St. Charles Gallery - Janaury 22-23, 2011 by New Orleans Auction Galleries, Inc.

1330 St. Charles Avenue New Orleans, Louisiana 70130 (504)-586-8733 2011 AUCTION SCHEDULE: January 22-23 April 2-3 June 4-5

FAX

(504)-586-8841

e-mail: info@stcharlesgallery.com

www.stcharlesgallery.com

July 30-31 September 24-25 November 19-20

2011 AUCTION SCHEDULE: January 29-30 March 26-27 May 21-22 July 16-17 September 17-18 November 12-13 Schedules Subject to Change

FRONT COVER: Grand and Opulent Pair of Continental Electroplate Ten-Light Candelabra, early 20th century

BACK COVER: Highly Important English "Robinson Crusoe" Oak Sideboard, third quarter 19th century

– AUCTION – Saturday, January 22, 2011 Lots 1-725

Sunday, January 23, 2011 Lots 726-1325

– Exhibition – Wednesday, January 12 through Friday, January 21 9:00 a.m. to 5:00 p.m. (excluding Sundays) Late-Evening Preview Wednesday, January 19 5:00 p.m. to 8:00 p.m.

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

Online Catalogue: www.stcharlesgallery.com

Session I

Saturday, January 22, 2011 10:00 a.m. (Lots 1-725)

264

5 Chinese Export Reticulated Porcelain Strawberry Bowl and Underplate, second quarter 19th century, of oval, twohandled form in “Rose Medallion” decor, bowl h. 4‑1/4”, w. 7‑5/8”, l. 8‑3/4”, underplate w. 7‑1/2”, l. 8‑1/2”. [200/400] Illustrated

1 George III-Style Mahogany Sideboard, second quarter 20th century, the rectangular top with a shaped front above a conforming case fitted with two central cutlery drawers flanked to either side by a cupboard door, faced as a drawer over a cabinet, one fitted with three slide drawers, all with inlaid stringing and corner patera accents, raised on tapering square legs ending in ringed feet, h. 34”, w. 84‑1/4”, d. 23‑1/4”. [700/1000] Illustrated

2 American Walnut Looking Glass, third quarter 20th century, in the George I style, the tall scrolled cresting with scrolled “ears” at the base, h. 36”, w. 19”. [75/125] 3 Suite of Eight Chippendale-Style Mahogany Sidechairs, fourth quarter 20th century, each with a shaped crest over a pierced and carved splat, above a padded seat, raised on square legs joined by a box stretcher, h. 37”, w. 27”, d. 18‑1/2”. [600/900] Illustrated

4 George III-Style Mahogany Bookcase, second quarter 20th century, the rectangular top with a molded edge, over a conforming case fitted with two astragalglazed doors, raised on cabriole legs ending in ball-andclaw feet, h. 49”, w. 41”, d. 13‑1/2”. [200/400]

3 6 Chinese Export Porcelain Oval Covered Soup Tureen and Stand, second quarter 19th century, the good, richly gilded and enameled “Rose Medallion” tureen with two handles, all three components elaborately painted with alternating floral/avian and “Mandarin” reserves, the domed cover centered with a gilded stylized pomegranate finial, h. 10‑1/4”, l. 14‑1/4”. [2500/4000] Illustrated

7 Pair of Chinese Export “Rose Medallion” Porcelain Two-Handled Vases, of tall baluster form, the bodies with alternating “Mandarin” and floral/avian reserves on an overall ground of buds and segmented flowerheads and stylized green enameled vines, h. 23”, dia. 9‑1/2”. [200/400] Illustrated 8 Group of Three Chinese Export “Rose Medallion” Porcelain Plates, second/third quarter 19th century, consisting of a dinner plate, dia. 9‑5/8”, and two matching dessert plates, one second quarter with the unusual variant decoration of alternating “Mandarins” and “Mountain Landscape” reserves and the other third quarter, dia. 7‑7/8”. [100/200]

9 Pair of George III-Style Mahogany Torcheres, each with a circular top over a turned, reeded and acanthinecarved pedestal ending in three cabriole legs on ball-andclaw feet, h. 58‑1/2”, dia. 11”. [500/800] Illustrated 10 George III-Style Stained Wood Pedestal, of square paneled form with a gadroon molding, h. 51”, w. 11‑1/2”, d. 11‑1/2”. [100/200] 11 George III-Style Mahogany Bench, first quarter 20th century, the rectangular, padded needlepoint seat raised on squared acanthine- and rosette-carved legs headed by pierced corner blocks and joined by an H-form stretcher, h. 18‑1/2”, w. 17”, l. 46‑1/2”. [75/125]

12 Queen Anne-Style Walnut-Stained Leather Wing Chair, first quarter 20th century, the shaped, embossed leather back joined to the cushioned seat by like outscrolled arms, raised on cabriole legs ending in pad feet, h. 47”, w. 33”, d. 22‑1/2”. [300/500] Illustrated

13 Queen Anne Mahogany Tripod Table, 18th century, the tilting circular dished top raised on a turned columnar standard to three splayed cabriole legs ending in pad feet, h. 29”, dia. 33‑1/4”. [700/1000] 14 George III-Style Mahogany Bookcase, second quarter 20th century, the rectangular top with molded edge, over a conforming case fitted with two astragalglazed doors, raised on bracket feet, h. 55‑1/2”, w. 33‑1/2”, d. 13”. [200/400]

20 Suite of Six Henredon Queen Anne-Style Burl Walnut Dining Chairs, consisting of two armchairs, h. 42”, and four sidechairs, h. 40‑1/2”, each with a shaped crest rail over a vasiform splat, above a padded seat, raised on cabriole legs ending in pad feet. [400/700] Illustrated 21 Pair of Edwardian-Style Mahogany-Stained Club Chairs, each with a tufted back joined to the like seat by closed arms, raised on turned legs ending in casters, upholstered in chocolate brown leather, h. 32”, w. 28”, d. 28”. [600/900] Illustrated 22 Fine Chinese Export “Rose Canton” Porcelain Punchbowl, second quarter 19th century, with elaborately painted multiple “Mandarin” reserves on a diapered ground, presented on an elaborately carved and tiered Chinese dark mahogany stand, h. 4‑3/4”, dia. 11‑1/2”. [1200/1800] Illustrated

23 Kuang Hsu “Rose Canton” Porcelain Vase, of twohandled baluster form with “Mandarin” reserves and scattered flowerheads, the double handles modeled as stylized Foo dogs, h. 24”, dia. 9”. [200/400] Illustrated

15 Chinese Export Deux-Color-Gilded Black Lacquer Tea Box, second quarter 19th century, in “Mandarins” decor, the interior fitted with the period conforming engraved pewter tea chest, retains the period gilt-brass key, h. 3‑1/2”, w. 7”, d. 5”. [1200/1800] Illustrated 16 Attractive Chinese Export Black-Lacquered Desk Box, second quarter 19th century, of ribbed octagonal form in “Mandarin Garden” decor, featuring two-color gilding, the whole supported on four carved feet of stylized paw form, retains the period steel key, h. 6”, w. 10‑1/2”, d. 7‑1/2”. [150/300] 17 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”. [30/50]

18 Queen Anne-Style Mahogany-Stained Corner Chair, the curved, shaped crest rail over the vasiform splats, joined to the padded seat by turned uprights, raised on cabriole legs joined by an X-form stretcher and ending in pad feet, h. 33‑1/2”, w. 26”, d. 25”. [75/125] 19 Expansive Sheraton-Style Mahogany Extension Dining Table, early 20th century, the rectangular top opening to accommodate the ten original leaves, raised on turned legs with fluted details, h. 30‑1/4”, w. 42‑1/2”, l. 72‑1/2”. [1500/2500] Illustrated

28 Good English Brass-Mounted Mahogany Campaign Desk, second quarter 19th century, of pedestal form with a flat top, the brass-bound top with a tooled leather insert, mounted to a pair of pedestals, each fitted with three drawers, h. 30‑3/4”, w. 54‑1/4”, d. 28‑3/4”. [2500/4000] Illustrated

24 Chinese Polychromed Porcelain Foot Bath, of oval, two-handled form, richly gilt and polychromed in the “Rose Canton” style in “Mandarins” decor, the interior painted with pike, crabs, crawfish and aquatic plants, h. 8‑1/4”, w. 14‑1/2”, l. 22”. [125/250] 25 Chinese Export “Rose Canton” Porcelain Vase and Tea Plate, second quarter 19th century, the balusterform vase with alternating “Mandarins” and floral “Precious Objects” reserves, the neck of the vase embellished with alternating gilded stylized dragons and Foo dogs in relief, h. 9‑1/2”, dia. 4‑1/4”; the tea plate in “Mandarins in a Garden” decor, dia. 6‑1/4”. [200/400]

29 Edwardian-Style Green Leather Chesterfield Sofa, second quarter 20th century, the tufted back joined to the cushioned seat by like outscrolled arms, raised on bun feet, h. 30”, w. 84”, d. 30‑1/4”. [600/900] Illustrated following page

26 George III-Style Mahogany Wing Chair, second quarter 20th century, the padded, slightly domed back joined to the cushioned seat by closed outscrolled arms, the legs joined by an H-form stretcher, h. 42”. [300/500] 27 George III-Style Mahogany Tea Table, the piecrust-shaped top raised on a vasiform standard ending in three splayed, reeded legs terminating in brass-capped feet, h. 27”, dia. 28‑1/2”. [50/80]

30 Pair of George III-Style Mahogany Armchairs, each with a shaped shell-carved crest above a vasiform splat, joined by crook arms to the padded seat, raised on cabriole legs headed by shell carving and ending in pad feet, h. 40‑1/2”. [100/200] 31 Queen Anne-Style Mahogany Three-Tiered Dumbwaiter, first quarter 20th century, the circular top joined to two graduated like lower shelves by a turned standard, raised on cabriole legs ending in pad feet, h. 44”, dia. 24”. [400/700] Illustrated

33 Chinese Export Porcelain Punchbowl, fourth quarter 18th century, in “Floral Sprays” decor, having two hairline cracks, h. 4‑3/4”, dia. 11‑1/2”. [200/400] 34 William IV Mahogany Chest of Drawers, first quarter 19th century, with a pair of side-by-side drawers over three graduated long drawers, raised on splayed legs, h. 48”, w. 41”, d. 22”. [500/800] Illustrated

32 Good Pair of Chinese Export “Rose Canton” Porcelain Dinner Plates, third quarter 19th century, in “Mandarins” decor, the gold-ground borders richly enameled with peonies, bats and butterflies, all amidst green enamel vines, dia. 10”. [200/400]

35 William IV Mahogany Flat-Top Desk, early 19th century, the top with a central hinged deck panel, the front fitted with a pair of drawers on each side of the kneehole, raised on turned legs, h. 28‑1/2”, w. 65”, d. 29”. [500/800]

36 William IV Mahogany Draftsman’s Work Table, second quarter 19th century, the rectangular adjustable top raised on a reeded turned pedestal to a serpentine base ending in bun feet on casters, h. 37”, w. 32‑1/4”, d. 19‑1/2”. [500/800] Illustrated 29

41 Group of Two Chinese Export Porcelain Dinner Plates, one a “Green Fitzhugh” dinner plate, first quarter 19th century; the other an unusual Chinese Export parcel-gilt “Green Fitzhugh” dinner plate, third quarter 19th century, dia. 9‑3/4”. [60/90]

37 George III-Style Mahogany Gainsborough Chair, the padded serpentine back joined to the like seat by open, carved arms, raised on cabriole legs headed by acanthine carving and ending in ball-and-claw feet, h. 41”, w. 29”, d. 23”. [150/300] Illustrated

42 George III-Style Mahogany Pedestal Desk, late 19th century, the rectangular top with an inset leather writing surface, above a frieze fitted with three drawers, raised on two pedestals, each fitted with three graduated short drawers, the sides and back paneled, h. 31”, w. 60”, d. 36”. [1200/1800] 43 William and Mary-Style WalnutStained Triple-Back Sofa, the serpentine, padded back above a cushioned seat and closed arms, raised on barley-twist turned legs joined by an H-form stretcher and ending in block-andball feet, h. 37”, w. 82”, d. 29”. [500/800] Illustrated

38 George III-Style Mahogany Gainsborough Chair, the padded serpentine back joined to the like seat by open, carved arms, raised on cabriole legs headed by acanthine carving and ending in ball-and-claw feet, h. 41”, w. 29”, d. 23”. [150/300] Illustrated 39 George III-Style Mahogany Gainsborough Chair, the padded serpentine back joined to the like seat by open, carved arms, raised on cabriole legs headed by acanthine carving and ending in ball-and-claw feet, h. 41”, w. 29”, d. 23”. [150/300] Illustrated

40 Chinese Export Porcelain Punchbowl, fourth quarter 18th century, in “Floral Sprays” decor, the inner lip with a rouge de fer bead and lavender foliate-scroll border, h. 5”, dia. 11‑3/8”. [75/125]

44 Fine Carved Giltwood Tripartite Looking Glass, third quarter 19th century, in the manner of Thomas Chippendale, the frame with branch and vine motifs and having a central hooded cartouche above a floral spray, h. 37”, w. 56”. [5000/8000] Illustrated Color Plate II

44 48 Good Royal Bonn Pottery Spherical Garniture Vase, fourth quarter 19th century, of ruby ground with deuxcolor-gilded floral decoration, the base fully marked and numbered, h. 7”, dia. 7”. [75/125]

49 Louis Bourdelon, Paris, Porcelain Oval Table Box, first quarter 20th century, the gilt-brass-mounted japanned scarlet box in the chinoiserie taste, the base of the box with the applied circular gilt-brass “L.B., Paris” medallion and marked with pseudo-Sevres crossed L’s in gold, h. 4‑1/2”, w. 8‑1/2”, d. 6”. [600/900] Illustrated Color Plate XIII

45 Amusing Diminutive Pair of German “Nodding Mandarins”, fourth quarter 19th century, in polychromed biscuit porcelain and modeled, respectively, as a Mandarin and Mandarine, each presenting a swaddled baby, the heads of the parents and babies fitted to nod, h. 7‑1/2”. [50/80] Illustrated 46 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”. [50/80] 47 Large Dresden Porcelain Niddy-Noddy, fourth quarter 19th century, depicting a portly seated Chinaman in the Chantilly style, the head and hands fitted to move, h. 10‑1/2”, w. 11”, d. 11”. [1000/1500] Illustrated Color Plate XIII

51 50 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”. [20/40] 51 Pair of Chinese Blue and White Porcelain Covered Storage Jars, each of baluster form with hat-form covers with metal hoops, the jars decorated in underglaze blue with continuous scenes of fish among lotus and water plants, h. 17‑1/4”. [700/1000] Illustrated 52 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 53 Pair of Kuang Hsu Blue and White Porcelain Covered Spherical Vases, fourth quarter 19th century, in “Prunus” decor, each presented on an oriental turned and ebonized hardwood stand, h. 5‑1/2”, dia. 5”. [200/400]

54 Group of Two Small Blue and White Porcelain Items, consisting of an attractive Annamese blue and white porcelain tall-neck vase in an overall floral pattern, fourth quarter 18th century, h. 8‑3/4”; and a Japanese Edo blue and white porcelain vasiform tea caddy in floral decor, second quarter 19th century, the cover lacking, h. 4‑3/4”. [40/70] 55 George III-Style Mahogany Chest, 20th century, the banded rectangular top with a molded edge, above a case fitted with two short drawers over three graduated long drawers, raised on ogee-molded bracket feet, h. 34”, w. 42”, d. 21‑1/4”. [300/500] 56 Queen Anne-Style Mahogany-Stained Wing Chair, first quarter 20th century, the padded serpentine back joined to the cushioned seat by outscrolled arms, raised on cabriole legs joined by a turned H-form stretcher and ending in pad feet, h. 46”. [200/400] 57 George III-Style Mahogany Double-Pedestal Dining Table, the oval, banded and string-inlaid top raised on two baluster-turned standards ending in three splayed, reeded legs terminating in brass paw-shaped feet on casters, h. 29‑1/4”, w. 40”, l. 84‑1/4”. [400/700] Illustrated

58 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”. [100/200]

63 59 Attractive Pair of Japanese Edo Porcelain Shallow Fruit Dishes, second quarter 19th century, the octagonal blue and white dishes in “Lakeside Pavilions” decor, the diapered borders with “brocade” lambrequins, each example with an underglaze blue kiln mark on the reverse, dia. 12”. [600/900] Illustrated

66 60 Varied Four-Piece Collection of Antique Far Eastern Porcelain, comprised of an Arita blue and white celadonground platter of lozenge form in floral decor, fourth quarter 19th century; a similar Arita platter of oblong octagonal form in segmented “Flowering Tree” decor and of like date; an Annamese blue and white small circular plate in “Fleurs et Papillons” decor, first quarter 19th century; and a Japanese Edo blue and white plate of flowerhead form in “Hen and Rooster” decor, third quarter 19th century; the last two examples each with an underglaze blue colophon on the base, the largest w. 14”, l. 16”. [100/200] 61 Tao Kuang Celadon Porcelain Two-Handled Vase, second quarter 19th century, of hexagonal form with cobalt-blue detailing, now mounted as a table lamp with a custom conforming mahogany cap and base, a knifepleated white fabric shade and an oviform white jade and gilt-brass finial, h. 17”, dia. 7”. [100/200] 63 George III-Style Mahogany Camel-Back Sofa, by Wood & Hogan, New York, the padded serpentine back joined to the cushioned seat by like, outscrolled arms, raised on carved square legs joined by a H-form stretcher, h. 35”, w. 84”, d. 32”. [200/400] Illustrated

62 “The Traditional Magnavox, Ft. Wayne, Ind” Radio Cabinet, in the George III style, with a lift top over a case fitted with two faux drawers over two doors, raised on a plinth base, h. 35”, w. 32‑1/4”, d. 16‑1/4”. [100/200]

64 Group of Three Chinese Blue and White Porcelain Vases, fourth quarter 19th century, comprised of a Kuang Hsu vase in “Peacock and Peony” decor with stylized dragon handles; a hexagonal paneled vase in “Latticed Flowering Vine” decor in the early 19th-century style; and a scepter-handled vase of baluster form in an overall “Lotus Flower and Foliage” pattern in the Ch’ien Lung style; the large vase drilled at the base, the largest h. 22‑3/4”, dia. 8”. [100/200] 65 Kuang Hsu Blue and White Porcelain Vase, fourth quarter 19th century, of tall baluster form in “Mandarin” decor with polychromed details, now drilled and mounted as a table lamp on an oriental carved and cordovan-stained mahogany base, h. 16‑1/2”, dia. 7‑1/2”. [100/200]

66 Pair of Chinese Flow-Blue and White Vases, first quarter 20th century, of baluster form in “Lakeside Pavilions” decor, h. 15‑1/2”, dia. 8”. [800/1200] Illustrated Color Plate XIII 67 Regency Banded Mahogany Tilt-Top Breakfast Table, second quarter 19th century, the rectangular top with reeded edge mounted to a turned pedestal with four outcurved legs ending in brass feet, h. 28‑1/2”, w. 39‑1/2”, l. 60”. [250/400] 68 Two Pairs of Japanese Porcelain Plates, second quarter 19th century, consisting of a pair of floral blue and white deep plates, dia. 10”; and a smaller pair featuring crested birds in a rocky garden, dia. 9”; each example with a kiln mark in underglaze blue on the base and fitted with a wire suspension frame. [800/1200]

70 Two-Piece Blue and White Porcelain Group, first quarter 20th century, comprised of an unusual Kuang Hsu room scenter in the form of a child standing by a pagodaroofed Mandarin carriage, h. 5‑3/4”, w. 4‑1/4”, l. 6‑1/2”; and a Japanese Taisho footed jardiniere in an overall floral pattern with four oblong “Chrysanthemum” reserves, h. 3”, w. 8‑1/2”, d. 5‑1/2”. [20/40] 71 Pair of English Silvered Glass Covered Apothecary Jars, in the mid‑19th-century style, each tall cover with a “Ball and Steeple” finial, the silvering distressed throughout, h. 25”, dia. 3‑1/2”. [800/1200] Illustrated

69 Group of Three Porcelain Lamps, consisting of a good Kuang Hsu blue and white porcelain two-handled balusterform 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”. [100/200]

72 Fifty-Eight-Piece Collection of Fine Stemware, comprised of eight thumbprint-cut red wine goblets and ten matching white wine goblets, all on cut knops; a set of eleven Belle Epoque panel-cut hollow-stem champagne goblets; a similarly cut banded champagne goblet; a set of five Edwardian panel-cut and “Vintage”engraved hollow-stem champagne goblets; a set of five American acid transfer-plate-etched saucer champagnes in “Ribbons” decor, first quarter 20th century; a trio of “Panel and Thumbprint”-cut champagne goblets with reverse-cut feet, second quarter 20th century; a trio of American acid transfer-plate-etched champagne flutes in the “Adam” taste, first quarter 20th century; a trio of Continental “Diamond Band and Pendant Bead”-cut white wine goblets, second quarter 20th century; a trio of English panel-cut and vine-engraved wine goblets, third quarter 19th century; a pair of American acid transferplate-etched dessert coupes in “Guilloche” decor, first quarter 20th century; a single Bohemian rock crystal cut cocktail glass, second quarter 20th century; and a pair of English “Small Diamond and Flame”-cut sherry/port goblets, first quarter 20th century; the largest h. 5‑3/8”, dia. 4”. [150/300]

73 Group of Three Glass Bottle Coolers, consisting of a Cavan, Ireland, cut and etched glass bottle cooler, of campana form in the Anglo-Irish style of the early 19th century, the facade with an etched armorial reading “International Racecourse/Arlington”, signed on the underside of the sunburst-cut foot in acid stamp “Cavan/ Ireland”, h. 9”, dia. 6‑3/4”; an American Brilliant-pressed and engraved glass ice tub, h. 5‑1/2”, dia. 6”, the base reverse pressed in a large sunburst; and a large French floral- and panel-pressed glass two-handled bottle cooler in the style of Rene Lalique (French, 1860‑1945), the body centered with a broad band of tangent flowerheads, the base reverse-sunburst pressed, h. 9”, dia. 8”. [100/200]

77 Edwardian Sawn Mahogany Looking Glass, first quarter 20th century, of upright oblong form in the George I style, the period plate tastefully clouded and disintegrated, h. 25”, w. 16”. [250/400] 78 Group of Four Candlesticks, consisting of a tall Russian columnar brass-mounted bronzed push-up candlestick, the mechanism in working order, second quarter 19th century; a Nicholas II footed long-socket brass candlestick in the Patrovian style, first quarter 20th century; both Russian sticks probably of Tula origin; and a tall pair of Italian brass-mounted Tuscan oak hurricane candlesticks in the neoclassical taste, each with a paneled standard of square section and fitted with a brass-collared glass hurricane shade of inverted bell form; the largest h. 18‑1/2”. [150/300] 79 Two Pairs of Brass Candlesticks, consisting of an attractive pair of English brass tall chambersticks in the George III style, second quarter 20th century, 8‑1/2”; and a pair of German brass square-based footed candlesticks in the Renaissance taste, fitted with detachable brass bobeches, fourth quarter 19th century, h. 6-/12”. [150/300] 80 English Gold-Banded Staffordshire Pottery Cheese Dome and Underplate, third quarter 19th century, h. 7‑1/4”, dia. 10‑3/4”. [150/300] 81 Fine Set of Eight Royal Worcester Porcelain Dinner Plates, fourth quarter 19th century, each with a white and gold armorial pattern, the gilded arms are those of the Earl of Hopetown, Hopetown House, the reverses centered with the lavender Royal Worcester “wheel” mark, dia. 10‑1/2”. [100/200]

74 Good Three-Piece Cut Waterford Centerpiece Set, comprised of a footed fruit bowl with an everted lip, h. 8”, dia. 10”, and a pair of matching candlesticks of baluster form, h. 8”, all three pieces with the Waterford script acid stamp on the bases. [200/400] Illustrated previous page 75 Eight-Piece English Engraved and Cut Glass Group, fourth quarter 19th century, comprised of a starburstcut glass decanter, with the period starburst-cut stopper of “mushroom” form, h. 10”, dia. 4”; and a set of seven starburst-engraved tapering port/sherry glasses of like date, h. 3‑1/2”, dia. 2‑1/4”. [75/125] 76 Good Continental Gentleman’s Travelling Whiskey Flask, first quarter 20th century, composed of silvercapped and leather-encased glass, fitted with an additional deep mahogany leather three-quarter sheath, h. 8‑3/4”, w. 5‑1/4”, d. 2‑1/4”. [20/40]

88 90 89

82 Diverse Six-Piece Collection of English Pottery, consisting of a rare, large copper lustre presentation tankard with a bas-relief polychromed fruit relief at the facade, second quarter 19th century; a good pink-lustre and polychrome-detailed copper lustre “Royal Arms” pitcher of like date; an Edwardian gray-blue-banded copper lustre goblet in the early 19th-century style, first quarter 20th century; an Edwardian transfer-printed copper lustre chalice of inverted skep form, also in the early 19th-century style, first quarter 20th century; a brown jasper cream pitcher in classical “Chariots” decor, first quarter 19th century; and a Wedgwood blue jasper open sugar basin in “Vintage Garlands” decor, second quarter 19th century; the largest h. 5”. [150/300] 83 Good Doulton Gloss Brown and Tan Stoneware Cream Pitcher, in the Egyptian taste, dated 1889 by British Design Registration numeral, the body with a frieze of sprigged Egyptian figures in ivory, the spout a pharaonic mask, h. 5‑1/2”. [50/80] 84 Unusual Set of Twelve Wedgwood Pottery Dessert Plates, fourth quarter 19th century, the pale gray and pink lustre plates in the Hispano-Moresque style, each example marked on the reverse in overglaze pink lustre transfer-print, plus underglaze impressed marks and decorator’s marks, also in pink lustre, dia. 10”. [250/400] 85 English Silverplate and Glass Decanter Set, first quarter 20th century, the silverplate frame fitted with a trio of diamond-cut and acid transfer plate-etched glass decanters of tapering baluster form, each having a different glass stopper, the stoppers modeled, respectively, as a horse head, a paneled pyramid-capped obelisk and a tall steeple, h. 14”, dia. 9”. [200/400] Illustrated 86 Collection of Fourteen Miscellaneous Sterling Silver and Silverplate Table Articles, including four matching Alvin weighted sterling silver salt-and-pepper shakers; two silverplate scissor-form wick trimmers; a silverplate pocket flask; four small sterling nut trays, weighing a total of 7.95 t. oz.; a long silverplate tray; a glass-lined silverplate butter tray; and a silverplate hinged box; the largest w. 5”, l. 8‑1/2”. [75/125] 87 Set of Twelve Whiting Manufacturing Company Sterling Silver “King Edward” Flat-Butter Knives, the pattern introduced in 1901, l. 6”, 9.00 total t. oz. [300/500] 88 Victorian Silverplate and Sterling Silver-Mounted Glass Claret Jug, fourth quarter 19th century and later, by Cresswick & Co., Sheffield, the elongated pearshaped glass body decorated with an elaborate wheel-cut monogram “CSL”, with a silverplate collar with Gothic trefoil edging, “duck’s beak” spout, squared handle and hinged, stepped lid with button finial, with a sterling silver base and foot-ring edged en suite, by Dominick & Haff, New York, evidently a later repair, h. 11‑3/4”, dia. 3‑3/4”. [600/900] Illustrated

89 German .800 Silver-Clad Glass Decanter, first quarter 20th century, by the Vereinigte Silberwarenfabrik, Hanau, in the Historismus taste, the glass body of square section with a tall, slender neck, wheel-cut with flower baskets and scrolls, clad in a reticulated silver base embossed with scenes of courtly love enframed by rococo scrolls and a silver collar embossed with rococo scrolls and flowers, with a glass inverted pear-form stopper clad en suite, h. 9‑3/4”, w. 3‑3/4”. [500/800] Illustrated 90 Chinese Export Sterling Silver-Clad Quadruple Decanter, second quarter 20th century, Hong Kong, the French-made four-in-one glass decanter bottle of ovoid form with straight neck, clad in a reticulated silver jacket decorated with chased dragons, pagodas and junks on a background of flowers, bamboo and clouds, with four large open panels to view the four different cordials within, all surmounted by four small spouts with horn-shaped silver stoppers, h. 13”, dia. 5”. [600/900] Illustrated 91 Pair of Antique Sheffield Plate and Turned Fruitwood Bottle Coasters, third quarter 19th century, the deep and elaborately reticulated frames in “Plume and Scroll” decor, each coaster with a fruitwood base centered with a silver boss, h. 5‑3/4”, dia. 6‑7/8”. [100/200] 92 Middletown Silver Company Silverplate Tall Flower Basket, first quarter 20th century, the swing-handled long-stem basket with a reticulated rim in the Adam taste, h. 10”, dia. 9‑1/4”. [75/125] 93 Good Three-Piece Group of Sheffield Plate Items, consisting of a good two-part antique Sheffield plate twohandled and footed bottle cooler in the neoclassical style, fitted with a removable collared bottle sleeve presently containing a later glass vase of baluster form, second quarter 19th century, h. 12‑1/2”, w. 10”, d. 8‑1/4”; an Ames oval footed tray in “Antique Bead” decor, centered with an engraved armorial, fourth quarter 19th century, w. 12”, l. 15‑3/4”; and a National Silver Company, Argentina, circular footed tray in the “Old Sheffield” style, second quarter 20th century, dia. 12”. [150/300] 94 Edwardian Sawn and Carved Mahogany Looking Glass, first quarter 20th century, in the Early Georgian style, the tall scrolled cresting centered with two en face scrolls on either side of a single acanthus leaf, the backplate of mahogany as well, h. 44”, w. 23”. [75/125] 95 Edwardian Walnut Narrow Four-Tier Hanging Shelf, in the chinoiserie taste, each of the four shelves fronted with a Chinese fret-carved panel, h. 33‑1/2”, w. 8‑1/4”, d. 2‑3/4”. [40/70] 96 Anglo-Bohemian Kerosene Parlor Lamp, fourth quarter 19th century, composed of antique-gilded brassmounted cut white-over-green overlay glass and Carrara marble, now electrified and mounted as a table lamp, fitted with an antique-white fabric shade of truncated conical form, the shade ring, blown glass chimney and spherical glass shade removed in the conversion, the brass elements newly burnished, h. 41‑1/2”. [30/50]

97 Sixteen-Piece English Porcelain Partial Dessert Service, for thirteen persons, third quarter 19th century, the attractive teal-banded set in “Spring Flowers” decor, comprised of thirteen dessert plates, dia. 8‑3/4”, and a trio of low footed pastry stands, h. 2‑3/4”, dia. 8‑3/4”. [125/250] 98 English Lavender-Ground Majolica Cachepot and Drain Plate, fourth quarter 19th century, in bas-relief “Holly” decor, the cachepot with ringed lion-masque handles, the interior glazed in gloss sea foam green, cachepot h. 7‑3/4”, dia. 9‑1/4”, drain plate dia. 11”. [100/200]

101 103 J. G. Keulemans & W. Hart (British, 19th Century) “Loboparadisea sericea”, hand-colored lithograph, sight 20” x 13‑1/2”. Glazed, French matted and presented in a polychromed and parcel-gilt frame. [350/500] 104 J. Gould & H. C. Richter (British, 19th Century) “Corvus corone”, hand-colored lithograph, sight 20” x 14”. Glazed, matted and presented in an ebonized and parcelsilvered frame. [350/500] Illustrated

106 99 After J. Gould and H. Richter (British, 19th Century) “Erythoronata Sophiae” and “Thaumatias Nitidifrons”, pair of offset chromolithographs, sight 17‑1/2” x 11‑1/2”. Both glazed, French matted and presented in molded giltwood frames. [40/70] 100 After J. Gould & H. C. Richer (British, 19th Century) “Thalurania nigrofasciata” and “Thalurania venusta”, pair of offset chromolithographs, sight 20‑1-/2” x 14”. Both glazed, attractively French matted and presented in molded giltwood frames. [350/500] 101 William H. Hart (Irish, 1830‑1908) “Epimachus speciosus” and “Ptiloris paradisea”, pair of hand-colored lithographs, sight 21” x 14”. Both glazed, attractively linen-matted and presented in partially ebonized giltwood frames. [600/900] Illustrated 102 John Gould and H. C. Richter (British, 19th Century) “Erythronota niveiventris” and “Erythronota sophiae”, pair of hand-colored lithographs, sheet size 19” x 12‑1/2”. Glazed and fitted for hanging. [600/900]

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105 John Gould and H. C. Richter (British, 19th Century) “Platycercus brownii” and “Platycercus splendidus”, pair of hand-colored lithographs, sight 20‑1/2” x 14”. Glazed, attractively double-matted and presented in molded giltwood frames. [600/900] 106 J. Gould & W. Hart (British, 19th Century) “Paradigalla carunculata”, hand-colored lithograph, sight 20” x 14”. Glazed, French matted and presented in a molded giltwood frame. [350/500] Illustrated 107 After Francois Levaillant (French, 1767‑1809) “The Blue-Tailed Lory Parrot” and “The Blue-Fringed Lory”, pair of facsimile prints, sight 13‑1/2” x 19‑3/4”. Both glazed, attractively double-matted and presented in molded, weathered frames. [200/400] 108 After Franz Eugen Kohler (German, 1883‑1914) “Various Bird Eggs”, two chromolithographs, sight 13” x 10”. Both glazed, attractively matted and presented in weathered fruitwood and parcel-gilt frames. [125/250] 109 After Sir William Jardine (British/ Scottish, 1800‑1874) “Various Beetles”, hand colored bookplate engravings, published by William Home Lizars, from The Naturalist Library, sight 6‑1/2” x 3‑3/4”. Both glazed, attractively matted and presented in burlwood frames. [125/250] 110 After Marcus Elieser Bloch (German, 1723‑1799) “Sparus macrophthalmus” and “Authias vosmeri”, pair of offset chromolithographs, sight 8” x 14‑1/2”. Both glazed, attractively French matted and presented in molded giltwood frames. [200/400] 111 Good Five-Piece Marigold Carnival Glass Water Set, first quarter 20th century, in “Bouquet” decor, comprised of a necked spherical pitcher with a gauffered lip and a clear handle, h. 9‑1/2”, w. 7”, l. 7‑1/2”, and four matching glasses, h. 4”, dia. 3”. Reference: Sherman Hand, Colors in Carnival Glass, Book 3, Wallace-Homestead Company, 1970, pp. 10‑11, illustrated. [100/200] Illustrated

112

112 Eight-Piece Northwood Marigold Carnival Glass Lemonade Set, first quarter 20th century, in the “Greek Key” pattern, comprised of a tall octagonal paneled pitcher, h. 11‑3/4”, w. 5‑1/2”, l. 7”, and four glasses, h. 4‑1/8”, dia. 3‑1/8”, the interiors of the glasses with the circumscribed “N” mark of Northwood. [150/300] Illustrated 113 Six-Piece Collection of Marigold Carnival Glass, second quarter 20th century, including three doublehandled flared condiment bowls; a single-handled flared bowl; a shallow plate; and a short vase; the largest h. 4”, w. 8‑1/4”, d. 7‑5/8”. [100/200] 114 Eleven-Piece Collection of Marigold Carnival Glass, mid‑20th century, consisting of a pair of “Tree Bark”stamped candlesticks and a pair of trumpet vases; a ribbed and ruffled-edge bud vase; and six ruffled-edge candy dishes of various designs and sizes; the largest dia. 9‑1/2”. [100/200] 115 Seven-Piece Collection of Iridescent Marigold Carnival Glass, mid‑20th century, consisting of a “Rose”stamped handled and footed compote with a flared edge; a “Rose”-stamped tri-footed bowl; a “Two Flowers”stamped circular tri-footed bowl; a “Leaf Chain and Scales”-stamped ruffled-edge condiment dish; a “Persian Medallion”-stamped small plate; and a “Pansy”-stamped creamer and open sugar basin; the largest h. 3”, dia. 9”. [100/200] 116 Nine-Piece Collection of Marigold Carnival Glass, late 20th century, in “Imperial Grape” decor, consisting of a pitcher, h. 8‑1/2”, w. 5‑3/4”, l. 8”, and eight goblets, h. 5‑1/2”, dia. 3‑1/2”. [100/200]

120 Six-Piece Collection of Iridescent Green and Marigold Carnival Glass, second quarter 20th century, consisting of a “Grape and Cable”-stamped condiment dish; a “Peacock and Grapes”-stamped candy dish with a ruffled edge; a “Rose Show”-stamped plate; a “Vintage”stamped candy dish with a ruffled edge; a ribbed and ruffled-edge bowl; and a smaller “Peacock Tail”-stamped candy dish with a ruffled edge; the largest h. 3‑1/4”, dia. 9”. [100/200] 121 Ten-Piece Collection of Iridescent Ruby and Marigold Carnival Glass, late 20th century, consisting of a small footed compote, a lemon juicer, a flared-edge vase, a table bell, a miniature crimped-edge footed stand, an oval platter, a crimped-edge cake plate, a swan-lidded butter dish, a hen-lidded basket-shaped dish, and a “Good Luck” hatpin holder, the largest dia. 11‑3/4”. [100/200]

126

117 Four-Piece Collection of Variously-Hued Carnival Glass, consisting of a Fenton marigold-iridized red glass cookie jar, of cylindrical form in “Grape and Cable” decor; a similar Fenton iridized gold glass cookie jar; a Fenton centennial parcel-gilded and purple-iridized ruby glass “Vintage” covered candy jar, 2005; and a marigold “Diamond Pressed” shallow bowl with an undulating rim; the cookie jars with the Fenton oval embossed mark, the candy jar with the Fenton oval printed paper centennial label, the largest h. 7‑1/4”, dia. 6”. [100/200] 118 Varied Twelve-Piece Collection of Iridized Ice Green Carnival Glass, comprised of a “Pony Bowl” sweetmeat bowl with gauffered rim, first quarter 20th century; a Fenton “Poppies” spherical vase, fourth quarter 20th century; a circular covered three-handled “Swan” bonbon dish by Westmoreland, fourth quarter 20th century; a Brilliant-pressed footed sweetmeat bowl signed “R” in a shield; a Fenton flared-lip “Basket” vase; a pair of Fenton lady’s slippers; an “Uncle Sam” top hat vase; a kneeling praying child-angel; a diminutive waving toddler; a seated gorilla; and a small “Hen on a Nest” covered dish signed “B” in a diamond; the largest dia. 8‑1/4”. [100/200] 119 Twelve-Piece Collection of Carnival Glass Plates, late 20th century, representing “The Twelve Days of Christmas”, in various colors, each dia. 9”. [100/200]

122 Eight-Piece Collection of Iridescent Cranberry Carnival Glass, late 20th century, consisting of two matching handled bowls; an oyster plate; a “Persian medallions” stamped ruffled-edge bowl; a footed compote; a “Good Luck” crimped-edge bowl; a “Dragon and Lotus” stamped shallow bowl; and a “Double Dutch” stamped bowl; the largest h. 3‑3/4”, dia. 9‑3/4”. [100/200] 123 Seven-Piece Collection of Iridescent Ruby Carnival Glass, late 20th century, in “Hobnail” decor, consisting of a claret jug, h. 13”, w. 5‑3/4”, l. 6‑1/4”, and six cordial glasses, h. 4‑1/2”, dia. 3‑1/2”. [100/200] 124 Eighteen-Piece Collection of Carnival Glass Stemware, late 20th century, including six roseembossed ruby iridescent red wine stems, h. 6‑1/2”, dia. 3‑3/4”; six matching white wine stems, h. 5”, dia. 3”; and six various-colored sorbet bowls, h. 4‑1/8”, dia. 4‑3/4”. [100/200]

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125 Seven-Piece Collection of Various Iridescent Carnival Glass, consisting of a “Seashells”-stamped dolphin-footed vase; a “Near-Cut”-stamped vase; a lidded and footed compote; a top hat-shaped “Circle Scroll”stamped candy dish; a “Thistle Flower”-stamped vase; a “Classical Dancers”-stamped bowl; and a ruffled-edge vase with a band of dancing bears; the largest h. 8‑3/4”, dia. 8”. [100/200]

129

130 Belle Epoque Pewter- and Brass-Mounted Glass Vase, first quarter 20th century and later, the colorless glass vase of cylindrical form and fitted with pewter avian handles and a gilt-lacquered reticulated brass basal mount in the classical taste, the latter touchmarked “Empire Ware”, h. 11”, dia. 6‑3/8”. [600/900] 131 Pair of Louis-Philippe Brass Candlesticks, second quarter 19th century, composed of bronze-patinated and parcel-gilt brass, of columnar, tripodal form in the neoclassical taste, each fitted with a detaching gilt-brass bobeche, h. 12”, dia. 5”. [500/800] Illustrated 132 Group of Two Continental Patinated Bronze Figures of Athletes, early 20th century, in the Antique style, comprised of a figure of a well-muscled nude athlete and a similar figure of a nude boxer, both figures presented on matching oblong Breche Violette marble bases, the largest h. 11‑3/4”. [100/200] Illustrated

131

126 Elegant Louis XVI-Style Two-Panel Folding Screen, first quarter 20th century, composed of gilt-brassmounted mahogany, marquetry and glass, the upper glass panels double mounted with colored lithograph panels of Old Master game still lifes with crimson mats edged in cloth-of-gold tape, the lower panels centered with floral trophees pendant from furled bowknotted ribbons, h. 61”, w. 47”. [2500/4000] Illustrated Color Plate VI 127 Louis XVI-Style Mahogany Chaise Longue, 19th century, the padded back surmounted by a molded frame with end foliate finials, joined by padded downswept arms to the long cushioned seat, raised on fluted tapering circular legs ending in toupie feet, with two accent pillows, h. 37‑1/4”, w. 28”, l. 66”. [1400/1800] Illustrated 128 Italian Neoclassical Fruitwood and Parquetry Commode, first quarter 19th century, the rectangular banded top over a conforming case fitted with two short over two long drawers, raised on tapering square legs, h. 32”, w. 50‑1/2”, d. 21”. [700/1000]

132

129 Pair of Gilt Brass-Mounted Biscuit Porcelain Garniture Vases, first quarter 20th century, in the Louis XVI style, each of ribbed and fluted urn form, now mounted as table lamps, the porcelain cover of one with the finial removed in the conversion, the cover of the other lacking and replaced with a custom-painted brass model, h. 22”, to finial 35‑1/2”. [800/1200] Illustrated

133 Attractive Pair of French Parcel-Gilt Brass TwoLight Appliques, second quarter 20th century, in “Arrow and Shield” decor in the Directoire style, the diminutive circular shields centered with gilt lion masques, electrified and fitted with bone-white wax faux candles, h. 16‑1/4”, w. 8‑1/2”, d. 6”. [75/125] 134

135 American Tubular Wrought-Iron Six-Light Chandelier, second quarter 20th century, the matte ivory-painted fixture in the Directoire style, the basin-form center with four additional concealed light sockets, the vasiform upper standard fitted with a diminutive up-light, fitted with faux candles in a matching matte-painted finish, h. 24”, dia. 25”. [75/125] 136 French Carved and Gilded Wood and Plaster Looking Glass, in the late 19th-century neoclassical style, the ribbed outer molding carved with spiraled leaf garlands throughout, h. 51‑1/2”, w. 41‑1/2”. [125/250] 137 French Bronze-Patinated Brass and Cut Glass SixLight Chandelier, first quarter 20th century, in the Louis XVI style, dressed with faceted draped bead chains, cut pendalogues of tear and kite form, glass fleurettes and upright panel-cut glass spikes, electrified and fitted with bone-white faux candles, h. 27”, dia. 22”. [300/500] Illustrated

137

134 Elegant Pair of French Brass-Mounted Brun Fonce Marble Garniture Vases, first quarter 20th century, of tall-neck, attenuated oviform in the Restauration taste, the tall gilt-brass handles with basal bearded masque terminals, each facade mounted with a gilded female figure allegorical of Fame, h. 17”, w. 5”, d. 4‑1/4”. [1500/2500] Illustrated Color Plate VI

141

138 Louis XVI-Style Needlepoint Armorial Tapestry Panel, of narrow horizontal form, composed of gros point and petit point embroidery, the center reserve featuring two dragons en face mantled by foliate scrolls, presented in a narrow antique-gilded carved wood and plaster frame also in the Louis XVI style, h. 13‑1/4”, w. 91”. [300/500] 139 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”. [50/80] 140 Attractive Napoleon III Lady’s Calling Card Case, third quarter 19th century, composed of engine-turned silver and abalone shell-inlaid mother-of-pearl, the edges veneered in chocolate tortoiseshell, the interior retains the period fuchsia velvet linings, h. 4‑1/4”, w. 3‑1/4”. [100/200]

141 Pair of Belle Epoque Gilt-Lacquered Brass Four-Light Appliques, fourth quarter 19th century, in the Louis XVI taste, the stepped scrolled candlearms emanating from oval foliate-ornamented backplates, h. 10”, w. 10”, d. 11”. [300/500] Illustrated

144

142 Pair of Belle Epoque Gilt-Brass-Mounted Carrara Marble Covered Garniture Vases, first quarter 20th century, in the Louis XVI style, the oviform bodies supported on a trio of putto-masque monopods connected by floral garlands, the domed Carrara marble covers with gilt-brass flammiform finials, h. 15‑3/4”, dia. 5”. [500/800] Illustrated

142

145

143

143 Pair of French Brass-Mounted Marble and Cut Glass Two-Light Candelabra, second quarter 20th century, in the Louis XVI style, richly dressed with faceted cut glass drops of three sizes in clear and amethyst and multiple pressed glass fleurettes, h. 12”, w. 10‑1/4”, d. 6‑1/2”. [400/700] Illustrated 144 Pair of Continental Antique-Gilded Porcelain Garniture Vases, fourth quarter 19th century, of covered, two-handled form in the Louis XVI taste, the handles modeled as gilded ringed lion masques, the facades with galants reserves signed “Quentin”, the reverses with scenes of, respectively, a riverside mill and provincial stable, h. 18”, w. 8‑1/2”, d. 6‑1/2”. [2500/4000] Illustrated Color Plate IX

145 Continental Neoclassical-Style Polychromed Window Bench, first quarter 20th century, painted in cream and dove gray, the padded oval arms within floral chain link-carved frames, above a padded seat, raised on fluted tapering circular legs headed by block patera, h. 35”, w. 50”, d. 21”. [2000/4000] Illustrated previous page 146 Pair of Continental Faux-Marbre Wooden Doric Columns, in the 18th-century style, the faux Sienna columns on faux Verde Antico bases, h. 112”, w. 20”, d. 20”. [500/800] Illustrated

148

147 Pair of Continental Faux-Marbre Wooden Doric Columns, in the 18th-century style, the faux Sienna columns on faux Verde Antico bases, h. 112”, w. 20”, d. 20”. [500/800] 148 Iron and Marble-Top Coffee Table, the shaped variegated white marble top with gilt-incised putto scenes and raised on verdigris-patinated reeded and tapering circular legs, h. 16”, w. 49”, d. 28”. [100/200] Illustrated

146

149

149 Continental Polychromed Seven-Drawer Chest, the overhanging top above a configuration of two central curved front drawers flanked by a short drawer to each side and three long drawers below, raised on squat turned feet, h. 44”, w. 48”, d. 19”. [150/300] Illustrated 150 Continental Neoclassical-Style Parcel-Gilt and Polychromed Armchair, the low-shaped, grotesque masque-carved and pierced back joined to the padded seat by open arms and griffin leg-shaped uprights, above a Greek-key-molded skirt, raised on bulbous and reeded tapering circular legs ending in toupie feet, h. 34”, w. 36”, d. 19‑1/2”. [300/500] Illustrated 151 Pair of Kuang Hsu Gloss-Glazed Bleu Persan Pottery Figures of Cockerels, fourth quarter 19th century, the figures modeled standing on rocky crags, h. 15‑1/4”, w. 4‑3/4”, l. 8‑1/4”. [500/800] Illustrated 152 Kuang Hsu Bleu Persan-Glazed Porcelain Pyriform Covered Vase, first quarter 20th century, in the 18thcentury style, h. 14‑1/4”, dia. 7”. [100/200]

153 Interesting Six-Piece Collection of Far Eastern Porcelain, comprised of a “Rose Mandarin” circular shallow fruit dish, third quarter 19th century; a Japanese Meiji Satsuma richly gilded flaring square fruit bowl, fourth quarter 19th century; an Annamese blue and white porcelain circular shallow dish in “Crane” decor, second quarter 19th century; a Japanese Meiji blue and white lobed cartouche-form sweetmeat plate in “Songbird and Flowers” decor, first quarter 20th century; a Kuang Hsu porcelain rice bowl, now mounted in brass and glass as an oil lamp; and a modern Chinese Export porcelain flat-sided oblong tea caddy in early 19th-century “Hunting Hounds” decor, fourth quarter 20th century; the largest dia. 11”. [150/300]

151

157 Suite of Nine Wrought-Iron Garden Fence Panels, composed of circular and S-form designs, the tallest h. 82”, w. 34‑1/4”. [200/400] 158 Two Egyptian Cast-Iron Garden Gate Panels, one composed of square rails and centered by an arched window, together with a similar example of smaller form, the largest h. 30”, w. 57‑1/4”. [50/80] 159 Patinated Wrought-Iron and Glass-Top Occasional Table, the rectangular glass top with rounded corners above a pierced, interlocking scroll-formed frame, raised on square legs ending in pad feet, h. 25”, w. 37‑1/4”, d. 31‑1/2”. [50/80] 160 Suite of Three Stained Hardwood Window Inserts, each with two upper pierced and spindled panels above the lower geometrically-carved lower panels, headed by Arabic writing, h. 79”, w. 54”. [200/400] 161 Matched Trio of English Pebbled and Stained Glass Transom Windows, first quarter 20th century, in the Arts and Crafts style, comprised of a rectangular central window and a flanking pair of square windows, each centered with a stylized upright flowerhead and two drooping buds, all in the original white-painted wooden frames, the largest h. 17‑1/2”, w. 15‑1/4”, d. 1‑1/2”. [50/80]

