Winter Estates Auction: December 4-6, 2015 by New Orleans Auction Galleries

New Orleans Auction Galleries D E C E M BE R 4-6, 2015

Exhibition: N ove m b e r 2 3 - D e c e m b e r 3 , 2 0 1 5 9:00 a.m. - 5:00 p.m. ( C l o s e d Th a n k s g iv i n g D ay a n d S u n d ay )

E ve n i n g P r e v i e w R e c e p t i o n : Th u r s d ay, D e c e m b e r 3 , 2 0 1 5 5:00 - 8:00 p.m.

Session I: Fr i d ay, D e c e m b e r 4 , 2 0 1 5 1 : 0 0 p . m . C S T, L o t s 1 - 2 6 5

Session II: S a t u r d ay, D e c e m b e r 5 , 2 0 1 5 1 0 : 0 0 a . m . C S T, L o t s 2 6 6 - 7 9 8

Session III: S u n d ay, D e c e m b e r 6 , 2 0 1 5 1 0 : 0 0 a . m . C S T, L o t s 7 9 9 - 1 2 2 6

Fe a t u r e d P r o p e r t y : Th e L a u r é C h u s t z F l a t t C o l l e c t i o n P r o p e r t y f r o m t h e Pe r s o n a l C o l l e c t i o n o f Pa u l R o s e n t h a l , I n c l u d i n g I t e m s f r o m h i s G ra n d f a t h e r, Noted Antiquarian Henry Stern, New Orleans, LA and Baton Rouge, LA Th e E s t a t e o f A n n H oy, H o u s t o n , T X Th e E s t a t e o f B e r t h a S t a m b u l i e , H o u s t o n , T X P r o p e r t y f r o m t h e Pe r s o n a l C o l l e c t i o n o f D a n i e l Te n n e n b a u m , S a n Fra n c i s c o , CA a n d H o u s t o n , T X P r o p e r t y D e s c e n d e d i n t h e K h a n Fa m i l y o f t h e P r i n c e l y S t a t e o f M a l e r k o t l a , I n d i a S a n Fra n c i s c o , CA P r o p e r t y S o l d t o B e n e f i t M o u n t S i n a i M e d i c a l C e n t e r, M i a m i B e a ch , F L P r o p e r t y D e s c e n d e d i n t h e S t ra t t o n & M e r r i l l Fa m i l i e s t o t h e C u r r e n t O w n e r, N a t ch e z , M S

New Orleans Auction Galleries 504-566-1849 | 800-501-0277 | 333 St. Joseph Street, New Orleans, Louisiana 70130 | NewOrleansAuction.com | Info@NewOrleansAuction.com La Auction License Ab-363, Steinkamp #1265, Thomas #1833, Eichenwald #1922/25% Buyer’s Premium (3% Discount For Prompt Payments Made By Cash, Check, Or Wire)

O c t obe r 1 6 - 1 8 , 2 0 1 5 E s tat e s A u c t i on E vening Previe w Reception

Lisa Conrad And Megan Keller; Bob Mazur, Betty Norris And Beth Mazur; Kay French And Barbara Migliara; Tom Cianfichi And Bryan Batt; Greg Kowles And Wilson Simmons; Monsour Taghdisi and Judy Oudt; Burke, Sandy Turner And David Taylor; Morton Cohn And Sheila Ultes, Donna And Tony Vallone

Letter from the CEO

Looking back over the years, the holiday season, one of my favorite times of the year, has become a lovely blend of happiness and wonderful memories. However, the Christmas Eve when I was six years old, anticipating the magic of the holiday as only a child can, is one that stands out in exceptionally vivid detail. My family lived in a farmhouse outside of Denver, the kind that was built in the 1930s – small and drafty with a temperamental heater. My mom, from whom I must have gotten my love of the holidays, was a wonderful cook. The house was filled with tempting aromas of turkey, cookies, pies and other goodies throughout the day. Once we ate until we could eat no more, snow began to blanket the outdoors, and, of course, the electricity went out. But the fire was roaring and Mom had wisely placed candles throughout the house.

The list below should be read to the tune of The Twelve Days of Christmas.

One, two, three, start humming, please!

On the first day of auction, NOAG

brings to you…1 Spectacular Emerald

and Diamond Pendant, 2 Silver Sleighs,

3 Diamond Rolexes, 4 Andy Warhol Screen Prints, 5 Works by George Rodrigue, 6 Pieces of Vintage Louis Vuitton Luggage, 7 Paintings by Camille Bombois, 8 Pieces of Lalique, 9 Antique Netsukes, 10 Pieces of Wedgewood, 11 Copper Pots and Crescendo Now - 12 Vintage Fornasetti "Citta di Carte" Plates!

I was particularly excited that year because it had been widely broadcast that Santa would be flying through the sky in the form of a comet. At 9:30 p.m., the appointed time, my dad – a tall, dyed-in-the-wool Navy man – and I stood bundled up in the yard, holding hands in the quietly falling snow, watching for Santa. And sure enough, I know I saw his blazing sleigh traveling across the night sky. Santa outdid himself that year bringing exactly what I longed for with every fiber of my six-year-old being: a cowgirl outfit with real leather boots. My mother often laughingly reminded me through the years of how she had to wash it at night because I wore that cowgirl outfit every day for the next year. That year was perfect. I believed in everything Christmas with my whole heart. Everyone at New Orleans Auction Galleries has been working like elves to bring you the most wonderful holiday season you can imagine. All in all, we are offering a combination of six tremendous collections and estates that would make Santa proud! Please join us for our preview party on Thursday, December 3, from 5 p.m. to 8 p.m., for a little holiday cheer and some fabulous viewing. NOAG is presenting 1,226 holiday possibilities, beginning Friday, December 4 and continuing through Sunday, December 6. As always, we have saved you a cozy chair along with holiday treats and drinks served throughout the auction. Memories are a priceless gift in and of themselves. Wherever you are in the world – however you celebrate this season of mystery, magic and awe – the NOAG family wishes you much wonder, love and, most of all, beautiful memories.

Susan D. Sarofim, CEO

The L au rÉ Chustz Fl at t Col l ection

The Flatt Collection contains a diverse selection of 19th and 20th century French paintings and sketches, representing a wide range of styles with works by Maximilien Luce, Camille Bombois, Jean Dufy, Sam Szafran, André Bauchant, Ferdinand du Puigaudeau and François Gall. In addition, the sale features a group of 18th and 19th century English and Continental wooden lay figures, including several rare and early examples. Lauré and Lloyd Flatt met in New Orleans in 1992 and married in 1999, remaining together until Lloyd’s death in 2008. They shared a passion for travel, frequenting homes in London, Antigua and Virginia, as well as shops, dealers and auction houses throughout the world. Lauré’s late husband was a successful aerospace engineer and executive and was hailed as “one of the country’s premier wine collectors” in an obituary by The Washington Post. Fellow collectors recognized him for his sophisticated palate and his willingness to enjoy rare and highly sought-after wines with family and friends at renowned tastings in his 15,000-bottle wine cellar in the heart of the French Quarter. The sale includes a unique selection of antique corkscrews, wine coolers, funnels, sterling silver wine labels, porcelain wine casket labels and other wine and bar accessories from Lloyd Flatt’s personal collection. Lauré and Lloyd shared a love for collecting, amassing an impressive and important array of fine art, antique furniture, decorative arts, jewelry and silver. On selling items from their collection, Lauré said: “I know that Lloyd would want others to have the opportunity to enjoy these fine objects as much as we did. I have now reached a time in my life to downsize our collection and share these treasures with other collectors.” Lauré and Lloyd’s discerning taste and meticulous stewardship is evident in the range and quality of items offered. New Orleans Auction Galleries is honored to have been selected to handle The Flatt Collection.

Pr ope rt y f r om t he Persona l Collection of Pa ul R o senth a l I nc lu ding I te m s I nhe r i te d fr om hi s G r a ndfather, Noted Antiqua ri a n He nry Ste rn Ne w Orleans, louisiana and Baton R ouge, louisiana

Born in New Orleans in 1896, Henr y Stern brought the clarity of a scientif ic mind and the sophistication of a polished uptown gentleman to the antiques trade. Stern opened Henr y Stern Antiques in 1916 at 329 Royal Street. Renowned for his remarkable knowledge of antiques, Stern was committed to educating his customers, particularly young collectors. By the 1940s, Henr y Stern Antiques was known as one of the f inest shops on Royal Street. In both his shop and his personal collection, he strived to f ind the purest period pieces, a talent for which he was well regarded by clients throughout the countr y. Stern’s grandson, Paul Rosenthal, began helping his grandfather at 15 years old, working in the warehouses and surrounding himself with the furniture his grandfather had carefully selected. Stern took his grandson on extensive buying trips throughout Europe, primarily England, France and Italy, teaching him the trade and cultivating Rosenthal’s discerning eye. The shop remained open until Stern’s death in 1993.

Henry Stern in his Royal Street shop

New Orleans Auction Galleries was selected to offer the contents of Henry Stern Antiques in 1996, and we are pleased to now offer items from Stern’s personal collection descended in his family. Items offered in this sale include European and Asian fine art, furniture and decorative arts from Stern’s personal collection.

The Estate of Ann Hoy Houston, Te xa s

Ann Horrigan Lyon Hoy was born on February 4, 1931 in Tulsa, Oklahoma to Ruth Mize Horrigan and Joseph Raymond Horrigan. She attended St. Agnes Academy in Houston and Sweetbriar College in Virginia. While Ann was attending college her father died suddenly, and she was forced to return home to Houston before finishing her education. She was presented as an Allegro Debutante in 1952, and in 1953 married James E. Lyon, a prominent banker and real estate developer. The couple had three daughters together. Ann was a dedicated member of the Houston community. She contributed to numerous charitable initiatives and dedicated her time to community organizations including the Pin Oak Charity Horse Show, The Opera Guild, The Easter Seal Society and The Kinkaid School. Ann and James were also members of the Coronado Club, The Petroleum Club and River Oaks Country Club. Both Ann and James were active in politics, supporting many candidates in the early years of the Republican Party in Houston. The couple also supported many national campaigns. Ann was particularly proud of her efforts on behalf of the campaign to elect Ronald Reagan. Recognized for her tireless efforts to help and champion those seeking a path to sobriety, Ann served on the Board of Directors for the National Council on Alcoholism and Drug Abuse, Father Martinâ&#x20AC;&#x2122;s Ashley and The Houston Council on Alcoholism. In 2004 she was awarded the Waggoner Service Award for her impactful work for the cause. Ann was also passionate about family and pets. She loved animals and was involved with showing American Saddlebred Horses with her daughters. She had an affinity for Italian Greyhounds, owning and fostering numerous dogs of that breed. She belonged to the Italian Greyhound Club of Greater Houston. She loved spending time with her children, grandchildren and great-grandchildren and hosted an Easter egg hunt for the youngest just three weeks before her death. Ann became a licensed realtor and began a long and successful career with John Daugherty Realtors, where she was named a Top Producer. In 1980 she married Matthew D. Hoy to whom she remained married for 25 years until his death. New Orleans Auction Galleries is pleased to offer antique furniture, paintings and decorative arts from the Estate of Ann Horrigan Lyon Hoy.

The E state of Bertha Sta mbulie Houston, Te xa s

Bertha Stambulie was born on May 6, 1941 in Bogota, Colombia. As a young woman, she moved to the United States, eventually settling in Houston, Texas. She married Dr. Roberto Stambulie and remained with him until his death. Bertha had a passion for antiques and interior design, incorporating both into her successful business, Classic Gifts & Antiques, which she owned and operated for over twenty years. Specializing in period European furniture and decorative arts, she would regularly go on buying trips in France, Spain and Germany. She also loved expanding her knowledge about the various periods and styles that she dealt in, attending courses at Rice University. Clients from around the world relied on her expertise and would flock to Houston when a new container arrived. She enjoyed meeting new people and became close friends with many clients over the two decades that she was involved in the antiques business. New Orleans Auction Galleries is delighted to offer fine antiques from the Estate of Bertha Stambulie.

Pr opert y fr om the Personal Collection of Daniel Tenenbaum San Fr ancisco, California and Houston, Te xa s

Daniel â&#x20AC;&#x153;Danâ&#x20AC;? Tenenbaum, owner and manager of D. Tenenbaum, Inc., has been active as a buyer, seller, collector and appraiser of fine estate and antique jewelry, jade, gems, silver, paintings and sculpture. In 1964, he opened Connoisseur Antique Gallery in Houston, Texas, which he later merged with D. Tenenbaum, Inc. In 1990, he acquired the prestigious firm of Gus Farber, Estate Jeweler and Appraiser in San Francisco, California. Gus Farber was the oldest active appraiser of silver, jewelry and watches in Northern California at the time. Mr. Tenenbaum has been certified as a member of the Appraisers Association of America since 1978. He is a long-time member of the International Watch and Jewelers Guild and the National Association of Watch and Clock Collectors. He has also given numerous lectures and seminars on estate and antique jewelry and jade, as well as literary contributions to numerous periodicals. His expertise in archaic jades was used to appraise and authenticate a large collection for a major Southern California museum. Dan Tenenbaum founded the Estate Jewelers Association of America, the only international trade organization of estate jewelers and has served as its president from 1992 to 1999 and was the publisher of the Estate Jewelers Association of America Magazine. He was also director of the Authentication Laboratory of the Estate Jewelers Association of America and the creator of the annual Las Vegas Antique Jewelry and Watch Show. With his extensive knowledge and large resource library, Dan continues to maintain an active role in the antique business in the Bay Area, serving as a resource to many dealers and collectors who seek his advise and opinion on a wide range of subjects. New Orleans Auction Galleries is delighted to offer a selection from his personal collection, including fine Georgian silver, R. Lalique art glass, antique furniture, sculpture and fine art.

Pr opert y Descended in the Khan Fa mily of the Princely State of M alerk otl a, India San Fr ancisco, California

The State of Malerkotla, in Punjab, India, was established in 1600, became a British protectorate in 1809 and was the seat of the British Raj from 1858-1947. The socially and politically prominent Khan family (descendants of the Nawabs of Malerkotla), along with numerous other influential families, migrated to Pakistan during the partition of India in 1947. The family then moved to Lisbon, Portugal, before settling in Virginia; items offered in this sale were acquired in Pakistan, Portugal, and Virginia and descended in the family. Pictured here are both the Honourable Nawabzada Khurshid Ali Khan (b. 1909), son of Nawab Sir Zulfiqar Ali Khan (1875-1933), and his family. The Honourable Nawab Sir Zulfiqar Ali Khan was born in 1873 and was educated at Aitchison College, formerly Chiefs College, in Lahore, Pakistan (formerly part of the British Raj). He was appointed Extra-Assistant Commissioner at Ludhiana, but resigned in 1895. He was also a member of the Punjab Chiefsâ&#x20AC;&#x2122; Association and the Legislative Council of His Excellency the Viceroy in 1910, and as the Chief Minister of the Patiala State. He died 26 May 1933. His son, the Honourable Nawabzada Khurshid Ali Khan also attended Aitchison College, Cambridge Preparatory School in Dehradun, India, and was later educated privately in England. New Orleans Auction Galleries is pleased to offer a selection of fine art, furniture and decorative arts descended in the Khan family.

S ession I F riday, December 4, 2015 Lots 1 - 265, Begin s at 1:00 p.m.

1 : 00

2: 0 0

2 : 00

3: 0 0

100 - 199

3 : 00

3: 4 5

200 - 265

Lot 80

3 Pair of Chinese Terracotta Horse Heads, Han Dynasty (206 BC-220 AD), the pair of finely-rendered terracotta horse heads with traces of red and white pigment, each with a wooden stand, overall, h. 13”, w. 3‑3/4”, d. 11”. Provenance: Christie’s East, New York, September 22, 1998, lot 12; The Flatt Collection. [1500/2500] Illustrated Similar examples can be found in the Victoria and Albert Museum, London, United Kingdom, and the Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York.

1 1 Chinese Painted Gray Pottery Equestrian Figure, Han Dynasty (206 BC-220 AD), the figure of a cavalry officer dressed in a red, white and black tunic astride a muscular horse, standing four square, h. 11”, w. 4”, l. 10‑1/8”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [1200/1800] Illustrated 2 Chinese Painted Pottery Soldier, Han Dynasty (206 BC-220 AD), the painted terracotta figure of a bearded Han soldier wearing a black vest over a black, red and white tunic, the figure’s left hand hanging along its side, and its right hand raised as though holding a spear or sword, h. 18”, w. 7”, d. 4‑1/2”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [1800/2500] Illustrated

A 2nd century BC figure similar to this example can be found in the Musee Guimet, Paris, France.

4 Two Chinese Sancai Pottery Figures of Civic Officials, Tang Dynasty (618‑906), probably 8th century, the two figures dressed in typical Tang court robes consisting of a garment with flowing sleeves over a long gown, each wearing a hat consistent with styles typified by Tang courtiers, on carved wooden stands, figure, h. 23‑1/4”, w. 5‑1/2” and h. 22‑1/2”, w. 5‑3/4”. Provenance: The Flatt Collection. [2000/4000] Illustrated

Figures like this appear in the permanent collections of many prestigious institutions including the Honolulu Academy of Arts, Honolulu, Hawaii, the New Orleans Museum of Art, New Orleans, Louisiana, the Metropolitan Museum of Art, New York, the British Museum, London, United Kingdom, and the Musee Guimet, Paris, France.

6 Chinese Dingyao Porcelain Bowl, probably Song Dynasty (960‑1279), the exterior decorated with a molded petal motif, the interior incised with a depiction of two swimming fish, h. 2‑1/4”, dia. 5‑1/4”. [800/1200] Illustrated A bowl with like characteristics sold at Christie’s, London, on November 7, 2012.

7 8 5 Chinese Painted Pottery Figure of a Prancing Horse, Tang Dynasty (618‑906), a lively depiction of a dressage horse with raised right and front legs, with a cloth-covered saddle draped across the figure’s back, traces of red, black and white pigments, presented on an ebonized wood base, figure, h. 20‑1/2”, w. 7”, l. 24‑1/2”, overall, h. 22‑1/4”, w. 8”. Provenance: Christie’s East, New York, September 22, 1998, lot 1; The Flatt Collection. [2000/4000] Illustrated

7 Chinese Dingyao Porcelain Bowl, Song Dynasty (960‑1279), the rounded bowl with steep, finely potted sides and a small foot, the interior with floral scroll decoration, the edge of the interior adorned with a fret border along the metal-bound rim, h. 1‑3/4”, dia. 4‑/4”. Provenance: International Auction Company of China, Hong Kong, China. [900/1200] Illustrated Originating in Hebei province, Ding porcelains reflected the subtlety and elegance of Song Dynasty courtly tastes. Ding ware vessels were finely potted, typically bore carved and incised decoration and were often edged in copper, silver and gold. Fine Dingyao bowls like this one can be found in the permanent collections of the National Palace Museum, Taipei, Taiwan and the Metropolitan Museum of Art, New York, New York. A very similar bowl sold at Christie’s, New York on March 15‑16, 2015. 8 Chinese Cizhou Flask, Song Dynasty (960‑1279), the round vessel with a compacted mouth and two small handles, the body decorated with a figure set among leaves, the reverse of the vessel carved with a pattern of lotus petals, h. 6”, w. 11”, dia. 10”. Provenance: The National Museum of the Philippines, Manilla, Philippines. [1500/2500] Illustrated

Cizhou pottery was a type of heavily-potted and freelydecorated stoneware that was widely produced from the Song Dynasty (960‑1279) through the Yuan Dynasty (1279‑1368).

9 9 Fine Chinese Longquan Celadon Charger, Ming Dynasty (1368‑1644), the pale green-glazed dish with an everted rim, the inner surface covered with an incised lotus scroll pattern, h. 2‑3/4”, dia. 16‑1/2”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [700/1000] Illustrated

12 Chinese Wucai Porcelain Vase, Qing Dynasty (1644‑1911), probably Kangxi reign (1662‑1722), the meiping-form vessel with a small removable lip, the body of the vase decorated with a pair of phoenixes and flaming pearls set among wispy ruyi clouds, the underside marked with two Kangxi concentric circles in underglaze blue, h. 6‑1/2”, w. 4‑1/4”. Provenance: Collection of Henry Stern, New Orleans, Louisiana, to his grandson Paul Rosenthal, Baton Rouge Louisiana. [800/1200] Illustrated

10 Chinese Pottery Roof Tile Finial, probably Ming Dynasty (1368‑1644), the foo dog with a pair of lotus blossoms, in sancai glazes of primarily aqua and dark blue, a small pup sitting beneath the figure’s left front paw, h. 18‑1/4”, w. 19‑1/2”, d. 17‑1/4”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [700/1000] Illustrated

13 Chinese Famille Verte Porcelain Vase, Qing Dynasty (1644‑1911), 19th century, the thickly-potted cylindrical vessel with a flat extended rim, decorated with a scene of three beauties and a small boy frolicking in an elegant garden setting, h. 19‑1/2”, dia. 9‑1/2”. [800/1200]

11 Pair of Chinese Porcelain Bowls, Qing Dynasty (1644‑1911), possibly Kangxi (1662‑1722), each of the footed green-glazed bowls with a flared lip, the center of each bowl’s interior decorated with a lingzhi mushroom, the outside of each bowl decorated with incised and glazed peonies and lotus sprays, the underside of each bowl marked with a lingzhi mushroom encased in two concentric circles in underglaze blue, h. 2‑5/8”, dia. 8‑3/4”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [900/1200] Illustrated

14 Chinese Porcelain Bottle Vase, Qing Dynasty (1644‑1911), 19th century, now mounted as a lamp, the yellow-ground vase with a long neck and round body, decorated with an incised pattern of foo dogs and peonies in green, brown and blue, with two taotie lugs on each side of the vase, not drilled, vase, h. 10‑3/4”, overall, h. 28‑1/2”, w. 7”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [800/1200] Illustrated 15 Chinese Porcelain Bottle Vase, Qing Dynasty (1644‑1911), 18th/19th century, the bottle-form vessel with a long cylindrical neck over a globular body, decorated with a lively green dragon set among ruyi clouds, vase, h. 12‑3/4”, overall, h. 27‑1/2”, w. 7”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [1200/1800] Illustrated

16 Unusual Chinese Flambe-Glazed Vessel, Liukongping, Qing Dynasty (1644‑1911), probably 19th century, the purple flambeglazed jar with six long slender necks, each with a white mouth rim, on a carved wooden stand, vessel, h. 15”, overall, h. 20”, w. 9”. [600/900] Illustrated 17 Chinese Longquan Blue Celadon Tripod 16 Censer, Qing Dynasty (1644‑1911), probably 19th century, with banded decoration and small ruyi-form feet, h. 3”, dia. 7‑7/8”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [600/900]

18 Chinese Porcelain Gourd-Shaped Wine Vessel, Qing Dynasty (1644‑1911), late 19th/early 20th century, the blueglazed vessel decorated with a pattern of vines, small gourds and auspicious characters in raised relief, and fitted with a lid also in the form of a gourd, h. 3”, w. 3‑1/4”, l. 6‑1/4”. [700/1000] Illustrated 19 Chinese Stoneware Fahua Jar, Qing Dynasty (1644‑1911), 19th century, decorated in relief with immortals standing in a garden, glazed in blue and purple against a blue ground, with a carved and pierced wooden stand, h. 11‑1/2”, w. 14”. [700/1000] Illustrated

20 Three Chinese Pottery Foo Dogs, 20th century, including a male and female pair on lotus bases and another figure shown playing with a ball, all intricately detailed and glazed in vibrant colors, h. 11‑1/2” to 14”, w. 6‑3/4” to 7‑1/2”. [900/1200]

21 Rare Chinese Famille Noir Porcelain Censer, Qing Dynasty (1644‑1911), 19th century, in the form of a recumbent Pekingese, h. 5‑1/2”, w. 4‑1/2”, l. 6‑5/8”. Provenance: Christie’s East, New York, January 20, 1998, lot 516; Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [700/1000] Illustrated

22 Pair of Chinese Famille Verte Porcelain Cylindrical Vases, Qing Dynasty (1644‑1911), 19th/20th century, each decorated with ducks swimming in a lotus pond, the underside of each marked with a four-character Shende tang inscription in underglaze blue, h. 11‑3/4”, dia. 6‑3/8”. [600/900] 23 Pair of Chinese Celadon Zun-Form Vases, late Qing Dynasty (1644‑1911), 19th century, the vases with white foliage, flowers and fruit against a celadon ground, h. 15‑1/4”, dia. 10”. Provenance: Collection of Henry Stern, New Orleans, Louisiana, to his grandson Paul Rosenthal, Baton Rouge, Louisiana. [800/1200] Illustrated

24 Chinese Famille Rose Porcelain Libation Lotus Cup, Qing Dynasty (1644‑1911), ca. 1908, with brightly enameled pink petals, yellow stamen and green stem, inscribed and dated the 34th year (1908) of the Guangxu reign (1874‑1908), h. 2‑1/2”, w. 4‑7/8”, l. 7‑3/8”. [800/1200] Illustrated 25 Chinese Wucai Porcelain Vase, Qing Dynasty (1644‑1911), probably 18th/19th century, now mounted as a lamp, with gilt-bronze mountings, the vase decorated with phoenixes set among peonies and dense green foliage, vase, h. 15‑3/4”, overall, h. 27‑1/2”, dia. 7”. [600/900] 33

26 Pair of Chinese Porcelain Rectangular-Form Vases, Qing Dynasty (1644‑1911), 19th century, each with two foo dog lugs and decorated with a scene of figures in an idyllic palace garden with scholar’s rocks, prunus trees and banana leaves, h. 12”, w. 6”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [700/1000] Illustrated 27 Chinese Porcelain Mille Fleur Vase, Meiping, Qing Dynasty (1644‑1911), late 19th/ early 20th century, the vase with a prominent shoulder, tapered form and small contracted neck, lavishly decorated with an array of fruit and flowers, a turquoise ground interior and underside, with an apocryphal Qianlong mark on the base in underglaze blue, h. 15‑3/4”, dia. 9”. [900/1200] Illustrated

30 Chinese Hardwood Altar Coffer, Liansanchu, Qing Dynasty (1644‑1911), late 19th century, the coffer with three drawers, each with a swing handle, the carved apron with reticulated scrolling sides, decorated with dragons, h. 33”, w. 67‑1/2”, d. 18‑1/4”. [1400/1800] Illustrated

31 Pair of Chinese Rosewood Plant Stands, 20th century, each with a pierced frieze and stretcher, over molded feet, h. 41‑1/4”, dia. 17”. [600/900] Illustrated 32 Chinese Six-Panel Coromandel Screen, 20th century, the black lacquer folding screen with one side depicting courtly beauties on a palace terrace engaged in leisurely pursuits, with incised arrangements of flowers on the reverse of each panel, overall, h. 72‑1/4”, w. 81”. [800/1200] Illustrated 33 Chinese Eight-Panel Coromandel Screen, Qing Dynasty (1644‑1911), late 19th/early 20th century, the large black lacquer folding screen with a kui dragon and roundel border around a palace scene with courtiers, guards and elegant ladies, with fan-shaped gilded reserves with landscapes at the top of each panel and a series of arrangements of flowers in archaic vessels along the sides of the screen, the reverse of the screen decorated with fruit, flowers and scholar’s rocks, overall, h. 96‑1/4”, w. 144”. [1500/2500] Illustrated

28 Pair of Chinese Famille Rose Porcelain Zun-Form Vases, Qing Dynasty (1644‑1911), 19th century, decorated with fruit, flowers, birds and butterflies on a pale celadon ground, h. 15”, dia. 9‑5/8”. [1800/2500] Illustrated 29 Pair of Shanghai Deco-Style Ebonized Round-Back Armchairs, with brass fittings and seat cushions, h. 30”. [800/1200]

36 Chinese Cloisonne Figure of a Recumbent Qilin on Stand, Qing Dynasty (1644‑1911), late 19th/early 20th century, the qilin’s body decorated with tendrils and dragons against a red ground, on a pierced and carved wooden stand, figure, h. 4‑1/2”, w. 8”, d. 2‑1/2”. [700/1000] 37 Pair of Chinese Carved Jade Foo Dogs on Stands, Qing Dynasty (1644‑1911), late 19th/early 20th century, the two standing beasts each carved from pale mottled green and white jade, each with a carved and molded wooden stand, jade, h. 4‑1/4”, w. 2”, l. 5‑5/8”. [600/900] Illustrated 38

38 detail

34 Chinese Carved Jade Group, Qing Dynasty (1644‑1911), 19th/20th century, depicting a vase of flowering prunus limbs beside a small bird perched on a jagged low scholar’s rock, on a pierced and carved wooden stand, jade, h. 8‑3/4”, w. 5”. [1000/1500] Illustrated 35 Chinese Peking Glass Lidded Jar, late 19th/early 20th century, the pale yellow lidded jar decorated with scholar’s rocks and chrysanthemums, inscribed with a verse by the Tang Dynasty poet Tang Yanqian throughout, the underside with an incised four-character Qianlong mark, h. 7”, dia. 3”. [600/900]

38 Chinese Carved White Jade Group of Two Cats and a Dragonfly, Qing Dynasty (1644‑1911), probably 18th century, carved from an even white stone depicting two cats, one holding down a dragonfly under its extended front paw, with a caved wooden stand, jade, h. 2‑5/8”, w. 2”. A very similar carving can be found in the collection of the Palace Museum, Beijing, China. [700/1000] Illustrated 39 Chinese Carved Celadon Jade Group of a Monkey and Peaches, Qing Dynasty (1644‑1911), probably 18th century, the very fine celadon jade carving of a monkey clinging to the side of a couple of large peaches, a bat in its right hand, with a carved wooden stand, jade, h. 1‑1/2”, w. 2‑3/8”, d. 1‑1/4”. [700/1000] Illustrated

40 Chinese Carved Pale Celadon Jadeite Figure of an Immortal, Qing Dynasty (1644‑1911)/Early Republic period (1912‑1949), late 19th/early 20th century, the bearded figure in flowing robes, holding a scroll, on a carved wooden stand, jade, h. 4‑1/2”, w. 2. [600/900]

41 Two Chinese Carved Rock Crystal Figures, one depicting Shou Lao, the god of longevity, holding a peach and standing adjacent to a recumbent deer holding a lingzhi branch in its mouth, h. 8”, w. 5”, d. 2‑1/2”, and the other depicting a recumbent mare and her foal, h. 4‑1/4”, w. 1‑3/4”, d. 2‑1/2”. Provenance: Christie’s, The di Portanova Collection, Friday, October 20, 2000; The Flatt Collection. [500/800] Illustrated

45 44 Pair of Chinese Ancestor Portraits, 20th century, ink and color on silk, framed and mounted on silk, two large portraits of a couple, each seated figure dressed in opulent fur-trimmed robes, 59” x 33‑5/8”. [800/1200] Illustrated 45 Chinese Carved Giltwood Architectural Frieze, Qing Dynasty (1644‑1911), 19th century, depicting figures in a procession with relief elements against a red ground, an inscribed cartouche on either side and three decorative finials over a canopy of leaves, the back of the frieze inscribed with a commemorative caption and decorated with orchids and prunus limbs, h. 24‑1/2”, w. 46”, d. 6‑1/2”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [1500/2500] Illustrated

42 Chinese Carved White Jade “Laughing Twins” Group, Qing Dynasty (1644‑1911), probably 18th century, the evenly toned white jade carving depicting the He He Erxian twins, one holding a lidded box containing a mythical toad, the other holding a lotus stem, on a carved wooden stand, jade, h. 2”, w. 1‑3/4”, d. 1”. [700/1000] Illustrated

43 Chinese Giltwood Figure of a Seated Immortal, Qing Dynasty (1644‑1911), probably 19th century, in a black, red and gilt lacquer throne, flanked by a pair of foo dogs, h. 16‑3/8”, w. 8‑1/2”. [500/800] Illustrated 44

46 Pair of Chinese Reverse-Painted Glass Ancestor Portraits, 20th century, each figure dressed in gold robes, the man seated in front of a dragon screen, and the woman seated in front of panels, depicting a phoenix, crane and peacock, sight 21” x 15”. Framed. [800/1200]

47 one of two

47 Pair of Chinese Ancestor Portraits, Qing Dynasty (1644‑1911), 19th century, ink and color on silk, depicting a lady and dignitary, both seated on tiger-skin covered chairs, 47‑1/8” x 23‑1/2”. Both glazed and framed. Provenance: Personal collection of Daniel Tenenbaum, San Francisco, California and Houston, Texas. [1000/1500] Illustrated 48 Chinese Embroidered Panel, first quarter 20th century, of six ladies in various pursuits in a lavish palace interior, brocade border, 55‑7/8” x 33‑1/4”. [700/1000] Illustrated

48 49 Important Chinese Embroidered Panel, Qing Dynasty (1644‑1911), 17th/18th century, depicting three gold dragons in pursuit of a flaming pearl, amidst ruyi clouds and bats, above a pattern of crashing waves, 28” x 62”. Framed. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [1000/1500] Illustrated 50 A Blue Silk Ground Brocade-Woven Dragon Robe, Jifu or Longpao, probably Guangxu Reign Period (1875‑1908), the rich blue silk embroidered with gold dragons, bats, flaming pearls and ruyi clouds over a pattern of cresting waves, the cuffs and neck with threads of gold leaf, lined with a lighter blue silk, w. 82”, l. 54‑1/2”. [800/1200] Illustrated Longpao robes embroidered with dragons were worn by male members of the imperial family. The attributes of the dragon emblems varied according to the wearer’s status. Very similar robes can be found in the National Museum of History, Taipei, Taiwan, the Museum of Fine Arts, Boston, Massachusetts and the Art Institute of Chicago, Chicago, Illinois. Similarly decorated longpao have sold at Bonham’s, San Francisco on October 13, 2015 and Christie’s, London on November 4, 2014.

52 Three-Piece Southeast Asian Silver Coffee Set, first quarter 20th century, Burma or Indonesia, comprising a coffeepot, h. 8‑1/2”, dia. 4‑3/4”, a covered sugar bowl, h. 4‑3/4”, and a cream jug, h. 4”, each with a pear-shaped body decorated in the round with chased scenes of people, animals and buildings in a forest, 32.21 total t. oz. [800/1200] Illustrated 49 53 Large Southeast Asian .900 Silver Box, 20th century, the melon-form body decorated with embossed floral sprays separated by annulated arabesques on a matte ground, hinged at the mid-point, with applied figural dove handle, the lid with imbricate peak with flammiform finial and applied scrolling gilt wirework tendrils, the whole raised on three cast and applied scroll feet, h. 14‑1/4”, dia. 10‑1/4”, 70.67 t. oz [1000/1500] Illustrated

51 Three Pieces of Southeast Asian Silver, ca. 1900, Malaysia or Indonesia, comprising a covered bowl, h. 8”, dia. 10”, and a pair of candelabra, h. 11‑3/4”, w. 9‑1/2”, the bowl of spherical form, the candelabra with hemispherical base, cylindrical standard and tubular branches with cylindrical nozzles, all decorated with embossed foliate scrolls, 41.32 total t. oz. [900/1200] Illustrated

54 Southeast Asian .900 Silver Covered Vase, 20th century, the pear-shaped body with gadrooned calyx alternately embossed with foliate panels, with embossed acanthus neck and applied leaf banding, the domed lid with acanthus bud finial and applied scrolling gilt wirework tendrils, the whole raised on a foliate foot ring, h. 15”, dia. 6”, 43.11 t. oz. [600/900] Illustrated

55 Southeast Asian .900 Silver Wine Jug and Underplate, 20th century, the jug of pear-shaped form and decorated with embossed and chased grape clusters on the vine, with applied rococo scroll handle and finial, the underplate decorated en suite, overall, h. 12‑1/2”, dia. 11‑3/4”, 46.74 total. t. oz. [700/1000] Illustrated

56 56 Southeast Asian .900 Silver Covered Tureen, 20th century, oval with extended flat rim, decorated all over with embossed scrolling flowers on a matte ground, the domed lid en suite with figural floriform finial, h. 9‑3/4”, l. 17”, w. 13”, 73.56 t. oz. [1000/1500] Illustrated 57 Southeast Asian .900 Silver Center Bowl, 20th century, of lobed oval form decorated with repousse flowers, with cast and applied open scroll rim, handles and foot ring, the interior gilt, h. 6‑3/4”, l. 16‑1/4”, w. 8”, 36.17 t. oz. [500/800] Illustrated 58 Southeast Asian .900 Silver Lidded Urn, 20th century, of broad baluster form with everted rim, decorated with embossed flowers and acanthus fronds, with cast and applied openwork ring handles and edge, the fitted domed lid with acanthus bud finial, the whole raised on three cast foliate feet, h. 13‑1/4”, dia. 10”, 46.93 t. oz. [700/1000] Illustrated

59 Southeast Asian .900 Silver Covered Bowl, 20th century, of squat bulbous form, decorated with embossed floral arabesques on a matte ground, the fitted lid en suite with acorn finial, h. 8”, dia. 9‑1/2”, 41.59 t. oz. [600/900] Illustrated 60 Southeast Asian .900 Silver Footed Basin, 20th century, of lobed circular form, the broad rim decorated with embossed floral cartouches separated by laurel swags, with applied beadand-scroll edge and foot, h. 4‑5/8”, dia. 15‑1/2”, 42.91 t. oz. [600/900] 61 Southeast Asian .900 Silver Lidded Urn, 20th century, the vasiform body with fluted calyx and collar, decorated with embossed floral bouquets separated by applied swags, with gadroon-knopped foot and fitted domed lid en suite, with figural acanthus bud finial, h. 17‑3/4”, dia. 6”, 41.22 t. oz. [600/900] Illustrated

62 Southeast Asian .900 Silver Persian-Style Coffeepoton-Stand, 20th century, the pot of traditional pear-shaped form and decorated with embossed spiral floral gadroons, with serpentine spout and acanthus-crested handle, raised above a basin-style stand decorated en suite, h. 14‑1/4”, dia. 12‑3/4”, 50.57 total t. oz. [700/1000] Illustrated

65 detail

detail

63 Southeast Asian .900 Silver Samovar, 20th century, the inverted pear-shaped body gadrooned and alternately chased with arabesques on a matte ground, with acanthus mounted handles, figural duck’s beak spout and rocaille stirrup key, complete with lid, crown, chimney, blind, tray and slops bowl, overall, h. 24”, l. 20”, w. 13”, 257.81 total t. oz. (Although the samovar proper appears to be solid silver, it is not marked .900 as are the accessories; the weight of the marked pieces totals 85.73 t. oz.) [2000/4000] Illustrated 64 Egyptian Woodblock Printed Textile, 19th century, ink on finely woven linen now backed with coarser fabric, in deep blues and reds, and with floral and paisley motifs, sight 51‑3/4” x 34‑3/4”. Glazed and framed. Provenance: By repute, purchased by the British Ambassador to Cairo, early 20th century; Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [600/900] 65 Persian School (19th Century), “Portrait of a Prince”, gouache on paper, with lavishly gilded scrollwork border, sight 11‑1/4” x 12‑5/8”. Glazed, matted and framed. [700/1000] Illustrated 66 Indian School (Basohli, 18th Century), eleven miniatures framed together depicting the God Vishnu, opaque watercolors on paper, each with a blue and red painted border, each 2‑1/2” x 4”, frame 23” x 25”. [1000/1500] Illustrated

67 Indian School (Jodhpur, Mewar or Marwar, Fourth Quarter 18th/First Quarter 19th Century), “A Raja and His Entourage”, opaque watercolor on paper, 14‑5/8” x 19”. Matted and framed. A small portion on the lower left corner is unfinished to reveal the sketch beneath. [900/1200] Illustrated 68 Three Framed Indian Miniatures, each opaque watercolor and 68 gilt on paper, including: “Female Musician Riding a Composite Camel”, Indian School/Rajasthan, 18th/19th century, 11‑1/2” x 6‑1/2”, “Four Noblemen Before a Heavenly Host”, Indian School, Mughal, 19th century, 13‑1/2” x 9‑1/8”, and “Portrait of a Prince”, Indian School, Mughal, 19th century, 12‑3/4” x 7‑3/4”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [1200/1800] Illustrated

72 Pair of Indo-Tibetan Thangkas, probably 19th century, ink and color on cloth mounted on silk brocade, 48” x 29‑3/4”. Matted and framed. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [2000/4000] Illustrated 67 69 Indian Agate-Inlaid Chest, 20th century, the white metal ornately decorated with an array of brightly colored agate stones, the interior velvet-lined, h. 19”, w. 24‑1/4”, d. 18‑1/4”. [600/900] Illustrated 70 Thai Inlaid Giltwood Chest, 20th century, the ornately carved footed box inlaid with red, green and white glass, decorated with scrollwork throughout and with applied figures of apsaras, h. 18‑1/2”, w. 33”, d. 25”. [600/900] Illustrated 71 Thai Bronze Seated Buddha, 19th/20th century, seated in padmasana, on a lotus base, the figure dressed in flowing robes and wearing a serene countenance, its right hand raised in Abhaya mudra, its left hand resting in its lap, h. 20”, w. 11‑1/2”, l. 14”. [600/900]

In one thangka, a blue Mahakala stands beneath the flower-ensconced figure of Shakyamuni seated on a lotus base. In the other, Vajrabhairava and Vidyadhara are depicted embracing beneath the blue lotus base upon which Shakyamuni sits surrounded by clouds. In both, the central figure is shown surrounded by a host of bodhisattvas.

75 Korean School (Joseon Dynasty, 1392‑1910), late 18th/early 19th century, “The Buddha Seokamoni (Shakyamuni) Before a Divine Host”, ink and color on silk, inscribed in red cartouche in lower left corner, 36‑5/8” x 60‑3/4”. Matted and framed. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [4000/7000] Illustrated

72 one of two

This painting and its respective under drawing appear to have been cut from a more extensive image depicting the Shakyamuni triad. Its scale and rendering suggest that this work was once displayed in a temple or monastery. It depicts a chapter of the Lotus Sutra in which the historical Buddha addresses a congregation on the sacred mountain of Vulture Peak. Typically, Shakyamuni, shown here seated on a blue lotus, is flanked by figures of Manjusri and Amitabha. Amitabha is visible to the left of the seated figure, while Manjusri appears to have been truncated. Shakyamuni’s expression is tranquil as he folds his hands in Bhumisparsha Mudra, a gesture indicating the attainment of enlightenment. This work posses many like aspects with an important painting of the Buddha preaching before an assembly at Vulture Peak in the collection of the Los Angeles County Museum of Art, Los Angeles, California. 76 Korean School (Joseon Dynasty, 1392‑1910), late 18th/early 19th century, “The Buddha Seokamoni (Shakyamuni) Before a Divine Host”, ink and traces of color on paper, 33‑1/4” x 57”. Matted, glazed and framed. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [2000/4000] Illustrated

The under drawing for lot 75, a Korean Buddhist painting on silk.

73 South Asian Red Sandstone Figure of a Recumbent Buddha, 19th/20th century, the figure of a sleeping Buddha with its head resting on a lotus pedestal, h. 7‑3/4”, w. 27‑1/4”, d. 10‑1/2”. [1500/2500] Illustrated 74 Chinese Gilt-Bronze Seated Figure of the Buddha Shakyamuni, possibly Ming Dynasty (1368‑1644), 15th-16th century, the figure seated on a double lotus base in padmasana, holding an alms bowl in its left hand, the reverse bearing a six-character Yongle reign mark (1402‑1424) in a square cartouche, h. 11‑3/4”, w. 8‑1/2”. [2500/4000] Illustrated 75

81 Chinese Ancestor Portrait, Qing Dynasty (1644‑1911), 19th century, the generational portrait of figures seated before an altar, 62‑1/4” x 46”. Framed. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [900/1200] Illustrated 82 After Kang Tao (Chinese, Qing Dynasty, 1644‑1911), 18th/19th century, “The Traveling Party”, ink and color on silk, cut from a hanging scroll, mounted and framed, 41‑3/4” x 22”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [1000/1500] Illustrated 83 Chinese School (Late 19th/Early 20th Century), “Sages in a Landscape”, ink on paper, seal lower right, unsigned, 65‑1/4” x 21”. Unframed. [700/1000]

84 85 77 Chinese Painting of an Immortal with a Guardian Lion, Qing Dynasty (1644‑1911), 18th/19th century, cut from a hanging scroll, sight 42” x 23‑1/2”. Framed. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [800/1200] Illustrated 78 Chinese School (Qing Dynasty, 1644‑1911), 19th century, “Bao Gong and His Heavenly Retinue”, ink and color on paper, cut from a hanging scroll, 61” x 31‑1/4”. Framed. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [1000/1500] Illustrated

84 Attributed to Gai Qi (Chinese, 1774‑1829), Qing Dynasty (1644‑1901), “A Beauty in Autumn”, ink and watercolor on paper, mounted on silk scroll, cut and framed, inscribed on upper right side and left with six seals, 34” x 18”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [1200/1800] Illustrated 85 Qian Huian (Chinese, 1833‑1911), “A Teacher and Two Young Students, With a Water Buffalo”, ink and color on paper mounted as a hanging scroll, inscribed and signed with two seals of the artist on the upper right side, image 51‑1/2” x 25‑1/2”, mounted 82‑1/2” x 32‑1/4”. [2000/4000] Illustrated

79 Chinese Daoist Painting (Qing Dynasty, 1644‑1911), 18th/19th century, depicting Diyu, ink and color on paper, cut from a hanging scroll, with a strip of the top of the painting and the original scroll label attached to the back of the frame, 59‑1/4” x 33‑1/2”. Framed. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [1500/2500] Illustrated The judge Yama is depicted in the top center of the painting surrounded by members of his retinue. They oversee the dispensation of justice in the afterlife. Figures fill the page, each being subject to acts of punishment for misdeeds committed in life. 80 Gouchen Shanggong Tianhuang Dadi, Ming Dynasty (1368‑1644), 16th/17th century, ink and color on silk, depicting an enthroned deity holding a jade plaque, with inscription of the god’s name above in a red cartouche, 80‑1/4” x 40‑1/4”. Framed. Provenance: Collection of Henry Stern, New Orleans, Louisiana, to his grandson Paul Rosenthal, Baton Rouge, Louisiana. [8000/12000] Illustrated Gouchen Shanggong Tianhuang Dadi is one of the “Four Heavenly Ministers (Siyu)” of the Daoist pantheon who serves the Jade Emperor Yuhuang Dadi. He oversees the realms of Heaven, Earth and Man. Tianhuang Dadi is associated with the constellation surrounding the star Polaris, which in this temple painting is depicted as a carved detail on the jade tablet in the figure’s hands.

86 After Ye Manshu (Chinese, d. 1944), “Three Figures”, 1930s, ink and color on paper, inscribed lower left and with two artist’s seals, mounted on hanging scroll, sight 56‑3/4” x 30”. Glazed and framed. [700/1000] 87 Japanese Bronze Model of a Tiger, Meiji period (1868‑1912), late 19th century, the naturalistically cast bronze depicting a roaring tiger, with a carved wood base, signed “Gyouko Saku” in a rectangular cartouche on the underside, bronze, h. 6”, l. 13”. [1000/1500] Illustrated A nearly identical piece sold at Christie’s, New York, on March 23, 2011.

88 88 Japanese Cloisonne Bowl, early Meiji period (1868‑1912), the interior sides covered with a pattern of peonies and central reserves depicting a parrot perched on a pine branch, the exterior sides depicting flowering vines, h. 4‑1/2”, dia. 13‑1/8”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [800/1200] Illustrated 89 Monumental Japanese Satsuma Floor Vase and Egg, 20th century, both the egg and vase lavishly decorated and gilded, with reserves on both portraying opulent scenes of beautiful maidens, the base of each piece decorated with a petaled border, the neck of the vase bearing a pair of foo dog pups on either side and salamanders adorning the shoulders, a Royal Satsuma mark on the underside of each, vase, h. 47‑1/2”, dia. 17”, egg, h. 16”, dia. 10”. [800/1200] 90 Japanese Imari Porcelain Charger, 20th century, decorated in a typical palette with blue and pink peonies and red peaches, an anomalous pink foo dog with green, red and yellow spots sitting beneath one of the peach boughs, a six-character inscription of Chinese Ming Chenghua reign on the underside in cobalt blue, dia. 11‑1/2”. [500/800]

92 Japanese Lacquer Cabinet-Shaped Kodogu-Bako (Incense Game Utensil Box), Edo period (1615‑1868), 18th/19th century, a small container in the form of a kazaridana with bracket feet and three open shelves and a cabinet enclosed by a pair of hinged doors, the interiors decorated with bamboo, the shelves and exteriors decorated with a floral scroll pattern in gold and silver Hiramaki-e and Takamaki-e, h. 10‑7/8”, w. 6”, l. 11‑3/8”. [600/900] Illustrated A kodogu-bako similar to this one sold at Bonham’s London on May 15, 2014. A comparable example can be found in the Walters Art Museum, Baltimore, Maryland. 93 Japanese Carved Wood Okimono of Fukurokuju, Meiji period (1868‑1912), the lucky god of happiness, wealth and longevity holding a fan and a scroll, carved elaborately in the round, inscribed on the reverse with a four-character mark of Tachikaw, h. 5‑1/2”, w. 4‑1/4”. [700/1000]

91 Six Pieces of Japanese Lacquer, Meiji period (1868‑1912), the black lacquer with gold and silver hira maki-e, togidashi maki-e and taka maki-e, including two square footed trays and four covered rice bowls, each tray and lid of each bowl decorated with a motif of prunus limbs and chrysanthemums, tray, w. 11‑1/2”, bowl, dia. 5‑1/8”. [500/800]

94 Four Japanese Antique Carved Wood Netsuke, Edo period (1615‑1868) and Meiji period (1868‑1912), all 19th century, including a delicately rendered lotus pod with movable seeds, h. 1‑1/2”, w. 1‑3/4”, a finely articulated netsuke of an abalone with a small carved bone crab on the reverse, h. 1/2”, w. 1‑5/8”, a netsuke depicting an Okame mask with a climbing oni on the reverse, signed, h. 7/8”, w. 1‑5/8”, and one of a folded fabric pillow, h. 3/8”, w. 1‑5/8”. [900/1200] Illustrated 95 Five Japanese Netsuke Nogaku Masks, Edo period (1615‑1868)/Meiji period (1868‑1912), 18th/19th century, including a carved and polychromed wood KarasuTengu with large eyes and protruding beak, h. 2‑1/4”, w. 1‑1/2”, a carved and polychromed Ebisu with a wide smile, h. 2‑1/8”, w. 1‑1/2”, a bronze depicting Shishiguchi, h. 2”, w. 1‑1/2”, a celadon-glazed porcelain mask of an Oni, h. 1‑1/2”, w. 1‑5/8”, and a cluster of nine masks intricately carved in wood, dia. 1‑1/2”. [700/1000] Illustrated 96 Japanese School (Edo Period, 1615‑1868), collection of three Shunga color woodblock prints, 19th century, illegibly inscribed, sight 7‑1/4” x 10”. Each glazed, matted and framed. Provenance: Christie’s, New York, February 5, 2003, lot 30; The Flatt Collection. [700/1000]

97 Utagawa Hiroshige (Japanese, 1797‑1858), four prints (horizontal chuban) from the series “The Tokaido Road” (1850‑1851), color woodblocks on paper, framed together, published by Tsutaya Kichizo, including: No. 42 “Kuwana: The Sevenri Crossing”; No 30 “Maisaka: Imagiri in Totomi Province”; no. 38 “Okazaki: Yahagi Bridge”, and one unidentified, each 3‑3/8” x 5‑1/2”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [700/1000] Illustrated

98 one of two

98 Ohara Koson (1877‑1945), two Japanese woodblock prints, including “Egret on a Snowy Branch”, published by Watanabe Shozaburo, ca. 1900, and “Egret on a Snow-Covered Willow Tree”, ca. 1930s, each 13‑3/4” x 6‑1/4”. Both matted, glazed and framed. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [700/1000] Illustrated 99 Sang Chang-cho (Korean, 20th Century), “Four Eight-Panel Screens of Royal Seals”, 1970, ink on paper mounted on silk and lacquered teak, each panel 69‑1/2” x 17‑3/4”. Provenance: Private collection, San Antonio, Texas; by family repute aided by a former adjunct curator of the National Museum of Korea, Seoul, South Korea. [900/1200] Illustrated This lot includes four of the total of eight screens produced that incorporate all but three of the royal seals of the twenty-seven kings of the Joseon Dynasty (1392‑1910). Sang wrote the remarks beside each seal and the longer historical text.

The Tokaido road from Kyoto to Edo (present-day Tokyo) was one of the most famous and heavily traveled routes during the Edo period (1615‑1868) and the inspiration for many important artists including Utagawa Hiroshige (1797‑1858), Katsushika Hokusai (1760‑1849) and the poet Matsuo Basho (1644‑1694).

100 Unusual Middle Eastern Metal-Clad and Reverse-Painted Mirror, clad with metal embossed with flowers, scrollwork and pierced panels, the panels with reverse-painted portraits and Islamic script, one which reveals a painting under glass of Middle Eastern dancers, h. 27”, w. 19”. [500/800] Illustrated 100

101

101 French Art Glass Vase in the Middle Eastern Style, first quarter 20th century, set with three handles and decorated with enameled panels of Islamic script, with polychrome and gilt trim on an opalescent ground, marked “France” under unidentified initials on the base, h. 10”, dia. 5”. [800/1200] Illustrated

102 Moroccan Chefchaouen Embroidery, fourth quarter 19th century, of traditional rectangular form, central geometric motif in navy rendered in dense plait stitch, flanked by colorful squares of abstracted floral designs worked in cross stitch, on a cream linen backing fabric, 17” x 84”. [800/1200]

107

103

104 German Patinated Bronze of an “Arab Man”, fourth quarter 19th/first quarter 20th century, after Johann Pollak (German, b. 1845), cast signature and inscribed “Munchen” at back, on an “Egyptian” marble plinth, overall, h. 17‑1/2”, w. 8”, d. 6‑1/2”. Provenance: Personal collection of Daniel Tenenbaum, San Francisco, California and Houston, Texas. [800/1200] Illustrated

103 Unusual Spherical Polished Brass FourLight Chandelier of Orientalist Influence, the spherical body formed of pierced Islamic medallions, mounted with three light sockets, and one interior socket, with Art Nouveau arms, h. 40‑1/2”, dia. 17”. [500/800] Illustrated

105

105 Austrian Cold-Painted Vienna Bronze Orientalist Lamp, first quarter 20th century, decorated with three Arabs around a table of tea on an oriental carpet, the wired hanging lantern to one side, marked “Made in Austria, EBK” on the bottom, h. 13‑1/4”, w. 6”, d. 5”. [2000/4000] Illustrated

104

106 Middle Eastern Silver and Niello Dagger, with a double-sided blade, the handle and front of the scabbard decorated with panels of scrollwork and flowers framed with niello, the back with niello scrollwork, l. 23‑1/2”. [500/800] 107 Continental Patinated Bronze of “Cheval Sauvage”, 20th century, after Evgeni (Eugene) Lanceray (Russian, 1848‑1886), cast signature in Cyrillic on self-base, on a black marble plinth, overall, h. 16”, w. 19”, d. 9‑1/2”. [800/1200] Illustrated

108

110

113

108 Peshawar Sultanabad Carpet, 10’ 2” x 13’ 7”. [800/1200] Illustrated 109 Turkish Angora Oushak Carpet, 10’ 1” x 13’ 9”. [1400/1800] 110 Turkish Angora Oushak Carpet, 8’ 3” x 10’. [800/1200] Illustrated

112 Semi-Antique Hamadan Carpet, 3’ 3” x 13’. [600/900] 113 Turkish Angora Oushak Carpet, 7’ 10” x 9’ 9”. [800/1200] Illustrated 114 Persian Serapi Carpet, 8’ 2” x 10’ 3”. [3000/5000] Illustrated

111 Turkish Angora Oushak Carpet, 11’ 8” x 14’ 5”. [1800/2500] Illustrated

111

114

120 115 Semi-Antique Isfahan Carpet, 9’ 8” x 13’ 6”. [700/1000]

122

116 French Provincial Cherrywood Bonnetiere, mid19th century, the molded and domed cornice with canted corners, above a conforming case fitted with a single door inset with two panels, the upper one shaped, over a shaped apron, raised on shaped feet, h. 96”, w. 53”, d. 29”. [700/1000] Illustrated 117 Pair of Provincial Louis XV-Style Fruitwood Sidechairs, early 19th century, each with a rounded padded back surmounted by a floral crest, the padded seat raised on molded cabriole legs ending in foliate peg toes, h. 37‑1/2”. [500/800] Illustrated 118 Pair of Louis XV-Style Fruitwood Sidechairs, 20th century, each with a shaped padded back surmounted by a floral and foliate shell crest, the padded seat raised on molded cabriole legs ending in scrolled toes, h. 37”. [500/800] 119 NineteenthCentury Flemish Tapestry, depicting a courting couple within a verdant park, a chateau in the distance, with an acanthine and floral posy border, 120” x 114”. [3000/5000] Illustrated 120 Hugo Konig (German, 1856‑1899), “River Valley with Cabin”, oil on wood panel, signed lower right, 8” x 12‑3/4”. Framed. [600/900] Illustrated

116

119

127

121 Albert-Gabriel Rigolot (French, 1862‑1932), “Autumn Landscape”, oil on canvas, signed “ARigolot” lower left, 18‑3/8” x 25‑5/8”. Presented in a giltwood frame affixed with artist plaque. [1000/1500]

124

123

122 Abraham van der Waeyen Pieterszen (Dutch, 1817‑1880), “Bucolic Village Scene”, oil on beveled wood panel, signed lower left, 11” x 16”. Framed. [700/1000] Illustrated 123 French Provincial Fruitwood Occasional Table, late 18th century, the rectangular top with a molded edge, above a conforming shaped frieze fitted with a single side drawer, raised on molded cabriole legs ending in hoof feet, h. 27‑1/2”, w. 32”, d. 23‑1/2”. [700/1000] Illustrated

125 Johann Wilhelm Weinmann (German/ Polish, 1683‑1741), “Aloe Plant”, hand-colored mezzotint, 1735, sight 12‑3/4” x 8”. Glazed, French matted and presented in a giltwood frame. [1000/1500] Illustrated

126 French Provincial Louis XV-Style Cherrywood Buffet, mid-19th century, the rounded rectangular top above a conforming case fitted with two drawers over two cupboard doors, each inset with a shaped panel, above a fan-carved scalloped apron, raised on cabriole feet ending in pointed toes, h. 47”, w. 51”, d. 23‑1/2”. [1000/1500] Illustrated 127 Provincial Louis XV Fruitwood Desk, 18th century, the rectangular banded top with a molded edge and inset leather writing surface, above a frieze fitted to one side with a recessed central drawer and two side drawers, the reverse fitted with like faux drawers, raised on cabriole legs ending in sabots, h. 30‑1/2”, w. 57”, d. 29”. Provenance: Dalva Brothers, New York. [1500/2500] Illustrated

124 Large Pair of Majolica Aesthetic Vases, fourth 125 quarter 19th century, probably French, decorated with molded cranes in front of bamboo-form vases with stalks, branches and leaves, h. 25‑1/2”, w. 9‑1/2”, d. 7”. [700/1000] Illustrated

128 Pair of Louis XV-Style Fruitwood Bergeres, early 19th century, each with a domed and padded back surmounted by a molded frame and floral crest, joined by closed and padded arms to the cushioned seat, raised on molded cabriole legs ending in scrolled toes, h. 39‑1/2”. [1500/2500] Illustrated 117

126

128

130

129 Regence-Style Fruitwood Fauteuil, late 19th century, the padded and domed rectangular back joined by foliatecarved downswept arms to the padded seat, raised above a scalloped foliatecarved apron on cabriole legs ending in scrolled toes, h. 43”. [500/800] Illustrated

132

129

132 Adrien Dauzats (French, 1804‑1868), “Riverscape with Docked Boat”, 1865, oil on wood panel, signed, dated, and inscribed “Blaye” en verso, 5‑1/4” x 6‑3/4”. Framed and with brass artist plaque. [800/1200] Illustrated 133 Provincial Louis XV-Style Fruitwood Side Table, early 19th century, the rectangular top with a molded edge, above a conforming scalloped frieze fitted with a single side drawer, raised on cabriole legs ending in hoof feet, h. 29‑1/2”, w. 52‑1/2”, d. 29”. [1000/1500] Illustrated

130 Eugene Chigot (French, 1860‑1923), “Under the Cherry Tree”, oil on canvas, signed lower right, 13” x 16‑1/4”. Glazed and framed. [1000/1500] Illustrated 131 Continental School (Fourth Quarter 19th Century), “River Landscape with Cattle”, oil on wood panel, partially and illegibly signed lower left, 5‑3/4” x 9‑3/4”. Framed. [500/800]

134 Provincial Regence Fruitwood Commode, 18th century, the rectangular top with a molded edge and slightly bowed front, above a conforming bombe case fitted with three long drawers, raised above a scalloped apron on scrolled feet, h. 35”, w. 49‑1/2”, d. 26‑1/2”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [2000/4000] Illustrated

133 134

138 135 French Provincial Fruitwood Occasional Table, 19th century, the rounded rectangular top with a molded edge, above a conforming scalloped frieze, raised on cabriole legs, with an impressed “A.D.”, h. 20”, w. 31‑1/4”, d. 20”. Provenance: Collection of Henry Stern, New Orleans, Louisiana, to his grandson Paul Rosenthal, Baton Rouge, Louisiana. [600/900] Illustrated

136

136 Venetian Majolica Charger, second quarter 18th century, the blue and yellow charger decorated with villas in a garden with rabbits, birds and insects, marked “S.6.I.B” on reverse, dia. 13‑3/4”. [500/800] Illustrated

137 Provincial Louis XV Fruitwood Fauteuil, early 19th century, the padded and domed back surmounted by a floral crest, joined to the padded seat by like scrolling arms, raised on molded cabriole legs headed by floral carving and ending in scrolled toes, upholstered in antique verdure tapestry, h. 36‑1/2”. [700/1000] Illustrated

140

139 138 Eugene Ciceri (French/Louisiana, 1813‑1890), “Gorge aux Loups, (Foret de Fontainebleau)”, oil on wood panel, signed lower right, titled en verso, 13‑1/4” x 17‑3/4”. Framed. [900/1200] Illustrated 139 Joseph Quinaux (Belgian, 1822‑1895), “Landscape with Cattle and Figures, Mountain in the Background”, oil on wood panel, signed lower right, 21‑1/4” x 31”. Framed. [1000/1500] Illustrated 137

140 Pair of Louis XV-Style Fruitwood Fauteuils, early 19th century, each with a shaped and padded back within a molded frame and surmounted by a foliate crest, joined by padded arms to the like seat, raised above a foliate shell-carved apron on cabriole legs ending in scrolled toes, h. 39”, w. 25‑1/2”, d. 22”. [500/800] Illustrated

