 1175 Elk Antler and Glass-Top Side Table, the circular glass top with a beveled edge and raised on a vase composed of four bull elk antlers, reinforced with two blacktail deer antlers, made by Randal W. Bales, Baton Rouge, Louisiana, h. 23‑1/2”, dia. 20”. [300/500]

170

1181 Tall Pair of Zebra Hoofed Foreleg Table Lamps, each presented on a matte black-painted wooden disc base and fitted with a custom ivory linen shade of modified square pagoda form, h. 25”. [700/1000] Illustrated

1179

1180

1182 Group of Four Small Animal Pelts, now designed as doilies, the largest w. 15”, l. 21”. [30/50] 1183 Large Pair of Footstools, each formed of a taxidermy elephant foot and topped by a circular upholstered loose cushion, h. 19”, dia. 15”. [500/800] Illustrated 1184 Antler-Mounted and Mirrored Wall Shelf, having four small antlers and a central shaped mirror along with a carved deer track key-ring hanger peg at the right edge, h. 7‑1/2”, w. 22”, d. 7”. [75/125]

1176 Interesting Group of Four Mounted Horn Items, comprised of a Spanish chromium-mounted horn candlestick, the interior of the base touchmarked “Sorolla Sculpt “, fourth quarter 19th century; an American sterling silver-mounted horn gimbal sealing wax lamp, the primary mount in the form of a cloven hoof, fourth quarter 19th century; and a pair of Anglo-Indian nickel silver-mounted horn toasting cups, the basal terminals in the form of avian heads, first quarter 20th century; the largest h. 9”, w. 7”, dia. 5”. [75/125]

1181

1177 Large Assembled Elk Horn Four-Light Chandelier, in the “Jager” style, the brass pendant finial of bell form, fitted with an interior down-light, h. 47”, w. 34”, d. 34”. [500/1000] Illustrated 1178 Horn-Legged Circular Footstool, first quarter 20th century, upholstered on period printed silk velvet in the rococo taste, h. 8”, dia. 12”. [50/80] 1179 European Fallow Deer Antler Table Lamp, the base composed of three-point fallow antlers, fitted with a stained leather shade, surmounted by a spike antler finial, made by Randal W. Bales, Baton Rouge, Louisiana, h. 30”, w. 14”, d. 12”. [200/400] Illustrated

1183

1180 European Fallow Deer Three-Light Candelabra, composed of three intertwining antlers, fitted with three pressed glass candleholders, made by Randal W. Bales, Baton Rouge, Louisiana, h. 19”, w. 12”, d. 12”. [200/400] Illustrated

171

1186 1185

1190 Clementine Hunter (American/Louisiana, 1886‑1988) “Angels”, oil on canvas board, monogrammed lower right, verso affixed with a polaroid photograph of Clementine Hunter holding the painting and a “Lampe Gallery of Fine Art & Antiques, New Orleans” label, 12” x 6”. Presented in a parcel-gilt and ebonized shadowbox frame. Provenance: Private collection, Houston, Texas. [2500/4000] Illustrated Color Plate XV 1191 Clementine Hunter (American, Louisiana, 1886‑1988) “Black Jesus and Angels”, oil on canvas board, monogrammed lower right, 16” x 12”. Framed. Provenance: Clementine Hunter; Mrs. Ann Brittain; private collector, Houston, Texas. [2500/4000] Illustrated

1185 Group of Three Antler-Handled Walking Canes, each with leather straps, the largest l. 40”. [50/80] Illustrated 1186 Two Antler-Handled Walking Canes, each with leather and beaded decor, l. 40”. [30/50] Illustrated 1187 Unusual Collection of Three Pairs of Saltand-Pepper Casters, the first pair of gilt-brassmounted deer antler sections; the second pair of African ebony-mounted carved and polished bone featuring elephants and veldt trees; and the third a pair of American turned wood casters in the form of wire-handled miniature whiskey jugs; the largest h. 3‑1/4”, dia. 2‑1/2”. [30/50]

1189

1188 Clementine Hunter (American/Louisiana, 1886‑1988) “Funeral Procession”, oil on board, monogrammed middle right, 16” x 23‑1/2”. Framed. Provenance: Clementine Hunter; Mrs. Ann Brittain; private collector, Houston, Texas. [3500/5000] Illustrated 1189 Clementine Hunter (American/Louisiana, 1886‑1988) “The Wake”, oil on board, monogrammed lower right, verso titled, dated “May 1967” and inscribed “Melrose Plantation, May 1967, Property of Gillis W. Long”, 15‑7/8” x 24”. Framed. Provenance: Private collection, Houston, Texas. [3000/5000] Illustrated Color Plate XV

1188

172

1192 Southern School (First Quarter Century) “Country Cabin with a Woman Boiling Laundry”, oil on canvas board, unsigned, 5” x 7”. Presented in a hardwood frame. [100/200] 1193 Willie White (American/Louisiana, 1908‑2000) “Three Horses and Three Circles”, markers on paperboard, signed lower right, sight 21” x 27”. Framed. [300/500] 1194 May Kugler (American/Louisiana, 1916‑1998) “The Ice Man”, oil on canvas board, signed and dated lower right “May Kugler 1978”, titled verso with inscription by May Kugler, 8” x 10”. Presented in an oak frame. [300/500] 1195 Welmon Sharlehorne (American/Louisiana, b. 1952) “Mid-Century Monkey House”, markers and color pencils on cardboard, signed lower right “W. Sharlehorne”, sheet size 17‑1/4” x 18‑1/4”. Unframed. [200/400]

