Cakebread Decorative Arts & Design Auction: January 24-25, 2015 by New Orleans Auction Galleries

cakebread auction d e c o r a t i v e

a r t s

d e s i g n

Presented by New Orleans Auction Galleries

AUGUST 23-24, 2014

cakebread auction d e c o r a t i v e

a r t s

d e s i g n

Presented by New Orleans Auction Galleries

510 Julia Street

Exhibition

New Orleans, LA 70130

Januar y 12-23 (Excluding Sunday) 9 a.m. to 5 p.m.

Main: 504-566-1849

Evening Reception

Toll Free: 1-800-501-0277 Fax: 504-566-1851 Info@NewOrleansAuction.com CakebreadAuction.com

Januar y 22, 2015 5 to 7 p.m.

Auc tion

Januar y 24 -25, 2015 Begins at 10 a.m. CST

S a t ur day, Ja nua r y 24, 2 0 1 5 10 a . m. CS T L ots 1-646

S u n d ay, Ja n u a ry 2 5 , 2 0 1 5 1 0 a . m. C S T Lots 647-1188

10:00 - 11:00

1 - 10 0

10:00 - 11:00

647 - 746

11:00 - 12:00

101 - 2 0 0

11:00 - 12:00

747- 846

12:00 - 1:00

201 - 3 0 0

12:00 - 1:00

817 - 946

1:00 - 2:00

301 - 4 0 0

1:00 - 2:00

947 - 1046

2:00 - 3:00

401 - 5 0 0

2:00 - 3:00

1047 - 1146

3:00 - 4:00

501 - 6 0 0

3:00 - 3:30

1147 - 1188

4:00 - 4:30

601 - 6 4 6

LA Auction License AB-363, Steinkamp #1265, Thomas #1833/23% Buyerâ&#x20AC;&#x2122;s Premium (3% Discount for Payments Made by Cash, Check, or Wire)

Session I Saturday, January 24, 2015 10:00 a.m. CST Lots 1-646

1 Balinese Carved Exotic Hardwood Figure of Vishnu Riding Garuda, probably 19th century, carved in the round, on a carved and molded pedestal, h. 28‑1/4”, w. 11‑1/4”. [400/700] Illustrated

3 Chinese Gilded Wood Carving, 19th/20th century, in the form of a peacock and peony, in red lacquer with gilt, now mounted as a lamp on a black paneled wood base, base, h. 12”, overall, h. 23‑1/8”. [200/400] Illustrated

2 Chinese Carved Wood Figure of Guanyin, possibly 19th century, the figure with traces of pigment and seated in a lotus position, holding a bottle in her right hand, her left hand raised in apana mudra, a gesture of balance and healing, h. 16”, w. 11‑1/2”. [1200/1800] Illustrated

4 Chinese Cinnabar Lacquer Vase, Republican period (1911‑1949) or earlier, the carved red cinnabar vase with reserves depicting sages in a garden, h. 10‑1/4”, w. 5‑3/4”. [300/500] Illustrated

5 Chinese Carved Cinnabar Lacquer Plaque, probably 20th century, the round plaque depicting an elephant surrounded by a foliate border, the reverse with a fourcharacter Kangxi mark, dia. 11”. [300/500]

6 Two Chinese Carved Agate Snuff Bottles, 20th century, one with a gourd and butterfly motif and the other with bird and prunus decoration, each displayed on a carved wooden stand, h. 2” and 2‑1/2”, without stands. [200/400] Illustrated

9 Chinese Carved Jade Budai, 19th/20th century, the recumbent figure in an archway formed by coins, a peacock and a double gourd, mottled brown inclusions form the arch and dark celadon colored stone forms the Budai, affixed to a carved wooden stand, h. 6‑1/8”, w. 4‑1/2”, including stand. [300/500] Illustrated

7 Pair of Chinese Carved Lapis Lazuli Horses, late 19th/ early 20th century, the two recumbent horses with red and gilt wooden stands, h. 5”, l. 10”, without stands. [1000/1500] Illustrated

10 Chinese Quartz and Hardstone Figural Lamp, first quarter 20th century and later, depicting the figure of a goat, on a pierced hardwood stand, mounted on a bronze base, figure, h. 9”, overall, h. 23‑1/2”, w. 13‑1/2”. [500/800] Illustrated

8 Chinese Opal Matrix Carving, 20th century, the stone carved in the shape of a tiger, h. 2‑3/4”, l. 3‑1/4”. [300/500]

11 Two Chinese Jade Carvings, 19th/20th century, the two pale green carvings with green inclusions, one example depicting two foo dogs, h. 4‑3/4”, w. 5‑1/2”, and the other example depicting a seated Buddha, h. 4”, w. 2”, each figure attached to a molded wooden stand. [250/400] 12 Chinese Carved Hardstone Buddha, 20th century, the deep green figure of Budai seated, with an affixed wooden stand, h. 6”, w. 6”. [200/400]

16 Chinese Soapstone Carving, 20th century, the white carving of flowers blooming in the moonlight affixed to a darker gray stone base carved in the form of a pine branch and rock, h. 18‑1/2”, w. 9”. [300/500] Illustrated

13 Chinese Lidded Vessel, 19th/20th century, bowenite lidded bottle carved with roses, on a wooden stand, h. 9‑1/2”, w. 5”, including stand. [200/400] 14 Chinese Soapstone Carving, 20th century, depicting fish amidst aquatic flora, l. 16”. [300/500]

17 Chinese White Soapstone Carving, 20th century, carved as a basket of fruit on a gray hardstone affixed stand, h. 16”, w. 9”. [500/800] Illustrated 18 Chinese Pink Soapstone Carving, 20th century, of a school of fish amidst aquatic plants and a pearl, affixed to a carved dark stone stand, h. 21‑1/2”, w. 12”. [200/400] Illustrated 19 Chinese Soapstone Carving of a Laughing Immortal, late 19th/early 20th century, the beige stone with ruddy mottling and affixed to a carved reddishbrown soapstone stand, some detail on the figure’s face rendered in ink, h. 16‑1/8”, w. 5”. [450/700] Illustrated 15 Chinese Soapstone Carving, 20th century, the carving of grapes and a pair of birds against a tree trunk in mottled gray and white stone, above a brown and gray affixed base carved with a pine motif, h. 26‑3/4”, w. 11‑1/2”. [300/500]

20 Two Chinese Hardstone Carvings, comprising a brown and celadon colored stone depicting the standing figure of the goddess of mercy Guanyin holding a vase, early 20th century, h. 12”, and a peacock depicted with a peahen, 20th century, unmarked, h. 8‑1/2”, w. 4”. [200/400]

21 Chinese Hardstone Water Pot, 20th century, the green and white mottled stone depicting rocks and birds, with a wooden stand, pot, h. 8”, overall, h. 12‑1/4”, l. 10”. [200/400] 22 Chinese Hardstone Carving, 19th/20th century, the green and white mottled carving of a fish and a lotus, carved in the round, h. 10‑1/8”, w. 8‑3/4”. [300/500] 23 Chinese Carved Hardstone Flower Carving, 20th century, the green and white hardstone carving of flowers in the round, h. 9‑1/4”, w. 8‑1/4”. [200/400]

24 Chinese Carved Hardstone Figure of a Dog on Stand, late 19th/early 20th century, in a recumbent pose with a custom carved wooden affixed stand, h. 10‑1/4”, w. 12‑1/2”. [300/500] 25 Pair of Chinese Jade Trees, 20th century, the trees with hardstone leaves, each displayed in a cloisonne planter, h. 10‑1/2”, w. 13”. [500/800] 26 Chinese Cloisonne Box with a Nine-Piece Serving Set, first half 20th century, the exterior of the box with a flower and butterfly motif, the inside dishes each have a turquoise ground with a red and gold colored “double happiness” character, the center dish with a Shou longevity symbol, the unmarked underside with a turquoise ground, h. 3”, dia. 14‑1/2”. [1000/1500] Illustrated

27 Korean Cloisonne and Silver Box, 20th century, the round box with an interior divider, decorated with a motif of butterflies on a yellow ground, a glass knob on the lid, the underside marked “silver 99%”, h. 3”, dia. 7”. [300/500]

29 Chinese Peking Glass Bowl with Stand, 20th century, the blue lobated oval bowl marked “China” on the underside, displayed on a carved wooden stand, h. 4‑1/2”, l. 11‑3/4”, without stand. [200/400] 30 Three Pieces of Chinese Peking Glass, 20th century, including two vases, h. 6‑1/4”, and a bowl, dia. 6‑1/8”, with a wooden stand. [200/400] Illustrated 31 Chinese Bronze Hand Warmer, 19th century, with a floral rondel motif on the sides and a pierced lid, unmarked, h. 4”, w. 4”, l. 7”. [250/400] Illustrated 28 Chinese Bronze Figure of a Seated Buddha Statue, late 19th century, the bronze Avalokitesvara seated on a double lotus base, holding a small white vase, inscribed “Tong yi fa qiao Zuo” on the underside of the figure and the top of the base, h. 6‑1/2”, w. 3‑1/4”. [300/500] Illustrated

32 Chinese Bronze Head of a Monk, late 19th/early 20th century, mounted on a red- and black-lacquered wooden base, h. 11”, w. 4‑3/4”. [500/800] Illustrated 36 33

33 Chinese Gilt-Bronze Figure of Guan Yu, 20th century, immortalized in the epic “Romance of Three Kingdoms”, the legendary Han Dynasty (206 BC-220 AD) general depicted astride his majestic steed Chitu (Red Hare), unsigned, h. 8‑3/4”, w. 10‑1/2”. [400/700] Illustrated

34 Unusual Italian Oak Revolving Armchair, early 20th century, the scrolling and foliate-pierced back joined by outscrolled arms to the wooden seat, raised on three foliate supports to a molded circular base to long molded feet, h. 39”. [400/700] Illustrated

35 Italian Walnut and Marble-Top Console, late 19th century, the rectangular marble top above a guillochecarved frieze centered by a shield panel with pendant scrolling patterns, raised on shaped and pierced legs featuring adorsed female masques flanking a shell carving, joined by a shaped stretcher and ending in double block feet, h. 36”, w. 69”, d. 16‑1/2”. [2000/4000] Illustrated 36 Continental Carved Walnut Mirror, fourth quarter 19th century, the “rustic” pattern inner frame decorated with pierced grapes and grapevines, set with a beveled mirror plate, h. 43”, w. 36”. [400/700] Illustrated

39 Italian Carved Walnut Wine-Tasting Table, third quarter 19th century, the top opening and extending to accommodate two 24” skirted leaves, the base with two reclining putti and dragons, h. 33”, w. 47”, l. 47”, extended l. 95”. [1000/1500] Illustrated

40 Italian Carved and Stained Fruitwood Fantasy Mirror, late 19th century, the crest with a pair of lovebirds, the base with winged griffins, the left side fitted with a zinc-lined jardiniere, h. 91”, w. 48”, d. 15”. [900/1200] Illustrated

37 Continental Copper Electroplate Figure of “Lorenzo de Medici, Duke of Urbino”, first quarter 20th century, after the ca. 1530 marble tomb sculpture by Michelangelo (1475‑1564) in the Medici Chapels, San Lorenzo, Florence, h. 21‑1/2”, w. 9‑1/2”, d. 10‑1/2”. [500/800] Illustrated

38 Italian Baroque-Style Burl Walnut-Veneered, Inlaid and Crossbanded Credenza, 20th century, h. 45”, w. 82‑1/2”, d. 25”. [1200/1800] Illustrated

43 Pair of ItalianStyle Brass Pricket Candlesticks, h. 21”. [200/400] Illustrated

44 Italian Polychrome and Parcel-Gilt Vitrine, late 19th century, the stepped and molded cornice with foliate carving above a bombe case fitted with a curved glazed door and sides, opening to a shelved fabric-lined interior, over a shaped drawer, the front featuring a scene of musical courtiers, raised on molded cabriole legs joined by a foliate-shell-carved stretcher and ending in foliate scrolled toes, h. 84”, w. 37‑1/2”, d. 20”. [5000/8000] Illustrated 41 44

41 Pair of Venetian Carved and Polychrome-Painted Mirrors, fourth quarter 19th century, the rococo-style frames pierced and carved with shells and scrollwork, decorated with panels of flowers and diapering, the mirrors decorated with an engraved figure of a harlequin on one and an old man on the other, h. 34”, w. 13”. [1500/2500] Illustrated 42

42 Pair of Parcel-Gilt Carved Mahogany Sidechairs, in the Portuguese rococo style, h. 41‑3/4”. [250/400] Illustrated

45 Italian Majolica Vase, fourth quarter 19th century, in the Renaissance taste, decorated with hand-painted polychrome putti, the handles molded in the form of dragons, h. 30‑1/2”, w. 16”; together with a mahogany paw-footed pedestal, h. 35”, w. 13”, d. 13” (two total pieces). Provenance: From a Natchez, Mississippi estate. [500/800] Illustrated

48 Italian Renaissance-Style Gilt-Bronze Easel Frame, first quarter 20th century, pierced with putti and hippocampi, h. 13‑1/2”, w. 10”. [200/400] Illustrated 49 Italian Giltwood and Marble-Top Console Table, early 20th century, the shaped marble top above a conforming frieze centered by a cherub’s head medallion flanked to each side by floral carving and latticepatterned panels, raised on cabriole legs headed by foliate shells and joined by an elaborate foliate- and floral-carved and pierced stretcher, and ending in scrolled toes, h. 32”, w. 42‑1/2”, d. 19”. [1200/1800] Illustrated 49

46 Capodimonte-Style Molded Pottery Jardiniere, 20th century, marked “R. Capodimonte, Italy”, h. 12”, dia. 10‑3/4”. [200/400] 47 Twenty-Piece Capodimonte-Style Porcelain Tea Set, 20th century, Italian, including a teapot, h. 8‑1/4”, sugar bowl, h. 5”, cream jug, h. 4‑1/4”, five cups with six saucers, dia. 6‑1/2”, and six plates, dia. 9”. [200/400]

52 Italian Carved Wood Eagle Garniture Figure, 20th century, bird with spread wings and perched atop a ball, h. 12‑1/4”, w. 14”, d. 5‑1/4”. [200/400] Illustrated

50 Italian Pierced Giltwood Mirror in the Rococo Taste, mid-20th century, h. 47”, w. 29‑1/2”. [400/700] Illustrated 51 Italian Giltwood Mirror in the Baroque Style, robustly decorated with bold scrollwork and piercing, h. 49”, w. 31”. [600/900] Illustrated

53 Pair of Italian Carved Giltwood Floor Lamps, ca. 1900, in the neoclassical taste, each vasiform standard decorated with raised scrollwork and a Corinthian capital finial, and supporting an urn-form carved lamp set with a socket, raised on like-decorated domed bases, h. 61”, dia. 16”. [500/800] Illustrated

56 Italian Giltwood Mirror in the Florentine Style, 20th century, with panels of gray diapering, h. 41‑3/4”, w. 25‑1/4”. [600/900] Illustrated

54 Italian Polychrome Lectern, 19th century, possibly Venetian, the book rest supported by shaped X-form end supports joined by stretchers, h. 54”, w. 24‑1/2”, d. 30”. [400/700] Illustrated

55 Pair of Italian Creme-Peinte and Parcel-Gilt Fauteuils, late 18th century, each with a curved, shaped and padded back surmounted by a foliate crest, joined by molded arms to the cushioned seat, raised on cabriole legs ending in foliate toes, h. 43”. [700/1000] Illustrated

57 Three-Piece Italian Painted and Parcel-Gilt Bedroom Suite, early 20th century, consisting of a bed and two wardrobe cabinets, the bed with a molded and domed cornice centered by an elaborate scrolling foliate crest, over an arched panel back and joined by plain rails to the paneled footboard, raised on molded bun feet, h. 84”, w. 68”, d. 96‑1/2”, and the cabinets each with a shaped foliate-carved crest above a case fitted with a single door, opening to a hanging space and a lower drawer, raised on molded bun feet, h. 98”, w. 34‑1/2”, d. 26”, all pieces with elaborately carved foliate-, floraland masque-carved accents throughout. [2000/4000] Illustrated

57 Three-Piece Suite

61 Giovanni Battista Piranesi (Venice, 1720‑Rome, 1778), pair of engravings of “Classical Urns”, each sight 21” x 16”. Both glazed, matted and framed alike. [600/900]

62 Italian-Style Painted CuruleBase Sofa Table, with a tray top decorated to mimic pietra dura, h. 32”, w. 68‑1/2”, d. 23‑1/2”. [200/400]

58 Follower of Antonio Canal, Canaletto (Venetian, 1697‑1768), “The Grand Canal with Santa Maria della Salute”, early 19th century, oil on canvas, 41” x 78‑1/2”. Framed. [2000/4000] Illustrated 59 Pair of Classical-Style Bronze Figures, the female holding roses and representing Aphrodite, and the male possibly representing Apollo, h. 16‑3/4”, w. 5”, d. 5”. [800/1200] Illustrated

63 Pair of VenetianStyle Mirrored Single-Light Wall Sconces, first quarter 20th century, Italian, with glass-trimmed backplates and prismhung bobeches, electrified, h. 9‑1/2”, w. 7”, d. 5”. [400/700] Illustrated

64 Pair of Italian Giltwood and Gilt-Metal Seven-Light Candelabra, mid-20th century, the prism-hung candelabra depicting plants in pots, h. 29”, dia. 16”. [200/400] Illustrated

60 Two French 18th-Century Portrait Engravings, one depicting the artist Hyacinthe Rigaud (1659‑1743), and one depicting the mathematician and surveyor Pierre-Louis Moreau de Maupertuis (1698‑1759), sight 20” x 14”. Both glazed, matted and framed alike. [300/500]

65 Italian Mahogany and Mixed Woods Desk, 19th century, the superstructure fitted with a central open double-arched cupboard flanked to either side by two small drawers, the lower section with a rectangular top with a molded edge, over a single long frieze drawer over a central kneehole, flanked to either side by two small drawers, raised on tapering square legs, the whole elaborately inlaid in bone and wood in patterns featuring putti engaged in a variety of activities, h. 44‑1/2”, w. 43‑1/2”, d. 21‑1/2”. [800/1200] Illustrated

69 Grand Tour Bronze of “Spinario”, first quarter 20th century, after the Hellenistic bronze now in the Capitoline Museum, Rome, h. 13”, d. 9‑1/4”, w. 5”. [450/700] Illustrated

70 Italian Grand Tour Patinated Bronze Figure, fourth quarter 19th century, after the original excavated in 1862, initially identified as Narcissus, now as Dionysus, the nude male depicted standing and gazing down, h. 23‑1/4”, dia. 9‑1/2”. [600/900] Illustrated

66 Four Continental Decorative Wall Shelves, fourth quarter 19th century, comprising a walnut-veneered example with bronze mounts, h. 9‑3/4”, w. 10‑1/2”, d. 6”, a shell-decorated bracket in the Georgian taste, h. 10‑1/2”, w. 13‑1/4”, d. 7”, a pierced and gilded terracotta example, in the Louis XV style, h. 13”, w. 9‑1/4”, d. 7‑3/4”, and a faux painted example in the neoclassical style, h. 28”, w. 8‑1/2”, d. 7‑1/4”. [300/500] 67 Continental Mahogany and Exotic Woods Center Table, mid-19th century, the circular top with an elaborate star-patterned inlay, above a plain frieze, raised on a bulbous baluster-form standard to three shaped legs ending in in-scrolled toes, h. 30”, dia. 27‑1/2”. [400/700] 68 Italian Beaux-Arts Marble and Bronze Pedestal, first quarter 19th century, the sienna marble base supporting the mottled brown marble standard, with neoclassical bronze fittings, h. 37”, w. 7”, d. 7”. [300/500]

71 A. Fagotto (Italian, Late 19th/Early 20th Century), “Lion Attacking a Lioness”, patinated bronze, the entwined, struggling figures atop a natural rock plinth, signed at front edge of base, overall, h. 16‑1/2”, w. 28”, d. 11‑1/2”. [800/1200] Illustrated

72 Italian Grand Tour Patinated Metal Figure of a Wrestler Taking Down a Stag, ca. 1900, the figure modeled with his hands on the antlers, mounted on a black marble base, h. 8‑3/4”, w. 8‑3/4”, d. 3‑1/4”. [300/500]

73 Louis XVI Old Standard (.958) Silver Timbale, 1789, Paris, by Pierre-Antoine Famechon (master 1785), of traditional form, with threaded rim, inscribed “V. Chopin” and (later) “Dorothy Paget from Helen Whitney”, h. 2‑1/2”, dia. 2‑1/2”, 2.20 t. oz. [250/400] Illustrated

75 Pair of Continental Silverplate Copper Electrotype Plaques of Don Quixote, ca. 1900, depicting Part I, chapter 35, in which Don Quixote battles wineskins in his sleep, and Part II, chapter 10, in which Sancho deceives Don Quixote with the three peasant maids, each scene in an integral rinceau “frame”, 15‑3/4” x 21‑1/8”. [700/1000] Illustrated 76 Twenty-Four-Piece Belle Epoque French First Standard (.950) Silver Couvert Set, ca. 1900, by Henri Soufflot (fl. 1884‑1910), including twelve table forks, l. 8‑1/2”, and twelve table spoons, l. 8‑3/8”, in the traditional “Louis Quinze” pattern, the reverse with applied monogram “BG”, 70.27 total t. oz., along with twelve dessert knives with steel blades and spatulate motherof-pearl handles, the handles with engraved and stained monogram “PB”, l. 8” (36 total pieces). [700/1000] Illustrated

76 detail

74 Pair of Continental Silverplate Wine Rinsers, contemporary, each of oval form with “Monteith” rim and stirrup handles, l. 13‑3/4”, w. 8”. [200/400] 76

77 Small Continental Silverplate Plateau, fourth quarter 19th century, of circular form, the pierced foliate scroll rim with four feet and centering a conforming beveled mirrored plate, dia. 13‑1/2”. [200/400] Illustrated

80 After David R. Roberts, R.A. (British, 1796‑1864), “Fortress of Ibum - Nubia” and “Excavated Temples of Aboosimble - Nubia”, pair of chromolithographs with later hand-coloring, from The Holy Land, Syria, Idumea, Eg ypt & Nubia, lithography by Louis Hough, published by F. G. Moon, between 1842‑1849, sight 11‑1/8” x 14‑3/4”. Both glazed, French-matted and presented in distressed giltwood frames. [300/500]

78 Georg Jensen “Magnolie” (“Blossom”) Sterling Silver Two-Piece Salad Serving Set, the pattern designed in 1919 by Georg Jensen (1866‑1935), Copenhagen, this set monogrammed and dated “NMB / 1936”, l. 8‑1/2”, 6.18 total t. oz. [300/500] Illustrated

78 79 one of a pair

81 After Reverend William Houghton (British, 1829‑1897), collection of three chromolithographs from British Fresh-Water Fishes, printed London, 1879, sight 9‑3/4” x 12‑1/4”. All glazed, double-matted and presented in distressed giltwood frames. [300/500]

79 After Bernard Picart (French, 1673‑1733), “Leander Swims Over the Hellespont to Meet His Mistress Hero”, and “Ixion’s Wheel”, two black and white copperplate engravings, 18th century, sight 14‑1/2” x 10‑1/2”. Both glazed, attractively matted and framed. [500/800] Illustrated

82 Pair of British Hand-Colored Lithographs, of “The Town of Linlithgow” and “The Town of Rothesay”, after J. Clark, sight 17” x 24”. Both glazed, handsomely matted and framed. [300/500] 83 Pair of Neoclassical-Style Polychrome and ParcelGilt Armchairs, each with a carved crest above an interlacing open back, joined by downswept arms to the padded seat, raised on fluted tapering circular legs ending in peg feet, h. 35”. [400/700] Illustrated

84 French Directoire-Style Giltwood Dressing Stool, with a low back, carved skirt and tapered legs, h. 24”, w. 19”, d. 15”. [300/500] Illustrated

85 Pair of Directoire-Style Fruitwood Sidechairs, 20th century, decorated with lozenge crest rails, h. 34‑3/4”. [200/400] Illustrated

86 French Cast Iron Napoleonic Stove Plate, ca. 1802‑1815, now mounted as a table on a Directoirestyle painted metal base, decorated with a crowned eagle and the cross of the Legion d’Honneur, h. 22‑1/4”, w. 27‑1/4”, d. 27”. [700/1000] 87 Collection of Napoleon Related Objects, including a bronze rondel of Napoleon in an engine-turned frame, ca. 1825, dia. 6”, a French bronze dore et patine encrier decorated with a kneeling angel, ca. 1825, h. 4‑1/2”, w. 4‑3/4”, a bronze dore bust-form seal, ca. 1900, h. 3”, a French Neo-Grec rondel of a Roman soldier, ca. 1850, dia. 5‑3/4”, a lead pipe tamper depicting Napoleon, h. 3”, a patinated bust of Napoleon paperweight, ca. 1860, l. 4”, and two bronze medals depicting Napoleon, 19th century, dia. 2‑1/4” and 2‑3/4”. [300/500] Illustrated

88 Three-Piece Collection of Napoleon Related Objects, including a French bisque bust of Napoleon, after Canova, h. 9‑1/2”, and a French bisque bust of Marie Antoinette, h. 8”, each on a cobalt-glazed socle, 20th century, together with another bisque bust of Napoleon, after Canova, late 19th century, h. 4‑3/4”. [300/500] Illustrated

91 Pair of Empire-Style Mahogany Tub Chairs, each with a shaped crest continuing to rounded arms on winged swan uprights, the seats raised on shaped legs ending in paw feet, h. 33”. [2000/4000] Illustrated

92 Unusual French Gilt-Bronze and Tole Eight-Light Chandelier, mid-20th century, in the Empire taste, the dome-form tole and bronze body set with eight bronze candle arms and concealing an additional eight light sockets, h. 39”, dia. 59”. [500/800] Illustrated 89 Four-Piece Collection of Napoleon Related Objects, including miniature portraits of Napoleon and his second wife, Marie-Louise, late 19th century, h. 4‑1/2”, w. 4”, a French relief-carved horn tricorn hat-form tobacco box, early 19th century, h. 1‑3/4”, w. 3”, and a miniature bronze desk cannon commemorating the Battle of Waterloo, early 20th century, l. 5‑3/4”. [300/500]

90 Two Sets of Carefully Detailed Miniature Depictions of Napoleonic Soldiers, executed in mixed media, in acrylic cases on ebonized bases, one group of three, all signed G. McSheehy, the other a group of five, one signed McSheehy, h. 7‑3/4”, w. 10‑1/2”, d. 6‑3/4” and h. 8‑1/2”, w. 17‑1/2”, d. 7‑1/2”. [600/900] Illustrated

93 Impressive French Gilt-Bronze-Mounted Tole Moderator Lamp, second quarter 19th century, the vasiform base set with scrolled handles terminating in masques, now electrified, base, h. 23‑1/2”, overall, h. 32‑1/2”, w. 5‑3/4”, d. 5‑3/4”. [500/800] 94 Pair of Oak Fauteuils in the French Empire Taste, the arms terminating in carved dolphins, upholstered in a striped fabric, h. 37”. [400/700] Illustrated

98 Empire-Style Mahogany Settee, late 19th century, the padded rectangular back surmounted by a shell and foliate gilt crest, joined by downswept arms headed by gilt swan’s heads and ending in scrolled uprights at the padded seat, raised on sabre legs, h. 39”, w. 54‑1/2”, d. 24”. [300/500] Illustrated

95 French Empire-Style Gilt-Bronze and Cut Glass Centerpiece, second quarter 20th century, the cylindrical base decorated with pierced and molded mounts, and supporting three caryatids holding the diamond point cut glass bowl, a pineapple finial decorating the center of the base, h. 17‑1/2”, dia. 8‑1/4”. [1500/2500] Illustrated 96 Spanish Gilt-Metal and Tole-Peinte Three-Light Bouillotte Lamp, mid20th century, in the Empire style, h. 29‑1/2”, dia. 13”. [900/1200] Illustrated

97 French Bronze and Tole Neoclassical Bouillotte Lamp, second quarter 19th century and later, the two-light base with an adjustable steel standard, with a later tole shade, h. 24‑1/2”, w. 12”, d. 10”. [300/500]

99 Empire-Style Mahogany Tub Chair, early 20th century, the rounded downswept crest above a shaped splat and joined to the padded seat by ormolu maiden’s head uprights, raised on tapering square legs ending in paw feet, the whole with ormolu mounts in the Empire taste, h. 30”. [200/400] Illustrated

100 Empire-Style Mahogany Armoire, 20th century, the domed and molded crest above an ormolu-applied frieze, over a case fitted with two doors, each inset with two quarter-veneered panels, above a single drawer, raised on bun feet, h. 83”, w. 51‑1/2”, d. 24”. [700/1000] Illustrated

100

102 Empire-Style Fruitwood and Marble-Top Credenza, the rectangular inset grand antique marble top above a conforming case fitted with three frieze drawers over three central drawers, flanked to either side by a paneled cupboard door, raised on stylized paw feet, the whole with decorative mounts in the Empire taste, h. 26‑1/4”, w. 55‑1/2”, d. 15‑1/2”. [300/500] Illustrated 103 Empire-Style Burl Wood Secretary Bookcase, the molded cornice with projecting ends, above a conforming case fitted with two beveled glazed doors flanked to either side by engaged ormolu-mounted pilasters, the lower section fitted with a paneled drop front opening to an inset leather surface and drawers and cubbyholes, over three long paneled drawers flanked by freestanding uprights, raised on a plinth base, h. 79”, w. 34”, d. 18”. [400/700] Illustrated

103

101 Empire-Style Mahogany Armoire, 20th century, the domed and molded crest above an ormolu-applied frieze, over a case fitted with two doors, each inset with two quarter-veneered panels, above a single drawer, raised on bun feet, h. 83”, w. 51‑1/2”, d. 24”. [700/1000]

102

106

106 Empire-Style Parcel-Gilt Overmantel Mirror, 20th century, framed as bundles of ebonized reeds tied with gilt ribbon, the pierced crest of crossed arrows and a laurel wreath flanked by gilt lion’s heads, h. 38‑1/2”, dia. 42”. [1000/1500] Illustrated

109

104 Neoclassical-Style Mahogany Window Seat, mid-19th century, the padded seat with outscrolled turned armrests to either side, raised on a klismos-form crossover base, h. 29”, w. 26‑1/2”, d. 15”. [400/700]

107

107 Pair of French Empire-Style Bronze and Marble Candelabra, ca. 1900, now mounted as lamps, base, h. 25”, overall, h. 38”. [300/500] Illustrated

105 French Onyx and Gilt-Bronze Beaux-Arts Lamp, first quarter 20th century, the column-form standard raised on a stepped base and set with a gilt-bronze base cap and a composite gilt-bronze capital, fitted with a shade, base, h. 28”, overall, h. 40‑3/4”, w. 7‑1/2”. [500/800]

108 Assembled French Engraved Crystal and Bronze Liquor Set, ca. 1900, comprised of a bronze-mounted glass tray with a pair of bottles and ten liquor glasses, engraved with a different pattern, h. 12”, w. 11”, d. 7‑1/4”. [250/400] 109 Pair of Empire-Style Patinated Bronze Candelabra, late 19th century, each with a winged female figure holding a three-arm cluster of lights and mounted to a black marble base, electrified, h. 24”, w. 7”. [400/700] Illustrated

110 French Neoclassical Bronze and Marble-Top Bouillotte Table, ca. 1900, after the Antique, with a “folding” base, h. 26‑3/4”, dia. 17”. [250/400]

114 113 Continental School (19th Century), pair of oils on wood panel of cows, each illegibly signed lower left, 11” x 9”. Framed alike. [800/1200] Illustrated 112 111 Restauration Giltwood Looking Glass, mid-19th century, the large rectangular plate within a molded frame with carved patera, palmetto and caduceus accents, h. 71”, w. 53‑1/2”. [1000/1500]

114 Manner of William Jurian Kaula (American, 1871‑1953), “Autumnal New England Landscape”, oil on canvas, unsigned, 23” x 39”. Presented in a giltwood and gesso frame. [800/1200] Illustrated

117 115 Sven Birger Sandzen (Swedish/American, 1871‑1954), “Blue Valley Farm”, woodblock print, pencil-signed lower right, titled lower left, sheet 12” x 15”. Unframed. [400/700]

113 one of two

112 French School (First Quarter 20th Century), “Normandy Village Canal Scene”, oil on board, signed lower left “NEL”, 15‑1/2” x 22‑1/2”. Framed. [300/500] Illustrated

116 Italian School (Second Quarter 20th Century), “Italian Classical Landscape”, oil on canvas, signed lower right “Ozzoni”, 16” x 20”. Framed. [200/400] 117 Zacharias Noterman (Belgian, 1820‑1890), “Frenzy”, oil on wood panel, signed lower left, 14‑3/4” x 22‑1/4”. Framed. [1400/1800] Illustrated

118 Continental School (20th Century), “Mealtime”, oil on canvas, signed lower left “F. Levat”, 18” x 24”. Framed. [400/700] Illustrated

118 119 Follower of Bartholomeus Johannes Van Hove (Dutch, 1790‑1880), “Dutch Canal Scene”, oil on panel, 20th/21st century, unsigned, 12” x 16”. Presented in a contemporary giltwood frame. [200/400] Illustrated

120 122 Continental School (Fourth Quarter 19th/First Quarter 20th Century), “Beach at Low Tide, With a Docked Boat”, oil on canvas, unsigned, 8‑3/4” x 13”. Presented in a period giltwood and gesso frame. [200/400]

123 119

120 Dutch School (20th/21st Century), “Fisherman’s Family in Front of a Cottage on the Beach”, oil on panel, unsigned, 12” x 16”. Framed. [150/300] Illustrated 121 Danish School (Fourth Quarter 19th Century), “Fisherman Resting on a Cliff”, oil on canvas, unsigned, 10” x 14”. Framed. [200/400]

123 Alfred De Molins (French, 1821‑1890), “Sunday In the Park”, oil on panel, signed lower right, 4” x 6”. Framed. [500/800] Illustrated 124 American School (Fourth Quarter 19th Century), “Wooded Landscape”, oil on canvas board, dated lower right “1885”, 14” x 17‑3/4”. Framed. [500/800]

125 Continental Biscuit Porcelain Figure of “The Three Graces”, second quarter 20th century, h. 22”, w. 14‑3/4”. [600/900] Illustrated

125

127

126 English Parian Bust of Clytie, post-1855, attributed to Copeland, made in two parts and signed on the socle, marked “Art Union League of London”, h. 14”, w. 9‑1/4”, d. 4‑3/4”. [300/500] Illustrated 127 British School (Third Quarter 19th Century), “The Turnip Seller”, oil on canvas, signed “Ward” lower right, 30” x 38”. Presented in a later giltwood frame. [700/1000] Illustrated

126

128 John Thomas Peele (British, 1822‑1897), “The Mountain Stream”, oil on canvas, signed and dated “1864” lower right, titled and dated en verso, 10” x 8”. Presented in a period giltwood and gesso frame. [500/800] Illustrated

128

129 English Japan-Work Octagonal Sewing Table, second quarter 19th century, on cabriole legs with a faceted wooden fabric bag under the work box, decorated in gilt on black, the lid with a lush hunting scene, h. 28”, dia. 14”. [400/700] Illustrated 130 Walnut-Cased Vienna Regulator, fourth quarter 19th century, Austrian, marked “F. Schondorfer (1822‑1881), Wien”, the bracketed case with fluted door pilasters terminating in Corinthian capitals and a domed top, h. 47‑3/4”, w. 15”, d. 7”. [200/400] Illustrated

131

129

132

131 Pair of Victorian Silverplate Figural Candelabra, fourth quarter 19th century, the standards in the form of male and female Dionysian figures, each holding a staff supporting “Vintage” branches with one central and six surrounding arms, each terminating in a bell-form nozzle and starshaped drip pan, the whole raised on a molded base with three monopodal griffins separated by cartouches, h. 22‑1/2”, dia. 10‑1/4”. [1200/1800] Illustrated 132 130 Pair of Impressive English Metal and Glass Carriage Lights, fourth quarter 19th century, the nickel-plated quiver-form bases supporting the faceted lanterns, which are trimmed with molded gilt brass, the larger colorless side panels with cut edges, alternating with cobalt corners, the tiered upper portions terminating in nickel-plated eagle finials, h. 36‑3/4”, dia. 8‑1/4”. [1000/2000] Illustrated

133 English Victorian-Style Hand-Painted Tole-Peinte Tray, first quarter 20th century, in the “Gothic” shape, painted with scattered flowers and a bird perched on gilt scrollwork, w. 19”, l. 23”. [250/400]

134 Angelo Asti (French, 1847‑1903), “Portrait of a RedHaired Lady”, oil on canvas, signed lower right, 22” x 18”. Framed. [600/900] Illustrated

137 Three Cast Iron Animal Figures, including a painted cat, h. 9”, a pig-form bank, w. 12”, and a Scottie doorstop, h. 16‑3/4”. [200/400] 138 British Brass Figure of the Duke of Wellington, third quarter 19th century, h. 4‑1/4”. [300/500] Illustrated

139

134

135 Nell Walker Warner (American, 1891‑1970), “The Sprigged Muslin Dress”, 1916, watercolor on paper, signed and dated lower right, 28” x 17‑3/4”. Matted, glazed and framed. [500/800] 136 Three Vintage Parasol Handles, fourth quarter 19th century and later, including a flat spiralcarved nacre example with bi-color gilt copper peacock finial, a Continental floral repousse .800 silver example, and a silverplate “wickerweave” example mounted with navette-shaped enameled porcelain galants scenes, all fitted with later parasols, l. 33‑1/4” to 35‑1/2” [200/400]

139 Charles Dickens (English, 1812‑1870), TwentyVolume Set, London & Glasgow: Collins Clear-Type Press, n.d. [ca. 1920], sextodecimo, in full flexible burgundy leather, with gilt-stamped author’s signature on the cover, the spin with gilt lettering and decoration, the edges cut and gilt, with printed character endpapers, 6‑1/8” x 14‑1/4”. [400/700] Illustrated

138

142

140 William Makepeace Thackeray (English, 1811‑1863), Works, London: Smith, Elder & Co., 1876, complete in twelve volumes, duodecimo, with marbleized boards in blue half leather, the spines with raised bands and gilt lettering and panels, with marbleized endpapers and cut edges, 7‑5/8” x 5‑1/2”. [300/500]

141 American Rococo Revival Mahogany Games Table, third quarter 19th century, h. 30”, w. 35‑1/2”, d. 17‑3/4”. [200/400]

146 William IV-Style Mahogany Cheval Mirror, second quarter 19th century and later, the slightly domed plate within a molded frame raised on shaped supports above a scalloped stepped plinth to scrolled feet, h. 67”, w. 29”. [300/500]

143 147

142 Continental Victorian Mahogany and MarbleTop Side Table, third quarter 19th century, the thick shaped Carrara marble top with a molded edge, above a conforming frieze centered by a leaf carving, raised on molded cabriole legs ending in scrolled toes on a circular pad, h. 34”, w. 44‑1/2”, d. 18”. [450/700] Illustrated 143 Impressive William IV-Style Mahogany Banquet Table, 20th century, the figured mahogany top supported by turned and reeded legs, with two additional 18” leaves, h. 30‑1/2”, w. 50”, l. 81”, extended l. 117”. [1500/2500] Illustrated

145

144 Pair of English Aesthetic Pottery Garniture Vases, late 19th century, the design registered from 1892‑1893, in the Royal Worcester style, the ivory-ground bodies decorated with hand-painted birds and flowers, the bases and necks decorated with raised gilt, h. 16‑1/4”, dia. 6”. [500/800]

147 Pair of William IV Mahogany Pedestal Cabinets, second quarter 19th century, now fitted as bedside stands with tapering gadrooned doors and claw feet, h. 31”, w. 26”, d. 19”. [500/800] Illustrated 148 Second Empire-Style Oak and Silverplate Serving Trolley, the rounded rectangular top fitted with a hemispherical revolving meat dome, ten bottle holders, a sauce dish and a detachable plate rack, above a conforming carved frieze raised on four toupie legs joined by addorsed scroll stretchers with an urn-form finial, and with casters, h. 42” (including dome), w. 25”, l. 53”. [2500/4000] Illustrated

148

145 Pair of English Neo-Grec Pottery Krater-Form Urns, third quarter 19th century, formerly mounted as lamps, the obverses painted with depictions of female chariot drivers and the reverses with profiles of classical Greek heads, the scrolled gilt handles terminating in swan’s heads, h. 21”, dia. 6‑1/4”. [1000/1500] Illustrated

149 English Rosewood and Mother-of-Pearl-Inlaid Lap Desk, mid-19th century, the interior formerly fitted, h. 4‑1/2”, w. 14”, d. 9‑1/2”. [300/500] Illustrated

153 Victor Issa (American/Colorado, Contemporary), “Woman with Bird”, 1999, bronze, signed, dated, and numbered “1/30” at edge of base, h. 33‑1/2”, w. 8‑3/4”, d. 15. Provenance: Purchased from the artist, 1999; Private collection. [700/1000] Illustrated

149 152

150 Victorian Mahogany Folding Campaign Table, mid-19th century, the bisected square top with a molded edge, and raised on X-form supports joined by turned stretchers, h. 27”, w. 50”, d. 51”. [300/500]

151

151 Campaign-Style Mahogany Partner’s Desk, late 19th century, the rectangular top brass bound and inset with a leather writing surface, above a frieze fitted with three drawers to either side, raised on two pedestals, each fitted with a paneled cupboard door to one side and three graduated drawers to the other, and with casters, h. 30‑1/2”, w. 60”, d. 42”. [900/1200] Illustrated 152 English Arts and Crafts Oak Cabinet, early 20th century, with paned glass doors above and carved doors below, bearing an engraved silver plaque of dedication and dated Aug. 1, 1905, h. 91”, w. 48”, d. 20”. [500/800] Illustrated

154 Blair Buswell (American/Utah, b. 1956), “Secret Admirer”, terracotta-patinated bronze, signed and numbered “Buswell/16/32” at back edge of base, h. 10‑1/2”, w. 12‑3/4”, d. 7”. [700/1000] Illustrated 155 D. Clements (American/Contemporary), pair of patinated bronzes including “Death of Goya”, signed, numbered “7/100”, and illegibly dated at edge of proper left truncation, 7‑1/4” x 7‑1/2”, and “Shannon Dressed”, 1993, signed and dated at edge of proper right truncation, 12‑1/2” x 9‑1/2”. [300/500] Illustrated