135

141 Fourteen-Piece Collection of Antique Copper, including a large French saucepan marked “BB” and an associated cover marked “CHX Versailles”, 18th/19th century, h. 6”, dia. 12”, two tapered pitchers marked “imperial quart” and “imperial pint”, the largest, h. 7”, dia. 6‑3/4”, a tapered covered kettle, h. 10‑1/4”, a coffeepot with no cover, h. 7”, an oval hot water jug, h. 7‑3/4”, three graduated hanging measures with brass handles, the largest, h. 9‑1/4”, dia. 3‑1/4”, a cylindrical pot with a brass handle, h. 5”, dia. 5‑1/2”, a funnel-shaped oil pot, h. 6‑1/4”, dia. 7”, a tapered measure with one handle, h. 6”, dia. 3‑1/2”, a two-handled cup, h. 4‑3/4”, dia. 4‑3/4”, and a large measuring pitcher, h. 13‑1/4”, dia. 11”, all last half 19th century. [500/800] Illustrated

144

146

141 142 Two French Heavy Copper Graduated Stock Pots, each marked “Dehillerin, Paris”, the larger with a mesh, handled insert, h. 8‑3/4”, dia. 11‑1/4”, and h. 14‑1/2”, dia. 14‑1/2”. [500/800] Illustrated

145 Three French Heavy Hammered Copper Ragout Pots, 19th century, with dovetail construction, h. 8” to 9”, dia. 14‑1/2” to 17”. [600/900] Illustrated 146 Five-Piece Collection of French Heavy Copper Cookware, 20th century, with brass handles, two with covers and one marked “Dehellerin, Paris”, h. 2‑1/2” to 4‑1/2”, dia. 5‑1/4” to 8”. [500/800] Illustrated

143 Seven-Piece Collection of Antique Copper, including a dovetailed kettle-form hot water jug, h. 10‑3/4”, dia. 8”, two graduated covered pitchers, late 19th century, h. 8‑3/4” to 10‑1/4”, dia. 4” to 6”, a coffeepot, late 19th century, h. 9”, dia. 5‑1/4”, a chocolate pot in the 18th-century style, h. 10”, dia. 5‑3/4”, a dovetailed covered flagon with a thumbpiece, early 18th century, h. 7‑1/2”, dia. 5”, and a Middle Eastern pitcher, h. 10‑1/4”, dia. 6‑1/2”. [500/800] 144 Eleven Pieces of French Copper Cookware, 19th/20th century, the collection including two saucepans, h. 3‑1/5”, dia. 6‑1/4” and h. 4‑1/2”, dia. 9”, three covers, dia. 6” to 9‑1/4”, and a group of cookware marked “Cquotot, Paris”, including three saute pans, h. 2”, dia. 6‑1/4”, and three sauce pans, h. 3” to 4‑1/4”, dia. 5‑1/4” to 8”. Provenance: The Flatt Collection. [500/800] Illustrated

142

147

147 Three Pieces of French Heavy Copper Cookware, all marked “Dehillerin, Paris”, 20th century, including two graduated and covered ragout pots, h. 4‑3/4”, dia. 9‑1/2” and h. 5‑3/4”, dia. 11”, and an open round casserole, h. 2‑3/4”, dia. 11‑3/4”. [500/800] Illustrated

145

149 150 148 French Heavy Copper Stock Pot, ca. 1900, of cylindrical form, with brass handles, h. 17‑1/4”, dia. 16‑1/2”. [500/800] 149 French Provincial Fruitwood Vasselier, early 19th century, the molded rectangular cornice above three open shelves, the lower section with a rounded rectangular top above a conforming case fitted 152 with two short drawers over two cupboard doors, each inset with a shaped starinlaid panel and flanked to either side by stylized floralcarved uprights, raised on block feet, the whole with brass tack accents, h. 80”, w. 53”, d. 24‑1/4”. [1000/1500] Illustrated 150 Continental School (Fourth Quarter 19th Century), “Still Life with Cabbage and Carrots”, oil on canvas, unsigned, 19‑3/4” x 16”. Framed. [500/800] Illustrated

151 153 William Baptiste Baird (American, 1847‑1917), “Fighting Cocks”, group of four oils on board, each signed lower right, each 6‑1/4” x 8‑3/4”. Attractively framed alike. Provenance: Sotheby’s, New York, October 24, 1998, lot 1301; The Flatt Collection. [1200/1800] Illustrated

151 James Lynch (British, b. 1956), “Gloucester Old Spot”, 1988, oil on canvas, signed and dated lower right, 22” x 30”. Framed. Provenance: Kelston Fine Arts, Bath, U.K., February 1989; The Flatt Collection. [1000/1500] Illustrated 152 Nagy Erno (Hungarian, 1881‑1952), “Market Day”, oil on canvas, signed lower left, 39‑1/4” x 29‑1/4”. Framed. [800/1200] Illustrated 153 one of four

153 one of four

155

156 Samuel Prout (British, 1783‑1852), “English Village Scene”, watercolor on paper, signed lower left, sight 7” x 4‑3/4”. Glazed, matted and framed. [700/1000] Illustrated 157 Franz Skarbina (German, 1849‑1910), “Dutch Peasant Girl”, 1884, watercolor on paper, signed and dated lower left, sight 11‑3/4” x 8‑1/4”. Glazed, handsomely matted and framed. [1000/1500] Illustrated 157 158 French School (Second Quarter 19th Century), “Still Life with a Basket of Pastries and an Urn of Flowers” and “Still Life with Vegetables, Fruit and Fish”, a pair of gouaches on paper, each sight 13‑1/4” x 17‑5/8”. Both glazed and presented in fruitwood frames with beaded fillets. Provenance: Collection of Henry Stern, New Orleans, Louisiana, to his grandson Paul Rosenthal, Baton Rouge, Louisiana. [1200/1800] Illustrated

154 Provincial Fruitwood Refectory Table, 19th century, possibly Iberian, the narrow rectangular top raised on turned and bulbous legs to runner supports joined by a like stretcher and ending in fluted feet, h. 31‑1/2”, w. 24‑1/2”, l. 83”. [1500/2500] Illustrated 155 Louis XIII-Style Fruitwood Fauteuil a la Reine, third quarter 19th century, the padded rectangular back surmounted by a scalloped crest and joined by ribbed downswept arms to the padded seat, raised on molded scrolling legs joined by a shaped X-form stretcher and ending in in-scrolled toes, h. 44”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [1000/1500] Illustrated

161

159 Attributed to Friedrich Wilhelm Lucas (German, 1815‑1898), “The Industrious Girl”, 1866, oil on canvas, signed and dated lower left, 14‑1/4” x 11‑3/4”. Framed. [500/800] Illustrated

160

160 French Patinated Bronze of “Casse-Cou”, ca. 1900, after Etienne-Henri Dumaige (French, 1830‑1888), cast signature along side of selfbase, h. 18‑3/4”, w. 8‑1/2”, d. 7‑1/2”. [1500/2500] Illustrated

162

164 one of two

158 161 French Provincial Fruitwood Occasional Table, late 18th century, the rectangular top with a full raised edge, above a conforming frieze fitted with a single compartmented end drawer, raised on ring-turned bulbous legs joined by an H-form stretcher and ending in block feet, h. 27‑1/4”, w. 21”, d. 13‑1/2”. Provenance: Collection of Henry Stern, New Orleans, Louisiana, to his grandson Paul Rosenthal, Baton Rouge, Louisiana. [600/900] Illustrated 162 Continental Provincial Neoclassical Fruitwood Side Table, late 18th century, the rectangular top with canted corners, above a frieze fitted with two small drawers, the front with inlaid decorative banding and a central inlaid design, raised on tapering square legs, h. 32”, w. 42‑1/2”, d. 25‑1/4”. [500/800] Illustrated

156

159

163 Fritz Wagner (German, 1896‑1939), “The Merry Company”, oil on canvas, signed lower right, 24” x 20‑1/2”. Framed. [4000/7000] Illustrated 164 Emmanuel Stockler (Austrian, 1819‑1893), “Man with a Wine Glass” and “Man with a Drinking Tankard”, in the manner of Frans Hals (Dutch, 1580‑1666), both faintly signed and dated en verso, 10‑1/2” x 7‑1/4” and 10‑1/4” x 7‑5/8”. Both presented in giltwood and gesso frames. Provenance: Personal collection of Daniel Tenenbaum, San Francisco, California and Houston, Texas. [1400/1800] Illustrated

154 163

168

166 one of two

165 Regency Brass Wine Cooler, first quarter 19th century, the oval wine cooler with dovetailed construction and resting on bold paw-and-ball feet terminating in lion’s heads grasping rings, h. 14‑3/4”, w. 24”, d. 18‑1/2”. Provenance: The Flatt Collection. [500/800] Illustrated

detail

168 Fine Pair of Victorian Sterling Silver Wine Coasters, hallmarked London, 1885‑1886, by Stephen Smith & Son (fl. 1850‑1886), each of squat flared cylindrical form, with reed-and-ribbon rim and vintage-mounted fasces handles, the sides pierced with a band of neoclassical lions, mascarons and urns among scrolling grapevines, raised on three leafy-mantled lion’s paw feet, the plateau engraved with the arms of Waters quartering Protheroe and impaling Hutchinson quartering Blake, h. 3‑1/2”, dia. 6‑3/5”, w. 7‑5/8”, 32.13 total t. oz. [5000/8000] Illustrated The beautifully detailed arms here are those of Edward Waters, M.D. (1813‑1890), physician and fellow of the King and Queen’s College of Physicians, son of Thomas Waters of Tutshill and Margaret Ormond, and his wife, Georgina Maria Isabella Hely-Hutchinson (ca. 1814‑1895), daughter of the Rev. Lorenzo Hely Hutchinson and Maria Blake; the couple were wed on August 19, 1837 at Holy Trinity, Chester, Cheshire. For more information on Dr. Waters, see a brief biography in The Midland Medical Miscellany, November 1, 1884, vol. III, no. 35, p. 1, and his obituary in the November 22, 1890 edition of The Lancet, p. 1135.

165

169

166 Rare Pair of Carved Hardwood Wine Casket Covers Depicting Images from the Life of Christ, 18th century, probably Italian, one of Mary and the Christ Child on a donkey being led from Bethlehem by Joseph, and the other of Jesus as a child with Joseph in his carpentry shop, now mounted as plaques, dia. 35” and 37‑1/2”. Provenance: The Flatt Collection. [600/900] Illustrated

167 167 Pair of William IV Old Sheffield Plate Wine Coolers, second quarter 19th century, each of campana form, with spiral flute-and-gadroon decoration and robust oak branch-mantled handles, the rim and foot with gadroonand-rocaille banding, fitted with a detachable collar and liner, engraved on the collar with the crest of Robinson et al. (a stag trippant), h. 10‑1/2”, w. 9‑1/2”. [2000/4000] Illustrated

169 Collection of Twenty-Two English Pottery Wine Cask Labels, 18th/19th century, including a rare pair of tin-glazed Delft “Rum” and “Brandy” labels printed in mulberry, and two marked “Wedgwood” in uppercase, no date codes, pre-1860, some with period notations written in pencil on the reverse, h. 3” to 4”, w. 4‑3/4” to 5‑3/4”. Provenance: The Flatt Collection. [700/1000] Illustrated 170 Collection of Twenty-Seven Wedgwood Numbered Pottery Wine Cask Tickets, ca. 1867, English, printed with various numbers, impressed “Wedgwood” and “Farrow and Jackson”, venerable London wine merchants, most with an impressed Wedgwood date code “ORV--” for 1867, dia. 3‑1/4”. Provenance: The Flatt Collection. [700/1000] Illustrated

170

173

171 Good Collection of Seven Silver and Brass Wine Funnels, 18th to 20th century, including a Georgian sterling silver two-piece example, hallmarked London, 1795‑1796, by Peter and Anne Bateman, with acanthus calyx, h. 5‑1/4”, a Regency Old Sheffield Plate two-piece example with beaded rim, h. 4‑1/2”, a William IV brass one-piece example, h. 5‑3/4”, a Victorian silverplate twopiece example with ring handle, by William Hutton & Sons, l. 6‑1/2”, a Victorian silverplate three-piece example with rope-twist rim and stand, overall, h. 5‑3/4”, an American Gorham sterling silver one-piece example with ring handle, l. 3‑1/2”, and an Edwardian silverplate two-piece example with triangle handle and engraved with the logo of the Dundee, London & Perth Shipping Co., l. 7‑3/4”, 5.61 total t. oz. (sterling pieces only). Provenance: The Flatt Collection. [600/900] Illustrated

171

172 Extensive Collection of Corkscrews, most 19th century, including a brass wing nut open frame corkscrew marked on the handle “Lowcock Cornhill”, a nickel-plated wing nut open frame corkscrew marked “Wulfrun”, a nickel-plated double lever British Patent Corkscrew marked “James Heeley and Sons Ltd A1 Double Lever”, ca. 1888, a brass and iron Woverson’s-type corkscrew marked “The Vincent Tangent”, two additional direct pull steel handle corkscrews compatible with the preceding, a brass double lever finely cast corkscrew, unmarked, four eyebrow direct pull corkscrews, including one marked “W&C Ltd no 51221”, ca. 1857, five folding bow corkscrews including an advertising one marked “Greenlees Claymore Whiskey, a nickel-plated brass pocket advertising corkscrew marked “Kopkes Sherries”, six T-handle direct pull corkscrews with bone handles, nine T-handle direct pull corkscrews with handles of various hardwoods, five T-handle direct pull corkscrews with iron handles, one dated 1883, four bone T-handle direct pull corkscrews, one retaining its end brush and one labeled “Vichy-Celestins”, with a bell-shaped spring, a double lever corkscrew marked “Magic Lever Cork Drawer Pat. App. For”, a nickel-plated wing nut open frame corkscrew, unmarked, a roundlet brass pocket corkscrew, and a plated waiter’s advertising corkscrew marked “John Watts, Sheffield, Dewar’s Scotch Whiskey” and with a 1919 British registration number. Provenance: The Flatt Collection. [700/1000] Illustrated

172

173 Collection of Fourteen Silverplate Wine Coasters and Trolley, 19th century, including a pair of Old Sheffield Plate standard-sized coasters with wavy rim and reticulated bright-punched decoration, dia. 5”, a set of four Old Sheffield Plate standard-sized coasters with acanthus rim, monogrammed “ME”, dia. 6‑1/4”, a pair of Old Sheffield Plate magnum-sized coasters with “vintage” rim, dia. 8‑1/4”, a rare pair of Victorian silverplate piccolosized coasters with rococo rim, dia. 3‑1/2”, a Victorian silverplate standard-sized coaster with Renaissance Revival rim, dia. 8‑3/4”, a Victorian silverplate magnumsized coaster with Renaissance Revival rim, dia. 10‑1/4”, an American Simpson, Hall and Miller silverplate magnumsized coaster with pierced rinceaux rim, dia. 7‑1/4”, and a late Victorian silverplate double standard-sized trolley with pierced “vintage” and windmill decoration, l. 17‑3/4”. Provenance: The Flatt Collection. [800/1200] Illustrated

176 Two Fourteen/ Eighteen-Karat Yellow Gold, Enamel and Pearl Stick Pins, including a fourteen-karat yellow gold 176 and multicolored enamel grape cluster pin mounted with nine baroque pearls as the grapes, the leaves painted in green, white and violet enamel, and an eighteen-karat yellow gold and green enamel grape-leaf-designed pin, with a later fourteen-karat moveable grape cluster, composed of ninety-three baroque freshwater pearls and a fourteen-karat movable pin stem, 21.4 grams total weight. Provenance: The Flatt Collection. [1200/1800] Illustrated

174

174 Collection of Thirteen Regency and Later Silver Wine Labels, comprising sterling silver examples: a rare set of three canted rectangular liqueur labels (“Curacao”, “Maraschino” and “Creme d’Absinthe”), London, 1807‑1808, by John Rich, w. 1‑1/16”, a leafform “Madeira” label, London, 1809‑1910, by Rawlings & Summers, w. 2‑1/2”, a pair of oval foliate fortified wine labels (“Madeira” and “Port”), London, 1821‑1822, by Thomas & George Hater, w. 2‑1/8”, a canted rectangular “Brandy” label, Birmingham, 1824‑1825, by Joseph Wilmore, w. 1‑3/4”, a pair of canted rectangular fortified wine labels (“Madeira” and “Port”), Glasgow, 1824‑1825, by Robert Gray & Son, w. 1‑3/4”, an unmarked rococostyle “Mountain” label, w. 2‑1/4”, an unmarked American shaped rococo “Gin” label, w. 2‑1/8”, and a rococo-banded “Whiskey” label, Birmingham, 1963‑1964, by Israel Freeman & Son, w. 2‑3/8”, 5.42 total t. oz.; together with a silverplate canted “Port” label by Victor Obler, New York, w. 2‑1/8”. Provenance: The Flatt Collection. [800/1200] Illustrated

180

175

177 Continental Silverplate and Cut Glass Claret Jug, ca. 1900, probably French, the ovoid glass body wheelcut with swirls on a diamond ground, with Louis XVI-style silverplate gadrooned collar and scroll handle, h. 10‑3/4”, l. 6‑1/2”. [500/800] Illustrated 178 Partial Service of Baccarat “Massena” Cut Glass Stemware, ca. 1979, French, including five water goblets, h. 7”, four claret glasses, h. 6‑1/2”, six champagne flutes, h. 8‑1/2”, and six 13‑ounce tumblers, h. 3‑7/8”. [700/1000] Illustrated

175 Nine-Piece Collection of Silverplate Wine Accessories, 20th century, including a Ravinet d’Enfert for Hermes wine cooler with gilt ringed lion’s masque handles, h. 7‑5/8”, dia. 7‑3/8”, an Israel Freeman double wine cooler, monogrammed “LCF”, h. 8”, w. 13‑1/2”, claw-grip ice tongs, l. 6‑3/4”, two French tastevins, one by Christofle, dia. 3‑1/8”, one by Maurice Le Fichiant, dia. 3‑3/8”, a cork tap, l. 4‑1/4”, a LaPierre “repousse” corkscrew, l. 2‑3/4”, a novelty “burro” corkscrew, l. 4”, and a retractable swizzle stick, l. 3‑3/8”. Provenance: Christie’s, June 17, 1999, lot 14 (the Hermes cooler); The Flatt Collection. [500/800] Illustrated

178

179

179 Partial Service of Waterford “Templemore” Cut Crystal Stemware, ca. 1968, Irish, including four water goblets, h. 7”, four hock wine glasses, h. 7‑3/8”, four champagne flutes, h. 7”, four claret glasses, h. 6‑1/2”, three port glasses, h. 4‑1/2”, four 5‑ounce flat tumblers, h. 3‑1/2”, four 10‑ounce flat tumblers, h. 5”, and four juice glasses, h. 5”; together with a Waterford “Kylemore” decanter, h. 10‑3/4”. [700/1000] Illustrated 180 Set of Twelve Bohemian Molded Crystal Goblets, the bowls of the goblets variously decorated with emerald, cobalt, ruby, cranberry, mauve and amber flashing, h. 9‑3/4”, dia. 3”. [700/1000] Illustrated

181

182 Pair of Central Asian Silver-Mounted Cut Glass Ewers, 20th century, each with a tall-necked pearshaped glass body, cut with flutes on the neck and lower half of the body, raised on an Integral foot, mounted in a detachable hand-wrought silver frame with serpent collar and bifurcated handle, attached by a chain to the silver stopper with corkscrew, h. 11‑1/2”, dia. 3‑1/2”. [600/900] Illustrated 183 English Sterling Silver Wine Cooler, hallmarked Sheffield, 1984, by Roberts & Belk, of tapering cylindrical form, the Monteith-shaped rim with applied molding separated by cabochon-and-scroll motifs, with stirrupringed lion’s masque handles, h. 10‑1/4”, dia. 8‑3/4”, 70.38 t. oz. Provenance: The Flatt Collection; purchased from A. Bloom, the Silver Vaults, London. [1200/1800] Illustrated 184 Inlaid Mahogany Decanter Box, first quarter 19th century, English or American, line-inlaid on crotch mahogany panels framed with a checked border, the fitted, paperlined interior with six pontilmarked decanters decorated with gilt scrolls and stars, h. 9”, w. 10‑3/4”, d. 7‑1/2”. [500/800] Illustrated

183

182

177

181 Extensive Partial Set of Baccarat Crystal Stemware, 20th century, including pieces in the “Directoire” pattern (1931‑1961): sixteen iced tea glasses, h. 6‑1/2”, eighteen water goblets, h. 7‑1/4” to 7‑1/2”, six claret glasses, h. 6‑1/2”, four port glasses, h. 6”, twenty-one champagne coupes, h. 5‑1/4”, and one sherry glass, h. 5‑1/4”; in addition to five “Haut Brion” pattern (1928‑1986) port glasses, h. 5”, two “Provence” pattern (1948‑1995) water goblets, h. 6‑7/8”, fifteen aperitif glasses decorated with gilt swags and wreaths, h. 4‑3/4”, four balloon glasses, h. 5‑1/2”, all by unknown makers, seven Baccarat Rhine wines, h. 6‑7/8”, and a claret glass in an unidentified pattern, h. 6‑1/4”. [1500/2500] Illustrated

184

185 Cased Set of Twelve French Silverplate Egg Cups, ca. 1900, each of ovoid form with threaded band accented with acanthus clusters, raised on a waisted stem, the interior gilt, h. 2‑3/4”, presented in a fitted, goldenrod satin-lined pasteboard case, 2‑1/4” x 13‑3/4” x 8”. Of the many possible derivations of the the word “cocktail”, the most widely accepted is that it is a corruption of the French “cocquetier”, or “egg cup”, in which the concoctions were originally served. [500/800] Illustrated

186 187 Good American Modernist Sterling Silver Drinks Tray, 1928, by Reed & Barton, Taunton, Massachusetts, of near square form, with stepped geometric banding, 12” x 13”, 38.49 t. oz. Provenance: The Flatt Collection. [600/900] Illustrated

186 Good Italian Sterling Silver Cocktail Pitcher with Stirrer, fourth quarter 20th century, by Mario Poli, Milan, of tapering oval section with molded rim, base and annular band, the “duck’s beak” spout with integral strainer and ice guard, h. 7‑1/2”, w. 4‑1/8”, l. 5‑1/2”, complete with the original stirrer with spherical finial, l. 9”, 20.80 total t. oz. Provenance: The Flatt Collection. [500/800] Illustrated 187

A sauceboat-on-stand in the same pattern is conserved in the Jewel Stern Modernist American Silver Collection at the Dallas Museum of Art, accession number 2002.29.49.

185

189

188 Fine American Silverplate Traveling Cocktail Set, second quarter 20th century, comprising a cylindrical cocktail shaker with tall waisted lid, opening to reveal nesting within four shot cups, a lemon reamer, a jigger, and three silver-capped flasks, overall, h. 11‑1/4”, dia. 3‑1/2”. Provenance: The Flatt Collection. [700/1000] Illustrated 189 Good Asprey & Co. Cased Silverplate Picnic Cheese and Cracker Set, second quarter 20th century, London, comprising a cheese tin, h. 3‑1/8”, l. 7‑1/8”, a cracker tin, h. 1‑5/8”, l. 7‑1/8”, a pair of cheese plates, 4‑7/8” x 3‑1/8”, a pair of knives, l. 7‑1/4”, a pair of nesting shot cups, h. 2‑1/4”, and a silver-mounted glass flask, h. 5‑3/8”, all presented in a fitted leather case, 4‑1/2” x 8” x 8”, the lid with brass plaque engraved “LR”. Provenance: The Flatt Collection. [500/800] Illustrated 190 French Rosewood and Metal Circular Cigar Compendium, post-1844, with an acorn-shaped plunger in the covered cup on the cover, depressed for the cigar holder to rise, the interior holder rising on a fluted column-form standard surrounded by twelve leaf-molded cigar holders, all retaining original gilt lacquer in a superb state of preservation, branded “Brevette S6D6”, a French patent law enacted in 1844, h. 10‑1/4”, dia. 4‑3/4”. Provenance: Sotheby’s, New York, October 23, 1998, lot 205; The Flatt Collection. [700/1000] Illustrated

190

188

193

191 Continental Art Deco Circassian Walnut and Macassar Veneered Console Table, first half 20th century, the D-form top mounted to four in-curved legs and joined by a similar shaped platform base, h. 29”, w. 53”, d. 15”. [1200/1800] Illustrated

194 Continental Art Deco Macassar Sunburst Veneered Circular Occasional Table, first half 20th century, the circular top with a molded edge and supported by four flared legs joined by a circular shelf below, fitted with scrolled chrome slipper feet, h. 24‑1/2”, dia. 33”. [1500/2500] Illustrated 195 Loet Vanderveen (Dutch, 1921‑2015), “Giraffe”, patinated bronze, incised signature, copyright marked, and numbered “195/500” at underside of belly, h. 16”, w. 13‑1/2”, d. 4”. [800/1200] Illustrated 196 Loet Vanderveen (Dutch, 1921‑2015), “Baboon Mother and Baby”, patinated bronze, incised signature, copyright marked, and numbered “3/750” at belly, h. 8‑3/4”, w. 8‑1/2”, d. 3‑1/2”. [800/1200] Illustrated 197 Loet Vanderveen (Dutch, 1921‑2015), “Horse”, patinated bronze, incised signature, copyright marked and numbered “475/500” at right edge, h. 4‑1/2”, w. 8”, d. 3‑1/4”. Provenance: The Flatt Collection. [700/1000] Illustrated

191 192 Set of Four Murano Glass and Bronze Two-Light Sconces, third quarter 20th century, Italian, on square bronze backplates, each with two sockets, the Murano shades in the form of tall leaves, sculpted with veins and stippled, h. 21”, w. 6”, d. 6‑1/2”. [1500/2500] Illustrated 193 Collection of Hermes Porcelain, ca. 1991‑2000, France, primarily in the “Marqueterie” pattern, including a coffeepot, h. 6‑1/2”, a cream jug, h. 4‑1/4”, a covered sugar bowl, h. 3‑1/2”, a breakfast cup and saucer, h. 3‑1/2”, dia. 7‑1/2”, a plate, dia. 8‑1/2”, a charger, dia. 14”, twelve place card holders in original boxes, w. 2‑3/4”, and six ashtrays in original boxes, w. 3‑1/2”, d. 3‑1/2”, in addition to four “Moustiers” place card holders in original boxes, h. 2‑3/4”, w. 3”. Provenance: The Flatt Collection. [600/900] Illustrated

196

197

195

198 Unusual Continental Art Deco Circassian Walnut Veneered Bookshelf/Console, first half 20th century, the case with curved sides, the interior fitted with open shelf compartments and mounted to a curved platform base, h. 34”, w. 41”, d. 14”. [1800/2500] Illustrated

199 Deroy Sharp Deacon (American, Contemporary), “Owl”, 1990, patinated bronze, cast signature, copyright marked, dated, titled, and numbered “16/36” along bottom edge, h. 9”, w. 8”, d. 6‑3/4”. [800/1200] Illustrated

200

202 Henri Julien Seigle (French, b. 1911), “Les Dames de la Madelaine”, oil on canvas, signed lower right, signed and titled en verso canvas, 51‑1/2” x 63‑7/8”. Framed. [3000/5000] Illustrated 203 Henri Julien Seigle (French, b. 1911), “Les Amies (Deux Femmes)”, oil on canvas, signed lower right, signed and titled en verso canvas, 39‑1/2” x 32”. Framed. [1000/1500] Illustrated

199

200 Deroy Sharp Deacon (American, Contemporary), “Hawk”, 1990, patinated bronze, cast signature, copyright marked, dated, titled, and numbered “5/36” at back, h. 11‑1/4”, w. 7‑1/2”, d. 7”. [800/1200] Illustrated

201 Fine Continental Art Deco Burl Walnut and StringInlaid Console Table, first half 20th century, the rectangular top supported by three tapering “J”-form legs mounted to a circular disk and curved platform base, h. 32”,w . 48”, d. 15”. [1800/2500] Illustrated

201

204 Henri Julien Seigle (French, b. 1911), “Femme Accoudee”, oil on canvas, signed lower right, signed and titled en verso, 23‑3/4” x 28‑3/4”. Framed. [800/1200] Illustrated

208

198

205 Alex Tschernjawski (Yugoslavian/American b. 1933), “Self Portrait and Gladiolas”, oil on canvas, signed upper right, titled en verso, “ACA Gallery” label, 34” x 27”. Framed. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [1000/1500] Illustrated

202

204 208 Pair of Contemporary Stainless Steel and Petrified Wood Occasional Tables, each with a roughly circular slab wood top set into a steel frame with four legs terminating in an X-form base, h. 17‑1/2”, dia. 17‑1/2”. [800/1200] Illustrated

206

203 206 Jean-Francois De Bus (French, b. 1948), “Interior”, 1967, oil on canvas, signed and dated lower left, 14” x 36”. Presented in a thin gallery frame. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [700/1000] Illustrated 207 Pair of Contemporary Baccarat Crystal “Edith” Vases, 20th century, French, the tapered and molded vases with faceted sides, each marked with an etched signature, h. 7‑7/8”, dia. 4‑7/8”. Provenance: The Flatt Collection. [500/800] 205

209

209 Collection of Three Signed Glass Desk Objects, 20th century, including a labeled Val St. Lambert paperweight decorated with a frosted, intaglio Taurus sign, h. 2‑1/4”, w. 3‑1/2”, d. 3‑3/4”, a signed Steuben pen holder, h. 3”, w. 3”, d. 4”, and a signed Baccarat leopard head, h. 4‑3/4”, w. 3‑1/2”, d. 4‑1/2”. Provenance: The Flatt Collection. [500/800] Illustrated

211

212

210 Agate Table Box, 20th century, composed of agate set in a checked pattern, with a hinged cover, h. 1‑1/2”, w. 6”, d. 4‑1/2”. [500/800] 211 Postmodern Bust, utilizing a carved and painted 18th-century bust of a man, with applied 20th-century blocks, displayed in a 19th-century dome on an ebonized wood base, h. 20‑3/4”, dia. 13‑1/2”. [1000/1500] Illustrated 212 Peter Max (American/German, b. 1937), “Running with the Image of His Mother”, 1971, serigraph, signed and dated lower right, sight 21” x 28‑3/4”. Glazed, matted and framed. [700/1000] Illustrated 213 Gil Bruvel (French, b. 1959), “Inner Child”, patinated bronze, cast signature and numbered “13/175” along edge, h. 28”, w. 11”, d. 10‑1/2”. [1800/2500] Illustrated 214 Richard Lindner (German/ American, 1901‑1978), “After Noon”, 1969, lithograph in colors, signed lower right, numbered “a.p. 12/15” lower left, sight 26‑1/2” x 20‑1/2”. Glazed, matted and framed. [500/800] Illustrated

213

215 one of two

215 James Brown (American, b. 1951), “Untitled, Faces”, two woodblock prints, each pencil signed lower right, numbered “7/7” lower left, sheet 26” x 22”. Glazed and framed. [900/1200] Illustrated 216 Bernard Mattox (American, b. 1954), “Untitled”, 1984, pastel on paper, signed and dated “9/84” lower right, sheet size 29‑1/2” x 21”. Glazed and framed. Provenance: Ex-collection Arthur Silverman, New Orleans, Louisiana; purchased directly from the artist ca. 1984. [600/900] Illustrated 217 Francesco Clemente (Italian, b. 1952), “Yellow, Red or Blue”, aquatint in colors, signed in pencil lower right, numbered “50/250” lower left, sheet 25‑3/4” x 24‑3/4”. Glazed and framed. [700/1000] Illustrated 217

214

219

220

216 218 John R. Brunsdon (British, 1933‑2014), “Turning Wheel”, 1962, etching, signed in pencil lower right, titled and numbered “10/50” lower left, sight 27‑3/4” x 21‑1/4”. Glazed and framed. Provenance: The Flatt Collection. [600/900]

219 John Piper (British, 1903‑1992), “San Marco, Venice”, color lithograph, signed in pencil lower right, titled lower center, numbered “59/100” lower left, sight 29‑1/2” x 21‑3/4”. Glazed and framed. Provenance: The Flatt Collection. [800/1200] Illustrated 220 Henry Moore (British, 1898‑1986), “Sculptural Objects ‘A’ Range”, lithograph, signed and dated in plate lower right, sight 19” x 29‑1/2”. Glazed, matted and framed. [700/1000] Illustrated

223

224

222 221 Turkish Angora Oushak Runner, 3’ 1” x 20’ 2”. [600/900]

228

222 Turkish Angora Oushak Carpet, 12’ 4” x 15’. [1800/2500] Illustrated

230

229

223 Oushak Carpet, 7’ 3” x 8’ 10”. [1800/2500] Illustrated 224 Turkish Angora Oushak Carpet, 10’ x 14’. [1400/1800] Illustrated 225 Turkish Angora Oushak Carpet, 9’ 3” x 11’ 9”. [1000/1500] 226 Semi-Antique Tabriz Silk Carpet, 5’ 4” x 7’ 1”. [700/1000] 227 Semi-Antique Kashan Carpet, 9’ 10” x 12’ 4”. [800/1200] 228 Antique Persian Kashan Carpet, first quarter 20th century, 4’ 5” x 6’ 8”. Provenance: The Flatt Collection. [2000/4000] Illustrated

231

229 James Digman Wingfield (British, 1800‑1872), Eight Oil-on-Canvas Panels, ca. 1866, signed and dated in self-portrait lower right, mounted within an English walnut double-sided screen, overall, h. 83‑1/2”, w. 106‑1/2”. Provenance: Estate of the Artist, Messrs. Christie, Manson & Wood, London, July 13, 1872, lot 199; George Richards Burnett, Esquire (1823‑1915). Illustrated: Phillips, Betty Lou. Villa Decor. Layton, UT: Gibbs Smith, 2002, p.102. [5000/8000] Illustrated This rare screen, comprised of eight panels and thirty-two pictures titled in tromp-l’oeil frames, is as illustrious as its history. It was featured in Villa Decor in 2000 as part of a prominent New Orleans furniture collection, and it was one of the four screens in the studio of James Digman Wingfield at the time of his death. It is the only known screen by Wingfield to come to auction since it was sold in the artist’s estate auction in July, 1872 by Messrs. Christie, Manson and Wood (now Christie’s) to George Richards Burnett, an English squire in the London banking insurance business. Burnett, an avid art collector, consigned and purchased hundreds of paintings through Christie’s during the latter part of the 19th century. See online for more information. 230 Victorian Marquetry- and Line-Inlaid Amboyna and Ebonized Sunderland Table, ca. 1875, the burled top flanked by deep leaves, all with banded, inlaid perimeters, the leaves supported by fly legs, the legs with inlaid stringing and brass lower rings, on a trestle base, h. 26”, w. 30”, d. 14”, extended l. 31‑1/2”. [500/800] Illustrated 231 Collection of Seven Walking Sticks, 19th/20th century, primarily Victorian, the collection including a malacca cane with a bone handle carved as a fist grasping a snake, the silver mount marked by J. Howell & Co. Ltd., London, ca. 1904‑1905, l. 35”, a malacca cane with a spiral-reeded bone grip, l. 37”, a “backbone” turned bone and wood cane, l. 37”, a bamboo cane with a silverplate pistol grip handle, l. 35‑1/2”, a bold spiral-carved cane terminating in a knob composed of mahogany, l. 35‑1/2”, a brass walking stick wrapped in cane, l. 38‑1/2”, and a rosewood cane with a spy glass in the handle, 20th century, l. 34‑1/2”. Provenance: The Flatt Collection. [600/900] Illustrated

232 Unusual Pair of English Polished Bronze Six-Light Candelabra, fourth quarter 19th century, of Jacobean Revival inspiration, the rectangular pierced bolectionform bases supporting urn-form standards, pierced with rampant lions and scrollwork, the beaded arms holding candle sockets with like decoration, arranged around a finial in the form of leaves and flowers, h. 23”, dia. 10‑1/2”. [500/800] 235

233 Pair of Pottery Phrenology Busts in the Style of Victorian Staffordshire, 20th century, each marked “Phrenology by LN Fowler” on the front, with a statement by Fowler on the rear, one trimmed in cobalt, the other in brown, each, h. 9‑1/4”, w. 5‑1/2”, d. 5‑1/4”. Provenance: The Flatt Collection. [500/800] 234 Victorian Brass Tipstaff, second half 19th century, the top modeled as a crown joined to a shaped handle, retaining elements of its original gilt lacquer, h. 9‑1/2”, dia. 1‑3/4”. Provenance: The Flatt Collection. [500/800] Illustrated

234

237

235 Collection of Forty-One Old Bindings, including: John Fiske (1842‑1901), Fiske’s Works, Boston: Houghton, Mifflin, & Company, 1899, incomplete with nine volumes, the leather spine with gilt lettering and decoration, 8” x 5‑1/4”; Sir Walter Scott (1771‑1832), The Poetical Works of Sir Walter Scott, Edinburgh: Ballantine & Co., nd, incomplete with ten volumes, leather tooled binding, the boards with the gilt arms of Scott, the spines with gilt lettering and decoration, cut and gilt edges, 6‑1/2” x 4‑1/8”; together with twenty-two various volumes from The Family Library, London: John Murray, 1831, the leather spines with gilt lettering and decoration, 6” x 4”. [500/800] Illustrated 236 Jean-Francois Marmontel (1723‑1799), Memoirs of Marmontel, London: Longman, Hurst, Rees and Orme and John Murray, 1806, incomplete with three of four volumes, the leather binding with gilt decoration, the spine with gilt lettering and decoration, 7‑1/8” x 4‑1/4”; together with Victor Hugo (1802‑1885), Les Miserables, New York: Thomas Y. Crowell & Co., 1887, incomplete with four of five volumes, translation by Isabel Florence Hapgood (1850‑1928), 8” x 5‑5/8”, marbled paper and leather binding, the leather spine with gilt lettering and decoration . [500/800]

239 detail 239

240

243

240 Rudyard Kipling (1865‑1936), The Writings in Prose and Verse of Rudyard Kipling, New York: Charles Scribner’s Sons, 1920, complete in twenty-seven volumes, in full olive cloth with gilt fillet and embossed medallion, the spines with gilt lettering and decoration, the top edges cut and gilt, 8‑1/2” x 5‑3/4”. [700/1000] Illustrated 241 Collection of Six Victorian Staffordshire Whippets, 19th century, English, including two seated pairs, h. 6‑1/4” to 8‑3/4”, w. 3‑1/2” to 5”, and a standing pair, h. 7‑1/2”, w. 6‑3/4”. [500/800] Illustrated 242 Collection of Five English Dog Figures, including a Staffordshire whippet and spaniel, mid-19th century, h. 5‑3/4”, w. 5‑1/4”, a pair of Staffordshire-style vases with mastiffs, h. 5”, w. 5‑1/2”, and a pair of whippets, first quarter 20th century, h. 7‑1/4”, w. 4”. [500/800]

237 George Lillie Craik (1798‑1866) and Charles MacFarlane (1799‑1858), The Pictorial History of England During the Reign of George II, London: Charles Knight & Co., 1843, illustrated throughout with woodcuts, marbled paper and leather binding, the leather spine with gilt lettering and decoration, 10‑1/2” x 7‑1/8”; together with Rev. Thomas Smart Hughes (1786‑1847), The History of England, by Hume and Smollett, Continued, Paris: Baudry’s European Library, 1838, complete in three volumes, the leather spine with gilt lettering and decoration, 8‑3/4” x 5‑1/2”. [500/800] Illustrated

243 Collection of Three Seated Pottery Whippets, including two Staffordshire examples, one on a green base and one on a white base, mid-19th century, and one on a brown base in the Staffordshire style, h. 12”, w. 6”. [500/800] Illustrated

244

241

238 Oliver Goldsmith (1728‑1774) and Douglas W. Turton (1765‑1832), A History of Earth and Animated Nature, London: F. Wingrave, 1805, complete in six volumes, full brown leather bindings, the spines with black panels and gilt lettering and decoration, 8‑3/4” x 5‑1/2”. [500/800] 239 Edmund Lodge (1756‑1839), Portraits of Illustrious Personages of Great Britain, London: Harding and Lepard, 1835, twelve volumes, green leather binding with gilt banding, the spine with gilt lettering, 10‑1/2” x 7‑1/4”; and R. W. Symonds (1889‑1958), English Furniture from Charles II to George III, London: The Connoisseur Ltd., 1929, green leather binding by Edmund Worrall, Birmingham, with gilt armorial decoration, the spine with gilt lettering and decoration, 14” x 10‑5/8”. [500/800] Illustrated

244 Collection of Nine Pottery and Porcelain Pug Dogs, including two large seated examples, ca. 1900, English, h. 6‑1/2”, w. 5‑1/2”, a large Staffordshire standing example, third quarter 19th century, h. 9‑1/4”, w. 7‑1/4”, a pair of Staffordshire smaller examples, third quarter 19th century, h. 5‑3/4”, w. 5”, and two small pairs, fourth quarter 19th century, German, one with an unidentified underglaze blue mark, h. 4” to 4‑1/2”, w. 2‑3/4” to 4”. [500/800] Illustrated 245 Pair of English Staffordshire Pottery Spaniels, fourth quarter 19th century, h. 13”, w. 9‑1/4”; together with a Spaniel Head Bank, h. 4‑3/4”, w. 4‑1/2” (three total pieces). [500/800]

246

246 Extensive Royal Worcester Vitreous China Partial Dinner Service, ca. 1891, English, transfer-printed in the Aesthetic taste, the set including twenty-four dinner plates, dia. 10‑1/2”, twenty-three luncheon plates, dia. 9‑1/4”, twelve soup plates, dia. 10”, a nest of eight graduated platters, including two pairs, w. 7‑1/4” to 22”, d. 5‑1/2” to 11”, a soup tureen, h. 11”, w. 15”, d. 6‑1/2”, four covered vegetable dishes with elephant head handles, h. 7‑1/2”, w. 9‑1/4”, d. 6‑1/4”, a pair of sauce tureens on stands, h. 7‑1/4”, w. 8‑1/4”, d. 6”, a pair of gravy boats, h. 4‑1/2”, w. 7‑1/4”, d. 3”, marked with a registry number for 1886‑1887, and a printed Royal Worcester mark introduced in 1891, lacking a date and code. [1000/1500] Illustrated 247 Pair of Chinese Export Porcelain Peacocks, 19th century, each of the brightly rendered and enameled hollow porcelain birds perched on a rockwork base, h. 16‑1/4”, w. 6”. [700/1000] Illustrated 248 Collection of Nine Old Bindings, including: William Shakespeare (1564‑1616), The Complete Works of Shakspere, London: John Tallis & Co., nd, complete in three volumes, marbled paper binding, the leather spine with gilt lettering and decoration, 11‑1/4” x 8‑3/4”; William Hepworth Dixon (1821‑1879), Her Majesty’s Tower, London: Hurst and Blackett, 1871, incomplete with four of six volumes, red leather binding by Robert Riviere & Sons, London, the spine with gilt lettering and decoration, 8‑3/4” x 5‑3/4”; and William H. Prescott (1796‑1859), The Reign of Ferdinand and Isabella, London: George Routledge & Sons, Ltd., nd, complete in two volumes, brown “tree” leather binding with gilt banding, the spine with gilt lettering and decoration. [500/800] Illustrated

248

249

250

251

253 249 Collection of Fifteen Old Bindings, including: Mr. Rollin (Charles Rollin, 1661‑1741), The Ancient History..., London: W. Otridge and Son, 1808, incomplete with seven of eight volumes, 8‑5/8” x 5‑5/8”; Archibald Alison (1757‑1839), History of Europe from the Commencement of the French Revolution in 1789 to the Restoration of the Bourbons in 1815, New York: Harper & Brothers, 1842, complete in four volumes, 9‑1/8” x 6”; and Edward Gibbon (1737‑1794), The History of the Decline and Fall of the Roman Empire, London: John Murray, 1854, incomplete with four of eight volumes, in full tan leather with Oxford Academy armorial binding, 8‑3/4” x 5‑1/2”. [500/800] Illustrated

250 Collection of Thirty-One Old Bindings of the Works of Sir Walter Scott, including: Sir Walter Scott (1771‑1832), Scott’s Works, London: Frederick Warne & Co., nd, incomplete with twenty volumes, cloth and leather binding, the leather spine with gilt lettering and decoration, 6‑7/8” x 4‑3/4”, and Sir Walter Scott (1771‑1832), Scott’s Waverley Novels, Edinburgh: Adam & Charles Black, 1879, incomplete with eleven volumes, marbled paper and leather binding, the leather spine with gilt lettering and decoration, 6‑3/4” x 5”. [500/800] Illustrated

256

254

251 Secret and Historic Memoirs of the Court of France, Philadelphia: The Rittenhouse Press, nd, in twelve volumes, maroon cloth binding with gilt armorial decoration, the spine with gilt lettering and decoration, 8‑1/2” x 5‑5/8”. [500/800] Illustrated 252 Victorian Ebonized and Papier-Mache Occasional Table, third quarter 19th century, the tilting star-form top with a raised molded edge and centered by a polychrome floral spray, above a baluster-form standard to three splayed shaped legs, h. 25‑1/2”, dia. 32”. [500/800]

247

253 Pair of English Ruby Glass Cornucopia Vases, mid19th century, each having a mottled black marble plinth with a lotus-molded bronze holder supporting a vase embellished with white and gilt enameled scrollwork, the prism-hung edges cut in the Gothic fashion, h. 9‑1/2”, w. 11‑1/4”, d. 6‑1/2”. [600/900] Illustrated 254 Extensive Royal Crown Derby Porcelain “Heraldic Gold” Partial Dinner Service, ca. 1956‑1978, English, with a molded border employing a scalloped edge and panels of gilt lattice alternating with gilt sprays, the service including twenty dinner plates, dia. 10‑1/2”, thirteen rimmed soup plates, dia. 8‑1/2”, seven salad/dessert plates, dia. 8‑3/8”, eleven cream soup bowls, dia. 4‑3/4”, twelve underplates to match, dia. 6‑1/4”, fourteen footed cups, h. 2‑1/4”, sixteen matching saucers, dia. 5‑1/2”, a cream jug, h. 3‑3/4”, and a covered sugar bowl, h. 3‑3/4”. [1000/1500] Illustrated

255

255 English Parian Covered Urn, third quarter 19th century, decorated with scenes from the Feast of Dionysus, the pierced base with intertwined grape vines, the handles and pierced covers with like decoration, and finished with a pair of putti for the knop, h. 18‑1/2”, dia. 11‑1/4”. [800/1200] Illustrated

258

259

262

257 256 Unusual Pair of Marble, Bronze and Stoneware Two-Light Candelabra, fourth quarter 19th century, probably French, the stepped vasiform standards inset with Jasperware plaques and medallions, issuing candle branches with pierced drip pans hung with colorless and amber glass drops, h. 24”, w. 10‑1/2”, d. 2‑3/4”. [500/800] Illustrated

257 Armando Gentilini (Italian, 1909‑1981), “Watching the Races”, oil on canvas, signed lower left, 22” x 18‑3/4”. In an ornate gesso and giltwood frame. [1800/2500] Illustrated 258 Louis Van Der Pol (Dutch, 1896‑1982), “The Young Seamstresses”, oil on canvas, signed lower right, 31‑3/4” x 23‑3/4”. Framed. [2000/4000] Illustrated 259 Louis Van Der Pol (Dutch, 1896‑1982), “Tete a Tete”, oil on canvas, signed lower right, 39‑1/2” x 31‑5/8”. Framed. [2000/4000] Illustrated

264

261

265

263 261 Georges Rouault (French, 1904‑2002), “Parisian Street Scene”, signed lower left, 20” x 24”. Framed. [700/1000] Illustrated 262 Niek van der Plas (Dutch, b. 1954), “Cafe de Flore”, oil on wood panel, signed en verso, 20” x 24”. Framed. [2000/4000] Illustrated 263 Niek Van der Plas (Dutch, b. 1954), “A Day at the Beach”, oil on wood panel, signed lower right, 12” x 16”. Framed. [1200/1800] Illustrated

260 260 Paul Renard (French, 20th Century), “Parisian Street Scene”, oil on canvas, signed lower right, 28” x 39”. Framed. [1500/2500] Illustrated

264 Jean Lefort (French, b. 1948), “Sunny Afternoon by the Lake”, oil on canvas, signed lower right, 31‑1/4” x 38‑1/4”. Framed. [2000/4000] Illustrated 265 Niek van der Plas (Dutch, b. 1954), “Beach Umbrellas”, oil on wood panel, signed lower right, signed en verso, 12” x 19‑1/2”. Framed. [1500/2500] Illustrated

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266 Louis XV Polychrome and Parcel-Gilt Trumeau, 18th century, the molded frame with a green background surrounding a canvas of “Rebecca and Eliezer at the Well”, the back wall with the Hebraic inscription “For Jacob Son of Isaac”, the painting signed “R. Lanten In et Fec 1773”, over a trisected mirror within foliate scroll frames, h. 79‑1/2”, w. 52”. [2000/4000] Illustrated

268

266

267 Louis XVI-Style Giltwood Bergere, early 20th century, the padded ovoid back and shaped sides within an annulated and laurel-leaf-carved frame, joined by downswept padded arms to the cushioned seat, raised on fluted tapering circular legs headed by foliate capitals and ending in toupie feet, h. 39”. [600/900] 268 Meissen Porcelain Cabinet Plate Depicting “Psyche”, ca. 1900, German, with a pierced border trimmed with hand-painted ivy on a yellow ground, the panel with a scantily-clad Psyche with butterfly wings, peering at herself in the water, the back with the title of the image “Psyche am Wasser”, with the Meissen underglaze blue crossed swords mark used 1860‑1824, with one cancellation mark, dia. 9”. [900/1200] Illustrated

269 Large Beaux-Arts-Style Gilt-Bronze and Blown Glass Basket, second quarter 20th century, possibly Baccarat, the blown basket with a cut base, mounted with a pierced bronze neoclassical base, the bronze handle in the form of ribbon-bound reeds supporting the base on swags of flowers, h. 23‑1/2”, w. 15‑3/4”, d. 13”. Provenance: Williams Antiques, Atlanta, Georgia. [800/1200] Illustrated

269

270 Collection of Herend “Rothschild Bird” Porcelain, fourth quarter 20th century, Hungarian, hand-painted with birds and insects on a molded ground, including a service plate/charger, 274 dia. 11”, a dinner plate, dia. 10”, six flat cups, h. 2‑1/4”, six saucers, dia. 6‑1/4”, two sugar bowls, dia. 4‑1/4”, one with a matching cover with a yellow rose knop, two mini tureens with lemon knops, h. 3‑1/2”, w. 5”, an open sauce boat, h. 3”, w. 9‑1/4”, a medium ginger jar with a yellow rose knop, h. 5‑3/4”, dia. 6‑1/4”, five open weave baskets, dia. 4‑1/2”, three open weave baskets, dia. 3‑1/2”, a cachepot, h. 6”, dia. 7‑3/4”, three round scalloped dishes, dia. 4‑3/4”, two fan-shaped hors d’oeuvres dishes, w. 6”, d. 3‑1/2”, two pots with pink rose lids, h. 2”, dia. 2‑1/2”, four oval baskets, w. 3”, two oval bowls, w. 7‑3/4”, two round vegetable bowls, dia. 10‑1/2”, and a vase, h. 6”, dia. 5‑1/4”. [800/1200] Illustrated

270

272 Herend Porcelain “Indian Basket/East Indies Flowers” Soup Tureen, ca. 1915‑1930s, Hungarian, decorated with a basket of trailing peonies and other flowers, the oval tureen with a molded basketweave border, twig-form handles and applied roses, the knop in the form of a putto holding a bow, marked in overglaze blue, h. 13‑1/4”, w. 12‑3/4”, d. 7”. [900/1200] Illustrated

271

271 Monumental Pair of Herend Porcelain “Rothschild Bird” Ginger Jars, fourth quarter 20th century, decorated with hand-painted birds and scattered insects, marked on the bottom, h. 24‑1/2”, dia. 10‑1/4”. [1500/2500] Illustrated 273 273 Attributed to Jean-Baptiste Hilaire (French, 1753‑1822), “The Lost Bird”, gouache on paper, titled and attribution on mat, sight 8‑3/8” x 9‑3/4”. Glazed, French matted and presented in a handsome giltwood frame. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [1500/2500] Illustrated

272

274 Pair of French Marble and Bronze Urn-Form Garnitures, first quarter 20th century, in the Louis XVI style, the mottled pink marble and bronze garnitures with elongated bodies set with scrolled bronze handles, and domed “covers”, with bands of arabesque-molded decoration, h. 16‑1/2”, dia. 4‑1/4”. Provenance: The Flatt Collection. [600/900] Illustrated

275 Chinese Export Carved Fan, ca. 1800, made for the American or European market, the exceptional carving and piercing masterfully blending Eastern and Western design motifs, with plum branches and a central cartouche with a “W” initial against interlocking lozenges and ovals draped with swagging, the upper edge decorated with Asian motifs above the silk ribbon binding, in a contemporary giltwood frame, fan, h. 6”, w. 7‑3/4”, overall, h. 11”, w. 17”. [600/900] Illustrated 276 Follower of Jean-Marc Nattier (French, 1685‑1766), “Portrait of a Beauty with Flowers in Her Hair”, 19th century, oil on canvas, 18‑1/2” x 15”. Framed. Provenance: Personal collection of Daniel Tenenbaum, San Francisco, California and Houston, Texas. [900/1200] Illustrated 277 Good Regence Fruitwood, Mahogany and MarbleTop Commode, late 18th century, the thick marble top with a shaped front, above a conforming bombe case fitted with two short drawers over two long drawers, all banded and quarter-veneered and with decorative hardware, raised on splayed legs ending in sabots, the top front rail indistinctly signed “C. M. Mall...”, h. 34‑1/2”, w. 51”, d. 26”. [3000/5000] Illustrated

276

280 Three-Piece Louis XVI-Style Giltwood Parlor Suite, early 20th century, consisting of a settee and a pair of fauteuils, each with a padded rectangular back within a floral guilloche-carved frame, joined by padded acanthine-carved arms to the like seat above a floral guilloche apron, raised on fluted tapering circular legs headed by a foliate capital and ending in molded feet, all upholstered in floral-patterned tapestry, settee, h. 41”, w. 57”, d. 27‑1/2”, fauteuils, h. 39”. [1500/2500] Illustrated 275

278 Louis XVI-Style Giltwood Mantel/Pier Mirror, ca. 1900, of cushion form, the elaborately modeled and pierced crest centered by an oval panel with a classical bust, flanked by ribbon, cornucopia, leaf and floral carving, h. 85”, w. 45‑1/2”, d. 5”. [1500/2500] Illustrated 279 Pair of French Brass and Porcelain Two-Light Candelabra, first quarter 20th century, one with a female figure holding a bird, the other with a male holding an open bird cage, each set in a bower of brass leaves and sculpted porcelain flowers, hung with mauve and colorless drops, marked “France”, electrified, h. 9”, w. 10”, d. 5”. [900/1200]

277

278

281

283

281 Pair of Louis XVI-Style Polychrome Sidechairs, mid19th century, each with a padded rectangular back within a molded frame, joined to the padded seat by molded arms, raised on paneled tapering square legs, upholstered in period tapestry depicting figures of peasants and various animals, h. 36”. [1500/2500] Illustrated

283 Louis XVI-Style Giltwood and Onyx-Top Center Table, late 19th century, the inset rectangular richly figured onyx top with D-ends, above a conforming pierced laurel leaf frieze, each side centered by a ribbon-carved panel, raised on paneled tapering square legs joined by a shaped H-form stretcher and ending in tapering foliatecarved feet, h. 32”, w. 43”, d. 27”. [2500/4000] Illustrated

282 Pair of Louis XVI-Style Polychrome Sidechairs, mid-19th century, each with a padded rectangular back within a molded frame, joined to the padded seat by molded arms, raised on paneled tapering square legs, upholstered in period tapestry depicting figures of peasants and various animals, h. 36”. [1500/2500] 280

284

288

284 Louis XVI-Style Giltwood Mantel Mirror, late 19th century, the beveled mirror plate in a gently arched conforming frame with a floral wreath and laurel leafcarved crest flanked by carved finials, the beaded frame with entwined ribbon-and-leaf decor, h. 73”, w. 50”, d. 7”. [2000/4000] Illustrated

285

285 Louis XV-Style Bronze Firescreen, first quarter 20th century, the pierced, scrolled bronze frame decorated with a mount depicting a cornucopia of flowers and raised on scrolled feet, h. 29‑1/2”, w. 28‑3/4”, d. 8”. [500/800] Illustrated

287

286

286 Pair of Napoleon III Gilt-Bronze Chenets in the Louis XV Style, third quarter 19th century, each molded with bold pierced rocaille work and supported by an iron billet bar, h. 17”, w. 16”, d. 25”. [700/1000] Illustrated

290

290 Two Pairs of French GiltBronze Candlesticks, including a Louis XV pair, each with a molded serpentine base and baluster-form standard with matching candle cup, third quarter 18th century, h. 9‑1/2”, dia. 5”, and a Restauration pair, each with an acanthus-molded base, tapered standard with Ionic capital and scalloped bobeche, second quarter 19th century, h. 11‑1/4”, dia. 4‑3/4”. [700/1000] Illustrated 291 Louis XVI-Style Mahogany Vitrine Table, early 20th century, the rounded rectangular top centered by a glazed panel and with an annulated ormolu edge, hinged and opening to a fabriclined interior, above a frieze with applied foliate ormolu panels, raised on tapering circular legs ending in lotus-form caps, h. 33”, w. 38”, d. 22‑1/2”. Provenance: Personal collection of Daniel Tenenbaum, San Francisco, California and Houston, Texas. [1200/1800] Illustrated

289

287 French Neoclassical-Style Gilt-Bronze Firescreen, ca. 1900, the rectangular screen framed with torches on either side and a cut-cornered top, the pierced crest with a wreath-molded handle bound with ribbons and laurel boughs, the center with a trophy of musical instruments, raised on hoof feet, h. 30”, w. 28‑3/4”, d. 10‑1/2”. [700/1000] Illustrated 288 Diminutive Napoleon III Giltwood Mantel Mirror, third quarter 19th century, with a shell and foliate arched crest, the molded frame with decorative lower corners, h. 58‑1/2”, w. 39”. [800/1200] Illustrated 289 Directoire Giltwood Barometer, fourth quarter 18th century, mounted with a thermometer beneath the painted wooden dial, and a crest of a flaming torch piercing a laurel wreath on a fluted ground, the sides with pierced scrollwork, h. 39‑3/4”, w. 14‑1/4”. [800/1200] Illustrated

291

292 Pair of French Bronze Two-Light Sconces in the Louis XVI Style, each with a backplate in the form of swags and a bowknot, and fitted with ribbon-bound reeded candle arms holding leafmolded drip pans and fluted candle sockets, h. 21‑1/2”, w. 9‑3/4”, d. 3‑3/4”. [800/1200] Illustrated

292

293 Pair of KPM-Style Hand-Painted Porcelain Plaques, ca. 1900, by Laure Levy (French, 1866‑1954), each signed and inscribed “D. Santpierre”, one plaque in the Orientalist style of a woman with a water jug, the other of a woman in Classical garb gathering roses, each 9” x 7”. In matching giltwood frames. [800/1200] Illustrated 295 295 After Jean-Baptiste Greuze (French, 1725‑1805), “Girl with a Broken Pitcher”, 19th century, oil on oval canvas, unsigned, 39” x 31‑1/2”. Presented in a conforming, handsome 19th-century giltwood and gesso frame. [1500/2500] Illustrated

293

294 Pair of French Gilt-Metal and Crystal Three-Light Girandoles, second quarter 20th century, in the neoclassical style, each having a central standard mounted with three candle branches set with leaf-form candle cups and prism rings, and supporting graduated tiers of crystal drops, fleurettes and leaves, raised on circular, stepped, leaf-molded bases, electrified, h . 25‑1/4”, w. 14”, d. 11‑1/2”. [600/900]

296

297

296 Louis XV-Style Polychrome Settee, 19th century, the shaped and padded back surmounted by a paneled frame and floral crest, joined by padded scrolling arms to the cushioned seat, raised on molded cabriole legs ending in peg feet, h. 43‑1/2”, w. 64”, d. 25”. [1000/1500] Illustrated 297 French Silvered and Gilt-Metal Box, first quarter 20th century, the silvered box with gilt trim and set with views of peasants harvesting hay, pumping water and picking grapes, marked with a single unidentified “R” on the bottom, the interior velvet-lined, h. 3”, w. 7‑3/4”, d. 4‑1/4”. [500/800] Illustrated

8 56

298 Follower of Jean Urbain Guerin (French, 1761‑1836), “Portrait of Louis XVI”, 19th century, oval pastel on board, 7‑3/4” x 6‑1/4”. Glazed and presented in a rococo-style carved and parcel-gilt frame. [700/1000] Illustrated

298

299 British School (Fourth Quarter 17th Century), “Portrait of a Handsome Youth in a Yellow Jacket and Blue Cloak”, oil on canvas, unsigned, 14” x 12”. Presented in an antique carved giltwood frame. Provenance: Personal collection of Daniel Tenenbaum, San Francisco, California and Houston, Texas. [800/1200] Illustrated

299

301 Circle of Charles Le Brun (French, 1619‑1690), “Portrait of a Young Nobleman, Possibly Louis XIV”, oil on canvas, 15‑3/4” x 12‑1/2”. Glazed and presented in an antique giltwood and gesso frame. [800/1200] Illustrated

300 300 Circle of Hyacinthe Rigaud (French, 1659‑1743), “Portrait of the Artist”, oval oil on canvas, 24” x 20”. Presented in an antique giltwood and gesso frame. [1500/2500] Illustrated 301

302 French School (18th Century), “Oval Portrait of a Woman in Blue”, oil on canvas, laid on board, 27‑1/4” x 24‑1/4”. Presented in an antique oval giltwood and gesso frame. [2000/4000] Illustrated

302

305 303 French White Marble Bust of Marie Antoinette, fourth quarter 19th century, on an Italian verde antico marble pedestal, the figure opulently draped, on a tapered socle of Doric columnar form, bust, h. 28”, w. 19‑1/4”, d. 9‑3/4”, overall, h. 67‑3/4”, w. 19‑1/4”, d. 12”. [1500/2500] Illustrated

303

306

307

304 304 After Simon Vouet (French, 1590‑1649), “Father Time Overcome by Love, Hope and Beauty”, early 20th century, oil on canvas, unsigned, 43‑1/2” x 56‑1/2”. Framed. [4000/7000] Illustrated 305 After Paulus Moreelse (Dutch, 1571‑1638), “The Little Princess”, early 20th century, oil on canvas, unsigned, 32” x 25”. Framed. [1500/2500] Illustrated 306 Follower of Salvator Rosa (Italian, 1615‑1673), “Figures in a Landscape with a River and Ruins of a Gothic Church”, oil on canvas, unsigned, 21” x 23”. Presented in a Louis XV-style giltwood and gesso frame. [1000/1500] Illustrated

