March 12-13, 2016 Estates Auction by New Orleans Auction Galleries

New Orleans Auction Galleries march 12-13, 2016

Lot 1096 Cover: Lot 279

New Orleans Auction Galleries 5 0 4 - 5 6 6 - 1 8 4 9 | 8 0 0 - 5 0 1 - 0 2 7 7 | 3 3 3 S T. J O S E P H S T R E E T, N E W O R L E A N S , L O U I S I A N A 7 0 1 3 0 NEWORLEANSAUCTION.COM | INFO@NEWORLEANSAUCTION.COM

Exhibition:

E v e n i n g Recep t i o n :

Febr uar y 29 - March 11, 2016 9:00 a.m. - 5:00 p.m.

Thur sday, March 10, 2016 5:00 - 8:00 p.m.

(Ex c lud ing Sund ay )

S ess i o n I :

S ess i o n II :

Saturday, March 12, 2016 10:00 a.m. CST, Lots 1 - 624

Sunday, March 13, 2016 10:00 a.m. CDT, Lots 625 - 1126

10:00 - 11:00

1 - 99

10:00 - 11:00

625 - 689

11:00 - 12:00

100 - 199

11:00 - 12:00

690 - 754

12:00 - 1:00

200 - 299

12:00 - 1:00

755 - 854

1:00 - 2:00

300 - 399

1:00 - 2:00

855 - 954

2:00 - 3:00

400 - 499

2:00 - 3:00

955 - 1054

3:00 - 4:00

500 - 599

3:00 - 3:45

1055 - 1126

4:00 - 4:15

600 - 624

F e a t u r e d P r o pe r t y : T he Es t a t e o f K a r o ly n K unt z We s t e r v e lt N e w O r le a ns, L o uis ia na T he Es t a t e o f M a r k C ha p m a n C a t Sp r ing, Tex a s T he Es t a t e o f M a r jo r y M a nge t N e w O r le a ns, L o uis ia na T he C o lle c t i o n o f M r. a nd M r s. J a m e s L . B r it t o n, H o us t o n, Tex a s, D e s c e nd e d Wit hin t he Fa m ily T he Es t a t e o f L illia n P ulit z e r Sm it h N e w O r le a ns, L o uis ia na La Auction License AB-363, Steinkamp #1265, Thomas #1833, Eichenwald #1922 | 25% Buyerâ&#x20AC;&#x2122;s Premium (3% Discount For Prompt Payments Made By Cash, Check, Or Wire)

Dece m b e r 4 - 6 , 2 0 1 5 E s t a t es A u c t i o n E v e n i n g Recep t i o n

(L-R) Leonard and Janet Tallerine Eric and Caryn Eichenwald James Charbonnet and Judy Oudt Felicia Yao, Susan D. Sarofim, Gordon and Sylvia Quan Burke, Kelly Krohn and Taylor Eichenwald Gregory Holt and Sarah Freeman Jack Mitchell, Alex Mitchell, Sandy Barrett, Will Mitchell and Drewry Mitchell Howard and Tess Kruger

le t t e r f r o m t h e ce o

ow much spare time do you have? Not much, I bet. With the amount of time we dedicate to work, our families and friends and the time we put into simply trying to keep up with our daily lives... well, all of these demands leave us with few spare moments. Women’s-interest magazines frequently publish stories encouraging us to bring more balance into our lives, which, quite frankly, I have decided is impossible. The best I can hope for is carving out minutes, sometimes hours and rarely an entire day to devote to activities that help bring the me back to me.

the installation of the museum’s permanent collection of Louisiana fine and decorative arts, opening March 4-5. Charles is one of five experts across the South chosen as guest curators for the exhibition and we are so proud!

One of my guilty pleasures is cruising through decorator magazines. My favorite place to play hooky is Barnes & Noble Booksellers, where they serve Starbucks lattes, extra hot, and you can shop for as many magazines as you want for as long as you want. According to my astrological natal chart, I’m a dreamer and a schemer, and that’s what I do with my precious down time, perusing Elle Décor, Traditional Home, Southern Living, and so on. I dream, I scheme and I imagine. Flipping through the pages, I wonder: could I live in that room? Who would I be? How would my life change if I had built-in-bookshelves inlaid with brass? What do I think of Benjamin Moore’s shady-green paint color called Ponderosa Pine? Is that bright-red-lacquered library the real me? Look at that whitewashed Moroccan fantasy beach house, so calm and peaceful. And how I love the black-and-white Art Deco-inspired family room with the antique Parisian mirror, Baccarat chandelier and the white linen wallcovering by Ralph Lauren. I let my imagination take off to remote locations, to outlandish decorating, to a host of what-ifs. I get the same fanciful pleasure when I walk through the auction house, delighting in the countless possibilities that come through our doors. Imagination: it wakes up our brains, makes our desires feel real and provides us with a magic carpet to anywhere we want to go. New Orleans Auction Galleries is pleased to offer you a magic carpet ride via our March catalogue. Climb aboard, get comfortable and let your imagination wander over the 1,126 intriguing items. I would like to point out a couple of important stops along the way: a stunning painting by Gustave Loiseau, formerly from the Collection of the J. Paul Getty Museum of Art; a significant collection of New Orleans silver, by Adolphe Himmel; and of interest to collectors of Louisiana material culture, a three-piece American Renaissance Revival rosewood half-tester chamber suite attributed to the New Orleans warehouse of Prudent Mallard, one of only four known Mallard bedrooms suites retaining its original bill of sale. I am so pleased to announce our silver specialist, Charles C. Cage, has been asked by the Louisiana State University Museum of Art in Baton Rouge to be curator of the New Orleans silver gallery in

VIE's Photoshoot Production Team and NOAG's Operations Staff

NOAG recently hosted a fashion shoot for the March/April cover of VIE Magazine, which has a bimonthly circulation of 25,000 per issue and an editorial focus on Northwest Florida. Taylor Eichenwald, NOAG’s Director of Public Relations and Marketing, made sure the day went perfectly and it was a glamourous and exciting time for us, as we were able to experience firsthand what it takes to produce a high-end magazine photo shoot, as envisioned by publisher Lisa Burwell. Look for your copy of VIE with its lovely “Let Them Eat Cake” cover in bookstores across the country, including, yes, my personal favorite, Barnes & Noble. Or if you happen to be flying in or out of one of a number of major-hub airports across the South and East, you can pick up an issue to enjoy on your travels. I know, like me, you will marvel at how the auction house was transformed into a decadent, over-the-top, extravagant setting with two gorgeous models and breathtaking ensembles by Tieler James, an up-andcoming young New Orleans designer. We would love to have you join us for our preview party, Thursday, March 10, 5 to 8 p.m., to enjoy a drink and hors d’oeuvres while you take in NOAG’s amazing auction items. The hammer goes up at 10 a.m. on Saturday, March 12 and at 10 a.m. on Sunday, March 13. And, of course, there is complimentary parking for all magic carpets. See you soon!

Susan D. Sarofim CEO

Lot 892

t h e es t a t e o f k a r o l y n k u n t z w es t e r v el t n e w o r le a n s , l o u i s i a n a

Karolyn Kuntz Westervelt, prominent collector and philanthropist, was a quintessential New Orleans lady and a beloved member of the community. She was the daughter of Emile Nicholas Kuntz and Julia Hardin Kuntz, and the granddaughter of Rosemonde Elizabeth and Emile Kuntz, major collectors of important Louisiana paintings, furniture, decorative arts, historically significant documents and more. Many pieces from The Rosemonde E. and Emile Kuntz Collection are exhibited in the Permanent Collection of the New Orleans Museum of Art and numerous documents are contained in the Louisiana Research Collection at Tulane University. The Rosemonde E. and Emile Kuntz Rooms at the New Orleans Museum of Art exhibit carefully curated examples of American fine and decorative art relevant to New Orleans. Karolyn’s uncle, Felix Herwig Kuntz, first conceived of the rooms and the construction and furnishing of the rooms was done by Karolyn’s father, Emile N. Kuntz. Karolyn helped to complete the rooms along with her mother and sister after the death of her father. The Louisiana Bedchamber gallery opened in 1983 when the Kuntz family donated Felix’s collection in memory of his parents. Karolyn's grandfather was awarded a legendary diamond necklace by the Hapsburg Emperor Maximilian of Mexico for outstanding service in representing the interests of the Bank of Austria to Imperial Mexico before its fall in 1867 and he used the sale of the diamonds to finance various land purchases throughout Southern Louisiana, notably in the oil and gas rich Terrebonne Parish. Her grandfather, who ran a real estate firm, was an avid collector of documents, paintings and furniture during and after the Great Depression. Karolyn continued the rich legacy of her family by remaining active in numerous community and philanthropic endeavors, as well as continuing to be a very generous supporter of the arts. She served as a past President of the New Orleans Ballet and had been a former member of the Board of the New Orleans Museum of Art. She was a sustaining member of The Junior League of New Orleans and a member of the Colonial Dames of America. Karolyn was a graduate of The Louise S. McGehee School and attended Louisiana State University. New Orleans Auction Galleries is honored to offer impor tant paintings, furniture and decorative ar ts from the Estate of Karolyn Kuntz Westervelt.

t h e es t a t e o f m a r k c h a p m a n c a t sp r i n g , t e x a s

Mark Chapman was an astute businessman, philanthropist, poet and painter. He was also a collector of fine art, amassing an impressive and eclectic collection of paintings, many of which will be offered in this sale. Chapman grew up near Broughton, a small town 30 miles northwest of Manhattan, Kansas, and home to Kansas State University (KSU), where he earned bachelor’s degrees in history and political science in 1965. As a student, he was involved in the Army Reserve Officers' Training Corps, Acacia fraternity and athletics, including football and track. After earning a Doctor of Jurisprudence at the University of Texas, Mark spent two years as a United States Army Signal Core officer stationed in Thailand. Upon discharge, he began investing in real estate in Houston. After the real estate market crashed, he entered the depressed oil and gas business, betting on his vision of the market’s future and risking substantial debt to do so. His venture into the oil and gas business ultimately prospered, and he began to purchase farmland in Kansas and Nebraska. Chapman was a member of the KSU Foundation President’s Club, making significant gifts to Kansas State University for over 25 years. In addition to his support of the athletics department, his contributions established the Chapman Center for Rural Studies in History, an art gallery in Willard Hall and the Chapman-Mellenthin Plaza at the College of Veterinary Medicine. He helped develop the Chapman Scholars Program in the College of Arts and Sciences and supported two full-ride Presidential Scholarships. He most recently provided funds for the School of Music, Theatre and Dance to become an “All-Steinway School”. Furthermore, the Mark A. Chapman Foundation, independently created by Mark, funds approximately 100 scholarships annually in Kansas and Texas. In addition to his support for Kansas State University, Chapman has also made generous contributions in the greater Clay Center, Kansas community; made major donations to the Clay County Medical Center, including funding the Mark A. Chapman Wellness Center; and he has given scholarships to many Clay County High School graduates, to the Clay County Museum and to the Birger Sandzen Memorial Foundation. New Orleans Auction Galleries is honored to offer paintings from the Mark Chapman Collection.

t h e es t a t e o f m a r j o r y m a n g e t n e w o r le a n s , l o u i s i a n a

Marjory Manget was born in Philadelphia, but moved to New Orleans in 1932 when she married Daniel Manget Jr., a cotton broker. While their four children were growing up, she and her husband established the Valencia Club, a place where teenagers could socialize and dance while being supervised by chaperones. Marjory also founded the Nine O’Clocks, a similar organization for younger teenagers, and she was the owner and operator of Ramblers, a club where preteens learned how to dance and meet people. In 1951, Marjory’s husband developed Green Acres subdivision in Metairie to underwrite St. Martin’s Episcopal School, which had been established at the front of the development along Airline Highway (now Airline Drive). Her husband was the first president of the school’s board, and Mrs. Manget raised money and recruited students. Their children also attended the school. Marjory also helped found the Women’s Auxiliary of the Chamber of Commerce and the New Orleans chapter of the Freedoms Foundation. She was on the boards of the Bureau of Governmental Research and the Spring Fiesta, as well as a volunteer at Le Petit Theatre and McGehee School. She and her husband had a passion for antiques. When Mrs. Manget and her husband purchased too many antiques on an overseas trip, she established the Georgian Shop to sell some of the pieces. While it began as an antiques shop, it became a store that offered fine stationery, children’s clothes and monogrammed garments over the course of its 18 years in operation. Marjory remained active after the death of her husband in 1971. She joined the Southern Yacht Club and the Orleans Club, even taking a trip to Turkey at 89 years old and hosting a party for over 100 people at age 91. She died at age 97 in New Orleans. New Orleans Auction Galleries is pleased to offer items from the Estate of Marjory Manget.

Lot 74

Se s sion I : S at u r day, M a r c h 1 2 , 2 0 1 6 Lots 1 - 6 2 4

10:00

11:00

12:00

100

199

1:00

200

299

12:00

1:00

2:00

300

399

2:00

3:00

400

499

3:00

4:00

500

599

4:00

4:15

600

624

1 Napoleon III Ebonized and Burl Parlor Cabinet/ Desk, third quarter 19th century, the central section with a three-quarter pierced brass gallery above an open mirrored compartment, flanked to either side by a lower cupboard, centered by a Sevres-style portrait plaque, the lower section banded and having a drawer fitted with a desk above, with a frieze of inset ormolu guilloche mounts centered by floral porcelain medallions joined by a mirrored back and shaped shelf on fluted and block supports to a plinth shelf on toupie feet, the whole with decorative inlaid banding and ormolu mounts and millwork, h. 59‑1/2”, w. 53‑1/2”, d. 21‑1/2”. [2000/4000] Illustrated

4 Pair of French Restauration Gilt- and Patinated Bronze Six-Light Candelabra, second quarter 19th century, resting on lion’s head paw feet on tripartite bases, the tapered standards fluted and terminating in Corinthian capitals, the scrolled and molded candle branches with engine-turned candle cups and drip pans, h. 26‑1/4”, dia. 11‑1/4”. [800/1200] Illustrated

2 French Bronze Nine-Light Chandelier in the Belle Epoque Taste, the fluted vasiform standard holding scrolled leafmolded candle arms set with downturned sockets with ruffled satin glass shades, with a reeded and leaf-molded finial, h. 39‑1/2”, dia. 36”. [1000/1500] Illustrated 3 Paris Porcelain Hand-Painted Figural Encrier, mid-19th century, French, on a pierced scrolled base with a handpainted panel of flowers on a bleu-du-roi ground, the figure of a hunter seated on a log, a gun to one side, a powder horn hanging on the other, teasing his dog with a freshly caught bird, the figure lifting to reveal a pair of inkpots and a pounce pot, h. 13‑3/4”, w. 14‑1/4”, d. 8‑3/4”. [1500/2500] Illustrated

5 Napoleon III Burl and Exotic Woods Games Table, late 19th century, the rectangular top with turreted corners and chessboard inlay, hinged and opening to a leather-inset surface, rotating to reveal storage compartments for gaming pieces, above a conforming frieze fitted with scrolling foliate inlaid panels, raised on fluted tapering circular legs joined by an H-form stretcher and ending in toupie feet, h. 28‑1/2”, w. 24”, d. 15‑1/2”. [2000/4000] Illustrated 6 Rare Louis XVI Miniature Commode, fourth quarter 18th century, cherry with pine secondary, on tapering fluted legs with matching canted corners, the drawers with ebonized trim, period ring pulls and lozenge-form faux escutcheons, the top molded, h. 12”, w. 16‑1/2”, d. 10”. [800/1200] Illustrated

7 Louis XVI-Style Giltwood and Marble-Top Side Table, late 19th century, the D-form marble top with projecting corners, above a conforming lattice-incised and floral garland-carved frieze, raised on fluted tapering circular legs headed by foliate carving, joined by a ribbon stretcher and ending in toupie feet, h. 36‑1/2”, w. 38‑1/2”, d. 14‑1/2”. [800/1200] Illustrated 8 Pair of Louis XVI-Style Giltwood Fauteuils, early 20th century, the arched crest rail centered by floral and leaf carving, the open arms with foliate-carved scroll ends on shaped supports with like carving, bowed seat rail and turned legs, now in Brunswig and Fils upholstery and fitted with loose seat cushions, h. 44‑3/8”. [600/900] Illustrated 9 Bernard Neuville (French, 19th/20th Century), “Still Life of Grapes, Peaches and Cherries”, oil on canvas, signed lower center, 18‑1/2” x 24”. Presented in an antique giltwood and gesso frame. [1000/1500] Illustrated

10 Napoleon III Ebonized Cabinet, late 19th century, the rectangular top with turreted ends, above a conforming case fitted with a gilt anthemion applied frieze over a single cupboard door, paneled and featuring a multi-stone foliate and bird inlay, flanked to either side by gilt foliate applied uprights, raised on turret feet, h. 49”, w. 40”, d. 18”. [2500/4000] Illustrated

11 Pair of Unusual Louis-Philippe Patinated and Gilt-Bronze Standards, second quarter 19th century, now mounted as lamps, on gilt bases in the rococo style with molded leaves and scrollwork, supporting patinated bronze figures in classical dress, each with one arm raised, bronze, h. 21”, overall, h. 29”, dia. 7‑1/4”. [1200/1800] Illustrated 12 French Beaux Arts Bronze and Marble Lamp, second quarter 20th century, on an Egyptian marble base, the standard molded as three patinated and gilt male monopodia, their backs to the center, supporting the oval harp with applied scrolls, a tag just under the finial reading “Sher & Col, 246, P.O.” and the bottom marked “Made in France”, h. 10”, dia. 7”. [2000/4000] Illustrated

14 13

13 French Fin de Siecle Patinated Metal and Gilt-Bronze Six-Light Chandelier, ca. 1900, the patinated body holding three rope-twist arms with applied leaves, terminating in a pair of patinated tulip-form light sockets, each terminating in a scroll-molded pierced finial, h. 35”, dia. 22”. [500/800] Illustrated

14 Louis-Philippe Giltwood Pier Mirror, third quarter 19th century, the bolection framed surround decorated with incised leaves and vines, a beaded liner trimming the mirror plate, the pierced crest depicting a quiver and torch bound with a bowknot, flanked by sprays of laurel, h. 61‑1/2”, w. 31‑1/2”. [600/900] Illustrated

15 Impressive Pair of French Gilt-Bronze Marly Horses, third or fourth quarter 19th century, after Guillaume Coustou (French, 1677‑1746), h. 29‑1/2”, w. 10”, d. 21”. [12000/18000] Illustrated

In 1739, Louis XV commissioned Guillaume Coustou the Elder (1677‑1746) to sculpt monumental marbles to flank the pond in the garden of Chateau Marly, the hunting lodge built by Louis XIV after his conversion of the previous lodge into the Palace of Versailles. Coustou’s sculptures of horse tamers and their horses were installed in 1745. The artist, surprisingly for the time, dismissed the allegorical, mythological or historical and instead chose to work from nature, observing the interaction and movement of actual trainers and horses. The sculptures proved immediately popular, and were considered Coustou’s masterpiece. At the height of the Revolution in 1795, at the urging of Jacques-Louis David (1748‑1825), the sculptures were moved to Place de la Revolution (now Place de la Concorde) in Paris, thus saved from the fate of the Chateau which was destroyed by revolutionaries. In 1984, the sculptures were moved a third time, to the Louvre, for conservation and protection and copies put in their place. 16 Empire-Style Mahogany Bibliotheque, early 20th century, the molded cornice above a frieze with three affronted ormolu swan mounts, over three doors, the upper part glazed, the lower section with diamond panels, divided by and flanked by engaged pilasters headed by ormolu maiden’s heads, raised on a plinth base, h. 78”, w. 88”, d. 18‑1/2”. [3000/5000] Illustrated 17 Napoleon III Marquetry-Inlaid and PorcelainMounted Ebonized and Amboyna Cabinet, ca. 1875, the upper section with a broken-arch pediment over a pair of doors, each with a panel centered by a porcelain plaque in the Sevres style, and flanked by shelves, the shaped base with a frieze drawer with like decor over a pair of shelves supported by segmented columns, h. 70”, w. 64”, d. 19”. [800/1200] Illustrated

18 Pair of Unusual French Gilt-Metal and Porcelain Five-Light Candelabra, first quarter 20th century, on rectangular bases with gilt anthemia, the pierced baluster-form vasiform standards with female Bacchanalian figures, terminating in cobalt feathered capitals supporting candle branches with gilt-metal leaves and sculpted flowers, matching floriform candle cups and drip pans, h. 20‑1/4”, w. 7‑1/2”, d. 9‑1/4”. [1200/1800] Illustrated 19 Napoleon III Giltwood Mirror in the Rococo Taste, third quarter 19th century, the ogee-shaped frame ornamented with scrolled and rocaille work on a diapered ground, with molded shells on the corners, set with a beveled mirror plate, h. 49”, w. 39‑1/2”. [500/800] Illustrated

20 Louis XV-Style Kingwood, Parquetry-Inlaid and Marble-Top Commode, mid-20th century, the legs and drawers with polished bronze mounts, h. 32”, w. 39”, d. 20”. [700/1000] Illustrated

22 20

21 Set of Four Large French Bronze Six-Light Sconces in the Louis XV Taste, mid-20th century, the backplates molded with flowers and rocaille ornament, and set with a single concealed electric socket, each five-light scrollmolded candle arm set with matching candle cups and drip plates, h. 29”, w. 14‑1/2”, d. 7‑3/4”. [1200/1800] Illustrated

23 Transitional Louis XV-into-Louis XVI-Style Kingwood, Exotic Woods and Marble-Top Commode, late 19th century, the canted rectangular marble top with a three-quarter pierced brass gallery, above a conforming case fitted with two drawers, both inlaid in a lattice floralmarquetry pattern, the sides en suite, raised on cabriole legs ending in sabots, h. 32‑1/2”, w. 25‑1/2”, d. 15‑3/4”. [600/900] Illustrated 24 Italian Fruitwood and Marble-Top Commode in the Louis XV Style, late 19th century, the shaped marble top with a molded edge, above a conforming case fitted with two drawers, each with two banded panels, raised on cabriole legs, h. 34”, w. 32‑1/2”, d. 20”. [1500/2500]

22 French Bronze Fin de Siecle Four-Light Chandelier of Rococo Inspiration, ca. 1900, the tapered base holding a central socket with a flame-form frosted shade, the vasiform open frame ornamented with molded leaves and scrollwork, set with three downturned light sockets with ruffled, frosted shades, h. 28‑1/2”, dia. 17”. [900/1200] Illustrated

26 Empire Needlepoint Carpet, 11’ 9” x 18’ 2”. [1000/1500] Illustrated

25 Louis XV Parcel-Gilt Trumeau Mirror, third quarter 18th century, the green-ground surround with a mirror plate framed with gilt beading and an urn-form finial, the side panels with cone-crowned urns and swags of laurel, the painting depicting a couple in Arcadian landscapes accompanied by a musician, framed with pierced gilt scrollwork and flowers, h. 65‑3/4”, w. 45”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [1000/1500] Illustrated

27 Monumental Pair of Italian Gilded and Polychrome Plaster on Wood Doorway Cornices, fourth quarter 19th century, each featuring a winged angel flanked by foliate scrollwork and a deep dentillated molding above, h. 18‑1/2”, w. 86”, d. 8‑1/2”. Provenance: Reputedly from the collection of William Randolph Hearst. [2000/4000] Illustrated 28 Louis XV Gilt-Bronze and PaintDecorated Bracket Clock, third quarter 18th century, decorated in the Vernis Martin style with flowers and a hunt scene on a green ground, the movement with double bells, h. 57‑1/4”, w. 20‑3/4”, d. 10”. [1800/2500] Illustrated 29 Regence-Style Polychrome and Marble-Top Commode, late 19th century, the shaped marble top with a molded edge, above a conforming bombe case fitted with two drawers, featuring a colorful chinoiserie figural landscape, raised on splayed legs ending in sabots, h. 35”, w. 48”, d. 21‑1/2”. [2500/4000] Illustrated

30 Exceptional French Belle Epoque Parcel-Gilt Pier Mirror, fourth quarter 19th century, of Louis XVI inspiration, decorated with gilt on an ivory ground, the base with oval cartouches framed with laurel sprigs and leaves, the ogee surround with molded leaves and a beaded lining, the complex serpentine crest framed with scrollwork supporting water nymphs, the crest composed of a bouquet of flowers decorated with a crossed torch and a quiver of arrows, h. 93”, w. 43”. [3000/5000] Illustrated 31 Continental Silvered Bronze and “Jeweled” Boudoir Frame, ca. 1900, the oval frame set with beveled glass, the pierced scrollwork surround terminating in a phoenix crest, set with an “emerald” eye, with “diamonds” decorating the scrollwork, on an easel back, h. 9‑1/2”, w. 5‑3/4”, d. 7‑1/4”. [1800/2500] Illustrated 32 Mathurin Moreau (French, 1822‑1912), “Flora”, silvered and gilt bronze, cast signature and “E. Colin & Cie/ Paris” foundry mark along bottom edge, on a rouge marble base, overall, h. 21‑1/4”, w. 8”, d. 4‑3/4”. [1500/2500] Illustrated

33 French Patinated Bronze of a Nymph, 20th century, after Auguste Moreau (French, 1834‑1917), cast signature at edge of selfbase, on a green marble base, overall, h. 28‑1/4”, w. 12‑1/2”, d. 10”. [800/1200] 34 Napoleon III Rosewood Bonnet-Top Armoire, third quarter 19th century, in the rococo taste, with an asymmetrical foliate-carved crest over a pair of doors with mirrored panels, opening to reveal a bird’s-eye maple interior with a medial belt of drawers, scalloped apron and cabriole legs, with herringbone parquetry veneers throughout, h. 99‑1/2”, w. 56”, d. 20‑1/2”. [700/1000] Illustrated 35 Continental Brass and Cut Glass Six-Light Chandelier in the Renaissance Taste, first quarter 20th century, set with a lower frosted and cut glass domed shade concealing one light, the primary ring with laurel wreaths and mounted with five arms in the form of cherubim set with light sockets and mounted with frosted shades, the turned standard terminating in a double-eagle-headed finial, h. 32‑3/4”, dia. 23”. [1500/2500] Illustrated

36 Set of Twelve Limoges Hand-Painted Porcelain Service Plates, ca. 1900‑1932, made by Guerin, the cobalt borders richly decorated with gilt scrollwork, the center panels with hand-painted floral bouquets, each with two marks, indicating Guerin produced the blanks and executed the decoration, dia. 11”. [1000/1500] Illustrated 36

36A Unusual Pair of French Belle Epoque BronzeMounted and HandPainted Earthenware Urns, ca. 1900, now mounted as lamps, each with a cobalt-ground foot and neck, with raised gilt decoration, the white-ground bodies decorated with putti and classical female figures, with unusual enamel highlights, signed “Darthug”, urn, h. 13‑1/2”, overall, h. 25”, dia. 5‑3/4”. [500/800] Illustrated

37 Napoleon III Fruitwood and Ebonized Tiered Book Mill, third quarter 19th century, each of the three graduated tiers of quatrefoil shape and with a partial spindled gallery, raised on a bulbous standard to three splayed and molded legs, h. 40‑1/2”, dia. 26”. [1000/1500] Illustrated 38 Napoleon III Ebonized and Mahogany Dressing Table, third quarter 19th century, the hinged turtleform top opening to a mirrored storage interior, the top with an inlaid foliate band surrounding a central musical motif, above a conforming like-inlaid frieze, joined by shaped supports to a smaller lower shelf raised on splayed legs headed by ormolu foliate mounts and ending in sabots, h. 30”, w. 21‑1/2”, d. 15‑1/2”. [1000/1500] Illustrated

36A

39 French Rococo-Style Boulle and OrmoluMounted Bombe Tall Case Clock, early 19th century, the face with porcelain chapters, the time and strike movement with a spring chime, h. 91”, w. 32”, d. 15”. [3000/5000] Illustrated

40 Regence Polychrome Fauteuil, 18th century, the shaped and padded back surmounted by a shelland foliate-carved crest, joined by padded outscrolled arms to the padded seat, raised above a shaped apron on cabriole legs ending in scrolled toes, the whole with gilt accents, h. 38‑1/2”. [700/1000] Illustrated

43 French Bronze Covered Dish in the Orientalist Taste, fourth quarter 19th century, on elephant-head feet, the domed top with an elephant knop, the dish with damascene decoration executed in silver, brass and black, h. 7‑3/4”, dia. 6”. [800/1200] Illustrated 40

44 Diminutive French Bronze and Patinated Metal Six-Light Chandelier, second quarter 20th century, in the Louis XV taste, the patinated metal vasiform standard decorated with fleurs-de-lis and holding six bronze candle arms molded with scroll and rocaille ornament, h. 26‑1/2”, dia. 15‑1/2”. [800/1200] Illustrated

41 Napoleon III Ebonized and Marble-Top Parlor Cabinet, third quarter 19th century, the shaped marble top with a molded edge, above a conforming case fitted with a single cupboard door, with brass banding and a central inlaid diamond scrolling pattern, flanked to either side by a curved and glazed cupboard door, raised on a plinth base, h. 41”, w. 61‑1/2”, d. 16‑1/2”. [1800/2500] Illustrated 42 Giltwood Mirror in the Italian Baroque Taste, the rectangular mirror with pierced scroll and rocaille work, the upper sides ornamented with carved and pierced trailing flowers, a pierced shell forming the finial, h. 43‑1/2”, w. 32”. [1400/1800] Illustrated

45 Impressive Pair of French Gilt-Bronze Aesthetic Movement Wall Plaques, fourth quarter 19th century, the octagonal-shaped plaques with borders decorated with griffins and scrollwork, the center panels finished in faux mixed metals, one depicting two hunting dogs in a forest and the other a pair of birds on flowering plum branches, each with an integral original wall hanger, dia. 11‑3/4”. [800/1200] Illustrated 46 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 “A De Hont, 1653”, 35‑5/8” x 62”. Unframed. Provenance: Collection of Henry Stern, New Orleans, Louisiana to his grandson Paul Rosenthal, Baton Rouge, Louisiana. [15000/25000] 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.

50 Napoleon III Boullework Writing Slope, third quarter 19th century, with a slant lid and a quarterround stationery case, the cover decorated with engraved, scrolled boulle, the sides and back ebonized, the writing slope opening to reveal a blue felt writing surface trimmed with gilt-tooled leather, the stationery case fitted with kingwood dividers, h. 7‑1/2”, w. 13”, d. 11”. [600/900] Illustrated

47 French Boullework Encrier, third quarter 19th century, decorated with brass panels cut with scrollwork to reveal tortoiseshell, with coved sides, a pair of glass inkpots with brass covers in the center, and pen trays on each side, h. 4‑3/4”, w. 13”, d. 10‑1/2”. [900/1200] Illustrated

48 French Boullework Box, third quarter 19th century, with a brass-trimmed fitted interior, the cover with brass scrollwork inlaid with tortoiseshell, and a central medallion, h. 2‑1/2”, w. 11‑3/4”, d. 8‑1/2”. [800/1200] Illustrated 49 Impressive Napoleon III Boullework Encrier, third quarter 19th century, decorated with tortoiseshell inlaid with brass scrollwork, resting on brass paw feet, the rectangular inkstand with a scrolled skirt with a drawer, the bottom signed “Williams” in graphite, with two cut glass inkpots with boullework tops flanking a covered compartment, with a large coved letter compartment to the rear, h. 6‑3/4”, w. 16‑3/4”, d. 13‑1/2”. [1200/1800] Illustrated

51 Impressive Louis XV Boullework Bracket Clock, third quarter 18th century, on a flaring shelf decorated with brass flowers and scrollwork inlaid into tortoiseshell, trimmed with gilt-bronze scrollwork, the serpentine clock case with like decoration, resting on cabriole legs, the door decorated with a pair of nesting birds within a frame of rocaille work, the enamel segmented dial under the pierced bronze finial, composed of scrollwork and flowers, h. 50”, w. 20‑3/4”, d. 10”. [3500/5000] Illustrated 52 Louis XV-Style Kingwood Armoire, late 19th century, the heavily molded and domed cornice centered by a large pierced foliate crest, above a case fitted with two long doors, each inset with a beveled mirror panel, and above a shaped floral-carved apron, raised on foliate scrolled toes, h. 107”, w. 63”, d. 24”. [1000/1500] Illustrated

54 Suite of Eight Victorian Armchairs of Louis XVI Inspiration, fourth quarter 19th century, each with a molded back centered by an eagle-carved crest, with open arms, fluted serpentine seat rail with a central panel with the initials “HP”, and raised on ribbed and fluted legs, h. 36‑1/2”. [1000/1500] Illustrated 55 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”. [1400/1800] Illustrated

53 Louis XV-Style Polychrome Fauteuil, early 20th century, the shaped and padded back surmounted by a foliate crest, joined by padded scrolled arms to the padded seat, raised on molded cabriole legs ending in scrolled toes on casters, h. 40”. [500/800]

56 French Carved Mahogany Mirror of Baroque Inspiration, fourth quarter 19th century, carefully carved with a laurel leaf outer edge, square corner blocks with square medallions, and bas-relief scrollwork on the inset panels, a scrollwork crest supporting three-dimensional carved flowers, trimmed with gilt edges, h. 62”, w. 39”. [800/1200] 57 French Hand-Woven Tapestry, 17th century, with a central scene of a verdant park with lush trees and a pond, a chateau in the background, with an allover floral vine border, 108” x 121”. [4000/7000] Illustrated

61 French School (18th Century), “Oval Portrait of a Gentleman in Armor, Possibly King Louis XV”, oil on canvas, 14‑3/4” x 12”. Presented in a conforming, handsome giltwood and gesso frame. [1800/2500] Illustrated 62 Louis XV-Style Giltwood Bergere avec Orielles, mid-19th century, the domed and padded back surmounted by a floral crest, joined by shaped and padded sides to the cushioned seat, raised above a floralcarved apron on molded cabriole legs headed by floral capitals and ending in scrolled toes, h. 44”. [500/800] Illustrated

57 58 Neoclassical-Style Parcel-Gilt Overmantel Mirror, with a giltwood surround, the oval porthole mirror hanging from a ribbon and bowknot, decorated with a swag of laurel leaves against a painted ground, h. 49‑3/4”, w. 31‑3/4”. [900/1200] Illustrated 59 Pair of Belle Epoque Bronze and Marble Four-Light Candelabra, fourth quarter 19th century, in the Louis XV style, the mauve and aubergine mottled marble urn-form bases set with ram’s head handles supporting swags of flowers, the urns holding bronze flowers and leaves interspersed with candle sockets, h. 25”, dia. 11‑3/4”. [1500/2500] Illustrated

63 Louis XV-Style Giltwood and MarbleTop 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 urncentered X-form stretcher and ending in scrolled toes, h. 31‑3/4”, w. 67”, d. 31‑1/2”. Provenance: Williams Antiques, Atlanta, Georgia. [4000/7000] Illustrated

60 Napoleon III Mahogany Sidechair, third quarter 19th century, in the Louis XVI taste, the padded oval back surmounted by a giltwood ribbon crest, the padded seat above a paneled and annulated frame, raised on paneled tapering square legs ending in peg feet, h. 41”. [500/800] Illustrated

64 Exceptional Gilded Age Gilt-Bronze Three-Piece Clock Set of Baroque Inspiration, fourth quarter 19th century, French, the clock resting on scrolled feet, the base with a pair of putti holding a shell above an overflowing water jar, the clock with an enameled chapter ring and set with signed Japy Freres works, griffins at each corner and an urn with lion’s head mounts serving as the finial, h. 26‑1/2”, w. 16‑1/2”, d. 7‑3/4”, together with a pair of matching six-light candelabra, with square bases set with griffins at each corner, holding scrollwork-decorated vasiform standards with griffin “handles” above the scrolland leaf-molded candle arms, h. 27‑3/4”, dia. 12‑1/2”. [4000/7000] Illustrated 65 Northern Italian Giltwood Mirror in the Baroque Taste, fourth quarter 19th century, the surround with leaf-carved corners, bold pierced scrollwork and grape leaves, the crest formed by opposing pairs of upper and lower overhanging scrolls, h. 78”, w. 44”. [3000/5000] Illustrated 66 Pair of Unusual French Bronze Six-Light Sconces in the Neoclassical Style, mid-20th century, on tapered leaf-molded backplates held by pierced bowknots, the cornucopiaform arms holding flower bouquets and molded candle cups, electrified, h. 35”, w. 14”. [900/1200] Illustrated

68 Tom Crowell (British, 20th Century), “Floral Still Life in an Urn, With a Bird on a Stone Ledge” and “Floral Still Life in an Urn, With Pomegranates on a Stone Ledge”, pair of oils on canvas, each signed lower center “T. Crowell”, each 48” x 36”. Each presented in a giltwood frame with an oval liner. [1500/2500] Illustrated 69 French School (19th Century), “Still Life with Peonies, Irises and Lilacs”, oil on canvas, label identifying artist as Charles Monford (French, 19th Century) en verso, 25‑1/2” x 19”. In an attractive carved and giltwood frame. [700/1000] Illustrated 70 French Trumeau-Form Parcel-Gilt Overmantel Mirror in the Rococo Style, second quarter 20th century, the upper tablet framed with scrollwork and a pierced crest decorated with sprays of flowers, the lower mirror with an urn-form crest, all against a painted ground, h. 60”, w. 38‑3/4”. [1400/1800] Illustrated

67 66

67 Regence Walnut, Burl and Marble-Top Commode, 18th century, the marble top with a molded edge and bowed front, above a conforming case fitted with two short drawers over two long drawers, all banded and quarterveneered, the sides banded and with chevron veneers, raised on rounded bracket feet, h. 33”, w. 50”, d. 25‑1/2”. [2000/4000] Illustrated

68 one of two

72 Pair of Louis XV-Style Contrasting Bronze SixLight Candelabra, mounted as lamps, with angelform standards supporting flower-molded candle arms interspersed with molded flowers, on scrolled bases, h. 30”, dia. 14”. [1500/2500] Illustrated

72 71 Regence-Style Kingwood, Parquetry and Marble-Top Commode, early 19th century, the thick shaped marble top above a conforming bombe case fitted with two short drawers over two long drawers, each with parquetry panels, raised on splayed square legs, h. 35”, w. 52”, d. 27‑1/2”. [3000/5000] Illustrated

73 French Patinated Bronze Figure of Cupid Riding Astride a Conch, fourth quarter 19th century, Cupid encouraging the animal forward with a baton, on a red griotte marble base, h. 4‑1/2”, w. 5‑1/2”, d. 3‑1/4”. [600/900]

74 French Patinated Bronze of “Bacchante Jouant avec un Enfant”, ca. 1900, after Raoul Larche (French, 1860‑1912), cast signature at edge of base, on a stepped marble plinth, overall, h. 20”, w. 12‑3/8”, d. 7‑1/4”. [2000/4000] Illustrated 75 French Bronze of a Classical Maiden, ca. 1900, after Paul Emile Machault (French, 1800‑1866), cast signature on self-base, h. 16”, w. 9”, d. 8”. [700/1000] Illustrated 76 Continental Carved Oak Cabinet, late 19th century, the superstructure with a shield and cornucopia crest above a single shelf, joined by a paneled back and shaped masque uprights to the lower section, fitted with a rectangular top over two drawers and two cupboard doors, all with decorative carving, joined by barley-twist uprights to a lower shelf, raised on bun feet, h. 75”, w. 47‑1/2”, d. 21‑3/4”. [700/1000] Illustrated 77 German Black Forest Carved Fruitwood Cave a Liqueur, third quarter 19th century, the hinged cover carved with a covey of quail, the cover and doors opening to reveal a lift-out tray carved with grapevines and holding a pair of liqueur bottles and six matching glasses decorated with engraving, h. 18‑1/4”, w. 16”, d. 9”. [2500/4000] Illustrated 78 Franz Bergmann Cold-Painted Vienna Bronze Stag, first quarter 20th century, the realistically modeled stag retaining much of its original paint, marked on the bottom “B”, within an urn and “Geshutz”, and numbered “4866”, h. 11”, w. 7‑1/2”, d. 2‑1/2”. [1000/1500] Illustrated

79 Flemish Fruitwood and Oak Fauteuil, late 18th century, the padded and slightly domed back surmounted by a foliate shell crest and with two padded shaped pieces to each side, joined by scrolled arms to the padded seat, above a shaped foliate shell apron, raised on cabriole legs ending in scrolled toes, h. 50”. [500/800]

80 Continental Henri II-Style Oak Desk, late 19th century, the rectangular top with an inset leather surface and gadroon-carved edge, above a conforming frieze fitted with a central drawer flanked to either side by two small drawers, all with scrolling foliate carving, raised on heavily carved circular legs joined by an H-form stretcher and ending in floral blocks on bun feet, h. 31”, w. 58‑3/4”, d. 31‑1/2”. [1000/1500] Illustrated

81 Dutch Bronze Eight-Light Chandelier in the Baroque Taste, 20th century, the reeded bowl with a turned pendant drop and set with scrolled candle arms terminating in drip pans and candlecups, and supported from the canopy by scroll-cut chains, electrified, h. 33”, dia. 30”. [1000/1500]

83 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. [2500/4000] Illustrated

82 Unusual Pewter-Mounted Tortoiseshell Mirror, fourth quarter 19th century, probably Dutch or Flemish, the bolection-molded frame with a cove-molded mirror surround, set with a beveled mirror plate and decorated with pierced pewter mounts, with flowers and scrollwork, h. 41‑3/4”, w. 33‑1/2”. [2000/4000]

84 Continental School (Fourth Quarter 17th Century), “Portrait of a Habsburg Monarch, Possibly Leopold I, the Holy Roman Emperor”, oil on canvas, unsigned, 29” x 23‑1/2”. Framed. [2000/4000] Illustrated

84 85 Austrian School (Fourth Quarter 18th Century), “Portrait of Count Georg Sigmund Christoph von Thurheim, Wearing the Cross of the Royal Order of St. George, Bavaria”, oil on canvas, unsigned, old calligraphic inscription en verso canvas with sitter’s name and history, 32” x 25‑1/4”. Framed. [2000/4000] Illustrated. The Royal Military Order of Saint George for the Defense of the Faith and the Immaculate Conception, motto In Fide Justitia et Fortitudine (in faith, justice, and fortitude), was founded in 1726 by Maximillian II, Elector of Bavaria to honor the civic or military accomplishments of members of the nobility. In this portrait the elaborate gold chain from which the Order’s insignia is suspended reveals that von Thurheim’s was a member of the highest ranks of the Order (Grand Master, Grand Prior or Grand Commander).

86 Dutch School (Late 17th/Early 18th Century), “Portrait of a Gentleman in a Ruff Collar with Coat of Arms”, oil on canvas, unsigned, 27” x 22”. Framed. [1000/1500] Illustrated 89

87 Pair of Large Gilt-Brass and Ebonized Wood Cushion Mirrors in the Baroque Taste, ca. 1900, Dutch or Flemish, the frames outlined with ebonized moldings with a wave edge and trimmed in gilt-brass decorated with flowers, and with pierced gilt-brass corners, the pediment crests decorated with flowers, military trophies and pierced intertwined initials in the central roundels, set with beveled mirror plates, one h. 65”, w. 41”, the other h. 66”, w. 40”. [8000/12000] Illustrated

87 Pair

88 German or Austrian Double Fusee Repeater Bracket Clock with Ebonized Case, ca. 1800, with an enamel dial and pierced spandrels, framed with a fluted giltwood liner, the top with an enamel roundel decorated with a landscape, flanked on one side by a roundel with a hand to turn the repeater on to “night” and on the other side to “strike” or “night”, h. 17‑1/2”, w. 13‑1/2”, d. 8‑1/4”. [1000/1500] Illustrated 89 Swiss Single-Cylinder Music Box, fourth quarter 19th century, the music box retaining its original air card listing eight tunes, in an inlaid rosewood crossbanded case, the cover decorated with a bouquet of flowers on a black ground, h. 6‑1/4”, w. 23‑1/2”, d. 9‑1/2”. [700/1000] Illustrated

88 91

90 Baroque-Style Metal Six-Light Architectural Lantern, finialed dome with scrollwork over antique-style glass panels decorated with scrolled, pierced roundels and matching trim, h. 59‑1/2”, w. 29‑1/2”, d. 29‑1/2”. [700/1000] 91 Berlin KPM Porcelain Oval Plaque, fourth quarter 19th century, marked “KPM” with incised scepter, the plaque depicting two boys looking at a picture book, sight 5‑1/4” x 7‑1/4”, framed, overall, 10‑1/2” x 12‑1/2”. [800/1200] Illustrated 92 Continental School (18th/19th Century), possibly Flemish or Dutch, “Portrait of Two Young Children in a Landscape”, oil on canvas, unsigned, 30” x 36‑1/4”. Framed. [3500/5000] Illustrated

93 Continental Embroidery, 18th century, with floral motifs of patterned silk and velvet applique, leaves and vines of gold and silver bullion and thread, all on a cream silk backing, with an overall metallic thread crochet border, 37‑1/2” x 36‑1/4”. [600/900] Illustrated

94 Follower of Pieter Jansz. Saenredam (Dutch, 1597‑1665), “Cathedral Interior with Figures”, fourth quarter 20th century, oil on canvas, signed lower right “N. Bosban III”, 28” x 19‑1/2”. Presented in a rococo-style frame. [600/900] Illustrated 95 After Jean-Antoine Liotard (Swiss/French, 1702‑1789), “La Belle Chocolatiere”, 19th century, oil on canvas, unsigned, 33‑5/8” x 21‑1/4”. Framed. [800/1200] Illustrated 96 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. [900/1200] Illustrated 97 Attributed to Adolf Humborg (German, 1847‑1921), “Preparing the Meal”, oil on canvas, illegibly signed lower left, 22” x 32”. Presented in a later giltwood frame. [2000/4000] Illustrated 94

96 one of two

99 Dutch Mahogany and Marquetry Secretaire a Abattant, late 19th century, the rectangular top above a single frieze drawer over a drop-front opening to an inset leather writing surface and a variety of drawers and cubbyholes, with two cabinet doors below, raised on block feet, the whole richly inlaid in floral, scrolling foliate and avian patterns, h. 52‑1/2”, w. 35‑1/2”, d. 15‑1/2”. [1200/1800] Illustrated

98 Jozef Israels (Dutch, 1824‑1911), “Old Woman Reading”, watercolor on paper, signed lower left, sight 13‑1/4” x 10‑1/4”. Matted, glazed and framed. [2000/4000] Illustrated

100

100 Dutch Mahogany and Marquetry Center Table, mid-19th century, in the neoclassical taste, the oval top with an elaborate scrolling foliate inlay and raised on a like-inlaid lyre-form support to a shaped base to turreted feet, h. 35‑1/2”, w. 31”, d. 23‑1/2”. [1000/1500] Illustrated

101

101 Exceptional and Extensive Partial Service of Cut, Gilt and Enameled Table Glass, second quarter 20th century, Czechoslovakia, decorated with gilt intaglio-cut panels of scrollwork and diapering, alternating with flowers and enameled panels depicting courting couples in 18th-century costume, including seventeen red wine glasses, h. 6”, fourteen hock glasses, h. 4‑3/4”, thirteen champagne coupes, h. 4‑1/4”, ten aperitif glasses, h. 4‑1/2”, nine sherry glasses, h. 3‑1/2”, eleven finger bowls, dia. 4‑1/4”, and thirteen matching underplates, dia. 6”. [3500/5000] Illustrated 102 Fine Berlin KPM Porcelain Oval Plaque, fourth quarter 19th century, marked “KPM” with incised scepter, the plaque painted after Eduard von Grutzner’s (German, 1846‑1925) “The Difficult Choice”, sight 8‑3/4” x 9‑3/4”, in a giltwood frame, overall, 13‑3/4” x 15”. [1000/1500] Illustrated 103 Regency Rosewood Credenza, early 19th century, the double-tiered superstructure with a mirrored back and threequarter pierced brass gallery, the lower section with a recessed center section over a conforming case fitted with two cupboards, each with an inset brass grille, flanked to either side by a paneled door, raised on a molded plinth base, the whole accented with brass banding, h. 61‑1/4”, w. 72”, d. 15‑3/4”. [800/1200] Illustrated 103

101 detail

104 Chinese Antique Celadon-Glazed Porcelain Vase, Qing Dynasty (1644‑1911), 19th century, now mounted as a lamp, of baluster form with foo dog decorations at each side of the neck, covered with floral sprays in white slip, on a separate reticulated wooden base, h. 16‑1/2”, overall, h. 24”, w. 8”. [500/800] Illustrated 104 105 Regency-Style Ebonized Etagere, late 19th century, the molded cornice above three open shelves, over two paneled cupboard doors, each featuring a gilt and gesso landscape in the chinoiserie taste, flanked to either side by pierced X-form panels with gold fabric backing, raised on shaped bracket feet, h. 40”, w. 24‑1/2”, d. 10‑1/2”. [500/800] Illustrated

107

108

102

109

106 Regency-Style Ebonized Parlor Cabinet, mid-19th century, in the chinoiserie taste, the superstructure with a shaped crest above a shelf, joined by a paneled back and scrolling supports to a lower section fitted with a drawer above a recessed cupboard door, inset with a circular pleated yellow cloth panel, opening to an interior fitted with a shelf over a drawer and two pull-out shelves, the cupboard flanked to either side by turned columnar uprights, raised on turned toupie feet, the whole with gilt and polychrome accents in the chinoiserie taste throughout, h. 52”, w. 30”, d. 16”. [1200/1800] Illustrated 107 Regency Mahogany Games Table, second quarter 19th century, the banded D-form top hinged and opening to a banded gaming space, above a conforming frieze centered by a lattice-inlaid panel, raised on ribbed tapering circular legs ending in tall toupie feet, h. 29”, w. 36”, d. 17‑1/2”. [500/800] Illustrated 108 Suite of Ten Late Regency Mahogany Chairs, 19th century, consisting of two armchairs and eight sidechairs, each with a paneled curved crest above a panel-centered X-form splat, the padded seat raised on sabre legs, armchair, h. 36‑1/2”, sidechair, h. 34”. [1500/2500] Illustrated

105

106

109 Pair of Regency Mahogany Sidechairs, early 19th century, each with a garland- and tassel-carved crest above an annulated and patera-carved rail, the padded seat raised on sabre legs headed by acanthine carving and ending in claw feet, h. 33‑1/2”. [500/800] Illustrated

111 detail

111

110 Rare Miniature Classical Giltwood Convex Mirror, 19th century, American or English, with rocaille ornament decorating the lower edge, the covemolded frame set with gilt spherules and a reeded interior liner, a displayed eagle perched on a rocky outcropping serving as the crest, h. 16‑3/4”, w. 9‑1/2”. [800/1200] Illustrated

113

111 Extensive Royal Crown Derby “Red Aves” Partial Dinner Service, second half 20th century, 110 the transfer-printed china with various marks and dates, including eleven dinner plates, dia. 10‑1/2”, twelve luncheon plates, dia. 8‑1/2”, twelve bread and butter plates, dia. 6‑1/4”, twelve teacups, h. 2‑1/2”, and twelve saucers, dia. 5‑1/2”, eleven demitasse cups, h. 2‑1/2”, and twelve saucers, dia. 4‑3/4”, and a cream jug, h. 5‑1/2”, w. 5”. [1200/1800] Illustrated 112 Regency Rosewood Breakfront, first quarter 19th century, the molded and ebonized cornice with applied ball accents, above a case fitted with four glazed doors opening to shelved interiors, joined by grilled panels to a lower section fitted with two paneled cupboard doors, raised on ebonized ball feet, the whole accented with applied ebonized ribbed accents, h. 87‑1/2”, w. 73‑1/4”, d. 16‑1/2”. [2000/4000] Illustrated 113 Continental Patinated Bronze of a “Marly Horse”, fourth quarter 19th century, after Guillaume Coustou the Elder (French, 1677‑1746), h. 23‑1/4”, w. 21”, d. 9”. [800/1200] Illustrated 114 Pair of Early Victorian Mahogany Games Tables, mid19th century, each with a banded and rounded rectangular top hinged and opening to a baize-lined surface, above a conforming frieze centered by an inlaid burl panel, raised on a ribbed and turned vasiform standard to four splayed legs ending in brass paws on casters, h. 29”, w. 36”, d. 18”, extended l. 36”. [1500/2500] Illustrated

112

115 Pair

116

117

115 British School (Second Quarter 19th Century), “Nearing the Kill” and “A Companion”, pair of oils on canvas, each 12‑1/4” x 17‑1/4”. Both framed alike. [1200/1800] Illustrated

114

116 Alfred Wheeler (British, 1851‑1932), “Portrait of a Dog”, oil on canvas, signed lower right, 15‑3/4” x 11‑3/4”. Framed. [800/1200] Illustrated 117 Alfred Wheeler (British, 1851‑1932), “Portrait of a Dog”, oil on canvas, signed lower right, 15‑3/4” x 11‑3/4”. Framed. [800/1200] Illustrated

118

118 Collection of Three William IV Mahogany CasketForm Tea Caddies, second quarter 19th century, the larger one on brass paw feet, with brass ring pulls, the interior with inlaid covers with bone knobs, h. 5‑1/2” to 6‑1/2”, w. 8‑3/4” to 10”, d. 5” to 5‑1/4”. [600/900] Illustrated 119 Suite of Twelve Regency-Style Mahogany Dining Chairs, early 20th century, each with an earred and paneled crest above two paneled rails, the padded seat raised on molded tapering square legs joined by an H-form stretcher, h. 34”. [2500/4000] Illustrated

119

120 Regency-Style Mahogany Sofa Table, early 20th century, the banded rectangular top with two rounded drop leaves, above a frieze fitted with two drawers, raised on a carved lyre-form standard to a concave base on four splayed and ribbed legs ending in brass paws on casters, h. 28”, w. 34”, d. 27”, extended l. 60”. [500/800] Illustrated

120

121 121 Pair of English Duesbury Derby HandPainted Porcelain Garniture Vases, ca. 1788‑1800, trimmed with gilt leaves on a cobalt ground, the baluster-form vases painted in the round with grisaille landscapes and Gothic ruins on a yellow ground, one with a blue crown mark, h. 10”, dia. 3‑3/4”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. Exhibited: Louisiana State Museum, Friends of the Cabildo, 250 Years of Life in New Orleans, The Rosemonde E. and Emile Kuntz Collection and the Felix H. Kuntz Collection, Exhibition Part I, May 21‑June 23, 1965, #18. [600/900] Illustrated 122 English Hand-Painted Porcelain Topographical Campana-Form Urn, first quarter 19th century, depicting Spencer House, London, now mounted as a lamp, gilt-trimmed on a cobalt blue ground, the panel framed in carefully detailed gilt scrollwork, depicting a group of ladies in Regency dress, strolling in front with their dog, the bottom inscribed “Earl Spencer Green Park”, along with a rubbed mark, urn, h. 14‑1/4”, overall, h. 30‑1/4”, dia. 8‑1/2”. [500/800] Illustrated

122

According to John Twichett’s Derby Porcelain, Earl Spencer commissioned the firm to decorate pieces with views of his London estate. 123 Exceptional Pair of Mason’s Hand-Painted Covered Vases, ca. 1813‑1820, English, probably decorated by Samuel Bourne, now mounted as lamps, with complex serpentine molded sides and rich gilding, the necks with reverse scrollwork and flowers, the bodies with handpainted Gothic ruins in landscapes with visitors, marked with an impressed “Mason’s Patent Ironstone China” in two lines, somewhat obscured by the lamp drilling, vase, h. 17‑1/2”, overall, h. 27”, dia. 7‑1/2”. [500/800] Illustrated Geoffrey Godden’s Guide to Mason’s China and the Ironstone Wares (Woodbridge, Suffolk: Antique Collector’s Club, 1980) attributes several pieces illustrated in his book to Bourne (see page 177, plate 11 and page 181 plate 272) based on entries from Mason’s 1818 and 1822 sales catalogues: “a very beautiful painted landscape service by S. Bourne” and “a costly dessert service exquisitely painted in select views, enriched with burnished gold”. Godden notes that Bourne is the only artist mentioned by name in the catalogues, and always in reference to his landscape paintings.