156 American School (Contemporary), “Untitled”, painted ceramic figural sculpture, illegibly signed at edge of self-base, h. 4”, w. 21”, d. 7‑1/2”. [500/800]

153

157 Gyuri Hollosy (German/ American, b. 1946), “Untitled”, patinated bronze, on a thin black metal base, h. 9”, w. 18‑1/2”, d. 6‑1/4”. Provenance: Mario Villa, Inc., New Orleans, Louisiana. [500/800] Illustrated

157

158

158 Patinated Bronze Sculptural Group of Three Women, second quarter 20th century, the figures seated and in a semicircle, h. 25‑1/2”, w. 24”, d. 15”. [2000/4000] Illustrated 154

159 Victor Manuel Villarreal de la Vega (Mexican, b. 1936), “Ballerina”, bronze, h. 27”, w. 23”, d. 8‑3/4”. [600/900] Illustrated

159

155

160 Victor Manuel Villarreal de la Vega (Mexican, b. 1936), “Seated Ballerina”, bronze, h. 22”, w. 14”, d. 22”. [500/800]

166

162

161 Jack Fontana (American/New Orleans, Contemporary), “Torso”, patinated metal, cast signature at back edge of figure, on a marble plinth, overall, h. 7”, w. 4‑1/2”, d. 4‑1/4”. [200/400] 165

162 Richard Swenson (American/Mississippi, b. 1932), “Cheetah”, metal, tool, and found object sculpture, monogrammed on wooden base, h. 12”, w. 41”, d. 6”. [800/1200] Illustrated To be sold for the benefit of WYES-TV New Orleans 163 D. Garman (American/Contemporary), “Torso”, bronze, on a naturalistic stone base, h. 18”, w. 5‑3/4”, d. 4‑3/4”. [300/500] 164 B. Bailey (American, Contemporary), “Bedroom Environs”, bronze, h. 18”, w. 4‑1/4”, d. 6”. Provenance: Cole Pratt Gallery, New Orleans, Louisiana. [200/400]

165 Colo Milling (b. Robert Milling Gamble) (American/Louisiana, 1939‑2007), pair of serpentineform mantel bronzes, the tallest, h. 17 1/4”. [400/700] Illustrated 166 Pair of Louis XVI Fauteuils, fourth quarter 18th century, paint-decorated with ribbon-carved crests and back frames, with leaf-carved finials and fluted and stop-reeded legs, h. 34‑3/4”. Provenance: ParkeBernet, November 1966. [300/500] Illustrated 168 167 Eight-Piece Collection of Herend Porcelain, 20th century, Hungarian, including four rabbits, h. 1‑1/2” to 5‑1/2”, a grasshopper, l. 2‑3/4”, an elephant on a ball, h. 3”, a rose, dia. 2‑1/4”, and a saucer decorated with cornflowers, dia. 5‑3/4”. [200/400] 168 Royal Vienna-Style Hand-Painted Porcelain Neoclassical Urn, ca. 1900, German, with Flora and Janx, with raised gilt on a cobalt ground, h. 18”, dia. 5‑3/4”. [300/500] Illustrated 169 Pair of Vienna-Style Hand-Painted Cabinet Plates, ca. 1883‑1906, probably Carl Knoll, Fischern, Bavaria, decorated with raised gilt borders on a forest-green border, with hand-painted neoclassical scenes, signed “P. Heller” and marked with an underglaze blue “beehive”, dia. 10”. [400/700] Illustrated

170 Pair of French Bronze-Mounted Pottery Urns, mid20th century, in the Louis XV taste, the swirl-molded pottery bodies trimmed with molded bronze fittings, h. 22”, w. 12‑1/2”, d. 7‑3/4”. [400/700] Illustrated

169

171 Napoleon III-Style Ormolu-Mounted and Inlaid Kingwood Stand, mid-20th century, h. 40”, dia. 19‑1/2”. [300/500] Illustrated

170 171

174 Pair of Louis XVI-Style Polychrome Fauteuils, mid19th century, each with a padded tapering rectangular back within a molded frame, joined by padded arms to the like seat, raised on fluted tapering circular legs headed by floral block capitals and ending in toupie feet, h. 34‑1/2”. [400/700] 172 French Giltwood Oval Mirror, third quarter 19th century, decorated with a molded floral crest, h. 34‑3/4”, w. 36”. [300/500]

173

173 Pair of Louis XVI-Style Polychrome and ParcelGilt Fauteuils, late 19th century, each with a padded oval back surmounted by a floral crest, joined by padded scrolling arms to the like seat, raised on stop-fluted tapering circular legs ending in toupie feet, h. 37‑1/2”. [500/800] Illustrated

175

177

175 French Giltwood Three-Panel Screen, second quarter 20th century, in the Louis XVI style, with a serpentine top, the ribbon-carved frame set with a pierced bowknot crest, the needlepoint panels decorated with trophies suspended from swags of flowers, h. 55‑1/2”, w. 55‑1/2”. [500/800] Illustrated

176

176 Pair of Louis XVI-Style Giltwood Armchairs, with pierced ribbon crests, upholstered in a brown and tan floral fabric, h. 38‑1/2”. [1000/1500] Illustrated 177 Louis XVI-Style Giltwood Mirror, second quarter 20th century, with a pierced ribbon crest, h. 39‑1/2”, w. 24‑1/4”. [500/800] Illustrated

178 Louis XVI-Style Giltwood Side Table, fourth quarter 19th century, the fluted and stop-reeded legs supporting the gadroon-edged top, set with inset silk cover, h. 27”, w. 31‑1/2”, d. 18‑1/4”. [300/500] Illustrated

178

179 French Painted Trumeau, second quarter 20th century, with integral bronze prism-hung two-light sconces in the Louis XIV taste, h. 67”, w. 42”. [700/1000] Illustrated

181 179

182 Louis XVI-Style Polychrome Sidechair, early 20th century, the curved crest above a padded splat, the circular, revolving seat raised on fluted tapering circular legs ending in toupie feet, h. 37”. [200/400] Illustrated 180 Pair of Louis XVI-Style Polychrome Fauteuils, late 19th century, h. 33‑1/2”. [200/400] Illustrated

182

180

181 French Painted Wood and Marble-Top Center Table, ca. 1900, in the Louis XVI taste, with gilt-bronze mounts and a verde antico marble top, h. 29”, dia. 28‑1/2”. [450/700] Illustrated

183 Pair of Gold Silk Draperies and Associated Hardware, the draperies with a center swag and trimmed in roping, on a Louis XVI-style gilt-bronze curtain rod with a central gilt-bronze medallion and giltwood pinecone finials, h. 103”, w. 133”, together with a pair of French Art Nouveau-style gilt-bronze tiebacks, h. 10”, w. 3‑1/4”, d. 5‑1/2”. [300/500] Illustrated

187

185 Continental School (Fourth Quarter 18th Century), “Portrait of a Cavalry Officer”, oil on canvas, unsigned, 36” x 29”. Unframed. [500/800]

183

184 French School (First Quarter 20th Century), “Portrait of a Lady in 18th-Century Costume”, oil on canvas, 25” x 19”. Framed. [500/800] Illustrated

186 Continental School (Fourth Quarter 18th Century), a hand-colored engraving titled “English Farmer’s Pastime”, the hand-coloring of a later date, with inscriptions in both German and French, sight 14” x 9‑1/2”. Glazed and presented in a faux burlwood frame. 189 [250/400] 187 Two French GiltMetal and Enamel Jewel Cases, first quarter 19th century, the cove-molded boxes decorated with neoclassical patterns and engine turning, the bolection-molded covers set with enamel plaques depicting women in profile, each stamped “France”, h. 2‑1/4”, w. 5”, d. 5” and h. 2‑3/4”, w. 5”, d. 5”. [400/700] Illustrated 188 Charles-Auguste Lebourg (French, 1829‑1906), Terracotta Bust, probably Hortense de Beauharnais, ca. 1884, on a green marble socle, signed and dated in the fabric on the shoulder, h. 29”, w. 17‑1/2”, d. 9‑3/4”. [2500/4000]

184

192

189 Pair of Louis XVI-Style Painted Oil-on-Canvas Panels, depicting flowers, lovebirds and various trophies, h. 43”, w. 12”. [400/700] Illustrated 191

190 French Handwoven Floral Tapestry, depicting two robust floral bouquets, h. 122”, w. 92”. [200/400]

195

191 Suite of Six Louis XVI-Style CremePeinte and ParcelGilt Sidechairs, mid-20th century, each with a padded medallion back surmounted by a fleur-de-lis crest, the padded seat raised on fluted tapering circular legs headed by foliate carving and ending in toupie feet, h. 39‑1/2”. [500/800] Illustrated 192 French Paint-Decorated Wood Duchesse Brisee, ca. 1900, in the Louis XVI style, in two parts, with thumbmolded crest rails and fluted legs, h. 37‑1/2”, w. 27‑1/2”, overall, l. 77”. Provenance: Tara Shaw Antiques, New Orleans, Louisiana. [700/1000] Illustrated 193 Painted Bas-Relief Pedestal, raised on paw feet, h. 23‑1/4”, w. 12‑3/4”, d. 12‑3/4”. [200/400] 194 Louis XVI-Style Painted and Parcel-Gilt Console Table, with a faux malachite top, h. 32”, w. 21‑1/4”, d. 9‑3/4”. [600/900] Illustrated 195 Louis XVI-Style Painted Trumeau Mirror, the tablet decorated with swags of ribbon-bound flowers, h. 60”, w. 35‑1/2”. [350/500] Illustrated

194

196

196 Louis XVI-Style Overstuffed Swivel Vanity Chair, with a pleated skirt and raised on turned spiral-twist legs, h. 33”, dia. 20”. [300/500] Illustrated

197

197 Custom Louis XVI-Style Parcel-Gilt Padded Bedstead, the guilloche-carved frame decorated with fluted posts and a basket-of-fruit headboard, upholstered with Stark silk brocade depicting garlands of pink roses on an ivory ground, h. 62”, outside, w. 83”, l. 93‑1/2”. [900/1200] Illustrated 198 Imari Garniture Vase Mounted as a Ewer, fourth quarter 19th century, the Imari-decorated urn mounted with a gilt-bronze masque-molded spout, a dragon-molded handle and a scrolled base, h. 16”, w. 6‑3/4”. [500/800] Illustrated

200

202 Charming Louis XVI Miniature Secretaire a Abattant, ca. 1800, veneered in kingwood and mahogany and line inlaid, with gilt-bronze escutcheons on the drawer, lower case and lid, which opens to reveal a fitted interior and lined writing surface, h. 18‑3/4”, w. 15‑1/4”, d. 6‑3/4”. [700/1000] Illustrated 199

198

199 Pair of Belle Epoque Franco-Japanese Porcelain and Bronze Six-Light Candelabra, fourth quarter 19th century, the Japanese Imari vase standards mounted with pierced bronze scrollwork galleries emanating candle branches decorated with leaves, flowers and flower-molded candle cups, and raised on bronze bases with pierced scrollwork, h. 25‑1/4”, dia. 11”. [2500/4000] Illustrated 200 Louis-Philippe Franco-Chinese Gilt-Bronze and Porcelain Garniture Vase, mid-19th century, French and Chinese, the rococo revival gilt-bronze masquemolded base holding a Chinese Imari garniture vase mounted with French gilt-bronze handles in the form of tigers on grape vines, and with a bronze upper edge, h. 22‑1/4”, dia. 9‑1/2”. [1200/1800] Illustrated

201 Directoire-Style Inlaid Satinwood Jardiniere, fourth quarter 19th century, with painted panels and raised on brass ball feet, fitted with a copper liner, h. 18‑1/2”, w. 11‑1/4”, d. 11‑1/4”. [300/500] Illustrated

203 Pair of Louis XIV-Style Bronze and Crystal ThreeLight Candelabra, ca. 1900, the leaf-molded bronze bases holding glass-clad standards hung with swags of crystals and colorless and mauve drops in three tiers, finished with a spear-point finial, h. 24”, dia. 11”. [600/900] Illustrated 204 Pair of Cut Glass and Silverplate Five-Light Candelabra, second quarter 20th century, probably French, with vasiform cut glass standards and silverplate fittings, electrified, h. 30”, dia. 13”. [800/1200] Illustrated

201

202

205 Pair of French Gilt-Bronze and Crystal Six-Light Candelabra, ca. 1900, the faceted cut glass sleeves covering the standard, set with five arms, the molded Greek-key pattern bobeches, probably Baccarat, hung with prisms and drops, h. 19‑1/4”, dia. 12‑1/2”. [400/700] Illustrated

205

203

206 Pair of Continental Gilt-Brass, Gilt-Metal and Porcelain Two-Light Sconces, mid-20th century, in the form of wicker baskets decorated with vines and porcelain flowers, two “tulips” holding the light sockets, h. 9‑1/2”, w. 7”, d. 4‑1/4”. [450/700] Illustrated

206

204

207 Italian Bronze-Trimmed and Inlaid Wood Serpentine Cocktail Table, second quarter 20th century, with an inset travertine top, h. 20”, w. 29‑1/2”, d. 20‑1/2”. [200/400] Illustrated

209 Louis XV-Style Mahogany and Marble-Top Occasional Table, early 20th century, the circular marble top within a pierced brass gallery, joined by angled tapering square legs to a circular banded sunburst-inlaid lower shelf, raised on hoof feet, h. 30”, dia. 20”. [400/700] Illustrated

207

208 French Bronze-Mounted Mahogany and MarbleTop Console Desserte, second quarter 20th century, in the Louis XVI style, h. 28‑1/2”, w. 23‑1/2”, d. 12”. [200/400]

209

210

210 Transitional Louis XV-into-Louis XVI-Style Kingwood Occasional Table, late 19th century, the kidney-form top banded and with a lattice-pattern parquetry inlay, above a conforming frieze fitted with a single drawer, joined to a like inlaid lower shelf by shaped supports terminating in sabots, h. 28”, w. 26”, d. 17”. [400/700] Illustrated 211 Louis XVI-Style Mahogany and Onyx Occasional Table, the inset onyx kidney-form top within a threequarter pierced brass gallery, above a conforming frieze fitted with a single drawer, joined by fluted uprights to a like-shaped lower shelf, raised on ormolu-mounted shaped legs ending in sabots, h. 32‑1/2”, w. 21‑1/2”, d. 13”. [700/1000] Illustrated 212 Louis XVI-Style Mahogany and Exotic Woods Tiered Center Table, early 20th century, the upper tier with bowed ends, banded and quarter-veneered and with inlaid scrolling patterns, joined by fluted uprights to the like larger tier, the whole raised on fluted tapering circular legs ending in ormolu toupie feet, h. 33‑1/2”, w. 35”, d. 20”. [500/800] Illustrated

211

214 Four-Piece Louis XVI-Style Stained Mahogany Salon Suite, mid-20th century, comprised of a settee, h. 42”, w. 54”, d. 31”, and three armchairs, h. 40”, w. 27”, d. 28”. [300/500] 215 Pair of Large French Bronze and Porcelain Garniture Urns, first quarter 20th century, the Etruscan-style oxblood vases mounted with neoclassical-style bronze fittings in the Louis XVI taste, h. 29”, dia. 8”. [500/800] Illustrated

212

216 Pair of RococoStyle Gilded Silverplate Candlesticks, fourth quarter 19th century, decorated with molded scrollwork, shells and flowers, the serpentine bases with vasiform standards and candle sockets fitted with matching bobeches, h. 23‑1/2”, dia. 10‑1/2”. [350/500] Illustrated

215

216

213 Porcelain Plaque Signed by Jenny Rosauer (German), ca. 1900, in an ebonized labeled frame, h. 19‑1/2”, w. 13‑1/2”. [200/400]

217 Pair of French Brass Two-Light Sconces, 20th century, in the Louis XVI style, h. 23‑1/4”, w. 10‑1/4”, d. 4‑1/4”. [200/400] Illustrated

220

217

218 Pair of French Gilt-Bronze Candlesticks, fourth quarter 19th century, in the Louis XV style, each matte gilded with tooled highlights and molded with scrollwork leaves and shells, with matching bobeches, h. 12‑1/4”, dia. 5‑3/4”. [200/400] Illustrated

219 Suite of Four French Gilt-Bronze Two-Light Wall Sconces, the shell-molded backplates set with pairs of adjustable leaf-molded candle arms with matching bobeches and candle cups, electrified, h. 15‑1/2”, w. 20”, d. 3‑1/2”. [300/500]

218

222 40

222 Continental School (19th Century), “Still Life with Flowers and Fruit”, oil on panel, 43” x 32”. Framed. [400/700] Illustrated 223 Frank C. Kirk (American, 1889‑1963), “Still Life with Ginger Jar”, oil on canvas, signed lower right, signed and localized en verso along with a floral sketch, 30‑1/2” x 25”. Framed. [450/700] Illustrated

223 220 Pair of French Bronze and Alabaster Four-Light Candelabra, first quarter 20th century, each with a cylindrical alabaster base holding a flower-molded urnform standard set with three leaf-molded candle arms, the central candle socket with a flower-form insert, allowing them to be used with either 3” or 4” candles, h. 16”, dia. 7‑1/2”. [200/400] Illustrated

226

224 Open Lot 225 Antoinette Schulte (American, 1897‑1981), “Still Life of Flowers in a Glass Vase, Basket of Strawberries, a Pear and a China Vase”, oil on canvas, signed lower right, 26” x 32”. Unframed. [250/400] Illustrated 226 Carducius Plantagenet Ream (American, 1837‑1917), “Bowl of Red Grapes”, oil on canvas, signed lower right, 10” x 14”. Framed. [800/1200] Illustrated

225

221 Unusual French Gilt-Bronze, Ruby Glass and Mahogany Bed Tray, ca. 1900, in the Louis XVI style, the pierced, tapered legs holding the mahogany frame set with a ruby glass top, h. 10‑1/4”, w. 22‑3/4”, d. 11‑1/4”. [300/500]

227 Continental Provincial Oak Low Table, 19th century, the rectangular top above a frieze fitted with a single side drawer, raised on turned bulbous legs joined by an H-form stretcher and ending in ball feet, now cut down to coffee table height, h. 24”, w. 51”, d. 30”. [200/400]

228

229

228 Pair of Italian Renaissance Revival-Style Bronze Ewers, fourth quarter 19th century, each with musical putti decorating the body and a putti bust decorating the scrolled handle, which terminates in a masque, h. 15‑3/4”, w. 6‑1/4”, d. 3‑3/4”. [300/500] Illustrated 231 English Jacobean Revival Valuables Box, mid-19th century, veneered in calamander wood and decorated with engraved brass strapwork and mother-of-pearl bosses, h. 6‑1/4”, w. 10”, d. 6”. [300/500] Illustrated

230

229 Italian Baroque-Style Pierced Brass Standing Lantern, second quarter 20th century, the piercings depicting Adam and Eve with the apple tree, the pagodaform lantern set with brass and trimmed with turned finials, and raised on paw feet, marked “Made in Italy”, h. 35‑1/2”, dia. 13”. [450/700] Illustrated 230 Jacobean Carved Oak Blanket Chest, fourth quarter 17th century, the front decorated with strapwork carving, h. 27”, w. 56‑1/2”, d. 22‑1/2”. [350/500] Illustrated

231

232 Continental Carved Oak Vitrine, fourth quarter 19th century and later, the molded rectangular cornice above a deep foliate- and imbricate-carved frieze with side lion masques, over a single glazed door and mirrored interior, raised on turned baluster-form legs and a paneled back, h. 51”, w. 38”, d. 15”. [250/400]

233 Miniature Baroque-Style Bureau/Commode, third quarter 19th century, possibly Portuguese, the Jacaranda wood commode resting on attenuated cabriole legs with a bold scrollwork base under stepped serpentine bead molding, the lid opening to reveal a matching interior, h. 23”, w. 21”, d. 14”. [500/800] Illustrated

233

235

235 Hand-Painted Delft Charger, ca. 1900, decorated with a portrait of a man in 17th-century costume, signed “H. Hopp”, the back impressed “D” in a circle, and marked “1494, Delft, B.20”, in underglaze blue, dia. 20”. [200/400] Illustrated

234 Hand-Painted Delft Moon Flask, ca. 1900, Dutch, now mounted as a lamp, base, h. 13‑3/4”, overall, h. 26‑1/2”, w. 8‑3/4”. [200/400] Illustrated

236

234

236 Unusually Large Delftware Pottery Jardiniere, fourth quarter 19th century, hand-painted with sailboats and windmills, and molded with rococo-style handles, with the “porcelain bottle” mark, h. 17‑1/2”, dia. 15”. [500/800] Illustrated

237 Dutch Baroque-Style Burr Walnut Four-Drawer Commode, 20th century, with a molded top and carved skirt, h. 31‑1/2”, w. 35”, d. 20‑1/2”. [300/500] Illustrated

240

237

239 Baronial-Style Carved Mahogany Armchair, early 20th century, h. 52”, w. 29”, d. 28”. [200/400]

241

238 Dutch Walnut Vitrine, early 19th century and later, the molded and domed cornice with canted sides, above a conforming case fitted with two astragal-glazed doors over two short drawers and one long drawer, raised on paneled tapering circular legs joined by a shaped stretcher and ending in bun feet, h. 92‑1/2”, w. 69”, d. 16”. [1000/1500] Illustrated

238

240 Dutch-Style Figured Elm Bombe-Form Commode, with a crossbanded and burled top, the case with one over three drawers, raised on cabriole legs with trifid feet, h. 25”, w. 40‑1/2”, d. 13”. [300/500] Illustrated 241 Baroque-Style Gilt-Metal Eight-Light Chandelier, the leaf-molded standard set with reeded candle arms and matching candle cups and drip pans, electrified, h. 38”, dia. 31‑1/2”. [500/800] Illustrated 242 Pair of French Baroque-Style Engraved Bronze Sconces, second quarter 20th century, h. 13‑1/4”, w. 12”, d. 5”. [400/700]

243 Suite of Eight Jacobean-Style Oak Dining Chairs, late 19th century, consisting of two armchairs and six sidechairs, each with a padded rectangular back above the padded seat, raised on barley-twist and block legs joined by like stretchers and ending in ball feet, h. 38”. [500/800] Illustrated

243

244 Britannia Metal Two-Handled Covered Chalice, third quarter 19th century, English, engraved with flowers and scrollwork, h. 19”, w. 12‑1/2”. [700/1000] 245 Late Georgian Copper and Brass Hot Water Urn, first quarter 19th century, with copper spherical body, ring handles and plinth base, and brass finial and tap, h. 14‑1/2”, dia. 9‑1/4”. [300/500]

248 247 Pair of English Oak Armchairs, late 19th century, in the Carolean taste, each with a foliate crest and turned finials above an oval caned back, joined by acanthinecarved arms on barley-twist uprights to the caned seat, raised above legs joined by a like H-form stretcher and ending in ball feet, h. 48”. [400/700] Illustrated

248 Follower of Gerrit Dou (Dutch, 1613‑1675), “The Cook and His Wife”, oil on board, late 19th/early 20th century, 8” x 9”. Presented in a giltwood frame. [200/400] Illustrated

247

250

249 After Bartolome Esteban Murillo (Spanish, 1617‑1682), “Beggar Boys Eating Grapes and Melons”, oil on copper, 10‑1/4” x 8‑1/4”. Handsomely framed. [200/400] 246 French Patinated Bronze Figure of Boccaccio, fourth quarter 19th century, after Francois Theodore Devaulx (French, 1808‑1870), depicted holding a copy of his work, The Decameron, inscribed “A Thomas” and “1844”, h. 11”, w. 9‑1/4”, d. 4‑1/4”. [300/500]

250 Neo-Renaissance-Style Carved Walnut and Marble-Top Sideboard, early 20th century, with a thick Egyptian marble top above a row of three drawers, raised on eight legs and featuring carved swags of fruit below the drawers, h. 36”, w. 84”, d. 24”. [1800/2500] Illustrated

254 Pair of Carved Walnut Armchairs in the Jacobean Taste, first quarter 20th century, with pierced “crown” crests and scrolled handrests and feet, h. 55”. [400/700] Illustrated

251 Louis XIV-Style Pierced Faux Bois Mirror, first quarter 20th century, set with a beveled plate, h. 17‑3/4”, w. 14‑3/4”. [200/400] Illustrated

251

252 Pair of Italian Bronze and Mirrored ThreeLight Sconces, ca. 1900, in the Renaissance Revival taste, the beveled mirror backplates framed with angel caryatids, masques and crown-form crests, the arms terminating in masques and floral swags, electrified, h. 18”, w. 12‑1/4”. [450/700]

254

255 Queen Anne-Style Stand, 20th century, English, the stand with a burr walnut top, a single drawer and a dressing slide, over carved cabriole legs, h. 27”, w. 16”, d. 13‑1/2”. [300/500] 256 French Verdure Tapestry, mid-20th century, depicting a lush landscape with a chateau in the distance, with a scrolling floral vine border, h. 63”, w. 132”. [300/500] Illustrated 257 Moroccan Berber Carpet, 8’ x 9’ 10”. [1000/1500] Illustrated

253

253 Country English Pine Linen Press, 19th century, in the George III style, the molded cornice above two paneled doors, the lower section fitted with two short drawers over three graduated long drawers, raised on bracket feet, retains traces of polychrome accents, h. 80”, w. 48”, d. 22”. [400/700] Illustrated

258 Tabriz Carpet, 2’ x 3’. [200/400] 259 Sarouk Silk and Wool Carpet, 8’ 1” x 10’ 1”. [800/1200] Illustrated 260 Kashan Carpet, 12’ 3” x 9’ 9”. [500/800]

256

257

259

265 263

261 Antique Bidjar Carpet, 12’ 3” x 15’ 2”. [600/900] 262 Bidjar Runner, 3’ 9” x 14’ 2”. [400/700] 263 Tabriz Carpet, 9’ 9” x 6’ 3”. [700/1000] Illustrated 264 Turkish Angora Oushak Carpet, 9’ x 11’ 9”. [1000/1500] Illustrated 265 Mashad Carpet, 9’ 7” x 13’ 11”. [1800/2500] Illustrated 266 Turkish Angora Oushak Runner, 2’ 7” x 11’ 9”. [350/500] Illustrated 267 Antique Kurd Runner, ca. 1910, with a trellis and floral field, 3’ 10” x 10’. [300/500]

264 48

266

268

270 Chinese Porcelain Lidded Vase, 20th century, with famille rose enamels and a red foo dog finial on the lid, a four-character Daoguang reign mark (1821‑1850) on the underside, h. 22”, w. 13”. [200/400] Illustrated

270

268 Pair of Chinese Porcelain Lidded Urns, 20th century, the two urns with scrolling vine and floral motifs, the undersides unmarked, h. 21”, w. 10‑1/2”. [300/500] Illustrated

269

271 Chinese Porcelain Jardiniere, 20th century, decorated with a pair of brightly colored birds among peony and prunus branches against a blue ground, unmarked, h. 11‑3/4”, dia. 14‑1/4”. [300/500] Illustrated

271

269 Chinese Porcelain Vase, 19th/20th century, the yellow-ground vase with floral scroll motif, the round reserves depicting children, with a turquoise interior and a six-character Daoguang reign (1821-1850) mark on the underside, h. 13‑1/4”, w. 6‑1/2”. [300/500] Illustrated

272 Chinese Hand-Painted Porcelain Garniture Vase, first quarter 20th century, h. 22‑1/4”. [200/400]

276

273

275 Chinese Porcelain Hat Stand, 20th century, h. 11”, dia. 4‑3/4”. [200/400]

277

273 Chinese Porcelain Jardiniere, 19th/20th century, the square planter with famille rose enamels on a white ground, drilled and unmarked, h. 6‑3/4”, w. 7”, d. 6”. [500/800] Illustrated 274 Pair of Chinese Famille Rose Porcelain Vases, 20th century, the two long-necked vessels with globular bodies, each with a motif of flowers and antiquities on a white ground, with a six-character red apocryphal Jiaqing reign (1796-1820) mark, h. 16‑1/2”. [200/400] Illustrated

274

276 Four Chinese Porcelain Hat Stands, 20th century, each vessel with an image and text inscription, the undersides of two stands with red manufacturer marks, h. 11”, dia. 4‑3/4”. [300/500] Illustrated 277 Chinese Pottery and Porcelain Figure of a Dragon, 20th century, the brown Yixing clay dragon running across a green and white glazed porcelain cloud, h. 14”, l. 12”. [500/800] Illustrated

280

279 Chinese Composite Figure of Shou, 19th/20th century, the figure of Shou, Chinese folk god of longevity, holding a peach, a symbol of immortality, h. 11‑1/2”. [300/500]

282

278 Chinese Pottery and Porcelain Figure of a Dragon, 20th century, the brown Yixing clay molded in the form of a dragon depicted running across a blue and white glazed porcelain cloud, h. 14”, l. 12”. [500/800]

281

280 Blanc de Chine Figure of Guan Yin, depicted with 24 arms rising from a lotus flower, on a fish-molded base, h. 22‑3/4”, w. 11‑3/4”, d. 4‑3/4”. [200/400] Illustrated 281 Chinese Blanc-de-Chine Dehua Bowl, possibly Ming Dynasty (1368‑1644), dia. 8‑1/8”. [200/400] Illustrated 282 Chinese Porcelain Dish on Stand, 20th century, the dish with cracquelure throughout, displayed on a carved wooden folding stand, dish, dia. 10‑5/8”. [200/400] Illustrated 283 Chinese Sang de Boeuf Bowl on Stand, 20th century, the glazed red bowl with two blue concentric circles on the underside, displayed on a carved wooden stand, bowl, h. 2‑3/4”, dia. 5‑1/4”. [200/400]

284 Chinese Porcelain Headrest, ca. 1850‑1900, in the form of a recumbent cat, h. 5‑3/8”, l. 10‑1/4”. [200/400] Illustrated

286

284

285 Chinese Blue and White Porcelain Dragon Jar, 20th century, the cut-corner lidded box with an image of a dragon pursuing a flaming pearl on each side, unmarked, h. 13”, w. 6‑3/4”. [200/400] Illustrated

287 Chinese Ceramic Sculpture of Laozi Astride an Ox, with Ming Xuande mark (1426‑1435), 19th/20th century, with blue and white glaze, h. 21‑3/4”, w. 12”, l. 20”; together with a Chinese lapis lazuli carving of two foo dogs on stand, 19th/20th century, the mottled blue and gray lapis lazuli figures playing with a ball and a fabric streamer, h. 3‑1/2”, l. 3”, including stand. [200/400] Illustrated

287 285

286 Chinese Blue and White Porcelain Bowl, 20th century, the inside with two dragons around a phoenix medallion, unmarked, h. 3‑3/4”, dia. 9‑3/4”. [400/700] Illustrated

288 Large Pair of Chinese Blue, White and Iron-Red Vases, each of baluster form with four loop handles around the tubular neck, decorated in underglaze blue and iron-red with alternating panels of landscapes, birds and dragons among clouds against a ground of hawthorn blossoms, cracked ice, seashells and Chinese antiquities, with domed covers, h. 33”. [700/1000] Illustrated

288

289 Chinese Rouge-de-Fer-Decorated Saucer Dish, Republic period (1911‑1949), of conventional saucer shape, decorated in iron-red with a central medallion of a horned, five-clawed dragon pursuing the Pearl of Wisdom among clouds and flames, the interior and exterior walls decorated with two dragons among clouds and flames, the base with a six-character Kangxi reign (1662-1722) mark in underglaze blue within a double circle, dia. 10”. [200/400] Illustrated

289

290

290 Chinese Porcelain and Enamel Bowl, probably early 20th century, the lotus-form polychrome enamel bowl with Sanskrit and Chinese characters, inscribed on the interior and exterior, the underside marked with a six-character Wanli reign (1573-1620) mark, h. 2‑7/8”, dia. 8‑3/4”. [200/400] Illustrated 291 Handsome Pair of Gille-Style Porcelain Busts of a Pecheur and His Wife, fourth quarter 19th century, French, the carefully sculpted biscuit busts painted and trimmed in raised gilt, the fisherman wearing a locket depicting his wife, impressed “MF” and with an unidentified printed “FB & Co.” mark, h. 23‑1/2”, w. 12‑1/2”, d. 9‑1/4”. [400/700]

292

292 Pair of French Carved and Painted Architectural Elements, now mounted as lamps, h. 21”, w. 23”, d. 4‑1/2”. [600/900] Illustrated

293

293 Unusual French Oak, Bronze and Ebony-Inlaid Mantel Clock, fourth quarter 19th century, the Louis XIV-style oak case having an enamel chapter ring set into a silver-inlaid ebony face decorated with intertwined scrollwork, with matching panels on the frieze under the face, the front and side corbels, the top with a bold bronze finial of garlands of fruit and flowers, raised on bronze feet, h. 16”, w. 23‑1/2”, d. 5‑1/2”. [1500/2500] Illustrated

295

294

294 French Provincial Carved Oak Tall Cock, early 19th century, the porcelain dial labeled “Roulle’ Jean, a Lamballe”, with a time-and-strike movement, h. 96”, w. 18”, d. 12”. [600/900] Illustrated

298

299

298 Near Pair of Continental Rococo Revival Cast Iron Architectural Elements, ca. 1900, now mounted as lamps, overall, h. 40” and 45”. [500/800] Illustrated

300

299 Italian Polychrome and Parcel-Gilt Bookstand, the book rest within a scrolling border and raised on a foliatecarved bulbous standard to a tripartite base on shaped toes, h. 49”, w. 19”, d. 13”. [300/500] Illustrated 300 Set of Six Regence-Style Fruitwood Dining Chairs, upholstered in peach-colored velvet, h. 42”. [600/900] Illustrated

295 Two French Bronze Swine, 20th century, the larger depicting a boar and marked “A. Moreau”, h. 9”, w. 15‑1/2”, and the smaller depicting an animal with his hind leg tethered to a stake, on a green marble base, h. 7‑1/4”, w. 12”. [500/800] Illustrated 296 Continental Carved and Painted Pine Boar’s Head, fourth quarter 19th century, presented menacingly with open mouth, within a carved and stippled medallion, h. 15”, w. 9”, d. 10”. [500/800] 297 European Carved and Painted Wolf’s Head, 19th century, now mounted in a circular walnut frame, d. 9”, dia. 15”. [200/400]

301 pair

301 Pair of Louis XV-Style Painted Consoles, with pierced skirts and faux rouge marble tops, h. 31‑1/2”, w. 39”, d. 17‑1/2”. [1000/1500] Illustrated

302 Regence-Style Painted and Shell-Carved ThreeDrawer Commode, raised on cabriole legs, h. 31‑1/2”, w. 41”, d. 18‑1/2”. [500/800] Illustrated 302

304

305 Louis XV-Style Walnut Bergere, 19th century, with a molded crest rail extending to closed arms, a scalloped apron and cabriole legs, h. 34‑1/2”. [250/400] Illustrated

305

303 Suite of Six Louis XV-Style Fruitwood Chairs, early 20th century, comprised of two armchairs, h. 33”, w. 24”, d. 22”, and four sidechairs, h. 35”, w. 19”, d. 18”, with caned seats and backs and slip cushions. [300/500] Illustrated

303

304 Pair of Louis XV-Style Fruitwood Canapes, early 19th century, each with a padded double back within a molded frame, the cushioned seat raised on molded cabriole legs ending in scrolled toes, each branded “Allinges”, h. 28”, w. 40”, d. 20‑1/2”. [700/1000] Illustrated

306 Pair of Louis XV-Style Mahogany Settees, each with a padded back surmounted by a molded floral-carved crest, joined by downswept padded arms to the cushioned seat, raised on molded cabriole legs ending in scrolled toes, h. 33‑1/2”, w. 56”, d. 23”. [300/500] Illustrated 307 Italian Oak, Fruitwood and Marble-Top Console Table in the Neoclassical Taste, 18th century and later, the shaped marble top above a conforming frieze centered by floral carving, raised on fluted tapering square legs ending in spade feet, h. 33‑1/2”, w. 45”, d. 19”. [200/400] Illustrated

308 French Provincial Oak Vasselier, mid-19th century, probably from Brittany, the foliate-molded cornice above a pierced spindled frieze over a pendant masque and ship’s wheels, with two recessed spindled shelves, the lower section fitted with a single drawer over two paneled cupboard doors, each with a central ship’s wheel, raised on bun feet, h. 79”, w. 44”, d. 17‑1/4”. [400/700] Illustrated

306

309 Set of Four Continental Baroque-Style Carved Oak and Caned Sidechairs, fourth quarter 19th century, h. 48”, w. 18”, d. 19”. [200/400]

311 After John James Audubon (American, 1785‑1851), collection of three hand-colored lithographs, printed by J. T. Bowen, each sight 5‑3/4” x 8‑3/4”, along with a “Spermophilus Spilosoma”, Plate CIX, hand-colored lithograph, printed by J. T. Bowen, 1847, sight 18‑3/4” x 24‑3/4”. All glazed, matted and framed (four total pieces). [200/400] 312 After Jacques Barraband (French, 1767/68‑1809), collection of hand-colored copperplate engravings of, respectively, “La Perruche Ara”, “La Perruche Lori”, and “L’Ara Canga Male”, from Histoire Naturelle des Perroquets, published 1801‑1805, Paris, verso of each with label from “Robert Scott Stilin Inc., Palm Beach”, sight 14‑1/2” x 11”. Attractively glazed and framed. [200/400] 313 After Louis Van Houtte (Belgian, 1810‑1876), collection of two hand-colored botanical lithographs, from Flore des Serres et des Jardins de l’Europe, 1845‑1880, sight 9‑1/4” x 12‑1/4”. Both glazed, French-matted and presented in distressed giltwood frames. [250/400]

308

307

310 After Louis Van Houtte (Belgian, 1810‑1876), collection of two hand-colored botanical lithographs from Flores des Serres et des Jardins de l’Europe, 1845‑1850, and one hand-colored botanical engraving from William Curtis’s Flora Londinensis, published 1777, sight, from 12” x 8‑5/8” to 17‑1/2” x 10”. All glazed, attractively doublematted and framed. [250/400] Illustrated on next page

315 John Louis Petit (British, 1801‑1868), “Ragland Castle”, watercolor on paper, sight 8‑3/4” x 7‑1/4”. Matted, glazed and framed. [200/400] 316 Continental School (First Quarter 20th Century), “Playful Putti with a Goat”, graphite and crayon on paper, sight 7‑1/2” x 6”. Glazed, matted and framed. [300/500] 317 Henrietta Anne Fortescue (British, ca. 1765‑1841), “The Castle of Golling”, 1820, ink and graphite on paper, signed and dated lower right, titled lower center, sight 12‑3/4” x 19”. Matted and unframed. [200/400]

310 one of two

314 Diverse Collection of Lithographs, Bookplates and Engravings, 18th-20th century, a total of 22 items, sheet sizes 6‑1/2” x 8‑1/2” to 21‑1/2” x 25‑3/4”. All unframed. [200/400]

318 French Provincial Fruitwood Vasselier, mid-19th century, the molded cornice above three open plate shelves and two paneled end cupboards flanking a paneled backpiece, the lower section with a canted rectangular top above a conforming case fitted with three short drawers over two cupboard doors, each inset with a shaped panel, raised on splayed toes, h. 89”, w. 57”, d. 24”. [1200/1800] Illustrated

320

318

319 French Provincial-Style Pine Bonnetiere, 20th century, with raised panel doors and inscribed carving, h. 79‑1/2”, w. 30‑1/2”, d. 15‑1/2”. [500/800] 320 Eight-Piece Collection of European Pottery, ca. 1900, including three graduated glazed-top confit jars, h. 10‑1/4” to 13‑1/2”, and five square terracotta pots, h. 3‑1/4”, w. 4”, d. 4”. [500/800] Illustrated 321 American Maple Butcher Block, first quarter 20th century, the 10”-thick top mounted on tapered legs, h. 28”, w. 24‑1/2”, d. 31‑1/4”. [400/700] Illustrated

324

321

322 Continental Fruitwood Tri-Form Plate Stand, fitted with twenty-four metal racks to accommodate plates in three different sizes, raised on a molded tri-form base, h. 58‑1/2”. [350/500]

323

325 Suite of Eight English Ash Dining Chairs, early 19th century, consisting of two armchairs and six sidechairs, each with a spindled back above a wooden seat, raised on circular legs joined by stretchers and ending in tapering feet, h. 42”. [700/1000] Illustrated

325

326 Suite of Four Provincial-Style Fruitwood Ladderback Chairs, each with a rush seat and box stretchers, h. 38”. [200/400] Illustrated

323 Provincial Louis XV-Style Oak Parquetry Draw-End Table, the banded shaped top with parquetry inlay and with two like-inlaid draw ends, and raised above a shaped shell-carved apron on cabriole legs ending in scrolled toes, h. 29”, w. 47”, d. 35”. [300/500] Illustrated 324 Assembled Suite of Eight French Provincial Fruitwood Dining Chairs, 20th century, comprised of two armchairs and six sidechairs, all with three shaped rails over a rush seat, the armchairs raised on turned circular legs, the sidechairs on shaped legs, h. 40”. [500/800] Illustrated

326

327 Rococo-Style Painted Console, with thumb-molded cabriole legs, h. 29”, w. 30”, d. 12”. [400/700] Illustrated

327

329 Meissen-Style Figural Mirrored Sconce, fourth quarter 19th century, probably Dresden, the Baroquestyle porcelain surround set with three candle sockets, decorated with a putto, a cupid and applied flowers, with polychrome decoration, h. 17‑1/2”, w. 11‑1/2”. [300/500] Illustrated

329

328 French Fruitwood Bureau, early 19th century, the slant front with a diamond inlay and central Maltese cross, opening to an interior fitted with a leather-inset writing surface and various drawers and cubbyholes, over two short drawers and one long drawer, raised on cabriole legs, h. 39‑1/2”, w. 37‑1/2”, d. 20”. [600/900] Illustrated

330 Directoire-Style Carved Fruitwood Wing Chair, 20th century, upholstered in bird print fabric, h. 51”, w. 24‑1/2”. [300/500]

