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

JULY 24-25, 2010

1330 St. Charles Avenue New Orleans, Louisiana 70130 (504)-586-8733 2010 AUCTION SCHEDULE: July 24-25 September 25-26 November 20-21

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(504)-586-8841

e-mail: info@stcharlesgallery.com

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FRONT COVER:

2010 AUCTION SCHEDULE:

Lot 1027 Giovanni di Marco (Giovanni dal Ponte) (Florentine, 1385-1437/38) "Madonna with Child Enthroned, Crowned by Two Angels with Saints Anthony Abbot and James Major", tempera and gold leaf on panel with a gothic-arch carved top, 33” x 22”.

July 17-18 September 11-12 November 13-14

Schedules Subject to Change

BACK COVER:

Lot 1044 Fine, Large American "Roman Centurion" Five-Light Girandole, third quarter 19th century

– AUCTION – Saturday, July 24, 2010 Lots 1-850

Sunday, July 25, 2010 Lots 851-1585

– Exhibition – 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

Wednesday, July 14 through Friday, July 23 9:00 a.m. to 5:00 p.m. (excluding Sundays) Late-Evening Preview Wednesday, July 21 5:00 p.m. to 8:00 p.m.

Featuring Important Property From:

The Estate of Lifelong Socialite and Philanthropist Warren Spencer Strauss Houston, Texas

Real estate agent, stockbroker, boutique owner, restaurateur, model, collector, connoisseur, philanthropist: such were the many and varied hats of Houston’s premier real estate agent Warren Spencer Strauss. Which is to say nothing of his many actual hats – from an Odd Fellows’ ceremonial turban to an Austrian Officer’s feathered bicorne – that New Orleans Auction Gallery is pleased to offer from the extraordinary collection of this remarkable man. Warren Strauss, who died last year just two days short of his seventy-ninth birthday, was for three decades one of the top agents at Houston’s John Daugherty Realtors. He was blessed with many gifts; witty, elegant, confident, intelligent and he had the ability to charm anyone whom he met. Yet it was his sincerity, honesty, accessibility and dedication that earned him the trust of three generations of Houstonians, and his generosity of spirit that endeared him to his friends and co-workers. He gave exhaustively of his time, energy and more. He once furnished a vacated house with pieces from his own collection, knowing it would bring the owner a higher price than “an empty shell” (as he put it). He was a member of a number of nonprofit organizations in Houston, and pioneered the Agent Assistance Fund, which provides financial relief for John Daugherty real estate agents, their coworkers and families when faced with death or sudden catastrophe.

The passion he had for his job, his friends, his animals and his community was equaled only by his passion for collecting. “I love possessions,” he once said. “Does anyone really need a hundred Imari plates? Or thirty-five gold and white cache-pots?” Strauss caught “buyitis” (as he called it) at an early age in his native Boston. Always ambitious and driven – he got his real estate license at the age of 16 – he learned all he could about antiques from a family friend, a Boston auctioneer, and set out on a lifelong course of connoisseurship. “When I started to buy furniture in the early 1950’s, I couldn’t afford the English antiques,” he said. “But you couldn’t give away French and Italian antiques then, so I started buying them.” Although he always had an eye for the value of an item (and its potential for appreciation, a lesson learned during his years as a New York investment banker), his primary criterion was his own taste: above all, he bought what he liked.

As early as 1966, while only in his thirties, he had amassed a collection of contemporary art of sufficient note to be included in a “Collector’s Show” exhibition at the Parry Barn Gallery in New Hope, Pennsylvania. Strauss’ contributions included the New York 10 portfolio, several works by Jack Levine (whom Strauss befriended in their early days in Boston) many of which are included in the present sale.

By the early 1970’s, Strauss’ reputation as a dedicated collector was well known. His Delancy Place home was a star attraction in Philadelphia’s annual Tour of Homes, and a feature in the Philadelphia Inquirer color Sunday supplement noted his eclectic interests: Napoleonica, leatherbound books, bronze hands and a veritable menagerie of birds and monkeys in every possible medium. (He dismissed concerns of theft with characteristic good humor: “How much could anyone carry away? It would never even make a dent.”) Strauss moved to Houston in 1978, where he began buying, selling and renovating homes. “I usually live in a house no longer than three years,” he admitted. Yet each one was a glittering showcase for his ever-growing collection (by this time requiring seven vans to transport), featured almost annually in the Houston Chronicle as among the city’s most elegant. He entertained in great style – his 650-piece set of “Versailles” sterling silver flatware surely rivaled that of its namesake – and cherished the opportunity to open his home to friends and many charitable organizations.

New Orleans Auction St. Charles Gallery is honored to offer property from two important Houston, Texas, estates:

Warren S. Strauss (Part II) And Esteemed Appraiser and Collector June Adair

Session I

Saturday, July 24, 2010 10:00 a.m. (Lots 1-850)

1 3 French Provincial Oak Tallcase Clock, early 19th century, the domed and molded hood cornice above a case fitted with a domed and glazed door and a side paneled door, the enameled clock face signed “Cougard aine a Etreville”, the case fitted with a tri-paneled door raised on a paneled base, h. 85‑1/2”, w. 20”, d. 10‑1/4”. [500/800] Illustrated 4 French Provincial Brass-Mounted Tole-Peinte Wall Clock, third quarter 19th century, of small octagonal form, the interior fitted with later German alarm clockworks, dia. 9”. [50/80]

1 Provincial Louis XV-Style Walnut Buffet a Glissant, mid‑20th century, the upper case with a serpentine crest over a conforming body fitted with a central pair of doors inset with musical instrument-carved panels, both sides flanked by a sliding door with floral- and wheat sheafcarved panels, above a lower case with parquetry-inlaid serpentine top above a conforming body fitted with four short drawers over a central pair of doors, flanked by a smaller door on each side, each inset with a serpentinecarved panel, the whole raised on cabriole legs ending in scroll toes, h. 62‑3/4”, w. 90‑3/4”, d. 24”. [2000/4000] Illustrated 2 Unusual Provincial Louis XVI-Style Oak and MarbleTop Table, mid‑19th century, the triangular Calacatta marble top above a conforming paneled frieze, raised on fluted tapering square legs headed by foliate-carved panels and ending in spade feet, h. 29”, w. 41‑1/2”, d. 25”. [250/400]

5 Suite of Six Provincial Louis XV-Style Fruitwood Chairs, consisting of two armchairs, h. 38”, w. 22”, d. 20”, and four sidechairs, h. 38”, w. 20”, d. 18‑1/2”, all with caned shaped backs surmounted by a floral crest, the padded seats above a floral-carved apron, raised on molded cabriole legs headed by foliate carving and ending in scrolled toes. [800/1200] Illustrated

6 Provincial Louis XV-Style Mixed Woods and Parquetry Dining Table, first quarter 20th century, the parquetry-inlaid extending top above a serpentine-carved apron, raised on cabriole legs ending in tapered feet, h. 31‑3/4”, w. 43‑3/4”, l. 78‑1/2”, extended l. 130‑1/2”. [2000/4000] Illustrated

7 Dutch Oak Linen Press, early 19th century, the molded and domed cornice centered by a floral basket carving and above a case fitted with two paneled doors, each with side engaged pilasters with ormolu mounts, opening to a shelved interior and three lower drawers, the lower bombe section fitted with two short drawers over two long drawers, the whole raised on canted foliate-carved feet, h. 94‑1/2”, w. 69”, d. 20‑1/2”. [1500/2500] Illustrated 8 Pair of Flemish Walnut Wing Chairs, late 19th century or later, the tall domed and padded backs joined by shaped sides and outscrolled arms to the cushioned seats, raised on turned ball legs joined by bulbous stretchers and ending in Flemish scrolled toes, upholstered in Brunschwig & Fils linen damask, h. 54”. [1000/1500] Illustrated

9 Good Pair of Italian Bianco Majolica Figures of Fierce Cockerels, second quarter 20th century, of large size in the 19th-century style, each bird standing on a tall integral leafy base, h. 19”, w. 8”, l. 13”. [200/400] Illustrated

10 Good ThreePiece Group of Bordallo Pinheiro, Portugal, Pottery, in the 18th-century style, consisting of a soup tureen in the form of a boar’s head, h. 8”, w. 8‑1/2”, l. 16‑1/2”, a matching elliptical stand, w. 11‑3/4”, l. 16”, and a ladle, l. 9”, all in a monochrome white glaze, both the tureen and the stand fully backstamped in gray. [150/300] Illustrated

13 French Provincial Brass Morbier Wall Clock, third quarter 19th century, the circular dial of white enamel with black Roman chapters and signed “Renen/a Roanne”, the traditional large embossed gilded and polychromed pendulum of attenuated pyriform configuration, clock face h. 19”, w. 14”, d. 7‑1/4”, pendulum h. 40”. [200/400] Illustrated 14 Louis XV-Style Walnut Bergere en Encoignure, fourth quarter 19th century, the slightly domed crest centered by a floral-spray carving, above a conforming padded back joined to the cushioned seat by like arms, above a serpentine floral-carved apron, raised on cabriole legs ending in scroll feet, h. 35”, w. 26‑1/4”, d. 24”. [150/300] Illustrated

15 Louis XV-Style Fruitwood Fauteuil, first quarter 20th century, the shaped crest centered by a cartouche and floral carving, over a conforming padded back, joined to the like seat by open arms, raised on cabriole legs ending in scroll feet, the whole upholstered in floral needlepoint, h. 39‑1/2”, w. 26”, d. 19‑1/2”. [500/800] 16 Napoleon III Polychromed Carved Wood Dressing Table Mirror, third quarter 19th century, of oval form in the “cottage” taste, painted in “Pansies” decor and fitted with a conforming mirror plate having a beveled edge, h. 21‑1/2”, w. 14‑1/4”, d. 12‑3/4”. [100/200] Illustrated

11 French Long-Handled Copper Skimmer, first quarter 20th century, the circular pierced bowl fitted with a long wrought-iron handle, dia. 14”, l. 44”. [50/80] 12 Group of Three French Glazed Pottery Game Pie Tureens, in shades of yellow, buff and ochre, consisting of a navette-form example with a rabbit-head cover; an identical, smaller tureen; and a similar, larger tureen with a large leaf decorating the cover; the rabbit-head examples fitted with realistic glass taxidermist’s eyes, the largest h. 4‑1/4”, w. 5”, l. 9‑3/4”. [40/70]

18 Pair of Franco-Belgian Machine-Woven Tapestry Panels, first quarter 20th century, in the 16th- and 18th-century styles, respectively, both panels feature aristocrat figures at play in a chateau park, presented in matching antiqued giltwood frames with linen liners in the neoclassical taste, h. 10‑1/4”, w. 8”. [100/200] 19 French Provincial Stained Oak Buffet-Vasselier, 18th century, the molded cornice over a scalloped frieze flanked by hanging finials above three plate shelves and one for hanging utensils, the lower case fitted with two short drawers with turned pulls, above two doors, raised on block feet, h. 77”, w. 53”, d. 25”. [2000/4000] Illustrated 20 Imposing Two-Piece Patinated Bronze and Wrought-Iron Hearth Set, first quarter 20th century, in the Baronial taste, comprised of a magnum log tong and a poker of trident form, both with patinated bronze finials of seated lions, tongs l. 38”, poker l. 37”. [30/50] 21 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”. [1500/2500] Illustrated

17 Louis XV-Style Kingwood and Exotic Woods Games Table, fourth quarter 19th century, the banded and quarter-veneered rectangular top centered by an inlaid floral spray, with a brass edging and corner cartouche accents, hinged and opening to a baize-lined interior, the top removing to a baize-lined backgammon well, above a shaped frieze with scrolling foliate inlays, raised on cabriole legs headed by ormolu mounts and ending in sabots, h. 31”, w. 32”, d. 23”. [250/400] 28

22 Large Middle Eastern Attenuated Pyriform Storage Jar, first quarter 20th century, composed of hand beaten copper with wrought-iron handles, the copper with traces of a silver-wash finish, h. 27”, dia. 15”. [100/200]

23 Good English Arts and Crafts HandWrought Copper Jardiniere, first quarter 20th century, of cylindrical, two-handled form, the exterior walls with applied riveted equidistant vertical copper struts, h. 10”, dia. 14‑1/2”. [50/80]

24 Good English Arts and Crafts Brass-Mounted Copper Log Bucket, first quarter 20th century, with a swing handle, h. 15”, dia. 18”. [100/200] 25 French Provincial Brass Covered Storage Jug, fourth quarter 19th century, of large pyriform, h. 22”, dia. 14”. [50/80] 26 Unusual Victorian Galvanized Metal and Glass Conservatory Aquarium, late 19th century, of hexagonal form, the paneled and glazed tapering body surmounted by six wirework floriform planters, raised on a conforming molded base headed by masks and ending in a plinth base, h. 45”, dia. 18‑1/2”. [300/500]

27 Provincial Hand-Wrought Tin Oil Storage Jar, first quarter 20th century, of large size, both the cover and side fitted with a handle, h. 21”, dia. 18‑1/2”. [50/80] 28 Provincial Regence-Style Mahogany Center Table, ca. 1900, the rectangular top with 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”. [800/1200] Illustrated previous page

29 Suite of Eight French Provincial Fruitwood Sidechairs, ca. 1900, each with a shaped crest over two rails, above a rush seat, raised on slightly saber legs joined by a box stretcher, h. 33‑1/2”, w. 14‑1/2”, d. 14”. [700/1000] Illustrated

32 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 floralcarved panel, the whole raised on cabriole legs ending in scroll feet, h. 41‑1/2”, w. 76‑1/2”, d. 20‑1/2”. [1500/2500] Illustrated Color Plate VI

33 Suite of Six French Provincial Fruitwood Balloon-Back Sidechairs, fourth quarter 19th century, each with a carved crest above a sloped rail, over a rush seat, raised on cabriole legs, h. 34‑1/2”, w. 16”, d. 15‑1/2”. [500/800]

34 Provincial Louis XIV-Style Oak Coffee Table, third quarter 20th century, the planked rectangular top over a recessed apron, raised on serpentine legs joined by an Hform stretcher and ending in scroll feet, h. 18”, w. 39‑1/4”, d. 19”. [300/500] Illustrated 35 Group of Two Dovetailed Wooden Boxes, comprised of a Northern European provincial mixed woods dowry chest, fitted with a small upper interior compartment over the main compartment, second quarter 19th century, h. 12‑1/4”, w. 16‑1/4”, d. 11‑1/4”; and a smaller walnut desk box, fourth quarter 19th century, h. 5‑1/2”, w. 10”, d. 7”; both fitted with locks at the center of the facades. [100/200]

30 Interesting Collection of Eight Tin and Copper Food Molds, comprised of a large petaled dessert mold, first quarter 20th century; a tin mold in the form of a jumping fish; a smaller copper fish-form mold; a German copper mold of a langouste, also first quarter 20th century; a tin “Coin Top” circular mold of like date; a Harrod’s, London, plain domed copper dessert mold; and a small pair of French brass-mounted copper tart molds featuring, respectively, a cow and a kerchiefed goose, second quarter 20th century; the largest h. 8‑3/4”, w. 11”, d. 2‑1/2”. [50/80]

36 Provincial Stained Maple Wooden Step Ladder, fourth quarter 19th century, of tapered form and having seven steps, h. 58‑1/2”, w. 19‑1/2”, d. 38”. [250/400] Illustrated 37 Large Chinese Provincial Wooden Gathering Basket, fourth quarter 19th century, with a triple bamboo-slat arched handle caught with a wrought-iron ring, h. 15”, w. 21‑1/2”, d. 12‑1/4”. [50/80] Illustrated

31 Provincial Louis XV-Style Walnut Armoire, third quarter 19th century, the molded cornice with canted corners above a conforming case fitted with a fluted and foliate-carved frieze over two long doors, each inset with two shaped panels, the like-carved, scalloped apron raised on scrolled toes, h. 93‑1/2”, w. 58”, d. 20‑3/4”. [1500/2500] Illustrated

45 41 Pair of French Provincial Carved Beechwood Footstools, in the Louis XV taste, both examples upholstered in ocelot fur, h. 7‑1/2”, w. 14”, d. 11”. [150/300] Illustrated 42 Belle Epoque Cast-Iron Circular Tripodal Stool, first quarter 20th century, the seat upholstered in faux-leopard fur, h. 17‑1/2”, dia. 14‑1/2”. [75/125] Illustrated

38 Follower of Isidore Bonheur (French, 1827‑1901), a large patinated bronze figure of a horned domestic sheep, h. 21”, w. 26”, d. 9”. [300/500] Illustrated

43 French Provincial Fruitwood Hanging Corner Cabinet, the molded and overhanging cornice above a case fitted with a single door inset with a shaped panel, to a molded base, h. 46”, w. 32‑1/4”, d. 16”. [300/500] Illustrated

44 Continental Provincial Oak Armoire, second quarter 19th century, the scalloped crest above a case fitted with two long doors, each with elaborately carved geometric designs and two arched panels, flanked to either side by fluted uprights, the sides carved en suite, raised on bracket feet, h. 71‑1/4”, w. 57‑1/2”, d. 19”. [300/500]

39 English Polychromed Cast-Iron Figure of a Mongrel Dog, first quarter 20th century, of large size, the spavined canine modeled yapping, h. 13‑3/4”, w. 4‑1/2”, l. 15”. [75/125] 40 Group of Four Tapestry Chair Panels, consisting of a large pair of French gros-point tapestry figural chair backs, featuring a cavalier and his lady in the Louis XIV style, h. 31‑1/2”, w. 27‑1/2”, along with the matching grospoint tapestry chair seats, h. 33”, w. 30”, the backgrounds of stylized foliate scrolls in a rich palette of coral, peach, shaded browns, garnet, yellow and ivory. [40/70]

45 Group of Two Gentleman’s Leather Hatboxes, consisting of a good French leather hatbox emblazoned with a period American Shipping Line: Southampton to New York label, monogrammed “O.L.G.”, fourth quarter 19th century, h. 10”, w. 12‑1/2”, l. 13‑1/2”; and a slightly smaller Anglo-American gentlemen’s top-hat case in russet leather with a faded scarlet velvet lining, monogrammed “J.F.M.”, first quarter 20th century, h. 9‑1/2”, w. 12‑1/4”, l. 13”. [100/200] Illustrated 46 Pair of Continental Carved Elm Figures of Prancing Equine Figures, early 20th century, each with a raised foreleg and inset glass eyes, h. 39”, w. 16”, l. 38”. [400/700] Illustrated 47 French Provincial Carved Oak Cabinet, 20th century, the rounded rectangular top banded and paneled, and above a conforming case fitted with two doors, each inset with a shaped panel and with carved floral accents, raised on molded block feet, h. 32”, w. 42”, d. 15”. [200/400]

48 Provincial-Style Oak TripleSection Breakfront, of large scale, the center section with open shelves at the top and a pull-out slide above a pair of doors in the base, and flanked by narrow side cabinets on each end, h. 99‑1/2”, w. 93”, d. 21”. [2000/4000] Illustrated

46 49 Provincial Scrubbed Pine and Gray Slate-Top Farmhouse Table, the rectangular framed top with two square slate inserts, raised on straight square legs, h. 31”, w. 41”, l. 73”. [600/900] 50 Provincial Louis XV-Style Oak Dining Table, ca. 1900, the rectangular planked top above a serpentine-carved apron, centered on all sides by acanthine carving, raised on cabriole legs ending in hoof feet, h. 29‑1/2”, w. 50”, l. 107”. [2500/4000] Illustrated

51 Good German Porcelain Figure of a Seated Spaniel, second quarter 20th century, the elegant canine modeled with crisp details, h. 12”, w. 10”, d. 6‑1/4”. [150/300] Illustrated 52 German Polychromed Terra Cotta Figure of a Dachshund Dog, second quarter 20th century, the head fitted with realistic glass taxidermist’s eyes, h. 14‑1/4”, w. 9”, l. 26”. [75/125] 53 Italian Crackled Bianco Majolica Figure of a Grazing Lamb, second quarter 20th century, of large size, the head fitted with glass taxidermist eyes, h. 11‑3/4”, w. 6‑1/4”, l. 19”. [150/300] Illustrated

58 Three-Piece Victor Silverplate Company Partial Tea Service, first quarter 20th century, in the Art Nouveau taste, comprised of a two-handled and footed waste bowl, h. 4”, a matching covered two-handled sugar basin, h. 5‑1/2”, and a matching cream pitcher, h. 4”, the bodies of all three pieces embellished with multiple Art Nouveau “whiplash” curves. [50/80] 59 Good Kayserzinn, Germany, Pewter Vase, first quarter 20th century, of tall, two-handled form in the Louis XVI taste, the interior fitted with a custom-blown conforming glass flower vase, the base touchmarked with an “eagle/ Kayser in an arched tablet/Made in Germany”, h. 14‑3/4”, w. 8‑1/4”, d. 6‑1/4”. [50/80]

54 Small Pair of French Gilt-Brass Looking Glasses, third quarter 19th century, of cenotaph form in the “Troubadour” taste, with reticulated crests, the original easel backs removed and replaced with wooden panel backings, the basal edge of each example with two lacquered brass ball feet, h. 11‑1/4”, w. 7‑3/8”. [50/80] 55 Rococo-Style Wrought-Iron and Marble-Top Center Table, the serpentine square top raised on cabriole legs joined by an X-form stretcher, centered by a floralbouquet-shaped finial and ending in scroll toes, h. 35”, w. 28”, d. 28”. [400/700] Illustrated 56 French Patinated Cast-Iron Finial, third quarter 19th century, of tall form in the neoclassical taste, h. 33”, dia. 11”. [75/125] Illustrated 57 Paul Revere Silver Company, Boston, Silverplated Copper Sconce Backplate, ca. 1900‑1905, in the Art Nouveau style, the bracket candlearm lacking, 8‑1/2”, w. 6‑1/4”. [50/80]

63 Pair of Continental Reticulated Silverplate Sweetmeat Bowls, first quarter 20th century, each of two-handled, footed form and fitted with a conforming cobalt blue glass liner, h. 2‑1/2”, w. 7”, d. 5‑3/4”. [40/70] 64 Continental Silverplate Two-Handled Waiter, third quarter 19th century, of large oval form in the neoclassical taste, the center engraved with an elaborate series of addorsed interlaced scroll reserves, w. 20‑7/8”, l. 34‑1/2”. [150/300] 65 Circle of Marianne Loir (French, 1715‑1769) “Portrait of a Seated Lady With a Fan”, oil on canvas, unsigned, 32‑1/2” x 25‑1/2”. Presented in a giltwood and gesso frame. [500/800] Illustrated Color Plate II

65 60 Good Continental Silverplate and Rock Maple Dressing Table Mirror, third quarter 19th century, in the rococo style, the backplate and adjustable easel of rock maple, the whole supported on short scroll feet, retains the period mirror plate, h. 19”, w. 16‑1/4”. [100/200] 61 Good English Sterling Silver Mustard Pot, 1853, London, maker: Charles Fox, in the rococo taste, retains the conforming blown and cut cobalt blue glass liner, h. 3‑1/2”, w. 3”, l. 4”, 6.10 t. oz. [300/500] Illustrated 62 Fine and Rare Pair of Paul Storr, London, Sterling Silver “King’s Shell” Tablespoons, 1819, fully hallmarked, not monogrammed, l. 8‑3/4”, 6.15 total t. oz. [450/700] Illustrated

61 62

66 Continental School (Fourth Quarter 19th Century) “Portrait of a Lady in a Blue Dress and Lace Shawl”, oil on canvas, unsigned, 24‑1/4” x 18‑1/2”. Presented in a period deep giltwood frame. [150/300] Illustrated 67 Continental School (First Quarter 20th Century) “Still Life with Flowers in a Vase by a Window”, oil on canvas, unsigned, 37” x 31‑1/4”. Framed. [250/400]

68 Continental School (18th Century) “An Archbishop Healing a Cripple”, oil on four grooved panels, unsigned, 40‑1/2” x 48”. Handsomely matted and framed. [700/1000] Illustrated 69 Follower of Jan Van Huysum (Dutch, 1682‑1749) “Floral Still Life on a Stone Plinth in a Garden Landscape”, oil on canvas, unsigned, fourth quarter 20th century, 48” x 36”. Presented in a giltwood and gesso frame. [500/800] Illustrated

69 70 Manner of Giovanni Canale Canaletto (Venetian, 1697‑1768) “Venetian Canal with Gondoliers in Front of Santa Maria della Salute”, oil on panel, fourth quarter 20th century, unsigned, 11‑1/2” x 16”. Presented in a rococostyle giltwood and gesso frame. [150/300] Illustrated

71 Manner of Giovanni Antonio Canal Canaletto (Venetian, 1697‑1768) “Venetian Canal Scene”, oil on panel, unsigned, 20th/21st century, 8” x 16”. Presented in a Baroque-style giltwood and gesso frame. [200/400] 72 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. [800/1200] Illustrated

75 Manner of Cornelius Dusart (Dutch, 1660‑1704) “Hunter and a Priest Leaving a Tavern”, oil on canvas, fourth quarter 19th century, unsigned, 12‑1/2” x 9‑1/2”. Presented in an acanthine-molded and pierced giltwood and plaster frame. [100/200] Illustrated 76 Pair of Tressemann and Vogt, Limoges, SepiaPainted Porcelain Plaques, fourth quarter 19th century, depicting, respectively, a Dutch burgher after Frans Hals (Dutch, 1580‑1666) and the philosopher Erasmus holding a scroll, each marked on the reverse with a greenstenciled “T.& V.” mark, presented in matching period dark mahogany frames in the 17th-century Dutch style, h. 7‑1/2”, w. 5‑3/4”. [300/500] Illustrated

72 73 German School (First Quarter 20th Century) “Elderly Gentleman Playing a Guitar”, oil on canvas, signed illegibly lower right, 16” x 20”. Presented in a molded giltwood and gesso frame. [1000/1500] Illustrated 74 Continental School (First Quarter 20th Century) “Courtship Scene of a Early 19th-Century Couple”, oil on canvas, signed lower right “Moneacin”, 14” x 11”. Presented in a giltwood and gesso frame in the rococo style. [300/500]

76 77 Continental School (First Quarter 20th Century) “Road to the Farm with View of a Lake”, oil on canvas, signed lower right “M. Boumans”, 35” x 26”. Presented in a period giltwood and plaster frame. [250/400]

73 75

78 Three Kuang Hsu Porcelain Figures of Seated Foo Dogs, fourth quarter 19th century, comprised of a strie celadon example with moveable eyes; a provincial grayglazed dog, also with moveable eyes; and a pale gray crackle-glazed example with claret-glazed detailing, with an impressed calligraphy colophon on the proper right interior wall; the largest h. 6”, w. 5”, l. 7‑1/2”. [100/200] Illustrated

79 Two Chinese Porcelain Vases/Lamps, first quarter 20th century, consisting of a Kuang Hsu paneled porcelain vase of tall hexagonal form in alternating “Flowering Tree” and “Lakeshore Pavilion” decor, now mounted as a table lamp with a conforming mahogany cap, h. 16”, dia. 7”; and a smaller Chinese porcelain vase of baluster form in “Celestial Dragon and Clouds” decor, and also mounted as a table lamp on an ebonized hardwood base, h. 12‑1/4”, dia. 5”. [200/400] 80 Pair of Kuang Hsu Hexagonal Cachepots and Conforming Drainplates, first quarter 20th century, the pots with pink grounds and polychromed “Mandarin’s Garden” decoration, h. 6‑5/8”, dia. 8‑1/2”. [100/200]

81 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”. [250/400]

82 Large Pair of Kuang Hsu Porcelain Vases, fourth quarter 19th century, of two-handled baluster form in “Mandarines with a Fawn in a Garden” decor, the reverses with calligraphy stanzas in black overglaze, h. 22‑1/2”, dia. 9”. [350/500] Illustrated 83 Graduated Trio of Chinese Black and Gold Lacquer Chairside Tables, in “Mandarins Garden” decor, the tops second quarter 19th century, the black lacquer box-frame bases of later date, the largest h. 14‑3/4”, w. 16‑7/8”, d. 11‑1/2”. [150/300]

84 Chinese Red Lacquered Dome-Lidded Accessories Trunk, third quarter 20th century, in the Ch’ien Lung style, the lid gilded in “Lakeside Pavilions” decor, the facade centered with a traditional Chinese bronzepatinated brass hasp, the interior lined in rosy beige faux-pigskin papers, h. 7”, w. 20”, d. 6‑3/4”. [50/80] 85 Collection of Three Kuang Hsu Porcelain Vases, fourth quarter 19th century, comprised of a green and mulberry “rouleau” example in “Mountain Lake” decor; a footed example of square section in “Flowering Plants” decor in the Ming style, with a reign mark in rouge de fer on the drilled base; and a turquoise-ground vase of baluster form with bas-relief decoration of a crane amidst flowering lotuses, with an impressed reign mark underglaze on the drilled base; the largest h. 11‑5/8”, dia. 4‑1/2”. [150/300]

87 88

93 Faux-Alligator Cased Mah-Jong Set, second quarter 20th century, the interior retains all of the period game pieces and racks, h. 3‑3/4”, w. 20”, d. 8”. [50/80] 94 Kuang Hsu Rondel-Set Plaited Willow and Reed Food Basket, fourth quarter 19th century, of circular form, the inset black lacquer rondel painted with gold “Mandarin” figures and a calligraphic stanza, h. 4”, dia. 12‑3/4”. [300/500]

86 Attractive Pair of Tao Kuang Porcelain Covered Jars, second quarter 19th century, of globular form in “Mandarins Garden” decor, the present covers in turned mahogany, presented on Chinese carved and ebonized wooden display stands, h. 11”, dia. 8‑1/2”. [150/300] Illustrated 87 Kuang Hsu Stacking Four-Section Set of Porcelain Covered Food Bowls, in floral decor with calligraphic stanzas in black, h. 5”, dia. 5”. [75/125] Illustrated 88 Kuang Hsu Porcelain Covered Food-Warming Tureen, fourth quarter 19th century, of shaped square form, fitted with a conforming food bowl above the warming base, the exterior fitted with a pair of doubleheaded mask-terminal handles, the finial of the gently domed cover modeled as a diminutive gilded Foo dog, h. 5‑3/4”, w. 6”, d. 6”. [150/300] Illustrated 89 Pair of Kuang Hsu Patinated Bronze Cachepots, fourth quarter 19th century, each of two-handled tripodal form and signed with an applied bas-relief bronze colophon on the base, h. 7‑3/4”, dia. 11”. [100/200] 90 Patinated Bronze Figure of a Chinese Goose, in the traditional style, the bronze finish with verdigris patination, h. 15”, w. 6”, d. 16”. [75/125] 91 Chinese Cast-Iron Covered Incense Burner, 20th century, copied from an armchair model, the bulbous body on a splayed foot with two handles and cloud-pierced cover, cast all over with Kang Dynasty designs, h. 8‑1/2”, l. 11”. [75/1250] 92 Chinese Bronze Figure of a Horse, in the Tang Dynasty style, the patinated and parcel-gilded animal modeled galloping on a diminutive crag, presented on an oblong ebonized wooden base, h. 8”, w. 5‑3/4”, d. 3‑3/4”. [50/80]

95 Good Pair of Kuang Hsu Fruitwood Charger Stands, first quarter 20th century, elaborately carved in “Resting Immortal and Attendant” decor, h. 9‑1/2”, w. 10”, d. 5”. [30/50]

96 Collection of Twenty-Six Kuang Hsu Silver and Silver-Gilt Chopstick Finials, fourth quarter 19th century, featuring, respectively, figures of Ho-tei, the Immortals and other notables, the largest h. 2”. [50/80] 97 Japanese Meiji Carved Ivory Figure of a Cicada, fourth quarter 19th century, the insect delicately detailed in rose wash throughout, l. 2‑1/2”. [200/400] Illustrated 98 Japanese Meiji Carved and Tinted Ivory Game Board, fourth quarter 19th century, in “Monkeys” decor, the sides each fitted with four incise-carved flippable ivory tabs, each with a different animal, insect or bird, w. 1‑3/4”, l. 2‑5/8”. [400/700] Illustrated 99 Japanese Meiji Carved Ivory Clamshell, fourth quarter 19th century, with “Busy Villagers” on the interior, signed on the base in incised calligraphy, w. 3”, l. 3‑3/4”. [600/900] Illustrated 100 Set of Four Chinese Carved Ivory Figures of the Immortals, third quarter 20th century, each with his own attribute, carved in the traditional manner and presented on waisted oblong ebonized wood stands, the whole in a fitted Tyrrhian purple-lined card box, the cover marbleized in red and blue, h. 7”. [300/500]

99 98

101 Kuang Hsu Elaborately Carved and Pierced Tusk Ivory Group, fourth quarter 19th century, depicting an Immortal standing in a celestial garden accompanied by a large birdcage, attendants in pavilions and cranes in flight overhead, h. 11‑3/4”, w. 6”, d. 3‑1/2”. [1500/2500] Illustrated Color Plate V 102 Kuang Hsu Polychromed Porcelain Footed Bulb Bowl, fourth quarter 19th century, of elongated octagonal form in alternating calligraphy panel and figural reserves, h. 3”, w. 7”, l. 8‑3/4”. [75/125]

101

103 Good Kang Hsi Porcelain Bowl in the “Imari” Palette, first quarter 18th century, the base with the printed oval paper label of the prestigious Ralph M. Chait Galleries, New York, decorated on the exterior in “Songbird and Flowering Shrubs” motifs, the interior centered with a parcel-gilt floral spray, h. 4‑3/4”, dia. 10‑1/2”. [1800/2500] Illustrated 104 Pair of Kuang Hsu Celadon Porcelain Brush Pots, first quarter 20th century, in relief “Celestial Dragon” decor in the Ch’ien Lung style, h. 5”, dia. 4”. [50/80]

105 Diverse Seven-Piece Collection of Antique Chinese Porcelain, consisting of a scholar’s brush rinser of elliptical form in “Immortals Walking” decor, fourth quarter 19th century; a circular sponge box in “Father and Boys” decor; a smaller pair of circular covered cosmetic boxes in figural decor; a pair of modified crescent-form small bowls in “Songbird and Peony” decor, with the reverses decorated with a pair of black overglaze calligraphic characters, fourth quarter 19th century; and a circular stacked four-section sweetmeats box in “Immortal and Attendants Astride a Kylin” decor, with an overglaze rouge de fer colophon on the base of the lowest section, fourth quarter 19th century; the largest h. 2”, w. 7‑1/4”, d. 4‑1/4”. [75/125] 106 Group of Two Chinese Animal Objects, first quarter 20th century, consisting of a Kuang Hsu pottery brush rinser in the form of a frog perched on a hollow rock, h. 4‑3/4”, w. 3‑1/2”, d. 2‑3/4”; and a carved and stained soapstone group of a boy crouched on the back of a water buffalo, h. 4‑3/4”, w. 6‑1/4”, d. 3‑1/4”. [60/90] 107 Kuang Hsu Hardwood Scholar’s Desk Screen Frame, the elaborately carved and pierced frame first quarter 20th century, now mounted with an oval caramel and white polished geode slice, h. 18”, w. 8‑3/4”, d. 5‑1/2”. [75/125]

103

108 Pair of Oriental Rosewood Stands, early 20th century, each with a rectangular framed and molded top, and raised on square legs, h. 20”, w. 16”, d. 12”. [75/125]

109 Tao Kuang Carved Mahogany Chairside Table, second quarter 19th century, of square form in the Ming style, the aprons bas-reliefcarved with highly stylized clouds and bats, the K’ang-footed legs joined by a box stretcher, h. 18‑1/2”, w. 17‑1/4”, d. 17‑1/4”. [100/200] 110 Pair of Tao Kuang Eglomise Panels, second quarter 19th century, each featuring a gentlewoman and her handmaiden on a garden balcony, presented in matching period Chinese fret-carved mahogany frames, h. 16‑1/4”, w. 12‑1/4”. [150/300] Illustrated

110

113

114

115 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”. [700/1000] Illustrated 116 Three Chinese Carved Jade Figures, 19th century, comprised of a pale green figure of a child, a white jade figure of a horse and a brown jade figure of a lion; the largest h. 3”, l. 2‑1/2” to 2‑3/4”. [100/200] 117 Kuang Hsu Carved Pea-Green Jade Figure of a Horse, first quarter 20th century, in the Ming Dynasty style, presented on a custom carved and ebonized hardwood stand of serpentine outline, h. 4‑1/4”, w. 1‑1/2”, l. 4‑3/4”. [25/40]

111 Pair of Chinese Bamboo Armchairs, mid‑20th century, each with a rectangular back and patterned splat, joined to the solid seat by openwork arms, raised on a box-form base, h. 36‑1/2”, w. 21”, d. 17”. [200/400]

115

112 Chinese Bamboo Side Table, mid‑20th century, the square top joined to a like-shaped gallery shelf by cluster supports, raised on a box-form base, h. 31”, w. 16”, d. 16‑1/2”. [100/200] 113 Kuang Hsu Elaborately Carved Celadon Jade Ceremonial Vessel, fourth quarter 19th century, of covered tripodal form with dragon ring handles, the cover with a recumbent Foo-dog finial, presented on a custom brass wire-inlaid rosewood two-tier stand, h. 9‑1/2”, w. 8‑1/4”, d. 5‑1/2”. [3000/5000] Illustrated 114 Kuang Hsu Elaborately Carved Dove-Gray Agate Cup, fourth quarter 19th century, of covered, fivehandled and footed form, the rings of the cover finial and the handles articulated, presented on an oriental carved wooden stand, overall h. 10‑1/4”. [900/1200] Illustrated

118 Chinese Carved White Jade Pendant Plaque, ca. 1920, in the shape of a rectangular lock, with a central landscape scene surrounded by a pierced floral border, now suspended on a chain, h. 2”, w. 3”. [200/400]

119 119 Pair of Chinese Provincial Stoneware Children’s Pillows, second quarter 19th century, in the form of recumbent cats, the ivory-glazed porcelain figures with brown details, h. 4‑3/4”, w. 2‑1/2”, l. 8”. [150/300] Illustrated

131 120 Near Pair of Chinese Provincial Glazed Pottery Pillows, fourth quarter 19th century, modeled in the form of crawling infants and glazed in black-detailed ivory, h. 9‑1/2”, w. 6”, l. 14”. [150/300] Illustrated

129

130

121 Chinese Provincial Glazed Pottery Pillow, modeled in the form of a crawling baby-child and glazed in monochrome gloss cobalt blue, h. 10”, w. 6‑1/2”, l. 15”. [75/125] Illustrated 122 Chinese Blown and Cased Pale Green Glass Vase, with an abstracted calligraphic pattern in chocolate brown and scattered burnt orange canes, h. 10‑1/2”, dia. 6”. [40/70] 123 Shadowboxed Set of Five Padded Silk and Satin Figures of “The Immortals”, each Immortal bearing his traditional attribute, those with beards having them in applied horsehair, 16‑3/4” x 10‑3/4”. All presented in matching giltwood shadowboxes. [60/90]

126

127

124 Asian Cast Brass Ringed Mask Doorknocker, second quarter 20th century, of large size in the traditional house-guardian style, the knocker proper of annular configuration, h. 10‑1/4”, w. 7‑1/2”. [50/80] 125 Large Chinese Reverse-Painted Crystal Snuff Bottle, of flat-sided ovoid form in “1000 Figures” decor in the Ch’ien Lung style, the hardstone cap of green aventurine, h. 4‑7/8”, w. 5‑1/4”, d. 2‑7/8”. [60/90] 126 Chinese Celadon and Matte Brown Porcelain Vase, first quarter 20th century, in “Celestial Dragon” decor, signed and numbered in underglaze script on the base, h. 5”, dia. 4‑1/2”. [100/200] Illustrated 127 Kuang Hsu White Crackle and Parcel-Bronzed Porcelain Rouleau Vase, fourth quarter 19th century, of small size in “Celestial Dragon and Pearl” decor, the base with a calligraphic colophon in brown overglaze, h. 6”, dia. 2‑3/4”. [100/200]

120

128 Unusual Chinese Reverse-Painted Glass Flask, first quarter 20th century, of “moon” form in “Mandarine and Attendants” decor, the facade vignette signed upper right center in black calligraphy, now mounted as an accent lamp on a bronzed rusticated wooden stand, h. 11”, w. 6‑1/2”, d. 3‑1/2”. [100/200]

121

129 Kuang Hsu Porcelain Vase, fourth quarter 19th century, of tall baluster form and having a white crackle glaze with dark bronze detailing, the waisted neck with a bronzed ringed Foo-dog masque at either side, the base with an impressed and bronzed colophon, h. 17‑3/4”, dia. 8”. [100/200] Illustrated

137 130 Kuang Hsu Crackle-Glazed and Parcel-Bronzed Porcelain Vase, fourth quarter 19th century, of baluster form in “Celestial Dragons and the Flaming Pearl” decor, the base signed with a bronzed calligraphic colophon, h. 13‑3/4”, dia. 6‑1/2”. [100/200] Illustrated

136

131 Kuang Hsu Blue and White Crackle-Glazed Porcelain Vase, fourth quarter 19th century, of two-handled form with bronzed detailing, the facade decorated with a pair of songbirds, oriental rocks, peonies and pines in underglaze blue, the base centered with an impressed bronzed colophon, h. 16”, dia. 9”. [100/200] Illustrated 132 Kuang Hsu Blue and White Porcelain Tree Tub, first quarter 20th century, of large size in “Lakeside Village and Island” decor, h. 12‑1/2”, dia. 15‑3/4”. [100/200] 133 Elegant Kuang Hsu Mulberry-Glazed Porcelain TallNeck Vase, fourth quarter 19th century, of baluster form with underglaze white “Celestial Dragon” decoration, the base signed in underglaze blue calligraphy, h. 11‑1/4”, dia. 4‑1/4”. [150/300] 134 Tao Kuang Rouge de Fer-Decorated White Porcelain Vase, second quarter 19th century, of baluster form in “Celestial Dragons and The Flaming Pearl in Clouds” decor, the base signed in overglaze rouge de fer calligraphy, h. 8‑3/4”, dia. 4”. [150/300] 135 Tao Kuang Carved Mahogany Chairside Table, second quarter 19th century, of square form in the Ming style, the bas-relief-carved aprons with highly stylized clouds and bats, the K’ang-footed legs joined by a box stretcher, h. 18”, w. 17‑1/4”, l. 17‑1/4”. [100/200] 136 Japanese Meiji Gray Crackle-Porcelain Covered Storage Jar, first quarter 20th century, in polychromed floral decor, the base in rouge de fer calligraphy, h. 7‑1/4”, dia. 6‑1/2”. [100/200] Illustrated 137 Japanese Meiji Porcelain Vase, fourth quarter 19th century, of tapered cylindrical section in “Scholars” decor, the ground of mole brown, the figures polychromed, the interior in monochrome pale sky blue, h. 10‑1/4”, dia. 4”. [150/300] Illustrated

138 Kuang Hsu Elaborately Carved and Russet-Stained Soapstone Scholar’s Desk Rinser, in the form of a pair of marauding monkeys and a dog gambling around an oval fountain bowl, h. 3‑1/2”, w. 7”, d. 1‑1/2”. [50/80]

139 Unusual Five-Piece Collection of Chinese Calligraphy and Printing Accessories, comprised of an elaborately carved wooden printing block featuring a robed woman, first quarter 20th century; an incise-carved black stone ink box of oblong form in “Bamboo and Calligraphy” decor and of like date; a brass ink stone box of square form, its cover with an engraved calligraphy stanza, fourth quarter 19th century; a similar, smaller brown stoneware ink box of oblong form with a calligraphic cover; and a brass ink stone box of oblong form, also with a calligraphy-decorated cover, fourth quarter 19th century; the largest h. 5‑5/8”, w. 4”. [50/80] 140 Three-Piece Group of Blue and White Porcelain, consisting of an unusual Tao Kuang circular sponge box with a “doughnut” cover, second quarter 19th century; another circular soap box emblazoned with a “Good Fortune” calligraphic character; and a small oblong sweetmeats box, also second quarter 19th century; the largest h. 2‑1/4”, dia. 4”. [100/200] 141 Graduated Pair of Anglo-Chinese Black Lacquer Glove Boxes, fourth quarter 19th century, with silver stenciling in “Celestial Dragon” decor, the facades centered with small locks having engraved silver escutcheons, the smaller h. 2‑1/2”, w. 11”, d. 3‑1/4”, the larger h. 3”, w. 12”, d. 4”. [40/70] 142 Kuang Hsu Red Lacquer Oblong Box, fourth quarter 19th century, the lid centered with a carved giltwood panel featuring two mandarins in a garden, the red lacquer sides of the cover decorated with celestial dragons and phoenixes, the lower exterior body with stylized vine decor, the interior in satin black lacquer throughout, h. 5”, w. 9”, l. 11”. [75/125]

143 Varied Collection of Five Oriental Boxes, comprised of a Japanese Meiji Export lacquer glove box in “Travelers in a Mountain Landscape” decor, first quarter 20th century; a similar, smaller Japanese Meiji Export lacquer table box in “Trellis, Grape Cluster, and Songbird” decor; a diminutive Japanese octagonal double-stacked basketry food box, fourth quarter 19th century; a Chinese printed paper box with bone hasps containing a fitted interior with a small carved and polished bone figure of a seated Ho-Tei on an ebonized wooden base; and a Kuang Hsu carved cinnabar and brass circular sweetmeat box in “Celestial Dragon” decor, having a royal blue enameled interior, first quarter 20th century; the largest h. 3”, w. 12”, d. 4”. [100/200]

147

144 Near Pair of Chinese “Porcelain Shard” Table Boxes, the shards fourth quarter 19th century, with silver alloy mounts, each convex cover fabricated of an antique polychromed porcelain vase fragment, one in “Mandarine and Children” decor, the other in “Jardiniere with Flowering Shrub” decor, the smallest w. 5‑1/2”, l. 6‑1/2”, the largest w. 6”, l. 8‑1/2”. [100/200]

150 Follower of James Seymour (British, 1702‑1752) “A Nobleman, His Groom with Horses”, oil on canvas, unsigned, stretcher, verso titled “Lord Scarborough by James Seymour”, 23” x 37”. Presented in a giltwood and gesso frame. [3000/5000] Illustrated Color Plate V

145 Pair of Japanese Meiji Provincial Storage Jars, fourth quarter 19th century, composed of glazed stoneware, the shoulders with rows of stamped barred decoration, h. 19‑1/2”, dia. 13‑1/2”. [300/500] 146 Two Japanese Imari Porcelain Bowls, first half 20th century, each decorated in underglaze blue and polychrome enamels, the smaller with a divided design of a horse in a landscape and a crane by a stream, the larger with a crane in a garden and two carp stranded in a garden, dia. 9‑1/2” and 10”. [200/400] Illustrated 147 Large Kuang Hsu Porcelain Umbrella Stand, first quarter 20th century, of cylindrical form and richly polychromed in “Mille Papillons” decor, h. 18‑1/8”, dia. 9”. [100/200] Illustrated 148 Good Kuang Hsu Crackle-Glazed Porcelain Covered Vase, fourth quarter 19th century, in the Ming Dynasty style, the glaze in a gray-green color, now mounted as a table lamp on a Chinese engraved brass six-footed base, h. 11”, dia. 8”. [150/300]

149 Ambercrombie and Fitch Brass-Inlaid Hardwood Mahjong Chest, second quarter 20th century, with all of the period game pieces, the sliding facade cover with an applied patinated brass Ambercrombie and Fitch label, the top of the chest fitted with a pair of brass carrying handles and a patent-action spring closure, h. 7”, w. 9‑1/2”, d. 6‑3/4”. [100/200]

151 British School (Mid‑19th Century) “The Hunt”, watercolor on paper, sight 12” x 17”. Matted and framed. [75/125] 152 Scottish School (20th Century) “The Bridge at Bannockburn”, oil on academy board, 1920‑1925, 22‑1/2” x 13”. Presented in a finely carved and reeded giltwood frame. [150/300] 153 Six-Piece Group of Art, consisting of British School (20th century) “Fox Hound & Whelps”, chromolithograph, after a painting by R. B. Davis, published by R. Ackermann, London 1831; “Singer”, etching, illegibly signed and dated “40” lower right; photo print of two dogs in field, signed and dated lower left, in print “Arthur Wandle 1897”; “Duffy and Ingy”, 1966 pastel on paper, signed lower right “Mayne Cox”; an offset chromolithograph of “Dogs taking a Swim”, signed and dated in print “Maud Earl 1902”; and British School (third quarter 20th century) “Portrait of a Springer Spaniel”, oil on canvas, signed and dated lower left “Willet 1966”; the largest h. 20”, w. 28”. [200/400] 146

154 British School (20th Century) “Famous Men of Science”, suite of nine chromolithographs, after the Vanity Fair 19th-century illustrations, each identifying the subject and providing a short biography, sight 7‑3/4” x 4‑3/4”. All glazed, attractively matted and presented in silvered frames. [125/250] 155 Provincial British School (First Quarter 18th Century) “Portrait of a Gentleman in a Red Jacket”, oil on canvas with a curved top, unsigned, 25” x 20”. Presented in a Louis XV-style giltwood and gesso frame. [2000/4000] Illustrated

158 Richard Scott (English, fl. ca. 1946) “The Alpine Cabin at the Bridge”, oil on canvas, signed lower right “R. Scott”, 31” x 43”. Presented in a fruitwood frame. [20/40] 159 British School (Second Quarter 20th Century) “Village Scene”, offset lithograph, signed in print “Frederick”, sight 20” x 27‑1/2”. Glazed and framed. [100/200]

150

160 John Jackson, R. A. (British, 1778‑1831) “Mrs. Jackson Looking Towards Italy”, pencil on paper, verso inscribed illegibly and affixed with a label inscribed in ink with title and artist’s name, sight 7‑1/4” x 5‑3/4”. Glazed, matted and presented in a polychromed frame. [100/200] 161 British School (First Quarter 20th Century) “Portrait of a Child with an Amber Necklace”, oil on panel, unsigned, 14” x 12”. Presented in a giltwood and gesso frame. [40/70] 162 Leggatt Brothers Publishing (British, Fourth Quarter 19th Century) “Mischief”, offset lithograph, painted by J. B. Hennington, published in 1894, sight 20” x 31”. Glazed, attractively matted and presented in a giltwood frame. [300/500]

155

156 British School (20th Century) “Armorial Illustrations”, pair of offset lithographs, sight 12‑1/2” x 10”. Both glazed, handsomely matted and presented in ropemolded giltwood and gesso frames. [75/125] 157 Norman M. Macdougall (British, 1852‑1939) “Country Landscape with Figures on a Bridge”, oil on canvas, signed lower left, 20” x 30”. Presented in a molded giltwood frame. [2000/4000] Illustrated

157

163 English Three-Piece Silverplate Partial Tea Service, third quarter 19th century, in the rococo taste, comprised of a broadly fluted and footed teapot, a large two-handled waste bowl, and a covered and footed hot water ewer en suite, the covers with parrot finials, the tallest h. 10‑1/2”, dia. 6”. [100/200] Illustrated

163

164 James Dixon and Sons, Sheffield, Silverplated Teapot, third quarter 19th century, the finial modeled as a cabbage resting on a spray of leaves and removable, h. 6‑3/4”, w. 6‑1/2”, l. 10‑3/4”. [50/80] 165 Five-Piece Associated Coffee Service, comprised of an Edwardian silverplate three-piece “Solitaire” coffee service in the Early Georgian taste, consisting of a coffeepot with ebonized fruitwood handle and finial, h. 8”, w. 3‑1/2”, l. 7”, a covered two-handled sugar basin and a covered cream pitcher en suite, first quarter 20th century; a Georgian-style silverplate oval bun-footed tray, w. 7‑1/2”, l. 10‑1/4”; and a Webster sterling silver open two-handled sugar basin in the Art Nouveau taste, ca. 1900‑1905, 35.80 total t. oz. [100/200] 166 Three-Piece English Victorian Sterling Silver Spiceand-Condiment Set, 1885, London, makers: E.F. & H.T., comprised of a ball-footed, handled and covered mustard pot and a pair of ball-footed salt-and-pepper casters of cylindrical section, the mustard pot retains the conforming blown and cut cobalt blue glass liner, along with a ballfinial sterling mustard spoon, mustard pot h. 2‑3/8”, dia. 1‑3/4”, caster h. 2”, dia. 1‑1/4”, 3.30 total t. oz. [200/400] 167 Twenty-Four-Piece Group of English Sterling Silver Flatware, 1902, London, maker: H.A./E/S, all with “vintage”-carved bone handles, consisting of a cased set of twelve dessert forks and twelve matching knives, l. 8”, the mahogany case with a fitted lift-out tray and lined in rich Tyrrhian purple velvet. [2500/4000] Illustrated

171

167

168 Four-Piece Group of Silverplate Serving Pieces, consisting of a pair of Edwardian silverplate salad servers in “King’s Shell” decor, first quarter 20th century; a matching vegetable-serving spoon of like date; and a matching Sheffield gilded teaspoon; all with fruit repousse bowls, the largest l. 9‑1/4”. [50/80] 169 Set of Six Edwardian Silver Craft Silverplate Dessert Plates, first quarter 20th century, in the “Adam” taste, dia. 7‑1/2”. [40/70] 170 Trio of Sterling and Silverplate “Vintage” Grape Shears, comprised of a good, weighty pair of Sheffield shears, third quarter 19th century; an American sterling pair of shears, first quarter 20th century; and a Klingler, Germany, pair of .800-standard shears of like date; the largest l. 7”. [75/125] 171 Goldfeder Silverware Company Two-Handled and Footed Waiter, third quarter 20th century, of large oval form in “Shell and Scroll” decor in the “Old Sheffield” style, w. 19‑3/4”, l. 29”. [150/300] Illustrated

172 Cased Two-Piece English Silverplate Fish-Serving Set, third quarter 19th century, comprised of a hollow-handled slice in a “Gadroon Cartouche” pattern and having a pierced blade centered with the figure of a fish, l. 12‑1/2”, and a matching broad four-tine serving fork, l. 9”, the period morocco case fitted and lined in gray-white silk and blue velvet. [50/80] 173 Silver Punchbowl and Ladle, second quarter 20th century, the large Rogers Brother “Heritage” silverplate footed punchbowl in the “Old Sheffield” style, h. 9‑1/2”, dia. 17”; the matching silverplate angle-handled punch ladle double-lipped. [40/70]

177

179 174 Pair of English Sterling Silver and Fruitwood Wine Coasters, 1954, Birmingham, maker: B. & Co., in the Early Georgian style, each center fitted with a flat sterling boss, dia. 5‑3/4”. [300/500] 175 Handsome Reed and Barton Sterling Silver Gravy Boat, second quarter 20th century, with an integral oval stand in the Art Deco style, h. 5‑1/4”, w. 4‑3/4”, l. 9‑1/4”, 16 t. oz. [250/400] 176 Set of Six Lunt Sterling Silver Iced Water Goblets, second quarter 20th century, in the early Georgian style, h. 6‑1/2”, dia. 3‑1/2”. [100/200] 177 Suite of Ten Henri II-Style Mahogany Sidechairs, early 20th century, each with a padded rounded rectangular back with a pierced patera galley, the padded seat raised on turned and fluted tapering circular legs joined by an H-form stretcher and ending in block-and-ball feet, h. 38”, w. 18”, d. 17”. [800/1200] Illustrated 178 English Mirrored Glass-Veneered Oval Looking Glass, second quarter 20th century, of small size in the Georgian style, the beveled mirrored glass veneer of truncated wedge-form sections each centered with an engraved polka dot, h. 15”, w. 12”. [40/70] 179 Country Stained Oak Hanging Shelf, second quarter 20th century, the dentillated cornice over a case fitted with two shelves, flanked by reeded sides, mounted for hanging, h. 44‑1/2”, w. 42‑1/4”, d. 6‑3/4”. [800/1200] Illustrated

181

180 Georgian-Style Upholstered Mahogany Wing Chair, early 20th century, in the Queen Anne taste, the padded shaped sides joined to scrolling arms, above a downfilled cushioned seat, raised on shell-carved cabriole legs ending in pad feet, h. 40”, w. 33”, d. 27”. [125/250]

181 English Mahogany Kneehole Desk, early 20th century, the “kidney”-form dished top with a molded edge and above a conforming case fitted with a central drawer flanked to either side by a bank of three drawers, all paneled, raised on a plinth base, h. 30‑1/2”, w. 45”, d. 22”. Provenance: By tradition, this desk was owned by Gisella Elias Weiss, the mother of Seymour Weiss (1896‑1969), the principal owner and manager of the New Orleans Roosevelt Hotel from 1931 to 1965. It came from his mother’s apartment at the Roosevelt and was rumored to have a secret compartment where Huey P. Long supposedly hid large sums of money. Seymour Weiss and Huey Long were very close confidants. [800/1200] Illustrated previous page 182 Group of Two Boxes, consisting of an Anglo-Indian pieced bone-veneered octagonal desk box with antiqued brass mounts, first quarter 20th century, h. 6”, w. 9‑1/2”, d. 6‑1/2”; and an attractive English brass- and motherof-pearl-mounted rosewood gentleman’s stud box, lined in period Tyrrhian purple silk velvet (losses), third quarter 19th century, h. 3”, w. 8‑1/4”, d. 5‑3/4”. [100/200] Illustrated

183 182

182

187

189

183 Georgian Rosewood-Grained Mahogany DoubleCompartment Tea Box, second quarter 19th century, of oblong sarcophagus form, the facade centered with a small brass lock, raised on bun feet, h. 6”, w. 9‑3/4”, d. 5”. [75/125] Illustrated 184 Edwardian Pear-Form Fruitwood Tea Caddy, first quarter 20th century, in the George III style, the facade centered with a steel-escutheoned lock, the interior lined in renewed paktong, h. 7”, l. 4‑1/4”. [100/200]

188 Edwardian-Style Brass Collector’s Desk Magnifier, the adjustable arm above a circular rosewood-stained wooden base, extended h. 22”. [30/50] 189 George III-Style Chinoiserie-Lacquered Secretary Bookcase, second quarter 20th century, the broken-pediment cornice over a case fitted with two astragal-glazed 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-and-claw feet, h. 84‑1/4”, w. 36‑1/2”, d. 19”. [1500/2500] Illustrated Color Plate IV 194 185 Fine R. Ramah, London, Brass-Inlaid Macassar Ebony Jewel Casket, third quarter 19th century, the interior of the lid set with a mirrored glass plate, the upper interior with a parcel-gilt card and deep fuchsia silk velvet compartmental tray, the proper left side fitted with a patent-action compartmented drawer, the lock plate touchmarked “R. Ramah, London”, h. 4‑1/4”, w. 12”, d. 9”. [125/250] 186 Eleven-Piece Group of Chinoiserie Items, second quarter 19th century, consisting of an unusual English black and gold letter rack; a similar English cylindrical box in “Mandarins” decor; a pair of cachepots of small size; a set of six English chinoiserie lacquer teaplates; and a Chinese export parcel-gilt russet lacquer plate in “Chinese Pavilions” decor; the largest h. 6‑1/2”, w. 8‑1/2”, d. 2‑3/8”. [75/125] 187 Good George III-Style Carved and Parcel-Gilt Walnut Looking Glass, fourth quarter 19th century, the broken-scroll pediment centered with a stylized ribbed vase of flowers caught with a bowknot, retains the tastefully disintegrating period plate, h. 44”, w. 24”. [500/800] Illustrated

