Winter Estates Auction: Dec. 6-7, 2014 by New Orleans Auction Galleries

New Orleans Auction galleries

December 6-7, 2014

Lot 1098 Cover Lot 87

Exhibition: November 24 - December 5, 2014 9:00 a.m. - 5:00 p.m. E xcluding Thanksgiving Day & Sunday

Evening Preview Reception: Thursday, December 4, 2014 5:00 - 8:00 p.m.

Session I: Saturday, December 6, 2014 10:00 a.m. CST, Lots 1 - 667

Session II: Sunday, December 7, 2014 10:00 a.m. CST, Lots 668 - 1176

Featuring Property From: The Historic Rose Hill Mansion Bluffton, South Carolina

The Estate of Mary Kirk Kelly Axis, Alaba ma

The Estate of Mary Andry Hindermann Ne w Orleans, Louisiana

The Estates of Moises B. Menache, M.D. & Lidia P. Menache, Ph.D. Ale xandria, Louisiana; Port Antonio, Ja maica; Alicante, Spain

An Important Private Collection Shre veport, Louisiana

Numerous Other Private Collections and Estates

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)

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 O c t o b e r

1 0 - 1 2 ,

2 0 1 4

(Left to Right): Sandy Barrett and Scott James; Hutch Hutcheson and Butler Burdine; Vickie Bassetti, Nonie Lyons, Julia Cass and Debra Daris; Beth Johnson and Cliff Cooney; Kathy Mitchell, Lee Ann Johnson, Leslie Willis, Mary Flores, Vicki Weyel, Burke, Kaylynn Carpenter, Karen Stall, Candace Burns and Belinda Hillhouse

Letter from the CEO

I love Christmas. I am one of those annoying people who would just love to string their pumpkins with Christmas lights and serve the turkey with a Santa hat. It is a magical season! We send cards declaring the possibility of peace on earth and good will to men, buy presents, bring our neighbors cookies and wear festive clothes. It is a season of miracles that I wish could last all year. Santa visited New Orleans Auction Galleries early this year, leaving a $2.5 million October auction under our tree! And then there’s the present of our newly renovated building that we will be moving into at the end of this year.

Catherine and David Edwards and Susan D. Krohn

As excited as we all are about our new space, I’m going to miss Julia Street. New Orleans Auction Galleries has been at this location for 24 years and it has so many memories for us all. The creaky elevator, the meandering rooms, the glorious skylights, the squeaky floorboards… I’m going to miss it all. But what I am really going to miss is how it smells – that wonderful combination of old wood, dust and who knows what else. The smells are one of my favorite things about this old building. Julia Street has been a great friend to New Orleans Auction. Please mark your calendars for our first St. Joseph Street Cakebread Auction on January 24 and 25. We are looking forward to showing off our new space! Don’t fret – we will be moving some of the dust and quirkiness with us, so you’ll feel right at home! We are excited to partner with WYES, the oldest public television station in Southeast Louisiana and the Mississippi Gulf Coast, in their yearly fundraising venture. We are featuring a handful of works generously donated by the artists, including George Dunbar, Hunt Slonem, Allison Stewart, Mallory Page, Raine Bedsole and Richard Swenson. Please join us in supporting the most utilized non-profit organization in our two states. To celebrate the holiday season, we are offering a wonderful selection of fine art, nearly 100 sterling silver Christmas ornaments, fabulous jewelry and much more. I invite you to start your holiday season with our festive annual Holiday and Preview Party on December 4 from 5 to 8 p.m. This is a great time to check out our upcoming auction items, visit with friends and have a Christmas cocktail. For those of you who cannot join us, everyone at New Orleans Auction Galleries wishes you the merriest holiday, much good cheer and a New Year filled with all good things! Here is a toast to you my friends. Thank you for an outstanding year!

The E s tate of

M a ry K ir k K e l ly Axis, Al aba m a

Mary Kirk Kelly was born in 1918 in Mobile, Alabama and grew up in the home that her father built four years earlier in Axis, Alabama, a small town north of Mobile. Before devoting her time to the ceramics studio, Kirk Kelly was an accomplished teacher and educator. She received a joint degree in History, Sociology and Economics from Vanderbilt University and Peabody College for Teachers and went on to teach at Southwest Missouri State, at a private school in LaGrange, Georgia and was ultimately named Dean of Women at Livingston University (now University of West Alabama). While always a craftsperson, Mary Kirk Kelly’s interest in ceramics began after taking a course at LaGrange College. After her retirement in 1972, she returned to Axis where she and her mother, who did have some experience in ceramics and was an avid gardener, began experimenting in a converted barn on her childhood property, first referred to as Kirk Craft House and later Kirk House. She soon became enamored with producing lifelike nature-inspired creations, starting with apples brought to her from a neighbor. Her works were an instant hit with the local market and her studio began to gain national recognition and praise. A woman with enormous drive and a knack for detail, Mary Kirk Kelly transformed her love of ceramics into a successful business that operated out of the same small studio in Axis, Alabama for more than four decades until her death in May of 2013. Her ceramic sculptures have been shown in national magazines such as Southern Accents, Better Homes & Gardens, Gourmet, House Beautiful, Bon Appetit, as well as the cover of Veranda and a book by decorator Charlotte Moss entitled a Passion for Detail. They have been sold in shops around the world, including at one point Neiman Marcus (the retailer had 32 stores at the time). Even while supplying works to collectors and retailers around the world, she personally trained and oversaw her small group of studio workers, which included at various times her mother and daughter, and personally worked on every piece that left the studio. She was self-trained and involved in every step of the process; creating the plaster of Paris molds, loading the kiln and hand painting each piece. Through tedious and painstaking trial and error she refined her techniques, ultimately finding the perfect temperature to fire her delicate creations. Her brother, who was an engineer, offered his technical aid in the design of the more intricate molds; many of these pieces were engineering feats. There were thousands of molds in the shop comprised of many pieces. Smaller parts like leaves and stems were all made separately by hand and painstakingly applied to the ceramic fruits and vegetables. Kirk Kelly also meticulously inspected each piece before it left her studio, destroying any with even the slightest imperfection. New Orleans Auction Galleries is pleased to offer a selection of ceramic works from the personal collection of the late Mary Kirk Kelly. Her passion and attention to detail is evident in the variety of ceramic sculptures offered in this sale, including several limited edition and one-of-a-kind pieces that graced her studio and home.

“I’ve never thought of myself as an artist, but I think I like to make the world prettier. The ugly is going to show itself anyway.”

S at u r day, Decem ber 6, 2014

S unday, De ce m be r 7 , 2 014

Lots 1 - 667

Lots 6 68 - 1176

10:00 - 11:00

1 - 99

10:00 - 11:00

668 - 734

11:00 - 12:00

100 - 199

11:00 - 12:00

735 - 800

12:00 - 1:00

200 - 299

12:00 - 1:00

801 - 900

1:00 - 2:00

300 - 399

1:00 - 2:00

901 - 1000

2:00 - 3:00

400 - 499

2:00 - 3:00

1001 - 1100

3:00 - 4:00

500 - 599

3:00 - 3:45

1101 - 1176

4:00 - 4:45

600 - 667

Lot 92

Session I S at ur day, De ce m be r 6 , 2 0 1 4 Lots 1 - 6 6 7

1 Set of Scalamandre Coral Silk Draperies with French Custom-Woven Coral and Gold Braided Fringe, the set includes five swags and cascades, h. 67”, w. 66”, ten drapery panels, h. 134”, w. 75”, and eight tiebacks. [1000/1500] Illustrated

2 Set of Scalamandre Coral Silk Draperies Trimmed with Custom-Woven Coral and Gold Braided Fringe, the set includes four swags and cascades, h. 67”, w. 66”, eight drapery panels, h. 134”, w. 75”, and eight tiebacks. [800/1200]

8 Pair of Continental Bronze-Mounted Alabaster Mantel Garnitures, ca. 1900, the alabaster urn-form garnitures decorated with bronze trim and handles, the covers with molded bronze knops, raised on bronzemounted bases with scrolled feet, h. 17‑1/2”, w. 8‑1/4”, dia. 6”. [3000/5000] Illustrated

3 Set of Scalamandre Coral Silk Draperies Trimmed with Custom-Woven Coral and Gold Braided Fringe, the set includes four swags and cascades, h. 67”, w. 66”, eight drapery panels, h. 134”, w. 75”, and eight tiebacks. [800/1200] 4 Set of Empire-Style Blue-Fringed Gold Draperies, including four swags and cascades on four rods with painted grape-form finials, h. 70”, l. 64”, and eight drapery panels, h. 128”, w. 72”, together with eight tassel-form tiebacks. [800/1200] Illustrated 5 Suite of Italian Baroque-Style Blue and Cream Draperies and Bed Covers, made by Old World Weavers for Stark, the set includes four cornice boards, h. 24”, w. 66”, d. 8”, eight drapery panels, h. 108”, w. 91”, eight tiebacks, five pillow covers, h. 21”, w. 21”, a king-size bed cover, w. 98”, l. 116”, and a bed skirt, w. 97”, l. 84”. [800/1200] Illustrated 6 Set of Scalamandre Off-White Silk Damask Draperies Trimmed in Beaded Crystal Fringe, the set includes three cornice boards, h. 24”, w. 66”, d. 8”, and six drapery panels, h. 108”, w. 102”. [600/900] Illustrated

9 Spanish Baroque-Style Giltwood Mirror, ca. 1900, the frame composed of bold, pierced scrollwork, h. 35”, w. 24”. [600/900] Illustrated

7 Regence Kingwood and MarbleTop Commode, late 18th century, the rounded rectangular top above a bombe case fitted with two short drawers over two long drawers, all triple-banded and quarter-veneered and with elaborate hardware, flanked to either side by ormolu espagnolettes, raised on scrolled legs ending in scrolled sabots, h. 33‑1/2”, w. 51”, d. 26”. Provenance: Parke-Bernet, 1967. [3000/5000] Illustrated

13 Pair of Louis XVI-Style Giltwood Bergeres, early 20th century, each with a padded domed back within a foliatecarved frame, joined by padded foliate arms to the cushioned seat, raised on fluted tapering circular legs ending in toupie feet, h. 36”. [1200/1800] Illustrated 13

10 Monumental Baroque-Style Bronze and Crystal Thirty-Six-Light Chandelier, mid-20th century, the bronze frame mounted with six candle arm clusters on each of the two tiers, hung with crystal drops, terminating in a lower spherical crystal finial, h. 55”, dia. 62”. [1500/2500] Illustrated

14 Pair of French Onyx Mantel Garnitures, the enameldecorated bases mounted with vasiform-shaped garnitures with swags and mounts of champleve enamel, each with a molded gilt-bronze finial, h. 22”, w. 7‑1/4”, d. 5‑1/4”. [2000/4000] Illustrated

12 11 Monumental Baroque-Style Bronze and Crystal Thirty-Six-Light Chandelier, mid-20th century, the bronze frame mounted with six candle arm clusters on each of the two tiers, retaining approximately half of the pendalogues, h. 55”, dia. 62”. [500/800] 12 Eugene Claude (French, 1841‑1922), “Le Lunch”, oil on canvas, signed lower right, 29” x 45‑3/4”. Presented in a period, acanthine and floral, deeply carved giltwood exhibition frame. [4000/7000] Illustrated

15 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”. [1200/1800]

16 Pair of Belle Epoque Bronze Three-Light Sconces, fourth quarter 19th century, in the Louis XV taste, the tapered backplates terminating in swagged urns with flame finials and supporting cupids holding leaf- and scroll-molded candle arms with matching candle cups, electrified, h. 21”, w. 5‑1/4”, d. 7‑1/4”. [1500/2500] Illustrated 17 Unusual French Belle Epoque Bronze Miniature Clock, fourth quarter 19th century, in the Louis XIV style, the urn-form body set with works marked by Planchon and the enamel dial marked by the retailer, Gaultier a 18 Paris, h. 8‑1/2”, w. 4‑1/4”, d. 3”. [500/800] Illustrated

19 Continental Belle Epoque Patinated Metal Centerpiece, ca. 1900, in the neoclassical taste, decorated with a pair of cherubs supporting a bowl molded with Bacchanalian masques and swags of flowers, the bowl finished in contrasting enamel colors, h. 11‑3/4”, w. 22”, d. 8‑3/4”. [1500/2500]

18 French Belle Epoque Marble and Patinated Metal Figural Mantel Clock, ca. 1900, the pink-veined marble base mounted with bronze trim and supporting a patinated metal figure of “La Musique”, after Auguste Moreau (French, 1834‑1917), mounted with the clock, the figure identified with a brass tag on the foot, and an incised signature on the side, h. 17‑1/2”, l. 19‑3/4”. [900/1200] Illustrated

20 Pair of Italian Carved Giltwood Corbels, 20th century, in the neoclassical taste, the leaf-carved brackets decorated with deeply modeled fleurettes, and holding seated cherubs supporting urns on their heads, h. 27‑1/2”, w. 7”, d. 4‑3/4”. [700/1000] Illustrated 21 French Belle Epoque Biscuit Figural Group, fourth quarter 19th century, depicting a pair of putti arranging a flower basket, molded on a rocky plinth with a tree stump, the flowers carefully molded, with a blue Sevres-style mark on the base, h. 18‑3/4”, w. 11‑1/4”, d. 5‑3/4”. [2000/4000] Illustrated 22 Louis XV Giltwood and Marble-Top Console Table, 18th century and later, the shaped marble top above a conforming foliatepierced frieze centered by a floral shield, raised on scrolling legs joined by a pierced stretcher and ending in foliate scrolled toes, h. 33”, w. 45‑1/4”, d. 23”. Provenance: Sotheby’s, 1973. [1000/1500] Illustrated

23 Opulent Napoleon III Bronze Dore Three-Piece Clock Set, mid-19th century, designed as a celebration of earthly pleasures, the putti on the clock symbolizing Adam and Eve, with Eve holding the apple, a molded snake coiled on the side below her, the candelabra molded with figural standards depicting male and female satyr figures with goat-form lower bodies, the Greek deities celebrated for lusty celebrations at the harvest feasts of Dionysus, both the clock, h. 29”, w. 21‑1/2”, d. 8‑1/2”, and the six-light candelabra, h. 29”, decorated with a profusion of molded rocaille work, flowers and leaves intended to delight the eye of the beholder. [12000/18000] Illustrated 24 Pair of English Gilt-Bronze, Porcelain and Marble Candelabra, second quarter 19th century, each candelabrum with a bronze base supporting leaf- and flower-molded central panels set with beautifully rendered porcelain plaques of hand-painted flowers, with matching candlearms on each side, the unusual marble bases separate, but possibly original, formerly electrified, h. 16‑1/2”, w. 15”, d. 6‑1/2”. [1500/2500] Illustrated

25 Pair of French Gilt-Metal and Art Glass Six-Light Candelabrum, first quarter 20th century, in the Louis XIV style, the tripartite scrolled bases supporting metal frames holding candle arms set with glass cups and bobeches, and hung with crystal drops, with a central metal and crystal “tree” and an upper crown of sprays of glass flowers and a spear finial, all above mottled aubergine marble serpentine bases, h. 45”, dia. 20”. [3000/5000] Illustrated

26 Italian Polychrome and Parcel-Gilt Vitrine, late 19th century, the stepped and molded cornice with foliate carving above a bombe case fitted with a curved glazed door and sides, opening to a shelved fabric-lined interior, over a shaped drawer, the front featuring a scene of musical courtiers, raised on molded cabriole legs joined by a foliate-shell-carved stretcher and ending in foliate scrolled toes, h. 84”, w. 37‑1/2”, d. 20”. [8000/12000] Illustrated

28 Baroque-Style Boldly Carved Wooden Eight-Light Chandelier, second quarter 20th century, decorated with parcel-gilding and contrasting green paint, the swag-carved baluster-form standard terminating in a leaf-carved finial, electrified, h. 57‑3/4”, dia. 36‑1/2”. [800/1200]

27 Continental Hand-Painted Polychrome Lacquer Tray, late 18th century, depicting a wealthy family group having tea and smoking in a garden, presented in a later giltwood and glass shadowbox frame, w. 24”, d. 18‑1/2”. [600/900] Illustrated

29 Regence Ormolu-Mounted Kingwood and Marble-Top Commode, 19th century, the shaped marble top above a conforming bombe case fitted with two short drawers over two long drawers, all with decorative inlaid banding, raised on splayed feet with sabots, h. 36”, w. 56”, d. 26‑1/2”. [3000/5000] Illustrated 30 Pair of Rococo-Style Gilded Silverplate Candlesticks, fourth quarter 19th century, decorated with molded scrollwork, shells and flowers, the serpentine bases with vasiform standards and candle sockets fitted with matching bobeches, h. 23‑1/2”, dia. 10‑1/2”. [500/800] Illustrated 31 Louis XV-Style Bronze Dore Mantel Clock, late 19th century, the works by Constantin Louis Detouche (French, 1810‑1889), the gilt-bronze case molded with rocaille and flowers, and fitted with an enamel chapter ring on a gilt-bronze dial, the works marked “C. Detouche, de la Ville de Paris, Feur”, h. 16‑1/4”, w. 9‑1/4”, d. 4‑3/4”. [700/1000] Illustrated

32 Pair of Belle Epoque Marble and Gilt-Bronze FourLight Candelabra, fourth quarter 19th century, in the Louis XV taste, the bronze-mounted urn-form bases holding bronze candle arms molded with leaves and flowers, and flower-form candle cups, h. 20‑1/2”, dia. 11”. [1000/1500] Illustrated

33 French Gilt-Bronze Flower Basket-Form Four-Light Chandelier, early 20th century, each arm fitted with frosted flowerhead shades, h. 28”, dia. 18”. [800/1200] Illustrated 34 French Gilt-Bronze and Opaline Glass Low Centerpiece, first quarter 20th century, the pierced gilt-bronze stand with leaf-molded handles on each side and resting on scrolled feet, a conforming molded opaline glass bowl lining the interior, h. 4‑1/2”, w. 8‑3/4”, l. 20”. [800/1200] Illustrated 35 Continental School (Fourth Quarter 19th Century), “Busy Harbor Scene”, oil on canvas, illegibly signed and dated “1882” lower left, 14” x 24”. Presented in a giltwood and gesso frame. [2000/4000] Illustrated

36 French School (Second Quarter 19th Century), “Country Chateau”, oil on canvas, unsigned, 12‑1/2” x 16”. Presented in an antique cove-molded giltwood frame. [500/800]

35 37 Louis XIV-Style Polychrome and Cast Stone Cupboard, 19th century, the inset slightly bowed cast stone top above a conforming case fitted with a central cupboard door with carved foliate ribbon design, flanked to either side by two drawers, raised on bellflower-carved scrolled legs, h. 37”, w. 83”, d. 25”. [4000/7000] Illustrated

41 Pair of French Gilt-Bronze Belle Epoque Three-Light Sconces, ca. 1900, the swagform backplate held with a bowknot and decorated with roses, the three candle arms in the form of bound laurel branches decorated with leaves and berries, the candle cups and drip pans decorated to match, h. 21”, w. 11‑1/4”, d. 6‑1/2”. [700/1000] Illustrated

38 38 Continental School (Second Quarter 19th Century), “Exuberant Floral Still Life”, oil on canvas, monogrammed “E.M.” lower left, 42” x 32”. Framed. [1000/1500] Illustrated

42 French Giltwood Three-Panel Screen, second quarter 20th century, in the Louis XVI style, with a serpentine top, the ribbon-carved frame set with a pierced bowknot crest, the needlepoint panels decorated with trophies suspended from swags of flowers, h. 55‑1/2”, w. 55‑1/2”. [1000/1500] Illustrated

39 Jules Cambier (Belgian, 20th Century), “Exuberant Floral and Fruit Still Life with Pottery”, oil on canvas, signed lower right, 32” x 47”. Presented in a Louis XV-style giltwood and gesso frame. [500/800] Illustrated 40 Louis XVI Marble and Bronze Dore Mantel Clock, fourth quarter 18th century, the arched top having an urnform finial with bronze flower knop and handles, the clock works set with a white enamel dial and flanked by bronze vasiform columns with like knops, the base and frieze decorated with gilt-bronze pierced scrollwork mounts, raised on bronze toupie feet, h. 16‑1/2”, w. 10”, d. 3‑1/4”. [700/1000] Illustrated

43 Pair of Louis XV-Style Silvered Bronze Chenets, fourth quarter 19th century, in the form of urns with flame finials over draped lions, with pierced side arms, mounted with pinecone and obelisk finials, h. 16‑1/4”, w. 18‑1/2”, d. 5‑3/4”. [1200/1800] Illustrated 44 French Gilt-Bronze and Steel Fire Tool Set, first quarter 20th century, the shell-molded base with a steel poker, tongs and shovel, with rococo-style scroll-molded handles terminating in flower bud finials, a matching handle on the stand, h. 28”, w. 9”, d. 7‑1/2”. [700/1000] 45 Louis XVI-Style Mahogany Center Table, early 20th century, the oval top with a painted scene of a courting couple in a pastoral landscape, above a conforming frieze with applied ormolu and millwork in arched patterns, raised on tapering circular legs ending in brass pegs, h. 29‑1/4”, w. 27‑1/4”, d. 20‑3/4”. [900/1200]

43 46 Louis XV-Style Mahogany Vitrine, early 20th century, the domed cornice with an ormolu foliate crest above a case fitted with a bowed glazed cupboard door, opening to a fabric-lined interior, the lower portion with painted scenes of courtiers, raised on splayed legs ending in sabots, h. 82‑1/2”, w. 53”, d. 17”. [1500/2500] Illustrated

49 Unusual Carved Giltwood Bracket, ca. 1900, decorated with a pair of angel’s heads against outstretched wings holding a serpentine shelf with a leaf-carved edge, h. 19‑1/2”, w. 4‑1/2”, d. 12”. [800/1200] Illustrated

47 Pair of Italian Carved Giltwood Wall Brackets, mid20th century, with cupid-form supports, the shelves carved with palmettes and gadrooned trim, h. 8”, w. 5‑1/2”, d. 4‑1/2”. [500/800] Illustrated 48 Pair of French White Marble and Gilt-Bronze TwoLight Candelabra, ca. 1900, in the Louis XVI taste, the bronze and marble bases with putti-form standards, one with a basket of fruit at his feet, and the other with a masque of tragedy and a tambourine, both holding cornucopias mounted with leaf-molded candle arms and flower-form candle cups, h. 19‑1/4”, w. 8‑3/4”, d. 4‑1/4”. [800/1200] Illustrated 50

50 Pair of Louis XV-Style Mahogany, Kingwood and Marble-Top Bombe Commodes, each with a shaped marble top above a bombe case fitted with three drawers, all banded and with parquetryinlaid veneers, raised on splayed legs ending in sabots, h. 32”, w. 36”, d. 22”. [1500/2500] Illustrated

51 Eugene Berthelon (French, 1829‑1914), “In the Forest Deep”, oil on canvas, signed lower left, 24” x 32”. Framed. [1800/2500] Illustrated

52 53

52 Paul Pascal (French, 1832‑ca. 1903), “Three Men in a Boat”, oil on canvas, signed lower left, 18‑1/2” x 24‑1/4”. In an antique gesso and carved giltwood frame. [1800/2500] Illustrated 53 Louis XV-Style Mahogany Writing Table, early 20th century, the shaped rounded rectangular top with molded brass banding and an inset gilttooled writing surface, above a conforming frieze fitted with a single central drawer, raised on cabriole legs headed by ormolu female masque mounts and ending in sabots, the underside rail signed, h. 30‑1/2”, w. 55‑1/2”, d. 29‑1/2”. [1000/1500] Illustrated

54 Louis XV-Style Kingwood Lady’s Desk, late 19th century, the top with an inlaid rectangular panel of flowers, above a like-inlaid slant-front opening to a fabric writing surface and a variety of drawers and cubbyholes, raised above a paneled apron on cabriole legs ending in sabots, h. 35”, w. 26‑1/2”, d. 18”. [500/800]

59 Pair of French Cut Crystal and Gilt-Bronze Lamps in the Baccarat Style, mid-20th century, the vasiform standards cut in the diamond point pattern and raised on gilt-bronze bases, h. 18”, overall, h. 22‑1/2”, w. 5”, d. 5”. [800/1200] Illustrated

55 French Gilt-Bronze Cartel Clock, fourth quarter 19th century, in the Louis XV style, decorated with molded rocaille ornament, the sides set with pierced grillwork, with a glass-covered opening over the pendulum, h. 20”, w. 10‑3/4”, d. 4‑3/4”. [1200/1800] Illustrated 56 Pair of Belle Epoque Gilt-Bronze Four-Light Candelabra, fourth quarter 19th century, in the Louis XV taste, the vasiform standards supporting scrolled candle arms set with matching candle cups and bobeches, all molded with rocaille, leaves and flowers, h. 17‑3/4”, dia. 12”. [500/800] Illustrated 57 Louis XV-Style Giltwood Three-Fold Screen, late 19th century, the taller central panel featuring a young maiden, the two side panels each with cherub figures, all within a molded foliate-carved frame and raised on scrolled toes, h. 50‑1/2”, w. 46”. [1800/2500] Illustrated 58 Louis XV-Style Polychrome Banquette, early 20th century, the four-cushioned top raised above a shaped apron on molded cabriole legs ending in scrolled toes, h. 21”, w. 107”, d. 22”. [1000/1500] Illustrated

60 French Belle Epoque Gilt-Bronze and Cut Crystal Centerpiece Bowl, fourth quarter 19th century, the rococostyle pierced bronze base decorated with molded leaves and scrollwork, and holding an oblong crystal bowl segmented with cut fluting and a lobed edge, h. 9”, w. 14”, d. 9‑1/4”. [800/1200] Illustrated 61 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”. [1000/1500] Illustrated

62 Louis XV-Style Silvered Bronze and Mirrored Surtout de Table, second quarter 20th century, in four sections, with panels of molded leaves and berries, the sides decorated with a pierced arcade, the end sections rounded, raised on tapered feet, h. 3”, w. 22”, l. 66”. [3000/5000] Illustrated

63 Set of Twelve Samson Luncheon Plates in the Sevres Style, first quarter 20th century, the scalloped edges decorated with raised gilt swagged borders, the panels with various hand-painted trophies and flowers, the reverse with a Sevresstyle mark over an “S” and the retailer, Ovington Brothers, New York, dia. 9”. [800/1200] Illustrated 64 French Gilt-Bronze and Porcelain Moderator Lamp, mid-19th century, in the rococo style, the scroll-molded base holding the Sevres-style vasiform standard, painted with cupids and trophies in a tooled gilt panel on the obverse and flowers on the reverse, on a bleu celeste ground, h. 22”, dia. 7”. [700/1000] Illustrated

65 Monumental Meissen-Style Porcelain Garniture Urn, post-1901, Potschappel, Germany, the rococo-style urn decorated with flowers and classical scenes framed with encrusted sculpted flowers, the sides with bold, gilttrimmed goat’s head handles, the knop in the form of a seated putto, marked by Saxonian Porcelain, Dresden, h. 36‑3/4”, w. 9‑1/2”, d. 9‑1/2”. [1500/2500] Illustrated 66 Pair of Meissen-Style Hand-Painted Porcelain Ginger Jars, fourth quarter 19th century, German, decorated with hunting scenes, the men in 18th-century costume and framed by lattices and lushly painted flowers on a gilt ground, the necks decorated with gilt-veined pebbling, with a mark similar to crossed swords by Joseph Schachtel of Charlottenbrunn, h. 20‑3/4”, dia. 8‑3/4”. [1500/2500] Illustrated

67 Pair of Rococo Revival Bronze and Porcelain Moderator Lamps, mid-19th century, French, with pierced bronze bases supporting Paris porcelain pink-ground vasiform standards decorated with panels of hand-painted flowers in tooled gilt borders, base, h. 17”, overall, h. 21‑1/2”, dia. 7‑1/4”. [550/800] Illustrated 68 Pair of French Belle Epoque Giltwood Mirrors, ca. 1900, in the Louis XV taste, the frames carved and pierced with rocaille and shellwork, h. 31”, w. 17”. [600/900] Illustrated

70 69 French Gilt-Brass “Attorney” Trade Sign, fourth quarter 19th century, of oval form and double sided, with “AVOUE” printed in black in the center, framed with molded oak and laurel leaves and a “scales of justice” finial, the iron bracket made to affix to a pole or the side of a building, h. 13‑3/4”, w. 16‑1/2”, d. 11‑3/4”. [500/800] 70 Louis XV-Style Mahogany Exhibition Easel, early 20th century, the pierced and carved crest featuring a bird with flowers and various “C” scrolls, the base with extended carved paw feet, h. 91”, w. 26”, d. 20”. [1000/1500] Illustrated 71 Niek van der Plas (Dutch, b. 1954), “Beach Scene”, oil on wood panel, signed lower right, 9‑1/4” x 11‑1/2”. Framed. [1000/1500] Illustrated 72 Jean Lefort (French, b. 1948), “Young Girl by the Shore”, oil on panel, signed lower right, 24” x 32”. Framed. [1500/2500] Illustrated 73 Marilyn Guerinot (American/Texas, Contemporary), “In the Summer Garden”, oil on canvas, signed lower left, 30” x 40”. Framed. [800/1200] Illustrated 74 Niek van der Plas (Dutch, b. 1954), “Pan van Persijn”, oil on panel, signed lower right, signed and titled en verso, 9‑1/4” x 15‑1/4”. Framed. [1000/1500] Illustrated 75 Georges Gerbier (French, 1906‑1983), “Springtime in Paris”, oil on canvas, signed lower left, inscribed en verso “Champs Elysees, Arc de Triomphe”, 7‑5/8” x 9‑1/2”. Presented in an attractive Louis XV-style giltwood frame. [700/1000] Illustrated 76 Paul Renard (French, 1941‑1997), “Winter Evening, Paris”, watercolor on paper, signed lower left, 10‑1/2” x 18”. Glazed, matted and framed. [1500/2500] Illustrated

77 Louis XV Provencal Old Standard (.958) Silver Ewer, marked 1773, Marseille, by Pierre-Bernard Durand (master 1753), the pear-shaped body decorated with repousse spiral-fluted calyx and rococo cartouches joined by floral swags, with hinged and domed lid, pomegranate finial, acanthus “S”-scroll handle and serpentine-lobed domed foot, h. 11‑1/4”, dia. 5‑1/4”, l. 7”, 35.11 t. oz. [3500/5000] Illustrated

78 Good French First Standard (.950) Silver GiltMounted Engraved Glass Claret Jug, fourth quarter 19th century, by Gustave Keller Freres (fl. 1881‑1922), Paris, with an inverted pear-shaped body wheel-engraved with floral rinceaux, gadrooned calyx and conjoined monogram “CH”, the tall neck clad in a silver-gilt collar with integral spout, hinged lid with acanthus-bud finial and bifurcated, scroll-crested acanthus handle to the domed foot en suite, h. 12‑1/2”, dia. 4‑3/4”. [3000/5000] Illustrated

79 Good Cased Fifteen-Piece Louis-Philippe Second Standard (.800) Silver Gilt Tea Service, second quarter 19th century, by Philippe Berthier (fl. 1841‑1851), Paris, including twelve teaspoons, l. 5‑3/4”, each with spatulate handle decorated with an allover guilloche pattern, with an oval cartouche on the reverse, with a caddy spoon, l. 3‑3/4”, and lion’s paw-grip tongs, l. 6”, and an in-spout tea strainer, dia. 2‑1/2”, all en suite, engraved, on the cartouche, with a comital armorial, presented in the original beige silk- and velvet-lined ebonized case, with brass banding and inlaid cartouche with comital cypher “HC”, 1‑3/4” x 10‑3/4” x 7‑1/2”. [500/800] Illustrated

80 Set of Twelve French Parcel-Gilt Second Standard (.800) Silver Strawberry Spoons, 1891‑1912, Paris, by Louis Ravinet and Charles d’Enfert, each with a Louis XV-style handle a la Russe and a scalloped bowl engraved with strawberries, l. 5‑1/4”, 5.34 total t. oz. [700/1000] Illustrated

81 French First Standard (.950) Silver Platter, fourth quarter 19th century, by Maison Odiot, Paris, of oval form with serpentine-lobed reed-and-ribbon edge and recessed oval plateau, l. 16‑3/4”, w. 13‑1/4”, 34.60 t. oz. [900/1200] Illustrated 82 German .800 Silver and Glass Jar, first quarter 20th century, by J. D. Schleissner Sohne, Hanau, retailed by Buccholz & Zelt, New York, New York, the glass body of circular form with cane-cut flange rim and oculus-cut “wave” banding, the silver lid with a figural “nef” finial on a sea of embossed rococo scrolls, h. 6”, dia. 6‑3/4”, 4.66 t. oz. (silver lid only). [500/800] Illustrated 83 German .800 Silver Platter, the pattern introduced in 1886 by M. H. Wilkens & Sohne, Bremen, retailed by Carl Becker, Cologne, of oval form with molded serpentinelobed “Chippendale” rim, engraved on the edge of the plateau and on the underside with fancy conjoined monogram “HHB”, l. 21‑1/4”, w. 16‑3/4”, 79.07 t. oz. [1000/1500]

84 German Twenty-Four-Piece Cased .800 Silver and Gilt-Metal Fish Service, first quarter 20th century, retailed by Gebruder Freidlander, Berlin, including twelve fish forks and twelve fish knives, each with a spatulateshaped silver handle embossed with rococo scrolls and flowers, the knives with gilt-metal scimitar-shaped blades, l. 8‑1/8”, engraved with rococo scrolls, the gilt-metal fork tines en suite, the leftmost tine cleverly shaped and engraved in the form of a fish, l. 7‑5/8”, presented in the original claret satin- and velvet-lined case, as retailed by Gebr. Friedlander, Court Jewelers to the Kaiser, h. 3”, w. 17”, d. 10”. [1800/2500] Illustrated 85 German .800 Silver and Engraved Glass Center Bowl, first quarter 20th century, in the rococo taste, the lozengeform frame decorated with embossed rocaille cartouches on a trellis ground, with four figural putto supports joined by floral garlands, fitted with a paneled oval glass bowl with scalloped rim, the panels decorated with wheelengraved rococo cartouches en suite with the base, overall, h. 7”, l. 16‑1/4”, w. 12”, 45.84 t. oz. (excluding liner). [1500/2500] Illustrated

87 86 Cased Set of Six Austrian Third Standard (.800) Silver Gilt and Plique-a-Jour Demitasse Spoons, fourth quarter 19th century, by Georg Adam Scheid (1837‑1921), Vienna, retailed by E. Caldwell & Co., Philadelphia, Pennsylvania, each with a heart-shaped bowl and “cannetille” scrollwork handle, decorated throughout with blue, yellow, green and red pliquea-jour enamel, l. 3‑3/4”, presented in the original cotton damask fitted case, the interior lid with retailer’s stamp, 1‑1/2” x 7‑1/2” x 7”. [900/1200]

87 Flemish School (Fourth Quarter 17th/First Quarter 18th Century), “Full-Length Portrait of a Young Boy with His Greyhound in a Classical Landscape”, oil on canvas, bearing a signature lower left “J. Vaillant”, 61‑1/2” x 43”. Presented in a giltwood and gesso frame. Provenance: Parke-Bernet Galleries, New York, ca. 1960; Private collection, Alexandria, Louisiana. [5000/8000] Illustrated

90 88 Continental School, Probably Swedish (Fourth Quarter 18th Century), “Siblings”, oil on canvas, 58” x 46”. Presented in an antique giltwood and gesso frame. [7000/10000] Illustrated 89 Continental School (Fourth Quarter 18th Century), “Portrait of a Dignitary”, oil on canvas, unsigned, 38” x 30‑3/8”. Framed. [500/800] 90 French School (18th Century), “Mother and Child”, oil on canvas, unsigned, 40” x 36”. Framed. [2000/4000] Illustrated 91 Circle of Piat Joseph Sauvage (Flemish, 1744‑1818), “Musical Cherubim”, oil on canvas, unsigned, 49” x 51”. Framed. Provenance: Parke-Bernet Galleries, New York, ca. 1960; Private collection, Alexandria, Louisiana. [1000/1500] Illustrated 92 Follower of Antonio Canal, Canaletto (Venetian, 1697‑1768), “The Grand Canal with Santa Maria della Salute”, early 19th century, oil on canvas, 41” x 78‑1/2”. Framed. [3000/5000] Illustrated 93 French School (Fourth Quarter 18th Century), “Extensive Coastal Landscape with Fishermen, Flanked by Trompe-l’oeil Portrait Medallions”, oil on canvas, 61” x 182”. Framed. [5000/8000] Illustrated 88

94 94 French School (Fourth Quarter 18th Century), “Extensive Coastal Landscape with Figures Teaching a Dog Tricks, Flanked by Trompe-l’oeil Portrait Medallions”, oil on canvas, 67” x 176”. Framed. [5000/8000] Illustrated

95 George III Mahogany Tripod Table, fourth quarter 18th century, the dished floriform-shaped tilting top raised on a turned baluster-form standard to a foliate-carved base on three splayed acanthinecarved cabriole legs ending in scrolled pad feet, h. 29‑1/2”, dia. 30”. [800/1200] Illustrated 96 School of Sir Peter Lely (Dutch/British, 1618‑1680), “Portrait of Lady Elizabeth Capell, Countess of Carnarvon”, oil on canvas, old inscription “Property of Beechwood Museum, Inc.” en verso, 47‑1/2” x 39‑1/2”. Provenance: Beechwood Mansion, Newport, Rhode Island; Private collection, New Orleans, Louisiana; Private collection, Galveston, Texas. [15000/25000] Illustrated The Honorable Elizabeth Capell (1633‑1678) was the daughter of Arthur Capell, the 1st Baron Capell of Hadham, a Royalist hero of the English Civil War, and the wife of Charles Dormer, 2nd Earl of Carnarvon with whom she had six children. Numerous depictions of the Capell and Dormer families are in the permanent collections of such institutions as the Metropolitan Museum of Art, New York, New York; Fitzwilliam Museum, Cambridge, England; National Portrait Gallery, London, England; and the Yale Center for British Art, New Haven, Connecticut. The Carnarvon family seat is Highclere Castle, Hampshire, England. 97 Queen Anne-Style Mahogany Wing Chair, early 20th century, the tall padded back joined by shaped sides and outscrolled arms to the cushioned seat, raised on cabriole legs ending in pad feet, h. 51”. [500/800] Illustrated

98 George III Mahogany Chest-onChest, fourth quarter 18th century, the molded and dentillated cornice above a case fitted with two small drawers over three graduated long drawers, flanked by canted and fluted sides, the lower section fitted with three graduated long drawers, raised on tall bracket feet, h. 75‑1/2”, w. 40‑1/2”, d. 21‑1/2”. [1000/1500] Illustrated 99 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”. [600/900] Illustrated 100 Alfred de Breanski Sr. (British, 1852‑1928), “At Burnham, Bucks”, oil on canvas, signed lower right, verso signed and further inscribed “A Yorkshire...byk Canal”, canvas stamped “Winsor and Newton, London”, 12” x 14”. Presented in a giltwood and gesso frame stenciled with name and title. [1500/2500] Illustrated

100

101 Fine George III Figured Mahogany Tall Case Clock, fourth quarter 18th century, the brass inner face engraved “Robert Cawley, Chester”, the hood with an arched swan’s neck cornice, brass rosettes and finials, above a paintdecorated tympanum, the case with a highly figured door flanked by fluted quarter columns with brass capitals and brass inset stop fluting, the base with interlocking brickwork corners, h. 95”, w. 21”, d. 10”. [2000/4000] Illustrated

108 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”. [1500/2500] Illustrated

102 Chinese Export Porcelain Armorial Soup Tureen and Underplate, fourth quarter 18th century, with boar’s head handles and notched corners, decorated with a lavender meander border with floral sprigs, the central panels decorated with an armorial with the motto “Fortis in bello”, h. 9‑1/4”, w. 11”, l. 14‑1/2”. [2500/4000] Illustrated 103 George III Mahogany Serving Table, fourth quarter 18th century, in the Chinese Chippendale taste, the rectangular top above a conforming blind fret-carved frieze, raised on like-carved square legs ending in block feet, h. 32‑1/2”, w. 71‑1/2”, d. 24”. [2000/4000] Illustrated

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109 Pair of GeorgianStyle Inlaid Mahogany Knife Boxes, fourth quarter 19th century, decorated with shell-inlaid lids, the edges outlined in chevron inlay, with inlaid fluting on the corners, the fitted interiors also decorated with inlay, h. 14‑1/2”, w. 8‑3/4”, d. 10‑1/2”. [800/1200] Illustrated

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104 George III-Style Mahogany Side Table, early 20th century, in the Chinese Chippendale taste, the breakfront rectangular top above a conforming blind fretcarved frieze, raised on like-fretted square legs, h. 36”, w. 68‑1/2”, d. 25‑1/2”. [500/800]

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105 Circle of Edward Lear (British, 1812‑1888), “Early Morning in the Valley”, oil on board, unsigned, 10” x 14”. Presented in an antique giltwood and gesso frame. [800/1200] Illustrated 106 Chinese Export Blue and White Porcelain Notched Corner Salad Bowl, fourth quarter 18th century, with a diapered border on the exterior, and bordered with moth decoration on the interior, h. 5‑1/4”, dia. 11‑3/4”. [1000/1500] Illustrated 107 Chinese Export Green Fitzhugh Platter with Strainer Insert, third quarter 19th century, of oval form, the tightly decorated panels outlined in black and painted in green, w. 13”, l. 16”. [1500/2500]

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110 Suite of Twelve George III-Style Mahogany Dining Chairs, consisting of two armchairs and ten sidechairs, in the Sheraton manner, each with a rectangular back with three lotus-carved uprights, the padded seat raised on chamfered tapering square legs, h.Â 37â&#x20AC;?. [1000/1500] Illustrated

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111 George III Mahogany Sideboard, early 19th century, the superstructure fitted with two tambour glissant cabinets above a bowed top, above a frieze fitted with a central paneled drawer and two side drawers, flanked to either side by a cellarette drawer, h. 46‑1/2”, w. 86‑1/2”, d. 27”. [2500/4000] Illustrated 112 Pair of Queen Anne Walnut Armchairs, late 18th century, each with a shaped crest over a balusterform splat, joined by scrolling arms to the padded seat, raised on cabriole legs headed by a fleur-de-lis carving, joined by an H-form stretcher and ending in pad feet, h. 43”. [1000/1500] Illustrated 113 British School (Third Quarter 19th Century), “Mountainous River Landscape with a View of a Crumbling Castle”, oil on canvas, illegibly signed lower right, 30” x 25”. Presented in a period, possibly original, giltwood and gesso frame. [1000/1500] Illustrated 114 Suite of Eight George III-Style Mahogany Dining Chairs, late 19th century, consisting of two armchairs and six sidechairs, in the Chippendale manner, all with a shaped and earred crest above a pierced splat, the padded seat raised on acanthinecarved cabriole legs ending in ball-and-claw feet, h. 40”. [1800/2500] Illustrated

113 115 George III-Style Mahogany Settee, late 19th century, the shaped and earred crest over two pierced shell-carved splats, joined by shaped arms to the padded seat, raised on cabriole legs headed by foliate carving and joined by stretchers and ending in pad feet, h. 37”, w. 55‑1/2”, d. 21”. [600/900]

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116 George III Mahogany Desk, fourth quarter 18th century, the rectangular top with an inset leather writing surface, above a case fitted with a central pullout slide over a drawer, flanked to either side by two small drawers, raised on chamfered square legs ending in casters, h. 30‑1/2”, w. 46”, d. 25‑1/2”. [2000/4000] Illustrated 117 William Henry Williamson (British, 1820‑1883), “Fishermen on a Stormy Sea”, oil on panel, signed lower left, 12” x 18”. Framed. [1000/1500] Illustrated 118 George III-Style Mahogany Secretary Chest, mid-19th century, the rectangular top above a case fitted with a drop-front secretary drawer, opening to a baize-lined surface and a variety of drawers and cubbyholes, over three graduated long drawers, raised on bracket feet, h. 41‑3/4”, w. 40”, d. 21”. [800/1200] Illustrated

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119 Queen Anne Walnut Lowboy, 18th century, the rounded rectangular top banded and above a case fitted with a single drawer over three short drawers above a scalloped apron, raised on cabriole legs ending in pad feet, h. 28”, w. 29”, d. 19‑1/2”. [800/1200] 120 George III Mahogany Raeburn Chair, fourth quarter 18th century, the padded and domed back joined by like arms to the padded seat, raised on square legs joined by a box stretcher and ending in casters, h. 39”. [500/800] 121 George III Mahogany Wing Chair, fourth quarter 18th century, the padded rectangular back joined by shaped sides and outscrolled arms to the cushioned seat, raised on square legs joined by an H-form stretcher, h. 46”. [500/800]

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122 Pair of Chinese Porcelain Garden Seats, 19th/20th century, decorated with a blue and white floral-scroll motif, and with blue foo dog lugs on either side of each seat, unmarked, h. 18‑3/4”. [2000/4000] Illustrated 123 Large Chinese Porcelain Basin, 19th century, the blue and white bowl with a dragon motif, and a wave pattern around the rim, unmarked, h. 9‑1/2”, dia. 26‑1/4”. [800/1200] Illustrated 124 Unusual Pair of Early George III Sterling Silver Candlesticks with Later Colonial Candelabra Branches, the candlesticks hallmarked London, 1762‑1763 and 1766‑1767, by William Cafe (ca. 1727‑1802; free 1757), the branches second quarter 19th century, possibly Cox & Monin, Madras, India, the candlesticks with spiral-twist rococo standard, with a circular gadrooned knop and shell-faced squared capital, raised on a serpentine-lobed square foot with gadrooned edge and shell-and-scroll banding, and surmounted by a gadrooned cannon-form nozzle, the detachable branches en suite with central standard and three arms, the nozzles with detachable bobeches, the candlesticks h. 10”, w. 5‑1/8”, with branches h. 15‑1/4”, w. 13‑1/2”, 39.43 total t. oz. (candlesticks only, as the branches are unmarked and steel reinforced). [6000/9000] Illustrated 125 George II Sterling Silver Coffeepot, hallmarked London, 1743‑1744, by (probably) William Williams I (free 1738), of baluster form with later repousse scroll and flower decoration, with hinged, domed lid and wooden crested scroll handle, h. 8‑1/4”, dia. 3‑1/2”, l. 6‑3/4”, 16.63 total t. oz. (including wood handle). [600/900] Illustrated

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126 Pair of George III Irish Sterling Silver Wine Goblets, hallmarked Dublin, no date letter but third quarter 18th century, by John Lloyd (ca. 1739‑1821; free 1768), each with an ovoid body decorated with large and handsomely chased repousse acanthus calyx, raised on a trumpeted foot decorated with acanthus and gadroon banding, the interior gilt, h. 6‑3/8”, dia. 3‑3/4”, 13.56 total t. oz. [2500/4000] Illustrated 127 Pair of George III Sterling Silver Sauceboats, hallmarked London, 1768‑1769, by Francis Crump (1711‑1774; free 1740), each of traditional batteau form, with scalloped rim, everted spout, crested double “C”-scroll handle and raised on three shellcrested pad feet, inscribed on the underside “OA to MG”, h. 5”, l. 7‑3/4”, w. 4‑1/2”, 20.85 total t. oz. [2500/4000] Illustrated

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128 George II Sterling Silver Waiter, hallmarked London, 1754‑1755, by William Peaston, of circular form, with shell-andscroll “Chippendale” rim and raised on three double “C”-scroll feet, the plateau engraved with the arms of Lee quartering Browne, dia. 7”, 8.29 t. oz. [700/1000] Illustrated The arms here are the quartered arms of John Lee and his wife Mary Browne of Hartwell, co. Buckingham, presumably for their son Thomas Lee (1742‑1814), equerry to the Duke of Gloucester.