124

125 two of four 125 Set of Four Signed E. F. Caldwell Silvered-Copper Single-Light Sconces, second quarter 20th century, New York, in the Baroque taste, the vertical backplates with scrolled edges terminating in shell-form crests, the scrolled candle arms holding “drip pans” with ropetwist edging set with candle cups and electrified candles, marked with an impressed lozenge with a “C” on the back, h. 18‑1/4”, w. 11”, d. 5”. [2000/4000] Illustrated

124 Regency-Style Painted Oval Mirror, ca. 1900, English, the oval surround with a beaded edge, the lower edge with scrollwork and bellflower drops, seated griffins perched on each side, the crest with a swagged urn finial, scrollwork and bellflower festoons, h. 52”, w. 33‑3/4”. [500/800] Illustrated

126 Pair of Regency-Style Marble, Bronze and Crystal Two-Light Candelabra, 20th century, on marble bases trimmed with gilt roping, the patinated bronze standard in the form of Mandarin figures, supporting pairs of leafmolded candle arms, each with a spray of drops under the molded candle cups, a cut crystal vertical spear forming the central finial, h. 14”, w. 11‑1/2”, d. 3‑1/2”. [500/800] 127 Pair of English Wedgwood Black Jasper Covered Urns, 20th century, decorated with “Dancing Hours”, marked “Wedgwood, Made in England, 66”, h. 10‑1/2”, dia. 4”. [800/1200] Illustrated

123 127

128

128 George III Sterling Silver Hot Water Urn, hallmarked London, 1796‑1797, by John Robins, the urn-form body with an engraved band of fruit, flowers, nuts and grains above a bright-cut and engraved floral swag band centering a shield-shaped cartouche, with paneled tap, ringed ram’s masque handles and ventilated domed lid with banded spherical finial, the whole raised on an ogeedomed foot and square plinth above four spherical feet, h. 19‑3/4”, w. 11”, d. 12‑1/4”, 93.41 t. oz. [6000/9000] Illustrated

132

131

129 Seven Georgian Sterling Silver Serving Pieces, late 18th and early 19th centuries, comprising an “Old English Feather-Edge” sauce Ladle, Dublin, ca. 1780, by M.C. and I.L., l. 7”, an unmarked toddy dipper with baleen twist handle, ca. 1790, l. 7‑5/8”, bright-cut and wrigglework bow-style sugar tongs, London, 1800‑1801, by George Wintle, l. 6”, a “Fiddle” platter spoon, London, 1810‑1811, by Robert Rutland, with engraved crest, l. 11‑1/4”, a meat skewer, London, 1804‑1805, by Christopher & Thomas Barker, l. 13‑3/8”, a “Fiddle Thread” platter spoon, London, 1827‑1828, by William Chawner II, with engraved crest, l. 12”, and a marrow scoop, London, 1828‑1829, by William Chawner II, l. 9”, 16.88 total t. oz. (excluding baleen-handled dipper). [800/1200]

133

130 Two Georgian Sterling Silver Ladles, one hallmarked Dublin, 1789, by John Pittar, in the traditional “Old English Bright Cut” pattern, engraved with a crest of a hawk displayed, l. 13‑1/4”, the other Edinburgh, 1820‑1821, by William Robertston II, in the traditional “Hanoverian” pattern, l. 14”, 10.44 total t. oz. [600/900]

134

133 Regency West Country Three-Piece Sterling Silver Tea Set, hallmarked Exeter, 1814, by Simon Harris, including a teapot, h. 5‑1/2”, l. 11‑1/2”, an open sugar bowl, h. 4‑1/2”, l. 8‑1/4”, and a cream jug, h. 4”, l., 6”, each of rounded rectangular section with a bulbous gadrooned lower half and molded collar, with narrow milled gadrooned and foliate banding, crested square handles and raised on four spherical feet, 36.13 total t. oz. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [600/900] Illustrated 134 Regency Sterling Silver Well-and-Tree Platter, hallmarked Sheffield, 1818‑1819, by Kirkby, Waterhouse & Co., of oval form, with applied gadrooned rim quartered by foliate-mantled flowers, raised on four robust foliatecrested lion’s paw feet, engraved on the long sides with the crest and motto of Cathcart of Ayrshire, l. 22”, w. 16‑3/4”, 91.95 t. oz. [3500/5000] Illustrated

131 George III Diminutive Sterling Silver Hot Water Urn, hallmarked London, 1778‑1779, by John Broughton, the urn-form body with arched, reeded handles and fitted, steeply waisted lid, with reeded tap, the whole with beaded decoration and raised on a square plinth base above four spherical feet, engraved on the rim with a crest of a cockatrice with wings expanded (Baillie et al.), h. 13‑3/4”, w. 7”, d. 7‑1/4”, 30.99 t. oz. [1500/2500] Illustrated

135 Regency Old Sheffield Plate Epergne, first quarter 19th century, the central oval frame decorated with applied balustrade banding and raised on four flat columnar imbricate legs, each crested by lion’s masques and ending in lion’s paw feet, joined by a cavetto plinth stretcher centered with an acorn-topped, gadrooned vasiform finial, from which emanate four reeded arms, each terminating in a wire basket frame, fitted with one large and four smaller cut glass bowls of later date, h. 13”, l. 17”, w. 17”. [1800/2500] Illustrated

136

132 Late Georgian Sterling Silver Cake Basket, hallmarked London, 1809‑1810, by Joseph William Story and William Elliott, of rounded rectangular form with upswept ends, with gadrooned banding and gadroon, shell and scroll rim, with swing handle and conforming foot en suite, l. 13‑3/4”, w. 10‑3/4”, h. 4‑3/4” (10” with handle), 40.46 t. oz. [800/1200] Illustrated

135

136 Collection of Five Late Georgian/William IV Sterling Silver Fish Slices, 1801‑1835, all with pierced scimitarshaped blades, including a pointed and threaded filled handle example hallmarked London, 1801‑1802, by (probably) Richard Crossley, with engraved stag’s head crest, l. 11‑3/4”, a “Hanoverian” example hallmarked London, 1813‑1814, by Eley, Fearn & Chawner, l. 11‑1/2”, and three “Fiddle” examples, hallmarked Dublin, 1827‑1828, by Edward Power, l. 12”; London, 1828‑1829, by (probably) Jonathan Hayne, monogrammed “WAB”, l. 11‑5/8”; and London, by Joseph and Albert Savory, l. 12‑1/2”, 23.82 total t. oz. [500/800] Illustrated

137

137 George IV Irish Sterling Silver Waiter, hallmarked Dublin, 1822, by James Le Bas, of circular form, with rocaille “Chippendale” rim and raised on three pad feet, dia. 6‑3/4”, 10.07 t. oz. [500/800] Illustrated 138 Good George IV Irish Four-Piece Sterling Silver Tea and Coffee Set, hallmarked Dublin, 1821, by Edward Power (free 1816, d. 1846), comprising a coffeepot, h. 9‑1/4”, l. 11‑3/4”, a teapot, h. 6”, l. 11‑3/4”, an open sugar bowl, h. 5‑1/4”, w. 8‑1/4”, and a cream jug, h. 5”, l. 6‑3/4”, each of flattened spherical form and decorated with elaborate repousse flowers on an imbricate ground, with espagnolette handles, mascaron-crested ball-andclaw feet, eagle’s head spouts and foliate finials, engraved with a crest of an arm bendwise holding an oak tree eradicated, 101.31 total t. oz. [3500/5000] Illustrated

139

140 Pair of William IV Old Sheffield Plate Wine Coolers, second quarter 19th century, each of campana form, with “vintage”-mounted rocaille handles and decorated with wide rocaille banding en suite, engraved with a crest of a crowned demi-lion rampant, crowned (Boys, Cornwall et al.), h. 9‑1/4”, dia. 8‑1/2”, w. 10‑1/2”. [1800/2500] Illustrated

140

138 141 Set of Three William IV Old Sheffield Plate Sauce Tureens, second quarter 19th century, each of bulbous lobed oval form, with rocaille band and robust acanthusmounted reeded handles and shell feet, the fitted lid with ring handles en suite, engraved with an impaled armorial, the baron unidentified (argent, two lions passant within a bordure gules charged with ten fire-balls), the femme that of Arnold of London and Missenden Abbey, co. Berks., the lid engraved with a crest of a dragon’s head couped, the neck pierced with an arrow, h. 6‑1/2”, l. 8”, w. 5‑1/4”. [700/1000] Illustrated 139 William IV Old Sheffield Plate Tureen, second quarter 19th century, of bulbous oval form, with a gadrooned floral rim, a pair of acanthus-crested reeded handles, and raised on four acanthus-crested lion’s paw feet, the fitted, domed lid with an acanthus-mounted and -crested doublescroll finial handle, engraved, on each side of the lid with the crest and on each side of the body with the arms of Campbell, probably the Auchinbreck branch, h. 10‑3/4”, w. 11‑1/4”, l. 16”. [1500/2500] Illustrated

141

142

144 Pair of Victorian Sterling Silver Military Presentation Goblets, hallmarked London, 1878‑1879, by William Hunter, each with an ovoid body decorated with a band of repousse roses and raised above a waisted stem flaring to a domed foot, each engraved with a presentation inscription and crest of the 2nd Battalion of the 20th East Devonshire Regiment of Foot (now known as the Lancashire Fusiliers), h. 6‑3/4”, dia. 3‑3/4”, 22.13 total t. oz. [600/900] Illustrated

144 142 Assembled Four-Piece Victorian Burmese-Style Sterling Silver Coffee and Tea Set, 1887‑1901, including a teapot, hallmarked Sheffield, 1887‑1888, by James Dixon & Sons, h. 6‑1/4”, l. 9‑1/2”, an open sugar bowl, h. 3‑5/8”, dia. 4‑1/4”, and cream jug, h. 3‑3/4”, l. 5‑1/4”, both Glasgow, 1895‑1896, by Alexander & Sons, and a coffeepot, Glasgow, 1900‑1901, by T. Smith & Son, h. 9‑1/4”, l. 7‑1/4”, each of barrel form and decorated with a central band of repousse panels with zodiac symbols or human figures between chased foliate banding, the lids and spouts richly decorated en suite, variously monogrammed, 54.91 total t. oz. [1500/2500] Illustrated The vogue for Burmese- and Indian-style silver in Scotland began with the International Exhibition of Science, Art and Industry held in Glasgow in 1888, where Shan and Raj silver were featured. The style was quickly copied, becoming an almost uniquely Scottish fad until the end of the century. For more information and illustrations of similar examples, see Vidya Dehejia, Delight in Design: Indian Silver for the Raj (Ahmedabad, India: Mappin Pub., 2008), pp. 94‑97. 143 Victorian Silverplate Electrotype Copper “Temperantia” Charger, fourth quarter 19th century, after the late 16th-century pewter original by Francois Briot (1545‑1620), dia. 17‑3/4”. [600/900] Illustrated

143

145 Early Victorian Three-Piece Sterling Silver Tea Set, hallmarked London, 1845‑1846, by Charles Reily & George Storer, in the Renaissance Revival taste, including a teapot, h. 7”, l. 8‑3/4”, an open sugar bowl, h. 5‑3/4”, w. 7”, and a cream jug, h. 6‑1/4”, l. 4‑3/4”, each with a pear-shaped body decorated with vertical repousse and chased panels of acanthus scrolls on a matte ground, with crested handles, “gooseneck” spout and raised on four acanthus-scroll feet, monogrammed “K”, 49.56 total t. oz. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [700/1000] Illustrated

145 The “Temperantia” Charger, one of the most celebrated pieces of Mannerist pewter, is conserved at the Victoria and Albert Museum in London. The piece features a center plaque of Temperance surrounded by the four elements on the inner circle and the seven liberal arts and their patron, Minerva, on the outer. It was copied even in its day - most notably by Nuremberg pewtersmith Caspar Enderlein (1560‑1633) - and in later centuries versions appeared in palissyware and (as here) metal electrotype. The piece is most famous today as the Wimbledon Women’s Singles trophy, a sterling silver copy being presented to the winner.

146 Good Set of Three Victorian Silverplate Graduated Meat Domes, third quarter 19th century, each of oval form, quartered by serpentine-lobed panels decorated with repousse foliate scrolls, with projecting band above a cavetto base, with addorsed grapevine-scroll handle, engraved with the crest of Crofton et al., the largest, h. 11‑3/4”, l. 20‑1/8”, the smallest, h. 8‑1/2”, l. 14”. [1000/1500] Illustrated

146

149

147 Victorian Cased Twenty-Four-Piece Close Plate and Mother-of-Pearl Dessert Set, fourth quarter 19th century, by Walker & Hall, Sheffield, comprising twelve dessert forks, l. 6‑5/8”, and twelve dessert knives, l. 8”, each joined by a rococo-style ferrule to a spatulate mother-of-pearl handle, engraved and stained with a crest of an eagle’s head erased, presented in the original fitted, indigo baize-lined mahogany case with lift-out tray, 2” x 11” x 9”. [600/900] 148 Two Edwardian Sterling Silver Center Bowls, hallmarked Sheffield, 1898‑1899 and 1901‑1902, by James Dixon & Sons, hemispherical with domed foot, the former with spiraling flute-and-gadroon decoration, h. 7‑1/4”, dia. 10‑1/4”, the latter with repousse flowers and “c”-scrolls, h. 4‑5/8”, dia. 9‑7/8”, 67.75 total t. oz. [1000/1500] Illustrated

148

149 Victorian Sterling Silver Tray, hallmarked Sheffield, 1898‑1899, by Mark Willis (1842‑1915), of rounded rectangular form, with gadrooned rim and handles accents by shell-andscroll motifs, the plateau engraved with a wide conforming band of floral and foliate scrolls and dolphin-mantled cartouches, the whole raised on gadrooned spade feet, l. 27‑3/4”, w. 17‑3/4”, 86.48 t. oz. [4000/7000] Illustrated 150 Italian Painted and Parcel-Gilt Overmantel Mirror, fourth quarter 18th century, the side panels with gilt pots of flowers, profiles and draped urns on a blue-green ground, the table with a basrelief masque framed with swags and tassels, under a lunette-form crest with gilt leaves and scrollwork, h. 64‑1/2”, w. 42‑3/4”. [800/1200] Illustrated

150

151 Continental Neoclassical-Style Polychrome and Marble-Top Side Table, mid-19th century, the rectangular marble top above a conforming frieze fitted with a single long drawer, with applied carved giltwood designs in the neoclassical taste, raised on large, ribbed, tapering circular legs ending in toupie feet, h. 35‑1/2”, w. 46‑1/2”, d. 23”. [1500/2500] Illustrated 152 Pair of French Figural Bronze and Marble Two-Light Candelabra, 20th century, in the Directoire style, on green mottled marble tripartite bases with gilt mounts, the standards in the form of patinated bronze classical maidens, smoking a pair of pipes, each terminating in a gilt-bronze candle nozzle, h. 20‑1/2”, w. 11‑3/4”, d. 5‑3/4”. [1000/1500]

153

153 Exceptional Pair of Continental Neoclassical-Style Bronze Dore et Patine Andirons, ca. 1900, on hairy paw feet, the fluted baluster-form standards mounted with gilt-bronze leaves terminating in blocks mounted with lion’s heads grasping rings, the tops with flame finials, mounted with bronze flame log stops, h. 29‑3/4”, w. 15‑1/2”, d. 22‑1/2”. Provenance: Williams Antiques, Atlanta, Georgia. [1200/1800] Illustrated

155 155 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. [1000/1500] Illustrated

154

151

154 Empire-Style Mahogany and Parcel-Gilt Tub Chair, mid-19th century, the domed and padded back within a ribboncarved frame and joined to the padded seat by downswept arms and pierced bellflower garland-carved sides, raised on fluted tapering circular legs ending in foliate-carved ball feet, h. 34”. [500/800] Illustrated

156

158 157

156 Pair of Italian Mixed Stone Tazzas in the Neoclassical Taste, third quarter 19th century, on black marble bases, the white marble column-form standards carved with fluting and stop reeding, and supporting brown agate fluted bowls, h. 11‑1/2”, dia. 8”. [1000/1500] Illustrated 157 French Patinated Bronze Bas-Relief Plaque of Napoleon, first quarter 19th century, presented in an acanthus-molded bronze dore frame mounted with a name plaque, h. 19”, w. 15‑1/2”. [2500/4000] Illustrated 158 Pair of French Restauration Bronze and Marble Urns, second quarter 19th century, now mounted with interior lights, the red griotte marble bases with applied gilt-bronze lozenges, and supporting bronze dore et patine urns with gilt-bronze satyrs and putti on a patinated ground, and trimmed with engine turning, h. 13‑3/4”, dia. 7‑1/4”. [2500/4000] Illustrated 159 Three European Snuffboxes With Medallic Cliche Covers, 19th century, including a rectangular burlwood example with glazed gilt cliche of Morel’s “Aneas Recounting His Adventures to Dido”, 2‑1/2” x 4”, a circular gutta percha example, both sides with a cliche of the 1851 Crystal Palace Exhibition medals by Wyon and Adams, dia. 2‑7/8”, and a circular gutta percha example with glazed gilt cliche of the Napoleonic “Battle of the Pyramids”, dia. 3‑3/8”. [1000/1500] Illustrated

159

160 Twenty-Three Napoleonic and Other Copper and Bronze Medals, 19th century, most French copper, including fifteen examples relating to Napoleon, two relating to Louis-Philippe, one each regarding Louis XIV, le Duc d’Angouleme, A. Lavoisier, J.-B. Colbert, the Bastille and Donjon de Vincennes, and the New Orleans 1884‑1885 Cotton Centennial, the smallest 26 mm, the largest 88 mm. Detailed list available on request [800/1200] Illustrated

162

160

161 Pair of Napoleon III Neo-Grec Bronze and Marble Garniture Urns, third quarter 19th century, on molded black marble bases set with bas-relief plaques of classical warriors, the patinated bronze campana-form urns on dore bases and decorated with putti, h. 15‑1/2”, dia. 6‑1/2”. [1000/1500] Illustrated

162 Handsome Pair of French Restauration Bronze Dore et Patine Three-Light Candelabra, second quarter 19th century, the tripartite bases supporting molded cabriole legs terminating in paw feet, the leaf-molded and reeded standards with gilt lotus leaves, and the candle socket holders in the form of classical oil lamps set with flamemolded candle sockets surrounding the central finial, h. 21‑3/4”, dia. 7”. [2000/4000] Illustrated 163 French Bronze and Tole-Peinte Bouillotte Lamp, second quarter 20th century, the engine-turned base supporting a leaf-molded standard with rope-twist candle arms set with swag-molded candle cups and leaf-molded drip pans, the tole shade concealing three electric sockets, h. 23”, dia. 13‑1/2”. [500/800] 164

161

164 Napoleonic-Style Gold and White Porcelain Wash Basin and Pitcher, first quarter 20th century, probably Limoges, decorated with eagles, Napoleonic bees and a crowned “N” in a wreath, with spurious Sevres marks, h. 7‑1/2”, dia. 12‑1/2”. [2000/4000] Illustrated

165

165 French Empire-Style Bronze and Crystal Nine-Light Chandelier, mid-20th century, the diamond-point cut glass pan terminating in a gilt-bronze flame-form finial, set with an engine-turned bronze ring supporting molded bronze candlecups with matching drip pans and electrified candles, supported by molded chains from a molded canopy, h. 24‑1/2”, dia. 29‑1/2”. [500/800] Illustrated

166 French Neo-Grec GiltBronze and Marble Garniture Figure of the Goddess Athena, third quarter 19th century, now mounted as a lamp, on a molded gilt-bronze base with a black marble top, the warrior goddess wearing her battle helmet, her arm outstretched to a shield, a quiver of arrows and a laurel wreath, base, h. 14‑1/2”, overall, h. 25”, w. 7”, d. 5‑1/4”. [500/800] Illustrated

166

167 Russian Neoclassical Mahogany Pedestal Desk, early 19th century, in the Jacob style, the rectangular top with a threequarter pierced brass gallery with a decorative urn on block finials, above a brass-banded tambour section opening to a pull-out leather-inset writing surface and a variety of drawers, raised on two pedestals, both fitted with a single paneled cupboard door centered by a diamond pattern, one opening to three small drawers, the other to three pull-out shelves, raised on plinth bases, the whole with decorative inlaid brass banding and diamond patterns, h. 40‑1/2”, w. 61‑1/2”, d. 33‑1/2”. [7000/10000] Illustrated

167

168 Restauration Mahogany Fauteuil, second quarter 19th century, the padded square back joined by padded arms on vasiform uprights to the cushioned seat, raised on tapering circular legs ending in brass caps and casters, h. 33”. Provenance: The Estate of Harold Judell, New Orleans, Louisiana. [600/900] Illustrated

168

172

169 Exceptional Pair of French Restauration Gilt-Brass Candlesticks, second quarter 19th century, now mounted as lamps, on bases molded with roses and lovebirds, the tapered and reeded column-form standards terminating in a bouquet of flowers holding leaf-molded candle cups, mounted with shades, base, h. 13‑1/2”, overall, h. 23”, dia. 5”. [700/1000] Illustrated 170 Suite of Six RestaurationStyle Fruitwood Dining Chairs, consisting of two armchairs and four sidechairs, each with a paneled crest with painted designs above a lyre-painted splat, the padded seat raised on sabre legs, h. 34‑1/2” and 33”. [2500/4000] Illustrated

169

173

170

171 Empire-Style Mahogany and Bronze-Mounted Cheval Mirror, ca. 1900, the tilting mirror mounted to turned and fluted standards and raised on saber legs ending in cast bronze paw feet, h. 72”, w. 34”, d. 26”. [500/800] 172 Continental Grand Tour Patinated Bronze of Discophorus, ca. 1900, after the ca. 420/400 BC Greek marble by Naukydes of Argos, discovered in 1771 on the Appian Way, cast signature “P. Buochile” along back edge of self-base, h. 26‑3/8”, w. 10”, d. 7‑1/4”. [1200/1800] Illustrated 173 Continental Patinated Bronze of Fortuna, ca. 1900, the goddess of luck, fortune and fate with one arm raised, a variant after Giambologna (Italian, 1529‑1608), h. 32‑3/4”, w. 7”, d. 10”. [1000/1500] Illustrated

174 Blaise Desgoffe (French, 1830‑1901), “Still Life: Objects of Art”, 1869, oil on cradle board, signed and dated upper center, 32” x 25”. In a giltwood frame. Provenance: Christie’s, New York, New York, October 27, 1982, lot 27. [7000/10000] Illustrated

176

177 Handsome Malachite-Clad Baluster-Form Vase, second half 19th century, Russian or French, h. 10‑1/2”, dia. 3‑3/4”. [1000/1500] Illustrated

174 175 Handsome Italian Neoclassical Giltwood Mirror, ca. 1800, the mirror with a bowknot holding laurel swags on the base, the surround framed with laurel leaves, with oval medallions in each corner, the crest comprised of a bold fluted urn with a leaf-molded finial supporting swags of laurel, h. 62”, w. 25”. [800/1200] Illustrated 176 Russian Empire-Style Malachite and GiltBronze Center Table, the circular malachite top above a conforming ebonized frieze with applied ormolu anthemion mounts, and raised on three supports headed by winged Egyptian maiden’s heads and ending in paw feet on a circular base with an ormolu lotus banding, h. 36”, dia. 41‑1/2”. [7000/10000] Illustrated

175

178

178 Pair of Napoleon III Bronze and Malachite Six-Light Candelabra, third quarter 19th century and later, in the Empire taste, the malachite-clad bases, possibly of later origin, decorated with mounts of lyres and anggitays (half woman, half horse), the patinated bronze standards in the form of winged caryatids perched on gilt-bronze spheres and supporting leaf- and scroll-molded candle cups set with anthemion-molded drip pans and leaf-molded candle cups, h. 34‑1/4”, dia. 14‑1/2”. [6000/9000] Illustrated

179 Biedermeier Fruitwood Cabinet, second quarter 19th century, the molded cornice with projecting ends, above a conforming case fitted with a single glazed door with a starburst pattern wooden overlay and fabric backing, flanked to either side by ebonized columns, raised on tapering square feet, h. 68”, w. 38‑1/2”, d. 21‑1/2”. [500/800] Illustrated

180

177

180 Biedermeier Fruitwood Sofa Table, mid-19th century, the rectangular top banded and with decorative paneling, with two rounded end drop leaves, above a frieze centered by an inlaid patera panel, raised on a columnar standard to a concave plinth on four splayed legs ending in paw feet, h. 30‑1/4”, w. 36‑1/2”, d. 28‑3/4”, extended l. 58‑1/2”. [1800/2500] Illustrated 181 Two Baltic Neoclassical Fruitwood Fauteuils, early 19th century, the first with a domed and molded crest above a padded and curved back, joined by paneled rounded arms to the like seat, raised on spiral-fluted tapering circular legs ending in toupie feet, the second a similar example on square legs, h. 35‑1/2”. [800/1200]

182 Pair of Baccarat-Style Cut Glass and Gilt-Bronze Two-Light Lamps, mid-20th century, in the neoclassical taste, resting on paw feet, with molded giltbronze fittings, the diamondpoint-cut cylindrical bases and column-form standards with cut glass shafts and anthemion-molded capitals, overall, h. 27‑1/4”. [1000/1500] Illustrated

182

183

179

183 Pair of Louis-Philippe Mahogany Bergeres, mid-19th century, each with a backswept crest above a padded back, joined by padded downswept arms on scrolling uprights to the cushioned seat, raised on sabre legs, h. 35”. [800/1200] Illustrated

184 184 Eduard Veith (Austrian, 1856‑1925), “Reclining Beauty with a Cupid, in a Garden”, oil on canvas, signed lower left, 23‑3/4” x 53‑1/2”. Framed. [800/1200] Illustrated 185 Exceptional Royal Vienna-Style Porcelain Cabinet Plate, ca. 1900, German, the plate with a celadon border decorated with panels of gilt scrollwork and medallions and trimmed with lavender enamel beads, framing the portrait of two nymphs frolicking with flowers in an Arcadian landscape, marked with an underglaze blue “beehive” and a rouge-de-fer overglaze “Blumenoraked” and “38640” mark, dia. 9‑1/2”. [800/1200] Illustrated 186 KPM-Style Porcelain Plaque of “Sappho”, ca. 1900, after Diana Coomans (Belgian, 1861‑1952), the orientalist figure depicted seated outside, a bird on her finger, the cage on a nearby stool, unmarked, in a contemporary giltwood frame with a silk matte, plaque, h. 12‑3/4”, w. 8‑1/4”, overall, h. 25”, w. 21”. [3000/5000] Illustrated 187 Two Nineteenth-Century French Portrait Miniatures, after Jean-Baptiste Greuze’s (1725‑1805) “La Petite Laitiere”, 5‑3/4” x 4‑1/8”, and “Jeune Fille et Ses Colombes”, 5” x 3‑3/4”, each indistinctly signed and framed in neoclassical-style frames. [700/1000] Illustrated 188 Biedermeier-Style Satinwood Bookcase, early 20th century, the molded cornice above an upper section fitted with two doors, each inset with a grille panel, the lower section fitted with two paneled cupboard doors, raised on a plinth base, h. 85”, w. 58‑1/2”, d. 22”. [1800/2500] Illustrated

186 189 Pair of French Gilt-Bronze Four-Light Candelabra, second quarter 19th century, on square bases with unusual plinths decorated with anthemia, the leaf-molded column-form standards with anthemion capitals, the candle branches set with vasiform leaf-molded candle cups surrounding a single central candle cup on leaf-molded supports, h. 20‑1/4”, dia. 7‑3/4”. [700/1000] Illustrated

185

189

187

190 French Gilt-Bronze Military-Themed Mantel Clock, second quarter 19th century, possibly depicting Frederick William III of Prussia, the base with a bas-relief panel of soldiers marching into a city, the clock with battle trophies under the dial, flanked by a column wrapped with a flag on one side, the figure of a soldier on the other, now mounted with marked Marti works of later origin, h. 19‑3/4”, w. 14‑1/4”, d. 5”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [700/1000] Illustrated

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188

192 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, 193 Baton Rouge, Louisiana. [700/1000] 193 Pair of NeoclassicalStyle Rock Crystal and Gilt-Metal Two-Light Lamps, 20th century, French, with square bases on winged paw feet, supporting the tapered plinths and vasiform standards, with pierced gilt-metal decoration, h. 32‑1/2”, w. 7”, d. 7”. [2000/4000] Illustrated

194 191

191 Circle of Antoine Jean Gros (French, 1771‑1835), “Marechal Antoine Adolphe Marcelin Marbot (1781‑1844)”, oil on canvas, unsigned, sitter identified on stretcher in period script and on artist brass plaque, 83‑1/4” x 64‑1/4”. Presented in a 19th-century carved giltwood frame. Provenance: Chateau de Mondetour, Morgny-la-Pommeraye (Normandy), France; Private collection, Baton Rouge, Louisiana. [10000/15000] Illustrated Antoine Adolphe Marcelin Marbot came from a prominent military family. His father General Jean-Antoine Marbot was head of the Paris military district and died in the defense of Genoa under André Massena. His younger brother General Jean-Antoine Marcellin heroically served in the Napoleonic Wars, and later published a historical memoire of it. Antoine Adolphe's career was no less illustrious; he acted as the aidede-camp to Marshal Bernadotte in the Revolutionary Wars, and later in the Pennisular Wars and the Russian War of 1812, where he was wounded and captured as a prisoner of war. In 1830, he returned to active duty under King Louis-Philippe where he attained the rank of Marechal de Camp (Field Marshal, a rank equivalent to Sergeant Major General). The size of the portrait offered here, a size which is typically reserved for grand history paintings, is a collective homage to Marbot's service: the uniform epaulets reflect his rank; the field of military soldiers below bespeak of his ability to command as Field Marshal; the open map, which faintly spells out “Duche” possibly references his service under General Louis-Nicolas d’Avout, who was the Govenor-General of the Duchy of Warsaw under Napoleon; even the hunting dog- a pictorial trope of fidelity- speaks to the character of the sitter.

194 French Fruitwood and Marquetry Inlaid Poudreuse, early 19th century, in the Dutch Neoclassical taste, the trisected top richly inlaid with figural architectural scenes, the center section opening to a mirror and storage space, each side opening outward to reveal an urn-inlaid panel, hinged and opening backwards to reveal a fabric-lined storage space to one side and a compartmented fabriclined space to the other, over a like-inlaid frieze fitted with a central drawer and a shallow side drawer, raised on tapering square legs ending in brass caps, h. 29”, w. 31‑1/4”, d. 17. [1000/1500] Illustrated

195 Pair of French Restauration Bronze Dore et Patine Candlesticks, second quarter 19th century, the round patinated bases decorated with gilt-bronze masques, the standards in the form of male and female draped classical figures holding gilt-bronze candle 195 branches decorated with leaves and flower-form candle sockets, h. 14”, w. 3”, d. 3”. [600/900] Illustrated

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196 Italian Neoclassical Walnut and Marble-Top Commode, second quarter 19th century, the rectangular marble top above a conforming case fitted with three graduated long drawers, raised on tapering square legs, h. 32”, w. 38‑3/4”, d. 17‑1/2”. [1800/2500] Illustrated 197 Exceptional French Restauration Bronze Dore “Neptune” Figural Mantel Clock, second quarter 19th century, on a base molded with acanthus leaves and anthemia, Neptune atop a rock, his trident in one hand, waves lapping at his feet, a cornucopia of fruits and vegetables to one side, marked by two makers, one who possibly made the case, and the other who made the works, “Pons”, for Honore Pons and “No 1811 Leroy et fils, H G 5RS DuRoi, A Paris, AP”, h. 25‑1/4”, w. 18‑1/2”, d. 7‑3/4”. Provenance: Private collection, Baton Rouge, Louisiana. [700/1000] Illustrated

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198 Two Bronze and Molded Glass Centerpieces in the Classical Style, 20th century, the taller on scrolled feet with a tapered base, the standard in the form of Atlas, h. 21‑3/4”, dia. 13”, and the shorter with a mixed patinated and gilt-bronze base on scroll feet, the standard in the form of a water nymph sitting on rocks, h. 16‑1/2”, dia. 15‑3/4”. [500/800]

199 Pair of Italian Neoclassical Fruitwood Commodes, early 19th century, each with a rectangular top with decorative geometric banding, above a conforming case fitted with two drawers, each banded en suite, raised on tapering square legs, h. 33‑1/4”, w. 20”, d. 13”. [2000/4000] Illustrated

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200 Pair of Premier Empire Bronze Dore et Patine Figural Four-Light Candelabra, first quarter 19th century, the stepped plinths supporting gilt and engine-turned cylindrical bases topped with spheres and patinated cupids poised on one toe and holding aloft cornucopia emanating molded candle branches with pierced scrollwork set with stars, the candle cups with engine turning, h. 28‑1/2”, w. 10‑1/2”, d. 9‑3/4”. [2000/4000] Illustrated

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201 Continental Parcel-Gilt Tabernacle Mirror in the Neoclassical Taste, first quarter 19th century, resting on a leaf-molded base, the lower tablet with alternating medallions and acanthus leaves, the antique mirror plate set in a cove-molded surround with leaf-molded trim, the upper table with a fire pot flanked by a pair of Grecian sphinxes, h. 30”, w. 17”. [1000/1500] Illustrated

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204 Cast Iron Figure of Moses, After Michelangelo Buonarroti (Italian, 1475‑1564), on a neoclassical-style plinth, h. 71‑1/2”, w. 23‑1/2”, d. 23‑1/2”. [1000/1500] Illustrated

202 Italian Neoclassical Polychrome Side Table, early 19th century, the rectangular faux-marbre top with a molded edge, above a conforming frieze with a central pendant masque-carved panel, flanked to either side by bands of anthemion, raised on fluted square and circular legs ending in ribbed bun feet, h. 34‑1/2”, w. 41‑1/2”, d. 21‑1/2”. [1500/2500] Illustrated 203 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. [1200/1800] Illustrated

205 Pair of Anglo-American Cast Stone Griffins, first quarter 20th century, the seated figures molded on plinths and depicted baring their fangs, h. 35”, w. 17‑1/4”, d. 28‑3/4”. [1200/1800] Illustrated 201

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206 Pair of Cast Iron Garden Urns in the Renaissance Revival Taste, fourth quarter 19th century, probably French, the tapered bases decorated with pots of sunflowers and molded pierced corner scrolls, trimmed with anthemia, each side with panels of scrollwork and handles in the form of helmeted heads on scrolled plinths, h. 44”, dia. 16‑3/4”. [1500/2500] Illustrated

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207 Pair of Handsome Paris Porcelain Neoclassical Corbeilles, Attributed to Edouard Honore, second quarter 19th century, trimmed in cobalt blue, the tripartite bases with bas-relief decoration and raised on paw feet, the vasiform standards supporting gilded pierced baskets, h. 9‑1/2”, dia. 9‑1/4”. [700/1000] Illustrated

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208 Continental Neoclassical Mahogany, Exotic Woods and Marble-Top Cabinet, mid-19th century, the shaped, banded marble top above a conforming case fitted with two cupboard doors, each with decorative banding and centered by an oval panel, flanked to each side by a likebanded panel, raised on slender tapering square legs, h. 38”, w. 40‑1/2”, d. 22”. [1500/2500] Illustrated

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209 Pair of Sevres-Style Hand-Painted Porcelain and Bronze Covered Garniture Urns, ca. 1900, French, on bronze bases, the cobalt-ground urns decorated with cupids and young women on the obverse panels, and landscapes on the reverse panels, each framed in tooled gilt-work, mounted with bronze satyr-head handles, the domed porcelain covers resting on pierced fittings and with gilt-framed landscapes, h. 20‑1/2”, w. 5‑1/2”. [1200/1800] Illustrated

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211 Two Royal Vienna-Style Porcelain Cabinet Plates, first quarter 20th century, German or Austrian, each with gilt handles, the “Spring” plate with three transfer-printed nymphs with flowers, the border with raised enamel dots and gilt scrolls on a black ground, and the “Autumn” plate with a transfer-printed harvest feast, against a cobalt border with gilt scrollwork and raised enamel, each marked with an unidentified underglaze blue “beehive”, dia. 10‑1/2”. [1200/1800] Illustrated

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210 Royal Vienna-Style Porcelain Oval Platter, first quarter 20th century, German or Austrian, the cobalt border with gilt swags, and framing a scene of Dionysus and Ariadne being entertained by a cymbal player and a putto playing a flute, marked with an unidentified underglaze blue “beehive”, w. 17”, d. 12”. [600/900] Illustrated

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212 Royal Vienna-Style Hand-Painted Porcelain Cabinet Plate, ca. 1900, German, the plate with cobalt borders with panels of gilt scrollwork alternating with medallions, framing a hand-painted view of Cupid waking Psyche, marked with an overglaze blue “beehive”, dia. 9‑1/2”. [800/1200] Illustrated

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214 Continental Ebonized Chinoiserie Settee, mid-19th century, the padded rectangular back within a frame featuring delicately rendered gilt scenes of various chinoiserie figures and patterns, joined by downswept arms to the padded seat, over a foliate-painted apron, raised on tapering circular legs headed by a bulbous capital and ending in toupie feet, h. 35”, w. 66‑1/2”, d. 20‑1/2”. [500/800] Illustrated 215 Important Directoire Mahogany Occasional Table, fourth quarter 18th century, by Georges Jacob, Paris, and stamped “G * Iacob”, the rectangular top above a conforming frieze centered by a panel with a diamond paterae pattern, raised on tapered ring-turned legs with ribbed capitals and toupee feet, h. 29‑1/2”, w. 31‑1/2”, d. 20‑1/2”. [2500/4000] Illustrated

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213 Group of Three Louis-Philippe Mahogany Tub Chairs, second quarter 19th century, comprising a pair, each with a padded back within a frame joined by downswept arms on in-scrolled armrests, on lotus supports to the padded seat, raised on sabre legs headed by ribbing and ending in scrolled toes on casters, h. 35”, together with a similar example, h. 37”. [500/800]

Georges Jacob was one of the two preeminent French cabinet-makers in the mid-to-late 18th century. He produced gilded beds, seats and table furniture for the court of Louis XVI and later the fledgling Republic following the French Revolution. Jacob apprenticed under JeanBaptiste Lerouge and Louis Delanois, where he was exposed to English furniture. Jacob was particularly drawn to the English cabinet-makers use of mahogany - a relatively new wood brought from the colonies. Not only was Jacob one of the first to introduce the wood to the French court, but he also excelled all others in the carving and construction of mahogany chairs in the Neoclassical style. Jacob is best known for his collaboration with the celebrated painter Jacques-Louis David and the architects Charles Percier and Leonard Fontaine. In David’s paintings from this period, notably “Paris and Helen” (1788), and “Madame Recamier” (1800), both the furniture (which Jacob designed for David’s studio) and the architectural designs of Percier and Fontaine are prominently featured. This dynamic group of artists defined the Directoire style through their harmonious reduction of Classical architecture into elegant planar expanses of symmetry. This collaboration is well illustrated in the occasional table offered here. The highly grained veneer is accentuated by minimally carved paterae and ring-turned tapered legs that are surmounted by papyrus-style capitals. Though still Neoclassical in design, the capitals reflect the Directoire/early Empire style as they are clearly influenced by Napoleon’s Egyptian campaign in 1798 and late 18th-century archeological excavations. The execution of these table legs directly relates to fauteuils that Jacob produced after a Percier design that is illustrated in Denise Ledoux-Lebard, Le Mobilier Francais: Dictionnaire des Ebenistes et des Menuisiers. Paris: Editions de L’Amateur, 1989, p. 283. 216 Empire-Style Mahogany Commode, mid-19th century, the rectangular top above a conforming case fitted with a frieze drawer over two recessed drawers, flanked to either side by an engaged ebonized upright, raised on tall block feet, h. 34”, w. 22‑3/4”, d. 15‑1/4”. [500/800]

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217 Empire-Style Mahogany Tub Chair, mid-19th century, the backswept crest continuing to rounded sides ending in ormolu lion’s head hand rests, the padded seat raised on turned and bulbous circular legs ending in toupie feet, h. 30”. [1000/1500] Illustrated

222 218 French Gilt-Bronze, Mahogany, Tole-Peinte and Steel Three-Light Bouillotte Lamp, third quarter 20th century, attributed to Maison Jansen, the bronze-trimmed mahogany base supporting the steel standard and three carefully cast candle cups below a tole-peinte shade concealing three electric sockets, h. 30‑3/4”, dia. 16”. [800/1200] Illustrated

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219 Pair of French Empire-Style Polished Bronze and Tole-Peinte Three-Light Bouillotte Lamps, second quarter 20th century, on engine-turned dish-form bases, the three electrified candle arms with leaf-molded branches and grape-molded candle cups under the black tole-peinte shades, h. 25‑1/2”, dia. 11‑3/4”. [500/800]

220 French Three-Piece Clock Set in the Aesthetic Style, fourth quarter 19th century, trimmed with gilt incising and roundels of red griotte marble, the clock with bracket-form sides and a pyramidal finial, h. 20‑1/2”, w. 20”, d. 5‑1/2”, the accompanying tazzas decorated en suite, h. 10‑1/2”, dia. 5‑1/2”. [800/1200] Illustrated

220

221 German KPM-Style Porcelain Plaque, first quarter 20th century, the plaque painted after Theobald Chartran’s (French, 1849‑1907) “Sarah Bernhardt as Gismonda”, marked “Made in Germany” and titled on reverse, sight 6‑1/4” x 4‑1/4”, presented in a shadowbox frame, overall, 9‑1/2” x 8”. [600/900] Illustrated 222 Frederick Arthur Bridgman (American/ Paris, 1847‑1928), “Le Deuxieme Tete a Tete”, 1880, oil on canvas, the upper left corner signed, dated and inscribed “To my friend SM Peaice”, 13” x 16”. Presented in an attractive, period giltwood frame. [40000/70000] Illustrated

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223 German KPM-Style Porcelain Oval Plaque, fourth quarter 19th century, the plaque depicting a gypsy musician with a harp and tambourine, sight 5” x 3‑3/4”, framed, overall, 10‑3/4” x 8‑1/4”. [500/800] Illustrated

225 Antique Turkish Silk Carpet, 4’ x 6’. [600/900]

223

224 James Baker Pyne (British, 1800‑1870), “Promenade Outside the Fortress Walls”, oil on canvas, signed lower right, 24‑1/2” x 36”. In an elaborate giltwood frame. Provenance: Private collection, Baton Rouge, Louisiana. [1000/1500] Illustrated

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226 Antique Sarouk Carpet, 3’ x 5’. [500/800] Illustrated 227 Semi-Antique Agra Carpet, 10’ 3” x 12’ 8”. Provenance: The Flatt Collection. [3000/5000] Illustrated

227

228 Turkish Angora Oushak Carpet, 6’ 1” x 9’ 3”. [600/900] 229 Antique Persian Mahal Carpet, 9’ 4” x 11’ 4”. [3000/5000] Illustrated 230 Turkish Angora Oushak Carpet, 8’ 7” x 12’ 2”. [1200/1800] Illustrated 231 Semi-Antique Persian Heriz Carpet, 7’ 6” x 11’. [1200/1800] Illustrated 232 Turkish Angora Oushak Carpet, 9’ 2” x 11’ 8”. [1200/1800] Illustrated 233 Turkish Angora Oushak Carpet, 10’ x 14’. [1400/1800] Illustrated

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234 Pair of Peshawar Sultanabad Carpets, 3’ 5” x 5’ 1” and 3’ 6” x 5’. [600/900] 235 Turkish Angora Oushak Runner, 2’ 6” x 29’ 1”. [800/1200] Illustrated 236 Semi-Antique Heriz Carpet, 9’ 3” x 12’ 2”. [700/1000]

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238 237 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. The under drawing for lot 75, a Korean Buddhist painting on silk. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [1000/1500] Illustrated 238 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.

239

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 possesses 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. 239 Unusual Korean Buddhist Painting, Joseon Dynasty (1392‑1910), 17th/18th century, ink and color on cloth, probably hemp cloth, depicting the historical Buddha Shakyamuni enthroned on a pedestal under an ornate canopy, two smaller figures flank the base of the pedestal, 56” x 20‑7/8”. Framed. [1200/1800] Illustrated A Korean Buddhist painting with features similar to this can be found in the Cleveland Museum of Art, Cleveland, Ohio. 240 Wang Mingfang (Chinese, b. 1957), “Cockerel” and “Pumpkin on a Vine”, two watercolors on paper, each inscribed and stamped with seal, each 13” x 13”. Framed together. [1200/1800] Illustrated

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241 Attributed to Huang Junbi (Chinese, 1898‑1991), “Autumn Landscape”, ca. 1950s, ink and color on paper, inscribed and signed with two artist seals, mounted as a scroll, 52” x 26‑1/4”. [4000/7000] Illustrated 242 Ma Wanli (Chinese, 1904‑1979), “Flowers and Persimmons”, ink and color on paper, inscribed upper left with two artist seals, mounted as a scroll, 40‑1/4” x 13‑1/4”. [1500/2500] Illustrated 243 After Wu Changshuo (Chinese, 1844‑1927), “Prunus Flowers, Orchids and Buddha’s Hands”, ink and color on paper, inscribed upper right corner with two seals, a third seal at lower right corner, mounted as a scroll, 53” x 26‑1/4”. [1500/2500] Illustrated 244 After Wu Changshuo (Chinese, 1844‑1927), “Peonies, Rocks and Daffodils”, ink and color on paper, inscribed and signed with three artist seals, mounted as a scroll, 53” x 26‑1/2”. [1200/1800] Illustrated 245 Attributed to Fei Danxu (Chinese, 1801‑1850), four scenes from “Dream of the Red Chamber”, ink and color on silk, one inscribed and marked with two seals, each sight 16” x 13”. Each framed. [4000/7000] Illustrated 246 After Zhao Zhongmu (Chinese, 1289‑1352), “Sages in a Mountain Landscape”, ink and color on paper, inscribed upper right corner with two seals, mounted as a scroll, 68” x 18‑1/4”. Provenance: From the Estate of Alan Priest, New York, New York. [2000/4000] Illustrated

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247 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. [800/1200] 248 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. [1000/1500] 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. 249 Ming (1368‑1644) or Qing (1644‑1911) Dynasty, “Xi Wangmu, Queen Mother of the West”, 17th/18th century, ink and color on finely woven cloth, the goddess depicted on a phoenix throne with dragon embroideries surrounded by ruyi clouds, the figure in flowing, ornately gilded robes of blue, red and white, with a phoenix crown and holding a jade plaque between folded hands, sight 42‑1/2” x 29‑1/4”. [2500/4000] Illustrated A goddess whose origins can be traced back to the 15th century B.C., Xi Wangmu also known as the Queen Mother of the West, is often associated with Daoism. She is regarded as a bringer of longevity, prosperity and harmony.

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246 detail

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250 252 250 Chinese Reverse Painting on Glass, Qing Dynasty, 19th century, depicting two court ladies in an elegant chamber, one holding a pipe, the other a kerchief, with a calligraphy screen in the background, 19‑1/4” x 14”. Framed. [600/900] Illustrated 251 Chinese Reverse Painting on Glass, Qing Dynasty (1644‑1911), 19th century, depicting a beautiful court lady with a vase of peonies, in a pavilion set among lush greenery and scholar’s rocks, paintings on the wall behind her, in a wooden frame, sight, h. 25”, w. 16”. [500/800] 252 Chinese Reverse Painting on Glass, Qing Dynasty (1644‑1911), 18th/19th century, the painting of a seated empress on a phoenix throne in blue and gold robes decorated with dragons, her crown decorated with phoenix ornamentation, inscribed “Yongzheng reign” across the top, h. 19”, w. 12”. [600/900] Illustrated 253 Pair of Chinese Porcelain Plaques, Qing Dynasty (1644‑1911), 19th century, two framed panels, one depicting the Seven Sages of the Bamboo Grove and the other showing five intellectuals in a garden setting with two young attendants, both inscribed in the top left corner, the former example with an artist seal, h. 14‑1/2”, w. 4‑1/2”. [600/900]

254 Two Unusual Chinese Painted Gesso Panels, Republic period (1912‑1949), with glazed details and faces in relief, one panel illustrating a scene from an epic novel “Water Margin”, inscribed in the lower right corner with a seal, the second panel depicting a nobleman and an elegant lady on horseback, 21” x 14‑1/4”. [600/900] 255 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] 256 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. [1000/1500]

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260 257 Chinese Giltwood and Lacquer Figure of Guanyin, Qing Dynasty (1644‑1911), 19th century, the figure dressed in flowing robes and wearing a large and ornate lotus crown with hair piled into a raised coiffure with curls at the crown, seated with one leg pendant, the figure’s right hand extended, while its left is folded in its lap, h. 17”, w. 10”, d. 5‑3/4”. [600/900]

260 Pair of Chinese Elm Yoke-Back Armchairs, Sichutouguanmaoyi, Qing Dynasty (1644‑1911), 19th century, each with an arched crest rail over a curved rectangular splat above a solid square seat with carved key-fret design on the apron, h. 39‑1/2”, seat, h. 19‑1/2”, w. 22‑3/4”, d. 17‑1/2”. [700/1000] Illustrated

258 Chinese Rosewood and Marble Taboret Table, 19th century, the eight-lobed carved and molded table with an inset pink marble top, above carved legs and sides decorated with a scrolling floral motif, h. 32”, w. 24”. [700/1000]

261 Pair of Chinese Hardwood Cabinets, Qing Dynasty (1644‑1911), 19th century, each fitted with a pair of paneled doors, above three drawers, fitted with pierced gilt-brass closures and a mottled green and white jade ornament, the shelved interior with two drawers. h. 71‑1/2”, w. 43‑1/2”, d. 21‑1/2”. [3500/5000] Illustrated

259 Pair of Chinese Ebonized Rosewood Chairs, Qing Dynasty (1644‑1911), 19th century, the splat with a bat decoration over a pierced motif of grapes and squirrels, the arms of each chair adorned with squirrels and grapes, above a reticulated scrollwork apron, h. 40‑1/4”, seat, h. 19‑1/2”, w. 25”, d. 19‑1/4”. [800/1200] Illustrated

262 Chinese Lacquer Two-Door Cabinet, 20th century, decorated with phoenixes, peonies and vines, and a floral scrollwork border along the top edge of the cabinet, h. 39”, w. 60”, d. 17‑3/4”. [800/1200]

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263 Chinese Gilt-Lacquer Cabinet, Qing Dynasty (1644‑1911), 18th/19th century, the case with two doors decorated with landscape scenes, and floral tracery along the edges, the lower portion of the cabinet adorned with three lotus blossoms, the side panels with floral decoration, h. 72‑1/4”, w. 46‑3/4”, d. 22”. [800/1200] Illustrated

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264 Chinese Six-Panel Coromandel Screen, Qing Dynasty (1644‑1911), 19th/20th century, decorated with a carved and painted court scene with officials, concubines, royal children, and the emperor seated in an elegant pavilion, the lower section of each panel depicting arrangements of antiquities, overall, h. 93”, w. 107‑1/4”, each panel, w. 17‑7/8”. [500/800] 265 Chinese Four-Panel Coromandel Screen, late Qing Dynasty (1644‑1911)/early Republic period (1912‑1949), one side depicting courtly ladies in a palace garden, the other showing ducks along a marshy riverbank, overall, h. 72‑1/2”, w. 64”. [600/900]

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268 Chinese Carved Mother-of-Pearl Shell Frame, 19th century, monogrammed in an oval cartouche surrounded by an intricately carved village scene, surrounding a Japanese painted miniature on bone, miniature inscribed mid-right edge, 9‑1/8” x 9‑1/2”. A shell of similar decoration to this one is part of a pair in the Museum Victoria, Melbourne, Australia. [700/1000] Illustrated

266 Chinese Hardstone-Inlaid Four-Panel Coromandel Screen, Qing Dynasty (1644‑1911), late 19th/early 20th century, one side of the black lacquer screen inlaid with bone and hardstone depicting the Gods Fu, Lu and Shou with five children in a verdant garden, the panels decorated with antiques and flowers below an idyllic scene, the reverse with reserves containing arrangements of vines and flowers, overall, h. 72”, w. 72”, each panel w. 18”. [1000/1500] Illustrated 267 Large and Dramatic Chinese Rosewood and Applique Floor Screen, composed of a shaped plaque with jade appliques of pomegranates and branches on a carved fretwork ground and bordered by jade Buddha’s Hand citrons, above a plaque of fine jade bats and a central Shou character on a cloud ground, the reverse with applied characters in boxwood above a cloud panel, all seated in a multi-level galleried stand, h. 58‑1/2”, w. 40‑1/2”. [3000/5000] Illustrated 268

269

269 Fine Napoleon III Christofle Three-Piece Silverplate Table Garniture, third quarter 19th century, Paris, comprising a pair of candelabra, h. 26”, dia. 13‑3/4”, and a centerpiece, h. 19‑1/2”, dia. 14”, all with a figural group base of three Bacchic putti cavorting on a twining grapevine, the candelabra surmounted by one central and six scrolling branches en suite, each terminating in a grape-leaf nozzle with foliate drip-pan and detachable bobeche, the centerpiece surmounted by a circular frame fitted with a floriform glass bowl, all raised on a scrolling openwork grapevine base with three lion’s masque-crested cloven hoof feet. [10000/15000] Illustrated

269 detail

This model was shown at the 1851 London Crystal Palace Exhibit; the candelabrum design from the Christofle Archives is illustrated in Henri Bouilhet, Christofle, 150 Ans d’Orfevrerie (Paris: Editions de Chene, 1981), page 67. The unique serial number on this centerpiece (120293) is from Christofle’s first series used 1844‑1862. As that series is known to have run into the 300,000s, this piece must date fairly close to the Exhibition. The candelabra bear consecutive serial numbers (68955 and 68956) from Christofle’s second series, dating them to around 1862. (The model does not appear in Christofle’s 1862 catalogue, though it was very probably still available by special order.) For an identical but later pair of candelabra, with non-consecutive serial numbers and lacking the centerpiece, see the Collection of Suzanne Saperstein, Sotheby’s New York, April 19, 2012, lot 161.