1190

1196 Richard McKey (American/Mississippi, Contemporary) “Portrait of a Pig on a Blue Background”, oil on canvas, initialed lower right, signed on stretcher verso, 20” x 24”. Presented in a molded ebonized frame. Provenance: Private collection, Jackson, Mississippi. [75/125]

1199

1191

1197

1197 Fine and Rare Gorham Sterling Silver Art Nouveau Inkstand, first quarter 20th century, in relief “Floral Whiplash” decor, retains the cylindrical blown and cut glass inkwell liner, fully hallmarked, h. 2‑1/2”, w. 10‑1/2”, d. 6”, 16.15 t. oz. [4000/7000] Illustrated

173

1204 1202 American Embossed Sterling Silver Photograph Frame, in “Pensive Maiden” decor in the Art Nouveau style, the back and easel of midnight-blue velvet, h. 12”, w. 9”. [200/400] Illustrated

1198 American Sterling Silver-Mounted Cut Glass Inkstand, fourth quarter 19th century, of square form, with a sterling silver collar and cap in “Antique Bead” decor, the sterling cap monogrammed “B”, in script, the obverse and reverse edges of the stand convex-cut to accommodate a pen, h. 2‑1/4”, w. 3”, d. 3”. [30/50]

1202 1201

1199 Pair of Reed and Barton Sterling Silver “Love Disarmed” Salad Servers, the pattern introduced in 1899, comprised of a broad-fluted oval bowled serving spoon and a matching threetine fork with a pierced bowl, l. 11”, 15.70 total t. oz. [1000/1500] Illustrated previous page 1200 Set of Six Sterling Silver Soup Spoons, by the Manchester Silver Company, the round-bowl spoons in “Gadroonette” pattern, the pattern introduced in 1938, l. 6‑1/8”. [50/80]

1210

1211

1209

1201 American Sterling Silver Photograph Frame, in relief “Songbirds” decor in the Aesthetic taste, maker: R.C., the back and easel in midnight-blue velvet, h. 9‑1/2”, w. 7‑1/4”. [200/400] Illustrated

174

1203 Rare Whiting Manufacturing Company Sterling Silver Calling Card Tray, fourth quarter 19th century, of rounded triangular form in “Hummingbird” decor in the japonesque taste, produced for Theodore B. Starr, New York, and so hallmarked, dia. 7‑3/4”, 7.90 t. oz. [1200/1800] 1204 Attractive Pair of Tiffany and Company Sterling Silver “Floral Repousse” Sweetmeat Bowls, dated 1885, of oval, two-handled and footed form, presented as a twentieth wedding anniversary present and engraved 1865‑1885 in the center of each example, h. 2‑3/4”, w. 4‑1/4”, l. 8”, 11.65 total t. oz. [1800/2500] Illustrated

1205 Three-Piece Collection of American Sterling Silver Tablewares, second quarter 20th century, comprised of a Kirk “Repousse”-bordered footed sweetmeats bowl; a Newport weighted sterling footed jelly stand in the Georgian taste; and an F. M. Hirsch weighted sterling tall, footed sweetmeats stand in “Gadroon” decor; the largest h. 6”, dia. 6”. [100/200]

1206 Fifteen-Piece Collection of Sterling and .800-Standard Silver Tablewares, comprised of a set of eight Taxco pierced and sterling annular napkin rings; a trio of National Silver weighted sterling liqueur goblets; a two-piece Mauser weighted sterling footed cream and sugar set in the Georgian taste; a Continental .800-standard silver double-lipped brandy ladle with an ebonized fruitwood handle, ca. 1925‑1930; and a Reed and Barton sterling ovoid bonbon bowl in “Shell and Scroll” decor; all but the last item second quarter 20th century, the bonbon bowl first quarter 20th century, the largest w. 6‑1/4”, l. 8‑1/2”. [100/200]

1218

1207 Set of Twelve Perlita, Mexico, Hand-Wrought Sterling Silver Bread-and-Butter Plates second quarter 20th century, in the 18th-century Colonial style, dia. 6‑3/4”, 62.75 total t. oz. [1400/1800] 1208 Good Three-Piece Mueck-Cary Company Sterling Silver Console Set, third quarter 20th century, in the “Scandinavian Modern” taste, comprised of a footed center bowl, h. 4”, dia. 10‑1/2”, and a matching pair of weighted sterling silver candlesticks, h. 4”, dia. 3‑3/4”, 7.35 t. oz. (center bowl only). [600/900]

1211 Early Tiffany and Company Sterling Silver “Antique Bead” Child’s Presentation Tankard, dated 1861, produced for the Tiffany firm by Charles Grosjean and Eli Woodward (in partnership ca. 1840‑1862) and so hallmarked on the base, h. 3‑3/4”, dia. 3”, 3.75 t. oz. [400/700] Illustrated 1212 Pair of Tiffany and Company Sterling Silver Candlesticks, first quarter 20th century, of baluster form in the “Early American” taste, h. 9‑1/2”, dia. 4‑3/8”, 24.55 total t. oz. [1800/2500]

1209 Rare Tiffany and Company Sterling Silver “Wave Edge” Serving Spoon, with stylized shell-form bowl, the pattern introduced in 1884, l. 9‑1/4”, 3.55 t. oz. [700/1000] Illustrated

1213 Pair of Tiffany and Company Vermeil Nut/Mint Dishes, second quarter 20th century, of shell form and ball footed, w. 2‑1/2”, l. 3”, 2.30 total t. oz. [200/400]