331 328

331 Two Cast Iron Busts of Belle Epoque Jeunes Filles, in the 19th-century style, one depicted wearing a hat, h. 27‑1/2”, w. 15‑1/2”, d. 10‑1/2”, and the other with roses in her hair, h. 23”, w. 17”, d. 10‑1/2”. [300/500] Illustrated

332 Louis XV-Style Paint-Decorated Bergere, mid-20th century, with floral upholstery, h. 39‑1/2”, w. 28‑3/4”. [250/400] Illustrated

335 Italian Polychrome Faience Wall Bracket, 20th century, molded with a putto, h. 8‑1/4”, w. 6‑1/2”, d. 4‑3/4”. [300/500] Illustrated

332

336

336 Set of Ten Majolica Cabbage Leaf Salad/Dessert Plates, fourth quarter 19th century, dia. 8”. [200/400] Illustrated

337

333 Belle Epoque Patinated Metal, Pottery and Art Glass Compote, fourth quarter 19th century, the standard depicting Psyche on a pottery spherule, supporting the iridescent art glass ruffled bowl, which is probably Loetz, h. 19‑1/2”, dia. 9”. [200/400] 334 Continental Hand-Painted Polychrome Lacquer Tray, late 18th century, depicting a wealthy family group having tea and smoking in a garden, presented in a later giltwood and glass shadowbox frame, w. 24”, d. 18‑1/2”. [350/500]

335

337 Pair of Louis XIII-Style Oak Fauteuils a la Reine, late 19th century, each with a tall padded back joined by downswept scrolling arms to the padded seat, raised on turned and floral block legs joined by a pierced scrolling front stretcher and ending in peg feet, upholstered in bottle green ostrich skin, h. 46”. [700/1000] Illustrated

341 Articulated Artist’s Model on Stand, 20th century, marked “Morilla Maniquette”, h. 16‑1/2”, dia. 3‑3/4”. [250/400] Illustrated

341

342 Roger Lucien Candes (French, 1907‑1972), “Town of Mostar”, oil on canvas, signed lower right, 19‑3/4” x 25‑3/4”. Framed. [500/800] Illustrated 343 Viktor Korecki (Polish, 1890‑1980), “The Pines”, oil on canvas, signed lower left, 24” x 36”. Framed. [600/900] Illustrated 338

338 French-Style Silvered Metal and Brass Baker’s Rack, the scrolling crest centered by a wheat sheaf, above two small side shelves and three long shelves, with scrolling supports and brass-bound fronts, h. 85”, w. 49‑1/2”, d. 18”. [600/900] Illustrated

340 342

339 Baronial-Style Wrought Iron Floor Lamp, with scrolled feet, h. 74”, dia. 17‑1/2”. [200/400] 340 Set of Four Faux Leather, Wood and Metal Riveted Carryalls, 20th century, h. 19”, w. 21”, d. 15‑1/4”. [200/400] Illustrated 343 62

344 344 Continental School (20th Century), “Village by the Sea”, oil on canvas, illegibly signed, 27‑3/4” x 40”. Framed. [400/700] Illustrated

346

345

345 Jaroslav Kamich (Polish, b. 1929), “At the Foundry”, oil on canvas, signed lower right, 24” x 36”. Framed. [500/800] Illustrated 346 Jules Cheret (French, 1836‑1932), “Exposition Universelle des Arts Incoherents”, lithograph in colors, sight 48” x 34”, plate-signed lower right, printed by Imp. Chaix, Paris. Glazed, matted and framed. Provenance: The Sheraton New Orleans Hotel, 500 Canal Street. [500/800] Illustrated 347 Georges Fay (French, d. 1916), “Le Quartier”, 1897, lithograph in colors, sight 43‑1/2” x 28‑1/2”, plate-signed and dated “Georges Fay 97”, printed by Imp P. Vercasson, Paris. Glazed, matted and framed. [500/800] Illustrated

347

348 British School (Second Quarter 20th Century), “The Surgery Theater”, oil on canvas, 29‑3/4” x 30”. Framed. [1000/1500] Illustrated

351 Eleven-Piece Limoges Aesthetic Cobalt-Ground Porcelain Ice Cream Set, ca. 1891‑1910, French, decorated and marked by A. K. Klingenberg, including a serving tray, l. 15‑3/4”, and ten dishes, dia. 6‑3/4”. [200/400]

350

352 Pair of French Bronze-Mounted Cobalt Porcelain Garniture Vases, ca. 1900, in the neoclassical taste, on onyx plinths, h. 9‑3/4”. [200/400] Illustrated

348

349 Pair of French Pottery Chargers, ca. 1900, decorated with flowers and an iridescent glaze, marked “K&G, Luneville, France”, dia. 16‑1/4”. [1200/1800] Illustrated

352

349

350 Unusual Partial Service of French Cut, Engraved and Gilt-Glass Tableware, ca. 1900, decorated with bluestained borders and medallions, with wheel engraving and gilt flowers, and a “BH” monogram, including seven bowls, h. 2‑1/4”, dia. 4‑3/4”, eight underplates, dia. 7”, and thirteen footed glasses, h. 4‑1/2” (twenty-eight total pieces). [300/500] Illustrated

353 Amusing Napoleon III Bronze Figural Mantel Clock, third quarter 19th century, the rococo-style pierced gilt-bronze base holding a contrasting bronze elephant supporting the clock, a putto playing a lyre sits astride the top, h. 17”, w. 11‑1/4”, d. 5”. [1500/2500] Illustrated 354 Impressive Amphora Works Riessner Figure with Vases, ca. 1918‑1939, Czechoslovakian, depicting two putti on a camel with basket “vases” on each side, marked with both impressed and underglaze green marks, h. 19‑3/4”, w. 16”, d. 13‑3/4”. [500/800] Illustrated

353

356 Pair of French Neo-Grec Patinated and Gilt-Bronze and Alabaster Five-Light Candelabra, second quarter 19th century, the cove-molded alabaster bases supporting patinated bronze figures of classical maidens holding gilt amphoras on their heads, the figures after Louis Valentin Elias Robert (French, 1821‑1874), and marked “LVE Robert”, the gilt amphoras emanating gilt-bronze flower-molded candle branches with matching flowerform candle cups, formerly mounted as lamps and now on brass lamp bases, h. 23‑1/2”, dia. 9‑1/4”. [1400/1800] Illustrated

356

355 French Neo-Grec Patinated Bronze Tazza, third quarter 19th century, the conical foot supporting a standard molded with a bust of Hephaestus, the bowl decorated with a bas-relief profile portrait of Athena in a gilt bezel, h. 8”, dia. 10”. [250/400]

354 357

357 Unusual French Belle Epoque Bronze RondelForm Mirror, ca. 1900, hung from a bronze bowknot and ornamented with three patinated metal putti and an angel, h. 28”, w. 16”. [450/700] Illustrated

359 Four German Miniature Portraits in the 19th-Century Style, 20th century, depicting Johannes Brahms and Albert Lortzing, h. 5‑1/2”, and George III and Christina of Sweden, h. 4”. [200/400]

361

358 one of two

358 Continental School (Second Quarter 19th Century), “Preparing for Battle” and “The Little Drummer Boy”, pair of oils on panel, each illegibly signed lower right, each 10” x 8‑1/2”. Presented in matching frames. [400/700] Illustrated

360

360 Impressive Pair of Napoleon III Bronze SevenLight Candelabra, mid-19th century, composed of patinated and gilt bronze, the scrolled base supporting spiral-reeded column standards with angel “capitals”, and scroll-decorated candle arms and cups, h. 31‑3/4”, dia. 11‑3/4”. [1000/1500] Illustrated

363

361 Napoleon III Ebonized Jardiniere Table, third quarter 19th century, the ovoid top with a removable lid revealing a removable metal liner, above a conforming frieze, raised on shaped legs joined by a shaped stretcher shelf and ending in sabots, the whole with lattice pattern brass-inlaid panels, h. 31‑1/2”, w. 21‑1/2”, d. 14‑1/2”. [500/800] Illustrated

362 Napoleon III Black Marble Casket-Form Mantel Clock, third quarter 19th century, with an exposed escapement on the white porcelain dial, the works marked by retailer Henri Marc, Paris, h. 15”, w. 11‑3/4”, d. 6‑1/2”. [400/700] 363 Louis-Philippe Inlaid Tortoiseshell and Mother-of-Pearl Encrier, second quarter 19th century, decorated with inlaid flowers on the tortoise ground, the top with front and rear pen rests, the center with a pair of cut glass inkpots flanking a covered blotter compartment, the front set with an ivory-trimmed drawer, h. 7‑3/4”, w. 17‑1/4”, d. 11‑3/4”. [400/700] Illustrated

366

364

364 Napoleon III-Style Vitrine Ovale, ebonized and decorated with inlaid brass and tortoiseshell boullework, h. 69‑1/2”, w. 30”, d. 18”. [500/800] Illustrated

367 Large Brass-Inlaid and Gilt-Metal-Mounted Vitrine in the Manner of Andre-Charles Boulle, the central glazed door over a bank of drawers flanked by serpentine sides with glazed doors over paneled doors, h. 79”, w. 66‑1/2”, d. 19”. [500/800] Illustrated

367

365

365 Gilt Ormolu-Mounted Brass and Shell-Inlaid Ebonized Banquet Table in the Manner of AndreCharles Boulle, of double pedestal form, the skirted apron with inlaid panels on tapering columns with like decor, h. 31‑1/2”, w. 44”, l. 115”. [800/1200] Illustrated 366 Set of Ten Napoleon III-Style Dining Chairs, including two armchairs and eight sidechairs, ebonized and bronze mounted, on cabriole legs, the backs decorated with brass-inlaid tortoiseshell boullework, h. 41”. [700/1000] Illustrated

368 Napoleon III Mahogany and Ebonized Tiered Table, late 19th century, the upper shaped oval tier with an inset marble surface within a brass banding, joined by shaped supports to a larger quarter-veneered tier, with end brass handles, raised on cabriole legs headed by ormolu mounts and ending in sabots, h. 33‑3/4”, w. 29”, d. 18‑1/2”. [400/700] Illustrated

368

370 370 Continental School (Second Quarter 19th Century), “Portrait of a Gentleman”, oil on canvas, 24” x 20”. Framed. [300/500] Illustrated

369 Continental School (Second Quarter 19th Century), “Portrait of a Young Man”, oil on canvas, 23” x 18”. Framed. [450/700]

371 British School (Second Quarter19th Century), “Portrait of a Young Gentleman”, oil on canvas, 13‑1/2” x 11‑1/2”. Framed. [400/700] 372 Continental School (Fourth Quarter 19th Century), “Portrait of a Matador Playing a Guitar”, oil on canvas, signed and dated upper left “J. G. Pasqvet, Mai 1891”, 24” x 20”. Framed. [400/700] Illustrated 373 Continental School (Fourth Quarter 19th/First Quarter 20th Century), “Portrait of a Man Playing an Accordion”, oil on canvas, illegibly signed lower left, 13” x 11”. Handsomely framed. [200/400] 374 Maria Christine Thymann (Danish, 1867‑1928), “Portrait of a Bearded Man in Profile”, oil on canvas, signed lower right, 20” x 17‑1/2”. Framed. [300/500] 375 British School (Fourth Quarter 19th Century), pair of oils of clergymen, including “Collared Minister”, oil on canvas, unsigned, 10” x 8”, and “Seated Canon with Prayer Book”, oil on panel, unsigned, 9” x 7”. Both framed. [300/500] Illustrated

372 68

377 Continental School (Fourth Quarter 19th Century), “Portrait of a Man with Arms Crossed”, oil on canvas, 23” x 17‑3/4”. Framed. [300/500]

378

378 Unusual French Pottery and Bronze Ginger Jar in the Chinese Style, fourth quarter 19th century, decorated with enameled scenes of Chinese inspiration, fitted with bronze dragon-form handles and raised on a pierced bronze base, h. 15‑1/2”, w. 16”. [800/1200] Illustrated

375 one of two

376 British School (Third or Fourth Quarter 19th Century), pair of oils on wood panel, including “Portrait of a Man with Gray Eyes”, unsigned, a “Charles Roberson & Co./London” label en verso, 8‑3/4” x 6‑3/4”, and “Portrait of a Bespectacled Man”, unsigned, 9” x 7”. Both in antique frames. [300/500] Illustrated

379 Continental Polychrome Occasional Table, early 19th century, in the neoclassical taste, the rounded rectangular top with a polychrome scene of courtiers at leisure, raised on a fluted standard with classical portrait medallions and accents, to three scrolling legs ending in rounded toes, h. 28‑1/2”, w. 23”, d. 17‑3/4”. [400/700] 380 Continental Agate Bombe-Form Covered Box, first quarter 20th century, with a hinged cover, h. 2‑1/4”, w. 7”. [300/500]

381

381 Continental Mahogany Center Table in the Rococo Taste, mid-19th century, the serpentine top over a conforming figured apron, on a pedestal with masquecarved legs, h. 52‑3/4”, w. 49‑1/2”, d. 29‑1/2”. [500/800] Illustrated 376 one of two 69

382 Pair of Meissen-Style Potpourri Urns, ca. 1900, decorated en grisaille with bunches of flowers, the pierced covers and bases with green ribbon trim, marked with spurious Augustus Rex “AR” signatures in underglaze blue, h. 10‑3/4”, w. 6‑1/2”. [300/500] Illustrated

384

382

384 Pair of Rococo Revival Bronze and Porcelain Moderator Lamps, mid-19th century, French, with pierced bronze bases supporting Paris porcelain pinkground vasiform standards decorated with panels of hand-painted flowers in tooled gilt borders, base, h. 17”, overall, h. 21‑1/2”, dia. 7‑1/4”. [350/500] Illustrated 383 Pair of Rococo Revival Porcelain Portrait-Decorated Fan Vases, mid-19th century, probably made in Paris or Limoges, gilt-trimmed and decorated with three-quarter length portraits of women in 18th-century costume, h. 14”, w. 7‑1/4”, d. 5‑1/4”. [500/800] Illustrated

385

383

385 Pair of Unusual Paris Porcelain Hand-Painted Vases, third quarter 19th century, in the Gothic Revival taste, hand-painted with Elizabethan characters on a gilt panel, framed in gilt Gothic tracery, on a matte plum-colored ground, h. 13‑1/2”, dia. 5‑1/2”. [300/500] Illustrated

388

388 Suite of Six Continental Rococo Revival Oak Chairs, third quarter 19th century, each with an elaborate piercecarved crest with a central female masque, padded seat and back, carved apron and turned legs, h. 47”. [400/700] Illustrated

387 one of two

386 Pair of Royal Vienna Porcelain “Kinderkopf” Busts, after J.J. Kaendler, ca. 1860‑1864, Konigliche PorzellanManufaktur, Berlin, on fluted columnar bases, marked with an underglaze blue Bindenschild or “beehive” on the female figure, and various incised numbers and initials on the bases of both the busts and the columnar bases, h. 8‑3/4”, w. 4”, dia. 3”. [250/400]

389 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”. [1200/1800] Illustrated

389

387 Collection of Two French 19th-Century Engravings, including “Hesiod and the Muse”, with dedication to Comte Henri Delaborde by Moreau, dated 1891, after a painting by Gustave Moreau (1826‑1898), and “La Fortune Et l’Amour”, after a painting by Paul Baudry (1828‑1886), both published by “Societe Francaise de Gravure”, former sight 19‑1/2” x 11‑3/4”, latter 20” x 15”. Both glazed, attractively French-matted and presented in matching giltwood frames. [400/700] Illustrated

390

391 Ludwig O.E. Manzel (German, 1858‑1936), “The Gleaner”, bronze, cast signature at edge of base, on a green marble base, h. 15”, w. 7‑1/2”, d. 4‑1/4”. [300/500] Illustrated

394

392 Continental Patinated Metal Figure of a Seated Cherub, fourth quarter 19th century, h. 21”, w. 8‑1/2”, d. 8”. [300/500] 393 Terracotta-Painted Plaster Bust of a Young Boy, fourth quarter 19th century, after George Halse (British, 1826‑1895), depicted in the neoclassical manner, on an integral socle, marked “6 Halse SC”, on the back, h. 22”, w. 13‑1/2”, d. 6‑1/4”. [250/400] 390 Continental Patinated Bronze of a Soldier-Prince, 20th century, on a square gray marble base, h. 20‑1/2”, w. 10‑1/4”, d. 10‑1/4”. [600/900] Illustrated

391

395

394 Spanish Patinated Bronze of a Young Girl Standing on a Stool, 20th century, after Juan Clara (Spanish, 1875‑1958), cast signature at edge of seat, h. 13”, w. 3‑1/4”, d. 3‑1/2”. [400/700] Illustrated 395 Vasiliy Nicholayevich Gribennikov (Russian, b. 1951), “The Flower Market”, 2007, oil on canvas, signed in Cyrillic and dated lower right, signed, dated, and inscribed en verso canvas, 19‑1/2” x 27‑1/2”. Attractively framed. Provenance: Ivey-Selkirk, St. Louis, Missouri, June, 2011 as lot 473. [400/700] Illustrated

396 Continental School (Second Quarter 20th Century), “Paris at Dusk”, oil on board, signed lower right “A. Lorenz”, 12” x 16”. Framed. [300/500] Illustrated 397 French School (Third Quarter 20th Century), “Parisian Street Scene with View of Moulin Rouge”, signed lower right “Marchand”, 12” x 16”. Framed. [200/400] 398 Rene Rambert (French, 20th Century), “Parisian Street Scene”, oil on canvasboard, signed lower right, 19‑1/2” x 24”. Framed. [800/1200] Illustrated

398

399 Rene Rambert (French, 20th Century), “Parisian Street Scene with a Flower Cart and a Stage Coach”, oil on panel, signed lower right, 11‑1/2” x 15‑1/2”. Framed. [600/900] Illustrated 400 Niek van der Plas (Dutch, b. 1954), “Venice”, oil on wood panel, signed lower left, signed and titled en verso, 18‑1/4” x 24”. Framed. [1200/1800] Illustrated

399

396

400

401 Niek van der Plas (Dutch, b. 1954), “Beach Scene”, oil on wood panel, signed lower right, 5” x 7”. Framed. [600/900] Illustrated 402 Niek van der Plas (Dutch, b. 1954), “Beach Scene”, oil on wood panel, signed lower right, 5” x 7”. Framed. [600/900] Illustrated 403 Alex Toutrine (Russian, 20th Century), “Young Girl with Pink Tulips”, oil on canvas, monogrammed lower left, inscribed in Cyrillic en verso, 14” x 18”. Framed. [700/1000] Illustrated 401

402 404 404 Claude-Marie Buford (French, b. 1946), “The White Parasol”, oil on canvasboard, signed lower left, 10” x 8”. Framed. [400/700] Illustrated

405 Italian School (Second Quarter 20th Century), “Mountaintop Monastery”, oil on board, signed illegibly lower left, 9” x 7”. Presented in a giltwood and gesso frame. [500/800] 406 Attributed to Joseph Floch (American/Austrian, 1895‑1977), “Provencal Landscape” oil on canvas, inscribed en verso stretcher “Floch ‘26”, 23‑5/8” x 27‑5/8”. Framed. [1500/2500] Illustrated 403

406 407 Rudolf Blum (Austrian, 1895‑1973), “Portrait of a Man in a Hat”, oil on canvas, signed lower right, 18” x 13”. Presented in an ebonized frame. [800/1200] Illustrated 408 409 Monumental Model of a Three-Masted Frigate, first quarter 20th century, probably American, composed of wood, metal, glass and a fabric rigging, made with an impressive attention to detail, h. 67”, w. 17”, l. 72”. Ex-collection Malcolm Forbes, New York, New York. [2500/4000] Illustrated

409

407

408 David W. Haddon (British, fl. 1884‑1914), “Portrait of a Cavalier”, oil on canvas, signed lower left, 14” x 10”. Presented in a giltwood frame. [200/400] Illustrated

410 Edwardian Four-Piece Parlor Suite, early 20th century, consisting of a settee, h. 41‑1/2”, w. 44‑1/2”, d. 22”, an armchair, h. 41‑1/2”, and a pair of sidechairs, h. 41‑1/2”, all with shaped backs featuring scenes of courting courtiers within a floral border, the rounded seats raised on cabriole legs headed by floral carving and ending in pad feet. [600/900] Illustrated

413

410

412 Four European Molded and Cut Glass Decanters, 20th century, together with six Stieff engraved pewter bottle tickets, bottles, h. 9‑1/2” to 12‑1/4”. [400/700]

411 Three-Fold Canvas and Leather Screen, each fold depicting various figures in Oriental garb amidst buildings and a lakeside landscape, overall, h. 68‑1/2”, w. 51”. [800/1200] Illustrated

413 Fine Set of English Cased Poker Chips, fourth quarter 19th century, in an inlaid oak case, the chips held in a removable caddy with a nickel-plated handle, h. 5‑1/4”, w. 13”, d. 8‑3/4”. [700/1000] Illustrated

414

411

414 Edwardian Rosewood Kneehole Desk, ca. 1900, the serpentine top above a conforming case fitted with a central frieze drawer over a recessed cupboard, flanked to either side by a bank of four small drawers, raised on block feet, h. 29”, w. 35‑1/2”, d. 18”. [450/700] Illustrated

415

418

415 Edwardian Mahogany Wardrobe, early 20th century, of breakfront form, the molded cornice above a case fitted with two central bi-paneled doors opening to a shelved interior over two banks of three drawers, flanked to either side by a like-paneled door opening to two pullout drawer shelves, raised on a plinth base, h. 78‑1/2”, w. 101”, d. 24”. [800/1200] Illustrated

419 Chesterfield-Style Navy Leather Sofa, 20th century, raised on turned feet, h. 29‑1/2”, w. 78”, d. 33”. [1200/1800] Illustrated

419

416 Diminutive Edwardian Inlaid Mahogany Side Cabinet, ca. 1900, h. 32”, w. 29”, d. 14‑1/2”. [200/400] 417 Pair of Chinoiserie-Decorated Caned Armchairs, early 20th century, h. 31”, w. 30”, d. 31”. [500/800] Illustrated

417

418 Unusual Edwardian-Style Two-Sided Chesterfield Sofa, the opposing seats joined by a common back, upholstered in tufted brown leather, h. 30‑1/2”, w. 90”, d. 63”. [500/800] Illustrated

420 Contemporary Parcel-Gilt Mahogany Looking Glass, of Chippendale inspiration, the mirror plate in a frame with an exuberantly modeled shell-carved crest, each corner set with smaller carved shells, h. 57”, w. 30”, d. 7”. [400/700] Illustrated

420

421 Chinese Five-Panel Coromandel Screen, first quarter 20th century, decorated with a scene of a palace interior, birds, flowers, vases and scrolls, h. 78‑1/2”, w. 75‑1/2”. [700/1000] Illustrated

426 422 Edwardian Mahogany Music Cabinet, ca. 1900, h. 51”, w. 18‑1/2”, d. 15”. [200/400]

421

423

427 423 Scottish School (First Quarter 20th Century), “Highland Cattle Rovers”, oil on board, verso inscribed “Highland Rovers”, 34” x 27”. Framed. [300/500] Illustrated

429

424 Pair of Continental Faux-Marbre and Parcel-Gilt Pedestals, 20th century, with inset panels, h. 42”, w. 18”, d. 18”. [400/700] 425 George Thompson Pritchard (British, 1879‑1962), “Village by the River”, watercolor on paper, signed lower right, sight 13” x 19”. Framed. [350/500]

432

430 Set of Ten Minton Porcelain Dinner Plates in the Neo-Grec Style, ca. 1862, English, decorated with a gilt, black and terracotta guilloche border, and an armorial device reading “Fidelitee”, impressed “Minton” and the date letter, dia. 10‑1/4”. [250/400] 431 Japanese “Royal Castle” Partial Dinner Service, second quarter 20th century, decorated with transferprinted flowers, including twelve dinner plates, dia. 9‑3/4”, eight soup bowls, dia. 8”, twelve bread and butter plates, dia. 6‑1/2”, twelve cups, h. 2‑1/4”, twelve saucers, dia. 6”, and a gravy boat, l. 10”. [200/400] 432 Set of Seven Raised Gilt Porcelain Service Plates, first quarter 20th century, probably German, retailed by Loesser, New York, dia. 10‑1/2”. [200/400] Illustrated 433 American Boehm Porcelain Rose, post-1994, marked “Flower of Love c. 1994”, with the original box, w. 3”, l. 4‑1/2”. [200/400]

426 Mrs. H. Champion (British, 19th Century), “Portrait of Catherine Layton”, watercolor on paper, signed lower right, sight 14‑1/4” x 10‑1/4”. Matted, glazed and framed. [350/500] Illustrated 427 British School (Second Quarter 19th Century), “The Drawing Lesson”, oil on canvas, unsigned, 30‑1/4” x 25‑1/4”. Framed. [1200/1800] Illustrated 428 British School (First Quarter 20th Century), “Interior Scene with Two Girls, One Reading a Book”, and “Portrait of an Elderly Lady”, two works on paper, both signed “J. B. Walker”, former dated “1915”. Both glazed, matted and framed. [250/400] 429 Set of Eleven Royal Crown Derby Dessert Plates, ca. 1921‑1940, English, decorated with a ruffled edge and gilt and white sprigging, marked on the reverse, dia. 8”. [200/400] Illustrated

434

434 Edwardian Satinwood Center Table, ca. 1900, the banded ovoid top centered by a patera inlay with emanating bellflower swags, above a conforming frieze, raised on tapering circular legs joined by a small oval galleried stretcher shelf and ending in teardrop feet, h. 29”, w. 31”, d. 22”. [400/700] Illustrated

435 Custom Hepplewhite-Style Mahogany Oval Coffee Table with a Beveled Glass Top, 20th century, English, the satinwood top with crossbanding, h. 20‑1/2”, w. 39‑1/2”, d. 26‑1/2”. [500/800]

436

438

437 Anton Karssen (Dutch, b. 1945), “Two Elegant Borzois”, oil on canvas, signed lower left, 23‑3/4” x 31”. Framed. [3000/5000] Illustrated 438 American School (20th Century), “Man’s Best Friends”, oil on canvas, unsigned, 13‑1/4” x 17”. Unframed. [300/500] Illustrated

436 Pair of Edwardian Mahogany Jardinieres, early 20th century, each with a square top inset with a metal liner, the sides each inlaid with an oval panel, raised on slender legs joined by an X-form stretcher and ending in splayed feet, h. 38”, w. 14‑3/4”, d. 14‑3/4”. [600/900] Illustrated

437

439 J. A. Wheeler (British, 20th Century), “Portrait of a Dog”, oil on board, signed lower right, 8” x 6”. Framed. [900/1200] Illustrated

439

440

440 Pair of Early George III Sterling Silver Candlesticks with Later Victorian Candelabra Branches, London, the candlesticks hallmarked London, 1762‑1763 and 1766‑1767, by William Cafe (ca. 1727‑1802; free 1757), the branches fourth quarter 19th by Chappell & Mandell, the candlesticks with spiral-twist rococo standard, with a circular gadrooned knop and shell-faced squared capital, raised on a serpentine-lobed square foot with gadrooned edge and shell-and-scroll banding, and surmounted by a gadrooned cannon-form nozzle, the detachable branches en suite with central standard and three arms, the nozzles with detachable bobeches, the candlesticks h. 10”, w. 5‑1/8”, with branches h. 15‑1/4”, w. 13‑1/2”, 139.71 total t. oz. [5000/8000] Illustrated

441

442 George IV Assembled Three-Piece Sterling Silver Tea Set, hallmarked London, 1825‑1826 by Benjamin Smith III (1793‑1850) and 1827‑1828 by William Eley II (ca. 1794‑1841; free 1815), including a teapot by Smith, h. 5‑1/2”, dia. 6‑1/4”, and an open sugar bowl, h. 4‑1/2”, dia. 5‑3/4”, and cream jug, h. 4”, dia 4‑1/4”, by Eley, each of squat serpentine-lobed melon form and raised on a conforming foot, the pot with crested wooden handle, hinged domed lid with acanthus bud finial and short “gooseneck” spout, the cream and sugar with acanthuscrested silver handle(s), each piece engraved with the badge of the clan Fergusson, 50.10 total t. oz. [1000/1500] Illustrated

442

443 William IV Old Sheffield Plate Cake Basket, second quarter 19th century, of rounded rectangular form with gadroon-and-shell border, with conforming swing handle and foot, engraved with the crest of Thomson of Trevelyan et al., h. 3‑1/2” (10” with handle), l. 13‑1/2”, w. 9‑3/4”. [300/500] Illustrated

443

441 Regency Sterling Silver Cruet Frame, hallmarked London, 1811‑1812, by Andrew Fogelberg (ca. 1736‑1815), of rounded rectangular form with bulbous sides, with gadroon-and-coquille rim and central baluster ring handle to a wooden base, fitted with eight cut glass casters, some original, overall, h. 8‑1/4”, l. 8‑1/2”, w. 6‑1/2”. [800/1200] Illustrated

444

445 William IV Old Sheffield Plate Entree Dish, second quarter 19th century, marked “W.A.”, in three parts (base, dish and lid) of elongated lobed octagonal form, with robust rocaille banding, handles and feet, engraved with the crest and motto of Elliott of Minto, co. Roxburgh, h. 8‑1/4”, l. 14‑3/4”, w. 10‑1/8”. [200/400] Illustrated 446 Early Victorian Silverplate Hot Water Urn, second quarter 19th century, of urn form with gadrooned, star and palmette banding, with spiral-gadrooned lid and plinth base on ball feet, h. 17”, w. 13‑1/4”. [400/700] Illustrated

444 Early Victorian Silverplate Tureen, second quarter 19th century, of bulbous oval form, with gadrooned rim and robust acanthus feet and handles, h. 10‑1/2”, l. 15‑1/2”, w. 10‑1/2”. [300/500] Illustrated

445

447 446

447 Pair of Matthew Boulton Silverplate Candelabra, first quarter 19th century, Birmingham, England, each with a serpentine-lobed baluster standard with central and flanking nozzles, with wavy circular drip-pans, bobeches and base, the branches detachable to permit the bases to be used as candlesticks, h. 21‑1/4”, w. 16‑1/2”. [450/700] Illustrated 448 Two Pieces of Victorian Silver and Silverplate, fourth quarter 19th century, including a porcelain-lined oak biscuit barrel with sterling silver fittings, hallmarked Birmingham, 1885‑1886, by John Grinsell & Sons, h. 6‑1/4”, dia. 6”, and an oval silverplate teapot by Philip Ashberry & Sons, Sheffield, with acanthus gadrooned banding, h. 6‑1/4”, l. 10‑3/4”. [300/500] Illustrated

448

452 Victorian Cased Twenty-Four-Piece Silverplate Dessert Set, ca. 1900, by James Dixon & Sons, Sheffield, including twelve forks, l. 6‑7/8”, and twelve knives, l. 8‑1/2”, presented in the original fitted, indigo baizelined mahogany case with lift-out tray, 2‑1/8” x 11‑3/8” x 10‑1/4”. [200/400]

450

449 Victorian Cased Silverplate and Faux Ivory Fish Serving Set, the design registered January 17, 1883, including a fish serving knife with scimitar-shaped blade, l. 12‑3/4”, and a four-tined fork, l. 9‑1/2”, the blade and heel with foliate engraving, with silverplate-capped, spiral-carved faux ivory handles, presented in the original claret velvet- and ruched satin-lined case, 14” x 4‑1/2”. [200/400] Illustrated

449

453 Seventy-One Pieces of English and American “King’s” Shape Silverplate Flatware, 19th century and later, including ten spoons, seven forks, fifty-one knives, a carving set and asparagus tongs, in King’s, Queen’s, King’s Husk, and Thread and Shell patterns, l. 8‑1/8” to 12‑1/4”. Detailed list available on request. [200/400] Illustrated

453

450 Late Victorian Silverplate Waiter, fourth quarter 19th century, by William Gallimore & Co., Sheffield, of circular form, with pierced rim and gadrooned edge, the plateau acid-engraved with a wide palmette band, dia. 11‑3/4”. [200/400] Illustrated 451 Edwardian Silverplate Cheese Toaster, first quarter 20th century, in the Regency taste, rectangular with wooden handle and gadrooned rim, l. 13‑3/4”, w. 9‑1/4”. [200/400]

454 Edwardian Silverplate-Mounted Granite Biscuit Barrel, first quarter 20th century, the cylindrical granite body with silverplate collar, hinged lid and footed plateau base, decorated with beaded and milled ivy banding, h. 8‑1/2”, dia. 8‑1/2”. [500/800] Illustrated

456

454

457 Edwardian Silverplate Entree Dish, first quarter 20th century, by Ellis-Barker, Birmingham, of rounded rectangular form, with a wide rocaille rim in the William IV manner, with fitted lid and the lyrifom finial handle detaching permitting the lid to be inverted for use as a liner or second dish, h. 6‑3/4”, l. 12”, w. 8‑3/4”. [250/400]

458

455 Pair of Late Victorian Silverplate Candelabra, fourth quarter 19th century, by Hukin & Heath, Birmingham, probably after a design by Christopher Dresser (1834‑1904), with cluster-column standard and hammered lotus-form candlesockets and base en suite, h. 14‑3/4”, w. 11‑3/4”. [300/500] Illustrated

455

458 George V Silverplate and Cut Glass Center Bowl, first quarter 20th century, by Ellis-Barker, Birmingham, comprising an oval pierced-gallery silverplate frame fitted with a conforming bowl cut with strawberrydiamond panels and flanked by detachable candle arms, h. 4‑1/2”, l. 11‑3/4” (with candlearms h. 7‑1/2”, l. 22”), w. 8‑7/8”. [350/500] Illustrated

459

456 Pair of Edwardian Silverplate Covered Entree Dishes, first quarter 20th century, by Mappin & Webb, Sheffield & London, of lobed oval form with beaded rim and ring handle, h. 6”, l. 11‑1/2”, w. 8‑7/8”. [300/500] Illustrated

459 English Silverplate Tray, mid-20th century, by Viner’s Ltd., Sheffield, of oval form with embossed rococo plateau, pierced gallery with wavy gadrooned rim and integral handles, w. 10”, l. 13‑1/4”. [400/700] Illustrated

460

463 Georgian-Style Gilt-Plated Salt and Pepper Service, fourth quarter 20th century, Corbell & Co., Paradise Valley, Arizona, including four salt cellars with cobalt glass liners, dia. 2”, four salt spoons, l. 2‑1/2”, and a pair of casters, h. 8”, all presented on a circular waiter, dia. 10‑1/2”, [200/400] 464 Set of Twelve Silverplate Service Plates, contemporary, Royal Castle, Sheffield, circular with gadrooned rim, dia. 12‑1/8”. [600/900] Illustrated

460 Eleven Pieces of English Silverplate Table- and Smallware, ca. 1900 and later, including a silverplate eyeglass case with Bateman’s patent pince-nez, a covered butter dish, four butter pats, an oval waiter, a shaped oval platter, and a wick cutter and tray, l. 3‑1/2” to 12‑1/2”. [300/500] Illustrated

464

461

465 Pair of William IV-Style Silverplate Wine Coolers, contemporary, Royal Castle, Sheffield, each of melon form with acanthus handles and rocaille and gadrooned banding, with fitted liner, h. 9‑3/4”, w. 11‑1/2”. [1200/1800] Illustrated 461 George V Sterling Silver Teapot, hallmarked Sheffield, 1910‑1911, by Roberts & Belk, retailed by Shreve, Crump & Low, Boston, Massachusetts, in the Adam taste, of elongated hexagonal form with ebony handle and finial, monogrammed “BP” & “P”, h. 7”, l. 9”, 15.20 t. oz. (including wooden fittings). [300/500] Illustrated

465

462 Three English Silverplate Covered Entree Dishes, 20th century, including a Harrison Brothers & Howson Regency-style rectangular example with gadrooned rim, l. 11‑1/2”, a Fairfax & Roberts example with beaded rim and rocaille banding, l. 10‑5/8”, and a Joseph Sankey & Son oval example with quatrefoil banding and rocaille rim, l. 12‑1/4”. [200/400]

468 Pair of Overscale Baroque-Style Brass Candlesticks, 20th century, with mid-drips, h. 26”, dia. 12”. [200/400]

466

469 Queen Anne Walnut Side Table, 18th century, the banded and quarter-veneered top above a frieze fitted with a single drawer, h, 29‑1/2”, w. 33”, d. 22”. [200/400] Illustrated 470 George III Mahogany Tripod Table, fourth quarter 18th century, the tilting piecrust-form top with a full raised edge, above a birdcage support, to three splayed cabriole legs ending in pad feet, h. 29”, dia. 36‑1/2”. [400/700] 466 Queen Anne Walnut Side Table, 18th century, the rectangular top banded and quarter-veneered and above a frieze fitted with a single long drawer, raised on cabriole legs ending in pad feet, h. 30”, w. 42‑1/2”, d. 23”. [400/700] Illustrated

469 471

471 Suite of Eight Carved Mahogany Ball-and-ClawFoot Dining Chairs, 20th century, in the Philadelphia Chippendale style, including two armchairs and six sidechairs, h. 40‑1/2”. [800/1200] Illustrated 472 Pair of George III-Style Mahogany Armchairs, in the Chippendale style, each with a shaped crest over a ribboncarved pierced splat, joined to a padded seat by shaped arms, raised on cabriole legs headed by acanthine carving and ending in ball-and-claw feet, h. 41”. [400/700] Illustrated 467 George III Mahogany Drop-Leaf Table, 18th century, the rectangular top with rounded ends and two ovoid drop leaves, raised on cabriole legs ending in slipper feet, h. 28”, w. 40‑1/4”, d. 17”, extended l. 49”. [500/800]

473 Regency Banded Mahogany Triple-Pedestal Dining Table, 19th century, the oval top in three sections, mounted to turned pedestals with outstretched reeded legs ending in cast brass paw feet and casters, accompanied by two 14‑1/2” leaves, h. 30”, w. 39”, l. 102”, extended l. 131”. [500/800]

474 George III Mahogany Bowfront Sideboard, ca. 1800, the shallow central drawer flanked by deep drawers, one retaining fittings for bottles, raised on tapering Hepplewhite legs with spade feet, h. 36”, w. 65”, d. 24‑1/4”. [700/1000] Illustrated

475

472

477 George III Mahogany Breakfront Bookcase, early 19th century and later, with a molded cornice above four astragal-glazed doors, the lower section fitted with a butler’s desk featuring a satinwood interior and leather writing surface, h. 96‑1/2”, w. 84”, d. 22”. [1000/1500] Illustrated

475 Chinese Export Famille Verte Punch Bowl, fourth quarter 18th century, decorated with scenes inspired by a set of four hunt engravings, after James Seymour (English, 1702‑1752), divided into two scenes, divided by panels of “Y” diapering on a brick-red ground, h. 4‑1/2”, dia. 11‑1/4”. [200/400] Illustrated

474

478 Pair of Edwardian Mahogany Side Cabinets, first quarter 20th century, in the Chippendale style, with Gothic glazing and gadrooned tops, h. 5”, w. 16”, d. 13‑3/4”. [400/700]

476 477

476 Pair of Chinese Export Rose Medallion Vases, third quarter 19th century, of hexagonal form, decorated with mandarin panels on a ground of peonies and butterflies, h. 14‑1/2”, w. 5‑1/2”. [200/400] Illustrated

479 English Inlaid Mahogany Hanging Corner Cupboard, second quarter 20th century, in the Hepplewhite style, h. 50‑1/4”, w. 26‑1/2”, d. 16”. [300/500] Illustrated 481

479

480 George III Mahogany Cabinet-on-Stand, composed of antique elements, the molded and dentillated cornice above two astragal-glazed doors, raised on a base of shield-carved cabriole legs ending in ball-and-claw feet, h. 77”, w. 49‑1/4”, d. 15”. [500/800] Illustrated 482

481 English Chippendale-Style Mahogany Dressing Bureau Set, 20th century, with twelve graduated drawers, decorated with cross-banding and line inlay, h. 52”, w. 59‑1/2”, d. 20”. [900/1200] Illustrated

480

482 Custom Chippendale-Style Mahogany Sideboard, 20th century, London, England, with raised panel doors and sides, and bracket feet, h. 48”, w. 94‑1/4”, d. 27”. [1500/2500] Illustrated

483 Louis Robbe (Belgian, 1806‑1887), “Horse, Goat and Sheep”, oil on canvas, signed lower left, 7‑1/4” x 9‑1/4”. Framed. [500/800] Illustrated

483

484 British School (Contemporary), “Haying”, oil on wood panel, unsigned, 24” x 20”. Framed. [200/400] Illustrated

485 British School (Fourth Quarter 19th Century), “Farmers with Horse-Drawn Wagon on a CottageLined Country Road”, oil on canvas, signed lower right “H. Smith”, 15” x 20”. Handsomely framed. [300/500] Illustrated

485

486 British School (Fourth Quarter 19th Century), “Figure on a Village Path”, oil on canvas, signed “H. James” lower right, 16” x 24”. Framed. [500/800] 487 Regency-Style Mahogany Double-Pedestal Banquet Table, the crossbanded top supported by a vasiform pedestal on foliate-carved sabre legs, accompanied by three 24” leaves, h. 29‑3/4”, w. 48‑1/4”, l. 74”, extended l. 146”. [600/900] Illustrated

487

484

488 Custom Hepplewhite-Style Mahogany Credenza, 20th century, English, cross-banded and inlaid with ovals, h. 47”, w. 57‑1/2”, d. 27”. [600/900] Illustrated 488

489 George III Mahogany Linen Press, early 19th century, the top with an overhanging dentillated molding and a pair of doors opening to sliding shelves, the base with a pair of side-by-side drawers over two long drawers, h. 76”, w. 50”, d. 23”. [800/1200] Illustrated

490 Two Georgian-Style Mahogany Torchere/Plant Stands, 20th century, h. 50‑1/2”, dia. 10‑3/4”, and h. 55, dia. 15”. [200/400]

491

491 George III-Style Mahogany Partner’s Desk, early 20th century, the square top with an inset leather surface above a conforming frieze, fitted with a central drawer flanked to either side by a bank of four short graduated drawers, to both sides, raised on plinth bases, h. 29‑1/2”, w. 59‑1/2”, d. 54”. [1000/1500] Illustrated

494

489

492 Chippendale-Style Mahogany Triple Seat, with a pierced back, h. 40‑1/2”, w. 58‑1/2”, d. 24‑1/2”. [200/400] Illustrated