130 Set of Three George III Sterling Silver Coquille Dishes, hallmarked London, 1777‑1778, no maker’s mark, each of traditional form with “whelk shell” feet, l. 6”, w. 4‑1/4”, 9.63 total t. oz. [1000/1500] 131 Set of Eight George III Sterling Silver Tablespoons, hallmarked London, 1777‑1779, five by George Smith III and three by Joseph Steward II, each in the traditional “Old English Bright Cut” pattern, engraved with the crest of Harvey of Suffolk et al., l. 8‑3/4”, 18.22 total t. oz. [700/1000] Illustrated On the three spoons with Steward’s mark, the other marks are too rubbed to read, and the maker’s mark is clearly over-striking another. More interesting, however, is that one of the Smith spoons is a “duty dodger” example, with the maker’s mark struck four times to emulate the official hallmarks and thereby avoid assay duties. 132 Pair of George III Sterling Silver Platter Spoons, hallmarked London, 1784‑1785, by Richard Crossley (ca. 1743‑1815), free 1782, in the traditional “Old English Bright Cut” pattern, engraved with a crest of a goat’s head erased, l. 11‑1/2”, 7.07 total t. oz. [500/800]

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128 (detail)

133 George III Sterling Silver Cake Basket, hallmarked London, 1781‑1782, by William Plummer (ca. 1739‑1791; free 1755), of oval form, with a reticulated floral paterae rim between bright cut swags and a beaded edge, with beaded swing handle and galleried foot en suite, engraved on the interior bowl with the arms of Walker impaling Need, l. 13‑5/8”, w. 10‑1/4”, h. 3‑1/2” (10‑3/4” with handle), 26.21 t. oz. [3000/5000] Illustrated The arms here are those of John Walker (1750‑1815) of Clifton House, Rotherham, co. York, who married, on August 17, 1781 at St. Peter’s, Nottinghamshire, Susannah Need (1760‑1831), daughter of Samuel Need and Elizabeth Gibson. 134 George III Sterling Silver Hinged Server, hallmarked London, 1800‑1801, by William Eley I and William Fearn (fl. 1797‑1808), with threaded spatulate filled handle, the hinged, pointed blades decorated with imbricate piercing, l. 12”. [600/900] Illustrated

129 George III Sterling Silver Salver, hallmarked London, 1773‑1774, by Richard Rugg I (ca. 1723‑1775; free 1746), of circular form with beaded serpentine-lobed rim, raised on four ball-and-claw feet, engraved on the plateau with a laurel, ribbon and rose-mantled cartouche centering the arms of Yate of Great Farringdon, Berkshire, dia. 17”, 66.01 t. oz. [7000/10000] Illustrated

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135 George III Sterling Silver Sugar Basket, hallmarked London, 1790‑1791, by Henry Chawner (1764‑1851; free 1785), of navette form with upswept ends, decorated with bright-cut and pricked banding and cavetto-canted square cartouche, with reeded oval foot and swing handle, engraved on the cartouche with the crest of Smyth of Beverly et al., h. 4‑1/2” (6‑1/4” with handle), l. 6‑1/8”, w. 4‑1/2”, 7.89 t. oz. [500/800] Illustrated

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136 George III Irish Sterling Silver Ladle, hallmarked Dublin, 1802, by “JS”, in the traditional “Bright Cut Old English Star” pattern, engraved with the arms of Middleton, co. Cambridge and Stockeld, co. York, l. 13‑1/4”, 5.65 t. oz. [500/800]

137 Neo-Renaissance-Style Carved Walnut and Marble-Top Sideboard, early 20th century, with a thick Egyptian marble top above a row of three drawers, raised on eight legs and featuring carved swags of fruit below the drawers, h. 36”, w. 84”, d. 24”. [2500/4000] Illustrated 138 Pair of Continental Watercolor Scenes in the Japanese Style, mid-20th century, one depicting women writing on a scroll in a courtyard and the other a group of women dining around a low table, in pierced brass frames, h. 21”, w. 15‑3/4”. [800/1200] Illustrated 139 Follower of Jan van Scorel (Dutch, 1495‑1562), “Presentation of Christ in the Temple”, oil on canvas, 44” x 66‑1/2”. Framed. [1000/1500] Illustrated 140 Pair of Neoclassical-Style Marble Pedestals, each with a verdigris marble top, column and base, the green elements joined by contrasting white marble sections, h. 48”, w. 8”, d. 8”. [500/800] Illustrated 141 Italian Grand Tour Patinated Bronze Figure, fourth quarter 19th century, after the original excavated in 1862, initially identified as Narcissus, now as Dionysus, the nude male depicted standing and gazing down, h. 23‑1/4”, dia. 9‑1/2”. [800/1200] 142 Grand Tour Bronze Figure of Two Men Wrestling, after Antonio Pollaiuolo (Italian, 1429‑1498), first quarter 20th century, in the Renaissance style, on a tripartite platform with molded edges and turtleform feet, h. 16”, w. 8‑1/2”, l. 10‑1/2”. [1000/1500] Illustrated

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143 Near Pair of Italian Ebonized and Specimen Marble Cabinets, late 19th century, each with a rectangular top with a breakfront form and inset marble surface, above a case fitted with a single frieze drawer over a cupboard door, the whole inset with a variety of marble inserts of various types and shapes, raised on molded block feet, h. 38”, w. 30‑1/4”, d. 20‑1/4”. [7000/10000] Illustrated

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145 Italian Giltwood and Marble-Top Side Table, early 20th century, the rectangular marble top above a conforming dentillated frieze centered by a floral-carved panel and with floral-carved end blocks, raised on paneled legs headed by acanthine-carved scrolls and ending in foliate-molded feet, h. 33”, w. 66”, d. 4”. [2000/4000] Illustrated 149

144 Assembled Pair of Italian Black Marble and Pietra Dura Obelisks, fourth quarter 19th century, each with specimen stone inlays in the tower, one with like inlays in the base and the other with an inlaid flower, h. 14‑1/4” and 14‑1/2”. [600/900]

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146 Three-Piece Italian Painted and Parcel-Gilt Bedroom Suite, early 20th century, consisting of a bed and two wardrobe cabinets, the bed with a molded and domed cornice centered by an elaborate scrolling foliate crest, over an arched panel back and joined by plain rails to the paneled footboard, raised on molded bun feet, h. 84”, w. 68”, d. 96‑1/2”, and the cabinets each with a shaped foliate-carved crest above a case fitted with a single door, opening to a hanging space and a lower drawer, raised on molded bun feet, h. 98”, w. 34‑1/2”, d. 26”, all pieces with elaborately carved foliate-, floral- and masque-carved accents throughout. [3000/5000] Illustrated

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147 Pair of Italian Baroque-Style Giltwood Wall Brackets, the pierced rose-carved backplates with angel-form shelf supports, under serpentine shelves with incised edges, h. 18”, w. 14”, d. 7‑1/2”. [800/1200] Illustrated 148 Suite of Four Italian Polychrome Sidechairs, 20th century, each with a molded foliate-pierced crest over a pierced circular splat, the padded seat raised on molded cabriole legs ending in scrolled toes, h. 35”. [800/1200] 149 Pair of Italian Polychrome Armchairs, 20th century, each with an interlacing back with foliate vine accents, joined by shepherd’s crook arms to the padded seat, raised on molded cabriole legs ending in scrolled toes, h. 38”. [800/1200] Illustrated

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150 Pair of Italian Polychrome and Faux-Marbre Cupboards, early 20th century, each with a rectangular faux-marbre top above a conforming case fitted with a single drawer over a cupboard, the whole with decorative polychrome accents in flowering branch and avian patterns, raised on tapering splayed legs, h. 34‑1/2”, w. 18‑1/2”, d. 15”. [500/800] Illustrated

156

151 Pair of Continental Pottery Vases, ca. 1900, now mounted as lamps, in two parts, decorated with raised gilt-trimmed pink flowers and gilt wisps of clouds on an ivory ground, with pink-ground necks and bases, base, h. 27‑1/2”, overall, h. 44‑3/4”. [500/800] 152 Pair of Italian Giltwood Rondel-Form Mirrors, fourth quarter 19th century, in the Baroque taste, framed in rocaille trim with mirror-backed crests, decorated with bellflowers and scrollwork, h. 34”, w. 13‑1/4”. [800/1200] Illustrated 153 Italian Polychrome Bureau, 19th century, in the rococo taste, the slant front opening to drawers and cubbyholes flanking a central open cupboard, above a single long drawer, raised on cabriole legs ending in foliate toes, h. 37‑1/2”, w. 35”, d. 19”. [1200/1800] Illustrated 154 Pair of Venetian Carved and Polychrome-Painted Mirrors, fourth quarter 19th century, the rococo-style frames pierced and carved with shells and scrollwork, decorated with panels of flowers and diapering, the mirrors decorated with an engraved figure of a harlequin on one and an old man on the other, h. 34”, w. 13”. [1800/2500] Illustrated

153

152

154

155 Italian Giltwood and Marble-Top Side Table, 19th century, the long rectangular marble top inset into an annulated foliatecarved frieze, with pendant floral swags centering a scene of cherubs flanking an urn, raised on fluted tapering circular legs with bellflower carving, h. 33‑1/2”, w. 78”, d. 18”. [2000/4000] Illustrated 156 Belle Epoque Carved White Alabaster Figure of Two Putti Embracing, fourth quarter 19th century, probably Italian, on a contrasting figured alabaster base, h. 32‑1/4”, w. 13‑3/4”, dia. 9‑1/2”. [800/1200] Illustrated

155

157 Italian Marble Figure of a Child Writing, ca. 1900, after Antonio Canova (Italian, 19th century), the seated figure holding a stylus and tablet inscribed “Canova”, h. 17”, w. 7‑1/2”, d. 8‑1/2”. [800/1200] Illustrated 158 Italian Marble Figure of a Nude Baby Boy, fourth quarter 19th century, depicted on a blanket, one hand playing with his toes, h. 19”, w. 13”, d. 8‑1/4”. [1000/1500] Illustrated 159 Italian Micro-Mosaic of the “Madonna and Child”, 1932, by Romolo Sellini (Italian, 19th/20th Century), Vatican Mosaic Workshop, Rome, after the oil on canvas by Bartolome Esteban Murillo (Spanish, 1618‑1682) now at the Palazzo Pitti, Florence, two old “Studio del Mosaico/Vaticano” labels en verso with title, artist and date, encased in a period carved wood frame, overall, 40‑1/2” x 29‑1/2”. [2000/4000] Illustrated 160 Continental Neoclassical Walnut Commode, late 19th century, the banded rectangular top above a conforming case fitted with three long drawers, raised on stepped block feet, h. 37”, w. 50”, d. 24”. [700/1000] Illustrated 161 French Neoclassical-Style Gilt-Bronze Table Box, first quarter 20th century, decorated with blue enamel within a pierced bronze frame, and a central miniature painting of an amorous couple in 18th-century costume, h. 2”, w. 5‑1/2”, d. 4”. [600/900] Illustrated

157

159

158

162 Italian Polychrome Bureau, 19th century and later, the slant front opening to an interior fitted with various compartments and a storage well, above a shaped frieze, raised on cabriole legs, the whole accented with figural and floral scenes, h. 43”, w. 45”, d. 21‑1/2”. [1500/2500] Illustrated

164

161

162

163 Cloisonne Enamel-Decorated Dome-Top Jewelry Casket, decorated with a pattern of grapes and grapevines growing on latticework, with green and blue leaves, and green and aubergine grapes against a mauve ground, marked “Made in Korea, Silver 88%”, h. 3‑1/2”, w. 6‑1/2”, d. 3‑1/4”. [600/900] 164 Unusual Pair of Carl Knoll Jugendstil Lustre Glazed Vases, first quarter 20th century, Austrian, the Asian-inspired oblong vases with red-veined “marble” bases supporting the green and mauve lustre bodies framed in raised, gilded ornament and matching handles, the red transferprinted mark employing a crown over “Carlsbad”, and “Made in Austria”, h. 10”, w. 12”, d. 3‑1/4”. [1000/1500] Illustrated 160

165 Two French Gilt-Metal and Enamel Jewel Cases, first quarter 19th century, the cove-molded boxes decorated with neoclassical patterns and engine turning, the bolection-molded covers set with enamel plaques depicting women in profile, each stamped “France”, h. 2‑1/4”, w. 5”, d. 5” and h. 2‑3/4”, w. 5”, d. 5”. [600/900] Illustrated

165 168

166 Italian Polychrome Commode, early 19th century and later, the rectangular top with a molded edge and canted corners, above a conforming case fitted with two long drawers, each with carved banding and a central circular panel, raised on fluted tapering square legs, the whole with polychrome accents in scrolling floral and musical patterns, h. 32‑1/2”, w. 45‑1/2”, d. 23‑1/2”. [1500/2500] Illustrated

167 Continental Polychrome Semainier, late 19th century, the rectangular top with canted corners, above a conforming case fitted with seven drawers, all with incised gilt patterns, raised on block feet, h. 59‑1/2”, w. 28‑1/4”, d. 16‑1/2”. [2000/4000] Illustrated

166

168 Meissen Porcelain Nereid Sweetmeat Stand, post-1922, German, after the original modeled by Johann Kaendler and Johann Eberlein, from the celebrated “Swan Service”, in the form of a mermaid holding a shell, surrounded by two dolphin-tailed putti, one holding a pseudo-armorial shield and the other a floral-decorated shield , marked with blue crossed swords, h. 13‑3/4”, w. 9‑1/2”, d. 7‑3/4”. [1000/1500] Illustrated

170

169 White Alabaster Bust of a Pious Young Woman, fourth quarter 19th century, probably Italian, serenely poised and wearing a high collar and crucifix, on a verde antico marble pedestal and socle, overall, h. 59‑1/2”, w. 15‑1/2”, d. 14”. [2000/4000] Illustrated

170 Continental Rosewood and Walnut Commode, mid-19th century, the banded and bowed top above a conforming case fitted with two long drawers, each double-banded and with star-inlaid circular panels, raised above a shaped apron on splayed legs ending in sabots, h. 38”, w. 48‑1/2”, d. 26”. [4000/7000] Illustrated

169

167

171 Superbly Decorated Biedermeier-Style Pier Mirror, fourth quarter 19th century, Vienna, labeled by Sandor Jaray, with fluted pilasters decorated with lion’s heads terminating in composite capitals, the arched top plate terminating in a bellflower-molded frieze under a pediment crest decorated with pierced scrollwork, flanked by pierced anthemia, h. 80”, w. 36”. [3000/5000] Illustrated

173 BiedermeierStyle Walnut and Mahogany Cabinet, late 19th century, the stepped cornice above a modified dentillated frieze and a single cupboard door, opening to a shelved interior, raised on a plinth base, h. 64‑1/2”, w. 40‑1/2”, d. 19‑1/4”. [500/800] Illustrated

Sandor Jaray (1845‑1916) was a noted gilder and tapestry maker for the Imperial Palace of the Kaiser, who showed a room of “Old Viennese Interiors” at the World Exhibition of Furniture in London, 1902. 172 Biedermeier-Style Walnut and Mahogany Cabinet, late 19th century, the stepped cornice above a modified dentillated frieze and a single cupboard door, opening to a shelved interior, raised on a plinth base, h. 64‑1/2”, w. 40‑1/2”, d. 19‑1/4”. [500/800] Illustrated

171

174 Italian Walnut and Mixed Woods Commode, late 18th century, in the neoclassical taste, the rectangular top with 175 three inlaid panels, above a case fitted with three long drawers, the upper one with a diamond pattern inlay, the lower two paneled, raised on tapering square legs, h. 37‑3/4”, w. 55‑1/2”, d. 25”. [3500/5000] Illustrated 175 Monumental Royal Dux Figural Porcelain Vase, ca. 1919‑1943, Czechoslovakian, decorated in matte gilt with some pink trim, the vase depicting a Moorish figure playing a lute, in front of the leaf-molded vase, marked with the pink glazed triangle with an “E” in the center and a green-painted “Royal Dux, Made in Czechoslovakia”, h. 38”, w. 14‑1/4”. [1200/1800] Illustrated

176

177

174

176 Arnaldo de Lisio (Italian, 1869‑1949), “On The Terrace”, oil on board, signed lower left, 33” x 23”. Framed. [1000/1500] Illustrated 177 Austrian Cold-Painted Metal Orientalist Lamp, post-1914, the lamp depicting a scribe in a courtyard between two walls, an oriental carpet shading him from the sun and concealing the lamp socket, marked “Made in Austria” on the base, h. 13‑1/2”, w. 6‑1/2”, d. 7‑1/2”. [800/1200] Illustrated

172

173

178 Viennese Cold-Painted Bronze Lamp, first quarter 20th century, depicting a Native American in a headdress, holding a rifle under a pine tree, a teepee forming the back of the lamp, the branch of the tree concealing the light socket, incised “A. Titze” on the rear of the face, h. 24‑3/4”, w. 8”, d. 6‑1/2”. [1800/2500] Illustrated 179 Pair of Italian Neoclassical-Style Mahogany Demi-lune Console Tables, each top with a carved rim over a fluted and ribbon-carved frieze, raised on tapering fluted legs, h. 31‑3/4”, w. 35‑1/4”, d. 17‑3/4”. [700/1000] Illustrated

181

180 Pair of Venetian Fantasy-Style Mahogany Chairs, ca. 1900, comprised of an armchair, h. 38‑3/4”, and a sidechair, h. 36”, each with a shell-carved back joined to avian-head stiles, raised on tapering flare legs, now upholstered in yellow damask. [500/800] Illustrated 181 Interesting Continental Satinwood-Inlaid Walnut Tall Case Clock, 19th century, the hood with an intricate fretwork crest, the case with classical inlaid figures, lions and floral motifs, h. 95”, w. 20‑1/2”, d. 14‑1/2”. [500/800] Illustrated

178

182

180

182 American Classical Mahogany Dressing Bureau Inlaid in the Dutch Fashion, third quarter 19th century, the rectilinear mirror plate in a frame with foliate and urn inlay, on turned columns joined to a shallow band of drawers, the case with a projecting drawer over a pair of drawers, flanked by columns, with marquetry inlays throughout, h. 66‑1/2”, w. 39‑3/4”, d. 32‑1/4”. [1000/1500] Illustrated

179

183 Dutch Mahogany and Marquetry Sleigh Bed, second quarter 19th century, the paneled headboard with an outscrolled crest centered by a masque inlay, the whole with elaborate scrolling floral and foliate inlays, the lower headboard en suite, raised on block feet, h. 41”, inside w. 56”, l. 83”, outside w. 59”, l. 94”. [600/900] Illustrated

183

192 Persian Kerman Carpet, 9’ 7” x 12’ 7”. [4000/7000] Illustrated 193 Persian Serapi Carpet, 8’ 2” x 9’ 6”. [2500/4000] 194 Oushak Carpet, 11’ 5” x 15’ 9”. [3000/5000] Illustrated 195 Savonnerie Carpet, 8’ 2” x 11’ 5”. [2000/4000] 196 Persian Bibikabad Carpet, 9’ x 11’ 7”. [2500/4000] 197 Middle Eastern Embroidered Silk Textile, 19th century, w. 18‑1/2”, l. 61‑5/8”. [600/900] Illustrated 198 Middle Eastern Brass and Steel Damascene Casket, decorated with stylized flowers in panels, with cut corners and carrying handles, the fitted interior with four lidded compartments with hinged covers decorated to match, h. 3‑1/2”, w. 7”, d. 3”. [500/800] Illustrated 199 Middle Eastern Bronze Cockerel-Form Incense Burner, the erect figure with a cover on its back and an aperture at the rear for the smoke, h. 7‑1/2”, w. 3‑3/4”, d. 6‑1/4”. [600/900]

186

200 Pair of Middle Eastern Patinated Metal Peacocks, modeled standing with their tails folded and decorated with slightly raised details to the head, crest, wings and tail, h. 14‑1/4”, w. 10‑1/2”, d. 3‑3/4”. [600/900]

184 Antique Caucasian Kazak Carpet, 6’ 1” x 9’. [1000/1500] 185 Turkish Angora Oushak Carpet, 9’ 10” x 14’. [1800/2500] 186 Semi-Antique Heriz Carpet, 8’ x 11’ 7”. [1000/1500] Illustrated 187 Turkish Angora Oushak Carpet, 12’ 1” x 15’. [3000/5000] 188 Persian Serapi Carpet, 13’ 3” x 16’ 4”. [7000/10000] Illustrated 189 Turkish Angora Oushak Carpet, 8’ 2” x 10’ 6”. [900/1200] 190 Turkish Angora Oushak Carpet, 8’ x 9’ 8”. [800/1200] Illustrated 191 Persian Tabriz Carpet, 11’ x 14’ 5”. [5000/8000] 188

190 192 197

198

194

201 Anglo-Colonial Mahogany Etagere, late 19th century, the gabled cornice above three shelves, all with foliate-carved dividers and elaborately carved and scrolling side panels, raised on ball-and-claw feet, h. 65‑1/2”, w. 35‑1/2”, d. 15‑1/2”. [500/800] Illustrated 202 Middle Eastern Enameled Copper Covered Bottle, molded with flowers and scrollwork, and decorated with cobalt and turquoise enamel grounds, the flower buds with yellow, white or green centers, h. 13‑1/2”, dia. 5‑1/2”. [600/900] Illustrated 203 Middle Eastern Mixed Metal Bottle Vase, decorated with copper rondels of Islamic stars alternating with panels of scrollwork, the central portion decorated with copper and silver panels and the top of the neck with silver Islamic script, all above a brass base, h. 8”, dia. 3‑1/4”. [500/800] 204 Middle Eastern Mixed Metal-Mounted Wooden Casket, decorated with bands of serpents and crocodiles, scrollwork and molded bosses, mounted with carrying handles and fabric lined, h. 10‑1/2”, w. 16‑1/2”, w. 10”. [1200/1800] Illustrated 202

205 Metal and Frosted Glass Hanging Lantern, probably Middle Eastern, the hexagonal faceted lantern mounted with patterned glass panes in a pierced metal frame, h. 27”, dia. 21”. [500/800] 206 Pair of Middle Eastern Metal and Engraved Glass Hall Lanterns, of hexagonal form and set with panels engraved with a Middle Eastern pattern, h. 28‑1/2”, dia. 20‑1/4”. [500/800] 207 Middle Eastern Mixed Metal Covered Dish, the circular dish with a domed cover, decorated with Islamic scrollwork, panels and flowers, h. 5”, dia. 7‑1/4”. [600/900] Illustrated

201

204

209

207

208 Iznik-Style Glazed Pottery Bowl of Middle Eastern Origin, decorated with a grid of red flowers in stylized panels on a blue ground, finished with a floral border, h. 2‑3/4”, dia. 11‑3/4”. [1000/1500] Illustrated 209 Indian Silver Bowl, fourth quarter 19th century, probably Lucknow, of melon form, the lobed panels decorated with repousse scenes of village life, flora and fauna, h. 3‑1/2”, dia. 7‑1/2”, 12.10 t. oz. [700/1000] Illustrated 210 Five Cambodian .900 Silver Tomato Boxes, 20th century, each of traditional lobed form with repousse floral decoration and filigree-mounted “stem”, w. 1‑7/8” to 4”, 16.09 total t. oz. [500/800] Illustrated

208

210

211 Indian Marble Sculpture of Kartikeya, 19th/20th century, the six-faced, four-armed deity seated on a lotus base with a peacock, h. 24”, w. 12”. [800/1200] Illustrated

211

217

212

212 Pair of Burmese Gilt-Bronze Buddhas, 20th century, each with the hands arranged in Bhumisparsha Mudra, one holding a small gold ball in his right hand, unmarked, h. 14”, w. 9‑7/8”. [1000/1500] Illustrated 213 Tibetan Bronze Figure of Mahakala, probably 20th century, depicted seated and holding a bell in his left hand and a vajra in his right, his crown of five skulls representing the earthly afflictions of ignorance, envy, anger, greed and pride, mounted on a polished stone base, h. 8‑1/2”, w. 7‑1/4”. [500/800] Mahakala is considered to be a manifestation of Avalokiteshvara or Guanyin. 214 Unusual Tibetan Gilt and Lacquer Document and Viewing Cabinet, 19th century, constructed of Himalayan softwood, with glass windows, painted with a cloud motif on the sides and having intricately carved doors with Buddhist symbols, h. 42‑1/4”, w. 33‑3/8”, d. 17”. [700/1000] Illustrated 215 Very Rare Pair of Tibetan Lacquered Wood Panels, 7th-9th century (radiocarbon dated), two panels probably originally from a set of four with mythical animals representing the cardinal directions, the other two panels would have been the blue dragon Qinglong representing the West and the white tiger Bairu of the East; the red bird Zhuque represents the South while the tortoise-like Xuanwu represents the North, h. 27”, w. 34‑3/4”. [8000/12000] Illustrated The wood dated to between 90 and 130 AD, while the lacquer dated to between 680 and 890 AD. The original iron nails or spikes have also been preserved.

214

215 215 216 Tibetan Thangka of Seated Tara, 18th century or earlier, distemper on cloth mounted on embroidered silk with flamecolored veil, 42‑1/2” x 24‑1/2”, framed, 52” x 33‑1/2”. Glazed and framed. Provenance: Private collection; Kumar Gallery, New Delhi (1972). [12000/18000] Illustrated

221 Chinese Carved Spinach Jade Elephant, 19th/20th century, the dark green carving of an elephant in the round, unmarked, h. 7”, l. 8‑1/2”. [4000/7000] Illustrated

217 Chinese Carved Puddingstone Bowl and Stand, Qing Dynasty (1644‑1911), the unusual bowl and stand in mauve and white mottled stone intended for display in the scholar’s study, bowl, h. 4”, w. 8‑1/4”, overall, h. 7”. [900/1200] Illustrated

221

218 Pair of Chinese Carved Hardstone Vases, 19th/20th century, the baluster-form vases with reserves depicting dragons, each with two carved handles on each side, the undersides unmarked, h. 13‑5/8”, w. 5‑1/2”. [600/900]

219 Massive Chinese Bowenite Mountain with Carved Wooden Stand, 19th/20th century, stone, h. 22‑1/4”, overall, h. 28‑3/4”. [500/800] 220 Pair of Chinese Hardstone-Inlaid Plaques, 20th century, the white-painted wood with colored hardstone images of flowers and archaic vessels, h. 33‑1/8”, w. 14”. [500/800]

216

222 Chinese Jade Carving, late 19th/early 20th century, depicting the figure of a child climbing on a recumbent elephant in a pale celadon stone, h. 2‑5/8”, l. 3‑1/4”. [4000/7000] Illustrated

222

223 Chinese Celadon Jade Carving, 19th/20th century, the carving depicting a swan and cygnet swimming amidst lotus blossoms with lingzhi mushrooms in their beaks, h. 2‑1/2”, l. 3”. [5000/8000] Illustrated

226 Two Chinese Silver-Inlaid Bronze Canopy Fittings, probably late Ming or Qing Dynasties (1644‑1911), in the style of the Warring States Period (475‑221 BC), h. 7‑1/4”. [600/900]

227

227 Chinese “Red Bronze” Offering Vessel, Son/Yuan Dynasties (960‑1368 AD), the lid of the vessel decorated with the Buddhist symbol of the Dharmachakra wheel, the vessel with the original offering disk in tinned bronze, a type of vessel from the Yunnan Province, h. 11”, w. 8‑1/2”. [1800/2500] Illustrated 228 Unusual Chinese Bronze Garlic-Mouth Hu Vessel, Warring States/Han Dynasty (453‑220 BC), the silvery high tin bronze accents adorning the long neck of this vessel, the globular segmented body with Taotie lugs on each shoulder of the vase, h. 16‑1/4”, w. 7‑1/2”. [4000/7000] Illustrated

223

224 Chinese Jade Carving, 19th/20th century, depicting a sage beside a chair amidst prunus limbs with a bird and monkey, h. 2‑3/4”, w. 3‑1/2”. [4000/7000] Illustrated 225 Pair of Asian Jadeite and Silver Goblets, mid-20th century, each with a jadeite baluster stem and circular foot, carved with trailing flowers, and a plain inverted bell-form silver bowl, h. 6”, dia. 3‑3/4”. [1200/1800]

224

232

229 Chinese Bronze Censer, late 19th/early 20th century, the patinated bronze vessel with gold-colored flecks on the surface, a four-character mark on the underside, h. 4‑1/2”, w. 4‑1/4”, l. 5‑3/4”. [500/800] 230 Chinese-Style Gilt Bronze Censer, the vasiform base decorated with panels of figures at war, and monkey-form handles, repeated on the handle of the pierced cover, h. 22‑1/2”, dia. 13‑1/2”. [500/800] Illustrated

230 231 Chinese Bronze Censer, 1796‑1862, the three-legged bronze vessel with globular body, Taotie masks at each knee, wooden lid and stand, the underside marked with a sealing wax stamp, h. 13‑1/2”, w. 12‑3/8”, height with stand, 11‑3/8”. Provenance: Jardine, Matheson & Co., Hong Kong. [2000/4000] Illustrated 232 Chinese Cloisonne Box with a Nine-Piece Serving Set, first half 20th century, the exterior of the box with a flower and butterfly motif, the inside dishes each have a turquoise ground with a red and gold colored “double happiness” character, the center dish with a Shou longevity symbol, the unmarked underside with a turquoise ground, h. 3”, dia. 14‑1/2”. [1200/1800] Illustrated

228

231

240 233 Chinese Carved Wood Figure of Guanyin, possibly 19th century, the figure with traces of pigment and seated in a lotus position, holding a bottle in her right hand, her left hand raised in apana mudra, a gesture of balance and healing, h. 16”, w. 11‑1/2”. [1800/2500] Illustrated 234 Large Chinese Lacquered Wood Buddhist Figure, probably Ming Dynasty (1368‑1644), the seated figure with a carved relief motif of dragons and clouds, mounted on a wooden base, h. 45”, w. 23‑1/4”. [800/1200] Illustrated

233

236

235 Pair of Chinese Carved and Painted Wooden Horses, 20th century, h. 34‑1/2”, l. 30”. [500/800]

234

236 Chinese Cinnabar Lacquer Vase, Republican period (1911‑1949) or earlier, the carved red cinnabar vase with reserves depicting sages in a garden, h. 10‑1/4”, w. 5‑3/4”. [500/800] Illustrated

239

243 Chinese Stained and Lacquered Hardwood Jumu Desk, 19th century, the rectangular top over three frieze drawers over two pedestals, each with a short drawer over a cupboard door, joined by a pierced and carved fretwork shelf stretcher, h. 34”, w. 51‑1/2”, d. 25‑1/2”. [800/1200]

237 Chinese Painted and Lacquered Box, 18th/19th century, the polychrome box opening to reveal an eight serving dish interior, unmarked, h. 2‑7/8”, w. 14‑3/8”. [600/900]

238 Chinese Painted and Lacquered Box, 18th/19th century, the polychrome box opening to reveal a six serving dish interior, h. 2‑1/4”, w. 9‑1/2”. [500/800] 239 Chinese Jade-Inlaid Wood and Lacquer Screen, Qing Dynasty (1644‑1912), the black lacquer panel inlaid with jade in a carved frame adorned with a ruyi cloud pattern, h. 28‑1/4”, w. 17‑7/8”. [4000/7000] Illustrated 240 Chinese Dali Dreamstone Table Screen, 19th century, the carved stone plaque with a reticulated scrolled hongmu frame, the layering hues with natural bands creating a mountain landscapelike design, screen from Yunnan Province, overall, h. 19‑1/4”, w. 22‑3/8”. [900/1200] Illustrated

241

241 Chinese Hardstone-Inlaid Lacquer Four-Panel Folding Screen, late 19th/ early 20th century, decorated with an arrangement of birds, rocks and flowers with panels on the lower portion, each containing depictions of archaic vessels, the reverse with a painted bird and flower motif, each panel, h. 72‑1/4”, w. 15‑7/8”, overall, w. 63‑1/2”. [500/800] Illustrated 242 Chinese Carved Lacquer Dragon Table, 20th century, with an elaborately carved scrolling dragon and cloud motif on the sides, raised on four dragon legs, h. 32”, w. 44”, d. 27”. [500/800] Illustrated

242

244 Pair of Chinese Carved Mixed-Woods Flower Stands, 19th century, with ruyi cloud motifs, h. 32‑3/4”, w. 13‑3/4”. [500/800] 245 Chinese Lacquered Elmwood Altar Table, fourth quarter 18th century, with a carved scrolling motif on the sides and pierced rondels on the legs, Shanxi Province, h. 35”, w. 11‑1/2”, l. 61‑3/4”. [1000/1500] 246 Chinese Painted and Lacquered Wood Cabinet, probably 19th century, in three parts, each with two paneled doors, raised on carved feet, h. 74‑7/8”, w. 24‑3/4”. [900/1200] Illustrated 247 Chinese Hardwood Ice Chest, of tapered form with carrying handles, the lid pierced with a medallion, h. 15‑3/4”, w. 18”, d. 18”. [600/900] 248 Chinese Export Lacquer Tea Caddy, second quarter 19th century, the heavily gilded lacquered box with a processional scene on the lid and sides, the pewter liner engraved with immortals and ruyi clouds, h. 8‑1/4”, w. 13‑3/8”, d. 10‑1/8”. [2500/4000] Illustrated

248

249 Chinese Lacquered Wood Cabinet, 19th/20th century, the very large gilt-lacquered two-door cabinet with a motif of a lively village, h. 78‑3/4”, w. 42‑1/2”, d. 17‑7/8”. [900/1200] 250 Chinese Cabinet with Huanghuali Veneer Front, probably 18th century, with Dali marble and burlwood insets, h. 67”, w. 40‑3/4”, d. 19‑3/4”. [2500/4000] Illustrated

246

250

252

253

251 Five Chinese Embroideries on Silk, 19th and 20th century models, comprised of four floral examples and one of figures in a garden, 23‑3/4” x 13”, framed, 29” x 15‑1/4”. Each framed. [500/800] 252 Framed Chinese Pleated Textile Panel, Ming Dynasty (1368‑1644), with delicate embroidery on Imperial yellow silk, h. 80‑1/2”, w. 32”. [1000/1500] Illustrated 253 Chinese Kingfisher Feather Embellished Chao Guan Headdress, Qing Dynasty (1644‑1911), gilt copper with glass, silk and kingfisher feather ornamentation, h. 8”, w. 10”. [600/900] Illustrated 254 English Oak Refectory Table, early 20th century, the banded rectangular top with a gadrooned edge and raised on large foliate-carved bulbous supports joined by a stretcher and ending in acanthine-carved runner feet, h. 30‑1/2”, w. 29‑3/4”, l. 83‑1/2”. [500/800] Illustrated

254

255 Pair of Continental Oak Armchairs, late 19th century, each with a foliate helmet-carved crest above a padded needlework back flanked by barley-twist uprights, joined by padded arms to the like seat, raised on barley-twist legs joined by an H-form stretcher and ending in toupie feet, h. 52”. [800/1200] Illustrated 256 English Oak Gate-Leg Table, late 17th century, the rectangular top with rounded ends and with two ovoid drop leaves, supported by a gate-leg of barleytwist legs joined by stretchers and ending in bun feet, h. 29”, w. 53”, l. 21”, extended l. 63”. [600/900] Illustrated 257 Pair of Elizabethan Revival Shield-Form Heraldic Wall Hangings, third quarter 19th century, English, oil on canvas, the example painted with a lion rampant displaying the Arms of Talbot of Shrewsberg and the example painted with a martlet, or bird, displaying the Arms of Neville of Chevet, h. 39‑1/2”, w. 36‑1/2”. [1000/1500] Illustrated

255

258 English Oak Court Cupboard, mid-19th century, the grapevine-carved crest with two drop finials above a central recessed inlaid cupboard door, flanked to either side by a stylized floral panel, the lower section fitted with two paneled cabinet doors, raised on bun feet, h. 65”, w. 47”, d. 18”. [1000/1500] Illustrated 259 Scottish School (First Quarter 20th Century), “Bonnie Prince Charlie”, 1900, oil on canvas, faintly signed lower right, 48” x 63‑1/2”. Unframed. [800/1200] Illustrated

261

258

257

256

260 Suite of Eight English Ash Dining Chairs, early 20th century, consisting of two armchairs and six sidechairs, each with a spindled back above a wooden seat, raised on circular legs joined by stretchers and ending in tapering feet, h. 42”. [1000/1500] 261 Seventeenth-Century Tapestry Fragment, depicting a man and woman in intense conversation, within a voluted architectural framework, 29‑1/2” x 21”. [500/800] Illustrated

259

262 Dutch Walnut Vitrine, early 19th century and later, the molded and domed cornice with canted sides, above a conforming case fitted with two astragal-glazed doors over two short drawers and one long drawer, raised on paneled tapering circular legs joined by a shaped stretcher and ending in bun feet, h. 92‑1/2”, w. 69”, d. 16”. [1800/2500] Illustrated

267

264 264 French School (First Quarter 20th Century), “Poultry in the Farmyard”, oil on canvas, signed lower right “J de Bernier”, 18” x 21‑1/2”. Presented in a molded, fruitwoodstained frame. [500/800] Illustrated

263 263 Provincial Polychrome Garde Manger, mid-18th century, the case fitted with two doors, each inset with an arched panel over two panels, opening to a shelved interior, with two panels below, raised on a plinth base, retaining period wrought-iron fiche hinges, h. 66‑1/2”, w. 44”, d. 23‑1/2”. [2000/4000] Illustrated

262

265 Mari ten Kate (Dutch, 1831‑1910), “In the Farmyard”, oil on wood panel, signed lower left, 8” x 10”. Framed. [1000/1500] Illustrated 266 Hand-Painted Faience Bowl, fourth quarter 19th century, decorated with a scene of Francois Rabelais, marked “M.D.”, possibly from Rabelais’ hometown, Montpellier, dia. 12‑1/2”. [500/800]

265 267 Pair of Flemish-Style Mahogany Fauteuils a la Reine, late 19th century, each with a tall padded back joined by molded outswept arms to the padded seat, raised above a scrolling front stretcher on shaped legs ending in scrolled toes, upholstered with period figural needlework, h. 49”. [1200/1800] Illustrated 268 Continental Oak Guard Room Table, late 19th century, the rectangular top with a molded scroll-carved edge and griffincarved band, each corner with an oval portrait medallion, raised on spiral-ribbed legs joined by stretchers and joined by scrolling metal stretchers to the top, h. 30”, w. 60”, d. 33‑1/2”. [1500/2500] Illustrated

269

269 French Provincial Oak Vasselier, mid-19th century, probably from Brittany, the foliate-molded cornice above a pierced spindled frieze over a pendant masque and ship’s wheels, with two recessed spindled shelves, the lower section fitted with a single drawer over two paneled cupboard doors, each with a central ship’s wheel, raised on bun feet, h. 79”, w. 44”, d. 17‑1/4”. [700/1000] Illustrated

268

270 Brussels Verdure Tapestry, 17th century, the lush landscape with a meandering stream in the foreground, 92” x 74”. [2000/4000] Illustrated

275

274

270 271 Two French Patinated Bronze Birds, first or second quarter 20th century, one after Ferdinand Pautrot (French, 1832‑1874), the other after Alphonse-Alexandre Arson (French, 1822‑1880), h. 9” to 10”, w. 5” to 5‑3/4”, d. 3” to 5”. [1200/1800] Illustrated

272

272 French Patinated Bronze of a Partridge, first or second quarter 20th century, after Jules Moigniez (French, 1835‑1894), cast signature at base, h. 13”, w. 9‑1/2”, d. 4”. [500/800] Illustrated

271

273 Provincial Louis XV-Style Fruitwood Settee, 18th century with 17th-century needlepoint upholstery, the padded back within a scalloped molded and floral-carved frame, joined by padded scrolling arms to the likeshaped seat, raised on molded cabriole legs headed by floral carving and ending in scrolled toes, h. 40‑1/2”, w. 76”, d. 27”. [1000/1500] Illustrated

276

274 Pair of Transitional Louis XV-into-Louis XVI-Style Fruitwood Fauteuils, early 19th century, each with a padded rectangular back surmounted by a scrolling shell crest, joined by downswept molded arms to the padded seat, raised on foliate-carved cabriole legs joined by an X-form stretcher and ending in scrolled toes, h. 38”. [500/800] Illustrated 275 G. Cholin (French, 19th Century), “Allegorical Depiction of Plenty”, fourth quarter 19th century, terracotta figural group of two putti with a cornucopia, inscribed “G.C.” in interior, signed verso base, h. 11”, w. 16”, d. 6”. [1200/1800] Illustrated 276 Provincial Fruitwood Commode, early 19th century, the rectangular top with a shaped front, above a conforming case fitted with three long drawers, raised on cabriole legs, h. 32‑1/2”, w. 44‑1/2”, d. 21”. [1400/1800] Illustrated

277 Louis XV-Style Fruitwood Jardiniere, late 19th century, the rectangular open top with a shaped edge and inset conforming metal container, the sides caned, raised on molded cabriole legs headed by floral carving and ending in scrolled toes, h. 31‑1/2”, w. 31‑1/4”, d. 15”. [500/800]

273

278 French Provincial Polychrome Games Table, late 19th century, the square top with an inset leather surface, above a frieze fitted with a small drawer to each side, raised above a scalloped apron on cabriole legs ending in peg feet, h. 29”, w. 31‑1/2”, d. 31‑1/2”. [800/1200] Illustrated

279 Provincial Louis XV-Style Fruitwood Settee, early 19th century, the padded doubledomed back joined by scrolling padded arms to the cushioned seat, raised above a scalloped apron on cabriole legs ending in scrolled toes, h. 35”, w. 46”, d. 28”. [600/900] Illustrated

280 Provincial Polychrome Commode, the top with a shaped front, above a conforming case fitted with two drawers, raised on cabriole feet, h. 31”, w. 30‑1/2”, d. 23”. [900/1200] Illustrated

279

281 Pair of Louis XV Fruitwood Fauteuils, 18th century, the underframes branded “P. H. Poire” and having a floral-carved crest, cabriole legs and pegged construction throughout, h. 35”, w. 25”, d. 20”. Provenance: Christie’s, New York, New York, 1992. [500/800] Illustrated 282 Pair of Louis XV Fruitwood Fauteuils, 18th century, one branded "J B LELARGE", each with a domed and padded back surmounted by a floral crest, joined by scrolling arms to the cushioned seat, raised on molded cabriole legs headed by floral carving and ending in scrolled toes, the back rail of one incised “Lelatzge”, h. 34‑1/2”. [600/900] Illustrated

278

280

281

282

283 Continental School (Third Quarter 19th Century), a pair of oils on tin, including “Shepherd at Rest” and “Maid Braiding Her Hair”, unsigned, each 10” x 8‑1/2”. Framed alike. [500/800] 284 Louis XV Walnut Chaise Longue, 18th century, the padded and domed back surmounted by a foliate crest, joined by downswept padded arms to the long cushioned seat, ending in a lower domed and padded end, the whole raised above a floralcarved frieze on molded cabriole legs ending in scrolled toes, h. 40”, w. 36”, l. 78‑1/2”. Provenance: Parke-Bernet, May 1967. [1200/1800] Illustrated

284

285 Provincial Louis XV-Style Fruitwood Commode, the serpentine top over a conforming case with three paneled drawers, the scalloped apron centered by a carved basket, raised on cabriole legs, h. 34”, w. 36”, d. 18”. [1400/1800] Illustrated

285

293

288 French Provincial Fruitwood Writing Table, early 19th century, the shaped rectangular top with a three-quarter edge, above a conforming frieze fitted with two small drawers, raised on cabriole legs, h. 28‑1/4”, w. 38‑1/4”, d. 22‑1/2”. [800/1200] Illustrated 286 Unusual French Oak, Bronze and Ebony-Inlaid Mantel Clock, fourth quarter 19th century, the Louis XIV-style oak case having an enamel chapter ring set into a silver-inlaid ebony face decorated with intertwined scrollwork, with matching panels on the frieze under the face, the front and side corbels, the top with a bold bronze finial of garlands of fruit and flowers, raised on bronze feet, h. 16”, w. 23‑1/2”, d. 5‑1/2”. [1800/2500] Illustrated 287 Pair of Louis XV-Style Fruitwood Fauteuils, 19th century, each with a caned back surmounted by a shell crest, joined by scrolling arms to the cushioned caned seat, raised on cabriole legs ending in foliate shell toes, h. 36”. [500/800] Illustrated

288

289 Continental Fruitwood Tri-Form Plate Stand, fitted with twenty-four metal racks to accommodate plates in three different sizes, raised on a molded tri-form base, h. 58‑1/2”. [500/800] 290 Flemish Tapestry, 19th century, depicting a courting couple amidst a lush garden landscape, with an overall floral vine border, 45” x 57”. [700/1000] Illustrated 291 Louis XVI-Style Fruitwood Bergere Marquise, 20th century, the padded and domed back within a molded frame, joined by padded reeded arms to the like seat, raised on fluted tapering circular legs ending in toupie feet, h. 37‑1/4”, w. 38”, d. 24”. [700/1000] Illustrated

291

290 292 Pair of Louis XVI-Style Fruitwood Fauteuils, early 20th century, each with a padded rectangular back joined by scrolling arms to the padded seat, raised on stop-fluted tapering circular legs ending in toupie feet, h. 36‑1/4”. [700/1000] 293 Pair of Louis XVI-Style Fruitwood Bergeres, early 20th century, each with a padded domed back surmounted by a floral crest, joined by downswept arms to the cushioned seat, raised on stop-fluted tapering circular legs ending in toupie feet, h. 43”. [1000/1500] Illustrated

286

287

294 Neoclassical-Style Mahogany Commode, the rectangular top above a case fitted with four graduated long paneled drawers, raised on tapering square feet, h. 35‑1/4”, w. 45”, d. 21‑3/4”. [1800/2500] Illustrated

296

297 French Patinated Bronze of “The Allegory of Spring”, ca. 1900, depicting two young girls holding a basket overflowing with blossoms, after Auguste Moreau (French, 1834‑1917), cast signature at edge of base, h. 22”, w. 10, d. 7‑1/2”. [1800/2500] Illustrated

297

298 French Patinated Bronze Figure of Boccaccio, fourth quarter 19th century, after Francois Theodore Devaulx (French, 1808‑1870), depicted holding a copy of his work, The Decameron, inscribed “A Thomas” and “1844”, h. 11”, w. 9‑1/4”, d. 4‑1/4”. [500/800] 295 Continental Mahogany Buffet a Deux Corps, early 20th century, the domed and foliate shield-carved crest above a central glazed door, flanked to either side by a paneled cupboard door centered by a carved figure, the lower section fitted with two drawers over two cupboard doors, each paneled and with a carved floral and foliate swag, raised on foliate scrolled toes, h. 98”, w. 68”, d. 23‑1/2”. [1500/2500] Illustrated 296 Louis XV-Style Giltwood Duchesse Brisee, late 19th century, the slightly domed padded back joined to the cushioned seat by shaped sides, h. 38”, and the conforming ottoman also cushioned, h. 23”, l. 31”, both pieces raised above a shell-carved apron on cabriole legs ending in scrolled toes. [1400/1800] Illustrated

294

299 Continental Bronze of a Blacksmith, 20th century, cast signature “J. Beaux” at back edge, inscribed “W/made in France” at front edge, on a marble plinth, h. 28‑1/2”, w. 8”, d. 7‑3/4”. [700/1000]

295

300

300 French Bronze of “Mother and Child”, first or second quarter 20th century, after Clodion (Claude Michel, French, 1738‑1814), cast signature on self-base, on a black marble plinth, h. 12”, w. 7‑1/2”, d. 7‑1/2”. [800/1200] Illustrated

301

301 Pair of Louis XV-Style Giltwood Fauteuils, late 19th century, each with a padded and domed back surmounted by a foliate shell crest, joined by padded arms to the like seat, raised on molded cabriole legs headed by foliate carving and ending in scrolled toes, h. 40‑1/4”. [1500/2500] Illustrated 302 Carducius Plantagenet Ream (American, 1837‑1917), “Bowl of Red Grapes”, oil on canvas, signed lower right, 10” x 14”. Framed. [1000/1500] Illustrated 303 Continental School (First Quarter 20th Century), “Still Life with a Basket of Fruit”, oil on canvas, signed lower right “M. Melmat”, 27” x 40”. Presented in a carved and pierced giltwood frame. [500/800]

302

304

304 Louis XV Walnut Settee Lit du Jour, late 18th century, the shaped padded top within a molded frame and surmounted by a floral crest, joined by padded out-scrolled arms to the cushioned seat, raised above a shaped floral- and foliatecarved apron on molded legs ending in scrolled toes, the back removing to form a lit du jour with conforming bolsters and pillows, h. 43”, w. 87”, d. 40”. Provenance: From a private collection of a Russian princess, sold at ParkeBernet, New York, March 1967. [1500/2500] Illustrated

The Personal Collection of M ary Kirk Kelly (Lots 305-316)

305

305 Mary Kirk Kelly (American/Alabama, 1918‑2013), gorgeous earthenware Magnolia virginiana in an enameled bowl, one of ten created, unsigned, overall, h. 8‑1/2”, dia. 17”. [1000/1500] Illustrated 306 Mary Kirk Kelly (American/Alabama, 1918‑2013), cabbage tureen, one of approximately twenty created, signed, h. 8‑3/4”, dia. 10”. [700/1000] Illustrated 307 Mary Kirk Kelly (American/Alabama, 1918‑2013), one-of-a-kind three-piece melon tea set, including a creamer, h. 3”, w. 5‑1/4”, a teapot, the cover signed and dated 1991, h. 5‑1/4”, w. 9‑1/2”, and a covered sugar bowl, the cover signed, h. 4”, dia. 3‑1/8”. [500/800] Illustrated

309 Mary Kirk Kelly (American/Alabama, 1918‑2013), earthenware cabbage pitcher, one of approximately ten created, signed and inscribed “No. 4 from mold/Handle No.1/ March 1984”, h. 7”, w. 9”, d. 6”, and a beaker/vase, signed and dated 1984, h. 5‑1/2”, dia. 4‑1/2”. [500/800] Illustrated 310 Mary Kirk Kelly (American/Alabama, 1918‑2013), earthenware Chinese cabbage bowl, one of approximately eight created, signed and dated 1982, h. 6‑1/2”, w. 11”, d. 8‑3/4”. [700/1000] Illustrated 311 Mary Kirk Kelly (American/Alabama, 1918‑2013), three-piece earthenware vegetable group, including a sugarcane stalk, signed and dated 1998, l. 14‑1/2”, a parsnip, signed, l. 7‑3/4”, and a large turnip, signed, l. 16”. [500/800]

308 Mary Kirk Kelly (American/Alabama, 1918‑2013), earthenware cabbage tray, one of approximately twentyfive created, signed and dated 1984, w. 12”, d. 12”. [500/800] Illustrated