1210 Tiffany and Company Sterling Silver Trumpet Vase, first quarter 20th century, of small size, h. 9”, dia. 4”, 7.70 t. oz. [400/700] Illustrated

1214 Rare Tiffany and Company Sterling Silver “Persian” Sauce Ladle, the pattern introduced in 1872, the bowl artichoke leaf-petaled on the exterior wall, l. 7”, 1.95 t. oz. [400/700] 1215 Tiffany and Company Sterling Silver “Persian” Cold Meats Fork, the pattern introduced in 1872, l. 8‑1/4”, 2.40 t. oz. [400/700]

1217

1216 Tiffany and Company Sterling Silver Silent Butler, the pattern introduced in 1961, of circular form with a “bamboo” handle, dia. 6”, l. 10‑1/4”, 13.15 t. oz. [800/1200] 1217 Good Hamilton Ebonized Baby Grand Player Piano and Bench, model H391, fitted with a digital reproducer, piano h. 41”, w. 58”, d. 56”. [4000/7000] Illustrated 1218 Contemporary Black Leather and Chrome Sofa, the padded rectangular back and arms above a like seat, raised on a tubular chrome frame, h. 28‑1/2”, w. 75”, d. 28”. [300/500] Illustrated

175

1219 Suite of Three Contemporary Nesting Tables, composed of faux cherry and tubular faux brass, h. 17‑1/4”, w. 24”, d. 12”. [30/50]

1223

1220 Pair of Contemporary Tubular Stainless Steel and Black Leather Bar Chairs, h. 38”, w. 21‑1/2”, d. 21”. Provenance: Private collection, Jackson, Mississippi. [200/400]

1221 Contemporary Steel and Black Plate Glass Console, the U-form base supporting the plate glass top, h. 26‑1/2”, w. 50”, d. 16‑3/8”. Provenance: Private collection, Jackson, Mississippi. [100/200]

1230

1222 Contemporary Steel and Glass Nesting Work Station, each section with a black oval plate glass top pivoting along the metal post allowing multiple configurations, h. 33”, w. 28”, d. 57”. [150/300] 1223 Stylish Russell Woodard Furniture Company Polished Aluminum Table and Four Chairs, third quarter 20th century, the table with a plate glass top, the chairs with swivel seats and black faux-leather cushions, table h. 28‑1/4”, dia. 42”, chair h. 31”, w. 20‑1/2”. [1000/1500] Illustrated 1224 After Mahonri Mackintosh Young (American, 1877‑1957), a pair of patinated bronze bookends modeled as inward pushing elephants, second quarter 20th century, each signed at the proper right front edge “Young”, h. 5‑1/2”, w. 7”, d. 2‑1/2”. [125/250]

1225 Katherine Kuharic (American Contemporary), an unusual hand-painted tabletop sphere of a startled baby and a monkey surrounded by a host of such exotic creatures as scorpions, Gila monsters, blowfish, moths and butterflies, second quarter 20th century, the wooden disc base signed in black permanent marker ‘Kuliani/ The Painter’s World/ 1988”, h. 12”, dia. 9”. Provenance: Private collection, Jackson, Mississippi. [500/800]

1226 Jim White (American/Georgia; Active ca. 1965‑1990), a carved and polychromed wooden figure of a Carolina Wren, 1971, the figure perched on a natural branch mounted on an oviform stained wood plaque, the plaque with a presentation inscription “Carved for Gloria Oys/ by/ Jim White/ Cairo, GA /1971”, h. 7”, w. 6”, d. 4”. [50/80] 1229

176

1227 Interesting Collection of Three Decoys, first and third quarter 20th century, comprised of a folk art carved and gray washed wood figure of a partridge; a good Fred Guidry, Louisiana, decoy fabricated of naturally finished cypress knee; and a small bronze-headed black-painted composition figure of a duck; the Guidry decoy and the bronze-headed duck set with taxidermist’s glass eyes, the Guidry piece also signed on the base in incised script “Fred/ Guidry”, the largest h. 5‑3/4”, w. 3‑3/4”, l. 8‑1/2”. [50/80] 1228 Two Contemporary American Wire Sculptures, including one of a fish mounted on a natural hardwood base, signed “P.E. Paghabeno”, h. 7”, w. 11”, d. 16”; and a papier-mache and wire sculpture of a standing fisherman on a rough-cut marble base, h. 23”, w. 10”, d. 23”. [100/200] 1229 Two-Piece Haywood Wakefield Mid-Century Modern Maple Salon Set, consisting of a sofa, h. 31”, w. 75”, d. 34”, and a matching armchair, h. 32”, w. 32”, d. 33”, both with reversible cushions and possibly retaining the original upholstery. [800/1200] Illustrated 1230 Pair of Moderne Leather Club Chairs, each with a rectangular tufted back, joined to the like seat by padded arms, raised on turned legs ending in casters, upholstered in black leather, h. 31”, w. 27”, d. 24”. [700/1000] Illustrated 1231 Edwardian Faux-Bamboo Stained Fruitwood Towel Rack, first quarter 20th century, the armed uprights joined by four racks, raised on plinth feet, h. 33”, w. 24”, d. 6‑1/2”. [40/70] 1232 Edwardian Mahogany and Marquetry Armchair, ca. 1900, the carved crest centered by an oval with blonde wood and mother-of-pearl leaf inlay, over a lyriform splat, joined to the needlepoint padded seat by open arms with turned uprights, raised on tapering square legs ending in pad feet, h. 35‑1/2”, w. 24”, d. 19‑1/2”. [50/80] 1233 Edwardian Inlaid Mahogany Settee, fourth quarter 19th century, the curved back with mixed woods and mother-of-pearl inlay above a padded back and seat, raised on cabriole legs, h. 38”, w. 52”, d. 25”. [600/900]