192

190 Pair of George VI Cut Glass Two-Light Sideboard Candelabra, second quarter 20th century, in the George III taste, each modeled as a central shaft with a cut steeple finial flanked by a pair of scrolled candlearms centering a pair of spiral-ribbed glass “paper curls”, the central shaft and the candlearms dressed with bobeches of stylized flowerhead form and panel-cut glass spears with faceted tips, not electrified, h. 23”, w. 15”, d. 7‑3/4”. [400/700] Illustrated 191 Good Edwardian Oak Footman’s Tray, first quarter 20th century, the shaped tray with two ebonized wood and brass handles and a raised black lacquer edge, w. 19”, l. 24‑3/4”. [75/125]

190

192 Early Queen Anne Mahogany Drop-Leaf Table, mid‑18th century, the rectangular top with 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”. [1000/1500] Illustrated

193 Unusual Collection of Fifteen Antique Hand Seals, comprised of a sterling silver example; a silverplated brass example, fourth quarter 19th century; four wooden examples with crosshatched brass seals; a pair of knob-form mahogany seals with the initial “H”, fourth quarter 19th century; a turned black lacquer and pewter example, third quarter 19th century; a black lacquered wood and bronze example with an oblong brass seal; a large turned mahogany example with a polygonal brass seal; a tall turned ebonized wood example with a pewter seal; a turned fruitwood example with a circular silvered metal seal; a Belle Epoque polished black marble tapered example with a brass seal; and an Art Deco green Bakelite example with a hexagonal silvered blank seal, ca. 1920; the largest l. 3‑1/4”. [75/125]

197 198

204

203

194 George III-Style Mahogany Desk, early 20th century, the rectangular top with an inset gilt-tooled leather surface and a molded edge, above a case fitted with a central drawer flanked to each side by a deep drawer faced as two short drawers, raised on cabriole legs headed by acanthine carving and ending in ball-and-claw feet, the interior of one drawer bearing the label “Henry Savitt, 87 Kings Rd, Chelsea”, h. 30‑1/2”, w. 54”, d. 29‑1/4”. [1000/1500] Illustrated previous page 195 Two-Piece Anglo-Indian Patinated Brass and Carved Bone Desk Set, first quarter 20th century, comprised of a long-handled magnifier, dia. 4”, l. 9‑1/2”, and a matching letter knife, l. 9”. [40/70]

196 Eleven-Piece Group of White and Gold Porcelain, consisting of a trio of antique English waste bowls, comprised of a Worcester “Flight Period” spiral-ribbed bowl, fourth quarter 19th century, a similar Worcester example of like date and a paneled bowl attributed to the Spode manufactory, first quarter 19th century; together with a trio of Worcester spiral-ribbed tea bowls, fourth quarter 18th century; a trio of similar Worcester spiralribbed coffee cups of like date; a Staffordshire richly gilded porcelain teacup in the rococo taste, second quarter 19th century; and a matching porcelain cup of like date; the largest h. 3”, dia. 6‑1/4”. [50/80] 197 Chinese Export Blue and White Porcelain Sauce Tureen and Stand, first quarter 19th century, of oval, covered and two-handled form in floral decor, the cover finial floriform and gilded, the rims of the cover, tureen and stand gold-banded, tureen h. 6‑1/4”, w. 5‑1/4”, l. 7‑3/4”, stand w. 6”, l. 8”. [700/1000] Illustrated 198 Pair of Chinese Export Blue and White Porcelain Sauceboats, ca. 1800, with double reeded handles, the exterior walls decorated with four equidistant underglaze blue floral reserves, h. 3‑1/2”, w. 3‑1/2”, l. 7‑1/4”. [900/1200] Illustrated

201

199 Two Chinese Export Rose Medallion Porcelain Plates, late 19th century, one plate of circular form with a central scene of warriors next to the Great Wall, dia. 9‑1/2”, and the other of hexagonal shape with birds, butterflies and a dog in a garden, dia. 8”. [75/125]

200 George III-Style Mahogany Dining Table, the rounded rectangular top with inlaid ebonized banding, raised on two pedestals, each with a vasiform standard to three splayed and reeded legs ending in brass caps, h. 29”, w. 42”, l. 66”. [300/500] 201 George III-Style Mahogany Dining Table, mid‑20th century, the rectangular parquetry string-inlaid top with canted corners and rope-carved 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”. [800/1200] Illustrated

207

202 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”. [500/800] 203 Chinese Export Blue and White Porcelain Fruit Bowl, first quarter 19th century, of large square form in “Lakeside Pavilions” decor, the lip in-cut at the corners, h. 5‑1/4”, w. 10‑1/4”, l. 10”. [1800/2500] Illustrated 204 Chinese Export Blue and White Porcelain Punchbowl, first quarter 19th century, with three famille rose medallions in “Mandarins” decor, the interior centered with a polychromed floral spray, h. 4‑5/8”, dia. 11‑1/8”. [2000/4000] Illustrated 205 Set of Ten Annamese Blue and White Porcelain Tea Plates, fourth quarter 18th century, in “Lakeside Pavilion” decor, each plate fitted with a wire suspension frame on the reverse, dia. 6”. [100/200] 206 English Parcel-Gilt Blue and White Porcelain Cream Pitcher, fourth quarter 18th century, probably the Caughley Porcelain Works, in “Chinese Lakeside Pavilions” decor, h. 3‑3/4”, w. 3‑1/8”, l. 4‑1/2”. [250/400]

207 Suite of Six Queen Anne-Style Mahogany Dining Chairs, consisting of two armchairs and four sidechairs, each with a carved crest above a vasiform splat, above a padded seat raised on cabriole legs ending in pad feet, sidechair h. 38‑1/2”, w. 19”, d. 19‑1/2”, armchair h. 39”, w. 23‑1/2”, d. 24”. [400/700] Illustrated 208 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”. [200/400] 209 Kuang Hsu Blue and White Porcelain Jardiniere, fourth quarter 19th century, in floral decor, signed on the base in underglaze blue calligraphy, h. 9”, dia. 10”. [500/800] Illustrated 210 Pair of Tao Kuang Blue and White Porcelain Vases, second quarter 19th century, of double-gourd form in “Celestial Dragons and The Flaming Pearl” decor, each with an underglaze blue reign mark on the base, h. 9‑1/2”, dia. 6”. [1800/2500] Illustrated

209 210

211

211 Tao Kuang Covered Blue and White Porcelain Jar, second quarter 19th century, in “Precious Objects” decor, fitted with a plaited wire handle, h. 5‑1/4”, dia. 5‑1/2”. [250/400] Illustrated previous page 212 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”. [100/200] 213 Good Pair of Chinese Export Blue and White Porcelain Armorial Tea Bowls, ca. 1775, the full coats-of-arms polychromed, h. 2”, dia. 3‑1/2”. Excollection: Neill Phillips, Toronto; Elinor Gordon, Delaware. [700/1000] Illustrated

216

215 214 Group of Five Chinese Porcelain Orchid Pots, comprising a rare quartet of Tao Kuang matching blue and white examples, second quarter 19th century, in a stylized floral pattern, one with an official Chinese government red wax seal of antiquity on the base; and a slightly earlier, slightly larger blue and white porcelain footed orchid pot, first quarter 19th century; the largest h. 3”, dia. 3‑1/2”. A matched set of such orchid pots is virtually impossible to find today. [100/200] 215 George III-Style Inlaid and Banded Mahogany Breakfront, by Baker Furniture Co., the upper cabinet with a pair of protruding glazed doors and flanked by a slightly recessed glazed cabinet to each side, the base with four cabinets, the central section fitted with a flatware drawer, h. 83‑1/4”, w. 69”, d. 15‑1/4”. [1500/2500] Illustrated

213 216 Attractive Kuang Hsu Blue and White Porcelain Stag Mask-Handled Vase, fourth quarter 19th century, of inverted pyriform and decorated with multiple stags on a rocky outcropping, the base with an underglaze blue reign mark, h. 13‑1/4”, dia. 10”. [200/400] Illustrated

217 Suite of Six Hepplewhite-Style Mahogany Dining Chairs, early 20th century, comprised of two armchairs and four sidechairs, each with a shield-form back and feather-carved splats, raised on tapering legs, h. 38‑1/2”, w. 20”, d. 19”. [600/900] Illustrated 218 Attractive Edwardian Carved Oak Garniture Vase, first quarter 20th century, of large size in the style of Robert Adam (English, 1728‑1792), the vase carved with leonine masks joined by “Vintage” garlands held in their mouths (the finial lacking), the stepped circular base composed of copper and brass, h. 22”, dia. 10”. [50/80]

217

220

221

219 George III-Style Mahogany Dining Table, the rectangular molded top lifting to accommodate three leaves, over a fretwork-carved frieze, raised on cabriole legs headed by acanthine carving and ending in ball-andclaw feet, h. 31”, w. 42”, l. 76”. [150/300] 220 George III-Style Mahogany Secretary, second quarter 20th century, the broken-pediment cornice over two astragal-glazed doors, above a case fitted with a slantfront door, opening to reveal a variety of cubbyholes and drawers, over four serpentine-front long drawers, raised on ball-and-claw feet, h. 81‑3/4”, w. 38‑1/2”, d. 21‑1/2”. [400/700] Illustrated 221 After Guillaume Coustou the Younger (French, 1716‑1777), a large deux-couleur bronze-patinated spelter figure of “The Horse of Marly”, fourth quarter 19th century, h. 21”, w. 19”, d. 8”. [200/400] Illustrated

222 Good Large Edwardian Brass Scale and Accessories, first quarter 20th century, comprising a large double-pan brass scale, a footed brass bowl of modified navette form, a set of five graduated stacking brass-clad lead circular weights and a brass-clad lead cylindrical pendant weight, h. 29‑1/2”, w. 31”. [200/400]

225

226 George III-Style Mahogany Camel-Back Sofa, third quarter 20th century, the serpentine padded back joined to the like seat by outscrolled arms, raised on square legs, h. 36”, w. 82”, d. 25”. [300/500] 227 Contemporary Mahogany Side Table, in the Chinese Chippendale taste, the rectangular top with 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”. [400/700] Illustrated

228 George III-Style Mahogany Drop-Leaf Pembroke Table, second quarter 20th century, the oval drop-leaf top over an apron fitted with a drawer, raised on tapering square legs in brass-capped feet, h. 27‑1/2”, w. 24”, d. 16”. [200/400]

223

229 George III-Style Mahogany Console Table, the serpentine top with molded edge over a conforming pierced and shaped frieze, raised on cabriole legs headed by acanthine carving, h. 37”, w. 71‑1/2”, d. 16”. [200/400] 230 English Carved Mahogany Tripodal Piano Stool, third quarter 19th century, in the George III style, the circular revolving seat upholstered in floral gros-point on a black ground, h. 19”, dia. 12‑3/4”. [100/200]

223 Pair of Queen Anne-Style Wing Chairs, second quarter 20th century, each with a padded back, joined to the cushioned seat by like arms, raised on cabriole legs ending in pad feet, h. 43‑1/2”, w. 29‑1/2”, d. 26”. [300/500] Illustrated

224 Specimen Tortoise Carapace, h. 4”, w. 13”, l. 15”. [50/80] 225 George III-Style Mahogany Sofa, early 20th century, the domed and padded back joined to the cushioned seat by outscrolled arms, the Greek-key-carved frame raised on reeded square legs joined by U-form stretchers, h. 35”, w. 76‑1/2”, d. 26”. [300/500] Illustrated 227

231 Chinese Export “Rose Medallion” Porcelain Punchbowl, second quarter 19th century, of large size in alternating floral/avian and “Mandarin” reserves on both the exterior and interior walls, h. 6”, dia. 15”. [1800/2500] Illustrated Color Plate III

233 Three-Piece Group of Chinese “Rose Medallion” Porcelain, second quarter 19th century, consisting of a rare pair of covered toilette jars of barrel form, the bodies decorated with alternating “Mandarin” and floral/avian reserves on a gold ground, the covers with bas-relief “Mandarin” decoration, h. 3‑1/4”, dia. 3”; and an oval sponge/soap box, the cover and the interior mazarine lacking, w. 4‑1/2”, l. 5‑3/8”. [50/80]

231

234 Pair of Chinese Export “Famille Rose” Porcelain Grilled Meats Platters, fourth quarter 18th century, of oval form and richly polychromed in floral decor, the deep sides decorated with alternating floral/avian and gold-ground reserves, each platter centered with a polychromed floral spray, w. 9‑1/8”, l. 11”. [900/1200] Illustrated

234

232 Thirty-One Pieces of Chinese Export “Rose Medallion” Porcelain, second quarter 19th century, comprising a partial tea, coffee and dessert service for six persons, consisting of a coffeepot, a teapot, six tea cups, six saucers, five coffee cups, six coffee saucers and six dessert plates, all of the pieces monogrammed in gold “MS”, the largest h. 7‑1/2”, w. 8‑1/4”, d. 5‑1/2”. [700/1000] Illustrated

232

235 Three Portraits of Napoleon I, including an “Equestrian Portrait of Napoleon I” by Eugene Pechaubes (French, 1890‑1967), ink and watercolor on paper, signed lower right “Eug. Pechaubes”, titled lower left “Napoleon 1810”, a satirical etching of Napoleon as a “Governor of the Island of Elba”, by John Kay (Scottish, 1742‑1826), and an oil on board after Paul Hippolyte Delaroche (French, 1797‑1856) of “Napoleon at Fountainbleau”, signed in Russian lower right “M. Romanov”, the largest sight 10” x 7‑1/2”. All glazed and framed. [100/200] Illustrated 236 Aristide Maillol (French, 1861‑1944) “Reclining Nude”, color lithograph on “Pur fil Marais” watermarked paper, initialed in plate, 14” x 18”. Accompanied with two mats. [40/70] 237 Five-Piece Group of Artwork, consisting of Henry Singleton (British, 1766‑1839) “Cupids”, pencil and watercolor on paper, initialed lower left “H. S.”, a print of the sketch and a vintage printed sales label, 5‑3/4” x 9‑1/2”; together with a pair of conte crayon sketches of Biblical themes; a “Two Alert Terriers”, etching, signed lower right “George Sapey”; and a “Down the Rabbit Hole” etching, signed illegibly lower right and titled lower left. All unmatted and unframed. [200/400]

235

238 French School (First Quarter 20th Century) “Profile of Gustave Courbet”, black and white lithograph, sight 9‑1/2” x 7”. Glazed, matted and presented in an ebonized and parcel-silvered frame. [50/80] 239 French School (First Quarter 19th Century) “Various Stages of Motherhood”, suite of four color engravings, all with legends lower , the largest 13” x 14”. Unframed. [75/125] 240 After Jacques Eustache de Seve (French, fl. 1742‑1788) “Monkeys”, suite of four color engravings, sight 8‑1/2” x 7”. All glazed, handsomely French-matted and presented in parcel-gilt ebonized frames. [100/200] 241 After Elisabeth Louise Vigee Le Brun (French, 1755‑1842) and After Jacques-Louis David (French, 1748‑1825) “Grand Duchess Elisabeth Alexievna” and “Madame-Seriziat”, two offset lithographs on silk, 20th century, sight 11‑1/2” x 9‑1/2”. Glazed and presented in giltwood frames. [100/200] 242 Brooke’s “Monkey Brand” Soap, advertising engraving from The Illustrated News, July 31, 1897, sight 14‑1/2” x 9”. Glazed, matted and framed [30/50] 243 After Jacques Eustache de Seve (French, 1790‑1830) “Monkeys”, suite of twelve black and white engravings, each with legend lower margin, sight 9” x 7”. All glazed, attractively matted and presented in polychromed and parcel-gilt frames. [300/500] Illustrated

243 suite of twelve

244 French School (19th Century) “Portrait of Cardinal Jules de Medicis”, engraving, image 9‑1/4” x 7”, titled and inscribed lower margin. Glazed, matted and presented in an ebonized and parcel-gilt frame. [75/125] 245 Louis Icart (French, 1890‑1950) “Meadow Maiden”, copperplate etching on Johannot Paper from La Nuit et le Moment, written by Claude Prosper Jolyot de Crebillon, published in 1946, sight 9‑1/2” x 7‑1/2”. Signature added later. Glazed, matted and presented in a molded giltwood frame, the verso affixed with a Certificate of Authenticity. [20/40]

248 After Edouard Manet (French, 1832‑1883) “Baudelaire de Profil en Chapeau”, black and white etching, and After John Opie (English, 1761‑1807), “Portrait of James Alderson”, engraved by Mrs. Dawson Turner, from One Hundred Etchings (Yarmouth, 1825), the largest 12” x 8”. Both unmatted and unframed. [100/200] 249 German 18th-Century Map of the Atlantic Ocean, by Herausgegeben von Herrn and F. A. Schraembl, dated 1788, sight 20‑3/4” x 25‑3/4”. Glazed, Frenchmatted and presented in a parcel-gilt hardwood frame. [1000/1500] Illustrated 250 Pair of French Rose-Gilded Brass Two-Light Appliques, second quarter 20th century, in the Regence style, each touchmarked on the reverse “G.R.” not electrified, h. 13‑1/2”, w. 9‑1/4”, d. 4”. [100/200]

249 246 Group of Thirteen Lithographs, consisting of an After Louis Icart (French, 1890‑1950) “La Lettre”, offset chromolithograph, unmatted and unframed; a Kermit Oliver (American, Contemporary) “Houston Festival 1980”, offset lithograph, accompanied by a Certificate of Authenticity, unmatted and unframed; and a suite of eleven “Gibson Girl Profile Portraits”, postcard-size offset lithographs, signed in print lower center “C. Gibson”, also unmatted and unframed. [100/200] 247 Four Framed Pieces of Art, the first two examples after Paul De Longpre (French/American, 1855‑1911) “Still Life with Roses”, two offset chromolithographs, signed lower left in print, 7‑1/2” x 15”; the second two T. Curtis (British, 19th Century) “Dandelions”, two color engravings, sight 5” x 8”. All four examples glazed, matted and framed. [100/200]

251 Louis XV-Inspired Crescent-Form Sofa, early 20th century, the serpentine, carved and pierced crest over a conforming tufted back, joined to the curved cushioned seat by outscrolled padded arms, over a pierced and carved skirt, raised on cabriole legs ending in scroll toes, upholstered in taupe satin, h. 36‑1/4”, w. 81”, d. 27‑1/2”. [500/800] Illustrated 252 Interesting Group of Five Sofa Pillows, comprised of a French gros- and petit-point tapestry-faced oblong example centered with a chimerical armorial beast and richly edged in bobble fringe; a good English gros-point tapestry-faced elliptical example featuring a recumbent spaniel with glass eyes, third quarter 19th century; a French gros -and petit-point-faced square pillow in the 18th-century style and featuring a gardening couple, edged in tassellated cotton fringe; and an antique pair of circular gros-point tapestry-faced accent pillows in “Les Roses” decor, having shirred brown silk velvet sides and matching velvet backs; the largest w. 14‑1/2”, l. 19‑1/2”. [50/80] 251

253 Group of Four Accent Pillows, consisting of a pair of French center-buttoned and floral-banded damask sofa pillows of square form in the Louis XVI taste; a large pale taupe silk oblong pillow with an overall pattern of antiquegold passementerie and rosettes; and a Chinese red floral damask-faced square accent pillow; the largest w. 15”, l. 20”. [20/40]

256 Stately Pair of Paillard, Paris, Gilt-Bronze FourLight Appliques, first quarter 20th century, in the Louis XIV taste, each with a gathered trio of foliate candlearms fronted by a feather-diademed female masque, the uppermost candlesocket fitted for electricity and a glass shade, one of the pair touchmarked on the reverse, and the other on the proper right upper side, h. 29”, w. 13‑1/2”, d. 18”. [250/400] Illustrated 257 Belle Epoque Carved Walnut, Burl and Brass Benitier, first quarter 20th century, in the Mannerist style, the walnut backplate with fluted Ionic pilasters flanking a burlwood panel centered with a cast-brass figure group of the Virgin and Child attended by putti and surmounting a holy water bowl of scallop-shell form, h. 21”, w. 17‑1/2”, d. 4‑1/2”. [150/300] 258 Louis XV-Style Kingwood and Marble-Top Occasional Table, the inset rectangular verdigris marble top over a serpentine-carved frieze, raised on cabriole legs ending in pad feet, the whole with gilt-brass appliques, h. 23”, w. 38”, d. 21”. [200/400]

256

259 Continental Polychromed and Marquetry-Top Side Table, second quarter 20th century, in the rococo taste, the shaped circular, floral marquetry-inlaid top above an acanthine-carved and pierced apron, raised on cabriole legs, joined by an X-form stretcher centered by a pierced medallion carving and ending in scrolled toes, h. 30‑1/2”, dia. 26”. [150/300]

260 254 Two Pairs of Tapestry-Faced Accent Pillows, consisting of a large pair of English gros-point tapestryfaced sofa pillows, in a geometric floral pattern, with deep amethyst spiral-turned cord edges, w. 19”, l. 20”; and a smaller pair of English petit-point tapestry-faced sofa pillows in “Vase of Fruit and Flowers” decor, with rich ecru tassellated fringing throughout, w. 14”, l. 14”; both sets with taupe velvet back panels. [30/50] 255 Group of Eight Needlework Panels, consisting of a set of five French needlework panels featuring King Louis IX of France and his Queen, fourth quarter 19th century; and, respectively, a center panel in a pattern of interlaced foliate scrolls and a matching pair of outer panels, all on shaded lavender grounds; the figural panels with needleworked coatsof-arms at the lower right corners, h. 47‑1/4”, w. 19”. [100/200]

263

260 Provincial Louis XV-Style Fruitwood and Cane Porter’s Chair, first quarter 20th century, the hooded and domed back surmounted by a floral-carved crest and joined by scrolling downswept arms to the cushioned seat, over the serpentine-carved apron, raised on cabriole legs ending in scroll feet, upholstered in floral crewelwork, h. 57‑1/4”, w. 29”, d. 29”. [1000/1500] Illustrated

270

261 Group of Four Gros- and-Petit-Point Accent Pillows, two featuring playing cards with foliate corners and two with bird motifs, the largest h. 23”, w. 20”. [40/70] 262 Louis XV-Style Polychromed Sidechair, mid‑19th century, the shaped and padded curved back surmounted by a foliate-carved crest, the padded seat raised above a like-carved apron on molded cabriole legs ending in scrolled toes, h. 36”. [75/125] 263 Louis XV-Style Kingwood Bureau, late 19th century, of diminutive proportions, the banded and matchbook-veneered slant front opening to an inlaid leather writing surface and two drawers, above a shaped frieze fitted with one end drawer, raised on cabriole legs headed by ormolu mounts and ending in sabots, h. 30”, w. 16‑1/4”, d. 10‑1/2”. [400/700] Illustrated 264 Striking Three-Piece Assembled Garniture, composed of a German gilt-brass-mounted brilliantpressed and partially frosted glass covered and footed bowl in the Baroque taste, the stem dressed with faceted glass tear-form drops, the cover with a paneled spike finial, h. 14”, and a flanking pair of similarly mounted cherry lucite-accented candlesticks on veined Carrara marble bases, second quarter 20th century, h. 8”. [150/300] 265 Diminutive French Gilt-Brass Wall Clock, fourth quarter 19th century, in the Louis XV style, the white enamel dial with blue Roman chapters and having a convex glass cover, h. 12‑1/2”, w. 6‑1/2”. [100/200] 266 French Bronze-Mounted Siena Marble Mantel Clock, fourth quarter 19th century, of cenotaph form in the neoclassical taste, the circular dial with a beveled glass cover, the reverse of white enamel with black Roman chapters and with a convex-glazed works aperture, h. 15‑5/8”, w. 9‑1/4”, d. 4‑3/4”. [200/400] 267 Pair of Louis XVI-Style Marquetry and Marble-Top Bedside Commodes, second quarter 20th century, each with a serpentine onyx top above a conforming case fitted with a drawer over a door, both outlined with acanthinelike inlays and fitted with decorative brass mounts, raised on cabriole legs ending in gilt-brass-mounted tapering feet, h. 27”, w. 22‑1/4”, d. 11‑5/8”. [300/500] Illustrated

267

268 Pair of Louis XV-Style Walnut Sidechairs, ca. 1900, each with a serpentine, scroll-carved crest above a conforming padded back, over a like seat, raised on cabriole legs headed by acanthine carvings and ending in scroll feet, upholstered in chocolate brown leather trimmed with metal nailheads, h. 41”, w. 21”, d. 18”. [200/400] 269 Pair of Stained Mahogany Louis XV-Style Bergeres, second quarter 20th century, each with a curved, padded back and arms, above a cushioned seat over a serpentine carved skirt, raised on cabriole legs ending in scroll toes, h. 37‑1/2”, w. 29”, d. 24”. [400/700] 270 Pair of Provincial Louis XV-Style Fruitwood Fauteuils, second quarter 20th century, each with a curved crest above a conforming padded back joined to the arms, raised on cabriole legs ending in pad feet, h. 36”, w. 25”, d. 17”. [300/500] Illustrated

271 Large Pair of French Circular Sofa Pillows, faced in antique gros-point tapestry in “Foliage” decor, the pillow sides and reverses in sueded pale gray velvet, dia. 18”. [20/40]

278

272 Large Pair of French Gros-Point Tapestry-Faced Sofa Pillows, in ocelot decor in ochre, black and mocha, the backs in black velvet, w. 19”, l. 19”. [20/40] 273 Signed Pair of Louis XV Carved Fruitwood Fauteuils, mid‑18th century, each with a padded medallion back surmounted by a floral crest and joined by padded scrolling arms to the like seat above a shaped, floral-carved apron, raised on cabriole legs ending in scrolled toes, each example stamped “J. Raboudin”, h. 34”. [500/800] 274 Small Pair of French Gilt-Brass Two-Light Appliques, fourth quarter 19th century, in the Louis XV style, now electrified and fitted with bone-white faux candles, h. 15‑1/4”, w. 10‑1/4”. [100/200]

276

275 Pair of Napoleon III Gilt-Bronze Candlesticks, third quarter 19th century, of small size in the Louis XV style, h. 7”, dia. 4‑1/8”. [100/200]

281

276 Pair of French Gilt-Brass Three-Light Flat-Back Candelabra, fourth quarter 19th century, in the Louis XV taste, detach at the centers to form a pair of candlesticks, h. 14‑1/2”, dia. 9”. [200/400] Illustrated 277 French Gilt-Lacquered Brass Chamberstick, first quarter 20th century, in the Louis XV style, now mounted as an accent lamp and fitted with a tall “old ivory” faux candle, with a custom leather cord-wrapped parchment shade, overall h. 11”, l. 8‑1/2”. [50/80]

278 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 Xform 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”. [1400/1800] Illustrated 279 Louis XV-Style Giltwood Settee, early 20th century, the padded and slightly domed back surmounted by a shelland foliate-carved crest, joined by outscrolled padded arms to the like seat, raised above a shell- and foliatecarved apron on cabriole legs headed by fruit carving and ending in scrolled toes, h. 44‑1/2”, w. 58‑1/2”, d. 26”. [400/700]

285 Pair of Louis XV-Style Carved Giltwood and Plaster Overmantel Mirrors, fourth quarter 19th century, the cresting modeled as tall foliate scrolls mantled with flowers and foliage, the plates broadly beveled throughout, h. 53”, w. 37‑1/2”. [400/700] Illustrated 286 Unusual Pair of Giltwood Looking Glasses, the mirrored glass plates centered with cut-out antique oriental blue and white porcelain figural appliques, fourth quarter 19th century, and presented in contemporary gilded wooden frames, overall h. 12‑1/2”, w. 12‑1/2”. [50/80]

285 pair

280 Group of Four Accent Pillows, consisting of a large pair of French antique Aubusson tapestry-faced examples featuring “St. Nicholas”; a smaller gros-point- faced pillow with a leopard’s head; and an Aubusson tapestry-faced oblong pillow in polychromed foliate-scroll decor; all three examples appropriately edged in tassellated fringes of the proper hues and backed in velvet of the appropriate color, the largest h. 17”, w. 19”. [50/80] 281 Handsome Pair of Louis XV-Style Carved Fruitwood Bergeres, each with a shaped and cushioned back joined by shaped sides and outscrolled arms to the cushioned seat, raised on cabriole legs ending in scrolled toes, upholstered in Schumacher Converse ivory silk-blend fabric, h. 38”. [1200/1800] Illustrated 282 Pair of Louis XV-Style Giltwood Fauteuils, early 20th century, each with a padded oval back surmounted by a floral-bouquet crest, joined by padded foliate-carved arms to the padded seat, raised on cabriole legs headed by floral carving and ending in scrolled toes on casters, h. 40”. [500/800] 283 French Carved Giltwood and Plaster Bipartite Looking Glass, first quarter 20th century, of waisted cartouche form in the Louis XV style, the upper section a sepia lithographed “Galants” scene of two figures in a park in the manner of Francois Boucher (French, 1703‑1770), fitted with a period “old ivory” wrapped hanging cord and tassel, h. 37‑1/2”, w. 26‑1/4”. [100/200] 284 Louis XV-Style Mahogany Vitrine, early 20th century, the top with a shaped front above a conforming case fitted with a floral-inlaid frieze over a central glazed door, the sides glazed en suite, raised on shaped legs headed by an ormolu mount and ending in sabots, h. 60”, w. 30”, d. 17”. [200/400]

287 Group of Four Antique Frames/Looking Glasses, comprised of an American reticulated cast-iron upright oblong example in the rococo taste, in the original dark green-painted finish, fourth quarter 19th century; a Continental antique-gilded cast-iron dressing table glass of cartouche form in the rococo taste, fitted with a beveled glass plate and an easel strut, fourth quarter 19th century; a Belle Epoque gilt-brass oval example in the Louis XV taste; and a Continental antique-gilded spelter photograph frame of cartouche form in the rococo taste, also fourth quarter 19th century; the largest h. 20”, w. 13”. [125/250]

288

291 Group of Four Painted Cast-Iron Garden Seats, consisting of two benches and two armchairs, each with a domed grapevine-formed back above a small “vintage”-formed seat, raised on like legs ending in leaf-molded feet, h. 28‑1/2”, w. 38”, d. 19”. [100/200] 292 Contemporary Life-Size Cast-Bronze Garden Sculpture, depicting a boy pushing a girl on a swing, h. 84”, w. 20”, d. 38”. [1500/2500] Illustrated 293 Cast-Cement Garden Figure, in form of a reclining Poseidon, h. 37”, w. 45”, d. 22”. [300/500] Illustrated

290

294 Good Seven-Piece Collection of Circular Drapery Tiebacks, comprised of a magnum pair of English brass examples, second quarter 19th century; a smaller pair of George IV carved and turned giltwood examples of flowerhead form, also second quarter 19th century; a large floral-embossed gilt-lacquered brass example, third quarter 19th century; a similar, smaller embossed brass tie-back of like date; and another similar but different example, also third quarter 19th century; the largest h. 8”, d. 7‑1/4”. [100/200]

292

288 After Jane DeDecker (American, Contemporary), a faux-patinated bronze garden sculpture of children sitting on a tree trunk and catching butterflies, h. 44”, w. 65”, d. 22”. [1000/1500] Illustrated 289 Pair of American Painted Cast-Iron Lyre-Back Garden Chairs, first quarter 20th century, each with a floral crest above a “lyre and rose swag”-modeled back to a trellis-like seat by scroll-formed arms, raised on slightly cabriole legs ending in pad feet, h. 33”, w. 21”, d. 19”. [50/80] 290 Manner of Jane DeDecker (American, Contemporary), a patinated bronze garden sculpture of a boy and girl reading on a bench, signed at the back of bench “A. MOREAU”, h. 39”, w. 46‑1/4”, d. 21‑1/2”. [2000/4000] Illustrated

306 307

298 Wedgwood Royal Blue Jasperware Covered Crocus Vase, 1881, in “Classical Offerings” decor, with impressed mark “Wedgwood”, date letter “J” and the numeral “9”, h. 6”, dia. 5‑1/2”. [150/300] Illustrated 299 Diminutive Wedgwood Crimson Jasperware Vase, first quarter 20th century, with “The Chariot of Aurora”, “Pegasus and Attendants” and “Apollo and Pegasus” reserves, marked on the base “Wedgwood/Made In England”, h. 5”, dia. 3”. [200/400] Illustrated

298

295 Regency-Style Mahogany Cheval Mirror, second quarter 20th century, the rectangular framed mirror plate flanked by columnar supports headed by gilt-brass urn-shaped mounts, raised on reeded splayed legs joined by a turned stretcher and ending in casters, h. 59‑1/2”, w. 32”, d. 21‑3/4”. [100/200]

300 299

296 Regency-Style Mahogany Cheval Mirror, ca. 1900, the large rectangular molded frame mounted to turned posts and ending in down-curved legs with brass casters, h. 73‑1/2”, w. 38”, d. 21‑3/4”. [200/400] 297 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”. [300/500]

293

300 Wedgwood Crimson Jasperware Milk Pitcher, fourth quarter 19th century, in “Classical Offerings” decor, with impressed mark “Wedgwood England”, h. 6‑1/4”, w. 4”, d. 5‑1/4”. [200/400] Illustrated 301 Group of Five Wedgwood Jasperware Dressing Table Articles, second quarter 20th century, all in blue and white jasperware, comprised of a circular scallopededge powder box, a dome-covered swabs jar of cylindrical section, a heart-form rings tray, a circular rings tray and a drum-form small rouge pot, all of the pieces with the impressed Wedgwood marks on their bases, the largest dia. 5”. [75/125] 302 Set of Eight Wedgwood Matte White Seafood Plates, second quarter 20th century, in the form of scallop shells, each example fully backstamped in lavender transferprint, dia. 9”. [75/125] 303 Regency Banded Mahogany Tilt-Top Breakfast Table, second quarter 19th century, the rectangular top with reeded edge mounted to a turned pedestal with four out-curved legs ending in brass feet, h. 39”, w. 39‑1/2”, l. 60”. [300/500]

310

309 Set of Twelve Royal Doulton Porcelain Dessert Plates, second quarter 20th century, with thick green borders in “Prunus” decor, produced for Tice and Gates of Rochester, New York, and so backstamped, dia. 9‑1/8”. [100/200] 310 Good Regency Mahogany DoublePedestal-Form Sideboard, second quarter 19th century, the large, complex molded backsplash above a thick deck fitted with three ogee-form side-by-side 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”. [1500/2500] Illustrated

311 Good Galway Blown and Cut Glass Fruit Bowl, in the traditional Anglo-Irish style, retains a printed Galway Crystal label and acid-stamped on the base “Galway”, h. 5‑1/8”, dia. 11‑1/8”. [50/80] 312 Rare English Cut Glass Footed Punchbowl, first quarter 20th century, probably the Richardson Glass Works, of large cushion form with a cut crenellated rim in the early 19th-century Anglo-Irish taste, h. 9‑1/2”, dia. 14”. [200/400] Illustrated

312

304 Rare English Gilt-Brass “Swan and Ewer” Doorstop, second quarter 19th century, in the neoclassical style, the base weighted with a lead tablet, h. 10‑1/4”, w. 7‑3/4”, d. 1‑3/4”. [50/80] 305 Large English Gilt-Brass Doorstop, second quarter 19th century, in the neoclassical style, h. 13‑1/2”, w. 9‑1/2”, d. 4‑3/4”. [50/80]

313 Group of Two American Glass Compotes, third quarter 19th century, consisting of a fine Bakewell, Pears and Company, Pittsburgh, pressed flint glass “Thumbprint” covered compote; and a good New England Glass Company pressed “Sawtooth” compote; the largest h. 14”, dia. 8‑3/4”. [50/80] 314 Small Crystal Sweetmeats Bowl, third 20th century, of broad-ribbed stylized flowerhead form, h. 3‑3/8”, dia. 5‑1/2”. [30/50]

306 Chinese Export Blue and White Porcelain Platter, fourth quarter 18th century, of oblong octagonal form in “Lakeside Pavilions” decor, w. 12”, l. 14‑3/4”. [700/1000] Illustrated previous page 307 Chinese Export Blue and White Porcelain Grilled Meats Platter, first quarter 19th century, of oval form in “Brazier and Flowering Tree” decor, w. 8‑1/4”, l. 10‑3/8”. [600/900] Illustrated previous page 308 Good Staffordshire Pottery Cheese Cover and Matching Underplate, fourth quarter 19th century, of wedge form, the brown transfer-printed decoration in the Japonesque taste, h. 7‑3/4”, w. 10‑1/2”, d. 10‑1/4”. [50/80]

317

315 Three-Piece Group of Waterford Crystal, consisting of a large Waterford cut glass footed vase of chalice form in “Trellis” decor, third quarter 20th century, retains the green and gold printed foil label of scrolled form; a Waterford cut glass vase of baluster form; and a Waterford diamondcut glass fruit bowl, also third quarter 20th century; the latter two examples acid-stamped “Waterford”, the largest h. 10”, dia. 6‑1/2”. [100/200]

319 Good Three-Piece English Patinated Brass Hearth Set, fourth quarter 19th century, in the neoclassical taste, comprised of a hearth shovel, log tong and poker, the finials all modeled as petal-ribbed orbs, the largest l. 30”. [75/125] 320 Good English Gold-Lacquered Brass Relief Silhouette Portrait of Arthur Wellesley, first Duke of Wellington, in military uniform, first quarter 19th century, presented in a good, deep bird’s-eye maple shadowbox with a giltwood fillet, the portrait underlain by a gilt-lacquered brass banner reading “Wellington”, the shadowbox lined in crimson antique velvet, h. 18”, w. 16‑1/4”. [200/400] Illustrated 321 Forty-Nine Assorted Decorative Bindings, 19th/20th century, including works by Galsworthy, Tennyson, Thackeray, Boswell and Eliot among others, most in quarter or half leather, with gilt tooling and lettering, h. 6‑1/4” to 9‑1/4”. [150/300] 322 Elisha Kent Kane (1820‑1857), Arctic Explorations, the Second Grinnell Expedition in Search of Sir John Franklin, 1853‑54‑55, Philadelphia, Childs & Peterson, 1856, first edition, in two volumes, octavo, full tan calf with gilt threading, with marbled endpapers and edges, the spine with raised bands and gilt lettering, 9‑3/8” x 6‑3/4”. [40/70]

320 316 Three-Piece Group of Cut Glass, consisting of an Edwardian brilliant-cut glass footed vase, perhaps the Richardson Glass Works, of campana form in “Triple Hobstar Bands” decor, the bowl supported on a square base reverse cut with a sunburst, first quarter 20th century, h. 12”, dia. 7‑1/4”; a Bohemian blown and lattice-cut glass decanter of “Ships” form in the early 19th-century style, retains the original magnum stopper of modified mushroom form, h. 10‑3/4”, dia. 7‑1/2”; and a large Continental silverplate-mounted pressedcut and engraved glass bottle cooler in “1000 Windows” decor, third quarter 20th century, h. 8‑3/4”, dia. 7‑1/2”. [100/200] 317 Interesting Regency-Style Polychromed and Pickled Pine Tripodal Table, the base comprised of three carved opposing lions, and supporting a thick circular beveled glass top, h. 29”, dia. 51”. [200/400] Illustrated 318 English Cut Glass Handled Basket, second quarter 20th century, of oval form in “Lattice Band” decor, the base reverse-cut with an ovoid starburst, modeled with an arched and cut stationary handle, h. 7‑1/2”, w. 8”, d. 4‑3/4”. [30/50]

323 Three-Volume Leatherbound Set of Dr. John Brown’s Horae Subsecivae, 1867, published by Adam and Charles Black, London, the covers and endpapers in marbled Florentine papers, h. 7‑1/4”, w. 5‑1/4”, d. 1‑3/4”. [30/50] 324 Seven Volumes of Gibbons’ Decline and Fall of The Roman Empire, 1817, consisting of volumes I, II, IV, VI, VII, X and XI, printed by Thomas Davison, London, all seven volumes bound in leather and having marbled Florentine endpapers, h. 6‑1/2”, w. 4‑1/4”, d. 1”. [20/40] 325 Forty-Three-Volume Leatherbound Set of The Works of the British Poets, 1822, James Eastburn, publisher, the volumes with full leather bindings, gray, rose and ivory marbled Florentine endpapers, marbleized fore-edges and an engraved frontispiece in each volume, the set presently comprised of volumes 2, 4, 6‑12, 16‑22 and 24‑50, h. 6”, w. 3‑3/4”. [75/125] 326 Eleven-Volume Leather-Bound Set of Sir Walter Scott’s Political Works, 1834, printed by Cadell and Whitaker, London, the volumes with marbled Florentine endpapers, h. 6‑3/4”, w. 4‑1/2”, d. 1‑1/4”. [50/80]

327

332

328

334 333

327 Pair of Japanese Meiji Imari Porcelain Plates, fourth quarter 19th century, the centers decorated with a rondel of bamboo, oriental pine and flowers in cobalt blue, dia. 8‑1/2”. [50/80] Illustrated 328 Unusual Japanese Meiji Imari Porcelain Plate, fourth quarter 19th century, of stylized flowerhead form, the decoration modeled as two stylized pinwheels of plant foliage in the Imari palette, the outer border modeled as alternating floral sprays and cobalt blue leaf tips on an “Imari Red” ground, dia. 8‑1/2”. [50/80] Illustrated 329 Pair of Japanese Meiji Imari Porcelain Plates, fourth quarter 19th century, the centers decorated with a stylized wreath of bamboo, oriental pine and flowers in cobalt blue, h. 1‑1/2”, dia. 8‑1/4”. [50/80] Illustrated 330 Nine-Piece Collection of Royal Crown Derby “Imari” Porcelain, comprised of a creamed soup underplate produced for Tiffany and Company, a trio of after-dinner coffee saucers, also for Tiffany and Company, a bread-andbutter plate, a pair of coffee saucers and another a pair of coffee saucers, all nine pieces fully backstamped in iron red, the largest dia. 5‑3/4”. [200/400] 331 Monumental Japanese Meiji Imari Porcelain Punchbowl, first quarter 20th century, in richly enameled and parcel-gilt floral decor, the scalloped lip gilded, h. 7”, dia. 18‑3/4”. [400/700] Illustrated Color Plate III

329

332 Pair of Japanese Meiji Imari Porcelain Plates, fourth quarter 19th century, of stylized flowerhead form, each example centered with a painted vase of flowers in the Imari palette, dia. 8‑1/4”. [50/80] Illustrated 333 Japanese Meiji Imari Porcelain Sweetmeats Dish, fourth quarter 19th century, of stylized flowerhead form, the center decorated with a jardiniere of flowering plants in the Imari palette, the exterior walls decorated with alternating birds and floral sprigs in cobalt blue on a white ground, h. 1‑1/2”, dia. 7‑1/4”. [50/80] Illustrated

334 Pair of Japanese Meiji Imari Porcelain Plates, fourth quarter 19th century, of stylized flowerhead form, each plate centered with a painted vase of flowers in the Imari palette, dia. 8‑1/4”. [50/80] Illustrated 335 Anglo-Indian Bamboo Occasional Table, ca. 1900 and later, the rectangular top with a decoupage fish design, joined by bamboo legs to a smaller like shelf, raised on splayed legs, h. 28”, w. 22‑1/2”, d. 16‑1/2”. [150/300]

331

339 Continental School (Fourth Quarter 19th Century) “Young Girl Feeding Her Cat”, oil on canvas, unsigned, 12” x 8”. Presented in a giltwood and gesso frame. [100/200] Illustrated 340 Manner of William Raymond Dommersen (Dutch, 1850‑1927) “Seascape with View of a Castle” oil on panel, 20th/21st century, unsigned, 16” x 11‑1/2”. Presented in a Baroque-style giltwood and gesso frame. [100/200] 341 After Rosa Jameson (British, fl. 1885‑1895) “Pussy Come Up” and “Pussy Come Down”, pair of color engravings, published by George Rees, Savoy House, London, 1888, sight 23” x 10”. Both glazed, elaborately matted and presented in gilt and polychromed frames. [450/700]

337

342 Eight-Piece Group of Animal Art, consisting of American School (First Half 20th Century) “Five Various Illustrations of Playful Cats”, by various publishers; a watercolor on paper of “Cats Outside a Window”, signed lower right “A. Rivers”; and a pair of color engravings after H. H. Couldery, R.A., “An Interesting Tail” and “Impudent Puppy”, both glazed, matted and presented in fauxburlwood frames, the largest sight 11‑3/4” x 17‑1/2”. [50/80]

339 336 Anglo-Indian Bamboo and Seagrass Side Table, first quarter 20th century, the square top raised on circular pinned legs joined by a shelf stretcher, h. 27”, w. 18”, d. 18”. [50/80] 337 Dutch School (19th Century) “A Family Gathering for Dinner”, oil on canvas, unsigned, 12” x 16”. Framed. [250/400] Illustrated 338 British School (19th Century) “Portrait of a Girl in a Pink Dress, Her Hair in Ringlets”, oil on canvas, unsigned, 14” x 11”. Handsomely framed. [125/250]

346

343 Three-Piece Group of Animal Art, consisting of William Home Lizars (Scottish, 1788‑1859) “The Harvest Mouse”, hand-colored engraving from Sir William Jardin’s Naturalist’s Library, French-matted; Connie Foreman (American, 20th/21st Century) “Three Little Possums”, watercolor on paper, signed lower right “Connie”, glazed, matted and framed; and an unsigned watercolor on paper of “Two Black Birds”, 20th century, matted and framed; the largest sight 5‑3/4” x 12”. [100/200] 344 After Mark Catesby (British, 1679‑1749) “Insects”, pair of offset chromolithographs depicting Cancer arenarius and Cancellus maximus, respectively, sight 15‑1/4” x 10‑1/2”; together with another offset chromolithograph depicting the exotic bird Phaenicopterus, sight 15‑1/4” x 10‑1/2”. Glazed, handsomely matted and presented in matching frames (three total pieces). [75/125]

350

345 Suite of Five Various Dog Illustrations, including a framed oil on canvas over cardboard, unsigned; a chromolithograph titled “The Aristocrat”, framed; a glazed, matted and framed offset chromolithograph; a like black and white lithograph, titled lower left “Sandy and Jock”, signed lower right “Mela Pluckebaum”; and a black and white etching, illegibly pencil signed lower right, also glazed and framed; the largest print sight 14‑1/4” x 16‑1/4”; together with Scottish School (First Quarter 20th Century) “Boy Eating His Supper”, oil on canvas, signed lower right “W. Hunt”, 14” x 10”, framed (six total pieces). [100/200]

354

346 Ruggero Focardi (Italian, 1864‑1934) “Bust Portrait of an Elderly Woman Dressed in Black Seated Near Palm Trees”, oil on canvas, signed lower left “R. Focardi”, 25‑1/2” x 19‑1/2”. Presented in a period carved giltwood exhibition frame. [700/1000] Illustrated previous page

356

347 Suite of Five Framed Compartmentalized Seed Packets, of various vegetables and herbs, all identified as Hutch Seed Co., San Antonio, Texas. All glazed, matted and framed; the largest framed size 23” x 8‑1/2”. [100/200] 348 After Samuel Edmond Waller (British, 1850‑1903) “Home from the Honeymoon”, color engraving, engraved by Edward Gilbert Hester, legend lower margin, sight 24” x 33‑1/2”. Glazed, matted and presented in a giltwood and gesso frame. [300/500]

355 Suite of Four Directoire-Style Fauteuils, fourth quarter 19th century, each with a slightly curved crest with brass mounts in the form of putti playing instruments on scrolling foliage, above a caned back, joined to the like seat by open downswept arms, raised on sabre legs headed by patera and palmetto brass mounts, h. 36‑1/2”, w. 22‑3/4”, d. 18‑1/2”. [400/700] 356 Provincial Directoire Four-Piece Polychromed and Caned Dining Suite, first quarter 19th century, consisting of a bench, two sidechairs and an armchair, each with a padded crest above a caned back flanked by spindled supports, above a caned seat raised on turned legs joined by a box-stretcher and ending in bun feet, the crest upholstered in a roosters-embroidered rouge-colored fabric, bench h. 37”, w. 45”, d. 18”, armchair h. 37”, w. 21‑1/2”, d. 18”, sidechair h. 37”, w. 17”, d. 16”. [1500/2500] Illustrated Color Plate VI 358 349 T. Curtis (British, 19th Century), suite of five handcolored engravings depicting various plants, all identified in Latin in pen and ink, sight 8” x 4‑1/2”. All glazed, French-matted and presented in giltwood and gesso frames. [100/200] 350 Italian Carved Giltwood and Mirrored Glass Looking Glass, first quarter 20th century, of “sunburst” form in the Directoire style, the circular plate enframed with fourteen mirrored glass “petals”, the gilded finish tastefully antiqued throughout, dia. 24”. [400/700] Illustrated 351 Napoleon III Bead-Carved Grained Wood and Plaster Overmantel Mirror, third quarter 19th century, with rounded upper corners in the neoclassical taste, the grained finish tastefully distressed throughout and accented with a stylish narrow claret stripe, h. 69”, w. 52‑1/2”. [1200/1800]

357 Unusual Italian Gilded Cut- and Wrought-Iron Table Plateau, second quarter 20th century, of small size in the Directoire style, the gilded cut-iron supports modeled as stylized acanthus leaves, the reverse fitted with a wroughtiron-strut for suspension on a wall, h. 3‑1/4”, w. 12”, l. 14‑1/4”. [50/80] 358 Two Pairs of Silk Curtains and Rods, consisting of a large pair and a matching smaller pair, having swag valances with gilt ornamental finials and each accompanied by a metal pull-cord curtain rod, large pair l. 108”, w. 133”, small pair l. 108”, w. 60”. [500/800] Illustrated

352 Italian Carved Beechwood Parade Master’s Baton, fourth quarter 19th century, of large “flambeau” form in the neoclassical taste, with the shaft carved in openwork spirals, the upright finial a stylized floriform, l. 31”. [75/125] 353 Pair of Neoclassical-Style Oak Columns, each with gadroon- and anthemion-carved capitals, raised on the columnar standards to a molded base on a square plinth, h. 64”. [400/700] 354 Neoclassical-Style Jaune Safra Marble Mantel, the rectangular top above a frieze with an inset Carrara panel of an urn issuing floral garlands, flanked to each end by a fleurette-modeled like panel, raised on uprights with inset panels headed by floral sprays, h. 43”, w. 49‑1/2”, d. 9”. [300/500] Illustrated

360

361

359 Pair of Directoire-Style Mahogany Sidechairs, early 20th century, each with a rectangular back with a double Xform stretcher, the padded seat raised on tapering square legs ending in spade feet, h. 35”. [100/200]

367

361 Good Twenty-Piece Collection of Paris White and Gold Porcelain, comprised of a three-piece coffee service in the neoclassical style, consisting of a tall coffeepot of baluster form having an anthropomorphic spout, a mask-handled covered sugar basin and a large cream pitcher of helmet form, first quarter 19th century; a pair of “Flowering Vine” cylindrical cups and saucers of like date; a large oval teapot, second quarter 19th century; a similar ovoid teapot with anthropomorphic spout; a small “solitaire” teapot, second quarter 19th century; a paneled bread-and-milk cup and saucer; a set of five individual vegetable bowls, second quarter 19th century; an oblong octagonal covered sauce stand with integral stand; a fluted sauce pitcher and a reticulated circular corbeille, also second quarter 19th century; the largest h. 6‑3/4”, dia. 9”. [150/300] Illustrated 362 French Polished Rouge Royale Marble Garniture, of conical form in the neoclassical style, h. 12”, dia. 5”. [50/80]

364

360 Neoclassical-Style Sarrancolin Ilhet Marble Mantel, early 20th century, the shaped rectangular top with a molded edge, held by paneled supports on plinth bases, h. 40”, w. 44‑1/2”, d. 14”. [400/700] Illustrated previous page

367 Elegant French Gilt-Brass Three-Light Bouillotte Lamp, second quarter 20th century, in the First Empire style, the candlesticks modeled as classical caryatids, the adjustable tole-peinte shade in parcel-gilded antique white, h. 22”, dia. 13‑1/2”. [100/200] Illustrated 368 Elegant French Gilt-Brass and Morocco Leather Twine Holder, first quarter 20th century, in the First Empire style, the cover fitted with a twine aperture, one side with a scissors sheath containing a pair of parcel-gilt bright-cut steel scissors, h. 4‑1/2”, dia. 3‑1/2”. [50/80] 369 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”. [1500/2500] Illustrated Color Plate III 370 Egyptian “Grand Tour” Copper Tray, first quarter 20th century, of large circular form, silver set and black patinated in the Pharaonic style, the reverse of the tray fitted with a copper suspension ring, dia. 25”. [75/125]

369 363 Victorian Cast-Iron Stool, mid‑19th century, the circular top with pierced geometric designs, raised on three scrolling annulated supports to a tripartite base to ribbed feet, h. 16”, dia. 12‑3/4”. [75/125] 364 Pair of Northern European Two-Light Sconces, first quarter 20th century, composed of cut mirrored glass, wrought-iron and wood in the 18th-century style, the mirrored glass backplates cut with a coronet surmounting a stylized plant stalk, the candlearms and sockets of wrought-iron, electrified and fitted with “old ivory” faux candles, h. 16‑1/4”, w. 9‑3/4”, d. 5”. [600/900] Illustrated 365 Northern European Provincial Walnut Looking Glass, fourth quarter 19th century, of circular form in the neoclassical taste, fitted with the period plate, dia. 23‑1/4”. [50/80]

371 Trio of Georges Carini, Rouen, Silvered Copper Decorative Plaques, fourth quarter 19th century, each of circular form and featuring a bas-relief image of “The Chariot of Aurora”, each hallmarked on the reverse “Geo. Carini”, the silvered finish largely worn away to the underlying copper, dia. 7‑1/2”. [40/70] 372 French Brass and Tole-Peinte Two-Light Bouillotte Lamp, first quarter 20th century, in the Louis XVI taste, the base modeled as a stylized shell-form tray, the elliptical tole shade painted in monochrome antique green, h. 21‑3/4”, w. 14”, d. 7”. [100/200] Illustrated

373 372

374

366 Biedermeier-Style Fruitwood and Burlwood Sofa Table, early 20th century, the rectangular top with two rounded drop leaves and an ebonized edge, raised on square banded end supports joined by an ebonized X-form stretcher, to runner feet, h. 32”, w. 19‑1/4”, l. 37‑1/2”, extended l. 59‑1/2”. Provenance: Eureka Galleries Ltd., Houston, Texas. [400/700]

373 French Brass and Tole-Peinte Two-Light Bouillotte Lamp, first quarter 20th century, in the Restauration style, the adjustable tole shade painted in monochrome black, the gilded finish visible only in traces, h. 25‑1/2”, w. 14”, d. 9‑1/2”. [75/125] Illustrated previous page

381

374 French Brass and Tole-Peinte Two-Light Bouillotte Lamp, first quarter 20th century, in the Louis XVI style, the base modeled as a stylized shell-form tray centered with a portrait head of Louis XVI, the adjustable tole shade painted in monochrome black, h. 22”, w. 15‑1/2”, d. 8”. [100/200] Illustrated previous page 375 Circle of Isidore-Jules Bonheur (French, 1826‑1901), a large pair of patinated bronze horned sheep heads in the animalier style, h. 7‑1/2”, w. 8”, d. 5‑3/4”. [150/300] Illustrated 376 Circle of Isidore Jules Bonheur (French, 1826‑1901), a large pair of patinated bronze horned sheep’s heads in the “Animalier” style, h. 7‑1/2”, w. 8”, d. 5‑3/4”. [150/300] Illustrated 377 Attractive “Grand Tour” Plaster Relief Plaque, fourth quarter 19th century, depicting a horned goats head in the ancient Roman style, presented in a period carved giltwood and plaster frame in the “Barbizon” style, h. 6‑3/4”, w. 9‑1/2”. [75/125] 378 Monumentally Scaled Pair of Italian Carved Giltwood Leonine Paws, in the neoclassical taste, h. 5”, w. 5‑1/4”, l. 9”. [50/80] 379 Follower of Marius Jean Antonin Mercie (French, 1845‑1916) “Ceres, Goddess of Harvest”, a patinated bronze sculpture, 21st century, signed “Leonard” at base, raised on a black marble pedestal, h. 12‑3/4”, w. 7‑1/2”, d. 5‑1/2”. [400/700]

380 “Grand Tour” Figure of Theagenes of Thasos, an Olympian athlete, fourth quarter 19th century, after the original by the 5th-century B.C. Greek sculptor Glaucias of Aegina, raised on a stepped plinth base, h. 9”, w. 5‑1/4”, l. 23‑3/4”. [75/125] 381 Unusual Four-Piece “Grand Tour” Patinated Bronze Garniture, fourth quarter 19th century, comprised of busts of four ancient Roman emperors on matching tall pedestal bases, the busts removing to form a suite of four pricket candlesticks, h. 12‑1/2”. [100/200] Illustrated 382 Italian “Grand Tour” Patinated Bronze Figure of Apollo, fourth quarter 19th century, after the Antique model and probably of Neapolitan origin, h. 14”, base dia. 6”. [150/300] 383 Pair of “Grand Tour” Brass Paneled Cabinet Vases, first quarter 20th century, of diminutive size, the black and gold damascened decor in the Egyptian taste, with gilded pharaonic figures and symbols, h. 3‑3/4”, w. 1‑1/2”, d. 1‑1/2”. [50/80] 384 Pair of Continental Copper-Gilt Relief Plaques, fourth quarter 19th century, of circular form in the Louis XVI style and depicting, respectively, a classical family presenting an offering before a Bacchic terme, and Pan, a companion and putti frolicking before a hymeneal terme, dia. 6”. [30/50] 385 Large Composition “Carrara” Bust of Caesar Augustus, after the Antique model, weighted, h. 10”, w. 11”, d. 9”. [100/200]

375

376

386 Dutch-Style Marquetry-Inlaid Center Table, of circular drum form, the top with urn- and floral-inlaid panels above a frieze of alternating drawers and faux drawers, and mounted to a large central pedestal with four outstretched floral-inlaid legs ending in paw feet, h. 31”, dia. 47‑1/2”. [600/900] Illustrated Color Plate II

392

392 Amusing French Tole-Peinte Hatter’s Sign, fourth quarter 19th century, in the form of a Napoleonic hat, the interior fitted for mounting on a slender pole, retains the period parcel-gilt red and black polychromy, h. 7”, w. 26”, d. 10‑1/4”. [150/300] Illustrated

387 Provincial Restauration Fruitwood Armchair, second quarter 19th century, the slightly outscrolled, reeded crest above a padded back, joined to the like seat by downswept arms, raised on turned and tapering legs ending in toupie feet, h. 35”, w. 21”, d. 20”. [600/900] 388 Louis-Philippe Faded 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”. [1800/2500] Illustrated 389 Pair of French Stained Beechwood Vasiform Table Lamps, in the Restauration style, the brass handles modeled as swan’s breasts, the fluted square pedestal bases with beaded brass mounts, accompanied by a pair of custom oblong paneled silk shades in antique white, h. 34”. [300/500] 390 Large Italian Majolica Garden Seat, second quarter 20th century, of fluted and waisted stylized bell form in the neoclassical taste, presented in a gloss white glaze, h. 17‑3/4”, dia. 13”. [150/300] 391 Pair of Neoclassical-Style Cast-Iron Garden Urns, each of campana form, with egg-and-dart-modeled lip and reeded body, on a square base, h. 30”, dia. 22‑1/2”. [250/400]

