Premier Estate Collections: Art & Interiors
January 24, 2025
~ PREMIER ESTATE COLLECTIONS ~
Select Property from Estates and Private Collections; Southern Fine Art, Antique Furniture and Decorative Objects, Sculpture, Wine & Spirits, Fine Jewelry and Couture, Fine Silver, Chandeliers and Lighting, Carpets, Porcelain, Mirrors, and more!
Property from the Estate of William Jay Atzenhoffer, Victoria, Texas
EXHIBITION
Monday, January 13 through Thursday, January 23, 10 a.m. to 5 p.m.
SATURDAY PREVIEW
Saturday, January 18, 10 a.m. to 3 p.m.
EVENING PREVIEW
Tuesday, January 21, 5-7 p.m.
LIVE & ONLINE AUCTION
January 24, beginning at 11 a.m., lots 1-456
NOTE: LOTS 1 through 40 have been removed from the sale.
w. 8 3/4
d. 1 3/4
42. Gucci Black Leather and Strass Studded Dionysus Bag, gold and ruthenium-tone hardware, h. 6 3/4 in., w. 10 7/8 in., d. 3 in.; chain strap, drop h. 15 in.; with authenticity card and tag.
[$800 - 1,200]
43. Louis Vuitton Keepall Bandoulière 45 in Brown Monogram Coated Canvas with Black Leather Trim, silver-tone metal hardware, cotton textile lining, removable leather luggage tag, h. 1 3/4 in., w. 17 3/4 in., d. 7 3/4 in.; removable adjustable strap, drop h. max 20 in.
[$800 - 1,200]
Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer.
44. Louis Vuitton Georges Tote or Weekender Bag in Black Leather, cuir millésime/calfskin leather, silver-tone hardware, signature s-lock closure, interior with metal signature plate, h. 13 7/8 in., w. 19 5/8 in., d. 7 1/2 in.; adjustable leather strap, drop h. 20 3/4 in.; original dustbag and insert.
[$2,000 - 3,000]
41. Yves Saint Laurent Cassandra Wallet on Chain in Black Croc Embossed Leather, single flap closure with YSL logo, gold-tone hardware, h. 5 1/2 in.,
in.,
in.; chain strap, drop h. 18 1/2 in.; with original dust bag. [$700 - 900]
Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer.
45. Patek Philipe Calatrava 18k Gold Watch, ref. 3445, 35mm, automatic, date aperture, later crocodile band.
[$6,000 - 9,000]
46. Rolex Oyster Perpetual 14k Gold Watch, ref. 1503, 35mm, automatic, date aperture, with later crocodile band.
[$3,000 - 5,000]
47. Hermès 18 kt. Gold and Diamond “Alchemie” Bracelet, marked “Hermès”, “ Made in France”, “HGB”, French assay mark, maker’s mark and other marks, numbered “13P0156 ST”; cuff bangle incorporating elements from Kelly and Chaine d’Ancre Enchainée; mounted with approx. 80 brilliant-cut diamonds, total wt. approx. 1.07 cts.; inner circ. 6 1/4 in.; with original box.
[$8,000 - 12,000]
48. Hermès Constance Mini 18 in Cactus Green Shiny Alligator with Gold Hardware, c. 2018, interior lined with tonal lambskin leather, stamped “CSA317” over “10”, h. 7 1/2 in., w. 9 in., d. 2 1/2 in.; adjustable shoulder strap drop h. 10 in. to 17 in.; with original box, dustbag, pamphlets, perfume samples and CITIES certificate. [$20,000 - 30,000]
Pair of
,
49.
Fortuny Silk Damask Pillows
h. 23 in., w. 23 in. [$300 - 500]
50. 14 kt. White Gold and Akoya Pearl Necklace, l. 17 in.; with United Pearl Certificate of Authenticity.
[$500 - 700]
51. Two Freshwater Pearl Necklaces, incl. one with 14 kt. white gold clasp and 10.50 mm to 12.00 mm freshwater silver-white pearls, l. 21 in.; and other with 14 kt. yellow gold clasp and 8.50 mm freshwater silver-white pearls, l. 20 in.
[$500 - 700]
52. 14 kt. White Gold, South Sea Pearl and Diamond Ring, center round Tahitian pearl mounted with numerous round brilliant cut diamonds, total wt. approx. 2.82 cts.; size 7; IAS report.
[$3,000 - 5,000]
53. 14 kt. White Gold and Tahitian Pearl Necklace, strand of 29 near round dark gray pearls, 14.00-16.03 mm; l. 18 in.; AIGL and GIA reports.
[$1,500 - 2,500]
54. 18 kt. Yellow Gold, Baroque Pearl, Ruby and Diamond Ring, center cultured South Sea pearl, 17.00 x 11.00; foliage motif bezel set with 4 heart and marquise rubies, wt. approx. 0.89 cts.; and 31 round brilliant cut diamonds, total wt. approx. 0.38 cts.; size 7.75; AIGL report.
[$1,800 - 2,500]
55. Double Strand South Sea Pearl Necklace with 14 kt. Yellow Gold, Emerald and Diamond Clasp, 2 strands of 92 cultured pearls, 8.00-8.20 mm; clasp with center pear mixed cut emerald, wt. approx. 1.70 cts.; and 62 round brilliant cut diamonds, total wt. approx. 1.25 cts.; l. approx. 16 in.; GGA report. [$1,500 - 2,500]
56. 14 kt. White Gold, Columbian Emerald and Diamond Ring, mounted with 3 oval Columbian emeralds, total wt. approx. 1.10 cts.; accented with numerous round brilliant cut diamonds, total wt. approx. 0.20 ct., G-H color, SI-1 clarity; size 6. [$700 - 900]
57. 14 kt. Yellow Gold, Emerald and Diamond Ring, center octagonal step cut emerald, wt. approx. 1.64 cts.; bezel and shoulders set with 30 round brilliant cut diamonds, total wt. approx. 0.82 cts.; size 6.25; AIGL report. [$1,800 - 2,500]
58. Pair of 18 kt. White Gold, Emerald and Diamond Dangle Earrings, mounted with 6 emerald cut emeralds, total wt. approx. 3.90 cts.; and numerous round brilliant cut diamonds, total wt. approx. 0.80 ct.; l. 1 1/4 in. [$1,800 - 2,500]
59. Platinum, 18 kt. Yellow Gold, Emerald and Diamond Ring, center octagonal step cut emerald, wt. approx. 3.53 cts.; mounted with 2 octagonal step cut diamonds, total wt. approx. 0.80 cts.; size 6.5; GIA and AIGL reports. [$4,000 - 6,000]
60. Pair of 14 kt. Two Tone Gold, Cabochon Emerald and Diamond Dangle Earrings, 4 pear cabochon emeralds, total wt. approx. 55.70 cts.; mounted with 124 round brilliant cut diamonds, total wt. approx. 4.05 cts.; l. 2 in.; GGA report. [$6,000 - 8,000]
61. 14 kt. Two Tone Gold, Cabochon Emerald and DIamond Necklace, mounted with 25 oval cabochon emeralds, total wt. approx. 82.16 cts.; bezels and links set with 542 round brilliant cut diamonds, total wt. approx. 9.71 cts.; l. 17 in.; GGA report. [$12,000 - 18,000]
62. Platinum, Columbian Emerald and Diamond Ring, center pear mixed cut Columbian emerald, wt. approx. 1.56 cts.; ornate mounting with 70 round brilliant cut diamonds, total wt. approx. 0.89 ct.; size 6.75; GIA and AIGL reports. [$3,000 - 5,000]
63. Platinum, Brazilian Emerald and Diamond Ring, center pear mixed cut emerald, wt. approx. 7.04 cts.; double bezel and shoulders set with 105 round brilliant cut diamonds, total wt. approx. 1.40 cts.; size 7.25; GGA report. [$5,000 - 7,000]
64. 14 kt. White Gold, Columbian Emerald and Diamond Bangle Bracelet, 2 bezel set pear shape cabochon emeralds, total wt. approx. 10.88 cts.; openwork form finished with diamond pave with 236 round brilliant cut diamonds, total wt. approx. 3.53 cts.; hinge opening; inner circ. 6 1/2 in.; AIGL and GIA reports. [$7,000 - 9,000]
65. 18 kt. White Gold, Emerald and Diamond Ring, center octagonal mixed cut emerald, wt. approx. 5.29 cts.; and 14 round brilliant and carre cut diamonds, total wt. approx. 1.99 cts., F-G color, VS1-SI1 clarity; size 5.75; GGA report. [$5,000 - 7,000]
66. Pair of 18 kt. White Gold, Diamond and Emerald Earrings, 2 center octagonal step cut emeralds, total wt. approx. 8.44 cts.; sunburst bezels set with numerous round brilliant cut diamonds; l. 7/8 in.; 8.96 dwts.; GIA report. [$4,000 - 6,000]
67. 18 kt. White Gold, Emerald and Diamond Ring, center cushion mixed cut emerald, wt. approx. 13.38 cts.; double bezel set with numerous round brilliant cut diamonds; size 7; 8.31 dwts.; GIA report. [$5,000 - 7,000]
69. 14 kt. White Gold, Emerald and Diamond Bracelet, center octagonal step cut emerald, wt. approx. 5.58 cts.; openwork setting with 212 round and baguette diamonds, total wt. approx. 3.49 cts.; l. 7 1/2 in.; AIGL and GIA reports. [$5,000 - 7,000]
68. Art Deco Style Platinum, Emerald and Diamond Ring, center octagonal step cut emerald, wt. approx. 8.78 cts.; double bezel and shoulders set with 136 round brilliant cut diamonds, total wt. approx. 1.66 cts., F-G color, VS1-SI1 clarity; size 7.25; AIGL and GIA reports. [$12,000 - 18,000]
70. Platinum, Emerald and Diamond Pendant on Chain, center GIA certified octagonal step cut emerald, wt. approx. 16.76 cts., 14.97 x 14.93 x 10.51 mm; mounted with 166 round brilliant cut diamonds, total wt. approx. 3.44 cts., F-G color, VS1-SI1 clarity; pendant l. (incl. bail) 2 1/4 in., w. 1 1/2 in.; chain l. 18 in.; AIGL and GIA reports. [$18,000 - 25,000]
71. Pair of Art Deco Style Platinum, Ruby and Diamond Earrings, mounted with 2 center round brilliant cut diamonds, total wt. approx. 0.34 cts., G color, SI2-I1 clarity; accented by 20 square and trapezoid cut rubies, total wt. approx. 0.55 cts.; and 68 round brilliant cut diamonds, total wt. approx. 0.31 cts. [$1,500 - 2,500]
72. Platinum, Burmese Ruby and Diamond Ring, center cushion mixed cut Burmese ruby, wt. approx. 7.67 cts., 11.80 x 10.10 x 6.95 mm; double bezel set with 32 round brilliant cut diamonds, total wt. approx. 2.35 cts., H-I color, SI1-SI2 clarity; size 7; AIGL and GIA reports. [$6,000 - 8,000]
75. Platinum, Cabochon Burmese Sapphire and Diamond Pendant on Chain, center oval cabochon cut sapphire, wt. approx. 35.45 cts.; mounted with 22 round brilliant cut diamonds, total wt. approx. 0.21 ct.; chain l. 18 in.; GGA report. [$1,800 - 2,500]
73. Platinum, Ruby and Diamond Necklace, mounted with 81 graduated oval brilliant faceted cut Mozambique rubies, total wt. approx. 35.99 cts.; and 391 round brilliant cut diamonds, total wt. approx. 3.93 cts., G-H color, SI1-SI2 clarity; l. 18 in.; GGA and GIA reports.
[$8,000 - 12,000]
77. Antique French Walnut Armoire, flared cornice, stiles with half-round ornaments, two doors, shelf interior, blocked apron, compressed flat round feet, h. 102 1/2 in., w. 67 1/2 in., d. 27 1/2 in. [$600/900]
74. Platinum, Cabochon Burmese Sapphire and Diamond Ring, center oval cabochon cut sapphire, wt. approx. 29.59 cts.; accented by 14 round brilliant cut diamonds, total wt. approx. 0.15 ct.; size 7; GGA report. [$1,500 - 2,500]
76. Platinum, Burmese Sapphire and Diamond Ring, uniquely mounted with center cushion mixed cut blue sapphire, wt. approx. 1.12 cts.; accented with 21 round brilliant cut diamonds, total wt. approx. 0.39 cts.; AIGL and GIA reports. [$1,500 - 2,500]
78. Platinum, Ceylon Sapphire and Diamond Ring, center heart mixed cut ceylon sapphire, wt. approx. 3.62 cts.; mounted with 59 round brilliant cut diamonds, total wt. approx. 1.14 cts.; size 6.75; AIGL report. [$4,000 - 6,000]
79. 14 kt. White Gold, Blue Sapphire and Diamond Bracelet, mounted with 18 oval brilliant faceted cut sapphires, total wt. approx. 16.67 cts.; and 252 round brilliant diamonds, total wt. approx. 3.46 cts.; l. 7 in.; GGA report. [$4,000 - 6,000]
80. Art Deco Style 18 kt. White Gold, Sapphire and Diamond Bracelet, marked, Asian, probably Hong Kong, openwork setting mounted with 14 bezel set mixed cut natural blue sapphires, total wt. approx 5.32 cts.; and numerous round single and full cut diamonds, H-I color, SI2 clarity; l. 7 1/8 in.; 29.15dwts. [$4,000 - 6,000]
81. Art Deco Style Platinum, Blue Sapphire and Diamond Pendant on Chain, center octagonal mixed cut sapphire, wt. approx. 9.28 cts., 12.28 x 10.47 x 8.02 mm; bezel and bail set with 78 round brilliant cut diamonds, total wt. approx. 1.64 cts.; pendant l. (incl. bail) 1 3/8 in., w. 7/8 in.; chain l. 18 in.; GGA and GIA reports.