150

154 Two Kuang Hsu Porcelain Covered Jars, fourth quarter 19th century, consisting of a mulberry-ground porcelain spherical covered vase in “Lakeside Teahouse” decor, signed on the base in rouge de fer calligraphy, h. 7‑1/2”, dia. 6‑1/2”; and a cobalt-ground porcelain tea caddy in “Exotic Birds and Flowering Branch” decor, h. 7‑1/2”, dia. 5‑1/2”. [100/200] 155 Group of Two Oriental Vases/Lamps, one a Chinese pale pink-ground and floral-enameled porcelain vase, now mounted as a table lamp with a crimson lacquer cap and chinoiserie base, fitted with a gilt-brass finial of upright pomegranate form, h. 12”; the other a Chinese famille noire porcelain vase of paneled octagonal form in “Lotus” decor, now mounted as a table lamp with a brass cap and circular base, fitted with an addorsed chevron-pleated white card shade and an inverted polished brass oviform finial, h. 12”. [100/200] 156 Group of Two Oriental Lamps, one a Chinese monochrome “Oriental Red”-glazed porcelain oviform jar, now mounted as a table lamp on a fruitwood disc base, fitted with a carved giltwood floriform finial, h. 13”; and the other a chinoiserie bright- and matte-finished brass vasiform lamp on a Kang-footed brass base, fitted with a custom-crafted cafe-au-lait silk shade with a gold lining and an annular brass finial, h. 27”. [100/200]

162 Three-Piece Group of Window Transoms, first quarter 20th century, consisting of a tall pair of American pebbled white and two-color green stained glass sidelight windows, h. 23‑1/8”, w. 49”; and a matching transom window, h. 23‑1/8”, w. 37”; the laurel-leaf borders in two shades of green with diminutive scarlet berries. [100/200] 163 Suite of Three Painted Wooden Door Transoms, each of arched, interlacing form and fitted with various colored and patterned glass panels, some of which are missing, h. 26”, w. 51”. [50/80]

164 Good French First Empire Mahogany Flower Stand, first quarter 19th century, the three-column stand with gilt-brassmounts, the interior fitted with a bronzepatinated copper jardiniere, the platform stretcher centered with a columnar marbletopped mahogany vase stand, h. 37”, dia. 13”. [2000/4000] Illustrated

169

164

165 Neoclassical-Style Gilt-Brass-Mounted Mahogany Console Table, the rectangular top over an apron fitted with a drawer centered by a double-sphinx design, raised on paneled tapering legs headed by gilt-brass acanthine molding, joined by a concave shelf-stretcher and ending in toupie feet, h. 34‑1/2”, w. 44”, d. 21”. [500/800] Illustrated

166

166 Regency-Style Mahogany Window Bench, by the Baker Furniture Company, the padded outscrolled arms terminating in lion-masque carvings, above a cushioned seat, raised on splayed legs terminating in carved lion-paw feet, h. 32‑1/2”, w. 53‑1/2”, d. 18”. [300/500] Illustrated 167 British School (19th Century) “Classical Archeological Studies”, pair of black and white engravings, sight 9” x 7”. Both glazed, attractively French matted and presented in weathered ebonized and parcel-gilt frames. [125/250] 168 British School (19th Century) “Illustrations of Classical Archeological Statues and Reliefs”, two black and white engravings, sight 13” x 8‑1/2”. Both glazed, attractively matted and presented in weathered ebonized and parcelgilt frames. [250/400]

165

169 American Neoclassical Brass and Ebonized FiveLight Chandelier, early 20th century, each arm in the form of a ram’s head and the sockets having dripped wax candle sleeves, h. 33”, dia. 18”. [150/300] Illustrated

175 Good Italian Patinated Bronze “Grand Tour” Group, fourth quarter 19th century, depicting a two-horse Roman chariot with driver, presented on a polished slab base of rouge royale marble with bronze paw feet, h. 10”, w. 14‑1/4”, d. 8”. [700/1000] Illustrated 171

176 Pair of American Green Onyx and Patinated Brass Mantel Garnitures, fourth quarter 19th century, of “Tempietto” form, each centered with the figure of a 15th-century armored knight, h. 10”, w. 6”, d. 5‑1/2”. [100/200] 177 Italian Polychromed and Parcel-Gilt Metal Table Lamp, of candlestick form in the Pompeian taste, fitted with a faux-beeswax candle and a matte black card shade lined in metallic antique gold, h. 31‑1/2”. [100/200]

170 Pair of Continental Parcel-Gilt Porcelain Pyriform Vases, of two-handled and footed form in the early 19thcentury neoclassical Paris style, the grounds of gloss black, the handles modeled as white and gold bare-breasted Atlantids, h. 13”, w. 7‑1/2”, d. 6”. [200/400] 171 French Gilt-Brass and Black Tole-Peinte Eight-Light Chandelier, in the Restauration style, the fixture centered with a gilt-brass allegorical figure of Victory standing on a sphere, the scrolling candlearms fitted with cut glass bobeches of saucer form, fitted with the original gilt-brass suspension chains, electrified and fitted with bone-white faux candles, h. 38‑1/2”, dia. 32”. [600/900] Illustrated Color Plate VI 172 Good Belle Epoque Brass and Glass Decanter Set, first quarter 20th century, in the late Louis XVI style, the gilt-lacquered brass frame fitted with a trio of engraved pale rose glass addorsed decanters, each fitted with a giltbrass filigree cap of spherical form, h. 12”, dia. 6‑1/2”. [1000/1500] Illustrated 173 French Gilt-Brass-Mounted Cut Glass Table Lamp, second quarter 20th century, of athenienne form in the Louis XVI taste, the three legs of the athenienne modeled as swan-headed and -footed monopods, the glass font in prism and lattice cuts, fitted with a paneled antique-white fabric shade, h. 20‑1/2”. [100/200]

178 “Grand Tour” Cast Plaster Bust of Hermes on Stand, first quarter 20th century, modeled after the Antique, the bust painted in a matte bone-white finish and presented on a polychromed columnar pedestal, bust h. 26”, w. 19”, d. 12”, pedestal h. 40”, dia. 13‑1/4”. [100/200]

172

179 Buff Cast-Stone Male Torso After the Antique Model, h. 19‑1/2”, w. 15”, d. 9‑1/2”. [50/80]

175

174 Neoclassical-Style Antique-Gilded Wood and Plaster Looking Glass, the mirror plate broadly beveled throughout, h. 78‑1/2”, w. 40‑1/2”, d. 2‑3/4”. [200/400]

184 Regence-Style Mahogany Bombe Commode, first quarter 20th century, the rectangular top with a molded edge over an acanthine-carved frieze, above a case fitted with three long drawers, flanked on both sides by acanthine carving, above a serpentine foliate- and C-scroll-carved skirt, raised on cabriole legs ending in pad feet on pegs, h. 31”, w. 38‑1/2”, d. 18”. [300/500] Illustrated 185 Diminutive Regence-Style Mahogany Bombe Commode, first quarter 20th century, the rectangular top with a molded edge over an acanthine-carved frieze, above a case fitted with three graduated long drawers, flanked on both sides by acanthine carving, over a serpentine foliate- and Cscroll-carved skirt, raised on cabriole legs, h. 23‑1/2”, w. 29”, d. 15‑1/2”. [250/400] Illustrated

183

180 Near Pair of Continental Bronze-Patinated and Parcel-Gilt Spelter Figures, first quarter 20th century, depicting near-nude shield- and dagger-bearing warriors in the Antique style, one figure on an oblong bronzepatinated slab base, the other on a faux-marbre base of the same configuration, h. 9”. [150/300] 181 Plaster/Composition Bust of Apollo, presented on a turned wooden faux-marble pedestal, small loss at the neckline of the sculpture, h. 66”, dia. 13‑1/4”. [50/80] 182 Pair of French Patinated Bronze “Medusa Masque” Appliques, each with three candlearms modeled as writhing serpents emerging from the head of the shrieking Medusa, h. 12‑1/4”, w. 13‑1/2”, d. 8”. [800/1200] 183 Suite of Eight Louis XV-Style Fruitwood Dining Chairs, consisting of two armchairs and six sidechairs, each with a serpentine seashell- and acanthine-carved crest over a caned back, above a like seat and a carved apron, raised on cabriole legs headed by foliate carving, joined by an X-form stretcher and ending in scroll toes, h. 41‑1/2”. [800/1200] Illustrated

188

186 Pair of Louis XV-Style Parcel-Gilt Walnut Sidechairs, ca. 1900, each with a floral- and foliate-carved crest rail, serpentine seat and cabriole legs, retaining their period surface and under-upholstery, descended en suite with the previous lots, h. 33‑3/4”. [200/400]

184 185

187 Pair of Louis XV-Style Parcel-Gilt Walnut Armchairs, ca. 1900, the crest rail with foliate and floral carving, open arms, serpentine seat rail and cabriole legs, retaining its period surface and under-upholstery, descended en suite with the previous lot, h. 36”. [300/500] 188 Louis XV-Style Polychromed and Parcel-Gilt Commode, the serpentine top with molded edge over a conforming case fitted with two long drawers above a scalloped skirt, the first drawer and skirt with floral sprays, h. 29”, w. 38”, d. 21‑1/2”. [250/400] Illustrated

189

191 Large and Attractive Paris Porcelain Coquiform Encrier, third quarter 19th century, in the rococo taste, the concave ribbed shell-form pens well richly gilded, retains the period porcelain sander and inkwell, h. 3‑1/2”, w. 12”, d. 9”. [300/500] 191A Attractive Five-Piece Group of Porcelain Serving Items, comprised of a set of four Potschappel reticulated floral-polychromed porcelain dessert plates in the “Dresden” style, second quarter 20th century, dia. 10‑3/4”; and a Schumann, Dresden, reticulated porcelain oval two-handled sweetmeat basket in the “Bavarian” pattern, first quarter 20th century, w. 6”, l. 9”; all of the pieces fully hallmarked. [100/200] 192 Carl Thieme, Potschappel, Porcelain Footed Fruit Bowl, first quarter 20th century, highly reticulated and richly gilded in the Dresden style, the cavetto with an elaborately painted monogram of entwined floral garlands, the base fully marked with the Potschappel entwined script monogram in underglaze blue, h. 3‑1/4”, dia. 9”. [150/300] Illustrated

189 Carl Thieme, Potschappel, Porcelain Tiered NineLight Chandelier, first quarter 20th century, in the 18thcentury “Dresden” taste, the double-vasiform standard and the scrolled candlearms richly embellished with applied porcelain flowerheads and leaves, electrified and fitted with flowerhead-painted opal glass faux candles, the canopy and the standard both with the underglaze blue Potschappel entwined script monogram, h. 32”, dia. 24”. [1000/1500] Illustrated Color Plate III

193 Monumental German Porcelain Covered Garniture Vase, fourth quarter 19th century, in the Dresden style, fitted with two elaborately pierced handles, the facade with an oval figural reserve of “Mars and Venus Attended by Eros”, the reserve and the reverse with polychromed floral sprays, h. 33‑1/4”. [800/1200] Illustrated Color Plate V

192

193 190 Group of Two German Biscuit Porcelain Items, fourth quarter 19th century, comprised of a tall polychromed and parcel-gilt biscuit porcelain triple-shell compartmented bowl, the lower pair of shell bowls centered by the figure of a coy barefoot maiden, h. 16”, w.  10‑3/4”, d. 7”; and a large polychromed and parcel-gilt biscuit porcelain vase featuring an elaborately garbed pair of galants, h. 16”, w. 10”, d. 7”. [200/400]

191

194 Diverse Ten-Piece Collection of Glazed Biscuit Porcelain Figures, comprised of a “Dresden” child shepherdess accompanied by a lamb and a goat in the 18th-century style, fourth quarter 19th century; a glazed pottery vanity tray in the form of a can-can dancer in a large floppy hat, also fourth quarter 19th century; an Art Deco biscuit figure of a lady-of-fashion taking tea in a wicker armchair, first quarter 20th century; a German polychromed biscuit figure of a flirtatious bather lying on a beach towel; another German cabinet figure of a black-clad bather seated on a beach towel; another of a semi-recumbent bather on a beach towel; a German polychromed biscuit porcelain match holder of a reclining big-footed woman; a biscuit porcelain vanity box with a reclining flapper on the cover, first quarter 20th century; and a pair of German biscuit cabinet figures of seated white whippets, fourth quarter 19th century; the largest h. 8”. [75/125]

195 Thirteen-Piece Porcelain Tea Service, third quarter 19th century, consisting of a good Meissen porcelain spherical teapot in the 18th-century “Heroldt” style, marked on the base with the underglaze blue crossed swords of Meissen, h. 6”, w. 5‑3/4”, l. 8‑1/2”, and a similar twelvepiece porcelain afterdinner coffee service for six persons, comprised of six diminutive cups, h. 1‑1/2”, and six matching saucers, dia. 3‑1/2”, all in “Galants” decor. [300/500] Illustrated

196 French Brass-Mounted Porcelain Oviform Jewel Casket, first quarter 20th century, in the Louis XVI Sevres style, having a bleu du Roi ground, the lid painted with a galants scene of a courting couple in a park, signed “G. See” lower right, the interior of the lid and the body painted with sprays of summer flowers, h. 6‑1/2”, w. 7”, l. 9‑1/2”. [2000/4000] Illustrated Color Plate XII

197 Set of Five Continental Porcelain Dessert Plates, fourth quarter 19th century, each with a parcel-gilt cobalt blue border and centered with a scene of two classical maidens and a swan in a sylvan glade, dia. 8‑1/4”. [150/300] 198 French Bronze-Patinated Brass and Cut Glass SixLight Chandelier, first quarter 20th century, in the Louis XVI style, opulently dressed with large cut pendalogues of varying shape and size, draped jewel-cut chains, and cut fourteen-point starbursts, electrified and fitted with “old ivory” faux-wax candles, h. 32”, dia. 16”. [300/500] Illustrated 199 Large French Carved Giltwood Looking Glass, in the Louis XV taste, the mirror plate broadly beveled throughout, h. 47”, w. 35”. [75/125]

198

200 Nippon Porcelain Two-Handled Garniture Vase, first quarter 20th century, richly gilded and reticulated with gilt-brass mounts in the Sevres taste, now mounted as a table lamp, the obverse with an oval bleu du Roi-bordered reserve of a provincial riverside farm, the reverse with a similarly bordered river landscape, h. 13‑1/4”, w. 7‑1/4”, d.  6‑1/4”. [200/400] Illustrated

196

195

200

201 Attractive Pair of French TwoLight Appliques, second quarter 20th century, composed of gilt-lacquered brass, wroughtiron and cut glass in the Louis XVI style, richly dressed with draped faceted bead chains, cut glass fleurettes and pyriform drops in three sizes in amethyst and colorless glass, electrified and fitted with antique-white wax faux candles, h. 13”, w. 9”, d. 5”. [200/400] Illustrated

203 Large Edme Samson, Paris, Porcelain Cachepot, first quarter 20th century, of bucket form, elaborately painted and enameled in the 18th-century style, the lip with a parcel-gilded bas-relief frieze of baby Nereids and foliate-scroll-mantled vases, the body painted with four equidistant floral rondels on a white enamel interlaced ground, the base with an overglaze pale blue Samson shield mark, h. 10”, dia. 10‑3/4”. [500/800] Illustrated

201

204 Pair of Franco-Bohemian Parcel-Gilt and Polychromed Glass Garniture Vases, third quarter 19th century, of scroll-handled form with cobalt blue grounds, each center facade with an attractively painted bouquet of summer flowers, h. 12”, dia. 6”. [400/700] Illustrated

203

202 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”. [10/20]

204

205 Elegant Eight-Piece Carl Thieme, Potschappel, Porcelain Standish, first quarter 20th century, of octagonal form in the 18th-century Chantilly style, the base centered with a candlesocket enframed by a pair of covered ink bottles, a porcelain hand seal, a matching paper knife with gilt-brass blade, a gilded pens rack, and an oblong covered two-compartment stamp box, the interior of the base marked with the Potschappel “PS” monogram in underglaze blue and “Dresden”, h. 5”, w. 7‑1/4”, d. 7‑1/4”. [500/800] Illustrated 206 Manner of Giovanni Antonio Canal Canaletto (Venetian, 1697‑1768) “Grand Canal, Venice, Looking East”, oil on canvas, unsigned, 20th/21st century, 12” x 24”. Presented in a Baroque-style ebonized and parcel-gilt frame. [250/400] Illustrated 206

207

207 Manner of Edouard Cortes (French, 1882‑1969) “Winter Evening Street Scene”, oil on panel, unsigned, 20th/21st century, 11‑1/2” x 16”. Presented in a giltwood and gesso frame. [150/300] Illustrated

208

205

208 Manner of Edouard Cortes (French, 1882‑1969) “Parisian Street Scene with a Flower Vendor”, oil on panel, unsigned, 20th/21st century, 16” x 12”. Presented in a Regence-style giltwood and gesso frame. [15/300] Illustrated 209 Manner of Giovanni Antonio Canal Canaletto (Venetian, 1697‑1768) “Venetian Canal Scene with a View of Santa Maria della Salute”, oil on panel, unsigned, 20th/21st century, 12” x 16”. Presented in a rococo-style giltwood and gesso frame. [150/300] Illustrated

216 Six-Piece Collection of Iridescent Purple Carnival Glass, mid‑20th century, consisting of a “Grape and Cable”-embossed bowl with a ruffled edge; a “Sunflower”embossed tri-footed bowl with a ruffled edge; two ribbed short vases with ruffled edges; a flared condiment bowl; and a small shallow dish; the largest h. 3‑1/2”, dia. 10”. [100/200] 217 Five-Piece Group of Purple-to-Green Iridescent Carnival Glass, mid‑20th century, consisting of three various trumpet vases; a flared and footed compote; and a flared condiment bowl; the largest h. 15”, dia. 5”. [100/200]

209 210 Continental School (Fourth Quarter 19th/First Quarter 20th Century) “Twilight Garden Scene”, oil on canvas, signed illegibly lower right, 30” x 44”. Presented in a molded giltwood and gesso frame. [500/800] Illustrated

218 Six-Piece Collection of Various Iridescent Carnival Glass, mid‑20th century, consisting of a Northwood “Singing Birds”-stamped candy dish; a “Peacocks on the Fence”-stamped shallow bowl; a “Basket”-stamped candy dish with a reticulated edge; a small footed compote; and a “Dragon and Lotus”-stamped ruffled-edge bowl; the largest dia. 9”. [100/200]

211 Giuseppe Carosi (Italian, 1883‑1965) “Silent Pool”, oil on board, signed lower right, 20” x 27”. Presented in a rococo-style gilt-painted frame. [500/800] 212 Giuseppe Carosi (Italian, 1883‑1965) “Winter Stroll” oil on board, signed lower right, 20” x 27”. Presented in a rococo-style gilt-painted frame. [500/800] 213 Julie Delance-Feurgard (French, 1859‑1892) “Les Femmes du Paysage”, oil on canvas, signed lower right, 19‑1/2” x 15‑1/2”. Presented in a molded giltpainted frame. [1000/2000] 214 Nine-Piece Northwood Iridized Purple/Gold Carnival Glass Iced Water Set, first quarter 20th century, in “Grape and Cable” decor, comprised of an iced water pitcher, h. 8‑1/2”, w. 5‑1/2”, l. 8‑1/4”, and eight glasses, h. 4‑1/4”, dia. 3”, all of the pieces signed with the Northwood circumscribed “N”. [200/400] Illustrated 215 Three-Piece Collection of Iridized Blue/Purple Carnival Glass, first quarter 20th century, comprised of a Northwood “Grape and Cable” tripodal fruit bowl, signed with the circumscribed “N”; a similar, smaller “Vintage Cross” bowl, also signed with the circumscribed “N”; and a yet smaller “Autumn Acorns” footed bowl; the largest h. 5‑1/4”, dia. 11‑1/4”. Reference: For the “Autumn Acorns” example, see Sherman Hand, Colors in Carnival Glass, Wallace-Homestead, 1970, pp. 52‑53, illustrated. [100/200]

210

214

219 Five-Piece Collection of Iridescent Purple and Green Carnival Glass Items, second quarter 20th century, including a Northwood “Good Luck” bowl with ruffled edge; a small reticulated basket; a small acorn and oakleaf bowl; a small embossed birds and flowers bowl; and a labeled Fenton floral footed compote; the largest dia. 9”. [100/200] 220 Good Eight-Piece Imperial Glass Company Carnival Glass Iced Water Set, the purple-blue iridized ruby glass in “Robin” decor, comprised of a pitcher with an embossed entwined “IG” monogram on the base, h. 8‑1/2”, w. 5”, l. 8”, and seven glasses, h. 4‑1/4”, dia. 2‑3/4”. [100/200]

225 Five-Piece Collection of Iridescent Marigold Carnival Glass, late 20th century, consisting of a punchbowl-onstand; a footed compote; a small bowl; a nettled-edge dish; and a nettled-edge bonbon dish with rose design; the largest h. 5”, dia. 12”. [100/200] 233

234

232

221 Eight-Piece Collection of Iridescent Purple Carnival Glass, late 20th century, consisting of a Fenton covered candy jar; three various Fenton dinner bells; a circular covered butter dish; a banana bowl; a modified “Jack-inthe Pulpit” footed vase; and a paneled, tall-necked vase; the largest h. 4‑1/4”, w. 5‑1/2”, l. 10‑1/2”. [100/200]

229

222 Six-Piece Collection of Iridescent Purple Carnival Glass, mid‑20th century, consisting of a “Grape and Cable”-stamped biscuit jar; a near-cut two-piece footed compote; a pair of “Persian Medallion”-stamped handled candy dishes; a “Leaf-Chain”-stamped candy dish with a flared edge; and a like-stamped tri-footed candy dish; the largest h. 8‑1/4”, dia. 8”. [100/200]

226 Six-Piece Collection of Iridescent Marigold Carnival Glass, consisting of two basketweave-embossed flared candy dishes with reticulated edges; two shallow “Jackin-the-Pulpit” dishes with ruffled edges; and two small embossed and ruffled-edge vases; the largest h. 3‑1/2”, w. 7”, d. 5‑1/2”. [100/200] 227 Group of Two Gruen Weighted Sterling Silver Compotes, first quarter 20th century, consisting of a sweetmeat compote of tall size with a reticulated rim, h. 7”; and a swing-handled footed sweetmeats basket with a matching reticulated rim, h. 6‑5/8”. [75/125]

223 Seven-Piece Collection of Iridescent Purple Carnival Glass, late 20th century, in “Stork and Rushes” decor, consisting of a pitcher, h. 8”, w. 5‑1/4”, l. 5‑1/4”, and six water glasses, h. 4”, dia. 3”. [100/200]

228 Rare and Attractive Continental Silver Kaddish Goblet, third quarter 19th century, the bowl engraved with a Star of David and monogram surmounting a band of engraved Hebraic characters, h. 4‑1/4”, dia. 2”, 1.40 t. oz. [75/125]

224 Seven-Piece Collection of Iridescent Marigold Carnival Glass, mid‑20th century, consisting of a “Peach and Pear”-stamped oval bowl; a “Floral”-stamped footed and ruffled-edge bowl; a “Pansy”-stamped footed plate; a “Peacock with Urn”-stamped circular footed compote; a small tri-footed vase; and two sauceboats; the largest h. 4”, w. 10‑1/2”, l. 13”. [100/200]

229 Two-Piece German .800-Standard Silver Salad Serving Set, first quarter 20th century, maker: B. & Z., elegantly modeled in the rococo taste, comprised of a long-handled salad serving spoon with a large oviform bowl and a matching long-handled four-tine serving fork, l. 10‑1/4”, 7.60 total t. oz. [400/700] Illustrated

230 Sterling Silver-Mounted Ivory Page Turner, fourth quarter 19th century, the sterling mount in the form of a High Victorian cipher, l. 8‑1/2”. [150/300] 231 Set of Six German .800-Standard Silver Lobster Picks, first quarter 20th century, in a pattern somewhat similar to Tiffany’s “Feather Edge”, introduced in 1901, l. 7”, 5.05 total t. oz. [200/400]

236 236 Turkish Angora Oushak Carpet, 8’ x 9’ 9”. [1200/1800] Illustrated 237 Hamadan Carpet, 4’ 5” x 7’ 2”. [100/200]

238 Turkish Angora Oushak Carpet, 6’ x 8’ 10”. [600/900]

239 232 Continental Bas-Relief Copper-Mounted FauxAmber Folio Knife, fourth quarter 19th century, in the japonesque taste, the copper mount with bas-relief Hokkaido quail in a leafy landscape, l. 10‑3/4”. [150/300] Illustrated

239 Agra Serapi Carpet, 9’ 8” x 13’ 10”. [1800/2500] Illustrated Color Plate IV

233 Late Victorian Sterling Silver-Mounted Tortoiseshell Folio Knife, 1896, London, maker J.D., the sterling silver finial in the form of an elaborately garbed bearded courtier, l. 11‑1/2”. [350/500] Illustrated

240 Turkish Angora Oushak Carpet, 10’ 4” x 14’ 2”. [2500/4000] Illustrated

234 Edwardian Reticulated Sterling Silver-Mounted Ivory Page Turner/Letter Knife, 1901, Birmingham, in the rococo taste, l. 8‑1/8”. [75/125] Illustrated 235 Antique Sultanabad Carpet, 11’ 8” x 8’ 8”. [300/500]

240

241 Persian Karaja Carpet, 2’ 2” x 6’ 4”. [250/400] 242 Agra Serapi Carpet,  9’ 8” x 14’. [1000/1500] Illustrated 243 Persian Hamadan Runner, 2’ 8” x 8’ 3”. [200/400] 244 Persian Kerman Carpet, 10’ x 13’ 5”. [500/800] Illustrated

242

247 245 Persian Tabriz Carpet, 4’ 10” x 7’ 11”. [200/400] 246 Uzbek Lori Pambak Kazak Carpet, 5’ 8” x 9’ 3”. [600/900] 247 Peshawar Zeiglar Mahal Carpet, 8’ 10” x 10’ 6”. [700/1000] Illustrated 248 Persian Heriz Carpet, 8’ 3” x 11’ 3”. [1500/2500] Illustrated 249 Persian Belouchistan Carpet, 3’ 4” x 5’ 11”. [200/400]

244

250 250 Dramatic Pair of Japanese Meiji Porcelain Covered Vases, first quarter 20th century, the black-ground Imari vases of “Temple Jar” form, the facades with large figural reserves of, respectively, boys with a flower cart and Geishas with children, the high-domed covers with finials of bound gilded gourds, h. 22‑1/2”. [1000/1500] Illustrated

251

248

252 253

251 Large Japanese Meiji Imari Porcelain Punchbowl, fourth quarter 19th century, in “Vase of Flowers” decor, the vase reserves on an overall floral ground, the rim scalloped, h. 6‑3/4”, dia. 18‑3/4”. [500/800] Illustrated Color Plate XII 252 Japanese Meiji Imari Porcelain Vase, fourth quarter 19th century, of baluster form in alternating different floral reserves, h. 10”, dia. 5‑1/4”. [150/300] Illustrated 253 Japanese Meiji Imari Porcelain Fruit Bowl, fourth quarter 19th century, the interior with alternating “Geisha” and floral reserves enframing a central “Lakeside Pavilions” tondo, h. 4‑1/4”, dia. 9‑5/8”. [100/200] Illustrated

256 258 Pair of Victorian Ebonized Sidechairs, third quarter 19th century, each with a shaped back and floralpainted crest, above three spindled splats, the caned seat raised on turned and tapering circular legs joined by turned stretchers and ending in toupie feet, h. 35”. [250/400] 259 Edwardian Mahogany Cheval Mirror, first quarter 20th century, the rectangular mirror plate within a conforming frame, joined to cabriole legs by mounted stiles with iron finials, h. 65”, w. 20‑1/2”, d. 23”. [400/700] 260 Regency-Style Polychromed Cane Armchair, early 20th century, the backswept crest with a polychromed palmetto arcade, above a demi-lune caned back centered by a carved lion’s mask, joined by downswept scrolling arms to the caned seat, raised on turned circular legs headed by polychromed geometric accents and ending in splayed feet, h. 34”. [600/900] 254 Dramatic Japanese Edo Imari Porcelain Bowl, third quarter 19th century, of flared form and richly polychromed, h. 4‑3/4”, dia. 10”. [100/200] 255 Three-Piece Group of Japanese Meiji Imari Porcelain Fruit Dishes, consisting of a shallow dish with alternating floral and floral/avian reserves, third quarter 19th century; a similar shallow dish, also of flowerhead form; and a slightly smaller shallow dish with segmented floral decor; the largest dia. 12”. [100/200]

261 Edwardian Maple Armoire, ca. 1900, the front with a central mirrored door flanked by side cabinets, each with a carved panel depicting a mystical creature, the interior fitted with drawers, shelves and hooks, h. 82”, w. 72”, d. 22”. [800/1200] Illustrated 262 Edwardian Mahogany Trunk, the rectangular lift-top opening to reveal a deep storage space, the corners of dove-tail construction, the sides fitted with brass handles, h. 20”, w. 41”, d. 20”. [100/200]

256 Pair of Japanese Edo Imari Porcelain Covered Vases, of large “Temple Jar” form, the high domed covers surmounted by figures of Foo dogs seated upon crags, h. 22‑1/2”, dia. 11”. [200/400] Illustrated

257 Anglo-Colonial Rosewood Center Table, mid‑19th century, the circular top with a gadroon-carved edge above a conforming floral- and foliate-carved frieze, raised on a bulbous and turned foliate standard to a concave tripartite base to paw feet, h. 29”, dia. 53”. [1800/2500] Illustrated

257

265 Suite of Six English Victorian Stained Maple BalloonBack Chairs, mid‑19th century, each with an oval-shaped back frame and padded seats, raised on turned legs joined by stretchers, h. 33”. [300/500] 266 Edwardian Oak Single-Door Armoire, ca. 1900, the front with a beveled mirrored door above a single long drawer, h. 75”, w. 34”, d. 16‑1/2”. [150/300]

261

264

263 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”. [30/50] 264 Victorian Bamboo Hall Tree, ca. 1900, fitted with a shield-form mirror plate flanked by hanging hooks, above a compartmented open umbrella stand fitted with a tin liner, h. 77”, w. 26‑1/2”, d. 12”. [300/500] Illustrated

267

267 Rare and Impressive Chinese Serpentine Cong (Zhong), Han Dynasty (206 B.C.‑220 A.D.) or later, the slightly mottled dark and pale brown stone fashioned in slightly tapered square section with a central circular interior, the exterior fashioned with an unusually large number of sections totaling thirty-three, each of horizontal orientation with incised designs of stylized human faces having circular eyes and nose and linear eyebrows, each side with a central vertical cut-through, h. 34‑1/4”, w. 3‑1/2”, d. 3‑1/2”. Congs are generally accepted to have been used as ritualistic items, the squared exterior representing earth, the circular core representing heaven, and the combination of the two representations symbolizing the union of the two in worship of both. [150000/300000] Illustrated Color Plate X

268

268 detail

268 Rare Chinese Jade Burial Suit, Han Dynasty (206 B.C.‑220 A.D.) or later, the suit composed of a head, torso, arms, legs, shoes, gloves and headrest formed of jade plaques wired together with metallic wires, the breast plate of the torso with a central medallion in the form of a phoenix with encircling tail feathers carved in low relief indicating that the suit was probably intended for a female, the head is embellished with eyes, tubular nose and mouth with applied features that may not be original, the individual jade plaques forming the suit exhibit extensive calcification, most having an opaque white appearance, the wires joining the jade plaques exhibit brittleness, head h. 13”, w. 8”, torso w. 22”, l. 29”, arms w. 9”, l. 29”, legs w. 11”, l. 28”, shoes w. 5”, l. 12”, gloves w. 5‑1/2”, l. 8”, headrest h. 2‑1/2”, w. 8”, d. 4”. The Chinese belief in the preservative qualities of jade fostered the hope that encasing the body in a jade suit would prevent the body from decaying. The expense of constructing a burial suit of this hard and valued material limited their use to royalty and wealthy nobility, the only people who could afford such luxury. [150000/300000] Illustrated Color Plate XI

269 Fine and Rare Chinese Carved Jadeite Statue of the Bodhisattva Guanyin, 18th century or later, carved in the round depicting the goddess standing clad in loose robes and wearing a cowl over her coifed hair, attended by two acolytes and holding a newborn infant, the reverse of the statue carved with lotus flowers and leaves, h. 11” The stone of mainly bright “apple” green with some white mottling and a natural fissure on the side of the cowl indicating that the carver utilized the largest amount of the raw stone while exhibiting as much of the brilliant green stone as possible. The statue is attached to a carved rosewood base in the form of an open lotus blossom; this base is supported by an elaborate ivory base of Indian inspiration in creamy ivory with black veining which is most often associated with stocks of ivory held in the Imperial Palace workshops. This stock of ivory is more often seen in small objects, most notably ivory snuff bottles carved in the Qianlong and Jiaging reigns of the Qing Dynasty in the Imperial Workshops. The subject of this carving, Guanyin, is associated with compassion and is venerated by Buddhists as Guanshiyin, meaning “she who wears the cries of the world”, and also by Daoists as an Immortal. It is believed the origin of the deity was India, as the Bodhisattva Avalokitesvara, where the deity was male and was actually a depiction of the Buddha when he was still a prince. [50000/80000] Illustrated Color Plate X

269

270 Pair of Kuang Hsu Bas-Relief-Carved White Jade Vases, first quarter 20th century, the covered, ringhandled vases now mounted as accent lamps on customcarved Chinese mahogany stands atop bronzed metal oval bases, second quarter 20th century, h. 10”, w. 4”, d. 2‑1/2”. [1800/2500] Illustrated Color Plate XIII

270

271 Kuang Hsu Carved Jade Covered Vase, fourth quarter 19th century, in the Ming Dynasty style, the pale green shaded-to-white jade elaborately carved with ringed dragon-mask handles, the cover also ringed and surmounted by a large bearded dragon mask, h. 6”, w. 6‑1/2”, d. 3‑3/4”. [400/700] Illustrated 272 Kuang Hsu Carved Pale Green/White Jade Group, first quarter 20th century, depicting a pair of goldfish and a sea urchin before a large aquatic plant-mantled coin, h. 9‑1/2”, w. 9”, d. 2‑1/4”. [200/400] Illustrated 273 Kuang Hsu Carved Pale Green/White Marble Group, fourth quarter 19th century, depicting a mature Foo dog and two Foo pups playing around a ball, h. 4”, w. 7‑1/2”, d. 2‑1/4”. [150/300] Illustrated

272

273

277 Chinese Carved Serpentine Incense Burner, mid‑20th century, the stone of even “onion” green color, carved with three lion-head feet and two dragon-head handles with loose rings, fitted with a dragon-finial cover with three loose ring handles, presented on a wooden stand, h. 4‑1/4”, w. 4‑1/4”, d. 2‑3/4”. [300/500] Illustrated 278 Japanese Incise-Carved Celadon Porcelain Fruit Bowl, third quarter 20th century, of flared and footed form in the 18th-century Chinese taste, h. 7‑1/8”, dia. 12”. [100/200]

274 Chinese Carved Serpentine Group of a Peacock and Peonies, mid‑20th century, the translucent green stone carved in high relief as a peacock with pendant tail standing on rockwork with a flowering peony bush, presented on a custom fitted wooden stand, h. 7‑1/4”, w. 5‑3/4”, d. 4‑1/4”. [300/500] Illustrated

271

275 Chinese Carved Serpentine Figure of a Court Dancer, mid 20th century, the pale translucent green stone carved as a standing figure of a Tang Dynasty court entertainer holding a fan in one hand and a rattle in the other, presented on a fitted carved wooden stand, h. 10‑1/2”, w. 6‑1/4”, d. 3”. [300/500] Illustrated 276 Chinese Carved Serpentine Figure of a Female Beauty, mid 20th century, the slightly included translucent green stone carved as a standing female figure dressed in flowering robes, standing next to a flowering peony bush and holding a fan and peony, presented on a custom carved wooden stand, h. 8‑1/4”, w. 6‑1/4”, d. 3”. [400/700] Illustrated

279 Kuang Hsu Carved White Jade Worry Stone, fourth quarter 19th century, in the form of a youth with a recumbent Foo dog, h. 2‑1/2”. [1200/1800]

275 276 274 277

280 Kuang Hsu Carved White Jade Toggle, fourth quarter 19th century, in the form of a recumbent water buffalo with a bas-relief bird on its flank, l. 2‑3/4”. [600/900] 281 Pair of Anglo-Indian Silver Alloy-Covered Low Tables, in bas-relief floral patterns, each square table supported on four metal-covered cabriole legs with pointed pad terminals, h. 17”, w. 18‑1/2”, d. 18‑1/2”. [150/300] Illustrated 282 Charming Asian Hardwood Child’s Seat, late 19th century, the frame designed from Chinese Chippendale motifs, the seat with a yoke-form chairback and fitted with a removable tray, h. 24”, w. 29”, d. 16”. [200/400] 283 Kuang Hsu Dark Mahogany Sidechair, first quarter 20th century, in the Ch’ien Lung style, with an elaborately carved calligraphic splat, the facade apron of the seat also carved, h. 35”. [100/200] 284 284 Decorative Chinese Six-Panel Coromandel Standing Screen, second half 20th century, decorated in colors on a black ground with a garden scene of birds among flowering plants and a gnarled tree with rockwork, the reverse decorated with pine trees, lotus and peonies, h. 81”, each panel w. 18”. [800/1200] Illustrated 285 Japanese Meiji Ivory Figure of Buddha, first quarter 20th century, the large carved, pieced, engraved and oxidized figure elaborately robed and coiffed, and seated atop a stylized lotus bloom, h. 16”, w. 7‑1/2”, d. 6‑1/2”. [400/700] Illustrated 286 Diminutive Pair of Kuang Hsu Ivory Cabinet Figures, first quarter 20th century, the carved, engraved and black-detailed figures depicting, respectively, a scrollcapped bearded Immortal and a dove-crowned female deity, presented on matching oriental mahogany stands of oblong form, h. 6”. [400/700] Illustrated

287 Kuang Hsu Carved Ivory Covered Ceremonial Vessel, fourth quarter 19th century, elaborately carved and pierced in the Ming Dynasty style, of tripodal form with two handles, the body with a reserve of two Celestial Dragons en face amidst clouds on each facade, the tall ringed cover surmounted with a pair of Foo dogs, the underside of the base bearing a Chinese signature, h. 9”, w. 9”, d. 3‑1/2”. [1200/1800] Illustrated Color Plate XII

285

281

288 Attractive Japanese Meiji Elaborately Carved Ivory Box, fourth quarter 19th century, in “Celestial Dragon” decor, with a cloud-carved conforming cover, the base of the box signed with an engraved rouge de fer colophon, h. 3‑1/2”, dia. 3‑3/4”. [700/1000] Illustrated Color Plate XII

289 Two-Piece Group of Japanese Meiji Carved Tusk Ivory, first quarter 20th century, consisting of a basrelief-carved tusk ivory box in “Elephant, Stag and Tiger” decor; and an arched carved tusk ivory group of seven elephants of graduated size; both h. 3‑3/4”, w. 4”, d. 3‑1/4”. [700/1000] Illustrated Color Plate XII 290 Kuang Hsu Intricately Carved Ivory Group, first quarter 20th century, depicting a pair of figures hiking on a flowered crag with pine and willow trees, presented on a conforming custom-carved mahogany stand, h. 6‑1/2”. [1800/2500] Illustrated Color Plate XII

287 286

292 Kuang Hsu Carved Tusk Ivory Model of an Imperial Barge, fourth quarter 19th century, elaborately carved and populated with an emperor, attendants, musicians and oarsmen, presented on a period carved ivory display stand, h. 5‑1/8”, w. 2‑1/8”, l. 18‑1/2”. [500/800] Illustrated

290

292

291 Kuang Hsu Elaborately Carved Giltwood and Cinnabar Opium Bed Panel, fourth quarter 19th century, featuring three registers of mounted warriors and foot soldiers, h. 17”, w. 11”, d. 2”. [50/80]

289

288

293 Group of Fourteen Asian Ivory Articles, consisting of a cylindrical snuff bottle, an ivory seal with a hidden erotic “surprise”, two animal-form netsuke and ten figural pieces, six figures of deities, a figure of a fruit vendor and three figural netsuke, the largest h. 4‑1/2”. [1000/1500] Illustrated 294 Group of Fifteen Asian Ivory Figural Netsuke, first half 20th century, in natural and stained ivory, all depicting human figures of peasants, scholars and a sole Dutch figure, each well carved and showing the figures in daily pursuits, four of the deities with their attributes, the largest h. 3”. [1000/1500] Illustrated

293

294

295 French School (20th Century) “Geisha in an Arched Doorway”, mixed media on paper, signed left side “France Meilleur”, 78” x 50”. Glazed and presented in a giltwood frame with a black fabric liner. [2000/4000] Illustrated Color Plate XIII

296 Japanese School (Fourth Quarter 19th Century) “Bumble Bee” and “Insect”, pair of watercolors on paper, sheet size 9” x 6‑1/2”. Both glazed, matted and presented in contemporary metal frames. [200/400] 297 Pair of Japanese Ink Washes and Watercolors on Paper, depicting “Ducks in Motion”, 20th century, sight 16‑3/4” x 13”. Both glazed, matted and framed. [500/800] 298 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”. [75/125] 299 Pair of Japanese Colored Woodblock Prints, first quarter 20th century, each of upright oblong form and depicting elaborately robed geishas, each fully signed in calligraphy and colophons at the lower right, sight 15‑3/4” x 7”. Handsomely presented in black-edged beige mats and pale gilded faux-bamboo frames. [75/125]

295

300 Pair of Framed Japanese Prints by Shiho Sakakibara (1887‑1971) “Magpies and Pomegranates”, no. 32/200, and “Waxwing and Persimmons”, no. 51/200, printed from the original Akiho blocks in 1960, both glazed, matted and framed, h. 28‑1/2”, w. 28”. [250/400]

306 Pair of Noritake, Nippon Porcelain Candlesticks, first quarter 20th century, of square-based columnar form, each richly floral polychromed and parcel gilded, one of the pair capped and fitted for electricity and bearing a custom antique-white silk shade, h. 9”, w. 4‑1/4”, d. 4‑1/4”. [125/250]

303

307 Chinese Gilt Silver, Enamel and Stone Standing Peacock, ca. 1960, its flowering tail following behind and highlighted with enamel decorations and set with faux coral and turquoise cabochons, h. 4”, l. 6‑1/2”. [150/300] Illustrated 308 Pair of Chinese Gilt Silver, Enamel and Stone DuckForm Boxes, ca. 1960, in the form of a pair of Mandarin ducks, each highlighted with enamel decoration and set with faux coral and turquoise cabochons, h. 4”, l. 6‑1/2”. [200/400] Illustrated

301 Two Framed Chinese Reverse Paintings on Glass, one depicting a seated Chinese lady holding a Pekinese dog next to a table with a planter of flowering narcissus, and the other depicting a Chinese lady in informal robes next to a draped table with a teacup, h. 22”, w. 15‑3/4”. [150/300] 302 Two Framed Japanese Prints by Shiho Sakakibara (1887‑1971) “Chestnuts and Wood Cracker”, no. 31/200, and “Peaches and Paradise Flycatcher”, no. 24/200, printed from the original Akiho blocks in 1960, glazed, matted and framed in one frame, h. 43”, w. 27‑5/8”. [250/400]

309 Kuang Hsu Carved Black Cinnabar Figure of Kwan-Yin, fourth quarter 19th century, the goddess accompanied by a crane and a ky-lin and bearing a flowering lotus spray, the eyes set with black and white Peking glass (one crane’s eye lacking), the whole presented on a custom-carved oriental hardwood stand of oval form, h. 9‑1/4”. [50/80]

310

303 Large Pair of Japanese Meiji Cloisonne “Exposition” Vases, fourth quarter 19th century, of baluster form in “Fans” decor, each vase signed on the base in calligraphy, h. 18‑1/2”, dia. 7”. [300/500] Illustrated 304 Chinese Bronze and Champleve Enamel Hu-Form Vase, 19th century, with rooster-head handles, the body decorated with bands of enamel depicting lotus and phoenix birds in rondels on a floral ground, the base drilled for use as a lamp, h. 16‑1/2”. [100/200]

305 Striking Pair of Japanese Meiji Engraved Brass Candlesticks, with adjustable light screens in the form of butterflies, and with pendant brass wick trimmers and calyxiform candlesockets, h. 32”, w. 9‑1/2”, d. 7”. [40/70]

308 307

310 Pair of Japanese Meiji Patinated Bronze Figures of Babies, first quarter 20th century, the figures modeled seated upon chamber pots, presented on custom lacquered and ebonized mahogany display stands, overall h. 15”, w. 6‑1/2”, d. 8”. [200/400] Illustrated previous page 311 Japanese Meiji Patinated Bronze Vase, fourth quarter 19th century, in avian decor, the base signed with a bas-relief colophon, presented on a period carved hardwood display stand, h. 7‑1/2”, dia. 9‑1/2”. [200/400] Illustrated 312 Attractive Japanese Meiji Lacquer-Patinated Bronze Vase, fourth quarter 19th century, in “Waves and Birds” decor, presented on an elaborately carved hardwood stand featuring flowering prunus branches, h. 5‑1/4”, dia. 6‑3/4”. [100/200] Illustrated

317

313 318 313 Chinese Three-Panel Folding Screen, composed of carved, stained and polychromed lacquer in the Ch’ien Lung taste, the facade panels with tripartite reserves, the center panel depicting playing youths, the upper and basal reserves of objects or animals, the tripartite reverses with traditional Chinese landscapes and upper and basal reserves similar to those on the facade, h. 72”, w. 57”. [700/1000] Illustrated 314 Kuang Hsu Carved and Stained Teakwood Chest/ Altar Table, first quarter 20th century, modeled as a central two-door cupboard flanked by a single small drawer on either side, the sides and base embellished with elaborate pierced floral carving, the doors retain the brass baton lock, h. 14”, w. 36”, d. 8‑3/4”. [100/200]

311

312

315 Large Pair of Chinese Stoneware Tree Tubs, glazed in shaded gloss russet, the bodies decorated with bas-relief bands of stylized foliage, both retain the original matching drain plates, h. 18‑1/2”, dia. 22‑3/4”. [300/500] 316 Good, Large Kuang Hsu Porcelain Vase, fourth quarter 19th century, of baluster form, the shaded amethyst and “clair de lune”-glazed porcelain in relief “Precious Objects” decor, now mounted as a table lamp on a Chinese turned and black-lacquered hardwood stand, h. 16”, dia. 8”. [100/200]

317 Elaborate Chinese Carved Ivory Pagoda Incense Burner, mid‑20th century, carved with intricate detail as a three-legged incense burner with sinuous dragon handles, each with two loose rings, topped by a two storied pagodaform cover of hexagonal outline with tiled upturned roofs and double-gourd finial, all resting on an octagonal base, h. 21‑1/2”, w. 11‑1/2”, d. 5”. [1000/1500] Illustrated Color Plate XII

319

319 Japanese Carved Tusk Ivory “Oba” Head, second quarter 20th century, depicting an elaborately coifed and diademed African noble, the towering diadem carved in two registers of multiple figures amidst tropical foliage, h. 21”, w. 4‑1/2”, d. 7”. [800/1200] Illustrated 320 Chinese Carved Openwork Ivory Brush Pot, now electrified as a lamp, the pot conforming to the shape of the tusk section, carved in low relief with pierced areas with scenes of southern China with boatmen and buildings among palm and banana trees, h. 7‑1/2”, w. 4‑1/4”, d. 4”. [200/400] Illustrated 321 Kuang Hsu Carved Bone and Soapstone Opium Pipe, fourth quarter 19th century, the bone pipe stem with incise-carved calligraphy stanzas, landscape reserves and the figure of a maiden, the circular cushion-form soapstone bowl carved with calligraphic characters, w. 4”, l. 15”. [75/125] 322 Kuang Hsu Carved Ivory Figure of an Elaborately Collared Foo Dog, first quarter 20th century, modeled seated on a low draped pedestal in the Ming Dynasty style, the fur of the dog detailed in black, presented on a custom carved and cordovan-lacquered Chinese hardwood stand, h. 6”, w. 2‑1/2”, d. 2‑3/4”. [300/500]

320

323 Chinese Carved Ivory Animal Group, mid‑20th century, carved in the round as a tusked elephant being attacked in the front by a tiger and a leopard and in the rear by a maned lion, presented on a wooden stand, h. 3”, w. 1‑1/2”, l. 7”. [250/400] Illustrated

318 Impressive Chinese Carved Ivory Figure of a Buddhistic Deity, early 20th century, the multi-armed figure holding attributes in each hand and holding aloft a figure of the Buddha seated on a double lotus and framed by flaming mandorla, the figure standing on a hexagonal base, h. 20”, w. 11‑1/4”, d. 5”. [1500/2500] Illustrated Color Plate XII

324

324 Kuang Hsu Elaborately Carved Ivory Cabinet Figure, first quarter 20th century, depicting a flute-playing maiden in a bower, presented on a custom carved Chinese hardwood stand of demi-lune form, h. 10‑1/4”, w. 5‑1/4”, d. 2‑1/4”. [400/700] Illustrated 325 Pair of Chinese Carved Ivory Equestrian Figures, mid‑20th century, carved in elaborate detail as figures of an emperor and empress, each depicted in military dress and mounted on alert steeds, each in creamy ivory with black-stained details, presented on wooden stands, h. 9‑1/2”, w. 6”, d. 2‑1/2”. [500/800] Illustrated

325

323

326

326 Large Japanese Meiji Satsuma Pottery Covered Vase on Stand, fourth quarter 19th century, richly gilded and polychromed, the floral enameling on a shaded grayblue-ground, the handles modeled as gilded Foo dogs, the domed cover centered with the finial of a seated Foo dog, h. 21‑1/4”, w. 9‑1/2”, l. 11‑1/2”. [150/300] Illustrated

329 Chinese Famille Rose Porcelain Vase, 20th century, decorated in famille rose enamels with fan-shaped reserve panels of flowers, birds, insects and antiques on an ironred ground with floral decoration and applied relief dragons at the neck, now wired as a lamp, h. 29”. [200/400] 330 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”. [75/125] 331 Group of Three Kuang Hsu Baluster-Form Porcelain Vases, consisting of an unusual richly polychromed vase in “Hunting Dogs” decor, signed on the base with a blue overglaze colophon, first quarter 20th century; an elaborately enameled vase of covered form in “Warriors” decor, fourth quarter 19th century; and another vase with flaring lip in “Peacocks and Flowering Shrubs” decor, with a blue underglaze kiln mark of a single circumscribed leaf, fourth quarter 19th century. [200/400]