1234 Collection of Five Toby Jugs and Tankards, comprised of a Royal Doulton “Fagan” jug, first quarter 20th century; a small Doulton “Beefeater” cream pitcher; a small Doulton “Farmer John” cream pitcher; a Sandland “Sairey Gamp & Weller” tankard; and a Staffordshire “Mr. Priss” small tankard, second quarter 20th century; all of the pieces but the last fully marked on the base, the largest h. 6‑1/2”, w. 5‑1/4”, d. 4‑1/2”. [100/200] 1235 Three-Piece Group of Royal Cauldon Creamware, second quarter 20th century, all in the “Bittersweet” pattern, comprised of a fruit bowl, a matching tray and a tankard, all the pieces fully marked and numbered on their bases, the largest h. 5‑1/2”, dia. 10‑1/4”. [150/300] 1236 Good Trio of Royal Doulton Creamware Plates, first quarter 20th century, featuring English types, such as “The Mayor”, “The Hunting Man”, and “The Doctor”, all executed in the “Illustrator” style, each plate fully marked and numbered on the reverse, dia. 10‑1/2”. [75/125] 1237 Good Seven-Piece Collection of English Pottery, comprised of a four-part Edwardian veilleuse in “Pink Rose” decor, first quarter 20th century, consisting of a covered teapot, a paneled pedestal base, and the original godet, the cream pitcher and the milk jug with doublefoliate scroll handles; a rare ochre-banded copper luster child’s mug, second quarter 19th century; a broad-ribbed floral enameled copper luster cream pitcher of like date; a royal blue-banded copper luster milk jug, also second quarter 19th century; a pair of Staffordshire polychromed Toby mugs of, respectively, a crowned King Arthur and a helmeted Knight of the Round Table, both in the Royal Doulton style, first quarter 20th century; and a Johnson Brothers, Staffordshire, blue transfer-printed footed “Old Britain Castles” teapot, second quarter 20th century; the largest h. 11‑1/4”, w. 9‑1/2”. [250/400] 1238 Edwardian Mahogany and String-Inlaid Side Cabinet, ca. 1900, the top having a small back splash, the single door opening to a shelved interior and raised on slender turned legs, h. 33”, w. 16‑1/2”, d. 14‑1/2”. [50/80] 1239 Group of Two Copper Beverage Cisterns, first quarter 20th century, comprised of a large Eclipse Copper Company, York, cylindrical footed beverage cistern with spigot, with an applied and embossed oval signature plaque above the spigot, h. 19‑1/2”, dia. 13”; and a similar brass-mounted copper cistern with a domed cover, spigot and side-mounted tubular glass contents level indicator, h. 20‑1/2”, dia. 12‑1/2”. [100/200] 1240 Dutch Fruitwood Occasional Table, second quarter 20th century, the rectangular top inset with Delft tiles, raised on tapering circular legs ending in pad feet, h. 22”, w. 21”, d. 16”. [100/200]

177

1243 Edwardian Mahogany Bowfront Sideboard, ca. 1900, of Hepplewhite form, the top with an arched backsplash and shelf above a base fitted with four drawers and a cabinet to each side, raised on tapered legs ending in block feet, h. 57‑1/4”, w. 72”, d. 25‑3/4”. [500/800] Illustrated

1241 Stately Pair of English Mahogany Knife Boxes, the carved and turned oviform boxes in the style of Robert Adam (1728‑1792), the domed covers lifting to reveal the cutlery grilles, each one holding twelve knives and twelve forks, each lower facade fitted with a diminutive brass lock, h. 22‑1/2”, w. 10‑1/2”. [900/1200] Illustrated

1244 Edwardian Mahogany Desk, first quarter 20th century, the rectangular leather-inset top over a frieze fitted with three drawers, raised on two pedestals, one fitted with three graduated drawers, the other with a deep drawer, raised on tapering square legs ending in spade feet, h. 30”, w. 48”, d. 30”. [500/800]

1242 Attractive Edwardian Mahogany Desktop Stationary Cabinet, of slant-front form with gilt-lacquered brass mounts, the two sloping doors opening to reveal a sevencompartment paper rack, an oblong concave tilting stylus well and ink bottle compartment, the exterior basal edge fitted with a shallow transverse drawer, h. 13‑1/2”, w. 14”, d. 7‑3/4”. [200/400]

1245 Interesting Eight-Piece Collection of Desk and Library Accessories, comprised of an Edwardian patinated brass double standish in the Renaissance taste, first quarter 20th century; an Edwardian highly reticulated brass double-slot stationery rack in the rococo style, also first quarter 20th century; a brass sealing wax candlestick of like date in “Ivy” decor; an Edwardian brass lady’s gavel in the Georgian style, first quarter 20th century; a paneled brass table bell of like date; an Anglo-Indian lattice-incised bone and brass desk magnifier, first quarter 20th century; an unusual American brass and ebonized wood stamp box and letter scale with an underlying drawer, second quarter 20th century; and a good West German brass-mounted mahogany wall barometer of small size in the American “Federal” style, third quarter 20th century, produced for the American trade, with its indicators in English, the barometer dial of ivory porcelain, both the barometer and thermometer in working order; the largest h. 20‑1/4”, w. 5‑3/4”. [250/400]

