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

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

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(504)-586-8841

e-mail: info@stcharlesgallery.com

www.stcharlesgallery.com

2010 AUCTION SCHEDULE: September 11-12 November 13-14

FRONT & BACK COVERS:

Lot 973 Opulent three-piece Napoleon III gilt-bronze-mounted Rouge Royale marble mantel garniture in the Louis XVI taste, third quarter 19th century, comprised of a bowfront mantel clock and a pair of six-light candelabra. Schedules Subject to Change

– AUCTION – Saturday, September 25, 2010 Lots 1-800

Sunday, September 26, 2010 Lots 801-1499

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

– Exhibition – Wednesday, September 8 through Friday, September 24 9:00 a.m. to 5:00 p.m. (excluding Sundays) Late-Evening Preview Wednesday, September 15 5:00 p.m. to 8:00 p.m.

Featuring Important Property From: Property from Frances Plantation, Franklin, Louisiana – The Collection of Jack and Barbara Woolbright – Jack Woolbright, a native of Harlingen, Texas, was a member of the United States Naval Services. He received a business degree from SWTS and later went into business for himself. In 1956 he married Barbara Ann Theriot and together they raised five daughters. Jack and Barbara had a passion for collecting, and they enjoyed the process of going “antiquing”. Their family members would recount how they would come home excited and “replay” the events of a buying trip or an auction they had attended. In 1993 they acquired Frances Plantation in Franklin, Louisiana, to house their collection. Built around 1810, it is believed to be the oldest antebellum plantation home in St. Mary Parish. We are pleased to offer the Woolbright’s private collection and contents of Frances Plantation.

This sale also includes: Property from The Estate of Kemmie Lou Adair and Paul Neal “Red” Adair Red Acres Ranch, Bellville, Texas Property from a Private Estate - Nashville, Tennessee Property from a Private Estate - Little Rock, Arkansas Property from Numerous Southern Estates and Collections

Session I

Saturday, September 25, 2010 10:00 a.m. (Lots 1-800)

1 Venetian Polychromed and Giltwood Overmantel Mirror, second quarter 20th century, the pierced and foliate-molded crest centered by a cartouche depicting a couple dancing to a violinist, above a rectangular frame with carved edges, painted in floral-bouquet decor, the mirror plate mounted with rosette moldings, h. 64”, w. 30”. [1000/1500] Illustrated

2 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 4

3 2

3 Monumental Italian Wooden Eight-Light Chandelier, second quarter 20th century, in the late Baroque style, composed of turned, antique-green painted and parcelgilded wood, electrified and fitted with antiqued faux-wax candles, each having a custom antiqued vellum shade, h. 29‑1/2”, dia. 41”. [500/800] Illustrated Color Plate VII 4 Pair if 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”. [400/700] Illustrated

5 Nine-Piece Renaissance Revival Stained Walnut Dining Suite, fourth quarter 19th century, consisting of two armchairs and four sidechairs, all with a scrolling foliage-carved crest over the padded back and seat, raised on carved legs joined by an H-form stretcher, the dining table with a rectangular top with canted corners over a scrolling foliagecarved apron, raised on intricate fruit- and foliage-carved legs joined by an X-form stretcher and ending in block feet, the sideboard with a recessed central case fitted with two long drawers, flanked by a door on both sides, fitted with urn- and foliage-carved panels, raised on carved legs ending in block feet, the cabineton-stand with carved crest and rounded corners over a case fitted with two doors, inset with classical-style carved panels, above a pierced and carved apron, raised on scroll-carved legs joined by an X-form stretcher and ending in block feet, cabinet-on-stand h. 62”, w. 36”, d. 18”, table h. 30”, w. 43”, l. 64”, extended l. 92”, sideboard h. 40”, w. 75”, d. 22”, sidechair h. 45‑1/2”, seat h. 21”, armchair h. 50”. [3000/5000] Illustrated

5 nine-piece suite

5 nine-piece suite 5 nine-piece suite

5 nine-piece suite

6 Renaissance Revival Stained Walnut Tabouret Stool, fourth quarter 19th century, the outscrolled foliage-carved arms over the padded floral needlepoint seat, raised on acanthine-carved X-form legs centered by a cartouche carving and joined by turned side stretchers, h. 30‑1/2”, w. 27”, d. 17”. [125/250] Illustrated

8 Pair of Italian Carved and Antiqued Giltwood Bracket Shelves, in the Empire taste, the oblong shelves of stylized pillow form, each fitted with a plate slot, h. 26”, w. 7”, d. 3‑3/4”. [50/80]

7 Renaissance Revival Stained Walnut Telephone Table, first quarter 20th century, the telephone cabinet with an armorial-carved door surmounted by a figure carving of an angel holding a book, above a lower case with a carved-edge rectangular top, over a serpentine grapevine-carved skirt raised on putto-carved legs joined by a stretcher and ending in scroll-and-bun feet, h. 51”, w. 24”, d. 14”. [400/700] Illustrated

9 Pair of Italian Carved and Antiqued Giltwood Bracket Shelves, in the Empire taste, the oblong shelves of stylized pillow form, each fitted with a plate slot, h. 26”, w. 7”, d. 3‑3/4”. [50/80] 10 Large Italian Provincial Eight-Light Chandelier, third quarter 20th century, composed of turned and stained fruitwood and wrought-iron, the scroll arms of wrought-iron with bellflower husks, the baluster center of turned and stained fruitwood, fitted with “old ivory” faux candles and electrified, h. 32”, dia. 31”. [300/500] Illustrated

11 Italian Giltwood and Wrought-Iron Three-Light Applique, second quarter 20th century, in the neoclassical taste, the backplate carved with flowers and fruit pendant from a furled bowknot, not electrified, h. 41”, w. 6‑1/2”. [50/80] 12 Italian Exuberantly Carved Giltwood Looking Glass, fourth quarter 19th century, of oval form in the Baroque style, modeled as a pair of tangent foliate sprays of stylized leaves and flowers, h. 45‑1/2”, w. 34‑1/2”. [1000/1500] Illustrated 13 Northern Italian Carved Giltwood Looking Glass, fourth quarter 18th century and later, in the rococo style, the frame with spiral-wrapped floral garlands and a leafed crest rail, retains the tastefully disintegrated period plate, h. 57”, w. 29‑1/2”. [200/400] 14 Antique Italian Fruitwood Violin, fourth quarter 18th century, the interior with an old printed paper label, the fret, keys and strings lacking, w. 8”, l. 24”. [100/200] Illustrated 15 Three-Piece Italian Polychromed, Parcel-Gilt and Antiqued Plaster Garniture, second quarter 20th century, comprised of a central compote supported on the shoulders of three addorsed putti, h. 12”, dia. 9”, and a tall pair of clustered colonnette tripodal candlesticks, h. 18”, w. 3‑1/2”, d. 6‑1/2”, the parcel-gilding tastefully antiqued throughout. [150/300]

16 Italian Polychromed Bombe Commode, in the rococo taste, the shaped top with a polychromed floral basket above a conforming bombe case fitted with two drawers, raised on shaped legs, the whole with polychromed floral accents, h. 30”, w. 38”, d. 17‑1/2”. [600/900] Illustrated 17 Extravagant Venetian Reverse-Engraved Looking Glass, second quarter 20th century, with amber glass applique borders and ice blue and pale pink applied flowerheads, the tall cartouche-form cresting reverseengraved with a galants couple, h. 52”, w. 34”. [500/800]

18 Opulent Pair of Italian Carved Wooden Three-Light Candelabra, third quarter 19th century, gilt- brassmounted and paste jewel-set in the neoclassical taste, now mounted as table lamps, h. 34” to top of finial. [700/1000] 19 Large Italian Gilded Wrought-Iron Seven-Light Applique, in the neoclassical taste, the backplate modeled as a scrolling stylized finial, the candle sockets of flowerhead form, h. 25”, dia. 53‑1/2”. [200/400] Illustrated

20 Italian Carved and Antiqued Giltwood Looking Glass, of upright oblong form in the 18th-century neoclassical taste, the tall giltwood cresting modeled as an acanthine spray surmounting crossed foliate scrolls and interlaced bellflower garlands, h. 52‑1/2”, w. 27‑3/4”. [400/700] Illustrated

23 Opulent Pair of Italian Two-Light Oval Appliques, composed of gilded brass and black tole in the neoclassical style, the oval black tole backplates suspended from giltbrass bowknots and centered with gilt-brass diademed female masques, the candlearms scrolled, not electrified, h. 19‑1/4”, w. 9‑7/8”, d. 3‑1/4”. [150/300] 24 Four-Piece Collection of Porcelain Items, consisting of a Capodimonte polychromed pottery oblong paw-footed table box in “Frolicking Putti” decor, second quarter 20th century, marked on the base with the underglaze teal Capodimonte crowned “N”; a pair of “Dresden” porcelain wall pockets of cornucopia form in floral decor, also second quarter 20th century; and an elaborately gilded and “Roses”-polychromed porcelain sweetmeats bowl of oval lobed and footed form, first quarter 20th century; the largest h. 3‑1/2”, w. 8‑1/2”, d. 5‑1/2”. [75/125] 25 Interesting Trio of Italian Desk Boxes, modeled as antique leather-bound books with gilded fore-edges, one box a large volume, the other two of standard book size, the interiors lined in flocked Florentine papers, the largest h. 10‑1/2”, w. 8”, d. 2‑3/4”. [75/125]

21 Italian “Grand Tour” Carved Marble Portrait Bust, the multimarble bust depicting a Classical woman in the Imperial Roman style, h. 12”. [125/250]

26 Italian Specimen Marble-Veneered Table Box, probably Florentine, of hexagonal form with brass edging, the marble in shades of coral, ivory and gray, the interior lined in cinnamon suede, h. 3”, w. 9”, d. 9”. [10/200]

22 Italian Parquetry and Marquetry Occasional Table, fourth quarter 19th century, the rectangular banded top with canted corners and centered by a pair of dove-bird inlays, raised on a turned parquetry pedestal ending in four carved and like-inlaid legs, h. 29‑1/2”, w. 31‑1/2”, d. 21‑1/4”. [300/500] Illustrated

22 27 Pair of Italian White and Gold Porcelain Garniture Vases, fourth quarter 19th century, of gently waisted columnar form, each vase with neoclassical detailing in gold, with the facades bearing, respectively, a neoclassical park scene and the coast of a bay, now mounted as table lamps on gris de Trianon-pickled antique giltwood bases, fitted with matching knife-pleated antique-white fabric shades of truncated conical form, h. 10”, dia. 5‑1/4”. [300/500] Illustrated

32 Anglo-Dutch Red Tortoiseshell and Walnut Looking Glass, first quarter 20th century, of earred horizontal form in the 17th-century taste, the conforming tripartite plate with beveled edges and dividers throughout, h. 21‑1/4”, w. 62‑1/2”. [400/700]

28 Italian Majolica Fruit Basket, composed of woven strips and having a spiral-twist arched handle, the facade with an applique of strawberries and stylized flowerheads, h. 10”, dia. 12”. [100/200]

33 Louis XV-Style Mahogany and Marquetry Vitrine, fourth quarter 19th century, the rectangular marbleinset top over a conforming case fitted with a string-inlaid central door inset with an upper glazed panel above a bottom floral bouquet-inlaid panel, flanked by like sides, over a carved skirt, raised on cabriole legs ending in sabots, the whole with gilt-brass mounts (some lacking), h. 60‑1/2”, w. 25”, d. 13‑1/2”. [500/800] Illustrated

31 29 Pair of Italian Carved and Polychromed Wood Pilaster Capitals, first quarter 20th century, of the Corinthian order, the palette in matte vieux rose, pale matte celadon, and matte old ivory, each capital fitted with a later metal suspension ring on the reverse, h. 12”, w. 11”, d. 5‑3/4”. [100/200] 30 Italian Carved and Tinted Alabaster “Cockatiels” Accent Lamp, first quarter 20th century, fitted with an alabaster shade of inverted bell form, the two cockatiels at the base with tinted pink and ivory details and having glass taxidermist’s eyes, h. 13”, w. 7”, d. 4‑1/2”. [40/70] 31 Dutch Mahogany and Marquetry Drop-Leaf Side Table, fourth quarter 19th century, the rectangular top with two drop leaves, centered by a floral-basket inlay within a circular banded parquetry design over a frieze fitted with two drawers, raised on bobbin-turned legs joined by two shelfstretchers, all with like inlays, and ending in bun feet, h. 33”, w. 19”, d. 17‑1/2”, extended w. 34‑1/2”. [400/700] Illustrated

34 Dutch Embossed Brass Looking Glass, first quarter 20th century, of cushion form in the Louis XIV taste, the sides of the beveled glass plate in mirrored glass panels, the brass finish bronze patinated, h. 28”, w. 16‑1/4”. [100/200]

35 Napoleon III Mahogany and Marquetry Tall Cabinet of Drawers, fourth quarter 19th century, the serpentine variegated marble top over a conforming case fitted with seven drawers, all banded and featuring scrolling floral inlays, raised on carved tapering legs, the whole with gilt-brass mounts, h. 32‑1/2”, w. 26‑1/2”, d. 13‑1/4”. [400/700] Illustrated

36 Set of Twelve Le Moulin Atelier, Limoges, Dinner Plates, first quarter 20th century, each opulently gilded porcelain plate in polychromed “Floral Wreath” decor, dia. 10‑3/4”. [150/300] Illustrated Color Plate V

37 Italian Cast and Antiqued Plaster Pricket Floor Candlestick, first quarter 20th century, in the Late Baroque style, now mounted as a floor lamp, the pricket removed in the conversion and replaced by a short cylindrical faux candle, h. 72”, w. 14”, d. 14”. [250/400] Illustrated 38 Pair of Italian Antiqued Giltwood Corner Consoles, second quarter 20th century, with antiqued mirrored glass tops in the neoclassical taste, h. 15”, w. 21”, d. 14”. [400/700] Illustrated 39 Cased Sixty-Six-Piece Scandinavian .830-Standard Silver Partial Flatware Service, for twelve persons, second quarter 20th century, in the late Art Deco style, comprised of eight dinner forks, eight hollow-handle dinner knives, eleven teaspoons, seven luncheon forks, four tablespoons, twelve dessert forks, one place spoon, one creamed soup spoon, one sugar shell, thirteen afterdinner coffee spoons and one hollow-handle pie server, presented in an International Silver Company lined and fitted mahogany-stained hardwood case, the largest implement l. 10‑1/2”. [1400/1800] Illustrated

40 Two Cased Sets of Twelve Sterling Silver Footed Dessert Bowls and Spades, third quarter 20th century, by Pampaloni, Italy, each set of six bowls and six “Thread Antique” dessert spades presented in an oblong double silverplate-handled blonde oak fitted case, bowl h. 2”, dia. 3”, spoon l. 5”, 36.15 total t. oz. (twenty-four total silver pieces). [800/1200] 37 41 Two Pairs of Sterling Silver Salt-and-Pepper Casters, the first a pair of Meka, Denmark, blue-enameled sterling-capped ribbed glass casters, first quarter 20th century, h. 1‑1/2”; the other a pair of Mexican sterling overlay glass examples of “Lighthouse” form, second quarter 20th century, h. 2‑1/4”. [20/40]

38 pair

42 Good Continental Sterling Silver and Fruitwood Toddy Ladle, first quarter 19th century, with gilded bowl, the shank hallmarked “Hunnius”, l. 17‑1/4”. [200/400]

43 Continental Silver Table Box, fourth quarter 19th century, of oblong octagonal form in the neoclassical taste, the lid with a bas-relief Bacchic procession, the sides with bas-relief ornament of satyrs, goats and musical instruments, h. 3‑1/4”, w. 6‑1/4”, d. 4‑1/4”. [800/1200]

48 Twenty-Piece Austro-German .800-Standard Silver Hollow-Handled Partial Dessert Service, for eleven persons, fourth quarter 19th century, in the Louis XV taste, comprised of eleven hollow-handled dessert knives, l. 6‑1/4”, and nine matching dessert forks, l. 6”, all handsomely monogrammed in entwined script, the fork tines and shanks gilded. [100/200]

49 Continental School (Second Quarter 20th Century) “Snowy Winter Street Scene”, oil on canvas, signed lower right “D. Teniers”, 30” x 40”. Presented in a molded giltwood and gesso frame. [300/500] Illustrated

51 44 Set of Six Italian Sterling Silver Goblets, second quarter 20th century, in “Floral Band” decor, each goblet of substantial weight, h. 7”, dia. 3”, 52.45 total t. oz. [1000/1500] Illustrated Color Plate IV 45 Pair of German .800-Standard Silver-Handled Steel Grape Shears, first quarter 20th century, in “Convolvulus” decor, w. 3”, l. 6‑1/2”. [100/200] 46 Pair of Continental Silver-Washed Brass Candlesticks, fourth quarter 19th century, of 17thcentury inspiration, the tall shafts of baluster form and having two demi-spherical canopies above and below the central knop, h. 11‑1/2”, w. 4‑1/2”, d. 4‑1/2”. [300/500] 47 Pair of Mauser Weighted Sterling Silver Low Candlesticks, first quarter 20th century, of turned baluster form on stepped octagonal bases, fitted with ivory celluloid tapers and small highly pierced Tiffany & Co. sterling silver shades with period “old ivory” satin liners, h. 12‑1/4”, w. 4‑1/2”, d. 4‑1/2”. [700/1000] Illustrated

52 Filippo Indoni (Italian, ca. 1842‑1908) “Peasant Couple Resting by a Fence”, watercolor on paper, signed lower right “F Indoni”, sight 21” x 14‑1/2”. Glazed and presented in a giltwood and plaster frame. [600/900] Illustrated 53 Giuseppe Carosi (Italian, 1883‑1965) “Winter Stroll” oil on board, signed lower right, 20” x 27”. Presented in a rococo-style gilt-painted frame. [1000/1500] Illustrated 54 Giuseppe Carosi (Italian, 1883‑1965) “Silent Pool”, oil on board, signed lower right, 20” x 27”. Presented in a rococo-style gilt-painted frame. [1000/2000] Illustrated

55 Manner of Giovanni Canale, Canaletto (Venetian, 1697‑1768) “ The Grand Canal From Campo S. Vio”, oil on panel, unsigned, 21st century, 12” x 15‑1/2”. Presented in a rococo-style giltwood and gesso frame. [200/400] Illustrated

52 50 Follower of Berthe Morrisot (French, 1841‑1895) “A Walk Among the Poppies”, oil on canvas, fourth quarter 20th century, 16‑1/4” x 20‑1/2”. Presented in a giltwood and plaster frame in the Regence style. [150/300] 51 Manner of Edouard-Leon Cortes (French, 1882‑1969) “Parisian Street Scene at Dusk”, oil on panel, unsigned, 21st century, 11‑1/2” x 16”. Presented in a Beaux Arts-style giltwood and gesso frame. [200/400] Illustrated

56 Manner of Giovanni Canale, Canaletto (Venetian, 1697‑1768) “The Grand Canal from the Rialto Bridge”, oil on canvas, unsigned, 21st century, 12” x 24”. Presented in a Beaux Arts-style giltwood and gesso frame. [300/500] Illustrated 57 Manner of Giovanni Canale, Canaletto (Venetian, 1697‑1768) “Venetian Canal Scene”, oil on panel, unsigned, 21st century, 12” x 15‑1/2”. Presented in a rococo-style giltwood and gesso frame. [200/400] 58 Continental School (First Quarter 20th Century) “Village Canal Scene with Women on a Boat Doing Laundry”, watercolor, signed lower right “W. Menkman”, sight 12‑1/4” x 18‑1/4”. Glazed, matted and framed. [150/300] 59 Jean Remy (French, ca. 1893) “Parisian Street Scene”, oil on canvas, signed lower left “Jean Remy”, 20” x 24”. Unframed. [400/700]

56 60 Italian School (Third Quarter 20th Century) “Seaside Village”, oil on canvas, signed lower right “Rastello”, 16” x 10”. Presented in a handsome carved, stone-pickled, ebonized and parcel-gilt wooden exhibition frame. [150/300] 61 Pair of Shadowboxed Continental Landscape Miniatures, first quarter 19th century, featuring, respectively, a tropical riverside scene with a water-bearer and other figures, and a galants woodland scene with a wood gatherer and a dog, presented in later antique mahogany and giltwood shadowbox frames with double gilt card mats, overall h. 6”, w. 6‑3/4”. [60/90] 62 Pair of French Antique-Gilded Brass Five-Light Candelabra, in the Louis XV taste, each example on a boldly scrolled footed base of inverted stylized bell form, h. 19”, w. 7‑3/4”, d. 8‑1/4”. [100/200] 63 Louis XV-Style Walnut Bombe Commode, the rectangular top with molded edge, over a frieze drawer and a serpentine skirt centered by a cartouche carving, raised on cabriole legs ending in pad feet, h. 37‑1/2”, w. 32”, d. 19”. [125/250] 64 Circle of Albert-Ernest Carrier-Belleuse (French, 1824‑1887), a good large terra cotta group of a pair of putti stealing harvested fruits in the Louis XVI taste, fourth quarter 19th century, unsigned, h. 17”, w. 24‑1/2”, d. 8”. [300/500] Illustrated 65 Trio of French Gilt-Brass Two-Light Appliques, second quarter 20th century, of diminutive size in the Louis XV style, electrified and fitted with short antique ivory faux-wax candles, h. 8‑1/2”, w. 8”, d. 3‑1/2”. [100/200]

66 Louis XV-Style Walnut and Marble-Top Console Table, third quarter 20th century, the serpentine variegated marble top above a conforming frieze centered by a cartouche carving, raised on cabriole legs headed by acanthine carvings, joined by an X-form stretcher and ending in scroll feet, h. 31”, w. 46”, d. 18‑1/2”. [500/800] Illustrated

67 Louis XV-Style Mahogany Ottoman, ca. 1900, the circular padded seat over a carved frame raised on four cabriole legs ending scrolled toes, h. 16”, dia. 22‑1/2”. [75/125]

68 Louis XV-Style Fruitwood Duchesse Brisee, fourth quarter 19th century, the domed crest centered by a floral carving, above a conforming padded back, joined to the cushioned seat by like arms, the lower end piece with a serpentine-carved crest above a padded back joined to the long cushioned seat by undulating arms, h. 38‑1/2”, w. 29‑1/2”, l. 78”. [500/800] Illustrated 69 Louis XV-Style Mahogany Settee and Fauteuil, second quarter 20th century, each with a shaped crest centered by a floral carving, over a conforming padded back, joined to the like seat by open arms, raised on cabriole legs ending in scroll feet, upholstered in machinemade needlepoint featuring courting couples in a bucolic landscape, settee h. 38”, w. 48”, d. 22”, fauteuil h. 40‑1/4”, w. 25”, d. 22”. [300/500]

70 70 After Antoine-Louis Barye (French, 1795‑1875) “The Arab Warrior”, a large triple-patinated bronze equestrian figure after the ca. 1867 model, presented on an elliptical travertine-inlaid verde antico marble base with an engraved brass title plaque at the center of the facade, h. 30”, w. 23”, d. 12”. [1500/2500] Illustrated 71 Belle Epoque Elaborately Carved Giltwood Firescreen Panel, first quarter 20th century, in the Louis XIV style, now mounted as a looking glass, the shaped plate broadly beveled throughout, the crest rail centered with a bas-relief silhouette portrait rondel, the reverse of the frame extensively carved and gilded, h. 45”, w. 29‑1/2”, d. 2”. [200/400]

68 72 Ten-Piece Group of Porcelain Items, consisting of a set of eight Seneque, Limoges, porcelain lobed floral-enameled dessert plates in the Louis XV taste, first quarter 20th century, dia. 9”; an unusual Nippon porcelain two-piece tumble-up in “Les Roses” decor, first quarter 20th century, h. 7‑1/2”; and a Paris porcelain octagonal paneled floral-decorated cologne bottle, third quarter 19th century, h. 6”. [100/200]

73 Forty-Piece Hutschenreuther Porcelain Dinner Service, for eight persons, first quarter 20th century, in “Richelieu” decor, comprised of eight dinner plates, eight soup plates, eight salad/dessert plates, eight teacups and eight tea saucers, all with gilt edges and all fully backstamped, the largest dia. 9‑3/4”. [200/400] 74 Louis XV-Style Fruitwood Chaise Longue, third quarter 19th century, the shaped and curved back surmounted by a scalloped molded crest, joined to the long padded seat by downswept arms, raised on molded cabriole legs ending in scrolled toes, h. 32”, w. 63”, d. 25”. [300/500]

79 Louis XV-Style Stained Oak and Marble-Top Side Table, the rectangular top with molded edge and inset with a variegated blonde marble top above a serpentinecarved frieze, centered by an armorial carving, raised on cabriole legs headed by cabochon and acanthine carving, and ending in scroll toes, h. 20”, w. 26”, d. 15‑1/2”. [100/200] 80 Louis XV-Style Giltwood Fauteuil, third quarter 19th century, the shaped and padded back surmounted by a molded frame and foliate crest, joined by padded arms to the like seat, raised on molded cabriole legs ending in scrolled toes on pegs, h. 37”. [300/500] 81 After Louis Moreau (French 1883-ca. 1967), a patinated bronze figure of a standing winged putto playing the cymbals, signed on the plinth “L. F. Moreau” and on a tablet placed in the foliage at the reverse “France”, presented on a gently stepped circular base of polished black slate, h. 10‑1/2”, w. 4”, d. 3‑1/4”. [150/300] Illustrated 82 French Carved Giltwood Looking Glass, in the 18thcentury chinoiserie style, the plate beveled throughout, the reverse with a Royal Street, New Orleans, retailer’s label, h. 25”, w. 20”. [100/200] 77

75 Louis XV-Style Burl-Elm Occasional Table, fourth quarter 19th century, the circular brass-edged top over a carved frieze, raised on cabriole legs headed by gilt-brass mounts, joined by a shelf-stretcher and ending in sabots, h. 31”, dia. 21‑1/2”. [150/300] 76 Richard Klemm, Dresden, Porcelain Group of “The Tailor and The Goat”, first quarter 20th century, after the 18th-century Meissen model, the proper right rear leg marked in blue on the interior, h. 16”, w. 8‑1/2”, l. 15”. [1000/1500] Illustrated

77 Louis XV-Style Mahogany Vitrine, fourth quarter 19th century, the molded crest with gilt-brass beaded edge, above a frieze fitted with gilt-brass mounts, the central one in the form of two goats flanking a fruit basket, over a shaped glazed door and sides, above the serpentine skirt, raised on cabriole legs ending in sabots, the whole with gilt-brass mounts, h. 63”, w. 29”, d. 16”. [400/700] Illustrated 78 Pair of Continental Carved Giltwood and Painted Wooden Plaques, first quarter 20th century, of cartouche form in the Louis XV taste, each featuring an 18th-century galants couple, h. 17‑1/4”, w. 12”. [100/200]

83 three-piece suite

85 French Tripartite Dressing Table Mirror, second quarter 20th century, composed of carved, bleached, pickled and parcel-gilt beechwood in the Louis XV taste, modeled as an upright oblong central panel flanked by two narrower folding wings, all three plates beveled throughout, h. 31”, w. 41”. [200/400]

86 Louis XV-Style Mahogany Four-Piece Bedroom Suite, third quarter 19th century, consisting of a mirrored marble-top dresser, h. 81‑3/4”, w. 49‑1/4”, d. 24‑1/2”, a mirrored-door armoire, h. 105”, w. 56‑1/2”, d. 21”, a nightstand, h. 32‑1/2”, w. 17‑1/2”, d. 16‑1/4”, and bed, h. 60”, inside w. 53‑3/4”, l. 76”, outside w. 62‑1/2”, l. 79”, all with decorative scrolling foliatecarved accents and quarter veneering, raised on boldly carved foliate scrolling feet. [3000/5000] Illustrated 87 Louis XV-Style Polychromed Twin Bed, second quarter 20th century, the headboard with a serpentine-molded cornice over a conforming padded back, the footboard with later metal side rails, raised on cabriole legs ending in scroll feet, h. 39‑1/2”, inside w. 37‑1/4”, l. 76”, outside w. 39”, l. 81”. [150/250]

83 Three-Piece Italian Rococo Revival Parlor Suite, first quarter 20th century, consisting of a settee, h. 39‑3/4”, w. 89‑1/4”, d. 32”, a wing-back bergere, h. 37”, w. 36”, d. 23”, and a tub-form bergere, h. 45”, w. 22”, d. 22‑1/2”, all with a serpentine, elaborately carved and pierced crest centered by carvings of musical instruments, above the conforming tufted back joined to the cushioned seat by like arms, over a halfrosette-carved apron, raised on cabriole legs ending in scroll feet. [800/1200] Illustrated 84 Louis XV-Style Fruitwood Fauteuil, fourth quarter 19th century, the curved crest centered by a floral carving, over a conforming padded back, joined to the like serpentine seat by open arms, raised on cabriole legs ending in scroll toes, upholstered in floral Aubusson-style needlepoint, h. 33‑1/2”, w. 22‑1/2”, d. 19”. [100/200]

88 Two French Molded and Partially “Satine” Glass Fruit Dishes, second quarter 20th century, comprised of a “Seagulls and Waves” dish in the Verlys style, h. 2”, dia. 12”; and a nonagonal bowl in “Portico” decor, h. 5”, dia. 8”. [100/200]

86 four-piece suite

89 Group of Two Continental Glass Vases, consisting of a “satine” and cut molded glass trumpet vase in “Bacchic Nudes” decor, in the manner of Rene Lalique (French, 1860‑1945); and a taller “satine” glass vase of tapered oblong section in “Monumental Nude” decor in the Lalique manner, second quarter 20th century; both bearing pseudo-Lalique acid-stamped signatures on the base, the largest h. 11‑3/4”, w. 5‑1/4”, d. 4”. [100/200]

86 four-piece suite

90 Attractive Three-Piece Napoleon III Fireplace Ensemble, third quarter 19th century, consisting of a tall pair of cast-iron chenets in the Louis XV taste, h. 19”, and a matching short connecting fender in cast-iron, h. 5‑1/2”, w. 21‑1/2”, d. 3”, all of the pieces in an old black-painted finish. [200/400] 91 Pair of Belle Epoque Gilt-Brass “Leaf and Scroll” Chenets, first quarter 20th century, in the Louis XV style, h. 13‑1/2”, w. 11‑1/2”, d. 5‑1/2”. [450/700] 92 Louis XV-Style Wrought-Iron and Marble-Top Console Table, the serpentine variegated verdigris marble top with molded edge, above a conforming pierced, interlacing teardrop-formed frieze, raised on cabriole legs joined by a scroll-formed stretcher and ending in scroll feet, h. 30”, w. 39‑3/4”, d. 16”. [300/500] Illustrated

93 Painted WroughtIron and Marble-Top Low Garden Table, the circular variegated Siena marble top over a conforming pierced frieze, raised on serpentine legs joined by an X-form stretcher and ending in scroll feet, h. 19‑1/2”, dia. 25‑1/2”. [100/200]

94 Verdigris-Patinated Cast-Bronze Garden Fountain, in the form of a boy standing on a lily-pad leaf, h. 32‑1/2”, w. 17”, d. 18”. [600/900] Illustrated

97 After Jacques Louis David (French, 1748‑1825) “Napoleon Crossing the Alps”, oil on canvas, signed illegibly lower right, 20th century, 73” x 48”. Presented in a Louis XV-style giltwood and gesso frame. [400/700] Illustrated 94

98 Suite of Three Continental Decorative Wallpaper Fragments, first half 19th century, mounted on cardboard and presented in incised, molded giltwood frames, the largest 8” x 5”. [150/300] 99 Franco-German School (First Quarter 20th Century) “A Courtship”, painted needlepoint, unsigned, 46” x 27”. Presented in an Arts and Crafts-style hardwood frame. [200/400]

95 Pair of Rococo-Style Painted Iron and Marble-Top Console Tables, each with a serpentine variegated cream marble top over a conforming pierced, scrollformed frieze, centered by an acanthine design, raised on a cabriole legs joined by a double X-form stretcher, each centered by a finial, h. 33”, w. 57‑3/4”, d. 20”. [300/500] Illustrated 96 Louis XV-Style Wrought-Iron and Marble-Top Console Table, the rectangular cream marble top with molded edge above a pierced, chain-link formed frieze, raised on cabriole legs headed by acanthine molding, joined by an X-form stretcher and ending in scroll toes, h. 33‑1/2”, w. 59‑3/4”, d. 20‑1/2”. [200/400] 97

100 Manner of Francois Boucher (French, 1703‑1770) “Putti Playing Musical Instruments”, giclee print, signed “Mlatty” lower right, sight 9” x 12”. Glazed, doublematted and presented in a Louis XV-style giltwood and plaster frame. [150/300]

101

101 Patinated Bronze Figure of “Maiden with Cupids”, in the Belle Epoque style, presented on a circular polished slate base, h. 23”, dia. 8‑1/2”. [700/1000] Illustrated

107 French School (19th Century) “Various Seed Fruit”, suite of four chromolithographs, sight 7‑5/8” x 5‑3/4”. All glazed, attractively French matted and presented in molded giltwood frames. [150/300] 108 French School (18th Century) “Le Brilliant” and “L’ Italien”, pair of color engravings, sight 7‑1/2” x 10”. Both glazed, matted and presented in parcel-gilt and veneered frames. [75/125] 109 After Francois Nicolas Martinet (French, 1725‑1804) “Merle a Collier” and “Troupiale”, pair of hand-colored engravings, plates 184 and 272, from Buffon’s Histoire Naturelle des Oiseaux, published 1770‑1786, sight 9‑1/2” x 7‑1/2”. Glazed, handsomely matted and framed en suite. [75/125] 110 Continental School (Fourth Quarter 19th Century) “Gypsy Holding a Tambourine”, oil on canvas, indistinctly signed lower right “H. Pyfeld ?”, 16” x 24”. Handsomely framed. [200/400]

102 French 18th-Century School, “Chateau de SaintGermain” and “Palais de Fontainbleau”, pair of 20thcentury facsimile prints, after the Antique engravings, sight 12” x 16‑1/2”. Both glazed, matted and presented in giltwood and plaster frames. [75/125] 103 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. [300/500] Illustrated 104 Italian School (Fourth Quarter 19th Century) “Foca A Probacide” and “Armadillo Comune”, pair of hand-colored lithographs, legends lower margins, sight 8” x 11”. Both glazed, matted and presented in giltwood and gesso frames. [75/125] 105 After Claudio Gay (French, 1800‑1873) “Various Fish Illustrations”, suite of three chromolithographs, sight 10‑3/8” x 13”. All glazed, French-matted and presented in giltwood frames. [150/300] 106 Jean Daulle (French, 1703‑1763) “Monsieur De Nestier Ecuyer Ordinaire de la grande Ecurie du Roy”, hand-colored engraving, 1753, sight 22” x 15‑1/2”. Glazed, matted and presented in a molded and parcel-gilt frame. [200/400]

103 pair

111 Pair of Chinese Export Porcelain Covered Sauce Tureens and Stands, first quarter 19th century, the blue and white porcelain in “Lakeside Pavilions” decor, the domed covers centered with recumbent Foo-dog finials, tureen h. 4”, w. 6‑1/4”, d. 4‑3/4”, stand w. 7‑3/4”, d. 5‑3/4”. [3500/5000] Illustrated

122

124

123

112 Forty-Four-Piece Group of Blue and White Pottery and Porcelain, the highly diversified collection of English and Japanese wares comprised of a Caughley sweetmeats bowl in “Lakeside Pavilions” decor, fourth quarter 18th century; seven Japanese rice bowls of varying floral and Foo-dog patterns, second quarter 20th century; seven Japanese Export “Blue Willow” teacups and saucers; a matching Japanese serving bowl; a trio of Japanese “Blue Willow” pottery oval serving bowls; a Staffordshire “Blue Willow” octagonal roasted meats platter, second quarter 19th century; a pair of Britannia Pottery, Glasgow, “Rural England” pottery teacups, first quarter 20th century; a trio of Japanese Export oval grilled meats platters in “Blue Willow”, second quarter 20th century; a set of six Alfred Meakin, Staffordshire, “Old Willow” tea plates of like date; an Enoch Wood, Staffordshire, “English Scenery” soup plate; a Wedgwood “Mayflower” commemorative dinner plate; a Balar Company “Blue Willow” dessert plate, first quarter 20th century; and a set of four Crown Pottery, Staffordshire, “Blue Willow” dinner plates of like date; the largest w. 12‑1/2”, l. 16”. [125/250] 113 Queen Anne-Style Mahogany Wash Bowl Stand, early 20th century, the top with a circular turned ring to hold a wash basin and fitted with two small open shelves below, mounted to a platform base with a central finial and three cabriole legs, h. 32‑1/2”, dia. 20”. [100/200]

116 Queen Anne-Style Oak Side Table, the deep overhanging top with molded edge above a frieze fitted with a single drawer and raised on square cabriole legs, h. 27‑1/2”, w. 30”, d. 24”. [300/500] 117 Chinese Export “Rose Medallion” Porcelain Deep Fruit Bowl, second quarter 19th century, of flared square form with cut corners, the exterior with unusual elaborately enameled alternating landscape and floral/ avian reserves, the interior rim with an elaborately enameled and parcel-gilt “Flowers and Butterflies” border, the interior center with a butterfly-enframed floral/avian medallion, h. 5”, dia. 10‑1/4”. [600/900] Illustrated

118

117

114 Pair of Queen Anne-Style Fruitwood Armchairs, each with a shaped crest and padded back, joined to the padded seat by shepherd’s-crook arms, raised on cabriole legs ending in pad feet, h. 42”, w. 28”, d. 21”. [400/700]

115 Queen Anne-Style Mahogany Sidechair, early 20th century, the shaped and backswept crest above a baluster-form splat, the padded seat raised on cabriole legs ending in pad feet, h. 39”, w. 23”, d. 21”. [50/80]

111

118 Pair of Chinese Export “Rose Medallion” Porcelain Footed Sweetmeat Stands, second quarter 19th century, of ovoid form, the interiors elaborately painted with alternating “Mandarin” and floral/avian reserves of spade form, h. 2‑1/4”, w. 12”, d. 9”. [450/700] Illustrated

129

119 Chinese Export “Rose Medallion” Porcelain Soup and Dinner Plate, second quarter 19th century, both richly enameled with alternating “Mandarin” and floral/ avian reserves of modified wedge form, soup plate dia. 9”, dinner plate dia. 9‑1/2”. [500/800] 120 Chinese Export “Famille Rose” Porcelain Covered Garniture Vase, second quarter 19th century, of smallscale baluster form, the body with two upright oblong figural “Mandarin” reserves on an overall blue floral and orange flambe diapered ground, h. 8‑1/2”, dia. 3”. [600/900] 121 Large Chinese Export “Rose Medallion” Porcelain Footed Fruit Bowl, second/third quarter 19th century, of lobed cartouche form, the center elaborately painted with a “Mandarins” reserve, the surrounding border with exotic birds, flowering branches and segmented flowerheads, h. 3‑1/2”, w. 14‑1/4”, d. 11‑3/4”. [800/1200] 122 Unusual Chinese Export “Rose Medallion” Porcelain Coffeepot, second quarter 19th century, of “Lighthouse” form, elaborately painted with a register of “Mandarins” reserves surmounting a floral/avian register, with doublebraid handle, h. 6‑3/4”, dia. 3‑3/4”. [125/250] Illustrated 123 Unusual Chinese Export “Rose Medallion” Porcelain Sweetmeat Dish, second quarter 19th century, of stylized shell form, the interior painted with alternating “Mandarin” and floral/avian reserves enframing a central gilt-circumscribed floral medallion, h. 1‑1/4”, w. 5”, l. 9‑1/2”. [200/400] Illustrated 124 Unusual Pair of Chinese Export “Rose Medallion” Porcelain Sweetmeat Dishes, second quarter 19th century, of shallow leaf form, the interiors elaborately painted with alternating floral/avian reserves enframing a central “Flower and Butterfly” medallion, w. 9”, d. 5”. [250/400] Illustrated 125 Ten-Piece Group of Chinese Export “Rose Medallion” Porcelain Items, comprised of a set of four paneled teacups, dia. 3‑3/4”, and four matching octagonal saucers, dia. 5‑1/2”, fourth quarter 19th century; a dessert plate, dia. 8‑1/2”; and a slightly smaller, deeper dessert plate; the latter two examples second quarter 19th century. [100/200] 126 Chinese Export “Rose Medallion” Porcelain Vase, second quarter 19th century, of tall baluster form, the body with alternating “Mandarin” and floral/avian reserves, the handles formed of gilded stylized celestial dragons, h. 18”, dia. 8”. [300/500]

130

127 George III-Style Giltwood Looking Glass, ca. 1900, the rectangular plate surmounted by a rampant lion shield crest, surrounded by a pierced scrolling frame with various carved armaments, h. 29”, w. 27‑1/2”. [800/1200] 128 English Sawn, Carved and Parcel-Gilt Mahogany Looking Glass, fourth quarter 20th century, of upright oblong form in the George I style, the sawn curvate cresting centered with a carved giltwood scallop shell, the filler of small carved giltwood lappets, the plate beveled throughout, h. 48‑1/2”, w. 28”, d. 2”. [100/200] 129 Taxidermy Figure of a Tortoise, the figure modeled standing alert and hissing, the neck and head fully extended, h. 5‑1/2”, w. 10”, l. 14‑1/2”. [150/300] Illustrated 130 Georgian Richly Figured Tortoiseshell DoubleCompartment Tea Box, second quarter 19th century, with a block front, the tortoiseshell inlaid with nickel-silver wire and a monogram plate, the interior fitted with a pair of mahogany covers centered with turned bone grips of button form, the whole supported on four cafe-au-laittinted vegetable ivory feet, h. 5‑1/2”, w. 7‑3/4”, d. 4‑3/4”. [400/700] Illustrated Color Plate V

131 Four-Piece Group of Scales and Accessories, consisting of a Late Victorian marble-topped double-pan brass and walnut scale, fourth quarter 19th century, of oblong form; a smaller double-pan gold scale of like date; an oblong wooden block containing a graduated set of ten weights (five of the smaller weights lacking); and a Central Scientific Company, Chicago, wooden block stand for ten graduated weights (seven of the weights lacking), the largest h. 7‑1/2”, w. 19”, d. 8‑3/4”. Provenance: Finlay-Dicks and Co. Ltd., the La Vallerie Co., 433 Bourbon Street and 315 Royal Street, French Quarter, New Orleans, Louisiana. [50/80]

141

142 135 Collection of Approximately Forty-Two Volumes, including the seventeen-volume collection of leatherbound Works of John Lathrop Motely, Library Edition, ca. 1900, h. 8‑3/4”, and twenty-five volumes of works by Bret Harte bound in hardcover and green linen, second edition, h. 7‑1/2”, w. 5‑1/2”. [100/200] 136 Collection of Approximately One Hundred Three Volumes of Red Linen-Bound Hardcover Books, including Little Masterpieces, volumes 1‑43, ca. 1909, h. 6‑1/8”, w. 4‑1/8”, and sixty volumes of Nations of the World, ca. 1899, h. 8”. [100/200]

132 Fine Central Scientific Company, Chicago, Jeweler’s Scale, second quarter 20th century, composed of wood and glass, the slide-front two-pan scale accompanied by a boxed set of Central Scientific Company weights, the case lid with an embossed brass signature plaque, h. 16‑1/4”, w. 16‑1/2”, d. 9”. Provenance: Finlay-Dicks and Co. Ltd., the La Vallerie Co., 433 Bourbon Street and 315 Royal Street, French Quarter, New Orleans, Louisiana. [300/500]

137 Thirty-Two Assorted Decorative Bindings, 19th/20th century, including works by Macaulay, Longfellow, Scott, Meredith, Dickens, Eliot and Farrar among others, most in tan quarter or half leather, with gilt tooling and lettering on green or red panels, h. 7” to 9”. [150/300]

133 Good Berkel Auto Scale Company Ltd., London, Metal Scale, second quarter 20th century, crimson painted and chromium mounted, accompanied by a set of six period graduated stacking “Imperial Standard” cast-iron weights ranging from one ounce to three pounds, the case and register in the Art Deco style, h. 19”, w. 16”, d. 7‑1/2”. [100/200] 134 George III Mahogany Pembroke Table, first quarter 19th century, the rectangular banded top with two leaves above a frieze fitted with a string-inlaid, banded drawer on one end and a like faux drawer on the other, raised on tapering legs ending in casters, h. 27‑1/2”, w. 31”, d. 20‑1/4”. [400/700] Illustrated

134

138 Fine Twenty-Four Volume Leather-Bound Set of John Mackay Wilson’s Tales of The Borders and of Scotland, William P. Nimmo, publisher, Edinburgh, ca. 1857‑1858, h. 6‑1/2”, w. 4‑1/2”, d. 1‑1/4”. [50/80]

147

148 149

139 Approximately Twenty Volumes Pertaining to History, Medicine and Antiques, including Domestic Medicine, Anatomy and Physiology, ca. 1863, The Encyclopedia of Victoriana, Wonders of The Past and The Catalog of World Antiques, among others. [20/40]

151

152

144 Attractive English Footed Double Standish, third quarter 19th century, composed of mother-of-pearl, tortoiseshell and cut glass, the mother-of-pearl platform modeled with wells for a pair of cut glass ink bottles flanking a covered nibs compartment, the concave pens well lined in chocolate tortoiseshell, the whole supported on four bun feet of tinted polished bone, accompanied by a later gilt-brass ballpoint pen, h. 4‑1/2”, w. 11‑1/2”, d. 8”. [200/400] Illustrated Color Plate IX

140 Approximate Ten-Volume Book Collection, pertaining to religion, including a two-volume set Hope of the Nation, Bible Stories and Master Paintings, Half Hours in Bible Lands, and a two-volume leather-bound set The Holy Bible, Old and New Testaments, among others. [20/40]

144

141 Stately English Cut Glass Tiered Six-Light Chandelier, second quarter 20th century, in the George III style, richly dressed with graduated glass canopies, back-cut Albert spears, faceted glass drops, cut pendalogues, draped jewel-cut glass chains and prisms, electrified and fitted with short squat frosted glass faux candles, h. 33”, dia. 30”. [800/1200] Illustrated

150

145 Eight-Piece Collection of Doulton and Royal Worcester Porcelain Figures, comprised of a Worcester “The Duchess Dress”, modeled by F. G. Doughty; a “Mischief” baby figure; a “Two Babies” figure, both Doughty models; a pair of Doulton “He/ She Loves Me” figures, 1948; a Doulton “Sweeting” figure; a Doulton “Diana” figure; and a Doulton “Pearly Boy”; all of the pieces fully marked, titled and numbered, the largest h. 6”. [150/300] 146 Group of Two Birdcages, comprised of a large English wrought-wire and teal-painted wooden birdcage of domed “Brighton” form, first quarter 20th century, the interior populated by a graduated trio of feathered doves; and a large wire and russet-painted wooden birdcage of oblong form with an attenuated cupola; the largest h. 33”, dia. 16”. [75/125] 147 Continental Brass-Mounted Mahogany Walking Stick, fitted with a carved ivory head of a snarling lion fronting a curvate body embellished with foliate strapwork, l. 36”. [150/300] Illustrated Color Plate VIII

142 George III Stained Oak Chest of Drawers, first quarter 19th century, the rectangular top with molded edge over a conforming case fitted with four graduated long drawers, raised on bracket feet, h. 34‑1/2”, w. 36‑1/2”, d. 18‑1/2”. [500/800] Illustrated

148 Japanese Meiji Export Brass-Mounted Mahogany Walking Stick, first quarter 20th century, fitted with a carved ivory grip of an eagle’s head attempting to devour a resistant mouse, the eagle head fitted with dark amber taxidermist’s glass eyes, l. 35‑3/4”. [150/300] Illustrated Color Plate VIII

143 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”. [500/800]

149 Japanese Meiji Export Brass-Mounted Mahogany Walking Stick, first quarter 20th century, with a carved ivory grip in the form of a seated monkey clutching her baby, l. 35”. [150/300] Illustrated Color Plate VIII

150 Japanese Meiji Export Brass-Mounted Mahogany Walking Stick, first quarter 20th century, with a tall carved ivory grip entwined by a celestial dragon, l. 35‑3/4”. [150/300] Illustrated Color Plate IX and previous page 151 Continental Brass-Mounted Mahogany Walking Stick, first quarter 20th century, fitted with a carved ivory horse head with bared teeth, l. 37”. [150/300] Illustrated Color Plate IX and previous page 152 Continental Brass-Mounted Mahogany Walking Stick, first quarter 20th century, with a carved ivory grip in the form of a dog’s head fronting a curvate body ornamented with foliate strapwork, l. 36‑1/4”. [150/300] Illustrated Color Plate IX and previous page

161

153 George III-Style Mahogany Armchair, the slightly domed and padded back joined by padded shaped arms to the like seat, raised on cabriole legs headed by shell carving and ending in pad feet, h. 34”, w. 24”, d. 21”. [100/200] 154 George III-Style Mahogany Settee, ca. 1900, the rectangular padded back joined to the cushioned seat by like outscrolled arms, raised on cabriole legs ending in hoof feet, h. 38‑1/2”, w. 40”, d. 23”. [200/400]

155

155 George V “Diamond and Scroll”-Pressed Glass Five-Light Chandelier, first quarter 20th century, in the 18th-century taste, the candlearms rope-twisted and alternating with upright glass stalks dressed with ringed pendalogues, the bobeches dressed with panel-cut glass spears, h. 26”, dia. 20”. [150/300] Illustrated 156 Pair of English Andirons, Fireplace Fender and Poker, the andirons of gilded brass and wrought iron in the George III style, the billets of wrought iron, h. 20”, the fender of pierced brass D-form in the Georgian taste, first quarter 20th century, h. 6‑1/2”, w. 44”, d. 14”, and the poker of cast and wrought iron in the traditional style, l. 36”. [200/400]

162 157 Anglo-Dutch Copper and Engraved-Brass Bed Warmer, fourth quarter 19th century, fitted with a long stained fruitwood handle, dia. 11‑1/2”, l. 42”. [50/80] 158 Large Stamped and Pierce-Cut Brass D-End Fire Fender, ca. 1900, lacking several paw feet, h. 12”, w. 53‑1/4”, d. 15”. [20/40]

159 Attractive Four-Piece Group of Brass Items, consisting of a good English embossed brass planter, fourth quarter 19th century, of square section, the sides decorated with a floral-and-foliate band and fitted with a pair of wreath-form handles, the interior with a removable tin liner, the whole raised on four ball feet, h. 7”, w. 6”, d. 6”; a weighty gilt-brass doorstop in the form of a flowering pineapple plant, h. 13”; and a tall pair of English brass scallop shell-surmounted single-light candle sconces in the Georgian style, the reverses mounted for hanging, h. 18”. [100/200]

166

160 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”. [300/500]

167

163 English Country Scrubbed Pine Kitchen Table, first quarter 20th century, the rectangular top above a frieze fitted with one end drawer, raised on turned legs ending in tapering circular feet, h. 28‑3/4”, w. 24‑1/4”, l. 35‑1/2”. [150/300] 164 Chinese Export Porcelain Fruit Bowl, fourth quarter 18th century, in floral decor, h. 3‑1/8”, dia. 8‑1/2”. [75/125] 165 Four-Piece Collection of Modern Chinese Export Porcelain, in the Satsuma style, comprised of a gilded dragon-handled “doughnut” wine ewer; a two-handled double-gourd garniture vase; a tripodal table brazier with domed quatrefoil-pierced cover; and a chimera-handled garniture sphere-on-stand; all in opulently gilded floral grounds with floral/avian or figural reserves, all marked on the base in underglaze rouge de fer, the largest h. 14”, dia. 7”. [200/400]

161 George III-Style Mahogany Sideboard, 20th century, the shaped and banded top above a conforming case fitted with a central cutlery drawer flanked to either side by a cupboard door, all the drawers and cupboards banded, raised on tapering square legs ending in spade feet, h. 36”, w. 54‑1/2”, d. 20‑1/2”. [300/500] Illustrated 162 Suite of Three Various Chippendale Sidechairs, fourth quarter 18th century, one example in polished mahogany, the other two in stained and polished elm, all with a serpentine carved crest over a pierced and carved splat above a padded seat, raised on square legs joined by a H-form stretcher, h. 37‑1/2”, w. 20‑1/2”, d. 18‑1/2”. [400/700] Illustrated

166 Pair of Chinese Export “Rose Medallion” Porcelain Covered Vases, of large “Temple Jar” form, the bodies with alternating “Mandarins” and floral/avian reserves, the finials of the domed covers gilded, h. 18”, dia. 10”. [400/700] Illustrated 167 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”. [400/700] Illustrated

168 Chinese Export “Rose Medallion” Porcelain StagHandled Vase, of large inverted pyriform, the richly floral-painted body with multiple circular, oblong and truncated pyramidal “Mandarin” and floral-avian reserves, the stag handles gilded, h. 18”, dia. 14”. [250/400] Illustrated

170

169 Pair of Chinese Export “Rose Medallion” Garden Seats, of large hexagonal paneled barrel form, the panels ornamented with “Mandarin” and floral/avian reserves and gilded bosses, the seats reticulated, h. 19”, dia. 15”. [300/500] Illustrated 170 George III-Style Mahogany Secretary Bookcase, the pierced and carved cornice over a fluted and rosettecarved frieze above four astragal-glazed doors, the lower case fitted with a central drop-front secretary drawer, opening to reveal a writing surface and a variety of cubbyholes and drawers, with a pair of doors below, flanked on both sides by a suite of five drawers, raised on a plinth base, h. 87‑1/2”, w. 56”, d. 17‑1/2”. [500/800] Illustrated

168

171 Pair of Continental Faux-Ostrich Egg Garnitures, the white-painted wooden eggs raised on circular dished and footed ebonized wooden stands, overall h. 14”. [100/200] 172 English Carved and Polychromed Wooden Carnival Bust, of large scale and depicting an Edwardian blackmustachioed gent in a deerstalker cap, h. 34‑1/2”, w. 28”, d. 21”. [500/800] 173 English Carved and Polychromed Wooden Carnival Bust, of large scale and depicting the prime minister Lord Palmerston in a black cravat and waistcoat, h. 29”, w. 12”, d. 16”. [500/800] 174 Pair of Staffordshire Porcelain “Wooly Lamb” Stump Vases, 1944‑1962, by William Kent, after the 19th-century model, the bases marked with a stenciled W. K. Staffordshire knot and “Staffordshire Ware” in black-glazed stencil, h. 5”, w. 4‑1/4”, d. 1‑1/2”. [300/500] Illustrated

169

175 Provincial George III Mahogany Drop-Leaf Table, first quarter 19th century, the rectangular top with two drop leaves and rounded corners, raised on tapering square legs, h. 29”, w. 40”, d. 17‑1/2”. [400/700] Illustrated

