May 17-18 Estates Auction by New Orleans Auction Galleries

New Orleans Auction Galleries

M a y

1 7 - 1 8 ,

2 0 1 4

Lot 7 2 4 F r on t Co v e r Lot 7 2 2 B a c k Co v e r Lot 7 8 2

Sat ur day, M ay 1 7 , 2 0 1 4 10:00 a .m ., Lots 1 - 605

Sunday, M ay 1 8 , 2 0 1 4 10:00 a .m ., Lots 606 - 1138

E v e ning R e ce pt ion Th u rsday, M ay 15, 2014, 5:00 - 8:00 p.m .

E x hibi t ion M ay 3 - M ay 16 , 2014 9 : 0 0 a . m . - 5:00 p.m . (E xcluding Sundays)

Featuring Pr opert y fr om The Estat e of Micke y E a st e rl ing Ne w Or l e an s , Lo u isian a

The Estat e of L il l ia n P u l it ze r Sm it h Ne w Or l e an s , Lo u isian a

The Estates of M ary Dixon Monta g u e & F r a nk D . Monta g u e , Jr . H at t ie sb u r g , M is sis sippi

The Estate of Thorkil Hof f m a n Ol se n (1 8 8 4 - 1 9 6 6 ) De n m ar k & Ne w Or l e an s , Lo u isian a

& Mogen s Holm e r St rig e l by De sce nt Ho u s ton , Te xa s

The Estat e of Wo ok- Kyu ng C hoi S e o u l , S o u t h K or e a, Wa shing ton , D . C . & At l an ta, G e or g ia

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)

M a r c h E s tat e s A u c t i on E v e n i n g R e c e p t i on H i g h l i g h t s

L-R: Chuck and Karen Stall; Debbie and Chuck Morris; Kevin and Leah Christensen and Michael DeGeorge; Michelle Fine and Burke; Fred Hulett, Bryan Fransher and George Seger; Susie Gillibrand and Tom Reagan

Letter from the CEO

L-R: Jelena James, Lisa Conrad and Susan D. Krohn

New Orleans, known for its artists, eccentrics and eclectic characters, lost some of its color recently, when one of our iconic leading ladies, Mickey Easterling, passed away. In a testament to her diva-may-care attitude, Mickey’s over-the-top funeral was true to the full and vibrant life she led. It was, in fact, a sensational celebration that no writer could have ever imagined. Mickey, a Louisiana native, was a collector of whatever object of beauty caught her eye. From fine art to antiques to couture clothing, her cherished collections became an extension of her inimitable, incomparable personality. Therefore, I am proud that New Orleans Auction Galleries will be auctioning many of her unique items, including an unusual glass-top table with a bronze base depicting Mickey wearing one of her trademark hats and smoking a cigarette (Lot 807). For me, what I will remember about Mickey is that the woman had courage. She didn’t copy, she didn’t blend in and she didn’t compromise. And for those traits, among many others, New Orleans will miss Mickey Easterling.

Another local treasure, the Ogden Museum of Southern Art, is partnering with New Orleans Auction on an initiative called Collaborate+Consign+Contribute. Through the program, Southern art supporters can consign art, sculpture, furniture, silver and more to auction for the benefit of the museum. We love the Ogden because it enriches New Orleans culture. It is important for us to support institutions such as the Ogden, because they provide future generations the opportunity to appreciate art. Join us in donating to the Ogden and be a part of a Southern art legacy! We, at New Orleans Auction, value tradition, and for the second year, we are honored to help raise funds for WLAE-TV and their arts education programming by auctioning works by 15 local artists (Lots 1035-1050), organized by artist and entrepreneur Steve Martin. The auction last year was a tremendous success and we invite you to join us in supporting WLAE and its excellent programming while expanding your personal art collection! We are pleased to once again donate to WLAE. We are honored to offer some great estates in this auction, including the estates of Frank D. Montague, Jr. and Mary Dixon Montague of Hattiesburg, Mississippi. The Montague collection is extraordinary and includes a lovely Glenna Goodacre garden sculpture of a woman bathing (Lot 769). We will also be offering art from the family collection of Wook-Kyung Choi, a Korean artist active during the 1960s and 1970s known for her innovative use of color and abstraction. Her work is featured in numerous institutions and private collections worldwide, and includes paintings on canvas, wood and paper and sketches in charcoal and graphite. The estate of Lillian Pulitzer Smith includes an impressive collection of 18th and 19th century Chinese export porcelain, which was previously on loan to the New Orleans Museum of Art, in addition to art, furniture and silver. Lillian was a remarkable woman who was known for her sense of humor and kindness among many other things. It is also our pleasure to offer a fine collection of early furniture and accessories dating back to the 17th century from the estates of Thorkil Hoffman Olsen and Mogens Holmer Strigel by descent. If you are not already an admirer of Hunt Slonem’s art, his “Siddah and Butterf lies II,” a monumental oil on canvas painting presented in an exceptional antique giltwood and gesso oval frame (Lot 782) is sure to make you one. The first time I saw it I was mesmerized. If you appreciate contemporary art, you need to see this unique piece. If only I had the room… We are also pleased to offer works by Southern regional artists including Helen Maria Turner, Clarence Millet, Andres Molinary, Ellsworth Woodward, Ida Kohlmeyer and Marie Atkinson Hull, in addition to modern masters such as Robert Mapplethorpe and Thomas Downing. And, of course, we are offering works by the iconic George Rodrigue from private collections across the country, including Sir Nick Faldo of Winter Park, Florida and John Bradshaw, Sr. of Houston, Texas. Our impressive offering of bronzes includes pieces by Harriet Whitney Frishmuth, Mathurin Moreau, Wilhelm Julius Frick, Laurent-Honore Marqueste and Libero Andreotti. We open for exhibition on Saturday, May 3, and will have our Evening Preview Reception on Thursday, May 15, from 5 to 8 p.m. The auction will be held on May 17 and 18, starting at 10 a.m. each day. I would like to personally invite each of you to come by and visit our gallery—you’ll be happy you did! You know by now you can count on New Orleans Auction for not only an amazing auction, but, of course, good food, drink and a comfortable chair waiting just for you! See you soon,

Susan D. Krohn CEO, New Orleans Auction Galleries

the Es tate of

M icke y E a st erling Ne w Orlea ns, Lo ui si a na

Mickey Easterling was and will always be known as one of the most colorful and iconic figures in New Orleans, an exceptional feat in a city known for its innate flamboyance and eclectic cast of characters. Hailed by the local media as the “Queen of Grand Gesture,” her contributions to New Orleans cannot be overstated. She left a significant and lasting influence on the civic, political, cultural and social spheres of the city. Her parties were as outrageous as her trademark hats. She frequently hosted fundraisers in her Lakefront mansion, raising funds for politicians and charities like the March of Dimes, the New Orleans Easter Seals Society and Children’s Hospital New Orleans. Mickey was also a committed patron of the arts, supporting local institutions like the Mahalia Jackson Theater for the Performing Arts, New Orleans Museum of Art, New Orleans Opera, the Saenger Theater and the theatre department at Loyola University. In addition to the arts, Easterling had a passion for travel. She traveled extensively throughout Europe and would spend time each summer in Tangier, Morocco. Her love of travel and the arts influenced her impressive collection, which includes fine furniture, art, antiques and couture. Friends, family and acquaintances remember Mickey for her “infectious laugh,” sense of style, generosity and sharp wit among many other things. Kenneth Holditch, co-author of Galatoire’s: Biography of a Bistro, famously recalled that while dining at Galatoire’s one day after the restaurant’s controversial switch from hand-shaved ice to machine-made ice, “Mickey had a block of ice from an icehouse delivered to her table with icepicks, all in a huge tub.” In an article published in The Advocate, he recalled her “distinctive voice […] cured by all those years of smoking cigarettes and drinking champagne.” Everything she did was larger than life. Her recent memorial service, held at the Saenger Theater, featured her seated on a bench complete with a fabulous hat and electric pink boa, cigarette in one hand and a glass of champagne in the other. New Orleans Auction Galleries is honored to offer items from the lifetime collection of Mickey Easterling.

The Es tate of

L il l i a n P ulit ze r Sm it h N e w Or lea ns, Lo ui si a na

Lillian Pulitzer Smith was born in New York in 1921. After the tragic and untimely death of her parents, she was relocated to New Orleans where she was ultimately placed in the care of the Jewish Children’s Home. During her time at the Home, Lillian was assigned to a mentor, or “Big Sister,” named Mrs. Lichtenstein, who played a vital role in providing resources and assistance to her during her childhood. It was from this woman that Lillian began to develop her natural affinity for elegance, beauty and perfumes, ultimately becoming known as an arbiter of style and taste in her later years. Lillian attended the Isidore Newman School, which had recently been established in 1903 through a generous gift of local businessman and philanthropist, Isidore Newman, to educate orphans living in the Jewish Children’s Home. After graduating from Newman, she attended a secretarial school where she excelled as a typist. Shortly after secretarial school, Lillian married Emanuel Simon Pulitzer in 1940. Coincidentally, Emanuel had spent time in the Jewish Children’s Home years before Lillian was placed there. Their time at the Home never overlapped, but they shared that common foundation. Emanuel and his brother, Samuel, founded the Pulitzer Brothers Necktie Company in 1925 (renamed Wembley Industries and later WEMCO). By 1928, their success allowed them to expand their operation and open a manufacturing facility on Poeyfarre Street in New Orleans, where the Cotton Mill Lofts are now located. With the charismatic Lillian at his side, Emanuel’s company grew to become the largest tie manufacturer in the world, producing ties for internationally recognized brands, such as Countess Mara and Oscar de la Renta. The Pulitzer brothers are often credited with inventing the wrinkle-free tie. After a trip to Europe, Emanuel returned with a polyester suit. When the brothers were back in their offices in New Orleans, Sam cut a sample from the suit jacket and created a tie that—no matter what—would not wrinkle. The appropriation of wrinkle-free material in men’s neckties was an instant hit, catapulting the Pulitzers to even greater success. Lillian launched her own successful business venture with several of her friends, opening “The Uptowner,” a women’s clothing boutique. She took regular buying trips to New York to carefully select the best clothing and accessories for the local market. In addition to her trips to New York, she also traveled to Europe with local antiques dealer and shop owner, Nina Sloss, to purchase antiques. Locally, she was a regular at many of the best antique shops and art galleries in the French Quarter. Known for her compassion, sense of humor and irresistible charm, she valued her time with friends and family and constantly made new friends through her shop, travels and numerous social engagements around town. She was an outstanding cook and had a sophisticated eye for beautiful things, amassing a wonderful collection of antique furniture, silver, jewelry, glass and art throughout her life. Her collection also includes 18th and 19th century Chinese export porcelain that was previously on loan to the New Orleans Museum of Art. Lillian passed away in July 2013 at the age of 92. New Orleans Auction Galleries is pleased to offer items from the estate of Lillian Pulitzer Smith.

The Es tates of

M ary Dixon Montague & F r a nk D. Mon ta gu e , J r . H at tie sbur g, M i ssi ssippi

Frank D. Montague, Jr. and Mary Dixon Montague were known in the Hattiesburg community and in New Orleans for their civic engagement, love of the arts and travel, wide circle of friends, genuine kindness, self lessness and generosity. Beloved by friends and family, Frank and Mary enthusiastically and tirelessly pursued their passions, leaving indelible marks on everything they did. Mary and Frank were married for over 64 years.

Mary Dixon Montague was born November 17, 1928, in Monroe, Louisiana to Harold Hart Dixon and Margaret Theus Atkins Dixon. She was an exuberant traveler, an avid reader, and a gracious and accomplished amateur chef and hostess whose beauty and refined manner indulged a sharp wit and mischievous spirit. Mary attended Ward Belmont College, Sophie Newcomb College, the University of Mississippi, the University of Southern Mississippi and the New York School of Interior Design, receiving degrees in American and European History, Art History and Political Science. As an art dealer and associate with the International Fine Arts Association in New Orleans, she was involved in the arts community and enjoyed assisting friends and clients by curating their personal collections. Mary also served on the Advisory Board of the New Orleans Museum of Art and was a founding member of the Hattiesburg Arts Council. Frank was born August 26, 1925, in Hattiesburg, Mississippi to Ida Lois Polk Montague and Frank D. Montague, Sr. He graduated with honors from Hattiesburg High School and went on to obtain law and civil engineering degrees from the University of Mississippi. He was highly involved in the Ole Miss community, serving as president of the student body, and was included into the University of Mississippi Student Hall of Fame. While working as a field engineer for Phillips Petroleum in Texas, he contracted polio, just months before the Salk vaccine was available. Due to the immobilizing effects of his illness, Frank was forced to walk with crutches for the rest of his life. He never let his disability hold him backâ&#x20AC;&#x201D;a testament to his positive attitude, strong will and perseverance. Frank was a partner at Montague, Pittman & Varnado in Hattiesburg and received countless appointments and awards for his professional achievements. He served as President of the Mississippi Bar Foundation, the Mississippi Defense Lawyers Association, and was Chairman of the Mississippi Institute for Continuing Legal Education. He served two terms on the ABA Standing Committee on Professional Discipline and was Chairman of the United States Supreme Court Disciplinary Rules Revision Committee. He served as a specially appointed Mississippi Supreme Court Justice, was a Director of the American Judicature Society and is a Life Fellow of the American Bar Foundation. He was also the city judge of Hattiesburg from 1956-60 and the city attorney from 1965-74. He authored numerous legal publications and taught Journalism Law for a period at the University of Southern Mississippi. Beyond his inf luential leadership roles in the legal world, Frank also served as the president of the Hattiesburg Kiwanis Club, was a trustee for several local institutions and was involved with the March of Dimes, Westminster Presbyterian Church and the American Red Cross. New Orleans Auction Galleries is pleased to offer items from the estates of Mary Dixon Montague and Frank D. Montague, Jr. Frank and Maryâ&#x20AC;&#x2122;s deep appreciation for arts and culture is evident in their wonderful collection.

The E stat e of Wo ok -K yu ng C hoi S e o u l , S o u th K or e a , Wa shington, D .C. & Atl a nta , G eor gi a

Borrowing a palette derived from the vibrant colors of Korean folk art and forms based on those found in nature, Wook-Kyung Choi developed a candid and lyrical visual language that would have a profound impact on contemporary art in Asia and the United States. Japanese occupation rapidly followed by war between the Communist north and the American-occupied south deeply affected the Korean national consciousness in the twentieth century, driving an unprecedented number of artists, writers and intellectuals to travel and gain knowledge abroad. After studying under the well-known contemporary artists Kim Ki-Chang (1914-2001) and Park Re-Hyun (1920-1976), Choi graduated from the College of Fine Arts at Seoul National University. Each child in Choi’s family received some of his or her education in the United States, and in 1963, she enrolled at the Cranbrook Academy of Art. A versatile artist, Choi’s work spans a range of media from carved seals and metal sculpture to paintings on canvas, wood, and paper to sketches in charcoal and graphite. The United States afforded Choi the freedom to explore her identity, one that often defied societal expectations placed on women in Korea at that time. It also propelled her development as an artist to new heights. In the 1960s, Choi moved away from creating figurative works and began to experiment with such elements of abstract expressionism as bold and vibrant colors and dynamic brushwork. Some of the work she produced at this time also confronts social issues, particularly war, segregation, and the rights of women. In the 1970s, Choi taught at the University of Wisconsin and at the Atlanta College of Art. In Atlanta, she became increasingly interested in form and produced a significant body of monochromatic paintings. She also looked to nature for inspiration, incorporating translucent washes of color and shapes derived from birds, f lowers, and fish. In 1976, she was accepted into the prestigious Roswell Artist in Residence Program at the Roswell Museum of Art. The works that she created in New Mexico incorporated colors and lines inspired by the natural landscape. While working in Roswell, Choi obtained American citizenship. In 1979, Choi returned to Korea and began teaching at Yeongnam University. She continued to be inspired by natural beauty, particularly from her travels to Kyeongsang province. Her palette softened and her forms became more organic and rhythmic. In 1981, she began teaching and working at the Duksung Women’s University where she remained until her untimely death in 1985. While there, Choi strived to help many young Korean women find a means of expressing themselves freely and confidently. Driven to create, Choi saw art as a means of communication, a way of articulating feeling and truth across culture, gender, and politics. Wook-Young Choi left an indelible mark on a generation of artists on an international scale and her legacy will endure. Choi’s work has been exhibited internationally at such venues as the Paris and Sao Paulo Biennales, the Brooklyn Museum of Art, and the Cornell University Art Museum. Examples of her art can also be found in the permanent collections of The National Museum of Contemporary Art in Seoul, The University of Missouri, The Colby Museum, the Leeum Samsung Museum of Art, and the Ho-Am Art Museum.

The E stat e of Thorkil Hoffm a n Ol se n ( 1884-1966) De n m a rk & Ne w Or l e an s , Lo u isian a

& Mogens Holme r S t rig e l by De sc e n t Ho u s ton , Te xa s

Thorkil Hoffman Olsen (1884-1966) was a successful businessman who specialized in the importation and exportation of exceptional quality hardwoods. A native of Denmark, he divided his residence between that country in summer and New Orleans in winter. Olsen was named an honorary Consul-General by King Christian X of Denmark, his friend and frequent competitor in yachting races. An avid collector of art and fine furniture, Olsen’s collection included numerous customized carved wood pieces. At his death, this collection passed in trust to his daughter Kristen Hoffman Olsen Strigel, and at her death to her husband Mogens Holmer Strigel. Mogens Strigel later married Patricia O’Brien, the daughter of New Orleans artist Nell Pomeroy O’Brien, and the couple moved to New Orleans. This collection also includes items from the estate of Patricia O’Brien.

S at ur day, M ay 17, 2014

S unday, M ay 18, 2 014

Lots 1-605

Lots 606-1138

10:00 - 11:00

1- 99

10:00 - 11:00

606- 685

11:00 - 12:00

100- 199

11:00 - 12:00

686- 785

12:00 - 1:00

200- 299

12:00 - 1:00

786- 885

1:00 - 2:00

300- 399

1:00 - 2:00

886- 985

2:00 - 3:00

400- 499

2:00 - 3:30

986- 1085

3:00 - 4:00

500- 605

3:00- 3:30

Lot 25

1086- 1138

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

1 Four Pieces of Chinese Export Nanking Porcelain, 18th/19th century, including three blue and white platters, one with a scalloped edge, and a small blue and white round plate, with traces of gilding on two platters and the small dish, the largest, l. 13‑1/2”. [500/800] Illustrated

2 Chinese Blue and White Fitzhugh Platter, mid-19th century, the large porcelain oval serving dish with blue borders, unmarked, w. 11‑3/4”, l. 14‑3/8”. [500/800]

3 Chinese Export Blue and White Fitzhugh Platter, fourth quarter 18th century, decorated with lancet borders and four bunches of Fitzhugh-type decoration, w. 15”, l. 17‑3/4”. [700/1000] 4 Chinese Export Fitzhugh Platter and Covered Vegetable Dish, the oval blue and white platter, mid-19th century, l. 14‑5/8”, and the oval-shaped covered vegetable dish, with a pinecone knop, fourth quarter 18th century, h. 5”. [500/800] Illustrated 5 Collection of Chinese Export Blue and White Canton Dinnerware, second quarter 19th century. Additional information available on our website. [500/800] Illustrated

7 Five-Piece Group of Chinese Export Blue and White Porcelain, including a rare English armorial waste bowl, fourth quarter 19th century, attributed to Caughley, decorated with the arms of Braithwaite, h. 3‑1/4”, dia. 6‑1/2”, a lighthouse coffeepot, ca. 1800, h. 8‑1/2”, and three canton platters, second quarter 19th century, the largest, l. 15‑1/4”. [500/800] 8 Two Chinese Export Nanking Porcelain Chestnut Baskets with Two Reticulated Plates, first half 19th century, the baskets with an orange peel glaze and Nanking lancet edges, h. 3‑1/2”, and the oval “inclined pines” plates with reticulated borders and Nanking lancet edges, l. 9‑1/2”. [600/900] Illustrated 9 Near Pair of Chinese Export Nanking Soup Dishes, first half 19th century, the round shallow bowls with Nanking lancet borders and central reserves depicting an “inclined pine” motif, dia. 10”. [500/800]

10 Two Chinese Export Nanking Porcelain Pudding Dishes, probably 1790‑1810, the blue and white bowls with scalloped edges and central reserves depicting pavilions nestled among a river and rolling hill, h. 2”, dia. 9”. [600/900] Illustrated 11 Pair of Chinese Porcelain Chicken Tureens, early 20th century, the rooster and chicken tureens with turquoise-glazed interiors, the chicken depicted in a nest and the rooster with feet finished in enamel on the underside, the largest, h. 10‑1/4”, l. 9‑1/4”. [800/1200] Illustrated

11 6 Near Pair of Chinese Export Nanking Porcelain Covered Vegetable Dishes, first quarter 19th century, the two dishes with an “inclined pine” motif and trellis diaper bands with gilt accents, the lids with pinecone knops, the interiors with “inclined pine” reserves, h. 5‑1/2”, l. 11”. [700/1000] Illustrated

14 Attributed to John Hayls (British, 1600‑1679), “Portrait of Elizabeth Ashburnham, nee Poulett”, oil on canvas, unsigned, 45‑1/4” x 36”. Presented in an antique carved giltwood frame. Provenance: Ex-collection, the Earl Poulett, Hinton House, Somerset, England; Walter F. Du Verrier, New York, New York; Private collection, Natchez, Mississippi. [5000/800] Illustrated

12 Queen Anne Walnut Tea Table, 18th century, the dished rectangular top above a frieze fitted with a drawer to either end, raised on cabriole legs ending in pad feet, h. 28”, w. 30‑1/2”, d. 18‑1/4”. [1200/1800] Illustrated 14 13 Queen Anne Oak Highboy, 18th century, the molded cornice above a case fitted with two short drawers over three graduated long drawers, the lower section fitted with a small central drawer flanked to either side by a short deep drawer, raised on cabriole legs ending in paw feet, h. 61‑3/4”, w. 39‑3/4”, d. 20‑1/2”. [1200/1800] Illustrated

15 Continental School (Fourth Quarter 19th Century), “Daisy Chain”, pastel on paper, unsigned, 32” x 24”. Glazed and presented in a period giltwood and gesso frame. [500/800] 16 George III Mahogany Drop-Leaf Table, 18th century, the rectangular top with rounded ends and two ovoid drop leaves, raised on cabriole legs ending in slipper feet, h. 28”, w. 40‑1/4”, d. 17”, extended l. 49”. [1200/1800]

17 American Drop-Leaf Mahogany Wake Table, the long rectangular top with rounded ends and two ovoid drop leaves, raised on tapering circular legs ending in pad feet, h. 30‑1/2”, w. 82”, d. 23‑1/2”, extended l. 63‑1/2”. [1000/1500] Illustrated

18 Queen Anne-Style Mahogany Lowboy, 19th century, the rectangular top above a frieze fitted with a central drawer and two deeper side drawers, h. 28‑1/2”, w. 40‑3/4”, d. 20‑3/4”. [500/800] 19 Assembled Forty-Seven-Piece Royal Copenhagen Partial Dinner Service, primarily 1920’s-1960’s, in the fluted plain, blue fluted half-lace, and blue fluted full-lace patterns. Additional information available on our website. [800/1200] Illustrated

20 Continental Mahogany Demi-lune Games Table, late 18th century, in the Hepplewhite taste, the fold-over top supported by a fly leg, the extending leg providing access to a later concealed drawer, conforming reeded apron and tapering legs, h. 29‑3/4”, w. 33”, d. 17‑1/2”. [700/1000] Illustrated

21 Pair of American ChippendaleStyle Mahogany Footstools, mid20th century, labeled by E. P. Wilkerson Co., Atlanta, very carefully constructed in the period manner, h. 17‑1/2”, w. 22”, d. 17”. [500/800] 17

22 23 Abraham Hulk I (Dutch/French, 1813‑1897), “Fishermen on the Beach at Sunset”, oil on canvas, signed lower left, 16” x 24”. Framed. [1500/2500] Illustrated

23 22 James Webb (British, 1825‑1895), “Tantallon Castle”, 1861, oil on canvas, signed and dated lower center, old note en verso states painting was signed, titled and dated en verso canvas before lining, 33” x 59”. Presented in a giltwood and gesso exhibition frame. Provenance: Estates of Mary Dixon Montague and Frank D. Montague, Jr., Hattiesburg, Mississippi. Exhibited: Mississippi Museum of Art, “Georgian Grace and Victorian Splendor”, 1987. [15000/25000] Illustrated

24 Continental School (Second Quarter 20th Century), “Seascape with Fishing Boats” and “Fishing Boats Returning to Shore”, pair of oils on panel, both signed lower right “R. Covello”, 14” x 18”. Both attractively framed. [500/800] 25 George Willem Opdenhoff (Dutch, 1807‑1873), “Evening on the Beach, After a Day’s Catch”, oil on canvas, signed lower left, 35‑1/2” x 50”. Framed. [7000/10000] Illustrated 26 Holger Lubbers (Danish, 1855‑1928), “Seascape with Sailboats”, oil on canvas, signed and dated lower right “H. Lubbers, 1897”, 10‑1/2” x 7”. Framed. [600/900] Illustrated

27 Dutch School (First Quarter 20th Century), “Canal Scene with View of a Windmill” and “Farmyard Scene with Horses”, pair of oils on canvas, unsigned, 19‑3/4” x 27‑1/2”. Both attractively framed. [500/800]

28 Charles Henry Gifford (American, 1839‑1904), “Rocky Shore”, oil on canvas, signed lower right, 8‑1/4” x 16”. Framed. [2500/4000] Illustrated 29 American School (Fourth Quarter 19th Century), “The Boat Race”, oil on canvas, unsigned, 22” x 36”. Framed. [700/1000] 30 George III Mahogany Chest-on-Chest, late 18th century, the fret-pierced gallery centered by a shell carving over a monogram-inlaid panel, and with urn finials with three short drawers over three long drawers, all flanked to either side by a canted blind fret pilaster, the lower section fitted with a brushing slide over three long drawers, raised on bracket feet, h. 75‑1/2”, w. 44‑1/2”, d. 21‑1/2”. Provenance: H.R.H. Princess Julianne Marie of Denmark, presented as a christening gift to Julius Nielson, thence by descent to Mogens H. Strigel. [7000/10000] Illustrated

34 Jacob Janssen (Australian, 1779‑1856), “Country Path”, oil on canvas, signed, 20” x 28”. Framed. [1200/1800] 31

35 Attributed to Thomas Brooks (British, 1818‑1891), “The Secret”, oil on canvas, unsigned, 30” x 25”. In a gessoed and giltwood frame. [3000/5000] Illustrated

31 George II Carved Giltwood Looking Glass, 18th century, h. 44”, w. 26”. [1800/2500] Illustrated 32 George III Mahogany Settee, late 18th century, the domed and padded back joined to the padded seat by downswept arms, raised on stop-fluted tapering square legs to casters, h. 37”, w. 71”, d. 24”. [1000/1500] Illustrated

33 Gordon Lees (British, b. 1933), “Ebrington Village”, oil on canvas, signed lower right “Gordon Lees”, 12” x 20”. Framed. Provenance: Cotswold Galleries, Gloucestershire, England. [1000/1500] Illustrated

36 Fine Suite of Ten George III Mahogany Dining Chairs, third quarter 18th century, in the Chippendale taste, each with a serpentine crest rail, pierced splat and chamfered legs, now upholstered in Bargello work, h. 37‑3/4”. Provenance: Estate of Lillian Pulitzer Smith, New Orleans, Louisiana. [1400/1800] Illustrated

38 Regency Mahogany Dining Table, first quarter 19th century, the rounded rectangular top with a reeded edge and raised on three pedestals, each with a turned vasiform splat to four splayed and reeded legs ending in brass caps and casters, including a custom fitted set of pads, h. 28”, w. 52‑1/2”, l. 114”. Provenance: Estate of Lillian Pulitzer Smith, New Orleans, Louisiana. [2000/4000] Illustrated 39 Suite of Eight Irish Georgian-Style Mahogany Dining Chairs, early 20th century, the padded seat raised on cabriole legs headed by carving and ending in ball-and-claw feet, h. 42”. [1200/1800]

37 Near Pair of George III Mahogany Armchairs, ca. 1800, in the Chippendale taste, each with a serpentine top rail, pierced splat, shaped arms ending in a scroll and straight legs, now in Bargello work upholstery, h. 38”. Provenance: Estate of Lillian Pulitzer Smith, New Orleans, Louisiana. [400/700] 38

40 Two Similar Victorian Tortoiseshell and Mother-of-Pearl Tea Caddies, fourth quarter 19th century, the caddies with a block front trimmed in mother-of-pearl, one in a checked pattern, h. 5‑1/4”, w. 8‑1/4”, d. 4‑3/4”, and the other with incised decoration, h. 5‑3/4”, w. 6‑3/4”, d. 4‑1/4”. [800/1200] Illustrated 41 Collection of Five Tortoiseshell Cases, 18th/19th century, of various sizes and decoration. Additional information available on our website. [500/800] 42 Edwardian Sterling Silver and Tortoiseshell Page Turner, hallmarked London, 1901‑1902, by the Goldsmiths & Silversmiths Co. Ltd., with a scimitar-shaped tortoiseshell blade and a rococostyle “pistol grip” handle embossed with trellised roses, l. 14‑1/2”. [600/900] Illustrated 43 Attributed to Thomas Hand (British, 1771‑1804), “Travelers Resting on a Farm”, oil on canvas, unsigned, 25” x 30”. Presented in a giltwood and gesso exhibition frame. [1500/2500] Illustrated 44 Irish George III-Style Mahogany Settee, early 20th century, the double-chairback back with two shaped crests over a shell- and foliate-carved splat, joined by eaglecarved arms to the padded seat, raised on cabriole legs headed by double eagle’s heads and ending in paw feet, h. 38”, w. 63”, d. 22”. [3000/5000] Illustrated

43 45 Chinese Rose Medallion Punch Bowl, late 19th century, decorated in polychrome enamels on a gold ground, the exterior with six floral panels in a border of flowers and butterflies, six scroll-bordered panels reserved below with alternating scenes, one with birds and flowers and the other depicting a domestic interior scene, h. 6‑1/2”, dia. 6‑1/2”. [2500/4000] Illustrated A similar example can be found in the collection of Washington and Lee University, Lexington, Virginia.

46 Chinese Export Tureen with Lid, late 19th century, the porcelain tureen with cut corners in a rose medallion palette, with gilt accents and a bamboo-form handle on the lid, the reserve depicting courtly beauties in a garden, surrounded by a motif of peonies and butterflies, the interior painted, unmarked, h. 5‑3/4”, w. 9‑1/2”. [500/800] Illustrated 40 47 Chinese Export Mug, 18th/19th century, the mug with a white strap handle, displaying clusters of flowers on a painted white ground, with a diaper pattern along the top rim, unmarked, h. 5‑1/8”, w. 6‑1/4”, including handle. [500/800]

48 George III Mahogany Bookcase Secretary, late 18th century, the molded and dentillated cornice above three astragal-glazed doors, the lower section fitted with a drop-front secretary drawer opening to an inset leather writing surface and a variety of drawers and cubbyholes, over two paneled cupboard doors, raised on a plinth base, h. 83”, w. 47”, d. 22‑1/2”. Provenance: Estate of Lillian Pulitzer Smith, New Orleans, Louisiana. [1400/1800] Illustrated

46 interior

49 George III-Style Mahogany Dining Table, 20th century, the banded ovoid top raised on two pedestals, each with a turned vasiform standard to three splayed legs ending in brass paws, with two 23” leaves, h. 31”, w. 49‑1/2”, l. 97”, extended l. 143”. [500/800]

53 Pair of Queen Anne-Style Mahogany Games Tables, 19th century, each with a banded rectangular top with extended corners, above a frieze fitted with a single long drawer, raised on cabriole legs ending in block feet, h. 29”, w. 32‑1/2”, d. 16”. [1500/2500] 54 George III Mahogany Pembroke Table, late 18th century, the banded rectangular top with rounded ends and with two ovoid like-banded leaves, above a conforming frieze fitted with a single end drawer, raised on tapering square legs, h. 26‑3/4”, w. 30”, l. 20”, extended l. 39”. [700/1000] Illustrated

50 Alexander MacLean (British, 1867‑1940), “The Meadow Stream”, oil on panel, signed lower right, 24” x 18”. Framed. Provenance: Hollywood Road Gallery, London, England. [600/900] Illustrated 51 Octavius Thomas Clark (British, 1851‑1918), “River Landscape with Cottages”, oil on canvas, signed lower left “O. T. Clark”, 30” x 40”. Presented in a period giltwood and gesso frame. [600/900] 52 George III Mahogany Sideboard, late 18th century, the shaped and bowed top banded and above a conforming case fitted with a central drawer, flanked to one side by a drawer over a deeper drawer and to the other side by a cupboard door, faced as two drawers, raised on tapering square legs ending in spade feet, the whole accented with decorative inlays in scrolling foliate and patera patterns, h. 37”, w. 72”, d. 25‑1/2”. Provenance: Estate of Lillian Pulitzer Smith, New Orleans, Louisiana. [1400/1800] Illustrated

57 Chinese Export Famille Rose Porcelain Lavabo, fourth quarter 18th century, decorated with panels depicting pots of peonies on a gilt and red figured ground, the lobed bowl and lobed conforming cover with a foo dog knop, cistern, h. 20”, w. 11‑1/4”, d. 9‑1/4”, bowl, h. 7‑3/4”, w. 16”, d. 8‑1/2”. [700/1000] Illustrated

58 Chinese Export Mug, late 18th century, the barrelshaped mug with strap handle and reserves depicting figures in a garden setting, h. 4‑7/8”, w. 5‑1/4”, including handle. [600/900] Illustrated

55 Pair of Chinese Rose Medallion Vases, Qing Dynasty (1644‑1911), the vases with reserves depicting arrangements of birds, flowers and idyllic scenes of court life, each vase featuring a pair of gilt lugs, the undersides bearing apocryphal Qianlong reign marks in red, h. 18‑7/8”, w. 9‑1/2”. [900/1200]

59 Two Chinese Export Porcelain Dishes, 18th/19th century, the dishes with ornate borders interrupted by panels containing landscape scenes, each with a domestic scene of figures in an idyllic garden, unmarked, dia. 9‑1/4”. [450/700] Illustrated

56 Near Pair of Chinese Rose Medallion Vases, Qing Dynasty (1644‑1911), the two large baluster vases with gilt foo dog/lion cubs and salamanders, the reserves depicting court scenes and arrangements of birds and flowers, the underside of each vase with a Qianlong (1735‑1795) reign mark, displayed on wooden stands, the tallest, h. 49”, w. 15”, with stand, h. 36”, without stand. [2000/4000] Illustrated

60 Rare George II Three-Piece Sterling Silver Tea Caddy Set, hallmarked London, 1741‑1742, by Christian Hillan, including a pair of inverted pear-shaped tea canisters, h. 5‑3/4”, dia. 3‑1/2”, and a bulbous oval covered sugar box en suite, h. 5”, l. 4‑1/2”, d. 3‑1/2”, all decorated with a chased floral rococo band centering a heart-shaped cartouche and above a gadrooned calyx, the fitted lids with applied shell finial, engraved on the cartouches with an armorial (Cawsse? or Bonigham? quartering Dolman) opposing a crest of a demi-lion rampant, engraved on the underside “Mae C. Plant / 1917”, 20.70 total t. oz. Provenance: Mae Caldwell Rovensky (1878‑1956). [6000/9000] Illustrated Very little is known about the silversmith Christian Hillan: there is no record of his birth, freedom or death. His first mark was entered in 1736, and he is known to have vacated his shop in 1742, when it was taken over by William Cripps. All of Hillan’s silver seems to be hallmarked within this scant six years. Some suppose a Northern European origin for him, and this seems likely given the Scandinavian flavor of his distinctive chase work. Only the matrilineal side (i.e. second and third quarters) of the arms here can be identified with some confidence, being those of Dolman of Shaw House, Berkshire, but the inscribed owner’s name is another matter entirely. Mae “Masie” Caldwell was born in March, 1878 in Wethersfield, Connecticut, and by 1910 had married Seldon B. Manwaring (1874‑1921), owner of the Oswagatchie Hotel in Waterford. There, she worked as a waitress and bartender, in which capacity her Lillian Russell-esque beauty did not escape the attention of the newly-widowed railroad and steamship magnate Morton Freeman Plant (1852‑1918). Mae divorced her husband (who was reputedly paid $8 million) and married Plant, thirty years her senior, on June 16, 1914. The couple lived at Plant’s Manhattan “Millionaire’s Row” home at 5th Avenue and

52nd Street, which Plant had built on a lot purchased in 1905 from William K. Vanderbilt. Masie acclimated quite well to her new life, amassing an impressive collection of art, antiques and jewelry. By the advent of World War I, the neighborhood was changing, as hotels and shops opened and wealthy residents moved northward. Plant followed suit, beginning construction on a new mansion at 5th Avenue and 86th Street. Famously, he sold the 52nd street home to Pierre Cartier for the sum of $100 and - for Masie - a double strand of natural oriental pearls priced at $1.5 million, equivalent to about $16 million today. (The sale took place in 1917 - the same year Masie acquired the present lot.) Plant died the following year, leaving his wife an estate of around $32 million. In 1919 she married William Hayward (1877‑1944), former commander of the “Harlem Hellfighters” during World War I and then-current District Attorney for southern New York, and in 1928 the couple purchased the Newport, Rhode Island mansion Clarendon Court. Hayward died in 1944 and Masie married a fourth time, to the president of the American Car and Foundry Company, John E. Rovensky (1880‑1970). She died on July 22, 1956, and the Parke-Bernet sale of her estate the following year was a major event, covered by Time, Life and the New York Times. A copy of the sale catalogue accompanies this lot, which is listed in Part Two, January 26, 1957, lot 540: “George II Repousse Silver Covered Sugar Bowl and Pair Teapoys”. The sale totaled $2.38 million, although her famous pearls - drastically de-valued by the proliferation of cultured pearls - brought a mere $150,000. Her Manhattan mansion was replaced by a large co-op complex in 1960, and Clarendon Court (where the musical High Society was filmed) was purchased after John Rovensky’s death in 1970 by another famous society couple: Claus and Sunny von Bulow. The building at 5th Avenue and 52nd street remains, to the present day, Maison Cartier.

61 George II Sterling Silver Mug, hallmarked London, 1750‑1751, by Richard Gurney & Thomas Cook, of traditional baluster form with crested double-scroll handle, with later Victorian repousse decoration of a stag hunt, the interior gilt, h. 4‑3/4”, dia. 3‑3/4”, 13.11 t. oz.. [500/800] Illustrated 62 George III Sterling Silver Hot Water Urn, hallmarked London, 1773‑1774, by William Holmes and Nicholas Dumee (active 1773‑1776), in the neoclassical taste, the urn-form body decorated with a fluted band segmented with floral paterae above swag-draped mascarons, with tall waisted collar, pyriform finial and squared handles, all above a plinth base en suite, the shoulder engraved with a crest of a lion passant guardant, h. 20‑1/4”, w. 12”, d. 11‑1/4”, 109.57 t. oz. [8000/12000] Illustrated

66 63

65 George III Irish Sterling Silver Sugar Basket, hallmarked Dublin, 1797, the maker’s mark rubbed but probably Joseph Laughlin, Jr., of navette form, with upswept fluted ends, decorated with engraved floral paterae and wrigglework banding, raised on a waisted stem above a conforming foot, with conforming reeded strap handle, h. 5‑3/4” (8‑1/2” with handle), l. 7‑1/4”, w. 5‑1/4”, 8.35 t. oz. [1200/1800] Illustrated 66 George III Irish Sterling Silver Teapot Stand, hallmarked Dublin, 1800, by Daniel Eagan, of navette form, with molded rim and raised on four threaded spatulate feet, the plateau engraved with a pricked and hatched band, centering a rubbed crest, l. 8”, w. 5‑1/2”, 6.75 t. oz. [800/1200] Illustrated

67 Pair of George III Sterling Silver Waiters, hallmarked London, 1777‑1778, by John Crouch & Thomas Hannam, each of circular form, the reticulated rim decorated with alternating ram’s masques and urns joined by swags, raised on three feet en suite, engraved on the plateau with a crest of an estoile between two wings displayed, dia. 8‑1/4”, 28.67 total t. oz. [2500/4000] Illustrated 68 George III Sterling Silver Covered Sugar Bowl, hallmarked London, 1792‑1793, by John Robins (free 1771; d. 1831), in the neoclassical taste, the urn-form body of oval section and with bright-cut and wrigglework leaf banding and applied reeded rim, with conforming foot and steeply waisted fitted lid, the body engraved with navette cartouches, one with a crest of an escallop, h. 8‑1/2”, w. 5‑1/4”, d. 4‑1/4”, 15.04 t. oz. [1200/1800] Illustrated

63 Pair of George III Irish Sterling Silver Sauceboats, hallmarked Dublin, 1773, by William Hughes (ca. 1743‑1791; free 1767), each of bulbous oval form with everted spout, gadrooned rim, acanthus-crested scroll handle and three shell-crested pad-and-scroll feet, h. 4‑1/2”, l. 8”, w. 4”, 23.98 total t. oz. [3000/5000] Illustrated William Hughes is one of the few Irish silversmiths whose career can be shown to cross the Atlantic. Apprenticed in 1758 to John Moore, he was made a freeman of the Dublin Goldsmith’s company in 1767. He last appears in Irish records in 1784, and the following year an advertisement in the Baltimore Maryland Journal appeared announcing that “William Hughes, Goldsmith, Lately from Dublin . . . has been regularly bred to the Business and followed it upwards of 17 years in the city of Dublin”. Hughes continued to work for another seven years in Baltimore until his death on October 26, 1791. 64 George III Irish Sterling Silver Two-Handled Cup, hallmarked Dublin, 1773, by Matthew West (1747‑1806), of traditional form with molded banding and acanthuscrested handles, engraved with the arms of Basset or Kirby opposing a monogram “WN”, h. 6‑3/4”, dia. 5”, w. 9‑1/2”, 22.12 t. oz. [2500/4000] Illustrated

69 Set of Six George III Sterling Silver Bateman Family Tablespoons, hallmarked London, 1792‑1793, by Peter & Ann Bateman, in the traditional “Old English” pattern, with bright-cut decoration, monogrammed “IN”, l. 8‑3/4”, 12.66 total t. oz. [800/1200] Illustrated

70 George III Sterling Silver Salver, fourth quarter 18th century, by “I*L”, of circular form with gadrooned serpentine rim and applied scroll feet, engraved with an elaborate rocaille-mantled armorial, dia. 16”, 64.62 t. oz. [6000/9000] Illustrated

73 Pair of Matthew Boulton Old Sheffield Plate Hurricane Candelabra, first quarter 19th century, Birmingham, each with a tapering standard stopgadrooned and surmounted by an urn-form nozzle into which fits the superstructure of a shorter standard surmounted by a flammiform finial and flanked by reeded scrolling arms, both terminating in a shade nozzle en suite, fitted with later glass hurricane shades acid-etched with French Revolutionary trophees (one shade a plain glass replacement; all candlesockets lacking), the whole raised on a gadroon-domed cavetto circular foot, h. 30”, w. 19‑3/4”. [450/700]

The maker of this handsome salver is an elusive mystery. Grimwade notes a pair of ewers with this maker’s mark and which - like this salver - are also incompletely marked. He suggests a provincial origin, but also seems to accept what other sources note: that the quality of this maker’s work is on a par with the most competent of the London makers. The armorial here only adds to the mystery; while exceptionally well-engraved and seemingly showing a broad knowledge of blazonry, it appears to be entirely spurious. 71 Late George III Sterling Silver Meat Platter, hallmarked London, 1803‑1804, by Thomas Ellerton & Richard Sibley (active November 1803‑March 1805), of circular form, with gadrooned rim quartered by shell-andscroll and cabochon motifs, the rim engraved with the arms and opposing crest of Baker of Salisbury or Sussex, dia. 14‑1/2”, 45.78 t. oz. [4000/7000] 72 Monumental Matthew Boulton Old Sheffield Plate Candelabrum, first quarter 19th century, Birmingham, the tapering standard stopgadrooned and surmounted by an urn-form candle nozzle into which fits the superstructure of a shorter standard (detached but present) surrounded by four reeded scrolling arms, all terminating in a candle nozzle en suite, the whole raised on a gadroon-domed, stepped circular foot, h. 32‑1/4”, w. 24‑3/4”, d. 18”. [500/800] Illustrated

74 Associated Old Sheffield Plate Meat Dome and Platter, second quarter 19th century, the dome by Walker, Knowles & Co., Sheffield, quartered by serpentine fluting and with beaded banding, engraved with a badge of a goat passant and the gartered Ovidian motto “Cuspide Temperat Undas”, the platter unidentified, with gadrooned rim, acanthus handles and feet, and well-and-tree platter above a hot water reservoir, overall, h. 16”, l. 26”, w. 17‑3/4”. [800/1200] Illustrated 75 Fine Old Sheffield Plate Tray, second quarter 19th century, of rectangular form, with elaborate rocaille rim and opposing handles, the plateau flat-chased with floral scrolls on a matte ground centering the arms of PhillipsonAppleyard impaling another, l. 36‑1/4”, w. 24‑3/4”, fitted into a later ebonized wooden stand, h. 21‑1/2”. [1500/2500] Illustrated

76 William IV Scottish Sterling Silver Fish Slice, hallmarked Glasgow, 1833‑1834, by George White, in the traditional “Fiddle” pattern, the scimitar-shaped blade with pierced and wrigglework fish, monogrammed “S”, l. 11‑3/4”, 4.82 t. oz. [500/800]

77 Fine Victorian Cased Seven-Piece Sterling Silver Dessert Service, hallmarked London, 1889‑1890, by Wakely & Wheeler, retailed by George Edward & Sons, including four berry spoons, l. 9”, a sugar spoon, l. 6‑3/4”, a sugar sifter, l. 6‑3/4”, and grape shears, l. 7‑3/4”, each with an elaborately chased and pierced cast floral rococo-style handle, the berry spoons with ovoid bowls with repousse decoration en suite, the sugar spoons with coquille bowls, 20.25 total t. oz., presented in the original fitted shield-shaped, plum velvet- and satin-lined case, 11” x 14”. [500/800] Illustrated 78 Victorian Sterling Silver-Mounted Cut Glass Claret Jug, hallmarked London, 1895‑1896, by Charles Boynton, Jr. (1829‑1899; free 1853), with a cylindrical cane-cut glass body with broadly-flared base; the silver collar mounted with an intricately embossed silver “vintage” motif collar with Bacchus masques, the hinged lid with figural rampant lion and shield finial, h. 11”, dia. 5‑3/8”, l. 7‑1/4”. [1000/1500] Illustrated 75

82 Good George V Cased Twenty-Four-Piece Sterling Silver Dessert Service, hallmarked London, 1926‑1927, by the Goldsmiths and Silversmiths Co. Ltd., comprising twelve threetined dessert forks, l. 7”, and twelve scimitarbladed dessert knives, l. 7‑3/4”, with filled, beveled pistol-grip handles and sterling tines/blades, presented in the original indigo velvet- and cream satin-lined fitted mahogany case with lift-out tray, 2‑1/2” x 13‑1/2” x 10‑1/2”. [1500/2500]

79 Pair of Victorian Sterling Silver Candlesticks, hallmarked London, 1883‑1884, by John Aldwinkle and James Slater (active March 1880‑August 1884), in the neoclassical taste, each with a tapering square columnar standard decorated with patera, bellflowers and annulated banding, above a conforming cavetto-domed foot decorated en suite and terminating in an urn-form nozzle gadrooned on the lower half and decorated en suite, with a detachable circular annulated bobeche, h. 11”, w. 4‑1/4”, weighted. [2500/4000] Illustrated

83 Oak and Silverplate Double Serving Trolley, contemporary, Royal Castle, Sheffield, in the Napoleon III taste, the intricately carved oak base of rectangular form with rounded ends, above a conforming frieze raised on four toupie legs joined by curved stretchers to a vasiform finial, fitted with a pair of hemispherical silverplate revolving serving domes, each opening to a removable platter above a hot water reservoir and burner, with silverplate gallery, handles and detachable plate rings, the whole raised on casters, cart, h. 32” (overall 41”), l. 55”, w. 25‑1/2”. [3000/5000] Illustrated

80 Four-Section Silverplate Plateau, first half 20th century, probably English, of rounded rectangular form, the rosette-banded edge below an openwork “vintage” ovolo gallery, raised on scrolled acanthus feet, each section with a conforming mirrored plate, overall, l. 65‑1/2”, w. 18”. [3000/5000] Illustrated 81 George V Sterling Silver Ladle, hallmarked London, 1912‑1913, by Brewis & Co., retailed by Weir & Sons, Dublin, in the traditional “Old English Pointed” pattern, with bright-cut engraving and a crest of a unicorn’s head couped, l. 13‑1/4”, 10.35 t. oz. [500/800]

87 Pair of French Belle Epoque Bronze TwoLight Sconces, ca. 1900, in the Louis XV taste, with leaf-molded backplates and matching candle branches, cups and drip pans, h. 18”, w. 13‑1/4”, d. 10”. [500/800]