[$10,000 - 15,000]
82. Platinum, Blue Sapphire and Diamond Bracelet, frond form motif mounted with 56 pear mixed cut sapphires, total wt. approx. 29.34 cts.; and 55 round brilliant cut diamonds, total wt. approx. 6.56 cts., G-H color, SI1-I1 clarity; l. 7 1/4 in.; GGA report. [$10,000 - 15,000]
83. 14 kt. Yellow Gold Bracelet, marked “TURKEY”, “AK14K” and “14 K”, lobster clasp, l. 7 5/8 in.; 5.51 dwts. [$300 - 500]
84. Pair of 20 kt. and 18 kt. Yellow Gold Leopard Earrings, l. 1 in.; 8.47 dwts. [$1,000 - 1,500]
86. 18 kt. Yellow Gold and Diamond Pendant Necklace, marked, mounted with 7 round brilliant cut diamonds, total wt. approx. 0.15 ct., l. 16 in.; 0.53 dwts. Size: 41cm. [$300 - 500]
88. 14 kt. White Gold and Diamond Tennis Bracelet, marked, l. 7 in.; 2.91 dwts. [$400 - 600]
90. Pair of 14 kt. White Gold and Diamond Stud Earrings, 2 round brilliant cut diamonds, total wt. approx. 2.00 cts., H color, I1 clarity; AIGL report. [$2,500 - 3,500]
85. Pair of Italian 18 kt. Yellow and White Gold Earrings, marked “18K 1018 F&S ITALY”, mounted with numerous round colorless sapphires, clip backs, l. 1 in., 16.72 dwts. [$1,000 - 1,500]
87. 18 kt. Yellow Gold and Diamond Pendant on Chain, marked, central hexagonal pendant with numerous round brilliant diamonds, total wt. approx. 0.20 ct.; l. 16 in.; 0.77 dwts. [$400 - 600]
89. Pair of 14 kt. White Gold and Diamond Cluster Stud Earrings, mounted with marquise, pear and heart shape diamonds, total wt. approx. 2.72 cts. [$2,000 - 3,000]
91. Pair of 18 kt. White Gold and Diamond Stud Earrings, 2 center round diamonds, wt. approx. 1.02 cts. and 1.01 cts.; halos mounted with numerous round diamonds, total wt. approx. 0.21 ct. [$3,000 - 5,000]
92. Pair of 18 kt. White Gold and Diamond Hoop Earrings, set with numerous round diamonds, total wt. approx. 3.00 cts.; l. 7/8 in.; 6.68 dwts.[$1,800 - 2,500]
93. Pair of 18 kt. White Gold and Diamond Dangle Earrings, mounted with 2 pear shape diamonds, total wt. approx 1.45 cts.; accented with numerous round diamonds, total wt. approx. 0.65 ct.; l. 1 3/8 in.; 1.98 dwts. [$1,800 - 2,500]
94. Pair of 14 kt. White Gold and Diamond Hoop Earrings, mounted with numerous round diamonds, total wt. approx. 8.87 cts.; dia. 1 1/2 in. [$4,000 - 6,000]
95. 18 kt. White Gold and Marquise Diamond Ring, center marquise diamond, wt. approx. 1.19 cts.; surrounded by numerous round diamonds, total wt. approx. 0.15 ct.; size 7; 2.49 dwts. [$1,800 - 2,500]
96. 18 kt. White Gold and Diamond Ring, center round diamond, total wt. approx. 2.18 cts.; halo and shoulders set with numerous round diamonds; size 7; 3.01 dwts. [$5,000 - 7,000]
99. 18 kt.
and Three Diamond
, mounted with one oval modified brilliant cut fancy light yellow diamond, wt. approx. 1.62 cts.; marquise diamond, wt. approx. 1.00 ct.; and round diamond, wt. approx. 1.69 cts.; bezels with numerous round diamonds; size 6.25; 5.23 dwts.; GIA report. [$6,000 - 8,000]
100. Platinum and Diamond Ring, center round brilliant cut diamond, wt. approx. 4.16 cts., G color, I1 clarity; mounted with 14 marquise and baguette cut diamonds, total wt. 1.68 cts.; size 5.25; AIGL report [$12,000 - 18,000]
98. 14 kt. White Gold and Diamond Eternity Band Ring, mounted with 12 round brilliant cut diamonds, total wt. approx. 8.68 cts., G-H color, SI2-I1 clarity; size 6; GGA report. [$6,000 - 8,000]
102. 18 kt. White Gold and Diamond Bracelet, mounted with numerous round diamonds, total wt. approx. 5.00 cts., l. 7 in.; 7.19 dwts. [$3,000 - 5,000]
97. 14 kt. White Gold and Diamond Solitaire Ring, center round diamond, wt. approx. 3.59 cts.; size 7; 2.32 dwts. [$7,000 - 9,000]
White Gold
Ring
101. 14 kt. White Gold and Diamond Tennis Bracelet, mounted with 33 round brilliant cut diamonds, total wt. approx. 17.72 cts., G-I color, I1-I2 clarity; l. 7 in.; AIGL report. [$12,000 - 18,000]
103. 14 kt. White Gold and Diamond Tennis Bracelet, mounted with numerous round diamonds, total wt. approx. 8.87 cts.; l. 7 in.; 9.14 dwts.
[$5,000 - 7,000]
104. 14 kt. White Gold and Diamond Chain Link Bracelet, mounted with numerous round diamonds, total wt. approx. 9.03 cts.; l. 7 1/4 in.; 33.78 dwts.
[$7,000 - 9,000]
105. 14 kt. White Gold and Graduated Diamond Necklace, mounted with numerous round diamonds, total wt. approx. 9.48 cts.; l. 17 in. ; 9.07 dwts.
[$5,000 - 7,000]
106. 18 kt. White Gold and Diamond Station Necklace, mounted with numerous mixed shape diamonds, total wt. approx. 10.80 dwts.; l. 60 in.; 9.73 dwts. [$5,000 - 7,000]
107. 18 kt. Two Tone Gold, Yellow Diamond and Diamond Ring, center heart shape modified brilliant cut Fancy Light Yellow diamond, VS2 clarity; inner bezel set with 26 round brilliant cut Fancy Yellow diamonds, total wt. approx. 0.14 ct.; outer bezel and shoulders set with 38 round brilliant cut diamonds, total wt. approx. 0.76 ct., E-F color, VS1-VS2 clarity; size 7; AIGL and GIA reports.
[$18,000 - 25,000]
108. 14 kt. Yellow Gold and Diamond Bangle Bracelet, mounted with 61 rectangular step cut diamonds, total wt. approx. 1.51 cts., F-G color, VS1-VS2 clarity; hinged opening; inner circ. approx. 6 1/2 in.; AIGL report. [$2,000 - 3,000]
109. 14 kt. Yellow Gold, Multicolor Sapphire and Diamond Bracelet, mounted with 56 octagonal mixed cut unheated sapphires, total wt. approx. 32.98 cts.; and 592 round brilliant cut diamonds, total wt. approx. 3.44 cts.; l. 7 in.; AIGL and GIA reports. [$6,000 - 8,000]
111. 18 kt. Yellow Gold, Multicolor Sapphire and Diamond Necklace, mounted with 185 octagonal step cut sapphires, total wt. approx. 48.95 cts.; and 190 round brilliant cut diamonds, total wt. approx. 5.30 cts.; l. 17 in.; AIGL and GIA reports. [$15,000 - 25,000]
113. 14 kt. Yellow Gold, Black Opal and Diamond Ring, center oval cabochon opal, wt. approx. 6.36 cts.; flanked by 44 round brilliant cut diamonds, total wt. approx. 0.40 ct.; size 7.25; GGA report. [$800 - 1,200]
110. Pair of 14 kt. Yellow Gold, Multicolor Sapphire and Diamond Dangle Earrings, mounted with 82 mixed cut and mixed shape multicolored sapphires, total wt. approx. 27.28 cts.; and 20 round brilliant cut diamonds, total wt. 0.31 ct.; l. 2 in.; AIGL and GIA reports. [$4,000 - 6,000]
112. 14 kt. Yellow Gold, Black Opal and Diamond Pendant on Chain, center pear cabochon opal, wt. approx. 4.82 cts.; accented with 19 round brilliant cut diamonds, total wt. approx. 0.11 ct.; pendant l. 1 in.; chain l. 20 in.; GGA report. [$500 - 700]
114. Platinum, Grandidierite and Diamond Pendant on Chain, center oval cabochon grandidierite, wt. approx. 26.37 cts.; ornate bezel with 192 round brilliant cut diamonds, total wt. approx. 1.66 cts.; pendant l. (incl. bail) 2 in.; chain l. 18 in.; AIGL and GIA reports. [$5,000 - 7,000]
117. Antique Platinum, Aquamarine and Diamond Brooch, center cushion cabochon aquamarine, wt. approx. 34.27 cts.; openwork bezel with 48 old mine cut and single cut diamonds, total wt. approx. 1.40 cts.; brooch l. 1 in.; AIGL report. [$4,000 - 6,000]
115. Platinum, Opal, Pink Sapphire, Diamond and Black Enamel Necklace, mounted with 12 oval cabochon opals, total wt. approx. 128.45 cts.; and 13 pear and heart shape pink sapphires, total wt. approx. 5.51 cts.; accented by 514 round brilliant cut diamonds, total wt. approx. 1.97 cts.; l. 18 1/2 in.; GGA report. [$12,000 - 18,000]
116. 14 kt. White Gold and Aquamarine Ring, center octagonal step faceted cut aquamarine, wt. approx. 1.38 cts.; size 4.25; GGA report. [$700 - 900]
118. 14 kt. Yellow Gold, Amethyst and Diamond Ring, center oval pink amethyst with diamond halo, total dia. wt. approx. 0.20 ct.; size 7; 2.21 dwts. [$500 - 700]
119. Platinum, Alexandrite and Diamond Ring, center oval modified brilliant cut alexandrite, wt. approx. 0.86 ct.; double bezel and shoulders set with 74 round brilliant cut diamonds, total wt. approx. 0.76 cts.; size 7; AIGL and GIA reports. [$2,500 - 3,500]
120. 18 kt. White Gold, Kashmir Sapphire and Diamond Ring, center oval mixed cut kashmir sapphire, wt. approx. 1.68 cts.; mounted with 26 round brilliant cut diamonds, total wt. approx. 0.80 cts.; size 7; AIGL and GIA reports. [$2,500 - 3,500]
121. 18 kt. Two Tone Gold, Kashmir Sapphire and Diamond Ring, center oval mixed cut sapphire, wt. approx. 1.74 cts.; double bezel and shoulders set with 42 round brilliant cut diamonds, total wt. approx. 0.97 ct.; size 7; AIGL and GIA reports. [$2,000 - 3,000]
122. 18 kt. White Gold, Spinel and Diamond Ring, center cushion mixed cut spinel, wt. approx. 3.71 cts.; floral bezel with numerous round brilliant cut diamonds; size 7; 6.22 dwts.; GIA report. [$2,000 - 3,000]
123. 14 kt. Yellow Gold, Tanzanite and Diamond Ring, center oval tanzanite, wt. approx. 1.15 cts.; mounted with numerous round diamonds, total wt. approx. 0.30 ct.; size 7.5 [$800 - 1,200]
124. Platinum, Tanzanite and Diamond Ring, center cushion mixed cut tanzanite, wt. approx. 5.18 cts.; flanked by 10 carre cut diamonds, total wt. approx. 0.57 ct.; size 6; GGA report. [$2,500 - 3,500]
125. Platinum, Tanzanite and Diamond Ring, center cushion mixed cut tanzanite, wt. approx. 9.89 cts.; mounted with 122 round brilliant cut diamonds, total wt. approx. 2.12 cts. [$7,000 - 9,000]
126. Platinum, Tanzanite and Diamond Bracelet, mounted with 10 heart, cushion, oval and round mixed cut tanzanite, total wt. approx. 22.31 cts.; and 175 round brilliant cut diamonds, total wt. approx. 5.70 cts.; l. 7.25 in.; AIGL report. [$8,000 - 12,000]
127. 18 kt. White Gold, Tanzanite and Diamond Necklace, center prong set oval mixed cut tanzanite, wt. approx. 23.16 cts.; scrollwork and foliate mounting with 248 round brilliant cut diamonds, total wt. approx. 6.16 cts.;l. 16 in.; AIG report.
[$18,000 - 25,000]
128. 18 kt. Rose Gold and Diamond Ring, mounted with numerous round brilliant cut and baguette cut diamonds, total wt. approx. 1.20 cts.; size 4 with 2 ball spacers. [$1,500 - 2,500]
129. 14 kt. Rose and White Gold, Morganite and Diamond Ring, center octagonal step faceted cut morganite, wt. approx. 10.87 cts.; accented by 56 round brilliant cut diamonds, total wt. approx. 1.09 cts.; size 7; GGA report. [$3,000 - 5,000]
131. 14 kt. Rose and White Gold, Morganite and Diamond Pendant on Chain, center cushion mixed cut morganite, wt. approx. 11.35 cts.; ornate bezel and bail with 121 round brilliant cut diamonds, total wt. approx. 1.66 cts.; pendant l. 1 1/2 in.; GGA report. [$2,500 - 3,500]
130. 14 kt. Rose and White Gold, Morganite and Diamond Ring, center pear mixed cut morganite, wt. approx. 13.35 cts.; mounted with 72 round brilliant cut diamonds, total wt. approx. 1.92 cts.; size 7.75; GGA report. [$3,000 - 5,000]
132. 14 kt. Rose Gold, Morganite and Diamond Necklace, mounted with 15 pear mixed cut morganites, total wt. approx. 56.62 cts.; central butterfly and bezels with 1022 round brilliant cut diamonds, total wt.10.63 cts.; l. 17 in.; AIGL report. [$12,000 - 18,000]
Oscar
- 1,000]
135. Oscar Bach Painted Bronze “Poseidon” Mirror and Console, early 20th c., mirror with Poseidon crest, intertwined dolphin border, h. 38 in., w. 24 1/2 in., console with onyx top, conforming dolphin and mermaid design, h. 33 in., w. 31 in., d. 12 in.
[$800 - 1,200]
137. Oscar Bach Bronze and Iron
, early 20th
[$700 - 1,000]
136. Oscar Bach Patinated Iron Mirror, early 20th c., mask crest, hammered surface, h. 29 1/2 x 16 in. [$400 - 600]
134. Oscar Bach Wrought Iron and Bronze “Throne Chair”, early 20th c., allover hammered surface, mask finials, backrest centered by mythological figure, 47 1/2 x 24 1/2 x 23 in.
[$700 - 1,000]
138. Oscar Bach-Style Iron and Patinated Metal Mirror, 20th c., floral crest, twist border, 36 x 22 in. [$300 - 500]
133.
Bach WroughtIron Torchere, early 20th c., art-glass shade, 66 in. [$700
Mirror
c., opposing griffins crest, mirror flanked by female busts, 39 in. x 21 1/2 in.
139. Manner of Oscar Bach Wrought-Iron and Bronze Table, octagonal form, marble top, with mask and foliated design, 22 x 21 x 21 in.
[$500 - 700]
140. Manner of Oscar Bach Wrought-Iron and Tole Peinte Console Table, marble top, base centered by bouquet, 32 x 41 1/2 x 16 in.
[$500 - 700]
141. Large Set of Moser Salviati Enameled Glassware, Moser enamel on Salviati blanks, incl. center bowl, large wine (11), med. wine (11), small wine (10), coupes (9), cordial (10), small bowls (11), plates (11), and a pair of two-light candelabra, Center bowl h. 7 1/in., dia. 11 in.; large wine h. 10 in.,, plates dia. 8 1/4 in., candelabra h. 10 1/2 in.
[$2,500 - 3,500]
142. Pair of Baccarat Crystal “Dauphin” Candlesticks, marked, with chimneys. h. 23 1/4 in. x w 7 in.
[$700 - 1,000]
143. Lalique Champs-Elysees Crystal Centerbowl, h. 7 1/2 in. x w. 18 in. x d. 9 3/4 in. . [$500 - 700]
144. Pair of Lalique “Dampierre” Vases, h. 5 in. x w. 5 in. [$300 - 600]
145. Lalique “Marguerites” Center Bowl, h. 3 in. x d. 13 in [$400 - 600]
146. Lalique Crystal Deux Danseuses Art Glass Figures, h. 10 1/4” x w. 5 1/2 in x d. 5 in. [$300 - 500]
148. Lalique “Bagheera” Crystal Vase, h. 8 1/2 in. x 6 in. [$300 - 500]
150. Three Lalique Crystal Animals, Bird 1: h. 3 1/2 in., w. 4 1/2 in., d. 2 1/2 in, Bird 2: h. 3 in., w. 2 3/4 in., d. 4 1/2 in., Elephant: h. 6 1/4 in., w. 4 in., d. 6 1/4 in. [$150 - 400]
151. Biedermeier Black Walnut Commode, 19th c., molded top, four drawers, block feet. 37 1/2 x 49 1/2 in. (95.3 x 125.7 cm.) [$1,200 - 1,800]
147. Lalique Crystal Lion Center Bowl, marked, 6 x 8 1/4 x 3 1/2 in. [$200 - 500]
149. Lalique Crystal “Sylvie” Dove Vase, H 8 1/4” x W 6 3/4” x D 3 1/2” [$150 - 500]
153. Italian Neoclassical-Style
Parcel Gilt and Creme Peinte
Bergere, 20th c., molded crest rail, padded swan carved arms, conforming seat rail, scrolled legs. [$300 - 500]
155. Louis XV-Style Burlwood Petite Bombe’ Commode, 20 th c., shaped top, conforming case, two drawers, cabriole legs, 29 x 36 x 17 in. [$500 - 700]
152. French Directoire-Style Inlaid Carved Fruitwood Extension Dining Table, 20th c., in the manner of Maison Jansen, brass molded frieze, square tapered legs, two leaves, 30 x 38 x 45 1/2 in., extended 30 x 38 x 85 1/2 in. [$1,200 - 1,800]
154. Louis XVI-Style Carved Creme Peinte Daybed, 21st c., carved finials, arched molded crest rails, padded head and foot boards, tapered legs, 38 x 38 x 77 in. [$700 - 1,000]
157. Louis XV-Style BronzeMounted Parquetry Bombé Commode, molded marble top, two conforming drawers, flared legs, sabots, 34 3/4 x 47 1/2 x 20 in. [$1,000 - 1,500]
156. Sheraton-Style Marquetry Mahogany Pembroke Table, 20th c., made by Theodore Alexander “Replica”, labeled in drawer, in the manner of Thomas Chippendale, molded drop leaves,two frieze drawers, tapered square legs, 30 1/2 x 20 x 31 1/2 in., Frame: 30 1/2 x 38 x 31 1/2 in. [$700 - 1,000]
158. Kazak Carpet, 5 ft. 5 in. x 9 ft. [$600 - 900]
164. Kazak Rug 3 ft. 6 in. x 7 ft. 1 in. [$400 - 600]
160. Two Small Persian Rugs [$200 - 300]
166. Caucasian Carpet 6 ft. x 8 ft. 10 in. [$700 - 1,000]
162. Small Persian Rug 3 ft. 2 in. x 4 ft. 7 in. [$300 - 500]
163. Kazak Carpet 5 ft. 4 in. x 8 ft. 5 in., with custom cut-outs [$300 - 500]
159. Persian Runner, 2 ft. 8 in. x 19 ft. 8 in. [$300 - 500]
165. Kazak Eagle Rug
5 ft. 3 in. x 7 ft. 3 in. [$600 - 900]
161. Small Silk Persian Rug
2 ft. 1 in. x 3 ft. 3 in. [$300 - 500]
167. Persian Rug, red ground, geometric design, 5 ft. 9 in. x 8 ft. 2 in. [$300 - 500]
168. Persian Carpet red ground, foliate design, 10 ft. x 12 ft. 4 in.
[$1,000 - 1,500]
12 ft. x 15 ft. 5 in.