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270 Napoleon III Bronze Argente Chauffe-Plat, third quarter 19th century, of oval form, the openwork gallery decorated with foliate swags among rinceaux scrolls centering beaded oval cartouches, with cast laurel-swag handles and raised on four hooved feet, fitted with a detachable hot water reservoir and warming plateau, the burners lacking, monogrammed “RV” conjoined, h. 4‑5/8”, l. 17‑1/2”, w. 11‑1/4”. [2500/4000] Illustrated

271

271 German .800 Silver Wine Cooler, first quarter 20th century, probably Hanau, in the neoclassical taste, of thistle form, the lower half gadrooned and decorated with oak branch swags, the collar with ovolo fluting and centering medallions of charioteers, with scrolling acanthus handles and feet, h. 6‑1/4”, dia. 8‑1/2”, w. 10‑1/4”, 43.91 t. oz. [600/900] Illustrated

274

272

272 Good German .830 Silver and Ebony Arts & Crafts Cake Basket, first quarter 20th century, by Lazarus Posen Witwe, Berlin and Frankfurt, of shaped and lobed oval form, with foliate-mounted fixed ebony handle and turned feet en suite, the whole with hammered finish, h. 9‑3/4”, l. 13”, w. 8‑1/2”, 19.64 t. oz. (including ebony fittings). [1200/1800] Illustrated

273 Two Pieces of German “Hammered” Finish .800 Silver Tableware, ca. 1900, Bremen, including a Koch & Bergfeld flagon, the pattern introduced in 1892‑1893, retailed by Johann Wagner & Sohne, Berlin, of cylindrical form with flared base, “S”-scroll handle with shield boss, hinged lid with spherical finial, and hinged bracket spout, h. 12‑5/8”, l. 8‑1/2”, and a M. H. Wilkens & Sohne beaker, the pattern introduced in 1902‑1903, of tapering cylindrical form with “bamboo” handle, h. 3”, l. 3‑3/8”, 40.83 total t. oz. [600/900] Illustrated 274 Austrian First Standard (.935) Silver and Enamel Table Box, first quarter 20th century, by Anton Jakobi, Vienna, of rectangular form, the hinged lid with a cobalt guilloche enamel center and plique-a-nuit butterfly corners, banded with opaque white enamel, the sides with guilloche enamel en suite, the whole raised on four ram’s-masque feet, 4‑1/2” x 3‑5/8”, 11.36 t. oz. [800/1200] Illustrated

275

277 Two Cased Sets of Buccellati Sterling Silver Place Card Holders, contemporary, designed by Gianmaria Buccellati, Milan, executed by Clementi Fabbrica Argenteria, Bologna, from their famous Leaf, Fruit and Flower collection, one set of eight comprising two each “Acanthus”, “Clover”, “Geranium” and “Apple”, the other set of six comprising one each “Acanthus”, “Clover”, Geranium”, “Hazelnut”, “Pomegranate” and “Dahlia”, each holder approximately dia. 1‑3/4”, 6.87 total t. oz., presented in the original Buccellati cases, 8‑1/2” x 4‑1/2” and 6‑1/4” x 4‑1/2”. [1500/2500] Illustrated

277

278

275 Three Italian .800 Silver Gilt and Enamel Dresser Articles, second half 20th century, Florence, in the 18th-century “galants” style, including two compacts, one oval, w. 3‑3//4”, the other shield-shaped, w. 3‑1/4”, and a cased comb, l. 4‑3/8”, all decorated with Swiss enameled scenes of courting lovers surrounded by enameled faux-malachite panels, all on an ornately engraved rococo ground. [600/900] Illustrated

276

276 Six Pieces of “Dragon” Chinese Export Silver Tableware, first quarter 20th century, Wang Hing & Co., Shanghai and Hong Kong, comprising a pair of trumpet-form bud vases with wavy rim, h. 5‑1/2”, dia. 2‑1/4”, a small mug, h. 2‑3/8”, dia. 2‑1/2”, and a shoehorn, l. 8‑1/2”, all embossed in the round with a dragon, and a pair of figural dragon menu holders, h. 2‑3/8”, l. 5‑1/4”, 11.82 total t. oz. [700/1000] Illustrated

278 Set of Six Cased Tiffany-Retailed Italian Sterling Silver Placecard Holders, fourth quarter 20th century, Milan, each in the form of a realistically detailed fruit or nut, including a strawberry, cherry cluster, grape cluster, acorn cluster, walnut or hazelnut, each approximately l. 1‑1/2”, 2.31 total t. oz., presented in a fitted brown satin- and velvet-lined case, 7‑3/4” x 5‑1/4”. [600/900] Illustrated

279

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279 Gustave Loiseau (French, 1865‑1935), “Le Port de Dieppe”, 1926, oil on canvas, signed and dated lower right, multiple gallery labels en verso include: “McColl Fine Art, Charlotte, North Carolina”, “Richard Green, London, UK”, “The J. Paul Getty Museum, Malibu, California” and partially visible handwritten “Galerie Durand-Ruel, Paris, France”, 23‑3/4” x 28‑7/8”. Presented in an antique giltwood and gesso frame. Provenance: Galerie DurandRuel, Paris; J. Paul Getty Museum, Malibu, California; Richard Green Galleries, London, United Kingdom; Private collection, France; McColl Fine Art, Charlotte, North Carolina; Chappell & McCullar, Fresno, California; Private collection, Houston, Texas. [150000/250000] Illustrated The post-impressionist landscapist Gustave Loiseau is widely acknowledged for his unusual and distinctive application of short brushstrokes of paint in complex layers - a technique alternately referred to as "touches croisees" or "croisee en treillis". This approach, combined with a bold juxtaposition of light and dark colors, results in a complex, textural surface which creates a sense of depth by enhancing the play of light, hue and shadow. Born into a Parisian trade family, Loiseau was initially apprenticed to a decorator. In 1888, an unexpected inheritance financially enabled him to enroll in l'Ecole des Arts Decoratifs and he moved to a house in Montmartre, which, interestingly, would later be the residence of Pablo Picasso (1881-1973). Loiseau was soon disenchanted with the strict Academic approach to painting espoused by the school, and he left after only one year of study to enter the atelier of the artist Fernand Just Quignon (1854-1941). Quignon encouraged the young man to travel to PortAven where Loiseau became acquainted with the artists of the Pont-Aven School: Maxime Maufra (1861-1918), Henry Moret (1856-1913), Emile Bernard (1868-1941), Emile Dezaunay (1854-1938) and, most significantly, Paul Gauguin (1848-1903) after his return from Tahiti in 1894. With the encouragement of his new friends, Loiseau began to take part in the "Expositions des Peintures Neo Impressionistes et Symbolistes" at the Galerie le Barc de Boutteville and the Salon des Independants. In 1894, in one of the most significant decisions of his career, he entered into a contract with Paul Durand-Ruel, a supporter and advocate of the various post-impressionist artists and an influential gallery owner in Paris and New York. This association with Durand-Ruel allowed Loiseau to embark on plein air painting excursions to the French countryside and the resulting works were exhibited at Durand-Ruel's galleries, first in New York and then in Paris. Loiseau's earlier works reveal the influence of the Pont-Aven artists, especially the stylistic aspects of pointillism (with its abrupt and effective dabs of pigment) and Cloisonnism (with its emphasis on blocks of color). It was not until ca. 1910 that he adopted his characteristic cross-hatching technique. The artist continued to travel for the rest of his life, spending the summers in Normandy, Brittany and the Dordogne, and returning to his studio in Pontoise during the winter months. He would frequently return two, three or more times to the same location, painting it at different times of the day and under various weather conditions, though he rarely chose to paint at midday, feeling the direct sunlight was too intense and did not allow for the examination of light and shadow that he favored. Loiseau preferred a muted palette of cool blues, mauves and creams - with accents of terracotta and bright blue and his distinct brushstroke is evident in the painting offered here in one of several views of Dieppe he is known to have painted.

This painting was formerly in the Collection of the J. Paul Getty Museum of Art and it is pictured in the Museum’s preliminary catalogue printed in 1972. Getty was a prodigious collector of art, and 13 years after his death in 1989 the Museum undertook a refining of the collection, which resulted in the offering at auction of 15 paintings. Losieau’s view of Dieppe was one of the works selected for sale. Literature: Burton, B. Fredericksen. Catalogue of the Paintings in the J. Paul Getty Museum, 1972, p. 107, illus. #156. References: Brettell, Richard R. et al. Nineteenth- and Twentieth-Century Paintings in the Robert Lehman Collection. Princeton: Princeton University Press in Association with the Metropolitan Museum of Art, 2009.

280 Louis XVI-Style Mahogany Cabinet, early 20th century, the molded cornice above a paneled frieze and three long doors, each with a two-third fabric-lined glazed panel over a brass-banded panel, raised on toupie feet, h. 86”, w. 76”, d. 18”. [2000/4000] Illustrated

282

283 Sevres-Style Biscuit Porcelain Figural Group, ca. 1900, French, modeled as nymphs cavorting with the infant god Dionysus, and holding him up to reach a bunch of grapes, the base trimmed with pierced bronze leaf molding, the bottom impressed with a spurious double “L” mark, h. 13‑3/4”, w. 15”, d. 5‑3/4”. [600/900] Illustrated

283

280

281 Louis XVI-Style Mahogany and Marble-Top Commode, late 19th century, the rectangular marble top with turreted corners, above a conforming case fitted with three long paneled drawers, flanked to either side by rounded fluted uprights, raised on tapering circular legs ending in toupie feet, h. 34‑1/2”, w. 44‑1/2”, d. 22‑1/2”. [1200/1800] Illustrated

281 282 Exceptional Pair of Meissen Blanc de Chine Marcolini Period Figural Sweetmeat Dishes, ca. 1774‑1817, the molded bowls with delicately sculpted flowers, one with a reclining gentleman and the other with a reclining lady, thinly potted and translucent, marked in underglaze crossed swords over a star, h. 6” to 6‑1/2”, w. 10‑1/4”, d. 6‑1/2”. [500/800] Illustrated

284 Bronze-Mounted Hand-Painted Porcelain Urn in the Sevres Style, fourth quarter 19th century, the bronze-mounted base with gilt rocaille work and festoons of hand-painted flowers, the ovoid vase set with bronze handles on holders with leaf molding and swags of laurel leaves, the obverse panel signed “E. LeRoy” and decorated with a couple in 18th-century costume in an Arcadian landscape, the reverse depicting a lady in a landscape, the bottom marked with a Sevres-type “S.87” mark, “1887” in overglaze green, a Louis-Philippe mark and a Chateau mark, all spurious, h. 30”, w. 14”. [2000/4000] Illustrated 285 French School (19th Century), “Woman Reading a Letter, a Spaniel at Her Feet”, watercolor, gouache and graphite on paper, unsigned, sight 17‑1/4” x 14‑1/4”. Glazed, matted and framed. Provenance: Private collection, Paris, France. [1200/1800] Illustrated

284

285

286 Pair of Unusual French Gilt-Bronze and Porcelain Garniture Vases, fourth quarter 19th century, now mounted as lamps, the rectangular architectonic bases mounted with porcelain panels decorated with Norman castles, the ivory bodies decorated with polychrome portraits of a man and woman in 17th-century costume, framed by raised gilt bamboo, with bronze handles and pagoda-form caps, finished in dore, patine and silver gilt, on contemporary giltwood bases, vase, h. 15‑3/4”, overall, h. 29‑1/2”, w. 6”, d. 5”. [700/1000] Illustrated

286

287

287 Francesco Ballesio (Italian, 1860‑1923), “Artist and Model”, watercolor on paper, signed lower right “F. Ballesio Rome”, sight 20‑3/4” x 14”. Glazed, matted and framed. [500/800] Illustrated

288

288 Suite of Eight Louis XVI-Style Polychrome Sidechairs, early 20th century, each with a padded rectangular back within a molded frame, the padded seat raised on stop-fluted tapering circular legs headed by a floral block capital and ending in toupie feet, h. 38”. [3000/5000] Illustrated 289 Directoire-Style Polychromed, Parcel-Gilt and Marble-Top Console, early 20th century, with a conforming white marble top with grey veining, the aprons with pierced oval cut-outs and a central floral-carved frieze, raised on tapered legs with acanthine capitals and swags, h. 36”, w. 49”, d. 15”. [1500/2500] Illustrated 290 Three-Piece French Louis XV-Style Marble and Bronze Clock Set, ca. 1900, the clock with lyre-form surround surmounted by a sunburst finial, on a stepped base with toupee feet, the clock signed “A. D. Mougin”, h. 19”, w. 9”, d. 4‑3/4”; the five-light candelabra with rose branch candle arms issuing from amphorae on tripartite legs with hoof feet, on conforming bases, h. 19”, dia. 7‑1/4”. [1500/2500] Illustrated

291

290

291 Impressive French Glass and Gilt-Metal Vase, mid-20th century, the notched base holding a laurelmolded bezel, the fluted, molded vase with gilded bowknots supporting swags of flowers terminating in lion’s heads, the rim with a fluted and reeded gilt-metal mount, retaining a partial label, h. 19‑1/2”, dia. 9‑1/2”. [800/1200] Illustrated 292 Pair of Louis XVI-Style Polychrome Sidechairs, late 19th century, each with a concave crest with corner urn finials, above a padded back, the padded seat raised on fluted tapering circular legs ending in bulbous toupie feet, h. 34‑1/2”. [700/1000] Illustrated 293 Gail Sherman Corbett (American, 1871‑1952), “Parisian Street Scene”, oil on canvas, signed lower right, 24” x 36”. Framed. [2000/4000] Illustrated 294 Niek Van der Plas (Dutch, b. 1954), “Beach Scene”, oil on canvas, signed lower right, 11‑3/4” x 19‑3/4”. Framed. [1500/2500] Illustrated

289

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294

296 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. [1800/2500] Illustrated 293

295 Fine Louis XV-Style Bronze and Rock Crystal ThirtyLight Chandelier, late 19th century, the central shaft with an upper tier of six arms over a lower tier of six arms, each ending in a cluster of four lights, dressed with rock crystal pendalogues and cut crystal prisms, electrified, h. 40”, dia. 38”. [3000/5000] Illustrated

292

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298

302 Pair of Louis XVI-Style Polychrome Bergeres, 20th century, each with a padded rectangular back within a molded frame, joined by padded scrolling arms to the cushioned seat, raised on stop-fluted tapering circular legs ending in toupie feet, h. 34”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [600/900]

299

297 Transitional Louis XV-into-Louis XVI Kingwood, Rosewood and Marble-Top Commode, late 18th century, the breakfront rounded rectangular marble top above a conforming case fitted with three short drawers over two long drawers, each tri-paneled, raised on molded legs ending in sabots, h. 24”, w. 38‑1/2”, d. 33‑1/2”. [1200/1800] 298 Pair of French Gilt-Bronze and Marble Three-Light Candelabra, fourth quarter 19th century, on toupie feet, the marble and leaf-molded bronze bases supporting marble and bronze standards set with leaf-molded candle branches, the drip pans decorated with flowers, the candle cups with leaves, the center cups with removable finials allowing them to be used as two-light devices, h. 14‑3/4”, w. 7”, d. 3”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [600/900] Illustrated 299 Louis XV-Style Polychrome Fauteuil, late 18th century, the padded and rounded back surmounted by a floral crest, joined by padded molded arms to the like seat, raised on cabriole legs headed by floral carving and ending in scrolled toes, h. 38”. [700/1000] Illustrated 300 Set of Fourteen Hand-Painted Dresden Luncheon Plates, ca. 1900, the octagonal plates with hand-painted borders of couples in 18th-century costume cavorting in Arcadian landscapes, marked by Karl Wissmann with a blue printed overglaze shield mark, as well as a gilt flower, dia. 8‑3/4”. [500/800] Illustrated 301 Pair of Signed Jacob Petit Porcelain Lobed Cachepots on Stands, mid-19th century, Paris, France, on cruciform stands decorated with gilt grapevines on a melon ground, the matching cachepots on scrolled feet and decorated with panels of hand-painted flowers and gilt scrollwork, all pieces with an underglaze blue “J.P.”, formerly drilled, h. 9”, w. 7‑1/2”, d. 7‑1/4”. [1500/2500] Illustrated

303 Guan Zeju (Chinese, b. 1941), “Musical Repose” oil on canvas, signed lower right, 30” x 36”. Framed. Provenance: Private collection, Baton Rouge, Louisiana. [5000/8000] Illustrated 304 French Beaux Arts Bronze Hexagonal Hall Lantern, second quarter 19th century, set with frosted glass, each panel with a scrolled pediment terminating in a pierced anthemion, supported on scrolled arms, h. 33”, dia. 9‑1/4”. [500/800]

300

305 Near Pair of Louis XVI-Style Polychrome and MarbleTop Tables, early 20th century, each with an inset circular marble top above a conforming frieze fitted with a single drawer, one with a lower open shelf, the other with a single paneled cupboard with caned sides, both raised on fluted tapering circular legs ending in toupie feet, h. 32”, dia. 19”. [1200/1800] Illustrated

305

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306 Two Continental Porcelain Figures, including a soft-paste figure of Salacia, third quarter 18th century, probably Derby, modeled with one foot on a dolphin, holding an apple, a child at her side, decorated with shells and bits of greenery, her gown painted with flower sprigs, h. 11‑1/4”, dia. 5”, and a hard-paste figure of Neptune, 19th century, riding a dolphin atop a mound of carefully sculpted shells and coral, h. 9”, dia. 5‑3/4”. [600/900] Illustrated 307 Meissen-Style Porcelain Figure of Maia, Mother of Hermes, 19th century, probably Samson, Paris, modeled wearing a crown, the baby Hermes at her feet, holding a caduceus, h. 7‑1/4”, dia. 2‑1/2”. [500/800] Illustrated

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311 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”. [700/1000] Illustrated

309

308 Impressive Meissen “Elements” Ewer Personifying Water, ca. 1850‑1900, German, after a model by Johann Joachim Kandler (1706‑1775), the base decorated with dolphins, a mermaid pursuing a trio of hippocampi through the water, a fleet of ships in the background raised in bas relief, Neptune sitting in a shell overlooking the sight, against a ground of hand-painted insects, the handle in the form of bundled water reeds connecting to the shell-molded spout, marked with the pommel-ended crossed swords underglaze blue mark, with two cancellation lines underneath, h. 23‑3/4”, w. 14”, d. 8”. [8000/12000] Illustrated

312 Pair of Franco-Bohemian Figural Covered Potpourri Vases, mid-19th century, decorated with tinted biscuit figures of a couple in 18th-century costume standing before banana trees, the potpourri bowls pierced against a pink ground, the matching covers with gilt eagle knops, h. 19‑1/4”, dia. 5‑1/4”. [2000/4000] Illustrated

310

309 Pair of Louis XVI Pickled Beechwood Demi-lune Console Tables, late 18th century, the aprons with a laurel leaf- and berry-carved frieze centered by carved lion masques, raised on turned and stop-fluted legs with a cluster of arrows for the capitals and joined by a curved stretcher and urn finial, formerly an oval table cut in half, h. 40”, w. 32”, d. 12”. [1000/1500] Illustrated 310 Pair of Meissen Dot Period Blanc de Chine Figures of Flower Sellers, 18th century, on pierced bases, modeled as, respectively, a girl and boy, the girl with carefully sculpted flowers in her apron, each with woven flower baskets with removable flower-encrusted covers, h. 8‑3/4”, w. 6‑1/4”, d. 3‑1/2”. [500/800] Illustrated

313 Transitional Louis XV-into-Louis XIV-Style Kingwood and Marble-Top Cabinet, early 20th century, the rounded rectangular Breche d’Alep marble top above a case fitted with two cupboard doors, each inset with a fabric-lined arched glazed panel, raised on shaped legs ending in sabots, h. 47”, w. 33”, d. 14”. [800/1200] Illustrated

311

316 Pair of Unusual Continental HandPainted Creamware Plaques, ca. 1900, with scenes depicting males pursuing females, all in 18th-century costume, with painted surrounds of tooled gilt against a bleu celeste ground, in contemporary giltwood frames, plaque, h. 9‑3/4”, w. 7”, overall, h. 14‑1/2”, w. 11‑1/2”. [2500/4000] Illustrated

316 one of two

314 Unusual Louis-Philippe Mahogany Chaise Longue, mid19th century, in two parts, the low padded barrel-back end above a cushioned seat, the other section with a demi-lune cushion on a conforming base, each section raised on bulbous legs to brass caps and casters, overall, h. 24‑1/2”, w. 32‑1/2”, l. 67‑1/2”. [900/1200] 315 Sevres-Style Porcelain and Gilt-Metal Dressing Mirror, 20th century, French, decorated with hand-painted panels of flowers on a bleu celeste ground, a pair of column-form supports on turned feet with putti-form brass finials supporting the circular mirror ornamented with gilt-metal leaf-form mounts, h. 24‑1/4”, w. 26”, d. 5‑1/2”. [1000/1500] Illustrated

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317 Continental HandPainted Creamware Plaque Depicting Louis XVI, fourth quarter 19th century, the plaque with a bleu celeste and tooled gilt border marked “Louis XVI”, the king standing in his robes, his crown on a footstool to one side and his throne on the other, in a wooden frame with a beaded bronze liner, dia. 15‑1/4”. [1800/2500] Illustrated

317

318 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. [1200/1800] Illustrated 319 French Bronze and Crystal Twenty-Four-Light Chandelier in the Baroque Taste, second quarter 20th century, with a glass-clad standard issuing scrolled arms set with candle sockets with molded glass drip pans on three tiers, hung with festoons of prisms, two tiers of prisms decorating the upper portion, h. 31”, dia. 30”. [1000/1500] Illustrated 320 Ratislav Rakov (Russian/French, 1904‑1982), “White Rose and Seashell”, oil on board, signed lower right, 6‑3/4” x 11”. Presented in a giltwood frame with a linen liner. [600/900]

328

321 Ratislav Rakov (Russian/French, 1904‑1982), “White Rose on the Beach”, oil on board, signed lower left, 6‑3/4” x 11”. Presented in a giltwood frame with a linen liner. [600/900] Illustrated

327

322 Ratislav Rakov (Russian/French, 1904‑1982), “Thistle on the Beach”, oil on board, signed lower left, 11” x 6‑3/4”. Presented in a giltwood frame with a linen liner. [600/900] 323 Pair of Louis XV-Style Polychrome Fauteuils, early 20th century, each with a rounded padded back surmounted by a floral crest, h. 38”. [500/800] Illustrated

323

324 Pair of Louis XVI-Style Beds, 20th century, each with a paneled and domed headboard surmounted by a floral urn crest and flanked to each side by stop-fluted pilasters, joined by guilloche carved rails to the lower domed and paneled footboard, the whole raised on stop-fluted tapering circular legs ending in casters, h. 53‑1/2”, inside, w. 41”, l. 75”, outside, w. 44”, l. 79”. Provenance: Estate of Lillian Pulitzer Smith, New Orleans, Louisiana. [700/1000] 325 Rococo-Style Giltwood Mirror, the reverse serpentine sides with molded giltwood tendrils of leaves and flowers, the tendrils forming a pierced crest, set with a beveled mirror plate, h. 42”, w. 31”. [900/1200] Illustrated 326 Pair of Unusual 325 Napoleon III Giltwood Brackets, third quarter 19th century, decorated with overlapping molded giltwood fern fronds, terminating in a sprig of bellflowers, with velvet-covered shelf tops, h. 11”, w. 10”, d. 7”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [700/1000] Illustrated

327 French Gilt-Bronze Chandelier of Louis XV Inspiration, first quarter 20th century, supported by a standard in the form of a putto climbing a hanging tassel, with laurel-molded candle arms terminating in leaf-molded candle cups and matching drip pans, h. 41‑1/2”, dia. 20”. [2000/4000] Illustrated 328 Continental School (First Quarter 20th Century), “Landscape with Figures by a Forest”, oil on canvas, illegibly signed lower right, 25” x 30”. Framed. [1000/1500] Illustrated

326

333 Pair of Le Tallec Porcelain Hand-Painted Fruit Coolers, ca. 1984, Paris, in a rococo shape, the cobalt ground decorated with gilt scrollwork and diapering, the white panels decorated with birds in trees, fully marked including the “RM” date letter and the initials of the artist, “ALT”, lacking liners, h. 10”, dia. 6‑3/4”. [1800/2500] Illustrated

329 329 Gustave Adolph Wiegand (American, 1870‑1957), “Landscape Scene with a Figure Beneath a Tree”, oil on canvas, signed lower right, 10” x 14”. Framed. [800/1200] Illustrated

331

330 330 A. L. Barnes (Late 19th Century/Early 20th Century), “Forest Path Outside the Castle Walls”, gouache on card stock, signed lower right, sight 13‑1/2” x 17‑5/8”. Glazed and presented in a period giltwood and gesso frame. [700/1000] Illustrated 331 Louis XVI-Style Mahogany and Burl Writing Table, early 20th century, the rectangular top with an inset leather writing surface, above a frieze fitted with a central drawer flanked to each side by two small drawers, to one side, the other side with like faux drawers, raised on tapering square legs ending in brass caps, h. 29‑1/2”, w. 54‑1/2”, d. 29”. [1000/1500] Illustrated 332 Transitional Louis XV-into-Louis XVI-Style Mahogany and Mixed Woods Center Table, the circular top with foliate banding and sunburst inlay within a full pierced brass gallery, above a conforming frieze with floral garland inlays and a single drawer, raised on molded slight cabriole legs headed by ormolu mounts and ending in sabots, h. 29‑1/2”, dia. 23‑1/2”. [700/1000] Illustrated

332

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334 detail

334 Set of Twelve Honore Paris Porcelain Hand-Painted Dessert Plates, ca. 1846‑1855, French, executed on identical blanks to the iconic James K. Polk presidential plates by the same maker, with scroll-molded borders decorated with scrollwork and the initials “IHS” framed with bleu de roi, four of the plates decorated with various flowers and eight with various fruits, marked with Honore’s stenciled rouge-de-fer mark, dia. 9”. [600/900] Illustrated 335 Louis XVI-Style Kingwood Dressing Table, early 19th century, the rectangular trisected top with a hinged central mirrored section and two side sections, each hinged and opening outwards to reveal a storage well, above a frieze fitted with a central drawer flanked to either side by two short drawers, the upper ones false, raised on tapering circular legs ending in brass caps, h. 29”, w. 39”, d. 22”. [1000/1500] Illustrated

336

336 Set of Four French Gilt-Bronze Three-Light Sconces, second quarter 20th century, in the Louis XV style, the flower- and scroll-molded backplates set with leaf-molded candle arms terminating in matching drip pans and candle sockets, electrified, h. 23‑3/4”, w. 14‑3/4”, d. 7‑1/2”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [700/1000] Illustrated

335

339 Pair of French Bronze and Marble Two-Light Candelabra, ca. 1900, in the Louis XVI style, on cylindrical bases decorated with bronze chains, supporting patinated bronze putti balancing on one foot, each holding aloft gilt branches of leaves and flowers, with one flower on each mounted as a candle, now electrified, h. 19”, w. 9”, d. 4”. [800/1200] Illustrated

337

337 Signed Millet Bronze Dore Encrier in the Louis XV Style, fourth quarter 19th century, French, on scrolled feet, molded with scrollwork, shells and rocaille decoration, set with an inkpot and pounce pot with pierced covers, the inkpot retaining its blown glass liner, stamped “Millet” on the back and all components marked “3453”, h. 3”, w. 9‑1/4”, d. 8‑1/4”. [500/800] Illustrated Maison Millet was founded in Paris in 1853 and worked until 1916. The firm, an active client of Francois Linke, was described as producing “meuble et bronze d’art, genre ancieu et moderne”. They won the gold medal in the 1889 Paris Exposition Universelle, a Grand Prix in 1900, in addition to three other diplomes d’honneur and four medailles d’or. In 1902 Versailles authorized them to replicate Marie Antoinette’s famed cabinet a bijoux.

339

340 Louis XVI-Style Kingwood and Mahogany Occasional Table, third quarter 19th century, the oval top with an inset glass panel over a patterned fabric, within a threequarter pierced brass gallery, above a conforming case fitted with three drawers, the sides and backs quarterveneered and with inlaid floral and musical designs, joined by block supports to a like-veneered concave shelf, raised on tapering circular legs, h. 28‑1/2”, w. 19”, d. 14”. [500/800] Illustrated

338

338 Louis XVI-Style Mahogany, Rosewood and MarbleTop Bouillotte Table, mid-19th century, the circular marble top within a full heart-pierced brass gallery, above a conforming frieze fitted with two drawers and two slides, raised on tapering square legs ending in brass caps, h. 31”, dia. 23‑1/2”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [700/1000] Illustrated

340

343 Pair of Louis XVI-Style Kingwood and Parquetry Bedside Cabinets, early 20th century, each with a square marble top above a conforming case fitted with a single drawer over a single cupboard opening to a lined interior, joined by fluted tapering square supports to a quarterveneered shelf, raised on fluted square legs to casters, h. 33‑1/4”, w. 16‑1/2”, d. 16‑1/2”. [800/1200] Illustrated

341 341 Antal Berkes (Hungarian, 1874‑1938), “Boulevard Serre”, ca. 1915, oil on canvas, signed lower left, 22” x 26‑3/4”. Framed. [2500/4000] Illustrated 342 Louis XVI-Style Mahogany and Marble-Top Collector’s Cabinet, early 20th century, the rectangular marble top within a full pierced brass gallery and above a case fitted with nine small drawers, all with gilt-tooled leather fronts and marbleized interiors, over two paneled cupboards, with side access, raised on tapering square legs ending in brass caps, h. 54‑1/2, w. 30”, d. 16‑1/4”. [1800/2500] Illustrated

342

343

344 Transitional Louis XV-into-Louis XVI-Style Kingwood and Marble-Top Vitrine Cabinet, late 19th century, the rounded rectangular marble top above a conforming case fitted with two doors, each with a shaped glazed panel with pleated fabric backing, the sides quarterveneered, raised on shaped toes to sabots, h. 52”, w. 39”, d. 11‑1/2”. [1200/1800] Illustrated

344

345 Francois Gall (French, 1912‑1987), “Springtime in Paris”, oil on canvas, signed lower right, verso stretcher stamped “McAdoo Galleries Inc., Santa Fe, NM”, 8‑3/4” x 10‑3/4”. Handsomely framed. [1500/2500] Illustrated

345

346

346 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. [3500/5000] Illustrated

347 Francois Gall (French, 1912‑1987), “Ballerina”, oil on canvas, signed lower right, 10‑5/8” x 8‑5/8”. Presented in a handsome, floral-carved giltwood and gesso frame with a linen liner. [4000/7000] Illustrated

347

349

348 Russian School (20th Century), “From the Front”, oil on canvas, signed lower right in Cyrillic “A. Cyxob”, signed and titled en verso, 70‑1/2” x 39”. Framed. [3500/5000] Illustrated

349 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. [3000/5000] Illustrated

348

350 Chinese Painted Pottery Figure of an Immortal, Tang Dynasty (618‑907), the standing figure with serene countenance, folded hands holding a plaque, and dressed in flowing robes decorated with swirling ruyi clouds, with an ornate headdress, traces of green, black and red pigment, with a wooden stand, figure, h. 19”, w. 9‑1/2”, d. 6‑3/4”. [2500/4000] Illustrated

352 352 Exceptional Chinese Jun Bowl, Song Dynasty (960‑1279), 12th/13th century, the delicate stoneware bowl with a slightly incurved rim and foot ring, covered with blue glaze with splashes of purple and magenta, dia. 3‑1/4”. Very similar examples can be found in the Rockefeller Collection, New York, New York and the Metropolitan Museum of Art, New York, New York. [1000/1500] Illustrated 350

351 Chinese Longquan Celadon “Lotus Petal” Water Pot, Southern Song Dynasty (1127‑1279), the finely potted vessel with a pattern of carved lotus petals decorating the exterior, covered with a translucent blue-green glaze, with the exception of the foot rim, h. 2‑3/4”, dia. 3‑1/2”. [600/900] Illustrated

353 Chinese Ding Yao Bowl, Song Dynasty (960‑1279), the porcelain footed bowl with flared sides, covered with an ivory-white glaze, the interior featuring an incised floral scroll decoration, with an unglazed edge and foot rim, h. 3”, dia. 6‑3/4”. [500/800] Illustrated A smaller bowl with similar decoration was sold at Sotheby’s, New York, on September 15, 2015, lot 964. Ming (13681644) and Qing (1644-1911) 353 collectors regarded Ding among the ‘Five Classic Wares', along with Ru, Jun, Guan and Ge, the most coveted ceramics of the Song (960-1279) Dynasty. Produced in Hebei Province as early as the ninth century, Ding wares were admired for their warm white coloring and slight translucence. By the eleventh century, the edges of Ding dishes were often left unglazed and later fitted with metal. This fushao method allowed vessels to be stacked in a more efficient use of kiln-space. Earlier Ding wares typically have very little embellishment. Objects from the eleventh century onward tend to be decorated with carved and incised patterns.

351

356 Chinese Sancai Pottery Roof Tile, probably Ming Dynasty (1368‑1644), the reticulated circular tile depicting an immortal amidst swirling ruyi clouds, on a carved and pierced wooden stand, tile, h. 13‑1/2”, w. 10”. [700/1000] Illustrated

354

354 Fine Chinese Ding Yao Dish, Song Dynasty (960‑1279), probably 12th century, the dish with exquisitely rendered and molded dragon and ruyi cloud decoration framed with a pattern of petals on the interior of the dish, the slightly flared edges encased in silver, dia. 7‑3/4”. [900/1200] Illustrated

356

Examples closely resembling this dish can be seen in the National Palace Museum, Taipei, Taiwan and in the Palace Museum, Beijing, China. 357 Pair of Chinese Sancai Figures of Guanyin Riding a Qilin, probably Ming Dynasty (1368‑1644), each tricolorglazed pottery figure seated upon a green and brown qilin, dressed in flowing robes, bedecked in elaborate jewels and a lotus headpiece, h. 17‑3/4”, w. 6”, l. 13‑1/2”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [700/1000] Illustrated

355 357 355 Chinese Longquan Celadon Footed Plate, probably Ming Dynasty (1368‑1644), the tripod plate decorated with a carved motif of flowering peonies, dia. 7‑1/2”. [500/800] Illustrated

358 Chinese PeachbloomGlazed Amphora, Liuye Zun with Stand, Qing Dynasty (1644‑1911), probably 19th century, the delicately potted porcelain vessel with a tapered and slender body, slender neck and flared lip with deep red glaze with a green mottled surface, and a white interior, the underside marked with a six-character Kangxi reign mark in underglaze blue, with a matching peachbloomglazed porcelain stand, overall, h. 7‑1/2”, dia. 2”. [800/1200] Illustrated

362 Chinese Porcelain Vase, late Qing Dynasty (1644‑1911)/early Republic period (1912‑1949), late 19th/early 20th century, the square-sided vase decorated with birds, flowers and rocks against a yellow ground, with foo dog lugs on each side of the neck, the interior and underside with a turquoise glaze, h. 15”, w. 7‑1/2”. [600/900]

358

359 Chinese FlambeGlazed Garlic-Head Vase, Qing Dynasty (1644‑1911), 19th century, the vase with a dark red glaze with slight variegation, a white glaze at the mouth and underside, h. 11‑1/2”, dia. 6”. [600/900] Illustrated 360 Chinese Pottery Vase, 20th century, of sack form, with two handles, the front decorated with a red panel and auspicious character “Fu”, h. 12‑7/8”, w. 12‑1/2”. [500/800] 361 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. [700/1000] Illustrated

363 Unusual Chinese Carved Porcelain Vase, Qing Dynasty (1644‑1911), 19th century, the white vase with decoration of birds and flowering prunus limbs in relief, the underside bearing an impressed mark of Wang Bingrong, h. 16”, dia. 8”. [700/1000] Illustrated 364 Chinese Famille 363 Rose Porcelain Vase, Qing Dynasty (1644‑1911), late 19th/early 20th century, mounted as a two-socket lamp, with a wooden base, the garlic-head mouth over a long cylindrical neck and globular body, the neck of the vase decorated with bird and flower scenes, the body with lotus scrolls and bats against a turquoise ground, h. 14”, overall, h. 25‑3/8”, w. 7”. [600/900]

359

361

365

365 Pair of Chinese Famille Rose Porcelain Vases, 20th century, the two hexagonal vases each decorated with a raised “Hundred Antiques” motif in a famille rose palette on a white ground, h. 24‑3/4”, w. 8”. [1800/2500] Illustrated

369 Chinese Cobalt Monochrome Vase, Qing Dynasty (1644‑1911), probably 19th century, the square sectional vase with handles, a blue monochrome glaze and a fourcharacter Qianlong reign mark in underglaze blue on the underside, h. 12‑1/4”, w. 7‑1/4”. [700/1000] Illustrated 370 Near Pair of Chinese Blue and White Porcelain Moon Flasks, Qing Dynasty (1644‑1911), 19th century, the two flattened vessels with slightly domed sides, each decorated with a motif of birds and flowers in white raised slip against a blue ground, the shoulders each adorned with carved bats, with white interiors and undersides, h. 14‑1/4”, w. 9‑3/4”. [2500/4000] Illustrated

367

366 Seven Chinese Porcelain Famille Rose Footed Dishes, Qing Dynasty (1644‑1911), 19th century, including two large lobated dishes, one decorated with fruit and the other with chickens amidst grass and flowers, h. 2‑3/8”, w. 5‑1/2”, l. 7‑1/4”, and five smaller footed dishes, two of octagonal form, with figural decoration, h. 1‑3/4”, w. 4‑1/4”, one of hexagonal form, with birds and peonies decoration, h. 1‑1/2”, w. 5”, one leaf-form dish, depicting figures in a garden, h. 1‑3/4”, w. 4‑5/8”, and one lobated dish, with goats and butterflies decoration, h. 1‑1/2”, w. 4‑7/8”, each with an apocryphal reign mark. [700/1000] 367 Six Chinese Blue and White Porcelain Figures of Officials, 20th century, the two three-piece groups each comprised of a figure holding a fan, another with a flute and another with a ruyi scepter, all wearing robes printed with dragons, strings of beads and 369 hats befitting their respective stations, each underside impressed with marks, h. 11‑1/2” to 15”, dia. 3‑1/4” to 4‑1/2”. [600/900] Illustrated

370

371 Rare Chinese Porcelain Vase, Qing Dynasty (1644‑1911), probably 19th century, of baluster form with a splayed lip, decorated with a scene of two walruses on a rocky outcrop surrounded by waves, in underglaze blue with accents painted in underglaze copper, illegible mark in underglaze blue, h. 13”, w. 7”. [900/1200] Illustrated

A trio of similar figures sold at Christie’s, New York, on June 12, 2012, lot 1158. 368 Chinese Blue Monochrome Vase, Qing Dynasty (1644‑1911), probably 19th century, the globular-bodied vessel with a flared foot and neck, with a stylized lug on either side, the vase with a blue-glazed exterior and a white interior and underside, the underside with a sixcharacter mark of Kangxi, h. 7‑3/4”, dia. 6‑1/2”. [600/900]

371

372 George II-Style Japanned Mirror, fourth quarter 19th century, English, set with upper and lower beveled mirror plates, the surround with a shaped upper portion, the Japanned decoration with panels of birds and butterflies on an ivory ground, h. 66”, w. 30”. [700/1000] Illustrated

372

373 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. [3000/5000] Illustrated

374 374 Manner of Sir Godfrey Kneller (German/British, 1646‑1723), “Portrait of a Lady with Pearls in Her Hair”, oval oil on canvas, unsigned, 29” x 24”. Presented in a handsome, antique giltwood frame. [3000/5000] Illustrated

375

373

375 Manner of Jonathan Richardson (British, ca. 1665‑1745), “Half-Length Portrait of a Young Woman”, oval oil on canvas, unsigned, 29‑3/4” x 25”. Presented in a handsome, antique giltwood frame. [3000/5000] Illustrated

376 George IIIStyle Mahogany Breakfront, 19th century, the molded cornice above an upper section fitted with four astragal-glazed doors, the lower section fitted with a central drop-front secretary drawer fitted with an inset leather writing surface and a variety of drawers and cubbyholes, flanking a central cupboard, over three long drawers, flanked to either side by a drawer over a paneled cupboard door, raised on a plinth base, h. 91‑1/2”, w. 73‑1/2”, d. 21”. [1800/2500] Illustrated 377 John Lawson Bradford English Regency Mahogany Tall Case Clock, early 19th century, the case with inlaid details, the face with engraved motifs and painted moon dial, h. 88”, w. 21”, d. 9”. [1500/2500] Illustrated

378 George III Mahogany Bowfront Sideboard, late 18th century, the banded and bowed top above a conforming case fitted a central cutlery drawer flanked to one side by a deep drawer over a shallow cupboard and to the other by a shallow drawer over a deep drawer, raised on tapering square legs ending in spade feet, h. 36‑1/2”, w. 73‑1/2”, d. 29‑1/2”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [1500/2500] Illustrated

378

377

379 George III Inlaid Mahogany and Rosewood Knife Box, ca. 1800, with a serpentine front and canted cover, the edges trimmed with barber-pole inlay, the fitted interior trimmed with matching inlay, h. 14‑1/2”, w. 8‑3/4”, d. 10‑3/4”. [1200/1800] Illustrated 380 George II Mahogany Tea Caddy, ca. 1765, the block-front case with conforming molding and feet, opening to a tripartite compartment, the center one fitted with a brass-covered glass tea canister, h. 5”, w. 9”, d. 5”. [500/800] Illustrated

379

380

376

381 Regency Mahogany Dining Table, early 19th century, the rounded rectangular top raised on two pedestals, each with a turned columnar standard to four splayed legs ending in brass caps on casters, with two matching leaves, h. 28‑1/4”, w. 51‑1/2”, l. 48”, extended l. 88”. Provenance: From the collection of Mr. and Mrs. James Britton, Houston, Texas, descended within the family. [2000/4000] Illustrated 382 George III Mahogany Cellarette, 19th century, of octagonal form, the hinged top lifting to a now open interior, the slightly tapering body with brass bands and side handles, raised on tapering square legs joined by an X-form stretcher and ending in brass caps and casters, h. 29‑1/2”, dia. 22‑1/2”. Provenance: The Estate of Harold Judell, New Orleans, Louisiana. [700/1000] Illustrated

383 Suite of Eight George III-Style Mahogany Dining Chairs, 19th century, in the Hepplewhite taste, consisting of two armchairs and six sidechairs, each with a shield-form back with a pierced splat above the padded seat, raised on tapering square legs joined by an H-form stretcher, h. 38”. [2500/4000] Illustrated

382

383

381

8 84

384 384 After John Blake White (British, 1781‑1859), “General Marion Inviting a British Officer to Share His Meal”, oil on canvas, signed and dated lower center left “W. Frith 1858”, titled en verso canvas, 26‑1/2” x 34”. Framed. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [2000/4000] Illustrated

386 386 French School (19th Century), “Portrait of a Young Man Modeled in the Likeness of Napoleon I”, oil on canvas, unsigned, 30‑1/8” x 25‑3/8”. Framed. [1500/2500] Illustrated 387 George III Mahogany Bureau, late 18th century, the rectangular top above a banded slant front opening to a variety of drawers and cubbyholes flanking a central cupboard, over four graduated long drawers, raised on shaped bracket feet, h. 42”, w. 40‑1/4”, d. 20‑1/2”. [500/800] Illustrated

385 385 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. [2500/4000] Illustrated

387

388 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. [2000/4000] Illustrated

390

389 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. [2000/4000] Illustrated 390 Queen Anne-Style Polychrome and Chinoiserie Writing Table, 19th century, the rectangular top with a polychrome and gesso figural landscape within a decorative banding, above a conforming frieze fitted with two drawers, raised on cabriole legs ending in pad feet, the whole with polychrome chinoiserie patterns, h. 30”, w. 48”, d. 30”. [800/1200] Illustrated

388

389

391 Queen Anne-Style Giltwood Mirror, the lower surround with molded bellflowers and strapwork, the molded crest with scrollwork on a punched ground, with a winged angel head against a shell, h. 58‑1/4”, w. 28‑1/4”. [1500/2500]

392

392 Handsome Chinese Export Imari Punch Bowl, mid18th century, decorated with gilt-trimmed pots of flowers in iron-red and cobalt, against a cobalt ground with gilt flowers, the interior decorated with vines and leaves, on a contemporary hardwood stand, h. 7‑1/4”, dia. 12”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [600/900] Illustrated

396

393

393 Pair of Chinese Blue and White Porcelain Garden Seats, 19th/20th century, the octagonal seats each decorated with birds and flowers, the tops and sides of each stool with pierced coin symbols, h. 17‑1/2”, w. 12‑1/2”. [700/1000] Illustrated

395 Five-Piece Collection of Japanese Imari Porcelain, ca. 1900, including a charger with a scalloped rim, dia. 16‑1/2”, a charger with a pierced rim decorated with fences and peonies in fan-form panels, dia. 14‑3/4”, two scalloped dishes decorated with flowers and gilt flourishes, dia. 11” and 12”, and a hexagonal scalloped bowl decorated with bamboo, dia. 10”. [600/900] Illustrated

396 Handsome Japanese Imari Punch Bowl, fourth quarter 19th century, the exterior with orange and blue foliage, the interior with panels of landscapes and figures alternating with roundels of flowers on a gilt ground, with an Arita mark, h. 6”, dia. 15‑1/2”. [3000/5000] Illustrated

395

394 Large Chinese Blue and White Porcelain Jar, Qing Dynasty (1644‑1911), 19th century, the cylindrical lidded jar decorated with two dragons in pursuit of a flaming pearl set among swirling ruyi clouds over a pattern of waves, h. 13‑3/4”, dia. 11‑1/2”. [700/1000] Illustrated 394

397 Diminutive Chinese Export Secretary on Stand, early 19th century, having a broken-arch pediment with carved rosettes and a central carved cabochon above a pair of raised panel doors, opening to a fitted interior, the removable central box with two flip panels opening to reveal a void interior, raised on a framed base with cabriole legs ending in hairy paw feet, the whole elaborately accented with gilt patterns in the chinoiserie taste, h. 66”, w. 25”, d. 24”. [1000/1500] Illustrated 398 Pair of George III-Style Mahogany Corner Cabinets, mid-19th century, in the Chinese Chippendale taste, each with a molded and dentillated cornice above a blind fretcarved frieze, over a single astragal-glazed door, with two paneled cupboard doors below, the whole flanked to either side by stop-fluted pilasters and raised on a plinth base, h. 94”, w. 38”, d. 21”. [1000/1500] Illustrated

397

398

397 detail

400

399 English Chippendale Stove Plate Depicting Cupid and Psyche, second half 18th century, with a delicately lyre-shaped frame of scrollwork and lovebirds, h. 38”, w. 38‑1/4”, together with a small cast iron fire back depicting a horse and rider in battle, fourth quarter 19th century, h. 23‑3/4”, w. 23‑3/4”. [800/1200]

403 George III-Style Mahogany Dining Table, early 20th century, the rounded rectangular top with a reeded edge and supported by three pedestals, each with a turned balusterform standard to four splayed ribbed legs ending in brass caps and casters, with two matching leaves, h. 30”, w. 36”, l. 106”, extended l. 154”. [2500/4000] Illustrated

402

401

400 George III Mahogany Side Table, early 19th century, in the Adam taste, the banded rectangular top with a wave-carved edge, above a conforming fluted frieze fitted with a single drawer centered by a garland-carved panel, raised on fluted tapering square legs ending in spade feet, h. 36‑1/2”, w. 55”, d. 17‑1/4”. [900/1200] Illustrated 401 Suite of Eight George III-Style Mahogany Dining Chairs, mid-20th century, consisting of two armchairs and six sidechairs, each with a shaped foliate-carved crest above a bellflower-carved vasiform splat, the padded saddle seat raised on cabriole legs headed by foliate carving and ending in balland-claw feet, h. 40”. [800/1200] Illustrated 402 Queen Anne Mahogany Drop-Leaf Games Table, mid18th century, the bowed top hinged and opening to a storage interior, with a like-shaped drop leaf with swing leg support, above a plain frieze, raised on tapering circular legs ending in pad feet, h. 28‑1/2”, w. 31”, d. 16”, extended l. 31”. [700/1000] Illustrated

404

404 Suite of Six George II-Style Polychrome Sidechairs, 20th century, each with a shaped crest above a pierced splat, the padded seat raised on molded cabriole legs headed by foliate carving and ending in scrolled toes, h. 37”. [800/1200] Illustrated

403

405 George III Mahogany Gainsborough Chair, late 18th century, the slightly domed and padded back joined by shaped arms on ribbed foliate uprights to the padded seat, raised on cluster-column legs ending in block feet, h. 37”. [500/800] Illustrated

407

407 Two Pieces of Chinese Export Rose Medallion Porcelain, including a jardiniere, fourth quarter 19th century, decorated with panels of Mandarin figures alternating with panels of peonies and ho-ho birds, h. 9”, dia. 10‑1/4”, and an umbrella stand, first quarter 20th century, with similar decoration and marked “Made in China”, h. 23‑1/2”, dia. 8‑1/2”. [500/800] Illustrated

405

408 Chinese Export Rose Medallion Porcelain Punch Bowl, third quarter 19th century, the gilt-ground border with butterflies, gourds and panels of peonies, the larger panels with like decoration and phoenix birds, h. 6‑1/2”, dia. 16”. [800/1200] Illustrated

406 Chinese Export Rose Medallion Porcelain Punch Bowl, third quarter 19th century, decorated with panels of Mandarin figures alternating with panels of peonies and ho ho birds on a gilt ground, h. 6‑1/2”, dia. 14”. [800/1200] Illustrated

408

406

409 George III-Style Mahogany Breakfront, late 19th century, the molded cornice above a banded frieze, with four astragal-glazed doors below, the lower section fitted with a central drop-front secretary drawer opening to an inset leather writing surface and a variety of drawers flanking a central cupboard, above three graduated long drawers, flanked to either side by a tall banded and paneled cupboard door, centered by an inlaid patera, the whole raised on a plinth base, h. 89‑1/2”, w. 85”, d. 20‑1/2”. [1000/1500] Illustrated

411 George III Mahogany Tripod Table, fourth quarter 18th century, the tilting circular top raised on a turned and spiral-fluted standard to three splayed legs ending in pad feet, h. 28‑1/2”, dia. 36”. [500/800] 412 George III-Style Mahogany Side Table in the Irish Chippendale Taste, mid-19th century, the rectangular top with a molded edge, above a conforming plain frieze with a deep pendant apron centered by a masque, flanked to each side by scrolling foliate patterns, raised on cabriole legs ending in ball-and-claw feet, h. 31‑1/2”, w. 54‑1/2”, d. 24”. [3000/5000] Illustrated 413 Suite of Eight Inlaid Mahogany Dining Chairs, in the Georgian taste, consisting of two armchairs and six sidechairs, early 20th century, each with a rectangular back with line-inlaid vertical slat splats, the padded seat raised on fluted tapering square legs, h. 35‑1/4”. [1200/1800] Illustrated 409

