Cakebread Auction: January 23-24, 2016 by New Orleans Auction Galleries

cakebread decorative arts

JANUARY 23-24, 2016

design

Front Cover: Lot 776 Back Cover: Lot 854 Lot 860

cakebread decorative arts

design

Exhibition:

January 11-22, 2016

9:00 a.m. - 5:00 p.m. (Excluding Sunday)

Evening Preview Reception: Thursday, January 21, 2016 5:00 - 7:00 p.m.

Session I

Saturday, January 23, 2016 Lots 1 - 635

Session II

Sunday, January 24, 2016 Lots 636 - 1175

10 0

1 0 : 0 0 - 11 : 0 0

636

744

20 0

11 : 0 0 - 1 2 : 0 0

745

844

201

30 0

12:00 - 1:00

845

944

1:00 - 2:00

301

40 0

1:00 - 2:00

9 4 5 - 1044

2:00 - 3:00

401

50 0

2:00 - 3:00

1 0 4 5 - 1144

3:00 - 4:00

501

60 0

3:00 - 3:30

11 4 5 - 1175

4:00 - 4:30

601

63 5

10:00 - 11:00

11:00 - 12:00

101

12:00 - 1:00

LA Auction License AB-363, Steinkamp #1265, Thomas #1833, EICHENWALD #1922/25% Buyerâ&#x20AC;&#x2122;s Premium (3% Discount for Prompt Payments Made by Cash, Check, or Wire)

Session I

S a t u r d a y, J a n u a r y 2 3 , 2 0 1 6 10:00 a.m. CST Lots 1-635 1 Group of Three Continental Hand-Painted Tile Compositions, 19th century, two with still lifes in the Delft style, each 22‑5/8” x 17‑1/4”, and one of a bird in a cage, 18‑1/4” x 13‑1/2”. Framed. [700/1000] Illustrated 2 Provincial Louis XV-Style Fruitwood Fauteuil, early 20th century, the rounded padded back surmounted by a floral crest, joined to the padded seat by scrolled arms, raised on molded cabriole legs ending in scrolled toes, h. 45”. [700/1000] Illustrated 3 Provincial Fruitwood Stool, the shaped padded rectangular seat above a foliate-carved apron, raised on cabriole legs joined by shaped X-form stretchers and ending in foliate toes, h. 19‑1/2”, w. 47”, d. 21”. [400/700] Illustrated

1 one of three

3 4 Pair of Louis XV Style Bronze Two-Light Sconces, first quarter 20th century, the rocaille backplates centering sunburst bosses, electrified, h. 14‑1/2”, w. 8‑1/4”, d. 5”. [300/500] 5 Provincial Regence-Style Fruitwood Commode, 20th century, the rounded rectangular top above a case fitted with three long drawers, raised on scrolled toes, h. 30‑1/2”, w. 31‑1/2”, d. 18”. [400/700] Illustrated

1 two of three

8 6 Continental Painted Metal Lantern, mid-20th century, in the Baronial Taste, the hexagonal lantern with ropetwist supports terminating in spikes, the panels with fleurs-de-lis designs, h. 26”, dia. 22‑1/2”. [500/800] 7 Eugene Ciceri (French/Louisiana, 1813‑1890), “Gorge aux Loups, (Foret de Fontainebleau)”, oil on wood panel, signed lower right, titled en verso, 13‑1/4” x 17‑3/4”. Framed. [400/700] 8 Attributed to Howard Logan Hildebrandt (American/ Pennsylvania, 1872‑1958), “Flamenco Dancers on Stage”, oil on canvas board, unsigned, 12” x 16”. Handsomely framed. [500/800] Illustrated

10 9 Dennis Perrin (American, b. 1950), “Portrait of a Woman, the Artist’s Wife”, 1985, oil on canvas, 32” x 30‑1/4”. Framed. [1000/1500] 10 Francois Gall (French, 1912‑1987), “Floral Still Life with Blue Vase”, oil on canvas, signed lower left, gallery stamp en verso canvas, 10‑1/2” x 8‑1/2”. Framed. [1500/2500] Illustrated

11 Set of Three French Provincial-Style Fruitwood Nesting Tables, all with shaped rectangular tops over scalloped friezes, raised on cabriole legs ending in hoof feet, h. 25‑1/4”, w. 20‑1/2”, d. 15”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [500/800] Illustrated

12 Suite of Six Louis XV-Style Mahogany, Caned and Leather Dining Chairs, each with a molded back and floral- and foliate-carved crest, serpentine seat and cabriole legs, the backs fitted with cane, the seats upholstered in umber leather, h. 38‑1/4”. [700/1000] Illustrated 13 Louis XV-Style Fruitwood Dining Table, 20th century, the rounded rectangular top bisected to accommodate two 23” leaves, raised on molded cabriole legs joined by stretchers and ending in scrolled toes on pegs, h. 30‑1/2”, w. 41”, l. 48”, extended l. 94”. [500/800] 14 Pair of Louis XV-Style Fruitwood Sidechairs, 20th century, each with a shaped padded back surmounted by a floral and foliate shell crest, the padded seat raised on molded cabriole legs ending in scrolled toes, h. 37”. [400/700]