307

306

314 Mary Kirk Kelly (American/Alabama, 1918‑2013), collection of earthenware tropical fruit, including a banana, inscribed “Model from 1989 Bumper Crop/9 bunches/Kirk Trees, Axis, Alabama”, one of approximately ten created, l. 7‑1/2”, star fruit, l. 4‑3/4”, kiwi, 308 l. 2‑1/4”, papaya, l. 4‑3/4”, coconut, l. 9‑1/2”, mango, dated 1998, l. 4‑1/2”, and breadfruit, one of three created, dated 1999, l. 6‑3/4”, all pieces, except the banana, signed. [500/800] Illustrated 309

312 Mary Kirk Kelly (American/Alabama, 1918‑2013), earthenware collard leaf tray, one of ten created, unsigned but inscribed “Collard Leaf/Model from Mom’s garden/June 1986, l. 14”, w. 10‑3/4”. [500/800]

315 Mary Kirk Kelly (American/Alabama, 1918‑2013), four banana stalk candlesticks, four of approximately fifteen created, h. 11‑1/4” to 11‑1/2”, and a banana leaf tray, one of two created, l. 17”, all signed. [500/800] Illustrated

313

310

316 Mary Kirk Kelly (American/Alabama, 1918‑2013), collection of earthenware fruit, including a group of lemon condiment cups with glazed interiors, l. 3” to 3‑1/2”, a sugar baby watermelon, h. 7‑1/2”, and a small pineapple, one of approximately five created, h. 8‑1/2”, all signed. [500/800]

313 Mary Kirk Kelly (American/Alabama, 1918‑2013), one-of-a-kind earthenware taro group with a yellow bloom, signed and dated 2000, h. 14”, w. 13”, d. 10”. [700/1000] Illustrated

314

315

318 Victorian Walnut Folio Stand, third quarter 19th century, the shaped rectangular top with a three-quarter pierced gallery, joined by pierced shaped end supports to four slotted compartments with pierced dividers, above an ogee-molded drawer, raised on toupie feet on casters, h. 43‑1/2”, w. 27‑1/2”, d. 17‑1/2”. [1500/2500] Illustrated 319 Jean Louis van Kuyk (Belgian, 1821‑1871), “Chestnut Horse in the Stable Yard”, oil on wood panel, signed lower left, 9‑1/4” x 10‑3/4”. Framed. [1000/1500] Illustrated

319 317 Campaign-Style Mahogany Partner’s Desk, late 19th century, the rectangular top brass bound and inset with a leather writing surface, above a frieze fitted with three drawers to either side, raised on two pedestals, each fitted with a paneled cupboard door to one side and three graduated drawers to the other, and with casters, h. 30‑1/2”, w. 60”, d. 42”. [1500/2500] Illustrated

322

317

322 Unusual Pair of Anglo-Irish Gilt-Bronze and Cut Glass Two-Light Candelabra, fourth quarter 19th century, the cut glass stepped bases supporting gilt-bronze standards set with a pair of hippocampus-molded candle arms holding cut glass candle cups, the standards set with two tiers of prisms terminating in cut glass acorn-form finials, h. 19‑3/4”, w. 11”, dia. 4‑3/4”. [1500/2500] Illustrated 323 Pair of AngloIrish Heavy Cut Glass Compotes, fourth quarter 19th century, each comprised of two parts, the bases panel-cut with sawtooth edges and the bowl cut in an alternating sawtooth variation, h. 9‑1/2”, dia. 10”. [500/800]

318

320 Unusual Pair of English Bronze Chenets in the Neo-Grec Style, the design registered in 1886‑1887, molded with masques and scrollwork, the back impressed “Rd615143”, along with the model numbers, h. 13‑1/2”, w. 15‑1/2”, d. 12‑1/2”. [1500/2500] Illustrated 321 Pair of English Aesthetic Pottery Garniture Vases, late 19th century, the design registered from 1892‑1893, in the Royal Worcester style, the ivory-ground bodies decorated with hand-painted birds and flowers, the bases and necks decorated with raised gilt, h. 16‑1/4”, dia. 6”. [700/1000]

324 Anglo-Irish Amber Cut Glass Compote, first quarter 20th 325 century, cut with alternating bands of panel cutting and diamond point cutting on both the bowl and pedestal, h. 10”, dia. 10‑1/2”. [600/900] 325 Terracotta-Painted Plaster Bust of a Young Boy, fourth quarter 19th century, after George Halse (British, 1826‑1895), depicted in the neoclassical manner, on an integral socle, marked “6 Halse SC”, on the back, h. 22”, w. 13‑1/2”, d. 6‑1/4”. [500/800] Illustrated

320

334

326 Victorian Walnut and Burl Parlor Cabinet, third quarter 19th century, the D-form top with a breakfront above a conforming case fitted with a central cupboard door, paneled and centered by a porcelain plaque of a courting couple, flanked to either side by a cupboard door with a curved glass panel, raised on toupie feet, h. 43”, w. 66”, d. 15‑1/2”. [1000/1500] Illustrated 327 James William Cole (British, Active 1849‑1889), “Roan Gelding”, 1886, oil on canvas, signed and dated lower right, 18” x 24”. Presented in a giltwood exhibition frame. [1000/1500] Illustrated

330 Arthur James Melhuish (British, 1829‑1925), “The Young Master and His Shetland Pony”, 1881, oil on canvas, signed and dated lower right, 44” x 54”. Framed. Provenance: Christie’s Interiors, New York, New York, June 21, 2011, as lot 164; Private collection. [6000/9000] Illustrated

332

328 James Y. Gant (British, fl. 1827‑1841), “Shepherd and His Collie”, oil on wood panel, signed lower right, 18‑1/2” x 12”. Framed. [500/800] 329 Victorian Mahogany Bagatelle Table, mid-19th century, the paneled rectangular top hinged and opening to the baize gaming surface, raised on large turned tapering circular legs ending in pad feet, complete with a set of balls and a cue stick, h. 37”, w. 47‑1/2”, d. 28”. [1000/1500] Illustrated

333

326

327

331 Alfred Bertram Pegram (British, 1873‑1941), “Amitie”, 1911, bronze, signed and dated en verso self-base, titled at front, on a carved wooden stepped plinth, overall, h. 9‑3/4”, w. 5‑1/2”, d. 4”. [500/800] 332 Three Pieces of English Wedgwood Jasperware, ca. 1870, decorated with neoclassical sprigging, consisting of a pair of coupe-form vases with smear-glazed interiors, impressed “Wedgwood” and the date letter “Y”, h. 5”, dia. 6‑1/4”, and a cachepot, post-1908, impressed “Wedgwood, Made in England”, h. 7‑1/4”, dia. 8‑1/4”. [500/800] Illustrated 333 Pair of Impressive English Metal and Glass Carriage Lights, fourth quarter 19th century, the nickel-plated quiverform bases supporting the faceted lanterns, which are trimmed with molded gilt brass, the larger colorless side panels with cut edges, alternating with cobalt corners, the tiered upper portions terminating in nickel-plated eagle finials, h. 36‑3/4”, dia. 8‑1/4”. [1500/2500] Illustrated

329

330

334 Eighty-Nine-Piece Coalport Bone China Partial Dinner Service for Ten in the “Anniversary” Pattern, early 20th century, with a broad cobalt border with gilt decor, comprised of ten dinner plates, dia. 10‑3/4”, eleven cups with ten saucers, twelve bread plates, dia. 6”, fifteen salad plates, dia. 8”, ten shallow bowls, dia. 8”, ten sauce bowls, dia. 8‑1/2”, a teapot, creamer and sugar, a covered casserole, dia. 8‑1/2”, a deep serving bowl, dia. 9‑1/4”, a square dessert plate, w. 10”, d. 9”, a deep vegetable bowl, w. 9‑3/4”, d. 7‑3/4”, a large serving platter, w. 14‑1/2”, d. 11‑1/2”, another serving platter, w. 13”, d. 10”, and a gray boat with an underplate, l. 9”. [1000/1500] Illustrated 335 Victorian Moderne Gothic Oak Library Table, ca. 1875, of octagonal form, the tooled leather top over a conforming frieze with four drawers and four faux drawers, raised on turned columns joined to chamfered stretchers and legs, h. 30‑1/2”, w. 47‑1/2”, d. 47‑1/2”. [1500/2500] Illustrated

335

336 Victorian Mahogany Cockfighting Chair, mid-19th century, of traditional form, the generous padded seat fitted with a frieze drawer, the narrow padded back with a hinged shelf with adjustable easel back, raised on tapering circular legs joined by turned stretchers and ending in pad feet on casters, h. 34‑1/2”. [1000/1500] Illustrated 337 Pair of English Neo-Grec Pottery Krater-Form Urns, third quarter 19th century, formerly mounted as lamps, the obverses painted with depictions of female chariot drivers and the reverses with profiles of classical Greek heads, the scrolled gilt handles terminating in swan’s heads, h. 21”, dia. 6‑1/4”. [1500/2500] Illustrated 338 Louis Robbe (Belgian, 1806‑1887), “Horse, Goat and Sheep”, oil on canvas, signed lower left, 7‑1/4” x 9‑1/4”. Framed. [700/1000] Illustrated

343

340 338

341

339 Set of Eight Copeland Spode “Greek” Dinner Plates, ca. 1900, transfer-printed in red, with a Greek-key border and vase-form panels of Greek figures, Zeus driving a chariot in the center panel, dia. 10‑1/2”. [500/800] 340 Four-Piece Collection of English and Continental Boxes, including an English lap desk, second quarter 19th century, dramatically veneered with contrasting bands of maple and walnut, with a mother-of-pearl escutcheon and nameplate, the interior writing slope lined with gilt-stamped green leather, h. 5”, w. 16”, d. 9‑1/2”; a Continental rosewood- and maple-veneered sewing box, second quarter 19th century, with a stamped velvet interior with a silver thimble, needle case and silver and steel scissors, h. 3”, w. 6‑3/4”, d. 5”; an English singlecompartment tea caddy, veneered in calamander wood with a faceted cover, h. 4‑3/4”, w. 4‑1/2”, d. 4”; and a French dome-topped leather perfume case, third quarter 19th century, fitted with two cut glass perfume bottles with gilt-bronze caps, decorated with miniature portraits of La Madeleine and the Pantheon, h. 2‑3/4”, w. 3‑1/2”, d. 2”. [500/800] Illustrated 341 Campaign-Style Ebonized Partner’s Desk, late 19th century, the rectangular top brass bound and with an inset leather writing surface, above a frieze fitted with three frieze drawers to either side, raised on two pedestals, each with three graduated drawers to one side and a cabinet drawer to the other, raised on plinth bases, h. 30”, w. 79‑1/2”, d. 47‑1/2”. [2500/4000] Illustrated

342 Victorian-Style Wrought Iron and Marble-Top Conservatory Table, the rectangular marble top with a recessed banding and raised on an X-form scrolling base centered by a floral medallion and ending in peg feet, h. 30”, w. 35‑1/2”, d. 16‑1/2”. [500/800] Illustrated

342

343 Anton Karssen (Dutch, b. 1945), “The Orange Butterfly”, oil on canvas, signed lower right, 16” x 19‑3/4”. Framed. [1000/1500] Illustrated 344 Assembled Pair of French Copper, Bronze and Painted Metal Fluid Lamps for Trains, fourth quarter 19th century, each marked “Poyard” on the chimney tag, the painted metal bases holding the lamps with bronze and glass porthole doors, the copper chimneys mounted on the top, electrified, overall, h. 36”, w. 12‑1/2”, d. 9”. [800/1200]

336

337

345 Pair of Old Sheffield Plate Candlesticks, first quarter 19th century, each with a baluster standard above a leaf-and-gadroon waisted knop, above a cavetto-domed foot and surmounted by an inverted bell-form nozzle, decorated with anthemion banding, beaded edging and vertical “bright cut” bands, h. 12‑1/4”, dia. 5‑3/4”. [600/900] 346 Good Pair of George IV Sterling Silver Service Plates, hallmarked London, 1820‑1821, by William Eley II (ca, 1794‑1841; free 1815), each of circular form, with gadrooned rim, engraved, on opposing sides of the rim, with the crest of Farrar and the arms of Farrar (quartering Loxam) impaling Ridley, dia. 12‑3/8”, 62.80 total t. oz. [5000/8000] Illustrated The arms here are those of James William Farrar (May 11, 1785‑November 9, 1863) of Ingleborough, Clapham, co. York, son of James Farrar and Frances Loxam, who married, on July 6, 1811 at St. Giles-in-the-Fields, Holborn, Henrietta Elizabeth Ridley (June 25 1781‑October 10, 1853), daughter of Sir Matthew White Ridley, Bt. and Sarah Colborne, widow of John Scott.

346 (detail)

347 George III Sterling Silver Butter Tub, hallmarked London, 1809‑1810, by Rebecca Emes and Edward Barnard I (fl. 1808‑1827), of squat “bucket” form, with “basketweave” banding and egg-and-dart rim, with arched handles, reeded foot, cavetto-domed lid and turned finial, engraved with a George III garter badge, h. 5”, dia. 6”, 19.35 t. oz. [3000/5000] Illustrated 348 Seven Georgian Sterling Silver Wine and Sauce Labels, mid18th to early 19th century, all London, including a shield-shaped “Claret” label, no date, by John Harvey I (fl. 1738‑ca. 1760), a reeded kidney-shaped “Claret” label, 1807‑1808, by Thomas James, a set of three reeded oblong fortified wine labels (“Madeira”, “Sherry” and “Port”), 1820‑1821, by Charles Rawlings, and a small assembled pair of reeded, canted rectangular sauce labels, “Lemon”, 1822‑1823, by Charles Rawlings, and “Anchovy”, no date, by Phipps, Robertson & Phipps (fl. 1811‑1816), the smallest 1/2” x 3/4”, the largest 1‑1/4” x 1‑3/4”, 1.70 total t. oz. [600/900] Illustrated

346 (detail)

346

349 George IV Sterling Silver Waiter, hallmarked Sheffield, 1824‑1825, by John & Thomas Settle, of circular form with robust shell-and-scroll border and raised on three scrollcrested lion’s paw feet, the plateau engraved with a crest of an arm in armour embowed, holding a sword, dia. 10”, 18.39 t. oz. [500/800]

348

350 George IV Sterling Silver Salver, hallmarked London, 1820‑1821, by William Burwash (ca. 1755‑1821; free 1779), of circular form, with “vintage reed-and-ribbon” rim and raised on three scroll-crested lion’s paw feet, engraved on the plateau with the crest of Ripley of London (also Ripley, Yorkshire; Westminster, Middlesex; and Wooton Basset, Wiltshire), dia. 9‑5/8”, 21.63 t. oz. [1500/2500] Illustrated 351 Regency Sterling Silver Teapot, hallmarked Sheffield, 1817‑1818, by John Watson (fl. 1795‑1831), of bulbous rounded rectangular section, with gadrooned body and reeded band, the hinged, domed lid with rocaille edge, gadrooned collar and figural spaniel finial, with acanthuscrested peaked handle, robust acanthus-mounted griffin’s head spout, the whole raised on a conforming foot with four acanthus-crested lion’s paw feet, h. 9‑1/4”, l. 12”, w. 5”, 33.36 t. oz. [1500/2500] Illustrated

347

351

350 (detail)

350

352 (detail)

352 Good George IV Sterling Silver Presentation Tureen, hallmarked London, 1827‑1828, by William Eley II (ca. 1794‑1841; free 1815), of bulbous oval form, with robust acanthus-mounted scroll feet and handles, with gadrooned shell-and-scroll rim, the fitted domed lid with realistically detailed “lily” finial, inscribed on one side “The Parishioners of Chatham / in gratitude for the unceasing attention / to the arduous duties of his station / as Curate of this Parish present with heartfelt satisfaction / this Tureen / to the Rev.d Will.m Henry Drage / on the third Day of October 1827 / as a Testimonial of their Respect and sincere Regard”, with the leafy mantled crest of Drage opposing, h. 9‑1/4”, l. 14‑3/4”, w. 9‑1/2”, 96.24 t. oz. [10000/15000] Illustrated

352

352 (detail)

The Reverend William Henry Drage was born on June 22, 1787 in Layston, Hertfordshire, the son of William and Elizabeth Drage. Educated at Cambridge (B.A. 1819; M.A. 1822) he was ordained on October 31, 1819. His first appointment was as Curate of Chatham in 1819, the parishioners of which presented him this handsome tureen in 1827. It is not clear when he left Chatham, as he was evidently still serving as curate there upon his appointment as Vicar of nearby Halling in 1827. He left that office in 1832, serving briefly as Vicar of Wilmington before his final appointment in 1833 as Vicar of Rochester St. Margaret, in which he served for the remainder of his life. He died on February 10, 1869. 353 Good Set of Twelve George IV Sterling Silver Tablespoons, hallmarked London, 1825‑1826, by Charles Eley (1797‑1875); free 1818, in the traditional “Hourglass” pattern, with diamond heel and engraved on the underside of the bowl with a double crest, l. 8‑3/4”, 40.39 total t. oz. [800/1200] Illustrated

353

356

354 George IV Assembled Three-Piece Sterling Silver Tea Set, hallmarked London, 1825‑1826 by Benjamin Smith III (1793‑1850) and 1827‑1828 by William Eley II (ca. 1794‑1841; free 1815), including a teapot by Smith, h. 5‑1/2”, dia. 6‑1/4”, and an open sugar bowl, h. 4‑1/2”, dia. 5‑3/4”, and cream jug, h. 4”, dia 4‑1/4”, by Eley, each of squat serpentine-lobed melon form and raised on a conforming foot, the pot with crested wooden handle, hinged domed lid with acanthus bud finial and short “gooseneck” spout, the cream and sugar with acanthus-crested silver handle(s), each piece engraved with the badge of the clan Fergusson, 50.10 total t. oz. [1200/1800] Illustrated

356 (detail)

355 Pair of Victorian Sterling Silver Wine Coasters, hallmarked Sheffield, 1847‑1848 and 1870‑1871, by Henry Wilkinson & Co., each of squat cylindrical form, decorated with reticulated and engraved scroll banding with beaded rim, with turned wood base centering a silver escutcheon insert, h. 2”, dia. 5‑1/2”. [1500/2500] 356 Fine Pair of Hunt and Roskell Sterling Silver Waiters, hallmarked London, 1852‑1853, by John Samuel Hunt (1785‑1865), each of rounded rectangular form with handsomely chased rocaille rim, the plateau engraved with a cypher “HH” surmounted by a viscomital crown, l. 9‑1/8”, w. 6‑3/4”, 30.68 total t. oz. [4000/7000] Illustrated

356 (detail)

354

The only Viscount in 1852‑1853 with the monogram “HH” was Henry Charles Howard (1833‑1898), Viscount Andover, who used the courtesy title from 1851 until 1876, when he inherited his father’s other titles, becoming the 17th Earl of Suffolk and 11th Earl of Berkshire.

357 Fine Victorian Sterling Silver Presentation Tankard, hallmarked London, 1871‑1872, by Robert Hennell IV (1826‑1891; working 1869‑1877), of slightly tapering cylindrical form, decorated in the round with a vividly detailed repousse wildcat hunting scene, with floral crested “S”-scroll handle, acanthus-mounted “duck’s beak” spout and flower-and-scroll torus-banded foot, the hinged and domed lid with a figural hunting hound finial surrounded by floral swags, engraved on the body with the crest and motto of Armitage of Kirklees, co. York, and inscribed on the underside “Presented to / John R. Armitage / by his Brothers / Jan 1st 1877”, h. 11‑3/4”, dia. 8‑1/8”, l. 10‑1/2”, 55.51 t. oz. [9000/12000] Illustrated John Ramsden Armitage (1833‑1899) is best known for his part ownership of the Montana Co. Ltd., a mining concern that purchased five-sixths interest in the Drumlummon Gold Mine in Marysville, Montana in 1882. The diary of his 1884 trip to the mine (to investigate accusations of malfeasance by the mine’s manager) remains in private hands, but a copy is available at the Montana Historical Society.

357

358 Pair of Victorian Silverplate Figural Candelabra, fourth quarter 19th century, the standards in the form of male and female Dionysian figures, each holding a staff supporting “Vintage” branches with one central and six surrounding arms, each terminating in a bell-form nozzle and star-shaped drip pan, the whole raised on a molded base with three monopodal griffins separated by cartouches, h. 22‑1/2”, dia. 10‑1/4”. [1800/2500] Illustrated

362

358

361 Two-Piece Victorian Sterling Silver Fish Serving Set, hallmarked Sheffield, 1861‑1862, by Harrison Brothers & Howson, the design registered May 3, 1861, each with a filled “basketweave and ribbon” handle, the tines and scimitar-shaped blades with elaborate floral piercing, the blade engraved with a riprian angler, l. 10‑1/4” and 13”. [800/1200]

363 359 Pair of Victorian “Bacchanalian” Sterling Silver Berry Spoons, hallmarked London, 1870‑1871, by Henry John Lian & Son, the bowls engraved with wrigglework patera and vine leaves, l. 9”, 6.34 total t. oz. [700/1000] 360 Pair of Victorian Silverplate, Glass and Copeland Parian Ware Tazze, fourth quarter 19th century, each with a silverplate base of trefoil form, with three palmette feet, each supporting a laurel-engraved arch rising to meet in the center, surrounded a Parian ware figure of a kneeling neoclassical maiden and surmounted by a circular glass bowl wheel engraved with flowers and rinceau, h. 10‑1/8”, dia. 9‑7/8”. [1200/1800] Illustrated

360

362 Good Pair of Victorian Silverplate “Vintage” Candelabra, third quarter 19th century, by Pryor, Tyzak & Co., Sheffield, each with a standard of realistically detailed twining grapevines below a short standard and surrounded by four openwork scrolling arms en suite, all ending in a shaped drip pan and vasiform nozzle decorated with grape clusters and leaves with detachable bobeches, the whole raised on an openwork triangular scroll foot with grape clusters and shells, with later bobeche fittings to convert the candelabra into epergnes, with four small and one large glass bowl, each frosted, fluted and cut with large leaf-anddart banding, h. 22‑3/4”, w. 17” (with epergne fittings, h. 27”, w. 19‑1/2”). [1500/2500] Illustrated 363 Eight-Piece George V Britannia Standard (.958) Silver Salt and Pepper Set, hallmarked London, 1917‑1925, by Lionel Alfred Crichton for Crichton & Co., including four footed salt cellars, w. 3”, and four baluster pepper casters, h. 4‑5/8”, each of concave-canted square section, with molded rims and banding, three pairs monogrammed “AMS”, 48.47 total t. oz. [1500/2500] Illustrated

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

367 George VI Cased Twelve-Piece Sterling Silver and Mother-of-Pearl Dessert Service, hallmarked Sheffield, 1938‑1939, by James Dixon & Sons, including six dessert knives with pointed sterling blades, l. 6‑1/2”, and six dessert forks with three sterling tines, l. 5‑1/2”, each with a carved mother-of-pearl flat handle of rectangular section with shield-shaped finial, presented in the original beige satin- and velvet-lined oak case, 2‑5/8” x 11‑1/2” x 9‑1/4”. [600/900]

364 366

365 English Sterling Silver Presentation Cigarette Box, hallmarked London, 1956‑1957, by Adie Brothers, Ltd., of rectangular form with hinged lid and cedar-lined interior, decorated with a guilloche lid and Anglo-Saxon-style edging and feet, the front with presentation inscription “Presented to / Harold Ashworth, Esq. / by his colleagues on the Board / of Lilford & Amalgamated Weavers Limited / As a token of their esteem / January 1957”, h. 2”, w. 6‑7/8”, d. 3‑7/8”. [500/800] Illustrated

368 Edwardian Four-Piece Parlor Suite, early 20th century, consisting of a settee, h. 41‑1/2”, w. 44‑1/2”, d. 22”, an armchair, h. 41‑1/2”, and a pair of sidechairs, h. 41‑1/2”, all with shaped backs featuring scenes of courting courtiers within a floral border, the rounded seats raised on cabriole legs headed by floral carving and ending in pad feet. [1000/1500] Illustrated

365

366 George V Sterling Silver-Mounted Glass Ecclesiastical Flagon, hallmarked London, 1929‑1930, by A. R. Mowbray, the pear-shaped glass body mounted with a sterling collar and annulated band joined by a scroll handle, with beaked spout, hinged lid with spherical finial and lobed and stepped foot, h. 13‑1/4”, dia. 6”, l. 7‑1/4”. [1800/2500] Illustrated

368

369 Set of Twelve Worcester Hand-Painted Porcelain Dinner Plates, ca. 1925, English, decorated with Adamstyle raised gilt on a claret ground, the hand-painted floral center panels signed “E. Phillips”, marked with Royal Worcester’s 1925 backstamp, and the retailer, Marshall Field, Chicago, dia. 10‑3/4”. [1800/2500] Illustrated

369

372 Pair of Edwardian Jasperware and Silverplate Sconces, first quarter 20th century, Wedgwood, decorated with sprigging of “Herculaneum Figures”, used as sconce plaques since the 18th century, in silverplated Adam-style frames, with Jasperware candle sockets and drip pans, h. 15‑1/2”, w. 8”, d. 6”. [2500/4000] Illustrated

371

370 Edwardian Marquetry-Inlaid Mahogany Handkerchief Table, first quarter 20th century, the top with four foliate- and urn-inlaid triangular sections opening to reveal a felt-lined playing surface, the frieze with burled and line-strung panels and a single drawer, h. 29”, w. 21”, d. 21”, extended l. 30”, w. 30”. [600/900] Illustrated

370

373 Large Lacquered Brass and Leather Club Fender, first quarter 20th century, of “U” form, the seat tufted in deep green leather, h. 21‑1/4”, w. 84”, d. 27”. [600/900]

372

371 Pair of Edwardian-Style Paint-Decorated Satinwood Vitrines, second quarter 20th century, each in two parts, the upper section with an upswept crest mounted with finials, over a pair of glazed mullioned doors with a central painted panel in the Adam taste, the base with ovolo corners and a frieze drawer, raised on fluted tapering Sheraton legs joined by stretchers with a central shelf, h. 92‑1/2”, w. 49‑1/4”, d. 21”. [1500/2500] Illustrated

374 Louis Basset (French, b. 1948), “After the Polo Match”, oil on panel, signed lower right, 32” x 24”. Framed. [2000/4000] Illustrated

376 Louis van der Pol (Dutch, 1896‑1982), “At the Cafe”, oil on canvas, signed lower right, 40” x 31”. Framed. [2000/4000] Illustrated

377

377 Set of Twelve Royal Worcester Hand-Painted Dinner Plates, ca. 1929, English, each decorated with a printed blue border and hand-painted flowers, and a delicate border of meandering gilt vines, marked with the Royal Worcester backstamp, and made expressly for Ovington Bros. Co., New York, dia. 10‑1/2”. [1200/1800] Illustrated

378

374 375 Enameled Bronze Figure of a Whippet, fourth quarter 19th century, possibly Austrian, the realistically modeled dog painted to resemble patinated bronze, h. 21‑1/2”, w. 9‑1/4”, l. 23”. [500/800]

378 Continental Gilt-Metal and Onyx Occasional Table, early 20th century, the circular onyx top within a metal band and raised on a standard in the form of a seated whippet, on an octagonal marble base, h. 30”, dia. 17”. [500/800] Illustrated 376

379 Adam-Style Polychrome, Giltwood and Composition Looking Glass, early 20th century, the circular mirror plate in a beaded and fluted frame with a crest modeled as an urn over a floral-painted panel and scrolling foliage, with like carving at its sides and a painted panel below, h. 53‑3/4”, w. 23‑3/4”, d. 1‑3/4”. [700/1000] Illustrated

381

380 Contemporary Parcel-Gilt Mahogany Looking Glass, of Chippendale inspiration, the mirror plate in a frame with an exuberantly modeled shell-carved crest, each corner set with smaller carved shells, h. 57”, w. 30”, d. 7”. [500/800]

379

382

381 Pair of Edwardian Polychrome Cabinets, late 19th century, each with a molded cornice above a single astragal-glazed door, the lower section with two small ogee-molded drawers over two cabinet doors, the whole with delicate floral accents and bouquets, raised on tapering square legs ending in spade feet, h. 66”, w. 18‑1/4”, d. 11‑1/4”. [2000/4000] Illustrated 382 Louis XV-Style Mahogany and Marble-Top Secretary Chest, late 19th century, the rounded rectangular top with a molded edge, above a case fitted with a single drawer over a drop-front secretary, opening to an inset writing surface and a pair of drawers, over three drawers, all banded and quarter-veneered, raised on bracket feet, the whole with decorative ormolu mounts, h. 50”, w. 27‑1/4”, d. 15‑3/4”. [1500/2500] Illustrated

383

383 Impressive French Gilt-Bronze Three-Piece Clock Set in the Regence Style, fourth quarter 19th century, the clock decorated with carefully cast pierced corbels, and ornamented with acanthus leaves, swags of roses and a covered urn finial with putto handles, the enameled dial marked “bervoit a Paris”, possibly the maker or retailer, h. 26‑3/4”, w. 21‑3/4”, d. 7”, together with a pair of matching nine-light candelabra with pierced standards, the rope-twist candle arms on two tiers and decorated with molded acanthus leaves, h. 24‑3/4”, dia. 15‑1/2”. [6000/9000] Illustrated

384 Unusual French Fruitwood Settee, the padded domed back above a padded seat, each end with a corner seating space divided from the main seat by padded arms, raised on molded tapering square legs, h. 39‑1/2”, w. 126”, d. 25”. [2500/4000]

386

385 French School (Third Quarter 19th Century), “Portrait of a Fashionable, Golden-Haired Beauty”, oil on canvas, 30” x 25”. Presented in a period giltwood and gesso frame. [700/1000] Illustrated 385

387

388

386 Small Louis XVI-Style Prism-Hung Brass Four-Light Chandelier, 20th century, with a ribbed glass stem and dressed with faceted cut glass teardrops and pendalogues, h. 22”, dia. 13”. [500/800] Illustrated

389

387 Louis XIV-Style Giltwood Fauteuil a la Reine, mid19th century, the tall padded back surmounted by a shield and scrolling foliate crest, joined by acanthine-carved arms to the padded seat, raised on shaped legs and block legs joined by an H-form stretcher, h. 52”. [500/800] Illustrated 388 Louis XVI-Style Giltwood Mantel Mirror, ca. 1900, the crest with a carved laurel and ribbon wreath flanked by laurel leaves and berries, over a mirror plate in a beaded frame and flanked by carved leaf and ribbon pilasters, h. 65‑1/2”, w. 42”, d. 7”. [1800/2500] Illustrated 389 Louis-Philippe Patinated Bronze Clock Depicting Jenny Lind, second quarter 19th century and later, now set with Ansonia works made in Connecticut in the late 19th century, the lower case decorated with molded scrollwork, a seated figure of Lind leans on the clock, which has a sheet music finial, h. 20‑1/2”, w. 14‑3/4”, d. 4‑3/4”. [500/800] Illustrated

390

392 Alfred De Molins (French, 1821‑1890), “Sunday In the Park”, oil on panel, signed lower right, 4” x 6”. Framed. [600/900]

393

390 French Patinated Bronze of “Mignon”, first quarter 20th century, after Eugene Antoine Aizelin (French, 1821‑1902), signed along proper left shoulder truncation, a “F. Barbedienne, Fondeur” inscription along right shoulder truncation, stamped “Reduction Mecanique/A. Collas” at back of neck, h. 13‑1/4”, w. 8‑1/2”, d. 6”. [500/800] Illustrated

393 Baroque-Style Gilt-Metal Eight-Light Chandelier, the leaf-molded standard set with reeded candle arms and matching candle cups and drip pans, electrified, h. 38”, dia. 31‑1/2”. [800/1200] Illustrated 394 Pair of French Bronze Four-Light Candelabra, first quarter 20th century, in the Louis XVI style, on domed molded bases, the fluted quiver-form standards set with four leaf-molded candle branches terminating in matching cups and drip pans, surrounding the central flame-form finial, h. 21‑1/2”, dia. 10‑3/4”. [800/1200] Illustrated

394

391 391 Christoffel Bisschop (Dutch, 1828‑1904), “Interior Scene; Veiled Woman with a Prayer Book”, oil on beveled wood panel, signed lower left, 19‑7/8” x 15”. Presented in an exceptional antique gesso and carved giltwood frame. [1800/2500] Illustrated

395

397 Five-Piece Collection of French Amberina SwirlMolded Crystal, fourth quarter 19th century, including a round decanter with a matching stopper, h. 11‑1/2”, dia. 5”, and four graduated cologne bottles with matching stoppers, h. 5” to 7‑3/4”, each piece with polished pontil marks. [700/1000]

398

395 Charles-Auguste Lebourg (French, 1829‑1906), Terracotta Bust, probably Hortense de Beauharnais, ca. 1884, on a green marble socle, signed and dated in the fabric on the shoulder, h. 29”, w. 17‑1/2”, d. 9‑3/4”. [3000/5000] Illustrated Hortense de Beauharnais was the stepdaughter of Napoleon, mother of Napoleon III, and the wife of Louis Bonaparte, King of Holland.

398 Suite of Four Louis XVI-Style Giltwood Fauteuils, mid-19th century, each with a padded rectangular back within a foliate ribbed frame, joined by padded imbricate arms to the like seat, raised on stop-fluted tapering circular legs headed by foliate carving and ending in toupie feet, upholstered in period tapestry with various avian scenes, h. 36‑1/2”. [3000/5000] Illustrated

399

396 Louis XVI-Style Mahogany and Kingwood Games Table, early 20th century, the banded parquetry-inlaid top hinged and opening to a baize-lined interior, above a frieze fitted with an end drawer, opening to a roulette wheel and a backgammon board, above a pull-out baize roulette board, raised on tapering square legs ending in bass caps, h. 30”, w. 35”, d. 22‑1/4”. [500/800] Illustrated 396

399 Pair of Louis XVI-Style Polychrome Bergeres, 20th century, each with a padded tapering rectangular back joined by fluted uprights and padded sides to the cushioned seat, raised on fluted tapering circular legs ending in toupie feet, h. 37”. [3000/5000] Illustrated 400 Pair of Hand-Painted Potpourri Vases, third quarter 19th century, probably French, of beaker form, with pierced necks and covers, decorated with applied flowers and gilt-ground panels of hand-painted flowers, marked with an underglaze blue faux Chinese mark in the style of 18th-century Worcester, h. 11”, dia. 6”. [900/1200] Illustrated

401 Pair of French Gilt-Trimmed Turquoise-Ground Porcelain Figures, fourth quarter 19th century, in the rococo taste, one depicting two children attempting to ride a goat, h. 8”, and the other two children gathering flowers under a tree, h. 8”. [1500/2500] Illustrated

402

400

404 Pair of Louis XVI-Style Mahogany and Marble-Top Commodes, the rectangular dished marble top above a single frieze drawer, joined by fluted uprights to a single cupboard door, the whole with brass banding accents, raised on toupie feet, h. 35‑1/4”, w. 16‑1/4”, d. 15‑1/4”. [500/800] Illustrated 402 Pair of German Royal Bonn Porcelain and Bronze Three-Light Candelabra, ca. 1900, the trumpet-form porcelain standards hand-painted with flowers and supporting Renaissance Revival-style bronze candle cups mounted with caryatids, h. 17‑1/4”, w. 9”, d. 5‑3/4”. [900/1200] Illustrated

401

405 French Three-Piece Marble and Gilt-Bronze Clock Set in the Directoire Style, first quarter 20th century, the white marble clock set with gilt-bronze ornaments holding the works between a pair of vertical supports decorated with neoclassical pate-sur-pate medallions, and the marble and bronze urn finial “chained” to flanking lyre finials, the works marked “Made in France”, h. 17”, w. 10‑1/2”, d. 4‑1/4”, together with a matching pair of five-light candelabra with removable florae and finials in the central candle cup, h. 19‑1/4”, dia. 7‑1/2”. [2500/4000] Illustrated

403

403 Unusual Louis XVI-Style Mahogany Writing Table, early 19th century, the back fitted with a pull-up fabric paneled fire screen, the slanted banded top with a brassinlaid diamond pattern, opening to a storage interior, raised on graduated brass fluted supports to runner feet on casters, h. 36”, w. 23”, d. 16‑1/2”. Provenance: James Grafton Antiques, New York. [500/800] Illustrated

406 Louis XVI-Style Giltwood Bergere avec Orielles and Stool, late 19th century, the bergere with a domed and padded back within a rope-carved frame, joined by shaped and padded sides and arms to the cushioned seat, raised on tapering circular fluted legs ending in toupie feet, h. 37”, together with a stool with a cushioned square top above a paneled frieze with corner block floral accents, raised on stop-fluted tapering circular legs ending in toupie feet, h. 18”, w. 16”, d. 16”. [600/900]

407

404

408 Copeland Porcelain Pierced Dessert Tazza, ca. 1851‑1885, English, on a tripartite base with a scrolled standard, decorated with raised gilt guilloche borders, wave patterns and bellflowers, the “fancy” version of Copeland’s printed green mark on the base, h. 9”, dia. 10”. [600/900]

407 Pair of French Gilt-Bronze and Enamel Three-Light Sconces, in the neoclassical taste, the gilt-bronze bowknots supporting cobalt enamel backplates decorated with masque mounts, the leaf-molded candle arms supporting leaf-molded drip pans and pierced candle sockets, h. 35”, w. 13‑1/2”, d. 12‑3/4”. [2000/4000] Illustrated

409 Pair of German Hand-Painted Porcelain Covered Garniture Urns, first quarter 20th century, one panel depicting the Berliner Dom Cathedral, the other Amsterdam’s Westerkerk Cathedral, marked “SP Dresden”, for Saxonian Porcelain Works, Potschappel, Germany, h. 16”, dia. 5‑3/4”. [800/1200] Illustrated

409

405

411 Louis XVI-Style Mahogany and Marble-Top Semainier, late 19th century, the rectangular marble top above a conforming case fitted with seven drawers, each with a raised panel, raised on tall tapering circular legs ending in brass caps, h. 64‑1/2”, w. 23”, d. 14”. [1000/1500] Illustrated

410

412

410 Directoire Mahogany Dressing Table, early 19th century, the banded brass-bound rectangular top hinged and opening to an inset marble surface and a mirror, above a case fitted with a central drawer flanked to either side by a small deep drawer, raised on fluted tapering circular legs ending in brass caps, h. 29‑1/2”, w. 34‑1/4”, d. 19‑1/2”. Provenance: Sotheby’s, 1973. [800/1200] Illustrated

411

412 Pair of Louis XV Polychrome Fauteuils, late 18th century, each with a padded curved back surmounted by a floral crest, joined by padded scrolling arms to the like seat, raised on molded cabriole legs ending in scrolled toes, h. 33”. Provenance: Sotheby’s, 1992. [500/800] Illustrated

413

413 Transitional Louis XV-into-Louis XVI-Style Kingwood, Mahogany and Marble-Top Commode, late 19th century, the rectangular marble top of breakfront form, above a conforming case fitted with a single frieze drawer over two long deep drawers, all with decorative parquetry inlays centered by a floral basket, raised on tapering square legs ending in brass caps, h. 36‑1/2”, w. 43”, d. 20‑1/2”. [1000/1500] Illustrated

100

414 Pair of Royal Vienna Porcelain “Kinderkopf” Busts, after J.J. Kaendler, ca. 1860‑1864, Konigliche Porzellan-Manufaktur, Berlin, on fluted columnar bases, marked with an underglaze blue Bindenschild or “beehive” on the female figure, and various incised numbers and initials on the bases of both the busts and the columnar bases, h. 8‑3/4”, w. 4”, dia. 3”. [600/900]

416

417

415 Frankenthal Porcelain Figure of a Gardener, ca. 1700‑1760, by Paul Antoine Hannong, the female gardener depicted holding a painted metal rake and standing on a mauvetrimmed rocaille base, marked with Hannong’s rampant lion underglaze blue mark, h. 5‑1/2”, w. 2‑3/4”, d. 4‑1/4”. Provenance: Henry Stern Antiques, New Orleans, Louisiana. [500/800] 416 Meissen Porcelain Allegorical Figure of “America”, third quarter 18th century, German, from their “Continents” series, the American Indian maiden depicted dressed in a cape and skirt of feathers matching her headdress, holding a bow, a cornucopia at her feet, marked with underglaze crossed swords on the bottom, h. 6‑1/4”, dia. 2”. Provenance: Henry Stern Antiques, New Orleans, Louisiana. [700/1000] Illustrated

417 Louis XV-Style Kingwood and Marble-Top Buffet, 20th century, the bowed and shaped ochre marble top with a molded edge, above a conforming case fitted with three central drawers flanked to either side by a cupboard, all banded and quarter-veneered, raised on splayed legs ending in sabots, h. 39‑1/2”, w. 72‑1/2”, d. 23”. [900/1200] Illustrated 418 Amusing Napoleon III Bronze Figural Mantel Clock, third quarter 19th century, the rococo-style pierced gilt-bronze base holding a contrasting bronze elephant supporting the clock, a putto playing a lyre sits astride the top, h. 17”, w. 11‑1/4”, d. 5”. [1800/2500] Illustrated

419

418

419 Louis XVI-Style Mahogany and Marble-Top Occasional Table, the concave rectangular marble top with a three-quarter pierced brass gallery, above a conforming frieze fitted with a single floral-patterned drawer, joined to two like-shaped full galleried shelves by fluted circular uprights ending in brass toupie casters, h. 30‑1/2”, w. 26”, d. 13”. [1000/1500] Illustrated

101

420 French Three-Piece Hand-Painted Porcelain and Bronze Garniture Set, second quarter 20th century, comprised of a centerpiece bowl, h. 9”, w. 12‑1/2”, and a pair of covered urns, h. 16‑1/2”, dia. 5‑1/2”, each decorated with panels of hand-painted flowers on a Chinese red ground and trimmed in gilt bronze. [500/800] Illustrated

424

420

421 Louis XVI-Style Giltwood Canape, late 18th century, the domed and padded back within a molded frame with floral crest, joined by downswept arms to the cushioned seat, raised on molded cabriole legs headed by floral carving and ending in scrolled toes, h. 39‑1/2”, w. 88”, d. 30‑1/2”. Provenance: Sotheby’s, 1991. [600/900] Illustrated

421

424 Pair of Louis XIV-Style Bronze and Crystal ThreeLight Candelabra, ca. 1900, the leaf-molded bronze bases holding glass-clad standards hung with swags of crystals and colorless and mauve drops in three tiers, finished with a spear-point finial, h. 24”, dia. 11”. [700/1000] Illustrated 425 Louis XVI-Style Mahogany and Marble-Top Occasional Table, late 19th century, the inset rectangular marble top above a conforming paneled frieze fitted with a single drawer and centered by an ormolu pendant medallion of putti, joined to a concave lower shelf by tapering square legs ending in foliate caps, the whole accented with ormolu mounts and millwork, h. 31‑1/2”, w. 28‑1/4”, d. 16‑3/4”. [1400/1800] Illustrated

425

422 Meissen Hand-Painted Porcelain Corbeille, ca. 1860‑1922, German, the oblong basket pierced in a lattice pattern, the vine-form handles with applied flowers and the interior bottom with hand-painted flowers, h. 4‑1/4”, w. 9‑1/2”, d. 6‑3/4”. [600/900] 423 Set of Ten Black Knight Rococo-Style Luncheon Plates, ca. 1917‑1932, Bavarian, pattern number 10725, decorated with green scrollwork and gilt lattice on an ivory ground, with hand-painted floral center panels, marked with a Black Knight backstamp and pattern number, dia. 9”. [500/800]

102

426 Two Paris Porcelain Teapots and a Sugar Bowl with Chinoiserie Decoration, second quarter 19th century, decorated with polychrome panels of mandarin figures and florals on a cobalt ground with gilt scrollwork, teapots, h. 6” and 7‑1/2”, sugar bowl, h. 5‑1/2”. [500/800]

427 French Gilt-BronzeMounted Porcelain Garniture Vase, fourth quarter 19th century, in the Louis XV taste, of inverted pear form and mounted with bronze handles and swags of flowers, the cover with a bronze pineapple-form finial and a Sevres-style mark, h. 27‑3/4”, w. 15”, dia. 10‑3/4”. [3000/5000] Illustrated

429

427

428 Unusual Partial Service of French Cut, Engraved and Gilt-Glass Tableware, ca. 1900, decorated with blue-stained borders and medallions, with wheel engraving and gilt flowers, and a “BH” monogram, including seven bowls, h. 2‑1/4”, dia. 4‑3/4”, eight underplates, dia. 7”, and thirteen footed glasses, h. 4‑1/2” (twenty-eight total pieces). [500/800] 429 Imari Garniture Vase Mounted as a Ewer, fourth quarter 19th century, the Imari-decorated urn mounted with a giltbronze masque-molded spout, a dragon-molded handle and a scrolled base, h. 16”, w. 6‑3/4”. [800/1200] Illustrated 430 Pair of Belle Epoque Franco-Japanese Porcelain and Bronze Six-Light Candelabra, fourth quarter 19th century, the Japanese Imari vase standards mounted with pierced bronze scrollwork galleries emanating candle branches decorated with leaves, flowers and flower-molded candle cups, and raised on bronze bases with pierced scrollwork, h. 25‑1/4”, dia. 11”. [3000/5000] Illustrated

431

431 Louis-Philippe Franco-Chinese Gilt-Bronze and Porcelain Garniture Vase, mid-19th century, French and Chinese, the rococo revival gilt-bronze masque-molded base holding a Chinese Imari garniture vase mounted with French gilt-bronze handles in the form of tigers on grape vines, and with a bronze upper edge, h. 22‑1/4”, dia. 9‑1/2”. [1500/2500] Illustrated

430

103

432 French Bronze and Crystal Basket Chandelier, first quarter 20th century, in the Louis XVI style, the bronze frame decorated with guilloche piercing, with swags of flowers and wreaths, set with strands of crystal drops concealing six interior light sockets, h. 24‑1/2”, dia. 18‑1/2”. [700/1000] Illustrated

434

432

435 Pair of Louis XV-Style Bronze and Marble Three-Light Candelabra, fourth quarter 19th century, each with a patinated bronze putto-form standard holding three leafmolded gilt-bronze candle arms set with matching candle cups and bobeches, and raised on a gilt-bronze fluted base above a white marble plinth, h. 23‑3/4”, dia. 10‑1/4”. [1000/1500] Illustrated

433 Louis XVI-Style Mahogany and Marble-Top Tiered Server, early 20th century, the rectangular marble top above a frieze fitted with a single long concealed drawer, joined to two lower shelves by faux-reeded supports, the whole raised on like supports ending in brass peg feet, h. 40‑1/4”, w. 48”, d. 18‑1/2”. [500/800] Illustrated

433

434 Louis XV-Style Ebonized and Ormolu-Mounted Bureau Plat, late 19th century, the turtle-form top with an inset leather and brass banding, above a conforming shaped frieze fitted with a single drawer, raised on cabriole legs headed by ormolu mounts and ending in sabots, the whole with inlaid brass stringing, h. 31”, w. 50‑1/2”, d. 32”. [1800/2500] Illustrated

104

435

436 Louis XVI-Style Mahogany and Marble-Top Rafraichissoir, late 19th century, the square top with an inset marble top and two metal containers, above a conforming frieze fitted with a single small drawer, joined by turned supports to two lower shelves, raised on tapering circular feet, h. 28”, w. 17”, d. 17”. [1000/1500] Illustrated 437 Kakiemon-Style Covered Garniture Vase, fourth quarter 19th century, Edme Samson et Cie, Paris, decorated with polychrome cranes, pine trees, peonies and plum branches, the vase marked with a rouge-defer hunting horn and a pair of crossed S’s, h. 15‑1/4”, w. 5‑3/4”, d. 5‑3/4”. [500/800] Illustrated

436

438 Pair of French Bronze Candlesticks in the Chinoiserie Taste, the guilloche-molded gilt-bronze bases holding patinated bronze Chinese-style jardinieres set with giltbronze floriform standards terminating in candle cups, electrified, h. 18”, w. 3‑1/4”. [1000/1500] Illustrated

437

438

439 Unusual French Metal Figural Novelty Clock, fourth quarter 19th century, in the form of a mandarin elder holding a parasol, which serves as the clock’s bell, and sitting astride the clock on a Chinese-style low table, the enamel dial delicately decorated with mandarin figures, marked on the back with the initials “ED”, probably the manufacturer, and “Depose” on the back edge of the face, h. 10‑1/4”, w. 4‑1/2”, d. 3‑1/2”. [600/900] Illustrated

439

105

440 Pair of Gilt-Metal-Mounted Porcelain Lamps, in the form of chinoiserie-decorated Paris porcelain-style vases, decorated with mandarin figures, raised gilt butterflies and flowers on an apple green and yellow ground, with a pagoda-form upper and lower edge, base, h. 13‑3/4”, overall, h. 29”, dia. 7”. [1200/1800] Illustrated

440

442 443 Frederick William MacMonnies (American, 1863‑1937), “Pan of Rohallion”, first quarter 20th century, bronze, cast signature and date at back edge of sphere, on a black marble plinth, h. 11”, w. 4‑1/2”, d. 4‑1/2”. [2000/4000] Illustrated 441 Empire Mahogany and Marble-Top Commode, early 19th century, the rectangular marble top above a conforming case fitted with a frieze drawer over three long drawers, flanked to either side by an engaged pilaster headed by an ormolu maiden’s head, raised on ebonized paw feet, h. 34‑1/2”, w. 50‑1/2”, d. 22‑1/2”. [1000/1500] Illustrated