334 328

327 Kuang Hsu Rose-Enameled Porcelain Bowl, fourth quarter 19th century, of small size in an overall floral pattern interspersed with four equidistant calligraphic characters, the base signed with underglaze rouge de fer calligraphy, h. 2‑1/2”, dia. 6‑1/4”. [40/70] 328 Japanese Brass-Mounted Arita Porcelain Covered Vase, third quarter 19th century, the upper brass mount pierced to form a potpourri vase, now handsomely presented as a table lamp on a conforming brass base terminating in four “Scroll and Leaf” feet, and fitted with a reticulated bronze finial of spherical form, h. 10”. [600/900] Illustrated

333

332 Two Kuang Hsu Porcelain Vases, fourth quarter 19th century, comprised of a vibrantly enameled celadon-ground porcelain covered vase of large “Temple Jar” form in “Flowers and Butterflies” decor, h. 16‑1/2”, dia. 10”; and a richly enameled famille noire porcelain vase of baluster form in “Peacocks and Flowering Shrubs” decor, with a rouge de fer calligraphic symbol on the base, h. 14‑1/2”, dia. 6‑3/4”. [125/250]

336

333 Louis XV-Style Faux Parquetry and Marquetry Commode, with a shaped variegated verde antico marble top over a conforming block-front case fitted with three long drawers centered by a faux-floral bouquet inlay, above a serpentine skirt, raised on cabriole legs ending in sabots, the whole with gilt-brass mounts, h. 34”, w. 49”, d. 19‑1/4”. [400/700] Illustrated 334 Louis XV-Style Fruitwood Bergere, second quarter 20th century, the shaped cartouche- and floralcarved crest above a padded back, joined to the like seat by slightly outscrolled acanthine-carved closed arms, raised on cabriole legs headed by a floral carving and ending in scroll toes, h. 31”, w. 29”, d. 18”. [200/400] Illustrated 335 Louis XV-Style Mixed Woods and Marble-Top Butler’s Commode, early 20th century, the serpentine variegated green marble top over a fold-down drawer opening to a fitted secretary interior and two long drawers below, the drawer fronts with inlaid borders and burlwood central fields, h. 36”, w. 45”, d. 22”. [500/800] Illustrated

336 Pair of Louis XV-Style Polychromed and Parcel-Gilt Bergeres, first quarter 20th century, each with a shaped crest centered by a cartouche carving, over a conforming caned back, joined to the cushioned seat by downswept arms, raised on cabriole legs headed by acanthine carving and ending in scroll toes, h. 32”, w. 28”, d. 26”. [500/800] Illustrated Color Plate VII

335

339

337 Rococo-Style Polychromed and Marble-Top Coffee Table, the serpentine, variegated citron marble-inset top with molded floral sprays and lattice-painted edge, over a pierced and carved apron, raised on cabriole legs ending in pad feet on pegs, h. 17”, w. 38”, d. 20‑1/2”. [200/400] 338 Continental Rococo Revival Giltwood Sidechair, fourth quarter 19th century, the serpentine crest over a conforming padded back, above a like seat, raised on cabriole legs ending in scroll toes, h. 35”, w. 16”, d. 17”. [200/400] 339 French Antiqued Brass Stepped Twelve-Light Chandelier, first quarter 20th century, of “cage” form in the Louis XVI style, dressed with multiple cabochon glass drops, cut glass fleurettes and a central cut glass bishop, electrified and fitted with bone-white faux candles and having a shirred cinnamon velvet chain sleeve, h. 40”, dia. 26”. [300/500] Illustrated

340 Pair of French Carved and Painted Wood and Plaster Bracket Shelves, second quarter 20th century, in the Louis XVI style, both painted in a warm monochrome antique ivory enamel, h. 18”, w. 7‑1/2”, d. 6‑3/4”. [50/80]

341

341 Good Three-Piece French Porcelain Mantel Garniture, first quarter 20th century, manufactured for Tiffany and Company, New York, the gilt-brassmounted rose Pompadour-ground set in the Louis XVI taste and comprising a mantel clock with a vasiform finial, h. 15‑1/4”, w. 7‑1/2”, d. 7”, and a pair of ringed ram masque-handled covered vases, h. 11”, w. 4‑1/2”, d. 4”, the interior backplate of the clock touchmarked “Tiffany & Co./ New York”. [1500/2500] Illustrated Color Plate VIII

342 343

342 Imposing Near Pair of French Lattice-Cut Glass Table Lamps, second quarter 20th century, of tiered form with gilt-brass mounts in the neoclassical taste, each supported on a tripodal foliate-scroll base of gilded brass, h. 39” to top of finial. [600/900] Illustrated

344

343 Two-Piece Paris Porcelain Toilette Service, third quarter 19th century, lavishly gilded and polychromed in “Summer Flowers” decor, comprised of a toilette ewer, h. 9”, and a large matching basin, h. 4”, dia. 13”. [1000/1500] Illustrated 344 Pierre-Jules Mene (French, 1810‑1879), a gilt-bronze figure of an alert hunting dog on an elliptical base with heavy ground foliage, fourth quarter 19th century, the base signed at the left front edge “P. J. Mene”, h. 7‑1/2”, w. 3‑3/4”, l. 10‑1/2”. [1000/1500] Illustrated

345 Nineteen-Piece Collection of American, English and French White and Gold Porcelain, comprised of a set of seven Tatler, Trenton, ivory porcelain dessert plates, second quarter 20th century; a set of six Theodore Haviland gold-banded porcelain bread-andbutter plates produced for D. H. Holmes, New Orleans (one plate damaged); an attractive Copeland twohandled circular pastry tray, third quarter 19th century; a Theodore Haviland oval two-handled pastry tray, also produced for Holmes; and a set of four Haviland and Company, Limoges, porcelain dessert plates, fourth quarter 19th century; the largest w. 9‑1/8”, l. 11‑3/8”. [100/200]

346

349 Pair of Italian GiltBrass-Mounted Alabaster Table Lamps, first quarter 20th century, in the mid‑19th-century style, the spherical fonts surmounting tapering standards of square section above square triple-stepped bases, h. 22”, dia. 4‑1/2”. [500/800] Illustrated 350 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 covered two-handled 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”. [50/80]

349

351 Good Gilt-Brass-Mounted Pate-sur-Pate Celadon Porcelain Vase/Lamp, fourth quarter 19th century, of baluster form in “Hebe” decor in the Louis XVI taste, the reverse of the vase with a pate-sur-pate strapwork reserve in white, now electrified and fitted with an elaborately fringed antique-white silk shade of flared square section, h. 13‑1/2”, w. 8”, d. 6”. [200/400] 352 Pair of Napoleon III Gilt-Lacquered Brass Candlesticks, third quarter 19th century, of tripodal athenienne form in the neoclassical taste, each fitted with a crystal bowl-form bobeche, h. 8”, dia. 5”. [100/200] Illustrated

346 Attractive French Carved Giltwood and Gros-Point Firescreen, fourth quarter 19th century, in the Consular style, the stationary gros-point center panel depicting an eagle flanked by pairs of floral medallions, the whole supported on carved giltwood paw feet, h. 40”, w. 20‑1/2”, d. 17‑1/2”. [300/500] Illustrated 347 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”. [150/300]

352 353

348 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”. [50/80]

353 Unusual Pair of Continental Patinated Bronze Candlesticks, fourth quarter 19th century, each of triple lion-footed form, each fitted with a later glass bobeche, h. 8‑3/4”, dia. 4‑3/4”. [100/200] Illustrated previous page

355

358 Francis William Van Vreeland (Dutch, 1879‑1954) “Mother and Daughter in the Kitchen”, watercolor on paper, signed lower left “F. Van Vreeland”, sight 8‑1/2” x 11”. Glazed and presented in a period giltwood and gesso frame. [300/500] 359 Manner of Jean-Francois Millet (French, 1814‑1875) “Study of a Milkmaid”, graphite on paper, signed lower right “J. F. Millet”, sight 11‑1/4” x 7‑1/2”. Glazed, matted and presented in a giltwood and gesso frame. [500/800] Illustrated

354 Attractive Pair of Louis-Philippe Bronze Candlesticks, second quarter 19th century, patinated and parcel-gilded in the neoclassical taste, the candlesockets supported by a trio of stylized avian monopods, each fitted with a colorless pressed glass bobeche in “Greek Key” decor, h. 8‑1/4”, dia. 5”. [200/400] 355 Stately French Black Slate Mantel Clock, fourth quarter 19th century, of modified portico form with bronzepatinated and parcel-gilt brass mounts, the interior backplate touchmarked “PM/S” surmounted by a displayed eagle, the facade incise-carved with foliate scrolls and set with four bronzed bas-relief plaques of varying size, h. 18”, w. 15”, d. 5‑3/8”. [150/300] Illustrated

359

356 Fifty-Seven-Piece Haviland, Limoges, Porcelain Partial Dinner Service, for ten persons, fourth quarter 20th century, in “Orsay” decor, comprised of ten dinner plates, ten bread-and-butter plates, ten salad plates, ten cylindrical cups, eleven saucers, two oval vegetable serving bowls, an oval two-handled platter, a larger oval roasted meats platter, a covered two-handled sugar basin and a cream pitcher, all on Cannele blanks and all fully marked on the bases, the largest w. 9‑3/4”, l. 13‑3/4”. [200/400] 357 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. [20/40]

362

360 E. Cole (British, 19th Century) “Country Landscape with Cottage”, oil on canvas, signed lower right “E. Cole”, 12” x 16”. Handsomely matted and framed. [300/500]

369

361 British School (Fourth Quarter 19th/First Quarter 20th Century) “Woman Standing Outside the Thatched-Roof Cottage”, watercolor on paper, signed lower left “George Willis”, sight 6‑1/2” x 10‑1/2”. Glazed and presented in a giltwood and gesso frame. [200/400] 362 David A. Baxter, Jr. (British, 19th/20th Century) “Mother and Child on a Bridge”, watercolor on paper, signed and dated lower right “D. A. Baxter, 1906”, sight 19‑1/2” x 13‑1/2”. Glazed and presented in a giltwood and gesso frame. [400/700] Illustrated 363

373

367 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. [40/70] 368 After Francois Boucher (French, 1703‑1770) “Le Depart du Courier” and “L’Arrivee du Courier”, pair of hand-colored engravings, dedicated to Madame Marquise Montesquiou, engraved by Baumarlet, sight 25” x 19”. Both glazed and presented in molded giltwood frames. [150/300] 369 Attractive Four-Piece International Sterling Silver After-Dinner Coffee Service, second quarter 20th century, in Art Deco style, comprised of a footed coffeepot with macassar ebony handle and finial, h. 8”, a footed twohandled open sugar basin, h. 3”, a footed cream pitcher, h. 3‑3/4”, and an oblong two-handled waiter, w. 9‑1/4”, l. 15‑1/2”, 31.65 total t. oz. [1800/2500] Illustrated

British School (Fourth Quarter 19th Century) “Bleasdale Tower” and “Ormerod House”, pair of chromolithographs, legend lower margin, sight 9” x 12”. Both glazed, attractively French matted and presented in giltwood frames. [250/400] 364 J. C. Vickers (British, 19th Century) “Trouvili”, watercolor on paper, signed and dated lower left “J. C. Vickers, 1894”, titled lower right, sight 10” x 17‑3/4”. Glazed, matted and presented in a giltwood frame. [150/300] 365 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. [150/300] 366 After Jacques Rigaud (French, 1681‑1754) “Le Theatre d’Eau”, black and white engraving, sight 14‑1/2” x 21‑1/2”. Glazed and presented in a molded silvered frame. [150/300]

370 Mexican Hand-Wrought Sterling Silver Vegetable Serving Spoon, second quarter 20th century, with a pyriform bowl in a pattern similar to Georg Jensen’s “Blossom” (aka “Magnolia”) of 1919, l. 10”, 4.10 t. oz. [150/300] 371 Interesting Four-Piece Collection of American Sterling and Silverplate, second quarter 20th century, comprised of a Mueck-Cary Company weighted sterling footed sweetmeats bowl in “Gadroon” decor; a Hirsch weighted sterling jelly stand also in “Gadroon” decor; a Rochester silverplate oil cruet of aftaba form; and a Wallace silverplate cocktail shaker of cylindrical section; the largest h. 9”, dia. 4”. [100/200] 372 Fourteen-Piece American Silverplate Punch Service, for twelve persons, third quarter 20th century, in “Gadroon” decor, comprised of a footed punchbowl, h. 7‑1/4”, dia. 14”, a matching ladle, l. 12‑1/2”, and twelve scroll-handled footed punch cups en suite, h. 3‑1/8”, dia. 3‑1/8”. [150/300]

373 One Hundred Ten-Piece Wallace Sterling Silver “Carthage” Flatware Service, for twelve persons, the pattern introduced in 1917, comprised of twelve hollow-handled dinner knives, twelve dinner forks, twelve luncheon knives, twelve luncheon forks, twelve salad forks, twelve teaspoons, twelve citrus spoons, twelve bouillon spoons, twelve bread and butter knives, and a two-piece hollow-handled carver’s set, the largest l. 11‑1/4”, 81.80 total t. oz. [2500/4000] Illustrated previous page

375

374 Gorham Sterling Silver Porringer, second quarter 20th century, in the Early American style, dia. 4‑3/4”, 3.75 t. oz. [100/200] 375 Good Tiffany and Company Engraved Sterling Silver Footed Tray, fourth quarter 19th century, of oval form in the neoclassical taste, h. 2”, w. 13‑1/2”, l. 18”, 52.35 t. oz. [1800/2500] Illustrated Color Plate III 377 Pair of Gorham Sterling Silver Sweetmeat Bowls, first quarter 20th century, in the neoclassical taste, dia. 6‑7/8”, 7.55 total t. oz. [100/200]

376 American Highly Reticulated Sterling Silver Footed Fruit Stand, first quarter 20th century, probably by the Gorham Manufacturing Corporation, the center of the bowl with a handsomely engraved cipher, h. 4”, dia. 10‑5/8”, 17.80 t. oz. [600/900] Illustrated

378 Whimsical Two-Piece Group of Mexican SilverMounted Figures, second quarter 20th century, comprised of an onyx figure of an ibis, h. 6”, w. 2‑1/2”, l. 4‑1/2”; and a mottled gray and white marble figure of a roadrunner, h. 6‑1/4”, w. 2”, l. 7”. [75/125] Illustrated

376

379 Pair of Mexican Sterling Silver-Mounted Onyx Figures of Peacocks, second quarter 20th century, the birds depicted with displayed tails, h. 4”, w. 2‑1/4”, l. 3”. [40/70] Illustrated 380 Seven-Piece Collection of Sterling and Silverplate Napkin Rings, comprised of a pair of American foliatechased sterling rings, fourth quarter 19th century; a German .800-standard example in “Antique Bead” decor, first quarter 20th century; a similar American sterling ring of like date; a pair of German .835-standard silver rings of bowed oblong form, also of like date; and an American silverplate hexagonal ring in “Basket Weave” pattern, second quarter 20th century; the largest dia. 2‑1/4”, 7.85 total t. oz. [100/200]

378

379

381 Good Baccarat Cut Glass Tiered Ten-Light Chandelier, first quarter 20th century, in the manner of John Osler of Birmingham, the standard and the scrolled candlearms spiral-cut and dressed with magnum prisms, back-cut Albert spears in two sizes, panel-cut drops pendant from paired jewels, and draped jewel-cut chains, electrified, h. 48”, dia. 40”. [2500/4000] Illustrated

382 Fine Napoleon III Baccarat White Opaline Glass Kerosene Parlor Lamp, third quarter 19th century, gilt-bronze-mounted, polychromed and parcel-gilded, now electrified, retains the spherical blown and frosted glass shade, the glass chimney lacking, h. 36”, dia. 9”. [1000/1500] Illustrated Color Plate VII 381

383 Four-Piece Group of Baccarat Glass, consisting of a good pair of Baccarat Brilliant-pressed and ruby-enameled glass dome-based candlesticks in “Russian” decor, first quarter 20th century h. 7”, dia. 4‑1/4”; and a good pair of Baccarat gilt-edged periwinkle blue mold-blown glass footed sweetmeat bowls in “Cannele” decor, third quarter 19th century, h. 2‑1/2”, dia. 5‑1/4”; the interiors of both candlesticks and the sweetmeat bowls embossed “Baccarat Depose”. [400/700] 384 Set of Four Czech Richly Gilded Porcelain Dinner Plates, second quarter 20th century, having claret borders, each with a polychromed spray of summer flowers, dia. 11”. [50/80]

386

382

385 Extensive Eighty-Five-Piece German Porcelain Partial Dinner Service, for twelve persons, fourth quarter 19th century, perhaps the Mitterteich Porcelain works, in “Floral Spray” decor in the Louis XV taste, comprised of twenty-four dinner plates, twelve soup plates, eleven salad/dessert plates, two double-lipped sauce boats with integral stands, two elliptical olives/ celery dishes, two oval covered two-handled vegetable tureens, one oval covered two-handled soup tureen, two elliptical platters, one larger elliptical platter, two circular platters, one large circular platter, two circular footed pastry stands, one tall coffeepot, one cream pitcher, one covered two-handled sugar basin, eight cups and ten saucers, the largest h. 8”, w. 13”, d. 9”. [300/500] Illustrated

385

388 American Brilliant-Cut and Engraved Glass Sweetmeats Tray, first quarter 20th century, of circular form in the “Beverley” or “Diadem” pattern, by the Meriden Cut Glass Company, unsigned as the Meriden Cut Glass Company did not mark its products, dia. 10”. [100/200] 389 Five-Piece Collection of American Brilliant-Cut and Engraved Glass, first quarter 20th century, consisting of a magnum cut circular jewel box in “Star and Fan” decor; a small floral-cut and engraved circular powder box; a cut circular relishes dish in “Interlaced Buzzes” decor; a floralengraved and cut bonbon dish; and a similarly decorated olives dish of lozenge form; the largest h. 3‑1/2”, dia. 7‑1/2”. [100/200] 390 Taylor Brothers Brilliant-Cut Glass Celery Tray, first quarter 20th century, of elliptical form in “Palm” decor, w. 4‑1/2”, l. 10‑7/8”. [30/50] 391 Three American Brilliant-Cut Glass Articles, ca. 1890‑1920, comprised of a berry bowl, h. 4”, dia. 8”; a celery dish, h. 3”, w. 4”, l. 11‑1/2”; and an unusual reverse serpentine dish, h. 1‑1/2”, w. 3‑1/2”, l. 8”. [200/400] 396 386 Good Franziska Hirsch, Dresden, Porcelain Bowl, 1893‑1930, in the 18th-century style, of oval form and painted in “Deutsche Blumen” decor, the base fully marked in pale blue with Hirsch’s crossed batons centered by the letter “H”, h. 3‑1/4”, w. 9”, l. 13‑1/4”. [200/400] Illustrated previous page 387 Good Three-Piece Collection of American Glassware, comprised of an oblong two-handled pastry tray in “Harvard and Flowers” decor, first quarter 20th century; a similarly decorated shallow bowl of navette form; and an ovoid “Russian and Floral Spray” berry bowl,also first quarter 20th century; the largest w. 7‑1/2”, l. 14‑1/4”. [100/200] Illustrated

397

387

392 Five-Piece Collection of Blown, Cut and Engraved Glass, comprised of a tall Brilliant-cut “Magnum Buzz and Palmette” decanter, first quarter 20th century; an English cut glass tumble-up (nighttable carafe, with the tumbler forming the cover); a Cristallerie Sterling, France, blown glass decanter of tapering square section, retaining its original printed paper import label on the base; a Continental etched and engraved decanter of waisted baluster form; and an English blown decanter of truncated conical form; all of the decanters with the original stoppers, the largest h. 13”. [150/300] 393 Ten-Piece Collection of Glass Decanters and a Tantalus, consisting of an attractive American silverplate tantalus in the “Old Sheffield” style and fitted with a pair of diamond-pressed decanters of square section, retaining the diminutive period lock and the original set of keys; and a ten-piece collection of nine American and one European glass decanters, consisting of a pair of amber diamondpressed liqueur decanters of square section; a large diamond-pressed whiskey decanter of square section; a Brilliant-pressed decanter also of square section; a prismpressed decanter; a waffle-pressed example of mallet form; a pressed “Broad Diamond Band” decanter; an Art Deco mold-blown decanter with canted basal corners; a melon-ribbed table carafe, ca. 1900; and an Italian Brilliant-pressed decanter of square section; all of the decanters with the original period stoppers, the largest h. 13” (eleven total pieces). [150/300] 394 Two-Piece Brilliant-Cut Glass Group, second quarter 20th century, consisting of a Germano-Bohemian berry bowl in “Hobstar and Fan” decor, h. 5”, dia. 9‑3/4”; and a Brilliant-pressed and cross hatch-cut circular pastry tray, dia. 10”. [100/200] 395 Thirteen-Piece Germano-Bohemian Brilliant-Cut Glass Punch Service, for twelve persons, in “Hobstar Eight-Point Star” decor, comprised of a dome-covered punchbowl, the cover with a rectangular lapidary-cut finial, h. 10”, dia. 9‑1/2”, and twelve matching loop-handled punch cups, h. 3”, dia. 3”. [200/400] 396 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”. [1800/2500] Illustrated 397 Suite of Six Provincial Louis XV-Style Fruitwood Sidechairs, first quarter 20th century, each with a slightly domed crest centered by a seashell carving, over a caned back, above a like seat, raised on cabriole legs ending in scroll toes, h. 36‑1/2”. [400/700] Illustrated

401

398 Provincial Louis XV-Style Stained Fruitwood Footstool, fourth quarter 19th century, the rectangular needlepoint padded top above a scrolling foliage-carved apron, raised on cabriole legs ending in scroll toes, h. 8‑1/2”, w. 21”, d. 13‑1/2”. [75/125] 399 Louis XV-Style Parquetry-Inset Carved Oak Coffee Table, mid‑20th century, the square top with a parquetryinset geometric pattern and mounted to a scalloped and molded apron, raised on cabriole legs, h. 17”, w. 39”, d. 39”. [100/200] 400 Suite of Four Provincial Louis XVI-Style Fruitwood Sidechairs, first quarter 20th century, each with a domed guilloche-carved crest over a conforming caned back, above a like seat, raised on fluted tapering circular legs ending in toupie feet, h. 37”. [300/500] 401 Continental Renaissance-Style Walnut and Burl Walnut Cabinet, the rectangular top with projecting ends, over a conforming case fitted with two shaped paneled doors, flanked and separated by paneled columnar stiles, raised on a plinth base, h. 30‑1/2”, w. 74”, d. 16”. [300/500] Illustrated 402 Provincial Stained Oak Cupboard, the molded cornice over a paneled, deeply carved case, fitted with two doors, above a lower case inset with a pair of paneled doors, h. 76”, w. 40‑1/4”, d. 20”. [50/80] 403 Art Deco-Style Cast-Iron Gate Panel, second quarter 20th century, formed of interlocking geometrical designs, h. 84”, w. 42‑3/4”. [50/80] 404 Painted Wrought-Iron Garden Fence Panel, composed of a scroll-formed design, h. 35‑1/2”, w. 67‑1/2”. [50/80]

408 Art Deco-Style Cast- and Wrought-Iron Garden Gate, first half 20th century, of tall narrow form, the upper panel formed of interlocking geometric patterns, h. 127‑1/2”, w. 31‑1/2”. [75/125] 409 Rare 17th-Century Dutch Botanical Engraving, from Hortus Indicus Malabaricus by Hendrik Adriaan van Rheede tot Drakenstein, ca. 1678‑1693, sight 13‑3/4” x 17‑3/4”. Glazed, matted and framed. The Hortus Indicus Malabaricus is the first comprehensive work of the East Indies flora, containing illustrations of tropical and subtropical plants and fruits, classified in Latin, Sanskrit, Arabic and Malayalam. It is still considered a major reference of work for botanists and herbalists studying the flora of South Asia. [350/500] Illustrated

409

412 suite of two

415 pair 405 Two Wrought-Iron Garden Fence Fragments, each of large scrolling bracket form, l. 33‑3/4”. [10/20] 406 Asian-Style Stained Fruitwood Console Table, labeled “Henredon”, the fold-over rectangular top with a molded edge over a like-molded frieze with pierced corner keys, raised on paneled square legs, the top opening to create a dining table, h. 29”, w. 71”, d. 19”. [250/400] 407 Louis XVI-Style Oak Triple-Door Armoire, the front having a large central beveled mirror door flanked by a paneled and floral-carved door to each side, and mounted to a base with slender turned legs, h. 86‑1/2”, w. 63‑1/4”, d. 20”. [500/800]

410 After Elizabeth Blackwell (British, 1707‑1758) “Delphinium” and “Aquilegia”, two hand-colored engravings, legend lower margins, sight 13” x 8‑1/2”. Both glazed, matted and presented in silvered frames. [350/500] 411 After Elizabeth Blackwell (British, 1707‑1758) “Larkspur” and “Starwort or Aster Attic”, pair of handcolored engravings, legend lower margins, sight 12‑1/2” x 8‑1/4”. Both glazed, French matted and presented in molded giltwood frames. [350/500] 412 Elizabeth Blackwell (British, 1707‑1758) “Asparagus” and “The Cornel Tree”, two hand-colored engravings, legend lower margin, sight 12” x 7‑1/2”. Both glazed, attractively French matted and presented in molded giltwood frames. [600/900] Illustrated

418 After Pierre-Joseph Redoute (French, 1759‑1840) “Blue and Yellow Iris”, pair of facsimile prints, sight 20” x 13”. Both glazed, attractively French matted and presented in molded giltwood frames. [350/500] 419 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”. [150/300] 420 French Provincial Glazed Pottery Figure of a Haughty Rooster, of large size in the 19th-century style, h. 17‑1/2”, w. 9‑1/2”, d. 8”. [100/200] 421 Napoleon III Ebonized and Gilt-Brass-Mounted Center Table, fourth quarter 19th century, the giltbrass-inlaid and banded turtle-form top over a conforming serpentine apron, raised on cabriole legs headed by giltbrass cartouches and ending in like-mounted feet, h. 30”, w. 48”, d. 30”. [500/800] Illustrated

416 suite of three 413 S. Curtis Walworth (British, 19th Century) “Impatiens” and “Petunias”, two hand-colored engravings from “Curtis Botanical Magazine”, published in 1829, sight 8‑1/2” x 5”. Both glazed, French matted and presented in molded giltwood frames. [350/500] 414 After Pancrace Bessa (French, 19th Century) “Tradescantia virginica” and “Cyrtanthus angustifolius”, two hand-colored engravings, sight 9‑1/4” x 6”. Both glazed, French matted and presented in molded giltwood frames. [200/400]

422 Continental Ebonized and Polychromed Tilt-Top Table, fourth quarter 19th century, the oval top with a scalloped edge and centered by a parrot-sitting-on-a branch painting, above a baluster-turned standard ending in three cabriole legs, h. 21‑1/4”, w. 21”, d. 14”. [75/125] 423 Victorian Aesthetic Ebonized and Parcel-Gilt Plant Stand, fourth quarter 19th century, the square top raised on a faux-bamboo-turned pedestal ending in three bracket feet, h. 33‑3/4”, w. 17”, d. 17”. [150/300] 424 Interesting Three-Piece Collection of Provincial Treenware, first quarter 20th century, comprised of a large circular fruit-drying tray; a shallow circular bowl; and a large turned burlwood covered canister; the largest dia. 19‑1/4”. [100/200]

415 After Johann Wilhelm Weinmann (German, 1683‑1741) “Various Calendula” and “Impatiens, Oak and Holly”, pair of hand-colored engravings, sight 14” x 9”. Both glazed, French matted and presented in molded giltwood frames. [450/700] Illustrated 416 After Berthe Hoola van Nooten (Dutch, 1817‑1892) “Xanthochymus dulcis”, “Mangifera indica” and “Citrus sarcodactylis”, suite of three chromolithographs, sight 19‑1/2” x 14”. All glazed, French matted and presented in molded giltwood frames. [600/900] Illustrated 417 After Pierre-Joseph Redoute (French, 1759‑1840) “Epidendrum” and “Lilium”, pair of facsimile prints, sight 16‑1/2” x 11”. Both glazed, attractively French matted and presented in molded giltwood frames. [350/500]

421

425 French Provincial Brass Covered Storage Jug, fourth quarter 19th century, of large pyriform, h. 22”, dia. 14”. [20/40] 426 Iberian Peninsula Copper Table Brazier and Copper Footstool, fourth quarter 19th century, the brazier of two-handled, tripodal form with brass mounts, the feet modeled as paws, h. 8”, dia. 15”; the reticulated copper footstool raised on three legs of spindle form, h. 11”, dia. 13”. [100/200] 427 Diverse SevenPiece Collection of Occidental and Oriental Brass, comprised of a pair of Dutch columnar candlesticks, third quarter 19th century; an English brass cooking pot with an arched wrought-iron handle, fourth quarter 19th century; an Anglo-Indian engraved brass paneled tapering vase with a ruffled lip, also fourth quarter 19th century; a large Kuang Hsu circular fruit bowl centered with calligraphic characters, first quarter 20th century; a Japanese Meiji cylindrical covered sake pot in “Songbird and Flowering Prunus” decor; and a Kuang Hsu calligraphic stanzaengraved paktong tobacco box of like date; the largest h. 3‑1/2”, dia. 14‑3/4”. [150/300]

432

431

433

430

428 Anglo-Dutch Brass-Mounted Copper Bed Warmer, first quarter 19th century, the hinged lid of the pan centered with a large bas-relief fleurette, fitted with a turned ebonized wooden handle, w. 10‑1/2”, l. 40”. [75/125] 429 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”. [10/20] 430 Pair of American Rococo Revival Rosewood Sidechairs, third quarter 19th century, each with a deeply carved floral crest above a padded back over a like serpentine seat, raised on cariole legs ending in trifid feet, h. 35”, w. 19”, d. 18”. [200/400] Illustrated

431 Continental Victorian Mahogany Shaving Stand, fourth quarter 19th century, the oval looking glass above an ebony string-inlaid rectangular top over a conforming case fitted with five small drawers, the sides mounted with turned towel holders, raised on a paneled columnar standard ending in three carved splayed legs, h. 48”, w. 20”, d. 14‑1/2”. [150/300] Illustrated 432 Aubusson-Style Tapestry Panel, featuring an exotically clad Blackamoor amidst lush foliage in the Restauration style, fitted with a hanging rod having carved giltwood flammiform finials and embellished at each end with doubletasseled gold cords, h. 46”, w. 61‑1/4”. [300/500] Illustrated

433 Spanish Colonial Carved and Mirrored GlassSet Giltwood Looking Glass, second quarter 20th century, of sunburst form in the 18th-century style, modeled as alternating mirrored glass-set stylized palmettes and flammiform giltwood ribs, the center glass circular, h. 22‑1/2”. [400/700] Illustrated

440

436 438

434 French Brass-Mounted Black Tole Two-Handled Vase, fourth quarter 19th century, in the neoclassical taste, the handles modeled as diademed Bacchic female masques, now filled with Kuang Hsu cut gilt-brass chrysanthemums and foliage, h. 13”, w. 12”, d. 9”. [150/300]

436 Northern Italian Carved Giltwood Looking Glass, second quarter 20th century, in the Venetian 18th-century rococo style, the tall giltwood cresting modeled as a stylized shell atop a pair of addorsed foliate scrolls, h. 31‑1/2”, w. 18‑1/2”. [150/300] Illustrated

435 Group of Four Bracket Shelves, consisting of a good pair of English gilded terra cotta demi-lune bracket shelves in “Plumes” decor in the Regency style; an Italian verdigrisdetailed gilded composition bracket shelf with a bowfront edge in the 18th-century Roman neoclassical style; and a large Italian dark verdigris-finished oblong bracket shelf with chamfered corners and a boldly modeled acanthine support in the neoclassical taste; the largest h. 13‑1/2”, w. 13‑1/2”, d. 7”. [150/300]

437 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”. [40/70] 438 Imposing French Carved Giltwood Corner Shelf, second quarter 20th century, of serpentine-edged cartouche form in the Louis XVI style, the center of the backplate lattice-carved, h. 14”, w. 15”, d. 10”. [150/300] Illustrated

439 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. [300/500]

443

445

442 440 Andree Chevalier (French, 20th Century) “Floral Still Life”, oil on board, signed and dated lower right “Chevalier ‘10”, 13” x 15‑1/2”. Presented in a Louis XVI-style polychromed frame. [400/700] Illustrated previous page

441 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. [100/200] 446

442 American School (First Quarter 20th Century) “Still Life with Pink Roses in a Blue Vase”, oil on canvas, signed and dated lower left “A. R. Thorpe, M.A. ‘29”, 20” x 14”. Presented in a molded giltwood frame. [600/900] Illustrated 443 Leon Londot (Belgian, 1878‑1953) “Nature Morte”, oil on canvas, signed lower right “L. Londot”, 24” x 25”. Presented in a Louis XV-style polychromed frame. [800/1200] Illustrated

444 Italian School (20th/21st Century) “Rooster”, oil on canvas, signed lower left “R. Simonini”, 24” x 20”. Presented in a polychromed and parcel-gilt frame. [350/500]

448

445 Italian Carved and Mirrored Glass-Set Giltwood Looking Glass, second quarter 20th century, of sunburst form in the Directoire style, modeled as paired chipcarved giltwood flames alternating with mirrored glassinlaid single giltwood “flames”, dia. 22‑1/2”. [300/500] Illustrated 446 Pair of Italian Carved Carrara Marble Jardiniereson-Pedestals, first quarter 20th century, the calyxiform bowls surmounting ribbed acanthine-carved shafts above acanthine-carved dome bases, h. 30”, dia. 11”. [300/500] Illustrated 447 Italian Carved White and Veined Carrara Marble Footed Bowl, first quarter 20th century, in “Doves at a Fountain” decor in the Renaissance style, probably of Florentine origin, h. 5‑3/4”, dia. 8‑1/4”. [100/200]

449

452

448 Italian Provincial Glazed Terra Cotta Figure of a Recumbent Lion, third quarter 19th century, glazed in antique white, h. 6‑1/4”, w. 5”, l. 12”. [500/800] Illustrated

451 Continental Carved and Polished Ivory Finial, fourth quarter 19th century, featuring a kerchiefed female masque, a putto head and fruited scrolls, l. 7”. [100/200]

449 Northern Italian Carved Giltwood Looking Glass, second quarter 20th century, of cartouche form in the 18th-century Venetian rococo style, the tall cresting modeled as an open giltwood cartouche mantled in foliate scrolls, h. 28”, w. 16”. [150/300] Illustrated

452 Directoire-Style Fruitwood Commode, by the Baker Furniture Company, the rectangular top over a case fitted with two paneled drawers, flanked by fluted stiles, above a carved and dentillated skirt, raised on tapering square legs ending in spade feet, h. 34”, w. 44”, d. 20”. [500/800] Illustrated

450 Large Pair of Italian Carved Wooden Bracket Shelves, in the Louis XVI style, each antique whitepainted and richly gilded, h. 22”, w. 10‑1/4”, d. 7‑1/2”. [50/80]

453 Directoire-Style Cream-Painted Sidechair, fourth quarter 19th century, the ribbon- and bead-carved crest over a flaming-urn pierced and carved splat, above a padded seat, raised on tapering fluted legs ending in toupie feet, h. 35”. [200/400]

456 Pair of Continental Faux-Marbre Wooden Doric Columns, in the 18th-century style, the faux Sienna columns on faux Verde Antico bases, h. 112”, w. 20”, d. 20”. [500/800]

454

457 Italian Carved and Antique-Gilded Wooden Looking Glass, in the Palladian style, the reverse retains the original printed paper manufacturer’s label, h. 46”, w. 27”. [300/500] Illustrated

458

457

454 Pair of Louis XVI-Style Polychromed Fauteuils, fourth quarter 19th century, each with a shaped crest over a padded back, joined to the like seat by downswept arms, raised on fluted tapering circular legs ending in toupie feet, h. 35”, w. 23‑1/2”, d. 22”. [500/800] Illustrated 455 Pair of Continental Faux-Marbre Wooden Doric Columns, in the 18th-century style, the faux Sienna columns on faux Verde Antico bases, h. 112”, w. 20”, d. 20”. [500/800]

460

458 After Michelangelo (Italian, 1475‑1564) “Night”, a large and weighty bronzed cast-iron allegorical figure from the Medici tomb, Florence, accompanied by a separate oblong black-painted wood slab base and an oblong ivorypainted wooden pedestal, h. on stand 36”. [400/700] Illustrated

462

459 Pair of Continental Shaded Gray-Glazed Pottery Figures of Standing Lions, fourth quarter 19th century, h. 7”, w. 3‑1/2”, l. 8”. [150/300] 460 Pair of German Bronze-Patinated Brass Covered Stag-Handled Vases, in the 18th-century neoclassical style, the impressively antlered stag heads joined by swagged floral garlands, h. 36‑1/2”, w. 24”, d. 17”. [700/1000] Illustrated Color Plate XIV 461 Pair of Italian Bronze-Patinated Brass Pricket Candlesticks, of tripodal form in the Baroque style, h. 18‑1/2”, w. 7‑1/2”, d. 7”. [100/200] 462 Belle Epoque Gilt-Brass and Cut Glass Six-Light Chandelier, first quarter 20th century, in the Louis XVI taste, the lower section fitted with three graduated rings dressed with panel-cut glass spears in two sizes, the upper element dressed with parallel gilt-brass chains of articulated bellflowers, h. 43”, dia. 28”. [2000/4000] Illustrated 463 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”. [600/900]

464

464 French Brass- and Marble-Mounted Black Slate Mantel Clock, fourth quarter 19th century, of modified portico form, the antique-white enameled dial with black chapters in the aesthetic taste and having a beveled glass cover, the black slate plinth and gable incise-carved with foliate scrolls, h. 13”, w. 14‑1/4”, d. 5‑1/2”. [150/300] Illustrated 465 Pair of French Marble Chalice-Form Garniture Coupes, first quarter 20th century, composed of Breche de Benou marble inlaid with Portor marble, the bases of stepped square form, h. 7‑1/2”, dia. 5‑1/2”. [150/300] 466 Rare and Charming Limoges Biscuit Porcelain Cabinet Bust, fourth quarter 19th century, of diminutive size and depicting a smiling boy, the cobalt-glazed base with parcel gilding, h. 6‑3/4”. [75/125] 467 Near Pair of “Classical Musician” Accent Lamps, first quarter 20th century, composed of gilt-brass, painted spelter, faux-ivoire and white onyx, the circular-based lamp featuring a male cellist, the navette-based lamp with a formally clad seated female harpist, fitted with matching antique-white silk shades, h. 17‑3/4”. [75/125]

468 Good, Large Royal Dux White Porcelain Group, second quarter 20th century, depicting a barefoot boy astride a mule, with cobalt blue and parcel-gilt details, the interior of the oblong base fully signed with the Royal Dux impressed pink triangle, h. 15”, w. 9‑1/4”, d. 5”. [100/200] Illustrated

473

469 German Stone-Finished Terra Cotta Bust, third quarter 19th century, depicting a pugnacious 18th-century Prussian military officer in a greatcoat and tricorne hat, h. 19‑1/4”, w. 13‑1/4”, d. 8”. [100/200] 470 Pair of French Columnar Glass Table Lamps, second quarter 20th century, composed of spiral-ribbed and lattice-cut glass in the Baccarat style, presented on giltbrass bases and fitted with tall spiral-ribbed glass finials of pyramidal form, h. 40”, dia. 6‑1/4”. [150/300] 471 One Hundred Forty-One-Piece Assembled Porcelain Partial Dinner Service, for fourteen persons, by the Haviland and Company, Limoges, and Cleveland China Company, in “Albany” pattern, the Haviland consisting of fourteen dinner plates, four bread-and-butter plates, six soup plates, two rim soup plates, nine creamed soup plates, eight creamed soup underplates, six salad/dessert plates, six dessert bowls, two elliptical vegetable serving bowls, two graduated oval vegetable serving bowls, two graduated circular sauce bowls, a two-handled doublelipped sauceboat with integral stand, an elliptical celery boat, an oval olives dish, a dome-covered two-handled butter dish with pierced drain plate, a circular two-handled vegetable bowl, a covered two-handled vegetable tureen, two graduated oval platters, a circular bonbon plate, nine teacups, ten tea saucers, six after-dinner coffee cups, eight after-dinner coffee saucers, a covered hot milk pitcher, a covered two-handled sugar basin, and a cream pitcher, the Cleveland China consisting of five dinner plates, four bread-and-butter plates, four salad/dessert plates, a double-lipped sauceboat with integral stand, two graduated oval platters, four teacups and a larger covered two-handled sugar basin, all of the components fully backstamped with the name of the producing company, the largest h. 4‑1/2”, w. 10”, dia. 8”. [200/400] Illustrated

473 Eric B. George (British, 1881-d.?) “Oval Portrait of a Seated Boy”, oil on canvas, signed and dated lower left “Eric B. George 1910”, 33‑1/2” x 34”. Presented in a Louis XVI-style giltwood and gesso frame with an oval aperture. [1500/2500] Illustrated

468

472 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”. [50/80]

471

483

484

482 Pair of Georgian Pewter Dinner Plates, first quarter 19th century, one touchmarked by the maker B.&P., London, the rim of the other example slightly bent up in one area, dia. 10”. [30/50] 483 Pair of Elizabeth II Sterling Silver Tripodal Pepper Casters, third quarter 20th century, in the Georgian style, h. 3‑1/2”, dia. 2‑1/2”, 3.65 total t. oz. [100/200] Illustrated

474 American School (First Quarter 20th Century) “Portrait of a Woman”, oil on canvas, signed and dated lower right “F. Hornsby 1914”, sight 20” x 16”. Glazed and presented in a period Louis XVI-style giltwood and gesso frame. [200/400] 475 British School (Fourth Quarter 19th Century) “Portrait of a Young Officer”, oil on canvas, unsigned, 31” x 26”. Presented in a molded giltwood frame. [400/700] 476 Three Iron Gate Panels, first half 20th century, of various sizes, each of railed and interlocking near-circular form design, h. 92‑1/2”, w. 39‑1/4”. [50/80] 477 Middle Eastern Hardwood Door Fragment, first quarter 20th century, of tall rectangular form, the upper panel pierced and spindled, the lower panel of arched open form, h. 127”, w. 29‑3/4”. [50/80] 478 Patinated Wrought-Iron and Glass-Top Occasional Table, the rectangular glass top with rounded corners, above a pierced, interlocking scroll-formed frame, raised on square legs ending in pad feet, h. 21‑3/4”, w. 37‑1/4”, d. 31‑1/2”. [50/80] 479 Patinated Wrought-Iron and Glass-Top Occasional Table, the rectangular glass top over a pierced, scroll and circles-formed frame, raised on circular legs, h. 24‑1/2”, w. 37‑1/2”, d. 31‑1/2”. [50/80] 480 Pair of Painted Wrought- and Cast-Iron Garden Gates, first quarter 20th century, each with an upper panel inset with a wrought-iron grille, h. 96”, w. 27‑3/4”. [300/500] 481 Victorian Silverplate Roll-Top Bacon/Chop Server, fourth quarter 19th century, of oval, two-handled and footed form in the Adam taste, the knees of the attenuated cloven-hooved legs modeled as bearded Bacchic masks, the roll-top fitted with a vegetable ivory grip of button form, h. 9”, w. 14‑1/2”, d. 9”. [75/125]

484 Pair of Elizabeth II Sterling Silver Tripodal Salts, third quarter 20th century, in the Georgian style, fitted with conforming cobalt blue glass liners, produced for Harrod’s, London, and so hallmarked, h. 1‑1/2”, dia. 3”, 3.75 total t. oz. [150/300] Illustrated 485 Set of Four Edwardian Silverplate “Corinthian Column” Candlesticks, first quarter 20th century, in the George III style, weighted, h. 10”, w. 3‑5/8”, d. 3‑5/8”. [50/80] 486 Six-Piece Collection of Antique Sheffield Plate, Silverplate and Coin Silver, comprised of an antique Sheffield plate chamberstick of lobed form with the period dunce’s cap snuffer and detaching bobeche, second quarter 19th century; a weighted Sheffield plate “Column” candlestick with detachable bobeche, third quarter 19th century; a Wilcox silverplate footed columnar candlestick in the William IV style, fourth quarter 19th century; a Continental coin silver tripodal candlestick in the rococo taste, third quarter 19th century; and a Van Bergh silverplate spouted cocktail shaker, second quarter 20th century; the largest h. 14‑1/2”, w. 5‑1/2”, d. 5‑1/2”. [100/200] 487 Good Set of Eight Mappin and Webb A‑1 Silverplate Service Plates, second quarter 20th century, in the Georgian style with “Antique Beaded” rims, dia. 10‑1/4”. [350/500] 488 Attractive Three-Piece English Silverplate Solitaire Tea Service, fourth quarter 19th century, in the Reform style, comprised of a teapot, a covered two-handled sugar basin and a sparrow-beak cream pitcher, the largest h. 4‑1/2”. [100/200]

489 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]

496

490 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”. [40/70] 491 African-Style Knife and Sheath, the knife with wroughtiron blade and ivory figurative handle, the leather sheath decorated with cowrie shells and an ivory low-relief face mask, and stitched around the edges with woven fiber, l. 12‑3/4”. [50/80]

495

492 Two African Face Mask Plaques, each carved in low relief, one h. 15”, w. 8”, the other h. 17”, w. 6”. [75/125] 493 Two African Relief-Carved Wooden Face Masks, 20th century, consisting of a large example with almond-shaped eyes and mouth, h. 12‑1/2”, w. 7‑1/2”, and a smaller mask with leather straps, the verso inscribed “Kenya”, h. 9‑1/4”, w. 6”. [40/70] 494 Two African Carved Ebony Stylized Face Masks, 20th century, consisting of a large example with a long forehead, h. 19”, w. 7‑1/2”, and a similar, smaller example with a shorter forehead and executed in darker wood, h. 15”, w. 6‑1/4”. [75/125] 495 Large African Relief-Carved “Portrait” Plaque, depicting a large head in the center and two smaller heads in the lower corners, h. 30”, w. 20”, d. 6”. [100/200] Illustrated 496 Two Tunisian Painted Plank Masks, the first example of square form, centered with an “X” and having pointed ears and crescent-shaped horns, h. 39”, w 21”, d. 1‑1/2”; the second mask of rectangular form and similar design with a long-beaked bird attached to the forehead, h. 45”, w. 20”, d. 7”. [300/500] Illustrated 497 Pair of Moroccan Fruitwood Chairside Tables, second quarter 20th century, each of tall hexagonal form with bone and marquetry inlays in the traditional style, h. 23‑1/4”, w. 10‑1/4”. [125/250]

498 Northern European Polished Steel Mantelpiece, in the neoclassical taste, the side rails modeled as fluted pilasters with composite capitals, h. 49”, w. 54”, d. 7‑1/2”. [500/800] Illustrated 499 Italian-Style Stiffel Brass and Fruitwood “Palm Tree” Table Lamp, modeled as a bronzed-brass stylized palm surmounting a fruitwood fluted truncated column on an ebonized wood base, fitted with a paneled white fabric shade of tapering octagonal form, h. 29”, dia. 6”. [100/200]

503 Circle of Isidore-Jules Bonheur (French, 1827‑1901), a patinated bronze animalier group of a family of goats standing on a crag, fourth quarter 19th century, presented on a navette-form base of satin-polished Grand Antique marble, h. 12‑1/4”, w. 16‑1/2”, d. 6‑1/2”. [250/400] Illustrated 504 Circle of Isidore-Jules Bonheur (French, 1827‑1901), a large patinated bronze figure of a prize bull, fourth quarter 19th century, presented on a satin-polished Grand Antique marble base of oblong form, h. 13‑1/4”, w. 16‑3/4”. [300/500] Illustrated

498

505 Russian School (Contemporary), a patinated bronze figure of a saddled horse, modeled standing on an elaborately detailed moss and stone base, the whole presented on a satin-polished Grand Antique marble base of elliptical form, h. 9‑3/4”, w. 4‑3/8”, l. 10‑3/4”. [200/400] Illustrated

500 Dutch Marquetry Wall Clock of the “Regulator” Type, first quarter 20th century, the marquetry of floral design, the pendulum window of horizontal stylized crescent form, h. 23”, w. 17”, d. 5”. [125/250] 505

501 Victoria Porcelain Works, Austria, Fish Platter and Matching Sauceboat, 1904‑1918, the platter with piscine decoration at the center and a swag rose garland at the border, both pieces with the green underglaze transferprinted Victoria Works crown on the base, platter w. 9”, l. 20‑1/2”, sauceboat h. 3‑3/4”, w. 6‑1/4”, d. 3”. [40/70]

503

504

502 Pair of Northern European Pottery Figures of Ducks, first quarter 19th century, the diminutive gloss greenglazed birds modeled swimming on stylized waves, h. 4‑1/2”, l. 4‑3/4”. [50/80]

508

509

507

510 Three Bamana-Style Chi Wara Antelope Headdresses, all highly stylized with elaborate openwork, manes and tall horns, the largest h. 50”, w. 5”, d. 12”. [300/500] 511 Two African Carved Ebony Figures, 20th century, comprised of a female figure holding two vessels and a male figure holding a shield and spear, h. 17”. [75/125]

514

506 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”. [30/50] 506A 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”. [40/70] 507 Two African Carved Ebony Figure Groups, one with six intricately intertwined figures stacked in two registers, and the other with a standing female figure with two small children, holding a stalk of bananas, the larger h. 15‑1/2”, the smaller h. 13”. [300/500] Illustrated 508 Three African Carved Ebony Figure Groups, 20th century, comprised of a male figure holding a walking stick, a female figure holding a calabash vessel and a female figure holding a small child, the largest h. 17”. [50/80] Illustrated

509 Two African Carved Ebony Figure Groups, 20th century, one depicting a standing female figure holding a crouching figure, h. 16”, and the other depicting a group of eight small figures encircling a larger figure, h. 18”. [75/125] Illustrated

512 Three African Kneeling Female Figures, 20th century, each holding a pounder in a bowl, one with a handled basket on her head, the largest h. 13”. [300/500] 513 Three African Carved Wood Figures, 20th century, comprised of a double figure with a male playing a drum, a seated male figure with hand on chin and a seated male figure with beads and hide, the largest h. 7‑1/2”, w. 9”, d. 3‑1/2”. [75/125] 514 African Carved Wooden Totem Pole, 20th century, in three parts, featuring two stylized figures at the top and a kneeling female and a male smoking a pipe at the bottom, mounted to a circular base with three drum-shaped legs, h. 48”, dia. 12”. [75/125] Illustrated 515 Four African Carved Black Ebony Stylized Heads, 20th century, comprised of two profile plaques and two busts, the argest h. 10”, w. 4‑1/2”. [50/80]