388

393 French Cast Plaster Figure of Emperor Napoleon I, first quarter 20th century, the stern emperor modeled in field dress and carrying a telescope, the plaster finish in antiqued gray, h. 20‑1/2”, w. 5‑3/8”, d. 6‑1/2”. [75/125]

386

394 Good Pair of Spanish Colonial Brass Shoe Stirrups, third quarter 19th century, in the neoclassical taste, the stirrup-leather bars flanked by pairs of anthemia, h. 5”, w. 4‑1/2”, l. 9‑1/2”. [100/200]

396

398

396 Interesting Ten-Piece Collection of Napoleonica, comprised of a bronze pedestaled bust of the Emperor in his famed military hat, fourth quarter 19th century; a larger Belle Epoque pewter bust dated 1903; a small bronzepatinated spelter bust on a rouge royale marble base; a gilt-bronze figure of the standing Emperor in military dress on a nickel pedestal base with a gilt-brass applique of a crowned Napoleonic eagle, first quarter 20th century; a diminutive French sterling silver hand seal of the Emperor, fourth quarter 19th century; a bas-relief-decorated bronze table bell with a handle in the form of a Napoleonic bust, fourth quarter 19th century; a small French silverplate letter knife with a Napoleon finial and a bee applique of like date; and a diminutive pair of Limoges richly gilded and polychromed porcelain cabinet plates depicting two scenes from the life of Napoleon I, second quarter 20th century; and a patinated bronze portrait medallion of the young Napoleon Bonaparte commemorating the Battle of Montenotte in 1796 by Joseph Raymond Paul Gayrard (French, 1807‑1855), signed “Gayrard F.”, presented in a custom red morocco case lined in forest-green velvet; the largest 7‑1/2”. [200/400] Illustrated

395 Diverse Seventeen-Piece Collection of Napoleonica, comprised of a copper pillbox of circular form with a relief bust of Napoleon I on the cover; a gilt-brass-mounted circular pincushion centered with an enamel portrait miniature of Napoleon; a silverplate table easel with a small copper silhouette portrait medallion; two silverplate figural hand seals; four slightly larger patinated bronze hand seals, also of Napoleon I; a magnum silverplate hand seal of the Emperor in military garb; a French silverplated bronze figure of the Emperor astride his famed steed “Marengo” (the figure detachable from the horse); three patinated bronze cabinet figures of the standing Emperor in military dress; a similar antique-gilded bronze cabinet figure on a rouge marble base; and a German polychromed porcelain cabinet figure of Napoleon I in military dress, first quarter 20th century; the largest h. 4‑3/4”. [150/300] 401

400 Napoleon III Plaster Relief Silhouette Portrait Plaque, depicting Emperor Napoleon I and the Empress Marie-Louise, third quarter 19th century, of circular form, presented in a period turned and dark brown-lacquered wooden frame and glazed, dia. 6‑1/4”. [50/80] 401 Agra Carpet, 9’ x 12’. [2500/4000] Illustrated 402 Bhadohi Jaipur Runner, 2’ 7” x 12’ 3”. [250/400] 403 Louis-Philippe-Style Aubusson Carpet, 9’ x 12’. [2500/4000] 404 Peshawar Carpet, 8’ 2” x 10’ 1”. [2000/4000] Illustrated 405 Persian Kerman Carpet, 7’ 3” x 9’ 10”. [300/500] 406 Persian Shiraz Carpet, 4’ 8” x 8’ 9”. [150/300] 407 Persian Isfahan Carpet, 9’ 10” x 12’ 11”. [500/800] Illustrated

404

408 Persian Beloushistan Carpet, 3’ 6” x 5’ 4”. [200/400]

397 Three-Piece Group of Napoleonic Items, comprised of two brass Napoleon Bonaparte commemorative plaques after the 1869 original, rendered to commemorate a 100year birth of Napoleon I, Emperor of France, dia. 7”; and a pewter medallion of “Wreathed Napoleon in Profile” after Jean-Bertrand Andrieu (French, 1761‑1822), dia. 5‑1/2”. [60/90] 398 Diverse Five-Piece Collection of Napoleonica, comprised of a Belle Epoque cut brass and mother-ofpearl hexagonal jewel casket, the lid centered with a circular portrait miniature of the young Emperor Napoleon I, signed “Holbein”, first quarter 20th century; an oval portrait miniature of the King of Rome in a tortoiseshellbanded pieced bone frame, fourth quarter 19th century; a Czechoslovakian porcelain oblong box, the lid painted with a portrait of Napoleon I in court military dress, first quarter 20th century; a chrome-lithograph oval portrait miniature of Napoleon I in court military dress presented in a brown tortoiseshell frame, first quarter 20th century; and a French bronze dished oval portrait plaque of a Napoleonic marechal, first quarter 19th century; the largest h. 5”, w. 4‑1/4”. [100/200] Illustrated 399 Graduated Pair of Boch Freres, Belgium, Cachepots, first quarter 20th century, composed of black transferprinted pottery in the Napoleonic style, each with alternating vignettes of a crowned Napoleonic “N” medal and battle scenes, the bases marked in underglaze black transfer-print, the smaller h. 5‑7/8”, dia. 7”, the larger h. 6‑3/4”, dia. 8‑1/8”. [50/80]

407

409 Peshawar Sultanabad Carpet, 10’ x 13’ 7”. [2500/4000] Illustrated 410 Agra Serapi Carpet, 8’ 1” x 16’. [1500/2500] Illustrated 411 Karaja Runner, 17’ 11” x 3’ 3”. [200/400] 412 Chinese Hooked Carpet, 9’ 3” x 12’ 6”. [300/500] 413 Semi-Antique Chinese Carpet, 6’ 8” x 3’ 11”. [75/125]

409

410 414 Peshawar Zeiglar Mahal Carpet, 8’ x 9’ 9”. [1500/2500] Illustrated 415 Persian Bakhtiari Carpet, 9’ 10” x 12’ 10”. [700/1000] 416 Tabriz Carpet, 6’ 6” x 9’ 10”. [200/400] 417 Semi-Antique Persian Carpet, 6’ 4” x 3’ 4”. [200/400]

414

418 Hand-Woven Wool and Silk Tapestry, 6’ x 8’ 2”. [3000/5000] Illustrated 419 Pakistan Lahore Runner, 2’ 8” x 8’ 4”. [300/500] 420 Aubusson-Style Needlepoint Carpet, 2’ 5” x 3’ 11”. [0]

418 425 Gabbeh Modern Carpet, 4’ x 5’ 11”. [200/400] 426 Needlepoint Carpet, 20’ 10” x 13’ 8”. [1000/1500] Illustrated

426

421 Shiraz Carpet, 6’ 7” x 10’ 8”. [100/200] 422 Two American Hooked Carpets, 5’ 5” x 8’ 5” and 5’ 4” x 8’ 7”. [20/40] 423 Agra Serapi Runner, 2’ 7” x 12’ 2”. [350/500] Illustrated 424 Peshawar Vegetable-Dyed Carpet, 8’ 1” x 10’ 3”. [2500/4000] Illustrated Color Plate III

423

427 Four-Piece Samuel Kirk and Son Sterling Silver “Repousse” After-Dinner Coffee Set, first quarter 20th century, the pattern introduced in 1828, comprised of a tall-neck coffeepot, a covered two-handled sugar basin, a cream pitcher and a petite claw-terminal sugar tong en suite, the largest h. 8‑1/2”, w. 4‑1/2”, l. 7‑3/4”, 38.75 total t.oz. [2500/4000] Illustrated

427

428 Group of Three S. Kirk and Son Sterling Silver Serving Implements, first quarter 20th century, all in the “Repousse” pattern, introduced in 1828, comprised of a hollow-handle carver’s fork with rest, a rare sardine serving fork of seven tines and a pie server, the largest l. 10‑1/2”, 5.00 total t. oz. [50/80] 429 Set of Six Theodore Marthinsen, Norway, Sterling Silver After-Dinner Coffee Spoons, first quarter 20th century, with floral anthemion tips in the neoclassical taste, l. 4‑1/2”, 2.20 total t. oz. [100/200] 430 Approximately Forty-Eight Assorted Pieces of Sterling and Silverplated Utensils, including a longhandled toddy ladle with strainer, three miscellaneous knives, three forks, four demitasse spoons, five Coleman E. Adler & Sons demitasse spoons, a shallow ladle, a teaspoon, a salt spoon, two floral souvenir spoons, a floral souvenir olive fork, twelve olive spears with agates, twelve shorter decorative olive spears, and two cafe brulee spoons, the largest l. 14‑1/2”. [150/300] 431 Langford Sterling Silver-Clad Figure of an Owl, dated 1995, the bird modeled perched on a woodland stump, the eyes formed of cabochon onyx stones, h. 8‑1/4”. [350/500] Illustrated 432 Pair of American Silverplate Garniture Figures of Crested Birds, first quarter 20th century, in the German style, h. 6‑1/2”, w. 10”, d. 3”. [40/70]

433 Dutch Silver Berry-Serving Spoon, first quarter 20th century, with a repousse “windmill” bowl and a “windmill” finial with revolving sails, l. 8‑1/4”, 2.30 t. oz. [60/90]

431

434 Attractive French Sterling and Silver Gilt Sifter Spoon, ca. 1880‑1885, with a bowl of stylized flowerhead form, l. 8‑1/4”, 1.20 t. oz. [200/400]

435 Pair of Continental Silverplate “Sparrow” Table Garnitures, second quarter 20th century, probably German, h. 4”, w. 2”, l. 4‑1/4”. [100/200]

436

436 Collection of Eight Sterling and Silverplate Pastry and Sandwich Servers, comprised of a Bloom and Son, Ltd., London, “Gadroon” example with reticulated blades; a Mappin and Webb “Onslow” example with a spring action; a G. Pugini, Italy, scissor-action example in “Vintage” decor; a Florentine silver “Renaissance Masque” example; a Rogers Brothers and Sons scissor-action example with gilded bowls in the Georgian taste, second quarter 20th century; a diminutive German sterlinghandled scissor-action example in the Louis XVI taste; a Sheffield silverplate claw-terminal scissor-action example of small size in the Georgian style, also second quarter 20th century; and an English silverplate spade-terminal scissor-action server; the largest l. 10‑1/4”, 25.05 total t. oz. [100/200] Illustrated 437 Four-Piece Group of Silver Items, consisting of a good Continental spiral-ribbed sterling-handled cheese parer with an adjustable steel blade, first quarter 20th century; an American silverplate pie server in the Louis XV style; an attractive Rogers Brothers silverplate “Assyrian Head” cheese scoop, the pattern introduced in 1886; and a Wallace sterling-handled “Grand Venetian” stainless steel bar knife, the pattern introduced in 1979; the largest l. 9‑1/8”, 6.85 total t. oz. [50/80] 438 Collection of Approximately Twenty-One Silverplate Serving Utensils, including three pastry servers, two large serving spoons, three small serving spoons, three large serving forks, two small serving forks, a tomato skimmer, three nut picks, a butter spreader, two sugar tongs and a ladle, the largest l. 9‑3/4”. [75/125] 439 Unusual Collection of Four Alpaca Salt-and-Pepper Casters, second quarter 20th century, in the form of owls, the collection comprised of a backpacking owl with green cabochon beryl eyes, a similar owl perched on a twig bar and also having cabochon eyes, a smaller squat flat-base owl with amber glass eyes, and a similar squat flat-base owl having pale green glass eyes, the largest h. 3‑1/4”. [40/70] 440 Unusual Pair of English Sterling Silver “Peacock” Serving Spoons, 1877, Birmingham, maker: F.E., the bowls elaborately chased in the “Islamic” style, l. 8‑3/4”, 6.20 total t. oz. [500/800] 441 Japanese Silver Wire and Filigree Miniature OxenDrawn Curtained Carriage, first quarter 20th century, of the traditional type, presented in a fabric-based miniature glass vitrine with a fabric-covered card lid, the diminutive carriage fitted with a seated driver in a large traditional “coolie” hat, h. 2”, w. 2”, l. 3‑1/2”. [200/400]

442 Six-Piece Group of Silverplate, consisting of a set of five Continental silverplate dessert plates, fourth quarter 19th century, dia. 8‑1/4”; and a Barbour silverplate tray with a reticulated border in “Vintage” decor, first quarter 20th century, dia. 10‑3/4”. [50/80] 443 International Silverplate Circular Tray, fourth quarter 19th century, with an acanthus-leaf reeded border and an armorial center, the plating renewed, dia. 11‑3/4”. [20/40] 444 Interesting Four-Piece Collection of European Silver, comprised of a large Bruno sterling silver vegetable serving spoon with pierced bowl, first quarter 20th century; a Continental reticulated sterling silver berry serving spoon with a gilded repousse bowl, fourth quarter 19th century; and a pair of Austro-German .800-standard silver teaspoons in “Songbird on a Branch” decor, also fourth quarter 19th century; the largest l. 9‑1/2”. [50/80] 445 Cased Set of Eight German Porcelain-Handled Silverplate Nut Picks, fourth quarter 19th century, by the Sun Cutlery Company, in the “Blue Onion” pattern, the period case fitted and lined in Tyrrhian purple velvet and silk, pick l. 5‑1/4”. [40/70] 446 Collection of Approximately Fifty Assorted Silverplated Utensils, including twenty-two various butter spreaders, nine bread knives, seven long olive forks, five ornate teaspoons, four assorted demitasse spoons, an olive spear, a teaspoon, and a long-handled master salt ladle, the largest l. 8”. [100/200] 447 Seven-Piece Group of Sterling and Plated Silver, comprised of a sterling-handled paperknife, first quarter 20th century; a good German .800-standard silver wine bottle cork in the Louis XV taste and of like date; a silverplate wine bottle pourer, third quarter 20th century; a pair of sterling-handled embroidery scissors, first quarter 20th century; an American silverplate X-terminal knife rest, fourth quarter 19th century; a silver-gilt “Cherub” nail file handle, ca. 1900; and an Italian “Small Gadroon Edge” silverplate sauce ladle; the largest l. 7‑1/2”. [50/80] 448 Collection of Three Sterling Silver Hand Mirrors, first quarter 20th century, comprised of an Art Nouveau example in embossed “Entwined Scroll” decor; an R. Wallace and Sons long-handled example in “Ribbon-Bound Laurel Springs” decor; and a smaller silver-gilt example in “Roses” decor; the largest h. 11‑3/4”, w. 5‑1/4”. [100/200]

449 Pair of Italian Patinated Bronze Figures of Monkeys, the capped seated primates modeled wearing vests and carrying fans in the 18thcentury Venetian style, h. 16”, w. 10‑1/2”, d. 10”. [150/300] Illustrated

450 452 451

450 Amusing Italian BronzePatinated and Polychromed Brass Two-Light Candelabrum, modeled as a tailcoated monkey footman bearing a pair of flambeaux, presented on an oblong bronzepatinated brass base, h. 16‑3/4”, w. 3‑3/4”, d. 6‑1/4”. [100/200] Illustrated 451 Large and Amusing Patinated Bronze Centerpiece Bowl, modeled as two monkeys in human costume bearing a flared glass vase of square section in a palanquin, the whole on a parcel-gilt black-painted metal plinth of oblong form, h. 10‑1/2”, w. 21‑1/4”, d. 5‑1/2”. [100/200] Illustrated

449

452 Bronze Tabletop Sculpture of a Pair of Frolicking Monkeys, modeled on a small perch, their tails entwined, presented on a dark-patinated bronze base of oblong form, h. 16‑1/2”, w. 10”, d. 5‑3/4”. [150/300] Illustrated 453 Victor Donelli (American, Contemporary), an oblong hammered bas-relief panel of a chimpanzee confronting a leopard in a forest, signed lower right “V. Donelli”, presented on a matte brown-painted backplate within a strie giltwood frame, h. 7‑5/8”, w. 14‑1/4”. [50/80]

454 454 Amusing BronzeArgente Figure of a Monkey, first quarter 20th century, probably of Japanese origin, the seated clothed primate inspecting a miniature human figure through a magnifying glass, presented on a block pedestal base of Grand Antique marble, h. 8‑3/4”, w. 4”, d. 2‑1/2”. [150/300] Illustrated

455 Collection of Six “Vanitas” Skulls, composed of a Continental ecru-glazed pottery example of a skull resting on a book, fourth quarter 19th century; a large carved carnelian example; a Japanese Meiji carved ivory “ojime” bead of skull form; a pair of carved rock crystal skulls; and a similar, slightly larger carved rock crystal skull; the largest h. 4‑1/4”, w. 2‑1/2”, l. 4‑1/2”. [75/125] Illustrated 456 Amusing Two-Piece Collection of Monkey Ware, comprised of a Continental bronze-patinated brass videpoche of a spectacled monkey’s face, w. 4‑1/2”, l. 4‑7/8”; and an antiqued brass business card holder in the form of a clothed monkey holding a placard aloft, h. 6‑1/2”. [75/125] 457 Four Japanese Meiji Patinated Brass Figures of Monkeys, first quarter 20th century, the inquisitive primates modeled seated, h. 6”, w. 5‑1/4”, d. 6”. [150/300] 458 French Patinated Brass Figure of a Seated Whippet, of diminutive size in the Art Deco taste, h. 5‑1/2”, w. 2‑1/2”, d. 3‑3/4”. [75/125] Illustrated

459 Japanese Meiji Cast-Iron Figure of a Long-Tailed Monkey, first quarter 20th century, the iron finish gilded and verdigris patinated, presented on a custom satin black-painted wooden stand of oblong block form, h. 10”, w. 5‑3/4”, d. 3”. [75/125] Illustrated

463 464

462

460 M. E. Ryan (American, Contemporary), a patinated bronze figure of a bulldog wearing a studded collar, second quarter 20th century, signed indistinctly along the proper right lower ribcage “M. E. Ryan”, h. 3”, w. 5‑3/4”, d. 2‑1/2”. [50/80] Illustrated

459 458

461 Russian Carved Amethyst Figure of a Sparrow, first quarter 20th century, depicted seated on a rock in the manner of the Woerffel workshops, St. Petersburg, h. 2‑1/2”, w. 4”. [100/200]

460

462 Patinated Bronze Hanging Figure of a Climbing Panther, dated 1991, in the Neo Art Deco style, the interior of the proper right rear leg with a pseudoJapanese colophon reading “Ros/etia “c”91FM”, designed to be suspended from the lip of a vessel or stand, h. 3”, w. 7‑1/4”, d. 2”. [50/80] Illustrated

463 Continental Bronze Figure of a Noble Standing Lion, first quarter 20th century, the bronze finish antiqued and parcel-gilded, h. 5”, w. 7‑1/4”, d. 2”. [50/80] Illustrated

466

464 Continental Gold-Patinated Bronze Figure of a Roaring Lion, first quarter 20th century, h. 4”, w. 6‑1/2”, d. 2”. [50/80] Illustrated 465 Two Japanese Ivory Articles, 20th century, comprised of a brass-bound magnifying glass with an ivory handle with etched decoration of cranes, and a Japanese ivory shaft made into a scepter with the addition of a brass ruyi head, l. 14” and 16‑1/2”. [50/80]

455

466 Diverse Six-Piece Collection of Japanese Meiji Carved Ivory and Bone, comprised of a circular sweetmeats box, the cover centered with a monkey mask enframed by a pair of stalking lions, first quarter 20th century; an ivory netsuke of a mother monkey carrying her baby on her back, fourth quarter 19th century; an elaborately carved bone export walking stick handle of a monkey head, first quarter 20th century; and a set of three “Hear No Evil, See No Evil, Speak No Evil” seated carved ivory monkeys; the largest dia. 2‑5/8”. [150/300] Illustrated

467 Diminutive Pair of Japanese Carved Ivory Masks, each depicting a different subject, presented on custom red mahogany stands of truncated pyramidal form, overall h. 4‑1/2”. [75/125] 468 Group of Two Japanese Meiji Letter Knives, first quarter 20th century, consisting of a repousse brasshandled ivory example in “Celestial Dragon” decor, presented in a fitted faux-alligator case signed “Evkob”, l. 4‑3/4”; and a carved and polished “Six Elephants” bone letter knife, l. 4‑3/8”. [30/50]

469 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]

472

472 Group of Two Japanese Meiji Bronze Tigers, fourth quarter 19th century, consisting of a large and attractive patinated bronze figure of a striding snarling tiger; and a similar, smaller russet-patinated bronze figure of a stretching snarling tiger; both examples fitted with glass taxidermist’s eyes, the larger h. 9‑1/2”, w. 18”, d. 4‑3/4”, the smaller h. 7‑1/2”, w. 15”, d. 4‑1/4”. [200/400] Illustrated 473 Japanese Meiji Relief-Ornamented Bronze Bell, fourth quarter 19th century, with an addorsed dragon handle, the body in a stylized floral band surmounting a Celestial Dragons and calligraphy band, the basal edges scalloped, the clapper lacking, h. 8‑3/4”, dia. 5‑3/4”. [75/125]

470 Good Four-Piece Japanese Meiji Traveling Dining Set, fourth quarter 19th century, comprised of a brassmounted elaborately incise-carved ivory pendant sheath fitted with a pair of ivory chopsticks and a jade-handled steel knife, l. 13‑3/8”. [50/80]

474 Set of Twelve Japanese “Shunga” Hand-Painted Book Plates, second quarter 19th century, from a marriage manual demonstrating various positions for fornication, retaining wide watercolor borders, all unframed, h. 12‑1/2”, w. 7‑1/4”. [400/700]

471 Japanese Meiji Carved, Patinated and Polished Ivory Cabinet Figure, of a robed “No” actor carrying a large fan, fourth quarter 19th century, the face fitted to revolve, showing a smiling visage and a grimacing one, presented on an oriental carved and pierced hardwood tripodal base, h. 4‑1/4”. [50/80]

475 Set of Ten Japanese Ivory Shunga Plaques, first quarter 20th century, each of convex form and showing a couple engaged in an act of love, h. 5‑1/8”, w. 1‑7/8”. [100/200]

479

478

476 Japanese Carved and Polychromed Ivory Shunga Netsuke, fourth quarter 19th century, of small size, the domed lid signed in incised scarlet calligraphy, h. 3/4”, w. 1‑1/8”, d. 1‑5/8”. [50/80]

477 Japanese Meiji Provincial Glazed Stoneware Storage Jars, fourth quarter 19th century, the shoulders with rows of stamped barred decoration, h. 19‑1/2”, dia. 13‑1/2”. [300/500] 478 Pair of Japanese Meiji Arita Porcelain Covered Rice Bowls, third quarter 19th century, in “Flowering Shrub” decor, the covers reversing to form footed shallow sauce stands, h. 3”, dia. 4‑1/2”. [75/125] Illustrated

484

485 483

479 Japanese Meiji Arita Porcelain Shallow Bowl, fourth quarter 19th century, richly enameled in stylized flowering plant decor on an “Oriental Red” ground, the base with an underglaze blue calligraphic signature, h. 1‑1/2”, dia. 8‑1/4”. [75/125] Illustrated 480 Japanese Meiji Arita Porcelain Vase, of tall bottle form with alternating polychromed figural and floral/avian reserves having Mount Fujiyama in the background, signed on the base in overglaze rouge de fer calligraphy, h. 13‑1/4”, dia. 8”. [100/200] 481 Unusual Japanese Meiji Arita Porcelain Sweetmeats Dish, fourth quarter 19th century, in the form of a peacock with a displayed tail, the “tail feathers” with alternating scrolled and polychromed floral reserve tips, the base with a kiln mark in underglaze blue, h. 6”, w. 6‑1/2”. [50/80]

487 Japanese Meiji Basket-Woven Triple-Tier Food Basket, fourth quarter 19th century, of large, rounded oblong form, the stationary handle of wrought-brass and iron bent bamboo strips, ornamented with a pair of green marbled glass-embellished brown tassels and a smaller pair of deep raspberry silk corded tassels, h. 22”, w. 14‑1/2”, d. 11”. [50/80] 488 Large Japanese Colored Wood Block, first quarter 20th century, depicting a traditionally robed geisha holding a parasol beside a weeping willow tree, signed in calligraphy lower left, 17‑3/4” x 11‑3/4”. Presented in an interesting gold leaf-spangled taupe mat within a narrow black-painted half-round molding frame and glazed. [75/125]

489 Japanese Meiji Embossed Foil-Ground Enamel Vase, first quarter 20th century, of slender baluster form in “Iris” decor, the silvered copper base centered with a signature, h. 6”, dia. 2‑1/2”. [350/500]

493

482 Pair of Japanese Meiji Porcelain Tall-Neck Cabinet Vases, fourth quarter 19th century, the burnt orange grounds with alternating parcel-gilt floral and “children” reserves, h. 6‑3/4”, dia. 3”. [50/80] 483 Japanese Edo Arita Porcelain Bowl, second quarter 19th century, in stylized Phoenix and Rising Sun” decor, the center decorated with a stylized wreath of bamboo, oriental pine and prunus in blue, h. 1‑3/4”, dia. 6”. [50/80] Illustrated 484 Striking Japanese Meiji Imari Porcelain Plate, fourth quarter 19th century, the unusual decoration modeled as a stepped series of rondels enframing three figures within a stylized temple, dia. 8‑3/4”. [75/125] Illustrated 485 Japanese Meiji Imari Porcelain Ribbed Covered Box, fourth quarter 19th century, of oval form, the finial of the domed cover modeled as a layered flowerhead, h. 4‑1/2”, w. 7‑1/4”, d. 5‑1/2”. [75/125] Illustrated 486 Japanese Meiji Gilt-Bronze Shallow Bowl, fourth quarter 19th century, of lily pad form, with a frog, lotus bloom and lotus pod ornamenting the undulating rim, of good weight, h. 2‑3/4”, w. 8”, d. 7”. [75/125]

490 Japanese Meiji Cloisonne Covered Sweetmeats Box, fourth quarter 19th century, of small circular form, the mirror-black ground with floral decor, the interior fitted with a detachable conforming silvered brass liner, h. 3‑1/2”, dia. 3‑3/4”. [450/700] 491 Japanese Taisho Cobalt Blue and Celadon Porcelain Vase, first quarter 20th century, of cylindrical form in “Flowering Prunus” decor, h. 11‑1/4”, dia. 5”. [125/250]

492 Four Pieces of Oriental Porcelain, consisting of a Japanese Meiji porcelain tea caddy, of covered pyriform with a parcel-gilt burntorange ground and floral decor, first quarter 20th century; a diminutive Tao Kuang porcelain octagonal footed sauce stand, in piscine yingyang decor, the interior of the foot with an overglaze rouge de fer reign mark, second quarter 19th century; a diminutive near-pair of Japanese Meiji Arita porcelain tea bowls in, respectively, floral and “Precious Objects” decor, fourth quarter 19th century; the former signed on the base with an underglaze blue colophon, tea caddy h. 5”, dia. 4‑1/2”, sauce stand dia. 4‑1/4”, tea bowl h. 1‑3/4”, dia. 2‑1/4”. [50/80]

499

498 500

493 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”. [200/400] Illustrated previous page 494 494 Japanese Meiji Imari Porcelain Hexagonal Shallow Bowl, in floral decor, the cavetto of a dark brown ground set with two asymmetrically placed white reserves of, respectively, flowering peonies and a flowering prunus branch, w. 12‑1/4”, l. 16‑1/2”. [150/300] Illustrated 495 Japanese Meiji Plique-a-Jour Enamel Cabinet Bowl, first quarter 20th century, of circular form in floral decor, the rim silver mounted, h. 2”, dia. 4‑3/8”. [600/900] 496 Group of Two Japanese Taisho Polychromed Porcelain Novelty Teapots, first quarter 20th century, one a “Laughing Boy” example and the other a “Fish and Lobster” teapot, each pot retains the period wrapped bent twig handle, the largest h. 5”, w. 7‑1/2”, d. 5‑1/2”. [75/125]

507

497 Japanese Meiji Porcelain Inverted Pyriform Vase, first quarter 20th century, the scarlet ground with white “Flowering Prunus” decor, the base signed in underglaze blue calligraphy, h. 12‑1/2”, dia. 8”. [100/200] 498 Japanese Meiji Export Satsuma Porcelain Covered Chamber Pot, fourth quarter 19th century, richly decorated in “Samurai Warrior and Lady” decor, the base of the pot signed in overglaze rouge de fer calligraphy, h. 8”, dia. 9‑1/4”. [100/200] Illustrated 499 Unusual Japanese Meiji Arita Export Porcelain Ewer, third quarter 19th century, in “Samurai and Geishas” decor, the base signed in overglaze rouge de fer calligraphy, h. 12”, dia. 7”. [100/200] Illustrated 500 Japanese Edo Arita Porcelain Fruit Bowl, second quarter 19th century, in “Celestial Dragons and Flaming Pearl” decor, h. 3‑3/4”, dia. 9‑3/4”. [100/200] Illustrated

510

507 Japanese Meiji Carved White Marble Figure of a Tiger, first quarter 20th century, the snarling cat modeled on an integral crag-form base, the marble surface highly polished, h. 7‑3/4”, w. 3‑1/2”, l. 12‑3/4”. [150/300] Illustrated 508 Japanese Meiji Carved White Marble Figure of an Albino Tiger, fourth quarter 19th century, fitted with yellow glass taxidermy eyes, h. 4‑7/8”, w. 2‑1/2”, l. 13”. [75/125]

501 Trio of Japanese Meiji Satsuma Pottery Objects, fourth quarter 19th century, comprised of a sweetmeats bowl with a reticulated rim in “100 Geishas” decor; a smaller bowl of modified flowerhead form, also in multiple figures decor; and a brocade-ground cylindrical cabinet vase with stepped paired figural reserves; all richly gilded and polychromed, all three pieces signed on the base in calligraphy, the largest dia. 6”. [50/80] 502 Cased Set of Seven Japanese Satsuma Porcelain Liqueur Goblets, each featuring a different one of “The Seven Happy Gods”, with a polychromed and parcel-gilt portrait of the particular god, each goblet interior with a stanza in black calligraphy and signed on the foot in scarlet calligraphy, the oblong wooden case also marked in black calligraphy, goblet h. 2‑1/4”, dia. 1‑1/4”. [50/80] 503 Japanese Meiji Satsuma Porcelain Vase, fourth quarter 19th century, of baluster form in “1000 Faces” decor, the ground in rouge de fer, the base signed in rouge de fer calligraphy, h. 12‑3/4”, dia. 5”. [100/200] 504 Japanese Edo Gold-Ground Four-Panel Screen, first quarter 19th century, in “Lotus” decor, retains the proper woven damask borders and a narrow black lacquer frame holding the once-folding screen stationary, accompanied by a 1965 “Antique Certification” from the antiques retailer Yokohama Inc. of Kyoto, h. 36”, w. 70”. [125/250] 505 Dramatic Pair of Japanese Meiji Black Lacquer Panels, fourth quarter 19th century, mounted with carved and tinted bone and mother-of-pearl vignettes of fierce eagles perched on flowering branches and about to attack fleeing songbirds, h. 36”, w. 19”. [100/200]

514

509 Japanese Meiji Scroll Painting, first quarter 20th century, depicting a songbird perched on a flowering cherry tree branch, the scroll faced properly with floralfigured gold silk damask and gold-figured papers, the basal edge retains the polished bone finials, h. 36”, w. 27‑1/8”. [50/80] 510 Good Sheffield Plate Bacon Server, first quarter 19th century, in “Gadroon” decor, the turned wooden handle removing to permit the filling of the hollow base with hot water, the whole resting on four acanthus-topped paw feet, h. 4”, w. 9”, d. 13”. [50/80] Illustrated 511 Attractive English Silverplate Oval Grilled Meats Bowl, third quarter 19th century, with a conforming pierced mazarine, w. 6‑7/8”, l. 9‑1/2”. [50/80] 512 Handsome Edwardian Silverplate Paw-Footed Soup Tureen, first quarter 20th century, of small oval form in the George III style, the everted bar handles of fruitwood in a natural finish, the lower body vertically ribbed throughout, h. 9‑1/2”, w. 7‑1/2”, l. 13”. [75/125] 513 Richly Varied Four-Piece Collection of Silverplate, comprised of a Leonard oval footed tray in the “Chippendale” style, w. 11‑1/4”, l. 14‑1/2”; a Wilkinson & Sons, Sheffield, bowl in the form of a scallop shell, second quarter 20th century, w. 10‑1/4”, l. 9‑1/2”; a W. D. Smith circular tripodal bonbon bowl in the “Old Sheffield” style, dia. 7”; and a Rogers Brothers double-lipped punch ladle, first quarter 20th century, l. 14‑1/2”. [50/80]

515

506 Pair of Japanese Taisho Polychromed Lacquer Panels, 20th century, featuring elegantly robed Geishas in the Ukiyo-e style, each panel fitted with a cut brass suspension fret, 21” x 15‑1/2”. [100/200]

517 Attractive Three-Piece Collection of Silverplate Trays, in the “Old Sheffield” style, comprised of a circular quadrupedal example in “Flower and Foliate Scroll” decor, first quarter 20th century; a smaller Sheffield Silver Company circular tripodal example in “Gadroon and Shell” decor; and an Edwardian oval quadrupedal example, first quarter 20th century; the largest h. 1‑1/2”, w. 14”, d. 11‑1/2”. [75/125]

518

518 Handsome Pair of Antique Sheffield Plate Bottle Coolers, 1825, in “Shell and Scroll” decor, fitted with detachable collars and interior silverplate bottle sleeves, h. 10”, w. 11”, dia. 9”. [2500/4000] Illustrated

519 George III Chased Sterling Silver Papboat, 1793, London, maker: Thomas W. Haupt, with reeded edge, w. 3‑1/8”, l. 5‑1/8”, 2.10 t. oz. [400/700] 520 Edwardian Silverplate Sweetmeat Stand, first quarter 20th century, of circular, footed form in “Ivy Wreath” decor, the stand fitted for a porcelain plate above the circular flat silverplate stretcher, h. 10‑1/2”, w. 7”, d. 6‑1/2”. [20/40] 522

522 Fine and Rare Thomas Pitts, London, Reticulated Sterling Silver Oval Paw-Footed Epergne, 1787, of oval, paw-footed form with four branches, with an oval center bowl in the neoclassical style, the central bowl engraved with a handsome armorial, h. 14‑1/4”, w. 20‑1/4”, d. 19”, 69.55 t. oz. [20000/40000] Illustrated Color Plate II

514 Georgian Sterling Silver “Gadroon” Roasted Meats Platter, 1769, London, maker: Sebastian and James Crespi, of ovoid form, the border with an engraved coatof-arms, the opposing border engraved with the crest of that coat-of-arms, w. 12‑1/2”, l. 17‑3/4”, 46.85 t. oz. [2500/4000] Illustrated previous page 515 Georgian Sterling Silver “Gadroon” Roasted Meats Platter, 1800, London, maker: John Edwards, of ovoid form, the border with an engraved armorial of an upraised armored arm and hand clutching a dagger, w. 12‑3/4”, l. 18‑5/8”, 62.00 t. oz. [3500/5000] Illustrated previous page 516 Three-Piece Group of Silverplate Trays, consisting of an attractive antique Sheffield Plate tripodal tray in “Leaf and Foliate Scroll” decor, second quarter 19th century; a large American silverplate two-handled and footed waiter in the “Old Sheffield” style; and an English silverplate two-handled tray in the Georgian taste, first quarter 20th century; the largest h. 2”, w. 25‑1/2”, d. 14‑1/4”. [100/200]

521 Attractive English Silverplate Footed Sauceboat, third quarter 19th century, of large size and “Shell and Scroll” decor in the George III style, h. 6”, w. 4‑1/4”, l. 8‑1/4”. [50/80]

528

527

530 529

523 Large English Silverplate Circular Tray, second quarter 20th century, with a pierced gallery rim in the Georgian taste, the center with an engraved foliate-scroll wreath circumscribed by a broad engine-turned band, dia. 20‑1/4”. [75/125] 524 Stylish Pair of Tonks Antique Sheffield Plate Serving Bowls, second quarter 19th century, of footed shell form, each with an engraved armorial, the feet modeled as seashells, h. 1‑3/4”, w. 9‑1/4”, d. 14‑1/4”. [75/125] 525 Group of Two Antique Sheffield Plate Trays, the first example of circular tripodal form in “Gadroon” decor, second quarter 19th century; and the other of reticulated scroll-footed form in “Cartouche and Scroll” decor, third quarter 19th century; the silvering of the former renewed; the smaller dia. 10”, the larger dia. 10‑1/2”. [75/125] 526 George V Silverplate Egg Cooker, first quarter 20th century, by Walker & Hall, Sheffield, of ovoid form, the lid decorated with repousse foliate rococo scrolls, surmounted by a figural finial of a nesting bird, and opening to reveal the removable four-egg frame, the whole raised on three scrolling legs joined by a circular plinth centering a removable burner, h. 9‑3/4”, dia. 4‑1/4”, w. (at base) 5”. [50/80]

532

528 Good Sanborn’s, Mexico, Art Deco Sterling “Masque” Punch Ladle, second quarter 20th century, hand-wrought and double-lipped, l. 12‑1/2”, 7.30 total t. oz. [150/300] Illustrated 529 Continental Sterling Silver “Rat Tail” Stuffing Spoon, third quarter 19th century, in the early 18th-century style, l. 13”, 5.45 total t. oz. [200/400] Illustrated 530 Good English Sterling Silver “Fiddle Thread” Stuffing Spoon, 1864, London, maker: Hyam Hyams, in the George III style, the facade engraved with a handsome canine armorial, l. 12”, 5.30 total t. oz. [200/400] Illustrated 531 Antique Sheffield Plate Circular Footed Fruit Bowl, second quarter 19th century, the everted rim with five equidistant gently crimped reserves, the whole supported on four ball feet, h. 2‑1/2”, dia. 12‑1/4”. [75/125]

534 527 Handsome Irish Sterling Silver “Fiddle Thread” Soup Ladle, 1843, Dublin, maker: James Le Bass, of generous proportions, l. 13‑1/2”, 9.10 total t. oz. [300/500] Illustrated

532 After Pablo Picasso (Spanish, 1881‑1973) “1961 Bonne Fete Monsieur Picasso”, suite of twenty-three color lithographs, printed by Mourlot in France for the UCLA’s Art Council at the UCLA Art Galleries in 1961 to celebrate Picasso’s Birthday, 38‑1/2” x 25”; together with a Pair of Leonard Baskin (American, 1922‑2000), Black and White Lithographs, “Portrait of a Man in Three-Quarter View”, artist’s proof, signed in pencil lower right “Baskin”. All unmatted and unframed. [1000/2000] Illustrated 533 After Ben Shahn (American, 1898‑1969) “Warning! Inflation Means Depression” poster, signed in print lower left, sight 41” x 27‑1/4”. Glazed and framed. [100/200]

537 Nicola Simbari (Italian, b. 1927) “La Foret”, color serigraph, signed in pencil lower right, titled in pencil lower left, sight 27” x 21”. Glazed, matted and framed. [300/500]

534 Salvador Dali (Spanish, 1904‑1989) “The Rabbit Sends in a Little Bill”, from Alice in Wonderland, photo engraving, stamped in print, signed in pencil lower right and pencil numbered lower left “23/300”, sight 25” x 16‑1/4”. Glazed, matted and framed. Literature: R. Michler, L. Lopsinger Salvador Dali - Catalogue Raisonne of Etchings and Mixed-Media Prints, 1924‑1980, PerstelVerlag, Munich, 1994, pg. 171/172, ill. no. 325. [400/700] Illustrated previous page 535 Nicola Simbari (Italian, b. 1927) “Singing Pierrot”, color silkscreen, signed in pencil lower right, numbered in pencil lower left “164/300”, sight 32” x 33‑1/2”. Glazed, matted and framed. [400/700]

548

536 Nicola Simbari (Italian, b. 1927) “Boy on the Beach”, color silkscreen, signed in pencil lower right, numbered in pencil lower left “225/300”, sight 26” x 33‑1/2”. Glazed, double-matted and presented in a giltwood frame. [400/700]

543

538 Nicola Simbari (Italian, b. 1927) “Les Parapluis”, color serigraph, signed in pencil lower right, titled in pencil lower left, sight 23‑1/2” x 31”. Glazed, matted and framed. [300/500]

539 After Andy Warhol (American, 1928‑1987) “Albright-Knox Art Gallery, Buffalo Poster‑100 Cans”, sight 37‑1/2” x 24‑1/2”. Glazed and framed. [40/70] 540 Pair of Continental Bronzed Spelter “Swimming Swan” Candlesticks, first quarter 20th century, h. 3‑3/4”, w. 5”, d. 3‑1/4”. [50/80]

541

541 Group of Two Continental Ebonized and Mixed Woods Occasional Tables, mid‑20th century, one of shaped rectangular form, the other of shaped circular form, each fitted with two like tiers with intricate scrolling foliate inlays, raised on ebonized legs, h. 23”, w. 13‑3/4”, d. 14‑1/2” and h. 22”, w. 15‑1/2”, d. 11‑1/4”. [75/125] Illustrated

542 Group of Two Art Glass Vases, consisting of an Art Nouveau brassmounted glass cabinet vase by Pallme-Koenig and Habel, Austria (active 1889‑1930), the green and brown glass with reticulated antique-gilded brass mounts, first quarter 20th century h. 9‑1/2”; and an American green and white marbled glass vase in the Art Nouveau taste, h. 8‑1/2”. [50/80] 543 Pair of Northern European Burlwood Bedside Tables, second quarter 20th century, each fitted with a drawer, raised on slightly cabriole legs with painted details and ending in scroll feet, h. 24”, w. 17”, d. 15”. [200/400] Illustrated 544 Continental Flaring Glass Vase, of tall petaled form in the Art Nouveau taste, the glass in shaded emerald green and white, h. 25‑1/4”, dia. 10‑1/2”. [75/125] 545 Pair of Continental Matte White Porcelain Garniture Vases, in the form of large coral branch sections, the lips of freeform configuration, h. 8‑1/2”, dia. 6‑1/2”. [75/125] 546 Good French Art Nouveau “Ecole De Nancy” Footed Glass Vase, first quarter 20th century, the cameo-cut orange-over-amber glass in “Foliage” decor, now drilled and brass mounted as a table lamp, h. 18‑1/4”, dia. 8”. [100/200]

554 547 Painted Cast-Iron Garden Bench, 20th century, the carved crest over a “swags and urns”-formed back, joined to the openwork seat by acorn foliage-molded arms, raised on cabriole legs joined by stretchers (one front leg broken just below the stretcher), h. 29”, w. 37‑1/4”, d. 13”. [20/40] 548 Continental Patinated Bronze Group of a Mermaid with Dolphins, in the Art Deco style, presented on a circular polished verde antico marble base of disc form, the bronze finish triple patinated, h. 30”, w. 16”, d. 8”, dia. 10”. [300/500] Illustrated 549 Belle Epoque Gilt-Brass and Beveled Mirrored Glass Paperweight, first quarter 20th century, centered with a portrait miniature of the celebrated actress Sarah Siddons in an extravagant chapeau, presented on a later brass display easel, h. 8‑1/2”, w. 5‑1/2”, dia. 6”. [75/125] 550 Fanny Rozet (French, fl. 1881), a gilt-bronze figure of a dancer, signed at the base “Fanny Rozet”, raised on a round variegated marble base, h. 6‑1/2”, dia. 4‑3/4”. [100/200] 551 Good French Leather Gentlemen’s Cologne Case, second quarter 20th century, of circular form and fitted with four shaped cologne bottles enframing a central glass talc jar, all of the glass vessels with gilded brass caps, h. 3‑3/4”, dia. 4‑3/4”. [75/125] 552 Art Deco-Era French Men’s Mannequin, second quarter 20th century, by Buste Girard, Paris, European size 46, the torso and and arms in unbleached muslin, the head, hands and legs all of gessoed papier mache the head and hands realistically painted, the legs painted white, the feet shod in leather wing-tip shoes, h. 5’ 8”. [100/200] 553 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”. [50/80]

556 554 Large Balos Art Deco Amethyst-Tinted and Frosted Glass Vase, second quarter 20th century, of elliptical section in “Trellis Rose” decor, the base embossed “BALOS” (the S reversed), h. 20‑1/2”, w. 10‑1/2”, d. 7”. [200/400] Illustrated

561 Art Deco-Style Ebonized Chest, 20th century, the rectangular ivory-painted top above a case fitted with four drawers faced as nine narrow drawers, all with ivorine ball pulls, raised on tapering circular legs, h. 41‑3/4”, w. 36”, d. 19‑1/2”. [300/500] Illustrated

561

555 Continental Art Deco Polychromed Porcelain Vase, first quarter 20th century, in the Chinese taste, with figures in “Ballet Russe”-style Chinese costumes, now mounted as a table lamp on a custom turned and painted wooden base and having a matching custom cap, h. 12”, dia. 7”. [200/400] 556 Pair of Art Deco-Style Cast Bronze Sculptures of Leopards, h. 30”, l. 59”. [800/1200] Illustrated previous page 557 Italian Art Deco Pietra Dura Table Box, second quarter 20th century, of small size and hexagonal navette form, the interior lined in polished travertine throughout, w. 2”, l. 3‑1/4”. [250/400] 558 Art Deco-Style Circular Side Table, mid‑20th century, the figured birch top mounted to four reeded and polychromed legs, h. 27”, dia. 28‑1/2”. [100/200] 559 English Art Deco Frosted Glass “Ruffle” Vase, second quarter 20th century, in white and orange spangled glass, h. 11‑1/2”, w. 8‑1/2”, d. 8‑1/2”. [50/80] 560 Stylish Eight-Piece Soho Pottery, Staffordshire, “Solian Ware” Dressing Table Set, first quarter 20th century, in the Art Deco style, the set in lavender with black and white marbling and black and white checkered bands, comprised of an oval perfume bottle tray, a pair of candlesticks of inverted trumpet form, a circular covered soap/sponge box with pierced drainplate, a ring stand, two small covered circular jewel boxes and a toothbrush vase, the largest w. 13‑3/4”, d. 9‑1/2”. [100/200]

562 Collection of Nine Fine Art Glass Items, consisting of a rare French Art Deco satin-finished olive glass vase in stylized “Leaves” decor, attributed to Pierre d’Auesn, unsigned, second quarter 20th century; a good French Art Deco cased custard-over-white mold-blown spherical glass vase in the manner of Edward Cazaux (French, 1887‑1974), second quarter 20th century; a good J. Kralik und Sohne, Bohemia, Art Nouveau iridized colorless and green glass vase, first quarter 20th century; a stylish trio of Joma, France, pressed and satine glass vases in the Daum, Nancy, style, ca. 1925; a subtle French Art Deco satine pale gray-green spherical glass vase in “Interlaced Ribs” decor of like date; and a pair of French white-spangled mulberry-to-clear satin-finished glass floriform shades; the Joma vases with embossed marks JOMA “Fabrication Francaise” on the bases, the gray-green glass vase with the embossed mark “Chaussures Dressoir” on the base, the largest h. 7‑3/4”, dia. 7‑1/2”. Reference: Victor Arwas, The Art of Glass: Art Nouveau to Art Deco, Harry N. Abrams, New York, 1987, pgs. 36‑37, 59. [100/200] 563 Magnum Amethyst Glass Perfume Flacon, modeled after Elizabeth Taylor’s “Passion” in the Neo-Art Deco style, the neck wrapped in metallic silver cord, the amethyst glass stopper of stylized fan form, h. 12‑1/2”, w. 8‑5/8”. [100/200]

565

564 Magnum Amethyst Glass Perfume Flacon, modeled after Elizabeth Taylor’s “Passion” in the Neo-Art Deco style, the neck wrapped in metallic silver cord, the amethyst glass stopper of stylized fan form, h. 12‑1/2”, w. 8‑5/8”. [100/200] 565 French Art Deco Wrought-Iron and Plaster Swivel Shaving Mirror, in the manner of Armand Rateau (French, 1882‑1938), the annular mirror backed with a giltedged patinated plaster masque of a young Greek boy, the circular base stepped and supported on four ball feet, h. 36”, w. 10”, d. 7‑1/2”. [200/400] Illustrated 566 Nine Continental Brass and Silvered Brass Lampshades, third quarter 20th century, in two sizes, three large h. 2‑3/4”, dia. 5‑1/2” (two silvered), and six small, h. 3‑1/4”, dia. 7‑1/2” (four silvered), each stamped and pierced with elaborate rococo scrolls. [30/50]

567 Group of Two Glass Paperweights, one an American studio glass paperweight with a swirled freeform iridescent center with air traps, 1999, and the other a similar studio glass weight with a freeform swirled iridescent center with an upright air trap, 1999, both weights signed with a monogram and dated, h. 3”. [20/40]

570

568 Pair of Lalique Crystal Nasturtium Blossoms, the petals in satin-finished glass with black enamel details, the stems signed in diamond stylus script “Lalique France”, dia. 4”. [50/80]

572 571

576

569 Two-Piece Collection of Lalique Crystal, comprised of a gilt-brass-mounted “Reclining Female Nude” powder box in a frosted finish, h. 2”, dia. 3”, and a “satine” figure of a kneeling nude girl with a kid, h. 4‑1/2”, both examples signed on the base in diamond stylus script “Lalique R France”. [50/80]

579

578

577

570 Pair of Lalique Crystal Figures of Seated Long-Haired Cats, in satin-finished glass, the bases signed in diamond stylus script “Lalique France”, h. 3‑3/4”, w. 2‑3/4”, d. 2‑1/2”. [50/80] Illustrated 571 Lalique Crystal Group of Two Cuddling Recumbent Cats, in satin-finished glass, signed on the base in diamond stylus script “Lalique France”, h. 2‑1/4”, w. 6”, d. 3‑1/2”. [50/80] Illustrated

576 Baccarat Crystal Figure of a Hawk, the bird modeled perched on a crag, the base with the acid-stamped Baccarat “decanter” mark, h. 9‑3/4”, w. 3‑1/4”, d. 4”. [75/125] Illustrated

572 Trio of Baccarat Crystal Rabbits, comprised of two in colorless crystal and one in mirror-black, one colorless crystal and the black rabbit signed “Baccarat” in script, the other figure with the Baccarat acid-stamped “decanter” mark, h. 3”, w. 2‑1/2”, d. 2”. [50/80] Illustrated

577 Two Lalique Crystal Figures, the first a diminutive satin-finished figure of a quail, h. 2”, and the second a larger figure of an owl, h. 3‑1/2”, both figures signed in diamond stylus script “Lalique France”. [50/80] Illustrated

573 Lalique Crystal “Thistle” Paperweight, fourth quarter 20th century, in reverse-pressed and satin-finished glass, signed at one edge in diamond stylus script “Lalique France”, h. 3‑3/8”, w. 2‑1/8”. [50/80] 574 Trio of Lalique “Lion Masque” Crystal Ashtrays, third quarter 20th century, designed by Marie-Claude Lalique, each signed on the base in diamond stylus script “Lalique ‘c’ France”, dia. 6”. [75/125] 575 Lalique Crystal “Pinsons” (or “Finches”) Bowl, in satin-finished glass, designed by Rene Lalique (French, 1860‑1945) on January 24, 1933, unsigned, h. 3‑3/4”, dia. 9‑1/4”. [50/80]

578 Lalique Crystal Figure of a Quail, in satin-finished glass, the base signed in diamond stylus script “Lalique France”, h. 6‑3/4”, w. 6”, d. 3‑1/4”. [50/80] Illustrated 579 Lalique “Satine” Crystal Figure of a Bantam Rooster, the base signed in diamond stylus “Lalique France”, h. 8”, w. 5”, d. 2‑1/2”. [50/80] Illustrated 580 Set of Eight Baccarat Crystal Place Posy Vases/ Cigarette Urns, third quarter 20th century, each example with the Baccarat acid-stamped “decanter” mark on the base, h. 2‑1/4”, dia. 2‑1/4”. [50/80]

582 583 588 Italian School (Contemporary) “Venetian Canal with a View of Santa Maria della Salute Church”, oil on canvas, unsigned, 36” x 24”. Presented in a handsome stained and parcel-gilt frame. [400/700] Illustrated

581

584

589 Manner of Edouard-Leon Cortes (French, 1882‑1969) “Evening Parisian Street Scene, With View of a Flower Stall”, oil on panel, unsigned, 20th/21st century, 12” x 15‑1/2”. Presented in a Beaux Arts-style giltwood and gesso frame. [200/400] 590 Ronald H. Fryling (Dutch, 1917‑1941) “Amsterdam Street Scene”, oil on canvas, signed and dated lower left “Ronald Fryling Amsterdam/35”, 25” x 19”, verso affixed with a typed label identifying the painting. Presented in a parcel-gilt hardwood frame. [300/500] Illustrated

581 Pair of Baccarat Crystal Figures of Seated Frogs, each with the acid-stamped Baccarat “decanter” mark on the base, h. 3”, w. 4”, d. 3”. [50/80] Illustrated 582 Baccarat Crystal Falcon’s Head, the proper right basal edge signed in script “Baccarat”, h. 4”. [50/80] Illustrated 583 Waterford Crystal Figure of a Recumbent Seal, the base with the acid-stamped Waterford signature, l. 8”. [50/80] Illustrated 584 Trio of Cristallerie Daum Seated Monkeys, representing, respectively, “Hear No Evil”, “Speak No Evil” and “See No Evil”, each signed on the basal edge in diamond stylus script “Daum France”, h. 3‑1/4”, w. 2‑1/2”, d. 2”. [50/80] Illustrated 585 Stylish Pair of French Frosted Glass Bottle Coolers, third quarter 20th century, with leaf handles, h. 9”, dia. 7‑3/4”. [100/200] 586 Sabino, Paris, Opalescent Glass Figure of a Plump Sparrow, second quarter 20th century, of diminutive size, with an embossed mark at the basal edge “Sabino, France”, l. 2”. [20/40] 587 French Blown Glass Garden Cloche, first quarter 20th century, of large bell form, h. 14‑1/2”, dia. 11‑3/4”. [50/80]

588

591 Hans Gott (German, 1883‑1962) “A Village in the Dordogne”, oil on canvas, ca. 1950, signed lower right, sight 7‑1/2” x 9‑1/2”. Presented in a giltwood Arts and Crafts-style frame. [300/500] Illustrated 592 Continental School (Third Quarter 20th Century) “Untitled Abstract”, color etching, signed illegibly lower right, numbered lower left “60/95”, sight 23‑1/2” x 17”. Glazed, attractively matted and presented in a silvered frame. [60/90] 593 Continental School (Third Quarter 20th Century) “Untitled Abstract”, color etching, signed illegibly lower right, numbered lower left “17/95”, sight 23‑1/2” x 17”. Glazed, attractively matted and presented in a silvered frame. [60/90] 594 Continental School (Third Quarter 20th Century) “Untitled Abstract”, color etching, pencil signed illegibly lower right, numbered in pencil lower left “XLIX/LX”, 19” x 13”. Matted and unframed. [30/50] 595 Danish School (20th/21st Century) “Green Landscape”, oil on canvas, initialed lower right, signed and dated on stretcher verso “Anders Koustrup 1985”, 24” x 27‑1/2”. Presented in a giltwood and gesso frame. [300/500] 596 Danish School (20th/21st Century) “Landscape with a Gray Sky”, oil on canvas, signed illegibly lower right, 24” x 27‑1/2”. Presented in a giltwood and gesso frame. [300/500] 597 Emil Poulsen (Danish, 20th Century) “View of a Beach at Sunset”, oil on canvas, unsigned, bearing a vintage gallery label verso and an ink-inscribed label in Danish, 19‑5/8” x 30‑1/2”. Framed. [300/500]

590 598 Michel Delacroix (French, b. 1945) “Parisian Scene Along the Seine”, chromolithograph, signed in pencil lower right, numbered in pencil lower left “XXXVII/CL”, sight 20” x 22‑1/2”. Glazed, linen-matted and presented in a silvered frame. [200/400] 599 Michel Delacroix (French, b. 1945) “Parisian Street Scene”, chromolithograph, signed in pencil lower right, numbered in pencil lower left “54/150”, sight 25” x 20‑3/4”. Glazed, linen-matted and presented in a parcelgilt burlwood frame. [200/400] 600 Italian School (20th Century) “The Red, Red Sea”, oil on academy board, 20” x 9‑1/2”. Presented in an antiqued carved giltwood frame in the Baroque style. [75/125] 601 Italian School (Contemporary) “Spring Landscape with a Chapel”, oil on canvas, signed “L. Capitani” lower right, 26‑1/2” x 22‑1/2”. Presented in a Rococo-style giltwood and gesso frame. [40/70] 602 Interesting and Varied Four-Piece Collection of Art, comprised of “Summer Pleasures: The Amalfi Coast”, by Katherine E. Wallis (American, 1861‑1957), oil on canvas, 1953; “Springs Bounty”, a floral still life by Lee Havesty (American, contemporary), watercolor, 1974; “Spray of Strawberries”, a pen and ink drawing by William Hobson (American, 20th century), ca. 1965; and “The Villa on St. Martin”, a watercolor by Carol Hine, 1991; all of the works signed and dated but for the Wallis and the Hobson, and all presented in attractive different frames. [100/200]

591

604

606 Group of Two Brahmin Alligator Handbags, consisting of a matte gilded brass-mounted three-tone alligator leather lady’s handbag in ecru, shaded gold and black, along with its original Brahmin storage bag, h. 9‑1/4”, w. 7”, l. 13”; and a larger burgundy alligator leather handbag, h. 11”, w. 5‑1/2”, l. 16”; both handbags fully lined in beige suede and retaining the pendant matte gilded brass Brahmin seals. [100/200] Illustrated 607 Group of Two Lady’s Dressing Accessories, consisting of a Chanel, Paris, gold-plate and leather “Cambon” belt of five plaques, together with its original Chanel white fabric storage bag, l. 48”; and a Gucci mocha leather-trimmed black wool felt tote bag, h. 18‑3/4”, w. 16”. [40/70] Illustrated

603 Good Set of Six Bartolini, Venice, Champagne Flutes, second quarter 20th century, the acid-etched pale rose and clear glass flutes in “Rose Garland” decor, each flute signed on the base with a diamond stylus-engraved script “B”, the basal edges and the lips gilded, h. 10‑1/8”, dia. 2‑1/2”. [75/125]

608 Collection of Four Bead or Mesh Lady’s Evening Bags, first quarter 20th century, comprised of a silverplate-framed beaded bag in “Scroll and Bar” decor; a smaller reticulated silverplate-framed beaded bag in stylized floral decor; an antique-gilded brass-framed polychromed gold mesh lady’s bag with a kiss clasp; and a smaller Continental silverplate-framed black steel mesh lady’s bag with an unusual sliding clasp, retaining its annular silverplate purse mirror; the largest h. 9”, w. 7‑1/2”. [50/80]

607 604 Italian Carved Giltwood and Mirrored Glass “Sunburst” Looking Glass, of large size in the Directoire style, the oval plate enframed with a band of narrow oblong mirrored glass panels surmounting a stepped double band of mirrored glass petals, every other sunray centered with a narrow mirrored glass panel, h. 32”, w. 27”. [400/500] Illustrated

606

609 605 Christopher Ross Blue Leather Lady’s Belt, 1976, with a large giltbronze buckle in the form of a kitten’s head set with dark amber taxidermist’s glass eyes, the buckle hallmarked on the interior with an embossed Christopher Ross mark, l. 36”. [100/200]