[$1,000 - 1,500]
8 ft. 1 in. x 10 ft. 4 in.
[$700 - 1,000]
172.
red ground, central medallion, 8 ft. 10 in. x 11 ft. 4 in.
[$700 - 1,000]
[$700 - 1,000]
170. Bijar Carpet
169. Turkish Serapi-Style Carpet
Antique Persian Carpet
171. Sarouk Carpet salmon ground, 8 ft. x 10 ft. [$600 - 900]
173. Aubusson-Style Carpet 10 ft. 2 in. x 14 ft. 7 in.
174. American Aesthetic Carved Bamboo and Birdseye Maple Bedroom Suite, c. 1880, New York, four pieces, incl. mirrored dresser, bed and washstand; together with closely related American Aesthetic dressing table, bed h.52 in., w. 54 in., l.79 in., dressing table h. 63 in., w. 34 in., d. 20 in., nightstand h. 46 in., w. 34 in., d. 20 in. [$1,500 - 2,500]
Provenance: Margot Johnson, Inc., NYC, Feb. 1996
175. American Aesthetic Brass Mounted Mahogany Center Table, 20th c., attr. Merklen Brothers, New York, molded top, frieze drawer, barley twist supports and stretchers, brass ball and claw feet, h. 28 1/2 in., w. 37 1/2 in., d. 23 1/2 in.
[$700 - 900]
176. Regency-Style Mahogany Althorp Patent Jupe Table, 20th c., made by Theodore Alexander, banded expandable top with pullout triangular sections, self storing leaves, turned standard, curved legs, bronze mounted feet, 30 1/2 x 61 in.
[$3,000 - 5,000]
177. Fine Set of Ten William IV Carved Mahogany Dining Chairs, mid-19th c., attr. to Gillows of Lancaster, after a Thomas King design, incl. two arms and eight side chairs, incised scrolled carved curved crest rail, molded seat rail, tapered reeded legs, toupie feet, armchair h. 36 in., w. 22 in., d. 18 1/2 in., side h. 36 in., w. 19 in., d. 17 in. [$4,000 - 6,000]
178. George III-Style Carved Mahogany Tilt Top Tea Table, 19th c., carved edge, turned baluster standard, cabriole legs, 28 1/2 x 33 1/2 x 28 in. (72.4 x 85.1 x 71.1 cm.)
[$700 - 1,000]
179. American Classical Carved Mahogany Pier Table, 19th c., Philadelphia, marble top, molded frieze, scroll supports, mirrored back, scrolled feet, 37 1/2 x 42 x 18 1/2 in.
[$1,500 - 2,500]
180. Continental Bronze-Mounted, Ebonized and Marquetry Parlor Cabinet, shaped marble top, floral and urn cabinet doors, conforming base, h. 37 in., w. 48 in., d. 17 1/2 in.
[$800 - 1,200]
181. Two Queen Anne-Style Carved Walnut Wingchairs, 20th c., arched crest rail, padded back, wings and outswept arms, shell carved knees, cabriole legs, turned stretchers, h. 46 1/2 in., w. 36 in., d. 23 in. [$500 - 700]
183. Pair of Napoleon III Bronze Mounted Marble Cassolettes, c. 1870, lids with “Susse Freres” foundry mark, tripartite bases, 16 x 6 in. [$700 - 1,000]
182. Regency Mahogany Library Table, 19th and later c., molded top, two frieze drawers, scroll supports, trestle base, turned stretchers, h. 31 in., w. 41 in., d. 19 in. [$800 - 1,200]
185. Louis XVI-Style Bronze Fire Fender and Andirons, fender h. 8 in., w. 58 in., d. 14 in.; andiron h. 17 in., w. 9 in., d. 14 in. [$400 - 600]
184. Antique Empire-Style Bronze and Marble Torchere, c. 1900, tripartite, tapered form, shield and oak leaf design, on marble base. [$800 - 1,200]
186. German Singing Bird Automaton, 20th c., h 12 in., dia. 7 in. [$200 - 300]
187. Leslie Dalton Taxidermy Peacock, 21st c., perched on a giltwood bracket, h. 65 in., w. 39 in., d. 15 in. [$400 - 600]
188. German Porcelain Plaque of Marie Antoinette, 19th c., after Elisabeth Vigee-LeBrun, possibly KPM, label verso says “signed by artist Macheleidt”, elaborate giltwood frame, Plaque 7 1/2 x 5 1/2; frame 14 1/4 x 10 1/2 [$300 - 500]
189. Pair of Large Herend “Chinese Bouquet” Lidded Porcelain Urns, marked, h. 19 in., w. 9 3/4 in., d. 6 1/2 in. [$3,500 - 5,000]
190. Herend Porcelain “Chinese Bouquet” Tureen, marked, bird finial, h. 9 in., w. 13 in., d. 8 in. [$500 - 700]
191. Herend Porcelain “Chinese Bouquet” Covered Sauce Boat and Underplate, marked, h. 6 1/4 in., w. 9 3/4 in., d. 6 1/2 in. [$300 - 500]
192. Two Herend Porcelain “Chinese Bouquet” Tableware, covered leaf-form dish and basket-form larger h. 4 1/2 in. [$300 - 500]
Provenance: Estate
and gilt highlights; together with Paris porcelain spill vase, similarly decorated, h. 4 1/2 in. [
700]
Provenance: Estate of Julia Evans Reed, lot 31, February 5, 2021.
196. Pair of Japanese Satsuma Stoneware Vase Lamps, h. to socket 21 in. [$150 - 250]
198. Korean School, “Tatar Hunting Scene”, ink and color on paper, approx. 36 x 20 in., framed. [$800 - 1,200]
195. Pair of Chinese Gilt-Decorated Coral Red Glazed Porcelain Covered Vases, h. 26 in., dia. 13 1/2 in. [$200 - 400]
197. Large Chinese Silk Embroidery, sight 34 1/2 in. x 75 in.; framed 41 1/2 in. x 81 1/2 in. [$500 - 700]
194. Paris Porcelain Campagna Urn, 19th c., h. 10 1/2 in., with continuous landscape
$500 -
193. Antique French Limoges Porcelain Fish Service, marked, incl. 12 plates (dia. 9 in.), a platter (9 1/2 in. x 24 in.), and a sauce boat. [$400 - 600]
of William Jay Atzenhoffer, Victoria, Texas
199. Pair of American Patinated Bronze Three-Piece Girandole Garniture, figure of a stag and palm tree to each, center piece h. 17 3/4 in., w. 16 in., d. 4 1/2 in.[$800 - 1,200]
200. Victorian Glass and Silver Plate Epergne, h. 21 1/4 in., w. 13 in., d. 13 in. [$200 - 300]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
201. Pair of Louis XV-Style Eglomisé and Silvered Carved Oak cabinets, 20th c., refinished by High Style Deco, New York, molded top, pair of molded mirrored doors, fitted interior, scalloped shell centered apron, cabriole legs, scrolled toes, 38 1/2 x 51 x 18 3/4 in. (97.8 x 129.5 x 47.6 cm.) [$6,000 - 8,000]
Provenance: Duke and Duchess of Windsor’s apartment in the Waldorf Astoria, New York
202. Italian Neoclassical-Style Parcel Gilt and Painted dining table, by EJ Victor, from the Newport Historic Mansions collection, table adapted from a console in the Rosecliff gallery, swag and floral motif carvings on ivory finish with gilded accents, natural finish top with inlaid diamond-motif banding, eight tapered fluted legs, includes two leaves, 30 x 50 x 90 in. [$2,500 - 3,500]
203. Set of Six Italian Neoclassical-Style Faux Finished Dining Chairs, 20th c., molded carved crest rail with center shell, pierced carved foliate splat, cabriole legs, carved stretcher, scrolled toes, h. 44., w. 20 1/2 in., d. 17 in. [$700 - 900]
204. Italian Renaissance Carved Walnut Figural Hallstand, early 19th c., paper label on verso “ Marco Dal Tedesco”, elaborate pierced carved back with foliate, maidens, dragons, lion and crest, cast metal elephant hanging hooks, turned umbrella holder, metal lined drip pan, paw feet, h. 84 in., w. 44 in., d. 11 in. [$800 - 1,200]
205. Continental Parcel Gilt & Painted Carved Mahogany Center Table, 19th c. and Later, paint and design by Anne McGee, New Orleans, foliate painted top, fluted twist standard, triangular plinth base, paw feet, 28 1/4 x 54 in. [$2,500 - 3,500]
[$800 - 1,200]
206. Italian Renaissance-Style Vargueno on Stand, 18th and later c., molded cornice, upper case fitted with drawers flanked caryatid stiles, stand, molded frieze drawer, scrolled supports, paneled back, molded plinth base, h. 76 in., w. 42 in., d. 17 in.
[$1,200 - 1,800]
208. Regence-Style
by
[$800 - 1,200]
and
frieze
c., later
Gilt
Creme Peinte Console, 20th
molded marble top, foliate carved
centering shell, cabriole legs, molded stretcher surmounted
floral basket finial, acanthus carved feet, h. 37 in., w. 60 in., d. 14 in.
207. Pair of Louis XV-Style Creme Peinte Armchairs, 20th c., scrolled arms, reeded seat rail, bell flower carved tapered legs, h. 42 1/2 in., w. 29 in., d. 19 in.
209. Napoleon III-Style BronzeMounted Ebonized Parlor Cabinet, 19th/20th c., molded top, frieze and paneled door centered with molded Sevres-style plaques, molded plinth base, turned feet, h. 47 1/2 in., w. 35 in., d. 16 in. [$1,200 - 1,800]
210. Pair of Antique Louis XVI-Style Gilt and Vert Peinte Side Chairs, handsome silk upholstery and trim, molded crest rail, reeded seat rail, fluted tapered legs h. 34 1/4 in., w. 19 1/2 in., d. 22 in [$600 - 800]
Provenance: Estate of Julia Evans Reed, Neal Auction, February 5, 2021, lot 130.
211. French Louis XV-Style White Peinte Dining Table, 20th c., in the manner of Maison Jansen, molded edge, brass molded frieze, fluted tapered legs, two leaves, 30 x 39 3/4 x 39 3/4 in., Frame: 30 x 39 3/4 x 69 3/4 in. [$700 - 1,000]
213.
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
212. Louis XV-Style Parcel Gilt and Painted Console, inset marble top, molded top, shell carved frieze, cabriole legs, X-form stretcher, scrolled feet, 31 1/2 x 58 x 20 in. [$800 - 1,200]
English Renaissance Carved Oak Three Panel Folding Screen, 19th c., crest is shell centered flanked by serpents, foliate carved stiles, upholstered panel insets, [$500 - 700]
214. Monumental Wrought-Iron and Tole
Fifteen-Light Chandelier, foliate decorations, h. 50 in., dia. 45 in.
[$500 - 700]
216. French Giltwood Mantel Mirror, laurel branch and scroll crest, beaded border, 71 x 46 in. (180.3 x 116.8 cm.)
[$800 - 1,200]
217. Antique French Giltwood and Crème Peinte Mantel Mirror, torch and quiver flanked by floral garlands, beveled mirror plate, 91 x 57 1/2 in.
[$1,000 - 1,500]
218. French Oval Giltwood Mirror, shell and scroll crest, beaded border, beveled mirror plate, 55 1/2 x 40 1/2 in.
[$300 - 500]
215. Pair of William IV-Style Giltwood Mirrors, block corners, egg and dart border, 74 1/2 x 45 in. [$3,000 - 5,000]
219. Continental Giltwood Overmantel Mirror, elaborate cherub and foliate crest, beaded border, 89 x 54 x 6 in.
[$700 - 1,000]
220. Continental Giltwood Tall Mirror, carved with shell and baskets, h. 72 in., w. 32 1/2 in.
[$700 - 1,000]
221. American Classical Giltwood Pier Mirror,c. 1830, attributed to Isaac Platt, New York, divided mirror plate, fleur-de-lis corners, 67 x 34 in.
[$700 - 1,000]
222. American Classical Giltwood Mirror, c. 1850, block corners with deeply carved rosettes, 84 x 50 in.
[$1,000 - 1,500]
223. Eli Wilner-Retailed Giltwood Frame, fitted with a mirror plate, 31 1/4 in. x 24 1/4 in.
[$300 - 500]
224. English Georgian-Style Carved Mahogany Dumb Waiter, 19th c., three molded tiers, turned standard, cabriole legs, castors. h. 40 in., d. 24 in.
[$300 - 500]
225. Georgian-Style Burl Walnut Partner’s Desk, 19th c., stenciled “Country of origin England”, molded leather top, three frieze drawers over banks of three drawers, cabinet doors in the front, bracket feet, h. 29 in., w. 53 1/2 in., d. 32 in.
[$700 - 1,000]
226. Georgian-Style Carved Mahogany Butler’s Desk, 19th c., molded top, top drawer with writing surface, fitted interior, over three drawers, bracket feet. [$1,200 - 1,800]
227. Regency Carved Mahogany Settee, 19th c., molded back-scrolled crest rail, reeded scrolled arms, outswept legs, castors, h. 37 1/2 in., w. 71 in., d. 31 in.
[$700 - 1,000]
228. Georgian-Style Inlaid Mahogany Hanging Corner Cabinet, 19th c., molded cornice, two inlaid conforming doors, shelf interior, 39 1/2 x 18 1/4 x 18 1/4 in. [$300 - 500]
229. Georgian-Style Carved Mahogany Chest of Drawers, 19th c., molded top, two short drawers above three graduate long drawers, blind fretwork stiles, bracket feet, 36 x 43 1/2 x 21 1/2 in.
[$700 - 1,000]
230. Georgian-Style Mahogany Partners Desk, 19th c., tooled leather top,threes frieze drawers above banks of three drawers on one side and paneled doors on the other, plinth bases, 30 1/4 x 48 x 72 in.
[$700 - 1,000]
231. English Regency Mahogany Breakfast Table, mid 19th c., molded conforming frieze, turned standard, reeded sabre legs, brass paw castors.
[$1,000 - 1,200]
232. Chippendale-Style Carved Mahogany Day Bed, 18th/ 19th c., scalloped crest rail, pierced carved double splat, conforming rails, square legs, h. 41 1/2 in., w. 31 in., d. 74 in.
