March 15-16 Estates Auction by New Orleans Auction Galleries

New Orleans Auction Galleries March 15-16, 2014

Lot 6 1 F r on t Co v e r Lot 5 5 5 B a c k Co v e r Lot 1 9 5

Sat ur day, M a r ch 1 5 , 2 0 1 4 10:00 a .m ., Lots 1 - 674

Sunday, M a r ch 1 6 , 2 0 1 4 10:00 a .m ., Lots 675 - 1251

E vening Pr e v ie w R e ce pt ion Th u rsday, M a r ch 13, 2014, 5:00 - 8:00 p.m .

E x hibi t ion M a r ch 5 - M a r ch 14 , 2014 9 : 0 0 a . m . - 5:00 p.m . (E xcluding Sunday )

Fe atu red Pr operties The Estate of M a nn y a nd E l a ine C rysta l Ja ck son, M i ssi ssippi

Pr opert y f r om a Mississippi E stat e being offered to be ne f it t he L a u re n R o g e rs M u se um of Art L a urel, M i ssi ssippi

The A rt Coll ect ion of a Ne w Orl ean s L ady The Col lect ion of a Lo cal An t iquari an The Cont e m por a ry A rt Col l ect ion of a Lo ui si an a Nort hshore L ad y A n Im porta n t Con t empor ary Photo gr aphy Col l ect ion

New Orleans Auction Galleries 504-566-1849 / 510 Julia Street, New Orleans, Louisiana 70130 / NewOrleansAuction.com / Info@NewOrleansAuction.com LA AUCTION LICENSE AB-363, STEINKAMP #1265, THOMAS #1833/23% BUYERâ&#x20AC;&#x2122;S PREMIUM (3% DISCOUNT FOR PROMPT PAYMENTS MADE BY CASH, CHECK, OR WIRE)

D e c e m be r 6 - 8 , 2 0 1 3 E s tat e s A u c t i on H i g h l i g h t s

Richard and Lori Eckert and Craig and Kay Smith

Tessa Steinkamp, Susan Krohn and members of the St. Augustine â&#x20AC;&#x153;Marching 100â&#x20AC;? at the evening preview reception

Chet and Janie Coles

Ashton Thomas and Troy Henry, St. Augustine High School board member and former chair

Henry Sullivan and Myriam Saunders

Cedric Roberts and Sandra Dallas

Mary Ferry Bigelow, Carol Crawford and Lynn Anderson

Letter from the CEO

Although it's hard to clearly remember the December auction when I can see out of the window that the trees are just beginning to sprout tiny, spring green leaves, I do remember quite clearly how successful it was with many lots soaring past their estimates, reaching impressive prices.

L to R: Burke, Susan Krohn, Jacqueline McPherson, Helen Mirren and Sandy Barrett

I certainly wonâ&#x20AC;&#x2122;t forget meeting Helen Mirren and her husband, director Taylor Hackford, who stopped by the auction to pick out a few Christmas gifts. Helen and Taylor are good friends of Jackie McPherson, a longtime auction aficionado and local real estate attorney extraordinaire, and may I say Helen is as lovely in person as she is on the screen! Thank you Jackie for bringing them by!

The reception and annual holiday party was packed and set the stage for a great sale. And who doesn't love purple and gold, especially when it's worn by New Orleans famous St. Augustine "Marching 100", who proudly displayed the Terrace Osborne painting which depicted the band and was being auctioned to raise money for the band's trip to the Rose Bowl. 2013 will be a tough year to follow, especially because not only was it our first full year under new ownership, but that the entire year was more than I'd hoped for. In fact, I'm still celebrating! We did start 2014 off with a bang though with our most successful Cakebread Decorative Arts & Design Auction to date and we have what we hope will be a fabulous March Estates Auction! As you can see by our catalogue, we have some truly fine and important pieces: a collection of 16th-century volumes and framed pages from the Divan of Hafiz; an extensive collection of Asian fine and decorative arts from a Houston estate; a Mississippi estate to benefit the Lauren Rogers Museum of Art in Laurel, Mississippi; and property to benefit the Imperial Calcasieu Museum in Lake Charles, Louisiana. Both institutions have amazing collections and educational programs and we are so honored to be representing them. I have saved the best for last. Drumroll, please... New Orleans Auction Galleries has bought a building on St. Joseph Street, just blocks away from our present location, and will be moving in December of 2014. I can't tell you how hard it will be to leave the Julia Street location that we've all known and loved for so long, but we've run out of space and need room to grow. It is our goal to be the premier regional auction house and we are working every day to achieve that status. I will look forward to seeing you at the preview party on Thursday, March 13 from 5 to 8 p.m. And then the March auction that starts promptly at 10 a.m. on Saturday, March 15. I know it's easier to bid by phone or by Internet, but there's just something magical about being at an auction in person. Come by and enjoy some good food and drink, some very lively bidding and lots of fun! We have a chair just for you! We'll see you in March!

Susan D. Krohn CEO, New Orleans Auction Galleries

Lot 86 6

The Es tate of

M anny and El aine Cry stal Ja ck son, M i ssi ssippi

Longtime residents of Jackson, Mississippi, Elaine and Manny Crystal were respected business owners, philanthropists, and civic leaders. Manny served as the president of the Mississippi Bâ&#x20AC;&#x2122;nai Bâ&#x20AC;&#x2122;rith and emerged as a trusted leader during the chaotic years of the civil rights movement; he was later named a trustee of Tougaloo College. Elaine was an active community volunteer and was involved with the League of Women Voters, helped form Mississippians for Public Education, and was a founding board member of Downtown Jackson partners. An engaging and social couple, the Crystals traveled widely, forging connections with people all over the world. Believing that the arts were crucial to a thriving civic life of a community, the Crystals supported numerous cultural organizations; Elaine was integral to the creation of the Arts Alliance of Jackson/ Hinds County and was made a trustee of Millsaps College. The Crystals were Board Members of the Beth Israel Congregation, the Jackson Jewish Welfare Fund, and the Goldring/Woldenberg Institute of Southern Jewish Life.

Session I S at ur day, M a r ch 1 5 , 2 0 1 4 Lots 1 - 6 7 4

Lot 245

Chinese Carved Ivory Figure of a Crab, late 19th century, w. 5”, presented on a wooden stand, together with a celluloid clamshell, w. 2‑1/2” (two total pieces). [300/500]

Chinese Ivory Medicine Lady, 19th century, ink on carved ivory, the elegantly reclining figure with slightly elevated feet, on a wooden stand, h. 3”, l. 9‑7/8”. [800/1200]

Chinese Ivory Medicine Lady, 19th century, ink on ivory, the female figure depicted with two carved bracelets, h. 2‑1/2”, l. 9‑3/8”, including wooden stand. [700/1000]

Chinese Carved Ivory Card Case, late 19th century, the card case intricately carved with scenes of figures and pavilions in a lush garden setting, h. 4‑7/8”, w. 2‑3/4”. [400/700] Illustrated

Chinese Ivory Carving, late 19th century, depicting a seated female figure holding a bunch of flowers, h. 6‑1/2”. [300/500]

Pair of Chinese Ivory Foo Dog Bottles on Stands, 19th century, the bottles shaped like foo dogs with inlaid coral and blue turquoise stones, on wooden stands, h. 6”, w. 4”. [500/800]

Chinese Carved Ivory Horse on Stand, 19th century, the carved ivory figure depicting a horse with inlaid stones for the eyes and ornamenting the rein, on a wooden stand, h. 6”, l. 10”, including stand. [350/500]

Pair of Chinese Quail and Millet Incense Boxes, 19th century, with fitted silver-inlaid stands, together with a chick in an egg, quail, h. 3”, l. 5‑1/4” (three total pieces). [400/700]

Chinese Carved Ivory, Depicting the Twelve Signs of the Zodiac, 19th century, the large rooster with inlaid stone eyes and surrounded by the eleven other signs of the lunar zodiac, h. 6‑1/2”, w. 6”, including stand. [600/900] Illustrated

Chinese Carved Ivory Eagle, late 19th century, w. 11”, l. 13”. [500/800]

Pair of Chinese Ivory Carvings, late 19th century, depicting a pair of phoenixes with peonies, h. 8‑1/4”. [600/900]

Pair of Antique Chinese Ivory Peacocks, 19th century, the two delicately-carved figures of peacocks on peony bushes of patinated ivory with signatures on the underside of each, h. 15”, w. 3”. [1000/1500] Illustrated

Chinese Carved Ivory Dragon, 19th century, the figure modeled holding a sacred pearl, unsigned, h. 2‑1/4”, l. 20‑3/4”. [500/800]

Chinese Carved Ivory Tusk, 19th century, depicting a bridge of elephants, on a pierced and carved wooden base, h. 3‑1/2”, l. 16”. [800/1200]

Chinese Ivory Carving of a Dragon, 19th century, the carved figure of a dragon with three bodhisattvas on its back, unsigned, on a wooden stand, h. 7”, l. 15”, including stand. [800/1200] Illustrated

Chinese Fossil Ivory Carving, late 19th century, carved and pierced with a scene from “Travels in the West”, l. 23”. [2000/4000] Illustrated

Chinese Carved Ivory Tusk, 19th century, in the form of a Buddhist saint with a dragon, presented on a fitted stand, h. 5‑1/2”, l. 18‑1/2”. [500/800] Illustrated

Chinese Ivory Chariot on Stand, 19th century, the carved ivory chariot with a canopy and a figure of an emperor, unmarked, with a wooden stand, h. 18‑1/4”, l. 17‑1/2”. [1500/2500] Illustrated

Chinese Ivory Carving, late 19th century, depicting a multi-armed figure of Manjushri, h. 25‑1/2” not including stand. [4000/7000] Illustrated

Chinese Carved and Pierced Ivory Censer, 19th century, the tripodal censer with zoomorphic legs and reserves depicting a pair of dragons, the lid with a round Shou ideogram and a pair of foo dogs, the underside marked with an oval, on a wooden stand, h. 9”, w. 9”, including stand. [400/700] Illustrated

Chinese Carved Ivory Group of a Royal Procession, 19th century, depicting a carriage carrying the emperor and a coachman with another accompanying figure on horseback, the carriage intricately carved with a dragon motif, h. 19‑1/2”, l. 22‑1/4”. [2000/4000] Illustrated

Large Chinese Ivory Incense Burner, late 19th century, the surface carved and pierced with various brocade patterns and swirling dragons, h. 37”. [1200/1800] Illustrated

Chinese Carved Ivory Jar, late 19th century, with reserves of figures in palace gardens and floral scroll borders, h. 15‑1/2”. [800/1200] 20

Chinese Carved Ivory Archaistic Vessel, 19th century, the vessel with a lid with reserves depicting dragons set among ruyi clouds, with a wooden stand, h. 15‑1/2”, dia. 3‑3/4”, including stand. [600/900] Illustrated

25 27

Chinese Finely-Carved Ivory Puzzle Ball, late Qing Dynasty (1644‑1911), the pierced and carved ivory puzzle ball with a motif of interweaving clouds and dragons on a stand with two smaller carved and pierced puzzle balls, the base featuring a beautiful lady standing on a dragon and cloud base with a flowering branch, h. 21‑1/2”, dia. 4‑1/4”. [2000/4000] Illustrated Similar examples can be found in the National Palace Museum, Taipei, The Palace Museum, Beijing, and the Victoria and Albert Museum of Art, London.

Large Chinese Ivory Puzzle Ball, 19th century, the finely-carved puzzle ball with a motif of interlocking dragons on a base depicting a dragon with water spouting from its mouth, h. 21”, w. 6”. [1200/1800] Illustrated

Antique Chinese Polychrome Ivory Imperial Pair, 19th century, the carved figures of an emperor and his consort, the emperor holding a sword with an inscription in seal script, on wooden stands, h. 14‑1/4”, w. 3‑3/4”, including stand. [1500/2500] Illustrated

Pair of Chinese Ivory Carvings, late 19th century, depicting, respectively, an emperor and empress, h. 9”. [800/1200]

Chinese Ivory Figure of a Legendary General, 19th century, the carved ivory figure depicted with a spear, unmarked, on a round wooden base, h. 11‑1/2”, w. 3”, including stand. [350/500]

Chinese Bone Guardian Figure, the polychrome ox bone guardian with a spear, inlaid with stone and coral on an attached octagonal pedestal, the underside marked with a four-character seal, h. 24‑5/8”, w. 5‑3/4”. [400/700]

Chinese Ivory Figure of a Beauty on Stand, 19th century, the figure of a beautiful lady in flowing robes holding a branch of blooming peonies, on a carved and pierced wooden stand, h. 13”, w. 3‑1/2”, including stand. [400/700]

Chinese Carved Figure of an Empress Holding a Scepter, late 19th century, in polychromed bone and ivory over a wood frame, h. 33”, w. 12”. [3000/5000] Illustrated

Chinese Carved Ivory Royal Pair, 19th century, Qing Dynasty (1644‑1911), the male and female royal pair in carved ivory, each holding a bunch of flowers, the female with a basket of flowers and wearing a dragon crown, h. 30‑1/2”, w. 4‑3/4”. [3000/5000] Illustrated

Chinese Ivory Figure of an Immortal Sage, 19th century, the carved figure of a mythic sage with a prominent forehead, holding a staff with a lingzhi mushroom and a scroll, signed on the underside, h. 25‑1/2”, w. 6‑1/4”. [1200/1800] Illustrated

Chinese Ivory Figure of an Immortal, late Qing Dynasty (1644‑1911), depicting an immortal sage with a prominent forehead and long beard, holding a bough of peaches, a scroll and a staff, and a child on a deer carrying a branch, bearing a mark on the underside, h. 44”, dia. 5‑7/8”. [6000/9000] Illustrated

Chinese Ivory Carving, late 19th century, depicting a warrior in armor and holding a spear, h. 26”. [3500/5000] Illustrated

Chinese Pietra Dura Box, 19th/20th century, the zitan wood box inlaid with polished hardstone, bone and mother-of-pearl, depicting a figure holding a ruyi scepter atop an elephant, a second figure beside them carrying a banner, h. 3”, w. 8”, l. 9”. [500/800] Illustrated

42 32

Pair of Chinese Cloisonne Candle Prickets, 20th century, in the form of two cloisonne pelicans with raised wings, standing on rounded triangular bases with wave motifs, and with double gourd candle prickets on each bird’s back, h. 22”, w. 12”. [400/700]

Chinese Painted Dragon Box, 20th century, the round drum-shaped carved and painted box with brass accents, an auspicious ideogram in the center associated with longevity, surrounded by a pair of dragons, h. 5”, dia. 17”. [450/700]

Chinese Bronze Censer, late 19th/early 20th century, the round bronze censer with two lion-head lugs and inscribed with a “Yongle” reign mark, dia. 4”. [400/700]

Chinese Zitan Brush Pot, the tree-trunkform brush pot with carved knots and burls, unmarked, h. 6‑1/2”, w. 5‑1/2”. [400/700]

Chinese Wooden Brush Pot with Ivory Inlay, 19th century, the cylindrical stained wooden brush pot with an ivory inlaid image of a sage and a seal, h. 4‑3/8”, dia. 5”. [350/500]

Pair of Chinese Ivory and Cloisonne Beauties, late 19th century, the two ladies with patinated ivory faces and cloisonne enameled bodies with stone ornamentation, mounted on wooden stands, h. 13”, w. 5‑1/4”, including stand. [700/1000] Illustrated

Chinese Bronze Hand Warmer, 19th /20th century, the lid with a pierced motif of figures in a landscape, with a dark and even patina throughout, with a Ming Zhangmingqi mark on the underside, h. 2”, w. 3”, l. 4‑1/2”. [400/700]

Middle Eastern Bronze Censer, decorated with molded characters in a pointed arch paneled cartouche, marked in the Chinese manner, h. 3‑1/2”, w. 7‑1/2”, d. 6”. [600/900]

Chinese Bronze Vessel, 19th/20th century, the vessel with two phoenixes, and a dragon handle adorned with bats and lingzhi fungi, h. 10‑1/2”. [1400/1800] Illustrated

Chinese Bronze Vase, late19th/20th century, the large bronze vessel covered with a motif of dragons and ruyi clouds, and having two dragon-head-shaped lugs, each with a ring in its mouth, the underside with an apocryphal four-character mark of Qianlong, h. 13”, dia. 8‑1/2”. [800/1200] Illustrated

49 46

Chinese Dragon Fish Bronze Censer, 18th/19th century, in the Ming style, the censer depicting a carp transforming into a dragon, h. 11‑3/4”, w. 4”, l. 8”. [500/800] According to Chinese legend, when a carp jumped up and crossed the “Dragon’s Gate” waterfall on the Yellow River, a virtually impossible task, he would be transformed into a dragon.

Chinese Bronze Avalokitesvara (Guanyin), 19th/20th century, the bronze figure of the bodhisattva Avalokitesvara seated in padmasana with hands arranged in Vitarka mudra, on a densely-petaled lotus base, marked on the figure’s reverse with apocryphal Wanli, h. 16‑1/2”, w. 9‑3/4”. [2500/4000] Illustrated Comparable to a Vairocana in the Royal Ontario Museum and a figure in the Los Angeles County Museum of Art.

Chinese Gilt-Bronze Buddha, Qing Dynasty (1644‑1911), the figure seated in vajrasana, the lotus base marked on the front with the Qianlong mark and engraved on the base with a Visvavajra, h. 14‑1/2”, w. 10‑1/2”. [2500/4000] Illustrated

Engraved Bone Box, in the 19th-century style, veneered with reeded bone and a painted border depicting buteh, mounted with a lock, h. 6”, w. 26”, d. 10‑1/2”. [400/700] Illustrated

Unusual Anglo-Indian Cabinet, late 19th century, of gabled form, fitted with seventeen small drawers and a single upper central cabinet drawer, the sides with ebonized and ivory scrolling and floral inlays and a central handle, h. 28”, w. 31‑1/4”, d. 13‑1/4”. [1000/1500]

Silver-Mounted Mughal Jade and Box, 18th century, the mounting probably Persian, of shield form, the lid inset with a floral-incised jade plaque framed by collet-set turquoise and green and red gems, the conforming body with gilt interior and engraved with foliate scrolls, l. 2‑5/8”, w. 2‑5/8”. [700/1000]

Indian Manuscript Page with Miniature Painting, 18th century, Northern India, ink, opaque watercolor and gold on paper, with a heavily gilt image of a royal couple in a garden with a group of female musicians and attendants, framed with a niche window to reveal a page of script verso, sight 4‑1/2” x 8‑1/4”, overall, 12‑1/4” x 14‑1/2”. [300/500]

Large Southeast Asian Ceramic Storage Jar, 19th century, h. 25”, dia. 15”. [300/500]

Southeast Asian Stone Buddha, 19th century, possibly Burmese or Thai, the carved milky white stone Buddha with hands arranged in Bhumisparsha mudra and seated in padmasana, presented on an oval wooden stand, overall, h. 18‑1/2”, w. 12”. [400/700]

Pair of Large Thai Bronze Singha, early 20th century, the bronze guardian figures seated in a semi-recumbent pose, each with an armored body and thick collar, their open mouths exposing sharp teeth, h. 34‑1/2”, l. 25”. [600/900] Illustrated

Indian Carved Ivory Camel Bridge, 19th century, partially pierced and with bas-relief, depicting a caravan of camels, on a contemporary black wooden stand, h. 4‑3/4”, l. 18‑1/4”. [700/1000]

Pair of Indian Patinated Ivory Figures, depicting an enthroned Mughal prince and princess, h. 4‑1/4”, w. 2‑1/8”. [350/500]

Two Pairs of Tusks, 19th century, comprising a pair of hippo tusks with a depiction of crocodiles, and a pair of elephant tusks with a depiction of a floral motif, the tallest, h. 14‑1/2”. [800/1200]

Indo-Tibetan Thangka of Red Vaishravana, 18th century or earlier, distemper on cloth, the vibrantlypainted thangka depicting the Buddhist King of the North Vaishravana in battle, astride a white horse with a blue mane and tail, mounted on silk and including a veil, which would have been used as a cover when not in use, h. 81‑1/2”, w, 49‑1/2”, including frame. [15000/25000] Illustrated

Two Middle Eastern Cut Glass Bottles, consisting of a water bottle composed of colorless glass, partially plated in mauve and highlighted with gilt, h. 11‑1/2”, and a hookah composed of colorless glass enameled with blue, white and orange, h. 10‑1/4”. [800/1200]

61 details

Two Middle Eastern Hookah Bottles, consisting of a pottery example decorated with Moorish arched panels and flowers, h. 9‑3/4”, and an opaline glass example decorated with gilt Moorish arched panels, enameled with floral sprigging, h. 10‑1/2”. [800/1200]

Middle Eastern Tin-Plated Copper Bowl, decorated with Moorish arched panels and running bands of Arabic calligraphy, on a ring-turned foot, h. 5”, dia. 10‑1/2”. [700/1000] Illustrated

65 65

Four Important Framed Pages from the Divan of Hafiz (ca. 1325‑1390), 16th/17th century, Shiraz, Iran, the Persian poetry manuscripts in black with color and gilt on paper, one containing three ghazals, the text written horizontally in one-two columns with gilt and illuminated intercolumnar rules and narrow gold bands with foliate illumination down the center, one with a blue and gilt border mounted on a blue sheet, and another mounted on red paper, overall largest, h. 16”, w. 11‑1/2”. [15000/25000] Illustrated

70 67

69 68

The Divan of Hafiz (ca. 1325‑1390), Safavid Dynasty (16th/17th century), Shiraz, Iran, ink and color with gilt on paper, text in two columns outlined in blue ink and gilt, with fully illuminated frontispiece, 458 pages, the limp tan calfskin binding with embossed fillets, 5‑3/8” x 3‑1/4”. [15000/25000] Illustrated

The Divan of Hafiz (ca. 1325‑1390), Safavid Dynasty (16th/17th century), Shiraz, Iran, ink and color with gilt on paper, text in two columns with illuminated pages and two miniature paintings, with illuminated frontispiece, 352 pages, the leather binding tooled on both sides with a floral medallion, 9” x 5‑1/4”. [100000/150000] Illustrated

The Divan of Hafiz (ca. 1325‑1390), Safavid Dynasty (16th/17th century), Shiraz, Iran, ink and color with gilt on paper, text in two columns, with six miniature paintings, 289 pages, the lacquered binding probably second half 17th century, in the Safavid fashion, both sides with a central arrangement of flowers framed by a pink and white floral border on a green ground with gilt and red banding, 7” x 3‑1/3”. See comparable examples at the Yale University Library. [30000/50000] Illustrated

The Divan of Hafiz (ca. 1325‑1390), Safavid Dynasty (16th/17th century), Shiraz, Iran, ink and color with gilt on paper, text in two columns, with three miniature paintings, 378 pages, the leather binding decorated on both sides with a central embossed floral medallion-framed scrolled band and fillets, 7” x 4‑1/2”. [40000/70000] Illustrated

The Divan of Hafiz (ca. 1325‑1390), Safavid Dynasty (16th/17th century), Shiraz, Iran, ink and color with gilt and pigment on paper, text in one and two columns with gilt and red ink borders, with two fully illuminated frontispieces, 424 pages, the leather binding gilt-stamped on both sides with floral medallions and corners accented with green and red, 9‑3/4” x 5‑1/8”. See comparable examples at the Bodleian and Yale University Libraries. [100000/150000] Illustrated

Semi-Antique Hamadan Runner, 3’ x 12’ 5”. [500/800]

Turkish Angora Oushak Carpet, 9’ 2” x 12’ 4”. [1400/1800] Illustrated

Persian Bakhtiari Garden Carpet, 8’ 2” x 12’. [1500/2500]

Tabriz Pictorial Carpet, 10’ x 13’. [700/1000]

Turkish Angora Oushak Carpet, 9’ x 12’. [1200/1800]

Semi-Antique Tabriz Silk Carpet, 8’ 10” x 13’ 2”. [500/800] Illustrated

Persian Kerman Carpet, 9’ 7” x 13’. [3000/5000]

Turkish Oushak Carpet, 10’ x 14’. [2000/4000] Illustrated 87

Antique Persian Heriz Carpet, 7’ 6” x 10’. [1800/2500]

Turkish Angora Oushak Carpet, 9’ 2” x 11’ 7”. [1000/1500]

Turkish Angora Oushak Carpet, 8’ 2” x 10’ 3”. [1000/1500] Illustrated

Semi-Antique Sarouk Runner, 2’ 6” x 17’ 9”. [500/800]

Semi-Antique Lilihan Carpet, 2’ 6” x 2’ 9”. [350/500]

English Pine Welsh Dresser, late 19th century, the molded cornice above a scalloped frieze and two open shelves, the lower section fitted with three deep drawers over three paneled cupboard doors, raised on a bracket plinth base, h. 86”, w. 58‑1/2”, d. 19‑1/4”. [500/800] Illustrated

Collection of Transfer-Printer Blue Tiles, fourth quarter 19th century, attributed to Minton’s, the tiles depicting scenes from early English history, from a set designed by John Moyr Smith in 1872, now framed, h. 15”, w. 31”. [500/800]

Five Staffordshire Blue and White Platters and a Tureen Stand, second quarter 19th century, the largest platter, w. 14‑3/4”, l. 18‑1/2”, tureen stand, w. 9‑3/4”, l. 14‑1/2” (six total pieces). [300/500] 84

Attributed to Charles Jervas (British, 1675‑1739), “Portrait of a Lady, Probably a Member of the Digby Family”, oil on canvas, unsigned, 30” x 25”. In an antique frame. [500/800] Illustrated previous page

Charles Paul Gruppe (American/Dutch, 1860‑1940), “Clam Diggers”, oil on wood panel, 4” x 7‑1/8”, signed lower right. Framed. [1000/1500] Illustrated

English Oak Gateleg Table, 17th century, the rounded rectangular top with two deep ovoid leaves, and raised on a gateleg support of bobbin-turned legs joined by like stretchers and ending in block ball feet, with punch-carved decoration on the ends, h. 28‑1/2”, w. 39‑1/2”, d. 17”, extended d. 51”. [1200/1800] Illustrated

Seven-Piece Collection of English Staffordshire “Flatback” Figures, third quarter 19th century, the largest, h. 17”, w. 7”, d. 3‑1/4”. [500/800]

Six-Piece Collection of English Staffordshire “Flatback” Figures, third quarter 19th century, the tallest, h. 19‑1/4”, w. 8‑1/4”. [500/800]

Fourteen Pieces of Pewter, late 18th to late19th century, including a small German coffeepot, ca. 1810; two large coffeepots, one Leonard, Reed & Barton, Taunton, Massachusetts, ca. 1835, the other unmarked, h. 8‑3/4” to 10‑1/2”; an unmarked Continental fruit bowl; two Dutch/Belgian soup plates; four Continental plates; and four English plates, dia. 9‑1/2”. [450/700]

Three Anglo-Scottish Sterling Silver-Mounted Ram’s Horn Snuff Mulls, first half 19th century, including a large example hallmarked London, 1811‑1812, by John Douglas, with reeded silver collar and band, retaining the chain, the hinged lid with circular silver cartouche, l. 6‑1/4”, and two smaller examples with silver collar and cutwork thistle-mounted cap, one with presentation inscription dated 1846, l. 3” and 3‑1/2”. [350/500]

100 96

Irish Mahogany Hunt Table, the top with rounded ends of two ovoid drop leaves, raised on six chamfered square legs, h. 29‑1/2”, w. 70”, d. 16”, extended d. 46”. [1200/1800]

Queen Anne Walnut Cabineton-Chest, late 18th century, the molded cornice above two doors, each inset with a beveled mirror panel and opening to shelves and small drawers, over a central candle slide, the lower section fitted with three graduated long drawers, all banded, raised on bracket feet, h. 77”, w. 38”, d. 19”. [3000/5000] Illustrated

Chinese Porcelain Dice Bowl, Xuande mark (1426‑1435), and possibly of the period, with a heaped and piled scrolling lotus motif on an ornamented foot, reign mark along the upper lip, the underside unmarked, dia. 11‑5/8”. [1000/1500] Illustrated

101

Large Chinese Blue and White Porcelain Vase, 19th/early 20th century, depicting a court scene with the emperor, the dowager empress and an assembly of courtiers and beauties, now mounted as a lamp, vase, h. 21‑5/8”, overall, h. 29‑3/4”, w. 9”. [350/500]

102

Chinese Blue and White Double-Gourd Vase, with images of sages and immortals, unmarked, h. 12”, dia. 6‑1/2”. [400/700]

103

Chinese Blue and White Moon Flask, the flask covered with a motif of branches and buds, unmarked, h. 11”, w. 8”. [1200/1800] Illustrated

103

Large Chinese Palace Temple Jar, the blue and white porcelain lidded jar with reserves depicting pheasants, magpies, swallows and mynahs with flowers and rocks, the lid with a foo dog knop, a Qing Kangxi mark amidst a pattern of ruyi clouds, h. 63‑1/2”, dia. 24”. [1500/2500] Illustrated

Chinese Blue and White Porcelain Vase, late 19th/ early 20th century, the vase with a bloom and vine motif across the body and shoulder, a Qianlong mark on the underside, h. 16”, dia. 10”. [800/1200]

Pair of Chinese Porcelain Garden Seats, the blue and white drum-shaped seats with aquatic scenes, each with a Kangxi inscription, h. 19”, dia. 15”. [450/700]

Chinese Blue and White Double Gourd Vase, 19th/20th century, decorated with a vine and gourd motif in gradient shades of blue, h. 18”, w. 9”. [400/700]

100

104

Chinese Blue and White Porcelain Vase, 19th/20th century, the vase with a high foot and flared lip, and decorated with a palm frond motif, the underside marked with an apocryphal Hongxi mark, h. 17‑1/4”, w. 8‑1/2”. [700/1000]

105

Pair of Chinese Blue and White Ginger Jars, 19th/20th century, depicting immortals in a garden, the lids with foo dog knops, h. 25‑1/2”, dia. 12‑1/2”. [400/700]

110

106

William and Mary Walnut Highboy, 17th century and later, the banded rectangular top above a case fitted with two short drawers over three graduated long drawers, all with herringbone banding, raised on a stand fitted with a single long drawer, on cup-and-cover supports joined by a shaped stretcher and ending in bun feet, h. 66”, w. 38‑1/4”, d. 22‑1/2”. [1500/2500] Illustrated

107

Queen Anne-Style Mahogany Occasional Table, early 19th century, the demi-lune top with a single ovoid drop leaf and above a frieze fitted with a single end drawer, raised on cabriole legs ending in hoof feet, h. 26‑1/2”, w. 29”, d. 14”, extended d. 25”. [500/800]

110

108

Pair of George III-Style Walnut Commodes, each with a shaped and banded rectangular top above a conforming case fitted with a brushing slide over two small drawers and three long drawers, all banded, raised on bracket feet, h. 29‑1/2”, w. 24‑3/4”, d. 17‑1/4”. [1500/2500]

109

113

Victorian RevivalStyle Mahogany Writing Table, ca. 1900, in the Chippendale taste, the shaped rectangular top with an inset leather writing surface, above a frieze fitted with two drawers, raised on molded cabriole legs ending in foliate toes on casters, h. 29‑1/2”, w. 48”, d. 21‑1/2”. [500/800]

HepplewhiteStyle String-Inlaid Mahogany Server, second quarter 20th century, of diminutive proportions, h. 33‑1/4”, w. 46”, d. 19”. [700/1000]

114

George IIIStyle Mahogany Partner’s Desk, mid-19th century, the rectangular top above a frieze fitted with three drawers to either side, one side also with a pull-out central slide, raised on two pedestals, one fitted with a paneled cabinet door opening to three drawers to either side, the other fitted with a paneled cabinet door opening to three drawers to one side and a slotted interior to the other, raised on plinth bases, h. 30‑1/2”, w. 54”, d. 35‑1/2”. [1200/1800]

110

John Vanderbank (British, 1694‑1739), “Portrait of Mr. and Mrs. Charles Taylor”, pair of oils on canvas, each signed mid left and dated “1726”, 30” x 25”. One presented in a Georgian giltwood and gesso frame, the other unframed. Provenance: Private collection, New Orleans, Louisiana. [5000/8000] Illustrated

112

111

115

Attributed to Gainsborough Dupont (British, 1754‑1797), “Portrait of Colonel Hamilton”, oil on wood panel, unsigned, remnant of old handwritten label en verso, 28” x 23”. Framed. [700/1000] Illustrated

George III Mahogany Chest, fourth quarter 18th century and later, the rectangular top banded and with a molded edge above a case fitted with two short drawers over three graduated long drawers, flanked to either side by fluted uprights, raised on ogeemolded bracket feet, h. 39”, w. 46‑1/2”, d. 22”. [1000/1500]

112

George III-Style Regency Mahogany Bookcase, ca. 1900, the molded and dentillated cornice above three astragalglazed doors, the lower section fitted with three graduated drawers, flanked to either side by a paneled cupboard door, raised on a plinth base, the whole accented with inlaid decorative banding, h. 84‑1/2”, w. 72‑1/2”,d. 17‑1/2”. Provenance: Henry Stern Antiques, New Orleans, Louisiana. [2000/4000] Illustrated

116

George III-Style Mahogany Console Table, ca. 1900, in the Chippendale taste, with a rectilinear top over a figured frieze fitted with a central drawer and a shaped oak leafand acorn-carved rail, raised on cabriole legs with foliate and masque carving, h. 33‑1/4”, w. 61”, d. 25”. [400/700]

111

117

George III-Style Mahogany Cellarette, 19th century, of octagonal form, the hinged lid opening to a metal liner, the body with brass banding and raised on molded square legs, h. 26‑1/4”, dia. 18”. [1200/1800] Illustrated

118

George III Mahogany Tray-Top Tea Table, mid18th century, with shell-carved knees and unusual trifid feet, h. 28”, w. 32”, d. 20‑1/2”. [1200/1800]

119

George III-Style Mahogany Bureau, early 20th century, the slant front with a floral garland inlay in the Adam taste, opening to an interior fitted with a baizelined surface and a variety of drawers and cubbyholes, above four graduated long drawers, raised on bracket feet, h. 41”, w. 44‑1/2”, d. 21‑1/2”. [1000/1500] Illustrated

119

122

Edwardian Giltwood Mirror, first quarter 20th century, in the Adam taste, the oval gadrooned frame decorated with an urn crest trailing sprays of flowers and scrollwork, h. 50”, w. 21‑1/2”. [500/800]

123

Royal Crown Derby Partial Dinner Service in the “Carlton Gold” Pattern, the set comprised of a platter, l. 14‑3/4”, ten dinner plates, dia. 10‑1/2”, ten salad plates, dia. 8‑1/2”, ten soup plates, dia. 8‑1/2”, ten bread and butter plates, dia. 6‑1/4”, and ten cups, h. 2‑1/2”, with ten saucers, dia. 5‑1/2” (sixty-one total pieces). [600/900] Illustrated

117

120

George III-Style Mahogany Demi-lune Side Table, the banded top opening to a larger gaming surface, above a banded and patera-inlaid frieze, raised on tapering square legs ending in spade feet, h. 30”, w. 40”, d. 18”. [1000/1500] Illustrated

121

Pair of English Adam-Style Giltwood Looking Glasses, second quarter 20th century, the cove-molded mirror frames with a lower finial in the form of sheaves of wheat held with a bowknot, the pierced crest with swagged draping supported by an urn of flowers atop a rondel with a classical profile, h. 48‑1/2”, w. 23‑1/2”. [1500/2500] Illustrated

120

123

124

George III Mahogany Cabinet-on-Stand, composed of antique elements, the molded and dentillated cornice above two astragal-glazed doors, raised on a base of shield-carved cabriole legs ending in ball-and-claw feet, h. 77”, w. 49‑1/4”, d. 15”. [2500/4000]

126 121

125

Pair of George III-Style Mahogany Armchairs, early 20th century, in the Adam taste, each with a foliate-carved shield-form back joined by downswept arms to the caned seat, raised on paneled tapering square legs ending in spade feet, h. 37”. [600/900]

126

George II-Style Polychromed and Parcel-Gilt Demilune Side Table, 19th century, in the Adam taste, the top with a polychrome floral swag band and half patera above a garland and patera-painted molded frieze, raised on ribbed tapering circular legs headed by block capitals and ending in foliate ball feet, h. 33”, w. 59‑1/2”, d. 22”. [1800/2500] Illustrated

127 open

129

George III Mahogany Sideboard, fourth quarter 18th century, the shaped and bowed rectangular top above a conforming case fitted with a central drawer over a storage well, flanked to one side by a cupboard door and to the other side by a deep drawer, raised on tapering square legs ending in spade feet, h. 35”, w. 41‑1/2”, d. 22‑1/2”. [800/1200] Illustrated

130

George III-Style Mahogany and Fruitwood Dining Table, the ovoid top banded and with herringbone inlay, and raised on three pedestals, each with a turned baluster-form standard to three splayed cabriole legs ending in pad feet, h. 29”, w. 42”, l. 97”. [600/900]

131

George II Mahogany Cellarette, fourth quarter 18th century, of ovoid form, the hinged lid opening to a metal liner, the body with brass banding and two carrying handles, raised on a conforming dentillated stand to molded tapering square legs on casters, h. 27‑1/4”, w. 22‑1/2”, d. 17”. [1800/2500] Illustrated

132

George III Mahogany and Oak Chest, fourth quarter 19th century, the banded rectangular top with a molded edge and above a conforming case fitted with two short drawers over three graduated long drawers, all banded, raised on bracket feet, h. 43”, w. 42”, d. 21‑1/4”. [700/1000]

133

George III-Style Mahogany Tripod Table, 19th century, the tilting circular top raised on a turned balusterform standard to three splayed cabriole legs ending in pad feet, h. 28”, dia. 23”. [400/700] 127

127

George III-Style Ebonized Secretary Cabinet, 19th century, in the chinoiserie taste, the rectangular top above a conforming case fitted with a drop-front secretary drawer opening to a variety of small drawers and cubbyholes, over two cabinet doors, raised on bracket feet, the whole elaborately decorated with intricate landscape scenes in gilt and polychrome, h. 46‑1/4”, w. 47”, d. 22‑1/2”. [3000/5000] Illustrated

128

Suite of Eight George III-Style Mahogany Dining Chairs, comprised of two armchairs and six sidechairs, each with a shaped crest above a pierced foliate-carved splat, the padded seat raised on cabriole legs ending in ball-and-claw feet, h. 40‑1/4”. [600/900] Illustrated 128

134

Chinese Blue and White Flask, late 19th/early 20th century, the moon-form flask with handles, decorated with a flowering vine motif, a Qianlong reign mark on the underside, h. 17‑1/2”, w. 12”. [1500/2500] Illustrate

129

134

131

135

Two Chinese Jardinieres, 19th/20th century, the two blue and white drum-shaped jardinieres depicting lush natural settings, h. 13”, dia. 19”. [700/1000]

136

Chinese Blue and White Porcelain Bowl, with a scalloped edge and depicting the Seven Sages of the Bamboo Grove, the interior decorated with a pair of cranes, h. 6‑1/4”, dia. 14‑1/4”. [400/700]

137

Twenty-Piece Lot of Chinese and Southeast Asian Export Wares, 19th century and earlier, including five large plates, one platter, twelve bowls, one jar with lid and one jar without, the tallest, h. 8‑1/2”, the largest, dia. 18‑1/2”. [600/900] Illustrated

138

144

Chinese Blue and White Vase, 20th century, the small baluster-form vase depicting a court procession with nobles and beautiful women on a terrace, the underside marked with a Kangxi mark, h. 8‑1/2”, dia. 3‑1/2”. [400/700]

139

Chinese Porcelain Inkstone, 19th/20th century, the blue and white square inkstone with a linear pattern and motif of flowers and moths, and reserves with images of small boys at play, the underside marked with a blue six-character Kangxi mark, h. 3‑3/4”, w. 7”, d. 7”. [500/800]

140

Chinese Blue and White General Jar, 18th/19th century, the lidded jar with a depiction of scholars meeting in a landscape, a foo dog knop on the lid, unmarked, h. 28”, dia. 13‑1/2”. [1800/2500] Illustrated

141

Chinese Blue and White Porcelain Tree Tub on Stand, decorated with foo dogs and deer on a ground of clouds, on a hardwood stand, h. 28‑1/2”, dia. 20”, including stand. [1200/1800]

142

Chinese Blue and White Cachepot, 19th/20th century, the pot depicting scholars playing chess and viewing a landscape painting, unmarked, h. 5‑1/2”, dia. 6‑3/4”. [400/700]

140

143

New England Chippendale Mahogany and Cherry Serpentine Chest, fourth quarter 18th century, resting on ogee bracket feet with bold spurs, the mahoganyveneered drawers line inlaid and set with batwing brasses, under a molded top, with white pine secondary, h. 36”, w. 39”, d. 20‑1/2”. [1500/2500] Illustrated

144

George III Mahogany Breakfront Bookcase, early 19th century and later, with a molded cornice above four astragal-glazed doors, the lower section fitted with a butler’s desk featuring a satinwood interior and leather writing surface, h. 96‑1/2”, w. 84”, d. 22”. [2500/4000] Illustrated 146

148

146

George III Irish Sterling Silver Two-Handled Cup, hallmarked Dublin, no date letter but mid-18th century, the maker’s mark rubbed, of traditional form with molded banding and acanthus-crested handles, h. 4‑7/8”, dia. 3‑3/4”, w. 6‑1/2”, 12.41 t. oz. [1400/1800] Illustrated

147

George III Irish Sterling Silver Sugar Basin, hallmarked Dublin, no date letter but third quarter 18th century, by Samuel Walker, of lobed hemispherical form, with everted acanthus rim and decorated with repousse roses, raised on three lion’s masque-crested paw feet, h. 3”, dia. 5‑1/2”, 5.66 t. oz. [600/900]

148

Fine George III Sterling Silver Hot Water Urn, hallmarked London, 1781‑1782, by Charles Wright (free 1754, died 1815), the ovoid body engraved with foliate ovolo banding, with acanthus-crested arched handles, tall waisted lid, ivory branch and plinth base with spherical feet, with narrow beaded banding throughout, engraved with an elaborate armorial (Watson?), h. 23‑1/4”, w. 14”, d. 11‑1/4”, 117.03 t. oz. [12000/18000] Illustrated

149

145

George I Irish Sterling Silver Waiter, hallmarked Dublin, 1725‑1726, by Robert Calderwood, of circular form, with scalloped and everted lattice-pierced rim and beaded border, raised on three pierced palmette feet, with later engraved gartered crest of Stewart, Viscount Londonderry, presumably for Robert Stewart, 2nd Marquess of Londonderry, K.G. (1769‑1822), dia. 7‑3/4”, 12.99 t. oz. [1400/1800]

Four English Sterling Silver Decorative Berry Spoons, including a George II “Hanoverian” example, hallmarked London, 1751‑1752, by Ebenezer Coker and a George III Hester Bateman “Old English” pair, hallmarked London, 1780‑1781, all with later decoration, and a Queen Victoria Diamond Jubilee souvenir example, hallmarked Birmingham, 1896‑1897, by Elkington & Co., l. 8” to 8‑3/4”, 9.25 total t. oz. [350/500] The Diamond Jubilee example, evidently commissioned by the Worshipful Company of Vintners whose arms appear on the reverse, is illustrated in the recent book by Richard & Susan Wales, Souvenirs from the Diamond Jubilee of Queen Victoria (Milton Keynes: Author House, 2013), pp. 170‑171, fig. 152.

150

153

William IV Old Sheffield Plate Wine Cooler, second quarter 19th century, of lobed campana form, with robust acanthus-mounted handles and banding, the collared liner a replacement but of the period, h. 10”, w. 9‑1/4”. [400/700]

154

Eight Pieces of George IV and Later Sterling Silver Flatware, including two fish slices, one hallmarked London, 1821‑1822, by William Chawner, in the “Fiddle, Shell and Thread” pattern, the other London, 1829‑1830, by Jonathan Hayne, in the “Fiddle” pattern, both with pierced scimitar-shaped blades, a “King’s” pattern tablespoon, hallmarked London, 1826‑1827, by Richard Britton, with union shell heel, and five George V “King’s” pattern demitasse spoons, hallmarked Sheffield, 1919‑1920, by Joseph Rodgers & Sons, with diamond point heel, l. 4‑3/8” to 12‑1/2”, 18.32 total t. oz. [350/500]

150

George III Sterling Silver Salver, hallmarked London, 1777‑1778, by Robert Makepeace and Richard Carter, of serpentine-lobed circular form with beaded rim and four claw-and-ball feet, engraved with the arms of Elfed, dia. 13‑1/2”, 37.80 t. oz. [3000/5000] Illustrated

155

151

George III Sterling Silver Fish Slice, hallmarked London, 1779‑1780, by Charles Aldridge and Henry Green, with threaded handle, the spatulate blade pierced with scrolls and fish, l. 12‑1/2”, filled handle. [300/500]

152

Set of Four George III Sterling Silver Candlesticks, hallmarked Sheffield, 1777‑1778, by John Winter & Co., in the neoclassical taste, each with a waisted standard of square section above a conforming plinth base and surmounted by a vasiform nozzle with detachable bobeche, the whole decorated with neoclassical masques, dolphins, laurel swags, and ovolo, leaf-and-dartand beaded banding, h. 12”, w. 5”, weighted. [800/1200] Illustrated The mark of John Winter & Co. was the very first mark entered in the Sheffield Assay Office register upon its inception in 1773. This is not surprising in that Winter, along with his associates John Parsons and Charles Hall, was instrumental in getting the office opened in Sheffield in order to accommodate the growing silver trade there. Winter & Co. had very nearly a monopoly on the candlestick trade, and their output - both sterling and fused plate - was of such superior quality that their wares were frequently overstamped with the marks of the finest London makers. Winter retired from the partnership around 1782, though he remained a guardian of the Sheffield guild (which he had been from its beginning) until his death on February 12, 1792.

152

155

Twenty-Four Pieces of George IV and Later Sterling Silver “Hourglass” Flatware, hallmarked London, most 1829‑1831, by George Burrows II, including eleven dinner forks, l. 8‑1/4”, eleven tablespoons, l. 8‑3/4”, bow-style sugar tongs, l. 5‑3/4”, and a butter knife, l. 7‑5/8”, three of the forks marked 1823‑1824, by Eley & Fearn, and five of the spoons marked 1859‑1860, by Chawner & Co., 80.63 total t. oz. [1500/2500] Illustrated

158

156

Fifty-Eight Pieces of English and American “King’s” Shape Flatware, early to late 19th century, the fifty English pieces variously hallmarked 1805‑1889 by makers such as Eley & Fearn, Solomon Hougham, Richard Pearce, William and Mary Chawner and Lias & Son, and in the “King’s”, “Queen’s”, “Hourglass” and “Rosette” patterns, with eight American pieces by Tiffany, Bailey Banks & Biddle and F. W. Smith, four pieces with monogram or crest, l. 5‑3/4” to 10‑3/4”, 75.62 total t. oz. (weighable silver), presented in a fitted wooden case, 9” x 11‑1/4” x 15”. Detailed list available on request. [2000/4000]

157

Two Pieces of English Silverplate, including a William IV Old Sheffield Plate hot water jug, of ovoid form with engraved rococo and applied vintage decoration, engraved with the crest and motto of Maxwell of Calderwood, h. 11‑1/2”, and a George VI electroplate wine cooler by Viners Ltd., Sheffield, of bucket form with gadroon calyx and ringed lion’s masque handles, h. 10‑1/2”. [350/500]

158

Good Victorian Sterling Silver Fruit Bowl, hallmarked London, 1898‑1899, by Garrard & Co., in the rococo taste, the bulbous oval body with shaped rim and decorated with robust chased and applied rocaille scrolls, raised on four feet en suite, h. 4‑1/2”, l. 8‑1/2”, w. 6‑1/4”, 28.36 t. oz. [2500/4000] Illustrated 159

159

Edwardian Silverplate Centerpiece, first quarter 20th century, by T. Land & Son, Sheffield, with a central tripodal standard above a circular base with conforming projections above scroll feet, fitted with a diamond-cut glass dish and trumpet vase of later date, h. 19‑1/2”, dia. 11‑1/4”. [350/500] Illustrated

161

160

163

Two Pieces of Victorian Silverplate, fourth quarter 19th century, Sheffield, including a Culf & Kay, swinghandle footed cake basket, design registered August 4, 1876, decorated with embossed and acid-engraved flowers and scrolls, h. 9‑3/4” (with handle), dia. 11‑1/8”, and a Philip Ashberry & Sons Neo-Grec tea caddy, of flatsided circular form, with ringed maiden’s-masque handles and acanthus crested feet, h. 8‑1/4”, w. 8‑1/2”. [350/500]

162

George V Silverplate and Glass Whiskey Barrel, first quarter 20th century, by John Grinsell & Sons, Birmingham, the diamond- and ridge-cut barrel with silverplate bands, frame and spigot, h. 10‑1/4”, l. 10”, w. 5‑5/8”. [700/1000] Illustrated

163 161

Two Victorian Sterling Silver-Mounted Cut Glass Claret Jugs, fourth quarter 19th century, the first hallmarked London, 1885‑1886, by Hukin & Heath, with an ovoid diamond-cut glass body and flat-lidded cylindrical silver collar with angled handle, h. 8‑1/2”, the second hallmarked Birmingham, 1892‑1893, by T. Wilkinson & Sons, with a tapering cylindrical cane-cut glass body and gadrooned domed silver lid with cylindrical and wire-andpost handle, the collar engraved with the crest of Heacock of Newington, h. 11‑3/4”. [350/500] Illustrated previous page 164

Edwardian Cased Twenty-Four-Piece Sterling Silver Gilt Dessert Set, hallmarked Sheffield, 1902‑1903, by Charles James Allen and Sidney Darwin, in the Hanoverian taste, including twelve each dessert knives, l. 7‑3/4”, and forks, l. 6‑3/4”, with filled shell-end round pistol grip handles, presented in the original “ministerial red” fitted case, 18‑1/4” x 10”. [1500/2500] Illustrated

164

165

164

Good Victorian Ivory and Silverplate Dessert Service, design patent 1881, by Mappin & Webb, Sheffield and London, comprising twelve each fruit forks and knives with engraved close plate blades/tines and carved pointed and reeded ivory handles, with a pair of nutcrackers en suite and a pair of electroplate berry spoons, presented in a wedge-shaped burl walnut case with two drop-down panels opening to reveal the indigo velvet-lined fitted interior, overall, h. 13‑1/2”, l. 12”, w. 6”. [350/500] Illustrated

166

Two Sterling Silver Picture Frames, 20th century, including a plain, ring-backed rectangular example by Ryrie Bros., Toronto, ca. 1920, 10‑1/2” x 7‑1/4”, and a pierced rococo bell-shaped easel-back example, hallmarked London, 1992, by Keyford Frames Ltd., 13” x 10‑1/4”. [450/700]

167

Louis XVI Bronze Dore and White Marble Mantel Clock, fourth quarter 18th century, set on a marble base, the pierced body decorated with neoclassical bas-reliefs on tooled gilt foliage, the dial with an enamel chapter ring and a sunburst finial with a neoclassic al masque, mounted with a silk string, h. 17‑1/4”, w. 11”, d. 3‑1/2”. [800/1200] Illustrated

167

165

Rare Set of Six George V Silverplate Table Garnitures, first quarter 20th century, by John Turton & Co., Sheffield, retailed by James Inglis & Sons, York, each in the form of a tazza fruit dish centered by a trumpet vase, with gauffered rims, h. 14‑1/4”, dia. 11‑1/2”. [400/700] Illustrated

168

169

Louis XVI-Style Boiserie Panel with Clock, fourth quarter 19th century and earlier, French, the clock signed Charles Baltazar, the panel decorated with trophies of lovebirds and flowers hung from bowknots, and masques of comedy and tragedy, h. 44‑1/4”, w. 22‑3/4”. [2500/4000] Illustrated previous page The panel is purported to come from a Parisian opera house. While the panel is later, the clock is signed “Charles Baltazar a Paris”, who worked from about 1717 to 1774.