410 George III Mahogany Bowfront Sideboard, late 18th century, the bowed top above a conforming case fitted with a single banded central cutlery drawer, flanked to either side by a deep banded drawer, accented with inlaid oval shells, raised on tapering square legs, h. 37”, w. 69”, d. 26‑1/2”. [1200/1800] Illustrated 413

414 George III Fruitwood Tea Caddy, fourth quarter 18th century, in the form of a melon, retaining its key, h. 5”, dia. 4‑1/2”. [1000/1500] Illustrated

410

414

412

415

415 George III Fruitwood Tea Caddy, fourth quarter 18th century, in the form of a pear, h. 7‑1/2”, dia. 5”. [600/900] Illustrated

421 Pair of George III Mahogany Console Tables, early 19th century, each with a banded, rounded rectangular top above a conforming frieze, raised on tapering square legs headed by shell-inlaid panels and ending in spade feet, h. 32”, w. 46‑3/4”, d. 18‑1/2”. [1500/2500] Illustrated

416

417

416 George III Fruitwood Tea Caddy, late 18th century, in the form of a melon, retaining remnants of a paktong liner, h. 5”, dia. 4‑1/2”. [1000/1500] Illustrated 417 George III Fruitwood Tea Caddy, fourth quarter 18th century, in the form of a pear, retaining its key, h. 6”, dia. 4‑1/2”. [500/800] Illustrated

422 George III Mahogany Slant-Lid Desk, fourth quarter 18th century, the rectangular top above a slant front opening to an inset leather writing surface and a variety of drawers and cubbyholes surrounding a central cupboard, over two short drawers and three graduated long drawers, raised on shaped bracket feet, h. 45”, w. 39‑1/4”, d. 21‑1/4”. [1000/1500] Illustrated 423 Pair of George III Mahogany Sidechairs, late 18th century, each with a curved crest above a baluster-form splat, the padded seat above a deep apron and raised on cabriole legs ending in pad feet, h. 39‑1/2”. [500/800] Illustrated

418 418 British School (Mid-19th Century), “The Fowl Hunt”, oil on canvas, unsigned, 24‑1/2” x 29‑1/2”. Presented in a late 19th-century frame. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [2000/4000] Illustrated 419 George III Mahogany and Inlaid Tall Case Clock, early 20th century, the brass face with a rotating moon dial and time and strike movement, h. 83”, w. 16”, d. 10”. [800/1200] Illustrated 420 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. [1500/2500] Illustrated

419

422

420

423

424 Pair of George III-Style Mahogany Chests, mid-20th century, each with a stepped rectangular banded top above a conforming case fitted with three long drawers, raised on bracket feet, h. 36”, w. 43”, d. 22‑1/2”. [500/800] Illustrated

424

421

425 Francois Etienne Musin (Belgian, 1820‑1888), “Stormy Sea”, 1851, oil on canvas, signed and dated lower left, 18” x 24”. Presented in a giltwood frame. [1000/1500] Illustrated 425

428 428 Harry Pennell (British, 1879‑1934), “Quiet Dusk on the River”, oil on canvas, signed lower left, 20” x 30”. Framed. [1000/1500] Illustrated

426

426 H. M. Knight (British, 19th Century), “Beating Into Dover Harbor”, oil on canvas, signed lower left, 36” x 28”. Framed. [1500/2500] Illustrated

429 429 Auguste Matisse (French, 1866‑1931), “Ships in a Harbor”, oil on canvas, signed lower left, verso with multiple inscriptions, artist signature and inventory number “No. 137”, canvas stamped “Paul Foinet fils, 21 Rue Breas Paris”, 35” x 57‑1/2”. Framed. [2000/4000] Illustrated 430 George III-Style Fruitwood Chest-on-Chest, the molded and canted cornice above a conforming case fitted with three short drawers over three graduated long drawers, flanked to either side by canted and fluted uprights, the lower section fitted with a shallow drawer/ slide over three graduated long drawers, raised on bracket feet, h. 77”, w. 39‑1/2”, d. 18”. [1000/1500] Illustrated 427 427 Herman Frederik Carel ten Kate (Dutch, 1822‑1891), “The Safe Harbor”, oil on beveled wood panel, signed lower right, 7‑5/8” x 9‑1/4”. Framed. [800/1200] Illustrated

431 George III Walnut Slant-Lid Desk, 18th century, the banded rectangular top above a banded slant front opening to a variety of drawers and cubbyholes, over three graduated long drawers, all banded, raised on shaped bracket feet, h. 39”, w. 38‑3/4”, d. 20”. [500/800] Illustrated

432

430

433 George III Mahogany and Walnut Secretary Bookcase, fourth quarter 18th century, the molded cornice above two cabinet doors, each paneled and banded, over a small candle slide, the lower section fitted with a double-banded slant front opening to a variety of drawers and cubbyholes surrounding a central cupboard, over two short drawers and three graduated long drawers, raised on bracket feet, h. 82‑1/2”, w. 40‑3/4”, d. 13‑1/2”. [1500/2500] Illustrated

432 Queen Anne Oak and Fruitwood Lowboy, mid-18th century, the rectangular top quarter-veneered and double-banded, above a case fitted with a single long drawer over two small side drawers, all banded, raised on cabriole legs ending in pad feet, h. 29‑1/2”, w. 29”, d. 19‑1/2”. [800/1200] Illustrated

431

433

436 William IV Mahogany Tall Case Clock, early 19th century, with a painted face, and featuring time, strike and calendar movement, h. 87”, w. 19”, d. 9”. [800/1200] Illustrated

434 one of a pair

437 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”. [600/900] Illustrated

437

434 one of a pair

434 Pair of George III-Style Mahogany Serving Tables, 20th century, in the Adam taste, each with a rectangular top with a laurel leaf-carved edge, above a conforming fluted frieze with carved floral patera accents, raised on large, stop-fluted, tapering square legs ending in spade feet, h. 33”, w. 75”, d. 31”. [2000/4000] Illustrated 435 Diminutive George III Mahogany Chest, late 18th century, the top with an overhanging molded edge, above a pair of side-by-side drawers over three graduated long drawers, raised on bracket feet, h. 32”, w. 30”, d. 18‑1/2”. Provenance: The Estate of Harold Judell, New Orleans, Louisiana. [600/900] Illustrated

435

436

438 English Soft-Paste Porcelain Figure of Salacia, third quarter 18th century, attributed to Derby, with patch marks, on a matching stand, both richly decorated with encrusted shells and seaweed, Salacia riding astride a dolphin, a cupid at her side, h. 14”, dia. 6‑1/4”. [500/800] Illustrated

440 George III Mahogany Flip-Top Games Table, 18th century, in the Queen Anne taste, with a swing-out support leg, the inside top with an inset red leather surface and gilt-tooled border, h. 28‑1/2”, w. 32”, d. 15‑1/2”, extended l. 31”. [800/1200] Illustrated

438 439 George III Mahogany Bookcase, early 19th century, the molded and dentillated cornice above two astragalglazed doors, now with pleated fabric lining, the lower section fitted with two paneled cupboard doors, the whole raised on a plinth base, h. 93”, w. 39‑1/2”, d. 11”. [2000/4000] Illustrated 440

441 English Oak Dresser, 18th century and later, the molded cornice above three open central shelves, flanked to either side by an arched niche over a tall cupboard, the lower section fitted with four central drawers flanked to either side by a drawer over a paneled cupboard door, raised on block feet, h. 81”, w. 57‑1/2”, d. 17‑1/2”. [1000/1500] Illustrated

439

441

442 George III Oak and Mahogany Banded Mule Chest, early 19th century, with a lift lid opening to a void cavity, the front fitted with two rows of faux drawers over a row of three drawers, over a single long drawer in the form of three drawers, h. 38‑1/2”, w. 62”, d. 22”. [800/1200] Illustrated

446 Three Chinese Agate Carvings, late Qing period (1644‑1911)/early Republic period (1912‑1949), including a foo dog carved in white agate with russet inclusions, h. 4”, a whitish/reddish-brown snuff bottle carved with birds and lotus flowers on a pierced wooden stand, bottle, h. 2‑1/2”, and a goldfish carved of primarily orange agate, on a pierced wooden stand, fish, h. 1‑3/4”, l. 3‑1/4”. [800/1200] 447 Pair of Chinese Carved Marble Foo Dog Sculptures, the white and pale green/gray variegated stone with finely rendered detail, each beast depicted seated on a plinth, one with a ball, and its mate with a pup, h. 19”, w. 9‑1/2”, l. 12”. [500/800]

442

443 English Pine Mule Chest, early 19th century, the rectangular top lifting off to a storage interior, the front with three faux short drawers over two faux drawers with one long actual drawer below, raised on bracket feet, h. 34‑1/4”, w. 52‑1/2”, d. 20”. [500/800] 448

448 Chinese Celadon Jade Belt Buckle, composed of two gray/green jade interlocking pieces, each with a carved and pierced kui dragon roundel decoration, w. 2”, l. 6”. Provenance: Shanghai Auction, Co., Ltd., Shanghai, China, December 23, 2012, lot 956. [1000/1500] Illustrated 444

444 English Elm and Oak Dresser Base, late 18th century, the rectangular top above a frieze fitted with three drawers, raised on shaped end supports to runner feet, h. 34”, w. 64”, d. 15‑1/2”. [800/1200] Illustrated 445 Carolean-Style Rosewood Stool, 19th century, the padded rectangular top raised on four barley-twists legs joined by an H-form stretcher and ending in carved blocks on squat bun feet, h. 18”, w. 18”, d. 16‑1/2”. [500/800]

449 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”. [600/900] 450 Chinese Carved Jade Censer, Qing Dynasty (1644‑1911), late 19th-early 20th century, the large, finely carved green jade censer with four chambers, and fully reticulated dragon handles, each with two suspended rings, with ornate ringed carvings along the sides of the censer and a lid with a dragon, phoenix and flaming pearl finial, h. 27‑3/4”, w. 14”. Provenance: Private collection, Shreveport, Louisiana. [1200/1800] Illustrated

451 Chinese Cloisonne Enamel Bowl, late Ming Dynasty (1368‑1644)/early Qing Dynasty (1644‑1911), the rounded bowl with a gilded lip and foot rim, the exterior decorated with a dragon pursuing a flaming pearl against a white ground set with floral scrolls, the interior depicting a dragon rising majestically over cresting waves, h. 3‑5/8”, dia. 7‑1/4”. [800/1200] Illustrated

451

452 Sino-Tibetan Gilt-Bronze Figure of Standing Tara, 19th century, the elegant figure of the Bodhisattva Tara dressed in flowing robes and bedecked with jewels, holding a lotus stem in each hand, each hand arranged in Gyan Mudra, a gesture of meditation and wisdom, on a separate lotus base, h. 11‑3/8”, w. 3‑1/4”, l. 4‑3/4”. [1200/1800] Illustrated

450

452

453 Chinese Silver Filigree Enameled Dragon and Carp on Stand, late Qing Dynasty (1644‑1911)/early Republic period (1911‑1949), early 20th century, the dragon shown facing a carp as the fish rises out of the water, decorated with colorful enamels, on an ebonized wood base carved in the form of rolling waves, h. 10‑1/2”, w. 2”, l. 11‑1/2”. [700/1000] Illustrated

453

454 454 Four Chinese Silk Kesi Panels, Qing Dynasty (1644‑1911), 19th century, the fine embroideries with warriors engaged in battle waving blue and coral banners, image 38‑1/4” x 10‑1/8”. Glazed, matted and framed. [800/1200] Illustrated 455 Chinese 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 Bonhams, San Francisco on October 13, 2015 and Christie’s, London on November 4, 2014.

100

456 Chinese Blue Silk-Ground Brocade-Woven Dragon Robe, Jifu or Longpao, Qing Dynasty (1644‑1911), 18th/19th century, the elaborate longpao jifu in blue silk, embroidered with nine gold dragons, three on the front and three on the back, one on each sleeve and one on the interior fold, all set among ruyi clouds, cranes, bats and auspicious symbols, with five bud-form gilt-metal toggles, a gold band decoration on the sleeves and gold-wrapped threads at the collar and cuffs, lined with blue silk, h. 55”, w. 84”. A nine-dragon summer robe closely resembling this one can be found in the Seattle Art Museum, Seattle, Washington. [1000/1500] Illustrated 457 Japanese Lacquer Cricket Cage, Meiji period (1868‑1912), the black and gilt cage in the form of a norimono with sliding doors and scrolling vine, the sides and top of the cage decorated with family crests, the interior padded with sliding doors, each with a slatted window, h. 9‑1/4”, w. 6‑7/8”, l. 9‑1/2”. [600/900] 458 Japanese Lacquer Stacking Box, late Meiji period (1868‑1912)/early Taisho period (1912‑1926), the twotier box with gold and silver hiramaki-e and takamaki-e decoration of chrysanthemums and wild grasses against a black ground and kiku and other kamons against a red nashiji ground, the interior lid decorated with a scene of pine and bamboo branches among gold sprinkled clouds, h. 5‑3/4”, w. 7‑1/4”, l. 9‑3/4”. [500/800] Illustrated

455 459

460

456

459 Japanese Lacquer Picnic Box, Sage-Jubako, Meiji period (1868‑1912), the black and gilt lacquer picnic set decorated with bamboo and prunus 458 reserves, with four stacking food containers, a small tray, a rectangular drawer, two sake flasks and a lidded box with a lid fitted to the bottle bases, the outside fitted with a curved loop handle, h. 11‑1/2”, w. 12‑3/4”, d. 7‑1/4”. [600/900] Illustrated 460 Japanese Four-Panel Folding Screen, Byobu, Edo period (1615‑1868), ca. 1850s, ink, color and silver on paper mounted on folding panels, depicting three rabbits amidst reeds and marsh grasses along a riverbank, against a silver ground, overall, h. 30‑3/8”, w. 60”. [800/1200] Illustrated

461 Pair of Japanese Gosu Blue Satsuma Vases, Meiji period (1868‑1912), late 19th/early 20th century, the two porcelain vases painted with enamels depicting thick clusters of chrysanthemums in blue, red and white and irises in blue and white, with floral lappets around the neck, a foo dog lug on each side of the vases, h. 12‑5/8”, w. 6‑3/4”. [1500/2500] Illustrated

461

101

462 Japanese Figural Bronze Lamp, Meiji period (1868‑1912), modeled in the form of a hunter and dragon against a tree trunk, on a gilt-bronze base, a four-character mark on the reverse in a square cartouche, base, h. 16”, w. 10”, overall, h. 26‑1/2”, w. 11”. [1000/1500] Illustrated

464

462

463 Japanese Bronze Figure of a Monkey, Meiji period (1868‑1912), the seated figure of a monkey dressed in a vest, holding a small satchel and closely examining a netsuke in the form of a mask, a two-character studio mark on the underside, h. 7‑1/2”, w. 6”, l. 8‑1/2”. [1800/2500] Illustrated

463

464 Good Tiffany & Co. Sterling Silver Cocktail Shaker, the pattern introduced in 1925, New York, New York, of tapering cylindrical form, with rounded shoulder, squat cylindrical neck with fitted cap, conical spout with chained cap, and arched strap handle, h. 9‑1/4”, l. 7‑1/4”, dia. 4‑1/4”, 23.04 t. oz. [900/1200] Illustrated

102

465 Tiffany & Co. Sterling Silver Punch Bowl, the pattern introduced in 1913, the hemispherical bowl raised on a broad cylindrical foot ring with reeded banding, the cavetto-flared base with acid-engraved oval-and-shield banding, with later handcrafted arched handles, h. 6‑1/4”, dia. 10‑1/2”, w. 13‑3/4”, 70.30 t. oz. [1200/1800] Illustrated

465

466 Tiffany & Co. Sterling Silver Wine Cooler, the pattern introduced in 1909, New York, New York, of inverted bell form with a pair of arched handles and raised on a waisted and cavetto-banded foot ring, h. 11‑3/4”, dia. 9‑1/4”, w. 13‑1/2”, 71.88 t. oz. [1500/2500] Illustrated

467 Group of Tiffany & Co. Wedding Sterling Silver, contemporary, New York, including a pair of tall beakers of tapering cylindrical form with incised banding at the base, h. 5‑1/4”, dia. 3”, a cased “Faneuil” pattern cake serving set including a cake knife, l. 12”, and cake server, l. 10‑3/4”, and a footed bowl with “Monteith” rim and shellcrested scroll-and-pad feet, h. 5‑1/4”, dia. 9‑1/2”, 47.76 total t. oz. (weighable silver). [700/1000] Illustrated

469

469 Pair of Carole Stupell Silverplate “Danish Modern” Bowls, mid-20th century, New York, New York, each of inverted bell form above a beaded foot-ring, the shallowdomed and fitted lid with Danish Modern “blossom”-style finial handle, h. 7‑1/4”. [800/1200] Illustrated

466

Brooklyn-born Carole Stupell (1905‑1996) founded her fashionable home decor and gift shop in Manhattan in 1929. The shop was known for its elaborate displays and wide variety of merchandise. By the middle of the century she commissioned modernist pieces in several media lucite, glass, silverplate - for exclusive retail in her shop, including a line of avant-garde Danish Modern silverplate as represented by the present lot. The celebrated store closed its doors in New York just recently, with plans to relocate to Pennsylvania.

468 Four Pieces of Tiffany & Co. Sterling Silver Tableware, second and third quarters 20th century, New York, including a Paul Revere reproduction tumbler, h. 4”, dia. 3‑1/8”, an Art Deco condiment bowl with acid-engraved lotus decoration, h. 3‑1/8”, dia. 5‑5/8”, a Modernist fruit bowl with scalloped rim, engraved with a 1959 presentation inscription, h. 2‑3/4”, dia. 7‑5/8”, and a Modernist condiment bowl with paneled sides and fluted rim, h. 3”, dia. 4‑1/8”, 35.60 total t. oz. [600/900]

470

467

470 Alphonse La Paglia (1907‑1953) Modernist Design Sterling Silver Cream and Sugar Set, mid-20th century, including a covered sugar bowl, with ebony finial, h. 4‑1/2”, l. 4‑1/2”, and a cream jug, h. 3‑1/2”, l. 5‑1/2”, by International Silversmiths, Meriden, Connecticut, and an oval waiter by the La Paglia workshop, Summit, New Jersey, l. 8‑3/4”, w. 6‑3/8”, 34.87 total t. oz. Provenance: Harriet K. La Paglia Prasse (1903‑1993), Ocala, Florida, widow of Alphonse La Paglia, to the consignor’s family. [600/900] Illustrated

103

471

471 Fifty-Eight-Piece Set of Reed & Barton “Diamond” Sterling Silver Flatware, the pattern designed in 1958 by Gio Ponti (1891‑1979), Taunton, Massachusetts, comprising a dozen five-piece place settings (two place spoons lacking), no monograms, 72.88 total t. oz. (weighable silver). Detailed list of pieces available on request. [2000/4000] Illustrated

473 Eighty-Seven-Piece Set of Reed & Barton “Star” Sterling Silver Flatware, the pattern designed in 1960 by John Prip (1922‑2009), Taunton, Massachusetts, comprising a dozen seven-piece place settings (one butter spreader lacking) and four serving pieces, no monograms, 76.66 total t. oz. (weighable silver), presented in a fitted, Pacific cloth-lined wooden case, 3” x 14‑3/4” x 11‑1/4”. Detailed list of pieces available on request. [1500/2500] Illustrated

473

474 Four-Piece Japanese Modernist Sterling Silver Coffee and Tea Set, second half 20th century, comprising a coffeepot, h. 10‑1/2”, l. 10‑1/4”, a teapot, h. 8‑3/4”, l. 9‑3/4”, a covered sugar bowl, h. 5‑1/8”, w. 6”, and a cream jug, h. 5‑1/4”, l. 5‑1/4”, each with a pear-shaped body, cavetto-domed foot ring, and crested handle(s), the pots with slender “gooseneck” spouts, the lids with “sharkfin” finials, 65.47 total t. oz. [800/1200] Illustrated

472

472 San Lorenzo Sterling Silver “Vaso Poligonale”, 1999, Milan, Italy, designed in 1971 by Afra (1937‑2011) and Tobia (b. 1935) Scarpa, of shallow fourteen-sided paneled form, h. 3‑1/8”, dia. 11‑1/2”, 42.58 t. oz. [700/1000] Illustrated 474

104

477 Mexican Sterling Silver Water Pitcher, second quarter 20th century, by Conquistador S.A., Mexico City, in the Spanish Colonial taste, the ovoid body decorated with repousse flowers, foliage and scrolls on a matte ground, with a broad everted spout, crested “s”-scroll handle with eagle’s head terminus and domed circular foot, h. 11‑1/2”, l. 10‑1/2”, dia. 6”, 41.66 t. oz. [600/900] Illustrated

475

475 Mexican Modernist Sterling Silver Water Pitcher and Beakers Set, third quarter 20th century, by Juventino Lopez Reyes, Mexico City, including an ovoid-form water pitcher with integral waisted collar and spout, with tapering curved handle, h. 10‑5/8”, dia. 5”, l. 6‑1/4”, and a pair of tapering cylindrical beakers, h. 4‑7/8”, dia. 3”, 34.92 total t. oz. [600/900] Illustrated 477

478 Mexican Sterling Silver Tea Tray, third quarter 20th century, of rectangular form, with gadrooned rim and stirrup handles en suite, l. 22‑1/2”, w. 18”, 112.20 t. oz. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [1500/2500] Illustrated

476

476 Two Good Pieces of Mexican Mixed-Metal Tableware, third quarter 20th century, Taxco, including a Los Castillo “Metales Castillo” drinks tray of rounded convex square form, the copper body inlaid with a stylized Aztec silver bird, w. 12‑1/2”, d. 12‑1/2”, and a Plateria Victoria “Metales Casado” water pitcher, with spherical copper body and arched handle with applied stylized silver waves on the body and ice guard, h. 7‑1/2”, dia. 7”, l. 8‑3/4”. [600/900] Illustrated

478

105

479 Pair of Mexican Sterling Silver Candlesticks, third quarter 20th century, by Alfredo Ortega & Sons, Mexico City, in the Adam taste, each with a tapering standard of navette section, gadrooned on the lower half, below an urn-shaped capital and candlesocket en suite, the whole raised on a conforming cavetto-edge base, h. 11‑1/4”, l. 6‑1/4”, w. 4‑3/4”, 57.69 total t. oz. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [800/1200] Illustrated

481 Continental Art Nouveau Brass Floor Lamp, ca. 1900, the base of the lamp in the form of bound vines and leaves, and the umbrella-form shade in the form of leaves decorated with molded rocaille work and piercing, set with “dew drops” of emerald and ruby opalescent glass jewels, h. 79‑1/2”, dia. 16”. [500/800] Illustrated 482 French Art Deco Wrought Iron and Glass Bowl, first quarter 20th century, designed by Louis Majorelle for Daum Freres, Nancy, France, composed of giltflecked mauve glass blown into 482 the cast iron outer frame, the bowl signed “L. Majorelle” and “Daum Nancy, France” with a Croix de Lorraine, h. 4‑3/4”, dia. 10‑3/4”. [900/1200] Illustrated

479

480

480 Colombian .900 Silver Platter, mid-20th century, by Arturo Medina, Bogota, of circular form, the serpentinelobed edge with applied openwork banding of leoninemantled arms of the Republic of Colombia and eleven of its cities (Bogota, Medellin, Cali, Barranquilla, Tunja, Manizales, Santa Cruz de Mompox, San Juan de Pasto, Cartagena, San Gil and Sonson), monogrammed “GR”, dia. 20‑1/4”, 69.96 t. oz. [1200/1800] Illustrated

106

481

483 Enameled Candia Papillon Vase, Attributed to Loetz, first quarter 20th century, Austrian, set in delicate pierced brass feet and handles, decorated with vines, the vase with a peacock with a sweeping tail on a perch in a flower garden, unmarked, h. 15‑1/4”, w. 6‑1/2”, d. 4‑1/2”. [1200/1800] Illustrated

485 Interesting Italian Carved Walnut Fantasy Console and Mirror, late 19th century, the shaped and beveled mirror with a carved dragon crest at the top and another pair on the bottom of each side, the console with a shaped top and supported by a large winged dragon standard, h. 110”, w. 40”, d. 16”. [1500/2500] Illustrated 486 Pair of Gilt-Metal and Giltwood “Palm Tree” Table Lamps, third quarter 20th century, probably Italian, on ebonized bases with tapered giltwood “trunks”, the palmlike metal branches hung with prisms, mounted with shades, base, h. 22‑1/2”, overall, h. 26‑1/2”, w. 20‑1/2”, d. 12”. [800/1200] Illustrated 483

484 Silver Overlay French Porcelain Tray with Five Demitasse Cups and Saucers, ca. 1900, decorated with engraved silver scrollwork and flowers over bleu celeste borders and fawn-shaded panels, the asymmetrical tray with a Sevres-style mark, w. 18‑1/4”, d. 12‑3/4”, and the cups and saucers with an underglaze green mark reading “France CM Depose”, h. 2‑1/4”, dia. 4‑1/2”. [1800/2500] Illustrated

484

486

485

107

490 Tiffany Studios Patinated Bronze Arts and Crafts Desk Lamp, first quarter 20th century, New York, on a round base with a flaring standard and a triangular shade, marked “Tiffany & Co., 30828‑C”, and a hand-inscribed “1W9N”, h. 13‑1/2”, w. 10‑1/2”, d. 5‑3/4”. [800/1200] Illustrated 491 Tiffany Glass Pulled Feather Floriform Vase, ca. 1900, New York, the gold iridescent vase decorated with green pulled feathers, marked “L.C.T. 2702A” around the bottom pontil, h. 9‑3/4”, dia. 3”. [700/1000] Illustrated

487

487 Pair of Hollywood Regency Brass Three-Light Sconces, 20th century, in the style of Tony Duquette, the stylized palm frond backplates serving as backdrops for the patinated composition figures of Shou Xing, the Chinese god of longevity, above scrolled candle arms set with beaded drip pans and turned candle cups, h. 17‑1/2”, w. 12‑1/2”, d. 6‑3/4”. [1200/1800] Illustrated

489

492 Two Tiffany Glass Trumpet Vases, ca. 1900, New York, comprising a gold iridescent example with a ground pontil and a period paper label, and an iridescent vase with an azure blue interior, marked “1873 L.C.T. Favrile” around the ground pontil, h. 6”, dia. 2‑3/4”. [500/800]

488 488 Nine-Piece Tiffany Studios Slag Glass and GiltBronze Desk Set in the Art Nouveau “Pine Needle” Pattern, ca. 1900‑1910, stamped and numbered, including an inkwell (no. 844), blotter (no. 995), needle blotter ends with accompanying desk pad (no. 998), pen tray and holder (nos. 1004, 981), stamp box (no. 808 ), letter holder, clip and opener (nos. 1008, 989, 971), h. 1‑3/4” to 6”, w. 2‑1/4” x 4”, l. of blotter ends, 12”. [2500/4000] Illustrated 489 Two Tiffany Studios Art Nouveau Slag Glass and Gilt-Bronze Picture Frames, ca. 1900‑1930, stamped and numbered, the first in the “Pine Needle” pattern with an easel back (no. 930), 4” x 5‑3/4”, the second in the “Grapevine” pattern (no. 930), 4‑1/2” x 3‑1/2”. [500/800] Illustrated

108

490

495 Galle Cameo Glass Landscape Vase, ca. 1900, French, depicting trees in the foreground, with a river and mountains in the rear, executed in shades of green and brown, signed “Galle” on the lower portion of the vase, with a ground pontil on the base, h. 15”, dia. 7”. [800/1200] Illustrated

495 491

493 Tiffany Favrile Glass Art Nouveau Bowl, ca. 1900, New York, the blue iridescent bowl signed “L.C.T. Favrile” and with a partially obscured registration number around the ground pontil, h. 3‑1/2”, dia. 8‑1/2”. [500/800] Illustrated

496 Art Nouveau Cameo Glass Vase, ca. 1900, probably French, the vase decorated with morning glory vines in green and mauve, a ground pontil on the base, unsigned, h. 16”, w. 7”, d. 5‑1/4”. [800/1200] Illustrated

493

494 Tiffany Favrile Glass Art Nouveau Bowl, ca. 1900, the low flaring gold iridescent bowl with a ground pontil and signed “L.C. Tiffany Inc. Favrile”, h. 2‑3/4”, dia. 7‑1/4”. [500/800]

496

109

497

497 Lalique Topaz Domremy Vase, ca. 1926, French, composed of molded and frosted crystal, decorated with thistles on an orange, patinated ground, signed “R. Lalique” in a stenciled, acid-etched mark, h. 8‑3/4”, dia. 6‑1/2”. [2000/4000] Illustrated

499

498 Papillion Art Nouveau Vase, Attributed to Loetz, first quarter 19th century, Austrian, the bulbous vase with three indentations, the neck with a trefoil lip, unmarked, h. 14‑3/4”, dia. 5‑1/4”. [1500/2500] Illustrated 499 Large Austrian Art Nouveau Vase, Attributed to Rindskopf, first quarter 20th century, the vasiform vase with a trefoil top and decorated with a distinctive craquelure surface, h. 13‑1/4”, dia. 5‑1/4”. [700/1000] Illustrated 500 Wook-Kyung Choi (Korean, 1940‑1985), “Untitled”, 1976‑1978, pastel on paper, 34‑1/2” x 20”. Provenance: Estate of the artist. [1500/2500] Illustrated 501 Wook-Kyung Choi (Korean, 1940‑1985), “Untitled”, 1985, acrylic on paper adhered to board, signed and dated in the artist’s hand upper left, 31‑1/4” x 43”. Provenance: Estate of the artist. [1500/2500] Illustrated 502 Wook-Kyung Choi (Korean, 1940‑1985), “Untitled”, 1960s, acrylic on paper, stretched, unsigned, 36” x 36”. Provenance: Estate of the artist. [3000/5000] Illustrated

498

110

502

500

503

503 Tom Wesselmann (American, 1931‑2004), “Bedroom Face with Orange Wallpaper”, 1987, screenprint in colors, signed, dated and numbered “14/100” in pencil lower right, blind stamped lower right corner, sheet size 58” x 64”. Glazed and framed. [6000/9000] Illustrated

501

111

504 Jeff Koons (American, b. 1955), “Loopy”, 2000, high gloss print on glossy photo paper, signed and numbered “10/1000” lower right and en verso, approximate sight 33” x 24”. Glazed, matted and framed. [1500/2500] Illustrated 505 Roy Lichtenstein (American, 1923‑1997), “America from the Series La Nouvelle Chute de L’Amerique”, 1992, color etching and aquatint on Arches paper, pencil-signed, dated and annotated “H.C.” edition lower margin, 18‑7/8” x 13‑7/8”. Glazed in a float-mount frame. Published: Corlett, Mary Lee. The Prints of Roy Lichtenstein: A Catalogue Raisonne 1948‑1997. Hudson Hills Press, New York, catalogue no. 267. [10000/15000] Illustrated

504

“America” is part of one of the last major series Roy Lichtenstein worked on before his death, and represents the culmination of “Beat Generation” art. “ The ten aquatint etchings Lichtenstein created for “La Nouvelle Chute de L’Amerique (The New Fall of America) was conceptualized as a collaborative project between the artist and poet Allen Ginzberg. The etchings were created in tandem with eleven poems by Ginzberg that symbolize American culture from coast to coast, with idiosyncratic titles like “From Denver to Montana”, “An Open Window on Chicago”, “Bayonne Entering NYC”, and “Graffiti 12th Cubicle Men’s Room Syracuse Airport.” Both the etchings and poems were assembled in a loose-folio limited edition of 80, published by the French publisher Editions du Solstice in Paris. An additional 45 (marked H.C.) were reserved exclusively for the authors and publishers. The flag offered here is one of Lichtenstein’s most iconic images, which he manipulated throughout the years in his trade mark style of benday dots and directional line stenciling- mass commercial printing techniques he borrowed respectively from sign advertisements and comic books and newsprints in the 1950s and 1960s. Lichtenstein purposely drew his inspiration from pop culture, turning the landscape of kitsch iconography into a veritable art that discloses the artifice of its design, making people rethink the imagery they take for granted, whether it be the portrayal of sexuality and gender they see in print culture or the food they eat at the ballpark while standing for the national anthem. Lichtenstein was fascinated by the trivial, by how it becomes the visual landscape of our day to day lives, and tried to elevate it, in his own words, “into a purely American mythological subject matter”. Nowhere is motif better visualized than in the American flag, aptly titled “America.” Here the symbol that encapsulates not only the geographical terrain of the nation, but also its culture, which makes it distinctly American from Montana to New York City, is expressed in the print medium of its representation. 506 Jesus Rafael Soto (Venezuelan, 1923‑2005), “Tiratura 45”, 1966, painted wood sculpture, inscribed “Edizioni Sergio Tosi/Jesus Soto 1966/ Tiratura 45” at bottom of base, h. 27”, w. 7”, d. 7”. [7000/10000] Illustrated

505

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The sculptures by Jesus Rafael Soto offered here and in the lot en suite represent interesting mixtures of kinetic and op art. Though they do not actually move, create sound or motion either intrinsically or extrinsically as mobiles or sound sculptures do, they are optical tours de force of movement that continuously shift between 3D and 2D perceptions of space, blurring the boundaries between foreground/background and the usual assignation of them in terms of positive and negative space. Take for example “Tiratura 45.” As the name implies (which is an edition or print in Italian, and a cognate of the verb tirar - to pull/throw in Spanish), the sculpture is a visual play from the base to its apex. To look at the work frontally, the lower portion of the sculpture appears distinctly 3D, in which three blue, black and white wood strips are spatially in front of the large black wood block with painted white lines. As the viewer’s eye moves upward, the works merge, literally collapse, into the same 2D pictorial plane, even though the three strips appear taller. When viewed from the side, however, the white lines appear 3D as musical strings and the three wood strips are parallel in height to the black wood block. Similar effects of optical movement are experienced in the following “Untitled” lot with the diagonal placement of the steel rod and its cantilever support. In a 2001 interview with art collector and LatinArt.com founding president Dr. Hector Ziperovich, Soto characterizes the effect of his work as the creation of “ambiguous space.” “We cannot define space. It is different for each person who sees it and tries to represent it.”

507

506

506 detail

507 detail

507 Jesus Rafael Soto (Venezuelan, 1923‑2005), “Untitled”, carved and painted wood and steel sculpture, signed and numbered “23/300” on base, h. 19‑1/2”, w. 6”, d. 6”. [7000/10000] Illustrated Soto became fascinated with illusion and movement as a young man while employed as a sign painter for a cinema in Ciudad Bolivar. His early forays in moving forms led to a scholarship at Cristobal Rojas School of Fine and Applied Arts in Caracas where he met fellow kinetic artists Alejandro Otero and Carlos Cruz-Diez. Following his graduation, Soto was appointed Director of the School of Fine Arts in Maracaibo in 1949. In 1950, Soto won a government scholarship to study in Paris, where he was exposed to the kinetic and op art circle of artists of the Galerie Denise Rene. Since then, Soto’s work has been exhibited worldwide, including a 1969 Retrospective at the Musee d'Art Moderne de la Ville de Paris, and can be found in major public collections such as the MOMA, New York, and the Tate in London.

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508 Marta Colvin (Chilean/French, 1907‑1995), “Sans Titre”, carved and painted wood articulated sculpture, faint incised signature along side edge, on a square presentation base, overall, h. 20‑7/8”, w. 4‑1/4”, d. 5”. [6000/9000] Illustrated

509

508

509 detail 509 Marta Colvin (Chilean/French, 1907‑1995), “Sans Titre”, carved red clay, incised signature along back edge, on a square presentation base, overall, h. 16”, w. 4‑3/4”, d. 4‑3/4”. [7000/10000] Illustrated

508 detail

114

510 Marta Colvin (Chilean/French, 1907‑1995), “Sans Titre”, patinated bronze articulated sculpture, incised signature and numbered “2/3” along side edge, on a square presentation base, overall, h. 21‑5/8”, w. 4”, d. 4‑1/2”. [7000/10000] Illustrated

511

510

510 detail

511 Seymour Fogel (American/New York, 1911‑1984), “Verdant Forest”, mixed media on paper board, signed lower right, 19‑1/2” x 14‑1/2”. Glazed, float-mounted and framed. [1500/2500] Illustrated 512 Tony Fitzpatrick (American, b. 1958), “Dandelion”, 1995, color etching, initialed, dated, titled and numbered “32/40” lower margin, sight 9” x 7”. Glazed, matted and framed. [700/1000] Illustrated

512

115

513 Tony Fitzpatrick (American, b. 1958), “Vegas Penny Flower”, 1995, color etching, initialed, dated, titled and numbered “19/40” lower margin, sight 9” x 7”. Glazed, matted and framed. [700/1000] 514 Tony Fitzpatrick (American, b. 1958), “Angola Flower”, 1995, color etching, initialed, dated, titled and numbered “32/40” lower margin, sight 9” x 7”. Glazed, matted and framed. [700/1000]

519 Egyptian Wall Hanging, first quarter 20th century, hand-pieced and stitched cotton on coarse natural linen, all edged in a finer brown linen, depicting figures in the Ancient Egyptian style, 52” x 17”. Float-mounted, glazed and framed. [600/900] Illustrated 515

517

Wall hangings, embroideries and tapestries such as this were produced for the active tourist trade, which flourished in Egypt and the surrounding areas after the 1922 discovery of King Tutankhamun’s tomb by Howard Carter and George Herbert, Lord Carnarvon.

515 Giltwood Mirror in the 17th-Century Italian Style, the frame with fluted giltwood trimming the segmented mirror panels, h. 50‑1/2”, w. 34”. [1500/1800] Illustrated 516 French Art Deco Burl Walnut Settee, early 20th century, with a graceful curved back and arms, and raised on shaped legs, h. 34”, w. 61”, d. 29”. [2500/4000] Illustrated 517 French Art Deco Burl Walnut Occasional Table, first half 20th century, the circular top with out-curved and fluted legs, joined by a circular shelf below, h. 28‑1/2”, dia. 23”. [1200/1800] Illustrated 518 French Art Deco Circassian Walnut Side Table, ca. 1930, the square top with cut corners and broadly banded border, supported by four shaped and intersecting legs, h. 24”, w. 30‑1/2”, d. 30‑1/2”. [1000/1500] Illustrated

516

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520

520 Pair of French Art Deco Leather-Covered Club Chairs, early 20th century, the padded backs, seats and piping in a faux crocodile tooled leather, h. 33”, w. 36”, d. 37”. [3000/5000] Illustrated 521 Unique Mid-Century Modern French Lacquered Mahogany Coffee Table, mid-20th century, the rectangular top with a broad beveled edge and supported by a straight rectangular pedestal with a bevel-molded plinth base, the long sides fitted with pull-out mirrored slides, h. 16‑1/2”, w. 50”, d. 32”. [1200/1800] Illustrated 522 Continental Art Deco Mahogany and Parcel-Gilt Mirror, second quarter 20th century, of rectangular form, set with a beveled mirror plate with cut corners, the corners with gilt panels of abstract roses, the upper tablet with a lozenge-form gilt panel of matching roses, h. 53‑3/4”, w. 31”. [700/1000] Illustrated 519

522

521

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523 Demetre Chiparus (Romanian/French, 1886‑1947), “Dourga”, ca. 1925, chryselephantine sculpture, on a carved onyx plinth, incised signature “D. H. Chiparus” at top back of base, overall, h. 23‑5/8”, w. 6”, d. 4”. Literature: Catley, Bryan. Art Deco and Other Figures. Suffolk: Antique Collector’s Club, 1990. A similar example illustrated on page 102. [15000/25000] Illustrated

524 524 Marc Chagall (Russian/French, 1887‑1985), “Le Cercle Rouge”, 1966, lithograph in colors on Arches paper, pencil-signed lower right and numbered “30/50” lower left, sight 20‑1/2” x 28‑3/8”. Glazed, matted and framed. Provenance: Private collection, Santa Fe, New Mexico. [12000/18000] Illustrated

523

523 detail

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527 Pierre-Auguste Renoir (French, 1841‑1919), “La Pierre aux Trois Croquis”, lithograph, stamped signature lower left, verso with “Original Print Collectors Group Ltd.” label, sight 9‑1/2” x 12‑1/2”. Glazed, matted and framed. [1000/1500] Illustrated 528 French Art Deco Circassian Walnut Side Table, first half 20th century, with an octagonal top and tapered side supports, joined by a shaped shelf-form stretcher, h. 26”, w. 25”, d. 25”. [1000/1500] Illustrated 529 Pair of Unusual Art ModerneStyle Wood and Metal Torcheres, the round bases supporting the cruciform standards, terminating in curved tops, and supporting twosection tiered aluminum shades decorated with concentric circles, h. 73”, dia. 21‑3/4”. [3000/5000] Illustrated

528

526 525 After Amedeo Modigliani (Italian, 1884‑1920), “L’Italienne”, 1927/8, color aquatint and etching, etched and signed by Jacques Villon, sight 20‑3/4” x 14”. Glazed and framed. [1000/1500] Illustrated 526 After Maurice Utrillo (French, 1883‑1955), “L’Eglise de Limours”, 1927/8, color aquatint and etching, signed by Utrillo and numbered “34/200” in pencil lower right, etched by Jacques Villon, published by Galerie Bernheim Jeune, Paris, sight 20‑3/8” x 12”. Glazed and framed. [1000/1500] Illustrated

529 527

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533 forty-eight pieces

533 Forty-Eight-Piece Collection of English Cut Crystal Stemware, 20th century, including twelve Waterford “Lismore” champagne flutes, h. 7‑1/4”, and twelve large balloon wine glasses, together with twelve Stuart “Shaftesbury” water goblets, h. 8‑3/4”, and twelve claret wine glasses, h. 7‑5/8”. [800/1200] Illustrated

531

530 Pair of Contemporary Mirrored and Polychrome Benches, each with a padded rectangular top above a frieze composed of shaped beveled mirrored panels, raised on mirror-paneled tapering square legs, h. 19”, w. 20‑1/2”, d. 15‑1/2”. [500/800] Illustrated

534 seventy-one pieces

531 Pair of Contemporary Italian Murano Glass and Chrome Three-Light Sconces, 20th century, of triangular form and hung with tiers of “ice” molded rectangular prisms, h. 21‑1/4”, w. 10‑3/4”, d. 6”. [1500/2500] Illustrated

534 Seventy-One-Piece Partial Service of Baccarat “Genova” Cut Crystal Stemware, 20th century, French, including ten champagne flutes, h. 8‑1/2”, twenty large red wine glasses, h. 6‑7/8”, twenty-two white wine glasses, h. 6‑1/2”, and nineteen tall water goblets, h. 7‑1/2”. Provenance: Private collection, Baton Rouge, Louisiana. [1200/1800] Illustrated

530

532 French Art Deco Metal, Mirror Glass, Wood and Faux White Leather Drinks Trolley, mid-20th century, attributed to Jacques Adnet (French, 1901‑1984), set on casters, the cart with two removable trays over a stationary area on the front, a mirrored plate behind it opening to reveal a removable ice tube, the lucite handle in the rear over a pair of double doors, opening to reveal holders for stemmed glasses on the doors and holders for bottles on the interior, h. 20‑1/2”, w. 19‑1/2”, d. 30‑1/2”. [3500/5000] Illustrated 532

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535 Collection of Twelve William Yeoward, London, “Lulu” Crystal Martini Glasses, comprising six amber, five rose and one violet example, h. 6‑3/4”. [700/1000] Illustrated 536 Set of Twelve William Yeoward, London, “Lulu” Amber Crystal Champagne Flutes, h. 8‑5/8”. [700/1000] Illustrated

537 detail

535 twelve pieces

537 Art Deco Burl Wood Bar, early 20th century, the stepped and bowed top with an undulate center section, above a conforming case fitted with two doors, opening to a shelved and mirrored interior, raised on a U-form support to a stepped plinth base, h. 55‑1/2”, w. 42”, d. 20‑1/4”. [2500/4000] Illustrated

537

536 twelve pieces

538 Contemporary Faux Bamboo and Glass Dressing Table, the rectangular top with an inset beveled glass surface with a mottled gray pattern, above a like inset frieze fitted with a central drawer flanked to either side by a small deep drawer, raised on X-form end supports joined by a stretcher, h. 32”, w. 47‑1/2”, d. 19”. [500/800]

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539 Louis Vuitton Wardrobe Trunk in Yellow “Vuittonite” Canvas, second quarter 20th century, the case fitted with wood slats, brass trim, marked rivets and lock, the interior with two adjacent clothes compartments containing metal rods with wood hangers for ten pants/suits and five shirts, the case interior with an embossed Louis Vuitton label and a partially effaced number below, and the exterior retains vintage “Paris” and “Le Havre” steamer line labels, h. 21‑1/2”, w. 44”, d. 21‑1/2”. [2000/4000] Illustrated

541

539

540 Five Pieces of Judaica, first half 20th century, including three olivewood-bound Bezalel, Jerusalem books, the covers painted with scenes of the holy land, including two siddurim and Flowers and Views of the Holy Land with pressed flowers, the smallest 3‑3/8” x 2‑5/8”, the largest 4‑1/8” x 6‑3/4”, another siddur with wood, celluloid and embossed brass cover of the tablets of stone, 5‑3/8” x 4‑1/2”, and an unmarked silver floriform spice tower, h. 4‑3/4”, 1.47 t. oz. [600/900] 541 Hugo Robus (American/Cleveland, 1885‑1964), “Seated Woman with Memories”, patinated bronze, on a rectangular carved and painted wood base, signed at front edge of base, a “Fonderia Artistica/Battaglia/ Milano” foundry mark at back of base, overall, h. 20‑5/8”, w. 7‑1/2”, d. 9‑3/4”. [5000/8000] Illustrated Robus attended the National Academy of Design in New York and the Academie de la Grande Chaumiere in France. Influenced by the Cubist and Futurist movements, his abstracted figural sculptures, often of women and children, consist of smooth curves and gently rounded forms which suggest a sense of fluidity and movement.

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542 Continental Patinated Bronze of a Ballerina, 20th century, on a square black marble base, overall, h. 26‑1/2”, w. 9‑1/4”, d. 5‑5/8”. [500/800] Illustrated

545

543 Contemporary Patinated Bronze of a Woman’s Torso, on a rectangular marble base, sculpture, h. 16”, w. 32‑1/2”, plinth, h. 15”. [1000/1500] Illustrated

543 544 Tall Pair of Maison Jansen, Paris, Brass-Mounted Brushed Steel and Black Leather Seven-Shelf Open Bookcases, second quarter 20th century, the shelves covered in black morocco leather, the gilt-brass finials modeled as upright pomegranates, h. 85”, w. 40‑1/2”, d. 15”, accompanied by copies of James Archer Abbott’s Jansen (New York: Acanthus Press, 2006) and Jansen Furniture (New York: Acanthus Press, 2007), in carmine and buff cloth, respectively, with matching wrappers and contrasting lettering and register ribbons (four total pieces). [4000/7000] Illustrated

545 Patinated Metal Folding Screen/Room Divider, by Julia Yerkov Kline (Yugoslavia/New Orleans, Contemporary), the design comprised of stylized undulating tropical foliage elements with a gold and bronze-tone finish, each panel backed in gathered silver mesh, one panel on stationary feet, the remainder on casters, unsigned, overall, h. 74‑1/2”, w. 120”. [1200/1800] Illustrated

546

546 Pair of Contemporary Patinated Steel Stools, each with a padded rectangular top raised on shaped waisted supports to plinth bases, h. 22”, w. 20”, d. 16”. [800/1200] Illustrated

547

544

547 Pair of Contemporary Composition Tabourets, with silver-gilt “cloth covers” held with blue-painted “ropes” over a painted base, h. 16”, w. 16‑1/4”, d. 16‑1/4”. [700/1000] Illustrated

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548 Yigal Ozeri (Israeli, b. 1958), “Priscilla with Branch and Vines”, 2008/2009, oil on canvas, from the Priscilla series, signed lower right, signed and dated en verso canvas, 54” x 36”. Unframed. Provenance: Private collection, Santa Fe, New Mexico. [7000/10000] Illustrated Considered a leading photorealist portraitist, Ozeri’s large-scale paintings of young women in lush, opulent landscapes exist between reality and an almost dream-like, fantastical, state of hyper-reality. His carefully composed subjects are immersed in color and light, creating an atmosphere of immediacy and intimacy. Ozeri incorporates elements of various artistic style - the light and color of Dutch genre, the narratives of Romanticism, the compositional elegance of Greco-Roman sculpture. 549 Yigal Ozeri (Israeli, b. 1958), “Priscilla with Vines”, 2009, watercolor, gouache and pencil on paper, from the Priscilla series, signed and dated lower left, a “Wade Wilson Art/ Houston, TX” label en verso, sheet 22” x 29”. Glazed, float-mounted and framed. Provenance: Wade Wilson Art, Houston, Texas; Private collection, Santa Fe, New Mexico. [3000/5000] Illustrated 550 Max Standley (American, b. 1942), “Explorer”, 1972, oil on masonite, signed lower left and titled on handwritten label en verso, 22” x 32”. Framed. [600/900] Illustrated 551 David Hettinger (American, b. 1946), “Stepping In”, oil on canvas, signed lower right, verso with “Total Arts Gallery, Taos, New Mexico” appraisal certificate/gallery label, 12” x 9”. Handsomely framed. [800/1200] Illustrated 552 Rezso Zsombolya-Burghardt (Hungarian, 1884‑1968), “Crossing the River”, ca. 1950, oil on canvas, signed lower left, 35” x 59”. Framed. [1800/2500] Illustrated 553 Italian Giltwood Mirror in the Rococo Taste, mid19th century, decorated with contrasting matte and burnished gilt, the rectangular frame with pierced scroll and rocaille work accented with flowers, set with an antique mirror plate, h. 48‑3/4”, w. 29‑1/2”. [1500/2500] Illustrated

548

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549

551

550

553

552

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554 Italian Rococo Giltwood Console Table, 18th century, with a later painted wood top, having a shell-carved apron with floral garlands, raised on cabriole legs joined by a stretcher with carved flower basket, h. 34”, w. 61”, d. 26”. [1500/2500] Illustrated 555 KPM-Style Porcelain Plaque of “Gute Nacht”, ca. 1900, after the painting of the same name by Georg Hom (German, 1839‑1911), the plaque depicting a young woman shading a candle with her hand, with an indistinct impressed mark, mounted in an Italian giltwood frame of the same period, plaque, h. 5‑3/4”, w. 4”, overall, h. 11‑1/4”, w. 9‑1/2”. [800/1200] Illustrated

555

556

556 Continental Needlepoint Tapestry, 20th century, with a central scene of figures in a park and a ribbon swag and floral posy border, 78” x 67”. [800/1200] Illustrated 557 Pair of Continental Parcel-Gilt and Paint-Decorated Mirrors, third quarter 18th century, the lower edge with sprays of pierced foliage, around a block with a candle branch bracket, the ogee-molded surround with gilt edges and a gray center, the crest with pierced gilt leaves framing a central cabochon, h. 32”, w. 16‑1/2”. [1000/1500] Illustrated

557

554

126

557

558 Pair of Continental Miniature Portraits in Boulle Surrounds, first quarter 20th century, the oval portraits of women in 19th-century costume, mounted on boullework liners of tortoiseshell inlaid with brass scrollwork, h. 4‑1/4”, w. 3‑3/4”. [800/1200] Illustrated

558

559 Manner of Tiziano Vecelli, called Titian (Italian, ca. 1485‑1576), “Woman at Toilette”, 19th century, oil on canvas, 11‑3/8” x 8‑1/4”. Presented in a giltwood frame. [2000/4000] Illustrated

559

561 Italian Giltwood Mirror in the Neoclassical Taste, fourth quarter 19th century, the surround trimmed with egg-anddart molding and scroll-edge corner cabochons, the elaborate pierced crest decorated with a shell framed with bowknots, and flanked by recumbent putti holding laurel branches, h. 69‑1/2”, w. 44”. [2000/4000] Illustrated 560

561

560 Pair of Italian Giltwood Two-Light Sconces in the Neoclassical Taste, mid-20th century, on tassel-form backplates hanging from bowknots, the leaf-carved candle arms terminating in foliate-form carved drip pans and candle cups, h. 26‑1/4”, w. 9‑1/2”, d. 8‑1/4”. [700/1000] Illustrated

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562 Italian Giltwood Vitrine, 19th century, the masquecarved crest above a pietra dura panel of a bird perched on a rose branch, flanked to either side by small shelves, over a foliate-carved dentillated frieze, the case fitted with two beveled glazed doors opening to a mirrored and shelved interior, joined by a mirrored back and winged maiden supports to a stretcher shelf ending in scrolled toes, h. 87‑1/2”, w. 40‑1/2”, d. 17‑1/2”. [4000/7000] Illustrated 563 Parcel-Gilt Cushion Mirror in the Italian Style, the rectangular frame with carved pine edges and alternating pierced ebonized and gilt scrollwork over a segmented mirror in the two-part frame, the pierced crest with a pair of gilt rampant lions standing on ebonized scrollwork, a gilt flower in the center, h. 62‑1/2”, w. 44”. [1200/1800] Illustrated

563

564

564 Italian Bronze of “Winged Victory”, fourth quarter 19th century, possibly cast by Chiurazzi & Fils, Naples, the goddess Nike with one foot balanced on a portor marble sphere, all set on a Siena marble plinth, overall, h. 27‑5/8”, w. 19‑1/4”, d. 8‑1/2”. [1500/2500] Illustrated

562

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565

565 Unusual Continental Cigar Case, third quarter 19th century, the ebonized wood case with silvered bronze fittings, decorated with intricately pierced corners and mounts depicting scrollwork and flowers, the cover opening to reveal a second metal cover concealing compartments for various cigar sizes and a match striking plate, h. 3‑3/4”, w. 12‑1/2”, d. 12‑1/2”. [800/1200] Illustrated

570

566 Carved Alabaster Hand on an Onyx Base, fourth quarter 19th century, probably Italian, the handsomely carved hand on a figured base, possibly of later origin, h. 3”, w. 10”, d. 5”. [600/900]

569 Pair of Bronze Single-Light Sconces with Mirrored Backplates, first quarter 20th century, possibly Venetian, the tombstone-form mirrored backplates engraved with baskets of flowers and trimmed with gilt-metal edging, the bronze candle sockets on scrolled arms, attached to short backplates, h. 12”, w. 4‑1/4”, d. 6‑1/4”. [500/800]

567

570 Murano Glass Eight-Light Chandelier, third quarter 20th century, the tapered standard decorated with quilting and trimmed with gilt-flecked ruffles, the ropetwist arms set with trumpetform quilted shades trimmed with matching ruffles, h. 39”, dia. 24‑3/4”. [800/1200] Illustrated

567 Continental Ebonized Low Cabinet, early 19th century and later, the stepped rectangular top above a case fitted with two cupboard doors, each paneled and with a polychrome landscape scene, the whole accented with polychrome banded accents, raised on large bulbous toupie feet, h. 35”, w. 53‑3/4”, d. 16‑1/2”. [800/1200] Illustrated 568 568 Northern Italian Rococo Giltwood Mirror, fourth quarter 18th century, the frame with scrollwork and shells and inset with mirror segments, the arched, pierced crest with a basket of flowers and grapes, mounted with antique mirror glass, h. 33‑1/2”, w. 23‑1/2”. [500/800] Illustrated

571 571 Italian Marble Statue of the Christ Child, 19th century, in the manner of Salvator Mundi, the white marble now with a patinated surface, Jesus modeled standing on a rock, a wreath on his left wrist and his right hand raised in benediction, h. 21‑3/4”, w. 10”, d. 5”. [2000/4000] Illustrated

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573

573 Cast Stone Shell-Form Fountain, mid-20th century, on a base molded with waves, the shell-form basin surmounted by a pair of cherubim tipping a water jar into the fountain, h. 46”, w. 33‑1/2”, d. 27‑1/2”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [600/900] Illustrated

572

572 Emilio P. Fiaschi (Italian, 1858‑1941), “Victorian Bathing Beauty”, a white marble statue depicting a demure young woman dressed only in her “combination”, preparing to enter the water down a flight of steps, her arms held across her chest, signed en verso, sculpture, h. 47‑1/2”, on a conforming verdigris marble pedestal, overall, h. 88”, dia. 19”. [8000/12000] Illustrated Fiaschi was a native of the Tuscan town of Volterra, and attended the prestigious Accademia di Belle Arti in Florence from 1883‑1885. An accomplished sculptor of marble and alabaster, he gained a reputation in the competitive Florentine art community for his technical skill and mastery of sculptural composition, following in the grand tradition of such masters as Donatello (1386‑1466), Benvenuto Cellini (1500‑1571), and Giambologna (1529‑1608). Fiaschi was adept at depicting a range of textures, not an easy task in the unforgiving and rigid medium of marble; this is evident in the example presented here with the juxtaposition of the smoothness of the figure’s flesh with the roughness of the steps. Specializing in classical and genre scenes and portraits of women, Fiaschi completed numerous private and public commissions, and was awarded the medal at the annual art competition of his hometown in 1890.