493 Pair of George III-Style Mahogany Sidechairs, mid19th century, in the Chippendale taste, h. 39”. [200/400] 494 George III Mahogany Tripod Table, fourth quarter 18th century, the dished floriform-shaped tilting top raised on a turned baluster-form standard to a foliatecarved base on three splayed acanthine-carved cabriole legs ending in scrolled pad feet, h. 29‑1/2”, dia. 30”. [600/900] Illustrated

496 Pair of Adam-Style Silverplate Two-Light Sconces, first quarter 20th century, probably E.F. Caldwell, New York, the molded urn-form plates terminating in tassels and set with scrolled candle arms with molded bobeches and candle cups, electrified, h. 17”, w. 11”, d. 6‑3/4”. [600/900]

495

492

495 Unusual Pair of Anglo-Irish Gilt-Bronze and Cut Glass Two-Light Candelabra, fourth quarter 19th century, the cut glass stepped bases supporting giltbronze standards set with a pair of hippocampus-molded candle arms holding cut glass candle cups, the standards set with two tiers of prisms terminating in cut glass acornform finials, h. 19‑3/4”, w. 11”, dia. 4‑3/4”. [1400/1800] Illustrated

498

497 Georgian-Style Mahogany Side Table, early 20th century, in the Irish taste, the rectangular top with a gadrooned edge, above a shaped apron heavily carved in shell and foliage patterns and fitted with two drawers, raised on six cabriole legs headed by shield carving and ending in scrolled toes, h. 31”, w. 71”, d. 37”. [600/900] Illustrated 498 George II-Style His and Hers Mahogany Armchairs, early 20th century, his chair of wing chair form, hers an armchair, both with a heavily carved and shaped apron centered by a masque, raised on cabriole legs headed by shell carving and ending in ball-and-claw feet, h. 42” and 34”. [800/1200] Illustrated

497

502 Fine Japanese Woodblock Print, 19th century, the pale colors printed as a geisha at the edge of an open garden pavilion with her attendants and a bridge and garden with Mount Fuji in the background, a poetic inscription and signature in “running grass” script, glazed and framed in a red and gilt wooden frame with parchment-colored silk matte, h. 15‑1/2”, w. 14‑3/4”. [200/400] Illustrated 499

501

499 George III-Style Mahogany Serving Table, early 20th century, the breakfront top with a gadrooned edge, above a conforming frieze fitted with a long central drawer flanked to either side by a smaller drawer, raised on cabriole legs headed by acanthine carving and ending in ball-and-claw feet, h. 34‑1/2”, w. 72”, d. 21‑1/2”. [450/700] Illustrated

503 Japanese Painting of a Sage with a Crane and Tortoise, watercolor and ink on paper, an inscription and seal on lower right corner, sight, 6‑3/4” x 13‑7/8”, overall, 12‑7/8” x 19‑1/2”. Framed. [200/400]

500

500 Two Japanese Wedding Kimonos, 20th century, the two quilted silk kimonos elaborately decorated, one with a crane, cloud and pine motif and the other with a peacock , pine and stream motif, both brightly colored and heavily embroidered with metallic thread, the interior with red lining, w. 52‑1/4”, l. 76‑1/2”. [400/700] Illustrated 501 Japanese Edo Period (1615‑1868) Kano School SixPanel Folding Screen, 19th century, ink, colors and gold on paper, depicting cranes, pines and bamboo along a riverbank, signed and stamped with a red square seal at lower right, each panel 64‑1/4” x 22‑7/8”. [300/500] Illustrated

502

506 Utagawa Kunisada (Japanese, 1786‑1865), a pair of woodblock triptychs on paper, oban tate-e, including “Artificial Flowers: A Private Performance of Women’s Kabuki” from the series “Six Fashionable Floral Selections”, 1836‑1842, published by Yamamoto Heikichi (Eikyudo), and “Three Beauties”, 1847‑1852, published by Yamaguchiya Tobei (Kinkodo), the panel on left is in the Museum of Fine Arts, Boston, Massachusetts, each 13‑3/4” x 30‑1/4”. Framed. [400/800] 505

504 Toyohara Kunichika (Japanese, 1835‑1900), “Oboshi Yuranosuke”, ca. 1866, color woodblock on paper, from the series “The Forty-Seven Ronin”, image, h. 9‑1/8”, w. 7”, overall, h. 22”, w. 17‑1/2”. [200/400]

508

507 Toyohara Chikanobu (Japanese, 1838‑1912), a collection of two woodblock triptychs, oban tate-e, image 13‑1/2” x 28”, framed 23‑5/8” x 37‑1/2”. Both glazed, matted and framed alike. [400/800] 508 Collection of Two Japanese Woodblock Print Triptychs, including Utagawa Kokunimasa (Japanese, 1874‑1944), “Battle Between the Japanese and Russians at Seoul: Hurrah for the Great Victory of the Japanese Empire”, 1904, signed “Ryua”, published by Fukuda Hatsujiro, overall, 14” x 27‑3/4”, and Kyoko (Japanese, active 1904‑1905), “The Battle of Port Arthur: Picture of the Russo-Japanese War, No. 2”, signed “Kyoko”, published by Hasegawa Sonokichi, block cutter Hori Toku, overall, 13‑7/8” x 28‑3/8”. [300/500] Illustrated 509 Keiichi Takasawa (Japanese, 1914‑1984), “Portrait of a Lady, Possibly the Artist’s Wife”, 1949, ink on paper, 12‑3/4” x 9”. Framed. [200/400] Illustrated

508

505 Toyohara Chikanobu (Japanese, 1838‑1912), “Phoenix Boat and Emperor”, 1889, color woodblock on paper, signed with a Toshidama seal, oban tate-e, published by Yamamura Kinzaburo, 13‑1/2” x 28”. [200/400] Illustrated This print is also in the Edo Tokyo Museum, Tokyo, Japan. 509 93

510 Twenty Japanese Carved Boxwood Netsuke, 19th/20th century, in the forms of animals and sages, fourteen signed, h. 2”, w. 2‑1/2”. [300/500] Illustrated

513 Japanese Porcelain Vase, 19th/20th century, the long necked vase with a round body, with scrolling gilt design around reserves depicting birds and trees, a nine-character mark in Kanji on the underside in a gold cartouche, h. 26‑1/2”. [300/500] Illustrated

510 512

511 Japanese Satsuma Vase, 20th century, h. 19”, w. 7‑1/2”. [200/400] Illustrated

511

514 Four-Piece Lot of Japanese Satsuma Ware, 19th/20th century, including two bucket-form vessels and two miniature vases, each with a carved wooden stand, the tallest, h. 7‑3/4”, without stands. [200/400] 515 Two Japanese Satsuma Plates, 19th/20th century, the plates depicting a heroic figure set against a rocky landscape, dia. 8‑1/2”. [200/400] Illustrated

513

516 Japanese Kutani Ware Box, late 19th/early 20th century, with a pierced lid and gilt bird-shaped finial, h. 9‑1/2”, dia. 10‑1/8”. [200/400] Illustrated

512 Five Pieces of Japanese Satsuma Ware, including a pair of 19th/20th-century vases with figures and a gilt edge and foot, the undersides signed, h. 8‑3/4”, dia. 5”, together with two additional vases and a rounded lidded jar, 20th century, the largest, h. 12”, w. 5‑1/2”. [200/400] Illustrated

517 Japanese Satsuma Lidded Urn, Meiji period (1868‑1912), the large gilded Satsuma vase with two handles modeled as rings and knotted ropes, a foo dog and ball finial on the lid, unmarked, h. 26‑1/2”, w. 13‑1/4”. [400/700] Illustrated 518 Japanese Kutani Bowl, ca. 1900, the red and gilt porcelain bowl depicting a procession of figures on the exterior and the interior, the underside unmarked, h. 3‑1/4”, dia. 9‑1/2”. [200/400]

515

517

519 Pair of Japanese Kutani Vases and a Porcelain Figure of an Elegant Lady, late 19th/early 20th century, the vases with reserves depicting samurai, the undersides each with a nine-character maker’s inscription, h. 14”, w. 6‑1/2”, and the figure of a lady depicted holding a black and white kitten, on an affixed wooden base, h. 17”. [200/400] Illustrated

516

520 Large Japanese Imari Fishbowl/Jardiniere, 19th/20th century, the large basin in a blue and red palette with heavy gilding and reserves depicting landscapes and arrangements of birds and flowers, fish and aquatic plants adorn the inside of the vessel, the underside with a two-character mark in a red cartouche, h. 18”, dia. 21”. [500/800] Illustrated

519

520

521 Pair of Japanese Seto Porcelain Vases, first quarter 20th century, the two vases with enamel decoration of birds set among a variety of flowers, the undersides marked in blue and red, maker Kawamoto Masukichi, h. 11‑3/4”, w. 6‑3/4”. [500/800]

522 Two Japanese Imari Porcelain Dishes, probably Taisho period (1912‑1926) or later, the bowl and underplate depicting a Dutch trading ship, with signed undersides, bowl, h. 4”, underplate, dia. 13‑3/4”. [300/500] Illustrated

522

525 Japanese Bronze Jardiniere, Meiji period (1868‑1912), with three legs and reserves depicting birds and flowering trees, h. 12‑1/2”, w. 12”. [300/500] Illustrated 526 Japanese Bronze Jardiniere, Meiji period (1868‑1912), the outer surface depicting birds on prunus limbs, unmarked, displayed on a carved and molded wooden stand, h. 12”, dia. 12‑7/8”. [300/500]

524

527 Japanese Bronze Vase, first quarter 20th century, decorated with dragon head handles, now mounted as a lamp, base, h. 12”, overall, h. 17‑1/4”, dia. 6‑1/4”. [200/400] Illustrated 523 Japanese Ceramic Sake Jug, late Meiji period (1868‑1912)/early Showa period (1926‑1989), the “commuter bottle” with two side indentations and three figures in relief, h. 6‑1/2”, w. 6‑1/2”. [200/400] Illustrated

525

523

528 Japanese Bronze Vase, late 19th/early 20th century, modeled in an archaic Chinese style with Kui dragon lugs, now mounted as a lamp, base, h. 13”, overall, h. 21‑3/4”, w. 5”. [300/500] Illustrated 524 Japanese Large-Scale Mixed Metal Vase, first quarter 20th century, the bronze base decorated with a flock of silver and copper cranes flying into the silver sun over engraved waves with silver spray, h. 24‑1/2”, dia. 10‑1/4”. [300/500] Illustrated

529 Large Japanese Cast Bronze Figure of a Lion, sealed Genryusai Seiya Sei, Meiji period (1868‑1911), the figure standing foursquare with head thrown back, mouth open in a roar, the details realistically rendered and the patina dark brown, presented on a freeform wooden stand, h. 15‑1/2”, l. 26”. [1500/2500] Illustrated

530 Japanese Bronze Figure of a Samurai, probably early 20th century, depicted on horseback, h. 11‑1/4”, w. 14”. [400/700]

527 531

531 Japanese Bronze Plate, Meiji period (1868‑1912), with reserves depicting a palace, a sage and his pupil, and a pair of birds on a river bank, a maker’s seal on the reverse, dia. 8‑3/8”. [400/700] Illustrated 532 Japanese ThreePanel Folding Screen, first quarter 20th century, each panel depicting an arrangement of birds and flowers of inlaid bone and mother-ofpearl, each panel with a bone seal accented with red ink, h. 71‑3/8”, w. 33‑3/8”, each panel, overall, w. 100‑1/8”. [800/1200]

528

533

533 Japanese Table-Top Cabinet, 19th/20th century, inlaid with mother-of-pearl and porcelain, h. 21‑1/4”, w. 13‑5/8”, w. 5‑7/8”. [300/500] Illustrated

529

534 French Rococo-Style Cast Bronze Tea/Cocktail Trolley, first quarter 20th century, with cast bottle holders on the lower shelf, h. 30‑1/2”, w. 16‑1/2”, l. 29”. [700/1000] Illustrated

534

535

535 Louis XIV-Inspired Polychrome Cabinet on Stand, the apple green ground with elaborate parcel gilding, the buff-painted doors decorated with putti wrangling swans, h. 72‑1/2”, w. 36”, d. 18”. [800/1200] Illustrated

536

536 Louis XV-Style Giltwood Three-Fold Screen, late 19th century, the taller central panel featuring a young maiden, the two side panels each with cherub figures, all within a molded foliate-carved frame and raised on scrolled toes, h. 50‑1/2”, w. 46”. [1500/2500] Illustrated

537

537 Regence-Style Painted Two-Drawer Commode, decorated with cartouches and a faux marble top, h. 33”, w. 46”, d. 19”. [500/800] Illustrated

538

538 Regence-Style Painted Two-Drawer Commode, decorated with cartouches and a faux marble top, h. 33”, w. 46”, d. 19”. [500/800] Illustrated

539

540

539 Pair of Louis XV Painted Bergeres, third quarter 18th century, the thumbmolded frames decorated with carved flowers, upholstered in cerise silk, h. 33”, w. 23”, d. 28”. Provenance: Parke-Bernet, 1971. [400/700] Illustrated 540 Pair of French Giltwood Fauteuils, second quarter 20th century, in the Louis XV taste, covered in red plush and gold thread fabric, h. 38”, w. 25‑1/2”. [400/700] Illustrated

541

541 French Gilt-Bronze Cartel Clock, fourth quarter 19th century, in the Louis XV style, decorated with molded rocaille ornament, the sides set with pierced grillwork, with a glass-covered opening over the pendulum, h. 20”, w. 10‑3/4”, d. 4‑3/4”. [900/1200] Illustrated 542 Louis XV-Style Bronze Cartel Clock, fourth quarter 19th century, French, the rocaille-molded clock case decorated with 542 oak leaves and acorns and set with a porcelain dial, covered by a beveled convex glass door, h. 25”, w. 13‑1/4”, d. 4‑1/4”. [400/700] Illustrated 543 Pair of Louis XV-Style GiltBronze Wall Sconces, first quarter 20th century, French, h. 17‑1/2”, w. 11‑3/4”. [300/500] Illustrated

543

544

547

544 Pair of French Bronze Two-Light Sconces, first quarter 20th century, in the Louis XV style, h. 25”, w. 14”. [200/400] Illustrated

546 548

545 Pair of French Bronze Two-Light Sconces, mid-20th century, in the Louis XIV style, h. 20‑1/2”, w. 9‑3/4”, d. 5‑1/2”. [200/400] 546 Spanish Bronze and Crystal Six-Light Chandelier, second quarter 20th century, in the Louis XIV taste, hung with amethyst and colorless drops, h. 16”, dia. 12‑1/4”. [800/1200] Illustrated

100

547 Pair of French Belle Epoque Gilt-Bronze and Red Griotte Marble Lamps, fourth quarter 19th century, signed “Boyer Fres. Paris”, in the Louis XV taste, the leafmolded bases supporting marble urns hung with laurel swags supported by lion’s heads, the scrolled bronze handles terminating with masques, base, h. 22”, overall, h. 38”, dia. 8‑3/4”. [6000/9000] Illustrated

548 French Gilt-Bronze and Marble Table Lamp, mid20th century, in the Louis XV taste, the verde antique marble urn-form lamp set with caryatid-form handles and gilt-bronze fittings, base, h. 16‑1/2”, overall, h. 30”, dia. 9‑1/2”. [600/900] Illustrated

552

550

549 Louis XV-Style Bronze and Marble Five-Light Candelabrum, mid-20th century, now mounted as a lamp, base, h. 21‑3/4”, overall, h. 34‑1/2”. [300/500] 550 Louis XV-Style Bronze-Mounted, KingwoodVeneered and Marble-Top Occasional Table, first quarter 20th century, h. 28‑1/2”, dia. 31”. [300/500] Illustrated 551

551 Louis XV-Style Rosewood, Kingwood and MarbleTop Bombe Commode, 19th century, the shaped marble top with a molded edge, above a bombe case fitted with two long drawers, each with a lattice pattern parquetry inlay, raised on splayed legs ending in sabots, h. 35”, w. 47”, d. 20”. [500/800] Illustrated 552 Louis XV-Style Mahogany and Marble-Top Secretary Chest, late 19th century, the rounded rectangular top with a molded edge, above a case fitted with a single drawer over a drop-front secretary, opening to an inset writing surface and a pair of drawers, over three drawers, all banded and quarter-veneered, raised on bracket feet, the whole with decorative ormolu mounts, h. 50”, w. 27‑1/4”, d. 15‑3/4”. [800/1200] Illustrated

101

553

553 French Marquetry-Inlaid Bombe Cabinet, 20th century, in the Louis XV taste, h. 29‑1/2”, w. 25‑3/4”, d. 13‑1/2”. [400/700] Illustrated 554 Louis XV-Style Marquetry-Inlaid Bombe Side Cabinet, mid-20th century, h. 29‑1/2”, w. 26‑1/2”, d. 14”. [300/500]

556

557

555 Transitional Louis XV-into-Louis XVI-Style Kingwood and Marble-Top Commode, mid-19th century, the shaped Rouge Royale marble top with a three-quarter pierced brass gallery, above a conforming case fitted with two drawers, raised on slender cabriole legs, h. 30”, w. 14”, d. 11”. [300/500] 556 Louis XV-Style Kingwood Lady’s Desk, late 19th century, the top with an inlaid rectangular panel of flowers, above a like-inlaid slant-front opening to a fabric writing surface and a variety of drawers and cubbyholes, raised above a paneled apron on cabriole legs ending in sabots, h. 35”, w. 26‑1/2”, d. 18”. [400/700] Illustrated

558

102

559

560 Pair of Louis XIV-Style Bronze and Crystal FourLight Candelabra, with three tiers of prisms and terminating in spear finials, h. 24‑1/2”, dia. 11‑3/4”. [250/400] Illustrated

561

557 Louis XV-Style Ivory-Painted Bergere, late 19th century, with a scalloped crest, serpentine seat and cabriole legs, upholstered in pale blue plush, h. 41”. [200/400] Illustrated 558 Louis XV-Style Fruitwood Lit du Jour, second quarter 20th century, the thumb-molded and scroll-carved frame on cabriole legs, h. 31”, w. 81‑1/2”, d. 31”. [400/700] Illustrated 559 Petite Louis XV-Style GiltBronze Six-Light Chandelier, hung with swags of drops and having a glass-clad standard under an upper crown of drops, h. 29”, dia. 17‑1/2”. [600/900] Illustrated

561 Pair of Louis XV Painted Fauteuils, third quarter 18th century, with thumb-molded frames and cabriole legs, decorated with carved flowers, h. 31‑1/2”. [800/1200] Illustrated 562 Louis XV-Style Painted Three-Drawer Commode, with carved paw feet and elaborate pulls and escutcheons, h. 33‑1/2”, w. 37”, d. 17”. [600/900] Illustrated

562

560

103

563 Louis XV-Style Painted Window Bench, with a quilted gray cover, h. 18‑1/2”, w. 50”, d. 17”. [200/400] Illustrated

568 Pair of Louis XV-Style Paint-Decorated Bergeres, first quarter 20th century, with thumb-molded carving and accented with gilt flowers, h. 34”. [800/1200] Illustrated 568

563

564 Louis XV-Style Paint-Decorated Bergere, mid20th century, upholstered in watered silk, h. 36‑1/2”, w. 27‑1/2”. [300/500]

565

569 Louis XV-Style Giltwood Canape, decorated with carved shells and flowers, and upholstered in cut velvet, h. 43”, w. 58”, d. 23”. [1000/1500] Illustrated 570 German Porcelain Centerpiece and a Candlestick, both in the Meissen style, consisting of a figural centerpiece, first quarter 20th century, marked “Carl Thieme, Potschappel”, h. 14”, and a figural candlestick, ca. 1900, depicting a woman gathering flowers, marked by Voigt Bros., Sitzendorf, Germany, h. 14‑1/2”, dia. 6‑1/2”. [200/400]

569

565 Pair of Louis XV-Style Fauteuils, 20th century, upholstered in leopard-print fabric, h. 40”, w. 27‑1/2”. [500/800] Illustrated 566 Pair of Biscuit Porcelain Figures, 20th century, the male and figure figures depicted in 18th-century costume, with Meissen-style crossed sword marks, now mounted as lamps, base, h. 19”, overall, h. 32‑3/4”, dia. 6‑3/4”. [250/400] 567 French Bronze and Onyx Table Lamp, first quarter 20th century, in the Louis XV style, the ovoid onyx body resting on a molded bronze base, with bronze handles and molded fruit, base, h. 19‑1/2”, overall, h. 33‑1/2”, dia. 7‑3/4”. [400/700]

104

571 Dresden Hand-Painted and Flower-Encrusted Porcelain Banquet Lamp, ca. 1888‑1901, marked with crossed swords and “T”, the mark of Carl Thieme, Potschappel, set with a signed “Handel” glass ball shade and electrified, h. 35‑3/4”, w. 8‑1/2”, d. 8‑1/2”. [600/900]

575

573 Louis XV-Style Marquetry-Inlaid Kingwood Work Table, ca. 1900, the serpentine top with floral marquetry and brass edge, raised on cabriole legs, h. 28”, w. 19”, d. 14”. [200/400] 574 Pair of French Bombe Bedside Commodes, 20th century, with parquetry veneer, bronze mounts and green marble tops, h. 27‑1/2”, w. 21”, d. 14‑3/4”. [500/800]

572

572 Pair of Petite Louis XV-Style Parquetry-Veneered Bombe Bedside Tables, second quarter 20th century, with bronze mounts and marble tops, h. 29‑1/4”, w. 16‑1/2”, d. 12‑3/4”. [400/700] Illustrated

575 Opulent Napoleon III Bronze Dore Three-Piece Clock Set, mid-19th century, designed as a celebration of earthly pleasures, the putti on the clock symbolizing Adam and Eve, with Eve holding the apple, a molded snake coiled on the side below her, the candelabra molded with figural standards depicting male and female satyr figures with goat-form lower bodies, the Greek deities celebrated for lusty celebrations at the harvest feasts of Dionysus, both the clock, h. 29”, w. 21‑1/2”, d. 8‑1/2”, and the six-light candelabra, h. 29”, decorated with a profusion of molded rocaille work, flowers and leaves intended to delight the eye of the beholder. [8000/12000] Illustrated

105

576 French Bronze-Patinated and Parcel-Gilt Brass Mantel Clock, fourth quarter 19th century, in the 17th-century style, the enamel dial with black Roman chapters surmounting a bas-relief plaque of an ancient triumphal procession, the interior backplate touchmarked “Japy Freres”, h. 16‑1/2”, w. 10‑1/4”, d. 6‑1/4”. [200/400] Illustrated

580 French School (First Quarter 20th Century), “The Opulent Life of Victorian Fashionable Ladies and Gentlemen”, collection of four graphite, gouache and watercolors on paper, all indiscernibly signed lower margins, sight 16‑1/4” x 12”. All glazed, attractively matted and framed. [300/500]

577 576

581 Louis XVI-Style Giltwood Overmantel Mirror, the frame decorated with ribbon-bound roses and reeding, and supporting a shell-molded crest hung with swags of roses, h. 87”, w. 48”. [800/1200] Illustrated

577 Louis XV-Style Marquetry- and Parquetry-Inlaid Kingwood and Marble-Top Commode, with giltmetal mounts, the serpentine case fitted with a pair of drawers and raised on cabriole legs, h. 36”, w. 50”, d. 22‑3/4”. [500/800] Illustrated 578 Louis XV-Style Mahogany Vitrine, early 20th century, the domed cornice with an ormolu foliate crest above a case fitted with a bowed glazed cupboard door, opening to a fabric-lined interior, the lower portion with painted scenes of courtiers, raised on splayed legs ending in sabots, h. 82‑1/2”, w. 53”, d. 17”. [700/1000] Illustrated 579 Transitional Louis XV-into-Louis XVI-Style Mahogany and Marble-Top Shelf, early 20th century, the rounded rectangular marble top within a brass banding and above a conforming case fitted with four open shelves, raised on cabriole feet ending in sabots, h. 38”, w. 14‑1/2”, d. 8‑1/2”. [300/500]

106

578

582 Pair of Franco-Bohemian Bronze and Porcelain Moderator Lamps, mid-19th century, hand-painted with floral panels and decorated with bronze fittings, now electrified, base, h. 22”, overall, h. 32‑3/4”, dia. 6‑1/2”. [400/700] Illustrated 583 Fine Gerus Wool and Silk Floral Carpet, 10’ x 14’. [1200/1800] Illustrated

581

584 Turkish Angora Oushak Carpet, 8’ 1” x 9’ 4”. [700/1000] Illustrated

582 583

584 107

586

590

589

585 Shiraz Runner, 3’ 5” x 9’ 10”. [200/400] 586 Mahal Carpet, 7’ 8” x 10’. [800/1200] Illustrated 587 Kashan Carpet, 12’ 4” x 8’. [300/500] 588 Heriz Carpet, 11’ 9” x 8’ 1”. [800/1200]

108

591

589 Mashad Carpet, 9’ x 13’. [300/500] Illustrated 590 Serapi Carpet, 6’ 6” x 9’ 9”. [800/1200] Illustrated 591 Moroccan Berber Carpet, 6’ 2” x 8’ 10”. [700/1000] Illustrated 592 Shiraz Carpet, 3’ 6” x 7’ 4”. [200/400] 593 Sultanabad Carpet, 11’ 6” x 15’ 4”. [800/1200] Illustrated 594 Turkish Angora Oushak Carpet, 6’ x 9’. [500/800] 593

595 Agra Serapi Carpet, 10’ x 13’ 4”. [300/500] 596 Turkish Angora Oushak Carpet, 4’ x 19’ 8”. [700/1000] Illustrated 597 Aubusson Needlepoint-Style Carpet, 11’ 8” x 17’ 4”. [300/500] Illustrated

597 596 109

598 Chinese Eight-Fold Table Screen, Qing Dynasty (1644‑1911), with painted stone panels depicting court scenes and calligraphy in a wooden frame, overall, h. 22‑1/4”, l. 37”. [300/500] Illustrated

600 Pair of Chinese Paintings on Glass, early 20th century, in wood frames, h. 21‑3/4”, w. 15‑1/2”. [200/400] Illustrated

598

599 Pair of Chinese Famille Rose Plaques, late 19th/early 20th century, the reserves depicting imperial court scenes painted on alabaster plaques, framed with ebonized wood, plaque, h. 14‑1/2”, w. 9‑5/8”, overall, h. 23‑1/2”, w. 17‑1/2”. [250/400] Illustrated

600 one of a pair

601 Four Chinese Paintings of Beauties, 20th century, watercolor on silk, h. 20‑1/2”, w. 17‑1/2”. [200/400] 602 Group of Three Chinese Paintings, ca. 1900, inks and colors on paper, including a pair of ancestor paintings, each depicting four women and two men in Qing imperial robes, each 47‑1/2” x 20‑1/2”, mounted, and a painting of two carp and an arrangement of blooming flowers after Shen Shichong (Ming Dynasty, 1368‑1644), inscribed and marked with two seals upper left and seals upper right and lower left, 51‑3/4” x 13”, mounted. [300/500] Illustrated

599 one of a pair 110

605 Pair of Chinese Inlaid Wooden Panels, 19th/20th century, the panels once part of a larger folding screen, each divided into two sections on each side, featuring inlaid hardstone and motherof-pearl depicting 604 figures in a landscape on the top and an arrangement of birds and flowers on the bottom, the reverse in carved and painted lacquer, the top depicting figures in a garden scene and the bottom an arrangement of flowers and archaic vessels, each panel, h. 77‑3/4”, w. 22”. [300/500] Illustrated

605

602 one of three

603 Chinese Kesi Four-Panel Table Screen, 19th century, each panel with two portions, the top section depicting two figures engaged in battle and the lower section depicting an archaic censer and flowers, h. 19‑5/8”, w. 38‑1/2”. [700/1000] 604 Pair of Chinese Hardstone-Inlaid Plaques, 20th century, the white-painted wood with colored hardstone images of flowers and archaic vessels, h. 33‑1/8”, w. 14”. [300/500] Illustrated

111

608 Pair of Chinese Wooden Stands, 19th/20th century, the four-legged, square hardwood table stools, or vase stands, with carved and pierced decoration, h. 20”, w. 17‑1/2”. [250/400] Illustrated

606

610

609 Two Chinese Carved and Ebonized Tabourets, early 20th century, each with a circular top with an incised Greek-key border over a floral-carved frieze, and raised on shaped legs ending in scrolled toes, one h. 17”, dia. 15”, the other h. 15”, dia. 19”. [200/400] 606 Pair of Chinese Lacquered Wood Panels, Qing Dynasty (1644‑1911), the two carved panels in red, black and gilt lacquer, with three light reserves, each containing a painted landscape, unsigned, h. 47‑3/8”, w. 13‑1/2”. [200/400] Illustrated

612

608

610 Pair of Chinese Export Carved and Pierced Low Stands, ca. 1900, with inset brown marble tops, h. 14”, dia. 17‑1/2”. [500/800] Illustrated

607 Chinese Carved Rosewood Stand, 20th century, h. 42‑1/8”, w. 10”, d. 10”. [500/800]

112

611 Chinese Carved Rosewood and Marble-Top Octagonal Stand, late 19th/early 20th century, with a carved and pierced motif of grapes on the sides, h. 18‑1/2”, w. 14”. [300/500]

613

614 Three Chinese Carved Stands, 20th century, two with marble tops and one with pierced side decoration and a shelf, the tallest, h. 31‑1/4”, w. 16‑1/4”. [500/800]

617

615 Chinese Ebonized Wood Stand, 20th century, the round stand with pierced and carved decoration, h. 27‑3/8”, dia. 17”. [200/400] 612 Pair of Chinese Carved and Pierced Marble-Top Jardiniere Stands, h. 18‑1/2”, dia. 10‑1/2”. [200/400] Illustrated

618

616 Chinese Ebonized Bowfront Console Table, second quarter 20th century, the semicircular top over a carved and pierced frieze fitted with drawers, raised on cabriole legs, h. 27”, w. 26”, d. 12‑1/2”. [200/400] Illustrated

616

613 Chinese Carved Wooden Stand, late 19th /early 20th century, the Hong mu stand with a pierced bamboo motif on the sides and legs, and fitted with a mottled pink and white marble top, h. 36‑1/8”, w. 13”. [300/500] Illustrated

617 Chinese Red Lacquer Coffee Table, 20th century, with a motif of peonies and scholar’s rocks across the top and a scrolling floral design on the sides, h. 16‑1/2”, w. 18”, l. 40”. [300/500] Illustrated 618 Chinese Lacquer Coffee Table, late 19th/early 20th century, the low table with dragons depicted on the surface, against a backdrop of floral scrolls, waves and scholar’s rocks, h. 12”, w. 40”, d. 18‑1/2”. [250/400] Illustrated

113

619 Chinese Lacquered Wood Low Table, late 19th/early 20th century, black, gilt and red lacquer on wood, the surface with a depiction of birds in a garden, floral motifs on the sides, h. 14‑1/2”, w. 46‑1/2”, d. 20‑1/4”. [350/500]

620 622

625 Indian Elaborately Carved Framed Archway Architectural Fragment, mounted as a mirror, h. 53‑1/2”, w. 32”. [450/700] Illustrated

620 Chinese Lacquered Chest, mid-20th century, on a custom stand in the Chinese taste, h. 20‑3/4”, w. 32”, d. 23‑3/4”. [200/400] Illustrated 621 Indian Architectural Fragment, decorated with a pierced and carved arch, now mounted as a mirror, h. 53‑1/2”, w. 31‑1/2”. [450/700] Illustrated 622 Suite of Four AngloColonial Argente Metal-Clad Sidechairs, 621 20th century, in the Regency taste, each with a downward-curved crest terminating in ram’s heads over a shaped splat, the padded seat above a ribbed apron and raised on sabre legs, h. 33‑1/2”. [450/700] Illustrated 623 Pair of Indian Bas-Relief-Carved Mirrors, decorated with scrollwork and gadrooning, and set with beveled plates, h. 31”, w. 19‑1/2”. [300/500] 624 Indian Carved Wood Frame, mounted with a mirror and decorated with gadrooning and scrollwork, h. 60”, w. 37‑1/2”. [400/700]

114

626 Anglo-Indian Carved and Pickled Wood Mirror, h. 40”, w. 37”. [250/400] Illustrated 627 Collection of Four Indian Carved Capitals, early 20th century, including a pair of painted stone capitals, h. 10”, dia. 7‑1/2”, a large wooden capital, h. 14‑1/2”, dia. 20”, and a small wooden capital, h. 11”, dia. 12”. [300/500]

625

626

631

629 one of five

628 Collection of Four Indian Carved Wooden Elements, including a pierced screen, h. 63”, w. 29‑3/4”, a reliefcarved architectural element set with two coat hooks, h. 9”, w. 45‑1/2”, a bird-carved wall bracket, h. 18”, and a pricket stick, h. 17‑1/4”, dia. 6‑1/2”. [400/700]

630

629 Five Sets of Indian Framed Architectural Metal and Paint-Decorated Wooden Shutters, mounted as mirrors, h. 17‑3/4” to 20‑1/2”, w. 14‑1/4” to 23”. [500/800] Illustrated 630 Cast Bronze Figure of a Ceremonial Cloaked Indian Elephant, late 20th century, h. 22”, l. 31”. [200/400] Illustrated

631 Indonesian/Philippine Lantaka, 17th/18th century, the bronze barrel and mounts for this cannon were probably made in Europe for the native market, the swivel rail mount is present and functioning, and the barrel has a bore of about 1”, widely used throughout Asia and the Indian Ocean, h. 12‑1/2”, dia. 4” at breech, bore, 1”, extended, l. 33”. [1000/1500] Illustrated 632 Pair of Middle Eastern Mirrors, with carved and pierced hardwood frames, h. 9”, w. 10”. [200/400]

633

633 Middle Eastern Mixed Metal-Mounted Wooden Casket, decorated with bands of serpents and crocodiles, scrollwork and molded bosses, mounted with carrying handles and fabric lined, h. 10‑1/2”, w. 16‑1/2”, w. 10”. [800/1200] Illustrated

115

634 Middle Eastern Brass and Steel Damascene Casket, decorated with stylized flowers in panels, with cut corners and carrying handles, the fitted interior with four lidded compartments with hinged covers decorated to match, h. 3‑1/2”, w. 7”, d. 3”. [300/500] Illustrated

636 Two Similar Middle Eastern Paintings, depicting polo players in a courtyard, h. 5‑1/4”, w. 11”, and hunters on horseback, h. 15‑3/4”, w. 9‑3/4”, each in an inlaid frame. [400/700] Illustrated

634

635 Middle Eastern Mixed Metal Bottle Vase, decorated with copper rondels of Islamic stars alternating with panels of scrollwork, the central portion decorated with copper and silver panels and the top of the neck with silver Islamic script, all above a brass base, h. 8”, dia. 3‑1/4”. [300/500] Illustrated

636

637 Two Similar Middle Eastern Paintings, depicting peacocks and flowers in inlaid frames, h. 11‑3/4” to 19”, w. 5‑1/2” to 5‑3/4”. [300/500] 638 Monumental Middle Eastern Brass Covered Bottle Vase, decorated with incised scrollwork and figures, the domed cover decorated with round masques and a figural knop, h. 45‑1/4”, w. 16”. [300/500] Illustrated 639 Moroccan Carpet, 8’ 2” x 12’ 3”. [700/1000] Illustrated 635

116

640 Middle Eastern Embroidered Silk Textile, 19th century, w. 18‑1/2”, l. 61‑5/8”. [300/500]

638

642

641 Middle Eastern Calligraphic Sheet, decorated with gold leaf and hand-painted arabesque decoration, mounted in a contemporary silver-gilt frame, h. 17”, w. 15”. [250/400] 642 Unusual Brass Teapot, first quarter 20th century, with a griffin-form spout, molded scrollwork and Moorish arch feet, h. 10”, dia. 5”. [450/700] Illustrated 643 Middle Eastern Bronze Cockerel-Form Incense Burner, the erect figure with a cover on its back and an aperture at the rear for the smoke, h. 7‑1/2”, w. 3‑3/4”, d. 6‑1/4”. [250/400] 644 Pair of Middle Eastern Patinated Metal Peacocks, modeled standing with their tails folded and decorated with slightly raised details to the head, crest, wings and tail, h. 14‑1/4”, w. 10‑1/2”, d. 3‑3/4”. [300/500] Illustrated

644

639 117

645 Two Middle Eastern Metal Objects, including a pierced gilt-brass “paisley” decorated with Islamic script, w. 3‑1/2”, l. 7”, and a pierced brass hand-form staff finial, h. 13”, w. 5”. [400/700] Illustrated 646 Moroccan Inlaid Easel Frame, bone-inlaid in an Islamic star pattern, now with a vintage neoclassical print, h. 12‑1/2”, w. 15‑1/4”. [300/500] Illustrated

645 646

118

119

Session II Sunday, January 25, 2015 10:00 a.m. CST Lots 647-1188

648

647 Italian Carved and Painted Altar Stick, 19th century, now mounted as a lamp on an Egyptian marble base, base, h. 26‑1/4”, overall, h. 42”, dia. 9”. [250/400] Illustrated 648 Continental Carved and Painted Figure of a Bishop, second quarter 20th century, h. 29‑1/2”, w. 12‑1/4”, d. 8”. [700/1000] Illustrated

647

649 Carved and Polychrome-Painted Figure of St. Peter, second quarter 20th century, probably Italian, h. 27‑1/2”, w. 9‑1/4”, d. 7‑1/4”. [600/900] Illustrated 650 Russian Painted Wooden Icon, ca. 1900, depicting Noah receiving a message from a dove on Mount Ararat, the dove engraved on the brass oklad, h. 7‑3/4”, w. 7”. [400/700] Illustrated 651 Russian Orthodox Bronze and Enamel Coptic Cross, 19th century, h. 8‑3/4”, w. 5‑1/2”. [300/500] Illustrated

654 120

650

651

652 South American School (Fourth Quarter 18th Century), “The Visitation”, oil and gold paint on linen laid down on canvasboard, sight 9‑3/4” x 9‑3/4”. Framed. [800/1200]

649

653 Spanish Colonial School (Fourth Quarter 18th Century), “St. Clare of Assisi Bearing a Monstrance”, unsigned, 21” x 17”. Presented in a period Spanish Colonial foliate-carved giltwood frame. [400/700] Illustrated 654 Continental School (19th Century), “Jacob Blessing the Sons of Joseph”, oil on paperboard, signed “J. Pinhas” lower right, after the 1656 work by Rembrandt van Rijn (1606‑1669), 7‑3/4” x 10‑3/4”. In a cove-molded giltwood frame. [350/500] Illustrated

653 121

655 After Moretto da Brescia (Italian, 1498‑1554), “The Visitation of the Virgin to St. Elizabeth”, engraving by Francesco Cecchini, Rome, 1799, verso with label “Sheryl Campbell, Prints and Paintings, Baton Rouge”, sight 16” x 17”. Glazed, matted framed. [200/400] 656 Continental Embroidered Christening Blanket, 19th century, the cream silk with an overall bullion thread pattern in cut and openwork embroidery with freshwater pearl accents, a delicate “chain-metal” edging in bullion with a stitched floral motif, l. 35‑1/2”, w. 21”. [400/700]

657

657 Italian Block and Turned Marble Holy Water Font, early 20th century, h. 36‑1/2”, w. 8”, d. 8”. [200/400] Illustrated

661

658

658 Fourteen-Karat White Gold and Diamond Ring, the Art Deco-style mounting set with three round brilliantcut diamonds, with an approximate weight of 0.40 carats each, and sixteen smaller round brilliant-cut diamonds, with an approximate total weight of 0.40 carats, size 8, 5.7 grams total weight. [500/800] Illustrated 659 Fourteen-Karat White Gold and Gold-Filled Diamond Bracelet, the flexible fourteen-karat white gold links set with three round brilliant-cut diamonds and ten round single-cut diamonds, with an approximate total weight of 0.40 carats, the links attached to a tenkarat gold-filled band, l. 6‑1/2”, 10.8 grams total weight. [300/500] Illustrated

660

122

660 Beautiful Fourteen-Karat Yellow Gold and Rock Crystal Necklace, composed of faceted rock crystal drops and finished with a fourteen-karat yellow gold clasp, l. 16”. [200/400] Illustrated

662

661 Vintage Pale Taupe and Blond Mink Cardigan Jacket, 1970’s, size 6, the “corduroy” mink body with a fine checkerboard yoke, the front and buttoned cuffs trimmed with blond mink, with a stand-up wing collar and four mother-of-pearl button closure, the interior lined with pale taupe satin, labeled: “Utah Tailoring / Kate Bagley / Connoisseur / Collection”, l. 28”. [250/400] Illustrated

659

665 Fourteen-Karat Yellow Gold and Diamond Brooch and Ring Set, the brooch set with eleven round brilliantcut diamonds and twenty-three single-cut diamonds, with an approximate total diamond weight of 1.00 carat, h. 1‑1/2”, and the ring in the shape of a wishbone, with an approximate total diamond weight of 0.18 carats, size 7‑1/4, 12.6 grams total weight. [300/500] Illustrated

662 David Yurman Sterling Silver, Eighteen-Karat Yellow Gold, Citrine and Yellow Sapphire Ring, the cushion faceted citrine surrounded by a halo of twenty round faceted yellow sapphires set in eighteen-karat yellow gold, the ring marked “D.Y. 925 750” and is part of the David Yurman Albion Cable Candy Collection, size 7, 5.9 grams total weight. [200/400] Illustrated

665

663 Fourteen-Karat Yellow Gold Chain with a Smoky Quartz Pendant, the box-link chain with a large emerald-cut smoky topaz pendant, with an approximate weight of 43.0 carats, chain, l. 21”, pendant, l. 1”. [200/400] 664 Vintage Sakowitz Flared Tan Mink Stroller, 1980’s, with a notched collar, two hook closure, raglan sleeves and two velvet-lined on-seam pockets, the taupe silk interior trimmed with velvet ribbon and having a front pocket, two small slits at each side to accommodate a tie belt, labeled: “Sakowitz”, size 6‑8, l. 30”. [300/500]

123

666 Fourteen-Karat Yellow Gold and Diamond Pendant, comprised of a 1910 St. Gaudens twenty dollar gold coin, bezel set with fifty-six round brilliant-cut diamonds, with an approximate total weight of 1.50 carats, dia. 1‑5/8”, 41.4 grams total weight. [600/900] Illustrated