609 Mahogany and Leather-Upholstered Sofa, 20th century, the padded and tufted back joined by outscrolled arms to the tri-cushioned seat, raised on bulbous toupie feet, h. 32”, w. 78‑1/2”, d. 38”. [500/800] Illustrated 610 Contemporary Upholstered Sofa, the padded and domed tufted back joined by downswept arms to the cushioned seat, the base skirted and raised on tapering square legs, h. 31‑1/2”, w. 75”, d. 28”. [150/300] 611 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”. [500/800] 612 Contemporary Pecan-Finished China Cabinet, of traditional form, the projecting molded cornice over a paneled frieze, the glazed doors flanked by open serpentine shelves, the lower portion with a central folddown display nook over a pair of drawers, flanked by a serpentine drawer over a like door, h. 82”, w. 62‑1/4”, d. 15‑1/2”. [800/1200] Illustrated 613 Group of Two Metal “Frog” Items, consisting of a contemporary patinated brass candlestick whimsically modeled in the form of a frog bearing a candlestick holder, h. 4”, w. 7”, d. 4‑1/2”; and a patinated bronze desk figure of a frog, the body partially inlaid with marble pieces to resemble tortoiseshell, h. 3”, w. 5‑1/2”, d. 4”. [50/80] 612

614 Unusual Pair of Italian Carved Wooden Columnar Pedestals, in the form of upright bound asparagus spears, presented in a natural lightly waxed finish, h. 35‑1/2”, w. 12‑1/2”, d. 12‑1/2”. [150/300] Illustrated

615 Art Deco Bronze Figure of a Seal, second quarter 20th century, the elongated mammal depicted standing on a square pylon, signed on the proper right edge “Bronze/ M.O.”, in a horizontal octagonal frame, h. 16”, w. 6‑1/4”, d. 6‑1/2”. [100/200] Illustrated

615 614 616 Clark Bronson (American, b. 1939), a small patinated bronze figure of “National Eagle”, raised on an onyx base, signed, titled and dated “1976” at neck, h. 4”, dia. 3”. [50/80] 617 Contemporary Patinated Bronze and Glass Center Table, the circular glass top raised on three supports in the form of winged swans, on a concave tripartite base, h. 30”, dia. 48”. [400/700] Illustrated following page

621 American Carved Marble Abstracted Tabletop Sculpture, third quarter 20th century, depicting two dancers within an oval, the marble of gray-green coloration, h. 10‑1/2”, w. 8‑1/4”, d. 3”. [150/300]

618 Good Lachenal, France, Pottery Pyriform Vase, second quarter 20th century, in a gloss turquoise crackle glaze, the base signed in underglaze black “Lachenal”, h. 6‑1/4”, dia. 5‑1/2”. [300/500] 619 Pair of French Terra Cotta Architectural Plaques, first quarter 20th century, each featuring a central bas-relief foliate ornament, now mounted as table lamps on custom wrought-iron bases, the bases in an overall lightly rusted finish, h. 12”, w. 5‑1/2”. [200/400] Illustrated

622 John Allan Dawson (American/Arizona, b. 1946) “The Phantom”, a bronze sculpture, signed “Dawson” at back of the sculpture, raised on an oval hardwood plinth base, h. 12”, w. 7‑1/2”, d. 6”. [75/125]

620 French Reticulated Wrought- and Sheet-Iron Looking Glass, second quarter 20th century, in the ArtModerne style, presented in a matte rubbed natural rust finish, h. 35‑1/2”, w. 19‑3/4”. [250/400]

617

623 Contemporary Patinated Bronze Figure of a Japanese Dancer, fourth quarter 20th century, raised on a circular marble plinth base, h. 8‑3/4”, dia. 6”. [75/125] 624 Alexandre Kelety (Hungarian, 1918‑1940), a patinated bronze sculpture of a child with a goose, signed at the base “A. Kelety”, h. 10”, dia. 3‑1/4”. [75/125]

619

625

625 Dan Heching (American, Contemporary), a natural and patinated bronze bust of an elegant young woman wearing a stylized hat and exaggerated lapels, dated 1992, signed at the proper right rear basal edge “Heching ‘92”, presented on an integral patinated bronze open pedestal, overall h. 66”, w. 12”, d. 10”. [400/700] Illustrated Color Plate VII 626 Group of Three Lucite Stands, consisting of a threetier chairside table of oblong octagonal form, the shelf edges narrowly beveled, h. 19‑1/2”, w. 13‑1/2”, d. 8‑1/2”, fourth quarter 20th century; an Art Deco Revival rack, the single Lucite standard fitted with three graduated hanging rods, raised on rectangular base, third quarter 20th century, h. 37‑1/2”, w. 16”, d. 12‑1/4”; and an American oblong tiered telephone stand, the shelf dished, the whole supported on stylized bracket feet, h. 24”, w. 11”, d. 11”. [50/80]

627 Large Lucite Figure of a Seated Frog, in shades of emerald and hunter green, h. 6”, w. 7‑3/4”, d. 8”. [40/70] 628 American Plexiglass and Lucite Rolling Magazine Rack, third quarter 20th century, the rim fitted with an encompassing tubular Lucite rail, the whole supported on four rolling ball feet in silvered plastic, h. 10‑1/2”, w. 18‑1/2”, d. 14‑3/4”. [50/80]

631 Lucite “Doric Column” Table Lamp, in the neoclassical taste, the whole supported on a large square block base of Lucite, h. 21”. [100/200] 632 Contemporary Blonde Mahogany Side Table, the rectangular top raised on square legs, the whole outlined with molded bandings, h. 27”, w. 36”, d. 17‑3/4”. [50/80] 633 Italian Burlwood and Linen Looking Glass, third quarter 20th century, the interior edge of the broad natural linen mat fitted with a matching half-round burlwood fillet, h. 18‑3/4”, w. 15‑3/4”. [50/80] 634 Anglo-Indian Pieced Bone-Veneered Columnar Pedestal, third quarter 20th century, h. 36‑3/8”, dia. 14‑1/4”. [100/200]

637

635 Gilt-Brass and Glass Vitrine Cabinet, 20th century, of rectangular form, the glazed top opening to a fabric-lined interior, the sides also glazed, raised on a conforming ebonized four-legged stand, h. 18‑1/4”, w. 32”, d. 20”. [75/125]

629 Two Similar Lucite Floor Lamps, one having six vertical chrome mounted Lucite rods on a circular chrome base, the other comprised of a single large Lucite column mounted to a square brass base, h. 57”, w. 10”, d. 10”. [100/200]

636 French Brass and Glass Serving Trolley, early 20th century, the removable rectangular glass top opening to a single shelf, the glass case fitted with two sliding doors, each end fitted with a push handle, raised on brass legs joined by a box stretcher on casters, h. 36”, w. 24‑1/2”, d. 14”. [100/200] 637 Follower of Alberto Giacometti (Italian, 1901‑1966), a pair of bronze-patinated plaster figures of a tall, attenuated male and female nude, fourth quarter 20th century, h. 36‑3/4”, w. 8‑1/2”, d. 8‑1/2”. [150/300] Illustrated

630 Unusual Set of Six Lucite Salad Bowls, third quarter 20th century, of rounded near-square form, each embedded with wheat and field grasses in their natural colors, w. 7‑1/8”, l. 7‑1/4”. [75/125]

644

638 Austin Rand (American, Contemporary), a terra cotta figure of an attenuated dapper gentleman carrying a hat, dated 1974, signed and dated at the rear edge of the rectangular base, h. 25‑1/2”. [100/200]

639

639 Unusual Silver-Painted Driftwood and Plate Glass Console Table, the base constructed of naturally formed driftwood and supporting the serpentine plate glass top, h. 34”, w. 42”, d. 19‑3/4”. [400/700] Illustrated

641 Three-Piece Collection of Murano Art Glass, comprised of a good lattimo and air-trap “Lace” cabinet dish with a crimped border, ca. 1900, h. 1”, dia. 5‑1/2”; a good opalescent white-striped colorless glass bud vase of bottle form, third quarter 20th century, h. 6‑1/4”; and a fine aventurine spiral-striped cased amethyst-overlattimo petal-form bonbon bowl, ca. 1950‑1955, h. 2”, dia. 7‑1/2”. [50/80] 642 American Contemporary Chromium-Mounted Lucite Tea Cart, having two tiers, each with a deep galleried edge, h. 27”, w. 17”, l. 25”. [50/80]

651

640 Small Pair of Murano Glass Posy Vases, second quarter 20th century, of truncated oviform in transparent amber cased lattimo with goldstone inclusions, h. 3”, dia. 2‑3/4”. [40/70]

652

643 Handsome Pair of Italian Blown Ruby Glass Garniture Vases, third quarter 20th century, cased in stylized “tortoiseshell” glass with gold leaf inclusions, h. 9‑3/4”, dia. 9”. [50/80] 644 Michael Wilkinson (American, Contemporary) “Lodestone”, an acrylic sculpture, signed, numbered and dated “Wilkinson, copyrighted 2000, 113/300”, raised on a custom black-lacquered pedestal, sculpture h. 22”, overall h. 66”, w. 16”, d. 10”. [700/1000] Illustrated previous page and Color Plate VII 645 Large and Elegant Leaded Glass Rondel of an Orchid Bloom, composed of colorless pebbled, pale caramel slag and transparent emerald green glass, dia. 26‑1/2”. [40/70]

653

649 Continental Wrought-Iron Garden Table, fourth quarter 20th century, the circular trellis-form top over a polychromed grapevine-form apron, applied with glass grapes clusters, raised on scrolled legs joined by an Xform stretcher surmounted by an acorn finial, h. 27‑1/2”, dia. 29”. [100/200] 650 Contemporary Stained Mahogany Three-Tiered Hanging Plate Shelf, each shelf with a plate groove near the back edge and supported by turned posts, h. 31”, w. 30‑3/4”, d. 8”. [100/200] 651 Attributed to Howard Logan Hildebrandt (American/ Pennsylvania, 1872‑1958) “Figures in a Lush Garden”, oil on canvas wrapped over board, unsigned, 16” x 12”. Framed. [200/400] Illustrated 652 Garcia Cahero (Mexican, fl. First Quarter 20th Century) “View of a House with Courtyard”, oil on canvas, signed and dated lower left “Garcia-Cahero 1920”, 30” x 25‑1/2”. Presented in an unfinished hardwood frame. [300/500] Illustrated Color Plate VII 656

653 Attributed to Howard Logan Hildebrandt (American/ Pennsylvania, 1872‑1958) “Children Playing in the Stream”, oil on board, unsigned, 12‑1/2” x 16”. Presented in a giltwood and linen frame. [200/400] Illustrated 654 American School (Second Quarter 20th Century) “Abstract Portrait of a Mother and Child”, oil on board, unsigned, sight dia. 7”. Presented in an ornately incised and acanthine-molded giltwood and gesso frame with a circular aperture. [100/200] Illustrated

654 646 Dramatic Italian Seafoam Green and Colorless “Strie” Glass Bowl, third quarter 20th century, of stylized shell form, h. 7”, dia. 20‑1/2”. [100/200] 647 Swedish Blown Cobalt Blue Glass Salad Bowl, third quarter 20th century, of deep cylindrical form, h. 10”, dia. 5”. [50/80] 648 Rosenthal Studio-Line Crystal Vase, of oblong section in fully stylized tangent-leaf decor, the base acid-stamped, h. 8‑1/2”, w. 6”, d. 3‑1/2”. [30/50]

655

655 American School (Fourth Quarter 20th Century) “Study of Walking Figures in Blue”, oil on canvas, signed verso “T. Harris”, 38” x 38”. Presented in a molded giltwood and gesso frame. [300/500] Illustrated 656 Naomi Duckman (Furth) Lorne (American/ New York, 1902‑1964) “Abstract”, oil on masonite, signed lower right “Lorne”, 10‑1/2” x 8”. Presented in a giltwood and linen frame. [200/400] Illustrated

657 661 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”. [900/1200] Illustrated Color Plate V

658 657 Jose Luis Campuzano (American/Spanish, 1918‑1979) “European Street Scene at Dusk”, oil on canvas, signed lower right “Campuzano”, 30” x 24”. Presented in a polychromed frame. [250/400] Illustrated 658 Morando Lugue (Argentina; Active Second Quarter 20th Century) “View of a Village with a Gaucho”, oil on canvas, signed lower right, 31‑1/2” x 24”. Presented in a giltwood frame with linen liner. [400/700] Illustrated 659 Morando Lugue (Argentina; Active Second Quarter 20th Century) “Shepherd with His Flock”, oil on canvas, signed lower right, 24” x 32”. Presented in a molded giltwood frame. [200/400] 660 Large Pair of Italian Bronze-Patinated Brass Figures of Eros, the winged infants modeled standing on starred spheres resting on stylized clouds in the Baroque style, one figure bearing a bow, the other a flambeau, both figures tastefully antiqued and accented with verdigris detailing, h. 34”, w. 11”, d. 13”. [300/500] Illustrated

660

662

663 666 Diminutive Italian Carved Carrara and Gray Marble Bust, depicting a soulful young girl of the campagna, fourth quarter 19th century, probably Florentine, h. 6‑1/2”, w. 6‑1/2”, d. 2‑3/4”. [75/125]

667 Italian Polychromed, Parcel-Gilt and Marble-Top Credenza, in the rococo style, the serpentine marble top over a conforming case fitted with three doors, the central door with a putto-painted scene within a beribboned oval, the side doors each with a floral-bouquet painting, the whole flanked by scroll- and acanthine-carved sides, raised on like feet, h. 38‑1/4”, w. 74”, d. 22‑3/4”. [800/1200] Illustrated Color Plate V

662 Handsome Italian Cast-Brass Paw-Footed Candelabrum Base, first quarter 20th century, in the Baroque style, the facade centered with a snarling leonine masque, the sides each centered with an upright scallop shell, the surfaces tastefully antiqued throughout, h. 8‑1/4”, w. 12‑1/4”, d. 10‑1/4”. [150/300] Illustrated

665

663 Handsome Italian Cast-Brass Paw-Footed Candelabrum Base, first quarter 20th century, in the Baroque style, the facade centered with a snarling leonine masque, the sides each centered with an upright scallop shell, the surface tastefully antiqued throughout, h. 8‑1/4”, w. 12‑1/4”, d. 10‑1/4”. [150/300] Illustrated 661

664 Cased Italian Tiger Maple Violin and Bow, early 20th century, fictitiously dated 1708 and bearing the printed paper label of Joseph Guarneri filius Andreae (1666‑1739/40), the conforming hard case lined in furred fabric and fitted with a leather carrying strap, w. 8”, l. 23‑1/2”. [300/500] 665 Italian Patinated Spelter Bust of “The Gypsy Fortune-Teller”, fourth quarter 19th century, the smiling soothsayer’s proper right hand fitted with a coin, the dark gray-patinated surface lightly weathered throughout, h. 18‑1/2”, w. 15‑1/2”, d. 11‑1/2”. [500/800] Illustrated 667

668 Pair of Italian Provincial Glazed Terra Cotta Tiles Featuring Rabbits, first quarter 19th century, the grounds of brilliant sapphire blue with bas-relief foliate scrolls in white at the corners, h. 16”, w. 11‑1/2”. [200/400] Illustrated 669 Large Italian Blanc de Chine Pottery Figure of a Swan, by Onato and Masio Pottery, Este, Italy, the figure depicted standing in foliage in the 18th-century style, marked in underglaze transfer-printed green on the interior of the base, produced for Gump’s, San Francisco, and so paper labeled on the same interior, h. 21‑1/2”, w. 24”, d. 16”. [125/250] 670 Striking Small Pair of Italian Carved Wood Looking Glasses, composed of antique architectural elements, the elements ca. 1825‑1840, the resulting mirror form a pointed cartouche, presented in a softly waxed old walnut finish, h. 20”, w. 14‑3/4”, d. 1‑1/2”. [100/200] 671 Dramatic Italian Gilded Papier-Mache Torchere, in the form of a nubile beauty holding a candelabrumflambeau aloft, the candlearms fitted with four small electric lamps having tulip-form frosted glass shades, the whole supported on a gilded stepped and waisted base of square section, h. 75‑1/4”, w. 15”, d. 15”. [300/500] Illustrated

672 Trio of Eglomise “Richard Hudnut Perfumes” Lampshade Panels, first quarter 20th century, each panel of ribbed convex form and depicting a flower-gathering nymph accompanied by a pair of putti, h. 10”, w. 7‑1/2”. [600/900] 673 Giovanni Battista, Florence, Carved Giltwood Looking Glass, of bipartite form in the Palladian style, the upper panel containing a colored lithograph of a 15thcentury Italian painting of a noble equestrian procession, the reverse with the Battista printed paper label, h. 31‑1/2”, w. 13‑1/8”. [75/125]

671

674 Large Italian Brass-Mounted Marquetry Jewel Box, first quarter 20th century, the interior of the lid fitted with a looking glass with a beveled edge, the lower interior fitted with a trio of compartments, the whole supported on four engine-turned gilt-brass feet, retains the period steel key, h. 4‑3/4”, w. 24”, d. 14‑1/2”. [150/300] Illustrated 675 Italian Brass-Mounted Fruitwood and Marquetry Beaker Case, first quarter 20th century, probably of Sorrento origin, of stepped form in the neoclassical style, the interior lined in white-glazed ceramic of beaker form for the containment of a separate glass or metal beaker, now lacking, h. 11‑1/2”, w. 8”, d. 6‑3/4”. [75/125]

668

676 Italian Carved Giltwood and Mirrored Glass “Sunburst” Looking Glass, in the Directoire style, the circular plate enframed with fourteen mirrored glass “petals”, the gilded finish tastefully antiqued throughout, dia. 23”. [300/500] Illustrated

674

677 Italian Cast, Gilded and Reticulated SupraPorta Plaque, first quarter 20th century, in the form of an anthemion, h. 20‑1/2”, w. 14‑3/4”. [75/125]

676

681 Attractive Italian Seashell-Enframed Looking Glass, in the “Grotto” style, the plate narrowly beveled throughout, h. 27”, w. 23”. [200/400] 682 Pair of Italian Carved Fruitwood Flambeaux, third quarter 19th century, of tall form in the neoclassical taste, each fitted with a bracket aperture at the rear center, presented in a softly waxed natural wood finish, l. 27”. [75/125] 683 Italian Iron and Brass “Savonarola” Armchair, 20th century, the fabric back surmounted by corner brass finials, joined by sling fabric arms to the like seat, raised on a cross-over base ending in peg feet, h. 33”, w. 21‑1/2”, d. 16‑1/2”. [300/500] Illustrated

678 Pair of Italian Provincial Painted Iron Sconces, second quarter 20th century, in “Ivy” decor, the ivy leaves in green, the scalloped-edge bobeches in matte white, the painted surfaces attractively worn throughout, h. 21”, w. 12”, d. 7”. [100/200] 679 Large Pair of Italian Carved Giltwood Sconces, in the form of hands clutching flambeaux in the neoclassical manner, the backplates modeled as fluted drapery panels, fitted for electrical wiring, h. 32”, w. 6”, d. 13”. [200/400] Illustrated

680 Continental Rococo-Style Polychromed ffee Table, third quarter 20th century, the circular glassinset top with polychromed floral urns and scrolling foliage, raised on cabriole legs headed by acanthine and block patera carving, and ending in scroll feet, h. 16‑1/4”, dia. 38”. [200/400] Illustrated

683

680

679

684 Italian Carved and Gilded Wooden Bracket Shelf, first quarter 20th century, of large size in the Napoleon III taste, the giltwood support modeled as a ribbon-bound bouquet of foliage, a pair of calla lilies and a poppy, the finish a combination of matte and bright gilding, h. 14”, w. 20‑1/4”, d. 11‑1/4”. [150/300] Illustrated 685 Italian Polychromed and Lustered Majolica Bracket Shelf, second quarter 20th century, in the HispanoMoresque style, the facade centered with a helmeted silhouette head in the Renaissance manner, h. 8”, w. 6”, d. 5‑1/2”. [75/125]

686

686 Pair of Italian Reticulated Brass Chairside Tables, first quarter 20th century, of circular, tripodal form in the Neo-Renaissance style, each with an upper terminus of a stylized dolphin, the feet of paw form, h. 23‑5/8”, dia. 13”. [100/200] Illustrated 687 Pair of Italian White Crackle-Glazed Terra Cotta Figures of Foo Dogs, second quarter 20th century, of whimsical stylized form in the Chinese taste, h. 9‑5/8”, w. 7‑1/8”, d. 3‑5/8”. [100/200]

691

688

688 Pair of Italian Glazed Terra Cotta Butcher’s Shop Emblems, in the form of horned ram-sheep heads in the 19th-century style, each head presented in a white crackled glaze and fitted with russet and black glass taxidermy eyes, h. 13”, w. 16‑1/2”, d. 9”. [200/400] Illustrated 689 Italian Polychromed Cut- and and Wrought-Iron Leafed Branch Spray, second quarter 20th century, of large size and modeled as two conjoined arched leafed branches, the leaves painted green, h. 44”, w. 56”. [50/80]

684

690 Large Ceccarelli, Italy, Polychromed Majolica Garden Seat, third quarter 20th century, in the form of four stacked cushions, the upper cushion with tasseled corners, the lowest cushion signed at the basal edge in black script “Ceccarelli”, h. 18”, w. 17”, d. 17”. [100/200]

694 693

695

696 Good Two-Piece Antique Sheffield Plate Candle Snuffer Set, second quarter 19th century, in “Cartouche and Scroll” decor, the set comprised of a scissor-form snuffer-wick trimmer, l. 7‑1/2”, and a matching oblong tray, w. 4”, l. 10‑3/8”. [75/125] 697 Good Antique Sheffield Plate “Gadroon” Chamberstick, second quarter 19th century, fitted with the period “dunce’s cap” snuffer and a detachable bobeche, h. 4”, dia. 5‑7/8”. [50/80]

699

700 698 Jones, Ball and Company, Boston, Coin Silver Child’s Presentation Cup, dated 1852, the rim in “Antique Bead” decor, the handle scrolled, the facade with a delicately engraved inscription to Charlotte E. Wise from Edward Everett, h. 3‑3/4”, w. 3”, l. 4‑1/4”, 3.95 t. oz. [250/400] 699 Unusual English “Boston Terrier Head” Biscuit Jar, first quarter 20th century, the silverplate dog’s head fitted with russet-enameled glass taxidermist’s eyes and topping a blown glass base of cushion form, h. 9”, dia. 7‑1/2”. [100/200] Illustrated

691 “Vienna Bronze” Figure of a Spotted Whippet, first quarter 20th century, of large size and polychromed in black and white, h. 20‑3/4”, w. 8”, l. 26”. [250/400] Illustrated 692 Italian Carrara Marble Birdbath Basin, first quarter 20th century, in the form of a South Pacific clam shell, the surface lightly weathered throughout, h. 6‑1/2”, w. 12”, l. 16‑3/4”. [50/80] 693 Sterling Silver Relief Photograph Frame, in “Torii Gate with Entwined Dragons” decor in the Japonesque taste, the backplate and easel of midnight-blue velvet, h. 9‑1/2”, w. 7‑1/4”, d. 6”. [200/400] Illustrated 694 Sterling Silver Relief Photograph Frame, of large rectangular form in “Flying Geese and Japanese Landscape” decor in the Japonesque taste, the backplate and easel of midnight-blue velvet, h. 12‑1/2”, w. 10‑3/8”, d. 8”. [400/700] Illustrated 695 English Victorian Sterling Silver Photograph Frame, 1897, London, maker: L. C., of rectangular form with a cardioform aperture, the backplate and easel of period black velvet, h. 7‑3/8”, w. 5‑3/8”, d. 4‑3/4”. [600/900] Illustrated

700 Kuang Hsu Bronze-Argente “Three Faces of Buddha” Head, fourth quarter 19th century, signed on the base with a calligraphy rondel, presented on a square Lucite display block, head h. 5”, dia. 4‑3/4”, overall h. 9”. [100/200] Illustrated 701 Attractive Pair of Antique Sheffield Plate Magnum Bottle Stands, third quarter 19th century, maker: L.S., in the rococo style, the interiors richly chased with foliate scrolls, dia. 7‑1/4”. [75/125] 702 Frank M. Whiting Sterling Silver Sugar Sifter, first quarter 20th century, in the George II style, the conforming cover elaborately pierced, h. 5”, dia. 2‑1/8”, 2.90 total t. oz. [75/125] 703 Seven-Piece Collection of Silverplate Photograph Frames, comprised of an 8” x 10” silverplate example in “Ripple” decor; another 8” x 10” frame in “Scrolling Vine” pattern; a graduated pair of silverplate-faced frames in the Edwardian rococo taste; a 5” x 8” silverplate-faced frame of waisted cartouche form; a 5” x 7” hammered silverplate-faced frame; and a 3” x 5” oblong silverplatefaced frame in “Gadroon” decor; all seven examples with velvet backplates and easels, the largest h. 12”, w. 10”. [200/400]

704

704 Seven-Piece Collection of Silverplate Photograph Frames, comprised of a trio of silverplate-faced frames (one center frame and two matching flanking frames) in the Edwardian style; an 8” x 10” silverplate-faced frame in “Bound Reeds” decor; another 8” x 10” silverplate-faced frame in “Shell and Scroll” decor; a 5” x 7” silverplate “Gadroon” frame; and a 3” x 5” oblong silverplate-faced frame in the Edwardian taste; all seven examples with velvet backplates and easels, the largest h. 12”, w. 10”. [200/400] Illustrated 705 Elegant State Express Silverplate Cigarette Box, second quarter 20th century, of oblong form in the Art Moderne taste, the silverplate case with an inset alligator leather top, the triple-compartment interior lined in sandalwood, h. 2”, w. 9‑3/4”, d. 5‑1/4”. [50/80] 706 Group of Two English Photograph Frames, consisting of a sterling silver-faced example in the Edwardian style, with a blue velvet back and easel, h. 8‑3/4”, w. 10‑3/8”; and a smaller sterling silver-faced frame in “Ribbon-Bound Reeds” decor, with the backplate and easel in mahogany, h. 4‑3/4”, w. 3‑3/4”. [100/200] 707 Gorham Sterling Silver Presentation Playing Card Box, dated 1991, the lid centered with a Wilmington Country Club medallion and engraved “1991/1st Big Boom”, the interior lined in sandalwood, h. 1‑3/4”, w. 7‑3/4”, d. 3‑1/4”. [125/250] 708 Fine and Rare Pair of English Reticulated Sterling Silver Master Salts, 1791, by Hester Bateman, London, each of oval, footed form and retaining the conforming blown and cut cobalt blue glass liner, h. 2”, w. 2‑1/2”, l. 3‑1/4”, 2.85 total t. oz. [900/1200] Illustrated 709 Fine and Rare Set of Six English Bright-Cut Sterling Silver Place Spoons, 1781, by Hester Bateman, London, in the neoclassical taste, l. 6‑3/4”, 5.80 total t. oz. [1800/2500] Illustrated

710 George V Sterling Silver Covered Presentation Cup, 1920, London, maker: Walker and Tellhurst, of two-handled and footed form in the 18th-century style, the facade with an engraved presentation inscription dated August 1927, h. 8”, w. 3‑5/8”, l. 5‑1/2”, 12.55 t. oz. [400/700] 711 Set of Six Edward VII Sterling Silver After-Dinner Coffee Spoons, 1901, Birmingham, maker: H. & T., in the Aesthetic taste, l. 4‑1/8”, 2.25 total t. oz. [100/200]

712 Attractive Pair of English Sterling Silver Spice Casters, 1880, Birmingham, of cylindrical, spiral-ribbed form in the Early Georgian style, h. 4‑1/2”, dia. 2‑3/8”, 7.35 total t. oz. [350/500] 713 Twelve Pieces of Sterling Silver Stemware, second quarter 20th century, consisting of a set of ten liqueur goblets in the Georgian taste, h. 2‑7/8”, dia. 1‑1/4”; and a pair of similar, larger port goblets, h. 2‑1/4”, dia. 3‑1/4”, 8.55 total t. oz. [100/200] 714 Pair of Edwardian Carved and Jigsawn Mahogany Looking Glasses, first quarter 20th century, of scallopedtop cartouche form in the rococo taste, the cresting modeled as a tangent trio of addorsed foliate scrolls, h. 44”, w. 31”. [300/500] 715 Large Pair of George V Brass “Chief Light” Kerosene Lanterns, dated 1935, of square section, not electrified and retaining the period blown glass chimneys, the glazing overlain with copper mullions, each lantern with an affixed plaque reading “Chief Light/ No. 3509/ Great Britain/ 1935”, h. 15‑1/2”, w. 7‑1/4”, d. 7‑1/4”. [200/400] Illustrated

709

708

716 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”. [200/400] 717 Large French Carved Oak Seven-Hook Coat Rack, first quarter 20th century, the brass hooks modeled as putto masques within rococo backplates, each of the three panels of the backplate centered with a carved paper curl-edged shield, h. 19”, w. 43‑1/2”, d. 7‑1/2”. [400/700] Illustrated

717

715

719

718 Pair of Welsh Brass Miner’s Lanterns and a Garniture, first quarter 20th century, each lantern fitted with a brass suspension hook of C-form, emblazoned with oval embossed brass plaques bearing the Welsh dragon surmounting the word “Cymru”, h. 9”; the tall ribbed and ringed cylindrical brass bottle fabricated from a World War I artillery shell casing, h. 13”. [50/80]

719 Good Belle Epoque Brass Domed Hexagonal Birdcage, fourth quarter 19th century, of “tempieto” form, the facade fitted with an arched wire door, the floor of the cage lacking, h. 25‑1/2”, w. 13”, d. 11‑1/4”. [1200/1800] Illustrated 720 Pair of English Glass Vasiform Table Lamps, the parcel-gilt reverse-painted pink grounds with decoupage decor in the neoclassical taste, presented on brass-mounted black-painted wooden bases of disc form and fitted with custom satin-black card shades of drum form with gilded linings, h. 28‑3/4” to top of finial. [300/500] 721 Two Large Cast-Brass Components to a Balance Scale, early 20th century, lacking the central standard and one hanging pan, arm l. 40”, pan, h. 34”, dia. 12”. [30/50]

723

722 Continental Cast-Brass and Etched Glass ThreeTier Etagere, early 20th century, having three support posts with lion’s heads at the top and ending in paw feet, each shelf of circular form with glass inserts etched with floral motifs, h. 36‑3/4”, dia. 23”. [100/200]

723 Suite of Four Continental Cast-Iron Bistro Folding Chairs, first quarter 20th century, each with a caned back above a like seat, raised on serpentine legs joined by an Hform stretcher, h. 32‑1/4”, w. 15‑1/4”, d. 21”. [200/400] Illustrated previous page 724 Thonet-Style Bentwood Ash Circular Side Table, early 20th century, the underside bearing numerous metal and paper labels, the metal tags read “American Furniture Exchange” and a paper label reads “Vienna Austria”, h. 30‑1/4”, dia. 24”. [100/200] 725 Thonet-Style Bentwood and Caned Rocking Chair, early 20th century, having a pressed caned seat and back, the under-seat stamped “80”, h. 40‑1/2”, w. 20”, d. 29‑1/2”. [150/300] 726 Seven-Piece Collection of Belleek Porcelain, comprised of a “Shamrock Tea Ware” milk jug (4th Mark), 1946‑1955, a matching “Shamrock” cream pitcher (5th Mark), 1955‑1965, a “Shamrock” large mug (also 5th Mark), a matching cylindrical tankard (5th Mark), a “shell” bowl in “Shamrock” decor (5th Mark), and a matching “shell” teacup and saucer (4th Mark), 1946‑1955, all of the pieces fully backstamped in green, the largest h. 6‑1/4”, w. 4‑1/2”, l. 6”. [40/70]

732 727 Interesting Six-Piece Collection of Belleek Porcelain, comprised of a “Toy Shell” sugar basin and creamer with yellow interiors (4th Mark), 1946‑1955, a “Lotus” open sugar basin and cream pitcher with yellow interiors (4th Mark) and of like date, and a “New Shell” tea cup and saucer (5th Mark), 1955‑1965, each piece fully backstamped, pitcher h. 3‑1/2”, w. 2‑1/2”, l. 3‑1/8”, bowl h. 2‑1/8”, dia. 3‑5/8”. [50/80]

736

729

728 Seven-Piece Collection of Belleek Porcelain, comprised of an “Octagon Flower Pot Middle Size” with a yellow interior (5th Mark), 1955‑1965, a “Limpet” coffeepot (also 5th Mark), and a set of five “Limpet” tea/dessert plates (5th Mark), all of the pieces fully backstamped in green, the largest h. 7”, dia. 4‑1/2”, w. 8‑1/2”. [75/125] 729 Tall Polished Onyx Floor Vase, of attenuated baluster form in the Edwardian taste, h. 29‑3/4”, dia. 8‑1/2”. [200/400] Illustrated

738

734 Group of Two Edwardian Glass Inkstands, first quarter 20th century, one a large brass-mounted cobalt blue glass example of cushion form, retains the original cobalt blue glass well liner, h. 3‑3/4”, dia. 3‑3/4”; and the other a gilt-brass-mounted air-trap ruby glass inkstand of cushion form, the matching ruby glass cover of modified sphere form, h. 4”, dia. 4”. [50/80] 735 Shadowboxed Lady’s Evening Fan, first quarter 20th century, the black crocheted lace fan presented against an antique white-painted ground within a glazed giltwood and ebonized shadowbox frame, h. 17”, w. 19”. [75/125] 736 Pair of Ebonized and Upholstered Sidechairs, 20th century, each with a padded and back-scrolled back above the padded seat, raised on fluted tapering circular legs ending in toupie feet, the whole with brass tack accents, h. 36”, w. 18‑1/4”, d. 23‑1/2”. [150/300] Illustrated 737 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] 738 Edwardian Inlaid Mahogany Wardrobe, early 20th century, one side fitted with a molded and dentillated cornice above a single mirrored door, opening to a fitted hanging space, the other lower side fitted with a single paneled cupboard door centered by an inlaid shell over four graduated and banded drawers, the whole raised on a plinth base, h. 79”, w. 48”, d. 18”. [500/800] Illustrated

730 Attractive Pair of Royal Copenhagen Celadon Porcelain Garniture Vases, second quarter 20th century, parcel-gilt crackled in the chinoiserie taste, each example fully marked on the base, h. 11‑1/2”, w. 9”, d. 7‑1/2”. [150/300]

739 Painted Cast-Iron and Marble-Top Bistro Table, the circular carrara marble top with molded edge, raised on cabriole legs headed by masque medallions, joined by a circular shelf-stretcher and endings in pad feet, h. 29”, dia. 27”. [75/125]

731 Good Trio of Derby Porcelain Dessert Plates, first quarter 19th century, centered with Antique vases en grisaille, the outer narrow borders in parcel-gilt royal blue, each marked with the crowned Derby script “D” in underglaze teal, dia. 8‑1/2”. [400/700] 732 Edwardian Walnut and Burl Walnut Armoire, ca. 1900, the top with a molded and dentillated cornice above a central beveled mirror flanked by raised panel doors to each side and a pair of drawers below, h. 78‑1/4”, w. 57”, d. 21‑1/2”. [500/800] Illustrated 733 Good Near Pair of Edwardian Blown Glass Decanters, first quarter 20th century, petal and oculus cut, each retaining the period spherical cut glass stopper, h. 12”. [100/200]

740

747 Meredith Dean (American, Contemporary) “REvolution 2/35/50”, intaglio print, pencil titled, signed and dated “’78”, sight 20” x 20”. Glazed, matted and framed. [60/90] 748 Jack Levine (American/New York, b. 1915) “Victoria’s Jubilee”, 1967, soft ground etching, signed in pencil lower right “J. Levine”, pencil numbered lower left “XXVI/XLV”, sight 10‑1/4” x 13‑1/4”. Glazed, matted and mounted for hanging. [100/200] 749 Jack Levine (American/New York, b. 1915) “Peachum Tries to Stop the March to St. Paul’s”, 1967, soft ground etching, signed in pencil lower right “J. Levine”, pencil numbered lower left “XXVI/XLV”, titled in print, sight 10‑1/4” x 13”. Glazed, matted and mounted for hanging. [100/200] 743 740 Mark King (American/Bombay, b. 1931) “Morning Hunt”, serigraph, signed in pencil lower right, numbered in pencil lower left “XV/C”, verso signed and affixed with a “Martin Lawrence Gallery” label, sight 32‑1/2” x 40”. Glazed, matted and framed. [500/800] Illustrated previous page 741 Mon Levinson (American/New York, b. 1926) “Untitled #1”, 1964, serigraph, from New York Ten, published by Tanglewood Press Inc., New York, 1965, verso with framer’s label “Kulicke Frames Inc., NY”, sight 12” x 14‑3/4”. Glazed and presented within an ebony mat and a silver frame. [125/250]

750 Jack Levine American/New York, b. 1915) “Polly Founds a Bank”, soft ground etching, signed in pencil lower right “J. Levine”, pencil numbered lower left “XXVI/XLV”, sight 10‑1/4” x 13”. Glazed, matted and mounted for hanging. [100/200]

757

742 The Making of the Representative for Planet 8, suite of four posters by Philip Glass and Doris Lessing, Houston Grand Opera, 30” x 21”. Unframed. [50/80] 743 Mark King (American, b. Bombay, 1931) “Bengal Family”, limited edition serigraph, numbered “306/325” lower left, signed lower right, sight 25‑3/4” x 35”. Glazed, matted and presented in a contemporary metal frame. [700/1000] Illustrated 744 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. [150/300] 745 Hopalong Cassidy in Range War, a vintage movie poster, 37‑1/2” x 35”. Matted, glazed and presented in an ebonized frame. [300/500] 746 American School (Contemporary) “Nautilus”, mixed media on paper, titled lower left, signed lower right “Andres”, sight 13” x 10”. Doublematted and framed. [50/80]

758

756 Glazed White Porcelain “Large” Glove Mold, dated May 8, 1999, by General Porcelain Works, Trenton, New Jersey, fully marked in underglaze blue stencil on the wrist, h. 12”. [20/40]

760 761

762

751 Jack Levine (American/New York, b. 1915) “Mack Sees Polly Peachum”, 1967, etching, signed in pencil lower right “J. Levine”, numbered lower left “XXVI/XLV”, sight 13‑1/4” x 10‑1/4”. Glazed, matted and mounted for hanging. [200/400] 752 Jack Levine (American/New York, b. 1915) “Look! There Goes Mack the Knife”, 1967, copper etching, signed in pencil lower right “J. Levine”, numbered in pencil lower left “XXVI/XLV”, sight 13” x 10”. Glazed, matted and mounted for hanging. [100/200] 753 Glazed White Porcelain “Baxter” Elbow-Length Glove Mold, dated August 4, 1992, by General Porcelain Works, Trenton, New Jersey, fully marked in underglaze blue stencil on the wrist, h. 15‑1/4”. [20/40]

757 Three-Piece Group of French and English Pottery, consisting of a good Sarreguemines glazed pottery “Laughing Man” novelty pitcher, fourth quarter 19th century; a good Beswick Ware, Staffordshire, “Widow Greene” teapot, first quarter 20th century; and a Beswick “Mr. Varden” cream pitcher of Toby form, also first quarter 20th century; all three examples fully marked, the largest h. 7”. [100/200] Illustrated

758 Group of Three Pottery Tankards, consisting of a large Royal Doulton “Long John Silver” Toby tankard, the model introduced in 1951; a studio pottery “Long John Silver” Toby tankard of smaller size in the Royal Doulton style, third quarter 20th century; and an Inarco, Japan, polychromed pottery “Robin Crusoe” Toby tankard; all of the examples marked on the base, the largest h. 7”, w. 7‑3/4”, d. 5‑1/2”. [100/200] Illustrated 759 Group of Three Pottery Tankards, consisting of a good Royal Doulton “The Lawyer” Toby tankard, the model introduced in 1958; a Royal Doulton “The Jester” Toby tankard, third quarter 20th century; and a German polychromed pottery “Gentle Peasant” pitcher in the Toby style, fourth quarter 19th century; the Doulton examples fully marked in underglaze transfer print on the bases, the base of the German example stenciled “Saxony”, the largest h. 6‑1/2”, w. 5”, l. 9‑1/4”. [100/200] Illustrated

754 Pair of Glazed White Porcelain “Large” Glove Molds, one example dated November 21, 1895, the other October 19 (?), by General Porcelain Works, Trenton, New Jersey, both marked in underglaze blue stencil on the wrist, h. 11‑3/4”. [20/40]

760 English Majolica Relief “Game” Pitcher, fourth quarter 19th century, with a greyhound handle, the interior glazed in gloss monochrome turquoise, h. 10‑1/4”, w. 6”, l. 8”. [75/125] Illustrated

755 English Cast-Iron “Punch” Doorstop, fourth quarter 19th century, presented in the period, untouched weathered crimson-painted finish, h. 12”, w. 9”, d. 4”. [100/200]

761 Continental Polychromed Pottery “Standing Pig” Pitcher, fourth quarter 19th century, the pig wearing a laurel-leaf wreath and a blue cordon from which is suspended a ham, h. 8”, w. 5”, l. 7‑3/4”. [75/125] Illustrated

759

762 Group of Three Humidors, fourth quarter 19th century, consisting of a French polychromed pottery “Cynical Jockey” example, probably Sarreguemines; a Continental pottery humidor in the form of a pipe-smoker’s head; and another porcelain example depicting a laughing gypsy’s head; the largest h. 5”. [100/200] Illustrated

763

766 Monumental Continental Brass Birdcage, first quarter 20th century, of cylindrical, arched-top form, the finial a large barred brass inverted acorn, the convex feeder pans honeycomb-cut, the base fitted with a conforming sliding tray, h. 39”, dia. 21”. [150/300] Illustrated

766

765

767 763 Group of Two Humidors, consisting of a good German polychromed porcelain example in the form of a gray terrier’s head with a golden collar, fourth quarter 19th century; and a black and white glazed pottery humidor in the form of a spaniel’s head in the mid‑19th-century Staffordshire style; the largest h. 6”. [75/125] Illustrated 764 English Oak Child’s Cradle, 19th century, the stepped arched hood above a slightly graduated body, featuring exterior molded panels, the whole raised on rockers, h. 31”, w. 18”, l. 35”. [250/400] 765 Large Pair of English Cast Brass “Punch and Judy” Doorstops, third quarter 19th century, the narrow oblong bases weighted with lead tablets, h. 18‑1/2”, w. 8‑1/2”, d. 2”. [150/300] Illustrated

767 Opulent French Brass and Cut Glass Eight-Light Chandelier, first quarter 20th century, of “cage” form in the Louis XVI style, sumptuously dressed with facetcut glass pendalogues in three sizes, back-cut glass spears in three sizes, cut fleurettes and lapidary-cut glass spheres, the center fitted with a concealed up-light, the candlesockets fitted with petal-ribbed glass bobeches supporting short antique-white painted faux-wax candles, electrified, h. 38”, dia. 23”. [300/500] Illustrated

770 Continental Petit-Point Armorial Bell Pull, third quarter 19th century, the face mounted with a broad printed velvet ribbon featuring armorial crests of alternating leopard heads and ostriches, headed by a giltbrass loop handle and terminating in a ribbed porcelain oviform pull, l. 100”. [75/125] 771 Attractive Twenty-Seven-Piece English Porcelain Dessert Service, for eighteen, third quarter 19th century, comprised of eighteen dessert plates, a tall two-handled and footed compote, a pair of oblong footed pastry/fruit stands and four side-handled circular pastry bowls, all with richly gilt cobalt blue lappets in the rococo taste and centers featuring hand-painted English landscapes, the largest h. 10”, w. 16”, dia. 11”. [2000/4000] Illustrated 772 Carved Giltwood and Plaster Looking Glass Veneered in Seashells, the frame fourth quarter 19th century, in the “Sailor’s Valentine” style, the shell appliques later, h. 25‑1/2”, w. 21‑1/2”. [50/80] 773 Chinese Export Porcelain Two-Handled Foot Bath, polychromed and richly gilded in the mid‑19th-century style, presented on a conforming lacquered mahogany display stand and fitted with white faux orchids and grasses, h. 6‑1/2”, w. 12”, l. 18‑1/2”. [40/70]

768

768 Pair of English Gilt-Brass Five-Light Pendant Candelabra, third quarter 19th century, in “Vintage” decor, retaining the period brackets also in “Vintage” decor, the gilt-lacquered finish now only visible in traces, h. 16”, w. 13”, d. 16”. [200/400] Illustrated 769 Suite of Three English Exuberantly Carved Mahogany Armchairs, each with a pierced and carved crest above a padded back, joined to the like seat by open arms ending in dolphin carvings, with an acanthine-carved apron, raised on cabriole legs ending in sea serpentcarved feet, h. 42”. [400/700]

774 Collection of Four Portrait Miniatures, fourth quarter 19th century, comprised of a pair of English oval examples of, respectively, Queen Elizabeth I in court dress and her famed pearls and the young Charles II, presented in brass-set black papier-mache frames; and a pair of German oval examples of, respectively, King Ludwig I of Bavaria and a Titian-haired beauty, presented in fauxtortoiseshell frames; all with convex glazing, the Charles II and beauty miniatures signed at the left and right center edges, respectively, “Haniveirt”, the Ludwig I example signed illegibly at the lower right edge “K___?”, h. 3‑1/4”, w. 2‑3/4”. [75/125] 775 Good Carved White Alabaster Profile Portrait of Albert, the Prince Consort, third quarter 19th century, now mounted on an oval black-painted wooden plaque, h. 11”, w. 8‑1/2”, d. 2”. [75/1250]

771

787

776 Interesting Six-Piece Collection of Metalwork, fourth quarter 19th century, comprised of an Austro-German brass bed-warmer of small size in the neoclassical taste; an unusual Continental brass cruciform bed-warmer of small size; an English brass bed-warmer of small size; a large brass pierced strainer spoon of “ginko leaf” form; an Italian copper and steel long-handled two-tine cook’s fork; and a Moland brass and copper cobbler’s rack; the largest l. 25”. [75/125] 777 Elizabethan-Style Stained Maple Wash Stand, ca. 1900, with turned and barley-twist supports, the back with a tilting mirror mounted above a circular basin holder, now fitted with a blue and white porcelain bowl and raised on spiral legs, h. 51”, w. 24”, d. 22‑1/2”. [150/300] 778 English Mahogany Folding Rack/Screen, in three sections, each section fitted with three faux-bamboo rings, joined by turned and block supports and ending in bulb feet, h. 36”, w. 25‑1/4”, extended l. 75‑3/4”. [50/80]

780 Intriguing Collection of Three English Boxes, comprised of a good Tunbridge marquetry oblong jewel casket of modified sarcophagus form, third quarter 19th century; a simpler Tunbridge marquetry oblong jewel box of like date; and a smaller shallow incise-carved two-tone walnut desk box, fourth quarter 19th century; both of the Tunbridge examples with conforming lift-out-trays, the sarcophagus-form box with a mirrored glass plate on the interior of the lid, the largest, h. 7‑1/4”, w. 14‑1/4”, d. 8‑3/4”. [100/200]

779 Continental Mahogany Towel Rack, late 19th century, the turned posts at each end joining the cross bars and ending in a trestle-form base, h. 43‑1/4”, w. 35‑3/4”, d. 6‑1/2”. [40/70]

785 781 Collection of Seven Decorative Items, including two carved wooden dresser boxes, early 20th century; a Rococo Revival carved and foliate-pierced walnut and needlework wall pocket, third quarter 19th century; an silverplate oval, two-handled waiter with scenic porcelain insert, mid‑20th century; a contemporary needlepoint floral picture; a small contemporary oval tray with dried weeds under glass; and a small beveled mirror with branch-carved frame, early 20th century; the largest h. 21”, w. 14”. [100/200]

782

783

782 Good, Large French Faience Jardiniere, fourth quarter 19th century, of oval, two-handled form in the 18th-century Rouen style, the handles modeled as yellow horned goat masques, the base signed in brown “J.G. (?) / 134/2”, h. 7‑1/2”, w. 20‑1/2”, d. 11‑1/2”. [150/300] Illustrated

796 787 Rare English “RockinghamGlazed” Pottery Bottle Cooler, third quarter 19th century, of large size and cylindrical, two-handled form with bas-relief decoration of frolicking putti, h. 10‑1/4”, dia. 11”. [150/300] Illustrated

795

792

788 Contemporary Painted Iron Day Bed, in the Late Victorian style, the back and sides with a combination of scrolled bars and cast-iron decorative elements, h. 50”, inside w. 39”, l. 76”, outside w. 40”, l. 79”. [400/700] 789 Regency-Style Plank and Cast-Iron Bench, the plank backrest and seat joined to a trio of cast-iron supports, each with open arms terminating in griffin supports, raised on a curule-form base, h. 28‑1/4”, w. 105”, d. 20”. [500/800] 783 Two-Piece Group of Brownfield and Son, Staffordshire Ware, comprising an attractive brown transfer-printed two-handled and footed fruit bowl in “Cyprus” pattern, fourth quarter 19th century; and a matching oval, footed and covered vegetable dish; the former marked in brown transfer-print underglaze, the latter with an impressed mark underglaze, the largest h. 12”, w. 8‑3/4”, d. 6”. [75/125] Illustrated

790 Pair of French Bronze Furniture Mounts, fourth quarter 19th century, each in the form of a horned ram’s head in the Louis XVI style, h. 2‑1/2”, w. 5”. [75/125]

784 Pair of English Stained and Enameled Leaded Glass Windows, fourth quarter 19th century, of arched form in the “Modern Gothic” style, each centered with a ruby glass-circumscribed floral-enameled lozenge, each presented in a later natural wood frame, h. 27‑1/8”, w. 16‑3/8”. [75/125]

792 Louis XVI-Style Brass-Mounted and Marble-Topped Cartonnier, first quarter 20th century, the shaped case composed of kingwood, tulipwood and marquetry, the breche d’Aleps marble top fitted with a reticulated brass gallery rim, the facade fitted with a pair of concave-faced tooled leather drawers over a similar pair of convex-faced leather drawers, the whole supported on diminutive brass feet modeled as winged lion masques, h. 13”, w. 20‑5/8”, d. 14”. [200/400] Illustrated

785 Good Pair of Doulton, Lambeth, Polychromed Stoneware Cachepots, fourth quarter 19th century, in the Aesthetic taste, each featuring a bas-relief frieze of frolicking children in gray-blue in the Wedgwood style, each example with full impressed mark on the base, h. 7‑1/4”, dia. 6‑1/2”. [150/300] Illustrated 786 Unusual English Silverplate-Mounted Horn Humidor, third quarter 19th century, of oval section, h. 4‑1/2”, w. 4”, d. 3‑1/2”; along with a three-piece composition deer antler garniture, of small size, h. 6‑3/4”, w. 5‑1/2”, d. 3‑3/4” (four total pieces). [100/200]

791 French Gilt-Bronze Acanthine Furniture Mount, first quarter 20th century, in the Louis XVI style, of console bracket form and good weight, h. 7‑1/8”, w. 2‑3/4”. [20/40]

793 Three-Piece French Green Vernis Martin Mantel Garniture, first quarter 20th century, with gilt-brass mounts in the Louis XV style, the clockworks with a circular Medaille d’Or 1855 touchmark, the set comprised of a footed mantel clock, h. 17”, w. 9‑3/4”, d. 5”, and a flanking pair of three-light candelabra, h. 13‑1/2”, w. 8‑1/4”. [75/125]

796 French Bronze-Mounted Rouge Royale Marble Encrier, first quarter 20th century, the base centered with the patinated bronze bust of an Art Nouveau beauty, the covered inkpots retain their period white porcelain inkwells, the whole supported on four giltbronze bun feet, h. 8”, w. 12‑1/8”, d. 6”. [150/300] Illustrated previous page 797 Pair of French Gilt-Brass Two-Light Appliques, second quarter 20th century, in “Bowknot and Ribbon” decor in the Louis XVI style, electrified and fitted with faux candles, h. 16‑1/4”, w. 9‑1/4”, d. 5‑1/4”. [100/200] 798 Pair of French Gilt-Brass Two-Light Appliques, second quarter 20th century, in “Bowknot and Ribbon” decor in the Louis XVI style, electrified and fitted with faux candles, h. 16‑1/4”, w. 9‑1/4”, d. 5‑1/4”. [100/200]

800 804

799 Attractive French Gilt-Brass Two-Light Applique, first quarter 20th century, in the late Louis XVI style, now electrified and fitted with a custom pair of small gilt laceedged white satin shades, h. 14”, w. 8‑3/4”, d. 5‑1/4”. [75/125] 800 Louis XVI-Style Burlwood, Mahogany and MarbleTop Commode, second quarter 20th century, the bowfront Carrara marble top above a conforming case fitted with two short drawers over two doors, flanking a floral urn-inlaid panel, the whole flanked by columnar supports headed by gilt-brass paterae, raised on a plinth base, h. 33‑1/2”, w. 47‑1/2”, d. 18”. [800/1200] Illustrated

794 Group of Three Porcelain Lamps, consisting of a good Kuang Hsu blue and white porcelain two-handled baluster-form vase, now mounted as a table lamp, first quarter 20th century; a Chinese porcelain ginger jar in “Trumpet Flower Vine” decor, also now mounted as a table lamp; and a tall French monochrome gray-blue porcelain table lamp of Chinese vase form, first quarter 20th century; all three lamps mounted on Oriental hardwood bases, the first two fitted with cut brass calligraphic finials, the French lamp fitted with a carved cinnabar finial, all of the lamps fitted with appropriate pleated fabric shades of truncated conical form, the tallest h. 16‑1/4”, widest dia. 6”. [150/300] 795 French Rose Marble and Gilt-Bronze Double Encrier, first quarter 20th century, in the Louis XVI taste, the covered gilt-bronze inkpots retain the period gilt-brass inkwells, the polished marble base fitted with a concave pens well and supported on four diminutive toupie feet in gilt-bronze, h. 5‑1/4”, w. 16”, d. 9‑1/2”. [150/300] Illustrated previous page

808

801 Pair of French CastIron Beribboned Laurel-Leaf Wreaths, first quarter 20th century, in the Louis XVI style, now in a lightly rusted finish throughout, h. 12‑1/4”, w. 18‑1/4”. [50/80] 802 French BronzePatinated Brass and Cut Glass Chandelier, first quarter 20th century, of stylized bell form in the Louis XVI taste, the entire frame wrapped in silver glass micro beads and dressed with parallel registers of graduated cut glass jewels, the interior fitted with a trio of downlights, h. 31”, dia. 16”. [300/500]

807 Pair of French Carved Giltwood and SilkEmbroidered Panel Fans, fourth quarter 19th century, in the Louis XVI style, the facade panels with silk floral embroidery on ivory satin, the reverses in vieux rose silk, the serpentine-edge giltwood frames surmounted by furling giltwood bowknots, h. 14‑5/8”, w. 7‑1/2”. [75/125] 808 French Marble Bust of a Louis XVI Lady-of-Fashion, carved from rose and white marble, the figure’s elaborately coiffed hair caught with a marble ribbon, the spool-form base of satin-polished charcoal gray marble, h. 27”, w. 15‑1/2”, d. 9‑1/2”. [500/800] Illustrated 809 Continental Bronze Tabletop Figure of LaSource, second quarter 20th century, with gold/brown patination, illegibly signed at the center of the rear basal edge, with a calligraphy mark at the rear basal edge, h. 12‑1/2”. [50/80] 810 After Jean-Antoine Houdon (French, 1741‑1828), a patinated bronze bust of Voltaire, presented on a parcelgilt porcelain socle base, h. 8”, w. 3‑3/4”, d. 3‑3/4”. [100/200]

811

811 Persian Heriz Carpet, 9’ 2” x 11’ 9”. [1500/2500] Illustrated

803 Pair of Napoleon III Gilt-Bronze Five-Light “Bouquet” Candelabrum Tops, third quarter 19th century, in the Louis XVI style, the vasiform bases lacking, the bouquets modeled as lily, carnation and rose blooms, with numerous buds, h. 16”, w. 13”. [150/300] 804 Napoleon III Brass-Framed Glass Tabletop Vitrine, third quarter 19th century, of box form in the Louis XVI taste, the case with a lift-up/fold-in glass top and facade, the floor of mirrored glass, the whole supported on leafed ball feet, h. 10‑3/4”, w. 13‑1/4”, d. 11”. [75/125] Illustrated 805 Belle Epoque Brass-Mounted Porcelain Jewel Casket, first quarter 20th century, probably of Limoges origin, in the Louis XVI Sevres style, the domed lip painted with a bouquet of spring flowers, each corner with a rose bloom, the interior with sprays of spring flowers on the lid and the floor, the base with a pseudo-Sevres interlaced L’s mark in overglaze rouge de fer, accompanied by a 1991 Florida appraisal stating the casket to be genuine Sevres porcelain, h. 5‑1/2”, w. 11‑1/2”, d. 7‑1/2”. [300/500] 806 Belle Epoque Gilt-Brass Jewel Box, first quarter 20th century, in the Louis XVI style, the lid centered with a circular porcelain portrait miniature of an 18th-century lady-of-fashion, the interior lined in padded sky-blue silk, h. 2‑1/4”, w. 6”, d. 4‑5/8”. [100/200] 813

813 Peshawar Zeigler Mahal Carpet, 10’ x 16’ 6”. [2500/4000] Illustrated d previous page 814 Persian Heriz Carpet, 9’ 5” x 12’ 9”. [2000/4000] Illustrated 815 Turkish Sultan Carpet, 7’ 2” x 10’ 6”. [500/800] 816 Agra Sultanabad Carpet, 9’ x 11’ 10”. [1500/2500] Illustrated

814 812 Persian Azerbaijan Runner, 9’ 9” x 12’ 11”. [200/400]

816 817 Persian Karaja Carpet, 2’ 2” x 6’ 5”. [200/400] 818 Persian Beloushistan Carpet, 3’ 2” x 6’ 1”. [200/400] 819 Empire-Style Aubusson Carpet, 10’ x 14’. [3500/5000] 820 Persian Mashad Carpet, 9’ 8” x 12’ 11”. [500/800] Illustrated 821 Persian Mir Runner, 3’ 7” x 10’ 5”. [200/400]

820

822 Peshawar Vegetable-Dyed Carpet, 8’ x 10’ 3”. [2500/4000] Illustrated 823 Peshawar Vegetable-Dyed Carpet, 10’ x 14’ 3”. [4000/7000] Illustrated 824 Afghan Beloushistan Carpet, 3’ 7” x 6’ 4”. [200/400]

823

825 Turkish Angora Oushak Carpet, 8’ 5” x 10’ 6”. [1500/2500] Illustrated 826 Indo-Jaipur Carpet, 9’ 9” x 14’ 3”. [1000/1500] 827 Agra Sultanabad Carpet, 8’ 1” x 10’ 2”. [900/1200]

825

822

828 Antique Kurd Bijar Carpet, 3’ 10” x 7’ 2”. [700/1000] Illustrated

840 Jack Levine (American/New York, b. 1915) “Warsaw Ghetto”, lithograph, signed pencil lower right “J. Levine”, numbered lower left “53/120”, sight 22” x 28”. Matted and mounted with a hanging string. [200/400]