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574 detail

575 one of a pair

574 Italian Specimen Marble and Hardstone Side Table, the rectangular specimen top centered by a fruit spray and surrounded by a band of flowering and fruit-filled branches, raised on two supports, each in the form of a griffin on a molded base, h. 30‑1/2”, w. 86‑1/2”, d. 39”. [2500/4000] Illustrated

577 Italian Walnut and Burl Commode, early 19th century, the banded top with a serpentine front, above a conforming case fitted with two short drawers over two long drawers, all banded with burl panels, raised on cabriole legs, h. 33”, w. 48‑1/2”, d. 22‑1/2”. [1500/2500] Illustrated

578 578 Manner of Giovanni Serritelli (Italian, 1810‑ca. 1880), “Bay of Naples”, fourth quarter 19th century, oil on canvas, unsigned, 31‑1/8” x 43‑1/8”. Presented in an elaborate giltwood frame affixed with brass artist plaque. [2000/4000] Illustrated

577

575 Pair of Continental Parcel-Giltwood and Patinated Metal Six-Light Chandeliers, 20th century, the wood baluster-form stems issuing sprays of giltwood “prisms”, the metal candle arms decorated with metal leaves and hung with matching prisms, h. 43‑1/2”, dia. 46‑1/4”. [2500/4000] Illustrated 576 Pair of Meissen-Style Porcelain Figural Wall Brackets, second quarter 20th century, Potschappel, Germany, with a pierced basketweave ground, the brackets with frolicking putti and encrusted polychrome flowers, marked by Saxonian Porcelain, and with Saxonian’s underglaze blue “SP” intertwined and “Dresden”, h. 9”, w. 12‑1/2”, d. 6”. [800/1200]

579

579 Gioacchino La Pira (Italian, 1839‑1870), “Island of Nisida, in the Gulf of Naples”, gouache on paper, signed and titled lower right, sight 16‑1/4” x 24‑1/2”. Glazed, matted and framed. [500/800] Illustrated

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580 French Provincial Faux-Bois Buffet a Deux Corps, mid-19th century, the molded cornice above a paneled frieze and two cupboard doors, each inset with a grilled panel, the lower section fitted with two drawers flanking a panel with the incised initials “M.C.”, over two paneled cupboard doors, raised on a plinth base, h. 86”, w. 54”, d. 20‑1/2”. [700/1000] Illustrated 581 Suite of Four Louis XV-Style Fruitwood Sidechairs, mid-19th century, each with a shaped, padded and slightly domed back above the padded seat, raised on molded cabriole legs ending in toupie feet, h. 36”. [500/800] 582 Monumental Glazed Terracotta Garden Planter, probably Italian, decorated with a cabochon framed with a wreath of laurel, the mustardglazed pot with a rope-trimmed upper rim, h. 29”, dia. 29”. [800/1200] Illustrated

584

584 French Provincial Fruitwood Settee, late 19th century, the shaped and padded back surmounted by a molded floral- and foliate-carved crest, joined by padded scrolling arms to the cushioned serpentine seat, raised above a floral-carved apron on cabriole legs ending in foliate toes, h. 39‑1/2”, w. 77”, d. 28”. [1000/1500] Illustrated

582

583 Two Pairs of Louis XV Fruitwood Sidechairs, late 18th century, one pair with a padded shaped back surmounted by a floral and foliate crest, above the padded seat, raised above a floral-carved apron on molded cabriole legs joined by an X-form stretcher and ending in foliate toes, h. 37”, and the other slightly larger pair with floral-carved shoulders and no stretchers, h. 38”. [500/800]

585 Italian Baroque Giltwood and SilverGilt Mirror, fourth quarter 18th century, probably Venetian, the molded frame wrapped with garlands of flowers terminating in a carved basket of flowers, the crest in the form of graduated shells under a carved bowknot, with carved garlands on each side, set with an antique mirror plate, h. 35”, w. 20‑1/2”. [800/1200] Illustrated

585

586 Dutch Polychrome-Painted Pottery Charger, 20th century, in the style of 17th-century Delftware, with molded edges, the border with diapered panels alternating with floral panels and framing a painted “bird and flowers” center, marked “De Kruik, Handpainted, Holland, Spotluster”, mounted with a wall hanger, dia. 20‑1/2”. [800/1200] Illustrated 587 Provincial Louis XV-Style Fruitwood Armoire, mid-19th century, the molded cornice above a case fitted with a foliate-carved frieze over two doors, each inset with a shaped panel, raised above a shaped foliate-carved apron on scrolled toes, h. 93”, w. 67”, d. 29”. [1000/1500] Illustrated 588 Gerrit Van Sinclair (American, 1890‑1955), “Lakeside Farm in Autumn”, 1925, oil on board, signed and dated lower left, verso with “Covington Fine Arts Gallery, Inc., Tucson, Arizona” label, 12‑1/2” x 16‑3/4”. Framed. [700/1000] Illustrated 580

132

589 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. [2000/4000] Illustrated

586

590

590 Henry Schouten (Belgian, 1864/1867‑1927), “Shepherd in a Field, a Farmhouse in the Distance”, oil on canvas, signed lower left, 24” x 32”. Presented in a handsome, period frame. [2000/4000] Illustrated

588

587 589

133

593 Martinus Antonius Kuytenbrouwer II (Dutch, 1821‑1897), “Landscape with Stags Near a Creek”, oil on panel, signed lower left, 13” x 18”. Framed [1000/1500] Illustrated

591 591 Franz van Severdonck (Dutch, 1809‑1889), “Barnyard Scene with Rooster, Chickens and Ducks”, oil on beveled wood panel, signed lower center, 6‑5/8” x 9‑1/2”. Framed. [1000/1500] Illustrated

593

594 Constant Troyon (French, 1810‑1865), “Cattle on a Wooded Path”, oil on canvas, signed lower right, 14” x 20”. Framed. [1500/2500] Illustrated

594 592

592 Alexandre Defaux (French, 1826‑1900), “Poultry in the Farmyard”, oil on canvas, signed lower right, 16” x 12‑1/2”. Framed. [800/1200] Illustrated

134

595 Emile Van Damme-Sylva (Belgian, 1853‑1935), “Cattle Grazing at Sunset”, oil on canvas, signed lower left, 13” x 16”. Framed. [1500/2500] Illustrated

597 French Provincial Oak and Fruitwood Games Table, 19th century, the rectangular top with shaped projecting corners and a central parquetry panel, above a frieze fitted with a small drawer to all four sides, raised on cabriole legs ending in hoof feet, h. 30‑1/4”, w. 39”, d. 28‑1/2”. [900/1200] Illustrated

595 596 French Provincial Oak Armoire, mid-19th century, the molded rounded rectangular top above a deeply carved floral basket frieze with two long doors below, each inset with two shaped panels surmounted by floral carving and divided by a small like-carved oval panel, above a shaped frieze, raised on foliate scrolled toes, h. 98”, w. 64”, d. 25”. [1200/1800] Illustrated

597

598 Provincial Louis XV-Style Fruitwood Tub Chair, the domed crest centered by a foliate-carved pattern, above a bisected caned back, joined to the caned seat by downswept sides, on acanthine-carved uprights, raised on molded cabriole legs headed by floral carving and ending in scrolled toes, h. 35‑1/2”. [500/800]

599

596

599 Provincial Louis XV-Style Oak and Fruitwood Buffet, mid-19th century, the rounded rectangular top with a molded edge, above a conforming case fitted with three drawers over two cupboard doors, each inset with a shaped panel and above a scalloped apron, raised on shaped pointed feet, h. 42”, w. 63‑1/2”, d. 27”. [1500/2500] Illustrated

135

600 French Provincial Fruitwood and Oak Armoire, early 19th century, the molded and domed cornice above a case fitted with a paneled frieze over two long paneled doors with nicely figured brass escutcheons, above a shaped apron, raised on cabriole feet ending in pointed toes, h. 101”, w. 65”, d. 26‑1/2”. [2000/4000] Illustrated

600

601 Good French Provincial Cherrywood Tall Case Clock, late 18th century, the face with a porcelain dial and embossed brass frame with a manger scene at the top, h. 100”, w. 18”, d. 13”. [1500/2500] Illustrated

603 French Provincial Fruitwood and Pine Buffet, late 19th century, the rounded rectangular top above a case fitted with a single long frieze drawer with carved floral medallions, above two paneled cupboard doors with decorative carved banding, raised above a shaped apron on shaped block feet, h. 40‑1/2”, w. 49‑1/2”, d. 20‑1/2”. [1200/1800] Illustrated 604 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. [700/1000] Illustrated

601

602

602 Ten-Piece Haviland, Limoges Porcelain Fish Service, ca. 1900, retailed by Ephraim Offner, New Orleans, including nine scalloped fish plates, dia. 8‑1/2”, and a matching platter, l. 20‑1/2”, each decorated with a central game fish and floral border. [500/800] Illustrated

136

603

605 Rare French Pine “Marotte” Milliner’s Head, probably from the Queyras region in the French Alps, first half 19th century, carved with prominent eyes and knotted bun fitted with a period hand-stitched pique cotton bonnet, h. 12‑1/2”, w. 7‑3/4”, d. 9”. Provenance: Private collection, Santa Fe, New Mexico. Illustrated: Hofer, Margaret and Roberta Olson. Making It Modern: The Folk Art Collection of Elie and Viola Nadelman. New York: New-York Historical Society, 2015, pp. 140‑141. [700/1000] Illustrated

604

The rustic quality of this naively carved head bespeaks of its folkloric utility. As the expression in French denotes, “marotte porte-coiffe” (dummy head for wigs), these objects were designed to hold the shape of ordinary women’s bonnets and hats in the 18th/19th century. Though there are many extant models, notably the papier-mache ones milliner’s used to display their wares, this type is distinctive to the high French Alps region of Queyras. These marottes are ensconced in superstition; they served as guardians, who looked over the bonnets and the domestic domain of their wearers and makers, hence the frozen wide-eyed stares and pursed lips. The primitive angular carving of the head and facial features also reflect regional carpentry. The soft Alpine pine was first planed, then the design or decoration was traced on the object before it was whittled with a short knife. Queyras is part of the oldest mountain range in France and was not opened to public tourism until the end of the 20th century. As such, its’ customs and dress have remained largely intact for the past three centuries. The region is known for its production of fine linen, most notably its lace, which is produced from the raw materials of wool, linen, hemp and cotton on a 15th centurystyle small circular loom called a tambour. The carved embroidery on the bust’s chemise and knotted bun fit with a finely stitched cotton bonnet are strikingly similar in design and fashion to the traditional clothes produced by this region. The scalloped pattern was commonly used on the “gounelloun”—a long knee-length chemise made of linen or hemp that was worn like a night shirt under a long black dress of wool (gounelle); and the down-turned angular sides of the bonnet and high gathered top knot are distinctive to the regional bonnet called “coiffe a gauto”—the slanted sides afforded protection to the ears from the mountain winds, while the height helped retain heat. In a photo taken of a town hall meeting in Queyras, ca. 1980 that was published in the Cahier du Queyras (2007), several of the women are wearing nearly identical block stitched cotton bonnets (coton en pique) to the one presented here. There are a handful of these fine marotte specimens conserved in prominent collections such as the “Folk Arts” one of Elie and Viola Nadelman (purchased by the New York Historical Society in 1931) or in “The Objects of Daily Life in the Alps” in the Dauphinois Museum in Grenoble, but they are rare. It is even rarer to find Queyras marottes for sale, as they seldom come to auction, and when they do, it is almost exclusively in France and they and sell for between two and ten times their estimate. It is almost unprecedented to find one of this caliber with a period bonnet.

605

137

606 Pair of Louis XVI Polychrome Fauteuils, late 18th century, each with a padded tufted back surmounted by a floral crest, joined to the cushioned rush seat by padded arms on fluted uprights, raised on stopfluted tapering circular legs joined by an X-form stretcher and ending in toupie feet, h. 36”. [1800/2500] Illustrated

608

606

609 French Provincial Walnut Pannetiere, late 18th century, of traditional form, the tall domed cornice with finial accents, above a spindled case fitted with a single front center door, over a shaped apron with incised designs, raised on cabriole feet ending in scrolled toes, h. 46”, w. 32”, d. 18”. [1000/1500] Illustrated

607 William Forsyth (American/Indiana, 1854‑1935), “Canal, Cathedral Spire in Background”, watercolor on paper, signed lower right, sight 11” x 17”. Glazed, matted and framed. [1000/1500] Illustrated

607 608 William Forsyth (American/Indiana, 1854‑1935), “Cottage Roofs”, watercolor on paper, signed lower right, sight 14” x 21”. Glazed, matted and framed. [1200/1800] Illustrated

138

609

610 Louis XV-Style Oak Armoire, 19th century, the arched top with a deeply molded cornice, the doors with shaped beveled mirrors and carved floral sprays, raised on cabriole legs, h. 97”, w. 64”, d. 23”. [1500/2500] Illustrated

611

610

611 Semi-Antique Malayer Carpet, 4’ 7” x 6’ 2”. [500/800] Illustrated 612 Semi-Antique Sarouk Carpet, 3’ 6” x 4’ 11”. [500/800] Illustrated 613 Turkish Angora Oushak Carpet, 8’ 2” x 10’ 1”. [900/1200] 614 Silk Tabriz Carpet, 5’ x 7’. [600/900]

612

139

615

616

615 Uzbek Kazak Carpet, 9’ 1” x 12’ 5”. [700/1000] Illustrated

616 Turkish Angora Oushak Carpet, 12’ 1” x 14’ 8”. [1800/2500] Illustrated

617 Agra Carpet, 12’ x 18’ 3”. [2000/4000] Illustrated

617

140

618

621

618 Semi-Antique Heriz Carpet, 10’ x 15’. [2000/4000] Illustrated 619 Turkish Angora Oushak Carpet, 9’ x 11’ 8”. [1200/1800] Illustrated 620 Turkish Angora Oushak Carpet, 8’ x 10’. [800/1200] 621 Fine Agra Serapi Carpet, 9’ 10” x 13’ 10”. [2500/4000] Illustrated 622 Agra Serapi Runner, 2’ 7” x 29’ 10”. [800/1200] Illustrated 623 Semi-Antique Sarouk Carpet, 8’ x 11’. [1500/2500] 624 Turkish Carpet, 5’ x 6’. [500/800]

619

622

141

Se s sion I I S u nday, M a r c h 1 3 , 2 0 1 6 Lots 6 2 5 - 1 1 2 6

10:00 - 11:00

625 - 689

11:00 - 12:00

690 - 754

12:00 - 1:00

755 - 854

1:00

2:00

855 - 954

2:00

3:00

955 - 1054

3:00

3:45

1055 - 1126

Lot 891

Lots 625-640 Jewelry from the Estate of Lillian Pulitzer Smith

627

627 Pair of Platinum and Diamond Art Deco Dress Clips, the custom-made clips mounted with two round-cut diamonds, with an approximate total weight of 0.87 carats for the pair, fourteen round-cut diamonds and 186 single-cut diamonds, with an approximate total weight of 6.71 carats for the pair, approximate color E-F and clarity VS1‑VS2, l. 1‑1/4”, 27.0 grams total weight. [2500/4000] Illustrated 625

625 Platinum, Diamond and Pearl Ring, mounted with an 11.9 mm pink/rose South Sea pearl with a high luster, surrounded by a halo of round brilliant-cut diamonds, with an approximate total weight of 2.34 carats, approximate color F-G and clarity VVS2‑VS2, size with ring sizer, 4‑1/2, 9.0 grams total weight. [1800/2500] Illustrated

628

628 Platinum and Diamond Art Deco Leaf Pin, the pin designed as a leaf and mounted with 113 single-cut diamonds and twenty-five baguette-cut diamonds, with an approximate total weight of 2.85 carats, approximate color E-F and clarity VS1‑SI2, l. 2‑1/2”, 13.0 grams total weight. [2000/4000] Illustrated 626

629 626 Croton Platinum and Diamond Art Deco Wrist Watch, the watch case and band set with ninety-nine single-cut diamonds, twentyeight baguette-cut diamonds, four triangle-cut diamonds and two square-cut diamonds, with an approximate total weight of 3.00 carats, approximate color H-I and clarity VVS2‑SI1, the manual wind seventeen-jewels mechanical movement signed “Croton”, l. 6”, 22.8 grams total weight. [900/1200] Illustrated

144

629 Fourteen-Karat Yellow/White Gold and Diamond Earrings, the curved and domed earrings pave-set with round- and single-cut diamonds, with an approximate total weight of 4.35 carats for the pair, approximate color E-G and clarity VS2‑SI1, with gold post clip backs, l. 1”, 13.0 grams total weight. [2000/4000] Illustrated

632 Beautiful Fourteen-Karat Yellow/White Gold and Diamond Necklace, set with 136 round brilliant-cut diamonds, with an approximate total weight of 8.84 carats, approximate color E-F and clarity VS2‑SI1, and with a fold-out loop at the base for use with a removable pendant, l. 15”, 41.0 grams total weight. [3000/5000] Illustrated

630

630 Fourteen-Karat Yellow/White Gold and Diamond Earrings, each ear clip pave-set with thirty-five round brilliant-cut diamonds, with an approximate total weight of 4.02 carats for the pair, approximate color E-F and clarity VVS2‑VS2, l. 1”, 25.0 grams total weight. [3000/5000] Illustrated 631 Eighteen-Karat Yellow Gold and Diamond Ring, crafted in a half dome design and pave-set with nineteen round brilliant-cut diamonds, with an approximate total weight of 0.75 carats, stamped “18K, Cellino”, size 6‑1/2, 6.2 grams total weight. [1800/2500] Illustrated

632

631

633

633 Eighteen-Karat Yellow Gold and Diamond Bracelet, the flexible domed bracelet with a navette link design and set with fifty-six round single-cut diamonds in a zig-zag pattern, with an approximate total weight of 1.00 carat, l. 7”, 62.0 grams total weight. [2000/4000] Illustrated 634 Buche-Girod Eighteen-Karat Tri-Colored Gold and Diamond Watch, the round seventeen jewels manual wind mechanical movement signed on the dial “Buche-Girod”, the bezel set with thirty-two singlecut diamonds, with an approximate total weight of 1.00 carat, the eighteen-karat textured brick link band composed of rose, white and yellow gold, with an English hallmark and stamped “MG 6704, 82, XXX”, l. 6‑1/4”, 43.6 grams total weight. [1800/2500] Illustrated 635 Eighteen-Karat Yellow Gold, Diamond and Ruby Ring, the double loop design ring set with thirty round brilliant-cut diamonds, with an approximate total weight of 1.50 carats, ten square-cut rubies and two D-cut rubies, with an approximate total weight of 0.60 carats, approximate size with sizing beads, 4‑1/4, 9.0 grams total weight. [1800/2500] Illustrated

634

635

145

636

638

636 Eighteen-Karat Yellow Gold and Diamond Bracelet, the Figaro-style link bracelet set with fortytwo round brilliant-cut diamonds, with an approximate total weight of 0.75 carats, l. 7‑3/4”, 51.0 grams total weight. [1000/1500] Illustrated 637 Eighteen-Karat Yellow Gold Jewelry Group, including ear clips in a large knotted design, stamped “18k, Germany”, l. 1”, a pair of half hoop ear clips in a rope design, stamped “18K, Italy”, l. 7/8”, and a rectangular four-sided wide band, stamped “750”, size 5‑1/2, 47.8 grams total weight. [900/1200] Illustrated 638 Fourteen-Karat Yellow Gold Chain with a Mexican 50 Peso Coin Pendant, the 1944 Mexican 50 Peso coin with a rope-design border, dia. 2”, suspended from a fourteen-karat 4.3 mm rope chain, l. 28‑1/2”, 103.4 grams total weight. [2000/4000] Illustrated 639 Fourteen-Karat Yellow Gold Jewelry Group, including a pair of smooth hoop earrings, four pairs of earrings with a bellows design, l. 5/8” to 1‑1/4”, and a wedding band with a rope design, size 5‑1/4, 25.1 grams total weight. [500/800] Illustrated 640 Beautiful Fourteen-Karat White/Yellow Gold Multi-Strand Necklace, the long necklace composed of approximately fifty strands of white and yellow gold anchor-link chains, l. 29”, 45.0 grams total weight. [900/1200] Illustrated

640

637

639

146 146

641 Fourteen-Karat Yellow Gold Bracelet with Five Ten-Karat Yellow Gold Signet Watch Fobs, the bracelet with two carnelian intaglio engraved coat-of-arms fobs, a bloodstone intaglio engraved coatof-arms fob, a black onyx blank fob and a bloodstone blank fob, l. 7‑1/4”, 103.1 grams total weight. [1400/1800] Illustrated 642 Unusual Eighteen/Fourteen-Karat Yellow Gold, Diamond and Coral Pendant with Chain, the custom, handmade pendant composed of a red coral root slice edged with twenty-two-karat yellow gold, with an eighteen-karat yellow gold stem piercing through the coral slice and ending with a round brilliant-cut diamond, with an approximate weight of 0.03 carats, l. 2‑3/8”, the whole suspended from a fourteen-karat yellow gold chain, l. 18”. [500/800] Illustrated 643 Unusual Eighteen-Karat Yellow Gold Necklace, designed with overlapping 8.0 mm round disks, finished with a 12.0 mm disc forming the clasp, l. 18‑5/8”, 54.0 grams total weight. [1200/1800] Illustrated

643

644

642

644 Eighteen-Karat Yellow Gold Belt Bracelet, the wide flexible honeycomb-link adjustable bracelet with a belt buckle clasp, l. 10‑1/8”, w. 1‑3/16”, 101.5 grams total weight. [1800/2500] Illustrated

641

147

645

645 Eighteen/Fourteen-Karat Yellow Gold, Diamond, Sapphire, Emerald and Ruby Necklace, the fourteenkarat omega necklace with an eighteen-karat gold slide, pave-set with thirty-seven round brilliant-cut diamonds, with an approximate total weight of 1.00 carat, two slides set with five table-cut sapphires, with an approximate total weight of 0.50 carats, two slides set with five table-cut rubies, with an approximate total weight of 0.50 carats, and two slides set with five/four table-cut emeralds, with an approximate total weight of 0.45 carats, all slides with hinged clip-on backs, for easy removal, l. 17”, 48.2 grams total weight. [2000/4000] Illustrated

647

648 Fourteen-Karat White Gold, Tourmaline and Diamond Ring, set with a rectangular step-cut tourmaline, with an approximate weight of 4.39 carats, surrounded by twenty-six round brilliant-cut diamonds, with an approximate total weight of 0.75 carats, size 7‑1/2, 4.4 grams total weight. [1000/1500] Illustrated

646 Three-Piece Eighteen-Karat Yellow Gold and MultiStone “Sputnik” Suite, including earrings, dia. 1/2”, a ring, size, 8‑1/2, and a pendant, dia. 1”, all set with a variety of eighty-six semi-precious gemstones, including amethyst, blue topaz, citrine, garnet, moonstone, peridot, red coral, smoky quartz and turquoise in various shapes and cuts, 26.8 grams total weight. [900/1200] 647 Beautiful Fourteen-Karat White Gold/Sterling Silver, Garnet and Diamond Necklace, the filigree diamond pendant set with approximately 268 round single-cut diamonds, with an approximate total weight of 2.16 carats, suspended from a necklace composed of graduated and faceted garnet roundels, ranging in size from 6.0 mm to 8.0 mm, finished with a fourteen-karat white gold clasp, l. 19”, pendant, l. 1‑3/4”, 46.5 grams total weight. [600/900] Illustrated

148

648

649 Two-Piece Fourteen-Karat Yellow Gold and Diamond Brooch/Pendant Group, including a brooch/ pendant set with a faceted round-cut citrine, with an approximate weight of 38.10 carats, sixteen Europeancut diamonds, with an approximate total weight of 0.67 carats, approximate color G-I and clarity SI1‑I1, and sixteen pearls ranging in size from 2.00 mm to 2.50 mm, l. 1‑1/4”, and a brooch/pendant set with an oval cabochoncut tourmaline, with an approximate weight of 7.80 carats, and sixteen round brilliant-cut diamonds, with an approximate total weight of 1.44 carats, approximate color E-F and clarity VS1‑SI1, l. 1‑1/4”, 9.0 grams total weight. [900/1200] Illustrated

650

651 649

650 Three Pieces of Antique Fourteen/Eighteen-Karat Yellow Gold, Platinum, Peridot and Diamond Jewelry, including an eighteen-karat yellow gold and platinum ring set with three cultured pearls, ranging in size from 4.1 mm to 4.8 mm in diameter, fifty-three rosecut and four single-cut diamonds, with an approximate total weight of 0.30 carats, and a faceted pear-shaped peridot, with an approximate weight of 8.75 carats, size 7‑3/4, together with a fourteen-karat yellow gold ring set with nine oval faceted peridots, with an approximate total weight of 3.30 carats, and four seed pearls, size 9, and a fourteen-karat yellow gold bracelet set with thirteen square-cut peridots, with an approximate total weight of 19.5 carats, l. 7‑1/4”, 35.0 grams total weight. [700/1000] Illustrated 651 Stunning Platinum, Alexandrite and Diamond Ring, featuring a GIA certified modified brilliant-cut alexandrite, with a weight of 7.97 carats, and a color change from yellowish-green to purplish-brown, GIA report #1188267746, surrounded by two tiers of round brilliantcut diamonds, with an approximate total weight of 1.55 carats, approximate color D-E and clarity VS1‑VS2, size 7‑1/2, 12.7 grams total weight. [18000/25000] Illustrated

652

652 Fourteen-Karat Yellow Gold, Emerald and Pearl Jewelry Group, including a pair of pendant ear clips with a screw back, each fan-shaped pendant mounted with twelve baguette-cut emeralds, suspended from a cluster mounted with a table-cut emerald surrounded by six freshwater pearls, with an approximate total emerald weight of 6.00 carats for the pair, l. 2”, together with a diamond-shaped ring mounted with fourteen mabe pearls ranging in size from 2.0 mm to 4.0 mm and eight emeralds of various cuts, with an approximate total weight of 1.25 carats, size 7‑3/4, 30.4 grams total weight. [700/1000] Illustrated

149

653 Two Emerald and Diamond Rings, including an Art Deco geometric platinum ring set with one round faceted emerald, with an approximate weight of 0.60 carats, and twelve smaller cut-to-form emeralds, with an approximate total weight of 0.20 carats, and eighteen single-cut diamonds, with an approximate total weight of 0.15 carats, size 7‑1/2, together with a fourteen-karat yellow gold ring set with four square-cut emeralds, with an approximate total weight of 0.80 carats, and ten single-cut diamonds, with an approximate total weight of 0.40 carats, size 10‑1/2, 9.4 grams total weight. [600/900]

656

654

654 Fourteen-Karat White Gold, Emerald and Diamond Ring, set with a central emerald-cut treated emerald, with an approximate weight of 0.88 carats, surrounded by forty-eight round brilliant-cut diamonds, with an approximate total weight of 0.65 carats, size 7‑1/2, 3.1 grams total weight. [900/1200] Illustrated 655 Sterling Silver, Emerald and Diamond Tassel Earrings, the earrings each with four rows of 3.0 mm to 4.0 mm treated faceted emerald roundels, suspended from sterling silver tassel caps mounted with round single-cut diamonds, with an approximate total weight of 0.39 carats, l. 3‑1/4”, 18.0 grams total weight. [500/800] Illustrated

658 Eighteen-Karat Yellow Gold, Emerald and Diamond Ring, mounted with an emerald-cut treated emerald, with an approximate weight of 3.16 carats, surrounded by two rows of fifty-four round brilliant-cut diamonds, and thirty round brilliant-cut diamonds on the ring shank, with an approximate total weight of 1.14 carats, size 8, 7.1 grams total weight. [2500/4000]

655

656 Eighteen-Karat White Gold, Emerald and Diamond Ring, set with an emerald-cut treated emerald, with an approximate weight of 0.96 carats, surrounded by two rows of forty-four round brilliant-cut diamonds and twenty-four round brilliant-cut diamonds set in the ring shank, with an approximate total weight of 1.00 carat, size 8, 5.8 grams total weight. [1500/2500] Illustrated

8 150

657 Fourteen-Karat White Gold, Emerald and Diamond Jewelry Suite, including a ring set with an emerald-cut treated emerald, with an approximate weight of 2.83 carats, accented by sixty-two round single-cut diamonds, with an approximate total weight of 2.35 carats, size 7, and a pair of matching earrings, each set with an emeraldcut treated emerald, with an approximate total weight of 5.26 carats for the pair, accented by approximately 226 round single-cut diamonds, with an approximate total weight of 1.97 carats, l. 2‑1/2”, 21.6 grams total weight. [4500/7000] Illustrated

657

659 Interesting Fourteen-Karat Yellow Gold, Diamond and Emerald Snake Bracelet, the spring-loaded flexible snake bracelet with two round brilliant-cut diamonds for the eyes, with an approximate total weight of 0.20 carats, and eleven round faceted emeralds mounted on the head and body, with an approximate total weight of 0.50 carats, size, flexible/adjustable, 35.8 grams total weight. [1200/1800] Illustrated

661 Sterling Silver and Diamond Ring, the wide ring band designed with an open free-flowing design, mounted with round singlecut diamonds, with an approximate total weight of 1.94 carats, size 7, 10.1 grams total weight. [500/800] Illustrated

661

659

660 Interesting Sterling Silver, Diamond, Ruby and Sapphire Snake Earrings, the earrings each designed as a hanging snake mounted with rose-cut diamonds, with an approximate total weight of 4.80 carats for the pair, the eyes each mounted with a round cabochon-cut ruby, the heads each centered by a marquise-cut sapphire, l. 2‑1/2”, 12.4 grams total weight. [500/800] Illustrated

663

662 Pair of Fourteen-Karat White Gold and Diamond Dangle Earrings, each earring stud set with eleven round brilliant-cut diamonds and the pendant set with thirtyseven round brilliant-cut diamonds, with an approximate total weight of 1.78 carats for the pair, l. 1‑1/2”, 5.3 grams total weight. [1800/2500]

660

663 Sterling Silver and Diamond Necklace, composed of thirteen bar links, each mounted with rose-cut diamonds, with an approximate total diamond weight of 8.70 carats, approximate color light brown and clarity I2‑I3, suspended from an oxidized sterling silver chain, adjustable l. 17” to 18”, 33.0 grams total weight. [500/800] Illustrated

151

666 Pair of Eighteen-Karat White Gold and Diamond Ear Clips, each earring set with sixteen single-cut diamonds and three concentric circles set with ninety-two single-cut diamonds, with an approximate total weight of 0.75 carats for the pair, l. 1‑5/8”, 8.8 grams total weight. [600/900] Illustrated

664

664 Pair of Fourteen-Karat White Gold and Diamond Inside-Out Hoop Earrings, the large hinged oval earrings each set with nineteen round brilliant-cut diamonds on the outside and fourteen on the inside of the hoop, with an approximate total weight of 2.64 carats for the pair, l. 1‑1/2”, 7.7 grams total weight. [2500/4000] Illustrated

666

667 DiModolo Eighteen-Karat White Gold and Diamond Ring, the wide tapered band set with eighty-four round brilliant-cut diamonds, with an approximate total weight of 1.25 carats, stamped “DiModolo, 750”, size 9‑3/4, 14.4 grams total weight. [1800/2500] Illustrated

665

665 Sterling Silver and Diamond Ring, the ring with a Greek-key design and mounted with round single-cut diamonds, with an approximate total weight of 0.83 carats, size 7, 4.8 grams total weight. [500/800] Illustrated

152

667

669 William Spratling Sterling Silver and Rosewood Bracelet, the retro cuff bracelet with a step design, stamped “Spratling Silver” in an oval cartouche and “Spratling made in Mexico” in a circle with the Spratling logo at the center, inside circumference, 6‑3/4”, w. 1‑1/2”, 72.5 grams total weight. [700/1000] Illustrated 670 Interesting Sterling Silver and Diamond Tassel Earrings, the earring tops in a swirling design, mounted with rose-cut diamonds, with an approximate total weight of 2.70 carats for the pair, the tassels composed of sterling silver ball chains, l. 3‑1/2”, 29.5 grams total weight. [500/800] Illustrated

668

670

671 Fourteen-Karat White Gold, Tahitian Pearl and Diamond Earrings, each set with a Tahitian cultured pearl, measuring approximately 11.0 mm in size, with a very good luster, accented with approximately 208 round brilliant-cut diamonds, with an approximate total weight of 1.79 carats, l. 1‑1/2”, 11.3 grams total weight. [1800/2500]

669

672 668 Unusual Fourteen-Karat White Gold/Sterling Silver and Diamond Tassel Pendant and Necklace, the pendant in the form of a skull, with a tassel composed of graduated strands of sterling silver chain and mounted with round single-cut diamonds, with an approximate total weight of 1.61 carats, suspended from a necklace composed of 1.5 mm to 2.0 mm natural rough gray cubeshaped diamonds, with an approximate total weight of 13.0 carats, finished with a fourteen-karat white gold clasp, necklace, l. 16”, pendant, l. 4”, 12.3 grams total weight. [500/800] Illustrated

672 Sterling Silver, Emerald, Diamond and Paste Ring, the triangular-shaped ring set with sixty-three rose-cut diamonds, with an approximate total weight of 0.25 carats, six oval faceted emeralds, with an approximate total weight of 1.20 carats, and a triangular-shaped red paste cabochon, with an approximate weight of 5.00 carats, size 9, 13.8 grams total weight. [500/800] Illustrated

153

674

673

673 Sterling Silver, Diamond, Emerald and Ruby Necklace, the graduated necklace composed of 115 treated ruby roundels and 117 treated emerald roundels, the gold vermeil sunburst pendant set with approximately 300 rose-cut diamonds, with an approximate total weight of 1.25 carats, ten treated emerald cabochons and one treated ruby cabochon, with an additional five teardrop treated ruby tassels accented with thirty-five treated emerald roundels, with an approximate total emerald weight of 10.5 carats and an approximate total ruby weight of 22.75 carats, l. 18‑1/2”, pendant, l. 3‑1/2”, 50.5 grams total weight. [500/800] Illustrated

676 Fourteen-Karat Yellow Gold, Diamond and Ruby Ring, mounted with an old mine-cut diamond, with an approximate weight of 0.22 carats, set in a silver head surrounded by twenty table-cut rubies and an additional eight rubies on the shank, with an approximate total weight of 0.80 carats, size 6‑1/2, 3.2 grams total weight. [500/800] Illustrated

675

674 Fourteen-Karat Yellow/White Gold, Ruby and Diamond Ring, the large ring with a contemporary domed design, mounted with forty-six round-cut treated rubies, with an approximate total weight of 3.22 carats, and twenty-four round-cut diamonds, with an approximate total weight of 0.20 carats, approximate color H-I and clarity SI1‑SI2, size 9, 14.0 grams total weight. [600/900] Illustrated 675 Fourteen-Karat White Gold, Ruby and Diamond Earrings, each earring mounted with a bezel-set round brilliant-cut diamond, with an approximate total weight of 0.98 carats for the pair, approximate color E-F and clarity I1, surrounded by calibrated-cut treated rubies, with an approximate total weight of 0.62 carats, suspended from ear clips mounted with round brilliant-cut diamonds, with an approximate total weight of 0.10 carats, l. 1”, 5.0 grams total weight. [5000/8000] Illustrated

154

676

677 Sterling Silver, Ruby and Diamond Dangle Earrings, the earrings each mounted with four faceted round treated rubies, and three cabochon-cut treated rubies, with an approximate total weight of 2.42 carats for the pair, and 102 rose-cut diamonds, with an approximate total weight of 3.70 carats for the pair, approximate color light brown, approximate clarity I2‑I3, l. 2‑3/4”, 18.0 grams total weight. [500/800] Illustrated

680

678 Fourteen-Karat Yellow Gold, Ruby and Diamond Bracelet, composed of fifteen oval-cut treated rubies, with an approximate total weight of 18.20 carats, and approximately 240 round brilliant-cut diamonds, with an approximate total weight of 3.46 carats, l. 7”, 20.8 grams total weight. [2500/4000] Illustrated

677

678

679 Fourteen-Karat Yellow Gold, Ruby and Diamond Earrings, set with treated cushion mixed-cut rubies, with an approximate total weight of 4.76 carats for the pair, and approximately 176 round brilliant-cut diamonds, with an approximate total weight of 6.02 carats, l. 1‑7/8”, 9.1 grams total weight. [2500/4000]

680 Eighteen-Karat Yellow Gold, Ruby and Diamond Ring, mounted with a central oval-cut treated ruby, with an approximate weight of 0.45 carats, bordered by two rows of round brilliant-cut diamonds and diamonds down the ring shank and a row of calibratedcut treated rubies, with an approximate total diamond weight of 0.54 carats, approximate color E-G and clarity VS1‑VS2, and approximate ruby weight of 0.80 carats, size 7‑1/4, 8.0 grams total weight. [900/1200] Illustrated

155

681 Four Eighteen-Karat Yellow Gold and Diamond Bangle Bracelets, each bracelet 1/8” wide and set with twelve round brilliant-cut diamonds, with an approximate total weight of 1.20 carats for all four, inside circumference, 8”, 32.6 grams total weight. [1000/1500] Illustrated

681

683

682 Unusual Eighteen-Karat White Gold and Diamond Ring, with a high and narrow dome mounted with eleven princess-cut and seventy-two round brilliant-cut diamonds, with an approximate total weight of 3.25 carats, approximate color E-F and clarity VS1‑VS2, size 7‑1/2, 8.0 grams total weight. [4000/7000] Illustrated

684

682

683 Eighteen-Karat White Gold, Pearl and Diamond Earrings, each earring in a flower design and mounted with a golden pearl measuring approximately 12.0 mm to 12.5 mm, with a medium luster, and 122 round brilliant-cut diamonds, with an approximate total weight of 1.30 carats for the pair, approximate color G-I and clarity SI1‑SI2, l. 1”, 19.0 grams total weight. [4000/7000] Illustrated

156

684 Eighteen-Karat White Gold, Pearl and Diamond Ring, mounted with a golden pearl measuring approximately 13.0 mm, with a high luster, and accented with eighty-six round brilliant-cut diamonds, with an approximate total weight of 0.42 carats, approximate color G-I and clarity VS2‑SI2, size 7‑3/4, 9.0 grams total weight. [3000/5000] Illustrated 685 Eighteen-Karat Rose Gold and Diamond Necklace, with five pear-shaped drop diamonds, with an approximate total weight of 1.85 carats, approximate color E-F, approximate clarity VS1‑SI1, l. 17‑1/2”, 5.0 grams total weight. [4000/7000] Illustrated

686 Tiffany & Company Eighteen-Karat Yellow Gold and Pearl Ear Clips, each ear clip designed as a flowing blossom and set with an 8.5 mm cultured pearl, stamped “Tiffany & Co., 18K”, l. 1”, 21.8 grams total weight. [900/1200] Illustrated 687 Eighteen-Karat Yellow Gold, Pearl and Diamond Jewelry Suite, including a pair of ear clips and a matching brooch in a swirling design, each earring set with eleven cultured pearls measuring approximately 4.0 mm and one cultured pearl measuring approximately 7.7 mm, and sixteen single-cut diamonds, with an approximate total weight of 0.20 carats for the pair, l. 1‑1/2”, and the matching brooch set with twelve cultured pearls measuring approximately 6.4 mm and one cultured pearl measuring approximately 8.8 mm, and eleven single-cut diamonds, with an approximate total weight of 0.40 carats, l. 1‑3/4”, 54.0 grams total weight. [1000/1500] Illustrated

685

688

688 Fourteen-Karat Yellow Gold and Diamond Bangle Bracelet, the tapered hinged bangle bracelet set with approximately sixty-seven tapered diamond baguettes, with an approximate total weight of 2.00 carats, inside circumference, 6‑3/4”, 14.8 grams total weight. [1200/1800] Illustrated 686

687

689 Fourteen-Karat Yellow Gold and Diamond Ring, the highly stylized starburst-design ring composed of fifty-one round brilliant-cut diamonds and twelve tapered baguette diamonds, with an approximate total weight of 1.50 carats, approximate color F-G and clarity VVS2‑VS2, size 9‑1/4, 11.0 grams total weight. [700/1000] Illustrated

689

157

693 Stunning Art Deco Platinum, EighteenKarat White Gold and Diamond Brooch, mounted with a bezel-set European-cut diamond in the center, with an approximate weight of 4.28 carats, approximate color N and clarity VS2, flanked by two smaller Europeancut diamonds, with an approximate total weight of 1.95 carats, approximate color N and clarity VS1‑VS2, the three stones surrounded by a variety of European-cut and single-cut diamonds, with an approximate total weight of 21.63 carats, approximate color H-I and clarity VS1‑SI1, size, 1” x 3”, 21.0 grams total weight. [40000/70000] Illustrated

690 691

690 Stunning Platinum, Diamond and Fourteen-Karat Rose Gold Bangle Bracelet, comprised of a period Edwardian platinum brooch set with one hundred and fourteen Old European- and rose-cut diamonds, with an approximate total weight of 4.56 carats, approximate color E-I and clarity VS2‑SI2, fitted to a later wide hinged bangle bracelet, w. 1‑1/4”, inside circumference, 8”, 51.0 grams total weight. [2500/4000] Illustrated 691 Stunning Platinum and Fancy Light Brown Diamond Ring, mounted with a natural marquise-cut fancy light brown diamond, with an approximate weight of 2.65 carats, and an approximate clarity of I1, and 156 round brilliant-cut diamonds bordering the stone and on the ring shank, with an approximate total weight of 3.62 carats, approximate color D-E and clarity VS1‑VS2, size 7‑3/4, 16.27 grams total weight. [12000/18000] Illustrated 692 Stunning EighteenKarat White Gold and Diamond Ring, the ring in a cluster design and mounted with eighteen marquise-cut diamonds, with an approximate total weight of 2.34 carats, approximate color E-F and clarity VS2‑SI2, and twelve round brilliantcut diamonds, with an approximate total weight of 3.86 carats, approximate color E-F and clarity SI1‑I1, size 5, 10.0 grams total weight. [2500/4000] Illustrated

158

692

694 Eighteen-Karat White Gold and Diamond Band, the wide band ring with seven rows of round brilliant-cut diamonds, with an approximate total weight of 2.06 carats, approximate color E-F and clarity VS1‑SI1, size 7, 10.0 grams total weight. [4000/7000] Illustrated

694

693

696 Platinum, Fourteen-Karat White Gold and Diamond Wedding Set, the fourteen-karat white gold ring mounted with a European-cut diamond, with an approximate weight of 1.22 carats, approximate color E and clarity VS1, and thirty round brilliant-cut diamonds in a border around the stone and on the ring shank, with an approximate total weight of 0.30 carats, together with a platinum conforming wedding band, mounted with twenty-three round brilliantcut diamonds, with an approximate total weight of 0.23 carats, size 5‑1/2, 6.2 grams total weight. [8000/12000] Illustrated

695

695 Beautiful Art Deco Platinum and Diamond Wrist Watch, the platinum case and adjustable platinum mesh band set with two emerald-cut diamonds, with an approximate weight of 1.20 carats for each, approximate color E-F and clarity VVS2, flanked on either side by baguette-cut diamonds, with an approximate total weight of 1.20 carats, approximate color E-F and clarity VVS2‑VS1, with an additional ten step-cut diamonds, forty-eight single-cut diamonds and ten full-cut diamonds, with an approximate total weight of 7.00 carats, approximate color E-F and clarity VVS2‑VS, the seventeen-jewels manual wind mechanical movement stamped “Bleco Watch, Swiss” and is a later replacement movement, the refinished silver satin dial marked “Tiffany & Co.”, maximum l. 7‑1/4”, 36.4 grams total weight. [3500/5000] Illustrated

696

697 Eighteen-Karat White Gold and Diamond Bracelet, mounted with seventy-one round brilliant-cut diamonds, with an approximate total weight of 3.20 carats, approximate color G-I and clarity VS2‑SI2, l. 7‑1/2”, 10.0 grams total weight. [3500/5000]

159

700 Stunning Eighteen-Karat Yellow/White Gold and Yellow/White Diamond Bracelet, composed of thirteen fancy yellow oval-cut diamonds, with an approximate total weight of 2.86 carats, approximate clarity VV2‑VS1, fortysix fancy yellow pear-cut diamonds, with an approximate total weight of 5.06 carats, approximate clarity VVS2‑VS1, four fancy yellow marquise-cut diamonds, with an approximate total weight of 0.64 carats, approximate clarity VVS2‑VS1, and sixty-seven pear-cut white diamonds, with an approximate total weight of 7.37 carats, approximate color D-E and clarity VS1‑SI1, the bracelet with an approximate total diamond weight of 15.93 carats, l. 7‑1/2”, 25.0 grams total weight. [25000/40000] Illustrated

698

701 Pair of Eighteen-Karat Yellow/White Gold and Yellow/White Diamond Earrings, composed of fourteen oval-cut fancy yellow diamonds, with an approximate total weight of 2.52 carats, approximate clarity VVS2‑VS1, eight round brilliant-cut white diamonds and thirty-two pear-cut white diamonds, with an approximate total weight of 1.84 carats for the pair, approximate color E-F and clarity VVS2‑SI1, l. 1”, 10.0 grams total weight. [8000/12000] Illustrated

698 Eighteen-Karat White Gold and Diamond Ring, in a figure 8 design and set with 219 round brilliant-cut diamonds, with an approximate total weight of 2.30 carats, size 8, 7.6 grams total weight. [2000/4000] Illustrated 699 Platinum and Fancy Brown Diamond Ring, mounted with a fancy brown diamond, with an approximate weight of 2.61 carats, and an approximate clarity of SI2, a bezelset oval-shaped white diamond, with an approximate weight of 0.17 carats, approximate color G and clarity VS2, and 123 round brilliant-cut diamonds, with an approximate total weight of 1.00 carat, approximate color G-I and clarity VS2‑SI1, size 7, 9.15 grams total weight. [7000/10000]

701

700

160

703

702

702 Stunning Buccellati Eighteen-Karat Yellow/White Gold and Diamond Bracelet, the wide bangle bracelet with a filigree design and mounted with twelve bezel-set round brilliant-cut diamonds, with an approximate total weight of 3.00 carats, approximate color E-G and clarity SI1‑SI2, and seventy-two round brilliant-cut diamonds, with an approximate total weight of 1.60 carats, approximate color G-I and clarity SI1‑SI2, l. 7”, 54.0 grams total weight. [35000/50000] Illustrated

703 Fourteen-Karat Yellow Gold and Diamond Ring, mounted with a central round brilliant-cut diamond, with an approximate weight of 1.86 carats, approximate color E and clarity VS1, and with eight sections in a swirling design, mounted with round brilliant-cut diamonds, with an approximate total weight of 0.80 carats, approximate color D-E and clarity VS2‑SI1, size 6, 18.0 grams total weight. [4000/7000] Illustrated

705

704

704 Unusual Eighteen-Karat Yellow Gold, Diamond and Sapphire “Comet” Watch, the retro-designed watch composed of two spheres set with approximately thirty table-cut sapphires and eighteen round sapphires, with an approximate total weight of 0.40 carats, and forty-seven round brilliant-cut diamonds, with an approximate total weight of 0.75 carats, one sphere designed as a locket with a lid opening to a void interior and one sphere with an 18 jewel manual wind mechanical movement, l. 7‑1/4”, 59.5 grams total weight. [900/1200] Illustrated 705 Eighteen-Karat Yellow Gold, Sapphire and Diamond Bangle Bracelet, the hinged bracelet mounted with seven oval-cut treated pink sapphires, two oval-cut treated blue sapphires, two oval-cut treated green sapphires, one oval-cut treated orange sapphire, one oval-cut treated yellow sapphire and one oval-cut treated purple sapphire, with an approximate total weight of 12.0 carats, bordered and accented by ninetyseven round brilliant-cut diamonds, with an approximate total weight of 2.66 carats, approximate color D-E and clarity VS2‑SI1, inside circumference, 6‑3/4”, 28.0 grams total weight. [4500/7000] Illustrated

161

706 Platinum, Natural Purple Sapphire and Diamond Ring, mounted with a mixed-cut GIA certified natural purple sapphire, GIA report #5206834285, with a weight of 7.81 carats, surrounded by approximately seventy-four round brilliant-cut diamonds, with an approximate total weight of 1.62 carats, approximate color D-E and clarity VS1‑VS2, size 8, 12.6 grams total weight. [8000/12000] Illustrated

708

706

707 Fourteen-Karat White Gold, Sapphire and Diamond Bracelet, composed of seventeen oval-cut treated sapphires, with an approximate total weight of 15.33 carats, and approximately 142 round brilliant-cut diamonds, with an approximate total weight of 1.40 carats, l. 7”, 18.3 grams total weight. [2500/4000] Illustrated

709

708 Fourteen-Karat White Gold, Sapphire and Diamond Ring, mounted with an oval-cut treated sapphire, with an approximate weight of 1.75 carats, and with forty-six round brilliant-cut diamonds bordering the sapphire and on the ring gallery and shank, with an approximate total weight of 0.68 carats, size 7‑1/4, 4.0 grams total weight. [4000/7000] Illustrated

707

162

709 Fourteen-Karat White Gold, Star Sapphire and Diamond Ring, mounted with a treated cabochon-cut star sapphire, with an approximate weight of 10.05 carats, surrounded by twelve round brilliant-cut diamonds, with an approximate total weight of 0.68 carats, and twelve round brilliant-cut sapphires, with an approximate total weight of 1.30 carats, size 8, 8.1 grams total weight. [1200/1800] Illustrated

712 Eighteen-Karat Yellow Gold, Sapphire and Diamond Ring, set with an oval-cut treated sapphire, with an approximate weight of 1.76 carats, flanked on either side by an oval-cut diamond, with an approximate total weight of 0.80 carats for both, approximate color H-I and clarity VS1‑SI1, with an additional fifty-eight round brilliant-cut diamonds, with an approximate total weight of 0.40 carats, approximate color G-I and clarity SI1‑SI2, size 7‑1/4, 4.0 grams total weight. [6000/9000] Illustrated

710

710 Fourteen-Karat Yellow Gold and Sapphire Necklace, composed of polished sapphire roundels, ranging in size from 6.5 mm to 15.0 mm, with an approximate total weight of 560.0 carats, finished with a fourteen-karat yellow gold clasp, l. 16‑1/2”, 116.0 grams total weight. [500/800] Illustrated