666

667 Fourteen-Karat Yellow Gold and Diamond Solitaire Ring, the mounting set with a pear-cut diamond, with an approximate weight of 0.50 carats, color K and clarity I1, size 6‑1/2, 1.3 grams total weight. [400/700] Illustrated 668 Stunning Louis Dell’ Olio Full-Length Chocolate Brown Mink Coat, with a convertible wing collar, setin sleeves and two velvet-lined on-seam pockets, three button closure, the black silk-lined interior with a deep front pocket and labeled: “Louis Dell’ Olio/Furs” and “Neiman Marcus”, size 10, l. 52”. [700/1000] Illustrated 669 Fourteen-Karat Yellow Gold, Diamond and Ruby Ring, set with twenty-three princess-cut diamonds, with an approximate total weight of 3.2 carats, and eighteen square-cut rubies, with an approximate total weight of 1.5 carats, stamped “Rex”, size 5, 14.4 grams total weight. [700/1000] Illustrated

673

670 Fourteen-Karat Yellow Gold Bracelet, the flexible link bracelet designed as a twisted rope, l. 7”, 35.6 grams total weight. [400/700] Illustrated 671 Fourteen-Karat Yellow Gold, Diamond and Sapphire Snake Ring, the coiled snake with two fullcut diamonds for the eyes and a sapphire cabochon set in the center of its head, size 10, 15.3 grams total weight. [300/500] 672 Pair of Eighteen-Karat Yellow Gold Ear Clips, each clip designed as a flat rope hoop, l. 5/8”, 13.6 grams total weight. [300/500]

667

124

669

673 Vintage Chocolate Brown Mink Double-Breasted Convertible Stroller, 1960’s, size 4‑6, with broad notched collar, set-in bell sleeves and on-seam side pockets, with cut-jet-mounted dome buttons, hook closure at the neck and removable slotted self belt, the hem self-banded, the black silk-lined interior with a trapunto rose at both front corners, labeled: “Godchaux’s”, l. 28‑1/2”. [250/400] Illustrated

670

674 Fourteen-Karat Yellow Gold “Roman Coin” Necklace, the tapered flat curb link chain attached to a gold bezel-set ancient Roman copper coin, l. 16‑1/4”, 48.4 grams total weight. [250/400] Illustrated

668

674

125

675 Fourteen-Karat Yellow Gold Necklace with a Removable Spanish Silver Coin Pendant, the wide flexible gold collar necklace with a removable Spanish silver coin set in a fourteen-karat gold bezel, l. 18”, 98.0 grams total weight. [1200/1800] Illustrated

676

676 Fourteen-Karat Yellow Gold Charm Bracelet, the heavy bracelet with eight charms of various designs, one is enameled, one is set with rubies and sapphires, one is a sorority enamel and seed pearl pin, and the remainder are gold, l. 7‑3/8”, 87.4 grams total weight. [700/1000] Illustrated 677 Collection of Ten-Karat and Fourteen-Karat Yellow Gold Jewelry, comprised of a hollow fourteen-karat gold bracelet, l. 7”, a pair of fourteen-karat gold hoop earrings, l. 1‑1/4”, a pair of fourteen-karat gold dangle earrings, overall, l. 2‑1/8”, a pair of fourteen-karat gold ear clips, each set with a round 19.0 mm turquoise cabochon, dia. 1”, and a ten-karat gold ring set with a cushion stepped-cut amethyst, with an approximate weight of 15.0 carats, size 7, 48.8 grams total weight. [300/500] 678 Two Fourteen-Karat Yellow Gold and Jade Bangle Bracelets, including one light green and one gray colored bracelet, each hinged with gold mountings, inside circumference, 6” and 6‑1/4”. [200/400] Illustrated 679 Three-Piece Turquoise and Quartz Necklace Suite, including a necklace composed of natural turquoise nuggets separated by gold beads, l. 17”, a necklace composed of flat semi-faceted natural quartz beads, l. 17”, and a necklace composed of natural blue quartz discs separated by fluorite beads, l. 17”. [200/400]

680 Two Hermes, Paris, Boxed Silk Scarves, the first titled: “Les Capucines”, created in 2003 by Antoine de Jacquelot, the other titled: “Pierres d’Orient et d’Occident”, created in 1988 by Zoe Pauwels, both signed, labeled and presented in the original Hermes boxes, includes the Spring 2003 Hermes booklet, scarves, w. 35”, l. 35”. [250/400] Illustrated

678

675

681 Two Hermes, Paris, Silk Scarves, the first titled: “Qalamdan”, created in 1993 by Catherine Baschet, w. 35”, l. 35”, the other titled: “Lumieres de Paris”, created in 2006 by Natsuno Hidaka, both w. 35”, l. 35”, both signed and labeled, includes one Hermes scarf box and an “Express Yourself with Your Hermes Scarf” booklet. [250/400] Illustrated

8 126

680

684 Fourteen-Karat Yellow Gold, Opal, Diamond and Emerald Pendant, the free-form pendant set with an opal cabochon, with an approximate total weight of 6.50 carats, two faceted emeralds, with an approximate total weight of .20 carats, and four round brilliantcut diamonds, with an approximate total weight of 1.20 carats, size 1” x 1‑9/16”, 12.8 grams total weight. [200/400] Illustrated

681

682 Two Vintage Hermes, Paris, Silk Scarves, both created by Julia Abadie, the first titled: “Spinnakers”, created in 1982, w. 35‑1/2”, l. 35”, the other titled: “ArcsEn-Ciel”, created in 1980, w. 34‑1/2”, l. 35, both signed and labeled, includes one Hermes scarf box and the “Express Yourself with Your Hermes Scarf” booklet. [250/400] Illustrated

682

684

683 Fourteen-Karat Yellow Gold, Diamond and Blue Topaz Ring, the mounting set with an emerald-cut blue topaz, with an approximate weight of 8.00 carats, and ten round brilliant-cut diamonds, with an approximate total weight of 0.50 carats, size 5, total weight, 7.7 grams. [250/400]

127

685 Fourteen-Karat Yellow Gold and Opal Ring and Brooch, the large jelly opal nugget set in a free-flowing ring with a small jelly opal cabochon set on the back side of the shank, and an old mine-cut diamond, with an approximate weight of 0.30 carats, size 7‑1/2; together with an abstract brooch set with three jelly opal cabochons, with an approximate total weight of 3.00 carats, separated by three freshwater pearls, l. 1”, 13.4 grams total weight. [300/500] Illustrated

691

685

689 Fourteen-Karat Yellow Gold and Blister Pearl Pendant, the massive blister pearl set in a gold frame conforming to the shape of the free-flowing pearl, w. 1‑3/4”, l. 2”, 35.0 grams total weight. [200/400] Illustrated 686 Vintage Brothers Christie Pale Brown Mink Coat, 1970’s, size 6, with notched collar, narrow set-in sleeves, on-seam side pockets and four hook closure, the pale taupe lace-embroidered silk interior with velvet-trimmed patch pocket, labeled: “Godchaux’s” and “Brothers Christie”, includes a 2” self belt with a contemporary bronzed-metal buckle, l. 36‑1/2”. [250/400] Illustrated 687 Eighteen-Karat White Gold, Diamond and South Sea Pearl Necklace, the hand-knotted graduated silver/ white pearl necklace with a good luster and ranging from 11.7 mm to 15.7 mm in size, finished with a white gold clasp set with eleven round brilliant-cut diamonds, with an approximate total weight of 0.06 carats, l. 19”. [400/700] Illustrated 688 Pair of Fourteen-Karat Yellow Gold, Mabe Pearl and Mother-of-Pearl Ear Clips, each large cushion-shaped mother-of-pearl cabochon wrapped with a gold band set with eight round brilliant-cut diamonds and an oval mabe pearl, measuring approximately 12.0 mm x 16.0 mm, with an approximate total diamond weight of 0.08 carats for the pair, l. 1”. [200/400] Illustrated

128

690 Vintage Light Brown “Corduroy” Mink Jacket, 1980’s, with stand-up collar, bold set-in sleeves and two on-seam velvet-lined pockets, three hook closure, the olive green silk and rayon lined interior with a taupe leather tie, labeled: “Kreegers/New Orleans”, includes the original pink Kreegers garment bag, l. 28”. [250/400]

693

687

688

691 Eighteen-Karat Yellow Gold Gucci Wedding Band, the 7.0 mm wide band subdivided into domed squares framed by two narrow bands, the ring stamped “Gucci 18K”, size 9‑3/4, 11.2 grams total weight. [500/800] Illustrated 692 Gentleman’s Fourteen-Karat Two-Tone Gold Bracelet, the stylized bracelet composed of white and yellow gold, l. 6‑3/4”, 28.0 grams total weight. [300/500] Illustrated 693 Gentleman’s Fourteen-Karat Yellow Gold and Diamond Ring, the tapered gold mounting set with seven diamond baguettes, with an approximate total weight of 1.00 carat, size 12, 9.0 grams total weight. [250/400] Illustrated

692

686

689

129

694 Three Pairs of Gentleman’s Gold Cufflinks, including a pair of nine-karat rose gold cufflinks hand-engraved with crowns, a pair of fourteen-karat yellow gold cufflinks set with American Mercury silver dimes, and a pair of eighteen-karat yellow gold cufflinks set with flat oval lapis lazuli stones. [200/400] Illustrated

694

699

696 Three Pairs of Fashion Jewelry Cufflinks, including a Wedgwood goldtone and jasperware swivel-back pair, l. 3/4”, a silver and staghorn swivel-back pair, l. 3‑1/4”, and a double-sided gold square bakelite pair, w. 7/16”. [200/400]

695 Gentleman’s Fourteen-Karat Yellow Gold and Diamond Ring, the tapered gold mounting set with a single round brilliant-cut diamond, with an approximate weight of 0.33 carats, size 11‑1/4, 7.6 grams total weight. [250/400]

700

697 Vintage Pale Taupe and White Mink Convertible Jacket, 1970’s, the pale taupe body with a chevron pattern winged collar, front edges, slash pockets and hem, with removable set-in sleeves to form a vest, a 6” vent at both sides, the champagne satin interior embroidered: “Anna Nateece” throughout, labeled: “Created for___/Le Nobel Furs/Las Vegas”, size 4, l. 25”. [250/400] 698 Vintage Gentleman’s “Hornback” Alligator Overnight Valise, first quarter 20th century, the “clamshell”-style case with chocolate brown alligator exterior opening by means of three thumb latches to a taupe pigskin interior with a central divider, the divider with snap-closure pouch on one side and strap-closure shirt pocket on the other, one side of the interior case with strap stays, the interior with gilt owner’s stamp “Sid. R. Clift”, h. 11‑1/2”, l. 16”, w. 9‑1/2”. The owner was very likely Sidney R. Clift (1874‑1939) of Des Moines, Iowa, who worked in the first quarter of the 20th century as a salesman of agricultural equipment in the United States, Central and South America. [250/400] Illustrated 699 Three Silk Scarves, the first by Chanel, w. 33‑1/2”, l. 32”, the second by Tiffany, w. 34”, l. 34”, and the third decorated with various Veuve Clicquot labels, w. 35”, l. 33”. [200/400] Illustrated 700 Vintage Christian Dior Red Fox Stroller, 1980’s, size 10‑12, with stand-up collar, inset sleeves, on-seam side pockets and three hook closure, the gold satin-lined interior with a vertical front pocket and a zippered welt pocket, labeled: “CD de Christian Dior/Fourrures” and “ Maison Blanche”, l. 31”. [300/500] Illustrated

130

701

702

698

701 Three-Piece Ciner Fashion Jewelry Suite, in the manner of David Webb, including a necklace, l. 18”, and bracelet, l. 7”, (wearable as a single 25” necklace), each goldtone with large simulated onyx and diamond links centering a cabochon simulated ruby, diamond or emerald, with ear clips en suite, w. 1‑1/2”. [200/400] Illustrated 702 Four Pieces of Crystal and Black Enamel Fashion Jewelry, including a Christian Dior hinged bangle, inside w. 2‑1/4”, and pave half-hoop ear clips, l. 1”, a pair of St. John “weave” ear clips, l. 1‑1/4”, and a pair of Ciner “knotted button” ear clips, dia. 1‑1/4”. [200/400] Illustrated 703 Three Pieces of Ciner Fashion Jewelry, in the manner of David Webb, goldtone and simulated onyx and simulated diamond, including a bracelet, l. 7‑1/4”, and ear clips, l. 7/8”, suite and a choker with bezel-set cabochons, l. 16”. [200/400]

704

704 Five Pieces of Crystal, Simulated Pearl, Gold and Goldtone Fashion Jewelry, including a fourteen-karat gold-mounted mabe pearl ring, size 7‑1/8, and button earrings, dia. 7/8”, with a Swarovski goldtone doublestrand collar, l. 12”, and triple-strand bracelet, l. 7‑1/4”, and pair of De Serio Fantasia goldtone “day-and-night” cluster ear clips with detachable drops, l. 2‑1/4” (1” without drop). [200/400] Illustrated

131

705 Vintage Jay Chester Lustrous Chocolate Brown Mink Coat, 1980’s, size 6, with stand-up wing collar, on-seam side pockets and two hook closure, the set-in sleeves ending in small self-banded cuffs, with two 15” side slits, the black silk-lined interior with a front pocket, labeled: “Jay Chester / Exclusively For / Gus Mayer”, l. 45”. [400/700] Illustrated 706 Six Pieces of Silvertone, Simulated South Sea Pearl and Crystal Fashion Jewelry, including two strands of “pearls”, l. 15‑1/2” and 16‑1/2”, a pair of drop earrings, l. 1‑5/8”, a pair of ear clips, l. 7/8”, a ring, size 6‑1/2, and a pair of simulated diamond Harry Winston-style cluster ear clips, l. 1‑1/4”. [200/400] Illustrated 707 Seven Pieces of Silvertone, Crystal and Simulated Tahitian Pearl Fashion Jewelry, late 20th century, including a handsome pair of matching Kenneth J. Lane black and white crystal hinged bangles, inside dia. 2‑1/8”, three pairs of Ciner ear clips, l. 1” to 1‑1/4”, a knotted “pearl” necklace, l. 17”, and a pair of large rhinestone ear clips, l. 1”. [200/400] Illustrated

706

708 Vintage Judith Leiber Red and Black Crystal Geometric Minaudiere, 1980’s, with an inset onyx push clasp, the gold kidskin interior bearing the giltbrass “Judith Leiber” label, includes a swing mirror and tasseled comb, h. 3‑3/8”, w. 5‑1/2”, d. 1‑1/2”, chain drop: 19‑3/4”. See Enid Nemy & John Bigelow Taylor, Judith Leiber: The Artful Handbag (New York: Harry N. Abrams, 1995), p. 147, for an identical example in black and clear crystals. [500/800] Illustrated

707 705

708

132

710

711

709 Vintage Black Mink Full-Length Coat, 1980’s, size 8‑10, with a chocolate brown mink shawl collar, on-seam side pockets and three hook closure, the set-in sleeves self-banded at the cuff, l. 48”. [300/500] Illustrated

709

710 Two Pairs of Chanel Goldtone and Simulated Pearl Ear Clips, including a 1986 pair with “quilt” pattern centering the Chanel monogram, dia. 1‑5/8”, and a Fall 1994 pair in a cluster pattern, dia. 1‑1/4”, with a Chanel box. [300/500] Illustrated 711 Chanel Goldtone Two-Tier Chain Belt, ca. 1985, curb link with Chanel medallion, overall, l. 39”, fits waist 22” to 30”, complete with Chanel box. [500/800] Illustrated 712 Chanel Goldtone Necklace and Ear Clips, 1971‑1980, with Chanel monogram medallions, the double chain necklace with rolo links, l. 34”, the ear clips, dia. 1”, with a Chanel box. [450/700] Illustrated

712

133

713 Chanel Goldtone Metallic Brown and Pewter Brooch, Fall 1997, starburst form centering the Chanel monogram, h. 2‑1/2”, with a Chanel box. [250/400] Illustrated

714

713

715 Chocolate Brown Fox Chubby, size 6, with threequarter raglan sleeves, two on-seam side pockets and two hook closure, the chocolate brown silk-lined interior with a front patch pocket, labeled: “Bifano’s/Dallas”, l. 18‑1/2”. [300/500] Illustrated 714 Two Pairs of Chanel Goldtone Fashion Ear Clips, one 1989, circular, in simulated onyx, dia. 1‑3/8”, the other shamrock-shaped, in simulated tortoiseshell, w. 1‑1/2”, both centering the Chanel monogram, with Chanel box. [300/500] Illustrated

720

715

716 Two Pieces of Giorgio Armani Fashion Jewelry, including a silvertone necklace with faceted crystal and pearlescent light blue lucite beads, l. 21‑1/2”, drop from center 8‑1/2”, and a lucite bangle en suite, inside dia. 2‑3/4”, each with the original Collezioni Armani box. [200/400] Illustrated

134

716

719 Seven Pieces of Black and Gold Fashion Jewelry, including Kai-Yin Lo (KYlo) vermeil and onyx pieces: a citrine ring, size 7‑1/2, and a pair of mother-of-pearl button ear clips, dia. 1”, together with a strand of 18 mm onyx beads, l. 14‑1/2”, a pair of oval onyx button ear clips, l. 1‑1/8”, a pair of black lucite “Creole hoop” drop earrings, l. 1‑5/8”, an Erwin Pearl goldtone and black leather curb-link necklace, l. 36”, and a faceted black glass Chanel-style necklace, l. 34”. [200/400] 720 Daniel Swarovski Ring and Associated Earrings, the sterling silver ring with tension-set Swarovski simulated amethyst, size 6‑1/2, with the original Swarovski box, with a pair of unmarked bezel-set oval genuine amethyst drop earrings, l. 1‑1/4”. [200/400] Illustrated 717

717 Lalique Goldtone and Glass Stickpin and Ear Clips, 1990’s, including a light green “Heliconia” stickpin, l. 4‑1/2”, with original box, and a pair of black “Nerita” ear clips, dia. 1”. [200/400] Illustrated 718 Seven Pieces of Dyed Freshwater Pearl Fashion Jewelry, including a sterling silver and green pearl necklace with detachable peridot pendant, l. 14”, and matching earrings, l. 1‑1/4”, a pair of abalone shell and citrine ear clips, l. 1”, a pair of peacock pearl and sugar-loaf citrine ear clips, dia, 3/4”, a sterling silver and peacock pearl necklace, l. 18‑1/2”, a peacock pearl, smoky quartz and carved serpentine twisted choker, l. 14‑1/4”, and a thirteen-strand peacock pearl lariat, l. 60”. [200/400]

721

721 Ten Neiman Marcus Silvertone Scarf Clips with an Associated Silvertone Belt Buckle, contemporary, four clips by Sylvia Dahl, four by John Hardy and two by Rebecca Collins, the buckle unsigned, l. 2‑1/4” to 2‑1/2” (11 total pieces). [200/400] Illustrated 722 Four Pieces of Sterling Silver Jewelry, late 20th century, including a large Italian “double circle” cuff bracelet, inside dia. 2‑3/8”, and Mexican pieces: a pair of broad half-hoop earrings, l. 1‑3/4”, a pair of button earrings, l. 1‑1/4”, and a pendant, l. 2‑3/8”, the latter two with simulated turquoise cabochons. [200/400] 723 Three Robert Lee Morris Pendants, contemporary, of hand-hammered silver, l. 3‑1/4”, copper, dia. 3”, and patinated copper, l. 3‑3/4”, each with 16” cord necklace, with the original Robert Lee Morris pouch and card. [200/400]

135

724 Collection of Native American Sterling Silver and Stone Jewelry, including a Zuni bracelet set with a multistone inlay of a Kachina and marked by the maker “A.M.”, inside circumference, 6”, a pair of bracelets set with agate and turquoise beads, inside circumference, 6”, and a pair of sterling and turquoise dangle earrings marked by the maker “C.P.”, l. 1”, 160.0 grams total weight. [200/400] Illustrated

727

724

725 Native American Sterling Silver and Turquoise Necklace and Bracelet, the silver cuff bracelet set with a large polished turquoise cabochon, inside circumference, 6”, and the silver beaded necklace set with five pendants with various sized turquoise cabochons, l. 16‑1/2”, 122.2 grams total weight. [200/400]

726

726 Native American Sterling Silver, Turquoise and Bear Claw Bracelet, the large cuff bracelet with five bezelset turquoise nuggets and two bear claws, marked by the maker “G.M.”, inside circumference, 6‑1/4”, 96.5 grams total weight. [200/400] Illustrated 727 Native American Sterling Silver, Turquoise and Bear Claw Necklace, the squash blossom design necklace set with ten bear claws and nine turquoise nuggets, marked “G.M.”, l. 25‑1/2”, 302.0 grams total weight. [500/800] Illustrated 728 D.A. Jackson Native American Sterling Silver and Coral Cuff Bracelet, the heavy bracelet set with a red coral mosaic and marked by the maker “D.A. Jackson”, inside circumference, 6”, 113.0 grams total weight. [200/400] Illustrated 729 Fourteen-Karat Yellow Gold and Red Coral Branch Necklace, composed of red coral branches separated by gold beads and finished with a fourteen-karat yellow gold clasp, l. 18”. [200/400] Illustrated

136

728

730 Twelve Pieces of Bakelite and Other Costume Jewelry, mid-20th century and later, including five red and gold bakelite bangles, inside dia. 2‑1/2”, a red bake “bean” bracelet, l. 7‑1/2”, a faux ivory ring, size 6‑1/2, and “quilted” button ear clips, dia. 1‑1/4”, gold lucite button ear clips, dia. 1‑1/8”, gold marbleized hex-hoop earrings, dia. 1”, a simulated amber matrix necklace, l. 15‑1/2”, and coconut wood crescent ear clips, l. 2‑1/8”. [200/400]

732

729

733 Vintage Maude Frizon Animal-Printed-Cowhide Boxy Jacket, 1980’s, size 8‑10, comprised of assorted animal prints on a taupe ground, lined with chocolate brown sheared fur and labeled: “Maude Frizon/Paris”, l. 20‑1/2”. [200/400] 734 Five Pieces of Crystal and Simulated Onyx Fashion Jewelry, including a Jay Feinberg red and violet suite comprising a satin rope choker, l. 14” ( the choker clip detaching as a brooch, w. 2‑3/4”), and matching ear clips, w. 1‑1/2”, a pair of Barrera flower ear clips, dia. 1‑1/4”, and three unmarked earrings, including black and white pave flowers, dia. 1‑3/4”, simulated garnet tassel drops, l. 3”, and simulated turquoise buttons, dia. 1”. [200/400] Illustrated

731 Three Pieces of Simulated Amber Fashion Jewelry, including a large graduated bead necklace, l. 27‑1/2”, a solid bangle, inside dia. 2‑1/2”, and an elastic “button” bracelet, inside circumference, 7”. [200/400]

734

732 Two Pieces of Simulated Coral Fashion Jewelry, in the manner of Van Cleef & Arpels, goldtone and crystal, including a Panetta brooch, l. 2‑1/4”, and Ciner ear clips with simulated emeralds, l. 1‑1/2”. [200/400] Illustrated

137

736

738

735 Black Glass Necklace and Earrings, the necklace with chinoiserie medallion and tassel pendant, l. 37” (center drop 6‑3/4”), with associated drop earrings en suite, l. 2‑1/8”. [200/400] 736 Eight Pieces of Contemporary Fashion Jewelry, goldand silvertone with simulated gemstones, including an Isaac Manevitz Ben-Amun pearlescent bead suite of a four-strand bracelet, l. 7‑3/8”, and large drop earrings, l. 3‑7/8”, a large pair of Dominique Aurientis filigree drop earrings, l. 4‑1/2”, a pair of Deanna Hamro drop earrings, l. 3‑1/2”, a pair of Tosca drop earrings, l. 5‑1/2”, a pair of Ciner earrings in the David Yurman manner, l. 1‑3/8”, and an unmarked flower brooch, w. 1‑1/2”, and pair of cluster ear clips, dia. 1‑1/2”. [200/400] Illustrated 737 Five Pieces of Goldtone Fashion Jewelry, late 20th century, including a five-strand beaded collar, l. 13‑1/4”, a threestrand beaded bracelet, l. 7”, a ribbed cable-link necklace with toggle clasp, l. 36”, a pair of Givenchy hemispherical ear clips, dia. 15/16”, and a butterfly-shaped pillbox, l. 2‑1/4”. [200/400] 738 American Colonial Revival Mahogany Bonnet-Top Highboy, 20th century, in two parts and with deeply carved fans on the top and bottom drawers, h. 92”, w. 39‑1/2”, d. 22”. [500/800] Illustrated 739 American Chippendale-Style Mahogany Bonnet-Top Highboy, 18th century and later, h. 80”, w. 43”, d. 31”. [600/900]

138

740 American Colonial Revival Mahogany ChippendaleStyle Secretary, first quarter 20th century, with a swan’sneck pediment and ball-and-claw feet, h. 90”, w. 37”, d. 19”. [300/500] Illustrated 741 Extensive Partial Dinner Service in the “Booth’s Washington” Pattern, ca. 1912‑1930, including six dinner plates, dia. 10‑1/2”, ten luncheon plates, dia. 9‑3/4”, nine soup plates, dia. 8‑1/2”, five bread and butter plates, dia. 6‑1/2”, six salad plates, dia. 7‑1/2”, twenty demitasse cups, h. 2‑1/4”, eighteen saucers, dia. 5‑1/4”, two tea cups, h. 2‑1/4”, six saucers, dia. 6”, six cream soup stands, dia. 6‑1/2”, a custard dish, dia. 5‑1/4”, and three dessert dishes, dia. 6‑1/4”. [200/400] Illustrated 741

740

743 American Late Chippendale Cherrywood Tall Chest, ca. 1800, Pennsylvania, with a row of three side-byside drawers over six graduated long drawers and raised on splayed bracket feet, h. 64”, w. 42”, d. 22”. [600/900] Illustrated

742

744 Pair of PhiladelphiaStyle Brass Fire Tools, 20th century, American, with acorn finials, l. 25‑1/4”. [200/400]

742 American Federal-Style Banjo Clock, early 20th century, the central eglomise panel depicting the American Eagle, fitted with an electric movement, h. 41”, w. 10‑1/2”. [200/400] Illustrated

745

745 American Mahogany Games Table, early 20th century, the hinged top with a shaped bowed front and centered by a vessel-inlaid oval medallion, above a conforming urn-inlaid frieze, raised on tapering square legs, h. 30”, w. 36”, d. 18” (closed). [250/400] Illustrated

743

139

746 Custom Hepplewhite-Style Inlaid Mahogany Demi-Lune Card Table, second quarter 20th century, American, h. 30‑1/2”, w. 32”, d. 15‑1/4”. [500/800] Illustrated 747 Colonial Revival Needlepoint, fourth quarter 19th century and later, depicting George Washington and his family, after Edward Savage (American, 1761‑1817), presented in an American walnut and gilt frame, h. 21‑1/2”, w. 25‑1/4”. [800/1200] Illustrated 748 American Sheraton-Style Mahogany Four-Post Bed, mid-20th century, with turned posts and scrollcut headboard, the canopy with a molded frame, h. 94”, outside, l. 80‑1/2”, w. 49”, inside, l. 76”, w. 45”. [400/700] Illustrated 749 American Cherry Hanging Wall Cabinet, late 19th century, with a dentillated cornice over two doors, h. 54”, w. 42”, d. 10‑1/4”. [300/500] 750 Federal-Style Inlaid Mahogany Candle Stand, mid20th century, h. 41”, w. 15”. [200/400]

747

751 American School (Fourth Quarter 19th Century), “Portrait of a Young Girl with Ringlets”, unsigned, 20” x 16”. Framed. [300/500] 752 Leslie Henderson (American/Florida, 1895‑1987), “The Bridge Over Paper Mill Run”, oil on canvasboard, signed lower right, signed and titled en verso, 16” x 20”. Framed. [600/900] 753 Leslie Henderson (American/Florida, 1895‑1987), “Fortescue, New Jersey”, 1971, oil on canvasboard, signed lower right, signed, dated, and titled en verso, 16” x 20”. Framed. [600/900]

746

748

140

758 Southern School (Third Quarter 20th Century), “Back Bay”, 1962, oil on canvas, signed “Saxon” and dated lower right, 22” x 28”. Framed. [300/500] 759 Louisiana School (Second Quarter 20th Century), “Pine Forest Interior”,oil on board, signed lower right “Saxon”, 36” x 31”. Framed. [300/500] 760 Southern School (Third Quarter 20th Century), “Bayou Scene”, 1965, oil on canvas, signed “B. B. Saxon” lower right, 20” x 48”. Framed. [300/500] Illustrated 754 754 Gertrude Smith (American/Louisiana, 1869‑1962), “Southern Landscape with Cottage and Barn”, oil on canvas, signed lower right, 12” x 16”. Framed. [400/700] Illustrated

761 Laure Josephine Carriere (American/Louisiana, 1876‑1925), “Bayou Landscape”, gouache on paper, monogrammed lower right, 8‑1/2” x 11‑1/2”. Glazed and framed. [700/1000]

756 755 John Reed Campbell (American/Louisiana, 1925‑1997), “The Cotton-Pickers”, oil on canvas, signed lower right, 12” x 16”. Framed. [700/1000]

757

756 Paul Pascal (French, 19th/20th Century), “Mounted Falconers by the Stream”, pastel on paper, signed lower right, sight 17” x 23‑3/4”. Framed. [900/1200] Illustrated 757 Southern School (Third Quarter 19th Century), “Mercury Steamboat”, watercolor on paper, sight 7‑1/2” x 9‑3/4”. Glazed and presented in a handsome Aesthetic faux-bois frame. [500/800] Illustrated

760 141

762 George Rodrigue (American/Louisiana, 1944‑2013), “Gerard’s Gallery, In Person Thanksgiving 1984”, poster, signed lower right, numbered lower left “446/985”, sight 23” x 16‑1/2”. Glazed and framed. [200/400] Illustrated

764

763 Andree Ruellan (American, 1905‑2006), “Flambeau”, sanguine on paper, signed, sight 20” x 13”. Matted and framed. Provenance: Artist to West School of Art benefit; Private collection, Connecticut. [200/400] Illustrated 764 Rolland Harve Golden (American/Louisiana, b. 1931), “Evening Contrast - Udderly Cold”, 2009, mixed media on paper, acrylic and laser print, signed and dated lower right, 11” x 16”. Glazed, double-matted and framed. [300/500] Illustrated 765 Louisiana School (Contemporary), “Swamp Scene”, watercolor on paper, indistinctly signed, sight 17‑1/2” x 23‑1/2”. Glazed, handsomely matted and framed. This lot is being sold to benefit the South Louisiana Wetlands Discovery Center, Houma, Louisiana. [200/400]

762

768 142

766 Albert Worcester (American/Michigan, 1878‑1935; Active New Orleans, 1918‑1919), “The Shopkeeper”, oil on canvas, with artist’s estate stamp en verso, 25‑1/4” x 21”. Unframed. Provenance: Estate of Kenneth Worcester Dow, St. Augustine, Florida. [500/800]

769

767 Don Reggio (Louisiana/Contemporary), “Cooling Shed”, 1972, oil on canvas, signed lower right , titled on stretcher verso, signed and dated on canvas verso, 16” x 22”. Framed. Provenance: Private collection, Birmingham, Alabama. [200/400] 768 After Walter Inglis Anderson (American/ Mississippi, 1903‑1965), “Two By Two”, 1987, silkscreen, printed by Carolyn Anderson, stamped en verso, 23‑3/4” x 60‑1/4”. Glazed and framed. [500/800] Illustrated

763

770

769 Good Gorham Silverplate Neo-Grec Hot Water Urn, third quarter 19th century, Providence, Rhode Island, the spherical body with grotesque-masque ringed handles, raised on a conforming base with four palmettecrested spade feet, with pointed finial and branch, monogrammed “A. and M. A.”, h. 15”, dia. 9‑3/4”. [350/500] Illustrated 770 American Neo-Grec Four-Piece Silverplate Tea Set with Associated Tray, third quarter 19th century, by Rogers, Smith & Co., New Haven, Connecticut, including a coffeepot, h. 8‑3/4”, a teapot, h. 7‑3/4”, a covered sugar bowl, h. 6‑1/4”, and a waste bowl, h, 3‑1/4”, each of ovoid form, with palmette-crested handles and spouts, with engraved banding en suite and milled Vitruvian scroll edging; together with an associated oval platter en suite, with presentation inscription dated 1869, l. 31”, w. 19‑1/4” (five total pieces). [500/800] Illustrated 143

771 Five Pieces of 771 19th-Century New OrleansRetailed and Other Sterling and Coin Silver Flatware, with three pieces retailed by Henry Peat Buckley (1822‑1903), New Orleans, all by Wood & Hughes, New York, including a “Tipped” soup ladle, l. 12‑3/4”, a “French Thread” dessert knife, l. 7‑1/4”, and a “Humbolt” dessert spoon, l. 7”, and two “Down Tipt” teaspoons by William Griswold, Middleton, Connecticut, l. 5”, variously monogrammed, 10.10 total t. oz. [300/500] Illustrated

773

773 American Silverplate Center Bowl, fourth quarter 19th century, by the Derby Silverplate Co., Derby, Connecticut, of hemispherical form with embossed floral scroll banding and gadrooned calyx, spiral-twist rim, large “blossom”-scroll handles and four lion’s paw feet, h. 5‑3/4”, w. 11”, dia. 7‑5/8”. [200/400] Illustrated

772 Twenty-Two Pieces of 19th Century “Italian” Pattern Sterling Silver Flatware, designed in 1860 by Alonzo Hebbard (1827‑1887) for Gale & Willis, New York City, retailed by Edward J. Johnston & Co., Macon, Georgia, including twelve place forks, l. 8”, and ten place spoons, l. 8‑1/2”, no monograms, 41.17 total t. oz. [500/800]

775

144

776

774

779

774 Pair of Silverplate Candelabra in the Spanish Colonial Taste, ca. 1900, each with a tapering standard, serpent-scroll branches, cannon-form nozzles, saucer base and detachable eagle finial, h. 15‑1/2”, w. 11”. [400/700] Illustrated 775 Good American Sterling Silver Compote, 1903, by Dominick & Haff, New York, New York, of circular wavy form, the rim with applied realistic decoration of cherry blossoms and fruit on an openwork trellis, with a waisted standard and trumpeted foot with applied cherry blossoms and fruit en suite, monogrammed on the center “MHW”, h. 5‑1/2”, dia. 8”, 19.74 t. oz. [400/700] Illustrated 776 American Silver Deposit Glass Claret Jug, first quarter 20th century, probably the Alvin Corporation, Providence, Rhode Island, the narrow bottle-form body with bulbous base and up-pulled handle and trefoil rim, decorated with openwork silver deposit scrolls with engraved grape leaves and clusters, the handle and collar completely clad, with a pear-shaped stopper en suite, h. 15‑1/2”, dia. 5‑1/2”. [600/900] Illustrated 777 American Sterling Silver Presentation Punch Bowl, dated 1918, by Graff, Washbourne & Dunn, New York, New York, retailed by A. Stowell & Co., Boston, Massachusetts, of hemispherical form, with three reeded handles, molded wavy rim and raised on an ogee-domed foot, engraved with presentation inscription “Nathan Warren / from / Equitable Friends / Feb 11, 1918”, h. 7‑1/4”, dia. 12”, 52.51 t. oz. Nathan Warren (1838‑1922) was a Boston banker, financier and insurance agent. The occasion of the presentation of this punch bowl is recorded in the February 23, 1918 issue of The Weekly Underwriter: “Nathan Warren, resident secretary of Equitable Life Assurance Society was tendered a dinner February 8 by agents of the society, on the occasion of his eightieth birthday. He was presented with a handsome silver punch bowl and also a large birthday cake, surrounded by eighty candles.” [1000/1500]

778 Gorham Sterling Silver Platter, 1907, Providence, Rhode Island, of oval form, with shaped rococo-scroll rim, l. 16‑1/2”, w. 12‑1/4”, 26.69 t. oz. [300/500] Illustrated 779 Hawkes Engraved Glass and Sterling Silver Cocktail Shaker, second quarter 20th century, Corning, New York, the baluster-form glass body engraved with a duck in flight over bulrushes, fitted with a sterling silver collar and straining cap, h. 12‑3/4”, dia. 4‑1/2”, 3.09 t. oz. (silver cap only). [400/700] Illustrated

778

145

780 Three American and German Silver Bread Trays, first quarter 20th century, including two American sterling oval examples, one by Mount Vernon Co., Mount Vernon, New York, with baluster-reticulated rim quartered by embossed scrolling cartouches, l. 12‑3/8”, w. 6‑3/4”, the other by Wilcox & Wagoner, New York, New York, with beaded rim, monogrammed “HEL”, l. 11‑3/8”, w. 6‑3/4”, and a German .800 silver example by Vereinigte Silberwarenfabrik, Dusseldorf, retailed by F. R. Tittel, Halle a.d.S., of elongated decagonal form with “reed-and-ribbon” rim, l. 12‑5/8”, w. 7”, 26.83 total t. oz. [200/400]

785

781

783 Three Pieces of American Silverplate and Sterling Silver Tableware, consisting of two silverplate pieces: an E. G. Webster & Son covered and triple-partitioned vegetable dish in the Spanish Colonial taste, dia. 12‑3/4”, and a Forbes Silver Co. pierced and serpentine-lobed fan vase, h. 11‑3/4”, both first quarter 20th century; together with a Towle “Silver Flutes” sterling silver medium vegetable bowl, the pattern designed in 1941 by Harold Edward Nock (1875‑1952), Taunton, Massachusetts, dia. 10”, 13.63 t. oz. [200/400] Illustrated

781 Tiffany & Co. Sterling Silver Waiter, the pattern introduced 1931, this example 1947‑1956, New York, New York, of circular form with “Chippendale” rim, dia. 12‑1/4”, 30.03 t. oz. [400/700] Illustrated 782 Porter Blanchard “Fiddle” Sterling Silver Platter Spoon, second quarter 20th century, by Richard Bogardus Blanchard (1893‑1976), Burbank, California, no monograms, l. 12‑1/2”, 3.87 t. oz. [200/400]

783

146

788

787 American Silverplate Tray, second quarter 20th century, by F. B. Rogers, Taunton, Massachusetts, of shaped rectangular form, with rococo scroll rim and gadrooned handles, l. 29”, w. 18‑3/4”. [250/400] Illustrated

791

784 Fifty-Two American Sterling Silver Service Dishes, mid-20th century, including an assembled set of twentyeight bread and butter plates with molded or reeded rims, by various manufacturers (Gorham, Durgin, International and A. G. Schultz), eight monogrammed “W”, dia. 6”, a set of twelve Woodside salad service plates, with bright cut scroll decoration, monogrammed “S”, dia. 4‑1/4”, a set of six condiment/dessert dishes with molded rims, dia. 5‑3/8”, and a set of six R. Wallace & Sons service plates with molded rims, monogrammed “MLC”, dia. 10”, 191.81 total t. oz. [2000/4000]

788 Fifty-Five Pieces of International “Wild Rose” Sterling Silver Flatware, the pattern designed in 1948 by Alfred Grover Kintz (1885‑1963), Meriden, Connecticut, including eight four-piece place settings with nineteen additional place pieces and four serving pieces, 36.6 total t. oz. (weighable silver). Detailed list available on request. [600/900] Illustrated 789 Three Large American Sterling Silver Serving Pieces, 20th century, including a Wallace “Corinthian” punch/soup ladle, l. 12”, a Gorham “Villa Norfolk” punch/soup ladle, l. 11‑1/8”, and a Reed & Barton “Elegante” platter spoon, l. 13‑3/4”, no monograms, 16.33 total t. oz. [200/400]

785 S. Kirk & Son “Repousse” Sterling Silver Bonbon Bowl and Spoon, mid-20th century, Baltimore, Maryland, the bowl dia. 4‑1/2”, the spoon l. 5‑1/8”, 7.60 total t. oz. [250/400] Illustrated 786 Assembled Twenty-Three-Piece Sterling Silver and Porcelain Bouillon Set, first quarter 20th century, including twelve International Silver “Pantheon” bouillon cups with Lenox porcelain liners (three lacking), monogrammed “GKR”, overall, h. 2‑1/4”, dia. 4‑1/2”, w. 5‑1/4”, and eleven National Silver “Adam” bouillon spoons, no monograms l. 5‑1/8”, 53.31 total t. oz. (excluding porcelain liners). [500/800]

790

787

790 Two Large American Silverplate Footed Trays, second half 20th century, including a Poole “Lancaster Rose” example, l. 30‑1/2”, w. 20”, and an International Wilcox “Shell and Scroll” example, l. 30”, w. 19‑1/2”. [250/400] Illustrated 791 Pair of American Silverplate Candelabra, mid20th century, by International Silver Co., Meriden, Connecticut, each with a tapering standard, circular base, two scrolling arms and vasiform candle nozzles with detachable bobeches, decorated with gadrooned banding, h. 17‑1/2”, w. 16‑3/4”. [200/400] Illustrated

147

792 Two Sets of Eleven Sterling Silver Bread and Butter Plates, mid-20th century, one set by Fisher Silversmiths, Jersey City, New Jersey, with gadrooned rims, the other by A. G. Schultz & Co., Baltimore, Maryland, with molded rim, no monograms, dia, 6”, 64.84 total t. oz. (22 total pieces). [1000/1500] Illustrated

792

793 Gorham Sterling Silver Water Pitcher, second quarter, 20th century, Providence, Rhode Island, of baluster form with annular banding and crested square handle, h. 9‑1/2”, dia. 5‑3/4”, l. 9‑1/4”, 23.81 t. oz. [400/700] Illustrated 794 American Sterling Silver “Revere” Bowl, third quarter 20th century, of traditional form, h. 4‑3/4”, dia. 10”, 21.16 t. oz. [350/500] 795 Five-Piece International “Prelude” Sterling Silver Tea and Coffee Set with Silverplate Tray, the pattern designed in 1939 by Alfred Grover Kintz (1885‑1963), Meriden, Connecticut, including a coffeepot, h. 10‑1/2”, a teapot, h. 9‑1/2”, a covered sugar bowl, h. 6”, a cream jug, h. 5”, and a waste bowl, h. 3‑1/2”, 81.50 total t. oz., with an International E. G. Webster & Son silverplate tray, rectangular with gadrooned rim and rocaille handles and plateau, l. 27”, w. 16‑1/4”, no monograms (six total pieces). [900/1200] Illustrated