307 Louis XVI-Style Polychrome Trumeau, late 19th century, the molded giltwood crest above a canvas of a courting couple in a pastoral landscape, within a molded frame surmounted by a ribbon crest, over a mirror plate within a giltwood banding, h. 77”, w. 52”. [1500/2500] Illustrated 308 Five-Piece Louis XVI-Style Giltwood Parlor Suite, late 19th century, consisting of a settee and four fauteuils, all with padded rounded backs surmounted by a floral crest and within a rope-twist molding, joined by padded arms to the like seat, the settee with a cushioned seat, raised on fluted tapering circular legs ending in toupie feet, all upholstered in early 19th century tapestry depicting children and animals, settee, h. 37”, w. 63”, d. 27”, fauteuils, h. 37”. [2000/4000] Illustrated

308

309 Louis XVI-Style Giltwood Firescreen, mid-19th century, the rectangular padded silk brocade screen surmounted by a floral wreath crest and within a molded frame, flanked to either side by fluted uprights, raised on splayed legs ending in block feet on pegs, h. 41”, w. 26‑1/4”. [700/1000] Illustrated

309

310 Louis XVI-Style Mahogany and Marble-Top Center Table, early 20th century, the inset rectangular Breche d’Alep marble top above a frieze on two sides, one side with a long drawer, centered by an ormolu relief panel of musical cherubs, flanked to either side by ormolu festoons, continuing at each end with ormolu scrolls, raised on ormolu-mounted tapering square legs ending in brass caps, h. 30”, w. 43‑1/2”, d. 26‑1/4”. [2000/4000] Illustrated

311 Continental Terracotta Figural Group of a “Satyr and Bacchante Offering Grapes to a Child”, fourth quarter 19th century, after Claude Michel (French, 1738‑1814), known as Clodion, the satyr sitting on a rocky outcropping adjacent to a bacchante offering a basket of grapes to the child, signed on the lower right side and inscribed “Paris 123 10” on the rear, h. 19‑1/4”, dia. 8‑3/4”. [700/1000] 312 Fernand Cian (Fernando Ciancianaini) (Italian/ French, 1886‑1954), “Les Deux Amours”, terracotta figural group of an angel-winged Cupid and a butterfly-winged Psyche embracing, incised signature and inscribed “Paris 177...” at edge of self-base, on a conforming carved and gilt-washed wood base with beaded detail, overall, h. 12‑1/2”, w. 15”, d. 5‑1/4”. [700/1000] Illustrated

313

314

313 Handsome Pair of French Restauration Gilt-Bronze Candlesticks, second quarter 19th century, the base and candle socket decorated with molded flowers, the tapered standards decorated to mimic bound bundles of reeds, h. 13”, dia. 4‑1/2”. [700/1000] Illustrated

312

310

315

314 Good Pair of German Neoclassical 13 Lot (.813) Silver Candlesticks, first quarter 19th century, by William Conrad Hessenberg (1775‑1837), Frankfurt, each of Corinthian column form, with fluted shaft and acanthine base and socket capital, above a cylindrical pedestal with annulated banding and decorated with applied classical figures and anthemion, above a cavetto-domed, leaf-anddart-banded foot, h. 11‑3/4”, dia. 4‑1/2”, 22.08 total t. oz. [1000/1500] Illustrated 315 Austrian Three-Piece 13 Lot (.813) Silver Coffee Set, marked Vienna, 1865, by Mayerhofer & Klinkosch, comprising a coffeepot, h. 8‑1/4”, dia. 5”, an open sugar bowl, h. 3‑1/4”, dia. 6”, and a cream jug, h. 7”, dia. 4‑1/4”, each with a pear-shaped body and raised on four mascaron-crested paw feet, the pot and jug with carved crested ivory handle, the sugar bowl with silver stirrup handles, each engraved with a pair of crowned armorials, 35.43 total. t. oz. [1000/1500] Illustrated 316 Austrian Third Standard (.800) Silver Tray, fourth quarter 19th century, by Vincenz Czokally, Vienna, of oval form, the molded rim quartered by circular portrait medallions of a neoclassical female head in high relief and with addorsed and annulated acanthus-scroll handles on the narrow ends, the conforming plateau engraved with laurel wreaths and arabesques centering a crowned and conjoined monogram “AW”, l. 29”, w. 19‑1/4”, 81.98 t. oz. [3000/5000] Illustrated

318

317 Pair of German 13 Lot (.813) Silver Candlesticks, second quarter 19th century, each of of baluster form and serpentine-sided square section, the standard with an integral knop above a waisted base with acanthusscroll corners, surmounted by an integral nozzle en suite with detachable conforming bobeche, h. 12‑3/4”, w. 5”, weighted. [600/900] 318 Good German .800 Silver Kettle-on-Stand, the pattern introduced in 1891, by Koch & Bergfeld, Bremen, retailed by Hessenberg & Co., Frankfurt, the pear-shaped body decorated with spiral fluting and acanthus calyx, with acanthus-mounted “gooseneck” spout, rococo scroll swing handle and displayed eagle finial, the whole raised above a conforming stand with spirit burner, engraved on the body with baronial arms, h. 15‑3/4” (19‑1/4” with handle), l. 11”, w. 9‑3/4”, 88.91 t. oz. [1400/1800] Illustrated

319

316

319 Pair of German .835 Silver Sauce Tureens-onStands, first quarter 20th century, by Bruckmann & Soehne, Heilbronn, retailed by Lazarus Posen Witwe, Frankfurt, each of navette form, with serpentine lobes quartered by broad flutes, with opposing cabochoncrested scroll handles and gilt interior, each fixed to a conforming stand, h. 5‑1/2”, l. 8‑3/4”, w. 6”, 24.05 total t. oz. [800/1200] Illustrated

320 Pair of German .800 Silver Rococo-Style Candlesticks, first quarter 20th century, by D. Vollgold & Sohne, Berlin, each with a baluster standard above a scalloped knop and steeply domed foot, and surmounted by an integral 320 waisted nozzle, the whole decorated with embossed rococo scrolls and acanthus fronds, h. 13‑1/8”, dia. 6‑1/2”, weighted. [500/800] Illustrated 321 Pair of Napoleon III First Standard (.950) Silver Legumiers, third quarter 19th century, by Francois Durand (fl. 1828‑1874), Paris, each of circular form, serpentine-lobed with shell-and-acanthus stirrup handles, with fitted liner and conforming domed lid en suite with ring handle, engraved on the lid and body with arms “argent, three stags springing, two and one”, h. 7‑1/4”, dia. 9‑3/8”, 116.72 total t. oz. [2000/4000] Illustrated 322 French Bronze Argente and Glass Center Bowl, fourth quarter 19th century, of oblong form, the bronze argente frame with a pair of molded bands, the upper with trefoil crockets, joined on the sides by scroll-mounted cartouches and the ends by grotesque masques, all raised on haunched paw feet, fitted with a molded and frosted glass liner with transparent rim, h. 7‑1/4”, l. 17‑1/2”, w. 10‑3/4”. [1000/1500] Illustrated

322 324 German Sterling Silver Fruit Bowl, ca. 1900, Hanau, retailed by Shreve & Co., San Francisco, California, in the Louis XV taste, of shaped oval form, the elaborately pierced rim decorated with floral and musical trophee cartouches separated by imbricate panels, rococo scrolls and floral swags, the base embossed with a rural galants scene, h. 2‑1/4”, l. 13”, w. 11”, 21.52 t. oz. Provenance: Personal collection of Daniel Tenenbaum, San Francisco, California and Houston, Texas. [1200/1800] Illustrated

323

325 Continental .800 Silver Table Box, first quarter 20th century, probably German, of rounded rectangular form, the bulbous base with four scroll feet and decorated with embossed rococo scroll cartouches of cavorting putti on a lattice-and-scroll ground, the hinged lid en suite and opening to a gilt interior, h. 5”, w. 7‑1/4”, d. 6‑1/4”, 21.12 t. oz. [800/1200]

321

323 German .800 Silver Salver, first quarter 20th century, by Bruckmann & Soehne, Heilbronn, of circular form, with shaped and embossed rocaille rim extending inwards at quarter intervals, raised on four annular ball feet, monogrammed “ATE”, dia. 14‑3/4”, 27.14 t. oz. [700/1000] Illustrated 324

326 Good Pair of French Bronze Argente Candelabra, fourth quarter 19th century, in the rococo taste, each with an acanthus-mantled standard extending above to form four elaborately scrolling arms surrounding a central standard, terminating in drip pans and nozzles en suite, and extending below to form a domed foot above a circular plinth, h. 20‑1/2”, dia. 11‑1/2”. [1200/1800]

327

327 French First Standard (.950) Silver Platter, ca. 1900, by Andre Aucoc, Paris, of oval form, with ovolo rim, the plateau engraved with a conjoined monogram “WH” surmounted by a Russian imperial crown, l. 15‑1/4”, w. 12”, 40.51 t. oz. [1000/1500] Illustrated

328

328 French Twelve-Piece Silverplate Escargot Set, mid-20th century, retailed by Charles R. Ruegger’s “Bazar Francais”, 666 6th Ave., New York, comprising six escargot holders, l. 6”, and six escargot forks, l. 6‑1/8”, together with a French silverplate absinthe spoon, l. 6‑7/8” (thirteen total pieces). Provenance: The Flatt Collection. [500/800] Illustrated 329 Portuguese Second Standard (.833) Silver Parcel-Gilt Filigree Presentation Model of a Carrack, dated 1956, by Mario Martins da Rocha, fl. Gondomar, 1949‑1972, the silver hull and deck fitted with realistic masts and rigging, with gilt filigree sails, pennants and “seas”, the sails 329 with enameled Portuguese crosses, presented on an ebonized wood base with silver plaque engraved with presentation to Major-General Willard K. Liebel (1901‑1961), h. 13‑1/2”, l. 10‑1/2”. [1200/1800] Illustrated Kentucky native William K. Liebel enlisted in the army at the age of 15, and was thus a veteran with three battle stars and a wound stripe as infantryman when he attended West Point as a member of the class of 1924. He served as Chief of Staff and Assistant Commander of the 17th Airborne Division during World War II, and served as Provost Marshal of Austria during the Allied Occupation. He served as Chief of the Military Assistance Advisory Group in Lisbon from 1954 to 1956, during which time he was presented with this handsome piece. He retired with the rank of Major-General - to which he had been promoted during his tenure in Portugal - in 1957. He died on August 1, 1961 in Fort Sam Houston, Texas, and is interred in the National Cemetery there. 330 Pair of German .800 Silver Garniture Figures of Fighting Cockerels, first quarter 20th century, probably Ludwig Neresheimer & Sohne, the combatant fowls realistically modeled and intricately detailed, h. 9”, l. 8‑3/4” and h. 7‑7/8”, l. 9‑1/4”, 34.89 total t. oz. Provenance: The Flatt Collection. [800/1200] Illustrated

330

331 Fine Buccellati Sterling Silver Model of a Rooster, fourth quarter 20th century, Milan, the bantam-sized fowl realistically modeled and intricately detailed, with flat wire feathers and thin wire down, h. 15‑1/4”, l. 11‑3/4”, 59.68 t. oz. Provenance: The Flatt Collection. [5000/8000] Illustrated 332 Buccellati Sterling Silver Serving Plate, fourth quarter 20th century, Milan, circular with radiant lobes and hammered finish, dia. 12‑1/8”, 29.29 t. oz. Provenance: Christie’s East, New York, January 19, 1999, lot 129; The Flatt Collection. [600/900] Illustrated

332

333

333 Spanish Sterling Silver Pitcher, 20th century, by Montejo Orfebres, Madrid, in the 18th-century taste, the squat pear-shaped body of hexagonally serpentine-lobed form, the stepped collar waisted and with integral spout, with acanthus-crested “s”-scroll handle and domed foot, h. 11‑1/4”, dia. 6‑1/2”, l. 9‑3/4”, 32.52 t. oz. Provenance: The Flatt Collection. [600/900] Illustrated

331

334 Impressive Continental Sterling Silver Sleigh-Form Centerpiece, 20th century, the rococo-style sleigh decorated with cartouches and scrolls on a lattice ground, with elaborately scrolling rim, bow and rear, the bow with two figural jester putti, one driving and one a herald, the runners with winged lion masque mounts and large shell crest, the whole raised on a lobed oval base decorated en suite, with four jester masque and two scrolling feet, h. 13‑1/4”, l. 22‑1/2”, w. 11‑1/2”, 93.23 t. oz. [1800/2500] Illustrated

335 334

335 Collection of Sixteen A. Michelsen and Other Sterling Silver Gilt and Enamel Annual Christmas Spoons and Forks, Copenhagen, comprising eight spoon and fork sets, with Michelsen sets for 1920, “The Dybbol Mill”, designed by Harald Slott-Moller (1864‑1937); 1925, “Poinsettia”, designed by Ellen Michelsen (1864‑1945); 1927, “Spire of Our Saviour’s Church, Copenhagen”, designed by Hans Tegner (1853‑1932); 1952, “Santa and the Reindeer”, designed by Arne Ungermann (1902‑1981); 1961, “Organ Pipes”, designed by Arne L. Hansen (1921‑2009); 1972, “Herald”, designed by Bjorn Wiinblad (1918‑2006); and 1976, “Snow Crystal”, designed by Gudmund Olsen (1913‑1985); and a Worcester set for 1965 by Sorenco, l. 6‑1/4” to 6‑1/2”, 24.36 total t. oz., the Worcester and last three Michelsen sets accompanied by the original boxes. [800/1200] Illustrated

336

336 Good German Sterling Silver Sleigh-Form Centerpiece, first quarter 20th century, by J. D. Schleissner Sohne, Hanau, the batteau-form sleigh with elaborately scrolled rim and decorated with embossed cartouches of cavorting putti, the high-crested back surmounted by a seated putto, the prow in the form of a demi-swan, from which emanates the scrolling runners, all pulled by a harnessed reindeer, the interior gilt, h. 8”, l. 23‑3/4”, w. 4‑3/4”, 71.70 t. oz. [1800/2500] Illustrated 337 Pair of Monumental Nickel-Plated Brass Reindeer Candlestands, 20th century, each of the figures stylistically detailed, the antlers fitted with six candlesockets, h. 39”, l. 27”, w. 18‑3/4”. [1000/1500] Illustrated

337

338 338 Jean Dufy (French, 1888‑1964), “Nature Morte”, 1928, oil on canvas, signed and dated lower left, 21‑5/8” x 18”. Presented in a giltwood frame and accompanied with a catalogue raisonne letter of authentication. Provenance: Christie’s, New York, February 15, 2000, Impressionist, 20th Century and Contemporary Art sale, lot 28; The Flatt Collection. Illustrated: To be included in Bailly, Jacques and Marie-Caroline Sainsaulieu. Jean Dufy: Catalogue Raisonne de l’ Oeuvre, vol. 3, number 3376. [15000/25000] Illustrated

339 Ferdinand du Puigaudeau (French, 1864‑1930), “Meules de Foin et Champ de Coquelicots pres du Croisie”, oil on wood panel, signed lower right, 7‑1/4” x 9”; accompanied by a March 22, 1999 letter of authenticity from Antoine Laurentin. Presented in a giltwood and gesso frame with a linen liner. Provenance: Sotheby’s, New York, September 30, 1999, Impressionist and Modern Art sale, lot 147; The Flatt Collection. Illustrated: To be included in the forthcoming catalogue raisonne by Antoine Laurentin. [5000/8000] Illustrated A painter in the Impressionistic style, Puigaudeau received a traditional education in his native Nantes before traveling to Italy and Tunisia. Upon his return to France he spent some time in the Breton city of PontAven, becoming an integral part of the thriving artistic community and befriending fellow artists Paul Gauguin, Edgar Degas, Claude Monet, and Pierre-Auguste Renoir; these artists were to be forces behind the “Pont-Aven School”, which emphasized the use of bold, light-infused colors. This approach is clearly seen in Puigaudeau’s work which is known for its distinctive wide range of vivid colors and understanding of how light can shape landscapes and objects, creating a certain mood. The intimate painting here is a wonderful example of the artist’s style: a village bathed in the mid-day sun, serenely combining the small, energetic brushstrokes of haystacks and poppies in the foreground we associate with the Impressionist style, together with the strong linear definition of the church steeple and rooftops beyond.

340 Francois Gall (French/Hungarian, 1912‑1987), “Quai des Grands Augustins”, oil on canvas, signed lower right, verso with “Marlborough, London, U.K.” gallery label, 30‑1/2” x 37‑3/4”. Presented in a giltwood frame with a linen liner. Provenance: The Flatt Collection. [5000/8000] Illustrated

339

340

341 Francois Gall (French/Hungarian, 1912‑1987), “Cafe Pigalle”, oil on canvas, signed lower right, signed, dated and with a “Robert Rice Gallery/Houston, TX” label en verso, 25‑1/2” x 32”. Framed. Provenance: Christie’s, New York, 13 November, 1990, lot 142; The Flatt Collection. [4000/7000] Illustrated

341

342 342 Maximilien Luce (French, 1858‑1941), “Saint Tropez au bord de la Mer Mediterranee”, ca. 1893, oil on canvas board, signed “Luce” lower left, 8” x 10”. Presented in a giltwood frame. Provenance: Christie’s, New York, February 15, 2000, Impressionist, 20th Century and Contemporary Art sale, lot 11; The Flatt Collection. Illustrated: Bazetoux, Denise. Maximilien Luce: Catalogue Raisonne, vol. 3. Paris: Avril Graphique Ed., 2005, no. 577, p. 149. [10000/15000] Illustrated

343 343 Louis Vivin (French, 1861‑1936), “Notre Dame de Paris et la Seine”, ca. 1920, oil on canvas, signed lower right, verso with a “Perls Gallery, New York, N.Y.” label, 18‑1/8” x 21‑3/4”. Presented in a carved, polychrome frame. Provenance: Perls Gallery, New York, N.Y.; The Flatt Collection. [2000/4000] Illustrated

Born into a family of modest means, Luce began his artistic career as an engraver. He turned to painting full time in 1883, when employment opportunities for engravers became scarce, due to advancements in printmaking. He was introduced to the Neo-Impressionist group by fellow artist Camille Pissarro in 1887, and quickly adopted the Divisionist technique of color application in separate patches or dots, believing it achieved unprecedented luminosity. Luce’s dramatic use of light (both artificial and natural) and vibrant color preceded Fauvism, whose followers’ use of unnatural color and energetic brushstrokes characterized the movement. He painted ordinary objects and scenes of life in Paris with lyricism and passion; he was fascinated by Haussmann’s progress which shaped Paris into the city we are familiar with today. In 1892, he visited St. Tropez and this visit--to a much less industrial region--resulted in tranquil, sun-filled works, such as the one presented here. As most Neo-Impressionists, Luce was an anarchist and his political convictions prompted him in 1940, after a long association with “Societe des Artistes Independants”, to resign as a vice president, in protest of the regime laws of the Vichy government (Germany’s puppet government in France), which banned Jewish artists from participation in the group. The year Luce died, Bibliotheque National de France held a memorial exhibition; another memorial exhibition was mounted at Les Independants from March to April 1942. According to the Musee d’Orsay, Maximilen Luce, whose long career left behind an extensive body of work, is “one of the best representatives of the neo-impressionist movement”.

345

344 Charles Levier (French, 1920‑2003), “La Chambre de Bonne”, 1964, oil on canvas, signed upper right, signed, dated and titled en verso canvas, 42” x 72”. Handsomely framed. Provenance: Cornelis L. J. Damme, Los Angeles, 1965; The Flatt Collection. [4000/7000] Illustrated 345 Charles Levier (French, 1920‑2003), “Dans Atelier”, oil on canvas, signed lower left, signed and titled en verso, 50” x 36”. Unframed. Provenance: The Flatt Collection. [3000/5000] Illustrated 346 Charles Levier (French, 1920‑2003), “Femmes”, group of four inks on paper, each signed lower right, three sight 13‑3/4” x 10‑1/2” and one sight 8‑1/4” x 5‑3/4”. All matted, glazed and framed alike. Provenance: Cornelis L. J. Damme, Los Angeles, 1965; The Flatt Collection. [1500/2500] Illustrated 346 one of four

344

347

347 Sam Szafran (French, b. 1934), “Atelier aux Feuillages”, 1969, pastel on paper, pencil signed lower center and dated on “Galerie Claude Bernard” label on frame backing, 40‑5/8” x 29‑1/4”. Glazed, matted and framed. Provenance: Galerie Claude Bernard, Paris, France; The Flatt Collection. [100000/150000] Illustrated Sam Szafran was born in the Marais, "the Jewish Ghetto” of Paris, in 1934 to Polish Jewish working class immigrants. After the Germans invaded France in 1940, Szafran survived the occupation in exile, fleeing from towns and countries, enduring unspeakable acts of anti-Semitism. In 1944, he was arrested and imprisoned in the Drancy internment camp before American troops liberated it. Following the war, in which most of his family died, Szafran sought refuge in Switzerland and then Australia, not returning to France until 1951. It was during this period that he found solace in art, experimenting first with drawing and then oils. From 1951‑1960, Szafran immersed himself in the Parisian art scene, studying abstraction under Henri Goetz at the Atelier de la Grande Chaumiere, and taking up an itinerant residence in Montparnasse, learning from some of the most established artists of the time like Jean Arp, Yves Klein, Jean-Paul Riopelle, Joan Mitchell and Alberto Giacometti. In the artist’s words, the cosmopolitan bazaar of Montparnasse was his “Eldorado;” a state of being he only fully achieved by working in the malleable medium of pastels. A biography of some artists is simply that; for Szafran it is the visual manifestation of his artwork as the warstricken existential wanderer, which he described in an interview with Alain Veinstein as “kind of intellectual ghetto translated into images." The artist’s studio/and conservatory, which for the artist, occupy the same place, are tightly contained interiors that on one hand express a claustrophobic foreboding, consistent with the winding streets and staircases of tenement places. On the other hand, Szafran’s horror-vacui obsessionthe need to fill an entire artwork or space with detail, whether it be staircases that go nowhere or copious foliage that spills outward - liberates his compositions, turning them into dazzling kaleidoscope-like still lifes.

348 348 detail

Nowhere is this better illustrated than in the two pastels offered here as lots 347 and 348. Both are studio/ conservatory drawings, a recurrent subject in the artist’s work that featured prominently in the debut exhibit of his pastels at the Parisian Galerie Claude Bernard (GCB) in 1972. In this lot, which closely resembles three pastels exhibited at GCB as part of the July-December 1971 series, the all engulfing foliage, trapped beneath the iron beams of the glass ceiling, burst forward in an abstract bouquet of blue. In lot 348, the negative space surrounding the densely packed diagonal composition thrusts the solitary figure outward from the slumber of his confines. 348 Sam Szafran (French, b. 1934), “Homme Assise devant Les Feuillages”, 1967, charcoal on paper, signed and dated lower margin, 40” x 20‑1/2”. Glazed, matted and framed. Provenance: The Flatt Collection. [20000/40000] Illustrated 349 Jean-Louis-Marcel Cosson (French, 1878‑1956), “At the Bar”, oil on canvas, signed lower right “Cosson”, 21‑1/2” x 18”. Framed. Provenance: The Flatt Collection. [1500/2500] Illustrated

349

350

350 John Bulloch Souter (British,1890‑1972), “Wood Lay Figure with a Mirror”, oil on masonite, signed lower left, 24” x 20”. Framed. Provenance: The Flatt Collection. [1200/1800] Illustrated

351

351 Exceptionally Rare French Carved Walnut “Maquette Francaise” of an Equestrian, second half 19th century, the rider and horse stamped “Maquette Francaise sur Armature Articulee/Brevetee S.G.D.G/Paris B”, each fully articulated with flexible metal and brass ball joints, the horse with a ribbed leather neck, the figures on an adjustable iron stand raised on a wood plinth; together with the original wood box cover, overall, h. 29‑1/2”, w. 32‑1/2”, d. 9‑1/4”. Provenance: The Flatt Collection. [10000/15000] Illustrated

351 detail

352 detail

352 Exceptionally Rare French Carved Wood and Metal Life-Size Mannequin Skeleton, late 18th century, fully articulated, the anatomically correct model with complex iron peg and double brass and mixed metal ball joints allowing for full pronation and supination of limbs, torso and neck, the rib cage and dorsal area fitted with iron ribbing to support musculatory padding, h. 67‑1/2”, w. 18”, d. 9”. Provenance: By repute, the artist Thomas Gainsborough; then by descent to his daughter Margaret; Christie’s, London, estate sale of the late artist, May 11, 1799; Arthur Davidson Ltd., London, November 6, 1985; The Flatt Collection. [5000/8000] Illustrated Lay figures/mannequins are truly the “silent partners” in the history of art. It is purported that they were employed as anatomical aids by Ancient Greek sculptors, though no true evidence of them predates the Italian Renaissance, during which they were used by some of the most talented artists of the time. Fra Bartolomeo, according to Giorgio Vasari, was the first artist to devise a fully articulated life-size lay figure in wood. As Jane Munro states in her book Silent Partners: Artist and Mannequin from Function to Fetish, lay figures were never “artistic ‘props’ designed to assist artists of limited conceptual and technical abilities”. Since the Renaissance, the smaller lay figures/maquettes, made of secondary woods like pine and walnut/fruitwoods, were used to rehearse a movement or pose, in much the same way sculptors use modelli. As lots 356-367 illustrate, they were typically androgynous and came in a range of sizes generally under twenty-four inches. Horses, like the one offered in lot 351, were widely sought after by artists, particularly history painters, because capturing a horse in motion is an incredibly difficult feat. Larger life-size figures were almost exclusively used for modeling drapery (see lots 353-356). An anatomically correct form, with an impressive skeletal structure, would have been key for the articulation of this in the absence of a costly model or a difficult pose that a person could not sustain for long periods. For this reason, life-size lay figures were germane to major art schools, since 18th/19th century students were not allowed to matriculate to painting until they first mastered drawing anatomy, and then draped forms. In 1768, the Royal Academy commissioned a “Mr. Robert Addison”, to produce an anatomically correct layman to “have the motions” and “be compleat in every respect”. Addison’s contemporaries in France, namely Francois Guillois, a mechanic by trade, was also courting the government and top art schools for bids to create technologically advanced lay figures. In 1793, Guillois presented a prototype, not dissimilar in description to the one Gainsborough owned, to the Bureau des Consultation des Arts et Metiers and to the Lycee des Arts that possessed the same brass/metal joints with extreme range of dexterity and movement - arms and legs were constructed of two or more wooden bones to replicate the ulna and tibia, as well as their radius of movement, even the fingers moved at each joint. Guillois’ prototype was deemed too expensive and complex to produce. Six years later, a more economical model was presented to the Academie Royale; it too was rejected, because the Academy could not speculate as to whether the intendant skin/musculature and padding would impede range of mobility. No one knows what became of Guillois’ skeletal masterpieces or if they were ever “fleshed” out. Almost two centuries later, a wooden mannequin resembling the extant description of Guillois’ academy prototype, bearing a small metal label with his name on it, emerged in a Parisian antique store. It was quickly purchased by the Ecole des Beaux Arts, and is currently on display at the Fitz William Museum in Cambridge as part of its mannequin/ lay figure exhibit “Silent Partners,” after which Munro’s book/ catalogue was written.

352

The Guillois’ mannequin is striking in its similarities to the one offered here. It is possible that Gainsborough purchased an early Guillois model; he had the resources and means. Though life-sized, articulated, wood mannequin skeletons of this craftsmanship and ingenuity are rare, as they were not mass produced, there is also evidence of generic patterns being used, moreover appropriated, by other English and Continental inventors capable of courting the highest academies and artists for the recognition and patent of their mannequin/lay figure design. References: Munro, Jane. Silent Partners: Artist and Mannequin from Function to Fetish. New Haven: Yale U.P., 2015, pp. 4-7, 49-52; “Classe Mannequin au Musee Bourdelle.” Le Beau Vice. http://le-beau-vice.blogspot.com; Barillet, E.J. Sur le Mannequin. Discours dans lequel On Traite de Son Invention. Paris, 1809, pp. 15-18.

353 Antique English Cloth-Covered Papier-Mache and Carved Pine Mannequin Bust, with ball joint articulated arms, on an adjustable turned baluster stand with molded circular foot, the bust dressed in a vintage militarystyle coat, h. 28”, w. 19”, d. 11‑1/2”, overall, h. 47”. Provenance: The Flatt Collection. [700/1000] Illustrated 354 Cloth-Covered Papier-Mache and Carved and Painted Wood Mannequin, second half 19th century, probably English, the finialed bust terminating in ball joint articulated wood arms and stationary legs with faux painted boots, the bust marked with a partially effaced manufacturer’s triangle logo and the lettering “...rink” , h. 51‑1/2”, w. 17”, d. 11‑1/2”. Provenance: The Flatt Collection. [700/1000] Illustrated

354

353

355 Continental Cloth-Covered Papier-Mache and Polychrome Wood Mannequin, fourth quarter 19th century, the headless bust terminating in wooden balljointed articulated arms and stationary legs, the hands and feet painted with faux gloves and knee-high boots, h. 41‑3/4”, w. 17”, d. 8‑1/2”. Provenance: The Flatt Collection. [500/800] Illustrated 356 English Carved Pine Artist’s Lay Figure, first quarter 19th century, will fully articulated ball joints and incised facial features, h. 36‑1/2”, w. 11‑1/2”, d. 5‑1/2”. Provenance: The Flatt Collection. [1000/1500] Illustrated

355

358 English Carved Pine Artist’s Lay Figure, first half 19th century, with fully articulated ball joints and incised facial features, h. 38‑1/2”, w. 10”, d. 5”. Provenance: The Flatt Collection. [1200/1800] Illustrated 359

357

357 English Carved Pine Artist’s Lay Figure, first half 19th century, with fully articulated ball joints and incised facial features, h. 29”, w. 7”, d. 4”. Provenance: The Flatt Collection. [1000/1500] Illustrated

358

356

359 English/German Carved Pine Artist’s Lay Figure of a Boy, 18th century, exquisitely detailed and fully articulated by intricate hooks, pegs and ball joints, attached to an iron stand raised on a wood plinth, figure h. 19‑1/2”, w. 5‑3/4”, overall, h. 20‑1/2”. Provenance: The Flatt Collection. [800/1200] Illustrated

362

361 Continental Carved Walnut Artist’s Lay Figure, third quarter 19th century, of geometric form with fully articulated ball joints, h. 32”, w. 9”, d. 4‑1/2”. Provenance: The Flatt Collection. [1000/1500] Illustrated

360

360 English Carved Pine Artist’s Lay Figure, second quarter 19th century, with fully articulated ball joints, h. 19‑1/2”, w. 6”, d. 3‑1/2”. Provenance: Philip W. Pfeifer Antiques, Bucks County, Pennsylvania, 1989; The Flatt Collection. [700/1000] Illustrated

363

362 Group of Antique Carved Wood Artist’s Lay Figural Parts, including a near pair of articulated hands, h. 8‑3/4”, w. 3‑1/2”, and a pair of hinged mannequin shoes/ stretchers, h. 3”, l. 13”. Provenance: The Flatt Collection. [500/800] Illustrated

361

363 Two English Carved Pine Artist’s Lay Figures, first half 19th century, with fully articulated ball joints and incised facial features, h. 13”, w. 4”, d. 2”. Provenance: The Flatt Collection. [500/800] Illustrated

365 French Carved Walnut Artist’s Lay Figure, second quarter 19th century, fully articulated with brass ball joints, stamped on back “Maquette Francaise sur Armature Articulee/Brevetee S.G.D.G/Paris B”, h. 19‑1/2”, w. 6”, d. 3”, raised on an adjustable iron stand, w. 6‑5/8”. Provenance: The Flatt Collection. [700/1000] Illustrated

364

364 French Carved Walnut Artist’s Lay Figure in the Form of a Woman, second quarter 19th century, fully articulated with brass ball joints, stamped on back “Maquette Francaise sur Armature Articulee/Brevetee S.G.D.G/Paris B”, h. 20”, w. 6”, d. 3‑1/4”, together with an English period mixed woods box labeled “Lay Figure” on side, h. 4‑3/8”, w. 6‑3/4”, l. 21‑5/8”. Provenance: The Flatt Collection. [700/1000] Illustrated

365

366 366 English Carved Walnut Artist’s Lay Figure, first half 19th century, with fully articulated ball joints and incised facial features, h. 29”, w. 7”, d. 4”. Provenance: The Flatt Collection. [700/1000] Illustrated 367 English Carved Pine Artist’s Lay Figure, first half 19th century, with fully articulated ball joints, incised facial features, and dressed in jockey apparel including leather riding boots, h. 38”, w. 10”, d. 6”. Provenance: The Flatt Collection. [1500/2500] Illustrated

367

368 Northern Italian Fruitwood and Elm Secretary, 20th century, the molded and broken swan’s neck pediment above a canted case fitted with a mirrored frieze over two shaped doors, each inset with a mirrored panel, to the lower section fitted with a slant front opening to a central cupboard flanked to either side by two drawers, above a case fitted with three long serpentine drawers, raised on conforming bracket feet, h. 95”, w. 48”, d. 21”. [1400/1800] Illustrated

370 369 Dutch Mahogany and Marquetry Bureau, late 18th century, the rectangular top above a slant front opening to an inset baize writing surface, a storage well and a variety of drawers and cubbyholes, centering a central cupboard flanked by columnar uprights fronting secreted compartments, above a kettle-form base fitted with two small end drawers, over two drawers, over two long drawers, flanked to either side by canted, molded pilasters, raised on paw feet, the whole richly inlaid in foliate, floral and avian patterns, h. 43”, w. 43”, d. 28”. [1400/1800] Illustrated

368

373

369

370 Pair of Chinese Porcelain Temple Jars, 20th century, each of the large lobed, lidded jars decorated with sprays of peonies, chrysanthemums and red and blue ribbons, and floral scroll borders along the foot, neck and lid, the undersides with two concentric circles in underglaze blue, h. 25”, dia. 13”. [800/1200] Illustrated

371 Chinese Porcelain Garden Seat, 20th century, the blue and white drumshaped seat with reserves depicting Fu, Lu and Shou, the gods of luck, wealth and longevity, standing with their attendants among ruyi clouds and pine trees, h. 18‑1/8”, dia. 12‑1/4”. [500/800]

373 Dutch Mahogany and Marquetry Settee, early 20th century, the backswept crest above the padded back, joined by flat arms to the cushioned seat, raised on sabre legs, the whole with inlaid scrolling foliate marquetry patterns, h. 37”, w. 37”, d. 20”. [600/900] Illustrated

372 Pair of Chinese Export Blue and White Porcelain Plates, probably 19th century, the borders covered with a stylized 375 geometric pattern with cartouches, each containing a grouping of peaches, the central reserves with an elegant noblewoman and scholar seated together in a pavilion, the sides of each plate painted in a wash style with depictions of mountains, pagodas and boats, with apocryphal Ming Chenghua (1447‑1487) marks on the underside, dia. 11‑3/8”. [1200/1800]

375 George III Parcel-Gilt and Figured Walnut Looking Glass in the Chippendale Taste, ca. 1800, the scrolling broken-arch crest over a rectilinear mirror plate in a frame with egg-and-dart molding and fruit-carved swags, h. 52”, w. 25‑3/4”. [1000/1500] Illustrated

374 Dutch Mahogany and Marquetry Display Cabinet, late 18th century, the molded and domed cornice above a case fitted with two astragal-glazed cupboard doors opening to a shelved interior, the sides glazed en suite, the lower section fitted with two paneled cupboard doors, raised on bun feet, the whole richly inlaid in floral, avian and foliate marquetry patterns, h. 88‑1/2”, w. 67‑3/4”, d. 14‑1/2”. [1000/1500] Illustrated

374

376 Georgian-Style Mahogany Secretary Bookcase, 18th century and later, the molded and double-domed cornice above two arched doors, each inset with a beveled mirrored panel and opening to a variety of cupboards, drawers, slots and a central cabinet door, the lower section fitted with four graduated long drawers, raised on bun feet, restorations, h. 89”, w. 45”, d. 24”. [2500/4000] Illustrated

376

377 Five-Piece Chinese Export Porcelain Garniture Set, fourth quarter 18th century, decorated in the Mandarin pattern, in the famille rose palette, comprised of five vases, each with carefully rendered panels, both obverse and reverse, the panels with raised edges on a field of raised stippling with scattered Chinese ornament, h. 11” to 11‑1/4”, w. 4‑1/4” to 4‑3/4”. [2500/4000] Illustrated

380

377

378 Queen Anne Polychrome Cabinet on Stand, 18th century, in the chinoiserie taste, the molded and doubledomed cornice with gilt finial accents, above a case fitted with two arched doors, each inset with a glazed panel and opening to a shelved interior, raised on a stand with a shaped apron on cabriole legs ending in pad feet, the whole with gilt and polychrome accents in the chinoiserie manner, h. 72”, w. 41”, d. 22”. Provenance: The Flatt Collection. [3000/5000] Illustrated

379 Pair of George III Polychrome Sidechairs, late 18th century, each with a serpentine crest above a padded back, the padded saddle-form seat raised on cabriole legs headed by foliate shield carving and ending in ball-andclaw feet, the whole with gilt and polychrome accents in the chinoiserie manner, upholstered in antique needlework in figural and animal patterns, h. 36”. Provenance: The Flatt Collection. [4000/7000] Illustrated

379

378

381 383 380 Italian Pierced Giltwood Oval Mirror in the Chinese Chippendale Taste, 20th century, the oval frame carved with pierced rocaille ornament, decorated with ho-ho birds on each side, the crest in the form of a pagoda hung with temple bells, supported on rocaille-pierced scrolls, h. 54‑1/2”, w. 32”. [1800/2500] Illustrated

384 Pair of Georgian-Style Mahogany Jardinieres, early 20th century, bearing a metal tag from Baker Furniture Co., each with a circular top accommodating a conforming copper liner, raised on tall, slender, tapering square legs, joined by an urn-centered stretcher and ending in spade feet on casters, h. 37‑1/2”, dia. 22”. [1200/1800] Illustrate

381 Pair of Georgian Burr Walnut-Veneered Tea Caddies, ca. 1800, the walnut-veneered caddies with mahogany crossbanding and fitted with hinged covers and interior lids, h. 4”, w. 4”, d. 3‑3/4”. Provenance: The Flatt Collection. [500/800] Illustrated 382 Pair of George III-Style Mahogany Armchairs in the Sheraton Taste, each with a pierced wheel back joined by molded arms to the padded seat, raised on tapering square legs ending in spade feet, h. 37‑1/2”. [700/1000] Illustrated 383 Victorian Zebrawood Bezique Box, fourth quarter 19th century, designed to hold cards for playing Bezique, the cover opening to reveal two Bezique markers under the cover, one on either side of an English registry mark for 1871, the hinged front opening to reveal two stacks of cards, labeled by retailer, “W. Rodrigues, 42 Piccadilly W.”, on the brass plate between the hinges, h. 3‑1/2”, w. 8‑1/4”, d. 4‑3/4”. Provenance: The Flatt Collection. [500/800] Illustrated

384

382

385

385 George III Mahogany Candle Stand, fourth quarter 18th century, in the Chinese Chippendale taste, the square top with a full pierced fret gallery, above a like frieze, raised on square legs with ovoid piercing, joined by an X-form standard and ending in block feet, h. 28”, w. 11‑1/2”, d. 11‑1/2”. Provenance: The Flatt Collection. [600/900] Illustrated

387 Assembled Suite of Eight George III Mahogany Dining Chairs in the Hepplewhite Taste, ca. 1800 and later, comprised of three armchairs and five sidechairs, each with a swag-carved splat, the upholstered seats in leather with paneled tapering square legs, two with H-form stretchers, all with spade feet, h. 36‑1/2”. [1200/1800] Illustrated

388

386

386 Georgian-Style Cut and Molded Glass and PrismHung Six-Light Chandelier, attributed to Waterford, the stem with three graduated vasiform sections segmented with bowls hung with faceted spears, the bowl joined to two tiers of “S”-form arms, the upper arms with prismhung bobeches and spears, the larger, lower arms with like bobeches and electric candles, the bowl with two tiers of prisms and a faceted sphere-form pendant finial, h. 47”, dia. 30‑1/4”. Provenance: The Flatt Collection. [2000/4000] Illustrated

388 Set of Four Adam-Style Silverplate Two-Light Sconces, first quarter 20th century, English, on tapered backplates with urn-form finials and twisted arms set with candle cups decorated with bowknots and swags, electrified, h. 11‑1/4”, w. 12‑3/4”, d. 3‑1/2”. [1000/1500] Illustrated 389 George III-Style Mahogany Linen Press, mid-19th century, the cove-molded cornice above a case fitted with two paneled doors opening to a shelved interior, the lower section fitted with two short drawers over two graduated long drawers, raised on a plinth base, h. 82‑1/2”, w. 54”, d. 25”. [800/1200] Illustrated

387

392 George III-Style Mahogany Dining Table, 20th century, the rounded rectangular top raised on three pedestals, each with a turned columnar standard to four splayed legs ending in brass caps and casters, with two 24” leaves, h. 29‑1/2”, w. 45”, l. 117”, extended l. 165”. [5000/8000] Illustrated

390

389 390 Exceptional Chinese Export Mandarin Pattern Punch Bowl, 18th century, decorated with figures meandering in well-executed landscapes, the interior with a border of pink lotus blossoms and gilt leaves bound with a blue ribbon, the bottom with an Arthur S. Vernay label, h. 4‑3/4”, dia. 11”. [800/1200] Illustrated 391 Pair of George III Inlaid Mahogany Knife Boxes, ca. 1800, of traditional form, outlined in inlay with rosewood crossbanding, and matching silverplate escutcheons and ring pulls, the fitted interior outlined with inlay, h. 14‑1/4”, w. 9”, d. 10”. [1500/2500] Illustrated

391

392

393 Suite of Twelve George III-Style Mahogany Dining Chairs, early 20th century, in the Chippendale taste, comprised of two armchairs and ten sidechairs, each with a shaped and earred foliate-carved crest above a pierced splat, the padded seat raised on cabriole legs headed by foliate shield carving and ending in ball-and-claw feet, period construction with mortised and pegged joints, h. 38”. [7000/10000] Illustrated 394 Monumental George III Mahogany Breakfront Bookcase, ca. 1800, the molded, fluted and dentillated cornice of double breakfront-form and above a conforming case fitted with six astragal-glazed doors, the lower section fitted with six cupboard doors, each inset with a shaped panel, raised on a plinth base, h. 103”, w. 133‑1/2”, d. 19”. [5000/8000] Illustrated

395

396

393

395 Pair of Chinese Famille Rose Porcelain Garden Seats, 20th century, each hexagonal-bodied seat decorated with flowers, butterflies and reserves depicting scenes of frolicking children, h. 18‑3/8”, w. 12‑1/4”. [500/800] Illustrated 396 George III Line-Strung Mahogany Chest on Chest in the Hepplewhite Taste, ca. 1800, the upper section with a molded cornice and two-over-three graduated drawers, the canted corners with inlaid stringing and birdseye maple panels, the base with three drawers and splay feet, h. 77”, w. 45”, d. 22”. [1500/2500] Illustrated

397

397 Handsome English Giltwood Mirror in the Rococo Taste, mid-19th century, the carved and pierced surround decorated with rocaille work and trailing fruits and flowers, and Chinese masques on the top corners, a phoenix carved on the center of the crest, poised for flight, h. 57”, w. 34”. Provenance: The Flatt Collection. [2500/4000] Illustrated

394

398 George III-Style Mahogany Bookcase, early 19th century, the pierced and broken swan’s neck crest above a blind fret-carved frieze over two astragal-glazed doors, opening to a shelved interior, the lower section fitted with a blind fret-carved band over two paneled cupboard doors, raised on shaped bracket feet, h. 91‑1/2”, w. 36”, d. 18‑1/4”. [1800/2500] Illustrated 399 Chinese Rose Medallion Porcelain Punch Bowl and Baluster Vase on Stands, third quarter 19th century, the elaborately decorated bowl covered with panels of mandarin decoration surrounded with peony and butterfly borders, on a wooden stand, bowl, h. 6”, dia. 15‑3/4”, overall, h. 12‑5/8”, and the large, ornately-enameled and gilded baluster-form vase with reserves depicting courtly pursuits, on a wooden stand, vase, h. 25‑3/8”, dia. 8‑1/4”, overall, h. 27‑3/4”. [800/1200] Illustrated

401 George II Sterling Silver Tankard, hallmarked London, 1755‑1756, by Samuel Wood (1704‑1794; free 1730/31), of baluster form, with annular band and decorated with repousse floral scrolls, the domed lid with stirrup billet, the double-scroll handle with heart-shaped terminal, 23.76 t. oz. Provenance: Personal collection of Daniel Tenenbaum, San Francisco, California and Houston, Texas. [1800/2500] Illustrated

400 George III-Style Mahogany Executive’s Desk, Branded “Stickley”, late 20th century, the tripartite top with inset tooled leather panels over three drawers with brass ball pulls, raised on molded Marlborough legs, h. 30‑1/2”, w. 71‑3/4”, d. 36”. Provenance: The Flatt Collection. [1000/1500] Illustrated

399

402 George II Sterling Silver Waiter, hallmarked London, 1754‑1755, by William Peaston, circular with shaped “Chippendale” shell-and-scroll rim and raised on three scroll-and-pad feet, engraved with a crest: “out of a ducal coronet, a lion’s head erased, per pale argent and gules”, dia. 11‑1/4”, 24.31 t. oz. Provenance: Personal collection of Daniel Tenenbaum, San Francisco, California and Houston, Texas. [1200/1800] Illustrated 403 George II Sterling Silver Waiter, hallmarked London, 1757‑1758, by James Morrison, circular with shaped “Chippendale” shell-and-scroll rim and raised on three Spanish scroll feet, engraved with a crest: “out of a ducal coronet, a lion’s head erased, per pale argent and gules”, dia. 13‑1/4”, 34.54 t. oz. Provenance: Personal collection of Daniel Tenenbaum, San Francisco, California and Houston, Texas. [1200/1800]

398

400

404 George II Sterling Silver Cake Basket, hallmarked London, 1754‑1755, by Edward Aldridge and John Stamper (fl. 1753‑1757), of oval form, the deep everted sides with lattice weave reticulation and rope-twist rim, with shellmounted reticulated twining swing handle, engraved in the bowl with the crest of Bingham et al. (a rock, thereon an eagle rising), w. 10‑3/4”, 401 l. 13‑1/4”, h. 3‑1/2” (10‑1/2” with handle), 26.08 t. oz.. Provenance: Personal collection of Daniel Tenenbaum, San Francisco, California and Houston, Texas. [2500/4000] Illustrated

404

405 George II Sterling Silver Waiter, hallmarked London, 1750‑1751, by William Grundy, circular with shaped “Chippendale” shell-and-scroll rim and raised on three scroll-and-pad feet, engraved with an armorial, argent, a fess engrailed between three dexter hands, couped, and in pretence, gules, two leg bones in saltire, dia. 10‑3/4”, 21.25 t. oz. [1500/2500] Illustrated

405

402

406 George II Sterling Silver Waiter, hallmarked London, 1750‑1751, by James Morrison, circular with shaped “Chippendale” shell-and-scroll rim, raised on three scroll-and-pad feet, engraved with the crest and motto of Somerset of Castle Goring, dia. 7‑1/4”, 7.84 t. oz. Provenance: Personal collection of Daniel Tenenbaum, San Francisco, California and Houston, Texas. [600/900] Illustrated

406

407 Early George III Scottish Sterling Silver Ladle, hallmarked Edinburgh, 1765‑1766, by Robert Clark, in the traditional “Old English” pattern, with hemispherical bowl, monogrammed “H”, l. 14”, 5.99 t. oz. Provenance: Christie’s, South Kensington, January 22, 1991, lot 73; The Flatt Collection. [500/800] Illustrated

407

408 Good George III Sterling Silver Salver, hallmarked London, 1777‑1778, by Robert Makepeace and Richard Carter, of shaped circular form, with elaborate cast and applied openwork “Chinese Chippendale” border, raised on four floral feet en suite, the plateau engraved with the arms of Coppinger quartering Lord Burgh and impaling Burgh of Scarborough, dia. 14”, 43.98 t. oz. [3500/5000] Illustrated The arms here are those of Fysh Coppinger [also Copinger, later de Burgh] (1732‑1800), gentleman of West Drayton, Middlesex, son of John Coppinger and Katherine Fysh, and his wife Easter Burgh (1742‑1823), daughter of Cornelius Burgh of Scarborough; the couple were married on October 6, 1765 in Yorkshire. Coppinger took the surname “de Burgh” by sign manual in 1790 not, as one might imagine, from his wife’s family, but in consequence of his descent from his third great-grandmother, the Honorable Frances Burgh (ca. 1576‑bef. 1619), wife of Francis Coppinger (1579‑ca. 1626), whose quartered arms constitute the baron impalement here. The couple are entombed in St. Martin’s Church in West Drayton, Hillingdon, Middlesex, West London. The Coppinger/ de Burgh family remained an important fixture in West Drayton until the advent of World War II, and the name survives there today with the de Burgh Arms pub. The de Burgh family papers are conserved in the London Metropolitan Archives.

408

409 Set of Six George III Sterling Silver Bateman Family Tablespoons, hallmarked London, 1792‑1793, by Peter & Ann Bateman, in the traditional “Old English” pattern, with bright-cut decoration, monogrammed “IN”, l. 8‑3/4”, 12.66 total t. oz. [600/900] Illustrated

409

410 George III Sterling Silver Snuffer Tray, hallmarked London, 1782‑1783, by Hester Bateman, of navette form, with beaded rim and reticulated laurel-banded sides, l. 9‑1/2”, w. 4”, 4.03 t. oz. [800/1200]

411

411 George III Sterling Silver Snuffer Tray, hallmarked London, 1799‑1800, by William Abdy II, of navette form with reeded rim, the plateau engraved with a pricked and engraved band of alternating circles and florets, the center with a laurel-leaf cartouche framing a crest: “a demilion rampant, holding in the paws a cross engrailed and charged on the shoulder with an ermine spot”, l. 9‑3/8”, w. 4”, 4.48 t. oz. [500/800] Illustrated

412

412 detail

412 George III Sterling Silver Salver, hallmarked London, 1786‑1787, by John Crouch & Thomas Hannam (fl. ca. 1779‑1799), of navette form, with reeded rim and four reeded triangular feet, the plateau engraved with a pricked and bright-cut edge band centering the arms of Thomas of Parenden, Essex and Sawtry, Huntingdon, the underside with later presentation inscription dated 1866 to Charles Fitch Kemp from the parishioners of Christ Church, Forest Hill, l. 17”, w. 12‑3/4”, 49.82 t. oz. [3000/5000] Illustrated The inscription here refers to Charles Fitch Kemp (1829‑1907), a prominent accountant and banker, who was born in Southminster, Essex. The 1861 UK Census shows him working as an accountant and living in Forest Hills parish, Lewiston, Kentshire, where he was presented this piece five years later for his service as warden of the parish church. All later censuses through 1901 show him back in Southminster, though he died at his second home near Tonbridge, Kent, on Halloween, 1907. For a brief biography of Kemp, see Leading Men of London (London: British Biography Co., 1895), pp. 360‑361.

413 Fine Late Georgian Sterling Silver Hot Water Urn, hallmarked London, 1804‑1805, by John Robins, the ovoid body decorated with a calyx of alternating plain and imbricate gadroons, fitted with a pair of realistically detailed twining serpent handles, a domed lid gadrooned en suite and with annular-banded spherical finial, and dolphin-form tap with acanthus shell key, the whole raised on mascaron-crested imbricate flat-column legs terminating in lion’s paw feet, above a canted, concave square plinth centering an urn-form burner en suite and raised on four spherical feet, engraved on the front of the body with the arms of Ainslie and on the rear with the arms of Duff quartering Grant impaling another, h. 18”, w. 8‑1/2”, d. 12‑1/2”, 88.55 t. oz. Provenance: Personal collection of Daniel Tenenbaum, San Francisco, California and Houston, Texas. [7000/10000] Illustrated

413

414 Good Pair of Late Georgian Sterling Silver-Mounted Carved Armorial Coconut Cups, hallmarked London, 1805‑1806, by Thomas Phipps & Edward Robinson, each with a coconut carved with four interlocking navetteshaped cartouches, two with floral engraving, the other two with, respectively, the arms of Bruce of Wester Kinloch opposing the crest and motto of Bruce of Kennet Clackmannan above the monogram “JB”, mounted in an annular silver band with silver-gilt lining and raised on a cavetto-domed foot with reeded edge, h. 7”, dia. 4‑1/2”. Provenance: Personal collection of Daniel Tenenbaum, San Francisco, California and Houston, Texas. [1800/2500] Illustrated

414

415

415 Four Late Georgian Scottish Sterling Silver Toddy Dippers, one hallmarked Edinburgh, 1806‑1807, maker’s mark “TT”, with “Old English” handle and hemispherical bowl, l. 6”, and three hallmarked Glasgow, 1830‑1831, maker’s mark “GR” overstriking “WS Jr.”, with “Fiddle” handle and bucket-form bowl, l. 6‑1/2”, all monogrammed “H”, 4.21 total t. oz. Provenance: Christie’s, South Kensington, January 22, 1991, lot 73; The Flatt Collection. [500/800] Illustrated 416 Set of Five George IV Scottish Sterling Silver Toddy Dippers, hallmarked Edinburgh, 1819‑1820, by Charles Dalgleish, with “Fiddle” handle and saucer-form bowl, monogrammed “H”, l. 6‑1/4”, 4.87 total t. oz. Provenance: Christie’s, South Kensington, January 22, 1991, lot 73; The Flatt Collection. [500/800] Illustrated

416

414 details

417 Pair of George III Irish Sterling Silver Goblets, hallmarked Dublin, 1808, by Gustavus Byrne (ca. 1757‑1812), retailed by William Law, each of ovoid form, decorated with a wide pricked wrigglework ovolo band, with opposing shaped ovolo cartouches, raised on a waisted stem above a cavetto-domed reeded foot, engraved with a crest of a dove or, close with an olive branch in its beak, h. 6‑1/2”, dia. 4‑1/2”, 19.90 total t. oz. [2500/4000] Illustrated 419

419 detail

417

418 Set of Four Late Georgian Sterling Silver Salt Cellars, hallmarked London, 1804‑1805, by Digby Scott & Benjamin Smith, of hexagonally-lobed cauldron form, decorated with repousse floral panels, with molded shelland scroll rim and raised on three robust acanthus-scroll feet, h. 2‑3/8”, dia. 3‑5/8”, 25.83 total t. oz. [1800/2500] Illustrated

420 Thirty-Eight-Piece George IV Sterling Silver “King’s” Pattern Partial Flatware Set, hallmarked London, 1824‑1825, by William Bateman, with Union shell heel, including twelve tablespoons, l. 8‑3/8”, eight dinner forks, l. 8‑1/8”, eight dessert spoons, l. 6‑7/8”, and ten dessert forks, l. 6‑7/8”, 93.16 total t. oz. Provenance: Christie’s, South Kensington, January 22, 1991, lot 215; The Flatt Collection. [1400/1800] Illustrated

418

419 Set of Four Regency Sterling Silver Shell Dishes, hallmarked London, 1812‑1813, by George Smith, each of coquille form, raised on three scroll feet, the handle engraved with a crest of a lion’s head out of a crown, l. 5‑1/2”, w. 4‑3/8”, 18.32 total t. oz. [1200/1800] Illustrated

420

422 Regency Sterling Silver Teapot, hallmarked London, 1818‑1819, by William Eaton, of squat bulbous form with gadrooned calyx and flared rim with reeded edge, with cavetto- and gadroon-domed lid, acanthus-mounted short “gooseneck” spout, crested rosewood handle and gadrooned bone finial, h. 5‑1/4”, l. 10‑3/4”, dia. 6‑1/2”, 22.75 t. oz. (including wooden handle). Provenance: The Flatt Collection. [500/800] Illustrated

421

421 George IV Sterling Silver Waiter, hallmarked London, 1820‑1821, by William Bruce, of serpentine-lobed circular form, with gadrooned rim and raised on three Spanish scroll feet, engraved with a crest: “out of a ducal coronet, a lion’s head erased, per pale argent and gules”, dia. 8‑1/4”, 15.76 t. oz. Provenance: Personal collection of Daniel Tenenbaum, San Francisco, California and Houston, Texas. [600/900] Illustrated

423

423 Nineteen Pieces of George IV and William IV Sterling Silver “Hourglass” Pattern Flatware, first half 19th century, London, with Union shell heel, including four dinner forks, 1817‑1818, by John Lias, l. 8”, eleven teaspoons, 1822‑1823, by Richard Pearce, l. 5‑1/2”, and four dessert spoons, l. 7”, and one dessert fork, l. 6‑7/8”, all 1837‑1838, by Mary Chawner, engraved with various crests, 35.55 total t. oz. Provenance: Christie’s South Kensington, January 22, 1991, lot 215; The Flatt Collection. [600/900] Illustrated 422

425 424 Antique Persian Malayer Runner, 3’ 1” x 9’ 4”. [800/1200] Illustrated 425 Turkish Heriz Carpet, 11’ x 13’ 6”. [1800/2500] Illustrated 426 Turkish Angora Oushak Carpet, 9’ x 12’ 3”. [2000/4000] 427 Semi-Antique Bidjar Carpet, 4’ 4” x 6’ 7”. [500/800] 428 Oushak Carpet, 8’ 2” x 10’ 5”. [2500/4000] 429 Semi-Antique Kerman Carpet, 7’ 11” x 11’ 10”. [800/1200] Illustrated 430 Turkish Angora Oushak Carpet, 8’ 3” x 9’ 10”. [800/1200] Illustrated 431 Antique Spanish Carpet, 9’ 6” x 12’ 6”. [1500/2500] Illustrated 432 Semi-Antique Hamadan Carpet, 3’ 6” x 10’. [600/900]

424

433 Turkish Angora Oushak Carpet, 9’ 4” x 12’ 1”. [1200/1800] Illustrated

429

431

430

433

437 one of two

435 Italian Rococo Fruitwood and Marble-Top Side Table, second half 18th century, in the Louis XV taste, the thick shaped marble top above a conforming frieze centered by a pierced foliate carving and raised on molded cabriole legs headed by foliate carving and ending in foliate scrolled toes, h. 35”, w. 58‑1/2”, d. 27”. Provenance: Collection of Henry Stern, New Orleans, Louisiana, to his grandson Paul Rosenthal, Baton Rouge, Louisiana. [4000/7000] Illustrated

434

434 Italian Giltwood Mirror, third quarter 18th century, with an ogee giltwood surround decorated with panels of flowers at each corner, surmounted by an earlier Baroque crest, first quarter 18th century, decorated with delicate pierced scrollwork surrounding a carved crest, with trails of scrollwork on each side, h. 55”, w. 34‑1/2”. Provenance: Collection of Henry Stern, New Orleans, Louisiana, to his grandson Paul Rosenthal, Baton Rouge, Louisiana. [3000/5000] Illustrated

436 Italian Carved Giltwood Architectural Element Mounted as a Pedestal, 17th century and later, the tapered standard carved with fruit and scrolls against a deeply fluted ground, and supporting a putto in a carved skirt, with one arm holding aloft a rounded top, raised on a square base, h. 58‑3/4”, w. 11‑1/2”, d. 11‑1/2”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [1400/1800] Illustrated 437 Italian School (Third Quarter 19th Century), “Satyrs and Nymphs”, a pair of oils on canvas en grisaille, each 12‑3/8” x 16‑1/4”. Presented in molded polychrome and parcel-gilt frames. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [1800/2500] Illustrated

435

436

438 Eighteenth-Century French Watercolor on Heavy Paper, probably a cartoon for a tapestry, depicting a jungle scene, sheet 24” x 24”. Glazed, float-mounted and attractively framed. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [1500/2500] Illustrated

441 438 439 Exceptionally Fine Continental Embroidery of the Flight After the Battle of Emesa, ca. 1700, possibly a prototype for a larger tapestry, the satin, chain, and leaf stitch delicately rendered in silk threads with some details in ink, on a silk backing, depicting the battle fought between the forces of the Roman Emperor Aurelian and the Palmyran Queen Zenobia in 272, with warriors in both Roman and Middle Eastern dress, modern day Homs, Syria in the background, an old handwritten inscription en verso paper backing, h. 21‑3/4”, w. 23‑1/2”. Provenance: Collection of Henry Stern, New Orleans, Louisiana, to his grandson Paul Rosenthal, Baton Rouge, Louisiana. [1500/2500] Illustrated

440 Handsome Pair of Flemish-Style Fruitwood Fauteuils a la Reine, each with a stepped padded back with brass tack trimming, joined by scrolling downswept arms to the padded seat, raised on S-curved legs joined by a scrolling H-form stretcher and ending in in-scrolled toes, h. 46‑1/2”. [1500/2500] Illustrated

440

441 Antique Italian Polychrome Altar Figure, first quarter 18th century, possibly depicting St. Christopher, poised to walk, grasping his cloak, on a contemporary wooden base, h. 45”, w. 13”, d. 13‑3/4”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [1500/2500] Illustrated 439

443 Italian Polychrome and Parcel-Gilt Wood Solomonic Pedestal, 18th century, the molded squared top supported by the spiraling standard with applied floral carving, raised on a concave square base to block feet, h. 34”, w. 19”, d. 19”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [800/1200] Illustrated

442

442 Pair of Italian Polychrome Wood Solomonic Columns, late 17th century, each with a spiraling shaft entwined with a grapevine, now mounted on a galvanized metal base, h. 36”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [800/1200] Illustrated

444

444 Continental Carved Giltwood Figure, second quarter 18th century, possibly depicting St. Ursula, with her hands clasped in penitence, on a later carved base, h. 41‑1/2”, w. 20”, d. 11”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [1500/2500] Illustrated 445 After Giovanni Francesco Barbieri, Called Guercino (Italian, 1591‑1666), “The Penitent Magdalene”, oil on canvas, 18‑5/8” x 14‑3/4”. Presented in a Baroquestyle carved giltwood frame affixed with artist plate. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [1500/2500] Illustrated

443

446 Francesco Trevisani (Italian, 1655‑1746), “Sacre Famiglia con Santi”, oil on canvas, unsigned, 25‑1/4” x 19”. Framed. Provenance: An Italian antiquarian; Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [3000/5000] Illustrated

445 447 Follower of Peter Paul Rubens (Dutch, 1577‑1640), “Meeting of the Virgin and St. Elizabeth”, oil on canvas, 27‑1/2” x 20‑1/4”. Presented in a giltwood frame. Provenance: Collection of Henry Stern, New Orleans, Louisiana, to his grandson Paul Rosenthal, Baton Rouge, Louisiana. [3000/5000] Illustrated

447

448

448 Italian School (17th Century), “Mary Magdalene at the Cross”, oil on canvas, 18‑1/4” x 14‑3/8”. Presented in a giltwood frame. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [1500/2500] Illustrated 446

449 449 Italian School (Fourth Quarter 15th/ First Quarter 16th Century), “Portrait of a Man in a Black Toque”, oil and tempera on wood panel, unsigned, 9‑3/4” x 8‑3/4”. Presented in a contemporary elaborate giltwood frame. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [2500/4000] Illustrated

451

450 450 Italian School (Fourth Quarter 17th/ First Quarter 18th Century), “Portrait of Cardinal Francesco Mantica (1534‑1614), after the original in the Palazzo Mantica in Italy”, unsigned, oil on canvas, titled in painting upper margin, 20” x 16‑1/2”. Framed. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [1500/2500] Illustrated 452

100

452 Henri-Joseph Antonissen (Flemish, 1737‑1794), “ Landscape with Cattle and Mother and Child at Rest”, 1779, oil on panel, signed and dated lower left, 16‑1/2” x 24‑1/2”. Presented in an antique giltwood frame. Provenance: Collection of Henry Stern, New Orleans, Louisiana to his grandson Paul Rosenthal, Baton Rouge, Louisiana. [2500/4000] Illustrated

453

451 Italian School (17th Century), a pair of oval garland paintings centering “The Birth of Christ” and “The Holy Family” respectively, oils on canvas, unsigned, each 15‑1/4” x 20‑1/4”. Framed alike in 18th-century carved giltwood frames. Provenance: Collection of Henry Stern, New Orleans, Louisiana to his grandson Paul Rosenthal, Baton Rouge, Louisiana. [3000/5000] Illustrated Still-lifes flourished in Northern Europe following the Protestant Reformation. In the absence of saints and religious iconography, artists, as well as their wealthy patrons, found worship and meaning in daily household objects. The bouquets of flowers, ripe fruits, butterflies, hourglasses and skulls that populate these paintings are symbols (memento mori), designed to allegorize the transience of life from the Ecclesiastics and Gospel of Matthew that warn people to not succumb to the false idols of materials: “Do not store up for yourselves treasures on earth, where moth and rust destroy, and where thieves break in and steal. But store up for yourselves treasures in heaven...For where your treasure is, there your heart will be also....You cannot serve God and money” (6:19‑24). The Catholic Counter-Reformation responded to Protestant iconoclasm by encouraging artists to paint bigger, more dramatic religious scenes, characteristic of Caravaggio’s or Giovanni Battista Gualli’s work. In the paintings offered here, Catholic devotional scenes (painted a la mode Italian) are encircled and framed by Dutch-style lush floral garlands, creating a beautiful mix of religious ideologies and genres. According to Susan Meriam, art historian on Flemish garland painting, this style first emerged ca. 1607‑1608, when the Archbishop of Milan, Federico Borromeo (a staunch Jesuit), commissioned two Flemish artists, Jan Brueghel and Hendrick van Balen, to paint floral garlands around depictions of the Virgin Mary because images of Mary had been desecrated and demeaned by Protestants, the Archbishop wanted Mary’s effigy to be all the more honored by the inclusion of flowers as a framing device, thus combining the Archbishop’s two greatest loves--church reform and the visual arts. In the century that followed, this genre gained wide popularity with Catholic Flemish and Italian patrons. These devotional bouquets, often found in decorative roundel or cartouche form, were greatly cherished and revered as they graced many parlor walls and altars within the home.