[$500 - 700]
233. Antique Caucasian Shirvan Rug, 5 ft. 1 in. x 7 ft. 8 in.
[$1,200 - 1,800]
234. Antique Chinese Carpet, 9 ft. 10 in. x 13 ft. 6 in.
[$700 - 1,000]
235. Antique Kazak Rug 4 ft. 3 in. x 6 ft. 10 in.
[$500 - 700]
red ground, foliate design,
8 ft. 5 in. x 11 ft. 6 in.
[$500 - 700]
Turkish Oushak Carpet central medallion, 11 ft. 5 in. x 11 ft. 9 in.
[$2,500 - 3,500]
12 ft. 7 in. x 9 ft. 9 in.
[$700 - 1,000]
repeating medallions, 6 ft. x 6 ft. 4 in.
[$850 - 950]
237. Antique
239. Sultanabad Carpet
241. Persian Heriz Carpet
7 ft. 9 in. x 11 ft. 7 in.
[$2,400 - 2,800]
236. Persian Carpet
238. Tabriz Carpet
240. Oushak Carpet
5 ft. 3 in. x 7 ft. 4 in.
[$850 - 950]
242. Persian Tabriz Carpet blue ground, repeating designs, 6 ft. 9 in. x 10 ft. [$1,800 - 2,400]
243.
8 ft. x 9 ft. 9 in.
[$1,800 - 2,400]
12 ft. 7 in.
[$4,000 - 6,000]
[$8,000
Tabriz Carpet
245. Persian Mashad Carpet floral vases and bid design, 9 ft. 6 in. x
247. Tabriz Carpet, red ground, foliate design, 10 ft. x 14 ft. [$3,000 - 4,000]
244. Persian Kerman Carpet, 10 ft. x 14 ft. 2 in.
[$4,000 - 5,000]
246. Tabriz Carpet, 10 ft. 2 in. x 14 ft. 6 in.
[$3,000 - 4,000]
248. Persian Sultanabad Carpet, salmon ground, foliate design, 15 ft. 1 in. x 20 ft. 10 in.
- 12,000]
249. American Classical Carved Mahogany Pier Table, 19th c., probably Philadelphia, conforming marble, scroll supports, mirrored back, radial veneer plinth base, scroll feet, 38 x 42 1/2 x 21 in.
[$800 - 1,200]
250. American Federal Mahogany Pembroke Table, 19th c., drop leaves, frieze drawer, reeded legs, ball feet, 29 x 20 1/2 x 39 in., Frame: 29 x 47 1/2 x 39 in.
[$500 - 700]
251. American Federal Carved Mahogany Sideboard, 19th c, New York, stepped backplash, outset frieze drawers, columnar supports, paneled doors, turned feet, 52 1/2 x 79 x 23 in.
[$1,000 - 1,500]
252. American Classical Brass Mounted Carved Mahogany Cellarette on Stand,19th c., molded octagonal lift top, fitted bottle interior, molded base, acanthus carved standard, scrolled paw legs, h. 36 in., w. 19 in., d. 19 in.
[$700 - 900]
253. American Classical Carved Mahogany Settee , c. 1825, attr. Charles White, Philiadelphia, tablet crest inlaid brass, cornucopia brackets, shell carved arms, gardooned seat rail, foliate and reeded bulbous feet, 34 x 86 x 24 1/2 in.
[$3,000 - 5,000]
254. American Classical Carved Mahogany Full Tester Bed, 19th c., stepped flared tester, octagonal molded posts, scrolled paneled headboard, conforming rails,115 1/2 x 57 1/2 x 76 in.
Note: Rupert Kohlmaier restoration.
[$3,000 - 5,000]
255. Rare Boston Chippendale Carved Birch Secretary Bookcase, c. 1770-1780, attr. to John Cogswell, inscribed on back December 27, 1804, finialed broken arch pediment, shaped paneled doors, slant front lid with fitted interior, serpentine case with four graduated drawers, ball and claw feet, h. 101in., w. 42 in., d. 21 1/2 in.
256. American Late-Classical Carved Mahogany Games Table, 19th c., New York, fold over top, molded frieze, scrolled supports, molded plinth base, bracket feet, 30 x 18 x 35 1/2 in.,
Frame: 30 x 36 x 35 1/2 in.
[$300 - 500]
[$5,000 - 7,000]
257. American Classical-Style Marble Top Center Table, late 19th/early 20th c., molded frieze, pineapple carved standard, scrolled acanthus carved legs, paw feet, h. 28 1/2 in., dia. 37 in.
[$800 - 1,200]
258. Manner of Michelangelo, Italian, 1475-1564, “Study of Saints”, sepia on paper,unsigned, framed. 8 1/4 x 6 1/4 in. (21 x 15.9 cm.), Frame: 18 x 16 x 1 in. (45.7 x 40.6 x 2.5 cm.)
[$600 - 800]
Provenance: Glad Gallery, New Orleans, c. 1970.
259. Continental School 1774, “Landscape with Cattle alongside a River”, oil on canvas, signed “J. Rosef” and dated lower left, inscribed en verso and on reverse of frame, framed. 21 1/2 x 18 1/2 in. (54.6 x 47 cm.), Frame: 25 3/4 x 22 3/4 x 2 3/4 in. (65.4 x 57.8 x 7 cm.)
[$1,000 - 1,500]
260. Johann Elias Ridinger, German, 1698 - 1767, “Palottade a Droite”, “Pirouette fur le Petite Cercle a Droite”, “Le Galop a Gauche”, “Le Nouveau Manege”, “Redopp Terre a Terre a Gauche a la Muraille” and “La Vraye Affiette du Cavalier”, 6 hand-colored engravings from Neue Reit Schul, 1734, published and printed by Ridinger, Augsburg, titled in French, German and Latin in margins. Each: 17 1/2 x 13 1/2 in. Frames: 25 x 18 1/2 x 1 in. (6 pcs.) [$600 - 800]
261. Continental School 19th c., “Still Life with Fruit, Vegetables and Rabbit”, oil on canvas, unsigned, framed. 26 3/4 x 31 3/4 in., Frame: 31 1/4 x 36 x 2 in.
[$800 - 1,200]
262. British School late 19th/ early 20th c.,“Copper and Silver Birches”, oil on canvas, signed “W. Harrison” lower left, titled and inscribed “W. Harrison” on stretcher, framed. 42 x 24 in., Frame: 55 x 37 1/2 x 3 1/4 in.
[$800 - 1,200]
263. Jean-Baptiste Monnoyer, French, 1634-1699, “A Still Life of Summer Flowers and Fruit on a Table”, oil on canvas, unsigned, conservators label with date attached to stretcher, framed.; together with 1974 Sotheby’s auction catalogue and paperwork. (2 pcs.) 21 1/2 x 26 1/2 in., Frame: 31 1/4 x 36 1/4 x 2 3/4 in.
[$1,000 - 1,500]
264. After Ludwig Knaus, German, 1829-1910, “Studienkopft after Knaus”, porcelain plaque, signed “O. Gagel” lower left, titled en verso, framed. 10 x 7 1/2 in., Frame: 16 1/2 x 14 x 2 1/2 in.
[$500 - 700]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
265. Charles P. Reiffel, American/California, 1862-1942, “Ebb and Flow”, oil on canvas board, signed lower right, unframed. 18 x 22 in. (45.7 x 55.9 cm.)
[$4,000 - 6,000]
Private Collection; Neal Auction, Feb. 7, 2009, lot 436.
Charles Reiffel was born in 1862 in Indianapolis, Indiana. He began his artistic career as a lithographer and spent several years traveling Europe before eventually returning to the United States. Setting in Buffalo, New York, he developed his painterly style, and he then purchased a home in Silvermine, Connecticut. In Silvermine, he joined a collective of like-minded artists known as “The Knockers,” with whom he exhibited in 1913. He became a full-time painter in 1921 and shortly thereafter moved to the West Coast to San Diego, where he lived permanently until his death in 1942. Reiffel was enchanted with the terrain of the West, and his plein-air style perfectly captures the diverse textures and visual harmony of its glorious landscapes, as is exemplified in the lot offered here. Snowy peaks rise above a muted landscape, and one can almost feel the crisp air and hear the rushing water of the frigid creek.
266. Alfred Joseph Woolmer, British, 1805-1892, “Bathers by Stream”, oil on canvas, signed and gallery label with artist and title on stretcher, framed with artist plaque. 30 1/4 x 25 1/4 in., Frame: 35 1/2 x 30 1/2 x 2 1/4 in. [$400 - 600]
267. David Bates, British, 1840-1921, “A Study Near the Source of the Llugwy”, oil on canvas, 1886, signed and dated lower left, signed, titled and dated “1885-6” en verso, framed, 24 x 30 in., Frame: 29 3/4 x 35 3/4 x 2 1/2 in. [$1,000 - 1,500]
268. Louis Bosworth Hurt, British, 1856-1929, “Shetland Cattle Coming Down the Mountain”, oil on canvas, signed lower left, framed. 20 x 30 in., Frame: 26 1/2 x 36 1/2 x 2 1/4 in. [$5,000 - 8,000]
Louis Bosworth Hurt was born in 1856 in Ashbourne, Derbyshire, England. The son of a tailor, Hurt began his career as an apprentice draper, only painting in his spare time under the tutelage of landscapist, George Turner and his son William Lakin Turner. Eventually he became a full-time painter and began exhibiting at the Royal Society of British Artists and the Royal Academy at twenty-four years of age. Hurt was known for his hazy, romantic landscapes of the Scottish Highlands, often including the region’s famous Highland cattle, as in the lot offered here which features a herd making its way down a winding beaten path with magnificent foggy peaks recessed in the distant horizon. Hurt’s ability to accurately depict the majesty of the terrain and its inhabitants is well captured in the luminous, wispy clouds and detailed vegetation as well as the realism with which he paints the scruffy and beleaguered cattle.
269. Louie Johnson Jones, British, 1856-1922, “Tending the Field”, watercolor on paper, 1901, signed and dated lower right, framed. 10 x 19 in., Frame: 17 3/8 x 21 3/8 x 1 in. [$600 - 800]
270. Thomas Waterman Wood, American/ Vermont, 1823-1903, Portrait of Catherine Norton Nicholas Brunne (1830-1894) of Baltimore, oil on canvas, 1856, signed and dated lower left, artist and date inscribed on stretcher, handwritten label with artist, sitter and date en verso, 30 1/2 in. x 251/2 in., framed, overall 40 in. x 35 in. x 5 1/4 in.30 1/2 in. x 251/2 in
[$700 - 1,000]
271. Louis Icart, French, 1888-1950, “Casanova”, color etching and aquatint on paper, 1928, pencil-signed lower right, artist blind stamp “LI Paris” lower left, artist copyright with date and publisher “Editions d’Art Devambez, 23 Rue Lavoisier Paris” in plate upper margin, titled in lower margin behind matting, framed with artist plaque. Sheet: 27 3/4 x 20 1/2 in., Frame: 35 1/2 x 29 1/2 x 1 1/4 in. [$500 - 700]
272. Louis Icart, French, 1888-1950, “Coursing II”, etching and aquatint, pencilsigned lower right, numbered “399/500” and windmill blindstamp lower left, artist copyright and date in plate upper left, framed. Sheet: 21 x 30 in., Frame: 22 3/4 x 30 1/4 x 3/4 in. [$500 - 700]
273. Isabelle Moncayo Johnson, American/New York, 20th c. “Window Shopping”, oil on canvas, signed upper left and en verso, framed. 24 x 24 in., Frame: 28 3/4 x 28 1/2 x 1 1/2 in. [$600 - 900]
274. American Bronze and Art Glass FourLight Ceiling Chandelier, early 20th c., medallion form, with Steuben shades, h. 11 1,2 in., dia. 20 in.
[$700 - 1,000]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
275. American Bronze and Art Glass Five-Light Ceiling Chandelier, early 20th c., medallion form, Quezal shades, 34 x 17 in. (86.4 x 43.2 cm.)
[$700 - 1,000]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texasç
276. American Brass Student Lamp, Plume and Atwood, fitted with H.G. Moehring burner, 17 x 10 x 6 1/2 in.
[$500 - 700]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
277. Pair of Fine Antique Bronze Banquet Lamps, cast with intricate flame and smoke design, on paw feet, fitted with Duplex burner, 32 x 11 1/2 in.
[$700 - 1,000]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
278. American Brass and Cranberry Glass Student Lamp, attributed to Plume and Atwood, adjustable height, h. of standard finial 21 1/2 in., w. 13 in., d. 19 in.
[$300 - 500]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
279. Victorian Oil Lamp, c. 1898, painted glass and brass, 23 x 7 1/2 in.
[$150 - 250]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
280. American Aesthetic Brass Chandelier, with inset glass “jewels”, oil lamp converted to electricity, h. 38 in., dia. 15 in.
[$400 - 600]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
282. American Aesthetic Brass Chandelier, with inset glass “jewels”, pully system, oil lamp now electrified, h. 46 in., dia. 16 in. [$400 - 600]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
281. American Brass and Glass Chandelier, hobnail shade, Bradley & Hubbard oil lamp, h. 35 in., dia. 14 in.
[$300 - 500]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
283. American Aesthetic Brass Chandelier, with inset glass “jewels”, lamp lacking burner, h. 38 in., dia. 14 in. [$200 - 300]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
284. Pair of American Brass Six-Light Chandeliers, scroll and foliate design, h. 36 in., dia. 36 in. [$700 - 1,000]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
285. American Patinated Bronze Floor Lamp, early 20th c., slag glass shade, marble base, h. 59 in., w. 17 in., d. 8 in.
[$250 - 350]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
286. American Brass and Ruby Glass Floor Lamp, etched shade, floral repousse and pierced design, now electrified, 60 x 20 in. [$400 - 600]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
287. American Brass and Onyx Floor Lamp, h. 48 in., w. 13 in., d. 13 in. [$300 - 500]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
[$400 - 600]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
289. Pair of Art-Deco Gilt Metal and Glass Four-Light Lamps,flora-form bases, beaded glass shades, 35 x 18 x 18 in. [$1,000 - 1,500]
288. American Brass and Steer Horn Banquet Lamp, 19th c., now electrified, h. 48 in., w. 14 in., d. 10 in.
291. Regency Bronze Mounted Parcel Gilt and Satinwood Inlaid Rosewood Library Table, 19th c., banded top, trestle base with molded base, 28 1/2 x 28 x 50 in. (72.4 x 71.1 x 127 cm.) [$1,200 - 1,800]
290. Georgian-Style Carved Mahogany Breakfront Bookcase, 20th c., molded cornice, glazed doors, molded lower case, paneled doors,plinth base, 86 x 85 x 20 1/2 in. (218.4 x 215.9 x 52.1 cm.) [$2,500 - 3,500]
292. English Brass-Bound Mahogany Campaign Chest, 19th c., upper case with two short drawers over long drawer, lower case with two long drawers, turned feet, 40 x 41 3/4 x 19 1/2 in.
[$1,000 - 1,500]
293. Queen Anne-Style Mahogany Drop Leaf Table, 19th c., swing tapered legs, pad feet. 28 x 35 1/2 x 17 in., Frame: 28 x 35 1/2 x 49 1/2 in. [$500 - 700]
294. Georgian-Style Mahogany Desk, 19th c., molded tooled leather top, three molded frieze drawers, trestle base, castors, h. 30 1/4 in., w. 60 1/2 in., d. 30 in.
[$700 - 1,000]
295. Fine Set of Six Chippendale-Style Carved Mahogany Dining Chairs, 18th c., stamped “IW”, retains old Sotheby’s Label, caved molded crest rail, pierced carved splat, conforming seat rail with foilate corners,carved stretched legs, h. 37 1/2 in., w. 22 in., d. 17 in.
[$1,500 - 2,500]
296. English Regency-Style Bronze Mounted Mahogany Bookcase, 20th c., labeled Maitland-Smith, pierced gallery, five molded shelves, scrolled supports, paw feet 55 1/2 x 98 x 15 in. (141 x 248.9 x 38.1 cm.)