1241

1246 Edwardian Oak Kneehole Desk, first quarter 20th century, the rectangular top with canted edges, over two frieze drawers above a central arched skirt, flanked on both sides by a short drawer, raised on cabriole legs ending in squat bun feet, h. 30‑1/4”, w. 42”, d. 19”. Provenance: Private collection, Jackson, Mississippi. [150/300]

1243

1247 English Patinated Bronze Figure of “A Windy Day”, first quarter 20th century, featuring a country lass in a large hat, her long skirts blown upward by the wind, h. 10‑1/2”. [150/300] 1248 Diminutive Edwardian Mahogany Dressing Bureau, ca. 1900, the top having a tilting beveled mirror of shield form and mounted to tapering posts with turned brass finials and glove boxes below, the base with two side-by-side drawers above two long drawers and raised on tapering square legs, h. 66”, w. 42”, d. 20”. [100/200] 1249 Edwardian Mahogany Bench, first quarter 20th century, having a curved crest centered by a stylized floral carving, joined to the cushioned seat by open, scroll-end arms, raised on slightly cabriole legs ending in block feet, h. 36”, w. 41‑1/2”, d. 22”. [100/200]

178

1250 Anglo-Colonial Mahogany Armchair, first quarter 20th century, the shaped crest over a rectangular splat, joined to the cushioned seat by the open arms, raised on cabriole legs joined by a shaped H-form stretcher and ending in bun feet, h. 44‑1/2”, w. 23‑1/4”, d. 24”. Provenance: Private collection, Jackson, Mississippi. [100/200] 1251 Edna Hibel (American, b. 1917) “Mother and Child”, color lithograph and silver leaf with pastel, signed lower right “Hibel”, numbered lower left “218/375”, sight 10‑3/4” x 14”. Attractively matted and presented in a molded silvered frame. [400/700] Illustrated 1252 Edna Hibel (American, b. 1917) “Girl Feeding Pigeons on San Marco Square”, color lithograph with pastels and gold leaf foil, pencil signed lower right, numbered lower left “218/375”, sight 13” x 19‑1/3”. Glazed, double matted and presented in a molded giltwood frame. [200/400] 1253 Edna Hibel (American, b. 1917) “Portrait of Two Girls in Headdresses” and “Portrait of a Girl in a Headdress Amongst Flowers”, the former a color lithograph, the latter a color lithograph with gold leaf and pastel, both signed in pencil lower right, numbered lower left, sight 9‑1/2” x 13” and 12‑1/2” x 16‑1/2”. Both glazed and attractively matted and framed. [400/700] Illustrated

1251

1253

1255 Edna Hibel (American, b. 1917) “Lovely”, chromolithograph, artist’s proof, signed in pencil lower right, titled in pencil lower middle, sight 24” x 33”. Glazed, attractively triple matted and presented in a parcelebonized giltwood frame. [400/700]

1256 1254 Edna Hibel (American, b. 1917) “Dutch Farmers in a Field”, color lithograph, signed in pencil lower right, numbered in pencil lower left “218/375”, sight 13” x 22”. Glazed, attractively matted and presented in a molded giltwood frame. [300/500]

1256 Edna Hibel (American, b. 1917) “Japanese Mother and Child” and “Japanese Boy”, two color lithographs on gold foil, signed in pencil lower right, numbered in pencil lower left “218/375”, sight 13‑1/2” x 10‑3/4”. Both glazed, attractively matted and presented in giltwood fauxbamboo frames. [700/1000] Illustrated

179

1257 Edna Hibel (American, b. 1917) “Japanese Boy with a Fishing Pole” and “Japanese Girl”, two color lithographs, both signed in pencil “Hibel” lower right, pencil numbered lower left, the former “5/15 ed. 250”, the latter “5/14 ed. 250”, sight 15” x 9‑1/2”. Both glazed, attractively double matted and presented in giltwood faux-bamboo frames. [500/800] 1258 Edna Hibel (American, b. 1917) “The Piccolo Player”, color lithograph with pastel, signed in pencil lower right, numbered in pencil lower left “VI 9/22 ed. 99”, sight 15” x 10”. Glazed, attractively triple matted and presented in a weathered polychromed and parcel-gilt frame. [200/400]

1266

1262 1259 Edna Hibel (American, b. 1917) “The Piccolo Players”, color lithograph, signed in pencil lower right, numbered in pencil lower left “II 28/75 ed. 300”, sight 12‑1/2” x 16‑1/2”. Glazed, attractively triple matted and presented in a molded polychromed and parcel-gilt frame. [300/500] 1260 Persian Kashan Carpet, 8’ x 11’ 7”. [400/700] 1261 Persian Hamadan Carpet, 4’ 4” x 7’ 1”. [200/400]

1270

180

1262 Persian Kashan Carpet, 9’ 9” x 12’ 5”. [700/1000] Illustrated 1263 Soumak Carpet, 8’ x 10’ 3”. [300/500] 1264 Bidjar Carpet, 5’ x 7’. [200/400] 1265 Chinese Carpet, 6’ x 9’. [150/300] 1266 Chinese Carpet, 9’ x 12’. [300/500] Illustrated 1267 Persian Camel Carpet, 7’ 1” x 9’ 8”. [300/500] 1268 Jaipur Runner, 2’ 7” x 10’ 1”. [250/400] 1269 Chinese Carpet, 3’ 8” x 5’ 1”. [100/200] 1270 Rajistan Carpet, 9’ x 11’ 10”. [1000/1500] Illustrated