796

148

795

796 Six American Silverplate Trays, mid-20th century, including one by Dominick & Haff, pointed oval with molded rim, monogrammed “HOM”, l. 26‑1/2”, w. 18‑1/4”, one by Birmingham Silver Co., rococo rectangular with beaded rim, l. 29”, w. 18”, one by TildenThurber, rounded rectangular with gadrooned rim, l. 29”, w. 17‑1/2”, one by Continental Silver Co., oval with pierced gallery and rococo rim, l. 25‑1/2”, w. 17‑1/4”, one by Webster Wilcox, oval in their “Rococo Scroll” pattern, l. 26”, w. 17”, and one unmarked, rococo rectangular with shell-and-scroll rim, l. 29‑1/2”, w. 17‑1/4”. [500/800] Illustrated 797 Fifty-Three Pieces of Reed & Barton “Spanish Baroque” Sterling Silver Flatware, the pattern introduced in 1965, Taunton, Massachusetts, including twelve four-piece place settings and five other pieces, 49.18 total t. oz. (weighable silver). Detailed list available on request. [300/500] Illustrated 798 Five-Piece Gorham “Chantilly-Duchess” Sterling Silver Coffee and Tea Set, 1951‑1953, Providence, Rhode Island, including a coffeepot, h. 10‑1/4”, a teapot, h. 8‑3/4”, a covered sugar bowl, h. 6‑3/4”, a cream jug, h. 5‑3/4”, and a waste bowl, h. 4‑3/8”, no monograms, 88.48 total t. oz. [2000/4000] Illustrated 799 Sixteen Pieces of New Orleans Hotel and Restaurant Silverplate Flatware, 20th century, Oneida Silversmiths, including eight forks from Galatoire’s in the “Clairhill” pattern, l. 7‑1/4”, and four forks, l. 7‑3/4”, and four knives, l. 9”, from the Fairmont in the “Ballad” pattern. Provenance: The Estate of Mickey Easterling, New Orleans, Louisiana. [200/400]

800 Thirty-One-Piece Set of Silverplate Service Settings, 20th century, octagonal with rope-twist rim, including seven service plates, w. 11‑5/8”, twelve bread-and-butter plates, w. 6‑1/4”, and twelve condiment plates, w. 5‑1/4”. [200/400]

797

801 Pair of Wallace “Baroque” Silverplate Convertible Candelabra, fourth quarter 20th century, Wallingford, Connecticut, each comprising a base, standard, nozzle and branches configurable as candlestands, h. 5”, candlesticks, h. 10‑1/4”, and two heights of candelabra, 13” and 15‑1/2”, with detachable hurricane shade collars. [250/400] Illustrated 802 Tiffany & Co. Sterling Silver Dish, the pattern introduced in 1941, this example 1956‑ca. 1965, New York, New York, of oval form, with “melon”-lobed body and stylized “ivy” handles, l. 7”, w. 5‑1/4”, 8.80 t. oz. [250/400] Illustrated

801

802

798

793

149

804

803 Set of Eleven Silverplate Dessert or Condiment Dishes, mid-20th century, by International Silver, Meriden, Connecticut, each in the form of a stylized pear, l. 6‑1/2”, w. 3‑1/4”. [250/400] Illustrated

807

803

804 Eighty-Two Pieces of Reed & Barton “Silver Sculpture” Sterling Silver Flatware, the pattern designed in 1954 by Robert Howard Ramp (1920‑2012), Taunton, Massachusetts, including six eight-piece place settings with twenty-four additional place pieces and ten serving pieces, 88.78 total t. oz. (weighable silver). Detailed list available on request. [300/500] Illustrated

806 809 150

811

813

805 Set of Eleven Sterling Silver Sherbet Cups, third quarter 20th century, by the Webster Co., North Attleboro, Massachusetts, of saucer form with gilt interior and waisted foot, h. 3‑1/8”, dia. 3‑1/2”, 20.92 total t. oz. [300/500] 806 Set of Twelve Silverplate Figural Napkin Rings, contemporary, each in the form a recumbent reindeer, the pierced napkin ring on its back, h. 4‑3/4”, l. 3”. [500/800] Illustrated 807 Semi-Antique Mahal Carpet, 8’ 6” x 11’ 7”. [800/1200] Illustrated 808 Lilihan Carpet, 7’ 7” x 10’ 5”. [600/900] 809 Turkish Angora Oushak Carpet, 9’ x 12’ 3”. [1000/1500] Illustrated

810 Tabriz Carpet, 10’ x 12’ 7”. [900/1200] 811 Turkish Oushak Carpet, 9’ 7” x 10’. [600/900] Illustrated 812 Antique Caucasian Carpet, 2’ 6” x 8’ 3”. [450/700] Illustrated 813 Bidjar Silk Carpet, 10’ x 14’ 1”. [5000/8000] Illustrated 814 Mashad Carpet, 12’ 5” x 9’ 2”. [500/800]

812

151

816

815

815 Semi-Antique Malayer Carpet, 3’ x 6’. [200/400] Illustrated 816 Kerman Carpet, 10’ 5” x 7’ 4”. [300/500] Illustrated 817 Kashan Carpet, 9’ 9” x 13’. [500/800] Illustrated 818 Antique Caucasian Kazak Runner, 4’ x 9’ 9”. [250/400] 819 Antique Turkish Kirsehir Carpet, ca. 1910, 3’ 6” x 5’ 2”. [200/400] 820 Pair of Paris Porcelain Hand-Painted Cachepots with Underplates, second quarter 19th century, fancifully decorated with blackamoor figures in Native American dress and fitted with lion’s head handles, h. 6‑3/4”, dia. 6‑1/2”. [450/700] Illustrated 152

817

820

821 Twenty-One Pieces of Louis-Philippe Paris Porcelain Dinnerware, mid-19th century, including eight plates, dia. 8‑3/4”, seven cups, dia. 3‑3/4”, and six saucers, dia. 5‑1/2”, each decorated with carefully detailed intertwined monograms on a bleu royale ground. [300/500] 822 Two Paris Porcelain Teapots and a Sugar Bowl with Chinoiserie Decoration, second quarter 19th century, decorated with polychrome panels of mandarin figures and florals on a cobalt ground with gilt scrollwork, teapots, h. 6” and 7‑1/2”, sugar bowl, h. 5‑1/2”. [300/500]

824 one of two

825 After Pierre-Gabriel Berthault (French, 1737‑1831), collection of four engravings depicting events of the French Revolution, 1789‑1799, sight 8” x 10”. All glazed, linen-matted and handsomely framed alike. [250/400] 826 Louis-Philippe Giltwood Mirror, mid-19th century, decorated with a beaded border, h. 39‑1/2”, w. 28‑1/2”. [700/1000] Illustrated

823 Meissen HandPainted Porcelain Urn, fourth quarter 19th century, now mounted as a lamp and fitted with a shade, base, h. 20‑3/4”, overall, h. 32‑3/4”, dia. 19”. [400/700] Illustrated 824 Pair of French 823 Classical Engravings, 19th century, including “Porte d’Ephese” and “Colonne de Cussy Bourgogne”, sight 13‑1/2” x 17”. Both glazed, handsomely matted and framed. [250/400] Illustrated

826

153

827 Louis-Philippe Giltwood Mirror, mid-19th century, decorated with incised flowers and leaves, h. 42”, w. 30‑1/4”. [700/1000]

828

828 Assembled Pair of Italian Black Marble and Pietra Dura Obelisks, fourth quarter 19th century, each with specimen stone inlays in the tower, one with like inlays in the base and the other with an inlaid flower, h. 14‑1/4” and 14‑1/2”. [450/700] Illustrated 829 Louis-Philippe-Style Mahogany Four-Drawer Chest, 20th century, made by Eastern Legends, with a composite stone top, h. 37‑3/4”, w. 41‑1/4”, d. 22‑3/4”. [500/800] Illustrated 830 Louis-Philippe-Inspired Linen Press/ Entertainment Center, 20th century, American, in two parts, with a projecting cornice over two paneled doors, the base with a pair of drawers, h. 85‑1/2”, w. 49‑1/2”, d. 25”. [900/1200] Illustrated 831 Unusual Restauration-Style Miniature Mahogany Chest, third quarter 19th century, in the neoclassical taste, with faux-marbre columns terminating in gilt Corinthian capitals framing the front, over sabre legs, h. 17”, w. 13‑1/4”, d. 7‑1/2”. [600/900] Illustrated

833 Louis-Philippe Giltwood Overmantel Mirror, mid19th century, in the Rococo Revival style, the serpentinetop, cove-molded frame decorated with beading and applied pierced scrollwork and flowers, with a cartoucheform crest, h. 80‑1/2”, w. 45”. [300/500]

832 Restauration Gilt-Bronze Figural Mantel Clock, second quarter 19th century, with a figure depicting Bonnie Prince Charlie, holding the symbolic bird, with Betty Burke, escaping through the Scottish Highlands after the failed Jacobite uprising, mounted with a silk string suspension movement, h. 16”, w. 12‑1/2”, d. 4”. [500/800] Illustrated 829

830

154

835

834 Pair of Louis-Philippe Giltwood Wall Brackets in the Rococo Revival Taste, mid-19th century, decorated with acanthus leaves and molded grapes supporting serpentine shelves, h. 10‑1/4”, w. 13”, d. 6‑1/4”. [300/500] 835 French Restauration Mahogany Work Table, second quarter 19th century, on a curule base, the hinged top lifting to reveal a fitted interior, h. 27‑3/4”, w. 19‑3/4”, d. 13‑1/2”. [300/500] Illustrated

831

832

836 Restauration Mahogany Child’s Fauteuil, second quarter 19th century, the domed crest above a padded back, joined by downswept arms on scrolling uprights to the padded seat, raised on line-inlaid bulbous legs ending in pad feet, upholstered in needlework depicting a variety of animals, h. 31‑1/2”. [500/800] Illustrated

836

155

837 Pair of French Restauration-Style Patinated Tole and Gilt-Bronze Moderator Lamps, first quarter 20th century, the octagonal foot decorated with a ring of laurel leaves, supporting the elongated urn standard, mounted with gilt-bronze masques and cornucopia, h. 38‑1/2”, dia. 7”. [300/500] Illustrated

839

838 Handsome Pair of Louis-Philippe Marble, Bronze and Glass Cornucopia Vases, mid-19th century, the black marble bases with molded bronze goat’s head holders set with blown and frosted colorless glass vases cut in a grid pattern, h. 11‑1/4”, w. 9‑1/4”, d. 3‑1/4”. [500/800] Illustrated 839 French Empire-Style Gilt-Bronze and Tole FiveLight Chandelier, second quarter 20th century, with swan-form arms, h. 12”, dia. 15‑1/2”. [300/500] Illustrated 841

840 Pair of Neoclassical-Style Molded Gilt Candlesticks, third quarter 20th century, on stepped Egyptian marble bases, h. 17”, w. 6”, d. 6”. [700/1000]

837

838

156

843

842 French Bronze and Verde Antique Marble Urn, first quarter 20th century, in the Louis XV style, mounted with bronze flower swags and a pierced border, with ram’s head handles and a marble cover, with a floriform finial, h. 26‑1/2”, dia. 7”. [400/700] Illustrated

842

843 Louis-Philippe Giltwood Mirror, mid-19th century, with beaded inner trim and ropemolded outer trim, h. 46”, w. 33‑1/2”. [400/700] Illustrated 844 Pair of Biedermeier Mahogany Sidechairs, mid-19th century, each with a domed and curved solid back with an inlaid half-patera, the padded seat raised on tapering square legs, h. 36‑1/2”. [450/700] Illustrated 841 Pair of French Patinated Bronze and Rosso Antico Marble Lamps, fourth quarter 19th century, in the Louis XV style, the patinated bronze urn-form lamps decorated with molded escutcheons, laurel branches and guilloche trim, and mounted with gilt-bronze horned satyr’s head handles, above fluted rosso antico marble bases with gilt-bronze trim and feet, base, h.16”, overall, h. 18”, w. 6”, d. 5”. [800/1200] Illustrated

845 Large Pair of Classical-Style Cast Plaster and Polychromed Pedestals, 20th century, h. 34‑1/2”, dia. 20”. [300/500] Illustrated

845

844

157

851

846 Pair of Monumental Neoclassical Polychrome Composite Pedestals, of square form, the stepped top above a base with intertwined dolphins applied to one side, raised on a molded square base, h. 54”, w. 36‑1/2”, d. 36‑1/2”. [400/700] Illustrated 847 Pair of Napoleon III-Style Bronze-Mounted, Ebonized and Burl-Veneered Pedestals, 20th century, h. 40”, w. 13‑1/2”, d. 13‑1/2”. [200/400]

846 one of two

158

852

848 Three-Piece Biedermeier Walnut Parlor Suite, mid-19th century, including a sofa and two fauteuils, the sofa with a rounded crest rail and earred ends, above a padded back joined by flat arms to the like seat, raised on banded scrolling legs, h. 42”, w. 66”, d. 25‑1/2”, the fauteuils each with a padded domed back joined by padded outscrolled arms to the like seat, raised on outscrolled legs, h. 39‑1/2”. [1500/2500] Illustrated

848 one of three

853

855

849 Pair of Neoclassical-Style Giltwood Campana-Form Urns, mid-20th century, probably French, decorated with garlands of flowers and acanthus leaves, h. 33”, dia. 23”. Provenance: Estate of Buzz Harper, New Orleans, Louisiana and Natchez, Mississippi. [300/500] 850 Assembled Pair of French Cast Iron Campana-Form Garden Urns, ca. 1900, h. 20‑3/4”, dia. 14”. [500/800] 851 Sonia Kouyoumdjian (American, Contemporary), collection of three works on paper, two titled “Figure in a Room”, one “Studio Figure”, each with a “Carol Robinson Gallery” label en verso, sizes: 5‑1/8” x 8”, 7” x 10” and 8” x 6‑3/8”. Each glazed, matted and framed alike. [200/400] Illustrated

854 Charles Malcolm Campbell (American, 1905‑1985), “Untitled Nude”, oil on canvas, signed lower right, 28” x 37”. Presented in a carved hardwood frame. To be sold for the benefit of the Ogden Museum of Southern Art. [200/400] 855 Jean-Gabriel Domergue (French, 1889‑1962), “Nu de Femme Blonde”, oil on board, signed lower left, 13” x 9‑1/2”. Framed. [2500/4500] Illustrated 856 Emanuel Romano Glicenstein (Italian/New York, 1897‑1984), “Nude with Mountains in Background”, oil on paper, signed lower right, 21‑1/2” x 29‑1/2”. Framed. Born in Rome, Emanuel Glicenstein, thought at the City College in New York and exhibited at such venerable institutions as the Art Institute of Chicago, The Pennsylvania Academy of Fine Arts and Whitney Museum of American Art. [600/900] Illustrated

852 Manner of Jean-Gabriel Domergue (French, 1889‑1962), “La Parisienne”, oil on canvas, signed lower right, 24” x 20”. Framed. [800/1200] Illustrated 853 Norwood Hodge MacGilvary ( American, 1874‑1949), “Repose”, pastel on paper, signed lower left, sight 16” x 19”. Glazed, matted and framed. [400/700] Illustrated 856

159

861 Continental School (20th Century), “Visage”, chalk and pastel on paper, unsigned, sight 16‑3/4” x 11‑1/4”. Glazed and framed. [250/400] 862 John R. Good (American, 20th Century), “Banjo Player”, acrylic on paper, signed lower right, 20‑1/4” x 7‑1/2”. Glazed and framed. [500/800] Illustrated 863 Continental School (20th Century), “Ecorche”, watercolor on paper, unsigned, sight 14” x 8”. Glazed and framed. [250/400] 864 Hungarian School (20th Century), “Red-tailed Parrot”, 1972, oil on canvas, signed “jaszney”lower right, signed and dated en verso canvas, 23‑1/2” x 28”. Framed. [200/400]

857

865

857 Helge Helme (Danish, 1894‑1987), “Contemplation”, oil on canvas, signed lower right, 13” x 10”. Framed. [700/1000] Illustrated 858 Albert Kayter (American, 20th Century), “Untitled I” and “Untitled II”, 1951, ink and ink wash on paper, each signed, dated, and inscribed “To Marilyn”, 9‑1/2” x 5‑1/4”. Glazed and framed alike. [250/400] 859 French School (20th Century), “Etude Nue”, oil on canvas, monogrammed “OS” lower left, 8‑3/4” x 13”. Unframed. [250/400] 860 862 Nicholas Takis (American, 1903‑1965), “Two Nudes”, oil on board, signed lower left, 14‑1/2” x 10‑3/4”. Framed. [250/400]

160

865 American Late Classical Mahogany and ParcelGilt Drop-Leaf Breakfast Table, first quarter 19th century, New York, h. 29‑1/2”, w. 26”, d. 40”, extended w. 56”. Provenance: The Towers Plantation, Natchez, Mississippi. [200/400] Illustrated 866 New England Classical Parcel-Gilt Tabernacle Mirror, the top panel with a Hudson River Valley type oil on canvas, with stamped brass corner medallions, h. 29‑3/4”, w. 13‑3/4”. [200/400] 867 Colonial Revival Blown Glass Hurricane Shade, mid20th century, with a folded foot rim, h. 17”, dia. 6‑1/4”. [200/400]

868 Collection of Nineteen Miniature Silhouettes, by Beatrix Sherman (American, 1894‑1975), depicting bust-size portraits of gentlemen in profile, one signed, some identified in margins, sizes approximately 5” x 4”. All glazed and framed alike. Provenance: Former collection of the artist. [500/800] Illustrated

868 one of nineteen

869 American Classical Giltwood and Stenciled Mahogany Pier Table, ca. 1825, New York, h. 36‑3/4”, w. 42”, d. 17‑1/2”. [1000/1500] Illustrated

869

873 American Late Classical Mahogany Drop-Leaf Breakfast Table, mid-19th century, the top flanked by single-board drop leaves, the apron fitted with a molded door, on a columnar gadrooned pedestal joined to a concave base with foliate-carved paw feet, h. 28‑3/4”, w. 44‑1/4”, d. 23‑3/4”, extended d. 48”. [250/400] Illustrated

870 one of twelve

872

870 Collection of Twelve Silhouettes, by Beatrix Sherman (American, 1894‑1975), depicting standing gentlemen, some identified in the margins, two signed, sizes approximately 11” x 5”. All glazed and framed alike. Provenance: Former collection of the artist. [500/800] Illustrated 871 American Late Classical Mahogany Drop-Leaf Work Table, second quarter 19th century, with a pair of molded drawers on a shaped pedestal, h. 28‑3/4”, w. 19”, l. 20”, extended l. 35‑1/2”. [200/400] 872 Philadelphia Classical Mahogany Card Table, second quarter 19th century, with ebonized carved paw feet, h. 29”, w. 33‑3/4”, d. 17‑3/4”. [400/700] Illustrated

873

161

874

875 American Classical Triple-Decker Mantel Clock, second quarter 19th century, labeled “C & L. C. Ives, Bristol, Ct.” (1810‑1862), mounted with eight-day weightdriven brass works, in a mahogany-veneered and parcelgilt case, h. 35‑1/2”, w. 17‑1/2”, d. 5‑3/4”. [200/400] Illustrated 876 Brass and Marble Solar Table Lamp, third quarter 19th century, New York, attributed to Dietz & Co., the double-stepped base supporting a vase-shaped standard decorated with scrollwork and stippling on faceted sides, the flute-molded font prism-hung and set with a later blown, cut and engraved glass shade, h. 21”, dia. 8‑1/2”. [300/500] 877 Late Classical Giltwood Bipartite Looking Glass, late 19th century, h. 38‑1/2”, w. 24‑1/2”. [200/400]

874 Two American Astral Lamps, third quarter 19th century, one a labeled Cornelius and Baker gilt-lacquered example with a marble base and “back-cut Albert” spear prisms, h. 15”, the other a white overlay cut-to-clear example with a milk glass vase, h. 23‑1/4”. [200/300] Illustrated

878

875

878 Handsome Classical-Style Rosewood Mirror, the ogee frame decorated with beaded trim and carved acanthus leaves at each corner, and set with a beveled mirror plate, h. 79”, w. 53”. [500/800] Illustrated

162

879

879 American Late Classical Flame Mahogany Sideboard, second quarter 19th century, the case with a wide banded drawer above a pair of bottle drawers with cabinets on each side, raised on paw feet, h. 60”, w. 53”, d. 24”. [600/900] Illustrated 880 American Late Classical Mahogany Chest of Drawers, second quarter 19th century, with a central bank of five drawers flanked by spiral-twist columns and raised on carved paw feet, h. 40”, w. 43”, d. 23”. [300/500] Illustrated

883 881 Pair of American Classical Revival Mahogany TallPost Twin Beds, late 19th century, each with acanthuscarved posts supporting a scroll headboard, h. 74”, inside, w. 32‑1/2”, l. 75‑1/2”, outside, w. 38”, l. 81”. [700/1000]

880

882 American Late Classical Mahogany Secretary, second quarter 19th century, h. 75”, w. 46”, d. 21”. [300/500] 883 John S. Ryder (American, 19th Century), “Stormy Seascape”, oil on canvas, signed lower left, 19” x 31”. Presented in a handsome, period giltwood and gesso frame. [500/800] Illustrated 884 David Sherrin (British, 19th/20th Century), “Coastal Landscape”, oil on canvas, signed lower left “D. Sherrin”, 20” x 30”. Framed. [400/700] 885 Continental School (Second Quarter 20th Century), “Seascape with Fishing Boats” and “Fishing Boats Returning to Shore”, pair of oils on panel, both signed lower right “R. Covello”, 14” x 18”. Both attractively framed. [300/500] Illustrated

885 163

886 British School (Fourth Quarter 19th Century), “Marsh Landscape”, oil on canvasboard, illegibly signed lower right, 10” x 13‑1/2”. Presented in a giltwood frame affixed with an artist plaque, incised “Alfred G. Bell”. [200/400]

889

887 British School (First Quarter 20th Century), “Country Road”, oil on canvas, signed lower left “Foster”, 11‑1/2” x 17‑1/2”. Framed. [400/700]

890 888

888 Pair of American Decorative Painted Panels of Monhegan Island, Maine, 20th century, oil on canvas, each 60” x 25”. Framed alike. [700/1000] Illustrated 889 Marble and Gilt-Metal Figural Mantel Clock, ca. 1900, probably American, the rouge marble base set with a hand-painted porcelain dial, and a figure of a classical muse playing a harp, h. 23‑1/2”, w. 15”, d. 8‑1/2”. [300/500] Illustrated 890 Pair of Napoleon III Bronze and Marble Five-Light Candelabra, third quarter 19th century, on red griotte marble bases set with vasiform standards and incised candle branches, h. 25‑1/2”, dia. 10‑1/2”. [800/1200] Illustrated

164

893 Three American Victorian Chairs, late 19th century, including a pair of caned walnut sidechairs, attributed to George Hunzinger (1835‑1898), h. 35‑1/2”, w. 18”, d. 19‑1/2”, and an oak folding rocker with stick-and-ball decoration in the back, h. 36”, w. 19‑1/2”, d. 30‑1/2”. [350/500] Illustrated

893

891 Pair of Napoleon III Bronze and Marble Egyptian Revival Garniture Figures, third quarter 19th century, the female figures modeled leaning on Egyptian columns decorated with hieroglyphics, one carrying a water jug and the other a fan, signed “Bourety”, raised on black marble bases and mounted as lamps, base, h. 15‑1/2”, overall, h. 20‑3/4”, w. 6‑1/2”, d. 5‑3/4”. [1000/1500]

894 Cottage-Style Polychrome Bowfront Chest, the bowed top with a reeded edge, above a conforming case fitted with three short drawers over three long drawers, the upper drawers with floral accents, raised on ring-turned tapering circular legs, h. 38”, w. 38‑1/2”, d. 22‑1/4”. [300/500]

892 American Giltwood Framed Mirror, fourth quarter 19th century, decorated with ribbon-bound roses, h. 42”, w. 36”. [200/400]

895

897

895 American Eastlake Walnut Hall Tree, fourth quarter 19th century, with pierced and incised decoration, and iron drip pans under the umbrella racks, h. 91”, w. 37”, d. 11”. [400/700] Illustrated 896 American Eastlake Walnut and Marble-Top ThreeDrawer Chest, fourth quarter 19th century, with a chocolate brown marble top, h. 32‑1/2”, w. 36‑3/4”, d. 16‑1/4”. [200/400] 897 Attributed to Bernard Moses (German/New Orleans, 1832‑1899), “Portrait of Isidore Pollatsek”, canvas laid on plywood, 23” x 20”. Presented in a period giltwood and gesso frame. [300/500] Illustrated 165

898 Attributed to Bernard Moses (German/New Orleans, 1832‑1899), “Portrait of a Child, Probably Olga Pollatsek”, oval oil on canvas, 24” x 20”. Presented in a period giltwood and gesso frame. [300/500]

899 899 American School (Fourth Quarter 19th Century), “Portrait of a Captain”, oil on canvas, 24” x 18”. Presented in a period frame. [300/500] Illustrated

902

905

900 After John Singer Sargent (American, 1856‑1925), “The Misses Vickers”, acrylic on canvas, contemporary, signed lower right “T. Kennedy”, 36” x 48”. Framed. [300/500] 901 American Photogravure of “The Boyar’s Wedding Feast”, 1885, after the 1883 work by Konstantin Makovsky (Russian, 1839‑1915), published by Charles Schumann, New York, sight 20‑1/2” x 33”. Glazed and framed. [300/500] 902 American Aesthetic Movement Marquetry-Inlaid Birdseye Maple and Maple Bureau, ca. 1875‑1880, the back of the case with the incised stamp “Herter Bros.”, the furniture design, manufacturing and decorating firm led by Christian Herter, New York City, the case with a pair of pedestal ends joined by a shelf fitted with a pair drawers supporting a tall beveled mirror in a fluted frame, the dentillated cornice with ribbon, bellflower and beaded swag inlays, the upper pedestal drawer with like inlay, h. 83”, w. 76‑3/4”, d. 20‑3/4”. [1000/1500] Illustrated 903 American Aesthetic Movement Ebonized Occasional Table, fourth quarter 19th century, with a rectilinear inset leather top, and a molded and scalloped support, the legs joined by box stretchers, each with a giltincised panel, h. 29”, w. 33”, d. 24”. [200/400]

166

904 Pair of Aesthetic Movement Motherof-Pearl- and BrassInlaid Mahogany Sidechairs, fourth quarter 19th century, each with a wreathcarved crest centered by inlay, flanked by line and leaf motherof-pearl and brass inlay, the top and bottom edges of the top rail with motherof pearl-banding, the tapering front legs reeded, h. 35‑1/2”. [500/800]

906

906 American Late Victorian Lacquered Brass and Copper Three-Arm Electrolier, ca. 1890, now fitted with art glass standards, each marked “L.V. Craismare”, h. 57”, dia. 23”. [350/500] Illustrated 907 American Texas Longhorn Chair, early 20th century, h. 44”, w. 31”, d. 28”. [1000/1500] Illustrated 908 Unusual Horn Textured Armchair in the Rococo Revival Taste, with boar’s head terminals on the arms, h. 39”, w. 24‑1/2”. [500/800]

905 French Aesthetic Movement GiltBronze and Porcelain Six-Light Chandelier, fourth quarter 19th century, the bamboo-molded bronze frame supporting three double socket candle arms, the porcelain bowl decorated with scrollwork and griffin heads on a cobalt ground, with matching bamboomolded chain and canopy, h. 31”, dia. 17‑1/2”. [450/700] Illustrated

909 Edgar Allan Poe (American, 1809‑1849), Works, New York & London: G. P. Putnam’s Sons, n.d. [ca. 1902], the Collector’s Eldorado edition, complete in ten volumes, number 22 of 150, medium octavo, with pale green buckram boards in half brown leather with gilt fillet, the spines with gilt lettering and decoration, with marbleized endpapers, the top edges cut and gilt, 8‑7/8” x 6‑1/8”. [500/800] Illustrated

909

907

910 Henry David Thoreau (American, 1817‑1862), Works, the Riverside, Cambridge edition, ten volumes (of eleven, lacking vol. IV), Boston & New York: HoughtonMifflin, 1892‑1893, duodecimo, in full green cloth, the spines with gilt lettering, the top edges cut and gilt, 7‑3/4” x 5‑1/4”. [300/500] 911 Battles and Leaders of the Civil War, New York: Century Co., 1884‑1888, complete in four volumes, edited by Robert Underwood Johnson and Clarence Clough Buel, imperial octavo, with brown cloth boards in brown half leather, the front board with gilt-stamped title within an oak-and-laurel wreath, the spine with raised bands and gilt titles and decoration, with marbleized endpapers and cut and gilt edges, 11‑3/8” x 8”. [200/400]

167

912

912 American Late Victorian Iron and Brass Bed, ca. 1900, the demi-lune head and foot posts with scrolling tubular brass and iron elements, joined with cast iron and brass mounts, h. 61”, inside, w. 48”, l. 79”, outside, w. 59‑1/2”, l. 85”. [800/1200] Illustrated 913 American Oak Curved Glass China Cabinet, ca. 1900, h. 63‑1/2”, w. 40”, d. 16”. [200/400]

915

914

914 Colonial Revival Inlaid Mahogany Five-Tube Tall Case Clock, fourth quarter 19th century, retailed by Tiffany & Co., the movement and tubes manufactured by Walter H. Durfee, Providence, Rhode Island, h. 93”, w. 24‑1/2”, d. 16”. [3000/5000] Illustrated 915 Three-Piece Collection of Faberge Glass, including a cut glass vase in a presentation box, h. 10”, dia. 4”, a ruby-stained cut glass vase in a presentation box, h. 3”, dia. 3‑1/4”, and a cranberrystained bottle coaster, dia. 4‑3/4”. [200/400] Illustrated

168

917

916 Eight Pieces of Decorative Glass, including three pieces of Bohemian enameled art glass, fourth quarter 19th century, consisting of a smoke-colored vase, attributed to Harrach, h. 7‑3/4”, a colorless pitcher, attributed to Rossler, h. 8‑1/2”, and a ribbed decanter, signed “Moser” and formerly fitted with a stopper, h. 8‑1/2”, a Scavo Glass amphora-form vase, 20th century, probably by Seguso, Murano, Italy, made in the ancient style with applied prunts and handles, h. 12”, dia. 3‑1/2”, an amber blown art glass vase, fourth quarter 19th century, probably Bohemian, h. 20‑1/2”, dia. 8‑1/4”, and three pieces of glass and pewter drinkware, ca. 1900, probably Bohemian, comprising an ale bottle with a pewter handle and a porcelain cap, h. 11‑1/4”, and two blown glass punch cups with polished pontils, set in pewter holders, h. 3”. [200/400]

919 two of five

918 Five-Piece Collection of French Amberina SwirlMolded Crystal, fourth quarter 19th century, including a round decanter with a matching stopper, h. 11‑1/2”, dia. 5”, and four graduated cologne bottles with matching stoppers, h. 5” to 7‑3/4”, each piece with polished pontil marks. [500/800] 919 Five-Piece American Painted Wicker Living Room/ Porch Set, first quarter 20th century, including a sofa, h. 38”, w. 72‑1/2”, a pair of rockers, h. 40”, w. 29‑1/2”, an armchair, h. 38”, w. 29‑1/2”, and a lamp table, h. 30”, w. 48”. [1000/1500] Illustrated 920 American School (Fourth Quarter 19th Century), “Portrait of a Man in a Brown Vest”, 26” x 20”. Presented in a giltwood frame. [200/400] 921 American School (First Quarter 20th Century), “Portrait of a Distinguished Gentleman”, oil on canvas, illegibly signed lower right, 24” x 20”. Handsomely framed. [200/400] 922 Bob Parks (American, b. 1948), “The Hunter or The Hunted”, 1976, bronze, signed, numbered “3/15”, titled, and with copyright mark, on a carved wood base, h. 10‑1/2”, w. 35‑1/2”, d. 21‑1/2”. [1500/2500] Illustrated

917 Galle Faience Cat, ca. 1900, Nancy, France, modeled wearing a ribbon with the name “La Signora Colombina”, the name probably taken from a character in “Commedia dell’arte”, hung with a miniature portrait of a dog in a harlequin costume, with glass eyes, signed “E. Galle” on the rear foot, h. 13‑1/2”, w. 6‑1/2”, d. 4‑1/2”. [600/900] Illustrated

923

922

923 Bob Parks (American, b. 1948), “Marlboro Country”, 1974, bronze, signed and numbered “4/25”, and with copyright mark, on a carved wood base, h. 17‑1/2”, w. 36”, d. 11‑1/2”. [1500/2500] Illustrated 924 Veryl Goodnight (American, b. 1947), “Preening”, 1978, bronze, signed, dated, and numbered “19/50” at underside of branch, on a shaped wood base, h. 8‑1/2”, w. 8”, d. 9”. [500/800] 169

925 Two Pieces of Pueblo Blackware Pottery, 20th century, including an olla by Isabel “Belle” Montoya Atencio (1898‑1996), San Ildefonso, with black slip geometric decoration, h. 4‑1/8”, dia. 5‑1/4”, and a shallow vase by Anita Louise Suazo (b. 1937), Santa Clara, with incised “melon” decoration, h. 2‑1/2”, dia. 6‑1/4”, both signed. [200/400] Illustrated

927

925

926 Large Mata Ortiz Blackware Pot, 20th century, signed “Tomas Ozuna”, with slip decoration of eagle feather banding and stylized foliate panels, h. 12”, dia. 12”. [400/700] Illustrated 927 Three Pieces of Pueblo Redware Pottery, 20th century, including a bowl by Josephine Cordova Vigil (1927‑2001), San Ildefonso, with incised “cloud” decoration, h. 3‑1/8”, dia. 4‑1/2”, an olla by Myrtle Cata (b. 1953), San Juan, with “snow” decoration on the shoulders, h. 7‑3/4”, dia. 5‑3/4”, and a bowl by Armando Rodriguez, Mata Ortiz, with black “basket” decoration, h. 3‑3/4”, dia. 5‑1/4”. [200/400] Illustrated

926

928 Tiffany Favrile Glass Candlestick Lamp, ca. 1900, New York, signed “LCT” adjacent to the polished pontil, set with a pulled feather “candle”, set with a Plume and Atwood “acorn” burner and a twilight shade holder, the gold iridescent stretch glass shade unsigned, h. 14”, dia. 7”. [1000/1500] Illustrated 929 Tiffany Favrile Glass Iridescent Bowl, ca. 1900, New York, with a scalloped edge, signed “1284 L.C.T. Favrile” on the bottom around the ground pontil, h. 3‑1/4”, dia. 8‑1/2”. Provenance: Purchased ca. 1920, Tiffany and Co., New York, New York; Private collection, Oklahoma. [300/500] Illustrated

928

930 Orient and Flume Iridescent Art Glass Trumpet Vase, post1972, Chico, California, decorated with blue dahlias, and signed by artist Bruce Sillars, retaining its paper label, h. 13”, dia. 5‑1/2”. [400/700] Illustrated 931 American Gilt-Metal and Art Glass Table Lamp, first quarter 20th century, the neoclassical gilt-metal mounts holding the “hooked feather” pattern vasiform glass standard, which holds three light sockets set with matching “hooked feather” shades, a smudge of silver paint on the neck of one shade suggests possible Steuben origin, unsigned, h. 25‑1/2”, dia. 12‑1/2”. [800/1200] Illustrated

170

929

931

932 Shearwater Pottery “Plantation Wine Bottle”, designed by Walter Inglis Anderson (1903‑1965) and thrown by Peter Anderson (1901‑1984), Ocean Springs, Mississippi, glazed in dusty blue, used in the late 1930’s to the early 1940’s, unmarked, with the exception of the word “porous” written in pencil on the bottom, h. 11‑1/2”, dia. 5”. Examples are illustrated in Shearwater Pottery, by Dod Stewart, p. 69. [900/1200] Illustrated

932 930

171

933 Reproduction Pepsi-Cola Pottery Syrup Dispenser, highly glazed and decorated with Arts and Crafts-style trees and rabbits, marked “Drink Pepsi Cola, 5 cents, Satisfying, Invigorating”, h. 18”, dia. 8‑1/2”. [500/800]

935

934 Pair of Arts and CraftsStyle Hammered Copper Bookends, first half 20th century, attributed to Newcomb College, New Orleans, Louisiana, h. 4‑3/4”, w. 6”, d. 4”. [300/500]

936 Set of Four A. Sibau Modern Chairs, made and labeled by A. Sibau, Udine, Italy, h. 35‑1/4”. [250/400] 937 Danish Modern Teak “Surfboard” Coffee Table, third quarter 20th century, after a design by Kurt Ostervig (Danish, 1912‑1986), h. 17‑1/2”, w. 23‑1/2”, l. 68”. [500/800] Illustrated

941

Similar bookends with cutout oak trees and Spanish moss are documented by Myrtle Pujol, and a related pair is in the Newcomb Art Collection, Tulane University.