518 519

522 East Indian Carved Wood Group, 20th century, depicting a figure riding on the shoulders of a fanciful beast, h. 12‑1/4”, w. 7‑14”, d. 4‑1/4”. [100/200] 523 Continental Carved Mahogany and Polychromed Folk Figure Group, 20th century, of domed form with hinged leather straps, opening to reveal a low-reliefcarved family grouping, entitled “Vivianovancas”, h. 16”, w. 17”, d. 4”. [100/200] 524 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. [75/125] 525 Bruce Tinch (American, 20th/21st Century) “Venture IV”, limited edition giclee, signed in pencil lower right, titled lower center and numbered lower left “E/V”, sight 23” x 15”. Glazed, matted and framed. [250/400]

527 516 Group of Two African Carved Wooden Objects, comprised of a hinged lidded box with a low-relief figure on the lid, the bottom signed and dated “Osmane ‘90”, h. 3”, w. 6”, d. 4”; and a figural group depicting a pair of fighting elephants, h. 5‑1/2”, l. 8‑3/4”. [100/200] 517 Group of Two African Decorative Objects, 20th century, consisting of a carved stone bust of an elder male, h. 6‑1/2”, w. 3‑1/4”, d. 3‑1/4”; and a miniature brass face mask, h. 3‑1/2”, w. 2‑3/8”. [40/70] 518 African Carved Wooden Figure of a Standing Male Warrior, 20th century, the figure modeled holding a spear in each hand and featuring a box-like, protruding abdomen, h. 27”, w. 11”, d. 17”. [40/70] Illustrated 519 African Carved Wooden Columnar Drum and Beater Base, 20th century, carved with an openwork group of figures, hut, trees and utensils, the drum head lacking, h. 21‑1/2”, dia. 9‑1/2”. [200/400] Illustrated 520 African Carved Wooden Serving Fork and Spoon, 20th century, the fork depicting a kneeling female figure wearing a wire choker necklace, l. 11‑3/4”, the spoon fitted with an ivory handle, l. 13”. [30/50] 521 Six Assorted African Necklaces and a Castanet, including one necklace with wood mask pendant, one with brass bell pendant, one with flat disc leather pendant depicting Africa, one with tassel pendant, one with graduated wood and shell elements, and another with spherical beads incised with concentric circles, the largest l. 36”. [200/400]

529 526 Liz Jardine (American, 20th/21st Century) “Concentric II, III & IV”, suite of three limited edition giclee prints, all signed in pencil lower right, all titled lower left and numbered lower center, sight 11” x 10‑3/4”. All glazed, matted and presented in contemporary bronzed frames. [350/500] 527 Matt Lamb (Irish/American, b. 1932) “Untitled”, oil on paper, signed left side “Lamb”, 30‑1/2” x 23”. Presented in a silvered frame and mounted on a pink satin-covered board. [2000/4000] Illustrated Color Plate XIV

528 Matt Lamb (Irish/American, b. 1932) “Untitled”, two mixed medias on paper, both signed and dated “Lamb 02”, sight 12” x 9”. Both glazed, matted and presented in contemporary giltwood frames. [700/1000]

535

533 American School (Contemporary) “Nautilus”, mixed media on paper, titled lower left, signed lower right “Andres”, sight 13” x 10”. Double-matted and framed. [20/40] 534 Meredith Dean (American, Contemporary) “R-Evolution 2/35/50”, intaglio print, pencil titled, signed and dated “’78”, sight 20” x 20”. Glazed, matted and framed. [20/40]

529 Matt Lamb (Irish/American, b. 1932) “Untitled”, mixed media on panel, signed and dated lower left “Lamb ‘08”, 19” x 16‑1/2”. Presented in a polychromed frame and mounted on a red silk-covered board. [1200/1800] Illustrated previous page 530 American School (20th Century) “Portrait in an Abstract Landscape”, oil on canvas, unsigned, 47‑1/2” x 48‑1/2”. Unframed. [400/700] 531 Richard Kozlow (American, b. 1926) “Hitler”, black and white lithograph, signed lower right “Kozlow”, 13” x 9‑1/2”. Matted and unframed. [20/40]

540

536

532 American School (Contemporary), suite of three works, consisting of “Abstract Untitled”, black and white lithograph, signed in pencil lower right “Henry Simon”, 39‑3/4” x 50”. Unframed; 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; and Chaim Koppelman (American/New York, 1920‑2009) “Tired Napoleons”, black and white etching 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]

535 Longwy Enameled and Parcel-Gilt Pottery Tall-Neck Vase, fourth quarter 19th century, in the Orientalist style, now mounted in patinated bronze and fitted as a table lamp, h. 22”, dia. 7”. [600/900] Illustrated 536 Five-Piece French Champleve-Enameled Bronze Smoker’s Set, fourth quarter 19th century, in the Japonesque taste, comprised of a covered humidor, cigar vase, cigarette urn, circular ashtray and an oblong footed tray, all enameled with segmented brocade patterns of birds, butterflies and dragonflies, the largest w. 7”, l. 9‑1/2”. [1000/1500] Illustrated Color Plate VIII 537 French Plaster Figure of an Algerian Water Seller, fourth quarter 19th century, the cast and bronze-patinated figure in the Orientalist taste, h. 24”, w. 9”, d. 8”. [300/500] Illustrated

537

542 538 French Patinated Metal Figure of an Egyptian Girl, fourth quarter 19th century, the bare-breasted serving girl depicted holding an enameled tray above her head, presented on a waisted circular base of polished Gris de Caunes marble, h. 14‑1/4”, w. 5”, d. 3‑3/4”. [450/700]

539 After Feo Perox (Mexican, Contemporary) “The Camel Keeper”, dated 1986, a large and highly detailed polychromed composition group of a robed camel driver attempting to lead a serenely haughty camel, signed proper left and noted as #115 of an edition, h. 15‑1/2”, w. 11”, l. 16”. [500/800] 540 Moroccan Fruitwood and Marquetry Two-Door Tabletop Cabinet, first quarter 20th century, of diminutive size, fitted with twelve interior small drawers surmounting a single shallow transverse drawer, the wood marquetry highlighted with bone and mother-ofpearl inlays, h. 11‑1/4”, w. 14‑3/8”, d. 9‑1/2”. [600/900] Illustrated

543 Three-Piece Group of Chinese Cloisonne and Carved Ivory Figures, fourth quarter 19th century, consisting of a Kuang Hsu cloisonne and carved bone figure of a robed bearded Immortal bearing a dragon-headed staff; and a similar, smaller pair of Japanese Meiji cloisonne and carved bone figures of patrician women, the heads and hands of carved and oxidized bone; the largest h. 12‑1/2”. [1200/1800] Illustrated 544 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] 545 Blanc-de-Chine Porcelain Figure of the Goddess Kwan-Yin, in the 18th-century style, the figure modeled holding a lotus blossom and standing on an integral base of drum form decorated with relief lotus blooms and stems, the delicately modeled proper right hand a separate and detachable porcelain element, h. 14”. [100/200] 546 Pair of Kuang Hsu Blanc de Chine Porcelain Figures, fourth quarter 19th century, depicting, respectively, a Mandarin with a baton and Kwan-yin with a lotus blossom, both standing on stylized cloud bases, now mounted as table lamps on, respectively, a bronze-patinated brass orientalist base and a turned, waisted and carved ebonized wooden “collector” base, h. 25” and 25‑1/2”. [75/125] 547 Group of Two Chinese Carved Figures, in the 18th-century Ch’ien Lung style, comprised of a rose quartz figure of an elaborately robed gentlewoman holding a plum branch, h. 6‑1/2”; and a similarly carved tiger’seye figure of an elaborately robed gentlewoman holding a peony blossom, h. 6‑1/4”. [100/200]

543

541 Italian Micro-Mosaic-Inlaid Wooden Box, first quarter 20th century, probably of Sorrento origin, featuring dancing provincials, the borders of the lid inlaid with doves in a faux-tapestry technique, the interior lined in scarlet velvet, h. 3‑1/4”, w. 8‑1/4”, d. 6‑1/4”. [300/500] 542 Kuang Hsu Elaborately Enameled Porcelain Covered Vase, fourth quarter 19th century, of large “Temple Jar” form in “Emperor and Attendants” decor, the high-domed cover surmounted by the figure of a seated Foo dog, h. 24”, dia. 13”. [200/400] Illustrated

551 Large Chinese Famille Rose Porcelain Vase, ca. 1900, of baluster form with flared lip rim and openwork handles, decorated in soft famille rose enamels depicting a group of ladies in a gated garden setting, with a calligraphic inscription in black on the reverse, h. 21‑3/4”. [250/400] Illustrated

550

552 Chinese Famille Rose Porcelain Vase, 20th century, of baluster form with flared lip rim, decorated in famille rose enamels with a scene of women and children in a gated garden beneath a banana tree, the reverse with a calligraphic inscription and signature, now wired as a lamp, h. 33‑1/2”. [250/400] Illustrated

553

555 548 Japanese Meiji Ten-Scene “Shunga” Scroll, fourth quarter 19th century, depicting copulating couples, the hand-painted scenes mounted on the traditional figured silk damask borders in pale blue, h. 12‑1/2”, l. 15”. [1000/1500] 549 Japanese FloralEmbroidered Silk Damask Obi, in the traditional style, the primary palette in ivory, gold, russet and deep burnt orange, w. 11‑3/4”, l. 132” (eleven feet). [150/300]

550 Japanese Printed and Embroidered Black Silk Kimono, in “Flower Cart” decor, the “Flower Cart” patterning highlighted with metallic gold thread embroidery, the upper body dramatically lined in scarlet silk, w. 24”. l. 66”. [700/1000] Illustrated

551

552

558 559

560

560 Nepalese Patinated and Parcel-Gilt Bronze Figure of Buddha, third quarter 19th century, the figure depicted seated in the lotus position, with matte blue enamel details, h. 7‑3/4”, w. 5‑1/2”, d. 4”. [300/500] Illustrated 561 Islamic Provincial Bas-Relief Carved Burl Basket, first quarter 20th century, of oval form, the sides carved in Kufic script, the upper area fitted with a steel-link carrying chain, h. 6”, w. 6”, l. 11”. [500/800]

553 Pair of Anglo-Indian Pieced Bone-Veneered Vasiform Table Lamps, with antiqued brass mounts, each fitted with a tapered antique-white fabric shade and a spherical brass finial, h. 29”, w. 5‑3/4”, d. 5‑3/4”. [150/300] Illustrated

557

554 Pair of Shadowboxed Indian Carved Wooden Figural Panels, fourth quarter 19th century, in the Gupta style, presented on brun fonce velvet backplates within deep antique silver-gilt wooden shadowbox frames, h. 12‑1/8”, w. 15‑1/8”. [200/400] 555 Indian Carved White Marble Head of the Youthful Buddha, fourth quarter 19th century, presented on a custom tubular iron and clear glass base of disc form, h. 13”. [200/400] Illustrated 556 Large Balinese Carved Tropical Wood Mask, carved in high relief as a crowned demon head with open fanged mouth, flaring nostrils, bulging eyes and crowned with an openwork headdress, h. 19”, w. 9”, d. 5”. [150/300] 557 Thai Carved, Gilded and Mirrored Wooden Figure of a Dancer, first quarter 20th century, the elaborately costumed figure modeled with upraised arms, presented on an integral black-painted wooden base of shallow drum form, h. 33‑1/4”, w. 18”, d. 8‑1/2”. [100/200] Illustrated 558 Nepalese Gilt-Bronze Figure of the Seated Crowned Buddha, second quarter 19th century, the figure depicted in the lotus position, with matte royal blue enamel details, h. 7”, w. 4‑1/4”, d. 3‑1/4”. [300/500] Illustrated 559 Nepalese Patinated and Parcel-Gilt Bronze Figure of Buddha, second quarter 19th century, the figure depicted seated in the lotus position upon a lotus throne, with royal blue enamel details, h. 8‑1/2”, w. 6”, d. 4‑1/2”. [300/500] Illustrated

562 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”. [50/80] 563 Rare Roman Empire, Constantine Era, TwoHandled Pottery Vase, ca. 200‑299 A.D., with a turned globular body, the surface with attractive untouched soil encrustation from an extended period of burial, h. 5‑1/4”, dia. 4‑1/4”. [75/125] 564 Three-Piece Collection of Recovered Ancient Shipwreck Unglazed Pottery Vessels, comprised of a Han Dynasty (206 B.C.‑220 A.D.) four-handled globular jar, h. 4”, dia. 5‑1/4”; and two Thai Sawankhalok pottery footed tea bowls, both ca. 1450‑1575 A.D.; all with marine encrustation from extended burial in undersea waters. [100/200]

570 Polished Brass and Plate Glass Cocktail Table, third quarter 20th century, raised on curule-form supports at either end, h. 16”, w. 54‑1/8”, d. 24”. [150/300] 571 Edwardian-Style Black Leather Dog Bed, the bed frame with a shaped back and outscrolled arms, and raised on tapering square feet, the interior fitted with a leopard-print chenille-upholstered cushion, h. 14”, w. 36”, d. 24”. [150/300] Illustrated 572 Antique Asian Yew Wood Side Cabinet, mid‑19th century, the framed rectangular top above a pair of sideby-side drawers over two raised panel doors, h. 35”, w. 24”, d. 21”. [300/500]

566 565 Good Group of Four Chinese Scholar’s Desk Viewing Stones, fourth quarter 19th century, consisting of a rare “Ice Crystal” in translucent white, black and charcoal gray with natural inclusions featuring a winter landscape; a Cao Hua stone in butterscotch yellow and russet; a large “Lava Jasper” stone in rose, gray and cafe-au-lait; and an ancient gray stone with water-worn pattering; all presented on custom lacquered wood display stands, the largest h. 9”, w. 9”, d. 2‑1/4”. [150/300] 566 Biedermeier-Style Faux-Tortoiseshell Bureau, the rectangular top over a conforming case fitted with various small drawers and two doors, flanked by two sloping lifttop cubbyholes, above a writing surface, over a case fitted with three short frieze drawers above three graduated drawers, h. 38‑1/2”, w. 48‑1/2”, d. 21”. [800/1200] Illustrated Color Plate VIII 567 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. [100/200] 568 Biedermeier-Style Parcel-Ebonized Fruitwood Occasional Table, by the Baker Furniture Company, the circular top raised on shaped tapering circular legs joined by a shelf stretcher, h. 28”, dia. 28”. [200/400] 569 Contemporary Steel and Red Leather Sofa, the rectangular padded back joined to the tufted seat by closed arms, raised on square legs, h. 28”, w. 81”, d. 31”. [400/700] Illustrated

569

573 Stewart Sinclair MacDermott (American, b. 1889d.?) “Summertime in the Valley”, oil on canvas, signed lower right “MacDermott”, signed verso, 25” x 10”. Presented in a contemporary giltwood frame. [450/700] Illustrated 574 Russian School (Fourth Quarter 20th Century) “Winter Lake Landscape”, oil on canvas, signed lower right, 14‑1/2” x 20‑1/2”. Presented in an ebonized frame. [75/125]

571

575 Russian School (Mid‑20th Century) “Portrait of a Seated Woman”, oil on canvas, signed illegibly and dated “1950” lower left, 31” x 43‑1/2”. Presented in a rustic hardwood frame. [2500/4000] Illustrated 576 Vito Campanella (Italian/Argentinian, b. 1932) “Ajedrez”, oil on canvas, signed lower right “V. Campanella”, signed and titled verso, 22” x 18”. Presented in a giltwood and polychromed frame. [2000/4000] Illustrated

573 577 Pat Viacor (American, fl. ca. 1920‑1980) “Idyllic Afternoon, Lake Champlain”, oil on canvas, ca. 1960, signed lower center edge, 16” x 20”. Presented in a period wave-carved honey-pine frame with a natural linen liner. [200/400] 578 Lee Reynolds (American/California, b. 1936) “Spring Flower Garden”, oil on canvas, signed lower left “Lee Reynolds”, 47” x 58‑1/2”. Presented in a contemporary brass frame. [100/200]

575

576

579 Heather Brillant (English/American, 20th/21st Century) “Portrait of Ava Gabor”, graphite and conte crayon on paper, signed and dated lower right “Heather Brillant ‘08”, sight 14” x 11‑1/2”. Glazed, attractively matted and presented in a molded silvered frame. Heather Brillant is an official portrait painter for the Royal Arts Circle of Barcelona in Spain. She has produced numerous commissioned works of European nobility, presidents and distinguished citizens, some of whom are: Juan Antonio Samaranch, Marquis of Samaranch, Jacques Santer, Prime Minister of Luxembourg 1984‑1995 and member of European Parliament 1999‑2004, and Luiz Inacio Lula da Silva, President of the Federative Republic of Brazil. [2000/4000] Illustrated Color Plate IX

580 583 Cased Five-Piece English Art Deco Toilette Service, Birmingham, 1934, maker: D. & F., the pink guilloche-enameled sterling silver service comprised of a long-handled rectilinear hand mirror, a pair of matching long-handled hair brushes and a pair of oblong clothes brushes, all in a fitted white silk- and velvet-lined brown faux-morocco storage case, the largest implement l. 10‑1/4”. [500/800] Illustrated

579 580 Heather Brillant (English/American, 20th/21st Century) “Portrait of Lady Hartley of Gloucester”, charcoal and conte crayon on paper, signed lower right “Brillant”, sight 13” x 9”. Glazed, attractively matted and presented in a molded silvered frame. [1200/1800] Illustrated

581 Heather Brillant (English/ American, 20th/21st Century) “Afghan Girl”, graphite and conte crayon on paper, signed and dated lower right “Heather Brillant 2008”, sight 18” x 14”. Glazed, matted and presented in a giltwood frame. [1500/2500] 582 Continental School (Fourth Quarter 20th Century) “Pieta”, charcoal on paper, unsigned, sight 49‑1/2” x 29”. Glazed and framed. [100/200]

584 Rare Max Weil, California, Art Pottery “Weil Ware” Vase, third quarter 20th century, of undulating square section and featuring an oceanside Japanese pine tree, the pine needles picked out in bas-relief, the base fully marked in transfer-print underglaze green, h. 10‑1/4”, dia. 5‑3/4”. [40/70] 585 French Carved Calcite, Rose Jasper and Onyx Figure of an Ibis, modeled standing on an amethyst crystal base, the bird’s body of calcite, the bill of rose jasper, the eyes of cabochon onyx, the legs of silvered metal, h. 7”, w. 4”, l. 6”. [250/400]

583

586 Good Two-Piece Niloak Pottery Group, second quarter 20th century, comprised of a shaded matte roseglazed vase of tulipiere form, with an embossed mark underglaze, h. 7‑1/2”, dia. 6”; and a gray-pink matte glazed vase of swan form, with an impressed underglaze mark, h. 7‑1/4”, w. 4”, l. 5‑1/2”. [50/80] 587 Attractive Four-Piece Group of Glass Candlesticks, second quarter 20th century, comprised of a pair of powder blue milk glass pressed dolphin candlesticks in the 19th-century style, attributed to the Portieux Vallerysthal Glassworks, France, h. 8”, dia. 5”; and a pair of American milk glass two-handled console candlesticks, h. 3‑1/2”, dia. 4‑1/4”. [50/80] 588 Pair of Turned and Polished Brass Decorative Finials, late 19th century, each designed with a connection joint below the upper ring and fitted with a double flange which twists and locks in place, h. 18”, dia. 6‑1/2”. [100/200]

594

589 Art Deco Pale Green Jade Jewel Casket-on-Stand, second quarter 20th century, with silver mounts in the Chinese taste, the basal edge of the box rimmed in fruitwood and the whole attached to an ebonized Chinese hardwood scroll-footed base, the interior of the box fitted with a black velvet pad, h. 5”, w. 9”, d. 6. [600/900] Illustrated 590 English Claret and Pale Amber Glass Console Bowl, first quarter 20th century, with an everted lip and an integral matching floral-frog, h. 3‑1/2”, dia. 9‑1/2”. [150/300] 591 Two-Piece Group of Murano Glass, third quarter 20th century, comprised of a large ashtray with goldstone inclusions, h. 3‑1/2”, dia. 9”; and a smaller colorless ashtray of modified quatrefoil form with gold leaf and airtrap inclusions, h. 2‑1/2”, dia. 6‑1/2”. [100/200]

589

592 Follower of Romain de Tirtoff, Called Erte (1892‑1990), a frosted pale yellow plastic attenuated figure of a 1920’s lady of fashion in a Paul Poiret-like evening ensemble, h. 18‑3/4”, w. 8‑1/4”. [300/500] 593 Stylish American Silhouette Sculpture, third quarter 20th century, the cut, wrought and matte silverfinished metal sculpture depicting a man in a fedora, h. 32‑1/2”, w. 6‑1/2”, l. 12”. [100/200] 594 Fine, Classic Arco Floor Lamp, composed of brushed and bright-finished stainless steel and Carrara marble, designed by Achille Castiglioni and Pier Giacomo Castiglioni for Flos, h. 93”. [1500/2500] Illustrated

595 Three-Piece Group of Art Deco-Style Silverplate, first quarter 20th century, comprised of a rare and handsome Viennese silverplate and conforming engraved glass compote in the Sezession style; an attractive Continental Reform-design silverplate teapot; and an English plated nickel silver two-handled pastry tray of squared octagonal form in the Adam taste, 1924, with an applied silver Phi Chi Epsilon presentation shield; the largest h. 8‑1/4”, dia. 9‑1/4”. [75/125] Illustrated 596 Three-Piece French Art Deco After-Dinner Coffee Service, second quarter 20th century, composed of silverplate and ebonized fruitwood in the style of Jean Puiforcat, comprised of a side-handled cylindrical coffeepot, a side-handled covered sugar basin and a covered sugar basin, the handles of turned and ebonized fruitwood, the largest h. 9‑1/2”, w. 8”, d. 5‑1/4”. [100/200] Illustrated

596

595

597 Good Georg Jensen, Denmark, Sterling Silver Art Deco Serving Fork, in “Pyramid” decor, the pattern introduced in 1926, l. 8”, 2.85 t. oz. [400/700] 598 Georg Jensen, Denmark, Sterling Silver Art Deco Jelly Slice, second quarter 20th century, in “Pyramid” decor, introduced in 1926, l. 7‑3/4”, 2.50 t. oz. [300/500] 599 Set of Five Georg Jensen, Denmark, Sterling Silver Tablespoons, in “Pyramid” decor, the pattern introduced in 1926, l. 7‑5/8”, 12.90 total t. oz. [600/900] 600 Thirty-Two-Piece Community Plate Coffee and Tea Service, second quarter 20th century, in the Art Deco taste, comprised of a coffeepot, a teapot, a sugar, a creamer, a waste bowl, six dessert forks, eight teaspoons, three demitasse spoons, six dinner forks, sugar tongs, two oblong serving trays and a milk pitcher; the largest h. 10‑1/2”, w. 4‑1/4”, l. 8‑1/2”; accompanied by an original vintage Community Plate advertisement. [500/800] Illustrated

600

601 Belle Epoque Silverplate Table Jardiniere, first quarter 20th century, in the Louis XVI taste, of oblong and footed form, the interior fitted with a period conforming removable copper liner with a “small scallop” rim, h. 4‑1/2”, w. 3”, l. 8”. [100/200] 602 German Silver-Framed Steel Mesh Lady’s Evening Bag with Kiss Clasp, first quarter 20th century, the interior frame engraved “Huntington Miss Aldine Emmons West Virginia”, retains the period “box-and-triple ring” silver carrying chain, h. 5‑1/2”, w. 8‑1/2”. [100/200]

603 Striking Pair of Sterling Silver Three-Light Candelabra, third quarter 20th century, in the “Danish Modern” style, the candlesockets of stylized calla lily form, h. 9‑1/4”, dia. 4”, 20.30 total t. oz. [700/1000]

609 Mid-Century Modern Ebonized Mahogany Bedstead, comprised of a heavily framed headboard of Art Deco influence and a metal mattress frame, h. 41”, w. 56”, l. 71”. [150/300]

615

604 American Mid-Century Modern Bookshelf, mid‑20th century, composed of rosewood and stainless steel, the case of box form and fitted with three interior shelves, raised on tubular steel legs, h. 43‑1/2”, w. 31‑1/2”, d. 9‑1/2”. [800/1200]

610 Mid-Century Modern Ebonized Mahogany Six-Drawer Chest, of box form, the front fitted with two banks of three drawers, h. 26”, w. 50‑1/2”, d. 19‑3/4”. [1500/2500] 611 Contemporary Espresso-Stained Short Dresser, from the Design Within Reach “Zola Collection”, of rectangular form and fitted with three banks of two drawers, h. 17‑3/4”, w. 75‑1/2”, d. 19‑3/4”. [1500/2500]

616

612 Contemporary Espresso-Stained Bedside Table, from the Design Within Reach “Zola Collection”, the rectangular top over an open shelf above a drawer, h. 13‑1/2”, w. 25‑1/4”, d. 18”. [300/500]

613 Contemporary Ebonized Coffee Table, the rectangular top raised on tapering square legs joined by a shelf stretcher, h. 18”, w. 41”, d. 26”. [100/200] 605 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”. [30/50] 606 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”. [40/70] 607 Lucite Footstool, third quarter 20th century, the circular padded seat covered in antiquewhite linen and raised on four tall legs terminating in an X-form base, h. 18”, dia. 13‑1/4”. [50/80] 608 Contemporary Bertoia Steel Barstool with Seat Pad, designed by Harry Bertoia for Knoll in 1952, h. 38‑1/2”, w. 21”, d. 23”. [400/700] Illustrated

608

614 Interesting Stained Birch Telephone Booth, second quarter 20th century, the folding door opening to an interior fitted with a small bench and a rotary pay phone, h. 83‑1/2”, w. 29”, d. 30”. [500/800] 615 Tom and Bob Bennett (American, 20th Century) “Dancer Sculpture”, polished bronze, presented on a polished Grand Antique marble base of disc form, h. 15‑1/2”, dia. 5”. [500/800] Illustrated 616 Frederick Preiss (Austrian, 1883‑1954) “The Hoop Dancer”, second quarter 20th century, an Art Deco patinated bronze figure of a kneeling leotard-clad female dancer holding a large hoop aloft, signed “F. Preiss”, in script, at the proper left rear edge and presented on an oblong slab of satinpolished Grand Antique marble, h. 15‑3/4”, w. 4‑5/8”, l. 11‑1/2”. [200/400] Illustrated

621 Two American Etchings (First Quarter 20th Century) “Stevenson House, Monterey” by Lawrence N. Scammon (1872‑1947), signed in pencil lower right, titled in pencil lower left, and “Wing Shot” by Don Swann (1889‑1954), signed in pencil lower right, titled in pencil lower center, numbered lower left “232/300”, sight 3” x 4‑1/4” and 4‑1/2” x 6”. Both glazed, matted and framed. [75/125] 622 Gustave Baumann (American/German, 1881‑1971) “Hillside Woods”, color woodblock, signed and dated in pencil lower right “Gustave Baumann, 65”, titled lower left, numbered “2/120”, sight 12” x 10‑1/2”. Glazed, matted and framed. [3000/5000] Illustrated Color Plate XIV 623 American School (Fourth Quarter 20th Century) “Home Again”, color etching, signed in pencil lower right “Russo Greane”, titled in pencil lower left and numbered lower center “32/250”, sight 24” x 36”. Glazed, matted and framed. [100/200] 624 Josef Eidenberger (Austrian, 1899‑1991) “San Francisco, California Street”, color etching, pencil signed lower right, sight 13‑1/2” x 9‑1/2”. Glazed, double-matted and presented in a molded giltwood frame. [75/125] 622

617 Two Pairs of Indian Mirror Black-Lacquered Brass Vases, third quarter 20th century, of ovoid form in “Paired Curves” decor, the larger pair h. 7”, w. 6‑1/2”, d. 4”, the smaller pair h. 5”, w. 4‑1/2”, d. 2‑1/2”. [100/200]

625 Mane Katz (Russian/American, 1894‑1962) “Portrait of a Seated Man”, gouache and ink on paper, signed lower left “Mane Katz”, sight 19‑1/2” x 13”. Glazed, matted and framed. [3000/5000] Illustrated Color Plate XIV

618 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”. [20/40] 619 Three-Piece Group of Art Glass, consisting of an American marbled gray and lavender studio glass vase of closed leaf form, fourth quarter 20th century, h. 10‑1/2”; and a small pair of Murano glass posy vases of truncated oviform in transparent amber cased lattimo with goldstone inclusions, second quarter 20th century, h. 3”, dia. 2‑3/4”. [20/40] 620 Group of Four American Studio Glass Wall Pockets, comprised of a pair of flat-sided “Jack in the Pulpit”form examples in blue-detailed colorless glass, h. 8”, w. 5‑7/8”; a pocket in spangled rose, charcoal, yellow, brown and clear glass, fourth quarter 20th century, h. 9‑1/2”, w. 3‑5/8”; and a colorless glass example in the 18th-century manner, third quarter 20th century, h. 7‑1/2”. [20/40]

625

632 Four-Piece Group of American Glass, first quarter 20th century, including an art glass compote with floral engraving, h. 3”, dia. 6”; a gilt-edged lobed bowl engraved with irises, h. 2‑1/2”, dia. 6‑1/4”; a hand-blown, floral engraved and gilded nappy, h. 2”, dia. 5‑1/2”; and a cut glass plate with silver overlay design, h. 1”, dia. 10”. [100/200] 631

626 American School (Fourth Quarter 20th Century) “Portrait of a Woman with a Cigarette”, watercolor on paper, signed illegibly left side, sight 18” x 23‑1/2”. Glazed, matted and framed. [100/200] 627 Philip Evergood (American, 1901‑1973) “Study of a Classical Statue”, graphite on paper, signed and dated lower right “Philip Evergood, Paris 1925”, sight 24” x 17”. Glazed, matted and presented in a giltwood and polychromed frame. [300/500]

633 Eight-Piece Collection of Fine Scandinavian Modern Glass, comprised of a three-piece graduated suite of Kasta Glassworks crystal “Block” candlesticks designed by U. Ehrner, fully signed and numbered on the bases in diamond stylus script; an Afars Glaswerk “Lily” vase, ca. 1955‑1960; a pair of C‑36 crystal candlesticks, ca. 1955‑1960, acid-stamped on the bases; a good Nuutajarvi, Norway, transparent smoky gray vase of tapered flask form and like date, with a printed paper label of fish form; and an amethyst swirl glass vase, mid‑20th century; the largest h. 8‑1/2”, dia. 3‑3/4”. [100/200] 634 Classic Steuben “Deep Flower Vase”, designed by Donald Pollard in 1959, signed on the base in diamondstylus script “Steuben”, h. 11”. This vase was Steuben stock number SP943. [700/1000] 635 Eleven-Piece Duralex, Spain, Petal-Pressed Glass Fruit Service, for ten persons, comprised of a serving bowl, embossed on the base Duralex/Spain, h. 3‑3/4”, dia. 8‑3/4”, and ten individual bowls en suite, h. 2‑1/4”, dia. 4‑3/4”. [75/125]

628 After Marc Chagall (French/Russian, 1887‑1985) “Untitled”, limited edition offset lithograph, signed in pencil lower right, numbered in pencil lower left “25/500”, sight 32” x 24”. Glazed, attractively matted and presented in a giltwood and gesso frame. [400/700] Illustrated 629 Juan Martin Hidalgo (Spanish, b. 1932) “Spanish Street Scene”, gouache on paper, signed and dated lower right “Martin Hidalgo ‘75”, sight 15” x 10‑1/2”. Glazed, attractively matted and presented in a rustic polychrome frame. [100/200] 630 American Contemporary Chromium-Mounted Lucite Tea Cart, having two tiers, each with a deep galleried edge, h. 27”, w. 17”, l. 25”. [20/40] 631 Dramatic Pair of Beveled and Cut Glass Five-Light Candelabra, late 20th century, each on a graduated triple-square stepped base, h. 28‑1/2”, w. 17”, d. 17”. [300/500] Illustrated 628

639 Realistic Model of a Wheeled 18th-Century Field Cannon, fourth quarter 19th century, composed of cast-iron and steel, h. 12”, w. 15‑1/2”, l. 29”. [400/700] Illustrated 640 Rare World War I German Hammered Brass “Gun Shell” Vase, first quarter 20th century, of cylindrical form, the facade with a hammered stylized bearded mask in the Sezession style, the ground with an overall “martele” pattern, h. 11”, dia. 4”. [100/200] 641 Pair of Polychromed Spelter Figures of English Bulldogs, first quarter 20th century, the pugnacious canines modeled standing and wearing broad collars, h. 4”, l. 7”. [50/80] 636

636 Nicolas Sanson d’Abbeville, Engraved Map, “L’Amerique Septentrionale”, issued in 1674 by AlexisHubert Jaillot and later issued in 1720 by Covens and Mortier, Amsterdam, hand-colored and showing the location of various Indian tribes, unframed, h. 24”, w. 36‑1/2”. This is the Covens and Mortier issue with unchanged nomenclature. The river systems of the southeast are confused, for where the “River Spiritu Sanctu” (an early name for the Mississippi River) appears, there are virtually no Indian tribes placed; instead, the tribes that are known to have been along the Mississippi are placed along the “Chucagua R”. One of these tribes, “Quigualtanqui”, is possibly the earliest form of nomenclature for the Natchez Indians. California appears as a huge island, an error that first began to appear on maps around 1624 that persisted for about a century. [3000/5000] Illustrated 637 Salomon Savery (Dutch, 1594‑1665) “Patriae Antiquae: Inter Iuly et Caroli Magnirare”, hand-colored Hewich engraved map, second quarter 17th century, presented in a deep charcoal-gray mat within a narrow Etruscan red-detailed narrow giltwood frame and glazed in non-glare glass, overall 24” x 21‑1/2”. [300/500] 638 Fine Sebastian Muenster, Germany, Hand-Colored Woodcut Map, depicting the world, ca. 1588, this depiction of the world done in woodcut, devotes half the area to the New World, with German title printed above the border, and Latin nomenclature, clearly based on the 1564 copperplate map Typus Orbis Terrarum by Ortelius, it shows the fabled Northwest Passage above the North American continent, believed to link the north Atlantic and the north Pacific Oceans, At the bottom a huge land mass intended to encompass Antarctica is labeled Terra Australis Nondum Cognits (Southern Land Not Yet Known), German text on verso, unframed, h. 13‑1/2”, w. 16‑1/2”. [2500/4000] Illustrated

638

639

642 Polychromed Spelter Figure of an English Bulldog, first quarter 20th century, the doleful canine modeled wearing a collar, h. 2‑1/2”, l. 3‑1/4”. [40/70]

649

643 Anglo-Indian Chromium and Horn-Handled Magnum Desk Magnifier, the handle honeycomb carved, l. 9”. [50/80]

648

644 Continental Pieced Tortoiseshell Dressing Table Box, fourth quarter 19th century, of oblong form, the interior lid of cedar, the lower interior lined in period crimson silk velvet, w. 4‑1/4”, d. 3”. [500/800] Illustrated 645 Diminutive English Blonde Tortoiseshell Trinket Box, fourth quarter 19th century, set with nickel silver and cut steel, the interior lined in period strie claret papers, the whole supported on four polished bone feet of button form, w. 2”, l. 3”. [300/500] Illustrated 646 Good English Nickel Silver Wire-Inlaid Tortoiseshell Work Box, second quarter 19th century, of octagonal form, the interior lid lined in ruched Chinese yellow silk, the lower interior lined in plain matching silk, with seven compartments of varying size, five of them with blonde tortoiseshell covers, the whole supported on bronze-patinated brass paw feet, h. 4‑1/2”, w. 12”, d. 9”. [3500/5000] Illustrated Color Plate II

650

647 Collection of Three Faux-Scrimshaw Objects, comprised of a truncated tusk tobacco box with the motto “Home Again” and the displayed American eagle on the cover, h. 3‑1/8”; and a pair of whale tooth-form cabinet pieces with engraved decoration, depicting, respectively, “Dearest Rose”, dated 1832, and “Horatio Nelson”, the largest h. 6”. [40/70]

646

648 Fine Peking Red-Orange-Over-White Cameo Glass Vase, in an overall “Peonies” pattern, presented on a custom carved Chinese hardwood stand, h. 10”, dia. 5‑1/2”. [300/500] Illustrated 649 Good Peking Orange-Over-White Cameo Glass Vase, first quarter 20th century, of double-gourd form, presented on a Chinese turned hardwood display stand, h. 9”, dia. 4‑1/2”. [300/500] Illustrated

644 645

650 Japanese Arita Meiji Porcelain Covered Bowl, fourth quarter 19th century, of circular cushion form in “Orange Chrysanthemum” decor, the floral decoration accompanied by calligraphy stanzas in black, h. 7”, dia. 10‑1/4”. [150/300] Illustrated

655 Pair of Japanese Polychromed Porcelain Vases, each of ovate form resting on a splayed base, with tubular handles, decorated in overglaze enamels depicting birds among branches with flowering plants, h. 13‑1/2”. [150/300] 656 Japanese Taisho Imari Porcelain Charger, first quarter 20th century, featuring lakeside villas with mountains on a yolk-yellow field in the background, accompanied by a folding lacquered wooden display stand in the traditional oriental style, charger dia. 16”. [100/200] 657 Pair of Kuang Hsu Tapestry-Embroidered Panels, first quarter 20th century, featuring various exotic birds amidst flowering trees and shrubs, the palette in taupe, old ivory, faded coral and gray-lavender, presented in period narrow carved giltwood frames, h. 66”, w. 20”, d. 1”. [600/900] Illustrated 658 Kuang Hsu Porcelain Covered Four-Bowl Stacking Food Service, fourth quarter 19th century, each piece in a different pastel hue and in floral decor, each bowl marked on the base with a rouge de fer colophon, h. 5‑1/2”, dia. 5”. [100/200] 659 Japanese Meiji Porcelain Five-Part Stacking Food Bowl Set, fourth quarter 19th century, in floral decor, comprised of four bowls, each with a different pastel ground color and white floral decor, and a conforming pink-ground porcelain cover, each bowl fitted with a pair of bronze wire handles of bail form, h. 8‑1/2”, dia. 7”. [125/250] 657 651 Japanese Taisho Silver-Mounted Champleve Enamel Cabinet Vase, first quarter 20th century, of baluster form in floral decor on a yolk-yellow ground, presented on an oriental turned hardwood stand of circular, tripodal form, h. 7‑1/4”, dia. 3‑3/4”. [150/300] 652 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”. [50/80] 653 Japanese Meiji Satsuma Pottery Cylindrical Cachepot, fourth quarter 19th century, polychromed and parcel-gilded in “Chrysanthemum” decor, the base with a circumscribed X in black and a calligraphic signature in overglaze gold, h. 11”, dia. 8‑1/4”. [200/400] 654 Kuang Hsu Polychromed Crackle Porcelain RingHandled Vase, fourth quarter 19th century, of baluster form in “Birds and Flowering Trees” decor, now mounted as a table lamp on a turned mahogany base of circular, stepped form, h. 14‑1/2”, dia. 6‑1/4”. [100/200]

662

660 Group of Two Satsuma Vases, one a Japanese Meiji Satsuma elaborately polychromed blueground pottery vase of baluster form, featuring songbirds, a quail and a butterfly amidst chrysanthemums and flowering plants, first quarter 20th century; the other a similar Satsuma vase with a yellow ground; both pieces signed on the bases in black calligraphy, the largest h. 13‑1/4”. [1000/1500] 661 Attractive Two-Piece Group of Kuang Hsu Porcelain Items, consisting of a two-handled moon flask in “Celestial Dragons” decor, second quarter 19th century, h. 9‑3/4”, w. 7”, d. 2”; and a baluster-form vase in “Fruited Vines, Flowers and Songbirds” decor, signed below the shoulder in incised calligraphy, fourth quarter 19th century, h. 9‑3/4”, dia. 3‑1/2”; both examples with pale turquoise grounds. [125/250]

662 Patinated Cast-Iron Figure of Buddha, the figure modeled elaborately jeweled and standing atop a lotus blossom, h. 18”, dia. 6”. [100/200] Illustrated

669 670 668

663 Cased Set of Eight Kuang Hsu Carved Coconut Shell and Pewter Wine Goblets, fourth quarter 20th century, each goblet with a pewter stem and circular foot and bas-relief carved coconut shell bowl fitted with a detachable pewter interior, h. 3‑1/4”, dia. 2”, the compartmented wooden case fitted with a slide top carved with calligraphic characters, the facade centered with a wrought-wire carrying bail, h. 3”, w. 10‑1/4”, d. 7‑1/2”. [125/250] 664 Kuang Hsu Elaborately Carved Soapstone Cabinet Group, first quarter 20th century, carved from russet soapstone and depicting a small ovoid bowl surrounded by a tribe of monkeys, birds and a kylin amidst foliage, h. 6‑3/4”, w. 11‑1/2”, d. 2‑3/4”. [50/80] Illustrated

665 664

665 Two Elaborately Carved Soapstone Sculptures, first quarter 20th century, consisting of a large Kuang Hsu rose and ecru soapstone tabletop sculpture of two vases and a bowl mantled by birds on a flowering branch, h. 10”; and a russet soapstone group of two vases mantled by a pair of birds on a flowering branch, h. 9‑1/2”. [100/200] Illustrated

673

667 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] 668 Chinese Carved Pale Agate Group, 20th century, depicting two figures and birds among a rockwork setting, with russet highlights, presented on a custom carved wooden stand, h. 3‑1/2”. [150/300] Illustrated 669 Chinese Carved Nephrite Landscape Group on Stand, 20th century, depicting rockwork and a crescent moon with a foreground of blooming lotus, h. 7”, w. 10”, d. 3‑1/4”. [300/500] Illustrated 670 Chinese Carved Hardstone Group of Two Birds, 20th century, modeled on a rocky outcrop, presented on a carved wooden base, h. 4‑1/2”, w. 4‑1/4”. [250/400] Illustrated

666 Pair of Kuang Hsu Carved Wooden Figures of Foo Dogs, first quarter 20th century, the dark cinnabarlacquered and parcel-gilt figures modeled seated on pedestals in the Ming Dynasty style, one of the dogs with its forepaw on a playful Foo pup, the other with a carved parcel-gilt sphere beneath its proper right forepaw, h. 10‑1/2”, w. 5”. d. 7”. [200/400]

671 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]

674 672 Group of Three Pottery Foo Dogs, comprised of a small Chia Ch’ing turquoise and ochre-glazed pottery figure of a seated toothy Foo dog, 1796‑1820, h. 5‑3/4”, w. 3”, l. 4‑1/4”; and a larger pair of Kuang Hsu monochrome gloss-glazed buff pottery figures of Foo dogs with their forelegs resting on reticulated spheres, fourth quarter 19th century, h. 9‑3/4”, w. 5‑1/2”, l. 9”. [150/300]

673 Kuang Hsu Carved Green and Russet Jade Covered Ceremonial Vessel, first quarter 20th century, of ringed dragon-handled and paw-footed form in the Ming Dynasty style, the high-domed cover surmounted by the figure of a stylized dragon, h. 7‑1/2”, w. 8‑1/2”, d. 5‑1/2”. [300/500] Illustrated previous page 674 Kuang Hsu Carved Dark Green Jade Group, first quarter 20th century, depicting three carp of varying size swimming among lotus plants, h. 12”, w. 7‑3/4”, d. 3‑1/8”. [300/500] Illustrated 675 Kuang Hsu Elaborately Carved Ochre and Rose Soapstone Group, fourth quarter 19th century, composed of two elderly bearded basket vendors and their two youthful assistants, presented on a custom carved Chinese hardwood stand, h. 4‑1/4”, w. 6‑3/4”, d. 1‑1/2”. [300/500] 676 Pair of Chinese Carved Soapstone Bookends, elaborately floral-carved from dark gray-veined gray soapstone in the Kuang Hsu style, the aprons of the bases shaped, h. 7”, w. 4‑1/2”, d. 2‑1/4”. [75/125] 677 Interesting Group of Three Chinese Items, comprised of a large reverse-painted flat-sided glass snuff bottle in “Seaside Village” decor, with a bauxite rondel cap; a slightly smaller reverse-painted flat-sided glass snuff bottle in “100 Mandarines” decor, with a cabochon onyx cap; and a carved rouge marble tabletop figure of the laughing Ho-tei semi-recumbent on a K’ang base; the largest h. 4‑1/4”. [50/80] Illustrated

678 Seven-Piece Collection of Iridescent Green Carnival Glass, mid‑20th century, consisting of two “Thin-Rib”stamped roses; a “Pulled Loop”-stamped rose; a fluted vase; a modified “Diamond Point Columns” vase; a small ruffled-edge and footed compote; and a rufflededge shallow bowl; the largest h. 11‑1/2”, dia. 3‑3/4”. [100/200] 679 Two Fenton Art Glass Iridescent Lilac Glass Epergnes, late 20th century, consisting of a large example with three “Jack-in-the Pulpit” stems, h. 9”, and a smaller epergne with a single stem, h. 4‑1/2”, both with opalescent edges. [100/200] 680 Twenty-Six-Piece Green Carnival Glass Punch Set, late 20th century, consisting of a “Vintage”-stamped punchbowl, h. 7”, dia. 12”, and twenty-five matching cups, h. 2‑1/2”, dia. 3‑1/2”. [100/200] 681 Six-Piece Collection of Various Green-Hued Carnival Glass, late 20th century, consisting of two tall “Ripple”-stamped vases with crimped edges; a “Rose”stamped circular covered butter dish; an opalescent “Hen and Roosters”-stamped plate with a crimped edge; a “Vintage”-stamped covered jar; and a commemorative “American Carnival Glass Association, 1970” bowl; the largest h. 14‑1/4”, dia. 5‑1/2”. [100/200] 682 Six-Piece Group of Iridescent Green Carnival Glass Candy Dishes, mid‑20th century, consisting of three basketweave-stamped candy dishes with open edges; and three blackberry-stamped examples with ruffled edges; the largest h. 3‑1/2”, dia. 6‑1/4”. [100/200] 683 Five-Piece Collection of Various Iridescent Carnival Glass, late 20th century, consisting of three “Ripple”stamped vases; a footed compote with scalloped edge; an oval dish with reticulated edge; and a small footed compote with ruffled edge; the largest h. 7‑1/2”, dia. 8”. [100/200] 684 Good Fenton Opalescent Vaseline Glass “Jack-inthe-Pulpit” Epergne, late 20th century, the underside of the bowl marked “Fenton”, h. 13”, dia. 12”. [200/400] Illustrated

677

685 Good Fenton Opalescent Vaseline Glass Ruffled Epergne, late 20th century, the bowl and inserts with a deep blue-banded edge, the base signed “Fenton”, h. 10”, dia. 9‑1/2”. [200/400] Illustrated

694

686 Five-Piece Collection of Green Carnival Glass, late 20th century, consisting of a “Grape and Cable”embossed lidded biscuit jar; an iced beverage pitcher with a floral design; and three condiment bowls with various holly designs; the largest h. 8”, w. 6”, l. 9”. [100/200] 687 Thirteen-Piece Collection of Blue Carnival Glass, late 20th century, consisting of a pair of tall candlesticks; six thistle-stamped goblets; two basketweave-stamped open-edge bowls; a hen-lidded covered dish; and a ruffled-edge candy dish; the largest h. 10”, dia. 3‑3/4”. [100/200] 688 Two Pieces of Iridescent Blue Carnival Glass Items, late 20th century, including a large signed “Fenton” floralembossed vase with ruffled edge, h. 14”, dia. 7”; and a “Grape and Cable”-pattern lidded butter dish, h. 6”, dia. 8”. [100/200] 689 Four-Piece Collection of Iridescent Blue Carnival Glass Items, late 20th century, comprised of a “Grape and Cable”-pattern lidded biscuit jar, a pair of floralembossed vases, and a flared and footed bowl, h. 7‑1/2”, dia. 6”. [100/200]

696

690 Seven-Piece Collection of Iridescent Blue Carnival Glass, late 20th century, in “Floral” decor, consisting of a pitcher, h. 8‑3/4”, w. 5”, l. 8”, and six water glasses, h. 4‑1/2”, dia. 3”. [100/200] 691 Six-Piece Collection of Variously-Hued Iridescent Carnival Glass, mid‑20th century, consisting of three vases with ruffled edges (two fine ribbed and one with modified “Three Diamonds” pattern); a “Diamond NearCut” ruffled-edge plate; a ruffled-edge footed condiment bowl with “Peacock and Grape” design; and a shallow bowl; the largest dia. 10‑1/2”. [100/200]

684

685

692 Six-Piece Collection of Various-Colored Iridescent Carnival Glass, consisting of a camel-shaped covered dish, two embossed paperweights, a small “Vintage”embossed bonbon dish, and two rose-embossed crimpededged tri-footed bowls, the largest h. 3”, dia. 8‑1/2”. [100/200] 693 Set of Seventeen Chinese Silver Tael Medallions, commemorating such historic emperors as Kang Hsi, Ch’ien Lung, the Empress Tzu-Hsi etc., dia. 1‑3/4” and 1‑1/2”. [100/200] 694 Attractive Tao Kuang Parcel-Gilt and Patinated Bronze Equestrian Group, second quarter 19th century, depicting a mounted Immortal reading a book, h. 10”, w. 4‑1/4”, l. 8‑1/2”. [400/700] Illustrated

700

701 702

698

698 Two Chinese Carved Wooden Figures of Buddha, comprised of a Tao Kuang carved giltwood figure of the standing robed Buddha, his hands clasped in prayer, second quarter 19th century, h. 11”; and a smaller carved, parcel-gilt and patinated wood figure of the warriorBuddha standing on a half-dome, third quarter 19th century, h. 8”. [300/500] Illustrated

699 Attractive Kuang Hsu Relief-Carved Agate Boulder Mountain, fourth quarter 19th century, featuring a lakeside pavilion on one facade and travelers in a mountain landscape on the opposing facade, presented on a square fret-carved mahogany stand, h. 2‑1/2”, w. 2‑1/4”, d. 1‑1/4”. [50/80] 700 Unusual Pair of Chinese Bronze Candlesticks, first quarter 20th century, of small size, each cast as the standing figure of a female deer holding a floral pricket in her mouth and standing on a galleried rectangular base with in-curved feet, h. 7‑1/2”, w. 2‑1/4”, l. 3‑5/8”. [75/125] Illustrated