176 Pair of British Victorian Needlepoint Panels, fourth quarter 19th century, one depicting King Henry VIII, and the other his daughter Queen Elizabeth I, sight 10‑1/2” x 10‑1/4”. Each glazed, eglomise-lined and presented in molded giltwood and gesso frames. [75/125] 177 British Needlepoint Panel of a Cocker Spaniel, second quarter 19th century, the canine modeled reclining on his dog bed, verso affixed with a label, printed “Worked in 1838 by William Kitchen, aged 8 years”, sight 11‑3/4” x 5”. Glazed and presented in a mahogany-veneered frame with a giltwood liner. [50/80]

178

178 George III-Style Mahogany Partner’s Desk, first quarter 20th century, the gilt-stenciled tooled leatherinset rectangular top over a frieze fitted with four drawers, raised on two pedestals, each fitted on one side with four drawers, the other side with a door, raised on tapering square feet, h. 30”, w. 66‑3/4”, d. 43‑3/4”. [1000/1500] Illustrated

175

179 George III-Style Mahogany Desk, early 20th century, the rectangular top with molded edge above a conforming case fitted with a central drawer flanked to either side by two small graduated drawers, raised on cabriole legs ending in ball-and-claw feet, h. 31‑1/2”, w. 47‑1/2”, d. 21‑1/2”. [100/200] 181

174

180 Good Pair of Edme Samson, Paris, Porcelain “Bocage” Figures, fourth quarter 19th century, in the 18th -century Chelsea style, both figures standing on richly gilded reticulated bases in the rococo style, each figure marked with a pseudo-Chelsea “Gold Anchor” on the rear basal edge, h. 6‑1/2”. [150/300] 181 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”. [1500/2500] Illustrated Color Plate VIII 182 Near Pair of Chinese Export “Rose Canton” Porcelain Dinner Plates, each on an ebonized hardwood Chinese folding display stand, dia. 10‑1/4”. [50/80]

183 Pair of Chinese Export Famille Rose Porcelain Vases, 20th century, each of flared ovate form with strap handles, enameled in the “Rose Medallion” pattern with alternating panels of figural and floral decoration, h. 6‑7/8”, w. 9”. [75/125] 184 Modern Chinese Export Brass-Mounted Porcelain Covered Soup Tureen, fourth quarter 20th century, in the 18th-century style, the body with stylized boar’shead handles and a pseudo-European mark on the base, the cover with a stylized peach finial, presented on a conforming patinated brass stand featuring siren-headed paw feet, h. 12”, w. 14”, d. 10”. [75/125] 185 Chinese Export “Rose Medallion” Porcelain Cachepot, fourth quarter 19th century, of large “fishbowl” form, the body with alternating “Mandarin” and floral/ avian reserves, h. 10”, dia. 12‑1/4”. [1200/1800] 186 Nine-Piece Collection of English and Export Porcelain, comprised of a fine Caughley parcel-gilt blue and white lobed salver in “Lakeside Pavilions” decor, fourth quarter 18th century; a Worcester blue and white elliptical sweetmeats tray, third quarter 18th century; a pair of polychromed deep tea saucers in “Mandarins” decor, first quarter 19th century; a good deep saucer in “Chinese Scroll” decor of like date; a large deep saucer in “India Tree” decor, first quarter 19th century; a smaller “Floral Sprigs” saucer, fourth quarter 18th century; and a good Chinese Export “Rose Canton” tea bowl and deep saucer in “Mandarins” decor, fourth quarter 18th century; the largest dia. 6‑1/2”. An identical Caughley porcelain salver is in the noted Kuntz collection at the New Orleans Museum of Art. [100/200]

188 187 Pair of George III-Style Mahogany Four-Poster Twin Beds, early 20th century, each with a broken swan’s-neck headboard with a central finial, the footboards of plank form and each surmounted by a reeded urn-form finial, raised on bulbous feet to casters, h. 66‑1/2”, inside w. 39”, l. 78”, outside w. 42‑3/4”, l. 82”. [300/500] 188 Chinese Chippendale Revival Mahogany Silver Chest, ca. 1900, the rectangular top over a conforming case fitted with two doors, each mounted with Chineseinspired brass hardware, above two short drawers raised on cabriole legs headed by acanthine carving and ending in ball-and-claw feet, h. 40”, w. 43‑1/2”, d. 22‑3/4”. [700/1000] Illustrated 189 George III-Style Mahogany Cabinet, the broken swan’s-neck pediment centered by an urn finial, above a dentillated frieze, over a case fitted with two glazed doors opening to a mirrored interior, raised on a molded plinth base, h. 88”, w. 42”, d. 14‑1/2”. [300/500] 190 Suite of Three Various Wooden Windows, consisting of two examples of arched form inset with clear and stained glass panels, h. 49‑1/2”, w. 19‑3/4”, and one rectangular example with several stained glass panels, h. 42‑1/2”, w. 22”. [50/80]

194

191 Pair of Unfinished Pine Arched Doors, with double trellis-form panels, h. 85‑1/4”, w. 65”, d. 3‑1/4”. [100/200] 192 Painted Wood and Wrought-Iron Door Transom, first quarter 20th century, of slightly arched form, having two panels, each inset with a wrought-iron grille, h. 20‑1/2”, w. 72‑1/2”. [100/200] 196

197 Four-Piece Collection of English and American Sterling Silver and Silverplate Serving Trays, comprised of a Meriden highly reticulated sterling circular footed sweetmeats stand, first quarter 20th century; a P.S. Company, Sheffield, nickel silver oblong tray with reticulated everted lip, also first quarter 20th century; an William Rogers Brothers silverplate oval lobed and pierced tray; and an American silverplate circular spiral-ribbed canapes tray; the largest dia. 10‑1/2”, 42.3 total t. oz. [50/80] 200

198 George III Sterling Silver Footed Cream Pitcher, 1798, London, the maker’s hallmark abraded and illegible, of helmet form in bright-cut floral decor, h. 5”, w. 2‑1/4”, l. 4”, 3.00 t. oz. [200/400] 199 Rare George III Sterling Silver Circular Footed Sugar Basin, 1730, London, maker: Elizabeth Goodwin (one of the rare female silversmiths of the Georgian era), h. 2‑1/2”, dia. 4”, 3.7 t. oz. [350/500]

203

200 Good Pair of Antique Sheffield-Plate Three-Light Candelabra, second quarter 19th century, of tall size in “Gadroon” decor, the candlearms spiral-twisted and detaching at the centers to form a tall pair of candlesticks, two of the detachable bobeches at each center socket lacking, h. 20”, w. 18”, d. 5‑1/2”. [200/400] Illustrated 201 Antique Sheffield-Plate Three-Light Candelabrum, second quarter 19th century, of tall, reeded spiral-armed 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”. [75/125]

193 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”. [100/200] 194 Good George III Sterling Silver Sauce Tureen, 1786, London, makers: Smith and Sharp, in the neoclassical style, of oval, two-handled, covered and footed form, both facades with a handsomely engraved monogram reserve, of substantial weight, h. 6”, w. 8‑1/2”, d. 4‑1/4”, 21.95 t. oz. [3000/5000] Illustrated 195 Seventeen-Piece Group of English “King’s Shell” Silverplate Flatware, comprised of a soup ladle, a gravy ladle, a large oviform-terminal sugar tong, a hollowhandle cheese knife, an oval-bowl soup spoon and twelve hollow-handle grilled meats knives, the blades serrated, the largest l. 11‑1/2”. [150/300] 196 Good English Silverplate Oval Waiter, second quarter 20th century, of large size with a highly reticulated gallery rim in the late Georgian style, h. 2‑1/2”, w. 24‑1/2”, d. 16‑1/4”. [100/200] Illustrated

202 George III Sterling Silver Footed Cream Pitcher, 1787, London, maker: probably George Andrews, fitted with a stylish double-scroll handle, h. 4‑1/2”, w. 4”, dia. 2‑1/2”, 2.4 t. oz. [250/400] 203 Henry Adams, Sheffield, Silverplate Domed Meat Platter Cover, fourth quarter 19th century, of large oval form in “Antique Bead” decor, the arched removable handle also in “Antique Bead” decor, h. 10”, w. 13”, l. 16‑1/2”. [200/400] Illustrated 204 Pair of Edwardian Highly Reticulated Sterling Silver Sweetmeat Baskets, 1908, London, maker: Silversmiths and Goldsmiths Company, of shaped oval and footed form, h. 3‑1/4”, w. 5‑1/4”, d. 4‑1/4”, 9.6 total t. oz. [400/700] 205 Two Anglo-Indian .790-Standard Silver Sweetmeats Boxes, fourth quarter 19th century, in the form of, respectively, a swan, h. 3‑3/4”, and two songbirds seated side-by-side, h. 2‑1/2”, modeled in the Moghul style and highly chased throughout. [100/200]

209 George Crisp (British, Fourth Quarter 19th Century/ First Quarter 20th Century) “Fruit Still Life”, oil on canvas, signed and dated lower left “G. Crisp 1909”, 8” x 10”. Presented in a giltwood and gesso frame. [300/500] Illustrated 210 Edward Holroyd Pearce (British, 1901‑1990) “Cattle Grazing by the River”, oil on academy board, signed lower right, 12” x 18”. Presented in a molded stained hardwood frame. [100/200] 211 Edward Holroyd Pearce (British, 1901‑1990) “Country Cottage by the Sea”, oil on academy board, signed lower left, 12” x 8”. Presented in a stained molded hardwood frame. [100/200]

207

212 Attributed to Bernard Fleetwood Walker (English, 1892‑1965) “The Dog and the Owl”, a tall, oblong, black crayon heightened with china white decorative study, sight 14‑3/4” x 12”; and a smaller graphite and china-white study for a singerie over-door panel in the 18th-century style, sight 6‑3/4” x 12”, both signed lower right “Walker”. Matted and presented in narrow giltwood frames and glazed. [200/400] 213 Pair of Chinese Red-Lacquered and Ebonized Benches, first quarter 20th century, each with a narrow rectangular top over a carved apron, raised on scroll- and foliage-carved block legs joined by side stretchers, h. 19”, w. 47”, d. 7‑1/2”. [300/500] 214 Pair of Chinese Rosewood and Marble-Top Side Tables, each with a shaped square top inset with variegated marble, joined to the like shelf-stretcher by curved legs ending in pointed pad feet, h. 31”, w. 21‑1/2”, d. 21‑1/2”. [400/700] Illustrated

209 206 Attractive English Sterling Silver Gentlemen’s Cigarette Case, 1897, Birmingham, makers: A. & T.Z., of shaped oblong form and foliate-scroll chased, the rear leaf concave for carrying in a pants pocket, the interior gilded throughout, w. 3”, l. 5‑1/4”. [100/200] 207 British School (First Quarter 20th Century) “Sunlit Farm Scene with Two Figures”, oil on canvas, signed lower right “Jane Peterson”, 18” x 24”. Presented in a handsome giltwood and gesso Beaux Arts frame. [200/400] Illustrated 208 British School (Third Quarter 19th Century) “Oval Portrait of a Farmer”, oil on panel, unsigned, 12” x 9‑1/2”. Unframed. [75/125]

215 Chinese Stained Hardwood and Marble-Top Low Table, first quarter 20th century, the shaped square top inset with a variegated rouge marble, above a conforming fruit- and foliage-carved and pierced apron, raised on carved serpentine legs joined by a box stretcher and ending in ball-and-claw feet, h. 18”, w. 16‑3/4”, d. 16‑3/4”. [150/300] 216 Pair of Chinese Export Eglomise Paintings, fourth quarter 19th century, depicting, respectively, a young couple in a windowed chamber and a young gentlewoman seated and reading a scroll within her study, presented in matching period frames with narrow fret-carved inner borders, h. 16”, w. 12‑1/4”. [2500/4000] Illustrated 217 Tao Kuang Woven Cotton, Hemp and Cord Warrior’s Sling, second quarter 19th century, of the traditional type, l. 48”. [20/40]

218 Group of Two Framed Oriental Embroidered Panels, one a dramatic Tao Kuang charcoal brown and buff embroidered silk robe border featuring celestial dragons and phoenixes amidst clouds, second quarter 19th century, now mounted vertically within a black fabric border and framed in a greenpainted giltwood frame in the neoclassical taste, 41” x 7‑1/2”; and the other a square Chinese embroidered “Songbird and Peony” silk panel in the Ch’ien Lung style, presented in a carved, pale gray-pickled and bright-gilded faux-bamboo frame and glazed, 16‑1/2” x 16‑1/4”. [100/200] 219 Framed Kuang Hsu Embroidered Silk Panel, fourth quarter 19th century, formed of a frontal robe panel and borders featuring figures, pavilions and flowering trees, now mounted as a picture panel and presented in a narrow flat giltwood molding frame and glazed, h. 25”, w. 12”. [100/200]

214

221

220 222

220 Attractive Ch’ien Lung Carved Gray-White Jade Boulder-Mountain, fourth quarter 18th century, the relief-carved facade with oriental trees and, respectively, a standing scholarly figure and a mountain retreat, h. 8”, w. 5”, d. 2”. [2000/4000] Illustrated Color Plate VIII 221 Kuang Hsu Highly Carved Pale Green Jade Cabbage, fourth quarter 19th century, in the Ch’ien Lung style, h. 6”, w. 10‑1/4”. [150/300] Illustrated

222 Kuang Hsu Carved Jade Figure of a Feng Shui “Money Toad”, first quarter 20th century, the jade in pale green and white, h. 4”, w. 6”, l. 9”. [200/400] Illustrated 223 Chinese Jadeite Bowl and a Pair of Inkwells, consisting of a Tao Kuang (1820‑1848) turned and polished green jadeite shallow bowl, presented on a footed mahogany stand of the traditional type, h. 2‑1/8”, dia. 5‑1/2”; and an attractive pair of magnum cut glass square ink bottles with cushion-form lids of green onyx, ca. 1900, h. 4‑1/2”. [300/500] Illustrated following page

216

224 Three-Piece Group of Chinese Mottled Moss Jade Objects, including a small bowl in the Ch’ien Lung style and a pair of darker wine goblets, also of small size, the bowl presented on a footed hardwood base, with the feet modeled as stylized trefoils, the largest h. 5”, dia. 5”. [200/400] Illustrated 225 Elegant Translucent White Jade Brush Rinser, fourth quarter 18th century, of “Lingzi” form, the fore-edge fret carved in haut-relief, w. 3‑1/2”, d. 2”. [1400/1800]

223 224

227

226 Group of Five Oriental Items, consisting of an interesting trio of Chinese horn-handled calligrapher’s brushes, the smallest with a deer fur and antler finial; an attractive Japanese Meiji nickel-mounted parcel-gilt black lacquer tea caddy of square section, fourth quarter 19th century; and a fine Japanese Meiji sterling silver and mixed metals oblong table box in “Meadow Grasses” decor, first quarter 20th century, the interior in black lacquer; the patinated sterling silver cover inlaid in polished gold, silver and copper, hallmarked on the basal flange of the proper right side, the largest l. 11”, dia. 1‑3/4”. [200/400] 227 Group of Two Oriental Pottery Storage Jars, consisting of a large Chinese Neolithic (4000‑2000 B.C.) polychromed pottery vase of horizontal tubular and footed form, h. 13‑1/2”, w. 9‑1/2”; and a Ming Dynasty (1368‑1644 A.D.) matte charcoal-glazed pottery pantherhandled storage jar with a carved lotus band, fitted with a later rope carrying handle, h. 12‑1/2”, dia. 12”. A similar Neolithic vase is in the collection of the New Orleans Museum of Art. [400/700] Illustrated

229

228 Three-Piece Group of Oriental Items, consisting of a pair of Japanese Meiji richly polychromed and white enamel-detailed Satsuma pottery vases of trumpet form in “Papillons” decor, first quarter 20th century, presented on matching carved, pierced and cordovan-lacquered wooden stands in the traditional style, h. 8”; and a Kuang Hsu elegantly polychromed porcelain Foo dog-handled vase of baluster form, also in a “Papillons” decor, fourth quarter 19th century, h. 10‑1/4”. [75/125]

230

234 233

229 Near Pair of Ming Dynasty Pottery Cylindrical Vessels, fourth quarter 16th century, of tripodal and roofed form, one vessel slightly lower in height, the larger with the “as found” dirt encrustation from prolonged burial, the largest h. 12”, dia. 8”. [300/500] Illustrated 230 Ming Dynasty Carved and Polychromed Wooden Figure of Buddha, first quarter 17th century, the figure depicted seated in the lotus position, the painted finish attractively weathered throughout, the reverse with the official Chinese government red wax seal of antiquity, the prayer compartment at the center of the back lacking its cover, h. 22”, w. 14”, d. 12”. [800/1200] Illustrated Color Plate VIII

237 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 brightand 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”. [200/400]

238 Striking Chinese Cinnabar Lacquer Covered Food Bowl, first quarter 20th century, of “stupa” form in four parts, the cover with a tall turned finial, the interior fitted with a conforming circular tray and a large footed bowl surmounting the broad stepped circular foot, the lacquer with elaborate incise-carved decoration, h. 29”, dia. 14”. [400/700] 239 Kuang Hsu “Eggshell” Porcelain Bowl, first quarter 20th century, of small size in “Mille Fleurs” decor, the interior with peach bloom sprays centered with a double peach spray, h. 2‑5/8”, l. 5‑1/4”. [50/80]

231 Chinese Provincial Blue and White Porcelain Pillow, modeled after a leather original, decorated in underglaze blue with floral decoration bordered in fretwork, the ends with floral decor, l. 12‑3/8”. [50/80] 232 Chinese Carved Wood Figure of the Laughing Buddha, 20th century, the reclining figure holding the Pearl of Wisdom and attended by five acolytes and wildlife, presented on a fitted wooden base, h. 7”, l. 14”. [75/125] 233 Pair of Tao Kuang Flambe-Glazed Porcelain Spherical Vases, second quarter 19th century, with crackled celadon-glazed interiors, h. 8‑1/2”, dia. 8‑1/2”. [400/700] Illustrated 234 Near Pair of Tao Kuang “Sang De Boeuf” Porcelain Tall-Neck Vases, second quarter 19th century, in the traditional style, h. 12‑1/4”, dia. 7‑1/2”. [400/700] Illustrated 235 Group of Four Chinese Porcelain Items, comprised of a provincial colorfully polychromed porcelain covered vase, first quarter 20th century, of broad pyriform in “Goldfish” decor, h. 12”, dia. 10”; and a trio of famille rose porcelain dinner plates with polychromed floral borders and peony centers, dia. 10‑1/4”. [300/500] 236 Large Kuang Hsu Blue and White Porcelain Pyriform Vase, first quarter 20th century, with multiple figural and floral reserves in the Ch’ien Lung style, h. 18‑1/2”, dia. 15”. [400/700]

240

249

245 Pair of Thai/Cambodian Temple Rubbings, mid‑20th century, sight 19‑3/4” x 14‑3/4”. Both glazed, linenmatted and presented in gilt and silvered gesso frames. [300/500] 246 Pair of Framed Chinese Paintings, each of near abstract interpretation depicting impressions of stylized floral images in ink washes and colors, each horizontal panel signed with an artist’s seal and presented in a rosewood frame, each panel h. 24”, w. 83‑3/4”. [300/500]

240 Fine Oriental Carved Teakwood Collector’s Cabinet/ Vitrine, early 20th century, the top with a pierced and carved cornice and frieze with traditional Asian motifs, and having an arrangement of shelves and cabinets below with hardstone-decorated panels, and mounted to an elaborately carved base, h. 88‑3/4”, w. 64”, d. 17‑3/4”. [7000/10000] Illustrated Color Plate VIII and previous page 241 Good Kuang Hsu Carved Giltwood Bed Frame Panel, fourth quarter 19th century, featuring a trio of carved and pierced white jade plaques, now mounted as a wall hanging and fitted with a cut-brass suspension fret at the upper rail, h. 17‑3/4”, w. 7”. [100/200] 242 Wa Japanese Calligraphy Panel, of narrow horizontal form, signed with two red colophons and presented in a narrow black wooden molding frame and glazed, the lower rail with an engraved brass presentation plaque, h. 13”, w. 44”. [50/80] 243 Wa Japanese Calligraphy Panel, of narrow horizontal form, signed with two red colophons and presented in a narrow black wooden molding frame and glazed, the basal rail with an engraved brass presentation plaque, h. 13”, w. 51‑1/2”. [50/80] 244 Pair of Framed Chinese Paintings, each of near abstract interpretation depicting impressions of stylized floral images in ink washes and colors, each horizontal panel signed with an artist’s seal and presented in a rosewood frame, each panel h. 24”, w. 83‑3/4”. [300/500]

251

250

247 Northern European Carved and Incised Walnut Looking Glass, fourth quarter 19th century, in the late classical mode, presented in an old naturally weathered finish, h. 48‑1/2”, w. 31”. [300/500] 248 Northern European Provincial Engraved Pewter Candlestick, fourth quarter 19th century, of large bell form, the spreading bell-form base engraved with foliate scrolls and stylized foliage, the base marked “RGD/1000”, h. 8”, w. 8”, dia. 2‑1/2”. [75/125] 249 Large French Brass-Mounted Wrought-Iron Baker’s Rack, fitted with two short over three long shelves with curved edges, supported by scrolling brackets, the front edges trimmed in gilt-brass, h. 83‑1/2”, w. 73”, d. 16”. [800/1200] Illustrated 250 French Gilt-Brass-Mounted Porcelain Covered Vase, first quarter 20th century, of footed pyriform in the Louis XVI Sevres style, the cover collar and basal borders in sky blue with detailing in parcel-gilt “rose du Barry” and claret, the facade with a reserve of a fashionable portraitist taking the likeness of a lady-of-fashion in a park, the reverse with a bucolic riverside chateau scene, the former signed lower left “Roza”, the interior of the cover with a pseudo-Sevres interlaced L’s mark and the Sevres date letter for 1772, h. 23”, w. 12”, d. 9”. [1000/1500] Illustrated 251 Northern European Provincial Pine Single-Door Armoire, third quarter 19th century, the facade edges chamfered, the paneled door fitted with a cut and antiqued sheet-iron escutcheon, the whole supported on bun feet and having a fruitwood stain, h. 78”, w. 39”, d. 21”. [500/800] Illustrated 252 Northern European Pine and Poplar Farmhouse Table, fourth quarter 19th century, the turned legs joined by an H-form stretcher, the apron of one side fitted with a brass-mounted drawer, the brass pull in the Art Nouveau style, the finish attractively distressed, h. 31”, w. 39”, d. 32”. [200/400] 253 Pair of Northern European Provincial Weathered White-Painted Pine Shadowboxes, each containing a specimen of fan coral and glazed, h. 15‑1/2”, w. 13‑3/4”. [50/80]

254 Large and Weighty Scandinavian Glass Vase, third quarter 20th century, of navette form and elaborately engraved on the facade with an 18th-century galleon sailing in a tropical inlet, h. 10‑1/2”, w. 12‑1/4”, d. 4‑3/4”. [100/200] 255 Large Franco-Belgian Machine-Woven Tapestry Panel, first quarter 20th century, depicting an early 18thcentury evening party in the manner of Jean-Antoine Watteau (French, 1684‑1721), the primary palette in ivory, ecru, brown and vieux rose, the upper and lower edges fitted with steel bars having pewter pomegranate finials, h. 70”, w. 48”. [200/400] 256 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”. [100/200] 257 Suite of Six Various Windows and Window Panels, first half 20th century, consisting of two painted examples with wrought-iron grille panels, a painted example with geometric-patterned glazed panels, and three of rectangular shadowbox form with a pair of doors inset with stamped glass panels, the backs pierced and carved, h. 56‑1/4”, w. 25”, d. 23‑3/4”. [100/200] 258 Pair of Painted Wrought-Iron Floor Candelabra, each fitted with four candle holders on scroll-end arms, the whole raised on scrolling legs ending in like feet and fitted with floral appliques, h. 63‑1/2”, w. 27‑1/4”. [50/80] 259 Suite of Three Assorted Wrought-Iron Candelabra, one of scrolling form with four candle holders, one with three pricket candle holders on acanthine-formed arms and legs, and one tall example with five pricket candle holders on C-scroll-formed arms above a round pedestal ending in splayed legs headed by floral molding, the largest h. 24”, w. 16”, d. 16”. [50/80] 260 Large Pair of Wrought-Iron Arched Window Transoms, first quarter 20th century, h. 34‑1/4”, w. 68‑1/4”. [150/300]

265 Provincial Louis-Philippe-Style Fruitwood Buffet, second quarter 19th century, the rectangular top above a conforming case fitted with two small drawers over two paneled cupboard doors, raised on shaped feet, h. 38‑1/2”, w. 54”, d. 24”. [2000/4000] Illustrated

273

261

263

261 Monumental Continental Polychromed Coffer, mid‑19th century, the paneled trunk lifting to a storage interior, the front and sides paneled, raised on shaped bracket feet, h. 38”, w. 55”, d. 30”. [1000/1500] Illustrated 262 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”. [100/200] 263 Provincial Mixed Woods Tilt-Top Gate-Leg Vintner’s Table, ca. 1900, the circular top above a gate-leg base, raised on trestle feet, h. 27”, dia. 38‑3/4”. [300/500] Illustrated 264 Provincial Oak-Plank Four-Panel Room Divider, each panel with a distressed patinated surface, h. 84‑1/2”, w. 79”. [300/500] 265

267

268

271 Franco-German Gros-Point Panel, fourth quarter 19th century, featuring a boating party in front of a Tudor country house, sight 35” x 44”. Glazed and presented in a period Louis XV-style giltwood and gesso frame. [700/1000] Illustrated 272 Large French Brass and Wire Mesh Firescreen, first quarter 20th century, of footed cartouche form, the cresting modeled as a writhing stylized dragon, h. 36”, w. 26”. [200/400] 273 Provincial Louis XV-Style Fruitwood Cupboard, fourth quarter 18th century, the bonnet-top cornice over a conforming case fitted with two paneled doors separated by a drawer, above a serpentine-carved skirt raised on slightly cabriole legs, h. 93”, w. 43”, d. 25‑1/2”. [3000/5000] Illustrated Color Plate VI

266 After Marius Jean Antonin Mercie (French, 1845‑1916) “Jeanne d’Arc”, a large patinated bronze figure of the armored saint standing in fervent prayer, signed at the proper left rear edge of the plinth “Rubin”, presented on a square octagonal base of polished black slate, h. 22‑3/4”, w. 7‑3/4”, d. 7”. [250/400] 267 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”. [700/1000] Illustrated 268 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”. [600/900] Illustrated

271

269 Provincial Oak Bedside Table, late 19th century, the superstructure fitted with a short shelf joined by quatrefoil-pierced supports to the rectangular top, with an open shelf below, raised on fluted, tapering square legs, h. 28‑1/2”, w. 20‑1/2”, d. 15‑1/2”. [300/500] 270 Provincial Elmwood and Polychromed Kitchen Console, ca. 1900, the rectangular top above a frieze fitted with three drawers, raised on tapering square legs, h. 29”, w. 65”, d. 21”. [800/1200] Illustrated

270

274 French Provincial Fruitwood Armchair, ca. 1900, of ladder-back form, the carved crest rails over two like rails, joined to the rush seat by scroll-end arms, raised on sabre legs joined by a box-stretcher, the seat fitted with a chocolate brown leather cushion, h. 45”, w. 23”, d. 20”. [150/300] 275 Large Belle Epoque Patinated Bronze Figure Group, featuring a pair of scantily draped winged putti presenting a large vase in the form of a flower-bedecked heart, presented on an oblong slab base of polished Grand Antique marble having chamfered corners, h. 15‑1/2”, w. 22”, d. 9‑1/2”. [200/400] Illustrated

275

276 After Henryk De Kossowski (b. Poland, Worked in Paris, 1815‑1870), a large gold/brown bronze-patinated spelter group of L’Abundance bearing a laurel wreath and a cornucopia and attended by a pair of putti, fourth quarter 19th century, signed at the rear of the plinth, presented on a turned red mahogany lacquered wood base with an engraved brass title plaque, h. 27‑1/4”, w. 12‑3/4”, d. 8‑1/4”. [500/800] Illustrated 277 Auguste Moreau (French, 1822‑1912), a large bronzepatinated spelter figure of a barefoot provincial girl placing a flower in her hair, fourth quarter 19th century, signed on the edge of the base “Auguste Moreau”, h. 37”, w. 10”, d. 9‑1/4”. [800/1200] Illustrated

278 Pair of Turned and Molded Baluster-Form Table Lamps, each with a central turned standard mounted to a stepped base, h. 36”, w. 10”, d. 10”. [75/125] 279 French GiltBrass and Engraved Glass Foyer Lantern, of tapering fivepanel form in the Louis XVI taste, the interior fitted with a diminutive pendant threelight chandelier having white faux candles, the glass panels engraved with stylized leaf sprays, h. 24”, w. 14”, d. 14”. [100/200]

276

277 280 French Provincial Oak and Fruitwood Buffet, 18th century, the canted rectangular top with molded edge above a conforming case fitted with two drawers over two cupboard doors, each paneled and centered by a quatrefoil design, the shaped apron raised on canted block feet, h. 44‑1/2”, w. 57‑1/2”, d. 22‑1/4”. [1500/2500] Illustrated 281 Provincial Louis XV-Style Fruitwood Vasselier, first quarter 19th century, the superstructure with three shelves over a lower case with canted corners, fitted with two doors inset with shaped panels separated by a fluted panel above a serpentine carved skirt, raised on slightly cabriole legs, h. 85‑1/2”, w. 56‑1/2”, d. 22‑1/2”. [2000/4000] Illustrated Color Plate X 282 Collection of Sixteen Various Cast-Iron Cooking Pans, early 20th century, the largest w. 8”, l. 13‑3/4”. [50/80] 283 Collection of Sixteen Various Cast-Iron Cooking Pans, early 20th century, the largest w. 11”, l. 16”. [50/80]

281

284 Three-Piece Group of Brass and Copper Kitchen Items, early to mid‑20th century, consisting of a large and attractive copper-clad stainless steel footed colander with brass handles, dia. 12”, l. 14” with handles; an English brass two-bottle wine cooler of rounded rectangular form, the riveted sides fitted with ring handles, the underside marked with a lion rampant and a crown above a shield, the whole raised on diminutive ball feet, h. 7”, l. 12”; and a small copper saucepan fitted with a turned wooden handle, pot h. 3”. [60/90] 285 Group of Eight Copper Baker’s Moulds, first quarter 20th century, including circular crab dish, three fish molds, a lobster mold, a crescent moon mold, a pudding cake pan and an oval cake pan, the largest l. 13‑3/4”, dia. 11”. [100/200]

280

286 Attractive French Porcelain Covered Pate Tureen, third quarter 19th century, of elliptical form in the style of Pierre-Jules Mene (French, 1810‑1879), the cover with an elaborately polychromed group of two adults birds and two chicks watering at a small rivulet, the base with matte blue bas-relief decoration of morning glories, the base with the impressed mark “138. L.S.”, h. 6”, w. 5‑1/2”, l. 11”. [500/800]

287 Suite of Seven Louis XIII-Style Mixed Woods Sidechairs, fourth quarter 19th century, each with a padded back above a like seat, raised on turned legs joined by a box stretcher and ending in block-and-bun feet, upholstered in natural linen, h. 35‑1/2”, w. 18‑1/2”, d. 18‑1/2”. [500/800] Illustrated 288 Provincial Fruitwood Kitchen Table, fourth quarter 19th century, the planked rectangular top above a frieze fitted with two drawers, raised on tapering square legs, h. 30”, w. 72”, d. 29‑3/8”. [800/1200] Illustrated following page 287

289 Pair of French Provincial Terra Cotta Confit Jars, of large size, the top portions glazed in ochre and tobacco, now fitted with bronze-patinated brass caps and mounted as table lamps, each fitted with a spherical turned stained wooden finial, h. 22‑3/4”, dia. 14”. [100/200] 290 Continental Painted and Parcel-Gilt Terra Cotta Architectural Element, first quarter 20th century, of stubby “L” form in the Renaissance style, the center of the “L” with scrolling foliage and berry clusters in high relief on a diagonally reeded buff ground, h. 20”, w. 15‑1/2”. [100/200]

288

291 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”. [150/300] 292 Verdigris-Patinated Bronze Figure of a Friendly Pig, the inquisitive animal modeled seated, its proper left ear cocked, h. 8”, w. 7”, l. 10”. [200/400] 293 Continental Provincial Polychromed Blanket Chest, second quarter 19th century, the planked rectangular lift-top opening to reveal a deep storage area over a long drawer, raised on splayed bracket feet, h. 33”, w. 47‑1/4”, d. 21‑1/2”. [300/500] Illustrated 293

294 Near Pair of Italian Provincial Six-Light Pricket Chandeliers, of cage form in the neoclassical taste, composed of turned wood and wrought-iron, the addorsed-scroll candlearms and the canopies dressed with turned wooden drops, the whole in an antiqued and weathered white finish, one measuring h. 32”, dia. 30”, the other h. 30‑1/4”, dia. 30”. [300/500] 295 Wrought-Iron Tripodal Plant Stand, the upper portion fitted with seven circular pot holders, mounted to a base with three outstretched legs, h. 46‑1/2”, w. 30‑1/4”, d. 30‑1/4”. [20/40] 296 Pair of Hardwood and Wrought-Iron Entrance Doors, each with an upper panel inset with scroll-formed grillwork, above a circular gilt-brass-mounted pull, one door fitted with a brass mail slot, h. 99‑1/2”, w. 39”. [500/800] Illustrated 297 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”. [100/200]

296

298 Painted Wrought-Iron Shelf, fitted with scrolling brackets for two shelves, the shelves lacking, h. 37‑1/2”, w. 59‑1/2”, d. 18‑1/2”. [50/80] 299 Pair of Wrought-Iron Garden Fence Panels, first quarter 20th century, of rectangular, interlocking oval and scroll form, h. 67”, w. 32‑1/4”. [100/200] 300 Three-Piece Polychromed Wrought-Iron Garden Suite, consisting of a bench, h. 30”, w. 54‑1/2”, d. 27”, a round-top coffee table, h. 16”, dia. 23”, and a drink’s cart on wheels, h. 28‑1/2”, w. 33”, d. 19”, each of latticed and scroll form. [250/400] 301 Painted Wood and Wrought-Iron Door Fragment, ca. 1900, formed of three panels inset with wrought-iron grills, h. 24‑1/4”, w. 89‑1/2”. [100/200] 302 Six Various Wrought-Iron Garden Fence Fragments, consisting of two vertical rectangular examples, three scroll-formed panels of trapezoidal form, and a smaller rectangular interlocking-scrolls example; the largest h. 50‑1/2”, w. 6”. [50/80] 303

303 Peshawar Sultanabad Carpet, 9’ 3” x 12’. [1500/2500] Illustrated Color Plate VI 304 Agra Serapi Runner, 2’ 6” x 11’ 9”. [400/700] 305 Persian Kashan Carpet, 6’ 6” x 10’ 10”. [450/700] 306 Persian Tabriz Carpet, 10’ x 12’ 11”. [500/800] Illustrated 307 Persian Sultanabad Runner, 3’ 8” x 13’ 8”. [350/500] 308 Jaipur Runner, 2’ 6” x 9’ 9”. [150/300] 309 Heriz Carpet, 10’ 8” x 7’ 6”. [1200/1800]

306

310 Persian Kashan Carpet, 9’ 8” x 13’. [500/800] Illustrated 311 Kashan Carpet, 11’ 3” x 7’ 9”. [1400/1800] Illustrated 312 Persian Hamadan Runner, 3’ 7” x 11’ 3”. [150/300] 313 Kashan Carpet, 13’ x 9’ 6”. [1400/1800] Illustrated

310

313

314 Persian Hamadan Carpet, 4’ 11” x 8’ 5”. [250/400] 315 Bassarabian Kilim Carpet, 8’ 8” x 10’ 3”. Provenance: Jacqueline Vance Oriental Rugs, New Orleans, Louisiana. [300/500] 316 Semi-Antique Persian Hamadan Carpet, 3’ 11” x 6’ 2”. [100/200]

311

317 Agra Seichur Carpet, 9’ x 11’ 8”. [1500/2500] Illustrated 318 Persian Heriz Carpet, 6’ 10” x 10’. [200/400] 319 Turkish Angora Oushak Carpet, 6’ 2” x 8’ 2”. [900/1200] Illustrated 320 Shiraz Carpet, 3’ 4” x 5’ 5”. [100/200]

319

317 321 Shiraz Carpet, 4’ 2” x 7’ 9”. [100/200] 322 Persian Kerman Carpet, 3’ 11” x 7’ 2”. [200/400] 323 Laristan Sultanabad Carpet, 9’ 8” x 13’ 9”. [1500/2500] Illustrated Color Plate X 324 Semi-Antique Caucasian Runner, 3’ 3” x 12’ 5”. [200/400]

323

325 Two English Brass Paw-Footed Planters, late 19th century, each with cast-brass handles and paw feet, the largest h. 8‑1/4”, w. 14-/4”, d. 10”. [50/80]

329

326 Suite of Eight Late Regency-Style Mahogany Dining Chairs, 20th century, consisting of two armchairs and six sidechairs, each with a shaped crest above a lotus-carved patera-centered splat, the padded seat raised on turned and tapering circular legs ending in toupie feet, h. 37”. [700/1000] 327 Large and Varied Collection of Decorative Eggs and Stands, mid‑20th century, consisting of twenty-six eggs, including examples in porcelain, papier-mache, glass, wood, marble and metal, the largest l. 5‑1/4”; and seventeen stands, including examples in brass, wood, acrylic and mirrored glass; the whole presented in a “grass”-lined wicker basket, l. 19” (forty-four total pieces). [60/90] 328 Regency-Style Mahogany and Burl-Mahogany Triple-Pedestal Dining Table, the rectangular banded and ebony string-inlaid top with a reeded edge, raised on three acanthine- and scroll-carved pedestals ending in carved bun feet, with two leaves, h. 29”, w. 48”, l. 107‑1/2”, extended l. 149‑1/2”. [4000/7000] Illustrated Color Plate V

329 Good William IV Mahogany Sarcophagus-Form Cellarette, first quarter 19th century, the tapering lid with a carved finial handle and opening to an interior fitted for eight bottles, raised on carved paw feet, h. 26”, w. 32”, d. 21”. [2500/4000] Illustrated Color Plate II

330

330 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”. [300/500] Illustrated

331 Japanese Imari Porcelain Vase, third quarter 20th century, of baluster form in “Vase of Flowers” decor, the base signed with an underglaze rouge de fer colophon, h. 12”, dia. 5”. [50/80] 328

336

337 Four-Piece Group of Wedgwood Pale Blue Jasperware, mid‑20th century and earlier, consisting of a large circular plate, the underside marked “H J”, dia. 9”; a small pitcher, h. 5”; and a pair of navette-form lidded boxes, l. 4‑1/2”; each example elaborately decorated in the classical taste and fully marked. [70/100] 338 Good Set of Fifteen Wedgwood Porcelain “Amphora” Items, comprised of eight after-dinner coffee cups, h. 2‑1/4”, dia. 2‑1/4”, and seven saucers, dia. 4‑3/4”, all in “Florentine” decor, each component fully backstamped. [125/250] 339 Collection of Ten Leather-Bound Volumes of Chadman’s Cyclopedia of Law, third printing, copyright 1912, by American Correspondence School of Law, Chicago, h. 9‑1/2”, w. 6‑3/4”, d. 2‑1/2”. [100/200]

332 Set of Six Grimwade, Staffordshire, Ironstone Dessert Plates, first quarter 20th century, in the Imari style with parcel-gilt “blue scale” decoration, each plate fully backstamped in underglaze green transfer-print, dia. 8‑1/4”. [100/200]

340 Collection of Approximately One Hundred Twenty Volumes of Small Books, including thirty-one green softcover volumes pertaining to religion, thirty-two red softcover volumes of The Ariel Booklets, six blue hardcover volumes of The Warner Classics, and approximately fiftyone more miscellaneous volumes, the largest h. 6‑1/2”, w. 4‑1/2”. [100/200] 341 Collection of Thirty-One Volumes, including a twentyvolume collection of Harvard Classics, 1917 edition by P. F. Collier and Son, h. 10”, w. 7‑1/4”, d. 1‑1/4”. [100/200]

333 Regency Mahogany Sofa Table, first quarter 19th century, the rectangular top with two rounded drop leaves, above a frieze fitted with two drawers, raised on plank end supports joined by a turned stretcher and ending in splayed feet to brass caps and casters, h. 30‑1/2”, w. 56”, d. 24”. [250/400]

342 Collection of Twenty-Seven Decorative Leather Bindings, including fifteen volumes of Library of the World’s Best Literature, 1902 edition, ten volumes of Text Books of the American Lyceum Circle - The World’s Best Orations, 1901 edition, and two volumes of Court Memoir Series, Cardinal De Retz and Court of St. Cloud, Vol. II., the largest h. 9‑3/4”, w. 7”. [100/200]

334 Regency-Style Mahogany Pedestal Dining Table, 20th century the burl mahogany-banded and string-inlaid top raised on two turned pedestals, each with three brasscapped splayed legs ending in casters, and accompanied by two original leaves, h. 28‑3/4”, w. 45”, l. 70”. [700/1000] Illustrated

343 Regency-Style Mahogany Sidechair, first quarter 20th century, the crest rail with faux-eglomise panel over a reeded lower rail above a padded seat, raised on turned and tapering legs ending in toupie feet, h. 32”, w. 19‑1/2”, d. 19”. [150/300]

335 Regency-Style Mahogany Cabinet, late 19th century, the domed cornice with patera accents above a case fitted with two long paneled doors opening to an interior fitted for handling clothes, with one long drawer below, flanked to either side by fluted uprights, raised on palmetto-carved feet, h. 83‑1/2”, w. 51”, d. 19‑1/2”. [700/1000]

334

336 Pair of “Pate-Sur-Pate” Porcelain Garniture Ewers-On-Bases, in the Minton manner, the bases of the ewers and the drum-form bases with pseudo-Minton marks in overlaid gold, h. 21‑3/4”, dia. 6‑1/2”. [900/1200] Illustrated Color Plate VI

345 Attractive Pair of English Blown Glass Hurricane Shades, second quarter 20th century, with engraved decoration featuring upright flowering stems flanked by taller budding stems alternating with eight-point vertical oblong sunbursts with X-crossed bud stems, h. 14‑3/4”, dia. 5‑1/2”. [200/400] 346 Attractive Pair of English Blown Glass Hurricane Shades, second quarter 20th century, of tall size and floral engraved, the engraved decoration featuring upright flowering stems flanked by taller budding stems alternating with eight-point vertical oblong sunbursts with X-crossed bud stems, h. 14‑3/4”, dia. 5‑1/2”. [200/400]

347

347 Regency Mahogany and Marble-Top Center Table, first quarter 19th century, the variegated marble top with carved edge, over an apron with a beaded molding, raised on a reeded vasiform pedestal ending in a plinth base on claw feet, h. 29‑3/4”, dia. 39‑1/2”. [1500/2500] Illustrated Color Plate VII 348 Regency Ebonized Papier-Mache Tray, second quarter 19th century, the oval tray with a full raised edge featuring a patterned gilt and mother-of-pearl-inlaid banding, raised on a later ebonized faux-bamboo stand with gilt accents, h. 20”, w. 30”, d. 23‑1/2”. [300/500]

349 351

344 Group of Four Bracket Shelves, consisting of a good pair of English gilded terra cotta demilune bracket shelves in “Plumes” decor in the Regency style; an Italian verdigris-detailed 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”. [250/400] 352

357

349 Maitland Smith Campaign-Style Leather and BrassMounted Chest, the rectangular tooled leather top over a conforming case fitted with five drawers fronted with giltincised padded leather, the sides with carrying handles, raised on bun feet, h. 34‑1/2”, w. 20”, d. 16”. [300/500] Illustrated 350 Good 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”. [100/200] 351 Regency-Style Mahogany Bench, the tufted leather top over a reeded skirt raised on like-turned tapering circular legs headed by a patera carving and ending in casters, h. 18‑1/2”, w. 48”, d. 26”. [400/700] Illustrated 352 Regency-Style Mahogany Bench, the tufted leather top over a reeded skirt raised on like-turned tapering circular legs headed by a patera carving and ending in casters, h. 18‑1/2”, w. 48”, d. 26”. [400/700] Illustrated

354

353 Regency-Style Mahogany Side Table, ca. 1900, the rectangular top with a molded edge over a conforming frieze, raised on a lyre-formed pedestal joined by an Hform stretcher and ending in scroll feet, h. 28‑1/4”, w. 18”, d. 8‑1/4”. [200/400] 354 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”. [300/500] Illustrated 355 Three-Piece Cambridge Glass Company Console Set, second quarter 20th century, composed of parcelgilt amber glass in the neoclassical taste, comprised of a large gently flaring bowl, h. 3‑1/2”, dia. 10‑3/4”, and a flanking pair of low candlesticks, h. 3”, dia. 5”, all with bas-relief parcel-gilt borders of classical figures disporting themselves in a forest. [75/125] 356 After Augustin Moreau (French, 1822‑1912), a bronze-patinated spelter figure of “Eros Armed”, fourth quarter 19th century, signed at the proper right rear edge “Aug. Moreau”, in script, presented on a stepped polished black slate base, h. 16”. [100/200] 357 Extensive Fifty-Four-Piece English Earthenware Partial Dinner Service, for sixteen persons, second quarter 19th century, by John Ridgway, Staffordshire, in blue transfer-print with gold luster detailing, comprised of fifteen dinner plates, thirteen dessert plates, twelve soup plates, a circular serving plate, a large circular serving plate, a circular vegetable bowl, two covered and footed vegetable tureens, a gravy boat with integral two-handled stand, an oblong two-handled and footed pastry stand, an oblong vegetable bowl, two graduated oblong platters, and a circular two-handled pastry stand, the largest h. 7‑1/2”, w. 12”, dia. 10‑1/2”. [600/900] Illustrated Color PLate IV

359 Pair of Staffordshire Pottery Sweetmeats Basket, second quarter 19th century, each monochrome greenglazed pottery basket of two-handled form in “Grape Leaf and Shell” decor, w. 7‑3/4”, l. 10‑3/8”. [50/80] 360 William IV Mahogany Breakfront, Now Converted to a Gun Cabinet, second quarter 19th century, the upper case with two glazed doors, the right side fitted for riffles, the left side with adjustable shelves, the base with two framed and paneled doors, h. 83‑1/2”, w. 52‑1/2”, d. 16”. [400/700] Illustrated 361 William IV Brass-Inlaid Rosewood Lap Desk, second quarter 19th century, in the Campaign style, the interior fitted with a sloped writing surface in claret treated period fabric, a tilting concave oblong pens well, a sloped nibs compartment and a pair of cut glass ink bottles, h. 6‑1/2”, w. 16”, d. 10”. [100/200]

360

358 Six-Piece Collection of Small English Items, comprised of a five-piece group of Staffordshire pottery including a swan family “bocage” posy vase, third quarter 19th century; a copper lustre “Highland Dancers” milk pitcher with green foliate-scroll detailing, second quarter 19th century; a royal blue-banded copper luster sparrowbeak cream pitcher of like date; a spherical honey pot in the form of a skep surmounted by a honey bee, third quarter 19th century; and an Edwardian polychromed figure of a seated rabbit in the traditional Staffordshire style, ca. 1900; together with a Victorian brass hearthside toasting fork emblazoned with a Scottish thistle as its finial, fourth quarter 19th century; the largest h. 8”, w. 3‑3/4”, d. 8”. [200/400]

365

362

362 Good Woods Burslem Purple Transfer English Ironstone Dinner Service, fourth quarter 19th century, in the “Colonial” pattern, consisting of twelve dinner plates, dia. 10”, eleven luncheon or salad plates, dia. 7‑3/4”, twelve fruit bowls, dia. 6‑1/2”, ten sauce bowls, eight cups, fourteen saucers, a large oval platter, l. 10”, w. 8‑1/4”, a small oval platter, l. 10‑3/4”, w. 8‑1/2”, a shallow oval bowl, l. 8‑3/4”, w. 6‑3/4”, a shaped oval bowl, l. 10”, w. 8‑1/4”, a round serving bowl, dia. 8”, an octagonal serving bowl, dia. 9”, a gravy boat and a small pot lid. [400/700] Illustrated

368

363 Pair of English “Flow-Blue” TransferPrinted 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”. [50/80] 364 Fine Chelsea Porcelain Works “Red Anchor” Tea Bowl and Saucer, 1752‑1756, in “Flowering Tree” decor, both pieces marked with the diminutive Chelsea red anchor and having old museum accession numbers in red, cup h. 1‑1/2”, dia. 2‑3/4”, saucer dia. 4‑1/2”. [450/700] 365 William IV Mahogany Cabinet, second quarter 19th century, the molded and rounded cornice about a conforming case fitted with two doors, each inset with a domed panel, the whole raised on a plinth base and opening to four long drawers, h. 49‑3/4”, w. 55”, d. 22”. [400/700] Illustrated 372 367 368 Four-Piece Silverplate Tea-and-Coffee Service and a Compatible Tray, the service by Mappin and Webb in the Georgian neoclassical style, first quarter 20th century, comprised of a footed teapot with carved and ebonized fruitwood handle, h. 9‑1/2”, a matching coffeepot, h. 6‑1/2”, an oblong two-handled open sugar basin, h. 3‑1/4”, and a cream pitcher, h. 3‑1/2”, all on bun feet; the ball-and-claw-footed tray in the George III “Gadroon” style, h. 1‑1/2”, dia. 14‑1/4” (five total pieces). [250/400] Illustrated

366 William IV Mahogany Sidechair, second quarter 19th century, the arched back centered by a padded panel, the padded seat raised on barley-twist legs ending in toupie feet, h. 35‑1/2”. [100/200] 367 Good Pair of Staffordshire Pottery Figures of Seated Poodles, third quarter 19th century, each dog modeled with a clipped fur coat and wearing a gilded collar with a pendant lock, h. 9‑1/2”, w. 7”, d. 4‑1/2”. [450/700] Illustrated

369 Six-Piece Group of Silver Toilette Items, consisting of an elegant two-piece Mappin and Webb, London, sterling silver-mounted tortoiseshell toilette service, comprised of an oval lady’s hair brush and an elliptical clothes brush en suite, 1925; a good American silver mesh lady’s evening bag with kiss clasp, “crocheted” basal edging and the period box-link carrying chain, first quarter 20th century; an American sterling-topped cut glass unguent jar of like date; a Mexican sterling overlay glass scent bottle of square section, ca. 1930; and a similar Mexican sterling overlay cylindrical scent bottle; the largest l. 9”. [100/200]

376

373 Good Scottish-Georgian Sterling Silver Teapot, 1827, Edinburgh, maker: Leonard Urquhart, of spherical and footed form, with a carved and pickled fruitwood handle, h. 6”, w. 9”, dia. 5”. [1400/1800] 374 Fine and Rare English Sterling Silver Covered Sauce Pot, 1789, London, maker: Hester Bateman, the angled side handle of turned ebonized fruitwood, the cover finial of ivory and of large button form, of substantial weight, h. 5‑1/4”, dia. 4‑1/2”. [3000/5000] Illustrated 375 Attractive English Sterling Silver Tea Caddy, 1841, London, makers: John and George Angell, in the early Georgian style, of oblong octagonal form, the facade with a finely engraved floral wreath, of substantial weight, h. 6”, w. 3‑1/2”, d. 2‑1/4”, 9.00 t. oz. [1400/1800]

374

370 Fine and Rare Matthew Boulton, Sheffield, Standish, fourth quarter 18th century, composed of fused silver and inlaid mahogany, fitted with a pair of square silver-capped ink bottles, a welled sealing wax candlestick and a concave oblong pens compartment, the small transverse drawer fitted with a fused silver pull, the whole supported on four fused silver ball feet, h. 6‑1/2”, w. 11‑1/2”, d. 9‑1/2”. [800/1200] 371 Stately English Ribbed Silverplate Kettle-on-Stand, third quarter 19th century, in the George IV style, the stand supported on four wyvern monopods, retains the period pins and link chains, the melon-and-leaf finial detachable, h. 13”, dia. 8”. [100/200] 372 Fine George I Sterling Silver Tankard, 1718, London, maker: J. Wand, h. 6‑1/4”, dia. 4‑3/4”, 20.5 t. oz. [4500/7000] Illustrated previous page

376 Thirteen-Piece Collection of Georgian and American Sterling Silver Flatware, comprised of a Thomas Streetin “Fiddle” stuffing spoon, London, 1815; a fine “Antique” stuffing spoon by William Eley, William Fearn et al., London, 1784; a rare Irish Georgian “Antique” tablespoon by John Pittar, Dublin, 1778; a “Pointed Antique” tablespoon by Rawlins and Sumner, London, 1824; a “Fiddle” tablespoon by George West, Dublin, 1829; an “Antique” tablespoon by William Sumner and Richard Crossley, London, 1821; a rare Irish Georgian sauce ladle probably by John Keating, Dublin; a Georgian sugar spade by James Beebe, London, 1810; an Irish rattail oval-bowl coffee spoon, probably Dublin, fourth quarter 18th century; an Edwardian stylized shell-bowl “Apostle” coffee spoon by the maker A.J., 1908; a rare American coin silver “Fiddle” mustard spoon by Davis, Palmer & Company, Boston, 1841‑1846; an American “French Thread” coin silver salt spoon of spade form, second quarter 19th century; and a rare Samuel R. Richards, Philadelphia, shell-bowled coin silver master salt spoon, 1701‑1818; the largest l. 12‑1/4”, 18.90 total t. oz. [1000/1500] Illustrated 377 Fifteen-Piece Collection of American, English and Continental Sterling Silver Flatware, comprised of a Gorham sterling “Plymouth” slice, the pattern introduced in 1911; a Tuttle Silversmiths sterling-handled “Hannah Hull” pie server, the pattern introduced in 1957; an International “Pine Tree” gravy ladle, the pattern introduced in 1927; a Towle sterling “Mary Chilton” mayonnaise ladle, the pattern introduced in 1912; a Whiting Manufacturing Company sterling “Dresden” sugar shell, the pattern introduced in 1896; a Whiting sterling “Adam” sugar shell, the pattern introduced in 1907; a Gorham sterling “Buttercup” teaspoon, the pattern introduced in 1899; a pair of Simpson, Hall, Miller sterling “Lily” teaspoons, ca. 1905; a Kristensen, Norway, “French Thread” coin silver presentation tablespoon dated 1880; a German .800-standard silver after-dinner coffee spoon in “Pineapple” decor, first quarter 20th century; a Gorham sterling lemon fork in a pattern similar to “No. 395” of 1885; a Georgian sterling “Tipit” master salt spoon by William Kingdon, London, 1814; a Continental silver sugar spade in “Empire” pattern, first quarter 20th century; and an antique Central American .800-standard silver sipper spoon, third quarter 19th century; the largest l. 10‑1/2”, 14.10 total t. oz. [300/500]