444 Pair of Empire-Style Ebonized Pedestals, 20th century, each with a circular top over a guilloche frieze, raised on three supports headed by lion’s masques and ending in paw feet on a concave tripartite base, the whole with gilt accents, h. 53”, dia. 11”. [2000/4000] Illustrated

443

445 Pair of Continental Patinated Bronze, ParcelGilt and Bois-Peinte Sconces in Hand, first quarter 20th century, the reeded and domed backplates holding patinated bronze arms with painted and parcelgilt torch-form sconces, with leaf-carved bases terminating in carved pineapples, the flaring tops carved with leaves, h. 23”, d. 24”, dia. 11‑1/4”. [1000/1500] 441

442 Pair of Regency-Style Bronze Two-Light Candelabra, fourth quarter 19th century, probably French, the contrasting gilt and patinated bases holding griffin-form standards set with molded gilt-bronze double candle arms, h. 14‑3/4”, w. 7‑1/4”, d. 4‑1/4”. [600/900] Illustrated

106

446 May Noble (American, 1878‑1966), “Interior View, Versailles”, oil on canvas, signed lower left, 20” x 24”. Framed. [1200/1800] Illustrated 447 Ludwig Gschossmann (German, 1894‑1988), “Ballroom Scene”, oil on canvas, signed lower left, 24” x 30”. Framed. [500/800]

449

449 Handsome Empire-Style Bronze Eight-Light Chandelier, first quarter 20th century, the patinated bronze body set with molded gilt-bronze candle arms and matching cups, all terminating in a lower gilt-bronze pinecone finial, the bronze chains suspending it from a canopy decorated with a pierced gilt-bronze crown, h. 33‑1/2”, dia. 20‑1/2”. [1200/1800] Illustrated

444 448 448 Imposing Louis-Philippe Gilt-Bronze and Ebonized Wood Portico Clock, second quarter 19th century, of unusually large scale, with a carefully cast bronze base molding, Ionic capitals, bezel and dentillated cornice, retaining a bright gilt surface, the unusual ebonized face with a gilt-bronze chapter ring and what appears to be a miniature hand, h. 29‑3/4”, w. 13‑1/2”, d. 7‑3/4”. [700/1000] Illustrated

446

107

450

451 French Bronze Patine et Dore Egyptian Revival Figure, third quarter 19th century, probably representing Cleopatra, the figure depicted seated in a chair ornamented with a sphinx and inscribed with hieroglyphics, retaining a rich, old surface, h. 11‑1/2”, w. 12‑1/4”, d. 3‑1/2”. [800/1200] Illustrated

452

450 Egyptian Revival Gilt-Bronze and Wood Garniture Figure, After Eutrope Bouret (French, 1833‑1906), third quarter 19th century, depicting a draped woman holding a water jug on a plinth decorated with hieroglyphics, signed “Bouret” on the side, mounted on an ebonized wooden base, h. 16‑1/2”, w. 8”, d. 5”. [700/1000] Illustrated

452 French Cast Bronze Orientalist Door Knocker, 19th century, the masque-form knocker wearing a headdress with a crane-form crown and a crescent clasp, on a cast iron knocker plate, h. 9‑3/4”, w. 5‑1/4”, d. 3‑3/4”. [500/800] Illustrated 453 Pair of Napoleon III Bronze and Marble Egyptian Revival Garniture Figures, third quarter 19th century, the female figures modeled leaning on Egyptian columns decorated with hieroglyphics, one carrying a water jug and the other a fan, signed “Bourety”, raised on black marble bases and mounted as lamps, base, h. 15‑1/2”, overall, h. 20‑3/4”, w. 6‑1/2”, d. 5‑3/4”. [1200/1800] Illustrated

451 453

108

454 Empire-Style Fruitwood Center Table, 19th century, the circular top with starburst veneers and raised on giltwood caryatid supports to a concave tripartite base, h. 30”, dia. 31‑1/2”. [500/800]

455

458 Seven-Piece Royal Vienna-Style Hand-Painted Porcelain Tete-a-Tete Set, ca. 1883‑1906, probably Carl Knoll, Fischern, Bohemia, comprising a tray, w. 11‑1/2”, l. 15”, a coffeepot, h. 6”, dia. 6‑1/2”, a hot milk jug, h. 5‑1/4”, dia. 3”, a sugar box, h. 2‑3/4”, and two tasse litrons, h. 2‑1/2”, dia. 5‑1/2”, decorated with tooled and raised gilt on claret and bleu royale borders, and handpainted scenes, most identified on the rear, including “The Christening of Achilles”, “Making Love” and “The Birth of Europe”, marked with an underglaze blue “beehive”. [3000/5000] Illustrated

458

455 Set of Twelve Minton Dinner Plates with Neoclassical Decoration, ca. 1933, with tooled gilt borders on an ivory-ground surround, the dramatic black-ground center rondels decorated with various Greek muses, with details painted en grisaille, marked with the Minton backstamp, including the retailer, “Tatman, Chicago”, and impressed with “Minton” and the year stamp, dia. 10‑1/2”. [1400/1800] Illustrated 456 Pair of English Neo-Grec Pottery Garniture Vases, third quarter 19th century, the black-ground vases decorated with polychrome Greek figures and gilt scrolled handles, formerly mounted as lamps, h. 18‑3/4”, dia. 7‑1/4”. [700/1000] 457 Royal Vienna-Style Hand-Painted Porcelain Platter, ca. 1900, probably Austrian, bordered with panels of gilt scrollwork on a mauve, green and burgundy ground, highlighted with raised enamel, the gilt-ground central panel depicting “Triomphe de l’Amour”, w. 11‑3/4”, l. 17‑1/2”. [600/900] Illustrated

459 Empire-Style Mahogany Lit du Jour, late 19th century, the padded headboard surmounted by giltwood finial sphinx heads, the footboard outswept and padded and raised on giltwood winged female masque-form legs ending in paw feet, h. 52”, w. 44”, l. 86”. [500/800] Illustrated

459

457

109

460 Pair of French Neo-Grec Patinated and Gilt-Bronze and Alabaster Five-Light Candelabra, second quarter 19th century, the cove-molded alabaster bases supporting patinated bronze figures of classical maidens holding gilt amphoras on their heads, the figures after Louis Valentin Elias Robert (French, 1821‑1874), and marked “LVE Robert”, the gilt amphoras emanating gilt-bronze flowermolded candle branches with matching flower-form candle cups, formerly mounted as lamps and now on brass lamp bases, h. 23‑1/2”, dia. 9‑1/4”. [1500/2500] Illustrated

461

460

462

461 Biscuit Porcelain Figure of a Woman at a Well, after Nicolas Lecorney (French, 1825‑?), in the classical taste, depicted holding a cup at a dolphin-form fountain, inscribed “Lecorney” and “EB Paris” on the side, h. 24‑3/4”, w. 10‑1/2”, d. 7‑1/2”. [500/800] Illustrated 462 After Antonio Canova (Italian, 1757‑1822), “Venus Italica” carved Carrara marble sculpture on pedestal, late 19th century, statue, h. 43”; overall, h. 78”; dia. 20”. [5000/8000] Illustrate The sculpture “Venus Italica”, otherwise known as “Italian Venus”, was commissioned by Ludovico I, King of Etruria in 1802. It was commissioned to replace the famous “Medici Venus”, which had been seized by Napoleon and removed from the Tribuna of the Uffizi that year during their occupation of Italy. Canova was a leading exponent of the neoclassical style, which dominated the arts in the late 18th and early 19th centuries. He became internationally famous and was regarded as Europe’s most brilliant sculptor. A slightly larger version of this sculpture is in the collection of The Metropolitan Museum of Art, New York, accession number 2003.21.1.

110

465

463

463 French Biscuit Porcelain Bust Depicting “Victory”, fourth quarter 19th century, in the manner of Augustus Saint-Gaudens (American, 1848-1907), the figure modeled wearing a wreath of laurel leaves, decorated with a gilt sprig in the rear, h. 17”, w. 10‑1/2”, d. 7”. [500/800] Illustrated 464

466 Pair of French Empire Bronze Figural Candelabra, first quarter 19th century, the finely engine-turned and molded bronze dore bases terminating in ball finials and supporting patinated bronze angel-form standards, the angels with lotus-molded candle branches decorated with pierced anthemia, overall, h. 36‑3/4”. [3000/5000] Illustrated

466

464 Handsome Pair of Louis-Philippe Marble, Bronze and Glass Cornucopia Vases, mid-19th century, the black marble bases with molded bronze goat’s head holders set with blown and frosted colorless glass vases cut in a grid pattern, h. 11‑1/4”, w. 9‑1/4”, d. 3‑1/4”. [700/1000] Illustrated 465 Empire-Style Giltwood and Marble-Top Occasional Table, 20th 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 raised on casters, h. 29‑1/2”, dia. 21”. [1000/1500] Illustrated

111

467

467 French Empire-Style Gilt-Bronze and Cut Glass Centerpiece, second quarter 20th century, the cylindrical base decorated with pierced and molded mounts, and supporting three caryatids holding the diamond point cut glass bowl, a pineapple finial decorating the center of the base, h. 17‑1/2”, dia. 8‑1/4”. [1800/2500] Illustrated

468

469

469 French Gilt-Bronze and Cut Crystal Champagne Bucket on Stand, in the Empire style, the engine-turned base supporting the fluted standard, with molded bronze anthemia holding the diamond point cut glass bucket, the bucket with lion’s head ring pulls and an engine-turned bezel on its upper edge, h. 32‑1/2”, dia. 8”. [700/1000] Illustrated 470 Carved Marble Neoclassical Figure Personifying Spring, one of the Horae, or seasons, depicted holding a garland of flowers, h. 70”, w. 22‑1/2”, d. 18”. [800/1200] Illustrated 471 Carved Marble Neoclassical Figure Personifying Summer, one of the Horae, or seasons, depicted with a cornucopia with the fruits of summer, grapes in her hair and a wine cup in her hand, h. 71‑1/4”, w. 22”, d. 15”. [800/1200] Illustrated

468 Pair of French Empire-Style Gilt-Bronze and Cut Crystal Vases, possibly Baccarat, the flaring vases with square plinths supporting winged paw feet at the corners of the strawberry-cut vases, finished with leaf-molded bronze upper edges, h. 12‑1/4”, w. 8”. [1800/2500] Illustrated

112

472 Carved Marble Neoclassical Figure Personifying Autumn, representing the Goddess Ceres, one of the Horae, depicted with sheaves of wheat, h. 70”, w. 23‑1/4”, d. 16‑3/4”. [800/1200] Illustrated

470

471

473 Carved Marble Neoclassical Figure Personifying Winter, one of the Horae, or seasons, depicted pulling her cloak around her against the winter winds, one foot on a stack of firewood, h. 71”, w. 30”, d. 16‑3/4”. [800/1200] Illustrated 474 Pair of Empire-Style Bronze Andirons, ca. 1900, the square Corinthian column andirons decorated with Empire mounts and terminating in ball finials, raised on leaf-molded cabriole legs, with cast iron billet bars, h. 30”, w. 10‑3/4”, d. 23”. [800/1200] Illustrated

472

473

475 Louis XV-Style Tole-Peinte and Gilt-Bronze EightLight Chandelier, second quarter 20th century, the inverted tole shade decorated with hand-painted putti holding laurel swags, the pierced central medallion concealing eight lights, with gilt-bronze chains and a leafmolded canopy, h. 45‑1/2”, dia. 30”. Provenance: Carlton Hotel, Cannes, France. [1400/1800] Illustrated

475

474

113

479 Set of Six French Beaux-Arts-Style Bronze Pendant Sconces, the giltbronze brackets decorated with scrollwork and eggand-dart edges, and holding the patinated bronze bell-form lamp holders, electrified, h. 15‑1/4”, dia. 5”. [500/800] Illustrated

476

476 Pair of Neoclassical Polychrome Sidechairs, early 19th century, each with a curved crest above an X-form splat, centered by a floral medallion, the padded seat raised on sabre legs, h. 32”. Provenance: King Leopold of Naples, deaccessioned from the Wadsworth Atheneum, Hartford, Connecticut. [600/900] Illustrated

477

479 1 of 6

480 Pair of Restauration Fruitwood Fauteuils, second quarter 19th century, the open arms terminating in reeding and anthemion carving, with bowed seat and saber legs, pegged construction throughout, h. 36”. [900/1200] Illustrated 481 Tuscan-Style Wrought Iron and Giltwood Six-Light Chandelier, the carved bowl adorned with rosettes and swags, the lights on the arms with wrought metal foliage, electrified, h. 22”, dia. 24”. [500/800]

480

477 Pair of French Patinated Bronze and Rosso Antico Marble Lamps, fourth quarter 19th century, in the Louis XV style, the patinated bronze urn-form lamps decorated with molded escutcheons, laurel branches and guilloche trim, and mounted with gilt-bronze horned satyr’s head handles, above fluted rosso antico marble bases with giltbronze trim and feet, base, h.16”, overall, h. 18”, w. 6”, d. 5”. [1000/1500] Illustrated 478 Unusual French Bronze, Tole and Celluloid Bouillotte Lamp, second quarter 20th century, the drum-shaped base painted with neoclassical scenes on a black ground and trimmed with gilt-bronze fittings, the three electric “candles” decorated with Art Deco decorations, the bronze shade frame set with celluloid panels decorated with swags and putti in rondels, h. 19”, dia. 11”. [500/800]

114

482 Charming Louis XVI Miniature Secretaire a Abattant, ca. 1800, veneered in kingwood and mahogany and line inlaid, with gilt-bronze escutcheons on the drawer, lower case and lid, which opens to reveal a fitted interior and lined writing surface, h. 18‑3/4”, w. 15‑1/4”, d. 6‑3/4”. [1000/1500] Illustrated

482

483 Mahogany-Veneered Miniature Chest in the Restauration Taste, second quarter 19th century, the molded rectangular top above a case fitted with six drawers and a pair of engaged vasiform pilasters ending in tapered feet, with pine and oak secondary woods, now lined in pale apricot silk, h. 19‑3/4”, w. 14‑3/4”, d. 7‑1/2”. [700/1000] Illustrated

484

485 Continental Polychrome Pedestal, late 19th century, the circular top raised on a fluted and spiral-fluted waisted bulbous standard to a concave octagonal base, h. 51”, dia. 14”. [500/800] Illustrated

485

484 Unusual Restauration-Style Miniature Mahogany Chest, third quarter 19th century, in the neoclassical taste, with faux-marbre columns terminating in gilt Corinthian capitals framing the front, over sabre legs, h. 17”, w. 13‑1/4”, d. 7‑1/2”. [800/1200] Illustrated

483

115

486 Restauration Walnut and Marble-Top Side Table, mid-19th century, the rectangular marble top above a circassian walnut cove-molded frame, joined by acanthine-carved scrolling supports and reeded back legs to the concave shaped base, h. 38‑1/2”, w. 61‑1/2”, d. 31”. [1000/1500] Illustrated 488

486

487 Tiffany-Retailed Swedish Marble, Alabaster and Gilt-Metal Three-Piece Clock Set, post-1945, in the neoclassical style, comprising a portico clock composed of contrasting pink marble and alabaster, decorated with gilt-metal cupids and trim, the dial signed by the retailer, Tiffany & Co., the works by Swedish clockmaker Exacta, h. 20‑1/2”, w. 9‑1/2”, d. 9‑1/4”, and a pair of matching vasiform garnitures, h. 15‑1/2”, w. 4‑1/2”, d. 4‑1/2”. [1000/1500] Illustrated

487

488 Pair of Napoleon III Bronze Three-Light Candelabra, third quarter 19th century, in the Empire taste, the molded and engine-turned bases supporting Psycheform standards holding flower-filled cornucopias set with molded candle branches and central flame finials, h. 22‑3/4”, dia. 7”. [1200/1800] Illustrated

116

489 Empire-Style Mahogany and Marble-Top Cabinet, late 19th century, the rectangular marble top above a conforming case fitted with a single drawer above a recessed cupboard door, centered by an ormolu cherub mount and flanked to either side by an ormolu-mounted column, raised on a plinth base, h. 31‑1/2”, w. 15”, d. 15‑1/4”. [600/900] Illustrated

489

490 French Gilt-Bronze and Rosso Antico Marble Garniture Urn, second quarter 20th century, in the Louis XV style, the ovoid urn set in leaf-molded gilt-bronze trim with a mount of flowers and intertwined snake handles, with a flaring neck and matching cover, h. 28‑1/4”, dia. 8‑3/4”. [1000/1500] Illustrated

492 Gilt-Bronze Figure of “La Femme au Perroquet”, fourth quarter 19th century, after Louis Sauvageau (French, 1822‑ca. 1874), cast signature at edge, on a green marble base, h. 24”, w. 10‑1/2”, d. 10‑1/2”. [3000/5000] Illustrated

492 490

491 Pair of French Neo-Grec Gilt-Bronze Moderator Lamps, the lamp bodies with bas-relief-molded dancing Greek muses and trimmed with an incised Greek-key, raised on fluted bases decorated with laurel leaves and berries, now electrified, base, h. 18‑1/2”, overall, h. 22‑1/2”, dia. 6”. [1200/1800] Illustrated

493 Impressive Napoleon III Bronze and Marble Encrier, third quarter 19th century, featuring a patinated bronze figure of Lorenzo, after Michelangelo Buonarroti (Italian, 1475‑1564), the original made for the tomb of Lorenzo de Medici, flanked by a pair of gilt-bronze low urns and a pair of engine-turned gilt-bronze covered inkpots, all above a red griotte marble base decorated with pierced gilt-bronze anthemia and raised on gilt-bronze paw feet, h. 16‑3/4”, w. 16”, d. 9‑1/4”. [2000/4000] Illustrated

491 493

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494

494 Empire-Style Polychrome Fauteuil, 19th century, the bellflower-carved crest above a padded back, joined by padded arms to lion’s head uprights to the padded seat, raised on fluted tapering circular legs ending in peg feet, h. 39”. [1000/1500] Illustrated 495 Handsome Set of Four French Gilt-Bronze Tiebacks, ca. 1900, in the neoclassical taste, depicting molded lion’s heads grasping hooks terminating in molded branches of grapes, the set includes two single hooks, h. 6‑3/4”, w. 10”, d. 5”, and two double hooks, h. 6‑3/4”, w. 11”, d. 5”. [1800/2500]

496

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496 Unusual Pair of French Restauration Patinated and Gilt-Bronze FiveLight Candelabra, second quarter 19th century, now mounted as lamps, each with a patinated bronze base in the form of a putti drum and supporting the reeded and tapered standard, the crown resembling an antique bronze lamp set with gilt-bronze candle branches molded with lotus leaves, raised on black marble bases above gilt-bronze paw feet with molded trim, h. 30”, overall, h. 44‑1/4”, dia. 10‑1/2”. [1800/2500] Illustrated

497

497 Italian Patinated Bronze of the “Venus de Milo”, first quarter 20th century, after the antique marble now at the Louvre, Paris, h. 39”, w. 10‑1/2”, d. 9”. [700/1000] Illustrated 498 French Gilt Bronze of “Le Triomphe de Bacchus”, fourth quarter 19th century, after Clodion (Claude Michel, French, 1738‑1814), cast signature at base, h. 15‑1/2”, w. 9”, d. 8”. Provenance: A New Orleans, Louisiana estate. [1800/2500] Illustrated

498

499

499 Handsome Pair of French Bronze Dore et Patine Bronze Ewers of Etruscan Form, first quarter 19th century, the leaf-molded bases supporting patinated ewers, each decorated with a band of engine turnings, a swag mount of grapes and tassels on the neck, and a gilt fluted lip and handle terminating in a Dionysian masque, h. 12‑1/2”, w. 5‑3/4”. [1500/2500] Illustrated

501

502 Handsome Pair of French Belle Epoque Bronze Dore and Marble Lamps, fourth quarter 19th century, in the Louis XV taste, the bleu turquin marble vasiform bodies mounted with bronze dragon-headed handles and raised on bases with bronze guilloche mounts, h. 18‑1/2”, overall, h. 33‑1/2”, dia. 6‑3/4”. [1500/2500] Illustrated

502

503 Pair of Empire-Style Ebonized Sidechairs, early 20th century, each with a backswept crest above a splat with a fleur-de-lis within a laurel leaf frame, the padded seat raised on sabre legs headed by a lion masque and ending in paw feet, h. 39”. [1500/2500] Illustrated

503

500 French Neo-Grec Patinated Bronze Tazza, third quarter 19th century, the conical foot supporting a standard molded with a bust of Hephaestus, the bowl decorated with a bas-relief profile portrait of Athena in a gilt bezel, h. 8”, dia. 10”. [500/800] 501 Empire-Style Mahogany and Marble-Top Commode, late 19th century, the rectangular marble top above a conforming case fitted with a frieze drawer over two long drawers, flanked to either side by an engaged ormolumounted column, raised on ebonized paw feet, h. 38”, w. 53”, d. 27”. [2000/4000] Illustrated

119

504 Empire-Style Parcel-Gilt Overmantel Mirror, 20th century, framed as bundles of ebonized reeds tied with gilt ribbon, the pierced crest of crossed arrows and a laurel wreath flanked by gilt lion’s heads, h. 38‑1/2”, dia. 42”. [1500/2500] Illustrated

507 Pair of French Silvered Bronze Four-Light Sconces, first quarter 20th century, in the neoclassical taste, the quiver-form backplates terminating in molded leaves and pinecones, and with leaf-molded trumpet-form arms, the lower ends termating in eagle heads, electrified, h. 28”, w. 17‑1/4”, d. 9‑3/4”. [1000/1500]

506

504

505 French Restauration Bronze Garniture Figures, second quarter 19th century, depicting John Locke and Voltaire, on molded plinths handsomely decorated with mounts of trophies in a contrasting finish, h. 14‑1/2”, w. 5”, d. 7‑1/4”. [1500/2500] Illustrated

505 508 Provincial-Style Carved and Painted Panel, depicting a neoclassical urn with laurel swags, h. 24”, w. 28”, d. 3”. [500/800] Illustrated

508

506 Pair of French Bronze Lamp Standards in the Restauration Taste, second quarter 19th century, now mounted as electric lamps, the standards in the form of fluted tapering Egyptian columns with lotus leaf capitals, and raised on tapering reeded bases with scroll-molded feet, base, h. 22‑1/2”, overall, h. 35‑3/4”, w. 6‑1/4”, d. 6‑1/4”. [500/800] Illustrated

120

509 Napoleon III Bronze and Cut Glass Banquet Lamp, third quarter 19th century and later, composed of elaborately cast contrasting patinated and gilt bronze, the standard molded with griffin-headed monopedia, the lamp base decorated with mounts depicting gilt putti and masques, and raised on scrolled feet, later converted to kerosene with the addition of a cut glass font, electrified, base, h. 25”, overall, h. 36‑3/4”, dia. 5‑1/2”. [600/900] Illustrated

509

510 Pair of Neoclassical-Style Mahogany and MarbleTop Side Tables, early 20th century, the rectangular marble top with concave front and canted corners, above a conforming frieze fitted with a single drawer joined by tapering fluted square uprights to a conforming plinth shelf, h. 30”, w. 30‑1/2”, d. 18‑1/2”. [1000/1500] Illustrated 511 French Terracotta Figure Depicting Venus Bathing, fourth quarter 19th century, in the 18th-century manner, the figure depicted en deshabille, seated on a rock, a water jar at her side, signed indistinctly, h. 12‑1/2”, w. 9‑3/4”, d. 6”. [2500/4000] Illustrated

511

512 Continental Patinated Cast Metal Sculpture of “La Gloire Couronnant”, first quarter 20th century, after Marcel Debut (French, 1865‑1933), cast signature at base, h. 45”, w. 18”, d. 15”. [1500/2500] Illustrated 513 Italian Bronze Figure of Claudius, Emperor of Rome, on a verde antico marble base, the three-quarter depiction signed indistinctly, h. 15‑3/4”, w. 4‑3/4”, d. 5”. [1500/2500]

510

512

121

514 Empire-Style Amboyna and Marble-Top Center Table, mid-19th century, the circular top with an inset marble top above a plain frieze, raised on tapering supports headed by gilded winged swan’s heads and ending in gilded paws on a concave base, h. 32‑1/4”, dia. 39”. [3500/5000] Illustrated

517

514

517 French Gilt-Bronze and Verde Antico Marble Encrier, first quarter 20th century, in the Empire style, the marble base decorated with bronze mounts and a pen rest in the front of a figural bronze eagle flanked by a pair of leaf-molded bronze inkpots, h. 9”, w. 13‑1/2”, d. 8‑1/4”. [600/900] Illustrated

515 Pair of Empire-Style Bronze-Mounted Mahogany Fauteuils, mid-20th century, each with a shaped top rail centered by an ormolu mount, the open arms supported by bronze sphinxes, the shaped legs terminating in brass paw feet, now upholstered in cream brocade with a bumble bee motif, h. 37‑1/2”. [500/800]

516

516 French Empire-Style Bronze and Patinated Metal Three-Light Chandelier, ca. 1900, the spherical metal standard mounted with molded swans supporting candle cups on their heads, their wings upturned, with a pinecone lower finial, and a fluted, urn-form chain support trimmed with molded leaves at the top, h. 17”, dia. 15‑3/4”. [1000/1500] Illustrated

122

518 French Bronze and Verde Antique Marble Urn, first quarter 20th century, in the Louis XV style, mounted with bronze flower swags and a pierced border, with ram’s head handles and a marble cover, with a floriform finial, h. 26‑1/2”, dia. 7”. [700/1000] Illustrated

518

519 English Ironstone Soup Tureen and Stand in the Imari Palette, ca. 1815‑1822, by Hicks & Meigh, decorated in a Japan pattern on an amphora-shaped tureen, the lower portion molded with acanthus leaves, the handles terminating in masques and the cover molded with acanthus leaves, an underglaze blue transfer mark reads “Stone China No. 6”, under a crown, h. 14‑1/4”, dia. 14”. [900/1200] Illustrated An identical example is illustrated in Godden’s Guide to Ironstone, by Geoffrey Godden, p. 277. 520 Victorian Mahogany Dining Table, mid-19th century, the rounded rectangular top raised on two pedestals, each with a turned columnar standard to three splayed and molded legs ending in scrolled toes on casters, with two 22” leaves, h. 28”, d. 42”, l. 44”, extended l. 88”. [500/800] Illustrated

519

523 Large English Hand-Painted Porcelain Platter, second quarter 19th century, with a scalloped, gilttrimmed border, the edges molded with scrollwork and fan-shaped segments, w. 18‑1/2”, l. 24‑3/4”. [500/800]

524

521 Regency-Style Mahogany Double-Pedestal Dining Table, early 20th century, the top with a rosewood and satinwood banded edge and opening to accommodate three 18” leaves, the downswept reeded legs ending in cast brass feet with casters, h. 29”, w. 44”, l. 68”, extended l. 122”. [800/1200]

520

524 Pair of Late Regency Mahogany Pedestal Cabinets, second quarter 19th century, each with a rectangular top above a case fitted with a deep drawer over a tapering paneled cupboard door, one fitted with a shelf over a cellarette drawer, the other shelved, raised on ebonized paw feet, h. 40‑1/2”, w. 19”, d. 21‑1/2”. [3000/5000] Illustrated

525

522 Unusual Japanese Imari Porcelain Encrier, first quarter 20th century, the molded tray with notched corners and having a pair of matching molded inkpots, all decorated in the Imari palette, h. 3‑3/4”, w. 8‑3/4”, d. 6”. [500/800] Illustrated

522

525 Pair of Regency-Style Ebonized Armchairs, late 19th century, each with a back-scrolled crest featuring a classical figural scene flanked by scrolling patterns, joined to the cushioned caned seat by downswept arms, raised on tapering circular legs ending in peg feet, h. 32‑1/2”. [1000/1500] Illustrated

123

529 Italian Grand Tour Patinated Bronze Warwick Vase, fourth quarter 19th century, decorated with molded neoclassical heads and grapevines, with twisted handles and a removable bronze interior bowl, h. 5‑1/4”, w. 8‑1/4”, d. 5‑1/2”. [500/800]

534

532 526 English Japan-Work Octagonal Sewing Table, second quarter 19th century, on cabriole legs with a faceted wooden fabric bag under the work box, decorated in gilt on black, the lid with a lush hunting scene, h. 28”, dia. 14”. [500/800] Illustrated

533

530 Pair of Regency-Style Mahogany Occasional Tables, early 20th century, each with a banded circular top and full pierced brass gallery, joined by scrolling supports to a smaller like stretcher shelf and concave tripartite base by scrolling molded supports, h. 27”, dia. 27‑1/2”. [700/1000] Illustrated

526

527 Chinese Export Lacquer Sewing Box, second quarter 19th century, decorated with finely detailed gilt mandarin scenic panels on a black ground, fitted with post and pale brass carrying handles, the fitted interior with a collection of various thread winders, spools and other items, h. 5‑1/2”, w. 13”, d. 9”. [500/800] 528 Regency Patinated Bronze and Prism-Hung Argand Lamp, second quarter 19th century, with leaf-molded feet supporting a Gothic panel-molded base, the leaf-molded ovoid font with a pineapple-molded top and finial, the arm holding the burner decorated with a pierced volute, fitted with a cut glass shade, now electrified, h. 18‑1/2”, w. 11”. [500/800]

124

531 Regency-Style Mahogany Center Table, early 19th century, the banded circular tilting top with a molded giltwood edging, and raised on a graduated columnar standard to a concave tripartite base on gilt paw feet and casters, h. 30”, dia. 41”. [1200/1800] Illustrated 530

532 British School (Second Quarter 19th Century), “The Drawing Lesson”, oil on canvas, unsigned, 30‑1/4” x 25‑1/4”. Framed. [2000/4000] Illustrated

531

535 535 Joseph Payton (British, 19th Century), “Portrait of Mary Rosina Sandbach (1815‑1882), Wife of Henry Harrison”, oil on canvas, signed verso, old handwritten label “Payton pinxit”, later pencil inscription of sitter’s name, and a “J.J. Allen, Ltd./Bournemouth” label en verso stretcher, 26” x 26”. Presented in an antique, probably original, oval oculus carved giltwood frame. [500/800] Illustrated

537

533 English Inlaid Rosewood Tea Caddy, second quarter 19th century, inlaid with geometric patterns and fitted with wooden ring pulls, the three-compartment interior with two tea boxes flanking a mixing bowl, h. 6‑1/2”, w. 12”, d. 5‑3/4”. [500/800] Illustrated 534 Regency Rosewood Cabinet, early 19th century, the superstructure with a single arched brass galleried shelf joined to the rectangular top by turned brass uprights, the case fitted with two grilled paneled doors with fabric backing, flanked to either side by uprights headed by giltwood maiden’s heads and ending in giltwood feet, raised on bulbous toupie feet, h. 43‑1/2”, w. 42‑1/2”, d. 15”. [2500/4000] Illustrated

536 British School (First Quarter 19th Century), “Portrait of a Lady in a Velvet Stole”, oil on canvas, unsigned, 30” x 24‑3/4”. Framed. [500/800] 537 Continental Neoclassical Polychrome and Faux-Bois Sofa, first quarter 19th century, the shaped crest with a painted scroll design and gadroon-carved end caps, above a padded back and outscrolled arms, the seat raised on splayed legs ending in brass paws on casters, the whole with painted accents, h. 36”, w. 72‑1/2”, d. 27‑1/2”. [1500/2500] Illustrated

125

542

542 Sixteen-Piece English Partial Dessert Service, second quarter 20th century, including twelve plates, dia. 8‑1/2”, a pair of leaf dishes, dia. 8”, and a pair of oval dishes, w. 7‑3/4”, l. 10”, the service decorated with various transfer-printed fruit in the Ridgway style, gilt rims and scroll molding on the scalloped edges, each marked with pattern number 980 on the reverse. [900/1200] Illustrated

538 Handsome Pair of William IV Mahogany-Veneered Footstools, the bracket feet supporting the tapered sides, ornamented with leaf-carved corners, the cushions and needlepoint covers probably original, h. 7”, w. 12‑1/2”, d. 9‑1/2”. [500/800]

539

539 Late Regency Mahogany Writing Table, second quarter 19th century, the rounded rectangular top with an inset leather writing surface, above a conforming frieze fitted with a single long patera-applied drawer, raised on double ribbed supports to each side to a platform on bun feet, h. 29”, w. 51”, d. 26”. [1500/2500] Illustrated 540 Regency Polished Bronze Fire Fender, second quarter 19th century, the end plinths decorated with mounts of cupids warming their hands at a fire pot, and the finials depicting Uffizi lions, the adjustable center pierced with arcading and mounted with molded flowers, h. 9‑3/4”, w. 48‑1/2”, d. 4”. [600/900] 541 Neoclassical-Style Polychrome Settee, early 19th century, the rectangular back with two pierced splats, joined by flat arms to the padded seat, raised on tapering square legs, the whole accented with floral and scrolling patterns, h. 34‑1/2”, w. 38”, d. 20‑1/2”. [700/1000]

126

543 543 Impressive Russian Icon Depicting the Three Patriarchs, first quarter 19th century, the figures of Abraham, Isaac and Jacob painted on a tombstonetop panel with a slatted back, h. 46‑1/4”, w. 23‑3/4”. [3000/5000] Illustrated

544 Russian Painted Wood Icon, 19th century, representing the Prophecy of Simeon, also called the softener of evil hearts, depicting the Virgin Mary pierced with swords, h. 10‑1/2”, w. 8‑3/4”. [800/1200] Illustrated

546 Russian Icon Depicting Most Holy Mother of God from Deisis Row, fourth quarter 19th century, painted on a panel with slats, this Theotokos depicting Mary on a gilt ground with a gilt halo, holding a scroll, h. 12‑1/2”, w. 10‑1/4”. [1000/1500] Illustrated

544 546

545 Russian Icon Depicting Saints Blasius the Hieromartyr and Modestus, fourth quarter 18th century, oil on panel, both are patron saints for the protection of domestic animals, h. 31‑1/4”, w. 23‑1/2”. [2500/4000] Illustrated

547 Russian Icon Depicting God the Father, first quarter 19th century, with a dove as the Holy Spirit, painted on a panel with slats, h. 24”, w. 21‑1/2”. [1000/1500] Illustrated

547 545

127

551 Icon Depicting Jesus Christ, ca. 1900, possibly Greek, displayed in a painted period shadowbox frame with an elaborate gilt floral riza, h. 17‑1/2”, w. 15‑1/2”, d. 4”. [1200/1800] Illustrated

550

548 548 Florentine Terracotta Wall Plaque Depicting Two Cherubim, first quarter 20th century, marked by Signa, in the Renaissance taste after Luca della Robbia (Italian, 1400‑1482), the deeply modeled plaque stamped on the back “Manifattura.Di.Signa” in a rondel, and included in an early 20th-century catalogue, h. 15‑1/2”, w. 23‑1/2”, d. 5”. [1200/1800] Illustrated

549

552 Continental Embroidered Christening Blanket, 19th century, the cream silk with an overall bullion thread pattern in cut and openwork embroidery with freshwater pearl accents, a delicate “chain-metal” edging in bullion with a stitched floral motif, l. 35‑1/2”, w. 21”. [800/1200] Illustrated

549 Russian Icon of The Virgin of Hodegetria, ca. 1892, depicting Mary and the Baby Jesus, with a silver riza marked St. Petersburg, 1892, assayer Alexander Tomas Sevier (active 1892‑1897), maker Moicye Ivanov (1816‑1893; master 1849), h. 8‑3/4”, w. 7”. [800/1200] Illustrated 550 Russian Icon Depicting Christ the Pantocrator, fourth quarter 19th century, the painted panel having a brass riza with a separate halo, with slatted back construction, h. 12‑1/4”, w. 10‑1/2”. [1000/1500] Illustrated 551

128

553

553 Italian Walnut Commode, early 19th century, the rectangular top banded and with inlaid scrolling and geometric patterns in ebony and bone, above a conforming case fitted with three long drawers, all paneled and with like inlay, raised on large paw feet, h. 38‑1/2”, w. 55‑1/2”, d. 26”. [3000/5000] Illustrated

552 554

554 Pair of Iron, Bronze and Wood ThreeLight Torcheres, second quarter 20th century, probably French, in the Baroque style, resting on wooden bases with cylindrical standards supporting scrolled candle arms trimmed with leaf-molded bronze candlecups, bobeches and appliques, h. 71‑1/2”, w. 14‑1/2”, d. 10”. [700/1000] Illustrated

129

555 Brussels Tapestry, 17th century, depicting a conqueror confronting the vanquished, the defeated ruler on his knees, offering a sign reading “OX: ET MAL”, 79” x 45”. [1800/2500] Illustrated

556

557 555 556 Pair of Italian Grand Tour Bronze Five- and Six-Light Candelabra, fourth quarter 19th century, on paw feet with pierced anthemia around the bases, the column-form standards draped with chains, the scrolled candle arms set with molded cups, the center cup with a removable griffin finial allowing it to be used for candles, h. 30‑1/2”, dia. 10‑3/4”. [500/800] Illustrated 557 Italian Baroque-Style Giltwood Mirror, mid-20th century, carved with scrolls and flowers, the segmented frame with a segmented domed-top crest carved with a basket of flowers, indistinctly marked by a New York maker, h. 60”, w. 33”. [1500/2500] Illustrated

130

559

558 Pair of Spanish Mahogany Armchairs, early 20th century, the leather slung backs surmounted by gilt-metal urn finials, joined by flat arms to the padded seats, raised on block legs joined by pierced front stretchers, h. 43”. [500/800]

559 After Bartolome Esteban Murillo (Spanish, 1618‑1682), “Judith”, 19th century, oil on canvas, 53” x 37‑1/2”. Presented in a handsome, period, elaborately carved and pierced giltwood frame. [6000/9000] Illustrated

131

563 After Andrea del Sarto (Italian/Florence, 1486‑1530), “Madonna and Child with St. Elizabeth and St. John the Baptist”, oil on canvas, painted by Chevalier Folardeau, 1856, verso with multiple inscriptions, 54” x 40”. Presented in an antique deeply carved and pierced polychrome frame. [2000/4000] Illustrated

562

560 560 Continental School (Fourth Quarter 19th Century), “Madonna and Child with Book”, oil on canvas, 41” x 33”. Framed. [500/800] Illustrated

564 Louis XIII-Style Mahogany Fauteuil, late 19th century, the padded square back featuring needlework centered by a peacock medallion, joined by downswept acanthinecarved arms to t`he padded seat, raised on barley-twist and block legs joined by like stretchers and ending in block feet, h. 45‑1/2”. [500/800] Illustrated

564

561

561 Continental Oak Refectory Table, 19th century, the rectangular banded top above a conforming scroll-carved frieze, raised on large turned legs joined by a box stretcher and ending in block feet, h. 32‑1/2”, w. 31‑1/2”, l. 84”. [1500/2500] Illustrated 562 Spanish Walnut Vargueno, 18th century, of rectangular form with decorative iron hardware and banding, the front hinged and opening to an interior fitted with an arrangement of thirteen drawers and two lower galleried storage spaces, h. 19”, w. 40‑1/2”, d. 16”. [1200/1800] Illustrated

132

565 Continental Carved and Painted Coffer, fourth quarter 19th century, in the Renaissance taste, the tapered body decorated with applied carved scrollwork, the lid outlined with carved gadrooning and trophies, raised on scrolled feet, h. 15”, w. 30‑1/4”, d. 14”. [500/800] 566 After Sir Peter Paul Rubens (Flemish, 1577‑1640), “The Virgin and Child with Saints George, Mary Magdalene, Jerome and Augustine”, oil on canvas, fourth quarter 19th century, 40” x 30”. Framed. [3000/5000] Illustrated 567 Large Continental Polychrome and Pine Coffer, 19th century, in two parts, the hinged lid inset with two floral patterns and opening to an interior fitted with an end compartment and five small upper drawers, the front inset with three arched panels, the central one with a polychrome winged cherub’s head, the end two with painted designs, the lower section fitted with three drawers, the sides with iron ring handles, h. 40”, w. 68‑1/2”, d. 29‑1/4”. [2500/4000] Illustrated

563

567

566

133

570 Pair of Baroque-Style Carved Walnut Figures, fourth quarter 19th century, probably Italian, comprising a female figure standing on a cornucopia and holding a rose and a sunflower, and a male figure holding a flaming sphere, h. 12‑1/4”, w. 5”, d. 3”. [500/800] Illustrated 571 Continental Patinated Bronze of a SoldierPrince, 20th century, on a square gray marble base, h. 20‑1/2”, w. 10‑1/4”, d. 10‑1/4”. [800/1200] 572 Carved Wooden Figure, depicting an African warrior dressed in an animal hide and holding a shield, h. 20”, w. 22‑1/2”, d. 6”. [500/800]

568 568 French Tapestry, 19th century, depicting ladies and courtiers in a garden with a fountain, a chateau in the background, overall floral-motif border, 72” x 90”. [3000/5000] Illustrated 569 Pair of Continental Carved and Painted Wooden Figural Candlesticks, first quarter 19th century, each in the form of a putto holding a cornucopia fitted with a candle socket in one hand and a drape in the other, above an integral carved and black-painted base, h. 16‑1/4”, w. 10”, d. 5‑1/4”. [800/1200]

573 Italian Mahogany and Mixed Woods Center Table, early 20th century, the circular top with quarter veneering and elaborate scrolling floral and foliate inlays, above a pierced acanthine frieze, raised on four figural female supports to a molded plinth shelf centered by a floral medallion, h. 29‑3/4”, dia. 43‑1/2”. [1500/2500] Illustrated

570

573

574 Italian Baroque Giltwood Armchair, late 18th century, the shaped and padded back surmounted by a shell and foliate crest, joined by padded arms on lion’s masque uprights to the padded seat, raised on acanthinecarved shaped legs ending in paw feet, the back bearing an inscription by the owner of a London antique shop concerning visits to his shop by Queen Alexandra and her fondness for this particular chair, h. 41”. [500/800] Illustrated

134

575 Continental Polychrome Cabinet, 18th century, the rectangular faux-marbre top above a conforming case fitted with a central drawer over a cupboard door featuring a scene of St. George, flanked to either side by a foliate panel, raised on paw feet, h. 39‑1/2”, w. 35‑1/2”, d. 16”. [3000/5000] Illustrated 574

577

577 Continental Mahogany and Giltwood Occasional Table, mid-19th century, the circular top with a molded edge surrounding an elaborately inlaid star pattern with inlaid brass accents, raised on a bulbous fluted standard to three foliate-carved shaped legs ending in in-scrolled toes, h. 29‑1/2”, dia. 19‑1/2”. [550/800] Illustrated 576 Continental Carved and Painted Wood and Horn Figural Wall Bracket, fourth quarter 19th century, possibly a weapon holder, the carved figure clad in armor, with animal horns on the base, h. 16‑3/4”, w. 8‑3/4”, d. 5‑3/4”. [1200/1800]

578 Unusual Italian Oak Revolving Armchair, early 20th century, the scrolling and foliate-pierced back joined by outscrolled arms to the wooden seat, raised on three foliate supports to a molded circular base to long molded feet, h. 39”. [700/1000] Illustrated

575

578

135

579 Italian Walnut and Marble-Top Console, late 19th century, the rectangular marble top above a guilloche-carved frieze centered by a shield panel with pendant scrolling patterns, raised on shaped and pierced legs featuring adorsed female masques flanking a shell carving, joined by a shaped stretcher and ending in double block feet, h. 36”, w. 69”, d. 16‑1/2”. [3000/5000] Illustrated

580

580 A. Fagotto (Italian, Late 19th/Early 20th Century), “Lion Attacking a Lioness”, patinated bronze, the entwined, struggling figures atop a natural rock plinth, signed at front edge of base, overall, h. 16‑1/2”, w. 28”, d. 11‑1/2”. [1500/2500] Illustrated 581 Two Continental Bronzes in the Classical Style, first or second quarter 20th century, the first depicting a warrior and his horse, h. 8‑1/2”, w. 8‑1/2”, d. 3‑3/4”, and the other a Bacchante, h. 14”, w. 7”, d. 4‑1/2”. [500/800]

585

582 Italian Grand Tour Patinated Metal Figure of a Wrestler Taking Down a Stag, ca. 1900, the figure modeled with his hands on the antlers, mounted on a black marble base, h. 8‑3/4”, w. 8‑3/4”, d. 3‑1/4”. [500/800]

579

136

583 Austro-German Mahogany and Burlwood Center Table with a Pair of Matching Chairs, late 19th century, the table with a circular top centered by an inlaid scene of stags on a rocky crag, surrounded by a smaller medallion featuring various other types of game within foliate scrolling panels, raised on a bulbous standard to three rose-carved scrolling legs, h. 30”, dia., 31”, and the chairs each with a domed shell-centered crest above a back featuring inlaid deer, the wooden seat raised on molded legs ending in scrolled toes, h. 36‑1/2”. [1000/1500] Illustrated 584 Pair of Italian Carved Giltwood Floor Lamps, ca. 1900, in the neoclassical taste, each vasiform standard decorated with raised scrollwork and a Corinthian capital finial, and supporting an urn-form carved lamp set with a socket, raised on like-decorated domed bases, h. 61”, dia. 16”. [800/1200] Illustrated 585 Continental Carved Oak Vitrine, 20th century, the molded rectangular cornice above a deep foliate- and imbricate-carved frieze with side lion masques, over a single glazed door and mirrored interior, raised on turned baluster-form legs and a paneled back, h. 51”, w. 38”, d. 15”. [500/800] Illustrated 584

583

137

587 593 Persian Heriz Carpet, 9’ x 11’ 8”. [3500/5000] Illustrated 594 Sarouk Silk and Wool Carpet, 8’ 1” x 10’ 1”. [1000/1500] 595 Silk Tabriz Carpet, 6’ x 9’. [1500/2500] Illustrated 596 Silk Tabriz Carpet, 5’ x 7’. [2000/4000] Illustrated

586 Continental Pewter Alms Dish, 19th century, probably German, of circular form, engraved with wrigglework floral scrolls and centering a portrait of St. Joseph and the Christ Child, dia. 13‑3/4”. [500/800] 587 Pair of Continental Silverplate Copper Electrotype Plaques of Don Quixote, ca. 1900, depicting Part I, chapter 35, in which Don Quixote battles wineskins in his sleep, and Part II, chapter 10, in which Sancho deceives Don Quixote with the three peasant maids, each scene in an integral rinceau “frame”, 15‑3/4” x 21‑1/8”. [1000/1500] Illustrated 588 Venetian Beveled and Engraved Glass Mirror, with engraved scrolls and flowers, h. 39‑1/2”, w. 31‑1/4”. [500/800] 589 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”. [500/800] Illustrated 590 Unusual Pair of Venetian Fruitwood and Glass Wall Shelves, ca. 1900, with mirrored backs trimmed in glass segments engraved with grapes, the mirror trim to the shelf ends cut with scallops, the shelves with turned supports and fruitwood finials, h. 30‑1/4”, w. 12”, d. 5”. [800/1200] 591 Persian Kerman Carpet, 10’ x 13’ 1”. [3000/5000] Illustrated 592 Bidjar Carpet, 12’ x 18’. [2500/4000]

138

589

591

595

593

596

139

597 Kashan Carpet, 10’ x 13’. [800/1200] Illustrated 598 Turkish Angora Oushak Carpet, 8’ 1” x 9’ 4”. [900/1200] 599 Turkish Angora Oushak Carpet, 9’ x 11’ 9”. [1200/1800] Illustrated 600 Persian Kerman Carpet, 6’ 3” x 9’ 8”. [1500/2500] 601 Turkish Angora Oushak Carpet, 8’ 10” x 12’. [1200/1800] Illustrated 602 Silk and Wool Tabriz Carpet, 5’ 2” x 8’ 1”. [700/1000] 602A Jean-Jacques Gaudel (French/Alabama, b. 1946), "Nubian Princess/Salome", automaton sculpture, carved cedar, cast iron head, feet and hands, inset glass eyes, and brass fittings, from the "Dummies with Souls" series, h. 66", w. 15". [3000/5000] 603 Toyohara Chikanobu (Japanese, 1838‑1912), “Phoenix Boat and Emperor”, 1889, color woodblock on paper, signed with a Toshidama seal, oban tate-e, published by Yamamura Kinzaburo, 13‑1/2” x 28”. This print is also in the Edo Tokyo Museum, Tokyo, Japan. [500/800]

599

140

597

601

604 Toyohara Chikanobu (Japanese, 1838‑1912), a collection of two woodblock triptychs, oban tate-e, image 13‑1/2” x 28”, framed 23‑5/8” x 37‑1/2”. Both glazed, matted and framed alike. [600/900]

605

605 Utagawa Kuniyoshi (Japanese, 1797‑1861), a pair of color triptych woodblocks on paper depicting scenes with beautiful women, oban tate-e, including “Catching Fireflies in the Cool of the Evening (Noryo hotaru)”, 1847‑1852, published by Juzo/Jubei (Kinjudo), right panel is in the permanent collection of the Museum of Fine Arts, Boston, Massachusetts, and “Young Women at Sanbashi (Sanbashi no onna)”, 1844‑1850, left panel is also in the collection of the Library of Congress, Washington, D.C., each 13‑1/2” x 28‑1/4”. Matted, glazed and framed. [600/900] Illustrated 606 Utagawa Kunisada (Japanese, 1786‑1865), a pair of woodblock triptychs on paper, oban tate-e, including “Artificial Flowers: A Private Performance of Women’s Kabuki” from the series “Six Fashionable Floral Selections”, 1836‑1842, published by Yamamoto Heikichi (Eikyudo), and “Three Beauties”, 1847‑1852, published by Yamaguchiya Tobei (Kinkodo), the panel on left is in the Museum of Fine Arts, Boston, Massachusetts, each 13‑3/4” x 30‑1/4”. Framed. [700/1000]

607

607 Utagawa Hiroshige (Japanese, 1797‑1858) and Utagawa Kunisada (Japanese, 1786‑1865), three triptychs of scenes from the “Tales of Genji”, color woodblocks on paper, oban tate-e, Edo period (1615‑1868), 1850’s, “Panoramic View of the Sea from the Inn at Enoshima”, from the series “A Fashionable Parody of Genji (Furyu Mitate Genji)”, 1854, published by Maruya Jinpachi, left sheet is in the Museum of Fine Arts, Boston, Massachusetts, center print is in the Chrysler Museum of Art, Norfolk, Virginia, complete triptych is in the Edoardo Chiossone Museum of Oriental Art, Genoa, Italy, “The Plum Orchard”, from the series “Elegant Prince Genji (Furyu Genji)”, 1853, published by Isekane, complete triptych is in the collection of the Fine Arts Museum of San Francisco, San Francisco, California, and “Prince Genji and Salt Making on Noto Peninsula in Ishikawa Prefecture”, from the series “Elegant Prince Genji (Furyu Genji),” 1853, each 13‑2/3” x 29”. Framed. [1400/1800] Illustrated 608 Two Unsigned Japanese Paintings, watercolor and ink on gold-flecked paper, the two images of beauties, framed, overall, h. 34‑3/8”, w. 20‑5/8”. [500/800] 609 Keiichi Takasawa (Japanese, 1914‑1984), “Portrait of a Lady, Possibly the Artist’s Wife”, 1949, ink on paper, 12‑3/4” x 9”. Framed. [500/800] Deeply influenced by his teacher and mentor Tsuguharu (Leonard) Foujita, Takasawa was well known for his paintings and woodblock prints of beautiful women. His illustrations graced numerous record covers, magazines, etc. He won the prestigious Asahi award in 1939 for one of his paintings.