84 84 French Handwoven Millefleur Tapestry, 18th century, depicting a lush garden landscape of flowers and lush greenery, a chateau in the background, 83” x 82”. [3000/5000] Illustrated 85 Regence Kingwood and Marble-Top Commode, 18th century, the bowed and shaped rectangular top above a conforming bombe case fitted with two upper drawers flanking a small drawer, over two long drawers, all doublebanded and with quarter-veneered panels, raised on splayed feet ending in sabots, h. 34‑1/2”, w. 57‑1/2”, d. 26‑1/2”. [5000/8000] Illustrated 86 Napoleon III Terracotta Figure in the Manner of Francois Boucher (French, 1703‑1770), third quarter 19th century, an allegory for music, depicting two putti, the older holding a lyre in one hand and a torch in the other, allowing the younger one to read a scroll of music, resting on a conforming giltwood base, both figure and base retaining a rich patina, h. 21‑1/2”, w. 16‑3/4”, d. 7‑1/2”. [1200/1800] Illustrated

89 Louis-Philippe Giltwood Overmantel Mirror in the Rococo Taste, third quarter 19th century, in three parts, with a pierced scrolled crest decorated with flowers and shells, appearing to retain its original mirror plates and a rich gold-leaf surface, h. 52‑1/2”, w. 64”. [2500/4000] Illustrated

88 French Belle Epoque Gilt-Bronze Twelve-Light Chandelier, ca. 1900, in the Louis XV style, molded with rocaille work, the vasiform standard holding the candle arms in two tiers, h. 28‑1/2”, dia. 29”. [1500/2500] Illustrated

90 Napoleon III Bronze Figure of a Mother and Two Children, third quarter 19th century, in the Neo-Grec style, the figures dressed in classical costume and possibly representing a goddess and children, h. 13‑1/2”, w. 8‑1/2”, d. 7‑1/4”. [800/1200] Illustrated

91 Louis XV-Style Giltwood and Marble-Top Console Table, mid-19th century, the bowed and shaped variegated marble top above a conforming shell and foliate pierced frieze, raised on scrolling foliate legs joined by a pierced stretcher and ending in scrolled toes, h. 33‑1/2”, w. 48”, d. 25”. [1800/2500] Illustrated

92 Unusual Pair of French Champleve Enamel and Green Alabaster Bud Vases, first quarter 20th century, the vases with enamel bases and trumpet-form necks, with alabaster bodies fitted with engraved crystal inserts, h. 7‑3/4”, w. 2‑1/4”, d. 2‑1/4”. [900/1200] Illustrated 93 Belle Epoque Trumeau Mirror in the Louis XVI Style, fourth quarter 19th century, the painted and parcel-gilt mirror with vertical scrollwork panels and a ribbon and bowknot crest, the upper painting depicting 18th-century figures in a landscape, h. 58”, w. 44”. [2500/4000] Illustrated

94 Napoleon III Giltwood and Verre Eglomise Barometer, third quarter 19th century, the Empire-style cove-molded frame set with an eglomise dial, the crest ornamented with a globe and laurel wreaths, h. 33”, w. 18‑3/4”, d. 3”. [1200/1800] Illustrated

95 Louis XV-Style Giltwood Bergere avec Orielles, late 19th century, the padded and domed back surmounted by a foliate shell crest, joined by padded and shaped sides to the cushioned seat, raised above a shaped foliate-carved frieze on cabriole legs ending in scrolled toes, h. 40”. [600/900] Illustrated

95 97

96 Louis XV-Style Walnut Desk, late 19th century, the rectangular top with an inset leather writing surface and concave front, above a conforming frieze fitted with a central drawer flanked to either side by two small drawers, all banded, raised on cabriole legs ending in sabots, h. 31‑1/2”, w. 51”, d. 25”. [800/1200] Illustrated

97 French Giltwood Mirror in the Louis XV Style, mid-19th century, the rocaille-molded and pierced frame decorated with fruit and flowers, with contrasting gilt and silver gilt, h. 71”, w. 30”. [1500/2500] Illustrated 98 Pair of Louis XIV-Style Giltwood Stools, late 19th century, each with a padded rectangular top raised on paneled tapering square legs headed by carved foliate capitals, joined by a scrolling X-form stretcher and ending in block feet, h. 20”, w. 24”, d. 20”. [800/1200] Illustrated

99 Louis XV-Style Kingwood and Marble-Top Cabinet, late 19th century, the shaped and bowed Breche marble top above a conforming case fitted with two doors, each with ormolu banding and featuring a painted panel of courtiers at leisure, in the manner of vernis Martin, raised on shaped legs ending in sabots, the whole accented with ormolu mounts and millwork, h. 44”, w. 48”, d. 20”. [1200/1800] Illustrated

100 suite of five

100 Five Rococo-Style Giltwood Window Cornices, the serpentine fascia decorated with applied scrollwork and neoclassical profiles, h. 15‑1/2”, w. 61‑1/2”, d. 7‑3/4”. [1400/1800] Illustrated

101

101 Louis XV-Style Mahogany, Kingwood and Marquetry Bureau de Dame, 19th century, the slant-front opening to a leather-lined writing surface and a variety of drawers and cubbyholes, raised on cabriole legs ending in sabots, the whole inlaid in floral marquetry patterns, h. 34”, w. 30”, d. 21”. [2000/4000] Illustrated

102 Set of Twelve Limoges Raised Gilt Service Plates, ca. 1900, decorated with swags of gilt flowers held with bowknots, made and decorated by William Guerin and marked with both manufacturing and decorating marks, dia. 11”. [500/800]

103

104

103 Pair of French Belle Epoque Bronze Sconces in the Baroque Taste, fourth quarter 19th century, each molded backplate with a neoclassical profile portrait crest, and Louis XIV-style scrolled and leaf-molded candle branches, now electrified, h. 23”, w. 17‑1/4”, d. 15‑3/4”. [1000/1500] Illustrated

107 104 Napoleon III Giltwood Mirror, third quarter 19th century, the domed plate surmounted by a latticemodeled backpiece and shell and foliate crest, surrounded by an annulated shell- and foliate-modeled frame, h. 71”, w. 50‑1/2”. [1000/1500] Illustrated 105 Suite of Six Louis XV-Style Polychrome Sidechairs, mid-20th century, each with a tall domed and padded back above the padded seat, raised on molded cabriole legs ending in scrolled toes, h. 43”. [1000/1500]

106

106 French Belle Epoque Gilt and White Porcelain Partial Dinner Service, fourth quarter 19th century, the blanks produced by Delinieres & Col, Limoges, decorated by Mansard, Paris, one piece marked by each firm, and decorated with a gilt “FH” picked out in red.Additional information available on our website. [800/1200] Illustrated

107 Set of Eleven Heinrich and Company Raised Gilt Service Plates, ca. 1930‑1939, Bavarian, with elaborate raised gilt borders employing Greek-key and leaf patterns, each with the Heinrich mark for the period, dia. 10‑3/4”. [700/1000] Illustrated

109

108

108 Pair of Napoleon III Marble and Gilt-Bronze Candlesticks, third quarter 19th century, in the Directoire style, now mounted as lamps, with fluted white marble column-form bases set with vasiform candle cups with winged caryatid “handles” and leaf molding, candle, h. 10”, overall, h. 14‑1/4”, dia. 3‑1/2”. [800/1200] Illustrated

109 Louis XVI-Style Giltwood Porter’s Chair, early 20th century, of traditional form, the padded hood and shaped back and sides within a foliate berry-carved frame with a floral crest, joined to the cushioned seat by padded and scrolling arms, raised on fluted tapering circular legs ending in toupie feet, h. 66”. 110 [1000/1500] Illustrated

110 Suite of Six Louis XVIStyle Giltwood Sidechairs, early 20th century, each with a padded rectangular back surmounted by a shield and foliate crest, flanked by fluted foliate-carved pilasters, the padded seat raised on stopfluted tapering circular legs ending in toupie feet, h. 39”. [600/900] Illustrated

111

113 Louis XV Kingwood and Marble-Top Commode, late 18th century, the shaped Breche d’Alep marble top above a conforming bombe case fitted with two long drawers with a parquetryinlaid panel, raised on splayed legs ending in sabots, h. 34”, w. 50‑1/2”, d. 23‑1/2”. [4500/7000] Illustrated 114 Pair of Louis XVI-Style Polychrome Fauteuils, each with a padded and domed rectangular back surmounted by a ribbon crest, joined by padded arms to the like seat, raised on fluted tapering circular legs ending in toupie feet, h. 41”. [600/900]

112

115 111 Belle Epoque Gilt-Bronze Twenty-TwoLight Chandelier, first quarter 20th century, in the transitional Louis XIV-into-Louis XV style, and mounted with candle branches on three tiers and decorated with rocaille, h. 33”, dia. 34”. [1500/2500] Illustrated 112 Pair of Napoleon III Bronze Six-Light Candelabra, in the Louis XVI style, on fluted standards with scroll-molded arms and leaf-molded bobeches and candle cups, h. 24‑1/4”, dia. 12‑1/4”. [1000/1500] Illustrated

113

115 Continental School (20th Century), “Cat and Bird”, 1929, oil on board, signed “Enrico” and dated lower right, 38” x 27‑1/2”. Framed. [1500/2500] Illustrated 116 French Belle Epoque Giltwood Mirror in the Louis XVI Style, fourth quarter 19th century, the leaf-molded frame crowned with a pierced crest of crossed arrows and a torch held by a bowknot, h. 64‑3/4”, w. 38‑1/2”. [1000/1500] Illustrated

116

117 Pair of Franco-Bohemian Hand-Painted Porcelain Garniture Vases, third quarter 19th century, now mounted as lamps, decorated with gilt scrollwork and ram’s head handles, the reserve panels decorated with hand-painted flowers, vase, h. 14”, overall, h. 26‑1/4”, dia. 6”. [500/800]

119

118

118 Pair of Louis XV-Style Creme-Peinte and Parcel-Gilt Bergeres, late 19th century, each with a domed and padded back surmounted by a floral crest, joined by padded arms to the cushioned seat, raised on molded cabriole legs headed by foliate carving and ending in like toes, h. 39”. [1500/2500] Illustrated 119 Transitional Louis XV-into-Louis XVI-Style Kingwood and MarbleTop Cabinet, late 19th century, the rectangular marble top within a threequarter brass gallery, above a case fitted with two tambour doors opening to various cubbyholes and four small drawers, with a single long drawer and two like tambour cupboards below, opening to a compartmented interior, the whole with decorative chevron veneers and raised on shaped legs to sabots, h. 47‑1/4”, w. 40”, d. 16‑1/2”. [2000/4000] Illustrated

120 Suite of Four Louis XVI-Style Giltwood Fauteuils, early 20th century, comprised of two armchairs and two sidechairs, each with a padded medallion back within a molded frame with ribbon crest, joined by padded arms to the like seat, raised on fluted tapering circular legs ending in toupie feet, h. 38”. [700/1000] Illustrated

122

121

121 Rare Paris Porcelain and Bronze Garniture Urn, mid-19th century, now mounted as a lamp, with pierced bronze base supports, the pink-ground urn with a leaf-molded bronze mount and hand-painted polychrome reserve panels depicting “Paul et Virginie”, framed in richlydetailed scrolled gilt with red tooling, the unusual handles in the form of dragonheaded serpents grasping melons, urn, h. 23‑1/4”, overall, h. 29‑1/4”, dia. 7”. [1000/1500] Illustrated

122 Paris Porcelain Coffeepot with Six Matching Cups and Saucers, second quarter 19th century, including a vasiform coffeepot, h. 11‑1/2”, six cups, h. 4”, and six saucers, dia. 5”, all decorated with mauve ground borders and tooled gilt decoration. [800/1200] Illustrated 123 Carl Thieme Porcelain Figure of a Pug, ca. 1901‑1903, Potschappel, Germany, handpainted with a gilt collar, marked with Thieme’s intertwined initials and “Dresden”, h. 7”, w. 6‑1/4”, d. 4‑1/4”. [500/800]

120

124

124 Louis XVI Polychrome and Marble-Top Side Table, late 18th century and later, the bowed marble top with projecting corners above a conforming pierced frieze, raised on fluted tapering circular legs joined by an X-form stretcher and ending in foliate toes, h. 35”, w. 37”, d. 18‑1/2”. [500/800] Illustrated 125 Unusual French Hand-Painted Porcelain FanForm Box, first quarter 20th century, probably Limoges, decorated with panels of flowers on a yellow ground, the hinged cover mounts on a brass bezel, unmarked, h. 4‑3/4”, w. 14‑1/2”, d. 13”. [600/900]

128 126 126 Alfred Pollentine (British, 1836‑1890), “Grand Canal, Venice”, oil on canvas, signed lower right, signed and titled en verso canvas, 16” x 24‑1/2”. In a fine antique gesso and carved wood frame. [2000/4000] Illustrated 127 Louis XV-Style Polychromed Settee, of box form, the shaped and padded back and sides surmounted by a floralcarved crest, the cushioned seat raised on shaped molded legs headed by floral carving and ending in scrolled toes, h. 37”, w. 82”, d. 35”. [1500/2500] Illustrated 128 Pair of Louis XVI-Style Giltwood Oval Mirrors, second quarter 20th century, the molded frames ornamented with a pierced wreath and ribbon crest, an anthemion on the bottom, h. 23‑1/4”, w. 12‑3/4”. [500/800] Illustrated

127 129 Louis XVI Polychrome Fauteuil, late 18th century, the padded medallion back within a molded frame, joined by padded arms to the like seat, raised on fluted tapering circular legs ending in toupie feet, h. 32‑1/2”. Provenance: Marie Bevilacqua & Co., New York, New York. [600/900] Illustrated following page

130 Pair of Hand-Painted Limoges Porcelain Verrieres, second quarter 20th century, in the Louis XV style, decorated with flower swags and celadon and gilt borders, marked “Porcelaine de Paris, France”, with crossed arrows, and the “Marcel Bloch” firm, h. 5‑3/4”, w. 12‑1/4”, d. 6‑1/2”. [600/900] Illustrated

130

131 Pair of Jacob Petit, Paris, Porcelain Covered Potpourri Vases, mid19th century, the urn-form bases decorated with beautifully-painted reserve panels of flowers on a green ground, trimmed in raised gilt, with a shellmolded border neck, and bird knops on pierced covers, signed “J.P.” in underglaze blue, h. 5‑1/2”, dia. 3‑3/4”. [800/1200] Illustrated

131

132 Transitional Louis XV-into-Louis XVI-Style Kingwood Writing Table, early 20th century, the ovoid top with a sunburst inlay and within a three-quarter pierced brass gallery, above a conforming ormolu-applied frieze fitted with a single drawer, raised on shaped legs ending in sabots, h. 30”, w. 35”, d. 23‑1/2”. [500/800] Illustrated

129

132

133 Jean Dufy (French, 1884‑1964), “Promenade au Bois de Boulogne”, oil on canvas, signed lower right “Jean Dufy”, 14‑3/4” x 18”. Presented in a giltwood exhibition frame. To be included in the forthcoming Jean Dufy Catalogue Raisonne, being prepared by Jacques Bailly. [30000/50000] Illustrated

134 French School (Second Quarter 20th Century), “At the Race Track”, ink, gouache and watercolor on Arches paper, indistinctively signed lower right, sheet 21‑7/8” x 29‑3/4”. Glazed and framed. Provenance: Estate of Lillian Pulitzer Smith, New Orleans, Louisiana. [500/800] Illustrated 135 Pierre Anfosso (French, 20th Century), “Plage”, oil on canvas, signed lower left, titled en verso canvas, 25‑1/2” x 21”. Framed. Provenance: Estate of Lillian Pulitzer Smith, New Orleans, Louisiana. [700/1000] Illustrated 136 Antonio Garcia-Morales (Spanish, b. 1910), “Woman with Flowers”, oil on canvas, signed lower left, 32” x 26”. Framed. [700/1000] Illustrated

135

134

136 137 Louis Basset (French, b. 1948), “Market Day”, oil on board, signed lower right, 11‑1/2” x 16”. Framed. [700/1000] Illustrated 138 Herbert Otto Fiedler (Dutch, 1891‑1962), “Country Landscape with Figure by a River”, oil on canvas, signed lower left “Fiedler”, 24” x 20”. Provenance: Estate of Lillian Pulitzer Smith, New Orleans, Louisiana. [700/1000]

137

139 Charles Henri Verbrugghe (German, 1877‑1974), “Le Moulin”, oil on canvas, signed lower, 18” x 22‑1/2”. Framed. [500/800] 140 Niek van der Plas (Dutch, b. 1954), “Summer Day, Venice”, oil on canvas, signed lower right and en verso, 9” x 11‑1/2”. Framed. [1000/1500] Illustrated 141 Eitel (Jacques Eitelwein, French, b. 1926), “Beach Huts”, oil on canvas, signed lower right, 23” x 36”. Framed. [700/1000] Illustrated

143

142

140 142 Olivier Foss (French, 1920‑2002), “Parisian Street Scene”, oil on canvas, signed upper left, 18” x 21‑3/4”. Framed. [800/1200] Illustrated 143 Andre Gisson (French, 1928‑2003), “Book Sellers Along the Seine, Paris”, oil on canvas, signed lower left, 24” x 30”. Framed. [4000/7000] Illustrated 144 Rene Rambert (French, 19th/20th Century), “Rainy Evening, Paris”, oil on panel, signed lower right, 24” x 19‑3/4”. Framed. [500/800]

141

Collection of 18th and 19th Century Chinese Export Porcelain from the Estate of

145

Lillian Pulitzer Smith, New Orleans, Louisiana Previously on loan to the New Orleans Museum of Art 145 Pair of Chinese Export Armorial Ice Cream/ Fruit Coolers with Mandarin Decoration, first quarter 19th century, the round reserve panels on both the obverse and reverse, and the covers, with mandarin decoration, the famille rose borders decorated with peonies, moths and butterflies, the underside of both the coolers and the covers with the crest of Watkins (a cubit arm, erect, the hand grasping a tilting spear in bend sinister, proper), each on a wooden display stand, h. 10‑3/4”, dia. 8”, without stand. [1200/1800] Illustrated

147

146 Chinese Export Punch Bowl on Stand, fourth quarter 18th century, Qianlong period (1736‑1795), the famille rose bowl with panels of Mandarin, alternating with panels of pink peonies, the interior with a lancet border, one reserve depicting a small boys, often associated with luck and harmony, playing in an orchard, the other shows the same children as adults cutting down the same tree, on a pierced wooden stand, h. 4‑1/4”, dia. 10‑1/4”. [450/700] Illustrated

148

147 Famille Rose Soup Tureen and Underplate, third quarter 18th century, Qianlong period (1736‑1795), decorated with peonies and tulips, possibly for the French market, with gilt boar’s head handles and a foo dog knop, finished with a gilt lancet border, each piece monogrammed with complex intertwining initials, possibly commemorating a marriage, h. 9”, w. 14”, d. 10”. [700/1000] Illustrated

146

151 Chinese Export Punch Pot on Stand, Qianlong period (1736‑1795), decorated with panels of Mandarin figures on a gilt scrolled ground, and having a plum-form knop, displayed on a hardwood stand, h. 8‑3/4”, w. 12”, dia. 6‑3/4”, without stand. [450/700] Illustrated 152 Three-Piece Collection of Chinese Export Mandarin Pattern Tea Wares, ca. 1800, including a thinly potted saucer with an erotic scene, dia. 4‑3/4”, a drum-form teapot, decorated with scenic panels on a pink diapered ground, h. 4‑3/4”, and a sparrow-beak cream jug with carefully-painted details, h. 9‑1/4”. [400/700]

150

153 Chinese Porcelain Cachepot, 19th/20th century, the butterfly-form cachepot with depictions of the eight immortals in a garden with bamboo railings and scholar’s rocks, the upper rim adorned with a blue scrolling floral motif, two small drilled holes in the underside, resting on a custom carved wooden stand, h. 6‑1/4”, w. 11”, d. 7‑1/4”, without stand. [400/700]

148 Assembled Pair of Chinese Export Covered Garniture Vases, Qianlong period (1736‑1795), fourth quarter 18th century, the baluster-form vases decorated with figures at a seafront pavilion, the domed covers with foo dog finials, on hardwood bases, h. 12‑1/2”, dia. 3‑3/4”, without stand. [450/700] Illustrated

151

149 Three Pieces of Chinese Export Porcelain, fourth quarter 18th century, all with Mandarin decoration, including a teapot with a plum-form knop, h. 5‑1/2”, w. 8‑3/4”, dia. 4‑1/4”, a round dish with a famille rose border, dia. 10”, and a baluster-form tea caddy on a scrollmolded base, h. 4”, dia. 2‑1/2”. [400/700] 150 Chinese Export Mandarin Pattern Punch Bowl on Stand, fourth quarter 18th century, Qianlong period (1736‑1795), decorated with panels of figures on a giltdecorated ground, the rim of the bowl with a gilt lancet border, a Buddha’s hand decorates the bottom, displayed on a hardwood stand, h. 4‑1/2”, dia. 11‑1/4”, without stand. [400/700] Illustrated

154

154 Chinese Export Famille Rose Soup Tureen and Underplate, fourth quarter 18th century, with boar’s head handles and a scrolled knop on the tureen, a delicate bamboo border on the tureen and underplate, h. 9‑1/4”, d. 11”, l. 14‑3/4”. Provenance: Elinor Gordon, Villanova, Pennsylvania. [600/900] Illustrated 155 Three-Piece Collection of Chinese Famille Rose Tea Ware, fourth quarter 18th century, including a cream jug decorated with a basket of flowers, h. 5‑3/4”, dia. 4‑3/4”, a dessert plate with a central flower panel, dia. 9”, and a waste bowl decorated with panels of flowers, on a carved wooden stand, h. 3‑1/4”, dia. 7‑3/4”. [400/700]

156 160 Dutch Mahogany and Marquetry Settee, mid19th century, the shaped and padded back surmounted by a conforming crest, joined by outswept arms to the padded seat, raised on outswept scrolled feet, the whole with foliate and floral scrolling marquetry inlays, h. 36”, w. 76”, d. 26”. [1200/1800] Illustrated

156 Three-Piece Collection of Barnard Family Chinese Export Dessert Service Dishes, ca. 1800, with “Rockefeller” or “palace ware” decoration of Mandarin figures in a brown diapered border, decorated with the Barnard bear crest, and brown scenic panels in the borders, comprising a pair of dessert plates, dia. 7‑3/4”, and a lobed dish, h. 8‑1/4”, l. 10”, a black “CAB” monogram on the back of each, displayed on wooden stands. [400/700] Illustrated

157

157 Chinese Export Gublet and Clobbered Dish, fourth quarter 18th century, the gublet with Mandarin decoration, h. 9‑3/4”, dia. 4‑1/4”, and the willow pattern blue-and-white clobbered dish with green and orange enamels, dia. 9‑1/2”. [450/700] Illustrated 158 Two Chinese Export Porcelain Bowls, fourth quarter 18th century, Qianlong period (1736‑1795), including a waste bowl with figural decoration in orange scrolled panels, on a conforming carved wooden stand, h. 3”, dia. 7”, without stand, and a tea bowl with figural panels alternating with orange and grisaille floral details, h. 1‑1/2”, dia. 3”. [400/700] 159 Dutch Walnut and Marquetry Secretary, 19th century, the molded and double-domed cornice above two doors, each inset with a domed beveled mirror plate, over two pull-out candle slides, over a slant-front opening to a baize-lined writing surface, a storage well and a variety of drawers and cubbyholes surrounding a central cupboard over a kettle-form base fitted with three graduated long drawers, raised on splayed paw feet, the whole with elaborate marquetry inlays, h. 84”, w. 46”, d. 25”. [1800/2500] Illustrated

160

159

161 Dutch Mahogany and Marquetry Bureau, 19th century, of bombe form, the slant-front opening to an interior fitted with a variety of drawers and cubbyholes surrounding a central cupboard, above a single long drawer, raised on cabriole legs, the whole richly inlaid with scrolling foliate marquetry patterns, h. 41”, w. 35”, d. 19‑1/4”. [700/1000] Illustrated 162 Pair of Cut, Enameled and Gilded Amber Glass Decanters, mid-20th century, in the “Hollywood Regency” style, the enamel decoration depicting a couple in 18th-century costume in an Arcadian landscape, h. 31”, dia. 6”. [1500/2500] 163 Franz von Defregger (German, 1835‑1921), “Portrait of a Young Girl”, oil on panel, signed and dated upper left “Defregger 89”, 10” x 7‑3/4”. Presented in a handsome, period giltwood and gesso frame. [5000/8000] Illustrated

161

164 Simeon Buchbinder (Polish, 1853‑1908), “Man Wearing a Ushanka, Smoking a Pipe”, oil on panel, signed lower center, 3‑1/2” x 3”. Glazed and presented in a period incised and molded giltwood and gesso frame within a velvet liner affixed with artist plaque. [800/1200] Illustrated following page

163

165 Dutch Walnut and Ebonized Center Table, early 19th century and later, the rectangular top centered by a banded oval panel and with floral-inlaid corner panels, above a frieze fitted with a single drawer, raised on paneled tapering circular legs joined by a shaped H-form stretcher and ending in bun feet, h. 30”, w. 37‑1/2”, d. 25‑1/2”. [1800/2500] Illustrated

166 Venetian-Style Beveled, Etched and Cut Glass Octagonal Mirror, the central beveled plate framed by cut foliate scroll and banded plates, h. 52”, w. 42‑1/4”. [600/900] 168

167 Venetian-Style Beveled, Etched and Cut Glass Octagonal Mirror, the central beveled plate framed by cut foliate scroll and banded plates, h. 52”, w. 42‑1/4”. [600/900] 168 Gilt-Metal and Crystal Twelve-Light Chandelier, first quarter 20th century, in the neoclassical style, the basket-form chandelier hung with swags of drops and set with candle arms in two tiers, h. 43”, dia. 35”. [2000/4000] Illustrated

169 Dutch Walnut and Marquetry Settee, first quarter 19th century, the padded back surmounted by a shaped crest centered by a finely-inlaid eagle among scrolling foliate patterns, joined by outswept arms to the padded seat, raised above a plain frieze on outscrolled feet, the whole finely inlaid with intricate scrolling foliate patterns, h. 40‑1/2”, w. 81”, d. 26‑1/2”. [700/1000] Illustrated 170

165 164

169

171 Italian Polychrome and Marble-Top Credenza, late 18th century and later, the thick shaped and bowed marble top above a conforming case fitted with two cupboard doors, the front and sides with decorative polychrome panels, raised on cabriole legs ending in scrolled toes, h. 37‑1/2”, w. 76”, d. 19‑1/2”. [3000/5000]

172 Continental Polychrome and Leather Three-Fold Screen, 19th century, each panel slightly domed and with an oval classical medallion over an elaborate fruit, floral and foliate spray, with side brass tack accents, h. 70‑1/2”, w. 60”. [2000/4000] Illustrated 173 Italian Giltwood and Faux-Marbre Console Table, late 18th century, the rectangular faux ochre marble top of later date, above a bellflower garland and scroll-pierced frieze, raised on molded and exaggerated cabriole legs, joined by a foliate stretcher and ending in like-carved scrolled toes, 32‑1/2”, w. 54”, d. 26‑1/2”. [4000/7000] Illustrated 174 Continental Mahogany Dining Table, early 20th century, the rounded rectangular top bisected to accommodate leaves, and above a shaped frieze, raised on cabriole legs headed by shell carving and ending in scrolled toes to molded feet on casters, h. 31”, w. 56”, d. 50”. [1000/1500] 172

170 Continental Mahogany and MarbleTop Chest, early 19th century, in the George III style, the rectangular top with a block front and inset marble surface above a conforming case fitted with three long drawers, raised on molded bracket feet, h. 32‑1/2”, w. 46‑1/2”, d. 26‑1/2”. [1500/2500] Illustrated

173

177 Ferdinand Willaert (Belgian/French, 1861‑1938), “Nature Morte”, oil on panel, signed lower left, verso with a “Musee Royaux des BeauxArts de Belgique” label, 17‑3/4” x 23‑1/2”. Framed. [700/1000] Illustrated 178 Continental School (Fourth Quarter 19th/ First Quarter 20th Century), “Floral Still Life in a Baroque Urn”, oil on canvas, unsigned, 22” x 28”. Framed. [500/800] 179 German Mahogany Cylinder Bureau, late 18th century, the rectangular top above a roll-top opening to a pull-out writing surface and a variety of drawers and cubbyholes surrounding a central cupboard, above a bombe body fitted with three long drawers over a shaped apron, raised on splayed legs, h. 45‑1/2”, w. 50”, d. 24”. [2000/4000] Illustrated 175

179 175 Thomas Heesakkers (Dutch, b. 1946), “Exuberant Still Life with Fruit, Flowers, Egg Nest and Antique Vessels”, oil on panel, signed lower right, 24” x 35”. Framed. [1400/1800] Illustrated 176 Continental School (18th Century), “Floral Still Life with a Butterfly”, oil on board, unsigned, 16” x 12”. Framed. [700/1000]

177

180

180 Italian Fruitwood Settee, late 19th century, possibly Venetian, the domed and padded back joined to the cushioned seat by padded outswept arms, raised on molded cabriole legs ending in pointed toes, h. 34‑1/2”, w. 87”, d. 30”. [600/900] Illustrated 181 Two Italian Neoclassical Giltwood Mirrors, consisting of a fourth quarter 18th-century example with a beaded frame, cone-molded feet, a pierced crest decorated with musical trophies and bellflowers draping each side, the mirror plate appearing to be original, h. 28‑1/2”, w. 17”, and a fourth quarter 19th-century example with a beaded frame and a wreathed eagle, pierced on crossed quivers of arrows, h. 34‑1/4”, w. 18‑3/4”. [500/800] 184

182 Charles de Naeyer (Belgian, 19th/20th Century), “Young Girl with Roses”, oil on canvas, signed lower left, 27” x 20”. Framed. [1500/2500] Illustrated

182 183 Italian Rococo Polychrome and Marble-Top Console Table, 18th century, the shaped marble top above a conforming frieze with applied foliate and shell patterns, raised on exaggerated cabriole legs ending in scrolled toes, h. 31”, w. 45‑1/2”, d. 21”. [2000/4000] Illustrated 184 Continental Beaux-Arts Marble Bust Depicting Eurydice, ca. 1900, figure with downcast eyes and a wreath in her hair, h. 14”, w. 12‑1/2”, d. 7‑1/2”. [500/800] Illustrated

185 Unusual Continental Marble Bust/Lamp, first quarter 20th century, depicting a smiling young woman in a fur hood, a lamp mounted in the hollow interior, with apertures on the back, h. 19‑1/4”, w. 10‑3/4”, d. 6”. [600/900] 186 Continental Marble Sculpture of a Young Girl Gathering Flowers, first quarter 20th century, h. 29”, w. 12‑1/2”, d. 9”. [500/800]

183

187 Venetian Baroque-Style Blown and Engraved Glass Mirror, the octagonal frame trimmed in gilt threaded glass roping and flowers, the crest and outer edge decorated with engraved flowers, h. 51”, w. 33”. [600/900] Illustrated 188 Pair of Venetian Mirrored Two-Light Sconces, first quarter 20th century, in the Baroque taste, with an engraved segmented glass inner frame, the outer frame with rope-twist and glass flowers with gilt highlights, the blown, twisted branches and candle cups trimmed with gilt-ruffled edges, h. 17”, w. 11”, d. 6”. [1000/1500] 189 Pair of Bagues-Type Faux Rock Crystal, Gilt-Metal and Glass Two-Light Sconces, each backplate depicting a ho-ho bird on a half baluster, the scrolled branches set with leaves and flowers, h. 19”, w. 9‑3/4”, d. 5”. [2000/4000] Illustrated

187

189

191

190 Verdure Tapestry, 5’ 3” x 6’ 2”. [900/1200] 191 Continental Windmill-Form Enamel Music Box, second quarter 20th century, decorated with couples in 18th-century dress in Arcadian landscapes, a shallow jewel box concealed in the domed cover, h. 8‑1/2”, dia. 7”. [1800/2500] Illustrated 192 Unusual Art Nouveau-Style Enameled Metal and Brass Sconce, first quarter 20th century, probably Italian, the lemon tree-form backplate supporting a putto holding the brass fixture, mounted with an etched pressed glass shade, h. 44‑1/2”, w. 11”, dia. 21‑1/4”. [450/700]

193 Italian Enameled Metal and Porcelain EighteenLight Chandelier, second quarter 20th century, decorated with enameled metal vines, birds and flowers, the center decorated with a porcelain crested parrot on an enameled bird’s nest, h. 46”, dia. 44”. [2500/4000] Illustrated

194 Continental Engraved Silvered Metal Plaque, fourth quarter 19th century, the plaque depicting a pair of caribou on a mountainside, in a Louis XV-style giltwood frame, h. 19”, w. 22”. [1200/1800]

193

195 Pair of Continental Reverse Paintings on Glass Depicting Alpine Scenes, fourth quarter 19th century, on convex glass with mother-of-pearl highlights, in velvet frames with giltwood liners, h. 20”, w. 23”. [1500/2500] Illustrated 196 Louis XVI Provincial Old Standard (.958) Silver Dish, marked Bordeaux, 1781‑1782, by Jean-Francois Jouet II (1728‑aft.1793; master 1765), of shaped oval form with molded shell-and-scroll rim, l. 11‑3/4”, w. 7‑1/2”, 14.46 t. oz. [1000/1500] Illustrated

197

195 pair

196 197 Pair of 19th-Century Italian Second Standard (.800) Silver Spill Vases, marked Lombardy-Venetia, by Tommaso Panizza, Milan (active 1835‑1868), each of flared cylindrical form, decorated with pierced foliate banding centering mascarons, raised on four putto masque and lion’s paw feet, with later glass liner, h. 4‑1/2”, dia. 4‑1/8”, 13.95 total t. oz. (excluding liners). [800/1200] Illustrated

198 Continental Silver Tzedakah Box, 19th century and later, of tankard form (and probably converted from one), decorated with repousse foliate scroll bands, with squared handle and hinged lid with coin slot and hasp lock, h. 6‑3/4”, dia. 4‑3/8”, 9.38 t. oz. [1400/1800] Illustrated 199 Two Pieces of Silver Judaica, first half 20th century, including a sterling American kiddush cup, of traditional form with wrigglework decoration, h. 5‑3/4”, and an unmarked Continental Hanukkah menorah, with filigree backplate and figural ziz feet, the shamash lacking, h. 4‑3/4”, w. 9‑1/2”, 15.62 total t. oz. [800/1200] Illustrated

200

199

198

200 Pair of Continental .800 Silver Candlesticks, fourth quarter 19th century, probably Austrian, each of baluster form with embossed floral decoration and detachable bobeche, h. 13‑1/4”, 26.62 total t. oz. [1000/1500] Illustrated 201 Nineteenth-Century Russian Assembled 84 Zolotnik (.875) Silver Cream and Sugar Set, 1865‑1866, including a covered sugar bowl, marked St. Petersburg, 1865, by Carl Adolf Seipel (1820‑1891; master 1846), assay master Alexander Mitin (or Moor), h. 5‑1/2”, and a cream jug, marked Riga (now Latvia), 1866, by Carl Ludwig Perseling (master 1854, d. 1865), h. 4‑3/8”, both of squat serpentine-lobed pear form, 22.31 total t. oz. [500/800] Illustrated

201

202 Two Pieces of Danish .830 Silver, Copenhagen, including a fruit dish, 1855, the maker’s mark obliterated but probably Ferdinand Dahl (1814‑1879; Master 1849), of shaped rectangular form with upswept ends, the molded rim with applied acanthus scrolls, raised on four feet en suite, monogrammed “IT” and with later date “18 Mai 1885”, l. 13‑1/4”, w. 8‑1/2”, and a large platter spoon, 1910, by J. Paulsen (active 1893‑1957), in the traditional “Pointed BrightCut” pattern, monogrammed “JR”, l. 15‑1/2”, 26.81 total t. oz. [500/800]

203

203 Assembled Four-Piece Danish .830 Silver Coffee and Tea Set, 1934‑1941, including a coffeepot by Hugo Grun, Copenhagen, h. 6‑3/4”, a teapot and footed dish by Carl M. Cohr, Fredericia, h. 6‑3/4” and dia. 7‑3/4”, and an unmarked hot milk jug, h. 6‑1/2”, the pots/ jug with pear-shaped bodies, all decorated with serpentine lobes, 62.56 total t. oz. [1200/1800] Illustrated

204

205

206

204 Five-Piece Italian .800 Silver Coffee and Tea Set, 1934‑1944, by A. Cesa 1882, Alessandria, in the Settecento taste, including a coffeepot, teapot, covered sugar bowl and cream jug, with crested handles and conforming domes and feet, h. 4‑3/4” to 10”, and an oval tray en suite with molded rim and handles, l. 23‑3/8”, w. 14‑1/2”, 125.45 total t. oz. [2500/4000] Illustrated

205 Pair of Italian .800 Silver Candelabra, 1934‑1944, by A. Cesa 1882, Alessandria, in the Settecento taste, each with a serpentinegadrooned baluster standard and waisted domed foot, with four scrolling arms, the standard and arm each terminating in a circular drip pan and vasiform nozzle, h. 14‑3/4”, w. 16‑1/4”, weighted. [500/800] Illustrated

206 German .800 Silver Figure of Mary, Queen of Heaven, first quarter 20th century, by J. D. Schleissner Sohne, Hanau, retailed by Buchholz & Zelt, New York, the figure presented with traditional iconography on an openwork Gothic-style hexagonal plinth raised on figural angel feet, h, 13‑1/2”, 29.64 t. oz. [3000/5000] Illustrated 207 French First Standard (.950) Silver Ecuelle, first quarter 20th century, by Jean Baptiste Francois, Paris, of bulbous circular form, with molded serpentine rim and bifurcated acanthus scroll handles, the fitted domed lid with ornate rococo finial, monogrammed “ME/H”, h. 7‑3/4”, dia. 8‑1/2”, w. 10‑3/4”, 35.23 t. oz. [1500/2500] Illustrated 208 French First Standard (.950) Silver Platter, ca. 1900, by Andre Aucoc, Paris, of oval form, with ovolo rim, the plateau engraved with a conjoined monogram “WH” surmounted by a Russian imperial crown, l. 15‑1/4”, w. 12”, 40.51 t. oz. [1200/1800]

207

209 Fine Two Hundred and SixtySix-Piece Cased French First Standard (.950) Silver Flatware Set, 1884‑1910, by Henri Soufflot, Paris, comprising thirteen-piece place settings for eighteen persons, along with six teaspoons and twenty-five serving pieces, in a bellflower-and-ribbon decorated “filet au feuilles” pattern, many pieces parcel gilt, each piece monogrammed “WJJ”, conjoined, 385.60 total t. oz. (weighable silver), presented in the original brass-bound, tan suede-lined “campaign”-style oak chest, with drop front and six pull-out 209 trays, fitted to a later oak stand, case, h. 16‑1/2”, overall, h. 30”, w. 21‑1/4”, d. 13‑3/4”. Detailed listing available on request. Provenance: Estate of Lillian Pulitzer Smith, New Orleans, Louisiana. [8000/12000] Illustrated

209

210

211

210 Southeast Asian Sterling Silver Waiter, first half 20th century, of rectangular form, decorated with repousse floral scrolls on a matte ground, with integrally shaped upturned sides and handles, l. 14‑1/2”, w. 11‑3/4”, 34.14 t. oz. [1000/1500] Illustrated

213 William IV Mahogany Dining Table, mid-19th century, consisting of two D-ends with two leaves, each above a paneled frieze with reeded corner panels, raised on ribbed tapering circular legs ending in bulbous feet on casters, h. 30”, w. 50‑1/2”, l. 51”, extended l. 97”. [2000/4000] Illustrated

211 Exceptional English Hand-Painted Porcelain Comport, first quarter 19th century, attributed to Chamberlain’s Worcester, with numerous panels of carefully-rendered flowers and richly embellished with gilding on a matte blue ground, with a gadrooned border, unmarked, h. 6‑3/4”, w. 14‑1/2”, d. 10‑1/4”. [900/1200] Illustrated 212 Suite of Ten Late Regency Mahogany Dining Chairs, ca. 1825, of klismos form, the concave top rail with reeded perimeter, reeded stile with foliatecarved capitals, and turned and reeded front legs, now upholstered in deep green and gold striped cut plush, h. 34”. [1200/1800] Illustrated

213

212

215 Pair of Chinese Export Porcelain Serving Dishes, probably mid-18th century, the oval dishes with reserves depicting an arrangement of flowers and scholar’s rocks, in the famille rose palette with a gilt lancet pattern along the border, unmarked, w. 12‑1/4”, l. 15‑1/4”. [1500/2500] Illustrated

214

216 Two Chinese Export Armorial Plates, probably 19th century, the two round porcelain plates with blue and gilt borders and armorials, dia. 10”. [500/800]

215

217 Chinese Export Porcelain Punch Bowl, fourth quarter 18th century, in the “Mandarin” pattern, with later Scottish William IV sterling silver foot and rim, hallmarked Glasgow, 1835‑1836, by John and William Mitchell, h. 4‑1/4”, dia. 10‑1/4”. [450/700] Illustrated 218 Two Chinese Export Porcelain Plates, probably 19th century, the plates with a scalloped floral edge, with reserves depicting a trio of birds, unmarked, dia. 9‑1/4”. [600/900] Illustrated 219 Chinese Export Porcelain Oval Dish, 18th/19th century, the dish in the famille rose palette, depicting flowers and rocks in a garden, unmarked, l. 10‑3/4”. [450/700]

218 220 Chinese Export Porcelain Charger, Qianlong period (1736‑1795), the dish with a reserve depicting two foo dogs at play, with floral borders and gilt lancets, unmarked, dia. 15‑1/4”. [600/900] Illustrated 221 Five Chinese Export Famille Rose Dishes, probably 18th century, the round dishes with floral and gilt borders, unmarked, dia. 11‑1/8”. [1000/1500] Illustrated

214 Chinese Export Soup Tureen and Undertray, 18th/19th century, the oval dish and lidded tureen in the Imari palette, the tureen with foo dog lugs and knob, tureen, h. 8”, l. 14”, undertray, w. 11‑3/4”, l. 15”. [3000/5000] Illustrated 217

221

224 Late Regency Mahogany Center Table, second quarter 19th century, the rounded rectangular top with inlaid banding above a conforming ormolu-mounted frieze, raised on end supports with ebonized spindle splats, joined by a turned stretcher and terminating in brass paws and casters, h. 29”, w. 40‑1/2”, d. 23‑1/2”. [2500/4000] Illustrated following page 225 Two Regency-Style Mahogany Canterburies, late 19th century, each fitted with four slotted compartments over a single long drawer, raised on tapering circular legs ending in brass caps and casters, h. 20”, w. 19‑1/4”, d. 13‑1/2”. [500/800]

222 William IV Mahogany Sofa, second quarter 19th century, the padded back-scrolled rectangular back joined to the padded seat by like arms fronted by foliate scrolling carved uprights, raised on bulbous carved feet ending in casters, h. 39”, w. 74”, d. 29‑1/2”. [1500/2500] Illustrated

220

223

223 Good William IV Sterling Silver Gilt and Aragonite Box, partmarked [London], 1835‑1836, the maker’s mark rubbed but possibly Philip Venner Firmin (1797‑1874), of rectangular form, the silver gilt frame with chased floral banding inset with aragonite panels, the hinged lid inset with a painting of a combatant crusader, h. 1‑1/4”, w. 3‑5/8”, d. 2‑3/8”. [2500/4000] Illustrated

222

Aragonite, also called tufa and sometimes travertine, is a species of calcium carbonate formed as a deposit of hot springs stalactites mined primarily in Karlsbad (Karlovy Vary) in the Bohemian region of the Czech Republic.