695 Kuang Hsu Elaborately Carved Hardwood Figure Group, fourth quarter 19th century, depicting an Immortal being offered the Peach of Immortality by a youthful attendant, the eyes and teeth of minutely carved bone, h. 11”, w. 5‑3/4”, d. 4‑1/4”. [200/400] 696 Kuang Hsu Patinated Bronze “Money Tiger”, first quarter 20th century, modeled as a coin-bedecked snarling crouched tiger on a bateau-form basin surmounting a pile of coins, h. 12”, w. 4‑1/2”, l. 9”. [150/300] Illustrated previous page 697 Unusual Pair of Chinese Carved Wood Figures of Buddhistic Lions, 19th century, each elaborately carved, gessoed and painted, each holding a ribbon in its mouth and paws, with attached brocade ball, the female with a cub beneath her playing with the end of the ribbon, h. 11‑1/2”. [125/250] 704

706 Group of Seven Chinese Porcelain Plates, consisting of a pair of Kuang Hsu richly polychromed pale celadonground porcelain plates in “Fruit, Flowers, Butterflies and Birds” decor, dia. 8‑1/2”; and a set of five similarly decorated porcelain plates of slightly smaller size and like date, dia. 7‑1/2”; all seven examples signed in underglaze blue calligraphy. [150/300] 707 Kuang Hsu Engraved Brass-Mounted Gray Alabaster Table Box, first quarter 20th century, the interior with the remains of the Chinese government’s official wax seal indicating genuine antiquity, h. 2‑1/4”, w. 5”, d. 3‑1/2”. [300/500] 708 Good Kuang Hsu Elaborately Carved Buff Soapstone Bird Group, fourth quarter 19th century, depicting a pigeon, a feeding bird and a crested pheasant, presented on a conforming custom-carved hardwood stand, h. 4‑1/2”, w. 9‑1/4”, d. 4‑1/4”. [100/200]

710 701 Chinese Bronze Figure of the Seated Buddha, 19th century, the figure clad in monk’s robes with cast brocade decoration and seated in the lotus position with closed eyes, with gilt decoration to the fleshy areas, h. 9‑1/4”, w. 7‑1/4”, d. 5”. [300/500] Illustrated 702 Nepalese Gilded Cast-Iron and Brass Figure of Shiva, third quarter 19th century, depicted standing on the back of a bull, the integral oblong base weighted, h. 8”, w. 2”, l. 5‑1/4”. [200/400] Illustrated 703 Hsien Feng Polychromed Gold-Ground Panel, third quarter 19th century, depicting a Chinese family strolling in a lakeside garden, presented in a slightly later boneinlaid mahogany frame fitted with cut brass suspension frets and glazed, h. 18‑1/2”, w. 39”. [50/80] 704 Pair of Chinese Four-Panel Folding Screens, composed of carved black lacquer and polychrome in the Coromandel style, the facades with carved polychrome birds amidst flowering and fruited vines, the reverses with carved polychrome lily plants and bamboo, all on satin black lacquer grounds, h. 72”, each panel w. 16”. [250/400] Illustrated 705 Tall Ming Dynasty-Style Sincai-Glazed Pottery TwoHandled Vase, h. 29”, dia. 11”. [30/50]

711 709 Semi-Antique Heriz Carpet, 9’ x 13’. [1200/1800] 710 Peshawar Sultanabad Carpet, 9’ x 12’ 3”. [1200/1800] Illustrated Color Plate VII 711 Persian Tabriz Carpet, 9’ 2” x 12’ 6”. [700/1000] Illustrated

720 Agra Bakshaish Carpet, 9’ x 11’ 9”. [800/1200] Illustrated 721 Indo-Oushak Carpet, 4’ x 6’. [200/400] 722 Agra Serapi Carpet, 8’ x 10’ 2”. [1000/1500] Illustrated 723 Indo-Oushak Carpet, 5’ 8” x 8’ 4”. [300/500] 724 Agra Faux-Silk Carpet, 2’ 11” x 5’. [150/300] 725 Peshawar Carpet, 8’ 2” x 10’ 1”. [1800/2500] Illustrated Color Plate II

714

712 Semi-Antique Mashad Carpet, 13’ x 8’. [200/400] 713 Belouchistan Carpet, 3’ 6” x 6’ 8”. [150/300] 714 Kashan Carpet, 10’ 2” x 12’ 3”. [800/1200] Illustrated 715 Agra Serapi Carpet, 6’ x 9’. [700/1000] 716 Indo-Oushak Carpet, 9’ 10” x 13’ 9”. [700/1000] Illustrated 717 Persian Tabriz Carpet, 9’ 10” x 12’ 9”. [500/800] Illustrated 718 Indo-Sultanabad Runner, 2’ 6” x 10’. [125/250] 719 Persian Gabbeh Runner, 2’ 11” x 8’ 8”. [500/800]

716

717

722

720

725

Online Catalogue: www.stcharlesgallery.com

Session II

Sunday, January 23, 2011 11:00 a.m. (Lots 726-1325)

957

730 Two Spanish Colonial Carved and Polychromed Wooden Figures, second quarter 19th century, consisting of an unusually large parcel-gilt wooden figure of a robed St. Francis of Assisi, fitted with glass eyes, h. 17‑1/2”; and a small wooden crucifix, h. 10”, w. 4‑1/2”. [400/700] Illustrated

726 726 Russian Polychromed Wooden Ikon, first quarter 19th century, depicting “The Virgin and Child” emerging from a monumental fountain, fitted with a conforming bas-relief silvered brass riza, h. 14‑1/2”, w. 11‑1/4”. [600/900] Illustrated Color Plate VIII 727 727 Russian Polychromed Wooden Icon, fourth quarter 19th century, depicting “St. Nicholas the Miracle Worker”, fitted with an embossed silvered brass riza with a title plaque at the basal center, h. 12‑1/4”, w. 10‑1/4”. [300/500] Illustrated Color Plate VIII 728 Two Spanish Colonial Carved and Polychromed Wooden Figures of Christ, first quarter 19th century, consisting of the naked Christ, the lower arms and legs lacking, h. 12”; and a smaller Corpus, the outstretched arms lacking, h. 10”. [300/500] Illustrated 729 Spanish Colonial Carved and Polychromed Figure, first quarter 19th century, depicting a black and white robed St. Martin de Porres carrying a votive figure of the Virgin and Child, the figure fitted with glass eyes, the proper right forearm lacking, h. 12”. [300/500] Illustrated

728

731 Two Spanish Colonial Carved and Polychromed Wooden Figures, first quarter 19th century, consisting of a figure of a bearded St. Paul the Apostle carrying a book and standing upon a vanquished serpent, h. 10‑1/2”; and a smaller figure of the Virgin stepping on a serpent and fitted with an embossed tin diadem, h. 8”; both figures fitted with glass eyes. [200/400] Illustrated 732 Group of Two Spanish Colonial Carved and Polychromed Wooden Figures, second quarter 19th century, comprised of a black and white robed figure of St. Martin de Porres, the upraised proper right forearm lacking, h. 12‑3/4”; and a figure of St. Anthony of Padua holding the Infant Jesus, the proper right forearm lacking, h. 10‑1/2”. [400/700] Illustrated

730

729

731

734 Spanish Colonial Carved and Polychromed Wooden Figure of a Saint, second quarter 20th century, the brightly painted figure depicted bearded, robed and bearing a staff and a gilded half-mask, h. 13‑5/8”. [125/250]

732 733

735 Napoleon III Walnut Prie-Dieu, fourth quarter 19th century, the padded armrest over a carved and pierced back featuring a cross within a Gothic arch, above a padded kneeler, raised on fluted tapering circular legs ending in bun feet, h. 33‑1/2”, w. 18‑1/2”, d. 17”. [150/300] Illustrated

735

733 Two Spanish Colonial Carved and Painted Figures, first quarter 19th century, consisting of a black and white figure of a robed St. Vincent Ferrer, the left arm cradling a skull and the right arm raised in benediction, h. 10‑1/2”; and a black and white figure of a robed St. Martin de Porres, the proper right forearm lacking, h. 10‑1/4”; both figures fitted with glass eyes. [200/400] Illustrated

739 Italian School (Fourth Quarter 20th Century) “St. Michael Slaying the Dragon”, a patinated bronze sculpture on a polished slate base, signed “Barye”, h. 20”, w. 6‑1/4”, d. 6‑1/4”. [300/500] 740 Follower of Guillaume Geefs (Belgian, 1805‑1883), a patinated bronze figure of “Lucifer”, presented on a polished slate base, h. 14”, w. 6”, d. 6”. [300/500] 741 Large Northern Italian Provincial Carved Giltwood Looking Glass, second quarter 19th century, in the rococo taste, the tall canted giltwood cresting of stylized lyriform, the cartouche-form plate waisted, h. 43”, w. 24‑1/2”. [400/700] Illustrated 742 Italian Wrought-Iron Five-Light Chandelier, first quarter 20th century, the bronzed, patinated and polychrome-detailed fixture in the provincial style, the floriform candlesockets of cut and crimped iron, the center of the cage-form frame centered with four polychromed flowers, electrified and fitted with “old ivory” card faux candles, h. 22”, dia. 18”. [75/125]

736

738 737

736 Anglo-German Stained and Enameled Glass Window of St. Michael, fourth quarter 19th century, in the 16thcentury style, the tall, lancet-arched window depicting the archangel armored and armed, defeating the dragon, h. 48”, w. 22‑1/4”, presented in a later natural pine stand with trestle feet, h. 90”, w. 28”, d. 23‑3/4”. [400/700] Illustrated 737 Cased French Gilded and Reticulated Silvered Brass Crucifix Music Box, first quarter 20th century, the ebonized wood base of the Crucifix fitted with a music box, the Corpus of antiqued faux-ivory, h. 19”, w. 7‑1/2”, d. 3‑1/4”, the whole presented in a glassdoored mahogany-stained wooden case, on a wroughtiron and glass stand, h. 22‑1/4”, w. 16‑3/4”, d. 8”. , stand h. 45‑1/2”. [100/200] Illustrated 738 Anglo-German Stained and Enameled Glass Window of St. Helena, fourth quarter 19th century, in the 16thcentury style, the tall, lancet-arched window depicting the saint carrying her attribute, the true cross, sight h. 48”, w. 22‑1/4”, presented in a later natural pine stand with trestle feet, h. 90”, w. 28‑1/4”, d. 23‑3/4”. [400/700] Illustrated

743 Spanish Colonial-Style Figure of a Nude Winged Putto, early 20th century, the large carved, polychromed and richly parcel-gilded figure modeled carrying an olive branch in the Baroque style, h. 24”, w. 15”, d. 14”. [300/500] Illustrated

747

743

745 Pair of Italian Carved Giltwood and Wrought-Iron Two-Light Figural Appliques, second quarter 20th century, each featuring a standing putto in the 18thcentury Roman style, the candlearms of cut and gilded wrought-iron, the bobeches of flowerhead form, not electrified, h. 30”, w. 9‑1/2”, d. 9”. [300/500] Illustrated

746 Italian SpiralRibbed Cast-Stone Birdbath-onPedestal, first quarter 20th century, in the Early Renaissance taste, the surface pebbled and lightly weathered throughout, h. 25‑1/2”, dia. 24”. [50/80]

741

744 Pair of Continental Wrought-Iron Seven-Light Floor Candelabra, second quarter 20th century, in the 18th-century Spanish Provincial style, the supports modeled as four triple-scrolled addorsed feet, the whole presently in an old, lightly rusted natural finish, h. 55‑1/2”, w. 33”, d. 16‑1/2”. [75/125]

745

749 Good Italian Elaborately Polychromed Majolica Figure of an Angel, first quarter 20th century, in the Renaissance taste, the figure modeled kneeling, its hands crossed over the breast, h. 12‑1/4”, w. 5‑1/4”, l. 9‑1/4”. [200/400] Illustrated 750 Studio of Frans Francken III (Flemish, 1607‑1667) “Christ Carrying the Cross”, oil on canvas laid on board, 39” x 50‑3/4”. Presented in a museum-quality, Baroque-style, hand-carved wooden frame affixed with a brass plaque incised with “Francke, Esc. Flem. XVII”. Provenance: Purchased by the current owner from the collection of the late Baron of Belcastel, France. [25000/40000] Illustrated Color Plate VI

749 750

753 747 Large Italian Provincial Eight-Light Chandelier, third quarter 20th century, composed of turned and stained fruitwood and wrought-iron, the scroll arms of wroughtiron with bellflower husks, the baluster center of turned and stained fruitwood, fitted with “old ivory” faux candles and electrified, h. 32”, dia. 31”. [200/400] Illustrated previous page 748 Three-Piece Chinese Blue and White Porcelain Mantel Garniture, first quarter 20th century, in “Fleur de Lys” decor, comprised of a central oblong jardiniere, h. 6”, w. 10”, d. 9‑3/4”, and a pair of matching cachepots of flared square section, h. 7‑1/2”, w. 6”, d. 6”, all three pieces with the Three Rivers kiln mark in underglaze blue. [150/300]

751 After Albert Durer (German, 1471‑1528) “Christ Chasing the Merchants Out of the Temple” and “Christ Before Herod”, two facsimile prints, sight 11‑1/2” x 9”. Both glazed and presented in weathered polychrome and parcel-gilt frames. [200/400] 752 Two Double-Sided Latin Music Sheets, 19th century, sight 17” x 10‑1/2”. Both glazed and presented in attractive ebonized and gilt-stenciled frames. [250/400] 753 After Lucas Cranach the Elder (German, 1472‑1553) “Jesus Performing Miracles”, two woodblock engravings from Martin Luther’s Hauspostille, sight 5” x 6”. Both glazed, matted and presented in silvered frames. [250/400] Illustrated

754 After Hans Holbein the Younger (German, 1497‑1543) “Portrait of Lady Mary Guildford”, charcoal and conte crayon on paper, 20th century reproduction, sight 19‑1/2” x 14”. Glazed and framed. [75/125] 755 Mexican School (Second Quarter 20th Century) “Intervention of the Virgin Upon a Drowning Man”, oil on tin, accounts of the event in lower margins, 5‑1/2” x 7‑1/2”. Mounted on olive-green felt and presented in a molded mahogany-stained and parcel-gilt frame. [125/250] 756 Mexican School (Second Quarter 20th Century) “The Miraculous Intervention of the Virgin Upon an Unfortunate Horseman”, oil on tin, accounts of the event in the lower margins, 8” x 9‑1/2”. Mounted on green fabric and presented in a polychromed and parcel-gilt frame. [125/250]

757 759 Lucien Gautier (French, 1850‑1925) “St. Chapelle Interior” and “St. Chapelle Exterior”, pair of black and white etchings, sight 12” x 8‑1/2”. bBoth glazed, matted and framed. [100/200] 760 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”. [15/30] 761 M. Macquer, Dictionnaire de Chimie, Volume 1, Neuchatel, 1789, bound in leather and having blue marbled Florentine paper endpapers, h. 7‑3/4”, w. 5”, d. 2”. [100/200] 762 G. C. T. Bartley, The Rhine from its Source to the Sea, 1878, J. B. Lippincott and Company, Philadelphia, Illustrated with 425 wood engravings and presented in a gold-stamped black morocco binding and marbled endpapers, the pages with fore-edge gilding, h. 14”, w. 10‑3/4”, d. 2‑1/4”. [150/300]

758 757 Harry Davidson (American, 1858‑1924) “Saint Elizabeth of Hungary”, engraved and colored wood plaque, initialed lower right, titled lower center, 27‑1/2” x 43”. Presented in a burlwood frame. [350/500] Illustrated 758 American School (First Quarter 20th Century) “Queen Elizabeth Stepping Onto a Boat” and “Elizabethan Ladies in a Boat”, two oval, hand-colored and incised wood plaques, 23” x 16”. Each mounted onto a fabric background and presented in a molded giltwood frame. [350/500] Illustrated

763 The Holy Bible, Translated from the Latin Vulgate, fourth quarter 19th century, P. F. Collier, New York, the very Reverend Frederick Oakeley, M.A., Canon of Westminster, the large tome with a deeply embossed leather-veneered cover, gilded fore-edges, brass hasps and numerous steel-engraved illustrations, the frontispiece a blank color-lithographed marriage certificate, h. 14‑1/2”, w. 11‑1/2”, d. 3‑3/4”. [50/80] 764 Approximately Twenty-Six Volumes Pertaining to Religion, The West and American Life, including five volumes of The Bible Story, an autographed edition of Glimpses Through Life’s Windows, by J. R. Miller, D.D., The Desire of Ages, by Ellen G. White, and Born Rich, by Hughes Cornell, the largest h. 11‑1/2”, w. 9”, d. 4”. [20/40]

765 Collection of Three Volumes, comprised of a slip-cased facsimile edition of Bernardino Genga’s Anatomy Improved and Illustrated, 18th century; a slip-cased edition of John Pugh’s 1794 Treatise on the Science of Muscular Action, both of the preceding volumes profusely illustrated; and a Chaillot and Choudens, Paris, Echos d’Europe, songbook of German, French, Italian and Swiss tunes, third quarter 19th century, with gray, scarlet and black marbleized end papers. [100/200]

767

766

768

770 769 771

770 Fourteen-Karat Rose and White Gold and Emerald and Diamond Lady’s Ring, featuring a square stepcut natural emerald, weighing approximately 10.87, set within an elaborate bead- and bezel-set round white diamond lattice gallery, supported by a rose gold lattice undercarriage and round brilliant-cut white diamondintertwined ribbons as shoulders, approximate diamond weight 1.77 carats, size 7.5. [6000/9000] Illustrated Color Plate XVI

766 Fine Fourteen-Karat White Gold and Diamond Engagement Ring, featuring a prong-set round brilliantcut white diamond, weighing approximately .70 carats, set within a floret white diamond undercarriage, supported by pave- and bead-set round brilliant-cut white diamondset shoulders, approximate weight .36 carats, total weight 1.07 carats, size 7.5. [1500/2500] Illustrated Color Plate XVI

771 Fine Fourteen-Karat Yellow Gold and Emerald and Diamond Lady’s Ring, featuring a central square stepcut natural emerald, weighing approximately 2.03 carats, set within a round brilliant-cut white diamond bezel, supported by a yellow gold lattice undercarriage and round brilliant-cut white diamond-set shoulders, approximate total weight of diamonds .50 carats, size 7.5. [1500/1800] Illustrated Color Plate XVI

767 Lady’s Platinum, Emerald and Diamond Petite Ring, composed of a central square-cut emerald, weighing an estimated .45 carats, surrounded by a single row of Old European-cut diamonds with an estimated total weight of .28 carats, size 5. [800/1200] Illustrated Color Plate XVI 768 Pair of Fourteen-Karat White Gold, Diamond and Zircon Stud Earrings, each of square outline with invisibly set square-cut zircons surrounded by squarecut white diamonds, estimated total diamond weight .50 carats. [700/1000] Illustrated Color Plate XVI

772 Fine Eighteen-Karat White Gold and Diamond Engagement Ring, featuring a prong-set round brilliantcut white diamond, weighing approximately 1.58 carats, set within bead-set round brilliant-cut white diamond-set shoulders, approximate total weight of diamonds 2.05 carats, size 7. [5000/8000] Illustrated Color Plate XVI

769 Eighteen-Karat Yellow Gold, Emerald and Diamond Lady’s Ring, composed of a central prong-set rectangular step-cut natural emerald, total weight 3.89 carats, set within a round brilliant-cut diamond bezel, supported by channel-set baguette-cut diamond-set shoulders, total weight of diamonds 0.70 carats, size 7.5. [2500/4000] Illustrated Color Plate XVI

773 Fourteen-Karat White Gold, Emerald and Diamond Ring, composed of a square step-cut natural emerald, weighing approximately 8.17 carats, set within a two-tiered round brilliant-cut white diamond bezel, supported by round brilliant-cut white diamond shoulders, approximate total weight of diamonds 1.00 carats, size 7.5. [4000/7000] Illustrated Color Plate XVI

773 772

8 100

774 775

778 Fourteen-Karat White Gold and Diamond Lady’s Ring, composed of a central prong-set round brilliantcut white diamond, weighing approximately 1.28 carats, supported by bead- and bezel-set round brilliant-cut white diamond-set shoulders, approximate total weight of white diamonds 1.99 carats, size 7.5. [4000/7000] Illustrated Color Plate XVI

777

778

776

779

774 Beautiful Eighteen-Karat White Gold and Champagne and White Diamond Lady’s Ring, featuring a prong-set oval shaped-cut champagne diamond, weighing approximately 2.23 carats, set within a pave- and bead-set round brilliant-cut white diamond bezel, approximate weight of white diamonds 1.43 carats, size 7. [6000/9000] Illustrated Color Plate XVI 775 Fourteen-Karat White Gold and Diamond Engagement Ring, featuring a prong-set round brilliantcut white diamond, weighing 2.35 carats, set within beadset round brilliant-cut white diamonds, approximate total weight of diamonds 2.77 carats, size 7.5. [8000/12000] Illustrated Color Plate XVI 776 Monumental Fourteen-Karat White Gold, Aquamarine and Diamond Pendant, featuring a pear-shaped faceted genuine aquamarine, weighing approximately 43.77 carats, set within a round faceted white diamond bezel, weighing approximately 0.82 carats, supported by a white gold bail on an 18‑1/2” chain terminating in a lobster-claw clasp. [4000/7000] Illustrated Color Plate XVI 777 Eighteen-Karat White Gold and Diamond Lady’s Ring, featuring a prong-set round brilliant-cut white diamond, weighing 1.48 carats, supported by channel-set baguette-cut white diamond-set shoulders, framed by mirroring ribbons of prong-set round brilliant-cut white diamonds, total approximate diamond weight 3.58 carats, size 7. [12000/18000] Illustrated Color Plate XVI

779 Good Pair of Fourteen-Karat White Gold and Diamond Solitaire Earrings, featuring two prongset round brilliant-cut diamonds with screw backs, one weighing 1.66 carats, the other 1.58 carats. [8000/12000] Illustrated Color Plate XVI 780 Fourteen-Karat Yellow Gold, Ruby and Diamond Cluster Necklace, featuring a flexible ribbon of thirty-five oval mixed-cut natural rubies, approximate total weight 60.49 carats, surrounded by round brilliant-cut white diamond clusters set in a contiguous chevron-inspired design, approximate total weight of diamonds 10.71carats, on a sixteen-and-a-half-inch chain. [6000/9000] 781 Fourteen-Karat Yellow Gold, Ruby and Diamond Pendant, featuring an oval faceted genuine ruby, weighing approximately 18.32 carats, set within an elaborate round full-faceted white diamond floret bezel, approximate total weight of white diamonds 1.09 carats, supported by a fourteen-karat yellow gold bail, suspended on an eighteen-and-a-half-inch fourteen-karat yellow gold chain ending in a lobster-claw clasp. [1500/2500] Illustrated Color Plate XVI

781

782

782 Fourteen-Karat Yellow Gold, Ruby and Diamond Floret Dinner Ring, featuring an oval faceted genuine ruby, total weight 10.40 carats, set within an elaborate round full-faceted diamond floret bezel, total weight of diamonds 1.53 carats, size 7.5. [1400/1800] Illustrated Color Plate XVI

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784 786

783 785

787

789

786 Interesting Fourteen-Karat White Gold and Black and White Diamond Lady’s Ring, featuring a prong-set round brilliant-cut black diamond, weighing approximately 6.41 carats, set within a tiered round brilliant-cut white diamond foliate bezel, supported by intertwined round brilliant-cut white diamond-set shoulders, approximate weight of white diamonds 0.52, size 7.5. [2000/4000] Illustrated Color Plate XVI 787 Fine Pair of Fourteen-Karat White Gold and Black and White Diamond Earrings, composed of two round faceted genuine black diamonds, weighing approximately 6.65 carats, set within a round bezel with a single row of round full-faceted white diamonds, approximate weight of white diamonds 1.20 carats, finished with post closures. [1400/1800] Illustrated Color Plate XVI 788 Ten-Karat Two-Color Gold and Gemstone Band Ring, in the Art Deco style, composed of alternating rows of channel-set round-cut blue sapphires and white diamonds, all set in white gold over a yellow gold shank, size 8. [400/700] Illustrated Color Plate XVI

788

790

783 Impressive Fourteen-Karat White Gold and Black and White Diamond Pendant, featuring a round brilliant-cut black diamond, weighing approximately 8.36 carats, set within an elaborate stylized pave- and channel-set round brilliant-cut white diamond lattice gallery, supported by a pave-set round brilliant-cut white diamond hinged bail with safety clasp, suspended on an eighteen-inch fourteen-karat white gold chain ending in a lobster-claw clasp, approximate total weight of white diamonds 3.14 carats. [6000/9000] Illustrated Color Plate XVI

784 Unique Silver, Gold and Diamond Dinner Ring, featuring cascading multi-shaped rose-cut white diamond tablets, supported by bead-set single-cut white diamondset shoulders, approximate total diamond weight 1.44 carats, size 7.5. [1200/1800] Illustrated Color Plate XVI

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785 Good Fourteen-Karat White Gold and Black and White Diamond Pendant, composed of a central round brilliant-cut black diamond, weighing approximately 7.74 carats, set within a round brilliant-cut white diamond bezel, approximate total weight of white diamonds 0.87 carats, completed by a white gold bail, with an eighteen-inch chain terminating in a lobster-claw clasp. [4000/7000] Illustrated Color Plate XVI

789 Lady’s Fourteen-Karat White Gold, Sapphire and Diamond Band Ring, composed of a central row of eleven square-cut blue sapphires flanked on either side by a row of round brilliant-cut white diamonds, all stones channel set, estimated weight of sapphires .56 carats, of diamonds 1.11 carats, size 8. [1000/1500] Illustrated Color Plate XVI 790 Beautiful Fourteen-Karat White Gold, Tanzanite and Diamond Lady’s Ring, featuring a triangular mixed-cut natural tanzanite, weighing approximately 5.90 carats, set within a round brilliant-cut white diamond bezel, supported by three-way split round brilliant-cut white diamond-set shoulders, approximate weight of white diamonds 0.72 carats, size 7.5. [3500/5000] Illustrated Color Plate XVI

791 792

791 Lady’s Eighteen-Karat White Gold, Sapphire and Diamond Cocktail Ring, composed of a central square cushion-cut blue sapphire, weighing an estimated 6.5 carats, bezel-set in an openwork mounting set with single-cut white diamonds, size 6. [4000/7000] Illustrated Color Plate XVI 792 Fourteen-Karat White Gold, Tanzanite and Diamond Lady’s Ring, featuring a round faceted tanzanite, total weight 4.25 carats, set within a round full faceted diamond bezel, supported by round full-faceted diamond-set shoulders, total weight of diamonds 2.11 carats, size 7.5. [3000/5000] Illustrated Color Plate XVI

794

795

793

793 Interesting Twenty-Two-Karat Yellow and Eighteen-Karat White Gold and Yellow and White Diamond Ring, composed of a prong-set princess-cut yellow diamond, total weight 1.03 carats, set within an inner yellow gold and outer white gold round brilliant-cut diamond bezel, supported by round brilliant-cut white and yellow diamond-set split shoulders, total weight of accent yellow and white diamonds 0.40 carats, size 7.0. [3000/5000] Illustrated Color Plate XVI

796

797 Fourteen-Karat White Gold, Zircon and Diamond Ring, in the retro-moderne style, composed of a central rectangular dome of invisibly-set blue zircons, with an estimated total weight of 2.0 carats, bordered on each side by a row of invisibly-set princess-cut diamonds, with an estimated total weight of .30 carats, size 9.5. [1500/2500] Illustrated

797

794 Unique Fourteen-Karat Yellow Gold, Tanzanite and Diamond Bracelet, composed of a central oval mixed-cut natural tanzanite flanked by marquise mixedcut tanzanites with baguette-cut and round brilliant-cut diamond bursts, supported by round brilliant-cut diamond links, approximate total weight of tanzanites 7.72 carats, of diamonds 3.15 carats, l. 7”. [3500/5000] Illustrated Color Plate XVI 795 Unusual Fourteen-Karat White Gold, Tanzanite and Diamond Dinner Ring, featuring a round mixed-cut natural tanzanite, weighing approximately 5.44 carats, set within an elaborate bombe-style bead-set round brilliant-cut and channel-set baguette-cut white diamond lattice gallery with matching intricate white diamond-set shoulders, approximate weight of white diamonds 2.09 carats, size 7.5. [4000/7000] Illustrated Color Plate XVI 796 Gentleman’s Fourteen-Karat White Gold, Sapphire and Diamond Ring, composed of a central cabochon blue star sapphire mounted in a gypsy setting flanked by two round brilliant-cut white diamonds, estimated sapphire weight 7.0 carats, size 7.5. [3000/5000] Illustrated

798

798 Gentleman’s Fourteen-Karat White and Yellow Gold and Diamond Ring, the ribbed mounting in yellow and white gold and centrally set with a cluster of seven round brilliant-cut white diamonds with an estimated total weight of .75 carats, size 7. [1200/1800] Illustrated

799 Gentleman’s Vintage Unnamed Wristwatch, the gold-filled frame surrounding a square white enamel face with gold numerals, with a non-fitting crystal and brown leather strap, face 1‑3/8” x 1”, band l. 9‑1/2”. [150/300] Illustrated following page 800 Gentleman’s Vintage Elgin Fourteen-Karat White and Gold-Filled Wristwatch, the case of canted rectangular outline with engraved rim, white enamel face with gold numerals and second hand dial, and a brown leather strap, face 1” x 1‑1/4”, band l. 9‑1/4”. [300/500] Illustrated following page 801 Gentleman’s Vintage Fontaine Gold-Filled Wristwatch, of small size with square white enamel face with gold numerals, second hand dial, 17-jewel Swiss movement, ribbed crystal, and brown leather band, face 1‑1/2” x 15/16”, band l. 8‑1/2”. [300/500] Illustrated following page

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800

807 Gentleman’s Vintage Waltham White Gold-Filled Wristwatch, with bowed rectangular face with engraved detail, enamel dial, second hand dial, blue crystal and spring expandable band, face 1‑3/8” x 1‑1/4”. [200/400]

801

808 Gentleman’s Vintage Gruen Veri-Thin Rose GoldColored Base Metal Wristwatch, of bowed rectangular outline, with rose-colored dial with black enamel numerals, second dial, and 15-jewel Gruen Swiss movement, face 1‑1/2” x 1‑1/8”, band l. 9‑3/4”. [300/500] Illustrated 809 Gentleman’s Vintage Westfield White Rolled Plate Wristwatch, the rectangular case with silvered dial and gold numerals, American Standard Watch Company 6jewel movement, and black leather strap, face 1” x 1‑1/4”, band l. 8‑3/4”. [200/400] Illustrated

802

810 Gentleman’s Vintage Gruen Fourteen-Karat White Gold and Gold-Filled Wristwatch, the octagonal case with engraved details, white enamel face with green numerals, 15-jewel Swiss movement and black leather strap, face 1‑1/4” x 1”, band l. 8‑1/2”. [300/500] Illustrated

803

802 Gentleman’s Vintage Gruen Veri-Thin Ten-Karat Yellow Gold Rolled Plate Wristwatch, with rectangular polished frame, white enamel face with gold numerals and markers, 17-jewel Swiss movement, and leather “alligator” brown strap, face 1‑1/2” x 1‑1/8”, band l. 9”. [300/500] Illustrated

804

805

806

803 Gentleman’s Vintage Helbros Riviera Gold-Filled Wristwatch, the circular face in silver and beige with gold hour markers and imitation diamonds, 17-jewel Helbros Swiss movement, and brown leather “alligator” strap, face 1‑9/16” x 1‑1/4”, band l. 9”. [200/400] Illustrated 804 Gentleman’s Vintage Elgin Stainless Steel Wristwatch, of bowed rectangular outline with engraved details, white enamel face with black numerals, Elgin USA movement, and dark brown leather strap, face 1‑1/2” x 1‑1/4”, band l. 9”. [200/400] Illustrated 805 Gentleman’s Vintage Gruen Veri-Thin Gold-Tone Base Metal Wristwatch, the rectangular face with engraved details, white enamel face with gold numerals, second hand, ridged crystal and black leather strap, face 1‑3/8” x 1”, band l. 9”. [300/500] Illustrated 806 Gentleman’s Vintage Jagot Chromium Wristwatch, of rectangular outline with engraved details, white enamel face with black numerals, second hand dial, 6-jewel Swiss movement, and black leather band, face 1‑1/2” x 1‑1/16”, band l. 9‑1/4”. [300/500] Illustrated

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810

811 Gentleman’s Vintage Fourteen-Karat White and Gold-Filled Wristwatch, the canted rectangular face with engraved details, white enamel face with gold numerals, Benrus Watch Company movement, and black leather band, face 1‑3/8” x 1‑1/6”, band l. 9‑1/4”. [200/400] Illustrated 812 Pair of Burmese Jadeite Bangles, each of celadon color with variegations of dark green and rust, each with engraved fourteen-karat yellow gold hinges and clasps. [250/400] 813 Twenty-Seven-Inch Strand of Celadon Jade Beads and Fourteen-Karat Gold Spacers, modeled as quartets of beads alternating with three ribbed gold spacers (the center spacer flanked by two smaller ribbed spacers), fitted with a fourteen-karat gold shuttle clasp, l. 27”. [250/400] Illustrated

814

818 815 817 Lady’s Silver and Gemstone Ring, probably Southwestern, composed of two oval lavender cabochons, probably amethystine, in bezel settings surrounded by worked silver flowers, size 8. [100/200] 813

814 Large Thai Green Jade Cabochon, set in sterling silver with spiraled marcasite reserves forming a pendant, l. 2‑1/4”. [350/500] Illustrated

818 Interesting English Oak Gothic-Style Court Cabinet, late 19th century, the upper structure having a central faux door flanked by a working door to each side, all with deep relief-carved panels depicting allegorical scenes, and a drawer below each door, the front posts with drop finials in the form of birds with ribbons, h. 63”, w. 50”, d. 28”. [800/1200] Illustrated

820

815 Lady’s Fourteen-Karat White Gold, Jade and Diamond Ring, composed of a central oval plaque of Imperial green jadeite flanked on either side by a small diamond, size 7. [800/1200] Illustrated 816 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. [75/125]

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822

824 Large Pair of Villeroy and Boch, Mettlach, Polychromed Ironstone Chargers, fourth quarter 19th century, featuring, respectively, a view of a German riverside town and a Wagnerian scene from “Lohengrin”, both pieces fully marked in green transfer-print and impressed logo and numerals, dia. 17‑1/2”. [400/700] Illustrated 825 Good Gebruder Schoenau, Huttensteinach, Polychromed Pottery Vase, first quarter 20th century, with two handles in the Renaissance style, the body with a polychromed frieze of a 16th-century aristocratic falcon hunt, the foliate handles with Bacchic-masque lower terminals, the interior of the foot fully marked, underglaze, h. 16‑1/4”, w. 9‑1/2”, d. 6”. [300/500] 826 Continental Circular Portrait Miniature, fourth quarter 19th century, depicting a young 16th-century gentlewoman in a ruff, signed lower left “Marilli”, presented in a circular ebonized wood frame with an antique-gilded brass fillet and glazed, dia. 4‑1/8”. [200/400]

819 Pair of English Walnut Sidechairs, partially composed of antique elements, in the Jacobean taste, each with a padded rectangular back above the padded seat, raised on block and bulbous legs joined by turned stretchers and ending in bun feet, h. 40‑1/2”. [600/900] 820 Pair of Renaissance-Style Walnut Armchairs, fourth quarter 19th century, each with a rectangular embossed leather-padded back, joined to the like seat by open, carved arms, raised on fluted circular legs joined by a H-form stretcher and ending in block-and-ball feet, h. 36‑1/2”, w. 25‑1/2”, d. 20‑1/2”. [500/800] Illustrated previous page

827

821 Gothic Chippendale-Style Mahogany Occasional Table, labeled “Imperial, Grand Rapids”, the circular top with a beaded edge and gilt-tooled leather-inset surface, raised on double-columnar legs headed by block trefoil carving and pierced corner blacks, and ending in paneled plinth feet, h. 27”, dia. 18‑1/2”. [125/250] 822 Pair of American Carved and Paneled Oak Pedestals, fourth quarter 19th century, in the Gothic taste, with satin-polished Lamartine marble tops, each facade with a paneled Gothic arch, h. 36”, w. 15”, d. 15”. [200/400] Illustrated 823 English Oak Welsh Dresser, early 19th century, the molded cornice above a floral guilloche-carved frieze, over a long open shelf and two smaller central shelves flanked to either side by a paneled cupboard door, the lower section with a rectangular top with molded edge above a case fitted with two drawers, each fronted by two raised and shaped panels, the whole raised on turned baluster-form legs to block feet, h. 81‑1/2”, w. 59”, d. 20‑1/2”. [900/1200]

106

824

827 Pair of Bohemian Enameled Emerald Green Glass Garniture Vases, fourth quarter 19th century, probably the Muhlhaus Glassworks, of cylindrical and footed form in “Knights” decor, the necks and the basal edges of the bodies with applied floriform prunts, h. 13‑1/2”, dia. 5‑1/2”. [900/1200] Illustrated Color Plate VIII

829

828 Two Good Rhenish Stoneware Steins, fourth quarter 19th century, in the 18thcentury style, comprised of a pewtermounted gray and blue stoneware stein, the lid with a laughing mask thumbpiece, an engraved presentation inscription, and a facet-cut glass center jewel, h. 7”; and an ivory and blue stoneware pewter-mounted stein, the mount with an armorial shield thumbpiece, the facade with the blue and white diapered Bavarian coat-of-arms, h. 9‑3/4”. [300/500] Illustrated

829 German Pewter-Mounted Amber Glass Beer Stein, fourth quarter 19th century, in the Baroque style, the facade of the body mounted with the figure of a standing putto and a cartouche, the domed lid with a finial of a seated putto holding a knight’s helmet, h. 9‑1/2”, w. 3‑3/4”, l. 5‑1/4”. [200/400] Illustrated

837

830

828

830 Group of Two German Stoneware Steins, first quarter 19th century, comprised of a gray saltglazed one-litre stein with a pewter mount, h. 9”; and a similarly mounted buff salt-glazed stein, the lid monogrammed “M.B.”, h. 8‑1/4”; the bottom of each stein combed in a circular pattern. [300/500] Illustrated 831 Limoges Enamelon-Copper Plaque of a Cavalier, fourth quarter 19th century, in the 16th-century style, presented in a period scrollcut brass tabletop frame, h. 12‑1/2”, w. 7”, d. 10”. [1200/1800] Illustrated 832 Dutch Delftware Ribbed Octagonal Vase, fourth quarter 19th century, in the 18th-century “Kakiemon” taste, h. 13‑1/2”, dia. 7‑1/4”. [75/125]

831

833 Eighteen-Piece “Blue Danube” Porcelain Partial Coffee Service, for eight persons, in the Meissen style, comprised of a large coffeepot, a covered two-handled sugar basin, a cream pitcher, seven coffee cups and eight coffee saucers, the largest h. 10‑1/2”, w. 6”, l. 8”. [100/200] 834 Franco-Bohemian Porcelain Pastry Tray, third quarter 19th century, of circular form in the rococo taste, the center with an unusual equestrienne scene of a girl sidesaddle on a stubborn donkey harassed by her brother and his dogs, dia. 13”. [200/400]

835 Set of Seventeen Dutch Delft Square Tiles, in the 18th-century style, each depicting a golfing figure, each of the figures different, two of the tiles depicting a pair of golfers, the reverses all initialed “WR” and “MW” in black script above the impressed mark “Holland”, w. 5‑1/4”, l. 5‑1/4”. [50/80] 836 Good Pair of Dutch Polychromed Delft Pottery Chargers, first quarter 19th century, in “Flower Basket” decor, the base of one with the Three Bells Pottery, Delft, mark, dia. 13‑1/4”. [400/700] 837 Bohemian Lavishly Gilded Cut Overlay Glass Decanter, third quarter 19th century, in cobalt over white over clear glass, with a matching tall “steeple” stopper, h. 19”, dia. 5‑1/2”. It has been suggested that this decanter was produced for the Ottoman market. [2000/4000] Illustrated Color Plate II

107

838 Two-Piece Group of Bohemian Overlay Glass Vases, comprised of a royal blue-over-white-over clear cut overlay glass long-neck garniture vase in stylized floral decor, third quarter 19th century; and a similar overlay glass tall-neck vase with the clear reserves floral-polychromed, the neck and the central body with bead prunts, fourth quarter 19th century; the largest h. 12‑1/2”, dia. 5”. [1800/2500] Illustrated

842

839 Group of Two Franco-Bohemian Overlay Glass Lustres, fourth quarter 19th century, comprised of a parcel-gilt white-over-emerald overlay glass lustre, h. 11‑1/4”, dia. 5‑1/2”; and a similar example in parcel-gilt white-over-cranberry overlay glass, h. 11”, dia. 4‑3/4”; both examples dressed with magnum cut glass spears, those on the cranberry lustre back-cut. [900/1200] 840 Two-Piece Group of Bohemian Cut Overlay Glass, in white-over-ruby/cranberry glass, consisting of a tumbleup in “Ellipse and Diamond” decor, first quarter 20th century, h. 9”, dia. 4”; and a Franco-Bohemian parcelgilt vase of baluster form, third quarter 19th century, h. 10‑1/4”, dia. 3‑1/2”. [500/800] 841 Eight-Piece Heisey Rose-Enameled “Custard” Glass Berry Service, first quarter 20th century, comprised of a serving bowl, h. 3‑1/4”, dia. 8‑1/4”, and seven matching berry bowls, h. 2”, dia. 4‑1/2”, all with parcel-gilt lips, each marked on the base with the Heisey “H” within a lozenge. [100/200] 842 Grand and Opulent Pair of Continental Electroplate Ten-Light Candelabra, early 20th century, of monumental proportions, each featuring three Bacchic putti surmounting the central shaft, the base with various plaques depicting the harvest, h. 37‑1/2”, dia. 14‑1/2”. [25000/40000] Illustrated Color Plate III 843

838

843 Unusual Loring Andrews Company Sterling Silver Footed Fruit Bowl, first quarter 20th century, of large size in “Floral Repousse” decor, h. 6”, dia. 12”, 31.50 t. oz. [2000/4000] Illustrated 844 Rare Set of Nine Wallace Silversmiths Sterling Silver “Irian” Bouillon Spoons, the pattern introduced in 1902, l. 5‑1/4”, 6.35 total t. oz. [200/400] 845 Set of Twelve Mauser Sterling Silver Long-Handled Seafood Forks, in a pattern similar to Shiebler’s “American Beauty”, introduced in 1896, the pattern here introduced in 1907, l. 6‑1/4”, 6.55 total t. oz. [250/400]

108

848 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”. [20/40]

846

849 Diverse Six-Piece Collection of Continental Brass and American Silverplate, first quarter 20th century, comprised of a brass pastry server in “Medallion” decor; a Reed and Barton “Le Louvre” nutpick, the pattern introduced in 1888; a J. D. Taylor “Aldine” vegetable serving spoon, the pattern introduced in 1895; a Rogers Brothers “Lotus” vegetable serving spoon, the pattern introduced in 1895; a Rogers Brothers “Persian” pie slice with ivy-engraved blade, the pattern introduced in 1871; and an American over-the-cup tea strainer in “Daisy” decor; the largest l. 10”. [100/200]

850

846 Fine Benjamin Stevens Victorian Sterling Silver Five-Light Centerpiece, ca. 1847, the arms with acorn and oak leaf motifs, the base adorned with three children amongst rocks and a waterfall, h. 28”, dia. 19‑1/2”. This centerpiece bears the hallmark of London silversmith Benjamin Stevens, 1847, and is engraved with the crests and monogram of Sir William Francis Patrick Napier, a British soldier and historian, who authored an extensive six-volume collection entitled History of the War in the Peninsula and two other books regarding his brother, British war hero Sir Charles James Napier. Sir William was knighted in 1848 and this centerpiece was probably a gift commemorating this momentous occasion as the base plaques are engraved in script “WN” with Napier family crests and mottos “Sans Tache” and “Ready Aye Ready”. [25000/40000] Illustrated Color Plate III 847 Five-Piece Gorham Sterling Silver Tea and Coffee Service, dated by Gorham date symbol 1900, of small size in the Louis XV taste, comprised of a coffeepot, h. 7‑1/2”, w. 9”, d. 4‑1/2”, a teapot, h. 5”, w. 9”, d. 4‑1/2”, a covered two-handled sugar basin, h. 5”, w. 7”, d. 4”, a cream pitcher, h. 4‑1/2”, w. 5”, d. 3‑1/2”, and a waste bowl with gilded interior, h. 3”, w. 4‑1/2”, d. 4”, 41.95 total t. oz. [2000/4000] Illustrated Color Plate V

847

109

850 Eighty-Four-Piece Reed and Barton Sterling Silver “French Renaissance” Flatware Service, for twelve persons, the pattern introduced in 1941, comprised of twelve hollow-handled dinner knives, twelve dinner forks, twelve salad/dessert forks, twelve seafood forks, twelve round-bowl soup spoons, twelve bread and butter knives, and twelve teaspoons, the largest l. 9‑1/8”, 86.30 total t. oz. [3000/5000] Illustrated previous page and Color Plate III

858

851 Wallace Silverplate and Silver-Gilt Waffle Server, in a pattern similar to Wallace’s “No. 4” of 1896, the broad blade reticulated and gilded, l. 10”. [200/400]

852 Fourteen-Piece Collection of Cranberry Carnival Glass, late 20th century, consisting of nine hand-painted Fenton pieces: a covered jar, a small bowl, a rufflededge vase, a tall vase, a large plate, a fruit basket, two commemorative candy dishes, a figure of a dog, and an egg-on-stand; together with two stamped “Good Luck” plates, a figure of a bird in flight and a playful bunny, the largest dia. 11‑1/2”. [100/200] 853 Five-Piece Collection of Iridescent Purple Carnival Glass, late 20th century, consisting of a footed compote with a ruffled edge; a two-handled vase; a circular shellstamped covered dish; a hen-lidded covered dish; and a paneled and footed bowl with a ruffled edge; the largest h. 6‑1/4”, dia. 7‑1/2”. [100/200] 854 Five-Piece Collection of Iridescent Purple Carnival Glass, late 20th century, consisting of a Northwood “Heart-Cut”-patterned bowl; a thumbprint- and floralembossed footed compote with a crimped edge; an embossed footed dish of octagonal form; a peacock on a flowering branch-embossed rose vase; and an oval bowl in the shape of a Viking ship; the largest h. 5”, dia. 10‑1/2”. [100/200] 855 Thirteen-Piece Collection of Iridescent Purple Carnival Glass, late 20th century, consisting of a “Windmill” pitcher; a pair of Fenton swan-handled candlesticks; an “Acorn”-stamped oak leaf-footed vase; a footed open dish; a “Near-Cut”-style stamped bowl; a miniature circular covered butter dish; and six various miniature serving pieces; the largest h. 4”, dia. 9‑1/2”. [100/200] 856 Four-Piece Collection of Iridescent Purple Carnival Glass, late 20th century, consisting of a large “Near-Cut”stamped bowl; a smaller like bowl; a matching handled fruit basket; and a “Hobstar”-stamped footed compote; the largest h. 5”, dia. 10‑1/2”. [100/200]

110

857 Four-Piece Collection of Various Iridescent Carnival Glass, late 20th century, consisting of a Fenton “Orange Tree”-stamped circular crimped-edge bowl; a “Hobstar”patterned bowl; a similarly-patterned ruffled-edge bowl; and a “Peacocks”-stamped bowl; the largest h. 4”, dia. 9‑3/4”. [100/200] 858 Seven-Piece Northwood Hand-Painted Iridescent Carnival Glass Beverage Set, second quarter 20th century, consisting of an iced beverage pitcher, h. 10”, w. 7‑1/2”, l. 8‑1/2”, and six tumblers, h. 3‑3/4”, dia. 2‑3/4”. [150/300] Illustrated 859 Five-Piece Collection of Iridescent Purple Carnival Glass, late 20th century, consisting of two “Ripple”stamped rose vases; a modified “Diamond and Rib” vase; and a pair of sitting smiling cat figures; the largest h. 12‑1/4”, dia. 5‑1/4”. [100/200] 860 Six-Piece Collection of Iridescent Purple Carnival Glass, late 20th century, including a pair of two-arm candelabra; a flared basket with handle; a large basket with handle; a bonbon dish; and a narrow-necked vase; most items labeled “Fenton”, the largest h. 9”, dia. 9”. [100/200] 861 Twelve-Piece Collection of Iridescent Carnival Glass Plates, late 20th century, representing “Christmas in America” and featuring various American historic churches and cathedrals, each dia. 8”. [100/200] 862 Six-Piece Collection of Iridescent Purple Carnival Glass, late 20th century, consisting of a “Strawberry”stamped dinner bell; a Fenton “Vintage”-stamped candy dish; a “Cherry”-stamped footed compote; a Fenton “Strawberry”-stamped footed compote with a ruffled edge; a “Leaf”-patterned cruet (lacking the stopper); and an oval, paneled “Fruit”-stamped footed center bowl; the largest h. 4‑1/2”, w. 9”, l. 12‑1/4”. [100/200]

867 Vernacular American Poplar-Stained Walnut FourPost Convent Bed, mid‑19th century, the turned posts with acorn finials, the shaped headboard with a rolling pin crest rail, joined by straight rails, h. 91”, inside w. 52‑1/4”, l. 74‑1/2”, outside w. 58‑1/4”, l. 79‑1/2”. [500/800] Illustrated

867

868 Vernacular American Rocking Cradle, 19th century, composed of mahogany and pine with dovetailed construction, the hooded lid on scalloped supports, h. 31”, w. 25”, d. 43”. [200/400] 869 Vernacular American Poplar Dry Sink, second quarter 19th century, Pennsylvania, the top with a band of three drawers over a shallow basin, the case with a pair of paneled doors, raised on bracket feet, h. 45‑1/2”, w. 50”, d. 20”. [300/500] 870 Rare American Southern Mississippi River Valley Side Cabinet, early 19th century, composed of walnut, cherry and cypress, the front fitted with a pair of side-byside chamfered drawers above a pair of framed and raised paneled doors, raised on cabriole legs, h. 43‑1/2”, w. 45”, d. 24”. [1500/2500] Illustrated

863 Six-Piece Collection of Iridescent Purple Carnival Glass, late 20th century, consisting of a bud vase; a circular footed compote; a pair of dinner bells; a covered and footed jar; and a circular covered and footed compote; the largest h. 9”, dia. 5‑1/4”. [100/200]

871 Two American Stoneware Jugs/Lamps, first quarter 20th century, comprised of a Western Stoneware Company, Monmouth, Illinois (active 1906‑1985), brown and buff-glazed stoneware jug, and a similar Uhl Pottery, Huntingburg, Indiana (active 1850-ca. 1947), “Acorn Ware” stoneware jug, both now drilled and mounted as table lamps on turned walnut bases, and fitted with matching custom ochre burlap shades of drum form, h. 10‑1/2”, dia. 7”. [20/40]