170

Louis-Philippe Bronze-Mounted Mahogany Mantel Clock, second quarter 19th century, of casket form in the Restauration taste, set with a silk string suspension movement, h. 19”, w. 14‑1/2”, d. 6‑3/4”. [500/800] Illustrated

171

French Empire-Style Gilt-Bronze and Marble Mantel Clock, fourth quarter 19th century, the mottled green marble case set with bronze ball feet, pierced bronze appliques of swans, laurel leaves and putti decorate the base, the central top portion set with a stippled archtop bronze plate, the engine-turned clock face with an enameled chapter ring, allegorical figures of Hope in the form of cupids holding anchors flank the dial, and a caduceus with crossed cornucopias of flowers serves as the finial, signed “AD Nougin” on clock works, h. 10‑1/2”, w. 9‑1/4”, d. 3”. [400/700] Illustrated

171

169

French Gilt-Bronze Wall Clock, ca. 1900, in the Louis XVI-style, retailed by Black, Starr and Frost, in a round case held by a bronze bowknot, the dial signed by the retailer and “France”, h. 30”, w. 11‑1/2”, d. 4‑1/4”. [1200/1800] Illustrated

172

Napoleon III Gilt-Bronze Mantel Clock, third quarter 19th century, with a figural crest depicting Sir Walter Raleigh, set with Martie et Cie works, the dial marked by the retailer, Courtinat a 153 Oudin, h. 16”, w. 11‑1/2”, d. 3‑3/4”. [600/900] Illustrated

173

Napoleon III Neo-Grec Bronze Clock, third quarter 19th century, decorated with a bust of Roman Emperor Septimius Severus, resting on paw feet, and mounted with anthemion-trimmed leopard’s head handles grasping ring pulls, altered works, h. 22‑1/4”, w. 13”, d. 7‑1/2”. [800/1200] Illustrated

174

170

Monumental Napoleon III Marble and Patinated Metal Figural Clock, third quarter 19th century, the clock, set with a marked Jean Vincenti and Co. movement, depicting Venus clipping Cupid’s wings, mounted on a black marble base, h. 35”, w. 22”, d. 13”. [2000/4000] Illustrated

175

Neo-Grec Marble and Bronze Mantel Clock, third quarter 19th century, retailed by Gustave Herter, New York, the dial marked “G. Herter, New York”, the black marble base inlaid with Brocatelle de’Espagne marble, supporting a bronze urn decorated with bacchanalian scenes, with winged lion handles, h. 24”, w. 8‑1/4”, d. 8‑1/4”. [1000/1500] Illustrated

174 173

176

Napoleon III Bronze and Marble Mantel Clock Depicting Venus, third quarter 19th century, mounted with a figure after Jean-Jacques Pradier (Swiss, 1790‑1850), the marble clock, with works signed by Marti, decorated with bas-relief classical plaques on either side of the enamel dial and depicting Venus seated with a mirror, signed “J. Pradier”, h. 19”, w. 14‑3/4”, d. 7‑3/4”. [500/800]

172

175

177

French Belle Epoque Gilt-Metal and Porcelain Mantel Clock, fourth quarter 19th century, the case with a scrollmolded base and sides molded with dolphins and a masque, the body set with a pinkground porcelain plaque depicting a couple, the pinkground dial with a Roman numeral chapter ring and a landscape center, a flaming torch bound with a garland serves as a finial, the works marked “CJCC”, h. 20‑1/2”, w. 11‑1/2”, d. 4‑1/2”. [400/700]

178

German Renaissance Revival Gilt-Bronze and Porcelain Mantel Clock, fourth quarter 19th century, the porcelain body based on a Chinese sang de boeuf vase, mounted with gilt-bronze winged caryatid handles and a molded urn finial, the works signed “Lenzkirch”, h. 19”, w. 8‑1/2”, d. 7‑1/2”. [500/800] Illustrated

179

178

182

French-Style Polychromed Bombe-Form Grandmother Clock, early 20th century, the movement signed “Marti”, h. 68‑1/4”, w. 17”, d. 8”. [450/700] Illustrated

180

179

Courvoisier Freres Gilt-Bronze Presentation Clock, 20th century, Swiss, in a Louis XVI-style case, in a gilt-stamped leather presentation box with an easel-back, the enamel dial marked “Courvoisier Freres”, h. 7‑3/4”, w. 5‑1/2”, d. 1‑1/4”. [400/700] Illustrated

180

Continental Breguet et Fils Enamel and Silverplate Boudoir Clock, fourth quarter 19th century, the silverplate case set with “jewels” and highlighted with enamel, the enamel dial decorated with a harbor scene, the dial and works signed, h. 6‑3/4”, w. 4”, d. 2‑1/2”. [4000/7000] Illustrated

181

Belle Epoque Gilt-Brass Sedan Chair-Form Carriage Clock, ca. 1900, molded with scrollwork and diapering, and set with an enamel dial, h. 8‑1/2”, w. 7”, d. 2”. [350/500]

187

186

Elliott, London, Mahogany Five-Tube Tall Case Clock, fourth quarter 19th century, featuring Westminster chimes on the quarter hour, h. 101”, w. 26‑1/2”, d. 16”. [3500/5000] Illustrated

188

184

Three-Piece French Renaissance Revival Bronze Mantel Garniture, fourth quarter 19th century, comprised of a clock and a pair of five-light candelabra, the clock inspired by early lantern clocks with a pierced bronze case and works marked “G. Gelliera, Paris”, h. 19”, w. 9”, d. 9‑3/4”, the pierced candelabra decorated en suite, h. 19”, dia. 11‑1/2”. [1500/2500]

189

French Bronze and Pink Marble Neoclassical Clock Set, first quarter 20th century, comprised of a clock, h. 15”, w. 8‑1/2”, d. 4”, and a pair of vasiform candlesticks, h. 10”, w. 5”, d. 3”. [300/500]

187

183

George III Oak and Brass-Mounted Tall Case Clock, ca. 1800, having a paint-decorated face with various castle and European village scenes, the movement featuring time and strike along with a calendar wheel, h. 90”, w. 20‑1/2”, d. 10‑1/2”. [500/800]

184

Georgian Inlaid Mahogany Wheel Barometer by Antonio Corti (fl. 1833‑1845), Scottish, the instrument includes a thermometer and hydrometer, below a swan’sneck pediment, signed “A. Corti, Glasgow” on the leveling plate, h. 38‑1/2”, w. 10”. [400/700] Illustrated

185

English Regency-Style Onion-Top Wheel Barometer, third quarter 19th century, the line-inlaid mahogany case set with a level and a thermometer, h. 37‑1/4”, w. 9‑1/2”. [400/700]

186

George III Mahogany Tall Case Clock, ca. 1800, with a two-weight brass movement, the face inscribed “E. Drake, HALIFAX”, h. 95”, w. 27”, d. 10‑1/2”. [1500/2500] Illustrated

190

191

French Gilt-Bronze and Porcelain Three-Piece Clock Garniture, ca. 1900, in the Louis XIV taste, the exuberant clock with a pierced fret, open columns and a gilt-swagged central tablet framing a porcelain plaque depicting a troubadour serenading a woman, the porcelain dial decorated with a landscape, h. 24”, w. 13”, d. 8‑1/4”, the matching five-light candelabra with scroll feet supporting cylindrical bases inset with porcelain plaques, h. 26‑3/4”, w. 12‑1/2”, d. 12‑1/2”. [1800/2500] Illustrated

191

Brussels Verdure Tapestry, 17th century, the finely woven silk and wool tapestry with rich greens and gold, and a floral vine and bird border, 7’ 8” x 9’ 10”. [3000/5000] Illustrated

192

Fine Flemish Handwoven Tapestry, 17th century, depicting the first meeting of Alexander the Great and Roxana, the figures set within a lush verdant landscape, pomegranate vine and acanthus leaf border, 9’ 4” x 13’ 7”. [15000/25000] Illustrated

193

Brussels Handwoven Tapestry, 17th century, with a lush lake landscape in sage, olive and cream, a church in the background, with a floralmotif border, 58” x 87”. [3000/5000] Illustrated

193

194

French Woven Tapestry, 20th century, depicting peasants in a garden, with a floral and bow border, 70” x 49”. [500/800]

190

192

195

Flemish Verdure Tapestry, 17th century, the finely woven silk and wool tapestry depicting ducks on a pond and a chateau in the background, and with a floral and urn border, 7’ 10” x 8’ 10”. [10000/15000] Illustrated

196

Brussels Verdure Tapestry, 17th century, the finely woven silk and wool tapestry depicting an exotic bird in a tree, set within a lush landscape, and with a palmette and volute border, 4’ x 9’ 2”. [3000/5000] Illustrated

195

196

202

Pair of Painted Wooden Floor Standing Pricket Sticks, of Renaissance inspiration, painted with distressed skulls and crossbones on tapered wooden standards, h. 40”, w. 9‑1/4”, d. 9‑1/4”. [900/1200]

200

197

English Oak Four-Post Canopy Bed, fourth quarter 19th century, in the Elizabethan style, with a paneled headboard and footboard, and large barley-twist posts supporting the canopy, h. 95”, inside w. 47”, l. 70”, outside, w. 55‑1/2”, l. 80‑1/2”. [1500/2500] Illustrated

198

Italian Renaissance-Style Carved Walnut Bibliotheque, late 19th/early 20th century, h. 92”, w. 64”, d. 24”. [2000/4000]

199

Italian Renaissance-Style Carved Walnut Bibliotheque, late 19th/early 20th century, h. 92”, w. 64”, d. 24”. [2000/4000] Illustrated

200

Italian Neoclassical-Style Bronze Nine-Light Chandelier, first quarter 20th century, decorated with classical masques intertwined with serpents, and mounted with a flame finial, h. 29‑1/2”, dia. 24”. [2500/4000] Illustrated

201

Italian Grand Tour Polished Bronze Oil Lamp, fourth quarter 19th century, after the Antique, now electrified, on a ratcheted hanger, h. 36”, dia. 10‑1/2”. [500/800]

199

206 209

203

RenaissanceStyle Ebony, Hardwood and Glazed Jewel Coffer, mid-19th century, the hipped hinged lid and sides with beveled glass panels, the valanced apron raised on projecting paw feet, the interior lined in tufted ivory silk, h. 7”, w. 10‑1/4”, d. 7‑1/2”. [400/700]

Continental Travertine and Iron Conservatory Table, early 20th century, the rectangular travertine top with a molded edge and raised on scrolling end supports ending in splayed feet, h. 31”, w. 76”, d. 40”. [800/1200] Illustrated

207

Pair of Italian Majolica Vases in the Renaissance Style, the hand-painted pottery vases decorated with dragons and caryatids, and mounted with serpent-form handles terminating in molded winged masques, marked “Made in Italy”, h. 26‑1/4”, w. 17”. [900/1200] Illustrated

208

Fifteen-Piece Collection of French Faience, late19th/ early 20th century, including a clock in the rococo taste, a butter bell, a crocodile-form figural jug and various other pieces of pottery, h. 2” to 11‑3/4”. [900/1200]

207

204

Unusual Continental Jugendstil Patinated and GiltMetal Chandelier, first quarter 20th century, decorated with sculpted gilt-metal cherries, a copper pear and grapes, the cylindrical, hammered metal fixture accented with leaves intertwined with two groups of three sockets, suspended from an en suite canopy with matching chains, h. 27‑3/4”, dia. 23”. [800/1200]

205

Octagonal Mirror of Venetian Inspiration, divided into beveled segments and decorated with metal medallions, h. 39‑1/2”, w. 32‑1/4”. [350/500]

209

206

Rare Venetian Faience Mirrored Sconce, fourth quarter 19th century, probably Bassano di Nove, the Baroquestyle pottery frame molded with a lower masque and a shell finial, decorated with handpainted orange, blue and green sprigging, the mirror engraved with the image of a male dancer, mounted with a later gilt-metal two-arm candleholder, h. 27‑1/2”, w. 14‑3/4”. [400/700] Illustrated

210A

210 five-piece suite

Continental Gilt-Brass-Clad Plaster and Carved Ivory Sculpture of a Seated Woman, ca. 1900, the figure dressed in Renaissance garb, h. 12‑1/2”, w. 7‑1/4”, d. 5‑1/4”. [1800/2500] Illustrated

211

Continental Renaissance Revival Gilt-Brass Chalice, third quarter 19th century, molded with medallions alternating with flowers and liturgical emblems, h. 10‑1/4”, dia. 6‑1/4”. [450/700]

212

Pair of Gilt-Bronze Figures of King Arthur and King Theodoric, after Peter Vischer the Elder (German, 1455‑1529), now mounted as lamps, on giltwood and verde antique marble bases, figure, h. 13”, overall, h. 21”, w. 4”, d. 4”. [400/700]

213

210A

Continental Decorative Painting of Fishermen within a Pastoral Landscape, third quarter 19th century, oil on canvas, numbered “246” lower left, 24” x 36”. Framed. [800/1200] Illustrated

214

William Rickarby Miller (American/New York, 1818‑1893), “West Point”, oil on canvas, signed and dated lower right “W. R. Miller, 1879”, 9” x 7”. Presented in a Beaux-Arts-style giltwood exhibition frame. [700/1000]

210

Five-Piece Italian Walnut Bedroom Suite, in the Renaissance Taste, second quarter 20th century, consisting of a bed, armoire, dresser and a pair of beside tables, the bed with a high headboard with molded cornice over a paneled back, the footboard centered by carved addorsed putti, the whole raised on shaped feet. Provenance: Marla Maples and Tiffany Trump. Full suite details available online and by request. [15000/25000] Illustrated

213

219

Rare Jeweled Bohemian Cut-Glass Dish, ca. 1900, the bateau-form dish, cut in the “zipper” pattern, decorated with scrolled metal mounts, terminating in cabochons, mounted with garnets, with additional garnets adorning the ring-form base on ball feet, h. 2‑1/4”, d. 3‑1/5”, l. 6”. [3500/5000] Illustrated

220

Continental Bronze Group of Aeneas and Queen Dido, first quarter 20th century, h. 19‑3/4”, w. 17‑1/2”, d. 12”. [1200/1800] Illustrated

221

Continental Patinated Metal Sculpture of “Zingara”, first or second quarter 20th century, after Arthur Waagen (French/German, active 1869‑1910), with cast signature at back of base, h. 32‑1/2”, w. 9”, d. 10”. [600/900] 217

215 220

215

Pair of Continental Robustly-Carved Hardwood Brackets, fourth quarter 19th century, carved with birds, flowers and leaves, h. 15‑1/4”, w. 11‑1/2”, d. 10‑1/4”. [800/1200] Illustrated

216

Continental Fruitwood Coffer, early 19th century, possibly Iberian, the rectangular top hinged and opening to a storage space, the front centered by a shield-form carving flanked by scrolling vine and foliate patterns, raised on casters, h. 28‑1/2”, w. 58”, d. 22”. [600/900]

217

Circle of Giacomo Guardi (Italian, 1764‑1835), “Santa Maria Della Salute”, oil on wood panel, unsigned, 5‑1/2” x 8”. Presented in a shadowbox frame. [3000/5000] Illustrated

218

Manner of Francesco Guardi (Italian, 1712‑1793), “Venice, The Grand Canal”, fourth quarter 20th century, oil on canvas, illegibly signed lower right, 24” x 47‑1/2”. Framed. [400/700]

219

222

Italian Baroque-Style Wrought Iron and MarbleTop Conservatory Table, late 19th/early 20th century, featuring an exceptional cut of thick Breche du Benou Jaune marble, h. 32”, w. 82‑1/2”, d. 35‑1/2”. [4000/7000] Illustrated

223

Pair of Italian Renaissance Revival-Style Bronze Ewers, fourth quarter 19th century, each with musical putti decorating the body and a putti bust decorating the scrolled handle, which terminates in a masque, h. 15‑3/4”, w. 6‑1/4”, d. 3‑3/4”. [500/800]

224 225

Continental Black Metal Art Nouveau Five-Light Chandelier, ca. 1900, the conical base, with a frosted glass insert, molded with applied vines and berries, concealing a socket, with four molded Art Nouveau lights extending downward from the upper edge of the base, mounted with frosted shades, h. 40”, dia. 21‑1/2”. [450/700]

226

222

225

Italian Marble Statue, ca. 1900, depicting a girl holding flowers with her lifted hem, h. 30”, w. 11”, d. 9”. [3500/5000] Illustrated

226

Royal Copenhagen Full Lace Three-Piece Garniture Set, ca. 1923, Danish, the set comprised of a pair of pierced, figural six-light candelabra, with the “1923” mark, h. 21‑1/2”, dia. 11‑1/4”, and a pierced, figural centerpiece bowl, with the mark “1893‑1922”, h. 15‑1/4”, dia. 11‑1/4”. [4500/7000] Illustrated

227

Italian Painted and Parcel-Gilt Mirror, second quarter 20th century, in the Venetian taste, the pierced crest above a frame carved with gilt leaves, h. 49‑3/4”, w. 24‑1/2”. [350/500] Illustrated

228

Italian Giltwood, Polychrome and Marble-Top Side Table, early 19th century and later, the rectangular marble top above a paneled frieze with a central garland-carved panel and corner dentillated Ionic capitals, raised on fluted tapering circular legs ending in foliate toes, h. 30”, w. 42‑1/2”, d. 22”. [1500/2500] Illustrated

229

Italian-Style Giltwood Mirror in the Baroque Taste, fourth quarter 19th century, the molded frame with scrolled, carved corners holding the mirror plate sides, now slightly patinated, h. 40‑1/2”, w. 34‑1/2”. [1000/1500] Illustrated

230

Continental Bronze Eight-Light Chandelier in the Dutch Baroque Style, second quarter 20th century, the ball-form standard holding scrolled candle arms and terminating in a caryatid-molded chain support, h. 52‑1/2”, dia. 30‑1/2”. [400/700]

229

227

231

Circle of Sir Anthony van Dyck (Flemish/British, 1599‑1641), “Portrait of a Commander Holding a Ring, Groom and Horse in Background”, oil on canvas, unsigned, 86” x 52‑3/4”. Presented in a 19th-century carved giltwood frame. Provenance: Estate of Hugh Richard Arthur Grosvenor, 2nd Duke of Westminster, England; Sotheby’s London, 1959 as lot 70; Collection of an American lady; Private collection, Texas. [30000/50000] Illustrated

237

233 232

Pair of European Bronze Signal Cannons on Carriages, probably 19th century, composed with seamed construction, h. 7”, l. 18‑1/2”, barrel, l. 13‑1/2”, with 11/16” bore. [1200/1800]

Continental Iron and Horn Short Sword, third quarter 19th century, the horn grip carved in the Gothic taste, the iron pommel, scabbard, cross-guard and counter-guard decoratively etched, with a double-edged straight blade having a single, narrow fuller, overall, l. 24‑1/2”, blade l. 18‑7/8”. [350/500]

234 234

Italian Parcel-Gilt and Paint-Decorated RococoStyle Mirror, ca. 1900, in the Venetian taste, the blackpainted mirror frame trimmed in gilt and painted with gilt flowers and crosshatching, h. 23‑1/2”, w. 14‑1/4”. [500/800] Illustrated

235

Italian Ebonized, Parcel-Gilt and Pietra Dura Occasional Table, early 20th century, the rectangular top with a central sunburst inlay and like corner accents, raised on four paneled scrolling supports joined by a floral patera stretcher and ending in splayed legs to scrolled toes, h. 29‑1/2”, w. 26”, d. 17‑1/4”. [1500/2500] Illustrated previous page

236

Italian Giltwood and Faux-Marbre Side Table, 19th century, the shaped faux-marbre top above a conforming frieze with incised diamond patterns and centered by a carved shield, raised on heavily scrolled legs joined by an urn-centered stretcher and ending in foliate scrolled feet, h. 36‑1/2”, w. 50”, d. 20”. [1200/1800]

238

French Malachite and Gilt-Bronze Jewel box, third quarter 19th century, supported on gilt-bronze anthemionform feet, with a carefully constructed bezel and hinge on the lid, lined with velvet, h. 5”, w. 10‑3/4”, d. 6‑1/2”. [4000/7000] Illustrated

239

Pair of Italian Polychrome Sidechairs, late 19th century, probably Florentine, each with a domed crest above a pierced baluster-form splat, the padded seat raised on cabriole legs ending in pad toes, the whole with gilt accents and delicate floral designs, h. 38”. [450/700]

242

237

Italian School (Fourth Quarter 17th/First Quarter 18th Century), “Floral Still Life in an Urn”, pair of oils on canvas, both 28” x 23”. Each presented in a hexagonal polychrome and parcel-gilt frame. [4000/7000] Illustrated previous page

238

240

Italian Walnut Refectory Table, 17th century, with restorations, the long plank top raised on three shaped supports, joined to the top by scrolling iron stretchers and ending in shaped toes, h. 30‑3/4”, w. 25‑3/4”, l. 113”. [5000/8000] Illustrated

241

Three Carved Hardwood Walking Sticks, including two Italian examples, a rabbit-headed stick and another depicting a hunting dog carrying the catch, h. 36”, and an Asian dragon-headed example, h. 37”. [400/700]

242

Royal Vienna-Style Hand-Painted Liquor Jug, ca. 1900, probably Dresden, the hand-painted reserve panel depicting a monk relishing a glass of white wine, after Eduard Theodor Ritter von Grutzner (German, 1846‑1925), “Die Feinschmecker”, identified on the base and marked with an unidentified bindenschild, and a gilt flower decorator’s mark, h. 10”, dia. 4‑3/4”. [700/1000] Illustrated

243

Group of Four Russian Icons, 19th century, consisting of two examples with brass rizas, one depicting St. Simeon of Verkhoturye, and the other the Madonna and Child, and two painted wooden icons, one depicting the Madonna and the Baby Jesus, and the other St. Anne with the Virgin Mary, h. 7‑1/2” to 12‑1/4”. [800/1200]

244

Two Russian Icons, fourth quarter 19th century, each with a brass riza, one depicting the Madonna and Child, and the other depicting Nicholas Thaumaturge, h. 12‑1/2”, w. 10”. [450/700]

245 245

245

Russian Ivory Icon of the Great Feasts, 19th century, the ivory plaque carved in bas-relief with the traditional iconography of Easter surrounded by the Twelve Great Feasts, each with inscribed legend (translated on a paper label on the underside), sight 6‑7/8” x 5‑1/8”, presented in a cheval-style ebonized wood frame with plinth base, h. 10‑1/4”, w. 8‑1/2”, d. 3‑1/2”. [1000/1500] Illustrated The large central image here depicts the Resurrection in celebration of Easter: Feast of Feasts and the holiest day of the Orthodox calendar. Surrounding are depictions of the lesser Twelve Great Feasts which celebrate events both before and after Easter, eight in the life of the Lord and four in the life of the Theotokos (Mary, Mother of God). Clockwise from upper left: The Nativity of the Theotokos, The Presentation of the Theotokos, The Annunciation, The Nativity of Christ, Theophany (The Baptism of Christ), The Transfiguration, Pentecost, The Exaltation of the Cross, The Dormition of the Theotokos, The Ascension of Christ, The Entry of Christ into Jerusalem (Palm Sunday) and The Presentation of Christ at the Temple. The depiction of Pentecost here is an iconographical variant stemming from the Orthodox calendar’s celebration of Pentecost and Trinity Sunday on the same day rather than one week apart as in the Roman calendar. Rather than the traditional icon of Pentecost - the descent of the Holy Spirit upon the Apostles, who surround the allegorical figure of Kosmos - here we have the icon of Old Testament Holy Trinity (more properly called The Hospitality of Abraham, after the early 15th-century depiction of Genesis 18:1‑15 by St. Andrey Rublev).

249

Carved, Gessoed and Polychromed Wooden Figure of St. Anthony, early 20th century, figure only, h. 57”, stand, h. 32”. [600/900]

250

Large Carved and Polychromed Figure of Saint George, 18th century, h. 67”, w. 29”, d. 23”. [10000/15000] Illustrated

250

246

Franco-Italian Miniature Painting on Vellum, fourth quarter 16th century, possibly a page from an illuminated manuscript illustrating the martyrdom of St. Peter and St. Paul, 8” x 6”. Unframed. [600/900] Illustrated

247

Latin American Carved and Painted Santos Figure of Mary and Jesus, late 19th century, carved with a flat back and a masque on the base, h. 24‑3/4”, w. 8”, d. 4‑1/4”. [700/1000]

253

248

Italian Carved and Polychromed Wooden Figure of God the Father, 18th/19th century, h. 38”, w. 22”. [600/900]

252

251

Italian Giltwood and Faux-Marbre Bench, 19th century, possibly Florentine, the shaped back surmounted by a scrolling foliate shell crest, the paneled seat raised on shaped scrolling end supports joined to the seat by iron stretchers and ending in runner feet, h. 40”, w. 51‑1/2”, d. 17”. [1000/1500]

255

252

Italian Giltwood and Faux Marbre-Top Center Table, 19th century, the thick rectangularfaux Breche marble top above a floral diamond-patterned frieze, raised on shaped paneled tapering legs, each headed by an acanthine capital, joined by a shaped shell-centered stretcher and ending in tapering block feet, h. 31‑1/2”, w. 63”, d. 37‑1/4”. [1000/1500] Illustrated

253

Scavo Glass Amphora-Form Vase, 20th century, probably by Seguso, Murano, Italy, made in the ancient style with applied prunts and handles, h. 12”, dia. 3‑1/2”. [350/500] Illustrated

254

Pair of Italian Polychrome Demi-lune Side Tables, early 20th century, each top with floral garland accents above a like-painted frieze and raised on tapering square legs ending in ring-turned feet, h. 31”, w. 31‑1/2”, d. 16”. [2500/4000] Illustrated

255

Northern Italian Walnut Corner Cabinet, late 19th century, the molded and domed cornice above a glazed cupboard door, the lower section of serpentine form and fitted with two banded cupboard doors, raised on shaped legs, h. 77‑1/2”, w. 37”, d. 19‑1/2”. [600/900] Illustrated

256

Italian Walnut and Burl Walnut Cylinder Desk, early 19th century, the banded top above a single long drawer, faced as three, over a cylinder opening to a pull-out writing surface and a variety of drawers and a central cubbyhole, above three small banded drawers and a single like-faced long drawer, raised on tapering square legs, h. 44‑1/2”, w. 45‑1/2”, d. 22‑1/4”. [1500/2500]

254

260

257

Italian School (17th Century), “Playful Putti”, oil on canvas, 23” x 30‑1/2”. Presented in a giltwood frame. [2500/4000] Illustrated

258

Italian Diminutive Polychrome Chest, the rectangular faux-marbre top above a conforming case fitted with four long paneled drawers, all with polychrome scroll designs, raised on bracket feet, h. 27‑3/4”, w. 21‑1/4”, d. 11‑1/2”. [500/800]

Large Italian Polychrome Refectory Table, early 19th century, the rectangular top elaborately painted in scrolling floral patterns and with two central putti figures, raised on shaped end supports painted en suite, and joined to the top by stretchers, h. 31‑1/2”, w. 46‑1/2”, l. 117”. [6000/9000] Illustrated

261

Continental Silverplate and Cut Glass Claret Jug, ca. 1900, probably French, the ovoid glass body wheel-cut with swirls on a diamond ground, with Louis XVI-style silverplate gadrooned collar and scroll handle, h. 10‑3/4”, l. 6‑1/2”. [600/900] Illustrated

259

Provincial Continental Polychrome Armoire, mid-19th century, the molded and dentillated cornice with projecting corners above a case fitted with a single bi-paneled door opening to shelves and a lower drawer, raised on tapering square feet, the whole with polychrome floral urn designs, h. 73”, w. 49”, d. 19”. [500/800] 260 (detail)

260

261

262

Good Christofle Belle Epoque Silverplate Jardiniere, ca. 1892, Paris, of navette form, the elaborately shaped shelland-scroll rim above a body decorated with opposing leafy cartouches on a gadrooned ground, raised on a conforming reed-andribbon base with four rococo-scroll feet, h. 11”, w. 12”, d. 5”. [350/500] Illustrated

262

263

Three Wolfers Freres .800 Silver Serving Pieces, ca. 1900, Brussels, Belgium, retailed by Gebr. Friedlander, Berlin, in an ornate rococo “King’s”-shape pattern, including a fish slice, l. 12‑3/4”, a fish serving fork, l. 10‑3/4”, and an ice cream serving spade, l. 10‑1/4”, monogrammed “B”, 12.28 total t. oz. [600/900] Illustrated

264

263

Pair of Austrian Empire Fourth Standard (.800) Silver Candelabra, 1922‑1925, by Franz Bibus & Sohn, Moravska Trebova (now Czech Republic), in the Biedermeier taste, each with a lobed baluster standard above a conforming square base and flanked by a pair scrolling arms, each terminating in a vasiform nozzle with detachable bobeche en suite, the standard detaching to permit the base to be used as a candlestand, h. 11‑1/2”, w. 15”, 47.29 total t. oz. [700/1000] Illustrated

266

265

Polish Silverplate Nargile Vase, fourth quarter 19th century, by Norblin & Co., Warsaw, of cylindrical form with baluster neck, with applied enamel rose medallion, h. 10”, dia. 4‑3/4”. [400/700]

264

266

Two German Orientalist Erotic Enamel Cigarette Cases, ca. 1900, including an .800 silver example by Louis Kuppenheim, Pforzheim, depicting a woman with long tresses wearing a green kimono, l. 3‑1/2”, and an alpacca example depicting a harem scene, l. 3‑3/4”. [600/900] Illustrated

267

Two Pieces of 19th-Century Russian 84 Zolotnik (.875) Silver, including a Nicholas I small footed bowl, marked St. Petersburg, 184? (date rubbed), by Carl Adolf Seipel (1820‑1891), assayer Davyd Forostovsky or Dmitri Tverskoy, of lobed form with “branch” rim, h. 1‑3/4”, dia. 3‑7/8”, and an Alexander III podstakannik, marked St. Petersburg, 1892, by Grigory Andreyev Arsenievich, assayer Alexander Sevier, of cylindrical form with squared handle, monogrammed “SI” (Latin), h. 4”, dia. 3‑1/4”, 6.14 total t. oz. [150/300]

271

268

Alexander III 84 Zolotnik (.875) Silver Ladle, marked Moscow, 1883, by Ivan Alexeyevich Alexeyev (fl. 1876‑1912), assayer Sergei Shostak, with plain spatulate handle and circular bowl, l. 12‑7/8”, 8.68 t. oz. [200/400] 278

275

273

269

Six Pieces of Assorted Continental Silver Flatware, including two Russian 84 zolotnik (.875) “Fiddle” tablespoons, both Moscow, one 1857, by Fyedor Ivanov, the other 1857, by “E.Ya.”, three Parisian first standard (.950) pieces, a “Fiddle Thread” potato fork, 1819‑1838, by Francois-Dominique Naudin, a “Filet” sugar sifter, ca. 1860, by Lambert & Vve. Jozan, and a “Shell” tablespoon, ca. 1875, the maker’s mark rubbed, and an Italian sterling “Louis XV” dinner fork, ca. 1975, Palermo, by Stancampiano, variously monogrammed, 11.18 total t. oz. [350/500]

270

Pair of Continental .800 Silver and Glass Swan-Form Salt Cellars, mid-20th century, probably Italian, each with a glass body and silver neck and wings, the wings hinged and opening to reveal the dish/cellar compartment of the body, with a pair of silverplate salt shovels, overall, h. 2‑3/4”, l. 3‑1/8” (four total pieces). [300/500]

274

Four-Piece Japanese .950 Silver Coffee and Tea Set with Silverplate Tray, third quarter 20th century, including a coffeepot, teapot, covered sugar bowl and cream jug, the balustershaped bodies with crested handles, acanthus-crested feet and urn-form finials, h. 3‑7/8” to 8‑1/4”, 64.95 total t. oz.; the canted rectangular silverplate tray with shaped handles and molded rim, l. 24”, w. 14” (five total pieces). [1200/1800]

279

271

Pair of Continental Sterling Silver Table Figures of Fighting Cockerels, 20th century, the combatant fowl realistically detailed, h. 7‑1/4”, l. 8‑3/4”, 27.32 total t. oz. [1200/1800] Illustrated

275

Fine Belgian Five-Piece Art Deco Second Standard (.800) Silver and Ebony Tea Set, second quarter 20th century, by Lemaire & de Vernissy, Brussels, including a coffeepot, h. 7‑3/4”, a teapot, h. 6‑1/4”, a covered sugar bowl, h. 5‑1/4”, a cream jug, h. 2‑7/8” and a tray, l. 24‑3/4”, w. 15‑3/4”, the hollowware of rounded and canted square section with stop-paneled sides and a truncated conical foot ring, the stepped lids with flat arched scroll ebony finial, the pots and creamer with squared silver spouts and ebony handles, the sugar bowl with a pair of “bracket” handles, the cavetto-canted rectangular tray with molded rim and rectangular ebony handles, 105.19 total t. oz. (including ebony fittings). [7000/10000] Illustrated

272

German .800 Silver Dresser Box, first quarter 20th century, Hanau, of rectangular form, the lid embossed with a galants scene, the sides with floral swags and flower baskets, h. 2‑1/8”, w. 6‑3/8”, d. 4‑1/4”, 14.78 t. oz. [500/800]

273

Assembled Nine-Piece Chinese Export Silver Cocktail Set, first quarter 20th century, including a cocktail shaker by Wang Hing, Canton and Shanghai, of tapering cylindrical form with applied dragon and engraved bamboo banding, h. 7‑3/4”, and an associated set of eight tumblers en suite, unmarked but for the “chun yin” (“pure silver”) mark, h. 2‑1/4”, 27.58 total t. oz. [800/1200] Illustrated

280

276

Two Georg Jensen Ornamental Pattern Number 21 Sterling Silver Salad Serving Pieces, the pattern designed ca. 1906 by Georg Jensen (1866‑1935), Copenhagen, including a lemon fork with the Jensen mark in use 1915‑1930, l. 5‑3/8”, and a sugar spoon with the Jensen mark in use 1904‑1914, l. 5‑1/4”, 1.60 total t. oz. [350/500]

277

Pair of Georg Jensen “Scroll” Sterling Silver Salad Servers, designed in 1927 by Johan Rohde (1856‑1935), Copenhagen, with the post-1945 Jensen mark, l. 9‑1/4”, 6.94 total t. oz. [900/1200]

278

Two-Piece Georg Jensen Ornamental Pattern Number 57 Sterling Silver Salad Serving Set, Copenhagen, with the post-1945 Jensen mark, l. 8‑3/4”, 5.78 total t. oz. [900/1200] Illustrated

279

Louis XVI-Style Giltwood Looking Glass, late 19th century, the rectangular plate with concave canted corners, and surmounted by a floral wreath and torchere crest with side foliate finials, surrounded by a molded annulated and laurel leafcarved frame, h. 86”, w. 47”. [2500/4000] Illustrated

282

Art Nouveau Style French Gilt and Enameled Metal Fifteen-Light Chandelier, early 20th century, decorated with leaf-molded scrolled candle arms and polychrome enameled flowering vines, h. 54”, dia. 42”. [3000/5000] Illustrated

282

283

French Hot Air Balloon-Form Six-Light Chandelier, second quarter 20th century, the gilt-metal frame strung with glass beads and hung with prisms, the arms with cut glass bobeches under the candle cups, h. 27”, dia. 12‑1/4”. [600/900]

280

Pair of Louis XVI-Style Giltwood Bergeres, early 20th century, each with a domed, padded and trisected back within a foliate ribbon-carved frame, joined to the cushioned seat by shaped sides, raised on fluted circular legs headed by a foliate capital and ending in toupie feet, h. 44‑1/2”. [1000/1500] Illustrated previous page 286

281

Louis XVI-Style Giltwood and Polychrome Bed, early 20th century, the domed and padded headand footboards surmounted by a guilloche gadroon-carved frame with side finials, the shorter footboard raised on fluted tapering circular legs, h. 49”, inside w. 54”, l. 74‑1/2”, outside w. 58”, l. 78‑1/2”. [700/1000]

285

284

Pair of French Gilt-Bronze and Crystal ThreeLight Sconces, in the Louis XIV taste, the molded backplates with cut crystal finials, and set with three candle arms below sprays of smoky and colorless crystal drops, h. 13‑3/4”, w. 10‑1/4”, d. 7‑1/4”. [350/500]

285

Louis XVI-Style Polychrome and Marble-Top Side Table, early 20th century, the bowed marble top with projecting corners inset into a conforming annulated and floral garland-carved frieze, raised on stop-fluted tapering circular legs headed by foliate capitals, joined by a shaped stretcher centered by a carving of two doves and ending in ribbed peg feet, h. 41‑1/2”, w. 64”, d. 18”. [1800/2500] Illustrated

286

French School (First Quarter 19th Century), “Provencal Garden”, oil on canvas, indiscernibly signed lower left, 14‑1/2” x 16”. Framed. [800/1200] Illustrated

290

287

Paul Leduc (Belgian, 1876‑1943), ‘Springtime, South of France”, oil on canvas, signed lower left, 14” x 18”. Framed. [2000/4000] Illustrated

288

Three Pairs of Continental Opera Glasses, fourth quarter 19th century, comprising two French mother-ofpearl examples, one signed “Lemaire”, l. 2‑3/4”, w. 4”, the other “Vendome”, l. 2‑3/4”, w. 3‑3/4”, and a German ivory example, signed “Gebruder Steppacher”, with one eyepiece lacking, l. 1‑3/4”, w. 3‑3/4”. [200/400]

289

Italian Creme-Peinte and Parcel-Gilt Settee, late 18th/early 19th century, in the Louis XVI style, the padded back and downswept arms within a molded frame, the cushioned seat raised on fluted tapering circular legs headed by floral block capitals and ending in toupie feet, h. 35”, w. 58”, d. 26”. [1200/1800] Illustrated

289

290

Pair of French-Style Gilt-Metal and Faux Rock Crystal TwoLight Sconces, each with a backplate depicting a phoenix bird atop a quiver, and having crystal flowers and leaves ornamenting the branches, h. 29”, w. 13‑1/4”, d. 7‑1/2”. [2500/4000] Illustrated

291

293 299

Louis XVI-Style Giltwood and Marble-Top Demilune Console Table, early 20th century, h. 34‑1/2”, w. 32‑1/2”, d. 16”. [800/1200]

291

Four-Piece Louis XVI-Style Giltwood Parlor Suite, early 20th century, consisting of a settee, h. 41”, w. 53”, d. 26”, and four fauteuils, h. 37”, each with a padded medallion back joined by padded foliate arms to the like seat, raised on fluted tapering circular legs headed by floral block capitals and ending in toupie feet. [1200/1800] Illustrated

292

Pair of Louis XV-Style Giltwood Stools, early 20th century, each with a rounded padded square top above a shell- and foliate-carved frieze, raised on cabriole legs headed by foliate carving and ending in like-carved feet, h. 18”, w. 20”, d. 20”. [500/800]

295 pair

299

300

Pair of Louis XVI-Style Giltwood Fauteuils, late 19th century, each with a domed and padded back within a foliate-carved frame, joined by foliate-carved arms to the padded seat, raised on fluted tapering circular legs ending in toupie feet, upholstered in period floral-patterned upholstery, h. 38”. [1200/1800] Illustrated

300

Pair of Monumental French Gilt-Bronze Nine-Light Appliques, the quiver-form backplates, suspended from bowknots, mounted with scrolled, leaf-molded candle branches terminating in reeded drip pans and matching candlecups, electrified, h. 43‑1/2”, w. 22”, d. 15”. [2000/4000] Illustrated

301

French Bronze and Crystal Thirty-Six-Light Chandelier, second quarter 20th century, in the Louis XIV style, set with twelve branches holding three tiers of lights, hung with loops and sprays of prisms, h. 51”, dia. 40”. [1500/2500] Illustrated

294

Pair of Louis XIV-Style Bronze and Crystal Six-Light Sconces, the vasiform backplates mounted with candle branches and hung with various cut glass drops, h. 26”, w. 16‑3/4”, d. 9‑1/2”. [450/700]

301

295

Pair of French Aubusson-Type Tapestries, ca. 1900, of tall, rectangular form, with floral borders and swags of flowers supporting small bouquets on one end and larger bouquets on the other, h. 113‑1/2”, w. 48‑1/2”. [2000/4000] Illustrated

296

Belle Epoque Carved Alabaster Lamp, first quarter 20th century, the cylindrical standard decorated with carved putti intertwined with garlands of flowers, base, h. 20‑1/4”, overall, h. 30‑3/4”, dia. 6‑1/2”. [900/1200]

297

A French Terracotta Bust of Alexandre Brongniart (1770‑1847), after Jean-Antoine Houdon (French, 1741‑1828), ca. 1900, h. 18‑1/4”, w. 9‑1/4”, d. 5”. Brongniart was the director of the Sevres Porcelain Manufactory from 1800 to 1847. [500/800]

298

302

305

Louis XVI-Style Polychrome and MarbleTop Side Table, early 20th century, the bowed gray marble above a conforming pierced guilloche frieze, raised on fluted tapering circular legs headed by foliate carving, joined by a dentillated urn-centered stretcher, and ending in ball feet, h. 34”, w. 48”, d. 17”. [1500/2500] Illustrated

302

Set of Four Matching Louis XV-Style Bronze and Cut Glass Five-Light Sconces, the circular backplates holding sprays of flowers, the whole elaborately dressed with cut glass beads and prisms, h. 18”, w. 13”, d. 7‑1/2”. [800/1200] Illustrated 309

303

Suite of Six Louis XV-Style Polychrome Sidechairs, mid-20th century, each with a tall padded domed back above the padded seat, raised on molded cabriole legs ending in scrolled toes, h. 43”. [350/500]

304

French Gilt-Bronze and Bisque Table Lamp, second quarter 20th century, in the Louis XV style, molded with putti and swags of flowers, resting on a gilt-bronze base, with gilt-bronze ram’s head handles, base, h. 16”, overall, h. 27‑1/4”, w. 6‑3/4”. [1000/1500]

306

French Porcelain Shell-Form Berry Bowl, fourth quarter 19th century, decorated with bleu celeste and gilt borders, the back bearing a spurious Sevres-style mark, w. 12”. [400/700]

307

Napoleon III Parquetry-Work and Bronze Jardiniere, third quarter 19th century, the lobed body veneered with kingwood and rosewood parquetry, outlined in gilt-bronze applied molding and having matching handles, with a conforming tole liner, h. 7”, w. 15‑1/4”, d. 10‑1/2”. [450/700] 305

311

310

310 308

French Porcelain and Gilt-Bronze Eighteen-Light Chandelier, second quarter 20th century, in the neoclassical style, with a hand-painted Sevres-style bleu celeste-ground porcelain lower pan, candlecups and canopy elements, h. 30‑3/4”, dia. 25‑1/2”. [450/700]

309

French Bronze and Porcelain Eight-Light Chandelier, in the Louis XV taste, the bronze fittings supporting a Sevres-style porcelain standard and candle cups, decorated with couples in eighteenth-century costume on a bleu celeste ground, h. 32‑3/4”, dia. 26”. [1500/2500] Illustrated

Unusual Pair of Continental Slender Giltwood Mirrors, first quarter 20th century, each set with a beveled mirror plate with a scrolled crest, h. 75”, w. 8‑3/4”. [900/1200] Illustrated

311

Set of Eight Heinrich and Company Raised Gilt Service Plates, ca. 1930‑1939, Bavarian, decorated with Beaux Arts-style neoclassical borders and marked on the rear, dia. 11”. [500/800] Illustrated

312

French School (Second Quarter 20th Century), “Landscape with a View of a Village and Figures on a Path”, watercolor on paper, bearing a signature lower left “G. Laloue”, sight 13” x 21”. Glazed, matted and framed. [500/800]

313

Andre Chalet (French, b. 1954), “At the Beach”, oil on wood panel, signed lower right, 7‑1/4” x 9‑1/4”. Framed. [400/700]

314

Jean Lefort (French, b. 1948), “The Boat Race”, oil on panel, signed lower right, 12” x 16”. Framed. [700/1000]

315

318

Rococo-Style Painted and Parcel-Gilt Mirror, the blue-gray-painted frame terminating in corners carved with C-scrolls and trailing flowers, 50” x 62”. [500/800]

316

Louis XV-Style Mahogany and Exotic Wood Bureau Cylindre, late 19th century, the roll top opening to a pull-out inset writing surface and a variety of drawers and cubbyholes, over three small drawers, raised on cabriole legs, the whole with inlays of various landscape scenes, h. 38”, w. 32‑1/2”, d. 18”. [1500/2500]

320

317

Louis XVI-Style Giltwood Trumeau, early 19th century, the upper section with an oilon-canvas scene of a classical lady giving alms to the blind, the lower section mirrored, the whole within a molded frame, h. 58‑1/4”, w. 28‑1/2”. [600/900]

318

French Four-Fold Screen, late 19th century, in the neoclassical taste, each narrow canvas fold with a central medallion of a classical figure, en grisaille and en rouge, vertically flanked by various classical patterns, h. 67”, w. 48”. [1500/2500] Illustrated previous page

325

319

Louis XVI-Style Parcel-Gilt, Ivory-Painted and Marble-Top Console Table, ca. 1900, the rectilinear Vert Patricia marble top on a base with a conforming frieze adorned with scrolling foliate scrolls, raised on fluted tapering legs, h. 34”, w. 56‑1/2”, d. 23‑3/4”. [1800/2500] Illustrated

320

Suite of Four Louis XVI-Style Polychrome Sidechairs, mid-19th century, each with a padded rectangular back within a molded frame, joined to the padded seat by molded arms, raised on paneled tapering square legs, upholstered in period tapestry depicting figures of peasants and various animals, h. 36”. [3000/5000] Illustrated

321

319

Louis XVI-Style Fruitwood Desk, early 20th century, the kidney-form top with an inset leather writing surface and foliate-carved band, above a conforming frieze fitted with a single drawer, raised on paneled tapering square legs joined by a shaped stretcher and ending in foliate toes, h. 28”, w. 48”, d. 23”. [400/700]

327

322

A Belle Epoque Bronze Bust of Athena, ca. 1900, after Jean-Antoine Houdon (French, 1741‑1828), depicted with a crescent in her hair, the rear socle stamped “41078”, h. 21”, w. 11‑3/4”, d. 5‑3/4”. [800/1200]

323

Belle Epoque Giltwood, Mirrored and Colorless Glass-Mounted Three-Panel Folding Screen, ca. 1900, the giltwood frame with upholstered panels covered in damask, below a pierced upper section set with glass and centered by an oval beveled mirror, and with a flowerbasket crest, h. 65”, w. 57‑3/4”. [800/1200] Illustrated