607

610 Japanese Painting of a Sage with a Crane and Tortoise, watercolor and ink on paper, an inscription and seal on lower right corner, sight, 6‑3/4” x 13‑7/8”, overall, 12‑7/8” x 19‑1/2”. Framed. [500/800]

141

611 Yamagata (Daini) Masasada (1725‑1767), “Shuzu goketsuki” (Plans of Castles of the Tokugawa Period), 19th century edition, with notes on their history and their possessors, eleven paper bound volumes with painted text and images, h. 11”, w. 8”. [1800/2500] Illustrated

614

611

612 Japanese Lacquer Scroll Box, Meiji period (1868‑1912), the black, silver and gilt lacquer exterior with mother-of-pearl inlay, with a maki-e interior and braided rope with tassels, h. 3‑3/4”, l. 10‑3/4”. [600/900] Illustrated

612

613 Japanese Lacquer and Mother-of-Pearl Charger, early 20th century, the charger with mother-of-pearl and hammered white metal inlay, a maker’s mark on the underside, h. 4”, dia. 15‑1/2”. [1500/2500] 614 Japanese Satsuma Lidded Urn, Meiji period (1868‑1912), the large gilded Satsuma vase with two handles modeled as rings and knotted ropes, a foo dog and ball finial on the lid, unmarked, h. 26‑1/2”, w. 13‑1/4”. [800/1200] Illustrated

142

615 Japanese Arita Ware Porcelain Bowl, 18th century, of the Kakiemon type, the porcelain with overglaze polychrome enamels, h. 3‑3/4”, dia. 8‑5/8”. [2500/4000] Illustrated

615

616 Japanese Blue and White Porcelain Charger, fourth quarter 19th century, in the Arita style, with a scalloped border, decorated with children in a pine forest, dia. 12‑1/4”. [700/1000] Illustrated 617 Pair of Japanese Seto Porcelain Vases, first quarter 20th century, the two vases with enamel decoration of birds set among a variety of flowers, the undersides marked in blue and red, maker Kawamoto Masukichi, h. 11‑3/4”, w. 6‑3/4”. [800/1200] Illustrated

616

618 Japanese Plique-a-Jour Bowl, Meiji period (1868‑1912), on three small feet, with floral decoration, and silver rim and edges of feet, h. 2”, dia. 4‑1/4”. [600/900]

617

619

621 Japanese Bronze Hawk, Possibly Edo Period(1615‑1868), perched on a gnarled pine stump, accented throughout with gilt flecks, unmarked, h. 10‑1/2”, w. 8”. [2500/4000] Illustrated

620

622 Japanese Bronze Vessel, probably Meiji period (1868‑1912), the vase with a globular body and wide flat lip, embossed with Mingstyle designs, h. 10‑3/4”, dia. 9‑5/8”. [500/800]

621

619 Pair of Japanese Cloisonne Vases in the Style of Namikawa Sosuke (1847‑1910), Meiji period (1868‑1912), the two wireless cloisonne vases with long necks and round bodies, each depicting a scene of mallards along snowy riverbanks against pale blue grounds, the neck and foot rims mounted with silver and shakudo, unsigned, h. 11‑3/4”, w. 6‑1/2”. [3000/5000] Illustrated 620 Japanese Cloisonne Vase, fourth quarter 19th century, depicting daffodils on a green ground, with an Ando Moriage mark on the underside, h. 12‑1/4”. [900/1200] Illustrated

143

623

626 Chinese Pottery “Cocoon” Vase, Han Dynasty (206 BC-220 AD), the footed ovoid vessel with a striped painted and carved surface, h. 13‑3/8”, w. 15‑1/2”. [700/1000] Illustrated

626

623 Japanese Bronze Censer, Meiji period (1868‑1912), the lidded vessel in the shape of a melon with insects, birds and flowering branches along the sides, with a pierced lid and lobated base, unmarked, h. 16”, w. 13”. [1500/2500] Illustrated 627 Chinese Pottery Lamp, possibly Han Dynasty (206 BC-220 AD), the tree-shaped oil lamp with a pierced and rounded base, the lamp post resting on the back of a turtle, h. 16‑1/2”, dia. 8‑1/2”. [600/900] Illustrated

627

625 624 Korean Cloisonne and Silver Box, 20th century, the round box with an interior divider, decorated with a motif of butterflies on a yellow ground, a glass knob on the lid, the underside marked “silver 99%”, h. 3”, dia. 7”. [500/800] 625 Korean Buddhist Painting, Joseon Dynasty (1392‑1910), ink and color on silk, depicting an assembly of disciples, guardians and Bodhisattvas gathered around the Shakyamuni Buddha at the center on a lotus pedestal, 38” x 50”. [500/800] Illustrated

144

630 628

631 Chinese Painted Pottery Horse and Groom, probably Han Dynasty (206 BC-220 AD), horse, h. 11”, groom, h. 10”. [800/1200]

632 628 Chinese Pottery Owl-Form Wine Vessel, Han Dynasty (206 BC-220 AD), the painted figure with turned head and original lid, h. 14”. [2500/4000] Illustrated

629

629 Chinese Pottery Figure of a Duck, Han Dynasty (206 BC-220 AD), the unusual early avian figure with elongated neck and painted body, the style and clay making it specific to Sichuan Province, h. 6‑1/2”, l. 14”. [1400/1800] Illustrated 630 Chinese Painted Pottery Horse with Groom, probably Han Dynasty (206 BC-220 AD), horse, h. 11”, groom, h. 10”. [800/1200] Illustrated

632 Chinese Painted Pottery Horse and Rider, Han Dynasty (206 BC-220 AD), retaining remnants of original pigmentation, h. 11‑3/4”, l. 11‑1/4”. [1200/1800] Illustrated

145

633

635 Chinese Pottery Equestrian Figure, Tang Dynasty (618‑906 AD), the painted figure of an equestrian musician, h. 20”, l. 16‑1/2”. [1000/1500]

639

636 Chinese Painted Pottery Equestrian Figure, of a musician on horseback, with extensive pigmentation, probably Tang Dynasty, h. 20”, l. 15”. [1200/1800] Illustrated 637 Chinese Painted Pottery Equestrian Figure, probably Tang Dynasty (618 AD-906 AD), the equestrian musician with extensive pigment intact, h. 19”, l. 16‑1/2”. [1200/1800]

642 633 Chinese Painted Red Pottery Horse, Han Dynasty (206 BC-220 AD), h. 22”, l. 21”. [1800/2500] Illustrated

636

638

634 Chinese Painted Pottery Figure of a Horse, Tang Dynasty (618‑908 AD), the red-painted pottery horse depicted standing foursquare with saddle and blanket, h. 16”, l. 13‑1/2”. [800/1200]

146

644 Two Chinese Stenciled Pottery Temple Tiles, probably Ming Dynasty (1368‑1644), one depicting a dragon and one a phoenix, each, h. 14”, w. 68”. [2500/4000] Illustrated

645

645 Chinese Porcelain Vase, late 19th/ early 20th century, the zun-form vase with a motif of blue dragons and clouds on a yellow ground, a sixcharacter apocryphal Ming Xuande mark on the body of the vessel, the underside unmarked, h. 17‑1/8”, dia. 10‑1/2”. [600/900] Illustrated

643 (1 of 2) 638 Chinese Painted Pottery Figure of a Lady, Tang Dynasty (618‑907 AD), the figure dressed and coiffured in Tang courtly style, h. 15”, w. 4‑3/8”. [900/1200] Illustrated

646

639 Chinese Sancai-Glazed Figure of an Earth Spirit, Tang Dynasty (618‑906 AD), of leonine form with antlers and a fierce expression, h. 34”, w. 8”. [3000/5000] Illustrated 640 Chinese Pottery Lidded Jar, probably Ming Dynasty (1368‑1644), the large amber-glazed vessel having a lid with a zoomorphic figure finial, h. 25‑1/2”. [500/800] 641 Chinese Yixing Pottery Figure of Guanyin, late 19th/ early 20th century, h. 11‑7/8”. [700/1000] 642 Ten Small Chinese Pottery Boxes, 19th century and earlier, the lidded boxes with cobalt and iron underglaze decoration, the largest, h. 5”, dia. 5”. [600/900] Illustrated

646 Pair of Chinese Porcelain Vases, late 19th century, with reserves depicting courtly genre scenes and foo dog lugs on either side, now mounted as lamps, vase, h. 19‑3/4”, overall, h. 25‑3/4”, w. 9‑3/4”. [1500/2500] Illustrated

643 Pair of Chinese Sancai Tiles, probably Ming Dynasty (1368‑1644), each tile depicting a scene of immortals enjoying leisurely pursuits along the banks of a mountain stream, rendered in high relief, individually framed, tile, h. 19‑1/4”, w. 24”, overall, h. 25‑1/2”, w. 30”. [1200/1800] Illustrated

644 (1 of 2)

147

647

648 Chinese Porcelain Jardiniere, 20th century, decorated with a pair of brightly colored birds among peony and prunus branches against a blue ground, unmarked, h. 11‑3/4”, dia. 14‑1/4”. [500/800]

650

647 Chinese Porcelain Hu Vase,20th century, the large yellow-ground vase with reserves depicting a dragon and phoenix around a sacred pearl, with stag head lugs on either side of the vessel, and a red six-character Guangxu reign (1874‑1908) mark on the underside, h. 19‑1/2”, w. 15‑1/2”. [600/900] Illustrated

649 Chinese Porcelain Lidded Vase, late 19th/early 20th century, of octagonal form in a famille verte palette, with a banded neck, two pink foo dogs on the shoulder of the vase and one green foo dog with ball on the lid, a six-character apocryphal Kangxi mark (1662‑1722) in red on underside, h. 16‑3/4”, w. 8‑1/2”. [700/1000] Illustrated

652 649

650 Pair of Chinese Porcelain Temple Jars, late 19th/ early 20th century, the large lidded urns with famille noire grounds and reserves depicting beauties in a garden, each with a foo dog finial, one with a ball and the other with a pup, on carved wood stands, h. 26”, with stand, h. 33‑1/2”, w. 13”. [2500/4000] Illustrated

148

654 Pair of Chinese Porcelain Ginger Jars, late 19th/early 20th century, the two famille rose jars mounted as lamps, each with a motif of flowers and archaic vessels, h. 11”, with stand, h. 27‑1/2”, w. 8”. [500/800] Illustrated

654

656

651 Pair of Chinese Porcelain Vases, 20th century, each baluster-form vase decorated with a pair of birds sitting on a branch amidst peonies and scholar’s rocks, and inscribed on the back, now mounted as lamps, vase, h. 17‑1/2”, overall, h. 33”. [500/800]

655

655 Chinese Porcelain Charger, late 19th/early 20th century, depicting a peacock in a garden set among rocks and peonies under a gilt moon, unmarked, dia. 15‑1/4”. [3500/5000] Illustrated 656 Chinese Famille Rose Porcelain Vase, 19th century, the baluster-form vase with a motif of rocks, peonies and a peacock on a white ground, unmarked, h. 29‑1/4”, w. 8‑1/2”. [2000/4000] Illustrated 652 Pair of Chinese Famille Rose Porcelain Vases, 20th century, the two long-necked vessels with globular bodies, each with a motif of flowers and antiquities on a white ground, with a six-character red apocryphal Jiaqing reign mark, h. 16‑1/2”. [800/1200] Illustrated 653 Chinese Dehua Blanc-de-Chine Bowl, probably 18th century, the three-legged bowl with a creamy white surface glaze, unmarked, h. 3‑1/4”, dia. 13‑1/4”. [500/800]

657 Chinese Famille Verte Ginger Jar, 19th century, depicting immortals against a white ground, with a blue concentric circle mark on the underside, h. 9‑3/4”. [500/800] 658 Chinese Framed Porcelain Plaque, first half 20th century, the oval plaque with a scene of two beauties, inscribed on the upper left, plaque, 8‑1/4” x 9‑3/4”, framed, 12‑7/8” x 15‑1/2”. [500/800]

149

659 Chinese Porcelain Table Screen, 20th century, with a blue and white image of a sage, inscribed in the upper right, presented in a reticulated wood frame, h. 26‑1/2”, w. 17‑3/4”. [600/900] Illustrated 660 Chinese Porcelain Plaque, early 20th century, depicting an idyllic mountain landscape, inscribed and marked with a seal in the upper left corner, in a reticulated wooden frame, plaque, h. 15‑3/8”, w. 15”, overall, h. 24”, w. 24”. [800/1200] Illustrated 661 Chinese Reverse Painting on Glass, 20th century, 12‑1/2” x 9‑1/2”, framed, 16‑1/2” x 12‑1/2”. [500/800]

665 Chinese Painting of a Monk, probably Ming Dynasty (1368‑1644), depicting the figure of a monk seated under a pine tree, ink and color on silk, 43‑1/2” x 32”, framed, 53‑7/8” x 42‑1/2”. [1200/1800] Illustrated 666 Framed Chinese Calligraphy Panel, possibly Ming Dynasty (1368‑1644), ink on paper, with two artist seals and a collector’s seal, 21” x 51”, framed, 30” x 60‑1/4”. [900/1200] Illustrated 667 Chinese Export Famille Rose Porcelain Punch Bowl, third quarter 18th century, decorated with a bird sitting among peonies and a branch of lotus blossoms, the interior upper border decorated with black-outlined pale blue diapering, h. 4‑1/2”, dia. 10‑1/2”. [1000/1500]

659

660 662 Five Chinese Reverse Paintings on Glass, 20th century, each with an arrangement of flowers, one with a pair of small dogs, three with birds and one with a butterfly which is also inscribed on the right side, overall, h. 22‑3/4”, w. 30‑1/2”. [1500/2500] 663 Chinese Four-Panel Landscape Painting, 18th/19th century, depicting an idyllic mountain village, watercolor and ink on paper, unsigned, h. 77”, w. 33‑3/4”. [1000/1500] Illustrated 664 Chinese Qing Dynasty (1644‑1911) Painting, depicting two soldiers on a battlefield, ink on silk, unsigned, 22‑3/4” x 31”. Framed. [500/800] Illustrated

150

663 Suite of Four

664

665

666

151

Session II S unday, De ce m be r 7 , 2 0 1 4 Lots 6 6 8 - 1 1 7 6

668 Fourteen-Karat Yellow Gold, Diamond and Sapphire Ring, set with an emerald-cut sapphire, with an approximate weight of 0.50 carats, surrounded by fiftynine baguette-cut diamonds, with an approximate total weight of 1.50 carats, size 7‑3/4, 7.7 grams total weight. [500/800] Illustrated

669

672 672 Eighteen-Karat Yellow Gold and Diamond Buckle Bangle Bracelet, the hinged bracelet set with sixty round-cut diamonds, with an approximate total weight of 2.11 carats, approximate color E-F and clarity SI1‑I1, inside circumference, 8”, 38.0 grams total weight. [2500/4000] Illustrated 669 Fourteen-Karat Yellow Gold and Diamond Owl Cufflinks and Studs, the pair of cast owl cufflinks and three studs all set with diamonds for the eyes, with a total of ten round brilliant-cut diamonds, with an approximate total weight of 0.30 carats, 22.2 grams total weight. [1000/1500] Illustrated

673 Fourteen-Karat Yellow Gold and Diamond Convertible Pendant/Necklace, the hinged collar necklace with a hammered finish, with a detachable pendant set with sixty-three round-cut diamonds, with an approximate total weight of 2.32 carats, approximate color E-F and clarity VS1‑SI1, necklace, l. 14”, pendant, l. 2”, 66.0 grams total weight. [2500/4000] Illustrated

670 Fourteen-Karat Yellow/White Gold and Diamond Owl Ring, the owl set with two round-cut diamonds for the eyes and fifteen small single-cut diamonds in a “V” shape, with an approximate total weight of 1.02 carats, size 8‑1/2, 9.0 grams total weight. [500/800] Illustrated

668

670

671 Pair of Fourteen-Karat Yellow Gold and Diamond Stud Earrings, each earring set with a round-cut diamond stud, with an approximate total weight of 1.33 carats, approximate color H-I and clarity I1‑I2, 1.00 gram total weight. [800/1200]

154

674 Beautiful Platinum and Yellow and White Diamond Ring, set with a large emerald-cut faint yellow diamond, with an approximate weight of 2.14 carats, approximate clarity VS2, surrounded by a halo of sixteen round brilliantcut white diamonds and twenty-four round brilliant-cut white diamonds descending down the shank, with an approximate total weight of 0.50 carats, size 7‑1/2, 7.6 grams total weight. [12000/18000] Illustrated 675 OPEN LOT 676 Stunning Fourteen-Karat Yellow Gold and Diamond Ring, set with a central European-cut diamond, with an approximate weight of 3.07 carats, color K and clarity VS1, and forty-two baguette-cut diamonds, with an approximate weight of 1.07 carats, approximate color E-F and clarity VS1‑VS2, size 7, 10.0 grams total weight. [10000/15000] Illustrated

674

676

673

155

677 Fourteen-Karat Yellow Gold and Graduated Diamond Tennis Bracelet, composed of forty-one graduated round brilliant-cut diamonds, with an approximate total weight of 7.92 carats, approximate color K-M and clarity I1‑I2, l. 7”, 12.3 grams total weight. [4000/7000] Illustrated

677

678 Fourteen-Karat Yellow Gold and Diamond Solitaire Ring, prong-set with a round-cut diamond, with an approximate weight of 1.75 carats, approximate color K and clarity VVS2, size 7, 3.0 grams total weight. [6000/9000] Illustrated

679

680 Large Gold Vermeil, Emerald and Diamond Bangle Bracelet, the large bracelet set with thirty-three bezelset oval- and pear-shaped emeralds, with an approximate total weight of 38.18 carats, and numerous bead-set rosecut diamonds, with an approximate total weight of 10.12 carats, inside circumference, 8”, w. 1‑7/8”, 107.3 grams total weight. [4000/7000] Illustrated

678

679 Fourteen-Karat Yellow/White Gold, Diamond and Emerald Ring, set with a central round-cut diamond, with an approximate weight of 1.11 carats, color E and clarity VS1, accented with eight round-cut diamonds, with an approximate total weight of 0.27 carats, approximate color E-G and clarity VS1‑VS2, and fourteen square-cut emeralds, with an approximate weight of 0.70 carats, size 6, 11.0 grams total weight. [2000/4000] Illustrated 680

156

681 Fourteen-Karat Yellow Gold and Carved Emerald Necklace, composed of graduated carved emerald beads, ranging in size from 14.0 mm to 19.0 mm, with an approximate total weight of 890.00 carats, finished with a fourteen-karat yellow gold toggle clasp, l. 19”. [500/800] Illustrated

682 Eighteen-Karat White Gold, Carved Emerald and Diamond Earrings, each set with a carved semicabochon-cut emerald, with an approximate total weight of 26.28 carats for the pair, surrounded by thirtytwo bezel-set round-cut diamonds and eighty-four round-cut diamonds, with an approximate total diamond weight of 1.16 carats for the pair, approximate color E-G and clarity VS1‑VS2, l. 1”, 29.0 grams total weight. [6000/9000] Illustrated

681

683 Eighteen-Karat Yellow/White Gold, Emerald and Diamond Cluster Ring, set with twenty-four roundcut emeralds, with an approximate total weight of 7.90 carats, and thirty-four round-cut diamonds, with an approximate total weight of 1.96 carats, color E-G and clarity VS1‑SI1, size 7, 21.0 grams total weight. [800/1200] Illustrated

683

682

157

685 Eighteen-Karat Yellow Gold, Emerald and Diamond Earrings, set with two emerald-cut emeralds, with an approximate total weight of 2.38 carats, and eighty roundcut diamonds, with an approximate total weight of 0.74 carats, approximate color E-G and clarity VS1‑VS2, l. 1/2”, 5.0 grams total weight. [8000/12000] Illustrated

684

684 Eighteen-Karat White Gold, Emerald and Diamond Ring, set with a central emerald-cut treated emerald, with an approximate weight of 2.92 carats, fifty roundcut diamonds, with an approximate total weight of 1.07 carats, approximate color E-F and clarity VS2‑SI2, and two baguette-cut diamonds, with an approximate total weight of 0.24 carats, approximate color E-F and clarity VS1‑SI1, size 7‑1/2, 8.0 grams total weight. [14000/18000] Illustrated

686

686 Platinum, Fourteen-Karat White Gold, Emerald and Diamond Ear Clips, the earrings set with two pearshaped emeralds, with an approximate total weight of 2.26 carats for the pair, and two single-cut diamonds, eight marquise-cut diamonds and sixteen tapered baguette-cut diamonds, with an approximate total diamond weight of 2.7 carats, approximate color E-F and clarity VVS2‑VS2, l. 1”, 9.0 grams total weight. [800/1200] Illustrated 687 Fourteen-Karat White Gold and Diamond Tennis Bracelet, set with forty-two round brilliant-cut diamonds, with an approximate total weight of 8.15 carats, approximate color H-J and clarity SI2‑I1, l. 7”, 17.8 grams total weight. [6000/9000] Illustrated

685

158

688 Stunning Eighteen-Karat White Gold and Diamond Engagement Ring, set with a central Asscher-cut diamond, with an approximate weight of 1.36 carats, approximate color J and clarity VS2, flanked on either side by two straight baguette-cut diamonds, with an approximate total weight of 0.52 carats, approximate color F-G and clarity VVS1‑VVS2, size 6, 5.0 grams total weight. [12000/18000] Illustrated

691 Fourteen-Karat White Gold and Diamond Earrings, each set with a central round-cut diamond, with an approximate total weight of 1.30 carats for the pair, approximate color K-L and clarity SI2‑I1, surrounded by eighteen round-cut diamonds, with an approximate total weight of 0.20 carats for the pair, approximate color G-I and clarity SI1‑I1, 4.0 grams total weight. [4000/7000] Illustrated

689

689 Beautiful Eighteen-Karat White Gold and Diamond Bracelet, the flexible bracelet set with 176 round-cut diamonds, with an approximate total weight of 4.56 carats, approximate color E-G and clarity SI1‑SI2, and 132 baguette-cut diamonds, with an approximate total weight of 3.08 carats, approximate color E-G and clarity VS1‑VS, l. 7‑1/2”, 26.0 grams total weight. [15000/25000] Illustrated 690

691

688

690 Platinum and Diamond Engagement Ring and Wedding Band, the engagement ring set with a center European-cut diamond, with an approximate weight of 1.45 carats, approximate color L and clarity SI1, flanked on both sides with six round-cut diamonds, with an approximate total weight of 0.12 carats, approximate color H-I and clarity VS1‑VS2, size 6, together with a wedding band set with ten roundcut diamonds, with an approximate weight of 0.23 carats, approximate color H-I and clarity VS1‑VS2, size 5‑1/2, 6.8 grams total weight. [3000/5000] Illustrated

687

159

693

694

692 Eighteen-Karat White Gold and Diamond Bracelet, the link-style bracelet set with 272 round-cut diamonds, with an approximate total weight of 3.85 carats, approximate color G-I and clarity SI2‑I1, l. 6‑1/2”, 33.0 grams total weight. [5000/8000] Illustrated

692

693 Fourteen-Karat White Gold and Diamond Necklace, set with a central pear-shaped diamond, with an approximate weight of 1.72 carats, approximate color I and clarity VS2, flanked on either side with four bar-set baguette-cut diamonds, with an approximate total weight of 1.01 carats, approximate color G-I and clarity VS1‑VS2, l. 16”, 9.0 grams total weight. [6000/9000] Illustrated

695

8 160

696 Stunning Pair of Tiffany Platinum, Fourteen-Karat White Gold, White South Sea Pearl and Diamond Earrings, each earring set with a 13.00 mm white South Sea pearl and a 1.22‑carat GIA certified transitionalcut diamond, one diamond, color D and clarity SI1, GIA certificate number 10657230, and the other, color E and clarity SI2, GIA certificate number 10657232, stamped “Tiffany” and “P186345”, l. 3/4”, 12.0 grams total weight. [25000/40000] Illustrated

697 Graduated Strand of South Sea Cultured Pearls, the strand composed of forty-two silvery-colored pearls with a high luster, measuring from approximately 10.00 mm to 15.50 mm, no clasp, l. 21‑1/2”. [4500/7000] Illustrated

696

698 694 Pair of Eighteen-Karat White Gold and Diamond Earrings, set with two central very fine rose-cut diamonds, with an approximate total weight of 0.42 carats, approximate color E-F and clarity SI1‑SI2, and sixteen rose-cut diamonds, with an approximate total weight of 0.55 carats, approximate color E-F and clarity VS1‑SI1, 2.0 grams total weight. [2500/4000] Illustrated 695 Eighteen-Karat White Gold and Diamond Ring, set with a central round brilliant-cut diamond, with an approximate weight of 2.01 carats, approximate color I and clarity I1, and thirty channel- and prong-set round brilliant-cut diamonds, with an approximate total weight of 1.01 carats, approximate color G-I and clarity SI1‑I1, size 7‑1/2, 4.2 grams total weight. [9000/12000] Illustrated

698 Eighteen-Karat White Gold and Diamond Bracelet, the handcrafted Art Deco bracelet set with four bezel-set rose-cut diamonds, with an approximate total weight of 0.50 carats, approximate color E-G and clarity VS1‑SI1, and 470 round-cut diamonds, with an approximate total weight of 7.82 carats, approximate color E-G and clarity VS1‑SI1, l. 7”, 50.0 grams total weight. [3000/5000] Illustrated

697

161

702 Fourteen-Karat Yellow Gold and Diamond Tennis Bracelet, set with fifty-five round-cut diamonds, with an approximate total weight of 3.00 carats, approximate color G-I and clarity VS1‑SI1, l. 7”, 13.0 grams total weight. [900/1200] 703 Fourteen-Karat Yellow Gold and Diamond Earrings, each earring in a swirled fan design and set with a round-cut diamond, with an approximate total weight of 0.93 carats for the pair, approximate color E-F and clarity SI1‑I1, l. 3/4”, 9.0 grams total weight. [500/800] Illustrated 699

699 Fourteen-Karat White Gold, Diamond and Cultured Pearl Brooch, the Edwardian design brooch set with eighty-two round brilliant-cut diamonds, with an approximate total weight of 1.00 carat, a 9.0 mm pearl in the center of the brooch, and a teardrop-shaped 11.0 mm x 14.0 mm dangling pearl, size 1‑5/16” x 1‑1/2”, 10.8 grams total weight. [2500/4000] Illustrated

701

704 Fourteen-Karat Yellow Gold and Diamond Bangle Bracelet, the hinged bracelet with a black oxidized edge and set with forty-one round-cut diamonds, with an approximate total weight of 2.81 carats, approximate color G-I and clarity VS1‑VS2, inside circumference, 8”, 30.0 grams total weight. [800/1200] Illustrated 700

700 Antique Fourteen-Karat Yellow Gold, Silver, Diamond and Pearl Bracelet, the tapered hinged cuff bracelet set with a 6.0 mm pearl at the center of a silver flower, the petals of the flower and the bracelet set with sixty-eight mine- and rose-cut diamonds, with an approximate total weight of 2.00 carats, inside circumference, 6‑3/16”, 24.6 grams total weight. [1000/1500] Illustrated 701 Fourteen-Karat Yellow Gold and Diamond Ring, set with a central European-cut diamond, with an approximate weight of 0.20 carats, approximate color G and clarity VS2, and eight round European-cut diamonds, with an approximate total weight of 0.52 carats, approximate color I-K and clarity VS2‑SI1, size 6, 8.0 grams total weight. [500/800] Illustrated

162

703

707 Eighteen-Karat Yellow Gold and Diamond Cluster Ring, set with thirty-three round-cut diamonds mounted in a step design cluster, with an approximate total weight of 4.52 carats, approximate color G-I and clarity VS2‑SI2, size 5‑1/2, 9.0 grams total weight. [1500/2500] Illustrated 704

705 Fourteen-Karat Yellow Gold and Marquise Diamond Ring, set with a marquise-cut diamond, with an approximate weight of 4.17 carats, the stone fracture filled, approximate color K and clarity I2, size 6‑1/4, 3.7 grams total weight. [3000/5000] Illustrated

706 Fourteen- and Ten-Karat Yellow Gold and Diamond Hinged Bangle Bracelet, set with twenty European-cut diamonds, with an approximate total weight of 4.22 carats, approximate color E-G and clarity VS2‑SI2, inside circumference, 7‑1/2”, 19.0 grams total weight. [1000/1500] Illustrated

705

706

707

163

708

709 Stunning Louis Dell’ Olio Full-Length Chocolate Brown Mink Coat, with a convertible wing collar, setin sleeves and two velvet-lined on-seam pockets, three button closure, the black silk-lined interior with a deep front pocket and labeled: “Louis Dell’ Olio/Furs” and “Neiman Marcus”, size 10, l. 52”. [800/1200] Illustrated

710

708 Vintage Chocolate Brown Natural Mink Mid-Calf Coat, 1980’s, with a small shawl collar, two velvet-lined on-seam pockets, the set-in sleeves with bias pelts ending in elasticized cuffs, the black silk-lined interior with a silk gathering cord and one deep front pocket, labeled: “John Tauben”, size 8, l. 45”. [1000/1500] Illustrated

709

710 Vintage Chocolate Brown Mink Stroller, 1970’s, with a notched collar, inset sleeves and two on-seam velvetlined pockets, the shaped body with a martingale, two button closure, the black silk-lined interior trimmed with black velvet ribbon, labeled: “Maurice Born”, size 6, l. 30”. [500/800] Illustrated 711 Lustrous Vintage Deep Chocolate Brown Sable KneeLength Coat, 1960’s, with a convertible notched collar, two hook closure, set-in three-quarter length sleeves and two silk-lined on-seam pockets, the interior lined with a bold 1960’s chocolate and toast patterned satin, size 6, l. 34”. [1200/1800] Illustrated 712 Fourteen-Karat Yellow Gold, Diamond and MultiColored Stone Bracelet, with a bubble design and set with eighty round brilliant-cut diamonds, with an approximate total weight of 0.50 carats, four double-rosecut blue topaz and four double-rose-cut garnets, with an approximate weight of 1.50 carats each, and four doublerose-cut aquamarines, five double-rose-cut citrines and three double-rose-cut smoky quartz, all with an approximate weight of 2.00 carats for each, l. 7‑1/4”, 38.6 grams total weight. [4500/7000] Illustrated

164

711

713 Fourteen-Karat Yellow Gold, Multi-Colored Sapphire and Diamond Necklace, composed of 105 oval-cut blue, orange, green, pink, yellow and white sapphires, with an approximate total weight of 42.53 carats, and thirty round brilliant-cut diamonds, with an approximate total weight of 0.65 carats, l. 17”, pendant, l. 1‑1/2”, 32.8 grams total weight. [3500/5000] Illustrated

713

712

165

713A Eighteen-Karat Yellow Gold, Amethyst and Diamond Ring, set with a large faceted oval amethyst, with an approximate weight of 25.0 carats, surrounded by thirtytwo round brilliant-cut diamonds, with an approximate total weight of 1.15 carats, size 8‑1/2, 20.6 grams total weight. [700/1000] 714

715

714 Vintage Passementerie and Semi-Precious Stone Taupe Silk Handbag, gusseted with a fold-over closure and self strap handle, the pale teal interior with two compartments, each having two slip pockets along with a small envelope coin purse, set with two star ruby oval cabochons, with an approximate weight of 5.00 carats, two emerald-cut smoky quartz cabochons, with an approximate weight of 25.00 carats, three oval opal cabochons, with an approximate weight of 6.75 carats, four emerald-cut amethysts, with an approximate weight of 36.00 carats, two round blue sapphire cabochons, with an approximate weight of 2.00 carats, two carved round amethyst cabochons, with an approximate weight of 36.00 carats, two oval red coral cabochons, with an approximate weight of 18.00 carats, two pear-shaped faceted citrines, with an approximate weight of 9.00 carats, two oval tiger eye cabochons, with an approximate weight of 28.00 carats, four round garnet cabochons, with an approximate weight of 4.50 carats, and accented on the top and strap with five emerald beads, four ruby beads and five blue sapphire beads, h. 5‑1/2”, w. 9”, d. 3”, strap drop: 4‑1/2”. Provenance: The Estate of Sunny Norman, New Orleans, Louisiana. [700/1000] Illustrated

715 Fourteen-Karat Yellow Gold, Amethyst and Diamond Ring, set with a large oval faceted amethyst, with an approximate weight of 32.00 carats, accented by five round brilliant-cut diamonds, with an approximate total weight of 0.14 carats, size 7‑1/2, 13.4 grams total weight. [1200/1800] Illustrated

717

716 Fourteen-Karat Yellow Gold, Amethyst and Diamond Bangle Bracelet, the hinged bracelet set with seven oval faceted amethysts, with an approximate total weight of 4.50 carats, and fourteen round brilliant-cut diamonds, with an approximate total weight of 0.50 carats, inside circumference, 6‑1/2”, 26.4 grams total weight. [900/1200] Illustrated 716

166

718

717 Fourteen-Karat White Gold, Amethyst and Diamond Ring, set with a central oval amethyst, with an approximate weight of 10.78 carats, surrounded by twenty-two round-cut diamonds, with an approximate total weight of 0.56 carats, approximate color E-G and clarity VS1‑VS2, size 6, 11.0 grams total weight. [500/800] Illustrated

718 Stunning Platinum, Amethyst and Diamond Necklace, made by Carvalho & Castro Lda., Lisbon, Portugal, 1951‑1976, set with a large oval-cut amethyst, with an approximate weight of 58.31 carats, 108 roundcut diamonds, sixty-four baguette-cut diamonds and four marquise-cut diamonds, with an approximate total weight of 16.6 carats, approximate color E-F and clarity VVS1‑VS1, l. 16”, 88.0 grams total weight. [20000/40000] Illustrated 719 Eighteen-Karat White Gold, Black Opal, Amethyst and Diamond Flower Brooch, set with a central black opal cabochon, with an approximate weight of 7.36 carats, eight oval-cut amethysts, with an approximate total weight of 8.72 carats, fifty-three round-cut diamonds and twenty-one baguette-cut diamonds, with an approximate total diamond weight of 1.81 carats, approximate color E-F and clarity VVS2‑SI1, l. 2‑1/2”, 16.0 grams total weight. [4000/7000] Illustrated

719

720 Gilt-Silver, Diamond, Opal and Sapphire Moveable Bee Brooch, the silver brooch with gold gilt highlights and moveable wings and head, set with eighty-three mixed-cut diamonds, with an approximate total weight of 0.50 carats, the body set with a round 5.0 mm opal cabochon and an 8.5 mm x 12.0 mm pear-shaped opal cabochon, the head with two round 2.0 mm sapphire cabochons for the eyes, size with extended wings, 1‑3/4” x 1‑1/8”, 6.4 grams total weight. [700/1000] Illustrated

720

167

722

721

721 Fourteen-Karat Yellow Gold and Natural Aquamarine Carved Leaf Necklace, composed of graduated natural aquamarine beads carved as leaves, ranging in size from 3.0 mm to 20.0 mm, finished with a fourteen-karat gold toggle clasp, l. 17”, 41.4 grams total weight. [500/800] Illustrated 722 Stunning Fourteen-Karat Yellow Gold, Aquamarine and Diamond Ring, bezel-set with a GIA certified rectangular cushion mixed-cut natural aquamarine, measuring 16.00 x 14.19 x 7.80 mm, and with a total weight of 12.72 carats, GIA Report # 6137314117, surrounded by twenty-two round brilliant-cut diamonds, with an approximate total weight of 2.61 carats, approximate color K-M and clarity I1‑I2, size 7‑1/4, 13.1 grams total weight. [4000/7000] Illustrated 723 Fourteen-Karat Rose Gold and Natural Aquamarine Pendant with Necklace, the natural aquamarine cabochon set in a copper bezel, measuring approximately 10.0 mm x 28.0 mm x 43.0 mm, dangling from a strand of aquamarine rondels, finished with a fourteen-karat rose gold clasp, l. 17”, pendant, l. 1‑1/2”, w. 1‑3/4”, 50.9 grams total weight. [500/800] Illustrated 723

168

724

725 Vintage Fox Knee-Length Swing Coat, 1980’s, with a small shawl collar and slightly gathered set-in sleeves ending in self-banded cuffs, two on-seam velvet-lined pockets and three hook closure, the champagne fabriclined interior with one deep front pocket, labeled: “Koslows” and bearing the “Koslow-ized” paper label, size 6‑8, l. 38”. [1000/1500] Illustrated 726 Vintage Pale Taupe and Blond Mink Cardigan Jacket, 1970’s, the “corduroy” mink body with a fine checkerboard yoke, the front and buttoned cuffs trimmed with blond mink, with a stand-up collar and four button closure, the interior lined with pale taupe satin, size 4, l. 28”. [500/800] 727 Platinum, Diamond and Tourmaline Ring, the heavy ribbed ring set with a green tourmaline cabochon, with an approximate weight of 6.00 carats, and two trianglecut diamonds on each side of the cabochon, with an approximate total weight of 0.80 carats, size 7, 13.4 grams total weight. [1500/2500]

724 Vintage Pale Taupe and White Mink Convertible Jacket, 1970’s, the pale taupe body with a chevron pattern winged collar, front edges, slash pockets and hem, with removable set-in sleeves to form a vest, a 6” vent at both sides, the champagne satin interior embroidered: “Anna Nateece” throughout, labeled: “Created for___/Le Nobel Furs/Las Vegas”, size 4, l. 25”. [500/800] Illustrated

725 729

728 Two Fourteen-Karat White Gold Brooches, one brooch with diamonds and sapphires in a freeform design, set with seventeen single-cut and five round-cut diamonds, with an approximate total diamond weight of 0.40 carats, and three round-cut sapphires, with an approximate total weight of 0.42 carats, l. 1‑3/4”, 9.0 grams, and the other brooch set with a thin black opal doublet measuring approximately 14.00 mm x 12.00 mm x 3.15 mm, and thirty-five single-cut diamonds, with an approximate total weight of 0.33 carats, l. 2”, 6.0 grams total weight. [800/1200] 729 Platinum, Diamond and Sapphire Ring, set with a central cushion-cut sapphire, with an approximate weight of 2.47 carats, and thirty-eight European-cut diamonds, with an approximate total weight of 1.65 carats, approximate color E-F and clarity VS2‑SI2, size 6‑1/2, 8.0 grams total weight. [1800/2500] Illustrated

169

730 Pair of Fourteen-Karat White Gold, Diamond and Sapphire Dangle Earrings, set with two oval sapphires, with an approximate total weight of 1.67 carats, and twenty-six round-cut diamonds, with an approximate total weight of 0.70 carats, approximate color H-I and clarity SI1‑SI2, l. 1”, 5.0 grams total weight. [1500/2500]

731

731 Platinum, Diamond and Sapphire Bar Pin, the vintage pin set with five European-cut diamonds, with an approximate total weight of 0.80 carats, approximate color E-G and clarity VS1‑SI1, sixty-six single-cut diamonds, with an approximate total weight of 0.82 carats, approximate color E-G and clarity VS1‑SI1, and eighteen calibrated-cut synthetic sapphires, l. 2‑1/2”, 10.0 grams total weight. [2000/4000] Illustrated

733

733 Unusual Eighteen-Karat White/Yellow Gold, Diamond and Lapis Lazuli Horse Brooch, the carved lapis lazuli horse’s head with a flowing mane composed of white and yellow gold, and set with 100 rose-cut diamonds, and two round brilliant-cut diamonds for the eyes, with an approximate total diamond weight of 2.50 carats, size, 3” x 2‑3/8”, 44.2 grams total weight. [3000/5000] Illustrated 734 Fourteen-Karat Yellow Gold and Lapis Lazuli Graduated Necklace, with natural lapis lazuli polished beads, ranging in size from 12.0 mm to 21.0 mm, separated by a fourteen-karat yellow gold ribbed rondel, and finished with a fourteen-karat yellow gold toggle clasp, l. 21”. [500/800] Illustrated 735 Fourteen-Karat Yellow Gold and Lapis Lazuli Ear Clips, each with a twisted rope border and set with a 21.0 mm x 21.0 mm square pyramid-shaped lapis lazuli cabochon, 15.2 grams total weight. [600/900] Illustrated

732

732 Fourteen-Karat White Gold, Diamond and Sapphire Cufflinks, each round cufflink set with seven oval faceted sapphires, with an approximate total weight of 3.25 carats for the pair, and thirty-one round brilliant-cut diamonds, with an approximate total weight of 0.40 carats for the pair, dia. 11/16”, 9.7 grams total weight. [900/1200] Illustrated 735

170

736 Georg Jensen Eighteen-Karat Yellow Gold and Lapis Lazuli Cufflinks, each set with an 11.0 mm lapis lazuli sphere, stamped “Georg Jensen, 18K, 750”, 11.4 grams total weight. [900/1200] Illustrated 737 Eighteen-Karat Yellow Gold, Lapis Lazuli, Ruby and Enamel Turtle Brooch, the cast turtle with blue enamel subdividing the shell, set with four round 4.00 mm lapis lazuli cabochons and two round faceted rubies for the eyes, l. 1‑1/8”, 6.6 grams total weight. [600/900] Illustrated

734

736

738 David Webb Eighteen-Karat Yellow Gold and Lapis Lazuli Studs, the set of three square rope-edged studs each set with a step-sided pyramid-shaped lapis lazuli, stamped “18”, a “C” in a circle, “Webb” and an “R” in a circle, 11.0 grams total weight. [600/900] Illustrated

738

737

739 David Webb Eighteen-Karat Yellow Gold Lion Belt Buckle, the heavy cast buckle depicting a male lion, marked with a “C” in a circle, “Webb”, and “R” in a circle and “18K”, size 2‑1/4” x 1‑3/4”, 45.6 grams total weight. [4000/7000] Illustrated 739

171

740 David Webb Eighteen-Karat Yellow Gold and Turquoise Cufflinks, the heavy oval cufflinks each set with a 7.0 mm x 20.0 mm rectangular turquoise band, marked “Webb 18K”, 24.8 grams total weight. [1800/2500] Illustrated

743

740 741 Eighteen-Karat Yellow Gold Gucci Wedding Band, the 7.0 mm wide band subdivided into domed squares framed by two narrow bands, the ring stamped “Gucci 18K”, size 9‑3/4, 11.2 grams total weight. [700/1000]

744 Pair of Lalaounis Eighteen-Karat Yellow Gold Ear Clips, the earrings with a stylized swirling wave design, stamped “Lalaounis”, l. 1‑1/2”, 21.8 grams total weight. [1200/1800] Illustrated 745 United States $20.00 Saint Gaudens Double Eagle Gold Coin Pendant, the 1927 Double Eagle coin set in a fourteen-karat gold frame, 35.8 grams total weight. [1000/1500] Illustrated

742

742 Eighteen-Karat Green Gold B. Kieselstein Cord Ear Clips, the satin-finished ear clips with a heavy organic design, marked with a “c” in a circle and “B. Kieselstein-Cord 1981*USA 18K”, 39.8 grams total weight. [1800/2500] Illustrated 743 Fourteen-Karat Yellow Gold Bracelet, the heavy, flexible Italian bracelet designed as flat links, l. 7‑3/4”, w. 1”, 73.0 grams total weight. [3500/5000] Illustrated

172

744

746 Fourteen-Karat Yellow Gold, Diamond and United States One-Dollar Gold Coin Ring, the 1852 United States Liberty Head $1.00 gold coin set in a mounting surrounded by twenty-two single-cut diamonds, with an approximate total weight of 0.50 carats, size 7‑1/4, 11.2 grams total weight. [800/1200] Illustrated

747 Luscious Vintage Chinchilla Jacket, 1960’s, with a notched collar, open front, set-in sleeves and two side pockets, the pale gray silk-lined interior trimmed with black velvet ribbon, size 4‑6, l. 25”. [1500/2500] Illustrated

747

745

748 Chic Vintage Ocelot and Black Fox Princess-Cut Coat, 1970’s, the broad notched collar and hem trimmed with black fox, with set-in three-quarter sleeves and two on-seam pockets, the black embroidered silk-lined interior labeled: “Furs by/Le Nobel of Athens/Dunes Hotel-Las Vegas”, includes a black suede and snakeskin tie belt, size 4, l. 44”. [700/1000] Illustrated

748

746

173

749 Vintage Leopard Jacket, 1970’s, with a small wing collar, set-in three-quarter sleeves, two hook closure and two velvet-lined pockets, both sides with two 4” vents, the black silk-lined interior labeled: “James Furlan/Houston”, size 6, l. 26”. [600/900] Illustrated

752 Fourteen-Karat Yellow Gold and Bloodstone Ring, the slight vertical dome ring with a rectangular bloodstone insert, size 11, 18.8 grams total weight. [800/1200]

749

751

753 Fourteen-Karat Rose Gold Longines Wristwatch, the oversized tonneau-shaped case with hinged wire lugs and a hinged case back, the fifteen jewels mechanical gilt movement signed by Longines, as well as the dial, the width without the crown 34.0 mm, length with the lugs, 57.0 mm, serial #2,545,xxx, l. 9”. [500/800] 750 Baume and Mercier Gentleman’s Eighteen-Karat Yellow Gold Automatic Date Chronograph Wristwatch, the heavy round coin edge case with engraved tachymeter bezel with a mechanical automatic calendar movement, the white cream dial with three registers, constant second, thirty minute and twelve hours, the crown set with a blue sapphire diameter, not including the 37.0 mm crown, model #86105, serial #1,691,xxx, and the case, dial and movement signed “Baume and Mercier”, l. 9”. [3000/5000] Illustrated 751 Tiffany and Company EighteenKarat Yellow Gold Schlumberger Knot Cufflinks and Studs, the classic double knot-designed cufflinks and three shirt studs in the original Tiffany & Co. box, the cufflinks marked “Tiffany, 18k Schlumberger”, 25.2 grams total weight. [2000/4000] Illustrated

174

750

754 Fourteen-Karat White/Yellow Gold, Diamond and Enamel Fleur-de-Lis Cufflinks, the blue enamel round cufflinks engraved with a fleur-de-lis set with nine Swiss-cut diamonds, the white gold frame surrounding each fleur-de-lis accented with four round brilliant-cut diamonds, with an approximate total diamond weight of 0.35 carats for the pair, 12.4 grams total weight. [900/1200] Illustrated

756

754

757 Eighteen-Karat Yellow Gold, Diamond and Yellow Sapphire Ring, invisible-set with twelve princess-cut diamonds, with an approximate total weight of 1.00 carat, and twenty-four princess-cut yellow sapphires, with an approximate total weight of 2.00 carats, size 8‑1/2, 9.2 grams total weight. [900/1200] Illustrated

755 Fourteen-Karat Yellow Gold and Diamond ABL Men’s Ring, set with a central triangle-cut diamond, with an approximate weight of 0.25 carats, approximate color G and clarity SI1, and two smaller triangle-cut diamonds, with an approximate total weight of 0.24 carats, approximate color G-I and clarity SI1, stamped “ABL”, size 8‑1/2, 12.0 grams total weight. [1000/1500] Illustrated