864 Five-Piece Group of Various Iridescent Carnival Glass Items, mid‑20th century, consisting of a “Floral”stamped basket; a “Near-Cut”-stamped footed center bowl; a vase stamped with an elaborate cartouche and floral design; and a pair of paneled vases; the largest h. 10”, dia. 5‑3/4”. [100/200] 865 Five-Piece Iridescent Blue Carnival Glass Beverage Set, late 20th century, in “Carnival Checkerboard” decor, consisting of an iced beverage pitcher, h. 8‑1/2”, w. 5”, l. 7‑1/2”, and four matching glasses, h. 5‑1/4”, dia. 3‑1/4”. [100/200] 866 Four-Piece Collection of Iridescent Blue Carnival Glass, mid‑20th century, consisting of a “Near-Cut” lidded biscuit jar; a similar scalloped-edge bowl; and two rectangular covered butter dishes; the largest h. 4‑3/4”, dia. 8‑1/2”. [100/200] 870

111

877 Vernacular American Faux-Bois and Pine Jelly Cupboard, second quarter 19th century, Pennsylvania, the face retaining its period faux-bird’s-eye maple and banded maple decoration, the case with a single drawer over a pair of paneled doors, raised on bracket feet, h. 43”, w. 43‑1/4”, d. 18‑3/8”. [500/800] 878 Continental Elmwood Dough Trough, fourth quarter 19th century, the hinged plank top opening to a tapered storage cavity, raised on splayed tapering legs, h. 30”, w. 41”, d. 17”. [250/400] Illustrated

875

872 Nine-Piece Collection of Chinese and Japanese Heirloom Baskets, comprised of a large Chinese triple-splint-handled rush, reed and hemp example; a tall Chinese triple-splint arch-handled woven splint oval basket; a Chinese plaited rush circular basket with an arched double handle; a Chinese bentwood and woven reed ovoid example; a Chinese woven splint example of “Buttocks” form with an arched spiral-twist grapevine handle; a smaller “Buttocks” basket with an arched bentwood handle; a deep, complexly woven Chinese splint basket with a braid-centered arched handle; a Japanese lattice-woven splint square covered food basket with a rectilinear double-bamboo handle; and a similar Japanese lattice-woven circular food basket with a gently domed lattice-woven cover and a rectilinear double-bamboo handle; both Japanese baskets stained a rich red-brown throughout, the largest h. 13”, dia. 12”. [100/200] 873 Vernacular American Painted Oak Ladderback Rocking Chair, ca. 1900, with turned arms, woven reed seat and box stretchers, h. 44”. [100/200] 874 American Polychromed Pine Coffer-on-Stand, 20th century, of rectangular form, the case hinged and opening to a void interior, raised on a stand of bulbous turned legs to toupie feet, h. 31‑1/2”, w. 34”, d. 18‑1/2”. [250/400] 875 Vernacular American Polychromed Poplar and Punched Tin Pie Safe, fourth quarter 19th century, the front with a pair of side-by-side drawers over a pair of paneled doors, the ends fitted with three punched tin panels, h. 50”, w. 38”, d. 17”. [500/800] Illustrated 876 American Stave and Hoop Butter Churn, 19th century, of tapering conical form, the staves joined by iron bands, h. 41”, dia. 12”. [125/150]

112

878

882

882 Vernacular American Walnut FourPost Convent Canopy Bed, mid‑19th century, the tall turned posts supporting an ogee-form canopy, the shaped headboard with turned spindles, the shaped footboard with an arched top with molded edge, h. 101‑1/4”, inside w. 58”, l. 76”, outside w. 61‑3/4”, l. 79‑3/4”. [800/1200] Illustrated 885

883 Vernacular American Paint-Decorated Pine Hooded Rocking Cradle-on-Stand, mid‑19th century and later, the base of dovetailed construction at the foot, the head and hood of nailed construction, the back retaining its period yellow sponge paint, the balance in later paint depicting frolicking putti amongst floral garlands, on a later stand with grooves to stabilize the rockers, the stand in like paint, stand h. 18”, w. 19”, l. 33”, cradle h. 26”, w. 17”, l. 33‑1/2”. By family tradition, crafted for Henry Frederick MacGregor (b. 1855) and his siblings in Derry, New Hampshire, descended among heirs to the present. The MacGregor family has been in the Houston, Texas, area since the 1870’s. [150/300]

889

879 American Vernacular Polychromed Pine Hanging Shelf, 19th century, having two shelves, each with a plate rack rod and a pendant diamond-patterned frieze, with a hanging rod below, joined by shaped supports, h. 25”, w. 32”, d. 8”. [75/125] 880 Vernacular Gothic Revival Pine and Cypress Tripartite Church Pew, early 19th century, the back in three sections, each with a crest rail over a turned gallery, the columns bisecting Gothic arches, each section segmented by a shaped armrest, with a single-board plank seat and turned legs joined by plain stretchers, h. 37”, w. 63”, d. 15‑3/4”. [500/800] 881 Amusing Child’s Carved Wooden Rocking Bird, in the form of a toucan, the surface polychromed and parcel gilded, h. 29‑1/2”, w. 7‑1/2”, l. 39”. [300/500]

884 American Country Walnut Drop-Leaf Table, third quarter 19th century, the circular top with a molded edge and two drop leaves mounted to a frame, supported by turned legs, h. 29‑1/2”, w. 22‑1/2”, d. 41”, extended l. 45”. [200/400] 885 Swedish Polychromed Pine Lift-Seat Bench, fourth quarter 19th century, the framed back and arms of box form, the hinged seat opening to a void interior, h. 37‑1/2”, w. 79”, d. 18”. [300/500] Illustrated 886 Early American Chestnut Child’s Hooded Cradle, early 19th century, the arched hood above a framed box with mortised and pegged construction, raised on short tapered legs with rockers, h. 34”, w. 40”, d. 24”. [150/300] 887 American Cedar Chest, early 20th century, of Chippendale form, the hinged lid opening to a storage cavity, raised on bracket feet, h. 29‑1/4”, w. 48”, d. 23”. [100/200] 888 American Colonial Revival Pine Hanging Wall Shelf, ca. 1900, in the Chippendale taste, the scalloped crest over three graduated shelves, the lowermost over a pair of drawers, with a scalloped apron, h. 43‑1/2”, w. 23”, d. 7‑1/2”. [125/250]

113

889 Fine and Rare Blue and Tan Jacquard-Woven Coverlet, signed and dated “W. Craig/ Greensburg/ DC Co./ LA/ 1850”, w. 40”, l. 76”. [200/400] Illustrated previous page

891

894 William Young (American, 1922‑2008), a carved and polychromed figure of a swimming green-winged teal, 1983, the head fitted with glass eyes, presented on a custom stepped mahogany base and signed “Wm. Young/1983/#24”, h. 8”, w. 4‑1/2”, l. 11‑1/2”. [200/400] Illustrated 890

890 Good Cased Taxidermy Group of Two Quail, comprised of a male and female quail amidst field grasses, presented in a brass-edged glass vitrine of square section on a conforming fruitwood base, h. 13”, w. 9‑1/2”, d. 9‑1/2”. [250/400] Illustrated 891 Large Taxidermy Specimen of a Polar Bear on an Iceberg, h. 59”, w. 84”, d. 27”. [5000/8000] Illustrated Color Plate XV 892 William Young (American,  1922‑2008), a carved, polychromed and wrought tin-mounted wooden decoy of a mallard drake, 1991, the side-turned head fitted with glass eyes, signed on the base “Wm. Young/1991/#47”, h. 8”, w. 6”, l. 14‑1/2”. [150/300] Illustrated 893 William Young (American, 1922‑2008), a carved and polychromed wooden decoy of a pintail drake, 1952, the head fitted with glass eyes, signed on the base “Wm.Young/1982/#6”, h. 7‑1/2”, w. 5”, l. 18‑1/2”. [150/300] Illustrated

114

895 William Young (American, 1922‑2008), a carved and polychromed wood decoy of a wood duck, 1982, the head fitted with glass eyes, signed on the base “Wm.Young/1982/#11”, h. 6”, w. 5”, l. 11”. [150/300] Illustrated 896 William Young (American, 1922‑2008), a group of two carved and painted wooden decoy ducks, comprised of a wood duck, signed and dated 1984, #26, h. 5”, w. 4‑1/2”, l. 11”; and a female mallard duck, 1981, #2, h. 5‑1/2”, w. 4‑3/4”, l. 10”. [200/400] Illustrated

894 892

893

895

897 William Young (American, 1922‑2008), a group of two carved and painted wood and wrought-iron decoys, consisting of a mallard drake, signed “Wm. Young/ 1986/ #36”, h. 5‑1/2”, w. 4‑3/4”, l. 11‑1/4”; and a matching female mallard, signed “Wm. Young/ 1984/ #25”, h. 4‑1/2”, w. 4”, l. 12”. [300/500] Illustrated

896

898 William Young (American, 1922‑2008), a carved and white- and black-painted wooden figure of a Trumpeter Swan, 1993, the head fitted with glass eyes, signed on the base “Wm./Young/#48 1993”, h. 7‑1/2”, w. 4”, l. 11”. [100/200]

901

897

902

899 William Young (American, 1922‑2008), a carved, polychromed and stained wooden decoy of a black duck, 1980, the head fitted with red glass eyes, the base signed “Wm. Young/1980/#1”, h. 5‑1/2”, w. 5”, l. 15‑1/2”. [150/300] 900 William Young (American, 1922‑2008), a carved, polychromed and stained wooden decoy of an American Black Duck, 1981, the head fitted with glass eyes, the base signed “Wm.Young/1981/#3”, h. 5‑1/2”, w. 4‑1/2”, l. 12”. [100/200] 901 William Young (American, 1922‑2008), a group of two carved wooden duck decoys, comprised of a small carved, stained and polychromed wooden decoy of a male wigeon duck, 1986, #36, h. 4”, w. 3‑1/4”, l. 8‑1/2”; and a similar decoy of a female wigeon duck, 1986, #46, h. 3‑1/2”, w. 3‑1/2”, l. 8‑1/2”. [200/400] Illustrated 902 William Young (American, 1922‑2008), a group of two carved wooden decoys, comprised of a polychromed American Black Duck dated 1983, #17, h. 5‑1/2”, w. 4‑1/2”, l. 10‑1/2”; and another painted decoy dated 1989, #42, h. 4‑1/2”, w. 4‑1/4”, l. 11”. [200/400] Illustrated

907

906

903 William Young (American, 1922‑2008), a threepiece group of carved wooden items featuring ducks, consisting of a carved and stained wooden head of a flying duck, 1984, signed at the proper right “Wm. Young/1984/#27”, mounted on an oval backplate within a dark-stained pine frame of cartouche form, h. 12”, w. 8”; and a pair of carved and polychromed walnut bookends in the form of Redhead duck heads, ca. 1981‑1991, h. 5‑1/2”, w. 4‑1/4”, l. 9”. [125/250] 904 William Young (American, 1922‑2008), a small pair of carved, polychromed and stained wooden decoys of a male and female wigeon duck, 1987 and 1991, respectively, the drake signed on the base “Wm.Young/1987/#37”, h. 4”, w. 3‑1/4”, l. 9”, the female signed “Wm.Young/1991/#43”, h. 3‑1/2”, w. 3‑1/4”, l. 7‑1/4”, both decoys with their heads fitted with glass eyes. [150/300] 905 William Young (American, 1922‑2008), a group of two duck decoys, comprised of a carved and subtly polychromed wooden decoy of a goldeneye duck, 1984, h. 5”, w. 4‑1/4”, l. 13‑1/2”; and a smaller carved and painted decoy of a black duck, 1985, h. 5”, w. 4‑1/2”, l. 9”; each example signed and numbered, respectively. [150/300] 906 Two Battery-Operated “Howdy Doody” Toys, mid‑20th century, one lacking its hat, h. 11”, w. 4‑1/4”, d. 6”. [200/400] Illustrated 907 Ideal Novelty Company Composition Superman Character Doll, mid‑20th century, the body with jointed arms and legs, and bearing the Ideal Novelty Company decal on the back, h. 13”, w. 7”, d. 3”. [200/400] Illustrated

115

909 908 Large Carved and Painted American Wooden Sign, for Cape Cod, Massachusetts, crafted of weathered barn wood and featuring a large wooden decoy of a seagull, in the American style, h. 29‑1/2”, w. 36”. [200/400] 909 Rare Carved and Polychromed Native American Cigar Store Figure, third quarter 19th century, attributed to Samuel A. Robb, New York, the figure dressed in a red and gold tunic and wrapped in a stylized fur cloak, and modeled standing on a red-painted base, the front stenciled “Tobacco”, h. 70”, w. 15”, d. 18”. [30000/50000] Illustrated Color Plate XV 910 Good Ludwig Mother-ofPearl-Inlaid and BrassMounted Banjo, with a leather case lined in zippered teal velvet, the exterior case marked “3/Peppers/ CR 2758” in gilt lettering, w. 13”, d. 4‑1/4”, l. 33”. [500/800] Illustrated

911 Group of Four Ceramic Pigs, mid‑20th century, made in Japan, consisting of a three pigs figural group, h. 4”, and a composition pig bank, h. 6‑1/2”. [50/80] 912 Collection of Nine Child’s Toys, mid‑20th century, including a “Wolverine” tin adding machine, a tin “Jr. Ironer”, a “Louis Marx Co.” tin wind-up motorcycle, two small wind-up cars, a tin wind-up rabbit, a tin cat playing with a ball, a “Parker Brothers, Inc.” contact game in the original box, and a wooden yo-yo, the largest h . 4”, w. 6‑1/4”, d. 9”. [200/400] 913 Collection of Approximately Sixty-Four Toy Soldiers and Accessories, mid‑20th century, composed of polychromed zinc and plastic, the largest l. 3‑3/4”. [300/500] 914 Charming Handmade Cloth Doll, late 19th century, accompanied by a vintage photograph depicting the doll being held by its original young owner, h. 12”, w. 11”, d. 1‑1/2”. [200/400]

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915 Mose Tolliver (American/Alabama, 1925‑2006) “Watermelon”, house paint on wood panel, signed lower left “Mose T.”, 8‑1/2” x 9‑1/8”. Unframed. [200/400] 916 Mose Tolliver (American/Alabama, 1925‑2006) “Bird on a Flowering Branch”, acrylic on panel, signed lower left “Mose T.”, 16” x 14”. Unframed. [200/400] 917 Mose Tolliver (American/Alabama, 1925‑2006) “Portrait of a Man”, acrylic on wood panel, signed lower right “Mose T.”, 28‑1/8” x 24”. Unframed. [300/500] 918 Jim Leasure (American/Louisiana, Contemporary) “An Angel of Prayer...Answered”, mixed media on paper, signed lower right “Jim Leasure”, titled lower left, sheet size 18‑3/8” x 30”. Glazed and framed. [200/400] 919 American Brilliant-Cut Glass Parlor Lamp, first quarter 20th century, of “mushroom” form in “Hobstar and Starburst” decor, the silvered embossed metal shade ring dressed with cut kite-form glass drops, h. 26”, dia. 13”. [700/1000] Illustrated 920 Three-Piece Pressed and Cut Glass Group, comprised of a good, large American pressed glass footed iced beverages pitcher etched in “Cranes and Aquatic Plants” decor, fourth quarter 19th century; an English pressed-cut glass decanter of square section with a spherical lapidarycut stopper, second quarter 20th century; and a Waterford diamond-cut glass ship’s decanter with a similarly cut spherical stopper, signed on the base with an acid-stamp; the largest h. 10‑3/4”, w. 5‑1/2”, l. 9‑1/4”. [100/200]

910

921 Six-Piece Assorted Group of Glassware, consisting of a fine pair of Stevens and Williams, Stourbridge, “Rubina Verde” glass garniture vases, in the Japonesque taste, fourth quarter 19th century; a large Continental ribbed white-spangled “Rubina Verde” glass garniture vase, first quarter 20th century; a German engraved glass tall cylindrical “guywire” vase, second quarter 20th century; a pair of Belle Epoque spiral-ribbed “Solitaire” bud vases with petaled bases, first quarter 20th century; and a French ceruleanshaded-to-cobalt “Vertical Optic Rib” glass vase, also first quarter 20th century, probably of Luneville origin; the largest h. 12”, dia. 5‑1/4”. [100/200]

922 Highly Varied Fifteen-Piece Collection of Fine Glass Stemware, first quarter 20th century, comprised of a trio of copen blue-stemmed acid transfer-plate etched wine goblets in the Louis XVI taste; a matching set of four liqueur goblets; a set of four tall platinumedged acid transfer-plate etched goblets, also in the Louis XVI taste; a chased gold rim acid transfer-plate etched goblet in “Flower Basket” decor; a pair of Bohemian amethyst cased petal-cut overlay glass wine goblets; and a tall amethyst-bowled clear-stem liqueur goblet; the largest h. 8‑3/4”, dia. 3‑1/2”. [50/80]

925

923 Thirty-Six-Piece American Brilliant-Cut Glass Dessert Service, for twelve persons, first quarter 20th century, in “Strawberry Diamond and Fan” decor, comprised of twelve saucer champagne goblets, h. 5‑1/2”, dia. 4‑1/4”, twelve dessert/finger bowls, h. 1‑3/4”, dia. 4‑1/8”, and twelve underplates en suite, dia. 7‑3/8”. [250/400] 924 Monumental Pair of Blown and Trellis-Cut Glass Vases, in the early 19th-century Anglo-Irish style, each inverted pyriform vase above an integral stepped hexagonal base, h. 20”, dia. 10‑1/2”. [700/1000] 925 Attractive Ninety-Piece Cut Glass Partial Stemware Service, for twenty-four persons, “Starlight” by Royal Leerdam, the Netherlands, comprised of nineteen iced water goblets, 8”, dia. 3‑3/4”, eleven red wine goblets, h. 5‑7/8”, dia. 3‑1/2”, thirteen white wine goblets, h. 5‑1/2”, dia. 3‑1/4”, ten champagne flutes, h. 8”, dia. 3”, twelve saucer champagnes, h. 5”, dia. 4”, one dessert wine flute, h. 7‑1/4”, dia. 2‑3/4”, three iced tea goblets, h. 6‑1/2”, dia. 3 ‑1/8”, nine finger/dessert bowls, h. 2‑1/4”, dia. 4‑1/2”, and twelve underplates en suite, dia. 7‑1/4”. [700/1000] Illustrated 926 Set of Fourteen American Prism-Cut Glass Salad/ Dessert Plates, second quarter 20th century, dia. 8”. [40/70] 927 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”. [20/40]

919

928 Opulent Six-Piece Collection of American BrilliantCut and Pressed Glass Tableware, comprised of a good elliptical banana bowl in “Interlaced Hobstars” decor; an attractive cut “Hobstar and Snowflake” berry bowl of small size; a cut side-handled nappy in “Interlaced Buzzes” decor; a Webster sterling silver-mounted pressed “Spiral Rib” sweetmeats dish (all four first quarter 20th century); a silverplate-mounted pressed bar bowl; and a pressed “Hobstar and Fan” circular covered candy dish (both second quarter 20th century); the largest h. 5‑1/2”, dia. 7”. [100/200]

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932 Fine American Classical Mahogany Sofa, first quarter 19th century, the rectangular paneled back joined by enclosed and padded arms with scrolled arm fronts supported by boldly turned and reeded posts, raised on turned and tapered reeded legs, h. 33‑1/2”, w. 69”, d. 26”. [800/1200] Illustrated

929

933 American Federal Mahogany Tilt-Top Table, first quarter 19th century, the circular top above a balusterturned standard ending in three cabriole legs on pad feet, h. 27‑3/4”, dia. 22‑1/2”. [150/300] 934 American Federal Walnut Pembroke Table, first quarter 19th century, the rectangular top with two oval drop leaves, over a frieze fitted with a drawer on one end and a faux drawer on the other, both banded and satinwood inlaid, raised on banded tapering square legs, h. 28‑1/2”, w. 32‑3/4”, d. 19‑1/2”. [500/800] 935 George III-Style Mahogany High Boy, second quarter 20th century, the broken pediment surmounted by three carved finials over a frieze fitted with a central drawer above four long drawers, flanked by fluted columnar stiles, above a lower case fitted with a long drawer over three deep short drawers, the central one with a shell carving, above a carved skirt, raised on cabriole legs ending in ball-and-claw feet, h. 90”, w. 43‑1/2”, d. 22”. [700/1000] Illustrated

929 American Colonial Cherrywood Bonnet-Top High Chest, mid‑18th century, in the Queen Anne taste, in two parts, the scrolling broken-arch pediment terminating in floral-carved rondels, centered and flanked by flame-carved finials, the shell-carved central drawer flanked by a pair of smaller drawers over three graduated drawers, the base with a drawer over a shell-carved drawer flanked by a pair of drawers, raised on cabriole legs on pad feet, the associated base and top both of the period, h. 81”, w. 38”, d. 23”. [2000/4000] Illustrated 930 Queen Anne-Style Mahogany Lowboy, the rectangular top with molded edge above a conforming case fitted with a single long drawer over a central short drawer flanked by a deeper drawer, raised on cabriole legs ending in pad feet, h. 28”, w. 35”, d. 22”. [200/400] 931 American Colonial Poplar, Chestnut and Pine Mule Chest, second half 18th century, New England, in the Chippendale taste, the lifting top over a pair of fauxdrawer faces and a pair of drawers below, raised on a later base with bracket feet, with restoration to the feet, h. 42”, w. 36”, d. 16‑1/2”. [700/1000]

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936

936 Good Sheraton Mahogany Drop-Leaf Dining Table, first quarter 19th century, the top and leaves each of single-board stock and supported by swing legs turned in a modified faux-bamboo motif, h. 30”, w. 28”, d. 54, extended l. 76”. [500/800] Illustrated

938

937 American Sheraton-Style Cherrywood Bedside Table, second quarter 19th century, the rectangular top over a drawer, above a cushioned-form drawer, raised on turned legs ending in ball feet, h. 28‑1/2”, w. 20”, d. 17‑1/2”. [150/300] 938 American Hepplewhite-Style Mahogany Sideboard, first quarter 20th century, the shaped backsplash above a rectangular, block-front top with gadroon edge, over a conforming case fitted with a central recessed drawer over a quarter-veneered door, flanked by a like-veneered door on both sides, raised on tapering square legs ending in spade feet, h. 44‑1/2”, w. 60”, d. 20‑1/2”. [300/500] Illustrated

935

939 Hepplewhite-Style Parcel-Gilt Mahogany Console Table, second quarter 20th century, the serpentine top with a tooled inset leather surface, raised on tapered legs, h. 29‑1/2”, w. 40”, d. 21”. [150/300] 940 American Federal-Style Mahogany Drum Table, second quarter 20th century, the circular top over a vasiform-turned pedestal ending in three cabriole legs on pad feet, h. 27‑3/4”, dia. 23‑1/2”. [75/125] 941 Pair of Hepplewhite-Style Mahogany Armchairs, from the Baker Furniture Company “Historical Charleston Collection” and so labeled, each of shield-back form and with a padded seat, raised on fluted tapering legs ending in spade feet, h. 38”, w. 25‑1/2”, d. 18”. [200/400]

119

942 942 Fine, Large and Highly Detailed Map, of the “Rock Island Rapids of the Mississippi River”, ca. 1837‑1843, surveyed by Lieutenant Robert E. Lee of the Corps of Engineers assisted by Lieutenant M. C. Meigs, J. S. Morehead and Henry Kayser, unframed, h. 24‑1/2”, w. 67”. Published in 1843 for the 25th Congress, 2nd Session, Senate Doc. No. 139, this large-scale lithographed map (scale of sixteen chains to an inch) was “Surveyed by Lt. R. E. Lee of the Corps of Engineers/ Assisted by Lt. M.C. Meigs/ J. S. Morehead & Henry Kayser in Sept.r & Oct. r 1837”, as the Mississippi River is shown horizontally, north is to the right. The map was engraved by W. J. Stone Sc. Wash. City. Above the river is “TERRITORY OF WISCONSIN”, below is “STATE OF ILLINOIS” and “TOWN OF MILAN”, at the left is “Rock Island” showing “Fort Armstrong” and property of “Davenport”, in the middle is “Campbell’s Island” and “Jn. Barrell (Barrett?)” and buildings, at the right is “Davenport’s Island” and property of “Smith”. This was Robert E. Lee’s first independent assignment as a young officer in the Corps of Engineers and his first published report. Lee was sent out west to the Mississippi River to find a solution to two problems: rapids in the vicinity of Des Moines were preventing steamboat navigation into the Upper Mississippi and a growing sand and silt island was threatening to cut off the entrance to the harbor at St. Louis. [1000/1500] Illustrated

944 Good Rigobert Bonne Copperplate-Engraved Map, of “Le Nouveau Mexique”, Paris, 1781, copperplate engraving of the lower half of North America depicting the Baja Peninsula in the west to just short of the Florida Peninsula, unframed, h. 10”, w. 14‑1/4”. Great detail is given in the area of Mexico and the southwest. Considerable detail is also shown in the lower Mississippi River Valley and the areas of present day Louisiana and Texas. “Natches detruits” is shown along the Mississippi/Florida border. [400/700] 945 Guillaume de l’Isle, “Tabula Graphico Mexicae et Floridae etc.”, an engraved map of the lower South and Mexico, Amsterdam, 1722, published by Covens and Mortier from de l’Isle’s 1703 prototype map, without adding significant updates for their edition, explaining why New Orleans is absent, “Villages des Natchez” is present, however, unframed, h. 21‑1/4”, w. 25”. [1800/2500] Illustrated

943 Rare and Large Hand-Colored Lithograph Map, of “The Mississippi River: St. Joseph, Bruinsburg”, 1864, published as a reconnaissance map for the use of the Mississippi Squadron showing woods, swamps, cultivated areas, etc., unframed, h. 23”, w. 18”. The area along the river is mapped in great detail in this lithograph, with use of areas designated by symbols of trees, dotted lines for cultivation, dots and tiny “grass” spots for swamp, furrows for bayous, etc. Rodney and St. Joseph have buildings indicated, with the Court House marked in St. Joseph. Bruinsburg is designated as destroyed. Ferry crossings are traced. Property owners’ names include Lee’s Plantation, Bonjourand, Simms, Woodyard, and Simpson. [400/700]

945

120

948 Nineteenth-Century Map of Arkansas, published by J. H. Colton & Co., New York, sight 16” x 13”. Glazed, attractively French matted and presented in a burlwood frame. [350/500] 949 After Currier & Ives (American, 19th Century) “The Route to California” and “The Night Express: The Start”, two facsimile prints, sight 10-/2” x 14‑1/2”. Both glazed, matted and presented in attractive molded burlwood frames. [200/400]

951

946 946 The 1884 New Orleans World’s Industrial & Cotton Centennial Exposition, black and white lithograph, published by The Southern Lith. Co. 38, Natchez St., New Orleans, sheet size, 21” x 14”. Unframed. [700/1000] Illustrated 947 Nineteenth-Century Map of Alabama, published by J. H. Colton & Co., New York, sight 16” x 13”. Glazed, attractively French matted and presented in a blond wood frame. [200/400]

950 Bird’s-Eye View of Andersonville Prison from the South East, chromolithograph, copyrighted in print “1890”, published by Keystone Pub. Co., Philadelphia, sheet size 20” x 26”. Unframed. Andersonville Prison, also known as Camp Sumter, was located in Andersonville, Georgia. [150/300]

953

951 American Late Classical Walnut Dresser, second quarter 19th century, the rectangular top surmounted by a rectangular looking glass, the case fitted with a projecting cushion frieze drawer above three long recessed drawers, flanked by columnar supports, raised on bulbous carved legs ending in casters, h. 64‑1/2”, w. 44‑1/2”, d. 20‑1/4”. [500/800] Illustrated

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954 American Late Classical Revival Mahogany Bookcase, ca. 1900, the top with an overhanging molded cornice above a pair of glazed doors, raised on large scrolled feet, h. 57”, w. 54‑1/2”, d. 17”. [400/700] Illustrated 955 American Late Classical Mahogany Armoire/ Dressing Bureau, second quarter 19th century, the rectangular mirror with a molded frame supported by carved racks mounted to a base with a variegated marble top above two short and three long drawers, flanked on each side by a long case fitted with a door, opening to reveal a bank of drawers, raised on a plinth base, h. 87”, w. 91”, d. 25”. [1500/2500] Illustrated 956 Suite of Three American Late Classical Mahogany Sidechairs, second quarter 19th century, each with a slightly domed, molded crest over a vasiform splat, above a padded seat raised on saber legs, h. 32”, w. 18”, d. 15‑1/2”. [50/80] 957 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”. [250/400] Illustrated

955

957

958 American Late Classical Mahogany Buffet, second quarter 19th century, the rectangular top with rounded corners, above a conforming case fitted with two frieze drawers above a pair of doors, raised on scroll plinth feet, h. 40”, w. 51”, d. 22”. [300/500]

952 Pair of American Classical Mahogany Sidechairs, second quarter 19th century, the shaped crest over a serpentine-molded rail, above a padded seat, raised on saber legs, h. 33”, w. 17”, d. 15”. [50/80] 953 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”. [400/700] Illustrated previous page

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954

961 Impressive Belle Epoque Twenty-Nine-Light Chandelier, first quarter 20th century, of Louis XVI inspiration, composed of antique-gilded brass and dressed with draped faceted glass bead chains, large cut glass fleurettes and faceted teardrops, electrified and fitted with bone-white faux candles, h. 50”, dia. 36”. [2500/4000] Illustrated 962 Attractive Pair of French Two-Light Appliques, second quarter 20th century, composed of gilt-lacquered brass, wrought-iron and cut glass in the Louis XVI style, richly dressed with draped faceted bead chains, cut glass fleurettes and pyriform drops in three sizes in amethyst and colorless glass, electrified and fitted with antiquewhite wax faux candles, h. 13”, w. 9”, d. 5”. [200/400] Illustrated 962

959 American Late Classical Mahogany Chest, second quarter 19th century, the rectangular top with a slightly curved backsplash, over two short, above three long drawers, flanked by columnar supports, raised on turned legs ending in casters, with later gilt-brass mounts, h. 51”, w. 44‑1/2”, d. 20‑1/2”. [300/500]

961

960 Large and Fine Gilt-Brass-Mounted Paris Porcelain Centerpiece Bowl, third quarter 19th century, in the Louis XVI Sevres style, the bleu celeste ground with two gilt-framed oval floral reserves, the interior with a ribboned floral garland at the rim and another floral spray at the center, the basal mount modeled as alternating seated male and female satyrs connected by a swagged floral garland, h. 14‑1/2”, w. 23‑1/2”, d. 13”. A similar Paris porcelain centerpiece bowl is in the Wolff Collection at the New Orleans Museum of Art. [1500/2500] Illustrated Color Plate I

960

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963

965 Rare Pair of Jacob Petit, Paris, Porcelain Square Sculpture Vases, third quarter 19th century, each glazed in melon and teal, and supported on four parcel-gilt masque feet, each signed on the interior in underglaze blue “J. P.”, w. 7‑1/2”, l. 7‑1/2”. [500/800] Illustrated 966 Belle Epoque Enameled and Gilt-Lacquered Brass Jewel Casket, fourth quarter 19th century, of rounded square form in the Renaissance taste, the interior sumptuously lined in period tufted pale gold satin, raised on gilt-brass ball feet, h. 3‑1/2”, w. 7”, d. 7”. [400/700] Illustrated 967 Large Sevres Porcelain Tall-Neck Garniture Vase, ca. 1866, with later polychromed decoration of frolicking putti, the ground of periwinkle blue, the base with a green underglaze Sevres date oval and an underglaze rouge de fer transfer-printed Chateau de Fontainebleau seal, the decoration probably fourth quarter 19th century, h. 21”, dia. 9‑1/2”. [600/900] Illustrated 968 After John James Audubon (American, 1785‑1851) “Ruby-Throated Hummingbird”, facsimile print from the Princeton edition of Birds of America, sight 39” x 25‑1/2”. Glazed and presented in a molded giltwood frame. [600/900] Illustrated

966 964

963 Attractive French Carved Giltwood Looking Glass, second quarter 20th century, in the Regence style, the cresting modeled as a giltwood cluster of foliate scrolls mantled by floral garlands, h. 52”, w. 32”. Provenance: Manheim Galleries, New Orleans, Louisiana. [400/700] Illustrated 964 Pair of Richly Gilded Bleu CelesteGround Porcelain Garniture Vases, fourth quarter 19th century, in the Louis XVI Sevres style, the facades with galants reserves, the reverses with reserves of summer flowers, h. 11‑1/2”, w. 6‑1/2”, d. 5”. [700/1000] Illustrated Color Plate V

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965

969 After John James Audubon (American, 1785‑1851) “House Wren”, facsimile print from the Princeton edition of Birds of America, sight 39” x 26‑1/2”. Presented in a molded giltwood frame. [450/700] Illustrated

967

970 After John James Audubon (American, 1785‑1851) “Bonaparte’s Flycatcher”, facsimile print from the Princeton edition of Birds of America, sight 39” x 25‑1/2”. Presented in a molded giltwood frame. [450/700] Illustrated

971 After John James Audubon (American, 1785‑1851) “Prairie Dog” and “Large-Tailed Spermophile”, two handcolored lithographs from the octavo edition of Quadrupeds of North America, sight 6” x 8”. Both glazed, French matted and presented in attractive hardwood frames with giltwood beaded fillets. [250/400]

968

970

969

125

972 After John James Audubon (American, 1785‑1851) “Dusky Duck”, Plate CCCII, No. 61, hand-colored engraving with aquatint, Havell edition, from The Birds of America, sight 21” x 28‑1/2”. Glazed, handsomely matted and framed. [4000/7000] Illustrated 973 After John James Audubon (American, 1785‑1851) “Louisiana Hawk”, offset chromolithograph, 20th century, sight 31‑1/2” x 21‑1/2”. Glazed, attractively matted and presented in a molded giltwood frame. [150/300] 974 American School (Third Quarter 20th Century) “Kentucky Warbler”, oil on canvas, signed lower right “Lemon”, 14” x 11”. Presented in an attractive molded giltwood frame with a linen liner. [300/500] 975 Six-Piece Collection of Iridescent Cranberry Carnival Glass, late 20th century, consisting of all “Near-Cut”patterned pieces, including a candle cup; a shallow bowl; a fruit bowl; a flat plate; a shallow dish; and a deep bowl; the largest h. 4”, w. 5‑1/2”, l. 10‑1/2”. [100/200] 976 Six-Piece Collection of Marigold Carnival Glass, late 20th century, consisting of a shallow condiment bowl with a crimped edge; a “Fashion” design-embossed bowl with a ruffled edge; a “Carnival Hobstar” cylindrical vase; an embossed footed compote; a “Vintage”-embossed compote with a flared edge; and a small “Vintage”embossed footed condiment bowl; the largest h. 4‑1/2”, dia. 12”. [100/200] 977 Five-Piece Group of Iridescent Marigold Carnival Glass, mid‑20th century, consisting of a “Windmills and Flowers”-stamped ruffled-edge and tri-footed bowl; a crimped-edge circular dish; a ribbed and rufflededge circular dish; a basket-stamped candy dish with a reticulated edge; and a small ruffled-edge vase; the largest h. 4‑1/2”, dia. 9”. [100/200] 978 Three-Piece Collection of Marigold Carnival Glass Items, mid‑20th century, including a large flared bowl on stand, a short trumpet vase and a tall trumpet vase, the largest h. 9‑1/2”, dia. 12‑1/4”. [100/200] Illustrated

978

126

972 979 Four-Piece Collection of Marigold Carnival Glass, first quarter 20th century, comprising a Northwood “Feather Scroll” footed fruit bowl, with the interior “Vintage” pressed; a rare signed Northwood covered two-handled cookie jar in “Grape and Cable” decor; an “Alternating Grape Leaf and Cluster” sweetmeat bowl; and a similar bowl with a scalloped edge; the largest h. 5‑1/2”, dia. 9‑1/2”. For the cookie jar, see Sherman Hand, Colors in Carnival Glass, Wallace-Homestead, 1970, p. 51, illustrated lower left. [100/200] Illustrated 980 Ten-Piece Collection of Iridescent Marigold Carnival Glass, mid‑20th century, consisting of a ribbed vase; a ribbed and “Thumbprint”-stamped vase; a “Blackberry”stamped flared and footed compote; two “Holly and Berry”-stamped ruffled-edge and footed compotes; a “Sailboats”-patterned candy dish; two Nippon-patterned candy dishes with flared edges; a small “Orange Tree”stamped circular compote; and a “Crackle”-stamped compote the largest h. 8‑1/4”, dia. 6‑1/4”. [100/200] 981 Eight-Piece Collection of Marigold Carnival Glass, late 20th century, consisting of a square lidded and footed compote; an oval “Leaf”-patterned handled dish; a pair of candy baskets; a boat-shaped dish; a “Quarter Block”stamped basket; a water pitcher; and a smaller “Star Medallion”-stamped pitcher; the largest h. 8‑1/2”, w. 5”, l. 7‑1/2”. [100/200]

979

982 Five-Piece Collection of Iridescent Red Carnival Glass, late 20th century, consisting of a “Near-Cut”-style deep footed compote; a similarly-patterned bowl; a “Near-Cut and Intaglio Flowers”-patterned vase; and a footed compote; the largest h. 9‑1/4”, dia. 4‑1/2”. [100/200]

985

984

987 Eight-Piece Collection of Iridescent Ruby Carnival Glass, late 20th century, consisting of a square lidded and footed jar; a Millersburg “Vintage”-stamped bowl with a ruffled edge; an “Autumn Acorns”-stamped bowl with a ruffled edge; an “Orange Tree”-stamped shallow dish; a flared, ruffled-edge candy dish with a blackberry design; two basketweave candy dishes with open edges; and a tri-footed candy dish with a ruffled edge; the largest dia. 8‑1/2”. [100/200] 988 Five-Piece Group of Iridescent Ruby Carnival Glass, late 20th century, including three tall vases; a flared and footed compote labeled “Fenton”; and a large tumbler with an opalescent rim; the largest h. 10‑3/4”, dia. 4”. [100/200]

983 Five-Piece Collection of Iridescent Cranberry Carnival Glass, late 20th century, consisting of a “Strawberry”-stamped footed basket; a double-handled candy dish; a “Butterflies”-stamped double-handled condiments dish; a vase; and a circular ruffled-edge bowl; the largest h. 6‑1/2”, dia. 5”. [100/200] 984 Fenton Purple/Blue Iridized Ruby Carnival Glass Three-Trumpet Epergne, third quarter 20th century, in “Lattice Diamond” pattern, the three lily-form trumpets with gauffered rims and detachable from the bowl base, the base of the bowl with the embossed oval Fenton mark, h. 9‑1/2”, dia. 9‑1/2”. [100/200] Illustrated 985 Good Labeled “Fenton” Ruby Iridescent Crackled Glass “Jack-in-the-Pulpit” Epergne, late 20th century, h. 13”, dia. 11‑1/2”. [200/400] Illustrated 986 Five-Piece Group of Iridescent Cranberry Carnival Glass Baskets, each handled, footed and embossed basket with a crimped and flared edge, the largest h. 9”, dia. 8”. [100/200]

993 992

989 Seven-Piece Iridescent Ruby Carnival Glass Beverage Set, late 20th century, consisting of a “Lute”stamped pitcher, h. 8”, w. 5‑1/2”, l. 8‑1/4”, and six matching cups, h. 4”, dia. 2‑3/4”. [100/200] 990 Six-Piece Collection of Iridescent Ruby Carnival Glass Items, late 20th century, comprised of three flared and footed compotes; a dolphin-handled vase; a floralembossed trumpet vase; and a flared vase in “Grape and Leaf” decor; the largest h. 7‑1/2”, dia. 4‑1/2”. [100/200] 991 Four-Piece Group of Iridescent Ruby Carnival Glass, late 20th century, comprised of a large “Floral”-embossed tri-footed bowl; a “Near-Cut Star and Shell” pitcher; a “Cherry Blossom” lidded candy dish; and a “Grape and Leaf” syrup pitcher; the largest h. 8”, w. 8‑1/2”, d. 6‑1/4”. [100/200] 992 Three-Piece Group of American Brilliant-Cut Glass, first quarter 20th century, comprised of a rare pair of tall trumpet vases in “Graduated Hobstar and Notched Prisms” decor, the circular feet reverse-cut in twenty-four-point sunbursts; a tall floral-engraved glass jelly stand on a paneled “Notched Prism”-edged stem, the foot reverseengraved in a large six-petal flowerhead; the largest h. 14‑1/4”, dia. 5‑1/2”. [150/300] Illustrated

993 Three-Piece Group of American BrilliantCut and Engraved Glass, first quarter 20th century, comprised of an iced beverages pitcher in “Interlaced Hobstar and Mandorla” decor; a cut and floral-engraved carafe with a step-cut neck; and an American Brilliant-cut and engraved glass hexagonal jelly stand on a spiral-twist stem, with a circular reverse sunburst-cut foot; the largest h. 10‑3/4”, w. 6”, l. 7‑1/2”. [150/300] Illustrated

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994 Three-Piece Group of American Brilliant-Cut, FloralEngraved and Pressed Glass, first quarter 20th century, comprised of an oval “Harvard”-cut and floral-engraved berry bowl; a “Snowflake and Leaf”-cut iced beverages pitcher; and an oval “Lancet Arch” pressed glass shallow fruit bowl; the largest h. 8‑1/2”, w. 6‑1/4”, l. 8‑1/2”. [100/200]

1001

995 Four-Piece Collection of American Brilliant-Cut and Pressed Glass, first quarter 20th century, comprised of a richly cut vase of chalice form in “Circumscribed Hobstar” decor; a “Buzz and Hobstar”-cut vase of corset form; a richly cut and floral-engraved vase of waisted baluster form; and a pressed-cut punchbowl base in “Hobstar and Fan” decor, the base inverting to form a vase of flared cup form; the largest h, 12‑1/2”, dia. 5‑1/4”. [150/300]

998 Six-Piece Group of American Brilliant-Cut, Engraved and Pressed Glass, first quarter 20th century, comprised of a cut trumpet vase in “Buzz and Cane Dart” decor; a cut and floral-engraved vase of “corset” form; a similarly decorated iced beverages compote of small size; an AngloAmerican cylindrical “Baby Thumbprint”-cut banded decanter with a spherical glass stopper; and a weighty Scandinavian blown glass decanter also with a spherical glass stopper, third quarter 20th century; the largest h. 12‑3/4”, dia. 7”. [100/200] 999 Eighteen-Piece Collection of Glassware, consisting of a good eleven-piece Javits Crystal engraved glass partial bar service for five persons, comprised of a whiskey decanter of drum form, a liqueur decanter of square section, four footed rocks glasses and five generously proportioned highball glasses, all engraved with 18thcentury sailing ships, the liqueur decanter retaining the period Javits heart-form foil label in blue and silver; a similar unengraved whiskey decanter of square section; a pair of handsome Swedish etched presentation goblets bearing, respectively, images of the ships SS Silkeborg II, 1915, and the SS Skodsberg II, 1919; a tall Scandinavian decanter of attenuated mallet form; a pair of Scandinavian Modern blown canted place wine carafes, each with the etched monogram H in “Old Norse” script; and a tall-neck decanter of cushion form, the facade engraved with a masted sailing ship; the largest h. 16”. [150/300]

1004

996 Attractive American Brilliant-Cut Glass Punchbowlon-Stand, first quarter 20th century, of small size in “Interlaced Hobstar” decor, h. 9”, dia. 10”. [150/300] 997 Varied Twenty-Piece Collection of Blown, Cut and Pressed Glass, comprised of an American floralengraved “Horizontal Optic Rib” footed vase, second quarter 20th century; a Scandinavian engraved flatsided cologne flacon in the 18th-century style and of like date; an American pressed “Diamond and Fan” milk pitcher, second quarter 20th century; a pair of American pressed silver-deposit cruets, first quarter 20th century; a Webster sterling-topped floral-engraved glass jam pot, first quarter 20th century; a good pair of Continental cut liqueur goblets, fourth quarter 19th century; an AngloIrish cut glass jigger of barrel form; an American pressedcut toothpicks vase; a pressed-cut knife rest of dumbbell form , first quarter 20th century; an Anglo-American lapidary-cut glass knife rest of like date; a third cut knife rest of like date; a classic American “Huber” pressed glass celery vase, third quarter 19th century; a Dominick and Haff reticulated sterling silver-cased cut glass ice bucket, first quarter 20th century; a set of four silver swizzle sticks with “Chinese Fret” terminals, second quarter 20th century; a pair of spherical lapidary-cut decanter stoppers; a smaller lapidary-pressed stopper; and a tall hollow spherical cut glass stopper; the largest h. 9‑1/2”, dia. 5‑1/2”. [100/200]

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1000 Three-Piece Group of Continental and American Glassware, first and third quarter 20th century, consisting of a Continental mold-blown crystal decanter of paneled pyramidal form; a Continental crystal decanter of tapering oblong section; and an American Brilliant-pressed glass iced beverages pitcher; the decanters with the original polygonal cut glass flat-top stoppers, the largest h. 8‑1/2”, w. 5‑1/2”, l. 7‑3/4”. [100/200] 1001 Reed and Barton Sterling Silver “Francis I” Footed Jelly Stand, the pattern introduced in 1907, h. 5”, dia. 8”, 13.25 t. oz. [500/800] Illustrated

1008 Sterling Silver-Clad Figure of a Lion, third quarter 20th century, the animal modeled standing on a freeform slab base of ultramarine-tinted onyx, h. 3‑3/4”, w. 4”, l. 6‑1/2”. [75/125] Illustrated

1007 1006

1009 Isham Art Company Sterling Silver-Clad Figure of a Kitten, third quarter 20th century, the longhair feline depicted seated and wearing a flower-bedecked bonnet, h. 4”, 8.95 t. oz. [50/80] Illustrated 1010 Isham Art Company Sterling Silver-Clad Figure of a Poodle, third quarter 20th century, the recumbent canine modeled in a highly detailed “puppy” clip, l. 5‑1/2”, 9.90 t. oz. [50/80] Illustrated

1002 Cased Fifty-Piece International Sterling Silver “Rose Ballet” Partial Flatware Service, for eight persons, the pattern introduced in 1962, comprised of eight hollowhandle dinner knives, eight dinner forks, seven salad/ dessert forks, sixteen teaspoons, seven soup spoons, a cold meats fork, a sugar shell, a vegetable serving spoon and a pierced bowl serving spoon, presented in a blue Pacific cloth-lined fruitwood-stained wooden storage case, the largest implement l. 8‑1/2”, 32.05 total t. oz. [200/400] 1003 Reed and Barton Sterling Silver Candlestick, first quarter 20th century, of low form in the George IV style, the candle cup raised on a broad scalloped base, weighted, h. 4‑1/8”, dia. 5”. [200/400] 1004 Fine Gorham Sterling Silver-Mounted Glass Inkwell, fourth quarter 19th century, the shaped and floralengraved glass ink bottle fitted with a sterling hinged cap and an elaborately reticulated sterling basal mount embellished with lion masques, h. 5‑1/2”, dia. 6”. A similar inkstand by Peter Carl Faberge is in the collection of the New Orleans Museum of Art. [1000/1500] Illustrated 1005 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. [20/40] 1006 Pair of American Sterling Silver Miniature Horse Figures, fourth quarter 20th century, comprised of a mare and a colt, h. 3‑1/2”, 2.80 total t. oz. [50/80] Illustrated 1007 Isham Art Company Sterling SilverClad Figure of a Mustang, third quarter 20th century, the highly detailed horse modeled rearing on a foliagestrewn base, h. 6‑3/4”, 10.40 t. oz. [75/125] Illustrated

1008

1011 Highly Diverse Six-Piece Collection of American and English Silverplate, comprised of a Forbes silverplate oval bread tray in the Art Nouveau style, ca. 1900; a Rockford footed compote in “Vintage” decor, fourth quarter 19th century; a Sheridan circular sandwich/ pastry tray, also in “Vintage” decor, second quarter 20th century; a Webster-Wilcox oblong elliptical bread tray in “Dogwood” decor of like date; a small American bonbon bowl in “Daisy” decor in the Art Nouveau style; and an English silverplate oval serving bowl in “Vintage” decor, Sheffield, first quarter 20th century; the largest dia. 13‑3/4”. [100/200] 1012 Five-Piece Group of Miscellaneous Sterling Silver, consisting of an M. F. Hirsch weighted sterling silver footed sweetmeats bowl, second quarter 20th century; a two-piece Hirsch weighted sterling cream and sugar set comprised of a footed cream pitcher and a two-handled and footed sugar basin, both with gilded interiors, second quarter 20th century; a Fisher sterling silver cigarette urn of campana form; and an American sterling silver snuffer with barley-twist handle, also second quarter 20th century; the largest h. 3‑3/4”. [100/200] 1013 Edwardian Convex, or Bull’s Eye, Looking Glass, first quarter 20th century, composed of carved giltwood and plaster in the William IV style, dia. 21”. [200/400] 1014 Three-Piece Group of Brass Items, comprised of a pair of English highly reticulated brass low candlesticks, fourth quarter 19th century, h. 4‑3/4”, w. 5‑1/4”, d. 5‑1/4”; and a Belle Epoque “turquoise” cabochon-set gilt-brass covered potpourri vase of small size, first quarter 20th century, h. 3‑1/4”, dia. 3”. [50/80]

1009 1010

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1016

1019 Twenty-Four-Piece English Porcelain Partial Tea-and-Dessert Service, for ten persons, dated by British Design Registration numeral 1890, in “Peacocks and India Flowers” decor, comprised of ten teacups, h. 2”, dia. 4”, ten tea saucers, dia. 5”, and four dessert plates, dia. 7‑1/4”, all with the British Design Registration numeral on the reverse. [75/125] 1020 Staffordshire Pottery Oval Platter, third quarter 19th century, in transfer-printed and polychrome-overglazed “India Flowers” decor, the borders shaped, w. 15‑3/4”, l. 19‑1/2”. [50/80]

1015 Fine Royal Worcester Gilded Pink-Ground Porcelain Coffeepot, fourth quarter 19th century, of aftaba form in the Aesthetic taste, the blush pink ground richly gilded in floral and foliate decor, the gilded handle and spout brace elaborately pierced, signed on the base with the lavender underglaze transfer-printed “wheel” mark, h. 13”, w. 6‑1/2”, d. 7‑1/4”. [450/700] 1016 Cased Five-Piece Walker and Hall, Sheffield, Toilette Service, 1932, composed of sterling and golden guilloche enamel, consisting of a long-handled hand mirror, l. 11”, a pair of long-handled hair brushes and a pair of oblong clothes brushes, all in an antique-white satin- and velvet-lined fitted faux-morocco case of lozenge form. [1000/1500] Illustrated 1017 Fourteen-Piece English PinkGround Porcelain Dessert Service, for twelve persons, fourth quarter 19th century, in “Chinese Flowers and Butterflies” decor, comprised of twelve dessert plates, dia. 9”, and a pair of tall footed pastry stands, h. 5‑1/4”, dia. 9‑1/4”. [400/700] Illustrated 1018 Good Royal Worcester Richly Gilded Porcelain Coffeepot, fourth quarter 19th century, of modified cage form in the Aesthetic taste, the gilded cap lacking, h. 11”, w. 4‑1/2”, l. 5‑1/2”. [400/700]

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1021 Two English Glass Baskets, fourth quarter 19th century, both probably the Stourbridge area, consisting of a lobed and footed spangled glass basket, h. 12”, dia. 8‑1/2”; and a similar oblong glass basket with an arched glass “thorn” handle, h. 5‑1/2”, w. 5‑1/4”, l. 6‑1/4”. [200/400] 1022 Pair of English West Country “Spangled” Glass Candlesticks, second quarter 19th century, of attenuated baluster form, the pair with the unusual feature of green flitter imbedded between the multi-color spangles, h. 9‑3/4”, dia. 4”. [40/70]

1017

1023

1023 Highly Important Rococo Revival “Robinson Crusoe” Oak Sideboard, third quarter 19th century, h. 84”, w. 109”, d. 34”. The “Robinson Crusoe” sideboard was created by Garrard Robinson (1834‑1891) and is considered by furniture experts to be an icon of Victorian furniture. Garrard Robinson demonstrates his most meticulous work in this fine showpiece. The sideboard exhibits breathtaking relief carving detailing the events in Daniel Defoe’s acclaimed novel Robinson Crusoe. This sideboard was exhibited at the London International Exhibition of 1862, and the attention this masterpiece garnered at the Exhibition propelled Robinson into the international spotlight. The son of a blacksmith, Robinson attended the Newcastle School of Design. At the age of fourteen he apprenticed to Thomas Hall Tweedy, then the most famous wood carver in all Great Britain. It is widely accepted that a majority of Tweedy’s finest works were from the hand of the talented young Robinson; in fact, Tweedy showed four examples of Robinson’s work at the London International Exhibition of 1862 under T. H. Tweedy of Newcastle-on-Tyne, which included this remarkable sideboard. This masterwork proved to be among the most spectacular works showcased at the event.