[$1,000 - 1,500]
297. Reed & Barton “Francis I” Pattern
Sterling Silver Flatware Service for Twelve Persons, pat. 1907, designer Ernest Meyers (Multimotif), incl. 12 each: dinner forks (l. 7 3/4 in.), dinner knives (l. 9 5/8 in., modern blade), salad forks, soup spoons (l. 5 7/8 in.), cocktail forks, butter knives (fh), teaspoons, iced teaspoons and demitasse spoons, Eagle-R-Lion marks, no monograms; 108 pcs. total; total weight (weighable) 117.50 troy ozs. weight (weighable) 117.50 troy ozs. [$2,500 - 3,500]
298. Tiffany “Olympian” Pattern Sterling Silver Flatware Serving Pieces, pat. 1878, designer Edward C. Moore, (Multi motif), incl. soup ladle with fluted bowl (l. 13 in.), asparagus serving fork (l. 9 3/8 in.), berry spoon with kidney-shaped bowl (l. 9 ¼ in.), pea serving spoon (l. 8 7/8 in.), pastry server (l. 11 ¼ in.), salad serving fork and spoon (gilt wash bowl, l. 10 in.), tomato server (l.7 7/8 in.), serving fork and spoon (l. 8 7/8 in.), 2 jelly knives and 2 gravy ladles, 14 pcs., total weight 60.35 troy ozs.
[$2,000 - 3,000]
299. Chinese Export Silver Goblet,19th c., marked “95” in rectangle and with untraced character mark, bowl chased and embossed with bamboo branches and exotic birds, clustered bamboo stem on stepped domed foot with acanthus on stippled ground, h. 7 1/4 in., weight 10.10 troy ozs. [$800 - 1,200]
300. Chinese Export Silver Mug, mark not identified, bamboo handle, cylindrical body embossed with figures in a garden with architectural background, h. 5 1/2 in. [$500 - 700]
301. Eight Japanese Sterling Silver Cordial or Vodka Cups, Arthur & Bond, Yokohama, act. 1889-c. 1923, each tapered beaker chased with iris and iris foliage, h. 2 5/8 in., total weight 11.55 troy ozs. [$500 - 700]
302. Georgian-Style Silverplate Wine Trolley and Pair of Wine Coasters, two bottle trolley, unmarked, coasters with flower and leaf border, turned wood bottoms with silverplate buttons, moveable carriage, l. 18 1/2 in.; pair of coasters with shell and scroll border, turned wood bottoms with silverplate buttons marked “ROYAL CASTLE/SHEFFIELD/EP”, dia. 7 in. [$700 - 900]
304. Good Group of Antique and Vintage King’s Pattern Silver and Silverplate Flatware, incl. silver carving knife and fork, hollow handles, sterling ferrules marked Ashforth & Harthorn, Sheffield, 1st half 19th c., carbon steel blade and tines, l. 13 in. and 10 1/2 in.; 12 associated dinner knives, hollow handles, some monograms, 10 in.; O. Frydman silverplate grape shears, l. 7 in.; and William Adams silverplate dressing spoon, l. 12 1/2 in.; 16 pcs. total. [$400 - 600]
306. French First Standard Silver Fiddlethread Flatware, 19th c., E. Maitreau, Bordeaux, incl. 3 dessert forks (l. 7 1/8 in.) and 8 dessert spoons (l. 7 1/4 in.); 11 pcs., total weight 16.15 troy ozs. [$300 - 500]
303. American “King’s” Pattern Coin Silver Dessert Service, Ball, Black & Co., New York, act. 1851-1874, incl. 6 dessert forks (l. 6 in.), 6 dessert knives (l. 7 ½ in.) and 12 dessert spoons (l. 6 7/8 in.), engraved crests en suite; together with pair of American Art Nouveau sterling nut dishes, l. 4 in., 26 pcs. total. [$500 - 700]
305. Group of Antique Silver Fiddle Thread Flatware, incl. French 1st Standard examples, 19th c., various makers and monograms, 4 table forks (l. 7 3/4 -8 in.), 7 tablespoons (l. 8 1/4 in.), and 11 teaspoons; American coin silver examples, 19th c., various makers and monograms, 4 soup spoons (l. 8 1/8 in.), Wood & Hughes, ret. C.H. Zimmermann, New Orleans, 1 teaspoon, Wood & Hughes, ret. A.B. Griswold, New Orleans, and 1 dessert fork (l. 6 5/8 in.), marks rubbed; together with 2 Frank Smith butter knives (fh), 20th c.; 30 pcs. total, total weight 47.55 troy ozs. [$500 - 700]
307. Group of American Coin Silver Spoons, incl. 2 fiddlethread soup spoons (l. 8 1/4 in.), E.A. Tyler, New Orleans, act. 1838-1879; 4 fiddlethread teaspoons, maker untraced, marked B & R and with pseudo marks; and stew spoon (l. 10 3/4 In.) with upturned fiddle tip handle and U-shaped drop at back of bowl, maker untraced, marked “HAdam” in script uppercase and lowercase letters in a stepped rectangle; 7 pcs., total weight 12.65 troy ozs. [$300 - 500]
308. Good Group of Antique Flatware, 19th c., most fiddle thread, incl. 8 French bone handled knives, carbon steel blades marked “Coutellerie Superieure”, l. 10 in.; 8 Christofle silverplate table forks, l. 8 3/8 in.; 1 silverplate soup spoon, Casimir Rouyer, act. New Orleans, 1850-1877, l. 8 1/8 in.; 1 English silverplate soup spoon (l. 8 1/8 in.), 5 English silverplate forks (l. 6 3/4 in.) with engraved crest, Roberts & Briggs, Sheffield, mid-19th c.; bone handled silverplate crumber, Atkin Bros., Sheffield, sterling ferrule marked 1904, l. 12 3/4 in.; and French fiddle thread ladle, l. 13 in.; 25 pcs, total. [$300 - 500]
310. Reed & Barton “Classic Rose” Sterling Silver Flatware, pat. 1954, designer Theodore E. Cayer, incl. 2 dinner forks (l. 7 3/8 in.), 9 teaspoons, 1 iced tea spoon, 1 demitasse spoon, 2 tablespoons, 2 sugar spoons and a cake knife (hh); 17 pcs., total weight (weighable) 22.65 troy ozs. [$300 - 500]
309. Miscellaneous Antique and Vintage American Sterling Silver Flatware, various makers and patterns, various monograms, incl. 8 Manchester “Duke of Windsor” iced tea spoons, 6 Alvin “Gainsborough” soup spoons, International “Prelude” tablespoon and youth fork and spoon, Gorham “Chrysanthemum” youth fork & spoon, Wallace “Orange Blossom” flat server, Durgin “Victorian” olive fork and spoon, International “Wedgwood” pickle fork and relish spoon, Wallace Colonial Revival-style pickle fork and relish spoon, 2 coin silver teaspoons, Richard Clayton, Cincinnati, 2 coin silver teaspoons, probably Hotchkiss & Schreuder, Syracuse, 2 assorted meat forks, jelly server, sugar shell, mustard ladle, and 7 other pieces, 41 pcs. total, total weight 40.60 troy ozs. [$300 - 400]
311. A Good Group of Sterling Silver Flatware, incl. Whiting “Lily” aspic knife, pat. 1902, designer Charles Osborne, ret. A.M. Hill, New Orleans, act. 18741902, l. 12 3/8 in.; Gorham “Chantilly” lettuce fork, pat. 1895, designer William C. Codman, l. 9 ¼ in.; Gorham “Marie Antoinette” master butter knife, 1890 (Multi motif), designers F. Antoine Heller & George Wilkinson, l. 7 ½ in.; Perlita, Taxco, pie knife, 3 eagle mark, l. 10 in.; and 4 Reed & Barton for Coleman E. Adler & Sons Café Royale spoons, with recipe; together with hollow handled sterling and stainless cake comb; and English bakelite and silverplate fish serving fork with sterling ferrule, l.7 7/8 in.; together with sterling pipkin, Ellmore Silver Co, turned wood handle Louisiana State Junior Golf Ass’n Championship inscription, l. 8 1/8 in.; 11 pcs. total, total weight (weighable) 24.80 troy ozs. [$400 - 600]
313. George III Tortoiseshell Tea Caddy, 19th c., interior with lidded compartment, h. 4 1/2” x d. 3 1/2 in.
[$800 - 1,200]
312. George III Mother-of-Pearl and Tortoiseshell Tea Caddy, 19th c., interior with two lidded compartments, h. 5 1/4” x W 8 1/2” x d. 5 1/2”. [$800 - 1,200]
314. George III Mother-of-Pearl Tortoiseshell Tea Caddy, 19th c., interior with lidded compartment, h. 4” x W 3 3/4” d. 2 3/4” [$800 - 1,200]
315. George III Tortoiseshell Tea Caddy, 19th c., two lidded interior compartments, h. 4 1/2” x H 6” x d. 3 3/4” [$800 - 1,200]
316. George III Tortoiseshell Tea Caddy 19th c., hexagonal form, interior with lidded compartment H 4” x W 3 1/4” x D 3 1/4” [$800 - 1,200]
317. George III Tortoiseshell Tea Caddy 19th c., interior lidded compartment H 4 1/2” x W 3 1/4” x D 3 1/4”
[$800 - 1,200]
318. Georgian Tortoiseshell Tea Caddy 19th c., oval form, interior with lidded compartment, h. 4 1/4 in., w. 4 3/4 in., d. 2 3/4 in. [$800 - 1,200]
English Gilt and Paint Decorated Tole Tray, 19th c., centered by figures playing with a dog, bordered by gilt leaves and curlicues, illustrated in and sold with a copy of The Ornamental Tray Two Centuries of Ornamental Trays (1720-1920), 13 1/4 x 17 1/2 in. (33.7
with floral mounts, stepped base, h. 34 1/2 in., w. 14 1/2 in., d. 14 1/2 in. [$300 - 500]
322. Antique American Stained-Glass Window, central vase, flanked by swags, 35 1/2 x 62 in. (90.2 x 157.5 cm.) [$300 - 500]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
324. French Bronze Mounted Marble Pedestal
320.
x 44.5 cm.) [$500 - 700]
321. Antique American Stained-Glass Window, with rondel elements, the corners with painted birds, 37 1/2 x 53 1/2 in. (95.3 x 135.9 cm.) [$400 - 600]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
323. Pair of Green Marble Pedestals variegated green marble veneer h. 54 in., w. 8 1/4 in., d. 8 1/4 in. [$500 - 700]
319. English Tole Peinte Oval Tray, 19th c., painted with a country landscape, cut-out handles, 21 1/2 x 28 1/2 in. (54.6 x 72.4 cm.) [$300 - 500]
325.
Figures of Cranes fitted with fountain plumbing taller 53
h. 17 in. dia. 39 in. [$800 - 1,200]
326. Antique English Carved Marble Lion 19 th c., on plinth base with canted corners h. 25 in., w. 41 in., d. 11 in. [$1,200 - 1,800]
Pair of Bronze Garden
in. [$300 - 500]
328. Antique American Cast-Iron Sugar Kettle with possible date of 1842 to flared rim
327. American Cast-Stone Garden Figure 20th c., signed “Henri Studio, Palatine, Ill”, on pedestal, h. 76 in., w. 20 in., w. 18 in. [$700 - 1,000]
329. Pair of Antique Ocean Liner Folding Lounge Chairs,, brass label reads “1st Class Only”, slat back and seat, fold out footrest. [$400 - 600]
330. Four Contemporary American Cast-Brass Dining Chairs, Crate and Barrel, 30 1/2 x 17 1/2 x 16 in.
[$400 - 600]
and
American Renaissance Revival
,
probably Philadelphia, arched molded crest flanked by foliate scrolls, molded paneled headboard, conforming rails, foliate molded carved paneled footboard, 95 1/2 x 66 x 80 in. [$2,500 - 3,500]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
334. American Renaissance Revival Carved Walnut Center Table, 19th c., attributed to Kingsman and Murphy, New York 1868-1872, oval inset molded marble top, scrolled supports, castors, 30 1/2 x 37 x 28 in. [$800 - 1,200]
332. American Renaissance Revival Burl and Carved Walnut Sidelock Chest, 19th c.,, attributed to George J. Henkels, Philadelphia, molded marble top, six molded drawers with mask pulls, molded plinth base, 53 x 38 1/2 x 23 in. [$1,200 - 1,800]
333. Pair of American Renaissance Revival Burl and Carved Walnut Dressers, 19th c., attributed to George J. Henkels, Philadelphia, arched molded crest, molded marble top, two molded drawers, plinth base, 91 x 50 x 22 1/2 in. [$2,000 - 3,000]
331.
Burl
Carved Walnut bedstead
19th c.,
335. American Renaissance Carved and Burled Walnut Parlor Suite, attributed to John Jelliff, Newark, New Jersey, comprised of a triple-back sofa, two armchairs and three side chairs, medallion crests with busts of crowned Renaissance women, padded arms terminating in busts. [$1,500 - 2,500]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
337. American Aesthetic Gilt Incised Rosewood Firescreen, 19th c., probably New York, beadwork insert, h. 43 1/2 in., w. 27 in., d. 19 in. [$400 - 600]
336. Pair of American Renaissance Carved Walnut Side Chairs, 19th c., possibly Thomas Brooks, New York, rosette centered crest rail flanked with scrolls, pierced carved splat, conforming seat rail, trumpet legs, h. 35 in., w. 17 in., d. 16 in. [$400 - 800]
338. American Renaissance Carved Walnut Center Table, 19th c., labeled Beman & Pezold, Silver Creek, NY, molded marble top, turned supports. [$500 - 700]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
339. Pair of American Renaissance Carved and Burled Walnut Library Armchairs, late 19th c., attributed to Thomas Brooks, New York, scrolled uprights, foliate uprights, foliate and tassel-carved returns, scrolled legs, h. 33 in., w. 26 in., d. 38 in. [$700 - 1,000]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
340. American Renaissance Carved Walnut Klismos Chair, 19th c., New York, possible Thomas Brooks, arched back, swept-back rosette stiles, rosette paneled supports, scrolled seat rail, out swept legs, hoof feet, casters. h. 34 in., w. 26 in., d. 34 in. [$700 - 1,000]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
341. American Renaissance Carved Walnut Klismos Chair, 19th c., New York, possible Thomas Brooks, arched back, swept-back stiles, rosette paneled supports, scrolled seat rail, outwept legs, hoof feet, casters, h. 35 1/2 in., w. 26 1/2 in., d. 33 in.
[$700 - 1,000]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
343. American Renaissance Revival Gilt Incised and Ebonized Canterbury, 19th c., probably Killian Brothers, pierced carved dividers, drawer, turned legs, 21 1/2 x 23 x 14 1/2 in. [$300 - 500]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
345. American Renaissance Burl Walnut Center Table, 19th c., probably New York, banded molded top, urn form supports, paw feet on disk pads, castors. 30 x 29 x 38 in. (76.2 x 73.7 x 96.5 cm.) [$800 - 1,200]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
342. American Renaissance Carved Walnut Center Table, 19th c., probably Philadelphia, inset marble top, molded edge, scrolled side supports, H-form stretcher, castors, 30 1/2 x 42 x 25 1/2 in. (77.5 x 106.7 x 64.8 cm.) [$1,000 - 1,500]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
344. American Renaissance Carved and Burl Walnut Center Table, late 19th/ early 20th , probably Grand Rapids, MI, inset marble top, molded edge, turned supports, X-form stretcher, castors. [$300 - 500]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
346. American Renaissance Burl and Carved Walnut Center Table, 19th c., probably New York, inset marble top, molded edge, paneled frieze, trestle base, turned stretcher surmounted with finial, castors, 30 1/2 x 32 x 23 1/2 in.