453 Abraham Danielsz Hondius (Rotterdam 1625/30‑1691 London), “Hunting Party, Resting at an Inn”, 1653, oil on cradled wood panel, signed and dated lower center left, 35-5/8" x 62". Unframed. “A De Hont, 1653”. Provenance: Collection of Henry Stern, New Orleans, Louisiana to his grandson Paul Rosenthal, Baton Rouge, Louisiana. [20000/40000] Illustrated Hondius was an artist acclaimed for his depictions of animals, and his considerable skill is evident in the painting of a hunting party presented here. The figures, depicted resting by an inn, with recently shot birds in the foreground and a pack of dogs in various poses, are presented like a tableau against a receding wooded landscape. Hondius lived and worked during the Dutch Golden Age which spanned the 17th century, and was marked by the flowering of trade, industry, the arts and sciences. This, in turn, resulted in the rise of the urban merchant class. The new affluent middle class was the driving force in the popularity of certain subject matters in the pictorial arts, including the genre painting, still life, landscape and hunting scenes. Hunting, in particular, became a popular pastime with the Dutch aristocracy and those wealthy enough to own a country estate. This particular painting, capturing the hours after a successful hunt, combines landscape, tavern, animal and “nature mort” genres and was meant to impress the patron’s visitors.

Reference: Susan Meriam, Seventeenth-Century Flemish Garland Paintings: Still Life, Vision and the Devotional Image, Burlington, VT: Ashgate, 2012, p. 3‑6.

101

454 Italian-Style Polychrome Canopy King-Size Bed, in the Renaissance taste, the full canopy within a molded and ribbed frame, supported by block and barley-twist uprights, the lower frame carved en suite and raised on large bun feet, the whole richly dressed with silk drapery with fringe and pom-pom accents, h. 98”, inside, w. 81‑3/4”, l. 88‑1/4”, outside, w. 87‑1/2”, l. 97‑1/2”. [3000/5000] Illustrated

454

456

454A Pair of French or Italian Tin-Glazed Pottery Plaques Depicting Nereids, first quarter 18th century, the selfframed, hand-painted blue and yellow plaques decorated with sea nymphs riding dolphins, with torch-bearing cupids descending from above, with unidentified marks, h. 24”, w. 20”. Provenance: Collection of Henry Stern, New Orleans, Louisiana, to his grandson Paul Rosenthal, Baton Rouge, Louisiana. [3000/5000]

454A

455 Continental Walnut Commode, late 18th century, the banded rectangular top with canted corners and a molded edge and with side inlaid designs, above a conforming case fitted with four long drawers, all with two shaped inlaid panels flanking a central inlaid escutcheon, raised on canted block feet, h. 36‑1/2”, w. 53”, d. 23‑1/2”. [2500/4000] Illustrated

102

456 Continental Neoclassical Fruitwood and Mixed Woods Commode, late 18th century, the rectangular top banded and centered by an inlaid panel of an animal, above a conforming case fitted with three drawers, all banded and with two similar panels, raised on slender tapering square legs, h. 33‑1/2”, w. 26‑1/2”, d. 18‑1/2”. [1000/1500] Illustrated

455

457 Eugenio Zampighi (Italian, 1859‑1944), “Courting the Seamstress”, oil on canvas, signed lower right, 29” x 47‑1/4”. Framed. Provenance: Private Collection. [30000/50000] Illustrated

457 458 Pair of Louis XIII-Style Mahogany Fauteuils a la Reine, mid-19th century, each with a domed and padded back over a shield-carved and foliate-pierced panel, joined by molded downswept foliate-carved arms to the padded seat, above a pendant pierced foliate carving, raised on scrolling acanthine legs joined by an H-form stretcher and ending in bulbous feet, h. 45‑1/2”. [700/1000] Illustrated 459 Spanish Oak Guard Room Table, 19th century, of traditional form, the rectangular top raised on canted and shaped lyre-form end supports joined to the top by scrolling iron stretchers, h. 30”, w. 32”, l. 78”. [1000/1500] Illustrated

458

459

103

460 Metal Suit of Armor in the Medieval Style, first quarter 20th century, fully articulated, with roped trimming and a bronze coat of arms of Germany on either side of the front, presented on a form wearing a fringed velvet tunic, h. 73”, w. 24”, d. 18‑3/4”. Provenance: The Flatt Collection. [1000/1500] Illustrated

465

462 Impressive Pair of Continental Iron and Parcel-Gilt Gates and Three Fence Panels, 20th century, the ornate gates with a central panel of scrolled details with gilt laurel and berry swags, the outer ends curved and ornamented with scrolls and gilded foliate motifs, the three panels each with vertical bars and circular borders along the top and bottom, each gate, h. 81‑1/2”, w. 58”, each panel, h. 74”, w. 25‑1/2”. [3000/5000] Illustrated 460

461 Pair of Continental Wrought Iron and Brass Curule Armchairs, early 20th century, of traditional form, each with a suspended padded rectangular back joined to the cushioned strapwork lattice seat by downswept arms on brass uprights and hand rests, raised on an X-form base, h. 35”. [1000/1500] Illustrated

461

104

466

463 Empire-Style Alabaster and Gilt- and Patinated Bronze Six-Light Chandelier, the figured stone bowl suspended from gilt-bronze braided ropes, the patinated bronze arms in foliate decor and fitted with alabaster bowls, electrified, h. 35”, dia. 29”. [500/800] 464 Handsome Majolica Dish, 17th century, probably Italian, decorated with a scrolled rim framing a crest with initials “MWR”, dia. 13”. [500/800] 465 French Provincial Fruitwood Cupboard, late 19th century, the rectangular top with a three-quarter shaped gallery, above a conforming case fitted with a small faux drawer over a paneled cupboard door, raised on cabriole legs ending in Flemish toes, h. 31‑1/2”, w. 22”, d. 13‑1/2”. [900/1200] Illustrated 466 French Provincial Fruitwood Bedside Cupboard, late 19th century, the rectangular top with a three-quarter shaped brass gallery, above a case fitted with a single drawer over an open cupboard, raised on molded cabriole legs ending in hoof feet, h. 33”, w. 18”, d. 15”. [900/1200] Illustrated

462 one of three panels

467

469

467 Pair of Continental Polished Bronze Ewer-Form Garnitures, ca. 1900, in the Renaissance taste, decorated with putti dancing in a Dionysian festival, the theme continued throughout with molded grapevine borders and a cupid carrying a bunch of grapes atop the handle, h. 21‑3/4”, w. 10”, d. 6‑3/4”. [1200/1800] Illustrated 468 Continental Patinated Bronze or Lead Figure of Socrates, 19th century, after the Antique, h. 13‑1/4”, w. 4”, d. 3”. [500/800] 469 Continental Neoclassical-Style Fruitwood and Mahogany Commode, early 20th century, the triplebanded rectangular top inlaid with three shaped panels, all with decorative foliate and scrolling designs, above a conforming case fitted with three long drawers, all with like-inlaid patterns, raised on tapering square legs, h. 36”, w. 51”, d. 22‑1/2”. [1000/1500] Illustrated

462

105

471 Continental Polychrome Vitrine Cabinet, 20th century, the crown-form crest joined by molded scrolling supports to the rectangular case, fitted with two single glazed doors, all sides glazed, the bottom mirrored and fitted with a glass shelf, raised on scrolled toes, on a custom terracotta-painted base, h. 76‑1/2”, w. 37‑1/2”, d. 26”. [800/1200] Illustrated

470

470 Italian Rococo Giltwood Mirror, third quarter 18th century, with a rounded top, the cyma-reverse-form frame decorated with molded shells and scrollwork on a diapered ground, the inner liner molded with dentilation, h. 27‑1/2”, w. 23”. [700/1000] Illustrated

472

472 After Bartolome Esteban Murillo (Spanish, 1618‑1682), “The Game Players”, early 19th century, oval oil on canvas, a “Grand Tour” copy, unsigned, 30” x 24”. Presented in a conforming giltwood frame. [2500/4000] Illustrated 473 After Guido Reni (Italian, 1575‑1642), “Portrait of Beatrice Cenci”, late 19th century, oil on canvas, a “Grand Tour” copy, inscribed in graphite en verso canvas “Guido Reni, Italian School, 17th Century”, 24” x 20”. Presented in an ebonized and parcel-gilt frame. [1000/1500] Illustrated 474 Filipino Santos Figure of San Isidro Labrador, second quarter 19th century, the patron saint of farmers on a contemporary base, presented in his boots and wearing a tunic, the figure retaining some of its painted surface, h. 21‑3/4”, w. 6”. [700/1000] Illustrated 471

106

475

475 Collection of Three Carved Wooden Santos Figures, 19th century, including two Latin American examples, the largest one representing one of the three kings, h. 11‑3/4”, w. 4‑1/4”, the smallest one polychrome-painted and representing Mary and the Christ child, h. 6‑3/4”, w. 2‑1/2”, and the remaining carved hardwood example representing Mary, h. 10”, w. 3‑3/4”. [600/900] Illustrated

473

476

474

476 Collection of Four Latin American Santos Figures, including three bearded figures depicting Jesus Christ, late 18th/early 19th century, h. 11‑1/4” to 21‑1/2”, w. 3‑1/2” to 8‑1/2”, and a figure with articulated limbs, 20th century, h. 14”, w. 4”. [800/1200] Illustrated

107

478 Cuzco School (20th/21st Century), “Coronation of the Virgin”, oil on canvas, illegibly signed lower right, 59” x 44”. Handsomely framed. [1500/2500] Illustrated 479 Russian Icon of “The Ascension of Our Lord”, fourth quarter 19th century, the icon of Saints Peter and Thomas, with Jesus depicted in the clouds, polychrome-painted with a black border, h. 12‑1/4”, w. 10‑1/4”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [600/900] Illustrated

477 477 Cuzco School (Fourth Quarter 19th Century), “Ascension of the Virgin”, oil on canvas, 25” x 20”. Presented in a contemporary Baroque-style polychrome and giltwood frame. [600/900] Illustrated

479

480 Russian Orthodox Icon of Saint Nicholas, fourth quarter 19th century, depicting Jesus in the upper left and Mary in the upper right, in an oak frame, the back cut for two slats, h. 15‑1/2”, w. 13”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Lousiana. [600/900] Illustrated 481 Russian Orthodox “Mother of God” Icon, ca. 1900, in a repousse and colorless and garnet-colored paste jewelmounted riza, verso with an inscription in Cyrillic and a red seal, 13” x 10‑1/2”. Presented on a custom lucite stand. [1000/1500] 478

108

483 Russian Orthodox Icon of St. Joasaph, the Bishop of Belgorod, first quarter 20th century, the hands and face tempera on wood (now wrapped in fabric), the engraved silver gilt riza marked Moscow, 1906‑1925, unidentified maker “SG” (Cyrillic), 7‑1/4” x 5‑3/4”. [500/800] Illustrated

480 482 Russian Orthodox Icon of St. Alexander Nevsky, the Grand Prince of Kiev, fourth quarter 19th century, the hands and face tempera on wood panel (now wrapped in fabric), the engraved silver gilt riza marked Moscow, 1896, assayer Aleksander Smirnov, maker Ivan Butuzov (fl. 1895‑1917), 8‑3/4” x 7”. [600/900] Illustrated

483

484 Group of Two Russian Orthodox Icons, consisting of an unusual icon of the Annunciation, first or second quarter 19th century, the faces and hands tempera on wood panel, the riza of silver-wrapped thread, bullion and spangle on a linen backing, 6‑3/4” x 5‑1/4”, together with a smaller icon of the Virgin and Child, flanked by angels, saints at their feet, 19th century, tempera on wood panel, 5‑1/4” x 4‑3/4”. [800/1200] Illustrated

482

484

109

487 Greek Orthodox Icon, fourth quarter 19th century, tempera and gilt paint on wood panel, depicting various saints flanking a crucifix, possibly including St. Philothea, St. Theodosius, St. Maura of Antinoe, St. George, and St. Demetrius of Thessaloniki, inscription along upper edge, old inscription en verso suggesting icon was associated with the Limonos (St. Ignatius) Monastery, Lesvos, Greece, 12‑1/4” x 14‑1/4”. [600/900] Illustrated

485

485 Eastern Orthodox Carved Wood Travel Triptych of “The Coronation of The Virgin”, second quarter 19th century, the central panel depicting a kneeling Mary being crowned by Jesus and God the Father, the dove of the Holy Spirit above, and the flanking panels of a Bishop Saint and St. John the Baptist, set within a rope-twist carved border, and etched brass hinged frame, monogrammed “M.T.”, h. 3‑5/8”, closed l. 2‑3/4”, open l. 5‑3/4”. [600/900] Illustrated

487

488 Russian Orthodox Five-Part Icon, fourth quarter 19th century, depicting Mary, Jesus, the Guardian Angel and St. Nicholas of Myra, with paint and gilt on panel with two slats, h. 17‑1/4”, w. 15‑1/4”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [600/900] Illustrated

486

486 Inlaid Wooden Depiction of Christ’s Baptism, mid19th century, in a rosewood frame, the picture composed of sand-burned and penwork on various veneers, depicting Joseph, Mary and Jesus on a shore, with a dove in the sky, h. 22‑1/2”, w. 20”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [800/1200] Illustrated 488

110

490 Russian Orthodox Icon Depicting the Resurrection and Twelve Great Feasts, ca. 1900, oil on panel, decorated with silver gilt and a sky blue border, with slats inserted into the top and bottom edges, h. 10‑1/4”, w. 8‑3/4”. [500/800] Illustrated

489 489 Russian Orthodox Icon of the “Resurrection and Descent to Hades with Twelve Holy Feasts, ca. 1900, divided into thirteen panels, polychrome-painted and trimmed in gilt, the back cut for two slats, h. 14”, w. 12”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [600/900] Illustrated

491 491 Russian Orthodox Icon Depicting the Resurrection and Twelve Feasts, fourth quarter 19th century, oil on panel, polychrome-painted and gilt-trimmed, with slats inserted into the top and bottom, h. 20‑3/4”, w. 17‑1/2”. [700/1000] Illustrated

492

490

492 Italian Neoclassical Fruitwood and Mahogany Center Table, early 19th century, the rectangular top with two inlaid square panels with ebonized corner accents, hinged and opening to a larger surface inset with four square panels, raised on tapering circular legs joined by a pierced and urn-centered shaped H-form stretcher, ending in bun feet, h. 30‑1/2”, w. 44‑1/4”, d. 28‑1/2”. [800/1200] Illustrated

111

493 Pair of Baronial-Style Patinated Metal and Bronze Andirons, second quarter 20th century, the roundelform fronts mounted with bronze rampant lions, and with rope-trimmed edges, h. 17”, w. 13”, d. 7”. [500/800] 494 Continental Bronze Asperges (Holy Water) Pail, 19th century, in the Medieval style, decorated with bas-relief religious figures in arches under the inscription “Justus et Palma Florebit, 1551”, h. 10‑3/4”, dia. 4‑1/2”. [500/800] Illustrated

497

494

496 Pair of Italian Grand Tour Bronze Oil Lamps, fourth quarter 19th century, of classical form, each with a curved handle terminating in a horse’s head grasping a chain attached to the cover, h. 3‑3/4”, w. 5”, d. 2‑1/2”. [600/900] Illustrated 497 Italian Giltwood Mirror in the Baroque Style, ca. 1900, the square mirror framed with bold open scrollwork and carved leaves ornamenting the corners, h. 20‑1/2”, w. 20‑1/2”. [500/800] Illustrated

495

495 Italian Grand Tour Bronze Askos, fourth quarter 19th century, after the Antique, the wine jar with molded sheep on the molded lip, the scrolled, leaf-molded handle terminating in a molded cherub, h. 10”, w. 9”, d. 5‑1/4”. [700/1000] Illustrated

498

498 Pair of Italian Rococo-Style Parcel-Gilt Brackets, ca. 1900, the backplates decorated with pierced leaves and carved flowers, the bowfront shelves trimmed with beading, terminating in acorn finials, h. 9”, w. 7‑1/2”, d. 6”. [600/900] Illustrated

496

112

499 Pair of Italian Polychrome Occasional Tables, early 20th century, each with a floriform top with incised scrolling foliate designs, supported by a crouching blackamoor figure clothed in a colorful sarong, raised on a molded giltwood base, h. 22”, dia. 15”. [1200/1800] Illustrated

500

502 Continental Neoclassical Cherrywood Cabinet, second quarter 19th century, the stepped cornice with canted corners, above a conforming case fitted with two doors, the upper portion of each glazed, the lower section paneled, opening to a shelved interior and two lower drawers, flanked to either side by an applied blackamoor mount, the whole raised on tapering square feet, h. 67‑1/2”, w. 43”, d. 19‑1/2”. Provenance: Collection of Henry Stern, New Orleans, Louisiana, to his grandson Paul Rosenthal, Baton Rouge, Louisiana. [3000/5000] Illustrated

500 Italian Baroque-Style Giltwood Six-Light Chandelier, the segmented, reeded and carved standard with a pendant finial and fitted with six “S”-form, foliatecarved arms supporting faux candles, with a matching canopy, electrified, h. 36”, dia. 25‑1/2”. Provenance: Brian Stringer Antiques, Houston, Texas. [1400/1800] Illustrated 501 Pair of Gilt- and Patinated Metal Single-Light Sconces, second quarter 20th century, probably Italian, of Baroque inspiration, with leaf-molded backplates and matching arms and drip pans, electrified, h. 17”, w. 6‑1/4”, d. 6‑3/4”. [500/800] 502

503 Provincial Directoire-Style Fruitwood Settee, mid-19th century, the padded back and outswept padded sides within a paneled frame, the cushioned seat above a plain frieze and raised on sabre legs, h. 38”, w. 92”, d. 27‑1/2”. [1200/1800] Illustrated

499

503

113

504 Suite of Six Baltic Fruitwood Dining Chairs, second quarter 19th century, comprised of two armchairs and four sidechairs, each with a rounded crest above a pierced scrolling back, the padded seat raised on tapering square legs, h. 38”. [800/1200] Illustrated

504

505 French School (First Quarter 19th Century), “Pendant Portraits of Andre Sebastien Joseph August Pontier and His Wife Marguerite Agathe Tourniaire”, ca. 1803, pastels on paper, signed “Vallet” lower right, the verso with a 19th-century handwritten genealogical label, each 16‑3/4” x 12”. Glazed and framed alike. Provenance: Collection of Henry Stern, New Orleans, Louisiana, to his grandson Paul Rosenthal, Baton Rouge, Louisiana. [800/1200] Illustrated

506

506 Group of Four British and Continental Portrait Miniatures, 19th century, including: “Madame Recamier”, signed “N. Renard” along right edge, 3‑1/2” x 2‑3/4”, in a brass filigree frame; “Demimondaine with Puppy”, signed “Alboni” at right, 5‑1/4” x 4‑3/8” oval, in a brass and cobalt enamel frame; “Eleanor of Aquitaine”, unsigned, 3‑1/2” x 2‑3/4”, in a mother-of-pearl and brass overlay carved wood frame; “Ladies of Fashion”, double portraits in the style of Thomas Gainsborough (British, 1727‑1788), unsigned, each 3” x 2‑1/2”, in a brass filigree frame with stone insets. [600/900] Illustrated

507

505 one of a pair

114

508

509 Swedish-Style Neoclassical Cut Glass and Gilt-Brass Nine-Light Chandelier, second quarter 20th century, the basket mounted with prism-hung candle branches, below vertical crystal and wire leaves supporting swags of drops, the corona hung with prisms and terminating in a spray of drops, not electrified, h. 33”, dia. 24”. [700/1000] Illustrated

509

510 French Empire-Style Partial Dinner Service, fourth quarter 19th century, decorated with raised biscuit borders of cupids holding swags of flowers on a matte gilt ground, with gilt center medallions, including a platter, w. 16‑1/2”, d. 13”, six dinner plates, dia. 10”, a square covered vegetable dish, h. 6”, w. 8‑1/2”, and a sauce tureen and stand, h. 10”, w. 7‑3/4”, both with biscuit basket-offlowers knops, several pieces with spurious “Imp. de Sevres” marks. Provenance: Christie’s, October 27, 1998, lot 178; The Flatt Collection. [700/1000] Illustrated

507 Biedermeier Elm Center Table, second quarter 19th century, the highly figured tilting circular top raised on a paneled standard joined by splayed supports to a concave tripartite base, h. 30‑1/2”, dia. 49”. [800/1200] Illustrated

510

508 Continental Neoclassical Walnut and Mahogany Commode, late 18th century, the rectangular doublebanded top centered by a circular foliate medallion, above a conforming case fitted with three long drawers, all banded, the lower two centered by a similar foliate medallion, raised on tapering square legs, h. 36”, w. 50”, d. 22‑1/4”. [3000/5000] Illustrated

511

511 Pair of French Restauration Bronze Dore Three-Light Candelabra, second quarter 19th century, each with an engine-turned base supporting a standard in the form of a winged caryatid perched on a sphere, and holding aloft a basket of flowers set with scrolled candle arms terminating in molded drip pans and candle cups, the standard terminating in a flame finial, h. 14‑1/4”, w. 9”, d. 10”. [2000/4000] Illustrated

115

512 French Restauration Bronze Dore et Patine Figural Clock, ca. 1800, on toupie feet, the lozenge-form clock decorated with mounts depicting medieval armour on the base, kneeling female figures on the sides, and baskets of fruit in niches flanking the clock, a figure of Sultana sitting on the top, a low table holding a rosewater sprinkler to her left, mounted with a silk-string suspension movement, h. 13‑1/2”, w. 11‑3/4”, d. 4”. [800/1200] Illustrated

515

512

513 Unusual French Gilt-Bronze Napoleonic Commemorative Bowl, first quarter 20th century, the hemispherical bowl molded with large eagle-form handles, the body decorated with Napoleonic bees on a stippled ground, with an upper border of laurel leaves and berries, h. 8‑1/4”, w. 10‑1/4”. [800/1200] Illustrated

514 French Bronze and Marble Tazza, second quarter 19th century, the bronze dore et patine tazza with an “Atlas”form standard supporting a sienna marble dish, h. 7‑1/2”, dia. 5”; together with an Italian Grand Tour bronze depicting the “Fighting Warrior”, first quarter 20th century, the figure marked “Borghese”, h. 12”, w. 6”, d. 8‑1/2” (two total pieces). [500/800] 515 Pair of Faux-Marble Pedestals, the sienna-colored yellow standards with gray veins, on white bases supported by black plinths, h. 47‑1/2”, w. 18‑1/4”, d. 19‑1/4”. [3000/5000] Illustrated

516

513

116

516 Three-Piece Collection of Napoleonic Objets de Vertu, 19th century, including a bronze bust of Napoleon on a red griotte marble pedestal, signed “S. Schwalenberg (German, active 1898‑1920), ca. 1900, h. 9”, w. 2‑1/2”, d. 2‑3/4”, a gilt bronze of Napoleon’s hat atop a sword and laurel branch, on a white marble plinth, fourth quarter 19th century, h. 3‑3/4”, w. 6‑1/2”, d. 3‑1/4”, and an English wax profile portrait of Napoleon, first half 19th century, dia. 6‑1/2”. [500/800] Illustrated

519 Pair of Neoclassical-Style Malachite and GiltBronze Tree Tubs, 20th century, probably French, the cylindrical tubs with malachite-clad sides and bronze engine-turned upper edges and egg-and-dart bases, the sides set with lion’s heads grasping rings, raised on round feet, h. 11‑1/4”, dia. 13‑3/4”. Provenance: Sotheby’s, New York, October 13, 1999, lot 175; The Flatt Collection. [1500/2500] Illustrated

518

517 Empire-Style Mahogany Secretaire a Abattant, late 19th century, the rectangular top above a case fitted with a single frieze drawer over a drop front opening to a marblelined interior with a mirrored back and upper shelf over a variety of variously-sized drawers, with ormolu-capped mahogany columnar accents, over three long drawers, the whole flanked to either side by freestanding columnar uprights with ormolu capitals, raised on turreted feet, h. 59‑1/4”, w. 39‑3/4”, d. 19‑1/2”. [2500/4000] Illustrated

517 interior with 516 display

519

518 Pair of French Restauration Gilt-Bronze and White Marble Four-Light Candelabra, second quarter 19th century, the marble plinths supporting the hooffooted standard supports, with twisted candle branches terminating in goat’s head masques, the candle sockets set on leaf-molded drip pans and with removable flame inserts allowing the central socket to convert from three to four lights, h. 28”, dia. 8”. [1000/1500] Illustrated

517

117

520 Pair of Neoclassical-Style Malachite-Veneered Obelisks, 20th century, probably Continental, with stepped bases supporting rectangular plinths with raised panels, h. 19‑1/2”, w. 5”, d. 5”. [2500/4000] Illustrated

522 Empire-Style Fruitwood and Marble-Top Server, late 19th century, the long rectangular marble top above a conforming case fitted with four frieze drawers, the outer two compartmented, over four paneled cupboard doors, all opening to a shelved interior, raised on block feet, h. 37”, w. 88‑1/2”, d. 19‑1/2”. [1000/1500] Illustrated

523

520

521 Louis XVI Mahogany Triple-Top Games Table, late 18th century, the demi-lune top with brass banding and opening to a larger wooden surface and further opening to an inset leather surface, above a conforming paneled frieze with brass banding, raised on fluted tapering circular legs ending in brass caps and casters, h. 30‑1/2”, w. 43”, d. 22”. [500/800] Illustrated

525 523 Papier-Mache Human Masque, second half 19th century, probably French, possibly used either as an artist’s model or in the theater, the painted surface surviving with a rich patina, mounted on a turned, weighted and ebonized stand, which appears to be original, mounted with a thumbscrew, allowing the angle to be adjusted, h. 14‑1/4”, w. 7‑1/2”, d. 6”. Provenance: The Flatt Collection. [1000/1500] Illustrated

522

521

118

524 Neoclassical Marble Pedestal, the circular base raised on a graduated columnar standard with a paneled lower section, ending on a molded octagonal base, h. 52‑1/2”, w. 12”. Provenance: The Flatt Collection. [500/800] Illustrated

524

525 Italian NeoclassicalStyle Polychrome and Parcel-Gilt Mirror and Console, early 20th century, the mirror with a molded crest with canted ends, above a central etched oval panel of figures dancing, over a long mirror plate, flanked to either side by a narrow mirrored plate with applied central foliate medallions, all within a molded and annulated frame, h. 75”, w. 42”, the table with a rounded rectangular top, above a conforming bound floral garland frieze, with a pendant foliate garland, raised on like-carved shaped legs and mirrored paneled back with like-etched panel, h. 36”, w. 48”, d. 14‑1/4”. [2500/4000] Illustrated 526 Empire-Style Patinated and Gilt-Lacquered Bronze Six-Light Chandelier, of small size, with cast chain sections joined to a shaped bowl extending to candlemounted arms and a pineapple-form pendant finial, h. 23”, dia. 18”. [700/1000] Illustrated

526

527 Handsome Pair of French Gilt-Bronze-Mounted Metal Urns in the Empire Taste, fourth quarter 19th century, each vert fonce-painted metal campana-form urn with a grapevine border, a fluted base and mounts depicting classical dancers, and resting on a like-painted rectangular plinth with wreath ornamentation, each with a removable metal insert, h. 19‑1/2”, dia. 8‑3/4”. [5000/8000] Illustrated

528

527

528 Louis XVI Mahogany Games Table, late 18th century, the rectangular top with inlaid brass banding and brass edging, and opening to a baize-lined gaming surface with four recessed gaming compartments, above a paneled frieze, raised on fluted tapering circular legs with brass inlay, ending in toupie feet, h. 29”, w. 32”, d. 18‑1/2”. Provenance: The Flatt Collection. [800/1200] Illustrated

119

531 Pair of Empire-Style Ebonized Bergeres, 20th century, each with a curved and ribbed crest above a padded back and downswept sides, with swan’s neck hand rests, the padded seat raised on tapering ribbed legs ending in gilt claw feet, the back and sides of caned construction, h. 35”. [1500/2500] Illustrated

529

529 French Patinated Bronze of “Danseuse et Putto”, fourth quarter 19th century, likely originally mounted to a clock, after Jean-Louis Gregoire (French, 1840‑1890), incised signature along back edge of base, h. 14‑1/2”, w. 8‑3/4”, d. 4‑3/4”. [1500/2500] Illustrated 532

532 Good Pair of Louis-Philippe Bronze Candlesticks, second quarter 19th century, the reeded standards terminating in leaf-molded capitals supporting molded candle sockets and bobeches, raised on dolphin feet above tripartite bases, h. 14”, dia. 6”. Provenance: The Flatt Collection. [600/900] Illustrated

530

530 Pair of French Silvered-Bronze Two-Light Bouillotte Lamps, first quarter 20th century, in the Louis XVI taste, the leaf-molded bases supporting quiver-form standards set with leaf-molded candle arms with beaded candle sockets and bobeches, the adjustable center rods fitted with black tole shades decorated with gilt-metal putti mounts, h. 23‑1/2”, w. 13”, d. 9”. [1000/1500] Illustrated

120

531

533 Exceptional Pair of American Neoclassical-Style Bronze Dore et Patine Andirons, ca. 1900, on hairy paw feet, the fluted baluster-form standards mounted with giltbronze leaves terminating in blocks mounted with lion’s heads grasping rings, the tops with flame finials, mounted with bronze flame log stops, possibly E. F. Caldwell & Co., New York, New York, h. 29‑3/4”, w. 15‑1/2”, d. 22‑1/2”. Provenance: Williams Antiques, Atlanta, Georgia. [1800/2500] Illustrated

533

534 Regency Mahogany and Marble-Top Side Table, first quarter 19th century, the rectangular marble top above a conforming ormolu-applied frieze, joined by a mirrored back and front supports, headed by carved Egyptian maiden’s heads, to the plinth base, h. 37‑1/2”, w. 40”, d. 15‑1/4”. [1800/2500] Illustrated

535

535 French Empire-Style Nine-Light Tole and Bronze Chandelier, first quarter 20th century, pierced foliate canopy over a bell-form tole body supported by decorative chains, issuing bronze candle branches, pine cone ball finial, h. 28”, dia. 27‑1/2”. [900/1200] Illustrated

536 French Patinated Metal, Bronze Dore and Marble Campana-Form Urn, second quarter 19th century, the metal urn set with bronze handles terminating in satyr heads, and decorated with mounts depicting Medusa and a band of grapes and grape leaves, raised on a red griotte marble base with bronze mounts, h. 15”, w. 5‑1/2”, d. 5‑1/2”. Provenance: The Flatt Collection. [700/1000] Illustrated 536

534

121

541 537 537 Pair of Napoleon III Bronze Caryatids on Marble Bases, third quarter 19th century, the tapered and molded red griotte marble bases set with bronze trim, and supporting caryatids balancing water pots on their heads, signed “L.V.E. Robert”, for Louis Valentin Elias Robert (French, 1821‑1874), h. 17‑3/4”, w. 5‑1/2”, d. 5‑1/2”. [1500/2500] Illustrated

538 Pair of Continental Large Porphyry-Clad Obelisks, 20th century, in the neoclassical taste, trimmed with ogee-molded white marble and raised on square plinths, h. 34‑1/2”, w. 8”, d. 8”. Provenance: The Flatt Collection. [1500/2500] Illustrated 539 Baroque-Style Bronze Dore et Patine and Red Griotte Marble Urn, fourth quarter 19th century, now mounted as a lamp, resting on tapered bronze feet, the molded red marble base trimmed with beading and medallions, the bronze urn molded with diaphanously-clad dancing beauties, mounted with a shade, urn, h. 25‑1/2”, overall, h. 16‑3/4”, w. 15‑1/4”, d. 10‑3/4”. Provenance: The Flatt Collection. [700/1000] 540 French Silvered Bronze, Wood and Tole Peinte FourLight Bouillotte Lamp, first quarter 20th century, the Baroque-style lamp on a wooden base with a pierced, scrolled standard, and matching scrolled candle arms, the redpainted tole shade decorated with gilt swagging, h. 22‑1/2”, dia. 13‑1/2”. [600/900]

538

122

542

541 Charles de Chatillon (French, 1777‑1844), “Napoleon, Emperor of France, King of Italy”, ca. 1804‑1806, watercolor and gouache miniature, signed lower left, 3‑1/4” x 2‑1/2”. In a Neoclassical-style pewter frame. [700/1000] Illustrated Charles de Chatillon was a portrait miniaturist and painter of mythological scenes. He exhibited at the Salon from 1795‑1808, and painted this miniature portrait of Napoleon at/or around the time of Napoleon’s coronation in 1804, after which multiple engravings were made by Pierre Audouin. Other miniature portraits of Napoleon and Marie-Louise by Chatillon are conserved in the Wallace Collection in London.

544

545 Giuseppe Aureli (Italian, 1858‑1929), “Courtship”, watercolor on paper, signed lower right “G Aureli, Rome-Paris”, sight 18‑3/4” x 13”. Glazed and framed. Provenance: Personal collection of Daniel Tenenbaum, San Francisco, California and Houston, Texas. [700/1000] Illustrated

543

542 Terracotta Bust of Napoleon as Caesar, first quarter 20th century, probably French, after Antonio Canova (Italian, 1757‑1822), depicted wearing a laurel wreath, h. 23‑1/4”, w. 11‑3/4”, d. 9‑1/2”. The original was one of a group of busts Napoleon commissioned Canova to create, depicting him as Caesar. [900/1200] Illustrated 543 Frederick Lenditz (German, 1873‑1937), “Napoleon Posing for Princess Louise”, oil on canvas, signed lower right, 21” x 17”. Presented in a giltwood and gesso frame affixed with artist plaque. [800/1200] Illustrated 544 French Patinated Bronze of “Le Commandant”, first or second quarter 20th century, after Vital-Gabriel Dubray (French, 1832‑1892), cast signature at edge of self-base, h. 17”, w. 6‑3/4”, d. 5‑1/2”. [1200/1800] Illustrated

545

123

549 French Patinated Bronze of “Hermes and the Infant Dionysus”, first quarter 20th century, after Jean-Joseph Perraud (French, 1819‑1876), cast signature and dated “1859” on edge of self-base, h. 23”, w. 9‑1/2”, d. 8‑1/2”. [800/1200] Illustrated

546 546 Jean Sala Gabriel (Spanish, 1867‑1918), “The Flirt”, watercolor and graphite on board, signed and dated “Jean Sala, Paris 1908” lower left, 19” x 23‑3/4”. Glazed, matted and framed. [3000/5000] Illustrated 547 Empire-Style Mahogany and Marble-Top Gueridon, late 19th century, the circular dished charcoal marble top above a conforming ormolu-applied frieze, joined by scrolling supports to a concave tripartite base, h. 31”, dia. 38‑1/2”. [2000/4000] Illustrated

550 Unusual Continental Patinated Copper Figure of a Warrior, 549 20th century, after one of the largerthan-life sized statues flanking the entrance of Charlottenburg Palace, Berlin, Germany, h. 18‑3/4”, w. 18”, d. 12‑1/2”. [700/1000] 551 Jose Dunach (Spanish, 1886‑1957), “The Discus Thrower”, patinated bronze, cast signature at self-base, marked “Made in France”, on a black marble plinth, overall, h. 12‑3/4”, w. 5”, d. 4‑3/4”. [500/800] 552 Continental Grand Tour Patinated Bronze of Apollo, first quarter 20th century, h. 23‑1/2”, w. 9‑1/4”, d. 9‑1/4”. [800/1200] Illustrated 553 Unusual Pair of French Gilt-Bronze and Ebonized Wood Column-Form Garnitures, fourth quarter 19th century, the standards in the style of Empire candlesticks and mounted with displayed eagles perched on bronzemounted wooden spheres, raised on square bases with egg-and-dart trim, h. 27‑1/2”, w. 6‑1/2”, d. 6‑1/2”. [700/1000] Illustrated

547

548 Pair of Empire-Style Mahogany and Marble-Top Occasional Tables, each with a circular marble top above a plain frieze, raised on three columnar supports headed by ormolu columns and joined by a concave triangular stretcher, raised on bun feet, h. 25‑1/2”, dia. 19‑1/2”. [800/1200] Illustrated

124

548

554 Pair of French Empire-Style Bronze Dore et Patine and Cut Glass Four-Light Candelabra, 20th century, now mounted as lamps, on tripartite bases, with winged griffins on each corner and gilt torch mounts, the vasiform standards set with strawberrycut glass inserts, the cornucopia-form candle arms surrounding the central standard, now mounted with fittings, and pleated ecru silk shades, h. 27‑1/4”, dia. 10‑3/4” and h. 35‑1/4”, dia. 16”. [1200/1800] Illustrated

552

555 Two Continental Grand Tour Stone Souvenirs, fourth quarter 19th century, including a French black marble obelisk based on Cleopatra’s Needle, h. 9‑1/2”, w. 4‑1/2”, d. 4‑1/2”, and an Italian alabaster column, based on the ruins of Vespasian’s temple, h. 9‑3/4”, w. 3‑1/4”, d. 3‑1/4”. [800/1200]

553

554

556 French Bronze Dore et Patine Model of a Napoleonic Cradle, ca. 1900, lined with gold satin, the cradle resting on a curule base, with bronze dore trim and a large giltbronze wreath on the rear of the hood, in its original giltstamped leatherette presentation case, cradle, h. 6‑1/4”, w. 5‑1/2”, d. 2‑3/4”, case, h. 7”, w. 6‑3/4”, d. 3‑3/4”. [600/900] Illustrated

556

125

557 Francois Pascal-Simon Gerard (French, 1770‑1837), “L’Enfant Malade”, oil on canvas, unsigned, old French gallery label with title and artist en verso stretcher, old stamp en verso canvas, 19‑1/4” x 16”. In a cove-molded giltwood frame. [2000/4000] Illustrated

559

559 Louis-Philippe Mahogany Side Table, mid-19th century, the rectangular highly figured top above a conforming frieze fitted with two drawers, joined by a mirrored back and scrolling supports to a plinth shelf base, the whole accented with line inlay and ormolu mounts, h. 36”, w. 40‑1/2”, d. 17”. [2000/4000] Illustrated

557 558 Claude-Marie Dubufe (French, 1790‑1864), “La Terreur”, 1825, oil on canvas, signed and dated mid-left, 21‑1/2” x 18”. Framed. [4000/7000] Illustrated

560

560 Near Pair of Glass, Bronze and Marble Two-Light Candelabra in the Swedish/Russian Style, mid-20th century, each with a blue glass standard below an oval prism ring set with a pair of candle sockets, and a spray of prisms overhanging a cascade of drops, raised on a marble base, h. 17”, w. 11‑1/4”, d. 5”. [500/800] Illustrated 561 French School (First Quarter 20th Century), “Carnival, Nice”, 1901, oil on beveled wood panel, signed “S. Julina” and dated lower right, 16” x 13”. Framed. Provenance: Personal collection of Daniel Tenenbaum, San Francisco, California and Houston, Texas. [800/1200] Illustrated 558

126

563 Empire-Style Mahogany Settee, late 19th century, the padded backswept rectangular back joined by outscrolled padded arms to the padded seat, raised on tapering circular legs ending in peg feet, the whole accented with ormolu mounts, h. 36”, w. 59”, d. 28”. [1200/1800]

564 Continental Patinated Bronze of “The Reveal”, first or second quarter 20th century, after Carl Kauba (Austrian, 1865‑1922), cast signature on self-base, on a green marble plinth, together with a removable dress of bronze, overall, h. 10”, w. 4‑1/2”, d. 4‑1/2”. [800/1200] Illustrated 561

562 Charles Chaplin (French, 1825‑1891), “At the Bal Masque”, 1876, oil on canvas, signed and dated lower center, 29” x 24”. In an elaborate gesso and giltwood frame. [2000/4000] Illustrated

565 Pair of French Marble and Bronze Lamps in the Neoclassical Taste, 564 first quarter 20th century, resting on square bases with bronze fittings, the urn-form standards mounted with Dionysus heads with grapes in their hair, and domed covers on pierced bases, mounted with shades, base, h. 14‑1/2”, dia. 5‑1/2”, overall, h. 30‑1/4”, dia. 15‑1/4”. [1000/1500] Illustrated

565

562

127

566 Leonie Lebas (French, 19th/20th Century), “Une Elegante”, watercolor on paper, signed lower left, sight 7” x 9”. Matted, glazed and framed. [500/800] Illustrated

568

566

569 Pair of Neoclassical Mahogany and Polychrome Demi-lune Side Tables, first quarter 19th century, in the Adams taste, each with a demi-lune top with a molded edge, above a conforming fluted frieze centered by a garland-carved panel, raised on fluted tapering circular legs headed by a foliate capital and ending in toupie feet, h. 30”, w. 36”, d. 17‑1/2”. [1400/1800] Illustrated

567 Russian Neoclassical-Style Mahogany and MarbleTop Commode, early 20th century, the rectangular marble top with a three-quarter pierced brass gallery and canted corners, above a conforming case fitted with two drawers, each with brass banding, raised on tapering square legs ending in tall brass caps, h. 33”, w. 31”, d. 16‑1/2”. [2000/4000] Illustrated 568 Pair of Empire Mahogany Fauteuils, late 18th century, each with a slightly curved padded rectangular back joined by rounded arms on gilt maiden’s head uprights to the padded seat, raised on tapering square legs, one ending in casters, the other ending in gilt mummy-form feet, h. 35‑1/4”. [1000/1500] Illustrated 569

567

128

572

571 detail

570 570 Philippe Henri Coclers “van Wick” (Flemish/Belgian, 1738‑1804), “Under the Grape Arbor with the Nanny”, 1797, oil on canvas, signed, dated and localized “Firenze” lower right, 26‑1/2” x 20‑1/4”. Framed. Provenance: Collection of Henry Stern, New Orleans, Louisiana, to his grandson Paul Rosenthal, Baton Rouge, Louisiana. [1500/2500] Illustrated

571 Suite of Eight Directoire Polychrome Sidechairs, early 19th century, each with a shaped foliate- and shellcarved crest above a columnar slatted back, the padded seat raised on padded sabre legs headed by laurel leaf carving, five retaining the remnants of an oval paper label on the rear leg, h. 35‑1/2”. [1000/1500] Illustrated

571

572 Pair of Italian Empire-Style Polychrome Bergeres, third quarter 19th century, each with a rounded crest above a canted padded rectangular back, joined by ribbed arms terminating in ram’s head hand rests to the cushioned seat, raised on tapering circular legs ending in peg feet, h. 36”. Provenance: Collection of Henry Stern, New Orleans, Louisiana, to his grandson Paul Rosenthal, Baton Rouge, Louisiana. [3000/5000] Illustrated

573

573 Louis XV-Style Oak Breakfront, early 20th century, the molded and domed cornice centered by a foliate shell carving, above a conforming case fitted with a central door with an upper domed glazed panel and a lower shell-carved panel, flanked to either side by a narrower like-paneled door, all opening to a fabric-lined shelved interior, raised on bellflower-carved scrolled toes, h 105”, w. 81”, d. 18”. [1800/2500] Illustrated

129

574 French Gilt-Bronze Mantel Clock of Louis XIV Inspiration, fourth quarter 19th century, resting on paw feet, the case molded with bas-relief scrolls and leaves, the dial framed with cabochons and shells in strapwork, under a rounded “roof” with a finial mounted with winged female monopodia handles, and the sides mounted with lion’s head ring pulls, h. 17‑3/4”, w. 11‑1/4”, d. 8‑1/4”. [700/1000] Illustrated 575 French Giltwood Overmantel Mirror, fourth quarter 19th century, the mirror plate with an inner trim of giltwood conforming to the frame, with intricate corner scrolls, the frame with egg-and-dart molding and an arched top set with a crest depicting two putti supporting a cabochon, a basket-of-flowers finial on either side, h. 66‑1/4”, w. 35‑1/2”. [1500/2500] Illustrated 576 Louis XV-Style Giltwood and Marble-Top Center Table, mid-19th century, the thick, shaped rectangular marble top with a molded edge, above a conforming frieze centered by a central shell shield issuing foliate garlands to either side, raised on molded cabriole legs headed by shield carving, joined by an imbricate-carved urn-centered X-form stretcher and ending in scrolled toes, h. 31‑3/4”, w. 67”, d. 31‑1/2”. Provenance: Williams Antiques, Atlanta, Georgia. [6000/9000] Illustrated 577 Pair of Meissen Cobalt-Ground and Parcel-Gilt Porcelain Urns, late 19th century, of baluster form, each with a pair of applied foliate handles, and egg-and-dartmolded borders and acanthus details, raised on a waisted socle and circular base with crossed marks and “27” in underglaze blue along with an incised “D153”, h. 24‑1/4”, w. 13‑1/2”. [1000/1500] Illustrated

574

578 Set of Four French Silvered-Bronze Sconces in the Louis XIV Taste, each with a baluster-form, finialed backplate decorated with molded leaves and a pair of female busts, and holding a pair of leaf-molded candle arms set with egg-and-dart-molded drip pans and matching candlecups, h. 15‑1/2”, w. 16‑1/4”, d. 10‑1/2”. [1800/2500] Illustrated

576

130

575 578 suite of four

579

579 Three-Piece Sevres-Style Pottery and Gilt-Metal Garniture, ca. 1900, consisting of a centerpiece and a pair of lidded urns, the cobalt-ground pottery decorated with hand-painted panels of couples in 18th-century costume, the centerpiece fitted with a pierced rim and scrolled handles, h. 17‑1/2”, w. 19”, d. 10‑1/4”, and the urns with domed covers and handles molded with lion’s heads, h. 11‑1/4”, dia. 4‑1/2”. [1000/1500] Illustrated

580 French Gilt-Bronze and Cobalt Porcelain Garniture Urn, ca. 1900, in the Louis XV style, with a bronze base, handles and fittings, the urn and matching cover molded with swirled fluting, outlined in gilt, marked on the base with blue crossed arrows, h. 24”, w. 14”, d. 8”. [600/900] Illustrated 577

580

131

581 Pair of FrancoBohemian HandPainted Cobalt Baluster Vases, mid-19th century, decorated with gilt scrollwork and a vermicelli frame, with depictions of pairs of fashionably attired belles strolling in a rose garden, h. 18‑3/4”, dia. 8”. [700/1000] Illustrated 582 Louis XVI-Style Mahogany and Marble-Top Center Table, 20th century, the circular top quarterveneered and within an ormolu banding, over a conforming paneled frieze, raised on fluted tapering circular legs ending in brass caps, h. 32”, dia. 31‑1/2”. [600/900] Illustrated

581

583

582

583 Exceptional Pair of Napoleon III Gilt-Bronze Candlesticks, third quarter 19th century, in the Regence taste, on ogeeform bases, leaf-molded and trimmed with beading, the standards molded with female monopodia draped with flowers, the candle sockets in the form of paw-footed ribbed vases trimmed with lion’s heads, h. 12‑3/4”, dia. 5‑3/4”. Provenance: The Flatt Collection. [800/1200] Illustrated

584 Three-Piece Louis XV-Style Giltwood Parlor Suite, early 20th century, consisting of a settee and a pair of fauteuils, each with a domed and padded back surmounted by a shell and foliate crest, joined by padded scrolling arms to the like seat, over a shaped apron, raised on molded cabriole legs headed by shell carving and ending in scrolled toes, settee, h. 41‑1/2”, w. 64”, d. 27”, fauteuils, h. 40”. [1000/1500] Illustrated 585 Pair of French Bronze Dore et Patine Chenets, ca. 1900, in the Louis XV style, the boldly scrolled and pierced chenets ornamented with rocaille, each mounted with a patinated bronze peasant child: a boy holding a music box and a girl a tinder box, h. 17‑1/2”, w. 16‑1/4”, d. 7”. [1500/2500] Illustrated

584

132

586 Louis XV-Style Giltwood Overmantel Mirror, fourth quarter 19th century, the molded surround decorated with applied flowers, and the serpentine crest terminating in molded shells with trailing flowers on each side, h. 55”, w. 31‑3/4”. [1000/1500] Illustrated

586

588 one of two

588 After Pierre Joseph Redoute (French, 1759‑1840), “Rosier des Perfumeurs” and “Rosier a Cent Feuilles”, pair of decorative prints, each sight 14‑1/2” x 12”. Both glazed and presented in attractive, matching, antiqued giltwood frames. [600/900] Illustrated

587 Louis XVI Oak and Marble-Top Console Table, late 18th century, the shaped rouge marble top with a molded edge, above a conforming fluted frieze with pendant central wreath and floral garlands, raised on shaped and molded legs joined by an urn-centered stretcher and ending in foliate toes, h. 32‑1/2”, w. 44‑1/2”, d. 21”. [1800/2500] Illustrated

585 585

587

133

589

591

590

589 Semi-Antique French Aubusson Panel, 100” x 49”. [700/1000] Illustrated 590 Semi-Antique French Aubusson Panel, 100” x 49”. [700/1000] Illustrated 591 Semi-Antique French Aubusson Panel, 100” x 49”. [700/1000] Illustrated

592 Louis-Philippe Gilt-Bronze and Porcelain Mantel Clock, mid-19th century, on pierced scrollwork feet, the base decorated with cattails and rocaille work, the enamel dial marked “Blaquart, a Boulogne, 5/4”, and flanked by hand-painted porcelain panels decorated with roses and bleu celeste borders, the top with an allegorical figure of Victory and a tablet marked “Lois Romaines”, set with Marti works, h. 16‑1/4”, w. 17‑1/2”, d. 3”. [1200/1800] Illustrated

592

593

134

593 Louis XV-Style Giltwood and Onyx-Top Center Table, early 20th century, the inset turtle-form onyx top above a conforming shaped frieze centered by a foliate shell carving, raised on cabriole legs headed by a foliate shield, joined by a shaped X-form stretcher and ending in foliate scrolled toes, h. 30”, w. 40”, d. 24”. [800/1200] Illustrated

597 595 Napoleon III Fruitwood and Inlaid Lift-Top Occasional Table, third quarter 19th century, the floriform top banded and with a central circular panel, above a conforming frieze, raised on slender cabriole legs ending in sabots, h. 27‑1/4”, dia. 19”. Provenance: The Flatt Collection. [700/1000] Illustrated

594 594 Regence-Style Mahogany Tall Chest, the rectangular top with a bowed front section, over a conforming case fitted with two short drawers over four long drawers, raised on splayed feet ending in sabots, the whole richly ornamented with foliate-patterned ormolu mounts, h. 49”, w. 39‑1/2”, d. 21”. Provenance: Personal collection of Daniel Tenenbaum, San Francisco, California and Houston, Texas. [1000/1500] Illustrated

596

596 Transitional Louis XV-into-Louis XVI-Style Writing Desk, late 19th century, the kidney-form top with a threequarter pierced brass gallery, banded and with a parquetry star pattern, above a conforming frieze fitted with two central drawers flanked to either side by two small rounded drawers, all banded, raised on cabriole legs ending in sabots, h. 30”, w. 39”, d. 22”. [700/1000] Illustrated

595

597 Frederik Schepelern (Danish, 1796‑1883), “Acadia”, oil on canvas, signed lower right, 25” x 37‑1/4”. Framed. [4000/7000] Illustrated

135

598 Small Empire-Style Gilt-Lacquered Bronze and Verdigris-Painted Six-Light Chandelier, the bowl suspended by three chains joined to shaped arms terminating in cast swan heads, each arm with an electric candle, h. 24”, dia. 20”. [600/900]

602

600

599 Continental Bronze-Mounted Amboyna Wood Bookcase, fourth quarter 19th century, the domed stepped cornice above a brass-banded paneled frieze, over two doors, each glazed and opening to a fabric-lined shelved interior, the lower section with canted corners and fitted with two paneled cupboard doors, raised on low bun feet, with ormolu mounts and brass banding accents, h. 91”, w. 50”, d. 21”. [2500/4000] Illustrated

601

136

600 Four-Piece French Pierced and Engraved Brass and Velvet Desk Set, second quarter 20th century, in the Baronial taste, decorated with pierced scrollwork panels set with heraldic crests, the set including a clock, h. 1‑1/4”, dia. 7”, a tobacco case, h. 3‑1/4”, w. 9”, d. 3”, a notepad with a hinged cover, w. 10”, d. 7”, and a portfolio, h. 15‑3/4”, w. 12”. [1800/2500] Illustrated 601 French Patinated Bronze of “A la Fontaine”, first quarter 20th century, after Emile Joseph Nestor Carlier (French, 1849‑1927), cast signature along edge of self-base, overall, h. 29‑1/2”, w. 12‑1/2”, d. 11‑1/2”. [2000/4000] Illustrated

599

605 Continental Patinated Bronze of a “Marly Horse”, fourth quarter 19th century, after Guillaume Coustou the Elder (French, 1677‑1746), h. 23”, w. 21”, d. 10”. [1000/1500] Illustrated

603 602 Louis XVI-Style Fruitwood Settee, early 19th century, the rectangular padded back within a molded frame, joined by padded scrolling arms to the like seat, raised on stopfluted tapering circular legs ending in peg feet, h. 35”, w. 66‑1/2”, d. 22‑1/2”. [700/1000] Illustrated

607

606 Group of Three English Oak Pub Stools, 18th century, comprising a pair of stools of traditional form, each with a rectangular seat above a carved frieze, raised on turned legs joined by a box stretcher ending in block feet, h. 19”, w. 18‑1/2”, d. 10‑1/2”, together with a similar, taller example, h. 22”, w. 19”, d. 11‑1/2”. [600/900] 607 Pair of English Copper and Brass Tree Tubs in the Baronial Style, first quarter 20th century, the copper bodies set with brass paw feet and brass lion’s head ring handles, the sides decorated with brass mounts of rampant lions, stars and swirling leaves, h. 15‑1/4”, dia. 13‑1/4”. [800/1200] Illustrated

604

603 Jean-Baptiste De Roy (Belgian, 1759‑1839), “Extensive Landscape with a Young Shepherd, His Dog and Horses”, oil on wood panel, signed lower left, 10‑3/4” x 16‑1/4”. Presented in a period frame affixed with plaque incised “De Roy 1792”. Provenance: Personal collection of Daniel Tenenbaum, San Francisco, California and Houston, Texas. [2000/4000] Illustrated 604 English Oak Chest, 18th century, in the William and Mary taste, in two parts, the banded rectangular top above a conforming case fitted with two sections, each section fitted with two graduated long drawers, all with paneled and molded fronts, raised on shaped bracket feet, h. 37”, w. 38‑1/4”, d. 22‑1/2”. [500/800] Illustrated

605

137

608 Large Chinese Export Porcelain Charger in the Famille Rose Palette, fourth quarter 18th century, the border decorated with an encircling ribbon and swags of fruit and flowers, the center panel decorated with a fanciful compote with an arrangement of fruit and flowers, dia. 18”. [1000/1500] Illustrated

611 Pair of Chinoiserie Polychrome Armchairs, 20th century, each with a pierced patterned faux bamboo back, joined by like-patterned arms to the removable caned seat, raised on ring-turned circular legs joined by an H-form stretcher, the whole with polychrome chinoiserie accents, h. 38”. [800/1200] 612 Suite of Four Queen Anne-Style Oak Sidechairs, late 19th century, each with a shaped crest above a vasiform splat, the 610 slip-in padded seat raised on cabriole legs joined by an H-form stretcher and ending in pad feet, h. 38”. [600/900]

608

609 Chinese Export Porcelain Platter in the Famille Rose Palette, fourth quarter 18th century, the border of meandering vines and flowers surrounding a central panel decorated with vases and pots of flowers, w. 14‑1/2”, d. 11‑1/2”. [600/900] Illustrated

613 George III-Style Giltwood Looking Glass in the Rococo Taste, fourth quarter 19th century, the shaped mirror in a frame with a scrolling broken-arch crest with foliate and floral carving, the shaped sides and base in like decor, the mirror segmented by foliate and scroll mullions and tracery, h. 61”, w. 31”, d. 6”. [1500/2500] Illustrated 614 Queen Anne-Style Giltwood and Marble-Top Side Table, late 19th century, the inset rectangular mottled marble top above a floral guilloche-carved frieze centered by a female masque and with pendant acanthine patterns and laurel leaf swags, raised on cabriole legs headed by satyr masques and ending in carved dolphin feet, h. 36”, w. 42”, d. 23”. Provenance: Christie’s, New York, January 21, 1999, lot 392; The Flatt Collection. [4000/7000] Illustrated

609

610 Chinese Flambe-Glazed Baluster Vase, Qing Dynasty (1644‑1911), 19th century, mounted as a lamp with a fluorite finial, not drilled, with a red glaze with pale green mottling, on a painted wooden base, vase, h. 16‑5/8”, overall, h. 35‑3/4”, w. 7”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [800/1200] Illustrated

138

614

613

615

617 George III Mahogany Kettle Stand, fourth quarter 18th century, the circular dished top raised on a graduated ring-turned standard to three splayed cabriole legs ending in ball-and-claw feet, h. 24”, dia. 11‑1/2”. Provenance: The Flatt Collection. [800/1200] Illustrated

615 Chinese Export Porcelain Qianlong Armorial Plate, mid-18th century, decorated with the Arms of Watson Quartering Wentworth, from a service made for the Marquis of Rockingham, dia. 9”. [600/900] Illustrated A piece from this particular set is illustrated in Chinese Armorial Porcelain, by David Sanctuary Howard, p. 536.

616 Chinese Famille Rose Porcelain Five-Piece Garniture Set, late 19th/early 20th century, including three lidded vessels, h. 11”, dia. 4‑1/2”, and two flared zun-form vessels, h. 9‑1/4”, dia. 4‑1/8”, unmarked. [800/1200]

617

139

618 George III-Style Mahogany Camelback Sofa in the Chippendale Taste, with an arched back, scroll arms ending in carved rosettes, and a carved serpentine apron on cabriole legs ending in hairy paw feet, upholstered in pale peach and ivory brocade, h. 35‑3/4”, w. 82‑1/2”, d. 34”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [1200/1800] Illustrated 619 George III Walnut and Parcel-Gilt Mirror, late 18th century, the broken swan’s neck pediment centered by a pierced foliate shield and above a plain frieze and rounded rectangular plate, with side applied floral festoons and a scalloped pendant, h. 52”, w. 24‑1/2”. [1200/1800] Illustrated

622 Pair of Rare, Large George III Derbyshire Spar Column-Form Candlesticks, fourth quarter 18th century, English, of Tuscan form, resting on slate and marble-trimmed Blue John plinths with tapered Blue John standards and white marble capitals, h. 22‑1/2”, w. 3‑1/2”, d. 3‑1/2”. Provenance: The Flatt Collection. [3000/5000] Illustrated

619

Tuscan column-form candlesticks of this type reflect a popular decorating trend of later 18th century, in which mantelpiece ornaments in the “Antique” or “Roman” style were meant to evoke a sacrifice at Love’s altar. Columns such as these were important to the George III Etruscan or Roman vase inspired columbarium style, promoted by taste makers Robert Adam, Matthew Boulton and Josiah Wedgwood.