1278 1271 Contemporary Belouch Runner, 9’ 4” x 2’ 3”. [50/80] 1272 Persian Mahal Runner, 3’ 10” x 10’ 3”. [200/400] 1273 Persian Hamadan Runner, 3’ 6” x 9’ 2”. [200/400] 1274 Peshawar Sultanabad Carpet, 8’ 2” x 10’. [700/1000] Illustrated 1275 Malayer Carpet, 3’ 3” x 10’ 8”. [200/400] 1276 Chinese Carpet, 11’ 11” x 20’ 6”. [150/300] 1277 Gabbeh Modern Carpet, 4’ x 5’ 11”. [100/200] 1278 Louis XIV-Style Needlepoint Carpet, 8’ 5” x 11’ 6”. [1000/1500] Illustrated 1279 Two Chinese Carpets, the first a rug, 3’ 1” x 5’ 7”, and the second a runner, 2’ 7” x 12’ 6”. [200/400] 1280 Chinese Carpet, 3’ x 5’. [100/200] 1281 Persian Josheghan Carpet, 4’ 4” x 6’ 6”. [200/400] 1282 Chinese Runner, 2’ 3” x 9’ 7”. [100/200]

1274

1283 Pair of Agra Serapi Runners, 2’ 8” x 10’ and 2’ 7” x 10’. [700/1000]

181

Index of Artists and Printmakers A American Naive School 891 American School 55, 346, 349, 403, 414, 415, 416, 689, 695, 697, 703, 890, 931, 932, 933, 934, 935, 1149 Anzalone, William 688 Audubon, John James (after) 827, 828, 829, 830, 831, 832, 833, 835 B Blake, William (after) 413 Bodine, A. Aubrey 407 Booth, Herb 1144, 1145, 1146, 1147, 1148 Bricher, Alfred Thompson 888 British School 51, 52, 54, 344 C Cafieri, I 885 Clague, Richard 985 Continental School 107, 115, 696 Cowan, John 1139, 1140, 1141 Cowan, John (after) 1143 D Dali, Salvador 345 Davidson, Jim 575 Dearman, John 258, 259, 260, 261 Drysdale, John Alexander 987 Dutch School 111 E Eidenberger, Josef 410, 411 Ellis, Harvey 889

November 20-21, 2010

F Fine, Lois 348 French School 26, 103, 354 G German School 104, 114 Gruber, Marie 691 H Hagerbaumer, David 255, 256, 257 Herring Sr., John Frederick 50 Herring, John F, Jr. (follower) 53 Hibel, Edna 1251, 1252, 1253, 1254, 1255, 1256, 1257, 1258, 1259 Hobbs, Morris Henry 1060, 1061, 1062 Horter, Earl 1065 Hunter, Clementine 1188, 1189, 1190 K Karl, Alexis 702 Kasimir, Luigi 406, 408, 409 King, James S. 402 Kline, Franz 341 Kollowitz, Kathe (after) 405 Kugler, May 1194 Kuharic, Katherine 692, 693 L LeBlanc, Ervin 1142 Lewis, Nat 351 Louisiana School 986, 988, 1063 Ludlow, Henry Stephen 102

Index of Artists and Printmakers M McCann, Charles 1150 McKey, Richard 1196 Mexican School 705 Meyer-Eberhardt, Kurt 412 Mitchell, Joan 342 Moran, Thomas 884 Moretti, Raymond 698 N Neiman, LeRoy 352 Nugent, Frances Robert 110 P Pascal, Paul 105 Picasso, Pablo 343 R

November 20-21, 2010

V Van Rijn, Rembrandt (after) 113 W Weller, Dell 834 Welliver, Neil 350 Whistler, James Abbott McNeill 401 White, Willie 1193 Whittredge, Worthington 887 Wingren, Dan 690 Wyant, Alexander Helwig 886

Glossary The Artistâ&#x20AC;&#x2122;s Name: In New Orleans Auction Galleries opinion, a work by the artist.

Reinike III, Chalres 1064

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.

Ricci, Pio 101

School of: In New Orleans Auction Galleries opinion, a work by a follower of the artist.

Rigaud, Hyacinthe (follower) 100 S Schooler, John A. 694 Schooler, Jon Andrew 704 Segal, George 347 Serrano, Angel 699, 700, 701 Sharlehorne, Welmon 1195 Southern School 1192 Spanish School 106 St. Yves, R. 361 Sweet, Ralph 353

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.

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

Customers, Please Note: Deadline for Absentee/Telephone Bidding 5:00 P.M. Central – Friday, November 19, 2010 Guidelines for Telephone Bidding 1. Each item must have a low estimate of at least $500 2. Telephone bidders must agree to bid the low estimate on each item. Deadline for Condition Report Requests 5:00 P.M. Central – Thursday, November 18, 2010

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absentee / telephone bid form

Paddle #_______________ 1330 St. Charles Ave. l New Orleans, LA 70130 504-586-8733 l Fax: 504-586-8841

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: 504-586-8841

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:

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

Page No. 1

09/29/2010 15:02:48 New Orleans Auction Prices Realized for Sale A105 September 25, 2010 September Estates Auction Lot No. begins not with "P"

Lot#

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Lot#

1 3 6 7 8 9 11 13 14 15 16 17

1,168 553 153 461 86 184 110 430 861 98 799 584

61 62 65 67 68 69 70 71 72 73 74 75

19 20 21 22 23 24 25 26 29 30 31 32 33 34 35 36 37 39 40 41 44 46 48 49 50 51 52 55 56 57 59 60

215 676 184 276 399 73 61 184 86 123 522 430 615 73 430 799 492 1,722 1,107 73 1,168 215 110 338 338 461 676 276 338 246 369 110