327

Extensive Assembled Collection of Anneau d’Or Porcelain Dinnerware, mid-19th century and later, Paris and Limoges, France, the collection includes eighteen dinner plates, dia. 9”, salad and dessert plates, vegetable dishes, a butter dish, a fish platter, l. 23”, a shell dish and a dozen cafe au lait cups on saucers, h. 3”, dia. 6‑1/4”. Provenance: The lifetime collection of Sylvia and Henry Furchtenicht, Old Salem House, West Salem, Wisconsin. [350/500] Illustrated 323

324

French Belle Epoque Gilt-Bronze Encrier, fourth quarter 19th century, in the Louis XV style, the rocaille-molded stand set with a pair of inkpots and a central shell, the cabochonform front plaque initialed “C.C.”, the base stamped “H.D.”, h. 7”, w. 16”, d. 10‑1/2”. [800/1200]

325

Pair of French Oil-on-Canvas Painted Panels, first quarter 20th century, in the Louis XVI taste, the panels depicting bowknots suspending trophies within a floral border, h. 43”, w. 11‑3/4”. [500/800] Illustrated

326

Assembled Six-Piece Collection of Anneau d’Or Porcelain Serving Pieces, mid-19th century, including a soup tureen with a fruit-form knop, h. 13”, w. 15”, two similar covered vegetable dishes, h. 7‑1/2”, dia. 8‑1/2” and h. 7‑1/2”, w. 12‑1/2”, d. 7‑1/2”, and three graduated platters marked “Haviland Limoges”, l. 12‑1/2” to 20”. Provenance: The lifetime collection of Sylvia and Henry Furchtenicht, Old Salem House, West Salem, Wisconsin. [350/500]

330

Unusual Directoire Hand-Painted Porcelain Garniture Urn, ca. 1800, the body decorated with handpainted reserve panels of children playing in landscapes on both sides, the handles in the form of seated griffins on guilloche-trimmed masque-molded brackets, h. 14‑1/4”, w. 5‑1/2”. [700/1000] Illustrated

331

Italian Rococo Carved Giltwood Mirror, fourth quarter 18th century, now set with mirror glass, decorated with scrollwork and flowers on a stippled ground, h. 37”, w. 28”. [500/800]

332 328

Louis XVI-Style Mahogany and Marble-Top Bureau Cylindre, early 20th century, the rectangular marble top with a three-quarter pierced brass gallery over three short drawers, above a paneled roll-top opening to a pullout leather-inset writing surface and a variety of drawers and cubbyholes, over a central frieze drawer flanked to either side by two small drawers, each side fitted with a leather inset pull-out slide, the whole accented with ormolu mounts and millwork, the bureau with a selflocking mechanism for drawers, h. 48”, w. 54”, d. 26‑1/2”. [3000/5000] Illustrated

328

Louis XVI-Style Painted and ParcelGilt Trumeau Mirror, ca. 1900, the gilt-framed oil-on-canvas upper painting depicting an 18th-century-style couple in an Arcadian landscape, a gilt bowknot and ribbon serving as the frame for the lower mirror, h. 59‑1/2”, w. 32”. [1000/1500] Illustrated

329

Fine Paris Porcelain Hand-Painted Garniture Urn, second quarter 19th century, resting on paw feet, the ovoid body with molded acanthus leaves executed in matte gilt at the base, a hand-painted Elizabethan court scene on the obverse, a tooled gilt trophy in a wreath on the reverse, and griffinform handles with matte gilt heads, h. 13”, w. 8”, d. 4‑1/4”. [800/1200] Illustrated

329

330

333

339

Louis XVI-Style Mahogany Writing Table, late 19th century, the triplebanded rectangular top with a three-quarter brass banding above a conforming paneled frieze fitted with two end drawers, raised on tapering square legs ending in brass caps and casters, the whole accented with ormolu millwork, h. 29”, w. 32”, d. 20‑1/4”. [400/700]

Franco Bohemian Hand-Painted Garniture Vase, mid-19th century, now mounted as a lamp, decorated with a panel depicting a bower of flowers, a bird and a fountain, framed in cobalt and gilt, and having pierced handles, vase, h. 19”, overall, h. 29‑1/2”, dia. 7‑1/4”. [300/500]

340

Pair of Directoire-Style Bronze Two-Light Appliques, each backplate molded with a bowknot and tassels, h. 16‑1/2”, w. 8”, d. 3‑1/4”. [350/500] Illustrated

334

Louis XIV-Style Bronze and Crystal Eight-Light Chandelier, the glassclad standard with eight candle branches, interspersed with sprays of smoked and colorless drops, h. 30”, dia. 19”. [450/700]

340

335

Louis XVI-Style Mahogany Tiered Occasional Table, early 20th century, with two graduated circular tiers, each banded and with parquetry inlays within a full pierced brass gallery, joined by a fluted columnar upright, raised on fluted tapering circular legs ending in toupie feet, h. 30”, dia. 19”. [1000/1500] Illustrated

336

Meissen Hand-Painted Trumpet-Form Vase, ca. 1860‑1924, German, decorated with a hand-painted floral reserve panel trimmed with delicate gilt scrollwork, marked with the pommelended underglaze blue crossed swords, h. 16‑3/4”, dia. 8‑1/4”. [400/700]

332

337

Royal Vienna-Style Hand-Painted Neoclassical Urn, ca. 1900, German, with Flora and Janx, with raised gilt on a cobalt ground, h. 18”, dia. 5‑3/4”. [400/700]

338

Pair of Belle Epoque Hand-Painted Cachepots, ca. 1896‑1920, German, each hand-painted with reserve panels framed in raised gilt on a cobalt ground, marked by Franz Anton Mehlem with printed and impressed marks, h. 9”, dia. 9”. [2500/4000]

345

Louis van der Pol (Dutch, 1896‑1982), “Cafe Scene”, oil on canvas, signed lower right, 31‑1/2” x 39‑1/2”. Framed. [3000/5000] Illustrated

346

Charles Lennox Wright, Jr. (American, 1876‑1966), “Ils Assistant au Concert Rouges”, 1897, oil on canvas, signed and titled lower right, signed, titled, inscribed and dated verso canvas, 16” x 12”. Framed. [2000/4000] Illustrated

341

345

Unusual Fruitwood Chest, late 19th century, the shaped rectangular top banded and quarter-veneered, hinged and opening to an open interior, above a case fitted with two drawers and three faux drawers, each side fitted with a drawer and carrying handles, raised on shaped toes and sabots, h. 35”, w. 26”, d. 18‑1/2”. [800/1200]

342

Louis XV-Style Walnut Semanier, 19th century, the rounded rectangular top with molded edge and above a conforming case fitted with seven drawers, raised on shaped cabriole legs, h. 58‑1/2”, w. 26”, d. 16‑1/2”. [1500/2500]

343

Louis XVI-Style Mahogany Dining Table, late 19th century, the top with rounded ends and a brass banding, centrally bisected to accommodate leaves, with two ovoid drop leaves, raised on tapering circular legs headed by ormolu capitals and ending in brass caps with casters, h. 29”, w. 51”, d. 27‑1/4”, extended d. 51‑1/4”. [800/1200]

346

344

Louis XVI-Style Mahogany Desk, early 20th century, the rectangular top with an inset leather writing surface and three-quarter brass gallery, above a case fitted with a central drawer flanked to either side by a short drawer, raised on stop-fluted tapering circular legs ending in brass caps, the whole accented with ormolu mounts, h. 30”, w. 51”, d. 27”. [800/1200] Illustrated

347

344

Louis XV-Style Mahogany Armoire, early 20th century, the domed and molded cornice centered by a scrolling foliate pediment, above a case fitted with two long beveled mirrored doors, opening to an interior fitted with shelves and four small drawers, raised on scrolled feet, h. 103”, w. 59”, d. 20”. [800/1200]

348

Louis XV-Style Fruitwood Bedstead and Marble-Top Side Table, 20th century, the bedstead of cartouche form, bed, h. 65”, inside w. 52”, l. 75”, side table, h. 46”, w. 16”, d. 16”. [400/700]

349

Louis XVI-Style Mahogany and Kingwood Center Table, mid-19th century, the turtleform top banded and centered by a foliate inlay, within an ormolu edging, above a conforming paneled frieze fitted with a single drawer, raised on fluted tapering circular legs joined by a shaped X-form stretcher and ending in ormolu foliate toupie feet, the whole with ormolu accents, h. 30”, w. 53”, d. 29”. [2000/4000] Illustrated

350

349

Miniature French Commode Tombeau, in the Louis XV style, veneered in mahogany and rosewood parquetry, with bronze-mounted feet, h. 9‑1/2”, w. 12‑1/2”, d. 7‑3/4”. [500/800]

352 354

351

Louis XV-Style Kingwood Commode, early 19th century, the shaped rectangular top banded and quarter-veneered, and above a case fitted with three drawers, all veneered en suite, raised on cabriole legs ending in sabots, h. 27”, w. 15‑1/2”, d. 13”. [900/1200]

352

French School (20th Century), “Parisian Street Scene”, oil on canvas, signed “Antoine Blanchard” lower right, 13” x 18”. Framed. [1000/1500] Illustrated

353

Paul Renard (French, 1941‑1997), “Parisian Street Scene”, gouache on paper, signed lower right, sight 9‑1/2” x 15‑1/2”. Glazed, matted and framed. [1500/2500] Illustrated 353

354

Paul Bernard King (American, 1867‑1947), “Harbor View”, oil on canvasboard, signed lower left, “Carlisle Gallery, Huntsville, Alabama” label verso, 12” x 16”. Framed. [3000/5000] Illustrated previous page

357

355

E. Vallet (French, 20th Century), “Impressionistic Landscape”, oil on canvas laid on board, signed lower right, 12” x 15‑3/4”. Framed. [1000/1500]

356

Eight Chinese Carved Soapstone Figures, 20th century, the black-colored stone depicting the eight immortals, h. 5‑1/2”. [350/500]

361

Chinese Soapstone Vase, early 20th century, the red stone surface carved with phoenix and chrysanthemums, h. 9”. [350/500] Illustrated

364

357

Chinese Soapstone Carving, early 20th century, the purple-brown stone carved in the figure of a foo dog and cub playing with a brocade ball, h. 8”, w. 11”. [400/700] Illustrated

358

Three Pairs of Chinese Soapstone Bookends, early 20th century, the surfaces carved with planters and flowering plants, each approximately h. 6”. [350/500]

359

Two Chinese Soapstone Vases, early 20th century, the surfaces carved with flowering plants, h. 8” and 9‑1/4”, presented on conforming stands. [350/500]

360

Chinese Soapstone Carving, 20th century, the vessel carved on one side with flowering bushes, rocks and birds, h. 8‑3/8”, w. 6‑1/2”. [350/500]

362

Chinese Soapstone Carving, early 20th century, the red and brown stone carved with a pair of vases, exotic rocks and flowering plants, h. 10”, w. 7‑1/4”. [350/500]

363

Pair of Chinese Soapstone Carvings, 19th/early 20th century, the celadon-colored stone with brown markings and carved as dragon-headed birds, now mounted as lamps, base, h. 12” (carving, h. 9”), overall, h. 24‑1/2”. [800/1200]

364

Chinese Soapstone Carving, 20th century, the yellow and orange stone carved in the form of a cockerel with flowering plum branch, h. 18”. [350/500] Illustrated

365

377

Chinese Hardstone Bi Disk, Qing Dynasty, 20th century, the carved bi, depicting a qilin (a mythical beast often compared to the unicorn) at the center, is carved on both sides of the disk, with the creature surrounded by a carved border, dia. 4‑1/4”. [350/500]

366

Chinese Carved Lapis Lazuli Foo Dogs on Stands, 19th/20th century, the mottled blue and gray lapis lazuli carved and depicting two foo dogs playing with a ball and a fabric streamer, h. 3‑1/2”, l. 3”, including stand. [400/700]

367

Pair of Chinese Hardstone Brush Holders, late 19th/early 20th century, the dark green stone carved in low relief, one with dragons and clouds, the other with birds in flowering trees, h. 3‑3/4”, dia. 3‑1/4”. [350/500]

368

Chinese Carved Hardstone Table Screen, 20th century, carved in relief with a scene of the immortals, h. 13”, w. 12‑1/2”. [300/500]

369

Chinese Jade Carving of a Peacock, 20th century, depicted with his peahen, unmarked, h. 8‑1/2”, w. 4”. [400/600]

370

Chinese Green Hardstone Fish Carving, 19th/20th century, the carving depicting three fish swimming among long strands of seaweed, set on an oval wooden stand, h. 14”, including base. [300/500]

371

Chinese Hardstone Carving of a Mythical Animal, first half 20th century, the pale celadon stone carved in the form of a mythical animal, on a wooden stand, l. 7‑1/2”. [350/500]

372

Chinese Seal, bowenite decorated with a simple landscape, highlighting the stone’s natural beauty, the side of the seal inscribed, h. 4”, w. 1‑1/4”. [500/800]

373

Chinese Hardstone Carving, early 20th century, the brown and celadon-colored stone depicting the standing figure of the goddess of mercy Kuan Yin holding a vase, h. 12”. [400/600]

374

376

Chinese Lidded Vessel, 19th/20th century, bowenite lidded bottle carved with roses, on a wooden stand, h. 9‑1/2”, w. 5”, including stand. [350/500]

375

Pair of Chinese Carved Hardstone Foo Dogs, 20th century, on pierced wooden stands, h. 7”, w. 2‑3/4”, d. 3‑3/4”. [350/500]

376

Chinese Hardstone Pixu, probably 19th century, the mottled green jade guardian figure, associated with wealth, is one of the five auspicious animals of Chinese mythology, h. 8”, w. 3‑1/4”, l. 12”. [1800/2500] Illustrated

377

Chinese Hardstone Model of a Dragon Ship, 20th century, with a fitted carved wood base, h. 35”, l. 39”. [1800/2500] Illustrated

380

383

Chinese Rock Crystal Carving, 19th/early 20th century, the jar carved in the form of a duck with archaic scrolling, h. 4‑1/2”, w. 4”. [1200/1800]

384

Chinese Carved Rock Crystal Guanyin, early 20th century, the figure depicted standing beside a peacock, h. 8‑3/4”, w. 3‑7/8”. [1200/1800] Illustrated

384

385 381

Chinese Rock Crystal Figure of a Horse on Stand, 19th/20th century, the carved rock crystal depicting the figure of a horse, with a clearly articulated mane and tail, h. 6”, l. 7”, including wooden stand. [2500/4000] Illustrated

378

Chinese Quartz Buddha, the carved quartz figure of Budai with mottled amethyst, unmarked, h. 4‑1/2”, w. 4‑3/8”. [300/500]

379

Chinese Purple Agate Censer, 20th century, the lidded tripodal censer with a foo dog on the lid, with foo dog legs and suspended rings, presented on a wooden stand, overall, h. 7”, w. 5‑1/4”. [350/500]

380

Chinese Carved Agate Water Pot, 19th century, the pot with speckled brown boughs and leaves, h. 2‑1/2”, l. 5”. [600/900] Illustrated

381

Chinese Carved Agate Water Pot with Stand, 19th century, the leaf-form vessel with open work and caramelcolored branches and leaves, on a later carved wooden stand, h. 3‑3/4”, l. 5‑1/4”. [600/900] Illustrated

382

Chinese Rock Crystal Incense Burner, 19th century, the body carved in relief with flowering prunus, with foo dog jump rings, a dragon finial also with jump rings, and animal-form feet, h. 6”, w. 6”. [4000/7000] Illustrated

382

386

385

386

Chinese “Chicken Blood” Seal, 1930’s, the stone seal with a dark gray background and significant reserves of bright red, with an inscription down one side, together with a box, seal, h. 3‑1/8”. [1200/1800] Illustrated

387

Chinese Coral Necklace, 19th century, with base metal mounts, pendant, dia. 1‑1/2”, l. 22”. [400/700]

388

Two Chinese Archaistic Jade Belt Buckles, late 19th/ early 20th century, the two whitish-colored carved belt buckles in an archaic style with dragon heads and scrolling intertwined 391 dragons,

390

Chinese Jade Vessel with Lid, 19th/20th century, the pale green jade with foliate lugs and a landscape image carved on each side, h. 10”. [800/1200]

knobbed on the back, the largest, h. 1‑1/4”, l. 5‑1/2”. [800/1200] Illustrated

391

Chinese Carved Jade Vessel, early 20th century, the green and white jade carved with prunus branches and small birds, the lid with a bird-shaped knop, on a carved wooden stand with a pine motif, h. 5”, w. 2‑3/4”, including stand. [600/900] Illustrated

389

Chinese Carved Jade Vessel, 19th/20th century, the pale green vessel with a lid and scrolling vine handles with hanging rings, adorned with figures and pavilions in a landscape, h. 12”. [800/1200] Illustrated

389

388

396

Chinese Jade Plaque with Wooden Stand, early 20th century, the rectangular pale jade plaque with pierced and carved ornamentation of koi dragons, presented on a wooden stand, overall, h. 4‑1/4”, w. 3‑1/2”. [400/700]

397

392

Two Chinese Jade Carvings, 19th century or earlier, including a celadon brown-colored dragon carp, l. 5‑1/2”, and a Pi disk carved with a grain pattern of commas, dia. 2‑1/4”, both presented on conforming stands. [600/900] Illustrated

392

Chinese Jade Bowl, carved from antique green jade, h. 3‑1/2”, dia. 8‑3/4”. [800/1200] Illustrated

393

Two Chinese Jade Carvings, 19th century, including an eight-petal flower and a two-piece pierced belt clasp, dia. 3”. [500/800] Illustrated

394

Two Chinese Jade Pendants with Moving Carved Wheels, 18th and 19th century respectively, one in the form of a Buddhist prayer wheel in two concentric circles, and the other in the shape of a moth with a ring in each wing, the largest, w. 2‑1/4”. [600/900] Illustrated

398

Chinese Jade Wedding Cup and Tray, 19th/20th century, the mottled pale green stone wedding cup and tray carved with a beaded rice pattern and cornered handles, a scrolling vine motif on the dish, h. 2”, l. 6‑7/8”. [800/1200] Illustrated

395

Chinese Carved Jade Plaque with Wooden Stand, first half 20th century, the pale green jade plaque with a motif of lotus flowers, presented on a small stained wooden stand, overall, h. 4‑1/4”. [400/700] Illustrated

394

401

397

Chinese Archaistic Jade Vessel, 19th/20th century, the carved pale green and white mottled jade bronze-form vessel with handles and rings and a lid with a foo dog knop, on a carved and pierced wooden stand, h. 13”, including stand, w. 4‑1/2”. [5000/8000] Illustrated

398

399

Chinese Carved Jade Plaque, early 20th century, the jade plaque carved on both sides with an image of a rat, pine and bird on one side and a flower on the reverse, the plaque on a brass stand adorned with birds and flowers, overall, h. 10‑3/8”, w. 4‑1/2”. [800/1200] Illustrated

401

400

Pair of Chinese Archaistic Pierced Jade Vases, late 19th/ early 20th century, each carefullycarved vessel with Kui dragon-form handles and a lid with a bird, h. 12‑1/2”, w. 5”. [2000/4000] Illustrated

402 402

Chinese Carved Jade Vase with Stand, 19th/20th century, the vase carved with a peacock and peony, the lid with a bird and flower knop, on a carved and pierced wooden stand, h. 10”, w. 5”, including stand. [2500/4000] Illustrated

409

Pair of Anglo-Irish Regency Cut Glass Butter Tubs, first quarter 19th century, cut in the strawberry pattern, with matching covers, h. 5”, w. 6”, d. 3‑3/4”. [900/1200]

410

Pair of Anglo-Irish Neoclassical Cut Glass Covered Sweetmeat Jars, fourth quarter 19th century, British, decorated with intersecting cut rings on a diamond point ground, with matching covers, h. 11‑3/4”, dia. 4‑3/4”. [900/1200]

411

Regency-Style Cut Glass and Brass Hall Lantern, the strawberry-cut bell-form globe set with a brass threelight fixture suspended from a blown glass smoke bell, h. 31‑1/2”, dia. 12‑1/2”. [300/500]

403

Pair of Chinese Red and White Lidded Peking Glass Jars, 20th century, decorated with a bird and prunus motif, h. 6‑1/2”, dia. 4”. [1500/2500] Illustrated

403

404

Three Pieces of Chinese Peking Glass, 20th century, including two vases, h. 6‑1/4”, and a bowl, dia. 6‑1/8”, with a wooden stand. [500/800]

405

Pair of Chinese Blue and White Peking Glass Vases, 20th century, with blue floral scrolling, h. 8‑1/2”, dia. 4”. [900/1200]

406

Five Chinese Snuff Bottles, 19th/20th century, including three porcelain bottles, one reverse-painted on glass example, and one bone with red pigment bottle, the tallest, h. 3‑1/2”. [400/700]

407

Three Chinese Snuff Bottles, 19th/20th century, including a rose quartz and flourite snuff bottle, each with a small spoon, and a bone snuff bottle with a jade cap, decorated with gilt and a pair of phoenixes on each side, the tallest, h. 3‑1/4”. [600/900] Illustrated

408

William IV Mahogany Breakfront Bookcase, second quarter 19th century, the molded cornice with an applied drop-finial frieze above four astragal-glazed doors, over a central drop-front secretary drawer opening to a variety of cubbyholes, over two paneled cupboard doors, flanked to either side by a single paneled cupboard, raised on a molded base on ebonized ball feet, h. 103‑1/2”, w. 98‑1/2”, d. 22‑1/2”. [5000/8000] Illustrated

407

412

Chinese Export Porcelain Coffeepot, ca. 1760, with a ribbed body and landscape decoration in famille rose enamels, with a gilt copper hinge, h. 8‑3/4”. [800/1200] Illustrated

413

Pair of Chinese Export Plates, ca. 1735‑1761, the plates with a gilt edge and depicting rural landscapes, each with an armorial crest of Burgh of Gainsborough in Lincolnshire, unmarked, dia. 8‑3/4”. [800/1200] Illustrated

414

Chinese Export Porcelain Bowl, 19th century, with a floral and gilt border, the center with flowers in a vase, unmarked, h. 4”, dia. 9”. [600/900]

415

Pair of Chinese Export Porcelain Dishes, 18th/19th century, the two gilt-rimmed porcelain oval dishes with sprays of roses, unmarked, w. 7‑5/8”, l. 10‑5/8”. [800/1200] Illustrated

408

413 412

415

416

418

Chinese Export Porcelain Serving Dish, late 18th century, with famille rose enamel decoration and floral sprigs, l. 17‑1/2”, w. 14”. [1000/1500]

417

420

417

Chinese Persian Export Punch Pot, the pot featuring a mille fleur motif against a turquoise ground, the reserves with an image of court officials, and the base of the handle adorned with peacock feathers and palm fronds, h. 7‑1/2”, w. 8”, including handle. [700/1000] Illustrated

418

421

Pair of Chinese Export Porcelain Lidded Vases, 19th century, the two polychrome vases decorated with blue, red and purple flowers, and red and blue fish on a white ground, and having reserves with birds, flowers and butterflies over vases of blooms, and gilt-dragon handles and red foo dog knops on the lid, h. 28‑1/2”, w. 7‑1/2”. [1200/1800] Illustrated

422 422

Pair of Royal Worcester Black “Dragon” Pattern Fruit Coolers, marked by the company and signed by the gilder, h. 10‑1/2”, dia. 7‑1/2”. [1000/1500] Illustrated

423

George III-Style Mahogany Dining Table, the rounded rectangular top raised on three pedestals, each with a turned columnar standard to four splayed and reeded legs ending in brass paws on casters, h. 29”, w. 48”, l. 121”, extended l. 169”. [2000/4000] Illustrated

424

Regency-Style Mahogany Jardiniere, late 19th century, of square form and fitted with a conforming metal liner, the front with an inlaid garland, the sides with handles, raised on tapering square legs, h. 22”, w. 12‑1/2”, d. 12‑1/2”. [500/800]

419

Set of Fourteen Chinese Export Plates, ca. 1760, with famille rose armorial decoration and an “H” monogram, dia. 9‑1/2”. [800/1200]

420

Pair of Chinese Export Trays, 18th/19th century, the trays with cut corners and depicting a Chinese family in a courtyard, with gilt borders and details, unmarked, w. 6‑7/8”, l. 10‑3/8”. [300/500] Illustrated

421

Thirteen-Piece Chinese Export Porcelain Tea Set, ca. 1780, including a teapot with strawberry knop, h. 4‑1/2”, two bowls, dia. 3‑1/2” and 4‑1/2”, five cups, h. 2‑5/8”, and five saucers, dia. 2‑1/2”, with famille rose decoration and “L” monogram. [1200/1800] Illustrated

428

425

Pair of Regency-Style Mahogany Jardinieres, early 20th century, each of tapering circular form and slatted construction, and fitted with a conforming metal liner, raised on a bulbous standard to cabriole legs to a concave tripartite base on ball feet, h. 24”, dia. 13‑1/2”. [1000/1500]

426

423

Set of Four Cut Crystal Hurricane Lamps, the stepped bases holding bull’seye-cut shades set with integral candle sockets, h. 16” to 16‑1/4”, dia. 7”. [400/700]

430

Pair of William IV Gilt-Bronze FiveLight Chandeliers, second quarter 19th century, the scroll-molded arms with leaf-molded candle cups set with matching drip pans and egg-and-dart bobeches, supported on handsome ring- and scroll-molded chains, retaining a significant portion of the gilt lacquer surface, h. 30‑1/2”, dia. 13”. [600/900]

431

Two Sets of Matching Turned Ivory Pepper Grinds and Salt Shakers, 20th century, h. 4‑1/4”, dia. 2” (four total pieces). [350/500]

432

429

Italian Bronze Warwick Vase, fourth quarter 19th century, after the Roman original excavated at Hadrian’s Villa, decorated with grapevines and classical figures, h. 13‑1/2”, w. 18‑1/2”, dia. 12”. [700/1000] Illustrated

434

432

427

Fifty-Nine-Piece Royal Doulton “Belvedere” Pattern Partial Dinner Service, ca. 1969‑1981, English, the set including an oval platter, w. 12”, l. 18”, twelve dinner plates, dia. 10‑3/4”, twelve salad plates, dia. 8”, twelve bread and butter plates, dia. 6‑1/2”, twelve saucers, dia. 6”, and ten cups, h. 3”. [400/700]

428

William IV Mahogany Sideboard, second quarter 19th century, the recessed central section with a paneled backpiece and fitted with three paneled and banded drawers, raised on two pedestals, each fitted with a banded drawer over a cupboard door, inset with an arched panel and opening to shelves and drawers, raised on bun feet, h. 46”, w. 88”, d. 28”. [1000/1500] Illustrated previous page

429

Suite of Twelve Fine Regency-Style Parcel-Gilt Faux Rosewood Dining Chairs, ca. 1900, comprised of two armchairs and ten sidechairs, each with a concave top rail inset with an ovoid cameo plaque, the reeded stiles extending to like saber legs, the carved seat fitted with a loose fringed ivory brocade cushion, h. 34‑3/4”. [3000/5000] Illustrated

433

Regency-Style Ebonized Armchair, late 19th century, the domed and spiral-ribbed crest above two pierced splats with central ormolu patera, joined by downswept arms on ormolu ram’s head hand rests to the caned seat, raised on sabre legs ending in sabots, h. 32‑1/2”. [400/700]

434

English Regency-Style Convex Mirror, first quarter 20th century, crowned with an eagle-form crest, the lower portion decorated with a shell and pierced scrollwork, h. 43”, w. 27‑1/2”. [2500/4000] Illustrated

438

English Bronze and Glass Neoclassical Banquet Lamp, fourth quarter 19th century, the unusual standard composed of contrasting patinated and gilt bronze, in the Louis XVI inspiration, the open portion with a fork-tongued serpent, the panel-cut font set with a duplex burner and a colorless glass shade, h. 33”, dia. 5‑3/4”. [400/700]

436 437

439

William IV Mahogany Bookcase, mid-20th century, the molded cornice above two doors, each inset with domed glazed panels, the lower section fitted with an ogeemolded drawer over two cupboard doors, each with domed panels, raised on a plinth base, h. 77‑1/2”, w. 35‑1/2”, d. 14‑3/4”. [350/500]

440

Karl-Joseph Kuwasseg (Austrian, 1802‑1877), “Returning to Shore”, oil on canvas, signed and dated “182_” lower left, 21” x 27‑1/2”. Framed. [2500/4000] Illustrated

435

Pair of Regency Marble and Bronze Eagle-Form Candlesticks, first quarter 19th century, the white marble bases mounted with carefully-cast gilt trim and candlecups, and contrasting patinated opposing eagles, now electrified, h. 11‑3/4”, dia. 3‑1/2”. [500/800]

436

William IV Bronze Twelve-Light Chandelier, second quarter 19th century, the leaf-molded lower bowl supporting six candle branches, fitted with two sockets each, a pierced urn-form crest sits behind the molded chains, retaining a significant amount of its original gilt lacquer, h. 45‑1/4”, dia. 32‑1/2”. [600/900] Illustrated

437

Regency Bronze Dore et Patine Inkstand, first quarter 19th century, the gilt-bronze anthemionmolded body having a drawer lined with Spanish cedar, and fitted with eagle-headed handles and pen rests flanking a pair of cut glass ink pots centered with a chamberstick with a conical snuffer, h. 9”, w. 16‑1/2”, d. 8‑1/2”. [1200/1800] Illustrated 440

444

British School (Third Quarter 19th Century), “Cattle Grazing”, oil on canvas, unsigned, 16‑1/2” x 19‑1/4”. In a period cove-molded giltwood frame. [600/900]

445

Continental School (Third Quarter 19th Century), “Returning to Shore”, oil on canvas, faintly signed lower left, 20‑1/8” x 14‑1/8”. Attractively framed. [400/700]

446

British School (Third Quarter 19th Century), “Landscape with Ruins”, oil on canvas, unsigned, 14‑1/2” x 18‑1/2”. Framed. [1500/2500] Illustrated

447

William IV Mahogany Bedside Step Cupboard, mid19th century, fitted with three steps, all with inset leather surfaces, the upper one hinged and opening to a storage space, the lower two fitted with drawers, raised on turned toupie feet, h. 25‑3/4”, w. 18‑3/4”, d. 29”. [600/900]

448

446

William IV Rosewood Library Chair, mid-19th century, the curved and padded rectangular back joined by padded arms to the like seat, raised on turned and bulbous circular legs ending in brass caps and casters, h. 34‑1/2”. [350/500]

449

Victorian Burl and Oak Estate Desk, third quarter 19th century, the superstructure fitted with a central galleried back over two shelves, flanked to either side by a bank of four drawers with a side locking mechanism, above a central slanted top, hinged and opening to a storage well and a variety of drawers and cubbyholes, above a case fitted with three frieze drawers, raised on two pedestals, each fitted with three graduated drawers, on plinth bases, labeled “Manufactured by Wm. Warden, 15 Glover St. Preston”, h. 44‑1/2”, w. 55‑1/2”, d. 35”. [1500/2500] Illustrated

441

Scottish School (Third Quarter 19th Century), “Loch Scene with Ruins”, oil on canvas, unsigned, 32‑3/4” x 41”. Framed. [1000/1500] Illustrated

442

British School (Fourth Quarter 19th Century), “The Meeting of the Waters, Moffat, Scotland”, 1897, watercolor on paper, titled lower right, monogrammed and dated lower right, 6‑1/2” x 9‑1/2”. Glazed, matted and framed. [400/600]

443

Henry Hadfield Cubley (British, 1858‑1934), “Birch Trees”, oil on canvas, signed verso canvas, 21” x 14”. Framed. [500/800]

449

452

Superb William IV Rosewood Casket-Form Workbox, second quarter 19th century, with inlaid mother-of-pearl panels, the interior lined with contrasting gilt-stamped paper, with red silk covers in the work tray and pleated ruching in the cover, with mother-of-pearl thread winders in numerous compartments and other mother-of-pearl tools, h. 7”, w. 13‑1/4”, d. 10‑1/4”. [800/1200] Illustrated

453

450

Pair of Regency-Inspired Leather and Mahogany Folding Chairs, 20th century, of curule-based campaign form, the stiles and legs with faux bamboo turnings, in tufted brown leather with brass fittings, h. 40”. [450/700]

451

Pair of Rare English Bronze, Marble and Glass NeoGrec Banquet Lamps, third quarter 19th century, with black marble plinths supporting the bronze bases, relief molded with a classical female with a lamp on one side and spinning on the other, the collars stamped “Richard Evens, 43 Baker St., London”, probably the retailer, the signed Hinks duplex burners set with period blown, cut and frosted glass ball shades, not electrified, h. 24‑3/4”, dia. 6‑1/4”. [500/800]

454

453

English Frosted and Cut Glass Six-Light Chandelier, third quarter 19th century, probably a converted gasolier, the vase-shaped frosted and cut glass tiered standard supporting six molded glass arms, the bobeches and lower bowl in cut and frosted glass, matching the standard, set with frosted and cut shades in the period manner, and hung with drapes of prisms, h. 36”, dia. 28‑1/2”. [1000/1500] Illustrated

454

452

William IV Walnut Wellington Chest, second quarter 19th century, the rectangular top above a case fitted with seven drawer fronts, two opening to a drop-front secretary drawer fitted with a writing surface and cubbyholes, flanked to either side by pilasters, one hinged and with a locking mechanism, raised on a plinth base, h. 50‑1/2”, w. 24”, d. 16‑1/4”. [1000/1500] Illustrated

455

Fourteen-Piece Collection of Tortoiseshell Bibelots, first quarter 20th century, including various boxes, hair ornaments, a fan and a picture frame, the largest, h. 7”, l. 11‑1/4”. [400/700]

456

Regency Brass-Bound Mahogany Campaign Lap Desk, second quarter 19th century, the interior with compartments and a felt writing surface trimmed with gilt-stamped leather, the exterior cover with a brass name plate engraved “John Reilly”, h. 6‑3/4”, w. 17”, d. 10‑1/2”. [600/900]

457

458

460

John Fitz Marshall (British, 1859‑1932), “Woodland Interior with Terriers Hunting Hare”, oil on canvas laid down on board, signed lower left, 24” x 16”. Attractively framed. [1500/2500] Illustrated

457

William IV-Style Mahogany Etagere, late 19th century, fitted with three long rectangular shelves, all with a three-quarter gallery and supported by ring-turned tapering circular supports, raised on like legs ending in brass caps and casters, h. 47‑1/4”, w. 63‑1/4”, d. 14”. [800/1200] Illustrated

458

Set of Twelve Wedgwood Bone China “Columbia-Drakesneck” Dinner Plates, each having a fern green border and medallion center, dia.10‑3/4”. [400/700] Illustrated

459

English “Fern Wreath” Pattern Salt Glaze Stoneware Cheese Dish and Cover, fourth quarter 19th century, probably Dudson, decorated with white ferns and calla lilies on a celadon body, with a rope knot-form knop, unmarked, h. 12”, dia. 12‑1/2”. [450/700] 461

461

John Emms (British, 1843‑1912), “The Meeting”, 1903, oil on canvas, signed and dated lower right, 12” x 20”. Framed. [1500/2500] Illustrated

468

462

Six Japanese Ivory Carvings, 19th century, figures of the immortals, each approximately 1” in height. [300/500]

463

Six Japanese Ivory Buddhas, 19th century, including netsuke and carved figures, three of Hotei, one of a sage and two seated meditating figures, four signed on the underside, the tallest, h. 4”, the widest, w. 3”. [400/700]

465

464

Five Japanese Ivory and Bone Netsuke, 19th century, including four female figures and a male figure, all fully carved in the round and with signatory marks on the underside, the tallest, h. 2”, the widest, w. 1‑1/4”. [300/500]

465

Eight Japanese Ivory and Bone Netsuke, 19th century, all animal shaped, including a rat, a pair of monkeys, two pairs of foo dogs, a pair of turtles, a pair of tigers and two individual roosters, six pieces marked, the tallest, h. 1‑3/4”, the longest, l. 2‑3/8”. [350/500] Illustrated

466

Seven Japanese Ivory and Bone Netsuke, 19th century, depicting various trades, all marked, the tallest, h. 2”, the widest, w. 1‑1/4”. [350/500]

467

471

Two Japanese Ivory Figures of Sumo Wrestlers, 19th century, ivory with ink, the two figures carved in the round, one standing upright and the other in a starting stance, both bearing red marks on the undersides, h. 4‑1/2”, w. 3‑1/4”. [300/500]

472

Japanese Carved Ivory Group of a Buddhist Amida Triad, 19th century, signed, h. 5”. [300/500]

Seven Japanese and Bone Ivory Netsuke, late century, depicting various trades, five signed on the underside, the tallest, h. 2‑1/8”, the widest, w. 1‑1/4”. [350/500]

473

468

Two Japanese Ivory Okimono Carvings, late 19th century, one carving depicting a figure of a man with a basket of peaches and four monkeys, and the other a musician with two children, unsigned, the tallest, h. 6‑1/4”. [350/500]

Nine Japanese Ivory and Bone Netsuke, 19th century, eight of the carved okimono depicting individual sages and legendary figures, and the other two men playing chess, seven signed, the tallest, h. 2”, the widest, w. 2”. [500/800] Illustrated

469

Two Japanese Ivory Netsuke, 18th/19th century, one depicting a performer and the other a deity, each with markings on the underside, the larger with two characters stamped on a red ground and the smaller with two black characters, the tallest, h. 4”, w. 2”. [350/500]

470

Japanese Ivory Carving of a Dragon, late 19th, the dragon modeled with a cricket on its back, signed on the underside of the belly, h. 3”, w. 2‑1/2”. [300/500]

Japanese Carved Ivory Group, 19th century, depicting a woodcutter and his son, h. 7”. [350/500]

474

475

Japanese Ivory Figure of Hotei, 19th century, ink on carved ivory, the figure depicted seated on a wooden base, carved in the round, with a red incised marking on the underside, h. 6‑1/2”, w. 3‑3/8”, including wooden stand. [300/500]

476

Pair of Japanese Ivory Foo Dogs, late 19th century, the pair of foo dogs depicted wearing collars with bells, h. 6‑1/4”, w. 3‑1/4”, including wooden stand. [350/500]

477

Japanese Ivory Tanto Dagger, Meiji Period (1868‑1912), the ivory mounting (koshirae) carved in relief with scholars and children, signed, l. 14”. [400/700] Illustrated

478

Japanese Carved Ivory Okimono, late 19th century, depicting the figure of a man with an axe fighting a tiger, marked on the reverse and mounted on a pierced wooden stand, overall, h. 8‑1/2”, w. 3‑3/4”. [300/500]

482

477

482

Japanese Figure of a Wood Cutter, late 19th century, the ivory and boxwood figure depicted standing beside a stump with a resting pigeon, unmarked, h. 9‑5/8”, w. 5‑1/2”. [2000/4000] Illustrated

479

483

Japanese Carved Ivory Tusk, Meiji period (1868‑1912), 19th century, depicting a bridge of lions, set on a carved wooden platform, h. 4‑1/4”, l. 14‑1/4”. [800/1200]

485

479

Japanese Carved Ivory Figure, 19th century, carved in the round and depicting the figure of a man carrying a crane and a basket of turtles, with an inscription on the purse at the figure’s waist and a red marking on the underside, h. 9‑1/2”, w. 4‑1/2”. [500/800] Illustrated

480

Large Japanese Ivory Okimono of a Wood Cutter, 19th century, the figure with a bundle of sticks on his back, the underside signed and marked with two leaves, h. 10‑1/4”, w. 2‑1/8”. [300/500]

481

Japanese Carved Ivory Figure of a Scholar, 18th/19th century, ivory with ink, the figure depicted with ornate robes and a cap, holding a brush and book, carved fully in the round and bearing a marking in an oval cartouche on the underside, h. 6‑1/4”, w. 2‑3/8”. [350/500]

486 486

Large Japanese Blue and White Charger, 19th century, with green accents, depicting a rooster, hen and two small birds amid peonies and bamboo, the underside with Hichozan inscription in blue, h. 4”, dia. 21‑3/4”. [1000/1500] Illustrated

487

Two Japanese Satsuma Vessels, 20th century, one vase with two beauties, signed on the underside, and the other with a motif of flowers, and with a lid and a gilt knob, the tallest, h. 13‑1/2”. [350/500]

488

490

Japanese Satsuma Bottle, 19th century, the bottle depicting children and beautiful ladies along a river bank, the underside bearing a faded mark, h. 9‑3/4”, w. 6‑1/2”. [300/500] Illustrated

489

Pair of Japanese Satsuma Vases, 19th/20th century, the vases with figures and a gilt edge and foot, the undersides signed, h. 8‑3/4”, dia. 5”. [400/700] Illustrated

484

Japanese Ceramic Jar, 20th century, the white crackled baluster-form jar with monster mask lugs and a square meander, unmarked, h. 11‑1/4”, dia. 6‑1/2”. [600/900]

490

Japanese Satsuma Ware Umbrella Stand, 19th/20th century, with a scalloped edge along the lip and foot, and pierced and molded floral decoration with reserves of figures, a red signature on the underside, h. 25‑1/2”, dia. 11‑3/4”. [400/700] Illustrated

485

Pair of Japanese Miniature Imari Vases, 19th/20th century, the vases in the Imari palette with light gilding, h. 4”, dia. 2‑3/4”. [350/500] Illustrated

488

489

491

503

Six Japanese Miniature Cloisonne Vases, Meiji period (1868‑1912), the foil and enamel vases demonstrating the ginbari cloisonne technique, mostly blue and silver, one blue vase with a thicker enamel, featuring a depiction of white flowers with slender green stems and full leaves, the other five with a prunus branch motif, h. 2‑1/2”. [450/700] Illustrated

492

Pair of Japanese Bronze and Cloisonne Censers, 19th century, the censers with tripodal bases with cloisonne inserts and vented lids, cast in an archaistic style, h. 9‑3‑/4”, dia. 6‑1/2”. [400/600]

493

Japanese Cloisonne Urn, 19th/20th century, the patinated bronze vessel with sections of cloisonne with elephant-head handles, the lid with foo dog and ball finial, h. 20”, w. 11”. [350/500]

504

496

491

494

Pair of Japanese Bronze Usubata, Meiji Period (1868‑1912), molded with geishas on the obverse and frogs on lily pads on the reverse, the details picked out in gold and silver wash, h. 25”, dia. 12‑3/4”. [1800/2500]

501

Korean Brass-Mounted Persimmon Wood Secretary, 20th century, the upper portion with a drop front revealing various slots, shelves and small drawers, the lower portion with two short drawers over two long drawers with brass handles on both sides, the whole raised on a plinth base, h. 58”, w. 36”, d. 18”. [400/700]

502

Japanese Occasional Table, Meiji Period (1868‑1912), the surface carved in relief with grapes and waves, h. 30”, dia. 34”. [350/500]

503

Japanese Carved Hall Seat, Meiji Period (1868‑1912), ornately carved and pierced with sea dragons and waves, h. 49”, w. 65”, d. 25”. [600/900] Illustrated 506

495

Toyohara Kunichika (Japanese, 1835‑1900), “Oboshi Yuranosuke”, ca. 1866, color woodblock on paper, from the series “The Forty-Seven Ronin”, image, h. 9‑1/8”, w. 7”, overall, h. 22”, w. 17‑1/2”. [400/700]

504

Japanese Writing Desk, Meiji Period (1868‑1912), the surface carved with Mt. Fuji, dragons, waves, iris and chrysanthemums, with dragon-shaped feet, h. 52”, w. 36”, d. 25”. [1000/1500] Illustrated

507

496

Woodblock by Ando Hiroshige (Japanese, 1797‑1858), “Fireworks at Ryogoku”, Japan, ca. 1858, color woodblock print on paper, no. 98 from the series “One Hundred Famous Views of Edo”, h. 20‑1/4”, w. 15‑3/4”, including frame. [500/800] Illustrated Utagawa Hiroshige, who is also known as Ando Hiroshige, remains one of the most admired landscape woodblock artists from Japan’s Edo period (1615‑1868). This print depicts fireworks over the Ryogoku bridge in present-day Tokyo.