[$700 - 1,000]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
347. French Bronze Figural Lamp, Early 20th c., allegorical figure of harvest, signed “Germain”, on a marble base fitted with Quezal art glass shades. 26 x 24 x 12 in. [$700 - 1,000]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
348. French Patinated Metal and Tole Eighteen-Light Chandelier, scroll and foliate design, h. 46 in., dia. 28 in. [$800 - 1,200]
350. Pair Antique Italian Carved and Polychrome Floor Lamps, fluted standards with foliate collars, h. 83 in., dia. 20 in. [$1,000 - 1,500]
349. Pair of Louis XVI-Style Cut-Crystal Chandeliers, basket-form, 35 x 14 in. (88.9 x 35.6 cm.) [$1,500 - 2,500]
351. Decorative Painted Metal Six-Light Chandelier, floral design, spun-glass shades, 20 x 23 in. [$250 - 350]
352. Louis XVI-Stye TenLight Chandelier, patinated metal and cut-crystal, h. 32 in., dia. 20 in. [$400 - 600]
353. Continental Faux-Malachite Twelve-Light Chandelier, brass and painted ceramic. h. 25 in., dia. 27 in. [$700 - 1,000]
355. Continental Gilt and Painted Hall Lantern, hexagonal form, fitted with threelight fixture, h. 36 in., dia. 14 in. [$500 - 700]
[$250 - 350]
354. Antique Italian Tole Peinte Hall Lantern, hexagonal form, fitted with three-light fixture. h. 27 in., dia. 12 in. [$400 - 600]
356. Louis XVI-Style Eight-Light Chandelier, palmette crown, urn and cherub ring, connected with mask and medallion swags, h. 38 in., dia. 28 in. [$1,000 - 1,500]
358. Pair of Empire-Style Brass and Glass Table Lamps, 27 1/2 in. (69.9 cm.) [$200 - 300]
359. Pair of Continental Figural Porcelain Lamps. lady and gentleman, h. 17 in., dia. 10 in. [$200 - 300]
357. Pair of Continental Gilt and Patinated Bronze Two-Light Sconces, scroll arms with eagle head terms. 11 x 12 x 5 in.
360. Diminutive Belle Époque-Style Four-Light Chandelier, patinated metal, h. 19 in., dia. 14 in.
[$300 - 500]
361. American Rococo Carved Mahogany Turtle Top Center Table, 19th c., probably Alexander Roux, New York, inset molded marble, gadrooned edge, scrolled and acanthus legs, scrolled C scrolled stretcher surmounted by finial, castors, h. 31 in., l. 44 1/2 in., w. 31 in.
[$1,500 - 2,500]
362. American Heavily Carved Mahogany Parlor Suite, late 19th/early 20th c., attr. S. Karpen & Bros (1880-1951), Chicago, IL, incl. settee, two armchairs, two side chairs, crest rail with women and dragons, scrolled arms, paw feet, settee h. 41 in., w. 49 1/2 in., d. 24 in., armchair h. 40 in., w. 26 1/4 in., d. 24 in., side chair h. 39 in., w. 26 in., d. 24 in. (5 pcs.) [$1,200 - 1,800]
363. American Gothic Carved Mahogany Bureau Bookcase, c. 1830, attributed to Meads and Alvord, New York, back inscribed “B Bourne Glen Cove”, stepped cornice, arched frieze, columnar supports flanking glazed doors, fold out writing surface, frieze drawer, incurvate paneled doors with flanking columnar supports, carved feet, castors
[$2,500 - 3,500]
364. Set of Four American Gothic Revival Carved Mahogany Gondola Chairs, 19th c., New York, scrolled back rails, gothic arches, vasiform splat, bow seat rail, sabre legs.
[$1,000 - 1,500]
Provenance: Natchez, Ms
365. Set of Six American Gothic Revival Carved Mahogany Gondola Chairs, 19th c., New York, scrolled back rails, Gothic arches, vasiform splat, molded bow front seat rail, sabre legs. 33 1/2 x 18 x 16 in. [$1,200 - 1,800]
Provenance: Natchez, Ms
366. Set of Four American Gothic Revival Carved Mahogany Gondola Chairs, 19th c., New York, scrolled crest rail, gothic arches, vasiform splat, bow front, sabre legs. 34 x 17 x 17 in. [$1,000 - 1,500]
Provenance: Natchez, Ms
367. Group of Four American Gothic Revival Carved Mahogany Gondola Chairs, 19th c., scrolled back rails, vasiform splat, bow front, sabre legs. 33 1/2 x 17 x 17 in. [$800 - 1,200]
Provenance: Natchez, Ms
368. American Late Classical Mahogany Extension Dining Table, 19th c., probably New York, later surface, large faceted support, scroll feet, four leaves. 30 1/2 x 60 x 60 in., Extension 30 1/2 x 60 x 108 in. [$800 - 1,200]
369. Gould, John (British, 1804-1881), and Richard Bowdler Sharp (1847-1909), A Monograph of the Trochilidae, or Family of Humming-Birds, London, Taylor and Francis (vols I-V) for the Author, [1849]-1861; (Supplement) for Henry Sotheran & Co., [1880]1887, 6 volumes (incl. Supplement), folio (21 1/2 x 14 1/4 in.), with Dedication, List of Subscribers, Preface, Introduction, list of plates in each volume, 418 lithographed plates, heightened with gum arabic, many with metallic paints, full green morocco, intricate gilt-tooling. [$70,000 - 100,000]
Provenance: Lord Braybrooke (bookplate).
370. Gould, John (British, 1804-1881), The Mammals of Australia, London, Taylor and Francis for the author, [1845]-1863, in the original 13 parts and publisher’s boards, folio (22 in. x 14 1/2 in.), with 182 lithographed plates by Gould and H.C. Richter, parts 1-12 with 15 plates each and long descriptions; part 13 with 2 plates, Directions to Binder, Title pages (3), Dedication, List of Subscribers, Preface, Introduction, General Index, List of Plates (3), and Short Descriptions (39).
[$60,000 - 90,000]
“It was not until I arrived in the country (Australia) and found myself surrounded by objects as strange as if I had been transported to another planet, that I conceived the idea of devoting a portion of my attention to the mammalian class of its extraordinary fauna” (Gould, Preface).
Of the species depicted in this work, at least twenty are now extinct.
371. Gould, John (British, 1804-1881), The Birds of Great Britain, London, published by the Author, 1873, printed by Taylor and Francis, 5 volumes, folio (21 1/2 x 14 1/4 in.), with Dedication, List of Subscribers, Preface, Introduction, list of plates in each volume, 367 lithographed plates, after drawings by Gould, Wolf, Richter, and Hart; heightened with gum arabic, full green morocco, intricate gilt-tooling. [$30,000 - 50,000]
Provenance: Lord Braybrooke (bookplate).
372. Gould, John (British, 1804-1881), A Synopsis of the Birds of Australia and the Adjacent Islands, published by the author, 20 Broad Street, Golden Square, London, 1837-38, 3/4 green leather, tooled gilt, raised bands, all edges gilt, marbled endpapers, large octavo (10 3/4 x 7 1/4 in.), with 73 hand-colored lithographic plates by and after Elizabeth Gould, 8 pp. Description of New Species at end.
[$5,000 - 7,000]
373. Gould, John (British, 1804-1881), Monograph of the Pittidae [Tropical Birds], London, Published by the Author, 1880-1881, Part I with 10 hand-colored lithographs and text; Part II with text only (as issued), bound together by Henry Sotheran in 3/4 leather, gilt lettering, folio (21 3/4 in. x 15 in.), marbled endpapers.
[$5,000 - 7,000]
374. Gould, John (British, 1804-1881), Handbook to the Birds of Australia. London: Published by the author, 1865. 2 volumes, 8vo. publisher’s advertisement tipped-in to vol. I., publisher’s blind-stamped and gilt pictorial green cloth, the front showing a lyrebird, interesting ownership from officer of Royal Navy ship HMS Espiegle, 1881. [$500 - 700]
375. Gray, John Edward & Edward Lear (Illustrator), Gleanings from the Menagerie and Aviary at Knowsley Hall, Knowsley Hall, [printed for private distribution], 1846, one of only 100 copies printed, folio (22 x 15 in.), 3/4 leather, with gilt lettering, with 17 hand-colored lithographed plates, heightened with gum arabic, after Edward Lear, 16 by J.W. Moore, one by D. Mitchell, printed by Hullmandel & Walton. [$8,000 - 12,000]
Note: Edward Lear’s fine drawings of the menagerie at Knowsley near Liverpool were commissioned by Edward Smith Stanley, 13th Earl of Derby (1775-1851). Lear first came to Knowsley in the summer of 1832 as a young man of 20, and his time there was one of the happiest of his life; the drawings and rhymes he produced for the Stanley children were later to become his Nonsense books. The ‘Stanley Crane’, illustrated on plate 14, was named after Lear’s patron. All the plates, which include 9 birds, were unusual in being drawn from life. J. E. Gray of the British Museum provided descriptions of the species. Anker 189; Fine Bird Books p. 79; Nissen IVB 392; Wood p. 368; Zimmer p. 273.
376. Elliot, Daniel Giraud & Joseph Wolf (Illustrator), The Life and Habits of Wild Animals, London, Alexander Macmillan & Co., 1874, engraved plates by J.W. & Edward Whymper, folio (18 1/2 x 13 3/4 in.), full red morocco with gilt tooling, marbled endpapers, all edges gilt. [$800 - 1,200]
Provenance: Bernard Quaritch, Ltd., London, 1971.
377. After John James Audubon, American, 1785-1851, “American Flamingo”, offset lithograph, Plate 431, 1971, from Birds of America, Amsterdam edition, “G. Schut & Zonen” watermark visible, framed. Sheet: 39 5/8 x 27 3/8 in. (100.6 x 69.5 cm.),
Frame: 50 1/2 x 37 1/2 x 1 1/2 in. (128.3 x 95.3 x 3.8 cm.)
[$500 - 700]
Provenance: Neal Auction, Nov. 23-24, 2019, lot 485.
379. Jacques Nicolas Bellin, “Carte Reduite Des Costes de la Louisiane et de la Floride Dressee au Depost des Cartes Plans et Journaux de la Marine . . “, Paris 1764, double-page hand-colred engraved map, sight 24 in. x 34 1/2 in., matted and framed. [$700 - 1,000]
378. After Jean-Hyacinthe Laclotte, French, 1765-1828, active New Orleans, 1804-1817, “Défaite de l’armée Anglaise Forte de 12,000 Hommes Commandée par Sir Edward Packenham”, etching with aquatint on paper mounted to board, c. 1817, engraved by Philibert-Louis Debucourt (French, 1755-1832), framed. Sheet: 19 1/8 x 25 7/8 in., Frame: 23 1/4 x 30 1/4 x 1 1/4 in.
[$700 - 1,000]
380. Tobias Conrad Lotter, “Mappa Geographica Regionem Mexicanam et Floridam”, 1730, Augsburg, hand-colored double-page map, 22 1/2 x 18 3/4 in.
[$700 - 1,000]
381. Tobias Conrad Lotter, “America Septentrionalis Concinnata juxta Observationes...”, c. 1760, Augsburg, handcolored double-page map, 18 x 22 3/4 in. [$700 - 1,000]
382. William Faden, “A Map of America, or The New World...”, 1797, London, handcolored map, 20 1/4 x 22 3/4 in. [$200 - 300]
384. Antonio Zatta, “Il Canada, Le Colonie Inglesi con La Luigiana, e Florida...”, 1778, Venice, hand-colored engraved map, 12 x 16 in. [$300 - 500]
386. Three Antique Maps of Louisiana, incl. “Plan of New Orleans The Capital of Louisiana” and “A New Map of the River Mississipi”, by Robert Benning, from The London Magazine, both 7 in. x 9 in.; and “Louisiana”, hand-colored engraving, 1824, by A. FInley, Phila., 8 1/2 in. x 11 in. [$200 - 300]
383. Thomas Jefferys, “The Coast of West Florida and Louisiana”, c. 1775, London, engraved map, dissected, mounted on linen, 19 x 24 3/4 in. [$500 - 700]
385. Jacques-Nicolas Bellin, “Plan De La Nouvelle Orleans”, and “Partie de La Coste de la Louisiane et de la Floride”, 1764. Paris, engraved maps from Bellin’s Petit Atlas Maritime, 8 x 11 1/2 in., and 8 in. x 17 in. [$300 - 500]
389. Salvador Dali, Spanish, 1904-1989, “Lincoln in Dalivision”, photolithograph in colors with embossing and etched remarque on Arches paper, 1977, pencil-signed and inscribed “H.C.” lower margin, HC edition of 65 (part of a tirage of 1240, variously editioned),inscribed “g18445” en verso, “Arches France” watermark visible, published by Levine & Levine, New York, framed. (2 pcs.) Sheet: 26 3/4 x 22 in., Frame: 36 x 26 x 1 in.
[$4,000 - 6,000]
Note: Bruce Hochman O.S. has confirmed the authenticity of this work, which is accompanied by his original, embossed letter of authenticity dated Aug. 10, 2023.
387. Lynn Moeskau, American, 20th c., “Rubina”, acrylic on canvas, 1971, signed and dated lower right, unframed; together with “Lynn Moeskau Artist March 1-31, San Francisco, 1984”, exhibition print, pencil-signed and numbered “37/100” lower margin, sheet 16 7/8 in. x 8 1/4 in., unframed. (2 pcs.) 35 1/4 x 46 1/2 in.
[$800 - 1,200]
For much of the 1970s, Lynn Moeskau’s “Rubina” graced the front window of The Town Squire, an iconic men’s clothing store located at 1318 Polk Street in San Francisco. Polk Street was a thriving gay enclave from the 1960s to 1980s and the best place in the city to buy men’s clothing. One of the first gay-owned businesses on Polk Street, The Town Squire was opened around 1960 by couple Terry Popek and August Territo with a goal of combining the elegance of European fashion with the psychedelic color and artistic design popular at the time. Tennessee Williams, Janis Joplin, Iggy Pop and Mick Jagger were just a few of the famous patrons of the shop, all welcomed by the eye-catching “Rubina.”
388. Bill Mack, American/Minnesota, b. 1949, “Inspiration”, bonded bronze alto relief, 1995, signed, dated and numbered “TP 4/5” upper right, “Erin Taylor Editions” label on backing paper, framed.
25 x 44 x 6 in. (63.5 x 111.8 x 15.2 cm.), Frame: 32 1/4 x 47 x 6 in. (81.9 x 119.4 x 15.2 cm.)
[$800 - 1,200]
390. Robert Rahway Zakanitch, American, b. 1935, “Dragonseed”, lithograph, 1978, pencil-signed, titled, dated and numbered “7/100” lower margin, inscribed with artist, title, date, and edition on backing board, published by Robert Miller Gallery, New York, framed. Sight: 16 x 16 in. (40.6 x 40.6 cm.), Frame: 26 x 25 3/4 x 1 1/8 in. (66 x 65.4 x 2.9 cm.)
[$500 - 700]
391. Joe Barnes, American/ Michigan, b. 1925, “Cadmium Red Medium Hue”, acrylic on gallerywrapped canvas, 2008, signed, dated and handwritten label with title en verso, unframed. 10 x 10 in.
[$500 - 700]
392. Joe Barnes, American/ Michigan, b. 1925, “Cobalt Blue”, acrylic on gallery-wrapped canvas, 2007, signed, dated and handwritten label with title en verso, unframed. 12 x 12 in.
[$500- 700]
“I usually choose both the color and size of the painting, at the same time. My aim is to give a sense of total immersion into a space... striving to bring calmness and tranquility to the finished painting. So the way the paint takes to the surface is crucial and after repeated applications I hope to convey an overall feeling of oneness. That which results is a meditation- empty space and quietude through color.”
~ Joe Barnes
393. Joe Barnes, American/Michigan, b. 1925, “Black Oxide, Lascaux (Black Painting) Triptych”, 3 acrylics on gallery-wrapped canvas, 2009, each panel signed and dated en verso, each panel with 2 handwritten labels, one with artist and title and t he other with title on stretcher, unframed. (3 pcs.)
Each: 9 7/8 x 8 in., Overall: 9 7/8 x 24 in.