227 Late Regency Rosewood Center Table, second quarter 19th century, the tilting circular top with an inset gilt-tooled leather surface and raised on a graduated paneled columnar standard with brass banding, to a like-banded concave tripartite base to rounded feet, h. 31”, dia. 53”. [3000/5000] Illustrated 228 English Richly-Decorated Bombe-Form Bulb Pot, Attributed to Coalport, first quarter 19th century, with gilt panels on a vermicelli-orange ground, with Pompeian red and black flourishes, the associated cover contemporary to the base, h. 7‑3/4”, l. 10‑3/4”. [450/700] Illustrated

226

229 Hand-Painted Porcelain Garniture Urn, first quarter 19th century, probably English, now mounted as a lamp, of campana form, decorated en grisaille and richly gilded, urn, h. 9‑1/2”, overall, h. 21‑1/2”, dia. 6‑3/4”. [500/800] 230 Louis-Philippe Inlaid Tortoiseshell and Motherof-Pearl Encrier, second quarter 19th century, decorated with inlaid flowers on the tortoise ground, the top with front and rear pen rests, the center with a pair of cut glass inkpots flanking a covered blotter compartment, the front set with an ivory-trimmed drawer, h. 7‑3/4”, w. 17‑1/4”, d. 11‑3/4”. [800/1200] Illustrated

226 Rare English Regency Mahogany Campaign Bed, first quarter 19th century, having carved and reeded posts and designed to disassemble with threaded brass fittings at the joints, h. 78‑1/4”, inside, w. 43”, l. 71”, outside, w. 47‑3/4”, l. 75‑3/4”. [2500/4000] Illustrated

228

224

231 Louis-Philippe Inlaid Tortoiseshell and Mother-ofPearl Encrier, second quarter 19th century, decorated with inlaid mother-of-pearl flowers, the drawer opening to reveal an ivory-trimmed rosewood writing slope, the top set with pen rests on the front and rear, with molded and cut glass inkpots flanking the serpent-headed bronze handle, over a blotter cover, h. 8‑3/4”, w. 12‑3/4”, d. 11‑1/4”. [700/1000]

232 Unusual Regency Rosewood Writing Desk, early 19th century, the superstructure fitted with a domed backpiece over a projecting center drawer flanked to either side by tapering pedestals fitted with five small drawers each, the banded rectangular top above a case fitted with a single drawer opening to an inset leather writing surface, hinged and opening to a storage space, raised on tapering square legs ending in block feet, h. 46‑1/2”, w. 31‑1/2”, d. 17‑1/2”. [1200/1800] Illustrated

227

233 Pair of Monumental Regency Bronze SixLight Candelabra, first quarter 19th century, designed in the manner of Sir Thomas Hope, the tripartite bases decorated with carefully-detailed neoclassical trophies and resting on paw feet, molded leaves support the reeded standards, the bold candle branches terminating in animal heads and dovetail to the standard, h. 40‑1/4”, dia. 17”. Provenance: Philadelphia Museum of Art, Philadelphia, Pennsylvania. [2500/4000] Illustrated

230 234 Pair of William IV Bronze Argand Lamps, second quarter 19th century, executed in contrasting patinated and gilt bronze, and retaining a significant amount of the original finish, with some period cut glass drops, marked “B Gardiner” on the burner tubes, h. 17‑1/4”, w. 12‑1/2”, d. 7”. [800/1200] Illustrated following page

232 233

235 Pair of William IV Bronze Two-Light Candelabra, second quarter 19th century, pierced and scroll-molded, the drip pans with molded palmettes, marked “OG” on the iron weight in the base, h. 11”, w. 10‑1/2”, d. 3‑1/4”. [600/900]

234

236 Regency Mahogany Window Seat, early 19th century, the long padded rectangular seat flanked to either end by padded outscrolled arms, raised on chamfered square legs headed by floral block capitals and joined by an H-form stretcher, h. 30”, w. 42”, d. 16”. [600/900] Illustrated

236

237 Pair of William IV Oak and Fruitwood Hall Chairs, second quarter 19th century, each with a shield-form back with padded center, with an applied wooden panel, the padded seat raised on turned tapering circular legs ending in toupie feet, h. 38‑1/2”. [1000/1500] Illustrated

237

241

238 Joseph Josiah Dodd (British, 1809‑1894), “Rouen Cathedral” and “Toledo Cathedral”, 1868, pair of watercolors on paper, each signed, dated and titled lower right, each 12‑1/2” x 9‑1/2”. Glazed, matted and framed. Exhibited: “Rouen Cathedral” at Mississippi Museum of Art, “Georgian Grace and Victorian Splendor”, 1987. [800/1200] Illustrated

242 Rare Copeland & Garrett “Greek” Pattern Welland-Tree Platter, ca. 1833‑1842, Stoke-on-Trent, Staffordshire, England, transfer-printed in black and glazed with pink lustre, signed “Copeland & Garret, Late Spode” with a wreath, in both transfer-printed and impressed marks, h. 3”, w. 16‑1/4”, l. 21”. [900/1200] Illustrated

238 1 of 2 239 Joseph Josiah Dodd (British, 1809‑1894), “Old Drury Court London and Church of St. Mary Le Strand”, watercolor, signed and titled lower right, sight 23‑1/4” x 16‑1/2”. Glazed, matted and framed. Provenance: Kurt E. Schon, New Orleans, Louisiana. Exhibited: Mississippi Museum of Art, “georgian Grace and Victorian Splendor”, 1987. [500/800] Illustrated 239

242 240 Pair of William IV-Style Mahogany Hall Chairs, each with a shield-form back with scrolling frame, above the wooden seat, raised on molded cabriole legs ending in scrolled toes, h. 40”. [500/800] 241 English Mahogany Corner Chair, in the William IV taste, the curved and tufted padded back above a padded seat, raised on turned tapering circular legs ending in ormolu ball feet, h. 31”. [800/1200] Illustrated

243 Pair of Staffordshire Pottery Medici Lions with Glass Eyes, fourth quarter 19th century, English, each depicted with one foot poised on a ball, h. 11”, w. 13‑3/4”, d. 4‑3/4”. [800/1200] 244 Pair of Regency Anglo-Irish Cut Glass Candlesticks, first quarter 19th century and later, now mounted as lamps, base, h. 12‑1/2”, overall, h. 25”, w. 6”, d. 6”. [500/800]

247

247 Pair of Regency-Style Bronze Sconces, each example depicting a hand holding a torch, finished in contrasting patinated and polished bronze, and mounted with a flame-form frosted glass shade, h. 16”, w. 6”, d. 15”. [500/800] Illustrated 248 Collection of Four Staffordshire Blue and White Platters, first half 19th century, English, including a Hicks and Meigh “LongTailed Pheasant” meat platter, l. 19”, and three platters with similar decoration, l. 15” to 21”. [500/800] 249 “Monopteros” Pattern Transfer-Printed Pearlware Soup Tureen and Ladle, first quarter 19th century, the tureen, attributed to Rogers, Longport, Staffordshire, England, depicting scenes near New Delhi, India, and having shell-molded handles and a scroll-form knop, accompanied by a Staffordshire ladle with a similar pattern, h. 9‑1/4”, w. 13‑1/2”, d. 9‑1/4”. [500/800] Illustrated

246

249

250 Five-Piece Collection of Staffordshire Blue and White Platters, second quarter 19th century, English, including a flow blue “Tonquin” platter, l. 18‑3/4”, a graniteware willow platter, l. 20”, and three platters with similar decoration, the smallest, l. 15‑1/2”. [500/800] Illustrated 245 Pair of Anglo-Irish Cut Glass Fruit Bowls and Stands, first quarter 19th century, diamond cut, with boatshaped bowls resting on matching oval stands, h. 5”, w. 8‑3/4”, l. 10‑1/4”. [1200/1800] 246 Pair of English Ironstone “LongTailed Pheasants” Covered Garniture Urns, 19th century, now mounted as lamps, made by either Ashworth (1850‑1875) or Mason’s (1825‑1850), with dolphin handles on cinnabar-type bases, urn, h. 16”, overall, h. 27‑1/4”, dia. 5‑1/4”. [900/1200] Illustrated

250

251 252 Chinese Carved Rosewood Altar Table, 20th century, the sides and aprons carved in relief with archaic scrolling, the top inlaid with Kuei dragons in motherof-pearl, h. 34”, w. 73‑1/2”, d. 15‑1/2”. [1000/1500]

253 Two Chinese Kesi Panels, probably 19th century, each panel in shades of blue, green and purple, each strip depicting peacocks and insects among flowers, scholar’s rocks and gourds, a small embroidered butterfly with war marks on its wings displayed beneath them, h. 18”, w. 3‑1/2”. Provenance: Michael Teller, T K Oriental Antiques, Williamsburg, Virginia. [600/900]

254

254 Two Chinese Kesi Panels, 17th/18th century, each panel of fabric with two sections, the top of one panel with a figure holding a jar and the top of the other panel with a figure holding a ruyi scepter, the lower section depicting garden settings, h. 23‑1/2”, w. 7‑1/2”. Provenance: Diane Genre, New York, New York and New Orleans, Louisiana. [1400/1800] Illustrated

251 Pair of Chinese Trapezoidal Side Tables, 19th century, composed of rosewood inlaid with mother-of-pearl in a birds and flower motif with shell characters, forming a hexagonal center table when placed together, each h. 28‑1/2”, w. 19”, l. 43”. Provenance: Gracie, New York, New York. [1400/1800] Illustrated

255

255 Chinese Kesi Panel, the large two-sided embroidered panel depicting warriors carrying banners in pink and gray against a rocky landscape, with walls and stone battlements, the image visible from both sides of the frame, finished with a bluegray border with gold thread. Provenance: Diane Genre, New York, New York and New Orleans, Louisiana. [800/1200] Illustrated

256

256 Album of Chinese Export Paintings, fourth quarter 19th century, each page containing a finely-rendered depiction of a Chinese folk deity in vibrant colors, with a total of five paintings on pith paper, bound in fabric, h. 14‑1/2”, w. 10”. [600/900] Illustrated

257 Handsome Chinese Export Reverse Painting on Mirror, first quarter 19th century, depicting a mother bathing a child, in a carved period frame, h. 22‑1/4”, w. 16‑3/4”. [800/1200] 258 Style of Wu Guanzhong (Chinese, 1919‑2010), “Untitled”, ink on paper, signed and with three seals, with mount 31‑3/4” x 70‑5/8”. [800/1200] 259 Attributed to Li Keran (Chinese, 1907‑1989), “Village Landscape with Majestic Mountain Peaks, Waterfall and River”, ink on paper, inscribed, with three seals and signature of the artist, 24‑3/8” x 68‑1/4”. [900/1200] Illustrated

259

260

260 After Qi Baishi (Chinese, 1864‑1957), “Insects and Flowers”, ink and color on paper, inscription and two seal marks, overall, l. 88”, w. 32‑1/2”. [5000/8000] Illustrated Morning glories, crickets and dragonflies evoke the warm summer months as the chrysanthemum, typically associated with autumn, signals the impending cooler weather. 261 Pair of Chinese Ancestor Portraits, late 19th/early 20th century, the painted figures cut out of paper and framed against cloth, the pair dressed in complementary robes of navy blue, his a square panel with a white bird surrounded by clouds and bats, and hers with three rondels with birds and peonies, both dressed in Qing fashion, h. 43”, w. 24‑1/4”. [500/800] 262 Manner of Qian Xuan (Chinese, 1239‑1301), “Two Paintings from the Shu Ju Qian Xuan”, 18th century or earlier, ink on silk, inscribed in gold ink with two seals on one and one seal on the other, 90‑1/8” x 24‑1/2”, with mount. [1800/2500] Illustrated ???

263 Four Groups of Chinese Ivory Sage Figures, probably Ming Dynasty (1368‑1644), each group with three ivory sage figures on wooden stands, each figure holding a symbolic object or animal, h. 3‑3/4”, w. 2‑7/8”. [450/700] Illustrated 264 Group of Chinese Carved Ivory Figures, 19th century, including a pierced and carved ivory censer with three claw feet and a foo dog knob on the lid, and a pair of ivory foo dog bottles with inlaid lapis eyes, all displayed on carved wooden stands, the tallest, h. 6‑1/2”, l. 7”, without stand. [700/1000]

262 263

265 266

265

265 Chinese Carved Ivory Wrist Rest, 18th/19th century, the delicately-carved rest in the form of a swimming carp, a scene of frogs frolicking in a lotus pond, l. 9”. [2000/4000] Illustrated 266 Chinese Carved Ivory Brush Pot, 18th/19th century, the brush pot covered with a motif of figures, pavilions and ruyi clouds, the underside marked, h. 11‑1/2”, dia. 4‑1/2”. [1000/1500] Illustrated 267 Chinese Ivory Group, 19th century, depicting a historical scene of an empress with three warrior attendants, h. 10‑1/2”, w. 5”, l. 17”. [1500/2500] 268 Chinese Carved Ivory Royal Couple, late 19th century, Qing Dynasty, the male figure with a long gnarled stick and a bough of peaches, the female with bamboo and peonies, with applied ink to hair and details, each with a maker’s inscription on the underside, h. 14‑1/2”. [1000/1500] Illustrated

269

268

269 Chinese Carved Ivory Jar, 19th century or earlier, the intricately-rendered jar with a foo dog-lidded knob and dragon lugs, the body of the vessel depicting the immortals and their attendants in a lush garden surround by ruyi clouds, on a pierced and carved tripodal floral scroll stand, h. 12‑1/2”. [1200/1800] Illustrated

270

270 Biedermeier Fruitwood Secretaire a Abattant, second quarter 19th century, the superstructure with a pyramidal crest above a breakfront arrangement of three cupboards over three drawers, the lower section fitted with a single long drawer over a drop-front opening to various drawers and cabinets, with three lower concealed drawers, with a rotating handle for access, above three long drawers, raised on a plinth base, h. 80‑1/2”, w. 44”, d. 20”. [1000/1500] Illustrated

273

271 Biedermeier Birchwood Pedestal Cabinet, mid-19th century, the stepped top above a case fitted with a rounded drawer over a bowed cupboard door, with a single deep drawer below, raised on circular feet, h. 55‑1/2”, w. 26”, d. 19”. [800/1200]

272

272 Pair of Empire Polychrome Bergeres, mid19th century, each with a padded rectangular back surmounted by a dolphin and patera crest, joined by closed padded arms on dolphin uprights to the cushioned seat, raised on tapering square legs ending in paw feet, the whole with gilt accents, h. 37‑1/4”. [2500/4000] Illustrated 273 Pair of Neoclassically-Inspired Gilt-Bronze and Marble Lamps, third quarter 19th century and later, composed of a pair of Napoleon III chenets topped with fire pots and resting on marble bases, fitted with custom shades, bases, h. 14‑1/2”, overall, h. 30‑1/2”, w. 12‑1/2”, d. 8”. Provenance: French Collectibles, New Orleans, Louisiana; Estates of Mary Dixon Montague and Frank D. Montague, Hattiesburg, Mississippi. [1000/1500] Illustrated

274

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276

274 Italian Neoclassical Polychrome and Marble-Top Table and Mirror, late 19th century, the table with a rectangular white marble top with canted front corners over a polychrome lattice-patterned frieze, raised on tapering square legs, h. 37”, w. 51”, d. 24‑1/2”, the mirror with a scrolling foliate crest over an oil-on-canvas panel depicting peasants enjoying a meal, above the rectangular mirror plate surmounted by a lattice-patterned frieze and flanked to either side by double engaged reeded columns, h. 62”, w. 51”. [3000/5000] Illustrated 275 Pair of Continental Neoclassical Polychrome Sidechairs, mid-19th century, each with a griffinpainted crest above a shaped splat, the padded seat raised on tapering circular legs ending in ball feet, the whole accented with gilt and polychrome designs in the neoclassical taste, h. 35”. [500/800]

276 Handsome Continental Painted and Parcel-Gilt Pier Mirror, fourth quarter 18th century, probably Swedish, the gilt-framed mirror plate, now with a beveled mirror, resting below the crest decorated with a bas-relief classical profile portrait of a bearded gentleman, supported by bowknots and a swag of laurel leaves, h. 73”, w. 32‑1/4”. [2000/4000] Illustrated 277 French School (19th Century), “Portrait of a Lady in White, Reclining on a Recamier”, oil on canvas, unsigned, 78‑1/2” x 35‑1/2”. Framed. [4000/7000] Illustrated 278 Continental School (Second Quarter 19th Century), “Portrait of a Lady with a Lace Shawl” and “Portrait of a Gentleman in a Yellow Vest”, pair of oils on canvas, unsigned, 31” x 25”. Presented in matching frames. [500/800] 279 Continental School (19th Century), “Portrait of a Lady in Blue and White”, oval pastel on paper, unsigned, 26‑3/4” x 22”. Glazed and presented in a Louis XVI-style giltwood and gesso frame. [450/700] 280 Pair of Restauration Gilt-Bronze Candlesticks, second quarter 19th century, molded with flowers and leaves on a stippled ground, the reeded standards supporting leaf-molded capitals and matching candle cups with leaf-molded bobeches, h. 11‑3/4”, dia. 5”. [450/700] Illustrated

277

281 Continental Neoclassical Games Table, early 19th century, the banded rectangular top with an inlaid game board, opening to a banded quarter-veneered interior centered by a foliate inlay, above a banded frieze, raised on tapering square legs, h. 29‑1/2”, w. 32”, d. 16‑1/4”. [1500/2500] Illustrated 282 Pair of Continental Fruitwood Slipper Chairs, mid19th century, each with a domed, padded and tufted back joined by downswept sides to the padded seat, raised on turned and bulbous legs, h. 31”. [1500/2500] 283 Suite of Four Restauration Mahogany Fauteuils, mid-19th century, raised on turned bulbous legs, h. 36‑1/2”. [500/800]

281

284 Italian Fruitwood Bureau, early 19th century and later, in the neoclassical taste, the banded and quarterveneered slant front centered by an oval panel with an inlaid star, and opening to an interior fitted with a baize-lined writing surface and a variety of drawers and cupboards, over three long drawers, all banded and quarter-veneered, raised on tapering square legs, h. 42”, w. 45”, d. 20”. [800/1200] Illustrated 285 Set of Four Belle Epoque Bronze Two-Light Sconces in the Napoleonic Taste, ca. 1900, the arrow-form backplates decorated with rondels mounted with basrelief profiles of Roman centurions on a patinated ground, the scrolled arms mounted with engine-turned candle cups, h. 20”, w. 9”. [3000/5000] Illustrated

284

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291

285

289 Assembled Four-Piece Suite of Candlesticks and Vases, second quarter 19th century, including a pair of English Regency bronze dore et patine candlesticks, h. 6‑1/4”, and a pair of French Restauration bronze dore et patine vases de potpourri, h. 5‑1/4”. [600/900] 290 Impressive Pair of Restauration Bronze Dore et Patine Candelabra, second quarter 19th century, in the manner of Pierre-Philippe Thomire (French, 1751‑1843), one with six candle branches and the other with five, the square bases decorated with lion’s heads in wreaths, h. 37‑3/4”, w. 11”, d. 9‑1/4”. [3000/5000] Illustrated

288

286 Exceptional Pair of Classical Revival Bronze Dore et Patine Andirons, ca. 1900, probably European, the cabriole legs supporting the gilt leaf-trimmed reeded bronze patine standards, surmounted with urn-form finials, h. 26‑1/2”, w. 12”, d. 18‑1/2”. [600/900] Illustrated

290

287 Continental Neoclassical Fruitwood Porter’s Chair, mid-19th century, the padded barrel-form back joined by downswept arms to the cushioned seat, raised on sabre legs, h. 47”. [1000/1500]

288 Empire-Style Mahogany Center Table, the circular top above a conforming frieze, raised on three columnar supports with ebonized accents, to a concave tripartite base on short feet, h. 28‑1/2”, dia. 40‑1/2”. [1200/1800] Illustrated

292

291 Pair of Regency-Style Parcel-Gilt Wood Eagle Appliques, with bowknot backplates supporting opposing eagles on crossed torches and quivers, h. 38‑1/4”, w. 11‑1/2”. [500/800] Illustrated 292 Continental Renaissance Revival-Style Bronze and Crystal Epergne, ca. 1900, the footed and pierced gilt base supporting a patinated griffin- and puttimolded posy holder fitted with a faceted cut glass vase, h. 17‑3/4”, dia. 13”. [2000/4000] Illustrated

293 Empire-Style Fruitwood and Marble-Top Gueridon, early 20th century, the circular marble top within an ormolu banding, joined by ormolu swan supports to two lower concave tripartite shelves, the whole raised on paw feet, h. 32”, dia. 23”. [1800/2500] Illustrated

293

295

294 Biedermeier Fruitwood Sofa, second quarter 19th century, the padded rectangular back surmounted by a triangular paneled crest, joined to the padded seat by concave outswept arms, the whole raised on splayed legs, h. 41”, w. 82”, d. 27‑1/4”. [1000/1500] Illustrated

294

295 Pair of French Bronze Garniture Urns in the Neo-Grec Taste, third quarter 19th century, designed and marked by Henry Cahieux, the urns depicting couples in classical dress, the handles molded with masques, on a stepped marble base, h. 25”, w. 7”, d. 7”. [5000/8000] Illustrated

299

This model was exhibited by Barbedienne at the 1855 Exposition Universelle in Paris. 296 French Empire-Style Gilt-Metal and Tole Bouillotte Lamp, decorated with engine turning and swan-molded candle arms under a black and gilt tole shade, h. 27‑1/2”, dia. 13‑1/4”. [500/800] Illustrated 297 Pair of DirectoireStyle Polychrome, Parcel-Gilt and GraniteTop Tables, each with a rectangular marble top above a molded frieze, raised on fluted tapering circular legs joined by an X-form stretcher and ending in tall toupie feet, h. 31”, w. 19‑3/4”, d. 15”. [1800/2500] Illustrated

298

298 Pair of Restauration Bronze Dore et Patine Candlesticks, second quarter 19th century, on tripartite bases with gilt-trimmed paw feet, the vasiform standards terminating in molded gilt drip pans and reeded candle cups, h. 11”, w. 4”, d. 4”. [800/1200] Illustrated

296

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300

301 French Patinated Bronze of “Venus de Milo”, fourth quarter 19th century, by the Barbedienne Foundry, the classic figure, also known as Aphrodite of Milos, marked “Barbedienne, Fondeur” and “A. Collas, brevete, Reduction Mecanique” in a medallion, h. 18‑1/4”, w. 5”, d. 5”. [1200/1800] Illustrated

302

299 Pair of Hand-Painted Paris Porcelain Urns Depicting Ophelia, second quarter 19th century, now mounted as lamps, the carefully-rendered painted panels depicting Ophelia with flowers beside a brook, the urns with molded handles, the reverse panels decorated with tooled gilt trophies framed in wreaths, urn, h. 15‑1/2”, overall, h. 27‑3/4”, w. 8”, d. 5‑1/4”. [1500/2500] Illustrated previous page

301

300 Pair of Directoire-Style Bronze Two-Light Sconces, each having a backplate modeled with an enameled winged blackamoor clutching a candle branch in each hand, h. 17‑1/4”, w. 10‑1/4”, d. 3‑1/2”. [500/800] Illustrated

306

302 French Patinated Bronze of the Greek Poet Anacreon, fourth quarter 19th century, after JeanBaptiste Claude Eugene Guillaume (French, 1822‑1905), incised signature at proper left edge of base, on a black gilt-decorated base, overall, h. 21‑7/8”, w. 9”, d. 14‑1/2”. [1200/1800] Illustrated

307

303 Pair of French Empire-Style Patinated and Gilt-Metal Three-Light Candelabra, second quarter 19th century, the vase-shaped standards set with two candle arms terminating in leopard’s heads, the third light extending from the standard, hung with prisms, h. 21‑3/4”, w. 9‑1/2”, d. 5‑1/4”. [600/900] 304 French Empire-Style Mahogany and Bronze Mirror, first quarter 20th century, set with a beveled mirror plate flanked by pilasters, the tablet decorated with bronze neoclassical-style mounts, h. 42”, w. 32‑3/4”. [500/800] 305 Empire-Style Steel and Bronze Folding Campaign Chair and Matching Ottoman, mid-20th century, attributed to Maison, Jansen, Paris, the steel frame with bronze paw feet and finials, with brown leather on the chair and black leather on the ottoman, chair, h. 36‑1/4”, w. 24‑1/4”, d. 35‑1/2”, ottoman, h. 18‑1/4”, w. 23‑1/4”, d. 17‑1/2”. [800/1200]

306 Empire-Style Mahogany and Marble-Top Commode, mid-19th century, the rectangular Sainte Anne des Pyrenees marble top above a conforming frieze fitted with a drawer over three long recessed drawers, flanked by ormolu-mounted columns, raised on turret feet, h. 34”, w. 47‑1/2”, d. 22”. [800/1200] Illustrated 309

307 Pair of Napoleon III Bronze and Marble Neo-Grec Garniture Urns, third quarter 19th century, the red griotte marble bases supporting the patinated campanaform urns, decorated with bas-relief neoclassical figures, h. 18‑3/4”, w. 6‑3/4”, d. 6‑3/4”. [700/1000] Illustrated 308 Unusual Empire-Style Parcel-Gilt Overmantel Mirror, the oval beveled mirror plate set in a frame decorated with applied gilt scrollwork and supported by molded sphinxes, h. 45‑1/2”, w. 72‑1/2”. [500/800] 309 Unusual French Empire-Style Mahogany and Bronze Dressing/Pier Mirror, ca. 1900, with bronze-capped pilasters framing the arch-top mirror, the case veneered with figured mahogany and decorated with neoclassical mounts, h. 67”, w. 89”, d. 16”. [800/1200] Illustrated 310 Empire-Style Mahogany and Marble-Top Semainier, 19th century, the rectangular charcoal marble top above a conforming case fitted with six drawers, the bottom deep drawer faced as two drawers, raised on ebonized paw feet, h. 58‑1/2”, w. 37‑3/4”, d. 17”. [800/1200] Illustrated following page

311 Libero Andreotti (Italian, 1875‑1933), “Laocoon”, 1908, bronze, signed, localized and dated at back edge of base, faint inscription at corner of base, h. 27‑1/2”, w. 14”, d. 13”. Provenance: Private collection, Rancho Mirage, California. [10000/15000] Illustrated

311

A native of the Tuscan town of Pescia, Andreotti was a self-taught artist. Apprenticed at a young age to a local blacksmith, he learned the essentials of metalwork which were to prove crucial to his later artistic pursuits. His innate talent and ability caught the attention of several local artisans and businessmen, and Andreotti was offered a position as an illustrator. Eventually tiring of this, Andreotti moved to Milan where he first began sculpting. In 1907 he was honored by inclusion in the VIIInternational Art Exhibition/Biennale di Venezia. Andreotti spent some time in Paris before moving to Florence, where he was to spend the remainder of his days, an active and beloved member of the city’s thriving artistic community. His sensuous yet earthy figural sculptures received much acclaim and attention, often drawing comparisons to the great French sculptor Auguste Rodin. Many of his works were inspired by classical myths and frequently incorporated antique motifs and symbols. The work presented here is a modern interpretation of the Greek story of Laocoon, the Trojan priest of Poseidon, who met his painful demise by a slither of snakes. Andreotti cleverly raises philosophical, emotional and psychological concerns here by suggesting that the deadly snake is not an outside force, but rather an extension of Laocoon himself.

312 312 Jean Coulon (French, 1853‑1923), “Hebe Coelestis”, patinated bronze, after the 1886 monumental marble now in Nice, the goddess of youth depicted with Jupiter in the guise of an eagle, cast signature, on a round plinth, overall, h. 27”, w. 12”, d. 11”. [3000/5000] Illustrated 310

313 American Bronze Bust of a Woman, third or fourth quarter 19th century, the elegantly draped figure with one exposed shoulder, “Bureau Bros/Phila” foundry mark at proper right truncation, h. 24‑3/4”, w. 12‑1/2”, d. 8‑1/2”. [1800/2500] Illustrated

315 Charles X Parcel-Gilt Pier Mirror, second quarter 19th century, the covemolded frame supporting a carefully-detailed corbelled and pedimented cornice with a pierced crest in the tablet and a pierced upper trim, h. 71”, w. 31”. [1400/1800] Illustrated

315

317

314 Restauration Mahogany and Marble-Top Center Table, second quarter 19th century, the circular variegated white marble top above a conforming frieze and raised on a reeded vasiform standard to three scrolling acanthine-carved legs ending in paw feet on casters, h. 28”, dia. 37”. [1200/1800] Illustrated

314

316 Pair of DirectoireStyle Painted and Parcel-Gilt Pedestal-Form Jardinieres, each circular lifttop exposing a brass liner, the pedestal adorned with crossed arrows and brass leonine mounts, h. 37‑1/2”, dia. 12‑1/4”. [500/800]

313

317 Pair of Napoleon III Gilt-Bronze and Marble Four-Light Candelabra, third quarter 19th century, in the Directoire style, the gray and white marble bases decorated with giltbronze classical masques, and supporting vasiform brass standards mounted with rope-twist candle branches with palmetteform drip pans under molded and engineturned candle cups, h. 30”, w. 12‑1/2”, d. 7”. [2000/4000] Illustrated

320 Pair of Directoire-Style Marble and Bronze Two-Light Figural Candelabra, on tripartite marble bases with bronze mounts, the patinated classical maidens form the standards, each with a pair of candle arms, h. 20‑1/2”, w. 11‑1/2”, d. 6‑3/4”. [1500/2500] Illustrated 321 French Directoire Pier Mirror, fourth quarter 18th century, the cove-molded mirror with a grape-molded surround, the table adorned with classical figures representing Aphrodite holding a rose and possibly Persephone, h. 71”, w. 35‑1/2”. [2500/4000] Illustrated The inscription on the back refers to the mirror being re-gilded in Marseille in 1865. 319

324

318

318 Empire-Style Giltwood and Marble-Top Occasional Table, 19th century, the circular white marble top within a gadroon-modeled banding and above a leaf- and berrycarved frieze, raised on reeded supports headed by winged maiden heads and ending in paw feet, h. 28‑1/2”, dia. 21”. [600/900] Illustrated 319 Italian School (First Quarter 19th Century), “Allegory of Poetry and Astronomy”, oil on canvas, unsigned, 31” x 46‑1/2”. Presented in a giltwood exhibition frame. [3000/5000] Illustrated

320

323 Jean-Antoine Injalbert (French, 1845‑1933), “Heralding Angel”, gilt-bronze plaque, signed lower right, “Thiebaut Freres/Fondeurs/Paris” mark, and inscribed “Fumiere & Gaugnot Srs” lower left, h. 21‑1/4”, w. 10‑1/2”, d. 5‑1/4”. [1800/2500] Illustrated 324 Albert Pommier (French, 1880‑1942), “Head of a Nymph”, patinated bronze, cast signature, h. 9‑1/2”, w. 18‑3/4”, d. 3‑1/2”. [1000/1500] Illustrated

322

321

322 Laurent-Honore Marqueste (French, 1848‑1920), “Renommee”, gilt bronze, “F Barbedienne Fondeur” mark and cast signature on base, on a square green-veined marble base, overall, h. 24”, w. 14”, d. 15‑1/2”. [3000/5000] Illustrated This is one of several variants of the allegorical figure sculpted by LouisErnest Barrias (French, 1841‑1905) for his monumental memorial to the author Victor Hugo. Marqueste’s version is slightly smaller in scale, with the winged figure delicately balanced on a half sphere.

325 Toni Antoine Szirmai (Hungarian, 1871‑1938), “Memorial”, silvered bronze plaque, cast signature lower right, 16‑3/4” x 11‑1/2”. [450/700] Illustrated following page

323

326 Mathurin Moreau (French, 1822‑1912), “Flora”, silvered and gilt bronze, cast signature and “E. Colin & Cie/ Paris” foundry mark along bottom edge, on a rouge marble base, overall, h. 21‑1/4”, w. 8”, d. 4‑3/4”. [3500/5000] Illustrated

329 Two Inlaid Mahogany Armchairs, the first, a late 19th-century Continental example, the crest with a brassbanded masque-inlaid crest, above the padded back, joined by downswept arms on winged eagle uprights to the padded seat, raised on sabre legs, h. 36”; and the second, an early 20th-century English chair with a brassbanded foliate-inlaid panel above a lyre-form splat, joined by downswept arms to the padded seat, raised on sabre legs, the whole with foliate marquetry inlay, h. 35‑1/2”. [500/800]

326

327 Monumental Beaux Arts Marble Fountain/Bird Bath, early 20th century, the bowl on a flaring octagonal pedestal with a conforming stepped base, h. 40”, dia. 36”. [700/1000] Illustrated 325 328 German “Royal Vienna”-Style Raised Gilt Tray, ca. 1883‑1906, probably by Carl Knoll, Fischern, decorated with raised gilt silhouettes of carriages pulled by various animals and borders of delicate scrollwork, marked with an underglaze blue bindenschild, or beehive, h. 11”, w. 13”. [600/900]

327

330 Unusual Pair of French Gilt-Metal and Crystal ThreeLight Sconces, mid-20th century, in the Louis XVI taste, of basket form, with swags of prisms from the upper tier to the molded candle arm support, h. 40”, w. 28”, d. 16‑3/4”. [1800/2500] Illustrated 331 Neoclassical-Style Mahogany Chest, late 19th century, the rectangular top above a conforming case fitted with five drawers, all paneled and with inlaid brass stringing, raised on low block feet, h. 39‑1/2”, w. 35‑1/2”, d. 14‑1/2”. [600/900] Illustrated

333 Empire Giltwood and Marble-Top Center Table, 19th century, the circular dished marble top above an oak leafmolded frieze, raised on three shaped equine legs ending in hoof feet, h. 31”, dia. 36”. [3000/5000] Illustrated

330

334 Pair of Napoleon III Polished Bronze Obelisks, third quarter 19th century, decorated with ram’s heads supporting swags of flowers and incised scrollwork, crowned with a pinecone finial, h. 13”, w. 6”, d. 6”. [800/1200] Illustrated

331

334

333

332 French Rouge Marble and Gilt-Bronze Standard, ca. 1900, now mounted as a lamp, set on turned feet and ornamented with Empire-style mounts, an egg-and-dartmolded base above the lower plinth, standard, h. 23”, overall, h. 26‑1/2”, w. 6”, d. 6”. [800/1200]

337 Suite of Nine Empire-Style Mahogany Dining Chairs, comprised of two armchairs and seven sidechairs, h. 35”. [600/900] Illustrated 338 Pair of Hand-Painted Paris Porcelain “Jeweled” Garniture Urns, second quarter 19th century, decorated with raised gilt on a green ground, in the Jacob Petit style, with raised lapis “jewels” on the base and paw feet, h. 13‑1/4”, w. 7‑1/2”, d. 5‑1/2”. [1000/1500] Illustrated

339 pair

335 335 Biedermeier Mahogany Bureau Cylindre, second quarter 19th century, the stepped top above a roll-top opening to a pull-out writing surface and a variety of drawers and cubbyholes surrounding a central cupboard, over three graduated long drawers, raised on block feet, h. 46‑1/2”, w. 44”, d. 22‑1/2”. [1500/2500] Illustrated 336 Restauration Mahogany Secretaire a Abattant, mid-19th century, the rectangular slate top above a case fitted with a frieze drawer over a drop-front opening to an inset leather writing surface and a variety of drawers and cubbyholes, with two cupboard doors below, raised on block feet, h. 59‑1/2”, w. 38”, d. 17‑1/2”. [500/800]

339 Pair of French Empire-Style Bronze and Tole Six-Light Chandeliers, the greenpainted tole bodies set with Greek-key banding, flame finials and scroll-molded candle arms, h. 34”, dia. 24‑1/4”. [2000/4000] Illustrated

337

338

340

342

340 Unusual Pair of Continental Faux Malachite Urns, first quarter 19th century, possibly Russian, with black bases made to imitate marble, the scenic hand-painted panels decorated en grisaille, the pierced handles terminating in molded anthemions, h. 10”, dia. 6”. [1800/2500] Illustrated 341 Empire-Style Mahogany and Marble-Top Side Table, mid-19th century, the rectangular charcoal marble top above a conforming frieze fitted with two drawers, raised on ormolu-mounted columnar uprights to the concave base, to turreted feet, h. 36‑3/4”, w. 55‑1/2”, d. 14”. Provenance: French Antique Shop, New Orleans, Louisiana. [1500/2500] Illustrated

342 Pair of French Empire-Style Bronze Four-Light Wall Sconces, second quarter 20th century, on pierced backplates, decorated with engine-turned and molded decoration, electrified, h. 14‑1/2”, w. 12‑1/4”, d. 7”. [1000/1500] Illustrated 343 Set of Twelve Czech Raised Gilt Service Plates, first quarter 20th century, the ivory ground with a guilloche-form gilt border framed with bleu royale and raised borders, marked “Czechoslovakia”, dia. 10‑1/2”. [500/800]

341

344

346 Pair of French Empire-Style Bronze Five-Light Candelabra, the paw-footed bases supporting patinated bronze standards of a male and female in classical dress, each holding aloft the molded candle branches, h. 25‑3/4”, dia. 9‑3/4”. [1200/1800] Illustrated

346

344 French Gilt-Bronze and Porcelain Twelve-Light Chandelier, second quarter 20th century, in the Empire taste, the lapis-colored porcelain standard supporting two tiers of candle branches, four with winged caryatid supports, the canopy decorated with crossed arrows and a lapis-colored base, h. 45‑1/2”, dia. 27‑1/2”. Provenance: French Antique Shop, New Orleans, Louisiana; Estates of Mary Dixon Montague and Frank D. Montague, Hattiesburg, Mississippi. [5000/8000] Illustrated

345 Pair of Restauration Bronze Dore et Patine Candlesticks, second quarter 19th century, the gilt paw feet decorated with grapes and supporting the reeded standards, terminating in engine-molded capitals and matching bobeches, h. 18”, w. 7”, d. 7”. [600/900]

347 Pair of Louis XVI-Style Bronze Chenets, the aux amours frileux design depicting a pair of putti warming their hands on classical torches, h. 11”, w. 15”, d. 4”. [1000/1500] Illustrated

347

348 Directoire Gilt-Bronze Mantel Clock, fourth quarter 18th century, decorated with allegorical figures depicting the passage of time, the clock held by a dragon-form chariot driven by Cupid, representing the night, the clock mounted with a silk string suspension movement, and the lower frieze depicting Diana on her chariot, ushering in the dawn, h. 19‑1/2”, w. 18‑1/2”, d. 5‑3/4”. [6000/9000] Illustrated

348

349 French Gilt-Bronze Figural Mantel Clock, first quarter 20th century, in the Louis XV style, retailed by Shreve, Crump and Low, Boston, and marked on the enamel dial, the clock depicting a patinated bronze putto “driving” a gilt-bronze sled powered by a pair of love birds, the clock set in the side of the sleigh, h. 13”, l. 16”. [1400/1800] Illustrated

349

350

350 French Restauration Bronze Dore, Bronze Patine and Marble Clock Depicting Napoleon, second quarter 19th century, the facia decorated with a carefully-molded Napoleonic eagle on a wreath, the patinated and dore figural top depicting Napoleon standing with a spy glass, a cannon at his feet, the silk-string suspension works signed “Japy Freres” and mounted with an enamel dial, and the clock with inscriptions on the molded gilt-bronze base commemorating key Napoleonic victories and his defeat at Moscow, h. 22”, w. 14‑3/4”, d. 5‑3/4”. [3500/5000] Illustrated

351

354

354 George III Mahogany and Banded Inlaid Tall Case Clock, early 19th century, having a time-and-strike eight-day movement with a painted metal dial, h. 94”, w. 29”, d. 12”. [1000/1500] Illustrated

355

357 351 George III Mahogany and Mixed Woods Inlaid Tall Case Clock, first quarter 19th century, with later works, the case with inlaid and banded borders and a broken-arch pediment hood, the later two-weight movement bearing the label of “Bailey, Banks & Biddle Co. Philadelphia”, h. 93”, w. 20”, d. 11”. [1500/2500] Illustrated 352 American Colonial Revival Waltham Clock Company, Mahogany Single Tube Tall Case Clock, ca. 1900, having an eight-day movement with time and strike on a single long tube, h. 95”, w. 24”, d. 15”. [800/1200] 353 George III Line-Strung Mahogany Tall Case Clock, ca. 1800, the polychromed face depicting armorial and allegorical figures and signed “John Hutchinson”, the waist and base with satinwood line stringing, time and strike movement, h. 83‑1/2”, w. 18”, d. 9”. [700/1000]

359

358

355 French Neoclassical-Style Giltwood Clock, first quarter 20th century, the open arcade top decorated with the figure of a woman holding a bird, h. 24‑1/4”, w. 15”, d. 6‑3/4”. [800/1200] Illustrated 356 French Vincenti et Cie Crystal Regulator, first quarter 20th century, the front corners and dial bezel with enamel trim, fitted with a mercury pendulum and appearing to retain its original gilt surface, marked by both maker and “Made in France”, h. 10‑1/2”, w. 7‑3/4”, d. 5‑1/4”. [800/1200] 357 Signed Jacob Petit Rococo Revival Mantel Clock, ca. 1834‑1866, Paris, in two parts, each marked “J.P.” in underglaze blue, decorated with hand-painted scenes and flowers on an unusual blue-green ground, with raised gilt diapering, the silk-string suspension movement signed “Guyerdet Aine”, h. 14”, w. 9‑3/4”, d. 5‑1/4”. [1200/1800] Illustrated 358 French Provincial Stenciled Pine Tall Case Clock, mid-19th century, having an embossed brass and porcelain dial, bearing the inscription “Cherder fils, a Montceau-les-Mines”, 93”, w. 19”, d. 10”. [1200/1800] Illustrated

359 German Baroque-Style Carved Oak Tall Clock, fourth quarter 19th century, the dial engraved “Zeige Gluckliche Stunden, H. Billy Wien”, h. 65”, w. 28”, d. 14”. [1000/1500] Illustrated 360 George III-Style Quarter-Sawn Oak Dwarf Clock, ca. 1900, the movement with bar chimes for Westminster and marked “London Made”, h. 55”, w. 13”, d. 8”. [500/800] 361 Antique Bidjar Carpet, 11’ 8” x 20’ 3”. [3000/5000] Illustrated 362 Turkish Angora Oushak Carpet, 9’ x 12’. [1200/1800]

361

364 Semi-Antique Pictorial Tabriz Carpet, 8’ 11” x 13’. [1000/1500] 365 Turkish Angora Oushak Runner, 2’ 8” x 19’ 6”. [700/1000]

363 363 Turkish Angora Oushak Carpet, 10’ 4” x 13’ 8”. [1500/2500] Illustrated 366

366 Agra Serapi Carpet, 12’ x 17’ 8”. [2500/4000] 367 Empire-Style Aubusson Carpet, 10’ x 14’ 3”. [1200/1800] 368 Persian Tabriz Carpet, 11’ 6” x 15’ 1”. [4500/7000] 369 Persian Sultanabad Carpet, 13’ 9” x 15’ 4”. [9000/12000] Illustrated 370 Agra Zeiglar Mahal Carpet, 10’ x 14’. [1500/2500] 371 Semi-Antique Mashad Carpet, 11’ x 15’ 1”. [1000/1500] 372 Antique Kerman Carpet, 10’ 9” x 17’ 6”. [1500/2500]

369

374 Wook-Kyung Choi (Korean, 1940‑1985), “Untitled”, 1970, acrylic on canvas, 15‑7/8” x 21‑1/4”. Provenance: The collection of the artist’s family. Literature: Gallery Hyundai, “Wook-Kyung (1940‑1985)”, Seoul: 1996, no. 50. [2000/4000] Illustrated

374

373 375 Wook-Kyung Choi (Korean, 1940‑1985), “Duplicated Imprint”, 1975, acrylic on canvas, signed, titled and dated in silver, 26” x 20‑1/4”. Framed. Provenance: The collection of the artist’s family. Literature: The National Museum of Modern Art, “Wook-Kyung Choi”, Seoul: 1987, no. 47, p .80. [3000/5000] Illustrated

375 373 Wook-Kyung Choi (Korean, 1940‑1985), “Jumping Man”, graphic ink on paper, signed, titled and dated, 32‑1/2” x 25‑1/2”. Framed. Provenance: The collection of the artist’s family. Literature: The National Museum of Modern Art, “Wook Kyung Choi”, Seoul: 1987, no. 26, p. 58. [1800/2500] Illustrated This work represents an individual’s ability to separate himself from the confusion of society that surrounds him.

376

380 Wook-Kyung Choi (Korean, 1940‑1985), “Mountains”, 1960’s-70’s, ink on paper, red seal marks and stamped signature, 23” x 28‑1/4”. Provenance: The collection of the artist’s family. [2000/4000] Illustrated

378

377

376 Wook-Kyung Choi (Korean, 1940‑1985), “It’s Time for the Flowers to Open”, graphite on paper, signed, titled and dated, 4‑5/8” x 4‑1/2”. Framed. Provenance: The collection of the artist’s family. [600/900] Illustrated previous page 377 Wook-Kyung Choi (Korean, 1940‑1985), “Untitled”, late 1970’s/early 80’s, 11‑1/4” x 8‑1/4”. Framed. Provenance: The collection of the artist’s family. [1500/2500] Illustrated 378 Wook-Kyung Choi (Korean, 1940‑1985), “Untitled”, ca. 1968, acrylic on canvas, text incorporated into painting, 22‑3/4” x 17‑3/4”. Provenance: From the collection of the artist’s family. This work is about the individual’s relationship with society. [2500/4000] Illustrated 379 Wook-Kyung Choi (Korean, 1940‑1985), “The Raven of Death and Resurrection”, signed, titled and dated, 36” x 35‑1/4”. Framed. Provenance: The collection of the artist’s family. Literature: The National Museum of Modern Art, “Wook-Kyung Choi”, Seoul: 1987, no. 51, p. 84. [3500/5000] Illustrated Choi often used birds to represent less tangible aspects of life including intense feelings in her work.

379

381 Wook-Kyong Choi (Korean, 1940‑1985), “Untitled”, mid-1970’s to early 1980’s, 21‑1/8” x 19”. Provenance: From the collection of the artist’s family. [5000/8000] Illustrated Choi was a pioneer in abstract color painting when many of her contemporaries were primarily interested in monochrome color schemes.

383

382 Two Chinese Buddhist Tomb Figures, probably 19th century or earlier, the figures carved in stone with traces of pigment, one guardian seated with a lion and one in the robes of an arhat with arms raised, the tallest, h. 14‑1/4”. [500/800]

380

381 383 Chinese Carved Coral Figure, probably Qing Dynasty (1644‑1911), the carved coral figure of a beautiful court lady holding a fan in an idyllic garden setting, two birds frolic on prunus branches beside her, displayed on a carved wooden stand, h. 6‑1/2”. [1000/1500] Illustrated

384

384 Chinese Rock Crystal Vessel, 19th/20th century, the carved vessel with a lid set among fruit, lingzhi-shaped rocks and a ruyi scepter, a bat sitting on the side of the vessel, h. 7‑1/4”, l. 6‑1/2”. [5000/8000] Illustrated

388 Chinese Jade Covered Jar, 20th century, with archaicstyle decoration of flanges and Kui dragons, with dragon mask jump rings and a kylin finial, with a fitted stand, h. 14”. [1500/2500] Illustrated

386

388

385 Chinese Pierced Jade Pin, 19th/20th century, the grayish-white jade with a gold pin backing, with a cut and pierced peach and lotus motif with a scholar’s rock, l. 2‑1/4”. [500/800] 386 Chinese Carved White Jade Guanyin, 19th/20th century, the white jade figure of Guanyin, seated holding a lingzhi-form scepter, on a reticulated base adorned with lotus flowers, h. 8‑3/4”, l. 6‑5/8”. [10000/15000] Illustrated 387 Chinese Green Hardstone Figure of a Sage on a Wooden Stand, 19th/20th century, the carved figure of a bearded sage holding a box and a ruyi scepter, carved in the round with a custom-carved and pierced wooden stand, h. 13‑1/2”, without stand. [500/800]

390

389 Three Chinese Belt Buckles, Together with a Snuff Bottle, 19th/20th century, the two jade and one green hardstone buckle carved in an archaistic style, the longest, l. 4‑1/4”, together with a jade snuff bottle carved with a sunflower motif, h. 2‑5/8”. [600/900] 390 Chinese Jade Box, probably first quarter of 20th century, the rectangular box with gilded metal accents, the top and sides depicting birds and flowers, the underside indicating that metal fittings were applied by Nicholas Haydon, 29 West 56th Street, New York, h. 2”, w. 3‑1/2”, l. 6‑1/2”. [1200/1800] Illustrated

392

393 391 Chinese Chicken Blood Stone Seal, 19th/20th century, the cylindrical red and grayish-brown polished stone with inscribed underside, h. 3‑1/8”, dia. 3/4”. [600/900] 392 Chinese Chicken Blood Stone Seal, the rectangular polished red and white stone seal with a four-character inscription on the side, with carved archaic script on the underside, h. 3‑5/8”, w. 7/8”. [600/900] Illustrated 393 Chinese Carved Soapstone Seal, 19th/20th century, the orange and red carved seal with two phoenixes and a peony on a square column, incised script on the underside, h. 3‑1/8”, w. 5/8”. [500/800] Illustrated

394

394 Chinese Amber Figure of Budai, the carved seated figure on a rockwork base holding a string of prayer beads in his left hand, a four-character inscription across the base of health and wealth, the underside unmarked, h. 3‑3/4”, w. 3‑7/8”. [600/900] Illustrated 395 Chinese Bronze Figure of a Lohan, probably 19th century, the seated figure of a lohan or arhat with protruding forehead and a curling beard, h. 6‑1/2”. [3000/5000]

396 396 Sino-Tibetan Seated Buddha, probably 19th century, the gilt-bronze figure wearing a five-petal crown, seated in padmasana with hands folded in dhyana mudra, on a lotus base with a carved wooden stand, h. 9‑3/4”, w. 4‑3/4”, including base. [1200/1800] Illustrated

397

397 Chinese Gilt-Bronze Figure of the Medicine Buddha Bhaisajyaguru, 19th century, the figure depicted seated on a lotus base in vajrasana with hands in bhumisparsha mudra, holding a round salve jar, the lotus base with an incised visvavajra mark on the underside, h. 9”, w. 7”. Provenance: Skinner (2011); Private collection. [1400/1800] Illustrated

398

399 Chinese Gilt-Bronze Figure of Amitabha Buddha, 18th century, the Buddha depicted seated in vajrasana with hands folded in dhyana mudra on a lotus base, dressed in flowing robes adorned with floral borders, the figure with cold-painted eyes, lips and hair, unmarked, h. 7‑1/2”, w. 6”. Provenance: Woolley and Wallis Salisbury Salerooms, Ltd. (2011); Private collection. [5000/8000] Illustrated 400 Chinese Paktong Foo Dog Censer, probably 19th century, the figure of a foo dog with inlaid eyes and the character “Wang” or king on its forehead, standing on back legs with front paws raised, h. 10‑1/4”, w. 5‑1/2”. [600/900]

401

399

401 Indo-Tibetan Gilt-Bronze and Lacquer Head of Buddha, probably late 19th century, the large head with a gilded face and traces of red and blue pigment in the tight cones that form her hair, mounted on a polished black metal base, h. 14‑7/8”, w. 7”. [3500/5000] Illustrated 398 Three Chinese Buddhist Altar Ornaments, 19th century, comprising two seated figures and a third of a horse in repousse, gilt-copper with enamels of turquoise, red and blue, displayed on a custom-made gilt and patinated steel base, overall, h. 16”, w. 14‑1/4”. [3500/5000] Illustrated

402 Chinese Cloisonne Vase, late Qing Dynasty (1644‑1911), the baluster vase with a blue enameled ground, depicting a scene of fish, butterflies and an array of aquatic plants, the underside bearing a four-character De Xing mark, h. 11‑1/2”, w. 5‑1/2”. [600/900]

403

404

404 Twenty-Six-Piece Collection of Waterford “Templemore” Crystal Barware, including a decanter with a faceted stopper, h. 13”, thirteen 12‑ounce tumblers, h. 5”, and twelve old-fashioned glasses, h. 3‑5/8”. [400/700] Illustrated 405 Extensive Collection of Waterford “Templemore” Crystal Stemware, all signed “Waterford” and many with original tags. Additional information available on our website. [1200/1800] Illustrated

405 403 Kate Elizabeth Olver (British, 1881‑1960), “Tea Time”, oil on canvasboard, signed lower right, “Robert Sielle/14 Greenwell Street/Fitzroy Square” label en verso, 30” x 40”. Framed. Provenance: Private Collection, Mobile, Alabama. [15000/25000] Illustrated

408 Handsome English Regency Revival Parcel-Gilt Overmantel Mirror, ca. 1900, in three parts, with carved mummy-headed pilasters dividing the mirror plates and a raised Greek-key decorating the upper tablet, h. 27”, w. 42‑1/2”. [1000/1500] Illustrated

408

409 Edwardian-Style Mahogany and Burl Wood Center Table, the tilting circular top triple banded with a central polychrome foliate band, raised on a turned bulbous standard to four molded splayed legs ending in brass caps and casters, h. 30”, dia. 60”. [600/900] Illustrated

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406 Henri Lebasque (French, 1865‑1937), “Portrait of the Artist’s Daughter”, charcoal on paper, inscribed “Marthe a 3 ans” and signed lower right, sight 8” x 7‑1/4”. Glazed, matted and framed. Provenance: Galerie Rive Gauche, Antibes. [700/1000] Illustrated 407 Pair of Adam-Style Silverplate and Jasperware Sconces, ca. 1891‑1910, English, the two-arm sconces with oval backplates and urn finials, set with oval Wedgwood jasperware plaques of classical maidens, the backs stamped “Wedgwood, Etruria, England”, electrified, h. 15”, w. 8‑3/4”, d. 5‑3/4”. [500/800]

409

410 Edwardian Satinwood Center Table, ca. 1900, the banded ovoid top centered by a patera inlay with emanating bellflower swags, above a conforming frieze, raised on tapering circular legs joined by a small oval galleried stretcher shelf and ending in teardrop feet, h. 29”, w. 31”, d. 22”. [700/1000] Illustrated

415

411 Pair of English Satinwood and Mahogany Candlestands, mid-19th century, each with an octagonal top and raised edge centering elaborate inlaid banding and a central floral medallion, above a conforming frieze fitted with a single candle slide, raised on slender tapering square legs joined by a shaped stretcher and ending in giltwood ball feet, h. 31”, dia. 14”. [1000/1500] Illustrated 412 Pair of Edwardian Painted Fruitwood Mirrors in the Adam Taste, first quarter 20th century, the arched tops with crests painted with flowers and pierced ribbons, h. 35‑1/4”, w. 20”. [500/800] Illustrated 413 Pair of Edwardian Satinwood and Kingwood Tiered Shelves, ca. 1900, each with a rectangular top, h. 36‑1/2”, w. 45‑1/2”, d. 14‑1/2”. [2000/4000] 414 Pair of Edwardian Polychromed Maple Armchairs in the Adam Taste, early 20th century, each with swag and bellflower decor, the backs centered by a painted silhouette of a maiden, h. 36‑1/4”. [600/900] 412

411

415 George III-Style Ebonized Chinoiserie Breakfront, early 20th century, the molded and broken swan’s-neck pediment centered by a finial and above four astragalglazed doors, above a conforming case fitted with four paneled cupboard doors, each with a polychrome figural landscape scene, raised on a plinth base, the whole with gilt accents, h. 89”, w. 78”, d. 18‑1/4”. [1500/2500] Illustrated

416 Pair of Ebonized Gondola Chairs, each with a domed back featuring a scene of oriental figures on horseback, joined to the padded seat by downswept arms, raised on fluted sabre legs to brass caps and casters, by Drexel, h. 35”. [500/800]

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417 Unusual Art Nouveau Cut and Engraved Colorless Glass Vase, ca. 1900, English, decorated in the manner of Thomas Webb, with swirling flowers and leaves crossing the cut panels, and a star-cut bottom, h. 11‑3/4”, dia. 3‑3/4”. [450/700] Illustrated 418 English Giltwood and Jasperware Overmantel Mirror, first quarter 20th century, in the Adam style, in three parts and molded with acanthus leaves, paterae and bellflowers, the black jasperware crest table, possibly Wedgwood, depicting satyrs and putti in a Bacchanalian scene, h. 41”, w. 49”. [1000/1500] Illustrated

419 Edwardian Mahogany Desk, early 20th century, in the Georgian taste, the superstructure fitted with a concave central shell-form drawer over a cupboard and small drawer, flanked to either side by a mirrored cupboard and a tambour cupboard, and sloping sides to a small drawer, the top with a central pull-out leather surface over a central frieze drawer and two small drawers to either side, raised on cabriole legs ending in ball-and-claw feet, h. 44”, w. 50‑3/4”, d. 26”. [700/1000]

421 Leon Kroll (American, 1884‑1974), “The Bather”, oil on canvasboard, signed lower right, “Marbella Gallery/ New York” and “Milch Galleries/New York” labels en verso backing, 24” x 15. Framed. Provenance: Milch Galleries, New York, New York; Private collection; Private collection Mobile, Alabama. Exhibited: Fine Arts Museum of the South, 1983. [40000/70000] Illustrated The present lot was the cover image for the exhibition card for the Milch Galleries, New York show “Figure and Landscape Studies”, April 22‑May 11, 1935. 422 Raphael Soyer (American, 1899‑1987), “Memories”, 1969, portfolio of twelve lithographs, published by Touchstone Publishers, New York, each pencil-signed and numbered “32/150”, complete with expository text and original box, each sheet 26” x 20”. [1500/2500] Illustrated 423 George Hampton (American/Texas, Mid-20th Century), “Portrait of the Artist’s Son”, oil on board, signed upper left, 19‑1/2” x 15‑1/2”. Framed. [600/900]

424

420 Regency-Style Fruitwood Stool, the circular tufted leather seat raised above a plain frieze on four legs in the form of laced ladies boots, h. 19”, dia. 23”. [1000/1500]

425 422 424 American School (Second Quarter 20th Century), “Study of Two Nudes”, oil on canvas, unsigned, 28” x 20”. Framed. [800/1200] Illustrated 425 Southern School (Late 19th/Early 20th Century), “Portrait of a Man”, oil on canvas, unsigned, 17” x 14”. Framed. [800/1200] Illustrated

426 Enzo Plazzotta (Italian/ British, 1921‑1981), “Dancer”, patinated bronze, stamped and numbered 4/9 at edge of base, foundry mark at front of base, h. 29”, w. 7‑1/2”, d. 8”. Provenance: Estate of Lillian Pulitzer Smith, New Orleans, Louisiana. [1800/2500] Illustrated

426

Plazzotta was born in Italy and studied at the Accademia di Brera in Milan under Giacomo Manzu (1908‑1991). After World War II, he received a commission to commemorate the successful collaboration with British Special Forces and Plazzotta traveled to London to formally present the sculpture. Enamored by the city, he soon made it his permanent home, maintaining a studio in Italy. Initially a portrait sculptor, Plazzotta found that milieu too limiting and stifling artistically. Fascinated by the idea of movement, he began to concentrate on dance, horses and the human figure. His powerful depictions of women are some of the most accomplished and admired of his bronzes. Plazzotta completed numerous public commissions in London, England including works in Covent Garden, Belgrave Square, and the College Garden at Westminster Abbey.