383 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”. [75/125] 384 Pair of George IV Sterling Silver “Fiddle” Master Salt Spoons, 1835, London, makers: John, Henry and Charles Lias, l. 4‑1/4”. [20/40] 385 Frederick Bromley (British, First Half 19th Century) “The Bury Hunt”, color engraving, after C. Agar and J. Maiden, with dedication by Joseph Lanetti, sight 22” x 28‑3/4”. Glazed, attractively triple-matted and presented in a molded giltwood frame. [300/500] Illustrated

385 378 Fifteen-Piece Group of Antler-Handled Flatware, consisting of a good cased set of twelve Kirk’s, Sheffield, antler-handled steel steak knives, l. 8‑1/2”, and forks, l. 7” (six knives and six forks); and a similar three-piece Robert F. Mosley, Sheffield, cased carver’s set, comprised of an antler-handled knife, l. 13”, an antler-handled two-tine carver’s fork with rest, l. 10‑1/2”, and a sharpening steel en suite; both cases fitted. [100/200] 379 Three-Piece Group of English and American Silverplate, comprised of a Maple & Company, London, domed meat cover in the rococo taste, first quarter 20th century; an American circular tripodal silent butler with a turned rosewood handle in the “Old Sheffield” style; and a large Poole silverplate covered chafing pan with turned mahogany handle; the largest dia. 12”, l. 20‑1/2”. [100/200] 380 Attractive Three-Piece Continental Sterling Silver Group, consisting of a two-piece sterling silver-mounted vegetable ivory and silverplate fish serving set with leafengraved detailing, the sterling mounts by the maker S.H. Ltd., Sheffield, 1906; and a similar French sterling and vegetable ivory fish serving slice, fourth quarter 19th century; the largest l. 12‑3/4”. [50/80]

386 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. [100/200] 387 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. [75/125] 388 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. [400/700] Illustrated

381 Webster Sterling Silver Child’s Cup, second quarter 20th century, in the Georgian taste, of generous proportions, the interior richly gilded, h. 3”, dia. 3”. [75/125] 382 Seven 19th-Century British “Fiddle”-Pattern Sterling and Silverplate Serving Pieces, including a pair of late Georgian sterling silver sauce ladles, hallmarked London, 1805‑1806, by Richard Crossley, each with elliptical bowl and engraved with a crest of a stag’s head below the sun in splendor, l. 7” 4.44 total t. oz.; and five Victorian silverplate bow-style sugar tongs, fourth quarter 19th century, including examples by John Gilbert & Co. of Birmingham and London, and A. Beardshaw & Co., J. Deakin & Sons, James Dixon & Sons, and Cooper Brothers & Sons, all of Sheffield, l. 4‑1/4” to 6”. [100/200]

388

389 Albany E. Howarth (British, 1872‑1936) “Interior of the York Minster Cathedral”, black and white etching, signed in pencil lower right, sight 34” x 19‑1/2”. Glazed, matted and framed. [200/400] 390 After Thomas Gainsborough (British, 1785‑1786) “Sophia Charlotte, Lady Sheffield”, oil on canvas, signed illegibly lower right, second quarter 20th century, 24” x 36”. Presented in a Louis XVI-style giltwood and gesso frame. [150/300]

397

391 After Hans Jacob Hansen, RSW (Active Scotland, 1853‑1947) “Tambourine Dance”, print, entitled “Copyright. Published by the British Art Company, Ltd., 93 New Bond St., London, W. I”, sight 9‑3/4” x 7‑3/4”. Handsomely matted and framed. [40/70] 392 Truda Panet (American, 20th Century) “Geordie”, pastel on paper, signed and dated lower left “T. Panet, 1969”, titled lower right, sight 14” x 12”. Glazed, Frenchmatted and presented in a molded giltwood frame. [100/200]

400

393 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”. [400/700]

398

395 Mediterranean-Style Painted Wrought-Iron Candelabra, of serpentine form, fitted with bobeches, h. 35‑1/4”, w. 15”, d. 15”. [30/50] 396 Rococo-Style Mahogany and Marquetry Coffee Table, the kidney-shaped, partially-galleried, veneered glass-inset top with floral inlays, above a pierced and carved apron, raised on cabriole legs ending in scroll feet, h. 18‑1/2”, w. 46‑1/2”, d. 20”. [150/300]

394 Painted Iron Three-Panel Garden Screen, each panel with a scroll-formed crest over a floral-centered latticemolded section on scroll feet, h. 78”, w. 59”. [200/400]

397 Good Napoleon III Rosewood Center Table, third quarter 19th century, the tortoise-form top having a molded edge and mounted to a frame concealing a drawer along each of the long sides, raised on floral-carved cabriole legs joined by curved stretchers and centered with a carved urn-form finial, h. 29”, w. 56”, d. 32‑1/2”. [1500/2500] Illustrated

398 Attractive Pair of Napoleon III Carcel Lamps, third quarter 19th century, composed of bronze-patinated brass-mounted Paris or Limoges porcelain in the Louis XVI taste, now electrified, the porcelain bases of periwinkle blue and centered with well-painted reserves of putti amidst clouds in the manner of Francois Boucher (French, 1703‑1770), the reverses with well-painted floral reserves, the shade rings, blown glass chimneys and spherical glass shades removed in the conversion, h. 27‑1/2”. [500/800] Illustrated

403

401 Good Paris Porcelain Crabstock-Handled Reticulated Corbeille, third quarter 19th century, of oval form in the rococo taste, banded in pale melon, green-striped and parcel-gilt, the borders with alternating gilt-detailed acorns and oak leaves, h. 10”, w. 14‑1/4”. [100/200] 402 Dramatic German Polychromed Porcelain Toilette Basin, first quarter 20th century, with five polychromed lobed galants reserves on the interior and four on the exterior, all within black borders, a black-bordered rim and black latticework, the reserves additionally embellished with white enamel jewels, h. 4”, dia. 13‑3/4”. [100/200] 403 Rare Pair of Royal Berlin (KPM) Porcelain Wall Pockets, first quarter 20th century, of cornucopia form, polychromed and parcel-gilt in the 18th-century neoclassical style, each draped facade centered with a well-painted spray of summer flowers, each example marked on the interior backplate with an underglaze blue Royal Berlin scepter insignia, h. 8‑1/2”, w. 5‑1/4”, d. 2‑1/2”. [600/900] Illustrated 404 Pair of Continental Patinated Bronze Door Knockers/Pulls, ca. 1900, of cartouche form, the center of the basal edge with the bas-relief monogram “AR”, in entwined script, h. 7‑1/4”, w. 6‑1/4”. [100/200]

399 Eleven-Piece Collection of Paris Porcelain, comprised of a “Louis-Philippe Blue”-ground square cologne bottle and a matching circular powder jar, both floral painted, third quarter 19th century; a good white and gold circular covered sauce tureen with integral stand and domed cover, attributed to the Denuelle Manufactory, third quarter 19th century; a good pair of deep bread and milk saucers in richly gilded floral decor, ca. 1850‑1860; a gently lobed tea saucer in “Rose and Cornflower” decor, also third quarter 19th century; a gilt-brass and porcelain circular dressing table box, containing five antique shell shirt buttons and a matching larger shell coat button; two English porcelain deep saucers in the rococo taste, second quarter 19th century; a Paris porcelain trembleuse of celadon ground with finely painted floral reserves, third quarter 19th century; and a good parcel-gilt and floral-enameled Paris porcelain breakfast coffee cup and saucer in the rococo taste, also third quarter 19th century; the largest h. 5‑1/2”, dia. 6‑1/4”. [200/400] 400 Fine and Rare Paris Porcelain Square Bulb Pot, third quarter 19th century, with a conforming hipped cover, both in the Louis XVI taste, each royal blue facade of the body centered with a well-painted oval reserve of a floral spray, h. 9”, w. 6‑3/4”, d. 6‑1/2”. [350/500] Illustrated

405 Large Napoleon III Cast-Iron Firefront/Seat, fourth quarter 19th century, each end fitted with a padded and upholstered seat and joined by an ornate cast-iron grill, h. 23”, w. 82”, d. 16”. [500/800] Illustrated 406 French Three-Piece Brass Fireplace Fender, first quarter 20th century, in the Louis XV taste, the low central fender centered by a pair of addorsed rosettes and scrolls, the flanking chenets in the form of oil lamps surmounted by columns in the Restauration style, the brass in a combination of bronze-patinated and natural finishes, h. 16”, w. 35”, expandable to 43‑1/2”. [300/500] 407 Napoleon III Giltwood Looking Glass, mid‑19th century, the rectangular plate surmounted by a molded frame with fruit and foliate carving, h. 55‑1/2”, w. 39”. [700/1000]

405

408 Ten-Piece Gerz, Germany, Polychromed Stoneware Punch Service, for nine persons, first quarter 20th century, in the traditional style, comprised of a large covered two-handled punch pot with a tree-stump finial and castle reserves, and nine punch cups with four castle reserves each, h. 3‑3/4”, each piece with the Gerz triangular mark impressed underglaze. [75/125]

413

409 Good Pisgah Forest “Frog Skin”-Glazed Pottery Vase, second quarter 20th century, of baluster form with a satin yellow-glazed interior, the base with the embossed figural Pisgah Forest mark, h. 9‑1/2”, dia. 5”. [200/400] 410 Meissen Porcelain Covered Two-Handled Garniture Vase, fourth quarter 19th century, having a cobalt glue ground, each facade with a well-painted floral reserve framed in gilt scrolls in the Louis XVI taste, the cover with a matte-gilded finial in the form of a beribboned wreath, h. 11‑1/4”, w. 7”, d. 5”. [600/900] Illustrated

412 Collection of Three Cobalt Blue and Gold Pottery Objects, consisting of a large German two-handled garniture vase of baluster form, enameled with blue dianthus and white jonquil blooms with gilded leaves, fourth quarter 19th century; a German pottery flat-sided two-handled garniture vase with a polychromed figural tondo after Angelica Kaufmann and signed “Kaufmann” in gold script, first quarter 20th century; and a diminutive Continental porcelain arched-top mantel clock with two oval polychromed figural reserves, first quarter 20th century; the largest h. 15‑1/2”. [200/400]

410

411 Large Rudolstadt Pottery Garniture Ewer, fourth quarter 19th century, polychromed and parcel gilt in the Japonesque taste, the pebbled lower body polychromed with a songbird on a flowering branch, the base with the applied and impressed “RW” within a crowned truncated lozenge, h. 15‑1/4”. [40/70]

413 Five-Piece Group of Continental and American Limoges Porcelains, comprised of a good Richard Klemm, Dresden, covered garniture vase-on-drum pedestal, fourth quarter 19th century; a good C. G. Schierholz and Son elaborately gilded and polychromed paw-footed loving cup with figural decoration in the manner of Angelica Kauffmann (and so signed), also fourth quarter 19th century; a Volkstedt covered and footed cabinet vase in the Vienna style with a figural facade reserve also in the style of Angelica Kauffmann; an American Limoges gilt-brass-mounted porcelain jewel casket in the Louis XVI style, the cover with a polychromed figural vignette in the manner of Fragonard; and a good, large Carl Knoll, Fischern, opulently polychromed and parcel-gilded eagle-handled garniture vase-on-pedestal, fourth quarter 19th century, the facade centered with a polychromed bat-printed figural reserve of the toilette of a noble Roman lady; all five pieces with the proper mark for their respective factory on the base, the largest h. 19‑1/2”, w. 10”, d. 6”. [250/400] Illustrated

415 Napoleon III Oak Firescreen, third quarter 19th century, the applied scrolling foliate crest flanked to either side by turned finials, the needlework screen depicting an elderly gentleman in his library, flanked to either side by arched pilasters, raised on splayed scrolling legs, h. 59‑1/2”, w. 43‑1/2”, d. 19‑1/2”. [800/1200] Illustrated

416

415

414 Two-Piece Group of Diminutive Porcelain Cabinet Vases, comprised of an Imperial and Royal Porcelain Manufactory, Vienna, richly gilt cobalt-ground covered two-handled cabinet vase on a drum pedestal base, 1860‑1864, decorated on the obverse with a reserve of Eros pursuing a fleeing couple and on the reverse with two seated Muses, with the underglaze blue “beehive” mark and overglaze rouge de fer script (worn); together with a larger Josef Riedl, Giesshubel, two-handled cabinet vase on a pedestal base of square section, 1890‑1918, with a “beehive” mark in underglaze blue/Austria, in gray, also with old professional repairs to the gilded handles; the largest h. 7‑1/2”, w. 3‑1/4”, d. 3‑1/4”. [125/250]

416 Belle Epoque Carved Giltwood and Plaster Looking Glass, first quarter 20th century, of large size in the Louis XVI taste, the inner plate beveled and enframed in mirrored glass panels, the tall cresting modeled as a diademed female masque centering a cartouche, each corner with a canted cartouche centered with a beaded boss, h. 61”, w. 36‑1/2”, d. 3”. [300/500] Illustrated

418

417 German Silvered Wroughtand Cut-Iron Five-Light Chandelier, first quarter 20th century, in the Art Deco medievalized taste, fitted with tall “old ivory” faux candles and electrified, h. 32”, dia. 26”. [100/200]

418 Continental Renaissance Revival Stained Mahogany Double-Back Sofa, first quarter 20th century, the serpentine crest centered by acanthine carving above the double-padded back, separated and flanked by scrolling foliage-carved and pierced splats, joined to the cushioned seat by like outscrolled arms, with urn- and foliage-carved uprights, above the acanthine-carved skirt, raised on turned and carved tapering legs ending in toupie feet, h. 37”, w. 87”, d. 27”. [500/800] Illustrated previous page

422 French Polychromed Pottery Mantel Clock, fourth quarter 19th century, in the rococo style, the enamel dial with a musical trophee, the glass dial cover gently convex, h. 10‑1/2”, w. 10”, d. 5”. [50/80] 423 Pierre-Jules Mene (French, 1810‑1879), a russetpatinated bronze figure of a lowing stag, signed at the proper left rear side “P. J. Mene”, presented on an elliptical satin-polished verde antico marble base, figure h. 8”, w. 6”, l. 10”. [150/300] Illustrated 424 After Hippolyte Francois Moreau (French, 1832‑1927), a double-patinated bronze figure of a seated female lutenist, signed lower left “Hip. Moreau”, presented on an elliptical polished verde antico marble base, h. 13”, w. 8‑3/4”, d. 5‑1/2”. [150/300] Illustrated

420

428

419 Pair of Polychromed Biscuit Porcelain Relief Plaques, first quarter 20th century, in the Dresden style, of oval form and depicting two music-making children seated in a wreath of applied flowerheads, h. 11‑1/4”, w. 8‑5/8”. [50/80] 420 Impressive Austrian “Vienna Portico” Mantel Clock, fourth quarter 19th century, composed of gilt-brass-mounted mahogany and giltwood in the neoclassical style, now fitted with a later ivory-enameled dial centered with a gilt-brass fleurette, accompanied by a period winding key, a weighted brass pendulum, and a small period brass screw and bolt, h. 21‑1/2”, w. 14‑1/4”, d. 6”. [150/300] Illustrated 421 Group of Two Clocks, first quarter 20th century, one a large tally-ho copper and giltbrass-mounted paktong carriage clock; and the other a slightly smaller Jungmoans, Germany, chrome plated brass carriage clock; the sides of each example glazed as are the rectangular dials, h. 7” and 5‑3/4”. [20/40]

424

423

425

429 425 V. Brinell (English, 20th Century) “Victorian Bust”, a double-patinated bronze bust of a smiling Beauty in a large flower-ornamented picture hat, third quarter 20th century, presented on a polished Petit Antique marble base centered with an engraved brass title and signature plaque, h. 11‑3/4”, w. 6”, d. 5”. [200/400] Illustrated 426 Pair of Gilt-Brass-Mounted Onyx Four-Light Girandole Candelabra, first quarter 20th century, in the neoclassical taste, the candlesockets fitted with detachable bobeches and dressed with period faceted and panel-cut glass spears throughout, h. 16”, w. 8”, d. 6”. [50/80] 427 Napoleon III Polished Gilt-Bronze Figural Tazza, third quarter 19th century, the plate supported on the upraised arms and hands of a robed classical maiden and centered with a portrait medallion of a diademed Athenic head, h. 12‑1/2”, dia. 11‑1/2”. [100/200] 428 After Franz Xaver Messerschmidt (German, 1736‑1783) “The Happy Baby” and “The Crying Baby”, a pair of patinated bronze table busts, third quarter 19th century, the models created ca. 1760‑1765, presented on weighted gilt-brass pedestal bases, each with a patinated bronze frieze of Bacchic putti at the center, h. 11‑1/2”, w. 4‑3/4”. [300/500] Illustrated 429 Pair of Napoleon III Ebonized and Parcel-Gilt Side Cabinets, fourth quarter 19th century, each with an inset rectangular variegated white marble top with rounded corners and molded edge, above a conforming case fitted with a frieze drawer, centered by a cartouche and floral -spray carvings, over two glazed doors headed by like carving, above a serpentine-carved skirt, raised on cabriole legs ending in scroll toes, h. 41”, w. 39”, d. 15”. Provenance: Fireside Antiques, Baton Rouge, Louisiana. [1000/1500] Illustrated 430 Suite of Four Bamboo Folding Chairs, each with an arched crest over a spindled frieze, above a like seat, raised on circular legs, h. 35”, w. 18‑1/2”, d. 21”. [125/250]

431 Continental Ormolu-Mounted Mahogany Looking Glass, mid‑20th century, of neoclassical inspiration, the rectilinear mirror plate in a frame with a gently arched crest rail centered by gilt-lacquered shell, egg-and-dart and foliate mounts, h. 66”, w. 35”, d. 2”. [100/200] 432 Napoleon III-Style Polychromed and Brass Occasional Table, first quarter 20th century, the square top with a floral-wreath design and a pierced gallery joined to the like lower shelf by circular supports ending in casters, h. 23‑1/2”, w. 18‑1/2”, d. 18‑1/2”. [250/400] 433 Pair of Bohemian Polychromed Porcelain Vases, third quarter 19th century, possibly designed as parlor cuspidors, of square bombe form with canted rims and pale blue grounds, each having a facade enameled with a galants reserve and an interior lip with a rural landscape reserve, h. 6”, w. 7‑1/4”, d. 7‑1/4”. [200/400] 434 Six-Piece Germano-Bohemian Porcelain Fruit Service, for five persons, fourth quarter 19th century, comprised of a cardioform serving bowl with leaf-form borders and a floral-painted center, h. 2‑3/4”, w. 9‑1/2”, d. 10‑1/4”, and five matching leaf-form berry bowls, also having parcel-gilt pastel-painted floral centers, the serving bowl and two berry bowls with ice-blue borders, two berry bowls with pale pink and yellow borders, and one bowl with a pale green and yellow border, h. 1‑1/4”, w. 5”, d. 5”. [50/80] 435 Four-Piece Kowal, Poland, Porcelain Tea-and-Coffee Service, third quarter 20th century, in the rococo taste, comprised of a baluster-form coffeepot, a squat spherical teapot, a covered two-handled sugar basin and a cream pitcher, all decorated with gilded relief foliate scrolls and stylized leaves on a white ground, each piece fully backstamped in green underglaze transfer-print and gold overglaze stencil, the largest h. 9‑1/4”. [150/300]

436 Elegant Three-Piece Franco-Bohemian Porcelain Coffee Service, third quarter 19th century, comprised of a coffeepot, a magnum cream pitcher and a covered two-handled sugar-basin, all with elaborately gilded cobalt grounds in the rococo taste, each facade centered with a richly gilded lavender-rose leaf, the elaborate loop handles with parcel-gilt leaf terminals, the covers with gilded fruit finials resting on parcel-gilt bas-relief leaves, the largest h. 11”, dia. 6”. [250/400] 437 Pair of Continental Hand-Painted Porcelain Vases, of small bulbous form, each example intricately painted in autumnal colors, one vase featuring three turkeys, and the other a rooster, hens, a duck and a pheasant, h. 5”. [60/90] 447

438 Twenty-Seven-Piece Hutschenreuther Porcelain Coffee-and-Dessert Service, for eight persons, second quarter 20th century, in “Dresden” decor, the service comprised of a coffeepot with rosebud finial, h. 10”, a cream pitcher, h. 4‑1/2”, an open sugar basin, dia. 4”, eight dessert plates, dia. 8”, eight coffee cups, dia. 3‑3/8”, and eight coffee saucers, dia. 5‑1/2”, all of the pieces fully backstamped in underglaze green transfer-print. [100/200]

439 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 Silver-Mounted Faux-Ivory Comb (seven pieces). [50/80]

441

440 Good Bohemian Polychromed and Shaded Glass Vase, fourth quarter 19th century, attributed to Alexander Pfohl (1866‑1943) of Haida, the mold-blown “Vertical Optic Rib” body shaded from cranberry at the lip to clear at the base and opulently enameled with lilies and highlighted with parcel gilding, h. 16”, dia. 7‑1/4”. [100/200] 441 Pair of Franco-Bohemian Porcelain Garniture Vases, third quarter 19th century, of attenuated pyriform, the bodies decorated with alternating polychromed floral sprays on ruby grounds and galants reserves on white grounds, the galants panels probably of Hausmalerei origin, h. 13‑1/2”, dia. 8”. [300/500] Illustrated

445 445

442 Grand Pair of Bohemian Porcelain Two-Handled Garniture Vases, third quarter 19th century, of purse form with richly gilt “Rose du Barry” grounds, the facades with figural reserves in the classical style, the reverses with large polychromed sprays of summer flowers, now mounted as table lamps, h. 24‑1/2”, w. 11”, d. 6”. [150/300]

456 443 Group of Two Alwe, Germany, Glass Tankards, comprised of a pressed and etched glass tankard in “Stags” decor, second quarter 20th century; and a tankard bearing a polychromed hemisphere map delineating the voyages of the early European discoverers of America; both examples with the traditional hinged pewter lids, both embossed “Alwe” on the sunburst bases, h. 6”, dia. 3‑3/4”. [60/90] 444 Good Set of Four German Bohemian Wine Goblets, third quarter 20th century, in pale green-cased and cut colorless glass, the bowls with diamond-cut bands, the colorless glass octagonal bases and stems panel-cut, h. 7‑3/4”, dia. 2‑3/4”. [100/200] 445 Three-Piece Austrian Porcelain-Mounted Brass Desk Ensemble, fourth quarter 19th century, consisting of a square-based encrier of drum form, an oblong pens tray and a cylinder-handled letter knife, the porcelain elements of richly gilded claret ground and painted in the “Vienna” neoclassical style, h. 4‑1/2”, w. 5”, d. 5”. [150/300] Illustrated 446 Good Longwy, France, Polychrome-Enameled Pottery Box, in the form of a Chinese pillow, decorated in an overall pattern of polychromed flowering Prunus branches against a bright blue sky, the interior glazed in gloss pale blue, fully signed in underglaze green transferprint on the base, w. 3‑3/4”, l. 5‑1/4”. [50/80]

447 Pair of German Jasperware Garniture Vases/ Lamps, first quarter 20th century, of baluster form in the Louis XVI taste, in pale sage green and white jasperware, each facade with a bas-relief reserve in white of a trio of rollicking putti with baskets of fruit and flowers and floral garlands, now electrified as table lamps, the finials removed in the conversion, each lamp fitted with a pierced gilt-brass finial of anthemion form, h. 15‑1/2”, dia. 6”. [200/400] Illustrated

448 Elegant Pair of Napoleon III Kerosene Parlor Lamps, third quarter 19th century, the pate-sur-pate celadon porcelain lamps with gilded and patinated brass mounts, now mounted as table lamps and fitted with gold cordbanded white silk shades, the shade rings, blown glass chimneys and spherical glass shades removed in the conversion, h. 11”, dia. 6”. [150/300] Illustrated 448

449 Pair of Belle Epoque Brass-Mounted Marble Garniture Vases, first quarter 20th century, of baluster form, composed of gilt-brass-mounted and verde antico marble-banded peach marble, presented on square verde antico and peach marble bases supported on four giltbrass bun feet, h. 10‑3/4”, w. 4‑1/4”, d. 4‑1/4”. [300/500] 450 Good Gien Pottery, France, Enameled Pottery Bowl, fourth quarter 19th century, in the Orientalist taste, the white crackle-glazed body with alternating polychromed pendant and upright lappets of brilliant blue ground, signed on the base with the Gien castellated mark in black transfer-print, h. 5”, dia. 7”. [250/400]

455 Pair of Napoleon III Mahogany Slipper Chairs, late 19th century, each with a padded and tufted back above the padded seat, raised above a foliate-incised apron on fluted tapering circular legs ending in casters, h. 33”, w. 18‑1/2”, d. 20”. [500/800]

451 South German Provincial Carved Lindenwood and Walnut Console Shelf with Integral Looking Glass, third quarter 19th century, in the Schwartzwald style, the shelf supported on the wings of a displayed eagle, the looking glass crested by a similar smaller eagle, both eagles fitted with amber and black taxidermist’s glass eyes, h. 38”, w. 18”, dia. 9‑1/2”. [400/700]

456 Large Giltwood Pier Mirror with Jardiniere Base, fourth quarter 19th century, in the Louis XVI taste, the mirrored section with a large floral- and ribbon-carved crest above a deeply molded frame surrounded and flanked by turned columns, the mirror with a broad beveled edge, the base with applied decorative elements and designed to hold an insert for a planter, h. 123‑1/2”, w. 55”, d. 15‑1/2”. [1000/1500] Illustrated previous page 457 Napoleon III Rosewood Three-Piece Parlor Suite, third quarter 19th century, in the rococo taste, comprised of a sofa and a pair of sidechairs, each piece with a finialcarved crest depicting fruit and flora, and centered by a bellflower-carved cartouche, the sofa with closed arms and serpentine seat rail, the seat rail with a pair of central legs, h. 41”, w. 69”, d. 34”, the sidechairs with medallion backs and serpentine seat rails on cabriole legs. [500/800]

452 Austro-German Carved Oak Stool, third quarter 19th century, the circular padded needlework seat with a spiraling adjustable mechanism, raised on four supports naturalistically rendered to simulate branches, h. 19”, dia. 15‑1/2”. [400/700] 458

463 453 Continental Oval Portrait Miniature of Karoline Theer, first quarter 20th century, signed lower center “Datly”, presented in a copper silk velvet mat within an antique ivoryenameled and parcelgilt wooden frame, the portrait-miniature with convex glazing, h. 6‑1/2”, w. 5‑1/2”. [150/300] 454 Napoleon III GiltMetal Hat Rack, late 19th century, the top fitted with four scrolling hooks, raised on a ribbed tubular standard to three splayed legs headed by female figures ending in foliate toes, h. 67‑1/2”. [150/300]

458 Belle Epoque Cast Gilt-Brass Wall Clock, first quarter 20th century, in the Louis XVI style, the cresting modeled as an antique covered two-handled vase, the basal finial modeled as a diademed river god, the circular dial with a convex glass cover, retains the cast-iron “Sun God” pendulum, h. 30”, w. 11”, d. 4”. [500/800] Illustrated 459 Pair of French Brass-Mounted Diamond-Pressed Glass Candlesticks, of tall size in the St. Louis style, now mounted as table lamps, each interior with a pair of lights, h. 26‑1/4”. [100/200] 460 Pair of Austro-German Provincial Carved and Painted Wooden Hanging Shelves, modeled as five demi-lune shelves on carved foliate backplates, the painted finish in rubbed cinnamon over matte black, h. 32”, w. 9”, d. 3‑1/2”. [100/200] 461 French Carved Giltwood and Plaster Rectangular Looking Glass, fourth quarter 19th century, in the Regence style, the rails with alternating relief scallop shells and strapwork reserves throughout, h. 40”, w. 33”. [200/400] 462 French Carved Walnut Overmantel Mirror, fourth quarter 19th century, in the Henri IV style, the cresting modeled as a large boss within a shield centered by a pair of broken scrolls, the side rails fronted by tall fluted and turned colonnettes, the mirror plate broadly beveled throughout, h. 65‑1/2”, w. 44”. [200/400] 463 French Spelter Figure of a Windswept Triton, fourth quarter 19th century, the bronze-patinated and parcel-gilt figure standing at the prow of a boat and holding his trident and a sail, presented on a mirror-polished black slate base of circular graduated step configuration, h. 27‑1/2”, w. 8”, d. 7”. [600/900] Illustrated

465 Graduated Pair of Theodore Haviland, Limoges, Porcelain Oval Platters, first quarter 20th century, in “Primrose Garland” decor with gilded rims, the larger a roasted meats platter, w. 12”, l. 18”, the smaller a poultry platter, w. 9‑1/2”, l. 14”, both examples fully backstamped, including a D. H. Holmes, New Orleans, retailer’s mark. [100/200] 466 Labeled Maison Jansen Polychromed Vitrine Cabinet, early 20th century, in the Louis XVI style, the rounded and molded cornice above a case fitted with a central glazed door inset with an arched beveled panel, flanked to either side by a narrow cabinet inset with a beveled glazed panel, the lower section fitted with three fluted drawers over three cupboard doors, all inset with shaped polychromed panels depicting floral and avian scenes, the whole raised on a plinth base, h. 83‑1/2”, w. 52‑1/2”, d. 17”. [3000/5000] Illustrated 467 Continental Ribbed Silvered Glass Candlestick, probably Bohemian, now electrified as a table lamp with a custom gold-bronze satin shade lined in gilt card, h. 20‑1/2”. [20/40]

466

464 Continental Polychromed Cabinet, third quarter 19th century, the banded rectangular top above a case fitted with a single cupboard door, the door with a raised panel featuring a polychromed floral spray, raised on bracket feet, h. 41‑1/2”, w. 33‑1/2”, d. 30‑1/4”. [200/400]

468 Varied Five-Piece Collection of Trinket Boxes, consisting of three Limoges brass-mounted examples, including an oval box in blue and white floral decor, a circular box in puce with raised white foliate decoration, and a diminutive octagonal box in iron red with green foliate decoration, each fully marked; and two Mexican sterling silver (.925) examples, including a circular box with an abalone-inlaid lid and an oval example surmounted by a paste cabochon, each also fully marked; the largest l. 3”. [70/100] 469 Continental Gilt-Brass-Mounted Green Lacquer Covered Compote, early 20th century, the ribbed and banded top hinged and opening to a turquoise lacquer interior, the orb surmounted by a brass swan finial and raised on a trio of brass dolphin standards above a ribbed lacquer base resting on a trio of brass winged paw feet, h. 10‑1/2”. [60/90]

470

470 Extensive Eighty-Eight-Piece Theodore Haviland, Limoges, Porcelain Partial Dinner Service, for twelve persons, first quarter 20th century, in “Pink Dianthus” decor, comprised of twelve dinner plates, eleven salad plates, eleven dessert plates, nine dessert bowls, seven butter pats, twelve soup plates, eight cups, nine saucers, a double-lipped two-handled sauceboat with integral stand, a domed butter dish with mazarine, an oval covered twohandled soup tureen, an oval covered two-handled vegetable tureen, an oblong two-handled celery tray, an oval poultry platter, an oval roasted meats platter, and two two-handled vegetable serving bowls, all of the pieces fully backstamped in red underglaze transfer-print, the largest h. 7”, w. 7‑1/2”, l. 12‑1/2”. [300/500] Illustrated previous page 471 Varied Five-Piece Collection of Porcelain, comprised of a good LaSeyrie, Limoges, hand-painted porcelain circular plaque of a hunter and his dog in a forest, fourth quarter 19th century; a German porcelain lobed circular sandwich/sweetmeat tray in “Les Roses” decor, also fourth quarter 19th century; a Nippon handpainted circular tray, also in “Roses” decor, first quarter 20th century; an Elite, Limoges, richly gilded porcelain dessert plate in floral decor of like date; and an Old Abbey, Limoges, hand-painted dessert plate in polychromed floral decor, signed “Dumas”, first quarter 20th century; all of the pieces fully backstamped, the largest dia. 12”. [50/80]

472

472 Good Four-Piece Jean Pouyat, Limoges, Porcelain After-Dinner Coffee Service, first quarter 20th century, comprised of an attenuated baluster-form coffeepot, a pyriform cube footed sugar basin, a tall cream pitcher, and a large covered two-handled sugar basin, all of the pieces fully backstamped in underglaze green transfer-print, the largest h. 11”. [100/200] Illustrated 473 Continental White Biscuit Porcelain Figural Vase, fourth quarter 19th century, depicting two children slumbering with their toys in a large armchair upholstered in the “Turkish” taste, h. 8”. [40/70] 474 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”. [100/200]

480

475 Pair of Painted Wrought-Iron Planterson-Stand, each planter of circular, tapering, floral-vine form on three like-formed legs joined by a circular stretcher centered by a bouquet-offlowers finial, h. 34”, dia. 14‑3/4”. [100/200] 476 Wrought-Iron Garden Fence Panel, first half 20th century, of rectangular interlocking oval and ring form, h. 80‑1/4”, w. 37‑1/2”. [50/80]

484 485

477 Pair of Painted Wrought- and CastIron Garden Gates, first quarter 20th century, each with an upper panel inset with a wrought-iron grille, h. 96”, w. 27‑3/4”. [500/800] 478 Suite of Three Wrought-Iron Garden Fence Panels, first half 20th century, of railed interlocking ring and scroll form, the tallest h. 86‑1/2”, w. 41”. [200/400]

479 Suite of Five Wrought- and Cast-Iron Gates and Window Panels, first half 20th century, consisting of a pair of painted gates, each inset with long scrolling, openwork grille panels, the window pieces consisting of an arched openwork example and two circular, like examples, the tallest h. 85‑1/2”, w. 37”. [800/1200] 480 Pair of German .800-Standard Silver “Fighting Rooster” Table Garnitures, second quarter 20th century, each figure in a different pose and mounted on a Chinese ebonized scroll-end wooden display stand, h. 5‑3/4”, w. 5‑1/2”, l. 6‑3/4”. [600/900] Illustrated

491 492 489

488

481 Pair of Italian Contemporary Silverplate and Acrylic Wine Coasters, designed by Emilio Bergamin (b. 1937) for Taitu, Milan, each of square form, with a silverplate gallery and buff faux-marbre acrylic base, w. 7”. [50/80] 482 Collection of Seventeen Sterling and Silverplate Serving Utensils, including a sterling-handled cake slice, eight miscellaneous silverplate spoons and scoops, six miscellaneous silverplate serving forks, a silverplate bread knife and a decorative silverplated hook, the largest l. 12‑1/2”. [100/200] 483 Group of Approximately Thirty-Five Assorted Flatware Items, in sterling and silverplate, the largest l. 7”. [100/200] 484 Two Whimsical Nepalese Sterling Silver-Clad Figures of Foo Lions, first quarter 20th century, depicting, respectively, a flat-back figure of a Foo lion with amethyst glass eyes and a coral-centered blossom, and a smaller figure of a recumbent Foo lion also having amethyst glass eyes, the largest h. 1‑3/4”, l. 9‑1/2”. [300/500] Illustrated 485 Whimsical Pair of Nepalese Silver-Clad Figures of Foo Lions, first quarter 20th century, both recumbent figures modeled with gray glass cat’s-eye cabochons as eyes, h. 1‑1/2”, l. 7”. [300/500] Illustrated 486 Unusual Japanese Meiji Sterling Silver Sweetmeats Box, first quarter 20th century, in the form of oxidized silver sticks of a partially opened fan, the base fully hallmarked, h. 3”, w. 1‑1/4”, 1.15 t. oz. [125/250] 487 Collection of Eleven Miscellaneous Sterling and Silverplate Table Articles, including a sterling-handled cheese slice, a sterling tongs, a sterling thimble, a sterling salt cup, a sterling lidded salt dish, two pairs of silverplate grape shears, a silverplate tongs, a silverplate ballpoint pen, a serving spoon and sauce ladle, the largest l. 9”. [100/200]

493

490 488 Unusual Belle Epoque Embossed Sterling Silver Comb Case, first quarter 20th century, in the rococo taste, w. 4”, d. 1‑1/2”. [300/500] Illustrated 489 German .800-Standard Silver Pillbox, fourth quarter 19th century, of oblong form in “Three Putti” decor, the interior gilded, w. 3”, d. 2‑1/4”, 2.55 t. oz. [200/400] Illustrated 490 German .800-Standard Embossed Silver Pill Box, first quarter 20th century, of oblong form in “Eros Arming” decor, the four sides with embossed and chased tangent flowerheads, w. 2‑1/4”, d. 1‑1/2”. [125/250] Illustrated 491 Dutch Sterling Silver Snuffbox, second quarter 19th century, in the form of a miniature two-drawer commode, the top lifting to reveal the interior snuff compartment, h. 1‑1/4”, w. 2”, d. 1‑1/4”, 1.05 t.oz. [75/125] Illustrated 492 Good English Floral-Embossed Sterling SilverEncased Glass Scent Bottle, 1882, Birmingham, maker: D.S., retains the interior secondary stopper of lapidarycut glass, h. 3‑3/4”, w. 1‑1/2”, d. 1‑1/2”. [200/400] Illustrated 493 Dutch Sterling Silver Chatelaine Box, fourth quarter 19th century, of oval form in the neoclassical taste, fitted with a diminutive silver link chain centered by a suspension ring, h. 1‑1/4”, w. 1‑1/4”, d. 1”, .50 t. oz. [75/125] Illustrated 494 Attractive Thune, Norway, .830-Standard Silver Fruit Bowl, first quarter 20th century, of spiral-ribbed and footed form with gilded interior in the 18th-century style, the feet of modified trifid form, h. 4”, dia. 10‑1/4”, 24.4 t. oz. [600/900] 495 Continental Highly Reticulated Sterling Silver Fruit Basket, first quarter 20th century, of lobed form and centered with a bas-relief silver “Galants” medallion, h. 9”, dia. 2”, 10.65 t. oz. [300/500]

500 Good Two-Piece Group of T’ang Dynasty Polychromed Pottery Figures, 618‑907 A.D., comprised of a horse and rider, with traces of the original polychromy, presented on a matte black-painted wooden base of oblong slab form, h. 13”, w. 7‑1/2”, l. 12”; and a smaller figure of a charger. [300/500] Illustrated

499

501 Two Chinese Pottery Figures, comprised of a large gray-green-glazed pottery figure of a bullfrog, h. 3‑1/4”, w. 10”, l. 11”; and a large polychromed terra cotta wall pocket modeled as a parrot perched on a flowering branch, h. 16”, w. 8‑1/2”, d. 6”. [50/80]

496 Fine and Rare Sung Dynasty Ying Qing Ware Porcelain Covered Bowl, ca. 1000 A.D., with molded and carved lotus-petal decoration, h. 3‑3/4”, dia. 4‑1/2”. [300/500] Illustrated

496

502 Two-Piece Group of Chinese Pottery Items, fourth quarter 19th century, consisting of a large Kuang Hsu shaded drip-glaze turquoise pottery jardiniere in the form of a carp, presented on an elliptical integral stand ornamented with bas-relief foliate sprays, h. 8‑1/2”, w. 5‑1/2”, l. 20”; and a slightly earlier shaded turquoiseglazed pottery tall-neck vase with a pair of haut-relief stylized celestial dragons at the shoulder, h. 16‑1/2”, dia. 8”. [200/400] 503 Trio of Chinese Provincial Blue and White Stoneware Storage Jars, first quarter 19th century, one jar with a mountain lake landscape, another with rural lakeside huts with a fisherman, and the third with a sailing vessel near a shore, all with period covers (one damaged), the largest h. 6‑1/2”. [75/125] 504 Large Ming Dynasty Terra Cotta Figure of a War Horse, 14th/15th century A.D., with lifted right leg, the inset roached mane lacking, presented on a custom rectangular acrylic platform stand, note: this lot is accompanied by its thermoluminescence dating report, h. 23”, w. 8”, l. 24‑1/2”. [12000/18000] Illustrated

497 Pair of Chinese Blanc de Chine Porcelain Figures of Kwan-Yin, in the Ch’ien Lung style, now mounted as table lamps on antique-gilded spelter drum bases and fitted with matching cinnamon silk shades of paneled dome form, h. 10”. [100/200] 498 Two Chinese White-Glazed Porcelain Bulb Bowls, 20th century, each of low form with in-curved lip rims, resting on low tripod feet, glazed on the exterior and interior in a slightly creamy white glaze, dia. 8‑1/2”. [50/80] 499 T’ang Dynasty Terra Cotta Figure of a Recumbent Horse, 618‑907, of large size, the head cast separately, the whole presented on an oblong Lucite slab base, h. 13‑3/4”, w. 5”, l. 20”. [1500/2500] Illustrated

500

505 Early Ch’ing Dynasty Polychromed Pottery Head of the Diademed Buddha, first quarter 17th century, presented on a square tiered ebonized wooden stand, h. 18”. [300/500] Illustrated

504

506 Two T’ang Dynasty Polychromed Pottery Figures of Dogs, 618‑907 A.D., comprised of a large figure of a fiercely toothed barking guard dog, h. 15‑1/2”, w. 6”, l. 14‑1/2”; and a smaller polychromed figure of a bellcollared quizzical dog, h. 12”, w. 12‑1/2”, w. 5‑3/4”; both retain traces of the period polychromy. [300/500] Illustrated 507 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. [200/400] Illustrated 508 Specimen Seashell Imbedded in Natural Limestone Configuration, presented on a separate square base of highly polished Coquina marble, h. 5”, w. 4”, d. 4”. [75/125] Illustrated

509 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”. [150/300] Illustrated

511

509

512

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514

508

510

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513

510 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. [150/300] Illustrated 511 Collection of Three Chinese Neolithic Pottery Vessels, 2250‑1900 B.C., comprised of a rare gray pottery “molar”-form tripodal breaker, a balusterform vase with striated combed decoration, and a smaller terra cotta strap-handled vase, the largest h. 6‑1/4”, dia. 3‑3/4”. [300/500] Illustrated

512 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”. [300/500] Illustrated previous page 513 Natural Blue Agate Oviform Geode, the upper surface open to reveal the complex crystalline interior structure, h. 4‑1/2”, w. 3”, d. 3”. [100/200] Illustrated previous page 514 Large and Weighty Iron Ore Specimen, of “mountain” form, presented on a Chinese carved hardwood square display stand, h. 2‑1/2”, w. 3”, l. 4‑3/4”. [100/200] Illustrated previous page 515 Chinese Silver Alloy-Mounted Dragon-Headed Flute, composed of cerulean marble in the traditional style, the silver-headed dragon surmounting a spherical red jasper cabochon beneath its jaws, l. 15‑1/2”. [20/40] 516 Kuang Hsu Carved Rock Crystal Figure of Kwan-Yin, fourth quarter 19th century, presented on a custom highly reticulated hardwood display stand, h. 5‑1/2”, w. 3‑3/4”, d. 2”. [900/1200] 517 Kuang Hsu Highly Carved Cherry Amber Libation Cup, fourth quarter 19th century, in truncated rhinoceros horn form, each facade carved in “Mandarins Garden” motifs, h. 4”, w. 3”, d. 1‑1/2”. [100/200] Illustrated 518 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”. [100/200] Illustrated 519 Kuang Hsu Highly Carved Hardwood Libation Cup, fourth quarter 19th century, of rhinoceros horn form, with “Scholar and Attendant in a Landscape” decor, h. 3‑1/2”, dia. 3”. [100/200] Illustrated

517

518

524 520 Unusual Kuang Hsu Hollow Geode, first quarter 20th century, translucent gray agate and carnelian bouldermountain formed, surmounted by a figure of a leering Foo dog, h. 6”, w. 5”, d. 3”. [150/300] 521 Group of Two Chinese Traditional-Style Stone Figures, comprised of an agate figure of a tortoise, l. 3‑1/4”; and a carved and patinated buff soapstone figure of a seated, robed and bearded Immortal holding the Peach of Immortality, h. 3‑1/4”. [40/70] 522 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”. [100/200]

519 523 Pair of Chinese Carved Soapstone Chops, 20th century, each of molded brown stone and carved as Foo dogs with pups on columned bases with figures of sages carved in relief, the bases engraved with Chinese characters, h. 8‑1/4”. [50/80]

526 Regal Pair of Kuang Hsu Audience Room Tripodal Floor Candlesticks, first quarter 20th century, composed of highly carved, red-lacquered and parcel-gilded wood, h. 82”, w. 18”, d. 18”. [700/1000] Illustrated

526

527 Tall Pair of Kuang Hsu Pricket Floor Candlesticks, fourth quarter 19th century, of vertical oblong screen form in carved, red-lacquered and parcelgilded wood, the candle standards adjustable in height and having lotus bobeches, h. 49”, w. 12”, d. 10”. [300/500] Illustrated

527

525

524 Monumental Oriental Carved Hardwood Four-Panel Room Divider, each panel carved with scrolled fretwork and animals in foliate landscapes, each panel h. 98”, w. 20”. [1500/2500] Illustrated 525 Burmese Stained Teakwood Tilt-Top Table, ca. 1900, the circular top with a beaded edge and a carved band depicting a temple within a jungle, raised on an elaborately carved and pierced pedestal ending in three sea creaturecarved legs, h. 29”, dia. 22”. [500/800] Illustrated

528 Pair of Chinese Stained Hardwood and MarbleTop Corner Tables, first quarter 20th century, each with a scalloped demi-lune top with a beaded and carved edge, inset with variegated rouge marble, above a conforming foliage-carved and pierced skirt, joined to the shelf stretchers by slightly serpentine supports surmounted by dragon-head carvings and ending in ball-and-claw feet, h. 32”, w. 26”, d. 19”. [600/900] Illustrated

528

532 Three-Piece Group of Chinese Porcelain and Glass Items, comprised of Kuang Hsu blue and white “rice grain” porcelain “solitaire” teapot, fourth quarter 19th century; a cameo-cut Peking glass ruby-over-clear snuff bottle in “Flowering Tree” decor, fitted with a yellow stone and ruby glass cabochon stopper; and a Chinese Export blue and rose porcelain cylindrical snuff bottle in “Mandarins” decor, fitted with a carnelian cabochon stopper, second quarter 19th century; the largest h. 2‑3/4”, w. 3‑1/2”, l. 5‑1/2”. [100/200] 533 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”. [75/125]

529 529 Chinese Ochre-Lacquered Cabinet, late 19th century, the rectangular banded top over a conforming case fitted with two short drawers and two doors, above a carved apron, raised on square legs, h. 34”, w. 37”, d. 19”. [300/500] Illustrated 530 Good Five-Piece Kuang-Hsu Blue and White Porcelain Garniture, fourth quarter 19th century, comprised of a large covered two-handled vase of censer form, h. 19”, w. 13‑1/2”, d. 5‑1/2”, a pair of flanking vases of “Gu” form, h. 15”, and a tapered pair of candlesticks en suite,h. 15”, the bodies decorated in an overall pattern of off-white stylized flowerheads and foliage on blue enamel grounds. [2500/4000] Illustrated

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535

531 Tao Kuang Provincial Blue and White Porcelain Two-Handled Vase, second quarter 19th century, of tall size in “Double Happiness” decor on an overall flowering vine ground, the handles modeled as pairs of stylized Foo dogs “en face”, h. 18”, dia. 8”. [200/400]

530

534 Group of Three Oriental Porcelain Items, consisting of an attractive pair of Kuang Hsu blue and white porcelain covered jars, fourth quarter 19th century, each emblazoned with a trio of beneficent calligraphic characters, retaining their original period porcelain covers with matching calligraphic characters, presented on matching Chinese satin blacklacquered footed stands in the traditional style, h. 9‑1/2”, dia. 7”; and a tall Nippon richly floralenameled and gilded porcelain cylindrical walking stick stand, first quarter 20th century, h. 18”, dia. 8”. [300/500]

535 Good Tao Kuang Highly Carved Pale Green-White Jade Coupe, second quarter 19th century, in the form of a lotus flower, presented on a custom conforming carved Chinese rosewood stand, h. 2”, w. 5‑1/2”, d. 3”. [2500/4000] Illustrated

542 540

541

536 Good Ch’ien Lung Intricately Carved White Jade “Bramble” Scroll Weight, fourth quarter 18th century, of modified conical form, the basal edges populated with bas-relief cranes, h. 4”, w. 3‑1/4”, d. 2‑1/2”. [4000/7000] Illustrated 537 Good Ch’ien Lung Carved Pale Green Jade Ceremonial Scepter, fourth quarter 18th century, carved with a bat, mushrooms and spiral-entwined tree branches, w. 2”, l. 8”. [1800/2500] Illustrated 538 Good Ch’ien Lung Carved Pale Green Jade Brush Rinser, fourth quarter 18th century, carved at the inverted rim with a trio of stylized Celestial Dragons in basrelief, presented on a tiered elaborately carved Chinese hardwood stand with a spreading leaf foot, h. 2‑3/4”, dia. 4”. [2000/4000] Illustrated 539 Kuang Hsu Carved Pale Green-Brown Jade Cabinet Vase, fourth quarter 19th century, of diminutive “Tsun” form in the Archaic manner, the square section with carved quoins at each corner, h. 4‑1/4”, w. 2”, d. 2”. [700/1000] 540 Kuang Hsu Carved Yellow-Green Jade Figure of Kwan-Yin, fourth quarter 19th century, the goddess modeled standing and holding a downturned vase, h. 8‑1/4”, w. 3”, d. 2‑1/4”. [3000/5000] Illustrated 541 Good Tao Kuang Carved Gray-Green Jade Covered Ring-Handled Vase, second quarter 19th century, the cover with a carved peach finial also having ringed handles, the lower body bas-relief carved with foliate scrolls “en face”, h. 9‑1/2”, w. 3‑1/4”, d. 1‑3/4”. [4500/7000] Illustrated 542 Kuang Hsu Carved White and Celadon Jade Covered Vase, fourth quarter 19th century, of octagonal form, intricately carved and fitted with articulated jade link chains and tassellated “double-fish” pendants at the handles, presented on an elaborately carved wooden stand, h. 9‑1/4”, w. 3‑1/2”, d. 2‑1/4”. [3500/5000] Illustrated 543 Monumental Kuang Hsu Polychromed Porcelain Vase, fourth quarter 19th century, of baluster form in “Songbirds and Flowering Shrubs” decor, the reverse with a calligraphic stanza at the neck and at the body, presented on a custom carved K’ang-footed Chinese hardwood base, h. 23‑1/4”, dia. 9”. [200/400] Illustrated

544 Five-Piece Collection of Japanese Meiji Satsuma Porcelain, comprised of a covered shallow sweetmeat dish, the cover reversing to form a separate low stand; a “Samurai” rice bowl with six figural and calligraphic reserves; a similar bowl; a dessert plate with spiral-fluted edge in segmented “Songbird”, “Lakeside Pavilion” and “Strollers” reserves; and a Satsuma porcelain tea saucer in “Gentlewoman and Sons” decor, first quarter 20th century; all of the pieces in rouge de fer decor and signed on the bases in matching overglaze calligraphy, the largest dia. 7‑1/4”. [150/300]

543

545 Trio of Japanese Meiji Arita Porcelain Sweetmeats Trays, fourth quarter 19th century, of oblong form in “Phoenix and Foliage” decor, w. 5‑1/2”, l. 7‑1/2”. [200/400] 546 Set of Five Japanese Imari Porcelain Sweetmeat Dishes, third quarter 19th century, each of modified cartouche form in segmented landscape, avian and floral reserves, each signed on the base with an underglaze blue colophon, w. 6”, l. 6‑1/2”. [200/400]

551 Continental School (Second Quarter 20th Century) “Abstract Untitled”, oil on canvas, signed lower right “Fan Ries”, 29‑1/2” x 14‑1/2”. Presented in a contemporary parcel-silvered shadowbox frame. [125/250] 552 Arnold Pedersen (Danish, 20th Century) “Funen’s Head”, oil on panel, titled and signed lower right “Fyens Hoved, Arnold”, 10‑3/4” x 16‑1/2”. Presented in a molded giltwood frame. [200/400] Illustrated 553 Dutch School (Second Quarter 20th Century) “Winter Canal Scene”, oil on canvas, signed illegibly lower left, 12” x 16”. Presented in a giltwood and gesso frame. [100/200]

550

554 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 gilt-painted frame. [2000/4000] Illustrated 555 French School (Second Quarter 20th Century) “Paris, Pont Louis XIV”, oil on canvas, signed illegibly lower left, 24” x 18”. Presented in a deeply molded giltwood and gesso frame. [150/300] 556 Russian School (Mid‑20th Century) “Green Landscape with Barren Trees”, oil on canvas, signed and dated lower left “Peter “51”, 21‑1/4” x 17‑1/2”. Presented in a molded giltwood frame. [100/200]

552 547 Japanese Meiji Patinated Cast-Iron Teapot, fourth quarter 19th century, with bas-relief reserves of a basket of fruit and a lakeside pavilion on either facade, the reverse of the cover signed in incised calligraphy, h. 5”, dia. 5‑1/2”. [50/80] 548 Japanese Carved Ivory Figure of a Peasant Woman, fourth quarter 19th century, the diminutive figure depicted seated with a tall sack and begging bowl, the ivory finish partially oxidized, h. 4‑1/2”, w. 2”, d. 3‑1/2”. [50/80] 549 Pair of Kuang-Hsu Blue and White Porcelain Garniture Vases, first quarter 20th century, of twohandled form in floral decor, the handles modeled as stylized traditional Chinese ceremonial scepters, h. 14‑1/4”, dia. 5‑1/2”. [250/400] 550 Continental School (Second Quarter 20th Century) “View of a Port”, oil on canvas, signed lower right “Fan Ries”, 23‑1/2” x 36”. Presented in a contemporary parcelsilvered and ebonized frame. [125/250] Illustrated 554

557 French Gilt-Brass-Mounted Rouge Royale Marble Columnar Pedestal, first quarter 20th century, in the Louis XVI taste, the gilt-brass column capital of the Corinthian order, h. 43‑1/2”, w. 10‑1/2”, d. 10‑1/2”. [300/500]

558 pair

558 Pair of Neoclassical-Style Silvered and Polychromed Mirrors, each with a broken pediment-formed crest above a frieze cornered by Greek-key moldings over a rectangular mirror plate, h. 50”, w. 31‑1/2”. [400/700] Illustrated 559 Suite of Eight Directoire-Style Polychromed Sidechairs, fourth quarter 19th century, each with a slightly domed carved crest, above a conforming padded back flanked on either side by fluted columnar supports headed by a turned finial, over a padded serpentine seat, h. 38‑1/2”, w. 15”, d. 15‑1/2”. [1000/1500] Illustrated

560 Attractive Attic “Red Figure” Oinoche (Wine Jug), ca. 5th century B.C., the decoration composed of a central nude male flanked by two robed figures, the lip of trefoil configuration, h. 6‑1/2”, dia. 3”. [300/500] 561 Directoire-Style Parcel-Gilt Mahogany Console Table, second quarter 20th century, the rectangular fauxmarble top with canted sides, above a conforming frieze, raised on fluted circular legs joined by a shelf stretcher and ending in toupie feet, h. 32‑12”, w. 40”, d. 14”. [600/900] Illustrated 561