712

713 Eighteen-Karat White Gold, Sapphire and Diamond Earrings, the dangle earrings in a flower design, each mounted with a round treated sapphire, with an approximate total weight of 1.60 carats for the pair, surrounded by sixteen round brilliant-cut diamonds, with an approximate total weight of 1.25 carats for the pair, approximate color E-F and clarity SI1‑SI2, l. 1”, 5.0 grams total weight. [4000/7000] Illustrated

711

711 Fourteen-Karat White Gold, Sapphire and Diamond Earrings, each earring mounted with an oval-cut treated sapphire, with an approximate total weight of 1.72 carats for the pair, and forty round brilliant-cut diamonds accenting the sapphires, with an approximate total weight of 0.40 carats, approximate color G-I and clarity VS1‑SI1, l. 3/4”, 4.0 grams total weight. [1500/2500] Illustrated

713

163

714 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 pear-shaped 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. [3500/5000] Illustrated

716 714

715 Sterling Silver, Carved Sapphire and Diamond Necklace, composed of carved treated sapphire roundels, with an approximate total weight of 610.0 carats, interspersed with ten sterling silver and double-row diamond roundels, and finished with a diamond toggle clasp, with an approximate total weight of 3.10 carats, l. 19”, 240.0 grams total weight. [500/800] Illustrated

715

164

716 Sterling Silver, Lapis Lazuli, Diamond and Sapphire Dangle Earrings, the earrings in three sections, the top section mounted with a faceted oval-shaped treated sapphire, with an approximate total weight of 0.30 carats for the pair, the top and bottom sections mounted with rose-cut diamonds, with an approximate total weight of 3.20 carats for the pair, approximate color light brown, approximate clarity I2‑I3, the two sections separated by a 19.0 mm round lapis lazuli bead, l. 2‑1/2”, 30.2 grams total weight. [500/800] Illustrated

717

722 718

717 Fourteen-Karat Yellow Gold and Lapis Lazuli Necklace, composed of approximately 1490.0 carats of 21.0 mm round lapis lazuli beads separated by twisted gold roundels and finished with a matching twisted fourteenkarat yellow gold clasp, l. 21”, 294.29 grams total weight. [500/800] Illustrated

720 Eighteen-Karat White Gold, Aquamarine and Diamond Ring, set with a sky-blue emerald-cut aquamarine, with an approximate weight of 3.63 carats, highlighted by fifty-two round brilliant-cut diamonds, with an approximate total weight of 0.57 carats, size 8, 6.6 grams total weight. [1800/2500] Illustrated 721 Fourteen-Karat White Gold, Aquamarine and Diamond Ring, mounted with a central emeraldcut aquamarine, with an approximate weight of 5.78 carats, flanked on either side by three round brilliant-cut diamonds, with an approximate total weight of 0.35 carats, approximate color G-I and clarity SI1‑SI2, size 6‑3/4, 6.0 grams total weight. [800/1200]

719

718 Fourteen-Karat White Gold, Aquamarine, Diamond and Sapphire Ring, the deep sky-blue oval faceted aquamarine, with an approximate weight of 17.11 carats, flanked by two pear-shaped sapphires, with an approximate total weight of 1.00 carat, and a mounting outlined by forty-four round brilliant-cut diamonds, with an approximate total weight of 0.50 carats, size 8, 9.0 grams total weight. [5000/8000] Illustrated 719 Beautiful Platinum, Eighteen-Karat White Gold, Aquamarine and Diamond Pin/Pendant, set with a cushion-cut aquamarine, with an approximate weight of 40.65 carats, with a border mounted with four marquisecut diamonds and twenty-three round brilliant-cut diamonds, with an approximate total weight of 0.82 carats, approximate color E-F and clarity VS2‑VS1, l. 1‑3/4”, 17.0 grams total weight. [2500/4000] Illustrated

720

722 Eighteen-Karat White Gold, Paraiba Tourmaline and Diamond Pendant with Chain, the pendant set with a pear-cut Paraiba tourmaline, with an approximate weight of 1.15 carats, surrounded by thirteen round brilliant-cut and three marquise-cut diamonds, with four diamond clusters accenting the necklace, composed of round singlecut diamonds, with an approximate total weight of 0.96 carats, approximate color D-E and clarity VS1‑SI1, l. 18”, 5.0 grams total weight. [6000/9000] Illustrated

165

723 Eighteen-Karat White Gold, Paraiba Tourmaline and Diamond Ring, mounted with a natural pear-cut Paraiba tourmaline, with an approximate weight of 2.11 carats, bordered by four pear-cut and twelve round-cut diamonds, with an approximate total weight of 0.97 carats, approximate color E-F and clarity SI1‑SI2, size 7‑1/2, 7.0 grams total weight. [7000/10000] Illustrated

725 Beautiful Victorian Ten-Karat Yellow Gold/Silver Top Turquoise and Pearl Bracelet, the hinged dome bracelet encrusted with approximately 525 turquoise cabochons and one mabe pearl measuring approximately 6.7 mm in diameter, inside circumference, 6‑5/8”, 45.8 grams total weight. [900/1200] Illustrated 726 Beautiful Eighteen-Karat Yellow Gold EtruscanStyle Turquoise Necklace, composed of twenty-nine trefoil pendants, each set with three 3.2 mm round turquoise cabochons, separated by eighteen-karat yellow gold serpents, l. 17‑1/2”, 44.8 grams total weight. [1200/1800] Illustrated 727 Two Pairs of Fourteen-Karat Yellow Gold and Turquoise Clip Earrings, comprising a pair of tassel ear clips, each set with eight 2.0 mm round turquoise cabochons, l. 2”, and a pair of retro-designed ear clips, each set with eight round turquoise cabochons ranging in size from 2.8 mm to 3.8 mm, l. 1‑1/4”, 30.6 grams total weight. [500/800]

723

724 Fourteen-Karat Yellow Gold, Black Opal and Diamond Pendant, in a modern design and bezel-set with an oval cabochon black opal, with an approximate weight of 5.75 carats, and two round brilliant-cut diamonds, with an approximate total weight of 0.10 carats, size 7/8” x 1‑5/8”, 5.8 grams total weight. [500/800] Illustrated

724

166

728 Unusual Art NouveauStyle Eighteen-Karat Yellow Gold, Enamel, Diamond and Pearl Ring, the round baroque pearl measuring approximately 13.2 mm in diameter, centered between six claw-like enamel leaves, set with seventy-five singlecut diamonds, with an approximate total weight of 0.35 carats, size 6‑1/2, 11.8 grams total weight. [700/1000] Illustrated 728

725

730 American Watch Company, Waltham Fourteen-Karat Yellow Gold Pocket Watch, the engine-turned and engraved hunter case 18 size pocket watch with eleven jewels, a stem wind and lever set “Wm. Ellery” full plate movement, the white porcelain dial and case signed “A.W. Co”, case, dia. 2‑1/8”, 128.7 grams total weight. [1000/1500]

726

731 Cartier Men’s Eighteen-Karat Yellow Gold Chronograph Wristwatch, the Tank Francaise chronograph with an eighteenkarat Cartier, Tank Francaise solid gold bracelet with a hidden double deployment clasp with Cartier markings, the rectangular case measuring 36.0 mm x 28.0 mm, without the crown, the crown set with a blue sapphire cabochon, with a quartz movement, the white silvered dial with black Roman numerals and a date dial at 12 o’clock, the case stamped “Cartier, water resistant, Swiss made, 18K, 1830”, serial number MG305XXX, inside circumference, 6‑1/2”, 141.9 grams total weight. [5000/8000] Illustrated

729 Baume and Mercier Fourteen-Karat Yellow Gold and Diamond Wrist Watch, the oval-shaped watch with a dial surrounded by twenty-four single-cut diamonds, with an approximate total weight of 0.50 carats, on a fourteen-karat Italian woven band with the Baume and Mercier logo on the clasp, the quartz movement stamped “Universal Geneve”, the case and dial signed “Baume & Mercier”, l. 6”, 18.0 grams total weight. [900/1200] Illustrated

729

731

167

733 Tiffany and Company Fourteen-Karat Yellow Gold Cufflinks and Studs, the cufflinks in a knot design and each double-sided, on an arched bar, together with four knotted studs, stamped “Tiffany & Co., 14K”, accompanied by two black suede Tiffany boxes, 32.0 grams total weight. [1500/2500] Illustrated

732

734 Eighteen-Karat Yellow Gold/Stainless Steel Men’s Rolex GMT-Master II, the mechanical automatic movement with the original black dial and bezel, with rapid set date change, the two-tone Rolex oyster bracelet with a wet suit expandable deployment clasp, reference #16713, serial #N203,xxx, ca. 1991, inside circumference 7‑7/8”, together with inner and outer boxes, 130.2 grams total weight. [3500/5000] Illustrated 735 Fourteen-Karat White Gold and White/Black Diamond Cufflinks, mounted with 254 white pave-set round brilliant-cut diamonds and 152 black pave-set round brilliant-cut diamonds, with an approximate total weight of 2.59 carats for the pair, l. 3/4”, 12.0 grams total weight. [2000/4000] Illustrated

733

735

736 Eighteen-Karat Lavender Jade and Diamond Cufflinks, composed of triangular-shaped lavender jade mounted with four bezel-set round brilliant-cut diamonds, with an approximate total weight of 0.12 carats for the pair, size 1/2” x 1”, 8.0 grams total weight. [1200/1800]

734

732 Fourteen-Karat Yellow Gold Cufflinks, in the form of tree trunks, l. 1”, 15.0 grams total weight. [1000/1500] Illustrated

168

737 Fourteen-Karat White Gold, Amethyst and Diamond Ring, mounted with a cushion-shaped amethyst, with an approximate weight of 5.00 carats, surrounded by 200 pave-set round brilliant-cut diamonds, with an approximate total weight of 3.21 carats, size 8‑1/4, 10.2 grams total weight. [2000/4000] Illustrated 738 Fourteen-Karat Yellow Gold/Sterling Silver, Amethyst and Diamond Pendant Necklace, the pendant composed of an oval faceted amethyst, with an approximate weight of 26.48 carats, surrounded by two tiers of round single-cut diamonds, with an approximate total weight of 1.19 carats, suspended from a fourteenkarat yellow gold two-strand chain, l. 19”, pendant, 1‑1/2” x 1‑1/4”, 11.1 grams total weight. [500/800] Illustrated

739 Ten-Karat Yellow Gold/Silver, Amethyst and Diamond Ring, the silver-top ring set with eighteen rosecut diamonds, with an approximate total weight of 0.55 carats, and a faceted emerald-shaped amethyst, with an approximate weight of 12.0 carats, size 9‑1/4, 9.8 grams total weight. [500/800] Illustrated

737

741

738 740 Fourteen-Karat Yellow Gold, Diamond, Amethyst and Sugilite Ring, the avant-gardedesigned ring set with five round brilliant-cut diamonds, with an approximate total weight of 0.25 carats, a round cabochon-cut amethyst, with an approximate weight of 1.50 carats, and a band of sugilite polished and shaped to the form of the ring, stamped “CH, 14 kt”, size 8, 10.6 grams total weight. [600/900] Illustrated

739

740

741 Eighteen-Karat Yellow Gold Omega Necklace and Pendant, the omega necklace with a four-stone slide pendant composed of a cushion-cut citrine, with an approximate weight of 3.13 carats, a cushion-cut amethyst, with an approximate weight of 1.34 carats, an oval-cut tourmaline, with an approximate weight of 2.87 carats, and a round-cut sapphire, with an approximate weight of 0.03 carats, pendant, l. 1‑1/2”, necklace, l. 16‑1/2”, 19.0 grams total weight. [700/1000] Illustrated

169

742 Eighteen-Karat Yellow Gold Bracelet and Ear Clips, the flexible link bracelet with a Greek-key design, l. 6‑5/8”, with a pair of earrings en suite, l. 1/2”, 30.0 grams total weight. [700/1000] Illustrated

742

743

743 Elizabeth Locke Eighteen-Karat Yellow Gold and Quartz Pendant with Chain, the teardrop-shaped pendant set with a faceted rock crystal quartz, stamped “18K” and with the Elizabeth Locke logo, suspended from an Italian fourteen-karat yellow gold snake-link chain, l. 18”, pendant, l. 1‑3/4”, 23.4 grams total weight. [700/1000] Illustrated 744 Eighteen-Karat Yellow Gold Necklace, designed with multi-textured diamond-shaped links, l. 18‑1/2”, w. 3/8”, 51.5 grams total weight. [900/1200] Illustrated

744 745

745 Eighteen-Karat Yellow Gold Bracelet, the flexible wave-link bracelet with a toggle clasp, l. 7‑3/4”, 58.5 grams total weight. [900/1200] Illustrated 746 European 19.2‑Karat Yellow Gold Necklace, in the Victorian style and with an illegible European hallmark, l. 17‑1/2”, 45.4 grams total weight. [1000/1500] 747 Fourteen-Karat Yellow Gold and Diamond Bracelet, the flexible “D” link design set with 468 table-cut diamonds, with an approximate total weight of 4.00 carats, l. 8‑1/4”, 15.4 grams total weight. [1800/2500] Illustrated

170

747

750

748

751

749

748 Eighteen-Karat Yellow Gold and Diamond Necklace, with a central fixed round pendant mounted with sixtyone round brilliant-cut diamonds, with an approximate total weight of 1.04 carats, approximate color E-F and clarity VS1‑VS2, and with an additional four bezel-set diamonds on the chain, with an approximate total weight of 0.10 carats, l. 18”, 3.0 grams total weight. [2000/4000] Illustrated 749 Victorian Fourteen/Eighteen-Karat Yellow Gold and Diamond Bangle Bracelet, the hinged bracelet mounted with a round-cut diamond, with an approximate weight of 0.16 carats, approximate color I and clarity SI1, inside circumference, 6”, 8.0 grams total weight. [700/1000] Illustrated

750 Fourteen-Karat Yellow/White Gold, Diamond and Black Onyx Ring, set with a European-cut bezel-set diamond, with an approximate weight of 0.40 carats, approximate color K and clarity SI1, bordered by a halo of black onyx, size 7‑3/4, 3.0 grams total weight. [700/1000] Illustrated 751 Victorian-Style Fourteen-Karat Yellow Gold and Diamond Bracelet, the hinged bangle bracelet set with thirteen single-cut diamonds, with an approximate total weight of 0.10 carats, inside circumference, 6‑3/4”, 23.6 grams total weight. [900/1200] Illustrated 752 Fourteen/Ten-Karat Yellow Gold and Diamond Cluster Ring, mounted with nine Europeancut diamonds, with an approximate total weight of 1.74 carats, approximate color I and clarity SI1‑SI2, size 7, 4.0 grams total weight. [900/1200] Illustrated

752

171

753 755 753 Judith Ripka Eighteen-Karat Yellow Gold, Pink Tourmaline and Diamond Earrings, each ear clip set with a round faceted pink tourmaline, with an approximate weight of 3.00 carats for the pair, accented by eight round brilliant-cut diamonds, with an approximate total weight of 0.33 carats for the pair, partially stamped “Judith Ripka 18K”, dia. 5/8”, 11.2 grams total weight. [700/1000] Illustrated

755 Fourteen-Karat Rose Gold, Morganite and Diamond Ring, mounted with a pear-shaped morganite, with an approximate weight of 6.01 carats, accented with approximately 110 round brilliant-cut diamonds, with an approximate total weight of 0.49 carats, size 8, 5.6 grams total weight. [1400/1800] Illustrated 756 Platinum, Coral and Diamond Earrings, each earring set with a pear-shaped natural pink coral cabochon, measuring approximately 22.0 mm x 12.5 mm, suspended from round brilliant- and single-cut diamonds, with an approximate total weight of 0.68 carats for the pair, l. 2‑1/4”, 17.3 grams total weight. [1800/2500]

754

754 Fourteen-Karat Rose Gold, Morganite and Diamond Pendant, the large oval faceted morganite, with an approximate weight of 14.20 carats, surrounded by forty-eight round brilliant-cut diamonds and an additional sixteen round brilliant-cut diamonds set in the bail, with an approximate total weight of 0.25 carats, l. 1‑1/4”, 6.1 grams total weight. [1800/2500] Illustrated

172

757

757 Collection of Eight Fourteen-Karat Yellow Gold Charms, including a martini shaker with a lid opening to reveal a red devil, a hut that opens to reveal an amorous couple, a rum bottle that opens to reveal an elephant, a pot with a lid that opens to reveal a witch, a phonograph that opens to reveal a turntable, a coffeepot, a drum with two drumsticks accented with pink coral beads, and a bat, size, 1/2” to 5/8”, 32.8 grams total weight. [700/1000] Illustrated

758

758 Collection of Nine Fourteen-Karat Yellow Gold Charms, including a hunter with a cap that opens to reveal a fox head, a moveable pelican eating a fish, a moveable rabbit eating a carrot, a moveable knight slaying a dragon, a moveable rabbit in a magician’s hat, a moveable seahorse, a camera that opens to reveal a bird, a nest with a moveable red bird, and an enamel mushroom, size, 1/2” to 1‑1/4”, 36.2 grams total weight. [700/1000] Illustrated

761

761 Victorian Eighteen-Karat Yellow Gold, Diamond and Glass Pendant, the Etruscan Revival pendant set with a 17.0 mm round glass cabochon inlaid with gold in a star design and set with twenty-five rose-cut diamonds, with an approximate total weight of 0.30 carats, with an applied rope-twist and bead border with seven tassels, the reverse made to accommodate a photo, l. 2‑7/16”, 17.8 grams total weight. [700/1000] Illustrated

760

759 Fourteen-Karat Yellow Gold Victorian “Grand Tour” Cameo Brooch, the large detailed mythological-carved cameo mounted in an oval frame, size 2” x 2‑3/8”, 23.2 grams total weight. [800/1200] 760 Three-Piece Sixteen/Fourteen-Karat Yellow Gold Cameo Group, including a Victorian sixteen-karat yellow gold brooch with a carved cameo of a young woman set in an oval frame highlighted with five small mabe pearls and two gold tassels, each with a seed pearl, size 1‑1/4” x 2”, matching cameo earrings set with five mabe pearls and six seed pearl tassels, with later screw-back ten-karat yellow gold ear clips, l. 1‑3/4”, and a fourteen-karat green gold carved hardstone maiden cameo, now mounted in a ring, size 7‑3/4, 30.6 grams total weight. [900/1200] Illustrated

762

762 Three-Piece Group of Fourteen-Karat Gold and Pearl Jewelry, including an octagon-shaped ring mounted with an oval-cut aquamarine, with an approximate weight of 1.00 carat, surrounded by forty seed pearls, size 8, together with a bee brooch with a large 8.5 mm baroque pearl for the body and forty small mabe pearls set in the wings, two round faceted rubies for the eyes and a round faceted emerald with an approximate weight of 0.10 carats for the thorax, size 1‑1/2” x 1”, and a sunburst brooch/pendant set with a full-cut diamond, with an approximate weight of 0.10 carats and sixty mabe seed pearls, dia. 1‑3/4”, 30.4 grams total weight. [700/1000] Illustrated

173

765 Fourteen-Karat White Gold, Diamond and Sapphire Ring, the wide tapering ring with four rows of thirty-two baguette-cut sapphires, with an approximate total weight of 3.75 carats, separated by three rows of fifty-three round brilliant-cut diamonds, with an approximate total weight of 0.67 carats, size 8, 7.5 grams total weight. [1200/1800] 766 Art Deco Fourteen-Karat White Gold, Diamond and Sapphire Pin, the pin with a filigree design and set with a round brilliant-cut diamond, with an approximate weight of 0.15 carats, flanked on either side by French-cut sapphires, with an approximate total weight of 0.20 carats, l. 2‑3/8”, 4.5 grams total weight. [500/800] Illustrated

763

763 Victorian-Style Gold Vermeil Diamond, Sapphire, Garnet and Pearl Brooch/Pendant, the oval brooch/ pendant set with an oval garnet cabochon, with an approximate weight of 5.00 carats, one white Europeancut diamond and one yellow round brilliant-cut diamond, each with an approximate weight of 0.25 carats, twelve Swiss-cut blue sapphires, with an approximate total weight of 0.33 carats, and fourteen freshwater pearls ranging in size from 2.0 mm to 5.1 mm in diameter, l. 1‑5/8”, 26.0 grams total weight. [900/1200] Illustrated

766

764 Eighteen/Fourteen-Karat White Gold, Sapphire and Diamond Jewelry Group, including a pair of fourteen-karat white gold earrings, each hinged hoop earring set with four round brilliant-cut diamonds, with an approximate total weight of 0.40 carats for the pair, and four square princess-cut sapphires, with an approximate total weight of 0.65 carats for the pair, dia. 3/4”, and an Art Deco-style ring set with an oval faceted sapphire, with an approximate weight of 0.50 carats, six Frenchcut sapphires, with an approximate total weight of 0.10 carats, and four round brilliant-cut diamonds, with an approximate total weight of 0.02 carats, size 5‑1/4, 6.2 grams total weight. [600/900]

174

767 Eighteen-Karat White Gold, Natural Sapphire and Diamond Ring, mounted with an oval-cut GIA certified natural blue sapphire, with a weight of 4.25 carats, GIA report #1176185674, accented by eighty-eight round brilliant-cut diamonds, with an approximate total weight of 1.11 carats, size 7‑1/2, 5.7 grams total weight. [6000/9000] 768 Pair of FourteenKarat White Gold and Diamond Pendant Earrings, each earring set with three round brilliantcut diamonds, with an approximate weight of 0.20 carats each, and sixty-three round brilliantcut diamonds, with an approximate total weight of 2.60 carats for the pair, approximate color H-I and clarity VS1‑SI1, l. 1‑7/8”, 10.2 grams total weight. [4000/7000] Illustrated

768

769 Fourteen-Karat White Gold, Ruby and Diamond Pendant with Chain, the pendant mounted with an oval-cut treated ruby, with an approximate weight of 0.82 carats, accented with thirty-eight round brilliant-cut diamonds, with an approximate total weight of 0.22 carats, approximate color G-I and clarity VS1‑SI1, suspended from a fourteen-karat white gold chain, l. 16”, pendant, l. 1‑1/2”, 1.0 gram total weight. [2000/4000] Illustrated 770 Fourteen-Karat White Gold, Ruby and Diamond Dangle Earrings, each mounted with an oval-cut treated ruby, with an approximate total weight of 1.25 carats for the pair, and seventy-six round brilliantcut diamonds, with an approximate total weight of 0.55 carats for the pair, approximate color G-I and clarity VS2‑SI1, l. 1‑1/2”, 3.0 grams total weight. [3500/5000] Illustrated

770

773 Eighteen-Karat White Gold and Diamond Ring, with a central round brilliant-cut diamond, with an approximate weight of 1.50 carats, approximate color M and clarity I1, the mounting in an intertwined design and set with 106 round brilliant-cut diamonds, with an approximate total weight of 0.40 carats, size 7‑1/2, 5.8 grams total weight. [3500/5000] 774 Fourteen-Karat White Gold, Ruby and Diamond Ring, mounted with an oval-cut treated ruby, with an approximate weight of 1.48 carats, and seventy-eight round brilliant-cut diamonds bordering the ruby and on the ring shank, with an approximate total weight of 1.48 carats, approximate color E-G and clarity VS1‑SI1, size 7, 5.0 grams total weight. [3500/5000] Illustrated

769

771 Eighteen-Karat White Gold, Ruby and Diamond Earrings, each earring mounted with an oval-cut treated ruby, with an approximate total weight of 1.65 carats for the pair, and a halo of twenty-four round brilliant-cut diamonds, with an approximate total weight of 0.50 carats, approximate color G-I and clarity VS1‑SI1, l. 1/2”, 4.0 grams total weight. [2000/4000] 772 Eighteen-Karat White Gold, Ruby and Diamond Ring, mounted with an oval faceted treated ruby, with an approximate weight of 2.38 carats, highlighted by two pear-shaped diamonds and twenty-two round brilliant-cut diamonds, with an approximate total weight of 0.57 carats, size 8, 3.9 grams total weight. [1200/1800]

776

775 Eighteen-Karat White Gold, Ruby and Diamond Ring, mounted with an oval-cut treated ruby, with an approximate weight of 1.63 carats, and forty-seven round brilliant-cut diamonds in a halo around the ruby and down the ring shank, with an approximate total weight of 0.62 carats, approximate color G-I and clarity VS2‑SI1, size 7‑1/4, 4.0 grams total weight. [4000/7000]

774

776 Eighteen-Karat White Gold and Diamond Ring in the Art Deco Style, the ring set with a central round brilliantcut diamond, with an approximate weight of 1.07 carats, approximate color G and clarity I1, accented by thirty-six round brilliant-cut diamonds, with an approximate total weight of 0.41 carats, size 7‑1/2, 5.3 grams total weight. [4500/7000] Illustrated

175

778 Platinum, Tanzanite and Diamond Earrings, set with marquise-cut tanzanites, with an approximate total weight of 10.21 carats for the pair, and ninety round brilliant-cut diamonds, with an approximate total weight of 1.26 carats for the pair, l. 1‑1/2”, 9.6 grams total weight. [7000/10000] Illustrated

779

777

777 Fourteen-Karat White Gold and Diamond Cross Pendant, the large cross invisibly set with 320 table-cut diamonds, with an approximate total weight of 4.50 carats, l. 3‑1/8”, 28.0 grams total weight. [3500/5000] Illustrated

779 Fourteen-Karat White Gold, Tanzanite and Diamond Bracelet, the flexible link bracelet set with thirteen navette-shaped treated tanzanites, with an approximate total weight of 13.25 carats, separated by thirteen round brilliant-cut diamonds, with an approximate total weight of 0.25 carats, l. 7‑1/2”, 12.0 grams total weight. [2500/4000] Illustrated

780

778

176

780 Platinum, Tanzanite and Diamond Ring, mounted with a triangular-cut GIA certified tanzanite, with a weight of 6.65 carats, GIA report #2161950014, and thirty-one round brilliant-cut diamonds bordering the tanzanite and on the ring shank, with an approximate total weight of 0.75 carats, approximate color D-E and clarity VS1‑VS2, size 7‑3/4, 7.74 grams total weight. [4500/7000] Illustrated

783 Monumental English Oak Refectory Table, 19th century, in the Elizabethan style, the long rectangular top above a fan-carved frieze, raised on foliate-carved cupand-cover legs over floral-carved blocks, joined by a box stretcher and ending in bun feet, h. 30‑1/2”, w. 35‑1/2”, l. 108”. [700/1000] Illustrated

781 781 After Giovanni Francesco Barbieri “Guercino” (Italian, 1591‑1666), “The Burial and Reception into Heaven of St. Petrunilla”, probably 19th century, oil on canvas, 53‑1/2” x 36”. Presented in a 19th-century deeply molded giltwood and gesso frame. [5000/8000] Illustrated

782

782 Italian School (18th Century), “Portrait of St. Jerome in his Study”, oil on canvas laid down on wood panel, unsigned, 47” x 36‑1/2”. Framed. [4000/7000] Illustrated

784

784 Pair of Unusual Continental Oak Armchairs, late 19th century, each with a deeply carved face for a crest, above a back carved to simulate a spine, with downswept arms, the wooden seat raised on turned and tapering circular legs joined by an H-form stretcher and ending in block feet, h. 42”. [500/800] Illustrated

783

177

785

787

786 785 After Jacopo Robusti Tintoretto (Italian, 1518‑1594), “The Presentation of the Virgin”, oil on canvas, 12” x 14”. Attractively framed. [500/800] Illustrated 786 Attributed to Hendrik van Minderhout (Dutch, 1632‑1696), “A Mediterranean Harbor Scene”, oil on canvas, 32‑1/2” x 47‑1/4”. Framed. [1500/2500] Illustrated 787 Pair of Italian Neoclassical Parcel-Gilt Carved Wood and Metal Altar Sticks, second quarter 19th century, on tripartite bases with scrolled feet, the tapered columnform standards with gilt-leaf-molded bases and capitals, the top set with ruffled metal drip pans and pricket candle holders, h. 45”, dia. 12‑1/2”. [1000/1500] Illustrated 788 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. [1000/1500] Illustrated

178

788

789 Carved, Painted and Gilded Wood Figure of God Supporting the Deceased Jesus, fourth quarter 19th century, probably Italian, God in gilt robes with flowing white beard and hair, wearing a crown, and Jesus with a crown of thorns, h. 25”, w. 9‑1/2”, d. 5‑1/2”. [1000/1500] Illustrated

792 Large Baronial-Style Mahogany and Parcel-Gilt Triple-Back Sofa, late 19th century, with a triple arched and padded back, carved and scrolled arms, and raised on cabriole legs joined by elaborately carved stretchers, h. 59”, w. 72”, d. 30”. [2000/4000] Illustrated 793 Northern Italian Rococo Giltwood Mirror, fourth quarter 18th century, the coved frame with scrollwork shells and diapered panels, inset with mirrored panels, the arched crest with pierced grapes flanking a bouquet of flowers set in pierced scrolls, set with an antique mirror plate, h. 34‑3/4”, w. 23”. [500/800] Illustrated

790 Group of Three Latin American Carved Santos Figures, late 18th/early 19th century, including figures of St. Agnes, her hands clasped, h. 22”, w. 7”, St. Anthony of Padua on an integral hexagonal pedestal, h. 19‑1/2”, w. 6”, and St. Joseph, father of Jesus, h. 14‑3/4”, w. 5‑3/4”. [800/1200] Illustrated 791 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. [600/900]

793

794 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. [2000/4000] Illustrated 790 794

789

792

179

795 Pair of Gothic-Style Gilt-Bronze and Enamel Pricket Candlesticks, fourth quarter 19th century, probably French, resting on gargoyle-molded feet, the spherical bases set with enameled roundels, the standards with enamel panels terminating in Corinthian capitals, the large drip pans with molded vines and leaves, h. 29‑1/4”, dia. 9”. [3000/5000] Illustrated

798

797 Continental Mahogany and Oak Coffer, 19th century, the rectangular top hinged and opening to a storage space, with a central inlaid heraldic shield flanked by rampant lions, with smaller shields to either side, the front with an elaborate brass escutcheon featuring addorsed cherubs and other mythical creatures, also with three inlaid shields, raised on squat bun feet, h. 26‑1/4”, w. 60”, d. 27”. [800/1200] Illustrated

795

796 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. [600/900] Illustrated

798 Continental Patinated Bronze Twelve-Light Chandelier, second quarter 20th century, in the rococo taste, the leaf-molded stem with tiered sprays of scrolls issuing conforming arms with swirled candle cups, electrified, h. 26‑1/2”, dia. 31‑1/2”. [1000/1500] Illustrated 799 Royal Berlin Hand-Painted Porcelain Plaque of Ruth, ca. 1900, German, Ruth depicted in the wheat fields, where she met Boaz in the biblical story, marked with an impressed scepter and “KPM”, in a period Victorian burl walnut frame with a gilt liner, plaque, h. 10‑1/4”, w. 6‑1/4”, overall, h. 16‑1/2”, w. 14‑1/2”. [2000/4000] Illustrated 800 Continental KPM-Style Porcelain Plaque, first half 20th century, probably Krautzberger, Mayer & Purkert of Wistritz, Bohemia (now Czech Republic), the plaque painted after Emil Teschendorff’s (German, 1833‑1894) “Oedipus and Antigone,” marked with a palette-form decorator’s mark and titled on the reverse, 7” x 5”, presented in a giltwood frame with a velvet matte, overall, h. 14‑1/2”, w. 12”. [600/900] Illustrated

797

180

801 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. [500/800]

799

802

802 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. [1000/1500] Illustrated

800

803 Near Pair of Italian Oak Hall Chairs, one early 18th century, the other late 19th century, in the Renaissance style, the shaped back with a curved crest above a pierced shield-, sword- and cornucopia-carved splat, flanked to either side by horn-blowing putti, above a shaped wooden seat with a relief-carved urn and scrolling foliate patterns, raised on a deeply carved front support centered by a masque carving and flanked by winged beasts, raised on in-scrolled feet, one h. 47”, w. 33”, d. 18”, the other h. 47”, w. 32”, d. 17”. [800/1200] Illustrated

803

796

181

John Prescott Knight was a prolific portrait artist, who had a distinguished career with the Royal Academy in London, painting portraits of the British aristocracy. In 1823, he entered the school after apprenticeships with George Clint and Henry Sass. He went on to specialize in portraiture,making his debut in 1824 with subsequent works being exhibited in 1828 at the British Institute. In 1836 and 1844, respectively, he was appointed Associate and Academician of the Royal Academy, followed by a Professorship from 1848‑1873 in Perspective. He also served as the Secretary of the Academy for twenty-six years, before he retired in 1873 with a life pension from the trustees. The portrait offered here of Esquire Charles Dixon reflects Knight’s mature style, characterized by near life-size portraits in three-quarter or frontal poses with finely delineated facial features centered by bold forms set against sparsely decorated tertiary backdrops, which the London Art Journal declared in its review of the painting to be a “great production of reality and power” when it was exhibited in 1839 at the Royal Academy. Charles Dixon, like many of Knight’s sitters, exuded the same mien as his portrait. Dixon was a wealthy London merchant and philanthropist, who founded Stansted College in Sussex for his less fortunate retired brethren with limited means. Reference: “The Royal Academy Art Exhibition”. London Art Journal. June 1, 1859, p. 163. 805 Victorian Rosewood and Mahogany Loo Table, third quarter 19th century, the tilting oval top with a molded edge and raised on a bulbous foliate-carved standard to four splayed legs headed by fret carving and ending in like-carved scrolled toes on casters, h. 29‑1/2”, w. 43‑1/2”, l. 56‑1/2”. [700/1000] Illustrated 804

804 John Prescott Knight (British, 1803‑1881), “The Late Charles Dixon”, oil on canvas, unsigned, handwritten label en verso inscribed with the sitter’s identity, the artist and his address at “20 James Street, Buckingham Palace”, 68‑1/4” x 40‑3/4”. Presented in an elaborate giltwood frame. Exhibited: The Royal Academy of Arts, London, 1859, entry number 39. Published: Graves, Algernon. The Royal Academy of Arts: A Complete Dictionary of Contributors,, vol. 4. London. [5000/8000] Illustrated 805

182

809

806

806 Victorian Carved Mahogany Armchair, third quarter 19th century, in the Irish Georgian taste, the shaped eagle-carved crest above an oval paneled splat with side eagle’s claw carving, joined by shaped arms on eagle-head uprights to the padded scalloped seat, raised on cabriole legs headed by foliate mask carving and ending in balland-claw feet, h. 39‑1/2”. [1000/1500] Illustrated 807 Set of Seven English Porcelain Hand-Painted Topographical Cabinet Plates, ca. 1900, the cobaltground borders with gilt scroll-molded edges and raised gilt flowers, framing views in Great Britain, each signed “H. Harrison”, marked by the retailer, Ovington Brothers, New York, and also “H & Co., England”, dia. 9‑1/2”. [800/1200] Illustrated 808 Handsome Pair of Anglo-Irish Cut Glass Butter Tubs, first quarter 19th century, in the strawberry pattern, with canted corners and a sawtooth rim, each with ground pontil, h. 4”, w. 5‑3/4”, d. 3‑3/4”. [500/800] 809 Waterford “Powerscourt” Cut Crystal Twelve-Light Chandelier, 20th century, Irish, signed, the prism-hung bowl-form base with molded arms in two tiers, each set with prism rings and drip pans, the double trumpet-form standard terminating in a prism-hung canopy, h. 38‑1/2”, dia. 33”. Provenance: Private collection, Baton Rouge, Louisiana. [2500/4000] Illustrated

807

810 Victorian MahoganyCased Drop-Dial Wall Clock, fourth quarter 19th century, Welsh, with an octagonal door covering the painted metal dial, marked “Cardiff” and with an indistinct maker’s name, h. 47”, w. 15‑3/4”, d. 7”. [500/800] Illustrated

810

183

811 Edwardian Mahogany and Satinwood Tiered Occasional Table, early 20th century, the banded oval top within a full shaped gallery and centered by a shell inlay, joined by square supports to a like lower shelf, raised on splayed square legs, h. 29‑1/2”, w. 26‑1/2”, d. 18”. [800/1200] Illustrated

813 Edwardian Satinwood Sideboard, early 20th century, in the George III style, the bowed top with starburst and half-patera inlay, above a conforming case fitted with a central cutlery drawer flanked to either side by a cupboard faced as two graduated drawers, all banded, raised on tapering square legs ending in spade feet, h. 36‑1/2”, w. 54”, d. 21”. [1500/2500] Illustrated

814

811

814 Unusual English Boullework and Brass Postage Scale, third quarter 19th century, London, the boullework base with brass scrollwork inlaid on tortoiseshell, the scale resting on a pierced stand, with postage rates engraved on the letter plate opposite the weight holder, and with numerous weights, signed “S. Mordan & Co.”, h. 5‑1/2”, w. 8‑1/4”, d. 5”. [800/1200] Illustrated

812 George II-Style Walnut Dining Table, late 19th century, the rounded top with a molded edge, bisected and opening by crank action to accommodate two leaves, above a paneled frieze, raised on cabriole legs headed by shell carving and ending in padded feet, h. 29‑1/2”, w. 50”, l. 60”, extended l. 96”. [1200/1800]

813

184

817

815

815 Exceptional German Marquetry-Inlaid Walnut Fitted Games Chest, third quarter 19th century, in a Baroquestyle chest, the front with panels depicting symbols from playing cards and chess pieces with sprigs of flowers, the top inlaid with a game board, a bowknot holding chess pieces, sprigs of flowers and a banner reading “Schach”, the interior with a fitted cover holding a game board, and a folding board in the lower section for other games, the fitted top tray holding chess pieces, dominoes and dice, lifting to reveal a card press, dice cup, bowls to hold markers, and card cases, now holding bone markers in various colors, the sides fitted with molded bronze carrying handles, h. 9”, w. 18‑1/2”, d. 13”. [1800/2500] Illustrated

817 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. [500/800] Illustrated

816 Victorian Pine Campaign Chest, third quarter 19th century, in two parts, the upper portion with two short drawers over a long drawer, and the lower portion fitted with two long drawers, the whole fitted with brass hardware, handles and accents in the traditional manner, h. 36‑1/4”, w. 40”, d. 18”. [500/800] Illustrated

818

816

818 French Beechwood Articulated Artist’s Lay Figure, the female figure with a bun-form hairstyle, h. 32”, w. 10‑1/2”, d. 4‑3/4”. [1000/1500] Illustrated

185

Sixty-Three Volumes

819

Twenty-Four Volumes

820

Fifteen Volumes

Seventeen Volumes

186

822

823

819 Sixty-Three Volumes of Italian Law Books, 1921‑1963, Rome, including thirty-nine annual volumes of Le Leggi ei Decreti, 1921‑1962, the register of legislative acts and executive decrees, various octavo sizes, the smallest 7‑1/2” x 6”, the largest 9‑1/2” x 6‑1/2”, and twenty-four annual volumes of Il Foro Italiano, 1936‑1963, the register of criminal, civil, administrative, community and foreign court decisions, quarto, 12‑1/2” x 9”, all in half cream buckram on textured burgundy paper boards, the spines with red and green panels, gilt lettering, and black rule and decoration. Scattered volumes lacking; detailed list of volumes available on request. [900/1200] Illustrated 820 William Makepeace Thackeray (1811‑1863), “Works”, London: Smith, Elder, 1878‑1879, complete in twenty-four volumes, number 709 of 1000, crown quarto, in full tan tree leather with gilt dentelle and banding, the spines with raised bands, red and green panels, and gilt lettering, rule and decoration, all edges cut and gilt, with marbled endpapers, 10‑1/2” x 7‑3/4”. [800/1200] Illustrated 821 Tobias Smollett (1721‑1771), “History of England”, London: T. Cadell & R. Baldwin, 1790, complete in five volumes, the “new” edition, octavo, in full tan marbleized leather, the spines with red panels and gilt rule and lettering, the edges cut and tinted, with armorial bookplate of Sir John Wolfe Barry (1836‑1918), architect of the Tower Bridge, 8‑3/4” x 5‑3/4”. [500/800] 822 Oscar Wilde (1854‑1900), “Works”, Boston/New York: C. T. Brainard, 1909, complete in fifteen volumes, the “Edition de Luxe”, unnumbered of 1000, octavo, in red half leather with gilt fillet on red cloth, the spines with raised bands and gilt lettering, rule and decoration, the top edges cut and gilt, with marbled endpapers, 8‑1/8” x 6”. [1200/1800] Illustrated 823 George Gordon, Lord Byron (1788‑1824), “Works”, London: John Murray, 1832‑1833, complete in seventeen volumes, with engravings by William Finden (1787‑1852), sextodecimo, in black half leather with embossed fillet on marbled boards, the spine with raised bands, red and brown panels, and gilt lettering, rule and decoration, with cut and marbled edges and marbled endpapers, 6‑1/2” x 4‑3/8”. [1200/1800] Illustrated

825

824 English Zebrawood Perfume Case, third quarter 19th century, mounted with a Jasperware plaque depicting “The Cupid Seller”, the case mounted with Jacobean-style brass strapwork, the velvet-lined compartmentalized interior with four cut crystal bottles, with brass caps and interior glass stoppers, which are likely original, h. 4‑3/4”, w. 5‑3/4”, d. 5‑3/4”. [600/900] 825 Edwardian Rosewood Hunt Table, late 19th century, of semicircular form, the banded top with an inset leather surface, above a paneled frieze with brass banding, raised on tall ribbed sabre legs, h. 29”, w. 59”, d. 36”. [800/1200] Illustrated

826

827 Edwardian Japanned Mantel Mirror in the Queen Anne Style, first quarter 20th century, decorated with raised gilt pagodas, Mandarin figures and boats on a black ground accented with cinnabar red, the rectangular mirror with a bolection-molded frame with ogee-curved sides over a lower flat panel, h. 36‑1/2”, w. 52”. [700/1000] Illustrated

828

827

826 Victorian-Style Bronze and Glass Nine-Light Billiards Table Light, 20th century, the spiral-fluted center standard holding a socket set with a frosted flame-form shade, set in a scrolled frame supporting three lights on scrolled leaf-molded arms on each end, h. 44”, w. 41‑1/2”, d. 15‑1/4”. [800/1200] Illustrated

828 Pair of Rare Wedgwood Auro Basalt Vases, ca. 1880s, English, decorated with raised gilt and bronze lilies and leaves, the vases inscribed “Lilium Auratum S. 513” on the base, along with an impressed “WEDGWOOD”, h. 9‑1/4”, dia. 4‑1/4”. [1500/2500] Illustrated

187

829 Pair of English Hand-Painted Papier-Mache Tabourets, mid-19th century, on lobed bases with vasiform feet, and tapered pillar supports, all decorated in gilt strapwork and flowers, the rectangular tops with shaped edges and carefully painted genre scenes depicting figures in 17th-century costume, framed with gilt scrollwork and flowers, h. 21‑1/2”, w. 17”, d. 12”. [1500/2500] Illustrated

829

830

830 Handsome English Tole-Peinte Tea Canister, fourth quarter 19th century, with a black ground, the oval front panel with carefully rendered Chinese figures framed with gilt scrollwork, the canted door inscribed “Oolong”, for the tea variety held within, h. 16‑1/2”, w. 12‑1/4”, d. 15‑1/2”. [600/900] Illustrated

829 detail

831 Middle Eastern Cast and Turned Bronze Oil Lamp, supported on a baluster-turned standard with a turned drip pan hanging under the lamp, h. 30‑3/4”, dia. 12‑1/2”. [600/900] 832 Pair of Unusual Pottery Urns on Wooden Stands, second quarter 20th century, the vases decorated with birds and flowers of Chinese export inspiration, with upper and lower trim matching the stands, the tapered wooden stands with painted decoration in the Moorish style, overall, h. 61‑3/4”, w. 17‑1/2”, d. 17‑1/2”. [3500/5000] Illustrated

829 detail

188

833 Pair of Chinese Export Chien-Lung Covered Garniture Vases, fourth quarter 18th century, the faceted, tapered vases decorated with panels of well-painted polychrome figures in gardens against a ground of gilt scrollwork, panels of orange landscapes decorating the necks, with matching covers with gilt foo dog knops, h. 14”, w. 4‑1/2”, d. 3‑1/2”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [1200/1800] Illustrated

835

832

834

835 Pair of Chinese Export Porcelain Candlesticks, fourth quarter 19th century, in the “Butterfly” pattern with green trim on a parcel-gilt ground, h. 8”, dia. 4”. [600/900] Illustrated 833

834 Two Pieces of Chinese Export Porcelain, fourth quarter 18th century, comprising a punch bowl decorated with panels of figures in cityscapes alternating with floral panels against a rich orange and gilt diapering, on a contemporary hardwood stand, h. 5‑3/4”, dia. 10”, and a helmet-form cream jug decorated with Mandarin figures in a garden against an unusual orange and black diapering, h. 6‑1/8”, w. 5‑1/2”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [700/1000] Illustrated

836 Stunning Chinese Famille Rose Porcelain Phoenix Lamp, Republic 836 period (1912‑1949), composed of an indented base supporting a reticulated globular central section with three openwork panels of phoenix birds among scrolling foliage and having a central tubular holder and topped by a shaped finial with gilt dragon handles, the lamp decorated in mille fleur decoration, the base with a four-character Qianlong mark in overglaze enamels surrounded by a turquoise ground, h. 8‑3/4”. [500/800] Illustrated

189

837 Chinese Export Famille Rose Oval Platter, first quarter 19th century, decorated with an unusual border of Mandarin figures tending fenced farm animals, framing a central panel depicting two deer on a coastline with a pair of crabs in the water, w. 11‑1/2”, d. 8‑1/2”. [500/800] Illustrated

840

837

841 Two English Cast Iron Pub Tables, ca. 1900, each with a circular marble top over a conforming apron and raised on three legs, one table modeled as a classical caryatid with a shield, the other with a classical masque, its low shelf with the molded maker’s label: “Gaskell & Chambers Ltd Birmingham”, h. 29”, dia. 20‑1/2” and 22‑1/2”. [800/1200] Illustrated

838 Unusual Small Three-Piece Chinese Export Porcelain Garniture, mid-18th century, in the famille rose palette, including a pair of beaker vases, h. 7‑1/4”, dia. 3‑1/4”, and a ginger jar, h. 8‑1/2”, dia. 3‑1/4”, all decorated with hawks perched in prunus branches and unusual borders of pale blue clobbered against gilt scrollwork. [500/800]

841

839

839 Handsome Chinese Export Famille Rose Platter, ca. 1800, with notched corners and lushly decorated with raised flowers, a fence to the right side and a gilt stag to the left, w. 12‑3/4”, d. 9‑3/4”. [500/800] Illustrated 840 Set of Five Chinese Export Porcelain Dinner Plates in the Famille Rose Palette, third quarter 18th century, the borders decorated with gilt scrolled panels of roses and checking against pink diapering, the center panels decorated with bouquets of pink and mauve flowers held with gilt ribbons, dia. 9”. [500/800] Illustrated

190

842

844

843

842 Pair of Painted Metal and Marble-Top Tabourets, the bases in the form of seated whippets, h. 31”, dia. 14‑1/2”. [500/800] Illustrated 843 Cast Stone Garden Figure Personifying Summer, second quarter 20th century, probably English, the figure a lady in 18th-century costume with a basket of flowers, h. 39‑3/4”, w. 25‑3/4”, d. 17‑3/4”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [600/900] Illustrated

845

845 French Patinated Bronze Figure of a Young Boy, fourth quarter 19th century, the boy, said to represent Prince Albert, modeled standing, his hands in his pockets and wearing a sailor-type shirt, a dagger hanging from his waist, signed “G. Gueyton”, h. 20”, w. 6‑3/4”, d. 3‑1/2”. [2500/4000] Illustrated

846

844 Cast Stone Garden Figure Personifying Winter, second quarter 20th century, probably English, the figure of a gentleman in 18th-century costume warming his hands at a fire pot, h. 38‑1/4”, w. 29‑3/4”, d. 16‑3/4”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [600/900] Illustrated

847

846 Set of Fourteen Crown Staffordshire Demitasse Cups and Saucers, ca. 1930‑1962, decorated with scrollwork and flowers on a maroon ground, pattern A13865, each with a printed mark, h. 2‑1/4”, dia. 5”. [600/900] Illustrated 847 Victorian Mahogany Center Table, third quarter 19th century, the circular top with rosewood banding and raised on a large bulbous standard to four splayed legs headed by stylized foliate carving and ending in carved paw feet on casters, h. 29‑1/2”, dia. 61”. [1500/2500] Illustrated

191

848 Ida Rittenberg Kohlmeyer (American/ Louisiana, 1912‑1997), “Untitled from the Cloistered Series”, ca. 1968‑1969, oil on canvas, signed lower left, 40” x 49‑3/4”. Framed. [10000/15000] Illustrated

848

849 Ida Rittenberg Kohlmeyer (American/ Louisiana, 1912‑1997), “Untitled”, ca. 1963, oil on canvas, signed lower right, 68‑1/2” x 68‑1/2”. Presented in a period frame. [30000/50000] Illustrated

849

192

852 Otis Huband (American/Texas, b. 1933), “Three Figures”, 2013, oil and oil stick on canvas, pencil-signed and dated lower right, titled en verso, 57‑1/2” x 46”. Framed. [3000/5000] Illustrated

850 850 Mildred “Millie” Wohl (American/New Orleans, 1906‑1977), “Untitled Abstract”, oil on canvas, signed en verso, 50” x 40”. Presented in a period gallery frame. [2500/4000] Illustrated 852 853 George Bauer Dunbar (American/Louisiana, b. 1927), “Bridge”, gold leaf over red clay, signed lower right, 23‑3/4” x 28”. Framed. [7000/10000] Illustrated

851 851 Ray Donley (American/Texas, b. 1950), “Untitled”, 2005, oil on canvas, signed and dated lower right and en verso, 24” x 24”. Unframed. [1500/2500] Illustrated

853

193

856 Otis Huband (American/Texas, b. 1933), “Figural Abstraction”, 2011, oil and oil stick on canvas, pencilsigned and dated lower right, 57‑1/2” x 42‑1/2”. Framed. [3000/5000] Illustrated

854 854 George Bauer Dunbar (American/Louisiana, b. 1927), “Heart”, palladium leaf over black and yellow clay, signed lower center, 22‑1/2” x 21‑7/8”. Framed. [5000/8000] Illustrated

856 857 Sandra Lerner (American/New York, Contemporary), “Untitled Abstract”, 1982, oil and mixed media on canvas, signed and dated en verso, 85” x 79‑1/2”. Provenance: Private collection, Houston, Texas. [5000/8000] Illustrated

855 855 Margaret Evangeline (American/Louisiana, b. 1943), “Camille Series #1”, 1996, oil emulsion on board, a diptych, each panel signed and titled en verso, each with a “Galerie Simonne Stern” label, overall, 80” x 72”. [4000/7000] Illustrated 857

194

858 Bernard Mattox (American/Louisiana, b. 1954), “Object/Mirror/ Subject Series #8”, 2014, oil and mixed media on plywood, signed lower right, titled and dated on “HooksEpstein Galleries, Houston, TX” label en verso, 48” x 48”. Provenance: Hooks-Epstein Galleries, Houston, Texas. [1000/1500] Illustrated 859 Bernard Mattox (American/Louisiana, b. 1954), “Object/Mirror/ Subject Series #7”, 2014, oil and mixed media on plywood, unsigned, titled and dated on “Hooks-Epstein Galleries, Houston, TX” label en verso, 48” x 36”. Provenance: Hooks-Epstein Galleries, Houston, Texas. [800/1200] Illustrated

858

860

859

860 Paulette Tokar Whiteman (American/ Contemporary), “Cassidy’s House”, 1985, mixed media on paper, pencil-signed and dated lower right, titled lower left, sight 10‑1/2” x 9‑1/2”. Glazed, matted and framed. [1200/1800] Illustrated

195

861 Sandy Chism (American/ New Orleans, 1957‑2013), “In Between”, oil on canvas, 45‑1/2” x 56”. Unframed. Provenance: Michael Plante, New Orleans, Louisiana. [4000/7000] Illustrated

861 862 Jere Allen (American/Mississippi, b. 1944), “Figural Abstraction”, oil on canvas, signed lower midleft, 60” x 48”. Framed. [1000/1500] Illustrated

863

862

196

863 Ray Donley (American/Texas, b. 1950), “Untitled”, 1993, oil on canvas, signed and dated lower left and en verso, 24” x 24”. Unframed. [1500/2500] Illustrated

864 Scott Gordon (American/Texas, b. 1959), “The Blue in Byzantium”, 2008, mixed media collage, signed and dated en verso, titled on “Hooks-Epstein Galleries, Houston, TX” label on frame backing, 25” x 20‑3/4”. Glazed in a float mount frame. Provenance: Hooks-Epstein Galleries, Houston, Texas. [800/1200] Illustrated

866 Sam Gummelt (American/Texas, b. 1944), “Untitled, #19”, 1980, oil on glass, verso with “Seeman-Robinson, Inc., Houston, Texas” and “Jamie C. Lee Gallery, Houston, Texas” labels, 14‑1/2” x 13”. Glazed and framed. [1000/1500] Illustrated

867 Sam Gummelt (American/Texas, b. 1944), “Untitled, #18”, 1980, oil on glass, verso with “Seeman-Robinson, Inc., Houston, Texas” and “Jamie C. Lee Gallery, Houston, Texas” labels, 14‑1/2” x 13”. Glazed and framed. [1000/1500] Illustrated

867 868 Hebert Richard Mears (American/ Texas, 1923‑1999), “Abstract”, oil on canvas, signed en verso, 30” x 40”. Presented in a period giltwood frame. [1000/1500] Illustrated

864 865 Jacqueline Humphries (American/New Orleans/ New York, b, 1960), “Untitled”, 2002, mixed media on paper, pencil-signed and dated lower right, sight 10‑1/2” x 13‑1/2”. Matted, glazed and framed. provenance; Private collection, New Orleans, Louisiana. [800/1200] Illustrated

865

866

868

197

870

874

869 Semi-Antique Caucasian Carpet, 3’ 11” x 8’. [500/800] 870 Antique Tabriz Carpet, 8’ x 11’. [700/1000] Illustrated 871 Turkish Angora Oushak Runner, 2’ 4” x 21’ 1”. [600/900] Illustrated 872 Turkish Angora Oushak Carpet, 11’ 6” x 14’ 6”. [1800/2500] 873 Turkish Angora Oushak Carpet, 9’ x 12’. [1200/1800] Illustrated 874 Antique Feraghan Carpet, 8’ x 11’ 9”. [1000/1500] Illustrated

873 871

198

878 879

875 875 Antique Mashad Carpet, 8’ 10” x 13’ 9”. [1000/1500] Illustrated 876 Turkish Angora Oushak Carpet, 8’ 3” x 10’. [800/1200] Illustrated 877 Feraghan Sarouk Carpet, 4’ x 7’. [500/800] 878 Antique Feraghan Sarouk Carpet, late 19th century, 8’ x 10’ 4”. [2500/4000] Illustrated

876

881

879 Antique Persian Kashan Silk Carpet, late 19th century, 7’ 1” x 10’ 7”. Provenance: The Flatt Collection. [5000/8000] Illustrated 880 Semi-Antique Kurdish Carpet, 4’ x 6’. [500/800] 881 Antique Heriz Carpet, 8’ 10” x 11’ 1”. [800/1200] Illustrated

199

884

886

882

882 Fine Agra Sultanabad Carpet, 10’ 1” x 13’ 10”. [2500/4000] Illustrated 883 Turkish Angora Oushak Carpet, 9’ 2” x 12’. [1200/1800] 884 Antique Malayer Carpet, late 19th century, 8’ 10” x 12’ 3”. [2500/4000] Illustrated 885 Antique Kashan Carpet, 4’ x 6’ 5”. [500/800] Illustrated 886 Semi-Antique Kerman Carpet, 3’ 10” x 6’ 4”. [600/900] Illustrated

885

200

887 American Renaissance Revival MarquetryInlaid and Gilt-Bronze-Mounted Rosewood Cabinet, third quarter 19th century, New York, the case with a projecting central door with an inlaid panel depicting a traditional fable and flanked by inlaid trophies and fluted pilasters capped by bronze capitals, the concave sides each with an inlaid trophy panel, adorned with cast giltbronze moldings throughout, h. 45‑3/4”, w. 59”, d. 19‑1/2”. [2500/4000] Illustrated In addition to Herter Brothers, cabinets of this type were crafted by their chief cross-town competitors, most notably Pottier and Stymus and Alexander Roux. 888 American Egyptian Revival Parcel-Gilt Rosewood Sofa, ca. 1865‑1870, in the manner of Gustave Herter, the crest rail with a raised center with a relief-carved mother-of-pearl plaque framed by gilt swags, the open arms on carved Egyptianmask supports, with a serpentine seat rail, fluted center legs and carved paw outer legs, upholstered after the period fashion in tufted salmon brocade, h. 47”, w. 58”, d. 28”. [2000/4000] Illustrated

888

889 American Renaissance Revival Marquetry-Inlaid, Parcel-Gilt and Ebonized Walnut Center Table, ca. 1875, with a central floraland foliate-inlaid panel framed by banding and stringing, raised on a trestle-form base adorned with incised carving, turnings, quatrefoils and roundels, on India Comb Rubber Co. casters, h. 29‑3/8”, w. 38”, d. 22”. [1500/2500] Illustrated India Comb Rubber casters, made in New York, were utilized by the first makers of the period including Herter Brothers and Pottier and Stymus. 890 American Renaissance Revival Walnut and Marble-Top Half Commode, third quarter 19th century, Philadelphia, fitted with a single drawer above a raised paneled door and flanked by fluted quarter columns, with ebonized moldings, h. 28‑1/2”, w. 24”, d. 19”. [500/800] Illustrated

889

890

887

201

891

891 William Henry Buck (Norwegian/New Orleans, 1840‑1888), “Bayou Scene: Probably the Footbridge at Indian Bayou in the Atchafalaya River Basin”, 1880, oil on canvas, signed and dated lower right, 18” x 30”. Presented in a period giltwood frame. Provenance: Estate of A. Hays Town, Baton Rouge, Louisiana. [175000/250000] Illustrated On April 22, 1883, The Times-Democrat published a four-page article “appealing to those living in the city of New Orleans of the beauty and charm of Attakapas or Acadian lands of Southwest Louisiana“—a favored destination of William Henry Buck. In the opening page, the article boasts that with a short train ride or two-hour gallop on horseback, one can arrive in a sublime glade redolent of the Buck offered here: “Near to the bank on the river over-shadowed by oaks, from whose branches garlands of Spanish moss and of mystic mistletoe flaunted”. The article, which largely romanticizes the Attakapas herdsmen as Western novel cowboys, concludes with a poignant description of Indian Bayou in Vermilion Parish as a body of water that opens up into an expansive waterway in the direction of the Gulf fifty yards out from its center. The enticing description, written for the allure of city folk mesmerized by the promise of virgin frontiers, is a visual treasure map for discerning the landscape in this painting. From this viewpoint, the bayou, lined with iconic cypress trees laden in Spanish moss, opens up just past a wooden plank footbridge into a vast estuary with a schooner in the distance. Similarly, Indian Bayou is situated in the Morganza Floodway system of the Atchafalaya basin shortly before it converges with the Gulf of Mexico. In 1884, a few months after the Times-Democrat published its ode to Acadia, Buck painted a landscape of Indian Bayou at the mouth of the river basin, which was sold in these rooms on September 22, 2001, as lot 1225. Painted from the opposite side and to the right of the center foreground in the painting offered here, Buck’s 1884 painting of Indian Bayou depicts the same hydrography, and the same flora, notably the two cypress trees along an arched plank footbridge. Though wooden footbridges commonly appear in Buck’s landscapes, they are typically level, not arched architrave single-suspension ones. Only one other know suspension bridge (a two-part one) is known in his extant work. Whether the Times-Democrat’s review was influenced by Buck’s quiescent landscape of Acadia, ethereally lit from behind, in the plein air-style of the Barbizon School, or the painterly review influenced Buck to travel there by rail car will never be known.