497

Japanese Black Lacquer Box, Meiji period (1868‑1912), the box covered with a scrolling floral motif in gold and red lacquer, the interior and underside covered with a sprinkled gold maki-e decoration, h. 2‑1/4”, w. 9”, l. 10‑1/4”. [900/1200]

498

Japanese Lacquer Four-Tier Shelf, late 19th/early 20th century, the black and gold lacquer stand with a cabinet and brass fittings, h. 10‑3/4”, w. 10‑1/2”. [800/1200]

499

Japanese Lacquer Cabinet, 19th/20th century, the black and gold box with two cabinets and three exposed drawers, five drawers concealed, with brass fittings and covered with images of cranes and pines, h. 16‑1/2”, w. 17‑1/4”, d. 9‑1/4”. [700/1000]

500

Japanese Wall Cabinet, Meiji Period (1868‑1912), the hardwood cabinet inlaid with bone, mother-of-pearl and soapstone, and accented with green lacquer, h. 36”, w. 17”, d. 7”. [500/800]

505

Japanese Ebonized Display Cabinet, Meiji Period (1868‑1912), ornately carved with birds and flowers on the interior and exterior, glazed, h. 83”, w. 33”, d. 16”. [600/900]

506

Empire-Style Mahogany and Marble-Top Commode, late 19th century, the rectangular marble top above a conforming case fitted with a single frieze drawer over three recessed long drawers flanked to either side by ormolu-mounted columnar uprights, raised on turret feet, h. 35‑1/2”, w. 51”, d. 24”. [1200/1800] Illustrated

507

Pair of Napoleon III Bronze and Marble Aesthetic Four-Light Candelabra, third quarter 19th century, now mounted as lamps, the black marble bases supporting bronze and marble standards set with candle branches decorated with anthemia and incising, base, h. 17‑1/2”, overall, h. 34‑1/2”, w. 6‑1/4”, d. 6‑1/4”. [400/700] Illustrated

515 511

508

Empire-Style Mahogany and Marble-Top Cabinet, early 20th century, the rectangular verde antico marble top above a case fitted with a single grilled cupboard door, flanked to either side by pilasters topped by ormolu maiden’s heads, raised on a plinth base, h. 33‑1/2”, w. 26‑1/2”, d. 13”. [400/700]

509

French Neoclassical-Style Wood and Metal EightLight Chandelier, the parcel-gilt and black-painted standard with a leaf-carved lower portion supporting a quiver, the scrolled metal arms set with gilt leaves, mounted with leaf-carved drip pans and candle cups, h. 25”, dia. 23‑1/2”. [500/800]

510

513

Pair of French Empire-Style Gilt-Bronze Sconces, early 20th century, the arrow-form branches emanating from lion’s head backplates, the engine-turned and anthemion-molded candle cups fitted for electricity, h. 5‑1/2”, w. 11‑1/2”, d. 10‑1/2”. [300/500]

511

Fine Pair of Napoleon III Bronze Dore et Patine Candlesticks, third quarter 19th century, in the Directoire style, the engine-turned and anthemionmolded bases supporting patinated caryatid standards, the leaf-molded drip pans and candlecups set with engineturned bobeches, h. 11”. [1400/1800] Illustrated

512

Belle Epoque Patinated Metal Centerpiece Bowl, ca. 1900, depicting a putto pushing a boat, on an ebonized wooden base, the bowl decorated with flourishes of gilt, h. 9”, w. 5‑3/4”, l. 16‑1/4”. [400/700]

513

Pair of Napoleon III Bronze FourLight Candelabra, second quarter 19th century, in the Empire taste, now mounted as lamps, the square neoclassical bases supporting winged caryatids decorated with Egyptian torches with owls, base, h. 26‑1/2”, overall, h. 42‑1/2”, w. 10”, d. 6‑1/2”. [800/1200] Illustrated

523

514

French Restauration Bronze Dore et Patine Moderator Lamp, second quarter 19th century, the lotus-molded standard with a patinated tank with a gilt egg-and-dart trim, base, h. 17‑1/2”, overall, h. 26‑3/4”, dia. 6‑1/4”. [450/700]

515

Impressive Pair of French Restauration Bronze Dore et Patine Five-Light Figural Candelabra, second quarter 19th century, the figural supports depicting Cupid and Psyche from the Latin novel “Metamorphesis”, Psyche depicted with butterfly wings, gilt appliques of Psyche mounted on the tapered standard, now mounted as lamps, base, h. 25‑3/4”, overall, h. 36”, dia. 12”. [3500/5000] Illustrated

517

Suite of Six Biedermeier Fruitwood Dining Chairs, second quarter 19th century, each with a concave top rail joined to shaped stiles with tapering front legs, now upholstered in red brocade, h. 34”. [1200/1800]

518

Empire Mahogany Scrolled Armchair, second quarter 19th century, h. 36”. [350/500]

519 516

Continental Neoclassical Mahogany Side Table, mid19th century, the rectangular top banded and quarterveneered above a single frieze drawer, raised on end supports to runner feet, h. 32”, w. 28‑1/4”, d. 22‑1/4”. [300/500]

520

Pair of Turned Onyx Vases, composed of brown and green mottled stone, h. 10”, dia. 3‑1/2”. [350/500]

521

Four-Piece Collection of Antique and Antique-Style Pottery, including an oil lamp, stamped on the underside “IVXIALEXI”, l. 4”, a pottery and a terracotta bottle vase, the former with museum accession number on the underside, both h. 4‑3/4”, and a cast stone lion’s head, h. 5‑3/4”. [400/700]

522

Pair of Restauration Mahogany Fauteuils, mid-19th century, each with a padded rectangular back, joined by ribbed downswept arms to the padded seat, raised on sabre legs, h. 36‑1/4”. [1200/1800]

523 516

Rare French Restauration Tole, Glass and Wood Liqueur Set, second quarter 19th century, the tole and wooden stand decorated with gilt-work and penwork on a pale amber ground, with three decanters and eleven molded lacy glass liqueur glasses, h. 14‑3/4”, dia. 11‑1/4”. [600/900] Illustrated

Restauration Fruitwood Settee, mid-19th century, the padded rectangular back surmounted by a back-scrolled crest, joined to a cushioned seat by closed downswept arms, raised on sabre legs, upholstered in Scalamandre yellow chinoiserie silk damask, h. 37‑1/2”, w. 69‑1/2”, d. 25”. Provenance: Uptowner Antiques, New Orleans, Louisiana. [1400/1800] Illustrated

526

Pair of Napoleon III Gilt-Bronze NeoGrec Moderator Lamps, third quarter 19th century, possibly Barbedienne, the sides decorated with bas-relief classical maidens framed with incised Greek-key decoration, now electrified, h. 22‑3/4”, dia. 6”. [2000/4000] Illustrated

524

526

527

Empire-Style Gilt-Bronze and Wood Encrier, second quarter 20th century, the burl walnut and ebonized base with gilt-bronze mounts, and holding a pair of inkpot compartments, a candle holder and pounce pot, along with three quill holders and a handle, h. 7‑1/2”, w. 4‑1/4”, d. 4‑1/4”. [500/800]

524

Pair of Restauration Fruitwood Bergeres, second quarter 19th century, each with a padded rectangular back surmounted by a paneled crest, joined to the cushioned seat by closed arms and patera-carved uprights continuing to paneled tapering square legs, h. 36”. [1200/1800] Illustrated

525

Verlys “Mandarin” Pattern Glass Vase, ca. 1935‑1951, American, the molded vase decorated with frosted ornament in the Chinese taste, signed “Verlys” in engraved script, h. 9‑1/4”, dia. 5”. [400/700]

532

528

French Patinated Bronze Encrier in the Empire Style, ca. 1900, trimmed in gilt bronze, with a pen rest in the front of an urn flanked by ink pots, h. 5”, w. 9”, d. 4‑3/4”. [300/500]

533

529

Louis-Philippe Mahogany Writing Table, second quarter 19th century, the rectangular top with an inset leather writing surface, above a frieze fitted with a central drawer flanked to either side by two small drawers, each side fitted with a leather-inset slide, raised on turned and bulbous legs ending in casters, h. 31”, w. 51”, d. 25‑1/2”. [1500/2500]

535

530

Restauration Mahogany Gondola Chair, mid-19th century, the padded and domed back joined by downswept arms to the padded seat, raised on tapering square legs, h. 34”. [400/700]

531

Pair of Directoire-Style Polychrome Fauteuils, late 19th century, each with a padded back surmounted by a foliate patera crest, joined by downswept scrolled arms to the padded seat, raised on sabre legs, h. 39”. [900/1200]

532

Continental Mahogany Piano Stool, mid-19th century, the curved demi-lune back with a scalloped base, the rotating circular padded seat raised on a paneled columnar standard to four splayed legs headed by palmetto carving and ending in paw feet, h. 29‑1/2”. [400/700] Illustrated

533

Continental Mahogany Piano Stool, mid-19th century, the curved demi-lune back with scrolling inlays and a petal-form edge, the rotating circular padded seat raised on a ribbed vasiform standard to four splayed legs headed by palmetto carving and ending in paw feet, h. 32‑1/2”. [800/1200] Illustrated

536

534

Continental Figured Walnut Writing Table, first quarter 19th century, the rounded rectangular top triplebanded and with a molded edge, above a conforming frieze fitted with a single drawer, raised on graduated end supports joined by a paneled bulbous stretcher and ending in bun feet, h. 29”, w. 39‑1/2”, d. 21”. [900/1200]

535

Pair of Napoleon III Neo-Grec Black Marble and Bronze Garniture Urns, third quarter 19th century, the black marble bases decorated with gilt incising and supporting the covered bronze urns, h. 17‑1/2”, w. 5”, d. 4‑1/4”. [500/800] Illustrated

536

Pair of Neoclassical-Style Bronze Ewers, decorated as allegories of water and wine, one with a merman, a seaweed wreath and a dolphin’s head, and the other with a Bacchic satyr, a grape wreath and a ram’s head, h. 18”, w. 8‑1/4”, d. 5‑1/4”. [2000/4000] Illustrated

537

French Bronze Figure of Aeschines (389‑314 B.C.), ca. 1900, probably from the foundry of Ferdinand Barbedienne, Paris, after the Antique, h. 24‑1/4”, w. 8‑1/4”. [1500/2500] Illustrated

537

While this figure does not bear Barbedienne’s signature, it does have the seal of his collaborator Achille Collas; whose reduction apparatus enabled the faithful reproduction of statuary in multiple sizes. Moreover, this figure is listed on page 11 of Barbedienne’s 1886 catalogue as available in five sizes of which this, the three-tenths reduction, was the next-to-largest. The catalogue calls the figure “Aristide”, or Aristides the Just (530‑468 B.C.), as the figure was known at the time, having been uncovered at the so-called “House of Aristides” at Herculaneum. The figure has subsequently been identified as the Greek statesman Aeschines, one of the ten Attic Orators. The original is

541

Pair of French Neo-Grec Patinated and Gilt-Bronze Seven-Light Candelabra, third quarter 19th century, resting on patinated paw feet above gilt anthemia, the base decorated with bold busts of Athena, the upper portion ornamented with molded anthemia and lotus leaves and trimmed with gilt-bronze finials, now mounted as lamps, base, h. 28”, overall, h. 36‑3/4”, dia. 12”. [800/1200] Illustrated

housed at the Museo Nationale in Naples.

538

Continental Neoclassical Fruitwood Library Table, mid-19th century, the rounded rectangular top above a recessed frieze drawer, raised on scrolling line-inlaid end supports joined by a like-inlaid columnar stretcher and ending in scrolled toes to a runner base, h. 30‑3/4”, w. 56”, d. 27‑3/4”. [300/500]

539

Biedermeier Fruitwood Center Table, mid-19th century, the circular top with a sunburst inlay and raised on a paneled columnar standard to three splayed legs, h. 29”, dia. 28”. [400/700]

540

Biedermeier Fruitwood Chest, mid-19th century, the banded and bowed top above a conforming case fitted with five drawers, raised on cabriole legs, h. 45”, w. 25”, d. 18‑1/4”. [600/900]

542

Biedermeier Fruitwood and Mahogany Pier Table, late 19th century, with a rectangular top with rounded corners and a frieze drawer, supported by string-inlaid scrolled supports, h. 32”, w. 44”, d. 23”. [600/900] Illustrated

549

Pair of Biedermeier-Style Fruitwood Fauteuils, late 19th century, each with a cushioned shaped crest and splat above a padded seat, raised on sabre legs, h. 42”. [400/700]

543

French Empire-Style Brass and Tole Bouillotte Lamp, the pan base trimmed in engine turning and pierced with anthemia, the turned standard decorated with engine turning and supporting three Empirestyle rhyton-form candle arms molded with Empire decoration, the square standard supporting a black and gold tole shade, h. 30”, dia. 16‑1/2”. [400/700]

552

550

Biedermeier Fruitwood Library Table, mid-19th century, the banded rectangular top with canted corners and above a single frieze drawer, raised on shaped end supports with inlaid panels, joined by a turned stretcher and ending in scrolled paneled feet, h. 31‑1/4”, w. 47”, d. 24‑1/4”. [600/900]

544

Neoclassical-Style Cast Iron and Verdigris MarbleTop Pastry Table, early 20th century, the base of trestle form and depicting swan’s heads on each corner, h. 28‑1/4”, w. 38‑1/2”, d. 22‑3/4”. [1200/1800]

551

Neoclassical-Style Iron and Egyptian Marble-Top Console Table, first quarter 19th century, h. 31‑3/4”, w. 59‑1/4”, d. 15”. [1500/2500]

Louis-Philippe Walnut Secretary Chest, mid-19th century, the banded rectangular top above a conforming case with a drop-front secretary drawer with a variety of drawers and cubbyholes and spindled gallery sides, over three long drawers flanked by burled panels, raised on block feet, h. 39‑1/2”, w. 53”, d. 25‑1/4”. [600/900]

546

552

545

Pair of French Yellow Tole Garniture Vases, ca. 1900, now mounted as lamps, decorated with decoupage black and white neoclassical equestrian scenes, base, h. 16‑3/4”, overall, h. 30‑1/2”, w. 6‑1/4”, d. 6‑1/4”. [400/700]

547

Pair of Directoire-Style Gilt-Bronze Two-Light Candlesticks, the paw feet holding a cylindrical base accented with black enamel, a black enamel putto supporting candle arms with engine-turned sockets, and a flame finial at the center, h. 16”, w. 6‑1/2”, d. 4”. [800/1200] Illustrated

Restauration Mahogany Fauteuil, 19th century, the padded back surmounted by a rounded crest and joined by downswept ribbed and foliate arms to the padded seat, raised on sabre legs, h. 35”. [500/800]

548

Pair of RestaurationStyle Marquetry-Inlaid Rosewood Daybeds, each with scroll ends inlaid with line stringing and foliate scrolls, joined by rails with like decoration, both ends with upholstered surfaces, the base fitted with a loose cushion, h. 34‑3/4”, w. 28‑1/2”, l. 109”. [3000/5000] Illustrated

548 pair

553

Pair of French Neoclassical-Style Brass-Plated Table Lamps, the octagonal bases supporting urn-form standards with ram’s head handles, base, h. 21‑1/2”, overall, h. 32‑3/4”, w. 9”. [400/700]

554

Empire-Style Mahogany Bureau Cylindre, late 19th century, the tambour-domed cylinder roll top opening to a fabric-lined writing surface and six small drawers, above two small and one long frieze drawer, flanked to either side by a paneled cupboard door opening to four small drawers, raised on bracket feet, the whole richly decorated with ormolu mounts in the Empire taste, h. 42”, w. 43‑1/4”, d. 20‑1/2”. [800/1200]

555

Louis-Ernest Barrias (French, 1841‑1905), “La Renomee”, gilt-bronze, the elegant winged female figure an allegory of literary fame,^ cast signature, Susse Freres Fondeur mark , and date on the lower ball, mounted on a gray, red and white marble plinth, h. 32‑1/2”, w. 14‑1/2”, d. 19‑1/2”. [6000/9000] Illustrated Barrias, one of the masters of the Beaux-Arts school, created this allegorical figure as a part of his monumental sculpture of the author Victor Hugo; constructed in 1885, the sculpture was destroyed in 1942. In 1893, Barrias exhibited “La Renomee” at the Paris Salon and later that year he contracted the Susse freres fondeur to produce an edition of the work. The Foundry eventually obtained the copywright for the image. Barrias trained at the Ecole des Beaux-Arts and was awarded the prestigious Prix de Rome in 1865. He was made a knight of the legion d’honeur in 1876 and was named a Commander in 1900.

556

557

560

Pair of Northern European Neoclassical Gilt-Bronze and Crystal Five-Light Candelabra, ca. 1800, each square gilt-bronze base set with mirrored panels and supporting a reeded urn-form standard, the lower and upper corona with bright-cut decoration and holding sprays of drops and cascades of prisms, the urn-form reeded finial echoes the urnform standard, the candlecups attached to the corona with seamed construction, and the base constructed with a stone weight supported by wrought-iron members, h. 29‑1/2”, w. 22”, d. 10‑1/2”. [1800/2500] Illustrated

560

561

Pair of French Neoclassical-Style Bronze and Glass Two-Light Sconces, each with a marquise-form backplate decorated with glass beads, a central molded flower and a pierced anthemion crest, h. 12”, w. 11‑1/2”, d. 7‑1/4”. [700/1000]

556

Neoclassical-Style Bronze and Crystal Urn in the Russian Taste, second quarter 20th century, the bronze base supporting the cobalt-plated colorless glass urn, cut to clear, mounted with bronze ram’s head handles and leaf decoration, h. 10‑1/2”, w. 6‑1/2”. [1000/1500] Illustrated

557

Empire-Style Giltwood Window Seat, 19th century, the padded rectangular top flanked to either side by a fluted foliate rail with ram’s head terminals, raised on a curule-form floral-carved base joined by a stretcher and ending in foliate scrolled toes, the bottom of the seat stamped “A Mobilier Soulavie”, h. 25‑1/2”, w. 32‑1/2”, d. 18‑1/2”. [500/800] Illustrated

558

French Biscuit and Gilt Swan-Form Cabinet Cup and Saucer, second quarter 20th century, in the Paris style, possibly Limoges, decorated in neoclassical bas-relief and marked “Made in France”, h. 4‑1/2”, w. 7”, d. 5‑3/4”. [300/500]

562

Two Continental Stone Depictions of Venus, 19th century, probably Italian, one example carved in a whiteveined tan-colored stone, h. 7”, and the other example on a black plinth, h. 8‑3/4”, including plinth. [800/1200]

563

Italian Carved Marble Figure of Aphrodite, Inspired by the Medici Venus, third quarter 19th century, the figure of the goddess of love depicted 563 emerging from the sea, a draped dolphin at her side, h. 25”, w. 9‑1/2”, d. 6”. [1200/1800] Illustrated

559

Gustavian Painted and Parcel-Gilt Neoclassical Mirror, ca. 1800, Swedish, the gilttrimmed graypainted frame ornamented with ribbons, cornucopia and an urn finial, the mirror glass with a shallow bevel and likely original, h. 34‑1/4”, w. 17‑1/2”. [400/700]

564

565

Classical-Style Carved Marble Jardiniere, early 20th century, of trough form with embossed carved putti and sprays of garland, mounted to a paw-footed base, h. 35”, w. 43”, d. 15”. [1500/2500] Illustrated

565

Large Cast Stone Wall Fountain and Demi-lune Basin Wall, in the French Baroque style, complete with pump, tubing and installation instructions, h. 82”, w. 102”, d. 44”, including basin wall. [4000/7000] Illustrated

566

Baroque-Style Cast Stone Basin Wall, in the 17th-century style, with an aged limestone finish, h. 10”, w. 78”, d. 78”. [1500/2500]

567

Large Pair of French Wrought Iron Gates, 19th century, overall, h. 94”, w. 70”. [2000/4000] Illustrated

567

572

569

570

Victorian-Style Cast Iron Garden Bench, the back molded as a row of lilies, with a grid-pattern seat, after a pattern made by Coalbrookdale in the 19th century, h. 35‑1/2”, w. 57”, d. 19‑1/4”. [600/900]

571

Tall Cast Stone “Flaming Urn” Fountain on a Fleurde-Lis Ornamented Pedestal, in the 17th-century French style, complete with pump, tubing and installation instructions, h. 100”, dia. 26”. [3000/5000] Illustrated

572

Victorian-Style Cast Iron Garden Fountain, in two parts, the bowl of campana form and raised on a paneled base, the bowl fitted with an electric pump, h. 40”, dia. 18”. [800/1200] Illustrated 571

573

French Cast Iron Oval Jardiniere, 20th century, with relief decor, h. 10”, w. 33”, d. 9”. [350/500]

574

Pair of Glazed Terracotta Lidded Urns, in the Antique style, h. 29”, dia. 12”. [500/800] Illustrated

574

568

Large Spanish Wrought Iron Latticework Panel, 19th century, h. 85”, w. 35”. [700/1000]

569

Five-Piece Cast Iron Garden Group, early 20th century, comprised of a table and four armchairs, the chairs in the “Lyre and Rose” pattern, chair, h. 32”, table, h. 26”, dia. 38”. [2500/4000] Illustrated

575 675

Bronze Garden Fountain Depicting the Farnese Hercules, on a bronze-patinated cast iron base in the neoclassical taste, the heroic figure leaning on his club, his lion skin draped over it, the lion’s mouth fitted as its fount, on a square columnar base, each side with a leonine head fount, comes with pump and tubing, h. 79”, w. 19”, d. 19”. [3000/5000] Illustrated

581

Cast Bronze Sundial with Signs of the Zodiac, after Louis F. Ragot (Franco-American, 19th/20th century), first quarter 20th century, Pennsylvania, inscribed “Ye are born under a good star, if ye know ye self, Copyright 1917 by Louis F. Ragot, Milford, Pa.”, dia. 11‑3/4”. [400/700]

582

French-Style Cast Stone Wall Fountain, with lion masque spigot and demi-lune bowl, complete with pump and tubing, h. 53”, w. 44”, d. 36”, including basin. [1200/1800] Illustrated

577

576

Pair of Patinated Bronze Garden Urns in the Neoclassical Taste, each handle with a pair of addorsed masques supported by a boar’s head, the vessel adorned with foliage, shells and Greek keys, h. 34”, w. 30”, d. 19”. [2000/4000] Illustrated

577

Pair of Cast Stone Acanthus-Leaf Urns on Pedestals, with a patinated surface, h. 72”, dia. 28”. [1800/2500] Illustrated

578

Pair of Art Deco Marble Garden Urns, 20th century, each with a concave band beneath the rim, h. 14‑1/4”, dia. 14”. [900/1200] Illustrated

579

Pair of French Provincial Cast Stone Balland-Cap Finials, in the 17th-century style, h. 20”, w. 13‑1/2”, d. 13‑1/2”. [500/800]

580

Bronze Sundial Commemorating Halley’s Comet 1910 Orbit, after Louis F. Ragot (Franco-American, 19th/20th century), first quarter 20th century, Pennsylvania, the bronze gnomon molded to represent a comet’s tail and star, marked “Halley’s Comet, May 18, 1910” and signed “Louis F. Ragot Sculptor”, h. 5‑3/4”, w. 12‑1/2”, d. 10”. [400/700]

576

583

French Carved Limestone Architectural Element, 19th century, removed from the facade of a building in Paris, d. 7”, dia. 22”. [700/1000]

584

Victorian-Style Cast Iron Garden Bench, 20th century, with a pierced back and arms in an “acorn and oak leaf” pattern, the arm fronts ending in hound’s heads and the legs with paw feet, h. 37”, w. 58”, d. 32”. [1200/1800] Illustrated

582

???

585

584

585

Italian Glazed Majolica Three-Part Wall Fountain, early 20th century, h. 62”, w. 28”, d. 17”. [800/1200] Illustrated

578

586

Impressive Pair of French Wrought Iron Entrance Gates, 19th century, overall, h. 132”, w. 80”. [4000/7000] Illustrated 586

587

Pair of Spanish-Style Wrought Iron and Stamped Metal Entrance Gates, early 20th century, overall, h. 68”, w. 46”. [1200/1800]

589

591

588

Cast Iron Self-Contained Fountain with Swans, in the manner of J. W. Fisk Company, New York, h. 47”, dia. 41”. [2000/4000]

589

Large Continental Arched Doorway Surround with Fan-Light Transom, early 19th century, the surround with a pair of doors and wrought iron hardware, h. 94”, w. 40‑1/2”. [2500/4000] Illustrated

590

Pair of Terracotta Recumbent Lions, 20th century, in opposing postures and resting on rectangular platform bases, h. 21”, w. 24”, d. 13”. [1000/1500]

100

596 593

594

French Provincial-Style Cast Stone Four-Sided “Town Fountain” and Basin Wall, in the 17th-century Baroque style, complete with pump, tubing and installation instructions, h. 79”, w. 85”, d. 85”, including basin wall. [3500/5000] Illustrated

595

Large Cast Cement Figural Garden Fountain, the circular bowl supported by five sphinx-form figures, h. 40”, bowl, dia. 56”, overall, dia. 72”. [500/800]

596

Brussels Machine-Woven Verdure Tapestry, 19th century, depicting a village set within a lush landscape, with an acanthine border, 6’ 7” x 19’ 9”. [5000/8000] Illustrated

594

591

Large Continental Stoneware Olive Jar on a Wrought Iron Stand, late 19th century, jar, h. 50”, dia. 38”. [1000/1500] Illustrated

592

French Stoneware Olive Jar with Glazed Rim, in the 19th-century style, h. 18”, dia. 13”. [500/800]

593

French Stoneware Olive Jar with Glazed Rim, in the 19th-century style, h. 24”, dia. 16”. [700/1000] Illustrated

101

598

Provincial Louis XVI-Style Fruitwood Drop-Leaf Gateleg Table, 19th century, the rectangular top with rounded ends and two ovoid drop leaves, raised on tapering circular legs ending in brass caps and casters, h. 28”, w. 47‑1/2”, d. 18”, extended d. 48‑1/2”. [400/700]

601

597

599

Two Unusual Meissen Bateau-Form Platters, ca. 1850‑1922, decorated in the “Blue Onion” pattern and trimmed in gilt, with scalloped borders and scroll-molded handles, the smaller dish with pommeled crossed swords, h. 3‑1/4”, w. 17‑1/2”, d. 12”, and the larger dish with an impressed Meissen and an undecipherable underglaze blue mark, h. 4‑3/4”, w. 19”, d. 14”. [1000/1500] Illustrated

597

Provincial Louis-Philippe Fruitwood Vasselier, mid19th century, the ogee-molded cornice above three open shelves, the bottom section with a canted rectangular top above a conforming case fitted with three small drawers over two paneled cupboard doors, raised on block feet, h. 89”, w. 57”, d. 19‑1/2”. [1200/1800] Illustrated

102

603

Provincial Louis XV-Style Fruitwood Window Bench, early 20th century, the long padded rectangular top above a shaped frame, raised on six molded cabriole legs ending in scrolled toes, the underside of the frame stamped “Jansen”, h. 19”, w. 63‑1/2”, d. 17‑1/2”. [1500/2500] Illustrated

604

Louis XVI Walnut Commode, late 18th century, the banded rectangular top with turreted corners and above a case fitted with a segmented frieze drawer over two long drawers, flanked to either side by fluted columnar uprights, raised on tapering circular legs ending in toupie feet, h. 32‑1/2”, w. 50‑1/2”, d. 22”. [1000/1500] Illustrated 604

607

600

Four-Piece Collection of Galle Faience Pottery, fourth quarter 19th century, Nancy, France, consisting of a blue and white sunflower-form wall pocket, decorated with crosses of Lorraine and flower sprigs, h. 9”, w. 9”, a blue and white sauceboat signed “E. Galle, Nancy”, h. 3‑1/4”, w. 6‑3/4”, a shell-form wall plaque marked “dipose Emile Galle”, h. 8‑3/4”, w. 10‑1/4”, and a plate with a pierced rim, reading “forget me not”, dia. 9‑1/2”. [350/500]

601

French Provincial-Style Fruitwood Dog House, of domed rectangular form, the sides and top upholstered, the front with a foliate-carved crest over the opening to the cushioned interior, raised on toupie feet, h. 26”, w. 17‑1/2”, d. 19”. [1200/1800] Illustrated

602

Provincial Fruitwood and Marble-Top Commode, 19th century, the rounded rectangular marble top above a case fitted with two short drawers over two long drawers, all with incised banding, raised on block feet, h. 31”, w. 50”, d. 22”. [2000/4000]

605

Louis XVI-Style Mahogany Day Bed, early 20th century, the paneled head- and footboards of equal height, supported by foliate-carved and fluted posts, h. 32”, inside w. 39”, l. 77”, outside w. 42”, l. 81”. [450/700]

606

Provincial Louis XV-Style Fruitwood Cabinet, early 19th century, the molded rectangular cornice above a case fitted with a single door with an upper grilled panel and a lower panel, over a single drawer, raised on scrolled toes, h. 89”, w. 48”, d. 23”. [600/900]

607

Louis XIV-Style Fruitwood Fauteuil a la Reine, mid20th century, the padded rectangular back surmounted by a shaped foliate crest, joined by padded arms to the like seat, raised on cabriole legs ending in scrolled toes, h. 45”. [600/900] Illustrated

609

103

608

Louis XIV-Style Fruitwood Fauteuil, mid-20th century, the domed and padded back joined by downswept scrolling foliate-carved arms to the padded seat, raised above a shaped apron on cabriole legs headed by shell carving and ending in like-carved toes, h. 43”. [700/1000]

614

609

French Handwoven Aubusson Tapestry, 18th century, depicting peasants frolicking within an architectural ruin, a chateau in the background, with a twining floral vine border, 78” x 64”. [3000/5000] Illustrated previous page

610

French Provincial Fruitwood and Oak Vasselier, early 19th century, the rounded and molded cornice above two cupboard doors, each inset with a pierced tin panel and separated by floral carving, over two open shelves, the lower section fitted with three small drawers over two paneled cupboard doors, all with floral and foliate carving, raised on shaped toes, h. 89”, w. 51”, d. 23”. [2000/4000]

613

Continental Provincial Polychrome Vasselier, mid19th century, the molded cornice above a pierced frieze and three open shelves, the lower section fitted with two cupboard doors, each bi-paneled, raised on extending runner feet, h. 76”, w. 48”, d. 27‑1/2”. [1800/2500] Illustrated

611

Provincial Louis XV Settee, early 19th century, the padded and triple-domed back surmounted by a floral-carved crest, joined by padded arms to the shaped seat, raised on molded cabriole legs ending in pointed toes, upholstered in Scalamandre “Love Birds” silk damask, h. 37”, w. 67”, d. 24”. Provenance: Uptowner Antiques, New Orleans, Louisiana. [800/1200]

612

Suite of Six Continental Mahogany Sidechairs, early 19th century, in the rococo taste, each with a padded back surmounted by a floral crest, the padded seat raised above a likecarved apron on cabriole legs ending in pointed toes, h. 40”. [1200/1800]

104

615

614

618

618 one of pair

Dutch School Still Life Oil-on-Canvas Panel in a Louis XVI-Style Walnut Frame, fourth quarter 19th century, lushly painted with fruit and flowers spilling out of an urn, a parrot peeking over the edge, h. 81”, w. 27‑1/12”. [2500/4000] Illustrated

Hilaire Bals (Belgian, b. 1940), “Chickens in the Barn”, oil on canvas, signed lower right, 16‑3/4” x 19‑3/4”. Framed. [500/800]

615

618

Suite of Four Louis XVI Fruitwood Fauteuils, late 18th century, each with a tapering padded rectangular back surmounted by a molded crest and foliate finials, joined by scrolling padded arms to the like seat, raised on stop-fluted tapering circular legs ending in toupie feet, h. 34‑1/2”. [2000/4000] Illustrated

616

J. Dubois (French, 19th Century), a pair of oils on wood panel, including “Roosters” and “Barnyard with Rooster and Dog”, each signed lower left, each 6” x 9”. Attractively framed alike. [800/1200] Illustrated

617

Henry Schouten (Belgian, 1864/67‑1927), “Turkeys in the Farmyard”, pair of oils on canvas, each signed lower left, 24” x 17‑3/4”. Both framed. [3000/5000] Illustrated

619

Italian Faience Cockerel, mid-20th century, realistically modeled and painted, h. 28‑1/2”, w. 22‑1/2”, d. 7‑3/4”. [400/700]

620

French Patinated Bronze of “Le Coq Gaulois Chantant”, first quarter 20th century, after Prosper Lecourtier (French, 1855‑1924), cast signature at back edge, on a columnar green marble plinth, overall, h. 13‑3/4”, w. 9”, d. 6‑3/4”. [400/700] Illustrated

620

616 one of a pair

105

621

Pair of Louis XIII-Style Mahogany Fauteuil a la Reine, late 19th century, each with a padded rectangular back joined by downswept ribbed arms ending in scrolled handrests, to the padded seat, raised with scrolling ribbed legs joined by an H-form stretcher and ending in in-scrolled toes, h. 45”. [600/900]

622

Continental Fruitwood Fauteuil a la Reine, third quarter 19th century, the tall domed padded back joined by downswept arms to the like seat, raised on S-scroll foliate- and floral-carved legs joined by a shaped shell-carved front stretcher and ending in foliate feet, h. 47”. [300/500]

623

French Provincial Fruitwood Buffet, early 19th century, the banded rounded rectangular top above a conforming case fitted with two drawers over two cupboard doors, each inset with a shaped panel, over a scalloped apron, raised on pointed toes, h. 38”, w. 51”, d. 25‑1/2”. [1000/1500]

626

624

Provincial Louis XV-Style Fruitwood Draw-End Table, early 20th century, the shaped rectangular top with parquetry inlay and with two like-inlaid draw ends, above a shaped shell-carved apron, raised on cabriole legs ending in scrolled toes, h. 29”, w. 39”, l. 51”, extended l. 85”. [600/900] Illustrated

625

Andres Cortes Y Aguilar (Spanish/French, ca. 1810‑1879), “At the Watering Hole”, oil on canvas, signed lower right, 21” x 25‑3/4”. Framed. [1000/1500] Illustrated

626

L. Pernett (Continental, 19th Century), “The Seaweed Rakers”, oil on canvas, signed lower right, 19‑5/8” x 32‑1/8”. Framed. [600/900] Illustrated

625

627

Pair of Provincial Louis XV-Style Fruitwood Fauteuils, early 20th century, each with a shaped and padded back surmounted by a foliate crest, joined by scrolling arms to the padded seat, raised on molded cabriole legs headed by foliate carving and ending in peg toes, h. 36”. [500/800]

628

624

106

Provincial Louis XV-Style Walnut Armoire, mid-19th century, the molded and rounded cornice above a foliate-and patera-carved frieze over two long tri-paneled doors, opening to a shelved interior with three small drawers, raised above a foliate urn-carved apron on scrolled feet, h. 90”, w. 54‑1/2”, d. 21‑1/2”. [1500/2500] Illustrated

631

Louis XV-Style Provincial Fruitwood Buffet, mid-19th century, the rounded rectangular top above a conforming case fitted with two drawers over two paneled cupboard doors, divided by a caduceus-carved upright, raised above a scalloped apron on scrolled toes, h. 37‑1/4”, w. 53”, d. 22‑1/4”. [1500/2500] Illustrated

632

Franz Courtens (Belgian, 1854‑1943), “Wooded Interior with Figure and Cattle on a Path”, oil on canvas, signed and dated lower center, “Franz Courtens, Lake 39”, 27‑1/2” x 19‑3/4”. Framed. [2000/4000] Illustrated

628

629

632

629

Set of Sixteen Hand-Painted Aesthetic Fish Plates, fourth quarter 19th century, Paris, carefully decorated with various fish, insects and aquatic plants, most marked “Mansard, 34 Rue Paradis, Paris”, dia. 9”. [1200/1800] Illustrated

630

Louis XV-Style Fruitwood Bergere, mid-19th century, the padded and trisected back surmounted by a molded frame and joined by downswept arms to the cushioned seat, raised on molded cabriole legs headed by foliate carving and ending in scrolled toes, h. 31‑1/4”. [300/500]

631

107

640

647

642 649

108

633

Attributed to Leandro Garrido (Spanish, 1868‑1909), “The Garden at Ford’s Croft”, oil on canvas, unsigned, 17” x 12‑3/4”. Framed. [500/800]

634

Attributed to Ralph Albert Blakelock (American, 1847‑1919), “Wooded Landscape at Sunset”, oil on canvas, unsigned, 9” x 12”. In a giltwood frame. [600/900]

635

Henri-Joseph Harpignies (French, 1819‑1916), “Landscape with a Figure in a Field”, oil on canvas, signed lower left, 9” x 13”. Framed. [800/1200]

636

Joseph Archibald Browne, RCA (Canadian, 1862‑1948), “A Grey Day”, oil on wood panel, signed lower right, signed and titled verso, 10” x 14”. Framed. [400/700]

637

Set of Ten Meissen Hand-Painted Plates with Fruit Decoration, ca. 1850‑1922, German, each with a molded body and a different hand-painted fruit, with underglaze blue crossed swords pommel mark and impressed numbers, dia. 9‑1/2”. [350/500]

638

Enameled Metal and Porcelain Four-Light Chandelier, mid-20th century, probably Italian, decorated with enameled metal leaves, applied porcelain flowers and tulip-form porcelain candle cups, h. 25”, dia. 12”. [400/700]

639

Semi-Antique Shiraz Runner, 4’ 3” x 8’ 10”. [500/800]

640

Turkish Angora Oushak Carpet, 8’ 2” x 10’. [900/1200] Illustrated

641

Semi-Antique Tabriz Carpet, 3’ 1” x 12’ 10”. [300/500]

642

Persian Serapi Carpet, 7’ x 9’ 8”. [2500/4000] Illustrated

643

Laristan Garden Carpet, 8’ 3” x 10’ 6”. [1400/1800]

644

Agra Serapi Carpet, 9’ x 12’ 1”. [1500/2500] Illustrated

645

Sumak Carpet, 8’ 9” x 11’ 11”. [800/1200]

646

Oushak Carpet, 6’ 8” x 6’ 8”. [600/900]

647

Agra Serapi Carpet, 9’ 10” x 13’ 10”. [1500/2500] Illustrated

648

Persian Serapi Carpet, 6’ 10” x 9’ 7”. [2500/4000]

649

Persian Heriz Carpet, 7’ 4” x 10’ 1”. [2500/4000] Illustrated

650

Agra Sultanabad Carpet, 10’ 3” x 13’ 8”. [1800/2500]

651

Turkish Angora Oushak Carpet, 10’ 2” x 14’. [1500/2500]

652

Chinese Porcelain Vase with Imperial Beauties, ca. 1925, the white porcelain vase with a thin silver edge along the lip, the front of the vase depicting beautiful court ladies, and the back with a poetic verse, marked on the underside “Yuyuansheng Yin”, h. 9‑1/2”, w. 5”. [400/700]

653

Pair of Chinese Porcelain Bird and Flower Vases, Republican Period (1911‑1949), the front of each vase depicting a bird flying over a cluster of lotus leaves and blossoms, the back inscribed with a verse, the marks on the underside are associated with the manufacturer Cheng Yiting, h. 9”, w. 4”. [800/1200]

109

654

657 654

Chinese Porcelain Vase, Republican Period (1911‑1949), the front of the tapering vase depicting a family of chickens against a lush garden landscape, and the back inscribed with a poem, the mark on the bottom associates the vase with the atelier of Liu Yucen, h. 11‑3/4”, dia. 3”. [500/800] Illustrated

Pair of Chinese Coral-Ground Vases, 20th century, the vases decorated with blue and yellow flowers against a red ground, the reverse inscribed with poetry and seal marks, the underside with a blue four-character Yongzheng reign mark, h. 8”, dia. 4”. [600/900]

658

Pair of Chinese Porcelain Baluster Vases, 20th century, the vases depicting court scenes in a famille rose palette on a white ground, the underside bearing a redpainted six-character Qianlong mark, h. 22‑5/8”, dia. 9”. [900/1200] Illustrated

655

Pair of Chinese Porcelain Bottles after Wang Bu, 20th century, the blue and white bottle-shaped vessels depicting a scene of geese taking flight from a river bank, the back of each vase inscribed with poetry, the underside of each vase marked “Wang Bu”, h. 14‑1/2”, w. 6”. [800/1200]

658

662

659

656

Pair of Chinese Porcelain Vases, 1950’s or later, the vases depicting Mynah birds on prunus limbs in a landscape with peonies, bamboo and rocks, each inscribed with a poem and seals, the underside with a blue apocryphal Yongzheng mark, h. 7‑3/4”, w. 4”. [400/700]

110

662

663

Pair of Chinese Porcelain Hexagonal Hat Stands, late Qing Dynasty, late 19th/early 20th century, each hat stand with quadrilobe gilded cut-outs, and an archaic vessel and flower motif in a famille rose palette, h. 11”, w. 5”. [600/900] Illustrated

663

Pair of Chinese Famille Rose Vases, 19th century, each depicting a palace scene with views of a noble on horseback, officials at court and numerous beautiful ladies, each side with a foo dog faux handle, unmarked, h. 22‑1/4”, w. 6‑1/2”. [800/1200] Illustrated

663A

Chinese Doucai Porcelain Box, the Doucai lobated box with eight dragon panels and two dragons in the center, the interior with five delineated sections, each with a dragon motif, the underside bearing a Ming Wanli mark (1582‑1600), and possibly of the period, h. 6‑1/2”, w. 11”. [800/1200]

664

Chinese Porcelain Vase, 20th century, now mounted as a lamp, having “Hundred Antiques” decoration with butterflies on a white ground, vase, h. 16‑1/2”, overall, h. 28‑1/2”, w. 18‑1/2”. [2500/4000] Illustrated

665

Pair of Chinese Eggshell Porcelain Bowls, 19th century, the pair of translucent wedding bowls with an “eight peaches and five bats” motif, and delicate gilding throughout, the underside with a red Daoguang mark (1821‑1850), h. 2”, dia. 3‑3/4”. [600/900] Illustrated

658A

Chinese Porcelain Bottle Vase, 20th century, the longnecked vase with a bulbous body and decorated with a peony blossom and branch motif, the underside marked with an apocryphal Yongzheng mark, h. 16”, dia. 8”. [700/1000]

659

Chinese Porcelain Baluster Vase, 19th/20th century, the vase in a famille rose palette, with a yellow foliated motif on the lip and a yellow mille fleur border at the foot, the underside marked with a red Jiaqing mark, h. 14‑1/2”, w. 7‑1/2”. [600/900] Illustrated 664

660

Chinese Export Porcelain Bowl, 19th century, the bowl with gilt details and fluted edges with red and white blooms in a famille rose palette, unmarked, h. 4‑1/4”, dia. 9‑1/4”. [300/500]

661

Chinese Ink Box with Lid, 19th/20th century, the box rendered in a famille rose palette and covered with a scrolling floral motif, h. 2‑1/4”, dia. 5”. [300/500]

665

111

666

666 bottom

Chinese Baluster Vase, the large heavily-gilded and brightly-colored vase with Kui dragon handles, the center reserve with a dragon and phoenix around a pearl, surrounded by ruyi clouds, the underside fully decorated with floral sprays and an apocryphal four-character Kangxi mark, h. 19‑3/8”, w. 8‑3/4”. [800/1200] Illustrated

666

667

Chinese Red and White Dragon Vase, 19th/20th century, the vase depicting a dragon amidst ruyi clouds above the waves, the underside marked with a Guangxu mark, h. 6‑1/4”, dia. 4”. [300/500]

673

668

Pair of Chinese Ink Boxes, late 19th/early 20th century, the ink boxes with wave motifs, one with dragons around a flaming pearl and the other with phoenixes, each box bearing a Guangxu reign mark, h. 2‑1/2”, dia. 4”. [500/800] Illustrated

669

Chinese Baluster-Form Porcelain Vase, 20th century, with a blue and white scene of courtiers in a garden against a coral ground, the underside marked with a Kangxistyle blue concentric circle mark, h. 9‑1/2”, dia. 4‑1/4”. [400/700]

Pair of Chinese Porcelain Female Immortals, 20th century, each holding a red, white and blue vase with gilt designs, unmarked, h. 16‑3/4”, w. 5‑1/2”. [700/1000]

674 668

Pair of Chinese Export Porcelain Court Ladies, 20th century, the figures rendered in a famille rose palette, wearing Qing Dynasty-style costumes and holding ruyi scepters, each figure stamped on the underside, h. 17”, w. 6”. [700/1000] Illustrated

674

670

Chinese Export Porcelain Buddha on Stand, first half 20th century, the figure depicted in a reclining position, in flowing robes, the underside with two maker’s marks, resting on a wooden stand, h. 6‑3/4”, l. 9‑1/2”. [300/500]

671

Chinese Export Porcelain Buddha, first half 20th century, the porcelain Budai wearing flowing robes, flanked by five adoring children, unmarked, h. 8”, w. 6‑1/4”. [400/700]

672

Pair of Chinese Foo Dogs, 19th/20th century, in famille verte decoration, the undersides unmarked, h. 17‑1/2”, w. 8”. [500/800]

112

676

Eighteen-Karat Yellow Gold, Silver, Diamond, Pearl and Black Onyx Brooch, the rococo-style brooch with a gold back and silver top set with approximately 100 rose-cut diamond melee and three single-cut diamond melee, the oval concave black onyx insert incorporated into the design, set with a 3.0 mm and 5.0 mm pearl, with an approximate total diamond weight of 1.00 carat, size 1‑3/4” x 2‑1/2”, 20.2 grams total weight. [800/1200] Illustrated

675

677

Platinum and Diamond Dangle Earrings, each earring set with a row of eight round-cut diamonds, supporting open-weave pear-shaped bottoms set with round-cut diamonds, with an approximate total diamond weight of 4.50 carats for both earrings, l. 2‑1/2”, 18.0 grams total weight. [8000/12000] Illustrated

677

675

Eighteen-Karat White Gold and Diamond Drop Necklace, composed of pear-shaped and round-cut diamonds, with an approximate total weight of 2.65 carats, necklace, l. 17”, 17.0 grams total weight. [4500/7000] Illustrated

676

678

Fourteen-Karat White Gold and Diamond Art Deco Ring, composed of a European-cut center diamond, with an approximate weight of .70 carats, color G, clarity I1, and thirty European single-cut diamonds, with an approximate weight of 1.03 carats, color E-F, clarity S2‑SI2, size 7‑1/2, 8.0 grams total weight. [3500/5000] Illustrated

679

Pair of Eighteen-Karat White Gold and Diamond Pendant Earrings, each earring set with a .25‑carat bezel-set, round brilliant-cut diamond with fifteen singlecut diamond melee, the pendant attached to a .20‑carat bezel-set, round brilliant-cut diamond and two single-cut diamond melee, with an approximate total diamond weight of 1.25 carats for the pair, l. 1‑1/4”, 5.3 grams total weight. [2500/4000]

114

678 681 682

680

686

684

683

Pair of Eighteen-Karat White Gold and Diamond Earrings, the dangle earrings pave-set with a total of sixty round-cut diamonds, with an approximate total weight of 1.89 carats, l. 1”, 5.0 grams total weight. [2500/4000]

680

Eighteen-Karat White Gold and Diamond Ring, the handmade ring set with a central European-cut diamond, with an approximate weight of .41 carats, and eight European-cut diamonds, with an approximate total weight of .41 carats, size 8‑1/2, 3.0 grams total weight. [800/1200] Illustrated

681

Fourteen-Karat White Gold and Diamond OperaLength Necklace, set with ninety-nine octagonal links, each set with seven round brilliant-cut diamond melee, with an approximate total diamond weight of 20.0 carats, l. 33‑1/4”, 138.0 grams total weight. [6000/9000] Illustrated

682

Eighteen-Karat White Gold and Diamond Ring, the large round brilliant-cut diamond, with an approximate total weight of 2.20 carats, with six European-cut diamond melee set in the shank, with an approximate total diamond weight of 2.35 carats, size 8‑1/4, 2.9 grams total weight. [3000/5000] Illustrated

684

Fourteen-Karat White Gold, Diamond and Pearl Cross Necklace, the pendant set with 125 round- and rose-cut diamonds, with an approximate total weight of 2.25 carats, together with a double-strand necklace set with 4.0 mm pearls, necklace, l. 18”, pendant, l. 2”, 17.0 grams total weight. [4500/7000] Illustrated

685

Fourteen-Karat White Gold and Diamond Tennis Bracelet, composed of thirty-six round-cut diamonds, with an approximate total weight of 9.89 carats, color H-G, clarity SI2‑I3, l. 7‑1/2”, 15.0 grams total weight. [9000/12000]

686

Eighteen-Karat White Gold and Diamond Engagement Ring, set with a central brilliant-cut diamond, with an approximate weight of 2.02 carats, color I, clarity SI3, surrounded by fifty-six round-cut diamonds, with an approximate total weight of .56 carats, size 7, 3.0 grams total weight. [12000/18000] Illustrated

115

690 688

Men’s Stainless and Fourteen-Karat White/Yellow Gold Rolex Date Watch with Diamond Bezel and Dial, the automatic steel watch with a fourteen-karat white gold bezel, set with forty-two round brilliant-cut diamond melee, with an approximate total weight of 2.00 carats, the white mother-of-pearl dial set with ten round brilliant-cut diamond melee, the watch with a stainless and fourteenkarat yellow gold jubilee band, reference #1500, serial #6,478, XXX. [2000/4000] Illustrated

691

Fourteen-Karat Yellow Gold and Diamond Cuff Bracelet, the double cable bracelet with two “X” designs, set with eighteen round-cut diamonds, with an approximate total weight of .42 carats. [2500/4000]

690

687

Pair of Fourteen-Karat White Gold and Diamond Stud Earrings with Pear-Shaped Jackets, the roundcut diamond studs, with an approximate total weight of .54 carats, color F-G, clarity VS1, together with pear-shaped jackets, each set with thirteen round-cut diamonds, with an approximate total weight of .78 carats, l. 1”, 5.0 grams total weight. [2500/4000]

689

692

Eighteen-Karat Yellow Gold and Diamond Ring, the large domed ring in a fish-scale pattern and set with 125 tapered baguette diamonds, with an approximate total weight of 4.75 carats, signed “Rex”, size 8‑3/4, 16.0 grams total weight. [1200/1800] Illustrated

693 688

Eighteen-Karat Yellow and White Gold and Diamond Brooch/Pendant, the star-shaped brooch/pendant set with fifty-four European-cut diamonds, with an approximate total weight of 4.00 carats, l. 1‑1/2”, 9.0 grams total weight. [6000/9000] Illustrated

689

Fourteen-Karat White Gold and Diamond Buckle Ring, set with forty round-cut diamonds, with an approximate total weight of .45 carats, size 7‑1/2, 12.0 grams total weight. [1800/2500] Illustrated

116

Eighteen-Karat Yellow and White Gold and Diamond Cuff Bracelet, the spring-loaded bypass bracelet designed as two stylized leaves with approximately fiftyone single-cut diamonds set in white gold down the center, with an approximate total diamond weight of 1.00 carat, inside circumference 6‑1/2”, 57.5 grams total weight. [1500/2500] Illustrated

694

Eighteen-Karat Yellow and White Gold and Diamond Ring, the wide band set with a beaded border and five quatrefoil sections, each set with thirty-two pave-set round-cut diamonds, with an approximate total weight of 1.25 carats, ring width, 14.0 mm, size 7‑1/2, 9.0 grams total weight. [2500/4000] Illustrated

695

Eighteen-Karat Yellow Gold and Diamond Earrings, each earring paveset with twenty-four round-cut diamonds, with an approximate total weight of 3.42 carats for both earrings, l. 1”, 8.0 grams total weight. [5000/8000]

692

694

696

Stunning EighteenKarat Yellow Gold and Yellow Diamond Necklace, composed of 113 radiant-cut faint yellow diamonds, clarity VVS to VVS2, with an approximate total weight of 39.53 carats, and with a suspension clasp in the center of the necklace for an optional pendant, l. 17”, 47.0 grams total weight. [90000/120000] Illustrated

693

697

696

697

Beautiful Platinum and Yellow and White Diamond Pendant/ Ring, set with a central irradiated yellow pear-shaped diamond, clarity VS2, with an approximate weight of 3.00 carats, and surrounded by thirty-four round-cut diamonds, with an approximate total weight of 1.73 carats, the complete setting removes for conversion to a pendant, size 6‑1/2, 14.0 grams total weight. [8000/12000] Illustrated

117

698

700

702

698

Stunning Fourteen-Karat Yellow Gold and Diamond Bracelet, the retro era gold and diamond flexible bracelet with a leaf design, with five sections set with thirty-six round-cut diamonds, with an approximate total diamond weight of 4.50 carats, l. 7”, 79.0 grams total weight. [14000/18000] Illustrated

699

Eighteen-Karat Yellow Gold, Ruby, Emerald, Sapphire and Diamond Ring, composed of twelve round-cut rubies, with an approximate total weight of .20 carats, twelve emeralds, with an approximate total weight of .20 carats, twelve sapphires, with an approximate total weight of .20 carats, and sixty-three round-cut diamonds, with an approximate total weight of .97 carats, size 6‑1/2, 12.0 grams total weight. [3000/5000] Illustrated

701

Spectacular Eighteen- and Fourteen-Karat Yellow Gold, Ruby and Diamond Necklace, set with thirteen pear-shaped treated rubies, with an approximate total weight of 26.0 carats, twelve marquise-cut diamonds and fifty-two round-cut diamonds, with an approximate total diamond weight of 8.00 carats, 56.0 grams total weight. [14000/18000] Illustrated

700

Eighteen-Karat Yellow and White Gold, Ruby and Diamond Ring, set with seven round-cut rubies, with an approximate total weight of 1.55 carats, and thirtythree round-cut diamonds, with an approximate total weight of 1.55 carats, size 7‑1/2, 7.0 grams total weight. [1200/1800] Illustrated

703

702

Eighteen-Karat Yellow Gold, Ruby and Diamond Ring, set with a central cushion-cut heat-treated ruby, with an approximate weight of 1.83 carats, surrounded by twenty-two round-cut diamonds, with an approximate weight of 1.24 carats, color D-E, clarity VS2‑VS1, size 6, 7.0 grams total weight. [5000/8000] Illustrated

703

699

118

Eighteen- and Fourteen-Karat Yellow Gold, Diamond and Ruby Ring, composed of five channel-set square-cut rubies, with an approximate total weight of .25 carats, and fifty round-cut pave-set diamonds, with an approximate total weight of .25 carats, size 7‑1/2, 11.0 grams total weight. [2000/4000] Illustrated