937

935 Cast Stone Garden Sprite, after the Frank Lloyd Wright originals designed for Midway Gardens in Chicago, Illinois, in collaboration with Alfonso Iannelli, h. 40‑1/2”, w. 8‑1/2”, d. 8‑3/4”. [800/1200] Illustrated

938 Lin Emery (American/New Orleans, b. 1928), “Zig-Zag”, 1995, polished aluminum kinetic sculpture, signed and numbered “11/18” at base, h. 16. Provenance: Arthur Roger Gallery, New Orleans, Louisiana. [2000/4000] Illustrated 939 Interesting Contemporary Industrial Welded Steel Work Table, the top with inset marble tiles, h. 32‑1/2”, w. 36‑1/2”, l. 84‑1/2”. [800/1200] Illustrated 940 Interesting Contemporary Industrial Welded Steel Work Table, the top with inset marble tiles, h. 32‑1/2”, w. 36‑1/2”, l. 84‑1/2”. [800/1200] 941 Cattelan Italia “Valentino” Dining Table, contemporary, designed by Emanuele Zenere, with a thick beveled glass top resting on a blonde walnut “V”-form base with a cylindrical travertine support block, h. 29”, w. 42”, l. 82”. [1500/2500] Illustrated

939

172

938

173

942 Contemporary Gilt-Metal and Glass Hanging Three-Light Fixture, the pyramid-form shade set with scrolling metal grillwork and glass, concealing the light sockets, h. 24”, w. 24”, d. 24”. [300/500] Illustrated

945

942

946 French Cast Concrete Deer-Form Garden Figure, late 19th century, h. 37”, w. 15”, l. 29”. [1000/1500] Illustrated

946

943 Iron Strapwork Pierced Hemispherical Wall Planter and Stand, the wall planter with a tin insert, h. 24”, w. 16”, d. 10”, together with the strap-iron circular pot stand, h. 31”, dia. 11”. [300/500]

944

947 Pair of Cast Metal Cranes in the Japanese Taste, painted to resemble oxidized bronze, one depicted with his head turned back, h. 30‑1/2”, w. 13‑1/2”, d. 8‑1/2”. [300/500] Illustrated 944 Painted Metal Garden Table, mid-20th century, h. 27‑1/2”, dia. 38‑3/4”. [300/500] Illustrated

948 Pair of Painted Metal Cranes, in the Japanese taste, painted with a faux bronze patina, h. 29”, w. 9‑1/4”. [300/500]

945 Set of Six French Painted Iron Garden Chairs, first quarter 20th century, with pierced sheet iron seats, h. 32‑1/2”. [500/800] Illustrated

949 Patinated Copper Sailboat-Form Weathervane, 20th century, on an iron stand, h. 42‑1/4”, w. 4‑1/2”, l. 28”. [500/800] Illustrated

174

947

951 Post-Modern Enameled Metal and Glass Garden Table, the glass top above a faux-malachite metal base, h. 29‑3/4”, w. 36”, d. 36”. [300/500]

950

952 949

950 Set of Five Post-Modern Bar Stools, composed of silver-finished metal with crossed stretchers and “X”-form backs, h. 40”, w. 20”. [300/500] Illustrated

952 "Mario Vila" Contemporary Iron and Brass Bed of Directoire Inspiration, late 20th century, the tall posts supporting a tester frame, the headboard with a central brass ring on crossing supports with a queensize mattress frame, h. 83”, outside, w. 61‑1/2”, l. 82”. [400/700] Illustrated

175

953 Contemporary Parcel-Gilt Metal Three-Light Torchere, possibly Mario Villa, painted to resemble faux stone, wrapped with a gilt vine and set with cylindrical glass shades, h. 61”, w. 20”, w. 9‑1/2”. [200/400] Illustrated

953

955 Modern Chromed Steel and Marble Low Table, the verdigris marble top on a frame with straight legs, h. 18”, w. 42”, d. 42”. [300/500] Illustrated

955

956 Contemporary Hollohaza Porcelain Vase, 20th century, Hungarian, h. 14‑3/4”, w. 5‑3/4”. [500/800] Illustrated 957 Post-Modern Garden Table, with a bronze-finished metal base, mounted with a glass top, h. 29‑1/2”, dia. 60”. [400/700] Illustrated

954 Contemporary Cast Iron Bedstead, the headboard with two pairs of horizontal rails joined by a row of uprights, crafted to accommodate a queen-size mattress, h. 60”, outside, w. 62”, l. 71”. [200/400]

176

956

958 Pair of Knoll Cantilevered Steel “Brno” Chairs, fourth quarter 20th century, after a Mies van der Rohe design, labeled under the seat, h. 32”, w. 23”, d. 30‑1/2”. [500/800] Illustrated 957

959 Pair of Mid-Century Modern Lucite Pedestal Tables, mid-20th century, each with a beveled square top raised on a square columnar base, h. 45”, w. 20”, d. 20”. [300/500]

960

958

960 Patchwork Kilim Carpet, 5’ 10” x 7’ 9”. [400/700] Illustrated 961 Patchwork Kilim Carpet, 5’ x 6’ 10”. [300/500] Illustrated 962 Patchwork Kilim Carpet, 3’ 4” x 5’. [200/400] 963 Patchwork Kilim Carpet, 5’ 4” x 7’ 10”. [450/700] 961 177

964 Patchwork Kilim Carpet, 5’ 10” x 7’ 9”. [400/700] 965 Patchwork Kilim Carpet, 3’ 4” x 4’ 10”. [200/400] Illustrated 966 Modern Contemporary Flat-weave Carpet, 5’ 10” x 7’ 8”. [400/700] Illustrated

967

965

967 Set of Eight Steel “Brno” Chairs, after a design by Mies van der Rohe (German/American, 1886‑1969), h. 35‑1/2”, w. 23”, d. 22”. [1500/2500] Illustrated 968 American Mid-Century Modern “Parallel Bar” Steel-Frame Sofa, third quarter 20th century, attributed to Knoll, after a design by Florence Knoll (American, b. 1917), h. 30”, w. 84”, d. 34”. [300/500] Illustrated 969 American Mid-Century Modern “Parallel Bar” Steel-Frame Sofa, third quarter 20th century, attributed to Knoll, after a design by Florence Knoll (American, b. 1917), h. 30”, w. 84”, d. 34”. [300/500] Illustrated 970 Contemporary Fiberglass Floor Vase, 20th century, h. 56”, dia. 8”. [200/400] Illustrated 971 Molded Fiberglass and Aluminum Ball Chair, designed in 1963 by Eero Aarnio, of spherical form with an interior lined with cushioned black upholstery, h. 46”, w. 40”, d. 37”. [800/1200] Illustrated

966 178

968

970

969

971

972 French Patinated Bronze Vide Poche, ca. 1900, depicting cherubs frolicking in the waves, after Clodion (Claude Michel, French, 1738‑1814), cast signature en verso, dia. 12‑7/8”. [400/700] Illustrated

972

179

976 977

973 Renaissance-Style Cast Metal Door Porter, fourth quarter 19th century, probably English, masque-molded with Gothic piercing and having a patinated bronze finish, h. 14‑3/4”, w. 6”, d. 2‑1/4”. [300/500]

975 George Vuillard (French, 20th Century), “In the Shade”, oil on canvasboard, signed lower right, 24” x 19‑3/4”. Framed. [500/800] Illustrated 976 Unusual French Majolica Jardiniere on Stand, ca. 1900, with a lion’s head monopodia base with “France” painted on the bottom, and an Art Nouveau bowl, the whole decorated with a mottled oxblood and malachite glaze, h. 39‑3/4”, dia. 40”. [1000/1500] Illustrated 977 Art Nouveau-Style Carved Mahogany Mirror, with swirling leaves supporting the base of the oval mirror, framed with pierced swirling tendrils holding leaves and apples, h. 46”, w. 38‑1/2”. [1200/1800] Illustrated 975

974 Continental Bronze Art Nouveau Vase, ca. 1900, decorated with masques of women, their swirling hair mingling with twining branches of oak, h. 8‑1/2”, dia. 5”. [300/500] 180

978 French Patinated Bronze of “Melodie”, ca. 1900, after Albert-Ernest Carrier-Belleuse (1824‑1887), cast signature and marked “Hors Concours” at side, h. 30”, w. 17‑1/2”, d. 14”. [1500/2500] Illustrated

978

979

980

979 French Patinated Bronze of “Diana”, first quarter 20th century, after Pierre Roche (French, 1855‑1922), incised signature en verso, on a stepped black marble plinth, overall, h. 28”, w. 13”, d. 9‑1/2”. [350/500] Illustrated 980 Art Nouveau-Style Patinated Bronze Figure, depicting a little girl standing on a chair, a rat sitting underneath, h. 13‑3/4”. [200/400] Illustrated 981 French Bronze of a Man, first or second quarter 20th century, after the 1864 portrait of “A Man with a Broken Nose” by Auguste Rodin (French, 1840‑1917), on a black marble plinth, h. 14‑1/2”, w. 6”, d. 7”. [300/500] Illustrated

981

982 Emmanuel Villanis (French, 1858‑1914), “The Naiad Tanagra”, bronze, personification of the ancient Greek town in Boeotia, cast signature at back, “Societe des Bronzes de Paris” foundry mark on base, inscribed “BI/4651”, h. 24”, w. 13”, d. 10”. [1000/1500]

181

983 Contemporary Brushed Metal and Marble-Top Console Table, the long Rouge Royale marble top with a molded edge and raised on three S-scroll metal supports, h. 36”, w. 80”, d. 20‑1/2”. [500/800] Illustrated

983

985 Unusual Contemporary Double-Sided Sofa by Nancy Corzine, with rolled armrests and reversible cushions, raised on short tapered square legs, upholstered in Jack Larsen silk “Dragonseed” fabric, h. 31”, w. 67”, d. 74”. [1000/1500] Illustrated 986 Pedro Friedeberg (Mexican, b. 1937), “Damas Cocodrilopenas”, 1973, lithograph in colors, signed and dated lower right, numbered lower left “31/60”, sight 20‑1/2” x 20‑1/2”. Glazed, matted and framed. [300/500] Illustrated

984 A Carved Wood Bird, 20th century, the figure caught in mid-flight with outspread wings, h. 10, w. 33, d. 22, with a brushed aluminum swing frame, overall, h. 64. [1500/2500] Illustrated

984

986

987 Pair of Hepplewhite-Style Giltwood Consoles, 20th century, fitted with shaped tops, h. 28”, w. 33”, d. 17‑1/4”. [400/700] 988 Queen Anne-Style Giltwood Side Table, the frieze with a single drawer, raised on cabriole legs, h. 32”, w. 36”, d. 14”. [200/400] 989 Koch & Lowy, Avon, Massachusetts, Adjustable Tent-Shaded Floor Lamp, ca. 1960‑1970, the brass lamp marked “K&L69” on the weighted base, h. 39” (adjustable), w. 16‑1/2”, d. 6‑1/4”. [200/400] 990 Candice Olson Contemporary Sofa, upholstered in paprika-colored velvet, the arms trimmed with brass tacks, h. 39‑1/2”, w. 75‑1/2”, d. 36”. [300/500] Illustrated

182

985

992 Modern Carpet, 8’ 6” x 11’ 6”. [800/1200] Illustrated

990

991 Contemporary Marble Center Table, the rectangular top with canted corners and brass banding, raised on a single pedestal of canted rectangular form, h. 30”, w. 79”, d. 44”. [800/1200] Illustrated

991 992 183

993

995 184

994

998

993 Modern Carpet, 8’ x 9’ 9”. [800/1200] Illustrated 994 Scandinavian Modern Design Runner, 2’ 10” x 11’ 8”. [400/700] Illustrated 995 Nepal Art Deco Carpet, 7’ 6” x 9’ 6”. [700/1000] Illustrated

997

996 Pottery Sculpture in the Form of an Intertwined Root Ball, 20th century, h. 24”, w. 11”. [200/400] 997 Modern Brass and Burgundy-Lacquered Python Mirror, ca. 1975, attributed to Karl Springer, the mirror plate set in a molded frame, the top with a lacquered brass mount, h. 39‑3/4”, w. 27‑3/4”, d. 3”. [700/1000] Illustrated 998 Nancy Corzine Contemporary Polychromed Chaise Longue, in the “Fontaine” model, upholstered in a colorful harlequin corduroy fabric by Scalamandre, 999 h. 34”, w. 35”, l. 72”. [1000/1500] Illustrated 999 Carved Marble Bust of “The Water Spirit”, 20th century, h. 19‑1/2”, w. 13”, d. 7‑1/4”. [250/400] Illustrated 1000 Post-Modern Mirror, the wide frame covered in green pigskin and metal nailheads in a Flanders weave pattern, and set with a beveled mirror plate, h. 36‑3/4”, w. 35‑3/4”. [300/500]

185

1001 Postmodern Looking Glass, with three graduated beveled mirror plates in a colorless glass and chrome frame, h. 32”, w. 31‑3/4”, d. 1”. [300/500]

1002

1002 Hagenauer Werkstatte, Vienna, Austria, Brass Lady Lamp, second quarter 20th century, the figure on tiptoes, the arm reaching up, mounted on a later brass base, fitted with an oval white silk shade, unsigned, electrified, figural elements with base, h. 13‑1/2”, overall, h. 22”. [700/1000] Illustrated

186

1003 Rare Collection of Four R. Brendel Mixed Media Floral Botanic Models, ca. 1900, Berlin, comprising a monkshood, No. 58, overall, h. 19‑1/4”, an evening primrose, No. 99, overall, h. 18‑1/2”, a common mallow, No. 92, overall, h. 19”, and a military orchid, No. 81a., overall, h. 9”, mounted on turned ebonized wood and rattan stands, each with the original paper label including the Latin classification. [400/700] Illustrated The firm of R. Brendel was founded in Breslau, Poland in 1866 by Carl Robert Brendel (ca. 1821‑1898), a native of Reichenbach, Silesia (now Dzierzoniow, Poland). The company produced botanical models of medicinal plants with the assistance of pharmacist Dr. Carl Leopold Lohmeyer (1799‑1873) in a wide variety of mixed media: wood, plaster, papier-mache, gelatin, lacquer, etc. The models, distinguished by their large scale, precise detail (often at a microscopic level), and their ability to be dismantled to see interior vegetal anatomy, soon became the industry standard in the golden age of botanical modeling. Brendel later produced agronomic specimens under the direction of Ferdinand Julius Cohn (1828‑1898), director of the Breslau Agricultural Station), and by the end of the century the company’s roster of consultants included the most important botanists of the day: Alexander Tschirch (1856‑1939) of Bern, Emerich Rathay (1845‑1900) of Klosterberg, and Leopold Kny (1841‑1916) and Carl Mueller (1855‑1907) of Berlin. After Brendel’s death on January 22, 1898, the company was assumed by his son Adolf Reinhold Brendel (1862‑1927) who moved the firm to Grunewald, a suburb of Berlin. R. Brendel was by then known throughout the world for its botanical models, winning awards at expositions in Cologne (1890), Chicago (1893), Paris (1900), Santiago (1902), St. Louis (1904) and Brussels (1910). The 1913 sales catalogue - distributed among a network of retailers throughout the world - included over 300 specimens ranging from simple models for high schools to complex assemblages for museums and universities. After the younger Brendel’s death in 1927, the company suffered under the ravages of the interwar years, although some models continued to be produced after the war by the firm of PhyWe of Goettingen (identifiable by their “PhyWe” label and lack of the distinctive earlier Brendel turned and black-lacquered wood and rattan base). As the models were produced generally for institutions, they rarely turn up in salerooms and are avidly sought by museums and collectors alike. For a lengthy history of R. Brendel and their wares, see G. Fiorini, L. Maekaw, et al. “Save the Plants: Conservation of Brendel Anatomical Botany Models” in The Book and Paper Annual #27 (2008), pp. 35‑45, which details the conservation project for the Brendel Collection at the University of Florence Department of Plant Biolog y and provides great insight into the models’ construction. (A photocopy of the article accompanies this lot).

1003

187

1004 Pair of Monumental Contemporary Gold and Rouge Mottled Glass Mosaic Flower-Form Trumpet Vases, h. 42‑3/4”, dia. 24‑3/4”. [300/500] Illustrated

1007 Contemporary “Rustic”-Style Painted Metal and Glass-Top Coffee Table, the frame molded to resemble bark and vines, h. 17”, w. 34”, d. 34”. [200/400]

1006

1004

1005 Six Vintage Milo Baughman for Thayer Coggin Chromed-Steel Dining Armchairs, 1970’s, upholstered in a later “tapestry” fabric, h. 28‑1/2”. [1800/2500] Illustrated

1005

1006 Maison Jansen-Style Brass, Steel and Glass-Top Coffee Table, fourth quarter 20th century, in the Roman neoclassical taste, h. 20”, w. 27‑1/2”, d. 15”. [300/500] Illustrated

188

1008 Two Contemporary Glass Graduated Trumpet-Form Floor Vases, h. 31‑1/2” and 59”. [250/400]

1011

1009 Iridescent Yellow and Orange Glass Trumpet-Form Footed Vase, 20th century, probably Murano, h. 24‑1/2”, dia. 14‑1/2”. [500/800] 1010 Pair of Cut Glass, Marble and Silverplate Two-Light Candelabra, second quarter 20th century, probably American, the green marble bases supporting the green cut glass standards, with silverplate fittings and central ball finials, electrified, h. 16‑1/2”, w. 10‑1/2”, d. 5‑1/4”. [450/700]

1014 Contemporary Black Leather Tufted Sofa of Chesterfield Inspiration, 20th century, on round brass casters, h. 26”, w. 59”, d. 37”. [300/500] Illustrated

1012

1014

1011 Cloisonne Enamel-Decorated Dome-Top Jewelry Casket, decorated with a pattern of grapes and grapevines growing on latticework, with green and blue leaves, and green and aubergine grapes against a mauve ground, marked “Made in Korea, Silver 88%”, h. 3‑1/2”, w. 6‑1/2”, d. 3‑1/4”. [400/700] Illustrated

1013

1015 Limoges “Peint Main” Posy-Form Scent Bottle, second quarter 20th century, French, h. 3‑3/4”. [200/400] 1016 Chinese Coromandel Eight-Panel Folding Screen, 19th/20th century, gilt and polychromed on black lacquer, one side depicting scores of birds in a garden setting, a rocky landscape on the reverse, h. 84”, w. 126”. [400/700] Illustrated

1012 Contemporary Marble Console, 20th century, in a gray marble with white veins, h. 29”, w. 62‑1/2”, d. 19‑1/2”. [300/500] Illustrated 1013 Contemporary Ebonized Coffee Table, with a frosted glass medial shelf and a thick plate glass top, h. 21”, w. 42”, d. 42”. [250/400] Illustrated 1016

189

1019 Anglo-Japonesque Bamboo and Lacquer Occasional Table, first quarter 20th century, h. 28‑1/2”, w. 22‑1/2”, d. 22‑1/2”. [450/700] Illustrated

1019

1017

1017 Anglo-Japonesque Bamboo Corner Chair, first quarter 20th century, with a rattan seat and a leopard print cushion, h. 32”, w. 17‑1/4”, d. 17‑1/4”. [250/400] Illustrated

1021 1018

1018 Unusual Contemporary Bamboo-Trimmed Bed, the stepped headboard painted with Impressionist-style flowers, h. 73”, outside, w. 66”, l. 85”. [500/800] Illustrated

190

1023

1023 Arts and Crafts Iron and Glass Garden Lantern in the Japanese Style, first quarter 20th century, possibly American, the pagoda-form center with glass-backed pierced sides and set with four down-turned lights, h. 37”, dia. 24”. [250/400] Illustrated

1026

1020 Pair of Continental Watercolor Scenes in the Japanese Style, mid-20th century, one depicting women writing on a scroll in a courtyard and the other a group of women dining around a low table, in pierced brass frames, h. 21”, w. 15‑3/4”. [500/800] 1021 Chinese Export Lacquered and Painted Sidechair, on a buff ground, with cabriole legs, h. 34‑3/4”. [300/500] Illustrated

1024

1024 Twenty-Eight Publications of Asian Art and History, comprising rare and out-of-print books on Chinese porcelains, antiques, art history, mythology and iconography, with books on Japanese art and history. Provenance: The Collection of Mr. & Mrs. Clarence E. Kendall, Jr., Houston, Texas. Complete list of titles available on request. [200/400] Illustrated 1025 Baccarat Molded Glass Art Deco-Style Horse, 20th century, marked on both the side and under one foot, h. 3‑1/4”, w. 3‑1/2”, d. 1‑1/4”. [200/400]

1022 Chinese Pewter Vase, mid-20th century, now mounted as a lamp, of traditional baluster form, trimmed in brass and mounted on an ebonized wooden base, base, h. 26”, overall, h. 37‑1/2”, dia. 10”. [200/400]

1026 Art Deco-Style Mahogany Veneer and Parcel Silver-Gilt “Hollywood” Vanity and Seat, from the Humphrey Bogart Collection, the vanity with composite stone tops, h. 70”, w. 65”, d. 18”, and the seat with a leather cushion top, h. 19”, dia. 16”. [800/1200] Illustrated

191

1027 French Art Deco Alabaster Figure of a Woman Reading en Dishabille, mounted on a stepped green marble base, depicted with her head on one hand and a letter in the other, h. 16‑1/4”, w. 22‑3/4”, d. 8‑3/4”. [400/700] Illustrated

1029

1027

1029 Thirteen-Piece Lalique Opalescent Glass “Coquilles” Pattern Set, second quarter 20th century, French, comprised of a serving bowl, dia. 9‑1/2”, six plates, dia. 7‑3/4”, and six dishes, dia. 5”, all with an engraved mark, “R. Lalique”, and various numbers. [300/500] Illustrated

1031

1028

1028 Marked Moser Art Deco Blown and Cut Mauve Glass Vase, ca. 1922‑1925, Czechoslovakia, the panelcut vase decorated with an etched and gilded band of neoclassical figures, the etched mark reading “Made in Czechoslovakia, Moser, Karlsbad”, and a pair of initials, h. 4‑1/4”, dia. 4”. [300/500] Illustrated

192

1030 Five-Piece Collection of Lalique Glass, 20th century, French, including an amber frangipani, dia. 3”, a colorless frangipani, dia. 3”, and a “Leda” figure, h. 4‑1/2”, all in their original boxes, together with two Lalique bougainvillea bud vases, h. 4” and 7”. [200/400] 1031 Lalique Molded and Frosted Crystal Crouching Cat, late 20th century, French, signed “Lalique, France”, h. 3‑3/4”, w. 4‑1/4”, l. 8”. [300/500] Illustrated 1032 Frederick Elliott Hart (American, 1943‑1999), “The Lovers”, 1991, acrylic resin, inscribed signature, dated, and numbered “285/350” at edge, h. 19‑1/2”, w. 10”, d. 6‑3/4”. [1500/2500] Illustrated

1032

1036

1036 Christofle Lumiere Songbird Figure, the silverplate songbird body set with green crystal, accompanied by the original Christofle box with paperwork, figure, h. 1‑1/2”. [200/400] Illustrated

1038

1033 Three Pieces of Signed Steuben Art Deco-Style Crystal, 20th century, Corning, New York, including a cornucopia vase, h. 7‑1/2”, dia. 5”, an olive dish, h. 3‑1/2”, dia. 5”, and a bell-shaped bowl, h. 3‑1/2”, dia. 5‑1/4”. [250/400] 1034 Cristallerie Daum Amber Frosted Glass Butterfly, 20th century, French, signed “Daum France”, in the original box, h. 2‑3/4”, w. 2‑1/2”, d. 3”. [200/400] 1035 Three Graduated Pairs of Tiffany & Co. Molded Crystal Candlesticks, marked, h. 5” to 11”. [200/400]

1037

1037 “Clambroth” Colored Blown Glass Vase, of large scale, h. 31”, dia. 13”. [500/800] Illustrated 1038 Pair of Art Deco Giltwood and Upholstered Bergeres, early 20th century, each with a tall padded and tufted back joined by like arms to the deep cushioned seat, the arms fronted by a gilt panel and raised on gilt ball feet, h. 40‑1/2”. [600/900] Illustrated

193

1040 Contemporary MetalMounted, Glazed and Ebonized Tri-Fold Screen, of generous proportions, each with three circular panels fitted with mirror plates and bisected by open panels, the molded edges of the panels fitted with polished metal, each panel, h. 94”, w. 17‑1/2”. [300/500] Illustrated 1039

1039 Contemporary Mirror-Mounted Ebonized Headboard, the headboard with a row of three circular mirrors set in a band of mirrors, together with a queensize metal frame, h. 66‑1/4”, outside, w. 67”, l. 83”. [400/700] Illustrated 1040

1041

1041 British Bronze of the “Spirit of Ecstasy”, second quarter 20th century, after Charles Sykes (British, 1875‑1950), cast signature at back, variation of the ca. 1910 hood ornament for the Rolls Royce car designed by Sykes, overall, h. 8‑3/4”, w. 3‑3/4”, d. 3‑3/4”. [300/500] Illustrated 1042

1043

194

1042 Pair of Art Deco-Style Silver Gilt and Mirrored Pylon-Form Pedestals, h. 31”, w. 12”, d. 12”. [400/700] Illustrated 1043 Pair of Contemporary Rock Crystal Table Lamps, the hexagonal faceted bases holding matching segmented standards with steel-plated fittings, base, h. 23”, overall, h. 33‑3/4”, dia. 7”. [3000/5000] Illustrated

1044

1044 Art Deco-Style Mirrored and Silver Gilt Dressing Table, with molded glass pulls, h. 31”, w. 52”, d. 24‑1/2”. [600/900] Illustrated

1046

1045 Art Deco-Style Mirrored and Silver Gilt Lingerie Chest, h. 50‑1/2”, w. 20”, d. 15‑1/2”. [400/700] Illustrated 1046 Mirror-Mounted Silver Gilt Torchere Stand, with segmented mirrors decorated with neoclassical rondels, h. 36”, dia. 16‑1/2”. [400/700] Illustrated

1047 1045

1047 Three Baccarat Graduated Cut Crystal Obelisks, 20th century, French, in their original boxes, h. 9‑3/4” to 17‑1/2”. [250/400] Illustrated 1048 Contemporary Brushed Steel and Brass Chess Set, 20th century, in a fitted wooden case, h. 4”, w. 13”, d. 8‑1/4”. [500/800]

195

1049 French Bronze of Siblings, 20th century, after C.J.R. Colinet (French, 1880‑1950), cast signature en verso of self-base, on a black marble plinth, h. 11”, w. 8‑1/2”, d. 4”. [400/700]

1051 Alexander Calder (American, 1898‑1976), “Tete de Hallebarde”, color lithograph, pencil-signed and numbered “72/99”, sheet 19‑1/2” x 12‑3/4”. Floatmounted, glazed and framed. Provenance: Nahan Galleries, New Orleans, Louisiana. [400/700] Illustrated

1050

1052

1051 1050 Alexander Calder (American. 1898‑1976), “Temptation of the Butterfly”, lithograph in colors, signed lower right, numbered lower left “14/20”, sheet 28‑3/4” x 42”. Glazed, float-mounted and framed. [800/1200] Illustrated 1054 196

1052 Victor Vasarely (Hungarian/French, 1906‑1997), “Bi-Cheyt”, serigraph in colors, pencil-signed lower right, numbered “29/250” lower left, sight 29‑1/2” x 27”. Glazed, matted and framed. [200/400] Illustrated 1053 Ben Shahn (American, 1898‑1969), “McCarthy Peace”, lithographic poster, signed in pencil mid-left, with the chop mark in red, sight 37‑1/2” x 24‑1/4”. Framed. [200/400] 1054 Michael Vollbracht (American, b. 1947), “The Discus Thrower”, gouache on paper, signed upper center, sight 59” x 39”. Glazed and framed. [700/1000] Illustrated 1055 Robert Gordy (American/Louisiana, 1933‑1986), “Women Climbing Stairs”, color silkscreen, pencil-signed lower right , numbered lower left “57/100”, sight 24‑1/4” x 32‑1/4”. Glazed and framed. [200/400] 1056 Vladimir Cora (American/Mexican, b. 1951), “Woman with Flower Pot”, monotype, signed lower right, 39” x 29”. Floatmounted and presented in an acrylic shadowbox frame. Provenance: B. Lewin Galleries, Palm Springs, California. [500/800] Illustrated 1057 Joseph Cibula (American, b. 1946), “Green-Headed Merganser Decoy”, watercolor and oil on board, signed “J. Cibula”, 35” x 47‑1/2”. Presented in a handsome, silverleaf frame. [800/1200] Illustrated

1056

1057

1058 Helen Forbes (American, 1891‑1945), “Banana Foliage”, 1934, oil on canvas, signed and inscribed lower center “Helen Forbes, Hawaii 34”, 40” x 20”. Framed. [400/700] Illustrated 1059 1058 Frank Piatek (American, b. 1944), “Untitled”, 1993‑1998, acrylic on canvas, signed and dated en verso, verso canvas with a “Klein Art Works, Chicago, IL” gallery label, 70” x 72”. [1200/1800] Illustrated 1059 197

1060

1062

1061

1063

1060 Steven Alexander (American, b. 1953), “Uccello Azzurro”, acrylic and gold leaf on paper, sheet 24” x 20”. Glazed, matted and framed. [200/400] Illustrated

198

1061 Michael Rich (American, b. 1953), “Summer Jazz XII”, 1997, monoprint on paper, pencil-signed, dated and titled, sight 24” x 20”. Glazed, matted and framed. [200/400] Illustrated

1062 Michael Rich (American, b. 1953), “Summer Jazz IX”, 1997, monoprint on paper, pencil-signed, dated and titled, sight 24” x 20”. Glazed, matted and framed. [200/400] Illustrated 1063 Michael Rich (American, b. 1953), “Summer Jazz X”, 1997, monoprint on paper, pencil-signed, dated and titled, sight 24” x 20”. Glazed, matted and framed. [200/400] Illustrated

1066 Audra Kohout (American, Contemporary), “The Beekeepers”, 2001, shadowbox assemblage of antique doll parts, industrial refuse and marbles, signed, dated and titled en verso, h. 12”, w. 10‑1/4”, d. 8”. Provenance: Heriard-Cimino Gallery, New Orleans, Louisiana. [600/900] 1067 Robin Levy (American/New Orleans, Contemporary), “Untitled”, wax, oil and plaster composition, from the “Take it or Leave it Series No. 8”, h. 4”, w. 4”, d. 6”. Provenance: Arthur Roger Gallery, New Orleans, Louisiana. Exhibited: Contemporary Arts Center, New Orleans, Louisiana, October, 2004. [400/700]

1068 1065

1064 Continental School (Contemporary), “Dreamer”, oil on canvas, illegibly signed lower right, 70” x 23”. Framed. [200/400]

1068 Jaq Chartier (American/Washington, Contemporary), “4‑Blues/Reactions”, 2003, mixed media on wood panel, signed and dated en verso, 7” x 7”. Provenance: William Traver Gallery, Seattle, Washington. [400/700] Illustrated

1065 Steve Martin (American/Louisiana, Contemporary), “Mystified By Life’s Simple Pleasures”, acrylic on canvas, signed and dated en verso, 40” x 30”. Unframed. [1200/1800] Illustrated

1069 Randy Asprodites (American/New Orleans, Contemporary), “Untitled”, 2002, oil on canvas, signed and dated en verso, 24” x 18”. In a thin gallery frame. [400/700]

199

1070 Konstantin Chmutin (Russian, b. 1953), “Potato ‘91”, edition of 60, and “Pepper ‘95”, edition of 55, two black and white mezzotints, both signed in pencil lower right, titled lower middle and numbered lower left, sheet 14‑3/4” x 15‑5/8”. Unframed. Provenance: Stone Press Galleries, New Orleans, Louisiana. [200/400]

1074

1074 American Gothic Revival Walnut Hall Tree, third quarter 19th century, the arched mirror plate flanked by narrower mirrors with Gothic tracery, the opencarved crest with carved spires, oak leaves and trefoils, the Tennessee marble top over a frieze with an inset rondel, each end of the frieze fitted with a drawer, raised on turned columns joined to a molded platform base, h. 98‑1/2”, w. 46”, d. 19”. [1200/1800] Illustrated 1075 American Late Classical Mahogany “Wig” Dresser in the Gothic Taste, mid-19th century, attributed to Mitchell and Rammelsberg, Cincinnati, Ohio, the upper section with a molded cornice over a rectilinear looking glass, a cabinet supports the base with a marble top over a pair of drawers flanked by cupboard doors, h. 85”, w. 49”, d. 22”. [800/1200] Illustrated 1076 American Restauration Mahogany Dressing Bureau, mid-19th century, probably made for the Antebellum New Orleans market, the hexagonal looking glass on wishbone supports, joined to a base with a marble top, the case with a molded drawer over two graduated drawers, framed with beaded molding, h. 70‑1/2”, w. 42‑1/4”, d. 21‑1/2”. [300/500] Illustrated

1075

1071 Maria Scotti (American, 1942‑2012), “Florence Flood of 1966”, four oils on wood panels, 1989, all signed and dated, sizes 5” x 6‑1/8” to 6‑1/8” x 9‑1/2”. [200/400] 1072 Maria Scotti (American, 1942‑2012), “Catch” (Woman & Child), mixed media on paper, verso with a “Sylvia Schmidt Gallery” label, 44” x 33”. Glazed, gallery float mounted, matted and framed. [500/800] 1073 Pair of American Gothic Revival Rosewood Sidechairs, third quarter 19th century, h. 45‑1/2”. [500/800]

200

1076

1077 Rare Pair of American Bench-Made Mahogany Twin Beds, early 20th century, in the manner of C. Lee, h. 72”, inside, w. 39”, l. 78”, outside, w. 48”, l. 84”. [1000/1500] Illustrated

1077 one of a pair

1078

1078 American Late Classical Mahogany Dressing Bureau, second quarter 19th century, the corset-form looking glass supported by a wishbone frame with applied foliate carving, on a base with a serpentine 1079 marble top, the case with an upper drawer of like form, over a bank of three recessed graduated drawers flanked by molded pilasters, raised on turned legs, h. 85‑1/2”, w. 45”, d. 23‑1/2”. [400/700] Illustrated 1079 Pair of Bohemian Cobalt-Cased, Engraved and Cut Glass Covered Pokals, the bases and covers panel-cut to clear, the sides depicting scenes of deer in a wooded landscape, h. 14‑1/4”, dia. 4”. [600/900] Illustrated

201

1080 Pair of Bohemian Amber-Cased, Engraved and Cut Glass Trumpet Vases, panel-cut with engraved scenes of stags in the woods, h. 9”, dia. 5‑3/4”. [500/800]

1083

1084 Three Pieces of Cut Glass, including a pair of Brilliantstyle scent bottles cut with hobstars and with matching stoppers, h. 7”, and an English tea canister, first quarter 20th century, h. 8‑1/2”. [200/400] 1085 Set of Eight Wheel Engraved Dessert/Finger Bowls on Stands, first quarter 20th century, probably American, h. 2‑1/2”, dia. 6‑1/4” (sixteen total pieces). [200/400] 1086 Seven-Piece Collection of Glassware, including an American vase, h. 12‑3/4”, and pitcher, h. 10”, ca. 1925, four cut glass decanters, ca. 1900, h. 8‑1/2” to 11”, and a modern molded glass pitcher, h. 7‑1/2”. [300/500]

1081 Bohemian Enameled Overlay Glass Claret Jug, fourth quarter 19th century, the opaline panel decorated with scrollwork overlay, the ruby body decorated with gilt trim, h. 13‑1/4”, dia. 5‑1/4”. [200/400]

1090

1089

1087 Twelve Pieces of Waterford Crystal Stemware, comprised of seven “Sheila” wine glasses, h. 6‑1/2”, and five “Ludlow” claret or sherry glasses, h. 4‑3/4”. [200/400] 1082 Unusual Pair of Bohemian Cranberry Overlay, Gilt and Engraved Glass Vases, ca. 1900, each cranberry vase cased in white and cut to reveal panels decorated with gilt vermicelli, the white panels engraved with flowers and gilt filled, h. 7‑1/4”, dia. 5‑3/4”. [500/800] 1083 Near Pair of Green-Plated Cut-to-Clear Mantel Lustres, 20th century, probably Bohemian, hung with prisms, h. 11”, dia. 6”. [200/400] Illustrated

202

1088 Set of Twelve Brilliant Period-Style Glass Tumblers, cut with hobstars and fans, h. 3‑3/4”. [200/400] 1089 Forty-Two Pieces of American Fostoria Engraved Table Glass, second quarter 20th century, including fourteen wine glasses, h. 8”, eight water glasses, h. 5‑3/4”, six cocktail glasses, h. 5‑1/4”, six sherbet dishes, h. 3‑3/4”, and eight salad/dessert plates, dia. 9”. [250/400] Illustrated

1090 Impressive American Rococo Revival Giltwood Overmantel Mirror, mid-19th century, with ropemolded sides, the crest decorated with piercing and molded scrollwork, and an unusual Bacchanalian masque finial, h. 75‑1/2”, w. 80”. [2000/4000] Illustrated

1093 American School (Third Quarter 19th Century), “Portrait of a Raven-Haired Beauty”, oil on canvas, 36” x 29”. Presented in a later giltwood frame. [1000/1500] 1094 American Rococo Revival Mahogany Sofa, mid-19th century, the double chair-backs centered by a low padded back, with carved crests, serpentine seat and cabriole legs, h. 44”, w. 85”, d. 29”. [400/700] Illustrated

1095

1092 1091 American Rococo Revival Giltwood Pier Mirror and Stand, mid-19th century, the stand with a faux-marbre top, h. 103”, w. 33‑1/2”, d. 11‑1/2”. [500/800]

1092 Harry Herman Roseland (American, 1866‑1950), “The Fortune Teller”, 1911, oil on canvas, signed and dated “11” upper right, 20” x 30”. Framed. [2000/4000] Illustrated

1094

1095 American Rococo Revival Figured Walnut Work Table, third quarter 19th century, attributed to John Henry Belter, New York, the lift top with a segmented interior, a looking glass fitted in the top interior, and a hidden compartment with a drawer and bag table below, the latter with shell and foliate carving, raised on cabriole legs joined by serpentine stretchers and a central shelf, h. 31‑1/2”, w. 21”, d. 16‑1/2”. A similar table is illustrated in Schwartz, Stanek and True, The Furniture of J. H. Belter and the Rococo Revival, page 83, item 61. [500/800] Illustrated

203

1096

1097 Pair of Paris Porcelain Figures in the Jacob Petit Style, mid-19th century, French, the scroll-molded bases decorated with hand-painted flowers and holding polychrome-painted figures of a male and female attired in 18th-century Spanish costume, formerly fitted with brass candle branches, h. 23”, w. 9”, d. 6‑3/4”. [500/800] Illustrated 1098 American Cast Iron “Laurel and Berry” Garden Bench, second quarter 20th century, h. 29‑1/2”, w. 43”, d. 24”. [1000/1500] Illustrated

1096 American Laminated Mahogany Piano Stool, mid19th century, with a lyre- and foliate-carved back, dished seat and a swivel base, h. 37‑1/2”. [450/700] Illustrated

1098

1099

1097

1099 American Cast Iron Hitching Post, ca. 1900, the segmented post capped by a horse’s head with a ring, h. 43‑1/2”. [600/900] Illustrated 1100 Painted Metal TortoiseForm Lawn Ornament, probably second quarter 20th century, h. 10‑1/2”, w. 16‑3/4”, l. 26”. [300/500] Illustrated 1101 Pair of “Tetes aux Chevaux” Hanging Metal Sculptures, h. 32‑1/2”, w. 16”, d. 22”. [600/900] Illustrated

204

1100

1103 Rare Confederate States Army Bowie Knife, ca. 1861‑1862, possily by Cook and Brothers, New Orleans, Louisiana, with brass mounts, clip-point and rosewood grip, l. 17”. [1500/2500] Illustrated

1103

1101

1102

1102 Crystal Metal No. 3 Cast Iron “Plantation Bell”, fourth quarter 19th century, h. 23”, w. 22‑1/2”, dia. 14”. [200/400] Illustrated

205

1104 Eagle Hilt Saber, ca. 1820‑1840, with an ivory grip and an etched curved blade of English manufacture, with decorative etchings of foliate groupings and a trophy of arms, marked “Warranted” in a scroll, with traces of original gilding remaining on the ricasso, w. 5”, blade, l. 30”, overall, l. 35‑1/4”. [600/900] Illustrated

1104

1106 Infantry Officer’s Saber, ca. 1850, made in Europe, the hilt is French, the pattern adapted as the M-1850 foot officer’s saber by the United States, the gilded-brass and chiseled hilt with laurel leaves and floral accent scrolls, and a rayskin covered grip, the European-form blade etched with a trophy of arms and foliate anthemion, marked “Klinqenthal” on the spine, two punch marks on the obverse ricasso, the scabbard finished with gildedbrass mounts, w. 5”, blade, l. 30‑1/4”, overall, l. 36”. [700/1000] This particular saber was not issued to the U.S. troops as the blade is not of regulation form, but of a type used in European armies. 1107 Mantini Action Schuetzen Target Rifle, made by Adam Schure of Munich, and so marked on the top barrel flat, 7.65 mm with an excellent bore, double-set triggers with extremely light pull, an adjustable peep sight, the receiver is color case-hardened, with an excellent blue to the barrel, the walnut stock profusely checkered, with line-carved stylized foliage, no engraving on the metal with the exception of the signature, barrel, l. 31‑3/8”, overall, l. 49‑1/2”. [2000/4000] Illustrated

1108

1105 German/Continental Silver Hilt Small Sword, third quarter 18th century, decorated in a spiral gadrooned pattern, the blade of a flattened double-edge hexagonal cross section with a ricasso, retaining a vestigial colichemarde contour, decoratively etched and gilded, bearing an indecipherable signature, no scabbard, w. 3‑3/4”, blade, l. 31‑1/2”, overall, l. 37‑3/4”. [600/900]

1107

206

1108 Pair of Anglo-Irish Heavy Cut Glass Compotes, fourth quarter 19th century, each comprised of two parts, the bases panel-cut with sawtooth edges and the bowl cut in an alternating sawtooth variation, h. 9‑1/2”, dia. 10”. [300/500] Illustrated 1109 Anglo-Irish Amber Cut Glass Compote, first quarter 20th century, cut with alternating bands of panel cutting and diamond point cutting on both the bowl and pedestal, h. 10”, dia. 10‑1/2”. [400/700]

1110 Anglo-Irish Brilliant Period Cut Glass Lamp, second quarter 20th century, decorated with diamond point and Russian patterns, with bronze fittings, base, h. 18”, overall, h. 25‑1/2”, dia. 7”. [450/700] 1111 Unusual Pair of Bronze and Blown Glass Hurricane Lamps, mid-20th century, the molded bronze bases set with turned candle cups and blown glass candle shades, h. 23‑3/4”, dia. 10‑1/4”. [300/500] Illustrated

1113 Seventeen-Piece Royal Crown Derby Partial Dessert Service, ca. 1887, English, decorated with raised gilt and gilt-trimmed mauve and green grapes and grape leaves, the set comprised of a pair of tazzas, h. 4‑1/2”, dia. 9”, four comports, h. 2‑1/2”, dia. 9”, and eleven dessert plates, dia. 8‑3/4”, each piece impressed Derby and with the transfer-printed mark, including the 1887 year cypher. [300/500] Illustrated

1113

1114 Pair of English Hand-Painted and Gilt Soup Plates, 19th century, displayed in later velvet shadowbox frames, h. 12‑1/2”, w. 12‑1/2”. [250/400]

1111 1115

1112 Twenty-Five-Piece English Porcelain Partial Tea and Coffee Service, mid-19th century, decorated with gilt-trimmed cobalt scrollwork on a buff border, marked pattern number 3 over 2304, including a teapot, h. 7‑3/4”, a sugar bowl, h. 7”, a cream jug, h. 5‑1/4”, six teacups, dia. 3‑1/2”, six coffee cups, dia. 2‑3/4”, a waste bowl, dia. 6‑1/2”, a pair of cake dishes, w. 10‑1/2”, a round footed plate, dia. 8‑1/4”, and six saucers, dia. 5‑3/4”. [300/500] Illustrated

1112

1115 Pair of English Aesthetic Movement Gilt-Bronze Candlesticks, fourth quarter 19th century, each with an adjustable standard above a circular base, h. 11‑1/2”, w. 4‑1/2”, d. 9”. [200/400] Illustrated

207

1120 Japanese Export Black-Lacquered Tray-on-Stand, mid-19th century, the rectangular tray with a full raised edge and with an elaborate gilt and polychrome figural landscape, raised on a later custom ebonized stand of gilt ring-turned accented tapering legs, h. 27”, w. 18‑1/2”, d. 15”. [250/400]

1116

1116 William IV-Style Parcel-Gilt Recamier, 20th century, decorated with gilt medallions and pierced anthemia, and raised on reeded legs, h. 39‑1/4”, w. 37‑1/2”, l. 89”. [300/500] Illustrated 1117 British School (Second Quarter 19th Century), “Portrait of a Man”, oil on canvas, 24” x 20”. Presented in a handsome giltwood frame. [300/500] Illustrated

1121

1121 Suite of Four Late Regency Ebonized Sidechairs, second quarter 19th century, each with a shaped and earred crest centered by a scrolling brass inlay, above a lotus-form horizontal splat, the padded seat raised on sabre legs, h. 33”. [450/700] Illustrated 1122 Regency-Style Caned Library Chair, the bambooturned frame on a like curule base and fitted with leather sling arms, h. 41”, w. 20‑1/2”, d. 27‑1/2”. [200/400] 1123 William IV-Style Cabinet, with chinoiserie decoration on a black and gilt ground, h. 40”, w. 35‑1/2”, d. 20”. [300/500] Illustrated

1117 1118 British School (Fourth Quarter 19th Century), “Portrait of a Seated Man”, oil on canvas, 34” x 26”. Framed. [300/500]

1119 British School (Fourth Quarter 19th Century), “Oval Portrait of an Elderly Gentleman Wearing Medals of War”, oil on canvas, signed lower right “G. Wyme”, 30” x 25”. Presented in a giltwood frame. [200/400]

208

1124 Wedgwood Basalt Vestal Candlestick, fourth quarter 19th century, decorated with gilt and bronzed trim, marked “Wedgwood” and with an impressed “C” or “O”, and a gilt “13793”, h. 8‑1/2”, w. 7‑1/2”, d. 3‑1/4”. [400/700] Illustrated 1125 Pair of English Neo-Grec Pottery Garniture Vases, third quarter 19th century, the black-ground vases decorated with polychrome Greek figures and gilt scrolled handles, formerly mounted as lamps, h. 18‑3/4”, dia. 7‑1/4”. [500/800] Illustrated

1126 English Neo-Grec Pottery Cachepot, fourth quarter 19th century, probably Dudson “Ebony” Jetware, marked with pattern number “2/6956” and subject, “Achilles” and “The Meeting of Hector and Andromache”, h. 7‑3/4”, dia. 8‑3/4”. [250/400]

1123

1127

1124

1125

1127 Regency-Style Bookcase, 20th century, decorated with green and gilt chinoiserie and metal grillwork doors, h. 84”, w. 42”, d. 14‑1/2”. [800/1200] Illustrated 1128 Set of Three Chinese Export Lacquer Nesting Tables, first quarter 19th century, h. 11‑1/4” to 27‑3/4”, w. 10‑1/4” to 26‑1/4”. [200/400]