757 758 Eighteen-Karat Yellow Gold, Diamond and Yellow Sapphire Bracelet, the “X” link design bracelet set with 221 round brilliant-cut diamonds, with an approximate total weight of 1.00 carat, and seventeen oval faceted yellow sapphires, with an approximate total weight of 6.00 carats, l. 8”, 20.4 grams total weight. [900/1200] Illustrated

755

756 Fourteen-Karat White and Yellow Gold and Diamond Bracelet, composed of seven two-tone gold links, each set with fourteen round brilliantcut diamonds, with an approximate total weight of 2.00 carats, l. 8‑3/4”, 37.0 grams total weight. [1500/2500] Illustrated 758

175

761 Vintage Light Brown “Corduroy” Mink Jacket, 1980’s, with stand-up collar, bold set-in sleeves and two on-seam velvet-lined pockets, three hook closure, the olive green silk and rayon lined interior with a taupe leather tie, labeled: “Kreegers/New Orleans”, includes the original pink Kreegers garment bag, l. 28”. [500/800] Illustrated 762 Vintage Tobacco Mink Coat, 1980’s, the pelts in a layered design, with a dramatic shawl collar, set-in sleeves and two on-seam velvet-lined pockets, three hook closure, lined in toast satin, size 6, l. 42” [700/1000] Illustrated

760

761

759 Eighteen-Karat Yellow Gold, Diamond and Yellow Sapphire Flower Brooch, the stem and leaves paveset with approximately seventy-six round brilliantcut diamonds and the pistil set with nine brilliant-cut diamonds, with an approximate total diamond weight of 0.75 carats, the petals of the flower pave-set with approximately eighty yellow sapphires, with an approximate total weight of 4.00 carats, size 1” x 1‑1/2”, 13.0 grams total weight. [1500/2500] Illustrated

759

760 Fourteen-Karat Yellow Gold and Diamond Bee Pin, set with twelve round-cut diamonds, with an approximate total weight of 0.70 carats, approximate color E-G and clarity VS1‑SI1, and two round-cut rubies for the eyes, with an approximate total weight of 0.02 carats, l. 1”, 8.0 grams total weight. [600/900] Illustrated

176

763 Vintage Rich Brown Lunaraine Mink Mid-Calf Coat, 1970’s, “princess” cut with a 17” rear slit, with a notched collar, set-in sleeves ending in rolled cuffs and two velvetlined on-seam pockets, one hook closure along with a self tie, labeled: “Furs by/Le Nobel of Athens/Dunes Hotel-Las Vegas”, the interior lined in chocolate brown embroidered silk, size 4, l. 44”. [1400/1800] Illustrated 764 Vintage Michael Kors Patchwork Mink Knee-Length Slouch Coat, 1980’s, with a broad spread collar, drop sleeves and two velvet-lined slash pockets, three hook closure, the toast silk-lined interior with a deep front pocket, labeled: “Michael Kors”, size 6‑8, l. 35”. [500/800] Illustrated

762

765

765 Fourteen- and Ten-Karat White and Yellow Gold and Diamond Necklace, the two-tone double border pendant set with thirty-six round brilliant-cut diamonds in white gold and thirty single-cut diamonds in yellow gold, the pendant attached to an alternating “X” and elongated link chain set with 112 baguette-cut diamonds, the links attached to a 2.0 mm rope chain, with an approximate total diamond weight of 3.50 carats, l. 17‑1/2”, 20.4 grams total weight. [2500/4000] Illustrated 763 764

177

766 Pair of Fourteen-Karat White/Yellow Gold and Diamond Earrings, the cushion design earrings with applied yellow gold filigree highlights, each earring set with thirty-two round brilliant-cut diamonds, with an approximate total weight of 0.50 carats for the pair, l. 5/8”, 6.7 grams total weight. [2500/4000] Illustrated

766

769

767 Fourteen-Karat White Gold, Tanzanite and Diamond Pendant with Chain, the pendant composed of a central square cushion-cut heat-treated tanzanite, with an approximate weight of 6.95 carats, and 428 prong-set round brilliant-cut diamonds, with an approximate total weight of 3.18 carats, approximate color G-I and clarity SI2‑I1, together with a fourteen-karat white gold chain, pendant, l. 1‑7/8”, chain, l. 17”, 21.4 grams total weight. [8000/12000]

769 Fourteen-Karat White Gold, Tanzanite and Diamond Ring, set with a central GIA certified oval-cut tanzanite, measuring 19.72 x 13.04 x 7.66 mm, and with a total weight of 14.09 carats, GIA report # 2155900035, surrounded by twenty-four round brilliant-cut diamonds, with an approximate total weight of 1.08 carats, approximate color G-I and clarity SI1‑I1, size 7‑3/4, 9.1 grams total weight. [7000/10000] Illustrated

770 768

768 Fourteen-Karat White Gold and Diamond Ring, set with 162 princess-cut diamonds, with an approximate total weight of 3.24 carats, approximate color E-F and clarity SI2‑I1, size 7, 9.0 grams total weight. [1800/2500] Illustrated

178

770 Fourteen-Karat White Gold and Diamond Dangle Earrings, set with two round-cut diamonds, with an approximate total weight of 1.04 carats for the pair, approximate color F-G and clarity VS2‑SI1, surrounded and accented by thirty-eight round-cut diamonds, with an approximate total weight of 0.62 carats for the pair, approximate color G-I and clarity VS1‑SI2, l. 1”, 5.0 grams total weight. [4500/7000] Illustrated

771 Fourteen-Karat White Gold, Tanzanite and Diamond Ring, set with a rectangular cushion mixed-cut heattreated tanzanite, measuring approximately 17.80 x 11.90 x 7.00 mm, and with an approximate weight of 12.26 carats, surrounded by twenty round brilliant-cut diamonds, with an approximate total weight of 1.65 carats, approximate color G-I and clarity SI1‑I1, size 7‑1/4, 12.1 grams total weight. [8000/12000] Illustrated

773 Eighteen-Karat White Gold, Tanzanite and Diamond Ring, set with a bezel-set heat-treated oval-cut tanzanite, with an approximate weight of 6.81 carats, twenty-eight round brilliant-cut diamonds and fifty-five channel- and prong-set baguette-cut diamonds, with an approximate total weight of 2.60 carats, approximate color D-F and clarity VVS1‑SI2, size 7‑1/2, 18.0 grams total weight. [8000/12000] 774 Fourteen-Karat White Gold and Diamond Buttercup Drop Dangle Earrings, each earring set with two roundcut diamonds, with an approximate total weight of 1.26 carats for the pair, approximate color G-I and clarity VS2‑SI1, l. 3/4”, 6.0 grams total weight. [500/800] 775 Eighteen-Karat White Gold and Diamond Eternity Band, set with 176 round-cut diamonds on the borders of the ring and thirty-two round-cut diamonds in the center, with an approximate total diamond weight of 1.18 carats, approximate color G-I and clarity SI1‑SI2, size 7, 5.0 grams total weight. [1800/2500] Illustrated

771

776

772 Fourteen-Karat White Gold and Diamond Pendant with Chain, the pendant set with seven round-cut diamonds and eight bezel-set diamonds, with an approximate total weight of 2.40 carats, approximate color E-G and clarity SI2‑I1, l. 16”, 4.0 grams total weight. [6000/9000]

775

776 Pair of Fourteen-Karat White Gold and Diamond Pendant Earrings, in a kite design and pave-set with approximately 325 single-cut diamonds, with an approximate total weight of 1.00 carat for the pair, l. 1‑3/8”, 4.3 grams total weight. [1200/1800] Illustrated 777 Eighteen-Karat White Gold and Diamond Link Bracelet, composed of elongated links set with 239 round brilliant-cut diamonds, with an approximate total weight of 1.00 carat, l. 8‑1/4”, 10.6 grams total weight. [1500/2500] 778 Pair of Fourteen-Karat White Gold and Diamond Earrings, the rectangular-shaped hoop earrings set with forty-one round brilliant-cut diamonds, with an approximate total weight of 1.00 carat for the pair, l. 1‑1/2”, 5.3 grams total weight. [900/1200]

179

779 Pair of Fourteen-Karat White Gold and Diamond Pendant Earrings, each designed as a monarch’s crown and set with twenty round brilliant-cut diamonds, with an approximate total weight of 0.25 carats for the pair, l. 1‑1/2”, 5.7 grams total weight. [1400/1800] Illustrated

779 783

782 Fourteen-Karat White Gold and Diamond Ring, the pear-shaped ring set with eight round brilliant-cut diamonds in a cluster, with an approximate total weight of 0.80 carats, size 8‑1/2, 6.6 grams total weight. [500/800]

780 Eighteen-Karat White Gold and Diamond Crown Ring, the uniquely designed ring in the shape of a monarch’s crown, set with 112 round brilliant-cut diamonds, with an approximate total weight of 0.50 carats, size 7‑1/2, 6.6 grams total weight. [2500/4000] Illustrated

783 Men’s Fourteen-Karat Yellow Gold and Diamond Ring, set with four round-cut diamonds, twenty-one princess-cut diamonds and seventeen baguette-cut diamonds, with an approximate total weight of 1.44 carats, approximate color H-J and clarity SI1‑I1, size 10‑1/2, 16.0 grams total weight. [1800/2500] Illustrated 784 Bold Fourteen-Karat Yellow Gold and Rock Crystal Necklace, composed of large faceted rock crystal nuggets separated by yellow gold rondelle beads, finished with a fourteen-karat yellow gold clasp, l. 20‑1/2”. [500/800] Illustrated

780 781 Fourteen-Karat White Gold and Diamond Bangle Bracelet, the tapered hinged bracelet set with twentyfour round brilliant-cut diamonds, with an approximate total weight of 0.50 carats, inside circumference, 7‑1/4”, 18.8 grams total weight. [1400/1800]

180

784

785 Platinum, Eighteen-Karat White/Yellow Gold and Diamond Ring, pave-set with 144 round-cut diamonds, with an approximate total weight of 1.94 carats, approximate color D-F and clarity VVS2‑VS2, size 9, 12.0 grams total weight. [900/1200] Illustrated

788

787 Fourteen-Karat Yellow Gold and Diamond Ring, set with a marquise-cut diamond, with an approximate total weight of 0.40 carats, flanked by thirty-four baguette-cut diamonds and ten round brilliant-cut diamonds, with an approximate total weight of 1.00 carat, size 12‑1/2, 8.2 grams total weight. [500/800]

785

786 Beautiful Fourteen-Karat Yellow Gold, Sapphire and Diamond Bow Pin, set with 166 European-cut diamonds, with an approximate total weight of 4.95 carats, approximate color E-G and clarity VS1‑SI2, and 201 round-cut sapphires, with an approximate total weight of 3.80 carats, h. 4‑1/2”, w. 3”, total weight, 58.0 grams. [4000/7000] Illustrated

789

788 Fourteen-Karat Yellow Gold, Diamond and Sapphire Bracelet, set with fifty-four round-cut diamonds, with an approximate weight of 0.60 carats, and fifty-four baguette-cut sapphires, with an approximate weight of 5.94 carats, l. 7”, 28.0 grams total weight. [1800/2500] Illustrated

786

789 Fourteen-Karat White/Yellow Gold, Diamond, Coral and Multi-Stone Pin, with a large carved coral bust of an Asian woman, her cape composed of seven round brilliant-cut diamonds, with an approximate total weight of 0.15 carats, thirteen table-cut emeralds, with an approximate total weight of 2.00 carats, thirty-eight tablecut treated rubies, with an approximate total weight of 2.50 carats, thirteen round faceted treated sapphires, with an approximate total weight of 2.50 carats, and eleven 4.0 mm cultured pearls, l. 2‑3/8”, 32.2 grams total weight. [2500/4000] Illustrated

181

790 Vintage Custom-Made Platinum “Crown” Ring, composed of two cabochon-cut color-enhanced rubies, with an approximate total weight of 10.00 carats, twenty round brilliant-cut diamonds, with an approximate total weight of 0.50 carats, one cabochon emerald, with an approximate weight of 1.00 carat, and fourteen sapphires, with an approximate total weight of 1.00 carat, size 7‑1/4, 20.4 grams total weight. [4500/7000] Illustrated 791 Eighteen-Karat Yellow Gold, Ruby and Diamond Bracelet, set with ninety square-cut treated rubies, with an approximate weight of 9.90 carats, seventy round-cut diamonds, with an approximate total weight of 0.76 carats, and thirty oval cabochon-cut treated rubies, with an approximate total weight of 6.00 carats, l. 6‑1/2”, 35.0 grams total weight. [4500/7000] Illustrated

792

790

792 Beautiful Fourteen-Karat Yellow Gold, Ruby and Diamond Necklace, composed of thirty-four pearshaped treated rubies, with an approximate total weight of 108.85 carats, and 712 round brilliant-cut diamonds, with an approximate total weight of 9.61 carats, l. 17”, drop, 2”, 54.7 grams total weight. [7000/10000] Illustrated

791

182

793 Fourteen-Karat Yellow Gold, Diamond and Ruby Ring, set with twenty-three princess-cut diamonds, with an approximate total weight of 3.2 carats, and eighteen square-cut rubies, with an approximate total weight of 1.5 carats, stamped “Rex”, size 5, 14.4 grams total weight. [1400/1800] Illustrated 794 Eighteen-Karat Yellow Gold and Ruby Necklace with a Diamond Clasp, the thirteen-strand graduated variegated ruby bead necklace attached to a textured clasp, paveset with thirty-six round brilliant-cut diamonds, with an approximate total weight of 0.50 carats, l. 17”, 151.8 grams total weight. [3000/5000]

796

795 Pair of Eighteen-Karat Yellow Gold, Diamond and Ruby Ear Clips, each ear clip invisible-set with fourteen square faceted and treated rubies, with an approximate total weight of 1.40 carats for the pair, and twenty channelset round brilliant-cut diamonds, with an approximate total weight of 0.40 carats for the pair, l. 3/4”, 12.0 grams total weight. [1400/1800] Illustrated 795

797

796 Eighteen-Karat Yellow Gold, Diamond, Emerald and Ruby Bangle Bracelet, the hinged bracelet pave-set with twelve round faceted emeralds and six round faceted rubies in the shape of flowers, and 112 round brilliant-cut diamonds, with an approximate total weight of 1.10 carats, inside circumference, 6‑1/2”, 20.2 grams total weight. [4000/7000] Illustrated

793

797 Fourteen-Karat Yellow Gold, Emerald, Sapphire and Ruby Necklace/Bracelet, the necklace converting to a necklace and bracelet and set with treated ruby cabochons, with an approximate total weight of 3.25 carats, five sapphire cabochons, with an approximate total weight of 3.95 carats, and four emerald cabochons, with an approximate total weight of 2.12 carats, necklace, l. 15”, bracelet, l. 7”, overall, l. 22”, 88.0 grams total weight. [4000/7000] Illustrated

183

798 Pair of Tiffany and Company Fourteen-Karat Yellow Gold Ear Clips, with a swirling ruffle design, stamped “Tiffany & Co, 14Kt”, l. 1‑1/4”, 14.0 grams total weight. [900/1200]

803

800 Pair of Fourteen-Karat Yellow Gold Garnet Earrings, each earring set with nine round faceted garnets in a cluster, with an approximate total weight of 4.00 carats for the pair, dia. 7/8”, 9.5 grams total weight. [900/1200]

799

799 Eighteen-Karat Yellow Gold, Diamond, Emerald and Ruby Brooch, the retro stylized brooch set with one round brilliant-cut diamond, eight round brilliant-cut diamonds and one mine-cut diamond, with an approximate total weight of 0.65 carats, three round faceted emeralds, with an approximate total weight of 0.24 carats, and two round faceted rubies, with an approximate total weight of 0.16 carats, l. 1‑3/4”, 23.3 grams total weight. [500/800] Illustrated

805 802 801 Vintage Flared Tan Mink Stroller, 1980’s, with a notched collar, two hook closure, raglan sleeves and two velvet-lined on-seam pockets, the taupe silk interior trimmed with velvet ribbon and having a front pocket, two small slits at each side to accommodate a tie belt, labeled: “Sakowitz”, size 6‑8, l. 30”. [500/800]

806

184

804 Two Gold and Gemstone Lady’s Brooches, comprising an eighteen-karat yellow gold brooch depicting a polychrome enamel “tulip” bouquet, set with fifteen singlecut diamonds, with an approximate total weight of 0.15 carats, size 1‑1/2” x 3‑1/4”, and a fourteen-karat yellow gold brooch depicting a polychrome enamel “peacock”, set with ten multi-cut diamonds, with an approximate total weight of 0.35 carats, twenty-nine round faceted emeralds, with an approximate total weight of 0.50 carats, eight round faceted rubies and two ruby cabochons, with an approximate total weight of 0.50 carats, size 2” x 2”, 42.6 grams total weight for the pair. [700/1000] 805 Pair of Fourteen-Karat White Gold, Diamond, Emerald and Blue, Pink and Yellow Sapphire Earrings, the patchwork earrings each set with 123 round brilliant-cut diamonds, with an approximate total weight of 1.00 carat for the pair, six round faceted emeralds, five round faceted pink sapphires, ten round faceted blue sapphires and five round yellow sapphires, l. 3/4”, 13.8 grams total weight. [800/1200] Illustrated

807

806 Two Hermes, Paris, Boxed Silk Scarves, the first titled: “Les Capucines”, created in 2003 by Antoine de Jacquelot, the other titled: “Pierres d’Orient et d’Occident”, created in 1988 by Zoe Pauwels, both signed, labeled and presented in the original Hermes boxes, includes the Spring 2003 Hermes booklet, scarves, w. 35”, l. 35”. [500/800] Illustrated 807 Unusual Fourteen-Karat Yellow Gold and Banded Chalcedony Necklace, composed of graduated coneshaped banded chalcedony beads in various colors, separated by round gold beads, and finished with a fourteen-karat yellow gold clasp, l. 15”, 75.6 grams total weight. [500/800] Illustrated

802 Vintage “Orange Sherbet” Mink, Fox and Suede Stroller, late 1960’s, the rust suede-backed notched collar and hem trimmed with fox, the three-quarter raglan sleeves and sides trimmed with rust suede, with two button closure and two on-seam pockets, the interior lined with 1960’s orange and navy patterned cotton, size 6, l. 28”. [500/800] Illustrated

803 Two Hermes, Paris, Boxed Silk Scarves, the first titled: “Spinnakers”, created in 1982 by Julia Abadie, w. 35‑1/2”, l. 35”, the other titled: “Varangues”, created in 2001 by Dimitri Rybaltchenko, w. 34‑1/2”, l. 35, both signed, labeled and presented in the original Hermes boxes, includes the “Express Yourself with Your Hermes Scarf” booklet. [500/800] Illustrated

808 Eighteen-Karat Yellow Gold, Diamond and Black Onyx Ring, the stylized ribbed dome ring set with a conforming ribbed dome black onyx stone, bound by two white gold bands set with six round brilliant-cut diamonds, with an approximate total weight of 0.25 carats, size 6‑1/2, 5.2 grams total weight. [500/800] 809 Fourteen-Karat Yellow Gold and Diamond Waltham Pendant Watch, the open face pendant watch with an applied high-relief floral decoration, with a mine-cut diamond set in the flower, with an approximate weight of 0.08 carats, the pendant set with a fifteen jewels damask movement and white porcelain dial, signed “Waltham”, the case marked “Warranted. 14k, U.S. Assay, B.W.C. Co.”, the case #6,125,xxx, the movement #10,072,xxx, 30.0 mm diameter not including the crown and bow. [600/900] 810 Unusual Sterling Silver and Black Basalt Cameo Necklace, the large 92.0 mm x 64.0 mm cameo of a Roman soldier and maiden, set in a sterling frame, the frame set with a round amethyst cabochon, with an approximate total weight of 4.00 carats, and a pear amethyst cabochon, with an approximate total weight of 1.25 carats, the back of the cameo incised “Solfataro, 1‑4‑63, MCMLXII”, l. 16”. [500/800]

185

811

813

811 Set of Eight Sterling Silver Water Goblets, mid-20th century, by the Alvin Corp., Providence, Rhode Island, each of inverted bell form with waisted stem and domed foot, no monograms, h. 6‑5/8”, dia. 3‑1/2”, 32.73 total t. oz. [600/900] Illustrated

814 815 Impressive One Hundred and Twenty-Piece Set of Reed & Barton “Spanish Baroque” Sterling Silver Gilt Flatware, the pattern introduced in 1965, Taunton, Massachusetts, comprising twelve each dinner forks, luncheon forks, salad forks, seafood/cocktail forks, fish forks, place/dessert spoons, cream soup spoons, dinner knives, luncheon knives and fish knives, the latter three with stainless steel blades, no monograms, l. 5‑1/2” to 9”, 131.59 total t. oz. (excluding knives), presented in a fitted, Pacific cloth-lined, faux alligator zipper-top storage case, 3‑1/4” x 21‑1/2” x 13”. [3000/5000] Illustrated 812 Buccellati Sterling Silver Dish, designed by Gianmaria Buccellati, Milan, executed by Clementi Fabbrica Argenteria, Bologna, realistically modeled in the form of a pair of oak leaves, dia. 7”, 7.59 t. oz. [900/1200] 813 Buccellati Sterling Silver and Cased Glass Jam Jar, contemporary, Milan, the translucent yellow and opaque white glass body in the form of a pear, the silver cap with realistic leaf and stem finial, overall, h. 5‑1/4”, dia. 3‑1/2”, 4.29 t. oz. (silver cap only). [900/1200] Illustrated 814 Three Comyns of London Silver Figures of Puppies, designed in 1995 and hallmarked London, 2007‑2011, the “Barkers” collection, each of bonded porcelain-filled electroform sterling silver, including “Amber” (a German Shepherd), h. 5‑1/2”, “Wallace” (a West Highland Terrier), h. 4”, and “Bernard” (a Beagle), h. 4‑1/2”, each with a leather collar. [600/900] Illustrated

186

815

816 Forty-Nine American Sterling Silver Christmas Ornaments, 1972‑2005, including twenty-seven by Towle (nine in their “Twelve Days of Christmas” series), twenty by Reed & Barton (four in their “Francis I” series), and one each by Lunt and Waterford, l. 2‑1/4” to 4‑5/8”, 33.25 total t. oz., together with a cased set of four silverplate Godinger “Nutcracker” butter knives, l. 5‑3/4” (53 pieces plus case). Detailed list available on request. [500/800] Illustrated

187

817 Fifty-Seven American Sterling Silver Christmas Ornaments, 1971‑2005, including twenty-nine by Wallace and twenty-eight by Gorham, in various shapes including crosses, hearts, wreaths, snowflakes and others, l. 2‑7/8” to 4‑3/4”, 43.37 total t. oz. Detailed list available on request. [500/800] Illustrated

188

818

818 Ten Contemporary Sterling Silver-Mounted Picture Frames, of rectangular form, including six Italian, three English and one American examples, the smallest 3‑3/8” x 3‑3/8”, the largest 12‑5/8” x 10‑1/2”. Detailed list available on request. [500/800] Illustrated

820 Large Pair of Continental Silverplate UrnForm Vases, second half 19th century, each of inverted bell form with reeded band and tall gadrooned calyx, raised above a knopped and waisted standard en suite, above a plinth base raised on four spherical feet, h. 19‑1/4”, dia. 10‑1/4”. [600/900] Illustrated

819

819 Six Contemporary Sterling Silver-Mounted Picture Frames, Italian, of rectangular form, the smallest 7‑3/4” x 6”, the largest 14‑1/2” x 12‑1/4”. Detailed list available on request. [500/800] Illustrated

821 Mexican Sterling Silver Fruit Bowl, third quarter 20th century, in the Spanish Colonial taste, of lobed oval form, with opposing crested “C”-scroll handles and raised on four cast “leaf” feet, h. 3‑7/8”, l. 15‑1/4”, w. 6‑3/4”, 22.76 t. oz. [500/800] Illustrated 820 821

189

822 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997), “Synthesis #34”, 1982, mixed media on canvas, signed and dated lower right, a “Moody Gallery/Houston, Texas” label en verso stretcher, 49” x 49”. In a thin gallery frame. [20000/40000] Illustrated

190

823

823 George Rodrigue (American/Louisiana, 1944‑2013), “Two Is Better Than One”, 2009, acrylic on canvas, signed lower right, signed, titled and dated en verso, 18” x 24”. Framed. [15000/25000] Illustrated 824 George Bauer Dunbar (American/Louisiana, b. 1927), “Heart”, 24K gold leaf over black and red clay, signed lower center, 24” x 22”. Framed. [6000/9000] Illustrated

824

191

826

825

825 George Bauer Dunbar (American/ Louisiana, b. 1927), “Heart”, platinum leaf over clay, signed lower center, 10” x 9”. Unframed. [1500/2500] Illustrated

826 George Bauer Dunbar (American/ Louisiana, b. 1927), “Heart”, platinum leaf over clay, signed lower center, 10” x 9”. Unframed. [1500/2500] Illustrated

827 George Bauer Dunbar (American/ Louisiana, b. 1927), “Coin du Lestin”, gold leaf over clay, signed lower left, 67” x 65”. Framed. [20000/40000] Illustrated

827

192

828 828 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997), “Composition 91‑16”, 1991, mixed media on canvas, signed and dated lower center, verso with “Arthur Roger Gallery, NOLA” and “David Lusk Gallery, Memphis, TN” labels, 42” x 42”. Framed. [15000/25000] Illustrated 829 Carroll Cloar (American/Arkansas, 1913‑1993), “Three Girls on a Stump”, 1991, acrylic on masonite, signed, titled and dated verso frame with a “David Lusk Gallery, Memphis, TN” label, 23” x 34”. Framed. [15000/25000] Illustrated

830 830 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997), “Untitled Abstract”, mixed media on canvas, signed and dated lower right, 47” x 44‑1/2”. In a thin gallery frame. [15000/25000] Illustrated

829

193

834 Pair of Adam-Style Silverplate Two-Light Sconces, first quarter 20th century, probably E.F. Caldwell, New York, the molded urn-form plates terminating in tassels and set with scrolled candle arms with molded bobeches and candle cups, electrified, h. 17”, w. 11”, d. 6‑3/4”. [1000/1500] Illustrated

831

833

831 American Chippendale Mahogany Slant-Lid Desk, third quarter 18th century, possibly Rhode Island, the interior with a tombstone raised panel prospect door, flanked by cubbies and various sized drawers, the base with four graduated drawers and a shell-carved skirt, raised on ogee bracket feet, h. 42”, w. 41”, d. 22”. [600/900] Illustrated

835 Vernacular American Walnut Single-Drawer Stand, second quarter 19th century, probably Lower Mississippi Valley, with projecting top, single frieze drawer and square legs with taper and flare at the base, h. 29‑1/2”, w. 24”, d. 18”. [500/800]

834

832 Rare American Neoclassical Spanish Cedar Chest of Drawers, late 18th/early 19th century, with a pair of side-by-side drawers over two long drawers, each with reeded and molded frames with fan-carved corners, raised on tall shaped tapering legs, with pegged construction throughout, h. 41‑1/2”, w. 44”, d. 24‑1/2”. [3000/5000] Illustrated

832

836

833 American Cypress and Oak Farm Table, fourth quarter 19th century, the three-board plank top with breadboard ends, the base with a reeded apron and turned legs, h. 31”, w. 36”, l. 130”. [1500/2500] Illustrated

194

836 Fine Near Pair of Continental Flintlock Dueling Pistols, ca. 1770‑1790, marked “Johnson”, both with identical engravings on their single-cast butts and trigger guards, as well as their metal lockplates and hammers, both exhibiting high grade burl walnut stocks, l. 16‑1/2”. [3500/5000] Illustrated

838

845

839 United States Contract Musket, by Nippes, 3 Band, dated 1845, this musket is a transitional model between flintlock and percussion; this type was used in the Mexican War of 1846‑1847, as well as the Civil War, it appears to be all original construction, with the exception of an 1849 one-cent coin inlayed opposite the lock, the U.S. inspector’s mark is next to the inlaid cent, the lock plate signed “D. Nippes” ahead of the hammer, and “Mill Creek Pa. 1845” vertically on the lock tail, barrel, l. 42”, overall, l. 57‑3/4”. [800/1200]

837 Derringer .41 Caliber Pistol, ca. 1850‑1860, bearing the marking “Gillespie”, single shot muzzle loading, the Gillespie mark indicating it was from the New York firm located on Warren Street in New York City, exhibiting good wood and engravings, l. 6‑1/4”. [800/1200] Illustrated

840 Rare Confederate States Army Bowie Knife, ca. 1861‑1862, attributed to Cook and Brothers, New Orleans, Louisiana, with brass mounts, clip-point and rosewood grip, l. 17”. [2500/4000] Illustrated

This .41 caliber pistol is recognized as being the same size and design as the one used by John Wilkes Booth to assassinate Abraham Lincoln in the Ford Theatre in Washington, April 15, 1865.

840

838 Mantini Action Schuetzen Target Rifle, made by Adam Schure of Munich, and so marked on the top barrel flat, 7.65 mm with an excellent bore, double-set triggers with extremely light pull, an adjustable peep sight, the receiver is color case-hardened, with an excellent blue to the barrel, the walnut stock profusely checkered, with line-carved stylized foliage, no engraving on the metal with the exception of the signature, barrel, l. 31‑3/8”, overall, l. 49‑1/2”. [3000/5000] Illustrated

837

841 Eagle Hilt Saber, ca. 1820‑1840, with an ivory grip and an etched curved blade of English manufacture, with decorative etchings of foliate groupings and a trophy of arms, marked “Warranted” in a scroll, with traces of original gilding remaining on the ricasso, w. 5”, blade, l. 30”, overall, l. 35‑1/4”. [1000/1500] Illustrated

841

195

842

843 German/Continental Silver Hilt Small Sword, third quarter 18th century, decorated in a spiral gadrooned pattern, the blade of a flattened double-edge hexagonal cross section with a ricasso, retaining a vestigial colichemarde contour, decoratively etched and gilded, bearing an indecipherable signature, no scabbard, w. 3‑3/4”, blade, l. 31‑1/2”, overall, l. 37‑3/4”. [1000/1500] Illustrated 844 Japanese Katana in a Leather Field Scabbard, assembled piece with a Meiji period (1868‑1912) blade and a tsuba that is 18th century or earlier, l. 38”. [700/1000] 845 Two Pieces of Japanese Facial Armor, late 19th/early 20th century, one hanbo, adult size, covering the chin and lower part of the face, and one menpo, covering the nose and chin, probably intended for a child, w. 6‑3/8”, l. 7‑3/4”. [600/900] Illustrated

842 Infantry Officer’s Saber, ca. 1850, made in Europe, the hilt is French, the pattern adapted as the M-1850 foot officer’s saber by the United States, the gilded-brass and chiseled hilt with laurel leaves and floral accent scrolls, and a rayskin covered grip, the European-form blade etched with a trophy of arms and foliate anthemion, marked “Klinqenthal” on the spine, two punch marks on the obverse ricasso, the scabbard finished with gildedbrass mounts, w. 5”, blade, l. 30‑1/4”, overall, l. 36”. [1200/1800] Illustrated

846 Indonesian/Philippine Lantaka, 17th/18th century, the bronze barrel and mounts for this cannon were probably made in Europe for the native market, the swivel rail mount is present and functioning, and the barrel has a bore of about 1”, widely used throughout Asia and the Indian Ocean, h. 12‑1/2”, dia. 4” at breech, bore, 1”, extended, l. 33”. [1500/2500]

This particular saber was not issued to the U.S. troops as the blade is not of regulation form, but of a type used in European armies.

843

848

196

847 Abbott Fuller Graves (American, 1859‑1936), “French Quarter, New Orleans”, ca. 1927‑28, oil on canvas, verso with several “Vose Galleries, Boston” labels, a “Sessions Hootsell, Natchez, MS” label, stretcher and board stamped “Dr. and Mrs. James W. Nelson, Gonzales, LA”, 24” x 20”. Presented in the original giltwood frame incised en verso “Carrig-Rohane Shop, R.C. & N.M. Vose, Boston #2473”, and affixed with the artist plaque on front. [30000/50000] Illustrated

847 848 Jules Guerin (American, 1866‑1946; Active New Orleans ca. 1890), “New Orleans Basin”, watercolor on paper, signed lower left, titled en verso, 17” x 12”. Glazed and framed. [800/1200] Illustrated

197

849 Colette Pope Heldner (American/ New Orleans, 1902‑1990), “Swamp Idyll”, oil on canvasboard, signed lower left, 19‑3/4” x 15‑1/2”. Framed. [1200/1800] Illustrated

851 853 Robert Rucker (American/Louisiana, 1932‑2001), “Louisiana Landscape with a Cabin”, oil on canvas, signed lower right, 18” x 24”. Framed. [1400/1800] Illustrated

849 850 Colette Pope Heldner (American/New Orleans, 1902‑1990), “Swamp Idyll, Louisiana Bayou Country”, oil on canvas, signed lower left, signed and titled en verso, 36” x 48”. Framed. [1500/2500] Illustrated 851 John Reed Campbell (American/Louisiana, 1925‑1997), “The Cotton-Pickers”, oil on canvas, signed lower right, 12” x 16”. Framed. [1000/1500] Illustrated

852

850 852 Robert Rucker (American/Louisiana, 1932‑2001), “Steamboat on the Mississippi”, oil on canvas, signed lower left, 18” x 24”. Framed. [1400/1800] Illustrated

853

198

854 854 William Aiken Walker (American/South Carolina, 1839‑1921), “Cabin with Cotton Fields in the Background”, oil on board, signed lower left, an “R. H. LeSesne/Daytona, Florida” label en verso, 6‑1/4” x 12‑1/4”. Framed. To be included in John Fowler’s upcoming catalogue raisonne of the artist. [10000/15000] Illustrated

856 Alexander John Drysdale (American/Louisiana, 1870‑1934), “Louisiana Bayou Landscape”, 1933, oil wash on paper-board, signed and dated lower right, sight 19” x 29”. Glazed, matted and framed. [2000/4000] Illustrated

855 William Woodward (American/Louisiana, 1859‑1939), “Spanish Cabildo and Stalls, New Orleans”, Raffaelli crayon on board, signed lower right, titled lower left, pencil-signed and inscribed on the original framing back en verso, sight 13‑1/2” x 9‑1/2”. Glazed, matted and framed. [15000/25000] Illustrated

856

855

199

861 Sheraton Mahogany Pembroke Table, New York, first quarter 19th century, the rectangular top with two rounded clipped leaves, above a frieze fitted with a single end drawer and faux drawer, raised on ribbed tapering circular legs ending in brass caps and casters, h. 29”, w. 38”, l. 26”, extended l. 51”. [500/800] Illustrated

857 857 After John James Audubon (American, 1785‑1851), “Great White Heron”, No. 57, Plate CCLXXXI, from Birds of America, hand-colored engraving by Robert Havell, the elephant folio watermarked “J. Whatman 1836”, sheet size 25‑1/4” x 39‑5/8”. Unframed. [10000/15000] Illustrated

862 Important American Late Classical Mahogany Pier Table, Philadelphia, second quarter 19th century, probably from the cabinet shop of Anthony Quervelle, the rectilinear marble top over a conforming molded frieze with projecting banded panels at the corners, supported by carved scroll columns, each capped by a carved leonine head over acanthus carving, the sides of the columns carved in twining grapevines, leaves and clusters of the fruit, resting on paw feet on a low shelf with a central recessed ovoid marble panel and cove-molded front edge, the back fitted with a mirror plate flanked by columnar pilasters, and raised on carved paw feet, h. 43‑1/2”, w. 46”, d. 21”. [2500/4000] Illustrated In 1825 President Andrew Jackson purchased four related pier tables, also with distinctive carved scroll columns in vintage decor, from Anthony Quervelle, for use in the White House. For a discussion on related tables, see Boor Philadelphia Empire Furniture, figures 101, 102, 107, 108 and 109, and Robert Smith “Philadelphia Empire Furniture by Anthony Quervelle”, The Magazine Antiques, September 1964. Similar leonine masks appear on a group of cellarettes often attributed to Joseph B. Barry (American, 1759/60‑1838).

860 858 Vera Wise (American/Texas, 1892‑1978), “California Pines”, 1964, watercolor on paper, signed and dated lower right, image 14” x 21‑1/2”. Matted, glazed and framed. To be sold for the benefit of the Hartford Community Center, Hartford, Alabama. [500/800] 859 Southern School (First Quarter 20th Century), “Bayou Landscape”, oil on canvas, 19” x 25”. Presented in a maple wood frame. [700/1000] 860 Joseph Jefferson, IV (American/Louisiana/Florida, 1829‑1905), “Wooded Landscape”, oil on paper, signed lower left, initialed lower right, sight 19” x 30”, accompanied by a 1906 copy of Joseph Jefferson, Reminiscences of a Fellow Player, by Francis Wilson, Charles Scribner’s Sons, New York, inside cover affixed with a letter by the artist. Glazed and presented in a giltwood and gesso frame. [1400/1800] Illustrated

200

862

863 American School (Second Quarter 19th Century), “Treat for the Spaniel”, oil on canvas, unsigned, 36” x 27”. Presented in an attractive cove-molded maple frame. [2000/4000] Illustrated

866

863 864 Suite of Eight Late Classical Mahogany Dining Chairs, second quarter 19th century and later, comprised of a pair of armchairs and six sidechairs, five of the sidechairs of the period, one sidechair and the pair of armchairs crafted later, each of klismos form with shaped top rail, slip seat and saber legs, armchair, h. 36”, w. 20”, d. 22”, sidechair, h. 33‑1/2”, w. 18”, d. 18”. [1000/1500] Illustrated

865 American Sheraton Mahogany Games Table, ca. 1825, in the manner of Samuel McIntire (1757‑1811), Salem, Massachusetts, the reeded serpentine fold-over top with ormolu corners, the conforming frieze flanked by foliate-carved capitals on reeded legs, the stippled ground rendered with an eightpoint star punch, h. 30”, w. 38‑1/4”, d. 17‑1/2”, extended l. 35”. [500/800]

864

This lot is accompanied with an appraisal by noted New Orleans antiques dealer Don Didier, identifying the period chairs having been made in Louisiana.

861

866 American Sheraton Mahogany Games Table, ca. 1825, in the manner of Samuel McIntire (1757‑1811), Salem, Massachusetts, the serpentine fold-over top with ormolu corners, the conforming frieze flanked by foliate-carved, spiralreeded legs, the stippled ground created using a five-star punch, h. 29‑3/4”, w. 33‑1/2”, d. 17‑1/2”, extended l. 35”. [500/800] Illustrated

201

867 Tall Gothic Revival Bronze Oil Lamp, ca. 1840, fitted with a cut glass font and large, 12” diameter cut glass ball-form shade, the gilded molded base with a border of quatrefoils beneath a clustercolumn standard, with a leafmolded breather and a duplex burner, now electrified, h. 42”. [800/1200] Illustrated

867

869 Classical-Style Cast Iron Table, second quarter 19th century, American or English; if American, attributed to Janes, Beebe & Co., New York, h. 24”, dia. 18‑1/2”. [500/800] Illustrated Duncan Phyfe utilized cast iron bases of this design, and a Duncan Phyfe attributed table is referenced in Antiques Magazine, pp. 771‑777, An Important Rosewood and Cast Iron Gueridon Attributed to Duncan Phyfe, by Carswell Rush Berlin. A related table is illustrated in Antique Garden Ornament, by Barbara Israel, p. 186.

867A American Late Classical Mahogany Tester Bed of the Type Crafted for the Antebellum Southern Market, mid-19th century, the cyma- and cove-molded tester supported by tapering octagonal posts supporting a paneled headboard with a shell-carved crest, h. 114”, outside, w. 78”, l. 90”, inside, w. 58", l. 76" [3000/5000] Illustrated

868

868 Pair of Cast Iron “Lyre and Rose” Pattern Garden Chairs, the pattern introduced in 1840, presented in a black-painted surface, h. 32‑1/2”, w. 21”, d. 21”. [600/900] Illustrated

867A 870 Suite of Four American Sheraton Painted Fancy Chairs, first half 19th century, comprised of a pair of armchairs and a pair of sidechairs, each with stenciled top rail and splats, rush seat and turned legs, h. 34‑1/2”. [500/800]

869

202

871 American Late Classical Mahogany Sofa, third quarter 19th century, the crest rail having a turned top with scroll ends, the scroll arms with cornucopia carving, and the legs with like carving on the brackets and paw feet, h. 32‑1/2”, w. 79”, d. 33”. [500/800]

874

872 Southern Late Classical AcanthusCarved Mahogany Four-Post Bed, second quarter 19th century, the posts boldly turned and featuring deep wrap-around acanthus leaf and pineapple carving, the headboard with a large rolled and carved crest rail, h. 91”, inside, w. 57”, l. 77”, outside, w. 61‑1/2”, l. 82‑1/2”. [3000/5000] Illustrated

875 Two 1830’s Books on American Military History, each in two volumes, including James Fenimore Cooper (1789‑1851), History of the United States Navy, Paris: Baudrey, 1839, crown octavo, in tan quarter leather with marbleized boards, the spine with raised bands, black panel and gilt lettering and decoration, 8‑1/2” x 5‑1/2”, and James Athearn Jones (1791‑1854), Haverhill; or Memoirs of an Officer in the Army of Wolfe, New York: J. & J. Harper, 1831, small crown octavo, in publisher’s binding, the front board with paper label ex libris Washington, D.C., 8‑1/4” x 4‑3/4”. [500/800] 876 Pair of American Late Classical Burl Walnut Ottomans, second quarter 19th century, Philadelphia, each with thick padded cushions upholstered to a deep ogee-form frame and raised on bracket feet, h. 17”, w. 22”, d. 22”. [500/800]

873 Pair of American Classical Revival Mahogany TallPost Twin Beds, late 19th century, each with acanthuscarved posts supporting a scroll headboard, h. 74”, inside, w. 32‑1/2”, l. 75‑1/2”, outside, w. 38”, l. 81”. [800/1200] 874 Belgian Superbly Hand-Painted Porcelain Garniture Vase, second quarter 19th century, the cobalt-ground base decorated with stars and trimmed with gilt scrollwork, the vase with scrolled handles and decorated with a couple in Elizabethan dress on the obverse and an expertly rendered still life on the reverse, both panels framed with gilt tooling, signed “J. Jacquet, Bruxelles”, h. 15‑1/4”, w. 9‑1/4”, d. 6”. [1500/2500] Illustrated

872

877 877 John Williamson (American, 1826‑1885), “Fleeing the Storm”, 1860, oil on canvas, monogrammed and dated lower left, 13‑3/4” x 10”. Framed. [1500/2500] Illustrated 878 Attributed to George Inness (American, 1825‑1894), “Wooded Interior with a Pond”, oil on board, illegibly signed lower left, 9” x 10‑5/8”. Presented in a giltwood and gesso frame with artist’s plaque. [800/1200] 879 American School (Fourth Quarter 19th Century), “Wooded Landscape”, oil on canvas board, dated lower right “1885”, 14” x 17‑3/4”. Framed. [700/1000]

203

884 Eimerich Johan Rein (American, 1827‑1900), “Ships In an Inlet”, oil on canvas laid on board, signed lower left, 29” x 46”. Unframed. [1000/1500] Illustrated 885 S. H. Hill (British, 19th Century), “The HMS Victory at the Battle of Trafalgar”, oil on canvas, signed lower left, 10” x 14‑1/4”. Framed. [700/1000]

880 880 Thomas Bigelow Craig, A.N.A. (American/ Pennsylvania, 1849‑1924), “The Watering Place”, oil on canvas, signed lower left, titled and signed en verso, 10” x 14”. Framed. [800/1200] Illustrated

883 886 Manner of William Jurian Kaula (American, 1871‑1953), “Autumnal New England Landscape”, oil on canvas, unsigned, 23” x 39”. Presented in a giltwood and gesso frame. [1500/2500] Illustrated

882 881 John S. Ryder (American, 19th Century), “Stormy Seascape”, oil on canvas, signed lower left, 19” x 31”. Presented in a handsome, period giltwood and gesso frame. [700/1000] 882 Warren W. Sheppard (American, 1858‑1937), “Venetian Canal Scene”, oil on canvas, signed lower right, 16” x 19‑3/4”. Presented in a giltwood and gesso frame. [3000/5000] Illustrated 883 American School (19th Century), “Fox and Mallards”, oil on canvas, illegibly signed lower right, 19‑1/4” x 27”. Framed. [1200/1800] Illustrated

204

884 887 Mary Cable Butler (American/Pennsylvania, 1865‑1946), “Morning Fog Over the Coastal Landscape”, oil on board, signed lower right, 10” x 12”. Framed. [800/1200] Illustrated 888 Mary Cable Butler (American/Pennsylvania, 1865‑1946), “The Horn Island from the East, Norway”, oil on board, signed lower right, signed and titled en verso, 16” x 20”. Framed. [1200/1800] Illustrated

886 889 Joane Cromwell (American/California, 1895‑1969), “Coastal Landscape, Monterey, California”, oil on canvas, signed lower left, 28” x 36”. Framed. [1000/1500] Illustrated

889 891 American Coin (.900) Silver Teapot, first quarter 19th century, unmarked, of rounded rectangular section, with torus band and milled “strawberry” banding and reeded edging, with “gooseneck” spout, cavetto domed lid with urnform finial and squared wooden handle, the whole raised on a conforming domed foot, h. 8‑1/4”, l. 11‑1/2”, w. 4”, 26.19 t. oz. (including wooden handle). [1000/1500] Illustrated

891

887 890 John Clymer (American/British, b. 1932), “Busy Harbor Scene”, oil on canvas, signed lower right, 12” x 16”. Framed. [800/1200]

892 American Expansionist-Era Coin (.900) Silver Cream and Sugar Set with Associated Teapot, the set first quarter 19th century, by Peter Chitry (1781‑1861), New York, New York, h. 8‑3/4” and 6‑3/4”, the teapot marked “Sterling” and in part or in whole of later date, h. 10‑1/4”, each with a lobed body decorated with up-curved floral milled banding, with domed foot and lid banded en suite, with crested “S”-scroll handles, 65.32 total t. oz. [2500/4000] Illustrated

892

888

205

893 Fine 19th-Century Tiffany & Co. Coin (.900) Silver Kettle-on-Stand, 1857, by Grosjean & Woodward, the pear-shaped body decorated with beautifully detailed chased repousse “oak and ivy” decoration on an imbricate ground centering opposing cartouches, with trefoil banding at the upper edge, the hinged, domed lid, swing stirrup handle and “gooseneck” spout all en suite, the latter with openwork “branches”, all hinged, with two chained locking pins, to a stand with four oak leaf-crested scrolling feet joined to a burner receptacle (the burner lacking) and separated by cast openwork “oak and ivy” aprons, inscribed (on one cartouche) “L.F.M. / from / my Father”, h. 14‑1/2” (16‑1/4” with handle), dia. 7‑1/2”, l. 9‑1/4”, 60.16 t. oz. Provenance: Lucia Frances Minter (Mrs. William) Weaver (1839‑1886), mistress of Emerald Place Plantation, near Selma, Dallas county, Alabama, presented to her by her father, Col. William Thomas Minter (1805‑1865) on the occasion of her marriage on June 2, 1857. [5000/8000] Illustrated Lucia Frances Minter was born on September 13, 1839 in Eastwood, Dallas county, Alabama, the daughter of William Thomas Minter (1805‑1865) and his wife Susan Amanda Bell (1819‑1855). Her father was a Georgia native who settled in Selma in 1830, where he was a large plantation owner and served as sheriff. On June 5, 1857 at St. Lukeís Church in Cahaba, Alabama, Lucia married William Minter Weaver (1829‑1898), and the couple honeymooned in New York; this handsome kettle-on-stand was her fatherís wedding present to her. She became the mistress of her husbandís Emerald Place Plantation, where the couple had six children. Her father and father-in-law (Philip J. Weaver, 1797‑1865) both died in the defense of Selma during the Civil War, but Emerald Plantation survived. Lucia died there, at the young age of 46 on June 3, 1886, and is buried in the historic Old Live Oak Cemetery in Selma. The connection between the Minter/Weaver with Tiffany extends well beyond the present lot, however. Lucia and Williamís daughter, Clara Minter Weaver (Mrs. William) Parish (1861‑1925) was one of Tiffanyís most prominent stained glass designers. She designed the Tiffany windows for St. Michaelís in New York, as well as several churches in Alabama, including those at St. Paulís Episcopal in Selma, one of which is dedicated to her mother, Lucia Frances Minter Weaver.