829 Turkoman Carpet, 5’ x 6’ 4”. [300/500]

841 Jack Levine (American/New York, b. 1915) “End of the Weimar Republic”, black and white etching, signed in pencil lower right “J. Levine”, numbered in pencil lower left “85/100”, sight 19” x 16”. Matted and mounted for hanging. [300/500] Illustrated

830 Antique Mahal Carpet, 6’ 5” x 15’ 8”. [1200/1800]

842 Jack Levine (American/New York, b. 1915) “Judas Maccabeus”, 1963‑1964, etching, signed pencil lower right “J. Levine”, numbered lower left “21/100”, sight 11” x 9‑1/4”. Matted and mounted for hanging. [200/400]

831 Peshawar Zeigler Mahal Carpet, 7’ 10” x 9’ 7”. [1400/1800] Illustrated

843 Jack Levine (American/New York, b. 1915) “The Prisoner”, 1963, black and white lithograph, artist’s proof, signed in pencil lower right “J. Levine”, 21” x 29”. Glazed and presented in a silvered frame. [100/200]

832 Group of Two Carpets, consisting of a Kilim table runner, 5’ 7” x 1’, and a Soumak carpet, 2’ 6” x 3’ 4”. [75/125] 833 Oushak Carpet, 4’ 4” x 6’ 6”. [300/500]

844 Jack Levine (American/New York, b. 1915) “Gangster’s Funeral”, 1965, black and white engraving, signed in pencil lower right “J. Levine”, pencil numbered lower left “71/120”, sight 21” x 26‑1/2”. Glazed and mounted for hanging. [600/900] Illustrated Color Plate VII 828

834 Three American Hooked Carpets, 3’ 4” x 5’ 5”, 3’ 5” x 5’ 6”, and 3’ 11” x 5’ 11”. [20/40]

845 Jack Levine (American/New York, b. 1915) “Atelier Mourlot Poster-Marianne and the Goddess of Liberty”, suite of 133 lithographs in black and white, with orange and blue, unsigned, 28” x 21”. Unmatted and unframed. [400/700]

835 Sarouk Carpet, 4’ 6” x 7’ 7”. [300/500] 836 Angora Oushak Carpet, 9’ 10” x 14’. [1000/1500] 837 Jack Levine (American/New York, b. 1915) “Prussian General (State One)”, 1966 etching, pencil signed lower right “J. Levine”, numbered in pencil lower left “27/100”, sight 23” x 15”. Glazed and presented in a molded giltwood frame. [100/200] Illustrated 838 Jack Levine (American/New York, b. 1915) “Untitled”, metal ink plate, sight 12” x 8‑1/2”. Attractively linen-matted, mounted onto a black fabric background and presented in a silvered frame. [200/400] 839 Jack Levine (American/New York, b. 1915) “Der Kanonen Song”, 1967, soft ground etching, signed in pencil lower right “J. Levine”, numbered lower left “XXVI/XLV”, sight 10” x 13”. Glazed, matted and mounted for hanging. [100/200] 831

846 Jack Levine (American/New York, b. 1915) “Atelier Mourlot Poster - Marianne and the Goddess of Liberty”, pair of lithographs in black and white, with orange and blue, unsigned, 28” x 21”. Unmatted and unframed. [200/400] 847 Jack Levine (American/New York, b. 1915) “Cain and Abel I”, 1964, etching, pencil signed lower right “J. Levine”, numbered lower left “22/80”, sight 11‑3/4” x 9‑1/2”. Glazed, handsomely matted and presented in a silvered frame. [100/200] 848 Jack Levine (American/New York, b. 1915) “Atelier Mourlot - Marianne and the Goddess of Liberty Poster”, 1967, lithograph in black, red and blue, printed by Atelier Mourlot, New York, unsigned, 28” x 20‑1/2”. Glazed and mounted for hanging. [100/200]

844

850 Jack Levine (American/New York, b. 1915) “Portrait of a Napoleonic General”, etching, pencil signed lower right “J. Levine”, numbered in pencil lower left “67/120”, sight 10‑1/2” x 7‑1/2”. Glazed, handsomely matted and framed. [100/200]

837 849 Jack Levine (American/New York, b. 1915) “Apollo and Daphne”, 1963‑1964, lithograph, signed in pencil lower right “J. Levine”, numbered lower left “45/100”, sight 9‑1/2” x 11”. Glazed, matted and mounted for hanging. [100/200]

841

1027 1044

View Our Online Catalogue: www.stcharlesgallery.com

1473

1028

Color Plate I

1361 1377

522

65 896

386

Color Plate II

1500

1086

1039

1045

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Color Plate III

922 189

1126

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Color Plate IV

101

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Color Plate V

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356 1005

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Color Plate VI

1085

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625 644

1096

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Color Plate VII

891 892 889 882

Fine Collection of Estate Jewelry

890

872

885

883 884

859 871 860 879

880 877 861 878

Color Plate XII

Session II

Sunday, July 25, 2010 11:00 a.m. (Lots 851-1585)

851 Attractive Shadowboxed Italian Fresco Fragment, fourth quarter 18th century, depicting a mitred bishop carrying a crook and an opened book, the later conforming shadowbox of mahogany-stained pine and glazed, h. 21‑1/2”, w. 16”. [400/700] 852 Interesting Four-Piece Group of Continental Items, including a Greek polychromed wooden ikon of “St. George Slaying the Dragon”, in the traditional style, with a conforming silverplate repousse riza; a two-piece Russian brass smoker’s set comprised of a small circular domed tobacco box, touchmarked in Cyrillic on the base “HK”, conjoined, and a matching circular cendrier; and an Indian silvered metal rectangular box set with multiple tiger’s-eye cabochons in the traditional style; the largest h. 7”, w. 5‑3/8”. [100/200] 853 Large Composition Plaster Figure of a Robed Angel, first quarter 20th century, Daprato Statuary Co., Chicago, Illinois, the polychromed and parcel-gilded figure depicted carrying a flambeau in the Renaissance style, the flambeau fitted for electrical wiring, the figure presented on a gilded stepped octagonal base, h. 53‑1/2”. [600/900] Illustrated 854 Continental Cast-Iron Figure of the “Sacred Heart of Christ”, first quarter 20th century, raised on a molded stained wood circular base, h. 15”, dia. 7”. [100/200]

853

858 Spanish Colonial School (Second Half 19th Century) “Retablo of Saint Benedict”, oil on tin, 11” x 8”. Unframed. [75/125] 859 Monumental Fourteen-Karat White Gold, Tanzanite and Diamond Dinner Ring, composed of a central oval mixed-cut natural tanzanite, set within elaborate bombestyle mixed-cut diamond-set shoulders, featuring yellow gold accent detailing throughout, total tanzanite weight 4.91 carats, total diamond weight 2.66 carats, size 7.5. [7000/10000] Illustrated Color Plate VIII 860 Fine Fourteen-Karat White Gold, Tanzanite and Diamond Lady’s Dinner Ring, composed of a central oval mixed-cut natural tanzanite, set within an intricate three-tiered mixed-cut white diamond lattice gallery, supported by mixed-cut diamond-set shoulders, total tanzanite weight 3.62 carats, total diamond weight 1.10 carats, size 7.5. [3500/5000] Illustrated Color Plate VIII 861 Traditional Fourteen-Karat Yellow Gold and Diamond Tennis Necklace, a flexible ribbon composed of one hundred nine martini-style prong-set round brilliant-cut graduated in-line white diamonds, terminating in a hidden clasp, with safety, total diamond weight 17.18 carats, l. 17”. [12000/18000] Illustrated Color Plate VIII 862 Beautiful Fourteen-Karat Yellow Gold, Ruby and Diamond Lady’s Dinner Ring, featuring a central natural ruby, surround by fourteen prong-set round brilliant-cut white diamonds, total ruby weight 11.58 carats, total diamond weight 2.44 carats, size 7.5. [2500/4000] Illustrated

859

860

855 French Provincial Fruitwood Prie-Dieu, first quarter 20th century, the top inlaid with an oval punched out pierced medallion over three rails, above a rush seat, raised on sabre legs joined by a stretcher, h. 39”, w. 17”, d. 15”. [100/200] 856 Follower of Duccio di Buoninsegna (Italian, ca. 1255-ca. 1318) “Virgin and Child”, probably 19th century, oil on panel, 15” x 11”. Presented in a stained hardwood frame. [100/200] 857 Manner of Michelangelo Buonaroti (Italian, 1475‑1564) “Study of a Male Partial Nude with a Red Scarf”, 20th century, oil on canvas over cardboard, unsigned, 9‑1/2” x 6”. Presented in a giltwood and gesso frame. [40/70]

100

861

863 Fine Fourteen-Karat Yellow Gold, Ruby and Diamond Lady’s Ring, composed of a central oval faceted-cut ruby, surrounded by a round brilliantcut two-tiered white diamond bezel, supported by a yellow gold lattice undercarriage, total ruby weight 13.96 carats, total diamond weight 1.52 carats, size 7.5. [2500/4000] Illustrated 864 Lady’s Fourteen-Karat White and Yellow Gold, Emerald and Diamond Dinner Ring, composed of a central prong-set rectangular-cut natural emerald, set within a two-tiered and two-toned prong-set round brilliant-cut white diamond lattice gallery supported by a white gold lattice undercarriage and held by diamond-set three-way two-toned split shoulders, total emerald weight 4.85 carats, total diamond weight 1.00 carats, size 7.5 [3500/5000] Illustrated

862

863

865 864

865 Floral-Inspired Eighteen-Karat White Gold, Emerald and Diamond Lady’s Dinner Ring, featuring a prong-set emerald within thirtyone channel-set baguette-cut white diamonds, surrounded by prong-set round brilliant-cut white diamonds in a floral design, supported by diamondset shoulders and completed with yellow gold accents throughout, total emerald weight 5.74 carats, total diamond weight 3.19 carats, size 8. [8000/12000] Illustrated

868 Fourteen-Karat White Gold, Emerald and Diamond Lady’s Ring, featuring a central prong-set rectangular mixed-cut natural emerald, surrounded by a bezel of twenty-two round brilliant-cut white diamonds, supported by a white gold lattice undercarriage and channel-set tapered baguette-cut white diamond-set shoulders, total emerald weight 3.79 carats, total diamond weight .66 carats, size 7.5. [2500/4000]

866 Lady’s Fourteen-Karat White Gold, Diamond and Synthetic Emerald Triplet Dinner Ring, composed of a central rectangular step-cut synthetic green triplet surrounded by marquise- and round-cut white diamonds, estimated total weight 2.19 carats. [500/800] 867 Pair of Eighteen-Karat White Gold, Diamond and Synthetic Emerald Triplet Drop Earrings, the white gold foliate mountings and surrounds set with approximately eighty-six round brilliant-, marquise- and baguette-cut white diamonds, estimated total weight 6.20 carats, centrally set with two rectangular step-cut green triplets. [1200/1800]

869 Eighteen-Karat White Gold, Pearl and Diamond Pendant Necklace, composed of a central 12.0 mm black Tahitian pearl suspended on an eighteen-karat white gold foliate-style wreath, set with round brilliant-cut white diamonds, estimated total weight .90 carats, hung on a fourteen-karat white gold chain. [1500/2500] Illustrated

869

870 Stunning Tahitian Cultured Black Pearl Necklace, containing thirty-seven Tahitian cultured pearls, 13.00 mm to 10.00 mm in size, black in color, with high luster and thick nacre, mostly round, with good uniformity, l. 17”. [1800/2500] Illustrated

870

871 Dramatic Fourteen Karat White Gold and Black and White Diamond Ring, featuring a prong-set round fancy brilliant-cut black diamond, set within a bouquet of cascading white diamond-set leaves, total weight of black diamonds 9.43 carats, total weight of white diamonds 1.11 carats, size 10. [4500/7000] Illustrated Color Plate VIII

101

872

871

873

875 Eighteen-Karat White Gold and Diamond Lady’s Unity Ring, composed of a central round brilliantcut white diamond, flanked by two smaller round brilliant-cut white diamonds, all surrounded by a forty-six white diamond bezel and white diamondset shoulders, total weight of center diamond 2.17 carats, total weight of two flanking diamonds .88 carats, total weight of bezel and shoulder diamonds .61 carats, size 7.5. [9000/12000] Illustrated

876 Portuguese Gold, Silver, Diamond and Pearl DemiParure, composed of a necklace and earrings, each with gold back and silver top, mounted with tablet-cut diamonds, estimated total weight 12.37 carats, the earrings each with three freshwater pearl drops and post backs. [10000/15000] Illustrated

875

872 Monumental Fourteen-Karat White Gold and Black and White Diamond Dinner Ring, featuring a central round brilliant-cut fancy black diamond, total weight 15.68 carats, set within an elaborate floral-style mixed-cut white diamond lattice gallery, supported by matching mixed-cut white diamond-set shoulders, features yellow gold accents throughout, total white diamond weight 4.63 carats, size 8. [9000/12000] Illustrated Color Plate VIII 873 Beautiful Graduated Single-Strand South Seas Cultured Pearl Necklace, containing twenty-nine South Seas cultured pearls, 13.00 mm to 15.50 mm in size, all white in color with medium luster and thick nacre, mostly round to slightly off-round, knotted with a fourteen-karat white gold scalloped plunger clasp, l. 17”. [2500/4000] Illustrated 874 Pair of Fourteen-Karat White Gold and Diamond Solitaire Earrings, with prong-set round brilliant-cut white diamonds, with screw backs, total diamond weight 2.06 carats. [4000/7000]

102

876

879

880 880 Lovely Eighteen-Karat White Gold and Diamond Lady’s Unity Ring, featuring a central round brilliant-cut white diamond, supported by twelve round brilliant-cut white diamonds flanking ten channel-set baguette-cut diamondset shoulders, total weight of center diamond 2.13 carats, total weight of shoulder diamonds 2.22 carats, size 7. [15000/25000] Illustrated Color Plate VIII

877

878

877 Good Fourteen-Karat White Gold and Diamond Lady’s Ring, composed of a central round brilliant-cut diamond, total weight 1.58 carats, supported by one hundred ten mixed-cut diamond-set shoulders, total smaller diamond weight 1.27 carats, size 7.5. [5000/8000] Illustrated Color Plate VIII 878 Eighteen-Karat White Gold and Diamond Unity Ring, featuring a central round brilliant-cut white diamond, flanked by fourteen channel-set baguettecut white diamonds, framed by ribbons of twenty-two round brilliant-cut white diamonds, total weight of center diamond 2.14 carat, total weight of all other diamonds 1.38 carats, size 7. [10000/15000] Illustrated Color Plate VIII

882

879 Fine FourteenKarat White Gold, Sapphire and Diamond Lady’s Floret Bracelet, having a flexible strap of thirteen prongset oval mixed-cut sapphires, surrounded by white diamond florets, terminating in a concealed clasp, with safety, total sapphire weight 13.02 carats, total diamond weight 3.95 carats, l. 7”. [2500/4000] Illustrated Color Plate VIII

881 Stunning Eighteen-Karat Yellow Gold and Diamond Lady’s Ring, composed of a central round brilliant-cut white diamond, surrounded by a row of round brilliant-cut white diamonds, supported by stem-and-leaf design round brilliant-cut white diamond-set shoulders, total weight of center stone 1.21 carats, total weight of all other diamonds .62 carats, size 6.5. [4500/7000] Illustrated

881

882 Dramatic Eighteen-Karat Yellow Gold, Kunzite and Diamond Enhancer featuring a substantial sized oval mixed-cut natural kunzite, set within a multi-tiered elaborate white diamond lattice gallery, completed by a white diamond-set snap locking bail with safety clasp, total kunzite weight 23.77 carats, total diamond weight 3.77 carats, chain l. 18”. [5000/8000] Illustrated Color Plate VIII

103

885 883

884

887 Pair of Vogue Bijoux Costume Clip Earrings, each in the form of confronting and pendant hearts, each gold-tone metal body with black enamel and rhinestone decoration. [50/80] 888 Fourteen-Karat Yellow Gold and Citrine Pendant Drop, composed of an oval-cut citrine of intense color, weighing 18.36 carats, in a yellow gold basket setting with a double loop bail. [300/500]

891

889

890

883 Brilliant Eighteen-Karat White Gold and Yellow and White Diamond Ring, composed of a central princesscut fancy yellow diamond, surrounded by round brilliantcut yellow diamonds, set within a round brilliant-cut white diamond bezel, supported by round brilliant-cut white diamond-set shoulders, total weight of center fancy yellow diamond 1.88 carats, total weight of round brilliant-cut yellow and white diamonds 1.12 carats, size 7. [6000/9000] Illustrated Color Plate VIII 884 Fourteen-Karat White Gold and Fancy Light Brown and White Diamond Lady’s Ring, composed of a central prong-set pear-shaped-cut fancy light brown diamond, surrounded by twenty-eight prong-set round brilliantcut white diamonds, total weight of brown diamonds 2.0 carat, total weight of white diamonds 0.64 carat, size 7. [5000/8000] Illustrated Color Plate VIII 885 Interesting Fourteen-Karat White Gold and Yellow and White Diamond Art Deco Earrings, featuring fifty princess-cut fancy yellow and white diamonds arranged in a checkerboard pattern, with screw backs, total diamond weight 1.00 carats, l. 1/2”. [1500/2500] Illustrated Color Plate VIII 886 Fine Fourteen-Karat Yellow Gold, Emerald and Diamond Lady’s Ring, featuring a prong-set step-cut emerald, set within a bezel of twenty-four prong-set round brilliant-cut white diamonds, total emerald weight 12.60 carats, total diamond weight 1.40 carats, size 8. [5000/8000]

104

892

889 Elegant Eighteen-Karat White Gold, Tanzanite and Diamond Lady’s Ring, composed of a featured prong-set, mixed cushion-cut tanzanite, set within elaborate pave-set white diamonds, supported by paveset white diamond shoulders, total tanzanite weight 3.89 carats, total diamond weight .72 carats, size 7. [3500/5000] Illustrated Color Plate VIII 890 Fourteen-Karat White Gold and Diamond Lady’s Tennis Bracelet, composed of fourteen in-line prong-set round brilliant-cut white diamonds, terminating in a concealed clasp with safety, total diamond weight 9.42 carats, l. 7”. [6000/9000] Illustrated Color Plate VIII

891 Fourteen-Karat White Gold and Diamond Lady’s Tennis Bracelet, composed of thirty-four prong-set round brilliant-cut white diamonds, terminating in a concealed clasp, with safety, total diamond weight 8.07 carats, l. 7”. [6000/9000] Illustrated Color Plate VIII 892 Fine Fourteen-Karat White Gold, Tanzanite and Diamond Ring, composed of a central prong-set oval mixed-cut natural tanzanite, set within a beautiful brilliantcut white diamond bezel and baquette-cut white diamondset shoulders, totaling one hundred six diamonds, total weight of tanzanite 3.12 carats, total weight of diamonds .82 carats, size 7.5. [4500/7000] Illustrated Color Plate VIII 893 United States $5.00 Gold American Eagle Coin, dated 1999, minted by the United States Mint, in brilliant uncirculated condition and containing 1/10 ounce fine gold, dia. 3/4”. [300/500] 894 After Frederick S. Remington (American, 1861‑1909) “The Bronco Buster”, a brown-patinated bronze group of a mustached cowboy on a wildly rearing mustang stallion, signed at the right facade edge of the plinth “Frederic Remington”, presented on a conforming mirror-polished black slate base having an engraved brass title plaque at the center of its facade, h. 22‑1/2”, w. 16”, d. 8‑1/2”. [500/800] Illustrated

897 American Chippendale Maple SlantLid Desk, mid‑18th century, the slant front opening to a variety of drawers and cubbyholes, above four graduated long drawers, raised on splayed bracket feet, h. 42”, w. 36”, d. 17‑3/4”. [1200/1800] Illustrated

895

898 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”. [500/800] Illustrated

894

896

895 After Frederic S. Remington (American, 1861‑1909) “Cheyenne”, a limited edition black/brown patinated bronze group of a shrieking Indian warrior on a galloping mustang stallion, signed at the center of the ovoid plinth “Frederic Remington/ 15/100”, the Grand Antique marble base fitted with an engraved brass title plaque, h. 21”, w. 21‑1/2”, d. 10”. [400/700] Illustrated 896 After Frederic S. Remington (American, 1861‑1909) “Comin’ Through the Rye”, a large and elaborate patinated bronze group of a quartet of mounted galloping gunslinging cowboys, signed at the right front edge of the plinth and presented on a verde antico marble base with an engraved brass title plaque at the center of the facade edge, h. 31”, w. 22”, d. 30”. “Comin’ Through the Rye” was Remington’s most celebrated bronze depicting what was then the disappearing Old West. [1500/2500] Illustrated Color Plate I

897

898

105

904 Pair of Anglo-American Tole-Peinte and Brass Carriage Lanterns, third quarter 19th century, now electrified and fitted with custom wrought-iron brackets to form entrance lights, the glazing beveled, h. 22”, w. 8”, d. 11”. [200/400] 905 Rare American “Charleston Dancers” Polychromed Cast-Iron Doorstop, second quarter 20th century, by Hubley, #270, after the design by Gertrude E. Fish (American, 1908- ca. 1983), the bowfront base signed “’c’ Fish”, the polychromy in the original “as found” condition and not retouched, h. 8‑5/8”, w. 5‑1/4”, d. 1‑5/8”. [200/400]

910

899 Good Bell Metal Model of an 18th-Century Naval Cannon, on its wooden carriage, the cannon barrel mounted to tilt upon the carriage, h. 6”, w. 15‑1/2”, d. 7”. [400/700] Illustrated 900 Good English Bronze Model of a Georgian Naval Cannon, on its wheeled mahogany carriage, the bronze barrel authentically mounted to tilt down, h. 6”, w. 13‑1/4”, d. 7”. [300/500] Illustrated 901 Good Pair of American Brass and Wrought-Iron “Cannonball” Andirons, second quarter 19th century, Boston, the facade elements of cabriole-legged ringed brass, with “cannonball” finials, the billets of wrought-iron, h. 14”, w. 10‑1/2”, d. 19”. [100/200] 902 Rare American Provincial Strap-Iron-Mounted Shaped Wooden Saddle, third quarter 19th century, of “McClellan” form, the stirrup and girth rings of wroughtiron intact, h. 10”, w. 15”, l. 18‑1/2”. [50/80] 903 American Wrought-Iron Tripodal Floor Candlestick, first quarter 20th century, in the 18th-century Spanish style, the candle support of saucer form, the standard spiral-wrapped in tubular wrought-iron, presented in an old white-pickled and naturally rusted finish, h. 57‑1/2”. [50/80]

911

900

899

8 106

906 American Cast-Iron “Standing Horse” Doorstop, third quarter 19th century, realistically polychromed in black and tan, h. 10”, w. 12”, d. 3‑3/4”. [75/125]

907 American Polychromed Cast-Iron Figure of a Black and White Setter, first quarter 20th century, the finish in the original untouched state, h. 8”, w. 4‑1/2”, l. 13‑1/2”. [75/125]

915

916

908 Louisiana Cajun Adzed Wood and Plaited Rush Child’s Stool, third quarter 19th century, the wood legs and box stretcher stained a dark brown, the plaited rush seat in good condition throughout, h. 7”, w. 9”, d. 8”. [30/50]

909 American Painted Comb-Back Windsor Rocking Chair, ca. 1800, the back, legs and spindles fauxbamboo turned and the single plank saddle seat revealing the through-mortised legs, h. 41‑1/4”, w. 20”, d. 23”. [200/400] 910 Harlequin Suite of Eight Ash and Elmwood Windsor Chairs, late 19th century, consisting of two tall-back chairs and six short-back chairs, each with a central pierced splat flanked by turned spindles, the thick plank seats of saddle form, small chair h. 36‑1/4”, w. 21‑3/4”, d. 14‑1/4”, large chair h. 42‑1/2”, w. 22‑1/2”, d. 15‑1/4”. [1000/1500] Illustrated 911 Charming American Hand-Made “Geographical” Folk Art Cotton Quilt, ca. 1930‑1940, the United States depicted by appliqued and embroidered state flowers, and a Mississippi River steamboat named “Edison”; various boats, planes, cars, buses and trucks are appliqued in the Canada area, while the Gulf of Mexico and Atlantic Ocean are depicted with a blue background, the whole quilted and lined, and fitted with a hanging sleeve, w. 7’, l. 6’. [350/500] Illustrated 912 American Crazy Quilt, dated “1895, you are mine”, composed of velvet, satin and wool squares with appliqued flower and birds designs, signed “Stella Sjuague”, 82” x 60”. [100/200]

921

913 American Antiqued Brass Spiral-Standard Floor Lamp, second quarter 20th century, modeled as an 18th-century Spanish floor candlestick, the candlesocket element fitted with a tall tole faux candle and electrified, h. 64”, dia. 8‑1/2”. [50/80] 914 Fine and Rare Bennington Speckled Brown-Glazed Pottery Male Urinal, ca. 1853‑1855, h. 5”, w. 1”, l. 16‑1/2”; together with a Brass-Mounted Card Medical Doctor’s Prescription File Box, with ten small drawers, each containing a period sheaf of handwritten prescriptions, first quarter 20th century, h. 5”, w. 9”, d. 7‑3/4” (two total pieces). [50/80] 915 American Black-Ground Polychromed Tole Hat Box, second quarter 19th century and later, probably of Pennsylvania origin, of large oval form in stylized floral decor, the lid fitted with a wrought-wire carrying handle and pendant wrought-iron hasp at the facade edge, h. 11”, w. 15”, d. 12‑1/2”. [300/500] Illustrated 916 American Black-Ground Polychromed Tole Hat Box, second quarter 19th century and later, probably of Pennsylvania origin, of large oval form in stylized floral decor, the lid painted in a stylized floral spray and fitted with a wrought-wire carrying handle and a pendant wrought-iron hasp, h. 10”, w. 14‑1/2”, d. 12”. [300/500] Illustrated

917 Group of Two Trunks, consisting of a good Frank Niles Company leathercovered wooden uniform trunk with a paper interior label dated July 8, 1891, h. 12”, w. 19‑1/2”, d. 13”; and a slightly larger strap-iron-mounted deep russetpainted metal-veneered trunk, lined in a figured red, white and blue calico, fourth quarter 19th century, h. 13‑1/4”, w. 19”, d. 12”. [100/200]

107

922

925 Continental Blond Horn-Mounted Brass Five-Light Chandelier, second quarter 20th century, in the “Jager” taste, the candlearms formed of brass-tipped blond horns fitted with brass bobeches of saucer form and tall “antique ivory” faux candles, electrified, h. 30”, dia. 24”. [100/200] 926 American Parcel-Gilt Wood and Polychromed Wallpaper-Lined Looking Glass, second quarter 20th century, in the Native American taste, the inset framing strips taken from polychromed wallpaper samples in Southwestern Indian motifs on a black ground, h. 48”, w. 36”. [300/500]

918 Set of Ten “Seal of The United States” Porcelain Dinner Plates, in the 18th-century Chinese Export style, with coral-colored borders, dia. 10‑1/8”. [75/125] 919 Ridgeway’s Blue and White “Verona” Ironstone Slop Jar, fourth quarter 19th century, of covered, two-handled form, h. 11”, dia. 10‑3/4”. [100/200] 920 American Burlap and Painted Wood Rolling Hobby Horse, in the provincial mid‑19th-century style, the painted platform base fitted with jig-sawn wooden wheels and a drawstring, h. 27”, w. 10”, l. 28‑1/2”. [100/200]

927 Pre-Columbian Maize-Grinding Bowl and Pestle, fourth quarter 14th century, each crafted of carved volcanic stone, the bowl raised on three tapering feet, the pestle of modified bullet form, bowl h. 4”, dia. 8”. [50/80] 928 Three-Piece Group of Cooking Utensils, first quarter 20th century, consisting of a good Belle Epoque castiron-handled copper elliptical poaching pan; a copperhandled and -footed brass seven-egg poacher; and a large American copper swing-handled tea kettle, the handle fitted with a turned black-painted wooden grip, the domed copper cover with a black-painted turned wooden finial of mushroom form; the largest h. 2‑3/4”, w. 11‑3/4”, l. 16”. [50/80]

921 After Charles Marion Russell (American, 1864‑1926) “Stagecoach”, a large and elaborate patinated bronze of a careening western coach drawn by six horses down an incline, presented on an elliptical verde antico marble base with an engraved brass title plaque at the center of the facade edge, h. 15”, w. 46”, d. 17‑1/2”. [1000/1500] Illustrated previous page 922 Frederic Sackrider Remington (American, 1861‑1909) “Stampede”, a large and elaborate patinated bronze group of a mounted cowboy crowded by stampeding steers, signed at the front right edge of the plinth and presented on a conforming slab base of verde antico marble, the facade edge centered with an engraved brass title plaque, h. 22”, w. 21”, l. 44‑1/2”. [1800/2500] Illustrated Color Plate III

924

923 Manner of Alexander Weinman (American, 1870‑1952) “Native American Chief in Headdress”, a patinated bronze bust, signed illegibly at the proper right edge, h. 7‑1/2”, w. 6‑3/4”, d. 3‑1/2”. [75/125] 924 Dramatic Faux-Antler Three-Light Candelabrum, modeled as a trio of addorsed and entwined racks, the candlesockets fitted with prickets, h. 19”, w. 18‑1/2”, d. 17”. [75/125] Illustrated

108

929 American Late Federal Mahogany Work Table, second quarter 19th century, the top with two drop leaves over a large ogee-molded drawer, raised on turned legs, h. 28‑1/2”, w. 15‑1/2”, d. 17”, extended l. 31‑1/2”. [200/400]

933

932 Four-Piece American Faux-Painted Cottage Bed Set, fourth quarter 19th century, consisting of a highback bedstead, drop center dressing bureau with a mirror, washstand and lamp table, each with floral-painted motifs, bed h. 77”, inside w. 53‑1/2”, l. 76”, outside w. 58”, l. 80‑1/2”, dresser h. 80”, w. 44‑1/2”, d. 17‑1/2”, washstand h. 38‑1/2”, w. 31”, d. 14‑1/2”, table h. 27”, w. 23”, d. 14”. [500/800]

938 930 American Vernacular Maple and Poplar Sewing Rocker, second quarter 19th century, the spindled back mounted to a scrolled seat and having turned legs and “carpet cutter” runners, h. 31”, w. 16‑1/4”, d. 27”. [50/80] 931 Assembled Suite of Five Vernacular American Ladder-Back Chairs, mid‑19th century, composed of oak and ash and of Southern origin, h. 34”, w. 15”, d. 15”. [250/500]

933 American Polychromed “Cottage” Dresser, fourth quarter 19th century, the top having a tilting mirror fitted inside an arched frame with candle shelves and hankie boxes, the base with four long drawers and carved pulls, the surface polychromed in faux-grained oak and having stenciled decor, h. 77”, w. 38”, d. 17”. [300/500] Illustrated 934 Polychromed and Line-Stenciled Wood Small Casket, late 19th century, h. 11”, w. 18‑1/4”, l. 61”. [50/80]

935 Polychromed and Faux-Grained Wood Small Casket, late 19th century, h. 10”, w. 17‑1/4”, l. 55”. [50/80] 936 U.S. Coast Survey of the Gulf of Mexico, hand-colored lithograph by Browne & Hasbrouck, New York, 1855, sight 15” x 33‑3/4”. Glazed, matted and presented in a parcel-gilt stained wood frame. [700/1000] Illustrated

936

109

937 American School (Fourth Quarter 19th Century) “Bird’s-Eye View of Andersonville Prison From the South East”, chromolithograph, published by Keystone Publishing Company, Philadelphia, 1890, 14” x 19”. Unframed. [75/125] 938 Albert Rosenthal (American, 1863‑1939) “Gilbert Stewart”, lithograph, signed in pencil lower right, pencil titled lower center, sight 23‑1/2” x 18‑1/2”. Glazed and presented in a parcel-gilt and ebonized frame. [150/300] Illustrated previous page 939 Adolf Arthur Dehn (American/New York, 1895‑1968) “The Piece of String”, lithograph, from Selected Tales of Guy de Maupassant series, pencil signed lower right “Adolf Dehn”, titled lower center, numbered lower left “27/230”, sight 15” x 12‑1/2”. Glazed, matted and presented in a giltwood and plaster frame. [200/400] Illustrated 940 Sandy Scott (Canadian, b. 1943) “Merry Christmas! 1985”, etching, signed in pencil lower right, titled and signed in the print, sight 6‑3/4” x 6”. Glazed, matted and framed. [100/200] 941 Lionel Barrymore (American, 20th Century) “Shadeside Farm”, “Rocky Point” and “San Pedro”, suite of three black and white etchings, titled lower left, signed lower right, all glazed and presented in ebonized frames; together with a Pair of Louisiana School Black and Gold Lithographs of Musicians, late 20th century, unsigned, both glazed, double-matted and framed, the largest sight 9” x 12” (five total pieces). [75/125] 942 Leonard Baskin (American, 1922‑2000) “Seghers”, artist’s proof, signed in pencil lower right “Baskin”, titled in pencil lower left, sight 19” x 15‑1/2”. Glazed, matted and framed. [125/250]

939 943 Leonard Baskin (American, 1922‑2000) “Dead Blackbird”, black and white etching, pencil signed lower right “Baskin”, numbered in pencil lower right “215/350”, sight 15” x 22”. Glazed and framed. [100/200] 944 Of Man’s Inhumanity to Man, A Collection of Drawings by Richard Kozlow, (American, b. 1926), a limited edition, 18/250, signed bound volume, includes twenty plates with protective tissue sheets, forward by Richard Kozlow within a hard cover, 15” x 13”. [40/70] 945 Richard Kozlow (American, b. 1926) “Hitler”, black and white lithograph, signed lower right “Kozlow”, 13” x 9‑1/2”. Matted and unframed. [30/50]

954

110

951 Gebbie & Co., Philadelphia, Pennsylvania (Fourth Quarter 19th Century) “After-Dinner Gossip”, black and white etching on silk, etched by J. S. King, copyrighted “1885”, 11” x 12‑1/2”. Unmatted and unframed. [40/70]

955

952 Group of Two “Sea” Items, consisting of British School (Fourth Quarter 18th Century) “Crabs”, hand-colored engraving, sight 5‑3/4” x 7‑1/2”, glazed, matted and framed; and “The Crab Hut”, a polychromed wooden sign, fitted with hanging wire, 10‑1/2” x 10‑1/2”. [75/125] 953 After Basilius Besler (German, 1561‑1629) “Tulips”, suite of four facsimile bookplate prints, from Hortus Eystettenis, sight 20‑1/2” x 17”. All glazed and presented in ebonized and parcel-gilt frames. [75/125]

946 Gerson August Leiber (American/ New York, b. 1921) “Stockholder Mutiny”, black and white etching, signed and dated in pencil lower right ‘Leiber ‘59”, numbered in pencil lower left “68‑220”, 21‑1/2” x 19”. Unmatted and unframed. [30/50] 947 Leonard Baskin (American, 1922‑2000) “Dead Blackbird”, two black and white etchings, one signed and numbered in pencil lower right “348/350 Baskin”, the other “207/350 Baskin”, 15” x 21‑1/2”. Unmatted and unframed. [75/125] 948 Chaim Koppelman (American/New York, b. 1920) “Tired Napoleons”, black and white etchings with aquatint, signed in pencil lower right, titled and numbered “6/30” lower left, 6‑1/2” x 9‑1/2”. Unmatted and unframed. [40/70] 949 Varied Six-Piece Group of Photography and Art, including a suite of five American black and white photographs, ca. 1900, including “Greater Galveston Causeway”, an oval “Portrait of a Gentleman”, signed lower right “H. Higgins Chorley and Adingien”, “Two Young Girls with Music Sheet”, and a pair of photographs of a “Small Child as Cupid”, matted and framed as one; all glazed and framed; and a hand-colored photograph entitled “Sherman’s Cove”, signed “Will L. Hail”, glazed, matted and framed; the largest sight 14” x 10‑3/4”. [75/125] 950 Suite of Twelve Various Chromolithographs, works on paper and one oil on canvas, depicting various animals, including an unframed pen and ink with watercolor on paper by Sue Jennings of a “Crab”; a framed oil on canvas of a “Sleeping Dog on a Green Sofa”, signed “Allison”; a ca. 1930 chromolithograph by Lucy Dawson of a “Jack Russell Terrier”; a suite of four dog illustrations from The Dog Book by Albert Payson Terhune and Diana Thorne, published 1932, all initialed in print “TD”, all unframed; a suite of three 19th-century chromolithographs after Sir Edwin Landseer, from the Landseer Dogs and Their Stories, published London, 1877, unframed; and two loose pages of dog illustrations, taken from an unidentified sketchbooklike volume; the largest 13‑1/2” x 10‑1/4”. [125/250]

954 Scale Model of a Narrow Gauge Baldwin Train Engine, the 3‑1/2” gauge steam-powered scale model of a Baldwin locomotive rail yard engine and tender, crafted of steel, brass and wood, the engine exhibiting evidence of previously being in working order, the interior including an assortment of functional levers and boiler door, a water gauge glass, a diminutive dial gauge, the boiler with a plate inscribed “The Baldwin Locomotive Works 40684 November 1913”, the headlight powered by an on-board steam generator, h. 17‑1/4”, w. 13‑3/8”, l.60”. In 1831, the Philadelphia Museum requested that silversmith Matthias Baldwin build a miniature steam locomotive for exhibition. From that beginning, Baldwin Locomotive Works grew to become the largest and most prolific maker of railroad steam engines in the United states. The firm continued to produce steam locomotives until demand for its product waned with the emergence of diesel engines. [12000/18000] Illustrated 955 American Late Classical Mahogany Banquet Table, second quarter 19th century, the circular top bisected and opening to accommodate four leaves, above a plain frieze, raised on a quatrefoil columnar standard to four shaped and turreted supports on bun feet, h. 30”, w. 54”, d. 46”, extended l. 114”. [1500/2500] Illustrated 956 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”. [300/500] 957 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”. [200/400]

111

958

961 Good, Large Bronze “Plantation” Bell and Bracket, first quarter 20th century, the iron clapper fitted with the proper “Mariner’s Braid” rope pull of later date, h. 14”, dia. 14‑1/4”. [200/400] 962 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”. [600/900] Illustrated 963 American Late Classical Mahogany Pier Table, second quarter 19th century, the serpentine wooden top with molded edge over a like-shaped base and having large scrolling supports with a lower shelf and back mirror, h. 35‑3/4”, w. 40‑1/4”, d. 18‑1/2”. [500/800]

959

964 American Late Classical Mahogany Settee, second quarter 19th century, the shaped back frame with flame veneers and having outscrolled arms, upholstered in green faux leather, h. 34”, w. 76‑1/2”, d. 23‑1/2”. [100/200]

958 Isabel E. Smith (American, 1843‑1938), a pair of oval portrait miniatures of, respectively, “George Washington”, after the portrait by Gilbert Stuart (1755‑1828) and “Martha Washington”, both signed lower right “Smith”, in script, presented in matching dished engraved pieced bone frames with convex-glazed oval apertures, h. 5‑1/2”, w. 4‑1/4”. [125/250] Illustrated 959 Group of Two Portrait Miniatures, consisting of an English oval portrait miniature of “Lady Smith”, in the manner of Sir Thomas Lawrence (English, 1769‑1830), fourth quarter 19th century; and an English oval portrait miniature of a lady-of-fashion in a tall black silk hat and a crimson jacket in the early 19th-century style, also fourth quarter 19th century; presented in matching upright oblong dished frames of engraved pieced bone and having gilded brass fillets for the glazed oval apertures, h. 5‑1/2”, w. 4‑1/2”. [125/250] Illustrated 960 Collection of Six Tintype and Daguerreotype Cases, comprised of a magnum example containing a fine tintype of an elderly woman in a white lawn cap, third quarter 19th century; an embossed gutta-percha case containing an oval tinted daguerreotype of a seated young woman, also third quarter 19th century; a similar, smaller gutta-percha case containing an unusual tinted daguerreotype of two young brothers, third quarter 19th century; a similar, yet smaller case containing a tinted daguerreotype of a young woman, also third quarter 19th century; a slightly larger gutta-percha daguerreotype case containing a later photograph of a young woman standing at a ship’s rail; and an empty S. Peck and Company gutta-percha “Union Case” for an oval daguerreotype; the gilt-metal interior enframements and embossed velvet pads in generally good condition, the largest h. 6”, w. 4‑3/4”. [75/125]

112

962

965 American Late Classical Mahogany Games Table, second quarter 19th century, the rectilinear fold-over top with canted corners, over a cyma-molded apron, raised on a vasiform pedestal joined with a concave base with scroll feet, h. 29”, w. 41”, d. 21”. [300/500] Illustrated 966 Framed 1866 Citizen’s Mutual Insurance Company of New Orleans Policy, dated December 1, 1866, presented in a wide taupe mat within a narrow antiquegilded wood and plaster frame in the neoclassical taste and glazed, h. 6‑1/2”, w. 9”. [200/400]

972

967 Pair of Frederick Cooper, Chicago, Gilt-BrassMounted Eglomise Table Lamps, of Napoleon III carcel form, the tall ivory eglomise standard with black and gold banding, each lamp fitted with a brass finial of stylized anthemion form and bearing the printed gold foil Cooper label, overall h. 41‑3/4”. [150/200] 968 American Mahogany Floor Lamp Modeled as a Colonial Candle Stand, second quarter 20th century, of tiered circular form, fitted with a knife-pleated antiquewhite fabric shade of drum form, h. 59”, dia. 14‑3/4”. [30/50] 969 American Classical-Style Mahogany Sidechair, early 20th century, in the manner of Duncan Phyfe, New York, the back with a central carved splat in the form of a lyre, the back posts and legs reeded, fitted with an upholstered slip seat, h. 34”, w. 16”, d. 19”. [50/80] 970 American Late Classical Flame Mahogany Secretary, second quarter 19th century, the upper case with an ogee cornice above a pair of glazed doors, each with six panes and two drawers below, the base with a fold-open writing surface above three long drawers flanked by scrolled pilasters, raised on turned legs, h. 78”, w. 47‑1/2”, d. 19”. [800/1200] Illustrated

970

965

971 American Late Classical Mahogany Sofa, second quarter 19th century, the back with scrolling crest rail and floral-carved crest above the tripartite padded back, the outscrolled arms with carved fronts and the seat frame serpentine, h. 33‑3/4”, w. 80”, d. 26”. [300/500] 972 Fine and Rare Trio of American Pressed Glass Covered Compotes, third quarter 19th century, in “Lion” decor, comprising one small compote and two larger examples, the domed covers gadroon-pressed and fitted with frosted glass “Lion” finials, the stems each with three frosted glass lion masks continuing to gadroonpressed circular bases, h. 13‑1/2”, dia. 9‑1/4”. [150/300] Illustrated

113

973 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”. [500/800] 974 Two American Late Victorian Kerosene Organ Lamps, fourth quarter 19th century, one a reticulated and gilded cast-iron, brass and caramel onyx tiered lamp, the square table with an onyx top and shelf stretcher joining the attenuated cabriole legs with paw feet, the bronze-patinated and parcelgilt lamp font with alternating heart-form reserves and “putto” masks, not electrified; and the other having scroll and foliate reticulated legs of tripodal form and a spiral standard with telescoping adjustable shaft, the font labeled “Stern Bros., New York”, not electrified, adjustable h. 57”. [150/300]

976

978 Leather-Bound Volumes I, II, V and IX of Nathaniel Hawthorne’s Little Classics, published by Haughton, Mifflin and Company, Cambridge, 1881, the covers and endpapers in scarlet and claret marbled Florentine papers, h. 6‑3/4”, w. 5‑1/4”, d. 1‑1/4”. [30/50]

977

975 American Wrought-Iron Floor Lantern Lamp, second quarter 20th century, of tripodal coin-footed form in the Colonial style, the lamp proper modeled as a pendant lantern of cylindrical roofed form, the interior fitted with a single light, h. 75”. [40/70] 976 American Late Classical Mahogany Sideboard, second quarter 19th century, the front with a pair of drawers above three raised paneled cabinet doors flanked by full columns with carved capitals, raised on large paw feet, h. 45‑3/4”, w. 70”, d. 25‑3/4”. [500/800] Illustrated 977 Federal-Style Inlaid Mahogany Dining Table, early 20th century, the circular top with string-inlaid aprons mounted to a square pedestal with inlaid details and further mounted to an outstretched platform base with four feet, accompanied by three leaves, h. 30”, dia. 60”. [700/1000] Illustrated

114

979 Eight-Volume Set of the New York Historical Genealogical Register, 1935‑1938, in quarterbound blue gilt-tooled leather, h. 8”, w. 6‑1/2”, d. 1‑3/4”. [50/80] 980 Henry Watterson, History of the Manhattan Club, New York, privately printed, 1915, number 156 of 650, by subscription for Frederick H. Ecker, and so printed on the colophon, quarto, in gilt-threaded red half morocco marbled boards, with raised bands and gilt lettering on the spine, 11‑5/8” x 7‑3/4”. [30/50] 981 Group of Three Silver and Turquoise Southwestern Cuff Bracelets, two with four mounted stones each and raised ball design, and one with three stones surrounded by s circular Aztec design, h. 1” to 1‑1/2”, w. 2‑3/4”. [200/400] Illustrated 982 Group of Two Silver Cuff Bracelets, consisting of a large example with an Egyptian mark, having a mirrored design of a sunset and two fish, separated by a raised etched band, h. 3”, w. 3”; and another bracelet with a raised center band having an oxidized design flanked by two rows forming a weaving effect, h. 2‑1/2”, w. 3”. [200/400] Illustrated 983 Unusual Silver and Amber Lady’s Ring, composed of a tapered amber cabochon bezel set in a silver mount and secured on top by a four-digit appendage. [40/70]

984 Group of Two Gentleman’s Bracelets, consisting of a heavy signed “Versani” sterling silver curb-link bracelet, having a safety attachment at the clasp; and a sterling silver figaro-link bracelet with four longer links interspaced along the flexible portion of the bracelet, marked “Mexico 925”; curb link, l. 8‑1/2”, figaro link l. 9‑3/4”. [150/300]

999

985 Two Sterling Silver Bracelets, consisting of a sterling curb link bracelet marked “Mexico 925”, h. 1/2”, l. 8‑1/4”; and a sterling and gold-tone flexible bracelet, having geometric design links with seven round inlaid gold-tone “bolt heads”, marked “925”, l. 8‑1/2”. [150/300] 986 Group of Four Sterling Silver Rings, one vermeil with a mounted lapis lazuli, one in silver with a mounted lapis lazuli, and two in silver with mounted malachites, two of modern inspiration, and two of traditional form, vermeil with lapis lazuli size 8, silver with lapis lazuli size 11‑1/2, silver with malachites sizes 9 and 11‑1/2. [150/300] 987 Group of Two Italian Sterling Silver Chains, consisting of a box link chain, marked “Italy 925”, l. 24”; and a chain with rectangular box links, also marked “Italy 925”, l. 26‑1/2”. [150/300] 988 Group of Four Sterling Silver Rings With SemiPrecious Stones, one with onyx, one with tiger’s eye, one with opaque ruby, and the last with six various colored hard stones, with onyx size 8, with tiger’s eye size 10‑1/2, with opaque ruby size 12, with various stones size 11. [150/300] 989 Gentlemen’s Sterling Silver Identification Bracelet, having a solid plaque for engraving and three bands circling the back of the bracelet, h. 2‑1/2”, w. 3‑1/4”. [100/200] 990 Group of Four Silver Belt Buckles, consisting of three oval examples with turquoise set in a floral design, and one rectangular buckle in alpaca and silver tone with a gilded eagle in flight; h. 2‑1/2” to 4”, w. 3‑3/4” to 5‑1/4”. [150/300] 991 Sterling Silver Bracelet, with pounded cable links, marked “950”, l. 8”. [50/80]

981

992 Silverplate, Turquoise and Leather Conch Belt, having a large rectangular buckle with shaped edges and four mounted stones in natural form, the belt having alternate scalloped edge oval and shaped rectangular conches, each with a center-mounted stone, l. 46”. [150/300] 993 Mexican Sterling Silver Double Curb Link Gentlemen’s Bracelet, marked “Mex 925”, l. 9‑1/2”. [100/200] 994 Heavy Mexican Sterling Silver Gentleman’s Buckle Bracelet, with flexible links having a geometrical design, marked “Mexico 925”, h. 1”, l. 10”. [100/200] 995 Mexican Sterling Silver Spiral Cuff Bracelet, the bands grouped and interwoven forming a fluid design, marked “Mexico 925”, h. 1‑1/2”, w. 3”. [75/125] 996 Two Gold-Filled Rounded Cable Link Chains, with toggle clasp, each having two cabochon ruby-colored glass ends, l. 17‑1/2”. [75/125]

982

997 Group of Three Gold Rings, one vermeil with an enameled front and a synthetic diamond, one in fourteen-karat gold with an inlaid onyx, and the other fourteen-karat gold with a mounted red jade tablet, synthetic diamond size 10, onyx size 9‑3/4, jade size 8. [150/300]

115

998 Unusual Specimen Turquoise and Silvered Metal Serpentine Desk Ornament, composed of a bright turquoise natural specimen topped by a silvered metal figure of a serpent with forked tongue, h. 2‑1/2”, w. 3”, d. 2‑3/4”. [100/200] 999 Rare Pair of Meriden Silverplate Bi-Fold Wine Bottle Sleeves, fourth quarter 19th century, each handled and hinged, and in “Foliate Scroll” decor, h. 11‑1/2”, dia. 4‑1/4”. [100/200] Illustrated previous page 1000 Set of Seven Mexican Sterling Silver Cocktail Glasses, second quarter 20th century, with dolphin stems, h. 4‑1/8”, dia. 3‑1/2”, 36.10 total t. oz. [200/400] 1001 Set of Eight Mexican Hand-Wrought Sterling Liqueur Goblets, second quarter 20th century, in the Spanish Colonial style, h. 3”, dia. 1‑1/2”, 6.80 total t. oz. [50/80] 1002 Thirty-Two-Piece Collection of Sterling and Plated Silver, comprised of a set of six Mexican sterling hors d’oeuvres picks with “Indian Chief” finials, second quarter 20th century; another Mexican set of six sterling picks with rabbit finials, also second quarter 20th century; a Rogers silverplate “Owl” seafood fork, fourth quarter 19th century; a set of six English silverplate “Fiddle” salt spoons in the Georgian style by Dixon and Adams, first quarter 20th century; an Italian “Small Gadroon Edge” silverplate sauce ladle, third quarter 20th century; and a set of twelve Watson sterling corncob holders in the form of corn ears, second quarter 20th century; the largest l. 6”. [50/80]

1005

1003 Mexican Hand-Wrought Sterling Silver Covered Serving Bowl, second quarter 20th century, with a petaled everted lip in the Art Deco style, the domed cover reversing to form a separate open bowl, the detachable cover finial lacking, h. 4”, dia. 8‑1/4”, 28.15 t. oz. [50/80] 1004 Group of Two Photograph Frames, consisting of an Italian sterling silver arched frame with a lacquered rosewood-grained backplate and easel; and an English ribbon-bound reeded sterling silver frame, 1977, London, with a midnight-blue velvet backplate and easel; both examples glazed, the smaller h. 6‑1/4”, w. 4‑3/4”, the larger h. 7‑1/4”, w. 4‑3/4”. [100/200] 1005 After John James Audubon (American, 1785‑1851) “Three-Toed Woodpecker”, hand-colored engraving with aquatint on J. Whatman paper, by R. Havell, Plate CXXII, from the Birds of America, London 1827‑1838, sheet size 33‑3/4” x 25‑3/4”. Unmatted and unframed. [2500/4000] Illustrated Color Plate VI 1006 After John James Audubon (American, 1785‑1851) “Louisiana Heron”, limited edition print, published by the Old Mission Gallery, Shawnee Mission, Kansas, numbered lower left “887/2000”, with “Old Mission Gallery” label on reverse, sight 16‑1/2” x 20”. Glazed, handsomely doublematted and framed. [300/500]

1009

116

1007 After John James Audubon (American, 1785‑1851) “Collard Peccary”, offset chromolithograph from the Southart-Parkway Edition of the Viviparous Quadrupeds of North America, ca. 1980, pencil numbered lower right “266/750”, sight 19‑3/4” x 25‑1/2”. Glazed, attractively double-matted and presented in a parcel-silvered and polychromed frame. [500/800] 1008 After John James Audubon (American, 1785‑1851) “Barred Owl” and “Great Cinereous Owl”, two hand-colored lithographs from the Royal Octavo edition of Birds of America, sight 9‑1/4” x 6”. Both glazed, attractively matted and presented in giltwood and gesso frames. [400/700]

1009 After John James Audubon (American, 1785‑1851) “Solitary Flycatcher”, hand-colored engraving with aquatint, by R. Havell, Plate XXVIII, from the Birds of America, London, 1827‑1838, legend lower margin, plate size 19‑1/4” x 12”. Glazed, matted and framed. [2500/4000] Illustrated Color Plate VI 1010 William H. Turner (American/Onley, Virginia, Contemporary) “Mallard Drake”, a large triple-patinated bronze figure, number 65 from a limited edition of 150 examples, 1998, signed at the proper right base “H. Turner/1998/65/150”, h. 14‑3/4”, w. 7”, l. 12”. [300/500]

1011 1011 After John James Audubon (American, 1785‑1851) “Great White Heron”, offset chromolithograph from the Amsterdam edition of Birds of America, 1971, sight 24‑1/2” x 37‑1/2”. Glazed, attractively matted and presented in a burlwood frame. [1000/1500] Illustrated 1012 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. [300/500] 1013 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. [250/400] 1014 Jack Cooley (American/New Orleans, 20th Century) “Two Ducks”, oil on canvas board, signed lower right, 15” x 30”. Presented in a molded stained hardwood frame with linen liner. [200/400] 1015 J. Gould and H. C. Richter and J. Gould and W. Hart (British, 19th Century) “Cephalepis Lalandi”, “Threnetes Antonlae” and “Lophornis Adorabilis”, suite of three handcolored lithographs, depicting various hummingbirds, sight 18‑3/4” x 13”. Each glazed, attractively French double-matted and presented in giltwood and gesso frames. [1800/2500] Illustrated 1016 J. Gould and W. Hart (British, 19th Century) “Phasianus Colchicus” (“Ring-necked Pheasant”), hand-colored lithograph, sight 14” x 20‑5/8”. Glazed, attractively French-matted and presented in a molded giltwood and gesso frame. [500/800]

1015

117

1027

1021 American School (20th/21st Century) “White Herons”, pair of oils on panel, unsigned, 7” x 5”. Presented in molded giltwood frames. [300/500] 1022 Lance Cameron (American, b. 1953, Works in Alaska) “American Majesty: Bald Eagle in Flight”, oil on canvas, 12” x 16”, signed and dated lower right. Presented in a black-lacquered wooden frame with silvered detail. [100/200] 1023 After John James Audubon (American, 1785‑1851) “Canadian Goose”, offset lithograph, 20th century, sight 19” x 13‑1/2”. Glazed, double-matted and presented in a giltwood and gesso frame. [100/200] 1024 Peggy Woods (American/Texas, Contemporary) “Birds of a Feather...”, “Seaside Serenity” and “Peaceful Valley”, suite of three linocut prints, all numbered, titled and signed in pencil lower margins, each verso affixed with printed documentation, sight 8” x 6”. All matted and unframed. [50/80] 1025 After John James Audubon (American, 1785‑1851) “Hemlock Warbler”, Plate CXXXIV, No. 27, “Green BlackCapt Flycatcher”, Plate CXXIV, No. 25 and “Bachman Warbler”, Plate CLXXXV, No. 37, suite of three fascimile prints, sight 39” x 26”. Framed. [150/300] 1026 After John James Audubon (American, 1785‑1851), suite of three fascimile prints, including “Salt Water Marsh Hen”, Plate XXIV, No. 44, “Worm Eating Warbler”, Plate XXXIV, No. 7, and “White-breasted Black-capped Authatch”, Plate CLII, No. 31, sight 39” x 26”. [100/200]

1017 J. Wolf and H. Richter (British, 19th Century) “Bubo Maximus” (“Eagle Owl”), hand-colored lithograph, sight 20” x 13‑1/2”. Glazed, attractively French-matted and presented in a molded giltwood and gesso frame. [500/800] 1018 J. B. Gould (British, 19th Century) “Red Grouse”, hand-colored lithograph, sight 20” x 13‑1/2”. Glazed, attractively French-matted and presented in a molded giltwood and gesso frame. [500/800] 1019 Basil Ede (British, b. 1931) “Belted Kingfisher”, offset chromolithograph, signed in pencil lower right, numbered in pencil lower left “248/350”, sight 39‑3/4” x 30‑1/2”. Glazed and presented in an antiqued giltwood frame. [500/800] 1020 J. Gould and H. C. Richter (British, 19th Century) “Turtur Auritus” (“Turtle Dove”), hand-colored lithograph, sight 19‑1/4” x 12‑3/4”. Glazed, French matted and presented in a giltwood and gesso frame. [500/800]

118

1027 Giovanni di Marco (Giovanni dal Ponte) (Florentine, 1385‑1437/38) “Madonna with Child Enthroned, Crowned by Two Angels with Saints Anthony Abbot and James Major”, tempera and gold leaf on panel with a gothic-arch carved top, inscribed bottom “Ave Maria Gratia Plen(a)”, 33” x 22”. Provenance: Private collection, Europe. Literature: Moretti Gallery Dalla Tradizione Gotica al Primo Rinascimento, Edizioni Polistampa, 2009, Moretti Galleries 2007 Exhibition Catalogue Dagli Eredi di Giotto Al Primo Cinquecento. Giovanni di Marco, or dal Ponte, acquired his name dal Ponte due to the location of his studio at Santo Stefano al Ponte. In 1410 he joined the Arte dei Medici and degli Speziali and in 1413, Compagnia di San Luca. In the 1420’s, he opened a studio with a partner, Smeraldo di Giovanni, with whom he collaborated on Santa Trinita frescoes. In 1424 his outstanding debts brought him a jail sentence but he was released after accepting a plan in which he paid his debts over a period of five years. His output was prolific, producing varying work, influenced by his contemporaries, such as Masolino, Masaccio, Fra Angelico and Lorenzo Ghiberti. This particular devotional altarpiece, portraying a tender moment between an enthroned solemn Madonna and playful Child, and the elegant linear figures of the Saints below is probably one of his early works, as it is painted in a typical high Gothic style. Some of the artist’s most famous works are housed in the the Musee Conde, Chantilly, Museo del Prado, Madrid, Uffizi Gallery, Florence, among many others. [200000/400000] Illustrated Color Plate I

1028 Francesco Botticini (Florentine, 1446‑1497) “Madonna and Child (Madonna del Latte) with Two Angels”, tempera on panel, 43‑1/2” x 33‑1/2”. Presented in an antique Renaissance-style frame. Provenance: Private collection, Europe. Literature: Everett Fahy “Some Early Italian Pictures in the Gambier-Parry Collection”, The Burlington Magazine, Vol. 109, No. 768, 1967, Moretti Gallery Pittori Attivi in Toscana dal Trecento al Settecento, Edizioni Polistampa, 2001. Francisco Botticini, an early Italian Renaissance painter, was the son of a painter of playing cards. He studied under Cosimo Roselli and Andrea del Verocchio. After a brief period as Neri di Bicci’s assistant, he established his own workshop, known for its decorative work. From 1471 he was a member of the Confraternity of the Archangel Raphael at Santo Spirito and in 1472, Confraternity of St. Luke. His most famous painting is the “Assumption of the Virgin” now in the National Gallery, London. His style draws influences from his contemporaries, Sandro Botticelli, as seen in the composition and the treatment of the Madonna and angels in this particular painting, Domenico Ghirlandaio, Filippo Lippi and Andrea del Verrocchio. This panel was probably made for private worship and enjoyment which was widespread in the late fifteenth century. [150000/300000] Illustrated Color Plate I 1029 Collection of Approximately Thirty-Four Auction Catalogs, from The Pettigrew Auction Company, the largest h. 11”, w. 8‑1/2”. [100/200]