428 Christopher Inglis Stebly (American, b. 1967), “Old Cypress Tree”, 1998, watercolor on paper, initialed and dated lower right, sight 15” x 11”. Glazed, matted and framed. [800/1200] Illustrated 429 James Milford Zornes (American/California, 1908‑2008), “Southwest Landscape”, 1982, watercolor on paper, signed and dated lower left, sight 20‑1/2” x 29‑1/2”. Glazed and framed. [1000/1500] Illustrated

428

427 427 Robert E. Wood, N.A. (American/California, 1926‑1999), “Green Valley Pines”, watercolor on paper, sight 20‑1/2” x 29”. Glazed, matted and framed. [700/1000] Illustrated

429 430 Hezekiah Anthony Dyer (American/Rhode Island, 1872‑1943), “Cottage with Lilacs” and “The Pier”, a pair of watercolors on paper, each signed lower right, each 10‑1/2” x 14‑1/2”. Glazed, matted and framed. [500/800]

431 Alex Dzigurski (American, 20th Century), “Seascape”, oil on canvas, signed bottom right, 24” x 36”. Framed. [1000/1500] Illustrated 432 Larry Strickland (American, Contemporary), “Rainy Day”, oil on board, signed lower right, 24” x 36”. Framed. Provenance: Purchased from the artist, 1981. [500/800] Illustrated 433 Charles D. Cahoon (American, 1861‑1951), “Gay Head, Massachusetts”, oil on canvas board, signed lower right, titled en verso, 9” x 12”. In a period giltwood frame. [3000/5000] Illustrated

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434 Wayne Beam Morrell (American, 1923‑2013), “Country Landscape with Figures Fishing”, oil on board, signed lower right, 23‑1/2” x 36‑1/4”. Framed. [1400/1800] Illustrated 435 John Syer (British, 1815‑1885), “Tintagel Castle, North Cornwall”, 1871, watercolor and pencil on paper, signed, dated and titled lower right, sight 10‑1/2” x 15”. Glazed, matted and framed. [500/800]

432

438 French Provincial Fruitwood Armoire, late 18th century, the molded and rounded cornice above a conforming case fitted with two doors, each inset with a shaped panel, raised above a scalloped apron on shaped toes, h. 83”, w. 52”, d. 25”. [1000/1500] Illustrated

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438

439 437 436 Boyer Gonzales (American/Texas, 1864‑1934), “Snow-Covered Wooded Landscape”, oil on canvas, signed lower left “Boyer Gonzales”, 10‑5/8” x 14”. Presented in a molded giltwood and gesso frame. [1000/1500] Illustrated 437 Francis Stillwell Dixon (American/California, 1879‑1967), “Dappled Wooded Path”, oil on canvas, signed lower right “F. S. Dixon”, 26” x 20”. Framed. [2000/4000] Illustrated

441 Hermann Kern (Hungarian, 1839‑1912), “Man Seated, Holding a Token”, oil on canvas, signed lower left, 18‑1/2” x 12‑1/2”. Presented in a giltwood exhibition frame. [2000/4000] Illustrated 442 Louis XV Provincial Fruitwood Center Table, late 18th century, the rounded rectangular top with an inset gilttooled leather surface, above a scalloped apron fitted with two end drawers, raised on cabriole legs ending in ringturned feet, h. 28”, w. 37”, d. 25”. [800/1200] Illustrated

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439 Provincial Directoire-Style Fruitwood Window Seat, mid-19th century, the long rectangular padded seat flanked to either side by a raised end with lyreform splat, raised on square legs joined by an H-form stretcher, h. 30”, w. 48”, d. 14‑3/4”. [600/900] Illustrated 440 Hermann Kern (Hungarian, 1839‑1912), “Man at Rest, In the Cellar”, oil on canvas, signed lower left, 18‑1/2” x 12‑1/2”. Presented in a giltwood exhibition frame. [2000/4000] Illustrated

445 Pair of Continental “Black Forest”Type Carved Wood Cachepots, fourth quarter 19th century, on square chip-carved bases supporting Tyrolean peasants carrying baskets on their heads, h. 19‑1/4”, dia. 9‑1/2”. [1200/1800] 446 Brussels Handwoven Tapestry, 17th century, depicting a scene from the myth of Circe and Ulysses figures within a lush landscape of deep greens and vibrant yellows, 9’ 8” x 12’ 3”. [20000/40000] Illustrated 447 Provincial Directoire-Style Oak Day Bed, 19th century, the cushioned padded rectangular seat flanked to either end by out-scrolled paneled ends with panel and palmetto carving, the whole raised on bulbous toupie feet, h. 39”, w. 81”, d. 25”. [500/800]

446 443 Pair of Regence-Style Mahogany Fauteuils a la Reine, early 19th century, each with a padded rectangular back joined to the like seat by downswept scrolling arms, raised above a shell-carved apron on cabriole legs joined by a shaped X-form stretcher and ending in hoof feet, h. 47”. [1200/1800] Illustrated previous page

448 Fred Arends (Dutch, b. 1949), “Hunter and His Dog in the Woods”, oil on board, signed lower right, 9” x 7”. Framed. [600/900]

451

444 French Provincial Oak and Marble-Top Buffet, 19th century, the thick, rounded rectangular Rouge Royal marble top above a conforming case fitted with three cupboard doors, all inset with shaped panels, raised on a plinth base, h. 35‑1/2”, w. 85‑1/2”, d. 21‑1/2”. [1500/2500]

449 Francesco Gibelli (Italian, 1890‑1978), “Village Path, Winter Evening”, oil on board, signed lower left, 7‑1/2” x 6‑1/4”. Handsomely framed. [500/800] 450

450 Provincial Louis XV Walnut Buffet, late 18th century, the rounded rectangular top with a molded edge and above a conforming case fitted with two drawers and two cupboard doors, each inset with a shaped burl panel, raised above a scalloped apron on scrolled toes, h. 38”, w. 49”, d. 24‑1/2”. Provenance: Estates of Mary Dixon Montague and Frank D. Montague, Hattiesburg, Mississippi. [1800/2500] Illustrated 454

452

451 Louis XV-Style Mahogany Fauteuil, 19th century, the shaped and padded embossed leather back within a guilloche-carved frame with floral crest, joined by like-carved arms to the padded seat, raised on molded cabriole legs ending in scrolled toes, h. 41”. [1000/1500] Illustrated

454 Continental Painted Beechwood Jardiniere, early 20th century, in the form of a draped putto supporting a shell on his head, h. 40”, w. 25”, d. 14‑1/2”. [1800/2500] Illustrated

452 Carl Kahler (Austrian/American, 1855‑1906), “Pond with Swans, At Sunset”, oil on canvas, signed lower right “Carl Kahler”, 36” x 24”. Presented in a giltwood and gesso frame. [800/1200] Illustrated 453 Provincial Louis XV-Style Mahogany Desk, early 20th century, the shaped rectangular top with a molded edge and inset leather writing surface, above a frieze fitted with a central drawer flanked to either side by two short drawers, the reverse with faux drawers, raised on cabriole legs ending in scrolled toes, h. 29‑1/2”, w. 64‑1/2”, d. 39”. [1500/2500] Illustrated

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455

457 Provincial Louis XV-Style Fruitwood Buffet, late 18th century, the rounded rectangular top above a case fitted with two drawers over two cupboard doors, each inset with a shaped panel, over a shaped foliateurn-carved apron, raised on scrolled feet, h. 38‑1/2”, w. 54‑1/2”, d. 24‑1/2”. [2000/4000] Illustrated

458 Continental Polychrome and Pine Coffer, early 19th century, the rectangular top opening to an interior fitted with a small lidded end compartment, the front with painted panels of floral arrangements, on a plinth base, the face with the painted date “1838”, h. 24‑1/2”, w. 46‑1/2”, d. 18”. [450/700] 459 Pair of Louis XV-Style Fruitwood and Leather Covered Bergeres-avec-Orielles, early 20th century, each with a domed, padded and tufted back joined by shaped and padded sides and arms to the cushioned seat, raised on molded cabriole legs ending in scrolled toes, h. 46‑1/2”. [1800/2500] Illustrated

457 455 Pair of Louis XVI Fruitwood Fauteuils, late 18th century, each with a padded medallion back within an annulated frame with ribbon crest, joined by padded scrolling arms to the like seat, raised on fluted tapering circular legs to casters, h. 36‑1/2”. Provenance: Henry Stern, New Orleans, Louisiana. [800/1200] Illustrated 456 Louis XV Polychrome Sofa, 18th century, the shaped and padded back surmounted by a floral crest and molded frame, joined to the cushioned seat by rounded and padded downswept arms, raised on molded cabriole legs ending in foliate toes, h. 40”, w. 90”, d. 31”. [3000/5000] Illustrated

100

460 Provincial Louis XV-Style Mahogany Display Cabinet, 20th century, the scrolling foliate crest above a central glazed cupboard flanked by set-back beveled mirrored panels, the lower section fitted with a drop-front compartment over a glazed cupboard, raised on scrolled feet, the whole accented with foliate scrolling designs, h. 98”, w. 50”, d. 16‑1/4”. [800/1200]

459

461 Provincial Pickled Wood Meridienne, the domed and padded back surmounted by a floral crest, joined by a long cushioned seat to the like lower end, raised on molded cabriole legs headed by floral carving and ending in scrolled toes, h. 36”, w. 29”, l. 71”. [500/800] Illustrated 462 Jules Cheret (French, 1836‑1932), “Paris Courses”, lithograph in colors, plate signed middle left, printed by Imp. Chaix, Paris, sight 49” x 33”. Glazed, matted and framed. [800/1200] Illustrated

461

462 463 Marc Chagall (Russian/French, 1887‑1985), “La Tour de David”, 1979, color lithograph, hors commerce, annotated lower left, signed in pencil lower right, sight 12‑1/4” x 9‑1/4”. Glazed, matted and framed. [2500/4000] Illustrated

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466 Joan Miro (Spanish/French, 1893‑1983), “Composition VI”, 1963, color lithograph on Rives paper, pencil signed lower right, numbered in pencil lower left “47/40”, sight 15‑1/2” x 12”. Glazed, matted and framed. [1000/1500] Illustrated

464 464 Marc Chagall (Russian/French, 1887‑1985), “La Fille Revenant du Village”, hand-colored etching, from “Les Fables de La Fontaine” series, signed in plate lower left, sight 12‑1/2” x 10‑1/2”. Glazed, matted and framed. [800/1200] Illustrated

465

466 465 Salvador Dali (Spanish, 1904‑1989), “Grenade et l’Ange”, lithograph in colors on Rives paper, signed and dated in pencil lower right, Rives watermark upper right, sight 27‑1/2” x 20‑1/2”. Glazed, matted and framed. [1800/2500] Illustrated

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467 Jules Cheret (French, 1836‑1932), “Folies-Bergere, L’Arc en Ciel, Ballet-Pantomime en Trois Tableaux”, lithograph in colors, plate signed middle left, printed by Imp. Chaix, Paris, sight 49” x 34”. Glazed, matted and framed. [800/1200] Illustrated

470

468 Marc Chagall (Russian/French, 1887‑1985), “Metropolitan Opera”, 1966, color poster, 40” x 26”. Glazed, matted and framed. [1500/2500] Illustrated

472 Suite of Twelve Victorian Mahogany Dining Chairs, second half 19th century, each with a turned and foliatecarved top rail, molded stiles, paneled seat rails and tapering front legs ending in leaf carving, h. 36‑1/4”. [800/1200] 473 Victorian Mahogany Corner Cabinet, late 19th century, the broken swan’s-neck pediment with urn finials and above a single beveled glazed cabinet door, the lower section fitted with a like cabinet and raised on shaped incised feet, h. 78”, w. 35‑1/2”, d. 20‑1/2”. [500/800] 468 469 Pair of Cut Glass Mantel Lustres, third quarter 19th century, probably Anglo-Irish, cut in a strawberry pattern and trimmed with gilt, each hung with spear-point prisms, h. 14‑1/4”, dia. 6‑1/4”. [800/1200] Illustrated

469

470 Impressive Pair of Rare Thomas Messenger Cut Glass and Nickel-Plated Brass Oil Wall Sconces, fourth quarter 19th century, Birmingham, England, the scroll-molded backplates and arms supporting fonts cut in the strawberry pattern and matching original cut glass ball shades, the lamp collars stamped “Messenger’s Patent”, one burner marked “Messenger’s No. 2”, h. 21‑3/4”, dia. 7‑3/4”, l. 11”. [900/1200] Illustrated 471 English Gilt-Bronze, Cut Glass and Porcelain Banquet Lamp, fourth quarter 19th century, the guilloche-molded bronze base supporting a vasiform standard decorated with hand-painted flowers and mounted with a strawberry-cut glass font, now electrified and fitted with a shade, base, h. 23‑1/2”, overall, h. 38”, dia. 18”. [400/700]

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474 Anglo-Irish Neoclassical-Style Cut Glass Pitcher with a Pedestal Base, fourth quarter 19th century, decorated with a strawberry and fan pattern and honeycomb cutting on the handle, h. 12‑1/2”, w. 6‑1/2”, dia. 4‑3/4”. [600/900] Illustrated

479 English “Gothic” Papier-Mache Tray, ca. 1840‑1847, Wolverhampton, England, signed “B. Walton & Co., Warranted”, decorated with a peacock and fountain on a bronze background, w. 22‑3/4”, l. 30”. [1000/1500] Illustrated

480

475 Anglo-Irish Cut Glass “Strawberry and Fan” Compote, fourth quarter 19th century, in the Regency style, decorated with a waffle-cut base, the scalloped rim cut with fans, h. 7‑3/4”, dia. 12”. [500/800]

477

476 Anglo-Irish Brilliant-Cut Glass Footed Bowl, fourth quarter 19th century, decorated with various diamond cuttings in guilloche-patterned panels, the rim cut in a reverse serpentine pattern, h. 7‑1/2”, w. 8‑3/4”. [600/900] 477 Anglo-Irish Crystal Bateau-Form Footed Bowl, fourth quarter 19th century, in the Georgian style, with diamondcut sides, h. 9‑3/4”, w. 16‑3/4”, d. 8‑1/2”. [600/900] Illustrated 478 Nicely-Detailed Wooden, Metal and Twine Model of a Schooner, first quarter 20th century, fitted for battle with a cannon, the model includes a dinghy, articulated anchors and rigging, flying the flag of Argentina, h. 33‑3/4”, w. 42‑1/2”, d. 7‑3/4”. [500/800]

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482 interior 482

480 Victorian Ebonized Slipper Chair, third quarter 19th century, the padded rectangular back within a shaped frame with a rounded crest, the padded seat raised on outscrolled legs on casters, the whole with gilt and mother-ofpearl accents, h. 40‑1/2”. [800/1200] Illustrated 481 Victorian Ebonized Papier-Mache Tray, third quarter 19th century, the shaped tray with a raised rim and a central floral avian scene, now raised on a conforming ebonized stand with cabriole legs to pad feet, h. 26”, w. 32”, d. 25‑1/2”. [700/1000]

482 Chinese Export Black and Gilt Lacquer Writing Desk, first quarter 19th century, the three-piece writing desk with claw feet and covered with a motif of figures in an idyllic garden setting, with a pair of doors opening horizontally to reveal a removable tray with thirteen sections, four with lids and ivory knobs, a drawer beneath the cabinet opens to reveal three compartments over six small drawers and a cabinet with a mercury glass mirror, the whole accented with a floral, scholar’s rock and figure motif, h. 54‑1/2”, w. 29”. [800/1200] Illustrated

484

483 Chinese Chippendale-Style Mahogany Library Table, ca. 1900, the canted rectangular top with concave sides above a conforming blind-fret-carved frieze fitted with a central drawer, raised on canted and pierced cluster legs ending in double block feet, h. 31”, w. 63”, d. 38”. [1000/1500] Illustrated 483

484 Two French Patinated Bronze Sculptures of Dogs, ca. 1900, after Pierre-Jules Mene (French, 1810‑1879), one with cast signature, one h. 5”, w. 12”, d. 4‑1/2”, the other h. 8”, w. 11‑1/2”, d. 4‑1/4”. [1000/1500] Illustrated

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485 French Bronze of “La Premiere Culotte”, first quarter 20th century, after Charles Anfrie (French, 1833‑1905), cast signature, titled on plaque at edge of base, h. 24”, w. 9”, d. 9”. [600/900] 486 Set of Six Aynsley “Georgian” Bone China Service Plates, ca. 1960, decorated with raised gilt borders and gilt swagging on a cobalt ground, each marked “Est. 1775, Aynsley England, Fine English Bone China, Georgian, Cobalt 7348”, dia. 10‑1/2”. [450/700] Illustrated

488 North African Ebonized and Hardwood Tabouret, early 20th century, the decagon-form top with a raised edge and elaborate inlaid mother-of-pearl patterns, raised on a conforming like-inlaid base with pierced arches, h. 28”, dia. 25”. [450/700] Illustrated

490

487 Eight-Piece English Partial Porcelain Aesthetic Dessert Service, fourth quarter 19th century, designed with reticulated rims and brown-ground borders decorated with gilt fans and raised lotus flowers, the center reserves decorated with transfer-printed flowers and birds, marked with pattern number 4419 over 49, the set comprised of a pair of tazzas, h. 5‑1/4”, dia. 9”, and six plates, dia. 8‑3/4”, one formerly mounted on a stand. [500/800]

488

489 After Teodoro Viero (Italian, 1740‑1819), a collection of eight engravings with later coloring, from Raccolta di 126 stampe che rappresentano Figure, ed Abiti di varie Nazioni, secondo gli originadi, e le Descrizioni dei piu celebri recenti viaggiatori, e degli scopritori di Paesi nuovi, published in Venice, Italy, 1783‑90, sight 10‑1/2” x 7‑3/4”. All glazed and presented in handsome ebonized and parcel-gilt frames. [600/900]

486

490 Vintage Moroccan Pierced Brass Lantern, mid-20th century, set with colorless and colored, molded and paintdecorated glass, of octagonal form with a domed top and carrying handle, h. 44”, dia. 23‑3/4”. Provenance: Estate of Barbara Hutton. [500/800] Illustrated 491 Victorian Porcelain Orientalist Plaque, fourth quarter 19th century, English or Continental, in the German style, titled on the rear in English, “Scene in a Slave Market at Cairo”, in a modern giltwood frame, overall, h. 15‑1/2”, w. 15‑1/2”. [2000/4000]

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492 Continental Porcelain Orientalist Plaque, fourth quarter 19th century, probably German, depicting a scantily-clad harem girl in a “Turkish Corner”, marked with an impressed number, h. 11”, w. 7‑1/2”. [1000/1500] 493 Mughal Courtly Album, 17th/18th century, probably Delhi, India, the courtly bound book detailing the legendary romance between the famed Mughal emperor Shah Jahan (1592‑1666), (ruled, 1628‑1658), and Mumtaz Mahal (a.k.a. Arjumand Banu Begum), the volume with 148 pages, 16 of which contain intricately-rendered miniature painting in sumptuous colors with lavish gilding, with a cloth cover on a possibly later binding, h. 11”, w. 6‑1/2”. [18000/25000] Illustrated The romance between the Mughal emperor and great patron of the arts Shah Jahan and his favorite wife Mumtaz Mahal is immortalized in this beautiful bound volume. Born Arjumand Banu Begum, she was instrumental at Shah Jahan’s court and was his constant and most trusted companion. She even accompanied him on some of his early military campaigns. During her lifetime, poets and historians exalted her great beauty and kindness. Shah Jahan bestowed the highest honors in the land upon her as well as the name Mumtaz Mahal meaning the “jewel” or “chosen one” of the royal palace. She enjoyed the hunts and devoted considerable time to developing a riverside garden in Agra. Completed more than two decades after her death in 1631, the Taj Mahal, remains a monument to Shah Jahan’s love for his cherished consort.

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494 Carved Ivory Box, 18th/19th century, probably Indian in the Mughal style, the lidded cylindrical box depicting a tiger hunting an elephant in a lush jungle setting, the lid depicting the tiger attacking the elephant within a foliate border, h. 5‑1/2”, dia. 5‑1/2”. [1000/1500] Illustrated 495 Alabaster Model of the Taj Mahal, late 19th/early 20th century, Indian, the model incised, carved and pierced, on a decorated alabaster “floor”, the center hollow, originally fitted with a light, h. 13‑3/4”, w. 11‑3/4”, d. 11‑3/4”. [500/800] 496 Indian Filigree Duck Box, 20th century, the duckshaped gilt-metal box with inlaid stones and a blue velvet interior, h. 12‑1/2”, l. 9‑1/4”. [800/1200]

494

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497 Tibetan Thangka of Tsongkhapa (1357‑1419), 18th century or earlier, the lama Tsongkhapa depicted seated on a throne with a lotus cushion flanked by a pair of lions, wearing a gold and yellow pandit’s hat, representing the Gelug School of Buddhism, Tsongkhapa’s hands folded in dharmacakra mudra and shown seated in the vajra position, thangka, h. 43”, w. 27‑1/4”, overall, h. 53‑1/4”, w. 37‑1/4”. Provenance: Kumar Gallery, New Delhi (1972). [12000/18000] Illustrated 498 Tibetan Thangka of Seated Tara, 18th century or earlier, the gold figure of Tara seated on a lotus holding lotus stems, surrounded by numerous animals and deities in a lush landscape setting, probably distemper on cloth, mounted on silk, thangka, h. 43”, w. 27‑3/4”, overall, h. 53‑1/4”, w. 37‑1/4”. Provenance: Kumar Gallery, New Delhi (1972). [12000/18000] Illustrated

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500 French Patinated Bronze of a Horse and Rider, first quarter 20th century, after Alfred Pierre Richard (French, 1844‑1884), on a gilt-painted base, cast signature at edge of base, h. 16‑1/4”, w. 15”, d. 6”. [2000/4000] Illustrated 501 Unusual Continental Porcelain Plaque, ca. 1900, the plaque depicting an Indian scene of a couple beside a stream with a peacock on the riverbank, impressed “311”, in an Arts and Crafts-style giltwood frame, h. 9‑1/2”, w. 6‑3/4”. [600/900] Illustrated 502 Unusual Middle Eastern Framed Textile, with Moorish arched panels depicting leaves and flowers on a faded scarlet ground, h. 48‑1/2”, w. 24‑3/4”. [2000/4000]

499

501 503 Middle Eastern Silver-Plated Moorish-Style Lantern, the serpentine-sided lantern with pierced trim framing the textured glass panels, under a rope-trimmed onion dome, h. 51”, dia. 13”. [2500/4000]

499 Middle Eastern Steel and Brass Shield, ca. 1900, with Persian-style damascene decoration of fish on a ground of intertwined vines, with applied bosses and brass, dia. 15‑1/4”. [800/1200] Illustrated

504 Two Similar Persian Pottery Ginger Jars, probably 19th century, now mounted as lamps, decorated in the Iznik style with hand-painted graphic patterns, jar, h. 12”, overall, h. 22”, dia. 8‑1/4”. [700/1000]

109

505 Japanese Bronze Guardian Head, Meiji period or earlier (1868‑1912), the gilt-bronze foo dog lion head, from a larger temple figure, depicted with a rope in its mouth, mounted on a wooden pedestal, h. 8‑3/4”, w. 8‑1/8”. [450/700] Illustrated

508

505

506 Three Japanese Bronze Vessels, Edo period (1615‑1868) to Meiji period (1868‑1912), the temple bronze beakers, styled after archaic Chinese models, unsigned, the tallest, h. 7”, dia. 5‑1/4”. [600/900]

512

507 Four Japanese Bronze Ritual Implements, probably Edo-Meiji period (1615‑1912), including a lidded censer with a pierced lid with a bee knob, a vessel with two handles, a small squared vessel and a tripod with molded deities, the tripodal vessel and the censer with marked undersides, the largest, h. 7”, w. 6”. [600/900] 508 Japanese Gilt and Lacquered Zushi, Meiji period, late 19th century, the wood and lacquered traveling shrine with hinged doors, the standing Kannon figure holding a water vase in its left hand, the interior doors painted with an arrangement of flowers and rocks, h. 17‑3/4”, l. 6‑1/2”. [1000/1500] Illustrated

509 Patinated Brass Hotei/Budai, 19th/20th century, probably Japanese, the standing figure with arms outstretched, standing on a petaled base and displayed on a scrolled wooden stand, hollow, h. 12‑3/4”, dia. 10‑1/2”, including stand. [600/900]

510

110

518

511

511 interior 510 Japanese Gilt and Lacquered Box, late Edo period, 19th century, the rectangular box with rounded edges, covered with a scrolling vine motif that continues over the sides on a nashiji ground, h. 2‑1/2”, l. 15”. [500/800] Illustrated 511 Japanese Lacquered Box, 20th century, the square black box with a silver and iridescent speckled geometric decorative motif, the maki-e interior with foil painted shells applied to the interior lid, h. 3‑1/4”, w. 9”, d. 9”. [900/1200] Illustrated 512 Japanese Lacquered Incense Box, 18th century, the black and gilt-lacquered box with a floral motif of prunus blossoms, a narrow drawer with a pull on the side and two inner compartments, h. 7‑1/8”, w. 6‑1/4”, l. 8‑3/4”. Provenance: The Rogers Fund, New York, New York. [900/1200] Illustrated 513 Pair of Chinoiserie Chocolate Brown Wooden Lamps, early 20th century, the figural covers retain the original chinoiserie decoration, fitted with custom pleated paper shades, h. to top of finial, 34”. Provenance: Gracie, New York, New York. [450/700]

514 Five Japanese Cups with Lids, Meiji period (1868‑1912) to Taisho period (1912‑1926), the five cups with a gilt and polychrome motif of leaves and balls, and red gilt decoration on the inside of each lid, the undersides stamped, h. 2‑3/4”, dia. 3”. [500/800] 517 515 Pair of Japanese Satsuma Plates, late 19th/early 20th century, the two dishes depicting a large group of seated figures surrounded by a flowered border, each with maker’s marks and signatures, dia. 7‑3/4”. [450/700] 516 Two Japanese Silk Coats, early 20th century, the two heavy silk men’s coats densely embroidered with wide lapels, the longer coat with a sash and quilted burgundy collar with matching cuffs and details at the cuffs, with a motif of pines, chrysanthemums and peacocks, and the shorter coat with a blueedged collar and cuffs, and a motif of rocks, cranes and pines, fully lined, the longest, shoulder, w. 20”, l. 48”. [500/800] 517 Japanese Carved Ivory Figure of an Arhat, 19th century, the carved figure of an arhat holding a foo dog, unsigned, displayed on a carved wooden stand, h. 10‑5/8”, including stand. [450/700] Illustrated

111

518 Two Japanese Ivory Figures of Sages, 19th century or earlier, the two figures depicting Chinese sages, carved in the round and signed, displayed on wooden stands, the tallest, h. 7‑3/4”, including stand. [700/1000] Illustrated previous page

520 Japanese Carved Ivory Figure of a Geisha, 19th century, in a floral kimono, holding the post of an umbrella, standing next to a stump, ink and color applied, bottom has maker’s mark incised in a red cartouche, h. 12”. [500/800] Illustrated

519 Four Japanese Carved Ivory Flowers, late 19th century, the polychrome carved flowers in varying sizes, depicting daffodils and pieris blossoms, the tallest, h. 5‑1/2”. [700/1000] Illustrated

520

522

523

519

112

521 Three Carved Ivory Figures, 19th century, including a depiction of a Chinese general on horseback, holding a long spear, displayed on a pierced wooden stand, a Japanese rendering of a basket merchant, and a man with two small boys selling apples, all signed, thetallest, h. 6‑1/2”, l. 6”, without stand. [600/900]

522 Utagawa Kunisada II (Japanese, 1823‑1880), “Kiritsubo” (no. 1) and “Yadorigi” (no. 49), from the series “Murasaki Shikibu Genji Karuta (Lady Murasaki’s Genji Cards), ca. 1857, woodblock prints on paper, depicting scenes from the epic “Tales of Genji” by Murasaki Shikibu (973‑1014), the first print with Genji’s mother, Kiritsubo, the beloved concubine of the emperor, and the second print with a scene from the fortyninth chapter of the “Tale of Genji”, print, h. 13”, w. 9‑1/8”, overall, h. 20‑1/4”, w. 15‑1/2”. [600/900] Illustrated 523 Nihonga School (Japanese, Second Quarter 19th Century), “Landscape with Cranes and Tortoise”, ink and color on silk, Nihonga or “national style” with signature and two seals, 78‑5/8” x 22‑1/8”, with mount. [500/800] Illustrated

527

524

524 Edo School (1615‑1868), “Beauty Playing the Shamisen”, color and ink on silk, inscription and seal, on a gilded and embroidered mount with red lacquer rollers, 80‑1/2” x 20‑3/4”, with mount. [600/900] Illustrated 525 Kashan Carpet, 12’ 3” x 9’ 9”. [1000/1500] 526 Louis XVI-Style Aubusson Carpet, 9’ x 12’. [1000/1500] 527 Agra Serapi Carpet, 8’ 9” x 11’ 9”. [1200/1800] Illustrated

529

113

533 Peshawar Sultanabad Carpet, 12’ 2” x 17’ 9”. Provenance: Jacqueline Vance, New Orleans, Louisiana. [2000/4000] Illustrated

531

528 Turkish Angora Oushak Carpet, 8’ 1” x 9’ 10”. [900/1200]

535

529 Turkish Angora Oushak Carpet, 9’ 3” x 11’ 10”. [1200/1800] Illustrated previous page

534 Persian Serapi Carpet, 6’ 10” x 9’ 7”. [3000/5000]

530 Turkish Angora Oushak Carpet, 10’ x 9’ 8”. [1200/1800]

535 Turkish Angora Oushak Carpet, 9’ 5” x 11’ 9”. [1200/1800] Illustrated

531 Persian Kerman Carpet, 9’ 5” x 13’. [4500/7000] Illustrated

536 Semi-Antique Persian Tabriz Carpet, 9’ 8” x 13’ 4”. [2000/4000]

532 Agra Serapi Carpet, 10’ x 14’. [1400/1800]

537 Semi-Antique Heriz Carpet, 11’ 5” x 15’ 10”. [1500/2500] Illustrated

533

114

539

538

538 Louis XVI-Style Kingwood and Burl Secretaire a Abattant, late 19th century, the rounded rectangular white marble top within an ormolu banding, above a conforming case fitted with a frieze drawer over a dropfront opening to a baize-lined writing surface and a storage space and drawers, over two cupboard doors opening to four pull-out tray drawers, raised on toupie feet, the whole accented with ormolu mounts and millwork, and decorative inlays in scrolling foliate and musical patterns, h. 52”, w. 30”, d. 16‑1/2”. [3000/5000] Illustrated 539 Louis-Philippe Giltwood Mirror in the Rococo Taste, second quarter 19th century, the serpentine-top beveled mirror plate, which appears to be original, framed with pierced scrollwork, the crest decorated with roses and a shell, retaining a rich gold-leaf surface, h. 84‑1/2”, w. 42”. [1200/1800] Illustrated

537

115

540 Monumental Signed "Maison Millet" French GiltBronze and Cut Glass Cylindrical Casket, first quarter 20th century, the glass box cut with a strawberry pattern, anthemia and panel designs, and supported on gilt-bronze feet in the form of plum branches and fruit with a ropedecorated bezel arch, finished with a gilt-bronze pineapple knop, stamped “Millet de Paris”, h. 15”, dia. 12‑1/2”. Maison Millet was founded in Paris in 1853, and was an active client of Francois Linke. The company, which won numerous awards and honors, was described as producing “meuble et bronze d’art, genre ancien et moderne”. [1000/1500] Illustrated

542

540

541 Pair of Beaux Arts Heavy, Cast Gilt-Bronze Sconces, ca. 1900, probably French, the cartouche-form backplates holding fluted, torch-form lights, molded with Egyptian capitals, and having an unusual, highly engineered system of nuts and bolts holding the lights to the backplate and the shades, mounted with frosted flame-form glass shades, h. 17‑3/4”, d. 7‑3/4”, dia. 4”. [500/800]

542 French Patinated Bronze and Crystal EightLight Chandelier, first quarter 20th century, in the Louis XIV style, set with candle branches alternating with cut spires on two tiers, and sprays of drops on four tiers, h. 32”, dia. 23”. [1200/1800] Illustrated 543 Louis XV-Style Kingwood Writing Table, early 20th century, the shaped rectangular top banded and quarter-veneered and centered by an inlaid floral spray, within an ormolu banding, above a conforming frieze fitted with a side drawer, raised on cabriole legs ending in sabots, h. 29”, w. 45‑1/2”, d. 27‑1/4”. [700/1000] Illustrated

543

116

547

547 Set of Eight Vienna-Style Neoclassical Cabinet Plates, first quarter 20th century, each decorated with signed, hand-painted scenes, identified on the reverse, with matte blue borders and raised and tooled gilt, marked with an overglaze blue “beehive” on a gilt back, dia. 10‑3/4”. [800/1200] Illustrated

544 Louis XV-Style Kingwood and Marble-Top Encoignure, third quarter 19th century, the shaped and bowed Sainte Anne des Pyrenees marble top above a conforming case fitted with two doors, each paneled and quarter-veneered, centered by a quatrefoil panel, raised on foliate sabots, h. 37”, w. 30‑1/2”, d. 21‑1/2”. [1000/1500] Illustrated 544

545

545 Manner of Francois Boucher (French, 1703‑1770), “Putti Dancing”, fourth quarter 18th century, oil on canvas, unsigned, 13‑1/2” x 18”. Framed. [1500/2500] Illustrated 546 Louis XVI-Style Mahogany and Marble-Top Bouillotte Table, late 19th century, the circular Carrara marble top within a full pierced brass gallery and above a conforming frieze fitted with two candle slides and two drawers, raised on fluted tapering circular legs ending in brass caps, h. 29‑1/4”, dia. 25‑1/2”. [500/800] Illustrated

546

117

548 Paris Porcelain Baluster Vase, mid19th century, decorated in the round with a carefullyrendered depiction of two knights and an attendant, with a castle in the mist, h. 18”, dia. 7‑1/2”. This vase was inspired by the Eglinton joust, an 1839 recreation, and the ensuing Gothic Revival. [600/900] Illustrated

548

551 French Patinated Bronze and Crystal EighteenLight Chandelier, mid-20th century, in the Louis XIV taste, the basket-form chandelier with cut glass spires alternating with the candle branches, hung with strings and festoons of crystal drops, h. 48‑1/2”, dia. 35”. [3000/5000] Illustrated 552 French Handwoven Tapestry, 19th century, an allegorical depiction of the arts, with figures in a garden landscape with an acanthine vine border, 79” x 69”. [1500/2500] Illustrated 553 French Belle Epoque Giltwood Overmantel Mirror in the Louis XV Style, fourth quarter 19th century, with a segmented top and sides, the arched gadrooned top with a shell- and scroll-carved crest, h. 68”, w. 47‑1/4”. [1200/1800] Illustrated

551

549 Thirteen-Piece Sevres Third Republic Partial Tea Set, ca. 1878, comprised of a teapot, h. 5”, a cream jug, h. 4‑3/4”, five cups, h. 2”, and six saucers, dia. 5‑1/2”, each with a faux lapis ground decorated with superbly detailed Neo-Grec gilt banding and scattered gilt flowers on the interiors, each marked with a green underglaze “S.76”, and the rouge-de-fer “Dore a Sevres RF 78”, some pieces marked “G.O” and “G.L.” and numerous inscribed underglaze initials. [500/800] Illustrated 550 Unusual Continental Aesthetic Movement Cruet Stand, fourth quarter 19th century, German, probably Ludwig Wessel, with raised lotus flowers on a gilt stippled cobalt ground, the pierced pottery stand impressed with an anchor, the bottles with like decoration, h. 7‑3/4”, w. 9‑1/4”, d. 11‑1/4”. [500/800]

549

118

555 Circle of Jean-Baptiste Perroneau (French, 1715‑1783), “Portrait of a Lady with a Fan”, pastel on paper, sight 26” x 20”. Glazed and framed. [1500/2500] Illustrated

553

552 554 French School (Third Quarter 18th Century), “Portrait of a Young Girl with a Squirrel”, oil on canvas, unsigned, 24” x 19‑1/2”. Unframed. [1200/1800] Illustrated

555

554

119

556 Pair of Louis XVI-Style Giltwood Fauteuils, early 20th century, each with a padded medallion back within a rope-carved frame surmounted by a ribbon crest, joined by padded arms to the like seat, raised on fluted tapering circular legs ending in toupie feet, h. 37”. [500/800]

557

557 Louis XVI Polychrome Bergere, late 18th century, the padded rectangular back within a molded frame, joined to the cushioned seat by padded arms, raised on fluted tapering circular legs ending in toupie feet, h. 33‑1/4”. [1000/1500] Illustrated

558

560

558 Paris Porcelain Hand-Painted PlatinumGround Porcelain Potpourri Vase, fourth quarter 19th century, with a pierced foot and cover, tooled in Moorish patterns and decorated with black tracery, the body handpainted with vivid roses and pansies, marked “Escalier de Cristal, Paris” in gilt script, h. 14”, dia. 5‑1/2”. [800/1200] Illustrated

561

559 Paris Hand-Painted Platinum-Ground Porcelain Charger, fourth quarter 19th century, hand-painted with roses and a mill scene, framed with a tooled gilt outer border and an elaborate raised gilt frame around the center scenic view, a rouge-de-fer mark on the back, the undocumented “PHL/AL” mark in the style of other Paris marks of the period, dia. 13‑1/4”. [1200/1800] 560 Unusual Pair of French Silvered Bronze Chenets, fourth quarter 19th century, in the Louis XVI style, decorated with obelisk-form standards with profile plaques on the obverse and urn-form finials, h. 17‑1/2”, w. 11”, d. 4‑1/2”. [600/900] Illustrated 561 French Argente Figural Group of Hippocampi and a Putto, first quarter 20th century, the winged putto perched atop a shell, on a plinth base supported by webbed feet, h. 15‑1/2”, w. 37‑1/4”, d. 15‑1/2”. [3500/5000] Illustrated

120

564 Five-Piece Napoleon III Fruitwood Parlor Suite, third quarter 19th century, in the Louis XV taste, consisting of a settee, h. 35‑1/2”, w. 47”, d. 25”, a pair of fauteuils, h. 35‑1/2”, and a pair of sidechairs, h. 36‑1/2”, all with gilt foliate-modeled crests and padded seats raised on molded cabriole legs ending in scrolled toes. [700/1000]

562

565 Pair of Louis XVI-Style Polychrome Fauteuils, each with a domed and padded back surmounted by a floral crest, joined by padded scrolling arms to the like seat, raised on molded cabriole legs headed by floral carving and ending in scrolled toes, h. 40”. [600/900] 566 Heinrich Beltz (Swiss, 1801‑1869), “Portrait of a Gentleman”, 1848, oil on canvas, signed and dated lower right, 36” x 29”. Framed. [1500/2500] Illustrated

563

562 Pair of Louis XVI-Style Giltwood Fauteuils, early 20th century, of large proportions, each with a padded square back surmounted by a ribbon and floral wreath crest, joined by acanthinecarved scrolling arms to the padded seat, raised above a ribbon- and foliate-carved apron on spiralfluted tapering circular legs ending in foliate toes, h. 48”. [1500/2500] Illustrated

563 Louis XV-Style Mahogany and Marble-Top Pedestal, mid-19th century, the shaped square marble top within a brass banding and above a molded frieze fitted with a single candle slide, raised on tall cabriole legs headed by ormolu maiden’s heads and ending in sabots, h. 32”, w. 14‑1/2”, d. 14‑1/2”. [2000/4000] Illustrated

566

121

569 Pair of French Bronze and Crystal Six-Light Sconces, in the Louis XIV style, on molded backplates, with candle arms on three tiers, hung with crystal drops interspersed with mauve drops, h. 33”, w. 15‑1/2”, d. 10‑1/4”. [800/1200] Illustrated

570

567

568

567 Emanuel Ritter von Stockler (Austrian/ German, 1819‑1893), “Pitti Palace Gallery”, watercolor on paper, with a handwritten blueprint of gallery en verso, signed lower left “E. Stockler”, sight 18‑1/4” x 24”. Glazed, matted and framed. Provenance: Sotheby’s, New York, December 16, 1983 as lot 176. [2000/4000] Illustrated 568 French Giltwood Pier Mirror in the Rococo Revival Taste, mid-19th century, the ogeemolded frame with pierced scrollwork and a nest set with an eagle, h. 98”, w. 32‑1/2”. [1500/2500] Illustrated

122

569

570 Louis XVI-Style Brass and Prism-Hung Eight-Light Chandelier, 20th century, dressed with faceted cut glass teardrops and shaped pendalogues, electrified, h. 35”, dia. 26”. [1200/1800] Illustrated

573

571 Impressive Pair of Belle Epoque Gilt-Bronze and Imari Porcelain Seven-Light Candelabra, fourth quarter 19th century, French, the bronze bases pierced in a chinoiserie pattern and supporting Chinese Imari bough pots fitted with ram’s head handles, the gilt-bronze flowers intermingled with the candle cups, h. 29”, dia. 14‑1/2”. [6000/9000] Illustrated 572 Louis XV-Style Ebonized and Marble-Top Commode, early 20th century, in the chinoiserie taste, the shaped marble top above a conforming bombe case fitted with two drawers, each with a gilt figural landscape scene, raised on splayed legs ending in sabots, h. 32”, w. 46”, d. 19‑1/2”. [3500/5000] Illustrated

573 Pair of Giltwood Cushion Mirrors in the Rococo Taste, second quarter 20th century, the gadrooned surround with shell-carved corners and set with a beveled mirror plate, h. 45”, w. 37”. [1500/2500] Illustrated

574

574 Louis XV-Style Kingwood and Rosewood Writing Table, late 19th century, the kidney-form top with an inset leather surface and within a brass banding, above a conforming case fitted with a central frieze drawer and two rounded end drawers, all banded, raised on cabriole legs ending in foliate paw sabots, h. 30”, w. 51”, d. 25”. [1500/2500] Illustrated

571

572

123

575 Transitional Louis XV-into-Louis XVI-Style Mahogany, Kingwood and Marble-Top Occasional Table, early 20th century, the oval marble top within an ormolu banding and above a conforming paneled frieze fitted with a single drawer, raised on cabriole legs ending in sabots, h. 27‑1/4”, w. 24”, d. 16”. [600/900] Illustrated

578

576 576 Transitional Louis XV-into-Louis XVI-Style Kingwood and Marble-Top Cabinet, late 19th century, the rectangular marble top with canted corners, above a conforming case fitted with two doors, each with two banded and quarter-veneered panels, raised on cabriole legs ending in sabots, h. 64”, w. 40‑1/2”, d. 15‑1/4”. [600/900] Illustrated

577

575

124

579 Three Desktop Photograph Frames, first half 20th century, all rectangular, including a French gilt copper and brass example with purple guilloche enamel slip and “ribbon” crest, 7‑5/8” x 5‑3/4”, and two sterling silver examples, 5‑7/8” x 4‑1/8” and 3‑1/8” x 2‑3/8”, the smaller by Webster Co. [1000/1500]

583

580 Pair of Continental Cream-Painted Cast Iron Busts of Fashionable Ladies, ca. 1900, one with rose-entwined tresses, the other with a beribboned and feathered chapeau, h. 23” and 24‑1/2”. [500/800]

577 Collection of French Bronze Fireplace Accessories, ca. 1900, comprised of a pair of Louis XIV-style chenets on bracket feet with an urn finial, h. 18”, w. 8‑1/2”, d. 5‑3/4”, a detachable matching fender, h. 6”, w. 39‑3/4”, and a bronze screen with a serpentine top, supporting a swag of flowers held by a bowknot, h. 31”, w. 27‑1/4”, d. 8”. [450/700] Illustrated