620

620 Fine George III Mahogany Armchair, 18th century, the shaped crest with carved foliate patterns above a like-carved and pierced splat, joined by Shepherd’s crook arms to the padded eat, raised above a scalloped apron on cabriole legs headed by foliate carving and ending in balland-claw feet, h. 38”. [700/1000] Illustrated

621

621 Adam-Style Mahogany and Faux-Marbre Side Table, early 19th century, the rectangular faux-marbre top with a bowed center section and canted corners, above a conforming frieze featuring a central polychrome patera flanked by bellflower garlands, raised on tapering square legs ending in spade feet, h. 29‑1/2”, w. 51‑1/2”, d. 21‑1/2”. Provenance: The Flatt Collection. [800/1200] Illustrated 618

140

623 George III Derbyshire Spar Blue John Finial, fourth quarter 19th century, the urnform finial carved with horizontal mid-ribs and matching trim on the “cover”, with an associated giltbronze pineappleform finial, raised on a cove-molded white marble base, h. 7‑3/4”, dia. 2‑3/4”. Provenance: Sotheby’s, New York, October 23, 1998, lot 187; and previously at Asprey, London; The Flatt Collection. [700/1000] Illustrated 623 624 British School (18th Century), “Nymphe le Marchant”, oil on canvas, unsigned, old handwritten label en verso canvas with title and illegible partial inscription, 29‑3/4” x 24‑1/4”. Framed. Provenance: Collection of Henry Stern, New Orleans, Louisiana, to his grandson Paul Rosenthal, Baton Rouge, Louisiana. [3000/5000] Illustrated Le Marchant is a prominant Guernsey Island family, dating from before the 13th century. They were historically seigneurs of the island owning one of the fiefs. 622

625 George III Oak, Mahogany and Burl Chest, fourth quarter 18th century, the rectangular top above a conforming case fitted with a pull-out brushing slide over three graduated and banded long drawers, the bottom one with a concave starburst inlay, raised on shaped bracket feet, h. 34‑1/2”, w. 41”, d. 20‑3/4”. [1000/1500] Illustrated

625 624

141

626

626 English Tortoiseshell and Mother-of-Pearl-Inlaid Tea Caddy, fourth quarter 19th century, of serpentine form, the hinged cover decorated with an initialed silverplate plaque, and opening to reveal two foil-lined compartments with mother-of-pearl covers, h. 5‑1/2”, w. 7‑1/4”, d. 4‑3/4”. [1400/1800] Illustrated

627

627 George III Tortoiseshell Tea Caddy, ca. 1800, of rectangular form, outlined with inlay, the hinged cover with a Sheffield plate ring pull with brightcut decoration, the interior fitted with a pair of hinged covered tea compartments, flanking a mixing compartment set with a period cut glass mixing bowl, h. 5‑1/2”, w. 12”, d. 5‑3/4”. [1800/2500] Illustrated

628 628 Good English Giltwood Mirror in the Rococo Taste, third quarter 19th century, the carved and pierced rocaille surround trimmed with carved roses, the pierced scrollwork inset with shell work carving decorating the lower edge, the upper finial created by intertwined scrolls, h. 40”, w. 21‑1/2”. Provenance: The Flatt Collection. [1000/1500] Illustrated

629 George III-Style Mahogany Dining Table, late 19th century, the rounded rectangular top with a molded edge and raised on three pedestals, each with a turned and bulbous columnar standard to four splayed legs ending in foliate brass caps on casters, with two 15” leaves, h. 30”, w. 45”, l. 103”, extended l. 133”. [3000/5000] Illustrated

630 Twelve Wedgwood, England, Sage Jasperware Items, late 19th/early 20th century, including a clock, h. 6”, a bowl, dia. 8‑1/2”, a pair of candlesticks, h. 7”, a water pitcher, h. 6‑1/2”, a milk pitcher, h. 5”, a creamer, h. 2‑1/2”, a mug, h. 5‑1/2”, and four small lidded boxes. [500/800]

631 Ten Wedgwood, England, Sage Jasperware Items, late 19th/early 20th century, including a pair of vases, h. 10‑1/2”, a pair of lidded barber bottles, h. 10”, a water pitcher, h. 7‑1/2”, an urn, h. 6‑1/4”, a lidded biscuit jar, h. 5‑1/2”, a lidded sauce jar, h. 4”, a lidded teapot, h. 5”, and a small vase, h. 4”. [500/800] 627 detail

142

632 Suite of Ten George III-Style Mahogany Dining Chairs in the Chippendale Taste, early 20th century, each with a shell- and foliate-carved crest rail and pierced splat, cabriole legs with foliate-carved knees and balland-claw feet, the slip seats now in floral needlepoint upholstery, h. 39‑1/4”. [1500/2500] Illustrated 633 Pair of Matthew Boulton Old Sheffield Plate Candelabra, first quarter 19th century, each with a tapering standard surmounted by an urn-form socket fitted with a detachable superstructure of a short standard surmounted by a vasiform nozzle and flanked by scrolling reeded arms, each terminating in a circular drip-pan and urn-form nozzle with detachable bobeche, the center standard fitted with a flammiform finial, the whole raised above a circular base and decorated with gadrooned banding, h. 21‑1/2”, w. 17‑1/2”, base dia. 5‑7/8”. [3000/5000] Illustrated

633

632

629

143

634 Good William IV Old Sheffield Plate Tray, second quarter 19th century, by T. & J. Creswick, Sheffield, of rounded and shaped rectangular form, with gadrooned rim and elaborate shell-and-acanthus corners, raised on four robust winged lion’s paw feet, the plateau engraved with the arms of Alexander with Ewing in pretence, 24” x 18‑1/4”. [2500/4000] Illustrated

635

The arms here are those of Caledon du Pre Alexander (1817‑1884) of Auberies, Essex, a captain in the 1st Life Guards and the son of Joseph Josias du Pre Alexander and Mary Bracken, and his wife Anna Caroline Morton Ewing (1822‑1891), daughter and heiress of James Ewing of Fort William, Bengal, India; the couple were married on March 11, 1843 at Trinity Church, St. Marylebone parish, London. 636 William IV Old Sheffield Plate and Cut Glass Centerpiece, second quarter 19th century, the base with a waisted gadrooned standard with annulated band, raised above a domed foot and cavetto-canted square base with acanthus banding, surmounted by a floral finial surrounded by four shell-and-acanthus uprights supporting a later diamond- and groove-cut glass bowl, the whole raised on four scroll-crested paw feet, h. 13‑1/4”, dia. 11‑3/4”. [700/1000] Illustrated

634

637 Thirty-Seven Pieces of William IV and Victorian “Fiddle” Pattern Sterling Silver Flatware, hallmarked London, 1829‑1856, various makers, comprising eight dinner forks, six dessert forks, eight dessert spoons, twelve teaspoons and three small serving pieces, variously monogrammed, 54.41 total t. oz. Provenance: Christie’s, South Kensington, January 22, 1991, lot 16; The Flatt Collection. Detailed list of makers, dimensions and monograms available on request. [900/1200] Illustrated

634 detail

635 Pair of William IV Old Sheffield Plate Sauce Tureens, second quarter 19th century, each of bulbous rectangular form with opposing square reeded handles and waisted neck, the gadrooned rim quartered by acanthus and shell mounts, the conforming domed lid with large acanthusbud finial, the whole raised on haunched lion’s-paw feet, the rim and neck detaching to reveal a hot water reservoir, engraved, on the lid, with the crest of Hamilton of Biseland, Tobago et al., h. 4‑3/4”, l. 7”, w. 5”. [500/800] Illustrated

144

636

640 Victorian Silverplate “Aesthetic” Tray, fourth quarter 19th century, by George Bowen & Sons, Birmingham, of rectangular form, the plateau engraved with a central floral band within a broad foliate-scroll, palmette and fan band, with a tubular gallery with shaped handles and sides and spherical connectors, raised on six flattened spherical feet, h. 3‑1/2” x 20‑3/4” x 14‑5/8”. [900/1200] Illustrated

637

638 Pair of Early Victorian West Country Sterling Silver Platter Spoons, hallmarked Exeter, 1838‑1839, by William Rawlings Sobey (1811‑1852), in the traditional “Fiddle” pattern, with squared shoulders, no monograms, l. 12‑1/4”, 9.37 total t. oz. Provenance: The Flatt Collection. [500/800]

641

641 Four Pieces of Victorian Silverplate Dining Tableware, fourth quarter 19th century, comprising a revolving vegetable dish, oval with “oak branch” frame, the lid engraved with ribboned fern cartouches, h. 9‑1/2”, w. 16‑1/4”, a pair of covered entree dishes, oval with beaded rim, guilloche lid and figural falcon finial, h. 6‑3/4”, l. 11‑3/4”, and a cased antler-handled fish serving set, the blade/tines bright-cut and engraved with ferns and foliage, case 15‑5/8” x 5‑1/4”. [500/800] Illustrated

639

639 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 riparian angler, l. 10‑1/4” and 13”. [700/1000] Illustrated

642

640

642 Forty-Three Pieces of Victorian “King’s” Pattern Sterling Silver Flatware, hallmarked London, 1853‑1872, by Chawner & Co., comprising six five-piece place settings (two teaspoons lacking) with three serving pieces, most engraved with worn crest, together with twelve dinner knives hallmarked London, 1834‑1835 by Eley & Fearn with later “New French”-shaped steel blades, 82.42 total t. oz. (weighable silver). Provenance: The Flatt Collection. Detailed list of pieces available on request. [1400/1800] Illustrated

145

643 647

643 Assembled Sixty-Four-Piece Victorian and Later “King’s”-Shape Sterling Silver Flatware Set, variously hallmarked 1845‑1983, comprising six eight-piece place settings, with an additional teaspoon, dozen knives and three sauce ladles, 82.25 total t. oz. (weighable silver), presented in a late Victorian brass-mounted oak flatware chest with cupboard doors opening to reveal three drawers with fitted baize lining, 10‑3/4” x 21‑1/2” x 16‑1/4”. Provenance: Christie’s, South Kensington, January 22, 1991, lot 215; The Flatt Collection. Detailed listing of pieces available on request. [1400/1800] Illustrated

646 Pair of George V Sterling Silver-Mounted Cut Glass Cologne Bottles, hallmarked Birmingham, 1913‑1914, by Walker & Hall, each with a spherical glass body with strawberry cane-cut heart-shaped panes and diamond-cut lobed shoulder, fitted with a sterling collar with hinged, flattened spherical cap, h. 5‑1/4”, dia. 4”. [600/900]

645

648 644 Set of Six Victorian Elkington Silverplate Master Salt Cellars, 1851, Birmingham, of cauldron form, each with shaped and gadrooned everted rim, with three large lion’s masque-crested paw feet joined by foliate swags, h. 1‑3/4”, dia. 4”. [500/800] 645 Sixteen Pieces of Assorted English Sterling Silver Tableware, 19th to 20th century, including a Victorian ivory-handled fish serving set, Sheffield, 1894‑1895, by Baker & Saniforth, l. 9‑1/4” and 12‑1/4”, a Victorian nacrehandled pickle fork, Sheffield, 1898‑1989, l. 6‑1/2”, a Victorian oval napkin ring, Chester, 1899‑1900, by Nathan & Hayes, l. 2”, an Edwardian straining apostle spoon, London, 1903‑1907, by W. Hutton & Sons, l. 6‑3/8”, six George V bread and butter plates, Sheffield, 1911‑1915, by R. F. Mosley & Co., dia. 4‑1/4”, a George V small fourpiece condiment set, Birmingham, 1921‑1923, by Adie Bros, l. 3‑1/8”, and a George VI oblong napkin ring, Sheffield, 1938‑1939, by Gladwin Ltd., l. 2‑3/8”, 19.53 total t. oz. (weighable silver). Provenance: The Flatt Collection. [500/800] Illustrated .

146

649 one of two

647 Pair of Edwardian Sterling Silver Candelabra, hallmarked London, 1898‑1900 and 1911‑1912, by Thomas Bradbury and Sons, in the George II taste, each with a baluster standard above a stepped annular knop and concave square foot with scroll corners, surmounted by a cannon-form nozzle fitted with a superstructure of a second smaller standard flanked by scrolling arms, all terminating in a cannon-form nozzle, each with a drip-pan and detachable bobeche en suite with the base, h. 17‑3/4”, w. 16”, base w. 5‑1/4”, weighted. Provenance: The Flatt Collection; purchased from A. Bloom, the Silver Vaults, London. [2000/4000] Illustrated

652

651

648 George V Sterling Silver Salver, hallmarked Chester, 1916‑1917, by Barker Brothers, the pattern designed in 1912, of canted square form with molded “Chippendale” rim, raised on four scroll-and-pad feet, 16‑1/4” x 16‑1/4”, 67.62 t. oz. Provenance: The Flatt Collection. [1000/1500] Illustrated 649 Two English Sterling Silver Waiters, hallmarked Birmingham, 1900‑1901 and 1934‑1935, in the George II taste, the former by Barker Brothers, circular with shaped shell-and-scroll rim and raised on three Spanishscroll feet, dia. 12‑1/2”, the latter by Richard Richardson, circular with “Chippendale” rim and raised on three Spanish-scroll feet, dia. 10‑1/8”, 45.27 total t. oz. Provenance: The Flatt Collection. [800/1200] Illustrated

650

650 Oak and Silverplate Double Serving Trolley, contemporary, Royal Castle, Sheffield, in the Napoleon III taste, the intricately carved oak base of rectangular form with rounded ends, above a conforming frieze raised on four toupie legs joined by curved stretchers to a vasiform finial, fitted with a pair of hemispherical silverplate revolving serving domes, each opening to a removable platter above a hot water reservoir and burner, with silverplate gallery, handles and detachable plate rings, the whole raised on casters, cart, h. 32” (overall 41”), l. 55”, w. 25‑1/2”. [4000/7000] Illustrated 651 Seven-Piece Assembled George V Sterling Silver and Silverplate Tea Set, comprising a four-piece sterling tea set hallmarked London, 1913‑1915, by William Hutton & Sons, including a kettle-on-stand, h. 15”, a footed coffeepot, h. 10‑3/4”, a teapot, h. 7”, and an open sugar bowl, h. 3‑1/2”, with a sterling cream jug, hallmarked Sheffield, 1936‑1937, by W. H. Hutton & Sons, h. 3‑1/2”, and a tea caddy, hallmarked Birmingham, 1913‑1914, by T. H. Hazlewood & Co., h. 4‑3/4”, all of navette section with gadrooned calyx, together with a rounded rectangular silverplate tray with gadrooned rim, handles and feet, 29‑1/4” x 18‑1/4”, the kettle and coffeepot engraved with a crest of Newling et al., 99.24 total t. oz. (weighable silver). Provenance: The Flatt Collection; purchased from A. Bloom, the Silver Vaults, London. [1800/2500] Illustrated 652 Edwardian Eighteen-Piece Sterling Silver Fish Set, hallmarked Sheffield, 1908‑1910, by Atkin Brothers, in the traditional “King’s” pattern with diamond heel, comprising nine each fish forks, l. 7‑1/2”, and fish knives, l. 8‑1/2”, 38.87 total t. oz. Provenance: The Flatt Collection. [600/900] Illustrated

147

653 Thirty-Five-Piece Collection of Silver Teaware, 18th to 20th century, including Georgian cast sterling sugar tongs, London, ca. 1770, by Benjamin Mountigue, l. 5‑1/4”, George IV sterling “fiddle” sugar tongs, Exeter, 1824‑1825, by “HD”, l. 5‑5/8”, a Victorian sterling tea ball, London, 1883‑1884, by William Summers, h. 2‑1/4”, a set of ten “Old English” sterling teaspoons with matching sugar tongs, London, 1911‑1913, by Josiah Williams & Co., l. 5‑1/4”, a German parcel-gilt .800 silver cup strainer, ca. 1920, by Bruckmann & Sohne, Heilbron, l. 5‑1/8”, a sterling cup strainer, Sheffield, 1938‑1939, by Viner’s Ltd., l. 5‑3/8”, a sterling cup strainer, Birmingham, 1962‑1963, by Suckling, Ltd., l. 5‑5/8”, sterling sugar tongs, Sheffield, 1968‑1969, by Cooper Brothers & Sons, l. 3‑3/4”, a Christofle silverplate spout strainer, dia. 2‑3/8”, and sixteen American sterling silver iced tea sippers, four with heart-shaped bowl, l. 8”, six with coquille-shaped bowl, l. 8”, and six with leaf-shaped bowl, l. 8‑3/8”, 22.20 total t. oz. (excluding silverplate piece). Provenance: The Flatt Collection; the tea ball and teaspoon/tong set purchased from A. Bloom, the Silver Vaults, London. [500/800]

656 Pietra Dura Plaque, 20th century, composed of various stones and depicting a pair of elderly women bringing gifts to an audience with a priest, h. 16”, w. 22”. [1200/1800] Illustrated 657 Continental School (20th/21st Century), “Bedtime Prayer”, oil on canvas, signed lower right “Frank Leoni”, 48” x 36”. Presented in a polychrome, carved frame. [700/1000]

654

654 Good English Sterling Silver Art Deco Fruit Bowl, hallmarked Birmingham, 1935‑1936, by Adie Brothers Ltd., of oval form, with a pair of upscrolled handles with stepped edges and a central panel of chased fruit, raised on a conforming base with four integral feet stepped en suite, h. 5‑1/4”, l. 12‑3/4”, w. 8‑1/4”, 43.35 t. oz. Provenance: Christie’s East, January 19, 1999, lot 89; The Flatt Collection. [800/1200] Illustrated 655 Continental Ebonized and Tortoise Cabinet, 17th century on a later base, the rectangular stepped top hinged and opening to a tri-paneled lid with central mirror, above a case fitted with two cupboard doors, each with molded panels and opening to an interior fitted with an architecturally modeled central section with a pediment drawer above a colonnaded cupboard door, centered by a pierced heart panel, opening to a paneled interior with a black and white parquetry floor, over a lower drawer, flanked to either side by a bank of four short drawers, all with tortoise lozenge panels, the third drawer on the right side removing to reveal a secret compartment accessible by a pull string, all over a single long drawer and pull-out surface with decorative tortoise banding, raised on a later conforming stand with decorative gilt finials, raised on turned bulbous legs joined by a box stretcher and ending in gilt bun feet, the whole accented with decorative tortoise panels and banding, and rippled ebonized banding, h. 55”, w. 33”, d. 16‑3/4”. Provenance: The Flatt Collection. [10000/15000] Illustrated

148

655

655 detail

656 658 Continental School (Early 20th Century), “The Cardinals’ Aria”, oil on canvas board, illegibly signed lower left, 18” x 22”. Framed. [1000/1500] Illustrated

659 659 Frank LeBrun Kirkpatrick (American/Philadelphia, 1853‑1917), “The Reliquary and the Rhyton”, 1910, oil on canvas, signed and dated lower right, signed and titled en verso, old handwritten exposition en verso frame, 24‑3/4” x 36”. Framed. [3000/5000] Illustrated 660 Lucas van Leyden (Dutch, 1494‑1533), “The Adoration of the Magi”, fourth quarter 19th century, copper engraving on laid Van Gelder paper, monogrammed and dated 1513 in plate, “Amand-Durand” ink stamp (Lugt 2934) en verso, sheet 13” x 17‑3/4”. Unframed. [800/1200] Illustrated 661 Lucas van Leyden (Dutch, 1494‑1533), “The Triumph of Mordecai”, fourth quarter 19th century, copper engraving on paper, sheet 12‑3/4” x 17‑3/4”. Unframed. [800/1200] Illustrated

658

661

660

662 Lucas van Leyden (Dutch, 1494‑1533), “Susanna and the Elders”, fourth quarter 19th century, copper engraving on laid paper, monogrammed in plate, “Amand-Durand” ink stamp (Lugt 2934) en verso, sight 7‑1/2” x 5‑1/2”. Glazed, matted and framed. [700/1000]

149

665 Claude Lorrain (French, 1600‑1682), “Le Depart pour Le Champs”, fourth quarter 19th century, etching on laid paper, pencil titled lower margin of matte board, “AmandDurand” ink stamp (Lugt 2934) en verso, sheet 5‑1/2” x 7‑1/4”. Unframed. [800/1200]

666

663

666 Lucas van Leyden (Dutch, 1494‑1533), “Golgotha”, fourth quarter 19th century, copper engraving on laid paper, monogrammed and dated 1517 in plate, “AmandDurand” ink stamp (Lugt 2934) en verso, sheet 12‑3/8” x 16‑3/4”. Unframed. [900/1200] Illustrated

663 Lucas van Leyden (Dutch, 1494‑1533), “Samson and Delilah”, fourth quarter 19th century, copper engraving on laid paper, monogrammed in plate, “Amand-Durand” ink stamp (Lugt 2934) en verso, sheet 12‑3/4” x 8‑1/2”. Unframed. [900/1200] Illustrated

664 664 Lucas van Leyden (Dutch, 1494‑1533), “The Conversion of St. Paul,” fourth quarter 19th century, copper engraving on laid paper, monogrammed and dated 1509 in plate, “Amand-Durand” ink stamp (Lugt 2934) en verso, sheet 12‑1/8” x 16‑5/8”. Unframed. [1000/1500] Illustrated 667 one of six

150

667 Jacobus Houbraken (Dutch, 1698‑1780), “Portraits of English Notables”, collection of six black and white engravings, sight 14‑1/2” x 9”. All glazed, handsomely matted and framed alike. [700/1000] Illustrated 668 Attributed to Pierre Dumonstier (French, ca. 1545‑1610), “Portrait of Melchior des Pres, Sieur de Montpezat (ca.1522/23‑1572)”, ca. 1560, graphite on paper, titled “M. de Montpesat” lower margin, “Arthur Davidson Ltd, London” label en verso, sight 11‑3/4” x 6‑5/8”. In an elaborate period giltwood frame. Provenance: Collection of Robert Treat Paine II, Boston; thence by descent to his son Richard; Arthur Davidson Ltd., London, February 1, 1990; The Flatt Collection. [3000/5000] Illustrated Melchior des Pres, Sieur de Montpesat, was a prominent nobleman with an impressive military career. He was the Viscount of Castillon, and his wife Henriette de Savoie, the Marquise of Villars and Countess of Tende, was a lady of the court of Catherine de Medici. Sieur de Montpesat was Captain of the Chevaux-Legers, Governor of Chatellerault, and served in the Italian wars (1551‑1559). During the latter, he was recognized for his assistance in the capture of Calais from the English, and then later for his bravery after he was wounded in the battle of Saint-Denis in 1567. Pierre Dumonstier, the artist, also came from an illustrious family. At least eleven artists from the Dumonstier name served the French court during the 16th/17th century. Pierre was a skilled portrait draughtsman, often commissioned to depict French nobility under the reign of Henry II, and then under Catherine de Medici as regent Queen. The color detail of the sitter’s face and pierrcing eyes, offset by the esquisse-style bust in 3/4 profile, is prototypical of Dumonstier’s portraits. A fine example of this is Dumonstier’s other color pencil portrait of Montpesat in a plumed hat, ca. 1565, now conserved at the National Library of France.

668 669 Italian Polychrome Terracotta Bust of Richard III or Henry VII, 19th century, in the manner of Pietro Torrigiano, raised on a conforming wood plinth, overall, h. 19‑1/2”, w. 21‑1/2”, d. 10‑1/4”. Provenance: The Flatt Collection. [700/1000] Illustrated

References: Du Tillet, Jean. Recveil des Roys de France Levrs Covronne. Chez Iaques du Puys, 1586, p. 280; Bouchot, Henri. Les Portraits aux Crayons des XVI et XVII Siecles Conserve a Bibliotheque Nationale. Paris: H. Oudin, 1884, p. 217.

669

670 670 French School (19th Century), “A Figure Before an Adoring Crowd, Possibly Depicting Joan of Arc”, pencil and watercolor on paper mounted on board, unsigned, sheet 5‑1/4” x 6‑5/8”. Glazed, matted and framed. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [800/1200] Illustrated

151

671 French School (Late 18th Century), “Study of a Female Head”, conte crayon on laid paper, sheet 6” x 7‑3/4”. Unframed. [600/900] Illustrated

673 671

672 Italian School (Late 18th/Early 19th Century), “Study of Angels, Probably for an Ascension Scene”, conte crayon on paper, unsigned, 9‑3/8” x 14‑3/4”. Glazed, matted and framed. [700/1000] Illustrated

675 Unusual Pair of Wood and Marble Plaques in the Grotesque Style, ca. 1800, the intricately carved parcelgilt frames depicting intertwined salamanders, game birds, grapes and pears, in a fanciful “nature morte” theme, one polished marble plaque decorated with a bird eating berries off a branch, and the other with a helmet and shield on a ground of autumn foliage, on hand-wrought iron hangers, h. 11”, w. 14”, d. 2‑1/4”. Provenance: The Flatt Collection. [1800/2500] Illustrated

672 673 Baroque-Style Tortoiseshell Mirror, ca. 1900, Flemish or Dutch, trimmed with ebonized waved-edge molding on both the inner and outer edges, framing the figured tortoiseshell, h. 29”, w. 20‑1/2”. [600/900] Illustrated 674 Italian/French School (Fourth Quarter 17th/First Quarter 18th Century), “Old Master Drawing of a Classical Scene”, pen and ink on paper, unsigned, 6‑3/4” x 8‑3/4”. In an elaborate period molded tortoiseshell frame, 13‑3/4” x 14‑7/8”. Provenance: The Flatt Collection. [1500/2500] Illustrated 674

152

675

676 Cast Iron Garden Figure of Dionysus, probably French, fourth quarter 19th century, the god of the vine wearing a wreath of grapes and leaning on a grapevine-covered stump, on a round cove-molded base, overall, h. 59‑1/2”, dia. 18”. Provenance: The Flatt Collection. [1500/2500] Illustrated 677 Italian Walnut and Polychrome Long Table, 18th century, the long rectangular top raised on two pedestals, each of ribbed and fluted columnar form, ending in paw feet, h. 28”, w. 25”, l. 115‑1/2”. Provenance: The Flatt Collection. [2000/4000] Illustrated

676

677

153

678 Italian School (18th Century), a pair of oils on wood panel, including “The Heat of Battle”, unsigned, 12” x 30”, and “Charitas” a double-sided painting depicting a Bishop Saint recto and a floral and figural fantastical design verso, unsigned, 11‑3/4” x 6‑3/4”. One framed. [1000/1500] Illustrated

679 one of two 681 Continental School (Late 17th/Early 18th Century), “Penitent Magdalene”, oil on wood panel, unsigned, verso with “Henry Atkins, Carved, Gilder and Artists’ Colorman, Bournemouth” label, 12” x 9‑1/4”. Framed. [800/1200] Illustrated

678 one of two

682 Italian School (18th Century), “The Coronation of the Virgin with the Holy Trinity, Flanked by St. Philip Neri and St. Peter, oil on copper, unsigned, 8‑1/4” x 6‑1/4”. In a period carved and polychrome wood frame. [1500/2500] Illustrated

679 Continental School (Fourth Quarter 19th/ First Quarter 20th Century), a pair of oils on tin, including “The Lyre Player’”and “Outside the Inn”, each 10‑1/2” x 8‑3/4”. Framed alike. [800/1200] Illustrated 680 Italian School (17th/18th Century), “The Fall: Adam and Eve with the Serpent in the Garden of Eden”, oil on canvas, variant after the ca. 1511 fresco generally attributed to Raphael Sanzio (Italian, 1483‑1520) in the Stanza della Segnatura, the Vatican, Rome, 27‑3/4” x 36‑5/8”. In an unusual period carved and painted wood frame. [3000/5000] Illustrated

680

154

683 Continental School (18th Century), “St. Lazarus”, hexagonal oil on canvas, 22” x 22”. Presented in a later, conforming frame. Provenance: Personal collection of Daniel Tenenbaum, San Francisco, California and Houston, Texas. [1400/1800] Illustrated

683

682

684 Exceptional Italian Renaissance-Style Pierced Giltwood Mirror, 18th century, decorated with unusually bold, deep carving, the corners decorated with winged angel heads terminating in shells, each side carved differently, with each featuring a frolicking putto against a ground of pierced scrollwork, with a “Noah’s Ark” of animals among them, including a pig, lion, squirrel, various birds, and a turtle perched on a putto, set with an antique beveled mirror plate in a liner of carved fruit and acanthus leaves, h. 45”, w. 51”. [5000/8000] Illustrated

684

681

155

686 Baroque-Style Patinated Bronze Six-Light Chandelier, second half 20th century, the segmented stem joined to a dodecagonal bowl supporting S-scroll arms with lobed bobeches and candles, electrified, h. 22‑1/2”, dia. 30”. [500/800] 687 Continental Bronze and Verde Antico Marble Encrier, ca. 1900, the marble base set with three molded gilt-bronze inkpots, one in front of the inset pen tray, and two flanking a patinated-bronze figure of the tomb of Lorenzo de Medici by Michelangelo Buonarroti (Italian, 1475‑1564), with an unidentified foundry mark on the rear, h. 12”, w. 15‑1/2”, d. 10‑3/4”. [500/800]

691

685 Gothic Revival Brass Covered Chalice, fourth quarter 19th century, probably English, with a grape-molded, cone-shaped foot, the bowl decorated with molded anthemia, the cover with a cruciform finial with traces of silver gilt, h. 11‑1/4”, dia. 5”. [500/800]

688

688 French Patinated Bronze of Moses, first quarter 20th century, after the ca. 1515 sculpture by Michelangelo Buonarotti (Italian, 1475‑1564) in the church of San Pietro in Vincoli, Rome, an Achille Collas “Reduction Mecanique” mark at back edge, on an “Egyptian” marble pedestal, figure h. 18‑1/2”, overall h. 27”, w. 9”, d. 9‑1/2”. [600/900] Illustrated 689 689 Italian Grand Tour Patinated Bronze Two-Handled Trophy Depicting the Furietti Centaurs, fourth quarter 19th century, on a coved base, with molded handles, the Furietti consisting of one young and one elderly centaur, symbols of the joy of young love contrasted with the bondage of maturity, each ridden by an amorini, now on an “Egyptian” marble base, urn h. 15‑1/4”, overall h. 24‑1/4”, w. 14‑1/4”, d. 9”. [700/1000] Illustrated

690

156

691 Pair of Italian Patinated Bronze Single-Light Sconces, fourth quarter 19th century, in the Baroque taste, the leaf-molded and scrolled backplates with putti supporting cornucopia mounted with lights, the sockets fitted above broad leaf-molded drip pans, electrified, h. 25”, w. 11‑3/4”, d. 8‑3/4”. [1500/2500] Illustrated 692 Italian Grand Tour Bronze Model of the “Fontana delle Tartarughe”, fourth quarter 19th century, after architect Giacomo della Porta (Italian, 1533‑1602), and sculptor Taddeo Landini (Italian, 1561‑1596), depicting four ephebes around the base with turtles on the edge of the upper pool, h. 10‑1/4”, w. 9”, d. 9”. [1000/1500] Illustrated 692

690 Italian Neoclassical Mahogany Commode, early 19th century, the rectangular top above a case fitted with two short drawers over two long drawers, flanked to either side by stop-fluted uprights headed by foliate carving, above a stop-fluted apron, raised on scrolled toes, h. 33‑1/2”, w. 47‑1/2”, d. 25‑1/2”. [800/1200] Illustrated

693 Pair of Italian Neoclassical-Style Parcel-Gilt and Polychrome Wood Torcheres, early 20th century, the trio of electrified candles, each on a swan-carved support, the columnar standard on a shaped tripodal base in floral and scroll decor and carved paw feet, the candles with a pull-chain discretely projecting from their bases, electrified, fitted with black card shades, h. 72”, w. 13”, d. 13”. Provenance: Williams Antiques, Atlanta, Georgia. [1000/1500] Illustrated 694 Damascene Heraldry Charger, centering a double-headed eagle coat of arms, on toupie feet, dia. 7‑7/8”. [600/900] Illustrated 695 Two Fine 694 Damascene Dresser Boxes, first half 19th century, the first with a hinged dome top centering an embossed head of a Trojan warrior over a reticulated scrollwork case with interlocking winged serpents and gargoyles, on bracket feet, h. 4”, w. 4‑1/2”, d. 2‑1/2”, and the second with a hinged top inlaid with a double eagle head escutcheon, the guilloche case decorated with dragons, on bun feet, h. 2‑1/2”, w. 4‑7/8”, d. 3‑3/8”. [600/900] Illustrated

693

695

157

696 Twenty-One-Piece Collection of Ruby/Cranberry Glass Articles, 19th century, including a ruby cut-to-clear tazza on a silver base, a Bohemian ruby cut-to-clear sugar caster, h. 5‑1/4”, a cut faceted cranberry-shaded covered pitcher, h. 4‑1/4”, a French blown ruby scent bottle with gilt trim, h. 6‑1/4”, a seal with a faceted glass knob, dia. 1‑1/2”, a Bohemian cut and engraved flask, h. 6”, a pair of Bohemian gilt-trimmed dishes, dia. 6”, a French ruby cut glass and bronze jewel box, h. 2‑1/4”, w. 3‑1/4”, a faceted ruby two-sided scent bottle, l. 5”, a ruby flashed bell-form cover, h. 5”, a French ruby cut and faceted glass inkpot in a silver mount, a ruby flashed scent bottle with a silver cap, h. 4‑1/2”, two ruby dresser jars, the larger with a miniature scene on top, h. 1‑1/2” and 2”, and six ruby scent bottles, the larger with bronze mounts and scenes of Paris painted on the covers, h. 1‑1/4” to 4”. [500/800]

697

697 French Gilt-Bronze Beaux-Arts Jewel Casket, first quarter 20th century, the facade decorated with Poseidon being pulled through the waves by a seahorse, framed with Ionic pilasters and arabesque trim, the sides with additional portraits of Poseidon, the rear depicting his consort, Amphitrite, a round panel on the arched cover decorated with naiads, and the interior lined with tufted plum-colored silk, h. 7”, w. 11”, d. 5‑3/4”. [800/1200] Illustrated

698 French EnamelDecorated GiltBronze Music Box/Cigarette Case, first quarter 20th century, on scrolled feet, the sides and cover with pierced roundels set with “jewels” on a ground of mauve and turquoise enameled scrollwork, the center of the cover decorated with a miniature portrait of a pair of nymphs, the interior woodlined and divided between the musical works and the cigarette case, h. 2‑1/4”, w. 6‑1/2”, d. 4”. [1500/2500] Illustrated

700

699 Pair of Continental Cast Plaster Neo-Grec Roundels, third quarter 19th century, framed with leather-printed covering, and in an elaborate original blue matte decorated with gilt corner spandrels and a textured gilt cove-molded surround, one depicting Swiss hero Arnold von Winkelstein, and the other from Hebrews 9:16‑-, and translates, “Proven in Need, Sealed in the Covenant”, overall, h. 14‑1/4”, w. 14‑1/4”. [600/900] Illustrated

698

699

158

702

700 Giltwood and Enamel Holy Water Font, fourth quarter 19th century, probably Limoges, the Baroque-style giltwood surround with a holy water font carved with a winged angel face, with corbels on each side and an arched top, the enamel plaque depicting Christ as the Sacred Heart of Jesus, with a flaming cross on his heart, and a delicately rendered halo around his head, h. 16‑1/2”, w. 8‑3/4”, d. 4”. [700/1000] Illustrated

703

701 Antonio Giovanni Lanzirotti (Italian, 1839‑1921), “Bust of Madonna - Pieta”, carved marble, depicting a tearful, draped Mary at the time of Christ’s death, signed “G. A.” (Giovanni Antonio) and “Lanzirotti 1870”, h. 26”, w. 13‑3/4”, d. 9‑1/2”. [2000/4000] Illustrated 702 Pair of Italian Neoclassical-Style Wood and Metal Three-Light Appliques, mid-20th century, the backplates with carved bowknots, swags and opposing red violins, the metal candle branches terminating in leaf-carved painted drip pans, electrified, h. 36‑1/2”, w. 15‑1/2”, d. 7”. [700/1000] Illustrated

701

703 Italian Argente Looking Glass in the Rococo Taste, the rectangular plate surmounted by an urn-form crest issuing foliate and floral garlands, surrounded by a bellflower-carved frame with pendant floral garlands, h. 87”, w. 41”. [800/1200] Illustrated

159

704 Continental Polychrome and Parcel-Gilt Twin Beds, early 20th century, in the Baroque taste, each with a domed and molded cornice with side gilt foliate-form finials above a caned back, flanked by fluted and spiral-fluted uprights, joined by a paneled rail to the lower rectangular caned footboard, the whole raised on large ribbed toupie feet, h. 53”, inside, w. 47”, l. 81”, outside, w. 50”, l. 88”. [800/1200]

706

709 Italian Carrara Marble “Venus Italica”, second half 19th century, after the ca. 1812 sculpture by Antonio Canova (Italian, 1757‑1822), now at the Pitti Palace, Florence, h. 40”, w. 11”, d. 9‑1/4”. Provenance: Personal collection of Daniel Tenenbaum, San Francisco, California and Houston, Texas. [3000/5000] Illustrated

705 705 Follower of Guido Reni (Italian, 1575‑1642), “Portrait of a Woman with a Rose”, oil on canvas, 25‑1/4” x 20‑5/8”. Presented in an antique, 18th-century-style giltwood and gesso frame. [2000/4000] Illustrated 706 Large Pair of Italian Rococo Giltwood Brackets, third quarter 18th century, with pierced scrollwork backplates supporting molded shells, holding serpentine-sided shelves, h. 14”, w. 21”, d. 11”. [1800/2500] Illustrated 707 Italian Marble Bust of Niobe, third quarter 19th century, on an Italian verde antico marble pedestal, Niobe depicted grieving for her children, the Niobids, all killed by Apollo and Artemis, the pedestal with an octagonal base and tapered fluted standard, overall, h. 64‑1/2”, dia. 12”. [1500/2500] Illustrated 708 Italian Carved Marble Figural Group of “The Three Graces”, after Antonio Canova (Italian, 1757‑1822), the mythological daughters of Zeus representing beauty, charm and joy, h. 22‑1/2”, w. 13‑1/2”, d. 7‑1/2”. Provenance: Personal collection of Daniel Tenenbaum, San Francisco, California and Houston, Texas. [800/1200] Illustrated

160

707

710 one of four

708

710 Italian School (First Quarter 19th Century), group of four gouache and inks on paper of scenes from the Book of Genesis, including: “The Blessing of Isaac”, Gen. 27:20, “Jacob and Rachel at the Well”, Gen. 29:22, “The Meeting of Jacob and Esau”, Gen. 32:25, and “The Selling of Joseph”, Gen. 37:26”, each inscribed “Raph Sanctus pin” lower left, each sight 10” x 11‑1/4”. Attractively glazed and framed alike. Provenance: The Flatt Collection. [600/900] Illustrated

711 pair

709

711 Pair of Venetian Shield-Form Mirrors, mid-20th century, decorated with engraved scrollwork and diapering on the mirror plate, framed with glass scrollwork and medallions, h. 24”, w. 16”. [900/1200] Illustrated

161

712 Neoclassical-Style Slate, Faux-Marbre and GiltMetal Cocktail Table, the rectangular slate top centered by a roundel depicting a village on a riverbank, surrounded by corner foliate patterns, painted to simulate various marbles, all within a faux-marbre band, raised on a gilt-metal stand, textured as branches, h. 22”, w. 41”, d. 35‑1/4”. [1800/2500] Illustrated

712

715

713 Polychromed Italian Neoclassical-Style Chest, 19th century and later, the top depicting a putti amidst a wreath and flora, the case with a bank of three drawers, each in urn and scroll decor, raised on tapering legs, h. 36‑1/2”, w. 50‑1/4”, d. 25‑1/4”. [1200/1800] Illustrated 714 Swedish/Russian Neoclassical-Style Prism-Hung Giltwood and Iron Ten-Light Chandelier, the stem supporting five graduated tiers embellished with faceted drops and bead swags, the lower two tiers having scrolled arms fitted with light sockets, faux candles and glass drip pans, with a lobed giltwood pendant finial, electrified, h. 38”, dia. 25”. [1400/1800] Illustrated

718

162

715 Pair of Italian Giltwood, Glass and Metal Three-Light Sconces, second quarter 20th century, on giltwood vasiform backplates decorated with carved leaves, the metal arms set with molded glass drip pans hung with swags of crystal drops, h. 15‑1/4”, w. 11”, d. 8‑3/4”. [500/800] Illustrated 716 Continental Mahogany and Mixed Woods Occasional Table, early 20th century, the banded circular top with a parquetry lattice pattern, above a floral guilloche-inlaid frieze fitted with a single drawer, raised on banded tapering square legs, h. 28”, dia. 21‑1/2”. [500/800] 717 Continental Pier Mirror on Stand in the Renaissance Taste, third quarter 19th century, in two parts, with an arched crest centered by a cabochon-carved cartouche over a foliatecarved frieze, the mirror plate flanked by fluted columns with Corinthian capitals, on a console base with paneled apron and back, and turned legs, h. 111‑3/4”, w. 44‑1/2”, d. 17‑3/4”. [500/800]

713

719 Pair of Italian Giltwood Mirrors, 20th century, in the neoclassical Florentine taste, set on scrolled rests, the fluted surrounds mounted with giltwood and wire vines on each side, the crest comprised of a basket of fruit flanked by bellflower swags and finials, set with a beveled mirror plate, h. 60‑1/2”, w. 27”. [800/1200] Illustrated

719 one of a pair

714

718 Meissen Porcelain Pierced Oval Centerpiece, third quarter 19th century, German, on a tapered foot, the oval bowl pierced with anthemia and flowers in the Aesthetic taste, the sides set with satyr-head handles with scrolled horns, marked with underglaze blue cross swords and an overglaze “12A” in the aquamarine-colored rope trim, h. 10‑1/4”, w. 13‑1/4”, d. 8‑1/2”. [700/1000] Illustrated

720 detail

720

720 Italian Neoclassical Giltwood Center Table, 19th century, the rectangular top with a molded edge and inset glass panel over a silk embroidery of floral and foliate patterns, above a conforming frieze with lattice-incised panels flanking a well-carved masque among foliate patterns with pendant swags, raised on pierced shaped foliatecarved legs headed by female masques, joined by an urncentered H-form stretcher and ending in square feet, h. 32”, w. 53‑1/2”, d. 32”. [4000/7000] Illustrated

163

721 Pair of Regence-Style Giltwood Sidechairs, late 19th century, each with a tall padded rectangular back above a padded seat, raised on tapering molded block legs joined by a shaped X-form stretcher and ending in foliate feet on casters, h. 50‑1/2”. [700/1000] Illustrated 722 Italian Parcel-Gilt Console-Form Bracket, first quarter 20th century, in the neoclassical taste, the cornucopiaform supports decorated with gilt leaves, and supporting the bowfront skirt decorated with bas-relief-carved gilt honeysuckle, under a gray and tan veined marble top, h. 15‑1/2”, w. 23”, d. 11”. [800/1200] Illustrated

722

723 Giltwood Pier Mirror in the Italian Neoclassical Taste, mid-20th century, with a ribbon-bound molded surround, on leaf-molded scrolled feet, a basket of flowers decorating the center of the pierced crest, with trailing flowers on either side, flanked by ribbons, h. 59”, w. 31‑1/2”. [1400/1800] Illustrated

723

724 Northern Italian Polychrome Bombe Bureau, late 19th century, the shaped top above a bombe case fitted with a slant front opening to an interior fitted with two small drawers and storage space, over three long drawers, raised on cabriole legs ending in scrolled feet, the whole featuring polychrome classical landscapes, h. 42‑1/4”, w. 38”, d. 21‑1/2”. [700/1000] 725 Carved Giltwood Mirror in the Northern Italian Baroque Taste, with delicately carved and pierced scrollwork, the shell-form crest decorated with a basket of flowers and trailing foliage, h. 58”, w. 28‑1/4”. Provenance: The Flatt Collection. [500/800] Illustrated

721

164

726 Pair of Venetian Giltwood and Mirrored Three-Light Sconces, mid-19th century, set with three-socket foliate removable candle arms, the Baroque-style backplates with pierced, shell-ornamented crests trailing flowers and scrollwork on each side, h. 31”, w. 16‑1/2”, d. 6‑1/4”. Provenance: The Flatt Collection. [700/1000] Illustrated

727 Baroque-Style Mahogany, Mixed Woods and MarbleTop Demi-lune Cabinet, early 20th century, the demilune marble top with a projecting center and corner accents, above a conforming case fitted with two long drawers flanked to either side by a rounded paneled cupboard, raised on block and tapering legs, the whole accented with ormolu mounts and marquetry and parquetry patterns, the sides and back with applied classical figures, h. 37‑1/2”, w. 77”, d. 29”. [2000/4000] Illustrated

728 729 Three Dioramas Depicting English Scenes, third quarter 20th century, all backed with engravings of stately houses and figures, two depicting fox hunting scenes and one depicting fusiliers, h. 8‑1/2”, w. 12‑1/2”, d. 2‑3/4”. [700/1000] Illustrated

725

728 Rare Pair of English Mahogany Bread Caddies, first quarter 19th century, the rectangular trays with shaped edges and carved horse head handles, and raised on turned and reeded mahogany wheels, h. 7‑3/4”, w. 8‑3/4”, l. 19‑3/4”. Provenance: The Flatt Collection. [800/1200] Illustrated

729

A nearly identical single example sold at Sotheby’s, New York, Important English Furniture, Ceramics and Decorations, October 21‑22, 1999, lot 367.

726

730 John Wilson Hepple (British, 1886‑1939), “Joining the Hunt”, oil on canvas, signed lower left, an old “Melvin Picture Frame Co./New York, NY” label en verso frame, a London supplier stamp en verso canvas, 17” x 22”. Framed. Provenance: Personal collection of Daniel Tenenbaum, San Francisco, California and Houston, Texas. [800/1200] Illustrated

727 730

165

731 Regency-Style Mahogany Bookcase, early 20th century, the crest with raised ends, above an ebonized ball-applied frieze, over three banks of open shelves, the lower section with a like frieze over central open shelves flanked to either side by a cupboard door, inset with a fabric-lined grilled panel, raised on a plinth base, h. 113”, w. 95”, d. 17”. [2000/4000] Illustrated 732 Pair of Regency Ebonized and Polychrome Armchairs, first quarter 19th century, each with a turned crest rail centered by a panel with a painted classical figural scene, joined to the cushioned caned seat by downswept arms, raised on ring-turned circular legs, h. 30‑1/2”. [700/1000] Illustrated 733 Pair of Regency-Style Ebonized and Marble-Top Side Tables, 20th century, each with a demi-lune variegated marble top above a conforming frieze featuring a polychrome scene of various birds and mythical animals amidst delicate scrolling patterns, raised on fluted tapering circular legs with gilt accents, ending in ribbed bulbous feet, h. 33”, w. 49”, d. 21‑1/2”. [1500/2500] Illustrated

733

732

734 George Paice (British, 1854‑1925), group of four oilon-canvas equine portraits, including “Clinton”, signed and titled lower left, “Red Hot”, signed and titled lower right, “Salmon Fly”, signed and titled lower right, and “Drogheda”, signed and titled lower left, each 9” x 12”. Framed alike. [1200/1800] Illustrated 735 Exceptional Regency Satinwood Collector’s Cabinet, first quarter 19th century, the figured satinwood retaining a glowing amber patina and set with contrasting ebonized trim, on turned feet with spiral-reeded turreted corners, the two doors with cut-cornered trim with patinated metal medallions at the corners, resting under a fret-carved frieze, the interior fitted with six half-width specimen drawers, and the side-mounted handles appear to be original, h. 17‑1/4”, w. 20”, d. 12‑1/4”. Provenance: The Flatt Collection. [800/1200] Illustrated

731

736

166

736 English Brass-Bound Mahogany Campaign-Style Butler’s Desk, early 20th century, the upper case with two rows of faux drawers folding down to reveal a writing desk with tooled leather blotter and a fitted interior, the lower case fitted with two long drawers, raised on bracket feet, h. 38”, w. 32‑1/4”, d. 18”. [800/1200] Illustrated

738 Minton Bone China “Buckingham K-159” Partial Dinner Service, ca. 1951‑2009, English, decorated with raised gilt borders on an ivory ground, the service including twelve dinner plates, dia. 10‑1/2”, twelve salad/dessert plates, dia. 8”, twelve bread and butter plates, dia. 6”, eleven cups, h. 2‑1/4”, and twelve saucers, dia. 4‑3/4”. [700/1000] Illustrated

737

735

737 English Painted and Parcel-Gilt Oval Mirror, first quarter 20th century, in the Adam taste, decorated with green paint and gilt, the mirror with a segmented surround lined with beading, the exterior surround with a carved gadrooned edge, h. 41‑3/4”, w. 30‑1/2”. [800/1200] Illustrated

734 one of four

738

167

739 Extensive Royal Worcester “Embassy” Pattern Bone China Partial Dinner Service, ca. 1958‑1971, English, decorated with raised gilt scrollwork borders on an ivory ground, the service including thirty-four dinner plates, dia. 10‑1/2”, thirty-six luncheon plates, dia. 9‑1/2”, and twelve bread and butter plates, dia. 6”. [3500/5000] Illustrated

741

739

742 Regency-Style Mahogany Server, early 20th century, the rectangular D-form top banded and above a conforming frieze fitted with two central drawers divided by an applied masque-and-grapevine garland and flanked to either end by a rounded drawer, with a lower inlaid Greek-key band, raised on paneled tapering square legs headed by a waisted foliate capital and ending in pad feet, h. 37”, w. 88”, d. 23”. [1200/1800] Illustrated

740 Regency Mahogany Serpentine Chest, first quarter 19th century, the serpentine top with line-inlaid banding, above a conforming case fitted with four graduated long drawers, raised on bracket feet, h. 39”, w. 45‑1/2”, d. 24”. [1200/1800] Illustrated 741 Pair of Japanese Imari Platters, 19th century, the oval-form dishes in the Imari pattern, the underside marked with a circle in underglaze blue, w. 14”. [500/800] Illustrated

742

743 Edwardian Marquetry-Inlaid Mahogany Trumeau Mirror in the Adamesque Taste, ca. 1900, the rectilinear looking glass in a conforming frame with an inlaid upper panel depicting a floral urn and flanked by inlaid classical columns with Corinthian capitals, the lower panel with an inlaid shell, h. 63”, w. 25‑1/2”. [500/800] Illustrated 744 Four Pieces of Japanese Imari Porcelain, ca. 1900, decorated in the traditional iron-red and cobalt palette, including two oval fluted dishes, w. 12”, d. 9” and 9‑1/2”, a rectangular dish decorated with a flowering plum tree, w. 12”, d. 10‑3/4”, and a round fluted dish, dia. 8‑1/4”. [600/900] Illustrated

740

168

745 Regency-Style Mahogany Writing Table, the rectangular top with an inset leather writing surface, above a conforming frieze fitted with three drawers to one side and two faux short drawers to either end, raised on end supports to splayed legs ending in brass caps on casters, h. 29”, w. 64”, d. 41”. [500/800]

746 Late Regency-Style Fruitwood Sofa, mid-19th century, the shaped and padded back surmounted by a curving frame centered by a foliate-applied carving, above a padded and bolstered seat flanked to either end by padded outscrolled arms, raised above a molded frame on splayed legs ending in block feet, h. 37”, w. 85”, d. 27”. [1000/1500] Illustrated

748 Five Japanese Imari Porcelain Graduated Scalloped Dishes, ca. 1900, decorated in traditional iron-red and cobalt, each with various related decorations, including cranes and gilt foo dogs, dia. 8‑1/4” to 11‑3/4”. [600/900] Illustrated

743

747 Suite of Three Edwardian Mahogany Nesting Tables, early 20th century, each with a rectangular top with a beaded edge, raised on ring-turned circular legs joined by a bulbous stretcher and ending in splayed feet, the largest, h. 30‑1/4”, w. 18‑1/2”, d. 12‑1/2”. Provenance: Christie’s East, New York, European and Asian Decorative Arts, September 22, 1998; The Flatt Collection. [800/1200] Illustrated

749

749 Unusually Small Regency Carved Rosewood Bracket Clock, second quarter 19th century, London, the steel dial marked “William Cribb, Southampton Row, London”, the rosewood case with brass-inlaid, chamfered front corners, side doors and a bowed, reeded top, h. 11‑1/2”, w. 6‑1/2”, d. 4‑3/4”. Provenance: The Flatt Collection. [800/1200] Illustrated

748

744

746

747

169

750 William IV Rosewood Casket-Form Tea Caddy, second quarter 19th century, set with rosewood ring pulls and a mother-of-pearl escutcheon, the interior with a central American cobalt blown glass bowl flanked by a pair of tea compartments with hinged covers, h. 8‑1/4”, w. 13”, d. 7”. Provenance: The Flatt Collection. [500/800] Illustrated

750

752 751 Fine William IV Rosewood Etagere Bookcase, second quarter 19th century, with three shelves raised on turned columns, the upper pair with segmented niches, and a drawer below, raised on trumpet feet, h. 37‑1/8”, w. 18”, d. 14‑3/4”. [500/800] Illustrated

751

170

752 Patinated Bronze of “The Spirit of Ecstasy”, 20th century, after the 1909 sculpture by Charles Robinson Sykes (British, 1875‑1950) designed for the Rolls-Royce hood ornament, cast signature and marked “T.S. 12” at edge of self-base, on a black marble and bronze stepped columnar plinth, overall, h. 28‑1/2”, w. 18”, d. 13”. [2500/4000] Illustrated

753

753 Pair of Wedgwood Fairyland Lustre Baluster Vases, ca. 1915‑1929, English, with mottled orange interiors, the exteriors decorated with polychrome hummingbirds with a gilt outline, the upper edge with gilt cranes, marked “Wedgwood, Made in England, 11, Z5294”, h. 5”, dia. 5‑1/2”. [500/800] Illustrated 754 English Hand-Painted Ironstone Jardiniere, ca. 1891‑1900, decorated with hand-painted mauve flowers on a cobalt ground, marked “JC & Co, Imperial Rouge”, h. 11‑3/4”, dia. 14‑1/2”. [700/1000]

754

756 William IV Mahogany and Oak Library Table, second quarter 19th century, the rounded rectangular top with an inset leather writing surface, above a frieze fitted with three drawers to one side, raised on large turned and ribbed tapering circular legs ending in brass caps and casters, h. 30‑1/2”, w. 72”, d. 35‑1/2”. [1000/1500] Illustrated

755 755 William IV Line-Strung Mahogany Linen Press, second quarter 19th century, in two parts, the upper section with a pair of line-inlaid paneled doors opening to reveal an interior fitted with linen drawers, the base with two-over-two figured drawers, the drawers retaining three period turned ebony pulls, raised on splay feet, h. 82‑1/2”, w. 58”, d. 22”. [1200/1800] Illustrated

757 757 Persian Kashan Carpet, mid-20th century, 4’ 4” x 5’ 9”. Provenance: The Flatt Collection. [2500/4000] Illustrated 756

171

759

760

172

762

763

758 Semi-Antique Tabriz Carpet, 2’ 6” x 4’ 1”. [500/800] 759 Angora Oushak Carpet, 10’ 1” x 13’ 8”. [3000/5000] Illustrated 760 Turkish Angora Oushak Carpet, 9’ x 12’ 3”. [900/1200] Illustrated 761 Semi-Antique Kashan Silk Carpet, 6’ 1” x 9’ 10”. [800/1200] 762 Turkish Angora Oushak Carpet, 9’ 3” x 12’. [1000/1500] Illustrated 763 Turkish Angora Oushak Carpet, 9’ 2” x 11’ 9”. [1000/1500] Illustrated 764 Turkish Angora Oushak Carpet, 9’ 3” x 11’ 7”. [1000/1500] Illustrated 765 Turkish Angora Oushak Carpet, 9’ 10” x 13’ 6”. [1400/1800] 766 Turkish Angora Oushak Runner, 3’ x 31’ 8”. [900/1200] Illustrated

764 766

173

767 French Patinated Bronze of Two Bulldogs, 20th century, after Thomas Cartier (French, 1879‑1943), cast signature at base, h. 5‑3/4”, w. 9‑1/2”, d. 5‑1/2”. [700/1000] Illustrated

767 768 Continental School (Fourth Quarter 19th Century), “Feeding Dolly”, oil on copper, signed “M. Montane” lower right, 8‑3/8” x 6‑5/8”. Framed. [500/800] Illustrated 769 Pair of Napoleon III Ebonized and Slate-Top Cabinets, third quarter 19th century, each with a rectangular top with projecting canted corners, above a conforming case fitted with a frieze centered by an ormolu portrait medallion flanked by an inlaid brass foliate and swag, above two cupboard doors, each paneled and with intricate scrolling foliate brass inlays centered by an ormolu masque, raised on canted block feet, the whole accented with decorative ormolu mounts, h. 41‑1/2”, w. 40‑1/2”, d. 17‑1/4”. [6000/9000] Illustrated

770 Charles Chaplin (French, 1825‑1891), “Mother and Children”, 1886, oil on canvas, signed and dated lower right, 11‑7/8” x 9‑5/8”. Framed and with brass artist plaque. [1500/2500] Illustrated 771 French Oak and Patinated Bronze Mantel Clock of Louis XIV Inspiration, third quarter 19th century, the clock flanked by fluted pilasters and scrolled corbels, the facade and dial fitted with metal panels with delicate scroll and strapwork, a pierced bowknot holding trailing fruit and flowers serving as the finial, raised on beaded bronze feet, h. 16‑1/2”, w. 23‑1/2”, d. 5‑1/4”. [1000/1500] Illustrated

768

770

769

174

772

774 Napoleon III Ebonized and Burl Jardiniere, third quarter 19th century, the oval top with a molded edge and removable banded and scroll-inlaid panel, removing to a tole liner, above a conforming frieze, joined by shaped supports headed by gilt gargoyles, joined by a shaped shelf and ending in sabots, h. 33‑1/2”, w. 22”, d. 15”. [800/1200] Illustrated

774

772 Renaissance-Inspired Gilt-Lacquered Bronze, Brass and Alabaster Twelve-Light Chandelier, early 20th century, with fluted stem and floral-cast chains, joined to a ring adorned with putti, cartouches and floral swags, and supporting a figured alabaster bowl, the electrical arms with amber glass floriform shades, h. 51”, dia. 46”. [1400/1800] Illustrated

771

773 Louis XVI-Style Oak Vitrine, early 20th century, the molded and rounded rectangular top above a dentillated ormolu-mounted frieze, over a case fitted with a central door, with an upper beveled glass panel and a paneled lower section, the sides glazed en suite and the back mirrored, raised on tapering circular legs, fitted with three adjustable glass shelves, h. 76‑1/2”, w. 48”, d. 17”. Provenance: Personal collection of Daniel Tenenbaum, San Francisco, California and Houston, Texas. [2500/4000] Illustrated

773

175

775

776 Louis XVI-Style Mahogany and Marble-Top Commode, early 19th century, the ovoid marble top with a three-quarter pierced brass gallery, above a conforming case fitted with three drawers, all paneled and with brass banding, the sides paneled and banded en suite, joined by bulbous supports to a concave shelf, raised on bulbous toupie feet, h. 27‑1/2”, w. 18‑1/2”, d. 13‑1/2”. [700/1000] Illustrated 777 Pair of Louis XV-Style Ormolu- and Brass-Mounted, Marquetry-Inlaid and Rosewood-Banded Mahogany Night Stands, 20th century, each with a serpentine violet, gray and white marble top over a conforming case, with an upper drawer over an open shelf, one with a floral-inlaid cupboard door below, with parquetry veneer throughout, h. 33‑1/4”, w. 18‑1/4”, d. 15”. [1000/1500]

775 Beaux-Arts Prism-Hung Gilt-Bronze Eight-Light Chandelier, early 20th century, of cage form, the bowl modeled as rope and foliate swags hanging from four arms, with cut and frosted glass beads in the net-form bowl, the cast finial in vintage and pineapple decor, now fitted with frosted glass floriform shades after the period fashion, h. 38”, dia. 30”. [1000/1500] Illustrated

779

776

176

778 Louis-Philippe Bronze and Enamel Desk Set, second quarter 19th century, with gilt-bronze fittings and blue enamel with silver-gilt scrollwork, the set comprised of a letter knife with a damascene blade, a seal, a pen knife and a pen, in its original fitted case with stamped decoration on the cover, w. 8‑1/4”, d. 3‑1/2”. [600/900]

779 Raffaele Ragione (Italian, 1851‑1925), “Woman on a Park Bench”, oil on board, signed lower left, 13” x 7‑1/2”. Framed. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [4000/7000] Illustrated 780 Chinese BronzeTrimmed 781 Cloisonne Tazza, first quarter 20th century, resting on elephant head bronze feet, the top with molded bronze trim around blueground cloisonne depicting lotus plants and a pair of ducks, h. 6‑3/4”, dia. 12”. [800/1200]

783

781 French Onyx and Gilt-Bronze Pedestal in the Louis XVI Style, first quarter 20th century, on a rectangular plinth, the tapering standard on a cove-molded bronze base decorated with shells, the bronze torches hung from bowknots on the sides, under a composite leaf-molded bronze capital, h. 49”, w. 17‑1/2”, d. 17‑1/2”. [800/1200] Illustrated 782 Napoleon III Rosewood, Burl and Exotic Woods Bureau, third quarter 19th century, the stepped top with projecting ends, above a case fitted with two doors, each inset with a beveled glazed panel and opening to a shelved interior, the lower section fitted with two short drawers over a paneled and ogee-molded slant front opening to an inset fabric writing surface and three small drawers, one compartmented and fitted with two ink bottles, the interior with satinwood veneers, over a frieze fitted with a single long drawer, raised on fluted tapering circular legs joined by a shaped H-form stretcher and ending in toupie feet, the whole accented with delicate scrolling foliate patterned inlays and ormolu mounts and millwork, h. 70”, w. 36”, d. 26‑1/2”. [2000/4000] Illustrated 783 Napoleon III Gilt-Bronze-Mounted Tortoiseshell Jewel Casket, third quarter 19th century, in the Louis XV style, with gilt-bronze cabriole feet, trim, handle and escutcheon, the hinged cover opening to reveal a padded silk-lined interior, h. 5”, w. 7‑3/4”, d. 4‑3/4”. [1200/1800] Illustrated 784 Unusual French Belle Epoque Marble and Bronze Dore Boudoir Clock, fourth quarter 19th century, on an antique velvet back, the marble body set with a clock marked “J. Meunier a Moulins” on the enamel dial, framed with bronze flowers and vines, mounted with a masque and set with bronze finials, h. 14”, w. 8”, d. 2‑3/4”. [700/1000]

782

177

785 Continental School (Third or Fourth Quarter 19th Century), “The New Member of the Family”, oil on canvas, signed “Konburg” lower left, 38‑1/4” x 31‑3/4”. Framed. [1200/1800] Illustrated

785

786 French Polished Bronze Three-Piece Clock Set, fourth quarter 19th century, in the Louis XV style, the pierced clock case decorated with rocaille and shell work, the crest decorated with an overturned water pot sitting amongst leaves, set with marked Mougin works, the whole resting on cabriole legs, h. 21‑3/4”, w. 11”, d. 5‑1/2”, together with a pair of en suite five-light candelabra with standards in the form of overturned urns, supporting leaf-molded candle arms, h. 21‑1/4”, dia. 8”. [700/1000] Illustrated

787

787 Continental Cast Bronze Three-Arm Gasolier, third quarter 19th century, the fluted stem with cast floral- and foliate-modeled vasiform elements, the cast scroll arms similarly modeled, and fitted with electric candles and cut and etched glass bowl-form shades in the period style, the stem with a deep, elaborately modeled base finial, the gas keys lacking, electrified, h. 45”, dia. 36”. [800/1200] Illustrated