[$800 - 1,200]
New York artist Joe Barnes’ monochromatic canvases serve as an invitation to the viewer to take a moment and meditate on the here and now. Lush with rich, saturated hues, Barnes’ works practically hum on the white walls of his New York City studio. Each work is a dedication to the power of pure unobstructed pigmented color and resonates with harmonic frequency.
Ref.: “Joe Barnes”. Joe Barnes. www.joebarnesartist.com. Accessed Dec. 27, 2024.
394. Paton Miller, American/New York, b. 1953, “Midget”, oil and mixed media on linen stretched on panel, signed lower right, titled on stretcher, unframed. 37 1/4 x 50 5/8 in. (94.6 x 128.6 cm.) [$1,500 - 2,500]
Paton Miller was born in 1953 in Seattle, Washington and achieved his bachelor’s degree from Southampton College in Long Island. He later settled in the area’s East End where he established his studio and continues to work and exhibit locally and internationally with fifteen solo shows and multiple group exhibitions. Paton Miller’s “Midget” (undated) exemplifies the artist’s unique process and subject matter. Painted in oil over mixed media, Miller has sanded some areas of paint to reveal passages of underpainting in slightly contrasting tones, giving the surface a sense of depth and age. Also emblematic of his work is the intentional craquelure (crackling of thin layers) on the painting’s surface. Exploring themes of time, memory, and the human condition, Paton Miller pulls inspiration from the art historical and archetypal, merging these with personal experience to create his uncanny tableaus. This dream-like scene features a lone “piragüero” snow cone vendor’s cart, a musician, and a seated person, in dramatic light and shadow, suggesting a memory of a late afternoon.
395. Steve Miller, American/New York, b. 1951, “River Raptors”, carbon inkjet print on cotton rag, 2011, signed lower right, inscribed “A/P” lower left, edition of 12 plus artist proofs, unframed; together with Miller, Steve. Radiographic X-Ray Photo Inventions. New York: Glitterati Incorporated, 2017. (2 pcs.) Sheet: 24 x 24 in. (61 x 61 cm.) [$600 - 800]
Ill.: Miller, Steve. Radiographic X-Ray Photo Inventions. New York: Glitterati Incorporated, 2017, p. 104.
396. Anne Parker Wigglesworth, American/New York, 1921-1999, “Marsh with Clouds”, oil on linen, signed and titled on stretcher, gallery opening reception invitation taped en verso, unframed. 18 x 30 in. (45.7 x 76.2 cm.)
[$400 - 600]
397. Zachary Zaitzeff, American/New York, 20th c., “US Battle Flag”, mixed media pressed in glass with sealed edges, 2021, signed and dated en verso, framed. 24 x 42 x 1/4 in. (61 x 106.7 x 0.6 cm.)
[$800 - 1,200]
398. Zachary Zaitzeff, American/New York, 20th c., “Battle Flag”, mixed media pressed in glass with sealed edges, 2021, signed and dated en verso, framed. 24 x 42 x 1/4 in. (61 x 106.7 x 0.6 cm.)
[$800 - 1,000]
399. American Brilliant Cut-Glass Platter dia. 14 in. [$100 - 150]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
401. American Brilliant Cut-Glass Bowl, 4 x 12 in. (10.2 x 30.5 cm.) [$100 - 150]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
403. American Brilliant Cut-Glass Dish, 2 x 11 1/2 in. (5.1 x 29.2 cm.) [$150 - 250]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
405. Three American Brilliant Cut-Glass Bowls, Largest h. 3.5 in., dia. 10.5 in. [$100 - 150]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
400. American Brilliant Cut-Glass Dish, 1 3/4” x 13 1/2” [$100 - 150]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texasç
402. Two American Cut-Glass Bowls, larger h. 4 3/4 in., dia. 10 in. [$150 - 250]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
404. American Brilliant Cut-Glass Vase, 13 1/2 x 7 in. [$200 - 300]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
406. Three American Cut-Glass Decanters, tallest 9 in. [$200 - 300]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
407. Two American Cut-Glass Decanters, taller 15 in. [$200 - 300]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
409. American Silver-Mounted Brilliant Cut-Glass Presentation Pitcher, the top spout collar engraved “Presented to Philip Chase by his Friends/35th Encampment
G.A.R./Cleveland, Ohio, Sept. 1901”, 13 1/2” x 6 3/4” x 6 in. [$300 - 500]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
411. American Brilliant Cut-Glass Bowl, 4 1/4” x 10 1/2” [$200 - 300]
Provenance: Estate of William Jay Atzenhoffer,
408. American Brilliant Cut-Glass Decanter, 18 1/4” x 6” x 5 1/4” [$150 - 250]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
410. Two American Brilliant Cut-Glass Vases, taller 12 1/4 in. [$150 - 250]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
412. Two American Brilliant Cut-Glass Bowls, larger h. 4 1/2 in., dia. 9 in. [$150 - 250]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
413. Two American Brilliant CutGlass Dishes, 2 1/2” x 10 3/4” x 4 3/4” and 2 1/4” x 14 3/4” x 8 3/4” [$100 - 150]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
414. Eight American Brilliant Cut-Glass Table Items, center bowl h. 8 1/2 in., dia. 11 in. [$300 - 500]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texasç
415. Three American Brilliant Cut-Glass Ice Cream Dishes largest 17 1/2 in. x 10 1/4 in. [$200 - 300]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
416. Victorian Ruby Glass and Silver Plate Tazza. Meriden, Ct., quadruple plate, centered by a working pointer, 14 1/4 x 14 x 10 1/2 in. [$300 - 500]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
417. George Louis Viavant, American/Louisiana, 18721925, “Ascending the Treacherous Path”, watercolor on paper, signed lower left, framed. 20 3/4 x 13 3/4 in., Frame: 25 5/8 x 19 x 1 in. [$6,000 - 8,000]
418. Jean Joseph Vaudechamp, French/Louisiana, 1790-1866, “Portrait of a Lady”, oil on canvas, 1834, signed and dated upper left, “Ottoz, Paris” canvas stamp en verso, framed. 32 x 25 1/2 in., Frame: 39 5/8 x 33 1/2 x 3 1/2 in. [$4,000 - 6,000]
419. Alexander John Drysdale, American/Louisiana, 1870-1934, “Bayou Landscape with Live Oak”, oil wash on board mounted to board, 1921, signed and dated lower right, framed. 19 3/4 x 30 in., Frame: 28 x 37 3/4 x 1 in. [$2,000 - 3,000]
420. John Augustus Walker, American/Alabama, 1901-1967, “Sketch for Bayou La Batre Ala”, watercolor and graphite on paper, 1949, signed upper right, signed and dated lower right, signed, titled and dated on reverse of matting, matted. 13 7/8 x 16 5/8 in., Matted: 14 x 17 in. [$200 - 400]
421. Roderick Dempster MacKenzie (American/ Alabama, 1865-1941), “Studies for Murals in the Alabama State Capitol Rotunda”, 15 gouache, graphite and charcoals on paper and 7 charcoals on paper, unsigned, 6 inscribed “Study for Industry & Commerce Panel No. 8”, 4 inscribed “Study for The Bienville Panel No. 2”, 2 inscribed “Study for The Pioneer Panel No. 4”, 2 inscribed “Study for The Constitution Panel No. 5”, one inscribed “Study for The Davis Panel No.7”, one inscribed “Study for the Weatherford Panel No. 3” and one inscribed “Study for the De Soto Panel....”, unframed, 10 in. x 20 in. to 33 1/2 in. x 20 in. (22 pcs.)
[$3000 - 5000]
423. Clementine Hunter, American/Louisiana, 1886-1988, “Picking Cotton”, oil on canvas board, monogrammed mid-right, framed. 17 3/4 x 24 in., Frame: 20 x 26 x 3/4 in. [$3,000 - 5,000]
Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead.
422. Don Wright, American/Louisiana, 1938-2007, “Fruit Seller”, acrylic on canvas, 1976, signed and dated lower right, unframed. 23 7/8 x 35 7/8 in. [$600 - 800]
424. Alvin Batiste, American/Louisiana, 1932-2007, “Baptism”, acrylic on paperboard, 1998, signed and dated lower right, framed. Sight: 11 x 14 in., Frame: 14 1/2 x 17 1/2 x 1 in. [$400 - 600]
Private Collection; Neal Auction, April 14, 2019, lot 1019.
425. Steele Burden, American/Louisiana, 1900-1995, “Choir”, “Untitled: Following the Leader”, “Welfare Cabin” and “The Horse Peeked”, 4 crackle glazed ceramics, 3 initialed on self-base, 2 titled on self-base, 2 pencil-titled on underside, one unsigned. 3 3/8 x 6 1/2 x 3 7/8 in. to 4 1/8 x 8 1/8 x 3 3/4 in. [$800 - 1,200]
426. Pati Bannister, American/Mississippi, 1929-2013, “Girl with Flowered Hat and Parasol”, oil on masonite, signed lower right, framed. 20 x 16 in., Frame: 31 3/8 x 27 3/4 x 2 3/4 in. [$700 - 1,000]
428. Rise Delmar-Ochsner, American/Louisiana, b. 1944, “Bull Dog”, acrylic on gallery-wrapped canvas, unsigned, unframed. 18 x 24 in. [$400 - 600]
429. Rise Delmar-Ochsner, American/ Louisiana, b. 1944, “My Mother”, oil on canvas, 1966, signed and dated lower right, signed and titled en verso, framed. 43 1/2 x 35 3/4 in., Frame: 46 1/2 x 38 7/8 x 1 in. [$700 - 1,000]
427. Rise Delmar-Ochsner, American/Louisiana, b. 1944, “White Dog on Purple Chair”, acrylic on gallery-wrapped canvas, 2014, signed and dated lower right, unframed. 36 x 24 in. [$400 - 600]
430. Noel Rockmore, American/Louisiana, 1928-1995, “Self-Portrait with Riva in Paris”, oil on canvas, 1972, signed, titled, dated and inscribed lower right, signed, titled, dated, localized and inscribed en verso, framed. 46 x 32 in., Frame: 51 1/2 x 37 1/2 x 2 in. [$3,000 - 5,000]
Provenance: Commissioned from the artist, 1972; Wein Foundation.
Note: Proceeds to benefit the New Orleans Jazz & Heritage Foundation.
Artist Noel Rockmore was born in 1928, in New York City and died in 1995 in New Orleans, LA. Prolific, admired, and controversial, Rockmore moved often between the two cities and was especially attracted to the bohemian life of the French Quarter. Rockmore’s narrative realist paintings have been exhibited in the Metropolitan Museum of Art, Joseph H. Hirshhorn Museum, Ogden Museum of Southern Art, New Orleans Museum of Art, among others and his work has graced the covers of Life and Time magazines.
Locally, Rockmore is also renowned for his Preservation Hall Portraits depicting its traditional jazz musicians and posters for the early years of early New Orleans Jazz and Heritage Festival at the invitation of George Wein, one of the founders, and from whose collection, “Self-Portrait with Riva in Paris” comes to us. This painting situates Rockmore in an art-historical fever dream of artist and model in a garret, with a plot twist. As Riva is shown posing twice in roles of domesticity and seduction, the artist is shown painting a jester as a possible self-portrait. Rockmore’s signature jewel tone palette and expressive brushwork are in full force here. Elements of home life, palmistry, and European still life painting scatter the apartment, which looks out onto Paris rooftops and Sacré-Coeur, the symbol of hope, faith, and trust. Two holes in Rockmore’s socks reveal the sacrifice of comforts that an artist’s life sometimes entails.
431. Enrique Alférez, Mexican/Louisiana, 1901-1999, “Kneeling Figure” cast composite stone with bronze patina, unsigned, composite stone base. 47 x 24 x 27 in. (119.4 x 61 x 68.6 cm.), Overall: 50 x 24 x 37 in. (127 x 61 x 94 cm.)
[$20,000 - 30,000]
Born in Mexico in 1901, Enrique Alferez’s life spanned almost the entirety of the 20th century. Alferez settled in New Orleans in 1929, an eclectic locale with a thriving art scene, and he split his time between there and his family compound and studio in Morelia, Mexico. His numerous public works have had a lasting impact on the visual identity of New Orleans.
The sculpture offered here is a life-size form of a kneeling woman with upraised arms wringing out her hair. An inscription on a known preparatory sketch (not offered) indicates that the work was created in Morelia in July of 1971. The pose bears resemblance to the allegorical kneeling figure of the South wind in one of Alferez’s defining works, the Fountain of the Four Winds, installed near the entrance to the New Orleans Lakefront Airport in 1938, thirty-three years prior. As is typical for Alferez, he utilized industrial materials such as cast concrete and stone aggregate and created his own techniques/patina to imitate a bronze finish. While that patina has aged over time, consistent with an outdoor placement, the surface does not lessen the impact of the gracefulness of the elegant figure.
Alferez’ large-scale works are offered very rarely at auction. Cherished in the same family collection since its commission, this figure displays the artist’s true mastery of the human form, defining him as a modernist who combined realism with classical influences and techniques to imbue an intense depth of meaning into his work.
432. George Rodrigue, American/Louisiana, 1944-2013, “Siblings”, oil on canvas, 1970, signed lower left, signed, dated, “Studio de Rodrigue” and “Painted in Louisiana by George Rodrigue” stamps on stretcher, framed with artist plaque. 12 x 9 in. (30.5 x 22.9 cm.), Frame: 18 3/4 x 15 3/4 x 1 1/2 in. (47.6 x 40 x 3.8 cm.) [$18,000 - 25,000]
Provenance: Acquired from the artist; Roland Begneaud Family Collection, Lafayette, LA.
Ill.: Freundlich, Lawrence S. George Rodrigue: A Cajun Artist. New York: Penguin Group, 1996, pl. 27, p. 58.
In March of 1967, George Rodrigue returned to his hometown of New Iberia, Louisiana from the Art Center College of Design in Los Angeles, where he had been studying traditional painting techniques, abstract expressionism, pop art and hardedge painting. As he explored his own path forward as an artist, Rodrigue’s earliest landscapes from 1967 to 1970 often included elements such as cabins and small figures. As his unique vision of Louisiana developed however, he abandoned these additional components in favor of the oak tree alone – his symbol of his home state.
As he began to develop local supporters, Rodrigue was introduced to the famous Louisiana architect, A. Hays Town, and his advice to the young artist further transformed Rodrigue’s approach. Town told him to “treat each painting like a jewel, because if it is precious to you, it will be precious to others as well.” The canvas titled “Siblings” from 1970 offered here is both a jewel and a window into the early development of the artist. The silhouetted oak trees in the background, one not quite cropped at the top, and a rich, dark foreground dominate the composition, while the light shining beneath the trees is particularly bright for the period – symbolizing the artist’s hope for the future.
Ref.: Rodrigue, Wendy. “Early Oak Trees and a Regrettable Self-Portrait.” George Rodrigue Life & Legacy Foundation. Oct. 14, 2009. www.legacyarttour.org. Accessed Dec. 27, 2024; Rodrigue, Wendy. “Remembering Lafayette’s Advocates for the Arts, Circa 1969.” George Rodrigue Life & Legacy Foundation. June 22, 2010. www. legacyarttour.org. Accessed Dec. 27, 2024.
in. (101.6 x 76.2 cm.), Frame: 48 1/4 x 38 1/2 x 1 1/4 in. (122.6 x 97.8 x 3.2 cm.) [$30,000 - 50,000]
Provenance: Acquired from the artist; thence by descent.
George Rodrigue painted portraits throughout his career, beginning in the early 1970s and gaining a national reputation in the 1980s with a presidential portrait commission of Ronald Reagan. Rodrigue’s portraits, even as they capture the essence of a particular sitter, retain the enduring qualities of the artist’s carefully developed style and visual language that transcend one individual or singular moment in time. Often depicted against the oak trees of Acadiana, his subjects glow against the foliage in the same manner as his Cajuns. Strong shapes, hard edges and a rich palette are common veins running between his portraits. In “Stroud’s Shady Oaks” offered here, Rodrigue’s inclusion of the wine bottle and steak on the table results in a charming still life vignette which could have come straight from his famous “Aioli Dinner” of 1971, yet also perfectly suits his sitter.