1028

1030 Collection of Approximately Twenty Auction Catalogs, pertaining to Paintings, 19th-Century Furniture and Decorative Arts, Oriental Rugs and Art Glass, including Christie’s East, Early’s, Christie’s New York and Sotheby’s London, the largest h. 12”, w. 9‑1/2”. [100/200]

1033 Fine Libbey Glass Company Circular Platter, first quarter 20th century, opulently cut in the “Colonna” pattern, dia. 12”. [200/400] Illustrated

1031 Collection of Approximately Twenty Auction Catalogs, pertaining to Decorative Arts, including Christie’s New York and Christie’s East, the largest h. 10‑3/4”, w. 8‑3/8”. [100/200]

1034 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”. [200/400] Illustrated

1032 Libbey Glass Company Richly Cut Low Bowl, first quarter 20th century, in the “Colonna” decor, signed with the acid-stamped Libbey sabre mark at the outer edge of the interior center, dia. 10”. [150/300] Illustrated

1035 Opulent Clark Brilliant-Cut Glass Berry Bowl, first quarter 20th century, in “Prima Donna” decor, acidstamped at the interior center “Clark” in script, h. 4‑1/4”, dia. 9‑1/2”. [200/400] Illustrated following page

1032

1033 1034

119

1036 Clark Richly Cut Glass “Prima Donna” Berry Bowl, first quarter 20th century, the interior centered with a faint acid-stamped “Clark” in script, h. 3‑1/4”, dia. 8‑1/4”. [150/300] Illustrated 1037 Handsome Clark Brilliant-Cut Glass Berry Bowl, first quarter 20th century, in the “Palmetto” pattern, h. 4‑1/4”, dia. 10”. [300/500] Illustrated 1038 Good Clark Brilliant-Cut Glass Berry Bowl, first quarter 20th century, in “Prima Donna” decor, the interior centered with the acid-stamped Clark signature in script, h. 3‑1/4”, dia. 8‑1/4”. [200/400] Illustrated 1039 Rare and Important American Rococo Revival Laminated Rosewood Swivel Piano Chair, mid‑19th century, attributed to John Henry Belter, New York, in the “Rosalie with Grapes” pattern, the corset-form back with a fruit- and floral-carved crest, the seat frame carved in floral relief and mounted to an acanthus-carved standard and further supported by a four-legged base with conjoined scrolled legs, h. 32” (adjustable), w. 14”, d. 16”. For a similar example see The Furniture of John Henry Belter and the Rococo Revival”, pg. 67, by Schwartz, Stanek and True. Provenance: Purchased by Sophia Catherine Littlewood (1807‑1878) in 1850 from John Henry Belter’s workshop; given to her daughter Elizabeth Sophia Milbank (1833‑1912) in 1855 as a wedding gift; given to her daughter Caroline Bishop Cauldwell (1870‑1955); given to her daughter Ruth Phillips (b. 1910 - d.?); and passed to her daughter, the current owner, Sarah Phillips Foote (b. 1942). Family documents and inventory include two parlor suites ordered from the Belter workshop in 1850. Descriptions and illustrations of these suites are featured in Muzz’s article on Belter furniture in “The Christian Science Monitor”, August 19, 1933, and in Joseph Down’s article on Belter furniture in “Antiques Magazine”, September 1948. Interestingly, more family documents from 1947 describe that when Grandfather Cauldwell bought 129 Lexington Avenue, New York City, for Elizabeth Sophia Milbank as a wedding present, Grandmother Milbank gave them a set of Belter furniture for their parlor. She had two other sets, one in her front parlor and one in her back parlor. She believed that one had “arrived” socially if one owned a set of Belter furniture. In September 1912, five months after Elizabeth Sophia Milbank died, her family house at 16 West 54th Street, New York City, was purchased by John D. Rockefeller, Jr. Additional provenance and family history available to the purchaser. [5000/8000] Illustrated Color Plate III

1040 Massive Rococo Revival Rosewood Table, third quarter 19th century, the large cabriole legs with fruit-carved knees and ending in scrolled toes, formerly a square parlor grand piano, h. 29”, w. 82”, d. 41‑1/2”. [1000/1500] Illustrated

1039

1042 American Rococo Revival Rosewood and MarbleTop Sideboard, third quarter 19th century, the upper section having two graduated open shelves supported by pierced brackets with carved bird heads, the base with two oval mirrored doors below a pair of side-by-side drawers, h. 71‑3/4”, w. 46”, d. 21”. [1800/2500] Illustrated

1037

1038 1035

1036

120

1041 Good American Cut Glass Tiered Four-Light Chandelier, third quarter 19th century, of Regency inspiration, the upper tier fitted with tall cut glass spikes, the basal element modeled as four graduated descending rings, each richly dressed with cut glass spears, the candle arms dressed with larger back-cut glass spears, the lower tier fitted with large bone-white faux-wax candles, h. 53”, dia. 38”. [1500/2500] Illustrated

1042 1043 Eight-Piece Rosewood and Kingwood Veneered Parlor Suite, third quarter 19th century, probably Austrian, in the rococo taste, consisting of a sofa, h. 41”, w. 67”, d. 24‑1/2”, an armchair, h. 42”, w. 23‑1/2”, d. 23”, and six sidechairs, h. 38‑1/4”, w. 19”, d. 16‑1/2”, each with floral-carved centered cartouches and gadrooned shoulder moldings, raised on cabriole legs. [1500/2500] Illustrated following page

1041

1044 Fine, Large American “Roman Centurion” Five-Light Girandole, third quarter 19th century, Philadelphia or New York, composed of gilt-lacquered brass and white marble, and dressed with period magnum cut glass prisms pendant from large emerald-cut glass jewels, the white marble base stepped and mounted in gilt-lacquered brass, the period gilt-lacquered candlesockets vasiform, electrified and fitted with petal-edged glass bobeches and bone-white faux candles, h. 31”, w. 21”, d. 9‑1/2”. Reference: H. Parrott Bacot, Nineteenth Century Lighting, Schiffer Publishing, 1984, page 195, illustrated left. [700/1000] Illustrated following page and Color Plate I

1045 Fine Pair of American GiltLacquered Brass Five-Light Sconces, third quarter 19th century, attributed to Cornelius and Company, Philadelphia, the rare deux-color gilt-lacquered finish largely intact, not electrified, h. 11‑1/4”, w. 12”, d. 9”. [800/1200] Illustrated following page and Color Plate III

1040

121

1049 Good Hawkes Brilliant-Cut Glass Trumpet Vase, first quarter 20th century, in the “Navarre” pattern, the trumpet supported on a lapidary-cut knop above a reverse-cut circular foot, signed on the rim with the acidstamped Hawkes trefoil mark, h. 12”, dia. 5”. [200/400] Illustrated 1050 Fine Straus Brilliant-Cut Glass Punchbowl, first quarter 20th century, in the “Corinthian” pattern, h. 5‑1/2”, dia. 12”. [200/400] Illustrated

1043 eight-piece suite

10436 eight-piece suite

1044

1046 Opulent American Brilliant-Cut Glass Footed Compote, first quarter 20th century, in “Interlaced Hobstars” decor, the bowl supported on an attenuated paneled pyriform stem with a “teardrop” air trap above a scalloped reverse-cut circular foot, h. 12”, dia. 7‑3/4”. [200/400] Illustrated 1047 Opulent Egginton Brilliant-Cut Glass Pyriform Vase, first quarter 20th century, in the “Creswick” pattern, signed on the base with the acid-stamped Egginton star-and-crescent mark, h. 8‑5/8”, dia. 7”. [300/500] Illustrated 1048 Handsome Hawkes Cut Glass Trumpet Vase, first quarter 20th century, richly cut in the “Navarre” pattern, the trumpet on a lapidary-cut knop above a circular reverse-cut foot, the foot signed on the rim with the acid-stamped Hawkes trefoil mark, h. 14”, dia. 5‑1/2”. [300/500] Illustrated

122

1045

1050

1051

1046 1048

1047

1055 American Cast-Iron- and BrassMounted White Opal Glass Kerosene Parlor Lamp, fourth quarter 19th century, now electrified, the base and period globular white opal glass shade in floral “putto” decor, retains the blown glass chimney, h. 26”, dia. 8‑1/2”. [150/250]

1049

1056 American Rococo Revival Mahogany Center Table, third quarter 19th century, the later wood top mounted to a floral-carved frame and raised on scrolled legs with floral garlands, the stretcher system now replaced by a lower shelf, h. 28‑1/2”, w. 50‑1/2”, d. 27‑1/2”. [250/400] Illustrated

1051 Fine Hawkes Well-Cut Glass Berry Bowl, first quarter 20th century, in the “Gladys” pattern, the interior centered with an acid-stamped Hawkes trefoil mark, h. 4‑1/2”, dia. 10‑1/2”. [200/400] Illustrated 1052 Trio of American Brilliant-Cut Glass Vases, first quarter 20th century, comprised of a tall and attractive “Notched Prism” footed trumpet vase; a “Hobstar, Starburst and Oculus” cylindrical vase; and a smaller cylindrical example with floral cutting and small hobstars; the largest h. 13‑1/2”, dia. 5‑1/2”. [100/200] 1053 Tall Pair of Anglo-Bohemian Glass Lustres, third quarter 19th century, with parcel gilt white-overcranberry overlay glass, the lips “Van Dyck” cut, both dressed with period magnum back-cut “Albert” glass spears, h. 11‑3/4”, dia. 6‑3/4”. [150/300] 1054 Thirty-Two-Piece American “Chased Gold Band” Partial Stemware Service, for twelve persons, first quarter 20th century, in “Vertical Optic Rib” decor, comprised of twelve tall red wine goblets, eleven sparkling wine goblets of footed beaker form and nine matching dessert wine goblets, the largest h. 7‑3/4”, dia. 3‑1/2”; together with a set a Four Similar Red Wine Goblets of like date (thirty-six total pieces). [300/500]

1056

123

1057 two-piece suite

1059 American Rococo Revival Rosewood Sofa, third quarter 19th century, the back with a cushion set in a molded frame with a carved crest centered by a leaf vine and berry carving beneath gadrooning, the back joined to open arms on carved supports, with serpentine apron and cabriole legs, now upholstered in tufted forest green plush, retaining its dark, polished period surface, h. 45”, w. 69”, d. 28”. [400/700] 1060 Fine Two-Piece Fry Brilliant-Cut Glass Cream-andSugar Set, first quarter 20th century, in the “Prima Donna” 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”. [200/400] Illustrated

1057 two-piece suite

1057 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”. [1800/2500] Illustrated

1058 American Rococo Revival Mahogany Games Table, third quarter 19th century, the rotating fold-over top with reeded edge, opening to expose an inset circular felt playing surface, the scalloped apron centered by a shell-carved cabochon, raised on cabriole legs with carving above the knees, h. 29‑1/4”, w. 36”, d. 18”. Provenance: Didier Antiques, New Orleans, Louisiana. [300/500]

124

1061

1063

1062 1060

1064

1061 Good Hawkes Brilliant-Cut Glass Rose Globe, first quarter 20th century, in the “Navarre” pattern, the interior centered with a faint acid-stamped Hawkes trefoil mark, h. 5”, dia. 5‑3/4”. [100/200] Illustrated 1062 Fine and Rare Pitkin and Brooks Cut Glass Bread Tray, first quarter 20th century, in “Plaza” decor, the interior centered with the acid-stamped Pitkin and Brooks “P & B” mark within a lozenge, w. 6”, l. 12‑3/8”. [300/500] Illustrated

1068 Fine Egginton Brilliant-Cut Glass Berry Bowl, in “Creswick” decor, signed at the interior center with the Egginton acid-stamped star-and-crescent mark, h. 4‑3/4”, dia. 10‑1/4”. [150/300] Illustrated 1069 Collection of Nine Blown Glass Parlor Domes, of varying sizes ranging from 6” to 10” in height, one example fitted with a circular wooden base. [150/300]

1063 Unusual Hawkes Brilliant-Cut Glass Sauce Bottle, first quarter 20th century, in the “Gladys” pattern, signed on the rim of the base with the acid-stamped Hawkes trefoil mark, retains the period cut glass stopper, h. 8”, dia. 2‑1/2”. [150/300] Illustrated 1064 Fine Two-Piece Clark Cut Glass Cream-and-Sugar Set, first quarter 20th century, in the “Prima Donna” pattern, comprised of a two-handled open sugar basin, h. 2‑3/4”, and a cream pitcher, h. 3‑1/2”, each piece faintly acid-stamped on the exterior beneath one handle “Clark”, in script. [150/300] Illustrated 1065 Three-Piece Collection of American Brilliant-Cut Glass, first quarter 20th century, comprised of an “Interlaced Hobstars and Notched Prisms” carafe; a magnum “Hobstar and Fan” cologne bottle with a spherical lapidary-cut stopper; and a “Hobstar and Cane Panel” sauce bowl; the largest h. 7‑1/2”, dia. 6‑1/4”. [100/200] 1066 Fry Richly Cut Glass Berry Bowl, first quarter 20th century, in the “Trojan” pattern, the center with the acidstamped mark “Fry” in script, h. 4”, dia. 9”. [150/300] Illustrated 1067 Fine Fry Cut Glass Company Lobed Circular Tray, first quarter 20th century, richly cut in the “Trojan” pattern, the interior centered with the acid-stamped “Fry” mark in script, dia. 12”. [200/400] Illustrated

1072

1070 Collection of Eleven Blown Glass Parlor Domes, of varying sizes ranging from 4” to 10” in height, one small dome fitted with a circular wooden base as are two of the taller examples, one dome with a spherical glass finial. [150/300] 1071 American Rococo Revival Walnut Center Table, third quarter 19th century, the serpentine top with molded edge above a carved frame extending into cabriole legs, one side fitted with a drawer, h. 27‑1/2”, w. 35”, d. 22”. [300/500]

1067

1066

1068

1072 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 floral-carved frame and supported by cabriole legs joined by stretchers and a central turned finial, h. 30‑1/2”, w. 41”, d. 28‑3/4”. [600/900] Illustrated

125

1073 Opulent Libbey Glass Company Brilliant-Cut Berry Bowl, first quarter 20th century, in the “Neola” pattern, the interior centered with the acid-stamped Libbey sabre mark, h. 4”, dia. 10‑1/4”. “Neola” was one of the Libbey Company’s most difficult and expensive cut glass patterns. [300/500] Illustrated Color Plate I

1074

1073

1075

1074 Fine Libbey Brilliant-Cut Glass Berry Bowl, first quarter 20th century, in the “Star and Feather” pattern, the interior centered with the acid-stamped Libbey sabre mark, h. 4‑3/4”, dia. 10‑1/4”. [200/400] Illustrated 1075 Fine, Beautifully Cut Libbey Glass Company Berry Bowl, first quarter 20th century, in the “Neola” pattern, signed at the interior basal edge with the acid-stamped Libbey sabre mark, h. 3‑3/4”, dia. 9‑1/8”. “Neola” was one of the Libbey Company’s most difficult and expensive cut glass patterns. [200/400] Illustrated 1076 Four-Piece Group of Cut Glass, first quarter 20th century, consisting of a pair of English “Panel and Diamond”-cut glass decanters with attenuated oviform cut glass stoppers; an American brilliant- and intagliocut circular tripodal rose bowl in “Floral Sprays” decor; and a small American brilliant-cut and floral-engraved glass single-handled nappy; the largest h. 13”, dia. 5‑1/2”. [100/200] 1077 Good Trio of Tall Blown Glass Parlor Domes, one with a holly-banded rosewood base of drum form, another with a fruitwood base of disc form and the last with a circular thumb-molded stained wooden base, the largest h. 21”, dia. 8”. [150/300]

1081

1078 Stately Bohemian Ruby Overlay Glass Kerosene Parlor Lamp, third quarter 19th century, with antiquegilded brass mounts, now electrified and mounted on a Lucite disc base and fitted with a tall ruby overlay cut glass spike finial, h. 42”. [75/125] 1079 American Renaissance Revival Walnut Bookcase, third quarter 19th century, the top with an overhanging cornice above a pair of glazed doors, the protruding base fitted with two drawers, h. 88”, w. 59‑3/4”, d. 24”. [500/800] 1080 American Rococo Revival Walnut Dresser, third quarter 19th century, the front fitted with three graduated long drawers, each with racetrack moldings and carved pulls, h. 34‑1/2”, w. 40”, d. 18‑1/2”. [75/125]

1082

126

1081 Good American Rococo Revival Walnut Extension Dining Table, third quarter 19th century, the circular top with molded edge supported by four foliate-carved cabriole legs and a turned center leg, accompanied by two leaves, h. 29‑1/2”, dia. 48‑1/2”. [500/800] Illustrated

1082 American Rococo Revival Walnut and Marble-Top Center Table, third quarter 19th century, of diminutive size, the top of turtleback form with its original white marble, the frame with carved aprons and raised on scrolled and carved legs, h. 28”, w. 30”, d. 22”. [150/300] Illustrated

1085

1083 Large Carved Giltwood Overmantel Mirror, in the Spanish 18th-century style, the outer edge spiral-ribbon carved, each rail centered with a bas-relief “Leaf and Berry” spray, h. 54‑1/2”, w. 46”. [250/400]

1084 Attractive Three-Piece American Girandole Mantel Garniture, third quarter 19th century, composed of giltlacquered brass, white marble and cut glass in “Flower Basket” decor, comprised of a three-light center girandole, h. 17‑1/4”, w. 17”, d. 4”, and a pair of flanking single-light girandoles dressed with the proper floral back-cut prisms, h. 16”, w. 6”, d. 4”. [300/500] Illustrated

1086 1085 Alexander John Drysdale (American/Louisiana, 1870‑1934) “Louisiana Bayou Landscape at Dusk”, oil wash on paper, signed lower left “A. J. Drysdale”, 10” x 29‑1/2”. Glazed and presented in an Arts and Crafts giltwood frame. [4000/7000] Illustrated Color Plate VII

1084 1086 Alexander John Drysdale (American/ New Orleans, 1870‑1934) “Louisiana Landscape with a Moss-Covered Oak Tree”, oil wash on board, signed lower right “A. J. Drysdale”, sight 9‑1/2” x 19‑1/2”. Presented in a parcel-gilt molded hardwood frame. [1200/1800] Illustrated Color Plate III

127

1089 George Louis Viavant (American/ Louisiana, 1872‑1925) “Nature Morte of Two Game Birds”, pastel on paper, unsigned, verso affixed with “The Farish Art Store Inc.” label, sight 24” x 19”. Matted and framed. [2000/4000] Illustrated 1090 Ellsworth Woodward (American/ Louisiana, 1861‑1939) “Bust of Napoleon I” and “Bust of Apollo Endormi”, pair of charcoal on paper studies, one initialed upper left “E.W.”, sight 25” x 19”. Both glazed and presented in silvered frames. [1200/1800] Illustrated 1091 American/Southern School (Fourth Quarter 19th Century) “Richmond Plantation, Natchez, Mississippi”, black and white engraving, titled in pencil lower left, signed in pencil lower right, first name illegible, last name “Bowman”, sight 6‑1/2” x 8‑1/4”. Glazed, matted and framed. [100/200] 1087

1092 Southern School (20th Century) “Portrait of a Confederate Soldier”, oil on board, unsigned, 15” x 10‑1/2”. Presented in a giltwood and plaster floral-molded frame. [60/90]

1088 1087 Marie de Hoa Le Blanc (American/Louisiana, 1874‑1954) “Louisiana Landscape at Sunset”, oil on masonite, signed lower right, 12” x 18‑1/2”. Presented in a period floral-molded giltwood and gesso frame. [1800/2500] Illustrated Color Plate V 1088 Raymond Scully (American/Louisiana, Fourth Quarter 20th Century) “Figure with Cattle Under a Spanish Moss-Draped Oak Tree”, oil on artist’s canvas panel, verso with a “Raymond Scully Original Creations” label, 19‑1/2” x 23‑1/2”. Presented in a Louis XV-style polychrome frame. [500/800] Illustrated 1089

128

1093 Charles Whitfield Richards (American/Louisiana, 1906‑1992) “Margie”, oil on canvas, inscribed verso “Margie Aug. 1991-Ocean Springs”, signed lower right, 27” x 21‑1/2”. Presented in a giltwood and gesso frame. [300/500] Illustrated

1090

1094 M. Hartnett (American/New Orleans; Active Second Quarter 20th Century) “Portrait of a Pierrot”, oil on canvas board, signed lower right “M. Hartnett”, 30” x 24”. Presented in an unfinished hardwood frame. [300/500] 1093

1095 Todd Rodriguez (American, b. 1967) “New Orleans Jazz Musician”, oil on canvas, 20” x 16”. Presented in a gray-pickled and stained frame. [75/125] 1096 Clementine Hunter (American/Louisiana, 1887‑1988) “Cooking Outside”, oil on board, monogrammed lower right, 16” x 20”. Presented in a mahogany-veneered molded frame. Provenance: Private collection, Baton Rouge, LA. [2500/4000] Illustrated Color Plate VII

1096

129

1097 1976 New Orleans Jazz and Heritage Festival Poster, sight 20” x 21‑1/2”. Glazed, matted and presented in a contemporary metal frame. [500/800] Illustrated

1100

1098

1098 Monumental Contemporary Cast-Bronze Garden Fountain, depicting two pelicans resting on a log, above a boat-dock molded base fitted with two handles, h. 86”, w. 44”, d. 48”. [3000/5000] Illustrated Color Plate VI 1099 Pair of Cast-Iron Campana-Form Garden Urns, first quarter 20th century, each with an egg-and-dart-formed lip over a partially ribbed body ending in a circular foot, raised on a square plinth base, 17‑1/2”, dia. 19‑1/2”. [75/125] 1100 Monumental Contemporary Patinated Cast-Bronze Garden Fountain Sculpture, in the form of three turtles riding the waves, h. 69”, w. 25”, d. 34”. [1500/2500] Illustrated Color Plate VI 1097

130

1101 Contemporary Cast-Bronze Garden Sculpture, in the form of an egret, h. 47‑1/2”, w. 31”, d. 22”. [400/700] Illustrated

1101

1105 Collection of Approximately Twenty Auction Catalogs, pertaining to Fine Oriental Rugs and Carpets, Paintings, 19th-Century Decorative Arts and Furniture, including Christie’s East, Skinner, Christie’s New York, Sotheby’s New York, and Sotheby’s London, the largest h. 11‑3/4”, w. 9”. [100/200]

1102 Five-Piece CastAluminum Garden Set, late 20th century, consisting of a reticulated circular table and four armchairs, all in an old white-painted surface, table h. 37”, dia. 41”, armchair h. 30‑1/2”, w. 22”, d. 23”. [350/500] Illustrated

1106 Interesting Collection of Seven Needlepoint Sofa Pillows, comprised of a shield-form example featuring the man-in-the-moon and a star, a square example of a pair of skating cats in Victorian dress, a diminutive circular example with the silhouette head of a girl of the Campagna, a circular example in “Pansies” decor, a square “Golf Clubs” pillow, an oblong “Noah’s Ark and The Rainbow” pillow, and a smaller matching accent pillow; along with an unusual floral-patterned needlepoint traveling case of diminutive duffel form for a trio of toilet paper rolls, the largest w. 15”, l. 14”. [30/50]

1103 Collection of Approximately Thirty-Four Auction Catalogs, from The Pettigrew Auction Company, the largest h. 11‑1/2”, w. 9‑3/4”. [100/200]

1107 Elegant Collection of Six Needlepoint Sofa Pillows, comprised of a trio of oblong “Fruits and Flowers” examples with taupe spiraled cording and velvet backs; a pair of smaller oblong examples featuring ears of corn on lavender borders ornamented with frolicking beribboned piglets; and a large square gros-point-faced pillow in ecru, russet, ivory and pale gold foliate scrolls, and backed in taupe velvet; the largest w. 20”, l. 20”. [30/50]

1104 Collection of Approximately Twenty Auction Catalogs, pertaining to Important American Furniture, Folk Art, Silver and Decorative Arts, including Christie’s New York, Freeman’s and Sotheby’s New York, the largest h. 11”, w. 8‑1/2”. [100/200]

1108 American Eastlake Victorian Walnut Armoire, fourth quarter 19th century, the top with a simple crown molding above a single mirrored door, the base fitted with a single long drawer, h. 77‑3/4”, w. 43‑1/4”, d. 18‑3/4”. [200/400]

1102

131

1119

1109 American Victorian Oak Server/Sideboard, fourth quarter 19th century, the upper section with a pair of stepped shelves capped and supported by scroll-sawn elements, the base with a pair of drawers over a pair of paneled doors, retaining an original paper label affixed to the back of the base “Manufactured by William McCracken, No. 45 Royal Street, New Orleans”, h. 70”, w. 47‑1/4”, d. 22‑1/2”. [800/1200] Illustrated 1110 Pair of American Eastlake Walnut Sidechairs, fourth quarter 19th century, each with line-carved back crests and padded backs and seats, raised on turned front legs, h. 35”, w. 20‑1/2”, d. 18”. [100/200] 1111 Good French Brass Carriage Clock, first quarter 20th century, produced for J. E. Caldwell, Philadelphia, fully touchmarked on the interior backplate, the glazing beveled throughout, retains the period double-tipped brass winding key, h. 4‑3/4”, w. 3‑1/8”, d. 2‑1/2”. [100/200]

1109

1112 Ninety-One-Piece American “Leaf Band” Engraved Glass Partial Stemware Service, second quarter 20th century, comprised of eleven juice glasses, twenty white wine goblets, eleven red wine goblets, eighteen iced water goblets, thirteen sherry-port goblets and eighteen champagne goblets, the largest h. 6”, dia. 3‑5/8”. [50/80] 1113 Good Set of Eleven American Crystal Wine Goblets, first quarter 20th century, each acid transfer-plate etched in the neoclassical taste, the etched floral patterning applied to “Vertical Optic Rib” bowls, h. 8‑1/2”, dia. 3‑1/4”. [50/80] 1114 Thirty-Six-Piece American Panel-Pressed Glass Stemware Service, for twelve persons, second quarter 20th century, in the Georgian taste, comprised of twelve footed iced water/tea goblets, h. 5‑7/8”, dia. 3‑3/8”, twelve sparkling wine goblets, h. 4‑3/4”, dia. 3‑1/2”, and twelve generous red wine goblets, h. 6‑1/2”, dia. 3‑1/2”. [150/300] 1115 Set of Ten Val St. Lambert Limited Edition Glass “Great Artists” Dessert Plates, each featuring a reverse-pressed “satine” portrait of a different artist such as Michelangelo, Van Gogh, Gainsborough, Leonardo da Vinci, Goya, etc, each plate signed and dated in diamond stylus script on the reverse, dia. 8”; together with a Bohemian Floral-Engraved Glass Circular Sandwich/ Pastry Tray, dia. 13” (eleven total pieces). [50/80] 1116 Good Northwood Iridescent Amethyst Carnival Glass Vase, of ribbed “Jack in the Pulpit” form, the base with the pressed circumscribed Northwood “N” mark at the center, retains the printed paper label of the Antique Center of Texas on the base, h. 7”, dia. 5”. [40/70]

132

1117 Elaborate Sixty-Two-Piece L. Straus and Sons, New York, Carlsbad-Manufactured Porcelain Partial Dinner Service, for twelve persons, in “Rose Garland” decor, 1895‑1917, comprised of eleven dinner plates, twelve soup plates, twelve salad-dessert plates, nine tea cups, five tea saucers, one oval two-handled covered vegetable tureen, one circular two-handled covered vegetable tureen, a graduated trio of oval open serving bowls, one circular open serving bowl, a graduated nest of three oval platters, one dome-covered butter dish, one oval two-handled covered soup tureen, one two-handled double-lipped sauceboat with integral stand and one large two-handled covered sugar basin, all of the pieced fully backstamped in overglaze pale blue; the largest w. 11‑1/2”, l. 18”. Lewis Straus and Sons was a New York retailer importing high-quality Austrian porcelain dinnerwares from 1895 to 1917. [200/400] 1118 Pair of Victorian Mahogany Sidechairs, third quarter 19th century, each with a shaped concave top rail, serpentine seat and cabriole legs, now upholstered in burgundy brocade, h. 35‑3/4”. [75/125]

1123

1119 American Late Victorian Black-Painted Wicker Sofa, ca. 1900, the seat and back with reversible upholstered cushions, h. 29”, w. 84‑1/2”, d. 34‑1/2”. [300/500] Illustrated 1120 American Brass Four-Light Floor Lamp, second quarter 20th century, modeled as a candelabrum, the large central light with a white opal glass shade of inverted bell form, the flanking short upturned brass candlearms each fitted with an ivory card faux candle and electrified, h. 55‑1/2”, dia. 8”. [75/125] 1121 American Cast and Polychromed Aluminum Humidor, in the form of a “Mephistopheles” head, the painted finish with losses, h. 5‑1/4”, w. 4‑1/4”, d. 6”. [50/80] 1124 1122 Eleven-Piece Gorham Floral-Chased Sterling Silver Toilette Service, first quarter 20th century, comprised of a sterling-handled whisk, a matching nail buffer, a button hook, a comb, a shoehorn, a nail clipper, a curling tong, a toothbrush, a moistener, a bud vase and a large circular pincushion, all of the pieces in a Tiffany and Company ivory felt storage bag, the largest l. 9”. [300/500] 1123 David Hagerbaumer (American, b. 1921) “Doves in Flight”, watercolor on paper, signed and dated lower right “David Hagerbaumer, 1965”, sight 21‑1/2” x 29‑1/2”. Glazed, linen-matted and presented in an ebonized and parcel-gilt frame. Provenance: Private collection, Texas. [2500/4000] Illustrated Color Plate VII

1125

1124 John P. Cowan (American/Texas, 1920‑2008) “Fly Fishing with Boats in Background”, watercolor on paper, initialed lower left “C”, sight 4‑1/2” x 6‑1/2”. Glazed, matted and framed. Provenance: Private collection, Texas. [1000/1500] Illustrated

133

1125 John P. Cowan (American/Texas, 1920‑2008) “View of a Boat Dock”, watercolor on paper, initialed lower left “C”, sight 4‑1/2” x 6‑1/2”. Glazed, matted and framed. Provenance: Private collection, Texas. [1000/1500] Illustrated previous page 1126 Herb Booth (American/Texas, b. 1942) “Grouse in Flight”, watercolor on paper, signed lower left “Herb Booth”, sight 13‑1/2” x 21”. Glazed, matted and presented in a giltwood frame. Provenance: Private collection, Texas. [2000/4000] Illustrated Color Plate III 1127 David Hagerbaumer (American, b. 1921) “Ducks in Flight”, watercolor on paper, signed and dated lower left “David Hagerbaumer 1967”, sight 12‑1/2” x 16‑1/4”. Glazed, matted and presented in a giltwood frame. [1500/2500] Illustrated Color Plate VI 1128 American School (Second Half 20th Century) “Willie Mays, San Francisco Giants”, ink on paper, unsigned, verso affixed with a printed sticker identifying the subject matter, sight 7” x 8‑1/4”. Glazed, matted and presented in a hardwood frame. [50/100]

1126 1131 Native American School (Fourth Quarter 20th Century) “Dancing Native American” and “Ceremonial Costume Design”, pair of gouaches, markers and ink on paper, signed lower right “Nat Coriz”, larger sight 13‑1/4” x 10‑1/4”. Both glazed, matted and presented in parquetryinlaid burlwood frames. [75/125] 1132 Three-Piece Peter Chitry, New York, Coin and Sterling Silver Tea Service, first quarter 19th century, in the classical taste, comprised of a sterling silver broadribbed and footed teapot with a fruit-basket finial, h. 10”, w. 6‑1/4”, l. 11‑1/2”, a coin silver covered, two-handled and footed sugar basin, h. 8‑1/2”, w. 5‑1/4”, l. 9”, and a matching coin silver footed cream pitcher, h. 7‑1/2”, w. 4”, l. 6‑1/4”, 65.35 total t. oz. [1800/2500] Illustrated 1133 Six-Piece Group of American Sterling Silver, consisting of a set of four Saart Brothers “Blossom” afterdinner coffee spoons, the pattern introduced in 1908, l. 4‑1/4”; a Manchester “Mary Warren” after-dinner coffee spoon, the pattern introduced in 1910, l. 4‑1/4”; and a Wallace after-dinner footed mints dish in the form of a clam shell, second quarter 20th century, l. 2‑3/8”, w. 3‑1/2”, 2.05 total t. oz. [30/50]

1127 1129 Umberto Romano (Italian/American, 1905‑1984) “Pagliacci”, black and white lithograph, pencil signed lower right “Umberto Romano”, titled lower left with a dedication lower center, sight 10” x 14”. Glazed, matted and framed. [50/80] 1130 Group of Four American Illustrations of Various Pistols, 20th century, each identifying the pistol, model number and the designer, sight 4‑1/2” x 7‑1/2”. All glazed and presented in Southwestern-style tooled leather frames. [75/125]

134

1134 Trio of Gorham Sterling Silver Iced Water Goblets, second quarter 20th century, in the Early Georgian taste, the facades of the bowls handsomely monogrammed, h. 3”, dia. 6‑1/2”. [75/125] 1135 Cased Gorham Sterling Silver “No. 759” AfterDinner Coffee Service, for twelve persons, the pattern introduced in 1895, comprising twelve after-dinner coffee spoons, l. 3‑1/2”, and a claw-terminal sugar tong en suite, l. 3‑1/2”, the case interior fitted and lined in “old ivory” satin, 2.30 total t. oz. [50/80]

1136 Three-Piece Whiting Sterling Silver AfterDinner Coffee Service, first quarter 20th century, comprised of an after-dinner coffeepot of “aftaba” form (the scrolled silver handle partially lacking), a covered two-handled sugar basin (the small spherical silver finial of the cover lacking), and a cream pitcher, the largest h. 9‑1/4”, dia. 3‑1/4”, 32.80 total t. oz. [125/250]

1132

1137 Stately Antique Sheffield Plate Covered Soup Tureen, first quarter 19th century, of oval, paw-footed form in the Regency style, the double-scroll handle of the domed cover detachable, h. 11”, w. 15”, d. 10”. [1400/1800] Illustrated

1139 Pair of Gorham Weighted Sterling Silver Footed Comports, second quarter 20th century, of small size in “Gadroon” decor, h. 3‑3/4”, dia. 5‑3/4”. [75/125]

1137

1140 Attractive Ellis-Barker Silverplate Circular Tray, in “Shell and Scroll” decor in the “Old Sheffield” style, dia. 14”. [50/80] 1141 Highly Interesting Nine-Piece Collection of Silverplate, second quarter 20th century, comprised of a Wallace “Melford” roasted meats tray of lobed oval form; a large three-piece William Rogers and Son “Spring Flowers” covered vegetable dish; a matching oval open serving bowl; a Sheffield oval covered vegetable dish (the covers finial lacking); a “Gadroon” circular covered vegetable dish, the cover reversing to form a divided open vegetable bowl; a “Gadroon” circular footed serving bowl; a Gotham “Vintage” oval bread tray; an International circular sweetmeats bowl with pierced rim; and a William Rogers “Bedford” open two-handled sugar basin in the Georgian taste, the largest w. 12”, l. 16‑1/2”. [125/250]

1138 Two-Piece Group of American Silverplate, consisting of a Reed and Barton bowl of ribbed flowerhead form, 1933, dated by a Reed and Barton date symbol/hallmark on the base, h. 1‑7/8”, dia. 8‑1/8”; and an Edwardian “Gadroon and Flower” oval bread tray in the Georgian taste, first quarter 20th century, w. 6‑1/2”, l. 9‑1/2”. [50/80]

1142 Attractive Ellis-Barker Silverplate Waiter, of large size and oblong, scroll-handled form in the George III style, h. 1‑1/2”, w. 26”, d. 15‑3/4”. [40/70] Illustrated

1142 1143 Pair of Tiffany and Company Sterling Silver Candlesticks, first quarter 20th century, each of columnar form and fitted with a detaching sterling bobeche, h. 6”, dia. 3‑1/4”, 14.45 t. oz. [500/800] 1144 Pair of Sheridan Silverplate “Well and Tree” Roasted Meats Platters, third quarter 20th century, of oval, footed form and large size, in “Foliate Scroll” decor in the “Old Sheffield” style, h. 1‑3/4”, w. 22‑3/4”, d. 16‑3/4”. [75/125]

135

1152

1146 Two American Bread Knives, consisting of a sterling silver hollow-handled “Daisy “ example with dentillated blade, first quarter 20th century; and a good 1547 Rogers Brothers silverplate “Lorne” bread knife with a finely serrated blade, the pattern introduced in 1878, the “Lorne” blade with a ribbon-bound wheat-and-flower spray on one side; the largest l. 10‑1/2”. [40/70] 1147 American Silverplate Covered and Footed SpoonerSugar Bowl, third quarter 19th century and later, the domed cover with an insect finial, the shoulder fitted with twelve teaspoon racks now containing eleven Alvin silverplate “Lily” teaspoons, ca. 1900, h. 8”, w. 7‑3/4”, d. 6‑1/4”. [50/80] 1148 Seventeen-Piece Collection of American Sterling Silver Flatware, comprised of five Samuel Kirk and Son “Stieff Rose” teaspoons, the pattern introduced in 1892; a rare German “Chrysanthemum” olive spoon with gilded bowl, the pattern introduced in 1894; and a set of eleven Gorham “Chrysanthemum” teaspoons; the largest l. 8‑1/4”. [150/300]

1153

1149 Diverse Six-Piece Collection of American Silver, comprised of a Whiting cream-and-sugar set in the Georgian taste, first quarter 20th century; an unusual Gorham sterling butter plate fitted at the edge with a knife rack; an International bread-and-butter plate of like date in the Early Georgian taste, second quarter 20th century; a Redlich two-handled and footed open sugar basin in the “Early American” taste, also second quarter 20th century; and an Art Silver Company silverplated two-handled cream-and-sugar tray with a foliate scroll-engraved cavetto; the largest w, 6”, l. 10‑1/4”. [100/200]

1145 Diverse Eight-Piece Collection of Silverplate, comprised of a pair of Rogers rattail candle snuffers in the Georgian style; a large Reed and Barton trifid stuffing spoon, also Georgian in style; an Italian silverplate rattail stuffing spoon after an Eales 1779 model; a pair of pastry servers with scallop-shell terminals; a lasagna spade with a chased blade, also in the Georgian taste; and a Florentine sauce ladle with a scallop shell-form bowl; the largest l. 14‑1/4”. [75/125]

1154

136

1150 Twenty-Two-Piece Collection of American Sterling Silver Flatware, comprised of a set of seven Gorham “Etruscan” teaspoons, the pattern introduced in 1913; a matching tablespoon; a matching sauce ladle and a sugar spade; a set of eleven Gorham “Plymouth” teaspoons, the pattern introduced in 1911; and a Towle “Mary Chilton” sugar spade, the pattern introduced in 1912; the largest l. 8‑1/2”. [100/200]

1158

1159

1157

1151 An 1884 Morgan Silver Dollar, from the New Orleans Mint, dia. 1‑1/2”. [50/80] 1152 American Late Victorian Quarter-Sawn Oak Sideboard, fourth quarter 19th century, of large scale, the top with a removable gallery above a work surface with a central beveled mirror flanked by carved and framed panels, the lower case with two side-by-side drawers above a pair of doors, the whole flanked by full fluted columns with Corinthian capitals, h. 84‑1/2”, w. 76”, d. 27‑1/2”. [2000/4000] Illustrated

1155 Collection of Approximately Twenty Auction Catalogs, pertaining to Decorative Arts, including Christie’s London, Christie’s New York, and Christie’s East, the largest h. 10‑3/4”, w. 8‑1/4”. [100/200]

1153 American Late Victorian Quarter-Sawn Oak Rocking Chair, ca. 1900, the back featuring a carved profile portrait of a Native American with headdress, h. 35”, w. 23‑1/2”, d. 33”. [200/400] Illustrated

1156 Collection of Approximately Twenty Auction Catalogs, pertaining to Fine Oriental Rugs and Carpets, Important English Furniture, and 19th-Century Decorative Arts, including Sotheby’s New York, Christie’s, Christie’s East and Sotheby’s London, the largest h. 11‑3/4”, w. 9”. [100/200]

1154 American Late Victorian Quarter-Sawn Oak and Curved Glass China Closet, fourth quarter 19th century, the central door flanked by large pilasters with carved lion’s heads, the interiors with four plate-glass shelves and mirrored back, h. 65‑3/4”, w. 53”, d. 19‑1/4”. [1200/1800] Illustrated

1157 Two Etched Rose Gold-Plated Gentlemen’s “Hunt Case” Pocket Watches, one by the Illinois Watch Co., Springfield, fifteen jewels, and having a “1905” engraving inside and the initials “J. L.” on the outside face, and the other made by the Trenton Watch Company; the larger dia. 2‑1/4”, the smaller dia. 1‑3/4”. [150/300] Illustrated 1158 Lady’s Waltham Gold-Filled Lapel Watch, presented in a brass and beveled glass watch vitrine, h. 4”, w. 2‑1/2”, d. 2”, watch dia. 1‑1/4”. [150/300] Illustrated 1159 Lady’s Bucherer Etched Twenty-Two-Karat GoldPlated “Hunt Case” Lapel Watch, presented in a brass and beveled glass watch vitrine, h. 4‑1/2”, w. 3”, d. 2”, watch dia. 1‑1/8”. [150/300] Illustrated

1160

1161

1160 Large American “Vertical Optic Rib” Threaded Green Glass Fan Vase, first quarter 20th century, in the early Steuben style, in a custom cast and wrought-iron base in a bronzed finish, h. 17‑3/4”, dia. 9‑1/2”. [150/300] Illustrated 1161 Continental Cast-Iron-Mounted Crackle Glass Vase, second quarter 20th century, the sides of the colorless glass vase with pale green lion-masque prunts, the castiron bronze patinated, h. 9”, w. 8”, d. 5‑1/2”. [75/125] Illustrated

137

1162 American Leaded Glass “Heraldic” Window, in caramel, pink, ochre and ruby slag glass with yellow glass cabochons, the panel centered with a pseudo-heraldic shield in pink with a bar dexter set with five ruby glass cabochons, presented in a natural pine slat frame, h. 34”, w. 20”. [100/200]

1169

1164

1163 Good Collection of Eight Belle Epoque Jewel Caskets, composed of gilded brass and beveled glass, comprised of a large slant-front example, fourth quarter 19th century, the floor of period tufted deep rouge silk velvet, the tuft buttons of brass flowerhead-framed pearls, the whole supported on short winged reticulated brass feet, h. 9”, w. 8”, d. 7”; the remaining seven of varying configuration and size, including on oblong example, a square casket, a smaller square casket with engraved beveled glass panels, a small square example, a small oblong casket, a diamond-form casket and a diminutive oblong casket, six of the seven examples retain their period fabric floors, three of which are tufted. [100/200] Illustrated

1165 Texas Longhorn Metal-Mounted Mahogany Meats Carving Tray, and four cast-metal serving utensils, the tray with cast steer’s heads at each end forming the handles, the serving utensils comprised of a salad set and two large serving spoons, each with a large star on the handle, tray w. 13‑3/4”, l. 28‑3/4”, utensils l. 11‑3/4”. [100/200] 1166 Good Phoenix Glassworks Mold-Blown Vase, second quarter 20th century, composed of frosted and white enamel-detailed glass in “Dancing Nudes” decor of Lalique inspiration, h. 11‑1/2”, dia. 8‑1/2”. [75/125]

1164 Good Texas Longhorn Upholstered Armchair, early 20th century, the tufted back with conjoined horn crest and having horn arms and front legs, h. 38‑1/4”, w. 31”, d. 25”. [1000/1500] Illustrated

1167 Attractive Ansonia Silvered and Bronze-Patinated Spelter Mantel Clock, the signed backplate with a patent date of June 14, 1881, featuring the French cartographer Descartes seated with a globe, the facade apron embellished with a floral-mantled oval portrait cartouche of a young naive girl, h. 13‑1/2”, w. 17”, d. 7”. [200/400]

1163

1168 Set of Five American Beveled Glass Transom Windows, each centered with a pebbled glass stylized blossom of four petals and presented in a pine frame in a natural softly waxed finish, h. 58”, w. 22”. [100/200] 1169 American Bronze-Patinated Bell-Form Floor Lamp, in the Art Nouveau style, fitted with a later domed green, white and gold “ribbon” glass shade, h. 57”, w. 14”, d. 10”. [200/400] Illustrated

138

1170 French Art Nouveau-Style Cameo-Cut Glass TwoHandled Vase, in colorless, amethyst and citron yellow glass and “Orchid” decor in the manner of Emile Galle, signed on the facade with a pseudo-Galle script signature, h. 12”, w. 9”. [200/400] Illustrated

1176 Graduated Pair of McCoy Matte White Pottery “Quilted” Jardinieres, second quarter 20th century, each with an impressed McCoy mark underglaze on the base, the smaller h. 7‑3/4”, dia. 10‑1/4”, the larger h. 8‑3/4”, dia. 11‑1/4”. [50/80]

1171 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”. [600/900]

1170

1172 R. W. Stephens (American, Contemporary), an iridescent blue air-twist studio glass paperweight, dated 1984, of oval, flat-faced oviform, signed and dated on the base in diamond stylus, h. 4‑1/4”, w. 3”, d. 2”. [50/80] 1173 Eight-Piece Group of Belle Epoque Jewel Caskets, fourth quarter 19th century, consisting of a large patinated brass-enframed beveled cut glass example, h. 6‑3/4”, w. 8‑1/2”, d. 6‑1/4”; and a collection of seven similar, smaller jewel caskets of varying size, including a circular footed example with beveled glass oculi at the sides, a diamond-form casket also with oculi at the sides, an octagonal casket with engraved glass panels, a smaller square example with floral-engraved glass panels, a polygonal casket with modified horseshoe-form beveled glass side panels, a small oblong “Leaf and Tendril”engraved example, and a yet smaller casket of drum form with a beveled glass lid; all eight examples retain their period fabric linings. [100/200] 1174 American Late Victorian Oak and Caned Captain’s Chair, ca. 1900, the curved back with a caned panel and turned spindles, the seat caned and raised on turned legs, h. 35”, w. 22‑1/2”, d. 18”. [50/80] 1175 Two American Polychromed Pottery Wall Pockets, consisting of a rare Weller “Baldin” example, second quarter 20th century; and a smaller matte sage greendetailed buff pottery wall pocket of demi-flambeau form, first quarter 20th century; neither example marked, the smallest h. 6‑3/4”, the largest h. 11‑1/2”. [50/80]

1177 Four-Piece Group of McCoy “Quilted” Pottery Cachepots, second quarter 20th century, consisting of a graduated trio of gloss celadon-glazed cachepots; and a similar McCoy cachepot with a wiped celadon glaze revealing the white body; all four pieces with the impressed McCoy signature underglaze on the bases, the largest h. 8‑3/4”, dia. 11‑1/2”. [75/125] 1178 Rookwood Pottery Figure of a Monkey, 1931, the seated crouched figure presented in a gloss off-white glaze and filled with plaster, the base fully marked with the impressed Rookwood logo, date and mold numerals, h. 4”, w. 2‑1/2”, d. 2‑1/2”. [100/200]

1182

1179 German High-Glazed Pottery Bulb Bowl, first quarter 20th century, in the Arts and Crafts style in “Tulips” decor, the interior and the base glazed in gloss terracotta, h. 3”, dia. 8”. [50/80] 1180 Arts and Crafts-Style Stained Mahogany Hall Tree, the molded cornice above a mirrored back, flanked by stamped, stained glass panels and iron hanging hooks, over a short drawer centering two demi-lune umbrella cubbies, above a shelf stretcher, raised on block feet, h. 71‑3/4”, w. 33”, d. 10‑1/4”. [200/400]

139

1181 American Arts And Crafts Patinated Copper and Leaded Glass Parlor Lamp, first quarter 20th century, the domed floriform leaded shade in caramel and green slag glass set with transparent ruby glass accents, the interior fitted with a pair of light sockets, h. 23”, dia. 16‑3/4”. [100/200] 1182 Set of Eleven Black Knight Porcelain Works Dinner Plates, second quarter 20th century, each with a gilt-edged grass-green border and a different polychromed floral center, each example fully backstamped in black, dia. 10‑3/4”. [100/200] Illustrated previous page

1186

1185 Newcomb College Brass-Mounted and -Inlaid Oak Presentation Tyg, dated 1915, presented as first prize for the fifteen-yard hurdle, h. 5‑3/4”, dia. 6”. [300/500] 1186 Cowhide Rug, 72” x 77”. [300/500] Illustrated 1187 Bhadohi Jaipur Runner, 2’ 8” x 10’. [200/400] 1188 Persian Kashan Carpet, 9’ 9” x 12’ 11”. [500/800] Illustrated 1189 Peshawar Vegetable-Dyed Carpet, 9’ x 12’. [3000/5000]

1188 1183 Good Anglo-American Stained Ash and Glass Wall Hanging Vitrine, fourth quarter 19th century, of demi-hexagonal form in the Aesthetic taste, h. 20‑3/4”, w. 18‑3/4”, d. 6‑1/2”. [75/125] 1184 Pair of Arts and Crafts Stained Glass Windows, first quarter 20th century, composed of pebbled colorless and polychromed leaded glass, each window centered with a stylized leaded glass blossom in transparent gold, olive and amethyst, presented in matching period honey-pine frames in a natural finish, h. 17‑3/4”, w. 15”, d. 1‑3/4”. [100/200]

1190

140

1191 Agra Oushak Carpet, 6’ 2” x 9’ 1”. [600/900] 1192 Indo-Oushak Carpet, 4’ x 6’. [200/400] 1193 Afghan Belouchistan Carpet, 3’ 8” x 6’ 1”. [200/400] 1194 Mashad Carpet, 9’ 7” x 13’ 8”. [700/1000] 1195 Contemporary Belouch Runner, 9’ 4” x 2’ 3”. [50/80]

1198 1190 English-Design Needlepoint Carpet, 10’ 1” x 14’ 2”. [2000/4000] Illustrated

1197

1196 Semi-Antique Sparta Carpet, 11’ 11” x 17’ 8”. [500/800] Illustrated 1197 Antique Persian Serab Carpet, 4’ 3” x 6’ 10”. [800/1200] Illustrated 1198 Oushak Carpet, 10’ x 14’. [3000/5000] Illustrated

1196

141

1199 Antique Hamadan Carpet, 6’ 5” x 4’ 3”. [250/400] 1200 Semi-Antique Heriz Carpet, 12’ 1” x 8’ 11”. [600/900] 1201 Bakhtiari Persian Carpet, 7’ 10” x 10’ 5”. [400/700]

1206 1202 Peshawar Vegetable-Dyed Carpet, 9’ x 12’. [3000/5000] Illustrated 1203 Agra Serapi Carpet, 8’ 9” x 11’ 8”. [1200/1800] Illustrated 1203 1204 Three Various Semi-Antique Carpets, consisting of a Hamadan rug, 3’ 11” x 2’ 4”, a Malayer rug, 4’ 9” x 2’ 4”, and a Kazak rug, 3’ 6” x 2’ 1”. [200/400] 1205 Pair of Peshawar Zeigler Mahal Runners, 2’ 7” x 10” and 2’ 6” x 10”. [700/1000] 1206 Semi-Antique Mashad Carpet, 13’ x 8’. [500/800] Illustrated 1207 Angela Adams Modernist Rug, 4’ x 6’. [500/800] 1208 Uzbek Kazak Carpet, 6’ 4” x 9’ 4”. [100/200] 1209 Turkish Carpet, 12’ 4” x 8’ 8”. [300/500] 1202

142

1212 Pair of Agra Serapi Carpets, 4’ 1” x 6’ and 4’ x 6’. [500/800] 1213 Nick Hufford (American; Active Second Half 20th Century) “Portrait of a Boy Playing a Cello”, oil on canvas, signed lower left “Hufford”, the frame affixed with a “Portraits, Inc., New York, NY” label, 24” x 20”. Presented in a polychromed and parcel-gilt frame.[400-700] 1214 Boston School (First Quarter 20th Century)“Portrait of a Woman in Black”, oil on canvas, unsigned, 16-1/2” x 12”. Presented in a parcel-gilt hardwood frame. [200-400]

1210 1210 Jaipur Zeigler Mahal Carpet, 8’ 3” x 10’ 1”. [900/1200] Illustrated 1211 Chinese Carpet, 11’ 11” x 20’ 6”. [300/500]

1216

1215 American School (20th Century) “Skip Jack”, oil on panel, signed and dated lower right “Robert L. Nex, ‘64”, 18” x 21”. Glazed, linen matted and presented in a giltwood and gesso frame affixed with a brass plaque with the painting’s title.[200-400] 1216 Lajos Markos (American/Texas, 1917-1993) “Portraits of a Gentleman, a YoungGirl and a Boy”, suite of three oils on canvas, all signed lower left “L. Markos, 1962”, the smallest 9-1/2” x 11-1/2”, the largest 16” x 20”. [400-700]

1213

143

1221 William Coombs (American/New Hampshire, b. 1933) “Bernard”, pencil and oil on cardboard, signed and dated lower right “William Coombs ‘60”, 18” x 15-1/2”. Presented in a giltwood frame with a linen liner, verso affixed with a “Salmagundi Club” label. [125-250] 1222 William Coombs (American/New Hampshire, b. 1933) “Small Woman”, oil andgraphite on board, signed and dated lower right “William Coombs ‘61”, 13-1/2” x 11-1/2”. Presented in a giltwood and plaster frame with a linen liner. [75-125] 1223 William Coombs (American/New Hampshire, b. 1933) “Portrait of a Man withBeard”, oil and graphite on board, signed and dated lower left “William Coombs ‘61”, 10-1/4” x 8-1/4”. Presented in a giltwood and linenmounted frame. [75-125]

1218

1217 American School (First Quarter 20th Century) “Portrait of a Boy with a Red Hat”, oil on canvas, sight 101/4” x 8”. Presented in a molded giltwood frame. [200-400] 1218 Umberto Romano (Italian/American, 1905-1984) “Portrait of a Lady in an Evening Dress”, oil on canvas, signed lower right, 21” x 24-1/2”. Presented in a deeply molded giltwood and gesso frame.[200-400] 1219 American School (First Quarter 20th Century) “Reclining Nude”, watercolor onpaper, signed lower left “Carlis”, sight 8-3/4” x 6-3/4”. Glazed, matted and framed. [150-300] 1220 William Coombs (American/New Hampshire, b. 1933) “Portrait of a Seated Young Man”, oil and pencil on board, signed and dated lower right “William Coombs ‘61”, 24” x 20”. Unframed. [125-250]

1220

144

1228 Belle Epoque Giltwood Ecclesiastical Sidechair, fourth quarter 19th century, the dentillated crest over a spindled back above a needlepoint-upholstered seat centered by a quatrefoil design, raised on circular legs joined by a box-form stretcher, h. 36”, w. 17”, d. 18”. [200/400] Illustrated

1230

1229 Gothic-Style Cast Plaster Octagonal Pedestal, first quarter 20th century, the shaft paneled with eight tall, narrow lancetarched reserves, the whole painted matte white, h. 36‑1/2”, dia. 19‑1/2”. [150/300]

1224 Gerrit Hondius (Dutch/ American, 1891‑1970) “Study of Four Female Figures”, ink and wash on paper, signed lower right “Hondius”, sight 7‑1/2” x 9‑3/8”. Glazed, matted and framed. [75/125]

1230 Extremely Rare Continental Carved and Polychromed Pegasus Sleigh, mid‑19th century, the winged horse mounted to large wrought-ironreinforced wooden runners, and having an additional chauffeur’s seat behind the horse and leather stirrups mounted to the rear of the runners, h. 51”, w. 39”, l. 92”. [15000/25000] Illustrated Color Plate V 1231 Patinated and Gilded Brass Three-Light Applique, modeled as an oak leaf and acorn spray, first quarter 20th century, the light sockets emerging from spiny acorn tops, h. 21”, w. 34”. [40/70]

1225 Continental School (Second Quarter 20th Century) “Seated Female Nude”, oil on canvas, signed lower right “A. Visne”, 31‑1/2” x 23‑3/4”. Unframed. [200/400] 1226 Elizabeth MacQueen (American/ Contemporary; Active Alabama) “The Sculptor Aranda”, 1985, a patinated bronze figure of an elderly bearded African American man seated whittling wood, presented on a freeform specimen of marlstone, signed, dated and numbered “6/30” on the reverse basal edge of the figure, h. 9”, w. 7‑3/4”, d. 9”. [700/1000]

1232 Imposing Belle Epoque Carved Folding Stand, first quarter 20th century, in the Louis XVI style, composed of antique-green-painted and parcel-gilt beechwood, the rails joined by large carved, painted and parcel-gilt rosettes, h. 55”, w. 22”, d. 40”. [600/900] Illustrated

1232

1228

1227 Group of Two Continental Children’s Chambersticks, fourth quarter 19th century, comprised of a patinated bronze chamberstick in the form of a sunflower head, h. 1‑1/4”, w. 3”; and a similar example modeled as a stylized flowerhead, h. 1‑1/4”, w. 2‑1/2”; in both examples, the finial of the curvate handle is a tiny butterfly. [20/40]

145

1236 1237 Interesting Six-Piece Collection of Silvered and Golden Glass, third quarter 19th century, comprised of a tall ringed footed cylindrical vase, a vase of footed beaker form, a golden vase of baluster form, a smaller garniture vase of footed baluster form, a yet smaller golden vase of footed baluster form and a rare footed match holder of nozzle form, the tallest h. 11”, dia. 3‑3/4”. [100/200] Illustrated 1238 Large Gold “Mercury” Glass Vase, second quarter 20th century, of spherical form and probably of Mexican origin, h. 12‑1/2”, dia. 12”. [75/125] Illustrated

1233 Pair of Beaux Arts-Style Looking Glasses, first quarter 20th century, with carved, silvered, gray paint-pickled and parcel-gilt wood frames, the outer frames braid-carved, the inner molding pickled and with a continuous bas-relief rinceau of foliate scrolls, h. 37”, w. 32”. [400/700] 1234 Mihaly Teles (Hungarian, 1872-ca.1947), a patinated bronze presentation silhouette portrait plaque of “Dr. Richard Singer”, 1929, signed and dated left center edge, the basal edge with a dedicatory title, presented on a vertical oblong rosewood bookplate plaque, h. 11‑5/8”, dia. 8”. [100/200]