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892

892 Richard Clague (American/Louisiana, 1821‑1873), “Sawmill Near Madisonville”, ca. 1870, oil on canvas, signed lower left, a “New Orleans Museum of Art” exhibition label en verso backing, 6‑1/2” x 11‑1/2”. Presented in a period water-gilt frame. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. Exhibited: New Orleans Museum of Art, Richard Clague Retrospective, November 17‑December 30, 1974, #68; Louisiana State Museum, Friends of the Cabildo, 250 Years of Life in New Orleans, The Rosemonde E. and Emile Kuntz Collection and the Felix H. Kuntz Collection, Exhibition Part III, May 21‑June 23, 1965, #55. After the U.S. Government, in 1850, declared the North Shore of Lake Pontchartrain, Louisiana to be a “health zone” almost completely free of the ravages of yellow fever, malaria and other diseases which flourished in the humid, densely populated New Orleans, visitors began to flock to the towns of Madisonville, Mandeville and Covington. The need for hotels, spas and resorts to accommodate these people, some of whom became permanent residents, necessitated an active building community. Madisonville, which had been for some time a shipbuilding and sawmill town, began to flourish. Transport and building had been an important part of the port town’s identity from its establishment by Jean Baptiste Baham (1730‑1812) in 1800, and there had been active sawmills in the region for some time. It is therefore not surprising that an artist such as Richard Clague, who was intensely interested in the landscape and industry of Louisiana, would choose to paint a scene such as the one presented here. Other works by the artist that reveal the same juxtaposition of nature and commerce include scenes of drilling rigs, farm workers, and train tracks. [40000/80000] Illustrated

203 203

893 Louisiana School (18th Century), “Portrait of Karl Friedrich, Chevalier d’Arensbourg (1693‑1777), pencil, watercolor and oil on paper, 10‑1/4” x 7‑5/8”. Presented in a 19th-century giltwood molded frame. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [800/1200] Illustrated Exhibited: Louisiana State Museum, Friends of the Cabildo, 250 Years of Life in New Orleans, The Rosemonde E. and Emile Kuntz Collection and the Felix H. Kuntz Collection, Exhibition Part I, January 30 March 10, 1965, #17. Literature: Ellen Miles. Portrait Painting in America: The Nineteenth Century. (New York: Main Street/Universe Books, 1977), illustrated p 31. A native Swede of German ancestry, Karl Friedrich (Charles Darensbourg) was born in the town of Stettin (alternately over the years under Swedish, German or Polish control) into an influential and wealthy family. His father held the prestigious position of master of the Royal Mint, until a change in the political environment resulted in his arrest in 1698, eventual imprisonment, and the confiscation of his estate and assets. Despite his family’s frequently rather desperate situation, Friedrich received a military education and achieved the rank of captain in the navy. In 1721, he accepted the command of a contingent of over 250 Germans who traveled to America to settle in Louisiana under the financial auspices of the West Indies Company (also referred to as the Company of the Indies in some contemporaneous and later documentation). Shortly after arriving in Louisiana, Friedrich married a fellow German, Marguerite Metzrin (listed as Metzer in some sources). After a particularly harsh and destructive hurricane season in 1722, which destroyed many of their homes, the disheartened settlers began to a make plans to return to Europe. The then Governor of Louisiana, Jean Baptiste le Moyne, Sieur de Bienville, in an ultimately successful attempt to encourage them to stay, offered the Germans prime land on either side of the Mississippi River about 25 miles above New Orleans. This area, now part of St. Charles and St. John the Baptist Parishes, was known as the “German Coast”. Friedrich was named a Chevalier de St. Louis by Louis XV and upon his death in 1777 was deemed a Patriarch. His son and heir Charles married Marguerite Francoise Marie de la Vergne in 1766, his grandson Jean-Baptiste married Mathilde Peret in 1805, and his great-granddaughter Mathilde married Placide Perret in 1826. These marital connections, and others made by various members of his family, inextricably link the Friedrich family to many of the most prominent Creole families in Louisiana. This unflinching and unidealized portrait of Friedrich, completed in his old age, is reminiscent of the Germanic tradition of portraiture suggesting that the unknown artist had received some Academic training in Europe and may have been a member of the then flourishing Louisiana German community. References: Publications of the Louisiana Historical Society, Volume VII. New Orleans: American Printing Company, 1915; Miles, Ellen. Portrait Painting in America - The Nineteenth Century. New York: Main Street/Universe Books, 1977.

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893

894 894 Attributed to John Wesley Jarvis (British/ American, 1780‑1840, active New Orleans, 1820‑ca. 1840), “Portrait of a Young Man, ca. 1790‑1805, oil on canvas, unsigned, 8” x 6‑1/8”. Presented in a period giltwood frame. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [800/1200] Illustrated

895

897

895 American Renaissance Revival Marquetry-Inlaid, Ormolu- and Porcelain-Mounted Rosewood Cabinet, ca. 1870, attributed to Alexander Roux, New York, the case with a raised center plinth over a small plaque depicting an allegorical female masque, over a pair of doors with foliate and floral inlay centered by circular plaques, one depicting Michelangelo, the other Raphael, the doors flanked by fluted columns with gilt-lacquered bronze capitals, the concave ends each with trophy inlay, h. 54‑1/2”, w. 70”, d. 18‑1/2”. [5000/8000] Illustrated 896 896 Pair of Heavy French Opaline Glass Vases, decorated with “rubies” alternating with gilt flower sprigs, h. 17‑1/2”, dia. 5‑1/2”. [2000/4000] Illustrated

897 American Renaissance Revival Walnut and ParcelGilt Overmantel Mirror, third quarter 19th century, with a large shield-form crest, the frame with incised and gilt decor, h. 82”, w. 65”. [600/900] Illustrated 898 Victorian Rosewood Bookcase/Cabinet in the Renaissance Taste, third quarter 19th century, the upper section with a projecting cornice over a pair of bisected glazed doors flanked by paneled pilasters on a projecting base with a pair of drawers over a pair of paneled doors, flanked by like pilasters, h. 113”, w. 51”, d. 23”. [2000/4000] Illustrated 898

205

899 Leon Olivie (French, 1833‑1901), “La Lettre”, oil on beveled wood panel, signed lower right and dated “186(?)0”, old handwritten inscription “paysage soleil couchant” en verso, 9‑5/8” x 7‑3/8”. In a period covemolded acanthinemotif giltwood frame. [1000/1500] Illustrated

901 Pair of Patinated Metal Figures, fourth quarter 19th century, attributed to Mitchell and Vance, Philadelphia, one figure on an octagonal base, wearing a Middle Eastern-style necklace with braided hair and a tiara, and the other on a circular base, wearing a necklace and armband of Grecian inspiration, each supporting later round planters decorated with reeding, h. 52”, w. 14”, dia. 10”. [2000/4000] Illustrated

902

899 900 American Renaissance Revival MarquetryInlaid and Bronze-Mounted Ebonized Cabinet, ca. 1865‑1870, attributed to Alexander Roux, New York, the case with a projecting center with a hydroformed metal plaque of a classical maiden in the Neo-Grec taste, over a pair of foliate-, floral-, and urn-inlaid doors flanked by cattail-carved incised panels with bronze capitals, the concave sides with like panels, trimmed with ormolu moldings throughout, one stamped “P.G.” for the P. E. Guerin bronze foundry, founded in 1857 in New York City, h. 54”, w. 73”, d. 20”. [1500/2500] Illustrated 902 A. Hays Town (1903‑2005) The Architectural Style of A. Hays Town: 106 Preliminary Sketches, Baton Rouge: Amdulaine Publications, Inc., 1985, first printing, introduction by Blanche Town Gladney, retaining the original color dust jacket, h. 11”. [600/900] Illustrated

Guerin mounts appear on the work of a number of Roux’s contemporaries. For a discussion of Guerin mounts, see Barbara Laux’s “The Furniture Mounts of P. E. Guerin”, The Magazine Antiques, May 2002, pp. 140‑49. A labeled cabinet of the same form is in the collection of the Metropolitan Museum of Art, New York.

900

206

901

906

905

904

903 Robert Rucker (American/Louisiana, 1932‑2001), “Nocturnal Landscape with a Boathouse”, oil on canvas, signed lower right, 24” x 30”. Framed. [3500/5000] Illustrated 904 Murrell Butler (American/Louisiana, Contemporary), “Realm of the Otter”, 2009, Lake Elm, New Iberia, oil on canvas, signed and dated lower right, titled en verso, 30” x 40”. Framed. [1500/2500] Illustrated 905 Alexander John Drysdale (American/New Orleans, 1870‑1934), “Bayou Cypress”, 1917, oil wash on paper, pencilsigned and dated lower left, sight 29‑1/4” x 9‑1/2”. Glazed, matted and framed. [800/1200] Illustrated 906 Alexander John Drysdale (American/New Orleans, 1870‑1934), “Cypress at Dusk”, 1917, oil wash on paper, pencilsigned and dated lower right, sight 9‑1/2” x 29‑3/8”. Glazed, matted and framed. [800/1200] Illustrated

908 907 Philadelphia Expansionist Era Five-Piece Coin (.900) Silver Coffee and Tea Set, second quarter 19th century, by William Seal, Jr. (1775‑1853), retailed by Samuel Williamson (1772‑1843), comprising a coffeepot, h. 10‑1/2”, l. 11‑3/4”, a teapot, h. 9‑1/4”, l. 10‑3/4”, a covered sugar bowl, h. 7‑1/4”, w. 7‑3/4”, a cream jug, h. 5‑5/8”, l. 5‑5/8”, and a waste bowl, h. 5‑1/4”, dia. 6”, each with melon-lobed body and lid, with squared handles and “gooseneck” spouts, decorated with milled diapered banding, 112.83 total t. oz. [4000/7000] Illustrated

903 908 Philadelphia Expansionist-Era Five-Piece Coin (.900) Silver Coffee and Tea Set, first quarter 20th century, by Edward Lownes (1792‑1834), including a coffeepot, h. 10”, l. 10‑3/4”, a teapot, h. 10”, l. 11”, a covered sugar urn, h. 9‑1/4”, w. 7‑1/2”, a cream jug, h. 7‑1/8”, w. 6‑1/4”, and a waste bowl, h. 5”, dia. 8”, each with a pear-shaped body and ogee-domed foot decorated with narrow milled annulated banding, with acanthus-mounted “gooseneck” spouts, acanthus-crested “s”-scrolled handles, and domed lids with acanthus-mounted acorn finials, 160.05 total t. oz. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [2000/4000] Illustrated 909 NineteenthCentury American Coin (.900) Silver Kettle-on-Stand, 1856, by William Gale & Son, New York, New York, the squat pear-shaped body decorated with rococo cartouches surrounded by repousse flowers and foliage on a matte 909 ground, with rococomounted “gooseneck” spout, hinged domed lid and arched swing handle en suite, monogrammed on one cartouche “MCL”, the whole raised on a conforming stand decorated with an openwork oak leaf-and-acorn apron and four scrolling legs, the burner lacking, h. 13‑3/4” (h. 15‑1/2” with handle), l. 11”, w. 10‑3/4”, 53.13 t. oz. [900/1200] Illustrated

907

207

910 Antebellum New Orleans Coin (.900) Silver Christening Mug, third quarter 19th century, by Adolphe Himmel (1825‑1877) for Hyde & Goodrich, of cylindrical form with rounded base, decorated with a repousse floral cartouche extending to form floral banding, with beaded rim, milled foot and crested double “c”-scroll handle, engraved on the cartouche “M. E. Stone / to H. B. Stevens, Jr.”, h. 3‑1/4”, dia. 2‑3/4”, l. 4‑1/4”, 4.33 t. oz. [900/1200] Illustrated 911 Fine Antebellum New Orleans Coin (.900) Silver Presentation Water Pitcher, dated 1859, by Adolphe Himmel (1825‑1877) for Hyde & Goodrich, the pear-shaped body decorated with repousse arrowhead leaves, with acanthus-chased lobed rim, elaborate cast and applied shell-andflower spout, and arched foliate “s”-scroll handle, the whole raised on a milled foot ring, with engraved presentation inscription “Rev. C. de la Croix / from / Society of St. Vincent de Paul / N.O. / 19th July 1859”, h. 9‑1/2”, dia. 7”, l. 10”, 38.22 t. oz. [5000/8000] Illustrated Father Pierre Cyril de la Croix was born on June 1, 1817 in Evreux, l’Eure, France. The circumstances of his immigration to the United States are not known, but he received his training at St. Mary’s Seminary of the West (now Mount St. Mary’s) in Cincinnati, Ohio, where he was ordained on June 3, 1847. His first assignment was as assistant rector of St. Patrick’s in New Orleans. There, he made the acquaintance of parishioner William Blair Lancaster (1826‑1896), a Florida native and lawyer who had studied in Paris. There, Lancaster befriended the Blessed AntoineFrederic Ozanam (1813‑1853), founder of the Society of St. Vincent de Paul. Lancaster converted to Catholicism and, upon his return to New Orleans, he and Father de la Croix established the first branch of the Society of St. Vincent de Paul in the south. Father de la Croix was made pastor of St. Gabriel’s in St. Gabriel, Louisiana in 1859, and it was almost certainly this occasion of his departure from New Orleans that he was presented this handsome pitcher from the members of the Society which he founded. In November 1865, Father de la Croix was appointed pastor of St. Joseph Cathedral in Baton Rouge, a position he would retain for the rest of his life. He founded the Baton Rouge chapter of the Society of St. Vincent De Paul in 1865, and oversaw the establishment many charitable and educational organizations for his parishioners, including the Sisters of St. Joseph of Medaille Orphanage (now St. Joseph’s Academy) and the the Brothers of the Sacred Heart St. Vincent’s Academy (now Catholic High School). He died on December 7, 1893, and is interred in the marble sanctuary of St. Joseph Cathedral. 912 Antebellum New Orleans Coin (.900) Silver Goblet, third quarter 19th century, by Adolphe Himmel (1825‑1877) for Hyde & Goodrich, the waisted bowl decorated with repousse flowers centering a rococo cartouche, with beaded rim, raised on a domed foot decorated en suite with milled palmette banding, engraved on the cartouche “C. Delacroix / from / Louise”, h. 6”, dia. 3‑1/2”, 6.58 t. oz. [500/800] Illustrated

208 208

910

912

911 detail

911

911 detail

209 209

913 Fifty-Three-Piece Set of “Ruby” Sterling Silver Flatware, the pattern designed in 1870 by John Polhamus (1811‑1877), New York, New York, including eight fivepiece place settings, with six additional place pieces and seven serving pieces, monogrammed “LACH”, 92.08 total t. oz. Detailed list of pieces available on request. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [1200/1800] Illustrated

915 Six-Piece Shreve & Co. Sterling Silver Coffee and Tea Set, first quarter 20th century, San Francisco, including a kettle-on-stand, h. 13”, l. 9”, a coffeepot, h. 8”, l. 9‑1/4”, a teapot, h. 6”, l. 9‑3/4”, a covered sugar bowl, h. 4‑3/4”, w. 7”, a cream jug, h. 4”, l. 5‑5/8” and a waste bowl, h. 3”, dia. 4‑3/4”, each of flattened spherical form with waisted collar, decorated with a band of embossed and applied chrysanthemums, with crested handles, “gooseneck” spouts and domed lids with toupie finials, monogrammed “MNE”, 96.25 total t. oz. [2500/4000] Illustrated 916 Gorham Sterling Silver-Mounted Cut Glass Claret Jug, first quarter 20th century, Providence, Rhode Island, the pear-shaped glass body decorated with cut asters and mounted in a silver collar and base embossed with grape clusters and joined by a scrolling handle, with hinged lid, h. 11‑1/2”, dia. 4‑1/2”, l. 6‑1/2”. [1400/1800]

913 917

914

914 Good Pair of American Sterling Silver Fruit Stands, first quarter 20th century, by the Whiting Mfg. Co., Providence, Rhode Island, each of lobed circular form decorated with embossed and pierced realistically detailed grapevines among arched trellises, raised above a waisted stem and domed foot en suite, monogrammed “ALW”, h. 4‑3/4”, dia. 9”, 25.01 total t. oz. [1200/1800] Illustrated

210

917 Five Pieces of American Flower- and FoliateDecorated Sterling Silver Tableware, fourth quarter 19th century to mid-20th century, including two acid-engraved urn-form tea caddies, one Gorham, 1888, decorated with clover and monogrammed “S”, h. 4‑1/2”, the other unmarked and decorated with apple blossoms, h. 5”, a Whiting “Cabbage Leaf” center bowl, monogrammed “ECA”, h. 4”, dia. 9‑5/8”, and two pieces of Wallace “Poppy” pattern, a sandwich plate, dia. 10‑1/4”, and a fruit bowl, dia. 9‑7/8”, 48.98 total t. oz. [700/1000] Illustrated

915

918 Five American Sterling Silver Serving Pieces, 19th century and later, including a Tiffany “English King” sauce ladle, monogrammed “P”, l. 7‑1/4”, a Whiting “Lily” berry spoon with gilt shell bowl, monogrammed “C”, l. 9”, a John Wendt for Ball, Black & Co. “Medallion” cracker scoop, l. 8‑3/4”, a Silvercraft “Grapevine” pie server, l. 9‑3/8”, and a Gorham “Nuremburg” pie server, monogrammed “KLD”, l. 9‑1/4”, 17.14 total t. oz. [700/1000]

919

921 Rare Set of Three Tiffany & Co. Sterling Silver Graduated “Clover” Bowls, the pattern introduced in 1897, New York, New York, these first quarter 20th century, of octagonal form with realistically detailed applied openwork “clover” rim, no monograms, dia. 7‑1/2”, 9” and 10”, 39.65 total t. oz. [1500/2500] Illustrated

921

919 Large American Sterling Silver Footed Center Bowl, first quarter 20th century, by Frank N. Whiting, North Attleboro, Massachusetts, of wavy lobed circular form, the edge pierced and decorated with embossed and applied realistically detailed roses, raised above a waisted standard and domed foot decorated en suite, the base detaching to permit the bowl to be used separately, h. 6‑3/4”, dia. 15‑3/4”, 50.03 total t. oz. [1400/1800] Illustrated 920 Good American Sterling Silver Well-and-Tree Platter, 1902, by Dominick & Haff, New York, New York, of oval form, the shaped rim with elaborated and welldetailed applied rococo scrolls, raised on four rococo scroll feet, the underside with later silver wedding anniversary inscription dated 1923‑1948, l. 22‑1/2”, w. 16”, 104.81 t. oz. [800/1200] Illustrated

922

922 Seventy-Nine-Piece Set of Reed & Barton “Francis I” Sterling Silver Flatware, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, including a dozen six-piece place settings and seven serving pieces, no monograms, 89.73 total t. oz. (weighable silver). Detailed list of pieces available on request. [2500/4000] Illustrated

920

211

923

923 Pair of Reed & Barton “Francis I” Sterling Silver Large Vegetable Bowls, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, dia. 11‑1/2”, 42.37 total t. oz. [1200/1800] Illustrated

924

926 Pair of RegencyStyle Glass Hurricane Lamps, on stepped colorless bases with faceted and tapered stems, the emerald green shades decorated with bold cut Greek-key borders, h. 15‑3/4”, dia. 5‑3/4”. [500/800] Illustrated

926

927 American Classical Mahogany Commode, ca. 1825, Baltimore, of a form made by John Needles to his crosstown contemporaries, the marble top surrounded by a reeded gallery, the case with a pair of drawers over a narrower deep drawer, formerly fitted with a chamber pot, and fitted with turned legs with brass cup casters, the drawers flanked by reeded pilasters, the whole on Sheraton legs, h. 33”, w. 26”, d. 22”. [1200/1800] Illustrated 925

924 Set of Thirteen Gorham Sterling Silver “Chantilly” Water Goblets, the pattern designed in 1895 by William Christmas Codman (1839‑1923), Providence, Rhode Island, no monograms, h. 6‑1/2”, dia. 3‑3/8”, 76.72 total t. oz. [1800/2500] Illustrated 925 American Classical Mahogany Chest, first quarter 19th century, the case with a pair of projecting drawers over a bank of three graduated drawers with beaded perimeter edges, the drawers flanked by reeded pilasters and raised on Sheraton legs, each capped by a cluster of four crisply carved drop acanthus leaves, the drawers with gilt-lacquered lion-head ring pulls, h. 41‑1/4”, w. 42‑1/2”, d. 19‑3/4”. Provenance: Didier, Inc., New Orleans, Louisiana, who attributed the case to the shop of Nathaniel Appleton of Salem, Massachusetts, and the carving to Samuel Field McIntire, of the same settlement. [1200/1800] Illustrated

212

927

928 American Late Classical Mahogany Tester Bed, second quarter 19th century, the molded tester raised on foliate- and pineapple-carved posts supporting a bisected paneled headboard with a molded and paneled carved crest, joined by unusual reeded rails, h. 103”, inside, w. 49”, l. 75”, outside, w. 63‑3/4”, l. 84‑1/2”. [2000/4000] Illustrated 929 American Classical Mahogany Armoire, first quarter 19th century, Baltimore, in three sections, with a pair of paneled doors in the center flanked by a single paneled door on each side, raised on turned ball feet, h. 84”, w. 87”, d. 22”. [1500/2500] Illustrated 930 Good Suite of Eight American Stenciled Fancy Chairs, first quarter 19th century, consisting of two armchairs and six sidechairs, each with a curved back rail above a central slat with a stenciled fruit basket, with rush seats, h. 35”. [800/1200] Illustrated

929

931 Early American Hitchcock-Style Polychromed and Stenciled Bench, first quarter 19th century, with a broad scooped plank seat, the back with a shaped crest rail supported by turned spindles, h. 35”, w. 17”, d. 15”. [800/1200] Illustrated

930

928

931

213

John Whiting Stock’s portraits are flat with little pictorial depth and stiffly depict the sitters frontally standing or seated in Victorian parlors or landscapes. While his compositions are prototypical of folk painters, what sets Stock’s works apart from his contemporaries are the subtle compositional differences and extraordinary attenuation to detail. True, all Folk artists struggled with perspective and anatomy, but while the floor planes are slightly raised in the portraits of Oliver Eddy and Robert Peckham, there are crisply delineated floorboards, chair rails, and window edges that illustrate some inchoate perspective. With Stock, there is no such depth, as he could not render horizontal planes (depth) in space. This is well illustrated in his backgrounds where the floors and walls meet. In his early works, such as “Jane Tyler”, Stock muddles the background so poorly that the parlor floor appears like a reflection of water. What makes Stock’s work so unique is how he learned to compensate for his deficiencies. In the early 1840s he hides plane junctures behind drapery and furniture; by the mid1840s, he develops an unusual use of aerial perspective, whereby carpets and floors gradually become less saturated in color and merge with the palette of the background. This effect is prominently seen in both this work and in his portraits of “John and Louisa Stock” (1845), “The Blaksley Boys” (1845) and “Girl in Pink Dress” (ca. 1845-1855). Unlike Peckham, who employed a direct light source, Stock did not. His lighting is uniform, albeit it becomes lighter toward the top of the background. These tonal shifts represent another artifice for the illusion of depth. Another key feature in this lot that is highly suggestive of Stock’s oeuvre is fine, historically accurate, attention paid to the sitter’s dress, to the carpet and to the turned legs and reverse finials on the side table. The girl’s short center-parted hair, bare shoulder dress and fan-pleated bodice above pantalettes were period fashion, ca. 1845-1855. The same applies to the black-laced boots. By 1850, they replaced the button-boots seen in Stock’s portrait of “Mary Child” (1846). One of the most striking features of Stock’s paintings are his carpets. They occupy a significant portion of the foreground and are rendered with the same care as the sitters’ features are. With the exception of Stock’s signature, this portrait bears all the signature characteristics of him. Of the 1000 paintings he is believed to have executed, only forty-five are known to be signed or dated by him; the rest are attributions to be discovered.

932

932 Attributed to Joseph Whiting Stock (American, 1815‑1855), “Portrait of a Young Girl in a Yellow Dress with Rosebuds “, oil on canvas, unsigned, 58‑3/4” x 41‑1/4”. Framed. Provenance: The Estate of Ann Hoy, Houston, Texas. [2000/4000] Illustrated

933 Fine Vernacular American Classical Birdseye Maple and Cherry Sideboard, second quarter 19th century, the molded center drawer over a pair of paneled doors flanked by bottle drawers, each pedestal end with a drawer over a paneled door, the section divided by tapering turned columns, raised on foliate-carved paw feet, h. 49‑1/2”, w. 78”, d. 25‑1/4”. [900/1200] Illustrated

933

214

934 Suite of Eight American Classical Maple and Birdseye Maple Sidechairs, second quarter 19th century, each with a slightly domed crest above a like rail, above the cushioned rush seat, raised on sabre legs, h. 32”. [1500/2500] Illustrated

934

936 American Sheraton Mahogany Serpentine-Front Chest, first quarter 19th century, New England, the case with a deep upper drawer centered by a figured oval panel, over a bank of three graduated drawers and a scalloped apron, raised on turned legs, h. 44‑3/8”, w. 39”, d. 25‑1/2”. [800/1200] Illustrated

935

935 Pair of Chinese Export Porcelain Fitzhugh Platters, ca. 1800, the blue and white platters of oval form with lancet borders, surrounding a medallion center employing peonies and vases, w. 13‑1/4”, d. 10‑1/2”. [800/1200] Illustrated

936

937 937 Handsome Chinese Export Fitzhugh Deep Oval Platter with Mazarin, ca. 1800, painted in a rich blue, the platter with a lancet border and four loose panels of peonies around a central rectangular medallion, the pierced mazarin decorated to match, w. 17”, d. 14‑1/2”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [600/900] Illustrated

939

938 American Classical Mahogany Server, first quarter 19th century, New York, the case with a pair of figured drawers with beaded edges, flanked by reeded pilasters, raised on turned columns joined to a serpentine low shelf, on vasiform brass ball feet, h. 38”, w. 42”, d. 21‑1/4”. [1500/2500] Illustrated 939 Pair of American Classical Mahogany Sidechairs, Attributed to Richard Parkin, Philadelphia, second quarter 19th century, each with a concave top rail supported by shaped and paneled stiles, terminating in Iconic capitals, the box seats now upholstered in horsehair, after the period fashion, and raised on gently canted sabre-form legs, h. 33‑3/4”. [1200/1800] Illustrated

938

For a discussion of similar chairs and their design sources, see American Furniture, 2013; A Shadow of a Magnitude: The Furniture of Thomas Cook and Richard Parkin, by Carswell Rush Berlin, pp. 156‑195.

215

943 American Classical BrassMounted and Banded Mahogany Work Table, ca. 1825, school of Duncan Phyfe, New York, the crossbanded lift-top with canted corners, opening to reveal an adjustable writing surface, and a drawer below, the bottom ends of the apron with a brass mount supported by turned columns with foliate-carved capitals, on a concave platform raised on carved paw feet, h. 31”, w. 26‑1/2”, d. 16‑1/4”. [3000/5000] Illustrated

943 detail

943

940 American Classical Gilt-Stenciled and BrassStrung Mahogany Pier Table, second quarter 19th century, school of Anthony Quervelle, Philadelphia, the rectilinear marble top over a gently bowed frieze with a gadrooned lower edge and flanked by brass-strung panels raised on tapering columns with brass capitals and bases, the low shelf with a gadrooned edge and cove molding retaining its period stenciling, the back with a mirror plate framed by stenciling and flanked by pilasters on parcel-gilt and ebonized gadrooned paw feet, h. 38‑1/2”, w. 41‑3/4”, d. 17‑1/2”. [2500/4000] Illustrated 941 American Federal Mahogany Server, first quarter 19th century, in the Sheraton taste, with a scalloped backsplash, a pair of long drawers and raised on ringturned legs, h. 38”, w. 36‑1/2”, d. 16”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [700/1000] Illustrated 942 Bronze Sinumbra Lamp, second quarter 19th century, probably English or American, the font supported by a columnar standard on a square weighted base, the frosted shade cut with grapes, not electrified, h. 30‑3/4”, dia. 12‑1/2”. [700/1000]

216

940

945

941

946 Rare, Large Pair of American Classical Mahogany Armchairs, ca. 1825, each with a molded concave crest rail with a figural panel, the reeded stiles joined to like scroll arms, with a molded seat rail and reeded saber legs, h. 48‑3/4”, w. 25”, d. 26‑1/2”. [2000/4000] Illustrated

946

944 944 American School, Probably New England (First Quarter 19th Century), “Portrait of a Boy with a Bow”, oil on canvas, unsigned, “Fowler Boy” incised on frame back, 29‑1/2” x 29‑1/2”. Presented in a 19th-century giltwood frame. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [1000/1500] Illustrated 945 American Late Classical Mahogany Games Table, second quarter 19th century, the fold-over top over a covemolded frieze, supported by an octagonal column joined to a concave base on foliate- and volute-carved feet, h. 30”, w. 37‑1/2”, d. 18‑3/4”, extended l. 37‑1/2”. [500/800] Illustrated

947 Pair of American Late Classical Mahogany and Marble-Top Console Tables, second quarter 19th century, each with a turned and acanthine-carved pedestal with four outstretched legs ending in carved paw feet, fitted with later white marble tops, h. 29”, w. 50”, d. 24‑1/2”. [2000/4000] Illustrated

947

217

948 Unusual Colonial Revival Silverplate and Glass Sinumbra Lamp, ca. 1900, the standard in the form of an Egyptian column, the frosted glass shade cut with grapes, h. 34‑3/4”, dia. 13”. [700/1000] Illustrated 949 Regency Parcel-Gilt Pier Mirror, second quarter 19th century, 948 English, of tabernacle form, the base with molded medallions and palmettes, with pilasters on each side with spiraled bands of grapes terminating in Corinthian capitals, the table with a gilt eagle under a pierced basket of flowers, and with a leaf- and covemolded crest, h. 64‑3/4”, w. 33”. [500/800] 951

952 Jean-Louis Hector Viger Duvigneau (French, 1819‑1879), “Portrait of a Young Child Eating Grapes”, 1854, oil on canvas, signed, dated, and inscribed “Paris” along bottom, 39” x 32‑3/8” oval. Unframed. [800/1200] Illustrated 952

955 950

950 American Classical Line-Strung Mahogany Work Table, ca. 1825, New York, the lift top with a line-inlaid and banded perimeter, opening to reveal an adjustable writing surface, the case with a pair of drawers, raised on a foliate-carved vasiform pedestal on legs with like carving and ending in carved paw feet, h. 29‑1/4”, w. 23”, d. 15‑1/2”. [800/1200] Illustrated 951 American Classical Bronze-Mounted Mahogany Armoire, ca. 1820, with a projecting cornice over an arched recess, the pair of figured, bisected paneled doors joined with a brass molding and flanked by columns with cast bronze capitals and bases, raised on foliatecarved paw feet, h. 87‑1/2”, w. 63”, d. 26”. [1500/2500] Illustrated

218

953 Fine American Classical Mahogany Tester Bed, second quarter 19th century, the antique tester with figured veneers and projecting cornice, supported by shaped foliate-carved posts with a vasiform segment and ring turnings, the headboard with a figured panel and turned crest rail with scroll ends, h. 101”, inside, w. 55”, l. 78‑1/2”, outside, w. 61”, l. 81‑1/2”. [2500/4000] Illustrated

954 American Late Classical Mahogany Armoire, second quarter 19th century, Baltimore, the projecting cornice over a figural arched frieze, the pair of bisected paneled doors flanked by tapering figured pilasters with Ionic capitals, each side with a paneled door, on carved paw feet with like capitals, h. 87‑1/2”, w. 73‑1/4”, d. 26‑1/2”. [1000/1500] Illustrated 955 Two Pairs of Blown Glass Hurricane Shades, comprising a large pair, second quarter 19th century, Anglo-American, h. 22‑1/4”, dia. 7‑3/4”, and a small pair, 20th century, h. 17‑1/2”, dia. 6‑1/4”. [700/1000] Illustrated

956

956 American Classical Mahogany Dining Table, first quarter 19th century, the ends with rounded corners, with swingout acanthus-carved legs ending in brass ball feet, and each supporting a broad leaf, each table, h. 29”, w. 44”, d. 22”, extended l. 100”. [1500/2500] Illustrated

953 957

957 American Classical Brass-Strung Mahogany Sideboard, second quarter 19th century, Philadelphia, school of Anthony Quervelle, of pedestal end form, the drop center with a porto marble top backed by a looking glass framed by columns, and beneath a projecting pediment mounted with a gilt bronze eagle and flanked by fruit- and foliate-carved brackets, the case with a drop center over a pull-out mixing slide over a molded drawer and with a lower convex fan center door, the ends with a molded drawer over doors with vertical convex centers, raised on carved paw feet and adorned with brass stringing throughout, retaining brass and cut glass pulls, h. 58‑1/2”, w. 72”, d. 22‑1/4”. [1500/2500] Illustrated

954

219

958 Forty-One-Piece Collection of Chinese Export Blue and White Tableware, including nine soup plates, dia. 9”, two dinner plates, dia. 9” and 10”, nine bread and butter plates, dia. 7‑1/2”, a scalloped bowl, dia. 9‑1/2”, a coffeepot, h. 7”, six tea bowls, dia. 3‑1/2” to 4”, and seven saucers, dia. 4‑3/4” to 5‑1/4”, all mid19th century, Canton, together with four Nanking dinner plates, ca. 1800, dia. 9‑3/4”, a blue and white leaf dish, fourth quarter 18th century, h. 7‑3/4”, w. 5‑1/2”, and a Nanking helmet-form cream jug, h. 4‑3/4”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [600/900] Illustrated

958

959 American Late Classical Mahogany Sideboard, second quarter 19th century, Philadelphia, school of Anthony Quervelle, of double pedestal drop center form, the center section with a looking glass flanked by columns with Ionic capitals over a gadrooned top and flanked by pedestal ends with a similar top over a molded drawer and door with concave panels, the center with a drawer over a door with convex fan-form panels, raised on foliate-carved paw feet, h. 59”, w. 72”, d. 23”. [1500/2500] Illustrated 960 American Late Classical Mahogany DropLeaf Breakfast Table, second quarter 19th century, New York, the top with two drop leaves, each with in-cut corners and reeded edges, each end fitted with a drawer and supported by a turned pedestal and raised on outstretched acanthus-carved legs ending in paw feet, h. 29‑1/2”, w. 21”, d. 41”, extended l. 45”. [800/1200] Illustrated

959

960

961 American Late Classical Mahogany Double-Door Armoire, second quarter 19th century, probably Louisiana, with a flared cornice, the front legs with brass ball feet, h. 89”, w. 64”, d. 25”. [800/1200] Illustrated

220

961

964 American Late Classical Mahogany Four-Post Bed, second quarter 19th century and later, with octagonal turned and tapered posts and triple-panel headboard, professionally extended to accommodate a king-size box spring and mattress, h. 93”, inside, w. 80”, l. 84”, outside, w. 88‑1/2”, l. 92”. [1800/2500] Illustrated

962

962 American Late Classical Figured Mahogany Pedestal Dining Table, second quarter 19th century, probably by Joseph Meeks and Sons, New York, with a circular top and figured mahogany apron supported by a tapering and faceted pedestal mounted to a platform base, with four outstretched legs, the underside fitted with drop-down support legs and hand-forged iron locking hardware, the top opening to accept 160 inches of leaves; however, currently lacking leaves, h. 29‑1/2”, dia. 54”, extended l. 214”. [1000/1500] Illustrated 963 Pair of English Well-Painted Porcelain Fruit Coolers, second quarter 19th century, the bodies decorated with hand-painted flowers under a pink-ground border of gilt flowers, the covers decorated to match, retaining their original matching liners, on gilt bun feet, h. 9‑3/4”, dia. 7”. [1200/1800] Illustrated

964

963

965 American Late Classical Mahogany Armoire, attributed to J. & J. W. Meeks, New York, the projecting cornice over a pair of doors, each with a panel with a Gothic arch and affixed figural, tapering column, on a conforming base with molded feet, h. 105‑1/2”, w. 72‑1/4”, d. 33‑1/2”. [1000/1500] Illustrated

965

221

966 William Hemmerling (American/ Louisiana, 1943‑2009), “The Blessing”, mixed media on canvas”, signed lower center left, the edges inscribed with blessings of wisdom, 49” x 55”. Unframed. [5000/8000] Illustrated 967 William Hemmerling (American/ Louisiana, 1943‑2009), “Plum Street Snowballs, New Orleans”, unsigned, mixed media on wood panels, 60‑3/4” x 38”. Unframed. [5000/8000] Illustrated

966

968

968 Clementine Hunter (American/Louisiana, 1886‑1988), “The Cotton Pickers”, oil on canvas, monogrammed mid-right, 16” x 24”. Framed. [2500/4000] Illustrated

967

222

971 Clementine Hunter (American/Louisiana, 1886‑1988), “Hauling Cotton to the Gin”, oil on canvas, monogrammed lower right, 16” x 24”. Framed. [2500/4000] Illustrated 972 Clementine Hunter (American/Louisiana, 1886‑1988), “En Route to the Cotton Mill”, ca. 1975‑1985, oil on artist board, monogrammed lower right center, 23‑1/4” x 23‑1/4”. Framed. [3500/5000] Illustrated

969 969 Clementine Hunter (American/Louisiana, 1886‑1988), “The Wedding”, oil on artist board, monogrammed lower right, 16” x 24”. Unframed. [2500/4000] Illustrated

972

970 970 Clementine Hunter (American/Louisiana, 1886‑1988), “The Baptism”, oil on artist board, monogrammed lower right, 16” x 24”. Unframed. [2000/5000] Illustrated

971

973 Clementine Hunter (American/Louisiana, 1886‑1988), “Brown Cow, Red Barn”, 1977, oil on canvas board, monogrammed lower right, dated and inscribed en verso, 18” x 24”. Framed. [2500/4000] Illustrated

973

223

974 Kelly Moore (American/ New Mexico, Contemporary), “Untitled”, oil on canvas, signed lower right and en verso, 23” x 77‑1/2”. Unframed. [1000/1500] Illustrated 974

975

976

975 Stephen Scott Young (American, b. 1957), “Yellow Shutters”, etching, pencil-signed lower right, titled lower center, and numbered “Apssy #11” lower left, sight 5‑1/2” x 7‑5/8”. Glazed, matted and framed. [1500/2500] Illustrated 976 Stephen Scott Young (American, b. 1957), “Scarf”, etching, ink-inscribed “10th proof/15th state” lower left, ink-signed lower right and titled lower center, sight 5‑3/8” x 5‑1/4”. Glazed, matted and framed. [1500/2500] Illustrated 977 Stephen Scott Young (American, b. 1957), “Hatchet Bay, Bahamas”, etching, pencil-inscribed “impression V, state II” lower left, pencil-signed lower right and titled lower center, sight 5‑1/2” x 8‑5/8”. Glazed, matted and framed. [800/1200] Illustrated 977

224

978 980

978 American Colonial Revival Mahogany Block-Front Chest, 20th century, bench made in the Newport style with a triple shell-carved drawer above three additional drawers and raised on ogee bracket feet, h. 35”, w. 37”, d. 20”. [1000/1500] Illustrated

980 Pair of New York Chippendale Mahogany Sidechairs, 18th century, with pierced and carved back splats with owl’s eyes, pointed arches and carved rosettes, having stop-fluted stiles and raised on Marlborough legs, h. 37‑1/2”. Provenance: From the collection of Mr. and Mrs. James Britton, Houston, Texas, descended within the family. [800/1200] Illustrated A nearly identical pair of New York chairs is illustrated in American Furniture in the Metropolitan Museum of Art, p. 74, plate 33. Discussion of the MET chairs on pages 74 and 75 indicates the same construction details as the chairs offered here.

979

981

979 Colonial Revival Mahogany and Parcel-Gilt Mirror in the Chippendale Style, second quarter 20th century, the mahogany surround with giltwood molded leaves, under a swan’s-neck pediment with giltwood trim and a gilt-trimmed mahogany urn-form finial terminating in a spray of flowers, a trail of gilt oak leaves and acorns on each side, h. 48‑1/2”, w. 23”. [600/900] Illustrated

981 Rare Chinese Export Lotus-Molded Teapot, Stand and a Pair of Cups, mid-18th century, the lotus-form teapot with petals outlined in color, the teapot, stand and handless cups with applied molded lotus, leaves, blossoms and roots, and painted with polychrome sprigs of flowers, teapot and stand, h. 6‑1/2”, dia. 6”, cups, h. 2‑1/4”. [700/1000] Illustrated

225

982 Pair of George III Mahogany Sidechairs, 18th century, with pierced and carved back splats and crest rails, raised on Marlborough legs, h. 38”. Provenance: From the collection of Mr. and Mrs. James Britton, Houston, Texas, descended within the family. [500/800] Illustrated

984 English Soft-Paste Porcelain Figure of Europa and the Bull, third quarter 18th century, attributed to Derby, on a rococo base, the serene Europa wearing a carefully detailed hand-painted gown, her bull god decorated with encrusted flowers, possibly modeled by William Duesbury, h. 11‑3/4”, w. 8”, d. 5‑1/4”. [500/800] Illustrated

982

983 Suite of Six George III Mahogany Dining Chairs, late 18th century, comprised of one armchair and five sidechairs, each with a pierced and carved splat, leafcarved crest rail and raised on Marlborough legs, h. 38”. Provenance: From the collection of Mr. and Mrs. James Britton, Houston, Texas, descended within the family. [800/1200] Illustrated

983

226

984

985 Early American Queen Anne Cherry Bonnet-Top High Chest of Drawers, 18th century and later, the upper and lower cases associated and each with a fan-carved central drawer, raised on cabriole legs, h. 83”, w. 37‑1/2”, d. 20‑1/2”. [1000/1500] Illustrated

986 American Federal Rosewood-Banded, Birdseye Maple and Mahogany Games Table, in the Hepplewhite Taste, ca. 1800, mid-Atlantic, of double elliptical form, the fold-over bowed top supported by a fly leg, the apron with a birdseye maple panel edged with line stringing and rosewood crossbanding, the block front corners with like maple panels, the legs with line-strung banding and inlaid cuffs, h. 30‑1/2”, w. 34‑1/2”, d. 17”, extended l. 34”. Provenance: The Estate of Karolyn Kuntz Westervelt, from the Felix, Emile and Rosemonde Kuntz collection, New Orleans, Louisiana. [1800/2500] Illustrated 987

987 American Federal Band-Inlaid and Birdseye Maple Dressing Table, ca. 1805, attributed to the shop of John and Thomas Seymour, Boston, the top with geometric inlaid banding on its edge, the case with two over a single drawer, the drawers each with birdseye maple panels edged with line stringing and rosewood crossbanding, flanked by like vertical panels, the legs with fluting over similar inlaid maple panels, the lower legs with inlaid cuffs and square panel therm feet, h. 35‑3/8”, w. 35‑1/2”, d. 20‑1/2”. [2000/4000] Illustrated One of the iconic pieces of American Federal furniture, a dressing table with a nearly identical base, is illustrated as the cover item in Mussey, The Furniture Masterworks of John and Thomas Seymour, 2003, pp. 254‑255. Provenance: The Estate of Karolyn Kuntz Westervelt, by descent from the Felix, Rosemonde and Emile Kuntz collection, New Orleans, Louisiana.