786

788

788 French Patinated Bronze of a Stallion, 20th century, after Christophe Fratin (French, 1801‑1864), cast signature at edge of base, h. 24‑3/4”, w. 29‑1/2”, d. 6‑1/2”. Provenance: Personal collection of Daniel Tenenbaum, San Francisco, California and Houston, Texas. [800/1200] Illustrated

178

789 789 Jules Leroy (French, 1833‑1865), “Une Discussion”, oil on canvas, signed lower left, titled on stretcher, 26” x 32”. Handsomely framed. [4500/7000] Illustrated 790 Jean Lefort (French, b. 1948), “The Sewing Box”, oil on wood panel, signed lower right, 12” x 10”. Framed. [700/1000] Illustrated

790 793 Pair of Louis XIV-Style Molded Metal Two-Light Sconces, each backplate in the form of flower-decorated monopodium terminating in a molded putto holding candle branches, the drip pans and candle cups decorated with rocaille ornament, h. 17‑1/2”, w. 12”, d. 10‑1/4”. [600/900]

791 791 Jean Lefort (French, b. 1948), “The New Friend”, oil on wood panel, signed lower left, 24” x 32”. Framed. [2500/4000] Illustrated 792 French Bronze Symbolic Clock, fourth quarter 19th century, the base with a central cabochon decorated with flanking angels, one holding an anchor and the other a cross, symbolizing hope in Christ, the dial set with a marked Japy Freres movement, the top with a figure of an angel welcoming a child with open arms, h. 20‑3/4”, w. 14‑3/4”, d. 6”. [700/1000] Illustrated

792

179

794 Unusual French Bronze Fire Tool Set in the Renaissance Revival Taste, fourth quarter 19th century, the leaf-molded feet supporting the standard, with intertwined initials “DD” for the first owner, under the umbrella-form pierced holder, decorated with lion’s heads and scrollwork, including fire tongs, a poke, a shovel and a hearth brush handle, marked “Brevete S6D6”, h. 35”, dia. 8”. [600/900] Illustrated

798

795 French Giltwood Barometer in the Baroque Taste, mid-18th century, with a lower drop panel thermometer, the 795 edges of the case trimmed with laurel leaves, a tonsus with a pinecone finial on each side of the dial, the crest decorated with a swagged and fluted urn on a tapered base, signed by Pouvillion, h. 40‑3/4”, w. 15”. [1000/1500] Illustrated

796 Pair of French Mirrored and Gilt-Bronze Two-Light Sconces, ca. 1900, in the Renaissance Revival style, with oval beveled mirrored backplates, trimmed with bellflowers, the pierced crest with a fire pot resting on scrollwork, with spiral reeded arms holding the candle sockets and drip pans, h. 23‑1/2”, w. 8‑3/4”, d. 5‑1/4”. Provenance: The Flatt Collection. [500/800]

794

797

797 Continental School (20th Century), “Puppies and Snail”, oil on canvas, unsigned, 20” x 24”. Attractively framed. [800/1200] Illustrated 798 Pair of French Gilt-Bronze Five-Light Sconces, in the Napoleon III taste, the pierced shield-form backplates molded with cabochons and supporting molded candle branches set with a central masque, reeded drip pans and reeded and molded candle cups, h. 14‑1/4”, w. 13”, d. 11”. [600/900] Illustrated

180

181

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Lot 1098

799 Fourteen-Karat White/Yellow Gold and Diamond Jewelry Suite, including a two-tone flexible link bracelet, channel set with fifty round brilliant-cut diamonds, with an approximate total weight of 2.00 carats, approximate color D-E and clarity I1‑I2, l. 7”, a pair of two-tone earrings, each channel-set with sixteen diamond baguettes, with an approximate total weight of 0.65 carats for the pair, approximate color F-G and clarity SI2‑I1, l. 3/4”, and a ring mounted with a central round brilliant-cut diamond, with an approximate weight of 0.33 carats, approximate color G and clarity I1, flanked to either side by a round brilliant-cut diamond, with an approximate total weight of 0.24 carats, approximate color H-I and clarity SI1‑SI2, size 7‑3/4, 17.7 grams total weight. [1000/1500] Illustrated 801

799

802 Fourteen-Karat Yellow/Rose Gold and Diamond Jewelry Suite, including a ring pave-set with approximately ninety-three single-cut diamonds, size 7‑3/4, with matching earrings set with approximately 168 single-cut diamonds, l. 5/8”, with an approximate total weight of 2.00 carats for the trio, 13.2 grams total weight. [600/900] Illustrated

800 Fourteen-Karat White Gold and Diamond Ring, set with nine round-cut diamonds, with an approximate total weight of 0.97 carats, approximate color E-F and clarity SI1‑SI2, size 6‑1/2, 7.0 grams total weight. [500/800] Illustrated

802

803 Fourteen-Karat White Gold and Diamond Ring, the cross-over design ring set with 180 round single-cut diamonds, with an approximate total weight of 0.50 carats, size 7, 5.0 grams total weight. [600/900] 800

801 Fourteen-Karat White Gold and Diamond Jewelry Suite, including a diamond pendant set with a center round-cut diamond surrounded by eight round-cut diamonds, with an approximate total weight of 0.53 carats, approximate color E-F and clarity SI1‑SI2, suspended from a fourteen-karat white gold chain, l. 18”, together with a pair of earrings set with eighteen round-cut diamonds, with an approximate total weight of 0.50 carats for the pair, approximate color J-K and clarity VS1‑SI1, 7.0 grams total weight. [700/1000] Illustrated

184

804 Three-Piece Eighteen/Fourteen-Karat White Gold, Platinum and Diamond Jewelry Suite, including an eighteen-karat white gold band set with eighteen baguette-cut diamonds and twenty-eight full-cut diamonds, with an approximate total weight of 0.50 carats, stamped “Levian”, size 7, a fourteen-karat white gold ring set with one round brilliant-cut diamond, with an approximate weight of 0.20 carats, and twenty-six round brilliant-cut diamonds, with an approximate total weight of 0.55 carats, size 7‑1/4, and an eighteen-karat white gold pendant set with three marquise-cut diamonds and one pear-cut diamond, with an approximate total weight of 0.50 carats, suspended from a platinum 16” chain, 13.6 grams total weight. [700/1000]

808 Platinum and Diamond Bangle Buckle Bracelet, the hinged bracelet with a buckle design, mounted with thirtysix round brilliant-cut diamonds, with an approximate total weight of 0.26 carats, approximate color G-I and clarity VS1‑SI1, and 108 round brilliant-cut diamonds, with an approximate total weight of 1.63 carats, approximate color light brown and clarity VS1‑SI1, inside circumference, 7‑1/2”, 18.0 grams total weight. [2000/4000] Illustrated

806

805 Fourteen-Karat White Gold and Diamond Earrings, set with two round-cut and eighteen single-cut diamonds, with an approximate total weight of 0.36 carats for the pair, approximate color E-F and clarity VS2‑SI2, 2.0 grams total weight. [700/1000] 806 Fourteen-Karat White Gold and Diamond Pendant with Chain, the pendant bezel-set with a central roundcut diamond, with an approximate weight of 0.49 carats, approximate color K and clarity SI1, surrounded by twelve round-cut diamonds, with an approximate total weight of 0.33 carats, approximate color G-I and clarity VS2‑SI1, suspended from a fourteen-karat white gold chain, l. 18”, 8.0 grams total weight. [800/1200] Illustrated

808

807 Three-Piece Eighteen/Fourteen-Karat White Gold and Diamond Suite, including an eighteen-karat white gold “Levian” ring set with thirty-four full-cut diamonds, with an approximate total weight of 0.25 carats, stamped “Levian”, size 8‑3/4, an eighteen-karat white gold ring set with forty full-cut diamonds and one round brilliant-cut diamond, with an approximate total weight of 0.20 carats, stamped “Levian”, size 7‑3/4, and an eighteen-karat white gold heart pendant set with eight calibre- and princess-cut diamonds, with an approximate total weight of 0.90 carats, suspended from a fourteen-karat white gold rope chain, l. 16”, 16.0 grams total weight. [700/1000]

809

809 Fourteen-Karat Yellow Gold and Chocolate and White Diamond Ring, the buckle-designed ring set with thirty-four round brilliant-cut chocolate diamonds and seven single-cut white diamonds, with an approximate total diamond weight of 0.33 carats, size 7, 4.4 grams total weight. [500/800] Illustrated 810 Pair of Fourteen-Karat Yellow Gold and Diamond Earrings, designed as three half loops and set with seventy-two round brilliant-cut diamonds, with an approximate total weight of 3.92 carats, approximate color E-F and clarity SI1‑SI2, l. 1‑1/2”, 17.0 grams total weight. [2000/4000] Illustrated

810

811 Fourteen-Karat White Gold and Diamond Band, the wide band pave-set with seventy-seven round brilliant-cut diamonds, with an approximate total weight of 2.75 carats, approximate color E-F and clarity VS1‑SI1, size 7, 7.0 grams total weight. [3500/5000] Illustrated

811

5 8 1

812 Pair of Eighteen-Karat Yellow Gold and Diamond Earrings, the large pair of disc ear clips designed with concentric circles, each pave-set with eight round brilliant-cut diamonds in the center, with an approximate total weight of 1.00 carat for the pair, approximate color E-F and clarity VVS2‑VS1, dia. 1‑1/8”, 32.2 grams total weight. [700/1000] Illustrated 813 Fourteen-Karat Yellow Gold and Diamond Bangle Bracelet, the hinged custom-made bracelet in a buckle design, and mounted with round brilliant-cut diamonds, with an approximate total weight of 1.93 carats, approximate color E-F and clarity VVS2‑VS1, inside circumference, 8”, 63.0 grams total weight. [4000/7000] Illustrated

812

814 Eighteen-Karat Yellow Gold and Diamond Tennis Bracelet, mounted with forty round brilliant-cut diamonds, with an approximate total weight of 9.22 carats, approximate color H-K and clarity SI1‑I1, l. 7”, 15.4 grams total weight. [7000/10000] Illustrated

815

815 Fourteen-Karat Yellow/White Gold and Diamond Jewelry Suite, comprising a flower-designed necklace set with approximately 439 round brilliant-cut diamonds and thirty-three baguette-cut diamonds, with an approximate total weight of 6.19 carats, approximate color E-F and clarity I1‑I2, l. 18”, and a pair of flower-designed earrings set with approximately 124 round brilliant-cut diamonds and thirty-one baguette-cut diamonds, with an approximate total weight of 1.10 carats, approximate color E-F and clarity SI1‑I1, l. 1”, 75.0 grams total weight. [8000/12000] Illustrated

814

186

813

816 Stunning Custom-Designed Platinum/EighteenKarat Yellow Gold and Diamond Ring, set with a radiant-cut diamond, with an approximate weight of 15.21 carats, approximate color L and clarity VS2, EGL Certification #2554142225, flanked by two trillion-cut diamonds, with an approximate total weight of 1.55 carats, approximate color I and clarity SI1窶全I2, all mounted in a pave-set diamond shank, with 134 round full-cut diamonds, with an approximate total weight of 1.80 carats, approximate color G and clarity VS1, size 7, 16.2 grams total weight. [200000/400000] Illustrated

187

819 Impressive Lady’s Eighteen-Karat-Yellow Gold and Diamond Pearlmaster Datejust Rolex Wristwatch, the Rolex Pearlmaster bracelet, model #74978, mounted with three rows of 270 round brilliant-cut diamonds, the bezel mounted with thirty-two round brilliant-cut diamonds, with an additional twenty round brilliant-cut diamonds set in the lugs, the white Rolex mother-of-pearl dial mounted with eight diamonds, with an approximate total diamond weight of 7.00 carats, serial #K, 599, XXX, the Rolex Pearlmaster, model #80298, Datejust Oyster Perpetual mechanical watch, with its original inner and outer boxes and certificate, inside circumference, 6‑3/4”, 128.5 grams total weight. [30000/50000] Illustrated

817

817 Fourteen-Karat White/Yellow Gold and Yellow and White Diamond Earrings, the dangle earrings each set with a fancy yellow cushion-cut diamond, with an approximate total weight of 0.40 carats for the pair, clarity VVS2‑VS1, surrounded with a double halo of round brilliant-cut diamonds, with additional diamonds on the ear wire, with an approximate total weight of 0.62 carats for the pair, approximate color E-F and clarity VVS2‑VS1, l. 1”, 5.0 grams total weight. [4500/7000] Illustrated

820

820 Italian Eighteen-Karat Yellow Gold Link Necklace, composed of large interlocking links, stamped “750, Biffi”, l. 17”, w. 3/4”, 82.4 grams total weight. [3500/5000] Illustrated

818

818 Platinum and Yellow and White Diamond Ring, mounted with a central GIA certified radiant-cut fancy intense yellow diamond, with a weight of 1.53 carats, clarity VVS2, GIA certification #13561057, surrounded by a halo of round brilliant-cut diamonds, with additional round brilliant-cut diamonds on the shank of the ring, with an approximate total weight of 2.09 carats, approximate color E-F and clarity VS1‑VS2, size 7, 6.0 grams total weight. [9000/12000] Illustrated

188

821

821 Italian Fourteen-Karat Yellow Gold Herringbone Bracelet, with a wide herringbone pattern, stamped “14K, Italy” and “VIP”, l. 7‑1/2”, w. 3/4”, 41.3 grams total weight. [1400/1800] Illustrated

819

189

824

822

822 Unusual Custom-Made Fourteen-Karat Yellow/Rose Gold Omega Constellation Watch, the custom-made bracelet composed of five links, each depicting a different scene of Peruvian life, l. 8”, 86.0 grams total weight. [2500/4000] Illustrated

823

825

825 Pair of Continental Fourteen-Karat Yellow Gold, Diamond, Enamel and Rubellite Cufflinks, 20th century, in the Faberge taste, each with a square face set with a gold Imperial Romanov double eagle on a red guilloche enamel ground, set with a central 3.0 mm Old European-cut diamond and fifty-four smaller rose-cut diamonds (with an approximate total diamond weight of .60 carats for the pair), joined by a chain link to a bar back set with a single central 3.0 mm brilliant-cut rubellite (with an approximate total rubellite weight of .05 carats for the pair), l. 1”, 10.8 grams total weight. Provenance: The Flatt Collection. [500/800] Illustrated

823 Tiffany and Company Eighteen-Karat Yellow Gold Schlumberger Cufflinks, the textured dome cufflinks with small smooth applied balls, stamped “Tiffany, 18k, Schlumberger”, together with the original Tiffany and Company box, dia. 5/8”, 22.4 grams total weight. Provenance: The Flatt Collection. [1500/2500] Illustrated 824 Pair of “King George V” Eighteen-Karat Yellow Gold, Enamel and Reverse Intaglio Crystal Cufflinks, each cufflink set with two crystal cabochons that are reverse intaglio engraved with the cypher of “King George V”, and colored in multicolored enamel, the outer edges in red enamel, together with their original “Longmire, 12 Bury Street, St. James, London” cufflink box, 13.8 grams total weight. Provenance: The Flatt Collection. [700/1000] Illustrated

8 190

826

826 Pair of Fourteen-Karat Yellow Gold and Ruby Horse Cufflinks, the unusual cufflinks designed with a separate head and tail, each set with a round faceted 0.01‑carat ruby for the eye, 18.2 grams total weight. Provenance: The Flatt Collection. [1500/2500] Illustrated

829 Pair of Gucci Eighteen-Karat Yellow Gold and Diamond Cufflinks and Studs, the angular “U”-shaped cufflinks each set with fifteen single-cut diamonds, with three matching studs, each set with twelve single-cut diamonds, with an approximate total weight of 0.50 carats for the set, stamped “Gucci, 750, EJL”, and with English hallmarks, the set retailed ca. 1972‑73 by Ernest Jones Ltd. of Sheffield, 17.4 grams total weight. Provenance: The Flatt Collection. [900/1200] Illustrated

827

827 Gentleman’s Fourteen-Karat White/Yellow Gold and Diamond Ring, set with ten round brilliant-cut diamonds, with an approximate total weight of 1.16 carats, approximate color E-G and clarity VS2‑SI2, size 9‑1/2, 15.0 grams total weight. [2500/4000] Illustrated

830

830 Pair of Gucci Eighteen-Karat White/Yellow Gold Cufflinks, the two-tone cufflinks in a twisted nail design, stamped “Gucci, 750”, 18.4 grams total weight. Provenance: The Flatt Collection. [500/800] Illustrated

828

828 Vintage Pair of Fourteen-Karat Yellow/White Gold and Diamond Cufflinks, ca. 1960, the cufflinks with a braided design and set with thirty-six single-cut diamonds, with an approximate total weight of 0.36 carats, l. 1”, 18.7 grams total weight. [700/1000] Illustrated

831

829

831 Audemars Piguet Gentleman’s Stainless Steel and Eighteen-Karat Yellow Gold Royal Oak Wristwatch, the mid-size tonneau-shaped water resistant watch with a screw-down crown, a gray textured dial with date window and gold markers, and a stainless and gold bracelet with a deployment clasp, marked “Royal Oak, Quartz, No 324”, inside circumference, 6‑1/2”, 81.5 grams total weight. Provenance: The Flatt Collection. [3000/5000] Illustrated

191

832

832 Pair of Fourteen-Karat Yellow Gold and Bloodstone Cufflinks and Studs, the pair of oval cufflinks each set with two flat oval bezel-edge bloodstones, with a twisted rope edge border, with two round 10.5 mm bloodstone studs and one smaller associated 10.0 mm bloodstone stud, 12.8 grams total weight. Provenance: The Flatt Collection. [900/1200] Illustrated

834 Collection of Three Pairs of Commemorative Cufflinks, fourth quarter 20th century, including a fourteen-karat gold pair with the seal of the United States Secretary of Defense, dia. 5/8”, l. 3/4”, 7.9 grams total weight, a gold plate and blue enamel pair with the United States Presidential Seal from the Ronald Regan administration (as engraved on the reverse), dia. 3/4”, l. 3/4”, and an English sterling silver “Millenium” pair by Asprey & Garrard, the square face with the special commemorative London hallmarks of 2000, w. 9/16”, l. 13/16”, 15.2 grams total weight, all with swivel backs. Provenance: The Flatt Collection. [500/800] 835 Five-Piece Fourteen-Karat White Gold, Diamond and Sapphire Dress Set, ca. 1960, the set mounted with thirty-six single-cut diamonds, with an approximate total weight of 0.54 carats, and five round-cut sapphires, with an approximate total weight of 0.66 carats, l. 3/4”, 19.5 grams total weight. [700/1000] 836 Three-Piece “Prince of Wales” Jewelry Group, including a pair of eighteen-karat yellow gold and multicolored enamel oval cufflinks with the “Prince of Wales” heraldic symbol, a fifteen-karat yellow gold and enamel “Prince of Wales” round stick pin with a ten-karat yellow gold pin stem, and a pair of eighteen-karat yellow gold oval cufflinks engraved with the “Prince of Wales” heraldic symbol, 24.8 grams total weight. Provenance: The Flatt Collection. [900/1200] Illustrated

833

833 Pair of Antique Eighteen-Karat Gold and Cat’s Eye Cufflinks, first quarter 20th century, each with two faces with a bezel-set cabochon cat’s-eye measuring approximately 9.5 mm x 13.5 mm and joined by a short chain, l. 1”, 9.6 grams total weight. Provenance: The Flatt Collection. [1200/1800] Illustrated

837

837 Fourteen-Karat Yellow Gold, Multi-Sapphire and Diamond Ring, mounted with three round brilliant-cut diamonds, with an approximate total weight of 0.09 carats, four treated orange sapphires, with an approximate total weight of 0.74 carats, four treated yellow sapphires, with an approximate total weight of 0.68 carats, and four treated green sapphires, with an approximate total weight of 0.61 carats, size 7‑1/2, 12.0 grams total weight. [700/1000] Illustrated

836

192

838 Fourteen-Karat Yellow Gold, Yellow Sapphire and Diamond Ring, the rectangular step-cut treated yellow sapphire with an approximate weight of 2.00 carats, flanked by ten round full-cut diamonds, with an approximate total weight of 0.15 carats, size 7‑1/2, 4.2 grams total weight. [600/900]

841 Platinum, Yellow Sapphire and Diamond Ring, set with a central round-cut treated yellow sapphire, with an approximate weight of 2.28 carats, surrounded by thirty-six marquise-cut diamonds, with an approximate total weight of 3.59 carats, approximate color E-G and clarity VS2‑SI2, size 6‑1/2, 13.6 grams total weight. [4000/7000] Illustrated

839

839 Eighteen-Karat Yellow Gold, Diamond, Sapphire, and Turquoise Cellino Brooch, mounted with ten round brilliant-cut diamonds, with an approximate total weight of 0.18 carats, approximate color G-H and clarity VS1‑VS2, seventeen round-cut sapphires, with an approximate total weight of 2.20 carats, and eighteen round turquoises, measuring approximately 2.70 mm x 2.80 mm to 3.0 mm to 3.5 mm, stamped “Cellino, 18k”, l. 2‑3/4”, 31.5 grams total weight. [700/1000] Illustrated

842

842 Eighteen-Karat Yellow Gold, Diamond and Sapphire Ring, set with a single central treated sapphire, with an approximate weight of 0.65 carats, two smaller treated sapphires, with an approximate total weight of 0.50 carats, and two round brilliant-cut diamonds, with an approximate total weight of 0.66 carats, approximate color H-I and clarity SI2‑I1, size 8‑1/4, 9.2 grams total weight. [500/800] Illustrated 843 Pair of Fourteen-Karat White Gold, Sapphire and Diamond Earrings, each earring mounted with an oval-cut sapphire, with an approximate total weight of 3.50 carats for the pair, surrounded by a halo of round brilliant-cut diamonds, with an approximate total weight of 1.38 carats for the pair, approximate color G-I and clarity VS1‑SI1, l. 1/2”, 4.0 grams total weight. [3000/5000] Illustrated

841

840 Fourteen-Karat White Gold, Natural Orange Sapphire and Diamond Ring, mounted with an ovalcut natural orange sapphire, with a weight of 3.69 carats, GIA certification #2175190030, and accented around the stone and on the shank of the ring with thirty-two round brilliant-cut diamonds, with an approximate total weight of 0.55 carats, approximate color G-I and clarity I1‑I2, size 7‑1/2, 2.9 grams total weight. [2500/4000]

843

193

844 Beautiful Eighteen-Karat White Gold, Sapphire and Diamond Ring, mounted with an oval-cut treated sapphire, with an approximate weight of 4.60 carats, surrounded by a halo of pearshaped diamonds, with an approximate total weight of 1.76 carats, approximate color E-F and clarity VVS2‑VS1, size 6, 12.0 grams total weight. [5000/8000] Illustrated 845 Eighteen-Karat White Gold, Sapphire and Diamond Bracelet, mounted with eleven oval-shaped treated sapphires, with an approximate total weight of 9.68 carats, and 528 round brilliant-cut diamonds, with an approximate total weight of 3.37 carats, approximate color G-I and clarity VVS2‑VS1, l. 7”, 20.0 grams total weight. [6000/9000] Illustrated

848

847

844

846

845

846 Platinum, Sapphire and Diamond Three-Stone Ring, mounted with a central oval-cut sapphire, with an approximate weight of 2.76 carats, flanked on either side by two oval-cut diamonds, with an approximate total weight of 1.40 carats, approximate color E-F and clarity SI1‑SI2, size 7‑1/4, 5.0 grams total weight. [7000/10000] Illustrated 847 Beautiful Fourteen-Karat White Gold, Star Sapphire and Diamond Necklace, composed of thirty-four oval cabochon-cut natural treated star sapphires, with an approximate total weight of 73.75 carats, each surrounded with round brilliant-cut diamonds, with an approximate total diamond weight of 9.00 carats, approximate color G-I and clarity I1‑I2, l. 17”, 55.4 grams total weight. [6000/9000] Illustrated 848 Eighteen-Karat White Gold, GIA Certified Natural Sapphire and Diamond Ring, mounted with an ovalcut natural sapphire, with a weight of 4.25 carats, GIA certification #1176185674, accented around the stone and on the ring shank with eighty-eight round brilliantcut diamonds, with an approximate total weight of 1.11 carats, approximate color G-I and clarity SI1‑SI2, size 7‑1/4, 5.6 grams total weight. [6000/9000] Illustrated

194

851 Eighteen-Karat White Gold, Sapphire and Diamond Ring, mounted with a central round-cut treated sapphire, with an approximate weight of 1.42 carats, surrounded by a halo of round brilliant-cut diamonds, with additional round brilliant-cut diamonds on the ring shank, with an approximate total weight of 0.54 carats, approximate color E-F and clarity VS1‑VS2, size 7, 4.0 grams total weight. [1800/2500] Illustrated 852 Fourteen-Karat White Gold, Sterling Silver, Sapphire and Diamond Necklace, composed of graduated treated sapphire roundels, with an approximate total weight of 675.0 carats, accented with four sections of sterling silver roundels mounted with round-cut diamonds, with an approximate total weight of 0.90 carats, finished with a fourteen-karat white gold clasp, l. 19”, 137.7 grams total weight. [500/800] Illustrated

849

849 Fourteen-Karat White Gold, Sterling Silver, Diamond and Sapphire Necklace with Pendant, the intricate pendant mounted with round single-cut diamonds, with an approximate total weight of 4.53 carats, and accented with twelve round faceted sapphires, with an approximate total weight of 0.48 carats, suspended from a necklace composed of 4.0 mm faceted sapphire roundels interspersed with white gold beads and finished with a white gold clasp, necklace, l. 15”, pendant, l. 2”, 32.6 grams total weight. [600/900] Illustrated

850

852

853 Fourteen-Karat White Gold, Diamond and Sapphire Bangle Bracelet, the hinged bracelet composed of three rows of round brilliant-cut diamonds, with an approximate total weight of 3.24 carats, approximate color G-I and clarity VS1‑SI1, and two rows of square-cut treated sapphires, with an approximate total weight of 2.16 carats, inside circumference, 7‑1/2”, 28.0 grams total weight. [3500/5000] Illustrated

851

850 Fourteen-Karat White Gold, Sapphire and Diamond Earrings, each set with a pear-shaped sapphire, with an approximate total weight of 2.16 carats for the pair, and sixty-six round brilliant-cut diamonds, with an approximate total weight of 0.56 carats for the pair, approximate color E-G and clarity SI1‑I1, l. 1”, 3.0 grams total weight. [900/1200] Illustrated

853

195

854 Fourteen-Karat White Gold and Carved Sapphire Necklace, composed of pear-shaped carved treated sapphires, with an approximate total weight of 361.0 carats, separated by fourteen-karat white gold wavy tubes, and finished with a fourteen-karat white gold clasp, l. 17‑1/2”, 53.0 grams total weight. [500/800] Illustrated

857

854

855 Eighteen-Karat White Gold, Sapphire, Diamond and Ruby Bee Pin, the wings mounted with twenty-two round brilliant-cut diamonds, with an approximate total weight of 0.37 carats, approximate color E-F and clarity VVS2‑VS1, the body mounted with invisible-set calibratedcut sapphires, with an approximate total weight of 2.82 carats, and two cabochon-cut rubies for the eyes, with an approximate total weight of 0.05 carats, l. 1”, 10.0 grams total weight. [1200/1800] Illustrated

855

860

856 Pair of Eighteen-Karat White Gold and Diamond Earrings, each earring set with six baguette-cut diamonds and thirty-five round brilliant-cut diamonds, with an approximate total weight of 1.10 carats for the pair, approximate color D-F and clarity VVS1‑VS2, l. 1”, 4.0 grams total weight. [1800/2500] Illustrated

196

857 Le Vian FourteenKarat White Gold and Diamond Ring, composed of twenty-six round-cut diamonds, four baguette-cut diamonds and twenty princesscut diamonds, with an approximate total diamond weight of 1.17 carats, approximate color E-I and clarity VVS2‑SI1, size 6‑3/4, 6.0 grams total weight. [1000/1500] Illustrated

859

856

858 Fourteen-Karat White Gold and Brown and White Diamond Ring, set with a central round-cut brown diamond, with an approximate weight of 0.35 carats, clarity SI1, flanked on either side by two round-cut diamonds, with an approximate total weight of 0.31 carats, color G-I and clarity VS1‑SI1, and fifty-nine round-cut light brown diamonds, with an approximate total weight of 0.34 carats, size 6‑1/2, 4.0 grams total weight. [900/1200] 859 Pair of Fourteen-Karat White Gold and Diamond Hoop Earrings, each hinged hoop earring set with seven round brilliant-cut diamonds separated by six diamond baguettes, with an approximate total weight of 0.66 carats for the pair, l. 7/8”, 6.2 grams total weight. [600/900] Illustrated 860 Platinum and Diamond Wedding Band, set with a central emerald-cut diamond, with an approximate weight of 0.64 carats, two emerald-cut diamonds, with an approximate total weight of 0.70 carats, and two emeraldcut diamonds, with an approximate total weight of 0.58 carats, approximate color G-I and clarity VVS2‑VS1, size 6‑3/4, 5.0 grams total weight. [3500/5000] Illustrated 861 Vintage Platinum and Diamond Bracelet, the customdesigned bracelet with a hand-engraved finish and mounted with thirty-six transitional-cut diamonds, with an approximate total weight of 6.21 carats, approximate color E-F and clarity VS1‑SI1, l. 7”, 21.8 grams total weight. [2500/4000] Illustrated

862

865

862 Beautiful Eighteen-Karat White Gold and Diamond Engagement Ring and Band, the ring composed with a central round brilliant-cut diamond, with an approximate weight of 3.06 carats, approximate color I and clarity SI1, mounted on the ring shank, with a matching band, paveset with approximately 1.26 carats of round brilliant-cut diamonds, approximate color E-G and clarity VS1‑SI1, size 6, 9.0 grams total weight. [12000/18000] Illustrated

863 Cartier Platinum and Diamond Bow Pin, mounted with seventy-two round brilliant-cut diamonds, with an approximate total weight of 2.47 carats, approximate color D-E and clarity VVS1‑VVS2, and twenty-five baguette-cut diamonds, with an approximate total weight of 1.46 carats, approximate color D-E and clarity VVS1‑VVS2, stamped “Cartier”, l. 1‑3/4”, 12.0 grams total weight. [4500/7000] Illustrated

861

863

864 Stunning Eighteen-Karat White Gold and Diamond Necklace, composed of 161 round brilliant-cut diamonds, with an approximate total weight of 49.23 carats, approximate color H-I and clarity VS2‑SI2, l. 34”, 61.0 grams total weight. [70000/100000] Illustrated

864

865 Fourteen-Karat White Gold and Tiffany and Company Diamond Ring, the round brilliant-cut diamond, with a total weight of 2.02 carats, color G and clarity VS1, with a Tiffany and Company diamond certificate, registration #SJ09529/GAD132077, in a later fourteen-karat gold mounting, size 7‑1/2, 3.5 grams total weight. Provenance: The Flatt Collection. [10000/15000] Illustrated

197

867 Unusual Platinum and Diamond Cuff Bracelet, composed with a stiffened black organza cuff with a stainless steel hidden deployment clasp, mounted with a delicate platinum and diamond bow pin, set with 296 round brilliant-cut diamonds, with an approximate total weight of 2.73 carats, approximate color E-F and clarity VVS2‑VS1, inside circumference, 8”, 50.0 grams total weight. [8000/12000] Illustrated

866

868 866 Pair of Fourteen-Karat White Gold and Diamond Dangle Earrings, each earring with a dangling ball, paveset with approximately 354 round brilliant-cut diamonds, with an approximate total weight of 2.63 carats for the pair, approximate color D-E and clarity VVS2‑VS1, l. 1”, 8.0 grams total weight. [2500/4000] Illustrated

868 Platinum and Diamond Eternity Band, set with twentyfive Asscher-cut diamonds, with an approximate total weight of 2.72 carats, approximate color G-H and clarity VS1‑VS2, size 6‑3/4, 5.0 grams total weight. [3500/5000] Illustrated

869

867

198

869 Fourteen-Karat White Gold and Diamond Tennis Bracelet, set with approximately sixty-three princess-cut diamonds, with an approximate total weight of 6.30 carats, approximate color H-I and clarity VS1‑VS2, l. 7‑1/2”, 18.0 grams total weight. [4500/7000] Illustrated

870

870 Stunning Platinum and Internally Flawless Diamond Ring, mounted with a GIA certified emerald-cut diamond, with a weight of 6.02 carats, color F and internally flawless clarity, GIA certification #16200467, flanked on either side by a tapered baguette-cut diamond, with an approximate total weight of 0.40 carats, approximate color E-F and clarity VVS1â&#x20AC;&#x2018;VVS2, size 6, 8.2 grams total weight. [300000/500000] Illustrated

199

871 Fourteen-Karat White Gold and Diamond Ring, set with ten round brilliant-cut diamonds and twenty-two baguettecut diamonds, with an approximate total weight of 2.63 carats, approximate color E-G and clarity VVS2‑VS1, size 7‑3/4, 7.0 grams total weight. [2500/4000] Illustrated 871

872 Platinum, Diamond and Emerald Bracelet, set with four baguette-cut and seven square-cut emeralds, with an approximate total weight of 2.53 carats, and 153 round brilliantcut diamonds, with an approximate total weight of 5.04 carats, approximate color E-F and clarity VS2‑SI2, l. 7”, 40.0 grams total weight. [20000/40000] Illustrated

873

873 Spectacular Platinum, Emerald-Cut Emerald and Diamond Pendant, mounted with a beautiful emerald-cut treated emerald, with an approximate weight of 22.50 carats, surrounded by forty-four baguette-cut diamonds, with an approximate total weight of 5.75 carats, approximate color E-F and clarity VVS2‑VS2, the pendant accompanied by a detachable ring and the original retractable pendant loop on the back, h. without bail, 1‑1/8”, h. with bail, 1‑1/2”, w. 1”, 25.1 grams total weight. Provenance: Sotheby’s, New York, Magnificent Jewels, October 20, 1999, lot 45, p. 33; The Flatt Collection. [20000/40000] Illustrated

872

874 Fourteen-Karat Yellow Gold, Sterling Silver, Emerald and Diamond Ring, mounted with an oval cabochon-cut emerald, with an approximate weight of 14.92 carats, surrounded by thirteen European-cut diamonds, with an approximate total weight of 3.56 carats, approximate color E-G and clarity SI1‑SI2, size 5, 13.0 grams total weight. [9000/12000] Illustrated

200

874

877 Unusual Fourteen-Karat White Gold, Sterling Silver, Emerald and Diamond Necklace, composed of two tassels, each mounted with rose-cut and flat-cut diamonds, with an approximate total weight of 3.24 carats, and eight rows of 3.0 mm to 4.0 mm treated emerald roundels, both suspended from a 4.0 mm to 5.0 mm treated emerald roundel necklace, finished with a fourteen-karat white gold clasp, necklace, l. 20”, tassel drop, l. 7”, 83.8 grams total weight. [600/900] Illustrated

875

875 Beautiful Fourteen-Karat Yellow Gold, Sterling Silver, Emerald and Diamond Necklace, the custom-made necklace composed of eleven sections, each mounted with a cabochon-cut faceted and treated emerald, measuring approximately 21.0 mm x 28.2 mm to 26.0 mm to 34.0 mm, with an approximate total weight of 418.0 carats, each emerald surrounded with a halo of round single-cut diamonds, with an approximate total weight of 3.95 carats, finished with a sterling silver and diamond toggle clasp, l. 18‑1/2”, 145.1 grams total weight. [700/1000] Illustrated

877

878 Eighteen-Karat White Gold, Emerald and Diamond Dangle Earrings, each earring mounted with an oval-cut and round-cut treated emerald, with an approximate total weight of 0.20 carats for the pair, and fifty-eight round brilliant-cut diamonds, with an approximate total weight of 0.73 carats for the pair, approximate color E-F and clarity VS1‑SI1, l. 3/4”, 3.0 grams total weight. [1800/2500] Illustrated

876

876 Eighteen-Karat White Gold, Emerald and Diamond Ring, mounted with an oval-cut treated emerald, with an approximate weight of 0.60 carats, accented with round brilliant-cut diamonds in a double halo and on the shank of the ring, with an approximate total weight of 0.50 carats, approximate color G-I and clarity SI2‑I1, size 7‑1/4, 4.1 grams total weight. [1800/2500] Illustrated

878

201

879 Eighteen-Karat White Gold, Emerald and Diamond Ring, mounted with an emerald-cut treated emerald, with an approximate weight of 2.74 carats, surrounded by eighteen round brilliant-cut diamonds, with an additional thirty-eight diamonds set in the shank and under the head, with an approximate total weight of 1.08 carats, stamped “18K, M. Christoff”, size 7‑1/2, 9.1 grams total weight. [1800/2500] Illustrated

881

879

881 Eighteen-Karat Yellow Gold, Emerald and Diamond Ring with Earrings, the unusual custom-designed ring mounted with a round-cut emerald, with an approximate weight of 1.81 carats, and three round brilliant-cut diamonds, with an approximate total weight of 0.19 carats, approximate color G-I and clarity VS1‑SI1, size 5‑3/4, 15.0 grams total weight, together with a pair of custom-designed earrings in a leaf design, mounted with ten square-cut emeralds, with an approximate total weight of 1.10 carats, l. 1”, 6.0 grams total weight. [700/1000] Illustrated

880 Fourteen-Karat Yellow Gold, Sterling Silver, Emerald and Diamond Necklace, composed of treated emerald roundels, with an approximate total weight of 834.0 carats, accented with three sterling silver beads, each with open-work and mounted with six oval-cut emeralds, with an approximate total weight of 3.60 carats, and seventy round-cut diamonds, with an approximate total weight of 0.21 carats, flanked on each side by a yellow gold twisted roundel and finished with a fourteen-karat gold clasp, l. 19”, 198.1 grams total weight. [500/800] Illustrated

882

880

202

882 Lady’s Rolex Eighteen-Karat Yellow Gold, Stainless Steel and Diamond Dial Oyster Perpetual Wristwatch, the self-winding two-tone watch with a white satin dial set with eleven single-cut diamond markers, with a two-tone Rolex jubilee adjustable band, reference #76193, serial #F824, XXX, adjustable to 6‑3/4”, 51.4 grams total weight. [2000/4000] Illustrated

883 Eighteen-Karat White/Yellow Gold and Yellow/White Diamond Ring, mounted with a central bezel-set light yellow round brilliant-cut GIA certified diamond, GIA certification #16425528, with a weight of 1.23 carats, color Y-Z and clarity VS2, surrounded by round brilliantcut diamonds in a halo and with additional diamonds on the shank, with an approximate total weight of 0.37 carats, approximate color E-F and clarity VVS2‑VS1, size 7, 5.0 grams total weight. [4500/7000] Illustrated

884 Fourteen-Karat Yellow Gold and Diamond Pendant, the articulated pendant set with two round brilliant-cut diamonds, one, with an approximate weight of 5.75 carats, approximate color M and clarity VVS2, and the other with an approximate weight of 5.70 carats, approximate color L and clarity VVS2, l. 1-1/2" including bail, 4.8 grams total weight. Provenance: The Flatt Collection. [80000/120000] Illustrated

886 Spectacular and Unusual Custom-Made Vintage Convertible Fourteen/Ten-Karat White/Rose Gold and Diamond Bracelet/ Ring, the hinged bangle bracelet mounted with a central European-cut diamond, with an approximate weight of 1.49 carats, approximate color H and clarity SI1, and forty-four Europeancut diamonds, with an approximate total weight of 9.19 carats, approximate color H and clarity VS2‑SI2, inside circumference, 6”, the center “flower” cluster on the bracelet unscrewing from the back to be mounted in a separate eighteenkarat yellow gold ring with the same screw mechanism on the back, size 7, 49.0 grams total weight. [25000/40000] Illustrated

883

884

887 885 Eighteen-Karat White/ Yellow Gold and Diamond Ring, set with a central marquise-cut diamond, with an approximate weight of 0.67 carats, approximate color H and clarity VS2, and thirty-four round brilliant-cut diamonds, with an approximate total weight of 0.28 carats, approximate color G-I and clarity SI2‑I1, size 7‑1/4, 3.3 grams total weight. [2000/4000] Illustrated

887 Rare Eighteen-Karat Yellow Gold and GIA Certified Fancy-Colored Diamond Ring, mounted with a GIA certified fancy brownishgreenish-yellow-colored pear-shaped diamond weighing 12.82 carats, clarity VS1, GIA certification #10580527, size 7‑3/4, 6.7 grams total weight. Provenance: Sotheby’s, New York, Magnificent Jewels, October 20, 1999, lot 36, p. 77; The Flatt Collection. [25000/40000] Illustrated 885

886 detail

886

203

888 Fourteen-Karat Yellow Gold and Diamond Ring, mounted with twenty-eight Europeancut diamonds, with an approximate total weight of 3.20 carats, approximate color H-I and clarity SI2‑I1, and eighteen rosecut diamonds, with an approximate total eight of 0.10 carats, approximate color H-I and clarity SI2‑I1, size 9‑1/2, 5.3 grams total weight. [1400/1800] Illustrated

891 Fourteen-Karat White Gold, GIA Certified Natural Alexandrite and Diamond Ring, mounted with a central cushion-mixed-cut natural alexandrite, with a weight of 1.59 carats, with a color change from greenish yellow to yellowish brown, GIA certification #7191646796, surrounded with two rows of thirty-six round brilliant-cut diamonds, with an approximate total weight of 1.10 carats, approximate color G-I and clarity SI1‑SI2, size 7‑1/4, 5.1 grams total weight. [1800/2500] Illustrated

888

889 David Yurman Eighteen-Karat Yellow Gold and Multi-Stone Necklace, the long necklace from the “Bead Collection”, composed with faceted citrine, garnet, peridot and pink tourmaline beads, and an eighteen-karat yellow gold quatrefoil set with lemon citrines, stamped “DY” and “750”, l. 49”, 49.4 grams total weight. [1500/2500] Illustrated 890 Fourteen-Karat White Gold, GIA Certified Natural Alexandrite and Diamond Ring, mounted with a central oval-mixed-cut natural alexandrite, with a color change from yellowish green to brownish yellow, GIA certification #5206199697, accented with 112 round brilliant-cut diamonds, with an approximate total weight of 2.42 carats, approximate color G-I and clarity SI2‑I1, size 8, 9.9 grams total weight. [14000/18000] Illustrated

890

204

891

889

894 Pair of Fourteen-Karat Yellow Gold and Fancy Light Brown Diamond Ear Studs, each stud set with a diamond, with an approximate weight of 1.00 carat, approximate clarity I1, 1.0 grams total weight. [800/1200]

892

892 Fourteen-Karat White Gold and White/Champagne Diamond Jewelry Suite, including a pair of hinged hoop earrings, each set with twenty-four white singlecut diamonds and seven champagne round brilliant-cut diamonds, l. 1/2”, and a pendant set with twenty-four white round brilliant-cut diamonds and seven champagne round brilliant-cut diamonds, suspended from a 16” chain, with an approximate total diamond weight of 1.00 carat for all pieces, 8.9 grams total weight. [500/800] Illustrated

896

895 Fourteen-Karat Yellow Gold and Chocolate and White Diamond Ring, set with twelve princess-cut chocolate diamonds and thirty-six round brilliant-cut white diamonds, with an approximate total weight of 1.25 carats, stamped “R. Klein”, size 7, 4.8 grams total weight. [500/800] Illustrated

897

895

893 Le Vian Fourteen-Karat Yellow Gold, Chocolate/ White Diamond and Smoky Topaz Ring, the yellow gold mounting set with a cushion-shaped checkerboard faceted smoky topaz, with an approximate weight of 5.00 carats, and two pear-shaped checkerboard faceted smoky topazes, with an approximate total weight of 0.80 carats, twenty-four round brilliant-cut chocolate diamonds and twenty round white diamonds, with an approximate total diamond weight of 0.50 carats, stamped “14k, CN, Le Vian”, size 7, 7.8 grams total weight. [700/1000]

896 Suite of Three Fourteen-Karat Rose, White and Yellow Gold and Diamond Rings, the three interlocking bands composed of rose, white and yellow gold, each set with nine round brilliant-cut diamonds, with an approximate total weight of 1.20 carats for the trio, size 7, 8.4 grams total weight. [500/800] Illustrated 897 Fourteen-Karat White/Rose Gold and Pink and White Diamond Ring, set with a cushion-cut GIA certified pink diamond, with a weight of 1.16 carats, and clarity of SI1, GIA certification #6167820880, and with forty-two round brilliant-cut diamonds surrounding the stone and on the ring shank, with an approximate total weight of 0.20 carats, size 7‑1/2, 2.5 grams total weight. [1800/2500] Illustrated

205

898 Fourteen-Karat Rose Gold, Morganite and Diamond Ring, mounted with a large oval faceted morganite, with an approximate weight of 10.26 carats, surrounded by a halo of round brilliant-cut diamonds, with additional round brilliant-cut diamonds on the ring shank, with an approximate total weight of 0.75 carats, stamped “M.Christoff, 14K”, size 7‑3/4, 7.0 grams total weight. [1500/2500] Illustrated

899 Fourteen-Karat Rose Gold and Red Spinel Necklace, the necklace composed of red spinel beads interspersed with rose gold balls, all attached and dangling from a fourteen-karat rose gold chain, l. 36”, 80.9 grams total weight. [600/900] Illustrated 900 Spectacular Custom-Made Fourteen-Karat White Gold, Red Spinel and Diamond Ring, set with a central round-cut red spinel with a weight of 22.37 carats, AGTA Lab certification number 93025409, flanked on either side with fourteen round brilliant-cut diamonds, with an approximate total weight of 0.15 carats, color G and clarity VS1‑VS2, size 7‑1/2, 25.0 grams total weight. [35000/50000] Illustrated

898

900

901 Beautiful Custom-Made Fourteen-Karat White Gold, Spinel and Diamond Pendant with Chain, the pendant composed of a round-cut orange-red spinel, with an approximate weight of 0.54 carats, a triangularcut orange-red spinel, with an approximate weight of 1.25 carats, and an oval-cut red spinel, with a weight of 10.13 carats, AGTA Lab certification number 96000709, accented with sixty-one round brilliant-cut diamonds, with an approximate total weight of 0.51 carats, color G and clarity VS1‑VS2, suspended from a fourteen-karat white gold necklace, pendant, l. 1‑3/4”, necklace, l. 18”, 15.0 grams total weight. [20000/40000] Illustrated

899

206

902 Beautiful Custom-Made Fourteen-Karat White Gold, Spinel and Diamond Earrings, each three-drop dangle earring composed of a round-cut orange-red spinel, with an approximate total weight of 1.26 carats for the pair, a triangular-cut orange-red spinel, with an approximate total weight of 1.86 carats for the pair, an oval-cut red spinel, one with a weight of 3.44 carats and the other with a weight of 3.56 carats, AGTA Lab certification number 96000409‑96000309, accented by fifty-eight round brilliant-cut diamonds, with an approximate total weight of 0.42 carats for the pair, color F and clarity VS1‑VS2, l. 2”, 18.0 grams total weight. [7000/10000] Illustrated

901

903

905

902

903 Fourteen-Karat Yellow Gold and Garnet MultiStrand Necklace, with a sleek design and composed of ten strands of polished tube-shaped garnets, finished with a fourteen-karat yellow gold toggle clasp, l. 28”, 125.8 grams total weight. [500/800] Illustrated

904 Le Vian Fourteen-Karat Rose Gold, Chocolate/ White Diamond and Garnet Ring, set with an oval checkerboard-faceted garnet, with an approximate weight of 1.25 carats, thirty-eight round brilliant-cut chocolate diamonds and forty-two round white diamonds, with an approximate total weight of 0.65 carats, marked “14k” with the Le Vian logo, size 7, 5.2 grams total weight. [900/1200] 905 Le Vian Fourteen-Karat Rose Gold, Chocolate/White Diamond and Garnet Ring, set with a cushion-shaped checkerboard-faceted garnet, with an approximate weight of 1.00 carat, forty round brilliant-cut chocolate diamonds and thirty-eight round white diamonds, with an approximate total diamond weight of 1.00 carat, marked “14k” with the Le Vian logo, size 7, 6.4 grams total weight. [600/900] Illustrated

207

906 Eighteen-Karat White/Yellow Gold, Ruby and Diamond Bangle Bracelet, composed with twenty cabochon-cut rubies, with an approximate total weight of 63.0 carats, each ruby drilled and fitted with a round brilliant-cut diamond, and surrounded by a halo of round brilliant-cut diamonds, with an approximate total diamond weight of 4.25 carats, approximate color J-K and clarity I1‑I2, inside circumference, 6”, 46.0 grams total weight. [1800/2500] Illustrated 907 Twenty-One-Karat Yellow Gold and Enamel Necklace and Earring Suite, the filigree necklace accented with red and green enamel, together with drop earrings with a like design, necklace, l. 18”, earring, l. 1‑1/2”, 42.0 grams total weight. [2500/4000] Illustrated

907

906

908 Fourteen-Karat Yellow Gold, Pink Sapphire and Diamond Jewelry Suite, including a ring set with twelve baguette-cut treated pink sapphires, with an approximate total weight of 1.46 carats, and twentyfour round-cut diamonds, with an approximate total weight of 0.33 carats, color G-I and clarity VVS2‑VS1, marked “Le Vian”, size 6‑3/4, together with a pair of earrings set with twelve princess-cut treated pink sapphires, with an approximate total weight of 1.48 carats, and forty single-cut diamonds, with an approximate total weight of 0.17 carats, color E-F and clarity VS1‑SI1, l. 1/4”, 15.0 grams total weight. [900/1200] 909 Fourteen-Karat Yellow Gold, Ruby and Diamond Necklace, composed of a pendant set with an ovalcut treated ruby, with an approximate weight of 6.09 carats, surrounded by an ornate setting mounted with round brilliant-cut diamonds, suspended from a necklace partially mounted with round brilliant-cut diamonds, with an approximate total diamond weight of 6.15 carats, necklace, l. 17”, pendant, l. 1”, 20.7 grams total weight. [3500/5000] Illustrated

909

208

910 Italian Eighteen-Karat Yellow Gold Necklace, the long banana-link necklace composed of smooth and hammered links, stamped “Italy, 18k, A/W”, l. 40”, 29.6 grams total weight. [1500/2500]

911 Fourteen-Karat Yellow Gold, Ruby and Diamond Ring, mounted with a radiant-cut treated ruby, with an approximate weight of 13.37 carats, accented around the stone and on the shank of the ring with round brilliant-cut diamonds, with an approximate total weight of 1.43 carats, approximate color H-J and clarity I1‑I2, size 8‑3/4, 6.7 grams total weight. [1200/1800] Illustrated 912 Fourteen-Karat Yellow Gold and Ruby Necklace, composed of twentynine treated ruby roundels, with an approximate total weight of 1040.0 carats, separated by twisted yellow gold roundels and finished with a twisted gold clasp, l. 21”, 185.9 grams total weight. [500/800] Illustrated

914

911

913 Fourteen-Karat Yellow Gold, Ruby and Diamond Ring, mounted with a pear-shaped treated ruby, with an approximate weight of 7.13 carats, and accented around the stone and on the shank of the ring with round brilliant-cut diamonds, with an approximate total weight of 0.77 carats, approximate color I-K and clarity I1‑I2, size 7‑3/4, 4.3 grams total weight. [600/900]

912

914 Fourteen-Karat Yellow Gold, Ruby and Diamond Necklace, composed of thirty-eight oval-cut treated rubies, with an approximate total weight of 65.39 carats, each surrounded by round brilliant-cut diamonds, with an approximate total weight of 5.86 carats, l. 17”, 41.9 grams total weight. [5000/8000] Illustrated

209

915 Beautiful Fourteen-Karat Yellow Gold, Star Ruby and Diamond Ring, mounted with a round cabochon-cut star ruby, measuring approximately 15.5 mm, and with an approximate weight of 25.0 carats, surrounded by twentyfour round brilliant-cut diamonds, with an approximate total weight of 0.75 carats, approximate color G-H and clarity VS1, size 7, 11.9 grams total weight. Provenance: The Flatt Collection. [4000/7000] Illustrated

918

915

916 Eighteen-Karat Yellow Gold and Tourmaline Michelle Krespi Pendant with Chain, the pendant mounted with a cushion-cut pink tourmaline, with an approximate weight of 4.14 carats, and an oval-cut pink tourmaline, with an approximate weight of 0.86 carats, and three round brilliant-cut diamonds, with an approximate total weight of 0.04 carats, l. 1”, suspended from a five-strand chain, l. 16”, 15.0 grams total weight. [500/800] Illustrated

917 Fourteen-Karat White Gold, Tourmaline and Diamond Ring, the large oval faceted tourmaline, with an approximate weight of 4.80 carats, surrounded by sixteen round brilliant-cut diamonds, with an approximate total weight of 0.25 carats, size 8, 5.9 grams total weight. [600/900] 918 Beautiful Fourteen-Karat White Gold, Tourmaline and Diamond Ring, mounted with an oval-cut natural tourmaline, with a total weight of 13.78 carats, GIA certification #6173302265, the shank and halo around the stone mounted with forty-six round brilliant-cut diamonds, with an approximate total weight of 1.36 carats, approximate color G-I and clarity SI2‑I2, size 7‑3/4, 10.2 grams total weight. [4000/7000] Illustrated 919 Pair of Eighteen-Karat White Gold, Ruby and Diamond Earrings, the dangle earrings set with two emerald-cut diamonds, twenty channel-set calibrated-cut baguette diamonds, and eighty-four round brilliant-cut diamonds, with an approximate total weight of 1.26 carats for the pair, approximate color G-I and clarity VVS2‑VS2, accented with forty-eight calibrated square-cut channelset rubies, with an approximate total weight of 0.96 carats for the pair, l. 1”, 9.0 grams total weight. [10000/15000] Illustrated 920 Platinum, Diamond and Ruby Ring, mounted with a central emerald-cut diamond, with an approximate weight of 0.53 carats, approximate color G and clarity VVS2, surrounded by twenty-eight round brilliant-cut diamonds, with an approximate total weight of 0.28 carats, approximate color H-I and clarity VVS2‑VS1, and twenty calibrated-cut rubies, with an approximate total weight of 0.25 carats, size 7‑1/4, 6.0 grams total weight. [4500/7000] Illustrated

916

210

922

919

922

923 Fourteen-Karat White Gold and Diamond Pendant with Chain, the pendant set with a central round brilliantcut diamond, with an approximate weight of 0.92 carats, approximate color H and clarity I1, surrounded by a halo of round brilliant-cut diamonds, and with additional diamonds on the bail, with an approximate total weight of 0.31 carats, approximate color G-I and clarity VS2‑I1, suspended from a fourteen-karat white gold chain, l. 16”, 4.0 grams total weight. [3500/5000] Illustrated

920

921 Le Vian Eighteen-Karat White Gold, Diamond and Ruby Ring, the open flower design ring set with fifty-three round brilliant-cut diamonds, with an approximate total weight of 0.50 carats, the three flowers set with eighteen round faceted rubies, stamped “Le Vian, 18k”, size 6‑3/4, 9.0 grams total weight. [600/900] 922 Unusual Fourteen-Karat White Gold, Sapphire, Ruby and Diamond Flip Ring, designed to flip from a side mounted with nine invisible-set square faceted sapphires, with an approximate total weight of 0.36 carats, surrounded by a halo of round brilliant-cut diamonds, with an approximate total weight of 0.36 carats, to the other side mounted with nine invisible-set square faceted rubies, with an approximate total weight of 0.36 carats, surrounded by a halo of round brilliant-cut diamonds, with an approximate total weight of 0.36 carats, size 7, 10.0 grams total weight. [1500/2500] Illustrated

923

924 Fourteen-Karat White Gold and Diamond Solitaire Ring, mounted with a round brilliant-cut diamond, with an approximate weight of 1.20 carats, approximate color F and clarity SI2, size 7‑1/2, 2.6 grams total weight. [4500/7000]

211

925 Pair of Fourteen-Karat White Gold and Diamond Dangle Earrings, each earring mounted with a round brilliant-cut diamond, with an approximate total weight of 0.93 carats for the pair, and twenty-one round brilliant-cut diamonds, with an approximate total weight of 0.34 carats for the pair, approximate color H-I and clarity SI1‑SI2, l. 1”, 3.0 grams total weight. [1800/2500] Illustrated

928

926 Eighteen-Karat Yellow Gold and Diamond Ring, the oval mounting with a red and black lacquered concave interior with a lozenge-shaped diamond cluster, set with nine single-cut diamonds, surrounded by a border of eighteen single-cut diamonds, with an approximate total diamond weight of 0.55 carats, size 6‑3/4, 8.3 grams total weight. [500/800]

925

927 Fourteen-Karat White Gold Pendant and Chain, the drop pendant in a tassel design and set with one round brilliant-cut diamond, eighteen single-cut diamonds and ten round brilliant-cut diamonds, with an approximate total weight of 0.50 carats, l. 1‑1/2”, suspended from a 16” fourteen-karat white gold chain, l. 16”, 4.2 grams total weight. [600/900] Illustrated

930 927 928 Pair of Custom-Designed Fourteen-Karat White Gold and Diamond Drop Dangle Earrings, the unusual earrings set with approximately 216 round brilliant-cut diamonds, with an approximate total weight of 2.20 carats for the pair, approximate color I-J and clarity I1‑I2, l. 2”, 13.0 grams total weight. [2500/4000] Illustrated 929 Eighteen-Karat White Gold and Diamond Necklace, with a link design, and set with approximately 595 round brilliant-cut diamonds, with an approximate total weight of 4.94 carats, approximate color G-I and clarity SI1‑I1, l. 18‑1/2”, 54.0 grams total weight. [5000/8000] Illustrated

929

212

930 Eighteen-Karat White Gold and Diamond Ring, mounted with a round brilliant-cut diamond, with an approximate weight of 6.01 carats, approximate color G and clarity I2, surrounded by a halo of round brilliant-cut diamonds, with additional round brilliant-cut diamonds mounted on the shank, with an approximate total weight of 1.46 carats, approximate color G-I and clarity VS2‑SI1, size 4‑1/2, 4.0 grams total weight. [12000/18000] Illustrated

935 932

931 Fourteen-Karat White Gold and Diamond Hoop Earrings, the inside/outside hoop earrings set with single-cut diamonds, with an approximate total weight of 1.10 carats for the pair, approximate color H-I and clarity VVS2‑VS1, l. 1‑1/2”, 6.0 grams total weight. [1200/1800]

934 Fourteen-Karat White Gold and Diamond Engagement Ring, set with a center round-cut diamond, with an approximate weight of 0.91 carats, approximate color D and clarity I1, and four round-cut diamonds mounted on the side of the ring, with an approximate total weight of 0.10 carats, approximate color G-I and clarity SI2‑I1, size 6‑3/4, 4.0 grams total weight. [900/1200] Illustrated 935 Fourteen-Karat White Gold, Pearl and Diamond Brooch, in a grape cluster design, set with forty-four single-cut diamonds, with an approximate total weight of 1.00 carat, approximate color E-F and clarity VVS2‑VS1, and twenty-six silver/white-colored pearls with a good luster, ranging in size from 5.0 mm to 8.0 mm, size 1‑1/2” x 2‑1/4”, 20.0 grams total weight. [900/1200] Illustrated

934

932 Eighteen-Karat White Gold and Diamond Ring, mounted with a central GIA certified marquise-cut diamond, with a weight of 1.30 carats, color G and clarity I1, GIA certification #2151092919, accented with a double halo of round brilliant-cut diamonds, and down the shank of the ring, with an approximate total weight of 1.00 carat, approximate color G-I and clarity SI2‑I1, size 7‑1/4, 5.8 grams total weight. [4000/7000] Illustrated 933 Fourteen-Karat White Gold and Diamond Cross Pendant on Chain, the pendant set with thirty-four European-cut diamonds, with an approximate total weight of 1.27 carats, approximate color G-I and clarity SI1‑I1, l. 2”, suspended from a 16” fourteen-karat white gold chain, 6.0 grams total weight. [2000/4000]

936

936 Pair of Platinum, Diamond and Cultured Pearl Earrings, each earring mounted with a gray cultured pearl, measuring approximately 14.2 mm, and ten marquise-cut diamonds, with an approximate total weight of 4.00 carats for the pair, approximate color E-F and clarity VVS1‑VVS2, l. 7/8”, 21.6 grams total weight. Provenance: Christie’s, New York, Fine Jewels, June 10, 1999, lot 325, p. 144; The Flatt Collection. [4000/7000] Illustrated

213

937 Italian Eighteen-Karat Yellow Gold and Baroque Pearl Necklace, the impressive necklace composed of eleven large gray-colored baroque pearls with a good luster, ranging from 15.0 mm to 17.0 mm in diameter, each separated by a large eighteen-karat “S” link, finished with a hidden clasp designed as an “S” link, stamped “Italy, 18k”, l. 20‑1/4”, 208.4 grams total weight. Provenance: The Flatt Collection. [3000/5000] Illustrated

939 Fourteen-Karat Yellow Gold, Opal and Diamond Bracelet, composed of thirteen oval-shaped cabochons, measuring approximately 9.00 mm x 7.00 mm, with an approximate total weight of 15.26 carats, each surrounded by a halo of round brilliantcut diamonds, with an approximate total weight of 2.79 carats, l. 7”, 20.8 grams total weight. [1800/2500]

940

937 942 938 Eighteen-Karat Yellow Gold, Moonstone and Diamond Temple St. Claire Locket with Pearl Necklace, the Temple St. Claire pendant set with a large cabochon-cut moonstone, framed by three rows of eighteen-karat yellow gold accented by cabochon-cut moonstones, the back of the locket with three singlecut diamonds, with an approximate total weight of 0.10 carats, l. 1‑1/2”, 39.0 grams total weight, suspended by a strand of freshwater pink/rose pearls with very high luster, measuring approximately 5.5 mm to 6.0 mm in diameter, finished with an eighteen-karat yellow gold clasp, l. 52”. [1500/2500] Illustrated

943

938

214

940 Eighteen-Karat White/Rose Gold, Multi-Stone and Diamond Earrings, each earring mounted with a roundcut yellow beryl, with an approximate weight of 1.62 carats, an oval-shaped blue topaz, with an approximate weight of 1.88 carats, and a pear-shaped light amethyst, with an approximate weight of 18.53 carats, each surrounded by round brilliant-cut diamonds, with an approximate total weight of 0.87 carats, approximate color E-F and clarity VVS2‑VS1, l. 2”, 12.0 grams total weight. [1800/2500] Illustrated