1239 Good Five-Piece Group of Gold “Mercury” Glass Objects, third quarter 19th century, comprised of a boldly scaled columnar candlestick, a paneled garniture vase of nozzle form, a pedestaled comport of small size and a pair of footed garniture vases of baluster form, the tallest h. 10‑3/4”, dia. 4‑3/4”. [100/200] Illustrated 1240 Near Pair of Cambridge Glass Company “Grasshopper” Vases, second quarter 20th century, the stained and acid-finished vases inspired by the earlier Rene Lalique model, one stained in lavender, h. 8‑3/8”, w. 8‑1/8”, and the other in darker amethyst, h. 8‑3/8”, w. 7‑3/4”. [100/200]

1235 Three-Piece Group of Diminutive Gilt-Bronze Figures, 19th century, consisting of a rare lion-masque fountainhead, the beast’s mouth fitted with water jets, h. 3‑3/4”, w. 3‑3/4”; a winged cherub riding a diademed swan, mounted on a turned wooden socle base, overall h. 5‑1/2”; and a figure of a bare-breasted putto riding a classical dolphin, h. 2‑3/4”, l. 3‑3/4”. [100/200] 1242

1236 Belle Epoque Leather ThreePanel Arched Folding Screen, first quarter 20th century, polychromed and parcel-gilt embossed in “Satyr Masque” decor, edged with antiqued brass nailheads, h. 49‑1/2”, w. 22”, extended l. 66”. [200/400] Illustrated

146

1243

1244

1238

1237

1239

1241 Belle Epoque Painted Wrought-Iron Baby’s Bed, first quarter 20th century, in “ Scrolls” decor, the antique-white paint in the original untouched condition, each leg fitted with a diminutive cast-iron caster, h. 18”, w. 13‑3/4”, l. 27”. [50/80]

1249 1248

1242 Belle Epoque Parcel-Gilt and Black-Painted Cast-Iron Tripodal Stool, first quarter 20th century, presently upholstered in black and white cowhide, h. 17‑1/2”, dia. 14”. [50/80] Illustrated 1243 Belle Epoque Cast-Iron “Winged Putto Masque” Tripodal Stool, first quarter 20th century, the circular seat presently upholstered in deep reddish-brown cowhide, h. 17‑1/2”, dia. 14”. [50/80] Illustrated

1257

1246 Two-Piece Group of Hawk Figures, consisting of a Continental bronzed and weighted composition figure of a hawk perched on a rocky outcrop, in the “Animalier” style, h. 5”; and a silver-clad lead paperweight in the form of a hawk’s head, first quarter 20th century, l. 3‑1/2”. [75/125] 1247 Collection of Seven N. N. Deaton Cast and Polychromed Composition Wildlife Figures, 1971‑1978, in the “Vienna Bronze” style, the collection comprised of a beaver, a raccoon, a pair of rabbits, a fawn, a red fox and vixen, a squirrel and a pair of chipmunks, all signed and dated on the basal edges, the largest h. 2‑1/2”. [200/400] 1248 Achille Gamba Pewter Watch Stand, in the form of a displayed eagle perched on a sphere and now fitted with an Italian antiqued brass-mounted pendant double convexglazed watch/compass, the dial with black Roman chapters and the Latin motto “Per Mare - Per Terram” (By Sea - By Land), the reverse dial an eight-point compass, the eagle stand touchmarked at the rear proper right basal edge, h. 6”, w. 8‑1/4”, d. 3‑1/2”. [100/200] Illustrated

1244 Belle Epoque Black-Painted Cast-Iron Tripodal Stool, first quarter 20th century, the circular seat presently upholstered in black cowhide, h. 17‑1/2”, dia. 14”. [50/80] Illustrated 1245 Continental Silvered Cast-Iron Cabriole-Legged Footstool, first quarter 20th century, in the Baronial taste, each seat rail centered with a bas-relief heraldic shield, the padded seat upholstered in semi-antique floral gros-point tapestry, second quarter 20th century, h. 10”, w. 10‑1/2”, l. 15‑1/2”. [50/80]

1249 French Gilt-Brass and Green Onyx Watch Stand, fourth quarter 19th century, now displaying a later convex double-glazed antiqued brass pendant clock/compass, the clock dial with the Latin motto “Per Mare - Per Terram” (By Sea - By Land), the reverse dial an eight-point compass, h. 7‑1/4”, w. 4”, d. 3‑3/8”. [100/200] Illustrated 1250 Five-Piece Collection of Silverplate and Brass Table Bells, comprised of a Gorham “Old Florentine” silverplate bell, second quarter 20th century; a large Continental brass ringed table bell in the 18th-century style, first quarter 20th century; a Continental brass “Stags” bell with an avian finial, first quarter 20th century; a small brass dining table bell in the Arts and Crafts taste of like date; and a stylish Italian brass and nickel hotelier’s desk bell, second quarter 20th century; the largest h. 6‑3/4”, dia. 3‑1/4”. [75/125]

147

1263

1251 German Gilt-Brass Relief Table Box, first quarter 20th century, in the late Gothic style, the lid modeled as four tangent Gothic arches, each centering two different figures in the Gothic style, the facade edge fitted with a brass hasp, the interior lined in sandalwood, h. 3‑1/4”, w. 9”, d. 4‑1/2”. [75/125] 1252 Varied Seven-Piece Collection of Desk Paper Clips, comprised of a small American brass clip in the form of a war-bonneted Native American chief, first quarter 20th century; a Crete “Grand Tour” example in the classical taste in patinated bronze; a French rose-gilded and bronzed brass clip in the form of an owl, of like date; a similar clip in bronzed castiron; a gilded and bronzepatinated brass owl clip with glass taxidermist’s eyes; and an American gilt-lacquered and parcel-bronzed brass clip of a bulldog’s head, first quarter 20th century; the largest l. 5‑1/4”. [50/80]

1253 Group of Two Repousse Brass Fireplace Items, consisting of a good, large German double-lidded hearth bucket in the Baronial style, first quarter 20th century, h. 19”, w. 16‑1/4”, d. 11‑1/4”; and an Edwardian repousse brass, leather and wood bellow featuring a seated cat, fourth quarter 19th century, l. 18‑1/2”. [75/125] 1254 Stately Three-Piece Continental Steel Fireplace Set, first quarter 20th century, comprised of a hearth shovel with pierced blade, poker and log tong, all with coronet finials, shovel l. 33”, poker l. 32”, tong l. 32‑1/2”. [40/70] 1255 Interesting and Highly Diversified Collection of Nine Small Boxes, comprised of a German pewter-inlaid black lacquer oblong snuffbox, fourth quarter 19th century; an Italian glass mosaic-mounted silvered metal oval pillbox with a faux-ivory liner, second quarter 20th century; a giltbrass-mounted Limoges porcelain cardioform lip gloss box (with the lip gloss still inside); a French green enameled and paste brilliant-set oviform sweetmeat box in the style of Peter Carl Faberge (Russian, 1846‑1920); a Russian lacquer-mounted gilt-metal oblong matchbox cover; a Chinese Export gilt-brass and floral enamel oblong stamp box, first quarter 20th century; a pair of similar, yet smaller Chinese Export stamp boxes of like date; and a Chinese Export cloisonne and gilt-brass oblong pillbox with a skyblue enamel interior; the largest h. 1‑1/4”, w. 3‑1/4”, d. 1‑1/4”. [50/80]

148

1256 Pair of Continental Carved Marble Figures of German Shepherd Dogs, the alert canines depicted seated on integral oblong octagonal marble bases, the whole in offwhite marble, h. 10‑1/2”, w. 5‑1/8”, d. 9‑7/8”. [100/200] 1257 Good Tielson-Altwasser Blanc-de-Chine Porcelain Bust of Frederick the Great of Prussia, first quarter 20th century, the king depicted in a rakish bowknotted tricorne hat, the base fully marked in green underglaze transfer-print, h. 11‑1/2”, w. 7”, d. 5”. [100/200] Illustrated previous page 1258 Continental Cast-Iron Relief Plaque, third quarter 19th century, perhaps German, of square outline with a silhouette portrait head of the bearded Hercules wearing the mask of the Nemean Lion on his head, presented in an old black-painted finish, w. 6”, l. 6”. [30/50] 1259 Interesting Collection of Ten Glass, Ceramic and Acrylic Hands, comprised of an American Porcelain Company unglazed No. 7 lady’s glove mold, 1993; a General Porcelain Company glazed pottery No. 6 lady’s glove mold; a smaller General Porcelain Company matte glazed glove mold, dated 1991; a European white biscuit porcelain model of a lady’s hand, fourth quarter 19th century; an N. Funk glazed pottery wall soap dish in the form of a hand; a pair of colored blue glass ring stands in the form of lady’s hands; a similar pair of jadeite glass ring stands; and a Lucite ring stand in the form of a cuffed lady’s hand; the largest h. 15‑3/4”. [100/200] 1260 Continental Carved Alabaster Bust of Ludwig van Beethoven, first quarter 20th century, raised on a variegated marble socle base, h. 13‑1/2”, w. 8”, d. 4‑1/2”. [300/500] 1261 German Basalt Ware Bust of Admiral Blucher, second quarter 19th century, the Admiral depicted with medals and presented on an integral faux-Siena marble base of pottery, h. 13‑3/4”. [100/200]

1266

1262 Pair of German Watercolor and Gouache Figures of Pandora and Bacchus, third quarter 19th century, in the Pompeian manner, sight 12‑1/2” x 9‑1/4”. Both presented on black grounds in ecru mats within period antiqued silver-leaf frames in the neoclassical taste. [50/80] 1263 Continental Brass-Mounted Red Mahogany Gentleman’s Walking Stick, first quarter 20th century, with a carved ivory grip in the form of a Bacchic putto seated on a stump with his uplifted tunic holding purloined fruit, l. 34‑1/2”. [200/400] Illustrated 1264 Group of Twenty-Seven European Parasol/Walking Stick Handles, fourth quarter 19th/first quarter 20th century, some examples carved in ivory and others in bone, l. 3‑1/2” to 6”. [200/400] 1265 Seventy-Nine-Piece Continental Partial Stemware Service, for twelve persons, in Brilliant-cut glass in “Hobstar and Fan” decor, comprised of twelve highball glasses, eleven smaller highball glasses, twelve rocks glasses, twelve red wine goblets, ten white wine goblets, twelve dessert wine goblets and ten liqueur goblets, the largest h. 7‑1/4”, dia. 3‑1/4”. [300/500]

1275

1267 Group of Two Continental Glass Vases, consisting of a drip-painted and “satine” glass cabinet vase with gauffered lip, first quarter 20th century, probably Bohemian, h. 7‑1/4”, dia. 3‑1/2”; and a satin-finished reverse dripenameled pyriform vase, third quarter 20th century, h. 5‑1/2”, dia. 5”. [30/50] 1272

1268 Dramatic Bohemian Glass Garniture Vase, of modified cushion form in an abstracted vine pattern in orange and shaded claret, the base with a partial glassmaker’s stencil in silver and the paper label of David Lackey Antiques of Houston, h. 7‑1/2”, dia. 9”. [75/125] 1269 Attractive Set of Six Bohemian Seafood Servers, first quarter 20th century, of goblet form in gold-edged “Vertical Optic Rib” glass, each with a matching glass insert of pegged coupe form, h. 6‑5/8”, dia. 5‑3/16”. [75/125] 1270 Twelve-Piece Group of Ruby Glassware, first quarter 20th century, comprising a set of six Continental acidtransfer plate-etched, ruby-stained and parcel-gilt red wine goblets in the neoclassical taste, h. 7‑3/4”, dia. 2‑3/4”; a matching set of five white wine goblets, h. 7‑1/4”, dia. 2‑1/2”; and a Bohemian richly gilded ruby glass table bell, h. 5‑1/2”, dia. 3‑1/2”. [100/200]

1266 Large Belle Epoque Blown Glass Circular Cake Dome, with matching undertray, first quarter 20th century, the basal edge of the cake cover with a folded rim, h. 13”, dia. 17‑3/4”. [75/125] Illustrated

1271 Continental Ribbed Glass Trumpet Vase, third quarter 20th century, of tall size in transparent and translucent mocha, white and colorless glass with a scalloped rim, h. 16”, dia. 9‑1/2”. [75/125]

149

1272 Pair of Italian Brass-Banded White Onyx Columnar Pedestals, first quarter 20th century, with square revolving tops, h. 37‑1/4”, w. 11”, d. 11”. [400/700] Illustrated previous page 1273 Group of Two Continental Glazed Pottery Hat Stands, second quarter 20th century, one in the form of a dolorous child’s head, h. 13‑1/4”, and the other, smaller hat stand in the form of a happy child’s head, h. 11”, both examples with antique-white glazing. [100/200] 1274 Unusual Continental Lacquered Side Table, of Baroque form, the serpentine top over a case fitted with a faux drawer, above five graduated drawers, raised on bun feet, the whole with Gustav Klimt-inspired painting, h. 34”, w. 15‑1/4”, d. 13”. [100/200] 1275 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”. [400/700] Illustrated previous page

1284

1281

1276 Group of Two Hand-Painted Porcelain Pitchers, first quarter 20th century, consisting of a striking Favorite Porcelain Works, Bavaria, iced beverages pitcher, hand-painted, parcel-gilded and pearl-lustered in “Violets” decor, h. 8‑1/2”; and a good American Belleek porcelain milk pitcher, hand-painted and parcel-gilded in “Abundance” decor in the Arts and Crafts style, fully backstamped and signed “Julia Foster”, h. 7‑1/2”. [40/70] 1277 Nineteen-Piece Collection of Continental White and Gold Porcelain, comprised of a pair of Czech garniture vases of rhyton form, second quarter 20th century; an attractive Paris oval covered sauce tureen with integral stand, first quarter 19th century; a Paris coffee cup of cylindrical section, also first quarter 19th century; a Vista Allegre, Portugal, fruit bowl in the early 19th-century Paris style; a good Richard Klemm, Dresden, richly gilded coffeepot, also in the neoclassical taste, first quarter 20th century; a child’s miniature “Anneau d’Or” footed coffeepot; and a set of six Bohemian gilt-banded coffee cups and matching saucers, third quarter 19th century. [100/200] 1278 Forty-Eight-Piece Winterling, Bavaria, Porcelain Partial Dinner Service, for eight persons, second quarter 20th century, in floral decor, the partial service comprised of seven large dinner plates, a bread-and-butter plate, five salad/dessert plates, four soup plates, seven teacups, eight tea saucers, eight dessert bowls, a serving bowl, a sauceboat, a hot milk pitcher, a cream pitcher, a covered two-handled sugar basin, a covered tea caddy and a coffee/teapot, all of the pieces fully backstamped, the largest w. 9”, l. 13‑1/2”. [50/80] 1279 Stylish French Scrolling Wrought-Iron Conservatory Plant Stand, first quarter 20th century, the pot holder of corbeille form, presented in an old and attractive distressed gray-painted finish, h. 32”, dia. 16”. [50/80] 1280 French Wrought-Iron Folding Three-Panel Conservatory Screen, first quarter 20th century, in the Louis XVI taste, the center supporting six flowerpot racks, presented in an old forest-green-painted finish, h. 69‑1/2”, w. 26”, d. 26”. [75/125]

150

1290

1285 Group of Two Continental Desk Items, first quarter 20th century, consisting of a German bronzed and parcel-gilt brass desk notebook in the Renaissance style, presently fitted with a later photograph album, h. 7”, w. 5‑1/4”; and a Belle Epoque antiqued bronze rockerblotter in the Mannerist taste, l. 6‑1/4”. [100/200] 1286 Good German Polychromed Gray Stoneware Ewer, fourth quarter 19th century, of tall size in the 16th-century style, the central body with an arcaded frieze of courting couples in fashionable 16th-century attire, h. 16”, w. 8‑1/2”. [200/400] 1287 Pair of German Carved Lindenwood Demi-lune Bracket Shelves, fourth quarter 19th century, of large size in the “Schwarzwald” style, each crabstock-edged with pendant carved oak leaves, h. 19”, w. 18”, d. 10‑1/2”. [150/300] Illustrated

1281 Three-Piece Group of Continental Porcelain, comprising an attractive pair of Carl Thieme, Potschappel, hand-painted porcelain covered masque-handled garniture vases with periwinkle blue grounds in the Louis XVI style, second quarter 20th century, the facades with galants reserves, the reverses with military trophees, the masque handles gilded, the interiors of the bases fully marked, h. 15‑1/2”, dia. 5‑1/2”; and a German porcelain jewel casket of oval truncated capstan form in the Sevres Louis XVI style, first quarter 20th century, probably by the Eisenberg Porcelain Works, the domed lid with a richly gilded enframement of a floral spray, the sides with an undulating parcel-gilt ribbon interwoven with a floral garland, h. 4”, w. 11”, d. 7”. [100/200] Illustrated 1282 Attractive Royal Berlin (KPM) Porcelain Scent Bottle, third quarter 19th century, of modified lyriform, each facade with a jeweled faux-cypher on a rich cobalt blue ground, the stopper a flat blue and white flowerhead, h. 3‑3/4”, w. 2‑1/2”, d. 1‑3/4”. [50/80]

1288 French Patinated and Reticulated Cast-Iron Double Swing Bracket, ca. 1900, in the Beaux Arts style, one crescent-form bracket broken off from the backplate, h. 30”, w. 22”, extended l. 40”. [20/40] 1289 Pair of Continental Fruitwood and Upholstered Wing Chairs, each with a padded and domed back with shaped sides, joined by open scrolling arms to the padded seat, raised on bulbous legs ending in toupie feet, h. 43‑1/2”, w. 30”, d. 24”. [400/700] 1290 Pair of American Late Victorian Mahogany Hall Chairs, fourth quarter 19th century, each with a serpentine crest, centered by a shell-and-acanthine carving, above a conforming padded back, flanked by square supports and headed by a smiling putto bust, above a padded seat, raised on slightly serpentine legs ending in claw feet, h. 44‑1/2”, w. 19‑1/2”, d. 20‑1/2”. [300/500] Illustrated

1283 Twelve-Piece Group of Richly Gilded Porcelain, first quarter 20th century, consisting of a Royal Silesian Porcelain Works (KPM Silesia) covered two-handled sugar basin and matching cream pitcher, each backstamped in green underglaze “KMP/Silesia”, basin h. 3‑1/4”, w. 5‑3/4”, d. 4‑1/4”, creamer h. 3”, w. 4‑5/8”, d. 3‑1/4”; and a set of ten similarly gilded porcelain place salt-andpepper casters, h. 2‑5/8”. [100/200] 1284 Fine Continental Teakwood and Marble-Top StepBack Cupboard, third quarter 19th century, in the Victorian taste, the top with a floral-carved crest flanked by turned finials above a pair of glazed doors and tapering spiral columns, the base with a marble deck over a long drawer and a pair of cabinets below, h. 91”, w. 47‑1/4”, d. 22”. [1000/1500] Illustrated

1287

151

1291 Northern European WroughtIron-Mounted Walnut Dowry Chest, fourth quarter 19th century, in the traditional style, the ends fitted with wrought-iron bails for carrying, h. 12”, w. 23‑1/2”, d. 14‑1/8”. [100/200]

1296

1292 French Carved and Stained Beechwood Gout Stool, first quarter 20th century, in the Louis XVI style, upholstered in russet leather with brass nailhead edging , the taller legs of fluted tapering cylindrical section, h. 13‑1/2”, w. 15”, d. 19‑1/2”. [100/200] 1293 Continental Reticulated Brass Dressing Table Mirror, first quarter 20th century, with an armorial cresting featuring a coronet-surmounted heart monogrammed “C”, with leonine supporters, the mirror plate broadly beveled throughout, h. 20‑3/4”, w. 12‑1/4”, d. 13‑1/2”. [50/80]

1298

1297

1303

1294 Unusual Burled WalnutVeneered Chest/Vanity, the hinged top opening to reveal a mirror plate, over a case fitted with a faux drawer above six drawers, the back of the chest of faux-bookstack form, the whole raised on block feet, h. 26”, w. 20‑1/2”, d. 13”. [100/200] 1295 Continental Provincial Pine and Marble-Top Butcher Block, the rectangular variegated marble top above a conforming frieze fitted with a drawer, the sided affixed with Renaissance-style ceramic plaques over two wine-storage shelves, raised on tapering square legs, h. 35‑3/4”, w. 42”, d. 19”. [200/400] 1296 Tiffany and Company Sterling Silver Art Deco Footed Fruit Bowl, dated June 19, 1930, the interior centered with a custom cast sterling silver presentation medallion, h. 3‑3/4”, dia. 11‑3/4”, 36.40 t. oz. [1800/2500] Illustrated 1297 Rare Pair of Tiffany and Company Sterling Silver “Olympian” Salad Servers, the pattern introduced in 1878, comprised of an ovoid-bowled serving spoon and a bowled three broad-tined fork, the bowls gilded, l. 9‑3/4”. [1200/1800] Illustrated 1298 Good Tiffany and Company Sterling Silver Iced Water Pitcher, first quarter 20th century, of cylindrical form in the Arts and Crafts taste, h. 7‑1/4”, w. 5‑1/2”, l. 8”, 28.70 t. oz. [1200/1800] Illustrated

152

1304

1299 Two American Silverplate and Mirrored Glass Plateaus, consisting of a circular example in the Art Nouveau taste, first quarter 20th century; and a Wallace circular plateau in the “Baroque” pattern, with a laminated wood backplate, third quarter 20th century; the smaller dia. 14‑1/4”, the larger dia. 16‑1/2”. [100/200] 1300 Two-Piece American Weighted Sterling Silver Cream-and-Sugar Set, second quarter 20th century, in the Georgian taste, comprised of a two-handled and footed open sugar basin, h. 3‑3/8”, dia. 3”, and a matching footed cream pitcher, h. 3‑1/4”, dia. 3”, not monogrammed, 5.65 total t. oz. [30/50] 1301 Group of Three American Silver Footed Sweetmeats Stands, second quarter 20th century, comprised of a weighted sterling example in “Gadroon” decor; a Dunkirk Silversmith’s weighted sterling stand, also in “Gadroon” decor; and an International silverplate “Chippendale” example; the largest h. 6‑1/4”, dia. 7”. [50/80] 1302 Nine-Piece Group of Sterling Silver Plates, consisting of a set of eight Mathews and Prier bread-and-butter plates, handsomely engraved at the center in entwined script, first quarter 20th century, dia. 6”; and a French circular reeded-edge tray of small size, fourth quarter 19th century, dia. 8‑3/4”, 27.80 total t. oz. [100/200]

1303 Tiffany and Company Sterling Silver Fruit Bowl, first quarter 20th century, of oval, fluted, two-handled and footed form in the Georgian neoclassical style, the handles modeled as reeded articulated rings, h. 5‑1/4”, w. 8‑5/8”, l. 13‑1/2”, 34.40 t. oz. [3000/5000] Illustrated 1304 Pair of Edwardian Silverplate Lyriform Three-Light Candelabra, first quarter 20th century, the “lyres” strung with silver wires, h. 12‑1/2”, w. 14‑1/2”, d. 4”. [400/700] Illustrated 1305 Set of Four Tiffany and Company Sterling Silver Julep Cups, third quarter 20th century, after the 1760 original by Ludwig Heck of Lancaster, fully hallmarked on the bases, h. 2‑3/8”, dia. 2‑3/8”, 12.90 total t. oz. [100/200] 1306 Sanborn, Mexico, Hand-Wrought Sterling Silver Sweetmeats Bowl, second quarter 20th century, in the Spanish Colonial style, h. 2‑1/8”, dia. 4‑1/4”, 6.05 t. oz. [40/70] 1307 Diverse Five-Piece Collection of American Sterling Silver, comprised of an Alvin “Raleigh” vegetable fork, the pattern introduced in 1900; a Manchester “Gadroonette” gravy ladle, the pattern introduced in 1938; a Wallace “Washington” sugar shell with paneled bowl, the pattern introduced in 1911; a rare Gorham “Old Medici” cheese scoop, the pattern introduced in 1880; and a Frank W. Smith “Fiddle Thread” sugar shell, the pattern introduced in 1902; the largest l. 8‑1/4”, 7.05 total t. oz. [50/80] 1308 Collection of Three American and English Silverplate Ladles, comprised of a good Taunton Silverplate Company oval-bowled example in a pattern similar to Shiebler’s sterling “Oriental” of 1860, third quarter 19th century; a William A. Rogers soup ladle in a pattern similar to Towle’s “Helena” of 1900; and a Sheffield “Fiddle” double-lipped punch ladle in the Georgian style, second quarter 20th century; the largest l. 14”. [100/200] 1309 Good Collection of Nine Sterling Silver and Silverplate Items, comprised of an attractive American reticulated sterling circular fruit basket with arched stationary handle, first quarter 20th century; a good Gorham sterling bonbon dish of scallop shell form, third quarter 20th century; a good American reticulated sterling mustard pot with conforming cobalt blue glass liner in the Georgian style, first quarter 20th century; a Gorham sterling fruit bowl with reticulated rim; an American weighted sterling footed sweetmeats stand, second quarter 20th century; a smaller American weighted sterling footed jelly stand; a weighted sterling dessert cup in the Georgian style; a Continental silver bonbon basket with a serpentine edge and an arched swing handle; and an English reticulated silverplate oblong crackers basket with a faux-hammered finish, also second quarter 20th century; the largest h. 7”, dia. 8”. [150/300]

1310 Collection of Three Antique American Chains, composed of a silverplated brass box-link example with a pendant clip, first quarter 20th century, l. 27”; a longer gilt-brass double-link chain, fourth quarter 19th century, l. 30”; and a silverplated nickel circular link chain with a fish-hook closure, first quarter 20th century, l. 25”. [30/50] 1311 Set of Eight Barker-Ellis Silverplate “Foliate Scroll” Julep Cups, second quarter 20th century, h. 4”, dia. 3”; together with a Nearly Matching Wilcox Silverplate Tray, of oblong, footed form with a gallery rim, first quarter 20th century, h. 2‑1/4”, w. 14‑1/4”, d. 6‑1/4” (nine total pieces). [50/80] 1312 Three-Piece Group of American Serving Utensils, consisting of a large and rare silverplate and ebonized fruitwood pierced oyster cracker scoop, fourth quarter 19th century; a silverplate patent spring-action olive picker, first quarter 20th century; and a telescoping double pastries fork-server of like date; the largest l. 10‑1/4”. [50/80] 1313 Trio of American Silver Hand Mirrors, comprised of a sterling silver example in the rococo taste, fourth quarter 19th century; a smaller sterling silver example in “Antique Bead” decor, handsomely monogrammed in large international High Victorian letters, ca. 1875; and an Art Nouveau silverplate example in bas-relief “Clematis” decor, ca. 1905; all with circular beveled-edge plates, the largest w. 6”, l. 10‑1/4”. [30/50] 1314 Four-Piece Group of Silver Items, consisting of an American Art Nouveau sterling-handled cake breaker, the pattern introduced ca. 1900‑1905; a Holmes and Edwards silverplate pickle fork in a floral pattern; and a pair of English sterling-handled “Onslow” dessert knives, London 1931, maker: GHB; the largest l. 10‑1/2”. [50/80] 1315 Four-Piece Group of Serving Utensils, consisting of a good two-piece Elkington vegetable ivory-handled silverplate salad serving set, first quarter 20th century, the tapering rib-carved handles having barley-twist shanks, l. 12‑1/4”; and a two-piece Wallace sterling-handled “La Reine” salad serving set with black Bakelite bowls, the pattern introduced in 1921, l. 12”. [50/80] 1316 Collection of Four Silverplate Alcohol Lamps for Chafing and Casserole Dishes, including a large American circular example with a patent-action wick cover, first quarter 20th century; a pair of smaller Italian examples; and a similar American example; the largest l. 5‑1/4”. [50/80]

153

1317 Interesting Seven-Piece Collection of Desk Implements, including a good American sterling-handled tortoiseshell page turner, ca. 1900; an Austrian doe’s foothandled pewter-mounted nickel letter knife in the “Jager” style, first quarter 20th century; a Mexican reeded and spiraled sterling silver letter knife of dagger form; another Mexican sterling silver example with an open-spiral handle, also of dagger form; a Mexican gold wire-mounted sterling silver letter knife with a horizontally ribbed hilt; a diminutive Mexican stylized plume-handled sterling silver paperknife; and an American sterling silver-handled desk magnifier in the neoclassical taste, first quarter 20th century; the largest l. 11‑1/4”. [50/80]

1321 Four Pieces of White and Gold Porcelain, consisting of a three-piece English partial tea service in the neoclassical taste, comprised of an oval two-handled covered sugar basin, a matching cream pitcher and an oval teapot salver, first quarter 19th century; and a good Paris porcelain cream pitcher of baluster form; sugar basin h. 5”,w. 7‑1/2”, d. 4‑1/2”, creamer h. 4”, w. 3‑1/4”, l. 6”, plate w. 5‑3/8”, l. 6‑7/8”, cream pitcher h. 8”, w. 4‑1/4”, l. 4‑1/2”. [50/80]

1318 Six-Piece Collection of American Sterling Silver Flatware, comprised of a Tiffany and Company “Saratoga” variant sauce ladle and a matching serving spoon in the Tiffany pattern introduced in 1870; a pair of Whiting Manufacturing Company “Violet” serving spoons, the pattern introduced in 1905; a matching sugar shell; and a flat master butter knife; the largest l. 8‑1/2”. [100/200] 1319 Group of Two American Silverplate Trays, consisting of a large oblong, two-handled waiter in “Foliate Scroll” decor, in the Old Sheffield style, second quarter 20th century, the center with an elaborate stamped pattern of interlaced foliate scrolls and stylized scallop shells, w. 15”, l. 25”; and an Oneida circular sandwich/pastry tray with a reticulated inner border, the cavetto with an elaborate stamped pattern of foliate scrolls and diapered reserves, dia. 14‑3/4”. [40/70] 1320 Nine-Piece Group of Continental Porcelain, consisting of a Paris porcelain covered two-handled sauce tureen of oval form with conforming integral stand, in “Anneau d’Or” decor, second/third quarter 19th century, h. 5”, w. 9‑1/4”, d. 6‑1/2; a Wilhelm & Burg, Austria, white and gold circular sandwich tray, first quarter 20th century; a Haviland, Limoges, circular two-handled pastry tray of like date; a Limoges hand-painted two-handled pastry tray of lobed circular form in “Eagles” pattern, dated 1907; and a set of five Charles Field, Haviland, Limoges, white and gold circular dessert bowls in the neoclassical style, first quarter 20th century. [50/80]

1322

154

1327

1322 Set of Four Limoges “Anneau d’Or” Porcelain Fruit Bowls, fourth quarter 19th century, of shallow form in the Louis XV taste, dia. 13‑1/2”. [75/125] Illustrated

1323 Twenty-Eight-Piece Collection of White and Gold Paris Porcelain, second quarter 19th century, comprised of a set of nine “Clauss”-form breakfast coffee cups and ten matching saucers; a matching set of four tea cups and saucers; and a circular two-handled paneled vegetable tureen; the largest h. 6‑1/2”, dia. 8‑1/2”. [75/125]

1324 Group of Three Paris Cups and Saucers, consisting of a good white and gold breadand-milk scenic cup and deep magnum saucer featuring the Paris Bourse, with a long hairline crack to the left of the polychrome reserve, third quarter 19th century; a pair of Paris white and gold bread-and-milk cups and saucers of like date in stylized “Floral Sprays” decor; the gilding on all the examples in good condition, the largest h. 3‑3/4”, dia. 4‑1/2”. [40/70]

1325 Assorted Group of Porcelain, third quarter 19th century, consisting of a good set of eleven richly gilded Paris white and gold porcelain dessert plates in “Upright Scrolls” decor; an attractive set of eight smaller Paris porcelain dessert plates in floral decor; a Franco-Bohemian white and gold porcelain trefoil-lipped jug in “Bacchic Masque” decor, with an impressed underglaze mark “L.S.”; a two-piece Paris white and gold porcelain “Acorn” coffee service; a pair of Paris white and gold porcelain condiment bowls of attenuated shell form in “Ivy” decor; and a large Gerard Dufrasseux, Limoges, white and gold porcelain milk pitcher; the largest h. 10‑1/2”, w. 7‑1/4”, dia. 4”. [100/200] 1326 Fine Set of Seven Creil “Landmarks of Paris” Plates, first quarter 19th century, consisting of four dessert plates and three soup plates in black and white transferprinted decor, each plate centered with a different celebrated landmark such as Notre-Dame, the Fountain des Innocents, the Odeon Theater, etc., each example with the full Legros d’ Anisy backstamped in gray transfer-print and an impressed Creil mark underglaze, dia. 9‑1/8”. [200/400] 1327 Joey Bonhage (American/Louisiana, 20th Century) Interesting Tin, Mixed Metals and Porcelain Floral Arrangement, first quarter 20th century, composed of a French wrought, cut and polychromed iron flowering plant in an Kuang Hsu porcelain jardiniere of oblong form, the whole presented on a custom-carved stepped mahogany stand, h. 15‑1/2”, w. 10”, d. 7”. [500/800] Illustrated

1328 Frederic Levillain (French, 1837‑1919), a large bronze two-handled and footed tazza set with a bas-relief medallion of “Mercury and Argus”, dated 1852 in the basal edge of the relief rondel, h. 6‑1/4”, w. 19”, dia. 13‑1/2”. [150/300] 1329 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]

1333

1330 Large Paris Porcelain Garniture Figure, third quarter 19th century, possibly the Gille Jeune factory, the elaborately polychromed and parcel-gilt figure depicting a Louis XVI gentleman-offashion holding a nosegay, h. 16”, w. 5‑3/4”. [200/400]

1331 French Brass-Mounted Burl and Ebonized Fruitwood Jardiniere, second quarter 20th century, of large oval form in the Napoleon III style, the interior fitted with a conforming and removable galvanized metal liner, the rim in reticulated gilt brass, h. 8‑1/4”, w. 19”, d. 13‑1/2”. [100/200] 1332 Large French Drip-Glazed Pottery Vase, of elliptical section in bas-relief “Asters” decor, h. 13‑3/4”, w. 10”, d. 4”. [75/125] 1333 French Carved Giltwood and Plaster Looking Glass, fourth quarter 19th century, in the Louis XIV taste, the outer ribbed molding now painted in matte blanc de Trianon, h. 48”, w. 39‑1/2”. [1000/1500] Illustrated 1334 French Carved and Gilded Wood Looking Glass, second quarter 20th century, of horizontal cartouche form in the Regence taste, the cresting modeled as a carved giltwood vase of flowers centering a pair of foliate scrolls “en face”, h. 22‑1/2”, w. 27‑1/2”. [100/200] 1335 Elaborate Continental Cast-Iron and Sheet Metal Day Bed, third quarter 19th century, in the rococo taste, the ends with a sheet metal panel and ornate cast fronts, the front rail with animals and foliate motifs, inside w. 42‑3/4”, l. 75‑1/4”, outside w. 46”, l. 79”. [100/200]

155

1342 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”. [200/400] 1343 Napoleon III Parcel-Gilt Copper Butcher’s Shop Insignia, third quarter 19th century, in the form of a steer’s head, h. 15”, w. 14‑1/4”, d. 13”. [200/400] Illustrated

1343

1336 Pair of Napoleon III Rosewood Sidechairs, third quarter 19th century, in the rococo taste, each with a medallion back with foliate-carved crest, scrolling braces at the hips, serpentine seat and cabriole legs, now upholstered in striped gold damask, h. 38‑1/4”. [150/300]

1344 French Cast-Brass “Torch and Ribbon” Three-Light Hanging Fixture, early 20th century, h. 20”, dia. 12”. [50/80]

1350

1337 Napoleon III Rosewood Settee, third quarter 19th century, in the Louis XV style, the padded back and downswept arms within a molded frame, the serpentine padded seat raised on molded cabriole legs ending in casters, h. 37”, w. 69”, d. 23”. [300/500] 1338 Imposing French Brass-Mounted Blue Terra Cotta Table Lamp, of octagonal finial form, the terra cotta with attractive strie glazing in shades of light blue to cobalt, h. 45‑1/2”. [75/125] 1339 Pair of French Gilt-Bronze Silhouette Portrait Plaques, fourth quarter 19th century, depicting, respectively, a plume-hatted cavalier and a lady-offashion, presented on matching backplates of satinpolished Siena marble, h. 6‑1/4”, w. 5”. [50/80] 1340 Third Republic Wrought-Iron, Marble and Porcelain Washstand, ca. 1900, the porcelain sink set in an iron stand with a marble top with iron gallery and towel bars at each end, on a tripodal-shaped iron base, the legs joined by a low shelf, accompanied by an earthenware pitcher of like date, h. 37”, w. 42”, d. 27”. [400/700] 1341 Third Republic Wrought-Iron Basin Stand, ca. 1900, the top fitted with a circular ring to support a wash basin, on a tripodal stand, the legs joined by a central and low ring, h. 32”, w. 20”, d. 18”. [250/400]

156

1345 Collection of Five Objects of “Hand” Form, comprised of a good Napoleon III bronze ringed lady’s hand paperweight on a stepped oblong base, third quarter 19th century; a larger bronze lady’s hand paperweight of like date; a yet smaller lady’s hand paperweight in lead, third quarter 19th century; a milk glass dressing table tray in the form of a lady’s hand in the 19th-century style; and a silvered composition vase in the form of a lady’s hand holding a small vase of trumpet form with a ruffled lip; the largest h. 5‑1/4”, l. 7”. [100/200] 1346 Eclectic Seven-Piece Collection of Table and Pocket Objects, comprised of an A. E. Chanal, France, circular silverplate box in the Art Nouveau style, ca. 1900; an Art Nouveau gilt-brass-mounted leather coin purse of cushion form; a Native American tooled leather coin purse in the form of a traditional boot; a carved and enameled white jade snuff bottle in the form of a stylized tortoise; a Chinese cloisonne figure of a rabbit; a pyrite paper weight of disc form; and an unusual French brass-mounted box formed of a natural geode; the largest h. 2‑3/4”, dia. 4”. [50/80]

1354 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”. [100/200]

1347 Napoleon III Gilt-Bronze Seven-Light Candlearm, third quarter 19th century, in the Louis XVI style, each candlesocket but the central one fitted with a detaching beaded gilt-brass bobeche, the base of the candelabrum lacking, h. 12”, w. 18”. [75/125]

1355 Elegant Tripodal Footstool, of circular cushion form, upholstered in dyed and spotted cowhide, the three bun feet of stained pine, h. 5‑3/4”, dia. 11”. [100/200] Illustrated

1348 Napoleon III Antique-Gilded Spelter Mantel Clock, third quarter 19th century, featuring a gleaning girl in the Louis XVI style, the support strut lacking as are the cut steel hands of the enamel dial, h. 13”, w. 13”, d. 4‑1/2”. [200/400]

1356 American Reticulated Cast-Iron Footstool, fourth quarter 19th century, of oblong form in the Neo-Rococo style, presented in a later antiqued russet enamel finish and upholstered in leopard-spotted cowhide, h. 8‑1/4”, w. 13‑1/2”, d. 10‑1/2”. [75/125] Illustrated

1349 Pair of Napoleon III Malachite and Black Slate Obelisks, third quarter 19th century, in the neoclassical style, the malachite bases of square section, with each facade inlaid with an oval black slate plaque, h. 9‑3/4”, w. 2‑1/2”, d. 2‑1/2”. [75/125]

1357 Elegant Tripodal Footstool, of circular cushion form, upholstered in dyed and spotted cowhide, the three bun feet of stained pine, h. 5‑1/2”, dia. 11‑1/4”. [75/125] Illustrated

1350 Good Pair of French Bronze Four-Light Tripodal Candelabra, fourth quarter 19th century, in the Neo-Grec style, the whole supported on pieds de biche, h. 20‑1/2”, dia. 8”. [200/400] Illustrated

1358 Pair of Napoleon III Patinated Bronze Allegorical Figures, of, respectively, Ceres and Knowledge, third quarter 19th century, the diminutive figures presented on matching reticulated gilt-bronze bases in the Louis XVI taste, h. 6‑1/2”, dia. 3‑1/2”. [50/80]

1351 Napoleon III Patinated Bronze “Heraldic Lion” Candlestick, third quarter 19th century, elaborately detailed and featuring a stylized seated lion as the shaft, h. 9‑1/4”, w. 5‑1/4”, d. 5‑1/4”. [50/80]

1359 French Biscuit Porcelain Bust, fourth quarter 19th century, depicting Napoleon Bonaparte as First Consul, on an integral glazed white porcelain base, now mounted as a lamp on a later gilt-brass beaded cubical plinth above a square satin-polished Portor marble base, the harp fitted with a spherical bronze-patinated brass finial, h. to top of finial 27‑1/2”. [75/125]

1352 Pair of French Bronze Two-Light Tripodal Candelabra, fourth quarter 19th century, in the Neo-Grec style, each candlesocket fitted with a detaching antiquegilded brass bobeche, h. 11”, w. 9‑1/2”, dia. 7”. [100/200]

1360 Pair of Napoleon III Tole Twin Beds, third quarter 19th century, each with a domed headboard with fauxbois graining and scrolling foliate mother-of-pearl-inlaid designs, joined by scrolling rails to the slightly domed lower footboard, with like decorations, raised on tubular legs, h. 63‑1/2”, inside w. 33”, l. 76”, outside w. 36”, l. 78”. [400/700]

1353 Pair of Metal and Glass Floor Torcheres, composed of bronze-patinated and silvered metal, the ribbed standards having ribbed vasiform fonts fitted with large frosted glass shades of flared bowl form, the foliate-modeled bases of stepped circular form, h. 72‑1/2”, dia. 16”. [200/400]

1355

1357

1356

157

1361 1361 Good Napoleon III MarquetryInlaid and GiltBrass-Mounted Marble-Top Parlor Cabinet, fourth quarter 19th century, the front with three doors, each having inlaid panels and cast metal moldings, the top retaining its original white marble, h. 47”, w. 68‑1/2”, d. 20‑1/4”. [3000/5000] Illustrated Color Plate II

1362 Seven-Piece Collection of White Opaline and Frosted Glass Items, consisting of a Napoleon III cut, frosted and gilt-banded “clambroth” glass comport, third quarter 19th century; a similar glass garniture vase of nozzle form; a French elaborately gilded long-neck perfume bottle of frosted glass, fourth quarter 19th century; an English parcel-gilded and white-enameled cologne bottle of the “Bristol” type, third quarter 19th century; a parcel-gilt white opaline goblet of like date; a French gilt-banded white opaline glass footed cologne bottle; and a French gilt-banded white opal glass smoke bell of tall “morning glory” form, third quarter 19th century; the largest h. 8‑1/2”, dia. 5‑3/4”. [100/200] 1363 Pair of Continental Gilt-Brass Dragon-Entwined Candlesticks, fourth quarter 19th century, in the Japonesque taste, h. 13‑1/2”, dia. 4‑3/4”. [100/200] 1364 Group of Two Belle Epoque “Cannele” Glass Inkwells, first quarter 20th century, comprised of a large and attractive example in the Baccarat style, h. 5‑3/4”, w. 3‑3/4”, d. 3‑3/4”, and a slightly larger inkwell with a domed brass cap, h. 5‑1/2”, w. 4‑1/4”, d. 4‑1/4”. [50/80]

1365 Four Pieces of Haviland and Company, Limoges, Porcelain, consisting of a three-piece white and gold “Rope Twist” coffee service, comprised of a tall coffeepot, a large twohandled covered sugar basin and a columnar cream pitcher en suite, third quarter 19th century; and a similar milk pitcher of like date; the largest h. 9”, w. 8”, dia. 5”. [100/200]

1366 One Hundred Forty-Two-Piece Theodore Haviland, Limoges, Porcelain Partial Dinner Service, for twelve persons, first quarter 20th century, in “Oriental Birds” decor, comprised of eleven dinner plates, ten bread-andbutter plates, six soup plates, twelve salad plates, eleven dessert plates, ten creamed soup bowls, ten creamed soup underplates, eight individual vegetable bowls, six tea cups, five coffee cups, twenty-two cup saucers, seven afterdinner coffee cups, twelve after-dinner coffee saucers, one double-lipped gravy boat with integral stand, one elliptical celery dish, two covered two-handled vegetable tureens, one matching covered sauce tureen and one matching sauce tureen stand, each piece fully backstamped, the largest h. 5‑1/4”, w. 10‑1/2”, d. 9‑1/2”. [300/500] Illustrated 1367 Coronet, Limoges, Hand-Painted Porcelain Plate, first quarter 20th century, of shaped circular form and featuring a pair of wild boar in the snow, signed “Pradet” at the lower right and fully backstamped, dia. 10”. [20/40] 1368 Large French Porcelain Foot Bath, fourth quarter 19th century, of oval, two-handled form in “Anneau d’Or” decor, h. 6‑3/4”, w. 13”, l. 18‑1/4”. [100/200]

1366

158

1370

1369 Two White-Glazed Pottery Foot Baths, both of elliptical, two-handled form, the first a Carbona, Italy, foot bath in the 19th-century style, signed on the base in incised black script “Carbona”; and the second a French example, third quarter 19th century; the smaller h. 8‑1/4”, w. 19”, d. 12‑1/4”, the larger h. 8‑1/4”, w. 19‑1/2”, d. 13‑1/4”. [75/125]

1371 Good 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”. [100/200] 1372 Follower of Emile Louis Picault (French, 1833‑1915) “Roman Soldier”, a patinated bronze sculpture, signed at base “Condier”, raised on a black marble pedestal, h. 19‑1/2”, w. 7”, d. 4‑3/4”. [600/900] Illustrated

1370 Extensive Eighty-Eight-Piece La Seynie, Limoges Partial Dinner Service, for twelve persons, first quarter 20th century, in blue-celeste-banded white porcelain, comprised of twelve dinner plates, eleven bread-andbutter plates, twelve salad plates, five soup plates, twelve dessert plates, eleven dessert bowls, four coffee cups, one tea cup, nine coffee and tea saucers, one twohandled covered butter tub with pierced drain plate, one oval covered two-handled vegetable tureen, a graduated nest of three oval platters, one circular two-handled covered vegetable tureen, one circular two-handled open vegetable tureen, two ovoid open serving bowls, one celery/olives dish of tear form, one sauceboat and one oval sauceboat stand, all of the pieces fully backstamped in underglaze green, the largest w. 13”, l. 19”. [300/500] Illustrated

1373 After Sabatino de Angelis (Italian, Fourth Quarter 19th/First Quarter 20th Century) “Narcissus”, a patinated bronze sculpture, after the Antique, h. 14”, w. 6”, d. 4‑1/2”. [200/400] Illustrated 1374 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”. [600/900] Illustrated

1372

1373

1374

1375 Seven-Piece Collection of French Green Glass Items, comprised of a good two-piece gold-banded green opaline “tumble-up” (carafe and beaker forming the cover), third quarter 19th century; a pair of Napoleon III gilt-brass-mounted green opaline garniture vases with double portrait silhouette medallions at the facades, third quarter 19th century; a graduated pair of opaque pale green glass covered toilette jars of canister form, fourth quarter 19th century; a green opaline cylindrical covered toilette jar of like date; and an English Art Deco glass compote in frosted lime green glass, second quarter 20th century; the largest h. 8‑1/4”, dia. 6”. [100/200]

159

1377

1380 Rare First Edition of M. Raton (Jean M.-M. Redares), Traite Raisonne sur l’Education du Chat Domestique, Paris: Raynal, 1828, printed by Veuve Delaguette, duodecimo, in tan quarter calf with mottled boards, marbled endpapers and gilt fore-edges, the spine with raised bands, with gilt tooling and lettering on a dark brown panel, 7‑1/8” x 4‑3/8”. Written pseudonymously by “M. Redon” (“Mr. Raccoon”) as a series of letters to the Mother Superior of an unnamed Visitandine convent, this unusual little tome can only be described as an offbeat combination of epistolary treatise, political history and serious veterinary advice. Very little is known of the author, Jean M.M. Redares - the Bibliotheque Nationale has no birth or death dates for him - but treatises by him were published in the 1830’s and 40’s on subjects as diverse as religious principles, freedom of the press, prison reform and the eradication of garden pests, from insects to moles. [75/125] 1381 Heinie Hartwig (American, b. 1939) “Rocky Mountain Camp”, oil on canvas, signed lower left, titled verso, 24‑1/2” x 32”. Presented in a linen-matted giltwood and gesso frame. [1200/1800] Illustrated 1382 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. [300/500]

1376 Napoleon III Polychromed Tole Bed, third quarter 19th century, the double-domed headboard with ball finial accents and painted oval medallions featuring cherubs admiring themselves in a garden setting, joined by scrolling rails to the lower like-shaped footboard, featuring portrait medallions of young costumed maidens, raised on bulbous feet, h. 61”, inside w. 60”, l. 76”, outside w. 62”, l. 78”. [250/400] 1377 Emile-Antoine Bourdelle (French, 1861‑1929) “Mere et Fille” (“Mother and Girl”), a dark gold-patinated bronze, inscribed lower right “Bourdelle”, stamped lower left with “C. Valsuani” foundry mark, raised on an oblong white marble base, h. 19”, w. 18”, d. 7”. [7000/10000] Illustrated Color Plate II

1383 American School (Mid‑19th Century) “Winter Landscape with a Red Barn”, oil on panel, signed lower left “Leo Allison”, 10” x 9”. Presented in a giltwood and linenmatted frame. [100/200] 1384 American School (First Half 20th Century) “Still Life with a Jug, Apples and Grapes” and “Still Life with a Pottery Jug and a Plate of Strawberries”, two oils on canvas, both signed and dated, one lower right, one lower left “F. Townley, 1926”, 7” x 6”. Both presented in attractive antiqued giltwood frames. [1000/1500] Illustrated

1378 Thomas Frognall Dibdin (1776‑1847), Bibliomania, Boston: The Bibliophile Society, 1903, two of four volumes (lacking volumes 1 and 2), a limited edition of 453 copies for the Bibliophile Society, with attractive three-color title page, pale green marbled boards and gilt lettering on the spine, 9‑3/8” x 6‑3/4”. [30/50] 1379 Twenty-One-Volume Collection of Antique Leatherbound Books, comprised of a nine-volume set of Voyage du June Anacharsis en Greece, Paris, 1789, a five-volume set of Flammarion, Paris Theatre de P. Corneille, third quarter 19th century, and a seven-volume set of Flammarion, Les Essais de Michel de Montaigne, of like date, all with leather bindings and marbled Florentine endpapers, h. 7”, w. 4‑3/4”. [75/125]

1381

160

1385 Follower of Severin Roesen (American, 1815‑1872) “Still Life of Fruit on a Shelf”, oil on canvas, first quarter 20th century, 20” x 24”. Presented in an appropriate deux-couleur-gilded wooden frame in the neoclassical style. [400/700] 1386 Continental School (Mid‑20th Century) “Still Life with a Lute, Candle and Spectacles”, oil on canvas, signed “Chopoton” lower right and in pencil verso, 33” x 15”. Presented in a giltwood and gesso frame. [150/300] 1387 Continental School (Mid‑20th Century) “Still Life with Potted Purple Flowers”, oil on canvas, unsigned, 34” x 24”. Framed. [40/70] 1388 Diminutive Pair of Gilt-Bronze Cabinet Busts, fourth quarter 19th century, depicting, respectively, a uniformed male and a female with a pompadour coiffure and a riviere necklace, the busts on columnar gilt-bronze pedestals and accompanied by small gilt-brass-mounted faux-marbre square platform bases, h. 7”, w. 3”, d. 3” (four total pieces). [75/125]

1384 1389 Group of Two Continental Portrait Miniatures, consisting of a good Italian wax silhouette head, of circular form in the classical style, fourth quarter 18th century, dia. 4”; and a larger oval hand-painted porcelain portrait miniature of an 18th-century lady-of-fashion in an extravagantly plumed hat, fourth quarter 19th century, h. 6”, w. 5”; both presented in Florentine carved giltwood tabletop frames. [100/200] 1390 Louis XVI-Style Mahogany Breakfast Table, second quarter 20th century, the circular top with a molded edge above a ribboned floral-carved apron, raised on fluted tapering square legs ending in toupie feet, with two leaves, h. 29‑1/2”, dia. 40”, extended l. 76”. [800/1200] Illustrated

1390

1391 Napoleon III Porcelain-Set Spelter Mantel Clock, third quarter 19th century, in the Louis XVI taste, the drum case flanked by the figure of a young Louis XVI girl holding a blossom, the circular dial in white enamel with Roman chapters, the period movement replaced with a quartz movement, h. 11‑5/8”, w. 12‑1/4”, d. 4‑1/2”. [150/300] 1392 French Gilt-Brass Tripodal Candlestick Accent Lamp, first quarter 20th century, of diminutive size in the Louis XVI taste, the base formed of three horned ram masques joined by swagged garlands and fitted with a candlesocket, presented with a custom gold thread-embroidered and beaded pale copper gauze shade with a bronze silk lining, h. 9”, dia. 4‑1/2”. [50/80]

1394

1393 Louis XVI-Style Walnut Sidechair, fourth quarter 19th century, the shaped and padded back above a like seat, raised on cabriole legs headed by acanthine carving and ending in scroll feet, h. 37”, w. 17”, d. 14”. [30/50] 1394 Imposing Pair of Belle Epoque Brass Chenets, first quarter 20th century, of modified vasiform configuration in the Louis XVI style, the brass finish bronze patinated and parcel gilded, h. 17‑3/4”, w. 18‑3/4”, d. 6”. [150/300] Illustrated

161

1398 Louis XVI-Style Polychromed Vitrine, first quarter 20th century, the molded cornice with rounded corners, over an acanthine- and armorial-carved frieze flanked by block-pattern carvings, above a case fitted with a glazed door and sides, and inset with a floral-painted panel, raised on fluted tapering feet, the interior fitted with rose and green-striped floral damask fabric, h. 65”, w. 29‑1/4”, d. 15”. [1500/2500] Illustrated Color Plate V

1402

1399 Pair of French Circular Sofa Pillows, faced in antique gros-point tapestry in “Lily Spray” decor, the sides and reverses of the pillows in sueded pale gray velvet, dia. 17”. [20/40] 1400 Pair of Deep Rose Damask Sofa Pillows, each of large square form, with tasseled bobbin fringe outlining the face, each pillow down-filled, 24” x 24”. [30/50] 1401 Seven-Piece Suite of French Silk Sofa Pillows, in the Louis XVI taste, all in antique gold and ivory stripes, composed of a trio of large square pillows edged in spiraled rose, celadon and pale blue cotton cord, and a quartet of smaller square pillows, the largest w. 22”, l. 22”. [40/70]

1395 Four-Piece Associated Brass Hearth Set, first quarter 20th century, consisting of a French three-piece tool set in the Louis XVI taste, comprising a shovel with a bellform blade, a poker and a log tong, all with tall attenuated vasiform finials; and an Edwardian hearth tool stand with a gallery-rimmed circular base, h. 32‑1/2”. [50/80]

1402 Louis XVI-Style Creme-Peinte Chaise Longue, fourth quarter 19th century, the curved, ribbon-carved crest above a conforming padded back, joined to the like seat by undulating arms, with a removable foot, above a molded skirt, raised on fluted tapering circular legs headed by a block-patera carving and ending in toupie feet, h. 42”, w. 31‑1/2”, l. 84”. [500/800] Illustrated

1396 Louis XVI-Style MahoganyVeneered Coffee Table, the serpentine top with reeded edge, above a conforming recessed frieze, raised on fluted, reeded and tapering circular legs joined by a shelfstretcher and ending in toupie feet, h. 22‑1/2”, w. 47‑1/4”, d. 29‑3/4”. [100/200] 1397 Belle Epoque Brass and Glass ThreeShelf Wall Vitrine, first quarter 20th century, in the Louis XVI taste, the interior fitted with a mirrored glass backplate and a trio of glass shelves, the crest rail with a pair of gilded brass “Chapeau de Gendarme” finials at the facade corners, h. 42‑1/2”, w. 20”, d. 6‑1/4”. [50/80]

162

1403 French Gilt-Brass Two-Light Girandole Looking Glass, first quarter 20th century, of diminutive oval form in the late Louis XVI style, the cresting modeled as a wheat sheaf and flower trophee, the candlearms styled as diminutive floral foliate-scrolled cornucopiae, h. 13‑3/4”, w. 7‑1/2”. [150/300] 1404 Pair of Italian Provincial Turned Wood Looking Glasses, first quarter 20th century, of circular form in the neoclassical style, each presented in a later dramatic black-sponged and antique matte coral-painted finish, dia. 21”. [150/300] 1405 Manner of Jane DeDecker (American, Contemporary), a monumental cast bronze garden sculpture of a boy lounging on a tree branch, writing in a book, on a tree roots-modeled base, inscribed “Jim Davidson”, h. 64”, w. 30”, d. 55”. [2500/4000] Illustrated

1398

1406 Five-Piece American Painted Cast Aluminum Garden Suite, third quarter 20th century, consisting of an umbrella table and four armchairs, all painted white and featuring an interlacing acorn-leaf motif, table h. 27‑1/4”, dia. 37”, armchair h. 32‑3/4”, w. 23”, d. 21”. [150/300] Illustrated

1407 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”. [2500/4000] Illustrated 1408 Polychromed Cast-Zinc Garden Gate Panels, ca. 1900, the square panels of stylized rosette form, joined by square uprights with pyramidal finials, h. 37”, w. 39”, d. 2”. [50/80]

1405 1407

1409

1406

1409 Contemporary Life-Sized Cast Bronze Sculpture of a Bear, h. 34”, w. 59‑1/2”, d. 18‑1/2”. [2000/4000] Illustrated 1410 Three-Piece American Painted Cast Aluminum Garden Suite, third quarter 20th century, consisting of an umbrella table and two sidechairs, all painted green and featuring an interlacing rose flower motif, table h. 26‑1/4”, dia. 25”, sidechair h. 34”, dia. 15”. [100/200]

163

1411 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. [1500/2500] Illustrated 1412 American School (Contemporary) “View of an Abandoned Farmhouse”, oil on canvas, unsigned, 25” x 38”. Presented in an ebonized frame. [75/125] 1413 Dan Wingren (American/Texas, 1923‑1998) “SnowCovered Landscape”, oil on canvas, signed and dated lower right “Dan Wingren 1960”, sight 18” x 24”. Presented in a gilt-painted frame. [1800/2500] Illustrated 1414 Kay Naylor (American, 20th Century) “Beach Stroll”, pencil and watercolor on paper, signed lower right “K. Naylor”, sight 13” x 19”. Glazed, double-matted and framed. [60/90]

1411

1415 Lacey Stinson (American/Louisiana, b. 1957) “View of a Farm in Winter”, oil on canvas, signed lower right, 18” x 18”. Presented in a hardwood frame. [300/500] Illustrated 1416 Nicholas Marvell (American, Contemporary) “Dickinson Avenue” and “Family Room From Living Room”, 1989, two watercolors on paper, initialed in pencil lower right, verso affixed with a “OK Harris Works of Art, New York, NY” label, sight 10‑1/2” x 13‑3/4” and 13” x 10”. Both glazed, matted and framed. [200/400]

1413 1417 Jen Mazza (American, Contemporary) “Tree-Lined Path”, oil on canvas, signed lower right “J. Mazza”, 48‑1/2” x 36‑3/4”. Framed. [400/700] Illustrated 1418 American School (Late 20th Century) “A Blue and Sunlit Sea”, oil on canvas, signed lower right “Swinger”, 20” x 24”. Presented in a carved, ivory-painted and antiqued wooden frame. [75/125]