584

578 Napoleon III Giltwood Mirror in the Neoclassical Taste, third quarter 19th century, the egg-and-dart-molded frame set with swags of flowers under a shield-molded crest with laurel sprays, h. 68‑1/2”, w. 50‑1/2”. [1500/2500] Illustrated 581 Louis XVI Mahogany and Marble-Top Bureau Cylindre, 18th century, the variegated marble top with a three-quarter pierced brass gallery and above a paneled cylinder opening to a pull-out leather-inset writing surface and four small drawers, over two paneled cupboard doors opening to two small drawers over a single drawer, raised on tapering circular legs ending in brass caps, h. 42”, w. 33‑1/2”, d. 15”. [900/1200] 582 Louis XVI-Style Mahogany Center Table, 19th century, the circular top within a brass banding, above a conforming frieze fitted with four drawers, raised on fluted tapering circular legs headed by reeded ormolu panels and ending in ormolu toupie feet, h. 30”, dia. 41‑1/2”. [1500/2500] Illustrated

582

583 Pair of Louis XVI-Style Giltwood Fauteuils, third quarter 19th century, each with a padded rectangular back surmounted by a foliate frame and floral garland finials, joined by scrolling acanthine arms to the padded seat, raised on spiral-fluted tapering circular legs ending in toupie feet, h. 39‑1/4”. [1000/1500] Illustrated

125

584 Set of Twelve Bavarian Art Deco Raised Gilt Service Plates, second quarter 20th century, each with a raised gilt Art Deco inner and outer trim on a jade-colored ground, marked by Hutschenreuther, Selb, Bavaria, and the mark “1920‑67”, dia. 10‑3/4”. [500/800] Illustrated previous page

592

587

591

585 Louis XVI-Style Mahogany Writing Table, early 20th century, the rectangular top with a threequarter pierced brass gallery and an inset leather writing surface, above a conforming frieze fitted with a central drawer flanked to either side by two small drawers, all within ormolu banding, raised on tapering square legs ending in brass caps, h. 30‑1/4”, w. 45‑1/4”, d. 23”. [1500/2500] Illustrated 586 Louis XVI-Style Brass and Prism-Hung EightLight Chandelier, 20th century, dressed with faceted cut glass teardrops and shaped pendalogues, electrified, h. 35”, dia. 26”. [1200/1800]

585

126

587 Two Chinese Tomb Figures, probably Ming Dynasty (1368‑1644), the two figures of court officials dressed in the district fashion, standing on white hexagonal bases, one holding a bowl and the other a box, h. 19‑3/8”, w. 5‑3/4”. [600/900] Illustrated

592 Pair of Chinese Ochre-Ground Vases on Stands, 19th/20th century, the squared vases with blue foo dog lugs, the necks decorated with two butterflies, a phoenix among clouds and an iris, the bodies depicting a deer and crane among pines and scholar’s rocks, and a bat, prunus tree and peonies, displayed on a wooden stand, h. 15‑1/2”, w. 6‑3/4”, with stand. [500/800] Illustrated

593

593 Pair of Chinese Porcelain Vases, 19th/20th century, the “zun”-form vases with dragon motifs in a famille verte palette, unmarked, h. 18‑1/4”, dia. 9‑1/8”. [900/1200] Illustrated 594 Pair of Chinese Lidded Jars, 20th century, the vessels depicting peacocks in a garden among peonies and scholar’s rocks on a blue ground, h. 9‑1/4”, dia. 8‑1/2”. [600/900]

598 588 Chinese Ceramic Sphinx, early 20th century, the large sinicized ceramic sphinx with a white glaze, garbed red and wearing a blue headdress, intended for the export trade, the underside stamped “OAI Hong Kong”, h. 18‑1/4”, l. 23‑1/4”. [500/800] 589 Chinese Yixing Vase, 19th/20th century, the tall reddish-brown vase with a motif of dragons among the clouds, a foliate border and meander along the upper lip and foot, small oval maker’s mark on the underside, h. 19‑1/2”, dia. 9‑3/4”. [600/900] 590 Chinese Yixing Teapot, late Qing Dynasty (1644‑1912), the dark reddish-brown Zisha clay teapot with incised script, both the lid and body stamped with marks indicating the maker, Yaoting Hu, h. 5‑1/4”, l. 7‑1/4”. [600/900] 591 Rong Jiang (Chinese, 1919‑2008), a reddish Yixing Zisha teapot in the shape of a Buddha’s hand fruit, the body and lid adorned with green leaves, and stamped with the artist’s mark, the lid finished with a Buddha’s hand knop, h. 4‑1/2”, l. 7‑3/8”. [900/1200] Illustrated 595 Chinese Porcelain Basin, 19th/20th century, the white exterior with a red bamboo motif, the interior with a turquoise and white floral scroll on a deep blue ground with reserves depicting the “hundred antiques”, h. 4‑1/2”, dia. 13”. [800/1200]

596

596 Chinese Blue and Gilt Dragon Bowl, possibly Qianlong period (1736‑1795), the powder blue porcelain and gilt bowl painted in gilt with two dynamically-rendered dragons chasing a flaming pearl on a rich blue ground on the exterior, and a white glazed interior, a blue archaic Qianlong seal mark on the underside, h. 3‑1/4”, dia. 7‑3/4”. [500/800] Illustrated

127

597 Chinese Mille Fleur Porcelain Vase, Qing Dynasty, probably 19th century, the uncut porcelain vase now mounted as a lamp, with a motif of blooms including peonies and chrysanthemums, vase, h. 17‑1/2”, overall, h. 36‑1/4”, dia. 8‑1/2”. Provenance: Estate of Lillian Pulitzer Smith, New Orleans, Louisiana. [600/900]

602

598 Chinese Famille Noire Lidded Jar, 19th/20th century, the temple jar with depictions of birds among prunus branches and scholar’s rocks against a black ground, the lid with a bud-shaped knob, unmarked, h. 14‑3/4”, dia. 9‑1/2”. [500/800] Illustrated previous page 599 Pair of Chinese Porcelain Lotus Libation Cups with Stands, Qing Dynasty, Guangxu Reign, ca. 1908, the porcelain and enamel famille rose wine cups molded with overlapping petals, hollow green stem handles inscribed with what can be translated as “a cup made to commemorate the autumn maneuvers at Lake Tai in Anhui Province”, l. 7‑3/4”. Provenance: Estate of Lillian Pulitzer Smith, New Orleans, Louisiana. [900/1200] Illustrated 600 Pair of Chinese Porcelain Jardinieres, 20th century, the jardinieres with a white and dark green floral motif on a pale blue ground, with yellow floral scroll borders, h. 15”, dia. 15‑1/2”. [1800/2500] 601 Pair of Chinese Celadon Vases, late19th/early 20th century, now mounted as lamps and appear to be uncut, each with lugs and rings, accompanied by silk shades, vase, h. 16‑1/4”, overall, h. 35‑1/4”, w. 8”. Provenance: Estate of Lillian Pulitzer Smith, New Orleans, Louisiana. [500/800]

602 Chinese Export Porcelain Figure of Budai, Republican period (1912‑1949), the large enameled porcelain Budai rendered in a famille rose palette, in white floral-adorned robes, holding a rosary in his right hand, the underside with a square stamped studio mark, “Zhu Mao Ji Zuo”, h. 9‑3/4”, w. 10‑1/2”. [500/800] Illustrated

599

128

603 Chinese Porcelain Vase and Box, 20th century, the large vase with a long neck and round body covered with a cloud and bat motif, h. 16‑1/8”, and the round lidded box with two dragons on the lid and a wave motif on the underside, unmarked, dia. 10‑1/4”. [450/700]

604

604 Pair of Chinese Famille Rose (Fencai) Vases, the two large delicately-shouldered vases depicting a nine-peaches motif, and a pair of bats, the undersides bearing an apocryphal Qianlong reign mark (1736‑1795), h. 21‑1/4”, w. 14‑1/2”. [1500/2500] Illustrated

605

The nine peaches are an allusion to the mythological Queen Mother of the West Xi Wangmu, whose garden yielded the eternal life-giving fruit. There are comparable objects in the collection of the Metropolitan Museum of Art, the Indianapolis Museum of Art, and the Harvard Art Museums. 605 Pair of Chinese Export Porcelain Birds, 19th century, the two brightly-rendered and delicately articulated hollow porcelain birds depicted standing on a multicolored rock with pierced motif, h. 22‑1/4”. [1500/2500] Illustrated

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Session II S unday, M ay 1 8 , 2 0 1 4 Lots 6 0 6 - 1 1 3 8

606 Eighteen-Karat White Gold and Diamond Band Ring, set with twenty-eight round-cut diamonds, color E to F and clarity SI1 to SI2, and twenty-two baguette-cut diamonds, color E to F and clarity VS2 to SI2, with an approximate total weight of .47 carats, size 7‑1/2, 5.0 grams total weight. [1500/2500] Illustrated

606

608 Fourteen-Karat White Gold and Diamond Bracelet, the flexible bracelet composed of cast herringbone bars linked together by eleven bezel-set diamond melee links, with an approximate total weight of .50 carats, l. 7”, 10.8 grams total weight. [700/1000] 609 Fourteen-Karat White Gold and Diamond Necklace, the Art Moderne-designed necklace with a starburst diamond pendant dangling from a flexible bar and diamond chain, hanging from the choker, and terminating on the other end with a smaller starburst diamond pendant, with an approximate total of sixty-eight round brilliant-cut diamond melee, with an approximate total weight of 1.00 carat, 18.0 grams total weight. [4000/7000] Illustrated 610 Vintage Fourteen-Karat Yellow/White Gold and Diamond Bangle Bracelet, set with twenty-three singlecut diamonds, with an approximate total weight of .98 carats, finished with a figure-eight safety clasp, l. 8”, 29.0 grams total weight. [1500/2500] Illustrated

607 Unisex Stainless Steel Rolex Mid-Size Datejust Wristwatch, the gray slate-colored dial marked “Rolex, oyster perpetual, Datejust superlative chronometer officially certified”, with an adjustable Rolex jubilee band, reference #6824, serial #7,138,XXX, size 37.0 mm x 31.0 mm, without crown. [2500/4000]

610

611 Fourteen-Karat White Gold and Diamond Clover Necklace, pendant in the shape of a three-leaf clover, set with a .10‑carat diamond mounted in the center, and fortytwo round-cut pave-set diamonds on the leaves, with an approximate total weight of 1.17 carats, pendant, h. 3/4”, chain, l. 16”, 5.0 grams total weight. [1800/2500] 612 Gentleman’s Stainless Steel Rolex Submarine Wristwatch, the black-colored dial marked “Rolex, oyster perpetual, submariner, 660 ft= 200m”, the watch with an adjustable Rolex oyster band with an expandable clasp, reference #5513, serial #8,673,XXX, size 48.0 mm x 42.0 mm, without crown. [4000/7000] Illustrated

609

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613 Eighteen-Karat White Gold and Diamond Ring, the freeform ring in a swirl design and set with seventy-four round-cut diamonds, color E to G and clarity VVS2 to VS1, with an approximate total weight of 1.10 carats, size 7, 6.0 grams total weight. [2500/4000]

615 Lady’s Stainless Steel Rolex Datejust Wristwatch with Diamond Dial and White Gold Diamond Bezel, the black mother-of-pearl dial with ten single-cut diamond melee markers and marked “Rolex, oyster perpetual, Datejust superlative chronometer officially certified”, the fourteen-karat white gold bezel composed of forty round brilliant-cut diamond melee, with an approximate total weight of .80 carats, reference #6519, serial #1, 701, XXX, size 33.0 mm x 26.0 mm, without crown, plus adjustable jubilee band. [3000/5000] Illustrated 616 Fourteen-Karat White Gold and Diamond Bracelet, the flexible bracelet composed of bars set with diamonds alternating with bezel-set diamond links, with seventyeight round brilliant-cut diamond melee, with an approximate total weight of .75 carats, l. 7”, 6.3 grams total weight. [700/1000]

612

614 Eighteen-Karat White Gold and Diamond Drop Dangle Earrings, each set with a .36‑carat round-cut diamond, and approximately eighty round-cut diamonds surrounding the center stone and accenting the ear wire, for an approximate total diamond weight of 1.36 carats, l. 2”, 4.0 grams total weight. [2500/4000]

617

617 Fourteen-Karat White Gold and Diamond Engagement Ring, set with an emerald-cut diamond, color F and clarity I1, with an approximate weight of 1.16 carats, and eight single-cut diamonds, color F to G and clarity VS1 to VS2, with an approximate total weight of .16 carats, size 7, 6.0 grams total weight. [5000/8000] Illustrated 618 Eighteen-Karat White Gold and Diamond Tennis Bracelet, with twenty-three sections of diamond clusters, set with 161 round brilliant-cut diamonds, color G to I and clarity VS2 to SI2, with an approximate total weight of 7.03 carats, l. 6‑1/2”, 20.0 grams total weight. [4000/7000] Illustrated

618

615

3 1

621 Stunning Platinum and Diamond Bracelet, set with six baguette-cut and 150 round-cut diamonds, color G to I and clarity VS1 to SI1, and three emerald-cut diamonds in the clasp, with an approximate total weight of 9.21 carats, l. 7”, 48.0 grams total weight. [4000/7000] Illustrated

619

619 Gentleman’s Stainless Steel and Eighteen-Karat Yellow Gold Rolex Submariner Watch with Blue Dial and Bezel, ca. 1994, the dial marked “Rolex, oyster perpetual date, Submariner, 1000ft-300m, superlative chronometer officially certified”, the case reference #16613 and serial #S 886,XXX, the self-winding, water resistant diver’s watch with stainless steel and eighteenkarat yellow gold Rolex oyster band with fliplock clasp, size 47.0 mm x 43.0 mm, without crown, accompanied with Rolex inner box. [7000/10000] Illustrated

621

622 Stunning Platinum and Diamond Ring, set with a central Asscher-cut diamond, color H and clarity VVS2, with an approximate weight of 1.90 carats, flanked by four tapered baguette-cut, six princess-cut and eight roundcut diamonds, color E to F and clarity VVS2 to VS1, with an approximate total diamond weight of 1.05 carats, size 6‑1/2, 11.0 grams total weight. [15000/25000] Illustrated

620 Pair of Eighteen-Karat White Gold and Diamond Earrings, each reversible earring pave-set on one side with fifty-three round-cut diamonds, with an approximate total weight of 2.86 carats for both earrings, color E to G and clarity VVS1 to VVS2, and with an openwork quatrefoil design on the other, h. 3/4”, 15.0 grams total weight. [2000/4000] Illustrated

622

623 Fourteen-Karat White Gold and Diamond Tennis Bracelet, set with forty-two round-cut diamonds, color E to G and clarity SI1 to SI2, with an approximate total weight of 7.50 carats, l. 7”, 16.0 grams total weight. [12000/18000] Illustrated 620

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623 624 Gentleman’s Twenty-Karat White Gold, Sapphire and Diamond Ring, set with an emerald-cut dark-blue sapphire, with an approximate weight of 1.76 carats, and sixteen single-cut diamonds, with an approximate total weight of 0.13 carats, size 9‑3/4, 10.0 grams total weight. [1200/1800] 625 Platinum, Sapphire and Diamond Ring, the customdesigned ring set with a dark-blue emerald-cut sapphire, with an approximate weight of 3.22 carats, and eight baguettecut diamonds, color H to I and clarity VS2 to VVS2, with an approximate total weight of 1.04 carats, size 6‑1/2, 10.0 grams total weight. [5000/8000] Illustrated

627

626 Unusual Ten-Karat White Gold, Carved Sapphire and Diamond Necklace, set with a carved sapphire pendant, l. 1‑1/4”, w. 1/2”, d. 1/3”, dangling from a mounting and necklace set with seventy-eight round-cut and single-cut diamonds, with an approximate total weight of 1.39 carats, chain, l. 15‑1/2”, 22.0 grams total weight. [4500/7000] Illustrated

625

627 Pair of Fourteen-Karat White Gold, Carved Sapphire and Diamond Earrings, each set with a carved sapphire, h. 1‑1/4”, w. 1/2”, d. 1/3”, dangling from a setting mounted with thirty-two single-cut diamonds, with an approximate total weight of .64 carats, total l. 2”, 17.0 grams total weight. [4500/7000] Illustrated

626

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629

630

628 Stunning Fourteen-Karat White Gold, Natural Sapphire and Diamond Ring, set with a cushioncut natural sapphire, GIA report #5151927655, with a total weight of 12.66 carats, surrounded by eighteen round brilliant-cut diamonds, with an approximate total weight of 2.28 carats, size 8, 10.0 grams total weight. [35000/50000] Illustrated

631

629 Fourteen-Karat White Gold, Natural Sapphire and Diamond Ring, set with a natural oval-cut sapphire, GIA report #2155927334, with a total weight of 3.34 carats, surrounded by forty round-cut diamonds, with an approximate total weight of .99 carats, size 7â&#x20AC;&#x2018;1/2, 5.0 grams total weight. [5000/8000] Illustrated

633

628

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634

630 Beautiful Eighteen-Karat White Gold, Sapphire and Diamond Bracelet, the vintage bracelet set with forty-eight square-cut sapphires, with an approximate total weight of 2.88 carats, and 216 round-cut diamonds, with an approximate total weight of 2.26 carats, l. 7‑1/2”, 17 grams total weight. [5000/8000] Illustrated

635

634 Gentleman’s Eighteen-Karat Yellow Gold Vintage Vacheron & Constantin Wristwatch with Hang Tag, the round seventeen-jewel, manual wind, sweep second movement signed by Vacheron & Constantin with serial number 477735, the silver satin guilloche-engraved dial signed “Vacheron & Constantin, Geneve”, the round eighteen-karat gold screw back case signed by Vacheron & Constantin, with case number 327179, the brass hang tag with the matching movement serial number 477735 engraved on it, the case measures 40.0 mm x 33.0 mm, without crown. [1500/2500] Illustrated 635 Eighteen-Karat White Gold, Alexandrite and Diamond Ring, set with a cushion-cut natural alexandrite, with a total weight of 8.88 carats, GIA report #109009343017, each side flanked by two round brilliantcut and ten baguette-cut diamonds, color E to F and clarity VVS2 to VS1, with an approximate total diamond weight of 1.07 carats, size 7‑1/2, 9.0 grams total weight. [20000/40000] Illustrated 636 Three-Piece H. Stern Eighteen-Karat Yellow/White Gold and Diamond Suite, composed of a necklace, bracelet and a pair of earrings, all in a freeform design, mounted with an approximate total of 120 round-cut diamonds, color E to G and clarity VVS2 to VS2, with an approximate total weight of 5.00 carats, all stamped with an “S”, necklace, l. 18”, bracelet, l. 7”, earrings, l. 2”, 194.0 grams total weight. [30000/50000] Illustrated

636

631 Pair of Platinum, Sapphire and Diamond Earrings, each earring set with a round-cut sapphire, with an approximate total weight of .72 carats, and sixteen round-cut diamonds, with an approximate total weight of .29 carats, h. 1/2”, 6.0 grams total weight. [2500/4000] Illustrated 632 Gentleman’s Eighteen-Karat Yellow Gold and Sapphire Ring, bezel-set with a round-cut light-blue sapphire, with an approximate total weight of 2.32 carats, size 9, 15.0 grams total weight. [450/700] 633 Eighteen-Karat Yellow Gold and Stainless Steel Jaeger-LeCoultre Diamond Reverso Wristwatch, the quartz watch set with sixty-four round brilliant-cut diamond melee, with an approximate weight of .005 carats each, the watch with a stainless steel and eighteen-karat yellow gold rice link bracelet with deployment clasp, model #265.5.08, serial #2, 025,XXX, size 33.0 mm x 21.0 mm, without crown, inside circumference 6‑1/2”. [2500/4000] Illustrated

137

639 Eighteen-Karat Yellow Gold, Diamond, Emerald and Ruby Lion Brooch, the heavy cast brooch in the shape of a lion’s head and set with eight round brilliant-cut diamond melee, with an approximate total weight of .64 carats, two round emerald cabochons set for the eyes, and one oval emerald cabochon set in the mane, with an approximate total weight of 1.40 carats, the open jaw set with an oval ruby cabochon, with an approximate total weight of .65 carats, l. 2‑1/4”, 48.2 grams total weight. [1800/2500] Illustrated 640 Eighteen-Karat Yellow Gold, Diamond and Emerald Lion Ring, the heavy cast ring in the shape of a lion’s head, its open jaw set with a mine-cut diamond, with an approximate weight of .33 carats, and two faceted pearshaped emeralds for the eyes, with an approximate total weight of .16 carats, size 7, 25.4 grams total weight. [900/1200] Illustrated

639 637

640 637 Fourteen-Karat Yellow/White Gold and Diamond Ring, the loosely woven knot of yellow and white gold, and pave-set with 148 round brilliant-cut diamond melee, with an approximate total weight of 2.00 carats, signed “Valobra”, size 7, 10.4 grams total weight. [2500/4000] Illustrated 638 Eighteen-Karat Yellow Gold and Diamond Bracelet, the heavy three-row bracelet set with 287 round brilliantcut diamond melee, with an approximate total weight of 2.25 carats, l. 7”, 32.6 grams total weight. [3000/5000] Illustrated

638

641 Vintage Eighteen-Karat Rose Gold and Diamond Oris Watch, with a fifteen-jewel movement and set with thirtytwo rose-cut diamonds and fourteen synthetic baguettecut rubies, l. 7”, 47.0 grams total weight. [900/1200] 642 Eighteen-Karat Yellow/White Gold and Diamond Belt Ring, the band with four twisted rope strands forming a belt, the white gold buckle set with sixteen single-cut diamond melee, with an approximate total weight of .10 carats, size 8‑3/4, 9.9 grams total weight. [1000/1500] Illustrated 643 Fourteen-Karat Yellow Gold and Diamond Bangle Bracelet, set with thirty-nine straight channel-set baguette-cut diamonds, color E to G and clarity VVS1 to VVS2, with an approximate total weight of 2.50 carats, with a safety chain, size 7‑1/2”, 14.0 grams total weight. [3500/5000]

8 138

646 Eighteen-Karat Yellow Gold and Diamond Hinged Bracelet, the spring-loaded bracelet with a brushed gold finish and terminating in two lion’s heads, each set with five single-cut diamond melee, with an approximate total weight of .10 carats, inside circumference 6‑3/4”, 36.2 grams total weight. [3000/5000] Illustrated

646

642

644 Fourteen-Karat Yellow Gold Concord Diamond Wrist Watch, the quartz watch bezel set with thirty-six round brilliant-cut diamond melee, with an approximate total weight of .75 carats, and a gold mesh bracelet attached to the case, l. 6‑1/4”, 40.6 grams total weight. [700/1000] 645 Pair of Eighteen-Karat Yellow Gold, Diamond and Ruby Lion Head Ear Clips, of Roman inspiration, each set with three round brilliant-cut diamond melee forming a collar, with an approximate total weight of .05 carats, and two round faceted rubies for the eyes, h. 1”, 17.0 grams total weight. [1000/1500] Illustrated

647 Eighteen-Karat White/Yellow Gold, Diamond and Ruby Ring, the lion’s head-shaped ring in a bypass design and set with seven rose-cut diamond melee, with an approximate total weight of .05 carats, the eyes set with two irregular round faceted rubies, with an approximate total weight of .02 carats, size is adjustable, 13.4 grams total weight. [1000/1500] Illustrated

647 645

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652 Fourteen-Karat White Gold, Tanzanite and Diamond Ring, set with an oval-cut tanzanite, GIA report #2155788070, with a total weight of 6.83 carats, surrounded by forty-four round-cut diamonds, with an approximate total weight of 1.49 carats, size 8, 6.0 grams total weight. [4500/7000] Illustrated 653 Platinum, Emerald and Diamond Gotham Wristwatch, the retro platinum case and band set with eighty-four single-cut diamond melee, with an approximate total weight of .75 carats, and two bezel-set emeralds, with an approximate total weight of .40 carats, the watch with a seventeen-jewel mechanical movement and signed “Gotham Watch Co Inc. Swiss”, l. 6”, 17.0 grams total weight. [450/700] 654 Stunning Fourteen-Karat White/Yellow Gold, Emerald and Diamond Necklace, set with a central 10.0‑carat emerald-cut emerald, flanked by two emerald-cut emeralds, with an approximate total weight of 10.5 carats, the emeralds mounted in stepped settings and an openwork necklace, with approximately 599 princess-cut and round-cut diamonds, with an approximate total weight of 9.00 carats, l. 19”, 127.0 grams total weight. [35000/50000] Illustrated 649 648 Eighteen-Karat Yellow Gold and Diamond Bracelet, composed of bark-finished, quatrefoil-shaped links set with European-, single- and round-cut diamonds, color E to G and clarity VS1 to SI1, with an approximate total weight of .77 carats, l. 7‑1/2”, 36.0 grams total weight. [2500/4000] 649 Eighteen-Karat White/Yellow Gold, Tanzanite and Diamond Pendant with Chain, the pendant set with a triangle-cut violet-blue tanzanite, with an approximate weight of 10.61 carats, in a filigree background, set with 200 round-cut diamonds and fifty-six baguette-cut diamonds, color D to E and clarity VSS2 to VS1, with an approximate total weight of 2.48 carats, pendant, 1‑1/2” x 2”, chain, l. 18”, 25.0 grams total weight. [15000/25000] Illustrated 650 Fourteen-Karat White/Yellow Gold, Tanzanite and Diamond Ring, set with an oval-cut tanzanite, GIA report #2155887199, with a total weight of 5.68 carats, surrounded by forty baguette-cut and 136 round-cut diamonds, with an approximate total diamond weight of 1.06 carats, size 6‑1/2, 13.0 grams total weight. [5000/8000] Illustrated 651 Fourteen-Karat and Eighteen-Karat White Gold, Tanzanite and Diamond Pendant with Chain, the pendant set with a pear-shaped violet-blue tanzanite, with an approximate weight of 10.98 carats, and eighty-two roundcut pave- and prong-set diamonds, color H to I and clarity SI2 to I1, with an approximate total weight of 1.42 carats, pendant, h. 1‑1/2”, chain, l. 18”. [8000/12000] Illustrated

140

655 Platinum, Emerald and Diamond Ring, set with a central emerald-cut emerald, with an approximate weight of 2.75 carats, surrounded by fourteen marquise-cut, twelve round-cut and ten baguette-cut diamonds, color G to I and clarity VVS2 to VS1, with an approximate total weight of 2.57 carats, size 8, 13.6 grams total weight. [4000/7000] Illustrated

650 651 652

657 Large Fourteen-Karat Yellow/White Gold, Aquamarine and Diamond Ring, with a cushion-cut aquamarine, mounted in a basket setting, with an approximate weight of 31.13 carats, surrounded by twelve tapered baguette-cut diamonds and twenty-four round-cut diamonds, with an approximate total diamond weight of 1.85 carats, size 7‑1/4, 17.0 grams total weight. [7000/10000] Illustrated

654

656 Vintage Platinum, Diamond and Emerald Bracelet, the center of the bracelet set with an emerald-cut emerald, with an approximate weight of 5.13 carats, and eightyfour single-cut and six round-cut diamonds, with an approximate total weight of 1.34 carats, l. 7”, 2.0 grams total weight. [4000/7000] Illustrated

655

657

658 Eighteen-Karat White Gold, Diamond and Aquamarine Pendant with Chain, the pendant in a fourleaf clover design, and set with thirty-eight round brilliantcut diamond melee, with a round faceted .10‑carat aquamarine, and a faceted teardrop aquamarine, with an approximate weight of 1.00 carat, dangling from the pendant, the pendant with an approximate total diamond weight of .25 carats, pendant, h. 2”, chain, l. 16”, 5.4 grams total weight. [1400/1800]

656

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659 Beautiful Fourteen-Karat White Gold and Aquamarine Necklace, composed of approximately 290.0 carats of faceted and polished natural aquamarine teardrops, ranging in size from 1/2” to 1‑3/4” in length, separated by French coil wire and finished with a fourteenkarat white gold ball clasp, l. 16”. [450/700]

662 Eighteen-Karat White Gold, Kunzite and Diamond Ring, set with a light pink kunzite, with an approximate weight of 15.48 carats, and twenty-four round-cut diamonds surrounding the kunzite and the shank and bridge of the ring, with an approximate total weight of .76 carats, size 7‑1/2, 11.0 grams total weight. [4000/7000] Illustrated

660

660 Fourteen-Karat White Gold, Aquamarine and Diamond Ring, set with three faceted oval aquamarines, with an approximate total weight of 2.25 carats, mounted in a shank set with six single-cut diamond melee, with an approximate total weight of .05 carats, size 8‑1/2, 2.7 grams total weight. [1200/1800] Illustrated

662

663 Fourteen-Karat Yellow Gold, Amethyst, Garnet and Rock Crystal Necklace, composed of five strands of 3.0 mm amethyst and gold beads, four strands of garnets and gold beads, and three strands of rock crystal and gold beads, finished with a fourteen-karat yellow gold clasp, l. 31‑1/2”. [450/700]

661

661 Beautiful Fourteen-Karat White Gold and Graduated Teardrop Necklace of Precious and Semi-Precious Stones, the necklace composed of approximately 105 mixed-cut faceted teardrop gems, with an approximate total weight of 600.0 carats, including aquamarine, amethyst, bi-color quartz, citrine, garnet, green beryl, prasiolite, rock crystal, rose quartz, rutilated quartz and iolite, finished with a fourteen-karat white gold clasp, l. 18”. [450/700] Illustrated

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670 Gentleman’s Eighteen-Karat Yellow Gold “Symmetry” Star Sapphire and Diamond Ring, the bezel-set star sapphire cabochon, with an approximate weight of 2.00 carats, flanked by two round brilliant-cut diamonds, with an approximate total weight of .10 carats, size 9‑1/2, 12.8 grams total weight. [450/700] Illustrated

669

664 Eighteen-Karat White Gold, Diamond and Amethyst Ring, set with a large faceted amethyst, with an approximate weight of 12.0 carats, surrounded by eight round brilliant-cut diamond melee, with an approximate total weight of .40 carats, and sixteen faceted pear-shaped amethysts, with an approximate total weight of 4.00 carats, size 7‑1/2, 12.0 grams total weight. [1400/1800] Illustrated 665 Eighteen-Karat White Gold and Amethyst Cross Pendant with Chain, the cross set with five faceted trapezoid-shaped amethysts and one faceted square-cut amethyst, with an approximate total weight of 2.90 carats, cross, h. 1‑3/4”, chain, l. 18”, 11.2 grams total weight. [600/900] 666 Eighteen-Karat Yellow Gold, Sterling Silver, Diamond, Emerald and Sapphire Snake Ring, the anodized sterling silver ring pave-set with approximately 243 single-cut diamond melee, with an approximate total weight of 1.35 carats, sixty-six round faceted blue sapphires and thirteen round faceted pink sapphires, with an approximate total weight of .40 carats, and two faceted navette emeralds for the eyes, with an approximate total weight of .06 carats, size 8, 10.0 grams total weight. [1000/1500]

671 Eighteen-Karat Yellow Gold, Diamond and Citrine Cross Pendant with Chain, the cross pendant composed of six faceted trapezoid-shaped citrines and five round brilliant-cut citrines, with an approximate total weight of 1.25 carats, and four round brilliant-cut diamond melee, with an approximate total weight of .20 carats, chain, l. 16”, 7.5 grams total weight. [600/900] 672 Gentleman’s Eighteen-Karat Rose Gold Breitling Chronograph Wristwatch, the square button chrono with a thirty-minute register and constant sixty-second register, the dial signed “Breitling, Chronographe, Suisse, Antimagnetic, 17 Rubies”, the back stamped “18K, 750”, reference numbers 284 over 3910, the bridge on the movement engraved “Breitling Watch Ltd”, size 45.0 mm x 38.0 mm, without crown. [1800/2500]

670

673 Gentleman’s EighteenKarat White/Yellow Gold and White/Yellow Diamond Ring, the yellow gold ring mounted with a white gold plate composed of two white tapered and two white baguette-cut diamonds, with an approximate total weight of .40 carats, and three round brilliant-cut yellow diamonds, with an approximate total weight of .20 carats, the diamonds depicting a gushing oil derrick, size 10‑3/4, 13.4 grams total weight. [900/1200] Illustrated

667 Two Freshwater Pearl Necklaces, the first strand of opera-length 9.0 mm freshwater silver-white pearls, with a good luster, l. 32‑1/4”, and the second strand of 9.5 mm freshwater black pearls, with a good luster, l. 18”, each finished with a fourteen-karat white gold clasp. [450/700] 668 Gentleman’s Fourteen-Karat Yellow Gold Vintage Rolex Dress Wristwatch, the round seventeen-jewel, manual wind, sweep second movement signed by Rolex, the silver satin dial signed “Rolex”, and the winding crown stamped with the Rolex crown, the contract case stamped with a crown and number “12758” and the manufacture’s logo “L” within a circle and “14K Gold”, the case measures 37.0 mm x 34.0 mm, without the crown. [1400/1800] 669 Fourteen-Karat White and Yellow Gold and Blue Topaz Hinged Bracelet, the spring-loaded bracelet in a twisted rope design, terminating with white gold caps set with faceted blue topaz cabochons, with an approximate total weight of 6.00 carats, inside circumference, 6‑3/4”, 18.6 grams total weight. [1000/1500] Illustrated

673

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674 Fourteen-Karat Yellow Gold, Amethyst, Citrine and Peridot Bracelet, the oval chain-link bracelet set with two each of round faceted amethysts, citrines and peridots, each with an approximate weight of 1.00 carat, l. 8”, 17.2 grams total weight. [1200/1800] Illustrated

675 Pair of EighteenKarat White Gold, Diamond and Peridot Pendant Earrings, each earring composed of a pear-cut peridot, with an approximate weight of 1.50 carats, surrounded by a halo of fifty-seven round brilliant-cut diamond melee, with an approximate total diamond weight for both earrings of 1.00 carat, l. 1‑3/8”, 5.1 grams total weight. [900/1200] Illustrated

676

675

676 Pair of Eighteen-Karat White Gold, Diamond and Turquoise Earrings, each shamrock-shaped ear clip composed of three turquoise cabochons cut as leaves and fifty-two round brilliant-cut diamond melee outlining the leaves and forming the stem, with an approximate total weight of 2.00 carats for both ear clips, h. 1‑1/2”, w. 1‑1/2”, 30.8 grams total weight. [2000/4000] Illustrated

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682

680 677

678

677 Fourteen-Karat Yellow Gold, Diamond and Emerald Duck Brooch, set with nine brilliant-cut diamond melee, with an approximate total weight of .20 carats and two irregular round faceted emeralds for the eyes, with an approximate total weight of .01 carat, l. 1‑1/8”, 4.9 grams total weight. [600/900] Illustrated 678 Fourteen-Karat Yellow Gold and Enamel Turtle Brooch, the cast Italian brooch decorated with turquoisecolored enamel, size 3/4” x 1”, 5.2 grams total weight. [600/900] Illustrated 679 Fourteen-Karat Yellow Gold and Turquoise Bee Brooch, set with a turquoise cabochon measuring 10.0 mm x 12.0 mm, w. 1‑3/8”, 7.3 grams total weight. [500/800] Illustrated

679

680 Fourteen-Karat Yellow Gold, Enamel and Pearl Frog Brooch, the green enamel tree frog highlighted with thirty-two seed pearls, approximately 1.0 mm in diameter, size 1‑1/8” x 1‑1/8”, 7.1 grams total weight. [900/1200] Illustrated 681 Eighteen-Karat Yellow Gold, Diamond and Plique-aJour Enamel Hornet Brooch, the cast Italian hornet with a round brilliant-cut diamond melee accenting the gold and black enamel body, the plique-a-jour wings colored with amber and white enamel, size 1‑5/8” x 1‑1/4”, 10.4 grams total weight. [800/1200] Illustrated 682 Fourteen-Karat Yellow Gold, Diamond and Ruby Bee Brooch, the cast gold bee set with twenty round brilliantcut diamond melee, with an approximate total weight of .50 carats, the head set with one round faceted ruby, with an approximate weight of .01 carat, size 3/4” x 3/4”, 3.4 grams total weight. [1000/1500] Illustrated

145

683 Pair of Fourteen-Karat Yellow Gold, Diamond and Turquoise Earrings, each earring set with a turquoise cabochon measuring approximately 10.0 mm x 14.0 mm, and six round brilliant-cut diamond melee, with an approximate total weight of .06 carats for the pair, 5.5 grams total weight. [450/700]

684

684 Pair of Eighteen-Karat White Gold, Coral, Turquoise and Diamond Earrings, each earring set with an oval red coral cabochon, measuring approximately 10.2 mm x 14.2 mm, surrounded by a halo of twenty-six round brilliant-cut diamond melee, and an outer border of 2.0 mm turquoise beads, with an approximate total diamond weight of .50 carats, h. 1”, 17.2 grams total weight. [2000/4000] Illustrated

686 685 Diminutive Eighteen-Karat Gold, Rough-Cut Emerald, Jade and Coral Potted Rose, stamped “Patrice” beneath one leaf, h. 3‑1/8”, w. 2”, d. 1‑1/2”. [500/800] Illustrated 686 Semi-Antique Mahal Carpet, 10’ 7” x 16’ 11”. [1200/1800] Illustrated 687 Agra Serapi Runner, 2’ 7” x 20’ 3”. [800/1200] 688 Agra Serapi Carpet, 10’ x 13’ 9”. [1400/1800] Illustrated

685

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146

694 Turkish Angora Oushak Carpet, 9’ 9” x 14’. [1500/2500] Illustrated 695 Semi-Antique Sparta Carpet, 9’ 7” x 13’ 9”. [1500/2500]

691 689 Persian Pictorial Mahal Carpet, 8’ x 11’. [3000/5000] 690 Turkish Angora Oushak Carpet, 9’ x 11’ 7”. [1200/1800] 691 Semi-Antique Kerman Carpet, 11’ 7” x 16’ 8”. [1000/1500] Illustrated 692 Persian Heriz Carpet, 10’ x 12’ 5”. [4000/7000] 693 Turkish Angora Oushak Carpet, 8’ 1” x 9’ 10”. [1000/1500]

698 696 Turkish Angora Oushak Carpet, 8’ 1” x 9’ 7”. [900/1200] 697 Antique Mahal Carpet, 9’ 2” x 12’ 3”. [1200/1800] 698 Antique Sarouk Carpet, 12’ x 21’ 4”. [7000/10000] Illustrated 699 Antique Heriz Carpet, 12’ 3” x 15’ 2”. [1200/1800] Illustrated

694

699

147

700 Antique Heriz Hall Runner, 7’ 6” x 17’ 6”. [5000/8000] Illustrated 701 Bessarabian Kilim Carpet, 5’ 10” x 13’ 7”. [2000/4000] Illustrated

700

701

148

702 John Steuart Curry (American, 1897‑1946), “Boiling a Hog”, 1934, oil on canvas, signed and dated lower right, 11‑1/2” x 18”. Presented in a period giltwood exhibition frame. [6000/9000] Illustrated Along with Thomas Hart Benton and Grant Wood, John Steuart Curry was hailed as one of the three great painters of American Regionalism. He is noted for his depictions of rural life in his home state of Kansas. He worked briefly as an illustrator and this is evident in the narrative nature of his art, including this particular painting.

702 703 Samuel Klein (American, Second Quarter 20th Century), “Out of Work”, 1936, oil on board, signed and dated lower right, titled en verso, 20” x 24”. Framed. [1000/1500] Illustrated

703

704 Clarence Millet (American/New Orleans, 1897‑1959), “French Quarter Blacksmith’s Shop”, watercolor on paper mounted on board, unsigned, sight 14‑1/2” x 19‑1/2”. Glazed, matted and framed. Provenance: Estate of Patricia O’Brien Strigel and Mogens Strigel, Houston, Texas. [1500/2500] Illustrated 705 Clarence Millet (American/New Orleans, 1897‑1959), “French Quarter Antique Shop”, oil on panel, signed lower right, 10‑1/2” x 13”. Framed. Provenance: Estate of Patricia O’Brien Strigel and Mogens Strigel, Houston, Texas. [5000/8000] Illustrated

704

705

149

707 Clarence Millet (American/ New Orleans, 1897‑1959), “French Quarter Courtyard”, watercolor on paper, signed lower left, sight 11” x 14‑3/4”. Glazed, matted and framed. Provenance: Estate of Patricia O’Brien Strigel and Mogens Strigel, Houston, Texas. [1400/1800] Illustrated 708 Clarence Millet (American/ New Orleans, 1897‑1959), “French Quarter Courtyard with a Palmetto”, watercolor on paper mounted on board, unsigned, sight 14‑3/8” x 19‑1/8”. Glazed, matted and framed. Provenance: Estate of Patricia O’Brien Strigel and Mogens Strigel, Houston, Texas. [1500/2500] Illustrated 706 706 Clarence Millet (American/New Orleans, 1897‑1959), “French Quarter Street Scene”, oil on panel, unsigned, 10‑1/2” x 13”. Framed. Provenance: Estate of Patricia O’Brien Strigel and Mogens Strigel, Houston, Texas. [5000/8000] Illustrated

708 709 Will Henry Stevens (American/Louisiana, 1881‑1949), “Mississippi River with Boats”, 1934, watercolor and pastel on paper, signed and dated lower right, sight 15” x 19”. Glazed, matted and framed. [3000/5000] Illustrated 707

150

709 710 Ellsworth Woodward (American/New Orleans, 1861‑1939), “Daylilies”, watercolor on paper, initialed lower left, sight 11” x 7‑1/2”. Glazed, matted and framed. Provenance: Estate of Patricia O’Brien Strigel and Mogens Strigel, Houston, Texas. [800/1200] Illustrated

712 713 Pair of Victorian-Style Gothic Revival Cast Iron Garden Benches, each with a back modeled as a row of quatrefoils amidst arches, an openwork seat and scroll apron, h. 34”, w. 55‑1/2”, d. 21”. [1000/1500] Illustrated

713 714 American Late Classical Mahogany Games Table, Attributed to J. & J. W. Meeks, New York, second quarter 19th century, the fold-over top above a conforming molded frieze, the concave pedestal with Gothic niches flanked by corner columns, a serpentine base and scroll feet, h. 28‑7/8”, w. 35‑3/4”, d. 18”, extended l. 36”. [2000/4000] Illustrated A labeled Meeks center table with a similar base to the present table is in the New York State Museum, Albany, and is illustrated in Scherer, New York Furniture at the New York State Museum, p. 75, fig. 74.

710 711 Emmitt Thames (American/Mississippi, b. 1933), “Bucket of Blueberries”, watercolor on paper, signed lower right, sight 10‑3/4” x 14‑3/4”. Attractively matted and framed. [600/900] 712 Elliott Seabrooke (British, 1886‑1950), “Cafe Interior View of Street with Fruit Stalls”, oil on paper, signed lower right, sight 15‑1/2” x 22‑3/4”. Framed. [1000/1500] Illustrated 714

151

715 Clarke Family American Gothic Rosewood and Marble-Top Center Table, ca.1840‑1850, probably executed by the cabinet shop of Alexander Roux, New York and after a design by Alexander Jackson Davis, retaining its original hexagonal white marble top with a double "bull's nose" edge, over a conforming frame with a ripple molding along the upper edge, having turned drop finials with ball tips and supported by cluster columns, the base with extended trefoil feet and applied beaded moldings, the underside of the marble retaining a faint penciled inscription "W Clarke", h. 31”, w. 37”, d. 37”. Provenance: William Edward Clarke (1815‑1899) to Richard Henry Clarke (1843‑1906). [30000/50000] Illustrated

715

The design for this iconic table is attributed to the New York architect Alexander Jackson Davis (1803‑1892) who is noted for designing the famous country villa "Kenwood" located outside of Albany, New York and built in1842 for industrialist Joel Rathbone. An illustration of the drawing room at Kenwood is featured in Andrew Jackson Downing's book "The Architecture of Country Houses" and shows an example of this Gothic table as its centerpiece. Born in Chesterfield County, Virginia, William Edward Clarke later studied law at William & Mary University in Williamsburg, Virginia. In the late 1830’s he settled in Dayton, Alabama in Marengo County and attained a high rank in his profession practicing law. From 1861‑1865 he was a member of the State Senate, and later moved to Demopolis, Alabama. It was believed that he ordered this table in the mid-1840s. Richard Henry Clarke was the next generation and son of William E. Clarke, born in 1843 in Dayton, Alabama and graduated from the University of Alabama at Tuscaloosa in 1861. He served in the Confederate States Army during the Civil War as a lieutenant in the First Battalion of Alabama Artillery. After the War he practiced law in Dayton, Alabama and later moved to Demopolis, Alabama. He became State Solicitor for Marengo County from 1872‑1876 and later resumed the practice of law in Mobile, Alabama. He was elected to congress from 1889‑1897, was a candidate for Governor in 1896, and served as a member of the State House of Representatives from 1900‑1901. This lot is accompanied by the original William E. Clarke 1899 memorial/biography booklet, prepared by Gesner Williams, George W. Taylor et al., Memorial Committee. Other examples of this table are in the collections of the High Museum, Atlanta, Georgia (The Virginia Carroll Crawford Collection), The Detroit Institute of Arts, The Virginia Museum of Fine Arts, The Boston Museum of Fine Arts, and the Art Institute of Chicago which conserves "The Belmead Center Table" which sold in these rooms for a record $233,500 in September, 2000. For a discussion and illustration of the "Crawford" table, see pages 60‑61, Art & Enterprise - American Decorative Art 1825‑1917, by Donald C. Pierce. Other illustrated examples include one from the collection of the late Lee B. Anderson which is pictured on page 41, The Gothic Revival Style in America, 1830‑1870, by Katherine S. Howe and David B. Warren, published by The Museum of Fine Arts, Houston, and another on pages 82‑83, In Pointed Style: The Gothic Revival in America, 1800‑1860, by Feld, Feld and Warren.