562 Pair of Longwy Pottery-Set Brass Wyvern Candlesticks, first quarter 20th century, each wyvern with raised spread wings and its forepaws resting on the back of a tortoise, h. 10”, w. 2‑3/4”, d. 4‑1/4”. [200/400]

559

563 Art Moderne-Style Wrought-Iron Looking Glass, second quarter 20th century, the wrought-iron frame painted matte black, h. 24”, w. 32”, d. 1”. [150/300]

564 Pair of Restauration Style Two-Light Caryatid Candelabra, second quarter 19th century and later, composed of cast, engine-turned and gilded brass, and of small size, the caryatid figures standing on engine-turned columnar pedestal bases supporting engine-turned vases on their heads from which emanate the candlearms, h. 11‑3/4”, w. 9‑3/4”. [700/1000] Illustrated

572

565 Attractive Continental Tabletop Sun Dial, composed of patinated brass and engraved faux ivory, the gnomen modeled as an 18th-century cannon, the cannon surmounted by a diminutive tilting magnifying lens, the whole on a disc base of faux ivory, h. 6”, dia. 9‑1/2”, l. 12”. [100/200]

566

568

564 566 Restauration Carved Mahogany Bergere, first quarter 19th century, the rectangular crest over the conforming padded back, joined to the cushioned seat by like, downswept, dolphin-carved arms, raised on tapering square sabre-form legs, h. 33‑1/2”, w. 23”, d. 17‑1/2”. [200/400] Illustrated Color Plate III 567 Attractive Pair of Restauration Brass Columnar Candlesticks, first quarter 19th century, with stylized floral-patterned circular bases, presently fitted with a pair of tall fluted bee’s-wax candles, h. 11‑1/4”, dia. 4‑3/4”. [50/80]

568 Pair of French Porcelain Swan-Handled Table Lamps, of Restauration inspiration, in pale celadon and white porcelain with parcel-gilding, mounted on square gilt-brass bases and fitted with softly pleated antiquewhite fabric shades and gilt-brass spherical finials, h. 15”, w. 6‑3/4”, d. 5”. [100/200] Illustrated

573

569 Pair of Potschappel Porcelain Covered TwoHandled Garniture Vases, first quarter 20th century, having lattice-gilded green grounds in neoclassical “Dresden” decor, each facade with a well-painted reserve of a beribboned basket of flowers, the bases with the Potschappel monogram in underglaze transfer-print blue, h. 10‑3/4”, dia. 5‑1/8”. [200/400]

573 Attractive Japy Freres, Paris, Brass-Mounted Fruitwood Mantel Clock, fourth quarter 19th century, the carved and ebonized case of “Portico” form in the Louis-Philippe style, the backplate touchmarked with the Japy Freres emblem, retains the period steel winding key, h. 18‑1/2”, w. 9‑1/2”, d. 5‑1/2”. [250/400] Illustrated 574 Neoclassical-Style Giltwood and Ebonized Overmantel Mirror, the beveled mirror plate flanked by reeded Corinthian columnar supports on both sides, surmounted by an anthemion- and fruit basket-molded frieze, h. 47‑1/2”, w. 33‑1/2”, d. 2‑1/4”. [300/500]

570 Good Pair of Mary Ryan, Italy, Pottery Two-Handled Vases, of campana form and lavishly gilded in the Restauration Paris porcelain style, each facade with a polychromed Italianate landscape, the reverses each with a single tree and two rocks, each signed on the interior of the foot in overglaze, h. 9‑1/2”, w. 3‑1/2”, dia. 6‑1/4”. [250/400] 571 Restauration-Style Brass Annular Twelve-Light Chandelier, second quarter 20th century, the scrolled candlearms supporting large cut glass bobeches of saucer form fitted with bone-white faux candles, the candle ring and canopy connected with blackened wrought-iron “Ring and Box” ornamented chains, h. 30”, dia. 48”. [300/500]

575 Louis-Philippe Mahogany Side Table, second quarter 19th century, the rectangular top with inlaid string banding with corner scrolling patterns, above a conforming ogee-molded frieze with like accents, joined by scrolling supports to a shaped plinth base, h. 41”, w. 18”, d. 19”. [1000/1500] Illustrated

572 Restauration Mahogany Chest of Drawers, first quarter 19th century, the rectangular top above a case fitted with a concealed frieze drawer above three recessed long drawers flanked by columnar supports, raised on a plinth base, h. 38”, w. 48‑1/2”, d. 22‑1/4”. [1500/2500] Illustrated

576 Trio of Neoclassical-Style Porcelain Garnitures, second quarter 20th century, comprised of a pair of Continental parcel-gilt blue and white bas-reliefornamented two-handled and footed garniture vases, in the neoclassical taste, the obverse and reverse facades decorated with vineyard vignettes, h. 13‑3/4”, w. 10”, d. 6”; and a large Italian blue and white flared and fluted cachepot, also in the neoclassical style, h. 9‑1/4”, dia. 10‑1/4”. [200/400] 577 Louis-Philippe Giltwood Looking Glass, mid‑19th century, the rectangular plate surrounded by a molded frame and patera-carved accents, h. 35”, w. 28‑1/2”. [300/500] 575

581 Provincial Empire Walnut Commode, first quarter 19th century, the rectangular planked top over a frieze drawer above a recessed suite of three long drawers, flanked by columnar supports on both sides, raised on plinth feet, h. 33‑1/2”, w. 51”, d. 23”. [500/800] Illustrated 582 Provincial Neoclassical-Style Ebonized Dining Chair, the curved crest above a pierced and carved splat, over the rush seat, raised on tapering square legs, h. 37”, w. 22‑1/2”, d. 17”. [50/80] 583 Continental Hand-Woven Grisaille Tapestry, ca. 1900, depicting a classical maiden holding a chalice, h. 50‑1/4”, w. 28‑1/2”. [150/300]

579

578 578 Late Louis-Philippe Rosewood Bookcase, third quarter 19th century, the molded cornice with canted corners above a conforming case fitted with two shaped glazed doors, above a skirt fitted with a drawer, raised on curved bracket feet, h. 88”, w. 45”, d. 16”. [500/800] Illustrated 579 Attractive Three-Piece French Mantel Garniture, fourth quarter 19th century, composed of champleve-enameled and gilt-brass-mounted onyx in the neoclassical taste, comprised of a portico clock of modified “carriage” form, signed on the interior backplate “Ad. Mougin” (for Adolphe Mougin, Paris) and retaining the champleve-mounted doublemercury pendulum, h. 13‑1/2”, w. 9‑3/4”, d. 6”, and a flanking pair of lion masque-handled onyx vases, h. 10‑1/4”, w. 5”, d. 4. [1800/2500] Illustrated Color Plate VII 580 Louis-Philippe Giltwood and Creme-Peinte Looking Glass, mid‑19th century, the square plate surmounted by a molded frame with applied foliate, palmetto and patera accents, h. 30”, w. 29‑1/2”. [200/400]

581

584 Biedermeier Revival Rosewood Work Table, third quarter 19th century, the rectangular hinged top opening to a compartmented maple interior and a mirrored back, above a frieze drawer and a serpentine-carved yarn drawer, raised on turned legs joined by a shelf-stretcher and ending in tapering feet, h. 32”, w. 21”, d. 16”. The hinged pagoda top is of a form often seen on work tables attributed to the workshop of John Henry Belter, New York. [250/400] 585 Monumental Painted Cast-Iron Garden Urn, in the neoclassical style, the scalloped, crimped lip over a bulbous reeded body to a socle base headed by beaded decoration, h. 28”, dia. 45”. [500/800] Illustrated

585

586 Manner of Paul Manship (American, 1885‑1966), a bronze garden figure of “Atalanta”, fourth quarter 20th century, h. 76‑1/2”, w. 23”, l. 65”. [2500/4000] Illustrated Color Plate XI 587 Stately Pair of White-Painted Composition “Atlas” Corbels, by Studio Toscano, in the neoclassical taste, each bearded male support surmounting an acanthinedecorated console bracket, h. 27”, w. 8‑1/4”, d. 7‑1/8”. [75/125]

590

586

589 Continental Neoclassical Mahogany and MarbleTop Console Table, mid‑19th century, the demi-lune variegated white marble top above a plain frieze, joined by three supports, each headed by foliate carving and joined by a single scroll-carved paw foot, h. 40‑1/4”, w. 33”, d. 16‑1/4”. [300/500] 588 Neoclassical-Style Polychromed Pedestal, early 20th century, the fluted columnar standard continuing to a molded circular base, raised on a paneled square base, the whole with gilt accents, h. 63‑1/2”, w. 13‑3/4”, d. 13‑3/4”. [100/200]

590 Continental Polished Brass and Glass Foyer Lantern, of monumental hexagonal form in the 15th-century style, the interior fitted with a diminutive pendant nine-light tiered chandelier of baluster form fitted with bone-white faux candles, h. 46”, w. 22‑1/2”, d. 22‑1/2”. [200/400] Illustrated

591 Anglo-Dutch Brass TwelveLight Chandelier, of tiered baluster form in the early Georgian style, electrified and fitted with white faux candles, h. 25”, dia. 32”. [150/300]

599 English Silverplate Domed Meat Cover, third quarter 19th century, of oval form in “Shell and Scroll” decor in the Old Sheffield style, the foliate handle detachable, the facade handsomely engraved with an armorial of a stag, h. 9”, w. 8‑1/4”, l. 14”. [250/400] Illustrated

592 Classical Revival Cast-Iron Wall Fountain, first quarter 20th century, the architecturally shaped crest over the body depicting Neptune holding a fish with a fountain water opening, above a serpentineshaped basin surmounted by the conforming grate, h. 62”, w. 36”, d. 21”. [1000/1500] Illustrated Color Plate XI

600 Large Towle Silversmiths Silverplate Waiter, first quarter 20th century, of two-handled and footed form in “Scroll and Flower” decor, h. 2‑1/2”, w. 20‑1/4”, l. 30‑1/2”. [100/200] 601 Good George II Sterling Silver Pad-Footed Tray, 1749, London, by William Peaston (ent. 1746), in “Shell and Scroll” decor, of substantial weight, dia. 11‑1/2”, 25.00 t. oz. [1400/1800] Illustrated

593 Suite of Seven Hardwood Windows, first half 20th century, some inset with clear and stamped glazed panels, h. 55‑1/4”, w. 14‑1/2”. [100/200] 594 Neoclassical-Style Painted Iron Garden Seat, the paneled seat flanked by outscrolled arms, raised on sabre legs joined by a stretcher, h. 26‑1/2”, w. 39‑1/4”, d. 17”. [50/80] 595 Large Painted Wood and WroughtIron Entrance Doors, first quarter 20th century, the central panels with handsome wrought-iron grilles and surmounted by pediments, the lower door panels deeply molded, h. 105‑1/2”, w. 69”. [200/400] Illustrated 596 Pair of Egyptian Wrought-Iron Garden Fence Panels, first half 20th century, each formed of stylized scrolllike designs, applied with a rosette and crescent design, h. 59”, w. 43‑3/4”. [100/200] 597 Suite of Fifty-One Wrought-Iron Garden Fence Panels, ca. 1900, each of rectangular narrow form with arched crests above a trefoil ring-formed body, h. 36”, w. 9”. [500/800] 598 Large Painted Wood and WroughtIron Entrance Door, first quarter 20th century, the central panels inset with interlocking iron grills, surmounted by a domed crest, the lower panels centered by a floral-urn design, h. 102”, w. 47‑1/2”. [100/200]

602 Good George VI Silverplate “Well and Tree” Roasted Meats Dish, second quarter 20th century, of large oval form in “Gadroon” decor, raised on peg feet, w. 16”, l. 21”. [100/200]

595

592 603 Large Sheffield-Plate and Cut Glass Epergne, second quarter 19th century, modeled with a large cut glass center bowl and four detachable arms, each supporting a matching cut glass sweetmeats bowl, all of the bowls cut in “Diamond Band and Fan” decor, h. 13”, dia. 21‑1/4”. [800/1200] Illustrated 604 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]

605 Rare Suite of Four Antique Sheffield-Plate Tall Candlesticks, first quarter 19th century, in the Adam taste, the fluted tapered shafts supported on pateraform bases with reeded borders, each example with a detachable oval bobeche also having a reeded border, h. 12”, w. 6”, d. 4‑1/2”. [400/700]

599

606 Pair of Royal Castle Works, Sheffield, Silverplate Bottle Coolers, first quarter 20th century, of campana form in acanthine decor, fitted with period bottle sleeves, h. 9‑3/4”, dia. 9‑1/2”. [1200/1800] Illustrated 607 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”. [100/200]

601

603

606

614 Group of Three Silver Items, consisting of a Late Victorian sterling silver and ivory belled baby’s rattle-whistle in the 18th-century style, Birmingham, 1899, by the makers H. and T. and so hallmarked; a Continental .790-standard silver sweetmeat box in the form of a jovial pig, third quarter 19th century; and a larger Chinese highly chased silver sweetmeats box in the form of a Foo dog, fitted with brilliant blue paste sapphire eyes, fourth quarter 19th century; the largest h. 3”, l. 3‑1/2”. [125/250]

609 610 608

611

615 Continental Cast-Iron “Apostles” Jewel Casket, fourth quarter 19th century, in the late Gothic style, probably German, the interior lined in tufted sky blue silk with royal blue tuft-buttons (the lining partially detached from the walls), h. 6‑1/4”, w. 10‑1/4”, d. 5‑1/4”. [350/500] 616 Victorian Mahogany Lift-Top Bedside Commode, mid‑19th century, the interior fitted with a porcelain bowl, the case raised on turned legs, h. 17”, w. 16”, d. 18”. [20/40]

608 Fine and Rare Pair of Sterling Silver “King’s Shell” Tablespoons, 1818, by Paul Storr, London , l. 8‑3/4”, 6.70 total t. oz. [400/700] Illustrated

617 Stately Gilt-Brass Two-Well Inkstand, fourth quarter 19th century, in the Beaux Arts style, the back rail modeled as two addorsed seated lions centering a reticulated ornamental reserve, the whole supported on boldly modeled paw feet, h. 5‑1/2”, w. 17”, d. 8‑1/2”. [75/125]

609 Fine and Rare English Sterling Silver “King’s Shell” Stuffing Spoon, 1820, by Paul Storr, London, l. 12”, 6.10 t. oz. [1200/1800] Illustrated

618 Twelve-Piece Group of Cast and Gilded Brass Curtain Tie-Backs, mid‑19th century, each of S-curve form with a locking mounting post on the backside, h. 6‑1/4”, w. 1‑3/8”, d. 2‑3/4”. [250/400]

610 Two-Piece French Art Nouveau Sterling Silver Fish Serving Set, ca. 1900‑1905, in “Lily” decor, comprised of a fish slice with lily-reticulated blade and a broad fourtine fish serving fork, also with reticulation, the largest l. 10‑3/4”, 7.50 total t. oz. [300/500] Illustrated

619 Good Boxed French Paper Evening Fan, first quarter 20th century, composed of gold and silver pique, motherof-pearl, hand-colored lithograph and painted, the obverse with a “Village Dancers” vignette, the reverse with a handpainted Italianate bayside landscape, the mother-of-pearl guards and ribs elaborately pierced in addition to the pique work, h. 10‑1/2”, w. 12”. [800/1200] Illustrated

611 Fine and Rare Trio of Sterling Silver Tablespoons, 1793, London, by Peter and Ann Bateman, each bright-cut and engraved, l. 9”, 6.45 t. oz. [400/700] Illustrated 612 Interesting Eight-Piece Collection of English Silverplate “King’s Shell” Serving Implements, comprised of a two-piece salad serving set, a stuffing spoon, a pair of pie servers with engraved blades, a presentation pie server with hollow handle and with the blade stamped with large stylized leaves, dated 1955, and a lasagna server with an engraved blade of spade form, the largest l. 12‑1/2”. [50/80] 613 Six Early 19th-Century Irish Sterling Silver “Fiddle”-Pattern Serving Spoons, including a platter spoon hallmarked Dublin, 1812, by William Law, retailed by Thomas Townsend, with a “rattail” drop, l. 12‑5/8”; and five tablespoons hallmarked Dublin, 1830‑1831, by James Scott, l. 9‑1/2”; no monograms or crests, 16.07 total t. oz. [200/400]

620

619

620 Good Cased Chinese Export SilkEmbroidered Rice Paper Fan, fourth quarter 19th century, composed of elaborately pierced and carved bone, the obverse of the fan polychrome-embroidered with songbirds and a flowering branch, the reverse similarly embroidered with butterflies and a flowering branch, the giltbrass ring retains the period silk double tassels, the fitted case of parcel-gilt black lacquer in floral decor, h. 12”, w. 18”. [800/1200] Illustrated 621 Seven-Piece Collection of Pressed Glass, consisting of a large English cut glass decanter of barrel form, fourth quarter 19th century, with the original large panel-cut stopper of “mushroom” form; and a sixpiece collection of American pressed glass, comprised of a good “Lion” covered compote, fourth quarter 19th century; a good, large “Honeycomb” celery vase, third quarter 19th century; a ribbed pressed covered compote, fourth quarter 19th century; a Brilliant-pressed footed cake stand in “Hobstar and Balloon” decor, first quarter 20th century; and a Brilliantpressed flat-bottom celery vase in “Shell and Fan” decor of like date; the largest h. 14‑1/2”, dia. 9‑1/2”. [75/125]

624

627

622 Large Transfer-Printed and Enameled “Wavecrest” Glass Cachepot, fourth quarter 19th century, by the C. F. Monroe Company, of bowl form, signed on the base in red transfer print, h. 7‑3/4”, dia. 10”. [75/125] 623 Three-Piece Group of Continental Vases, third quarter 19th century, consisting of a German glazed, parcel-gilt and biscuit porcelain two-handled garniture vase of small size, the facade centered with a silhouette portrait of the youthful Queen Victoria of England, h. 8‑1/2”, w. 5‑1/4”, d. 3‑1/2”; and a small pair of Germano-Bohemian porcelain flared spillholders in the Paris taste, with provincial figures on the facades and Italianate landscape reserves on the reverses, h. 5‑5/8”, w. 4‑1/4”, d. 1‑3/4”. [50/80] 624 Suite of Four Victorian Mahogany Parlour Chairs, third quarter 19th century, each with a balloon back above a padded seat, raised on baluster-turned legs ending in toupie feet, h. 35‑1/2”, w. 18‑1/2”, d. 17‑1/2”. [400/700] Illustrated 625 Victorian Carved Maple Swivel Piano Stool, third quarter 19th century, the circular padded seat mounted to a turned and carved standard with three outstretched legs, h. 21”, w. 17”. [100/200]

626 Victorian Mahogany Bowfront Chest, third quarter 19th century, in the Regency taste, the bowed top above a conforming case fitted with two short drawers over three graduated long drawers, all with wooden knobs, raised on splayed bracket feet, h. 43‑3/4”, w. 40”, d. 21”. [700/1000] 627 Victorian Mixed Woods Library Tub Chair, fourth quarter 19th century, the padded crest over the like splat flanked by barley-twist turned supports, joined to the slightly serpentine padded seat by undulating scroll-end open arms, raised on turned tapering legs ending in brass casters, upholstered in tan leather, h. 35”, w. 24”, d. 24”. [400/700] Illustrated

630

631 Group of Three Hand-Painted and TransferDecorated Porcelain Plates, ca. 1900, including a hand-painted Dresden plate with three cherubs; a transfer-decorated KPM plate with cupid and maidens; and a Bavarian reticulated bowl with transfer scene after Murillo; the largest w. 7‑1/2”, l. 13”. [30/50] 632 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”. [100/200] 633 Forty-One-Piece Royal Albert, Staffordshire, Porcelain Partial Dinner Service, for eight persons, ca. 1969, in “Celebration” decor, comprised of eight dinner plates, dia. 10”, eight bread-and-butter plates, dia. 8”, eight salad/dessert plates, dia. 6”, eight cups, dia. 3‑1/2”, eight saucers, dia. 5‑1/2”, and a teapot, h. 7”, each piece fully backstamped. [200/400] Illustrated

628 English Carved Walnut Occasional Table, third quarter 19th century, of tiered, tripodal form in the rococo taste, the top centered with a set-in ironstone charger in “Oriental Flowers” decor, the slender bobbin-turned supports above whorl-toed cabriole legs, h. 29”, dia. 14”. [100/200] 629 Aesthetic Giltwood Hall Tree Shelf, fourth quarter 19th century, the galleried and acanthine-carved crest above a large central beveled glass panel flanked to both sides by three shelves joined by turned, reeded and fretworkincised supports, the lower shelves with foliate-carved and pierced brackets, h. 50‑1/2”, w. 57‑3/4”, d. 9”. [400/700] 630 Victorian Mahogany Desk, late 19th century, the rear gallery with a shell- and scroll-carved crest over a shelf of S-carved supports, with a band of three drawers, the base with a pull-out writing surface, and a wide central drawer flanked by paired drawers, each drawer with a crotchveneered panel framed by perimeter molding, raised on bobbin-turned legs, h. 53‑3/4”, w. 52‑1/2”, d. 27”. [400/700] Illustrated

634 Two-Piece Group of Blue and White Pottery, comprised of a good Late Victorian silvered brass-mounted oval warming platter in “Poppies” decor, fourth quarter 19th century, w. 12”, l. 19”; and a Doulton oval, covered, two-handled soup tureen in “Blue Willow” decor, first quarter 20th century, h. 10”, w. 14”, d. 8‑1/2”. [300/500] 635 Group of Four Porcelain Items, consisting of a trio of German porcelain fruit bowls comprised of a graylustred example in “Les Roses” decor, ca. 1900, another in Waterlily” decor of like date, and a parcel-gilt Sorau example, also in “Les Roses” decor, 1898‑1918; and an Empire China Company pottery pastry tray of like date, also in “Les Roses” decor, dia. 10‑1/2”. [50/80] 636 Victorian Papier-Mache and Mother-of-Pearl-Inlaid Center Table, fourth quarter 19th century, the turtleform dished top with gilt-stenciled banding, centered by a polychromed and mother-of-pearl floral and avian design over a conforming gilt-stenciled apron, raised on a baluster pedestal ending in three carved legs, the pedestal and legs with fretwork and gilt-stenciled foliate designs, h. 29”, w. 48”, d. 30”. [500/800] Illustrated

633

637 Pair of Victorian Black-Lacquered and Motherof-Pearl-Inlaid Sidechairs, fourth quarter 19th century, each with a balloon back and a carved and pierced splat, above a padded serpentine seat, raised on cabriole legs joined by a carved box stretcher and ending in toupie feet, the whole with gilt-stenciled acanthine designs, the crest and splat with polychromd and mother-of-pearl-inlaid floral designs, h. 35”, w. 16”, d. 15”. [300/500] Illustrated

636

638 Unusual and Handsome Embroidered Panel, after an ancient Roman wall painting, of tall size and executed in the proper palette of antique rose, brown/black, non-metallic gold and pale gray, h. 65‑1/2”, w. 24‑3/4”. [200/400]

639 Two Framed Victorian Embroidered Panels, fourth quarter 19th century, one example in wool crewelwork on a silk background, and the other embroidered and appliqued in various materials on a silk background, both examples depicting a basket-of-flowers design, the smaller 13‑1/4” x 15‑1/4”, the larger 18‑5/8” x 18‑5/8”. [100/200]

637

640 English Aesthetic Polychromed Wood Occasional Table, third quarter 19th century, the circular top with color bands and polychromed foliate accents, joined by three crossed faux-bamboo legs to a like lower shelf, terminating in splayed legs, h. 31”, dia. 11”. [100/200]

641 Victorian Bird’s-Eye Maple Looking Glass, fourth quarter 19th century, the beveled, rectangular mirror plate surrounded by a gilt slip and a molded frame, h. 60”, w. 37”. [500/800] Illustrated 642 Carved Giltwood and Marbled Mirrored Glass Looking Glass, in the neoclassical style, the inner giltwood molding bead carved, the center of marbled mirrored glass, the outer giltwood molding rope-twist carved, h. 49‑1/2”, w. 39‑1/4”. [75/125]

641

643 Group of Four Porcelain Serving Items, consisting of a trio of portrait plates comprised of a pair of Knowles China Company examples featuring, respectively, a bust of Queen Louise of Prussia and the Grand Horizontal Cleo de Merode, first quarter 20th century; an Austro-German cabinet plate with the bust of a coy blonde maiden entitled “Gracioso”; and a larger German circular two-handled serving tray in the rococo taste with floral decoration, fourth quarter 19th century; the largest dia. 11”. [50/80]

644 Good Pair of Wedgwood “Amphora” Line Porcelain Trumpet Vases, first quarter 20th century, each richly gilded and having lapis-blue grounds and polychromed “Oriental Flower” borders, the bases fully marked in underglaze taupe transfer-print, h. 11”, dia. 5‑1/2”. [450/700] Illustrated

649 Painted Wrought-Iron Planter, of tapering circular form, raised on three cabriole legs ending in scroll feet, h. 42”, dia. 19”. [50/80] 650 Painted Wrought-Iron Plant Stand, the circular pierced top above a tubular pedestal ending in three scrolledformed legs, h. 23‑1/4”, dia. 16‑1/2”. [50/80] 651 Pair of Wrought-Iron Garden Gate Transoms, first half 20th century, of arched interlocking S-form, h. 26‑3/4”, w. 52‑3/4”. [100/200] 652 Suite of Four Wrought-Iron Garden Fence Panels, first half 20th century, each of rectangular interlocking and rail form, h. 88”, w. 35‑1/2”. [200/400]

644

647

645 Good Wedgwood Sage Green and White Jasperware Garniture Vase, first quarter 20th century, of covered, two-handled campana form after the 18th-century model, the base of the square foot with full marks, h. 12”, dia. 7”. [450/700] 646 Group of Six Silver Serving Items, consisting of a Wilcox Silverplate Company swing-handled and footed fruit basket in the Aesthetic taste, fourth quarter 19th century; a diminutive Edwardian reticulated silverplate sweetmeats basket with a clear glass liner, first quarter 20th century; a two-piece silverplate crumber set (crescent-form brush and pan) in the rococo “Dutch” taste, first quarter 20th century; a Dutch silver conserve spoon fitted with a bowl rim hook surmounted by a cockerel, fourth quarter 19th century; and a Continental reticulated silver sauce ladle in the neoclassical idiom, fourth quarter 19th century; the largest h. 10”, dia. 10”. [100/200] 647 Edwardian Rosewood and Marquetry Washstand, fourth quarter 19th century, the griffins-holding-an-urninlaid crest above a small shelf, joined to the square top by tapering square uprights, the back fitted with a mirrored panel, the case fitted with an acanthine-inlaid frieze above a door inlaid with an elaborate griffin-urn-and-foliage design, raised on tapering square legs joined by a carved shelf stretcher, h. 54”, w. 20”, d. 15”. [200/400] Illustrated 648 Two Painted Wrought-Iron Garden Fence Panels, of stylized geometric form, the tallest h. 47‑3/4”, w. 31‑3/4”. [50/80]

653 Painted Wrought-Iron Garden Fence Panel, of rectangular interlacing scrolls form, h. 75‑1/2”, w. 35‑1/4”. [100/200]

654 Suite of Three Painted Wrought-Iron Fence Panels, first quarter 20th century, composed of serpentine and circular elements, with rosette-molded mounts, the paint generally weathered, the largest h. 85‑1/2”, w. 39”. [150/300]

656

655 Suite of Eleven Wrought-Iron Garden Fence Panels, first half 20th century, with interlocking C-scroll designs, the tallest h. 82‑1/2”, w. 39‑3/4”. [800/1200] 656 Imposing English Engraved Silverplate TwoHandled Hot Water Urn, third quarter 19th century, by Lloyd, Payne and Atwell, Sheffield, of inverted oviform in the neoclassical taste, the edges of the primary elements in “Antique Bead” decor, the body chastely engraved with stylized flowerheads and leaves, the base with a double-struck touchmark, h. 22‑1/2”, w. 7‑1/2”, d. 7‑1/2”. [800/1200] Illustrated Color Plate V

660 Two-Piece A. E. Lewis Company, Sheffield, Silverplate Salad Serving Set, third quarter 20th century, comprising a serving spoon with shell-form bowl and an imported porcelain handle in the Meissen taste, and a matching five-tine serving fork, l. 12”. [75/125]

657 Set of Eight Edwardian Silverplate Water Goblets, first quarter 20th century, each with a bucket-form bowl decorated with hatched ovolo and fan banding, above a waisted, knopped stem and circular foot, h. 6‑3/4”, dia. 2‑7/8”. [125/250] 658 George III Sterling Silver “Plain Antique” Soup Ladle, 1798, London, maker: George Baskerville, not monogrammed, l. 13‑1/2”, 4.80 t. oz. [350/500]

659

659 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”. [150/300] Illustrated

661 Collection of Nine Miscellaneous Sterling and Silverplate Serving Utensils, including a sterlinghandled steak knife and fork set, two large silverplate serving spoons, a silverplate spaghetti scoop, a silverplate ladle, a sterling-handled cake slice, and a silverplate scissor-form salad tong, the largest l. 14”. [50/80] 662 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]

663

663 Good Antique SheffieldPlate and Mirrored Glass Table Plateau, third quarter 19th century, of large size, the rim in “Gadroon” pattern, the backing of mahogany, the whole supported on four silver ball feet, w. 17”, l. 26”. [200/400] Illustrated

670

668 Cased Set of Six Victorian Close Plate and Motherof-Pearl Fruit Knives, third quarter 19th century, by Roberts and Briggs, Sheffield, each with a bluntshaped close plate blade with beveled spine, joined by an embossed, acanthus-banded ferrule to a carved spatulate mother-of-pearl blade, l. 7‑3/4”, presented in a fitted case lined in Arabian gold satin and covered in sienna buckram, w. 10”, d. 5‑5/8”. [50/80] 669 American Cut- and Wrought-Iron Tripodal Candlestick, first quarter 20th century, in the 18th-century Spanish style, the standard modeled as a graduated openwork heart mantled by cut leaves, the large bobeche of saucer form with a sawtooth edge, the feet of bifid form, not electrified, h. 33”, dia. 13”. [100/200]

664 English Cased Two-Piece Engraved Silverplate Fish Serving Set, fourth quarter 19th century, the handles of both the slice, l. 12‑1/2”, and the five-tine fork, 9‑1/2”, of vegetable ivory, the blade of the slice reticulated as is the bowl of the fork, presented in a period fitted case lined in Chinese yellow silk and russet velvet. [100/200]

665 Edwardian Silverplate and Mirrored Glass Table Plateau, first quarter 20th century, of octagonal form in the Renaissance taste, each segment of the border centered by a Elizabethan masque mantled by foliate scrolls and garlands, the whole supported on short whorl-toed feet, of good weight, dia. 14‑3/4”. [150/300] 666 Elegant Pair of Elizabeth II Sterling Silver Salt and Pepper Casters, of spiral-ribbed form in the George III style, produced for J. F. Caldwell & Sons, Philadelphia, and so hallmarked in the flange of the covers, h. 6”, dia. 2”, 5.55 total t. oz. [250/400] 667 Cased Fifty-Nine-Piece Holmes and Edwards Art Deco Dinner Service for Twelve Persons, second quarter 20th century, the Bakelitehandled stainless steel partial service comprised of twelve dinner knives, twelve dinner forks, eleven teaspoons, twelve soup spoons, two sugar shells, two salt and pepper casters, seven napkin rings, and a three-piece bar set comprised of a martini stirring spoon, an olive pick and a doubleedge citrus peeler, the largest l. 9‑1/4”, the blond mahogany storage case in the Art Moderne style. [500/800]

670 Pair of Baronial-Style Iberian Mahogany Hall Chairs, third quarter 19th century, each with a padded leather back centered by a gilt shield and with corner acanthine finials, joined by flat arms to the cushioned leather seat, raised on block legs to carved feet, h. 52‑1/2”, w. 25‑1/2”, d. 26‑1/4”. [1000/1500] Illustrated

677

671 Trio of Spanish WroughtIron Tripodal Pricket Floor Candlesticks, second quarter 20th century, in the 18th-century style, the trio designed as a central lower stick, h. 35”, flanked by two taller examples, h. 42”, all with spiralribbed cage-form knops, spiraltwist standards and scrolled feet. [100/200] 672 Good, Large Netherlandish Patinated Bronze Mortar, first quarter 17th century, with the signature “Henrik Ter Hoos Me Fecit” at the lip, the body with two bas-relief bands of stylized leaves and flowerheads, h. 5‑1/2”, dia. 7‑1/2”. [50/80]

675

680 679

673 Chinese Export Blue and White Porcelain Salver, fourth quarter 18th century, of oval form in “Lakeside Pavilions” decor, the edge of the gallery rim gilded, w. 5‑1/2”, l. 6‑1/2”. [300/500] 674 Pair of Chinese Export “Canton” Porcelain Fruit Dishes, fourth quarter 18th century, in blue and white in “Lakeside Pavilions” decor, h. 2”, dia. 9‑1/2”. [900/1200] 675 Pair of Chinese Export Porcelain Covered Vegetable Tureens, ca. 1800, the blue and white porcelain in “Chinese Flowers” decor, of squared form with chamfered corners, the interiors decorated, the covers with gilded pomegranate finials, h. 4‑1/4”, w. 10‑3/4”, d. 9‑3/4”. [1500/2500] Illustrated 676 Rare Chinese Export Porcelain Master Salt, ca. 1800, the blue and white porcelain in “Lakeside Pavilions” decor, of oval, footed form, h. 1‑1/4”, w. 3‑3/4”, d. 3”. [200/400]

677 Baroque-Inspired Stained Mahogany and Mixed Woods Bookcase, the molded cornice above a bisected case fitted with three opened shelves, flanked and centered by square columnar-like supports, over a lower case fitted with two paneled doors, raised on a plinth base, h. 87”, w. 74‑3/4”, d. 16”. [300/500] Illustrated 678 Suite of Ten Flemish Baroque-Style Armchairs, each with a serpentine crest centered by acanthine carvings, above a conforming padded back, joined to the like seat by the open arms, raised on cabriole legs ending in claw feet, upholstered in pale green leather, h. 43‑1/2”, w. 23”, d. 20‑1/2”. Provenance: Countryside Antiques, Waveland, Mississippi. [1000/1500] Illustrated

678

679 Rare Graduated Three-Piece Nest of Chinese Export “Fitzhugh” Platters, ca. 1800, in blue and white with gilt edges, comprised of an oval roasted meats platter, a slightly smaller poultry platter and a yet smaller grilled meats/ chops platter, the largest w. 10‑1/2”, l. 13‑1/2”. [1200/1800] Illustrated 680 Chinese Export Blue and White Porcelain Fruit Bowl, ca. 1800, of gently flaring square form with rounded cut corners in “Chinese Flowers” decor, the rim gilded, h. 4‑3/4”, w. 9‑3/4”, d. 9‑3/4”. [1200/1800] Illustrated

681 Chinese Export Porcelain “Green Fitzhugh” Platter, ca. 1815, of deep oval form, h. 2”, w. 11”, l. 13‑1/4”. [900/1200]

687

682 Good Chinese Export Porcelain Platter, fourth quarter 18th century, of deep oval form in “Fitzhugh” decor, w. 10”, l. 12‑1/2”. [450/700] 683 Group of Three Pieces of Blue and White Porcelain, fourth quarter 19th century, consisting of a diminutive Chinese Provincial blue and white porcelain teapot with double-arch brass handles, with an incised calligraphic signature on its base and the Chinese government red wax seal of antiquity, fourth quarter 19th century, h. 4‑1/4”; and a pair of Kuang Hsu blue and white porcelain beakers in “Phoenix and Foliage” decor, h. 2‑1/2”, dia. 3”. [75/125] 684 Chinese Export Porcelain Two-Handled Soup Tureen, first quarter 19th century, the blue and white porcelain in “Lakeside Pavilions” decor, of oval form, the gently domed cover centered with a pomegranate finial, the double handles braid-entwined, h. 8‑1/2”, w. 10‑3/4”, d. 8‑3/4”. [1200/1800]

695

694

685 Chinese Export Porcelain Roasted Meats Platter, ca. 1815, of deep oval form in “Green Fitzhugh” decor, h. 1‑3/4”, w. 12”, l. 14‑1/4”. Ex-collection: Lawrence Rockefeller, New York. [1500/2500]

691

686 Good Four-Piece Group of Chinese Export Gilded Black Lacquer Items, comprised of a rare diminutive “cave a parfum”, modeled as a lift-top chest and fitted with a pair of glass scent bottles for “Wisteria Blossom” and “Sandalwood”, first quarter 20th century; a “deux couleur”gilded oblong pen case in “Mandarins Tea Party” decor, second quarter 19th century; an unusual oblong triple-compartment desk stamps box in “Mandarins” decor, third quarter 19th century; and a circular powder box in “Fuchsias” decor, fourth quarter 19th century; the largest h. 1”, w. 7‑3/4”, d. 2‑1/4”. [150/300]

687 Imposing Kuang Hsu Porcelain Covered Vase, fourth quarter 19th century, of “Temple Jar” form in cerulean blue and white in an overall “Precious Objects” patterning, the high-domed cover centered with the figure of a seated Foo dog in cerulean, h. 27‑1/2”, dia. 14‑1/2”. [300/500] Illustrated 688 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] 689 Large Pair of Kuang Hsu Celadon Porcelain Covered Vases, first quarter 20th century, of narrow-ribbed form in the Ming Dynasty style, each with an underglaze blue reign mark on the base, h. 16‑1/2”, dia. 10”. [300/500]

695 Chinese Red-Lacquered Altar Table, first quarter 20th century, the rectangular top with raised scroll-carved ends, above a pierced and carved frieze raised on cabriole legs joined by end stretchers and ending in scroll feet, h. 34‑1/2”, w. 41‑1/2”, d. 12”. [300/500] Illustrated 696 Chinese Carved, Pierced and Rosewood-Stained Wooden Birdcage, first quarter 20th century, in the form of a pagoda, now fitted as a chandelier with a pendant three-light interior fixture, h. 32”, w. 13‑1/4”, d. 13‑1/4”. [75/125]

699

690 Group of Two Oriental Vases/Lamps, one a good 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 chevronpleated white card shade and an inverted polished brass oviform finial, h. 12”. [200/400] 691 Seven-Piece Collection of Kuang Hsu Polychromed Porcelain Figures, of the “The Party-Goers”, first quarter 20th century, comprised of an elderly white-bearded standing toper, a robed seated figure with a jug raised to the lips, a seated paunchy figure with his libation cup, a seated robed and black-bearded figure playing with a castanet, a bleary robed figure reclining against a basket of flowers, a black-bearded reclining figure with a giant drinking gourd, and a similar figure with a black mustache and goatee reclining on an empty wine barrel, the largest h. 4‑1/2”, l. 7‑1/2”. [300/500] Illustrated 692 Group of Three Foo Dogs, comprised of a pair of Kuang Hsu “Bleu Persan”-glazed porcelain examples, unusually configured recumbent on oval fret-detailed bases, first quarter 20th century, h. 5”, w. 5”, d. 2‑1/2”; and a large and elaborately carved cafe-au-lait marble chop of square section with a Foo dog-and-pup finial. [200/400] 693 Chinese Red-Lacquered Low Table, first quarter 20th century, the square banded top over a pierced and carved frieze, raised on cabriole-form legs ending in pad feet, h. 11‑1/2”, w. 26”, d. 26”. [300/500] 694 Chinese Red-Lacquered Blanket Rack, first quarter 20th century, the dragon-carved top rail over two lower rails cornered by pierced and carved brackets, raised on splayed, curved legs, h. 63”, w. 51”. [300/500] Illustrated

697 Group of Two Chinese Objects, fourth quarter 19th century, one a Kuang Hsu pierced and carved mahogany looking glass, with the period tastefully disintegrating plate, h. 28”, w. 10‑3/4”; and the other a well-carved cinnabar panel now framed in bronze-patinated bamboo within a large deep bamboo frame with a wood-grained silvered paper backplate, h. 11‑1/4”, w. 12”. [100/200] 698 Attractive Chinese “Ancestor” Portrait Scroll, depicting a seated empress in the Ch’ien Lung style, mounted with cafe-au-lait figured and white-on-white damask borders, the basal edge with blue and white porcelain finials/weights, w. 24‑1/2”, l. 55”. [100/200] 699 Pair of Kuang Hsu Incise-Carved and “Bleu Persan”Glazed Porcelain Vases, fourth quarter 19th century, of baluster form in “Peony” decor, now mounted as table lamps on antique Chinese carved giltwood bases, fitted with custom bone-white linen shades of oblong paneled form, h. 11‑1/4”, dia. 4‑3/4”. [700/1000] Illustrated

700 Large Pair of Kuang Hsu Porcelain Figures of Foo Dogs, fourth quarter 19th century, in the Ming style, each dog modeled seated on draped reticulated oblong pedestals, one dog with its forepaw atop a reticulated sphere, the other with its forepaw restraining a playful Foo pup, the whole in gloss- and-matte-glazed bleu persan and purple, h. 16‑1/2”, w. 7‑1/2”, d. 4‑3/4”. [450/700]

708 706

707

705

704

701 Attractive Kuang Hsu Celadon Porcelain Tea Jar, fourth quarter 19th century, of small size and incise-carved in the Ch’ien Lung style, h. 3‑1/2”, dia. 3‑1/2”. [75/1250] 702 Group of Two Oriental Jade Items, first quarter 20th century, one a Kuang Hsu carved gray-to-russet jade miniature libation cup in the Ch’ien Lung style, h. 2‑1/2”; and the other a similarly hued carved jade leafform cabinet bowl, presented on a customcarved footed Chinese hardwood base, w. 2‑3/4”, l. 3”. [100/200] Illustrated

703

702

704 Chinese Carved “Flambe” Jade Covered Cabinet Vase, fourth quarter 19th century, in the 18th-century Ch’ien Lung style, elaborately carved and flower-mantled, h. 5‑1/2”, w. 3‑1/2”, d. 1‑3/4”. [150/300] Illustrated

703 Kuang Hsu Carved Jade Figure of a Gentlewoman, first quarter 20th century, the translucent pale gray and carnelian figure depicted bearing a fan and a cluster of grapes, presented on a circular turned hardwood stand of cushion form, h. 6”. [75/125] Illustrated

712

705 Kuang Hsu Carved Jadeite Figure of a Black Moor Goldfish, first quarter 20th century, exuberantly carved from gray-green stone, presented on a custom carved double-footed Chinese hardwood base in “Root” decor, h. 3”, w. 4”, d. 4‑1/2”. [100/200] Illustrated 713

706 Pair of Chinese Carved Pale Green Jade Figures, depicting luxuriantly maned standing Foo dogs in the Ming Dynasty style, presented on conforming custom carved Chinese hardwood tiered stands, h. 4”, w. 2‑1/4”, l. 4‑1/2”. [200/400] Illustrated 707 Kuang Hsu Elaborately Carved Green Jade Covered Vase, first quarter 20th century, of tripodal form with ringed elephant-masque handles and a seated snarling Foo-dog finial, presented on a custom carved and blacklacquered wooden stand of oval, footed form, h. 8‑1/2”, w. 8”, d. 5”. [250/400] Illustrated 708 Kuang Hsu Carved Pale Pea-Green Jade Covered Vase, first quarter 20th century, with ringed Foo-dog handles in the Ming Dynasty style, the cover with an elaborate ringed Peach of Immortality finial, presented on a custom highly carved Chinese hardwood stand of tiered shuttle form, h. 8‑1/2”, w. 5‑1/4”, d. 2‑1/4”. [200/400] Illustrated

709 Kuang Hsu Floral-Enameled Celadon Porcelain Vase, fourth quarter 19th century, of baluster form, h. 9‑3/4”, dia. 5‑1/2”. [50/80]

714

710 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]

711 Collection of Three Plates, composed of a Tao Kuang richly enameled celadon porcelain shallow sweetmeats bowl in “Mandarins” decor with an elaborate “Precious Objects, Flowers, and Butterflies” border, second quarter 19th century; a Maastricht, Holland, transfer-printed and polychrome-overglazed chinoiserie ironstone dessert plate in “Timor” decor, third quarter 19th century; and a Minton blue and white porcelain dessert plate in “Chinese Dragon Bird” decor, dated by British Design Registration lozenge, March 3, 1853, with an impressed underglaze mark “MI Minton/”, plus decorator marks in iron red; the other pieces fully backstamped, the largest dia. 11”. [100/200]

718

716

712 Good Kuang Hsu Bronze Two-Handled Vase, fourth quarter 19th century, patinated and pale buff enameldetailed in the Archaic style, presented on a circular tiered Chinese carved hardwood display stand, h. 14‑1/4”, dia. 9”. [200/400] Illustrated

713 Japanese Meiji Patinated Bronze Table Brazier, fourth quarter 19th century, of covered, two-handled and footed vasiform, the domed and pierced cover with a finial of a seated Foo dog, presented on a custom carved hardwood stand of stylized flat-cloud form, h. 15”, dia. 10”. [200/400] Illustrated 714 Pair of Kuang Hsu Patinated Bronze Panther-Handled Vases, fourth quarter 19th century, in the Sung Dynasty style, each large vase on a circular footed Chinese mahogany stand and fitted with a custom rosewood cover, h. 17”, w. 7‑1/2”, d. 7”. [200/400] Illustrated

715 Kuang Hsu Patinated Bronze and Champleve Enamel Table Brazier, fourth quarter 19th century, of two-handled and footed form with a Foo-dog cover finial, h. 7‑1/2”, w. 6”, d. 4‑3/4”. Provenance: A St. Charles Avenue, mansion, New Orleans. [75/125]

732 731

716 Monumental Pair of Kuang Hsu Prancing T’ang Dynasty-Style War Horses, first quarter 20th century, elaborately carved, stained, patinated and parcel-gilded, the elaborately caparisoned equine figures designed to face properly left and right, h. 43‑1/2”, w. 15”, l. 48”. [1500/2500] Illustrated previous page 717 Chinese Dark Brown-Patinated Metal Figure of an Ancient Sage, the standing figure clad in official robes atop a rockwork base holding a ruyi scepter, on a custom painted and backlit wooden base, h. 32”, with stand 60”. [250/400] 718 Chinese Black-Lacquered Four-Panel Folding Screen, with parcel-gilded, tinted carved bone- and composition-set decoration in the 18th-century Ch’ien Lung taste, the obverse with tinted bone and composition figures of well-born ladies and children disporting themselves in a pavilion garden, the reverse with gilded “Four Seasons” decoration, all on a black ground, h. 72”, w. 72”. [500/800] Illustrated previous page

730

720 English Ebonized Papier-Mache Slope-Front Child’s Laptop Desk, third quarter 19th century, of diminutive size with mother-of-pearl accents, the slant-front lid floral polychromed and nacre-inlaid, the interior fitted with the period embossed scarlet velvet writing surface and fitted with a trio of compartments for, respectively, nibs, pens and ink bottle, retains the diminutive steel key with an openwork trefoil finial, h. 3”, w. 10”, d. 8”. [150/300]

719 Good French Miniature Carved Mahogany Sofa, first quarter 20th century, in the Restauration style, the stiles modeled as demi-swans with their wings upraised, the seat rail carved with five equidistant quatrefoils, upholstered in deep garnet silk velvet, h. 19”, w. 31”, d. 14‑1/2”. [100/200]

728

721 Group of Three Child’s Chairs, consisting of a Chippendale-style mahogany sidechair with balland-claw feet; a Duncan Phyfe-style mahogany rocking chair, early 20th century; and a faux-grained rosewood spindle-back chair with caned seat, late 19th century; the largest h. 37‑1/2”, w. 14‑1/2”, d. 14‑1/2”. [150/300] 722 Interesting Child’s Two-Part Dressing Bureau, late 20th century, in the form of a gingerbread doll’s house, composed of polychromed wood and Formica, the upper section having a pitched roof above a central mirrored cavity and flanked by open shelves with spindled railings, the base with three long drawers, h. 74”, w. 40”, d. 18”. [300/500]

729

723 Large American Provincial Hobby Horse on Glider, composed of carved and painted wood, horsehair, leather and tube iron, the steed with a leather saddle, long horsehair tail and mounted to a back-and-forth swing on wooden runners, h. 32”, w. 10”, l. 36”. [300/500]

teacups, the largest h. 3‑1/2”, w. 3”, l. 6‑1/4”. [75/125] 27 Unusual American Cast-Iron Locomotive Engine, first quarter 20th century, the wheels reticulated and movable, retains the untouched “as found” period black-painted finish, h. 7‑3/4”, w. 5‑3/4”, l. 13”. [75/125]

734 733

728 Large Wall-Mounted Trophy Swordfish, presented with a fully flared faux dorsal fin, h. 54”, l. 9”. [400/700] Illustrated 729 Large Taxidermy-Mounted Mountain Lion, modeled on the prowl, h. 15”, w. 24”, l. 60”. [300/500] Illustrated 730 Rare Taxidermy-Mounted Black Mallard in Flight, w. 28”, l. 19”. [100/200] Illustrated 731 Taxidermy-Mounted Green Wing Teal in Flight, w. 19”, l. 11”. [100/200] Illustrated

737

732 Taxidermy-Mounted Drake Mallard in Flight, w. 30”, l. 21”. [100/200] Illustrated

736

733 Taxidermy-Mounted Wood Duck, modeled standing on a piece of driftwood, h. 15‑1/2”, w. 10”, d. 14”. [100/200] Illustrated 734 Taxidermy-Mounted Ringneck Rooster Pheasant, h. 9”, w. 23”, d. 14”. [75/125] Illustrated 735 Rare Taxidermy-Mounted Female Spike-Horned Antelope, h. 26”, w. 12”, d. 18”. [200/400]

736 Taxidermy ShoulderMounted EightPoint White Tail Deer, presented on a shield -form wooden plaque, h. 24”, w. 13”. [150/300] Illustrated

724 American White-Painted Wicker Hooded Baby Carriage, first quarter 20th century, the interior fitted with a conforming mattress pad upholstered in pink flannel, lined in lace-edged pink flannel and fitted with a square lace-overlaid pink cotton pillow, retains the period tires, now painted matte white, h. 34”, w. 16‑1/4”, l. 38”. [10/20] 725 Charming Child’s-Size Ash and Embossed Leather Rocking Chair, of campeche form, h. 23‑1/2”, w. 17‑1/2”, d. 25”. [30/50] 726 Good Six-Piece Staffordshire Pottery Child’s Partial Tea Service, for two persons, second quarter 19th century, comprised of a covered teapot, a covered sugar basin, a waste bowl, a cream pitcher and two

738

737 TaxidermyMounted Male Prong-Horned Antelope, h. 20”, w. 11”, d. 22”. [200/400] Illustrated

738 Large Shoulder-Mounted Twelve-Point Elk Head, h. 55”, w. 38”, d. 38”. [500/800] Illustrated previous page

741

739 Large Antler-Mounted Moose Rack, presented on a shield-form wooden plaque, h. 36”, w. 54”, d. 21”. [300/500] 740 Taxidermy-Mounted Eight-Point White Tail Deer, presented as a shoulder mount on a shieldform wooden plaque, h. 27”, w. 16”. [150/300] 741 Taxidermy-Mounted Ring-Neck Rooster and Hen Pheasant, presented in a deep shadowbox frame with a scenic painted background, h. 24‑1/4”, w. 37‑1/4”, d. 9‑1/4”. [100/200] Illustrated 745 After Pablo Picasso (Spanish, 1881‑1973) “Maternite”, etching and color aquatint, engraved by Jacques Villon, 1930, full margins, bearing an inventory number in pencil lower right, pencil title and name of artist, sheet size 35‑1/2” x 24‑1/2”. Glazed, matted and framed. [6000/9000] Illustrated Color Plate X 746 Walter Battiss (South African, 1906‑1982) Fragments of Africa, published by Red Fawn Press, Pretoria, RSA, 1951, autographed edition 65/250, includes nineteen lithographs, eighteen of which are titled and with cut-out covers, preface by Herman J. Hahndick and introduction signed with the initials “W.B.”, back page flap, and front page flap printed with the folio title, artist’s and publisher’s name, 18” x 12”. The whole within a paperwrapped card cover. [2200/4000] Illustrated 747 Leonor Fini (Argentinian, 1908‑1996; Active Italy and France) “Untitled”, color etching, signed in pencil lower right, numbered in pencil lower left “270/275”, 17” x 14‑1/4”. Unframed [400/700] Illustrated

744 suite of eight

748 Aristide Maillol (French, 1861‑1944) “Study of a Nude”, lithograph, initialed lower left “M”, 17‑1/2” x 12”. Unmatted and unframed. Provenance: The Columbus Museum, Columbus, Georgia. [150/80]

742 Louisiana Alligator Hide, w. 19”, l. 72”. [300/500] Illustrated 743 Taxidermy-Mounted Snow Hare, h. 16”, w. 14”, d. 8”. [75/125] 744 After Henri Toulouse-Lautrec (French, 1864‑1901) “Achetez Les Belles Violettes, Berceuse, Ce Que Dit La Pluie, Eros Vanne, Floreal, Le Secret, Les Vieux Messieurs”, suite of eight 1952 offset lithographs of the song sheets, sight 10” x 8”. All attractively glazed, matted and framed. [800/1200] Illustrated

742

750 Suite of Nine Wrought-Iron Garden Fence Panels, composed of circular and S-form designs, the tallest h. 82”, w. 34‑1/4”. [400/700] 751 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”. [100/200]

745

749 Mediterranean-Style Wrought-Iron Floor Candelabra, with six scrolling arms, on a twist-formed pedestal ending in splayed legs on scroll feet, h. 59”, w. 25”, d. 20”. [100/200] 747

746

746 detail

755

755 Striking Pair of Turkish Silver-Inlaid BlackPatinated Bronze Vases, fourth quarter 19th century, of baluster form, the tapered bodies centered with a broad band of three equidistant silver-inlaid reserves in Kufic script, the remainder of the bodies inlaid with interlaced silver tracery, h. 14‑1/4”, dia. 4‑3/4”. [100/200] Illustrated 756 Persian Glazed Pottery Vase, second quarter 19th century, of two-handled pyriform in the traditional style, glazed in satin black, green and brown, h. 8‑1/2”. [50/80] 757 Two Egyptian Cast-Iron Garden Gate Panels, first half 20th century, one in the Art Deco style, composed of stylized scroll and Greek-key forms, the other in the Belle Epoque style, composed of interlacing scrolling forms, h. 29”, w. 56‑1/2”. [100/200]