The commentator of the “Art Journal Catalog” of the Exhibition proclaimed that “Few objects in the Exhibition attracted more attention than the Robinson Crusoe Sideboard...the carved panels picture leading incidents in the ever-famous story, they are exceedingly well executed, and certainly the work merits the very general popularity it undoubtedly obtained”. The “Robinson Crusoe” sideboard is pictured in The Catalogue of the International Exhibition 1862, by EP Publishing Limited, 1973, page 278, as well as The Bulfinch Illustrated Encyclopedia of Antiques, edited by Atterbury and Tharp, 1994, page 203. The novel Robinson Crusoe was first published in 1719 and is a highly regarded piece of English literature, often considered the first novel written in modern English. The book is a fictional autobiography of the title character, an English castaway, who spends twenty-eight years on a remote island, encountering savages, captives, and mutineers before being rescued. Garrard Robinson captures the significance of this literary classic through his depiction of the key events in the story: the upper panels portray the shipwreck of Crusoe and retrieval of goods and provisions from the tumultuous sea, and the lower panels show Crusoe hunting, carving a primitive calendar and his discovery of Man Friday. [300000/500000] Illustrated Color Plate I

131

1024 American Rococo Revival Laminated Rosewood Settee, third quarter 19th century, attributed to John Henry Belter, New York, the central crest with fruit and floral motifs, the serpentine seat rail with a floral spray, raised on cabriole legs, h. 40”, w. 68‑1/4”, d. 31‑1/4”. [3000/5000] Illustrated

1024

1025 American Rococo Revival Mahogany Occasional Table, fourth quarter 19th century, the turtle-shaped top above a conforming acanthine- and cabochon-carved apron, cornered by turned drop pennants, raised on baluster and ring-turned supports, joined by a tazza-centered stretcher and ending in four C-scroll carved legs terminating in casters, h. 30”, w. 29”, d. 20”. [150/300] 1026 American Rococo Revival Mahogany and Marble-Top Console Table, mid‑19th century, the original rectangular white marble top above a facade of two faux drawers and a trestle-form base with pierced and carved ends joined by a scalloped shelf-form stretcher, h. 29‑1/4”, w. 44‑1/2”, d. 22‑1/4”. [300/500] Illustrated

1027 Diminutive American Rococo Revival Walnut Bedstead, third quarter 19th century, the arched headboard with a large molded top and flat panel, the curved footboard of similar form and joined by straight rails with lobed returns, h. 55”, inside w. 46‑1/4”, l. 66”, outside w. 50”, l. 77”. [300/500] 1028 American Rococo Revival Walnut Chest, third quarter 19th century, the rectangular top with rounded corners, above a case with canted corners and fitted with three long drawers, each with fruit cluster-carved pulls and oval molding, over a carved apron, raised on bracket feet, h. 36”, w. 39‑1/2”, d. 20”. [300/500] 1029 Massive Rococo Revival Rosewood Table, third quarter 19th century, the large cabriole legs with fruitcarved knees and ending in scrolled toes, formerly a square parlor grand piano, h. 29”, w. 82”, d. 41‑1/2”. [800/1200] Illustrated

1026

1030 American Victorian Walnut Rocker, fourth quarter 19th century, the shaped foliate- and shellcarved crest over the spindled back, joined to the seat by bentwood arms headed by rosette carvings, raised on turned legs joined by a box stretcher and ending in a rocker base, h. 41”, w. 23‑1/2”, d. 19”. [75/125]

1031 American Rococo Revival Walnut and Marble-Top Three-Drawer Chest, third quarter 19th century, the top retaining its original white marble above three long drawers with racetrack moldings and carved pulls, h. 32”, w. 20”, d. 43”. [200/400] 1029

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1036

1036 Three-Piece Collection of Royal Doulton Pottery Cabinet Figures, comprised of a large seated Orientalist “Cobbler”; a slightly smaller Orientalist seated “Abdullah”, introduced in 1952; and a smaller porcelain figure of Charles Dickens’ “Fagin”; each piece fully marked on the base, the largest h. 8”, w. 5‑1/4”, d. 5‑3/8”. [100/200] Illustrated

1037

1037 Three-Piece Collection of Royal Doulton Pottery Figures, comprised of a “Falstaff”, introduced in 1949; an Orientalist “Carpet Seller”; and a “Good King Wenceslas”, 1952; each piece fully signed and numbered on the base, the largest h. 9‑1/8”, w. 4‑1/2”, d. 4‑3/4”. [100/200] Illustrated

1038

1038 Good Pair of Staffordshire Pottery Clipped Poodle Figures, third quarter 19th century, each seated dog with a gilded collar having a pendant gilt lock, h. 7”, w. 4‑1/2”, d. 2”. [250/400] Illustrated 1039 Staffordshire Pottery Figure of an Equestrian Highlander, second quarter 19th century, h. 15”. [75/125] 1040 Two Staffordshire Pottery Figures, second quarter 19th century, one example “Princess Royal and Her Pony”, h. 5‑1/2”, the other a girl-child standing beside a beehive in a bower, h. 7‑1/4”. [100/200]

1032 American Walnut Settee, third quarter 19th century, the serpentine crest over a conforming padded back, joined to the like seat by undulating arms, raised on cabriole legs ending in trifid feet, h. 34‑3/4”, w. 58‑1/2”, d. 26‑1/2”. [200/400] 1033 American Rococo Revival Brass and Cast Metal TwoArm Gasolier, third quarter 19th century, the arms with ornate bobeches and fitted with period acid-etched glass shades, h. 37”, w. 19”. [250/400] 1034 Twenty-Piece Booth’s, Staffordshire, “Real Blue Willow” Pottery Partial Dinner Service, for four persons, second quarter 20th century, comprised of four dinner plates, four soup plates, four salad/dessert plates, four cups and four saucers, all with gilded rims, the largest dia. 10”. [100/200] 1035 Good Three-Piece Group of Wedgwood and Japanese “Blue Willow” Pottery, second quarter 19th century, consisting of a Staffordshire deep oval platter, w. 14”, l. 17‑3/4”; a good oblong covered sugar basin, h. 5”, w. 4‑1/2”, l. 7”; and a Japanese cream pitcher in the 19th century-style, first quarter 20th century, h. 3‑1/2”, w. 3‑1/2”, l. 5”. [200/400]

1041 Wedgwood Embossed Creamware Milk Pitcher, second quarter 20th century, in “Vintage” decor, the base fully marked in underglaze green transfer-print, h. 9”, w. 6”, l. 7”. [100/200] 1042 Fifteen-Piece Lewis’ “Standox” Stoneware Partial Dinner Service, for six persons, the white stoneware bordered in cobalt blue and gold, comprised of six soup plates, a pair of dinner plates, a pair of oval covered twohandled vegetable tureens, a circular footed serving bowl, a sauceboat, an ovoid olives dish, an oval platter, and a square two-handled pastry tray, the largest h. 5”, w. 7”, l. 11‑1/2”. [200/400] 1043 Pair of English “Flow-Blue” Transfer-Printed Porcelain Dinner Plates, second quarter 19th century, in “Chinese Flowers” decor with parcel-gilding, each with the London retailer’s mark of Jonathan Phillips on the reverse, dia. 10”. [20/40] 1044 Maddock’s Works, Lamberton, Staffordshire, Ironstone Footed Punchbowl, third quarter 19th century, in blue transfer-printed “Oriental Flowers” decor, h. 7‑1/2”, dia. 13‑1/4”. [200/400]

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1045 Large Baker and Company, Staffordshire, Ironstone Platter, third quarter 19th century, of oval form and blue transfer-printed in floral decor, the reverse with an impressed Baker mark underglaze, w. 14‑1/2”, l. 18‑1/4”. [150/300] 1046 Set of Six Booth’s Pottery, Staffordshire, Compartmented Dinner Plates, second quarter 20th century, blue transfer-printed in “British Scenery” decor, each plate fully marked in underglaze transfer-print on the base, dia. 11”. [50/80]

1047 1047 David Hagerbaumer (American, b. 1921) “Mallards in Flight”, watercolor on paper, signed and dated lower left “David Hagerbaumer, 1966”, sight 13” x 17”. Glazed, matted and framed. [1200/1800] Illustrated 1048 Frederick Machetanz (American/ Alaskan, 1908‑2002) “Polar Bears”, oil on canvasboard, signed and dated lower left “F. Machetanz, 1985”, 24” x 36”. Presented in a rococo-style polychromed frame. [5000/8000] Illustrated Color Plate XV 1049 William T. Zivic (American, b. 1930) “Native American with His Horse”, watercolor on paper, signed and dated lower right “W. T. Zivic ‘79”, sight 18” x 25”. Glazed, matted and framed. [100/200] 1050

1050 Heather Brillant (English/American, 20th/21st Century) “Hawk on a Branch with a Butterfly”, watercolor on paper, signed and dated lower right “Brillant 03”, sight 20‑1/2” x 14‑1/2”. Glazed, attractively matted and presented in a molded giltwood frame. [3000/5000] Illustrated 1051 Heather Brillant (English/American, 20th/21st Century) “Falcon With Its Kill”, watercolor on paper, signed and dated lower right “Brillant 03”, sight 15‑1/2” x 23‑3/4”. Glazed, attractively matted and presented in a Regence-style giltwood frame. [3000/5000] Illustrated 1052 Rubye Stovall (American, b. 1961) “Pride of Dixie”, oil on canvas, signed and dated “1999” lower right, 15‑1/2” x 20”. Presented in a giltwood and plaster frame. [100/200] 1048

134

1056 Scottish School (Fourth Quarter 19th Century) “Highland Cattle”, oil on canvas, signed illegibly lower right, 28‑1/4” x 19”. Glazed and presented in a rococo-style giltwood and gesso frame. [600/900] Illustrated 1057 British School (20th/21st Century) “Cows in a Pasture, at the Edge of the Woods”, oil on panel, signed lower right “Penini”, 9‑1/2” x 11‑1/2”. Presented in a Beaux Arts-style giltwood and gesso frame. [100/200] Illustrated

1051

1056

1057 1053 Anthony Veccio (American, b. 1949) “Thoroughbred Glory”, oil on canvas, signed lower right “A. Veccio”, 23‑1/2” x 36”. Presented in a broad giltwood exhibition frame. Anthony Veccio was a student of Leroy Neiman. [100/200] 1054 After Donald Voorhees (American, 20th/21st Century) “Tapping In”, limited edition facsimile print, signed and numbered in pencil lower right “Donald Vorhees, 768/950”, sight 23” x 30”. Glazed and presented in an oak frame. [125/250] 1055 After Mary Haggard (American, b. 1953) “Reflections”, offset chromolithograph, signed and numbered in pencil lower right “1091/2750, Mary Haggard”, sight 26” x 31”. Presented in a molded oak frame. [200/400]

1058

135

1059

1062 Kuang Hsu Stacking Trio of Lacquered Woven Food Baskets, first quarter 20th century, embellished with cut brass and carved wood mounts, h. 24‑1/2”, w. 13‑1/2”, d. 16‑1/4”. [125/250] Illustrated 1063 Two Fine Asian Birdcages, first quarter 20th century, comprised of a large Chinese carved wood and splint cylindrical footed birdcage, fitted with a pair of feather birds and retaining the interior dropping tray, the whole supported on three bas-relief carved lambrequin feet, h. 24”, dia. 16”; and a Japanese bamboo and stick birdcage in the form of a multi-gabled two-story Japanese country house, painted green and white, h. 19‑1/2”, w. 16”, d. 13‑1/2”. [250/400]

1062 1058 British School (20th/21st Century) “Cattle by a Stream”, oil on panel, unsigned, 10” x 12”. Presented in a Beaux Arts-style giltwood and gesso frame. [100/200] Illustrated previous page 1059 Pair of Kuang Hsu Ivory Cabinet Figures of Caparisoned Elephants, first quarter 20th century, each carved and patinated figure set with coral and turquoise cabochons and modeled bearing a diminutive vase on its back, presented on custom Chinese hardwood stands, h. 5”, w. 2”, l. 4‑1/4”. [400/700] Illustrated

1060

1064 Pair of Kuang Hsu Mirror-Black Cloisonne Enamel Covered Vases, fourth quarter 19th century, each pyriform vase on an elaborately custom-carved Chinese hardwood stand, h. 8”, dia. 5‑1/4”. [200/400]

1060 Kuang Hsu Patinated Gilt-Brass Figure of the Goddess Kuan-Yin, first quarter 20th century, the figure modeled seated upon a recumbent Foo dog, h. 9‑1/2”, w. 9‑1/2”, d. 6”. [200/400] Illustrated 1061 Chinese Elaborately Carved Mahogany Chairside Table, first quarter 20th century, the lobed top inset with rose marble, the whole supported on four carved stylized paw feet, h. 15‑1/4”, dia. 15”. [100/200]

136

1065 Unusual Kuang Hsu Brass and Cobalt Champleve Enamel Food Serving Set, first quarter 20th century, comprised of nine pieces, including an oblong twohandled, footed and compartmented frame fitted with a matching cruet, a pair of compartment covers with Foodog finials, and a matching set of five diminutive food plates, the frame w. 7‑1/2”, l. 13‑3/4”. [300/500] 1066 Kuang Hsu Lacquered Costume Accessories Chest, fourth quarter 19th century, the narrow, dome-lidded chest in “Mandarins” decor, retaining the period bronzepatinated brass hasp and lock plate, the interior lacquered in monochrome deep russet, h. 6”, w. 23‑1/2”, d. 6‑1/2”. [300/500]

1067 Nested Set of Three Kuang Hsu Etched BlackLacquered Wooden Boxes, first quarter 20th century, of circular form in “Fantastical Birds” decor, the largest h. 2‑1/2”, dia. 4‑1/2”. [150/300]

1076

1068 Chinese Carved Rosewood Statue of Shou Lao, mid‑20th century, the large-headed deity clad in loose robes holding his staff in one hand and carrying his magical gourd over one shoulder, standing on a rockwork base with an attendant crane, h. 11‑1/2”, w. 5‑1/4”, d. 4‑1/2”. [100/200]

1075 Chinese Pierced Famille Noire Porcelain Garden Seat, of barrel form in the Ch’ien Lung style, the satinblack ground with overall polychrome decoration of crested birds amidst flowering branches, h. 18”, dia. 13”. [100/200] 1076 American Renaissance Revival Rosewood TripleSection Bookcase, third quarter 19th century, the case with a protruding center section, with three glazed doors above a base with two drawers flanked by cabinets, h. 82”, w. 71”, d. 21‑3/4”. [1500/2500] Illustrated

1069 Collection of Ten Pairs of Japanese Meiji GiltBrass Menudi, fourth quarter 19th century, the pairs in classic Japanese motifs such as crossed fans, Celestial Dragons, pairs of galloping horses, crickets, swans and crawfish, the largest l. 2”; mounted together on a single upholstered panel of upright oblong form. [300/500] 1070 Collection of Three Ancient Thai Pottery Vessels, ca. 2000 B.C., from Ban Chiang, North Khorat plateau area, comprised of a squat footed vase of cushion form, a rare terra cotta footed bowl, and a terra cotta bowl with scored decoration, all three vessels with the “as found” soil encrustation from a prolonged period of burial, the largest h. 3”, dia. 7”. [150/300] 1071 Two Rare Archaic Chinese Jade Axe Heads, Neolithic period, second-first millenium B.C., the first a flecked black jade example of tapered ovoid form with rounded edges, l. 6‑1/2”; and the second a light-colored jade axe head of attenuated tapered form, l. 8‑3/4”; both stone surfaces with untouched “as found” patination from an extended period of burial. [75/125] 1072 Kuang Hsu Carved Buff-Russet Soapstone Axe Blade, first quarter 20th century, surmounted by a seated crested Foo dog in the Archaic style, h. 6‑1/2”, w. 3”. [50/80] 1073 Trio of Chinese Carved Hardwood Canoe Paddles, ca. 1900, of different lengths, the wood cleaned and waxed, each mounted upright on a custom black-painted wrought-steel stand, h. 42” to 54‑1/2”. [200/400]

1074 Pair of Kuang Hsu Embroidered Silk Robe Borders, fourth quarter 19th century, now in English mahogany frames and glazed, the reverse with the printed paper labels of a London framer, each panel h. 20‑1/4”, w. 4‑1/4”. [75/125]

1077

1077 American Renaissance Revival Walnut and Burl Walnut Bookcase, third quarter 19th century, the top with an ornate gallery and central shelf above a pair of doors, each with a castmetal plaque depicting a man and woman in Renaissance Period costume, the base fitted with two drawers, h. 76‑3/4”, w. 44‑1/4”, d. 16”. [2500/4000] Illustrated

137

1078 American Victorian Brass Two-Arm Gasolier, fourth quarter 19th century, the arms with wreath-form gas keys and fitted with period blue opalescent swirl glass shades, h. 35”, w. 28”. [250/400] Illustrated 1079 Italian Carved Giltwood Looking Glass, 19th century, in the rococo taste, the shaped rectangular plate within a pierced and overlaid frame of scrolling and foliate deigns, h. 36‑3/4”, w. 26”. [900/1200] Illustrated

1078

1079

1083 Continental Carved Giltwood Chairside Table, first quarter 20th century, of low square form in the Louis XVI taste, the dished top fitted with four antique-white glazed tiles, the aprons carved with floral-mantled cartouches, the whole supported on four short cabriole legs with acanthine carving at the knees, h. 15‑1/4”, w. 17‑1/2”, d. 17‑1/2”. [150/300] 1084 Good French Porcelain Vase, fourth quarter 19th century, of waisted baluster form and decorated in the Mannerist style, the cobalt blue body centered with a trio of large butter-yellow cartouches enframing a diademed female masque, now mounted as a table lamp on a bronzed filigree brass base, h. 14”, dia. 7”. [100/200] 1080 Pair of Northern Italian Reverse-Engraved Mirrored Glass Two-Light Appliques, second quarter 20th century, in the 18th-century style, electrified and fitted with tall bone-white faux candles having diminutive flammiform bulbs, h. 18”, w. 9”, d. 5”. [200/400] Illustrated 1081 Pair of Italian Polychromed and Parcel-Gilt “Blackamoor” Torcheres, each in the form of an elaborately costumed and turbaned Blackamoor figure holding aloft a three-tiered ten-light candelabrum, the figure raised on a tripartite base ending in scrolled feet, h. 89‑1/2”. [800/1200] Illustrated Color Plate VII 1082 Louis XVI-Style Brass-Mounted Polychromed Porcelain Cachepot, of cylindrical form, fitted with a pair of brass ringed lion-masque handles, the base with a shield-form mark centered with the letters “MNC”, h. 10”, dia. 10”. [100/200]

138

1080

1085 Continental Gilded Cast- and Wrought-Iron ThreeLight Chandelier, first quarter 20th century, in “Vintage” decor in the Renaissance style, electrified, the interior of the circular candle ring fitted with three spiraled beeswax faux candles, h. 32”, dia. 24”. [300/500] Illustrated 1081

1085

1087

1086 Pair of Italian Wrought and Gilded Iron Appliques, second quarter 20th century, in “Ivy” decor, the candlesockets modeled as flowerheads, h. 19‑1/2”, w. 5‑1/2”, d. 4”. [50/80] 1087 Large and Elaborate Grafenthal Polychromed Porcelain Group, third quarter 19th century, depicting the nude Venus, a satyr and an attendant, in the Meissen style, marked on the interior of the base with crossed batons over a dot over a stylized C, in underglaze blue, h. 16‑1/2”, w. 10”, d. 11‑1/2”. [1500/2500] Illustrated Color Plate V

139

1090 Continental Gilt-Lacquered Bronze Encrier, fourth quarter 19th century, featuring a boy and a dolphin and fitted with a cut crystal ink bottle with a sterling cap, the base third quarter 19th century, h. 3‑1/2”, w. 4‑1/4”, d. 3‑3/4”. [100/200] Illustrated 1091 Pair of Germano-Bohemian Porcelain Garniture Vases, fourth quarter 19th century, the facades with painted reserves of playing babies, signed “Ahne”, the reverses with scenes of sailboats on a mountain-ringed lake, the bases with transfer-printed medallions indicating awards at the Paris Exposition Universelle and the Vienna International Exposition of 1872, h. 12”, w. 6‑1/2”, d. 4‑1/2”. [200/400] Illustrated

1090

1088 1088 Alexandre Soustre (French, fl. ca. 1845‑1910), a Limoges enamel-on-copper plaque of a young diaphanously-clad gypsy girl tambourine player, fourth quarter 19th century, signed lower left “Soustre/Limoges” in gold, presented in a period carved giltwood and plaster frame in the neoclassical taste, h. 7‑1/2”, w. 5‑1/2”. [800/1200] Illustrated 1089 Large Patinated Relief Bronze Plaque, fourth quarter 19th century, depicting a trio of gambling putti in the manner of Francois Boucher (1703‑1773), h. 13”, w. 13‑3/4”. [400/700]

1092

1091

1092 Good Pair of German Polychromed Porcelain Figures of Putto Musicians, third quarter 19th century, in the 18th-century rococo style, modeled, respectively, as a flautist and a lutenist, each seated on a rococo pedestal of foliate scrolls, h. 6‑1/2”. [100/200] Illustrated

140

1096 Semi-Antique Heriz Carpet, 12’ 1” x 8’ 11”. [300/500] 1097 Turkish Angora Oushak Carpet, 8’ 3” x 10’. [1200/1800] Illustrated

1094

1093

1097

1093 Cowhide Rug, 84” x 87”. [200/400] Illustrated 1094 Cowhide Rug, 87” x 99”. [200/400] Illustrated 1095 Brown Bear Rug, 76” x 82”. [1000/1500] Illustrated Color Plate XV

1095

141

1098 1098 Persian Heriz Carpet, 8’ 5” x 11’. [2000/4000] Illustrated Color Plate IX

1101

142

1099 1099 Agra Serapi Carpet, 9’ x 11’ 9”. [1400/1800] Illustrated

1103

1100 Persian Qum Carpet, 6’ 9” x 9’ 7”. [500/800]

1107

1101 Turkish Angora Oushak Carpet, 8’ x 10’ 1”. [1000/1500] Illustrated 1102 Indo-Oushak Runner, 2’ 9” x 11’. [250/400] 1103 Turkish Angora Oushak Carpet, 9’ 3” x 12’ 1”. [1400/1800] Illustrated 1104 Persian Karaja Runner, 2’ 5” x 9’ 10”. [350/500]

1108 Continental Bronze-Patinated Brass Four-Light Foyer Lantern, in the Baronial style, the candlesockets fitted with large blown glass bobeches of shallow saucer form, the lantern canopy fitted with four large foliatescrolled pendant rings, the suspension chain with a shirred green silk sleeve, h. 36”, dia. 19”. [200/400] Illustrated

1108

1105 1105 Semi-Antique Persian Kashan Carpet, 9’ x 13’. [400/700] Illustrated 1106 Persian Nahavand Carpet, 4’ 1” x 7’ 3”. [200/400] 1107 La Barge Carved and Silvered Oval Looking Glass, in the Italian Baroque style, the crest and basal rails centered with carved scallop shells, the side rails boldly carved with foliate scrolls, the backplate with a printed La Barge label, h. 53”, w. 67”. [150/300] Illustrated

143

1109

1112 Louis XVI-Style Bronzed Composition Covered Vase, elaborately modeled with triple foliate handles, now mounted as a table lamp and fitted with an “old ivory” pleated linen shade and a tiered floriform bronzed finial, h. 33”, w. 14”, d. 10‑1/4”. [75/125] 1113 French Bronze-Patinated Spelter Figure of Benvenuto Cellini, fourth quarter 19th century, the famed 16th-century Italian goldsmith depicted inspecting the hilt of a newly forged sword, the facade centered with a title plaque “Benvenuto Cellini”, the whole presented on a period turned mahogany base, h. 25‑1/2”, dia. 11”. [50/80] Illustrated

1109 Three-Piece Louis XV-Style Spelter and Marble Mantel Garniture, first quarter 20th century, comprised of a Rose Vif des Pyrenees marble mantel clock surmounted by a bronzed spelter figure allegorical of Musique, after Henryk de Kossowski (Polish, fl. ca. 1870‑1945; worked in Paris), h. 31‑1/2”, w. 15‑1/4”, d. 8‑3/4”, and a pair of bronzed spelter vasiform fivelight candelabra on matching marble bases, h. 30‑1/4”. [2000/4000] Illustrated Color Plate IX

1113

1114 Set of Eight Selb, Bavaria, Porcelain Dinner Plates, first quarter 20th century, the double gold-banded plates with floral-gilded apple green grounds, dia. 11”. [150/300] Illustrated

1110 Attractive Louis XIV Embossed Leather-Covered Wooden Desk Box, first quarter 18th century, the center of the lid with a period brass bail carrying handle, retains the period steel key for the brass lock at the center of the facade, h. 4‑1/2”, w. 15‑1/2”, d. 5”. [200/400]

1114

1111 Good Franco-Swiss Cased Six-Tune Cylinder Music Box, fourth quarter 19th century, the oblong case composed of rosewood and marquetry, the six airs all of classical title, h. 10”, w. 24‑1/2”, d. 12”. [800/1200] Illustrated

1111 1115 Albert Goethals (Belgian, 1885‑1973) “Boats in Harbor”, oil on board, signed lower right, 23‑1/2” x 27‑1/2”. Presented in a molded silvered frame. [300/500] 1116 American School (Second Quarter 20th Century) “Harbor Scene”, oil on canvas, signed illegibly lower right, 16” x 31‑1/2”. Presented in a giltwood and gesso frame. [400/700]

144

1117 Jack Wilkinson Smith (American/ California, 1873‑1949) “Rocky Coastline”, oil on board, signed lower left “Jack Wilkinson Smith”, 16” x 20”. Presented in a giltwood exhibition frame. [5000/8000] Illustrated Color Plate V 1118 American School (Fourth Quarter 20th Century) “Harbor Scene”, oil on panel, unsigned, 10” x 13”. Presented in a Louis XVstyle giltwood and gesso frame. [150/300] 1119 Continental School (Fourth Quarter 20th Century) “Mediterranean Harbor Scene”, oil on panel, illegibly signed lower left, sight 5” x 6‑1/2”. Presented in a deeply-molded giltwood and gesso frame. [100/200] 1120 Continental School (Third Quarter 19th Century) “Ships on a Stormy Sea”, oil on board, unsigned, 20” x 30”. Presented in a Beaux Arts giltwood and gesso frame. [500/800] Illustrated 1117

1124

1120 1121 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. [50/80] 1122 Robert Rudd (British, 20th/21st Century) “Sailboats Approaching the Shore” and “Coastline Seascape”, pair of watercolors on paper, the former signed lower left “Rudd”, sight 11‑1/2” x 15‑1/2”. Both glazed, matted and presented in contemporary metal frames. [250/400] 1123 Edith Gerry (American, 1907‑1988) “Caribbean Reverie”, oil on academy board, signed lower right, 15‑1/2” x 20‑1/2”. Presented in a carved antiqued silvered frame. [100/200]

1124 Northern European Matte-Gilded Brass Nine-Light Chandelier, first quarter 20th century, in the neoclassical taste, dressed with draped jewel-cut glass chains, cut pendalogues, short prisms and cut spears, electrified and fitted with “old ivory” card faux candles, h. 37”, dia. 21”. [200/400] Illustrated

145

1125 Continental Porcelain Figure of a Long-Haired Cat, first quarter 20th century, probably German, the large cinnamon and white feline depicted seated, h. 14”. [500/800] Illustrated

1126

1126 Pair of Germano-Bohemian Pottery Figures of Terriers, first quarter 20th century, the male dog with a blue-bordered basket, the female with a flowered straw hat and a flower-bedecked basket, h. 14”, w. 9”, d. 10”. [1500/2500] Illustrated 1127 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”. [50/80]

1136 1125

1128 Set of Twelve Hutschenreuther “Royal Bavarian” Porcelain Dinner Plates, first quarter 20th century, in “Chinese Basket and Bird” decor, the lavish gilding overall floral chased, dia. 10‑7/8”. [150/300] Illustrated

1128

1129 Continental Brass Domed Birdcage, first quarter 20th century, the interior fitted with a brass swing-perch and a pair of brass feed cups with ribbed glass liners, the cage door secured with a long brass pin, h. 18”, dia. 12”. [250/400] 1130 Two-Piece Group of Boehm Porcelain Figures, third quarter 20th century, consisting of a fledgling kingfisher figure and a baby goldfinch figure, each example fully marked in charcoal gray on the circular base, h. 6”, dia. 4”. [30/50]

146

1131 Indo-American Aesthetic Movement Teak Dressing Bureau, ca. 1880‑1891, attributed to Lockwood DeForest’s Ahmedebad Wood Carving company, or a contemporary, in two parts, the upper section with a mirror in a carved frame joined to a like-carved frame, on a base with two-over-two drawers, each drawer with twining foliage and scrolls carved in shallow relief, each with an organically modeled carved pull, on a plinth base with paneled sides, h. 83”, w. 48”, d. 22”. Similar wood carvings are illustrated in Illustrations of Design Based on Notes of Line as Used by the Craftsmen of India by Lockwood DeForest. From 1880‑1883, DeForest, in partnership with Louis Comfort Tiffany, spent extensive time in Eastern India, studying the carving and art, and initiating production and importation of pieces. After the dissolution of Tiffany and DeForest, he was involved in several furniture manufacturing enterprises. DeForest, among others, manufactured furniture in India and New York to cater to the taste for the exotic during the Aesthetic Movement. While unabashedly western in form, the present piece exhibits several unusual features atypical of mass-produced furniture of the period, including use of ash or oak secondary wood throughout, the lack of drawer locks, an Asian paper lining behind the mirror plate, and lettering on the back in an undetermined Oriental script. Drawer chamfers cut with a power machine tool indicates the producer of this chest had access to modern woodworking equipment. [600/900] Illustrated 1132 Two Late Victorian Mahogany-Stained Birch Bucket Chairs, fourth quarter 19th century, each with a curved crest above three splats, joined to the padded seat (one with a needlepoint cushion seat) by undulating arms and serpentine uprights, one raised on modified saber legs, h. 30”, w. 26”, d. 19”, the other on modified cabriole legs, h. 30‑1/2”, w, 22‑1/2”, d. 19”. [50/80] 1133 American Eastlake Victorian Burl Walnut and Marble-Top Dresser, fourth quarter 19th century, the top with a tilting mirror flanked by candle shelves and having an ornate crest above, the base with its marble top over a row of three drawers and two long drawers, h. 84”, w. 46”, d. 20”. [500/800] 1134 American Late Victorian Steamer Trunk, ca. 1900, the strapwork sides and top attached with metal mounts and rivet details, h. 20”, w. 28”, d. 17”. [75/125] 1135 American Late Victorian Camelback Steamer Trunk, ca. 1900, the embossed metal panels with wooden strapwork and embossed metal ornamentation, h. 22”, w. 30”, d. 18”. [75/125]

1131

1136 Edwardian Carved Mahogany Firescreen, first quarter 20th century, in the Aesthetic taste, the crest rail modeled as a railing with twelve spindles of graduated height, both facades of the rectangular swivel screen covered in black-ground damask with “Indian” patterning in buff/celadon, h. 47”, w. 28”, d. 13‑5/8”. [300/500] Illustrated 1137 Anglo-Colonial Hardwood Hall Tree, ca. 1900, the pediment centered by a finial above three glazed panels supported by columnar carvings above a small shelf, over a case with a variegated white marble-inset rectangular top and a pair of carved doors, flanked to both sides by curved umbrella cubbies, headed by a baluster-turned frieze, h. 93”, w. 38”, d. 16”. [100/200] 1138 Late Victorian Brass Full-Size Bedstead, ca. 1900, of tubular form, with gilt-painted cast-iron rails, h. 65”, inside w. 45”, l. 72‑1/2”, outside w. 48‑1/4”, l. 82”. [50/80] 1139 American Late Victorian Mahogany Sidechair, fourth quarter 19th century, in the manner of R. J. Horner, New York, the crest rail in the form of two conjoined dolphins, supported by turned spindles mounted to a shaped saddle seat, raised on turned spindle legs joined by a turned H-form stretcher, h. 36‑1/2”. [125/250]

147

1140 American Cherrywood “Clark’s Mile-End Mark” Spool Cabinet, fourth quarter 19th century, the rectangular top with a molded edge over a case fitted with six stencil-labeled drawers, flanked by spindled stiles, raised on a plinth base, retaining the embossed metal side panels and the Clark’s advertising on the back, h. 22”, w. 25‑1/2”, d. 19‑1/2”. [300/500] Illustrated

1143

1140

1142

1143 Pair of Gilded Wrought-Iron and Glass Drop-Dressed Two-Light Appliques, first quarter 20th century, in the 18th-century Russian neoclassical style, the basal drops of “raindrop” form, the spiraled candlearms profusely dressed with small “raindrop” glass pendants, electrified and fitted with bone-white faux candles, h. 21”, w. 16”, d. 8‑1/2”. [300/500] Illustrated 1144 American Late Victorian Brass Gas Sconce, fourth quarter 19th century, fitted with a period blue and white opalescent swirl glass shade, h. 13‑1/2”, w. 7”, d. 20”. [150/300] 1145 Interesting American Art Deco Five-Arm Chandelier, early 20th century, composed of anodized brass and heavy cast metal, h. 26”, dia. 20”. [100/200] 1146 American Brass and Cast-Iron Vasiform Kerosene Parlor Lamp, fourth quarter 19th century, in the Beaux Arts taste, fitted with dragon handles, the gilded cast-iron base with four boldly modeled paw feet, the blown glass chimney and spherical glass shade lacking, h. 18‑1/2”, w. 13”, d. 7”. [50/80]

1141 American Late Victorian Mahogany-Stained Birch Occasional Table, first quarter 20th century, the square top with canted corners, above a conforming apron, raised on carved cabriole-like legs, each headed by a masque carving and joined by a shaped shelf-stretcher ending in peg feet, h. [50/80] 1142 American Late Victorian Cast-Iron High-Back Bedstead, late 19th century, the arched headboard and footboard each with large ornate castings joining the iron bars, h. 63”, inside w. 52”, l. 74”, outside w. 59”, l. 78”. [150/300] Illustrated

148

1147 Large Brass Double-Light Kerosene Library Lamp, fourth quarter 19th century, of the “student” type, fitted with golden caramel glass shades, now electrified, h. 22‑1/2”, w. 27”, d. 12”. [150/300] 1148 Seth Thomas Bronze-Patinated Cast-Iron Mantel Clock, fourth quarter 19th century, in the Schwarzwald taste, the case with multiple oak-acorn branches populated with dead game, the silvered brass dial signed and fronted by a convex glass cover, the original movement replaced with a battery-operated movement, h. 20”, w. 14‑1/2”, d. 7”. [40/70]

1156

1153 American Silverplate Punchbowl, third quarter 20th century, in “Vintage” decor in the “Old Sheffield” style, fitted with a silverplate detaching bowled mazarine and a silverplate detaching five-bottle wine rack, h. 11‑1/2”, dia. 16”. [150/300] Illustrated 1154 Gorham Sterling Silver “Cambridge”-Pattern Punch Ladle, introduced in 1899, the interior of the bowl gilded, l. 12‑1/2”, 6.05 t. oz. [200/400]

1155 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”. [40/70] 1153

1149 American Aesthetic Movement Carved Mahogany Swing Mirror, first quarter 20th century, in the neoclassical taste, with brass and mother-of-pearl inlays modeled as draped bowknotted floral garlands, the mirror plate broadly beveled throughout, h. 49”, w. 52”. [200/400] 1150 American Late Victorian Polished Brass Two-Arm Light Fixture, fourth quarter 19th century, the central shaft with a bulbous insert, the arms adorned with cast flaming torches, fitted with period opalescent blue swirl glass shades, h. 32‑1/2”, w. 24”. [200/400] 1151 Pair of American Cast and Verdigris-Patinated Brass Sconces, first quarter 20th century, of console bracket form in the Beaux Arts style, electrified and fitted with frosted flame shades and white faux candles, h. 17”, w. 5”, d. 12”. [400/700] 1152 American Carved Giltwood and Plaster Looking Glass, first quarter 20th century, in the Beaux Arts style, the center molding with antique-gilded bas-relief oak leaves and acorns, the whole in a satin black-painted shadowbox frame, h. 22‑1/2”, w. 19‑1/2”. [250/400]

1156 Diverse Seven-Piece Group of American Silverplate Tableware, comprised of a two-piece Leonard coffee and tea service (footed coffeepot and matching teapot), in the Early Victorian style, second quarter 20th century; an after-dinner coffeepot, first quarter 20th century; a compatible two-piece “Gadroon” cream and sugar set (covered two-handled sugar basin and matching cream pitcher); a New Amsterdam iced water pitcher in the Georgian taste, also first quarter 20th century; and an Apollo oblong vegetable dish in “Antique Bead” decor, the two-handled cover inverting to form an oval open supper dish, second quarter 20th century; the largest h. 10”, w. 5‑1/2”, l. 8”. [150/300] Illustrated 1157 Eight-Piece Group of Silverplate Serving Items, consisting of a Reed and Barton bowl of ribbed flowerhead form, dated 1933 by a Reed and Barton date symbol/ hallmark on the base, h. 1‑7/8”, dia. 8‑1/8”; an Edwardian “Gadroon and Flower” oval bread tray in the Georgian taste, first quarter 20th century, w. 6‑1/2”, l. 9‑1/2”; and a set of six Edwardian Silver Craft silverplate dessert plates, first quarter 20th century, in the Adam taste, dia. 7‑1/2”. [20/40] 1158 Festive Pair of Rhinestone-Set Silverplate Napkin Rings, of oval medallion form, one example monogrammed “L” in bas-relief script, the other similarly monogrammed “B”, both monograms within paste-brilliant frames, h. 1‑3/4”, w. 2‑1/8”. [75/125]

149

1161

1163 David B. Nicolay (American/ Louisiana, 20th Century) “Audubon Park, New Orleans”, color digital print, signed in pencil lower right, titled in pencil lower left, sight 13” x 8‑3/4”. Glazed, matted and framed. [30/50] 1164 James Michalopoulos (American/ Louisiana, b. 1951) “Shutter ‘86”, oil on canvas, signed lower left “Mitchell”, 40” x 30”. Framed. [2000/4000] Illustrated

1159 Opulent Pair of Reed and Barton Sterling Silver “Francis I” Fruit Bowls, the pattern introduced in 1907, w. 12”, l. 15”, 59.00 total t. oz. [3500/5000] Illustrated 1160 Good Pair of Gorham Sterling Silver Salts, dated by Gorham date symbol 1892, of oblong, ribbed and footed form in the Georgian taste, h. 1‑3/4”, w. 2‑3/4”, l. 3‑1/2”, 5.50 total t. oz. [350/500]

1159

1161 Cased Ninety-Five-Piece Assembled Presentation Silver Partial Flatware Service, for ten persons, in Stieff’s “Stieff Rose” pattern, introduced in 1892, and Samuel Kirk’s “Repousse” pattern, introduced in 1828; the Stieff service comprised of nine dinner forks, nine hollowhandle dinner knives, nine salad/pastry forks, nine roundbowl soup spoons, twelve teaspoons, four after-dinner coffee spoons, ten flat butter knives, a gray ladle, an ovalbowl sugar spoon, a jelly spoon with modified coquiform bowl, and a hollow-handle master butter knife; the Kirk service comprised of four dinner forks, six salad/pastry forks, six teaspoons, a two-piece hollow-handle carver’s set, a hollow-handle pie server, a sugar spade, a sugar shell, a confection spoon with repousse bowl; together with four sterling butter pats and three Hennegan-Bates & Co. matching dinner forks; the largest implement w. 2”, l. 10”, 100.35 total t. oz., presented in a Stieff blond mahogany case with a rectangular sterling silver presentation plaque dated 1957, the interior of the case fitted in sky-blue velvet. [1800/2500] Illustrated 1162 Murrell Butler (American/Louisiana, 20th/21st Century) “Spring Morning in the Tunica Hills”, “GreenWings on the Big Bayou Sara”, “Summer Day at Molix Gap”, “Autumn Day at Round Lake” and “Winter Evening on the Little Bayou Sara”, suite of five offset chromolithographs, all pencil signed and numbered lower right, verso of each affixed with a Certificate of Authenticity and information on each animal featured in the print, sight 20‑3/4” x 15‑3/4”. All glazed, matted and framed. [150/300]

150

1165 James Michalopoulos (American/Louisiana, b. 1951) “Parrot”, oil on canvas, signed and dated lower left “Mitchell ‘87”, 48” x 36”. Framed. James Michalopoulos was born James Mitchell and signed his paintings “Mitchell” until 1994. [2000/4000] 1166 Philip Sage (American/Louisiana, b. 1942) “Billy’s Back Room” and “Plains Baptist Church”, two limited editions etchings, both signed and dated in pencil lower right “Sage ‘77”, pencil numbered lower left and titled lower center, sight 18‑1/2” x 20‑3/4”. Both glazed and presented in ebonized and parcel-gilt frames. [250/400] 1167 After Walter Inglis Anderson (American, 1903‑1965) “Letter R” and “Letter U”, two color silkscreens, sight 12” x 9‑3/4”. Both glazed, matted and presented in molded ebonized frames. [250/400] 1168 Caroline Durieux (American/Louisiana, 1896‑1989) “Shelter”, limited edition chromolithograph, signed in pencil lower right, numbered “19/20” and titled lower left, sight 13‑1/2” x 19”. Glazed, double-matted and presented in a giltwood frame. [800/1200] Illustrated

1169 Good French Art Nouveau Patinated Brass Vase, ca. 1900, with large butterfly handles, the base of the piece drilled for lamp fittings, h. 10”, dia. 12”. [300/500] Illustrated 1170 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”. [50/80]

1169

1164 1171 Interesting Six-Piece Collection of Antique Sewing and Embroidery Accessories, comprised of a Russian brass oviform thimble case-on-cord, with a fitted interior containing the period thimble; a Continental pewter pincushion in the form of a sow; a Russian stained and stenciled wooden needle case in “Fern and Foliage” decor, containing the period bi-fold purple card needle book; a Redditch patent brass “Quadruple Needle Case” in the Renaissance Revival style; and a Barber’s patent gilt-brass and tin thread spool; all five items third quarter 19th century; together with an Austrian brass etui of demishuttle form in the Sezession style, the moleskin velvetlined interior fitted for a graduated trio of steel embroidery scissors (the smallest pair lacking), first quarter 20th century; the largest item w. 2‑1/2”, l. 6‑1/4”. [300/500] 1172

1172 Dramatic Pair of Gilt-Brass Accent Lamps, second quarter 20th century, modeled as two-handled footed vases filled with cattails and “blooms” in the form of amber, topaz and yellow electric lights, h. 48”. [300/500] Illustrated

1168

151

1173 Continental Gilt-Brass and Enameled Scent Flacon, of diminutive teardrop form in stylized floral decor, the gilded turban-form cap fitted with a dabber and a security chain, l. 2‑3/8”. [200/400]

1182 1183

1174 Attractive French Art Nouveau Gilt-Brass Jewel Casket, ca. 1900, of oblong form, the interior base lined in the period pale blue padded silk gauze, h. 3”, w. 11‑1/4”, d. 5‑1/4”. [500/800] Illustrated 1175 Group of French Beaded Flowers, ca. 1930, consisting of an arrangement of Lilies of the Valley and yellow flowers, along with an arrangement of yellow and orange beaded lilies, a larger arrangement of beaded multi-petaled blooms, a spray of white beaded blooms, a bouquet of beaded blue gentians and yellow blooms, a small beaded bouquet of a red rose and three yelloworange blooms, and two large beaded red rose sprays, the largest l. 16‑1/2”. [75/125]

1176 Robert Anning Bell (English, 1863‑1933) “Bust of the Young Sir George J. Frampton” (1860‑1928), a blackpainted original plaster, ca. 1890, signed at the facade plinth “Bell”, incised, presented on a period walnut base of fluted quarter-column form, figure h. 20”, w. 7‑1/2”, d. 7”, h. with stand 28”. [700/1000] Illustrated

1176

1177 English Parian Porcelain Figure of the “Young Columbus”, by Wilt Libby, fourth quarter 19th century, now mounted as a table lamp on a gilt-brass “collector’s” base and fitted with an “old ivory” silk shade of drum form, the figure signed on the reverse “Copyright W. H. Libby”, overall h. 25‑1/2”. [50/80]

1184 1185

1186

1187

1178 Attractive English Brass-Inlaid Rosewood Lap Desk, second quarter 19th century, in the “Campaign” style, the interior fitted with a gilt-tooled black morocco writing surface, a stamps compartment, a pair of ink bottle compartments, a stylus compartment and another smaller accessories compartment, now mounted on a later conforming mahogany stand to form a chairside table, h. 26”, w. 18‑1/4”, d. 10‑1/2”. [300/500] 1179 English Brass- and Bronze-Mounted Mahogany Desk Book Rack, first quarter 20th century, in the Egyptian taste, the folding arched end pieced-set with cut brass palmettes centered with bronzed pharaonic masks, h. 6‑1/2”, w. 5”, l. 13”. [100/200] 1180 Attractive English Brass-Edged Black CanvasVeneered Trunk, second quarter 19th century, the lid with a decorative brass nailhead monogram, the interior lined in the period treated ticking fabric, the center of the facade fitted with a metal lock, h. 14”, w. 20‑1/2”, d. 13‑3/4”. [100/200]

1174

152

1186 Mistick Krewe of Comus “Buddha and Lotus” Pin, 1903, composed of antiqued bronze-argente and enamel, from the “Mahabharata” theme of that year, h. 1”, w. 1‑1/8”. [200/400] Illustrated Color Plate XIV 1187 Momus 40th-Anniversary Masque Pin, 1912, composed of antiqued bronze-argente, gilded brass and enamel, from the “Chronicles of Momus” theme of that year, h. 3/4”, w. 1‑1/2”. [300/500] Illustrated Color Plate XIV 1188 Group of Two Comus Carnival Items, comprised of a 1980 Comus .999-standard silver medallion for “The Enchanted Arts”, dia. 1‑1/2”, in a hinged plastic collector’s case; and a 1981 Comus gilded brass plumed fan pin designed by Mignon Faget, h. 1‑1/2”, w. 1‑3/4”. [75/125] 1189 Group of Two Mithras Bronze Dore Pins, comprised of a Mithras 20th Anniversary pin, 1916, h. 5/8”, w. 1‑1/4”; and a pin for “The Evolution of Music” theme of 1914, h. 3/8”, w. 1‑1/4”. [150/300]

1200

1181 English Brass-Mounted and Parcel-Gilt Black Tole Coal Scuttle, fourth quarter 19th century, the slant front centered with a floral painting (losses), retains the turned and ebonized wood-handled sheet-iron scoop, the interior with a conforming removable sheet metal liner, h. 17”, w. 9‑3/4”, d. 16‑1/2”. [100/200]

1190 Near Pair of Krewe of Atlanteans Lapel Pins, ca. 1900, each of circular form and composed of antiquegilded brass and pale enamel, each cruciform enamel center surmounted by the Atlantean motto “Arcanum” centered by a bas-relief letter “A”, dia. 3/4”. [150/300] 1191 Collection of Three Mardi Gras Accessories, comprised of a large, circular, blue-enameled bronzeargente watch fob, ca. 1920, h. 7/8”; an Atlanteans antique-gilded brass lapel pin, ca. 1900, dia. 3/4”; and an Atlanteans enameled brass vasiform lapel pin for the 1907 “Court of the Great Moghul Shah Jehan”, dia. 1‑3/8”. [150/300]

1182 Mistick Krewe of Comus Armorial Pin, 1907, composed of antique-gilded brass and scarlet enamel, from the “Tennyson” theme of that year, dia. 1‑1/2”. [150/300] Illustrated Color Plate XIV