77 78 79 81 82 83 84 88 89 91 92 93 95 96 97 100 101 104 105 106 107 108 109 110 112 113 114 115 124 125 126 127

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Lot#

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Lot#

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61 276 73 86 1,722 215 1,845 153 184 153 522 123

129 130 131 134 135 136 137 138 139 140 142 144

153 1,107 184 1,168 184 153 338 369 43 12 738 307

196 197 199 200 203 204 205 206 207 210 211 213

276 49 492 184 184 615 110 86 738 215 184 246

275 277 278 279 280 282 283 284 287 288 289 292

492 922 55 492 1,722 36 49 98 3,936 861 73 369

351 352 353 355 356 357 358 360 361 369 371 374

738 492 184 61 399 922 184 430 276 73 110 3,198

615 184 98 153 73 615 153 73 215 492 307 153 307 153 861 153 922 153 184 184 184 73 153 215 184 73 369 36 276 98 307 861

145 146 147 148 149 150 153 154 155 157 158 159 161 162 163 166 168 169 170 174 175 176 177 179 180 183 184 186 189 190 192 195

153 153 307 215 430 307 73 153 110 61 12 73 276 676 123 799 246 738 738 492 369 98 153 86 153 49 153 86 307 36 215 153

214 215 218 221 222 223 224 227 228 229 230 231 232 233 234 238 241 244 246 250 253 255 257 258 259 260 261 263 266 269 270 274

461 492 98 430 215 307 246 676 110 738 1,599 86 55 738 584 399 73 799 553 1,230 98 184 123 123 61 215 1,045 338 399 522 1,168 123

293 294 295 298 299 301 302 304 305 306 308 312 316 318 319 320 321 322 323 324 326 327 333 334 337 340 341 342 345 346 347 349

276 1,230 30 36 246 184 86 369 492 584 153 153 86 153 1,476 461 73 184 1,476 492 1,599 86 522 799 98 861 153 215 184 184 4,182 461

377 378 379 380 381 382 384 385 389 390 395 396 399 400 401 402 403 405 409 410 411 412 413 414 416 417 419 420 421 422 423 424

430 307 73 110 86 98 18 676 215 215 24 123 338 584 73 73 615 676 184 522 55 153 338 153 430 98 61 461 18 86 246 153

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Page No. 2

09/29/2010 15:02:49 New Orleans Auction Prices Realized for Sale A105 September 25, 2010 September Estates Auction Lot No. begins not with "P"

Lot#

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Lot#

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Lot#

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425 426 427 428 429 430 432 434 436 437 438 440

184 246 110 399 1,968 338 861 98 338 184 98 184

491 493 495 497 500 504 505 506 508 511 513 514

73 123 338 215 307 14,760 430 584 98 338 153 98

572 573 574 578 579 581 584 587 589 590 591 592

2,460 492 338 861 2,091 738 246 184 215 307 153 1,107

646 647 649 650 651 652 653 655 657 658 660 661

123 215 36 36 123 307 215 799 153 492 55 43

716 717 719 723 724 726 727 728 730 731 732 733

2,337 246 123 307 49 276 73 492 153 215 369 738

783 785 786 788 791 792 794 796 797 798 799 800

399 461 1,722 738 369 984 1,722 86 184 153 430 584

442 445 446 447 448 454 456 457 458 459 460 463 464 465 467 468 469 470 471 472 473 475 476 478 479 480 481 482 483 487 489 490

430 123 98 430 399 123 922 584 676 110 73 1,230 369 110 6 61 184 492 215 276 30 73 36 399 799 615 184 73 73 98 184 184

515 517 519 520 523 524 526 528 529 532 534 543 545 546 547 549 550 552 553 555 556 557 558 560 562 564 565 566 567 568 569 570

86 369 338 153 86 1,722 799 676 307 399 430 338 184 184 98 461 110 338 184 215 123 338 461 338 215 1,045 110 799 338 184 184 246

593 594 595 596 597 598 599 600 602 603 604 612 613 614 615 616 618 621 622 624 625 627 629 630 631 635 638 639 642 643 644 645

98 98 584 123 553 492 338 73 184 984 73 110 307 123 522 55 307 61 61 553 98 861 492 430 98 49 184 73 61 55 676 522

662 663 664 665 666 668 670 671 672 677 678 680 686 688 692 693 695 696 698 699 702 703 704 705 706 707 708 710 712 713 714 715

123 430 215 246 276 36 1,353 215 2,214 307 984 1,722 123 338 246 246 338 215 246 1,107 153 184 246 153 215 246 276 338 184 184 338 86

734 735 736 737 738 739 740 741 742 743 749 752 753 754 755 756 757 758 759 762 764 765 766 769 772 774 775 776 778 779 780 782

98 338 276 553 1,107 1,045 276 184 553 153 110 307 246 110 307 98 153 49 922 799 98 215 123 110 215 276 799 73 184 615 153 1,107

801 802 807 808 810 811 812 814 817 819 820 825 830 840 841 842 843 844 845 846 847 848 849 853 854 859 860 863 864 867 868 869

1,722 246 246 153 36 24 246 4,182 2,091 5,904 2,952 3,075 3,690 73 215 61 246 338 2,706 276 73 98 184 399 338 61 153 1,230 922 153 36 98

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Page No. 3

09/29/2010 15:02:50 New Orleans Auction Prices Realized for Sale A105 September 25, 2010 September Estates Auction Lot No. begins not with "P"

Lot#

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Lot#

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Lot#

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Lot#

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871 872 873 874 877 879 881 884 885 886 892 895