209

1129 Victorian Ebonized Tray-on-Stand, mid-19th century, the oval tray with full raised edge with two pierced handles, featuring a scene of peasants at an inn, in the manner of George Morland, raised on a later ebonized stand of splayed legs with gilt accents, h. 18‑1/2”, w. 24”, d. 19‑1/2”. [400/700] Illustrated

1129

1131

1132 Pair of Regency-Style Mahogany Pedestals, each with a dished circular top on scrolling tripodal supports, h. 30‑1/2”, dia. 15‑1/2”. [300/500] Illustrated 1130 Italian Grand Tour Patinated Bronze Warwick Vase, fourth quarter 19th century, decorated with molded neoclassical heads and grapevines, with twisted handles and a removable bronze interior bowl, h. 5‑1/4”, w. 8‑1/4”, d. 5‑1/2”. [350/500] Illustrated

1132

1130

1131 Pair of Regency-Style Bronze Two-Light Candelabra, fourth quarter 19th century, probably French, the contrasting gilt and patinated bases holding griffin-form standards set with molded gilt-bronze double candle arms, h. 14‑3/4”, w. 7‑1/4”, d. 4‑1/4”. [500/800] Illustrated

210

1133 Regency-Style Banded Mahogany Triple-Pedestal Dining Table, each section on a reeded tripodal base, includes three leaves, h. 29‑1/4”, w. 39‑1/4”, l. 63”, extended l. 121”. [700/1000]

1134 Unusual Regency Rosewood Writing Desk, early 19th century, the superstructure fitted with a domed backpiece over a projecting center drawer flanked to either side by tapering pedestals fitted with five small drawers each, the banded rectangular top above a case fitted with a single drawer opening to an inset leather writing surface, hinged and opening to a storage space, raised on tapering square legs ending in block feet, h. 46‑1/2”, w. 31‑1/2”, d. 17‑1/2”. [500/800] Illustrated

1135

1134

1135 William IV Mahogany-Veneered Tallcase Clock, first quarter 19th century, with rope-turned quarter columns and a leaf-carved swan’s-neck pediment, h. 94‑3/4”, w. 22”, d. 10”. [1000/1500] Illustrated

1136

1136 Regency-Style Mahogany and Burl Wood Breakfast Table, 19th century, the tilting rectangular top triplebanded and with canted corners, centered by a banded burled panel, raised on a spiral-reeded columnar standard to four splayed legs ending in brass caps and casters, h. 29”, w. 48”, d. 36‑1/2”. [500/1000] Illustrated 1137 Regency-Style Mahogany Drop-Leaf Table, mid20th century, h. 30”, w. 36”, d. 16”, extended l. 48”. [200/400]

211

1138 Victorian-Style Fruitwood Armchair, with a concave foliate-carved crest rail, closed scroll arms and reeded legs, h. 41‑1/4”. [300/500] Illustrated

1138

1141 Pair of Regency-Style Inlaid Mahogany Planters, mid-20th century, with tole inserts, h. 5”, w. 8”, d. 4”. [250/400] Illustrated

1141

1142 William IV-Style Brass-Bound Oak Wine Cooler/ Planter, 20th century, branded “Lariat Wood Craft” on the base, h. 12”, w. 27‑1/2”, d. 21‑1/2”. [300/500]

1143

1139 English Giltwood Tabernacle Mirror in the Neoclassical Taste, ca. 1900, the painted tablet decorated with classical figures and flanked by fluted pilasters terminating in composite capitals, h. 42”, w. 24‑1/2”. [300/500] Illustrated

1139

1140 William IV Giltwood Overmantel Mirror, second quarter 19th century, decorated with lotus leaf-molded pilasters terminating with lion’s head-molded corner blocks, the cornice decorated with gilt spherules, h. 42”, w. 87‑1/4”. [500/800]

212

1143 Two English Sarcophagus-Form Boxes, second quarter 19th century, including a rosewood and maple two-compartment tea caddy, h. 6‑1/2”, w. 10”, d. 6‑1/2”, and a burl walnut work box with a barber pole and other inlay on the cover, h. 3‑3/4”, w. 8‑1/2”, d. 5‑1/2”. [250/400] Illustrated 1144 English Regency Brass-Bound Lap Desk, second quarter 19th century, the lid with a nameplate engraved “Robt. Rusfel”, the interior with a writing slope and compartments with two emerald green glass inkpots, h. 6”, w. 19‑3/4”, d. 9‑1/4”. [250/400] 1145 English Brass-Bound Campaign-Style Cigar Humidor, 20th century, made by Benson & Hedges, h. 9”, w. 12‑1/2”, d. 10”. [600/900] Illustrated

1149 George III Mahogany Lowboy, fourth quarter 19th century, the rectangular top with a molded edge, above a case fitted with a short drawer to either end, over a shaped apron, raised on cabriole legs headed by foliate carving and ending in ball-and-claw feet, h. 28‑1/2”, w. 40”, d. 22‑1/2”. [300/500]

1148

1145

1146 English Engraved Miniature Portraits of Percy Bysshe and Lady Caroline Lamb, ca. 1833, in Regencystyle bronze-mounted frames with ebonized mats, h. 9”, w. 7‑1/2”. [250/400]

1150 Pair of Custom Hepplewhite-Style Inlaid and CrossBanded Two-Drawer Stands, 20th century, London, England, h. 30”, w. 21”, d. 19”. [600/900]

1151 1147

1147 George III Mahogany Side Table, early 19th century, the rectangular top with a molded edge and shaped corners, above a frieze fitted with a central drawer flanked to either side by a small deep drawer, raised on chamfered square legs, h. 30”, w. 34‑1/2”, d. 19”. [300/500] Illustrated 1148 Queen Anne Oak Lowboy, 18th century, the rectangular top above a conforming frieze fitted with a central drawer flanked to either side by a small deeper drawer, raised on cabriole legs ending in pad feet, h. 28”, w. 30”, d. 17‑1/2”. [400/700] Illustrated

1151 George III-Style Mahogany Console Table, late 20th century, in the Chinese Chippendale taste, with a rectangular top and square legs, blind fretwork decor and pierced corner brackets, h. 32”, w. 54”, d. 22”. [300/500] Illustrated

213

1152 Pair of Chinese Rose Medallion Vases, 19th century, the pair of ornate vases with gilded foo dogs and salamanders at the neck, the reserves depicting figures and arrangements of birds and flowers, unmarked, h. 14”, dia. 7”. [300/500] Illustrated

1154

1152

1155

1153

1153 George III Inlaid Mahogany Linen Press, late 18th century and later, in two parts, the upper section with a projecting cornice over a frieze with a six-point star inlay, the doors with similar inlay on each panel, and opening to reveal linen drawers, on a base with two over two drawers and bracket feet, the upper section 18th century, h. 72‑3/4”, w. 47‑1/2”, d. 21‑1/2”. [700/1000] Illustrated 1154 English Hepplewhite Mahogany-Veneered Bowfront Chest, ca. 1800, with two over three drawers and raised on French feet, h. 41‑3/4”, w. 42”, d. 19”. [700/1000] Illustrated

214

1155 Hepplewhite-Style Mahogany Bowfront Bachelor’s Chest, with four long drawers, the top with stringing, labeled “Heritage Henredon”, h. 34‑1/4”, w. 32‑1/4”, d. 18‑3/4”. [800/1200] Illustrated

1156

1159 George III-Style Mahogany Dining Table, early 20th century, the rounded rectangular top with reeded edge and raised on two pedestals, each with a turned urn-form standard to three splayed reeded legs ending in brass caps and casters, together with two leaves, h. 29‑1/2”, w. 49”, l. 72”, extended l. 120”. [500/1200] 1160

1160 Set of Six Mahogany Dining Chairs, 20th century, in the Philadelphia Chippendale style, h. 39‑3/4”. [300/500] Illustrated 1156 Custom Chippendale-Style Burr Walnut-Veneered Bachelor’s Chest, 20th century, London, England, h. 29‑1/2”, w. 29‑1/2”, d. 17‑3/4”. [800/1200] Illustrated 1157 English ChippendaleStyle Parcel-Gilt and Mahogany-Veneered Mirror, second quarter 20th century, edged in gilt trim, with a swan’s neck pediment and a phoenix bird finial, the sides trimmed in bellflower drops, h. 61‑1/2”, w. 29‑1/2”. [400/700] Illustrated

1161 Georgian-Style Mahogany Breakfront, first quarter 20th century, with pierced swan’s-neck pediment and Greek-key fretwork, h. 77‑1/2”, w. 44”, d. 17‑1/4”. [300/500] Illustrated

1161

1157

1158 Pair of English Engraved Leaves of Hand-Colored Sheet Music, third quarter 18th century, including “The Fond Philander” and “April Fool”, each in contemporary giltwood frames, h. 12”, w. 8‑1/2”. [350/500]

215

1162

1165 Set of Ten Black Knight Rococo-Style Luncheon Plates, ca. 1917‑1932, Bavarian, pattern number 10725, decorated with green scrollwork and gilt lattice on an ivory ground, with hand-painted floral center panels, marked with a Black Knight backstamp and pattern number, dia. 9”. [300/500]

1162 Pair of Chinese Export-Style Platters, decorated in a tobacco leaf manner with pheasants and squirrels, d. 10‑3/4”, l. 12‑3/4”. [300/500] Illustrated

1167

1168

1166 Handsome Pair of George III Beechwood Library Armchairs, fourth quarter 18th century, with black and Attic red decoration inspired by ruins discovered at Pompeii and Herculaneum, h. 36‑3/4”, w. 21‑1/4”, d. 25‑1/2”. [300/500]

1170

1163 Chinese Export Garniture Urn, fourth quarter 18th century, now mounted as a lamp, decorated with sepia panels of European landscapes and trimmed with famille rose floral decoration, urn, h. 10‑1/2”, overall, h. 21”, dia. 4‑1/4”. [400/700] 1164 Large English Hand-Painted Porcelain Platter, second quarter 19th century, with a scalloped, gilttrimmed border, the edges molded with scrollwork and fan-shaped segments, w. 18‑1/2”, l. 24‑3/4”. [350/500]

216

1167 George II-Style Red Japanned Armchair, with a fiddle-shaped splat and Spanish feet, decorated with chinoiserie, h. 41”, w. 36‑1/2”. [300/500] Illustrated

1168 Francis Calcraft Turner (British, fl. 1782‑1846), “Fox Hunt”, oil on board, signed and dated “1832” lower left, 7” x 9”. Presented in a giltwood frame affixed with the artist plaque. [400/700] Illustrated

1169 Dorofield Hardy (British, 1882‑1920), “The Voice Lesson”, 1885, watercolor on paper, signed and dated lower right, sight 10‑1/2” x 13”. Glazed, matted and framed. [250/400] 1170 Ebonized and Gilt Dressing Table Bench in the Chinese Chippendale Style, first quarter 20th century, h. 20‑1/2”, w. 21‑3/4”, d. 13”. [200/400] Illustrated 1171 Victorian Ebonized Papier-Mache Tray, third quarter 19th century, the shaped tray with a raised rim and a central floral avian scene, now raised on a conforming ebonized stand with cabriole legs to pad feet, h. 26”, w. 32”, d. 25‑1/2”. [300/500] 1172 George II-Style Chinoiserie-Decorated Cabinet on Stand, 20th century, with cabriole legs, h. 53‑1/2”, w. 30‑3/4”, d. 16‑3/4”. [400/700] Illustrated

1172

1173

1173 Suite of Four Chinese Ebonized Nesting Tables, early 20th century, each with a shaped rectangular top featuring a gilt and polychrome oriental landscape, raised on bulbous turned legs to runner feet ending in gilt dragon’s heads, h. 28‑1/2”, w. 24”, d. 14‑3/4”. [400/700] Illustrated 1174 1174 George II-Style Mirror, the Williamsburg reproduction mirror decorated with chinoiserie and beveled mirror plates, h. 48‑1/2”, w. 18‑1/2”. [200/400] Illustrated 1175 George IIIStyle Ebonized, Polychromed and Gilt-Decorated Looking Glass, third quarter 19th century, of tall narrow form in the chinoiserie taste, the slightly domed plate within a molded frame with gilt and polychromed accents, h. 72”, w. 28”. [200/400]

217

1181

1176 Mashad Carpet, 9’ x 13’. [600/900] 1180

1177 Hand-Tufted Carpet, 14’ x 24’. [300/500] 1178 Persian Heriz Carpet, 10’ x 12’ 8”. [500/800] 1179 Heriz Runner, 12’ x 3’ 9”. [200/400] 1180 Chinese Savonnerie Carpet, 9’ x 12’ 8”. [400/700] Illustrated 1181 Bidjar Carpet, 12’ x 18’. [1500/2500] Illustrated 1182 Yazad Carpet, 15’ 3” x 9’ 5”. [700/1000] Illustrated 1183 Persian Carpet, 10’ 3” x 13’ 8”. [400/700] Illustrated 1184 Persian Heriz Carpet, 6’ 10” x 9’ 4”. [400/700] 1185 Agra Serapi Carpet, 9’ x 12’. [1000/1500] Illustrated

1182

218

1186 Chinese Carpet, 9’ x 13’. [300/500] 1187 Abadeh Runner, 9’ 5” x 3’. [200/400] Illustrated 1188 Kazak Carpet, 4’ 9” x 2’ 9”. [200/400]

1183

1187

1185

219

I n d e x of A rt i s t s

January 24-25, 2015

Alexander, Steven 1060

Cora, Vladimir 1056

American School 124, 156, 224, 438, 751, 899, 920, 921, 1093

Da Brescia, Moretto (after) 655

Anderson, Walter Inglis (after) 768

Danish School 121

Asprodites, Randy 1069

De La Vega, Victor Manuel Villarreal 159, 160

Asti, Angelo 134

De Molins, Alfred 123

Audubon, John James (after) 311

Domergue, Jean-Gabriel 855

Bailey, B. 164

Domergue, Jean-Gabriel (manner) 852

Barraband, Jacques (after) 312

Dou, Gerrit (follower) 248

Baudry, Paul (after) 387

Dutch School 120

Berthault, Pierre-Gabriel (after) 825

Emery, Lin 938

Blum, Rudolf 407

Fagotto, A. 71

British School 82, 127, 348, 371, 375, 376, 427, 428, 484, 485, 486, 886, 887, 1117, 1118, 1119

Fay, Georges 347

Buford, Claude-Marie 404 Buswell, Blair 154 Calder, Alexander 1050, 1051 Campbell, Charles Malcolm 854 Campbell, John Reed 755 Canaletto (follower) 58 Candes, Roger Lucien 342 Carrier-Belleuse, Albert-Ernest (after) 978 Carriere, Laure Josephine 761 Champion, Mrs. H. 426 Chartier, Jaq 1068 Cheret, Jules 346 Chinese School 602 Chmutin, Konstantin 1070 Cibula, Joseph 1057 Clara, Juan (after) 394 Clements, D. 155 Clodion (after) 972 Colinet, C.J.R. (after) 1049 Continental School 113, 118, 122, 185, 316, 344, 358, 369, 370, 372, 373, 377, 396, 654, 861, 863, 885, 1064

Floch, Joseph (attributed) 406 Fontana, Jack 161 Forbes, Helen 1058 French School 112, 184, 397, 580, 859 Friedeberg, Pedro 986 Garman, D. 163 Glicenstein, Emanuel Romano 856 Golden, Rolland Harve 764 Good, John R. 862 Goodnight, Veryl 924 Gordy, Robert 1055 Gribennikov, Vasiliy Nicholayevich 395 Haddon, David W. 408 Halse, George (after) 393 Hardy, Dorofield 1169 Hart, Frederick Elliott 1032 Helme, Helge 857 Henderson, Leslie 752, 753 Hollosy, Gyuri 157 Houghton, William (after) 81 Hungarian School 864

I n d e x of A rt i s t s J a n u a r y 2 4 - 2 5 , 2 0 1 5

Issa, Victor 153

Robert, Louis Valentin Elias (after) 356

Italian School 116, 405

Roberts, David R. (after) 80

Kamich, Jaroslav 345

Roche, Pierre (after) 979

Kaula, William Jurian (manner) 114

Rodin, Auguste (after) 981

Kayter, Albert 858

Rodrigue, George 762

Kirk, Frank C. 223

Roseland, Harry Herman 1092

Kohout, Audra 1066

Ruellan, Andree 763

Korecki, Viktor 343

Ryder, John S. 883

Kouyoumdjian, Sonia 851

Sandzen, Sven Birger 115

Lebourg, Charles-Auguste 188

Sargent, John Singer (after) 900

Levy, Robin 1067

Schulte, Antoinette 225

Louisiana School 759, 765

Scotti, Maria 1071, 1072

MacGilvary, Norwood Hodge 853

Scottish School 423

Makovsky, Konstantin 901

Sherman, Beatrix 868

Manzel, Ludwig O.E. 391

Sherrin, David 884

Martin, Steve 1065

Smith, Gertrude 754

Milling, Colo 165

South American School 652

Moreau, Gustave (after) 387

Southern School 757, 758, 760

Moses, Bernard (attributed) 897, 898

Spanish Colonial School 653

Murillo, Bartolome Esteban (after) 249

Swenson, Richard 162

Noterman, Zacharias 117

Sykes, Charles (after) 1041

Parks, Bob 922, 923

Takasawa, Keiichi 509

Pascal, Paul 756

Takis, Nicholas 860

Peele, John Thomas 128

Thymann, Maria Christine 374

Petit, John Louis 315

Toutrine, Alex 403

Piatek, Frank 1059

Toyohara, Chikanobu 507

Picart, Bernard (after) 79

Toyohara, Kunichika 504

Piranesi, Giovanni Battista 61

Turner, Francis Calcraft 1168

Pritchard, George Thompson 425

Utagawa, Kunisada 506

Rambert, Rene 398, 399

Van der Plas, Niek 400, 401, 402

Ream, Carducius Plantagenet 226

Van Houtte, Louis (after) 310, 313

Reggio, Don 767

Van Hove, Bartholomeus J. (follower) 119

Rich, Michael 1061, 1062, 1063

Vasarely, Victor 1052

Robbe, Louis 483

Villanis, Emmanuel 982

I n d e x of A rt i s t s J a n u a r y 2 4 - 2 5 , 2 0 1 5

Vuillard, George 975 Warner, Nell Walker 135

Glossary

Wheeler, J. A. 439 Worcester, Albert 766 New Orleans Auction Galleries does not make any express or implied warranty as to the authorship of works of art and fine art. Please note that all of the terms and descriptions used in this catalogue are intended as our qualified opinions only and are subject to the Conditions of Sale set forth elsewhere. The Artistâ&#x20AC;&#x2122;s Name: In our qualified opinion, a work by the artist. Attributed to: In our qualified opinion, a work of the period of the artist that may be in whole or in part the work of the artist. School of: In our qualified opinion, a work by a follower of the artist. Circle of: In our qualified opinion, a work of the period of the artist and showing his/her influence. Manner of: In our qualified opinion, a work in the style of the artist, possibly of a later period. After: In our qualified opinion, a copy of a known work by the artist. Signed: In our qualified opinion, has the signature which is that of the artist. Bears Signature: In our qualified opinion, has a signature which may be the signature of the artist. Dated: In our qualified opinion, is so dated and was executed on or around that date. Bears Date: In our qualified opinion, is so dated and may have been executed at about that date.

Conditions of Sale: ALL SALES ARE “AS IS, WHERE IS” WITHOUT ANY WARRANTIES WHATSOEVER. PLEASE SEE SECTION 2(a) BELOW IN WHICH ANY AND ALL EXPRESS AND IMPLIED WARRANTIES (INCLUDING WITHOUT LIMITATION ANY WARRANTY AGAINST REDHIBITORY DEFECTS) ARE WAIVED.

1. Introduction (a). These Conditions of Sale (“Conditions of Sale”) contain all the terms governing Auctions (defined below) conducted by Cakebread Art Antiques Collectables, Inc. d/b/a New Orleans Auction Galleries (“NOAG”), and all the terms under which NOAG and the Seller (defined below) of a Lot (defined below) contract with the Buyer (defined below). These Conditions of Sale may be amended by posted notices or oral announcements made during the Auction. (b). Under these Conditions of Sale, the following capitalized terms are defined as follows: • An “Auction” is a public auction conducted by NOAG, at which Bidders may place Bids to purchase one or more Lots offered for sale by NOAG. An Auction takes place over one or more days and includes separate auctions of one or more Lots within an event conducted by NOAG; • The “Auctioneer” is the auctioneer calling the Auction conducted by NOAG; A “Bid” is a bid made by a party at the Auction to purchase a Lot; • A “Bidder” is (i) a person making a Bid at the Auction (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding); and/or (ii) a person who attends the Auction and registers to make a Bid (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding); • A “Buyer” is the party that commits to purchase a Lot by submitting the Winning Bid at Auction; • “Buyer’s Premium” is defined in Section 4 below; • “Catalogue” is the Auction catalogue utilized by NOAG to list the Lots offered at Auction; • The “Estimates” are the high and low estimates of value for each Lot set forth in the Catalogue presented by NOAG in connection with the Auction or otherwise set forth and/or announced at the Auction; • The “Hammer Price” for a Lot is the amount of the Winning Bid at the Auction, as announced by the Auctioneer, exclusive of commissions, Buyer’s Premium, expenses, and any taxes or other charges; • A “Lot” is specific item of property offered for sale at Auction; The “Reserve” is defined in Section 3 below; • The “Purchase Price” is defined in Section 4 below; A “Sale” of a Lot occurs when a Winning Bid is declared at Auction for the Lot; • The “Seller” of a Lot is the party who consigned the Lot with NOAG for purposes of selling the Lot, or is otherwise the seller of the Lot; • The “Winning Bid” is, as to a particular Lot, the Bid recognized by the Auctioneer as the highest and best Bid for that Lot.

(c). Except as otherwise stated, NOAG acts as consignment agent for the Seller. The contract for the sale of the Lot is therefore made between the Seller and the Buyer. (d). By bidding at the Auction as a Bidder or Buyer, and/or by your signature below, you agree to be bound by these terms.

2. Before the Auction (a). ALL SALES ARE “AS IS, WHERE IS” WITH NO EXPRESS OR IMPLIED WARRANTIES WHATSOEVER. (i) NEITHER NOAG NOR THE SELLER PROVIDES ANY GUARANTEE OR WARRANTY AS TO THE NATURE, DESCRIPTION, GENUINENESS, PROVENANCE, IMPORTANCE, OR CONDITION OF THE LOT. All Sales and Auctions are without any representation or warranty of any kind by NOAG or the Seller. Bidders and Buyers are responsible for satisfying themselves concerning the condition of the Lots and the matters referred to in the catalogue entry, the Condition Report, or in any other statement or writing provided. All Sales are final and are “AS IS WHERE IS.” (ii) No warranty of redhibition. ANY WARANTY AGAINST REDHIBITORY DEFECTS IS WAIVED AND EXCLUDED. NOAG and Seller provide absolutely no warranty against redhibitory defects, including without limitation: (x) any defects rendering a Lot useless or its use inconvenient; and (y) any defects diminishing the usefulness of a Lot; and any such warranties are waived and excluded. In addition, NOAG and Seller provide no warranties, guarantees, or representations as to whether a Lot is fit for its ordinary use, fit for Buyer’s intended use or for Buyer’s particular purpose. (iii) No warranty against eviction. ANY WARRANTY AGAINST EVICTION IS WAIVED AND EXCLUDED. In the event that Buyer is evicted from possession of whole or part of the Lot, neither NOAG nor Seller have any duty whatsoever to return any part of the Purchase Price to Buyer. Buyer is buying at Buyer’s sole risk and peril as to third parties who may claim rights in the Lot after the Sale. (iv) No warranty as to authorship. NOAG does not make any express or implied warranty as to authorship of works of art and fine art. No statement in the Catalogue or elsewhere, orally or in writing, shall be construed as an express or implied warranty, representation or limitation of liability as to authorship. Any such warranty is WAIVED. (v) No warranty of peaceful possession, etc. The following warranties are waived and excluded: the absence of hidden defects, peaceful possession, and ownership. NOAG and Seller provide absolutely no warranty that the Lot is free from hidden defects, or for peaceful possession, or for ownership. (vi) No other warranties. None of the Seller, NOAG, or any of NOAG’s officers, employees or agents, give any representation, warranty or guarantee or assume any liability of any kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law, any express or implied warranty of any kind whatsoever is excluded by this Section 2(a). (b). Examination of property / Condition Reports. Prospective Buyers and Bidders are strongly advised to examine personally any property in which they are interested, before the Auction takes place. As a convenience, Bidders may request that NOAG produce a Condition Report (“Condition Report”) for a Lot, which, if produced, will provide additional detail concerning the condition of the Lot as observed by NOAG’s staff. NOAG reserves the right to decline to produce a Condition Report for any specific Lot, for any reason and in NOAG’s sole discretion.

(c). Catalogue and other descriptions. (i) All statements made by NOAG as to condition, authorship, period, culture, source, origin, measurement, quality, rarity, provenance, importance, or historical relevance, whether in the Catalogue entry for the Lot, in the Condition Report, and/ or in a bill of sale, or made orally or in writing elsewhere, are qualified statements of opinion only and are not to be relied on as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by NOAG of any kind. References in the Catalogue entry or the Condition Report to damage or restoration are for guidance only and should be evaluated by personal inspection by the Bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. (ii) Without limiting the foregoing, none of the Seller, NOAG, or any of NOAG’s officers, employees or agents, are responsible for the correctness of any statement of whatever kind concerning any Lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any Lot. (iii) Any Estimates provided should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose. Any written or oral appraisal, Estimate or other statement of NOAG or our representatives with respect to the estimated or expected selling price of any Lot of Property is a statement of opinion only and shall not be relied upon by Bidders or prospective Bidders as a prediction or guarantee of the actual selling price. (iv) NOAG shall not be liable for any errors or omissions in catalogue or other descriptions of the Property. Neither NOAG nor the Seller is responsible in any way for errors and omissions in the catalogue, or any supplemental material. (d). Further acknowledgement. As a Bidder and prospective Buyer, you further agree and acknowledge that: (i) You are not relying on NOAG’s skill or judgment in selecting to purchase any Lot; (ii) No oral or written statements in the Auction Catalogue, Condition Report, or elsewhere are the cause of or reason behind your purchase of any Lot; and you would have incurred such purchase regardless of any oral or written statements about condition, attribution, kind, quality, value, or authorship made in the catalogue or elsewhere; (iii) NOAG did not and could not have known that condition, attribution, kind, quality, expressed value, or authorship is the cause or reason why you decide to purchase any Lot; (iv) Your purchase of any Lot is not intended to gratify a nonpecuniary interest; and (v) NOAG did not know, nor should it have known, that any oral or written statement about a Lot in the catalogue, Condition Report or elsewhere would cause a nonpecuniary loss to a Buyer.

3. At the Auction (a). Registration before bidding / Bidding requirements. In order to be accepted as a Bidder and allowed to place a Bid, all Bidders must meet all of the following requirements: (i) A Bidder must complete and sign the attached registration form and provide identification to NOAG; (ii) NOAG may require the production of bank or other financial references or any other additional information; (iii) When making a Bid, a Bidder is accepting personal liability to pay the Purchase Price in full in the event that the Bidder submits the Winning Bid, unless it has been explicitly agreed in writing with NOAG before the auction of the Lot that the Bidder is acting as agent on behalf of an identified third party acceptable to NOAG, and that NOAG will only look to that principal for payment (iv) All Bids are to be made in U.S. currency unless agreed upon between NOAG and the Bidder; and (v) At NOAG’s sole discretion, NOAG may require any Bidder to post a cash deposit in an amount set by NOAG at its sole discretion. Such deposit may include, without limitation, a deposit of 25% of the Maximum Bid (or another amount set in NOAG’s sole discretion) in the case of Absentee Bids (defined below). (b). Refusal of admission / Rejection of Bidders. NOAG has the right, at its complete discretion, to refuse admission to the premises or participation in any Auction. NOAG reserves the right to reject any Bidder for any reason whatsoever and in NOAG’s sole discretion. (c). Absentee bids / Telephone bids. (i) As a convenience to Bidders, NOAG may allow a Bidder to submit an absentee bid (“Absentee Bid”) or telephone bid (“Telephone Bid”) by filling out (in full) the section of the attached registration form marked “Absentee Bids / Telephone Bids.” In order to submit an Absentee Bid or Telephone Bid for an Auction, that registration form must be filled out and submitted to NOAG no later than 5:00 p.m. central time on the last business day before the commencement of the Auction. (NOAG reserves the right to accept late Absentee Bid or Telephone Bid submissions in NOAG’s sole discretion.) All Absentee Bid submissions must include a maximum bid amount (“Maximum Bid”). (ii) If an Absentee Bid is submitted and accepted, at the time of the auction of the affected Lot, the Auctioneer or other NOAG staff will place the Absentee Bid at the amount of the opening bid amount, and will increase the amount as necessary until the earlier of (x) the Absentee Bid is the Winning Bid; or (y) the amount reaches the Maximum Bid. All such actions in this paragraph are at the sole discretion of the Auctioneer and/ or NOAG. If NOAG receives Absentee Bids on a particular Lot with identical Maximum Bid amounts, and at the Auction these are the highest bids on the Lot, the Lot will be sold to the person whose Absentee Bid was received and accepted first. In the event of a tie bid between an Absentee Bid and a Bid submitted by a Bidder physically present at the Auction (or a Telephone Bid), the Lot will be sold to physically present Bidder (or bidder submitting the Telephone Bid).

(iii) If a Telephone Bid is submitted and accepted, at the time of the auction of the affected Lot, NOAG staff shall attempt to contact the Bidder using the telephone number provided. If successfully contacted, the Bidder shall then be afforded the opportunity to place a Bid on the Lot by telephone. Telephone Bids may be recorded. By submitting a Telephone Bid, the Bidder consents to the recording of the conversation and the placing of the Bid. (iv) Execution of Absentee Bids and Telephone Bids is a free service undertaken subject to other commitments at the time of the Auction and neither NOAG nor the Auctioneer shall have any liability for failing to execute an Absentee Bid or Telephone Bid or for errors and omissions in connection therewith.

(d). Video or digital images. At some Auctions there may be a video or digital screen. Errors may occur in its operation and in the quality of the image and we do not accept liability for such errors. NOAG reserves the right to video tape and record proceedings at any Auctions. Any personal information obtained will be held in confidence by NOAG but may be used or shared with our affiliates and marketing partners for customer analysis purposes and to help us to tailor our services to buyer requirements. Any Bidder attending an Auction in person who does not wish to be video-taped may make arrangements to make a Telephone Bid in accordance with Section 3(c) above. (e). Reserves. All Lots are offered subject to a reserve, which is the confidential minimum price below which the Lot will not be sold (the “Reserve”). The Reserve for a Lot will not exceed the low Estimate for that Lot. The Auctioneer may open the bidding on any Lot below the Reserve by placing a bid on behalf of the Seller. The Auctioneer may continue to bid on behalf of the Seller up to the amount of the Reserve, either by placing consecutive bids or by placing bids in response to other bidders. Notwithstanding the foregoing, a Lot may be sold at a Hammer Price below the Reserve, at the discretion of the Auctioneer and NOAG, in any manner consistent with the agreement between NOAG and the Seller. (f). No bidding by Seller. Under no circumstances shall Seller (as agent or principal), whether by itself or through its representatives, employees or agents (except as through the Auctioneer as set forth in Section 3(e) above), enter or cause to be entered a Bid on Seller’s Lot. (g). Auctioneer’s discretion. The Auctioneer has the right at his or her absolute and sole discretion to refuse any Bid, to advance the bidding in such a manner as he or she may decide, to withdraw or divide any Lot, to combine any two or more Lots, and in the event of any error or dispute, to determine the Winning Bid, to continue the bidding, to cancel the Sale or to reoffer and resell the Lot or item in dispute. If any dispute arises after the Sale, NOAG’s sale record is conclusive. Unless otherwise announced by the Auctioneer at the time of Sale, all Bids are per Lot as numbered in the Catalogue and no Lot shall be divided for Sale. NOAG and/or the Auctioneer may withdraw any Lot at any time before such Lot is offered at Auction, for any reason and in their sole and absolute discretion. (h). Successful bid and passing of risk. The Auctioneer shall have absolute discretion in determining the Winning Bid and the striking of the Auctioneer’s hammer marks the acceptance of the highest and best bid as the Winning Bid and the conclusion of a contract for sale between the Seller and the Buyer. Risk and responsibility for the Lot but not its title passes to the Buyer immediately upon announcement of the Winning Bid at the Auction. (i). Post-auction sale. In the event that there is no Winning Bid at Auction for a Lot, or the Lot is withdrawn from the Auction, or the Sale is cancelled for non-payment pursuant to Section 4(g) below, NOAG may sell the Lot at public or private sale at any time thereafter, in a manner consistent with the agreement between Seller and NOAG. (j). NOAG assumes no responsibility for failure to execute Bids for any reason whatsoever.

4. After the Auction (a). In order to consummate and complete the Sale, the Buyer must tender payment in full of all of the following amounts (all such amounts together being the “Purchase Price”) to NOAG: (i) the Hammer Price; and (ii) the “Buyer’s Premium” consisting of a premium of 23% of the Hammer Price (discounted to 20% if the method of payment is by check, cash, or wire transfer by the end of the day on the fifteenth calendar day following the conclusion of the Auction) up to and including a Hammer Price of $200,000 and 10% of the amount by which the Lot’s Hammer Price exceeds $200,000; and (iii) Any applicable Louisiana, state, local, and federal or other taxes, calculated as required by law. Any documentation of tax exemption must be provided by the Bidder contemporaneously with the execution of the attached registration form. (b). Payment and passing of title. The Buyer and any other Bidders are responsible for contacting NOAG for Auction results during the week after the conclusion of the Auction. Subject to the provisions of Section 4(i) below which may require earlier payment, the Buyer must pay the full Purchase Price no later than 4:30 pm central time on the fifteenth calendar day following the conclusion of the Auction. Payments may be submitted during business hours to: New Orleans Auction Galleries, 801 Magazine Street, New Orleans, Louisiana 70130, Telephone number: 504-566-1849. Payments may be made by certified check, cash, wire transfer, or credit card (Visa, Mastercard, and American Express). Payments will be accepted by non-certified check only in NOAG’s sole discretion, from Buyers that have been qualified by NOAG in NOAG’s sole discretion. Title to the Lot does not pass to the Buyer until the full amount of the Purchase Price has been tendered and received by NOAG in good cleared funds, even in circumstances where the Lot has been released to the Buyer. (c). Credit Cards. Your signature on this form constitutes permission to charge the full amount of the Purchase Price on your credit card, if you are the Buyer on a Lot and payment is not received within five business days of the close of the Auction. Your signature on this form also constitutes permission to charge the full amount of Storage Charges (defined below), if and when accrued, on a periodic basis on your credit card. (d). Release of Lot to Buyer. No Lot will be released to the Buyer unless and until NOAG receives full payment of the Purchase Price, and such payment has cleared and NOAG has received confirmation of all funds owed. At its sole discretion, NOAG may release a specific Lot at any time, notwithstanding the foregoing provision. In addition, NOAG may require that Lots not be released until the Buyer has cleared additional checks in NOAG’s sole discretion, including without limitation, any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction. In the event that a Buyer fails to complete any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction, NOAG shall be entitled to cancel the Sale and take any other action permitted or required under applicable law. In addition, notwithstanding the foregoing, Lots cannot be released until after the conclusion of the Auction. (e). Export/Import license and Dealers. It is the Buyer’s sole responsibility to obtain any relevant export or import license. The denial of any license or any delay in obtaining licenses shall not justify the rescission of any sale nor any delay in making bill payment for the Lot; and shall not limit or alter any of the obligations of the Buyer herein. Dealers purchasing for resale must enter appropriate their Dealer Resale Number on the attached registration form and provide NOAG with proper documentation.

(f). Storage charge. Subject to the foregoing provisions, any Lot that is not picked up by the end of the day on the fifteenth calendar day following the conclusion of the Auction is subject to an additional storage charge of $5.00 per Lot per day (“Storage Charge”) for as long as the Lot is stored at NOAG’s facilities. The outstanding amount of this Storage Charge must be paid in full (in addition to the Purchase Price) before such Lot will be released to the Buyer. Such Storage Charge accrues on a daily basis and is billed monthly. All items handled or stored will be at the Buyer’s risk. NOAG is not liable for any damage to Lots after the conclusion of the Auction. (g). Remedies for non-payment. If the Buyer fails to make payment in full of the Purchase Price in good cleared funds within the time required by Section 4(b) above, or payment in full of any applicable Storage Charge when incurred, NOAG shall be entitled in its absolute discretion to exercise one or more of the following rights or remedies (in addition to asserting any other rights or remedies available by law): (i) to charge outstanding amounts to the Buyer’s credit card; (ii) to charge interest at the rate of one and one-half percent (1.5%) per month (but not to exceed the highest amount chargeable under applicable law); (iii) to hold the Buyer liable for the total amount due and to commence legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law; (iv) to exercise any other remedy or remedies available under the law, including but not limited to a second sale of said item in accordance with the provisions of applicable law, including the subsequent enforcement of any deficiency against the initial buyer; (v) to cancel the sale; (vi) to resell the property publicly or privately on such terms as we shall think fit; (vii) to pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer; (viii) to set off against any amounts which NOAG may owe the Buyer in any other transactions, the outstanding amount remaining unpaid by the Buyer; (ix) where several amounts are owed by the Buyer to NOAG, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs; (x) to reject at any future Auction any Bids made by or on behalf of the Buyer or to obtain a deposit from the Buyer before accepting any Bids; (xi) to exercise all the rights and remedies of a person holding security and/or privilege over any property in our possession owned by the Buyer, whether by way of pledge, security interest or in any other way, to the fullest extent permitted under Louisiana law (including without limitation under La. Civil Code art. 3247, La. R.S. 10:7-209 and 10:7-210 and other applicable law), or (xii) to take such other action as NOAG deems necessary or appropriate. In connection with the item (xi) above, the Buyer will be deemed to have granted such security to NOAG and NOAG may retain the affected Lot and any property of the Buyer as collateral security for such Buyer’s obligations to NOAG and to the Seller

If we resell the property under Section 4(g)(vi) above, the Buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon resale as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kind associated with both sales or otherwise arising from the default. If we pay any amount to the Seller under paragraph (vii) above, the Buyer acknowledges that NOAG shall have all of the rights of the Seller, however arising, to pursue the Buyer for such amount. (h). Shipping and packing. All shipping, packing, and transportation of Lots from NOAG’s facilities is the responsibility of Buyer. NOAG may, as a courtesy, assist Buyer with necessary arrangements, but by doing so, NOAG assumes no responsibility or liability for shipping, packing, moving, or transportation, including without limitation damage to Lots, damage to Buyer’s vehicle, or any personal injury of any persons involved. (i). Earlier payment may be required. For any specific Lot, and notwithstanding the provisions of Section 4(b) above, NOAG may require, in its sole discretion, that the Hammer Price for the Lot be paid immediately upon the striking of the Auctioneer’s hammer and announcement of the Winning Bid, with the balance of the Purchase Price being due by the close of the Auction.

5.Copyright The copyright in all images, illustrations and written material produced by or for NOAG relating to a Lot including without limitation the contents of the Catalogue, is and shall remain at all times the property of NOAG and shall not be used by the Buyer or Bidder, nor by anyone else, without our prior written consent. NOAG and the Seller make no representation or warranty that the Buyer of a Lot will acquire any copyright or other reproduction rights in it.

6. Severability If any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the conditions shall continue to be valid to the fullest extent permitted by law.

7. Data Collection In connection with the operation of our auction business, NOAG may need to seek personal information from Bidders or obtain information about Bidders from third parties (e.g., credit checks from banks). Such information will be processed and kept by us in confidence. Some of Bidders’ personal data may also need to be shared with third party service providers (e.g., shipping or storage companies) for Bidders’ benefit. By participating in an Auction, you agree to all previously stated disclosure.

8. Law and Jurisdiction The rights and obligations of the parties with respect to these Conditions of Sale, the conduct of the Auction and any matters connected with any of the foregoing shall be governed and interpreted under the laws of the State of Louisiana. By bidding at the Auction and/or through execution of the attached registration form, the Bidder consents to the exclusive jurisdiction of the courts of the State of Louisiana and the Federal courts of the United States of America located in the Eastern District of Louisiana.

New Orleans Auction Galleries Susan D. Krohn

Tessa Steinkamp

CEO

Director of Auctions

Ashton Thomas President

consignments FINE ARTS:

ASIAN FINE & DECORATIVE ARTS:

DECORATIVE ARTS:

Jelena Restovic James

Continental and American; Prints and Maps

Ireys Bowman

Continental and English

Felicia Sailey Yao

British and American; Sculpture

American, Continental and English

Greg S. Kowles

BOOKS, MANUSCRIPTS & EPHEMERA:

FURNITURE:

Thomas Halverson

Charles C. Cage

Michele M. Carolla

American

Ireys Bowman

Jewelry:

SILVER:

Continental and English

Kim Lemon

Charles C. Cage

Greg S. Kowles

American, Continental and English

Thomas Halverson

FINE CARPETS & TEXTILES:

MUSEUM & NON-PROFIT SERVICES:

Sean Ranson

American

Jelena Restovic James

administration Kim Lemon

Customer Service Manager

Charles C. Cage Office Manager

Burke

Designer

auctioneers Tessa Steinkamp Ashton Thomas Robin Ruiz Michael DeGeorge

Gary Michael Gittelson Photographer

Colleen Ryan

Director of Human Resources

Greg S. Kowles

Manager of Cakebread Auction

Denise Haik

Office Administration

Christa Ougel

Graphic Designer; Marketing

Taylor Eichenwald

Marketing & Public Relations

consultants

ope r at ion s

Ellen McKenzie

Cedric Roberts | Sean Ranson

English and Continental Furniture

Ira Savoie

Independent Certified Gemologist Appraiser

Bryce Reveley

Textiles; Vintage Couture

James Callahan Asian Arts

Bennie Amos | Eddie Daigrepont Emmitt Kendrick, Jr. Gerald Hampton | Juanita Bazile Sol Carter | Thomas Johnson David Abney

cakebread auction d e c o r a t i v e

a r t s

d e s i g n

Presented by New Orleans Auction Galleries

AUGUST 23-24, 2014