768

767 752 Suite of Five Middle Eastern Hardwood Door Panels, first quarter 20th century, all intricately pierced and carved, the largest h. 80‑1/2”, w. 19”. [300/500] 753 Two Middle Eastern Painted Door Panels, first quarter 20th century, both intricately pierced and carved, h. 36‑1/4”, w. 56‑1/2”. [200/400] 754 Middle Eastern Hardwood Door, fitted with an arched open panel above an intricately carved lower panel, flanked to one side by a pierced and spindle-carved long narrow panel, h. 78‑1/2”, w. 48‑1/2”. [100/200]

762

758 Five-Piece Group of Items Related to Egypt, consisting of a Dartmouth, Devon, England, Art Deco Pottery Vase, second quarter 20th century, the sage green-glazed vase in “Lotus” decor, the base marked in raised letters DARTMOUTH/DEVON/ ENGLAND, h. 7”, l. 13‑1/2”; an English hand-painted glass condiments jar depicting a camel and driver on the Giza Plateau, fitted with a silverplate lid marked “EPNS/A&Co.B/Made in England”, h. 4‑1/4”; a porcelain circular dish in traditional Egyptian decor, the reverse marked “Made in Japan”, dia. 5‑1/2”; a gilt-brass King Tut funeral mask pendant marked “MMA‑1976”, produced by the Metropolitan Museum of Art to commemorate the “Treasures of Tutankhamun” tour, h. 2‑1/2”; and an elaborate metal and faience scarab-decorated costume necklace, l. 14”. [60/90]

773 772

759 Group of Two Exotic Boxes, first quarter 20th century, consisting of a striking North African walnut-, motherof-pearl- and tinted shell-veneered desk box of oblong, footed form, h. 5”, w. 6‑3/4”, d. 4‑1/2”; and a smaller Middle Eastern bone- and silver alloy-inlaid fruitwood table box of oblong form in the traditional spoked motif, h. 2‑1/4”, w. 7‑1/4”, d. 5‑1/4”. [450/700] 760 Pair of West African Carved and Patinated Wood Figures, first quarter 20th century, depicting, respectively, a nude male and a nude female, both with their arms extended, the male figure holding a gather of twigs in his extended proper left hand, both presented on matching square ebonized wooden stands, h. 23”. [300/500] 761 Anglo-Indian Chromium and Horn-Handled Magnum Desk Magnifier, the handle honeycomb carved, l. 9”. [75/125] 762 Large Pair of Indian Carved Wooden Horses, first quarter 19th century, modeled saddled and bridled in the Moghul Style, presented on custom oblong blacklacquered wooden bases, h. 25”, w. 9‑3/4”, l. 18”. [800/1200] Illustrated 763 Indo-Pakistani Turned and Polished Mocha Marble Footed Comport, in the neoclassical idiom, h. 9‑1/2”, dia. 10”. [100/200] 764 Suite of Three Wrought-Iron Candlesticks, of scrolling form, h. 23‑1/2”, w. 15”, d. 15”. [100/200] 765 Pair of Wrought-Iron Garden Gate Transoms, first quarter 20th century, each of fan form with interlocking scrolling designs, h. 27‑1/4”, w. 54”. [100/200] 766 Pair of Wrought-Iron Garden Gate Transoms, first half 20th century, of arched interlocking S-form, h. 23‑1/2”, w. 47”. [100/200]

774

767 Anglo-Asian Bamboo Magazine Rack, the crossbar handle above a case fitted with three magazine compartments, one side centered by a lacquered and giltstenciled panel, the other with a lacquered and parquetryinlaid panel, raised on slightly splayed legs, h. 24‑1/2”, w. 16‑1/4”, d. 8‑3/4”. [100/200] Illustrated 768 Anglo-Indian Bamboo Umbrella Stand, of rectangular form with two compartments, the crest inset with two Art Nouveau-style glazed ceramic tiles, h. 35”, w. 17‑1/2”, d. 9”. [150/300] Illustrated 769 Indonesian Elaborately Carved Wooden Demon’s Mask, first quarter 20th century, polychromed and parcelgilt, the eyes of porcelain, the head surmounted by a giltwood coronet, the locks of charcoal-black horsehair, h. 14‑1/2”, w. 9‑1/2”, d. 4‑1/2”. [100/200] 770 Suite of Three Hardwood Window Frames, first quarter 20th century, each upper section inset with two glazed panels, the backs inset with mesh and spindled carvings in a square pattern, h. 60”, w. 35‑1/2”, d. 4‑3/4”. [100/200] 771 Suite of Eight Tall Hardwood Window Panels, first quarter 20th century, of shadowbox form, inset with a spindled grille, some having doors inset with glazed panels, h. 59”, w. 22‑3/4”, d. 4‑3/4”. [200/400] 772 Near Pair of Full Fossilized and Gloss-Polished Ammonite Shells, h. 5”, w. 6”, d. 1‑1/2”. [150/300] Illustrated 773 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”. [300/500] Illustrated 774 Graduated Pair of Fossilized, Cut and Polished Ammonite Shells, h. 5‑1/4”, w. 6‑1/2”, d. 1‑1/2”. [200/400] Illustrated

777 Turkish Angora and Silk Oushak Carpet, 10’ x 14’ 3”. [3000/5000] Illustrated 775

778 Agra Carpet, 8’ x 10’. [100/200] 779 Bhadohi Jaipur Carpet, 7’ 10” x 10’ 2”. [600/900] Illustrated 780 Persian Prayer Carpet, 2’ 1” x 6’ 8”. [200/400] 781 Jaipur Carpet, 4’ 1” x 6’ 1”. [200/400]

775 Trio of Cut and Polished Natural Red Coral, all three specimens of branch-like configuration, the largest l. 10‑3/4”. [150/300] Illustrated 776 Shiraz Carpet, 3’ 9” x 9’ 8”. [100/200]

779 782 Peshawar Sultanabad Carpet, 8’ 1” x 10’. [1000/1500] Illustrated 783 Indo-Oushak Runner, 2’ 8” x 10’. [200/400] 784 Agra Serapi Carpet, 12’ x 14’ 10”. [2000/4000] Illustrated 785 Persian Tabriz Carpet, 6’ 9” x 10’. [400/700]

777

782 786 Agra Serapi Carpet, 9’ x 12’. [1200/1800] Illustrated Color Plate IV

786 789 Semi- Antique Persian Heriz Carpet, 8’ x 10’ 10”. [1200/1800] Illustrated

787 Persian Hamadan Runner, 3’ 8” x 9’ 8”. [200/400] 788 Persian Bakhtiari Runner, 3’ 5” x 14’ 6”. [200/400]

784

789

790 Persian Mahal Carpet, 3’ 7” x 10’ 3”. [200/400] 791 Bokhara Carpet, 8’ 3” x 11’ 7”. [300/500] 792 Agra Serapi Carpet, 8’ x 10’. [900/1200] Illustrated 793 Shiraz Carpet, 8’ 9” x 3’ 8”. [400/700] 794 Angora Oushak Carpet, 6’ 3” x 8’ 8”. [1000/1500] 795 Semi-Antique Heriz Carpet, 9’ x 13’. [1500/2500] Illustrated Color Plate IX 796 Shiraz Runner, 4’ 9” x 15’. [100/200] 797 Shiraz Carpet, 5’ 7” x 7’ 9”. [200/400] 798 Shiraz Carpet, 3’ 6” x 5’. [150/300] 799 Silk Tabriz Carpet, 5’ 7” x 6’ 5”. [200/400] 800 Persian Kashan Carpet, 10’ 1” x 13’ 5”. [500/800] Illustrated

792

795

800

Online Catalogue: www.stcharlesgallery.com

Session II

Sunday, September 26, 2010 11:00 a.m. (Lots 801-1499)

801 Franco-Belgian Reliquary, 19th century, combining fragments of various saints and bones, their names inscribed in ink on pieces of paper, centered by a miniature painting of two saints in monk’s habits, surrounded by quillwork and forming an altar, mounted on royal blue velvet and presented in an oval shadowbox frame, the reverse with a red inventory seal, h. 3‑5/8”, w. 3”. [1500/2500] Illustrated Color Plate III

801

803

805 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”. [400/700] Illustrated 802 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] 803 French Champleve Enamel, Gilt-Brass and Porcelain Benitier, fourth quarter 19th century, on a white alabaster backplate, the champleve plaque centered with an oval portrait miniature on a covered champleve holy water font, the enamel plaque surmounted by a short cross, h. 11‑1/2”, w. 7‑1/4”, d. 2”. [1000/1500] Illustrated 804 American Oak-Cased Priest’s Traveling Holy Communion/Last Rites Service, first quarter 20th century, comprised of a crucifix-centered two-light silverplate candelabrum centered with a coquiform holy water font, a pair of small silverplate patens emblazoned IHS, a silverplate server of pap boat form, and an enameled glass holy water vial, the case interior fitted and lined in gathered purple fabric, the oak case mounted on the lid with a gilt-brass cross, h. 4‑1/2”, w. 10‑3/4”, d. 11‑1/2” [150/300]

100

805

806 Shadowboxed Crucifix and Last Rites Rosary, first quarter 20th century, the Italian gilt-lacquered brass shadowboxed crucifix against a pale blue and pink dawn sky, composed of giltlacquered brass with polychromed brass floral decoration at the basal corners and the crest rail, the glazing convex, h. 20”, w. 13”; the beaded ebonized wood Last Rites rosary of large size, l. 64”. [100/200] Illustrated

807 American Traveling Sick Call Set, composed of ebonized wood, bronze-patinated metal and black card, consisting of a crucifix with a shell-form holy water font surmounting its scrolled metal feet, the crucifix surmounting a metal-mounted ebonized wooden base, the facade with a Last Supper basrelief plaque, the back with a card drawer containing a silverplate paten, a silverplate-handled oils brush, a silverplate server of pap boat form, and a large ebonized wood beaded rosary with a crucifix pendant, h. 22”, w. 8”, d. 6”. [150/300] Illustrated

807 806 808

808 Italian Crucifix-on-Stand, fourth quarter 19th century, composed of elaborately carved, polychromed and parcel-gilt wood, plaster and giltbrass in the Baroque style, with a gilded Lamb of God at the base of the cross, presented on a circular tripodal black-painted wooden glass parlor dome base, h. 14”, w. 4‑1/4”, d. 3”. [100/200] Illustrated

810 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] 811 After Michelangelo Buonarroti (Italian, 1475‑1564) “Madonna and Child”, facsimile print, sight 12‑3/4” x 9‑1/4”. Glazed, matted and presented in a blond wood frame. [40/70] 812 Good Black-Flecked White Saga Fox Lady’s ThreeQuarter Coat, of classical cut, the interior lined with taupe satin and fully labeled at the neck, l. 36”. [150/300] Illustrated

809

812

809 Follower of Bartolome Esteban Murillo (Spanish, 1617‑1682) Virgin and Child with Angels and St. Joseph”, oil on needlepoint fabric, unsigned, first quarter 20th century, 68” x 48‑1/4”. Presented in a Louis XVI-style giltwood and gesso frame. [3000/5000] Illustrated Color Plate VII

101

817 Fourteen-Karat Yellow Gold, Ruby and Diamond Lady’s Ring, composed of a central rectangular standard step-cut natural ruby, weighing 7.88 carats, set within a tiered bead-set round brilliant-cut white diamond bezel supported by white diamond-set split shoulders, total weight of white diamonds 1.28 carats, size 7.5. [1800/2500] Illustrated Color Plate XII

813 813 Rare Lady’s Platinum and Diamond Patek Philippe Octagon Cased Wrist Watch, retailed by Shreve & Company, San Francisco, the octagonal case set with an estimated 1.0 carat of round brilliantcut white diamonds and conforming octagonal crystal over a silvered face with black enamel Arabic numerals, attached to original braided silk bracelet, the eighteenjewel movement bearing serial number 195589. [3000/5000] Illustrated Color Plate XII

818 Fourteen-Karat Yellow Gold, Ruby and Diamond Lady’s Ring, composed of a central oval mixed-cut natural ruby, weighing 6.12 carats, set within a single row channel-set round brilliant-cut white diamond bezel, supported by a yellow gold lattice undercarriage, finished with prong-set round brilliant-cut white diamond shoulders, total weight of white diamonds 1.05 carats, size 7.5. [1500/3000] Illustrated Color Plate XII 819 Fourteen-Karat Yellow Gold, Ruby and Diamond Cluster Necklace, featuring a flexible ribbon of thirtyfive prong-set oval mixed-cut rubies, total weight 33.58 carats, and white diamond clusters set in a contiguous chevron-inspired design, total diamond weight 8.07 carats, with concealed clasp with safety, l. 17‑1/2”. [5000/8000] Illustrated Color Plate XII

814 Pair of Fourteen-Karat White Gold and Diamond Solitaire Earrings, composed of prong-set round brilliant-cut white diamonds, one weighing 1.01 carats and the other 1.02 carats, total diamond weight 2.03 carats. [3500/5000] Illustrated Color Plate XII 819

815 Fourteen-Karat White Gold and Diamond Lady’s Unity Ring, composed of a central prong-set round brilliant-cut white diamond, weighing 1.51 carats, set within an elaborate prong-, bead- and bezel-set round brilliant- and princess-cut diamond lattice gallery, total weight of accent diamonds 1.61 carats, size 7.5. [5000/8000] Illustrated Color Plate XII 816 Pair of Fourteen-Karat White Gold and Diamond Solitaire Earrings, composed of two prong-set round brilliant-cut white diamonds, one weighing 1.77 carats and the other 1.80 carats, total diamond weight 3.57 carats. [7000/10000] Illustrated Color Plate XII

814

102

815

818

817

816

820 Fourteen-Karat Yellow Gold, Sapphire and Diamond DemiParure, composed of a necklace set with oval-cut Australian blue sapphires and white diamonds and a pair of clip post earrings en suite. [2500/4000] Illustrated

821 Unusual Fourteen-Karat White Gold, Tanzanite and Diamond Ring, composed of a central pear mixed-cut natural tanzanite, weighing 3.24 carats, set within a stylized prong- and bead-set round brilliant-cut white diamond bezel and white diamond-set shoulders, total weight of white diamonds 1.10 carats, size 7.5. [2500/4000] Illustrated 822 Eighteen-Karat White Gold, Alexandrite and Diamond Lady’s Ring, composed of a central prongset oval mixed-cut natural alexandrite, weighing .64 carats, set within a delicate white diamond bezel and white diamond shoulders, comprised of thirty-six prong-set round brilliant-cut white diamonds, total diamond weight .28 carats, size 7. [1200/1800] Illustrated Color Plate XII

820

823 Fourteen-Karat White Gold, Sapphire and Diamond Lady’s Collar-Style Necklace, a flexible ribbon composed of a single row of eighty prong-set oval-cut natural blue sapphires, total weight 81.71 carats, bordered by five hundred twenty-one prong-set round brilliant-cut white diamond bar links, total diamond weight 5.61 carats, length 15”. [6000/9000] Illustrated Color Plate XII

821

822

824

824 Fourteen-Karat White Gold and Black and White Diamond Lady’s Ring, featuring a prong-set round brilliant-cut fancy black diamond, weighing 6.22 carats, set within a one hundred prong-set round brilliant-cut white diamond bezel and split shoulders, total white diamond weight 1.58 carats, size 7.5. [2500/4000] Illustrated

823

103

825 Rare Fancy Orange Diamond Pendant, with chain, featuring a prong-set round brilliant-cut fancy deep brownish/yellowish orange diamond, weighing 2.14 carats, set within a one hundred twenty-seven pave-set white diamond ribbon, weighing 0.46 carats, length of chain 18”. [3000/5000] Illustrated

825

828 Lady’s Fourteen-Karat White Gold and Yellow Diamond Ring, composed of a central radiant shapedcut yellow diamond, weighing 2.24 carats, set within a bead-set round brilliant-cut white diamond bezel, supported by a white gold lattice undercarriage and channel-set baguette-cut white diamond-set shoulders, total weight of accent diamonds 0.61 carats, size 7.5. [8000/12000] Illustrated Color Plate XII 829 Fourteen-Karat White Gold and Diamond Ring, featuring a central prong-set round brilliant-cut white diamond, weighing .43 carats, supported by six channelset single-cut white diamond-accented shoulders, weighing 0.30 carats, size 8. [1500/2500] Illustrated Color Plate XII

826 Fine Fourteen-Karat White Gold and Fancy Yellow Diamond Lady’s Ring, featuring a round brilliant-cut fancy light yellow diamond, weighing 2.71 carats, set within a single tiered bead-set round brilliant-cut white diamond bezel, supported by beadset round brilliant-cut white diamond-set shoulders, total weight of accent diamonds 1.22 carats, size 7.5. [6000/9000] Illustrated Color Plate XII

830 Eighteen-Karat White Gold and Diamond Unity Ring, featuring a central prong-set round brilliant-cut diamond, weighing .95 carats, supported by sixtytwo bead-set round brilliant-cut white diamond-set shoulders, weighing .66 carats, size 7. [3000/5000] Illustrated Color Plate XII

828

831 Dramatic Art Deco-Style Fourteen-Karat White Gold, Tanzanite and Diamond Lady’s Ring, composed of a central rectangular cushion mixed-cut natural tanzanite, weighing 4.66 carats, set within a tiered round brilliantcut white diamond bezel, supported by round brilliant-cut white diamond-set split shoulders, total weight of white diamonds 1.09 carats, size 7.5. [3000/5000] Illustrated Color Plate XII

832

831

826

827

827 Fine Twenty-Two-Karat Yellow Gold, Eighteen-Karat White Gold and Diamond Lady’s Ring, featuring a prong-set round brilliantcut white diamond, weighing 1.12 carats, mounted in a twenty-two-karat yellow gold basket with a white diamond trim set within an eighteen-karat white gold and white diamond bezel, supported by white gold and white diamond-set split shoulders, total weight of all surrounding white diamonds 1.10 carats, size 7. [4500/7000] Illustrated Color Plate XII

104

829 830

832 Fourteen-Karat Yellow and White Gold, Diamond and Tanzanite Ring, featuring a square cushion mixedcut natural tanzanite, weighing 6.85 carats, set within an unusual tiered bead- and bezel-set round brilliant-cut white diamond bezel, supported by white diamond-set shoulders, total weight of white diamonds 1.07 carats, size 7.5. [4000/7000] Illustrated Color Plate XII

834

833 Stunning Fourteen-Karat Yellow Gold, Aquamarine and Diamond Pendant, with chain, composed of a central prong-set oval mixed-cut natural aquamarine, weighing 62.76 carats, set within an elaborate one hundred twenty-two pave-set white diamond lattice gallery, total weight 4.49 carats, length of chain 18”. [6000/9000] Illustrated Color Plate XII

837

835 Beautiful FourteenKarat Yellow Gold, Aquamarine and Diamond Pendant, with chain, featuring a prong-set rectangular cushion mixed-cut natural aquamarine, weighing 52.27 carats, supported by a twenty-one beadset round brilliantcut white diamond crown, total diamond weight 0.41 carats, completed by a gold bail, length of chain 18”. [6000/9000] Illustrated Color Plate XII

833

835

834 Dramatic Fourteen-Karat Yellow Gold, Aquamarine and Diamond Cocktail Ring, composed of a rectangular mixed-cut natural aquamarine, weighing 31.63 carats, surrounded by a single row of thirty-two prong-set round brilliant-cut white diamonds, total weight of white diamonds 3.27 carats, size 7.5. [4000/7000] Illustrated Color Plate XII

839

836

836 Eighteen-Karat Gold and Diamond Heart Unity Ring, featuring a prong-set heart-shaped natural fancy dark orange-brown diamond, weighing 2.94 carats, supported by white diamond-set shoulders with sixteen channelset baguette-cut white diamonds flanked by twenty-four prong-set round brilliant-cut white diamonds, total weight of white diamonds 0.75 carats, size 7. [9000/12000] Illustrated

837 Fourteen-Karat Yellow Gold, Emerald and Diamond Pendant, with chain, composed of a central prong-set pear mixed-cut natural emerald, weighing 20.91 carats, surrounded by a single row of twenty-four prong-set round brilliant-cut white diamonds, total diamond weight 2.55 carats, completed by a yellow gold bail, length of chain 18”. [9000/12000] Illustrated 838 Fourteen-Karat Rose Gold, Emerald and Diamond Ring, featuring a prong-set square step-cut natural emerald, weighing 11.74 carats, set within a bezel of white diamonds, supported by an elaborate one hundred twelve bead- and bezel-set round brilliant-cut white diamondset under gallery and white diamond-set shoulders, total diamond weight 1.91 carats, size 7.5. [5000/8000]

105

839 Elaborate Silver, Gold, Amethyst and Diamond Lady’s Cocktail Ring, featuring one bezel-set round cabochon-cut natural amethyst, weighing 33.72 carats, set within an elaborate one hundred twenty-two beadset round brilliant-cut white diamond lattice gallery, supported by white diamond-set shoulders, total white diamond weight 2.01 carats, with a bright and anodized finish, size 7.5. [2500/4000] Illustrated previous page and Color Plate XII 840 Two Lady’s Dress Wristwatches, comprised of an Allsopp & Allsopp platinum-top, eighteen-karat white gold case watch in the Art Deco style with a diamondand emerald-set rectangular case; together with a Tomax white base metal watch. [75/125] 841 Good Elgin Fourteen-Karat Yellow Gold Hunt Case Watch, ca. 1900, composed of a hand-engraved yellow gold hunt case with a white enamel face with black Roman numerals and a second dial, the case with elaborate engraving. [200/400] 842 European Fourteen-Karat Yellow Gold, Opal and Diamond Brooch, designed as a group of bamboo branches set with nine precious opal cabochons in two sizes and fourteen mixed-cut white diamonds. [75/125] 843 Two-Piece Set of Gold and Pearl Jewelry, comprised of an eighteen-karat yellow gold and pearl bracelet by Mikimoto, composed of a single strand of cultured pearls and a yellow gold and pearl bow-shaped clasp; along with a pair of fourteen-karat yellow gold and mabe pearl stud earrings. [100/200] 844 Three-Piece Suite of Peruvian Eighteen-Karat Yellow Gold and Pearl Jewelry, comprised of a bangle bracelet, brooch and a pair of earrings, each with textured gold leaves set with grape clusters made from freshwater pearls. [100/200]

845

851

853

850

852

845 Tahitian Cultured Black Pearl Necklace, composed of a graduated single strand of thirty-five Tahitian pearls ranging from 11.00 mm to 15.00 mm in size. [2500/4000] Illustrated Color Plate XII 846 Three Pairs of Fourteen-Karat Yellow Gold and Gemstone Earrings, comprised of a pair of diamond-set floral drops, a pair of pear-shaped peridot drops, and a pair of pearl and diamond drops. [125/250] 847 Group of Three Antique American Bar Pins, ca. 1880‑1920, each in low karat yellow gold and set with gemstones, one of crop design set with a pearl, another an Art Nouveau pin set with a synthetic ruby and diamond, and the third an Art Deco example set with a diamond, sapphires and pearls. [100/200] 848 Fourteen-Karat Yellow Gold Lady’s Waltham Hunt Case Watch, the engraved yellow gold case enclosing a white enamel face with black numerals and a second dial, suspended on a curl link chain, chain l. 21”, watch l. 1‑3/4”, dia. 1‑1/4”. [75/125] 849 Group of Four Lady’s Evening Bags, comprised of a gilt-brass-framed floral petit-point example with a double gilt-brass carrying chain, first quarter 20th century; a beaded pouch bag with morning glories, roses and sweet peas, loop-beaded basal fringe and the period drawstring, fourth quarter 19th century; a French turquoise and white lattice-beaded clutch bag, first quarter 20th century; and a smaller shirred pea-green bag fitted with a beaded fingergrip at one side, second quarter 20th century; the largest h. 9”, w. 8”. [200/400] 850 Two Italian Shell Cameo Brooches, both carved from two-color shell with female portraits and mounted in fourteen-karat yellow gold frames in bezels and twisted gold rope. [100/200] Illustrated

8 106

859 Tiffany & Company Silver and Gold Circle Brooch, in the form of entwined circles, each composed of twisted silver wire wrapped with a single twisted fourteen-karat yellow gold wire, dia. 1‑1/4”. [60/90] 860 Good Navaho Silver and Turquoise Squash Blossom Necklace by Phil Chapo, composed of a central horseshoe-shaped pendant flanked on either side by six blossoms, the horseshoe and blossoms set with rough cut turquoise, the reverse of the pendant signed. [300/500]

863 851 Two Fourteen-Karat Yellow Gold Italian Cameos, both female portraits, one in pale coral and one in twocolor shell, both in fourteen-karat yellow gold frames. [150/300] Illustrated 852 Two Italian Shell Cameos, the larger a brooch, the smaller a pendant, both in two-color shell with female portraits and in fourteen-karat yellow gold frames. [100/200] Illustrated 853 Italian Fourteen-Karat Yellow Gold Cameo Brooch, composed of a two-color Italian shell cameo in a foliate and ribbon mounting surrounding the central cameo. [250/400] Illustrated

861 Lady’s Fourteen-Karat White Gold Elgin “Giant” Wrist Watch, ca. 1935, of elongated octagonal outline with engraved silvered face and black Arabic numerals, with seventeen-jewel movement by A. Montandon, Switzerland, with navy cloth ribbon bracelet, face w. 7/8”, l. 1‑1/4”. [400/700] 862 Lady’s Fourteen-Karat White Gold and Diamond Bulova Wrist Watch, ca. 1950, of circular form with white diamond-set case and black woven silk bracelet, the seventeen-jewel movement by Bulova Watch Co., Switzerland, face w. 3/4”, l. 1”. [250/400] 863 American Late Classical Mahogany Pier Table, second quarter 19th century, the front frieze below a deck fitted with a drawer and supported by large scrolled brackets, the base with a thick shaped lower shelf and raised on large carved paw feet, h. 34”, w. 44‑1/4”, d. 16‑1/2”. [600/900] Illustrated

854 Fourteen-Karat Yellow Gold and Gemstone StraightLine Bracelet, composed of square-cut emeralds, rubies and sapphires in bezel mounts set in yellow gold links. [300/500] 855 Group of Thirteen Pieces of Gold-Filled Jewelry, comprised of money clips, pendants, belt buckles, key chains, tie tacs and cuff links. [200/400] 856 Group of Fourteen Pieces of Gold-Filled Jewelry, comprised of pendants, tie bars, key chains, cuff links, tie tacs and an ID bracelet, all in original boxes. [200/400] 857 Group of Thirteen Pieces of Boxed Gold-Filled Jewelry, comprised of earrings, pendants, pins and bracelets, all in original boxes. [200/400] 858 Twenty-Piece Collection of Jewelry and an American Jewel Case, comprised of assorted costume jewelry within a carved and metal-mounted oak and glass case in the form of a miniature armoire, the left side fitted with four small drawers, the fronts incised carved with hearts, the left side with floral-enameled glazing, the interior fitted with a gilded revolving necklace rack and mirrored at the rear, case h. 10‑1/2”, w. 9”, d. 4‑1/2”. [100/200]

864

107

864 English Victorian Burl-Mahogany Chest of Drawers, second quarter 19th century, the bow-front top with recessed edges above a conforming case fitted with two short drawers over three graduated long drawers, flanked by reeded carved sides and raised on turned feet, h. 48”, w. 41‑1/4”, d. 21‑1/2”. [600/900] Illustrated previous page 865 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 Brilliantpressed 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”. [150/300]

875

866 American Late Classical Mahogany Looking Glass, mid‑19th century, the gently arched mirrored plate in a crotch-veneered frame, h. 29”, w. 15”. [75/125]

870

867 Five-Piece Collection of Porcelain, comprised of a German square pink-bordered tray in floral decor, fourth quarter 19th century; a similar oval two-handled bonbon tray in “Lilacs” decor; a pair of Jean Pouyat, Limoges, hand-painted dessert plates, signed A. D. N. and dated May 1, 1894; and a German circular two-handled pastry/ sweetmeat tray with bas-relief floral decor, fourth quarter 19th century; the largest w. 11‑1/4”, d. 11‑1/4”. [50/80] 868 Collection of Three Table Clocks, including an Edwardian brass-mounted mahogany example of rectangular “carriage” form, with a beveled glass dial cover; a smaller gilt-lacquered brass-mounted mahogany example on toupie feet; and an Ingersoll patented steel circular alarm clock, first quarter 20th century; the largest h. 6‑1/2”, w. 5‑1/2”, d. 3‑1/2”. [50/80] 869 Seven-Piece Collection of American and European Pottery and Porcelain, first quarter 20th century, comprised of a Schwarzenhammer porcelain circular pastry tray with a reticulated border and a central scene of the Mississippi River sidewheeler “Princess”; a German porcelain two-handled fruit bowl in the rococo taste; a German porcelain petal-edged fruit bowl in “Spring Flowers” decor; a Tressemann and Vogt, Limoges, porcelain dessert plate in floral decor; an “R. S. Prussia” porcelain dessert plate in “White Poppy” decor; and a pair of American advertising calendar plates, dia. 12”. [50/80]

108

875 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”. [2500/4000] Illustrated Color Plate III 876 American Late Classical Mahogany Fold-Over Games Table, second quarter 19th century, the shaped top above a conforming frame and supported by large scrolled brackets mounted to a complex cove-molded base, h. 30”, w. 35”, d. 17‑3/4”. [200/400]

880 870 Regency-Style Parcel-Ebonized and Giltwood Convex Mirror, fourth quarter 19th century, the circular mirror plate within an ebonized reeded slip and molded sphere-applied frame, dia. 48”. [800/1200] Illustrated 871 American Late Classical Mahogany Bench, mid‑19th century, the crotch-veneered serpentine crest rail with a scroll- and foliate-carved crest, the front seat rail with applied beading, supported by scrolling bracket feet, retaining its rare period deep green cut-velvet plush upholstery, h. 34‑1/4”, w. 54”, d. 22‑1/2”. [300/500] 872 Suite of Six American Late Classical Mahogany Dining Chairs, second quarter 19th century, the crest rail centered by a floral- and foliate-carved crest over a spindle gallery, with bowed seat rail and saber legs, h. 32‑1/2”. [500/800]

877 Seven-Piece Collection of American and English Ceramics, comprised of a good Roseville “Rozane” tankard in “cherries” decor, first quarter 20th century; a Shawnee green monochrome-glazed two-handled vase in “Ivy” decor, second quarter 20th century; a Camark monochrome claret-glazed paneled cream pitcher in the English 19th-century style, also second quarter 20th century; an English pink lustre-detailed copper lustre cream pitcher, first quarter 19th century; an English sponge-glazed majolica cream pitcher, fourth quarter 19th century; a good English satin gray-glazed and pewtermounted stoneware pitcher dated by British Design Registry lozenge to December 3, 1846; and an English salt-glazed stoneware covered two-handled sugar basin in “Rose and Shell” decor, also second quarter 19th century; each of the American art pottery pieces fully signed, the largest h. 6”. [40/70] 878 American Late Classical Mahogany Looking Glass, second quarter 19th century, the period mirror plate in a crotch-veneered and banded frame, h. 32”, w. 22”. [100/200] 879 American Late Classical Mahogany Looking Glass, second quarter 19th century, the rectilinear mirror plate in a crotch-veneered cyma-molded frame, h. 44”, w. 29”, d. 1”. [100/150]

873 Group of Four Biscuit Porcelain Figures, all fourth quarter 19th century and probably of Thuringian origin, consisting of a pair of German polychromed and parcel-gilt figures of a youthful Directoire dandy and his lady; and a similar, smaller pair depicting a blond Louis XV gentleman-of-fashion and his lady, both standing beside a rustic fence; the largest h. 12‑1/2”. [50/80] 874 Group of Four Porcelain Plates, consisting of a large Altwasser porcelain circular shallow bowl in the Art Nouveau taste in “Les Roses” decor, first quarter 20th century; a similar Tirschenreuth porcelain berry bowl in “Les Roses” decor, also first quarter 20th century; a Pohl Brothers, Schmiedeberg, richly gilded and hand-painted porcelain oblong celery dish, also in “Roses” decor, fourth quarter 19th century; and an Empire China Company parcel-gilt pottery circular pastry tray in floral decor in the “Vienna” style, first quarter 20th century; the largest dia. 12‑1/4”. [50/80]

884

880 American Late Classical Revival Mahogany Pier Table, first quarter 20th century, the rectangular top over a cyma-molded apron fitted with a drawer, supported by scroll columns joined to a serpentine low shelf with scroll feet, h. 36”, w. 40”, d. 18”. [700/1000] Illustrated

109

885

883 Pair of Turned and Polished Brass Decorative Finials, late 19th century, each designed with a connection joint below the upper ring and fitted along with a double flange which twists and locks in place, h. 18”, dia. 6‑1/2”. [200/400] 884 Attractive Gilded Composition Convex Looking Glass, in the George IV style, the crest rail surmounted by an opulent gilt basket of flowers and fruit mantled by similar gilded garland, h. 33”, w. 25‑1/2”, d. 3”. [200/400] Illustrated 885 Late Classical Revival Mahogany Bookcase, first quarter 20th century, the rectangular molded and dentillated cornice above a recessed case fitted with three astragal-glazed doors flanked by fluted columnar supports, raised on plinth feet, h. 55‑3/4”, w. 71‑1/2”, d. 17”. [500/800] Illustrated

891

886 American Late Classical Revival Mahogany Side Table, fourth quarter 19th century, the circular top with gadrooned edge, above a turned and acanthus-carved standard raised on three outstretched legs ending in paw feet, h. 34‑1/2”, dia. 25‑1/2”. [200/400] 887 American Late Classical Mahogany and Marble-Top Coffee Table, second quarter 19th century, the octagonal marble top above an ogee-form frame and supported by a large tapering central pedestal and mounted to a platform base with outstretched scrolled legs, reduced in height from a center table, h. 20”, dia. 37‑1/2”. [300/500] 888 American Late Classical Mahogany Sideboard, mid‑19th century, the backsplash with a central panel flanked by shaped pilasters and scroll ends, the case with a projecting central drawer flanked by molded drawers over a bowfront door flanked by paneled doors, the ends with tapering octagonal columns with concave faces, raised on scroll feet, h. 57‑1/2”, w. 60‑1/2”, d. 20‑1/2”. [900/1200]

881 Rare Pair of American Gilt-Brass Single-Light Girandoles, mid‑19th century, each dressed with “Snowflake”-cut glass prisms, the standard depicting a winged putto amongst grapevines, retaining substantial elements of its period gilt-lacquered finish, h. 16”. [150/250] 882 Antique American Blown Glass Hurricane Shade, first quarter 20th century, of large cylindrical form in the early American style, the glass deliberately wavy and having an occasional bubble, h. 14”, dia. 7‑1/2”. [75/125]

110

889 Group of Two Glazed Pottery Pitchers, first quarter 20th century, consisting of a rare Bauer Pottery yellowglazed covered teapot, and a Hall China Company sky blue-glazed “Airstream” covered pitcher produced for the Westinghouse Corporation, the largest h. 6”, w. 13”, d. 5”. [100/200] 890 American Brass-Mounted “Empire Ware” Glass Two-Handled Vase, first quarter 20th century, the basal mount of reticulated antique-gilded brass in the First Empire style, the handles of “spread cobra” form surmounted by songbirds in matte-finished silvered brass, the base of the gilt-brass mount fully touchmarked, h. 11”, w. 6‑3/8”. [800/1200]

896

891 Fine Pair of Messenger & Sons Argand Lamps, second quarter 19th century, composed of bronze-lacquered and parcel-gilded bronze, each signed with a gilt-lacquered plaque at the base of the burner, the diminutive glass shades are replacements, electrified, h. 19”, w. 9”, d. 5”. [1200/1800] Illustrated

895

892 Three-Folio Collection of Worldwide Wine, Beer and Liquor Labels, second to fourth quarters 20th century, the albums containing, respectively, 198, 202 and 77 labels, folio h. 12‑1/2”, w. 13‑1/4”. [100/200] 893 American Late Classical Mahogany Sleigh Bed, second quarter 19th century, the headboard and footboard each with a turned blanket bar crest rail and having applied scroll-carved details on the ends, h. 41”, inside w. 56‑1/4”, l. 70”, outside w. 59‑1/4”, l. 81”. [200/400] Illustrated

897A

894 Pair of American Empire Revival Armchairs, first quarter 20th century, constructed of mahogany and mahoganized birch, of generous proportions, each with a stepped crest rail and S-form molded scroll arm, bowed front seat rail and cabriole legs, h. 35”, w. 29”, d. 30”. [200/400]

896 Pair of Campana-Style Cast-Iron Garden Urns, each with an egg-and-dart molded lip over a partially ribbed body to a circular foot ending in a plinth base, raised on a tapering square pedestal, h. 31”, dia. 19”. [200/400] Illustrated

895 Pair of Campana-Style Cast-Iron Garden Urns, each with an egg-and-dart molded lip over the partially ribbed body to a circular foot ending in a square plinth base, h. 43‑3/4”, dia. 23”. [300/500] Illustrated

897 Pair of Campana-Style Cast-Iron Garden Urns, each with an egg-and-dart molded lip over the partially ribbed body to a splayed foot raised on a plinth tapering pedestal, h. 17”, dia. 19”. [150/300]

893

897A Large Cast-Iron Plantation Style Sugar Kettle. h. 24”, dia. 53‑1/2”. [500/800] Illustrated 897B Large Cast-Iron Plantation Style Sugar Kettle. h. 24”, dia. 53‑1/2”. [500/800]

111

898 Painted Cast-Iron Garden Bench, ca. 1900, the rectangular crest over the like splat, joined to the slatted seat by grapevine-formed arms, raised on like-molded, slightly splayed legs ending in pad feet, h. 32”, w. 72”, d. 20”. [500/800] Illustrated

899

899 Large Sheridan Silver Company Silverplate “Lazy Susan” Supper Set, of circular form with two handles in the “Old Sheffield” style, designed with the revolving standard centered with a covered soup tureen flanked at its foot by a trio of oval covered vegetable dishes, a covered vasiform sauce bowl and a pair of weighted ribbed sterling silver saltand-pepper casters, the facade of the soup tureen with a 1960 St. Martin’s Horse Show presentation inscription, including the names of various recipients of the trophy, h. 18”, w. 27”. [300/500] Illustrated

905

902 Twenty-Piece Collection of American, English and European Silver, comprised of a two-piece hollowhandle silverplate carving set in a pattern similar to Oneida’s “Hadley” of 1930; a Westmoreland “George & Martha” sterling youth fork, 1940; a matching pair of Westmoreland place spoons; a matching Westmoreland sugar shell; a Gorham sterling “Old French” jelly slice, the pattern introduced in 1905; a Gorham two-piece sterling youth set in “French” pattern, 1885; a Gorham sterling “Berlin” butter knife, the pattern introduced in 1885; an Edwardian silverplate long-handled cheese scoop in the Regence taste, first quarter 20th century; a pair of American silverplate nut picks; a similar but not matching nut pick; a Florentine silver-gilt over-the-cup tea strainer, ca. 1900; a Florentine silver round-bowl preserves spoon of like date; a Dutch silver oval-bowled preserves spoon, also ca. 1900; a near-pair of Florentine silver sauce ladles with ribbed cup-form bowls; a diminutive Roman silver cheese knife; a Florentine silver lemon fork of small size; and a Florentine silver canapes pick, ca. 1900; the largest l. 10”. [100/200] 903 American Weighted Sterling Silver Vase, first quarter 20th century, by the Watson Silver Company, Attleboro, Massachusetts, of attenuated baluster form, the shoulder with a bas-relief acanthine band, h. 11‑3/4”, dia. 4”. [250/400]

900 Fourteen-Piece Sheridan Silverplate Punch Service, for twelve persons in the “Old Sheffield” style, comprised of a footed “Shell and Scroll” punchbowl, h. 10”, dia. 16‑1/2”, a matching punch ladle with a coquiform bowl, l. 17”, and twelve punch cups en suite, each with a gilded interior, dia. 3”. [200/400] 901 Good Frank W. Smith Sterling Silver Paw-Footed Sauceboat, 1893, in the George III style, of substantial weight, h. 3‑1/2”, w. 4‑1/2”, l. 8‑1/2”, 10.00 t. oz. [400/700]

112

904 Meadows & Company, Philadelphia, Coin Silver Cream Pitcher, ca. 1831‑1833, of helmet form in “Antique Bead” decor, the interior of the foot fully hallmarked, h. 6‑1/4”, w. 5”, d. 2‑1/2”. [200/400] 905 Seventeen-Piece Collection of “Lily” Sterling Silver Flatware, by the Whiting Manufacturing Company, the pattern introduced in 1902, comprised of twelve dinner forks, two luncheon forks, a flat butter knife, and two iced tea/parfait spoons, the largest l. 8‑3/4”, 32.00 total t. oz. [600/900] Illustrated

906 Good Suite of Four American Sterling Silver Candlesticks, second quarter 20th century, by the LaPierre Manufacturing Company, Newark, New Jersey, of baluster form on squared bases, h. 9”, w. 3‑1/4”, d. 3‑1/4”. [200/400] 907 Four-Piece Group of Silver Serving Pieces, consisting of an American sterling silver hollow-handle roast carving knife in a pattern similar to Dominick and Haff’s “Renaissance” of 1894; a matching hollow-handle roast stabilizer; and a two-piece Durgin sterling silver hollowhandle fish serving set in the “Lenox” pattern, introduced in 1912, with engraved detail on both the slice and the bowl of the five-tine fork; the largest l. 13”. [50/80] 908 Twenty-Piece Collection of Gorham Sterling Silver Flatware, in the “Lancaster” pattern, introduced in 1897, comprised of six dinner forks, six luncheon forks, two teaspoons and six tablespoons, the largest l. 8‑1/2”, 31.30 total t. oz. [100/200] 909 Collection of Fourteen Miscellaneous Sterling and Silverplate Table Articles, including four matching Alvin sterling silver salt-and-pepper shakers, two silverplate scissor-form wick trimmers, a silverplate pocket flask, four small sterling nut trays, a long silverplate tray, a glasslined silverplate butter tray, and a silverplate hinged box, the largest w. 5”, l. 8‑1/2”. [150/300] 910 Twenty-One-Piece Group of Sterling Silver Flatware, comprised of a set of Gorham “Plymouth” teaspoons, the pattern introduced in 1911, l. 6”; a set of six Lunt “Carolina” flat butter knives, the pattern introduced in 1913, l. 5‑1/4”; and a set of four International “Brocade” teaspoons, the pattern introduced in 1950, l. 6”, 14.60 total t. oz. [100/200]

911 Six-Piece Group of American and English Silver, comprised of a good Mappin and Webb “Princess Plate” tripodal sauceboat in the George III style, second quarter 20th century; a Victorian carved vegetable ivory-handled silverplate bonbon spade, fourth quarter 19th century; an American silverplate circular double-lipped sauce bowl with integral stand, second quarter 20th century; a Fisher weighted sterling silver jelly stand in “Flower Basket” decor of like date; and a two-piece Poole sterling cream and sugar set in “Colonial Paneled” decor, also second quarter 20th century, composed of a footed cream pitcher and a matching two-handled open sugar basin; the largest h. 6”, dia. 6”. [100/200] 912 Eleven-Piece Collection of American and European Silver and Silverplate, comprised of an American weighted sterling footed sweetmeat stand, second quarter 20th century; a Preisner weighted sterling bud vase of trumpet form and of like date; a two-piece American weighted sterling footed cream-and-sugar set in the Georgian taste, also second quarter 20th century; an attractive pair of German .800-standard silver footed salts of two-handled and footed navette form in the neoclassical taste, fourth quarter 19th century; a pair of American silverplate bud vases of trumpet form, second quarter 20th century; an American highly reticulated silverplate circular, footed sandwich tray in the “Old Sheffield” style, first quarter 20th century; an American sterling “Small Gadroon” butter pat in the Georgian taste, second quarter 20th century; and an American silverplate pierced butter server drainplate, fourth quarter 19th century; the largest dia. 10”. [100/200] 913 Pair of Wallace Weighted Sterling Silver Console Candlesticks, second quarter 20th century, of Georgian inspiration, h. 3‑1/2”, dia. 3‑3/4”. [75/125] 914 Eighteen-Piece Collection of Gorham Sterling Silver “Buttercup” Flatware, the pattern introduced in 1899, comprised of four hollow-handle dinner knives, two luncheon knives, two dinner forks, four luncheon forks, two pastry/dessert forks, a tablespoon, a cold meats fork and two hollow-handle butter knives, the largest l. 9”. [100/200]

898

113

915 Lucien Whiting Powell (American, 1846‑1930) “Canal of Venice”, oil on canvas, signed lower right, 24” x 36”. Presented in a parcel-gilt and polychromed frame affixed with a brass plaque, etched with the painting title and artist’s name. [1500/2500] Illustrated Color Plate II 916 American School (Third Quarter 20th Century) “Impressionistic Coastal Landscape with a Docked Boat”, oil on canvas, signed lower right “E. Ray Thomas”, 30” x 40”. Presented in a rococo-style giltwood and gesso frame with linen liner. [300/500] Illustrated 917 Ethel Hale Freeman (American, 1882‑1917) “Mount Moran, Grand Teton National Park”, oil on board, monogrammed in pencil lower left, titled, dated “July 19, 29”, and signed verso, 8” x 12”. Presented in a molded giltwood frame. [75/125] 915 918 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. [600/900] Illustrated 919 American/California Plein Air School (Third Quarter 20th Century) “Southern California Landscape”, oil on panel, unsigned, 8” x 10”. Presented in a molded giltwood frame. [75/125] 920 Margaret Rice (American, b. 1901) “Yellow Bouquet in a Jug”, oil on canvas, signed lower right “M. Rice”, 36” x 24”. Presented in a giltwood and painted frame with a linen liner. [300/500]

916 921 Erich Mayer (African, 1876‑1960) “African Village with Figures”, watercolor on paper, signed and dated lower right “Erich Mayer ‘50”, sight 5” x 7‑1/2”. Glazed, matted and framed. [250/400] 922 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. [150/300] 923 Manner of Amedeo Modigliani (Italian, 1884‑1920) “Nude with One Arm Resting on a Chair”, oil on canvas, unsigned, fourth quarter 20th century, 18” x 24”. Presented in a molded giltwood and plaster frame. [100/200]

918

114

924 American Renaissance Revival Walnut and Burled Walnut Pier Mirror, third quarter 19th century, the frame with an applied burl panel with incised and gilt line carvings, the base designed to hold a marble top, the marble now lacking, h. 107”, w. 30”. [800/1200] Illustrated

924

925 American Renaissance Revival Walnut Youth Bed, third quarter 19th century, each side with a molded guard rail on a row of shaped supports, one side folding down, raised on turned legs, h. 41‑1/2”, inside w. 33‑1/2”, l. 55‑1/2”, outside w. 36”, l. 61”. [50/80] 926 American Renaissance Revival Walnut, Burled Walnut and Marble-Top Half Commode, third quarter 19th century, the top retaining its original white marble above a single drawer with a cabinet below, raised on casters, h. 31”, w. 20‑1/2”, d. 17‑1/2”. [300/500] 927 Large American Renaissance Revival Walnut and Burled Walnut Shelf, third quarter 19th century, the arched back panel with an incised line-carved crest and circular burl rosette, above a shaped shelf supported by a molded bracket, h. 48”, w. 24”, d. 15”. [200/400] Illustrated 928 Gilded Oak Shadowbox-Molded Frame, late 19th century, formerly a station of the cross frame, h. 31”, w. 23‑1/4”. [20/40]

929 French Needlepoint Bell Pull, fourth quarter 19th century, in the Napoleon III taste, the petit- and gros-point needlework in floral decor, backed by antique pale peach silk, the edges in embroidered ribbon throughout, h. 76”, w. 9‑3/4”. [20/40] 930 Good Ninety-Two-Piece Set of Haviland and Company Porcelain, third quarter 19th century, Limoges, France, comprising a partial dinner service for seventeen persons and consisting of seventeen dinner plates, dia. 9‑3/4”, eleven salad/dessert plates, eleven soup plates, eight dessert bowls, a five-piece graduated nest of oval platters, l. 10” to 17‑1/2”, two oval covered two-handled vegetable tureens, two circular covered vegetable tureens, an oval covered two-handled soup tureen, an oval open serving bowl, an oval covered twohandled sauce tureen-on-stand, a two-handled doublelipped gravy boat, a gravy boat stand, a small circular olives/radish dish, a footed fruit bowl, h. 5”, dia. 10”, a circular footed pastry stand, eight coffee cups, seven coffee saucers, seven teacups and six tea saucers, all in polychromed fruit and vegetable decor, each piece with the Haviland backstamps in light blue and green. [300/500] Illustrated 931 Good ThreePiece Collection of Bohemian Cut Overlay Glass, first quarter 20th century, comprised of a white-overclear bell-form cologne bottle with polychrome floral decoration, a whiteover-ruby tumble-up (night carafe with tumbler as cover) of like date, and a parcel-gilt whiteover-cranberry vase of baluster form, the largest h. 10” (four total pieces). [500/800]

927

930

115

935

932 Interesting American Walnut and Burled Walnut Footstool, third quarter 19th century, of inverted Cscroll form in the Renaissance Revival style, the scrolled feet each with a circular burl applique (one lacking, one partial), upholstered in an antique beige cotton tapestry (now disintegrating), h. 7”, w. 8”, l. 15”. [30/50] 933 Suite of Four Victorian Mahogany Parlor Chairs, fourth quarter 19th century, each with a molded balloon back above a serpentine padded seat, raised on turned and reeded tapering legs ending in toupie feet, h. 35”, w. 19”, d. 16”. [200/400] Illustrated 934 American Renaissance Revival Walnut Sewing Stand, third quarter 19th century, the front side fitted with three drawers, each having incised line-carved details, raised on turned and incise-carved legs joined by a stretcher with a large urn finial, h. 30”, w. 24‑1/2”, d. 16”. [300/500]

933

935 Three-Piece Ansonia Clock Company Mantel Garniture, fourth quarter 19th century, of small size in the Louis XVI style, composed of antique-gilded and patinated brass, comprised of a clock with an inset floralpainted and parcel-gilt porcelain plaque below the dial and convex glass dial cover, the white enamel dial signed with the lozenge-enframed Ansonia “A” in black, and a pair of flanking four-light candelabra, each fitted with a cassolette finial, accompanied by six semi-antique golden beeswax spiraled candles, clock h. 15”, w. 8”, d. 4‑1/2”, candelabra h. 15‑1/2”, w. 6‑1/2”. [300/500] Illustrated

936 Attractive Bohemian Cut Glass Luster, fourth quarter 19th century, in parcel-gilt and floral-enameled white-overcranberry overlay glass, dressed with large “BackCut Albert” glass spears, the circular foot enameled with a wreath of summer flowers, the lip cut with broad scallops, each centered with a cut gilded fan, h. 10”, dia. 5”. [75/125]

939

937 Three-Piece Collection of Bohemian Brilliant-Cut Glass Pieces, all in cobaltover-clear overlay glass, comprised of an ovoid flat-sided vase with cut leaves and hobstar flowerheads, a “Fan and Star” salad bowl with a scallop-cut rim, and a magnum “Prism and Oculus”-cut magnum ashtray with a reverseengraved floral base, the largest h. 10‑1/2”, w. 7”, d. 5”. [100/200]

116

938 Good Three-Piece Bohemian Glass Group, second quarter 20th century, comprised of a brilliant-cut dark ruby-over-clear overlay glass pyriform vase with tall waisted neck, a floral-cut ruby-over-clear glass flaring salad bowl, and a similarly cut ruby-over-clear glass oval fruit bowl, both of the floral-cut bowls with cut crenellated rims, the largest h. 4”, dia. 10”. [100/200]

940

943

939 Rare American Renaissance Revival Walnut Rail Car Wash Stand, third quarter 19th century, the top cabinet fitted with shelves and a towel bar holder in the front and above a metal-lined water reservoir, the drop-front lid below the reservoir opens to reveal an interior fitted with a porcelain sink bowl and soap dish with a chrome spigot, the lower cabinet with a removable metal liner for waste disposal, h. 73‑3/4”, w. 20‑1/2”, d. 11‑1/4”. [800/1200] Illustrated 940 Fine Bohemian “Grisaille” and White-Enameled Emerald Glass “Pokal”, fourth quarter 19th century, in the 16th-century style, each facade featuring an armored knight, h. 23‑1/2”, dia. 6‑1/2”. [1200/1800] Illustrated 941 Good Eleven-Piece Bohemian Ruby Glass Liqueur Service, for ten persons, first quarter 20th century, probably the Goldberg Works of Haida, Bohemia (active 1891-ca. 1945) , the richly floral-enameled and parcelgilded service comprised of a circular tray, dia. 12”, and a set of ten complimentary liqueur flutes, h. 5”, dia. 2”. [150/300]

942 Whimsical Anglo-Bohemian Kerosene Boudoir Lamp, fourth quarter 19th century, composed of ruby, cranberry and colorless glass, the footed leaf-form base of highly tooled colorless glass, the glass chimney lacking, fitted with a Danbury brass burner, h. 9”. [75/125] 943 Attractive Bohemian “Vermicelli”-Gilded Glass Decanter, first quarter 20th century, of tall size, the decanter in blown, cut and cranberry-cased glass, the matching cut and vermicelli-gilded glass stopper of steeple form, h. 21‑1/4”, dia. 5‑1/2”. [600/900] Illustrated 944 Italian Carved Alabaster Columnar-Form Pedestal, fourth quarter 19th century, of classical inspiration, the circular rotating top mounted to a fluted standard, having a Greek-key-designed collar, h. 45”, dia. 10”. [200/400] 945

945 Italian Carved Carrara Marble Bust of a Coquette, fourth quarter 19th century, probably Florentine, the exuberantly modeled female depicted in an elaborate laceedged hat, h. 23”, w. 13”, d. 11”. [200/400] Illustrated

117

951 Monumental Painted Wood and Wrought-Iron Entrance Doors, first quarter 20th century, the transom and two upper door panels inset with a wrought-iron grille above deeply molded bottom panels, h. 138”, w. 60‑1/2”. [300/500] 952 Wrought-Iron and Marble-Top Garden Center Table, the circular cream-colored marble top with carved edge, above a pierced teardrops-formed apron, raised on cabriole legs joined by an X-form stretcher and ending in scroll feet, h. 30‑1/2”, dia. 33‑3/4”. [200/400] 953 Two Wrought-Iron Garden Fence Fragments, each of large scrolling bracket form, l. 33‑3/4”. [30/50] 954 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”. [100/200] 955 Cast-Iron and Marble-Top Coffee Table, the rectangular variegated beige marble top over a scrolling frieze, raised on cabriole legs joined by an X-form stretcher, h. 19‑3/4”, w. 40‑3/4”, d. 25”. [150/300] 956 Xavier de Callatay (Belgium/New Orleans, b. 1932) “Xavier de Callatay in Audubon Park”, limited edition portfolio of lithographs, signed in ink, copyrighted 1970, w. 14‑1/4”, l. 16”. Presented within hard spring-green covers. [600/900] Illustrated