276 492 43 110 61 73 123 553 492 246 110 307

938 939 941 942 943 944 945 948 949 950 952 955

184 861 338 61 984 461 492 110 153 153 246 246

1024 1025 1029 1030 1032 1034 1037 1038 1041 1043 1044 1045

522 110 49 922 98 153 1,168 3,444 1,168 11,992 1,845 922

1085 1086 1088 1089 1090 1091 1092 1093 1094 1095 1101 1102

49 276 153 369 110 338 1,722 43 153 98 1,722 2,706

1154 1156 1158 1159 1161 1162 1164 1165 1168 1170 1171 1172

338 4,182 123 153 73 461 338 461 153 1,168 522 153

1252 1256 1261 1262 1263 1267 1268 1269 1270 1271 1272 1274

153 369 615 55 172 1,722 43 2,706 86 276 36 399

896 897 899 900 902 903 904 905 906 907 908 910 911 912 913 914 915 916 917 919 920 923 925 926 927 928 929 932 934 935 936 937

399 246 676 184 246 369 307 1,230 215 215 553 276 153 246 73 399 3,198 246 73 61 307 184 61 276 276 49 30 30 276 338 86 98

307 307 110 246 1,230 4,920 123 584 1,107 4,182 461 246 399 36 861 369 184 369 1,168 153 522 738 861 461 246 369 153 307 184 18 86 86

1046 1049 1050 1051 1052 1053 1055 1056 1057 1059 1060 1061 1062 1063 1064 1065 1066 1068 1069 1070 1071 1072 1073 1075 1076 1077 1078 1080 1081 1082 1083 1084

73 153 110 153 123 799 184 184 215 98 246 215 184 215 246 246 215 184 30 246 246 215 492 184 215 246 2,706 110 123 338 338 246

1103 1104 1105 1106 1107 1108 1109 1110 1112 1114 1115 1116 1120 1121 1123 1127 1128 1129 1130 1131 1134 1135 1137 1138 1139 1140 1141 1143 1145 1147 1149 1153

522 522 215 676 49 73 24 123 307 461 369 553 492 246 522 246 246 861 123 153 584 584 184 2,706 738 184 61 584 49 246 922 1,107

1173 1174 1175 1176 1180 1183 1184 1185 1191 1197 1198 1200 1203 1205 1207 1208 1214 1215 1225 1226 1230 1231 1234 1236 1237 1241 1242 1244 1246 1248 1249 1250

984 276 184 246 215 49 43 276 153 110 61 61 307 799 399 153 184 153 98 399 73 123 36 86 861 1,230 615 153 3,690 153 86 3,936

1275 1277 1278 1279 1280 1282 1283 1285 1287 1289 1290 1291 1297 1298 1299 1301 1302 1303 1304 1308 1309 1316 1317 1318 1319 1320 1321 1325 1326 1327 1329 1330

73 30 276 492 338 615 184 30 30 184 369 98 215 215 98 215 615 553 399 369 184 1,722 98 584 123 123 123 61 307 184 24 430

957 964 965 966 967 968 971 974 975 976 980 982 984 985 986 989 990 991 992 993 998 1000 1001 1004 1005 1006 1009 1013 1015 1016 1019 1023

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Page No. 4

09/29/2010 15:02:51 New Orleans Auction Prices Realized for Sale A105 September 25, 2010 September Estates Auction Lot No. begins not with "P"

Lot#

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Lot#

Aggregate

1332 1333 1334 1337 1339 1342 1343 1344 1345 1348 1349 1351

799 184 49 123 86 73 184 73 86 338 399 123

1403 1407 1410 1412 1413 1414 1416 1417 1418 1419 1422 1423

369 98 123 307 98 1,107 184 676 215 98 86 246

1352 1353 1354 1357 1358 1359 1360 1361 1363 1364 1365 1366 1372 1373 1374 1376 1377 1379 1380 1382 1383 1384 1385 1388 1389 1393 1395 1396 1397 1398 1401 1402

86 430 61 215 215 553 61 246 461 2,091 369 522 86 246 153 49 61 1,476 123 799 153 184 73 153 430 73 153 98 215 61 246 110

1424 1426 1428 1429 1430 1431 1435 1436 1437 1438 1440 1441 1442 1444 1444A 1448 1451 1452 1456 1457 1459 1460 1461 1462 1463 1466 1467 1468 1469 1470 1471 1472

153 55 98 215 1,168 184 676 153 98 246 246 61 584 276 492 49 123 123 123 36 123 246 24 73 246 61 184 123 338 98 276 153

Lot# 1473 1480 1483 1487 1488 1488A 1491 1496 1499

Aggregate 98 861 123 861 799 86 615 615 861

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JEAN VIDOS President TESSA STEINKAMP Executive Vice President GREG S. KOWLES Director of Consignments / American Furniture JELENA JAMES Fine Arts Consignments KAYSIE WILKINSON Office Manager KARLA PELARDE Administrative Assistant DENISE HAIK Marketing Director ROBIN RUIZ WILKINSON Auctioneer NATALIE H. GIBSON, C.E.S. Certified Estates Specialist Administrator of Online Auctions JOHN W. KEEFE / TOM HALVERSON ELLEN MCKENZIE RICHERSON L. RHODES, G.G., N.J.A. Cataloguers SEAN RANSON Carpet Consignments KURT STEINKAMP Director of Operations CEDRIC ROBERTS Inventory Manager DAVID ABNEY / EDDIE DAIGREPONT / RAUL GUILLEN BLAKE HUFFMAN / GLENN MARTIN Operations Department PATRICK L. LORENZ Photographer