Dwight Stroud was born in Union Church, Mississippi in 1931. He married the love of his life Margaret Bertrand, from Abbeville, Louisiana in 1961, after working on a seismograph crew in the area. In 1963, Stroud bought Shady Oaks Restaurant in Abbeville and began a lifelong career in the restaurant business. Stroud’s Shady Oaks was a gathering place and special occasion venue for many. The Abbeville restaurant was a study in contrasts. The walls held collections of fine European Boehm porcelain figurines and Lalique crystal, while ketchup and mustard bottles contained in aluminum pie tins topped the tables. Stroud’s wine collection was legendary. Featured in Wine Spectator, he had connections to some of California’s finest vintners and imported Premier Cru wines from France. His steaks were hand chosen, seasoned with a secret concoction, then fried in rendered beef fat. Leaving Abbeville in 1988, he opened Stroud’s Steakhouse in Lafayette, which closed in 2004. Stroud passed away in 2009.
Rodrigue, who always enjoyed a good meal, was friends with Stroud and regularly frequented the restaurant. This original portrait served as the basis for a poster for the business and was a cherished remembrance of good times between two unique and captivating characters.
Ref.: Tutwiler, Mary. “End of an Era, Dwight Stroud Laid to Rest.” The Independent. Oct. 2, 2009.
433. George Rodrigue, American/Louisiana, 1944-2013, “Stroud’s Shady Oaks”, oil on canvas, signed lower right, framed. 40 x 30
434. George Rodrigue, American/Louisiana, 1944-2013, “Today We Saw the Saints”, oil on canvas, 1988, signed lower left, signed, titled and dated en verso, inscribed “#69” on stretcher, framed. 40 x 30 in. Frame: 48 1/2 x 38 1/2 x 1 1/2 in.
[$70,000 - 100,000]
Exh.: Upstairs Gallery, 368 N. Rodeo Drive, Beverly Hills, CA, Apr. - May, 1988.
In 1980, a Baton Rouge investment group commissioned George Rodrigue to illustrate a book of Louisiana ghost stories to be sold at the 1984 World’s Fair in New Orleans. Authored by Chris Segura and featuring forty ghastly tales, Bayou, published by Inkwell Press the year of the fair, includes images of forty loosely corresponding paintings which took the artist three years to complete and would become known as the Bayou Collection.
In approaching the project, Rodrigue looked, as he was accustomed to doing, close to home for inspiration. He took the opportunity to paint the loupgarou (even though it is never once mentioned in the story) for the chapter “Slaughter House,” recalling his mother’s version of the legend where the loup-garou was a crazy wolf or ghost dog that prowled cemeteries and sugar cane fields waiting to pounce upon naughty children. Rodrigue followed a pattern of turning to his photo files for visual inspiration, finding snapshots of the family pet, Tiffany, who had passed away a few years prior. Tiffany had been with the Rodrigue family since she was a puppy and was a loyal studio companion to the artist. He had many photographs of her, often at eye-level, and found her strong shape suitable for his purposes.
The resulting painting, “Watchdog,” depicts the loup-garou in the foreground on tomb-like stepping stones with blue-grey fur under the night sky, wide yellow eyes with red pupils and a haunted house depicted in a rich, saturated red in the background. In retrospect, one can note that “Watchdog” was a pivotal moment in the artist’s career; however, it was not an immediate shift. The image clearly haunted Rodrigue, who at this point had already developed his clear, unique interpretation of the Louisiana landscape and his emblematic depictions of his own Cajun culture. He was drawn to the strong, graphic element of the dog and its anomalous color against the dark oaks. Over the next five years, he painted additional images of the loup-garou as part of his Cajun series, always situated solidly within the bayous of Acadiana and in the vein of the original narrative. As his Cajun paintings continued to receive national and international acclaim, the loup-garous multiplied on his canvases, culminating in 1988 in an exhibition at the Upstairs Gallery at 368 N. Rodeo Drive in Beverly Hills of sixty paintings, including around a dozen featuring the loup-garou. This exhibition is where Rodrigue overhead a new phrase from visitors– “Blue Dogs.”
As described by Wendy Rodrigue: “George says that his first reaction was ‘Blue Dogs? What are they talking about?’ He really had no idea that people looked at his loup-garou in this way. The show was a sell-out – the Cajuns, the Landscapes, and the Blue Dogs (which after this were no longer part of the Cajun paintings, but rather took on a category of their own). George left that show with a lot to think about. He was shocked that it took a California audience to recognize this new, strong phenomenon in his work.”
“Today We Saw the Saints” was included in the Upstairs Gallery exhibition in 1988 and bears striking similarity in composition to “Watchdog,” with the significant addition of a remarkable, rare self-portrait. The stepping stones, following a similar diagonal pattern, have morphed into fully realized tombstones complete with grave markers. The artist himself, clad in white from head to toe, simultaneously glows against the dark oak and melds into the tombs upon which he stands. While he gazes into the future, the loupgarou confronts the viewer with a direct, red-eyed stare. The rough, wispy fur, oval eyes and deeper blue color present a creature even more wolf-like and otherworldly than the one seen in “Watchdog,” as though the loup-garou is now manifesting in its true form, five years later. The third figure, Rodrigue’s first wife, directs her eyes toward the artist and provides a stark contrast to the scene with her red outfit and hair, a strong counterpoint to the composition that plays a role similar to the haunted house element in “Watchdog.” Color
played an important part in Rodrigue’s work throughout his oeuvre, with each hue often having both a symbolic and compositional function. Blue and its spiritual qualities in particular would come to define him as a colorist, however his strong background in design was clear from his earliest utilization of shape and color to create timeless scenes.
Tombs and cemeteries were a common subject matter for Rodrigue, as the above-ground cemeteries and “cities of the dead” unique to South Louisiana helped to define the area’s culture and landscape. Rodrigue also had a personal connection to the theme, as his father once ran a tomb business. The high-school aged artist would drive his father’s van to school, emblazoned on the side with the words “Rodrigue’s Portable Concrete Burial Vaults,” and he would be sent to sink the “air-tight” tombs in the cemetery when they would float after a heavy rain. The tombs fit perfectly with the legend of the loup-garou, perennially lurking in cemeteries, and perhaps also represent in this canvas the artist’s connection to those lost – Tiffany herself, the generations of Cajuns preceding him, and his father, “Big George,” who had passed in 1967.
“Today We Saw the Saints” represents an extraordinary moment for George Rodrigue, a paradigm shift just as transformative as “Watchdog.” He stands in the canvas as the master of his landscape - honoring his past, his Cajun heritage and his artistic development just as he unknowingly balances on the cusp of a life-altering transition. The loup-garou, perched atop the tomb, foreshadows Rodrigue’s journey into the future and the Blue Dog series that will survive the artist himself and stand the test of time as an American art icon.
Ref.: Rodrigue, Wendy. “Blue Dog: In the Beginning, 1984-1989.” George Rodrigue Life & Legacy Foundation. Oct. 21, 2009. www.legacyarttour.org. Accessed Dec. 27, 2024; Rodrigue, Wendy. “Tombs in the Life and Art of George Rodrigue.” George Rodrigue Life & Legacy Foundation. Oct. 7, 2009. www.legacyarttour.org. Accessed Dec. 27, 2024.
435. George Rodrigue, American/Louisiana, 1944-2013, “Waiting for the Ride (Looking for Summer Shade)”, oil on canvas, 1973, signed lower left and en verso, titled, inscribed “#7719” and 3 “George Rodrigue Gallery Lafayette, LA” stamps on stretcher, exhibition label with artist, title and date on reverse of frame, framed. 36 x 24 in. Frame: 44 1/2 x 32 1/2 x 1 3/4 in. [$30,000 - 50,000]
Provenance: Acquired from the artist; Roland Begneaud Family Collection, Lafayette, LA.
Ill.: Freundlich, Lawrence S. George Rodrigue: A Cajun Artist. New York: Penguin Group, 1996, pl. 64, p. 89.
Exh.: “George Rodrigue: Cajuns and Blue Dogs / Paintings from Louisiana Family Collections 1971-2008”, Louisiana State Museum Wedell Williams Aviation and Cypress Sawmill Museum, Patterson, LA, July 17 - Nov. 29, 2008.
Often based on 1920s-30s period photographs from his mother’s album, Rodrigue’s early Cajun paintings reflect his interpretation of a fading era and his own Louisiana Cajun heritage with a contemporary and unique approach. His timeless figures inhabit a landscape clearly both familiar and beloved by the artist. In “Waiting for the Ride” (alternately titled “Looking for Summer Shade”), Rodrigue depicts three girls, one holding a ruffled parasol and two with wide-brimmed hats, seeking solace from the heat of a summer day under an oak tree. They are arrayed in front of a rectangular hitching post which serves to hint at the nature of their “ride” and anchors them within the composition. The two sources of light, the girls’ white garb and the sun glowing beneath the tree, serve to highlight the oftenshadowed landscape of Acadiana and allow Rodrigue’s Cajuns to shine from within with the symbolic hope of a displaced people.
Rodrigue captured the folklore and culture of the Cajuns at a time when it was slipping away and evolving into something new. So often, the beautiful and distinguishing aspects of a society are lost to time through this process. Rodrigue found a way through his distinctive graphic language to preserve and protect these stories. His early canvases, such as this one, are simultaneously personal, historical and modern.
436. Bayou Brew Brothers Jolie Blonde Beer Spécial, 6 btls, 12 oz., bottled 1984, label by George Rodrigue (American/Louisiana, 1944-2013), brewed and bottled by Pearl River Brewing Co., San Antonio, TX for Bayou Brew Brothers Inc., New Iberia, LA, with original six-pack carton. (7 pcs.) 6 bottles [$200 - 300]
437. George Rodrigue, American/Louisiana, 1944-2013, “New Orleans Jazz and Heritage Festival (Pete Fountain)”, silkscreen, 1996, pencil-signed, numbered “8152/10000” and blindstamp lower margin, framed. 33 x 20 in., Frame: 42 1/4 x 28 1/2 x 1 in. [$800 - 1,200]
Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 19702007. New York: Harry N. Abrams, Inc., 2008, p. 220.
Rodrigue, George and Wendy Wolfe
438. George Rodrigue, American/Louisiana, 1944-2013, “Love Among Ruins”, silkscreen, 1994, signed lower left, numbered “28/90” lower right, framed. 20 x 32 in., Frame: 25 x 37 x 1 in. [$1,000 - 1,500]
Ill.:
Rodrigue. George Rodrigue Prints: A Catalogue Raisonne 1970-2007. New York: Harry N. Abrams, Inc., 2008, p. 101.
439. Melissa Bonin, American/Louisiana, b. 1960, “Jade (Irish Bayou Palette)”, oil on canvas, 2000, signed lower left, signed, titled, dated and inscribed en verso, framed.24 x 20 in., Frame: 24 7/8 x 20 7/8 x 1 1/2 in.
[$5,000 - 8,000]
440. Melissa Bonin, American/Louisiana, b. 1960, “The Rivulet”, oil on gallery-wrapped canvas, 2009, signed lower left, signed, titled, dated and inscribed en verso, unframed. 14 3/8 x 11 in.
[$1,200 - 1,800]
441. Hunt Slonem. American/Louisiana, b. 1951, “Gold Rush”, oil on panel, 2013, signed, dated and inscribed “CHL0553” en verso, framed. 36 x 29 1/2 in.
Frame: 40 x 33 3/8 x 2 in.
[$6,000 - 8,000]
442. Pair of Lee Jofa Hunt Slonem Bunny Pillows, h. 18 in., w. 18 in. [$200 - 300]
443. Newcomb Art Pottery Inkwell, 1931, decorated by Sadie Irvine, floral design, with Newcomb cypher, decorator’s mark, and reg. number SV-89, h. 2 in., dia. 3 in.
[$400 - 600]
444. Newcomb Art Pottery Vase, with Newcomb cypher, Joseph Meyer’s potter’s mark, and manuscript “30”, h. 6 in. dia. 2 1/2 in., Note: possible experimental piece. [$400 - 600]
445. Two Newcomb Art Pottery Low Bowls, 1918, and 1921, both decorated by Anna Frances Simpson, with Newcomb cypher, decorator’s mark, and reg. “JF-49” and “LM-33”, h. 1 3/4 in., dia. 3 3/4 in.
[$600 - 900]
446. Newcomb College Art Pottery Vase, 1927, decorated by Sadie Irvine with reliefcarved berry and leaf motif, matte glaze with blue, green and pink underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. QA34, and shape no. 230, h. 7 3/4 in [$700 - 1,000]
447. Louisiana Carved Mahogany Armoire, early 19th c., molded cornice, molded inset paneled doors with fluted stile, fiche hinges, inset paneled sides, reeded molded apron, reeded tapered legs, brass ball feet, 91 x 58 x 21 1/2 in.
[$2,500 - 3,500]
Note: Rupert Kohlmaier restoration
448. Fine and Rare American Rococo Revival Rosewood Bedstead, 19th c., attributed to the salerooms of Prudent Mallard, New Orleans, LA., pierced carved arched foliate crest, molded paneled headboard, flanking posts, conforming molded rails with C-scrolls carvings, finialed, foliate and scrolled footboard, turned feet, together with the original tester crest. 91 x 66 x 81 1/2 in.
[$3,000 - 5,000]
Note: The fluted posts on this lot are nearly identical to those on the bed made by Mallard for the bedroom of Isabel Puig now at the Louisiana State Museum’s 1850 House. The headboard closely related to Felix Puig half tester bed made by Prudent Mallard. Both beds are illustrated in American Furniture of the Nineteenth Century by Celia Jackson Otto pg. 282 and 285
449. American Renaissance Carved Walnut Armoire, mid19th c., probably Mitchell and Rammelsburg, Cincinnati, pierced carved crest, arched molded cornice, paneled doors, two drawers, scalloped base, 99 x 60 x 19 in.
[$800 - 1,200]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
450. American Southern Mississippi Valley Walnut
Four Poster Bed, 19th c., faceted posts, molded paneled headboard, plain rails, turned tapered feet. h. 88 1/2 in. x w. 55 in x d. 75 in.
[$1,000 - 1,500]
451. Pair of Louisiana/New York Bronze Mounted Carved Mahogany Armoires, 19th c., possible from the Seignouret group, Molded cornice, molded inset paneled doors, left and right side panel door with hanging interior, central reeded stile, both with belt of drawers, lobed and turned tapered legs to brass ball feet. 94 x 65 x 21 in., Frame: 93 1/2 x 64 x 21 in. [$7,000 - 10,000]
Provenance: removed from 3 Garden Lane, New Orleans
452. American late Classical Mahogany Pier
Table, 19th c., marble stenciled “ Hilgartner & Sons
Balto. MD.” marble top, molded cornice, scroll supports, mirrored back, scrolled plinth base, scrolled feet. 37 x 42 x 18 1/2 in. [$2,000 - 3,000]
453. American Classical Carved Mahogany
Desk,19th c., made from a Harpsicord, lift top, fitted interior with silde out , frieze drawer, turned tapered legs, castors, h. 36 x w. 48 x d. 21 in. [$300 - 500]
454. Pair of Benchmade Carved Mahogany Full Tester Beds, by David Pruitt, 1979, Natchez, MS, twin size, arched tester, melon shaped headboard, h. 81 in., l. 75 1/2 in., d. 40 in. [$700 - 1,000]
455. Texas Longhorn Armchair, 19th c., Labeled “F. Krayl’s Patent Sept. 4 1877”, horn crest rail and arms, padded back and seat, horn legs. h. 44 in., w. 32 1/2 in., d. 28 in. [$700 - 1,000]
456. American Horn Star Footstool, underside marked “1889 KATIE”, leather padded top, five horn legs [$300 - 500]
Provenance: Estate of William Jay Atzenhoffer, Victoria, Texas
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