946 946 American Renaissance Revival Walnut and Burled Walnut Bookcase, third quarter 19th century, the top with a molded cornice above a dentillated frieze and having two glazed doors above a base fitted with two drawers, h. 97”, w. 57”, d. 22”. [1500/2500] Illustrated 947 1852 “Liberty Head” Gold $2.50 Coin, dia. 3/4”. [600/900] 948 Three Confederate Bank Notes, ca. 1861, glazed, matted and framed, overall h. 30”, w. 17”. [150/300]

949 Group Two $100 Dollar Confederate Bills, 1862, both fourth issue, w. 3”, l. 7”. [200/400] 950 Group of Two $100 Dollar Confederate Bills, 1862, both fourth issue, w. 3”, l. 7”. [200/400]

118

957 Matilde Alberny (American/Louisiana, Contemporary) “Three Women”, oil on canvas, signed lower right “Alberny”, 37” x 33”. Framed. [200/400] 958 Zulu Mardi Gras 1990 Poster, designed by Bob Coleman, signed in pencil lower right, center bearing a blind stamp of the “Official Zulu Limited Edition Print”, sight 28‑1/2” x 21”. Glazed, elaborately matted and presented in a polychromed frame. [200/400] 959 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. [75/125]

956

964 Leo Meiersdorff (American/Louisiana, 1934‑1994) “The Lou is Bawhs”, watercolor on paper, signed, dated and titled lower right, sight 18‑1/8” x 21‑1/4”. Presented in a triple-stepped mat, unframed. [300/500] 965 American School (Fourth Quarter 19th Century) “Civil War Scenes”, from Frank Leslie’s Illustrated History of the Civil War (New York City, 1890), suite of three black and white engravings by various artists, sight 10‑1/2” x 15‑1/2” and 12” x 9”. All glazed, matted and presented in rustic hardwood frames en suite. [150/300]

960

966 Manner of Claude Lorrain (French, 1600‑1682) “Pastoral Landscape with a Figure Fishing”, oil on canvas, third quarter 20th century, signed lower right “C. Patin”, 24” x 36‑1/4”. Presented in a Louis XV-style giltwood and gesso frame. [100/200] 967 Good Pair of Napoleon III Gilt-Brass-Mounted Porcelain Carcel Lamps, third quarter 19th century, in the Louis XVI taste, the grounds of “bleu de Ciel”, the obverses centered with a putto, the reverses with a floral reserve, not electrified, retain the period giltbrass-mounted blown cylindrical glass chimneys, h. 23”, dia. 5‑1/2”. [1200/1800] Illustrated

967 961 960 Leo Meiersdorff (American/Louisiana, 1934‑1994) “Jazz Band in a Smoky Club”, watercolor on paper, signed lower right, sight 21‑1/4” x 29”. Presented in a triplestepped mat, unframed. [600/900] Illustrated 961 Leo Meiersdorff (American/Louisiana, 1934‑1994) “Jazz Band in a Creole Restaurant”, watercolor on paper, signed lower left “Meiersdorff, New Orleans”, sight 20‑3/4” x 28‑3/4”. Presented in a triple-stepped mat, unframed. [600/900] Illustrated 962 Leo Meiersdorff (American/Louisiana, 1934‑1994) “The Drummer”, watercolor on paper, signed lower right, sight 8‑3/4” x 11”. Matted and unframed. [250/400] 963 Leo Meiersdorff (American/Louisiana, 1934‑1994) “New Orleans Jazz Funeral”, watercolor on paper, signed and titled lower right, sight 21” x 29”. Presented in a double-stepped mat, unframed. [400/700]

119

968 Fine, Large Hand-Painted Porcelain Plaque of “Fording the Stream”, by M. Pluzanska after Anatole Vely (French, 1838‑1882), dated 1877, presented in an exuberantly carved period Florentine giltwood frame in the Baroque style, the porcelain plaque marked on the obverse, left “d’apres Vely” and on the right “M. Pluzanska 1877”, h. 16”, w. 10”. [5000/8000] Illustrated Color Plate I

968

972

971 Trio of Biscuit Porcelain Figures, comprised of a large Sitzendorf polychromed and parcel-gilt galants group in the Louis XVI taste, fourth quarter 19th century; an Elbogen polychrome-glazed and parcel-gilt swan-handled and footed elliptical bowl centered with an amorous young couple, first quarter 20th century; and a Sitzendorf standing galants couple in the rococo taste, fourth quarter 19th century; both Sitzendorf groups marked on the bases with the expected crossed bars in blue, the latter Sitzendorf group with scattered losses and old repairs to the figures, the largest h. 11”. [150/300] 972 Louis XVI-Style Mahogany Humidor-on-Stand, early 20th century, the banded and quarter-veneered top with canted corners, opening to a removable metal-lined interior, the inside of the lid with a plaque reading “Benson & Hedges, London, New York, Montreal”, the conforming case paneled, with ormolu millwork and applied ormolu floral garlands, raised on a stand with square legs, h. 20‑1/2”, w. 21‑1/2”, d. 13”. [700/1000] Illustrated

969 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”. [200/400] Illustrated 970 Collection of Four German Porcelain Figure Groups, in the 18th-century style, consisting of a Tiefenfurt blue and white galants group in the Louis XVI style, 1883‑1896; a Martinroda galants group of a musical couple attended by a lamb; an unmarked Martinroda group of a galants couple feeding a pet sheep; and a smaller figure of a seated female violinist in the Louis XVI taste; the latter three examples first quarter 20th century, the largest h. 6”. [200/400]

120

969

973

973 Opulent Three-Piece Napoleon III Mantel Garniture, third quarter 19th century, composed of bronze-mounted Rouge Royale marble in the Louis XVI taste, comprised of a lavishly gilt-bronze-mounted bowfront mantel clock surmounted by a fine figural group of a youthful classical poet and his lady, by Eugene-Antoine Aizelin (French, 1821‑1902), cast by Barbedienne and so marked, 1867, the clock dial of Rouge Royale marble with applied gilt-bronze Roman chapters and a beveled glass cover within a beaded gilded frame and fitted with an eightday movement, h. 32”, dia. 15”, and a flanking pair of tall vasiform Rouge Royale marble six-light candelabra on tall console bracketed marble bases, h. 26”, w. 18”, d. 11‑1/2”. [18000/25000] Illustrated Color Plate I

975

974 Pair of French Blocked Wallpaper Panels, fourth quarter 19th century and later, of large size in the “Pompeian” style, each narrow vertical panel with a polychromed stylized pavilion centered with a figure of a scantily draped figure holding an artist’s palette and a brush, the ground of each panel a pale silvery gray, h. 55”, w. 20‑1/4”. [400/700] 975 Louis XVI-Style Giltwood Looking Glass, fourth quarter 19th century, the beveled mirror plate within a beaded and floral-molded frame, the upper corners centered by patera moldings, and surmounted by a pierced beribboned-foliage and bow-and-arrow finial, h. 58”, w. 37”, d. 2”. [1000/1500] Illustrated

121

977

978 Louis XVI-Style Polychromed and ParcelGilt Trumeau Mirror, fourth quarter 19th century, the upper panel depicting a pastoral landscape with figures by a pond, the lower panel fitted with a mirror plate, within a carved frame with beaded edge, h. 46”, w. 30‑1/2”, d. 1‑3/4”. [1500/2500] Illustrated

979 Pair of Bloch, Paris, Porcelain Tripodal “Sphinx” Lamp Bases, first quarter 20th century, with “rose du Barry” grounds in the Louis XVI taste, the cut glass fonts, shade rings, chimneys and spherical glass shades removed, each standard fully marked in blue on the interior of the base, h. 16”, dia. 5‑1/2”. [250/400] Illustrated 980 French Gold-Lacquered Brass and Cut Glass SixLight Chandelier, of tiered baluster form in the Louis XVI style, opulently dressed with cut glass pendalogues in three sizes, cut fleurettes and ribbed glass balusters, electrified and fitted with antiqued ecru card faux candles, h. 20”, dia. 22”. [400/700] Illustrated 976

976 Pair of Brass-Mounted Breche Violette Marble Potpourri Vases, first quarter 20th century, in the Louis XVI style, the gilt-brass handles modeled as horned goat masques connected by floral garlands, now mounted as table lamps and electrified, the covers reticulated, the finials removed in the conversion, each lamp fitted with a pale peach-banded and gold-corded paler peach silk shade of drum form, h. 30”. [500/800] Illustrated Color Plate II 977 Louis XVI-Style Polychromed and Parcel-Gilt Settee and Sidechair, fourth quarter 19th century, each with an oval padded back within a conforming guilloche and beadmolded frame, surmounted by a central pierced ribbon carving above the padded seat, raised on fluted tapering circular legs ending in toupie feet, settee h. 38‑1/4”, w. 47‑1/2”, d. 21‑1/2”, sidechair h. 35‑3/4”, w. 17‑1/4”, d. 18‑1/4”. [600/900] Illustrated

122

978

982 Belle Epoque Brass “Quiver and Arrows” Three-Light Chandelier, first quarter 20th century, in the Directoire taste, electrified and fitted with three frosted glass floriform shades, h. 31”, dia. 16”. [300/500] Illustrated

980

981

981 Louis XVI-Style Parcel-Gilt Mahogany Cylinder-Top Desk, first quarter 20th century, the upper case with a drapery-molded pierced gallery inset with a white marble top above two mirrored doors, the lower case fitted with a roll top, opening to reveal a leather-inset sliding writing surface and two small drawers and cubbyholes, above a long drawer, raised on fluted tapering circular legs joined by an X-form stretcher and ending in toupie feet, h. 53”, w. 25‑1/2”, d. 16‑1/2”. [1000/1500] Illustrated Color Plate IX

982

979

123

983 Imposing Three-Piece French Mantel Garniture, in the Louis XVI style, composed of patinated antiqued brass and verde antico marble, consisting of a tall lyriform clock flanked by two baby satyrs, h. 24”, w. 13”, d. 8”, and a pair of vasiform seven-light candelabra, h. 24”, dia. 10‑1/2”. [1500/2500] Illustrated

983

984 Pair of Continental Porcelain Covered Garniture Vases-on-Stands, with reticulated brass mountings in the Louis XVI style, the vases of deep bowl form and painted in parcel-gilt orange stripes alternating with stylized berry vines in green and blue on a white ground, each facade centered with a gilded sunburst medallion on a white ground, the gently domed covers with upright pomegranate finials in brass, presented on matching conforming footed stands of reticulated brass, each vase marked on the base in underglaze transfer-printed blue “stylized three-point coronet/reversed C, V, WC/ furled ribbon bearing the date 1897”, h. 12‑1/2”. [100/200] 985 Nippon Porcelain After-Dinner Coffee/Chocolate Pot, first quarter 20th century, of “corset” form and elaborately gilded and floral enameled in the Louis XVI taste, unmarked, h. 9‑1/2”, dia. 5”. [50/80]

986

989

986 Good Louis XVI-Style Giltwood Looking Glass, third quarter 19th century, the arched top with an elaborate ribbon and floral-spray crest, h. 79‑3/4”, w. 42”. [800/1200] Illustrated Color Plate VII 987 Louis XVI-Style Giltwood and Plaster Looking Glass, first quarter 20th century, h. 39‑1/2”, w. 21”. [40/70]

124

988 Louis XVI-Style Parcel-Gilt Looking Glass, the rectangular beveled mirror plate within a foliage-incised slip surrounded by a cartouche and floral-foliate moldings, h. 44‑1/4”, w. 60‑1/2”. [200/400] 989 Louis XVI-Style Giltwood Vitrine, fourth quarter 19th century, the scalloped crest over a like protruding frieze with acanthine gilt-brass mounts, above a conforming case fitted with three domed glazed panels separated by reeded columnar supports, raised on tapering circular legs ending in toupie feet, h. 58”, w. 27”, d. 16”. [400/700] Illustrated 990 Diminutive Louis XVI-Style Burlwood Vitrine, ca. 1900, of rectangular form and fitted with a banded glazed door and sides, the corners with gilt-brass mounts, h. 34”, w. 15‑1/2”, d. 14‑1/2”. [100/200]

991 Pair of Italian Giltwood Two-Light Appliques, in the 18thcentury style, the upper backplates molded as flaming urns, the lower backplates modeled as tassels, not electrified, h. 43”, w. 12”, d. 9‑1/2”. [300/500] Illustrated

991

992 Good Pair of Napoleon III Five-Light “Lily” Candelabra, third quarter 19th century, composed of gilded bronze and brass in the Louis XVI style, each lily spray in a garlanded lion masque-handled Antique vase surmounting a stop-fluted pedestal base, not electrified, h. 24”, w. 15”, d. 11”. [1000/1500] Illustrated

992

993 French Oval Portrait Miniature of a Louis XVI Lady-of-Fashion, fourth quarter 19th century, signed lower center “Hollars”, presented in a period damask mat within a rectangular gilt-brass tabletop frame in the Louis XVI style, h. 3‑1/4”, w. 2‑1/4”. [150/300]

994

994 Louis XVI-Style Burl Elmwood and Marble-Top Buffet, ca. 1900, the rectangular variegated marble top with rounded corners above a conforming case fitted with two string-inlaid- banded doors centered by a like panel mounted with a gilt-brass ornament depicting flowers and musical instruments, raised on turned and tapering legs ending in toupie feet, h. 40‑3/4”, w. 59‑1/2”, d. 19‑3/4”. [500/800] Illustrated

125

995 Louis XVI-Style Stained Elmwood Fauteuil, ca. 1900, the high padded back joined to the like seat by open scrollend, acanthine-carved arms, raised on fluted tapering circular legs headed by a block patera carving and ending in toupie feet, upholstered in natural basket-weave burlap, h. 48‑1/2”, w. 26‑1/2”, d. 22‑1/2”. [500/800]

997 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”. [100/200]

1001

998

996 Pair of French Gilt-Brass and Cut Glass Two-Light Girandoles, first quarter 20th century, in the Louis XVI style, richly dressed with cut glass pendalogues, fleurettes and steeple finials, electrified and fitted with bone-white faux-wax candles, h. 16”, w. 12‑1/2”, d. 5”. [300/500]

999

998 Group of Two French Brass and Parcel-Gilt Tole-Peinte Bouillotte Lamps, comprised of a three-light crimson lamp, h. 22”, dia. 12”; and a diminutive two-light brass and matte black lamp, h. 14”, w. 7‑1/2”, d. 6‑1/4”; both in the Louis XVI style, the tole shades adjustable, each fitted with antique-white faux candles and electrified. [450/700] Illustrated 999 Louis XVI-Style Mahogany and Parquetry Sleigh Bead, first quarter 20th century, the slightly domed, quarter-veneered and banded headboard joined to the like footboard by plain rails, the headboard and footboard raised on fluted and tapering legs ending in brass-capped toupie feet, the whole with gilt-brass mounts, h. 59”, inside w. 56”, l. 83”, outside w. 62”, l. 90”. [500/800] Illustrated

126

1000 Pair of Louis XVI-Style Mahogany Night Stands, ca. 1900, each with a rectangular white marble top above a conforming case fitted with three paneled drawers, raised on fluted tapering circular legs ending in toupie feet, h. 25”, w. 18‑1/2”, d. 12‑3/4”. [400/700] 1001 Louis XVI-Style Mahogany and Marquetry Armoire, first quarter 20th century, the arched crest centered by a cartouche- and foliage-modeled gilt-brass mount, over a conforming case fitted with two banded and mirrored doors, the upper corners with acanthine inlays, above two short drawers, raised on turned and tapering legs ending in toupie feet, h. 91”, w. 51”, d. 18‑1/2”. [800/1200] Illustrated 1002 Louis XVI-Style Mahogany Fire Screen, fourth quarter 19th century, the guilloche-carved rectangular frame centered by a pierced ribbon carving, flanked by pomegranate-carved finials, fitted with a fruit-and-floral tapestry, the bottom part of the frame centered by a basket-of-flowers carving, raised on acanthine-carved splayed legs ending in scroll toes, h. 38‑1/2”, w. 21”, d. 12”. [300/500] Illustrated 1003 Franco-Belgian Machine-Woven Tapestry FourPanel Folding Screen, first quarter 20th century, depicting a 16th-century Venetian family gathered at a garden fronting the Grand Canal, the primary palette in ecru, ivory, vieux rose, pale gray and blue, each panel bordered in gilt leather with decorative bronze tackheads and backed in green burlap, each lower one-quarter of the facade in deep aquamarine damask, h. 69‑1/4”, w. 72”. [400/700] Illustrated

1003 1004 Louis XVI-Style Iron and Marble-Top Console Table, the rectangular variegated marble top with a molded edge over a conforming scroll-formed body centered by a circular medallion, h. 34‑1/4”, w. 45‑1/2”, d. 14‑3/4”. [150/300] 1005 Pair of Wrought-Iron Garden Gate Transoms, first half 20th century, of arched interlocking “S” form, h. 28”, w. 57‑1/2”. [150/300] 1006 Louis XVI-Style Iron and Marble-Top Console Table, the rectangular variegated marble top over a conforming body of green-painted scroll-formed iron, h. 38‑1/2”, w. 54‑1/2”, d. 13”. [150/300] 1007 Pair of Louis XVI-Style Cast Cement Garden Finials, of lidded and handled urn form, topped by a relief of a floral bouquet and raised on a plinth base, h. 24”, w. 15”, d. 11”. [500/800] 1008 Pair of Louis XVI-Style Cast Cement Garden Finials, of lidded and handled urn form, topped by a relief of a floral bouquet and raised on a plinth base, h. 24”, w. 15”, d. 11”. [500/800]

1002

1009 Pair of Japanese Meiji Satsuma Pottery TwoHandled Vases, first quarter 20th century, of large size with brilliant floral painting, profuse enamel detailing and rich gilding, each vase affixed to a circular Chinese carved and ebonized hardwood frame, h. 15”, dia. 8”. [200/400]

127

1010

1016 Japanese Meiji Blue and White Porcelain Bowl, fourth quarter 19th century, of flowerhead form in floral decor, the interior centered with a tondo of a stylized phoenix amidst foliage, h. 2‑1/2”, dia. 6‑1/8”. [20/40] 1017 Three-Piece Japanese Taisho Porcelain Tea Service, first quarter 20th century, richly gilded and enameled in “Dragon” decor, comprised of a pyriform teapot with dragon spout and matching pyriform handle, a covered cream pitcher, and a covered two-handled sugar basin, all three pieces marked on the base with overglaze rouge de fer colophons, the largest h. 7‑1/2”, w. 5”, l. 9”. [100/200] 1018 Pair of Japanese Meiji Blue and White Porcelain Sauce Dishes, fourth quarter 19th century, of fish form, the interiors decorated with blue floral sprays, h. 2‑1/2”, w. 3”, l. 5”. [40/70]

1010 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”. [400/700] Illustrated 1011 Two-Piece Group of Japanese Satsuma Pottery, comprised of a floral-polychromed vase of tripodal brazier form with Foo-dog handles, the domed cover centered by a seated “Foo Dog and Sphere” finial, h. 12‑1/2”, dia. 6‑1/2”; and a two-handled garniture vase in elaborate floral decoration, h. 12”, w. 8‑1/2”, d. 7”. [100/200] 1012 Pair of Japanese Export Satsuma Porcelain Vases, 20th century, each with a splayed base, bulbous center and flared neck with monster handles, decorated in polychrome enamels with flowers, insects and formal borders on a cream ground, h. 14‑1/4”. [125/250] 1013 Japanese Meiji Satsuma Pottery Vase, first quarter 20th century, of tall baluster form, richly gilded and polychromed in “Samurai” decor, h. 14‑1/2”, dia. 8”. [125/250]

1019 Pair of Miramoto, Japan, Pottery Garniture Vases, first quarter 20th century, of hexagonal, two-handled form in “Celestial Dragon” decor, the enameled dragons and clouds in highly detailed bas-relief, h. 10”, dia. 6”. [75/125] 1020 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”. [300/500] 1021 Framed Reproduction Japanese Woodblock Print, executed in colors depicting a boy with a flute and basket seated on a willow branch over a stream with Mt. Fuji in the distance, presented in a giltwood frame and glazed, h. 19”, w. 25”. [100/200] 1022 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. [100/200]

1014 Japanese Meiji Satsuma Pottery Pyriform Garniture Vase, fourth quarter 19th century, richly gilded and polychromed in “Geisha” decor on a cobalt-blue ground, the interior of the foot signed in rouge de fer overglaze calligraphy, h. 8‑1/2”, dia. 4‑1/2”. [100/200] 1015 Attractive Japanese Edo Arita Porcelain Bowl, second quarter 19th century, the exterior in a parcel-gilt blue flowering vine decor, the interior in an overall rouge de fer and green floral pattern, with a blue foliated tondo at the center, h. 4‑1/2”, dia. 9‑3/4”. [150/300] Illustrated

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1015

1030 1023 Trio of Japanese Taisho Crimson Lacquer Items, comprised of a graduated pair of elaborately parcel-gilt footed bowls, the interior with gilding of two cranes and Japanese pine boughs, the larger h. 3‑5/8”, dia. 9‑3/8”, the smaller h. 3”, dia. 8”; and a gilded oblong covered box, the cover with gilding of a flowering prunus branch, h. 2”, w. 4‑1/4”, l. 5‑1/4”. [100/200] 1024 Pair of Chinese Carved and Stained Bone Foo Dog Incense Burners, 20th century, each carved as a shaggy standing animal with removable head revealing a hollow interior, presented on custom wooden stands, h. 8‑1/2” including stands. [200/400] 1025 Assembled Group of Six Glazed Pottery Covered Seafood Dishes, second quarter 20th century, each in the form of a crab, comprised of a set of four Monterey Pottery, Japan, orange-glazed examples, and a pair of similar Czechoslovakian dishes glazed in red, h. 2”, w. 5”, d. 4‑1/2”. [100/200]

1026 Three-Piece Group of Asian and English Items, comprised of a good, large Japanese Heirloom Meiji elaborately woven arch-handled basket of circular cushion form, first quarter 20th century; a Kuang Hsu bronzepatinated brass-mounted rattan oval teapot-storage basket, fourth quarter 19th century; and an Edwardian turned mahogany apple-form tea caddy in the George III style, first quarter 20th century; the largest h. 14”, dia. 15”. [300/500] 1027 Japanese Meiji Arita Porcelain Brush Rinser, first quarter 20th century, of circular, tripodal, bowl form, signed on the base with an overglaze brown colophon, the base also with an old museum accession number in black, dia. 3”. [50/80] 1028 Japanese Meiji Wooden-Cased Tea Set, first quarter 20th century, the set comprised of a dove gray-glazed thrown tea bowl and a handcrafted bamboo whisk of the traditional type, h. 6”, w. 8‑5/8”, d. 6‑3/4”. [50/80] 1029 Japanese Meiji Porcelain Tall-Neck Cabinet Vase, first quarter 20th century, of cushion form and reliefenameled in “Samurai” decor, the Samurai medallions alternating with an elaborate floral ground, h. 8”, dia. 6‑1/2”. [50/80]

1030 Japanese Imari Porcelain Walking Stick/Umbrella Stand, of tall ylindrical form in an overall parcel-gilt floral pattern, h. 24‑1/2”, dia. 9”. [600/900] Illustrated Color Plate VIII 1031 Pair of Japanese Meiji Patinated Bronze Garniture Vases, fourth quarter 19th century, of tapering baluster form in “Songbird and Chrysanthemum” decor, each with a calligraphic colophon on the base, h. 12”, dia. 4”. [200/400] 1032 Diverse Three-Piece Collection of Desk Objects, comprised of a Japanese Meiji porcelain covered beaker in “1000 Cranes” decor, fourth quarter 19th century, h. 5”, dia. 3‑3/4”; a good German ochre-glazed, frosted and parcel-lustered pottery standish featuring a recumbent dog between a covered inkwell and a sander centered by a scallop-shell bowl, third quarter 19th century, h. 3”, w. 6”, d. 4”; and a Continental carved and patinated bone duck headhandled horn and brass desk magnifier in the late 19th-century style, w. 3‑5/8”, l. 8‑3/4”. [100/200]

1033 Group of Two Japanese Pottery Items, first quarter 20th century, comprised of a Meiji elaborately polychromed and parcel-gilded bowl of small size with figural decoration, signed in overglaze rouge de fer calligraphy, h. 2”, dia. 5‑1/2”; and an elaborately gilded Taisho ivory Satsuma pottery vase with a “Lakeside Pavilions” facade vignette, with parcel-gilt calligraphy colophons, h. 9”, dia. 4”. [100/200] 1034 Thai Bronze and Gilt Statue of a Deity Atop a Bullock, well cast as a figure of a Hindu deity holding a walking staff, seated astride a horned bullock, the bronze with giltdecorated highlights, h. 11‑3/4”, l. 10‑1/2”. [100/200] 1035 Thai Brass-Mounted Mahogany Carver’s Set, second quarter 20th century, modeled as a horizontal pad-footed mahogany table scabbard, each end, respectively, with a carved mahogany-fitted carving knife and two-tine carver’s fork, l. 17‑3/4”. [75/125] 1036 Cambodian Carved Stone Head of the Youthful Buddha, first quarter 19th century, the figure modeled with a pointed diadem, presented on a block-tiered polished Carrere Veine marble base, h. 13‑1/2”, w. 5‑1/8”, d. 5‑1/8”. [200/400]

129

1037 Alberta Kinsey (American/Louisiana, 1875‑1952) “Shepherd with His Flock on a Wooded Path”, watercolor on board, signed lower left “Kinsey”, verso inscribed “Kinsey Alberta 1875‑1955, Milton, Ohio”, sight 16” x 10”. Glazed and presented in an Arts and Crafts-style giltwood frame. Alberta Kinsey was born in West Milton, Ohio, studied at the Cincinnati Art Academy and Chicago Art School, was an art instructor at the University of Ohio in Lebanon and was a member of the Cincinnati Women’s Art Club. She was in her late forties when she moved from Ohio to Louisiana. [1000/1500] Illustrated Color Plate II 1038 William Woodward (American/Louisiana, 1859‑1939) “Rear of Old House, Corner of St. Peter and Dauphine”, Raffaelli solid oil crayons on paper, signature partially visible lower right, verso extensively inscribed in pencil, among others, bearing a “Wm. Woodward” signature, sketch title and the medium, sheet size 21” x 27‑1/2”. Glazed and presented in a period floral-molded frame. [3000/5000] Illustrated Color Plate VI

1037 1039 Eugene Delcroix (American/Louisiana, 1891‑1967) “Cathedral Through Gateway”, vintage color photograph, titled in pencil lower left, signed in pencil lower right, sheet size 12‑1/2” x 9‑1/4”. Glazed and framed. [300/500] 1040 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. [3000/5000] Illustrated Color Plate VI 1038

1041 Colette Pope Heldner (American/Louisiana, 1902‑1990) “Swamp Idyll, Louisiana Bayou Country”, oil on canvas, signed lower left “Colette Pope Heldner”, 34” x 30”. Presented in a carved and polychromed frame. [1000/1500] Illustrated Color Plate XI 1042 David Sinclair Nixon (American/Louisiana, 1904‑1967) “The Bathers”, ca. 1945, oil on board, 24” x 18‑1/4”, inscribed on board verso “The Bathers/5 Figures at an Oasis/1904-David Nixon‑1967/c. 1945/ From the Estate”. Presented in a rustic wooden frame. [100/200]

1040

130

1043 Large, Fine and Rare New Orleans Art Pottery Company, Ring-Handled Jardiniere, molded by George E. Ohr and probably glazed by Joseph Meyer, fourth quarter 19th century, presented in grass green high-glaze, with relief decoration of artichoke plants on an incised ground, unsigned, h. 12-1/2”, dia. 15”. Note: The New Orleans Art Pottery Company started in 1886 at 224 Barrone Street, and was founded by William Woodward. Joseph Meyer was hired to develop the ceramic facility and build a coal driven kiln while George Ohr assisted him in the ceramic classes. Many of the larger pots were molded both at the Art Pottery Company in New Orleans as well as at George Ohr’s “Pot-OhrE” in Biloxi, Mississippi. Most of the students of the Art Pottery were women taking classes at Tulane Decoration Art League instituted by Ellsworth Woodward in 1885. The New Orleans Art Pottery Company lasted from 1886-1890. In 1890 it reorganized and became the New Orleans Art Pottery Club and eventually set the foundation for the formation of the Newcomb Art School and its pottery department. Reference: “The Newcomb Style” by Jean Bragg Gallery. [7000/10000] Illustrated Color Plate X

1043

1041

131

1044 American Rococo Revival Laminated Rosewood Sidechair, third quarter 19th century, in the “Stanton Hall” pattern, attributed to J. & J. W. Meeks, New York, the pierced and carved back with a floral crest and scrolled motifs, retaining its original finish and presented in a fine petit-point upholstery, h. 40‑1/4”, w. 19”, d. 18”. [1500/2500] Illustrated Color Plate I

1044

1045 Labeled “J. & J. W. Meeks” Rosewood and Marble-Top Side Cabinet, third quarter 19th century, the conforming white marble top above a single drawer bearing a stenciled label and a framed door below, raised on a scalloped base, h. 28‑3/4”, w. 23‑1/2”, d. 18‑1/2”. [800/1200] Illustrated

1050 Fine Hawkes Brilliant-Cut Glass Trumpet Vase, first quarter 20th century, in “Brunswick” decor, the circular foot reverse-cut with a magnum hobstar, h. 10‑3/4”, dia. 5”. [100/200] Illustrated 1051 Good American Brilliant-Cut Glass Petticoat-Footed Comport, first quarter 20th century, attributed to the Meriden Cut Glass Company, in “Interlaced Hobstars” decor, h. 8‑3/4”, dia. 8”. [150/300] Illustrated 1052 Large Continental Brilliant-Cut Glass Punchbowl, of cushion form in “Russian” cut, with a fan-cut border and notch-cut lip, h. 7‑1/2”, dia. 12‑1/2”. [150/300]

1045

1046 Rosewood-Grained Mahogany Annular Wall Clock, fourth quarter 19th century, by the Concord Clock Manufacturing Company, in the classical taste, the dial signed with an entwined “CM” monogram and glazed, h. 22”, w. 12‑1/2”, d. 4‑1/2”. [20/40] 1047 American Rococo Revival Mahogany Looking Glass, third quarter 19th century, the molded frame with arched top and foliate carving at the base, h. 23”, w. 21”. [75/125]

1048 Three-Piece American Girandole Garniture Set, third quarter 19th century, composed of brass, marble and cut glass in “The Sleeping Beggar and His Dog” decor, the set comprised of a central three-light candelabrum, h. 16‑1/2”, w. 16”, d. 4‑1/4”, and a flanking pair of single-light girandole candlesticks, h. 14‑1/4”, w. 6”, d. 4‑1/4”, all on white marble bases of slab form and dressed with period “Back-Cut Albert” prisms. [250/400] Illustrated 1049 Fine Egginton Brilliant-Cut Glass Jelly Stand, first quarter 20th century, in the “Creswick” pattern, signed at the edge of the reverse-cut foot in diamond stylus script, h. 8‑1/4”, dia. 7‑1/4”. [150/300] Illustrated

132

1048

1053 Austrian Rococo-Revival Mahogany Bookcase, fourth quarter 19th century, the pierced and cornucopia-carved crest over the arched frieze with rounded corners, above a conforming case fitted with two shaped glazed doors, and a carved skirt, raised on cabriole legs headed by acanthine carving and ending in scroll toes, h. 78‑1/2”, w. 41‑1/2”, d. 16‑1/2”. [400/700] Illustrated

1054

1054 American Rococo Revival Mahogany Sofa, third quarter 19th century, the frame in a double chair-back form and having three shell-carved crests across the back, the serpentine seat frame with foliate-carved motifs, h. 45”, w. 79”, d. 28”. [800/1200] Illustrated

1053

1051

1049

1050

1056 Pitkin and Brinks Brilliant-Cut Glass Berry Bowl, first quarter 20th century, in “Buzz and Lancet Arch” decor, signed at the interior with the acid-stamped P. & B. initials within a lozenge, h. 3‑3/4”, dia. 8‑1/4”. [150/300] Illustrated 1057 Elaborately Brilliant-Cut Glass Oranges Bowl, first quarter 20th century, attributed to J. Hoare and Company, of ovoid form in “Interlaced Hobstars” decor, h. 4‑3/4”, w. 8‑1/4”, l. 11‑1/2”. [150/300] Illustrated

1055 Brilliant-Cut Glass Ovoid Fruit Bowl, first quarter 20th century, attributed to the Sinclaire Cut Glass Company, also floral engraved in “Hobstar and Palm” decor, h. 4‑3/4”, w. 7”, l. 11‑1/4”. [175/200] Illustrated

1055

1056

1057

133

1058 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”. [75/125]

1059 American Rococo Revival Walnut Slipper Chair, third quarter 19th century, the pierced and carved back with a fruit- and foliate-carved crest supported by turned posts and scrolled hip rests, raised on turned legs, h. 41‑3/4”, w. 19‑1/2”, d. 17‑1/2”. [100/200]

1061

1062

1065

1064

1060 American Rococo Revival Mahogany and MarbleTop Center Table, third quarter 19th century, the top of tortoise form and retaining its original white marble, the frame with scroll-carved details and foliate-carved legs joined by a shaped stretcher and finial, h. 30”, w. 35”, d. 27”. [200/400] Illustrated 1061 Fine American Brilliant-Cut Glass Berry Bowl, first quarter 20th century, attributed to the Hoare firm, in “Heavy Tusks” decor, h. 4”, dia. 9‑1/2”. [200/400] Illustrated

1063

1066

1062 Opulent Brilliant-Cut Glass Ice Cream Tray, first quarter 20th century, attributed to the Strauss Cut Glass Company, of navette form in the “Harvard” pattern, w. 8”, l. 14”. [150/300] Illustrated 1063 Opulent Brilliant-Cut Glass Berry Bowl, first quarter 20th century, by Clark-Hugler in “Interlaced Hobstar and Cane Panel” decor, signed at the interior center, of unusually gently flared form, h. 4”, dia. 9‑1/4”. [150/300] Illustrated 1064 Fine and Rare Christian Dorflinger and Sons Brilliant-Cut Glass Low Bowl, first quarter 20th century, in the “Princess” pattern, unsigned as the Dorflinger firm generally did not sign its wares, dia. 8”. [200/400] Illustrated 1065 Fine American Cut Glass Circular Shallow Bowl, first quarter 20th century, attributed to the Hoare Company, richly cut in “Hobstar and Claw” decor, dia. 9”. [150/300] Illustrated 1066 Fine Libbey Brilliant-Cut Glass Low Bowl, 1897‑1907, opulently cut in the “New Brilliant” pattern, signed at the interior center with the acid-stamped Libbey sabre mark, dia. 9”. [150/300] Illustrated

1060

134

1067 American Rococo Revival Rosewood Settee, third quarter 19th century, the back with a large fruit-carved crest above the padded and tufted salmon velvet upholstery, the serpentine seat frame with carved panels, raised on cabriole legs, h. 38‑1/2”, w. 64”, d. 23”. [200/400]

1073 Large and Opulent Brilliant-Cut Glass Punchbowl, first quarter 20th century, attributed to the Strauss Cut Glass Company, in “Interlaced Hobstar and Diamond” decor, h. 5‑3/4”, dia. 12”. [300/500] Illustrated

1068 American Rococo Revival Walnut Armchair, third quarter 19th century, the back with a fruit- and foliatecarved crest, joined to open arms, with molded serpentine seat rail and cabriole legs, h. 44”, w. 26”, d. 31”. [200/400]

1074 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”. [200/400]

1073

1075 Fine Egginton Brilliant-Cut Glass Berry Bowl, first quarter 20th century, in “Lotus” decor, h. 4”, dia. 9”. [150/300] Illustrated 1076 Fine Brilliant-Cut Glass Berry Bowl, first quarter 20th century, retailed by the Alford Company, in the “Trieste” pattern, signed at the interior center with the Alford name in an acid-stamped lozenge, h. 4”, dia. 9‑1/4”. Alford was the retailer for the Clark Cut Glass Company. [200/400] Illustrated 1077 Fine Brilliant-Cut Glass Berry Bowl, first quarter 20th century, by the Fry Cut Glass Company, in the “Trojan” pattern, signed at the interior center with the acid-stamped Fry script mark, h. 4”, dia. 9”. [150/300] Illustrated 1069 Rococo Revival-Style Mahogany Armchair, second quarter 20th century, the circular back cushion with a foliate- and floral-carved crest, the back joined to the seat with scroll brackets at the hips, with a serpentine seat and cabriole legs, h. 37‑3/4”, w. 22”, d. 19”. [40/70]

1070

1072 1071

1070 T. G. Hawkes Brilliant-Cut Glass Trumpet Vase, first quarter 20th century, richly cut in the “Navarre” pattern, the edge of the circular reverse-cut foot acid-stamped with the Hawkes trefoil mark, h. 10”, dia. 4‑1/4”. [200/400] Illustrated 1071 Fine Brilliant-Cut Glass Salad Bowl, first quarter 20th century, attributed to the T. G. Hawkes Company, Corning, New York, in a “Venetian Variant” pattern, h. 4”, dia. 10‑1/4”. [150/300] Illustrated

1072 T. G. Hawkes Brilliant-Cut Glass Trumpet Vase, first quarter 20th century, of tall size in “Brunswick” pattern, the broad, circular, reverse-cut foot acidstamped on its upper surface with the Hawkes trefoil mark, h. 12”, dia. 4‑3/4”. [200/400] Illustrated

1075

1076

1077

135

1081 Group of Two Rococo-Style Chairs, consisting of an American rococo revival walnut lady’s chair, late 19th century, the finger-roll corset-form back joined to the seat with flaring hips, with serpentine front seat rail and cabriole legs h. 38”, w. 22‑1/2”, d. 28”; and a rococostyle walnut caned armchair of Louis XV influence, h. 42”, w. 24”, d. 20‑1/2”. [100/200]

1078

1082 Elaborately Brilliant-Cut Glass Berry Bowl, ca. 1900, in the “Success” pattern by the Empire Cut Glass Company, unsigned, h. 3‑5/8”, dia. 8‑1/4”. [150/300] Illustrated

1079

1078 American Rococo Revival Mahogany Bookcase, third quarter 19th century, the arched top with a large scrolling and foliate-carved crest over a pair of conforming glazed doors, the protruding base fitted with two drawers, h. 108”, w. 57”, d. 19‑1/2”. [2500/4000] Illustrated Color Plate IV 1079 American Rococo Revival Rosewood and Marble-Top Dressing Bureau, third quarter 19th century, the mirror with a floral-carved crest and mounted to the original white marble top, the base with four serpentine drawers and flanked by curved side cabinets, h. 86‑1/2”, w. 49”. [1500/2500] Illustrated 1080 American Gothic Revival Walnut Slipper Chair, third quarter 19th century, in the Elizabethan taste, the back with a pierced and carved Gothic crest mounted to spool-turned spindles and spiral side posts with a central fret-cut splat, raised on spool-turned legs, h. 44‑1/2”, w. 17‑1/2”, d. 17”. [150/300]

136

1083 1082

1084

1089 1089 Good, Large Pair of Anglo-Bohemian Engraved Glass Lustres, first quarter 20th century, of footed bowl form, each dressed with large “Back-Cut Albert” glass spears, the bowl rims cut in scallops, h. 12‑1/2”, dia. 7‑1/4”. [200/400] Illustrated 1090 Four-Piece Collection of Brilliant-Cut and Pressed Colorless Glass, comprised of a Continental Brilliant-cut vase of modified barrel form in “Russian” cut, with a “Fan and Pyramid”-cut band at the scalloped lip; an unusual and opulent Continental Brilliant-cut two-handled bottle cooler in “Russian” cut with “Palm” reserves; an American “Daisy and Button” pressed salad bowl; and an American similarly pressed covered compote of square form, first quarter 20th century; the largest h. 11‑1/2”, dia. 6‑1/2”. [125/250]

1083 Fine and Rare Brilliant-Cut Glass Berry Bowl, 1897‑1907, by the Libbey Glass Company, Toledo, Ohio, of large size in the “Sultana” pattern, signed on the interior with the Libbey acid-stamped sabre mark, h. 4‑1/4”, dia. 10‑1/4”. [200/400] Illustrated 1084 Fine Libbey Glass Company Brilliant-Cut Glass Berry Bowl, 1897‑1907, in the “Monarch” pattern, signed at the interior center with the acid-stamped Libbey saber mark, h. 4‑1/2”, dia. 10”. [200/400] Illustrated 1085 Hawkes Brilliant-Cut Glass Loop-Handled Nappy, first quarter 20th century, in “Greek Key” decor, signed with the acid-stamped Hawkes mark at the interior center, the center finely reverse-cut with a sunburst, dia. 6”. [50/80] 1086 Unusual Brilliant-Cut Glass Octagonal Shallow Bowl, first quarter 20th century, in “Pattern 98” decor by the Sinclaire Cut Glass Company, dia. 10‑3/4”. [200/400]

1091 Pair of Rococo-Style Mahogany and Marquetry Side Tables, each with a partially galleried serpentine, veneered and floral-inlaid top over a conforming case fitted with two deeply carved drawers centered with beribboned floral-bouquet inlays, raised on four cabriole legs ending in scroll feet, h. 29”, w. 22”, d. 17‑1/2”. [200/400] 1092 Cased One Hundred Eight-Piece Sterling Silver Flatware Service, by Rogers Sterling in “Old Charleston” pattern, comprised of twelve dinner forks, twelve hollowhandle dinner knives, twelve round-bowl soup spoons, twelve teaspoons, twelve hollow-handle butter knives, twelve salad/dessert forks, twelve seafood forks, twelve parfait/iced teaspoons, and twelve after-dinner coffee spoons, presented in a fitted Rogers anti-tarnish clothlined mahogany storage chest, the largest implement l. 9”. [1500/2500] Illustrated

1092

1087 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 (night-table 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”. [200/400] 1088 American Brilliant-Cut Glass Flared Hexagonal Vase, in “Buzz and Mandorla” decor, supported on an integral spreading hexagonal foot, h. 18”, w. 8”, d. 9”. [100/200]

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1097

1093 Trio of American Reticulated Sterling Silver Dessert Cup Stands, second quarter 20th century, each fitted with a conforming pegged “Vertical Optic Rib” glass dessert cup engraved with diminutive flowerheads and foliage, h. 3‑1/2”, dia. 3‑3/4”. [20/40]

1095 Collection of Three American Sterling Silver and Silverplate Hand Mirrors, comprised of an Unger Brothers “Antique Bead” circular example, with a handsome High Victorian entwined-script monogram and a beveled plate, fourth quarter 19th century; an Art Nouveau silverplate example in floral decor and also with a beveled plate, first quarter 20th century; and an R. Wallace and Sons sterling long-handled shield-form mirror in “Ribbon-Bound Laurel Sprigs” decor, also first quarter 20th century; the largest w. 5‑1/4”, l. 11‑3/4”. [100/200]

1102

1094 Highly Varied Group of American Sterling Silver Flatware, comprised of a set of eight Whiting Manufacturing Company “Bead” teaspoons, the pattern introduced in 1880; a trio of rare “Hyperion”-pattern teaspoons introduced by the Whiting Manufacturing Company in 1888; a Gorham “Buttercup” jelly slice, the pattern introduced in 1899; and a rare pair of Gorham “Old Medici” tablespoons, the pattern introduced in 1880; the largest l. 8‑1/2”. [100/200]

1106 1096 J. F. Caldwell & Company, Philadelphia, Sterling Silver Sauceboat, second quarter 20th century, in the George III style, with “Antique Bead” rim and raised on three shell-surmounted paw feet h. 3‑1/4”, w. 3‑1/2”, l. 7‑1/2”, 7.7 t. oz. [250/400] 1097 Good Three-Piece Bailey and Kitchen, Philadelphia, Coin Silver Coffee Service, 1832‑1846, in the neoclassical taste, comprised of a melon-ribbed and footed coffeepot with pomegranate finial, a matching magnum covered two-handled sugar basin, and a magnum cream pitcher “en suite, the largest h. 11”, w. 11”, dia. 4‑1/2”. [3500/5000] Illustrated 1098 Attractive Four-Piece Group of American Silverplate, comprised of a Hartford Silver Company paneled and footed iced water pitcher with a “fish mouth” pouring lip, second quarter 20th century; an International doublelipped sauceboat with integral stand in the “Castleton” pattern, second quarter 20th century; a William Rogers spiral-ribbed circular fruit dish in the “Waverly” pattern; and an International footed coquiform seafood bowl in the “Old Sheffield” style; the largest h. 9”, w. 6‑3/4”, l. 9”. [200/400]

138

1099 Barbour Silverplate Two-Handled and Paw-Footed Waiter, first quarter 20th century, of large oblong form in “Vintage” decor, the center with boldly stamped motifs of stylized shell edges, foliate scrolls and foliage, h. 2”, w. 17‑1/2”, l. 24”. [400/700] 1100 Good S. T. Crosby, Boston, Sterling Silver Covered Cream Pitcher, 1849‑1850, in the neoclassical taste, the shoulder with an engraved “Greek Key” band, h. 6”, dia. 3‑1/2”, 7.45 t. oz. [300/500] 1101 Good Set of Eight Gorham Sterling Silver Dessert Bowls and Underplates, first quarter 20th century, in “Greek Key” decor, bowl h. 1‑3/4”, dia. 5‑1/4”, underplate dia. 6‑1/2”, 66.65 total t. oz. (sixteen total pieces). [1500/2500] 1102 Extensive Cased One Hundred Twenty-Six-Piece Sterling Silver Flatware Service, by International, in the “Beverly” pattern, the pattern introduced in 1910, comprised of twelve hollow-handle dinner knives, twelve dinner forks, twelve hollow-handle luncheon knives, ten luncheon forks, ten teaspoons, eight flat butter knives, eleven tablespoons, twelve round-bowl soup spoons, twelve citrus spoons, twelve seafood forks, a master butter knife, a sauce/mayonnaise ladle and a sugar tong, presented in a Pacific cloth-lined hardwood storage chest with marquetry stenciling, the chest with a basal transverse drawer, the largest implement l. 10”, 138.75 total t. oz. [1500/2500] Illustrated 1103 Thirty-Five Pieces of “1810”-Pattern Sterling Silver Flatware, the pattern introduced in 1930 by International Silver, Meriden, Connecticut, including a salad fork, l. 6‑1/4”, eight seafood/cocktail forks, l, 5‑1/2”, three teaspoons, l. 5‑1/2”, eight iced tea spoons, l. 7‑1/4”, twelve demitasse spoons, l. 4‑1/8”, a tablespoon, l. 7‑7/8”, a pierced tablespoon, l. 7‑7/8”, and a butter serving knife, l. 6‑7/8”, no monograms, 29.19 total t. oz. [300/500] 1104 Two Attractive Sterling Silver Trays, first quarter 20th century, comprised of a Frank M. Whiting oblong “Gadroon” bread tray in the Georgian taste, w. 7”, l. 11‑1/2”; and a Reed and Barton pastry tray with undulating rim in the “Colonial” taste, of substantial weight, dia. 9‑1/2”, 24.75 total t. oz. [150/300] 1105 Seven-Piece Collection of American Sterling Silver, second quarter 20th century, comprised of a pair of Arrowsmith weighted candlesticks in the Georgian taste; a pair of Towle weighted console candlesticks; an M. F. Hirsch footed mayonnaise/sauce bowl with pierced rim; a William Rogers Manufacturing Company ball-footed bonbon stand with pierced rim; and a similar Hirsch tall footed bonbon stand with a lattice-pierced border; the largest h. 6”, dia. 6”. [100/200]

1106 Historic American Coin (.900) Silver “Mercer Girl” Milk Jug, dated 1862, by Newell Harding & Co., Boston, Massachusetts, the pear-shaped body with acanthuscrested arched handle, integral spout and molded rim and foot-ring, engraved “To Lizzie / from her / Mother Ordway / 1862”, h. 6‑1/2”, dia. 4”, l. 5‑1/4”. Mary Elizabeth “Lizzie” Ordway (1828‑1897) was probably the most celebrated of the first “Mercer Girls”: a group of eleven young women brought from the east to the Washington Territory by Asa Shinn Mercer (1839‑1917) in 1864 to work as teachers and increase the number of marriageable women in the area. (Their story was later immortalized in the 1954 Stanley Donen musical film Seven Brides for Seven Brothers and the 1968‑1970 CBS television series Here Come the Brides.) Ordway, at 35, was the oldest of the women who responded to Mercer, the twenty-five-year-old newly elected president of the University of Washington in Seattle, when he appeared at the Unitarian Church in Lowell, Massachusetts, in March of 1864. He offered honorable work and good wages to educated women of good moral standing who were willing to make the journey to the Pacific coast (and who could afford the $250 transportation fee). After an arduous trip involving a train to New York, then a ten-day sea voyage to Panama, another train across the Isthmus, fifteen days at sea to San Francisco, followed by seventeen more days aboard a lumber bark to Puget Sound, and finally one more day on a sloop, the group arrived at Seattle on May 16, 1864. Ordway began teaching on Whidbey Island and soon became a driving force behind public education in the Washington Territory, later working in several cities, including Seattle, Port Madison and Port Blakely. She was an ardent suffragist, and accompanied Susan B. Anthony from San Francisco to Seattle in 1871. Ordway was elected Kitsap County school superintendent in 1881, much to the chagrin of the Seattle Post-Intelligencer which editorialized “It may be a good joke to put a woman in nomination, but I do not regard the office of school superintendent of so little importance as to vote for a woman at the polls”. She continued to act with the County Education Board certifying new teachers after her term as superintendent, and in 1891 assisted in the preparation of the new state’s (Washington joined the union in 1889) exhibition at the Chicago World’s Fair in 1893. She died in September of 1897 and is buried in Seattle’s Lake View Cemetery. Unlike the other Mercer Girls, whose descendants constitute a significant portion of Seattle’s population today, Ordway never married, but she is remembered with the Ordway Elementary School on Bainbridge Island which bears her name, and on the Washington State Historical Society’s Honor Roll. This Massachusetts-manufactured silver pitcher was presented to Lizzie when she was 34, according to the date, two years before she left for Seattle. The presenter “Mother Ordway” was her stepmother, Harriet Heald, whom her father Enoch Ordway had married in 1842; Lizzie’s mother, Mary, had died some time earlier. Doubtless the pitcher accompanied Lizzie to Seattle, and it stands as a fascinating artifact of one of the most memorable group of pioneers in the Pacific Northwest: the courageous Mercer Girls. [300/500] Illustrated

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1112 1109 William Rogers Silverplate Covered Vegetable Dish, second quarter 20th century, of circular tripodal form, the domed cover with an overall stamped and chased pattern of stylized shells and foliate scrolls, h. 7”, dia. 10‑1/4”. [30/50]

1110 Four-Piece Group of Silver Utensils, comprised of a rare Gorham sterling “Old Medici” cheese scoop, the pattern introduced in 1880; a Wallace sterling “Washington” sugar shell with paneled bowl, the pattern introduced in 1911; a pair of Klinger, Germany, .800standard silver-handled steel grape shears in “Vintage” decor, first quarter 20th century; and a William Adams, Sheffield, goldplate “King’s Shell” teaspoon, third quarter 20th century; the largest l. 6‑1/2”. [75/125] 1111 Pair of S. Kirk & Son Weighted Sterling Silver ThreeLight Candelabra, second quarter 20th century, of low form in “Floral Repousse” decor, detaching at the centers to form a pair of fairly tall console candlesticks, the spiraled candlearms reeded, h. 7‑3/4”, w. 12”, dia. 4”. [700/1000]

1113 1107 Two Pairs of Sterling-Handled Carver’s Sets, comprised of two-piece Reed and Barton “Chambord” carver’s set, the pattern introduced in 1909; and a similar two-piece carver’s set in International’s “Wellesley”, the pattern introduced in 1912; the “Chambord” carver’s knife with a stainless blade, the “Wellesley” knife with a steel blade, the largest l. 10‑3/4”. [50/80] 1108 Four-Piece Group of American Sterling Silver Utensils, consisting of a Towle “Canterbury” clawterminal sugar tong, the pattern introduced in 1893; a pair of Towle “Chippendale” after-dinner coffee spoons, the pattern introduced in 1937; and a Wood and Hughes “Victoria No. 80”, after-dinner coffee spoon, the pattern introduced in 1885; the largest l. 4‑1/4”, 1.65 total t. oz. [50/80] 1116

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1112 Richly Patterned Black and White Full Cowhide Rug, w. 66”, l. 65”. [150/300] Illustrated 1113 Turkish Angora Oushak Carpet, 9’ 2” x 12’. [1800/2500] Illustrated 1114 Chinese Carpet, 8’ 11” x 11’ 7”. [400/700] 1115 Agra Serapi Circular Carpet, dia. 5’ 10”. [400/700]

1120

1125 1116 Persian Tabriz Carpet, 9’ 8” x 13’ 1”. [500/800] Illustrated 1117 Rajistan Oushak Carpet, 5’ 6” x 8’ 3”. [400/700] 1118 Jaipur Runner, 2’ 6” x 11’ 9”. [200/400] 1119 Soumak Carpet, 8’ x 10’. [100/200] 1120 Persian Tabriz Carpet, 9’ 2” x 12’ 7”. [450/700] Illustrated 1123

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1121 Tabriz Carpet, 9’ 7” x 12’ 8”. [300/500] 1122 Persian Hamadan Carpet, 4’ 10” x 9’ 3”. [200/400] 1123 Persian Tabriz Carpet, 9’ 8” x 12’ 6”. [500/800] Illustrated previous page 1124 Shiraz Carpet, 8’ 7” x 5’ 3”. [500/800]

1132

1131A Laristan Sarouk Carpet, 9’ 3” x 12’. [600/900] 1132 American Queen Anne Maple High Chest of Drawers, third quarter 18th century, New England, in two parts, the upper section with a flat projecting molded cornice over a graduated bank of four drawers, on a base with a trisected single drawer, raised on cabriole legs with pad feet, h. 71”, w. 38”, d. 18‑3/4”. [2500/4000] Illustrated

1129 1125 Persian Kashan Carpet, 9’ 8” x 13’ 5”. [700/1000] Illustrated previous page 1126 Kerman Carpet, 11’ 11” x 21’ 4”. [700/1000] 1127 Shiraz Carpet, 6’ 3” x 8’ 8”. [300/500] 1128 Shiraz Carpet, 6’ 1” x 7’ 6”. [300/500] 1129 Agra Sultanabad Carpet, 8’ 1” x 9’ 7”. [800/1200] Illustrated 1130 Hamadan Carpet, 4’ 6” x 6’ 7”. [150/300] 1131 Semi-Antique Lilihan Carpet, 3’ 7” x 5’ 3”. [100/200]

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1133

1136 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 whitespangled “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 cerulean-shaded-to-cobalt “Vertical Optic Rib” glass vase, also first quarter 20th century, probably of Luneville origin; the largest h. 12”, dia. 5‑1/4”. [150/300]