1415

164

1419 William “Bill” Condon (American, 1923‑1998; Active Houston, Texas) “Two Houses”, mixed media on board, signed lower right “Bill Condon ‘60”, titled four times on stretcher verso, once on each side, the paper backing with handwritten annotation “West Gray, Houston, Texas”, 12” x 9”. Presented in a wooden frame with cream-painted fillet. Bill Condon, a native Houstonian, was a practicing architect and fine artist. He showed regularly in the Annual Exhibition of Works by Houston Artists from 1954 to 1962, and won prizes for print-making and painting. [125/250]

1420 American/Texas School (Contemporary) “Mexican Revolutionary Horsemen”, pair of oils on board, signed lower right “J. Wheat”, sight 12‑1/2” x 11”. Both presented in attractive parcel-gilt ebonized frames with linen mats. [200/400]

1425 1417 1421 American School (Fourth Quarter 20th Century) “A Horse Race”, oil on canvas, signed lower right “Todd”, 10” x 20”. Presented in an attractive linen-matted ebonized and giltwood frame. [75/125]

1425 Roland Renaud (French, Contemporary) “Roxanne Red Gown”, oil on canvas, initialed lower right, 67” x 39‑1/2”. Presented in a contemporary ebonized and goldpainted frame. [300/500] Illustrated

1422 Anthony Veccio (American, b. 1949) “Thoroughbred Glory”, oil on canvas, signed lower right “A. Veccio”, 23‑1/2” x 36”. Presented in a broad gilt-painted exhibition frame. [150/300]

1426 American School (Third Quarter 20th Century) “Study of a Partially Nude Male”, oil on canvas board, unsigned, 24” x 18”. Presented in a parcel-gilt ebonized frame. [75/125]

1423 American School (Contemporary) “Portrait of a Horse”, oil on canvas, unsigned, sight h. 34”, w. 50”, presented in a burlwood and parcel-silvered frame. [400/700]

1427 Louise August (American, Contemporary) “Along Came The Rider”, “The Courtship”, “One Morning In Summer” and “The Game”, four serigraphs, signed lower right “Louise August” and numbered lower left, edition size 300, 19” x 14”. Unframed. [75/125]

1424 James Johnson (American, Contemporary) “Christina’s New World”, oil on board, signed and dated lower right “James Johnson ‘91”, 12” x 10”. Presented in a pierced and molded giltwood and gesso frame. [75/125]

1428 American School (Contemporary) “Boy Throwing a Rock”, oil on canvas, signed lower right “Hayes”, 24” x 34”. Presented in an ebonized frame. [100/200]

165

1429 Robert Bliss (American/Massachusetts, 1925‑1981) “Blond Athlete” and “Yellow Shirt”, two oils on board, both signed and dated lower right, titled verso, 17‑1/2” x 11” and 19‑1/2” x 15”. Both presented in giltwood frames. [2000/4000] Illustrated 1430 American School (Contemporary) “Abstract Untitled”, black and white lithograph, signed in pencil lower right “Henry Simon”, 39‑3/4” x 50”. Unframed. [60/90] 1431 Gustav Kaitz (American, 1913‑1992) “Floating Nude in Blue Background”, tempera, ink and pencil in paper, signed lower left “G. Kaitz”, sight 18‑3/8” x 14‑3/8”. Glazed and presented in a polychromed frame. [200/400]

1453

1429 1432 American School (20th Century) “White Birds”, oil on canvas over cardboard, unsigned, 6” x 9‑1/2”. Presented in a giltwood and gesso frame. [75/125] 1433 Suite of Three American School Works of Art, 20th century, consisting of an oil on canvas depicting chickens drinking out of a shell, near a creek, signed illegibly lower right, unframed; an oil on canvas over cardboard, titled verso “Snail Hell” and signed verso “Bernadine Custer, Londonberry”, framed; and an oil on canvas, “Still Life with a Single Pear”, unsigned, presented in a polychromed frame; the largest oil on canvas 20” x 15‑1/2”. [125/250]

1449

1450 1448

1434 After Donald Roller Wilson (American/ Arkansas, b. 1938) “Dog in a Red Dress”, oil on canvas, unsigned, 10‑1/2” x 8”. Presented in a giltwood and plaster frame. [50/80] 1435 After Donald Roller Wilson (American/ Arkansas, b. 1938), suite of seven oils on canvas depicting various animals, all unsigned, the largest 16” x 12”. All framed. [300/500] 1436 American School (Contemporary) “Floating Orange Female Nude”, oil on canvas, signed lower right “Hayes”, 33‑1/2” x 23”. Presented in a fauxmahogany frame. [75/125]

166

1437 Gilt-Metal Wall Display Cabinet, 20th century, the brass body with a single glass door with foliate finials at the ends of the top and a suspension bar at the rear, the door glazed with a single bar, h. 42”, w. 20‑1/2”. [100/200] 1438 Stylish American Brushed Steel and Glass Etagere, 20th century, fitted with five rectangular glass shelves supported by tubular square supports headed by gilt ball finials and ending in peg feet, h. 76”, w. 27‑1/2”, d. 13‑1/2”. [200/400] 1439 Stylish American Brushed Steel and Glass Etagere, 20th century, fitted with five rectangular glass shelves supported by tubular square supports headed by gilt ball finials and ending in peg feet, h. 76”, w. 27‑1/2”, d. 13‑1/2”. [200/400] 1440 Good Three-Piece Collection of Georgian and American Glass, comprised of a blown “Panel and Stop Flute”-cut bitters decanter, first quarter 20th century, h. 9”; a ringed barrel-form colorless glass tankard, fourth quarter 18th century, h. 5”; and an American free-blown “Petal and Swag”-cut glass bitters decanter of Pittsburgh origin, first quarter 19th century, h. 9”. Ex-collection: David Kingsley Calcote, Natchez, Mississippi. [40/70] 1441 Dramatic Charles Miner Iridized and Crackled Cranberry Glass Vase, 1989, New Mexico, in the Art Nouveau taste, the gold- and black-iridized crackled pale cranberry vase of bluster form, signed and dated in diamond-stylus script at the basal edge, h. 6”, dia. 2‑1/2”. [100/200] 1442 Trio of Charles Miner Art Nouveau-Style Studio Glass Cabinet Vases, fourth quarter 20th century, New Mexico, including an undated and unsigned silver “feather comb-up” example of circular cushion form in pale blue iridized topaz, h. 2”, dia. 2‑1/4”; a 1989 silver-threaded cased emerald green example of baluster form, h‑1-/2”, dia. 1‑1/4”; and a 1989 bulbous cased amber example with abstract decoration, h. 1‑1/4”, dia. 1‑1/4”; the latter two examples signed and dated in diamond stylus script. [75/125] 1443 Two Charles Miner Art Nouveau-Style Studio Glass Cabinet Vases, 1987 and 1989, New Mexico, in the Art Nouveau taste, including a striking 1987 gold-iridized silver-green “feather comb-up” red flambe vase of baluster form, h. 6”, dia. 2‑1/2”; and a good 1989 globular roseiridized silver and black “feather comb-up” cranberry cabinet vase, h. 4”, dia. 3‑1/2”; both signed and dated in diamond stylus script. [150/300] 1444 Two Charles Miner Miniature Iridized Ruby Glass Vases, 1983 and 1989, New Mexico, in the Art Nouveau taste, the first an unusual 1983 silver-lustered “feather”iridized vase of narrow baluster form, h. 5‑1/4”, dia. 2‑1/2”, and the second a 1989 silver-green iridized “feather comb-up” vase of globular form, h. 2‑3/4”, dia. 4”, both examples signed and dated in diamond stylus script. [125/250]

1445 Two Charles Miner Studio Glass Cabinet Vases, 1986 and 1987, New Mexico, in the Art Nouveau taste, the first a 1986 silver-blue iridized amethyst glass vase of baluster form, h. 4‑1/2”, dia. 2‑3/4”, and the second a 1987 stylish lavender-silver iridized threaded topaz vase of inverted nozzle form, h. 4”, dia. 2‑1/4”, both signed and dated in diamond stylus script on the basal edge. [125/250] 1446 Charles Miner Studio Glass “Peacock Feather” Vase, 1988, New Mexico, in the Art Nouveau taste, the pyriform vase in iridized cobalt blue glass with “peacock feather” comb-up, the vase supported on an applied iridized colorless glass foot of disc form, signed and dated in diamond-stylus script, h. 6”, dia. 4‑1/2”. [100/200] 1447 Two Charles Miner Iridized Studio Glass Cabinet Vases, 1990 and 1989, New Mexico, in the Art Nouveau taste, including a 1990 blue-lavender-iridized pale green “feather comb-up” example of baluster form, h. 6”, dia. 2‑1/2”, and a smaller 1989 silver-blue-iridized example of similar form and decor, h. 4‑1/2”, dia. 2”, each signed and dated in diamond-stylus script. [150/300] 1448 Steel-Mounted Lucite Magazine Rack, third quarter 20th century, the magazine holder of V-form, h. 16”, w. 17‑3/4”, d. 12”. [50/80] Illustrated 1449 Tall Plexiglass Pedestal, of square section with beveled edges, h. 40”, w. 8‑1/4”, d. 8‑1/4”. [50/80] Illustrated 1450 Art Deco Revival Lucite Occasional Table, third quarter 20th century, of block form and curvilinear construction, h. 20”, w. 20‑1/4”, d. 20‑1/4”. [50/80] Illustrated 1451 Lucite Footstool, third quarter 20th century, the circular padded seat covered in antique-white linen and raised on four tall legs terminating in an X-form base, h. 18”, dia. 13‑1/4”. [50/80] 1452 Art Deco Revival Lucite and Glass Cocktail Table, third quarter 20th century, the canted square top with an inset conforming glass surface, above a plain frieze, raised on plank legs, h. 16”, w. 26”, d. 26”. [60/90] 1453 Good Phoenix Art Glass Pyriform Vase, fourth quarter 20th century, the iridescent russet and silver glass in “Peacock Feather Comb-Up” decor in the revived Art Nouveau style, signed on the base in engraved script, h. 8‑1/4”, dia. 7”. [150/300] Illustrated 1454 Good American Studio Glass Paperweight, fourth quarter 20th century, the amber and garnet spiral-ribbed glass in the form of an endless knot, presented on a pale green acrylic stand of circular tripodal form, paperweight h. 4”, stand dia. 5”. [40/70]

167

1461 Contemporary Lucite Occasional Table, late 20th century, of cube form, two of the sides open, with decorative brushed metal hardware, h. 16‑3/4”, w. 16‑3/4”, d. 16‑3/4”. [75/125] 1473

1462 Art Deco Revival Glass and Lucite Cocktail Table, third quarter 20th century, the thick rectangular glass top with rounded corners, raised on two Lucite supports joined by a brushed metal stretcher, h. 15‑1/2”, w. 54”, d. 26”. [150/300] 1463 American “Feather Comb-Up” Spherical Glass Vase, by Correia Studios, California, in iridized green/gold on a pale pink ground, signed on the base in diamond stylus script “Correia”, h. 8‑1/4”, dia. 9”. [100/200] 1464 American Patinated Metal and Leaded Glass Floor Torchere, in the turn-of-the-century style, the flaring leaded glass shade in shades of ivory, rose and pale green and fan-pleated, h. 70”, dia. 14‑1/2”. [75/125]

1455 Group of Two American Studio Glass Wall Pockets, one in spangled rose, charcoal, yellow, brown and clear glass, fourth quarter 20th century, h. 9‑1/2”, w. 3‑5/8”; and the other in colorless glass in the 18th-century manner, third quarter 20th century, h. 7‑1/2”. [50/80] 1456 American Studio Glass Vase, fourth quarter 20th century, the marbled gray and lavender glass vase of closed leaf form, h. 10‑1/2”. [40/70] 1457 Pair of American Studio Glass Wall Pockets, of flatsided “Jack in the Pulpit” form in blue-detailed colorless glass, h. 8”, w. 5‑7/8”. [40/70]

1465 American Chrome and Milk Glass Foyer Lantern, of stepped and ribbed hexagonal form in the Art Deco taste, with stenciled black geometric reserves, retains the period chromium canopy, h. 15”, dia. 12”. [200/400] 1466 Stylish Art Deco Cased Glass Bowl, second quarter 20th century, of scrolled form in “Tango Orange” and black, the exterior in mirror black, the interior in opaque orange, h. 4”, w. 8‑3/4”, d. 6”. [50/80] Illustrated 1467 Italian Blown Transparent Azure Glass Two-Handled Vase, second quarter 20th century, with goldstone inclusions, the loop handles of opaque claret glass, h. 10‑1/4”, dia. 4‑1/2”. [75/125] Illustrated

1458 Attractive Contemporary Brass and Glass Cocktail Table, the rounded rectangular glass top raised above a brass frame on paneled tubular legs joined by an H-form stretcher and ending in turret feet, h. 14‑1/2”, w. 39‑1/2”, d. 20”. [200/400] 1459 American Art Deco Oak, Walnut and Fruitwood Bar/Serving Table, mid‑20th century, with a pair of sliding glass doors over a wider pair of solid doors with scalloped bottom edge, h. 35‑3/4”, w. 36‑1/2”, d. 15‑1/4”. [75/125] 1460 Stylish American Art Deco Milk Glass Foyer Lantern, second quarter 20th century, of hexagonal descending-step form and detailed in silver-black enamel, retains the polished chromium canopy, h. 20”, dia. 10”. [200/400]

168

1468 1467

1466

1468 Good Johann Loetz Pale Blue-Iridized Amber Glass Flared Neck Vase, first quarter 20th century, unsigned but displaying the expected large, high and polished Loetz signature pontil mark, h. 7‑1/2”, dia. 3‑3/4”. [75/125] Illustrated 1469 Two American Glass Items, consisting of a blown and engraved glass ice bucket featuring ducks flying over a marsh, third quarter 20th century, h. 5”, dia. 6‑1/4”; and an attractive engraved glass claret pitcher of “hourglass” form in “Vintage” decor, first quarter 20th century, h. 10”, dia. 5‑1/2”. [50/80] 1470 Two-Piece Group of Mexican Black Smoke-Glazed Pottery, second quarter 20th century, consisting of a figure of an elaborately robed Virgin Mary holding a fivepoint star in her hands, h. 9”, w. 7‑1/2”, d. 4”; and a similar votive crown of small size. [75/125] 1471 Group of Two Art Glass Items, consisting of Henry Dean (American, Contemporary), a blown red studio glass oviform vase, fourth quarter 20th century, signed on the base in diamond stylus script “Henry Dean”, h. 8”; and a Murano ruby-cased lattimo glass cachepot, third quarter 20th century, with an applied cobalt blue rim, h. 6‑1/4”, dia. 6”. [50/80]

1474 Interesting Mid-Century Modern Laminated Walnut Armchair, bearing the label “Manufactured by Plycraft, Inc., designed by Norman Cherner”, h. 31‑1/2”, w. 25”, d. 18”. [300/500] Illustrated 1475 Pair of English Brass “Gadroon” Single-Light Sconces, in the Early Georgian style, the candlesockets of small flambeau form with ball terminals, not electrified, h. 19”, w. 2‑5/8”, d. 6”. [40/70] 1476 Pair of Art Deco-Style Satinwood and Ebonized Console Tables, each with a sunburst-inlaid top with an ebonized border, above a frieze centered by a rosewood panel, raised on a single shaped support, h. 34‑1/2”, w. 41”, d. 22”. [500/800]

1474

1472 Ply. Ratnauer (American, Contemporary), a limited edition double-patinated bronze figure of a prominently billed bird perched on a spiraling branch, 1988, this is No. 1 of an edition of 12 and so signed on the bronze plinth, the whole presented on a square polished slab base of breche violette marble, h. 15”, w. 6‑7/8”, d. 8”. [150/300] 1473 Good Hamilton Ebonized Baby Grand Player Piano and Bench, model H391, fitted with a digital reproducer, piano h. 41”, w. 58”, d. 56”. [5000/8000] Illustrated

169

1478 Jack Levine (American/New York, b. 1915) “Daley Gesture”, 1969, etching, pencil signed lower right “J. Levine”, numbered lower left “47/120”, sight 10‑1/4” x 13”. Matted and mounted for hanging. [200/400] 1479 Jack Levine (American/New York, b. 1915) “Maimonides”, 1963, etching and aquatint, signed in pencil lower right “J. Levine”, numbered lower left “41/100”, sight 11” x 9‑1/4”. Glazed, matted and mounted for hanging [200/400] 1480 Jack Levine (American/New York, b. 1915) “Artist’s Introduction”, 1967, soft ground etching, signed lower right in pencil “J. Levine”, numbered lower left “XXVI/XLV”, sight 13” x 10”. Glazed, matted and mounted for hanging. [100/200]

1477 suite of thirty-one

1481 Jack Levine (American/New York, b. 1915) “Jenny Visits McHeath”, lithograph, signed in pencil lower right “J. Levine”, numbered lower left “XXVI/XLV”, sight 10” x 13”. Glazed, matted and mounted for hanging. [100/200] 1482 Jack Levine (American/New York, b. 1915) “Jonathan Jeremiah Peachum”, soft ground etching, signed in pencil lower right “J. Levine”, numbered lower left “XXVI/XLV”, sight 10‑1/4” x 13”. Glazed, matted and mounted for hanging. [100/200]

1477 suite of thirty-one 1477 Jack Levine (American/New York, b. 1915), suite of thirty-one limited edition etchings, lithographs and engravings, of various titles, including “Apollo and Daphne”, “L’ Enlovement des Sabines”, “Marianne and the Goddess of Liberty”, “Vernisage”, “Venetian Lady - Volpone I”, “The Art Lover”, “El Greco” and “Meditation” and “Je Me Souviens de M. Watteau”, all numbered and signed in pencil, the largest 30” x 23”. Unmatted and unframed. [700/1000] Illustrated

170

1477 suite of thirty-one

1488 Jack Levine (American/New York, b. 1915) “Thieves”, soft ground etching, signed in pencil lower right “J. Levine”, numbered lower left “XXVI/XLV”, sight 13” x 10”. Glazed, matted and mounted for hanging. [100/200] 1489 Jack Levine (American/New York, b. 1915) “Quadrille”, 1967, etching, pencil signed lower right “J. Levine”, numbered lower left “XXVI/XLV”, sight 10” x 13”. Glazed, matted and mounted for hanging. [100/200]

1496

1490 Jack Levine (American/New York, b. 1915) “Mack At Work”, 1967, soft ground etching, signed in pencil lower right “J. Levine”, pencil numbered lower left “XXVI/XLV”, sight 13” x 10‑1/2”. Glazed, matted and mounted for hanging. [100/200] 1491 Jack Levine (American/New York, b. 1915) “Tunbridge Girl with McHeath in Flight”, 1967, soft ground etching, signed in pencil lower right “J. Levine”, pencil numbered lower left “XXVI/XLV”, titled in print, sight 13” x 10”. Glazed, matted and mounted for hanging. [100/200]

1483 Jack Levine (American/New York, b. 1915) “Artist’s Introduction - Moritur”, 1967, pencil signed lower right “J. Levine”, numbered lower left “XXVI/XLV”, sight 13‑1/4” x 10‑1/4”. Glazed, matted and mounted for hanging. [100/200] 1484 George Segal (American/New Jersey, 1924‑2000) “Woman Brushing Her Hair”, 1965, serigraph in colors, signed in pencil lower middle “Segal”, numbered “197/200”, inscribed “Poleskie/Imp” lower left, from New York Ten, published by Tanglewood Press Inc., New York, 1965, verso with framer’s label “Kulicke Frames Inc., New York”, full sheet, sight 21‑3/4” x 16‑3/4”. Glazed and presented in a silver metal frame. [150/300]

1492 Jack Levine (American/New York, b. 1915) “Girls of Tunbridge Alley #3”, 1967, soft ground etching and aquatint, signed in pencil lower right “J. Levine”, numbered lower left “XXVI/XLV”, sight 13” x 10”. Glazed, matted and mounted for hanging. [100/200] 1493 Jack Levine (American/New York, b. 1915) “McHeath Betrayed”, 1967, soft ground etching, signed in pencil lower right “J. Levine”, pencil numbered lower left “XXVI/XLV”, titled in print, sight 13” x 10”. Glazed, matted and mounted for hanging. [100/200] 1494 Jack Levine (American/New York, b. 1915) “Tiger Brown”, 1967, soft ground etching, signed in pencil lower right “J. Levine”, pencil numbered lower left “XXVI/XLV”, sight 13” x 10‑1/2”. Glazed, matted and mounted for hanging. [100/200]

1485 Max Weber (American, 1881‑1961) “The Mirror #2”, ca. 1928‑1930, lithograph, pencil signed lower left “Max Weber”, retains gallery label on the reverse “Anna Sosenko, New York”, sight 8‑1/2” x 13‑1/4”. Glazed, handsomely matted and framed. [400/700] 1486 Jack Levine (American/New York, b. 1915) “Reception in Miami”, color lithograph, signed and numbered in print lower center “J. Levine, 120/120”, sight 20” x 27‑1/2”. Glazed, linen-matted and presented in a silvered frame. [100/200]

1500

1487 Jack Levine (American/New York, b. 1915) “Moritur”, soft ground etching, signed in pencil lower right “J. Levine”, pencil lower left “XXVI/XLV”, sight 10‑1/4” x 13”. Matted and mounted for hanging. [100/200]

171

1501 Large Kuang Hsu Carved Wooden Vase Stand, first quarter 20th century, painted black and parcel gilded, now fitted with a mirrored plate to form a footed centerpiece plateau, h. 7‑1/2”, dia. 15”. [75/125] 1502 Chinese Export Porcelain Tureen, ca. 1800, of oval, two-handled form in “Floral Sprays” decor, the cover lacking, h. 4‑3/4”, w. 8‑1/2”, l. 11‑1/2”. [75/125]

1504

1495 Pair of Kuang Hsu Polychromed Porcelain Flowerpots, fourth quarter 19th century, in “Songbird and Flowering Branch” decor, the reverse of each pot with a calligraphic stanza in overglaze black, each pot is accompanied by its period porcelain tripodal drain plate, h. 4‑3/4”, dia. 5”. [50/80]

1505

1503 Large Amita Porcelain Works, China, Porcelain Cachepot, of gently tapered section in “Monkeys and Palms” decor, the base with the transfer-printed mark of the Amita Works, h. 10”, dia. 10”. [75/125]

1508

1496 Pair of Chinese Export “Rose Medallion” Porcelain Vases, third quarter 19th century, of cylindrical form in “Mandarins” decor, with gilt ringed elephant mask handles, h. 14”, dia. 5”. [300/500] Illustrated previous page 1497 Pair of Kuang Hsu Famille Rose Porcelain Tabletop Plant Tubs, fourth quarter 19th century, of ovoid form in “Peony” decor, the reverses with calligraphic stanzas in overglaze black, h. 3‑3/4”, w. 5‑1/2”, l. 6‑1/2”. [200/400] 1498 Pair of Chinese Famille Rose Porcelain Covered Tea Jars, 20th century, each of tapered ovate form with fitted covers, decorated in famille rose enamels with continuous scenes of figures in domestic settings, h. 13”, dia. 8‑1/2”. [125/250] 1499 Kuang Hsu Famille Noire Porcelain Vase, fourth quarter 19th century, of tall baluster form in “Birds in a Chinese Garden” decor, the base signed with an underglaze blue calligraphy rondel, h. 16‑1/4”, dia. 6‑1/4”. [200/400] 1500 Pair of Chinese Export “Rose Medallion” Porcelain Bulb Vases, mid‑20th century, of lobed “garlic” form and vividly polychromed, the tall garlic-bud lips fitted for a single bulb, the shoulders fitted for five bulbs, h. 10”, dia. 7”. [500/800] Illustrated previous page and Color Plate III

172

1504 Chinese Celadon Porcelain Bamboo-Ribbed Garden Seat, of large hexagonal form with avian, auspicious symbols, floral and kylin reserves decorated in blue and white, the seat with a pierced blue and white rondel enframed by five bats, h. 19”, dia. 15”. [100/200] Illustrated 1505 Chinese Blue and White Porcelain Ribbed BarrelForm Garden Seat, first quarter 20th century, in “Peacocks” decor, the sides fitted with two “Laughing Mask” hand holds, h. 20”, dia. 12”. [100/2000] Illustrated 1506 Chinese Glazed Pottery “Caparisoned Elephant” Garden Seat, second quarter 20th century, the howdah modeled as a circular flat-topped seat, h. 18‑1/4”, w. 10‑3/8”, l. 21”. [100/200]

1515

1516

1513 Kuang Hsu Carved Rosewood Miniature Center Table, fourth quarter 19th century, the circular top set with a blue and white porcelain rondel featuring a water carrier in a country house garden, the upper standard fitted with a deep peg to attach it to the base, h. 11‑1/2”, dia. 13‑1/2”. [75/125] 1514 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”. [250/400] 1515 Kuang Hsu Carved Charcoal Gray and White Marble Vase, first quarter 20th century, of baluster form, the body with four vertical panels carved in bas-relief with, respectively, a group of Immortals with a scroll, a “Celestial Dragon with the Flaming Pearl”, a group of Immortals in a bamboo grove, and a phoenix beneath a leafy tree, h. 11”, dia. 3‑3/4”. [800/1200] Illustrated

1507 Kuang Hsu Porcelain Child’s Garden Seat, first quarter 20th century, of traditional barrel form and brilliantly polychromed in “Aquatic Birds and Lotus” decor, the center of the seat with a pierced rondel, h. 11‑3/4”, dia. 11”. [75/125] 1508 Large Pair of Chinese Blanc De Chine Porcelain Tree Tubs, of traditional form, presented on Chinese carved red mahogany footed stands, tub h. 14‑1/2”, dia. 16‑1/2”, overall h. 23‑1/4”. [100/200] Illustrated 1509 Large Pair of Chinese Gloss Pale Gray-White-Glazed Porcelain Tree Tubs, in the Ch’ien Lung style, h. 16”, dia. 14‑1/2”. [150/300] 1510 Chinese Richly Enameled Porcelain Fishbowl, of the traditional type, with the exterior walls decorated with “Mandarin” reserves on a “Millefleurs” ground, the interior decorated with exotic goldfish and aquatic plants, the base with a reign mark in rouge de fer, h. 13”, dia. 15”. [200/400] 1511 Diminutive Pair of Kuang Hsu Ribbed Bronze Tripodal Cachepots, fourth quarter 19th century, each example signed with a circular calligraphic colophon on the base, h. 4‑1/2”, dia. 6‑5/8”. [75/125]

1516 Kuang Hsu Carved Pale Caramel Marble Group, fourth quarter 19th century, depicting the robed Kwan-yin seated on the back of a Foo dog, presented on an oriental customcarved mahogany stand with an undulating rim, h. 9”, w. 6”, d. 2‑1/2”. [1000/1500] Illustrated 1517 Pair of Chinese Carved Marble Chops, each of large size, carved as rectangular bases topped with the figures of snarling dogs in front of rockwork, the bases uncarved, h. 9”. [40/70] 1518 Kuang Hsu Elaborately Carved Rose Quartz Table Box, fourth quarter 19th century, of peach form, the interior carved with a three-peach spray, the cover relief-carved with a fruited peach tree branch, w. 2‑3/4”, l. 3‑1/2”. [450/700]

1520

1512 Eight-Piece Collection of Chinese Carved Soapstone Chops, comprised of a large pair of vieux rose and gray examples of square section carved with celestial dragons; a similar, smaller pair also carved with celestial dragons; a matching ecru example; another in gray and ecru; an oblong example carved with a recumbent dog and a calligraphic seal on the base; and a smaller pale green soapstone chop carved with an abstracted celestial dragon and the word “Peace” on the seal; the largest h. 5‑3/4”, w. 1‑1/2”, d. 1‑1/2”. [75/125]

173

1519 Interesting Four-Piece Collection of Carved Hardstone, comprised of a pair of fluorite lizards on a rock, a smaller rose quartz matrix lizard on a rock slab, a green and white aventurine toad, and a smaller aventurine frog on a rock slab, the largest w. 3‑3/4”, l. 6‑1/4”. [50/80]

1525 1524

1520 Chinese Carved Hardstone Figure of a Recumbent Horse, of large size, the dark green stone body carved as the figure of a reclining horse with head turned backward, legs tucked beneath the body and tail wrapped around, presented on a custom fitted wooden stand, overall h. 14‑1/2”, l. 22”. [700/1000] Illustrated previous page 1521 Chinese Carved Lapis Lazuli Matrix Figure of a Rhinoceros, h. 3‑3/4”, w. 3”, l. 8”. [60/90]

1522 Pair of Chinese Porcelain Baluster-Form Vases, each polychromed and elaborately deux-couleur gilded in foliate decor, now mounted as table lamps on Chinese lacquered hardwood bases and fitted with antique-white rep silk shades with narrow pleated bands at the upper and lower edges, h. 14”, dia. 7‑3/4”. [100/200]

1528

1523 Six-Piece Group of Kuang Hsu Porcelain Table Ware, the white porcelain with figural “Grisaille” decoration, consisting of a rice bowl, a matching shallow plate, a pair of small dishes and a yet smaller pair of matching sauce dishes, each piece with a gilded rim, the rice bowl with a reign mark in rouge de fer on the base, the largest dia. 7‑1/2”. [100/200]

1529

1524 Pair of Tao Kuang Blue and White Porcelain Vases, second quarter 19th century, each of two-handled baluster form and emblazoned with multiple “Good Fortune” characters on a stylized floral/calligraphic ground, h. 17”, dia. 7”. [200/400] Illustrated 1525 Tao Kuang Blue and White Porcelain Two-Handled Vase, second quarter 19th century, of tall baluster form and emblazoned with multiple “Good Fortune” calligraphic symbols on an overall stylized flowering vine ground, h. 24‑1/4”, dia. 9”. [250/400] Illustrated 1526 Near Pair of Tao Kuang Blue and White Porcelain Orchid Pots, second quarter 19th century, in “Flower and Vine” decor, the larger h. 4”, dia. 5”, the smaller h. 3‑1/2”, dia. 4‑1/2”. [50/80]

1527

1527 Pair of Kuang Hsu Porcelain Figures of Caparisoned Kylins, the blue and white figures modeled galloping through clouds, one beast with its proper left foreleg upon a Foo dog, the other with its proper right foreleg resting upon a sphere, h. 12‑3/4”, w. 5‑1/2”, d. 14”. [200/400] Illustrated 1528 Japanese Meiji Blue and White Stoneware Cachepot, first quarter 20th century, of octagonal form, the relief handles modeled as white ringed Foo-dog masks, h. 7‑3/4”, dia. 7‑1/4”. [100/200] Illustrated

174

1533 1532 Pair of Chinese Crackleware Vases, early 20th century, now with bronze mounts and converted to lamps, h. 32”. [200/400]

1534

1533 Pair of Tao Kuang Blue and White Porcelain Vases, second quarter 19th century, each of two-handled baluster form and emblazoned with multiple “Good Fortune” calligraphic characters on a stylized flowering vine ground, h. 13‑1/4”, dia. 6‑1/4”. [150/300] Illustrated 1529 Rare Tao Kuang Provincial Blue and White Porcelain Covered Pickling Jar, second quarter 19th century, in an overall stylized floral pattern, the cover inverting to form a pickle sampling bowl, h. 7‑3/4”, dia. 7”. [75/125] Illustrated

1534 Pair of Tao Kuang Blue and White Porcelain Vases, second quarter 19th century, each of baluster form and emblazoned with multiple calligraphic “Good Fortune” characters on a stylized flowering vine ground, h. 15‑1/2”, dia. 8‑1/4”. [200/400] Illustrated

1536 1535 Kuang Hsu Cloisonne and Gilt-Brass Tobacco Canister, first quarter 20th century, in an overall floral pattern on a black ground, the interior and the base enameled in monochrome turquoise, h. 6”, dia. 4‑3/4”. [75/125] 1536 Large Pair of Kuang Hsu Covered Figural Vessels, fourth quarter 19th century, composed of bronze-patinated brass and cloisonne in the form of hawks perched on stylized crags in the Ming Dynasty style, the heads removing to reveal the hollow avian bodies, h. 21”, w. 6‑1/2”, l. 13”. [300/500] Illustrated

1530 Kuang Hsu Crackle-Glazed and Polychromed Porcelain Covered Vase, first quarter 20th century, of “temple jar” form in “Warriors and Attendants” decor, h. 13”, dia. 8”. [75/125] 1531 Three-Piece Kuang Hsu Crackle-Glazed and Polychromed Porcelain Garniture, first quarter 20th century, of “Temple Jar” form, comprised of a pair of “Songbirds and Flowering Shrubs”-decorated vases, h. 16”, dia. 10”, and a larger, similarly glazed and polychromed covered center vase in “Exotic Birds and Flowering Shrubs” decor, h. 18”, dia. 10”. [150/300] 1539

175

1537 Group of Two Oriental Decorative Objects, consisting of a Kuang Hsu cloisonne figural covered wine ewer in the form of a hissing goose, fourth quarter 19th century, h. 8‑1/4”, w. 4”, l. 13”; and a small enameled open bowl of circular form with a sky-blue exterior featuring flying cranes with an exotic goldfish, h. 2‑1/4”, dia. 5”. [300/500] 1538 Pair of Japanese Meiji Cabinet Vases, first quarter 20th century, composed of silver-mounted cloisonne and “en plain” enamel, of baluster form in “Songbird and Flowering Tree” decor, the grounds of gray-blue enamel, h. 6”, dia. 3”. [800/1200] 1539 Anglo-Colonial Chinoiserie-Polychromed Vitrine, the molded cornice above a case fitted with a long glazed door and sides, raised on curved plinth legs, the whole featuring a figures-in-a-landscape design on a red-lacquered background, h. 78”, w. 26”, d. 12”. [150/300] Illustrated previous page 1554

1540 Group of Five Decorative Chinese Calligraphy Brushes, the handles in coral, agate and serpentine with bone tops and horsehair bristles, l. 10” to 11‑3/4”. [75/125] Illustrated 1541 Group of Six Decorative Chinese Calligraphy Brushes, the handles in agate, glass, amethyst and serpentine, with bone tops and horsehair bristles, l. 8‑1/2” to 10‑1/2”. [75/125]

1542 Group of Five Decorative Chinese Calligraphy Brushes, the handles in porcelain, agate and Tiger’s eye, with bone tops and horsehair bristles, l. 10‑1/4” to 11‑1/4”. [50/80]

1553

1543 Group of Four Decorative Chinese Calligraphy Brushes, the handles in porcelain, coral and agate, with bone and horn tops and horsehair bristles, l. 8‑3/4” to 11”. [50/80] 1544 Pair of Thai Parcel-Gilt Patinated Bronze Door Handles, fourth quarter 19th century, in the form of diademed mermaids, h. 12”, w. 3‑3/4”, d. 3‑1/8”. [75/125]

1545 Nepalese Bronzed Cast-Iron and GiltBrass Vaga-Headed Processional Staff, fourth quarter 19th century, fitted with a pendant bell, l. 62”. [75/125] 1540

176

1546 Group of Two Oriental Metal Objects, consisting of a Nepalese patinated bronze figure of an elaborately garbed seated youthful Buddha, fourth quarter 19th century, h. 8‑3/8”, w. 5‑1/2”, d. 4‑1/2”; and a Kuang Hsu brass personal brazier/hand-warmer of handled basket form, first quarter 20th century, the pierced cover in a “Flowering Tree” pattern, the base fitted with an arched swing handle, h. 2‑1/2”, w. 3‑1/4”, l. 4‑1/2”. [250/400] 1547 Graduated Pair of Indonesian Carved Wood Figures of Males, first quarter 20th century, the seated, hunched, near-nude males modeled with their heads in their hands, the wood possibly ebony, the smaller h. 3”, w. 2‑3/4”, d. 2‑1/4”, the larger h. 5”, w. 4”, d. 3‑1/2”. [100/200] 1548 Five Indonesian Folk Theatre Character Masks, first quarter 20th century, composed of carved and polychromed wood, the largest h. 13”, w. 7‑1/2”, d. 6‑1/2”. [100/200] 1549 Collection of Six Indonesian Wooden Character Masks, first quarter 20th century, each carved and polychromed, and depicting such traditional characters as the Moth Goddess, the Bat Pirate, the Fish Spirit, etc., the largest h. 10‑3/4”, w. 8”. [300/500] 1550 Good Indian Intricately Painted and Parcel-Gilded Illuminated Page, second quarter 19th century, depicting a royal procession before a palace, the inner border of polychromed flowerheads, the outer border of intricately gilded flowers and foliage on a midnight-blue ground, the whole presented in a gilded card mat within a narrow silver-gilt wood frame and glazed, h. 12‑3/4”, w. 9‑1/8”. [50/80] 1551 Indian Intricately Painted Illuminated Page, second quarter 19th century, depicting a hookah-smoking princess and her attendants in a nighttime palace garden, the inner border of gray-white flowerheads and gilded foliage on a black ground, presented in a strie ecru mat within a deeper ecru-painted faux-bamboo frame and glazed, h. 10‑1/2”, w. 7‑5/8”. [50/80] 1552 Indian Illuminated Page, third quarter 19th century, depicting three supplicants before a crouched male with a leafy bow, presented in a strie ecru mat within a deeper ecru-painted faux-bamboo frame and glazed, h. 8”, w. 11‑1/2”. [50/80]

1553 Collection of Thirty-Three Carved Ivory, Bone and Stone Items, comprising a Far Eastern necklace composed of one hundred and ten skull-carved and patinated bone beads, first quarter 20th century; a bracelet formed of eight large skull-carved and patinated ivory beads; a short shell necklace; four skull-carved flatback plaques of polished bone; a Chinese carved bone “Concentric Balls” sphere; a collection of six blue faience skull beads; a carved and patinated bone pendant of a skeleton dancing atop a trio of skulls; two skull-carved turquoise beads; four carved bone or ivory skulls of varying size; a collection of eight miniature carved and patinated bone skulls; and four carved and tinted bone dice, the largest l. 50”. [100/200] Illustrated 1554 African Carved Wooden Head of a Horned Steer, first quarter 20th century, the head presented on a similarly patinated wooden backplate of shield form, the brownpatinated finish with scattered losses, h. 22‑3/4”, w. 18”, d. 13”. [200/400] Illustrated 1555 African Carved and Painted Wooden Figure of a Giraffe, the tall, extremely attenuated animal mounted on a square Lucite slab base, h. 64”. [50/80] 1556 Collection of Five Figures of Giraffes, comprised of a polychromed leather example fitted with glass eyes; a pair of smaller carved, polished and waxed African giraffes; a smaller African incise-carved wooden example; and a yet smaller African carved, incised and burn-detailed wooden figure of a giraffe; the largest h. 17”, w. 12‑1/4”, d. 4”. [100/200] 1557 Near Eastern Hand-Wrought, Chased and Patinated Copper Vase, fourth quarter 19th century, in the traditional style, h. 12‑1/2”, dia. 9‑1/2”. [50/80] 1558 Chinese Silk Table Runner, composed of two peach silk sleeve bands embroidered with peacocks in “Tree Accompanied by Bird in Flight” decor, with a blue silk chrysanthemum floral border, w. 12”, l. 60”, border w. 3‑1/2”. [100/200] 1559 Group of Two Chinese Metal Objects, including a Tao Kuang copper-mounted pewter room scenter, fitted with two grilles and an interior conforming cover, second quarter 19th century, h. 2‑1/2”, w. 2‑1/8”, l. 5‑1/2”; and a polished brass folding plate rack in the traditional Chinese style, h. 7‑3/4”, w. 6”, d. 4‑1/2”. [30/50]

177

1566 Peshawar Carpet, 7’ 9” x 9’ 10”. [1000/1500] Illustrated 1567 Oushak Carpet, 10’ x 14’. [3000/5000] 1568 Persian Nahavand Runner, 3’ 5” x 10’ 2”. [200/400] 1569 Heriz Runner, 4’ 8” x 15’ 2”. [400/700] Illustrated 1560 1560 Louis-Philippe-Style Aubusson Carpet, 9’ x 12’ 2”. [2500/4000] Illustrated 1561 Persian Karaja Runner, 2’ 3” x 8’ 10”. [300/500]

1569

1562 Louis-Philippe-Style Aubusson Carpet, 9’ x 12’ 3”. [2500/4000] 1563 Persian Belouchistan Carpet, 6’ 10” x 9’ 10”. [300/500] 1564 Persian Shiraz Carpet, 4’ 8” x 8’ 9”. [150/300] 1565 Indo-Oushak Carpet, 5’ 2” x 8’ 1”. [300/500]

1566

178

1570 Semi-Antique Mashad Carpet, 10’ 6” x 14’ 1”. [700/1000] 1571 Semi-Antique Persian Tribal Carpet, 3’ 10” x 3’ 5”. [150/300] 1572 Angora Oushak Carpet, 11’ 6” x 9’ 1”. [700/1000] Illustrated 1573 Peshawar Vegetable-Dyed Carpet, 9’ 1” x 12’ 1”. [3000/5000] Illustrated

1573

1572

1574 Agra Serapi Carpet, 8’ x 10’. [900/1200] Illustrated 1575 Antique Persian Carpet, 4’ 8” x 3’ 10”. [100/200] 1576 Caucasian Kazak Carpet, 2’ 5” x 18’ 2”. [300/500]

1574

179

1577 Hand-Woven Wool and Silk Tapestry, 5’ 4” x 7’ 5”. [3000/5000] Illustrated 1578 Four Tabriz Carpets, two contemporary and two pictoral carpets, smallest 1’ 5” x 2’ 7”, largest 2’ 6” x 4’ 2”. [100/200] 1579 Louis-Philippe Savonnerie Carpet, 5’ 3” x 8’ 3”. [400/700] Illustrated 1580 Scandinavian Mid-Century Rug, 3’ x 5’ 6”. [400/700] 1581 Persian Kerman Carpet, 10’ x 13’ 5”. [500/800] Illustrated

1577 1582 Three Chinese Carpets, 8’ 10” x 11’ 6”, 8’ 8” x 11’ 3” and 3’ x 5”. [300/500] 1583 Persian Gabbeh Carpet, 3’ 5” x 4’. [400/700] 1584 Gabbeh Modern Carpet, 4’ x 6’ 9”. [200/400] 1585 Antique Sultanabad Carpet, 11’ 8” x 8’ 8”. [700/1000]

1579

1581

180

Index of Artists and Printmakers A American School 342, 347, 654, 655, 742, 744, 745, 746, 936, 937, 949, 1021, 1128, 1130, 1215, 1217, 1219, 1383, 1384, 1412, 1418, 1421, 1423, 1426, 1428, 1430, 1432, 1433, 1436 American/Southern School 1091 American/Texas School 1420 Anzalone, William 1411 Audubon, John James (after) 1005, 1006, 1007, 1008, 1009, 1011, 1012, 1023, 1025, 1026 August, Louise 1427 B Barrymore, Lionel 941 Baskin, Leonard 942, 943, 947 Besler, Basilius (after) 953 Bliss, Robert 1429 Bonhage, Joey 1327 Bonheur, Isidore (follower) 38 Bonheur, Isidore Jules (circle) 376 Booth, Herb 1126 Boston School 1214 Botticini, Francesco 1028 Bourdelle, Emile-Antoine 1377 British School 151, 153, 154, 155, 156, 159, 161, 162, 242, 338, 342, 345 Bronson, Clark 616 Buonaroti, Michelangelo (manner) 857 C Cafieri, I 1382

July 24-25, 2010

Cahero, Garcia 652 Cameron, Lance 1022 Campuzano, Jose Luis 657 Canaletto, Giovanni (manner) 70, 71 Catesby, Mark (after) 344 Condon, William “Bill” 1419 Continental School 66, 67, 68, 74, 77, 339, 592, 593, 594, 1225, 1260, 1386, 1387 Cooley, Jack 1014 Coombs, William 1220, 1221, 1222, 1223 Cortes, Edouard-Leon (manner) 589 Coustou, Guillaume, the Younger (after) 221 Cowan, John P. 1124, 1125 Curtis, T. 349 D Dali, Salvador 534 Danish School 595, 596 David, Jacques-Louis (after) 241 Davidson, Jim 1407 Dawson, John Allan 622 De Angelis, Sabatino (after) 1373 De Longpre, Paul 247 De Seve, Jacques Eustache (after) 240, 243 Dean, Meredith 747 DeDecker, Jane (after) 288 DeDecker, Jane (manner) 290, 1405 Dehn, Adolf Arthur 939

Index of Artists and Printmakers

July 24-25, 2010

Delaroche, Hippolyte (After) 235

Heching, Dan 625

Delcroix, Michel 598, 599

Hildebrandt, Howard Logan (attributed) 651, 653

Di Marco, Giovanni (Giovanni dal Ponte) 1027

Hondius, Gerrit 1224

Dommersen, William Raymond (manner) 340

Houdon, Jean-Antoine (after) 810

Drysdale, Alexander John 1085, 1086

Hufford, Nick 1213

Duccio di Buoninsegna (follower) 856

Hunter, Clementine 1096

Dusart, Cornelius (manner) 75

Dutch School 337

Icart, Louis 245

Icart, Louis (After) 246

Ede, Basil 1019

Italian School 588, 600, 601

Focardi, Ruggero 346

Jackson, John, R. A. 160

French School 238, 239, 244, 1374

Jameson, Rosa (after) 341

Fryling, Ronald H. 590

Japanese School 506

Johnson, James 1424

Gebbie & Co. 951

German School 73, 249

Kaitz, Gustav 1431

Giacometti, Alberto (follower) 637

Kay, John 235

Gott, Hans 591

Kelety, Alexandre 624

Gould and Hart 1016

King, Mark 743

Gould and Richter 1020

Koppelman, Chaim 948

Gould, J. and Richter, H.C. 1015

Kozlow, Richard 944, 945

Gould, J. B. 1018

Le Blanc, Marie de Hoa 1087

Hagerbaumer, David 1123, 1127

Leiber, Gerson August 946

Hartnett, M. 1094

Levillain, Frederic 1328

Hartwig, Heinie 1381

Levine, Jack 748, 749, 750, 751, 752, 837, 838, 839,

Index of Artists and Printmakers

July 24-25, 2010

840, 841, 842, 843, 844, 845, 846, 847, 848, 849, 850, 1477, 1478, 1479, 1480, 1481, 1482, 1483, 1486, 1487, 1488, 1489, 1490, 1491, 1492, 1493, 1494

Levinson, Mon 741

Remington, Frederic Sackrider 922

Lizars, William H. 343

Remington, Frederick (after) 894, 895, 896

Loir, Marianne (circle) 65

Renaud, Roland 1425

Lorne, Naomi Duckman (furth) 656

Ricci, Pio 72

Lugue, Morando 658, 659

Richards, Charles Whitfield 1093

Rodriguez, Todd 1095

Macdougall, Norman M. 157

Roesen, Severin (follower) 1385

MacQueen, Elizabeth 1226

Romano, Umberto 1129, 1218

Maillol, Aristide 236

Rosenthal, Albert 938

Manet, Edouard (after) 248

Rozet, Fanny 550

Mark, King 740

Russell, Charles Marion (after) 921

Markos, Lajos 1216

Ryan, M. E. 460

Marvell, Nichols 1416

Mazza, Jen 1417

Scott, Richard 158

Mercie, Marius Jean Antonin (follower) 379

Scott, Sandy 940

Scottish School 152

Native American School 1131

Scully, Raymond 1088

Naylor, Kay 1414

Segal, George 1484

Seymour, James (follower) 150

Opie, John (after) 248

Shahn, Ben (after) 533

Simbari, Nicola 535, 536, 537, 538

Pechaubes, Eugene 235

Singleton, Henry 237

Picasso, Pablo (after) 532

Smith, Isabel E. 958

Picault, Emile Louis (follower) 1372

Southern School 1092

Poulsen, Emil 597

Spanish Colonial School 858

Rand, Austin 638

Index of Artists and Printmakers

July 24-25, 2010

Stinson, Lacey 1415 V Van Huysum, Jan (follower) 69

Glossary

Veccio, Anthony 1422 Viavant, George Louis 1089 Vigee Le Brun, Elisabeth (after) 241 W Waller, Samuel Edmund (after) 348 Warhol, Andy (after) 539 Weber, Max 1485 Weinman, Alexander (manner) 923 Weller, Dell 1013 Wilkinson, Michael 644 Wilson, Donald Roller (after) 1434, 1435 Wingren, Dan 1413 Wolf and Richter 1017 Woods, Peggy 1024 Woodward, Ellsworth 1090

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

Customers, Please Note: Deadline for Absentee/Telephone Bidding 5:00 P.M. Central – Friday, July 23, 2010 Guidelines for Telephone Bidding 1. Each item must have a low estimate of at least $500 2. Telephone bidders must agree to bid the low estimate on each item. Deadline for Condition Report Requests 5:00 P.M. Central – Thursday, July 22 , 2010

We Accept VISA and MasterCard for Invoices Up to $25,000 There will be a buyer’s premium of 23% (3% discount if paying by cash, check or wire) of the final bid price up to and including $200,000 and 10% of the amount by which the lot exceeds $200,000 added to the hammer price on all lots sold. Items in the catalogue are sold as is, where is. On the fall of the auctioneer’s hammer, the highest bidder shall be deemed to have purchased the lot in accordance with the Conditions of Sale. All sales are final. Where possible, significant damage is mentioned but does not include all faults and imperfections. Unless stated in the catalogue description, lampshades and keys are not included.

Conditions Of Sale

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

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

absentee / telephone bid form

Paddle #_______________ 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:

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

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

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

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

_____________________________________________________________________________

Please sign below:

X________________________________________________

Date____________________

Print name: __________________________________________

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

Note: Items will not be released without a signed authorization

Page No. 1

05/17/2010 10:21:27 New Orleans Auction Prices Realized for Sale A103 May 15, 2010 Important Estates Auction

Lot#

Aggregate Lot#

2 3 4 7 10 15 17 18 20 22 23 30 31 32 33 34 35 37 39 40 42 42A 44 45 48 49 50 51 52 53 54 56 57 58 59 60 61 62 63 64 65 67 70 73 74

1,080 108 180 900 96 720 270 1,140 1,080 1,140 96 330 30 6,900 600 300 150 540 150 120 150 390 96 420 180 1,800 480 1,200 60 450 420 150 840 150 360 150 120 108 360 450 1,680 840 240 450 1,440

180 270 300 1,920 420 330 210 300 480 660 1,020 1,200 660 180 108 108 210 570 150 210 150 660 108 240 180 120 270 240 270 270 240 300 270 72 96 108 300 270 1,320 210 540 180 660 480 540

4,080 960 240 54 96 150 42 420 240 72 330 180 330 300 84 240 270 360 60 48 96 270 360 480 660 150 240 450 270 360 120 108 30 180 84 180 84 96 330 120 1,140 390 300 420 72

390 96 660 150 270 510 480 180 120 390 48 720 780 780 270 1,080 390 180 510 750 150 450 1,200 3,600 420 120 600 1,920 300 510 390 1,440 300 1,680 390 1,320 330 300 1,200 330 2,880 1,440 1,020 72 108

480 2,640 72 360 150 2,280 96 240 210 450 2,160 210 120 840 120 1,080 180 1,560 120 30 1,560 240 180 84 540 180 180 30 240 1,800 420 300 72 330 330 360 3,360 270 270 60 30 420 360 210 960

76 77 78 79 80 82 83 84 87 88 90 91 92 94 95 97 98 99 102 104 106 109 112 114 116 118 119 120 121 122 123 124 125 126 127 128 132 135 136 137 138 140 141 142 143

145 146 149 151 155 158 159 160 162 163 168 169 170 171 172 176 177 178 182 184 186 188 189 190 197 200 202 203 204 205 206 208 209 210 212 213 214 215 220 223 225 226 228 234 235

237 238 239 240 241 243 245 246 247 248 250 251 252 253 257 258 263 264 265 266 271 272 276 279 281 282 284 285 286 287 288 289 290 291 292 293 295 296 298 300 301 305 306 307 310

313 315 316 317 318 319 321 323 325 326 332 334 336 343 344 345 347 348 349 351 352 354 359 363 364 365 366 370 374 375 376 380 381 382 383 385 387 389 393 396 398 401 403 405 406

407 408 411 413 416 418 419 420 426 428 429 430 431 432 433 434 435 436 437 442 443 444 449 453 455 456 457 458 459 460 461 465 466 467 469 474 475 476 477 479 480 481 482 483 484

Aggregate 30 360 300 210 240 108 84 360 84 108 150 510 210 360 120 600 300 330 2,280 24 240 240 96 540 300 480 270 570 600 54 720 60 120 48 300 330 300 510 270 120 360 300 3,360 210 240

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Page No. 2

05/17/2010 10:21:28 New Orleans Auction Prices Realized for Sale A103 May 15, 2010 Important Estates Auction

Lot#

Aggregate Lot#

485 486 487 488 489 490 491 492 494 499 500 501 502 505 509 510 511 512 514 515 516 518 519 520 521 522 523 525 526 534 535 537 538 540 541 542 549 550 553 554 556 559 560 561 562

270 360 1,440 240 240 210 210 450 390 360 600 270 270 210 1,080 510 180 5,280 72 84 210 120 390 180 270 600 84 84 420 180 48 510 210 48 300 72 96 540 120 660 240 72 72 84 84

48 600 480 300 48 180 54 48 60 780 180 120 840 360 720 210 180 96 240 300 240 2,880 1,680 36 240 150 570 360 2,400 360 270 120 300 4,320 600 2,640 360 180 1,560 120 84 3,900 150 420 300

96 780 60 36 150 300 60 96 150 1,560 1,200 840 108 108 660 510 180 390 210 108 450 150 360 1,680 2,280 42 1,140 120 72 660 390 1,200 360 720 210 600 150 300 1,140 54 540 1,800 108 330 360

180 480 480 2,280 84 900 540 240 360 510 360 420 210 1,080 72 72 510 72 330 1,560 900 300 180 300 600 300 270 180 1,560 3,840 480 132 420 570 5,280 5,520 2,880 240 120 4,080 420 960 2,880 120 420

420 2,880 2,160 270 180 120 360 390 240 72 390 300 84 330 210 2,640 330 600 300 300 300 480 270 270 270 1,320 390 720 780 570 450 480 450 720 180 540 480 540 210 6,000 270 420 510 150 1,320

564 568 569 570 574 581 583 584 586 590 592 596 600 601 605 607 608 612 613 617 618 619 620 624 627 628 632 637 638 640 641 647 649 655 656 657 658 659 660 661 663 664 667 668 670

674 675 677 678 680 682 685 687 693 695 696 697 698 699 701 703 706 707 708 710 711 713 716 718 719 720 721 725 726 730 732 733 735 736 737 738 740 749 750 751 752 755 756 757 758

762 763 764 766 778 780 781 785 787 788 789 790 795 796 798 800 801 802 803 805 806 807 808 809 810 811 812 813 817 818 819 820 823 824 825 826 831 832 833 839 844 845 847 848 850

851 853 855 857 858 861 862 863 864 865 866 869 871 874 875 879 881 882 884 885 887 889 891 893 894 895 896 897 900 902 903 907 910 913 914 915 916 917 919 921 922 923 924 927 928

929 930 931 933 936 937 938 939 940 941 942 945 946 948 950 951 952 953 954 957 958 959 960 961 963 965 968 969 971 972 973 975 976 978 979 980 981 982 983 988 989 990 991 992 995

Aggregate 390 720 120 11,400 780 390 390 420 210 60 84 720 150 4,080 270 120 3,360 300 1,440 900 1,680 2,640 2,040 72 330 540 660 330 108 270 240 450 240 300 300 300 300 1,560 1,800 840 330 330 480 240 210

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Page No. 3

05/17/2010 10:21:30 New Orleans Auction Prices Realized for Sale A103 May 15, 2010 Important Estates Auction

Lot#

Aggregate Lot#

997 998 999 1001 1002 1005 1006 1007 1008 1009 1010 1011 1013 1014 1018 1019 1020 1021 1022 1023 1024 1025 1029 1030 1031 1032 1034 1035 1037 1038 1039 1040 1041 1042 1044 1045 1047 1048 1049 1057 1058 1059 1060 1062 1063

390 840 5,760 1,680 120 240 108 300 420 210 210 3,840 150 330 240 180 1,920 450 180 210 480 150 570 360 120 420 96 420 1,320 330 330 600 240 270 48 780 1,140 120 108 300 150 108 300 108 48

36 180 180 420 600 540 210 300 300 96 300 60 72 48 72 660 1,080 180 120 390 5,040 72 60 4,080 3,120 4,320 660 480 48 1,680 96 180 150 180 108 60 54 210 180 150 120 120 36 180 1,140

1,140 480 390 330 300 300 600 6,900 120 360 2,280 180 180 540 510 840 240 480 2,880 720 330 540 240 72 600 48 210 108 240 150 450 300 270 180 150 240 210 150 330 210 780 1,020 720 180 210

540 18 108 120 150 150 240 120 84 480 360 210 510 180 180 96 72 180 180 300 150 390 96 120 72 1,680 2,040 360 300 180 1,680 210 150 150 108 330 450 330 240 300 840 480 150 330 300

480 960 120 450 300 96 240 150 72 96 300 150 780 270 240 510 240 570 84 1,440 840 960 300 300 780 270 240 180 150 54 120 390 210 60 840 450 84 180 72 72 480 540 4,800 480 2,880

1064 1065 1066 1068 1070 1073 1074 1075 1076 1077 1078 1079 1081 1082 1084 1087 1089 1091 1094 1096 1098 1099 1100 1101 1102 1103 1104 1105 1107 1108 1109 1117 1118 1119 1120 1121 1123 1125 1126 1127 1130 1131 1134 1135 1136

1137 1139 1141 1142 1143 1144 1145 1146 1147 1148 1149 1151 1152 1154 1155 1156 1157 1161 1164 1166 1168 1169 1170 1172 1173 1176 1177 1179 1180 1181 1183 1184 1186 1187 1188 1189 1190 1191 1192 1194 1198 1200 1201 1204 1205

1206 1209 1210 1211 1213 1214 1215 1218 1221 1222 1224 1227 1228 1230 1231 1233 1234 1236 1238 1239 1240 1241 1243 1245 1247 1248 1249 1250 1251 1252 1253 1254 1256 1257 1259 1260 1261 1262 1263 1264 1265 1266 1267 1268 1270

1271 1272 1273 1274 1275 1276 1278 1279 1281 1282 1283 1286 1287 1289 1292 1295 1297 1300 1301 1305 1306 1307 1309 1310 1313 1314 1318 1320 1321 1328 1332 1335 1338 1339 1340 1341 1342 1343 1344 1347 1350 1351 1354 1355 1357

1358 1359 1361 1367 1373 1374 1375 1376 1377 1379 1380 1381 1382 1383 1384 1395 1396 1399 1400 1403 1406 1407

Aggregate 540 1,320 420 840 96 84 60 360 150 720 3,120 240 240 210 360 210 450 900 480 60 720 84

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JEAN VIDOS President TESSA STEINKAMP Executive Vice President GREG S. KOWLES Director of Consignments / American Furniture DENISE HAIK Marketing Director KAYSIE WILKINSON Office Manager JELENA JAMES Fine Arts Consignments NATALIE H. GIBSON, C.E.S. Certified Estates Specialist Administrator of Online Auctions LYNN BOWKER Interior Designer / Exhibition Staff JOHN W. KEEFE / ROBIN RUIZ WILKINSON 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