985

986

227

988 Rare American Polychromed and Mahogany Tester Bed, fourth quarter 18th century, in the Salem style, the polychromed tester with a central panel and turreted corners, raised on tapering reeded and segmented posts, with a faceted wheat-carved section over a reeded vasiform section, on block feet, the maple headposts supporting a pine headboard, h. 95”, inside, w. 60”, l. 71”, outside, w. 71‑1/2”, l. 83”. [2500/4000] Illustrated

989

989 Pair of Rare Chinese Export Porcelain Basins with Armorial Decoration, mid18th century, decorated with the Arms of Tyndall, the borders painted with sprigs of flowers and the same rampant lion which appears on the family crest in the center of the bowl, h. 4”, dia. 10‑3/4”. [1000/1500] Illustrated

991 988 detail

990

990 Pair of Chinese Export-Style Porcelain Beaker Vases, fourth quarter 19th century, made by Edme Samson, Paris, decorated with armorial devices, raised white scrollwork and polychrome sprigs of flowers, trimmed with cobalt-ground borders highlighted with gilt, marked with faux Chinese rouge-de-fer script in the typical Samson manner, h. 9‑1/2”, dia. 4‑1/4”. [500/800] Illustrated

988

228

991 American Federal Inlaid and LineStrung Mahogany Serpentine Sideboard in the Hepplewhite Taste, ca. 1800, New York, the central bowed doors over a pair of conforming doors flanked by concave panels, the ends with concave doors, the tapering line-strung legs capped by bookend inlay, the base of each leg with conforming light wood cuffs, h. 40‑1/2”, w. 73”, d. 30”. [2500/4000] Illustrated

995 American Federal Inlaid Mahogany Cylinder Secretary, first quarter 19th century, the base with a cylinder roll opening to a fitted interior and pull-out writing surface, above a pair of side-by-side drawers and raised on slender tapering legs ending in flared feet, the associated top with astragal-glazed doors and a giltwood eagle finial above the crest, h. 92”, w. 41”, d. 24”. Provenance: From the collection of Mr. and Mrs. James Britton, Houston, Texas, descended within the family. [1500/2500] Illustrated

992

993

992 American Federal Mahogany Sidechair in the Hepplewhite Taste, ca. 1800, New York, the pierced shieldform back with carved lotus accents above the generous padded seat, raised on ribbed tapering square legs ending in spade feet, now upholstered after the period fashion in patterned horsehair adorned with brass tacks, h. 39‑1/2”. [600/900] Illustrated

996 Chinese Export Blue and White Porcelain Soup Tureen, ca. 1800, with intertwined handles and a pinecone-form knop, the tureen decorated with a lancet border and gilt initials framed in blue and gilt ovals, h. 8‑1/4”, w. 11‑1/2”, d. 7”. [1000/1500] Illustrated

993 American Federal Mahogany Armchair in the Hepplewhite Taste, ca. 1900, New York, the shield-form back with Prince of Wales feathers and joined to the padded seat by outswept arms, raised on ribbed tapering square legs ending in spade feet, now upholstered after the period fashion in patterned horsehair, h. 40”. [800/1200] Illustrated 996

994

994 American Federal Line-Strung Birdseye Maple and Mahogany Games Table, ca. 1800, Massachusetts, the foldover top with a bowed front and serpentine sides, the edge of the top with contrasting stringing, the conforming apron with a central ovoid panel with light wood and ebonized staining at its perimeter, the ends with like rectilinear panels, raised on reeded Sheraton legs with shaped feet, h. 30”, w. 35‑3/4”, l. 18”, extended l. 36”. [1500/2500] Illustrated 995

229

997 American Federal String-Inlaid Mahogany Sideboard, first quarter 19th century, with a complex shaped front with a central drawer above a pair of recessed curved cabinet doors and flanked by curved ends, each with a drawer above a cabinet and raised on slender tapered legs, h. 42”, w. 69”, d. 26”. [600/900]

1000

998

998 American Birch Drop-Leaf Pembroke Table, first quarter 19th century, New England, each leaf with shaped corners, one end fitted with a drawer, raised on splayed and tapered legs, h. 28‑1/2”, w. 19”, d. 36”, extended w. 37”. Provenance: From the collection of Mr. and Mrs. James Britton, Houston, Texas, descended within the family. [800/1200] Illustrated

999

999 Chinese Export Porcelain Blue and White Garniture, fourth quarter 18th century, decorated with gilt-edged panels of blue covered urns over sprigs of flowers against a ground of molded basket weave, the set consisting of a beaker-form vase, h. 10‑1/4”, dia. 5‑1/4”, and a pair of ginger jars, h. 10”, dia. 4”. [500/800] Illustrated

230

1000 American Federal Inlaid and Line-Strung Mahogany Butler’s Chest, early 19th century, Baltimore, the rectangular top above a conforming case fitted with a dropfront secretary drawer opening to a variety of drawers and cubbyholes, with three graduated long drawers below, raised on splayed legs, h. 42‑1/2”, w. 42”, d. 23”. [1000/1500] Illustrated

1001 1001 Theodore Fonville Winans (American/Louisiana, 1911‑1992), “Dixie Belles”, 1938, silver gelatin print, mounted on acid free board, signed and dated lower left, label inscribed with edition number “37/50” and estate number “037A” en verso, 14‑3/4” x 18‑5/8”. Glazed, matted and framed. [3000/5000] Illustrated

1002 Theodore Fonville Winans (American/Louisiana, 1911‑1992), “Rain on the Screen Door”, silver gelatin print mounted on board, signed and dated “1934” lower right, verso with inventory number “PN029”, 16” x 20”. Unframed. [600/900] Illustrated

1004

1002 1003 Cindy Sherman (American, b. 1954), “Untitled Madonna”, gelatin silver print, signed and inscribed “1975/97” en verso, sight 7” x 5‑1/4”. Matted, glazed and framed. Provenance: Private collection, New Orleans, Louisiana. [3000/5000] Illustrated

1004 Abelardo Morell (Cuban/American, b. 1948), “Book of Landscapes with Sunlight”, 1995, silver gelatin print, “02/30”, sheet 20” x 24”, edition, date and title information on “Bassetti Fine Art Photographs” bill of sale. Unframed. [600/900] Illustrated

1005 1005 Keith Carter (American, b. 1948), “Monkey on Wedding Cake”, 1997, silver gelatin print, signed, titled, dated and numbered in pencil “8/50” en verso, sheet 20” x 16”. Unframed. [700/1000] Illustrated 1003

231

1006 Keith Carter (American, b. 1948), “Cosmos”, 1995, silver gelatin print, signed, titled, dated and numbered in pencil “37/50” en verso, sheet 20” x 16”. Unframed. [700/1000] Illustrated

1008

1006

1008 Cindy Sherman (American, b. 1954), “Nipple with Diamond”, 1990‑1991, chromogenic print, signed, dated, and numbered “28/100” en verso, sheet 14” x 11”. Matted. glazed and framed. Provenance: Private collection, New Orleans, Louisiana. [1500/2500] Illustrated

1007 Keith Carter (American, b. 1948), “Zeppelin”, 1997, silver gelatin print, signed, titled, dated and numbered in pencil “7/50” en verso, sheet 20” x 16”. Unframed. [700/1000] Illustrated

1009 1009 Keith Carter (American, b. 1948), “Sky and Water”, 1996, silver gelatin print, signed, titled, dated and numbered in pencil “39/50” en verso, sheet 20” x 16”. Unframed. [700/1000] Illustrated 1007

232

1012 1012 Louis C. Girault (American/New Orleans, active 1970‑1892), “Mountainous Landscape with Bridge Over a River”, pastel on paper, initialed lower left “L. C. G.”, 8‑3/4” x 12”. Glazed and presented in a attractive period giltwood and gesso frame. [800/1200] Illustrated

1010

1010 American Gothic Revival Mahogany Dressing Bureau, second quarter 19th century, probably New York, fitted with four long drawers flanked by trefoil cluster columns, the tilting mirror supported by additional trefoil cluster columns with dramatic tapering finials, h. 82”, w. 45”, d. 23”. [1000/1500] Illustrated 1011 Fine Victorian Gothic Revival Mahogany Secretary Bookcase, second quarter 19th century, the crenellated cornice over a fretwork frieze, over a pair of arched mullioned doors adorned with quatrefoils, crockets and arches, flanked by cluster-columned pilasters, the base with a line-strung crossbanded top over a fold-out upper drawer opening to create a writing surface and expose an interior with drawers and niches, with a pair of paneled doors flanking a kneehole, framed by arched cluster-column pilasters, h. 106‑1/4”, w. 50”, d. 18‑1/4”. [6000/9000] Illustrated

1011

233

1013 Rare Vintage Set of Three United States Geological Survey (USGS) Copper Map Plates, each of the three engraved plates illustrating a topographical map of Holston Valley, the tri-city region of Kingsport, Johnson City, and Bristol in Northeast Tennessee and Southwest Virginia, 3630 N latitude and 8200 W longitude, surveyed at the scale 1:24,000, each plate 20” x 23”, overall weight 50 lbs. [2000/4000] Illustrated

1013

1015 Fine American Rococo Revival Rosewood and PetitPoint Firescreen, third quarter 19th century, probably by John Henry Belter, New York, the frame with sprays of flowers and cornucopia bound by ribbons, h. 66”, w. 43”. [5000/8000] Illustrated 1014

1015 detail

1014 Rare Antique Set of Three United States Geological Survey (USGS) Copper Map Plates, each of the three engraved plates illustrating a topographical map of Continental, Ohio, 4100 N latitude and 8415 W longitude, surveyed in 1908 at the scale 1:24,000, each plate 17” x 20”, overall weight 37.5 lbs. [1500/2500] Illustrated Last year the Federal Government released to the American public for sale thousands of hand-made copper engraving plates used by the United States Geological Survey (USGS); the rest were gifted to major institutions and universities. The plates, produced between 1880 and 1950 in sets of three, were used to produce topographic and geologic maps of various regions and cities in the United States: one plate, inked in black, denoted cultural features and text; another inked in blue illustrated bodies of water; and a third printed in brown ink delineated topographical contours. Each quadrangle plate (produced in mirror image for printing purposes) was etched by a USGS cartographic engraver, and contains historic and scientific information, including cultural transportation, boundary features, hydrography and geology. The extraordinary crispness of these plates has been preserved, as the plates themselves were not actually used to make the maps, but instead, were transferred to a large lithographic stone in order make to make multiple prints. These stunning copper plates are truly rare American memorabilia; they are both historical records and veritable works of art.

1015

234

1016 Important Three-Piece American Renaissance Revival Rosewood Half-Tester Chamber Suite, ca. 1871, attributed to the New Orleans warerooms of Prudent Mallard and accompanied by its original bill of sale, consisting of a halftester bedstead, h. 114”, inside, w. 62”, l. 83”, outside, w. 71”, l. 89”, a single-door mirrored armoire, h. 114”, w. 58”, d. 24”, and a marble-top washstand, h. 42”, w. 40”, d. 22”. Provenance: Purchased by Madame Adele Bouny in 1871 for her home at 19 St. Louis Street in the French Quarter, New Orleans; To daughter Jeanne Bouny Miltenberger, wife of Edwin John Miltenberger. The suite remained at the Miltenberger family home at 1228 Third Street in the Garden District of New Orleans until Jeanne’s death in 1950; Thence to Amelie Miltenberger Hawxhurst, 1526 Third Street; To Henry James Miltenberger in the late 1970s and to his heirs, the present consignors, in 1996. [12000/18000] Illustrated

The present suite is one of four known Mallard bedroom suites retaining their original bill of sale. One of those suites is currently in the collection of the Louisiana State Museum and exhibited in the “1850 House” Pontalba apartments, New Orleans. Another is currently exhibited at “The Gallier House Museum”, New Orleans. A third suite is presently in private hands. Bedchamber furniture similar to the pieces in the present suite, with integral rather than removable crests, dominated by a cabochon in the armoire and dressing bureaus, have surfaced in the marketplace from time to time. Up until now, they have been assumed to be from Mallard’s warerooms based on stylistic similarities to the other documented suites. The present group, with its bill of sale, establishes that this group of “integral crest” furniture can now be attributed with confidence to Mallard’s enterprise. Current scholarship suggests that these pieces were crafted elsewhere in the United States and then sold in the New Orleans market.

1016 1016

1016

235 235

1017 German Framed Lithophane with Cast Iron Candleholder, second quarter 19th century, the lithophane depicting three figures in 18th-century costume, in a molded and pierced iron frame, the frame attributed to the Royal Prussian Iron Foundries, the candleholder with a molded base holding a horse in the front, and a candle bracket in the rear, h. 15”, w. 6”, d. 5”. [600/900] Illustrated

1018

1020 Pair of Enameled Bohemian Cased Glass Mantel Lustres, first quarter 20th century, composed of whitecased glass cut-to-clear and decorated with enameled flowers, hung with spear-point prisms, h. 13‑1/2”, dia. 7‑3/4”. [800/1200] Illustrated

1017 1020

1019

1018 American Rococo Revival Carved Rosewood Center Table, mid-19th century, the tortoise-form marble top over a conforming serpentine paneled apron, each side centered by a fruit- and floral-carved cartouche, on foliatecarved S-scroll supports centered by a foliate-carved finial, the shaped legs adorned with fruit and floral carving and ending in French toes, h. 30”, w. 47‑1/2”, d. 29”. [2000/4000] Illustrated 1019 Bohemian Enameled Overlay Glass Vase in the Gothic Taste, third quarter 19th century, the balusterform vase made with a white overlay, cut-to-clear and trimmed in gilt, the carefully rendered enameled panel depicting lush bouquets of mixed flowers, with birds perched on branches and butterflies, h. 16‑3/4”, dia. 5”. [500/800] Illustrated

236

1022

1021

1024 pair

1024 Pair of Grapevine-Molded Gilt-Brass and Glass Four-Light Gasoliers, mid-19th century, attributed to Archer and Warner, Philadelphia, with grapemolded arms and chains, the turned standards with scrolled vases tapering up to additional grape decoration and leaf-molded canopies, the period glass shades engraved with Elizabethan strapwork, h. 38”, dia. 35‑1/2”. [6000/9000] Illustrated A closely related example is illustrated on the cover of Denys Peter Myers,Gaslighting in America, with additional examples on pp. 50‑51 and 54‑55. The chain is illustrated on pp. 21‑22. 1025 American Rococo Revival Walnut Sideboard, Philadelphia, third quarter 19th century, having an arched mirror and an elaborately carved crest, the base fitted with two drawers and raised on tall carved legs, h. 69”, w. 60”, d. 23”. [700/1000] 1026 Steinway and Sons Rosewood Patent Grand Piano, ca. 1868, in the rococo taste, with applied carving and large carved cabriole legs, bearing the serial number 17177, h. 39”, w. 55”, l. 86”. [7000/10000] Illustrated

1021 Pair of Bohemian Engraved Cased Glass Pokals, first quarter 20th century, on faceted bases and stems, the vasiform pokals with blue cased colorless glass engraved with stags in a forest, the panel-cut covers engraved with scrollwork, h. 11‑3/4”, dia. 3‑3/4”. [1500/2500] Illustrated 1022 Bohemian Engraved Overlay Glass Covered Vase, first quarter 20th century, composed of bluecased colorless glass, the faceted cylindrical vase engraved with flowers and fruit, the matching cover with a conical knop, h. 13‑3/4”, dia. 3‑1/4”. [1200/1800] Illustrated 1023 Pair of Bohemian Overlay Glass Decanters, ca. 1900, the white cut-to-emerald green decanters with strawberry-cut bodies and acorn-form stoppers, h. 16‑1/4”, dia. 3‑1/4”. [600/900]

1026

237

1028 Antoine Tzapoff (French/American, b. 1945), “Pawnee in a Painted Robe”, acrylic on canvas, signed lower left, 26” x 22”. Framed. Exhibited: Dewey-Kofron Gallery, Santa Fe, New Mexico, 1983. Provenance: Private collection, Santa Fe, New Mexico. [3000/5000] Illustrated 1029 Antoine Tzapoff (French/American, b. 1945), “The Red Blanket”, 1980, acrylic on canvas, signed and dated lower right, 25” x 21”. Framed. Provenance: Private collection, Santa Fe, New Mexico. [3000/5000] Illustrated

1027

1027 Antoine Tzapoff (French/American, b. 1945), “Portrait of a Warrior”, acrylic on canvas, signed lower left, 22” x 20”. Framed. Provenance: Private collection, Santa Fe, New Mexico. [3000/5000] Illustrated Born in Paris of Russian/French parentage, Tzapoff attended l’Ecole Duperre (l’ecole superieure des arts appliques Duperre). Upon completion of his studies, he worked for over ten years in the studio of Victor Vasarely (1906‑1997). In the mid-1970s, influenced by his childhood fondness for stories of the American West, he began to create works inspired by 19th-century America, particularly its Native American heritage. Tzapoff had his first solo exhibition in 1977 in Santa Fe, New Mexico, followed by one in Paris the next year. In his portraits of Native Americans, as seen in the work offered here and in the following two lots, Tzapoff pays close attention to the historical accuracy of the various elements - the landscape, the costume, the weaponry.

1028

238

1031 Jeanette Le Grue (American/California, b. 1952), “Cypress on a Hill”, oil on masonite, signed lower right, verso with “Gallery One, Mendocino, California” label, 20” x 16”. Framed. [600/900] Illustrated 1032 Walter Koeniger (American, 1881‑1943), “Winter Landscape”, 1926, oil on canvas, signed and dated lower right, 30” x 30”. Presented in a giltwood frame. [1500/2500] Illustrated

1029

1031

1030 1030 John W. Orth (American/California, 1889‑1976), “St. Wiesner”, 1933, oil on masonite, signed, titled and dated lower right, 20” x 16”. Presented in a period giltwood frame. [1800/2500] Illustrated

1032

239

1033 Morris Walton Leader (American/Texas, 1877‑1966), “Island Reflections”, oil on canvas, signed lower left “Walton Leader”, 24” x 30”. Presented in a later frame affixed with an artist plaque. [3000/5000] Illustrated

1035

1033 1034 Patrick Cunningham (American/Texas, 1925‑1984), “Wild Horses in a Western Landscape”, oil on canvas, signed lower right, 24” x 30”. Framed. [800/1200] Illustrated

1036

1034 1035 Pair of Tiffany & Co. George II-Style Sterling Silver Candlesticks, the pattern introduced in 1913, this pair 1945‑1965, New York, New York, after the 1739 London original by David Willaume, each with a waisted standard of shaped-square section, surmounted by a cannon-form nozzle and raised above a “Chippendale”-molded base, with detachable socket en suite, h. 9”, w. 4‑3/4”, 36.62 total t. oz. [1500/2500] Illustrated

240

1036 Tiffany & Co. George I-Style Sterling Silver Coffeepot, third quarter 20th century, New York, New York, of conical form, with “gooseneck” spout, crested “s”-scroll ebonized handle, and hinged, domed lid with turned ebonized finial, h. 12‑1/2”, l. 9‑1/2”, dia. 5‑1/4”, 48.75 total t. oz. (including wooden elements). [1000/1500] Illustrated

1040

1040 Two Sterling Silver Stag-Decorated Compotes, the first American, fourth quarter 19th century, with a circular bowl above a waisted standard decorated with paterae and stag’s heads, raised above a tripodal base of stag’s legs joined by ropework, h. 9”, dia. 9‑1/2”, the other by Cartier, Spain, with an oval bowl with wavy rim raised on a figural stag standard above a domed base en suite with the bowl, monogrammed “LJR”, h. 8”, l. 9‑1/2”, 50.94 total t. oz. [800/1200] Illustrated

1037

1037 One Hundred-Piece Set of Reed & Barton “Marlborough” Sterling Silver Flatware, the pattern designed in 1906 by Charles Augustus Bennett, Taunton, Massachusetts, including eight seven-piece place settings, with an additional thirtyfive place pieces and nine serving pieces, thirty-seven pieces monogrammed “S”, 97.74 total t. oz. (weighable silver), presented in a fitted, baize-lined wooden case, 3‑1/2” x 11‑1/4” x 16”. Detailed list of pieces available on request. [1800/2500] Illustrated

1038 1037 detail

1038 Cartier “Chippendale” Sterling Silver Platter, 20th century, New York, of circular form with “Chippendale” rim, dia. 16”, 43.57 t. oz. [1500/2500] Illustrated 1039 Pair of Cartier Sterling Silver “Chippendale” Footed Waiters, 20th century, New York, New York, each of shaped square form, with canted corners and “Chippendale” rim, raised on four scroll-and-pad feet, 12” x 12”, 73.89 total t. oz. [1200/1800] Illustrated 1039

241

1041 American Sterling Silver Platter, mid-20th century, of circular form, with reed-and-acanthus rim, dia. 19‑1/2”, 101.27 t. oz. [1800/2500] Illustrated

1044 Ten American Sterling Silver Julep Cups, mid-20th century, of traditional tapering cylindrical form, including a set of five Wallace Silversmiths cups with molded rim and reeded base, monogrammed “MAR”, h. 4”, dia. 3”, and a set of five Chicago Silver Co. cups with molded and beaded rim and base, monogrammed “ARF”, h. 4”, dia. 3‑1/8”, 40.38 total t. oz. [700/1000] Illustrated

1044

1041

1042 Six American Sterling Silver Tall Beakers, second quarter 20th century, of tapering cylindrical form, including a pair by Tiffany & Co. with flared and reeded rim and molded base, with applied logo of the New York Athletic Club, one with presentation inscription dated 1936, h. 5‑1/8”, dia. 3‑1/4”, and a set of four by Black, Starr and Gorham with plain rim and annular foot, h. 4‑3/4”, dia. 3”, 44.60 total t. oz. [700/1000] Illustrated

1045 Five-Piece Durgin “Fairfax” Sterling Silver Coffee and Tea Set, the pattern designed in 1910 by Barton Pickering Jenks (1870‑1941), Concord, New Hampshire, including a coffeepot, h. 6‑3/4”, l. 10‑1/4”, a teapot, h. 4‑3/4”, l. 10‑1/2”, a covered sugar bowl, h. 3‑1/2”, w. 7‑5/8”, a cream jug, h. 3‑1/2”, l. 6‑1/2”, and a waste bowl, h. 3‑1/8”, w. 5‑1/4”, all monogrammed “H”, 60.62 total t. oz. [1000/1500] Illustrated

1045

1042

1043 Twenty-Two American Sterling Silver Bread-andButter Plates, first half 20th century, including a set of six 1919 Gorham plates with reeded rim, monogrammed “M”, dia 6‑3/8”, a set of six Mauser plates with reeded rim, monogrammed “HMT”, dia. 6‑1/2”, a set of nine Shreve & Co. plates with hammered finish, dia. 6”, and a single “Adam’s” plate with molded rim, monogrammed “HBP”, dia. 6‑1/4”, 69.94 total t. oz. [600/900]

242

1046 Nine Assorted American Sterling Silver Julep Cups, 20th century, of traditional tapering cylindrical form, including a pair by Newport Sterling with reeded rim and molded base, monogrammed “MBH”, h. 4”, dia. 3”, four by International Silver with reeded rim and base, one monogrammed “PVS”, h. 3‑3/4”, dia. 3”, an S. Kirk & Son example with molded rim and base, h. 3‑1/4”, dia. 3‑1/4”, an Alvin example with reeded rim and base and applied enamel armorial, h. 3‑3/4”, dia. 3”, and an Ensko example with molded rim and base and engraved inscription “Moro to Kelso Trophy”, h. 4”, dia. 3‑1/8”, 36.94 total t. oz. [500/800]

1047

1047 Set of Twelve American Sterling Silver Water Goblets, mid-20th century, by Wallace Silversmiths, Wallingford, Connecticut, each with an inverted bellform bowl, waisted stem and shallow ogee-domed base, no monograms, h. 6‑3/4”, dia. 3‑1/2”, 64.19 total t. oz. [600/900] Illustrated

1049

1048 1049 detail 1048 Reed & Barton “Pilgrim” Sterling Silver Tea Tray, mid-20th century, Taunton, Massachusetts, oval with integral handles, 24‑1/2” x 17”, 105.45 t. oz. [1800/2500] Illustrated 1049 One Hundred and Thirty-Six-Piece Set of Tuttle “Onslow” Sterling Silver Flatware, the pattern introduced in 1931, this set 1936, Boston, Massachusetts, comprising a dozen eleven-piece place settings (one cream soup spoon lacking), and five serving pieces, monogrammed “R/L*S”, 162.31 total t. oz. (weighable silver), presented in a fitted, Pacific cloth-lined leatherette case with zip-top closure, 3‑1/2” x 23” x 12‑3/4”. Detailed list of pieces available on request. [3500/5000] Illustrated 1050 Good Pair of Kentucky Sterling Silver Julep Cups, 1953‑1960, by Mark J. Scearce, Louisville, Kentucky, of traditional tapering cylindrical form, with molded and beaded rim, h. 3‑3/4”, dia. 3‑1/8”, 9.51 total t. oz. [600/900] Illustrated

1050

243

1052 Continental Polished Brass and Glass Chandelier of Rococo Inspiration, first quarter 20th century, the turned standard set with molded and scrolled arms, each with a molded gargoyle masque, set with ruffled, shaded blue satin glass shades with vertical molded leaves, and pierced diapering on the upper standard, h. 35‑1/2”, dia. 32”. [1000/1500] Illustrated

1052

1051 Bohemian Cut and Enameled Glass GourdForm Vase, first quarter 20th century, possibly Moser, the pale blueplated vase with panels of “Russian” pattern cut-toclear, and decorated with carefully detailed diapered panels framed with raised gilt scrollwork, unsigned, a ground pontil on the base, h. 11‑1/4”, dia. 5‑1/4”. [600/900] Illustrated

1055

244

1053

1051

1053 American Aesthetic Movement Parcel-Gilt Ebonized Library or Center Table, fourth quarter 19th century, probably New York, the rectilinear top over a frieze fitted with a central panel, joined by floral- and scroll-carved brackets to a trestle base with fluted columns and a carved stretcher, h. 31”, w. 40‑1/4”, d. 25”. By oral tradition the present table has a long history of ownership in New Orleans. [800/1200] Illustrated

1054

1054 Mason and Hamlin, Boston, Ebonized Concert Grand Piano and Lift-Seat Bench, ca. 1915‑1919, model CC2, serial number 26585, piano, h. 40”, w. 59‑1/2”, l. 108”, bench, h. 18”, w. 14”, l. 30”. [2500/4000] Illustrated

1057 Six-Piece Suite

1055 Buff and Buff Bronze and Glass Transit, Stand and Original Mahogany and Bronze Case, first quarter 20th century, American, the engineer’s transit with a 12” scope, bubble level and an A-frame support, resting on four adjustable feet, engraved “Buff and Buff Manufacturing Co., Boston USA”, h. 14”, w. 12”, d. 7”, on stand, h. 69”, together with a mahogany and bronze case with original interior labels, h. 14‑1/2”, w. 10”, d. 10‑3/4”. [700/1000] Illustrated 1057 Six-Piece Suite

1056

1056 Eight-Piece Collection of Tiffany Bronze Objects, first quarter 20th century, New York, most in a gold dore finish, including an “abalone” pattern compote (attributed), h. 4‑3/4”, dia. 9”, five trays, including two with unidentified molded edges and one with initials, each marked, dia. 9” to 14‑1/2”, and two dishes, dia. 9”. [1500/2500] Illustrated 1057 American Aesthetic Movement Marquetry-Inlaid Mahogany Six-Piece Parlor Suite, ca. 1880, attributed to Charles Tisch, New York, comprised of a sofa, h. 49‑3/4”, w. 70”, d. 30‑1/2”, an armchair, h. 49‑1/2”, a pair of sidechairs with upholstered backs, h. 41”, and a pair of sidechairs with carved panel and fretwork backs, h. 39”, each piece with a broken-arch floral- and foliate-carved crest over a band of wood and brass marquetry inlay depicting flowers, leaves and vines, the sofa and armchair with griffin-carved arm supports, all pieces with an apron centered by like inlay and carving and each on ring-turned legs on distinctive carved feet, now upholstered after the period fashion in tufted gold brocade. [4000/7000] Illustrated A cabinet by Charles Tisch, in the collection of the Metropolitan Museum of Art, New York, was awarded first place recognition at the 1884 New Orleans World Cotton Exhibition. That cabinet utilizes similar brass inlaid flowers to those employed in the present suite. Tisch was one of a handful of smaller shops producing wares to compete with Herter Brothers and Pottier & Stymus.

1058 Impressive Suite of Eighteen Tiffany-Retailed Bone China Fish Plates, ca. 1901‑1922, English, decorated by Joseph Birbeck (Senior) on Royal Doulton blanks, with various fish in beautifully rendered aquatic landscapes, framed with raised gilt borders, each marked on the back with a green Doulton mark, “Tiffany & Co, New York”, the identity of the fish depicted and signed by the artist, some with a Doulton impressed mark and decorator’s numbers, dia. 8‑1/2”. [1800/2500] Illustrated Joseph Birbeck, from a family of distinguished china painters, joined Royal Doulton in 1900. He was known for the sets of plates he decorated for the North American market. He was noted for his birds and fish, and particularly admired for his misty aquatic decoration and landscapes after JMW Turner (English, 1775‑1851).

1058

245

1059 Assembled Bronze and Velvet Writing Pad and Stationery Case, the similar pieces each attributed to E. F. Caldwell, New York, second quarter 20th century, including a rolled top stationery case with rococo-style pierced bronze-work, the center of the case decorated with cupids holding a crowned shield, all set in looped scrollwork with fruit and flowers, the front lifting to reveal slots for letters and envelopes, h. 12”, w. 13”, d. 9‑1/2”, and the folding writing pad with Florentine-style pierced bronzework, utilizing Renaissance-style scrollwork, angels and flowers, the front covers with distinctive lozengeform mounts with rope-twist edges, pierced masques, scrollwork and medallions with Renaissance figures, h. 18”, closed w. 26‑1/2”, open w. 50‑1/2”. [2000/4000] Illustrated

1061 Czech Cased Glass and Gilt-Decorated Decanter, second quarter 20th century, possibly Moser, cased with cranberry glass and panel cut, the bottle with raised gilt scrollwork, the spear-point stopper faceted and with gilt vermicelli decoration, h. 14”, dia. 4‑3/4”. [700/1000] Illustrated 1062 American Aesthetic Movement Carved 1061 Walnut Settee, third quarter 19th century, New York or Philadelphia, the crest rail with a central panel depicting leaves and berries on a stippled ground, the tufted backrest flanked by paired columns centered by similarly carved panels, the open arms raised on pierced supports terminating in winged paw feet, the seat apron with a trio of floral-carved panels, raised on turned legs, h. 38‑1/4”, w. 63”, d. 28”. [700/1000] Illustrated

1059

1060 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 Neo-Grec-style giltwood and gesso frame, retaining a partial “New York” label. [800/1200] Illustrated 1062

1063 Set of Four American Walnut Window Cornices, fourth quarter 19th century, with curtain rods and rings, the cornices supported on side brackets, reeded beneath swan’s neck crests and carved with leaves and anthemia on a stippled ground, h. 21‑1/2”, w. 59”. [1500/2500] Illustrated

1060

246

1063 set of four

1064 Important American Late Victorian Walnut Writing Desk, fourth quarter 19th century, made from the historic “Washington Tree”, the top centered by crotch walnut panels and the ends bearing the carved inscription, “Relic of Washington Tree from the Estate of General P. Crooke... Oldest tree on Long Island Cut Flatbush, Nov., 1893”, with a central frieze drawer flanked by a bank of three drawers on each side, the upper corners of the legs with carved grotesque masques and raised on cabriole legs terminating in paw feet, h. 32”, w. 51”, d. 29”. Philip S. Crooke served as Brigadier General, 5th Brigade, New York State Military. [2500/4000] Illustrated

1064 1065 French Bronze Five-Light Chandelier of Art Nouveau Inspiration, ca. 1900, with a central lower light and four matching lights on scrolled arms, decorated with sprays of leaves, the cylindrical standard with like decoration, h. 33”, dia. 23‑1/2”. [700/1000] Illustrated

1065

1066 Set of Fifteen Gilded and Enameled Hock Glasses, Attributed to Moser, first quarter 19th century, Bohemian/Czech, the pale green glasses with octagonal bowls, frosted edges trimmed with gilt scrollwork and enameled cabochons, h. 7‑3/4”, dia. 2‑1/2”. [1200/1800] Illustrated

1067 Unusual Emerald Green-Ground Glass Vase, first quarter 20th century, probably Moser, decorated with delicately encrusted hydrangeas on a gilt ground, with a scrolled, raised edge, the green ground with scattered gilt flowers, h. 19‑1/2”, w. 8‑1/4”, d. 4‑1/4”. [700/1000] Illustrated 1068 American Stained and Leaded Glass Hanging Dome Chandelier, first half 20th century, with a grape and leaf border, fitted with a single socket and suspended by a brass chain, shade, h. 13”, dia. 22‑1/2”. [500/800]

1067

1069

1069 Aesthetic 1070 Movement Folding Triptych Dressing Mirror, fourth quarter 19th century, New York, composed of maple, mirror glass and pressed paper, the maple frame set with a beveled mirror plate on the obverse, and pressed painted paper with Aesthetic patterns on the reverse, labeled “Peter Wiederer & Bro., Pat Apl’d For” on a metal plate, overall, h. 11‑1/4”, w. 33‑3/4”. [500/800] Illustrated 1070 Pair of Molded Copper Architectural Finials, fourth quarter 19th century, possibly American, the four-sided finials leaf molded and retaining a rich patinated surface, on contemporary wooden supports, h. 19‑1/4”, w. 6‑1/2”, d. 6‑1/2”. [500/800] Illustrated

1066

247

Lots 1071-1093: A Collection of 19th-20th Century Japanese Cloisonne As Japan’s merchant middle class expanded during the Edo period (1615-1868), many creative forms including cloisonné enameling evolved to cater to this new demographic’s voracious appetite for luxury. Prior to the nineteenth century, cloisonné or shippo, the art of fusing glass and enamel to a substrate material, was applied exclusively to small surfaces such as sword fittings, screen handles and nail covers. In Nagoya in the 1830s, Kaji Tsunekichi (1803-1883), the second son of a samurai, under the patronage of the daimyo Tokugawa Keisho, began producing a range of shippo objects which included cups, tray, ink and brush sets. Kaji’s apprentices included Hayashi Shogoro (c.1835-1896) who was pivotal in the spread and growth of shippo. Hayashi trained Tsukamoto Kaisuke (1828-1897), Hayashi Kiyoe (1848-1931), Hayashi Kodenji I (1831-1915) and Tsukamoto Jinemon (1830-1890). Tsukamoto Kaisuke taught in Yokohama and Kyoto, while Tsukamoto Jinemon trained Kumeno Teitaro (1861-1939) in Nagoya and Honda Yosaburo (active 1870s-1910) in Kyoto. The influx of Western technologies into Japan during the Meiji Restoration (1868-1912), contributed significantly to innovations in shippo in the 1870s. The German chemist, Gottfried Wagner (1831-1892) fostered advances in enameling with techniques derived from his work with ceramics that resulted in brighter and more varied palettes. He began collaborating with Tokyo-based cloisonné artists from Nagoya in 1872 and helped curate an exhibition of shippo in Vienna in 1873. By the mid-1870s, Wagner was advising the H. Ahrens Company, a German decorative arts commission that would be acquired by Namikawa Sosuke (18471910) in 1877. Shippo wares reached new technical and aesthetic heights and were tremendously popular domestically and abroad between the 1880s and 1910s, the “Golden Age of Japanese Cloisonné.” The imperial family patronized artists including Hayashi Kodenji, Sosuke and Ando Jubei and collectors from Philadelphia to Paris were enamored with the beauty and sophistication of Japanese cloisonné enamelwork. Its superb and unsurpassed artistry inspired the likes of Frederic Boucheron (1830-1902) and LaCloche Freres in France, Elkington & Co. in England and Tiffany and Co. in the United States.

1072 Japanese Cloisonne Vase, Taisho period (1912‑1926)/ Showa period (1926‑1989), the green Ando Jubei wireless cloisonne shizumi enamel vase decorated with floral scroll patterns, with a marked underside, h. 10”, dia. 7”. [600/900] Illustrated

1071

1071 Japanese Shizumi Cloisonne Bottle Vase, Taisho period (1912‑1926)/Showa period (1926‑1989), the vibrant green wireless Japanese cloisonne vessel with a globular body decorated with a scrolling floral pattern, a long slender neck and flared lip, with silver mouth and foot rims, the underside with the mark of Ando Jubei Cloisonne, h. 10”, dia. 5”. Works by the Nagoya atelier of Ando Jubei can be found in many collections including the Victoria and Albert Museum, London, United Kingdom, and the Walters Art Museum, Baltimore, Maryland. A vase almost identical to this one is published in Fredric T. Schneider’s The Art of Japanese Cloisonne Enamels, London, 2010, fig. 81. [500/800] Illustrated

248

1072

1073 Japanese Cloisonne Vase, Taisho period (1912‑1926)/ early Showa period (1926‑1989), 20th century, the Ando Jubei cloisonne vase decorated with inset applique enamel of an oak branch and acorns against a yellow ground, with a mark on the underside, h. 7‑1/4”, dia. 3”. [600/900] Illustrated

1074 Japanese Cloisonne Vase, early Meiji period (1868‑1912), the vase with a turquoise ground and a flared lip, the lip interior decorated with pink and white prunus blossoms, the exterior depicting flowers and rocks, h. 12‑1/2”, dia. 6‑3/4”. [600/900] Illustrated 1075 Japanese Cloisonne Censer, Koro, Meiji period (1868‑1912), the tripodal ovoid-form censer with floral decoration on the lid and at the shoulder, over blueground reserves with phoenixes, against a taupe ground, h. 4‑1/4”, w. 4‑1/2”. [500/800]

1076

1073

1076 Japanese Cloisonne Vase, late Taisho period (1912‑1926)/mid-Showa period (1926‑1989), decorated with a pair of cranes assembled as a tazza with a cut glass tray bearing a spurious Tiffany mark and frosted floral decoration, h. 8”, dia. 10‑1/8”. [500/800] Illustrated

1077

1074

1077 Japanese Cloisonne Censer, Koro, Meiji period (1868‑1912), the small cloisonne vase with a cover in the style of the Honda school, decorated with scrolling foliage and waves above lappets containing dragons and phoenixes, with three rounded feet, each encircled with a pattern of blue circles, h. 4”, dia. 4”. [600/900] Illustrated

249

1078 Two Pieces of Japanese Cloisonne, Meiji period (1868‑1912), ca. 1895‑1910, comprising one bottle vase with a long neck and flared lip, h. 7‑1/8”, dia. 4”, and a small tripodal lidded jar with a chrysanthemum finial, h. 3‑3/4”, dia. 3‑1/8”, both Kyoto Jippo cloisonne with tight gilt copper scrollwork and floral roundels. [600/900] Illustrated A vase with similar decoration to these two vessels by Takahara Komejiro is published in Fredric T. Schneider’s The Art of Japanese Cloisonne Enamels, London, 2010, fig. 70.

1080

1080 Two Pieces of Japanese Cloisonne, Meiji period (1868‑1912), 19th century, including a round lidded box decorated with flowers and butterflies on a dark blue ground, the lid with a reserve depicting a brilliantly colored phoenix with long swirling tail feathers, and a blue enamel interior, h. 2‑3/4”, dia. 3‑3/4”, and a beehive-form water pot with goldstone decoration around the neck, over a pattern of butterflies and scrolling vines, h. 3”, dia. 3‑1/2”. [600/900] Illustrated

1078

1079 Four Pieces of Japanese Cloisonne, including two censers and two teapots of Kyoto Shippo cloisonne, the rounded tripodal censer decorated with butterflies and with a chrysanthemum finial, h. 4‑1/2”, dia. 4”, the lobated censer with three legs decorated with enamel and floral scrolls, and with a ball finial, h. 4‑1/2”, dia. 3‑1/4”, the larger teapot lobated and decorated with butterflies and flowers, and with a chrysanthemum finial, h. 6‑3/8”, w. 8”, and the smaller teapot with three legs and decorated with butterflies and flower scrolls, h. 2‑1/4”, w. 4‑1/8”. Provenance: The smaller teapot, Christie’s, Kunsthaus, Zurich, The Avo Krikorian Collection, February 19, 2007, lot 223. [700/1000] Illustrated

1081

1081 Fine Japanese Cloisonne Bowl and Vase, Meiji period (1868‑1912), 19th century, the bowl with kinseki exterior with butterflies and flowers, a scalloped rim and bands of alternating colors, reddish brown kinseki, turquoise, green and yellow, all with floral decoration, the center reserve with a phoenix against a kinseki ground, h. 4‑5/8”, dia. 8‑1/2”, and the vase with panels of alternating taupe and kinseki at the shoulder, each with either a qilin or lappets with dragons or phoenixes interspersed with demon masks, h. 8‑3/4”, w. 5‑3/4”. [1400/1800] Illustrated 1079

250

1085 Two Japanese Cloisonne Vases, Meiji period (1868‑1912)/Taisho period (1912‑1926), one vase puttycolored and depicting a group of pigeons, h. 6”, dia. 2‑3/4”, and the other square-sided vase decorated with a swirling dragon against a dark blue ground, h. 7‑3/8”, dia. 2‑1/2”. [800/1200] 1082

1084

1082 Exceptional Japanese Cloisonne Censer, Meiji period (1868‑1912), probably late 1880‑1890, probably Nagoya, the ovoid-form censer decorated with a finely rendered dragon against a deep green Kinseki ground, the reticulated lid with floral ornamentation and a chrysanthemum finial, and four gilt legs supporting the body, h. 4”, dia. 4‑1/2”. [800/1200] Illustrated

1083

1083 Pair of Unusual Japanese Cloisonne Vases, Meiji period (1868‑1912), probably 1880s, the two globular vessels each with a splayed moth rim, cloud decoration at the neck and covered with a dragon and phoenix motif against a red ground, h. 6”, dia. 4‑1/4”. [800/1200] Illustrated 1084 Japanese Cloisonne Vase, Meiji period (1868‑1912), late 19th century, the vase with a dragon finely worked in silver wire, with colorful enamel swirls across a dark blue ground, h. 5‑3/4”, dia. 2‑1/4”. [500/800] Illustrated

1086

1086 Large Japanese Cloisonne Vase, Meiji period (1868‑1912), the mouth and foot rim decorated with floral patterns, the body depicting a pair of quail in a garden setting replete with an array of flowers, h. 24‑1/4”, dia. 9‑1/2”. [1000/1500] Illustrated

251

1087 Pair of Japanese Cloisonne Vases, Meiji period (1868‑1912), ca. 1880‑1890s, each Nagoya cloisonne vase with decoration at the mouth and foot rim, the sides decorated with seven cranes among pine trees, h. 6‑1/4”, dia. 3”. [1000/1500] Illustrated

1089

1089 Five Japanese Cloisonne Vases, Meiji period (1868‑1912), of varying sizes, each decorated with an arrangement of flowers against a black or navy blue ground, the largest two vases with petal decoration at the mouth and foot rims, the smallest two with squared sides, h. 5‑1/4” to 9‑1/2”, w. 2” to 4‑3/4”. [600/900] Illustrated

1087

1088 Japanese Cloisonne Vase, Meiji period (1868‑1912), the baluster vase with a splayed mouth and foot rim, depicting birds among lush wisteria blooms over a bed of irises against a dark blue ground, h. 10”, dia. 3‑3/4”. [800/1200] Illustrated A similar example to this vase can be found in the Ashmolean Museum, Oxford, United Kingdom, and is attributed to Namikawa Yasuyuki of Kyoto.

1090

1090 Japanese Moriage Cloisonne Vase, late Meiji period (1868‑1912)/Taisho period (1912‑1926), attributed to Gonda Hirosuke (1865‑1937), the vase decorated with two carp, one pink and one blue-gray, swimming up to a rippling current, on a celadon-colored ground, with a taupe underside and interior, and displayed on a reticulated wooden stand, vase, h. 6‑1/4”, dia. 3”. [700/1000] Illustrated

1088

252

A vessel with similar attributes sold at Bonhams, London on November 5, 2009, lot 225. Another case with this decoration can be found in the Khalili Collection of Japanese Art, London, United Kingdom and is published in Fredric T. Schneider’s The Art of Japanese Cloisonne Enamels, London, 2010, fig. 61.

1091 Two Japanese Cloisonne Urns, Meiji period (1868‑1912), ca. 1880‑1890s, the larger vase with chrysanthemum roundels and ruyi clouds against a dark blue ground surrounding reserves with birds and flowers against a lighter blue ground, h. 7‑1/2”, w. 5”, and the smaller lidded vessel with butterfly, bird and flower scrollwork against a dark blue ground surrounding a reserve of birds on a river bank and another of blooming flowers against a light blue ground, with handles and a pewter lining, h. 5‑3/8”, w. 5”. [700/1000] Illustrated

1092 1091

1092 Japanese Cloisonne Vase, Meiji period (1868‑1912), 19th century, the hexagonal vase with a long neck and splayed lip decorated with cherry blossoms and sparrows against a blue ground, with the mark of Hayashi Chuzo of Nagoya, h. 9‑7/8”, dia. 4‑1/2”. [700/1000] Illustrated

1093 Exceptional Japanese Cloisonne Vase, Meiji period (1868‑1912), ca. 1880‑1890s, the Nagoya ornate vase with enamels on copper with gilded rims, lavishly decorated border and reserves depicting birds and flowers, ducks and marsh grasses, cranes and bamboo and chrysanthemums and quail, h. 11‑1/2”, w. 7”. [1500/2500] Illustrated A similar vase is in the permanent collection of the Victoria and Albert Museum, London, United Kingdom.

1093

253

1094 Walter Inglis Anderson (American/New Orleans, 1903‑1965), “Still Life of Bottles and a Vase”, watercolor and graphite on paper, sheet 8‑1/2” x 11”. Glazed, float-mounted and framed. Accompanied by a letter of authentication from the Anderson family. [6000/9000] Illustrated

1094

1095 Walter Inglis Anderson (American/ New Orleans, 1903‑1965), “Blue Gallinules”, watercolor and graphite on paper, stamped lower right, sight 8‑1/2” x 10‑3/4”. Glazed, floatmounted and framed. [7000/10000] Illustrated

1095

254

1096 Walter Inglis Anderson (American/New Orleans, 1903‑1965), “Man o’ War”, watercolor and graphite on paper, a “Luise Ross Gallery/ New York, NY” label en verso, sheet 8‑1/2” x 11”. Glazed, float-mounted and framed. Provenance: Luise Ross Gallery, New York, New York; Private collection. [8000/12000] Illustrated

1096

1097 Walter Inglis Anderson (American/New Orleans, 1903‑1965), “Pelicans”, crayon on paper, a “Luise Ross Gallery/ New York, NY” label en verso, sheet 8‑1/2” x 11”. Glazed, float-mounted and framed. Provenance: Luise Ross Gallery, New York, New York; Private collection. [10000/15000] Illustrated

1097

255

1098 Stephen Scott Young (American, b. 1957), “Chicken Crossing - Coconut Oath, Eleuthera Island, Bahamas”, 2000, watercolor on paper, signed and inscribed lower right, dated and localised lower left, sight 14‑1/2” x 11‑5/8”. Glazed, float-mounted and framed. [3000/5000] Illustrated 1099 Alberta Kinsey (American/Louisiana, 1875‑1952), “French Quarter Courtyard”, oil on wood panel, signed lower left, 18” x 14”. Presented in a later Arts and Crafts-style frame. [1400/1800] Illustrated

1098

1100

1100 Angela Gregory (American/Louisiana, 1903‑1990), “Still Life with a White Teacup”, oil on board, monogrammed lower left, 15” x 9‑1/2”. Presented in a molded giltwood frame. [800/1200] Illustrated

1099

256

1101 William Anzalone (American/Texas, b. 1935), “Golden Still Life”, oil on canvas, signed lower right, 16” x 27‑3/4”. Presented in a giltwood frame. [1400/1800] Illustrated 1102 Robert Gordy (American/ Louisiana, 1933‑1986), study for a “Mountain Landscape with Two Lakes”, 1979, marker ink and colored pencil on paper, verso with “Seeman-Robinson, Inc., Houston, Texas” label, 16‑5/8” x 22‑5/8”. Glazed, matted and framed. [800/1200] Illustrated

1101

1102

1103 Jose Maria Cundin (Spanish/ Louisiana, b. 1938), “Untitled Male Figure”, 1985, pencil on paper, signed and dated lower right, sight 5‑1/2” x 4”. Glazed, matted and framed. [800/1200] Illustrated

1104

1104 Douglas Bourgeois (American/Louisiana, b. 1951), “Little Objects Series #30”, 1999, gouache on paper, signed and dated lower right, sheet 14‑7/8” x 11”. Float-mounted, glazed and framed. Provenance: Private collection, New Orleans, Louisiana. [800/1200] Illustrated

1103

257

1107 George Dureau (American/New Orleans, 1930‑2014), “Seated Nude Male Figure”, 1967, oil on canvas, signed lower right and signed and dated en verso, 30” x 24”. Framed. [2500/4000] Illustrated

1105 1105 Jim Richard (American/Louisiana, b. 1943), “Lake Vista”, 1981, acrylic on Arches paper, signed and dated lower right, verso with “Galerie Simonne Stern, New Orleans, Louisiana” and “Watson/de Nagy & Company, Houston, Texas” labels, 20” x 25”. Glazed, matted and framed. [1000/1500] Illustrated

1107 1108 Malcolm Myers (American/Minnesota, 1917‑2002), “Heralding Angel”, 1959, watercolor on paper, signed, dated and localized “New York” lower right, sight 10‑3/4” x 13”. Glazed, matted and framed. [1000/1500] Illustrated

1106 1106 Robert Gordy (American/ Louisiana, 1933‑1986), “The Door Stoops of New Orleans”, 1975, acrylic on canvas, monogrammed and dated lower right, dated and localized on stretcher, 36” x 23‑3/4”. Framed. [2000/4000] Illustrated 1108

258

1111

1109

1109 Stephen Scott Young (American, b. 1957), “Harbour Island Princess, Bahamas”, 2003, watercolor on paper, signed, dated and inscribed lower left, sheet 17‑1/4” x 15”. Glazed, floatmounted and framed. [6000/9000] Illustrated 1110 William Tolliver (American/Louisiana/ Mississippi, 1951‑2000), “Fruitful Nude”, oil on canvas, signed lower right, titled en verso, 20” x 16”. Framed. [3000/5000] Illustrated 1111 William Tolliver (American/Mississippi/ Louisiana, 1951‑2000), “Jazz Musicians”, mixed media on canvas, signed lower right, 71‑3/4” x 48”. Unframed. [15000/25000] Illustrated

1110

259

1112 James Michalopoulos (American/ Louisiana, b. 1951), “Untitled, Moonlit Portrait of a New Orleans Cottage”, oil on canvas, signed lower left, verso with a “Michalopoulos Gallery” label, 48” x 36”. Framed. [5000/8000] Illustrated

1112

1113 James Michalopoulos (American/New Orleans, b. 1951), “Corner Building”, ca. 1985, oil on canvas, signed “Mitchell” lower right, 20” x 24”. Framed. [2500/4000] Illustrated

1113

260

1114 Semi-Antique Kashan Carpet, 4’ x 6’. [500/800] Illustrated 1115 Antique Kilim Carpet, 3’ 6” x 7’ 8”. [500/800] Illustrated 1116 Agra Sultanabad Carpet, 12’ x 15’. [1500/2500] Illustrated 1117 Turkish Angora Oushak Carpet, 10’ 5” x 14’. [1400/1800] Illustrated

1114

1116

1115

1117

261

1118

1120

1118 Turkish Sultanabad Carpet, 9’ 3” x 11’ 8”. [1200/1800] Illustrated 1119 Persian Bidjar Carpet, 4’ 8” x 7’ 1”. [600/900] 1120 Antique Sarouk Carpet, 10’ 4” x 14’. [800/1200] Illustrated 1121 Turkish Angora Oushak Carpet, 7’ 9” x 9’ 9”. [900/1200] 1122 Semi-Antique Persian Josheghan Carpet, 8’ x 11’. [1000/1500] Illustrated

1122

262

1123 Semi-Antique Mahal Carpet, 14’ x 20’ 3”. [2000/4000] Illustrated 1124 Turkish Angora Oushak Carpet, 8’ x 9’ 9”. [800/1200] 1125 Oushak Carpet, 12’ x 16’. [2000/4000] Illustrated 1126 Agra Serapi Runner, 2’ 5” x 23’ 2”. [600/900] Illustrated

1125

1123

1126

263

I N D E X O F A R T I S T S

MARCH 12-13, 2016

Allen, Jere 862

Donley, Ray 851, 863

American School 944

Drysdale, Alexander John 905, 906

Anderson, Walter Inglis 1094, 1095, 1096, 1097

Dunbar, George Bauer 853, 854

Ando, Jobei 1071, 1072, 1073

Dureau, George 1107

Antonissen, Henri-Joseph 589

Dutch School 86

Anzalone, William 1101

Duvigneau, Jean-Louis Hector Viger 952

Austrian School 85

Evangeline, Margaret 855

Ballesio, Francesco 287

Fei, Danxu (attributed) 245

Barnes, A. L. 330

Fiaschi, Emilio P. 572

Berkes, Antal 341

Fitzpatrick, Tony 512, 513, 514

Bourgeois, Douglas 1104

Fogel, Seymour 511

Bridgman, Frederick Arthur 222

Forsyth, William 607, 608

British School 115, 385, 418

French School 61, 69, 96, 192, 285, 386

Buck, William Henry 891

Gall, Francois 345, 347

Butler, Murrell 904

Giambologna (after) 173

Cafferty, James Henry (circle) 1060

Girault, Louis C. 1012

Carter, Keith 1005, 1006, 1007, 1009

Gonda, Hirosuke 1090

Chagall, Marc 524

Gordon, Scott 864

Chinese School 247, 248

Gordy, Robert 1102, 1106

Chiparus, Demetre 523

Gregory, Angela 1100

Chism, Sandy 861

Gros, Antoine-Jean (circle) 191

Choi, Wook-Kyung 500, 501, 502

Guan, Zeju 303

Clague, Richard 892

Guercino (after) 781

Coclers, Philippe Henri (“van Wick”) 155

Gummelt, Sam 866, 867

Colvin, Marta 508, 509, 510

Hayashi, Chuzo 1092

Continental School 84, 92, 328, 893

Hemmerling, William 966, 967

Corbett, Gail Sherman 293

Hettinger, David 551

Coustou, Guillaume (after) 15

Hilaire, Jean-Baptiste (attributed) 318

Crowell, Tom 68

Honda School 1077

Cundin, Jose Maria 1103

Hondius, Abraham Danielsz 46

Cunningham, Patrick 1034

Huang, Junbi (attributed) 241

Defaux, Alexandre 592

Huband, Otis 852, 856

Desgoffe, Blaise 174

Humborg, Adolf (attributed) 97

I N D E X O F A R T I S T S

MARCH 12-13, 2016

Humphries, Jacqueline 865

Morell, Abelardo 1004

Hunter, Clementine 968, 969, 970, 971, 972, 973

Musin, Francois Etienne 425

Israels, Jozef 98

Myers, Malcolm 1108

Italian School 203, 782, 794, 802

Neuville, Bernard 9

Jarvis, John Wesley (attributed) 894

Olivie, Leon 899

Kinsey, Alberta 1099

Orth, John B. 1030

Kline, Julia Yerkov 545

Ozeri, Yigal 548, 549

Kneller, Godfrey (manner) 374

Pennell, Harry 428

Knight, H. M. 426

Pyne, James Baker 224

Knight, John Prescott 804

Ragione, Raffaele 346

Koeniger, Walter 1032

Rakov, Ratislav 320, 321, 322

Kohlmeyer, Ida Rittenberg 848, 849

Renoir, Pierre-Auguste 527

Koons, Jeff 504

Richard, Jim 1105

Korean School 237, 238

Richardson, Jonathan (manner) 375

Kuytenbrouwer, Martinus Antonius II 593

Robus, Hugo 541

La Pira, Gioacchino 579

Rubens, Peter Paul (follower) 83

Larche, Raoul (after) 74

Rucker, Robert 903

Le Grue, Jeanette 1031

Russian School 348

Leader, Morris Walton 1033

Saenredam, Pieter Jansz. (follower) 94

Lerner, Sandra 857

Schouten, Henry 590

Levier, Charles 349

Serritelli, Giovanni (manner) 578

Lichtenstein, Roy 505

Sherman, Cindy 1003, 1008

Liotard, Jean-Antoine (after) 95

Soto, Jesus Rafael 506, 507

Loiseau, Gustave 279

Standley, Max 550

Ma, Wanli 242

Stock, Joseph Whiting (attributed) 932

Machault, Paul Emile 75

Ten Kate, Herman Frederik Carel 427

Matisse, Auguste 429

Tintoretto, Jacopo Robusti (after) 785

Mattox, Bernard 858, 859

Tolliver, William 1110, 1111

Mears, Herbert Richard 868

Troyon, Constant 594

Michalopoulos, James 1112, 1113

Tzapoff, Antoine 1027, 1028, 1029

Modigliani, Amedeo (after) 525

Utrillo, Maurice 526

Moore, Kelly 974

Van Damme-Sylva, Emile 595

Moreau, Auguste (after) 33

Van der Plas, Niek 294

Moreau, Mathurin 32

Van Minderhout, Hendrik (attributed) 786

I N D E X O F A R T I S T S

MARCH 12-13, 2016

Van Severdonck, Franz 591 Van Sinclair, Gerrit 588 Vecelli, Tiziano (manner) 559 Veith, Eduard 184 Wang, Mingfang 240 Wesselmann, Tom 503 Wheeler, Alfred 116, 117 White, John Blake (after) 384 Whiteman, Paulette Tokar 860 Wiegand, Gustave Adolph 329 Winans, Theodore Fonville 1001, 1002 Wohl, Mildred 850 Wu Changshuo (after) 243, 244 Young, Stephen Scott 975, 976, 977, 1098, 1109 Zhao, Zhongmu (after) 246 Zsombolya-Burghardt, Rezso 552

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.

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