1134

1133 Good Sheraton-Style Mahogany Sideboard, early 20th century, the top with a straight gallery and scalloped returns above the base fitted with three drawers and four cabinets, having reeded details and raised on turned and reeded legs, h. 42”, w. 72”, d. 22‑1/2”. [300/500] Illustrated

1135

1134 Suite of Five ChippendaleStyle Mahogany Dining Chairs, ca. 1900, consisting of two armchairs and three sidechairs, each with a serpentine crest over a pierced and carved splat, above a padded seat raised on molded square legs joined by an H-form stretcher, h. 36”, w. 21”, d. 18”. [600/900] Illustrated 1135 Good Freeman, Welwyn, Rosewood Four-Dial Barometer, second quarter 19th century, of large “banjo” form, the primary dial of engraved silvered brass and convexglazed, the basal dial signed “Freeman/Welwyn”, h. 44‑1/2”, w. 12”. [400/700] Illustrated

1138

1137 Fine and Rare Hued Cobalt Glass Footed Vase, ca. 1920‑1925, by Pauly and Company, Venice and Murano, in “Vertical Optic Rib” decor, h. 8”, dia. 8‑1/2”. A “rose quartz” glass vase of this characteristic Pauly form is in the Leah Norman Schreier Collection at the New Orleans Museum of Art. [150/300]

1139

143

1138 American Sheraton Mahogany Sofa, first quarter 19th century, the reeded rectangular crest over a padded back joined to the like seat by downswept arms and bulbous, turned supports, raised on reeded tapering circular legs ending in toupie feet, h. 34‑1/2”, w. 79‑3/4”, d. 27”. [800/1200] Illustrated previous page and Color Plate II

1140 Large Anglo-American Brass and Cut Glass Hall Lantern, in the neoclassical style, the blown, frosted and cut glass shade of inverted bell form and fitted with a brass miniature chandelier with four lights, the upper rod fitted with a colorless glass smoke shade, electrified, h. 26”. [150/300] 1142

1141 Large American Pendant Chandelier/Shade, of the “Tiffany” type, composed of patinated brass and green and ivory slag glass, the interior fitted with a single downlight, h. 18”, dia. 24”. [50/80] 1142 Edward Chope (American, Contemporary) “Survival III”, a dramatic limited edition patinated bronze sculpture depicting a pair of bald eagles in flight, quarreling over a captured trout, number 50 of an edition of 150, signed on the bronze base “Chope, 50/150”, h. 51”, w. 31”, d. 32”. Presented on an elliptical stepped verde antico marble base. [6000/9000] Illustrated Color Plate IX

1144

1143

1139 American Sheraton Mahogany Games Table, early 19th century, the top with ovolo corners and molded edge, the leaf supported by a fly leg, the frieze with a central bowed drawer flanked by concave faces, raised on foliate-carved reeded legs ending in ball feet, h. 29‑1/4”, w. 38‑1/2”, d. 17‑3/4”, extended l. 35‑1/2”. [700/1000] Illustrated previous page

144

1143 Fine Stanley, London, Yacht Compass/Telescope, second quarter 20th century, composed of brass, steel and glass, the silvered brass dial fully signed and bearing the serial number 7537, complete with its period mounting stanchion, h. 17”, dia. 6‑1/2”, l. 15‑1/2”. [200/400] Illustrated

1149

1150 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 18th-century 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”. [250/400]

1144 Chippendale Revival Stained Mahogany Display Cabinet, fourth quarter 19th century, the pierced and carved crest above a back fitted with a central oval mirrored panel over a serpentine top with molded edge above a blind fretwork-carved frieze with a cubby below, flanked to both sides by a cabinet with an astragal-glazed door surmounted by serpentine-shaped mirrored panels, the whole raised on cabriole legs headed by acanthine carving, joined by a serpentine shelf-stretcher and ending in pad feet, h. 92”, w. 47”, d. 14”. [500/800] Illustrated 1145 Assembled Suite of Five Colonial Revival Birch and Walnut Dining Chairs, of William and Mary inspiration, comprised of a large walnut chair and four matching birch and mixed wood examples, each with a ladderback, rush seat and turned box stretchers, h. 45”. [75/125] 1146 Edwardian Mahogany and Needlework Fire Screen, ca. 1900, of shield form, the panel depicting a Victorian lady holding flowers, h. 38‑1/2”, w. 25‑1/4”, d. 13‑1/4”. [200/400] Illustrated 1147 Pair of American Seven-Light Floor Candelabra, of black-finished wrought-iron in the Spanish 18th-century style, perhaps by Cyril Kolnik of Milwaukee, h. 63”, w. 24”, d. 11‑3/4”. [50/80] 1148 Assorted Group of Cast-Iron Firebacks, mid‑19th century, found along with items from the historic St. Charles Hotel, New Orleans, comprised of five “grid”pattern central panels, two bird or swallow-pattern center panels and an assortment of swallow-pattern return fragments, h. 30”. [200/400] 1149 Fine American Cased Model of the Clipper Ship “Sea Witch”, out of New York, the elaborate and periodcorrect rigging, deck equipment and whaling boat intact, presented on an oblong glazed walnut vitrine, h. 25”, w. 13‑3/4”, l. 38”. [300/500] Illustrated

1146

1151 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). [200/400]

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1152

1155 American “Centennial” Rosewood-Grained and Mahogany Looking Glass, first quarter 20th century, in the Early Georgian style, the plate broadly beveled throughout, h. 31”, w. 16”. [200/400] 1156 Murrell Butler (American/Louisiana, 20th/21st Century) “Maynard Bayou Gobbler”, oil on canvas, signed and dated lower left “Murrell Butler, 1994”, verso stretcher inscribed in ink “Maynard Bayou Gobbler-West Feliciana Parish, LA, May 1994”, 30” x 24”. Presented in an attractive burled wood frame. [1000/1500] Illustrated

1152 Chippendale-Revival Stained Mahogany Secretaryon-Stand, fourth quarter 19th century, the pierced and broken-pediment-carved crest centered by a finial over an acanthine-carved frieze with canted corners, above a conforming case fitted with two astragal-glazed doors, the lower case with a serpentine top over a conforming drawer-fitted frieze with rosette carving, raised on cabriole legs joined by a stretcher and ending in circular feet, h. 78”, w. 35‑1/2”, d. 21”. [500/800] Illustrated

1156

1153 American Sheraton-Style Mahogany FourPost Bedstead, mid‑19th century, the arched and paneled headboard supported by lathe-turned posts, h. 89”, inside w. 61”, l. 73”, outside w. 66‑1/2”, l. 76”. [600/900] 1154 Three Various 19th-Century Legal Documents, including a British Indenture document, dated 1860; a New Orleans, Engineer’s Office, City Hall document dated 1895; and a Comte d’Orleans “Quartier de la Concession”, from the early 19th century, the largest sheet size 26‑1/2” x 23‑1/4”. [400/700]

1162

146

1157 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. [350/500] 1158 Two Arkansas Game and Fish Commission Stamps with Limited Edition Chromolithographs, consisting of “Metro Mallards” by Lee LeBlanc and “Black River Green Winged Teal” by David Maass, both signed lower right and numbered lower left, sight 7‑1/2” x 9‑1/2”. Both glazed, attractively matted and framed. [150/300] 1159 Suite of Three Wildlife Federation Stamps and Limited Edition Chromolithographs, “1983 Wild Turkey” for Louisiana Wild Turkey Federation by Richard Plasschaert, “1982 Wild Turkey” for Louisiana Wild Turkey Federation by Richard Sloan, and “Mississippi Wild Turkey” for Mississippi Wildlife Federation by Bob Tompkins, signed lower right and numbered lower left, sight h. 8”, w. 9‑3/4”. Each glazed, attractively matted and framed. [200/400]

1166 J. Gould and H. C. Richter (British, 19th Century) “Malurus Hypoleucus”, hand-colored lithograph, legend lower margin, sight 18‑1/4” x 12‑1/4”. Glazed and framed. [125/250] 1167 After John James Audubon (American, 1785‑1851) “American Golden Ploven”, “American Ring Ploven”, “RedBreasted Sandpiper” and “Wilson Phalarophe”, suite of four hand-colored lithographs from the Octavo edition of The Birds of America, sight 5‑3/4” x 9‑3/4”. All glazed, doublematted and framed. [150/300] 1168 After John James Audubon (American, 1785‑1851) “White-Bellied Swallow”, “Long Eared Owl”, “BlueMountain Warbler” and “Cliff Swallow (Nests)”, suite of four chromolithographs from the Octavo edition of The Birds of America, sight 6” x 9‑3/4”. All glazed, double-matted and framed. [150/300]

1160 Frederic Whitaker (American, 1890‑1980) “Parrot on a Branch”, artist’s proof chromolithograph, signed in pencil lower right, sight 25” x 23‑1/2”. Glazed, double-matted and presented in a giltwood and gesso frame. [150/300] 1161 After David Maass (American, b. 1929) “Bobwhite Quail”, offset lithograph, and “$5, 1982 Quail Research Stamp”, lithograph, signed in pencil lower right and numbered in pencil lower left “1254/3900”, sight 7‑1/2” x 10”. Glazed, matted and presented together in a contemporary brass frame. [75/125] 1162 After John James Audubon (American, 1785‑1851) “Cock of the Plains”, offset chromolithograph from the Amsterdam edition of Birds of America, 1971, sight 25” x 37”. Glazed and attractively matted and framed. [400/700] Illustrated 1163 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. [300/500] 1164 After John James Audubon (American, 1785‑1851) “Red-Tailed Hawk”, offset chromolithograph, 20th century, sight 36‑1/2” x 25‑1/2”. Glazed, attractively matted and presented in a molded giltwood frame. [300/500] 1165 After John James Audubon (American, 1785‑1851) “Wild Turkey”, offset chromolithograph, 20th century, sight 25‑3/8” x 37‑1/8”. Glazed, attractively matted and presented in a molded giltwood frame. [400/700]

1170

1169 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. [75/125] 1170 Good Vernacular American Cherry Chest of Drawers, second quarter 19th century, probably of Southern origin, the framed top held on with wooden pegs above a large blanket drawer over three graduated drawers, each drawer with bone-inset escutcheons, the ends paneled with mortised and tenon pegged construction, h. 47‑1/4”, w. 47‑3/4”, d. 22‑3/4”. [800/1200] Illustrated

147

1175 Chris Clark (American, Contemporary; Active New Orleans), a carved and polychromed totem pole, in the “Outsider Art” style, the finial a carved bird with peridot glass cabochon eyes, seated on a T-perch, signed and dated 1996 at the center of the shaft, l. 70‑1/2”. Clark is represented by the LeMieux Galleries, New Orleans. [200/400] 1176 American Copper Canning Steamer, second quarter 20th century, of large size and elliptical form, with two down-curved cast-iron handles embossed “Rome” and having turned wood crossbars, h. 12‑1/2”, w. 12”, l. 26‑1/2”. [200/400] 1177 Samsonite Brown Leather-Edged AlligatorTextured Weekender Suitcase, the interior fully lined in padded russet fabric, the upper leaf centered with an elliptical brass plaque touchmarked “Samsonite”, the handle impressed with the same mark, h. 13‑1/2”, w. 8”, l. 21‑1/4”. [30/50]

1173 1171 American Cypress Plank-Top Work Table, early 20th century, the thick two-board plank top mounted to a framed base with large tapered legs, the apron fitted with a single drawer, one corner of the top with an embedded metal plate, presumably to mount a grinder, h. 30”, w. 27”, l. 46‑1/2”. [300/500] 1172 American Vernacular Poplar Farm Table, first quarter 20th century, the rectangular planked top above a frieze fitted with two drawers on both sides, raised on square legs, h. 28‑1/2”, w. 34‑1/2”, l. 59”. [200/400] 1173 Large George III-Style Stained Pine Two-Part MapChest Cabinet, fourth quarter 19th century, the upper case with a dentil-molded crown above a pair of framed and paneled doors, the deep base with a single long drawer above a pair of cabinets opening to an interior fitted with sliding document shelves, retains its original locks and key, h. 87”, w. 59”, d. 37”. [500/800] Illustrated 1174 Two Anglo-American Cast-Iron Garden Figures of Rabbits, one sitting up on its backside and the other crouched with its proper left forepaw raised, both figures painted in a matte antique white with light scattered rusting, the largest h. 17”, w. 7”, d. 6”. [150/300]

148

1173 interior

1178 Rare Louisiana Painted Cypress and Mixed Woods Punkah, early 19th century, of mortised construction, the ceiling fittings now lacking, h. 23‑1/2”, w. 37‑1/4”. Sometimes called a “shoo-fly”, the punkah was affixed to the ceiling with a framework that allowed it to pivot and operated with a string to create air movement over a kitchen or dining table. This example was found in the attic of the Dutreuil house, St. Martinville, Louisiana. [1000/1500]

1179 Vernacular American Blue-Painted Cypress Bassinet/Bench, early 19th century, each member of single-board construction, the horizontal board tennoned into side uprights, each of which is fitted with a hand hold, h. 33”, w. 43‑1/2”, d. 19”. Bassinets and cribs of this type have been found across Acadiana; the present example was found in an attic in St. Martinville, Louisiana. [800/1200] 1180 Near Pair of Vernacular American Oak and Mixed Woods Rocking Chairs, 19th century, Southern, each with ladderbacks joined to turned stiles, with generously modeled armrests and turned legs joined by box stretchers, each with a hide seat, h. 36”. [250/400] 1181 Rare Vernacular American Stained Pine “Hired Hands” Bed, 19th century, with the unusual feature of folding legs, the rails drilled for rope mattress supports, h. 23”, outside w. 55”, l. 75”. [75/125] 1182 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”. [50/80] 1183 Collection of Five Stoneware Jugs, ca. 1900, consisting of four unsigned sand-glazed examples; and a one-gallon sand and Albany slip jug bearing the “Western Stoneware” stenciled label, the largest h. 11”, dia. 6‑1/2”. [50/80] 1184 Collection of Four Stoneware Jugs, fourth quarter 19th century, including a one-gallon Albany slip example; a one-gallon caramel-glazed example; and two half-gallon gray salt-glazed examples; all unsigned, the largest h. 10”. [50/80] 1185 Shearwater Pottery Cast #10 Pitcher, 1986, designed by Walter Inglis Anderson (1905‑1968) and decorated by Adele Elizabeth Anderson Lawton (b. 1951), signed on the base underglaze with impressed arched “Shearwater/06/ Adele”, in script, h. 5‑1/2”, w. 5‑3/4”. [200/400] 1186 Fine American Gray Stoneware #2 Storage Crock, by Julius Norton, Bennington, Vermont, 1841‑1845, of cylindrical section and having two handles, the facade emblazoned with a stylized floral spray surmounted by “Julius Norton/Burlington, Vt/2” in impressed underglaze block letters, h. 12”, dia. 9‑1/2”. [125/250] 1187 Good American Provincial Brown-Glazed Stonework Butter Churn, second quarter 19th century, probably Virginia, of large, two-handled form, lacking the wooden cover and dash, h. 18‑1/2”, dia. 11”. [125/250]

1188 American Gray/Brown-Glazed Stoneware Crock, second quarter 19th century, probably Virginia, of large, two-handled form, h. 16‑1/2”, dia. 9‑1/4”. [125/250] 1189 Group of Two Branding Irons, one an American longhandled wrought-iron “H” branding iron with wooden grip, l. 36”; and the other an earlier American long-handled wrought-iron “K” brand, fourth quarter 19th century, l. 42”. [20/40] 1190 Rustic Oak Wood Shaver, late 19th century, fitted with three blades, w. 49”. [100/200] 1191 American Pickled Pine Tool Chest, early 20th century, the hinged lid opening to a void cavity, the whole retaining traces of old green paint, h. 14‑1/2”, w. 27”, d. 17”. [50/80] 1192 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”. [100/200] 1193 Shaker-Style Cherrywood Tall Chest, the rectangular top with molded edge above a case fitted with a central pegged hat door, flanked to both sides by two graduated drawers, raised on bracket feet with exposed dovetailed groove corners, the interior in cedar, h. 52‑1/4”, w. 40”, d. 19”. [300/500] 1194 William IV-Style Oak and Mahogany Low Side Table, the molded rectangular top mounted to a framed base with turned and tapering octagonal legs, h. 17‑1/2”, w. 26”, d. 16”. [50/80] 1195 Fine Weller Pottery “Baldin” Vase, the line introduced ca. 1915, impressed underglaze on the base “Weller”, h. 13‑3/4”. For a similar, although not identical, Weller “Baldin” vase, see S. and B. Huxford, The Collectors’ Encyclopedia of Weller Pottery, 1979, p. 173, bottom photograph, left. [250/400] 1196 Fulper Pottery Pyriform Vase, first quarter 20th century, in rose drip glaze over buff, signed on the base with the vertical embossed Fulper mark, underglaze, h. 11‑3/4”, dia. 8”. [200/400] 1197 Shearwater Pottery Cast #10 Pitcher, ca. 1940, by Peter Anderson (1907‑1984), in “Blue Rain” glaze, h. 5”, w. 5”. [100/200] 1198 American Turned and Weathered Wood Architectural Finial, fourth quarter 19th century, mounted on a custom tubular steel and matte blackpainted wooden block base, h. 41”, w. 5‑1/4”, d. 5‑1/4”. [50/80]

149

1199 American Turned and Weathered Wood Architectural Finial, fourth quarter 19th century, of tall form and mounted on a custom tubular steel and matte black-painted wooden block base, h. 46”, w. 5‑1/2”, d. 5‑1/2”. [50/80] 1200 American Turned and Weathered Wood Architectural Finial, fourth quarter 19th century, of tall form and presented on a custom tubular steel and matte black-painted wooden block base, h. 43”, w. 5‑1/2”, d. 5‑1/2”. [50/80] 1201 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”. [75/125]

1204 American Honey-Pine Three-Tier Corner Hanging Shelf, second quarter 20th century, of large size in the “Colonial” style, h. 35”, w. 16‑1/2”, d. 8‑1/2”. [75/125] 1205 After Frederic Sackrider Remington (American, 1861‑1909) “The Rattlesnake”, a large dark-patinated bronze group, signed at the rear proper left basal edge “Copyright by/Frederic Remington”, presented on an ovoid polished verde antico marble slab base centered with an engraved brass title plaque, h. 23”, w. 16”, d. 10”. [300/500] Illustrated

1205

1202 Interesting Four-Piece Metal Group, consisting of a Realities, Australia, cold cast bronze figure of a reclining kangaroo, signed “EJB” and affixed to an oval mahogany base, l. 11”; a cast-iron garden gate finial in the form of three pierced crosses, h. 7‑1/2”, w. 13”; and a pair of castiron “Caparisoned Camel” bookends, each with impressed “1008”, h. 5”, w. 6‑1/4”; the cast-iron pieces first quarter 20th century. [100/200]

1207

1206 After Frederic Sackrider Remington (American, 1861‑1909), an interesting trio of miniature patinated bronze sculptures of “The Bronco Buster”, “The Old Trapper” and “The Indian Sentinel”, all on oblong verde antico marble bases, “The Bronco Buster” signed “Remington” on the oblong base, the largest h. 6‑1/2”. [100/200] 1207 Good American Cast-Iron Cook Stove, fourth quarter 19th century, the stove top with embossed flowers and roping details, the front grill embossed “Emerald. NO,25.1878”, the base embossed “Bussey McLeod & Co., Troy, N.Y.”, h. 48‑1/2”, w. 27”, d. 22”. [300/500] Illustrated 1203 Good German Double Singing Bird Automaton, early 20th century, probably by Griesbaum, the base of the giltbrass cage decorated with five brass argente relief panels depicting frolicking putti, raised on a trio of shaped peg feet, in working order, h. 9‑1/2”, dia. 5‑3/4”. [150/300]

150

1208 Good Edwardian Brass Urn-Capped Low Fireplace Fender, first quarter 20th century, centered with a horizontal bar in the neoclassical style, h. 9‑1/2”, w. 43”, d. 4”. [200/400]

1209 Vernacular American Cypress Double-Door Armoire, ca. 1900, each door with a trio of raised beveled panels, over a pair of deep drawers, with a bead-board back, h. 87‑1/4”, w. 49”, d. 19‑1/2”. [500/800] 1210 Large Pair of Turned Maple Newel Posts, mid‑19th century, of cannonball form, h. 53”, w. 7”, d. 7”. [100/200] 1211 Early American-Style Maple Butterfly Drop-Leaf Table, mid‑20th century, of diminutive proportions, the oval top with two drop leaves supported by swing-out butterfly supports and raised on turned legs, h. 23‑1/2”, w. 26”, d. 21‑1/4”. [150/250] 1212 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”. [75/125] 1213 Good Two-Piece Niloak Pottery Group, second quarter 20th century, comprised of a shaded matte rose-glazed 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”. [100/200] 1214 Interesting Polychromed Sheet Metal Coca-Cola Cooler, the hinged lid opening to a lined cooler and fitted with a drain below, the front having a bottle opener and all four sides bearing the stenciled Coca-Cola label, h. 28”, w. 17‑1/2”, d. 17‑1/2”. [75/125] 1215 Globe Automatic Sprinkler Company, Philadelphia, Copper Fire Extinguisher, second/third quarter 20th century, the facade mounted with a large embossed brass plaque detailing the maker and operating instructions, retains the period spraying hose, h. 24‑1/2”, dia. 7‑1/2”. [75/125] 1216 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”. [250/400] 1217 Impressive Pair of Exuberantly Modeled WroughtIron Andirons, first quarter 20th century, in floral decor in the manner of Cyril Kolnik, Milwaukee, each cruciform upper element centered with a handsomely crafted cut and wrought-iron rose flower, h. 29”, w. 11‑1/4”, d. 30”. [200/400]

1218 Pair of English Cast-Brass and Wrought-Iron Vasiform Andirons, first quarter 20th century, of low form, h. 7”, w. 3‑1/4”, d. 15”. [200/400] 1219 Pair of American Cast-Iron Garden Bench Ends, ca. 1900, each molded to accommodate wooden slats, h. 33”, w. 18”, d. 1”. Please note that they are both left ends. [20/40] 1220 Twelve-Piece Collection of Various Colored Fiesta Ware, second quarter 20th century, comprised of a set of six yellow salad plates, a cobalt blue tumbler, a green sparrow-beaked footed cream pitcher, a jade green gravy boat, a blue covered two-handled sugar basin, and a rose cup and saucer, all but the cup and saucer with impressed marks underglaze, the largest h. 5”, w. 4‑1/2”, l. 8”. [100/200] 1221 Two-Piece Group of Blue-Glazed Pottery Pitchers, second quarter 20th century, comprised of a Hall royal blue-glazed globular iced beverages pitcher, h. 7”, w. 6‑1/2”, l. 8”, and an American royal blue-glazed pitcher of flat-sided circular form with a squared spout, h. 6‑3/4”, w. 3”, l. 10”. [100/200] 1222 Set of Three Hall China Company Stoneware Refrigerator Storage Bowls, second quarter 20th century, produced for the Westinghouse Corporation, and sky-blue glazed, all of the pieces fully marked on the base, h. 4”, w. 6‑1/2”, d. 4‑3/4”. [75/125] 1223 Interesting Collection of Three American Pottery Vessels, second quarter 20th century, comprised of a Hall scarlet-glazed spherical teapot with swooped handle, a Fiesta orange-glazed iced beverages pitcher of cut disc form, and an American gray-glazed “Airstream” iced beverages pitcher with a yellow interior, the largest h. 7‑1/2”, w. 5”, l. 9”. [100/200] 1224 Good Two-Piece Group of Stoneware Pitchers, second quarter 20th century, comprised of a Hall China Company blue-glazed “Airstream” covered pitcher produced for the Westinghouse Corporation, and an Alamo Pottery claret-glazed wave-ribboned pitcher of cut disc form, both examples fully marked on the bases, the largest h. 7‑3/4”, w. 8”, d. 4‑1/2”. [100/200] 1225 Scrimshaw Oblong Table Box, third quarter 19th century, the lid centered with an engraved vignette of clipper ships entering a Pacific Ocean harbor, w. 2‑1/4”, l. 4‑1/4”. [100/200] 1226 Pair of American Bronzed Spelter Garniture Lamps, first quarter 20th century, of footed lantern form, polychrome-detailed and parcel-gilded, and glazed with reverse-painted narrow receded panels featuring bowknotted stylized flower baskets, electrified, h. 16”, w. 6”, d. 6”. [150/300]

151

1232 Pair of American Antique Poplar Cigar Molds, fourth quarter 19th century, each of oblong form with twenty compartments, w. 5”, l. 22”. [125/250] 1233 Pair of Anglo-American Gilt-Lettered Mahogany Trophy Plaques, each of shield form and featuring, respectively, the “Lucy Challenge Cup, 1930‑1941” and the “Darling Junior Cup, 1928‑1941”, each plaque listing the winner for the respective year in gilded lettering, h. 22”, w. 16‑1/2”. [100/200]

1238 1227 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”. [900/1200] 1228 Vernacular American Walnut Office Cabinet, fourth quarter 19th century, the projecting top over a single paneled door opening to reveal a partitioned interior, several niches retaining the fragmentary labels for various fire and casualty insurance companies, the back of bead-board construction, h. 30‑1/2”, w. 27”, d. 14”. [100/200]

1240

1229 Two Hand-Crocheted Boudoir Items, consisting of a bedspread with fringed border, w. 96”, l. 96”, and a hexagonal pillow, w. 17”, l. 20”. [100/200] 1230 Group of Miscellaneous Table Linens, including two large openwork tablecloths and many sets of matching embroidered openwork napkins and place mats, tablecloth 66” x 112”. [50/80] 1231 Collection of Miscellaneous Table Linens, including two large openwork tablecloths and various napkins, doilies and place mats, the largest 66” x 112”. [50/80] 1242

152

1239 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. [400/700] 1240 Mose Tolliver (American/Alabama, 1925‑2006) “Bird on a Flowering Branch”, acrylic on panel, signed lower left “Mose T.”, 16” x 14”. Unframed. [500/800] Illustrated 1241 Clementine Hunter (American/Louisiana, 1887‑1988) “Flying Angels”, oil on canvas board, monogrammed lower right, 9” x 12”. Presented in a parcelgilt hardwood frame. [600/900] Illustrated 1242 Marcel Stockmans (American/Mississippi, 1936‑2009) “Listening to Grandfather’s Stories”, oil on board, signed lower left, sight 35‑1/2” x 24”. Presented in a hardwood frame with burlap liner. [600/900] Illustrated 1243 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. [300/500] 1244 Jim Leasure (American/Louisiana, Contemporary) “The Stallion Christ”, oil on canvas, signed lower right “Jim Leasure”, titled lower left, 42” x 40”. Presented in a giltwood and gesso frame. [200/400] 1245 1234 Painted Iron Garden Lantern, of hexagonal form, raised on a grape-leaf and floral-molded pedestal on acanthinemolded cabriole legs ending in scroll feet, h. 74”. [50/80]

1245 James Michalopoulos (American/Louisiana, b. 1951) “Parrot”, oil on canvas, signed and dated lower left “Mitchell ‘87”, 48” x 36”. Framed. [3000/5000] Illustrated Color Plate XI

1235 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”. [100/200] 1236 Painted Wrought-Iron Garden Fence Panel, first half 20th century, of tall narrow form, the rectangular crest over a double-dome frieze above a railed body, the lower panel centered by an oval design, h. 91‑1/2”, w. 25”. [50/80] 1237 Group of Eighty-Three Various Wrought-Iron Garden Fence Panels, ca. 1900, h. 33‑3/4”, w. 9”. [800/1200] 1238 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. [600/900] Illustrated 1241

153

1247 James Michalopoulos (American/Louisiana, b. 1951) “Shutter ‘86”, oil on canvas, signed lower left “Mitchell”, 40” x 30”. Framed. [4000/7000] Illustrated Color Plate XI 1248 Mary Vincent Bertrand (American/Louisiana, b. 1955) “Louisiana Landscape with a Moss-Covered Oak Tree”, oil on canvas, signed and dated lower right “M. Bertrand 1978”, 24” x 36”. Presented in a molded giltwood frame. [200/400] 1249 George Rodrigue (American/Louisiana, b. 1944) “Doctor on the Bayou”, thirtieth anniversary Lake Charles Memorial Hospital poster, signed in pencil lower right, numbered lower left “222/2000”, sight 20‑3/4” x 30”. Glazed, matted and framed. [100/200]

1246

1250 James Lamantia (American/Louisiana, b. 1923) “Growth”, oil on canvas, verso affixed with a “Orleans Gallery, 233 Royal Street, New Orleans” label, stating the artist’s name, work title and medium, stretcher signed “Lamantia”, 45” x 31”. Presented in a hardwood frame. [1000/1500] Illustrated

1247 1246 James Michalopoulos (American/Louisiana, b. 1951) “Banana Leaves”, oil on canvas, signed lower right “Mitchell”, 24” x 29‑3/4”. Framed. James Michalopoulos was born James Mitchell and signed his paintings “Mitchell” until 1994. [4000/7000] Illustrated

1250

154

1251 Peter P. Briant (American/New Orleans, Contemporary) “Cartier Building, 651 Fifth Avenue, New York”, watercolor on Arches/France paper, sight 21” x 14‑1/2”, signed lower left “Briant”. Double matted and presented in a black metal frame. [200/400]

1259

1252 James Mouton (American/New Orleans, Contemporary) “Crown and Scepter”, oil on canvas, signed lower right, 22” x 28”. Unframed. [75/125] 1253 Richard Hamilton (American/Mississippi, Contemporary) “See Delchamps Food Descending a Staircase #1”, acrylic on panel, signed, titled and dated “1993” verso, 21” x 17. Presented within an ebonized molded hardwood frame. Provenance: Purchased by the consignor from Marguerite Oestreicher Fine Arts, New Orleans, Louisiana. [300/500] 1254 American Southern School (20th Century) “Green’s Pralines, a Sweet Southern Tradition”, lithograph, sight 13‑1/2” x 17‑1/2”, signed in pencil lower left “Green” and numbered “38/5000” lower right. Matted and presented in a silvered wooden frame. [60/90] 1255 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. [150/300]

1256

1256 American Cabinet Co. Mahogany and Ebonized Art Deco Dental Cabinet, second quarter 20th century, the front fitted with twenty graduated drawers, the top with three hinged compartments, the center one with a mechanical recessing front panel, the top left drawer bearing the manufacturer’s metal tag, h. 50”, w. 40”, d. 15”. [300/500] Illustrated 1257 Art Deco-Inspired Mirrored Coffee Table, the rectangular top above a straight mirrored frieze and supported by four tapering square legs, h. 18”, w. 36”, d. 20”. [100/200] 1258 Elegant French Art Nouveau Gilt-Lacquered Copper Jewel Casket, ca. 1900, in bright- and matte giltlacquered relief floral decor, the interior lined in corded powder blue tissue silk (now detached), h. 3‑1/2”, w. 11‑1/2”, d. 5‑1/2”. [600/900] 1259 Arie Harpaz (b. Romania; Active Israel, Contemporary) “The Creation”, a large limited edition sectional patinated bronze featuring the hands of God constructing a human female body, example 14 from an edition of 49, cast by the American Bronze Foundry, Inc. of Sanford, Florida, presented on a bi-partite verde antico marble base, the frontal section centered with an engraved brass title and name plate, h. 29”, w. 16”, d. 14”. [6000/9000] Illustrated Color Plate X

155

1260 French Patinated Bronze Figural Foyer Lamp, of tall size in the Art Nouveau style of Mathurin Moreau (French, 1822‑1912), modeled as a robed figure of Hebe with her pitcher and chalice and backed by a pair of upright lily stalks fitted with blue-gold iridescent ribbed glass shades of lily form, presented on a disc base of Grand Antique marble, h. 32‑1/2”, dia. 10‑1/2”. [1000/1500] Illustrated

1267

1261 Fine Zuider, Holland, Porcelain Two-Handled Garniture Vase, first quarter 20th century, of baluster form in the Art Nouveau style, in “Fleurs et Papillons” decor, h. 15‑3/4”, w. 7‑1/4”, d. 6”. [400/700] 1262 Art Deco-Style Green-Painted Wrought-Iron Planter, first half 20th century, the top fitted with five circular pot holders over a fanned scroll-formed base, h. 24‑1/2”, w. 59‑1/4”, d. 12‑1/2”. [50/80] 1263 Pair of Art Deco-Style Wrought-Iron Garden Planters, each of scrolled fan form, the top and sides fitted with five circular pot holders, h. 24‑1/2”, w. 59‑1/4”, d. 12‑1/2”. [100/200] 1264 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”. [100/200]

1265 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”. [150/300] 1266 Art Deco-Style Cast-Iron Gate Panel, second quarter 20th century, formed of interlocking geometrical designs, h. 84”, w. 42‑3/4”. [100/200] 1267 Emile-Antoine Bourdelle (French, 1861‑1929), a fine patinated tabletop bronze group of a suckling baby, seated mother and clambering boy child, signed at the rear edge of the base “Bourdelle”, in script, presented on a satin polished rouge marble base of oblong form, h. 9", w. 6", d. 4-1/2".[0] Illustrated Color Plate III

156

1260

1268 Romain de Tirtoff, Called Erte (Russian, 1892‑1990; Active France), a large porcelain cabinet charger featuring a dramatically veiled and windswept near-nude female figure allegorical of “L’Amour”, 1990, manufactured in Germany for Sevenarts Limited and so backstamped, the limited edition charger autographed in overglaze silver by Erte in the border, dia. 12‑1/2”. [30/50] 1269 Limited Edition Erte Bronze Figure, of a prancing exotic dancer, in polychromed, parcel-gilt and silvered bronze, presented on a circular three-stepped black-enameled base, the second tier signed “Erte”, in script, the basal edge of the lower tier touchmarked “’c’ Chalk & Vermilion and Seven Arts L/L 9”, h. 22‑1/2”. [200/400] 1270 Art Deco-Style Faux-Grained and Ebonized Pedestal, of rectangular form, ending in a stepped plinth base, h. 40”, w. 14”, d. 14”. [50/80] 1271 Art Deco-Inspired Mirrored Console Table, the Dform top supported by large incurved brackets and resting on wooden plinth bases, h. 36”, w. 50”, d. 17”. [400/700] 1272 Set of Seven American Art Deco Drapery Tiebacks, second quarter 20th century, of “Floral Barrette” form in pressed glass and silvered metal, l. 6‑1/2”. [50/80] 1273 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”. [1000/1500] Illustrated

1274 Unusual Pair of Art Deco Figural Bookends, second quarter 20th century, composed of weighted and patinated spelter, each featuring a well-muscled male athlete drawing back a chained white marble sphere, each bookend on a blackpainted weighted spelter base of oblong slab form, h. 7”, w. 3‑1/4”, l. 7‑1/2”. [125/250]

1273

1275 Twelve-Piece Set of Royal Doulton Porcelain AfterDinner Coffee Cups and Saucers, first quarter 20th century, in the Art Deco style, consisting of six paneled cups, h. 2‑1/4”, dia. 2‑1/2”, and six octagonal saucers, dia. 4‑3/4”, all in polychromed Art Deco “leaves” decor, each piece fully backstamped. [50/80]

1278 Contemporary Burgundy Leather-Upholstered Sofa, the cushioned seat joined to the like seat by padded outscrolled arms, raised on bun feet, h. 82”, w. 32”, d. 36”. [400/700] 1279 American Mid-Century Modern Armchair, in the manner of Charles Eames, composed of laminated oak and chrome, and upholstered in leather, the chair mounted to a four-legged base and designed to tilt and swivel, h. 39”, w. 33”, d. 22”. [250/400] Illustrated 1280 American Mid-Century Modern Armchair, in the manner of Charles Eames, composed of laminated maple and chrome, and upholstered in leather, the chair mounted to a five-legged base allowing for adjustable tilt and swivel, h. 39”, w. 33”, d. 22”. [300/500] Illustrated 1281 Kieter Harris (American, Contemporary), a large and elegant brass-mounted travertine mosaic head of an antelope, third quarter 20th century, the tall horns of polished brass, the artist identified and the work entitled on a paper label on the base, h. 36”, w. 8‑1/2”, d. 13”. [200/400]

1276 Six-Piece Collection of Stylish Objects, comprised of an Art Deco wide cuff bracelet in “butterscotch” Bakelite, second quarter 20th century; a Bakelite ribbed bangle in marble-veined “butterscotch”; a “French Ivory” longhandled oval lady’s hand mirror with a beveled plate, first quarter 20th century; a French silverplate and seashellhandled paper knife; a diminutive Italian cut and polished cinnamon alabaster and cut glass octagonal encrier; and a whimsical French iridized glass encrier composed of stacked spheres, ca. 1950‑1955; the largest w. 8‑1/2”, l. 15”. [75/125]

1283

1277 Hand-Enameled Copper Dubrovnik Souvenir Plate, third quarter 20th century, by Decker Zagreb, the reverse artist-signed in white enamel and retaining the gold foil Decker label, dia. 9”. [30/50]

1280 1279 1282 Large Contemporary World Globe-OnStand, the rotating globe electrified and presented on a turned and carved mahogany stand, h. 48”, dia. 36”. [300/500] 1283 Attributed to Franco Albini (Italian; Active ca. 1950‑1980), a large rattan hassock of cushion form, ca. 1965, presented in a period natural lightly varnished and waxed finish, h. 14‑1/2”, dia. 24”. [200/400] Illustrated

157

1288 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 Nuutalarvi, 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 centur; the largest h. 8‑1/2”, dia. 3‑3/4”. [150/300] 1289 Good, Rare Waterford Glass Flaring Vase, fourth quarter 20th century, from the “Evolution” series, in shaded burnt orange, ruby and clear glass, the base with an acid-stamped “Evolution/Waterford”, h. 7”, dia. 8”. [200/400] 1294 1284 Lladro, Spain, Porcelain Figure of a Geisha, third quarter 20th century, the traditionally clad seated figure modeled looking at a bird held in her hand, fully signed in cobalt blue stencil on the base, the hand-held bird lacking, h. 9”. [50/80] 1285 Lladro, Spain, Porcelain Figure of a Coy Maiden, the polychromed figure depicted leaning forward and holding a beribboned picture hat behind her back, the base fully marked with the Lladro blue stenciled symbol and name, h. 9‑1/2”. [30/50] 1286 Cristalleria d’ Arte, Murano, Handcrafted Glass Vase, fourth quarter 20th century, composed of cased crimson and green over Lattimo and colorless glass, of stylized lily form, retains the gold-printed red foil Cristalleria d’ Arte label on the base, h. 14‑1/2”, dia. 4‑1/4”. [100/200] 1287 Millefiori Glass Paperweight, ca. 1985, in the classic St. Louis “Basket of Flowers” style, perhaps an early work by Drew Ebelhare, with an anachronistic date cane “1852”, dia. 3”. [50/100]

1290

1296 1290 French Art Moderne Malachite Table Box, second quarter 20th century, of oblong and footed form, the cover centered with a tapering malachite finial of square section, h. 4”, w. 6‑3/4”, d. 4‑1/2”. [150/300] Illustrated 1291 French Gilt-Brass and Black Bakelite-Mounted White Onyx Telephone, fourth quarter 20th century, of the traditional type, fitted with a rotary dial and double gilt-brass ringer bells, h. 10‑1/4”, w. 6‑3/4”, d. 8‑1/2”. [100/200]

158

1292 Good 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”. [75/125] 1293 Contemporary Brass and Glass Vitrine, the case fitted with two doors (one glazed panel cracked), surmounted by molded finials, raised on square legs ending in plinthlike feet, h. 67‑1/2”, w. 27‑1/2”, d. 13‑3/4”. [500/800] 1294 Antonio Carreno (American, b. Dominican Republic 1963) “Paseo al Tiempo”, mixed media on canvas, signed, dated “1996” and titled verso, 40” x 55‑1/2”. Provenance: Purchased by the consignor from Stella Jones Gallery, New Orleans, Louisiana. [1500/2500] Illustrated 1295 Rockne Krebs (American, b. 1938) “A Cherry for Mr. Jefferson”, limited edition artist’s proof, signed and dated lower right “Rockne Krebs ‘91”, numbered “15/20” and titled lower left, sheet size 22” x 29”. Glazed, matted and framed. [200/400]

1300 1298 Ron Thompson (American, 20th Century) “Forma”, acrylic and collage on masonite, verso affixed with two labels, inscribed with artist’s name and title, 48” x 48”. Ron Thompson was included in the French publication “La Revue Moderne des arts et de la vie” 1965, and has won, among many others, an Atwater Kent Award in the 28th Annual Exhibition of Contemporary American Paintings in 1966, and has exhibited in numerous New York and Florida galleries. [200/400] Illustrated 1299 Michael Coote (British, b. 1931) “Allegro-Elgar”, oil pastel on paper, monogrammed lower right, verso affixed with “The Federation of British Artists 1989 Pastel Society Exhibition” label, sight 17” x 23‑1/2”. Glazed, doublematted and framed. [100/200] 1300 Terrell James (American/Texas, b. 1955) “Abstract Composition”, mixed media with papier-mache, from the “Yucatan” series, pencil signed lower right “Terrell James”, sheet size 22” x 30”. Glazed and framed. [300/500] Illustrated

1298 1296 Italian School (Mid‑20th Century) “Abstract Untitled”, oil on canvas, illegibly signed and dated “’63” lower left, dated verso “19/2/’63”, 28” x 20”. Unframed. [500/800] Illustrated 1297 Moses Soyer (American/New York, 1899‑1974) “Seated Woman and Reclining Nude”, ink and wash on paper, signed in pencil lower right “Moses”, sight 12” x 16”. Glazed, double-matted and presented in a molded giltwood frame. [300/500]

1301 Maria Von Trapp (American, b. Austria, 20th Century) “Stormy Sea Lapping the Shore”, “Natural Bridge” and “Rocks Mirrored in Lake”, suite of three watercolors on paper, one signed, all titled verso, the largest sight 5‑1/2” x 6‑1/2”. Glazed, matted and presented in a single contemporary brass frame. [200/400] 1302 Maria Von Trapp (American, b. Austria, 20th Century) “Seabed”, “Fairytale Castle”, “Symphony of Colors” and “Amazing Winters”, suite of four watercolors on paper, all signed and titled verso, the largest 5‑3/4” x 6‑3/4”. All glazed, matted and presented in brass frames. [300/500]

159

1308 Five-Piece American Silverplate Tea and Coffee Service, by the Godinger Silver Company, New York, of fluted and engraved form in the George III neoclassical style, comprised of a tall coffeepot with upright pomegranate finial, h. 9‑1/2”, a matching teapot, h. 7”, a covered two-handled sugar basin, h. 5”, a cream pitcher en suite, h. 4‑1/2”, and an oval two-handled tray, w. 13‑1/4”, l. 24”, the coffeepot, teapot and tray with gloss blacklacquered handles. [200/400] Illustrated 1309 Pair of Gorham Weighted Sterling Silver Footed Trumpet Vases, third quarter 20th century, of small size, each with an engraved 25th anniversary inscription, h. 8‑3/4”, dia. 3‑3/4”. [200/400] 1310 Attractive Two-Piece Group of Silver Items, consisting of an A. Jacobs and Son, New York, paneled coin silver child’s cup, second quarter 19th century, monogrammed “Delia”, h. 2‑3/4”, l. 2‑3/4”; and a small Austro-German .800-standard silver sauceboat, first quarter 20th century, in the 18th-century style, h. 2‑3/4”, w. 2‑1/4”, l. 5‑1/2”, 3.75 total t. oz. [125/250] 1303 1303 Maria Von Trapp (American, b. Austria, 20th Century) “Park Pond”, “Underneath Beauty”, “Coral Flowers”, “First Snow” and “Water Cascades in Winter”, suite of five watercolors on paper, all signed, all titled verso, the largest sight 6‑3/4” x 5‑3/4”. All glazed, matted and presented in contemporary metal frames. [400/700] Illustrated 1304 Maria Von Trapp (American, b. Austria, 20th Century) “Winter in the Painted Dessert”, “Ice in the North Pole” and “Landscape”, suite of three watercolors on paper, all signed, titled verso, sight 8” x 10‑3/8”. All glazed, matted and presented in contemporary metal frames. [200/400] 1305 Jorge Dumas (Uruguayan, 1928‑1985) “Mandolina” and “Flauta”, pair of color etchings, both signed in pencil lower right, pencil titled lower center, numbered lower left, 14” x 10”. All glazed, matted and presented in a hardwood frame. [100/200] 1306 Jorge Dumas (Uruguayan, 1928‑1985) “Esperando”, color etching, signed in pencil lower right, pencil titled lower center and numbered lower left “71/125”, sight 4‑3/4” x 5‑3/4”. Glazed, attractively matted and presented in a hardwood frame. [75/125] 1307 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. [200/400]

160

1308

1311

1311 Ninety-Piece Kirk Stieff Sterling Silver “Paramount” Flatware Service, for twelve persons, the pattern introduced in 1987, comprised of twelve hollow-handle dinner knives, twelve dinner forks, twelve salad forks, twelve butter knives, twenty-four teaspoons, twelve dessert spoons, three vegetable serving spoons, a cold meats fork, a gravy ladle and a master butter knife, the largest l. 9‑1/4”, 94.45 total t. oz. [4000/7000] Illustrated Color Plate IV 1312 Thirty-One-Piece Collection of Sterling and Silverplate, comprised of thirteen Towle sterling “Old Colonial” teaspoons, the pattern introduced in 1895; a trio of Whiting Manufacturing Company sterling “Dresden” teaspoons, the pattern introduced in1896; a set of six Gorham sterling “Buttercup” teaspoons, the pattern introduced in 1899; a Whiting Manufacturing Company sterling “Louis XV” ice cream slice, the pattern introduced in 1897; a Manchester Silver Company sterling “Mary Warren” mayonnaise ladle, the pattern introduced in 1910; a trio of International sterling “Prelude” tablespoons, the pattern introduced in 1939; and a set of four German silverplate “Reticulate Medallion” dessert forks, second quarter 20th century; the largest l. 10‑1/2”, 31.30 total t. oz. [700/1000]

1314

1316

1313 Nine-Piece Group of Silverplated “Park Lane” Serving Pieces, by Oneida/William Rogers, the pattern introduced in 1957, comprised of a pair of place spoons, a tablespoon, a tablespoon with pierced bowl, a gravy ladle, a cold meats fork, a pie server with pierced blade, a sugar shell and a master butter knife, the largest l. 9‑1/2”. “Park Lane” was also known as “Chatelaine” and later as “Dowry”. [40/70] 1314 Three-Piece Tiffany and Company Sterling Silver After-Dinner Coffee Service, first quarter 20th century, in “Clover” decor, comprised of a waisted coffeepot, h. 8‑1/2”, dia. 4”, an ovoid two-handled open sugar basin, h. 2‑1/4”, w. 6”, d. 3”, and a matching cream pitcher, h. 2‑1/4”, w. 5‑1/4”, d. 2‑3/4”, 19.25 total t. oz. [1200/1800] Illustrated 1315 Tiffany and Company Sterling Silver “Clover” Fruit Bowl, first quarter 20th century, with an everted lip, h. 2‑3/4”, dia. 10”, 18.00 t. oz. [800/1200] 1316 Seventy-Five-Piece International Sterling Silver “1810” Partial Flatware Service, for twelve persons, the pattern introduced in 1930, comprised of twelve hollow-handle dinner knives, eight hollow-handle butter knives, twelve dinner forks, twelve round-bowl soup spoons, seventeen teaspoons, eleven salad/dessert forks, a sugar shell, and a two-piece hollow-handle poultry carving set (knife and two-tine fork), the largest l. 10”, 84.55 total t. oz. [800/1200] Illustrated

1317 Three-Piece Assembled Gorham Sterling Silver Toilette Service, comprised of a rectangular hand mirror and a matching hairbrush, first quarter 20th century, both with bound reeded borders in the First Empire taste; and a Gorham “Floral Repousse” sterling hand mirror back, fourth quarter 19th century, lacking its plate; the largest h. 5‑1/2”, l. 10”. [100/200] 1318 Group of Two Sterling Silver Serving Items, one a Mexican hand-wrought sterling silver ovoid fruit bowl in the 18th-century Spanish Colonial style, second quarter 20th century, w. 9”, l. 13”; and the other a Mauser sterling silver circular sandwich/pastry tray with a pierced frieze and a “Gadroon” edge, first quarter 20th century, dia. 12‑1/2”, 29.95 total t. oz. [100/200]

161

1320 Large Peruvian Handwrought Sterling Silver Frame, second quarter 20th century, with leafed corners, the backplate and easel in brown faux-alligator leather, h. 13‑1/2”, w. 11‑1/8”. [100/200] 1321 Seven-Piece Collection of Coin and Sterling Silver Flatware, comprised of an engraved coin silver sardine fork in a pattern similar to Gorham’s sterling “Roman” of 1855; a Webster sterling mayonnaise ladle in a pattern similar to Baker Manchester’s “Lily” of 1900; a Frank M. Whiting sterling “Adams” mayonnaise ladle, the pattern introduced in 1944; a Gorham “New Mother’s” sauce ladle, the pattern introduced in 1927; an American sterling sugar tong with oviform tips in a pattern similar to Rogers and Hamilton’s “Marquise” of 1900; a Mexican sterling “Cactus Flower”-tipped sugar tong, second quarter 20th century; and a Towle sterling hollow-handle “Chased Diana” pie server, the pattern introduced in 1928; the largest l. 9‑3/4”, 4.20 total t. oz. [75/125]

1323

1330

1319 Nine-Piece Collection of American and Mexican Coin and Sterling Silver, comprised of a Gorham engine-turned covered condiment tankard, third quarter 19th century; a Gorham reticulated sterling swing-handled sugar basket in the late Georgian taste, first quarter 20th century; a pair of Gorham “turban”-capped sterling saltand-pepper casters with floral decoration of like date; an American floral-engraved napkin ring of waisted cylinder form, third quarter 19th century; a Mauser sterling place nut dish in the form of a scallop shell, second quarter 20th century; a similar-shaped Mexican sterling footed place ashtray of like date; and an interesting pair of American Art Deco cut sterling “Bourbon” and “Scotch” decanter tags of similar date; the condiment tankard and the sugar basket lacking their conforming glass liners, the largest h. 2‑3/4”, dia. 3‑1/2”. [100/200]

162

1322 Fifteen-Piece Collection of Sterling and Silverplate, consisting of a set of ten Mexican sipper-stirrers with leaf bowls, second quarter 20th century; a Simpson, Hall, Miller sterling tete-a-tete claw-terminal sugar tong in the Louis XV taste, fourth quarter 19th century; an unusual Continental .850standard silver infant feeding spoon with annular spiral-ribbed shank and gilded bowl; a Pairpoint silverplate bread knife in “Ascot” pattern, 1886, the blade with an engraved songbird amidst foliage; a Scandinavian .830-standard silver serving spoon with a heart-form bowl; and an American sterling novelty “buckle” after-dinner coffee spoon, fourth quarter 19th century; the largest l. 10‑5/8”, 9.05 total t. oz. [350/500]

1332

1323 Suite of Eight American Rococo Revival Oak Dining Chairs, third quarter 19th century, in the manner of Alexander Roux, New York, comprised of two armchairs, h. 52, w. 27”, d. 22”, and six sidechairs, h. 44”, w. 17‑3/4”, d. 17”, the armchairs with lion-headed arm fronts, the backs with pierced and carved grapevines, and having barley-twist legs and back posts. [5000/8000] Illustrated Color Plate V 1324 Large Continental Carved Oak Pedestal, early 20th century, the hexagonal platform top above a spiraling standard over a triangular molded base on bun feet, h. 48”, dia. 16”. [300/500] 1325 American Late Victorian Oak Dressing Bureau, ca. 1900, the beveled mirror plate in a frame with a carved crest, the case with two over two drawers, the scalloped apron centered by a fleur de lis, h. 82‑1/2”, w. 45”, d. 20”. [75/125]

1332 Rare Patented George Hunzinger Oak Chair and Table Combination, late 19th century, comprised of a shaped square table, h. 29”, w. 31”, d. 31”, with four conforming chairs, h. 27‑1/4”, w. 14”, d. 14”, the design intended to make for a compact ensemble and having a drawer along each apron. [300/500] Illustrated 1333 American Bronze-Patinated Metal Paneled Lamp Base, first quarter 20th century, of tall attenuated vasiform, now fitted with a later Tiffany-style pieced stained glass domed shade in “Waterlily” decor, h. 26”. [40/70] 1334 Large “Gone with the Wind” Table Lamp, mid‑20th century, the ruby-stained and diamond-pressed glass and bronze-patinated metal base fitted with a magnum spherical glass shade, also ruby stained and diamond pressed, h. 27‑1/2”. [50/80]

1326 Tom and Bob Bennett (American, 20th Century), two polished bronzes, third quarter 20th century, comprised of a bud vase in the form of a stylized upright hand, h. 6‑1/4”, and a paperweight/pen holder in the form of a partially closed hand, l. 3‑1/2”. [300/500]

1335 Continental Patinated Bronze and Marble Camel Group, early 20th century, modeled as a standing caparisoned Bactrian camel being led by a turbaned Bedouin, the figures mounted on an oblong octagonal slab base of highly figured Rainforest Brown marble, h. 6‑1/4”, l. 7”. [100/200]

1327 Thirteen-Piece Porcelain Fish Set for Twelve Persons, third quarter 20th century, by Josef Kuba, Karlsbad, comprised of an elliptical serving platter and twelve large fish plates, each with an underglaze transferprinted and polychrome-overglazed vignette of a different game fish, each piece with the Kuba shield and the silveroverglaze legend “Made In/Western Germany” on the reverse, h. 1‑3/4”, w. 22‑3/4”, d. 9‑1/2”. [100/200]

1336 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”. [75/125]

1328 Imposing 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”. [300/500]

1337 American Late Victorian Oak Lingerie Chest, ca. 1900, the top with a serpentine molded front edge and carved backsplash, the case fitted with five graduated long drawers, h. 54”, w. 28”, d. 17”. [100/200]

1329 Pair of American Cast-Iron Swing Kerosene Lamp Brackets, fourth quarter 19th century, the connecting cast-iron wall plates lacking, h. 10”, w. 11‑1/2”, dia. 5‑1/2”. [20/40] 1330 American Arts and Crafts Oak Dining Table, ca. 1900, the circular top over a square pedestal ending in trestle legs on block feet, with two leaves, h. 28‑3/4”, dia. 54”, extended l. 74”. [400/700] Illustrated 1331 Suite of Eight American Late Victorian-Style Pressed-Back Oak Dining Chairs, each with a concave pressed back over a spindle gallery, shaped plank seat and turned legs joined by box stretchers, h. 43”, w. 19‑3/4”, d. 18‑3/4”. [200/400]

1338 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”. [100/200] 1339 American Late Victorian Oak Sidechair, fourth quarter 19th century, the pierced and carved back with a rope-carved edge above a central foliate-carved splat, the scooped seat of saddle form mounted to turned legs, h. 34”, w. 19”, d. 15‑1/2”. [75/125] 1340 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”. [200/400]