941 Fourteen-Karat Yellow Gold, Platinum, Aquamarine and Diamond Ring, set with a faceted emerald-cut aquamarine, with an approximate weight of 8.85 carats, accented by four single-cut diamonds set in platinum, with an approximate total diamond weight of 0.06 carats, size 11, 7.5 grams total weight. [1000/1500] 942 Fourteen-Karat Gold Vermeil, Labradorite and Diamond Tassel Necklace, the labradorite tassel with an elaborate bead cap, mounted with approximately 372 round-cut diamonds, with an approximate total weight of 3.72 carats, and eleven uncut diamonds in various shapes, with an approximate total weight of 2.30 carats, l. 7‑1/2”, suspended from a labradorite necklace, l. 28”, 99.0 grams total weight. [500/800] Illustrated 943 Eighteen-Karat White Gold and Blue and White Diamond Engagement Ring with Band, the floraldesigned mounting set with a round brilliant-cut treated blue diamond, with an approximate weight of .70 carats, the “petals” and the ring shank pave-set with approximately 110 round brilliant-cut diamonds, with an additional twenty-two on the separate band, with an approximate total weight of 1.25 carats, stamped “H. Emperor, 18k, 750”, size 7‑1/2, 4.7 grams total weight. [1200/1800] Illustrated 944 Fourteen-Karat White Gold, Tanzanite and Diamond Earrings, each earring mounted with a pearshaped and triangle-mixedcut treated tanzanite, with an approximate total weight of 12.41 carats for the pair, and accented with 160 round brilliant-cut diamonds, with an approximate total weight of 2.20 carats for the pair, approximate color G-I and clarity SI1‑SI2, l. 1‑3/4”, 10.3 grams total weight. [3500/5000] Illustrated

946

945 Fourteen-Karat White Gold, Tanzanite and Diamond Ring, mounted with a central GIA certified cushion modified-brilliant-cut tanzanite, with a weight of 9.26 carats, GIA certification #1166725885, accented around the stone and on the ring shank by sixty round brilliant-cut diamonds, with an approximate total weight of 1.44 carats, approximate color G-I and clarity SI1‑I1, size 8, 5.7 grams total weight. [6000/9000] Illustrated

948

946 Unusual Fourteen-Karat White Gold and Diamond Necklace, composed of seven marquise-cut graduated diamonds, each fashioned to be independently removable, with an approximate total weight of 2.92 carats, approximate color D-E and clarity SI1‑SI2, all suspended from a fourteen-karat white gold necklace, l. 17”, 7.0 grams total weight. [900/1200] Illustrated

944

947 Pair of Fourteen-Karat White Gold and Diamond Hoop Earrings, the large hoop earrings with two pairs of removable fourteen-karat white gold and diamond pendants, one set with an approximate .10‑carat marquise-cut diamond, surrounded by four diamond baguettes, and the other each set with nine princess-cut diamonds, eleven full-cut diamonds and three baguettecut diamonds, with an approximate total weight of .65 carats for the pair, hoop dia. 1‑5/8”, 7.9 grams total weight. [700/1000]

945

948 Fourteen-Karat White Gold and Diamond Ring, set with forty-one round brilliant-cut diamonds and seven baguette-cut diamonds, with an approximate total weight of 1.45 carats, approximate color D-H and clarity VVS2‑SI2, size 7, 6.0 grams total weight. [1200/1800] Illustrated

215

949

949 Eighteen/Fourteen-Karat Gold and Diamond Jewelry Suite, including a pair of eighteen-karat white gold hinged hoop earrings, designed with two rows of baguette-cut diamonds separated by three rows of round brilliant-cut diamonds, with an approximate total weight of 1.25 carats for the pair, dia. 1/2”, and a fourteen-karat white/yellow gold ring set with ten round brilliant-cut diamonds, with an approximate total weight of 1.00 carat, approximate color E-F and clarity VVS2‑VS1, size 7‑3/4”, 16.6 grams total weight. [800/1200] Illustrated

952

952 Fourteen-Karat White Gold, Amethyst and Diamond Ring, mounted with a square-cut amethyst, with an approximate weight of 13.20 carats, surrounded by thirtytwo round brilliant-cut diamonds, with an approximate total weight of 0.75 carats, approximate color H-I and clarity VS1‑VS2, size 7‑1/2, 10.0 grams total weight. [2500/4000] Illustrated

951

950 Eighteen-Karat White Gold and Diamond Pendant with Chain, the articulated pendant composed of three graduated sections, mounted with forty-three round-cut diamonds, with an approximate total weight of .20 carats, suspended from a three-strand white gold chain, chain, l. 16”, pendant, l. 1”, 8.1 grams total weight. [500/800] 951 David Yurman Sterling Silver, Fourteen-Karat Yellow Gold, Amethyst and Green Onyx Cable Bracelet, the 10.0 mm Renaissance Collection cuff bracelet with fourteen-karat yellow gold ends, each set with a round 10.0 mm amethyst cabochon and three 4.0 mm green onyx cabochons, marked “D. Yurman, 14K Sterling”, inside circumference, 6‑1/2”, 49.6 grams total weight. [600/900] Illustrated

216

953

953 Pair of Fourteen-Karat Yellow Gold, Amethyst and Pearl Earrings, the drop earrings in the style of Elizabeth Locke, each set with an oval amethyst cabochon, with an approximate total weight of 1.00 carat for the pair, and an 8.5 mm rose-colored pearl, l. 1‑1/4”, 8.0 grams total weight. [500/800] Illustrated

956 Fourteen-Karat Yellow Gold, Amethyst and Diamond Ring, mounted with a large oval faceted amethyst, with an approximate weight of 24.10 carats, surrounded by thirtysix round brilliant-cut diamonds, with an approximate total weight of 2.00 carats, size 8, 18.8 grams total weight. [700/1000] Illustrated

954

954 Custom-Designed Fourteen-Karat Rose Gold, Amethyst and Diamond Ring, the large domed ring mounted with ninety-four round-cut amethysts, with an approximate total weight of 3.32 carats, and 140 round brilliant-cut diamonds, with an approximate total weight of 4.14 carats, approximate color light brown and clarity VS1‑SI1, size 8, 18.0 grams total weight. [6000/9000] Illustrated

956

957 Audemars Piguet Ladies Eighteen-Karat Yellow Gold and Diamond Royal Oak Wristwatch, the tonneaushaped, water resistant watch with a screw-down crown, a champagne-colored dial with diamond markers, and an eighteen-karat Audemars Piguet bracelet with a deployment clasp, the watch with a quartz movement, marked “Royal Oak, Quartz, No 566”, inside circumference, 5‑1/2”, 88.0 grams total weight. Provenance: The Flatt Collection. [6000/9000] Illustrated

955

955 Fourteen-Karat Yellow Gold Cuff Bracelet, the wide bracelet composed of geometric shapes joined together in a repeating pattern, w. 2‑1/8”, inside circumference, 6‑3/4”, 26.0 grams total weight. [900/1200] Illustrated

957

217

958 “Clioro” Eighteen-Karat Yellow Gold Necklace, the bold necklace composed of curved links, with a hidden curved link clasp, stamped “Clioro, 750”, w. 1/2”, l. 17‑1/2”, 113.3 grams total weight. [3500/5000]

965

959

959 Fourteen-Karat Yellow Gold Bracelet, the hollow link bracelet finished with a toggle clasp, l. 8‑1/2”, 31.6 grams total weight. [500/800] Illustrated

962 Fourteen-Karat Yellow Gold and Diamond Necklace, the Florentine-finished necklace with a custom-designed pendant, mounted with fourteen round brilliant-cut diamonds, with an approximate total weight of 0.47 carats, approximate color E-F and clarity SI1‑I1, l. 15”, 41.6 grams total weight. [700/1000]

960 Italian Eighteen-Karat Yellow Gold Necklace, with an infinity knot design, stamped “Italy, 750”, l. 18”, 71.5 grams total weight. [3000/5000] Illustrated

966

960

961 Baume and Mercier Lady’s Eighteen-Karat Yellow Gold Hampton Wristwatch, the rectangular gold case measuring 22.0 mm x 33.5 mm, not including the crown, the watch with a quartz movement, a silver-white textured dial with gold markers and a black leather band with an adjustable gold-plated stainless steel Baume and Mercier deployment buckle, model #MV045229, serial #3,119,XXX, PB, case, dial and crown signed “Baume and Mercier”, 36.4 grams total weight. [700/1000]

218

963 Fourteen-Karat Yellow Gold and Diamond Ring, the tapered stepped mounting set with an oval-cut diamond, with an approximate weight of 0.66 carats, approximate color H and clarity VS1, size 7, 4.9 grams total weight. [1500/2500] 964 Eighteen-Karat White/Yellow Gold and Diamond Ring, mounted with a central GIA certified round brilliantcut diamond, with a weight of 0.71 carats, color L and clarity SI2, GIA certification #2175338805, accented on the ring shank with twenty invisible-set princess-cut diamonds, with an approximate total weight of 0.80 carats, approximate color H-J and clarity VS2‑SI1, size 6‑3/4, 8.2 grams total weight. [3000/5000]

965 Pair of Fourteen-Karat Yellow Gold and Diamond Earrings, the custom-made earrings with a post clip back and pave-set with 120 round brilliant-cut diamonds, with an approximate total weight of 4.89 carats for the pair, approximate color E-F and clarity VVS2‑VS1, l. 1”, 16.0 grams total weight. [3500/5000] Illustrated 966 Custom-Made Fourteen-Karat Yellow Gold and Diamond Pendant with Chain, the pendant mounted with forty-six round brilliant-cut diamonds, with an approximate total weight of 2.36 carats, approximate color G-I and clarity VS1‑SI2, l. 1‑1/4”, suspended from a fourteen-karat yellow gold box chain, l. 18”, 17.0 grams total weight. [1800/2500] Illustrated

969

970

967

967 Fourteen-Karat Yellow Gold and Diamond Band, the wide band pave-set with fifty-nine round brilliant-cut diamonds, with an approximate total weight of 2.53 carats, approximate color E-F and clarity VVS2‑VS1, size 7, 10.0 grams total weight. [2000/4000] Illustrated 968 Fourteen-Karat White/Yellow Gold and Diamond “Bubble” Necklace, mounted with fortyfour bezel-set round brilliant-cut diamonds, with an approximate total weight of 2.11 carats, approximate color E-F and clarity SI1‑I1, l. 15”, 27.0 grams total weight. [2500/4000] Illustrated 969 Fourteen-Karat Yellow Gold and Diamond Rolex Watch, the Air King Rolex with a black diamond dial and diamond bezel, with an approximate total diamond weight of 0.80 carats, approximate color E-F and clarity VVS2‑VS1, model #6503, serial #36791, on a black leather strap, l. 9‑1/2”, 55.4 grams total weight. [3500/5000] Illustrated 970 Eighteen-Karat Yellow Gold and Diamond Bracelet, with a twisted gold design, mounted with ten round brilliant-cut diamonds, with an approximate total weight of 0.95 carats, approximate color E-F and clarity VVS1‑VVS2, l. 8”, 56.0 grams total weight. [1400/1800] Illustrated

968

219

971 Eighteen-Karat Yellow Gold Tiffany and Company Watch, with a quartz movement and a cabochon-cut sapphire stem, with a black leather watch band, l. 8”, 19.0 grams total weight. [600/900] 972 Eighteen-Karat Yellow Gold and Diamond “Sea Urchin” Brooch, set with a round full-cut diamond, with an approximate weight of 0.15 carats, approximate color G and clarity VS1, dia. 1‑3/8”, 25.2 grams total weight. [500/800] 976

973 Eighteen-Karat Yellow Gold Necklace, the interwoven foxtail necklace with a high polish, stamped by maker Annaratone & Magyary Alessandria, l. 17”, 79.0 grams total weight. [2000/4000] Illustrated 974 Interesting Twenty-Two-Karat Yellow Gold Coin Bracelet, the unusual bracelet composed of twenty-three linked British coins, ca. 1911, l. 7”, 57.0 grams total weight. [4000/7000] Illustrated 975 Pair of Eighteen-Karat Yellow Gold Ear Clips, the large ear clips designed with a domed swirling pattern, h. 1‑1/4”, 24.0 grams total weight. [500/800] 976 Unusual Antique Victorian Nine-Karat Yellow Gold and Sterling Silver Brooch, fourth quarter 19th century, comprising a silver cherub within a gold frame of three circles decorated with scrolling grapevines, w. 1‑5/8”, 17.6 grams total weight. Provenance: The Flatt Collection. [500/800] Illustrated

973

974

220

977 “F. Dioffner, London” Gentleman’s Eighteen-Karat Yellow Gold Hunting Case Pocket Watch with Chain, the hunting case made by Fred Thoms, Sheffield, ca. 1898‑1899, the pin-set, twenty-one jewels keyless winding gilt movement signed “F. Dioffner, London, 1922, Class A Kew Certificate, 75 Marks”, the white porcelain dial with Roman numerals and a sub second dial, diameter without crown, 54.0 mm, the watch accompanied with a curved link watch chain with a hardstone scarab, 207.6 grams total weight. Provenance: The Flatt Collection. [1000/1500] Illustrated 978 Collection of Three Fourteen-Karat Yellow Gold Bracelets, including a woven beaddesigned bracelet with a clasp in a stirrup design set with four 2.5 mm round blue sapphire cabochons and three full-cut diamonds, with an approximate total weight of .015 carats, l. 7‑1/2”, a woven interlocking chain-designed bracelet set with four 4.0 mm round sapphire cabochons, l. 7‑1/4”, and a textured diamond pattern link bracelet, l. 7”, 44.4 grams total weight. [600/900] Illustrated

977

980

981 Le Vian Fourteen-Karat Rose Gold and Diamond Ring, comprised of three cushion-shaped diamond clusters set with seventy-nine round brilliant-cut diamonds, with an approximate total weight of 0.75 carats, stamped “14k” with the Le Vian logo, size 6‑3/4”, 3.6 grams total weight. [700/1000] Illustrated

978

979 Three Fourteen-Karat White/Yellow Gold Bracelets, including a serpentine link bracelet with alternating links of yellow and white gold, l. 7‑1/4”, a twisted rope and bar link bracelet of yellow and white gold, divided by eight yellow gold screw heads, l. 7”, and a bright-cut square link yellow gold bracelet, l. 7‑1/4”, 54.5 grams total weight. [600/900] 980 Eighteen-Karat Yellow/White/Rose Gold and Yellow/White Diamond Ring, the hand-engraved ring mounted with seventy-eight round brilliant-cut diamonds, with an approximate total weight of 0.64 carats, approximate color D-E and clarity VVS2‑VS1, and twentythree round brilliant-cut fancy yellow diamonds, with an approximate total weight of 0.15 carats, approximate clarity VVS2‑VS1, size 7‑1/2, 11.0 grams total weight. [2000/4000] Illustrated

981

982 Le Vian Fourteen-Karat Rose Gold and Chocolate and White Diamond Ring, set with a round brilliant-cut chocolate diamond, with an approximate weight of 0.45 carats, surrounded by a halo of twenty round brilliantcut white diamonds and twenty-four round brilliant-cut chocolate diamonds on the shank, with an approximate total weight of 1.00 carat, stamped “Le Vian”, size 7‑1/4, 3.7 grams total weight. [500/800]

221

983 Le Vian Fourteen-Karat Rose Gold, Chocolate and White Diamond Ring, the bypass-designed ring set with forty-six round brilliant-cut chocolate diamonds and thirty-two round brilliant-cut white diamonds, with an approximate total diamond weight of 1.25 carats, stamped “Le Vian, SI2‑3, 14k”, size 7, 6.8 grams total weight. [800/1200] Illustrated

985 Four-Piece Collection of Eighteen/Fourteen-Karat Yellow Gold, Sapphire and Diamond Jewelry, including an eighteen-karat yellow gold ring set with an oval faceted sapphire, with an approximate weight of 0.30 carats, and nine full-cut diamonds, with an approximate total weight of 0.20 carats, size 8, an eighteen-karat yellow gold ring set with a round sapphire cabochon, with an approximate weight of 0.20 carats, and sixteen round fullcut diamonds, with an approximate total weight of 0.25 carats, size 7‑3/4, a fourteen-karat yellow gold ring set with an oval faceted sapphire, with an approximate weight of 0.50 carats, and ten round full-cut diamonds, with an approximate total weight of 0.40 carats, size 7‑1/2, and a fourteen-karat yellow gold heart pendant set with eight round faceted sapphires, with an approximate total weight of 0.25 carats, and eight round full-cut diamonds, with an approximate total weight of 0.25 carats, suspended on an 18” chain, 23.2 grams total weight. [500/800]

983

984 Lady’s Eighteen-Karat Yellow Gold and Diamond Rolex President Wristwatch, the Rolex Datejust Oyster Perpetual mechanical watch with non-quick set date and a blue dial with gold markers, the white gold bezel set with forty-seven round brilliant-cut diamonds, with an approximate total weight of 1.00 carat, the eighteenkarat Rolex hidden clasp deployment buckle attached to an eighteen-karat yellow gold associated President-style bracelet, reference #1679, serial #6,674,XXX, inside circumference, 6”, 67.0 grams total weight. [4500/7000] Illustrated

984

222

986

986 Fourteen-Karat Yellow Gold, Ruby, Sapphire and Diamond Bracelet and Ring, the Renaissance Revivalstyle bracelet set with five oval faceted sapphires, with an approximate total weight of 3.00 carats, and five square-cut rubies, with an approximate total weight of 0.75 carats, l. 7”, and the eighteen-karat yellow gold retrodesigned ring set with twelve calibre-cut sapphires, with an approximate total weight of 0.50 carats, twelve calibrecut rubies, with an approximate total weight of 0.50 carats, and thirty-two round full-cut diamonds, with an approximate total weight of 0.25 carats, size 7‑1/2, 29.6 grams total weight. [700/1000] Illustrated 987 Fourteen-Karat Yellow Gold, Diamond, Sapphire, Ruby and Emerald Bird Brooch, the stylized hovering bird set with a full-cut diamond for the eye, with an approximate weight of 0.07 carats, the body set with twenty-one round faceted sapphires, with an approximate total weight of 1.50 carats, and the branch set with three round faceted emeralds, with an approximate total weight of 0.03 carats, and three round faceted rubies as the flowers, with an approximate total weight of 0.03 carats, l. 1‑1/4”, w. 3‑5/16”, 14.2 grams total weight. [500/800] Illustrated

988 Eighteen-Karat Yellow Gold, Purple Sapphire and Tsavorite Bracelet, with a twisted link design separated by five round faceted purple sapphires, with an approximate total weight of 2.25 carats, alternating with five round faceted tsavorites, with an approximate total weight of 2.25 carats, l. 6‑3/4”, 18.4 grams total weight. [500/800]

991 Vintage Judith Leiber Pave Crystal Minaudiere, 1980s, having a gold and silver trellis design above a leaf and berry band, with a push button clasp and drop in chain, the gold kidskin-lined interior with a gold metal-trimmed center divide, one side bearing the gold metal label stamped “Judith Leiber” in script, retains the matching kidskin coin purse, gold swivel mirror, tasseled comb and dust bag, presented in the original “reptile” box, h. 4‑1/2”, w. 5‑1/4”, d. 1‑1/2”, chain drop,19‑3/4”. [1000/1500] Illustrated

987

991

989 Fourteen-Karat White Gold, Tsavorite Garnet and Diamond Ring, mounted with a central cushion-cut green tsavorite garnet, with an approximate weight of 2.97 carats, flanked on either side by a half-moon-shaped bezel-set diamond, with an approximate total weight of 0.50 carats, approximate color K-L and clarity VS1‑VS2, size 7, 8.0 grams total weight. [2000/4000] 990 Le Vian Fourteen-Karat Rose Gold, Diamond, Demantoid Garnet and Peridot Ring, the pear-shaped ring set with a conforming faceted pear-shaped applegreen peridot, with an approximate weight of 2.00 carats, surrounded by twenty-three round brilliant-cut diamonds, with an approximate total weight of 0.25 carats, and eighty-seven pave-set round faceted demantoid garnets, with an approximate total weight of 1.00 carat, stamped “Le Vian, 14K, CN”, size 6‑3/4, 6.4 grams total weight. [900/1200]

992

992 Vintage Crystal Fox Full Length Coat, 1980s, with shawl collar, inset straight sleeves, two hook closure and two on-seam pockets, lined in chocolate brown satin, embroidered name, labeled “Koslow’s”, size 8, l. 48”. [600/900] Illustrated

223

993 MCM Cognac Textured Leather Shoulder Bag, with an adjustable shoulder strap, drawstring closure and logostamped and buckled side detail, with gold metal logo and hardware, the cognac pigskin-lined interior with two open pockets, a flap pocket fronting a slip pocket and a zippered pocket bearing a logo-stamped leather patch, h. 11”, w. 14”, d. 6‑1/2”, strap drop: 10”. [500/800] Illustrated

995

993

994 Vintage Judith Leiber Brown Karung Frame Handbag, 1980s, the gathered karung body with a toggle design silver and gold frame inset with tiger eye cabochon, having a side pull closure and drop-in gold chain, the interior frame signed, the toast satin interior bearing the gold metal label stamped “Judith Leiber” in script, with a scalloped slip pocket and opposing zippered pocket, retains the matching satin coin purse, gold swivel mirror, tasseled comb and dust bag, presented in the original gray “reptile” box labeled style 8795, h. 6‑1/4”, w. 9”, d. 3”, chain drop: 19‑1/2”. [500/800] Illustrated

994

224

995 Vintage Medium Brown Mink Swing-Back Stroller, 1980s, with shawl collar and two hook closure, the deep dolman sleeves in a bias design, with two on-seam side pockets, the chocolate silk-lined interior with a hidden glove pocket, embroidered name, labeled “Maison Weiss/ Jackson”, size 10‑12, l. 34”. [600/900] Illustrated 996 Prada Goldenrod Textured Leather Hobo, having shoulder strap with buckle ends and luggage tag detail, zippered top closure, silver Prada logo and hardware, lined in goldenrod logo fabric with a snap pocket and a zippered pocket with a leather patch labeled “Prada/Milano”, h. 12‑1/2”, w. 14”, d. 7”, strap drop: 10”. [500/800] Illustrated

996

998 Vintage Full Length Silver Fox Coat, 1980s, with a deep shawl collar, three hook closure, on-seam pockets and inset straight sleeves, lined in silver “bemberg” silk with an attached self tie and hidden glove pocket, labeled “Saga/ Fox”, size 8, l. 46”. [600/900] Illustrated

997

997 Dolce & Gabbana Leopard Print Pony Hair “Miss Urbanette” Weekender, with chocolate brown patent leather handles, a removable brown textured leather shoulder strap and silver hardware, the textured brown leather-trimmed zippered closure with buckled ends, the top-stitched and pleated leopard body bearing the silver metal label “Dolce & Gabbana/Women’s Collection/Via San Damiano, 7‑Milano/Italia”, lined in chocolate denim with a small labeled slip pocket and a zippered pocket labeled “Miss Urbanette” on a textured leather patch, includes the plastic certificate of authenticity card, h. 14”, w. 20”, d. 10’, handle drop: 5”, strap drop: 17”. [2500/4000] Illustrated

999

999 Dolce & Gabbana White Textured Leather Handbag, having two rolled handles, with top-stitching, gold stud and d-ring trim, resting on conical gold feet, lined in cream logo fabric with a zippered pocket labeled “Dolce & Gabbana/Made in Italy” on a white leather patch, h. 6‑1/2”, w. 11‑1/2”, d. 5”, handle drop: 4”. [500/800] Illustrated 1000 Vintage Snakeskin-Trimmed Laser-Cut Sheared Blond Mink Jacket, 1980s, with a stand-up notched collar and three hook closure and set-in sleeves, the cuffs and pockets trimmed with snakeskin bands, lined in floral and zodiac-figured satin, labeled “Rosenthal”, size 6, l. 24”. [500/800] Illustrated

998

1000

225

1001 Boucheron, Paris, Silver and Gem-Set SilverGilt Vanity Compendium, 1940s, with French touch marks, the pierced and engraved silver-gilt cover set with cabochon rubies and opening to a bi-fold mirror, two hinged compartments, a hinged comb holder and hinged lipstick and scent tubes, the body reeded overall, together with a black and a white faille outer slip case having a snap pocket on the reverse and a twisted handle, the black case stamped in gilt “Boucheron/Paris”, silver vanity, h. 1”, w. 5‑7/8”, d. 3‑1/2”, 14.15 t. oz., the fabric cases, h. 44‑1/4”, w. 8”, d. 1‑1/8”. [700/1000] Illustrated

1001

1001 detil

1002

1004 Lustrous Vintage Dark Chocolate Brown Jacket, 1980s, with notched lapels, two on-seam pockets and inset straight three-quarter sleeves, black taffeta-lined, embroidered name, labeled “Gus Mayer”, size 8, l. 22”. [500/800] Illustrated

1002 Chocolate Brown Full Length Mink Coat, with a notched collar buttoning at the neck, the slightly shaped body with two on-seam pockets, three hook closure and narrow inset sleeves, with an 18” back slit, lined in chocolate brown satin with a hidden glove pocket, labeled “Koslow’s”, size 6, l.47”. [1000/1500] Illustrated 1003 Group of Two Black Crocodile Cases, including a Bijan Couture Porosus black crocodile travel case, ca. 1980s, American, lined in tan leather with one interior zippered compartment, with a Bijan label attached to the interior and hanging from the key, h. 11‑1/2”, w. 19‑1/4”, d. 10‑1/2”, together with an Asprey black crocodile briefcase, with four interior compartments, lined with tan leather, marked “Made in Austria for Asprey, London” on the interior, h. 11‑1/2”, w. 16”. Provenance: The Flatt Collection. [800/1200] Illustrated

226

1005 Les Must de Cartier Bordeaux Leather Bag, probably 20th century, French, with a snap closure on the top and embossed interlocking “CC” on each side, the identification card with the registration number on the interior, along with a brochure for the line, h. 14‑1/2”, w. 19”, d. 11”. Provenance: The Flatt Collection. [500/800] Illustrated

1003

1006 1004 1007 Austrian Josef Winkler and Sohne Wardrobe Trunk, first quarter 20th century, the ebonized canvascovered hard case fitted with hardwood slats and marked brassware, opening to a linen interior with a side of six graduated drawers, the other side with five adjustable slat wood shelves, the upright side domed, the bottom side fitted with casters, the interior labeled “Kofferwinkler, Wien, Josef Winkler and Sohne/Schutz Marke Himmelpfortgasse”, h. 23‑1/2”, l. 50‑1/2”, d. 22”. Provenance: The Flatt Collection. [700/1000] Illustrated

1005

1006 Good Tiffany & Co. Gentleman’s Travel Toiletry Case, first quarter 20th century, New York, with plain Tiffany sterling silver and reeded Steuben glass accessories, the tan leather grip opening to a fitted interior containing a shoebutton hook, l. 5”, a nail file, l. 6”, nail scissors, l. 3‑3/4”, a hand mirror, dia. 4‑3/4”, a comb, l. 7‑1/4”, a hair brush, l. 8‑1/4”, a clothes/hat brush, l. 5‑1/4”, a shoehorn, l. 6‑1/2”, a toothbrush holder, l. 6‑3/4”, a tooth powder jar, dia. 1‑3/4”, a soap box, l. 3‑5/8”, two cologne bottles, l. 3‑1/4”, two pomade jars, dia. 2‑3/4”, and a leather collar button box, l. 4”, 10.32 total t. oz. (weighable silver), the case 4‑5/8” x 14‑3/4” x 10‑5/8”. [1000/1500] Illustrated

1007

227

1009 Vintage Louis Vuitton Wardrobe Trunk, ca. 1932, the hinged canvascovered hardwood case fitted with wood slats on top, leather handles, brass trim, marked rivets and lock, the leather interior fitted with five graduated drawers on one side, the other side with a clothes compartment containing wooden hangers, folding rods and clothes box, the case monogrammed “SPJ” with an embossed Louis Vuitton label numbered 796319, and retaining remnants of a 1950s ship liner label “Simar Line S. Genoa”, h. 17”, l. 44”, d. 21‑1/2”. Provenance: Stan Hope Bowry, London, 1990; The Flatt Collection. [8000/10000] Illustrated

1008

1008 Vintage Louis Vuitton Shoe/Hat Trunk, ca. 1930, the hardwood canvas-covered case fitted with hardwood slats, leather handles, brass trim, marked rivets and lock, opening to a fabric-lined void interior with an embossed Louis Vuitton label numbered 767705, the case side inscribed in paint “Miss C.C. Menninger/Hasheville [sic], North Carolina”, h. 22‑1/4”, l. 30”, d. 19”. Provenance: The Flatt Collection. [3000/5000] Illustrated

1010 Louis Vuitton Luxury Wardrobe Trunk, the hardwood canvas-covered case fitted with leather handles, hardwood slats, brass trim, marked rivets and lock, opening to a leather interior with a side of seven graduated drawers, the other side with a hinged top lid enclosing the wardrobe compartment fitted with hangers and pull-out clothes rods, h. 26‑1/4”, l. 56‑1/4”, d. 21‑3/4”. Provenance: The Flatt Collection. [10000/15000] Illustrated

1009

228

1011 Two Vintage Louis Vuitton Hard-Shell Suitcases, each with brass trim, rivets and marked locks, the interiors fitted with removable cloth trays and straps, and with embossed Louis Vuitton labels numbered 993026 and 796163 respectively, the latter of which is monogrammed “C.C.C.” in red paint on its case, each, h. 8‑1/2”, l. 27‑3/4”, d. 17”. Provenance: The Flatt Collection. [1000/1500] Illustrated

1010 detail

1011

1010

229

1012

1015 1012 Antique Oushak Carpet, 3’ 10” x 5’ 2”. [700/1000] Illustrated 1013 Antique Turkish Silk Carpet, late 19th century, 3’ 10” x 5’ 3”. Provenance: The Flatt Collection. [2000/4000] Illustrated 1014 Semi-Antique Bidjar Carpet, 3’ 5” x 4’ 10”. [500/800] 1015 Persian Malayer Runner, first quarter 20th century, 3’ 3” x 20’ 3”. Provenance: The Flatt Collection. [2000/4000] Illustrated 1013

230

1016

1018

1016 Antique Isfahan Carpet, 5’ x 7’ 5”. [800/1200] Illustrated 1017 Semi-Antique Persian Qum Carpet, mid20th century, 4’ 6” x 7’. Provenance: The Flatt Collection. [1200/1800] Illustrated 1018 Semi-Antique Agra Carpet, 10’ 3” x 12’ 8”. Provenance: The Flatt Collection. [5000/8000] Illustrated 1019 Turkish Angora Oushak Carpet, 10’ 2” x 14’. [1400/1800]

1017

231

1022 1020 Peshawar Mahal Carpet, 9’ 6” x 13’ 6”. [1000/1500] Illustrated

1023 Antique Persian Mahal Carpet, 8’ 3” x 11’ 8”. [3000/5000] Illustrated

1021 Semi-Antique Kashan Kashmir Silk Carpet, mid-20th century, 8’ x 11’ 8”. [3000/5000] Illustrated

1024 Semi-Antique Turkish Silk Carpet, 6’ 6” x 9’ 10”. Provenance: The Flatt Collection. [5000/8000] Illustrated

1022 Antique Persian Kashan Silk Carpet, late 19th century, 7’ 1” x 10’ 7”. Provenance: The Flatt Collection. [7000/10000] Illustrated

1025 Antique Serapi Carpet, late 19th century, 9’ 9” x 14’. [700/1000]

232

1020

1021

1023

1024

233

1026 Antique Isfahan Carpet, 4’ 10” x 7’ 10”. [800/1200] Illustrated 1027 Antique Mohtasham Kashan Carpet, late 19th century, 4’ 3” x 6’ 5”. Provenance: The Flatt Collection. [2000/4000] Illustrated 1028 Agra Serapi Carpet, 11’ 10” x 14’ 9”. [2500/4000] Illustrated 1029 Antique Persian Mahal Carpet, 9’ 3” x 11’ 8”. [3000/5000] Illustrated 1030 Antique Serapi Carpet, 9’ 8” x 14’ 3”. [1000/1500] Illustrated 1031 Antique Persian Silk Qum Prayer Carpet, depicting a “Tree of Life”, 4’ 1” x 6’ 5”. Provenance: The Flatt Collection. [4000/7000] Illustrated

1026

1027 1028

234

1030

1031

1029

235

1032 Camille Bombois (French, 1883‑1970), “Le Couple Pecheur”, ca. 1940, oil on canvas, signed lower left “Bombois Clle”, verso with “David B. Findlay Inc., New York, N.Y.” gallery label, 37‑7/8” x 25‑1/2”. Presented in a giltwood frame. Provenance: David B. Findlay Inc., New York, N.Y.; The Flatt Collection. [25000/40000] Illustrated

1032

Camille Bombois, a peripatetic autodidact, has a background as colorful as his palette. He spent his early years living on a barge. At the age of twelve, he left school to become a farmer. Wrestling at the county fairs, however, landed him a new metier far away from the fields as a strongman for a traveling circus. In 1907, Bombois moved to Paris, finding work as a railroad laborer. It was during this time that he began exhibiting his paintings in sidewalk venues beside street performers in Montmartre. This early period of work was characterized by somber colors, awkwardly influenced by old master paintings. It was not until after World War I, after almost five years in the trenches as a soldier, that Bombois embraced his inner joie-devivre, allowing his compositions to be colored by the circus and the richness of his childhood on the canals of his native Burgundy. The vibrant still-lifes (lots 1036‑1038), boldly defined through contrasting complimentary colors, have a theatricality redolent of the circus. Drawing upon his experiences, Bombois also favored landscapes with fishermen and forests. The influence of the Morvan woods and the famous waterways off the Yonne river are beautifully captured through the wondrous eye of a child in paintings like “Le Couple Pecheur”, offered here, and “L’Arbre Abattu” (lot 1035). The crisp delineation of form and minute attention to detail down to the fishing pole strings and tree roots in these works exemplify Bombois at his finest.

236

1033 Camille Bombois (French, 1883‑1970), “Les Enfants du Chatelain”, ca. 1928, oil on canvas, signed lower center, titled en verso stretcher, verso with “Perls Galleries, New York, N.Y.” label, 21‑5/8” x 18‑1/8”. Presented in a giltwood frame with a linen liner. Provenance: Perls Galleries, New York, N.Y.; The Flatt Collection. Exhibited: Perls Galleries, New York, Bombois, the Early Years, 1967, no. 22. [8000/12000] Illustrated

1033

1034 Camille Bombois (French, 1883‑1970), “La Marne de Champigny”, oil on canvas, signed lower left “Bombois Clle”, titled on stretcher, verso with “James Vigeveno Galleries” label, 17‑1/4” x 22”. Presented in a polychrome and parcel-gilt frame. Provenance: The Flatt Collection. [3000/5000] Illustrated

1034

237

1035 Camille Bombois (French, 1883‑1970), “L’Arbre Abattu”, ca. 1925, oil on canvas, signed lower left “Bombois Clle”, verso with “Perls Galleries, New York, N.Y.” label, 25‑5/8” x 19‑5/8”. Framed. Provenance: Sotheby’s, New York, November 11, 1992, Impressionist & Modern Painting sale, lot 309; Perls Galleries, New York, N.Y.; The Flatt Collection. [8000/12000] Illustrated 1036 Camille Bombois (French, 1883‑1970), “Vase de Roses”, oil on canvas, signed lower left “Bombois Clle”, 8‑3/4” x 6‑1/2”. Presented in a giltwood frame with a linen liner. Provenance: The Flatt Collection. [1500/2500] Illustrated 1037 Camille Bombois (French, 1883‑1970), “Vase de Roses”, oil on canvas, signed lower left “Bombois Clle”, 9” x 6‑1/2”. Presented in a giltwood frame with a linen liner. Provenance: Christie’s East, New York, November 13, 1990 sale, lot 54; The Flatt Collection. [1500/2500] Illustrated

1035

1036

238

1037

1038 Camille Bombois (French, 1883‑1970), “Bouquet de Roses dans un Vase Orange”, oil on panel, signed lower left “Bombois Clle”, 9‑1/2” x 12‑3/4”. Presented in a polychrome and parcel-gilt frame. Provenance: Christie’s East, New York, November 13, 1990 sale, lot 117; The Flatt Collection. [3000/5000] Illustrated 1039 Andre Bauchant (French, 1873‑1958), “Au Bord de la Mer”, 1942, oil on canvas, signed and dated lower center, dated and initialed on stretcher, 15” x 18”. Framed. Provenance: The Flatt Collection. [2000/4000] Illustrated

1038

1040

1040 Andre Bauchant (French, 1873‑1958), “Violettes et Muguets”, ca. 1943, oil on canvas, signed lower right, verso with “Perls Galleries, New York, N.Y.” label, 8” x 10”. Presented in a giltwood frame with a linen liner. Provenance: Perls Galleries, New York, N.Y.; Sotheby’s Arcade, February 14, 1989, Modern and Contemporary Paintings, Drawings and Sculpture sale, lot 27; The Flatt Collection. [800/1200] Illustrated

1039

239

1041

1042

1043

1044

1045

1046

1041 After Pablo Picasso (Spanish/French, 1881‑1973), “Picador”, collotype, signed in plate lower left, dated in plate upper left, pencil numbered “145/500” lower left, sight 16‑1/4” x 20‑3/4”. Glazed, matted and framed. Provenance: The Flatt Collection. [600/900] Illustrated

1044 After Pablo Picasso (Spanish/French, 1881‑1973), “Danseuse et Femmes”, collotype, signed and dated in plate upper right, pencil numbered “145/500” lower left, sight 16‑1/4” x 20‑3/4”. Glazed, matted and framed. Provenance: The Flatt Collection. [600/900] Illustrated

1042 After Pablo Picasso (Spanish/French, 1881‑1973), “Picador et Danseuse”, collotype, signed and dated in plate lower right, pencil numbered “145/500” lower left, sight 16‑1/4” x 20‑3/4”. Glazed, matted and framed. Provenance: The Flatt Collection. [600/900] Illustrated

1045 After Pablo Picasso (Spanish/French, 1881‑1973), “Fille Nue et Vieille Femme”, collotype, signed and dated in plate upper right, pencil numbered “145/500” lower left, sight 16‑1/4” x 20‑3/4”. Glazed, matted and framed. Provenance: The Flatt Collection. [600/900] Illustrated

1043 After Pablo Picasso (Spanish/French, 1881‑1973), “Picador et Deux Femmes”, collotype, signed in plate lower right, pencil numbered “145/500” lower left, sight 16‑1/4” x 20‑3/4”. Glazed, matted and framed. Provenance: The Flatt Collection. [600/900] Illustrated

1046 After Pablo Picasso (Spanish/French, 1881‑1973), “Feuille d’etudes”, collotype, signed and dated in plate upper left, pencil numbered “145/500” lower left, sight 16‑1/4” x 20‑3/4”. Glazed, matted and framed. Provenance: The Flatt Collection. [600/900] Illustrated

240

1047 Pablo Picasso (Spanish/French, 1881‑1973), “Owl”, 1954, edition of 500, glazed white earthenware pitcher, painted in blue, inscribed “Edition Picasso” and with “Madoura Plein Feu” and “Edition Picasso” pottery stamps on the underside, h. 9‑5/8”. [3000/5000] Illustrated 1048 Pablo Picasso (Spanish/French, 1881‑1973), “Colombe sur Lit de Paille”, (AR 79), edition of 300, glazed white earthenware with engobes in red, yellow, white and black, stamped “D’apres Picasso” and inscribed “Madoura” and “nouvelle edition” at back, 15” x 12‑1/4” oval. [5000/8000] Illustrated

1047 detail

1047

1048 detail

1048

241

1051 Three Pieces of Tiffany and Other Gold Iridescent Art Glass, early 20th century, including a small “studded” vase, ca. 1901, marked “06256”, before Tiffany introduced his other marks, h. 2‑3/4”, dia. 2‑3/4”, a low bowl, attributed to Tiffany, unmarked, h. 2”, dia. 4‑1/4”, and a blown compote on a ribbed standard, marked “Nash”, h. 4”, dia. 7”. [700/1000] Illustrated The “Nash” mark probably refers to Arthur Nash, who ran the Corona Glass Studio for Tiffany, or Douglas Nash, his son who acquired the studio when Tiffany closed it in 1924.

1049

1049 Gold Iridescent Aurene Glass Swirled Vase, Corning, New York, the flaring and swirled vase marked “Steuben Aurene 8175” on the base around the ground pontil, h. 9”, dia. 8”. [700/1000] Illustrated

1051

1050 Six-Piece Collection of Studio and Art Glass, including a scalloped pulled feather bowl, signed “Dennis Modes, 2‑80 v.150”, h. 6‑1/4”, dia. 9‑1/4”, an aqua low vase mottled in white and mauve, signed indistinctly and dated 1989, h. 5‑3/4”, dia. 6‑1/2”, a Swedish swirled pink bowl with white decoration, signed “Kostubod”, h. 4‑1/4”, dia. 5‑1/2”, a mottled mauve and green triangular sculpture, unsigned, h. 8‑1/2”, dia. 2‑3/4”, a Bohemian basket with a brass handle and rectangular enamel portraits, ca. 1900, h. 6‑3/4”, dia. 5‑1/4”, and a molded Daum pate de verre scupture, “Philemon et Baucis”, designed by Haguette Derey, signed with molded “Daum” signature and “H drery”, marked 67 of 200 on the bottom with a croix de Lorraine, h. 10‑1/2”, dia. 3‑1/2”. [500/800]

242

1053

1052 Continental Gilt-Bronze Sculpture of a Dancer, first quarter 20th century, the girl bending to lift the hem of her skirt as she glides across the floor, signed “Ivander St. Acten” on the lower portion of her skirt, h. 19‑1/2”, w. 9‑1/2”, d. 8‑1/4”. [500/800] 1053 R. Lalique “Ceylan” Opalescent Glass Vase, ca. 1924, French, the tapered vase decorated with pairs of parakeets against a ground of intertwined branches, with an engraved mark “R. Lalique, France, 7778”, h. 9‑1/2”, dia. 5‑1/4”. Provenance: Personal collection of Daniel Tenenbaum, San Francisco, California and Houston, Texas. [3000/5000] Illustrated

1056 R. Lalique “Fleurons” Opalescent Plate, ca. 1935, French, with a stenciled etched “R. Lalique/France”, dia. 11”. Provenance: Personal collection of Daniel Tenenbaum, San Francisco, California and Houston, Texas. [800/1200] Illustrated

1054

1054 R. Lalique “Roscoff” Opalescent Fish and Bubbles Glass Center Bowl, ca. 1932, French, decorated with a pattern of molded fish, disappearing into an array of bubbles in the center, with a stenciled etched “R. Lalique” in the center, marked “12/781” and “V/05/5(8)” on the side, dia. 14”. Provenance: Personal collection of Daniel Tenenbaum, San Francisco, California and Houston, Texas. [1500/2500] Illustrated

1056

1057 R. Lalique “Faucon” Glass Automobile Mascot, ca. 1925, France, signed “R. Lalique” in a molded mark on the lower front edge, raised on a chrome-plated radiator cap bezel, above a wooden base, overall, h. 7‑3/4”, w. 5”, d. 4‑1/2”. Provenance: Personal collection of Daniel Tenenbaum, San Francisco, California and Houston, Texas. [700/1000] Illustrated

1055

1055 R. Lalique “Avallon” Sepia-Patinated Glass Vase, ca. 1927, French, molded with birds on branches with berries and signed “R. Lalique, France” in a stenciled etched mark, h. 5‑3/4”, dia. 6‑1/4”. Provenance: Personal collection of Daniel Tenenbaum, San Francisco, California and Houston, Texas. [1500/2500] Illustrated

1057

243

1058

1058 Three R. Lalique Glass Pigeon Figures, ca. 1930s, French, including a “Pigeon Gand”, poised with his head turned to one side, h. 6”, w. 9‑1/4”, d. 4”, and two “Pigeon Verviers”, poised with their heads down, h. 4‑1/2”, w. 10”, d. 4‑1/2”, each with a stenciled etched mark “R. Lalique France” on the bottom. Provenance: Personal collection of Daniel Tenenbaum, San Francisco, California and Houston, Texas. [1800/2500] Illustrated 1059 Emile Galle Art Nouveau Pottery Banquet Lamp Base, fourth quarter 19th century, French, molded with flowers, vegetation and butterflies, on a bronze chinoiserie-style base and a brass font, the bottom with the raised mark, “Emile Galle Nancy” and “Croix de Lorraine”, h. 13‑3/4”, dia. 6”. [500/800] 1060 P. E. Guerin, New York, Gilt-Bronze and Glass “Louis XV” Coffee Table, Model no. 85000, stamped “P. E. Guerin Inc/New York” underneath each foot, h. to top of glass 15‑1/4”, overall, h. 15‑3/4”, w. 48”, d. 24”. [1200/1800] Illustrated 1061 Continental Art Deco Marble Figure Inspired by “Venus Crouching”, first quarter 20th century, on an alabaster Doric pedestal, h. 56”, w. 12‑1/2”, d. 12‑1/2”. [700/1000] Illustrated 1062 Nineteenth-Century Narwhal Tusk, the naturally spiraled tusk of the arctic “Monodon monoceros” with a pointed tip, displayed on a contemporary patinated bronze base, h. 79”, w. 6‑1/2”, d. 6‑1/2”. Provenance: The Flatt Collection. [5000/8000] Illustrated

1062

1060

244

1061

1063 Pair of Nineteenth-Century Narwhal Tusks, the naturally spiraled “Monodon monceros” tusks mounted as pricket sticks on patinated bronze bases, h. 51”, w. 8‑1/4”, d. 8‑1/4”. Provenance: The Flatt Collection. [7000/10000] Illustrated 1064 Philip LaVerne (American,1908‑1988) and Kelvin LaVerne (American, b. 1936), “Su-Tao” cocktail table, 1960s, of patinated, enameled and acid-etched bronze and pewter-clad wood, the top depicting a chinoiserie garden scene and signed “Philip and Kelvin LaVerne”, raised on angled square bronze-trimmed and pewter-inset legs, h. 17‑1/2”, w. 47‑1/4”, d. 23”. [3000/5000] Illustrated

1063

1064 detail

1064

245

1070

1068

246

1065 Christopher Maier (American/New Orleans, 1956‑2004), pair of carved and interwoven blond mahogany armchairs, the generous frames with reeded details, raised on line-incised angled and shaped legs, the buttressed backs inset with woven wood slats, fitted with off-white fabric cushions, one example signed “Christopher Maier 1996”, h. 39‑3/4”. [1400/1800] Illustrated 1066 Fornasetti Metal Tray and Metal and Fiberboard Taboret, mid-20th century, by Piero Fornasetti (Italian, 1913‑1988), each decorated with overlapping stringed instruments, in Fornasetti’s fashion of classically inspired modern design, the tabouret with a tripod base, retaining a label, h. 14‑1/2”, dia. 14”, and the tray with a black metal rim. Provenance: Sotheby’s, Chicago, November 7, 1999, lot 61; The Flatt Collection. [600/900] Illustrated

1065

1068 Set of Twelve Vintage Fornasetti “Citta di Carte” Plates, 20th century, Italian, printed with polychrome images of buildings made of playing cards against a landscape, after a design by Piero Fornasetti (Italian, 1913‑1988), and marked “Citta di Carte, Fornasetti-Milano, Made in Italy” on the back, dia. 8‑1/4”. Provenance: The Flatt Collection. [700/1000] Illustrated

1066

1069

1067

1067 Set of Four Vintage Fornasetti Porcelain Astrolabe Plates, 20th century, Italian, printed with images of antique astrolabes on a gilt ground, designed by Piero Fornasetti (Italian, 1913‑1988), and marked “Astrolabio, FornasettiMilano, Made in Italy”, dia. 10”. Provenance: Sotheby’s, Chicago, November 7, 1999; The Flatt Collection. [500/800] Illustrated

1069 Set of Six Vintage Fornasetti Pottery Plates, 20th century, Italian, printed with black and white Renaissance spoons, after a design by Piero Fornasetti (Italian, 1913‑1988), and marked “Fornasetti-Milano, Made in Italy”, dia. 9”. Provenance: The Flatt Collection. [500/800] Illustrated 1070 Complete Set of Sixteen Vintage Fornasetti “Adamo ed Eva” Coasters, 20th century, Italian, in their original gilt-foil boxes, the coasters marked “Adamo” with a position number within a male symbol, along with “Adamo ed Eva” and “Piero Fornasetti, 1965, Made in Italy”, the Eve coasters similarly marked, dia. 4”. Provenance: Sotheby’s, Chicago, Illinois, November 7, 1999, lot 158; The Flatt Collection. [600/900] Illustrated

247

1071 Pair of Continental Marble Spheres on Turned Socles, 20th century, composed of black “Egyptian” marble with putty and white veins, h. 11‑1/2”, dia. 6‑1/4”. Provenance: The Flatt Collection. [700/1000] Illustrated

1071 1073

1072 Pair of Continental Stone and Metal Temple-Form Garnitures, 20th century, in the neoclassical style, the temple-form bases composed of metal and stone, and fitted with Corinthian columns, the tops supporting mottled stone spheres, marked and labeled “Loyd-Paxton, Dallas”, h. 18‑3/4”, dia. 6‑3/4”. Provenance: Christie’s, April 18, 2000, lot 22; The Flatt Collection. [700/1000] Illustrated

1072

1073 Pair of David Hicks (English, 1929‑1998) Iron and Leather Campeche Chairs, the scrolling iron frame with reeded gilt ball accents and supporting the sling leather seat, raised on a crossover base ending in up-scrolled toes, h. 40”. [700/1000] Illustrated 1074 French Patinated 1075 Bronze of “Taureau Chargant”, first quarter 20th century, after Isidore Bonheur (French, 1827‑1901), cast signature at back of self-base, on a rectangular marble plinth, overall, h. 9”, w. 15”, d. 8”. [1800/2500] Illustrated 1075 French Patinated Bronze of “Cathedral”, second or third quarter 20th century, after the 1908 sculpture of entwined hands by Auguste Rodin (French, 1840‑1917), cast signature at base, h. 24‑1/4”, w. 10”, d. 11”. [1500/2500] Illustrated

1074

248

1076 Rare Antique Continental Quartz Rock Crystal Skull, carved in the form of a human cranium with incised teeth, h. 6‑3/4”, w. 3‑3/4”, d. 6‑1/2”. Provenance: Antiquus, London, January 6, 1997; The Flatt Collection. [10000/15000] Illustrated There are but a few antique life-sized crystal rock human skulls in the world, the majority of which have been purchased by major museums and collectors. Skulls of this magnitude made their debut in the 1860s and owe much of their grandeur and mysticism to one Frenchman, Eugene Boban (1834‑1908) - the official archaeologist of the Mexican court of Emperor Maximilian. Boban, fluent in Spanish and Nahuatl (Aztec/ Mixtec language), was also a member the French Scientific Commission. Before serving under Maximilian, Boban carved out a lucrative career in doling out Mexican “artifacts”. Though Pre-Columbian cultures in the Yucatan did sculpt small votive crystal skulls ~1‑1.5”, quartz was not the preferred medium nor were large three-dimensional objects. Most “death heads” were made of other materials in the bas-relief style of ancient stele and glyphs. “Death heads”, both crystal and not, featured prominently at Boban’s collection of MesoAmerican artifacts at the Universal Exposition of Paris in 1867. Demand for these small Pre-Columbian crystal skull votives led to the discovery of monumental ones, like the one offered here. Three of these Boban skulls sold to Alphonse Pinart, a French explorer and ethnographer, after Boban returned to Paris and opened an antiquities shop. All of these were donated to French museums. Another Boban skull found its way to America and was purchased by Tiffany & Co. at auction, before being sold to the British Museum. Recent lapidary technology has concluded that these rock crystal skulls are not of Pre-Columbian style, design or cutting tools. They still, however, are highly coveted for their remarkable craftsmanship and rarity at market. Since Boban’s death, only a few other known skulls have been revealed: the MitchellHedges one (1934); the Smithsonian one (1960); and Max, the eponymous skull, featured internationally on the Travel, Discovery and BBC channels.

1073

1076

References: This description is greatly indebted to Jane MacLaren Walsh, the Smithsonian anthropologist, who has overseen the research and care of the Smithsonian quartz rock crystal skull since 1960. For more information, see her article “Legends of the Crystal Skulls.” Archaeology: A Publication of the Archaeological Institute of America 61:3 (May/June 2008).

1077 Continental Rock Crystal Candlestick, 20th century, on a stepped base, with a tapered and faceted standard, a turned drip pan and inverted bell-form socket, h. 12”, dia. 4‑3/4”. Provenance: Sold at Sotheby’s, New York, October 13, 1999, lot 166; The Flatt Collection. [500/800] Illustrated

1078

1077

1078 Set of Four Unusual Rock Crystal and Lapis Lazuli Broken Columns, 20th century, probably French, inspired by ancient ruins, the crystal columns with faceted sides and square bases, and raised on rectangular lapis plinths, h. 9‑1/2” to 11‑3/4”, w. 4‑1/2”, d. 4‑1/2”. Provenance: Sotheby’s, New York, October 13, 1999; The Flatt Collection. [1500/2500] Illustrated

249

1079 Andy Warhol (American, 1928‑1987), “Annie Oakley”, from Cowboys and Indians, 1986, screenprint in colors, “161/250”, signed and numbered lower left, 36” x 36”. Presented in a shadowbox plexiglass frame. Provenance: Martin Lawrence Gallery, Washington, D.C.; Collection of Dr. Robert Betz, Arlington, Virginia. [30000/50000] Illustrated 1079

1080 Andy Warhol (American, 1928‑1987), “Teddy Roosevelt” from Cowboys and Indians, 1986, screenprint in colors, “21/250”, signed and numbered lower right, verso with a “Martin Lawrence Limited Editions Inc.” label, 36” x 36”. Presented in a shadowbox plexiglass frame. Provenance: Martin Lawrence Gallery, Washington, D.C.; Collection of Dr. Robert Betz, Arlington, Virginia. [25000/40000] Illustrated 1080

250

1082 1081 1081 Andy Warhol (American, 1928‑1987), “Lemon Volkswagen”, from the Ads Series, screenprint in colors, “157/190”, signed and numbered lower right, 37‑3/4” x 37‑3/4”. Glazed, float-mounted and framed. Provenance: Martin Lawrence Gallery, Washington, D.C.; Collection of Dr. Robert Betz, Arlington, Virginia. [30000/50000] Illustrated

1082 Andy Warhol (American, 1928‑1987), “Cow Wallpaper”, 1976, screenprint in colors, signed lower right, edition of 100, created for the Seattle World’s Fair, full sheet 45‑1/2” x 29‑3/4”. Glazed, float mounted and framed. Provenance: O’Farrell Gallery, Brunswick, Maine. [7000/10000] Illustrated

1083 Han Wu Shen (Chinese, b. 1950), “Looking Back Across the Sea”, ca. 2007, oil on canvas, signed in English and Chinese lower right corner in red, 36” x 48”. Framed. [15000/25000] Illustrated

1083

251

1085

1084 1084 Joan Duran (Belize, Contemporary), “Alti Spazi in Blue and White”, 1986, acrylic on gallery-wrapped canvas, verso with an artist label, 48‑1/2” x 55‑1/2”. Unframed. Provenance: Private collection, New Orleans, Louisiana; purchased from Heriard-Cimino Gallery, New Orleans, Louisiana, ca. 2005. [1500/2500] Illustrated 1085 Wook-Kyung Choi (Korean, 1940‑1985), “Untitled”, 1963‑1971, oil on canvas, unsigned, 30” x 30”. On stretcher. Provenance: Estate of the artist. [3000/5000] Illustrated 1086 Holly Lane (American, b. 1954), “The Laughing Place”, 1999, mixed media construction, signed and dated lower right, signed, dated, and titled en verso in two places, overall, 8‑1/4” x 18‑7/8”. [800/1200] Illustrated 1087

1087 John Fincher (American/New Mexico, b. 1941), “Tondo”, 2003, oil on wood panel, signed and dated lower left, a “Gerald Peters Gallery/ Santa Fe, NM” label en verso, 12” x 12”. Unframed. [800/1200] Illustrated

1086

252

Born in Chile of Irish and Portuguese parentage, Colvin attended the Art School of the Universidad de Chile in Santiago. She worked with sculptors Lorenzo Dominguez (1901‑1963) and Julio Vasquez Cortes before moving to France to study at L’Academie de la Grande Chaumiere in Paris with Ossip Zadkine (1890‑1967) and Henri Laurens (1885‑1954). In 1952 she attended the Slade School of Fine Art in London where she met Henry Moore (1898‑1986) and began to move away from a realist approach. Inspired by the terrain of her native country, she soon began to create works whose elements were distilled to their organic forms. These often large-scaled sculptures in wood, stone and metal are multi-layered and richly textured.

1089 1089 Rufino Tamayo (Mexican, 1899‑1991), “Chacal”, color lithograph, signed lower right, numbered “16/25” lower left, sheet 22” x 30”. Glazed, float mounted and framed. [1000/1500] Illustrated

1088

1088 Marta Colvin (Chilean, 1907‑1995), “Untitled”, 20th century, patinated bronze, unsigned and unnumbered, one of a small edition produced with permission of the artist, now mounted on a black rectangular base, overall, h. 35”, w. 6‑1/4”, d. 6‑1/4”. Provenance: Descended in the family of the artist. [7000/10000] Illustrated

1090 1090 Francisco Zuniga (Mexican, 1912‑1998), “Soledad Acostada”, 1973, lithograph, signed, numbered “21/30” and dated lower left, sheet 22‑1/8” x 30‑1/8”. Glazed, float mounted and framed. [800/1200] Illustrated

253

1094

1091

1091 Pedro Friedeberg (Mexican, b. 1936), “Huitzilopochtli Sin Popocatepetl”, 1998, acrylic on wood panel, with artist label en verso, 31‑1/2” x 31‑2/3”. Presented in a molded silvered frame. Provenance: Purchased directly from the artist, ca. 2000. Illustrated: Holtz, Deborah and Juan Carlos Mena. Eds. Pedro Friedeberg. Mexico, D.F.: Conaculta, 2009, p. 208. [3000/5000] Illustrated 1092

1095

254

1093

1092 Herman Leonard (American, 1923‑2010), “Miles Davis, Malibu, 1989”, silver gelatin print, signed lower right, titled and dated lower left, sight 10‑5/8” x 10‑1/8”. Glazed, matted and framed. [1500/2500] Illustrated 1093 Herman Leonard (American, 1923‑2010), “Chet Baker, NYC, 1956”, silver gelatin print, titled, and dated lower right, sight 13” x 10”. Glazed, matted and framed. [1000/1500] Illustrated 1094 Herman Leonard (American, 1923‑2010), “Marilyn Monroe, Madison Square Gardens, Ringling Brothers and Barnum and Bailey Circus, 1953”, silver gelatin print, signed lower right, titled and dated lower right, sight 13‑1/4” x 10‑1/2”. Glazed, matted and framed. [800/1200] Illustrated 1095 Herman Leonard (American, 1923‑2010), “Armstrong-NewmanEllington, Paris, 1960”, silver gelatin print, signed lower right, numbered “13/50”, titled, and dated lower right, sight 13” x 18‑1/2”. Glazed, matted and framed. [3000/5000] Illustrated 1096

1096 George Rodrigue (American/ Louisiana, 1944‑2013), “At the Cathedral Oak”, oil on canvas, signed lower left, signed and dated en verso, titled on stretcher, 40” x 30”. Framed. [30000/50000] Illustrated 1097 George Rodrigue (American/ Louisiana, 1944‑2013), “The Day We Told Tee Coon Goodbye”, 1976, oil on canvas, signed lower left, signed and dated en verso, titled on stretcher, 24” x 36”. Framed. [30000/50000] Illustrated

1097

255

1098

1099

256

1100

1098 George Rodrigue (American/Louisiana, 1944‑2013), “The Mommie and the Poppies”, oil on linen, signed lower right, 20” x 24”. Presented in a polychrome and parcel-gilt frame with a linen liner. [25000/40000] Illustrated

1102 Noel Rockmore (American/New York/New Orleans, 1928‑1995), “Billie and Dede Pierce”, 1963, oil on canvas board, signed and dated upper right, 36” x 23‑3/4”. Framed. [1500/2500] Illustrated

1099 George Rodrigue (American/Louisiana, 1944‑2013), “Off-the-Wall, Blue Dog”, acrylic on carved mahogany, signed at edge of proper right hind leg, h. 22‑1/4”, w. 14‑1/4”, d. 1‑3/4”. Provenance: Blue Dog Gallery-Rodrigue Studio, Carmel-by-the-Sea, California; Collection of Dr. Robert Betz, Arlington, Virginia. [15000/25000] Illustrated 1100 George Rodrigue (American/Louisiana, 1944‑2013), “Off-the-Wall, Gold Dog”, gold-painted bronze, cast signature at proper right hind leg, cast at the Shidoni Foundry, Santa Fe, New Mexico, h. 21‑1/4”, w. 14”, d. 2”. Provenance: Blue Dog Gallery-Rodrigue Studio, Carmel-by-the-Sea, California; Collection of Dr. Robert Betz, Arlington, Virginia. [20000/40000] Illustrated

1102 1103 Melissa Bonin (American/Louisiana, Contemporary), “Japanese Bridge”, 2010, oil on linen, signed lower left, titled, signed and dated en verso, 24” x 30”. Framed. [2500/4000] Illustrated

1101 1101 Sandy Chism (American/New Orleans, 1957‑2013), “Conversion II”, 2004, latex enamel on panel, 68” x 48”, signed and dated en verso. Unframed. [5000/8000] Illustrated

1103

257

1105

258

1104 Clarence John Laughlin (American/Louisiana, 1905‑1985), “We Played the Music of Destruction”, black and white silver gelatin print mounted on white paperboard, signed, titled and dated “1941” in lower margins, verso with artist stamp and copyright date of “1973”, as well as an inscription signed and dated by the artist “1983”, sheet 13” x 10‑1/2”. Glazed, matted and framed. [500/800] Illustrated 1105 Lin Emery (American/New Orleans, b. 1928), “Lily”, 1998, polished aluminum kinetic sculpture, unsigned, h. 40”, orbit 19”. Provenance: Purchased from Arthur Roger Gallery, New Orleans, Louisiana, 1998, by Mrs. Jac Stitch, New Orleans, Louisiana; to her daughter, the consignor, Mrs. Michael L. Jepsen, New Orleans, Louisiana and Scottsdale, Arizona. [30000/50000] Illustrated “Sculpture is living, it’s vital, it’s changeable. Even when you walk around it, it can be something different. Drawing is a reflection and coordinating eye and hand, but sculpture is your mind and an idea.” -Lin Emery. An internationally renowned artist, Lin Emery’s kinetic sculptures have an elegance of movement which masks an intricate and precise working. The components slowly sway and undulate, pushing and pulling each other in a seemingly endless dance, incorporating the very air around them. Using highly polished aluminum, a material she says is readily available in the port city of New Orleans, Emery creates abstracted forms reminiscent of the natural elements which inspired them. As the artist once admitted, “I love the natural movement of the trees on the levees, the river, and anything in nature.” Emery spent her youth traveling between New York and Florida, before enrolling in Columbia University at the precocious age of 16. She traveled from university to university before arriving at the Sorbonne in Paris. While in Paris, she became interested in the work of Russian sculptor Ossip Zadkine (1890‑1967) whose studio was near her lodgings. Zadkine accepted her as a student, intrigued by the artistic potential of the curious and creative young woman. Emery eventually returned to New York to study welding at the New York Sculpture Center, one of the few schools to accept women into such a program. Upon completion of her studies, she settled in New Orleans where she turned a portion of her French Quarter apartment into a studio. While her first sculptures were figural, Emery soon found herself more intrigued by the internal structural armatures than the finished work. She began to experiment with abstract welded sculptures, eventually incorporating natural elements - water, magnets, air - into her works to create motion.