708

707

Interesting Eighteen-Karat White and Rose Gold and Diamond Spider Pendant with Chain, the body of the pendant in rose gold and set with ten roundcut diamonds, and the legs set with ninety-eight round-cut diamonds, with an approximate total diamond weight of 1.11 carats, chain, l. 18”, pendant, l. 2”, w. 2”, 11.0 grams total weight. [6000/9000] Illustrated

709 706

Fourteen- and Eighteen-Karat Yellow Gold and Diamond Earrings, the Victorian earrings each set with a European-cut diamond, with an approximate total weight of 1.00 carat, color F-G and clarity SI2, with hinged curved wire backs, l. 1”, 5.0 grams total weight. [4000/7000]

710

Fourteen-Karat Yellow Gold and Diamond Ring, set with a cushioncut diamond, with an approximate weight of 2.61 carats, color, light brown, clarity SI1, size 5‑1/2, 3.0 grams total weight. [6000/9000]

704

Eighteen-Karat White Gold, Tourmaline and Diamond Ring, set with a large pink tourmaline, with an approximate weight of 18.39 carats, surrounded by ninety round-cut diamonds, with an approximate total weight of 1.57 carats, size 7‑1/2, 16.0 grams total weight. [4000/7000]

708

705

Fourteen-Karat White Gold, Star Ruby and Diamond Ring, the large oval cabochon purplish-red star ruby, with a weight of 51.32 carats and with a G.I.A. certificate, surrounded by 350 round brilliant-cut diamond melee, with an approximate total weight of 1.85 carats, size 8‑1/4, 24.2 grams total weight. [4500/7000]

706

Eighteen-Karat Yellow Gold Men’s Automatic Bulgari Watch, model LC35G, Diagono, the heavy eighteenkarat gold case with a mechanical automatic movement with date and sweep second, the watch with the original eighteen-karat yellow gold buckle and strap, reference #LC 35G, serial #LXXX, size 36.0 mm x 45.0 mm, without crown. [4000/7000] Illustrated

707

Eighteen-Karat Yellow Gold Men’s Cartier Francaise Midsize Automatic Watch, the heavy eighteen-karat gold case with a mechanical automatic movement with date, with a classical engine-turned Roman numeral dial, the crown set with a blue sapphire, reference #1840, serial #MG 238, XXX, size 28.0 mm x 32.0 mm, without the crown, accompanied with a Cartier box. [3500/5000] Illustrated

119

715 711

Eighteen-Karat Yellow Gold Henry Dunay Ear Clips, the heavy ear clips textured in an alternating brushed and high-polish finish, stamped “Dunay, 18K, 750, B9309”, 30.0 mm x 19.0 mm, 20.6 grams total weight. [600/900] Illustrated

714

711

Tiffany and Company Eighteen-Karat Yellow Gold and Pink Sapphire Earrings, each earring in a palm frond design and set with eight round-cut pink sapphires, with an approximate total weight of .48 carats, stamped “Italy”, h. 1”, w. 3/4”, 15.0 grams total weight. [500/800] Illustrated

713

716

Twenty-Four-Karat Yellow Gold-Dipped Skull Pendant on Chain, the skull accented with twentyfour-karat yellow gold, suspended from a fourteen-karat yellow gold chain, chain, l. 18”, pendant, w. 1‑3/4”, l. 2”. [150/300] Illustrated

715

712

Fourteen-Karat Yellow Gold Rococo-Style TripleStrand Bracelet, in a rococo design with a repousse clasp linked by three oval double-link curb link chains, w. 1‑5/8”, l. 6‑3/4”, 25.6 grams total weight. [1400/1800]

713

Pair of Eighteen-Karat Yellow Gold Van Cleef & Arpels Earrings, the earrings in a swirled flower design, with clip-on backs, h. 1”, w. 1”, 21.0 grams total weight. [1000/1500] Illustrated

714

Eighteen-Karat Yellow Gold Necklace, the stylized leaf-designed links forming a choker, l. 18”, 68.5 grams total weight. [1400/1800] Illustrated

8 120

722 723 721

717

722

Eighteen-Karat Yellow Gold Mexican-Style Pin, ca. 1944‑1970, Milan, the pin with a sombrero and serape in blue, green and red enamel, h. 1‑3/4”, w. 1”, 16.0 grams total weight. [600/900] Illustrated

Eighteen-Karat White Gold, Yellow and Blue Sapphire and Diamond Cocktail Ring, set with a central yellow sapphire, with an approximate weight of 7.61 carats, two pear-shaped blue sapphires, with an approximate total weight of 1.00 carat, and ten round-cut diamonds, with an approximate total weight of 2.43 carats, color D-E, clarity VVS-VVS2, size 6‑3/4, 10.0 grams total weight. [14000/18000] Illustrated

718

Eighteen-Karat Yellow Gold Van Cleef & Arpels Cat Pin, the body set with a block onyx cabochon and the head set with an emerald for the eye, h. 1‑1/2”, w. 3/4”, stamped “Van Cleef & Arpels”, 8.0 grams total weight. [500/800] Illustrated

719

Fourteen-Karat Yellow Gold and Black Sapphire Gentlemen’s Ring, set with an oval black sapphire cabochon, measuring 12.0 mm x 9.0 mm and with an approximate weight of 2.00 carats, size 8, 12.8 grams total weight. [350/500]

716

723

Platinum, Diamond and Sapphire Ring, set with a central emerald-cut diamond, with an approximate weight of 1.17 carats, color G, clarity VVS2, surrounded by eighty round-cut diamonds, with an approximate total weight of .52 carats, and channel-set calibrated-cut sapphires, with an approximate total weight of .90 carats, size 6‑3/4, 8.0 grams total weight. [9000/12000] Illustrated

717

718

720

Eighteen-Karat Yellow Gold, Platinum, Orange Sapphire and Diamond Ring, set with a central roundcut orange sapphire, with an approximate weight of 1.00 carat, and eight straight baguette-cut and six round-cut diamonds, with an approximate total diamond weight of .24 carats, size 6‑1/2, 5.0 grams total weight. [900/1200]

721

Fourteen-Karat Yellow Gold, Sapphire and Diamond Ring, set with a central emerald-cut sapphire, with an approximate weight of 1.50 carats, and two round-cut diamonds, with an approximate total weight of 1.42 carats, color H-I, clarity SI1‑I1, size 7, 3.0 grams total weight. [3000/5000] Illustrated

121

728

725

724

Fourteen-Karat White Gold, Blue Sapphire and Diamond Pendant with Chain, the large pear-cut blue sapphire, with a weight of 26.52 carats and a G.I.A. certificate, set in a pendant with two rows of sixty-nine round brilliant-cut diamond melee and seven diamond melee set in the bail, with an approximate total diamond weight of 2.30 carats, chain, l. 18”, pendant, 22.0 mm x 40.0 mm, 14.2 grams total weight. [4500/7000]

725

Platinum, Diamond and Sapphire Ring, set with a central emerald-cut diamond, with an approximate weight of .83 carats, color H, clarity VVS2, surrounded by fifty-six round-cut diamonds, with an approximate total weight of .32 carats, and fourteen square-cut sapphires, with an approximate total weight of .84 carats, size 7, 5.0 grams total weight. [4000/7000] Illustrated

729

726

Fourteen-Karat White Gold, Blue Sapphire and Diamond Ring, the large 20.20‑carat oval mix-cut sapphire, with a G.I.A. certificate, surrounded by thirty-six round brilliant-cut diamond melee, with an approximate total weight of .62 carats, size 8, 9.9 grams total weight. [1500/2500]

727

Fourteen-Karat Yellow Gold, Diamond and Black Onyx Ring, with a large carved black onyx dome attached to the mounting, set in the center with a white gold insert, pave-set with nine round brilliant-cut diamond melee, with an approximate total weight of .10 carats, size 6‑3/4, 15.8 grams total weight. [350/500]

728

Fourteen-Karat Yellow Gold, Black Onyx, Pearl and Rock Crystal Necklace, composed of alternating segments of two reeded gold beads, two rock crystal nugget beads and an 8.0 mm rose-colored cultured pearl, each segment separated by an oblong black onyx bead, finished with an eighteen-karat gold clasp, l. 34”. [350/500] Illustrated

729

Eighteen-Karat White Gold, Lemon Citrine and Diamond Ring, set with a large emerald-cut lemon citrine stone, with an approximate weight of 42.30 carats, and 122 round-cut diamonds, with an approximate total weight of 1.52 carats, size 7‑1/2, 19.0 grams total weight. [1800/2500] Illustrated

730

Fourteen-Karat Yellow Gold and Rock Crystal Necklace, composed of alternating rock crystal stick beads and nugget beads, finished with a fourteen-karat yellow gold toggle clasp, l. 22”. [200/400]

122

731

734

733

732

Fourteen-Karat Yellow Gold and Red Jasper Necklace, composed of graduated red jasper slab beads, separated by gold rondels and finished with a fourteenkarat yellow gold toggle clasp, l. 19”. [150/300] Illustrated

735

731

Platinum, Eighteen-Karat White Gold, Diamond and Coral Earrings, each earring set with European single-cut diamonds and red and black coral, with an approximate total diamond weight of 2.00 carats for both earrings, l. 2‑1/2”, 14.0 grams total weight. [4500/7000] Illustrated

732

733

Pair of Eighteen-Karat Yellow Gold and Lapis Lazuli Dangle Earrings, each earring bezel-set with three graduating lapis lazuli cabochons, ranging in size from 7.0 mm x 9.0 mm to 13.0 mm x 20.0 mm, accompanied with a “Deargold” box, l. 2‑1/2”, 17.4 grams total weight. [400/700] Illustrated

734

Eighteen-Karat Yellow Gold and Lapis Lazuli Brooch, the baroque designed brooch cast in high relief and mounted with a pear-shaped lapis lazuli cabochon, measuring 6.0 mm x 10.0 mm, size 1‑3/4” x 1‑7/8”, 31.4 grams total weight. [600/900] Illustrated

735

Fourteen-Karat White Gold, Tanzanite and Diamond Ring, the large cushion-faceted-cut violet-blue tanzanite, with a weight of 11.12 carats and a G.I.A. certificate, surrounded by forty round brilliant-cut diamond melee, with an approximate total weight of .95 carats, size 8, 6.8 grams total weight. [6000/9000] Illustrated

123

737

742

737

Large Egg-Shaped Feldspar Moonstone, the colorless, white and blue stone with an approximate weight of 248.0 carats, h. 2”, w. 1‑1/2”. [1800/2500] Illustrated

738 736

Fourteen-Karat White Gold, Tanzanite and Diamond Pendant with Chain, the large oval faceted violetblue tanzanite with a weight of 8.22 carats and a G.I.A. certificate, set in a pendant with two rows of round brilliant-cut diamond melee and six diamond melee set in the bail, with an approximate total diamond weight of 1.20 carats, together with a fourteen-karat white gold chain, chain, l. 18”, pendant, 21.0 mm x 40.0 mm, 12.0 grams total weight. [6000/9000]

738

Eighteen-Karat Yellow Gold, Aquamarine and Diamond Pendant, set with an emerald-cut aquamarine, with an approximate weight of 40.95 carats, surrounded by thirty-four round-cut diamonds, with an approximate total weight of 2.21 carats, color, E-G, clarity VS1‑SI1, h. 1‑3/4”, w. 1”, 18.0 grams total weight. [4000/7000] Illustrated

739

Fourteen-Karat Yellow Gold, Aquamarine and Diamond Ring, set with a central aquamarine, with an approximate weight of 6.09 carats, surrounded by ninety-six round-cut diamonds, with an approximate total weight of .96 carats, size 7‑1/4, 7.0 grams total weight. [2500/4000]

740

Eighteen-Karat White Gold, Opal and Diamond Necklace, the pendant set with an oval cabochon-cut opal, with an approximate weight of 15.88 carats, and seventy-five round-cut diamonds, with an approximate total weight of 1.25 carats, on a white gold chain, chain, l. 18”, pendant, l. 1‑3/4”, 16.0 grams total weight. [4000/7000]

741

Eighteen-Karat White Gold, Emerald and Diamond Earrings, each earring mounted with a central ovalshaped emerald surrounded by forty-four round-cut diamonds, with an approximate total emerald weight of .66 carats and an approximate total diamond weight of 1.00 carat, 6.0 grams total weight. [2500/4000]

742

Eighteen-Karat Yellow Gold, Emerald and Diamond Ring, set with a central emerald-cut emerald, with an approximate weight of 4.50 carats, and ten marquise-cut, ten round-cut and sixteen baguette-cut diamonds, with an approximate total diamond weight of 3.50 carats, size 7, 13.0 grams total weight. [6000/9000] Illustrated

124

746 753

743

Fourteen-Karat White Gold and Freshwater Pearl Choker, the handknotted strand of silverwhite baroque pearls with a good luster, measuring 10.0 mm to 11.0 mm, and finished with a fourteenkarat gold clasp, l. 18”. [300/500] Illustrated

747

Eighteen-Karat White Gold, Turquoise and Diamond Earrings, each earring set with a cabochon-cut turquoise surrounded by ten pear-cut diamonds and six marquise-cut diamonds, with an approximate total turquoise weight of 4.08 carats and an approximate total diamond weight of 3.00 carats, l. 3/4”, 13.0 grams total weight. [6000/9000]

748

743

Eighteen-Karat Yellow and White Gold, Emerald and Diamond Earrings, each earring set with an ovalshaped emerald and forty-six round-cut diamonds, with an approximate total emerald weight of 7.75 carats and an approximate total diamond weight of 2.34 carats, 14.0 grams total weight. [8000/12000] Illustrated

744

Fourteen-Karat White Gold, Six-Strand Pearl, Peridot and Diamond Bracelet, composed of 312 freshwater pearls, fifty-six round-cut diamonds, with an approximate total weight of .39 carats, and twentyfour baguette-cut peridots, with an approximate total weight of 2.64 carats, l. 7‑1/2”, 15.0 grams total weight. [2500/4000]

745

Fourteen-Karat Yellow Gold and Freshwater Pearl Opera-Length Necklace, the hand-knotted strand of silver-white round pearls with a good luster and measuring 9.0 mm, finished with a fourteen-karat yellow gold clasp, l. 28‑1/2”. [300/500]

Fourteen-Karat Yellow Gold, Turquoise and Diamond Brooch, the turquoise carved with a female and a blossom, measuring approximately 1‑1/2” x 2”, and set within a gold brooch, the brooch with a flowery design and set with six round brilliant-cut diamond melee, with an approximate total weight of .25 carats, size, 2‑1/4” x 2‑1/8”, 36.4 grams total weight. [1200/1800]

749

Eighteen-Karat Yellow Gold, Enamel and Diamond Ring, the baby blue-colored enamel set with thirty-one round-cut diamonds, with an approximate total weight of .44 carats, size 7‑1/2, 13.0 grams total weight. [1400/1800]

750

Sterling Silver and Labradorite Necklace, composed of labradorite slab beads, all with multi-color flash, finished with a sterling silver toggle clasp, l. 23”. [150/300]

751

Eighteen-Karat Yellow Gold Lady’s M. Gerard Watch, the French hallmark gold stepped octagon case with a quartz movement, the dark blue dial with a Roman numeral chapter ring, the dial and case signed “M. Gerard”, reference #SB-792‑5, serial #17,XXX, size 26.0 mm x 26.0 mm, without crown. [900/1200]

752 746

Fourteen-Karat Yellow Gold and Tourmaline Necklace, composed of two strands of natural tourmaline stick beads, finished with a fourteen-karat yellow gold clasp, l. 16”. [150/300]

753

Pair of Fourteen-Karat Rose Gold, Amethyst and Diamond Earrings, each earring set with a cabochon-cut amethyst bordered by diamonds and backed with motherof-pearl, with an approximate total amethyst weight of 32.5 carats and an approximate total diamond weight of .90 carats, l. 1‑1/2”, 15.0 grams total weight. [2000/4000] Illustrated

125

759

754

Eighteen-Karat Yellow Gold and Baroque Freshwater Pearl Necklace, composed of rose-colored, silver-white-colored and violet-colored baroque pearl segments, separated by long twisted gold beads and round gold beads, the necklace accompanied with an “El Corte Ingle’s” box, l. 18”, drop, l. 4‑1/2”. [350/500] Illustrated

755

760

Eighteen-Karat Yellow Gold and Enamel Bulgari Cigarette Lighter, the reddish-rust colored guilloche enamel gas lighter marked “BVLGARI, 750, ITALY 18KT”, the lighter activated by the plunger, h. 2‑1/4”, w. 1‑1/4”, 94.5 grams total weight. [1500/2500]

761

Twenty-Four-Karat Gold-Dipped Druzy Quartz Necklace, composed of natural aura druzy quartz beads with exposed quartz and four twenty-four-karat golddipped druzy quartz quatrefoils, l. 37”. [150/300]

Nan Goldin (American, b. 1953), “Fatima Candles, Portugal”, 1998, cibachrome print, edition “11/15”, titled, dated and numbered on Matthew Marks Gallery, New York, New York label, en verso, 30” x 40”. Glazed and framed. [7000/10000] Illustrated

756

762

Fourteen-Karat Yellow and Rose Gold Cigarette Lighter, the rectangular engine-turned fluid lighter with a fourteen-karat rose gold “Coat of Arms” applied to one side and engraved monograms to the other, the lighter activated by a slide on the side of the case, h. 2”, w. 1‑7/8”, 70.0 grams total weight. [1000/1500]

Nan Goldin (American, b. 1953), “David Armstrong at the table, Coney Island”, 1998, cibachrome print, edition “1/15”, titled, dated and numbered on Matthew Marks Gallery, New York, New York label, en verso, 30” x 40”. Glazed and framed. [2000/4000] Illustrated

757

Pair of Fourteen-Karat Yellow Gold and Cameo Earrings, with gold post clip backs, h. 1”, 5.0 grams total weight. [450/700]

758

Fourteen-Karat Yellow Gold Eversharp Skyline Pen, in an Art Deco design, with a fourteen-karat gold nib, the cap marked “Eversharp Skyline Pat. Made in U.S.A.”, l. 5‑3/8”, 30.0 grams total weight. [700/1000]

759

Fourteen-Karat Yellow Gold and Autumn Picasso Jasper Collar Necklace, composed of graduated trapezoidal slab beads, finished with a fourteen-karat yellow gold toggle clasp, l. 15”. [125/300] Illustrated 762

126

761

763

764

David Armstrong (American, b. 1954), “Portrait of Nan Goldin”, gelatin silver print, sight 21” x 17‑1/2”. Glazed, matted and framed. [700/1000] Illustrated

David Armstrong (American, b. 1954), “French Chris, Rue Andre Antoine, Paris”, 1980, gelatin silver print, edition of 5, 20” x 24”. Glazed and framed. [800/1200] Illustrated

763

764

127

765

David Armstrong (American, b. 1954), “Felix in his bedroom, Berlin”, 1995, gelatin silver print, edition of 5, 24” x 20”. Glazed and framed. [800/1200] Illustrated

766

David Armstrong (American, b. 1954), “Tree Trunk, Tivoli”, 1998, cibachrome print, edition “2/7”, titled, dated and numbered on label, en verso, sight 36” x 25‑3/4”. Glazed and framed. [1000/1500] Illustrated

767

Lisa Conrad (American/Louisiana, Contemporary), “Alys”, color photographic print, 54” x 48”. Glazed and presented in a brushed aluminum frame. [2000/4000] Illustrated A native of California, Lisa began her artistic journey as a model; her eventual evolution from subject to observer/ artist occurred in 1994 when a close friend gave her a camera as a present. Her evocative images instantly caught the eye of collectors and photographs from her first roll of film were prominently displayed in the windows of the Gucci store. A true nomad at heart, Lisa employs her photographs as a visual journey of her travels, from her home base in New Orleans to Iceland, France, Austria and more. It is her atmospheric images of the Southern landscape, with their masterful interplay of light and shadow, which have most captured the attention of regional collectors. Primarily a self-taught artist, Lisa has studied at the New Orleans Academy of Fine Arts. Her photographs have been exhibited in numerous private and group shows including those at the Contemporary Arts Center, New Orleans, the Downtown Alliance Show, New York City and the “Women in Photography” exhibition in Boston in 2000 which she curated. Her works are included in the collection of Sinclair Hitchings, the curator at the Boston Public Library; Second Line Movie Studios, New Orleans, and have appeared in several Hollywood movies. Lisa’s photographs are exhibited at Gallery Orange, 819 Royal Street, New Orleans, Louisiana.

128

768

767

Lisa Conrad (American/Louisiana, Contemporary), “Museum Egret”, color photographic print, 40” x 54”. Glazed and presented in a brushed aluminum frame. [2000/4000] Illustrated

770

Lisa Conrad (American/Louisiana, Contemporary), “Notre Dame II”, sepia photographic print, signed on mat lower right, 16” x 24”. Glazed, matted and presented in an ebonized frame. [1000/1500] Illustrated

771

Lisa Conrad (American/Louisiana, Contemporary), “Horse II”, sepia photographic print, signed on mat lower right, 15” x 23”. Glazed, matted and presented in an espresso-stained wood frame. [1500/2500] Illustrated

768

769

Lisa Conrad (American/Louisiana, Contemporary), “Notre Dame I”, sepia photographic print, signed on mat lower right, 24” x 16”. Glazed, matted and presented in an ebonized frame. [1000/1500] Illustrated

770

769 771

129

776

Galle Enameled Art Glass Vase of Asian Inspiration, fourth quarter 19th century, decorated with enameled peonies, and on a bronze base signed “Baccarat”, the engraved signature reads “Emile Galle”, h. 6”, w. 3”. [350/500] Illustrated

777

Tiffany Gold Iridescent Favrile Glass Floriform Bowl, ca. 1900, in the Art Nouveau style, signed “L. C. Tiffany - Favrile”, with a ground pontil, h. 4”, dia. 10”. [600/900] Illustrated

778

Galle Cameo Glass Vase, first quarter 20th century, Nancy, France, depicting russet flowering vines on a russet and yellow shaded ground, signed “Galle”, h. 16‑1/4”, dia. 5‑1/4”. [500/800] Illustrated

779

Schneider Art Deco Cameo Glass Vase by Le Verre Francais, decorated with stylized fruit in russet-cutto-yellow ground, with mounted handles, h. 17‑1/4”, dia. 5‑1/2”. [400/700] Illustrated

780

Two French Cameo Glass Vases, first quarter 20th century, comprising a bud vase, signed “Daum Nancy”, decorated with russet flowers and leaves cut to an orange ground, h. 8”, dia. 2‑3/4”, and a signed Galle vase decorated with burgundy flowers cut to a yellow ground, h. 5‑1/2”, dia. 3”. [400/700] Illustrated

772

Steven Forster (American/New Orleans, b. 1957), “Ella Fitzgerald”, photographic print, signed in pencil lower right margin, image 39‑1/2” x 25‑3/4”. Glazed, matted and framed. [500/800] Illustrated

773

Suite of Four Art Nouveau Mahogany Nesting Tables, early 20th century, signed “Marjorelle”, each with a rounded rectangular top with a molded edge and marquetry inlays of foliate branches, raised above an arched side frieze on molded legs joined by stretchers and ending in slightly splayed feet, h. 29‑1/4”, w. 24”, d. 15‑1/4”. [1500/2500]

774

Suite of Three Galle Mahogany and Mixed Woods Nesting Tables, early 20th century, each with a rectangular top raised on pierced baluster-form end supports, the largest inlaid with a foliate mountainous seascape, the middle with a cabin on a cliff, and the smallest with four sailboats and their reflections, h. 27‑1/2”, w. 23”, d. 15‑1/4”. [1000/1500] Illustrated

775

Galle Enameled Art Glass Vase, fourth quarter 19th century, the pale gold glass decorated with enameled nasturtiums and trimmed in gilt, with a “Cameo” signature, h. 8‑1/2”, w. 7”. [400/700] Illustrated

130

774

778

779

781

776

775

780 777

781

Galle Cameo Glass Bud Vase, first quarter 19th century, Nancy, France, the vibrantly-colored vase decorated with orange fuschia flowers and vines on a yellow ground, signed in the lower field, h. 10‑1/4”, dia. 3‑1/4”. [350/500] Illustrated

782

Two French Cameo Glass Vases and a Continental Art Glass Vase, first quarter 20th century, the tallest example signed “Legras”, h. 9‑1/2”, the tapered cameo vase signed “de Vez”, h. 4‑1/2”, and the Bohemian vase with a brass rim, h. 6”. [350/500]

783

Galle Cameo Glass Stick Vase, first quarter 20th century, Nancy, France, with irises and leaves cut back to a shaded pink ground, signed “Galle”, h. 12‑1/2”, dia. 5”. [400/700]

784

Three-Piece French Blown and Enameled Art Glass “Winter Scene” Garniture, ca. 1900, decorated in the Art Nouveau style and signed “Legras” in the “snow”, with ruffled edges, the set comprised of a pair of vases, h. 10‑3/4”, dia. 4‑1/2”, and a rose bowl, h. 5‑1/4”, dia. 5‑1/4”. [350/500]

785

Jugendstil Perex Art Pottery Amphora-Style Vase, ca. 1900, Austrian, decorated with gilt webbing and glazed “stones”, and a horizontal panel of holly decoration, impressed “Holly” and “Perex, Austria”, h. 14‑1/2”, dia. 6‑3/4”. [800/1200]

786

Pair of French Patinated Bronze Figures of Nymphs, first or second quarter 20th century, after Joseph MichelAnge Pollet (French, 1814‑1870), the tallest, h. 15‑1/2”, w. 6‑1/2”, d. 6‑1/2”. [450/700]

131

787 (detail)

788

Unusual Pair of French Art Nouveau TwoLight Wall Sconces, first quarter 20th century, mounted with art glass ball shades, the sconces retaining most of their original gilt, the amber marbled shades likely original to the sconces, h. 11‑1/2”, w. 10”, d. 5‑3/4”. [1200/1800] Illustrated

789

787

Nine Pieces of Lalique Glassware, 20th century, including a “cactus” perfume bottle, h. 4‑3/4”, and dresser box, l. 4‑1/4”, a “Bacchantes” vase, h. 5”, a “compiegne” bowl, l. 7‑1/2”, a pair of “St. Nicholas” ashtrays, dia. 4”, a “St. Cloud” urn, h. 4‑1/2”, a scrolled perfume bottle, h. 8‑1/4”, and a bell with a bird knop, h. 5‑1/2”, each signed. [350/500]

790

Lalique Crystal “Oceania” Vase, signed “Lalique France” under the base, retains its original box and foam liner, h. 13‑3/4”, dia. 9‑1/4”. [1200/1800]

791

Good Louis Vuitton Wardrobe Trunk, early 20th century, having a monogrammed canvas exterior, wood bands, brass fittings, Louis Vuitton lock, leather handle and a completely fitted interior with hangers and drawers, the ends stenciled “H.C.T. NY”, h. 44”, w. 22”, d. 16”. [6000/9000]

792

Unusual Louis XVI Revival Giltwood and Bronze Overmantel Mirror, first quarter 20th century, the bronze frame with a segmented border, fitted with a beveled mirror plate, and decorated with a giltwood bowknot and floral swag crest, h. 69‑3/4”, w. 38”. [800/1200]

787

Francois-Raoul Larche (French, 1860‑1912), Art Nouveau bronze figural lamp depicting Loie Fuller, ca. 1900, signed at base, h. 18”, w. 8”, d. 7‑1/4”. [3000/5000] Illustrated American dancer Loie Fuller was the epitome of Art Nouveau style. A proponent of modern dance, she incorporated swirling diaphanous silk gauzes, electric stage lights, and colored slides into her performances. Fuller presented her theatrical dance at the 1900 Paris Exposition, and the lamps by Larche were for sale in her studio during the exposition. Examples are in the collections of the Museum of Modern Art, New York, The Virginia Museum of Fine Arts, and Villa Stuck Museum in Germany.

132

788

796

French Art Deco Wrought Iron Five-Light Chandelier, first quarter 20th century, in the manner of Edgar Brandt, the pierced iron corona supporting five downlights, the hammered canopy probably original, h. 49”, dia. 24‑1/2”. [450/700] Illustrated

797 795

793

Beaux Arts-Style Alabaster and Metal Four-Light Chandelier, second quarter 20th century, probably Italian, the alabaster bowl concealing four light sockets, the pierced metal rim mounted with ram’s head chain holders, grasping the matching chain suspended from the metal canopy, h. 27‑1/2”, dia. 18”. [400/700]

794

Unusual Continental Giltwood and Glass ThreePart Overmantel Mirror, first quarter 20th century, the arched center flanked by pierced giltwood panels carved in the Renaissance style, against cobalt glass, h. 28‑1/2”, w. 48‑1/2”. [700/1000]

795

Good Art Deco Wrought Iron, Cast Brass and MarbleTop Console and Mirror, early 20th century, possibly by Oscar Bruno Bach (German/American, 1884‑1957), console, h. 33”, w. 32”, d. 13”, mirror, h. 38”, w. 20”. [800/1200] Illustrated

133

798

801

797

French Art Deco Patinated Metal Oval Wall Mirror, in the style of Edgar Brandt, h. 38‑3/4”, w. 27‑1/2”. [2000/4000] Illustrated

800

798

Jose Royo (Spanish, b. 1945), “Study of a Girl in Contemplation”, oil on paper, signed lower right, from “Sagittas” exhibition, sheet 18” x 11”, presented in a custom folio box containing a limited edition autographed and numbered “53/94”, titled Sagittas, and a videotape of the same title, folio size, h. 3”, w. 14”, l. 22”. [500/800] Illustrated

802

134

799

803

Edna Hibel (American, b. 1917), “Girl Amongst Flowers”, mixed media on a fan, mounted on board and presented in a shadowbox frame, overall 21” x 30‑1/2”. [400/700]

800

Pati Bannister (British/Mississippi, 1929‑2013), “Ballet Slipper”, 1986, patinated and cold-painted bronze, signed and dated, h. 21”, w. 11”, d. 11”. [6000/9000] Illustrated

806

805

Itzchak (Isaac) Tarkay (Serbian/Israeli, 1935‑2012), “A View of the Sea”, watercolor and ink on paper, signed lower left, sight 15” x 11”. Glazed, matted and framed. [500/800]

806

Itzchak (Isaac) Tarkay (Serbian/Israeli, 1935‑2012), “Afternoon Satisfaction”, watercolor and ink on paper, signed lower right, sight 15” x 11”. Glazed, matted and framed. [500/800] Illustrated

801

Victor Manuel Villarreal de la Vega (Mexican, b. 1936), “Ballerina”, bronze, h. 27”, w. 23”, d. 8‑3/4”. [1000/1500] Illustrated

802

Victor Manuel Villarreal de la Vega (Mexican, b. 1936), “Seated Ballerina”, bronze, h. 22”, w. 14”, d. 22”. [800/1200] Illustrated

803

Evan Wilson (American, b. 1953), “New Year’s Eve”, 1999, oil on board, signed and dated lower right, 15” x 12”. Handsomely framed. [2000/4000] Illustrated

804

Itzchak (Isaac) Tarkay (Serbian/Israeli, 1935‑2012), “Reacquainting at the Marina”, acrylic and chalk on canvas, signed lower left, 32” x 40”. Framed [4000/7000] Illustrated

804

135

807

Three-Piece French Art Deco Rosewood and Leather-Upholstered Salon Suite, early 20th century, comprised of a sofa, h. 32”, w. 83”, d. 40”, and two armchairs, h. 32”, w. 33”, d. 40”. [7000/10000] Illustrated

807

136

808

811

Art Deco-Style Stained Maple and Black Lacquer Folding Table, 20th century, h. 30”, w. 67”, d. 38”. [500/800] Illustrated

812

Art Deco-Style Rosewood Dry Bar, mid-20th century, with a fold-open top, the interior fitted with racks and drawers, h. 36”, w. 30”, d. 16‑1/2”, extended l. 60”. [500/800]

813

French Art Deco-Style Oak-Veneered Coffee Table, inspired by Andree Putman, h. 13”, w. 44”, d. 44”. [1200/1800]

810

808

H. & L. Epstein Furniture Company, England, Art Deco Lacquered Bird’s-Eye Maple Side Table and Quartetto, second quarter 20th century, with a master table and four nesting corner tables, h. 23”, dia. 30”. [2000/4000] Illustrated

809

French Art Deco-Style Lacquered Maple and Mirrored Coffee Table, mid-20th century, h. 18”, w. 38”, d. 20”. [800/1200] Illustrated

810

Art Deco-Style Black Lacquered Wood and Faux Shagreen Side Table, mid-20th century, h. 23‑1/2”, dia. 20”. [600/900] Illustrated

809

811

137

814

815

817

Vintage Johnson Furniture Company Walnut and Brass Credenza, 1970‑80’s, comprised of three individual cabinets, the interiors with shelves and drawers, two drawers fitted for flatware and lined with Pacific Cloth, the cabinets raised on a wood frame ending in square brass feet, overall, h. 28‑1/2”, w. 120”, d. 18”. [700/1000] Illustrated 816

814

Mid-Century Metamorphic Table/Side Cabinet, 1950’s, designed by Stanley Young for Glenn of California, the top extending to accommodate three 29‑1/2” leaves, h. 29‑1/2”, w. 48”, d. 22”, extended l. 92‑1/2”. [1500/2500] Illustrated

815

Vintage Baker Fruitwood Dining Table, 1970‑80’s, the top with brass stringing and convex molding under the edge, the chamfered square legs ending in brass caps, bearing the metal Baker label and impressed “2626”, closed, h. 28‑3/4”, dia. 46”, extended, w. 46”, l. 102”. [1200/1800] Illustrated

816

Vintage Suite of Ten Caned-Back Walnut Dining Chairs, 1970’s, possibly Kipp Stewart for Directional, comprised of two armchairs and eight sidechairs, h. 37‑1/2”. [1000/1500] Illustrated

138

817

818

821

After Pablo Picasso (Spanish/French, 1881‑1973), “Dove of Peace”, 1962, color lithograph on Lana paper, artist proof, signed in pencil lower right, sight 21” x 27”. Glazed, matted and framed. Provenance: “L’Art et la Paix”, Paris. [1200/1800] Illustrated

822

Willem Van Hasselt (Dutch, 1882‑1963), “Nature Morte”, oil on canvas, signed lower right, “Galerie BerriRaspail/Paris” label en verso stretcher, 21” x 25‑1/2”. Framed. [1800/2500] Illustrated

818

Emile Galle Faience Pottery Cat, fourth quarter 19th century, Nancy, France, the yellow-glazed figure with blue hearts and dots, the face with the familiar “Cheshire cat” expression, with green and black glass eyes set in plaster, signed “E Galle, Nancy” in underglaze blue in the rear foot depressions, h. 14”, w. 6‑1/2”. [500/800] Illustrated

819

Faience Art Deco Vase, Attributed to Boch Freres, second quarter 20th century, La Louviere, Belgium, now mounted as a lamp, decorated with deer on a craquelure ground, mounted with a shade, urn, h. 10‑1/2”, overall, h. 22”, dia. 8‑3/4”. [700/1000]

823

822

Pair of Chinese Cong-Form Vases, 20th century, the blue vases with a crackled glaze, the underside with an apocryphal Daoguang reign mark, h. 11‑3/4”, w. 3‑1/2”. [600/900]

824 820

820

Joan Miro (Spanish/French, 1893‑1983), “XX eme Siecle”, color lithograph, hors commerce impression, signed in pencil lower right, sight 16‑3/4” x 29‑5/8”. Glazed, matted and framed. [1200/1800] Illustrated

Pair of Chinese Monochrome Vases, 20th century, the blue porcelain vases adorned with dragon and frond motifs, each with a flaring neck encircled with a meander and apocryphal Qianlong reign mark over a scrolling lotuscovered center bulb, the underside unmarked, h. 9‑3/4”, w. 5‑3/4”. [600/900]

139

831 825

Pair of Gold-Leafed Springbok Skulls with Horns, the gold-leafed skulls now mounted on wooden stands, h. 18”, stand, w. 5”, d. 5”. [200/400]

832

Large Gold-Leafed Eland Skull with Horns, the massive gold-leafed skull mounted with the natural horns, h. 37”, w. 11‑1/2”, d. 8”. [300/500]

833

Pair of Gold-Leafed Blesbok Skulls, the gold-leafed skulls mounted with their natural horns, h. 22”, w. 8‑1/2”, d. 10”. [300/500] Illustrated

825

Eight-Piece Collection of Engraved Mercury Glass, decorated with engraved or cut decoration, including a bottle on stand, a pair of bottle vases with covers, a pair of covered jars, a bowl on stand, a decanter and a vase, the largest, h. 24‑1/2”, dia. 7‑1/2”. [400/700] Illustrated

830

826

American Woven Navajo Blanket, 20th century, woven in a pictorial-type design, 68” x 116”. [400/700]

827

Mottled Black and Gray Polished Stone Box, of rectangular form with a hinged cover, h. 1‑1/2”, w. 4”, l. 6‑1/4”. [300/500]

828

Interesting Mid-Century Modern Fiberglass and Plate Glass Coffee Table, 20th century, h. 16”, w. 46”, d. 30”. [1200/1800] Illustrated

834

Large Pair of Buffalo Horns, the beautifully-textured horns now mounted on acrylic stands, h. 14”, l. 16”. [200/400]

829

833

Jean-Claude Novaro (French, b. 1957), 2006, large black glass vase with applied abstract decoration, the pontil fully signed and dated, h. 20‑3/4”. [400/700]

828

830

Fine Art Deco-Style Black-Lacquered Dining Table, 20th century, the rectangular top with a convex-molded edge and raised on in-curved end supports joined by a chrome-trimmed stretcher, h. 30”, w. 44”, l. 87”. [2000/4000] Illustrated

835

Group of Seven Turtle Shells on Brass Stands, comprising seven red-earred slider turtle shells on graduated stands, h. 7” to 14‑1/2”. [150/300]

836

Mexican Bronze of “The Couple” , 20th century, on a circular black marble base, h. 17‑1/2”, w. 10‑1/2”, d. 10‑1/2”. [700/1000]

140

842

837

Mexican Bronze of an Entwined Couple, 20th century, on a rectangular black marble base, h. 17‑1/2”, w. 8‑1/2”, d. 12”. [800/1200] 842 (detail)

838

Contemporary Burnished Steel and Travertine Cocktail Table, of Directoire inspiration, the rectangular travertine top within a steel frame with corner pendant ovals, and raised on X-form end supports joined by stretchers and ending in scrolled toes, h. 19”, w. 48”, d. 32‑1/4”. [500/800]

843

841

Contemporary Bamboo and Beveled Glass Cocktail Table, mid-20th century, probably McGuire, the rectangular glass top raised on six leather-bound clustered bamboo legs joined by stretchers and ending in trefoil brass caps, h. 16”, w. 55”, d. 16”. [400/700]

842

Paul Evans (American, 1931‑1987) Chrome-Plated Steel and Brass “Cityscape” Headboard, 1970’s, for Directional, signed, h. 36”, w. 80”, d. 2”. [1500/2500] Illustrated 845

Paul Evans (American, 1931‑1987) ChromePlated Steel and Brass “Cityscape” Low Chest, 1970’s, for Directional, with three wood-trimmed drawers, unsigned, h. 24”, w. 24”, d. 16”. [600/900] Illustrated

844

Paul Evans (American, 1931‑1987) ChromePlated Steel and Brass “Cityscape” Low Cabinet, 1970’s, for Directional, the wood-trimmed doors opening to an ebonized interior fitted with an adjustable shelf and decorated at the rear in the chrome-plated and brass “Cityscape” motif, signed, h. 24”, w. 24”, d. 16”. [600/900] Illustrated

844

839

Thomas Ogle (Finnish/British, b. 1938), “Torso”, carved Siena marble sculpture, h. 18”, w. 10‑1/4”, d. 6”. [1000/1500]

840

Contemporary Rosewood Sculpture, depicting the hands of God creating Adam and Eve, on a square rosewood plinth, h. 40”, w. 12”, d. 6”. [500/800]

843

845

Paul Evans (American, 1931‑1987) Chrome-Plated Steel “Cityscape” Pedestal, 1970’s, for Directional, signed, h. 48”, w. 15”, d. 15‑1/2”. [700/1000] Illustrated

141

850

846

Shepard Fairey (American, b. 1970), “World Police State Champs”, black and white lithograph, pencil signed lower right and numbered “155/300” lower left, 23‑1/2” x 17‑1/2”. Glazed and framed. [500/800] Illustrated

846

Pair of Mid-Century Modern Chrome Three-Light Table Lamps, third quarter 20th century, decorated with colored acrylic leaves, h. 25‑3/4”, dia. 21”. [400/700] Illustrated

851

850

Moses Soyer (American, 1899‑1974), “Seated Nude at Toilette”, black and white chalk on paper, signed lower left, sight 20” x 16‑1/2”. Glazed and framed. [400/700]

852

Buffie Johnson (American/New York, 1912‑2006), “Orchid”, oil on canvas, signed lower left, 24” x 20”. Framed. [1000/1500] Illustrated

847

849

Mid-Century Modern Russell Woodard “Sculptura” Patio Set, comprised of four enameled steel and wire mesh chairs, together with an octagonal enameled steel and slate table, chair, h. 28‑1/4”, table, h. 26”, dia. 47‑1/2”. [350/500]

848

Pair of Contemporary Faux Shagreen Lamps, decorated with mirrored panels framed with brushed steel, h. 22‑1/2”, w. 6‑1/2”, d. 6‑1/2”. [400/700]

849

Sydney Jonas Budnick (American, 1921‑1994), “Holiday in Heaven”, 1976, signed and dated lower center, signed, titled and dated en verso, 24” x 18”. Framed. [700/1000] Illustrated

142

852

856

Sara Rossberg (German/British, b. 1952), “Last Light”, 1986, acrylic on canvas, monogrammed and dated lower left, titled, dated and signed verso stretcher, 78” x 60”. Framed. Exhibited: Rosenberg & Stiebel, NYC, “Sara Rossberg: Figuratively Speaking”, 1990. [3000/5000] Illustrated

853

855

Julian Trevelyan, R.A. (British, 1910‑1988), “Villa Gamberaia”, 1966, etching in colors, pencil signed, titled, and numbered “70/100” bottom margin, sheet size 21‑1/2” x 32‑1/2”. Matted and unframed. [300/500] 858

857

Jacob Lawrence (American, 1917‑2000), “The March”, 1995, silkscreen in colors, from the Toussaint L’Ouverture series, signed, titled, dated, and numbered “41/120” in pencil, image 18‑1/2” x 28‑3/4”, sheet 22‑1/4” x 32”. To be sold for the benefit of the Amistad Research Center at Tulane University, New Orleans, Louisiana. [3000/5000]

858

Jacob Lawrence (American, 1917‑2000), “Deception”, 1997, silkscreen in colors, from the Toussaint L’Ouverture series, signed, titled, dated, and numbered “106/125” in pencil, image 18‑1/2” x 28‑3/4”, sheet 22‑1/4” x 32”. To be sold for the benefit of the Amistad Research Center at Tulane University, New Orleans, Louisiana. [3000/5000] Illustrated

859

Jacob Lawrence (American, 1917‑2000), “The Birth”, 1986, silkscreen in colors, from the Toussaint L’Ouverture series, signed, titled, dated, and numbered “8/10” in pencil, image 28‑1/4” x 18‑1/4”, sheet 32” x 22”. To be sold for the benefit of the Amistad Research Center at Tulane University, New Orleans, Louisiana. [1200/1800]

860

854

856

Noela Jane Hjorth (Australian, b. 1940), “Portrait of the Artist”, oil on canvasboard, unsigned, 35‑1/2” x 23‑1/2”. Framed. [800/1200]

855

Sara Rossberg (German/British, b. 1952), “Kitchen Door”, 1985, acrylic on canvas, monogrammed and dated lower right, titled, dated and signed verso stretcher, 40” x 60”. Framed. Exhibited: Rosenberg & Stiebel, NYC, “Sara Rossberg: Figuratively Speaking”, 1990. [2000/4000] Illustrated

Elizabeth Catlett (American/Mexican, 1915‑2012), “Three Women of America”, 1990, silkscreen in colors, signed, dated, titled, and numbered “58/120” in pencil, image 30‑3/4” x 22‑1/4”, sheet 37‑1/4” x 28‑1/4”. To be sold for the benefit of the Amistad Research Center at Tulane University, New Orleans, Louisiana. [2000/4000]

861

Mark Tobey (American/Swiss, 1890‑1976), “Untitled Figural Sketch”, 1958, watercolor and ink on paper mounted on board, signed and dated lower right, sheet 9‑1/8” x 2‑5/8”. Framed. [600/900]

143

862

863

864

Feliciano Bejar (Mexican, 1920‑2007), 1979, “Magiscope”, glass and reclaimed steel, h. 53”, w. 18‑1/2”. [800/1200] Illustrated

862

Pedro Friedeberg (Mexican, b. 1936), “Double Time”, painted and gilded carved wood sculpture with inset clock and compass, the double-headed, four-handed, and four-footed figure in a seated position, signed at bottom of one foot, h. 14‑3/4”, w. 6‑3/4”, d. 4‑1/2”. [1800/2500] Illustrated

865

Chicory Miles (American/New Orleans, Contemporary), “Untitled”, cast iron sculpture, h. 17”, w. 13‑1/4”, d. 5”. [600/900]

866

863

Elemore Madison Morgan, Jr. (American, 1931‑2008), “Oak at the Edge of the Rice Fields”, 1976, acrylic on board, initialed lower right, signed and dated en verso, 17” x 44”. [8000/12000] Illustrated

Feliciano Bejar (Mexican, 1920‑2007), “Magiscope”, 1978, glass and reclaimed steel, signed and dated, h. 65‑1/4”, w. 23”. [1500/2500] Illustrated

866

144

870

George Valentine Dureau (American/Louisiana, b. 1930), “Mardi Gras New Orleans, A Carnival Bestiary”, hand-augmented silkscreen from the artist’s proof, signed lower center, titled lower left “A Carnival Bestiary” and further inscribed lower right, accompanied with a personalized note from the artist, sight 35” x 23”. Glazed, matted and framed. [800/1200] Illustrated

867

Wiley Churchill (American/Louisiana, 1900‑1987), “Old French Opera House, New Orleans”, watercolor on paper, faintly signed lower right, sight 12‑1/2” x 16”. Glazed, matted and framed. [1000/1500] Illustrated

868

Noel Rockmore (American/Louisiana, 1928‑1995), “Charbonnet Tomb, St. Louis No. 1”, 1966, mixed media on paper, signed, titled and dated lower right, sight 13” x 9”. Glazed, matted and presented in a carved, polychrome frame. [1000/1500] Illustrated

869

868

George Valentine Dureau (American/Louisiana, b. 1930), “Still Life with Lemons”, pastel and gouache on paper, signed lower right, sight 10‑1/2” x 13‑3/4”. Glazed and framed. [1000/1500] Illustrated

870

145

871

Robert Gordy (American/Louisiana, 1933‑1986), “Woman’s Rest #1”, 1973, acrylic on canvas, initialed and dated lower left, signed, titled and dated en verso stretcher, 52” x 70‑3/4”. Framed. [4000/7000] Illustrated

872

Robert Gordy (American/Louisiana, 1933‑1986), “Dog”, color silkscreen, signed lower left, numbered lower right “19/65”, sight 26” x 37‑7/8”. Glazed and framed. Proceeds to benefit the Imperial Calcasieu Museum, Lake Charles, Louisiana. [400/700] Illustrated

873

Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997), “Cluster Drawing #16”, 1976, mixed media on canvas, signed and dated lower left, titled on “Findlay Galleries, New York” label en verso, 25” x 24”. Framed. [6000/9000] Illustrated

874

Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997), “Cluster Print”, 1989, pencil-signed and dated lower right, and titled and numbered “state 7/35” lower left, sight 35‑1/2” x 35”. Glazed, matted and framed. [1200/1800] Illustrated 874

872 875

146

875

Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997), “Semiosis”, 1984, pencil-signed and dated lower right, and titled and numbered “45/100” lower left, sight 35” x 32”. Glazed, matted and framed. [1200/1800] Illustrated

876

George Bauer Dunbar (American/Louisiana, b. 1927), “Coin du Lestin”, gold leaf over red and black clay, signed lower center, 48” x 42”. Framed. [20000/40000] Illustrated

147

877

George Bauer Dunbar (American/Louisiana, b. 1927), “Heart”, moon gold over black clay, signed lower center, 10‑7/8” x 8”. Unframed. [1500/2500] Illustrated

877 878

880

878

George Bauer Dunbar (American/Louisiana, b. 1927), “Heart”, palladium over red clay, signed lower center, 10‑7/8” x 9”. Unframed. [1500/2500] Illustrated

879

George Bauer Dunbar (American/Louisiana, b. 1927), “Collage #25”, collage on canvas, signed verso canvas, titled on artist label en verso stretcher, 35” x 45”. Framed. [2000/4000] Illustrated

881

880

879

George Rodrigue (American/Louisiana, 1944‑2013), “Lipstick On My Man”, 2004, acrylic on canvas, signed lower left, titled, signed and dated verso canvas, 20” x 16”. Framed. [20000/40000] Illustrated

881

George Rodrigue (American/Louisiana, 1944‑2013), “That’s Amore”, 1996, oil on canvas, signed lower left, signed, dated and titled verso canvas, 24” x 18”. Framed. [15000/25000] Illustrated

148

882

George Rodrigue (American/ Louisiana, 1944‑2013), “Oak on the Broussard Farm “, 1989, oil on canvas, signed lower left, titled and dated en verso, 8” x 10”. Framed. [7000/10000] Illustrated

883

George Rodrigue (American/ Louisiana, 1944‑2013), “The Yellow Rolls of Jolie Blonde”, 1989, oil on canvas, signed lower left, signed, titled and dated verso canvas, 24” x 30”. Framed. [30000/50000] Illustrated

884

George Rodrigue (American/ Louisiana, 1944‑2013), “Untitled”, 1994, oil on gallerywrapped canvas, signed lower left, 53” x 84”. [75000/125000] Illustrated This unusual painting by the iconic Cajun artist George Rodrigue, was a commissioned work for a Western enthusiast. It was inspired by Frederic Remington’s “Pony Express”. 883

884

149

887

Clementine Hunter (American/Louisiana, 1866‑1988), “Nativity”, oil on board, monogrammed lower right, 18” x 24”. Framed. [3000/5000] Illustrated

888

Helen La France (American/Kentucky, b. 1919), “Political Picnic”, 1996, acrylic on canvas, signed and dated lower right, 28” x 40”. Framed. [1500/2500] Illustrated

889

885

Clementine Hunter (American/Louisiana, 1866‑1988), “Boiling Laundry”, oil on board, monogrammed lower right, 16” x 20”. Framed. [2000/4000] Illustrated

William Tolliver (American/Mississippi, 1951‑2000), “Vicksburg, Mississippi”, 1973, oil on canvasboard, signed lower right, titled and dated verso, 15” x 30”. Unframed. [800/1200] Illustrated

888

886

Clementine Hunter (American/Louisiana, 1886‑1988), “Uncle Tom’s Flower Garden”, oil on Fredrix canvas panel, monogrammed lower right, 18” x 24”. Presented in a weathered pine frame. [3000/5000] Illustrated

890

889

Caucasian Cargo Sumak, h. 21”, w. 19”, l. 41”. [700/1000]

891

Semi-Antique Sarouk Carpet, 3’ 6” x 4’ 9”. [350/500]

887

150

892

Antique Sarab Runner, 6’ 9” x 16’ 3”. [600/900] Illustrated

893

Semi-Antique Sarouk Carpet, 3’ 5” x 4’ 8”. [350/500]

894

Turkish Angora Oushak Carpet, 5’ 2” x 7’ 10”. [600/900] Illustrated

895

Antique Serab Runner, 3’ 4” x 11’ 8”. [400/700]

896

Turkish Angora Oushak Carpet, 12’ 3” x 15’ 3”. [2000/4000] Illustrated

897

Semi-Antique Mashad Carpet, 10’ x 12’ 10”. [800/1200] Illustrated

898

Turkish Angora Oushak Carpet, 8’ 3” x 10’ 1”. [900/1200] 892

899

Semi-Antique Sparta Carpet, 9’ 2” x 12’. [800/1200]

894

897

151

900

Persian Kerman Carpet, 11’ 5” x 16’ 1”. [5000/8000] Illustrated

901

Antique Serapi Carpet, ca. 1880, 8’ 9” x 10’ 8”. [2500/4000] Illustrated

903

Semi-Antique Heriz Carpet, 9’ 4” x 12’ 11”. [700/1000 Illustrated

901

902

Laristan Sultanabad Carpet, 9’ x 12’. [1400/1800] 904

152

908 905

904

Persian Sarouk Carpet, 9’ 8” x 16’ 1”. [4500/7000] Illustrated

905

Antique Heriz Carpet, 9’ 8” x 12’ 5”. [2000/4000] Illustrated

906

Antique Oushak Carpet, 10’ 5” x 13’. [1000/1500]

907

Antique Tabriz Carpet, 8’ 10” x 11’ 10”. [600/900]

908

Antique Heriz Carpet, 3’ 5” x 4’ 10”. [400/700] Illustrated

909

Antique Mahal Carpet, 9’ 9” x 13’. [3000/5000] Illustrated

909

153

911 910

American Giltwood Cornucopia Mirror, mid-19th century, probably New York, of oval form with a double cornucopia crest and scroll carving on the frame, h. 40”, w. 31”. Provenance: Joan Bogart, Rockville Centre, New York. [1000/1500] Illustrated

912

American Classical Mahogany Center Table, ca. 1825, the circular top with crossbanded and ebony-strung perimeter edge, on a tapering columnar pedestal joined to a triangular concave platform with foliate-carved melon feet, h. 28‑1/4”, dia. 35‑1/2”. [800/1200] Illustrated 912

910

American Classical Mahogany Bergere in the French Taste, ca. 1820, the shaped back joined to closed arms terminating with scrolls, raised on lotus- and scroll-carved supports, the seat fitted with a loose cushion, h. 45”. [1500/2500] Illustrated

913

911

American Gothic Revival Birdseye Maple Bookcase, mid-19th century, probably Baltimore, the interior retaining its period marbleized paper lining, the cornice with an arched gallery over quatrefoil panels, each glazed door with paired arched mullions, the base with a panel with trefoil ends, all surface elements, including moldings and carving, executed in birdseye maple, h. 87”, w. 54”, d. 10‑1/4”. [2500/4000] Illustrated

914

American Late Classical Mahogany Piano Stool, late 19th century, the rotating and extending seat with a low back extending to foliate- and dolphin-carved rails, on a tripodal ring-turned base, the legs with carved paw feet, h. 29‑1/4”, w. 18”, d. 18”. [400/700]

915

Neoclassical Bronze and Glass Solar Lamp, the font labeled “Cornelius and Baker Patent Apr. 1st 1843 Philadelphia”, the tripartite molded bronze base supporting the pillar-molded opaline standard with blue ribs, the frosted and cut “Gothic” ball shade appears to be of the period, both the foot and breather retaining much of the original gilt lacquer, h. 30”, dia. 8‑1/4”. [600/900]

154

917 913

American Classical Mahogany Games Table, ca. 1825, Philadelphia, the fold-over top over a molded apron with foliate-carved panels at the corners, on an acanthus- and gadrooned-carved pedestal joined to a concave base with carved paw feet, h. 29‑1/2”, w. 35‑3/4”, d. 16‑3‑4”, extended d. 33‑1/2”. [700/1000] Illustrated

916

Randolph Rogers (American, 1825‑1892), marble bust of a woman, mid-19th century, depicting a handsomely-dressed woman in mid-19th-century attire, signed “Randolph Rogers, Rome” on the rear, h. 28”, w. 17”, d. 8‑1/2”. [2500/4000] Illustrated Rogers was born in Waterloo, New York, but spent most of his adult life in Rome, Italy. Among his works are the “Columbus” doors of the U.S. Capitol and “Nydia, the Blind Flower Girl of Pompeii”, now at the Metropolitan Museum of Art, New York.