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717

716 American Gothic Revival Walnut Armchair, mid-19th century, the arched crest centered by a quatrefoil over an oval upholstered panel, with bobbin-turned stiles and legs, h. 53”. [600/900]

719 American Gothic Revival Quarter-Sawn Oak Writing Desk and Armchair, ca. 1900, the desk with a wide drawer concealed in the apron frieze, desk, h. 30‑1/2”, w. 52”, d. 32”, chair, h. 43”, w. 25”, d. 20”. [700/1000]

717 American Gothic Revival Walnut Corner Cabinet Etagere, ca. 1850, h. 82”, w. 30”, d. 20”. [1500/2500] Illustrated

720 American Transitional Gothicinto-Rococo Revival Mahogany Secretary Bookcase, mid-19th century, Philadelphia, the upper case fitted with adjustable shelves, the base with a pull-out desk drawer and a pair of cabinets below, h. 103”, w. 46”, d. 22”. [3000/5000] Illustrated

This cabinet relates very closely to other documented examples and is most likely from the same manufacturer. Other examples are in the collections of The Brooklyn Museum; Museum of Fine Arts, Houston, Texas; and The Detroit Institute of Arts. A similar example is illustrated as fig. 89 in Katherine S. Howe, The Gothic Revival Style in America, 1830‑1870, (Houston: Museum of Fine Arts, 1976), p. 50. 718 Monumental Gothic Revival Bronze Altar Stick, fourth quarter 19th century, now mounted as a lamp, of tripartite form, decorated with molded leaves, strapwork and lancet-arched recesses, in contrasting giltand patinated bronze, base, h. 35”, overall, h. 55”, dia. 13”. [1000/1500] Illustrated

718

721 Baronial-Style Brass, Patinated Brass and Opalescent Glass Five-Light Chandelier, early 20th century, in the Gothic taste, the canopy joined to chains supporting a ring with trefoil fretwork, the scroll arms with spiral opalescent glass teardrop shades, the bowl with a larger shade in like decor, h. 34”, dia. 25”. [800/1200]

153

722 722 Helen Maria Turner (American/Louisiana, 1858‑1958), “In the Vegetable Garden”, oil on canvas, signed lower left, verso with an “Akron Art Museum” exhibition label and a “Dixon Gallery & Gardens” exhibition label, 13‑1/4” x 10‑1/4”. Framed. Provenance: Estate of Patricia O’Brien Strigel and Mogens Strigel, Houston, Texas. Exhibited: Dixon Gallery & Gardens, “Helen M. Turner: The Woman’s Point of View”, June 27‑September 19, 2010. Literature: Jane Ward Faquin, Helen M. Turner: The Woman’s Point of View, 2010, p. 70. [15000/25000] Illustrated

154

724 Andres Molinary (Gibralter/New Orleans, 1847‑1915), “Northshore Landscape”, oil on canvas, signed lower right, 8‑1/4” x 16”. Framed. [15000/25000] Illustrated 725 Nell Pomeroy O’Brien (American/New Orleans, 1897‑1966), “Southern Country Landscape”, oil on canvas, signed lower left, 19” x 27”. Framed. Provenance: Descended in the family of the artist. [1000/1500] Illustrated

723 723 Helen Maria Turner (American/Louisiana, 1858‑1958), “Early Morning”, oil on academy board, unsigned, inscribed “Early Morning, from State St. Drive-City in the Distance, 1917” en verso, with an “Akron Art Museum” exhibition label, 8‑1/2” x 10‑1/2”. Framed. Provenance: Estate of Patricia O’Brien Strigel and Mogens Strigel, Houston, Texas. Literature: Maia Jalenak, Helen M. Turner, American Impressionist, A Thesis at Louisiana State University, 2003, illustrated p. 114. [5000/8000] Illustrated

725

724

155

727 Robert M. Rucker (American/New Orleans, 1932‑2001), “The Steamboat J.M. White”, oil on canvas, signed lower right, 30” x 36”. Framed. Provenance: Judge E. Gordon West, Louisiana. [3000/5000] Illustrated 728 Alexander John Drysdale (American/New Orleans, 1870‑1934), “Water Lilies at Dusk”, oil on board, signed lower right, 20” x 30”. Glazed and framed. [2000/4000] Illustrated

726 1 of 3 726 Nell Pomeroy O’Brien (American/ New Orleans, 1897‑1966), a collection of three oils on board, two depicting “European Village Scenes” and one of “Rainy Day at the Park”, two signed and dated “38”, sizes: 9‑1/2” x 13”, 12” x 16”. All framed. Provenance” Descended in the family of the artist. [1000/1500] Illustrated

729

729 Alexander John Drysdale (American/ Louisiana, 1870‑1934), “Louisiana Bayou Landscape”, oil wash on board, signed lower left, sight 9” x 29”. Glazed, matted and framed. Provenance: Estate of Lillian Pulitzer Smith, New Orleans, Louisiana. [800/1200] Illustrated 730 Wiley Churchill (American/Louisiana, 1900‑1987), “Thunderheads” (In the Gulf), 1982, watercolor on paper, signed and dated lower right, titled on mat, sight 16” x 21‑3/4”. Glazed, matted and framed. [600/900] Illustrated

727

156

733 American School (Fourth Quarter 19th Century), “Cake-Walk”, pair of oils on board, unsigned, 8‑3/4” x 5‑3/4”. Presented in matching frames. [450/700]

728

731 Charles Henry Reineke (American/Louisiana, 1906‑1983), three-part screen, the front depicting the “Louisiana Bayou Landscape with an Egret”, signed lower right, verso depicting a “Blossoming Cherry Tree”, h. 70”, w. 51”. [800/1200] Illustrated

732

732 Ben Earl Looney (American/Louisiana, 1904‑1981), “Homestead on the Mississippi”, watercolor on paper, signed lower left, sight 17‑1/2” x 26”. Glazed, matted and framed. [500/800] Illustrated

731

730

157

734 Federal-Style Inlaid Mahogany Sideboard in the Hepplewhite Taste, of serpentine form, the top edge and rails with herringbone banding, h. 41”, w. 62‑1/2”, d. 28”. [600/900] 735 Vernacular Louisiana Cherrywood Armoire, ca. 1825, with a pair of bisected recessed paneled doors over a pair of beaded drawers, scalloped apron and cabriole legs, the back with ten hand-planed cypress panels in two rows, h. 85”, w. 55‑1/2”, d. 22‑1/2”. Provenance: Acquired by the consignor’s forebears near Scott, Louisiana. [3000/5000] Illustrated 736 Good American Southern Cherry Four-Post Canopy Bed, second quarter 19th century, of late Sheraton form, with boldly turned posts and a paneled headboard, h. 105‑1/2”, inside, w. 52”, l. 74‑1/2”, outside, w. 59‑1/2”, l. 81‑1/2”. [2000/4000] Illustrated

735

737 Attributed to John Brewster (American, 1766‑1854), “Portrait of the Price Children of Philadelphia”, 1837, oil on canvas, unsigned, 25‑1/2” x 30”. Framed. Provenance: Descended in the family of the sitters. [3000/5000] Illustrated A later inscription en verso canvas lists the sitters as Rebecca, J. Sergeant, and Sibylla Price, and erroneously lists the artist as “E” instead of “J” Brewster. The sitters were the children of Eli Kirk Price of Philadelphia, Pennsylvania, a prominent lawyer, member and eventual vice-president of the American Philosophical Society, a Pennsylvania State Senator, and author of numerous legal, historical, and genealogical treatises.

736

158

737 738 American Federal Mahogany Bowfront Server/ Press in the Hepplewhite Taste, ca. 1800, Baltimore or Philadelphia, the case with a band of three beaded drawers over a pair of doors, each with figured ovoid panels, scalloped apron and bracket feet, h. 46‑1/2”, w. 50”, d. 28‑1/4”. [700/1000] Illustrated 739 American Late Federal Mahogany Four-Post Canopy Bed, second quarter 19th century, h. 92”, inside, w. 55”, l. 79”, outside, w. 60”, l. 85”. [800/1200] 740 Carrara Marble Gueridon, the circular top raised on a graduated concave tripartite standard to a conforming molded base on casters, h. 30‑1/4”, dia. 41‑1/2”. [1000/1500] This table is a reproduction of a table purchased in France by Thomas Jefferson for his Virginia home, Monticello.

738

159

744 American Classical Mahogany Recamier, ca. 1825, Philadelphia, with a scroll arm and scrolling crest rail extending to a low bolster arm, gadrooned seat rail and foliate-carved paw feet, h. 31”, w. 69”, d. 23”. [1000/1500]

742

741

741 French Porcelain Charger, fourth quarter 19th century, possibly Samson, in the Chinese export taste for the American market, decorated with an eagle and famille rose-type flowers, in a gilt lancet edge and ribbon border, dia. 14‑3/4”. [450/700] Illustrated 742 American Classical Gilt-Stenciled and Ebonized Mahogany Drop-Leaf Breakfast Table, ca. 1825, New York, the aprons with stenciled bands along the bottom edge, flanked by stenciled corner blocks, on an octagonal pedestal with gilt-bordered ovoid panels and a circular platform with foliate stenciling on its top surface, on foliate-carved paw feet, h. 29‑1/2”, d. 40‑7/8”, l. 25‑1/2”, extended l. 47”. [2000/4000] Illustrated 743 Exceptional Large English Regency Convex Mirror, first quarter 19th century, intertwined dolphins support the leaf-molded and coved frame, set with a pair of two-light candle branches with period bronze candle cups, the crest depicting a verde antico-painted eagle holding a gilt spherule on a chain, resting on a lattice-molded plinth, h. 55‑1/4”, w. 47‑1/2”. Provenance: Robert Herman Antiques, New York, New York; Estates of Mary Dixon Montague and Frank D. Montague, Hattiesburg, Mississippi. [1800/2500] Illustrated

160

743

747 Pair of American Late Classical Mahogany Console Tables, second quarter 19th century, New York, each with a fully-developed acanthus-carved pedestal and outstretched legs ending in paw feet, the tops with highly-figured grain and form a small dining table when joined together, h. 28”, w. 46”, d. 24‑1/2”. [3000/5000] Illustrated

745

745 American Classical Giltwood and Stenciled Mahogany Pier Table, ca. 1825, New York, h. 36‑3/4”, w. 42”, d. 17‑1/2”. [1800/2500] Illustrated 746 Rare Silk Needlework Presentation Picture, ca. 1825, probably New Orleans, the English-style picture depicting a maiden with a dog in a park, and reading “Fait Par Soeur Ste Pelagie Au Couvent De Ste Ursule Dedie A Sa Soeur M. A. Anglade, Mars 1825, (made by sister Pelagie of Ursuline Convent and dedicated to sister M. A. Anglade, March 1825)”, h. 20”, w. 20‑1/4”. [700/1000] Illustrated

747

748 American Classical Mahogany Work Table, ca. 1825, Boston, the top with drop leaves, the face with a pair of drawers over a yarn drawer with sunburst yellow upholstery, raised on tapering columns and scroll feet, a similar table is illustrated in Feld et al, “Neo-Classisim in America Inspiration and Innovation” page 76 fig.53 h. 29”, w. 21”, d. 19‑3/4”, extended l. 36”. [1200/1800] Illustrated

748

746

161

749 American Empire Revival Giltwood Overmantel Mirror, fourth quarter 19th century, in three sections, decorated with molded balusters and with rosettes on each end, the mantel rest ebonized, h. 30”, w. 72”. [1000/1500] Illustrated

754 American Late Classical Mahogany Double-Door Armoire, second quarter 19th century, Probably Louisiana, with a flared cornice and the front legs with brass ball feet, h. 89”, w. 64”, d. 25”. [2500/4000] Illustrated 755 American Sheraton Cherry Tester Bed, mid-19th century, the projecting tester supported by segmented tapering octagonal and turned posts, the headposts supporting a paneled headboard with an octagonal “rolling pin” crest, h. 98‑1/2”, inside, w. 56‑1/2”, l. 75‑3/4”, outside, w. 61‑1/2”, l. 81‑1/2”. [1800/2500] Illustrated

749

750 American Restauration Giltwood Mirror, second quarter 19th century, probably Mid-Atlantic, h. 63”, w. 35‑1/2”. [500/800]

756 Pair of American Late Classical Figured Mahogany Drop-Leaf Side Tables, second quarter 19th century, attributed to J. & J. W. Meeks, New York, h. 29‑1/2”, d. 19”, l. 20”, extended l. 38”. [1000/1500] Illustrated 757 American Late Classical Mahogany and Marble-Top Center Table, second quarter 19th century, the circular white marble top over a conforming apron on a tapering column and scroll feet, h. 29‑1/2”, dia. 36”. [500/800] Illustrated

751 Set of Three Neoclassical Carved Cypress Cornices, second quarter 19th century, probably New Orleans, based on plates from Minard LaFever’s The Beauties of Modern Architecture, published in New York, 1839, h. 15‑1/2”, w. 71”, d. 7‑1/2”. Provenance: Removed from an Uptown New Orleans, Louisiana, mansion. [700/1000] Illustrated

751 Set of 3 752 Set of Three Classical Window Cornices, mid-20th century, composed of cypress and other woods, h. 8”, w. 60”, d. 10”. Provenance: Removed from an Uptown New Orleans, Louisiana, mansion. [500/800] 753 Three Continental Baroque-Style Carved Oak Appliques, ca. 1900, depicting a lush swag of fruits and leaves, carved with pomegranates, artichokes, plums and lemons, wrapped in ribbons, h. 25‑1/2”, w. 42‑1/2”. [500/800]

162

754

757

755

760 American Sheraton Cherry Butler’s Chest, second quarter 19th century, the top fitted with an arched back stop, the return with scroll ends, the projecting upper drawer with a fold-out face opening to create a writing surface and revealing a segmented interior with figured maple drawers over a bowfront bank of three graduated beaded drawers flanked by turned columns extending to like feet, h. 56”, w. 44”, d. 22”. [500/800]

758 American Late Classical Mahogany and Marble-Top Center Table, second quarter 19th century, the marble top over a cyma-molded apron supported by a tapering pedestal with engaged columns at the corners, on bracket feet, h. 28‑3/4”, w. 36”, d. 36”. [700/1000] 759 American Late Classical Mahogany Armoire, mid19th century, the cyma-molded cornice over a pair of doors, each with an arched panel, on bracket feet, h. 97”, w. 69‑3/4”, d. 27”. [1200/1800] Illustrated

756

759

163

763 Suite of Four American Cast Iron Garden Armchairs, Together with a Circular Table, all in like paint, chair, h. 32”, table, h. 26”, dia. 39”. [1000/1500] Illustrated 764 Harriet Whitney Frishmuth (American, 1880‑1980), “The Star”, ca. 1918, bronze, cast signature on base, “Gorham Founders” foundry mark and numbered “211” at edge of base, on a circular black marble base, overall, h. 20‑1/2”, w. 8”, d. 6”. [10000/15000] Illustrated

761

761 American Late Federal Mahogany Four-Post Bed, second quarter 19th century, probably Baltimore, with highly-unusual carved posts, h. 91”, inside, w. 54‑1/2”, l. 73”, outside, w. 61‑7/8”, l. 79‑1/2”. [2000/4000] Illustrated 762 American Late Classical Revival Mahogany Bookcase/Vitrine, fourth quarter 19th century, in the manner of J. & J. W. Meeks, having an arched frieze, tapering columns and carved paw feet, h. 72‑1/2”, w. 42”, d. 19”. [800/1200]

763

164

764

165

765

767

765 Wilhelm Julius Frick (German, 1884‑1964), “Wrestlers”, patinated bronze figural group, cast signature at base, foundry inscription “Gussv. Pirners. Franz Dresden” at edge of base, h. 25‑1/2”, w. 12”, d. 10”. [3000/5000] Illustrated 766 David Eugene Henry (American, b. 1946), “Warrior”, 2005, patinated bronze, cast signature and date at edge of base, “Roman Bronze Foundry” inscription, h. 26‑1/2”, w. 17”, d. 10”. [1200/1800] Illustrated

766

166

767 Dave McGary (American, 1958‑2013), “Warrior”, 1976, bronze, signed, dated and numbered “6/15” at edge of proper right shoe, on a naturalistic stone base, overall, h. 35”, w. 7‑1/2”, d. 9”. [3000/5000] Illustrated

769 768

768 Glenna Goodacre (American, b. 1939), “Woman Reading”, 1995, bronze plaque, numbered “47/50”, signed, and with copyright mark lower right, 17‑1/2” x 12‑1/2”. [2000/4000] Illustrated 769 Glenna Goodacre, N.A. (American, b. 1939), “The Bather”, 1989, patinated bronze, limited edition of 15, marked “FP/15”, signed, dated and copyright marked at proper right edge of drapery, overall, h. 57”. Provenance: Fenn Galleries, Santa Fe, New Mexico; Estates of Mary Dixon Montague and Frank D. Montague, Hattiesburg, Mississippi. [25000/40000] Illustrated 770 Thomas Randolph Morrison (American/ New Orleans, Contemporary), “Kore”, bronze, artist proof from an edition of 24, cast by Artworks Foundry, Berkeley, signed, h. 28”, w. 20”, d. 12”. [5000/8000] Illustrated A master of the difficult technique of lost wax bronze casting, Morrison creates classically inspired works teeming with energy and emotion. The artist’s admiration for the human figure, combined with his painstaking attention to detail, result in intricately modeled works. A long-time resident of New Orleans, Morrison is a member of the National Sculpture Society, the International Sculpture Center, and the Arts Council of New Orleans.

770

167

773 French Galle Oak and Mixed Woods Table, early 20th century, the shaped rectangular top with a molded edge and an inlaid wooded and floral landscape, signed on the lower corner, raised on a curule-form base with foliate-applied forms, h. 29”, w. 27”, d. 18”. [1800/2500] Illustrated

771 771 Thomas Randolph Morrison (American/New Orleans, Contemporary), “Andromeda”, bronze, artist proof from an edition of 24, cast by Artworks Foundry, Berkeley, signed, h. 24”, w. 21”, d. 20”. [3500/5000] Illustrated

773

772 Thomas Randolph Morrison (American/New Orleans, Contemporary), “Ulysses and the Sirens”, bronze, artist proof from an edition of 24, cast by Artworks Foundry, Berkeley, signed, h. 23‑1/2”, w. 22”, d. 22”. [4500/7000] Illustrated

774 French Art Deco Wrought Iron and Marble-Top Console Table, first quarter 20th century, the shaped Breche marble top raised on shaped and scrolling supports with gilt foliate accents and ending in block feet, one base foot marked “AC” and the other marked “07 LONGWY”, h. 35‑1/2”, w. 72”, d. 22‑1/2”. [4000/7000] Illustrated

774

775 Muller Freres Pate de Verre Art Glass Vase, second quarter 20th century, the flame-colored Art Deco vase signed “Muller Freres, Luneville”, h. 9‑1/4”, dia. 5”. [600/900] Illustrated 772

168

779 Unusual Pair of Art Deco Brass- and Mirror-Plated Table Lamps, second quarter 20th century, the brassplated bases set with mirrored plateaus and supporting two-arm lights on one end, each shaded with halfcylinder brass covers, h. 29‑1/2”, w. 11‑3/4”, d. 11‑1/2”. [2000/4000] Illustrated

775

777

776 Continental Green Iridescent Art Glass Trumpet Vase, first quarter 19th century, probably decorated with pulled feather-type decoration, now bearing a spurious Tiffany Favrile mark, h. 10‑1/2”, dia. 5‑1/4”. [700/1000] 777 Unusual Jugendstil Copper-Mounted Art Glass Vase, first quarter 20th century, the conforming ribbed copper case mount set with bosses matching the base, h. 10”, dia. 4‑1/4”. [500/800] Illustrated 778 French Art Deco-Style Rosewood Cabinet, second half 20th century, the front with a pair of “book-matched” rosewood veneered doors over a row of three drawers, h. 50”, w. 56”, d. 16”. [700/1000] Illustrated

781

780 Pair of Mid-Century Brass-Plated Sconces, possibly Italian, with glass rod shades and fluted caps and bases, unmarked, h. 14”, dia. 3‑1/4”. [500/800]

779

778

781 Continental Art Deco Bronze and Marble Figural Table Lamp, second quarter 19th century, decorated with a patinated bronze figure of a nude dancer on an “Egyptian” marble pedestal, with a cantilevered shade holder, now set with an art glass shade, h. 22‑1/2”, dia. 9‑1/2”. [600/900] Illustrated

169

782

782 Hunt Slonem (American, b. 1951), “Siddah and Butterflies II”, 2001, oil on canvas, signed and titled verso canvas, “Marlborough/New York” gallery label verso stretcher, 113” x 132”. Presented in an exceptional ca. 1900 giltwood and gesso monumental oval frame. [50000/80000] Illustrated A native of Maine, Slonem studied at the Skowhegan School of Painting, Skowhegan, Maine; Vanderbilt University, Nashville, Tennessee; and Tulane University, New Orleans, Louisiana. Well-known and admired for his deep appreciation of nature – especially birds, butterflies, and flora - Slonem has a truly unique and easily identifiable style. His paintings incorporate a rich, intense color palette, an almost expressionistic approach to form, and frequently – as seen in the fine monumental example offered here – his distinctive cross-hatching of the surface of the canvas. These elements all unite seamlessly to create vibrant works of depth and emotion. A work similar in composition, subject, and color as the present lot was prominently displayed in the windows of Bergdorf Goodman in New York City for the exhibition “An Artist’s Life-Hunt Slonem” (in conjunction with Marlborough Gallery, New York, New York). Slonem has exhibited widely and his paintings are in the permanent collections of such fine institutions as the Metropolitan Museum of Art, the Solomon R. Guggenheim Museum, and the Whitney Museum of Art. He was the 1991 recipient of the prestigious National Endowment of the Arts grant.

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783 Sigmund Landau (Polish/French, 1898‑1962), “Herbst Stilleben Mit Fledermaus (Autumn Still Life with Bat)”, mixed media on paper, signed and titled en verso, sight 16‑3/4” x 21”. Glazed, matted and framed. [800/1200] Illustrated 784 Tetsuro Komai (Japanese, 1920‑1976), “Untitled”, ca. 1960’s, copperplate print on paper, marked “14/20”, 16” x 11‑3/4”. Glazed and framed. [1000/1500] Illustrated Komai played a crucial role in establishing the copperplate print as a distinctive form in Japan. A significant number of the artist’s works are in the Setagaya Art Museum, Tokyo. 785 John Rombola (American, 20th/21st Century), “Cover Holiday”, gouache on paper, signed lower right “Rombola”, verso with a “Barney Weinger Gallery, New York, NY” label, 21” x 17”. Glazed, matted and framed. Provenance: Estate of Lillian Pulitzer Smith, New Orleans, Louisiana. [700/1000] Illustrated 783

785 784

171

786 Thomas Downing (American, 1928‑1985), “Andevorante”, 1972, oil on canvas, signed, titled and dated en verso, 80” x 166”. Unframed. Provenance: Estate of James Julius Killough, III, Houston, Texas; purchased from the artist by Mr. Killough in 1975, during the artist’s tenure at the University of Houston. [7000/10000] Illustrated

786

788 Hagenauer Werkstatte, Vienna, Austria, Brass Leaping Greyhound Lamp, ca. 1950, the greyhound sculpture mounted on a later brass base, fitted with a black silk shade, sculpture including the plinth, h. 8‑3/4”, w. 11‑1/2”, d. 2‑3/8”, overall, h. 24”, w. 17‑1/4”, d. 8”. [1200/1800] Illustrated

787 Karl Hagenauer (Austrian, 1898‑1956), second quarter 20th century, brass sculpture of a female nude astride a leaping horse, the plinth stamped underneath “Karl / Hagenauer / Wien / the encircled ‘W H W’ / Made in Austria”, overall, h. 9‑1/2”, w. 8‑1/8”, d. 2‑1/8”. [700/1000] Illustrated 784

787

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788

789 Hagenauer Werkstatte, Vienna, Austria, Brass Leaping Greyhound Lamp, ca. 1950, the greyhound sculpture mounted on a later brass base, fitted with a black silk shade, sculpture, including the plinth, h. 7‑1/2”, w. 11‑1/2”, d. 2‑3/8”, overall, h. 24”, w. 17‑1/4”, d. 8”. [1200/1800] 790 Rudolf Leopold, “Egon Schiele: Paintings, Watercolours, Drawings”, New York: Phaidon Publishers, Inc., 1973, translated by Alexander Lieven, from the deluxe edition, number 26 of 50, includes two original rubber-cuts by Schiele laid loose at the end, bound in red-printed full black leather with a black slip case,overall, h. 12”, w. 12”. [450/700]

794

791 Pair of Mid-Century Modern Lucite Pedestal Tables, mid-20th century, each with a beveled square top raised on a square columnar base, h. 45”, w. 20”, d. 20”. [450/700] 792 Continental Art Deco Silver-Rimmed Cut and Frosted Glass Bowl, second quarter 20th century, the paneled sides overlaid with cut and frosted deco designs, the upper rim marked “800”, h. 3‑3/4”, dia. 7‑3/4”. [500/800]

796 795 Chrome, Glass and Aluminum Cocktail Table Designed by Jay Spectre, New York, fourth quarter 20th century, exhibiting both Art Deco and industrial influences, the tubular base supporting the thick engraved top, accompanied by a vintage photo of Spectre’s living room, showing this or an identical table in the foreground, h. 17”, dia. 42”. [700/1000] Illustrated 796 Makio Hasuike & Co. Extruded Aluminum and Glass “Metra” Dining Table, fourth quarter 20th century, Italian, the base bearing the Seccose impressed label, h. 29”, w. 35‑1/2”, l. 78‑1/2”. [500/800] Illustrated 797 Ray Howlett (American, b. 1940), “Pyramid”, dichroic glass light sculpture, h. 60”, w. 16‑1/2”, d. 16‑1/2”. [1000/1500] Illustrated 798 Arthur Silverman (American/New Orleans, b. 1923), “Untitled”, stainless steel, on a carved wood base, h. 38”, w. 8”, d. 8”. [1000/1500] Illustrated

795

793 Pair of Signed Hadeland Mid-Century Crystal Bowls, Norwegian, designed by Willy Johansson (1947‑1988), and signed “Hadeland W.J.” in engraved script on lower edge, h. 3‑1/4”, dia. 7‑3/4”. [500/800] 794 Sixteen-Piece Partial Set of Baccarat Contemporary Crystal Barware, 20th century, in a cylindrical form with heavily-weighted bases, including ten highball glasses, h. 5‑1/2”, four double old-fashioned glasses, h. 5”, and two tumblers, h. 5”. [450/700] Illustrated

797

798

173

802 Miguel Ortiz Berrocal (Spanish, 1933‑2006), “Mini David”, chromed bronze and metal puzzle sculpture, signed and numbered “2777” on proper right truncation, on a round base, overall, h. 5‑1/2”, w. 2‑1/4”, d. 2‑1/4”. [800/1200] Illustrated 803 Mies Van der Rohe Polished Steel “Brno” Chair, probably made by Knoll, New York, now covered in brindle cowhide, h. 32”, w. 22‑3/4”, d. 27”. [500/800] Illustrated The chair was originally designed for Van der Rohe’s iconic Tugendhat House, Brno, Czech Republic.

799 799 Robert Mapplethorpe (American, 1946‑1989), “Flower”, photogravure, pencil signed lower right, sheet 37‑1/2” x 24‑1/2”. Glazed, matted and framed. Provenance: Private collection, New Orleans, Louisiana. [6000/9000] Illustrated

803

804 Contemporary Brushed Metal and Marble-Top Console Table, the long Rouge Royal marble top with a molded edge and raised on three S-scroll metal supports, h. 36”, w. 80”, d. 20‑1/2”. [1500/2500] Illustrated

800 Omar Rayo (Colombian, 1928‑2010), “La Pasion”, 1969, intaglio etching, artist proof, signed, titled and marked “A.P.” lower left, verso with “Barney Weinger Gallery, New York, NY” label, sheet 29‑3/4” x 21‑1/2”. Glazed and framed. Provenance: Estate of Lillian Pulitzer Smith, New Orleans, Louisiana. [600/900] 801 Pedro Friedeberg (Mexican, b. 1937), “Damas Cocodrilopenas”, 1973, lithograph in colors, signed and dated lower right, numbered lower left “31/60”, sight 20‑1/2” x 20‑1/2”. Glazed, matted and framed. [500/800]

805 D’Argenta Silver-Plated Mexican Shell Sculpture, boldly and realistically sculpted, signed on the upper right rear edge, h. 9‑3/4”, w. 25‑1/2”, d. 14‑1/4”. [600/900] Illustrated

802 804

174

808 Pair of Cast Bronze Whippets, depicted with their heads turned in opposite directions, h. 32”, w. 8‑3/4”, l. 35”. [450/700] Illustrated

805 806 Charles and Ray Eames for Herman Miller, Pair of Swivel and Adjustable Aluminum Group Armchairs, the pattern introduced in 1958, the present examples with the early four-point base, h. 32”. [500/800] Illustrated

808

809 Alan J. Shields (American, 1944‑2005), “Untitled Diptych”, quilted and hand-painted fabric, crochet, and thread, mounted on board, fitted for hanging, overall, 19‑1/2” x 33‑3/4”. Provenance: Private collection, Houston, Texas. [1500/2500] Illustrated

806

809

807 Unusual Contemporary Bronze and Glass-Topped Garden Table, the base a figure of a nude woman, arm upraised to support the glass top, h. 17”, w. 54”, d. 21. Provenance: Estate of Mickey Easterling, New Orleans, Louisiana. [1500/2500] Illustrated This bronze figure is a selfacknowledged portrait of the owner, Ms. Easterling. As she once stated, “...it is the quintessential me... shoes, hat, cigarette and champagne glass.” The table was prominently placed on the poolside patio of her beautiful Lakefront home.

807

175

810 Victor Vasarely (Hungarian/French, 1906‑1997), framed silk scarf, signed, numbered “2/150” and dated “1969”, scarf 34” x 34”. Glazed and presented in a metal frame. [500/800] 811 Two Pairs of Contemporary Lead-Finished Metal Planters, of Regency inspiration, the tapering squareform planters with side ring handles, the larger, h. 24”, w. 24”, d. 24”, the smaller, h. 20”, w. 20”, d. 20”. [500/800] Illustrated 812 Pair of Contemporary Lead-Finished Metal Cistern Planters, of tapering ovoid form, each with ring handles and raised on ball feet, h. 20”, w. 39”, d. 20”. [500/800] 813 American Bronze Sculptural Group, 20th century, depicting a nude male and female torso, h. 38”, w. 30”, d. 14”. [700/1000] 814 Harold Athey (American/New Orleans, b. 1920), “Female Figure, Seated”, patinated bronze, on a black marble plinth, overall, h. 13”, w. 6”, d. 6”. Provenance: Estate of Lillian Pulitzer Smith, New Orleans, Louisiana. [600/900]

816

811 815 Contemporary Parcel-Gilt Metal Three-Light Torchere, possibly Mario Villa, painted to resemble faux stone, wrapped with a gilt vine and set with cylindrical glass shades, h. 61”, w. 20”, w. 9‑1/2”. [500/800]

818 Contemporary Ebonized Cocktail Table, the large rectangular top above a paneled frieze, raised on paneled tapering square legs, the whole with gilt accents, h. 18‑1/2”, w. 72”, d. 31”. [500/800] 819 Jim Dine (American, b. 1935), “Biotherm”, portfolio of 42 lithographs, numbered “100/180”, print 26, hand-colored, signed, and framed, portfolio 21‑7/8” x 15”, framed print 22” x 15”. [1500/2500] Illustrated

816 Interesting French Bronze Twelve-Light Basket Chandelier, ca. 1900, in the Louis XVI style, now hung with strands of natural turquoise interspersed with rock crystal beads, set with four exterior candle branches and eight interior light sockets, h. 41‑1/2”, dia. 30”. [1000/1500] Illustrated 817 Pair of Contemporary Verdigris-Painted Iron and Glass Console Tables of Regency Inspiration, attributed to Mario Villa, New Orleans, each with a glass top, faux bamboo legs and an X-form stretcher, h. 27‑1/4”, w. 50”, d. 17”. [800/1200] Illustrated

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817

821 Whimsical Contemporary Brushed Steel Low Table, manufactured by Shannon & Jeal, San Francisco, the rectilinear top on legs modeled as a walking pair of women’s legs in heels, followed by man’s legs in silhouette, h. 17‑1/8”, w. 48”, d. 26”. [500/800]

822

819 820 Liao Shiou-Ping (Taiwanese, b. 1936), “Wisdom”, 1972, serigraph on foil, dated and marked 24/52, 20‑7/8” x 27‑1/2”. Provenance: Collection of William E. Koch; the Mobile Art Center and Gallery, Mobile, Alabama. [800/1200] Illustrated During the 1970’s and 80’s, Liao moved from Taiwan to Paris to Japan, and then to the United States. Many of his works, such as this one, reflect themes of home through the use of symbolic ideograms created by the artist.

822 Contemporary Wrought Iron Chaise Lounge, Attributed to Mario Villa (American/New Orleans, b. 1953), the foliate-upholstered cushion on a frame in a fixed semi-recumbent position, raised on equine-inspired legs, h. 38‑1/2”, w. 30‑3/4”, l. 76”. [500/800] Illustrated 823 Cedric Hartman Vintage Reading Lamp, fourth quarter 20th century, American, the polished brass adjustable lamp signed on its base, both script and printed, and serial number “920205”, h. 31‑1/2” to 48”, w. 14”, d. 11”. [500/800] Illustrated 824 Feliciano Bejar (Mexican, 1920‑2007), “Magiscope”, 1988, glass, iron and found metal sculpture, etched signature and dated at bottom edge of glass, h. 35”, w. 12‑1/2”, d. 9”. [800/1200] Illustrated

823

824

820

177

825 827 825 Christopher Maier (American, 1955‑2004), the custom mottled “tarnish”-gilded and lacquered wood low table of neoclassical inspiration, with a square top over a dentillated freeze, raised on fluted legs, h. 20‑1/4”, w. 36”, d. 36”. Provenance: Estates of Mary Dixon Montague and Frank D. Montague, Hattiesburg, Mississippi. [800/1200] Illustrated

826 Christopher Maier (American, 1955‑2004), the upholstered, custom mottled “tarnish”-gilded and lacquered bench of neoclassical inspiration, with ivory striped upholstery and fluted legs, custom order No. 79, h. 18”, w. 40‑1/2”, d. 18”. Provenance: Estates of Mary Dixon Montague and Frank D. Montague, Hattiesburg, Mississippi. [500/800] Illustrated 827 Large Composition of Quartz Crystal and Rock Crystal Spheres, the large cluster displayed on a polished crystal base, h. 13‑1/4”, w. 10‑1/4”, d. 10‑1/4”. [3000/5000] Illustrated

826

828 Unusual Thirty-Four-Piece Silver Overlay Porcelain Tea and Coffee Set, second quarter 20th century, German, decorated with birds on passion flower vines, all outlined with raised sterling silver, marked “Silver Porzellan Deusch Wuerttemberg Pure Silver Handgemalt”, comprised of a coffeepot, h. 9”, a teapot, h. 6‑3/4”, a cream jug, h. 4‑1/4”, a covered sugar bowl, h. 4‑1/4”, ten dessert plates, dia. 10‑3/4”, and ten cups, h. 2”, with ten saucers, dia. 6”. [600/900] Illustrated

828

178

829 Extensive Lenox “Federal Cobalt” Bone China Partial Dinner Service, ca. 1987‑2007, American, one hundred and seventy-five pieces. Additional information available on our website.[800/1200]

833 Suite of Six Mid-Century Walnut Dining Chairs, Attributed to T. H. Robsjohn-Gibbings for Widdicomb, with gently tapering legs, each seat and back now in later striped upholstery, h. 33”. [900/1200] 834 Ludvig Pontoppidan Danish Modern Solid Rosewood Silver Chest, mid-20th century, labeled “L. Pontoppidan Kobenhavn, Danmark” under the lower shelf and retaining its original exceptional condition, h. 26”, w. 29‑1/2”, d. 16‑3/4”. [1000/1500] Illustrated 835 Continental Five-Piece Art Deco .900 Silver Coffee and Tea Set with Silverplate Tray, dated 1910, including a kettle on stand, coffeepot, teapot, covered sugar bowl and cream jug, each of oval cylindrical form decorated with narrow vertical panels, with straight spouts and squared handles, h. 3‑3/8” to 16”, the silverplate tray of rounded canted oval form with outscrolled flutes on the narrow ends, with presentation inscription “To Mr. and Mrs. K. M. Van Zandt, Jr. / from / R. J. Kerr and W. M. Rule / January 17th, 1910” and “1882‑1910”, l. 23‑1/2”, w. 15‑5/8”. [1500/2500] Illustrated

831

830 Suite of Eight Mid-Century Modern Pecan Wood Dining Chairs, ca. 1958‑1967, upholstered in Jack Lenor Larsen “Samarkand” fabric, in an excellent state of preservation, the set includes two armchairs and six sidechairs, h. 38‑1/2”, w. 21‑1/4”, d. 20‑3/4”. [700/1000] The upholstery on these chairs can be found in the collections of the Minneapolis Institute of the Arts, the Rhode Island School of Design, and the Textile Museum in Washington, D.C. 831 Near Pair of Charles and Ray Eames LCW Chairs, ca. 1953, by Herman Miller, one laminated chair in birch and one in ash, the birch example impressed “LCW” and stamped “653”, identifying manufacture in June 1953, h. 26‑1/8”. [900/1200] Illustrated

834

The recipient of this handsome set - strikingly avant-garde for 1910 - was almost certainly Texas banker and financier Khleber Miller Van Zandt, Jr. (1861‑1925), son of K. M. Van Zandt and Margaret Virginia Peete and grandson of Isaac Van Zandt, namesake of Van Zandt County, Texas. The occasion of its presentation is clearly a 25th anniversary, presumably that of his marriage to his wife, Octavia Pendleton (1856‑1947), although Bell County, Texas records show the marriage took place on October 8, 1885 (not January 17th as inscribed here).

In its 1999 Millenium edition, “Time Magazine” dubbed the Lounge Chair Wood as the “Best Design of the 20th Century”. 835

832 832 Suite of Three Italian Gilt-Metal Sheaf-of-Wheat Tables, third quarter 20th century, comprised of two occasional tables, h. 20‑1/2”, dia. 24”, and a matching cocktail table, h. 16”, dia. 28”, the wheat held with giltmetal roping, the wheat kernels finished in contrasting silver gilt. [500/800] Illustrated

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836

838 Two Danish Modern .830 Silver Bowls, 1933‑1934, by Evald Nielsen (1879‑1958), each of sleek inverted bell form with molded foot ring, dia. 5‑7/8” and 9”, 22.76 total t. oz. [500/800] Illustrated 839 Three Norwegian .830 Silver Fruit Bowls, second quarter 20th century, including an Art Deco example by Thorvald Marthinsen, Tonsberg, dia. 9‑1/8”, a modernist example by Jacob Tostrup, Oslo, dia. 7‑3/4”, and a Karl Johan-style example by Magnus Aase, dia. 9”, 28.22 total t. oz. [500/800]

838

836 Georg Jensen Sterling Silver “Blossom” Tray No. 2E, designed in 1905 by Georg Jensen (1866‑1935), Copenhagen, with the Jensen & Wendel mark in use 1945‑1951, l. 21‑1/2”, w. 12‑3/4”, 53.49 t. oz. [6000/9000] Illustrated 837 Twenty-Six-Piece Set of Georg Jensen “Acorn” Sterling Silver Flatware, the pattern designed in 1915 by Johan Rohde (1856‑1935), Copenhagen, most pieces with the post-1945 Jensen mark but some earlier, including eight three-piece place settings and a bottle opener and letter opener, l. 4‑1/2” to 9‑7/8”, 28.81 total t. oz. (weighable silver). Detailed list available on request. [600/900] Illustrated

837

840 Sixty-Four Pieces of Norwegian Modernist .830 Silver Flatware, in the “Hamret Skjell” (“Hammered Shell”) pattern introduced in 1919 by J. Tostrup, Oslo, Norway, including fifty-one place pieces and thirteen serving pieces, no monograms, l. 4‑5/8” to 10‑1/4”, 76.52 total t. oz. Detailed list available on request. [1500/2500] Illustrated 841 American Sterling Silver Lotus Bowl, second quarter 20th century, by M. Fred Hirsch Co., Inc., Jersey City, New Jersey, of traditional serpentine lobed form with domed foot ring, monogrammed “P”, h. 4‑3/4”, dia. 10”, 23.53 t. oz. [500/800]

842

842 Christofle Gallia Silverplate “Sauciere Cygne”, designed in 1930 by Christian Fjerdingstad (Danish, 1891‑1968), Paris, including an oval sauceboat, h. 2‑3/8”, l. 7‑7/8”, and swan’s head sauce ladle, l. 7‑3/4”. [450/700] Illustrated

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840

843 Christofle Silverplate and Mahogany Serving Trolley, mid-20th century, Paris, the mahogany base of rectangular form with rounded ends above a conforming frieze raised on four columnar legs joined to a shelf stretcher, the server with a cylindrical ventilated dome decorated with molded banded and threaded panels, revolving to reveal a carving station and two sauce bowls above a hot water reservoir (the burner lacking), with detachable aluminum diffusing plate, butcher-block cutting board and marble pastry block, the trolley fitted with silverplate handles, cutlery tray, retractable plate stand and monogrammed escutcheons “SL”, cart, h. 33‑1/2” (overall 43‑1/2”), l. 35” (43‑1/4” with plate stand), w. 20‑1/4”. [3000/5000] Illustrated

843

840 detail

844 Seven Mexican Modernist Sterling Silver Serving Pieces, mid-20th century, including a Salvador de la Serna, Mexico City, two-piece salad serving set, with filled wavy handles, l. 9”, a Carmen Beckmann, San Miguel de Allende, fish slice with pointed spatulate handle, l. 9‑3/4”, and five unmarked pieces in a molded flat-finial pattern: a two-piece salad serving set, a soup ladle, and a master butter knife, l. 6‑3/4” to 10”, 15.78 total t. oz. (excluding filled-handle salad set). [450/700] Illustrated

844

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848 846 Jean Pierre Serrier (French, 1934‑1989), “Morte Ouverte”, oil on canvas, signed lower right, 21” x 25”. Framed. Provenance: Kurt E. Schon, New Orleans, Louisiana. [600/900] Illustrated 845 845 Raymond Douillet (French, b. 1947), “L’Androgyne et Soname”, pencil on paper, signed and titled lower left, sight 27” x 20‑1/2”. Glazed, matted and framed. Provenance: Purchased from the artist and illustrated on page 7 of the exhibition catalogue. [2000/4000] Illustrated

846

182

847 Jean Pierre Serrier (French, 1934‑1989), “Liberte”, 1976, oil on canvas, signed and dated lower right, 28‑1/2” x 36”. Framed. Provenance: Kurt E. Schon, New Orleans, Louisiana. [800/1200] Illustrated

847

849 848 Peter Kolin (Austrian, b. 1947), “The Feasts of the Harvest”, 1976, oil on canvas, signed lower right, signed and titled in German en verso, 39” x 38‑1/4”. Framed. Provenance: Estates of Mary Dixon Montague and Frank D. Montague, Jr., Hattiesburg, Mississippi. [3000/5000] Illustrated

849 Ljubomir Ljuba Popovic (Serbian/French, b. 1934), “Tanja ou la Suffrance”, oil on canvas, 48” x 36”. Framed. Provenance: Purchased from the artist; Estates of Mary Dixon Montague and Frank D. Montague, Jr., Hattiesburg, Mississippi. [4000/7000] Illustrated

183

850 850 George Rodrigue (American/Louisiana, 1944‑2013), “She Added Color to My Life”, 1992, oil on canvas, signed lower right, signed, dated and titled en verso canvas, 40” x 30”. Framed. Accompanied by a copy of George Rodrigue: A Cajun Artist, Lawrence S. Freundlich, Introduction by John Bradshaw, autographed by John Bradshaw. Provenance: Collection of John E. Bradshaw, Sr., Houston, Texas. Literature: Lawrence S. Freundlich, George Rodrigue: A Cajun Artist, 1996, illustrated p. 187. [60000/90000] Illustrated

184

John Bradshaw, in his introduction to the “George Rodrigue: A Cajun Artist”, (Penguin, 1996), reflects on his first encounter with George Rodrigue and the Blue Dog: “My first impression of George Rodrigue’s paintings focused on the mere presence of the Blue Dog, which looked to me like it had been cut out and pasted like a stamp on an envelope. My first interpretation of Blue Dog was a friendly icon and symbol of death.” He further explains that George’s own conception of his iconic symbol was different: he is the spirit of the deceased dog Tiffany, wandering the earth in search of reunion, reconciliation, and a final resting place. “Where are we going? Where is our home? What is the meaning of love in the face of death? In Blue Dog, George seems to give us tentative answer.” Perhaps it is no surprise that the artist who has found a spiritual outlet in this seemingly simple, yet hypnotic symbol of both death and life, would pay yearly pilgrimage to Santa Fe, New Mexico, a longtime place of refuge for artists in search of inspiration and healing. It was in Santa Fe that George Rodrigue was introduced to Evergreen Lake, by Rosalea Murphy, a colorful local character and artist. He photographed her in the span of one afternoon and used those images in dozens of paintings. According to Wendy Rodrigue, “She became for him another Evangeline or Jolie Blond and appears in his work not only as herself, a Native American woman, but also as a Cajun ‘traiteur’ or healer.” In this rendition of Evergreen Lake, she is seated elegantly on a rustic Colonial trunk, dressed in a ghostly white gown, centrally poised between the Blue Dog in the foreground and the Native American blanket filling most of the background space. The depth achieved skillfully by using vibrant color and bold design, reminds us of the artist’s training in graphic art at the Los Angeles Art Center. As with all of his “Blue Dog” paintings, the little dog’s yellow eyes stare directly at us and we in turn are compelled to stare back, reflecting on the scene presented. We project onto the painting our own fears, memories and hopes, yet are able to enjoy this striking image for its own merit.

851 851 George Rodrigue (American/Louisiana, 1944‑2013), “I’ve Learned to be on Both Sides of Any Position”, 1996, oil and acrylic on canvas, signed lower right, 24” x 48”. Framed. Provenance: Collection of Sir Nick Faldo, Winter Park, Florida. [30000/50000] Illustrated 852 George Rodrigue (American/Louisiana, 1944‑2013), “The Trail to the White House”, 1996, acrylic on linen, signed lower right, 24” x 36”. Provenance: Collection of Sir Nick Faldo, Winter Park, Florida. [20000/40000] Illustrated

852

185

853 George Rodrigue (American/Louisiana, 1944‑2013), “To Wait For Him”, oil on canvas, signed lower left, signed and titled en verso, 18” x 14”. Framed. [8000/12000] Illustrated 854 George Rodrigue (American/Louisiana, 1944‑2013), “Bayou Protectors”, oil on canvas, signed lower right and verso canvas, titled verso stretcher, 30” x 40”. Unframed. [30000/50000] Illustrated

855

186

854

855 George Rodrigue (American/Louisiana, 1944‑2013), “Her Love Sent Me to Mars”, 2010, acrylic on linen, signed lower left, signed, titled and dated en verso, 20” x 24”. Presented in a Baroque-style carved and pierced giltwood frame. [30000/50000] Illustrated

853

857 Good American Aesthetic Movement Burled Walnut and Walnut Center Table, ca. 1880, the rectilinear marble top over a conforming sunflower- and foliatecarved frieze, on a pedestal with carved floral baskets with sunflowers, the top associated, h. 30”, w. 36”, d. 24”. [700/1000] Illustrated

857

856 856 American Aesthetic Movement Walnut Two-Piece Bedroom Suite in the Modern Gothic Taste, ca. 1876, comprised of a bed and a dressing bureau, the dresser base with an inset marble top, each employing simulated through tenons and an assortment of decorative motifs drawn from Bruce Talbert’s Gothic Forms Applied to Furniture, Metal Work and Decoration for Domestic Purposes, published in London in 1876, the parts extended to accommodate a modern queen-size mattress, dresser, h. 91”, w. 47‑1/2”, d. 23‑1/2”, bed, h. 66”, inside w. 60‑1/4”, l. 80‑1/4”, outside w. 64”, l. 85”. [2000/4000] Illustrated

858 Charles Craig (American, 1846‑1931), “Mountain Camp”, 1883, oil on canvas, signed and dated lower left, 36” x 30‑1/4”. Framed. [3000/5000] Illustrated 859 Albert Francis King (American/Pennsylvania, 1854‑1945), “Wooded River Landscape”, oil on canvas, signed lower right “A. F. King”, 14” x 20”. Presented in a period giltwood and gesso frame. [600/900]

856 858

187

860 American Aesthetic Movement Ebonized, Porphyry and Specimen Marble-Top Occasional Table, fourth quarter 19th century, the top with a central pietra dura panel depicting a pair of blooms, leaves and stem surrounded by geometrically modeled inlay of various marbles, the perimeter with faceted cylinders joined by blue lines, raised on a base with molded apron and four legs joined by a circular shelf, h. 30‑1/2”, dia. 24”. [700/1000] Illustrated

862 American Eastlake Ebonized Adjustable Exhibition Easel, fourth quarter 19th century, bearing a branded label “N. VAN REES PTD JULY 9, 1878”, h. 70” to 82”, w. 23”, d. 23”. [800/1200] Illustrated For an illustration of the Van Rees patented easel, please refer to our website. 863 American Aesthetic Movement Marquetry-Inlaid and Ebonized Occasional Chair, ca. 1877, attributed to Pottier and Stymus, New York, the top rail with an inlaid panel flanked by open foliate carving in the Japonesque taste, the low arms over a panel of similar sunflower and foliate carving, the front retaining vulcanized ribbon casters, with the molded numeral “5”, h. 35”. [500/800]

862

860

861 Continental Ebonized Marble-Top Center Table, in the Renaissance Taste, third quarter 19th century, the circular specimen marble top mounted to a base supported by four outstretched legs ending in carved paw feet, h. 29”, dia. 29”. [1500/2500] Illustrated

861

188

864 Herter Brothers American Aesthetic Movement Marquetry-Inlaid Burled Walnut and Walnut Bed, ca. 1870‑1880, branded “Herter Brothers”, the headboard with inlaid panels over burlwood panels, the footboard with a spindle gallery over like panels, h. 65”, inside w. 43‑1/2”, inside l. 80”, outside w. 47‑3/4”, outside l. 84‑1/4”. [1000/1500] Illustrated

864

869 American Late Victorian Mahogany Sideboard/ Buffet, ca. 1900, attributed to R. J. Horner, New York, the top with a beaded and beveled mirror plate within foliatecarved S-scroll brackets, the case with a pair of drawers over a trio of drawers and with a full-width drawer below, all adorned with foliate carving, raised on carved paw feet, h. 59”, w. 72”, d. 28”. [1000/1500]

866 865 Bradley and Hubbard Brass Stand, Set with LongwyStyle Pottery, fourth quarter 19th century, Meriden, Connecticut and France, resting on paw feet, the support set with a cylindrical Longwy standard and four brass supports wound with snakes and terminating in wings, the Longwy-style tile top, stamped “Glem”, framed in a pierced brass border decorated with raised scarabs at the corners, h. 32‑1/2”, w. 13”, d. 13”. [1500/2500] 870

870 Continental Victorian-Era Wrought and Cast Brass Nine-Light Chandelier, the harp-form frame centered by a light now fitted with a frosted glass flame shade, and flanked by stepped four-light candles retaining their period gas keys, now electrified, h. 42”, w. 43‑1/2”, d. 14”. [1000/1500] Illustrated 871 Pair of American Aesthetic Cast Brass and PrismHung Sconces, fourth quarter 19th century, h. 14”, d. 7”, dia. 6”. [450/700]

868

866 Pair of Cut and Frosted Crystal Compotes, fourth quarter 19th century, possibly Dorflinger, Wayne Co., Pennsylvania, or Boston and Sandwich, decorated with a star-cut foot, the frosted bowls with an outer band of fine diamond cutting, h. 7”, dia. 11”. [400/700] Illustrated 867 Czechoslovakian Brilliant-Style Cut Glass Punch Bowl and Cups, including a footed punch bowl, h. 10‑1/2”, dia. 13”, and eleven matching molded cut glass cups, h. 4”. [1000/1500] 868 Fine American Cast Brass Eight-Arm Chandelier, early 20th century, h. 24”, dia. 20”. [600/900] Illustrated

872

872 James Wilson MacDonald (American, 1824‑1908), “George Washington”, 1898, bronze, after the 1785 life-cast sculpture by Jean-Antoine Houdon (French, 1741‑1828), a “Henry Bonnard Bronze Co Founders NY 1898” foundry mark, notarized, inscribed, copyrighted, and signed en verso, h. 19‑1/2”, w. 11‑3/4”, d. 8‑1/2”, on a white composition pedestal, h. of pedestal 40”. [1500/2500] Illustrated

189

876 873 Pair of Colonial Revival Mahogany and Brass Profile Plaques, the line-inlaid mahogany backs mounted with copper-finished bas-relief profile portraits of, respectively, Abraham Lincoln and George Washington, h. 17”, w. 12‑1/2”. [600/900] Illustrated

879

875 Pair of Cast Metal Busts of Horses, the socle decorated with bas-relief running horses, h. 11‑1/2”, w. 4‑1/4”, d. 11‑3/4”. [500/800] 876 Geoff Mowery (American/Ohio, b. 1945), “Stag in the Snow”, 1976, tempera on board, signed and dated lower right, 23” x 33”. Attractively framed. [800/1200] Illustrated 877 Conrad Albrizio (American/Louisiana, 1894‑1973), “Mountainous Landscape”, 1925, oil on board, signed and dated lower right, 18” x 13‑1/2”. Framed. [1500/2500] Illustrated

877 874 Life-Size Plaster Bust of Abraham Lincoln and George Washington, the bust of Abraham Lincoln, first quarter 20th century, after Leonard Wells Volk (American, 1828‑1895), inscribed “Lincoln From Life, LW Volk”, h. 32”, w. 21”, d. 16” and the bust of George Washington, ca. 1900, after Jean-Antoine Houdon (French, 1741‑1828), h. 30‑1/2”, w. 21”, d. 12”. [500/800]

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878 American Victorian-Style Horn Armchair, the back fitted with a circular pad upholstered in hide, the seat in like upholstery, h. 45”. [600/900] 879 Victorian Horn Armchair, Attributed to Wenzel Friedrich, San Antonio, Texas, retaining an acorn finial at the top of one horn, raised on glass ball casters and having antique floral upholstery, h. 33”. [2500/4000] Illustrated

880 American Parquetry- and Marquetry-Inlaid Horn and Mahogany Center Table, the top dated 1892, with the name “W.H.T. Ehle”, the mixed wood parquetry-inlaid decagonal top centered by a panel with ten inlaid five-point stars around a larger ten-point star, on a pedestal incorporating a complex assembly of functional and decorative horns, utilizing the sum of eighty-two horns, h. 28‑1/4”, dia. 26”. [4000/7000] Illustrated

880 detail

880

880 detail

873

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881 881 Stephen Fuller Austin (1793‑1836) et al. Signed Texian Loan Certificate, dated January 11, 1836, quarto broadside, imprint of Benjamin Levy, New Orleans, partprinted “Received of [Robert Triplett] Thirty-Two Dollars, the First Installment on a Loan of Three Hundred and Twenty Dollars made by him to the Government of Texas” etc., and within a decorative border “Government of Texas / Texian Loan / Six Hundred and Forty Acres of Land”, additionally signed by Texas founding fathers Branch Tanner Archer (1790‑1856) and William Harris Wharton (1802‑1839), cancelled with cut triangle (no losses), sight 10‑1/4” x 8‑1/4”, presented in a gilt-fillet oak-andlinen frame and glazed, 14‑3/8” x 11‑1/4”. [Korn 159c; Jumonville 944]. [2000/4000] Illustrated In November 1836, the struggle for Texan independence was at its peak. The previous month had seen Santa Anna’s abolition of all state legislatures and the Battles of Gonzales, Goliad and Conception. On November 7, the Texas Consultation declared the right to form an independent state, naming Henry Smith (1788‑1851) as Governor and appointing Stephen F. Austin, Branch T. Archer and William H. Wharton to serve as commissioners to the United States. The commissioners’ paramount concern was to secure funding for the war. The wealth of the richest Texans was in their lands so they had little ready cash to contribute, and smaller landowners were generally unable to pay their taxes and mortgages, while

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the chaos of the war made customs duties impossible to collect. Thus, as Governor Smith stated, “our only succor is expected from the East where as yet we have not dispatched our agents . . . the fate of Texas depends upon their immediate dispatch and success”. The council passed a bill providing for a surety of one million dollars in public lands, and sent the commissioners to New Orleans in mid-December to negotiate the loans with U.S. citizens. The loan (in reality nothing more than a contract to buy 500,000 acres of land at fifty cents an acre) was immediately successful, garnering aggregate pledges of $200,000 and $50,000 in two separate loans on January 11th and 18th. The loan certificates were printed in New Orleans by Benjamin Levy (1786‑1860), a New York-born Jewish printer, stationer and bookseller who had settled in New Orleans in 1811. Far and away the largest lender was wealthy Kentucky speculator Robert Triplett (1793‑1853), who pledged $102,000 - more than ten times any other single lender (but for a $40,000 pledge from Cincinnati businessman Thomas D. Carneal). Thus funded, the Texas Revolution escalated, leading to the capture of Santa Anna in April, 1836. Almost immediately, the new Republic began to question the wisdom of having sold its choice lands so cheaply (as none of the lenders had ever intended to collect the interest on their loans but rather wanted the real estate), and after considerable bickering, a compromise was negotiated and the loans were eventually settled in May 1838. Triplett, unfortunately, never did become the Texas land baron he envisioned, ultimately being forced to accept a monetary settlement. For a complete account of the Texas commissioners’ New Orleans dealings, see Edward L Miller, New Orleans and the Texas Revolution (College Station, TX: Texas A & M University Press, 2004). For a biography and bibliography of Benjamin Levy, see Bertram W. Korn, Benjamin Levy, New Orleans Printer and Publisher (Portland, ME: Anthoensen Press, 1961), but note that the present lot is catalogued in Korn’s addendum, “Additional Benjamin and Alexander Levy Imprints” in Papers of the Bibliographic Society of America 62: 2 (1968), pp. 244‑252.