206

894

894 Fine Gorham Coin (.900) Silver Tureen, third quarter 19th century, Providence, Rhode Island, the squat ovoid body decorated with wide guilloche banding centering palmette-mantled cartouches, with opposing palmettemounted stirrup handles, the everted rim with rocaille decoration, the fitted domed lid banded en suite and centered by a steep gadrooned dome with realistically detailed strawberry cluster finial, raised above a short stem with “Gothic” octagonal beaded knop to a domed leaf-egg-and-dart banded foot, monogrammed, on the cartouches, “M”, h. 11‑1/2”, dia. 8‑1/2”, 47.55 t. oz. [2500/4000] Illustrated

895

897

895 Pair of American Coin (.900) Silver Goblets, 1850‑1852, by Gorham & Thurber, Providence, Rhode Island, each with an octagonally paneled body above a waisted stem and domed foot en suite, engraved, on the body, “Dexter”, h. 5‑1/4”, dia. 3‑1/4”, 12.47 total t. oz. [700/1000] Illustrated This handsome pair of goblets was created by the immediate predecessor to the famous Gorham & Co., operated by first cousins John Gorham (1820‑1898) and Gorham Thurber (1825‑1888). It is to be noted in regards to the inscription on these goblets that Thurber’s father was Dexter Thurber and his grandmother the former Miss Mehitable Dexter, which suggests the intriguing possibility that these goblets may have a close association with the Thurber/Gorham family. 896 Two-Piece American Coin (.900) Silver Fish Serving Set, 1856, by William Gale & Son, New York, New York, each with a filled addorsed acanthus foliate handle, the tines with open heel and engraved foliate decoration, the scimitar-shaped blade engraved with rococo scrolls centering a roosting bird, monogrammed “HKAKS”, l. 10” and 11‑5/8”. [500/800] 897 Nineteenth-Century Tiffany & Co. “Grecian” Pattern Sterling Silver Punch Ladle, the pattern designed in 1862 by Henry Hebbard, New York, New York, l. 12‑5/8”, 7.69 t. oz. [500/800] Illustrated

207

898

898 Five-Piece St. Louis Coin (.900) Silver Neo-Grec Tea Set, fourth quarter 19th century, by Freeman A. Durgin (1838‑1911), St. Louis, Missouri, including a teapot, h. 9‑1/4”, a coffeepot, h. 10”, a covered sugar bowl, h. 7‑1/2”, a cream jug, h. 5‑5/8”, and a waste bowl, h. 5”, each with ovoid body decorated with a satin finish and centering an arabesque-banded cartouche monogrammed “B”, with milled scrolled edging, the spouts with chased palmette-and-scroll decoration, the crested handles with cross pattee paterae, the domed lids with toupie finials, 127.16 total t. oz. [4500/7000] Illustrated

899 Handsome Pair of Paris Porcelain Figural Room Scenters, mid-19th century, in the style of Jacob Petit, the male and female figures in 18th-century costume generously decorated with gilt lace, and modeled leaning on green and brown tree stumps which conceal the bottles, one retaining its button stopper, above rococo revival bases decorated with gilt on a bleu royale ground, h. 20”, w. 6‑1/4”. [500/800] Illustrated

899

900

900 American Renaissance Revival Giltwood Mantel Mirror, third quarter 19th century, the open-carved crest centered by a cartouche flanked by foliate scrolls, the oval mirror plate in a beaded frame with scroll-carved brackets at the base, h. 45‑1/2”, w. 55”, d. 7‑1/2”. [700/1000] Illustrated

208

903 American Rococo Revival Rosewood Center Table, third quarter 19th century, probably Alexander Roux, New York, the tortoiseform marble top over a conforming apron with a central carved cabochon, on cabriole legs joined by a serpentine stretcher with a fruit basket, h. 29‑1/2”, w. 45”, d. 28”. [1000/1500] Illustrated 904 American School (Second Quarter 19th Century), “Portrait of Three Siblings with a Spaniel”, oil on canvas laid on board, unsigned, 28‑3/4” x 35‑3/4”. Framed. [1800/2500] Illustrated

901 Part of a Six-Piece Suite 901 Important American Rococo Revival Laminated Rosewood Six-Piece “Double” Parlor Suite, Attributed to Charles A. Baudouine, New York, third quarter 19th century, comprised of two sofas, each depicting the carved masque of Bacchus, the God of Wine, h. 46”, w. 81”, d. 30”, a pair of armchairs, h. 43”, w. 26”, d. 26”, and a pair of sidechairs, h. 37”, w. 19”, d. 21”. [10000/15000] Illustrated A nearly identical sofa is illustrated in American Furniture of the 19th Century, 1840‑1880, page 117, by Eileen and Richard Dubrow, and is in the collection of the Art Institute of Chicago; and a sidechair in this pattern retaining Baudouine’s label is in the collection of the Virginia Museum of Art. Baudouine is considered by many to be one of the most talented cabinetmakers to have worked in New York City in the “post-Duncan Phyfe” era. Much of Baudouine’s work was executed in the Rococo Revival style, and he was considered a strong competitor of the likes of John Henry Belter, Alexander Roux, and John and Joseph Meeks. He employed a work force of over 200, including 70 cabinetmakers. In A Stranger’s Guide in the City of New York, published in 1852, visitors were recommended to see Baudouine’s shop at 335 Broadway, which was described as “one of the greatest attractions in the city”. 902 Louis-Philippe Porcelain Two-Part Mantel Clock in the Manner of Jacob Petit, mid-19th century, the rococo-style clock handpainted with flowers on a bleu royale ground and trimmed in gilt and cerise, the enamel dial mounted with a silk string suspension movement, the figural top depicting a couple in Elizabethan costume and richly decorated with gilt, marked with an unidentified underglaze blue “X”, h. 20‑3/4”, w. 11‑1/4”, d. 5‑3/4”. [800/1200] Illustrated

904 903

902

209

907

908 Pair of American Rococo Revival Rosewood Sofas, mid-19th century, each of double chairback form, the tall backs with pierced floral- and vine-carved crests, joined by an oval panel with a shell- and floral-carved crest, with open arms, serpentine seat and cabriole legs, now upholstered in yellow damask, h. 49‑3/4”, w. 67”, d. 34”. [3000/5000] Illustrated

910

905 American School (First or Second Quarter 19th Century), “Portrait of Two Siblings”, oil on linen, unsigned, 24” x 20”. Framed. [700/1000]

908

909 Pair of Victorian-Style Brass-Plated Figural Banquet Lamps, each with a frosted and gilt-decorated globe shade on a rococo base with a bowl modeled with putti, hoisted by a putto, h. 31‑3/4”, dia. 9”. [500/800]

911

906 American School (Second Quarter 19th Century), “Portrait of a Child Seated on a Floral Rug, Holding a Bouquet of Flowers”, oil on canvas, 32” x 27”. Framed. [800/1200] 907 American Rococo Revival Rosewood and Mahogany Breakfront Bookcase, third quarter 19th century, the upper section in three parts with four glazed doors and an elaborate pierce-carved crest above, the base with an open section in the middle flanked by a paneled door to each side, h. 112‑1/2”, w. 89”, d. 21”. [3000/5000] Illustrated

210

910 Pair of Paris Porcelain Figures in the Jacob Petit Style, mid-19th century, French, the scroll-molded bases decorated with hand-painted flowers and holding polychrome-painted figures of a male and female attired in 18th-century Spanish costume, formerly fitted with brass candle branches, h. 23”, w. 9”, d. 6‑3/4”. [700/1000] Illustrated 912

911 Pair of Rococo Revival Porcelain Portrait-Decorated Fan Vases, mid-19th century, probably made in Paris or Limoges, gilt-trimmed and decorated with three-quarter length portraits of women in 18th-century costume, h. 14”, w. 7‑1/4”, d. 5‑1/4”. [700/1000] Illustrated

913

914 914 James Michalopoulos (American/New Orleans, b. 1951), “Balconies”, 1993, oil on canvas, signed “Mitchell” lower left, signed and dated en verso canvas, 28” x 22”. Framed. [4500/7000] Illustrated 915 Jose Maria Cundin (Spanish/Louisiana, b. 1958), “Double Portrait”, watercolor and ink on paper, signed center left, 7‑1/2” x 5”. Glazed, matted and framed. [800/1200] Illustrated

912 Pair of American Rococo Revival Solid Rosewood Armchairs, third quarter 19th century, possibly from the workshop of J. & J. W. Meeks, New York, each with a padded back and round seat, h. 42”. [900/1200] Illustrated 913 Three-Piece American Cast Iron Garden Set, fourth quarter 19th century, in the “Fern” pattern, including a bench, h. 33”, w. 54‑1/2”, d. 19‑1/2”, and a pair of chairs, h. 33”, w. 23”, d. 27‑1/2”. [1000/1500] Illustrated An identical set is illustrated in Antique Garden Ornament, by Barbara Israel, p. 173.

915

211

916 Tony Green (American/Louisiana, b. 1954), “Venetian Canal Scene With a Gondola”, watercolor on paper, signed lower right, sight 20” x 28‑3/4”. Glazed and framed. [700/1000] Illustrated

916 917 Tony Green (American/Louisiana, b. 1954), “The Arcades On St. Mark’s Square, Venice” and “Classical Sculpture”, two watercolors on paper, the latter signed with artist’s monogram, sights 7” x 22” and 14” x 9‑1/2”. Both glazed and framed. [700/1000] Illustrated

919 Louise Guidry (American/Louisiana, b. 1930), “Yellow Fields”, acrylic on canvas, signed lower right, 24‑1/2” x 18”. [800/1200] Illustrated

918 920 Hunt Slonem (American, b. 1951), “Bayou 4”, 2012, oil on canvas, signed and dated en verso of canvas, 33” x 37”. Framed. [7000/10000] Illustrated

917 1 of 2

918 Louise Guidry (American/Louisiana, b. 1930), “Marica’s Trees”, acrylic and gold paint on wood panel, signed lower left, 41” x 36”. [2000/4000] Illustrated 919

212

922 Frank Piatek (American, b. 1944), “Untitled”, 1993‑1998, acrylic on canvas, signed and dated en verso, verso canvas with a “Klein Art Works, Chicago, IL” gallery label, 70” x 72”. [2000/4000] Illustrated 923 Don Wright (American/Louisiana, 1938‑2007), “The Tree House”, 1975, oil on canvas, signed and dated lower left, 36” x 24”. Framed. [500/800]

920 921 Allison Stewart (American/Louisiana, b. 1941), “Untitled”, mixed media on gallery-wrapped canvas, signed lower right and verso, verso stretcher with a “Buchanan Gallery/Galveston Island, TX”, label, 48” x 64”. [4000/7000] Illustrated

924 924 Will Henry Stevens (American/New Orleans, 1881‑1949), “Carolina Landscape”, pastel on paper, signed lower left, sight 13‑1/4” x 15‑1/4”. Matted, glazed and framed. Provenance: Ex-collection Mr. and Mrs. Harry B. Kelleher, New Orleans, Louisiana. [3000/5000] Illustrated

925 Will Henry Stevens (American/ New Orleans, 1881‑1949), “Carolina Mountain”, pastel on paper, signed lower right, sight 15‑1/2” x 11‑1/4”. Matted, glazed and framed. [2000/4000] Illustrated

921

925

922

213

927 After Walter Inglis Anderson (American/ Mississippi, 1903‑1965), “Two By Two”, 1987, silkscreen, printed by Carolyn Anderson, stamped en verso, 23‑3/4” x 60‑1/4”. Glazed and framed. [600/900]

929

926 926 Christopher Inglis Stebly (American/Mississippi, b. 1967), “Horn Island Wave”, watercolor on paper, monogrammed lower right, verso with two “Sheryl Campbell, Prints and Paintings, Baton Rouge” labels, sight 10‑1/2” x 8‑1/4”. Glazed, matted and framed. Provenance: The Estate of Tullius Brady, Brookhaven, Mississippi; Private collection, New Orleans, Louisiana. [1000/1500] Illustrated

928 Henrietta Davidson Bailey (American/Louisiana, 1874‑1950), “Charcoal Schooners”, color woodblock print, sight 13‑1/2” x10”. Glazed, matted and framed. [1000/1500] Illustrated

930

929 Pair of Arts and Crafts-Style Hammered Copper Bookends, first half 20th century, attributed to Newcomb College, New Orleans, Louisiana, h. 4‑3/4”, w. 6”, d. 4”. [500/800] Illustrated Similar bookends with cutout oak trees and Spanish moss are documented by Myrtle Pujol, and a related pair is in the Newcomb Art Collection, Tulane University. 930 Newcomb College Matte Glaze Vase Decorated by Sadie Irvine, ca. 1926, New Orleans, Louisiana, the vase with a plum-colored ground with a mauve relief decoration of stems and flowers, and four short handles terminating in a blue rim, marked by potter Joseph Meyer, “SI” for Sadie Irvine, “NC” for Newcomb College and the registration number “PL32”, h. 4‑3/4”, dia. 5‑1/4”. [700/1000] Illustrated 928

214

931 Shearwater Pottery “Plantation Wine Bottle”, designed by Walter Inglis Anderson (1903‑1965) and thrown by Peter Anderson (1901‑1984), Ocean Springs, Mississippi, glazed in dusty blue, used in the late 1930’s to the early 1940’s, unmarked, with the exception of the word “porous” written in pencil on the bottom, h. 11‑1/2”, dia. 5”. Examples are illustrated in Shearwater Pottery, by Dod Stewart, p. 69. [1500/2500] Illustrated

933

931

932 Rare Newcomb College High-Glaze Pottery Jardiniere, 1902, New Orleans, decorated by Harriet Coulter Joor (1875‑1965), with cobalt tulips and leaves on an ivory ground, and potted by Joseph Fortune Meyer (1848‑1931), incised “JH”, “JM”, and “U.”, and painted with “JH” and the registration mark “V17”, h. 10”, dia. 10”. [3000/5000] Illustrated

932 933 American Gothic Revival Walnut Armchair, mid-19th century, possibly by J. & J. W. Meeks, New York, the back with elaborately modeled Gothic arches, quatrefoils, a central pierced rondel, referred to as a cathedral window, and spiral-turned stiles and arm supports, h. 58”, w. 26”, d. 27”. [800/1200] Illustrated A chair with an identically modeled back is illustrated on the cover and discussed in Howe and Warren, The Gothic Revival Style in America, 1830‑1870, The Museum of Fine Arts, Houston, plate 26.

215

934 Rare American Gothic Revival Rosewood and Marble-Top Table, second quarter 19th century, probably Baltimore, and bearing numerous penciled inscriptions on the underside of the marble: “Birkay Fry”, “Nancy Walker”, “Kate Owings” and the date “Jan. 1, 1849”, h. 29‑1/2”, w. 32‑1/2”, d. 19”. [4000/7000] Illustrated

936

934

936 Pair of Unusual Paris Porcelain Hand-Painted Vases, third quarter 19th century, in the Gothic Revival taste, hand-painted with Elizabethan characters on a gilt panel, framed in gilt Gothic tracery, on a matte plum-colored ground, h. 13‑1/2”, dia. 5‑1/2”. [500/800] Illustrated 937 American Gothic Revival Walnut Armchair, mid-19th century, the steepled crest with a pierced quatrefoil inside circular rosettes, with bobbin-turned arms, legs and back posts, h. 53‑1/2”, w. 26”, d. 25”. [500/800] Illustrated 935 American Gothic Revival Walnut-Stained Settee, mid-19th century, the tripartite crest with a quatrefoilpierced center spire, turned stiles, arms and legs, h. 66”, w. 49”, d. 23”. [2500/4000] Illustrated

935

216

937

938

941 American Gothic Revival Walnut Hall Tree, third quarter 19th century, the arched mirror plate flanked by narrower mirrors with Gothic tracery, the opencarved crest with carved spires, oak leaves and trefoils, the Tennessee marble top over a frieze with an inset rondel, each end of the frieze fitted with a drawer, raised on turned columns joined to a molded platform base, h. 98‑1/2”, w. 46”, d. 19”. [1800/2500] Illustrated

940

941

938 American Gothic Revival Walnut Armchair, mid-19th century, with triple peaked crest with quatrefoil piercing and carved details, and bobbin-turned legs, arms and back posts, h. 54”, w. 23”, d. 25”. [500/800] Illustrated 939 Gothic Revival Vienna Regulator Wall Clock, fourth quarter 19th century, Austrian, the walnut case with a carved bracket support, carved twisted pilasters and arched tracery on the door, and a pierced pediment decorated with trefoils, h. 42‑1/2”, w. 13‑3/4”, d. 9”. [700/1000] Illustrated

939

940 Continental Gothic Revival Bronze Hall Lantern, first quarter 20th century, of hexagonal form and decorated with Gothic piercing, the intricately scroll-molded chain holders hung with molded chains and a matching canopy, h. 65‑1/2”, dia. 16‑1/2”. [500/800] Illustrated

217

942 Continental Gothic-Style Oak Mirror, ca. 1900, decorated with carved pilasters and quatrefoils in the crest, the frieze decorated with a hand-painted tavern scene flanked by linenfold panels, h. 61‑1/2”, w. 33”. [600/900] Illustrated

943

942

943 American Gothic Revival Walnut Corner Cabinet Etagere, ca. 1850, h. 82”, w. 30”, d. 20”. [800/1200] 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. 944 American School (Third Quarter 19th Century), “Portrait of a Raven-Haired Beauty”, oil on canvas, 36” x 29”. Presented in a later giltwood frame. [1500/2500] Illustrated 945 American Neo-Grec Ebonized and Bronze-Mounted Music/Portfolio Stand, third quarter 19th century, the upper portion with a fold-open lid with incised line decoration and a bronze lyre, the lower section with an open rack for storage, h. 45”, w. 23”, d. 19”. [800/1200] Illustrated

218

944

945

948 American Neo-Grec Walnut and Gilt-Metal-Mounted Music Cabinet, third quarter 19th century, New York, the crest with a circular metal plaque depicting cupid playing a violin, above an open shelf supported by winged angels, the inlaid slant lid opening to a divided compartment for storage, h. 62‑1/2”, w. 27”, d. 15”. [1500/2500] Illustrated This cabinet was formerly conserved at the High Museum, Atlanta, Georgia, as part of the Virginia Carroll Crawford Collection of 19th Century American Decorative Arts. It was deaccessioned in 2005 and retains its museum inventory on the back, “HMA1991.68”.

948

946 Unusual Pair of Bohemian Cranberry Overlay, Gilt and Engraved Glass Vases, ca. 1900, each cranberry vase cased in white and cut to reveal panels decorated with gilt vermicelli, the white panels engraved with flowers and gilt filled, h. 7‑1/4”, dia. 5‑3/4”. [600/900] Illustrated

946

949 Set of Seven Bohemian Listovane Cut and Gilded Glass Finger Bowls and Underplates, first quarter 20th century, possibly Moser, the raised, variously colored cabochons in emerald, mazarine blue, claret and onyx, on a gilt vermicelli-decorated ground, h. 2‑1/2”, dia. 6” (fourteen total pieces). [1000/1500] Illustrated

949 947 Pair of Bohemian Amber-Cased, Engraved and Cut Glass Trumpet Vases, panel-cut with engraved scenes of stags in the woods, h. 9”, dia. 5‑3/4”. [600/900]

219

950 Pair of Bohemian Cobalt-Cased, Engraved and Cut Glass Covered Pokals, the bases and covers panel-cut to clear, the sides depicting scenes of deer in a wooded landscape, h. 14‑1/4”, dia. 4”. [700/1000]

953 American Renaissance Revival Executive Desk, third quarter 19th century, in the Wooten style, the top with a gallery centered by a display shelf, the double paneled doors opening to reveal a compartmented interior with fall-front writing surface, h. 61‑1/4”, w. 34”, d. 20‑1/2”. [1200/1800] Illustrated

953

951

951 American Neo-Grec Walnut Gilt-Incised, Ebonized and Inlaid Canterbury, third quarter 19th century, fitted with a drawer along the lower edge of one side, and raised on trumpet-form turned legs, h. 23‑1/2”, w. 23”, d. 21”. [500/800] Illustrated

954 Harry Herman Roseland (American, 1866‑1950), “The Fortune Teller”, 1911, oil on canvas, signed and dated “11” upper right, 20” x 30”. Framed. [3000/5000] Illustrated

952

954

952 Unusual Pair of Napoleon III Gilt-Bronze Gas Lamps, third quarter 19th century, on later ebonized wooden bases, the urn-form Renaissance Revival-style lamps decorated with incised cabochons framed with lion’s heads, and cornucopia-form handles, the original molded gas keys attached at the neck, now with frosted ball shades decorated with cut glass flowers, electrified, h. 22‑1/2”, dia. 7‑1/4”. [500/800] Illustrated

220

955 American Renaissance Revival Walnut Center Table, third quarter 19th century, the inset shaped marble top over a paneled frieze, on fluted trumpet legs joined by a stretcher with a central finial, h. 30‑1/2”, w. 40‑3/4”, d. 25‑3/4”. [500/800] Illustrated 956 Carl Kahler (Austrian/New York, 1855‑1906), “The Treasure Chest”, oil on canvas, signed, 38” x 50‑1/2”. Framed. [3000/5000] Illustrated

957 Fine William Knabe and Company, Baltimore, Rosewood Baby Grand Piano, fourth quarter 19th century, in the Renaissance Revival style, bearing the serial #32931, h. 39”, w. 59”, l. 74”. [3000/5000] Illustrated

958

955

958 “Ideal Piccolo” Three-Cylinder Interchangeable Music Box, late 19th century, made by Mermod Freres, Switzerland, decorated with a carved scrollwork panel on the front, above the cylinder drawer, having a zither attachment and featuring Jacot’s Safety Check and bearing a tag on the cover identifying the model and the retailer, Thomas Jay Bleason, 112 Liberty St., New York, h. 11”, w. 29”, d. 14‑3/4”. [1000/1500] Illustrated

960 Pair of Aesthetic Movement Mother-of-Pearl- and Brass-Inlaid Mahogany Sidechairs, fourth quarter 19th century, each with a wreath-carved crest centered by inlay, flanked by line and leaf mother-of-pearl and brass inlay, the top and bottom edges of the top rail with mother-of pearl-banding, the tapering front legs reeded, h. 35‑1/2”. [1000/1500]

957

956 959 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”. [500/800]

221

961 Unusual French Pottery and Bronze Ginger Jar in the Chinese Style, fourth quarter 19th century, decorated with enameled scenes of Chinese inspiration, fitted with bronze dragon-form handles and raised on a pierced bronze base, h. 15‑1/2”, w. 16”. [1200/1800] Illustrated

963

961

962 French Aesthetic Movement Mother-of-Pearl-Inlaid Hardwood Table, Attributed to Gabriel Viardot (1830‑1906), fourth quarter 19th century, the top inlaid with mother-of-pearl, the apron and legs with gilt-metal mounts, with pierced and carved sides and shelf, on claw feet, h. 30‑1/2”, w. 18‑1/4”, d. 27‑3/4”. [3000/5000] Illustrated

963 Large French Aesthetic Period Mixed Metal and Silverplate Bottle Vase, fourth quarter 19th century, decorated with gilt-bronze and silverplate mounts depicting a putto fishing in a profusion of aquatic plants, a branch of birds nearby and a dragon on the neck, with engraved details, h. 25‑1/4”, dia. 10”. [1200/1800] Illustrated

964

962

222

965

964 Tiffany-Retailed French Silvered Bronze Chinoiserie Table Clock, fourth quarter 19th century, modeled on a gong, the pierced base on scrolled feet and the pierced frame with dragon head handles and a molded elephant’s head holding the hanging clock in place of the gong, the works marked “Tiffany and Company”, h. 17‑1/4”, w. 10‑1/2”, d. 5‑1/2”. [1800/2500] Illustrated 965 Monumental Model of a Three-Masted Frigate, first quarter 20th century, probably American, composed of wood, metal, glass and a fabric rigging, made with an impressive attention to detail, h. 67”, w. 17”, l. 72”. Ex-collection Malcolm Forbes, New York, New York. [5000/8000] Illustrated 966 American Wrought Iron Fireplace Set, first quarter 20th century, in the manner of Samuel Yellin (1885‑1940), comprised of a pair of andirons with a matching crossbar, h. 30”, w. 32‑1/4”, d. 20‑1/4”, a shovel, l. 37‑3/4”, and a poker, l. 37‑3/4”, all decorated with swirled open finials. [500/800] 967 Randall Vernon Davey (American, 1887‑1964), “Young Woman Combing Her Hair”, oil on canvasboard, signed lower right, signed and titled en verso, 36” x 27”. Framed. [3000/5000] Illustrated 967

223

968 French Gilt-Metal and Marble Figural Lamp, ca. 1900, the griotte marble column-form base supporting the giltmetal figure of a young woman, holding a large lily, the cranberry art glass shade quilted with opaline, h. 35”, w. 6‑1/2”, d. 8‑1/2”. [500/800]

969 Ten-Piece American Late Victorian Quarter-Sawn Oak Dining Set, fourth quarter 19th century, attributed to R. J. Horner Furniture Co., New York, comprised of a circular extension dining table with two 12” skirted leaves and seven 8‑1/2” non-skirted leaves, h. 30”, dia. 60”, a sideboard with beveled mirror, h. 59”, w. 72‑1/2”, d. 26‑1/2”, a china closet with a central curved glass door, h. 64‑1/2”, w. 52”, d. 17”, a server with a carved backsplash, h. 47‑1/2”, w. 48‑1/2”, d. 22”, four sidechairs, h. 39”, and two armchairs, h. 40‑1/2”. [3000/5000] Illustrated 970 Fedor Encke (American/ New York, 1851‑1936), “Portrait Bust of an Arabic Man”, oil on canvas, signed and dated “1880” lower left, 11‑1/2” x 9‑1/2”. Presented in a period giltwood and gesso frame. [500/800] Illustrated

969 Part of a Ten-Piece Set

970 971 American Late Victorian Mahogany Triple-Door Bookcase, fourth quarter 19th century, attributed to R. J. Horner Furniture Co., New York, the corner posts featuring carved lion’s heads and three elaborately carved drawer fronts across the bottom with lion masque handles, raised on large lion paw feet, retains its original dolphin-cast door key, h. 67”, w. 79”, d. 15”. [1500/2500] Illustrated

969 Part of a Ten-Piece Set

224

971

972

974

975

972 Continental Neoclassical-Style Alabaster and Gilt-Bronze Figure of a Maiden, ca. 1900, the white alabaster figure of a woman in neoclassical dress, a giltbronze and alabaster urn to one side, above a mottled base, formerly mounted as a lamp, h. 17‑3/4”, w. 10‑3/4”, d. 9‑3/4”. [2500/4000] Illustrated 973 American Gilt-Metal and Art Glass Table Lamp, first quarter 20th century, the neoclassical gilt-metal mounts holding the “hooked feather” pattern vasiform glass standard, which holds three light sockets set with matching “hooked feather” shades, a smudge of silver paint on the neck of one shade suggests possible Steuben origin, unsigned, h. 25‑1/2”, dia. 12‑1/2”. 973 [1000/1500] Illustrated 974 Charles Drew Cahoon (American/ Massachusetts, 1861‑1951), “Crashing of the Waves, Cape Cod”, oil on canvas, signed lower right, 14” x 21”. Handsomely framed. [2000/4000] Illustrated 975 Colonial Revival Inlaid Mahogany Five-Tube Tall Case Clock, fourth quarter 19th century, retailed by Tiffany & Co., the movement and tubes manufactured by Walter H. Durfee, Providence, Rhode Island, h. 93”, w. 24‑1/2”, d. 16”. [5000/8000] Illustrated

225

976

977 American Late Victorian Cast and Stamped Brass Five-Arm Chandelier, fourth quarter 19th century, fitted with period carnival glass shades, h. 12”, dia. 24”. [500/800]

979

976 American Late Victorian Lacquered Brass and Copper Three-Arm Electrolier, ca. 1890, now fitted with art glass standards, each marked “L.V. Craismare”, h. 57”, dia. 23”. [500/800] Illustrated

978

978 Seth Thomas Art Nouveau Figural Clock, ca. 1900, Thomaston, Connecticut, the patinated metal case flowermolded and decorated with gilt-metal dragonflies, and having a nymph in a flowing gown leaning over it, raised on gilt-metal feet, the ivory enamel dial marked “Seth Thomas”, h. 21‑1/2”, w. 14”, d. 9”. [800/1200] 980 Illustrated 979 American Art Nouveau Mahogany Cheval Mirror, ca. 1900, attributed to the William A. Berkey Furniture Company, Grand Rapids, Michigan, the oval beveled mirror plate in a conforming frame supported by figural supports carved in the form of sea nymphs, the base with paw feet, h. 74‑1/4”, w. 32‑1/2”, d. 25”. [1200/1800] Illustrated

226

981

982 Silverplate and Ebonized Wood Serving Trolley, contemporary, in the Second Empire taste, the hemispherical silverplate dome revolving to reveal a detachable silverplate platter and plastic diffuser above a hot water reservoir and burner, above a conforming frieze with silverplate neoclassical mounts and a circular plate ring, raised on three tapered legs faced with silverplate columns crested by mascarons and terminating in lion’s paw feet, joined by an X-form silverplate rack and quatrefoil stretcher, raised on four casters, h. 48”, dia. 31”. [2500/4000] Illustrated

982

980 Tiffany Favrile Glass Candlestick Lamp, ca. 1900, New York, signed “LCT” adjacent to the polished pontil, set with a pulled feather “candle”, set with a Plume and Atwood “acorn” burner and a twilight shade holder, the gold iridescent stretch glass shade unsigned, h. 14”, dia. 7”. [1200/1800] Illustrated 981 Large American Bronze and Leaded Stained Glass Floor Lamp, early 20th century, the base with a tapering fluted column supported by three outstretched animal legs with paw feet raised on pads, the upper portion fitted with four sockets, the leaded shade with a bronze crown top and the border in a grape cluster and vine motif, h. 80”, dia. 24”. [5000/8000] Illustrated

983 American Sterling Silver Jewelry Box, first quarter 20th century, by William B. Kerr, Newark, New Jersey, retailed by Bigelow, Kennard & Co., Boston, Massachusetts, of rectangular form, decorated all over with engraved floral rococo scrolls, the hinged and slightly domed lid centering a cartouche monogrammed “ECS” and opening to reveal the emerald green velvet-lined compartmented interior, h. 2‑3/8”, w. 8‑1/4”, d. 5‑3/8”. [500/800]

227

984

984 Rare Cased Gorham “Luxembourg” Sterling Silver Gilt and Enamel Oyster Service, the pattern designed in 1893 by George Wilkinson (1819‑1894), Providence, Rhode Island, retailed by Cowell & Hubbard, Cleveland, Ohio, including a fried oyster server, l. 8‑1/4”, and twelve oyster forks, l. 5‑3/4”, the gilt pieces accented with opaque polychrome enamel among the scrolls, no monograms, 9.19 total t. oz., presented in the original fitted wooden case, the interior lined in beige silk and with retailer’s stamp, 23” x 13‑3/4” x 9‑3/4”. [1200/1800] Illustrated

984 detail

985

985 American Sterling Silver Presentation Punch Bowl, dated 1918, by Graff, Washbourne & Dunn, New York, New York, retailed by A. Stowell & Co., Boston, Massachusetts, of hemispherical form, with three reeded handles, molded wavy rim and raised on an ogee-domed foot, engraved with presentation inscription “Nathan Warren / from / Equitable Friends / Feb 11, 1918”, h. 7‑1/4”, dia. 12”, 52.51 t. oz. [1200/1800] Illustrated Nathan Warren (1838‑1922) was a Boston banker, financier and insurance agent. The occasion of the presentation of this punch bowl is recorded in the February 23, 1918 issue of The Weekly Underwriter: “Nathan Warren, resident secretary of Equitable Life Assurance Society was tendered a dinner February 8 by agents of the society, on the occasion of his eightieth birthday. He was presented with a handsome silver punch bowl and also a large birthday cake, surrounded by eighty candles.” 986 Two-Piece Reed & Barton “Love Disarmed” Sterling Silver Salad Serving Set, the pattern designed in 1899 by Charles A. Bennett, Taunton, Massachusetts, no monograms, l. 10‑3/4”, 15.90 total t. oz. [700/1000] Illustrated 987 American Silver Deposit Glass Claret Jug, first quarter 20th century, probably the Alvin Corporation, Providence, Rhode Island, the narrow bottle-form body with bulbous base and up-pulled handle and trefoil rim, decorated with openwork silver deposit scrolls with engraved grape leaves and clusters, the handle and collar completely clad, with a pear-shaped stopper en suite, h. 15‑1/2”, dia. 5‑1/2”. [700/1000] Illustrated

986

228

988 Gorham Sterling Silver and Glass Inkstand, first quarter 20th century, Providence, Rhode Island, of shaped rectangular form, elaborately engraved with acanthus scrolls with eagle’s and lion’s heads, fitted with a heavy square glass inkwell with cane-cut base and silver collar and hinged flattened spherical lid engraved en suite, overall, h. 5”, w. 12”, d. 7”, 12.60 t. oz. (base only). [1000/1500] Illustrated

990

987

989 Two-Piece Reed & Barton “Love Disarmed” Sterling Silver Salad Serving Set, the pattern designed in 1899 by Charles A. Bennett, Taunton, Massachusetts, no monograms, l. 10‑3/4”, 15.89 total t. oz. [700/1000] 990 American Sterling Silver Flask, dated 1890, of cartouche form, decorated with an embossed scene of frolicking maidens in a scrollwork surround, with hinged cap, monogrammed and dated on the reverse “CW / 1890”, h. 6‑1/2”, w. 4”, 4.69 t. oz. [500/800] Illustrated

992 Three Tiffany & Co. “English King” Sterling Silver Serving Pieces, the pattern designed in 1885 by Charles T. Grosjean (1841‑1888), New York, New York, including a serving spoon, l. 8‑78”, a serving fork, l. 8‑1/2”, and a tomato server, l. 7‑3/4”, the latter two monogrammed “P”, 12.91 total t. oz. [500/800] Illustrated 993 Two-Piece Tiffany & Co. “Wave Edge” Sterling Silver Salad Serving Set, the pattern designed in 1884 by Charles Grosjean (1841‑1888), New York, New York, l. 10”, 6.67 total t. oz. [800/1200]

988 992

991 American Arts and Crafts Sterling Silver Scent Bottle, ca. 1900, by the Whiting Manufacturing Company, New York, with French resale marks, of modified navette form with hammered finish and subtle scroll decoration, with a small screw-threaded cap, monogrammed on the body, “LSS”, l. 6”, 2.57 t. oz. [500/800]

229

994 American Arts and Crafts Sterling Silver Sauceboat and Stand, second quarter 20th century, by the Ellmore Silver Co., Meriden, Connecticut, the sauceboat of traditional Georgian form with scalloped rim, h. 4‑5/8”, l. 7”, w. 4”, the rounded rectangular stand en suite, l. 8‑5/8”, w. 6‑1/2”, both with hand-hammered finish, 16.72 total t. oz. [700/1000] Illustrated

998

994 996 Eight Kirk “Repousse” Sterling Silver Serving Pieces, mid-20th century, the pattern introduced in 1828, Baltimore,Maryland, including two serving spoons, l. 9‑1/8”, two serving forks, l. 8‑1/2”, two tablespoons, l. 8‑1/4”, a jelly spoon, l. 6‑3/4”, and a bonbon server, l. 5‑1/4”, the latter two inscribed on the reverse “A. B. Cahill”, 19.97 total t. oz. [500/800] 999

995 Two-Piece Gorham Sterling Silver Child’s Breakfast Set, 1899‑1900, Providence, Rhode Island, retailed by Black, Starr and Frost, New York, New York, including a bowl with gilt interior, dia. 4‑3/4”, and plate, dia. 4‑1/4”, each with a handsomely detailed rim with cartouches of the signs of the zodiac separated by twelve different flowers, both pieces inscribed “Constance Phelps / from / Grandmother / Christmas” and dated “1900” (the bowl) and “1901” (the plate), 13.67 total t. oz.. [600/900]

997

230

1000

1001

1000 Hawkes Engraved Glass and Sterling Silver Cocktail Shaker, second quarter 20th century, Corning, New York, the baluster-form glass body engraved with a duck in flight over bulrushes, fitted with a sterling silver collar and straining cap, h. 12‑3/4”, dia. 4‑1/2”, 3.09 t. oz. (silver cap only). [500/800] Illustrated 1001 One Hundred and Eighty-Five-Piece Set of Reed & Barton “Francis I” Sterling Silver Flatware, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, including twelve thirteen-piece place settings, with an additional dozen teaspoons and seventeen serving pieces, most pieces monogrammed “MCE”, 190.24 total t. oz. (weighable silver). Detailed list available on request. [6000/9000] Illustrated

997 One Hundred and Twenty-Two-Piece Set of S. Kirk & Son “Repousse” Sterling Silver Flatware, mid-20th century, the pattern introduced in 1828, Baltimore, Maryland, including twenty-two four-piece place settings, with thirty-three additional place pieces and a cake serving knife, no monograms, 112.4 total t. oz. (weighable silver), presented in a fitted, Pacific cloth-lined wood case with one drawer, 8” x 16” x 11‑1/2”. Detailed list available on request. [2500/4000] Illustrated

1002 1002A

998 Set of Seven American Sterling Silver Water Goblets, mid-20th century, by Wallace Silversmiths, Wallingford, Connecticut, each with an inverted bellform bowl, and trumpeting stem to an ogee-domed foot, no monograms, h. 6‑3/4”, dia. 3‑1/2”, 38.50 total t. oz. [600/900] Illustrated

1002 Reed & Barton “Francis I” Sterling Silver Large Vegetable Bowl, 1949, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, inscribed on the underside “B.F. - R.T.C. / August 27, 1949”, dia. 11‑1/2”, 20.63 t. oz. [900/1200] Illustrated 1002A Pair of Reed & Barton “Francis I” Sterling Silver Medium Bowls, 1950 and 1954, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, dia. 8”, 19.80 total t. oz. [900/1200] Illustrated 1003 Five-Piece Reed & Barton “Georgian Rose” Sterling Silver Tea Set, third quarter 20th century, Taunton, Massachusetts, including a teapot, h. 8‑1/4”, a coffeepot, h. 6‑1/2”, a covered sugar bowl, h. 6‑1/2”, a cream jug, h. 5‑1/4”, and a waste bowl, h. 4‑1/4”, each piece monogrammed “RCL”, 85.04 total t. oz. [1500/2500] Illustrated 1004 Set of Twelve American Sterling Silver Water Goblets, mid-20th century, by Wallace Silversmiths, Wallingford, Connecticut, each with an inverted bellform bowl, waisted stem and shallow ogee-domed base, h. 6‑3/4”, dia. 3‑1/2”, 70.41 total t. oz. [1200/1800]

1003

999 Set of Twelve American Sterling Silver Water Goblets, mid-20th century, by Wallace Silversmiths, Wallingford, Connecticut, each with an inverted bell-form bowl, and trumpeting stem to an ogeedomed foot, each monogrammed “RFC”, h. 6‑3/4”, dia. 3‑1/2”, 67.49 total t. oz. [900/1200] Illustrated

231

1005 George Randolph Barse (American, 1861‑1938), “Preliminary Study of a Woman”, 1924, oil on board, signed and dated lower right, 15‑1/4” x 20”. Framed. [3000/5000] Illustrated

1007 French School (Second Quarter 20th Century), “Dawn”, watercolor and gouache on paper, signed “H. Barri La Flevey” and dated “32” upper right, sight 8‑1/4” x 5‑3/4”. Matted, glazed and framed. [800/1200] 1008 Norwood Hodge MacGilvary ( American, 1874‑1949), “Repose”, pastel on paper, signed lower left, sight 16” x 19”. Glazed, matted and framed. [700/1000]

1005 1006 Warren B. Davis (American, 1865‑1928), “The Ripple”, oil on canvas, signed and inscribed “last oil/ property of M. Esther Davis” en verso canvas, a “Harlow, McDonald & Co.” label en verso stretcher, 16” x 12”. Glazed and framed. Provenance: Estate of the artist’s wife; Private collection. [2500/4000] Illustrated

1009

1009 Wayman Adams (American/Texas, 1883‑1959), “Portrait of the Soprano Dorothy Kirsten”, oil on canvas, signed lower right, 80” x 68”. Framed. Provenance: Estate of Wayman Adams and descended in family; Private collection. [15000/25000] Illustrated An operatic soprano, Kirsten sang leading roles at the Metropolitan Opera for over thirty years. Born into a musical family, she initially studied voice at night in New York City. The successful and popular soprano Grace Moore heard Kirsten sing and, impressed by the depth and strength of the young woman's voice, became her mentor and benefactor. Moore supplied the opportunity and financial means for Kirsten to travel to Rome to study with the great Italian voice coach Astolfo Piscea. Returning to the United States at the onset of World War II, Kirsten began to sing at the Chicago, San Francisco, and New York City Operas. She had her debut at the Met in 1945 with the role of Mimi in La Boheme. Reference: New York Times Obituary, November 19, 1992.

1006

232

1010 Wayman Adams (American/Texas, 1883‑1959), “Portrait of a Man in a White Shirt”, oil on canvas, unsigned, 27” x 19”. Framed. [1000/1500] Illustrated 1011 Wayman Adams (American/Texas, 1883‑1959), “Portrait of a Man in a Blue Tie”, oil on canvas, unsigned, 27” x 19”. Framed. Provenance: Estate of Wayman Adams and descended in family; Private collection. [1000/1500] 1012 Wayman Adams (American/Texas, 1883‑1959), “Portrait of a Man in a Black Cap”, oil on canvas, unsigned, 27‑1/2” x 19‑1/4”. Framed. Provenance: Estate of Wayman Adams and descended in family; Private collection. [1000/1500] 1013 Wayman Adams (American/Texas, 1883‑1959), “Portrait of Benny Denton”, oil on canvas, signed upper left, 50” x 32‑3/4”. Framed. Provenance: Estate of Wayman Adams and descended in family; Private collection. [3000/5000] Illustrated 1014 Semi-Antique Karaja Carpet, 4’ 10” x 6’ 4”. [700/1000]

1010

1013

1015 Semi-Antique Lavar Kerman Carpet, 11’ x 17’. [3000/5000] Illustrated

1015

233

1016 Semi-Antique Persian Heriz Carpet, 9’ 3” x 11’ 7”. [1800/2500] Illustrated

1016 1017 Mashad Carpet, 10’ x 13’. [1500/2500] Illustrated

1017

234

1018 Angora Oushak Carpet, 9’ 9” x 12’ 8”. [5000/8000] Illustrated

1018 1019 Semi-Antique Peking Chinese Carpet, 10’ 2” x 13’ 10”. Provenance: Purchased in 1976 from Stark Carpets, New York, New York. [1000/1500] Illustrated

1019

1020 Savonnerie Carpet, 8’ x 10’. [2000/4000]

1021 1021 Turkish Oushak Carpet, 9’ 7” x 10’. [1400/1800] Illustrated

1024 1026 Turkish Angora Oushak Runner, 3’ 2” x 16’. [800/1200] Illustrated

1022 1022 Chinese Thunder Line Carpet, 11’ x 18’. [1500/2500] Illustrated 1023 Turkish Angora Oushak Carpet, 10’ 1” x 14’. [1500/2500] 1024 Oushak Carpet, 12’ x 16’. [3000/5000] Illustrated 1025 Angora Oushak Carpet, 9’ 8” x 14’ 4”. [5000/8000]

1026

235

1027 1027 Angora Oushak Carpet, 10’ x 15’. [5000/8000] Illustrated 1028 Antique Kerman Carpet, 11’ 4” x 18’ 6”. [2000/4000] Illustrated 1029 Angora Oushak Carpet, 9’ x 12’ 3”. [4000/7000]

1028

236

1030 1030 Turkish Angora Oushak Carpet, 10’ x 14’. [1500/2500] Illustrated 1031 Antique Caucasian Kazak Runner, 4’ x 9’ 9”. [500/800] 1032 George III Mahogany Pembroke Table, fourth quarter 18th century, the rectangular top banded and with two like-shaped banded leaves, above a frieze fitted with a single end drawer and a faux drawer, raised on tapering square legs ending in brass caps and casters, h. 29”, w. 28”, l. 19”, extended l. 39”. [500/800]

1033

1033 John Syer (British, 1815‑1885), “Landscape With Figures”, oil on canvas, signed lower right, 28‑3/8” x 22‑3/4”. Framed. [500/800] Illustrated

1034

1034 Queen Anne Walnut Lowboy, 18th century, the banded and quarter-veneered top above a case fitted with a long drawer over two smaller end drawers, and a shaped central apron, raised on cabriole legs ending in pad feet, h. 27‑1/4”, w. 36”, d. 21”. [1000/1500] Illustrated

1036 1035 George II Japanned Cabinet, 18th century and later, the foliate-modeled giltwood cornice above a case fitted with two doors, opening to an arrangement of seven drawers surrounding a central cupboard, on a stand fitted with two drawers and raised on gilt acanthine-modeled legs ending in gilt paw feet, the whole decorated with polychrome and gilt avian, figural and landscape scenes in the chinoiserie taste, h. 62‑1/2”, w. 38”, d. 18‑1/2”. [2000/4000] Illustrated 1036 British School (Fourth Quarter 18th Century), “At the Barber”, oil on canvas, unsigned, 30‑1/4” x 37”. Unframed. [1000/1500] Illustrated 1037 1615 London “Breeches” Bible, a Geneva edition by Robert Barker, printer to the “King’s Most Excellent Majesty”, in later antique full tan leather, the spine with four raised bands, the Old and New Testaments in 554 numbered pages, followed by two concordances, 8‑7/8” x 7” x 3‑1/8”. [700/1000] Illustrated

1035

1037 (detail)

1037

“Breeches Bible” is a term given by book collectors to the Geneva Bible of 1560 (and issued as late as 1644), deriving from its eccentric translation of Genesis 3:7 wherein Adam and Eve awaken ashamed and clothe themselves in “breeches” sewn from fig leaves.