917

918

American Late Classical Mahogany Banquet Table, third quarter 19th century, the circular top on a tapering octagonal split pedestal joined to a concave platform with carved paw feet, extending to accommodate four leaves, h. 29‑1/4”, dia. 54”, extended l. 101”. [500/800] Illustrated 918

155

919

William Aiken Walker (American/South Carolina, 1838‑1921), “Family of Cotton Pickers”, oil on board, signed lower left, 6‑1/2” x 12‑1/4”. Framed. To be included in John Fowler’s forthcoming catalogue raisonne of the artist. [6000/9000] Illustrated

923 920

920

William Aiken Walker (American/South Carolina, 1838‑1921), “Cabin Scene with Cotton Field in Distance”, oil on board, signed lower left, 9‑1/4” x 12”. Framed. To be included in John Fowler’s forthcoming catalogue raisonne of the artist. [8000/12000] Illustrated

921

Will Ousley (American/Louisiana, 1866‑1953), “Lake Charles, Louisiana, at the Calcasieu River”, oil on canvas, signed lower right, inscribed en verso of canvas, 14‑1/2” x 24”. Framed. [1200/1800]

922

John Antrobus (American, 1837‑1907), “Wooded Landscape with Nymph”, oil on canvas, signed lower left, 24” x 12”. Framed. [2000/4000] Illustrated

156

922

Alfred L. Boisseau (American/Louisiana, 1823‑1901), “Portrait of Edward Boisseau, the Artist’s Son”, oil on artist’s board, signed and dated lower right, 12‑3/4” x 17‑1/2”. Framed. [800/1200]

924

Attributed to George Winter (American, 1810‑1876), “Sisters”, oil on wood panel, unsigned, inscribed verso, 30” x 25”. Framed. [600/900]

925

Southern School (Second Quarter 19th Century), “Portrait of Two Siblings in a Landscape”, oil on canvas, unsigned, 36” x 29”. Framed. Provenance: From a Mobile, Alabama Estate. [2000/4000] Illustrated

926

Pair of English Hand-Painted Garniture Vases, second quarter 19th century, probably Rockingham, decorated with hand-painted landscapes on a cobalt ground, with pierced necks and dragon-form handles, marked with pattern number “208”, h. 9”, w. 7‑1/2”. [500/800]

930

American Classical Gilt-Stenciled Mahogany Games Table, ca. 1890, labeled S. J. Rawson Jr., Providence, Rhode Island, the cross-banded fold-over top over a figural frieze with a gilt and ebonized stenciled band at its lower edge, raised on four columns joined to a trestle base on carved paw feet, the paper label affixed to the bottom of the well, which is revealed when the top is pivoted, h. 31‑1/2”, w. 37”, d. 18‑1/2”. [1200/1800] An apparently identical table in the Museum of Art, Rhode Island School of Design, Providence, retains a nearly identical label. Interestingly, while that label essentially reads the same as the label on the present table, this label also reads “Side-boards, Secretaries and Book-Cases, Sofas & C’s”; the Rhode Island label instead mentions the availability of mahogany and birch bedsteads.

928

927

925

American Late Classical Mahogany Sofa, mid-19th century, probably Philadelphia, the chest with a fruitcarved basket flanked by scrolls adorned with acanthus carving, with scroll arms, shaped apron and paw feet on foliate-carved brackets, now upholstered in striped floral damask, accompanied with six matching pillows, h. 37‑1/4”, w. 87‑1/2”, d. 23”. [700/1000]

928

American Colonial Revival Mahogany Corner Cabinet in the Chippendale Taste, 20th century, in two parts, the upper section with a scrolling open arch pediment over two doors, the base with a drawer over a pair of doors, raised on ball-and-claw feet, h. 44‑1/4”, w. 36”, d. 20‑1/2”. [1800/2500] Illustrated

929

American Late Classical Mahogany Sideboard, second quarter 19th century, attributed to Benjamin Montgomery, Pittsburg, Pennsylvania, of double pedestal form, bisected by a marble top over a drawer, gadrooning and a lower lift-top drawer, receding into the frame to create a display niche, the marble backed by a rectilinear mirror flanked by foliate- and cornucopia-carved scrolls, each pedestal with a drawer flanked by a carved fruit basket, over columns and a raised panel door, on carved paw feet, h. 65”, w. 81”, d. 24”. [1200/1800] A similar sideboard signed by Montgomery is in the collection of the historic Rose Hill Mansion, Geneva, New York. It has been postulated that the fruit basket carving common to Pittsburg sideboards was executed by the hand of Joseph Woodwell.

931

Ten-Piece Collection of Gilt-Bronze and Brass Tiebacks, 19th century, the longest, l. 4‑3/4”. [350/500]

932

Schoelcher, Paris Porcelain Tiered Dessert Stand, second quarter 19th century, decorated in bright and matte gilding with magenta highlights, signed “Schoelcher” in rouge-de-fer script, h. 16”. [400/700]

157

935

933

German Mahogany-Veneered Sofa Table in the Classical Taste, second quarter 19th century, the scroll-trimmed platform base supporting the faceted arm pedestal, ornamented with carved lotus leaves, h. 28‑3/4”, w. 37”, d. 26‑1/4”, extended w. 54”. [1200/1800] Illustrated

934

American Carved Walnut Folk Art Mirror with Patriotic Motifs, third quarter 19th century, the crest with an eagle resting on a shield flanked by American flags, likely of Civil War vintage, h. 21‑1/2”, w. 13‑1/2”. [800/1200] Illustrated

936

American Colonial Revival Gilt-Bronze, Marble and Glass Sinumbra-Style Lamp, fourth quarter 19th century, on a stepped marble base with a fluted standard capped with a lotus-molded capital, set with a frosted and cut glass shade and prism hung, electrified, h. 29”, dia. 13”. [300/500]

937

Gen. Joseph E. Johnston, C.S.A. (1807‑1891) Civil War Autograph Letter, bifolium octavo, signed and dated December 26, 1861, Centreville [Virginia], to Gen. P.G.T. Beauregard, C.S.A. (1818‑1893), docketed verso, 7‑1/4” x 4‑5/8”. [1500/2500] Illustrated

934

This letter was written in the first year of the war, a week after the Battle of Dranesville, one of the earliest Confederate defeats during which Gen. J.E.B. Stuart ordered the controversial retreat of his troops. The letter references a request for 32‑pounder artillery pieces and statements made by Gen. D. H. Hill regarding the Dranesville retreat.

935

American Late Classical Mahogany and Cherry Secretary, second quarter 19th century, in two parts, the upper section with a projecting cornice over glazed and paneled doors, the latter opening to reveal a fitted interior, the base with a fold-out writing surface over a projecting and recessed pair of drawers, flanked by scroll columns with scroll feet, h. 81”, w. 43”, d. 24”. [800/1200] Illustrated

937

158

940 938

Mark Catesby (British, 1682‑1749), “Yellow-Breasted Chat, Plate 50” and “Little White Heron, Plate 77”, pair of hand-colored copperplate engravings from the 1st edition of Natural History of Carolina, Florida, and the Bahama Islands, together with the original cover boards, each sheet 20” x 14”. Attractively glazed, float-mounted, matted, and framed alike; plate 77 including descriptive sheet from book verso. Provenance: Arader Galleries, New York, New York. [2000/4000] Illustrated

941

After John James Audubon (American, 1785‑1851), “Black-Billed Cuckoo, Plate XXXII”, hand-colored engraving by Robert Havell, from The Birds of America, watermarked, sheet 25” x 38. Engraving now mounted and unframed. [1000/1500] Illustrated

938

American Sheraton Mahogany Chest, second quarter 19th century, with a band of three drawers over a deep banded drawer and three graduated drawers below, all drawers with banded perimeter edges, raised on beehive feet, h. 50”, w. 46”, d. 21‑1/2”. [1500/2500] Illustrated

939

English Cobalt Campana-Form Garniture Urn, first quarter 19th century, decorated with hand-painted floral reserve panels on a cobalt ground, h. 9”, w. 9”. [450/700]

942

941

Three Chinese Export Porcelain Plates, 18th/19th century, the plates with foliate blue edges and polychrome landscape reserves depicting a pagoda and pavilion, dia. 14”. [1500/2500]

943

Chinese Blue and White Platter, Qing Dynasty (1644‑1911), probably 19th century, the large Nanking dish with lancelet borders, the center depicting a landscape with boats and pavilions, unmarked, w. 14‑5/8”. [500/800] Illustrated

943

940

159

944

American Sheraton Mahogany Dressing Bureau in the Classical Taste, second quarter 19th century, New England, the top with a recessed band of drawers with a scroll splash, the case with a pair of projecting drawers over three graduated drawers flanked by turned columns, h. 49‑1/2”, w. 43”, d. 19‑1/4”. [800/1200] Illustrated

945

American Classical Mahogany Bookcase, first quarter 19th century, Boston, in two parts, the top with a covemolded cornice over a pair of mullioned doors, the base with a bank of three beaded drawers over paneled doors, raised on bun feet, h. 97‑1/2”, w. 50”, d. 20”. [1000/1500] Illustrated

945

949

American Late Classical Mahogany Tall Chest, fourth quarter 19th century, with a projecting molded drawer over a bank of four drawers, flanked by acanthus-carved columns and raised on paw feet, the drawers retaining pressed glass pulls, h. 58‑3/4”, w. 34‑3/4”, d. 24”. [800/1200] Illustrated

944

946

Cobalt Blue Cut Glass Bowl, second quarter 19th century, probably Bristol, England, the flared faceted body decorated with a scalloped rim, h. 7”, dia. 5‑3/4”. [350/500]

947

Lower Mississippi Valley Creole Mahogany Vitrine, second quarter 19th century, with projecting cornice over a pair of glazed doors with scalloped panels, the sides fitted with glazed panels, fiche hinges and beehive feet, formerly fitted as an armoire, h. 86”, w. 60”, d. 22”. [1000/1500]

948

Six-Piece Collection of Chinese Export Porcelain, ca. 1800, comprised of a pair of platters, l. 11‑1/2”, a lobed oval platter, l. 14‑1/2”, two round dishes with monograms, dia. 7‑1/2” and 7‑3/4”, and an armorial sauceboat decorated with the Arms of Spence, l. 7”. [500/800] Other pieces from the Spence service include a plate illustrated in David Sanctuary Howard, Chinese Armorial Porcelain (London: Faber & Faber, 1974), p. 748, and a cup and saucer in the collection of the Phillips House, Salem, Massachusetts (2006.44.1849.1‑2).

160

949

953

American Late Classical Revival Mahogany Server, late 19th century, the tall case with a projecting drawer over a pair of doors with oval inlaid panels, flanked by turned pilasters with foliate-carved capitals and carved paw feet, h. 45”, w. 38‑1/2”, d. 21”. [1000/1500]

954

Pair of American Late Classical Mahogany Sleigh Beds, mid-19th century, each with a paneled head- and footboard with figured posts with scroll tops, and joined by rails with scroll sawn brackets, h. 38”, inside w. 39”, l. 78”, outside w. 41”, l. 81”. [600/900]

955

American Late Classical Mahogany Sideboard, second quarter 19th century, the top with a figured splash, the case with a projecting pair of drawers over a pair of paneled doors, flanked by scroll columns and raised on scroll feet, h. 48‑1/4”, w. 54‑1/2”, d. 27”. [1200/1800]

958

956

950

American Late Classical Mahogany Drop-Leaf Breakfast Table, mid-19th century, the top flanked by single-board drop leaves, the apron fitted with a molded door, on a columnar gadrooned pedestal joined to a concave base with foliate-carved paw feet, h. 28‑3/4”, w. 44‑1/4”, d. 23‑3/4”, extended d. 48”. [400/700]

951

American Late Classical Mahogany Chest, second quarter 19th century, with a pair of molded projecting drawers over a graduated bank of three drawers, flanked by detached columns and raised on bun feet, h. 45”, w. 45”, d. 23”. [350/500]

956

Chinese Export Porcelain Vase, 19th/20th century, the baluster-form vase with rose and gilt borders, and depicting palace scenes, with two ruyi handles, unmarked, h. 17‑1/2”, w. 8‑1/2”. [2000/4000] Illustrated

957

952

American Late Classical Drop-Leaf Dining/Breakfast Table, second quarter 19th century, Boston, the figured single-board top flanked by like drop leaves, supported by a tapering pedestal joined to a concave base on bun feet, h. 28‑3/4”, w. 47‑1/2”, l. 24”, extended l. 59‑1/2”. [400/700]

Pair of Chinese Export Porcelain Covered Dishes, 19th century, the dishes in rose medallion decoration, with gilt knobs and reserves with images of birds, flowers and court scenes, h. 6”, w. 7‑1/2”, l. 9”. [900/1200] Illustrated

958

Pair of Chinese Rose Medallion Lidded Vases, late 19th-20th century, the pair featuring reserves depicting birds and flowers and scenes of courtiers, each with four gilded foo dog lugs and a lid topped with a gilded foo dog, unmarked, h. 27”, w. 14”. [1500/2500] Illustrated

161

962 959

Chinese Rose Medallion Vase, late 19th/20th century, the globular vase heavily gilded and edged with intricate bird, flower and butterfly motifs, the reserve depicting a scene of figures in a lush garden, unmarked, h. 9‑1/2”, dia. 11‑1/2”. [600/900]

963

Chinese Porcelain Vase, 19th/20th century, the baluster-form vase with reserves depicting court scenes and having blue foo dog lugs with gilt rings in their mouths, unmarked, h. 25”, w. 9‑1/2”. [700/1000]

961

959

Chinese Rose Medallion Punch Bowl, late 19th century, the large punch bowl with reserves depicting figures and flower and bird scenes, butterflies appear throughout and cartouches filled with flowers adorn the interior and exterior borders, h. 7”, dia. 16”. [1500/2500] Illustrated

960

964

William Anzalone (American/Texas, b. 1935), “Seated Nude in a Dressing Gown”, oil on canvas, signed lower right, 30” x 24”. Presented in a contemporary giltwood frame. [1500/2500]

965

William Anzalone (American/Texas, b. 1935), “Reclining Nude Reflected in a Mirror”, oil on canvas, signed lower left, 40” x 30”. Presented in a giltwood frame. [2000/4000] Illustrated

960

Pair of Chinese Rose Medallion Vases, late 19th/ early 20th century, the baluster-form vases with applied gilt dragon handles and reserves depicting court scenes, unmarked, h. 24”, w. 9‑1/2”. [3500/5000] Illustrated

961

Chinese Export Porcelain Jardiniere, 19th/20th century, the long oval vessel with thick rim and two reddish foo dog lugs, the sides depicting a lion amidst blooming peonies, a small red mark on the underside, h. 7‑3/4”, l. 16‑5/8”. [900/1200] Illustrated

965

162

969

Tom Young (American/Louisiana, b. 1924), “Untitled”, oil on canvas, signed verso stretcher, 27” x 36‑1/4”. Framed. [800/1200] Illustrated Before moving to New Orleans to help develop the University of New Orleans M.F.A. program, Tom Young was involved in the abstract expressionist movement of 1950’s New York. He was a founding member of The 10th Street Galleries, an artist cooperative, and was closely associated with artists such as Franz Kline, Willem De Kooning, Roy Lichtenstein, and others.

966

Garth Swanson (American/New Orleans, Contemporary), “Nude, Reclining”, 2004, signed lower right, signed and dated verso canvas, 36” x 36”. Unframed. [800/1200] Illustrated

970

969

Paul Tarver (American/New Orleans, Contemporary), “Fife II”, oil on canvas, unsigned, 48” x 48”. Presented in a thin gallery frame. Provenance: Cole Pratt Gallery, New Orleans, Louisiana. [2000/4000] Illustrated

967

George Dureau (American/Louisiana, b. 1930), “Death of Ajax”, charcoal on paper, signed lower right, sight 21‑1/2” x 27‑1/2”. Glazed, matted and framed. [800/1200] Illustrated

968

Carol Leake (American/Louisiana, Contemporary), a pair of watercolors on paper including “Seated Nude”, signed lower left, 15” x 13”, and “Prone Nude”, signed lower right, 14” x 22”. Glazed, matted and framed alike. [400/700] 970

163

975

Amy McKinnon (American/New Orleans, Contemporary), “Untitled”, oil on canvas, unsigned, 44‑1/4” x 69‑1/4”. Unframed. [700/1000] Illustrated

976 971

971

Louise Guidry (American/Louisiana, b. 1930), “Marica’s Trees”, acrylic and gold paint on wood panel, signed lower left, 41” x 36”. [2500/4000] Illustrated

974

Beth Lambert (American/New Orleans, Contemporary), “Untitled”, oil on canvas, signed lower right, signed verso canvas, 24” x 30”. Unframed. [800/1200] Illustrated

972

Louise Guidry (American/Louisiana, b. 1930), “Yellow Fields”, acrylic on canvas, signed lower right, 24‑1/2” x 18”. [800/1200]

975

977

Karen Stastney (American/Louisiana, Contemporary), “Warm, Some Sun”, 2003, mixed media on canvas, signed and dated verso canvas, 48” x 48”. Unframed. Provenance: Cole Pratt Gallery, New Orleans, Louisiana. [1000/1500] Illustrated

973

Louise Guidry (American/Louisiana, b. 1930), “Sunset on the Bayou”, acrylic on canvas board, signed lower left, 20‑1/2” x 24”. Framed. [800/1200] Illustrated

974

Melissa Bonin (American/Louisiana), “Clouds Like Diamonds”, 2013, oil on gallery-wrapped linen, signed lower right, signed and dated en verso, 30” x 40”. [2000/4000] Illustrated 976

164

979 977

978

James Michalopoulos (American/New Orleans, b. 1951), “Yellow Shotgun”, 1994, oil on canvas, signed lower left, signed and dated verso canvas, 24” x 30”. Framed. [4500/7000] Illustrated

981

Steve Martin (American/Louisiana, Contemporary), “It’s All How You Look At It”, 2012, acrylic on canvas, signed, titled and dated en verso, 40” x 30”. Framed. [3500/5000] Illustrated

979

James Michalopoulos (American/New Orleans, b. 1951), “Yellow Cottage”, 1991, oil on canvas, monogrammed lower right, signed and dated verso canvas, 24” x 30”. Framed. [3000/5000] Illustrated

980

James Michalopoulos (American/New Orleans, b. 1951), “Nude”, 1992, oil on canvas, signed and dated verso canvas, 14‑1/2” x 30”. Framed. [1500/2500]

978

981

165

983

982

983

Good American Rococo Revival Rosewood and Marble-Top Duchesse, third quarter 19th century, attributed to Alexander Roux, New York, h. 71”, w. 44”, d. 22”. Provenance: A French Quarter, New Orleans, Louisiana estate. [1500/2500] Illustrated

984

American Rococo Revival Walnut Corner Cupboard, third quarter 19th century, in two parts, the upper section with a shelf on open foliate-carved supports, the base with a Portoro marble top over a frieze drawer with a pair of doors below, the doors fitted with oval mirror plates and foliate and scroll carving, h. 76”, w. 43”, d. 29”. [1400/1800] Illustrated

984

982

Monumental American Giltwood and Marble Pier Mirror and Stand in the Rococo Revival Taste, mid19th century, the white marble-top stand supporting the ogee-molded frame, the carefully-molded and pierced crest composed of rich rocaille-work and flowers, h. 117‑1/2”, w. 40‑1/2”. [1500/2500] Illustrated

166

986

Rare Pair of American Rococo Revival Rosewood Hanging Cabinets, mid-19th century, possibly from the workshop of John Henry Belter, New York, one crest depicting a male figure holding a book and the other a female figure holding a book, both supported by what appears to be original rosewood brackets, h. 62”, w. 41”, d. 13”, including brackets. [5000/8000] Illustrated

985

Bohemian CranberryColored Overlay Cut Glass Garniture Vase, third quarter 19th century, composed of cranberry glass plated with white, outlined with gilt, with leaf-form cut panels alternating with crosshatching with gilt leaf veins, h. 18‑1/4”, dia. 5”. [700/1000] Illustrated

987

American Rococo Revival Rosewood Secretary Abattant, third quarter 19th century, the molded cornice over a frieze drawer and a fall front opening to reveal a fitted cross-banded and parquetry interior with drawers, columns and a niche with inlaid floor, with three drawers below, the door and drawer with applied foliate and scroll carving, the corners with segmented spiralturned pilasters, h. 66”, w. 43‑1/2”, d. 22”. [2000/4000] Illustrated The application of rococo ornamentation and large scale to Louis-Philippe forms is emblematic of the furniture crafted for the antebellum and post-war New Orleans market, retailed by firms such as Prudent Mallard’s. 985

987

986 one of a pair

167

988

Antebellum Southern Market Mahogany Full-Tester Bed, with the stamp “CLEE” for Charles Lee, Manchester, Massachusetts, the cyma-molded tester supported by tapering octagonal posts, with a paneled headboard with a foliate- and cartouche-carved crest, h. 114”, inside w. 59”, l. 72‑1/2”, outside w. 75”, l. 88”. Provenance: Solomon Saladin Calhoon, Jackson, Mississippi. [4000/7000] Illustrated

992

Calhoon served as Secretary of the state senate in 1858 and 1859, enlisted in the confederate army in 1861, was appointed circuit judge from 1876-1882 and ultimately served on the state supereme court. 988

992

American Rococo Revival Rosewood Center Table, third quarter 19th century, the period marble top with molded serpentine edges over a conforming frieze with applied foliate carving, raised on cabochon- and foliatecarved cabriole legs joined by scroll-carved stretchers centered by a finial, h. 30”, w. 40”, d. 27”. [2000/4000] Illustrated

993

American Rococo Revival Laminated Rosewood Settee, third quarter 19th century, attributed to John Henry Belter, New York, in the “Ribbon” pattern, the serpentine back extending to wrap-around corners and shaped arms, serpentine seat rail and cabriole legs, h. 34‑3/4”, w. 63”, d. 25”. [1000/1500]

994

American Rococo Revival Rosewood Dressing Table, third quarter 19th century, the molded and shaped mirror on a molded wishbone frame, on a base with a serpentine marble top, the conforming apron with a serpentine drawer flanked by a pair of bowed drawers, on floral- and shellcarved cabriole legs, h. 69”, w. 49”, d. 22”. [800/1200] Illustrated

989

994

Pair of Franco-Bohemian Hand-Painted Garniture Vases, mid-19th century, each faceted vase with pierced and scrolled handles, and a crenulated upper edge, h. 14”, w. 7‑1/2”. [350/500]

990

American Giltwood and Marble Pier Mirror and Matching Stand, third quarter 19th century, decorated with molded grapes, the serpentine marble top stand, resting on turned legs, the arched top mirror, trimmed in gadrooning and with a serpentine crest richlydecorated with appliqued grapes, grape vines and leaves, h. 130‑1/2”, w. 35”, d. 12‑1/2”. [1800/2500] Illustrated

991

Bohemian Blown, Cut and Enameled Overlay Glass Garniture Vase, third quarter 19th century, the colorless body is white plated, cut to clear, enameled with hand-painted flowers and trimmed in gilt, h. 12”, dia. 4”. [400/700]

168

990

995

Bohemian Enameled Overlay Glass Claret Jug, fourth quarter 19th century, the opaline panel decorated with scrollwork overlay, the ruby body decorated with gilt trim, h. 13‑1/4”, dia. 5‑1/4”. [350/500]

996

1001

American Rococo Revival Figured Walnut Work Table, third quarter 19th century, attributed to John Henry Belter, New York, the lift top with a segmented interior, a looking glass fitted in the top interior, and a hidden compartment with a drawer and bag table below, the latter with shell and foliate carving, raised on cabriole legs joined by serpentine stretchers and a central shelf, h. 31‑1/2”, w. 21”, d. 16‑1/2”. A similar table is illustrated in Schwartz, Stanek and True, The Furniture of J. H. Belter and the Rococo Revival, page 83, item 61. [1000/1500]

1002

American Rococo Revival Figured Walnut and Walnut Center Table, third quarter 19th century, the breccia marble top of tortoise form, the conforming apron with foliate and floral carving, raised on cabriole legs joined by serpentine stretchers, h. 30‑1/4”, w. 41‑3/4”, d. 29‑1/4”. [700/1000]

1003

Italian Carved White Marble Pedestal, fourth quarter 19th century, the tapered pedestal decorated with fluting, beading and spiral turning, and supporting a square top, h. 44”, w. 11”, d. 11”. [350/500]

1004 996

Two Bohemian-Style Cut and Enameled Decanters of Middle Eastern Origin, each with brilliant-style cutting, the largest, h. 10‑1/2”, dia. 4‑1/4”. [1200/1800] Illustrated

Two Pieces of American Silverplate Tableware, first quarter 20th century, including an E. G. Webster & Son covered and triple-partitioned vegetable dish in the Spanish Colonial taste, dia. 12‑3/4”, and a Forbes Silver Co. pierced and serpentine-lobed fan vase, h. 11‑3/4”. [350/500] Illustrated

997

Antebellum Southern Market Mahogany Tester Bed, third quarter 19th century, the layered cyma-molded tester on tapering cluster column posts, supporting a paneled headboard with a fruit-, foliate- and scroll-carved crest, the posts joined by serpentine figured rails, h. 113”, inside w. 59‑1/4”, l. 77‑1/2”, outside w. 76”, l. 87‑1/2”. [2500/4000] Illustrated

998

American Rococo Revival Rosewood Lift-Top Bench, third quarter 19th century, the upholstered cushion hinged to reveal a storage well, on a rectilinear frame with canted corners, each side and corner with a carved cabochon flanked by foliate carving, h. 19‑1/2”, w. 39”, d. 27”. [1000/1500]

999

Pair of French Enamel-Decorated Crystal Candlesticks, fourth quarter 19th century, probably Baccarat, molded with gilt-trimmed cabochons decorated with white enamel sprigging and hung with prisms, h. 14”, dia. 5‑1/4”. [300/500]

1000

Victorian Mahogany and Marble-Top Center Table, third quarter 19th century, the turtle-form Carrara marble top inset into a conforming frieze, raised on a turned and ribbed standard to four floral-carved C-scroll legs ending in scrolled toes on casters, h. 29”, w. 44”, d. 27‑1/2”. [600/900] 997

169

1009 1004

Three-Piece Wallace Sterling Silver “Antique” Dining Table Garniture, the pattern introduced in 1926, Wallingford, Connecticut, including a flower bowl, h. 8‑1/2”, dia. 13”, and a pair of candlesticks, h. 10‑3/4”, dia. 4‑1/4”, of serpentine-lobed circular form, monogrammed “R”, 81.41 total t. oz. [1200/1800] Illustrated

1007

1005

Four Pieces of American Sterling Silver Tableware, mid-20th century, including an International “Wild Rose” compote, h. 6”, a Reed & Barton vegetable bowl, dia. 9‑1/2”, a Newburyport Silver Co. sandwich plate, dia. 10‑1/2”, and a Dunkirk Silversmiths sandwich plate, monogrammed “EGC”, dia. 10‑1/2”, 27.90 total t. oz. (excluding weighted compote). [500/800]

1006

1010

Fifty-Two Pieces of American Floral Rococo-Style Sterling Silver Flatware, including patterns: Gorham “Cambridge”, “King Edward”, “Lancaster” and “Melrose”, International “New Wild Rose” and “Stratford”, Reed & Barton “Georgian Rose”, Wallace “Meadow Rose” and “Shenandoah” and others, some monograms, l. 5‑3/8” to 9”, 58.58 total t. oz. (weighable silver). Detailed list available on request. [900/1200]

1008

1006

Gorham Sterling Silver Covered Vegetable Dish, mid20th century, Providence, Rhode Island, of circular form with molded banding, the steeply domed lid with recessed floral finial handle inverting to form a serving bowl, the base monogrammed “D”, overall, h. 4‑1/4”, dia. 9‑1/2”, 23.34 total t. oz. [400/700] Illustrated

1007

Dominick & Haff Sterling Silver Vegetable Bowl, 1932, New York, New York, of circular form with molded rim and serpentine quarterings, dia. 9‑3/8”, 18.64 t. oz. [350/500] Illustrated

1008

Pair of Reed & Barton Sterling Silver Tazze, first quarter 20th century, each with a Louis XVI-style embossed edge and trumpeting foot, h. 4”, dia. 8‑3/4”, 21.22 total t. oz. [350/500] Illustrated

170

1011

Forty-Eight-Piece Gorham “Strasbourg” Sterling Silver Flatware Set, the pattern designed in 1897 by William Christmas Codman (1839‑1923), comprising a five-piece place setting for eight persons with eight additional teaspoons, no monograms, l. 5‑3/4” to 9‑1/2”, 53.57 total t. oz. (weighable silver). Detailed list available on request. [1000/1500] Illustrated

1009

1012

Three-Piece Gorham “Chantilly-Duchess” Sterling Silver Table Garniture, mid-20th century, including a compote, h. 4‑1/2”, dia. 10‑3/8”, and a pair of five-branch candelabra (convertible to candlesticks or candlestands), h. 13”, w. 8‑5/8”, weighted. [500/800] Illustrated

1015

American Five-Piece Sterling Silver Coffee and Tea Set, mid-20th century, by the Amston Silver Co., Meriden, Connecticut, including a coffeepot, teapot, cream jug, sugar bowl and waste bowl, each of ovoid form with narrow foliate banding, with crested handles and domed lids, h. 4‑1/2” to 11‑1/2”, 69.25 total t. oz. [1400/1800] Illustrated

1016

1011 1014

Set of Twelve Gorham Sterling Silver Bread and Butter Plates, third quarter 20th century, Providence, Rhode Island, of circular form with molded rim, inscribed on the underside “Ginger from June” and variously dated 1961‑1965, dia. 6”, 30.37 total t. oz. [350/500]

1017

Pair of Shreve & Co. Sterling Silver Vegetable Dishes, first quarter 20th century, San Francisco, California, of serpentine-lobed oval form, with beadand-laurel rim and deep oval recess, l. 12‑7/8”, w. 9‑1/4”, 35.23 total t. oz. [500/800]

1018

Set of Eight International “Lord Saybrook” Sterling Silver Sherbet Cups, mid-20th century, Meriden, Connecticut, h. 3‑1/2”, dia. 3‑7/8”, 24.56 total t. oz.. [400/700] 1015

1013

Thirty-Four Pieces of Reed & Barton “Tara” Sterling Silver Flatware, the pattern introduced in 1955, Taunton, Massachusetts, all place pieces but for a master butter knife, no monograms, l. 5‑3/4” to 9”, 35.43 total t. oz. (weighable silver). Detailed list available on request. [600/900]

1014

Large Gorham Sterling Silver Water Pitcher, first quarter 20th century, Providence, Rhode Island, of serpentine-lobed pear-shape form, with conforming foot and acanthus-mounted “S”-scroll handle, h. 10‑1/2”, l. 10”, 36.97 t. oz. [500/800] Illustrated

171

1021

1019

1022

Set of Thirteen Sterling Silver Large Cordials, 20th century, Newport Sterling, Newport, Rhode Island, each of inverted bell form with trumpet foot, h. 4‑1/2”, dia. 2‑3/4”, 20.44 total t. oz. [800/1200]

1019

Gorham Sterling Silver Platter, mid-20th century, Providence, Rhode Island, of scalloped oval form with gadrooned rim and oval recess, l. 18‑1/2”, w. 13”, 45.33 t. oz. [800/1200] Illustrated

1020

1023

Twenty-Four Pieces of American Art Deco Sterling Silver Flatware, including patterns: Easterling “Horizon”, International “Orchid”, Oneida “Heiress” and others, no monograms, l. 6” to 9”, 19.42 total t. oz. (weighable silver). Detailed list available on request. [350/500]

American Sterling Silver Water Pitcher, mid20th century, by the Meriden Britannia Co., Meriden, Connecticut, of baluster form with molded foot ring and crested “C”-scroll handle, h. 5‑1/4”, l. 8‑3/4”, 18.65 t. oz. [350/500] Illustrated

1025

1020

1024

1021

Good Assembled Set of Fourteen American Sterling Silver Water Goblets, first half 20th century, most by Baltimore Silversmiths or A. G. Schultz, both Baltimore, Maryland, with two examples by Frank W. Smith, Gardner, Massachusetts, each with ovoid body, ogee-domed trumpet foot and reeded rim, h. 6‑3/4”, dia. 3‑3/8”, 85.14 total t. oz. [1200/1800] Illustrated

172

Forty-Three Pieces of American Mid-Century Modern Sterling Silver Flatware, including patterns: Westmoreland “Enchanted Orchid”, International “Rose Ballet”, Reed & Barton “Lark” and “Silver Sculpture”, Wallace “Penrose” and others, no monograms, l. 5‑1/2” to 9‑1/4”, 27.69 total t. oz. (weighable silver). Detailed list available on request. [500/800]

1025

Danish Modern-Style Sterling Silver Tray, second quarter 20th century, by Richard M. Woods & Co., New York, New York, of circular form with stylized “blossom” handles, dia. 15‑3/4”, 48.03 t. oz. [1800/2500] Illustrated

1028

1026

Seven-Piece Wallace “Italian Collection” Sterling Silver Flatware Sample Set, 1995‑2000, Syracuse, New York, including dinner forks in their “Palatina”, “Venezia”, “Barocco”, “Giorgio”, “Impero” and “Salina” patterns (two of the latter), l. 8”, 14.78 total t. oz. [350/500] Wallace Silversmiths’ “Italian Collection”, introduced in 1995, was the last major sterling silver flatware line introduced in America. They were based on classical European designs and made in the larger size and heft popular on the Continent.

American Neo-Grec Burled Walnut and Walnut Center Table, third quarter 19th century, the top now fitted with a mirror plate inset in a burled frame, the conforming apron with burled panels and raised on fluted legs, the legs at the ends with griffin masques on a curved support, h. 31”, w. 42”, d. 23‑1/2”. [1200/1800] Illustrated

1029

Pair of Bohemian Glass Bottle Vases, decorated with gilt leaves and tracery, now mounted as lamps on antique wooden stands, vase, h. 21‑1/2”, overall, h. 42”, dia. 7‑1/2”. [1000/1500]

1030 1027

American Renaissance Revival Two-Piece Parlor Suite, third quarter 19th century, in the manner of R.J. Horner, New York, comprised of a settee and an armchair, each with closed arms terminating in well-carved lion’s head masques on foliate-carved supports, the tapering guilloche-carved legs ending in carved paw feet, now upholstered after the period fashion in tufted gold striped damask, settee, h. 34‑1/2”, w. 55”, d. 29”, chair, h. 34‑1/2”. [1000/1500]

1033

1027

American Renaissance Revival Walnut and Burl Walnut High-Back Bedstead, third quarter 19th century, Philadelphia, h. 88”, inside w. 66‑1/2”, l. 83”, outside w. 77”, l. 92”. [600/900] Illustrated

1028

1031

Bohemian Art Glass Enameled “Icicle” Vase, fourth quarter 19th century, probably Moser, decorated with a raised gilt bird on enameled branches, the colorless glass trim highlighted with gilt, h. 13‑3/4”, dia. 6‑1/2”. [300/500]

1032

Three Pieces of Moser Bohemian Gilt-Decorated Glass, fourth quarter 19th century, comprising a green trumpet vase decorated with white enamel flowers on gilt border panels, signed “Moser”, h. 16”, a fluted cranberry vase decorated with a gilt cartouche and a ruffled top, signed “Moser”, h. 16”, and a cranberry vase attributed to Moser, with polychrome enamel flowers and a large gilt cartouche, h. 16”. [350/500]

1033

Three-Piece Collection of Moser Mauve Art Glass, fourth quarter 19th century, with gilt decoration, comprising a dresser box signed “Moser Karlsbad” in gilt on the base, h. 3‑3/4”, w. 6”, a dish with an icicle-type border and an enameled classical scene reserve panel, dia. 11‑3/4”, and a trumpet vase with gilt “icicle” handles, h. 15‑1/4”, dia. 4‑1/4”. [350/500] Illustrated

173

1040 1042

Pair of American Brass and Iron Dolphin-Form Andirons, ca. 1900, possibly Bradley and Hubbard, molded with dolphin-form log stops on the cast iron billet bars and feet, illegibly marked on the rear, h. 15‑1/4”, w. 11”, d. 20‑1/2”. [500/800]

1041

1034

Three Pieces of Bohemian Enameled Art Glass, fourth quarter 19th century, consisting of a smoke-colored vase attributed to Harrach, h. 7‑3/4”, a colorless pitcher attributed to Rossler, h. 8‑1/2”, and a ribbed decanter signed “Moser” and formerly fitted with a stopper, h. 8‑1/2”. [350/500]

1035

Ceramic Art Company Hand-Painted Belleek Vase, ca. 1889‑1896, Trenton, New Jersey, painted in the Impressionist style, decorated in the round with a woodlands view, possibly decorated by Franz Arthur Bischoff (American, 1864‑1929), h. 15‑3/4”, dia. 5‑1/4”. [500/800]

1036

American Renaissance Revival Gilt-Incised, Burled Walnut and Walnut Mantel Mirror, third quarter 19th century, New York, the cornice centered by a carved classical masque, the gently-arched mirror plate flanked by burled panels, h. 62‑1/2”, w. 71”, d. 7‑1/2”. [1000/1500]

Three American Brilliant Period Cut Glass Pitchers with a Brilliant-Style Vase, the three pitchers, ca. 1900, cut with pinwheels and hobstars, h. 8‑3/4” to 10‑1/4”, and the Brilliant-style vase cut with pinwheels, h. 11‑3/4”. [350/500]

1042

Five Pieces of American Brilliant Period Cut Glass, ca. 1900, including a “Monarch” pattern tray attributed to J. Hoare & Co., w. 8”, l. 9‑3/4”, and four bowls with various cut glass patterns, the largest, dia. 9‑1/2”. [350/500] Illustrated

1043

Five-Piece Collection of Antique American Cut, Engraved and Frosted Glass, including a “Royal” pattern Brilliant Period bowl on stand, probably by the Hunt Glass Co. or Dorflinger, ca. 1900, h. 7”, dia. 12‑1/2”, two tall compotes, first quarter 20th century, h. 8‑3/4”, dia. 7”, a cut and frosted small compote with a ruby-plated rim, possibly Christian Dorflinger, Long Island or Brooklyn, New York, mid-19th century, h. 5‑3/4”, dia. 6”, and a cut and engraved low bowl on pedestal, second quarter 20th century, dia. 8‑1/4”. [350/500]

1048

1037

Rare American Aesthetic Movement Brass- and Mixed Woods-Inlaid Rosewood Sofa, fourth quarter 19th century, attributed to Charles Tisch, New York, the back of tripartite form with a broken-arch crest and inlaid frieze above the center section, the arms with carved lion masques with open mouths, the front with four turned and carved legs, h. 53”, w. 72”, d. 27‑1/2”. [1000/1500] Charles Tisch made an interesting Aesthetic cabinet which received first prize at the New Orleans Exposition of 1884‑1885. Tisch donated that cabinet to the Metropolitan Museum of Art in 1889, where it remains today.