881 detail

882 882 Carl Flemming (1806‑1878) Lithograph Map of Texas, Glogau: Druck und Verlag von C. Flemming, 1842‑1853, with hand-colored outline and two insets “(Plan der Galveston Bay” and “Eintheilung” [county legend]), a reduction of London cartographer John Arrowsmith’s 1841 map and thus colloquially called the “German Arrowsmith”, sight 16‑1/8” x 12‑5/8”, presented in a parcel-gilt and -ebonized frame with goldenrod mat and glazed, 22” x 14‑3/4”. [Day & Dunlap 1457]. [1000/1500] Illustrated This rare and handsome map reflects the German efforts to colonize the new Republic of Texas in the 1840’s. Supreme among this effort was the Adelsverein - the “Nobility Society” - organized in 1842 by German noblemen. The society promoted a new Germany on Texan soil through mass emigration. To that end, the society negotiated the Fisher-Miller land grant of 3.8 million acres between the Llano and Colorado rivers to accommodate 1,000 emigrant families. The dangers of settling in the wilds of Comancheria proved daunting, and many settlers gravitated to the burgeoning cities of New Braunfels (founded 1845), Fredericksburg (founded 1846) and Tusculum (later Boerne, founded 1849). The map was printed through at least 1853, with no alteration to the somewhat misrepresented boundaries. (Lamar and Bowie counties, for instance, are not included though they had been organized by 1841.)

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883 883 Antonio Lopez de Santa Anna (1794‑1896) Signed Mortgage Bond, dated June 28, 1866, number 1470, printed by Nathan Lane, New York, on bank note paper, ornately engraved with text, an image of Santa Anna, the properties mortgaged and elaborate border, centered with oversized monetary designation ($500) in green plaid lettering, with applied seals of Santa Anna and notary Richard L’Hommedieu Finch, sight 13‑1/2” x 18‑1/4”, presented in a gilt-edged ebonized frame and glazed, 14‑3/4” x 19‑3/4”. [1000/1500] Illustrated On January 1, 1866, American Secretary of State William H. Seward boarded the U.S.S. De Soto for a voyage to the West Indies - ostensibly a recuperative vacation, as he had not yet fully recovered from the vicious stabbing he received the previous April as part of the assassination conspiracy which claimed Abraham Lincoln on the same evening. But it was, in fact, a “working” vacation, for Seward had for almost a year been secretly negotiating with Denmark for the purchase of the islands of St. Thomas and St. John. On St. Thomas, he paid a courtesy visit to the exiled erstwhile President of Mexico, Antonio de Padua Maria Severino Lopez de Santa Anna y Perez de Lebron, the notorious Santa Anna. This peculiar visit would set in motion a series of events which led to the production of the present lot. Santa Anna had connived for years to return to Mexico after his disastrous and corrupt final term as President in 1855, which saw him deposed, exiled and tried in absentia for treason. The shamelessly shifting loyalties which enabled him - the architect of the massacre at the Alamo - to entertain a visit from a sitting American Secretary of State also permitted him the conceit that he could return to Mexico, either at the behest of, or the

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conqueror of, French occupier Napoleon III (who doubtless took Santa Anna’s sobriquet “the Napoleon of the West” with Gallic sangfroid). Thus empowered by his own delusions, Santa Anna fell prey to two South American con-men - Dario Mazuera and Abraham Baez - who took Seward’s fortuitous visit as an opportunity to persuade Santa Anna that the American government was prepared to invest heavily in his “patriotic” desire to restore the Mexican Republic. Santa Anna gave the men most of his savings to purchase arms, a ship and to rent headquarters in Elizabethport, New Jersey in anticipation of his “invasion”, only to have the entire canard begin to unravel upon his arrival in the United States. Plagued by creditors and legal fees, he moved to Staten Island and launched a desperate campaign to raise funds. He contracted engraver and mapmaker Nathan Lane to create a series of $500 mortgage bonds on his properties: the “palaces” at Vera Cruz, Turbaco and St. Thomas, all of which are handsomely illustrated on the bond itself, along with a portrait of Santa Anna (looking much younger than his 72 years). The surety of the bonds was tenuous at best, the Mexican government having long since seized the properties it could and claiming the others, and the effort was predictably futile. Vainglorious in the recent overthrow of French puppet Maximilian I, Santa Anna used what little funds he raised (in less than a month) to book passage for Vera Cruz, where he was confident he would be asked to lead his country. He was instead arrested and sentenced to death. Benito Juarez’s re-established government commuted the sentence to eight years’ exile, and Santa Anna returned to the United States. He took advantage of a general amnesty to return to Mexico in 1874, where he died crippled, blind and penniless - on June 21, 1876. This document stands as a strangely beautiful and eerie last testament to one of the most famous - and infamous - men in North American history, whose most notable achievement in his last days was the introduction of chewing gum to the United States.

883 detail

884

884 Unique Senatorially Autographed Copy of “U.S. Senators - 58th Congress”, Boston: Boston Budget Co., n.d. [Dec. 1904], folio, in dark blue cloth boards with printed endpapers, the front board gilt-stamped with title and owner’s name, containing ninety-two mechanically reproduced photographs, most by George Prince (1847‑1929), of all ninety U.S. senators at the third session of the 58th Congress (December 1904‑March 1905) and autographed by seventy-four of them, 16‑1/4” x 11‑1/4”. Ex libris: the Honorable Governor and Senator Murphy James Foster (1849‑1921) of Louisiana. [700/1000] Illustrated A detailed list of signatories is available on request. The 1905 edition of Clark’s Boston Blue Book contains an advertisement from the Boston Budget Company (a erstwhile vanity press run by brothers Robert, George and William James) announcing that “the United States Senate Number of the Boston Budget will be published in December 1904” and would be “sold by subscription

at fifty cents per copy, carriage prepaid”. The Budget Company had created a similar photographic catalogue of the Senate (along with President McKinley and his cabinet) in 1901, also in collaboration with native D.C. photographer George Prince, who, until his scandalous divorce in 1907, was one of the premiere photographers of the Washington elite, his clientele including all presidents and first ladies from James A. Garfield to Theodore Roosevelt. This copy of the 1904 record belonged to Senator Murphy J. Foster of Louisiana, who had served as the state’s governor from 1892 to 1900 and thereafter was immediately elected to the U.S. Senate. Foster evidently carried his copy of the Senate Number into the chambers, where he painstakingly collected autographs of seventy-four of the ninety senators photographed. Many of these autographs are dated and, of these, the vast majority are in the first two weeks of April 1906. By this time, the 59th Congress had been seated for four months, and of the sixteen senators whose signatures are missing here, nine had either declined or failed their re-election bids, three had died, and one - Arthur P. Gorman (D-MD) - was gravely ill and unable to attend the sessions. Thus, Foster collected signatures of seventy-four of the seventyseven senators of the 58th Congress who returned to the 59th. The signatories constitute a momentary snapshot of the United States in April 1906, being a collection of western expansionists, northern imperialists and southern segregationists. Among them are Finance Committee Chairman Nelson W. Aldrich (R-NY), whose self-serving fiscal policies were attacked by muckraker David G. Phillips; imperialist Albert J. Beveridge (R-IN), who nonetheless championed the Federal Meat Inspection Act of 1906 in response to Upton Sinclair’s The Jungle, published only two months prior to Beveridge’s signature here; populist Joseph W. Bailey (D-TX), whose angry debates with Beveridge once led to a physical confrontation on the Senate floor; Brahmin Henry Cabot Lodge (R-MA), whose progressive views on civil rights for African Americans stood in contrast to his regressive anti-immigrant policies; urbane and witty Boies Penrose (R-PA), known for his quip “Public office is the last refuge of the scoundrel”; rabid racist Benjamin “Pitchfork Ben” Tillman (D-SC), who said that Theodore Roosevelt’s White House dinner with Booker T. Washington would “necessitate our killing a thousand n*****s in the South before they learn their place again”; self-made George C. Perkins (R-CA), who grew from a runaway cabin boy to a wealthy San Francisco merchant, unaware while signing this book that the devastating 1906 earthquake was a mere two weeks away; dour and intolerant Furnifold M. Simmons (D-NC), who pedantically corrected the typographical error in his Christian name while signing; and Mormon Reed Smoot (R-UT), the first of his faith to serve in the Senate, whose seat was challenged on the (demonstrably false) accusation that he was a polygamist (prompting the ever-glib Boies Penrose to comment “I would rather have seated beside me in the chamber a polygamist who doesn’t polyg than a monogamist who doesn’t monog.”). Senator Foster was so diligent in collecting these signatures that he did not neglect Charles G. Bennett, the Secretary of the Senate, the only nonSenator in the book and whose photograph concludes it. Foster remained in the Senate until 1913, when he failed to receive his party’s nomination. President Woodrow Wilson appointed him Customs Collector in New Orleans, and he died near Franklin, Louisiana on June 12, 1921. His political legacy was continued by his grandson, Murphy J. Foster III, better known as Mike Foster, the 53rd Governor of Louisiana.

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885 Tiffany Studios “Zodiac” Bronze Inkstand, ca. 1922, New York, finished in a brown patina and made for a partner’s desk on an attached pen tray, the molded glass inkpot appears to be original, marked “Tiffany Studios New York 1073”, the front edge with a small presentation plaque reading: “Morris Rosenwasser, June 22, 1922, From Your Boys”, w. 9‑3/4”, d. 9‑3/4”. [1200/1800] Illustrated

887

885

890 A. Hays Town (1903‑2005) The Architectural Style of A. Hays Town: 106 Preliminary Sketches, Baton Rouge: Amdulaine Publications Inc., 1985, first printing, introduction by Blanche Town Gladney, retaining the original color dust jacket, h. 11”. [600/900]

886 Unusual Tiffany Blue Favrile Glass Vase of Organic Form, ca. 1900, New York, the top resembling a cluster of pitcher plants, signed “L.C. Tiffany Favrile, 6024 G, h. 13”, dia. 3”. [900/1200] 887 Pair of Tiffany Gold Favrile Glass Vases, in Tiffany Studios Bases, ca. 1900, the gold dore bases with pinecone stems, and marked “Tiffany Studios, New York”, the vases marked “L.C.T. Favrile”, h. 15‑3/4”, dia. 4‑3/4”. [2500/4000] Illustrated

891 Newcomb College Art Pottery Matte-Glaze Vase, ca. 1938, decorated by Henrietta Davidson Bailey (1874‑1950), of “Moon and Moss” motif, with blue and green underglaze, the base marked with the Newcomb cipher, decorator’s mark and registration number A17, h. 5‑1/2”, dia. 4”. [800/1200] Illustrated

888 Rare Buffalo Metal Works Patinated Bronze Erotic Boudoir Lamp, 20th century, Pasadena, California, fully marked underneath and stamped “1”, h. 9‑1/4”, dia. 5‑1/2”. [600/900] Illustrated 889 Unusual Carved Giltwood Swivel Floor Lamp of Orientalist Design, early 20th century, fitted with a signed “Quezal” shade, h. 59”. [800/1200] Illustrated 889

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892 Shearwater Pottery “Pelican” Bowl, second quarter 20th century, thrown by Peter Anderson and decorated by Walter Anderson, the bowl depicting a line of pelicans under stylized clouds, marked with a Shearwater stamp, h. 4”, dia. 6‑1/2”. [2000/4000] Illustrated

888 891 893 Two Similar Shearwater Pottery “Bird and Wave” Cylindrical Vases, second quarter 20th century, Ocean Springs, Mississippi, thrown by Peter Anderson and decorated by Walter Anderson, each depicting stylized waves and foam, one with a more prominent bird in the decoration, each impressed “Shearwater”, accompanied by certificates of authenticity from the Anderson family, h. 11‑3/4”, dia. 4‑1/2”. [5000/8000] Illustrated

894 Shearwater Pottery Lamp Base, second quarter 20th century, Ocean Springs, Mississippi, probably by Peter Anderson, impressed “Shearwater” in a half circle, h. 9‑1/2”, dia. 5‑1/2”. [500/800] Illustrated

893 892

894

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895 895 Navajo Blanket, ca. 1900, 4’ x 6’ 5”. [3000/5000] Illustrated 896 Navajo Blanket, ca. 1890, 4’ x 6’ 5”. [5000/8000] Illustrated

896

198

897 897 Navajo Blanket, ca. 1900, 4’ 4” x 6’ 3”. [4000/6000] Illustrated 898 Navajo Blanket, ca. 1900, 3’ x 5’. [800/1200] Illustrated

898

901 Paul Ninas (American/Louisiana, 1903‑1964), “Baracoa”, 1937, charcoal on paper, signed, titled and dated lower right, sight 13‑5/8” x 11‑1/8”. Glazed, matted and framed. Provenance: Christine Fairchild Magriel; by descent to Renee Magriel Roberts. Christine Fairchild was a daughter of a member of the New Orleans Cotton Exchange and a lover of Paul Ninas. [1200/1800] Illustrated

899 899 Marie Atkinson Hull (American/Mississippi, 1890‑1980), “Winter Trees”, casein on paper, signed lower left, sight 26” x 18”. Glazed, matted and framed. [3000/5000] Illustrated 900 Paul Ninas (American/Louisiana, 1903‑1964), “Moonlit Fruit and Floral Still Life”, gouache and pastel on board, signed lower right, sight 11‑1/2” x 17”. Glazed, matted and framed. Provenance: Christine Fairchild Magriel; by descent to Renee Magriel Roberts. Christine Fairchild was a daughter of a member of the New Orleans Cotton Exchange and a lover of Paul Ninas. [3500/5000] Illustrated

900

901 902 Nell Pomeroy O’Brien (American/New Orleans, 1897‑1966), “Self-Portrait”, oil on canvas, signed upper right, 36” x 30”. Framed. Provenance: Descended in the family of the artist. [1500/2500] Illustrated

902

199

903 903 Hazel Guggenheim McKinley (American/Louisiana, 1903‑1995), “Girl in a Garden”, oil on canvas, signed lower right, 31” x 25”. Framed. [500/800] Illustrated 904 Nell Pomeroy O’Brien (American/New Orleans, 1897‑1966), “Head of a Girl”, painted terracotta, now mounted on a square wooden base, a “Southern States Artists/Museum of Fine Arts, Houston” exhibition label at back of base, overall, h. 15”, w. 6”, d. 8”. Provenance: Descended in the family of the artist. [800/1200] Illustrated

905 905 Harold K. Pierce (American/Louisiana, 20th Century), “The End of the Week”, oil on board, signed lower right “H. Pierce”, verso inscribed “Harold Pierce, Arts and Crafts Club”, 14” x 10”. Framed. [1800/2500] Illustrated Harold Pierce spent most of his life in New Orleans, painting mainly portraits during the first half of the 20th century. He was a member of the French Quarter Arts and Crafts Club, working and exhibiting alongside notable Louisiana artists such as John McCrady, Alberta Kinsey and Clarence Millet. This painting of an African-American couple sitting on the front steps of their humble dwelling, with wash drying in the sun, was probably painted during the Great Depression, capturing a moment of brief respite in the hard life of a working-class family. Harold Pierce’s work is in the collection of the Baton Rouge Art League.

908

906 Swiss Single-Cylinder Music Box, fourth quarter 19th century, in a line-inlaid faux rosewood case, playing ten airs, h. 6‑1/2”, w. 18‑3/4”, d. 8‑3/4”. [600/900] 907 Swiss Inlaid Walnut SingleCylinder Music Box with Jacot Safety Check, fourth quarter 19th century, playing ten airs, h. 7”, w. 19‑3/4”, d. 9‑3/4”. [800/1200]

904

200

908 American Egyptian Revival Ebonized and Polychrome Mirror, third quarter 19th century, probably New York, the shaped crest decorated with a winged solar disc and supported on pilasters decorated with incised Egyptian hieroglyphs, h. 54‑1/2”, w. 35”. [3500/5000] Illustrated

910 909 American Renaissance Revival Marquetry-Inlaid, Ebonized and Gilt-Incised Maple and Faux Rosewood Table, third quarter 19th century, New York, the top with central inlaid trophies and edged with ormolu molding, the apron with burled panels and inlaid trophies, raised on foliate-carved fluted legs joined by shaped stretchers, h. 29‑1/4”, w. 53‑1/2”, d. 32‑1/2”. [2500/4000] Illustrated 910 American Neo-Grec Marquetry-Inlaid, Polychromed and Pietra Dura-Mounted Ebonized Cabinet, ca. 1870, attributed to Herter Brothers, New York, the inset burgundy plush top with projecting and rounded ends and inlaid edge, over a conforming case with a marquetryinlaid frieze, the recessed central door over a single door with a pietra dura plaque depicting a bird perched on a branch with blooms, in a gilt-incised frame, the perimeter of the door with marquetry banding flanked by projecting fluted pilasters, the ends with rounded corners, h. 41”, w. 60‑5/8”, d. 20‑1/4”. [15000/25000] Illustrated The present cabinet exhibits a number of characteristic Herter traits, including the oft-repeated incising patterns of a wide line and parallel narrower one, spade and maple leaf-form incising, finished, unveneered cherry wood interior, and characteristic door, drawer and case construction. Like many Herter case pieces, the back is inset a few inches to allow trimming of the sides of the case to accommodate baseboards and rail moldings, yet still fit flush against the wall. This cabinet has never been so altered. Similar banded inlay to that beneath the top of this cabinet is illustrated in Herter Brothers: Furniture and Interiors for a Gilded Age, by Howe, Frelinghuysen

and Voorsanger, catalog item #12. That cabinet utilizes inlaid banding in the same pattern, but executed in different woods resulting in a differing palette. The inlaid banding around the perimeter of the center door and at the rounded corners is also found on a cabinet dated 1871, item #14 ibid. The pietra dura panel in the central door of the present cabinet places this among a small group of pieces incorporating “Florentine mosaics” in a January 1870 dispute of import duties; the firm stated that the plaques were to be used as ornaments for mantels and panels, and that “no more such goods will be sent them for some years.” According to Howe, Frelinghuysen and Voorsanger, “It would appear their assertion was correct, for few Herter pieces have survived with such mosaics, and those that do date between the late 1860’s and early 1870’s”, ibid, page 118.

909

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914 Pair of Neo-Grec Patinated Bronze Six-Light Candelabra, third quarter 19th century, probably Italian, decorated with gilt-bronze accents, the candelabra supported on paw feet resting on anthemia, having molded busts of Diana guarding the leaf-molded standards, and fitted with six candle cups encircling the crane-form finials, h. 32”, dia. 10‑1/2”. Provenance: Estate of Lillian Pulitzer Smith, New Orleans, Louisiana. [800/1200] Illustrated 911

911 Set of Eight Union Porcelain Works Oyster Plates, ca. 1881, Brooklyn, New York, hand-painted and molded with shells, each marked in underglaze green “U.P.W., Pat. Jan 4, 1881”, along with an eagle head grasping an “S” (the blank mark), and an overglaze yellow mark, “Union Porcelain Works, Greenpoint, N.Y.”, w. 8‑3/4”, d. 6‑3/4”. [900/1200] Illustrated An identically-molded plate is in the Metropolitan Museum of Art, and was part of their seminal exhibit, “American Porcelain, 1770‑1920”. 912 Assembled Anneau d’Or Porcelain Dinner and Dessert Service, third and fourth quarter 19th century, Limoges and Paris. Provenance: The lifetime collection of Sylvia and Henry Furchtenicht, Old Salem House, West Salem, Wisconsin. Additional information available on our website. [450/700] Illustrated 913 Aesthetic Movement Upholstered and Fruitwood Sidechair in the Turkish Taste, English or American, upholstered after the period fashion in floral-cut claret velvet, with ruched seat rails edged with tassels, h. 30”. [800/1200]

914

912

202

915 American Renaissance Revival Walnut and Burled Walnut Dressing Bureau, third quarter 19th century, the upper section with a carved crest over an arched mirror, the base with a bowed front and three graduated drawers flanked by fluted columns, retaining its period Breccia marble top, h. 99‑1/2”, w. 50‑3/4”, d. 26‑1/2”. [600/900]

917 Broadside Lithograph of the Thirteenth Amendment Abolishing Slavery, dated 1868, Western Bank Note and Engraving Co., Chicago, Illinois, with the text of the amendment framing a vignette of an African American family with a portrait of Abraham Lincoln, with facsimile signatures of Lincoln, Vice-President Hannibal Hamlin, House Speaker Schuyler Colfax and the affirmative voters, all within a highly decorative border, 22‑1/2” x 17”. [450/700] 918 Noel Rockmore (American/New Orleans, 1928‑1995), “Billie Pierce”, 1963, oil on board, signed and dated upper left, 19” x 12”. Framed. [1000/1500] Illustrated 919 Ed Dwight (American, b. 1933), “Miles Davis”, patinated and cold-painted bronze, signed and numbered “38/75” at edge of trumpet, on a black marble base, overall, h. 21”, w. 9”, d. 12”. [5000/8000] Illustrated

916

916 American Renaissance Revival Ebonized, Burled Walnut and MarquetryInlaid Center Table, ca. 1870, the top centered by an inlaid musical trophy panel, the apron with incised and burled panels centered by circular and demi-lune decor, raised on four legs joined by a stretcher centered by an urn with bold brackets, h. 30‑3/4”, w. 43”, d. 27”. [1500/2500] Illustrated

918

919

203

920 Expansionist Era Coin (.900) Silver Large Covered Sugar Urn, second quarter 19th century, by James Thomson (fl. 1834‑1841), New York, New York the ovoid body with waisted collar and decorated with milled leaf-and-scroll banding, with acanthus crested “C”-scroll handles and fitted, waisted lid with flower basket finial, with opposing monograms “LWH” and “M”, h. 11”, w. 9‑1/4”, dia. 5‑3/4”, 32.60 t. oz. [600/900] Illustrated 921 Philadelphia Expansionist-Era Coin (.900) Silver Cream and Sugar Set, second quarter 19th century, by Henry J. Pepper (1790‑1853), working 1826‑1853, Philadelphia, Pennsylvania, including a cream jug, h. 6‑1/4”, dia. 3‑3/4”, and an open sugar bowl, h. 5‑3/4”, dia. 5‑1/4”, each of melon form, with waisted collar and domed foot, decorated with narrow milled ovolo, laurel and gadroon banding, with crested “C”-scroll handle(s), monogrammed “AB”, 23.79 total t. oz. [500/800] 922 Antebellum New Orleans Coin Silver Milk Jug, dated 1849, by Hyde & Goodrich, the pear-shaped body decorated with broad gadroons, decorated with four repousse arabesque cartouches of flower bouquets and bucolic scenes, and a pair of opposing floral rococo cartouches inscribed “RWN to VCM” and “1st Jan’y 1849”, with an acanthus-crested “S”-scroll handle, fitted domed lid with floral finial and duck’s beak spout, all raised on four pierced rocaille feet, h. 7”, l. 6‑1/4”, dia. 4‑1/2”, 16.08 t. oz. [1800/2500] Illustrated

920

923 Fine and Rare Antebellum Alabama Coin (.900) Silver Water Pitcher, third quarter 19th century, by James Conning (1813‑1872), Mobile, Alabama, of pearshaped form, decorated with repousse grape clusters and leaves joined by engraved vines, with an arched figural grapevine handle and shaped integral spout with molded rim, the whole raised on an ogeedomed circular foot, engraved with the arms of Robertson, h. 13‑1/8”, dia. 6‑3/4”, l. 9”, 36.65 t. oz. [5000/8000] Illustrated The crest and motto here are clearly those of Robertson of Tranent (and later Edinburgh), Scotland, though the arms themselves are somewhat inaccurately rendered, a not uncommon phenomenon with American interpretation of British arms. Given this and the prevalence of the surname, tracing the arms to a particular Alabama family would prove daunting - though perhaps not impossible - to an intrepid genealogist.

922 detail

922

204

924 Good Philadelphia Six-Piece Coin (.900) Silver Tea and Coffee Set, 1849‑1859, by Conrad Bard & Son, Philadelphia, Pennsylvania, including a coffeepot, two sizes of teapots, a covered sugar bowl, a cream jug and a waste bowl, each with a squat pear- or inverted pear-shaped body decorated with repousse grapevine decoration, with beautifully chased spouts, handles, rims, finials and feet en suite, monogrammed “TJ”, h. 5‑1/2” to 12‑3/4”, 156.19 total t. oz. [9000/12000] Illustrated

925 Gorham Sterling Silver “Medallion” Ladle, the pattern designed in 1864 by George Wilkinson (1819‑1894), Providence, Rhode Island, retailed by Harry R. Smith & Co., Cincinnati, Ohio, l. 12‑1/2”, 7.26 t. oz. [600/900]

923 details

923

924

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926

926 Six-Piece Tiffany & Co. Sterling Silver Coffee and Tea Set, 1860‑1864, by John C. (1802‑1874) and Edward C. Moore (1827‑1891), New York, comprising a teapot, coffeepot, hot milk jug, cream jug, covered sugar bowl and waste bowl, each of oblate pear form and decorated with a wide band of engraved ivy leaves with opposing circular cartouches and below a narrow engraved Greekkey and applied annulated band, with applied ivy leafcrested handles and -mounted spouts, the foot rings with projecting feet en suite, the figural finials in the form of a seated putto, monogrammed “T”, h. 3‑7/8” to 10‑1/2”, 137.35 total t. oz. [5000/8000] Illustrated 927 American Coin (.900) Silver Ladle, by Eugene Jaccard & Co., St. Louis, Missouri, with gilt coquille bowl, spiraltwist stem and “Renaissance”-style spatulate handle, engraved “Annie E. McMurray”, l. 11‑5/8”, 4.95 t. oz. [450/700] 928 American Coin (.900) Silver Water Pitcher, third quarter 19th century, by William Gale & Son (active 1850‑1860), New York, New York, the ovoid body decorated with elaborate floral-scroll mantled cartouches, the waisted collar and foot both between annulated banding, with crested double-scroll handle, engraved “M. A. Benedict / to / Theodore H. Benedict”, h. 11‑1/2”, l. 7‑1/2”, dia. 5‑3/4”, 27.45 t. oz. [1500/2500] Illustrated The recipient here is almost certainly Theodore Hudson Benedict (1821‑1885) of Westchester county, perhaps on the occasion of becoming the youngest member of the state assembly in 1851. The presenter was probably his sister-in-law, Mary Augusta Benedict (nee Weed).

206

928

929 929 Three-Piece New York Coin (.900) Silver Coffee Set, 1854‑1862, by Francis W. Cooper (1815‑1898) and Richard Fisher (ca. 1819‑1892), New York City, including a coffeepot, a covered sugar urn and a cream jug, in the neoclassical taste, each with an urn-form body decorated with engraved floral swags below wrigglework Greekkey and applied beaded banding, with cavetto collars, steeply domed lids, urn-form finials and crested handles, monogrammed “SSHR”, h. 8” to 13‑1/4”, 74.39 total t. oz. [3500/5000] Illustrated 930 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]

931

931 Set of Twelve Gorham Sterling Silver Condiment Dishes, 1900‑1908, Providence, Rhode Island, each of circular form, the shaped and pierced rim embossed with poppies and scrolls, monogrammed “JHE”, dia. 6”, 54.01 total t oz. [1000/1500] Illustrated 932 American Sterling Silver Flower Bowl, first quarter 20th century, by Redlich & Co., New York, New York, retailed by J. E. Caldwell & Co., Philadelphia, Pennsylvania, of circular form, the lobed and deeply everted rim decorated with embossed floral cartouches on a reticulated trellis ground, h. 4”, dia. 14”, 43.46 t. oz. [900/1200] Illustrated

932

207

934 Forty-Eight Pieces of Reed & Barton “Francis I” Sterling Silver Flatware, the pattern designed in 1907 by Ernest Meyer, Taunton, Massachusetts, comprising twelve luncheon place settings of four pieces each, monogrammed on the reverse “ESF”, l. 5‑7/8” to 9‑1/8”, 51.38 total t. oz. Detailed list available on request. [1800/2500] 935 Reed & Barton “Francis I” Sterling Silver Large Vegetable Bowl, 1956, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, dia. 11‑1/2”, 20.90 t. oz. [500/800] Illustrated

933 933 Set of Eight Towle “Louis XIV” Sterling Silver Bread-and-Butter Plates, the pattern designed in 1919 by George Francis Parker (1872‑1931) and Harold Edward Nock (1875‑1952), Newburyport, Massachusetts, monogrammed “E”, dia. 6‑1/2”, 27.84 total t. oz. Provenance: Crawford Hatcher Ellis (1875‑1966), New Orleans, Louisiana. [500/800] Illustrated

936 Three-Piece S. Kirk & Son Sterling Silver Coffee Set, first quarter 20th century, Baltimore, Maryland, including a pear-shaped coffeepot, h. 9‑1/2”, l. 10‑3/4”, dia. 6”, a squat spherical covered sugar bowl, h. 4‑3/4”, w. 7‑1/4”, dia. 5‑1/2”, and a cream jug, h. 3‑1/2”, l. 6‑1/2”, dia. 5‑1/4”, hand-chased all over with well-detailed flowers and ferns on a matte ground in the traditional Baltimore manner, the coffeepot with “gooseneck” spout, crested “S”-scroll handle and hinged, domed lid with cast floriform finial, the sugar bowl with fitted lid en suite and in-scrolled handles, the cream jug with acanthus-mounted “duck’s beak” spout and single in-scrolled handle, all on a short molded foot ring, 67.90 total t. oz. [4000/7000] Illustrated

936

Crawford Hatcher Ellis, a native of Selma, Alabama, moved to New Orleans shortly after graduating from the University of Kentucky. He worked as an accountant, becoming a founding member of the United Fruit Company in 1899. He would remain with that company, serving in various capacities including Vice-President, until 1955. He was also Chairman of the Pan-American Life Insurance Company, Vice-President/Director of the Whitney Bank, Director of the New Orleans and Pacific Railroad and reigned as King of Carnival in 1914. He died on November 11, 1966 and is interred in Metairie Cemetery, Orleans Parish, Louisiana.

937 Baltimore Sterling Silver Waiter, dated 1914, by Jenkins & Jenkins, of circular form, the rim decorated with repousse flowers in the traditional Baltimore style, with four cast claw-and-ball feet, the “quilted” plateau centering a laurel cartouche monogrammed and dated “ELW / 1914”, dia. 11”, 22.12 t. oz. [800/1200] Illustrated 938 Good Tiffany & Co. Sterling Silver Water Pitcher, the pattern designed in 1892, this example after 1907, New York, New York, of serpentine-lobed pear-shaped form, with four leaf-crested feet, integral spout with molded rim and wavy arched handle, monogrammed “TOH”, h. 8‑3/4”, l. 8‑1/4”, dia. 6‑1/2”, 39.48 t. oz. [1000/1500] Illustrated

935

208

937

939 Fifty-Six-Piece Set of Tiffany “Hamilton” Sterling Silver Flatware, the pattern designed in 1938 by Arthur LeRoy Barney (1884‑1955), New York, New York, complete with eight six-piece place settings, with seven additional place pieces and a sauce ladle, no monograms, 70.80 total t. oz. (weighable silver), presented in a Pacific cloth-lined fitted wooden case, 3‑1/2” x 15‑1/8” x 11‑1/8”. Detailed list available on request. [1800/2500] Illustrated

939 940 Eighty-Five-Piece Set of Wallace “Grand Baroque” Sterling Silver Flatware, the pattern designed in 1941 by William S. Warren (1888‑1965), Wallingford, Connecticut, with twelve sevenpiece place settings and a master butter knife, no monograms, 97.03 total t. oz. (weighable silver). Detailed list available on request. [4000/7000] 941 Six-Piece Peruvian Sterling Silver Coffee and Tea Set, mid20th century, Sociedad Industrial de Articulos de Metal (Mario Canepa y Cia), Lima, comprising a coffeepot, teapot, covered sugar bowl, cream jug, waste bowl and tray, in the Spanish Colonial taste, with pear-shaped bodies and rocaille-crested pad feet, handles and spouts, h. 3‑1/8” to 11”, the rectangular tray with shaped rocaille rim and handles, 27‑7/8” x 16‑1/4”, 192.84 total t. oz. [3000/5000] Illustrated

941

938

209

943 American Rococo Revival Rosewood Bedstead, mid19th century, with a paneled headboard with an ornate fruit-carved crest and having a wraparound footboard, h. 92‑1/2”, inside, w. 63”, l. 82”, outside, w. 66”, l. 87”. [2500/4000] Illustrated 944 Pair of American Rococo Revival Laminated and Pierced Carved Rosewood Sidechairs, ca. 1850, attributed to John Henry Belter, New York, h. 37‑1/2”, w. 19”, d. 19”. [1500/2500] Illustrated 945 American Rococo Revival Laminated and Pierced Carved Rosewood Meridienne, ca. 1850, attributed to John Henry Belter, New York, the back and seat frame carved in a grape and leaf motif, h. 39”, w. 30”, l. 67”. [6000/9000] Illustrated 946 William Frye (American/Alabama, 1819‑1872), “Portrait of Three Siblings in a Springtime Landscape”, oil on canvas, signed lower center “Wm Frye”, 46” x 36”. Presented in a period giltwood and gesso frame. [3500/5000] Illustrated

942 942 Ninety-Six-Piece Set of Watson “Meadow Rose” Sterling Silver Flatware, the pattern designed in 1907 by Joseph Edward Straker, Jr. (1865‑1955), Attleboro, Massachusetts, with twelve seven-piece place settings and twelve serving pieces, no monograms, 125.90 total t. oz. (weighable silver), presented in a mottled brown Pacific cloth-lined Plaskon case, 3‑3/4” x 17‑1/2” x 12‑1/2”. Detailed list of pieces available on request. [2000/4000] Illustrated

943 946

210

948 Rare Pair of Henry Hooper, Boston, Gilt-Bronze Six-Light Gasoliers, mid-19th century, h. 85”, dia. 36”. [7000/10000] Illustrated Deaccessioned from the Philadelphia Museum of Art. A nearly identical gasolier is illustrated in Hooper’s 1850 Catalogue as No. 576, reprinted in 19th Century Elegant Lighting by Gerald T. Gowitt, p. 63. Refer to our website to view this illustration.

945

947 American Rococo Revival Rosewood and Marble-Top Etagere, third quarter 19th century, attributed to John Henry Belter, New York, in the pattern referred to as “Rosalie”, h. 87”, w. 60”, d. 15‑1/2”. [4000/7000] Illustrated

944

948 pair

947

211

950 Napoleon III Rosewood Center Table in the Rococo Taste, third quarter 19th century, the tortoise-form top over a conforming apron with floral and foliate carving and a single drawer, cabriole legs and stretchers centered by a lobed finial, h. 30‑1/2”, w. 55”, d. 37‑1/4”. [800/1200] Illustrated

952

949 949 American Rococo Revival Rosewood Secretary Bookcase, third quarter 19th century, New York, attributed to Thomas Brooks, in two parts, the upper section with a cabochon, foliate- and scroll-carved crest over a shelf with a mirrored back, above a pair of mirrored doors, the base with a slant lid opening to reveal a fitted interior with line-strung drawers, scalloped apron and cabriole legs, h. 75”, w. 38”, d. 18‑1/2”. [1500/2500] Illustrated

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212

951 American Rococo Revival Mahogany Sofa, mid-19th century, the double chair-backs centered by a low padded back, with carved crests, serpentine seat and cabriole legs, h. 44”, w. 85”, d. 29”. [700/1000] 952 Suite of Six American Rococo Revival Laminated Oak Sidechairs, third quarter 19th century, Philadelphia, each with a pierced balloon back, serpentine seat and cabriole legs, h. 36‑1/4”. [600/900] Illustrated 954

953 Victorian Mahogany Dining Table, third quarter 19th century, the square top with a molded edge and raised on lotus-carved and turned legs, opening to accommodate a pair of leaves, h. 29‑3/4”, w. 48”, l. 48”, extended l. 92”. [800/1200] 954 French Gilt-Metal, FauxBois and Parcel-Gilt Pier Mirror, mid-19th century, the arched faux walnut frame set with gilt-metal figures of a conquistador and an explorer flanking the base, the top with an eagle perched on a globe, h. 103‑1/4”, w. 47”. [1200/1800] Illustrated

956 American Rococo Revival Giltwood Overmantel Mirror of Diminutive Proportion, third quarter 19th century, with a pierced foliate crest over the arched mirror plate, h. 58”, w. 43”. [1200/1800] 957 A. Dalrymple (American/Louisiana, 20th Century), “Portrait of a Young Woman Next to a Potted Fern”, mixed media on canvas, signed lower right, 37” x 34‑1/2”. Framed. Provenance: Estate of Lillian Pulitzer Smith, New Orleans, Louisiana. [700/1000] Illustrated

955 955 American Rococo Revival Mahogany Half-Tester Bed, third quarter 19th century, the tester with serpentine front, joined with generous brackets to tapering octagonal posts supporting a headboard with a cabochon-centered cartouche over a pair of arched panels, the arched footboard with a conforming panel, h. 112”, inside, w. 60‑1/2”, l. 80”, outside, w. 63”, l. 87”. [2000/4000] Illustrated

959 958 A. Dalrymple (American/Louisiana, 20th Century), “Portrait of a Man in Contemplation”, mixed media on canvas, signed lower left, 36” x 23”. Framed. Provenance: Estate of Lillian Pulitzer Smith, New Orleans, Louisiana. [600/900] 959 A. Dalrymple (American/Louisiana, 20th Century), “Race to the Finish Line”, oil on canvas, signed lower left “A. Dalrymple”, 47‑1/4” x 48”. Framed. Provenance: Estate of Lillian Pulitzer Smith, New Orleans, Louisiana. [900/1200] Illustrated

957

960 960 Melissa Bonin (American/Louisiana, Contemporary), “Like Gold Dust Suspended in a Cloud”, 2013, oil on gallery-wrapped linen, signed lower left, signed, titled and dated en verso, 20” x 40”. [2000/4000] Illustrated

213

963 Marcus Tully (American/Contemporary), “Graveyard in Lafayette”, 1993, oil on canvas, signed lower right, 20” x 30”. Framed. [800/1200] Illustrated 964 Nicole Charbonnet (New Orleans/Contemporary), “The Empty Lot”, oil on canvas, signed lower right, 12” x 24”. Presented in a thin gallery frame. [600/900] Illustrated

961 961 Louisiana School (Fourth Quarter 20th Century), “Louisiana Marsh Landscape”, oil on canvas, signed lower right “L. Meierhenry”, 42” x 48”. Framed. Provenance: Estate of Lillian Pulitzer Smith, New Orleans, Louisiana. [600/900] Illustrated 963 965 Ida Kohlmeyer (American/Louisiana, 1912‑1997), “Cluster Drawing 1‑3”, 1976, mixed media on fine linen, 34‑1/2” x 48”. Glazed, matted and framed. Exhibited: The Mint Museum of Art, Ida Kohlmeyer: Thirty Years, Sept. 15‑Dec. 1, 1985. Literature: The Mint Museum of Art, Ida Kohlmeyer: Thirty Years, 1983, p. 75. [10000/15000] Illustrated

962 962 George Dureau (American/Louisiana, 1930‑2014), “Still Life with Champagne, Lemon and Asparagus”, oil on gallery-wrapped canvas, signed lower right “Dureau”, 22” x 20”. Unframed. [2000/4000] Illustrated

214

964 966 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997), “Tokens of Identity”, 1981, screenprint, pencil signed and dated lower right, titled and numbered “94/135” lower left, sight 26” x 37‑1/2”. Glazed, matted and framed. [1200/1800] Illustrated

967 Carroll Case (American/ Louisiana, Contemporary), “Natchitoches in Patterns”, mixed media on canvas, 35” x 47”. Framed. Provenance: Estate of Lillian Pulitzer Smith, New Orleans, Louisiana. [800/1200] Illustrated 968 Clyde Connell (American/ Louisiana, 1901‑1998), “Untitled”,1991, mixed media on paper, initialed and dated lower right, sheet 24” x 18”. Float-mounted, glazed and framed. [1000/1500] Illustrated

965

966

967

968

215

970 Jean Geraci (American/Louisiana, Contemporary), “Untitled Abstract”, mixed media on canvas, signed lower right, 48” x 48”. [1400/1800] Illustrated

969 969 Adele Sypesteyn (American/Louisiana, Contemporary), “Discreet”, mixed media on canvas, signed lower right, titled en verso stretcher, 60” x 36”. [2500/4000] Illustrated

970

216

971 971 Adele Sypesteyn (American/Louisiana, Contemporary), “A Quiet Place”, mixed media on canvas, signed lower right, titled en verso stretcher, 60” x 48”. [2500/4000] Illustrated

972

972 Jose Maria Cundin (Spanish/Louisiana, b. 1938), “Untitled, Portrait of a Woman with Hand on One Cheek”, 1981, tempera on paper, signed and dated lower center margins, overall sight 29‑1/2” x 21‑1/2”. Glazed, matted and framed. Provenance: Estate of Lillian Pulitzer Smith, New Orleans, Louisiana. [1000/1500] Illustrated

973 973 Jose Maria Cundin (Spanish, Louisiana, b. 1938), “Untitled, Hatted Figure Eating a Celery Stick”, 1981, tempera on paper, signed and dated lower left margins, sight 13” x 16”. Glazed and framed. Provenance: Estate of Lillian Pulitzer Smith, New Orleans, Louisiana. [1000/1500] Illustrated

976 Tony Green (American/New Orleans, b. 1954), “Busy Venetian Scene”, oil on board, 8” x 12”. Framed. [500/800]

975 977 Phil Sandusky (American/Louisiana, 20th Century), “Jax Beach, Early Morning”, oil on canvas, signed lower right, verso with “Cole Pratt Gallery” label, 12” x 15”. Framed. [500/800] 978 Henry Casselli (American/Louisiana, b. 1946), “White Light”, watercolor on paper, signed lower right “Casselli”, verso with a “James Fisher Gallery, Denver, CO” label, 24” x 18”. Glazed, matted and framed. Provenance: Estate of Lillian Pulitzer Smith, New Orleans, Louisiana. [2000/4000] Illustrated

974 974 Jose Maria Cundin (Spanish/Louisiana, b. 1938), “Untitled, Two Figures in a Purple Landscape”, 1981, tempera on paper, signed and dated lower left margins, sight 13” x 16”. Glazed, matted and framed. Provenance: Estate of Lillian Pulitzer Smith, New Orleans, Louisiana. [1000/1500] Illustrated 975 James Michalopoulos (American/New Orleans, b. 1951), “Lupe’s Deserata”, oil on canvas, signed lower left, titled en verso, 40” x 30”. In a thin gallery frame. [3500/5000] Illustrated

978

217

981 981 William Anzalone (American/Texas, b. 1935), “Expressionist Nude”, oil on canvas, signed lower left, 8” x 10”. Framed. [800/1200] Illustrated

979 979 Henry Casselli (American/Louisiana, b. 1946), “Mother and Child”, graphite on paper, signed lower center “Casselli”, sight 17” x 11”. Glazed, matted and framed. Provenance: Estate of Lillian Pulitzer Smith, New Orleans, Louisiana. [800/1200] Illustrated

982 Jim Howard Rabby (American/Texas, 20th Century), “Bee”, oil on canvas, signed lower right, 18” x 14”. Framed. [450/700] 982A William Spratling and William Faulkner, Sherwood Anderson and Other Famous Creoles: A Gallery of Contemporary New Orleans, published by Pelican Bookshop Press, New Orleans, 1926, first edition, first issue, number 221 of 250, bound in green boards with label on front cover. [800/1200] Illustrated 983 Two Imari Chargers, probably 19th century, each dish with a central reserve depicting scrolling floral rondels, the smaller dish with a scalloped edge, one with a stamped maker’s mark and the other with a gilt-painted mark, the larger, dia. 15‑3/4”. [450/700] Illustrated