237

1039 Twenty-Six Volume Set of the Works of Robert Louis Stevenson, published by Charles Scribner’s, New York, ca. 1905, the quarter leather bindings finished with marbleized paper, h. 7”, w. 4‑3/4”. [500/800]

1038

1038 Howard Pyle (American, 1853‑1911) First Edition, The Merry Adventures of Robin Hood of Great Renown in Nottinghamshire, New York: Charles Scribner’s Sons, 1883, octavo, re-cased in blue buckram boards, the front with original leather title inset; the spine with applied morocco panel with gilt lettering, the edges rubricated, with forty-five tailpiece and full-page illustrations by the author, the American illustrator of the Brandywine School, fabric bound with leather stamped title plate, h. 10”, w. 7‑1/4”. [500/800] Illustrated

1040

1041

1040 George III Polychrome Corner Cabinet, early 19th century, the broken swan’s-neck pediment above a case fitted with two cabinet doors, featuring a scene of a classical army returning from battle, the lower section fitted with a single drawer over two cupboards with a similar scene, raised on bracket feet, h. 89‑1/2”, w. 42”, d. 18”. [1800/2500] Illustrated

1042

238

1045 Suite of Eight Edwardian Mahogany Dining Chairs, early 20th century, in the Georgian taste, consisting of two armchairs and six sidechairs, all with a rounded rectangular back with a pierced urn splat, the padded seat raised on tapering square legs, h. 37‑1/2”. [1800/2500] Illustrated

1043

1047

1041 William IV Inlaid Calamander Wood Lap Desk on Stand, second quarter 19th century, the box outlined with rounded brass edges and line inlay, the brass escutcheon and nameplate outlined in silver and ebony stringing, the fitted interior with a gilt-tooled leather writing slope, the stand contemporary, h. 25”, w. 18‑1/4”, d. 10‑3/4”. [500/800] Illustrated 1045

1046 George III Mahogany Sideboard, fourth quarter 18th century, the brass back rail with scrolling sides above the bowed rectangular banded top, above a conforming case fitted with a central drawer flanked to one side by a drawer over a cupboard and to the other by a cellarette drawer, raised on tapering square legs ending in spade feet, the whole accented with line inlay and urn-inlaid panels, h. 57‑1/2”, w. 82‑1/2”, d. 28‑1/2”. [2500/4000] Illustrated 1047 Chinese Export Porcelain Round Tureen, mid-18th century, decorated with raised enamel peonies and ironred borders, reeded handles and a knop, all trimmed in gilt, h. 8‑1/4”, dia. 9‑3/4”. [3000/5000] Illustrated

1042 School of Allan Ramsay (Scottish, 1713‑1784), first quarter 19th century, “Portrait of King George III”, oil on canvas, unsigned, 44‑1/2” x 33”. Presented in an antique gesso and giltwood frame. [2000/4000] Illustrated

1046

1043 Continental Bronze of a Scottish Fox Hunt, first quarter 20th century, after Pierre-Jules Mene (French, 1810‑1877), cast signature at base, h. 11”, w. 13‑1/2”, d. 7”. [800/1200] Illustrated 1044 French Bronze of “Cheval de Marly”, ca. 1900, after Guillaume Coustou the Elder (French, 1677‑1746), groom missing reins, h. 22‑1/2”, w. 19‑1/2”, d. 9”. [1200/1800]

239

1048 Large Japanese Imari Porcelain Bowl, late 19th/ early 20th century, with floral reserves on the exterior and interior sides, and a central reserve with a dragon and flaming pearl, the underside marked with an apocryphal Ming Wanli mark, h. 5‑3/4”, dia. 13‑1/2”. [600/900] Illustrated

1051 Suite of Six George III-Style Mahogany Dining Chairs, early 20th century, in the Hepplewhite taste, consisting of two armchairs and four sidechairs, each with a foliate shield-carved back, the needlework seat raised on chamfered tapering square legs joined by an H-form stretcher, h. 38”. [700/1000] Illustrated

1048

1049 Georgian-Style Brass and Mahogany Cellaretteon-Stand, 19th century, of octagonal form with brass strapwork, on a base with fluted platform and legs, h. 29”, w. 17‑3/4”, d. 17‑3/4”. [600/900] Illustrated 1050 Alfred Fontville de Breanski, Jr. (British, 1877‑1957), “Highland Cattle”, oil on canvas, signed lower right, 36” x 28”. Framed. [2500/4000] Illustrated 1050

1049

1052 Irish Georgian-Style Mahogany Side Table, early 20th century, the rectangular top with a gadrooned edge, above a foliate-carved masque-centered frieze, raised on cabriole legs headed by acanthine carving and ending in ball-and-claw feet, h. 30”, w. 60”, d. 21”. [600/900] Illustrated 1053 Georgian-Style Prism-Hung Etched and Cut Glass Six-Light Chandelier, 19th century and later, the arms joined to the stem by swags of faceted glass beads, the bowl dressed with cut spears, h. 44”, dia. 35”. [1200/1800] Illustrated 1054 Set of Sixteen Chinese Export Porcelain Armorial Dessert Plates, ca. 1800, each plate with a black-ground border of hand-painted roses and decorated with the arms of Smyth of Walsham and Old Buckenham impaling Denison, dia. 7‑1/2”. [1000/1500] Illustrated 1055 George III Mahogany Linen Press, fourth quarter 18th century, the molded and dentillated cornice above a case fitted with two doors, each inset with a banded oval panel, the lower section fitted with two short drawers over two graduated long drawers, raised on bracket feet, h. 78‑1/2”, w. 54”, d. 23‑1/2”. [2000/4000] Illustrated

240

1056 Pair of Franco-Japanese Porcelain and Bronze Moderator Lamps, fourth quarter 19th century, the bronze Asian-style bases supporting the Japanese Imari-style lamp bases, decorated with molded dragons, with bronze necks and burners mounted on the top, electrified, base, h. 18”, overall, h. 31”, dia. 6‑3/4”. [700/1000] Illustrated

1053

1056

1055

1052

1054

241

The following lots have been generously donated by the artists to benefit WYES-TV, New Orleans’ public broadcasting station. For over 55 years, WYES has worked to inform, teach, illuminate, entertain and inspire our entire community. It is the oldest public television station serving southeast Louisiana and the Mississippi Gulf Coast, the 12th oldest in the nation, and the most utilized non-profit organization in Louisiana and the Mississippi Gulf Coast with as many as a half-million people using the station’s broadcasts, outreach activities and website each week. 1057 Tony Green (American/Louisiana, b. 1954), “Tony’s View”, 2014, oil on canvas, signed and dated lower right, titled, dated and stamped en verso, 39” x 47”. Handsomely framed. [5000/8000] Illustrated

1058

1057

242

1058 James Michalopoulos (American/New Orleans, b. 1951), “Fly Me to the Moon”, 2014, oil-enhanced giclee on canvas, signed lower left, 40‑1/2” x 18”. Presented in a thin gallery frame. [1500/2500] Illustrated

1059 Mallory Page (American/ New Orleans, Contemporary), “Untitled”, 2014, mixed media on wood panel, signed and dated en verso, 43” x 42”. [3000/5000] Illustrated 1060 Hunt Slonem (American, b. 1951), “Red Butterflies”, 2001, oil on canvas, signed, titled and dated en verso, 40” x 30”. Framed. [10000/15000] Illustrated 1061 Allison Stewart (American/New Orleans, b. 1941), “Fieldwork #31”, oil on canvas, signed lower right, signed and titled en verso, 36” x 36”. Unframed. [3000/5000] Illustrated

1062

1062 Cleland Powell (American/New Orleans, Contemporary), “Untitled”, oil on canvas, unsigned, 24” x 48”. Unframed. [800/1200] Illustrated

1059

1060 1061

243

1065 Campbell Hutchinson (American/Louisiana, Contemporary), “Peeking Cows”, oil on heavy paper, 24” x 24”. Framed. [1400/1800] Illustrated

1063 1063 Jason Horton (American/New Orleans, b. 1974), “Chartreuse”, oil on wood panel, signed lower right, 56‑1/2” x 46‑1/2”. Unframed. [4000/7000] Illustrated

1065 1066 James Gundlach (American/Louisiana, Contemporary), “Untitled”, 2014, turned mesquite wood vase, signed and dated on bottom, h. 6‑1/2”. [500/800] Illustrated

1066

1064 1064 Rolland Harve Golden (American/Louisiana, b. 1931), “Evening Contrast - Udderly Cold”, 2009, mixed media on paper, acrylic and laser print, signed and dated lower right, 11” x 16”. Glazed, double-matted and framed. [700/1000] Illustrated

244

1067 1067 Felix Eyskens (Belgian, 1882‑1968), “Sunset Over the Marsh”, oil on board, signed lower right, 27” x 35”. Framed. [500/800] Illustrated 1068 Melissa Bonin (American/Louisiana, Contemporary), “On the Way to Emerald City”, 2014, from the Clouds Like Diamonds II series, oil on linen, signed, dated and titled en verso, 18” x 18”. Unframed. [3000/5000] Illustrated

1068 1069 Raine Bedsole (American/Louisiana, Contemporary), “Coral #6”, collage and watercolor on wood panel, titled and signed en verso, 40” x 30”. Unframed. [3000/5000] Illustrated

1069

1070 1071 Richard Swenson (American/Mississippi, b. 1932), “Cheetah”, metal, tool, and found object sculpture, monogrammed on wooden base, h. 12”, w. 41”, d. 6”. [2000/4000] Illustrated

1071

1070 George Bauer Dunbar (American/Louisiana, b. 1927), “Rouville No. 32”, 2014, moon gold leaf over gray clay with die keen, signed lower right, titled and signed en verso, 12” x 16”. Framed. [5000/8000] Illustrated

245

1072 Alexander Kwiatkowski (Polish, b. 1919), “At the Flower Market”, oil on canvas, signed lower right, 24” x 30”. Framed. [1000/1500] Illustrated

1072 1073 Pair of Contemporary Rock Crystal Candlesticks, the lobed bases supporting the segmented, swirl-carved standards, with matching lobed drip pans and candlecups, h. 17‑1/4”, dia. 4‑3/4”. [1500/2500] Illustrated

1075 Set of Sixteen Orrefors “Intermezzo Blue” Wine Glasses, Swedish, comprised of eight wine glasses, h. 9‑1/4”, and eight champagne flutes, h. 9‑3/4”, designed by Erika Lagerbielke. [500/800] Illustrated

1074 1076 Mid-Century Modern Pottery Plaque of French Origin, the low-relief plaque depicting a mother and child with pottery jugs, signed indistinctly “--a Paris”, framed, h. 15‑3/4”, w. 12”. [800/1200]

1075 1073

1077 Twelve Pieces of Anglo-Irish-Style Glass, including a pair of candlesticks, h. 20‑1/2”, a pair of strawberry-cut hurricane lamps, h. 16‑1/2”, a pair of hurricane lamps cut with fluting, swags and fans, h. 15‑3/4”, a set of four hurricane lamps cut with bull’s eyes, h. 16‑1/4”, and a pair of cylindrical compotes cut with leaves and decorated with gilt scrolls, h. 13”. [600/900]

1074 Emanuel Romano (Italian/New York, 1879‑1984), “Nude with Mountains in Background”, oil on paper, signed lower right, 21‑1/2” x 29‑1/2”. Framed. [800/1200] Illustrated

246

1078 Pair of Continental Painted Mirrors with Brackets, mid-20th century, the rectangular molded frames with cut corners painted in the style of Japanese lacquer, the serpentine-front shelves mounted in open brackets, h. 49”, w. 55‑1/2”. [2000/4000] Illustrated 1079 Jacob Epstein (Israeli, 1921‑2003), “Bust of a Smiling Youth”, patinated lead, on a thin wooden plinth, overall, h. 12”, w. 10‑1/2”, d. 10”. [2000/4000] Illustrated

1080 Fredda Brilliant (Polish, 1903‑1999), “Bust of Mrs Nita Massine”, 1960, bronze, signed and dated, h. 19”, w. 11”, d. 12”. Provenance: Estate of the artist; Private collection. [800/1200] Illustrated

1080

1081 Fredda Brilliant (Polish, 1903‑1999), “Bust of Mel Price”, 1980’s, plaster maquette for a bronze bust which was never cast, signed and dated along left edge of truncation, h. 23”, w. 16‑1/2”, d. 9”. Provenance: Estate of the artist; Private collection. [800/1200]

1079

1082 Pair of Contemporary Art Deco-Inspired Leather and Polished Steel Armchairs, one retaining a label, “Sinclair Club Chair”, denoting a Carnegie Line chair by “Four Hands”, each with a leather seat and back cushion supported by a shaped steel frame, h. 28‑1/2”. [1500/2500] Illustrated

1082

247

1083 Contemporary American Hand-Blown Glass Wall Sconce, attributed to Dale Chihuly (American, b. 1941), unsigned, having a steel armature and mounted with various amber and opalescent glass streamers, gourds and balls, h. 40", w. 36", d. 15". [1200/1800] Illustrated

1087

1086 Philip LaVerne (American, 1908‑1988) and Kelvin LaVerne (American, b. 1936), Patinated Bronze and Pewter “Chan” Cocktail Table, 1960’s, model #142, mounted on wood, the surfaces enameled and acid-etched in a Chinoiserie design, retains the original paper label, h. 17‑1/2”, dia. 48”. [2000/4000] Illustrated 1084 Mies van der Rohe, Pair of “Brno” Chairs, ca. 1972, attributed to Knoll International, with leather-upholstered backs, seats and armrests, on a flat-bar steel frame, h. 31”.

1087 Robert Lee Morris (American, Contemporary), “Trinity - Stacks”, hand-forged brass discs, from the series “Sails and Stacks”, h. 15‑3/4” to 29‑1/4”, w. 11‑1/2” to 17‑1/4”. [1000/1500] Illustrated

The chair was originally designed for van der Rohe’s iconic Tugendhat House, Brno, Czech Republic. [700/1000] 1089

1088 Jamie Meeks (American/Louisiana, Contemporary), “Untitled Abstract Floral”, mixed media on canvas, 25” x 36”. Framed. [600/900]

1085

1085 Erich Nikutowski (German, 1872‑1921), “Riverbank Village”, oil on canvas, signed lower right, 17” x 22”. Framed. [1000/1500] Illustrated

248

1089 Contemporary Steel and Wood-Grain Laminate Bench, attributed to Theodore Alexander, the seat of plank form, each end fitted with chromed steel brackets, h. 22”, w. 60”, d. 20‑3/4”. [500/800] Illustrated

1086

1086 (detail)

1090 Contemporary Mahogany-Finished Games Table, of neoclassical inspiration, the rotating fold-over top on a curule base, manufactured by Global Views and so labeled, h. 30”, w. 23‑1/2”, d. 39‑1/4”, extended l. 47”. [700/1000] 1091 Contemporary Chrome and Glass Chandelier, the chrome canopy supporting a “sputnik” chrome-plated eight-socket light head among numerous blown glass volutes suspended from wires, h. 49‑1/4”, dia. 23‑3/4”. [600/900] Illustrated

1091

249

1095 Contemporary Wood-Grain and Bone Laminate Coffee Table, labeled “Theodore Alexander”, the rectilinear top supported at each end by solid uprights, the apron with “bone” panels, h. 19”, w. 58‑1/2”, d. 34”. [500/800] Illustrated

1092

1096 Nepal Art Deco Carpet, 7’ 6” x 9’ 6”. [800/1200] 1097 Modern Carpet, 8’ 6” x 11’ 6”. [900/1200] 1092 Contemporary Art Deco-Inspired Steel, Mirrored Glass and Wood-Grain Laminate Console Table, attributed to Theodore Alexander Company, the rectilinear top on a pedestal with mirrored sunburst panels, joined to a platform base, h. 34”, w. 76‑1/2”, d. 18”. [800/1200] Illustrated

1094

1093

1095

1093 Modern Brass and Burgundy-Lacquered Python Mirror, ca. 1975, attributed to Karl Springer, the mirror plate set in a molded frame, the top with a lacquered brass mount, h. 39‑3/4”, w. 27‑3/4”, d. 3”. [1000/1500] Illustrated 1094 Contemporary Steel, Wood-Grain and Bone Laminate Desk, attributed to Theodore Alexander, with a rectilinear top over an apron with “bone” panels, one side fitted with drawers, and with a chromed steel footrest, h. 30‑1/4”, w. 80‑1/2”, d. 35”. [700/1000] Illustrated

250

1098 Antoni Clave Sanmartin (Spanish/French, 1913‑2005), “Roi”, 1957, mixed media and oil on paper laid down on board, signed lower right, old stamp and Paris transit label en verso, 28‑3/4” x 21‑3/4”. A certificate of authenticity issued by Archives Antoni Clave, Paris will be delivered to the buyer. [30000/50000] Illustrated

251

1099 Helge Helme (Danish, 1894‑1987), “Contemplation”, oil on canvas, signed lower right, 13” x 10”. Framed. [1200/1800] Illustrated

1102 Greg Mort (American, b. 1952), “Oasis”, 2001, oil on board, titled and inscribed on a gallery label en verso, verso with several additional artist’s gallery labels, 18” x 24”. Framed. [1000/1500] Illustrated

1101

1099 1100 Lalique, Paris, Red Crystal “Serpent” Vase, 2010, from the “Hommage a Rene Collection”, after the original designed in 1924, signed and numbered K004, bears the “Lalique/Paris” sticker and includes the original fitted box, h. 9‑1/2”, dia. 10‑1/4”. [3000/5000] Illustrated

1100

1103 Pair of Acrylic and Velvet-Upholstered Armchairs in the Manner of Charles Hollis Jones, after his iconic 1970’s design, incorporating a curved lucite tube bisected by a similar panel and fitted with a seat cushion, h. 29‑3/4”. [600/900] Illustrated

1101 Pair of Contemporary Rock Crystal Table Lamps, the hexagonal faceted bases holding matching segmented standards with steel-plated fittings, base, h. 23”, overall, h. 33‑3/4”, dia. 7”. [3500/5000] Illustrated 1102

252

1104 Manner of Jean Arp (German/French, 1886‑1966), “Figure”, white stone sculpture, unsigned, h. 11‑7/8”, w. 9”, on a rectangular wood base. Accompanied by the Museum of Modern Art, New York, New York exhibition catalogue of the artist. Provenance: Ex-collection Mary Delahoyd, New York, New York; Private collection. [800/1200] Illustrated

1103 1105

1106 Zebra Hide and Silvered Metal Box-on-Stand, mid-20th century, with curved legs and handle molded to resemble raffia-strapped wood, the box covered in zebra hide, h. 19‑1/4”, w. 24”, d. 13‑1/2”. [1500/2500] Illustrated

1105 Contemporary Art Deco-Inspired Argente and Mirrored Glass Dining Table, with a circular colorless glass top on a shaped pedestal joined to a concave platform base with bun feet, h. 30”, dia. 72”. [700/1000] Illustrated

1104 1106

1107 1107 Victor Issa (American/Colorado, Contemporary), “Woman with Bird”, 1999, bronze, signed, dated, and numbered “1/30” at edge of base, h. 33‑1/2”, w. 8‑3/4”, d. 15. Provenance: Purchased from the artist, 1999; Private collection. [1000/1500] Illustrated

253

1108

1111 Frank C. Kirk (American, 1889‑1963), “Still Life with Ginger Jar”, oil on canvas, signed lower right, signed and localized en verso along with a floral sketch, 30‑1/2” x 25”. Framed. [900/1200] Illustrated

1108 Blair Buswell (American/Utah, b. 1956), “Secret Admirer”, terracotta-patinated bronze, signed and numbered “Buswell/16/32” at back edge of base, h. 10‑1/2”, w. 12‑3/4”, d. 7”. [1000/1500] Illustrated Buswell is a Fellow of the National Sculpture Society and the chief sculptor of the Pro Football Hall of Fame, having completed almost 90 such commissions.

1109

1110

1112 Paul Kauvar Smith (American, 1893‑1977), “Untitled Abstract”, oil on canvas, unsigned, verso with “David Cook Galleries, Denver, CO” label, 24” x 18”. Framed. [3000/5000] Illustrated 1113 South American School (20th Century), “Drummer”, oil on canvas, unsigned, titled and with a “Galeria Sudamericana/New York” stamp en verso, 19” x 25”. Framed. [500/800]

1109 Vintage Italian Opaline Glass “Lotus” Table Lamp, Attributed to Carlo Nason for Mazzega, 1960s, comprising four tiers of opalescent Murano glass, h. 20”, dia. 13”. [500/800] Illustrated 1110 Vintage Italian Murano Glass Light Fixture, Attributed to Mazzega, 1960’s, the flush-mounted gold-tone metal disc suspended with hand-blown tiers of glass leaves concealing three tiered light sockets, h. 18”, dia. 18”. [700/1000] Illustrated

254

1111

1114 Antoinette Schulte (American, 1897‑1981), “Still Life of Flowers in a Glass Vase, Basket of Strawberries, a Pear and a China Vase”, oil on canvas, signed lower right, 26” x 32”. Unframed. [500/800]

1117 1116 Charles Levier (American/French, 1920‑2003), “Women with Flowers”, a pair of oils on wood panels, each signed, each 16” x 13”. Presented in matching contemporary frames. [900/1200]

1112 1115 Michel Rodde (French, 1913‑2009), “Bouquet au Pantheon”, oil on canvas, signed lower right, a “David Findlay/New York” label en verso, 30” x 59”. Framed. [800/1200]

1118

1117 Jean-Gabriel Domergue (French, 1889‑1962), “La Parisienne”, oil on canvas, signed lower right, 24” x 20”. Framed. [2000/4000] Illustrated 1118 Daum Nancy Cameo Glass Vase, first quarter 20th century, French, decorated with red flowers on a yellow ground, signed “Daum Nancy” in cameo, with the Cross of Lorraine, h. 9‑3/4”, dia. 5‑3/4”. [1000/1500] Illustrated

1119

1119 French Patinated Spelter Sculpture of “The Bee Sting”, first quarter 20th century, after the figure by Charles Emile Jonchery (French, 1873‑1937) exhibited at the Paris Salon of 1905, cast signature at back of base, artist’s plaque at front edge, h. 56”, w. 22”, d. 22”. [1500/2500] Illustrated

255

1120 Miniature Galle Cameo Glass Vase, ca. 1904‑0906, French, decorated with carved flowers and leaves on a lavender ground, marked with a star before “Galle”, h. 3‑3/4”, w. 2‑1/2”. [500/800] Illustrated

1121

1121 Francois-Raoul Larche (French, 1860‑1912), “Loie Fuller”, ca. 1900, gilt-bronze lamp, cast signature and a “Siot.Decauville.Paris.Fondeur” foundry mark on base, wired, h. 17‑1/2”, w. 9”, d. 7”. [10000/15000] Illustrated

1120

1122 Ebonized and Parcel-Gilt Mahogany Looking Glass, in the Art Nouveau taste, the mirror plate set in a serpentine frame with exuberantly modeled foliage, h. 46”, w. 32”. [700/1000] Illustrated

1121 (detail)

1122

1121 (detail)

256

1123 Continental Patinated Bronze of “Nature Revealing Herself to Science”, first quarter 20th century, after Louis Ernest Barrias (French, 1841‑1905), cast signature at edge, on a black marble base, h. 32‑1/4”, w. 10‑1/2”, d. 12‑3/4”. [800/1200] Illustrated

1123

1127 Art Deco Bronze and Frosted Glass Hall Lantern, second quarter 19th century, the hexagonal paneled lantern decorated with Art Deco finials above the panels and molded decoration on the central standard, the panels fitted with frosted glass, h. 50‑1/2”, dia. 18”. [500/800]

1125

1124 Clio Hinton Huneker Bracken (American, 1870‑1925), “Sirene”, 1899, patinated bronze vide poche, signed, dated, copyright marked and with “The Henry Bonnard Bronze Founders/N.Y./1899” mark on underside, h. 1‑3/4”, w. 6”, d. 4‑1/2”. [700/1000] Illustrated

1124

1128 Three Pieces of Signed Steuben Art Deco-Style Crystal, 20th century, Corning, New York, including a cornucopia vase, h. 7‑1/2”, dia. 5”, an olive dish, h. 3‑1/2”, dia. 5”, and a bell-shaped bowl, h. 3‑1/2”, dia. 5‑1/4”. [500/800] Illustrated 1129 Six Signed Pieces of Steuben Glassware, 20th century, Corning, New York, the collection including a flower vase, h. 8‑1/2”, a bouquet vase, h. 6”, a signet vase, h. 6‑1/2”, a calyx bowl, h. 3”, w. 6”, a nut bowl, dia. 6”, and a tricorn-shaped dish, h. 4”, dia. 6”. [500/800]

1128

1125 “Martele” Iridescent Art Glass and Bronze Centerpiece, Attributed to Loetz, ca. 1900, in a bronze Art Nouveau frame, the pontil-marked bowl blown to fit the frame, unsigned, h. 12”, dia. 10”. [700/1000] Illustrated 1126 Art Nouveau-Style Cast and Enameled Bronze Tray, after Alphonse Mucha (Czechoslovakian, 1860‑1939), depicting a woman in profile framed by swirling irises, an incised mark on the back, “A. Mucha”, dia. 12‑1/2”. [800/1200]

1130 Spanish Patinated Bronze of a Young Girl Standing on a Stool, 20th century, after Juan Clara (Spanish, 1875‑1958), cast signature at edge of seat, h. 13”, w. 3‑1/4”, d. 3‑1/2”. [600/900]

257

1131 French Bronze of a Woman on a Swing”, first quarter 20th century, after Auguste Moreau (French, 1834‑1917), cast signature at back, h. 9‑1/2”, w. 5”, d. 4”. [500/800]

1135 Pablo Picasso (Spanish, 1881‑1973), “Cinesias Et Sa Famille”, etching, sight 9” x 6”. Glazed, handsomely matted and framed. [800/1200] Illustrated

1132

1132 Louis Prost (French, 1876‑1935), “Pastorale”, 1920, patinated bronze, signed and dated at right edge of boulder, with a “Meroni Radice / Cire Perdue / Paris” foundry mark at back edge of sculpture, on a marble base, h. 16‑1/2”, w. 21”, d. 11‑1/2”. [3000/5000] Illustrated 1135 1136 Pablo Picasso (Spanish, 1881‑1973), “156 Series: No. 30”, etching, signed lower right, numbered “40/50” lower left, sight 6” x 3‑5/8”. Glazed, handsomely matted and presented in a gold-leaf frame on a like, custom easel, framed size 17‑3/8” x 12‑5/8”, easel, h. 14”, w. 12”. [3000/5000] Illustrated

1134 1133 Italian Carved and Stained Fruitwood Fantasy Mirror, late 19th century, the crest with a pair of lovebirds, the base with winged griffins, the left side fitted with a zinclined jardiniere, h. 91”, w. 48”, d. 15”. [1500/2500] 1134 Louis Icart (French, 1880‑1950), “The Sleeping Beauty”, 1927, etching with aquatint, pencil-signed, blindstamped, sight 24‑1/2” x 28”. Matted, glazed and framed. [1000/1500] Illustrated

258

1136

1137 Robert Motherwell (American, 1915‑1991), “America-La France Variations VI”, color lithograph with collage, “57/60”, signed and numbered lower left, published by Tyler Graphics, Ltd., Mount Kisco, New York, blindstamped, sheet 45‑3/4” x 31”. Glazed, float mounted and framed. [2500/4000] Illustrated 1138 Robert Motherwell (American, 1915‑1991), “AmericaLa France Variations III”, color lithograph with collage, artist’s proof “11/20”, signed and numbered (in Roman numerals) lower right, verso with a “Gremilion & Co. Fine Art, Inc., Houston, TX” label, sheet 47‑1/2” x 30”. Glazed, float mounted and framed. [2500/4000] Illustrated

1137

1139 1139 Wook Kyung Choi (Korean, 1940‑1985), “Untitled”, 1976, 31‑1/2” x 39‑1/8”. Unframed. Provenance: Estate of the artist. [4000/7000] Illustrated 1140 Wook Kyung Choi (Korean, 1940‑1985), “Untitled”, 1976, acrylic on canvas, 35‑3/4” x 46”. Unframed. Provenance: Estate of the artist. [5000/8000] Illustrated In 1976, after teaching at the Atlanta College of Art and the University of Wisconsin, Choi began an artist residency at the Roswell Museum of Art in Roswell, New Mexico. In the 1970’s, Choi began to look to nature for inspiration, incorporating forms derived from the plants, animals and natural landscape of New Mexico.

1138

1140

259

1141

1144 Art Deco Rosewood-Finished Kneehole Desk, second half 20th century, with a rectilinear top on a pair of pedestals, one with a bank of four, the other with a bank of five drawers, mounted with polished aluminum pulls, h. 30‑1/4”, w. 31”, d. 58”. [500/800] 1145 Franz Fiedler (Austrian, 1885‑1956), “The Dancer”, 1931, patinated bronze, signed and dated at back edge of self-base, on a round umber marble base, overall, h. 14‑3/4”, w. 4‑1/2”, d. 11‑1/4”. [700/1000] Illustrated

1145

1141 Pair of Chinese Shanghai Art Deco Rosewood Armchairs, ca. 1925, h. 32”, w. 22”, d. 26”. [900/1200] Illustrated 1142 Art Deco Patinated Bronze of a Woman Flanked by Musicians, first or second quarter 20th century, each figure with a cast “France” at back, on a marble-veneered composition base, h. 10”, w. 17‑3/4”, d. 5‑1/2”. [600/900] 1143 After Demetre Chiparus (Romanian/French, 1886‑1947), second or third quarter 20th century, “La Declaration d’Amour”, chryselephantine sculpture, on a shaped variegated base, incised signature at edge of marble, h. 25‑1/2”, w. 20”, d. 6”. [4000/7000] Illustrated

1143

1146 Pair of Art Deco Giltwood and Upholstered Bergeres, early 20th century, each with a tall padded and tufted back joined by like arms to the deep cushioned seat, the arms fronted by a gilt panel and raised on gilt ball feet, h. 40‑1/2”. [800/1200] Illustrated

1146

260

1148

1150

1147 Set of Four Rare French Art Deco Blown Glass and Bronze Tiebacks, second quarter 20th century, the blown glass volutes set into bronze fittings with mounting brackets, h. 6‑3/4”, w. 14”, d. 7‑3/4”. [800/1200]

1149

1150 Lalique, Paris, Crystal “Poseidon” Vase, limited edition, the vase flanked by pale aqua seahorses, signed and numbered 55/99, bears the “Lalique/Paris” label, includes certificate of authenticity and the original fitted box, h. 11‑1/2”, w. 14‑1/4”, d. 6‑3/4”. [4000/7000] Illustrated

1151

1148 Joseph C. Motto (American, 1889‑1965), “The Three Pipers”, first or second quarter 20th century, bronze, signed at edge, inscribed “Susse Freres/Paris” and with foundry mark at edge of base, h. 15”, w. 30‑3/4”, d. 5‑3/4”. Provenance: Montreal, Canada Estate; Private Collection. [2000/4000] Illustrated 1149 Lalique, Paris, Frosted Clear Crystal “Bacchantes” Vase, signed along the outer base, bears the “Lalique/Paris” label along with a “Made in France” paper sticker underneath, includes the original fitted box, h. 9‑1/2”. [2000/4000] Illustrated

1151 Lalique, Paris, Clear and Frosted Crystal “Sauterelles” Vase, signed and numbered K031, after the original designed in 1913, bears the “Lalique/Paris” label and includes the original fitted box, h. 10‑3/4”, dia. 10”. [2000/4000] Illustrated

261

1152

1154 Cast-Bronze Bas-Relief Carousel Figure of a Dancing Maiden, first quarter 20th century, marked on the rear “GW Parker / Leavenworth, Kansas”, h. 28”, w. 16”. Provenance: A Springfield, Missouri estate. [500/800] Illustrated

1154

1152 Lalique, Paris, Lapis Crystal “Serpentine” Bowl, 2006, limited edition, signed and numbered 126/999, bearing the “Lalique/Paris” label, includes the certificate of authenticity and the original fitted box, h. 3‑1/4”, dia. 15”. [1800/2500] Illustrated

1153

1155 Good Tiffany & Co. Art Deco Sterling Silver Cream and Sugar Set, the pattern introduced in 1935, New York, New York, each piece of cylindrical form with stepped rim and foot, with incised vertical lines and strap handle(s), h. 2‑1/2”, dia. 3”, 10.68 total t. oz. [1200/1800] Illustrated

1155

1153 Continental Patinated Bronze of “Hercules as the Archer", 20th century, after the 1910 large-scale bronze by Antoine Bourdelle (French, 1861‑1929), on a black marble plinth, overall, h. 24”, w. 21”, d. 9‑3/4”. [1000/1500] Illustrated

262

1157

1156

1156 Tiffany & Co. Sterling Silver Cake Basket, the pattern introduced in 1914, New York, New York, of circular form with molded, lobed rim, acid-engraved with foliate panels, with swing handle en suite and molded foot-ring, monogrammed “CRH”, h. 2‑3/4” (8‑3/4” with handle), dia. 10‑3/8”, 26.40 t. oz. [1200/1800] Illustrated

1158 Good Five-Piece Christofle Gallia Art Deco Silverplate Tea Set, second quarter 20th century, Paris, including a coffeepot, h. 9‑1/2”, a teapot, h. 8”, a covered sugar bowl, h. 6‑1/4”, a cream jug, h. 4‑3/4”, and a tray, 24‑1/2” x 15‑1/2”, the hollowware of octagonally paneled baluster form, with gadrooned banding and squared ebony handles, the tray of elongated octagonal form with banding and handles en suite, each piece engraved with conjoined monogram “MM”. [1500/2500] Illustrated

1157 Large Tiffany & Co. Sterling Silver Trumpet Vase, the pattern introduced in 1920, New York, New York, of traditional form, with molded rim, cavetto knop and ogeedomed foot, decorated with wide acid-engraved bands of tasseled arabesques, h. 19‑7/8”, dia. 6‑1/8”, 29.34 t. oz. [2500/4000] Illustrated

1158

263

1160

1159 Georg Jensen Sterling Silver Footed Dish #296E, designed in 1919 by Georg Jensen (1866‑1935), Copenhagen, Denmark, with the post1945 Jensen mark, h. 2‑3/8”, dia. 6‑1/8”, 10.21 t. oz. [800/1200] Illustrated

1160

1160 Ninety-Five-Piece Set of Reed & Barton “Silver Sculpture” Sterling Silver Flatware, the pattern designed in 1954 by Robert Howard Ramp (1920‑2012), Taunton, Massachusetts, including twelve six-piece place settings, with seven additional place pieces and sixteen serving pieces, no monograms (but for three coffee spoons), 100.89 total t. oz. (weighable silver). Detailed list available on request. [1500/2500] Illustrated Robert Howard Ramp was born on May 14, 1920 in Cincinnati, Ohio, the son of William S. and Marie Bitzer Ramp. A talented artist, he won a scholarship to the Cincinnati Art Academy, and later attended the Pratt Institute in Brooklyn, New York. After graduation, he was recruited into the Design in Industry program sponsored by the Institute of Contemporary Art in Boston: a collaborative effort to bring the best and brightest of young designers and established manufacturers together. Reed and Barton was at the forefront of this program, hiring Ramp in 1949 and introducing in 1950 their “Contemporary Group” line of modern silver designs, featuring candelabrum and bowls by Ramp, along with designs by Milton P. Hannah and Daniel Pollard. The designs were quite successful, and in 1954 Ramp designed “Silver Sculpture” flatware to be added to the collection. “It was believed to be too extreme,” he recalled. “In surveys it was either extremely liked or extremely disliked. Because of these extremes, it was deemed worthy of production.” Ramp would later design a few pieces of hollowware to go with the pattern. His relationship continued with Reed and Barton for some time, but in 1960 he moved to Rochester, New York, where he was employed by Bausch & Lomb, where he began his most noted collaboration, producing twenty-one different designs of iconic 1960’s Ray-Ban sunglasses. He also did design work for Halston and Donna Karan and, in retirement, worked as a muralist. He died in Rochester on February 26, 2012. For additional information, see Jewel Stern, Modernism in American Silver: 20th Century Design (New Haven/London: Yale University Press, 2007), pp. 199‑207, illustrated p. 206, figure 10.25.

264

1159

1161 One Hundred and Thirty-Seven-Piece Set of International “Royal Danish” Sterling Silver Flatware, the pattern designed in 1939 by Alfred Grover Kintz (1885‑1963), Meriden, Connecticut, including six twelvepiece place settings (one salad fork lacking), with fiftyeight additional place pieces and eight serving pieces, no monograms, 117.04 total t. oz. (weighable silver), presented in a faux alligator fitted and Pacific cloth-lined zipper-top storage case, 3‑1/2” x 21‑1/4” x 12‑3/4”. Detailed list available on request. [2000/4000] Illustrated 1162 Five-Piece International “Royal Danish” Sterling Silver Tea Set, the pattern designed in 1939 by Alfred Grover Kintz (1885‑1963), Meriden, Connecticut, including a coffeepot, h. 9”, a teapot, h. 7‑1/2”, a covered sugar bowl, h. 5‑3/4”, a cream jug, h. 5‑3/8”, and a waste bowl, h. 2‑3/4”, no monograms, 77.07 total t. oz. [1800/2500] Illustrated

1163

1162

1161

1163 Pair of International “Royal Danish” Sterling Silver Convertible Candelabra, the pattern designed in 1939 by Alfred Grover Kintz (1885‑1963), Meriden, Connecticut, each candelabrum in four parts - base, standard, finial socket and branches - permitting them to be arranged as two heights of candlestands, 3‑1/2” and 5‑1/4”, candlesticks, 10‑1/4”, or four heights of candelabra, 8‑1/8”, 10‑1/4”, 13‑1/4” and 15‑1/4”, weighted. [1000/1500] Illustrated

1164

1164 Three-Piece American Silverplate Danish Modern-Style Table Garniture, mid-20th century, including a footed center bowl, h. 4‑1/4”, dia. 9”, and a pair of candlestands, h. 4‑3/4”, dia. 4‑1/8”, the bowl of saucer form, the stands with tall elliptical sockets, all raised on a trio of “scroll-and-bud” supports above a domed base. [500/800] Illustrated

265

1166 Turkish Angora Oushak Carpet, 9’ 5” x 12’ 3”. [1200/1800] Illustrated 1167 Mashad Carpet, 9’ x 13’. [1000/1500]

1165 1165 Fine Gerus Wool and Silk Floral Carpet, 10’ x 14’. [1500/2500] Illustrated

1169

1166

266

1170

1172

1168 Persian Tabriz Carpet, 9’ 10” x 13’ 6”. [3000/5000] 1169 Chinese Lotus Carpet, 9’ x 12’. [900/1200] Illustrated 1170 Savonnerie Carpet, 9’ x 12’. [2000/4000] Illustrated 1171 Agra Serapi Carpet, 9’ x 12’. [1200/1800]

1175 1172 Turkish Angora Oushak Carpet, 10’ x 13’ 7”. [1500/2500] Illustrated 1173 Kerman Carpet, 7’ 8” x 12’ 5”. [700/1000] 1174 Turkish Angora Oushak Carpet, 9’ 8” x 14’ 5”. [1800/2500] Illustrated 1175 Turkish Angora Oushak Carpet, 8’ 1” x 9’ 8”. [800/1200] Illustrated 1176 Oushak Carpet, 12’ x 13’. [2500/4000] Illustrated

1174

1176

267

I nd e x of A rt i s t s

D e c e m be r 6 - 7 , 2 0 1 4

Adams, Wayman 1009, 1010, 1011, 1012, 1013

Clodion (after) 300, 498

Aizelin, Eugene Antoine (after) 390

Clymer, John 890

American School 863, 879, 883, 904, 905, 906, 944

Cole, James William 327

Anderson, Walter Inglis (after) 927

Continental School 35, 38, 88, 89, 283, 303, 560

Arp, Jean (manner) 1104

Coustou, Guillaume the Elder (after) 1044

Arson, Alphonse-Alexandre (after) 271

Craig, Thomas Bigelow 880

Audubon, John James (after) 857

Cromwell, Joane 889

Bailey, Henrietta Davidson 928

Cundin, Jose Maria 915

Barrias, Louis Ernest (after) 1123

Davey, Randall Vernon 967

Barse, George Randolph 1005

Davis, Warren B. 1006

Basset, Louis 374

De Breanski, Alfred, Sr. 100

Bedsole, Raine 1069

De Breanski, Alfred, Jr. 1050

Berthelon, Eugene 51

De Lisio, Arnaldo 176

Bisschop, Christoffel 391

De Molins, Alfred 392

Bonin, Melissa 1068

Debut, Marcel (after) 512

Bourdelle, Antoine (after) 1153

Del Sarto, Andrea (after) 563

Bouret, Eutrope (after) 450

Domergue, Jean-Gabriel 1117

Bracken, Clio Hinton Huneker 1124

Drysdale, Alexander John 856

Brilliant, Fredda 1080, 1081

Dunbar, George Bauer 824, 825, 826, 827, 1070

British School 113, 532, 536, 1036

Encke, Fedor 970

Buswell, Blair 1108

Epstein, Jacob 1079

Butler, Mary Cable 887, 888

Eyskens, Felix 1067

Cahoon, Charles Drew 974

Fagotto, A. 580

Cambier, Jules 39

Fiedler, Franz 1145

Campbell, John Reed 851

Flemish School 87

Canaletto (follower) 92

French School 36, 90, 93, 94, 264, 385, 1007

Canova, Antonio (after) 157, 462

Gant, James Y. 328

Chiparus, Demetre (after) 1143

Gerbier, Georges 75

Choi, Wook Kyung 1139, 1140

Golden, Rolland Harve 1064

Cholin, G. 275

Graves, Abbott Fuller 847

Clara, Juan (after) 1130

Green, Tony 916, 917, 1057

Claude, Eugene 12

Gschossmann, Ludwig 447

Cloar, Carroll 829

Guerin, Jules 848

I nd e x of A rt i s t s

D e c e m be r 6 - 7 , 2 0 1 4

Guerinot, Marilyn 73

Moreau, Auguste (after) 297, 1131

Guidry, Louise 918, 919

Morris, Robert Lee 1087

Gundlach, James 1066

Mort, Greg 1102

Halse, George (after) 325

Motherwell, Robert 1137, 1138

Heldner, Colette Pope 849, 850

Motto, Joseph C. 1148

Helme, Helge 1099

Murillo, Bartolome Esteban (after) 559

Hill, S. H. 885

Nikutowski, Erich 1085

Horton, Jason 1063

Noble, May 446

Hutchinson, Campbell 1065

Page, Mallory 1059

Icart, Louis 1134

Pascal, Paul 52

Inness, George (attributed) 878

Pautrot, Ferdinand (after) 271

Issa, Victor 1107

Payton, Joseph 535

Jefferson, Joseph, IV 860

Pegram, Alfred Bertram 331

Jonchery, Charles Emile (after) 1119

Piatek, Frank 922

Kahler, Carl 956

Picasso, Pablo 1135, 1136

Karssen, Anton 343

Powell, Cleland 1062

Kaula, William Jurian (manner) 886

Prost, Louis 1132

Kelly, Mary Kirk 305, 306, 307, 308, 310, 311, 312, 313, 314, 315, 316

Ramsay, Allan (school of) 1042

Kirk, Frank C. 1111

Ream, Carducius Plantagenet 302

Kohlmeyer, Ida Rittenberg 822, 828, 830

Rein, Eimerich Johan 884

Kwiatkowski, Alexander 1072

Renard, Paul 76

Larche, Francois-Raoul 1121

Robbe, Louis 338

Lear, Edward (circle) 105

Robert, Louis Valentin Elias (after) 460

Lebourg, Charles-Auguste 395

Rodde, Michel 1115

Lefort, Jean 72

Rodrigue, George 823

Lely, Sir Peter (school) 96

Romano, Emanuel 1074

Levier, Charles 1116

Roseland, Harry Herman 954

MacGilvary, Norwood Hodge 1008

Rubens, Peter Paul (after) 566

MacMonnies, Frederick William 443

Rucker, Robert 852, 853

Meeks, Jamie 1088

Ryder, John S. 881

Melhuish, Arthur James 330

Sanmartin, Antoni Clave 1098

Mene, Pierre-Jules (after) 1043

Sauvage, Piat Joseph (circle) 91

Michalopoulos, James 914, 1058

Sauvageau, Louis (after) 492

Moigniez, Jules (after) 272

Schulte, Antoinette 1114

I nd e x of A rt i s t s

D e c e m be r 6 - 7 , 2 0 1 4

Scottish School 259 Sellini, Romolo 159

Glossary

Sheppard, Warren W. 882 Slonem, Hunt 920, 1060 Smith, Paul Kauvar 1112 South American School 1113 Southern School 859 Stebly, Christopher Inglis 926 Stevens, Will Henry 924, 925 Stewart, Allison 921, 1061 Swenson, Richard 1071 Syer, John 1033 Takasawa, Keiichi 609 Ten, Kate Mari 265 Toyohara, Chikanobu 603, 604 Utagawa, Hiroshige 607 Utagawa, Kunisada 606, 607 Utagawa, Kuniyoshi 605 Van der Plas, Niek 71, 74 Van der Pol, Louis 376 Van Kuyk, Jean Louis 319 Van Scorel, Jan (follower) 139 Walker, William Aiken 854 Williamson, John 877 Williamson, William Henry 117 Wise, Vera 858 Woodward, William 855 Wright, Don 923

New Orleans Auction Galleries does not make any express or implied warranty as to the authorship of works of art and fine art. Please note that all of the terms and descriptions used in this catalogue are intended as our qualified opinions only and are subject to the Conditions of Sale set forth elsewhere. The Artistâ&#x20AC;&#x2122;s Name: In our qualified opinion, a work by the artist. Attributed to: In our qualified opinion, a work of the period of the artist that may be in whole or in part the work of the artist. School of: In our qualified opinion, a work by a follower of the artist. Circle of: In our qualified opinion, a work of the period of the artist and showing his/her influence. Manner of: In our qualified opinion, a work in the style of the artist, possibly of a later period. After: In our qualified opinion, a copy of a known work by the artist. Signed: In our qualified opinion, has the signature which is that of the artist. Bears Signature: In our qualified opinion, has a signature which may be the signature of the artist. Dated: In our qualified opinion, is so dated and was executed on or around that date. Bears Date: In our qualified opinion, is so dated and may have been executed at about that date.

Conditions of Sale: 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. (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.

2. Before the Auction (a). ALL SALES ARE “AS IS, WHERE IS” WITH NO EXPRESS OR IMPLIED WARRANTIES WHATSOEVER. (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.

(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).

(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.

(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; (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 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.

New Orleans Auction Galleries 801 Magazine Street • New Orleans, LA 70130 • 800-501-0277 • 504-566-1849 Fax: 504-566-1851 • Email: info@neworleansauction.com

R E Q U E S T F O R C O N D I T I O N R E P O RT S Condition reports are completed in the order in which they are received. Please allow ample time for large requests. Condition reports will not be given verbally. Photo requests will only be processed for items not illustrated in our catalog or website (www.neworleansauction.com). Detail photographs will be provided at our discretion.

Name (Please Print): _____________________________________________ Date: ____________ Email Address: _______________________________ Phone: (_______)______________

Fax: (_______)_______________

Please Circle Preference: Me t h o d o f R e c e iv in g R ep o r ts: Fax / Mail / Em ail M e t h o d o f R e c e ivin g P h o to grap h s: Mail / Em ail Lot # Description Special Requests ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________

Please submit this form by 5:00 p.m. two days prior to the first day of the auction.

New Orleans Auction Galleries

801 Magazine Street, New Orleans, LA 70130 • (504) 566-1849 • Fax (504) 566-1851 info@neworleansauction.com • www.neworleansauction.com

Wire Transfer Information: Whitney Bank 228 St. Charles Avenue New Orleans, Louisiana 70130

ABA Routing Number . . . . . . . . . . . . . . . . . . . . . . . . . . . 065400153 Escrow Account Number. . . . . . . . . . . . . . . . . . . . . . . 047034504

International Wire SWIFT Code. . . . . . . . . . . . . . . . WHITUS44 Credit to: Cakebread Art Antiques Collectables Inc. 801 Magazine St. • New Orleans, Louisiana 70130 NEW ORLEANS AUCTION DOES NO SHIPPING OR PACKING Our clients have successfully used the following drayage companies:

Company

Telephone

Fax

E-mail

Bayou Movers. . . . . . . . . . . . 504-228-3827. . . . . . . . 504-324-9116. . . . . . . . . . . bayoumoversla@gmail.com Craters & Freighters . . . . 800-733-0310. . . . . . . . 504-733-3679. . . . . nola@cratersandfreighters.com Rancho Buck. . . . . . . . . . . . 404-441-4994. . . . . . . . 404-524-9129. . . . . . . . . . . . ranchobuck3@yahoo.com The Box. . . . . . . . . . . . . . . . . . 800-568-2699. . . . . . . . 504-568-0285. . . . . . . . . . . woodenbox@bellsouth.net The UPS Store #4539 . . . . . 504-523-3293. . . . . . . . 504-523-2406. . . . . . . . . . store4539@theupsstore.com Specialty Pack & Ship Co. 504-304-3969. . . . . . . . 504-304-4640. . . . loufou@specialtypackandship.com Vintage Transport Svcs. .800-333-0056. . . . . . . . 404-733-6220. . . . . . . . . . info@vintagetransport.com Wintersteen Trucking. . . 800-253-0617. . . . . . . . 785-543-6105. . . . wintersteentrucking@yahoo.com Pakmail. . . . . . . . . . . . . . . . . . 800-230-5229. . . . . . . . 504-393-1232. . . . . . . . . . . . . . . pakmail493@yahoo.com rev 09/23/14

New Orleans Auction Galleries 801 Magazine Street • New Orleans, LA 70130 • 800-501-0277 • 504-566-1849 Fax: 504-566-1851 • Email: info@neworleansauction.com

Absentee / Telephone Bid Form Name (Please Print): ______________________________________________ Date: ____________________ Business Name: ______________________________________________________________________________ Dealer Resale # (Dealers must also sign official State of Louisiana document): _________________________ Address: ____________________________________________________________________________________ City: _____________________________________________ State: ____________ ZIP: _________________ Telephones: Work (_____)_____________ Home (______)______________ Fax (______)_____________ E-mail Address: _____________________________________________________________________________ Conditions of Sale: Conditions of sale are as set forth in the applicable New Orleans Auction Galleries catalogue. Placing a telephone bid and/or absentee bid in the auction constitutes acceptance of all Conditions of Sale posted by NOAG as amended by any posted notices or oral announcements during the sale.

Lot #

Bid Amount (not including buyer’s premium) OR Telephone Number to Call:

$ $ $ $ $ $ $ $ $ VISA / MasterCard #: ____________________________________________ CVV #: _______________

Expiration Date: __________

I have read and agree to the Conditions of Sale. I agree that a buyer’s premium will be charged on each lot purchased at 23% up to and including $200,000 plus 10% of the hammer price greater than $200,000. For purchases made by cash, check or wire transfer, the buyer’s premium shall be discounted 3% of this 23%. Your signature on this form constitutes permission to charge successful bids to your credit card, including the 23% buyer’s premium, if payment is not received within five days of the auction.

Signature (Required): __________________________________________________________________________

Please fax this form by 5:00 p.m. the day before the auction to 504-566-1851 or scan and email to info@neworleansauction.com

absentee/telephone bid form (continued) Name (Please Print):

Lot #

______________________________________

Bid Amount (not including buyerâ&#x20AC;&#x2122;s premium) OR Telephone Number to Call:

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

New Orleans Auction Galleries Susan D. Krohn

Tessa Steinkamp

CEO

Director of Auctions

Ashton Thomas President

consignments FINE ARTS:

ASIAN FINE & DECORATIVE ARTS:

DECORATIVE ARTS:

Jelena Restovic James

Continental and American; Prints and Maps

Ireys Bowman

Continental and English

Felicia Sailey Yao

British and American; Sculpture

American, Continental and English

Greg S. Kowles

BOOKS, MANUSCRIPTS & EPHEMERA:

FURNITURE:

Thomas Halverson

Charles C. Cage

Michele M. Carolla

American

Ireys Bowman

Jewelry:

SILVER:

Continental and English

Kim Lemon

Charles C. Cage

Greg S. Kowles

American, Continental and English

Thomas Halverson

FINE CARPETS & TEXTILES:

MUSEUM & NON-PROFIT SERVICES:

Sean Ranson

American

Jelena Restovic James

administration Kim Lemon

Gary Michael Gittelson

Charles C. Cage

ReneĂŠ Gautreaux

Customer Service Manager

Office Manager

Burke

Designer

auctioneers Tessa Steinkamp Ashton Thomas Robin Ruiz Michael DeGeorge

Photographer

Colleen Ryan

Director of Human Resources

Denise Haik

Office Administration

Christa Ougel

Graphic Designer; Marketing

Taylor Eichenwald

Marketing & Public Relations

consultants

ope r at ion s

Ellen McKenzie

Cedric Roberts | Sean Ranson

English and Continental Furniture

Ira Savoie

Independent Certified Gemologist Appraiser

Bryce Reveley

Textiles; Vintage Couture

James Callahan Asian Arts

Bennie Amos | Eddie Daigrepont Emmitt Kendrick, Jr. Gerald Hampton | Juanita Bazile Sol Carter | Thomas Johnson David Abney