1104 1106 George Valentine Dureau (American/Louisiana, 1930‑2014), “Still Life with Champagne, Asparagus and Candles”, charcoal on paper, sight 27” x 22”. Glazed, matted and framed. Provenance: The Flatt Collection. [800/1200] Illustrated

Emery is the recipient of numerous prestigious national and international awards, most significantly the Laszlo Aranyi Award of Honor for Public Art, a National Endowment for the Arts Grant, a Louisiana Women of Achievement Award, the Osawa, Japan Grand Prix for Public Sculpture, and an Opus Award from the Ogden Museum of Southern Art. She has exhibited widely including: the National Academy of Design, New York, New York; the Contemporary Arts Center, New Orleans, Louisiana; Arthur Roger Gallery, New Orleans, Louisiana; Kouros Gallery, New York, New York; and the Academy of Fine Art, Philadelphia, Pennsylvania. 1106

259

1107 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997), “Circus Series #19”, 1978, mixed media on canvas, signed and dated lower left, titled on label en verso, 50‑1/2” x 73”. Framed. [15000/25000] Illustrated 1108 Michael Ledet (American/ Louisiana, b. 1941), “Proto Toufanic No. 1”, acrylic on canvas, signed and dated “’70” mid-right, titled on “The Glade Gallery, New Orleans” label en verso, 16” x 16”. Presented in a thin gallery frame. Provenance: Private collection, New Orleans, Louisiana; The Glade Gallery, New Orleans, Louisiana. [500/800] Illustrated

1107

1110 William Hemmerling (American/ Louisiana, ca. 1943‑2009), “I Danced in the Morning”, mixed media, signed lower right, 6‑1/2” x 3‑3/4”. Glazed, matted and framed. Provenance: The Flatt Collection. [500/800] Illustrated

1108 1109 Walter Inglis Anderson (American/ Mississippi, 1903‑1965), “Thumbelina”, handcolored linoleum block print on wallpaper, now laid down on heavy paper board, 18‑1/2” x 72”. Glazed and framed. [2500/4000] Illustrated

1110

1109

260

1111 Pat Trivigno (American/New Orleans, 1922‑2013), “Recital, Doris and Peter”, 1953, oil on canvas now backed in board, signed lower right, a “New Orleans Museum of Art” label en verso, 11‑3/4” x 25”. Framed. [700/1000] Illustrated

1111 1112 Charles Blank (American/Louisiana, 20th Century), “Interior with Figures”, 1979, oil on canvas, signed and dated lower right, 48” x 60”. Presented in a thin gallery frame. [1000/1500] Illustrated

1114

1114 American Neo-Grec Sterling Silver Teapot, third quarter 19th century, by Wood and Hughes, New York, with an ovoid body decorated with an engraved band of palmettes and arabesques, the shaped geometric handle with applied acanthus cresting, with annulated banding throughout, the high-domed lid with unusual intersecting circle finials, monogrammed “AVR”, h. 12”, dia. 5‑1/4”, l. 11‑1/4”, 33.54 t. oz. A full service in this pattern, dated 1874, was sold by our gallery on May 23, 2010, sale 1003, lot 1374. [1000/1500] Illustrated

1112 1113 American Coin (.900) Silver Fruit Stand, 1856, by William Gale & Son, New York, New York, of paneled hemispherical form, the everted rim with milled Greek-key banding, the interior gilt, raised on a knopped standard, the shallow domed foot banded en suite, monogrammed “CMW”, h. 8‑1/2”, dia. 10‑1/2”, 33.11 t. oz. [800/1200] Illustrated

1115

1113

1115 Nine Gorham “Medallion” Sterling Silver Serving Pieces, the pattern designed in 1864 by George Wilkinson (1819‑1894), Providence, Rhode Island, including a punch ladle, l. 12‑1/2”, four tablespoons, l. 8‑3/8”, and four master salt spoons, l. 3‑1/2”, 16.43 total t. oz. [800/1200] Illustrated

261

1116 Fine American Twelve-Piece Sterling Silver Punch Set, the pattern designed in 1898 by Charles D. Graff (1849‑1931) for Redlich & Co., New York, New York, retailed by Hardy & Hayes, Pittsburgh, Pennsylvania, comprising a punch bowl, h. 10‑1/4”, dia. 13‑1/4”, a punch ladle, l. 18”, and ten punch cups, h. 3‑1/4”, dia. 3‑1/8”, l. 4‑1/4”, with rococo scroll edge and elaborate, realistically detailed pinecone and needle rim, each piece monogrammed on the underside “J.W.N”, 166.50 total t. oz. En suite with the following lot. [9000/12000] Illustrated

1117

1117 Pair of American Sterling Silver Covered Vegetable Dishes, the pattern designed in 1898 by Charles D. Graff (1849‑1931) for Redlich & Co., New York, New York, retailed by the Howell & Hubbard Co., Cincinnati, Ohio, each of oval form, with rococo scroll edge and elaborate, realistically detailed pinecone and needle rim, with fitted domed lid with toupie finial, h. 4‑1/2”, l. 13‑1/2”, w. 9”, 49.74 total t. oz. En suite with the previous lot. [2500/4000] Illustrated

1118

1118 American Sterling Silver Trumpet Vase, the pattern designed in 1909 by Charles D. Graff (1849‑1931) for Graff, Washbourne & Dunn, New York, New York, retailed by Tiffany & Co., with trumpet-form standard and base joined by a narrow annular band, decorated with a cast and applied openwork edge with openwork floral cartouches joined by laurel swags, the body engraved with a band of tall, leafy cartouches, h. 17‑3/4”, dia. 9‑1/2”, 52.59 t. oz. [2000/4000] Illustrated

1116

262

1121

1119

1119 Tiffany & Co. Sterling Silver “Chrysanthemum” Covered Vegetable Dish, the pattern designed in 1880 by Charles T. Grosjean (1841‑1888), this example dated 1897, New York, New York, of lobed circular form, with stirrup handles and fitted domed lid with ring handle, engraved on the underside “From / Stephen & Juliet / 1897”, h. 7‑1/2”, dia. 10‑1/2”, w. 12‑1/2”, 63.93 t. oz. Provenance: Personal collection of Daniel Tenenbaum, San Francisco, California and Houston, Texas. [5000/8000] Illustrated

1122

1123

1121 Three Pieces of American Sterling Silver Tableware, late 19th/early 20th century, including a Tiffany gilt bonbon dish, 1892‑1902, rococo style with openwork lattice cartouches, l. 6‑1/2”, w. 5”, a Watson butter tub, tub form with reticulated sides and reeded handles, fitted with a glass liner, h. 3‑1/2”, dia. 6‑1/2”, and a Gorham fruit bowl, 1926, Arts & Crafts style, lobed with hammered finish, h. 2‑1/2”, dia. 9”, 30.73 total t. oz. (weighable silver). Provenance: Christie’s East, January 19, 1999, lot 11 (the Tiffany dish); The Flatt Collection. [500/800] Illustrated

1120

1120 Tiffany & Co. Sterling Silver “Clover” Pattern Fruit Bowl, the pattern introduced in 1898, this example before 1902, New York, New York, of lobed octagonal form, with realistically detailed applied openwork “clover” rim, monogrammed on the center “LW”, dia. 10‑1/4”, 17.33 t. oz. [500/800] Illustrated

1122 Set of Four American Sterling Silver Candlesticks, first quarter 20th century, retailed by Tiffany & Co., in the William IV taste, each of baluster form, the standard fluted on the lower handle and banded with embossed rocaille work on the upper, raised above a domed rocaille foot and surmounted by an urn-form nozzle with detachable bobeche en suite, h. 11‑1/4”, dia. 5‑3/4”, weighted. [1000/1500] Illustrated 1123 Good Twelve-Piece Samuel Kirk & Son Sterling Silver Salt and Pepper Set, first quarter 20th century, Baltimore, Maryland, comprising four cauldron-form salts, dia. 2‑3/4”, four salt spoons, l. 3‑1/2”, and four pear-shaped pepper casters, h. 4‑3/4”, decorated all over with repousse flowers in the traditional Baltimore manner, 29.23 total t. oz. [500/800] Illustrated

263

1124

1124 American Sterling Silver Platter, first quarter 20th century, of serpentine-lobed oval form, the rim decorated with a molded band quartered by floral rococo scrolls, the recessed oval plateau monogrammed “HHE”, 20‑1/2” x 15”, 50.78 t. oz. [800/1200] Illustrated

1126

1127 Pair of Reed & Barton “Francis I” Sterling Silver Sandwich Plates, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, dia. 11‑1/2”, 32.28 total t. oz. [1000/1500] Illustrated

1125 1127 1125 Pair of Reed & Barton “Francis I” Sterling Silver Round Vegetable Bowls, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, dia. 11‑1/2”, 42.13 total t. oz. [1200/1800] Illustrated 1126 One Hundred and One-Piece Set of Reed & Barton “Francis I” Sterling Silver Flatware, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, including twelve seven-piece place settings, with an additional dozen teaspoons and five serving pieces, no monograms, 122.99 total t. oz. (weighable silver). Detailed listing of pieces available on request. [3000/5000] Illustrated

264

1128 Pair of Reed & Barton “Francis I” Sterling Silver Oval Vegetable Bowls, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, l. 12‑1/2”, w. 10”, 38.89 total t. oz. [1200/1800] 1129 Sixty-One Pieces of Wallace “Grande Baroque” Sterling Silver Flatware, the pattern designed in 1941 by William S. Warren (1888‑1965), comprising twelve each dinner forks, l. 7‑7/8”, salad forks, l. 6‑1/2”, teaspoons, l. 6”, demitasse spoons, l. 4‑1/8”, and dinner knives, l. 9‑3/4”, with one additional salad fork, no monograms, 68.12 total t. oz. (weighable silver), presented in a wooden case with fitted Pacific cloth lining, 3‑1/2” x 15‑3/4” x 11‑3/8”. [1200/1800] Illustrated

1132 Set of Four American Sterling Silver Colonial Revival Candlesticks, first quarter 20th century, by Robert Ensko, New York, New York, each of baluster form, with concave-domed base and surmounted by a circular drip-pan and cannon-form nozzle, h. 11‑3/4”, dia. 5‑3/4”, 80.54 total t. oz. [2500/4000] Illustrated

1129 detail

1129

1133 Tiffany & Co. Sterling Silver “Revere” Bowl, second half 20th century, New York, New York, of traditional form, h. 5”, dia. 10‑1/4”, 30.82 t. oz. [500/800] Illustrated

1130 Seven Pieces of Wallace “Grande Baroque” Sterling Silver Tableware, the pattern designed in 1941 by William S. Warren (1888‑1965), Wallingford, Connecticut, comprising a pair of casserole spoons, l. 9‑3/4”, and five bread and butter plates, dia. 6‑1/2”, 32.92 total t. oz. [600/900] Illustrated

1132

1130

1131 Assembled Set of Eighteen American Sterling Silver Bread and Butter Plates, mid-20th century, plain circular with reeded or molded rim, including examples by Weidlich Bros. (8), International Silver (5), Mauser (3), C. A. Vanderbilt (1) and A. G. Schultz (1), no monograms, dia. 6”, 47.37 total t. oz. [700/1000]

1133

265

1136 Tiffany & Co. Sterling Silver Art Deco Fruit Bowl, the pattern introduced in 1932, this example before 1947, New York, New York, circular with everted rim, decorated with eight panels separated by a trio of vertically incised lines, h. 2‑5/8”, dia. 3‑1/2”, 20.41 t. oz. [500/800] Illustrated

1134

1134 One Hundred and Fifteen-Piece Set of Towle “Mandarin” Sterling Silver Flatware, the pattern introduced in 1972, Newburyport, Massachusetts, comprising a dozen seven-piece place settings (one salad fork lacking) with twenty-six additional place pieces and six serving pieces, no monograms, 111.64 total t. oz. (weighable silver), presented in two fitted blue Hagerty cloth-covered, zip-closure drawer inserts, 11‑3/4” x 19”. Detailed list of pieces available on request. [1800/2500] Illustrated

1137

1137 Chinese Export Porcelain Oval Covered Vegetable Dish, ca. 1800, with cobalt borders and decorated with sepia landscape roundels, the lid with a molded basketof-flowers knop, h. 5”, w. 11‑1/2”, d. 9‑1/4”. [600/900] Illustrated

1138

1136

1135 Five Jensen and Tiffany Sterling Silver Serving Pieces, including Georg Jensen “Acorn” scissor-style sugar tongs, l. 5‑5/8”, and Tiffany pieces, plain grape shears, l. 7‑1/4”, a “Shell-and-Thread” pate knife, l. 6‑1/8”, and a “Lotus” cake knife, l. 12‑3/8”, and pate knife, l. 6”, the latter three with stainless steel blades, 5.15 total t. oz. (weighable silver). Provenance: The Flatt Collection. [500/800]

266

1138 Chinese Export Porcelain Dish, ca. 1800, made for the Anglo-American market, decorated in cobalt and gilt with a lancet border and a central swagged urn framed with cobalt borders, w. 14‑1/4”, d. 11‑3/4”. [600/900] Illustrated 1139 Chinese Export Blue and White Porcelain “Canton” Fruit Basket and Underplate, second quarter 19th century, each piece with a pierced border, h. 5”, w. 9‑3/4”, d. 9‑1/2”. [800/1200] Illustrated

1142 Suite of Six American Late Classical Mahogany Dining Chairs, second quarter 19th century, possibly Duncan Phyfe and Son, New York, each with a yoke-form top and shaped stiles, bowed seat rail and sabre legs, and upholstered back and box seats, h. 32‑1/4”. [1000/1500] Illustrated

1139

1140 American ClassicalStyle Parcel-Gilt and Eglomise Mirror, framed with turned and leaf-molded pilasters with Corinthian capitals, the gilt and black tablet decorated with a roundel of crossed trophies under a lattice-molded giltwood panel, the cove-molded crest set with giltwood spherules, h. 49‑1/4”, w. 31”. [600/900] Illustrated

1142

1143 John Robinson (British/American, 1774‑1829), “Miniature Portrait of Adam Seckel”, signed “R. 1821” on crest of chair in which sitter is depicted seated sideways, the figure in fashionable dress, one arm draped over back of chair, all against a carefully rendered stippled ground, 3‑5/8” x 3‑3/4”. Framed. [1500/2500] Illustrated

1140

1141 American Classical Stenciled and ParcelGilt Mahogany Pier Table, ca. 1825, the marble top over a giltstenciled frieze raised on figured columns with bronze capitals and rings, the columns on a shaped low shelf with a stenciled perimeter and backed by a looking glass, raised on carved paw feet, h. 36‑3/4”, w. 42”, d. 18‑1/4”. [3000/5000] Illustrated

An old label en verso reads: “Adam Seckel, born 3rd Oct. 1783, died age 58 May 24, 1842 buried St Peter’s Churchyard, Price Street Phila. married Rosanna Hawkins 1st March 1824. This painting at age 38 signed JR 1821... John Robinson”. Robinson is best known for a miniature of Benjamin West with a study for his painting “Christ Rejected” in the background. Another miniature by Robinson, of an anonymous woman, is in the collection of the Metropolitan Museum of Art, New York City. A native of England, Robinson moved to the United States in 1817. Relatively few of his works survive.

1141

1143

267

1144 American Classical Mahogany Secretary Bookcase, second quarter 19th century, in two parts, the projecting and gadroon-carved cornice over a pair of mullioned glazed doors, the case with a projecting fold-out paneled drawer opening to reveal a fitted interior, and a pair of paneled doors below, on carved paw feet, the upper section with turned pilasters, the lower section with columns, h. 86”, w. 41”, d. 23”. [500/800] Illustrated 1145 American Late Classical Mahogany Tall-Post Bed, second quarter 19th century, the ring-turned tapering square posts with figured veneers and straight framed lower panels, supporting a headboard with an oval panel with beaded molding and a scroll crest, now with a later tester frame, h. 74‑1/2”, inside w. 62”, l. 79”, outside w. 69”, l. 85‑1/2”. [1000/1500] Illustrated 1146 American Classical Giltwood Pier Mirror, first quarter 19th century, the deeply molded shadowbox frame with shell and scroll ornamentation throughout, the liner in a laurel leaf and berry motif, and retaining its original mirror plate, h. 70”, w. 46”. [800/1200] Illustrated

1147 American Late Federal Mahogany Four-Drawer Chest, ca. 1820, Massachusetts, with a scrolled backsplash above a single protruding long drawer and three graduated drawers below, flanked by spiral-twist columns and ending in beehive turned legs, h. 45”, w. 44”, d. 21”. [500/800] Illustrated

1144

1145

268

1146

1147

1150 Set of Two Continental Polychrome Dummy Boards, 19th century, each in the form of an elaborate floral arrangement in an urn, raised on a molded plinth back, h. 43”, w. 30”. [800/1200] Illustrated 1151 American Late Classical 1149 Mahogany Box Sofa, second quarter 19th century, with a molded crest rail over scrolled arms backed by applied lyres, cyma-molded apron and shaped feet, now upholstered in deep blue plush, h. 25”, w. 86‑1/2”, d. 28”. [800/1200] Illustrated

1148

1148 American Aesthetic Movement Lacquered Brass Combination Gas and Electric Eight-Light Chandelier, fourth quarter 19th century, with four upwardly oriented and four downwardly oriented arms, the former retaining their gas keys, the latter with paddle electric switches, the stem with a pierced brass spherical bowl, now fitted with matching floral etched glass gas and electric shades after the period fashion, electrified, h. 43”, dia. 31”. [800/1200] Illustrated 1149 An Early American Theorem Painting of an Opulent Floral Arrangement, 1836, oil on wood panel, initialed “W.J.” and dated lower left on ledge, 15‑1/2” x 13‑1/4”. Framed. [800/1200] Illustrated

1150

1151

1152 American Late Classical Mahogany and Banded Mahogany Sideboard, second quarter 19th century, of diminutive proportions, with a pair of drawers recessed along the back edge of the top, and a backsplash above, the lower case with one long drawer above a pair of cabinet doors and flanked by tapering pilasters, raised on turned legs, h. 51‑1/2”, w. 43‑1/2”, d. 20‑1/2”. [600/900]

1153 David van der Kellen (Dutch, 1827‑1895), “Girl with a Doll”, oil on board, signed along left edge, sight 17” x 13”. Presented in a giltwood frame with an oval liner. [1000/1500] Illustrated

1153

269

1154 French Gothic Revival Gilt-Bronze Chandelier, third quarter 19th century, with a leaf-molded pendant finial leading to a tapered pan divided into panels, mounted with a pierced Gothic fret and set with candle arms with drip pans, hung from matching chains and canopy, h. 40”, dia. 17‑3/4”. [800/1200] Illustrated 1155 Rare Pair of American Gothic Revival Oak Hall Chairs, probably New Orleans, crafted by the unknown “Stanton Hall Master”, mid-19th century, the tall backs supported by pierced and carved stiles terminating in crocketed spires, the central pierced and carved splats with an additional carved spire, plank seats, and supported by pierced front legs, h. 68”. Provenance: By repute, the present chairs were purchased in the 1970s from New Orleans auctioneer and dealer Ben Mathews. They have been at Fourth Church of Christ Scientist, New Orleans, since that time. [10000/15000] Illustrated

These chairs belong to a small iconic group of Gothic furniture associated with the Antebellum South. Related chairs, sofas, and recamiers have primarily been found in New Orleans, with other items from this group having surfaced in Vicksburg and most notably Stanton Hall in Natchez, Mississippi. It has been suggested that New Orleans may have been the source of this body of furniture. Related examples are in most of the major collections of 19th-century American furniture, including the Metropolitan Museum of Art, New York; the Bybee Collection, the Dallas Museum of Art; the Virginia Carroll Crawford Collection, the High Museum of Art, Atlanta; The Museum of Fine Arts, Houston; the Henry Francis du Pont Winterthur Museum; and the New Orleans Museum of Art. 1156 Pair of American Gothic Revival Rosewood Sidechairs, mid-19th century, each with an open back adorned with arches, crockets and a quatrefoil, raised on tapering legs, h. 48”. [500/800]

1155

270

1159

1154

1157 French Patinated Bronze and Sienna Marble Clock of Gothic Revival Design, second quarter 19th century, the cathedral-form case decorated with Gothic tracery windows, the clock face in a “rose window” under a gable with Gothic spire finials, on a bronze and marble stepped base with bun feet, raised on a marble plinth with pierced bronze mounts, the silk-string suspension works stamped “Lesieur”, h. 29‑1/4”, w. 11‑3/4”, d. 6‑3/4”. [2000/4000] Illustrated

1158 1158 Circle of James Henry Cafferty (American, 1819‑1869), “The Reluctant Scholar”, oil on canvas, unsigned 12” x 9‑1/2”. Presented in a 19th-century American NeoGrec-style giltwood and gesso frame, retaining a partial “New York” label. [1000/1500] Illustrated 1159 American Wood, Glass and Bone Folk Art Sailor’s Memorial, 1160 ca. 1899, the painted wooden aquarium-form case set with glass and a mirror back, containing a carved bust and a series of carved high button shoes arranged around a heart reading “Carved from... the frigate... wrecked... Peruvian... February 8, 1899”, h. 8‑3/4”, w. 6‑3/4”, d. 4‑1/2”. Provenance: The Flatt Collection. [500/800] Illustrated 1160 Rare Confederate Naval Cutlass, Attributed to Thomas Griswold, New Orleans, ca. 1861, with brass d-guard, embossed eagle pommel and fish skin pattern grip, w. 4‑1/2”, l. 26‑1/4”. Provenance: Gary Hendershott, Little Rock, Arkansas. [3000/5000] Illustrated

1157

This cutlass follows the pattern of U.S. model 1831/41 Ames. The distinctive concave steel fuller and absence of rivets connecting the hilt to the blade is characteristic of Griswold cutlasses.

271

1165 Colette Pope Heldner (American/New Orleans, 1902‑1990), “Marchand’s Tin Shop - Rue Royale, New Orleans”, 1944, oil on canvas board, signed lower right, signed, dated, titled and inscribed en verso, 19‑3/4” x 15‑3/4”. Framed. [1500/2500] Illustrated

1161 1161 John George Nicolay (1832‑1901) et al. The Army in the Civil War, New York: Charles Scribner’s Sons, 1885, Subscription Edition, 12 volumes, in black half calf on marbled paper, the spines with raised bands and red panels with gilt lettering and decoration, the top edges cut and gilt, 8‑1/8” x 5‑1/2”. [700/1000] Illustrated

1162

1162 Edwin Anderson Alderman (1861‑1931) and Joel Chandler Harris (1848‑1908) Editors, Library of Southern Literature, New Orleans: The Martin & Hoyt Company, 1909, complete in seventeen volumes, the leather binding with gilt lettering and inset state seal medallions, some missing, the spine with gilt lettering and decoration, 9‑1/4” x 6‑1/2”. [500/800] Illustrated

1164

1163 William Aiken Walker (American/South Carolina, 1838‑1921), “Cabin Scene”, oil on masonite, signed lower left, faint inscription “Cabin” en verso, 6‑1/8” x 12‑1/8”. Framed. To be included in John Fowler’s upcoming catalogue raisonne of the artist. [8000/12000] Illustrated 1164 Colette Pope Heldner (American/New Orleans, 1902‑1990), “Swamp Idyll, Louisiana Bayou Country”, oil on canvas, signed lower left, signed and titled en verso canvas, 50” x 40”. In a cove-molded giltwood frame. [3000/5000] Illustrated

1163

272

1168 Three Victorian-Style Cast Iron “Four Seasons” Garden Chairs, 19th century, English, by W. Roberts, Lion Foundry, with scrolled legs and arms in the Rococo Revival taste, the circular backs decorated with putti warming themselves on the “winter” chair, dancing with flowers on the “spring” chair and frolicking outside on the “summer” chair, each marked “W. Roberts, Lion Foundry, Northampton”, two with incised diamond and registry marks, one marked “May 1859”, h. 38‑3/4”, w. 22‑1/2”, d. 16‑1/2”. Provenance: Sotheby’s, Chicago, June 19, 2000, lot 883; The Flatt Collection. [1000/1500] Illustrated

1165

1166 1167

1166 Mary Louise Liddell Jordan Hemenway (American/Florida, b. 1893), “The Memory”, oil on panel, signed lower left, 20” x 16”. Framed. [1400/1800] Illustrated 1167 Henry Martin Gasser (American, 1909‑1981), “Alpine Village Scene”, oil on board, signed lower right, 22” x 26‑1/2”. Framed. [1200/1800] Illustrated

1168

273

1169 Pair of American Cast Iron Campana-Form Garden Urns, first quarter 20th century, each with a lotus-molded base supporting a reeded urn with an egg-and-dart rim, h. 28”, dia. 25‑1/4”. Provenance: The Flatt Collection. [500/800] Illustrated

1172 American Rococo Revival Giltwood Mantel Mirror, third quarter 19th century, the arched mirror plate in a molded frame with a pierced foliate and scroll crest centered by a cluster of grapes and leaves, h. 61‑1/2”, w. 56”, d. 7‑1/2”. [500/800] Illustrated 1173 Antebellum New Orleans Market Rococo Revival Rosewood Half-Tester Bed, third quarter 19th century, attributed to the warerooms of Prudent Mallard, the serpentine arched tester with a conforming foliate- and floral-carved crest centered by a cabochon, raised on tapering cluster-column posts with lotus-carved capitals supporting a headboard with a shaped panel and crest with like carving, scalloped rails and clustercolumn footposts, with cabochon-carved finials, h. 130‑1/2”, inside, w. 64”, l. 83‑1/2”, outside, w. 73”, l. 92”. [12000/18000] Illustrated

1169

1174 American Rococo Revival Rosewood Cabinet-Base Etagere, third quarter 19th century, New York, the upper section with a deeply carved fruit and foliate crest over an arched apron plate, flanked by shaped shelves on turned and carved supports, the serpentine marble top over a conforming pair of doors, with applied fruit carvings, the serpentine sides with open shelves, raised on short cabriole legs with French toes, h. 100‑1/4”, w. 55”, d. 19‑1/2”. Provenance: Descended in a Louisiana family to the present owner. [2500/4000] Illustrated

1170 Pair of American Cast Iron Garden Urns, late 19th century, in the Neo-Renaissance taste, possibly Kramer Bros., Dayton, Ohio, in three parts, the bowl of tazza form and fitted with a pair of female masques along the edge, h. 39”, dia. 24”. [1200/1800] Illustrated

1170

1171 Two Sets of Fireplace Tools, including an American brass set with urn finials, ca. 1900, in the Federal style, including a poker, shovel and pair of tongs, l. 22‑1/2” to 30‑1/4”, and an English steel set, fourth quarter 19th century, including a shovel, poker and tongs, l. 28‑1/2” to 29‑1/2”. Provenance: The Flatt Collection. [500/800] 1173

274

1176

1175

1175 Victorian Cut Glass Five-Light Chandelier, late 19th century, downward-curved arms and spiral-twist central shaft, fitted with period-style etched glass shades in the Greek-key pattern, electrified, h. 41”, dia. 31”. [1000/1500] Illustrated

1172

1176 Pair of Giltwood Pier Mirrors in the Rococo Taste, third quarter 19th century, each with an arched mirror plate, in a frame with a conforming crest centered by carved flowers, on a later base with a serpentine marble top and scroll legs with foliate-carved knees, h. 138”, w. 42‑1/2”, d. 14”. [1500/2500] Illustrated

1174

275

1177 French Two-Part Figural “Old Paris” Porcelain Clock, mid-19th century, in the Jacob Petit style, on scrolled feet, with a giltdecorated bleu de roi ground and a panel of hand-painted flowers under the dial, the top of the clock with a lounging Turk, wearing a turban, a scimitar at his side, marked with a hand-painted overglaze “5153” under both pieces, and a spurious “J.P.” under the base, h. 17‑3/4”, w. 9‑3/4”, d. 4‑3/4”. [700/1000] Illustrated

1177

1178 Set of Four French Walnut and Giltwood Oval Tiebacks, mid-19th century, decorated with giltwood profiles of Artemis and Apollo, framed in carved walnut scrollwork, h. 5‑3/4”, w. 3‑3/4”, d. 3‑3/4”. Provenance: The Flatt Collection. [500/800] Illustrated

1181

1179 American Renaissance Revival Rosewood Cylinder Secretary, third quarter 19th century, probably New York, the upper section with a molded cornice over a pair of doors fitted with mirrored panels, the base with a paneled barrel-form roll opening to reveal a fold-out writing surface, drawer and niches, over a drawer and recessed paneled doors below, h. 64”, w. 34‑1/2”, d. 20‑1/4”. [500/800] Illustrated

1178

1180

1180 Pair of American Neo-Grec-Style Carved Maple Roundels, third quarter 19th century, of bas-relief-carved putti, one an allegorical depiction of Painting and the other of Sculpture, in ogee-carved black walnut frames, dia. 24”. Provenance: Personal collection of Daniel Tenenbaum, San Francisco, California and Houston, Texas. [700/1000] Illustrated

1179

276

1181 Victorian Cut Glass Six-Light Chandelier, late 19th century, with diamond-cut arms and draped with a combination of spear prisms and faceted crystal drops, fitted with period-style Greek-key shades, electrified, h. 36”, dia. 36”. [1000/1500] Illustrated

1182 1182 Bernardo Amiconi (Italian/British, 1825‑1879), “Portrait of a Lady in White, In a Landscape”, 1863, oil on canvas, signed and dated mid-right on edge of ledge, 43‑3/4’” x 34‑1/4”. Presented in a fine, period gesso and giltwood frame. Provenance: Private collection. [8000/12000] Illustrated Amiconi is a somewhat elusive figure, and the few documented biographical facts are intriguing. A native of Italy who lived and worked almost exclusively in London, Amiconi had a seemingly successful career as a portraitist of the English aristocracy and members of the wealthy emigre Italian and Greek communities; sitters of his paintings included the daughters of the Earl of Shaftesbury and a member of the prominent Cassevetti family. Census records reveal that he resided briefly with fellow artist Charles Sibley (fl. 1826‑1847), a copyist and a fellow portraitist. Since some references spell the artist’s surname with a “g”, it is possible that he may have been related to Jacopo Amigoni (1682‑1752), a Neapolitan of Venetian parentage who worked in England for several years before returning to his native Italy. Amiconi’s will, proved by court in 1878, named his brother, a resident of Naples, as sole survivor and next of kin. While nothing is known of his education and artistic training, the accomplished nature of his painting suggests an academic background of some significance. His portraits, while slightly idealized as was the taste for society portraits of the time, reveal the mien and personality of the sitter, and each is placed within a setting most appropriate for the desired impression.

The artist pays careful attention to the compositional arrangement, the color palette - which with the portrait offered here juxtaposes the cool tones of the figure with the deeper warm tones of the background - and the variety of textures - here, the polished smoothness of the beads, the velvet softness of the skin, and the sheer lace of the dress. The delicate luminosity of the skin is especially reminiscent of such Academic artists as William-Adolphe Bouguereau (1825‑1905) and Jean-Auguste-Dominique Ingres (1780‑1867). Amiconi exhibited widely and consistently, at the British Institute, the Society of British Artists-Sussex Street, and had twenty-two paintings, mostly portraits with identified sitters, accepted at the Royal Academy, London, from 1859‑1875. In July of 1877, Amiconi’s name appears on the admittance records of Bethlem Hospital (colloquially known as Bedlam), London as suffering from “general paralysis of the insane” (now known as paralytic dementia), a distinctly 19th-century term for a neuropsychiatric disorder affecting the brain. An almost certain terminal diagnosis, it was caused by late stage syphilis, which mostly affected men, and was often accompanied by grandiose delusions. References: Wood, Christopher, Victorian Painters. Woodbridge, Suffolk: Antique Collector’s Club, 1998. p. 23.; The National Archives of the UK; Lunacy Patients Admissions Registers, Series MH9; ancestry.com; museumofthemind. org.uk (the Bethlem Royal Hospital site).

277

1184

1183 1183 Marie Madeleine Seebold Molinary (American/ Louisiana, 1866‑1948), “The Subject Was Roses”, oil on canvas, signed lower right “M. S. Molinary”, titled on “Campanile Galleries Inc., Chicago, IL” label, 16” x 25”. Presented in a contemporary giltwood frame affixed with artist plaque. [7000/10000] Illustrated Painted by a noted New Orleans artist known for her still lifes, this painting is unusual in the way it skillfully depicts the seemingly freshly cut bouquet of roses against a parklike backdrop. It showcases not only her mastery of the genre of floral painting, but also her ability to evoke an atmospheric Southern landscape. 1184 Fine Victorian Prism-Hung and Cut Colorless Glass Six-Light Gasolier, late 19th century, the fluted stem with graduated cut glass bowls dressed with cut spears, the arms with bobeches in like decor and retaining their nickel-plated gas keys and shade fitters, the pendant finial in the form of a faceted sphere, now with Greek-key-cut and frosted glass bowls, after the period fashion, h. 43”, dia. 35”. [1000/1500] Illustrated

1185

278

1185 American Renaissance Revival Wooten Desk Company Walnut Rotary Desk, late 19th century, the top with a molded edge and inset writing surface, over a band of three drawers, each pedestal end with a paneled door opening to reveal a rotary mechanism fitted with niches, one side with square compartments retaining their cardboard pull-out drawers, the other with vertical and horizontal niches, the sides and back fitted with panels, mounted with a brass plaque reading “Wooten Rotary Desk Patented”, h. 31”, w. 60‑1/2”, d. 33‑1/8”. [1000/1500] Illustrated

1186

1186 American Gilt-Brass and Engraved Glass Hall Lantern, fourth quarter 19th century, the globe decorated with engraved sprays of leaves and mounted with a pierced trim and canopy, now electrified with a three-light socket, h. 31‑1/4”, dia. 10”. [500/800] Illustrated

1185 detail

1187 1187 Henry Ossawa Tanner, N.A. (American/French, 1859‑1937), “Feeding Chickens, African-American Township Philadelphia, Pennsylvania”, ca. 1890s, oil on canvas, abraded signature and date lower left, 14” x 24”. Framed. Provenance: Private collection. Together with a letter of authentication from Rae Alexander-Minter, grand-niece of the artist. [40000/70000] Illustrated "I will preach with my brush." --Henry Ossawa Tanner. Henry Ossawa Tanner, the first African-American artist to achieve international acclaim and success, was born in Pittsburgh, Pennsylvania, into an educated, middle-class family; the family moved to Philadelphia several years later. His father was a minister - later bishop - of the A.M.E. (African Methodist Episcopal) Church and his mother had been born into slavery and escaped with her family via the Underground Railroad. Both parents were social activists and educators, and Tanner was raised in an intellectual and religious environment. Deciding upon a career as an artist, initially against his parents' wishes, he began studies at the Pennsylvania Academy of the Fine Arts, in Philadelphia in 1879 - one of the few American institutions which accepted African-American students. While at the Academy, he worked closely with the newly appointed "Professor of Painting and Drawing", Thomas Eakins (1844-1916) and Tanner's years at the Academy were professionally satisfying - Eakin's considered him one of his most promising students. Tanner moved to Atlanta, Georgia in 1888, where he set up a photography and art studio; while the venture was not as successful as he had hoped, it led to a teaching post at Clark College (now Clark Atlanta University). Tanner continued to paint, and one of his Georgia landscapes is in the collection of the Morris Museum of Art, Augusta, Georgia. In 1891, Tanner made his first trip to Paris to attend the Academie Julian where he studied with Jean-Joseph Benjamin Constant (1845-1902) and Jean-Paul Laurens (1838-1921). He returned to Philadelphia for a short period in 1893, and it was during this time he painted several of his most well-known works, including the iconic "the Banjo Lesson", a sensitive depiction of African American life; his "The Thankful Poor", another such image, was completed the following year. Speaking of the work presented here, Dr. Rae Alexander-Minter, the artist's grand-niece writes: "Of particular interest to me is that this painting has similarities one finds in Tanner's French Breton genre scenes. while the painting under study here depicts African Americans, it demonstrates the artist's level of comfort with ordinary folk involved in their daily routines. Perhaps it is also Tanner's desire to paint African Americans naturalistically. Sadly we have so few extant examples of this genre in Tanner's extensive body of work." Tanner was to spend the rest of his life in France, with brief visits to his native country. He had his debut at the Paris Salon in 1894, received an honorable mention in 1896, and was awarded a third-class medal in 1897. Tanner's reputation was now solidified. While many of his works are religious in subject, in the mid-1890s he produced a small number of paintings representing various aspects of African-American life. These works are all very similar in technique and tone. As Dr. Alexander-Minter writes of the painting offered here: "As I look more closely at the palette of the painting of deep browns, gray, amber, it is reminiscent of the colors Tanner used in the 'Portrait of the Artist's Mother' (1897), 'Bishop Benjamin Tucker Tanner' (1897) and 'The Young Sabot Maker' (1895). In addition, the palette and brushstrokes are similar to those we see in 'Sand Dunes at Sunset, Atlantic City' (ca. 1885)." "Feeding Chickens, African-American Township, Philadelphia Pennsylvania" is an historically significant and rare African American scene by Tanner to be offered at auction. The recipient of numerous prestigious awards, Tanner received the Pennsylvania Academy of the Fine Arts Lippincott Prize, was named a Chevalier of the Legion d'Honneur in 1923, and was the first African American made a Full Academician of the National Academy of Design in 1927. In 1899, the Philadelphia Museum of Art's acquisition of one of Tanner's paintings marked the first time an African-American artist was represented in a major American Museum. References: Mathews, Marcia M. Henry Ossawa Tanner - American Artist. Chicago: University of Chicago Press, 1994; Winter, Margaret Crumpton and Rhonda Reymond. Henry Ossawa Tanner and W.E.B. DuBois - African American Art and High Culture at the Turn of the Twentieth Century. Post-Bellum, Pre-Harlem: African American Literature and Culture, 1877-1919. Eds. Barbara McCaskill and Caroline Gebhard. New York: New York University Press, 2006, pp. 231-249.

279

1188 English or American Late Victorian Quarter-Sawn Oak and Oak Partner’s Desk, ca. 1900, each side centered by a leather-inset inclined writing surface lifting to reveal a well with a fitted interior, and flanked by a flat top over ends with banks of three drawers, raised on turned legs, h. 35‑3/4”, w. 60”, d. 48”. [1000/1500] Illustrated

1189

1194 1189 Seven-Piece Collection of American Brilliant Period Cut Glass, ca. 1900, including two bowls cut with hobstars, h. 3‑3/4”, dia. 8” and 9”, a bowl cut with flowers, h. 3‑1/4”, dia. 10‑3/4”, two large round nappies, h. 2‑1/4” and 2‑1/2”, dia. 8‑3/4” and 10‑1/4”, an oval dish, w. 7‑3/4”, l. 14”, and a heavy celery dish cut with hobstars, h. 2‑1/2”, w. 3‑1/2”, l. 11‑3/4”. [500/800] Illustrated

1190 Val St. Lambert Overlay Glass Vase, 20th century, Belgian, the large, flaring emerald cut-to-clear glass vase marked with an engraved script signature, h. 15‑3/4”, dia. 10‑1/2”. [500/800]

1192

1191 George William Whitaker (American, 1841‑1916), “River Landscape with Figures”, oil on canvas, signed lower right, 25” x 30”. Framed. [2000/4000] Illustrated

1191

1192 American Late Victorian Mahogany Partners Library Table, fourth quarter 19th century, the serpentine top mounted to a conforming frame, the front and back each fitted with a drawer and faux drawer, raised on carved cabriole legs with a shelf stretcher, bearing the paper label of R. J. Horner, New York, h. 29”, w. 51”, d. 35”. [1800/2500] Illustrated

1188

280

1193 American Late Victorian Mahogany Four-Door Bookcase, ca. 1900, with a molded overhanging cornice and four glazed doors below, the corners with blind fretwork pilasters and Ionic capitals at the top, h. 56‑1/2”, w. 96”, d. 15”. [800/1200]

1197 Albert Bierstadt (American, 1830‑1902), “By the Seaside Before the Storm”, oil on artist’s board, signed lower right, 13‑1/2” x 19”. Framed. Provenance: Private collection, Houston, Texas. [7000/10000] Illustrated

1197 1195

1194 Beaux-Arts Gilt-Lacquered-Bronze and Cut Glass Six-Light Chandelier, early 20th century, the glass bowl cut in the Russian pattern with three electric sockets inside, and supported by a ring adorned with swags and classical masques, and three arms with cut glass teardrop shades, h. 28”, dia. 28”. [1200/1800] Illustrated 1195 Longworth Nicholas Powers (American/Italian, 1835‑1904), “Portrait Bust of a Woman”, marble, fourth quarter 19th century, raised on a square socle and signed “Longworth Powers, Sculp.”, h. 28”, w. 18”, d. 10‑1/4”. [2000/4000] Powers, a sculptor and photographer, was the son of famed American sculptor Hiram Powers (1805‑1873). He was named for his father’s patron, prominent Cincinnati lawyer Nicholas Longworth. Powers moved with his family to Italy at the age of two and spent most of his life in Florence where his home, Villino Powers, became the site of numerous cultural and artistic gatherings. Illustrated 1196 American Aesthetic Movement Mahogany and Polished and Silvered Brass Side Table, Attributed to The Charles Parker Co., Meriden Connecticut, fourth quarter 19th century, the rectangular top with a molded edge, and mounted to the cast metal frame depicting birds and flowers in the Japonesque taste, the legs joined by a medial shelf, h. 30‑1/2”, w. 23‑1/4”, d. 17‑1/4”. [500/800] The sunflower and avian mounts on the present table are also on a table in the collection of the Dallas Museum of Art, illustrated on page 20 of D’Ambrosio, A Brass Menegerie: Metalwork of the Aesthetic Movement.

1198 Finely Carved Oak Overdoor Panel in the BeauxArts Taste, ca. 1887, probably designed by Carrere and Hastings in conjunction with execution by Herter Brothers, New York, the verso marked in script “Rockwood Hall... Music Room”, the panel with a broken-arched pediment utilizing egg-and-dart carving, over a central cartouche adorned with shells beneath a leonine masque, and flanked by carved doves, fruit, foliage and scrolls, crisply carved in the manner of a premier cabinet firm such as Herter Brothers, h. 23”, w. 73”, d. 3‑1/4”. [1000/1500] Illustrated

1198

Reputedly removed from William Avery Vanderbilt’s Tarrytown, New York, manse, ca. 1887. In 1886, William Rockefeller, brother to John D. and a co-founder of Standard Oil, purchased land along the Hudson to erect his family home. He engaged the firm of Carrere and Hastings to decorated the 204‑room house, interior elements of which are documented as having been crafted by the Herter Firm. During the 1880s, the Herter firm and their principal competitor Pottier and Stymus, shifted their focus from the production of art furniture to crafting interior elements for the homes of America’s robber barons. Period accounts of the house indicate the hallway was executed in oak, and the music room in satinwood, suggesting this was mounted on the hall side of the door frame. In 1941‑42, the house was razed. The grounds now form part of New York’s Rockefeller Park Preserve.

281

1199 Attributed to Andrew W. Melrose (Scottish/New Jersey, 1836‑1901), “Lone Fisherman, Early Morning on the River”, oil on canvas, monogrammed lower right, 30” x 50”. Framed. Provenance: Personal collection of Daniel Tenenbaum, San Francisco, California and Houston, Texas. [4000/7000] Illustrated 1200 American Aesthetic Movement PotteryMounted, Coppered and Lacquered Brass Three-Light Gasolier, ca. 1880, the stem with an enameled pottery cylinder decorated with butterflies and flora in simulation of Meiji cloisonne, the arms with brackets depicting urns with sunflowers and birds, mounted with period etched glass crown shades, the bottom finial with a Longwy insert, h. 34‑1/2”, dia. 35”. [800/1200] Illustrated 1199

1200

1201 Pair of French Hand-Painted Platinum-Ground Porcelain Urns, fourth quarter 19th century, in the Neo-Grec taste, decorated with blue-painted trophies and allegories of music, with gilt snake-form handles terminating in masques, marked indistinctly with shieldform printed marks, h. 10‑3/4”, w. 6‑3/4”, d. 4‑1/2”. [800/1200] Illustrated

1201

1200 detail

1202

282

1202 Chauncey Foster Ryder (American, 1868‑1949), “Summer Landscape”, oil on canvas, signed lower right, 12” x 16”. Framed. [2000/4000] Illustrated

1205 Charles Bridgeman Vickery (American/ Illinois, 1913‑1998), “Waves”, oil on board, signed lower right, 9” x 12”. Framed. [800/1200] Illustrated 1206 James Abbott McNeill Whistler (American/ British, 1834‑1903), “Nocturne in Blue 1206 and Gold - Old Battersea Bridge”, ca. 1910‑1920, color lithograph on paper board, “Franz Hanfstaengl, Munchen, no. 100” blind stamp lower right, 21‑1/4” x 16‑1/8”. Glazed and framed. [2000/4000] Illustrated

1203 1203 Chauncey Foster Ryder (American, 1868‑1949), “Autumnal Landscape”, oil on canvas, signed lower right, 12” x 16”. Framed. [2000/4000] Illustrated

Franz Hanfstaengl was a prominent German photographer/printmaker, who was authorized by Whistler in his lifetime to reproduce some of his work. A lithographic reproduction of Nocturne: Blue and Silver was exhibited by Hanfstaengl in London in 1907.

1204 1204 Pair of Unusual Franco-Bohemian Porcelain and GiltBronze Six-Light Candelabra, fourth quarter 19th century, the vasiform porcelain standards decorated with gilt branches and leaves on a cobalt and white ground with fitted with pierced bronze handles, surmounted by scrollwork candle arms hung with chains and set with matching candle cups and drip pans, raised on pierced bronze bases, h. 25‑1/2”, dia. 11”. [1200/1800] Illustrated

1207

1207 Newcomb College Art Pottery Matte Glaze Circular Trivet, ca. 1927, decorated by Sadie Irvine (1887‑1970), potted by Joseph Fortune Meyer (1848‑1931), in shallow relief with floral and branch carving, the base marked with the date, decorator’s pattern and “NC” marks, dia. 5‑1/2”. [700/1000] Illustrated

1205

283

1208 William Woodward (American/New Orleans, 1859‑1939), “Portrait of the Artist’s Son, Lieutenant Carl Ellsworth Woodward”, 1917, oil on canvas, pencil signed and titled en verso and on Newcomb College Exhibition label on stretcher, 38” x 22”. Framed. Provenance: Descended in the family of the artist. [7000/10000] Illustrated William Woodward, an American Impressionist portrait, landscape, still-life, and cityscape painter was dedicated to organizing and promoting Southern art. Few artists have left such a profound legacy on New Orleans and the Gulf Coast area as Woodward and his brother and fellow painter Ellsworth. They were professors of art and drawing at Tulane University and helped found the Newcomb School of Art, where Ellsworth remained as the chair of the art department until his retirement in 1931. William Woodward was equally pioneering in the development of Tulane. Trained in architecture at the Massachusetts Normal Art School, Woodward designed the campus’ early building and founded its School of Architecture. Much of our knowledge of New Orleans’ historic architecture in the Vieux Carré is owed to William Woodward’s rich documentation of its people and buildings in his many paintings/vignettes of daily life. Woodward’s portraits, though lesser known, exude the same passion and commitment to the city’s people. In 1917, after his son Carl enlisted in World War I, where he was seriously injured, Woodward painted several portraits of local soldiers, including the one offered here of his son. Other prominent “war portraits” of similar scale, palette and composition are those of General Allison Owen, and Lieutenant General Bryan Black, both of which are conserved in the permanent collection of the Louisiana State Museum. In a moving editorial published in the Times Picayune on September 22, 1917, William Woodward calls upon New Orleaneans to support its recently departed soldiers, including the names of the above-mentioned portraits. Given the loss of students, who left to serve their country, he asks for assistance in maintaining the Tulane School of Architecture in their absence: “It occurs to me that no better support could be given them than to carry on the school until they return to fight its battles. I therefore, offer one scholarship ($100) for the period of the war in the hope that the friends of the above mentioned will do the same.” Almost a century later, the Woodward family offers this portrait back to New Orleans in the hope that it too will follow in the tradition of William and Ellsworth and honor its veterans, as well as the Woodwards memory as founding fathers of the city’s art schools. Carl Woodward, the artist's son and lifetime New Orleanean, was born in 1894. He was a graduate of Tulane University, and served in World Wars I and II, achieving the rank of Colonel in the United States Airforce. He also founded Carl E. Woodward Inc. construction contractors company dedicated to preserving and emulating southern architectural styles. Woodward died in 1972, passing his legacy on to his two daughters and six grandchildren. 1209 William Woodward (American/New Orleans, 1859‑1939), “Portrait of Ethel, probably Mary ‘Ethel’ Dismukes”, 1919, pastel on paper, signed and dated mid-right, titled lower center, 26‑1/4” x 10‑1/2”. Glazed, matted and framed. [1500/2500] Illustrated The title “Ethel” quite possibly suggests that the pastel offered here is a portrait of Mary “Ethel” Dismukes, a Biloxi artist and teacher, active in the New Orleans Arts Association, who later helped William Woodward found the Mississippi Gulf Coast Art Association.

1208

1210 Ellsworth Woodward (American/New Orleans, 1861‑1939), “Munich”, 1892, watercolor on paper, signed, dated, and localized lower right, sight 13‑3/4” x 9‑1/2”. Glazed, matted and framed. Provenance: Private Collection, New Orleans, Louisiana. [2000/4000] Illustrated 1211 American Silvered Bronze Chandelier in the E. F. Caldwell Style, second quarter 20th century, fluted and mirrored baluster-form standard, decorated with leaf molding, set with six scrolled leaf-molded arms set with reeded drip pans and fluted candle cups, h. 30”, dia. 23”. [1000/1500] Illustrated

1209

284

1211

1214 Alexander John Drysdale (American/New Orleans, 1870‑1934), “Dawn on the Bayou”, 1911, oil wash on paper, signed and dated lower right, sight 17” x 27”. Glazed, matted and framed. [2500/4000] Illustrated

1210 1212 Elaborate Kellogg, Chicago, Brass Desk Phone, second quarter 20th century, molded with repousse flowers, the dial ring ornamented with a Chinese carved coral medallion echoing the case decoration, marked “Kellogg S&S Co., Chicago, USA” on the earpiece, h. 7‑1/2”, w. 9‑1/2”, d. 4‑1/2”. [800/1200]

1214 1215 Alexander John Drysdale (American/New Orleans, 1870‑1934), “Bayou Cypress”, oil wash on paper, signed lower left, sight 10” x 19”. Glazed and framed. [1500/2500] Illustrated

1213 1213 Alexander John Drysdale (American/New Orleans, 1870‑1934), “Water Lilies and Trees Along the Louisiana Bayou”, oil wash on paper, signed lower right, a “W. E. Seebold/New Orleans” stamp en verso board, sight 18” x 28‑1/2”. Glazed, matted and framed. [2500/4000] Illustrated

1215

285

1223

1217

1216

1216 Antique Caucasian Carpet, 3’ 9” x 9’ 8”. Provenance: The Flatt Collection. [800/1200] Illustrated 1217 Semi-Antique Tabriz Silk Pictorial Carpet, depicting forest animals and a “Tree of Life”, 5’ 4” x 9’ 1”. [700/1000] Illustrated 1218 Turkish Sultanabad Carpet, 8’ 3” x 10’. [900/1200] 1219 Turkish Angora Oushak Runner, 2’ 9” x 19’ 6”. [600/900] 1220 Semi-Antique Tabriz Carpet, 4’ 6” x 7’. [600/900] 1221 Turkish Angora Oushak Carpet, 8’ 2” x 9’ 10”. [800/1200] Illustrated 1222 Persian Qashqai Runner, 4’ 1” x 8’ 1”. [1000/1500]

1221

286

1223 Semi-Antique Tabriz Silk Carpet, 6’ 6” x 9’ 3”. [2000/4000] Illustrated 1224 Modern Carpet, 8’ 5” x 10’. [1500/2500] Illustrated 1225 Turkish Angora Oushak Carpet, 9’ 1” x 12’. [1200/1800] Illustrated 1226 Semi-Antique Kazak Carpet, 4’ 8” x 7’ 2”. Provenance: The Flatt Collection. [1000/1500] Illustrated

1223

1224

1225

1226

287

I nd e x of A rt i s t s

Alboni 506

D e c e m be r 4 - 6 , 2 0 1 5

American School 1149

Continental School 131, 150, 485, 506, 657, 658, 679, 681, 683, 768, 785, 797

Amiconi, Bernardo 1182

Cosson, Jean-Louis-Marcel 349

Anderson, Walter Inglis 1109

Coustou, Guillaume (after) 605

Antonissen, Henri-Joseph 452

Cuzco School 477, 478

Aureli, Giuseppe 545

Dauzats, Adrien 132

Baird, William Baptiste 153

De Bus, Jean-Francois 206

Bauchant, Andre 1039, 1040

De Roy, Jean-Baptiste 603

Bierstadt, Albert 1197

Deacon, Deroy Sharp 199, 200

Blank, Charles 1112

Della Porta, Giacomo (after) 692

Bombois, Camille 1032, 1033, 1034, 1035, 1036, 1037, 1038

Drysdale, Alexander John 1213, 1214, 1215

Bonheur, Isidore (after) 1074

Dubray, Vital-Gabriel (after) 544

Bonin, Melissa 1103

Dubufe, Claude-Marie 558

British School 299, 506, 624

Dufy, Jean 338

Brown, James 215

Dumaige, Etienne-Henri (after) 160

Brunsdon, John R. 218

Dumonstier, Pierre (attributed) 668

Bruvel, Gil 213

Dunach, Jose 551

Cafferty, James Henry (circle) 1158

Duran, Joan 1084

Canova, Antonio (after) 708, 709

Dureau, George Valentine 1106

Carlier, Emile Joseph Nestor (after) 601

Emery, Lin 1105

Cartier, Thomas (after) 767

Erno, Nagy 152

Chaplin, Charles 562, 770

Fincher, John 1087

Chatillon, Charles de 541

Fornasetti, Piero 1066, 1067, 1068, 1069, 1070

Chigot, Eugene 130

Fratin, Christophe (after) 788

Chinese School 44, 47, 77, 78, 79, 81, 83

French School 158, 302, 505, 561, 670, 671

Chism, Sandy 1101

Friedeberg, Pedro 1091

Choi, Wook-Kyung 1085

Gabriel, Jean Sala 546

Cian, Fernand 312

Gai, Qi (attributed) 84

Ciceri, Eugene 138

Gall, Francois 340, 341

Clemente, Francesco 217

Gasser, Henry Martin 1167

Clodion (after) 311

Gentilini, Armando 257

Coclers, Philippe Henri (“van Wick”) 570

Gerard, Francois Pascal-Simon 557

Colvin, Marta 1088

Gregoire, Jean-Louis (after) 529

I nd e x of A rt i s t s

D e c e m be r 4 - 6 , 2 0 1 5

Greuze, Jean-Baptiste (after) 295

Levier, Charles 344, 345, 346

Guercino (after) 445

Levy, Laure 293

Guerin, Jean Urbain (follower) 298

Lindner, Richard 214

Heldner, Colette Pope 1164, 1165

Lorrain, Claude 665

Hemenway, Mary Louise Liddell Jordan 1166

Lucas, Friedrich Wilhelm (attributed) 159

Hemmerling, William 1110

Luce, Maximilien 342

Hepple, John Wilson 730

Lynch, James 151

Hilaire, Jean-Baptiste (attributed) 273

Maier, Christopher 1065

Hondius, Abraham Danielsz 453

Mattox, Bernard 216

Houbraken, Jacobus 667

Max, Peter 212

Indian School 66, 67, 68

Melrose, Andrew W. (attributed) 1199

Italian School 437, 448, 449, 450, 451, 672, 678, 680, 682, 710

Michelangelo (after) 688

Italian/French School 674

Molinary, Marie Madeleine Seebold 1183

Japanese School 96

Moore, Henry 220

Kang, Tao (after) 82

Moreelse, Paulus (after) 305

Kauba, Carl (after) 564

Murillo, Bartolome Esteban (after) 472

Kirkpatrick, Frank LeBrun 659

Nattier, Jean-Marc (follower) 276

Kohlmeyer, Ida Rittenberg 1107

Ohara, Koson 98

Konig, Hugo 120

Paice, George 734

Korean School 75, 76

Persian School 65

Lanceray, Evgeni (Eugene) (after) 107

Perraud, Jean-Joseph (after) 549

Landini, Taddeo (after) 692

Picasso, Pablo 1047, 1048

Lane, Holly 1086

Picasso, Pablo (after) 1041, 1042, 1043, 1044, 1045, 1046

Lanzirotti, Antonio Giovanni 701

Pieterszen, Abraham van der 122

Laughlin, Clarence John 1104

Piper, John 219

LaVerne, Kelvin 1064

Pollak, Johann (after) 104

LaVerne, Philip 1064

Powers, Longworth Nicholas 1195

Le Brun, Charles (circle) 301

Prout, Samuel 156

Lebas, Leonie 566

Puigaudeau, Ferdinand 339

Ledet, Michael 1108

Qian, Huian 85

Lefort, Jean 264, 790, 791

Quinaux, Joseph 139

Lenditz, Frederick 543

Ragione, Raffaele 779

Leonard, Herman 1092, 1093, 1094, 1095

Redoute, Pierre Joseph (after) 588

Leroy, Jules 789

Renard, N. 506

I nd e x of A rt i s t s

D e c e m be r 4 - 6 , 2 0 1 5

Renard, Paul 260

Vanderveen, Loet 195, 196, 197

Reni, Guido (after) 473

Vickery, Charles Bridgeman 1205

Reni, Guido (follower) 705

Vivin, Louis 343

Rigaud, Hyacinthe (circle) 300

Vouet, Simon (after) 304

Rigolot, Albert-Gabriel 121

Wagner, Fritz 163

Robert, Louis Valentin Elias (after) 537

Walker, William Aiken 1163

Robinson, John 1143

Warhol, Andy 1079, 1080, 1081, 1082

Rockmore, Noel 1102

Weinmann, Johann Wilhelm 125

Rodin, Auguste (after) 1075

Whistler, James Abbott McNeill 1206

Rodrigue, George 1096, 1097, 1098, 1099, 1100

Whitaker, George William 1191

Rosa, Salvator (follower) 306

Wingfield, James Digman 229

Rouault, Georges 261

Woodward, Ellsworth 1210

Rubens, Peter Paul (follower) 447

Woodward, William 1208, 1209

Ryder, Chauncey Foster 1202, 1203

Ye, Manshu (after) 86

Sang, Chang-cho 99

Zampighi, Eugenio 457

Schepelern, Frederik 597

Zuniga, Francisco 1090

Schwalenberg, S. 516 Seigle, Henri Julien 202, 203, 204 Shen, Han Wu 1083 Skarbina, Franz 157 Souter, John Bulloch 350 Stockler, Emmanuel 164 Sykes, Charles Robinson (after) 752 Szafran, Sam 347, 348 Tamayo, Rufino 1089 Tanner, Henry Ossawa 1187 Trevisani, Francesco 446 Trivigno, Pat 1111 Tschernjawski, Alex 205 Utagawa, Hiroshige 97 Van der Kellen, David 1153 Van der Plas, Niek 262, 263, 265 Van der Pol, Louis 258, 259 Van Leyden, Lucas 660, 661, 662, 663, 664, 666

Glossary New Orleans Auction Galleries does not make any express or implied warranty as to the authorship of works of art and fine art. Please note that all of the terms and descriptions used in this catalogue are intended as our qualified opinions only and are subject to the Conditions of Sale set forth elsewhere. The Artistâ&#x20AC;&#x2122;s Name: In our qualified opinion, a work by the artist. Attributed to: In our qualified opinion, a work of the period of the artist that may be in whole or in part the work of the artist. School of: In our qualified opinion, a work by a follower of the artist. Circle of: In our qualified opinion, a work of the period of the artist and showing his/her influence. Manner of: In our qualified opinion, a work in the style of the artist, possibly of a later period. After: In our qualified opinion, a copy of a known work by the artist. Signed: In our qualified opinion, has the signature which is that of the artist. Bears Signature: In our qualified opinion, has a signature which may be the signature of the artist. Dated: In our qualified opinion, is so dated and was executed on or around that date. Bears Date: In our qualified opinion, is so dated and may have been executed at about that date.

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 25% of the Hammer Price (discounted to 22% 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, 333 St. Joseph 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 333 St. Joseph 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 #: ____________________________________________

Expiration Date: __________

CVV #: _______________ 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 25% 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 25%. Your signature on this form constitutes permission to charge successful bids to your credit card, including the 25% 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. Sarofim

Tessa Steinkamp

CEO

Director of Auctions

Ashton Thomas President

consignments FINE ARTS:

FURNITURE:

Jelena Restovic James

Ireys Bowman

Continental and American; Prints and Maps

Continental and English

Michele M. Carolla

American, Continental and English

ASIAN FINE & DECORATIVE ARTS: Felicia S. Yao

Greg S. Kowles

British and American; Sculpture

BOOKS, MANUSCRIPTS & EPHEMERA:

Thomas Halverson

DECORATIVE ARTS: Ireys Bowman

American

Charles C. Cage

Josh Broussard

Jewelry:

Continental and English

Southern Regional

Nicole Casi, PhD

SILVER:

American, Continental and English

Kim Lemon FINE CARPETS & TEXTILES:

Charles C. Cage

Sean Ranson

administration Burke

Colleen Ryan

Taylor Eichenwald

Designer

Director of Human Resources

Charles C. Cage

Nicole Casi, PhD Research

Graphic Designer

Denise Haik

Photographers: Gary Michael Gittelson Cord McPhail

Graphic Designer

Office Manager

Office Administration

Alexis Kopituk

Administrative Assistant

auctioneers Tessa Steinkamp #1265 Ashton Thomas #1833 Robin Ruiz #1114 Michael DeGeorge #1774 Taylor Eichenwald #1922

Greg Kowles

Manager of Cakebread Auctions

consultants Ellen McKenzie

Marketing & Public Relations

Christa Ougel Justin Gray

Grace Connors

Assistant Manager of Cakebread Auctions

ope r at ion s Cedric Roberts | Sean Ranson

English and Continental Furniture

Bennie Amos | Eddie Daigrepont

Ira Savoie

Emmitt Kendrick, Jr. | David Smith

Independent Certified Gemologist Appraiser

James Callahan Asian Arts

Gerald Hampton | Juanita Bazile Sol Carter | Thomas Johnson David Abney | James Collins