980 980 William Anzalone (American/Texas, b. 1935), “Nude Reflected in the Mirror”, oil on canvas, signed en verso stretcher, 12” x 16”. Framed. [800/1200] Illustrated 982A

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987

984 Near Pair of Imari Porcelain Lidded Jars, 19th/20th century, the two ovoid vases with fitted lids and panels depicting arrangements of flowers, each vase with a blue maker’s mark painted on the underside, h. 12‑1/2”, dia. 5‑1/2”. [500/800] Illustrated

984

986 Taxidermied Brown Sea Turtle, mounted with a wall hanger, h. 5‑1/4”, w. 11‑1/4”, l. 15”. [500/800] Illustrated

985 Twelve-Piece Collection of Japanese Imari, consisting of a fluted and scalloped edge charger, dia. 12”, a fluted and scalloped edge oval platter, w. 11‑1/4”, d. 9‑1/2”, and an octagonal plate, dia. 10”, all ca. 1880, together with four covered rice bowls, h. 2‑1/2”, dia. 5”, and a small bowl, h. 3‑1/2”, dia. 7‑1/4”, of a later date, all in the traditional Imari palette. [450/700] Illustrated

987 Contemporary Brass-Based Lamp with a Tortoise Shade, the tapered brass base supporting the lacquered shell, mounted with a backlight, h. 33”, w. 28”. [800/1200] Illustrated

986

985

219

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992 994

988

991

990

989

988 Victorian Tortoiseshell Three-Compartment Tea Caddy, third quarter 19th century, the rounded lid inlaid with pique lines and a cartouche, raised on ball feet, h. 4‑1/4”, w. 9‑3/4”, d. 4‑1/2”. [500/800] Illustrated 989 Collection of Five English and Continental Boxes, 19th century, the boxes in horn and tortoiseshell, with various decoration. Additional information available on our website. [500/800] Illustrated 990 English Regency Tortoiseshell Pagoda-Form Tea Caddy, first quarter 19th century, with a brass escutcheon and name plate, the interior fitted with a single compartment, raised on brass ball feet, h. 5”, w. 5‑1/2”, d. 4”. [500/800] Illustrated 991 Late Victorian Tortoiseshell Bowfront Tea Caddy, fourth quarter 19th century, fitted with a brass escutcheon and a two-compartment interior, raised on bun feet, h. 4‑1/4”, w. 5‑3/4”, d. 4‑1/4”. [500/800] Illustrated 992 Edwardian Mother-ofPearl-Inlaid Tortoiseshell Tea Caddy, first quarter 20th century, in the Regency taste, with inlaid scrollwork on the lid and facade, and a two-compartment interior with tortoiseshell covers, h. 5‑1/2”, w. 7‑3‑4”, d. 5”. [500/800] Illustrated

220

993 Fine English Regency Tortoiseshell Tea Caddy, first quarter 19th century, with a molded escutcheon and knop, the interior with two compartments, raised on brass balland-claw feet, h. 6‑3/4”, w. 7‑3/4”, d. 4‑1/2”. [600/900] Illustrated 994 William IV Tortoiseshell and Mother-of-Pearl Bombe-Form Letter Box, second quarter 19th century, with ogee sides, the lid set with a panel of incised motherof-pearl birds, flowers and thistles, raised on gadrooned ivory feet, h. 5‑1/2”, w. 9‑1/2”, d. 8”. [800/1200] Illustrated 995 Collection of Six English Tortoiseshell Boxes, 19th/20th century, the collection of boxes in various sizes. Additional information available on our website. [500/800] Illustrated

995

997 Mahogany Spiral Staircase Model, with turned balusters and shaped support rails, terminating in carved newel post finials, h. 41‑3/4”, dia. 18”. [1800/2500] Illustrated 998 George III Mahogany Bowfront Chest, late 18th century, the bowed top with a molded edge above a conforming case fitted with two short drawers over three graduated long drawers, raised on bracket feet, h. 40”, w. 43‑1/2”, d. 23”. [1000/1500]

996 996 Seven-Piece Collection of Edwardian Tortoiseshell Cases, first quarter 20th century, the cases variously decorated with mother-of-pearl, silver nailheads and ivory trim, the largest, h. 4”, w. 3”. Additional information available on our website. [400/700] Illustrated

999

999 Regency Mahogany Drop-Leaf Library Table, first quarter 19th century, the top with rounded and reeded ends and like ovoid drop leaves, above a conforming frieze fitted with a drawer to either end, raised on an ormolumounted pedestal to four 1001 splayed legs ending in brass caps and casters, h. 28‑1/2”, w. 38‑1/2”, l. 28”, extended l. 55”. [900/1200] Illustrated 1000 Classical Mahogany DropLeaf Breakfast Table, early 19th century, the rectangular top with two rounded drop leaves, above a frieze fitted with a drawer to each end, raised on a molded columnar standard to four splayed reeded legs ending in brass paws on casters, h. 29”, w. 41‑1/2”, l. 22”, extended l. 49”. [450/700]

997

1001 Imari Umbrella Stand, probably 19th century, the cylindrical vessel with an iron-red underglaze and blue foliate decoration, h. 24‑1/4”, dia. 8‑3/4”. [450/700] Illustrated

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1006 Japanese Kutani Cachepot, 19th/20th century, the colorful vessel in red, green, blue and pink glazes with floral motifs, unmarked, h. 9‑1/2”, dia. 10‑1/2”. [500/800] 1007 Eleven-Piece Collection of Japanese Imari, consisting of a charger, dia. 14”, a pair of chargers, dia. 12‑1/4”, a pair of small plates, dia. 6‑3/4”, three rice bowls, one with cover, h. 2‑1/4”, dia. 4‑1/2”, all early to mid-20th century, and a near pair of small bowls with a faceted edge, ca. 1900, h. 2‑1/4”, dia. 5”. [450/700]

1002 Two Antique Japanese Oval Platters, late 19th century, one with a scalloped and fluted edge, w. 14‑1/2”, dia. 11‑1/2”, and the other with a raised rim and pierced handles, w. 14‑3/4”, dia. 11”, both in the traditional palette and with fan and phoenix patterns. [450/700]

1005

1003 Five-Piece Collection of Antique Imari, late 19th century, consisting of an octagonal charger with a fluted and scalloped rim, dia. 12‑1/4”, a rectangular dish with canted corners and fluted scalloped edge, w. 9‑1/2”, and three like smaller dishes, w. 7‑3/4”, d. 7”, all in the traditional Imari palette. [450/7000] Illustrated 1004 Four Japanese Dishes, late 19th/early 20th century, including a red and white marked plate in the Imari palette, a large blue, green and red charger, and a red, blue and green bowl and plate, the largest, dia. 18‑1/2”. [450/700] 1005 Large Imari Lidded Jar on Stand, the enormous lidded Imari vase with a foo dog knob, floral scroll ornamentation throughout in red and blue with lavish gilding, and reserves depicting a foo dog frolicking beneath a peony tree, unmarked, displayed on a tall pierced wooden stand, urn, h. 39‑1/2”, dia. 6”, stand, h. 26‑1/2”. [600/900] Illustrated

222

1011

1008 Japanese lmari Charger, late 19th century, with a central foliate medallion and floral reserve panels, in the traditional palette, dia. 18‑1/2”. [450/700] 1009 Unusual Brilliant Period-Style Cut Glass Ten-Light Chandelier, supported on a vase-shaped standard hung with spear-point prisms, the two tiers of lights decorated with swags of glass buttons, the bobeches hung with teardrop prisms, h. 34”, dia. 29‑1/2”. [500/800] 1010 George III Mahogany Library Chair, early 19th century, the slightly domed and padded back joined by padded arms on foliate-carved uprights to the like seat, raised on cluster-column legs to block feet, h. 37”. [800/1200] 1011 George III-Style Mahogany Breakfront Bookcase, the molded and dentillated cornice above four astragalglazed doors, the lower section fitted with four drawers over four paneled cupboard doors, the whole raised on a plinth base, h. 97”, w. 95”, d. 17‑1/2”. [1000/1500] Illustrated

1015 A. Moulton Foweraker, R.B.A. (British, 1873‑1942), “The Old Millpond Swanage”, 1937, watercolor, signed and dated lower left, sight 9” x 11”. Glazed, matted and framed. [800/1200] Illustrated

1013 1012 Chippendale-Style Giltwood Mirror, second quarter 20th century, the pierced frame carved in the rococo taste, h. 57‑3/4”, w. 37‑1/4”. [500/800] 1013 John Berney Crome (British, 1794‑1842), “Cathedral Interior at Dusk”, oil on canvas, signed lower left, 12” x 20”. Framed. [1500/2500] Illustrated

1015 1016 Suite of Eight George III-Style Mahogany Dining Chairs, late 19th century, in the Sheraton manner, consisting of three armchairs and five sidechairs, each with a shaped crest above a pierced splat with carved swag patterns, the padded seat raised on paneled tapering square legs joined by an H-form stretcher and ending in spade feet, h. 36‑1/2”. [1800/2500] Illustrated 1017 George III-Style Mahogany Triple-Pedestal Dining Table, early 20th century, the oval top, in three sections, includes two 14” leaves, h. 29‑1/4”, w. 45”, l. 108”, extended l. 136”. [1200/1800]

1014 1014 Harold Hitchcock (British, 1914‑2009), “The Port of Maruzian “, 1977, watercolor and pencil on paper, initialed and dated lower left, sight 20‑1/2” x 28”. Glazed, matted and framed. Provenance: Kurt E. Schon, New Orleans, Louisiana. [800/1200] Illustrated

1016

223

1020 George III Mahogany Partner’s Desk, early 20th century, the rectangular top with an inset leather writing surface, above a frieze fitted with three drawers to either side, raised on two pedestals, each fitted with three graduated drawers to one side and a paneled cupboard door to the other, raised on plinth bases, h. 31”, w. 69‑1/2”, d. 46”. [800/1200] 1021 Five-Piece Collection of Japanese Imari, late 19th century, consisting of a nested set of three bowls, the largest, dia. 10”, h. 4”, the smallest, dia. 7‑1/4”, h. 3”, and a pair of chargers, dia. 12‑3/4”, all the pieces with a fluted and scalloped edge and decorative panels. [450/700] Illustrated 1018 1018 George III Mahogany Sideboard Table, early 19th century, probably Scottish, the brass rail with urn finials, above a superstructure fitted with glissands, the bowed top above a conforming frieze fitted with two drawers, raised on tapering square legs, h. 60”, w. 86”, d. 29”. [2500/4000] Illustrated

1022 Large Japanese Blue and White Charger, late 19th/ early 20th century, the charger depicting a bird in a lush garden setting, the underside decorated and marked, dia. 22‑1/4”. [450/700] 1023 Rare Chinese Imari Chamber Pot, first quarter 18th century, probably Kangxi, decorated with a type of tree of life and cranes, h. 5”, dia. 7‑3/4”. Provenance: Formerly in the collection of B. F. Edwards of A. G. Edwards Co., Columbus, Ohio. [600/900]

1021 1026

1019 Pair of George III-Style Mahogany Armchairs, in the Chippendale style, each with a shaped crest over a ribboncarved pierced splat, joined to a padded seat by shaped arms, raised on cabriole legs headed by acanthine carving and ending in ball-and-claw feet, h. 41”. [800/1200]

1024

1024 Three-Piece Collection of Japanese Imari, late 19th century, consisting of a large charger, dia. 16”, and a pair of chargers with fluted and scalloped rims, dia. 12”, all in the traditional palette and with avian reserve panels. [450/700] Illustrated 1025 Two Imari Vases, late 19th/ early 20th century, the blue and red Imari vases with French gilt-bronze mounts, unmarked, the largest, h. 9‑1/2”, dia. 7”. [600/900] 1026 Large Imari Urn on Stand, late 19th/early 20th century, the lidded red and blue Imari urn with a gilt foo dog knob, lavishly gilded throughout with reserves depicting a pair of foo dogs with flowers, unmarked, displayed on a pierced and carved wooden stand, urn, h. 34”, dia. 19”, stand, h. 36‑1/2”. [700/1000] Illustrated 1027 William and Mary-Style Mirror in the Chinoiserie Taste, the bolection-molded frame decorated with Chinese figures, pagodas, flora and fauna on a dark ground, h. 42”, w. 35”. [500/800]

224

1031 British School (First Quarter 19th Century), “Portrait of a Gentleman”, oil on canvas, illegible inscription en verso canvas, a “W. Baker (the Removers) Ltd./Plymouth” label en verso frame, 26‑1/4” x 21”. Framed. [700/1000] Illustrated

1029 1028 George III-Style Ebonized, Polychromed and GiltDecorated Looking Glass, third quarter 19th century, of tall narrow form in the chinoiserie taste, the slightly domed plate within a molded frame with gilt and polychromed accents, h. 72”, w. 28”. [500/800] 1029 George III-Style Mahogany Demi-lune Card Table, 19th century, in the Hepplewhite taste, the banded top with an inlaid patera and bellflower accents, opening to a baize-lined interior, raised on tapering square legs ending in spade feet, the whole inlaid with brass banding, h. 29‑1/2”, w. 36”, d. 18”. [1200/1800] Illustrated 1030 Pair of George III Satinwood and Mahogany Cabinets, late 18th/early 19th century, in the Adam taste, each with a banded sunburst-inlaid demi-lune top above a conforming case fitted with two cupboard doors, each banded and centered by an oval scene of a mother and child, flanked to either side by banded panels centered by floral scenes, raised on fluted tapering circular legs headed by foliate carving, joined by a shaped stretcher and ending in foliate feet, the whole with gilt accents, h. 36‑1/2”, w. 42‑1/2”, d. 17‑3/4”. [8000/12000] Illustrated

1031 1032 Attributed to James Sharples, Sr. (British/ American, 1751/52‑1811), “Portrait of a Gentleman”, pastel on paper, unsigned, verso with a handwritten attribution label, sight 10” x 8‑1/2”. Glazed and framed. [700/1000]

1033 British School (First Quarter 19th Century), “The Reverend Thomas Jones of Newmarket, Flintshire”, oil on canvas laid on board, unsigned, the sitter identified on label en verso, 12” x 9”. Unframed. [450/700] 1034 British School (First Quarter 19th Century), “Three Portraits”, suite of three oval oils on board, unsigned, each sight 7‑1/4” x 5‑1/4”. Each glazed, matted and framed. [450/700] 1030

225

In 2012, public television station WLAE launched the television series "Made in New Orleans," an educational and cultural initiative spotlighting local artists. The program is hosted by artist and publisher Steve Martin. The goal of the series is to honor and celebrate the great work that local artists contribute to the cultural economy of our city and to provide a plat form to showcase their work to new audiences in our community. As a part of the series, each artist has donated an original piece of their artwork to be auctioned for the benefit of the station’s cultural mission to educate, inform and inspire audience of all ages. New Orleans Auction is pleased to collaborate once more with WLAE-T V in this fundraising ef fort to raise money to be used for the third season of "Made in New Orleans"

1036 Margaret Evangeline (American/Louisiana, b. 1943), “Note in a Bottle”, oil on canvas, signed and titled verso, 36” x 48”. Gift of the artist to be sold for the benefit of WLAE. [2000/4000] Illustrated

1035 1035 Steve Martin (American/Louisiana, 20th Century), “Full Bodied and Flavor Packed”, 2011, acrylic on gallerywrapped canvas, signed, titled and dated en verso, 60” x 48”. Gift of the artist to be sold for the benefit of WLAE. [5000/8000] Illustrated

1037 1037 Tore Wallin (American/New Orleans, Contemporary), “Untitled”, mixed media on canvas, signed lower right, 48” x 36”. Gift of the artist to be sold for the benefit of WLAE. [1000/1500] Illustrated

1036

226

1038 Steve Martin (American/New Orleans, Contemporary), “Free Bird”, 2014, powder-coated solid steel rod, 68” x 68”. Gift of the artist to be sold for the benefit of WLAE. [2000/4000] Illustrated

1038

1039 Amanda Talley (American/New Orleans, Contemporary), “Untitled”, 2011, oil on board, signed, titled en verso, 48” x 48”. To be sold for the benefit of WLAE. [1200/1800] Illustrated

1040 1041 Nicole Charbonnet (American/New Orleans, b. 1966), “Erased Riley #7”, 2006, mixed media on canvas, an “Arthur Roger Gallery” label en verso, 24” x 24”. Gift of the artist to be sold for the benefit of WLAE. [1200/1800] Illustrated

1039 1040 Tony Mose (American/Louisiana, Contemporary), “Untitled”, oil on panel, diptych, signed lower right and verso, each panel 80” x 32”. Gift of the artist to be sold for the benefit of WLAE. [2000/4000] Illustrated 1041

227

1043 Sylvaine Sancton (French/New Orleans, Contemporary), “Torso”, carved stone, h. 22”, w. 14”. Gift of the artist to be sold for the benefit of WLAE. [800/1200] Illustrated

1042 1042 Billy Solitario (American/New Orleans, b. 1972), “One Oyster Six Shells”, 2014, oil on canvas, signed lower right, titled, signed and dated verso, 36” x 36”. Gift of the artist to be sold for the benefit of WLAE. [1000/1500] Illustrated

1044 1044 Thomas Bruno (American/New Orleans, b. 1960), “Female Nude”, bronze, h. 20‑1/2”, w. 23”, d. 8”. Gift of the artist to be sold for the benefit of WLAE. [800/1200] Illustrated 1045 Richard Sexton (American/New Orleans, b. 1954), “Languid Melody”, 2000, silver gelatin print, signed and dated lower right, titled lower left, marked artist proof verso, 18” x 32”. Gift of the artist for the benefit of WLAE. [1500/2500] Illustrated

1043

228

1045 1046 David Borgerding (American/New Orleans, b. 1972), “Atarat”, 2012, fabricated stainless steel, h. 9”, w. 29”, d. 8”. Gift of the artist to be sold for the benefit of WLAE. [800/1200] Illustrated

1046

1048 Carlos Zervigon (American/New Orleans, Contemporary), “Untitled”, 2014, glass sculpture, signed and dated at edge, h. 8”, w. 8‑1/4”, d. 15”. Gift of the artist to be sold for the benefit of WLAE. [1000/1500] Illustrated

1047 Curtis Knapp (American/New Orleans, Contemporary), “William at the Bunker on the Bowery NYC”, silver gelatin print, signed lower right, numbered “3/35” lower left, signed and titled verso, sight 13‑3/4” x 11‑1/2”. Glazed, matted and framed. Gift of the artist for the benefit of WLAE. [450/700]] Illustrated

1049 1049 Aaron Reichert (American/New Orleans, b. 1978), “Untitled”, acrylic on canvas, 66” x 52”. Gift of the artist to be sold for the benefit of WLAE. [2000/4000] Illustrated

1047

1048

1050 1050 James Shaw (American/New Orleans, Contemporary), “Little Indian Boy”, 2011, photographic transfer on canvas, signed lower right, titled verso, 48‑3/8” x 32”. Gift of the artist to be sold for the benefit of WLAE. [800/1200] Illustrated

229

1055 Beaux Arts Gilt-Metal and Marble-Top Telephone Cabinet, early 20th century, the bowed marble top above a conforming case fitted with two doors, each with an elaborate pierced ormolu figural overlay, raised on slender legs ending in ormolu paw feet, h. 40‑3/4”, w. 20”, d. 9‑3/4”. [500/800] Illustrated

1051 1051 Italian Baroque Walnut Commode, 17th century, the rectangular top above a case fitted with four long drawers, all with banded edges and molded panel fronts, raised on shaped scrolling foliate-carved feet, h. 43‑1/2”, w. 62”, d. 24‑1/4”. [2500/4000] Illustrated

1054

1056 Italian Bronze Figural Tripartite Brazier Stand, the monopodia in the form of bow-bearing hunters, joined with swagged chains, h. 17”, dia. 13”. [500/800]

1052 1052 Manner of Alessandro Magnasco (Italian, 1667‑1749), “Architectural Capriccio with a Wedding Feast”, oil on canvas, 22” x 34”. Presented in a modern, molded giltwood frame. [3000/5000] Illustrated 1053 Pair of Italian Alabaster Busts of Dante, ca. 1900, one depicting Dante as a young man, and the other as an old man with a beard, on column-form standards, h. 11‑3/4”, w. 5”, d. 3‑1/4”. [600/900] 1054 Renaissance-Style Lacquered Brass and Steel Chess Set, mid-20th century, both board and pieces signed “F.M.G.”, the board resting on reeded feet, the edges decorated with armor helmets framed in raised scrollwork with masks of comedy and tragedy, the chess pieces accompanied by a faux leather box, h. 5”, w. 22‑1/2”, d. 22‑1/2”. [2000/4000] Illustrated

230

1055

1058 J. Schroeder (Continental, 19th Century), “Wolf Hunt”, oil on canvas, signed lower right, 20” x 30”. Framed. [1500/2500] Illustrated 1059 Continental School (19th Century), “Storming the Castle”, oil on copper, unsigned, 6‑5/8” x 8‑5/8”. Unframed. [800/1200]

1057

1060 Venetian RococoStyle Parcel-Gilt and Faux-Bois Mirror, second quarter 19th century, decorated with gilt scrollwork on a faux rosewood ground, h. 43‑1/2”, w. 30‑3/4”. [1800/2500]

1057 Spanish Steel and Wood Black Powder Signal Cannon, second quarter 20th century, the Napoleonicstyle cannon complete with ram rods, wooden carriage and steel-rimmed wooden wheels, the steel barrel marked “black powder mlg” and “Spain”, h. 11”, w. 12‑1/2”, l. 28‑1/4”. [1000/1500] Illustrated

1060

1058

231

1061

1062

1064 1065 Latin American Carved Wooden Santos Figure of Saint Francis of Assisi, 19th century, depicted in his tasseled robe standing with outstretched hands, h. 29‑1/2”, w. 11‑3/4”, d. 9”. [400/700] 1066 Three Carved Wooden Santos Figures, 19th century, including images of St. Anthony of Padua, h. 15”, Our Lady of Penafrancia, h. 18‑3/4”, and St. Joseph seated on a modern lacquered stand, h. 13”. [450/700] Illustrated 1067 Seven Colonial Carved and Painted Wooden Santos Figures, 19th century, including images of St. Anthony of Padua, St. Joseph, The Immaculada Concepcion, and an Angel with metal wings, the tallest, h. 16‑1/4”. [450/700] Illustrated

1061 Large Continental Painted Wood Santos Cage Doll, fourth quarter 18th century, carved with a beautifullydetailed face and hands, the arms articulated, h. 63‑1/4”, w. 18”, d. 15‑1/2”. [2000/4000] Illustrated These dolls were typically dressed in Saints garb and used in private chapels or by traveling priests. 1062 Large Continental Painted Wood Santos Cage Doll, fourth quarter 18th century, the figure with a carefullycarved face and hands, and articulated arms, h. 61‑1/4”, w. 18‑3/4”, d. 15‑1/4”. [2000/4000] Illustrated These dolls were typically dressed in Saints garb and used in private chapels or by traveling priests. 1063 Baroque-Style Embossed Brass Cushion-Form Beveled Mirror, 19th century, h. 54”, w. 36”. [500/800] 1064 German School (Second Quarter 20th Century), “Snow Day”, oil on board, signed lower left “H. T. Seben”, 24” x 30”. Framed. [800/1200] Illustrated

232

1068 Latin American Carved and Painted Wooden Santos Figure of Jesus Christ, 19th century, depicted as on the cross, h. 28‑1/4”, w. 5‑3/4”. [400/700]

1066

1067

1072 French Bronze of Saint Catherine of Alexandria, after Etienne Henry Dumaige (French, 1830‑1888), third quarter 19th century, the figure depicted gazing heavenward, the torture wheel named for her to one side, cast signature, h. 11‑3/4”, w. 9”, d. 4‑1/2”. [800/1200] Illustrated

1072

1069 Four Colonial Carved and Painted Wooden Santos Figures, 19th century, including two images of St. Frances of Assisi, h. 20” and 17‑3/4”, a crowned figure, possibly one of the Three Kings, h. 17”, and a Filipino Our Lady of Guadalupe, h. 14‑1/2”. [400/700] 1070 Continental Oak and Polychrome Coffer, 17th century, possibly of ecclesiastical origins, of rectangular form, the lid lifting to an open interior, the front with panels carved in Gothic patterns and robed figures, raised on end supports, h. 28”, w. 71‑1/2”, d. 19”. [2500/4000] Illustrated 1071 Gothic-Style Stained Fruitwood Mirror, fourth quarter 19th century, the fret-carved frame with a carved and pierced Gothic crest, h. 47‑1/2”, w. 24‑1/2”. [500/800] Illustrated

1070

233

1076 Russian 84 Zolotnik (.875) Silver Clad Icon, the riza marked Ryazan, 1823, maker “PL”, assay master Matvei Ponomarev , depicting Saints Michael, Charalampus and one other, 7‑1/4” x 5‑3/8”. [900/1200] Illustrated

1075

1074

1073 Pair of Unusual English Brass Altar Sticks, fourth quarter 19th century, decorated with contrasting nickel plating, the stepped bases resting on paw feet, the nickelplated mid-rib set with gilt-bronze flowers, h. 48”, dia. 13”. [500/800]

1077

1077 Austro-Hungarian Silver-Gilt Zarf, ca. 1900, of ovoid form, decorated with six teardrop-shaped radiant green enamel panels centered by a filigree cartouche and circular amber cabochon, separated by applied bellflowers and scrolls set with split pearls, all on a wrigglework ground, raised on a trumpet foot en suite, h. 4‑1/2”, dia. 3‑3/4”. [1500/2500] Illustrated

1076

1074 Russian Icon of the Mother of Unexpected Joy, ca. 1900, with a brass oklad engraved with a star, an angel looking down from the top, h. 8‑3/4”, w. 7”. [600/900] Illustrated 1075 Russian Painted Wooden Icon, ca. 1900, depicting Noah receiving a message from a dove on Mount Ararat, the dove engraved on the brass oklad, h. 7‑3/4”, w. 7”. [600/900] Illustrated

234

1079

1079 Miniature Baroque-Style Bureau/Commode, third quarter 19th century, possibly Portuguese, the Jacaranda wood commode resting on attenuated cabriole legs with a bold scrollwork base under stepped serpentine bead molding, the lid opening to reveal a matching interior, h. 23”, w. 21”, d. 14”. [1000/1500] Illustrated 1080 Italian Bronze Figure of Silenus, first quarter 20th century, the god of drunkenness standing on a coved base, one arm extended supporting a serpent-entwined circlet, after the Antique, h. 23‑1/2”, w. 9‑1/2”, d. 9‑1/2”. [600/900] Illustrated

1082

1080

1078 Venetian Baroque-Style Blown and Engraved Glass Mirror, the octagonal frame trimmed in gilt threaded glass roping and flowers, the crest and outer edge decorated with engraved flowers, h. 51”, w. 33”. [1000/1500]

1081 Continental Oak Cupboard, early 18th century, the heavily-molded cornice above a case fitted with a tripaneled frieze over two ebonized paneled doors, over two like taller doors, the whole flanked by fluted and faux fluted pilasters and raised on like feet, the sides also paneled, h. 58‑1/2”, w. 68”, d. 25”. [3000/5000] Illustrated 1082 Large Spanish Oak and Fruitwood Guard Room Table, 18th century, the long rectangular top raised on three shaped supports, all joined by scrolling iron stretchers and ending in shaped feet, h. 30‑1/2”, w. 28‑1/2”, l. 124”. [5000/8000] Illustrated

1081 1084

235

1084 Raymond Tholer (French, 19th Century), “Still Life with Oysters and a Provincial Pottery Jug”, oil on canvas, signed lower right “R. Tholer”, 10‑3/4” x 13‑3/4”. Presented in a handsome, period exhibition frame. [600/900] Illustrated

1089

1086 1083 Continental Oak Trunk, late 18th century, the domed lid opening to a void interior, the graduated body with decorative pressed metal banding and side iron handles, h. 23”, w. 27”, d. 23”. [500/800]

1085 Romek Arpad (Hungarian, 1883‑1960), “Still Life of Glass and Copper Vessels”, oil on canvas, signed lower right, 24” x 30”. Framed. Provenance: Estate of Lillian Pulitzer Smith, New Orleans, Louisiana. [500/800] 1086 Rembrandt van Rijn (Dutch, 1601‑1669), “Jan Uytenbogaert, Preacher of the Remonstrants”, etching on wove paper, sheet 9‑1/2” x 6‑3/4”. Glazed and framed. [1000/1500] Illustrated 1087 William and Mary Oak Cupboard, 17th century, the molded cornice above a case fitted with a single door inset with a shaped panel flanked by paneled uprights, raised on a stand of turned and bulbous legs joined by a box stretcher, raised on rounded feet, h. 51‑1/2”, w. 28‑1/2”, d. 14‑1/2”. [2500/4000] Illustrated 1088 Art Nouveau Gilt Metal Sculpture of Melisande, first or second quarter 20th century, after Affortunato Gory (French/Italian, fl. 1895‑1925), cast signature at back, on a red marble base, overall, h. 13‑3/4”, w. 17”, d. 6‑1/2”. [500/800]

1087

236

1089 Italian Painted Terracotta, Wood, Cloth and Silver Creche Figure, second quarter 19th century, probably Naples, the figure with a terracotta head and wooden hands, carrying a silver dagger hallmarked “Napoli, 1824‑32” and wearing a silver hat hallmarked “Porto, Portugal, 1938‑50”, the clothes of varying ages, h. 16”, w. 7‑1/4”, d. 7‑1/4”. [800/1200] Illustrated

1090

1090 (open) 1090 German Forged and Polychromed Iron Armada Chest, 17th century, the strong-box of flat sheet and strapwork construction throughout, the lid with a concealed keyhole, opening to reveal an elaborate locking mechanism obscured by a fretwork plate with mythological figures, the case with polychromed floral decoration centered by a false escutcheon, the ends with wrought iron handles, h. 16‑1/4”, w. 31‑3/4”, d. 16‑1/2”. [1500/2500] Illustrated

1091 Ivory and Gilt-Brass Tankard, 19th century, probably German, decorated with mythological creatures in the 17th-century style, the brass foot and lid molded with shells and dolphins, the body carved with Poseidon and Venus, with a bevy of water nymphs frolicking with male companions, a winged mermaid forming the handle, and a putto riding a dolphin serving as the knop, the interior retaining its original gilt, h. 13”, w. 6”, d. 5‑1/4”. [4000/7000] Illustrated 1092 Jacques Francois Carabain (Belgian/Dutch, 1834‑1933), “Un Vue du Pont del Paradiso, a Venise”, 1898, oil on canvas, signed lower left “J. Carabain”, titled, dated and signed en verso board, 30” x 20‑5/8”. Presented in a giltwood and gesso exhibition frame. [4000/7000] Illustrated

1091

1092

237

1093 1093 Arnaldo de Lisio (Italian, 1869‑1949), “Neapolitan Girl Carrying Jugs of Water”, watercolor on paper, signed lower right, sight 23” x 13‑3/4”. Glazed and framed. [800/1200] Illustrated 1094 Continental School (Fourth Quarter 19th Century), “May Festival, Spain”, oil on canvas, signed indistinctly lower right, 26” x 42”. Presented in a handsome, period giltwood and gesso exhibition frame. [2000/4000] Illustrated

1096

1095 1095 Danish Oak and Ash Cupboard, late 17th century, the flattened triangular molded cornice above a case fitted with two paneled doors opening to a shelved interior fitted with three drawers and a central paneled cupboard, raised on a scroll-carved stand on cabriole legs, h. 72”, w. 57”, d. 22”. [2500/4000] Illustrated 1096 Tall Pair of Italian-Style Giltwood Torcheres, each with a circular top supported by a foliate-modeled standard to a tripartite base with carved portrait medallions to each side, raised on foliate toupie feet, h. 62”. [2000/4000] Illustrated

1094

238

1098

1099 Italian Neoclassical Parcel-Gilt Mirror, fourth quarter 18th century, the surround carved with laurel leaves, scrollwork and flowers on a blue ground, the crest with a wreathed profile portrait of Caesar, h. 48”, w. 31”. [1800/2500] Illustrated 1100 Italian Polychrome and Parcel-Gilt Bookstand, the book rest within a scrolling border and raised on a foliatecarved bulbous standard to a tripartite base on shaped toes, h. 49”, w. 19”, d. 13”. [450/700]

1102

1097 Gilt Mirror in the Italian Baroque Style, decorated with bold, pierced scroll moldings and shells, with a masquemolded crest, h. 79‑1/2”, w. 45‑1/2”. [600/900]

1099

1098 Pair of Italian Giltwood, FauxMarbre and Marble-Top Corner Tables, late 18th century and later, each with a shaped and bowed top, one with marble, the other now fauxmarbre, above a pierced shell and foliate frieze, raised on shaped foliatecarved supports joined by a pierced stretcher and ending in scrolled toes, h. 36”, w. 28”, d. 19”. [1000/1500] Illustrated

1101

1103

1101 Spanish Provincial Oak and Fruitwood Cocktail Table, constructed of antique elements, the rectangular top raised on shaped end supports joined by a like stretcher, h. 24”, w. 49‑1/2”, d. 21”. [500/800] Illustrated 1102 Pair of Unusual Italian Specimen Marble Mirrors, fourth quarter 19th century, retaining a soft old patina and set with old mirror plates, h. 27‑1/2”, w. 23‑3/4”. [2500/4000] Illustrated 1103 Carved Alabaster Figure of Moses on a Matching Pedestal, after Michelangelo Buonarroti (Italian, 1475‑1564), fourth quarter 19th century, on a turned base, the figure depicted seated and holding tablets of the Ten Commandments, h. 65”, w. 15”, d. 15”. [1500/2500] Illustrated

239

1104 1104 Italian Oak, Fruitwood and Marble-Top Console Table in the Neoclassical Taste, 18th century and later, the shaped marble top above a conforming frieze centered by floral carving, raised on fluted tapering square legs ending in spade feet, h. 33‑1/2”, w. 45”, d. 19”. [800/1200] Illustrated

1106 1105 French School (Fourth Quarter 17th Century), “Portrait of a Gentleman, In a Lace Cravat, Within a Painted Oval”, oil on canvas, unsigned, 26” x 36”. Framed. [800/1200] Illustrated

1107 1105

240

1106 Continental Carved Oak Arch-Top Panel, fourth quarter 19th century, depicting a draped vase of grapes and grape leaves, h. 27‑1/2”, w. 13”. [400/700] Illustrated 1107 Italian Walnut and Marble-Top Commode, late 18th century, in the rococo taste, the slightly bowed charcoal marble top above a conforming case fitted with two long drawers, each tri-paneled, raised on molded splayed legs, h. 38‑1/2”, w. 48”, d. 22‑1/2”. [2000/4000] Illustrated 1108 Spanish Provincial Oak Side Table, early 19th century, the rectangular top with a raised edge and central inlay of twenty blue-and-white tiles, above a frieze fitted with a single side drawer, raised on bobbin-turned legs joined by a box stretcher and ending in rounded feet, h. 27”, w. 31‑1/2”, d. 27”. [500/800]

1113 1111 Persian Heriz Carpet, 8’ 8” x 12’ 7”. [4000/7000] 1112 Persian Ardabil Carpet, 8’ 2” x 10’ 10”. [3000/5000] Illustrated 1113 Turkish Angora Oushak Carpet, 12’ 2” x 15’ 3”. [2000/4000] Illustrated

1112 1109 Louis-Philippe-Style Aubusson Carpet, 9’ x 12’. [1000/1500] 1110 Chobi Suzanne Carpet, 9’ 2” x 11’ 10”. [1800/2500] 1115

241

1116 Persian Heriz Carpet, 6’ 11” x 9’. [3000/5000] 1117 Peshawar Sultanabad Carpet, 9’ 2” x 11’ 5”. [500/800]

1120 1118 1114 Persian Kerman Carpet, 9’ 2” x 12’ 3”. [5000/8000] 1115 Agra Serapi Carpet, 12’ 4” x 18’ 5”. [1200/1800] Illustrated

1119

242

1118 Semi-Antique Kerman Carpet, 9’ 9” x 13’ 8”. [1500/2500] Illustrated 1119 Pair of Chinese Cinnabar Vases on Stands, the two baluster-form cinnabar lacquered vases with scrolling floral motifs and reserves depicting arrangements of flowers and scholar’s rocks, with pierced wooden stands, h. 17‑3/4”, w. 7‑3/4”, including stands. [800/1200] Illustrated

1122

1123 Chinese Export Lacquer Sewing Box, probably 19th century, the black lacquer box with gilt and red accents, the lid depicting a small village nestled in a tranquil valley, and the sides adorned with a lightly-rendered motif of scrolling vines and grasses, h. 6‑1/4”, w. 16”. [450/700] Illustrated

1123 1120 Chinese Cinnabar Lacquered Plate, 19th/20th century, the red cinnabar dish with a foliated border, the center depicting a peony branch and scholar’s rock, on a reticulated wooden stand, dia. 12”. [500/800] Illustrated

1128

1124 Chinese Wood and Lacquer Table Shrine Cabinet, 19th century, the rectangular-form black, red and gilt-lacquered wood cabinet with elaborate openwork carving, the red interior with phoenix and dragon rondels, the inside doors with panels adorned with a gilt Hundred Antiques motif, accompanied by a certificate from the Hong Kong Art Craft Merchants Association, h. 18”, w. 14”. [500/800] Illustrated 1125 Chinese Carved Wooden Box, 19th/20th century, the wooden box with scrolling phoenix motifs in relief, hinged with a depiction of a dragon, a “Shou” character, and flaming pearls, the dragon and pearls rendered in a lighter wood, h. 6‑1/8”, w. 12‑1/2”, d. 7”. [1800/2500]

1124

1121 Pair of Chinese Cinnabar Vases on Stands, 19th/20th century, the two gourd-shaped cinnabar lacquered vases with long necks, the lacquer on metal with blue interiors, the reserves depicting gourds and vines and scrolling floral motifs, on pierced wooden stands, h. 11‑1/2”, w. 5”, including stand. [500/800] 1122 Chinese Carved Box, 19th/20th century, the wood and lacquer quatra-lobe-form box with a motif of peonies and lotus blossoms, in the Yuan style, unmarked, h. 2‑1/4”, l. 6‑1/2”. [500/800] Illustrated

1126 Pair of Chinese Polychrome Low Tables, each with a rectangular top with a polychrome panel of a mythical beast, above a conforming recessed frieze, raised on square legs ending in shaped toes, h. 20‑1/2”, w. 19”, d. 14‑3/4”. [900/1200] 1127 Chinese Hardwood Nesting Tables, 19th/20th century, the four nesting tables with carved cloud detail and lightlymolded feet, the largest, h. 26”, w. 14”, l. 20”. [600/900] 1128 Pair of Chinese Stands, 19th/20th century, the two round carved wood stands with turquoise-ground cloisonne tops, each depicting two carp surrounded by scrolling floral motifs, h. 20‑1/4”, dia. 16”. [1200/1800] Illustrated

243

1132 1133 Chinese Export Fan, 19th century, the lacquer and paper folding fan depicting figures in a lush garden setting, the figures’ faces painted on very thin sheets of ivory, the border of the fan decorated with the Hundred Antiques motif, displayed in a wood shadowbox frame, overall, h. 13‑3/4”, l. 21‑5/8”. Provenance: Michael Teller, T K Oriental Antiques, Williamsburg, Virginia. [600/900]

1129 1129 Chinese Carved, Painted and Gilded Wood Ceremonial Chair, late 19th century, with latticework decoration on the back and legs, and carved reserves on the back of the chair depicting courtly scenes, the seat caned, h. 41”. [450/700] Illustrated

1134 Two Hardstone-Inlaid Wooden Panels, 20th century, the very large panels with hardstone inlay of geese, one depicting three geese in flight over an arrangement of flowers and the other with three geese on a river bank, the panel tops with carved forms of flying geese, h. 67”, w. 32”. [1000/1500] Illustrated

1130 Chinese Hongmu and Marble-Top Demi-lune Table, 19th/20th century, the semicircular hall table with a pink marble top, carved dragon and phoenix motif, and a paneled sawtooth shelf on the bottom, h. 31‑1/2”, w. 33”. [450/700] 1131 Korean Jang Stacking Clothing Chest, probably Joseon Dynasty (1392‑1910), the stacked chest with two large compartments with smaller openings, each with double doors, a row of four small drawers along the top, on a handsome attached stand, mounted with brass hardware and butterfly cabinet pulls, h. 56‑1/8”, w. 37‑3/4”, d. 14‑1/2”. [500/800] Illustrated 1132 Korean Brass-Mounted Hardwood Chest, probably late 19th/early 20th century, the traveling chest with an elaborate chased hasp, with a motif of butterflies, flower vases and birds, h. 33”, l. 41‑1/4”. [450/700] Illustrated

1131

244

1135 Pair of Vintage Molded and Painted Asian Foo Dogs, second quarter 20th century, decorated with polychrome mosaic mirror glass, h. 26”, w. 9‑3/4”, l. 13‑3/4”. [700/1000] Illustrated 1136 Chinese Eight-Panel Coromandel Screen, late 19th/ early 20th century, the wood and lacquer screen with a colorful depiction of the imperial gardens, replete with beautiful ladies dancing and playing music, a motif of 1134 (1 of 2) birds and prunus branches on the reverse, the borders adorned with red Kui dragons, h. 53‑1/2”, each panel, w. 18”, fully extended, 144”. [600/900] Illustrated

1136

1137

1135

1137 Chinese White Jade Table Screen, probably 19th century, the white jade carved to depict three sages in a cave over a small waterfall, in a pierced and carved hongmu frame, h. 15‑3/4”, l. 13‑7/8”. [12000/18000] Illustrated 1138 Pair of Chinese White Marble Foo Dogs, 19th/20th century, the two white marble foo dogs on carved bases, one displayed with a ball and the other with a pup, h. 20”, w. 10”, l. 12‑1/2”. [1500/2500] Illustrated

1138

245

I n d e x of A rt i s t s a nd P r in t m a k e r s

M ay 1 7 - 1 8 , 2 0 1 4

Albrizio, Conrad 877

Crome, John Berney 1013

American School 29, 424, 733

Cundin, Jose Maria 972, 973, 974

Andreotti, Libero 311

Curry, John Steuart 702

Anfosso, Pierre 135

Dali, Salvador 465

Anfrie, Charles (after) 485

Dalrymple, Alexander 957, 958, 959

Anzalone, William 980, 981

De Lisio, Arnaldo 1093

Arends, Fred 448

De Naeyer, Charles 182

Arpad, Romek 1085

Dine, Jim 819

Athey, Harold 814

Dixon, Francis Stillwell 437

Basset, Louis 137

Dodd, Joseph Josiah 238, 239

Bejar, Feliciano 824

Douillet, Raymond 845

Beltz, Heinrich 566

Downing, Thomas 786

Berrocal, Miguel Ortiz 802

Drysdale, Alexander John 728, 729

Bonin, Melissa 960

Dufy, Jean 133

Borgerding, David 1046

Dumaige, Etienne Henry (after) 1072

Boucher, Francois (manner) 545

Dureau, George 962

Brewster, John (attributed) 737

Dutch School 27

British School 1031, 1033, 1034

Dwight, Ed 919

Brooks, Thomas 35

Dyer, Hezekiah Anthony 430

Bruno, Thomas 1044

Dzigurski, Alex 431

Buchbinder, Simeon 164

Edo School 524

Cahoon, Charles D. 433

Eitel (Jacques Eitelwein) 141

Carabain, Jacques Francois 1092

Evangeline, Margaret 1036

Case, Carroll 967

Fiedler, Herbert Otto 138

Casselli, Henry 978, 979

Foss, Olivier 142

Chagall, Marc 463, 464, 468

Foweraker, A. Moulton 1015

Charbonnet, Nicole 964, 1041

French School 134, 277, 554, 1105

Cheret, Jules 462, 467

Frick, Wilhelm Julius 765

Choi, Wook-Kyung 373, 374, 375, 376, 377, 378, 379, 380, 381

Friedeberg, Pedro 801

Churchill, Wiley 730

Frishmuth, Harriet Whitney 764

Clark, Octavius Thomas 51

Frye, William 946

Connell, Clyde 968

Garcia-Morales, Antonio 136

Continental School 15, 24, 115, 176, 178, 278, 279, 1059, 1094

Geraci, Jean 970

Coulon, Jean 312

German School 1064

Craig, Charles 858

Gibelli, Francesco 449

I n d e x of A rt i s t s a nd P r in t m a k e r s

M ay 1 7 - 1 8 , 2 0 1 4

Gifford, Charles Henry 28

Louisiana School 961

Gisson, Andre 143

Lubbers, Holger 26

Gonzales, Boyer 436

MacDonald, James Wilson 872

Goodacre, Glenna 768, 769

MacLean, Alexander 50

Gory, Affortunato (after) 1088

Magnasco, Alessandro (manner) 1052

Green, Tony 976

Maier, Christopher 825, 826

Guillaume, Jean-Baptiste Eugene (after) 302

Mapplethorpe, Robert 799

Hagenauer, Karl 787

Marqueste, Laurent-Honore 322

Hampton, George 423

Martin, Steve 1035, 1038

Hand, Thomas (attributed) 43

McGary, Dave 767

Hayls, John (attributed) 14

McKinley, Hazel Guggenheim 903

Heesakkers, Thomas 175

Mene, Pierre-Jules 484

Henry, David Eugene 766

Michalopoulos, James 975

Hitchcock, Harold 1014

Millet, Clarence 704, 705, 706, 707, 708

Houdon, Jean Antoine (after) 872

Miro, Joan 466

Howlett, Ray 797

Molinary, Andres 724

Hulk, Abraham I 23

Moreau, Mathurin 326

Hull, Marie Atkinson 899

Morrell, Wayne Beam 434

Injalbert, Jean-Antoine 323

Morrison, Thomas Randolph 770, 771, 772

Italian School 319

Mose, Tony 1040

Janssen, Jacob 34

Mowery, Geoff 876

Jiang, Rong 591

Nihonga School 523

Kahler, Carl 452

Ninas, Paul 900, 901

Kern, Hermann 440, 441

Oâ&#x20AC;&#x2122;Brien, Nell Pomeroy 725, 726, 904

King, Albert Francis 859

Olver, Kate Elizabeth 403

Klein, Samuel 703

Opdenhoff, George Willem 25

Knapp, Curtis 1047

Perroneau, Jean-Baptiste (circle) 555

Kohlmeyer, Ida Rittenberg 965, 966

Pierce, Harold 905

Komai, Tetsuro 784

Plazzotta, Enzo 426

Kroll, Leon 421

Pollentine, Alfred 126

Landau, Sigmund 783

Pommier, Albert 324

Lebasque, Henri 406

Popovic, Ljubomir Ljuba 849

Lees, Gordon 33

Qi, Baishi (after) 260

Li Keran (attributed) 259

Qian, Xuan (manner) 262

Liao, Shiou-Ping 820

Rabby, Jim Howard 982

Looney, Ben Earl 732

Rambert, Rene 144

I n d e x of A rt i s t s a nd P r in t m a k e r s

M ay 1 7 - 1 8 , 2 0 1 4

Rayo, Omar 800

Utagawa, Kunisada II, (Japanese) 522

Reichert, Aaron 1049

Vasarely, Victor 810

Reineke, Charles Henry 731

Verbrugghe, Charles Henri 139

Richard, Alfred Pierre (after) 500

Viero, Teodoro 489

Rockmore, Noel 918

Volk, Leonard Wells (after) 874

Rodrigue, George 850, 851, 852, 853, 854, 855

Von Defregger, Franz 163

Rombola, John 785

Von Stockler, Emanue Ritter 567

Rucker, Robert M. 727

Wallin, Tore 1037

Sancton, Sylvaine 1043

Webb, James 22

Sandusky, Phil 977

Willaert, Ferdinand 177

Schroeder, J. 1058

Wood, Robert E. 427

Seabrooke, Elliott 712

Woodward, Ellsworth 710

Serrier, Jean Pierre 846, 847

Wu, Guanzhong (style) 258

Sexton, Richard 1045

Zervigon, Carlos 1048

Sharples, James Sr. (attributed) 1032

Zornes, James Milford 429

Shaw, James 1050 Shields, Alan 809 Silverman, Arthur 798 Solitario, Billy 1042 Southern School 425 Soyer, Raphael 422 Stebly, Christopher Inglis 428 Stevens, Will Henry 709 Strickland, Larry 432 Syer, John 435

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.

Sypesteyn, Adele 969, 971

School of: In our qualified opinion, a work by a follower of the artist.

Szirmai, Toni Antoine 325

Circle of: In our qualified opinion, a work of the period of the artist and showing his/her influence.

Talley, Amanda 1039 Thames, Emmitt 711

Manner of: In our qualified opinion, a work in the style of the artist, possibly of a later period.

Tholer, Raymond 1084

After: In our qualified opinion, a copy of a known work by the artist.

Tully, Marcus 963 Turner, Helen Maria 722, 723 Van der Plas, Niek 140 Van Rijn, Rembrandt 1086

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