1192 Atlanteans Enameled Fourteen-Karat Gold Circular Pin, ca. 1905‑1910, of circular form and embellished in white and sky-blue champleve enamel, the cruciform blue enamel center with a block letter “A” surmounted by the Atlantean “Arcanum” motto, dia. 3/4”. [200/400]

1183 Krewe of Momus Pin, 1911, composed of antique-gilded bronze and enamel in the Art Nouveau style, from “The Language of Flowers” theme of that year, h. 1‑1/16”, w. 1‑1/4”. [150/300] Illustrated Color Plate XIV

1193 Atlanteans “A Florentine Masque” Pin, 1906, of circular form and composed of antiqued bronze-argente and enamel, dia. 1”. [150/300]

1184 Two Rex Lady’s Pins, comprised of a 1975 Rex green enameled and gilded brass cruciform lady’s pin, h. 1‑1/4”, w. 1‑1/4”; and a 1977 Rex enameled and gilded brass shield-form lady’s pin, h. 1‑1/4”, w. 1‑1/16”. [40/70] Illustrated Color Plate XIV

1196

1185 Krewe of Momus Lapel Pin, 1905, composed of antiqued and enameled bronze-argente, from the “Vathek, Ninth Caliph of the Abassides” theme of that year, h. 1”, w. 7/8”. [200/400] Illustrated Color Plate XIV

153

1194 Mistick Krewe of Comus Armorial Brooch, 1907, of circular form and composed of scarlet enameled gilded brass, featuring an enameled shield with two animal supporters surmounting a date ribbon “19 Comus 07”, dia. 1‑3/8”. [150/300]

1204

1195 Elves of Oberon Pin, 1914, composed of gilded brass and champleve enamel, from the “Twenty Years of Oberon” theme of that year, h. 1”, w. 1‑3/8”. [100/200] 1196 Three-Piece Krewe of Arcanum Sterling Silver Collection, consisting of a 1956 Mardi Gras tastevin cup, dia. 3‑1/4”; and a pair of 1955 Mardi Gras souvenir after-dinner coffee spoons, l. 4”; all three pieces with the applied Arcanum circular seal, 2.30 total t.oz. [75/125] Illustrated previous page

1205

1197 New Orleans 1914 Engraved Silverplate Rex “Loving Cup” Carnival Favor, h. 5‑1/2”, w. 5‑1/2”, d. 2‑5/8”. [150/300] 1198 Pair of Proteus Mardi Gras Ball, 1947, Souvenirs, in the form of silverplated coquiform sweetmeat dishes on shell feet in the “Old Sheffield” style, manufactured by International Silver and so hallmarked, w. 5‑1/8”, l. 6‑1/4”. [50/80]

1199 Collection of Eleven New Orleans Mint Morgan Silver Dollar Coins, including an 1880-0 very good, an 1882-0 very good, an 1885-0 very good, an 1887-0 fine, an 18880 very good, an 1887-0 extra fine, an 1889-0 fine, an 1890-0 fine, an 1891-0 very good, a 1900-0 very fine and a 1902-0 very fine, dia. 1‑1/2”. [700/1000]

1208

154

1200 Fine 1790 Double-Sided Manuscript Document, recording a shipment between Natchez, Mississippi, and New Orleans from Don Carlos de Grand-Pres of Hope Farm, Natchez, and Estevan Miro, governor of the American provinces of the Louisiana Territory and West Florida, Grand-Pre was instrumental in planning the town of Natchez following Spain’s acquisition of the Natchez District in 1779, signed by both men and bearing a period scarlet wax seal, h. 13‑1/2”, w. 8‑3/8”. [1800/2500] Illustrated previous page

1207 Blaine Kern Artists Ink and Watercolor Mardi Gras Float Design, for an “Attila the Hun” float, signed “Frolich” and titled in pencil lower right, with an embossed gold paper Blaine Kern seal at the left, unframed, h. 8‑1/8”, w. 14”. [75/125] 1208 Ellsworth Woodward (American/ Louisiana, 1861‑1939) “Portrait of Marcelle Leverich”, watercolor on paper, monogrammed and dated lower left “E. W. 1930”, sight 14” x 8”. Glazed, matted and framed. [800/1200] Illustrated Color Plate XV 1209 Elizabeth Quale O’Neill Verner (American/South Carolina, 1883‑1979) “Portrait of a Black Woman”, pastel on board, signed upper right corner “Eon Verner”, sight 6” x 6”. Glazed and presented in a molded stained hardwood frame. [1000/1500] Illustrated

1209 1201 First Edition Printing of The Architectural Style of A. Hays Town, containing 106 preliminary sketches, Amdulaine Publications, Inc., Baton Rouge, Louisiana, 1985, h. 11‑1/2”, w. 16”. [600/900] 1202 Rare Three-Piece Set of $10 Confederate Bills, issued in 1864, in three consecutive numbers:  75321, 75322 and 75323. [250/400]

1210 After William Woodward (American/ Louisiana, 1859‑1939) “Restaurant de la Renaissance” and “Au Rendezvous des Compagnons”, two facsimile prints, signed in plates, both sight 9” x 5‑1/2”. Both glazed, attractively matted and presented in ebonized and parcel-gilt frames. [350/500] 1211 Morris Henry Hobbs (American/ Louisiana, 1892‑1967) “Bromeliad with Two Birds”, watercolor on paper, signed lower left “Morris Henry Hobbs”, sight 19‑1/2” x 13‑1/2”. Glazed, attractively matted and presented in a molded silvered frame. [1500/2500] Illustrated Color Plate IX

1203 1839-0 New Orleans Mint Silver Half Dollar Coin, dia. 1‑3/16”. [200/400] 1204 Fine and Rare Early Newcomb College Pottery HighGlaze “Solitaire” Teapot, 1908, in “Lily” decor, potted by Joseph Fortune Meyer (1848‑1931) and decorated by Anna Frances Simpson (d. 1930), the base fully signed and numbered, h. 3‑1/2”, w. 4”, l. 7”. [2000/4000] Illustrated Color Plate IV 1205 Newcomb College Cut and Shaped Sheet Brass Mailbox, second quarter 20th century, of tapering flat-back form, the mail pocket centered with the cut circumscribed monogram “McE”, h. 11‑1/2”, w. 9‑1/4”, d. 2”. [300/500] Illustrated 1206 Eleven-Piece Collection of American Brass and Silverplate, Including Mardi Gras Souvenirs, the diverse collection comprised of a “Rex 1904” silverplate dressing table box; a brass and turned hardwood “Alexis 1981” silent butler; a rhinestone-set and pinkenameled gilded brass “Prometheus 1955” vanity whisk; a pair of “Dorians 1977” Reed and Barton silverplate cafe brulot spoons produced for Coleman E. Adler and Sons, New Orleans; and a boxed set of six plain Reed and Barton cafe brulot spoons also for Adler’s; the largest h. 2‑1/4”, w. 5‑1/4”, l. 9‑1/2”. [200/400]

1211

155

1214 George David Coulon (American/ Louisiana, 1822‑1904) “Bayou Landscape with a Moss-Covered Cypress Tree”, gouache on paper, signed lower center “G. D. Coulon”, verso inscribed in ink “Prof. W. D. Heyer, Elizabeth, N.J. Souvenir de Geo. D. Coulon, Nelle. Orleans, LNE 1896”, dia. 4‑1/2”. Glazed, matted and presented in a giltwood frame. [1500/2500] Illustrated Color Plate IV 1215 Colette Pope Heldner (American/ Louisiana, 1902‑1990) “Swamp Idyll”, signed lower left, signed and titled verso, 24” x 30”. Presented in a giltwood frame. [1000/1500] Illustrated Color Plate IV

1212

1212 John Alexander Drysdale (American/ Louisiana, 1870‑1934) “Misty Louisiana Landscape”, oil wash on paper, pencil signed lower left “A. J. Drysdale”, sight 19‑1/2” x 29”. Glazed, matted and framed. [1500/2500] Illustrated Color Plate IV 1213 Alexander John Drysdale (American/ Louisiana, 1870‑1934) “Misty Morning in City Park”, oil wash on paper, signed lower left, sight 19‑3/8” x 29‑3/4”. Glazed and presented in a rustic hardwood frame. [2000/4000] Illustrated

1213

1216 Comus 1896, “The Months and Seasons of the Year”, a Mardi Gras float design for float “Spring”, watercolor on paper, verso identifying the float in graphite, sheet size 12‑3/4” x 20”. Unframed. [400/700] Illustrated 1217 Comus 1896, “The Months and Seasons of the Year”, a Mardi Gras float design for float “Three Time”, watercolor on paper, sight 11‑1/2” x 17”. Glazed, attractively matted and presented in a molded silvered frame. [600/900] Illustrated Color Plate XIV

1214

156

1219 Unusual American Late Victorian Cast Metal Anodized Gas Hall Light, fourth quarter 19th century, the tiger-striped anodized cast metal shaft in the form of chain link and fitted with a ruby glass ruffled shade, h. 28”, dia. 9”. [100/200] 1220 L. C. Tiffany Iridized Green and Gold Favrile Glass Tall-Neck Vase, first quarter 20th century, of small size, the base signed in diamond stylus script “36K L. C. Tiffany - Favrile”, h. 8”. [700/1000] Illustrated following page

1215

1218

1217

1218 American Bronzed and Gilded Metal and Slag Glass Parlor Lamp, first quarter 20th century, attributed to Miller and Company, the domed shade with six curvate caramel glass panels, h. 21”, dia. 14‑3/4”. [300/500] Illustrated

1216

157

1226 American Beveled Mirrored Glass-Veneered Pedestal, third quarter 20th century, of square section, the top and all sides veneered in beveled mirrored glass, h. 36”, w. 12”, d. 12”. [100/200]

1221

1220

1227 Three-Piece American Black Slate Mantel Garniture, fourth quarter 19th century, of small size in the Renaissance Revival taste, comprised of a mantel clock fitted with patinated brass columns and a gilt- and patinated brass pomegranate finial, h. 11‑1/2”, w. 7‑1/2”, d. 4”, and a flanking pair of brass vasiform coupes on black slate pedestal bases, h. 8”, each piece accented with gray marble. [125/250] Illustrated 1228 American Mahogany “Centennial” Looking Glass, fourth quarter 19th century, of octagonal form in the early 19th-century classical taste, the mirror plate beveled throughout, h. 31”, w. 39‑1/2”. [125/250] 1229 Aesthetic Giltwood and Silvered Frame, fourth quarter 19th century, the beaded slip within a cushioncarved and acorn-molded frame surrounded by an outer acanthine- and cabochon-molded frame, h. 36”, w. 31‑1/4”. [100/200]

1221 Good Tiffany Studios Patinated Bronze Calyxiform Candlestick, first quarter 20th century, of tall size, the base touchmarked “Tiffany Studios/ New York/ 1213”, h. 16‑3/4”, dia. 5‑3/4”. [300/500] Illustrated 1222 Tiffany and Company Cut Glass Table Obelisk, dated 1990, the facade engraved “The/ Winter Ball/ Tiffany & Co./ and/ The Houston Post/ Women of Distinction/ Award/ January 20, 1990/ Ann B. Sakowitz”, h. 9‑3/4”, w. 2‑1/4”. [150/300] 1223 Stately Pair of American Wrought-Iron Three-Light Floor Candelabra, first quarter 20th century, in the manner of Cyril Kolnik, Milwaukee, Wisconsin, presently in an old khaki-painted finish, h. 71”, w. 21‑1/4”, d. 21‑1/4”. [300/500] Illustrated 1224 Good Amphora Works, Turn-Teplitz, CabochonJeweled Art Pottery Vase, 1918‑1939, the vase with the oval transfer-printed Amphora mark underglaze, h. 5‑1/2”, dia. 5”. [150/300] 1225 American Arts and Crafts Glazed Pierced Pottery Double Wall Pocket, first quarter 20th century, glazed in matte celadon, the pierced decoration of flowers and stylized foliage, h. 6‑1/2”, w. 8‑1/2”, d. 3‑1/4”. [200/400]

158

1223

1230 American Classical Mahogany Looking Glass, second quarter 19th century, retains the period plate, h. 33”, w. 23”. [100/200]

1227

1231 Tom Bennett (American, b. 1935), a patinated bronze figure of a nude dancer on point, one arm raised over her thrown-back head, presented on a polished Grand Antique marble disc base, signed on the proper left toe shoe “Tom Bennett/’82 14/500”, h. 13”. [300/500] 1232 Amusing American Patinated Brass Desktop Book Rack, first quarter 20th century, in the “Egyptian” taste, the endplates modeled as temple porticos behind pyramids fronted by recumbent sphinxes, h. 5‑1/2”, w. 6‑1/2”, l. 12‑3/4”. [75/125] Illustrated

1236

1233 Amusing American Bronze-Patinated Brass Desktop Book Rack, first quarter 20th century, in the “Egyptian” taste, the endplates modeled as kneeling elaborately caparisoned camels, h. 5‑1/2”, w. 6‑1/2”, l. 12‑3/4”. [100/200] Illustrated 1234 Ansonia Clock Company Mantel Clock, fourth quarter 19th century, composed of Rouge Royal marble and incise-carved black slate in the Renaissance Revival style, the incise carving gilded, the white enamel dial with black chapters and signed, the backplate with a patent date of 1882 and fully touchmarked, h. 11‑1/2”, w. 15”, d. 7”. [200/400]

1235 American Reticulated and Patinated Brass Six-Candle and Kerosene Hanging Lamp, fourth quarter 19th century, the kerosene font fitted with a domed white opal glass shade, retains the period reticulated brass suspension chains, electrified, the candlearms fitted with “old ivory” composition faux candles, h. 36”, dia. 26”. [300/500]

1236 American Gilded Cast-Iron Hall Lamp, first quarter 20th century, in the form of a four-sided squaredsection lantern on a standard, the lantern glazed with tinted mica panels and electrified, h. 21”, w. 7”, d. 7”. [100/200] Illustrated 1237 Gilbert Clock Company Bronze and Beveled Glass “Carriage” Mantel Clock, first quarter 20th century, the backplate fully touchmarked, retains the double mercury pendulum and the period winding key, h. 9‑1/2”, w. 6‑1/4”, d. 5‑1/4”. [200/400] 1238 Three-Piece Group of American Doorstops, second quarter 20th century, consisting of a near pair of cast and polychromed iron “Colonial Maid” doorstops of small size; and a similar lustered composition figure of like date, signed “VM” on the base; the largest h. 5”. [150/300] 1239 Three-Piece Dresden Blanc-de-Chine Porcelain Dressing Table Set, first quarter 20th century, comprised of a heart-form jewel box, an elliptical pins box and a matching bud vase, together with a Later Compatible Antique Reflections Blanc-de-Chine Porcelain Lobed Elliptical Dressing Table Tray, all with haut-relief floral decoration in white, a Two-Piece Dore Toilette Set, in the rococo taste, and a SilverMounted Faux-Ivory Comb (seven pieces). [30/50]

1232 1233

159

1244

1245 American Late Classical-Style Oak Circular Extension Dining Table, ca. 1900, the circular top with an ogee-form apron mounted to a cylindrical pedestal and scroll-footed platform base, accompanied by five original leaves, h. 31”, dia. 48”, extended l. 95‑1/2”. [500/800] 1246 Late Victorian-Style Turned Oak Blanket Rack, having lathe-turned posts mounted to molded bases and joined by three turned bars, h. 33‑1/2”, w. 37‑1/4”, d. 15”. [50/80] 1247 American Late Victorian Oak Armoire, late 19th century, the top with an elaborately carved crest and frieze, above a pair of framed and paneled doors and a base fitted with two drawers, h. 98‑1/2”, w. 52‑1/2”, d. 21”. [500/800] 1248 English Carved and Paneled Oak Hall Mirror, first quarter 20th century, in the neoclassical taste, the side rails modeled as paneled flat pilasters with basket weavecarved facades, the cresting ovolo-carved, h. 89”, w. 52”, d. 9‑1/2”. [400/700] Illustrated 1249 American Late Victorian Revival Tiger Cherry Occasional Table, ca. 1900, the serpentine-shaped top with a molded edge above a like apron, raised on cabriole legs headed by acanthine carving, joined by a shaped shelf-stretcher and ending in carved pad feet, h. 28”, w. 30”, d. 21‑1/2”. [50/80]

1240 Striking Three-Piece Assembled Garniture, composed of a German gilt-brass-mounted brilliant-pressed and partially frosted glass covered and footed bowl in the Baroque taste, the stem dressed with faceted glass tearform drops, the cover with a paneled spike finial, h. 14”, and a flanking pair of similarly mounted cherry luciteaccented candlesticks on veined Carrara marble bases, second quarter 20th century, h. 8”. [100/200] 1241 Two Hand-Crocheted Boudoir Items, consisting of a bedspread with fringed border, w. 96”, l. 96”, and a hexagonal pillow, w. 17”, l. 20”. [50/80] 1242 Pair of American Blown Glass Hurricane Shades, in the traditional style, h. 16‑1/4”, dia. 6”. [100/200] 1243 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. [75/125] 1244 American Late Victorian Quarter-Sawn Oak Bookcase, ca. 1900, bearing the label “Badger Furniture Co./Indianapolis”, the canopy top supported by a carved lion, with a beveled mirror in the back, the case with a pair of glazed doors, raised on turned and carved bun feet, h. 68”, w. 42”, d. 14”. [600/900] Illustrated

160

1248

1250 Late Victorian-Style Turned Oak Blanket Rack, having arched ends joined by a turned stretcher and raised on turned legs, h. 38‑3/4”, w. 32”, d. 38‑1/2”. [20/40] 1251 American Arts and Crafts Oak Circular Extension Table, ca. 1900, the circular top mounted to a square pedestal and four outstretched legs, h. 30”, dia. 42”. [100/200]

1255

1252

1252 Elegant Elkington and Company Silverplate and Cut Glass Centerpiece, hallmarked 1851, the cranberry cut-to-clear bowl with a sawtooth edge and elevated on a stylish Renaissance Revival silverplate stand, h. 10”, dia. 8‑1/2”. [1500/2500] Illustrated Color Plate II 1253 Antique Sheffield-Plate Three-Light Candelabrum, second quarter 19th century, of tall, reeded spiralarmed form in “Shell and Flower” decor, the outer candlesockets fitted with the unusual feature of cassolette finials, detaching at the center to form a single tall candlestick, h. 19”, w. 16”, d. 5”. [40/70]

1256 Victorian Silverplate Revolving Vegetable Dish, fourth quarter 19th century, of oval form, with annulated rim and raised on four S-scroll legs en suite, each ending in an acanthus-mounted paw foot and joined by a conforming oval wire stretcher, the lid revolving to reveal two trays, one pierced, one solid, above a hot water reservoir, engraved, on the lid, with the badge of Baron Westbury (Bethell), h. 8‑1/4”, w. 11‑7/8”, d. 8‑1/2”. [75/125]

1254 Three-Piece Sheffield Silverplate Ribbed Coffee Service, fourth quarter 19th century, by James Dixon and Sons, comprised of a tall footed coffeepot with an upright ribbed gourd cover finial, a generously proportioned two-handled and footed sugar basin, and a footed cream pitcher, all with foliate-scrolled handles, the largest h. 11”, w. 9”, d. 5‑1/2”. [50/80] 1255 Antique Sheffield-Plate Covered Two-Handled Hot Water Urn-on-Platform, second quarter 19th century, in the neoclassical taste, the platform supported on ball feet and centered with a stationary vasiform alcohol lamp, h. 19”, w. 13‑1/2”, d. 14”. [500/800] Illustrated

1258

161

1257 Group of Two Silver Roll-Top Servers, one an Edwardian silverplate oval roll-top bacon server with paw feet, in “Repousse” floral sprays, first quarter 20th century, h. 7”, w. 11”, d. 8”; and the other a smaller Victorian oval roll-top paw-footed butter dish, additionally fitted with an exterior knife rest, third quarter 19th century, h. 5”, w. 9‑1/2”, d. 6”; each piece with a separate silverplate interior dish. [150/300] 1258 Pair of Candelabra with a Pair of Chambersticks, comprised of a good pair of antique Sheffield Plate chambersticks with “dunce’s cap” snuffers in “Antique Bead” decor, second quarter 19th century, h. 3”, w. 7‑3/8”, d. 6‑5/8”; and a pair of American reeded spiral-arm three-light candelabra in the George III style, first quarter 20th century, h. 11‑3/8”, w. 13”, d. 5‑1/2”. [100/200] Illustrated previous page

1259

1259 Good Pair of Mappin and Webb Sterling Silver Salad Servers, 1901, Sheffield, in “King’s Shell” decor with foliate-engraved ovoid bowls, comprised of a long-handled salad serving spoon and a matching long-handled fivetine serving fork, l. 10‑1/2”, 9.75 total t. oz. [600/900] Illustrated 1260 Attractive Set of Four English Silverplate DolphinFooted Salts, third quarter 20th century, the bowls in the form of stylized scallop shells, h. 2‑1/2”, w. 2‑1/2”, l. 4”. [100/200] 1261 Set of Six Cope and Company, Sheffield, Silverplate Sauce Ladles, first quarter 20th century, in “Fiddle Thread” decor, l. 7”. [100/200]

1263

1262 Two-Piece Mappin Brothers, Sheffield, Sterling Silver Cream and Sugar Set, 1900, in the George IV style, comprised of a large vertical-ribbed two-handled open sugar basin, h. 4‑3/4”, w. 5”, l. 7‑1/2”, and a matching cream pitcher, h. 4‑1/4”, w. 4”, l. 5‑1/2”, 19.40 total t. oz. [700/1000]

1263 Two-Piece James Dixon, Sheffield, Silverplate Hollow-Handle Fish Serving Set, first quarter 20th century, the set comprised of a fish slice with a dolphin engraved on each side of the blade, l. 10”, and a matching five-tine serving blade, l. 12‑3/8”. [75/125] Illustrated 1264 British School (First Quarter 20th Century) “London Coach”, oil on canvas, signed lower right “Richmond”, 25” x 36”. Presented in a Beaux Artsstyle giltwood frame. [400/700] Illustrated

1264

162

1265 After Henry Shayer (British, 1825‑1894) and Charles Waller Shayer (British, 1826‑1914) “The Meet”, offset chromolithograph, limited edition, first printing, printed exclusively for The Ritz-Carlton Hotel Company and so noted lower right margins, sight 15‑5/8” x 25‑3/8”. Glazed, attractively French matted and presented in a stained hardwood frame. [40/70] 1266 French School (19th Century) “Louis IV Troupes de la Marine” and “Louis XIV Cavaliere Legere”, pair of hand-colored lithographs, sight 14” x 10‑1/2”. Both glazed, French matted and presented in molded, polychromed and parcel-gilt frames with burlap liners. [250/400] 1267 British School (19th Century) “Messrs Round & Green’s Bank, Colchester”, photo lithograph by James Akerman, “The Admiralty Near White Hall and The Treasury in St. James Park” and “A Perspective View of the Bank of England”, both color engravings, the largest 15‑3/4” x 11”. All glazed, attractively matted and presented in mahogany-stained hardwood frames. [50/80] 1268 Francesco Bartolozzi (Italian, 1727‑1815) “View of the Inside of the Royal Exchange in London with Honorable William Pitt, First Lord Commissioner of the Treasury, Principal Secretary of State and Chancellor of the Exchequer”, after J. Chapman and Lutherburgh, color engraving, sight 18” x 23”. Glazed, attractively double-matted and presented in a reeded giltwood frame. [200/400] 1269 After John Boydell (British, 1720‑1804) “Capture of the French Ships by the British Royal Navy”, pair of facsimile prints, legend lower margins, sight 21‑1/2” x 25”. Both glazed and presented in attractive ebonized and gilt-stenciled frames. [200/400]

1273 1272 Large English Polychromed Wood Tearoom Sign, second quarter 20th century, the double-faced earred sign reading “Sylvia/Afternoon Tea” beneath a single rose bloom, fitted with wrought-iron suspension loops and link hanging chains, h. 47‑1/2”, w. 37”. [50/80] 1273 Japanese Satsuma Pottery Vase, fourth quarter 19th century, of baluster form with an orange flambe ground and richly enameled “Geisha” figural decoration, the reverse enameled with a single white flowerhead and falling petal, h. 20‑1/2”, w. 10”, d. 9”. [100/200] Illustrated 1274 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”. [75/125] 1275 Group of Two Asian Table Lamps, first quarter 20th century, consisting of a good Japanese Taisho opulently gilded and polychromed Satsuma pottery table lamp featuring a peacock in a flowering prunus tree surrounded by peony flowers, signed at the proper left side in calligraphy, mounted on a fruitwood base and fitted with a knife-pleated ecru fabric shade, h. 16”, dia. 8‑1/2”; and a Chinese pale blue-ground porcelain tea canister in polychromed “Wood Ducks” decor, footed in brass and mounted as a table lamp on a wooden base, and fitted with a knife-pleated white fabric shade, h. 10‑1/2”, dia. 7‑1/2”. [200/400] 1276 Good Kuang Hsu Highly Reticulated Gilt-Bronze Robe Buckle, fourth quarter 19th century, in “Celestial Dragons” decor, the tongue of the buckle modeled as a stylized dragon masque, l. 3‑1/2”. [500/800]

1277

1270 Unusual Georgian Engraved Figure of an Aristocratic Gentleman, fourth quarter 18th century, depicted in his garden, the details of his costume in cut and applique damask and lace, the background hand colored, presented in a bright- and matte-finished giltwood frame in the neoclassical style, overall 11” x 7”. [50/80] 1271 English Alphabet and Motto Sampler, signed “Ruth Pellen” and dated 1802, presented in a gold-banded black eglomise mat within a narrow black and gold wood frame in the early 19th-century neoclassical taste, overall 17‑5/8” x 17‑5/8”. [125/250]

163

1277 Three-Piece Group of T’ung Chih Porcelain Items, third quarter 19th century, consisting of a tall pair of elaborately polychromed porcelain vases, of baluster form in “Precious Objects” decor, h. 17‑1/2”, dia. 8”; and a similarly decorated circular shallow fruit bowl, with a rouge de fer reign mark on the base, dia. 11‑1/2”; all three examples with calligraphic stanzas as part of the decoration. [500/800] Illustrated previous page

1278

1284 Kuang Hsu Floral-Enameled Celadon Porcelain Vase, fourth quarter 19th century, of baluster form, h. 9‑3/4”, dia. 5‑1/2”. [30/50] 1285 Kuang Hsu Pale Celadon Porcelain Fruit Bowl, fourth quarter 19th century, of footed floriform in “Fleurs et Papillons” decor, with old gilt-brass rivet repairs and a reign mark in rouge de fer on the base, presented on a period Chinese pierce-carved hardwood circular display stand, h. 3‑1/4”, dia. 9‑1/2”. [100/200]

1278 Kuang Hsu Elaborately Enameled Porcelain Vase, fourth quarter 19th century, of tall-neck cylindrical section, the ecru ground with large reserves of cranes amidst pines with scattered floral sprays between, the base signed with an incised colophon in brown, h. 23”, dia. 9”. [200/400] Illustrated

1279

1279 Kuang Hsu “Eggshell” Porcelain Cabinet Bowl, fourth quarter 19th century, in “Crested Bird and Flowering Branch” decor, the base of the bowl with a rouge de fer reign mark, presented on a custom elaborately carved Chinese hardwood stand, h. 2‑1/2”, dia. 5”. [200/400] Illustrated 1280 Attractive Hsien Feng Porcelain Three-Part Food Warming Bowl, third quarter 19th century, in “Songbird and Flowering Branch” decor, comprised of a circular twohandled deep bowl, a conforming liner and a domed cover with a gilt Foo-dog finial, the liner signed with a rouge de fer colophon, h. 8”, dia. 9”. [50/80] 1281 Attractive Pair of Kuang Hsu Polychromed Porcelain Vases, fourth quarter 19th century, of attenuated baluster form, the “Imperial Yellow” grounds elaborately decorated in “Fleurs et Papillons” decor, now mounted as table lamps on ebonized hardwood bases of waisted circular form, h. 12”, dia. 5‑1/2”. [150/300] Illustrated 1282 Group of Four Chinese Polychromed Ivory Figures, mid‑20th century, comprised of three carved deities and the figure of a child, all well carved with polychrome details and mounted on wooden bases, the largest h. 4‑1/2”. [300/500] 1283 Japanese Edo Celadon-Glazed Porcelain Tall-Neck Cabinet Vase, third quarter 19th century, in “Cranes and Clouds” decor, h. 7”, dia. 3‑1/2”. [100/200]

164

1281

1297

1298

1286 Group of Three Oriental Porcelain Vases, fourth quarter 19th century, consisting of a good pair of Thai monochrome green-glazed porcelain spherical vases with incised underglaze floral decoration, presented on matching Chinese carved and cordovan-lacquered hardwood stands, h. 5‑1/2”; and a larger Kuang Hsu celadon crackle porcelain vase of necked cushion form in the Ming Dynasty style, h. 7”. [200/400]

1292 Five-Piece Collection of Various Iridescent Carnival Glass, late 20th century, consisting of a “Hearts and Flowers”-embossed footed bowl; a smaller “Persian Medallion”-embossed bowl; a “Rose Flower”-embossed bowl; and two embossed circular covered butter dishes; the largest h. 3‑1/2”, dia. 10‑1/2”. [100/200]

1287 I-Ching Solitaire Teapot, the celadon green crackleglazed pot with silver alloy mounts comprised of a pair of frogs with aventurine cabochon eyes, a double-scroll handle and a tiger, h. 3‑1/4”, w. 5‑1/4”. [50/80]

1293 Six-Piece Collection of Iridescent Ruby Carnival Glass, late 20th century, consisting of an embossed covered jar; a fruit bowl with a reticulated edge; a floralembossed vase with a sawtooth edge; a flared-edge bowl; a crimped-edge plate; and a “Vintage”-embossed cream pitcher; the largest dia. 13‑1/2”. [100/200]

1288 Group of Four Diminutive Japanese Meiji Carved Bone and Ivory Cabinet Figures, fourth quarter 19th century, representing, respectively, a painter, a leather goods maker, a musician and a drummer, the leather maker lacking his lower proper right arm, the musician lacking his stringed instrument, etc., the largest h. 2‑3/8”. [200/400] 1289 Kuang Hsu Blanc-de-Chine Porcelain Candle Shade, first quarter 20th century, of vase form and highly reticulated in “Prunus and Lattice” decor, h. 14‑1/2”, dia. 6‑1/2”. [100/200] 1290 Two-Piece Group of Kuang Hsu Porcelain Items, consisting of a polychromed porcelain vase of rouleau form in “Boys” decor with an accompanying calligraphic stanza, fourth quarter 19th century, h. 11”, dia. 5”; and a “Rose Canton” Export porcelain tea jar of cylindrical form in “Mandarins” decor, third quarter 19th century, with the official Chinese government red wax seal of antiquity on the base as well as a rouge de fer reign mark, h. 4‑1/2”, dia. 4”. [200/400] 1291 Four-Piece Collection of Marigold Carnival Glass, first quarter 20th century, comprised of a Fenton “Holly and Berries” bowl; a rare Millersburg “Peacock” bowl with ruffled edge; a “Windflowers” bowl with ruffled edge; and a Northwood “Fruit and Flowers” footed sweetmeat plate; the largest dia. 9”. [100/200]

1294 Five-Piece Group of Iridescent Garnet Carnival Glass Baskets, late 20th century, all handled and of varying shapes, sizes and patterns, the largest h. 8‑1/2”, w. 5‑1/2”, l. 7‑1/2”. [100/20] 1295 Seven-Piece Collection of Pink Carnival Glass, late 20th century, consisting of a pair of “Loganberry”style vases; a fan vase with dolphin-molded handles; a ribbed and ruffled-edge bowl; a taller footed bowl with a ruffled edge; and a pair of short, double-handled candle holders; the largest h. 10‑1/2”, dia. 6”. [100/200] 1296 Six-Piece Group of Iridescent Cranberry Carnival Glass, late 20th century, consisting of a “Chatelaine”embossed beverage pitcher; two “Buzz-Cut”-embossed bowls; a “Chatelaine”-embossed cream pitcher; and two embossed plates; the largest dia. 12”. [100/200] 1297 Purple Iridized Red-Gold Carnival Glass Punchbowl, first quarter 20th century, h. 5‑3/4”, dia. 12”. [100/200] Illustrated 1298 Six-Piece Collection of Iridescent Cranberry Carnival Glass, consisting of a pair of Fenton covered hen-lidded dishes; a tall “Tree Bark” stamped vase; a small patterned crimped-edge vase; a smaller crimped-edge vase; and a tri-footed bowl with a floral band; the largest h. 12”, dia. 6”. [100/200] Illustrated

165

1303 Six-Piece Collection of Various Iridescent Carnival Glass, mid‑20th century, consisting of a pair of paneled “Florentine” candlesticks; a “Thumbprint”-patterned vase; a “Leaf”-patterned vase; a “Horse Medallion”-stamped bowl; and a “Carnival Holly”-stamped bowl; the largest h. 10‑1/2”, dia. 5”. [100/200] 1304 Group of Four Early Iridescent Purple Carnival Glass Bowls, second quarter 20th century, including a ruffled “Good Luck” bowl labeled Northwood; two “Holly”-pattern bowls; and a “Four Flowers”-pattern bowl; the largest dia. 9”. [100/200] 1305 South American School (Second Quarter 20th Century) “Horseman Riding Into a Village”, oil and acrylic on canvas, unsigned, 46” x 35‑1/2”. Presented in a Beaux Arts-style giltwood frame. [1200/1800] Illustrated 1306 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. [75/125] 1305

1299 Six-Piece Collection of Iridescent Marigold Carnival Glass, late 20th century, consisting of a flared and footed compote with “Millersburg” design; a smaller flared, footed and scroll-embossed compote; an oval dresser tray with “Imperial Pansy” design; a trumpet vase with daisy design; a small circular bonbon dish; and a “Maple Leaf”-embossed covered dish; the largest h. 6”, dia. 7”. [100/200]

1307 Attributed to Rudolph Guzzardi (American/ Texas, 1903‑1962) “West Texas Landscape”, oil on board, inscribed verso in ink “Painted by Rudolph Guzzardi in West Texas, Josephine Guzzardi”, 12” x 5‑1/2”. Presented in a molded giltwood and gesso frame. [300/500] Illustrated 1308 Alvaro Mendoza (Mexican, b. 1952) “Balcony Garden”, two oils on panel, signed lower left, 9‑1/2” x 7‑1/2”. Presented in attractive Baroque-style frames. [250/400]

1300 Six-Piece Collection of Marigold Carnival Glass, late 20th century, consisting of three flared-edge candy dishes; a crimped-edge and tri-footed shallow bowl with a “Cherries” design; and two “Grape and Cable”embossed bowls; the largest h. 3‑1/2”, dia. 8‑1/2”. [100/200] 1301 Suite of Five Iridescent Marigold Carnival Glass Vases, mid‑20th century, consisting of a tall “Rustic” example; a tall modified “Rustic” example with a crimped edge; a smaller fine rib example; and two thin rib examples; the largest h. 16”, dia. 6”. [100/200] 1302 Five-Piece Collection of Iridized Carnival Glass, first quarter 20th century, comprised of a rare “Millersburg Whirling Leaves” fruit bowl in green; a “Perfection” bowl in green; a Northwood “Holly” bowl with a ruffled edge in amethyst; a Fenton “Carnival Thistle” bowl with a gauffered rim in green; and a “Carnival Holly” sweetmeats goblet in green; the largest dia. 10”. [100/200]

1307

166

1309 Semi-Antique Persian Tabriz Carpet, 10’ x 12’ 8”. [700/1000] Illustrated 1310 Aubusson-Style Hooked Carpet, 8’ 4” x 11’ 8”. [300/500] 1311 Bokhara Carpet, 4’ x 6’ 5”. [200/400] 1312 Semi-Antique Tabriz Carpet, 7’ 9” x 9’ 8”. [300/500] 1313 Persian Kashan Carpet, 9’’ 7” x 12’ 9”. [500/800] Illustrated

1313

1309 1314 Karastan Kerman Carpet, 5’ 10 “ x 9’ 11”. [200/400] 1315 Peshawar Carpet, 9’ x 11’. [2500/4000] Illustrated 1316 Bhadohi Jaipur Runner, 2’ 8” x 12’. [250/400] 1317 Heriz Runner, 2’ 8” x 15’ 11”. [500/800]

1315

167

1322 1318

1319

168

1324

1318 Peshawar Modernist Carpet, 8’ x 9’ 7”. [800/1200] Illustrated 1319 Agra Carpet, 8’ 1” x 10’ 1”. [1800/2500] Illustrated 1320 Persian Shiraz Carpet, 5’ 1” x 7’ 3”. [200/400] 1321 Afghan Belouchistan Carpet, 3’ 9” x 6’ 7”. [200/400] 1322 Indo-Oushak Carpet, 11’ 9” x 18’. [2500/4000] Illustrated 1323 Jaipur Brahma Carpet, 6’ x 6’. [500/800] 1324 Persian Kashan Carpet, 9’ 6” x 13’ 1”. [700/1000] Illustrated 1325 Agra Serapi Runner, 2’ 7” x 20’. [600/900]

169

Index of Artists and Printmakers A American School 442, 474, 530, 532, 533, 623, 626, 758, 947, 948, 974, 1116, 1118, 1121 American/Texas School 1306 Anderson, Walter Inglis (after) 1167 Audubon, John James (after) 968, 969, 970, 971, 972, 973 B Bartolozzi, Francesco 1268 Baumann, Gustave 622 Baxter, David A. 362 Bennett, Tom 1231 Bennett, Tom and Bob 615 Bessa, Pancrace (after) 414 Blackwell, Elizabeth 412 Blackwell, Elizabeth (after) 410, 411 Bloch, Marcus Eliser (after) 110 Boucher, Francois (after) 368 Boydell, John (after) 1269 Brillant, Heather 579, 580, 581, 1050, 1051 British School 167, 168, 361, 363, 475, 1057, 1058, 1264, 1267 Butler, Murrell 1162 C Campanella, Vito 576 Canaletto, Giovanni Antonio (manner) 206, 209 Carosi, Giuseppe 211, 212 Chagall, Marc (after) 628 Chevalier, Andree 440

January 22-23, 2011

Cole, E. 360 Continental School 210, 365, 441, 582, 1120 Cortes, Edouard (manner) 207, 208 Coulon, George David 1214 Cranach the Elder, Lucas (after) 753 Currier & Ives (after) 949 D David, Jacques-Louis (after) 367 Davidson, Harry 757 Dean, Meredith 534 Delance-Feurgard, Julie 213 Drysdale, Alexander John 1212 Drysdale, John Alexander 1213 Durer, Albert (after) 751 Durieux, Caroline 1168 Dutch School 409 E Eidenberger, Josef 624 Evergood, Philip 627 F Francken III, Frans (studio) 750 French School 295, 357, 1266 G Gautier, Lucien 759 Geefs, Guillaume (follower) 740 George, Eric 473 Gerry, Edith 1123 Goethals, Albert 1115

Index of Artists and Printmakers

January 22-23, 2011

Gould, J. & Hart, W. 106

Lorne, Naomi Duckman (Furth) 524

Gould, J. & Richer, H. C. (after) 99, 100

Gould, J. & Richter, H. C. 102, 104, 105

MacDermott, Stewart 573

Guzzardi, Rudolph (attributed) 1307

Machetanz, Frederick 1048

Mendoza, Alvaro 1308

Hagerbaumer, David 1047

Mexican School 755, 756

Haggard, Mary (after) 1055

Michalopoulos, James 1164, 1165

Hart, William H. 101

Millet, Jean-Francois (manner) 359

Heldner, Colette Pope 1215

Hidalgo, Juan Martin 629

Nicolay, David 1163

Hobbs, Morris Henry 1211

Hobein the Younger, Hans (after) 754

Redoute, Pierre-Joseph (after) 417, 418

Houdon, Jean-Antoine (after) 139

Reynolds, Lee 578

Rigaud, Jacques (after) 366

Italian School 444, 739

Roesen, Severin (follower) 439

Rudd, Robert 1122

Japanese School 296, 297, 298

Russian School 574, 575

Jardine, Liz 526

Jardine, William (after) 109

S. Curtis Walworth 413

Sage, Philip 1166

Katz, Mane 625

Scottish School 1056

Keulemans, J. G. & Hart, W. 103

Shayer, Henry and Charles Waller (after) 1265

Kohler, Franz Eugen (after) 108

Smith, Jack Wilkinson 1117

Kozlow, Richard 531

South American School 1305

Stovall, Rubye 1052

Lamb, Matt 527, 528, 529

Leasure, Jim 918

Tinch, Bruce 525

Levaillant, Francois (after) 107

Tolliver, Mose 915, 916, 917

Londot, Leon 443

Index of Artists and Printmakers

January 22-23, 2011

Van Nooten, Berthe Hoola (after) 416

Weinnmann, Johann Wilhelm (after) 415

Van Vreeland, Francis William 358

Woodward, Ellsworth 1208

Veccio, Anthony 1053

Woodward, William (after) 1210

Verner, Elizabeth Quale Oâ&#x20AC;&#x2122;Neill 1209

Viacor, Pat 577

Zivic, William T. 1049

Vicker, J.C. 364 Vigee Le Brun, Elisabeth (after) 367 Voorhees, Donald (after) 1054

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

Customers, Please Note: Deadline for Absentee/Telephone Bidding 5:00 P.M. Central – Friday, January 21, 2011 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, January 20, 2011

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.

REQUEST FOR CONDITION REPORTS (DEADLINE: THURSDAY, JANUARY 20, 2011 AT 5:00 P.M.) Condition reports are completed in the order in which they are received. Please allow ample time for large requests. Condition reports will not be given verbally. Photo requests will only be processed for items not illustrated in our catalog or website (www.neworleansauction.com). Detail photographs will be provided at our discretion. Name (Please Print): _______________________________________________________

Date: __________

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

State: __________ ZIP: ____________

Home: (_______)___________

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

Fax: (_______)__________

Email Address: __________________

Method of Receiving Photographs: _____Mail

_____Email

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

Please Submit This Form Via Fax: 504-586-8841

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:

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

Page No. 1

11/21/2010 15:51:14 New Orleans Auction Prices Realized for Sale A106 November 20, 2010 November Estates Auction

Lot# 1 7 9 10 12 15 19 24 25 26 27 28 29 31 32 33 34 35 36 37 38 39 40 42 43 47 48 49 51 52 53 54 55 56 58 62 64 65 66 67 68 69 70 71 72

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584 1,230 1,045 4,920 1,722 461 1,045 338 2,091 215 307 153 184 307 307 584 584 307 584 24 49 184 307 123 184 1,968 461 184 110 110 369 369 307 492 430 307 49 307 184 153 153 215 55 615 153

75 77 78 80 81 82 83 84 85 86 87 91 92 96 97 99 101 103 106 107 108 111 113 114 115 117 118 120 122 123 128 129 133 134 135 136 138 139 140 141 143 144 145 149 152

6,457 246 2,460 399 1,168 307 369 492 615 522 369 492 1,045 338 1,968 3,444 522 584 738 984 123 110 522 110 86 246 369 153 215 276 110 123 246 184 184 184 307 184 307 399 461 184 123 153 86

153 154 155 156 157 158 159 160 161 162 165 166 167 169 171 172 173 175 176 178 179 182 183 186 187 189 191 192 193 196 197 199 200 201 205 206 207 208 210 211 213 215 216 227 229

246 153 215 43 1,168 861 338 172 615 369 153 86 110 1,353 430 98 246 61 184 307 49 738 153 676 73 276 799 369 215 184 492 430 110 492 110 61 553 1,476 153 98 2,214 307 73 184 738

230 231 232 234 235 236 237 238 240 241 242 252 254 255 256 257 258 259 260 261 263 264 265 266 268 274 276 277 278 279 280 281 282 284 286 287 288 295 297 299 302 303 304 305 306

984 492 184 153 98 522 246 153 86 86 153 184 98 1,845 2,337 2,706 2,706 3,690 3,936 4,674 307 12,300 246 492 338 615 307 492 399 246 1,476 799 1,230 73 184 1,045 1,476 184 184 430 984 307 369 338 3,690

307 308 309 315 317 318 319 320 321 322 323 324 325 326 327 328 330 332 333 334 335 337 338 339 340 341 342 343 345 346 348 349 350 353 354 356 357 358 362 363 364 365 368 369 370

86 461 461 36 98 338 861 492 861 369 123 307 307 184 584 73 307 184 799 36 61 2,091 276 215 153 49,200 4,920 522 1,045 307 184 98 492 276 61 338 215 676 553 522 98 430 615 153 123

372 375 376 377 380 383 384 387 388 389 392 394 398 399 400 406 408 409 411 412 416 417 419 423 424 427 428 429 430 431 432 433 436 437 439 440 449 451 453 454 455 458 459 461 462

215 676 584 1,230 430 73 55 73 215 246 584 799 184 153 123 307 246 369 307 86 307 338 36 246 461 922 98 676 522 3,690 430 922 461 584 2,091 153 246 49 861 73 246 9,225 676 123 98

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Page No. 2

11/21/2010 15:51:16 New Orleans Auction Prices Realized for Sale A106 November 20, 2010 November Estates Auction

Lot#

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464 465 468 470 473 478 479 480 481 483 484 485 486 487 490 491 495 496 497 500 501 502 504 505 506 507 508 509 512 513 514 515 518 520 524 525 528 529 532 534 536 537 538 539 540

1,353 215 461 369 1,230 123 922 98 123 153 110 399 36 123 73 615 676 246 153 123 110 553 861 153 307 984 307 184 369 73 246 36 110 369 98 369 184 553 492 215 584 246 1,230 738 1,968

541 542 543 547 549 551 552 554 555 556 561 562 563 567 570 571 572 573 574 575 576 578 579 580 585 587 588 589 591 593 594 595 596 597 598 599 600 601 602 603 605 606 607 609 610

369 615 61 276 98 430 307 73 276 492 492 461 2,214 73 98 615 553 492 861 1,968 153 246 922 123 307 738 522 615 338 55 98 98 522 215 1,045 215 73 307 676 2,952 55 676 153 553 430

611 612 613 614 615 616 617 619 620 621 622 624 625 626 627 631 632 635 639 640 643 645 646 648 649 650 651 653 654 655 656 657 661 662 664 665 669 670 671 672 673 674 675 677 678

276 553 430 215 922 153 153 338 1,845 922 615 922 123 153 1,107 861 615 922 615 55 184 215 215 123 79 307 73 153 153 49 73 184 184 86 98 153 36 73 215 73 153 24 98 184 184

Lot# 679 680 681 682 683 684 685 686 692 693 696 697 698 699 700 701 702 707 710 711 712 713 714 715 716 717 718 719 720 721 722 723 724 725 726 727 728 729 730 731 731A 734 735 737 739

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184 49 43 153 98 153 86 98 922 922 73 307 738 153 153 153 246 984 215 338 276 110 98 110 246 98 73 492 369 522 584 98 307 61 1,230 153 276 984 492 2,337 369 9,840 3,936 338 984

741 747 757 771 773 775 776 777 778 781 782 783 784 786 787 789 790 791 792 793 795 798 799 800 803 804 806 807 808 810 811 813 814 816 817 818 819 822 824 825 829 830 831 832 833

1,230 799 7,134 5,658 676 615 2,091 430 1,353 98 738 123 492 676 36 3,444 676 492 492 461 1,353 110 1,845 184 246 799 492 276 276 86 110 307 246 1,230 399 86 676 861 184 430 799 2,214 1,045 4,182 984

836 839 840 841 843 844 845 848 851 852 853 854 856 857 861 863 864 867 868 873 874 878 879 880 889 891 892 894 895 898 899 906 907 908 909 921 922 924 926 927 929 930 934 937 939

1,599 3,198 86 55 1,599 1,045 98 153 215 1,722 1,476 3,198 5,904 584 461 153 2,952 123 2,952 246 123 492 584 2,091 3,198 399 4,182 8,302 2,952 461 1,168 5,658 1,722 799 369 6,457 1,722 615 123 73 2,460 369 153 123 615

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Page No. 3

11/21/2010 15:51:18 New Orleans Auction Prices Realized for Sale A106 November 20, 2010 November Estates Auction

Lot#

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940 941 943 944 950 958 961 962 963 965 967 968 970 971 973 975 978 979 980 981 983 984 986 987 988 993 994 995 997 1000 1004 1006 1007 1009 1010 1011 1012 1014 1015 1016 1017 1019 1020 1022 1025

184 492 738 215 184 584 4,182 73 584 922 2,337 246 110 153 9,225 1,968 153 584 1,722 676 73 522 1,476 2,706 55 1,845 553 584 215 184 86 55 86 1,168 55 615 738 73 738 98 2,460 369 676 184 98

1028 1029 1030 1031 1032 1034 1035 1036 1037 1040 1045 1047 1048 1049 1050 1052 1054 1057 1059 1060 1061 1062 1063 1065 1069 1071 1073 1074 1075 1076 1080 1081 1083 1084 1085 1086 1087 1088 1089 1090 1091 1092 1093 1094 1095

522 6,457 6,457 922 492 922 430 246 153 153 430 430 307 861 922 338 799 799 153 1,845 3,936 1,845 98 492 430 3,444 399 49 153 215 110 676 153 184 3,198 246 276 246 110 123 184 307 307 307 307

1096 1097 1098 1099 1100 1102 1103 1104 1108 1109 1111 1112 1114 1116 1118 1119 1120 1124 1125 1127 1128 1130 1131 1132 1133 1134 1135 1136 1137 1138 1139 1140 1141 1143 1144 1145 1146 1147 1148 1151 1162 1166 1167 1168 1169

153 153 98 338 1,722 110 153 98 338 184 98 307 430 123 338 246 123 676 246 215 98 123 98 110 184 184 98 215 276 123 8,302 4,920 3,690 246 3,936 7,380 5,412 5,166 215 1,722 215 1,722 553 215 73

1170 1171 1172 1173 1175 1176 1178 1179 1180 1182 1183 1184 1185 1186 1189 1190 1191 1193 1194 1196 1198 1199 1200 1201 1202 1205 1206 1213 1217 1218 1219 1221 1224 1226 1227 1228 1230 1232 1234 1238 1239 1240 1242 1243 1247

246 110 98 73 461 246 73 246 492 49 584 61 153 123 3,444 2,952 2,952 369 338 276 98 1,107 73 461 522 184 246 215 4,920 338 73 98 1,722 61 153 86 1,845 36 184 98 110 184 153 861 123

1250 1260 1262 1263 1266 1270 1272 1277 1278 1279 1283

98 430 799 276 338 984 184 184 1,168 276 738

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