1038

American Aesthetic Movement Marquetry-Inlaid Birdseye Maple and Maple Dressing Bureau, ca. 1875‑1880, the back of the case with the incised stamp “Herter Bros.”, the furniture design, manufacturing and decorating firm led by Christian Herter, New York City, the case with a pair of pedestal ends joined by a shelf fitted with a pair drawers supporting a tall beveled mirror in a fluted frame, the dentillated cornice with ribbon, bellflower and beaded swag inlays, the upper pedestal drawer with like inlay, h. 83”, w. 76‑3/4”, d. 20‑3/4”. [2000/4000]

1039

Pair of American Cast Iron Andirons, fourth quarter 19th century, each decorated with a stick-and-ball “Queen Anne” pierced panel, h. 23”, w. 11‑1/4”, d. 20‑1/2”. [500/800]

174

1044

Two Pieces of American Brilliant Period Cut Glass and Two Brilliant-Style Bowls, including a heavy hobstar-cut bowl, dia. 9”, and dish, dia. 8”, ca. 1900, and two bowls in the Brilliant-cut glass style, dia. 7‑1/4” and 7‑1/2”. [350/500]

1045

Pair of American Bronze Two-Light Desk Lamps, first quarter 20th century, mounted with assembled Steubenstyle pulled-feather art glass shades, each shade arm with a spurious partial silver Steuben mark, h. 18‑1/4”, w. 17‑3/4”, d. 5‑1/4”. [800/1200]

1051 1050

Three Molded Meissen Dishes, 20th century, German, including a white example with a 1924‑34 mark, dia. 11”, an example with hand-painted flowers and an unidentified mark with crossed swords, dia. 10‑1/4”, and an example with molded leaves, with a 1953‑57 mark, dia. 11”. [400/700]

1052

Two Hand-Painted Meissen Dishes, ca. 1951‑1953, German, each with tooled gilt cartouches and decorated with hand-painted flowers, marked with crossed sword marks with a dot near the footing and two incisions on the mark, dia. 11‑3/4”. [300/500]

1053

Three Pieces of Meissen Porcelain, German, including two pierced bowls, ca. 1850‑1922, each with the pommel sword mark, l. 14‑1/4”, and a hand-painted dish, ca. 1957‑1972, with a crossed swords mark with two incisions and a horizontal line near the footing, l. 11‑1/2”. [300/500] Illustrated

1046

Large American Renaissance Revival Walnut Secretary Bookcase, third quarter 19th century, in two parts, the molded cornice over a pair of glazed doors, the base with a serpentine fold-over writing surface, over a pair of doors, the lid with a brass plaque: “Given by Stinson Hall”, h. 95”, w. 83”, d. 20”. [600/900]

1054

Semi-Antique Hamadan Carpet, 2’ 7” x 3’ 8”. [350/500] Illustrated

1055

Aubusson Carpet, 10’ x 14’. [4000/7000]

1056

1047

Weller Art Pottery “Forest” Pattern Jardiniere and Stand, first quarter 20th century, Zanesville, Ohio, polychromed and decorated with molded landscapes in the Arts and Crafts style, impressed “Weller” on the base, h. 28‑3/4”, dia. 12”. [600/900]

Peshawar Sultanabad Carpet, 8’ 10” x 11’ 3”. [1800/2500]

1053

1048

American Late Classical Mahogany Banquet Table, fourth quarter 19th century, the circular top on a split octagonal pedestal with four legs, each with turreted ends capped by a ribbed finial, including six skirted leaves, h. 31‑1/2”, dia. 56”, extended l. 164”. [1500/2500] Illustrated

1049

Two American Gothic Revival Walnut Armchairs, third quarter 19th century, probably Philadelphia, h. 57”, w. 26‑1/4”, d. 23” and h. 65”, w. 28”, d. 23”. [800/1200]

1050

American Renaissance Revival Walnut Center Table, third quarter 19th century, the inset marble top over an apron with incised figured panels, raised on segmented fluted legs joined by shaped and turned stretchers, h. 30”, w. 38”, d. 23”. [600/900] Illustrated

1054

175

1061

1058

1064

1057

Antique Caucasian Kazak Carpet, 4’ 8” x 8’ 9”. [1200/1800]

1058

Peshawar Sultanabad Carpet, 8’ 10” x 12’ 2”. [700/1000] Illustrated

1059

Caucasian Kazak Carpet, 3’ 4” x 4’ 9”. [350/500]

1060 1060

176

Semi-Antique Mashad Carpet, 4’ x 5’ 10”. [400/700] Illustrated

1070

1069 1061

1067

Agra Serapi Carpet, 17’ 9” x 10’ 2”. [1500/2500] Illustrated

1062

George Hunzinger, New York, Renaissance Revival Walnut Sidechair, the rear leg with the incised stamp “Hunzinger N.Y. Pat March 30, 1868”, the back with a circular tufted cushion set in a molded frame adorned with balls and various turnings, the stiles extending to fluted front legs, h. 32”. [350/500]

Persian Serapi Carpet, 8’ 2” x 10’ 3”. [3500/5000]

1070

Persian Bakhtiari Garden Panel Carpet, 9’ x 11’ 8”. [3500/5000]

Monumental English Aesthetic Bronze Hall Lantern, fourth quarter 19th century, the cut corners molded with sunflowers and leaves on a stippled ground, now electrified, h. 49”, w. 17”, d. 17”. [1500/2500]

1066

1071

1063

Agra Serapi Runner, 2’ 7” x 20’. [800/1200]

1064

Agra Serapi Carpet, 11’ 9” x 18’. [3000/5000] Illustrated

1065

Persian Sultanabad Carpet, 10’ x 16’ 6”. [4000/7000]

1067

Antique Sarouk Carpet, 10’ x 15’. [2000/4000] Illustrated

1068

American Renaissance Revival Bronze-Mounted and Marquetry-Inlaid Walnut Cabinet, ca. 1865, the projecting center with a recessed pedestal top over a frieze with floral inlay flanked by bronze mounts, the central door with an inlaid musical trophy panel, and opening to expose a birdseye maple interior, flanked by detached columns and recessed cupboards, adorned with incised gilt decoration throughout, h. 57‑1/2”, w. 56”, d. 22‑1/2”. [2000/4000] Illustrated

1071

American Renaissance Revival Burled Walnut and Walnut Hall Tree, third quarter 19th century, the arched pediment centered by a shelland foliate-carved crest, over a rectilinear mirror plate flanked by garment pegs and burled panels, the marble-top base over a frieze drawer, h. 88‑1/4”, w. 57”, d. 16”. [1800/2500] Illustrated

177

1077

1072

French Bronze of “Cavalier Arabe”, fourth quarter 19th century, after Antoine-Louis Barye (French, 1796‑1875), cast signature on self-base, h. 26‑1/2”, w. 21”, d. 10”. [1200/1800] Illustrated

1073

American Renaissance Revival Parcel-Gilt and Marquetry-Inlaid Ebonized Cabinet, third quarter 19th century, New York, with a central plinth over an inlaid door flanked by incised, fluted columns and concave sides with inlaid panels, the back with the number “9340 NB” in heavy lamp black, h. 57‑3/4”, w. 60‑3/4”, d. 20”. [2000/4000] Illustrated

1073

1075

Pair of Japanese Mixed Metal Vases, Meiji (1868‑1912) or Taisho (1912‑1926) Period, depicting cranes, flowers and trees, h. 7‑1/4”, w. 3‑1/8”. [350/500]

1076

Pair of German Pate-sur-Pate Vases, first quarter 20th century, probably Ernst Heubach, the Art Nouveau patesur-pate reserve panels depicting Psyche, on a pink-gray ground, marked “pate-sur-pate, Made in Germany” and an “H” under a sunburst, h. 10”, dia. 3”. [700/1000]

1077

Thomas Webb “Ivory” Cameo Glass Vase, fourth quarter 19th century, English, the faux ivory vase decorated in the Japanese taste with dragon-form handles, marked “Thomas Webb & Sons”, h. 6‑1/2”, dia. 3”. [8000/12000] Illustrated

1074

Aesthetic Movement Marquetry-Inlaid Ebonized Hanging Cabinet, fourth quarter 19th century, the case with a pair of doors fitted with four panels, each with an inlaid panel depicting a hare with a carrot in its clutch, amidst foliage, and retaining brass ring pulls akin to those employed by the Herter firm, the interior fitted with a pair of shelves, h. 22”, w. 41‑1/4”, d. 7”. [500/800]

178

1078

Doulton Slater’s Patent Art Pottery Bottle Vase, ca. 1900, English, decorated in the Moorish style with enameled flowers on a crosshatched ground, artist signed “EF”, probably Emily Forster, marked “Doulton Lambeth Slaters Patent England” along with an impressed “BD” and enameled letters, h. 7‑1/2”, dia. 3”. [350/500]

1079

British School (Third Quarter 19th Century), “Orpheus”, oil on gilt-painted tooled leather, unsigned, 10‑3/4” x 7”. Glazed and framed. [500/800] Illustrated

1081

Newcomb College Vellum-Glazed Vase, ca. 1931, with decorator’s mark “MGB”, potted by Joseph Hunt, and so marked, sculpted in the depiction of a row of buds, the underside fully marked with Newcomb cypher, registration number TF2, and shape number 35, h. 5”. [700/1000] Illustrated 1081

1080

1079

George Ohr “Joe Jefferson” Vase-Shaped Mug, ca. 1896, Biloxi, Mississippi, inscribed “Here’s Your Good Health and Your Family’s and May They All Live Long and Prosper, J. Jefferson”, made to commemorate actor/ comedian Joe Jefferson’s visit to Ohr in 1896, h. 7‑3/4”, w. 5”. [1200/1800] Illustrated

1082

American Renaissance Revival Walnut Graduated Three-Tier Cabinet, fourth quarter 19th century, each of the two upper sections with a pair of glazed doors, the lower section with a pair of doors opening to reveal an interior fitted with cubbyholes, raised on turned feet, h. 80‑1/4”, w. 40”, d. 19”. [500/800] Illustrated 1082

1080

179

1083

Art Nouveau Painted Metal Figural Lamp with Wisteria Shades, ca. 1900, depicting a peasant woman, Moissonneuse (the harvester), against a wisteria vine lamp mounted with three sockets, h. 37‑3/4”, w. 22‑1/2”, d. 10‑1/2”. [500/800]

1088

1086

1084

Pair of Neoclassical Patinated and Gilt-Bronze TwoLight Sconces, first quarter 20th century, probably American, the trefoil-molded backplate decorated with a gilt-bronze medallion on a patinated panel, electrified, h. 14‑1/2”, w. 12”, d. 6‑1/4”. [400/700]

1087

1088

Bob Parks (American, b. 1948), “An Ornery Cuss”, 1975, signed, dated, numbered “5/18”, and with copyright mark, on a carved wood base, h. 17”, w. 18‑1/2”, d. 8”. [800/1200] Illustrated

1089

Two 19th-Century American Silver Fish Servers, third quarter 19th century, including an R. & W. Wilson, Philadelphia, example, with flat handle and rococo engraving, monogrammed “W”, l. 11‑3/4”, and a John Polhamus, New York, “Bead” pattern example, retailed by Jones, Shreve, Brown & Co., Boston, with piscineengraved pierced blade, monogrammed “MAL”, l. 11‑3/4”, 9.13 total t. oz. [500/800] Illustrated

1090 1089

1085

Large Royal Bonn Hand-Painted and Raised Gilt Art Nouveau Pottery Vase, ca. 1900, German, the impressionistic forest ground overlaid with raised gilt passion flowers and vines, signed by the Franz Anton Mehlem Company, with various decorators’ marks, h. 21”, dia. 7‑1/4”. [500/800]

1086

Bob Parks (American, b. 1948), “The Hunter or The Hunted”, 1976, bronze, signed, numbered “3/15”, titled, and with copyright mark, on a carved wood base, h. 10‑1/2”, w. 35‑1/2”, d. 21‑1/2”. [2000/4000] Illustrated

1087

Bob Parks (American, b. 1948), “Marlboro Country”, 1974, bronze, signed and numbered “4/25”, and with copyright mark, on a carved wood base, h. 17‑1/2”, w. 36”, d. 11‑1/2”. [2000/4000] Illustrated

180

Knowles & Ladd “Coral” Sterling Silver Punch Ladle, 1864‑1875, Providence, Rhode Island, the matte gilt bowl with flat bright-cut rim, l. 11”, 3.72 t. oz. [350/500]

1091

Twenty Pieces of Assorted American and Other Sterling Silver Flatware, most early 20th century, including ten pieces in Wallace’s “Waverly” pattern, two Wood & Hughes “Zephyr” tablespoons, a Blakinton “Azalea” olive spoon, a Towle “Albany” cream ladle, three souvenir spoons including an Art Deco 1933 Chicago World’s Fair example, and three other pieces, l. 3‑3/4” to 8”, 20.32 total t. oz. Detailed list available on request. [400/700]

1093

1092

Antebellum Silverplate Centerpiece, 1853‑1859, by the Taunton Silverplate Co., Taunton, Massachusetts, with a central standard surmounted by a later enameled blue glass vase and flanked by a pair of hemispherical fruit bowls, above a plinth base raised on four feet, all with wide geometric banding and applied Vitruvian scrolls, h. 21‑1/4”, w. 18‑1/4”, d. 9‑3/4”. [450/700] Illustrated

1094

Set of Six Dominick & Haff “King” Sterling Silver Dinner Forks, the pattern introduced in 1880, New York, New York, monogrammed “HD”, l. 7‑5/8”, 16.78 total t. oz. [350/500]

1096

1093

Fine Samuel Kirk & Son Six-Piece Baltimore Standard (.917) Silver Coffee and Tea Set, fourth quarter 19th century, Baltimore, Maryland, including a coffeepot, two teapots, a covered sugar bowl, a cream jug and a waste bowl, each of ovoid form and raised on a domed foot, decorated all over with repousse flowers in the traditional Baltimore manner, with acanthus-crested handles and -mounted spouts, the domed lids with calla lily finials, engraved with conjoined monogram “ABC”, h. 5‑1/2” to 12‑1/2”, 150.92 total t. oz. [8000/12000] Illustrated

1092

1095

One Hundred and Six Pieces of American Louis XV-Style Sterling Silver Flatware, including patterns: Durgin “Hampshire”, Gorham “Luxembourg” and “Rondo”, International “Joan of Arc”, Reed & Barton “Amaryllis” and “Spanish Baroque”, Towle “Debussy”, Wallace “Lucerne”, Watson & Newell “Jefferson” and others, some monograms, l. 3‑1/4” to 9‑1/2”, 112.53 total t. oz. (weighable silver). Detailed list available on request. [1800/2500]

1096

Tiffany & Co. Sterling Silver Fruit Bowl, the pattern introduced in 1911, New York, New York, of wavy lobed circular form, with laurel-engraved edge and molded rocaille-motif rim, h. 2‑1/2”, dia. 11‑3/4”, 16.98 t. oz. [400/700] Illustrated

181

1098

1103

1097

Reed & Barton “Love Disarmed” Sterling Silver Salad Serving Set, the pattern designed in 1899 by Charles A. Bennett, Taunton, Massachusetts, with gilt bowl/tines, l. 10‑1/2”, 15.88 total t. oz. [800/1200]

1098

Pair of Tiffany & Co. Sterling Silver Vegetable Dishes, the pattern introduced in 1883, New York, New York, this pair first quarter 20th century, of serpentinelobed oval form, with rope-twist scroll rim and deep oval recess, l. 11‑3/4”, w. 9‑3/4”, 39.28 total t. oz. [700/1000] Illustrated

1102

International Silver “Trianon” Sterling Silver Platter, the pattern designed in 1921 by Alfred Grover Kintz (1885‑1963), Wallingford, Connecticut, l. 20‑3/4”, w. 14”, 54.85 t. oz. [1000/1500] Illustrated

1103 1102

One Hundred and Forty-Seven Pieces of Lunt “William and Mary” Sterling Silver Flatware, the pattern designed in 1921 by Frederick William Koonz (1868‑1958), Greenfield, Massachusetts, complete for ten persons, with nine serving pieces, twenty-six pieces monogrammed “B”, 124.43 total t. oz. (weighable silver). Detailed list of pieces and dimensions available on request. [2500/4000] Illustrated

1104

Good Durgin/Gorham Seven-Piece “Fairfax” Sterling Silver Coffee and Tea Set, the pattern introduced in 1910, Concord, New Hampshire, including a coffeepot, a teapot, a kettle-on-stand, a covered sugar bowl, a cream jug, a waste bowl, h, 3” to 10‑3/4”, and a tray, l. 26”, w. 17”, monogrammed “LHO”, 208.21 total t. oz. [4000/7000] Illustrated

1099

Twenty Pieces of American Art Nouveau Sterling Silver Flatware, including patterns: Alvin “Bridal Rose” and “Morning Glory”, Gorham “Buckingham” and “Chantilly”, Wallace “Irian” and others, some monograms, l. 5‑1/8” to 7‑3/8”, 22.38 total t. oz. (weighable silver). Detailed list available on request. [350/500]

1100

Dominick & Haff Sterling Silver Center Bowl, 1897, New York, New York, of shallow bucket form, with gadrooned rim and circular foot, h. 3‑3/4”, dia. 9‑1/2”, 33.56 t. oz. [600/900]

1101

Twenty-Four Pieces of American Empire-Style Sterling Silver Flatware, first quarter 20th century, including patterns: Alvin “Apollo”, Frank W. Smith “Adrienne” and “Laurel”, Lunt “Mount Vernon”, Whiting “Madame Jumel” and others, some monograms l. 5‑1/2” to 7”, 20.90 total t. oz. Detailed list available on request. [350/500]

182

1105

Sixty-Nine Pieces of American Colonial Revival Sterling Silver Flatware, including patterns: Alvin “Maryland”, Frank Smith “American Chippendale”, International “Brandon”, Mauser “Chelsea”, Towle “Lafayette” and “Virginia Carvel”, Watson “Kenmore” and others, most monogrammed, l. 3‑7/8” to 9‑5/8”, 49.77 total t. oz. (weighable silver). Detailed list available on request. [900/1200]

1106

Towle “Louis XIV” Sterling Silver Cream and Sugar Set, the pattern designed in 1924 by Harold Edward Nock (1875‑1952), Newburyport, Massachusetts, h. 5‑3/4” and 6‑1/2”, 23.28 total t. oz. [400/700] Illustrated

1108

Two Baltimore Sterling Silver Serving Pieces, first half 20th century, both in the traditional Baltimore style, including an S. Kirk & Son cold meat fork, monogrammed “HLA”, l. 9‑1/2”, and a J. Stuart MacDonald berry spoon, no monogram, l. 9‑1/4”, 6.55 total t. oz. [600/900]

1104

1109

Fourteen Assorted Pieces of Kirk Sterling Silver Flatware, 20th century, Baltimore, Maryland, including examples in the “Golden Primrose”, “Golden Worthington”, “Old Maryland”, “Mayflower”, “Winslow”, “Lady Claire” and “King” patterns, no monograms, l. 5‑7/8” to 9‑3/4”, 18.97 total t. oz. (weighable silver). Detailed list available on request. [350/500]

1107

Baltimore Seven-Piece Sterling Silver Presentation Coffee and Tea Set, dated 1941, including a coffeepot, teapot, kettle-on-stand, covered sugar bowl, cream jug, waste bowl and tray, the hollowware each with a pearshaped body and domed foot decorated with repousse flowers in the traditional Baltimore manner, the collars plain, with acanthus-crested handles and domed lids with floriform finials, h. 5‑1/4” to 16”, the oval tray en suite with a “quilted” ground centering a cartouche with engraved inscription “Presented to / Colonel William Murtha Wilder / Commanding 325th Regiment U.S. Infantry / 1921 to 1941 / by its Officers, May 15, 1941” surrounding the regimental arms, l. 28‑3/4”, w. 17‑3/4”, 345.95 total t. oz. [7000/10000] Illustrated Col. William Murtha Wilder (1877‑1976) served in the U.S. Army, either in active duty or in the National Guard and Army Reserve, for fifty years, from 1897 to 1947. As noted in the inscription on this lot, he was commander of the 325th Infantry from its reconstitution in 1921 (having been demobilized in 1919) until May 1941. The regiment was put into active service less than a year later, by which time Wilder was serving as Liaison Officer for the Labor Office of the Department of Agriculture, aiding in the allimportant task of feeding a wartime army scattered across the globe. After his retirement he became known as a keen genealogist and author of three editions of Wilder Families in the Southeastern United States. He died on June 18, 1976 and is buried in Oakview Cemetery in his native Albany, Georgia.

1110

Fifty-Four Pieces of Reed & Barton “Francis I” Sterling Silver Flatware, the pattern designed in 1907 by Ernest Meyer, Taunton, Massachusetts, including forty-eight assorted place pieces and six serving pieces, no monograms, l. 4‑7/8” to 8‑3/4”, 45.85 total t. oz. (weighable silver), presented in a Pacific cloth-lined wooden case with drawer, 7” x 17” x 12”. [1400/1800] 1107

1106

183

1113 1111

Set of Twelve Reed & Barton “Francis I” Sterling Silver Butter Spreaders, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, with gilt blades, no monograms, l .5‑3/4”, 12.66 total t. oz. [600/900] Illustrated

1114

Fifty-Four Pieces of American Renaissance- and Gothic-Style Sterling Silver Flatware, including patterns: Durgin “Chatham”, Gorham “Albemarle”, “Old Medici” and “Swiss”, Reed & Barton “Francis I”, Towle “Newbury”, Wallace “Sir Christopher” and “St. George”, Whiting “Heraldic” and others, some monograms, l. 5‑1/2” to 7‑1/4”, 44.24 total t. oz. (weighable silver). Detailed list available on request. [800/1200]

1115

Thirty-Nine Pieces of American Pierced Sterling Silver Flatware, including patterns: Gorham “Decor”, Oneida “Rubaiyat”, Wallace “Grand Baroque”, Wallace “Rose Point” and others, l. 3‑7/8” to 9‑3/4”, one piece monogrammed, 46.17 total t. oz. (weighable silver). Detailed list available on request. [800/1200]

1113

1111

Reed & Barton “Francis I” Sterling Silver Sandwich Plate, 1949, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, dia. 11‑1/4”, 18.45 t. oz. [350/500] Illustrated

1112

1116

Fifty-One Pieces of American 1940’s Floral Sterling Silver Flatware, including patterns: International “Courtship” and “Queen’s Lace”, Oneida “Damask Rose”, Royal Crest “Castle Rose” and Wallace “Larkspur”, no monograms, l. 5‑1/2” to 9”, 25.85 total t. oz. (weighable silver). Detailed list available on request. [400/700]

1117

Victor Raulin, Paris, Gilt-Bronze-Mounted Kingwood and Mahogany Meuble d’Entre Deux, ca. 1900, the rosso antico marble top over a bombe-form cabinet veneered with mahogany and kingwood inlay, and having elaborate bronze mounts, labeled “V. Raulin, 202‑226, Bd St. Germain”, h. 45‑1/2”, w. 47‑1/2”, d. 15‑1/2”. [3000/5000] Illustrated

1112

Reed & Barton “Francis I” Sterling Silver Large Compote, 1957, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, h. 5‑1/4”, dia. 11‑1/4”, 26.87 t. oz. [600/900] Illustrated

184

1118

French Bronze Twelve-Light Chandelier, in the Louis XIV style, the leaf-molded lower bowl supporting twelve leaf-molded candle arms, hanging from molded chains and a leaf-molded canopy, h. 57‑1/2”, dia. 40‑1/2”. [1500/2500] Illustrated

1119

1118

1119

Northern Italian Giltwood Tete-a-Tete, fourth quarter 19th century, in the rococo taste, the serpentine base with carved stretchers joining cabriole legs terminating in masques, and pierced shells ornamenting the skirt, one dolphin arm supports each back, one with a masque crest and the other with a shell, h. 30”, w. 45‑3/4”, d. 19”. [1500/2500] Illustrated

1120

Louis-Philippe-Style Giltwood Mirror, first quarter 20th century, set with a beveled mirror plate, the egg-anddart-molded frame set with a rocaille crest, h. 59‑1/2”, w. 32”. [600/900] Illustrated

1117

1120

185

1123

Regence-Style Kingwood Bureau Plat, mid-20th century, the shaped rectangular top with an inset leather writing surface and ormolu banding, above a frieze fitted with three drawers to one side and three faux drawers to the other, raised on cabriole legs headed by espagnolettes and ending in sabots, h. 31‑1/2”, w. 69‑1/2”, d. 37‑1/2”. [2000/4000] Illustrated

1123

1124

Louis XVI-Style Giltwood Looking Glass, mid-20th century, the rectangular plate surmounted by a floraland ribbon-pierced crest centered by an oval panel of a classical figure, surrounded by a molded and annulated frame with applied foliate accents, h. 46”, w. 28”. [700/1000]

1121

French Bronze and Crystal Eight-Light Chandelier, first quarter 20th century, in the Louis XIV style, decorated with molded crystal spires and sprays of drops, hung with colorless and smoke-colored drops, h. 39‑1/2”, dia. 18‑1/2”. [450/700] 1125

Fine and Rare French Royal Copy of “Office de la Semaine Sainte”, Paris: Veuve Mazieres et Garnier, 1746, octavo, in the period full red morocco binding attributed to Antoine Michel Padeloup le Jeune (fl. 1712‑1758), decorated all over with gilt pointille, the boards centering the cypher and arms of Maria Josepha of Saxony, Dauphine of France (1731‑1767), with the spine with raised bands and gilt lettering and pointille en suite, the edges cut and gilt, 7‑7/8” x 5‑1/8”. Provenance: Herbert Eberhard Hering (bookplate). [1000/1500] Illustrated Maria Josepha of Saxony was the daughter of Frederick Augustus II, Prince Elector of Saxony and King of Poland. On February 9, 1747, she married the Dauphin, Louis de France (1729‑1765), son and heir of Louis XV of France. A devout woman, she formed an alliance with her motherin-law, Queen Maria (despite the Dauphine’s grandfather having deposed the Queen’s father from the Polish throne). Maria Josepha would outlive her husband by only two years, neither of them inheriting the throne, but she would eventually become the mother of three French kings: Louis XVI, Louis XVIII and Charles X. This fine copy of Semaine Sainte (a dual French/Latin text of the Office of the Holy Week with the French royal imprimatur and, as noted on the title page, printed in 1746 “a l’usage de la Maison de Madame la Dauphine”) has all the hallmarks of the pointille bindings of royal bookbinder Padeloup the younger. Mention of the 1746 edition with the arms of the Dauphine Maria Josepha turns up several times in various 19th-century catalogues - number 10 in the 1839 catalogue of Mr. A.A, Paris, number 92 in the 1865 sale catalogue of Mr. Chedau, Saumer, number 107 in the 1891 Burlington Fine Arts Club Exhibition of Bookbindings, owned by Viscountess Wolseley, London, number 723 in the November 28‑30, 1905 sale catalogue of R.W.P. de Vries, Amsterdam - but which of these refers to the present lot is unknown, as other, less elaborate copies are also known (see Bonhams, London, September, 11, 2007, lot 182 and Bassenge, Berlin, April 17‑19, 2013, lot 1207A) and an identical copy to the present lot is held by the Bibliotheque Municipale de Lyon (SJ AR 1/57). However, the Viscountess Wolseley copy does make specific mention of the Dauphine’s monogram, present here but absent from both the Bonhams and Bassenge copies. Jean Gay’s 1875 Quelques Femmes Bibliophiles mentions the impressive library of Maria Josepha, recording at least four copies of Semaine Sainte with her arms, including the 1746 Chedau copy. It seems likely that this copy is one of a handful printed and bound for the exclusive use of the Dauphine’s household.

1122

Regence-Style Kingwood and Marble-Top Commode, early 20th century, the shaped Breche d’Alep marble top above a bombe case fitted with two long drawers, the whole in a quarterveneered diamond pattern, raised on splayed legs ending in sabots, h. 34”, w. 48”, d. 21”. [600/900] 1125 (detail)

186

1125

1127 1126

Regence-Style Kingwood and Marble-Top Commode, 18th century, the shaped Rouge Royal marble top with molded edge and bowed front, above a conforming bombe case fitted with two short drawers over two long drawers, all banded and quarter-veneered, raised on splayed feet ending in sabots, the whole accented with ormolu mounts, the top of the left front leg post stamped "L. Boudin", h. 34‑1/4”, w. 52”, d. 26‑1/2”. [3000/5000] Illustrated

1127

1126

French Imperial Set of “Histoire de Polybe”, Amsterdam: aux Depens de la Compagnie, 1729/1730, and Zacharie Chatelain et fils, 1753, ex libris Eugene de Beauharnais (1781‑1824), Viceroy of Italy, Duke of Leuchtenberg, Prince of Eichstatt, quarto, the early volumes in full brown leather, the spine with raised bands, red panel and gilt lettering and decorations, both boards gilt stamped with the crowned “EA” cypher of Eugene de Beauharnais and his wife, Princess Augusta Amelia of Bavaria (1788‑1851), with gilt dentelle and cut and mottled edges, with numerous illustrated plates, 10‑1/4” x 8‑1/4”, the later volume in full leather with tan corners and spine, the spine with raised bands and red panel with gilt lettering, the boards monogrammed en suite, with marbleized endpapers and cut and rubricated edges, with illustrated fold-out plates, 10” x 8‑1/4”. [Sander 927; Brunet IV 791; Jahns 1461‑2; Olivier 1328]. Provenance: Herbert Eberhard Hering (bookplate). [1800/2500] Illustrated

1128

Pair of Napoleon III Gilt-Bronze and Red Griotte Marble Five-Light Candelabra, third quarter 19th century, the coved, fluted marble bases holding spiralfluted urn-form standards, the curved candle branches decorated with applied leaves, the candle cups and drip pans decorated with beading, h. 23‑3/4”, w. 12”, d. 12”. [700/1000] Illustrated

1128

Eugene de Beauharnais was the son of Josephine Tascher de la Pagerie (later wife of Napoleon and Empress of the French) and her first husband, Alexandre de Beauharnais. After his mother’s marriage to Napoleon, Eugene was made a Prince of France (1804) and Viceroy of Italy (1805). He proved himself an able military leader, accompanying his stepfather on his Italian and Egyptian campaigns, and later commanding the Army of Italy during the War of the Fifth Coalition and the Russian Campaign. It is fitting, therefore, that his library would include this handsome edition of Polybius’ history of the ascent of Rome to Empire, translated from the Greek by Vincent Thuillier (1685‑1735). Printed first in 1727/30 in Paris, this is the scarcer contemporaneous Amsterdam edition of 1729/30, augmented by a seventh supplementary volume of 1753 with commentaries, gloss and critical responses. For other examples of de Beauharnais ex libris volumes with identical monogrammed bindings, see the May 23‑24, 1935 Braus-Riggenbach/Ulrico Hoepli, Zurich sale catalogue, Bibliotheque Eugene de Beauharnais.

187

1133 1130

Louis XV-Style Polychrome Lit du Jour, mid-19th century, the long cushioned seat flanked to either side by padded outscrolled ends with floral carving, raised on cabriole legs ending in acanthine toes, h. 31‑1/2”, w. 38”, l. 76”. Provenance: Karla Katz Antiques, New Orleans, Louisiana. [1500/2500] Illustrated

1134

Follower of Nicolas Poussin (French, 1594‑1665), “Classical Landscape with Figures”, oil on canvas, unsigned, 36” x 56”. Presented in a handsome giltwood and gesso frame. [1500/2500] Illustrated

1133

1129

Pair of Belle Epoque Bronze and Red Griotte Marble Five-Light Candelabra, fourth quarter 19th century, in the Louis XV style, the bronze-mounted marble bases supporting vasiform standards inset with marble and issuing rocaille-molded candle branches, now electrified, h. 28”, dia. 14”. [1000/1500]

1130

Louis XV-Style Ormolu-Mounted Kingwood and Marquetry-Inlaid Marble-Top Commode, fourth quarter 19th century, retaining its original key, h. 38”, w. 49”, d. 22”. [1000/1500] Illustrated 1131

1135

Continental School (19th Century), “An Extensive Landscape with a Shepherd and a Mountaintop Fortress In the Background”, oil on canvas, unsigned, 26” x 33”. Framed. [800/1200] Illustrated

1131

Louis XV-Style Polychrome Box Settee, early 19th century, the shaped and padded back joined by padded outscrolled sides to the cushioned seat, raised above a shaped apron on cabriole legs ending in scrolled toes, h. 41”, w. 73”, d. 33‑1/2”. [1500/2500] Illustrated

1132

Louis XV-Style Giltwood Meridienne, late 19th century, the long cushioned seat flanked to one end by a domed and padded chairback with a floral crest, continuing across the back to the other end, raised on molded cabriole legs to scrolled toes, h. 37”, w. 28”, l. 57”. [500/800]

188

1134

1136

Ambrose Andrews (American/New York, 1805‑1859), “Arcadian Landscape with Worshippers of Pan”, oil on canvas, signed lower left “A. Andrews”, 38” x 54”. Presented in a giltwood and gesso frame. [1200/1800] Illustrated

1141

Belle Epoque Parcel-Gilt Trumeau Mirror, fourth quarter 19th century, decorated in the Louis XVI style with urns and swags of flowers, the oil-on-canvas painting depicting a classical fountain with a water nymph and a goatherd, h. 67”, w. 45‑1/2”. [1000/1500] Illustrated

1139

1137

1135

Louis XVI-Style Malachite and Faux Malachite Low Side Table, ca. 1900, the malachite-clad top with a bronze gallery, and resting on a later base decorated to match the top, h. 19‑3/4”, w. 20”, d. 10‑3/4”. [1500/2500]

1142

Pair of Louis XV-Style Giltwood Fauteuils, late 19th century, each with a padded shaped back surmounted by a ribbon crest, joined by scrolling arms to the padded seat, raised on molded cabriole legs headed by floral carving and ending in scrolled toes, h. 37”. [600/900]

1136

1138

Pair of Louis XV-Style Bronze Two-Light Sconces, hung with smoked and clear glass drops, the circular backplates mounted with prism sprays, h. 13‑1/2”, w. 8‑3/4”, d. 7‑1/2”. [400/700]

1139

Pair of Regence-Style Polychrome and Parcel-Gilt Fauteuils, late 19th century, each with a shaped padded back surmounted by a shell and foliate crest, joined by padded outswept arms to the like seat, raised on molded cabriole legs headed by floral carving and ending in scrolled toes, h. 41‑1/2”. [3000/5000] Illustrated

1141

1140

Italian Polychrome Cabinet, early 20th century, the bowed and shaped faux-marbre top with projecting ends above a conforming case fitted with two paneled cupboard doors, the whole raised on molded toes, h. 38”, w. 42‑1/2”, d. 21‑1/2”. [1200/1800]

189

1145 1143

Near Pair of Transitional Louis XV-into-Louis XVI-Style Mahogany, Kingwood and Marble-Top Commodes, early 20th century, each with a shaped ovoid Rouge Royal marble top within a three-quarter pierced brass gallery, above a conforming case fitted with two drawers, one with chevron veneers, the other with parquetry veneers, raised on splayed legs ending in sabots, h. 31”, w. 24”, d. 16”. [600/900] Illustrated

1145

1143

French Bronze and Crystal Twenty-Light Chandelier, in the Louis XIV style, the bronze frame with a molded glass-clad central standard and candle arms in two tiers, decorated with multiple sprays of crystal drops on numerous tiers, h. 49”, dia. 29‑3/4”. [800/1200] Illustrated

1144

Pair of Ferdinand Barbedienne Parcel-Gilt Bronze Argente Candlesticks, ca. 1900, Paris, of tapering square section, decorated with floral swags and laurel banding, with urn-form nozzle and square knops and plinth base, h. 10‑3/4”, w. 3‑7/8”. [500/800] Illustrated

1144

190

1146

Napoleon III Gilt-Bronze-Mounted Parquetry- and Marquetry-Inlaid Kingwood Vitrine, third quarter 19th century, in the Louis XV taste, the bonnet top over a pair of conforming doors, each with a glazed upper panel over parquetry inlay centered by a floral-inlaid panel, the interior now lined with cloth, formerly fitted as an armoire, h. 90”, w. 55”, d. 25”. [2500/4000] Illustrated

1146

1149 1147

Julius Paul Schmidt-Felling (German, 1835‑1920), “The Tiller”, patinated bronze, cast signature at edge of self-base, on a stepped plinth of onyx marble and variegated white and rose marble, h. 22‑1/2”, w. 10‑1/2”, d. 9‑1/2”. [600/900]

1152

1147

French Patinated Bronze of “Jeune Femme Fleur”, ca. 1900, after Jef Lambeaux (Belgian, 1852‑1908), cast signature en verso, h. 20”, w. 15”, d. 7”. [800/1200] Illustrated

1148

French Bronze of "Maternal Love", after Albert-Ernest Carrier-Belleuse (French, 1824‑1887), cast signature “A . Carrier” at lower right edge of self-base, h. 22”, w. 17‑1/2”, d. 10”. [2000/4000] Illustrated

1148

1150

French Patinated Bronze Sculpture of a Horse, first quarter 20th century, after Pierre Jules Mene (French, 1810‑1879), h. 11”, w. 14”, d. 5”. [700/1000]

1151

Impressive French Gilt-Bronze Neo-Grec Encrier, third quarter 19th century, cast by Barbedienne, the tray portion lushly decorated with Bacchanalian emblems, and having three covered pots (for ink, sand and wax) centered with the bust of Dionysus, the whole resting on paw feet, stamped “Barbedienne Fondeur”, h. 12”, w. 19”, d. 12”. [1200/1800]

1152

Pair of French Two-Color Bronze Candlestick-Form Lamps, in the Louis XIV style, each with a patinated bronze putto on a scroll-molded base supporting candle cups, fitted with ecru silk shades, base, h. 18”, overall, h. 32‑1/2”, dia. 8”. Provenance: Harper’s Antiques, New Orleans, Louisiana. [600/900] Illustrated

1153

Pair of French Belle Epoque Polished Bronze Chenets and Fender, ca. 1900, in the Louis XV style, the exuberantly rocaille-molded and pierced chenets resting on an iron billet bar base, the fender pierced to match, h. 18‑1/2”, w. 68‑1/2”, d. 11‑1/2”. [500/800]

191

1159

1154

1157

1155

1158

Napoleon III Neo-Grec Gilt-Bronze and Marble Garniture Urn, third quarter 19th century, now mounted as a lamp, supported on an “Egyptian” marble base, the urn mounted with handles terminating in exuberant Bacchanalian masques, urn, h. 18”, overall, h. 29”, w. 10”, d. 6‑3/4”. [400/700] Pair of French Bronze Candlesticks, first quarter 20th century, in the Louis XV style, decorated with putti and now drilled for lamps, h. 11‑1/2”, dia. 6”. [1800/2500]

1156

Napoleon III Ebonized and Boulle Parlor Cabinet, third quarter 19th century, the rectangular top with turreted corners above a conforming case fitted with two cabinet doors, each with a raised oval panel, raised on rounded feet, the whole with elaborate Boulle inlays, h. 43‑1/4”, w. 49‑1/4”, d. 16‑1/2”. [1500/2500] Illustrated

1156

Napoleon III Ebonized and Boulle Games Table, late 19th century, the scalloped rectangular top hinged and opening to a baize-lined gaming surface, above a shaped and paneled frieze, raised on cabriole legs ending in sabots, the whole with intricate Boulle patterns, h. 30‑1/2”, w. 33”, d. 17”. [500/800] Illustrated Set of Eight French Belle Epoque Gilt-Bronze Tiebacks, ca. 1900, in the Louis XVI style, the cartoucheform ends terminating in laurel wreaths, h. 2‑1/2”, w. 9‑3/4”, d. 4‑3/4”. [400/700]

1159

Extensive Eplag Partial Dinner Service, ca. 1920‑1939, Czechoslovakia, decorated with a gilttrimmed cobalt border, marked on the rear, the set comprised of sixteen dinner plates, dia. 10”, seventeen luncheon plates, dia. 8‑3/4”, eighteen salad plates, dia. 7‑3/4”, eighteen bread and butter plates, dia. 6‑1/4”, sixteen dessert plates, dia. 5‑1/4”, seventeen soup bowls, dia. 8”, sixteen demitasse cups, h. 2”, with seventeen saucers, dia. 4‑3/4”, six teacups, h. 2”, with eighteen saucers, dia. 5‑3/4”, an oval covered soup tureen, l. 13‑1/4”, a pair of platters, w. 9‑1/4”, l. 14‑1/4”, a celery tray, w. 6‑1/2”, l. 19”, a coffeepot, h. 9‑1/2”, a sugar bowl, h. 5”, a cream jug, h. 4‑1/4”, an oval open vegetable dish, w. 7”, l. 10”, a covered vegetable dish, w. 8‑1/2”, l. 11‑1/2”, a master salt, h. 1‑1/2”, a butter tub, dia. 6”, and two ladles. [1000/1500] Illustrated 1157

192

1164 1160

Pair of Louis XVI-Style Mahogany and Marble-Top Occasional Tables, early 20th century, each with a kidney-form Rouge Royal marble top within a threequarter pierced brass gallery, above a conforming frieze fitted with a single drawer, joined by fluted uprights to a conforming galleried shelf, raised on shaped legs ending in sabots, h. 30‑1/4”, w. 29‑1/2”, d. 15‑1/2”. [600/900] Illustrated

1165

1160

Set of Ten Rosenthal Porcelain Service Plates, ca. 1922, Bavarian, decorated with cobalt borders trimmed in raised gilt, marked with the 1922 mark, and the retailer, Ovington Brothers, New York, dia. 10‑1/2”. [800/1200] Illustrated

1161

Pair of Rare French Lapis Lazuli and Gilt-Bronze Lamps, first quarter 20th century, in the Louis XV-style, each embodying the richness of the Belle Epoque, with contrasting gilt-bronze rocaille scrollwork against the goldveined lapis urns, urn h. 18‑1/2”, overall, h. 30”, w. 8”, d. 5‑3/4”. [2500/4000] Illustrated

1161

Pair of Napoleon III Kingwood and Exotic Woods Occasional Tables, late 19th century, each with a circular medallion-inlaid top within a full pierced brass gallery, above a conforming frieze fitted with a single drawer, joined to a like-inlaid shelf by shaped supports ending in sabots, h. 31”, dia. 15‑1/2”. [500/800]

1166

Transitional Louis XV-into-Louis XVI-Style Mahogany and Marble-Top Commode, early 20th century, the rectangular marble top with a breakfront and canted corners above a conforming case fitted with a frieze drawer over two long drawers, both paneled and with a central polychrome floral spray flanked by parquetry panels, raised on splayed legs ending in scrolled toes, h. 35‑1/2”, w. 49‑1/2”, d. 22‑1/2”. [1000/1500]

1167

Pair of Louis XV-Style Mahogany and Marble-Top Bedside Cupboards, early 20th century, each with a shaped rectangular marble top above a case fitted with a single guilloche-carved drawer over a parquetry-paneled drop-front cabinet, raised on molded cabriole legs ending in foliate scrolled toes, h. 29”, w. 19‑1/2”, d. 14‑1/4”. [700/1000]

1164

1162

1168

French Marble and Bronze Urn-Form Lamp, second quarter 20th century, in the form of a Louis XVI censer, the marble urn with bronze ram’s head handles, holding swags, and fitted with pierced “covers”, h. 29”, w. 10‑1/2”. [800/1200]

Napoleon III Giltwood Mirror, third quarter 19th century, the segmented mirror-framed sides molded with anthemia, the crest with pierced scrollwork, h. 70”, w. 38‑1/2”. [800/1200]

1163

French Patinated Bronze, Rock Crystal and Glass Nine-Light Chandelier, in the Louis XIV style, the bronze frame ornamented with faceted rock crystal and glass balls, and the scrolled candle arms embellished with rock crystal, smoked glass and colorless glass drops, h. 59‑1/2”, dia. 22”. [500/800]

French Belle Epoque Gilt-Bronze and Marble Encrier, ca. 1900, in the neoclassical taste, the gilt-bronze toupie feet supporting the verde antique marble base, with inset pen rest, and a pair of gilt-bronze covered inkpots flank a gilt-bronze gladiator, h. 11”, w. 18”, d. 8”. [450/700]

1169

193

1170

1171

Napoleon III Kingwood and Exotic Woods Bureau, third quarter 19th century, in the Louis XV style, the rectangular top with a three-quarter pierced brass gallery, above a slant front opening to an inset leather writing surface and three small drawers, above a shaped apron, raised on cabriole legs ending in sabots, the whole with intricate inlays in floral and scrolling patterns, h. 38”, w. 29”, d. 19”. [800/1200] Illustrated

1171

Transitional Louis XV-into-Louis XVI Kingwood and Marble-Top Commode, late 18th century, the rectangular Sainte Anne des Pyrenees marble top with a breakfront, above a conforming case fitted with three small drawers over two long drawers, all with decorative banding, raised on shaped legs ending in sabots, h. 34‑1/2”, w. 51”, d. 22‑1/4”. [3500/5000] Illustrated

1170

1174

Pair of Meissen-Style Schierholz Five-Light Figural Candelabra, first quarter 20th century, German, decorated with seated figures of, respectively, a man and woman in 18th-century costume and encrusted with porcelain flowers, marked “Made in Germany” and a Schierholz’s crown over shield with oak leaves mark, h. 21‑1/2”, dia. 12‑1/2”. [800/1200]

1175

Meissen-Style Porcelain Coach with Driver, ca. 1895, Reynaud and Co., Paris, the coach decorated with handpainted flowers, the driver and passenger in 18th-century costume, signed in the crossed sword mark with a center bar used by Reynaud, h. 10‑1/4”, w. 22”, d. 8‑1/2”. [800/1200] Illustrated

1172

Fine Napoleon III Parcel-Gilt Birdseye Maple and Satinwood Writing Table, ca. 1875, the top with an inset tooled leather writing surface, the conforming apron with applied foliate and scroll carving, supported by fluted legs with Ionic capitals, the legs joined by stretchers with a central urn flanked by floral swags, h. 29”, w. 63”, d. 33”. [1200/1800] Illustrated

1173

Unusual Louis XV-Style Polychrome Bergere, early 20th century, the domed back padded and within a concave rope-carved frame, joined to the cushioned seat by outscrolled closed arms, raised on annulated cabriole legs ending in scrolled toes, h. 42‑1/2”. [700/1000] Illustrated

194

1176

Two Chinese Earth Spirits, Sui-Tang Dynasty (581‑907 A.D.), the straw-glazed pottery figures depicting Chinese earth spirits, one with a humanoid face, h. 9‑3/4”, w. 4‑1/2”, l. 7‑1/2”. [1400/1800] Illustrated

173

1176

1180

Two Chinese Martaban Vessels, 17th/18th century, both thickly potted and constructed with four handles, the taller jar with a long neck and several scrolling vines across its surface, the tallest, h. 15‑1/2”, the widest, w. 13‑1/2”. [400/700]

1181

1177

Chinese Sandstone Figure of a Bodhisattva, 20th century, the archaic-style figure presented on a metal stand, overall, h. 31”. [2000/4000]

Two Chinese Nanhai Export Pottery Vessels, 18th century, probably Southeast Asia, comprised of a thicklypotted vessel in the Laotian style and a lidded vessel with an incised motif, the tallest, h. 7‑1/2”, the widest, dia. 12”. [300/500]

1178

1182

Two Chinese Nanhai Export Vessels, 17th/18th century, Southeast Asia, the lidded pot and lobed vase covered with a green glaze, the lidded pot with four looped lugs and a bed-shaped knob on the lid, the tallest, h. 11‑1/2”. [300/500]

1175

1182

1179

Chinese Storage Jar, 19th/early 20th century, of drum form with a turquoise purple-infused glaze, h. 12”, dia. 11”. [350/500]

Four Chinese Martaban Jars, 17th/18th century, comprised of two larger vessels, each having six handles and covered with a motif of dragons and cranes, and two smaller vessels with four handles and decorated with scrolling floral motifs, h. 14” to 22‑1/2”. [900/1200] Illustrated

1183

Chinese Peach Bloom Vase, 19th century, the vase with a round body and rounded rim, the underside marked with a six-character Kangxi inscription, h. 7”, dia. 4”. [400/700]

195

1187 1185

Chinese Longquan Celadon Plate, Ming Dynasty, possibly Hongwu (1368‑1398), the dish with floral scroll decoration, the underside with three tiny feet, unmarked, dia. 7‑1/2”. [700/1000]

1193

1184

Chinese Oxblood-Glazed Vessel, with a white interior and underside, unmarked, h. 14‑1/4”, w. 9”. [300/500]

1185

Chinese Flambe Glaze Purple Vase, 19th/20th century, the vessel with a bulbous body, long neck and flared lip, with two molded lion-head-form lugs, each with a fully attached ring in its mouth, unmarked, h. 13”, w. 9”. [700/1000] Illustrated

1186

Chinese “Tea Dust” Porcelain Vase, 19th/20th century, the body with a compressed globular form over a small foot and two handles, covered with a finely-speckled green glaze, the underside with an apocryphal Qianlong reign mark, h. 9‑1/2”, w. 6”. [600/900]

1190

1188

Chinese Longquan Plate, probably Ming Dynasty (1368‑1644), the plate with a green-glazed and incised floral motif, unmarked, h. 3”, dia. 13‑1/4”. [500/800]

1189

Chinese Yaozhou Bowl, 19th/20th century, Song Dynasty style (11th/12th century), the interior of the olive green bowl with an incised scrolling foliate motif, the exterior with fluted sides, footed with an unmarked underside, h. 2‑1/2”, dia. 6”. [400/700]

1190

Chinese Qingbai Dish, Song Dynasty style, 19th/20th century, the pale blue glaze over a “hidden decoration” incised pattern of children playing among lotus flowers, thinly potted with a Qingbai glaze, unmarked, h. 2‑3/4”, dia. 8‑1/4”. [900/1200] Illustrated

1191

Chinese Ming-Style Green Longquan Plate, 19th century or earlier, the dish with a reserve in the center with a dragon among clouds, indiscernible inscribed text and patterns underneath the glaze around the center and along the upper rim, h. 3”, dia. 16‑1/2”. [500/800]

1192

Three Chinese Celadon Vases, 19th/20th century, now mounted as lamps, the brass-mounted vases with handles, one with foo dog lugs, one with fish-shaped handles and semi-attached rings, and one with Kui dragon handles and attached brass rings, vase, h. 8” to 13‑1/4”. [800/1200]

1193

Pair of Chinese Celadon Bottles, Qing Dynasty (1944‑1912), molded with dragon motifs, and mounted on pierced and carved wooden stands, overall, h. 15”. [900/1200] Illustrated

196

1195

1196

Pair of Chinese Baluster Vases, 19th/20th century, the Wucai vases depicting a procession of immortals, with blue concentric circles on the underside, indicative of Kangxi reign, h. 21‑1/2”, dia. 10”. [900/1200]

1197

Chinese Porcelain Wucai Brush Pot, 19th/20th century, the concave vessel in a famille verte palette, depicting a member of the literati seated at a desk in a garden surrounded by young male attendants, unmarked, h. 5‑1/2”, dia. 5‑1/4”. [350/500]

1198

Chinese Wucai Porcelain Brush Bucket, in a famille verte palette depicting a procession of immortals, with a Kangxi mark inside a pair of concentric circles, h. 7‑1/2”, dia. 7‑1/2”. [600/900]

1199 1203

1194

Pair of Chinese Wucai Vases, 19th/20th century, the baluster-form vases in a famille verte palette, with reserves depicting scholars in a garden playing chess, the underside marked with a Kangxi mark in two concentric circles, h. 17‑1/2”, dia. 8‑1/2”. [900/1200]

Two Chinese Doucai Bowls, 19th/20th century, one bowl with a lid and covered with a motif of rocks and flowers, Qing Kangxi marks on the lid and underside, and one bowl with a motif of frolicking children, the bottom marked with a Ming Chenghua inscription, the tallest, h. 5”, dia. 6”. [600/900]

1200

Chinese Doucai Dragon Bowl, 19th/20th century, the bowl with an image of a dragon running through a ground of scrolling vines and flowers, the underside marked with a Ming period Jiajing mark, h. 3‑3/4”, dia. 8‑1/8”. [500/800]

1195

Chinese Wucai Vase with Scholar Beauties, 20th century or earlier, the baluster-form vase in a famille verte palette, with an apocryphal Kangxi reign mark on the underside in two concentric blue circles, h. 16‑1/2”, w. 6‑1/2”. [800/1200] Illustrated

1202

1201

Chinese Porcelain Bowl, Tongzhi mark (1862‑1874), and possibly of the period, the bowl with a gilt rim, depicting immortals at a feast, a Tongzhi mark stamped on the underside, h. 2‑5/8”, dia. 4‑3/4”. [400/700]

1202

Pair of Chinese Porcelain Vases, 19th century, the baluster-form vases with scalloped lips and polychrome images of immortals and a deer in a forest, foo dog and salamander pairs adorn the neck, the underside bearing the Jiaqing reign mark (1796‑1820), h. 15‑1/2”, w. 7‑1/2”. [1200/1800] Illustrated

1203

Chinese Roof Tile, Ming Dynasty (1368‑1644), the pottery roof tile with a figure of an official in a green, brown and amber sancai glaze, h. 16‑1/2”. [300/500] Illustrated

197

1205 1204

1204

Chinese Ceramic Sculpture of Laozi Astride an Ox, with Ming Xuande mark (1426‑1435), 19th/20th century, with blue and white glaze, presented on a later painted and inlaid wooden stand, overall, h. 29”, w. 12”, l. 20”. [700/1000] Illustrated

1205

George III-Style Mahogany Breakfront Bookcase, mid-20th century, the molded cornice above a foliate polychrome frieze, with four astragal-glazed doors below, the lower section fitted with a central secretary drawer opening to a leather-inset writing surface and a variety of drawers and cubbyholes flanking a central mirrored cupboard, above two paneled cupboard doors, each inset with an oval floral vase and panel, flanked to either side by a bank of four banded drawers, the whole raised on a plinth base, h. 97”, w. 93”, d. 20‑1/4”. [3500/5000] Illustrated

1206

Thirty-Two-Piece English Ironstone Partial Dessert Service, ca. 1860, probably Morley and Ashworth, decorated with puce borders and Imari-style decoration, marked with a variation of a Morley and Ashworth mark, composed of a compote, h. 8‑1/4”, twenty-four dessert plates, dia. 9‑1/4”, a pair of rectangular compotes, w. 11‑3/4”, d. 9”, a pair of oval compotes, w. 11‑3/4”, d. 9”, and three asymmetrical compotes, w. 10‑3/4”, d. 8‑1/4”. [1400/1800]

1207

Three-Piece Group of English Hand-Painted Porcelain, including a soup tureen with an unusual puce printed ground, second quarter 19th century, h. 12”, w. 15‑1/2”, d. 8”, and a Dr. Wall Worcester “Earl of Dalhousie” coffee cup and saucer, ca. 1765‑1790, handpainted with scenic panels, and with a square underglaze blue mark, h. 2‑1/4”, dia. 5‑1/4”. [300/500]

198

1208

Fifteen-Piece Davenport Hand-Painted Partial Dessert Service, mid-19th century, English, comprised of a pair of compotes, h. 2‑1/2”, dia. 9‑1/2”, and thirteen plates, dia. 9”, all decorated with hand-painted scenes and pink borders, marked “Davenport Longport” in underglaze blue. [500/800]

1209

Edwardian Mahogany Games Table, ca. 1900, the rounded rectangular hinged top centered by an oval medallion of cavorting cherubs within various polychrome designs in the Adam taste, opening to a floral-banded surface over a single frieze drawer, raised on tapering square legs ending in toupie feet, h. 30‑1/4”, w. 39”, d. 19‑1/4”. [800/1200] Illustrated

1209

1212

Victorian Brass Strapwork-Mounted Faux Malachite Papier-Mache Work Table, third quarter 19th century, mounted with engraved brass strapwork, the scalloped top opening to reveal a lift-out interior fitted with silk-covered pincushions and mother-of-pearl thread spools, raised on cabriole legs, h. 32‑1/2”, w. 19”, d. 15‑1/2”. [1000/1500] Illustrated

1213

British School (Fourth Quarter 19th Century/First Quarter 20th Century), “Bridge Over the Seine”, oil on canvas, illegibly signed lower right, 34” x 44”. Presented in an attractive giltwood and gesso frame. [1000/1500] Illustrated

1210

1211

Six-Piece Collection of English Staffordshire Porcelain Pugs, fourth quarter 19th century, some depicted seating and some standing, with various bells and collars, h. 3‑1/4” to 4‑1/2”. [500/800]

1211

Carl Theodor Blaas (German, 1886‑1960), “Portrait of an Elegant Lady with Her Pekingese”, 1921, oil on canvas, signed and dated lower left, 39‑1/2” x 32”. Presented in a period giltwood and gesso frame. [1000/1500] Illustrated

1212

1214

1213

Edwardian Mahogany Cylinder Bureau, early 20th century, the tambour cylinder surmounted by a brass rod with two scrolling candlearms, and opening to a pull-out leather-inset writing surface, a storage area and a variety of drawers and cubbyholes, flanked to either side by ovoid end shelves, raised on lattice-pierced lyre-form end supports ending in splayed legs to brass caps and casters, h. 50‑1/2”, w. 54”, d. 21”. [1800/2500] Illustrated

1214

199

1216

1215

Nine-Piece Collection of Measham “Bargeware” Pottery, late 19th/early 20th century, English, including various teapots and mugs, all but the kettle decorated with presentation plaques, h. 6‑1/4” to 15”. [1400/1800]

1216

Fine English Mahogany Sideboard in the William IV Style, late 19th century, each bank with a hinged lid, and the interior cabinets fitted with flatware drawers, shelves and divided bottle drawers, h. 48”, w. 88”, d. 28”. [3000/5000] Illustrated

1218

Two Similar English Mahogany and Cut Glass Betjemann’s Tantaluses, ca. 1900, the larger brassmounted example with three Brilliant Period cut glass liquor bottles, hung with bottle tickets labeled Scotch, Bourbon and Rye, h. 12‑1/2”, w. 16‑1/4”, d. 6‑1/2”, and the smaller example nickel-mounted with three Brilliant cut glass liquor bottles, h. 11‑1/4”, w. 14‑1/4”, d. 5‑1/4”. [600/900] Illustrated 1219

1218

1217

Good Regency Mahogany Bombe-Form Cellarette, second quarter 19th century, with a boldly-modeled lid and large scrolled handles, raised on carved paw feet, retaining its original zinc-lined interior, h. 20”, w. 30”, d. 22‑1/2”. [1500/2500]

200

1219

Victorian-Style Iron and Marble-Top Conservatory Table, the rectangular variegated white marble top above a pierced scrolling frieze centered by a palmetto pendant, raised on scrolling legs joined by stretchers with gilt accents, ending in casters, h. 30”, w. 40”, d. 25”. [400/700] Illustrated

1221

George Vuillard (French, b. 1956), “Feeding the Kittens”, oil on canvas mounted on board, signed lower right “G. Vuillard”, 29‑3/4” x 23‑3/4”. Framed. [700/1000]

1222

Set of Eighteen Davenport Porcelain Gilt-Decorated Soup Plates and Platter, ca. 1815‑1830, English, the buff ground border decorated with gilt grape vines and rocaille, and a cobalt guilloche, marked with the banner over an anchor, and pattern “797”, plates, dia. 10”, platter, w. 9”, l. 10‑1/2”. [1200/1800] Illustrated 1223

1220

Glyn Warren Philpot RA (British, 1884‑1937), “Portrait of a Blonde Youth”, oil on canvas, signed lower right, a “Chapman Bros./King’s Road” label verso frame, “Chenil Chelsea” stamp verso canvas, 36” x 28”. Framed. [1200/1800] Illustrated Glyn Philpot was well-known for his detailed and evocative portraits and was one of the most popular and financially successful portraitists of the first decades of the 20th Century. A student of the Lambeth Art School (now City and Guilds of London Art School), Philpot had his first work accepted for exhibition at the Royal Academy at the age of 19. He was made an associate of the Royal Academy in 1915 and was named a full member in 1923. His works are in the permanent collections of such institutions as the Tate Gallery, the National Portrait Gallery, and the Ashmolean Museum.