163

1345 Good Three-Piece Group of Mantel Clocks, comprised of a Waterbury Clock Company mahogany-veneered lancet-arched mantel clock, third quarter 19th century, the lower door with silvered reverse-glass stenciling, the interior with a period printed Waterbury paper label, retains the period winding key; a small Edwardian carved and mahogany-stained hardwood mantel clock in the Palladian taste, first quarter 20th century, with a giltbrass-mounted gilt-brass dial plate centered with a circular white enamel dial; and a small Junghans copper-mounted walnut double-bell alarm clock, signed on the dial; the largest h. 18‑3/4”, w. 10‑3/4”, d. 4”. [100/200] 1346 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”. [50/80]

1353

1341 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”. [50/80]

1348 American Late Victorian Oak Roll-Top Desk, ca. 1900, the top with an S-curved tambour, the sides and back framed with raised panels, h. 50”, w. 50”, d. 32”. [400/700] 1349 American Mahogany and Birch Three-Stack Barrister’s Bookcase, early 20th century, the base in the Arts and Crafts taste, retaining the proper label “The Globe-Wernicke Co., Cincinnati, OH.”, h. 53”, w. 34”, d. 11‑1/2”. [200/400]

1342 Group of Two American Mantel Clocks, fourth quarter 19th century, consisting of a Seth Thomas bronzepatinated metal-mounted oak mantel clock in the NeoRococo taste, touchmarked on the interior, h. 22‑1/2”, w. 14‑1/2”, d. 4‑3/4”; and a Gilbert Clock Company pressed oak mantel clock in the Neo-Renaissance taste, signed on the basal edge of the circular dial, h. 25”, w. 15‑1/4”, d. 4‑1/2”; both clocks with gilt reversestenciled glass doors and both retain the period pendulums and winding keys. [100/200]

1350 American Late Victorian Quarter-Sawn Oak Library Desk, ca. 1900, the rectangular top mounted to an ogeemolded apron, one end fitted with a long waist drawer and a smaller drawer above the legs, the cabriole legs ending in paw feet, h. 30”, w. 44”, d. 28”. [200/400]

1343 Unusual Eight-Piece Herend Porcelain Group, second quarter 20th century, depicting Snow White holding court with her seven dwarfs, each figure with the Herend mark in blue transfer-print on the base, the largest h. 5‑1/4”. [150/300] 1344 Collection of Three Small Mantel Clocks, third quarter 19th century, comprised of a Continental mahogany-stained hardwood lancet-arched example with a lower dial door in eglomise; a Union Clock Company example of steeple form in mahogany veneers and mahogany-stained hardwood; and a Seth Thomas mahogany upright oblong example in the classical taste; the last two with interior paper labels, all with period winding keys, the largest h. 13‑1/4”, w. 8‑1/2”, d. 5”. [100/200]

164

1347 Unusual Continental Oak Stand, ca. 1900, the turned stand having a tapered box with a fretwork panel and a central monogrammed “R”, the box designed to rotate on the shaft and is adjustable in height by a removable wooden dowel, h. 55”, w. 17”, d. 17”. [200/400]

1360

1359

1351 American Late Victorian Oak Dresser Base, ca. 1900, the overhanging top above a pair of sideby-side drawers and a long drawer below, raised on scrolled legs, h. 25‑1/4”, w. 42”, d. 21”. [100/200] 1352 American Late Victorian Oak Work Table, ca. 1900, the rectangular molded top above a single drawer in the front apron, raised on turned and blocked legs with grooved details, h. 29”, w. 35‑3/4”, d. 24”. [50/80] 1353 American Late Victorian Quarter-Sawn Oak Bench, ca. 1900, the framed and paneled back and sides with a large molded crown and turned finials, the seat also above a framed and paneled base with molded details, h. 46‑1/2”, w. 51‑1/2”, d. 25‑1/4”. [400/700] Illustrated 1354 Highly Varied Fourteen-Piece Collection of American Table Glass, comprised of an American Brilliant-cut domed glass butter dish; a Strauss finely cut circular fruit dish (signed), in “Russian” decor; a smaller Brilliant-cut “Buzz and Oculi” sauce bowl; a center-handled glass canapes server; a set of six floralengraved dessert plates; an acid-transfer-plate-etched tea plate; a two-handled floral-etched pastry tray; a footed fruit bowl with gauffered rim similarly decorated; and a circular glass eleven-stem floral-frog; the first three examples first quarter 20th century, the last eleven second quarter 20th century, the largest h. 6”, dia. 10‑1/2”. [75/125] 1355 Stately Ansonia Clock Company Mantel Clock, fourth quarter 19th century, of “Temple” form and composed of bronze-patinated brass-mounted incise-carved black slate, the backplate with an 1882 patent date, the white enamel dial with the Ansonia “A” within a lozenge, h. 14”, w. 18”, d. 5‑1/2”. [150/300] 1356 American Art Nouveau-Style Parlor Lamp, composed of antique-gilded and patinated brass, the standard of water lily-entwined tree trunk form, the domed paneled shade of caramel slag glass overlain with a landscape silhouette of matching patinated gilt-brass, h. 26”, dia. 17”. [300/500] 1357 Bradley and Hubbard Kerosene Parlor Lamp, fourth quarter 19th century, composed of patinated brassmounted bronze and verdigris-detailed white opal glass, in the Louis XVI taste, the facades of the base and the globular shade transfer-printed with reserves of “Eros Arming” and accompanied by a pair of putto attendants, electrified but retaining the period shade ring, blown glass chimney and spherical glass shade, h. 26”, dia. 10”. [125/250] 1358 Fine Weller Two-Piece Jardiniere-on-Pedestal, first quarter 20th century, in “Nasturtium” decor, neither piece signed, h. 26‑3/4”, dia. 12”. [200/400]

1364 1359 Large and Elaborate American Mosaic Glass Table Lamp, bronze patinated and copper mounted in the turnof-the-century style, fitted with a domed leaded glass shade in “Spider Web” decor, h. 26”, dia. 18”. [300/500] Illustrated 1360 American Patinated Metal and Leaded Glass Parlor Lamp, in the turn-of-the-century style, the baluster-form base leaded and internally illuminated, the matching leaded glass shade domed and set with scattered cabochon glass jewels, h. 23”, dia. 16”. [75/125] Illustrated 1361 American Late Victorian Oak Roll-Top Desk, ca. 1900, the top with an S-curve tambour opening to a fitted interior, the base with a single bank of three drawers and a pull-out writing slide, h. 45‑1/4”, w. 40‑1/4”, d. 27‑1/4”. [200/400] 1362 American Late Victorian Quarter-Sawn Oak Desk Chair, ca. 1900, the curved back with a central shaped splat and having scrolled arm fronts, the shaped saddle seat mounted to cabriole legs joined by turned stretchers, h. 37”, w. 22‑3/4”, d. 18‑1/2”. [100/200] 1363 American Late Victorian Oak Nine-Drawer File Cabinet, ca. 1900, comprised of three banks of three drawers, each having paneled ends, raised on tapered legs, h. 47‑1/4”, w. 49”, d. 27”. [300/500] 1364 Follower of Albert Bierstadt (American, 1830‑1902) “Western Landscape”, oil on canvas, signed lower left “E. Ponthier”, fourth quarter 20th century, 36” x 48”. Presented in a Beaux Arts-style giltwood and gesso frame. [500/800] Illustrated

165

1365 Hudson River School (Second Quarter 19th Century) “Mountainous River Landscape with a Native American Camp”, oil on canvas, unsigned, 22” x 36”. Unframed. [75/125] 1366 Stanley L. Wood (American/British, 1866‑1928) “Chased by Gunman”, oil on panel, signed lower left, 13” x 11”. Presented in a pierced and molded giltwood and gesso frame. [500/800] Illustrated 1367 After Norman Rockwell (American, 1894‑1978) “November 4, 1939 Saturday Evening Post, Sheriff & Prisoner”, offset chromolithograph, sight 23‑1/2” x 18‑1/4”. Glazed, matted and framed. [200/400]

1366 1370 Large and Impressive American Late Victorian Mahogany China Closet, fourth quarter 19th century, the arched and serpentine front with carved winged griffins and female figures flanking the crest, the side posts flanking the door having carved masks, birds and foliate motifs, raised on large carved paw feet, h. 88”, w. 59”, d. 21”. The serpentine sides and door are now fitted with plexiglass. [6000/9000] Illustrated Color Plate I 1371 American Late Victorian Mahogany Library Table, fourth quarter 19th century, the front apron with a pair of side-by-side drawers and supported by four stylized lioncarved legs joined by a stretcher shelf below, h. 29‑1/2”, w. 48”, d. 30”. [800/1200] Illustrated

1368

1368 Manner of Mid‑19th-Century American Folk Art, “Boy in a Blue Dress with a Pull Toy and a Cat”, oil on canvas, signed and dated lower right “M. Terrell ‘89”, 40” x 30”. Presented in a carved giltwood frame. [400/700] Illustrated 1369 Hector Moncayo (Mexican/Ecuador, 1895‑1984) “Campfire Scene in the Andes Mountains”, oil on board, signed lower right “H. Moncayo”, verso affixed with a “Farish Art Store, Inc.” label, 17” x 21‑3/4”. Framed. [300/500]

166

1372 Six-Piece Highly Varied Collection of Art Glass, comprised of an English cobalt blue “Spiral Optic Rib” vase in the Georgian style, first quarter 20th century; a Murano “lattimo”-cased pale-blue “Jack-in-the-Pulpit” vase of like date; a Bohemian transparent pale amethyst overlay vase with looped ribbon cutting, second quarter 20th century; an American floral-engraved and cranberry-stained footed rose globe of like date; a German Art Nouveau etched and white-enameled cylindrical glass vase in “Nasturtiums” decor, first quarter 20th century; and an American handpainted milk glass cabinet plate, with reticulated border, in “Red Rose” decor in the late 19th-century style, second quarter 20th century; the largest h. 8”, dia. 5”. [75/125] 1373 Suite of Eight Celery-Green Moire Drapery Panels, each having burgundy, beige and light green woven tassels and fringe, w. 36”, l. 112”. [200/400]

1374 Eight-Piece Group of Gilded Composition Curtain Tie-Backs, of grape leaf form, each signed on the reverse “India Steward ‘96”, h. 10”, w. 3‑3/4”. [75/125] 1375 American Polished Brass Five-Light Chandelier, first quarter 20th century, the circular central element fitted with five short arms from which depend five paneled hexagonal stencil-etched glass shades (one broken on one side), h. 15”, dia. 16”. [75/125]

1379

1376 Five-Piece Collection of American Colorless Pressed Glass, first quarter 20th century, comprised of a large Brilliant-pressed “Hobstar Spiral” footed cake stand; smaller Brilliant-pressed “Strapwork” cake stand in floral decor; a “Swallow and Ivy”pressed compote and a “Spiral Plume and Diamond”-pressed footed fruit bowl; the largest h. 4‑3/4”, dia. 12”. [50/80] 1377 American Late Victorian Stained Mahogany Pedestal, early 20th century, the turned standard supporting a circular top and mounted to a shaped platform base, h. 34”, dia. 12”. [75/125]

1370

1378 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”. [100/200] 1379 Tiffany-Style Stained Glass and Patinated Bronze Floor Lamp, in the “Drop Head” dragonfly pattern, h. 77”, dia. 25”. [1000/1500] Illustrated

1380 American Late Victorian Patinated Spelter and Caramel Slag Glass Paneled Lamp Shade, ca. 1900, in the Tiffany style, now suspended by a brass chain, h. 9”, dia. 16‑1/2”. [100/200] 1381 American Tubular Brass Two-Light “Orb” Chandelier, first quarter 20th century, of tall size, h. 69”, w. 22”. [50/80]

1371

167

1382 Interesting Pair of Continental Bronze Figural Candlesticks, fourth quarter 19th century, featuring tritons riding tortoises and blowing trumpets forming the candlesockets, h. 6‑1/2”, w. 2‑1/2”, d. 5‑1/4”. [100/200] Illustrated 1383 Diverse Twelve-Piece Collection of Art Glass, comprised of a floral-enameled and parcel-gilt English “Bristol” glass garniture vase of footed baluster form, third quarter 19th century; an English cased white-over-rose footed pyriform vase with an elaborately gauffered lip, fourth quarter 19th century; an English cased scarletover-white trumpet vase with applied cobalt blue coils; an Edwardian floral-enameled “Bristol” bud vase, first quarter 20th century; an English silverplate-mounted clear glass trumpet vase with a cobalt-edged lip; an Austro-German floral spray-etched vase of baluster form, first quarter 20th century; a dramatic French cameo-cut black-overfrosted white cylindrical vase in “Foliated Leaves” decor; a tall German floral-engraved transparent pale gray vase of baluster form, first quarter 20th century; an American pressed amber “Moon and Stars” faceted vase in the Victorian style; a Scandinavian Modern pale amethyst and clear vase of waisted cylindrical form; a tall Royal Art Glass, Denmark, blue-over-clear vase of flared square section in the “Danish Modern” style, retaining the period printed paper label; and a diminutive English sky-blue shaded to white satin glass ringed bud vase, first quarter 20th century; the largest h. 12”. [200/400] 1384 Assorted Sixty-Two-Piece Group of Stemware, consisting of three etched glass-lined sterling silver dessert cups, three small colorless glass champagne flutes, two etched glass champagne glasses, eight various martini glasses, two liqueur glasses, twelve various sherry/port glasses, four red wine glasses, five white wine goblets, and seven art glass cobalt blue-stemmed champagne flutes; together with a seventeen-piece depression glass dessert service, consisting of an oval tray, a covered dish, a handled hexagonal open bowl, three dessert bowls and eleven dessert plates; the largest h. 8‑1/2”, dia. 3-/14”. [100/200]

1382

1385 American Glass Salad Bowl, third quarter 20th century, with a broad segmented band of aqua enamel decoration of parallel narrow strings, h. 4‑1/4”, dia. 10‑1/4”. [75/125]

1389

1386 Collection of Approximately Thirty-Six Auction Catalogues, from the Pettigrew Auction Gallery, Victoriana of the Rockies, the largest h. 11”, w. 9”. [100/200] 1387 Collection of Thirty-Four Auction Catalogues, including Christie’s, James D. Julia, Christie’s East, New Orleans Auction and Sotheby’s, the largest h. 11”, w. 8‑1/2”. [100/200] 1388 American Late Victorian Mahogany Pedestal, fourth quarter 19th century, the square molded top with applied carved aprons, and mounted to a turned standard and molded base, h. 36‑1/2”, w. 13‑1/2”, d. 13‑1/2”. [150/300] 1389 Continental Stained Elmwood Armoire, ca. 1900, the arched top with a grapevine-carved frieze above a large mirrored door and smaller paneled door, the base fitted with two drawers, h. 88”, w. 55‑1/2”, d. 22”. [400/700] Illustrated

168

1390 American Late Victorian Mahogany Bombe Desk, fourth quarter 19th century, the front with a kneehole flanked by a bank of drawers to each side and raised on turned legs, h. 29‑1/2”, w. 48”, d. 30”. [200/400] 1391 Pair of American Late Victorian Mahogany Hall Chairs, fourth quarter 19th century, each with a serpentine crest centered by a shell-andacanthine carving, above a conforming padded back, flanked by square supports and headed by a smiling putto bust, above a padded seat, raised on slightly serpentine legs ending in claw feet, h. 44‑1/2”, w. 19‑1/2”, d. 20‑1/2”. [300/500] 1392 American Late Victorian Brass and OnyxMounted Organ Lamp, fourth quarter 19th century, the font mounted to an adjustable shaft and featuring a circular onyx deck at the mid-point, the base with three elaborate foliate and scrolled legs, h. 61”, dia. 16”. [500/800] Illustrated 1393 Two-Piece English/American Glass Group, second quarter 20th century, comprised of an English brilliant-cut glass cheese dome and underplate in “Buzz and Corset” decor, the gallery-rimmed cheese underplate sunburstcut, h. 6‑1/2”, dia. 10‑3/4”; and a large American pressed and partially frosted covered cake stand in “Cherries” decor, the cover with a large spherical finial, h. 13”, dia. 12”. [100/200]

1394 Interesting Four-Piece Collection of Cut and Engraved Glass, comprised of a Continental Brilliant-cut punchbowl in “Buzz” decor; a Continental Brilliant-cut footed berry bowl with four engraved reserves centered with butterflies; an American pressed-cut tall jelly stand with engraved half-flowerheads, first quarter 20th century; and a tall Continental blown and floral-engraved iced beverages pitcher, second quarter 20th century; the largest h. 5‑1/4”, dia. 11‑1/2”. [100/200] 1395 Opulent Five-Piece Group of Brilliant-Cut and Pressed Glass, comprised of a large Continental Brilliantcut punchbowl in “Sheaf and Mandorla” decor; a tall English Brilliant-cut flaring vase in a modified “Russian” cut with a prism-cut foot ring; a Continental Brilliant-cut vase of large beaker form in tiered “Hobstar and Snowflake” decor; a good English Brilliant-cut pitcher in “Russian” cut with a “Diamond Band” at the neck and a notch-cut handle; and an American pressed-cut handled decanter in “Hobstar and Mandorla” decor, first quarter 20th century; the largest h. 12”, dia. 9‑1/2”. [125/250]

1392

1396 Attractive Continental Eleven-Piece Glassware Group, comprised of a six-piece brilliant-cut glass whiskey set in “Darted Hobstar and Fan” decor, consisting of a decanter of square section and five matching whiskey tumblers, third quarter 20th century; a commodious German silverplate-mounted cut and “Vintage”-engraved glass iced beverages pitcher; and a set of four Paul Sebastian, France, brilliant-pressed glass tankards in “Lozenge and Fan” decor, fourth quarter 20th century, retaining the original circular printed gold paper labels; the largest h. 11”. [100/200] 1397 Four-Piece Collection of Brilliant-Cut and Engraved Glass, comprised of an American blown and vintage-etched iced beverages pitcher, second quarter 20th century; a large Continental Brilliant-cut tall vase in “Cane and Buzz” decor of modified barrel form; a good German Brilliant-cut and floral-engraved tall vase of similar form; and an oval pressed-cut “Fan and Pyramid” serving tray; the largest h. 11‑5/8”, dia. 7”. [125/250] 1398 Two-Piece Group of American Glass Bowls, first quarter 20th century, comprised of a parcel-gilt opalescent white glass petaled bowl, dia. 10‑1/4”; and a similar, slightly smaller flared bowl with an elaborately gauffered rim, dia. 9‑1/4”. [75/125]

1399 Four-Piece Group of American Pressed Glass, consisting of a pair of two-light candelabra, of low form with floral-etched circular bases, h. 5”, w. 7”; a “Hobstar” nappy with scalloped edge, l. 7”; and a diminutive bud vase of tapering cylindrical form, h. 6”. [40/70] 1400 American Late Victorian Stained Mahogany Swivel Piano Chair, fourth quarter 19th century, the circular needlework seat mounted to an adjustable threaded seat shaft, the back of lyre form and supported by spiral-turned posts, h. 44”, w. 18”, d. 18”. [300/500] 1401 American Mahogany and Faux Rosewood Laminate Double-Pedestal Desk, early 20th century, one pedestal fitted with a bank of four drawers, the other with a rotary base, opening to reveal three over three drawers, the sides and back paneled, the top fitted with a later “rosewood grain” laminate, h. 30”, w. 62”, d. 37”. [300/500] 1402 American Oak and Cast-Iron Adjustable Book Stand, ca. 1900, the slanted book rest mounted to an iron base-now painted white--and designed to telescope and rotate, h. 38”, w. 28‑1/2”, d. 24”. [75/125]

169

1403 Pair of French Sterling Silver and Cut Glass Decanters, of square section, the facades and the centers of the stoppers with bas-relief bright- and matte-finished sterling silhouette medallions featuring, respectively, Bacchic heads and a young Roman matron, all of the medallions signed “Cotillon” and fully hallmarked, h. 9”, w. 3‑3/4”, d. 3‑3/4”. [300/500]

1408

1404 Good Imperial Glass Company, Ohio, Three-Light Candelabrum, second quarter 20th century, of paneled baluster form in colorless glass, the hexagonal glass bobeches dressed throughout with back-cut Albert spears having notch-cut edges, h. 19”, w. 14”, d. 6”. [125/250] 1405 Pair of Bohemian Parcel-Gilt Ruby Glass Lustres, fourth quarter 19th century, each dressed with short notched period prisms pendant from cut glass brilliants, h. 13‑1/2”, dia. 5‑1/2”. [600/900] Illustrated

1405

1414 1406 American Late Victorian Needlepoint Tapestry, ca. 1900, depicting a street flower vendor, h. 33‑1/2”, w. 22”. Presented in a molded giltwood frame. [150/300] 1407 English Pressed Glass and Pewter Single-Trumpet and Bowl Epergne, fourth quarter 19th century, in opalescent white-to-clear glass in “Lattice and Bead” decor, in a Henry Turim, New York, silver-washed pewter stand having its supports modeled as striding putti, the stand fully touchmarked, the lip of the trumpet broadly scalloped and crimped, h. 11‑1/2”, dia. 9‑1/2”. [100/200] 1408 American Late Victorian Fretwork-Cut Sycamore Corner Cabinet, ca. 1900, the overhanging top with scroll-cut ornamental brackets above a fretwork drawer and a pair of cabinets below with Native American figures, h. 34‑1/2”, w. 23”, d. 15”. [500/800] Illustrated

170

1409 American Glass Paneled Bowl-on-Stand, second quarter 20th century, attributed to the Imperial Glass Company, Bellaire, Ohio, composed of purple swirl-enameled pressed pale blue glass, the circular stand stepped and supported on three strap feet, h. 7‑3/4”, dia. 9‑1/2”. [150/300] 1410 Approximate One Hundred Seventeen-Piece Group of Colorless Glassware, including a large set of wheatpattern cut glass, consisting of a cocktail shaker, ten beer glasses, ten cordials, twelve water stems, fourteen juice glasses, eleven tumblers, twelve sorbet stems, eleven dessert cordials, and twelve mini-martini stems; together with twenty various etched stems and four juice glasses; the largest h. 9‑1/4”. [150/300]

1417

1416 Two-Piece Group of Continental Metal Figures, first quarter 20th century, consisting of a dramatic Russian dark bronze-patinated brass figure of a snarling wyvern seated on a half-sphere surmounting a polished black slate base, h. 13‑1/2”, dia. 7”; and a Continental highly chased patinated bronze figure of a seated Shar-Pei dog, h. 8‑1/4”, w. 4‑1/2”, l. 8”. [200/400] 1417 Sheraton-Style Mahogany Dresser, ca. 1900, the arched mirror over a rectangular top flanked by two recessed short drawers over a case fitted with three drawers centered by a long frieze drawer, raised on tapering square legs ending in casters, the drawers banded with parquetry inlays, h. 69”, w. 53‑1/2”, d. 21‑1/2”. [700/1000] Illustrated 1418 Pair of English Wooden Glove Stretchers, early 20th century, each example marked on the bottom of the stand “D.A & Co. 7 3/4”, l. 11‑1/2”. [60/90]

1411 American Victorian White Wicker Tiered Occasional Table, late 19th century, the woven rectangular top above two projecting end tiers and a lower stretcher tier, raised on canted circular legs within a wickerwork cage, h. 25‑1/2”, w. 37”, d. 19”. [10/20] 1412 Suite of Six Partially Painted Wooden Windows, each tall frame inset with an arched glazed panel, h. 60‑1/2”, w. 13‑1/4”. [100/200]

1419 Set of Ten Minton Porcelain “Meadow” Dinner Plates, featuring well-painted sprays of gerania, stellaria, hypericum, malva and helidonia, all of the plates fully backstamped in underglaze green transfer-print, with each plant identified in green script, dia. 10‑1/2”. [100/200] 1420 Twenty-Five-Piece English Polychromed Pottery Tea and Dessert Service, for ten persons, first quarter 19th century, in “Pinxton Rose” decor, comprised of two matched teapots, ten tea bowls, ten deep saucers, a sauce boat, a circular sweetmeats tray and a larger circular pastry tray, the largest h. 5‑1/2”, w. 5‑1/4”, l. 10”. [200/400]

1413 Pair of Painted Iron Garden Plant Stands, each with a floral planter of tapering circular form, one mounted with three scrolling handles, each with an O-ring pendant, raised on slightly serpentine legs joined by a circular stretcher centered by a floral bouquet finial, the smallest h. 22”, w. 20‑1/2”, d. 11”, the largest h. 35‑3/4”, dia. 15”. [50/80] 1414 Norwich N. & B. Company Revolving Clothing Rack, first quarter 20th century, composed of cast-iron and brass, labeled on one knee of one cast-iron foot, h. 78”, dia. 30”. [500/800] Illustrated 1415 Large and Opulent English BronzePatinated Brass Carriage Lamp, third quarter 19th century, with cylindrical glazing, the cover modeled as an upright cluster of lily leaves, now electrified and fitted with faux candles, h. 32‑3/4”, dia. 6”, d. 10‑1/2”. [75/125]

1423

171

1421 Assembled TwelvePiece English Porcelain Partial Tea Service, for five persons, in “Pinxton Rose” decor, comprised of five Royal Chelsea teacups and matching saucers, second quarter 20th century; a large George Jones and Sons porcelain milk pitcher, also in “Pinxton Rose” decor on a gold ground, and a smaller matching George Jones cream pitcher, both in the early 19thcentury style, the pitchers produced for Ovington Brothers, New York, and so backstamped; the largest h. 3‑3/4”, w. 5”, l. 7”. [75/125]

1422 Fifteen-Piece Collection of English, German, French and Japanese Porcelain, comprised of a nine-piece Nippon chocolate set in “Clematis” decor, consisting of a covered chocolate pot, four tall cups and four saucers, first quarter 20th century; an Imperial Porcelain works, Limoges, dinner plate in the Louis XVI taste and of like date; a Racine, Bavaria, circular covered and footed vegetable tureen in the Louis XV taste; a similar Racine oval platter; a Charles Field Haviland, Limoges, cream pitcher for the Musee Claude Monet, Giverny, fourth quarter 20th century; and a two-piece Royal Tara Porcelain Company cream-and-sugar set in “Shamrocks” decor, third quarter 20th century; all of the pieces except the chocolate set saucers fully backstamped, the largest h. 5”, dia. 8‑1/2”. [75/125] 1423 Regency Mahogany Sideboard, second quarter 19th century, with a brass superstructure above a rounded rectangular top with a recessed center section and turreted ends, above a conforming central cutlery drawer, raised on two conforming pedestals, one fitted with a deep drawer over a cupboard door, the other fitted with two graduated drawers above a cupboard, both faced to simulate three graduated drawers, flanked to either side by reeded and turned uprights, raised on turned bulbous feet, h. 52”, w. 81”, d. 31”. [300/500] Illustrated previous page 1424 “Vienna”-Style Porcelain Cookie Jar and Sweetmeats Bowl, the first an unusual Imperial Victoria Porcelain Works, Carlsbad, richly gilded and polychromed porcelain spherical footed covered cookie jar, first quarter 20th century, h. 8”, dia. 6”; and the second a Schierholz and Sohn porcelain two-handled sweetmeats bowl, dia. 5”; both pieces featuring alternating classical figure and polychromed floral reserves, and both pieces fully marked in underglaze blue. [150/300]

172

1425 A Pottery Fruit Bowl and Wall Pocket, consisting of a Continental monochrome gloss green-glazed pottery fruit bowl, in “Gingko Leaf” decor, third quarter 19th century, h. 2”, dia. 8”; and a late Chinese Export pottery wall pocket featuring a clock-faced vase with a bouquet, h. 8‑3/4”, w. 7”, d. 3”. [100/200]

1427

1426 Four-Piece Collection of English and European Porcelain, comprised of an attractive Elite Porcelain Works, Limoges, leaf-form sauceboat with a matching leaf-form underplate, first quarter 20th century; an exuberantly modeled C. Tielsch and Company, Altwasser, two-compartment serving bowl in the rococo taste and of like date; and a Royal Worcester ivory porcelain cabinet ewer in the Aesthetic taste, 1884; the largest h. 4‑1/2”, w. 11”, l. 13‑3/4”. [50/80] 1427 Drexel Heritage Chinoiserie and Fruitwood Breakfront, of tri-sected form, the upper case with a gilt-stenciled fretwork design, fitted with a central pair of beveled glazed doors, and a like-glazed single door on both sides, over a lower case with a central bank of three drawers, the first one fitted for flatware, flanked to both sides by a door, all depicting Chinese countryside scenes, raised on a plinth base, h. 84‑1/2”, w. 77‑3/4”, d. 14‑1/4”. [1000/1500] Illustrated 1428 Edwardian Giltwood and Plaster Bipartite Looking Glass, first quarter 20th century, in the Louis XVI style, the upper element an oval framed colored lithographic portrait of Queen Henrietta-Maria as a young woman, the lower portion with a tastefully disintegrated and clouded mirrored glass plate, h. 46”, w. 12‑1/4”. [100/200]

1429 Group of Two Carriage Clocks and a Pair of Opera Glasses, consisting of a diminutive French brass and beveled glass carriage clock with a paste brilliant-set dial, first quarter 20th century, h. 3‑3/4”; a similar, slightly larger English carriage clock of like date, signed “A. Shipwright/Bexhill-on-Sea”, h. 4”; and a good pair of LeMaire, Paris, gilt-brass and mother-of-pearl telescoping opera glasses, signed on the eyepieces, fourth quarter 19th century, w. 4”. [300/500]

1432 English Oak Arts and Crafts Refectory Table, first quarter 20th century, the rectangular top over a recessed frieze, raised on tapering square legs, joined by an X-form stretcher, h. 30‑3/4”, w. 38”, l. 98‑3/4”. [800/1200] Illustrated

1430

1430 Victorian-Style Leather Sofa, the tufted back and outscrolled arms above a padded serpentine seat, raised on turned tapering feet, h. 25‑1/2”, w. 78”, d. 34‑1/2”. [500/800] Illustrated 1431 Edwardian Mahogany Wing-Back Chair, second quarter 20th century, the tufted curved back joined to the cushioned seat by outscrolled arms, raised on reeded and tapering legs ending in toupie feet, h. 46‑1/2”, w. 40”, d. 24”. [200/400]

1433 Amusing Three-Piece Continental Pottery Group, consisting of an English pottery cookie jar in the form of an alert West Highland White Terrier, second quarter 20th century, the head removing to reveal the cookie compartment within the dog’s body, h. 11‑1/4”, w. 6”, l. 11‑1/2”; a French russet and cream pottery wineadvertising jug, first quarter 20th century, h. 7”; and a large Continental monochrome-white ironstone circular fruit dish, third quarter 19th century, dia. 14”. [100/200]

1432

1434 Group of Three Glazed Stoneware Pitchers, second quarter 20th century, comprised of a good Bauer white-glazed stoneware curvate-ribbed iced beverages pitcher of cut disc form; a Fiesta Ware globular footed carafe; and a Fiesta Ware ivory-glazed spherical milk pitcher; the Bauer pitcher with an impressed numeral on the base, the Fiesta pieces with impressed marks underglaze, the largest h. 7‑3/4”, w. 4‑1/2”, l. 9”. [100/200]

173

1435

1435 Extensive One Hundred-Piece Minton Porcelain Partial Dinner Service, for sixteen persons, in the “Marlow” pattern, comprised of eight dinner plates (early), eight dinner plates en suite (later), sixteen bread-andbutter plates, eight salad/dessert plates, eight salad/ dessert plates (later), six dessert bowls, eight dessert bowl underplates, eight saucers, six teacups (early), eleven teacups (later), nine teacup saucers, two oval roasted meats platters, an ovoid covered two-handled sugar basin, and a cream pitcher, all of the pieces fully backstamped, the largest w. 14‑1/4”, l. 18”. [500/800] Illustrated 1436 Forty-Seven-Piece Group of Spode Transfer-Printed Dinnerware, consisting of a thirty-nine-piece Spode blue transfer-printed “Fleur de Lys” creamware partial dinner service for twelve persons, first quarter 20th century, comprised of five dinner plates, nine bread-and-butter plates, twelve soup plates, five salad/dessert plates, four teacups and three tea saucers; and an eight-piece Spode cobalt blue transfer-printed porcelain “Fleur de Lys” group of dinnerware, fourth quarter 20th century, comprised of two dinner plates, a salad/dessert plate, two teacups and three tea saucers; all of the pieces fully backstamped, the largest dia. 10‑3/4”. [100/200]

1439

174

1437

1437 Good Pair of Meissen Floral-Painted Porcelain Vases, first quarter 20th century, of flared beaker form, each example signed with the underglaze blue crossed swords of the Meissen manufactory, h. 6‑1/2”, dia. 5‑1/2”. [100/200] Illustrated

1438 Extensive One Hundred Eleven-Piece Royal Albert Porcelain Partial Dinner Service, for twenty persons, in “Val d’Or” decor, comprised of fifteen dinner plates, dia. 10‑3/8”, twenty-two bread-and-butter plates, sixteen salad/dessert plates, ten twohandled creamed soup bowls, eleven soup underplates, nineteen teacups, h. 2‑3/4”, and eighteen tea saucers, each piece fully backstamped in gold. [100/200]

1439 Continental Upholstered Chaise Lounge, first quarter 20th century, the padded back joined to the cushioned seat by like outscrolled arms, raised on polychromed, parcel-gilt and fluted tapering legs underneath the pleated skirt, upholstered in white basket-weave patterned fabric, h. 32”, w. 31”, l. 85”. [600/900] Illustrated

1440

1440 Fine and Rare Edwardian Two-Piece Cut Glass Toilette Set, first quarter 20th century, perhaps the Richardson Glass Company, Wordsley, in the Anglo-Irish taste of the early 19th century, comprised of a large ewer, h. 13”, w. 8‑1/2”, l. 10”, and a commodious matching bowl, h. 5‑1/4”, dia. 17”, both cut in “Latticed Diamond Bands”. [200/400] Illustrated 1444A Pair of Cast-Iron Doors, first quarter 20th century, each upper panel inset with a Greek-key- and ovalpatterned grille, each bottom panel with a central rosette design, h. 95”, w. 28‑1/4”. [400/700] 1445 Suite of Three Iron Garden Fence Panels and a Pediment, first quarter 20th century, each gate panel with a domed crest over a scrolling frieze, above a spindled body, the pediment of Gothic-arch form, h. 33”, w. 31‑3/4”. [100/200] 1446 Painted Wrought-Iron Garden Fence Panel, composed of a scroll-formed design, h. 35‑1/2”, w. 67‑1/2”. [100/200] 1443

1441 Two-Piece Edwardian Brilliant-Cut Glass Toilette Service, first quarter 20th century, comprised of a large toilette pitcher, h. 13”, and a matching basin, h. 6”, dia. 6‑1/4”, both in “Latticed Diamond and Sheaf Band” decor. [50/80] 1442 Fine Elkington Sterling Silver-Based Cut Glass Kerosene Banquet Lamp, 1904, Sheffield, of Corinthian column form, now mounted as a table lamp, h. 29”. [100/200] 1443 Edwardian Mahogany Writing Desk, first quarter 20th century, the rectangular top inset with a gilt-tooled leather writing surface, over a conforming frieze fitted with three drawers, raised on two pedestals, each fitted with three short drawers above a plinth base, h. 28”, w. 48”, d. 26”. [300/500] Illustrated 1444 Cast-Iron and Marble-Top Garden Table, the circular variegated beige marble top with a molded edge, above serpentine legs joined by a circular stretcher, h. 31”, dia. 33‑3/4”. [125/250]

1447 Group of Two Oriental Porcelain Bowls, comprising a Tao Kuang provincial blue and white porcelain fruit bowl, in an overall “Flower and Foliage” pattern, second quarter 19th century, h. 3‑7/8”, dia. 11‑3/4”; and a slightly smaller Kuang Hsu porcelain fruit bowl featuring a pair of jackdaws on a flowering branch, with a calligraphic stanza in overglaze black on the everted lip, fourth quarter 19th century, h. 3‑3/4”, dia. 10‑1/2”. [150/300] 1448 Good Pair of Kuang Hsu Porcelain Rice Bowls, fourth quarter 19th century, in an overall enameled pattern of bats and stylized clouds, each example signed on the base in rouge de fer overglaze enamel, h. 2‑1/4”, dia. 5‑1/4”. [75/125] 1449 Two-Piece Kuang Hsu “Solitaire” Porcelain Tea Set, fourth quarter 19th century, in the period fitted and damask-lined oval storage basket, the set comprised of a covered cylindrical teapot in “Exotic Birds and Flowers” decor, and a tea bowl in “Eternal Knot” decor, the cup with a reign mark in rouge de fer, the basket retains the period cut-brass hasp and escutcheon as well as the arched double handles, h. 7”, w. 10”, d. 7‑1/2”. [100/200]

175

1455 1450 Imposing Pair of Kuang Hsu Porcelain Vases, of tall paneled octagonal form in “Birds and Flowering Shrubs” decor, the center reverse panel of each with a calligraphic stanza in overglaze black, each vase marked on the base in calligraphy, presented on a matching pair of octagonal cordovanlacquered hardwood stands, h. 22‑1/2”, dia. 10”. [500/800] Illustrated

1454

1453 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”. [75/125] 1450

1454 Group of Two Porcelain Vases, comprised of a Kuang Hsu porcelain covered pyriform vase featuring boys in a garden with a water buffalo, with an overglaze black calligraphy stanza on the reverse, fourth quarter 19th century; and a blue and white porcelain vase of “rouleau” form featuring a mountain lake house; the largest h. 12”, dia. 9”. [300/500] Illustrated 1455 Trio of Kuang Hsu Polychromed Porcelain Vases, fourth quarter 19th century, consisting of a near pair featuring, respectively, a Mandarine and her family, and an Immortal with his attendants; and a mulberry-hued landscape vase, all of “rouleau” form with calligraphy stanzas in overglaze black, the largest h. 11”, dia. 4‑3/4”. [300/500] Illustrated 1456 Chinese Porcelain Covered Ginger or Tea Storage Jar, 20th century, of globular form with conforming dome cover, glazed all over in a crackled celadon glaze, presented on a carved wooden stand, h. 11”. [50/80]

1451 Good, Large Framed Tung Chih Porcelain Panel, third quarter 19th century, elaborately enameled and fretgilded, and depicting an aristocratic Mandarin family at ease in a garden, presented in a deep cordovan-lacquered wooden frame fitted with a large matte-gilded brass suspension fret, h. 15‑1/2”, w. 10‑1/2”. [100/200] 1452 Kuang Hsu Champleve Enameled Dragon-Handled Garniture Vase, fourth quarter 19th century, now mounted as a table lamp with a turned wooden cap and an ebonized carved Chinese hardwood base, h. 12”, dia. 7‑1/2”. Provenance: A St. Charles Avenue mansion, New Orleans. [150/300]

176

1457 Chinese Glazed Porcelain Planter, 20th century, the globular body with low-relief molded floral decoration and slightly flared lip rim, glazed all over in a jade-green celadon glaze, h. 11”, dia. 13‑1/2”. [40/70] 1458 Attractive Pair of Kuang Hsu Porcelain Vases, fourth quarter 19th century, in “Lotus Pond” decor, between the “Lotus” reserves is an overall pattern of alternating prunus flowers and stylized leaf clusters, the covers lacking, h. 11‑3/4”, dia. 7‑1/2”. [200/400] 1459 Imposing Pair of Chinese Porcelain Tall-Neck Vases, having peach grounds with “Mandarin” reserves, mounted as table lamps on hexagonal footed lacquered wooden bases and fitted with custom ecru paneled silk shades, h. 19”, dia. 10”. [100/200]

1463

1461

1463 Indian Carved and Pierced Ivory Figure of an Aspara, first quarter 20th century, the figure modeled playing a sitar and accompanied by a peacock, presented on a custom carved polygonal stand of Macassar ebony, h. 5”. [100/200] Illustrated

1462

1460

1460 Five-Piece Collection of Chinese and Japanese Carved Ivory, comprised of a Chinese “Physician’s” model of a nude reclining female, presented on a K’angfooted horizontal mahogany stand; a cabinet figure of an elderly scholar bearing a staff and a scroll; a netsuke of a seated bespectacled male figure with a drum; an amusing Japanese netsuke of a crouched Sumo wrestler subduing a furred beast; and a netsuke featuring a robed female figure tweaking the protruding nose of a supine male mask; all but the physician’s figure signed in incised calligraphy, the largest h. 3‑1/4”. [150/300] Illustrated 1461 Japanese Meiji Carved Bone Figure of an Elderly Man, fourth quarter 19th century, the bearded provincial man modeled bearing a basket and a tall staff, presented on an oblong tiered blacklacquered wood display stand, h. 4”. [100/200] Illustrated

1464 Chinese Provincial Polychromed Wood Dome-Lidded Storage Chest, first quarter 20th century, the facade centered with a patinated brass Chinese hasp of stylized flowerhead form surmounting a polychromed reserve of a footed bowl of fruit mantled with flowering stylized branches, presented on a later custom-made painted wood stand with an X-form stretcher, h. 24”, w. 20”, d. 11‑1/4”. [150/300]

1465 Pair of Kuang Hsu Jade and Onyx Flowering Peach Trees, first quarter 20th century, presented in oblong spinach jade planters, the fruited trees of arched and dipped form, the profuse foliage in three shades of green jade, h. 21”, w. 18”, d. 6‑1/2”. [2000/4000] Illustrated

1465

1462 Japanese Meiji Elaborately Carved Tusk Ivory Group, fourth quarter 19th century, depicting figures by a shrine in a wooded landscape, presented on a custom cordovan-stained carved hardwood stand, h. 2”, w. 1‑1/4”, l. 7‑1/2”. [100/200] Illustrated

177

1469

1469 Ten-Piece Group of Chinese Carved Animals, Birds, Fruits and Chops, carved from jade, hardstone and marble, comprised of a gray-veined off-white marble figure of a crouched Pug dog; a pale gray-white jade figure of a recumbent Foo dog, the head turned to the rear; a russet-veined gray jade figure of a crouched Phoenix; a pale green jade figure of a recumbent bearded goat; a gray jade oval weight featuring a stylized dragon and pierced at the center; a gray-green and charcoal oval weight of a bat hovering over a basket of mushrooms; a Foo dog-topped green onyx chop of squared section; a white jade bell-form finial surmounted by a crouched beast; a gray-veined off-white marble square chop surmounted by a curled celestial dragon; and a carved green and deep russet jade “Hand of Buddha” fruit; all in the traditional style, the largest h. 1‑1/4”, w. 2‑3/4”, d. 1‑1/2”. [150/300] Illustrated

1472 1471

1466 Two Amusing Carved Hardstone Avian Figures, the first a calcite and lapis-lazuli cockatiel perched on a quartz crystal crag, h. 5‑1/4”, and the second a rose quartz and serpentine parrot perched on an amethyst matrix crag, h. 4‑3/4”, both birds fitted with small onyx cabochon eyes. [75/125]

1473

1474

1467 Three-Piece Collection of Kuang Hsu Figures, fourth quarter 19th century, the highly carved hardstone and jade figures comprised of a large green and white jade group of Kuan-yin disporting herself in an arbor, attended by a youth standing on a tortoise and a stag; a smaller highly carved rose quartz group of an elaborately robed gentlewoman bearing a fan and standing beside a potted plant on a tree-trunk pedestal; and a gray-green jade group of an Immortal seated in an arbor and attended by a crane; the largest h. 7”, w. 6”, d. 2‑1/2”. [200/400]

178

1468 Chinese Hardstone Table Screen-on-Stand, 20th century, the circular serpentine plaque applied with jade, lapis lazuli, rose quartz, carnelian and agate with a scene of a flowering tree growing from rockwork, with a sparrow in flight, presented on a fitted wooden display stand, h. 17‑3/4” including the stand. [150/300]

1475

1476

1470 Chinese “Roadway” Carved Hardstone Scholar’s Desk Sphere, first quarter 20th century, presented on a Chinese carved hardwood footed stand in the Ch’ien Lung style, h. 5”, dia. 5‑1/4”. [100/200] 1471 Kuang Hsu Carved Jade Figure of a Monkey, first quarter 20th century, carved from pale gray-white stone, the primate depicted astride a rearing horse standing on a crag, h. 5‑3/4”, w. 3‑3/4”. [150/300] Illustrated

1472 Kuang Hsu Translucent Gray and Pale Butterscotch Jade Group, first quarter 20th century, depicting a flowermantled peach surmounted by a dove, presented on a Chinese pierced hardwood stand of circular, tripodal form, h. 4‑1/2”, w. 4”, d. 2‑3/4”. [150/300] Illustrated 1473 Chinese Carved “Bleu Persan” Lacquer Snuff Bottle, in the form of a coroneted seated mother monkey clutching two baby monkeys on her knee, h. 3‑1/2”, w. 1‑1/4”, d. 1‑1/2”. [75/125] Illustrated 1474 Chinese Carved “Butterscotch” Jade Figure of a Cat, the meowing long-haired feline modeled playing with a ball of yarn, h. 2‑1/2”, w. 3‑1/2”, d. 2‑1/2”. [300/500] Illustrated 1475 Chinese Carved Jade Monkey Group, composed of carved and polished white and butterscotch jade, and depicting two primates playing on a cache of Chinese coins, h. 3‑1/2”, w. 4‑1/2”. [400/700] Illustrated 1476 Chinese Carved Jade Figure of a Happy Pig, the seated animal carved from celadon and butterscotch jade, the surface polished, h. 2‑1/2”, w. 3‑1/2”, d. 2‑1/2”. [250/400] Illustrated 1477 Tao Kuang Elaborately Carved Celadon Jade Basket of Fruit, second quarter 19th century, with russet highlights, h. 5”, w. 3”. [500/800] 1478 Kuang Hsu Highly Carved Gray Sage and Russet Jade Group, first quarter 20th century, depicting a maiden seated in a fruited arbor and attended by doves, h. 3‑1/4”, w. 5”, d. 1‑1/2”. [400/700]

1481 1479 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”. [150/300] 1480 Chinese Bamboo Console Table, first quarter 19th century, the rectangular ebonized top over a conforming open fretwork-formed frieze, raised on circular legs joined by a box stretcher, h. 33‑5/8”, w. 36‑3/8”, d. 18‑3/8”. [500/800] Illustrated 1481 Bhadohi Jaipur Carpet, 8’ 11” x 12’ 1”. [800/1200] Illustrated 1482 Kashan Carpet, 10’ x 7’ 7”. [1200/1800]

1480

179

1483 Agra Serapi Carpet, 4’ x 6’. [150/300] 1484 Persian Hamadan Carpet, 5’ 5” x 6’ 6”. [200/400] 1485 Persian Mashad Carpet, 9’ 11” x 12’ 6”. [500/800] Illustrated 1486 Persian Hamadan Runner, 3’ 6” x 8’ 10”. [200/400] 1487 Turkish Carpet, 8’ x 9’ 9”. [700/1000] 1488 Heriz Carpet, 9’ 6” x 14’ 10”. [700/1000] 1488A Nahavand Carpet, 4’ 7” x 7’ 7”. [75/125] 1489 Persian Hamadan Carpet, 4’ 8” x 8’ 2”. [200/400]

1485

1490 Persian Shiraz Carpet, 5’ 1” x 7’ 10”. [200/400] 1491 Indo-Oushak Carpet, 7’ 6” x 10’. [600/900] Illustrated 1492 Kilim Carpet, 8’ x 10’. [125/250] 1493 Persian Mahal Carpet, 9’ 7” x 13’ 4”. [600/900] 1494 Hamadan Carpet, 4’ 9” x 2’ 8”. [250/400] 1495 Shiraz Carpet, 6’ 6” x 7’ 8”. [300/500] 1496 Persian Mashad Carpet, 9’ 4” x 12’ 4”. [600/900] Illustrated 1497 Hamadan Carpet, 3’ 9” x 7’ 4”. [200/400] 1498 Persian Kerman Carpet, 3’ 2” x 5’ 1”. [150/300] 1499 Persian Isphahan Carpet, 10’ x 13’ 2”. [800/1200] Illustrated

1491

180

1496

1499

181

Index of Artists and Printmakers A Alberny, Matilde 957 American Folk Art (manner) 1368 American School 916, 919, 965, 1158, 1159 Audubon, John James (after) 1162, 1163, 1164, 1165, 1167, 1168

September 25-26, 2010

Continental School 49, 58, 61, 110, 550, 551 Coote, Michael 1299 Cortes, Edouard-Leon (manner) 51 Crisp, George 209 D Daulle, Jean 106

David, Jacques-Louis (after) 97

Bartolozzi, Francesco 388

De Callatay, Xavier 956

Battiiss, Walter 746

Delance-Feurgard, Julie 554

Bennett, Tom and Bob 1273

Delcroix, Eugene 1039

Bertrand, Mary Vincent 1248

Drysdale, John Alexander 1040

Bierstadt, Albert (follower) 1364

Dumas, Jorge 1305, 1306

Boucher, Francois (after) 103

Dutch School 553

Boucher, Francois (manner) 100

Briant, Peter P. 1251

Fini, Leonor 747

British School 207, 208, 386

Franco-German School 99

Bromley, Frederick 385

Freeman, Ethel Hale 917

Buonarroti, Michelangelo (after) 811

French School 102, 107, 108, 555

Butler, Murrell 1156, 1157

Gainsborough, Thomas (after) 390

Canaletto Canale, Giovanni (manner) 55, 56, 57

Gay, Claudio (after) 105

Carosi, Giuseppe 53, 54 Carreno, Antonio 1294 Chope, Edward 1142

Geefs, Guillaume (follower) 268 Gerry, Edith 922 Gould, J. & Richter, H. (After) 1169 Gould, J. & Richter, H.C. 1166

Index of Artists and Printmakers

September 25-26, 2010

Meiersdorff, Leo 960, 961, 962, 963, 964

Hamilton, Richard 1253

Mercie, Marius Jean Antonin (After) 266

Hansen, Hans Jacob (after) 391

Michalopoulos, James 1246, 1247

Harpaz, Arie 1259

Michalopulos, James 1245

Heldner, Colette Pope 1041

Modigliani, Amedeo (Manner) 923

Howarth, Albany E. 389

Moncayo, Hector 1369

Hudson River School 1365

Morrisot, Berthe (Follower) 50

Hunter, Clementine 1241

Mouton, James 1252

Murillo, Bartolome Esteban (follower) 809

Indoni, Filippo 52

Italian School 60, 104, 267, 1296

Nicolay, David 959

Nixon, David Sinclair 1042

James, Terrell 1300

Japanese School 242, 243

Panet, Truda 392

Pearce, Edward Holroyd 210, 211

Kinsey, Alberta 1037

Pedersen, Arnold 552

Krebs, Rockne 1295

Picasso, Pablo (after) 745

Powell, Lucien Whiting 915

Lamantia, James 1250

Leasure, Jim 1243, 1244

Remy, Jean 59

Lorrain, Claude (manner) 966

Reynolds, Lee 1307

Rice, Margaret 920

Maass, David (after) 1161

Rockwell, Norman (after) 1367

Maillol, Aristide 748

Rodrigue, George 1249

Martinet, Francois Nicolas (after) 109

Russian School 556

Index of Artists and Printmakers

September 25-26, 2010

Glossary S Shayer, Henry and Charles Waller (after) 387 Soyer, Moses 1297 Stockmans, Marcel 1242 Stovall, Rubye 1255 T Thai/Cambodian 245 Thompson, Ron 1298 Tolliver, Mose 1238, 1239, 1240 Toulouse-Lautrec, Henri (after) 744 V Von Trapp, Maria 1301, 1302, 1303, 1304 W Walker, Bernard Fleetwood (attributed) 212 Whitaker, Frederic 1160 Wood, Stanley L. 1366 Woodward, William 1038

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

Index of Artists and Printmakers

September 25-26, 2010

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absentee / telephone bid form

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

Name (Please Print): ______________________________________________ Date: ____________ Business Name: _____________________________________________________________________ Dealer Resale # (Dealers must also sign official State of Louisiana document): ________________________ Address: __________________________________________________________________________ City: _____________________________________________ State: ____________ ZIP: ________ Telephones: Work (_____)___________ Home (_____)____________ Fax (_____)___________ E-mail Address: _____________________________________________________________________ Conditions of Sale: Conditions of sale are as set forth in the applicable New Orleans Auction Galleries, Inc. catalog as amended by any posted notices or oral announcements during the sale, such conditions of sale together with the following conditions applicable to telephone and absentee bids, constitute the entire terms and conditions on which property listed in the catalog shall be offered for sale or sold through New Orleans Auction Galleries, Inc. (the “Company”). Additional Absentee and Telephone Bid Conditions: The Company is hereby authorized to bid on the following lots up to the price entered and will treat this figure as a budget and will obtain the item as reasonably as possible within the budget. We assume no responsibility for failure to execute bids for any reason whatsoever. The Company encourages collectors to place absentee and telephone bids as soon as possible and cannot guarantee the implementation of bids left after 5:00 p.m. the evening before the sale. In the event absentee bids of identical amounts are submitted, the earliest bid received takes precedence. Please date this form. In the event of a tie bid, live bidders and telephone bidders, respectively, take precedence over absentee bids. A successful bid results in a purchase price which is the aggregate total of the final bid, a 23% buyer’s premium of the final bid price up to and including $200,000 and 10% of the amount by which the lot exceeds $200,000 added to the hammer price on all lots sold, together with any tax due on the item. For purchases made by cash, check or wire transfer, the buyer’s premium shall be discounted 3% of this 23%. The bidder is responsible for calling the Company for sales results during the week after the sale. Dealers purchasing for resale must enter appropriate Dealer Resale Number on this form and provide the Company with proper documentation. The Company does not pack or ship items purchased at auction. The buyer is responsible for packing and shipping. The Company is not liable for any damage to goods after they have been sold. A storage charge of $5 per item per day will be assessed against any items remaining in the custody of the Company by the close of business of the fifteenth day following the auction. GOVERNING LAW AND JURISDICTION 11. These Conditions of Sale, as well as the Purchaser’s and the Company’s respective rights and obligations hereunder, shall be governed by and construed and enforced in accordance with the laws of the State of Louisiana. By bidding at an auction, whether present in person or by agent, order bid, telephone, internet, or other means, the Purchaser shall be deemed to have consented to the exclusive jurisdiction of the state courts of, and the federal courts sitting in, the State of Louisiana.

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absentee/telephone bid form (continued)

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

Customers, Please Note: Deadline for Absentee/Telephone Bidding 5:00 P.M. Central – Friday, September 24, 2010 Guidelines for Telephone Bidding 1. Each item must have a low estimate of at least $500 2. Telephone bidders must agree to bid the low estimate on each item. Deadline for Condition Report Requests 5:00 P.M. Central – Thursday, September 23, 2010

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

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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