1222

1223

Victorian Calamander Desk, third quarter 19th century, the superstructure shelf with a pierced brass gallery above the rectangular top with inset leather surface and rounded ends, above a conforming frieze fitted with two drawers, raised on fluted tapering circular legs ending in casters, the whole accented with ormolu mounts and millwork, h. 38‑1/2”, w. 46”, d. 23”. [2000/4000] Illustrated

1224

Pair of English Hand-Painted and Raised Gilt Pottery Garniture Vases, ca. 1892‑1893, decorated in the Aesthetic style with birds and flowers on a buff ground, marked with registry number 203948, h. 15‑3/4”, w. 8‑3/4”, dia. 5‑1/2”. [900/1200] Illustrated

1224

201

1227

Three Chinese Rosewood Dragon Chairs, early 20th century, the heavily-carved dragons inlaid with onyx and polymer eyes, one with a reserve on the seat depicting leaves with a foliate border along the seat, another with a carved meander string on the seat, and the last with a flower border, h. 36”, w. 28”. [600/900] Illustrated

1225

1228

Chinese Rosewood Bench, 19th century, with lyre-shaped ends and cabriole legs, the surface carved with grapes, h. 28‑1/3”, w. 58”, d. 15”. [400/700]

1229

Chinese Rosewood Snuff Bottle Display Case, 20th century, carved with archaic scrolling, h. 32‑1/2”, w. 19”. [300/500]

1230

Chinese Rosewood Snuff Bottle Display Case, 20th century, carved with archaic scrolling, h. 32”, w. 21‑1/2”. [300/500]

1231

1225

Edwardian Upholstered Club Chair, early 20th century, the rounded and padded back above the circular cushioned seat, raised on toupie feet ending in brass caps, the whole with brass tack accents, h. 31‑1/2”. [1200/1800] Illustrated

Pair of Chinese Carved and Lacquered Wood Campaign Trunks with Stands, early 20th century, the surfaces carved with procession scenes and figures in palace gardens, h. 28”, w. 36”, d. 21”. [900/1200]

1226

1232

Pair of Chinese Huang Huali Rosewood Chairs, ca. 1900, the chairs with carvings of dragons on the arms and back, h. 34‑3/8”. [1500/2500] Illustrated

1226

1232

Pair of Chinese Cabinets, early 20th century, inlaid with mother-of-pearl, jade and soapstone, with brass mounts, h. 48‑1/2”, w. 26‑1/4”, d. 17”. [400/700] Illustrated

202

1227

1236

1233

Chinese Carved Display Cabinet, 19th century, the columns carved with swirling dragons, the surface inlaid with bone in the form of peaches, with four shelves, h. 53”, w. 43”, d. 21”. [350/500]

1234

Chinese Display Cabinet, 20th century, the blacklacquered surface decorated with floral scrolling, brocade patterns and birds with flowers, with engraved brass mounts, h. 68”, w. 39‑1/2”, d. 16”. [400/700]

1235

Chinese Rosewood Cabinet, 20th century, carved with bamboo and dragons, the front and sides glazed, h. 72”, w. 40”, d. 17”. [400/700]

1236

Chinese Huang Huali Cabinet, 19th century, the cabinet featuring an altar shelf with sides decorated with a scrolling dragon motif, the doors with a bolt closure and containing two drawers, h. 71”, w. 36”. [900/1200] Illustrated

203

1239

1237

Chinese Six-Panel Screen, 20th century, the lacquered surface with hardstone inlay of women in palace gardens, overall, h. 72”, l. 96”. [1400/1800] Illustrated

1237

1238

Six Chinese Carved and Painted Porcelain Panels, 20th century, mounted in two stained wooden frames, three images to each, the panels depicting small boys playing in a lush garden against a yellow ground, each, h. 61‑1/2”, w. 17”. [800/1200]

1239

Four Chinese Porcelain Plaques, Early 20th century, the four plaques depicting landscapes painted on porcelain and mounted in pierced rosewood frames with bat motifs, each panel inscribed and marked with a seal, each panel, h. 64‑1/2”, w. 19‑3/4”. [7000/10000] Illustrated

1240

Chinese Painted Porcelain Plaque, 19th/20th century, depicting nine beauties and a handsome young scholar in an idyllic garden, dia. 13”. [400/700]

1241

Four Chinese Porcelain Plaques, 19th/20th century, the plaques with images of immortals and mythical creatures in the wilderness, mounted in hongmu frames, each plaque marked with a red seal, each plaque, h. 21‑1/2”, w. 15‑1/2”, including frame. [400/700] Illustrated

204

1242

1246

Chinese Inlaid Hardstone Plaque, 20th century, the plaque depicting birds flying over a stream amidst branches and vines, against a black ground with a floral border, h. 44‑1/2”, w. 22”. [300/500]

After Wen Peng (Chinese,1498‑1573), “Landscape”, ink and color on silk, mounted and framed landscape with figures and pavilions, inscribed and marked with three red seals, h. 61”, w. 32‑3/4”, including frame. [800/1200]

1243

]1248

1247

Chinese Daoist Painting, 19th century or earlier, ink and color on silk, the painting depicting Daoist immortals surrounded by curling ruyi-form clouds, with two inscriptions, the whole mounted in a gold frame, overall, h. 53”, w. 30”. [350/500]

Chinese Export Reverse Painting on Glass, 19th/20th century, depicting an elaborately-coiffed and dressed court beauty, h. 29‑1/8”, w. 18‑1/2”. [700/1000]

After Feng Chaoren (1882‑1954), 20th century, ink and color on silk, depicting a beautiful lady in a vibrant green cape, her attendant standing beneath a prunus branch, inscribed, with two seals, h. 68‑1/2”, w. 21”, including mount, h. 33‑3/4”, w. 12‑1/2”, excluding mount. [600/900]

1249

1241

1244

Pair of Chinese Reverse Glass Paintings, 20th century, with scenes of the immortals in a garden, presented in rosewood frames and glazed, 22” x 15‑1/2”. [400/600]

In the Manner of Wang Yuanqi (1642‑1715), “Landscape”, 19th/20th century, ink and color on silk, depicting a landscape with mountains and a small pavilion in the foreground, inscribed with text and marked with three seals, h. 76”, w. 28‑1/4”, including mount, h. 39”, w. 19‑1/2”, excluding mount. [3000/5000] Illustrated

1245

Pair of Chinese Ancestor Portraits, 20th century, depicting a mandarin and his consort in winter attire, each presented in a carved rosewood frame below reverse-glass painting of “the hundred forms of the character shou”, overall, h. 63”, w. 23”. [500/800] Illustrated

1245

1249

205

1250

Attributed to Wang Xuetao (1903‑1982), “Wisteria with Rooster and Hen”, 20th century, the lively painting capturing the vivacious and energetic quality of Wang’s subject, signed and sealed, h. 72‑1/2”, w. 27‑1/2”, including mount. [3000/5000] Illustrated A student of Qi Baishi (1864‑1957), Wang was particularly admired for bird and flower paintings such as the one presented here.

1251

Attributed to Zhang Daqian (1899‑1983), “Painting of a Lady”, ca. 1930, ink and color on paper, depicting an elegant beauty in Ming Dynasty-style dress, standing beside a red hibiscus flower, inscribed, signed and with three seals, h. 85”, w. 30”, including mount, h. 46‑1/2”, w. 19”, excluding mount. [10000/15000] Illustrated

1250 (detail)

1250

206

1251 (details)

1251

207

I n d e x of A rt i s t s a nd P r in t m a k e r s

March 15-16, 2014

Aguilar, Andres Cortes y 625

Fairey, Shepard 850

American School 925

Feng, Chaoren (after) 1248

Andrews, Ambrose 1136

Forster, Steven 772

Antrobus, John 922

Franco-Italian School 246

Anzalone, William 964, 965

French School 286, 312, 352

Armstrong, David 763, 764, 765, 766

Friedeberg, Pedro 862

Audubon, John James (after) 941

Garrido, Leandro (attributed) 633

Bals, Hilaire 617

Goldin, Nan 761, 762

Bannister, Pati 800

Gordy, Robert 871, 872

Barrias, Louis-Ernest 555

Gruppe, Charles Paul 88

Barye, Antoine-Louis (after) 1072

Guardi, Francesco (manner) 218

Bejar, Feliciano 863, 864

Guardi, Giacomo (circle) 217

Blaas, Carl Theodor 1211

Guidry, Louise 971, 972, 973

Blakelock, Ralph Albert (attributed) 634

Harpignies, Henri-Joseph 635

Boisseau, Alfred 923

Hibel, Edna 799

Bonin, Melissa 974

Hiroshige, Ando 496

British School 442, 444, 446, 1079, 1213

Hjorth, Noela Jane 854

Browne, Joseph Archibald 636

Houdon, Jean-Antoine (after) 297

Budnick, Sidney Jonas 849

Hunter, Clementine 886, 887, 889

Carrier Belleuse, Albert-Ernest de (after) 1148

Italian School 237, 257

Catesby, Mark 940

Jervas, Charles (attributed) 87

Catlett, Elizabeth 860

Johnson, Buffie 852

Chalet, Andre 313

King, Paul Bernard 354

Churchill, Wiley 867

Kohlmeyer, Ida Rittenberg 873, 874, 875

Conrad, Lisa 767, 768, 769, 770, 771

Kuwasseg, Karl-Joseph 440

Continental School 213, 445, 1135

La France, Helen 888

Courtens, Franz 632

Lambeaux, Jef (after) 1147

Cubley, Henry Hadfield 443

Lambert, Beth 976

De La Vega, Victor Manuel Villarreal 801, 802

Lawrence, Jacob 857, 858, 859

Dubois, J. 616

Leake, Carol 968

Dunbar, George Bauer 876, 877, 878, 879

Lecourtier, Prosper (after) 620

Dupont, Gainsborough (attributed) 111

Leduc, Paul 287

Dureau, George Valentine 869, 870, 967

Lefort, Jean 314

Emms, John 461

Marshall, John Fitz 460

I n d e x of A rt i s t s a nd P r in t m a k e r s

Martin, Steve 981 McKinnon, Amy 975 Mene, Pierre Jules (after) 1150 Michalopoulos, James 978, 979, 980 Miles, Chicory 865 Miller, William Rickarby 214 Miro, Joan 820 Morgan, Elemore Madison 866 Novaro, Jean-Claude 829 Ogle, Thomas 839 Ousley, Will 921 Parks, Bob 1086, 1087, 1088 Pernett, L. 626 Philpot, Glyn Warren 1220 Picasso, Pablo (after) 821

March 15-16, 2014

Van der Pol, Louis 345 Van Dyck, Sir Anthony (circle) 231 Van Hasselt, Willem 822 Vanderbank, John 110 Villet, E. 355 Vuillard, George 1221 Waagen, Arthur 221 Walker, William Aiken 919, 920 Wang, Xuetao (attrributed) 1250 Wang, Yuanqi (manner) 1249 Wen, Peng (after) 1246 Wilson, Evan 803 Winter, George (attributed) 924 Wright, Charles Lennox 346 Zhang, Daqian (attributed) 1251

Pollet, Joseph Michel-Ange (after) 786 Poussin, Nicolas (follower) 1134 Renard, Paul 353 Rockmore, Noel 868 Rodrigue, George 880, 881, 882, 883, 884 Rogers, Randolph 916 Rossberg, Sara 855, 856 Royo, Jose 798 Schmidt-Felling, Julius Paul 1149 Schouten, Henry 618 Scottish School 441 Soyer, Moses 851 Stastny, Karen 977 Swanson, Garth 966 Tarkay, Itzchak (Isaac) 804, 805, 806 Tarver, Paul 970 Tobey, Mark 861 Tolliver, William 885 Toyohara, Kunichika 495 Trevelyan, Julian 853

Glossary New Orleans Auction Galleries does not make any express or implied warranty as to the authorship of works of art and fine art. Please note that all of the terms and descriptions used in this catalogue are intended as our qualified opinions only and are subject to the Conditions of Sale set forth elsewhere. The Artistâ&#x20AC;&#x2122;s Name: In our qualified opinion, a work by the artist. Attributed to: In our qualified opinion, a work of the period of the artist that may be in whole or in part the work of the artist. School of: In our qualified opinion, a work by a follower of the artist. Circle of: In our qualified opinion, a work of the period of the artist and showing his/her influence. Manner of: In our qualified opinion, a work in the style of the artist, possibly of a later period. After: In our qualified opinion, a copy of a known work by the artist. Signed: In our qualified opinion, has the signature which is that of the artist. Bears Signature: In our qualified opinion, has a signature which may be the signature of the artist. Dated: In our qualified opinion, is so dated and was executed on or around that date. Bears Date: In our qualified opinion, is so dated and may have been executed at about that date.

New Orleans Auction Galleries

(d). By bidding at the Auction as a Bidder or Buyer, and/or by your signature below, you agree to be bound by these terms.

Paddle Number:

2. BEFORE THE AUCTION

Conditions of Sale:

(a). ALL SALES ARE “AS IS, WHERE IS” WITH NO EXPRESS OR IMPLIED WARRANTIES WHATSOEVER.

ALL SALES ARE “AS IS, WHERE IS” WITHOUT ANY WARRANTIES WHATSOEVER. PLEASE SEE SECTION 2(a) BELOW IN WHICH ANY AND ALL EXPRESS AND IMPLIED WARRANTIES (INCLUDING WITHOUT LIMITATION ANY WARRANTY AGAINST REDHIBITORY DEFECTS) ARE WAIVED.

1. INTRODUCTION (a). These Conditions of Sale (“Conditions of Sale”) contain all the terms governing Auctions (defined below) conducted by Cakebread Art Antiques Collectables, Inc. d/b/a New Orleans Auction Galleries (“NOAG”), and all the terms under which NOAG and the Seller (defined below) of a Lot (defined below) contract with the Buyer (defined below). These Conditions of Sale may be amended by posted notices or oral announcements made during the Auction. (b). Under these Conditions of Sale, the following capitalized terms are defined as follows: • An “Auction” is a public auction conducted by NOAG, at which Bidders may place Bids to purchase one or more Lots offered for sale by NOAG. An Auction takes place over one or more days and includes separate auctions of one or more Lots within an event conducted by NOAG; • The “Auctioneer” is the auctioneer calling the Auction conducted by NOAG; A “Bid” is a bid made by a party at the Auction to purchase a Lot; • A “Bidder” is (i) a person making a Bid at the Auction (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding); and/or (ii) a person who attends the Auction and registers to make a Bid (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding); • A “Buyer” is the party that commits to purchase a Lot by submitting the Winning Bid at Auction; • “Buyer’s Premium” is defined in Section 4 below; • “Catalogue” is the Auction catalogue utilized by NOAG to list the Lots offered at Auction; • The “Estimates” are the high and low estimates of value for each Lot set forth in the Catalogue presented by NOAG in connection with the Auction or otherwise set forth and/or announced at the Auction; • The “Hammer Price” for a Lot is the amount of the Winning Bid at the Auction, as announced by the Auctioneer, exclusive of commissions, Buyer’s Premium, expenses, and any taxes or other charges; • A “Lot” is specific item of property offered for sale at Auction; The “Reserve” is defined in Section 3 below; • The “Purchase Price” is defined in Section 4 below; A “Sale” of a Lot occurs when a Winning Bid is declared at Auction for the Lot; • The “Seller” of a Lot is the party who consigned the Lot with NOAG for purposes of selling the Lot, or is otherwise the seller of the Lot; • The “Winning Bid” is, as to a particular Lot, the Bid recognized by the Auctioneer as the highest and best Bid for that Lot.

(c). Except as otherwise stated, NOAG acts as consignment agent for the Seller. The contract for the sale of the Lot is therefore made between the Seller and the Buyer.

(i) NEITHER NOAG NOR THE SELLER PROVIDES ANY GUARANTEE OR WARRANTY AS TO THE NATURE, DESCRIPTION, GENUINENESS, PROVENANCE, IMPORTANCE, OR CONDITION OF THE LOT. All Sales and Auctions are without any representation or warranty of any kind by NOAG or the Seller. Bidders and Buyers are responsible for satisfying themselves concerning the condition of the Lots and the matters referred to in the catalogue entry, the Condition Report, or in any other statement or writing provided. All Sales are final and are “AS IS WHERE IS.” (ii) No warranty of redhibition. ANY WARANTY AGAINST REDHIBITORY DEFECTS IS WAIVED AND EXCLUDED. NOAG and Seller provide absolutely no warranty against redhibitory defects, including without limitation: (x) any defects rendering a Lot useless or its use inconvenient; and (y) any defects diminishing the usefulness of a Lot; and any such warranties are waived and excluded. In addition, NOAG and Seller provide no warranties, guarantees, or representations as to whether a Lot is fit for its ordinary use, fit for Buyer’s intended use or for Buyer’s particular purpose. (iii) No warranty against eviction. ANY WARRANTY AGAINST EVICTION IS WAIVED AND EXCLUDED. In the event that Buyer is evicted from possession of whole or part of the Lot, neither NOAG nor Seller have any duty whatsoever to return any part of the Purchase Price to Buyer. Buyer is buying at Buyer’s sole risk and peril as to third parties who may claim rights in the Lot after the Sale. (iv) No warranty as to authorship. NOAG does not make any express or implied warranty as to authorship of works of art and fine art. No statement in the Catalogue or elsewhere, orally or in writing, shall be construed as an express or implied warranty, representation or limitation of liability as to authorship. Any such warranty is WAIVED. (v) No warranty of peaceful possession, etc. The following warranties are waived and excluded: the absence of hidden defects, peaceful possession, and ownership. NOAG and Seller provide absolutely no warranty that the Lot is free from hidden defects, or for peaceful possession, or for ownership. (vi) No other warranties. None of the Seller, NOAG, or any of NOAG’s officers, employees or agents, give any representation, warranty or guarantee or assume any liability of any kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law, any express or implied warranty of any kind whatsoever is excluded by this Section 2(a). (b). Examination of property / Condition Reports. Prospective Buyers and Bidders are strongly advised to examine personally any property in which they are interested, before the Auction takes place. As a convenience, Bidders may request that NOAG produce a Condition Report (“Condition Report”) for a Lot, which, if produced, will provide additional detail concerning the condition of the Lot as observed by NOAG’s staff. NOAG reserves the right to decline to produce a Condition Report for any specific Lot, for any reason and in NOAG’s sole discretion.

Rev. 10/2013

(c). Catalogue and other descriptions. (i) All statements made by NOAG as to condition, authorship, period, culture, source, origin, measurement, quality, rarity, provenance, importance, or historical relevance, whether in the Catalogue entry for the Lot, in the Condition Report, and/ or in a bill of sale, or made orally or in writing elsewhere, are qualified statements of opinion only and are not to be relied on as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by NOAG of any kind. References in the Catalogue entry or the Condition Report to damage or restoration are for guidance only and should be evaluated by personal inspection by the Bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. (ii) Without limiting the foregoing, none of the Seller, NOAG, or any of NOAG’s officers, employees or agents, are responsible for the correctness of any statement of whatever kind concerning any Lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any Lot. (iii) Any Estimates provided should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose. Any written or oral appraisal, Estimate or other statement of NOAG or our representatives with respect to the estimated or expected selling price of any Lot of Property is a statement of opinion only and shall not be relied upon by Bidders or prospective Bidders as a prediction or guarantee of the actual selling price. (iv) NOAG shall not be liable for any errors or omissions in catalogue or other descriptions of the Property. Neither NOAG nor the Seller is responsible in any way for errors and omissions in the catalogue, or any supplemental material. (d). Further acknowledgement. As a Bidder and prospective Buyer, you further agree and acknowledge that: (i) You are not relying on NOAG’s skill or judgment in selecting to purchase any Lot; (ii) No oral or written statements in the Auction Catalogue, Condition Report, or elsewhere are the cause of or reason behind your purchase of any Lot; and you would have incurred such purchase regardless of any oral or written statements about condition, attribution, kind, quality, value, or authorship made in the catalogue or elsewhere; (iii) NOAG did not and could not have known that condition, attribution, kind, quality, expressed value, or authorship is the cause or reason why you decide to purchase any Lot; (iv) Your purchase of any Lot is not intended to gratify a nonpecuniary interest; and (v) NOAG did not know, nor should it have known, that any oral or written statement about a Lot in the catalogue, Condition Report or elsewhere would cause a nonpecuniary loss to a Buyer.

3. AT THE AUCTION (a). Registration before bidding / Bidding requirements. In order to be accepted as a Bidder and allowed to place a Bid, all Bidders must meet all of the following requirements: (i) A Bidder must complete and sign the attached registration form and provide identification to NOAG; (ii) NOAG may require the production of bank or other financial references or any other additional information; (iii) When making a Bid, a Bidder is accepting personal liability to pay the Purchase Price in full in the event that the Bidder submits the Winning Bid, unless it has been explicitly agreed in writing with NOAG before the auction of the Lot that the Bidder is acting as agent on behalf of an identified third party acceptable to NOAG, and that NOAG will only look to that principal for payment (iv) All Bids are to be made in U.S. currency unless agreed upon between NOAG and the Bidder; and (v) At NOAG’s sole discretion, NOAG may require any Bidder to post a cash deposit in an amount set by NOAG at its sole discretion. Such deposit may include, without limitation, a deposit of 25% of the Maximum Bid (or another amount set in NOAG’s sole discretion) in the case of Absentee Bids (defined below). (b). Refusal of admission / Rejection of Bidders. NOAG has the right, at its complete discretion, to refuse admission to the premises or participation in any Auction. NOAG reserves the right to reject any Bidder for any reason whatsoever and in NOAG’s sole discretion. (c). Absentee bids / Telephone bids. (i) As a convenience to Bidders, NOAG may allow a Bidder to submit an absentee bid (“Absentee Bid”) or telephone bid (“Telephone Bid”) by filling out (in full) the section of the attached registration form marked “Absentee Bids / Telephone Bids.” In order to submit an Absentee Bid or Telephone Bid for an Auction, that registration form must be filled out and submitted to NOAG no later than 5:00 p.m. central time on the last business day before the commencement of the Auction. (NOAG reserves the right to accept late Absentee Bid or Telephone Bid submissions in NOAG’s sole discretion.) All Absentee Bid submissions must include a maximum bid amount (“Maximum Bid”). (ii) If an Absentee Bid is submitted and accepted, at the time of the auction of the affected Lot, the Auctioneer or other NOAG staff will place the Absentee Bid at the amount of the opening bid amount, and will increase the amount as necessary until the earlier of (x) the Absentee Bid is the Winning Bid; or (y) the amount reaches the Maximum Bid. All such actions in this paragraph are at the sole discretion of the Auctioneer and/or NOAG. If NOAG receives Absentee Bids on a particular Lot with identical Maximum Bid amounts, and at the Auction these are the highest bids on the Lot, the Lot will be sold to the person whose Absentee Bid was received and accepted first. In the event of a tie bid between an Absentee Bid and a Bid submitted by a Bidder physically present at the Auction (or a Telephone Bid), the Lot will be sold to physically present Bidder (or bidder submitting the Telephone Bid).

Rev. 10/2013

(iii) If a Telephone Bid is submitted and accepted, at the time of the auction of the affected Lot, NOAG staff shall attempt to contact the Bidder using the telephone number provided. If successfully contacted, the Bidder shall then be afforded the opportunity to place a Bid on the Lot by telephone. Telephone Bids may be recorded. By submitting a Telephone Bid, the Bidder consents to the recording of the conversation and the placing of the Bid. (iv) Execution of Absentee Bids and Telephone Bids is a free service undertaken subject to other commitments at the time of the Auction and neither NOAG nor the Auctioneer shall have any liability for failing to execute an Absentee Bid or Telephone Bid or for errors and omissions in connection therewith. (d). Video or digital images. At some Auctions there may be a video or digital screen. Errors may occur in its operation and in the quality of the image and we do not accept liability for such errors. NOAG reserves the right to video tape and record proceedings at any Auctions. Any personal information obtained will be held in confidence by NOAG but may be used or shared with our affiliates and marketing partners for customer analysis purposes and to help us to tailor our services to buyer requirements. Any Bidder attending an Auction in person who does not wish to be video-taped may make arrangements to make a Telephone Bid in accordance with Section 3(c) above. (e). Reserves. All Lots are offered subject to a reserve, which is the confidential minimum price below which the Lot will not be sold (the “Reserve”). The Reserve for a Lot will not exceed the low Estimate for that Lot. The Auctioneer may open the bidding on any Lot below the Reserve by placing a bid on behalf of the Seller. The Auctioneer may continue to bid on behalf of the Seller up to the amount of the Reserve, either by placing consecutive bids or by placing bids in response to other bidders. Notwithstanding the foregoing, a Lot may be sold at a Hammer Price below the Reserve, at the discretion of the Auctioneer and NOAG, in any manner consistent with the agreement between NOAG and the Seller. (f). No bidding by Seller. Under no circumstances shall Seller (as agent or principal), whether by itself or through its representatives, employees or agents (except as through the Auctioneer as set forth in Section 3(e) above), enter or cause to be entered a Bid on Seller’s Lot. (g). Auctioneer’s discretion. The Auctioneer has the right at his or her absolute and sole discretion to refuse any Bid, to advance the bidding in such a manner as he or she may decide, to withdraw or divide any Lot, to combine any two or more Lots, and in the event of any error or dispute, to determine the Winning Bid, to continue the bidding, to cancel the Sale or to reoffer and resell the Lot or item in dispute. If any dispute arises after the Sale, NOAG’s sale record is conclusive. Unless otherwise announced by the Auctioneer at the time of Sale, all Bids are per Lot as numbered in the Catalogue and no Lot shall be divided for Sale. NOAG and/or the Auctioneer may withdraw any Lot at any time before such Lot is offered at Auction, for any reason and in their sole and absolute discretion. (h). Successful bid and passing of risk. The Auctioneer shall have absolute discretion in determining the Winning Bid and the striking of the Auctioneer’s hammer marks the acceptance of the highest and best bid as the Winning Bid and the conclusion of a contract for sale between the Seller and the Buyer. Risk and responsibility for the Lot but not its title passes to the Buyer immediately upon announcement of the Winning Bid at the Auction. (i). Post-auction sale. In the event that there is no Winning Bid at Auction for a Lot, or the Lot is withdrawn from the Auction, or the Sale is cancelled for non-payment pursuant to Section 4(g) below, NOAG may sell the Lot at public or private sale at any time thereafter, in a manner consistent with the agreement between Seller and NOAG. (j). NOAG assumes no responsibility for failure to execute Bids for any reason whatsoever.

4. AFTER THE AUCTION (a). In order to consummate and complete the Sale, the Buyer must tender payment in full of all of the following amounts (all such amounts together being the “Purchase Price”) to NOAG: (i) the Hammer Price; and (ii) the “Buyer’s Premium” consisting of a premium of 23% of the Hammer Price (discounted to 20% if the method of payment is by check, cash, or wire transfer by the end of the day on the fifteenth calendar day following the conclusion of the Auction) up to and including a Hammer Price of $200,000 and 10% of the amount by which the Lot’s Hammer Price exceeds $200,000; and (iii) Any applicable Louisiana, state, local, and federal or other taxes, calculated as required by law. Any documentation of tax exemption must be provided by the Bidder contemporaneously with the execution of the attached registration form. (b). Payment and passing of title. The Buyer and any other Bidders are responsible for contacting NOAG for Auction results during the week after the conclusion of the Auction. Subject to the provisions of Section 4(i) below which may require earlier payment, the Buyer must pay the full Purchase Price no later than 4:30 pm central time on the fifteenth calendar day following the conclusion of the Auction. Payments may be submitted during business hours to: New Orleans Auction Galleries, 801 Magazine Street, New Orleans, Louisiana 70130, Telephone number: 504-566-1849. Payments may be made by certified check, cash, wire transfer, or credit card (Visa, Mastercard, and American Express). Payments will be accepted by non-certified check only in NOAG’s sole discretion, from Buyers that have been qualified by NOAG in NOAG’s sole discretion. Title to the Lot does not pass to the Buyer until the full amount of the Purchase Price has been tendered and received by NOAG in good cleared funds, even in circumstances where the Lot has been released to the Buyer. (c). Credit Cards. Your signature on this form constitutes permission to charge the full amount of the Purchase Price on your credit card, if you are the Buyer on a Lot and payment is not received within five business days of the close of the Auction. Your signature on this form also constitutes permission to charge the full amount of Storage Charges (defined below), if and when accrued, on a periodic basis on your credit card. (d). Release of Lot to Buyer. No Lot will be released to the Buyer unless and until NOAG receives full payment of the Purchase Price, and such payment has cleared and NOAG has received confirmation of all funds owed. At its sole discretion, NOAG may release a specific Lot at any time, notwithstanding the foregoing provision. In addition, NOAG may require that Lots not be released until the Buyer has cleared additional checks in NOAG’s sole discretion, including without limitation, any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction. In the event that a Buyer fails to complete any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction, NOAG shall be entitled to cancel the Sale and take any other action permitted or required under applicable law. In addition, notwithstanding the foregoing, Lots cannot be released until after the conclusion of the Auction. (e). Export/Import license and Dealers. It is the Buyer’s sole responsibility to obtain any relevant export or import license. The denial of any license or any delay in obtaining licenses shall not justify the rescission of any sale nor any delay in making bill payment for the Lot; and shall not limit or alter any of the obligations of the Buyer herein. Dealers purchasing for resale must enter appropriate their Dealer Resale Number on the attached registration form and provide NOAG with proper documentation.

Rev. 10/2013

(f). Storage charge. Subject to the foregoing provisions, any Lot that is not picked up by the end of the day on the fifteenth calendar day following the conclusion of the Auction is subject to an additional storage charge of $5.00 per Lot per day (“Storage Charge”) for as long as the Lot is stored at NOAG’s facilities. The outstanding amount of this Storage Charge must be paid in full (in addition to the Purchase Price) before such Lot will be released to the Buyer. Such Storage Charge accrues on a daily basis and is billed monthly. All items handled or stored will be at the Buyer’s risk. NOAG is not liable for any damage to Lots after the conclusion of the Auction. (g). Remedies for non-payment. If the Buyer fails to make payment in full of the Purchase Price in good cleared funds within the time required by Section 4(b) above, or payment in full of any applicable Storage Charge when incurred, NOAG shall be entitled in its absolute discretion to exercise one or more of the following rights or remedies (in addition to asserting any other rights or remedies available by law): (i) to charge outstanding amounts to the Buyer’s credit card; (ii) to charge interest at the rate of one and one-half percent (1.5%) per month (but not to exceed the highest amount chargeable under applicable law); (iii) to hold the Buyer liable for the total amount due and to commence legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law; (iv) to exercise any other remedy or remedies available under the law, including but not limited to a second sale of said item in accordance with the provisions of applicable law, including the subsequent enforcement of any deficiency against the initial buyer; (v) to cancel the sale; (vi) to resell the property publicly or privately on such terms as we shall think fit; (vii) to pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer; (viii) to set off against any amounts which NOAG may owe the Buyer in any other transactions, the outstanding amount remaining unpaid by the Buyer; (ix) where several amounts are owed by the Buyer to NOAG, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs;

sales or otherwise arising from the default. If we pay any amount to the Seller under paragraph (vii) above, the Buyer acknowledges that NOAG shall have all of the rights of the Seller, however arising, to pursue the Buyer for such amount. (h). Shipping and packing. All shipping, packing, and transportation of Lots from NOAG’s facilities is the responsibility of Buyer. NOAG may, as a courtesy, assist Buyer with necessary arrangements, but by doing so, NOAG assumes no responsibility or liability for shipping, packing, moving, or transportation, including without limitation damage to Lots, damage to Buyer’s vehicle, or any personal injury of any persons involved. (i). Earlier payment may be required. For any specific Lot, and notwithstanding the provisions of Section 4(b) above, NOAG may require, in its sole discretion, that the Hammer Price for the Lot be paid immediately upon the striking of the Auctioneer’s hammer and announcement of the Winning Bid, with the balance of the Purchase Price being due by the close of the Auction.

5.COPYRIGHT The copyright in all images, illustrations and written material produced by or for NOAG relating to a Lot including without limitation the contents of the Catalogue, is and shall remain at all times the property of NOAG and shall not be used by the Buyer or Bidder, nor by anyone else, without our prior written consent. NOAG and the Seller make no representation or warranty that the Buyer of a Lot will acquire any copyright or other reproduction rights in it.

6. SEVERABILITY If any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the conditions shall continue to be valid to the fullest extent permitted by law.

7. DATA COLLECTION In connection with the operation of our auction business, NOAG may need to seek personal information from Bidders or obtain information about Bidders from third parties (e.g., credit checks from banks). Such information will be processed and kept by us in confidence. Some of Bidders’ personal data may also need to be shared with third party service providers (e.g., shipping or storage companies) for Bidders’ benefit. By participating in an Auction, you agree to all previously stated disclosure.

8. LAW AND JURISDICTION The rights and obligations of the parties with respect to these Conditions of Sale, the conduct of the Auction and any matters connected with any of the foregoing shall be governed and interpreted under the laws of the State of Louisiana. By bidding at the Auction and/or through execution of the attached registration form, the Bidder consents to the exclusive jurisdiction of the courts of the State of Louisiana and the Federal courts of the United States of America located in the Eastern District of Louisiana.

(x) to reject at any future Auction any Bids made by or on behalf of the Buyer or to obtain a deposit from the Buyer before accepting any Bids; (xi) to exercise all the rights and remedies of a person holding security and/or privilege over any property in our possession owned by the Buyer, whether by way of pledge, security interest or in any other way, to the fullest extent permitted under Louisiana law (including without limitation under La. Civil Code art. 3247, La. R.S. 10:7-209 and 10:7-210 and other applicable law), or (xii) to take such other action as NOAG deems necessary or appropriate. In connection with the item (xi) above, the Buyer will be deemed to have granted such security to NOAG and NOAG may retain the affected Lot and any property of the Buyer as collateral security for such Buyer’s obligations to NOAG and to the Seller If we resell the property under Section 4(g)(vi) above, the Buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon resale as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kind associated with both

AGREED AND ACCEPTED: __________________________________________ PRINTED NAME: ___________________________________ I have read and agree to the Conditions of Sale, including without limitation all of the waivers of warranties set forth in Section 2.

Rev. 10/2013

New Orleans Auction Galleries 801 Magazine Street • New Orleans, LA 70130 • 800-501-0277 • 504-566-1849 Fax: 504-566-1851 • Email: info@neworleansauction.com

Absentee / Telephone Bid Form Name (Please Print): ______________________________________________ Date: ____________________ Business Name: ______________________________________________________________________________ Dealer Resale # (Dealers must also sign official State of Louisiana document): _________________________ Address: ____________________________________________________________________________________ City: _____________________________________________ State: ____________ ZIP: _________________ Telephones: Work (_____)_____________ Home (______)______________ Fax (______)_____________ E-mail Address: _____________________________________________________________________________ Conditions of Sale: Conditions of sale are as set forth in the applicable New Orleans Auction Galleries catalogue. Placing a telephone bid and/or absentee bid in the auction constitutes acceptance of all Conditions of Sale posted by NOAG as amended by any posted notices or oral announcements during the sale.

Lot #

Bid Amount (not including buyer’s premium) OR Telephone Number to Call:

$ $ $ $ $ $ $ $ $ VISA / MasterCard #: ____________________________________________ CVV #: _______________

Expiration Date: __________

I have read and agree to the Conditions of Sale. I agree that a buyer’s premium will be charged on each lot purchased at 23% up to and including $200,000 plus 10% of the hammer price greater than $200,000. For purchases made by cash, check or wire transfer, the buyer’s premium shall be discounted 3% of this 23%. Your signature on this form constitutes permission to charge successful bids to your credit card, including the 23% buyer’s premium, if payment is not received within five days of the auction.

Signature (Required): __________________________________________________________________________

*Please fax this form by 5:00 p.m. the Thursday before auction weekend to 504-566-1851 or scan and email to info@neworleansauction.com 2

absentee/telephone bid form (continued) Name (Please Print):

Lot #

______________________________________

Bid Amount (not including buyerâ&#x20AC;&#x2122;s premium) OR Telephone Number to Call:

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

New Orleans Auction Galleries 801 Magazine Street • New Orleans, LA 70130 • 800-501-0277 • 504-566-1849 Fax: 504-566-1851 • Email: info@neworleansauction.com

REQUEST FOR CONDITION REPORTS Condition reports are completed in the order in which they are received. Please allow ample time for large requests. Condition reports will not be given verbally. Photo requests will only be processed for items not illustrated in our catalog or website (www.neworleansauction.com). Detail photographs will be provided at our discretion. Name (Please Print): _______________________________________________________ Date: __________________ Business Name:_______________________________________________________________________________________ Address: _____________________________________________________________________________________________ City: ________________________________________________________ State: ____________ ZIP: ________________ Telephone: Work: (_______)____________ Home: (_______)_______________________ (For Fed-Ex Requests) Federal Express Account #: ________________

Fax: (_______)__________

Email Address: ____________________________

Please Select: Method of Receiving Reports: _____Fax _____Mail _____Email Method of Receiving Photographs: _____Mail ____Email

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

*Please fax this form by 5:00 p.m. the Thursday before auction weekend to 504-566-1851 or scan and email to info@neworleansauction.com 4

New ONrleans Auction Galleries ew Orleans Auction Galleries

801 Magazine Street • New Orleans, LA 70130 • 800-501-0277 • 504-566-1849 Fax: 504-566-1851 • Email: info@neworleansauction.com 801 Magazine Street, New Orleans, LA 70130 • (504) 566-1849 • Fax (504) 566-1851 info@neworleansauction.com • www.neworleansauction.com

W i r e T r a n sfer In f or m at i on / Sh i p p ers Wire Transfer Information: Whitney Bank 228 St . Charles Avenue New Orleans, Louisiana 70130 ABA Routing Number . . . . . . . . . . . . . . . . . . . . . . . . . . 065400153 Escrow Account Number . . . . . . . . . . . . . . . . . . . . . . 047034504 International Wire SWIFT Code . . . . . . . . . . . . . . . WHITUS44 Credit to: Cakebread Art Antiques Collectables Inc . 801 Magazine St. • New Orleans, Louisiana 70130 NEW ORLEANS AUCTION DOES NO SHIPPING OR PACKING Our clients have successfully used the following drayage companies: Company

Telephone

Fax

E-mail

Ship art installs . . . . . . . . .504-224-2902 . . . . . . . 504-324-9116 . . . . . . . . . . . . . . shipartnola@gmail .com Craters & Freighters . . . 800-733-0310 . . . . . . . 504-733-3679 . . . . .nola@cratersandfreighters .com Rancho Buck . . . . . . . . . . . 404-441-4994 . . . . . . . 404-524-9129 . . . . . . . . . . . . ranchobuck3@yahoo .com The Box . . . . . . . . . . . . . . . . . 800-568-2699 . . . . . . . 504-568-0285 . . . . . . . . . . .woodenbox@bellsouth .net The UPS Store #4539 . . . . 504-523-3293 . . . . . . . 504-523-2406 . . . . . . . . . . store4539@theupsstore .com The UPS Store #3341 . . . . . .504-391-2345 . . . . . . . 504-391-3211 . . . . . . . . . . store3341@theupsstore .com Vintage Transport Svcs . 800-333-0056 . . . . . . . 404-733-6220 . . . . . . . . . info@vintagetransport .com Wintersteen Trucking . . .800-253-0617 . . . . . . . 785-543-6105 . . . .wintersteentrucking@yahoo .com Pakmail . . . . . . . . . . . . . . . . . 800-230-5229 . . . . . . . 504-393-1232 . . . . . . . . . . . . . . .pakmail493@yahoo .com rev 8/13/13

New Orleans Auction Galleries 801 Magazine Street • New Orleans, LA 70130 • 800-501-0277 • 504-566-1849 Fax: 504-566-1851 • Email: info@neworleansauction.com

Authorized Release Form / Waiver Name: _______________________________________________________________________ Business Name: _______________________________________________________________ Telephone(s): _________________________________________________________________ Email Address: ________________________________________________________________ I authorize: _____________________________________________________to pick up items. New Orleans Auction No.:___________________________ Sale Date:_________________ Lot #(s): _____________________________________________________________________ _____________________________________________________________________________ Signature_____________________________________________Date____________________ Print name: ___________________________________________________________________

Please fax this form to 504-566-1851 or E-mail to info@neworleansauction.com Note: Items will not be released without a signed authorization.

New Orleans Auction Galleries is not responsible for damage to property during pickups and loading. We will assist clients with moving and loading items at the client’s own risk. We are not responsible for any damage to items during moving, packing or unloading within or outside our premises. I have read and understand the above statement: Signature: ________________________________________________ Date:_______________

- NOTES -

New Orleans Auction Galleries Susan Krohn

Tessa Steinkamp

CEO

Director of Auctions

Ashton Thomas President

consignments FINE ART:

DECORATIVE ARTS:

Asian:

Continental and American; Prints and Maps

Jelena Restovic James

Continental and English

Ireys Bowman

Felicia S. Yao

Michele M. Carolla

Greg S. Kowles

BOOKS, MANUSCRIPTS & EPHEMERA:

British and American

American, Continental and English

FURNITURE:

Thomas Halverson

Charles C. Cage

American

Ireys Bowman

Continental and English

SILVER:

Greg S. Kowles

Charles C. Cage

American, Continental and English

Jewelry: Kim Lemon

FINE CARPETS & TEXTILES:

Thomas Halverson

Sean Ranson

American

administration Kim Lemon

Burke

Colleen Ryan

Customer Service Manager

Designer

Charles C. Cage

Gary Michael Gittelson

Office Manager

auctioneers

Director of Human Resources

Photographer

Denise Haik

Graphic Designer; Exhibition Staff

ope r at ion s

Tessa Steinkamp

Cedric Roberts

Ashton Thomas

Sean Ranson

Robin Ruiz

Bennie Amos

Michael DeGeorge

Emmitt Kendrick, Jr.

C. Davin Boldissar

Eddie Daigrepont Gerald Hampton Juanita Bazile

Christa Ougel

Graphic Designer; Marketing

Taylor Eichenwald

Marketing & Public Relations

consultants Ellen McKenzie

English and Continental Furniture

Ira Savoie

Independent Certified Gemologist Appraiser

Bryce Reveley

Textiles; Vintage Couture