15 16 Lois Hogue Shaw (American, 1897‑2001), “Garden Seat”, oil on wood panel, signed lower left, 12” x 18”. Framed. [800/1200] Illustrated

15 Provincial Louis XV-Style Oak Armoire, early 19th century, the molded rounded rectangular cornice above a conforming case fitted with a foliate swag-carved frieze over two doors, each inset with two shaped panels, above a shaped floral patera-carved apron, raised on scrolled toes, h. 78‑1/2”, w. 60”, d. 25”. [1000/1500] Illustrated

17 Edgar Bohlman (American/New York, b. 1902), “Flower Market, Lisbon”, oil on canvasboard, signed lower right, 19” x 26”. Framed. Exhibition: Marie Sterner Galleries, New York, New York, October 21‑November 2, 1940. Together with the original pamphlet from the 1940 exhibition. [1000/1500] Illustrated

18 Continental School (First Quarter 20th Century), “Wooded Interior with Cattle”, oil on double-sided board, the verso with a “River Landscape with Cottage and Fishing Boat”, 9‑3/4” x 13‑3/4”. Framed. Provenance: Galleria d’Arte, di Alfredo Maccolini, Florence, Italy; Private collection. [500/800]

20 19 Henry Schouten (Belgian, 1857‑1927), “Shepherd with Two Dogs”, oil on canvas, signed lower right, 31‑1/2” x 23‑1/2”. Presented in a handsome frame. [1500/2500] Illustrated 20 Provincial Cherrywood and Marble-Top Commode, early 19th century, the rectangular marble top above a conforming case fitted with two short drawers over two long drawers over a shaped apron, raised on shaped toes, h. 30”, w. 44‑1/4”, d. 22‑1/2”. [600/900] Illustrated

21 French Provincial Fruitwood Vasselier, early 19th century, the molded rectangular cornice above three open shelves, the lower section with a rounded rectangular top above a conforming case fitted with two short drawers over two cupboard doors, each inset with a shaped star-inlaid panel and flanked to either side by stylized floral-carved uprights, raised on block feet, the whole with brass tack accents, h. 80”, w. 53”, d. 24‑1/4”. [800/1200] Illustrated

22 French Provincial Oak Refectory Table, 19th century, the rounded rectangular top with banded ends and above a scalloped frieze fitted with a single end drawer, raised on cabriole legs ending in acanthine scrolled toes, h. 29‑1/2”, w. 30”, l. 70”. [800/1200] Illustrated 23 Pair of Continental Porcelain Plaques, first half 20th century, each signed “Fernand G.”, possibly for Fernand Guignier (French, 1902‑1972), and painted with a quaint country landscape, each 12” x 8”. Framed. [400/700]

28 Provincial Louis XV Fruitwood Fauteuil, early 19th century, the padded and domed back surmounted by a floral crest, joined to the padded seat by like scrolling arms, raised on molded cabriole legs headed by floral carving and ending in scrolled toes, upholstered in antique verdure tapestry, h. 36‑1/2”. [500/800] Illustrated 29 Pair of Louis XV-Style Fruitwood Fauteuils, early 19th century, each with a shaped and padded back within a molded frame and surmounted by a foliate crest, joined by padded arms to the like seat, raised above a foliate shell-carved apron on cabriole legs ending in scrolled toes, h. 39”, w. 25‑1/2”, d. 22”. [300/500] 30 Antique Ceramic and Stone Vinery Three-Light Chandelier, the bowl in the form of grapevine clusters with electrified wax candles, suspended by brass chains and surmounted by an embossed canopy centering a pendant of stone grapes, h. 39”, dia. 19”. [600/900]

24 American Porcelain Plaque, 20th century, indistinctly signed lower right, painted with a rustic scene of potato gatherers, 10 3/4” x 17”. Framed. [300/500] 25 Attributed to Friedrich Wilhelm Lucas (German, 1815‑1898), “The Industrious Girl”, 1866, oil on canvas, signed and dated lower left, 14‑1/4” x 11‑3/4”. Framed. [300/500] 26 French Patinated Bronze of “Casse-Cou”, ca. 1900, after Etienne-Henri Dumaige (French, 1830‑1888), cast signature along side of self-base, h. 18‑3/4”, w. 8‑1/2”, d. 7‑1/2”. [1000/1500] Illustrated 27 Continental Patinated Bronze and Mixed Metal Figure of a Female Peasant, first quarter 20th century, probably Russian, cast as a hooded and barefoot figure carrying sacks over her shoulder, indistinct cast signature “Cramin?” with geometric squares inscribed on base, h. 15‑1/4”, w. 8”. [600/900]

31 Francesco Malacrea (Italian, 1812‑1886), “Still Life with Grapes and Peaches”, oil on canvas, signed lower right, label en verso, approximately 14” x 18”. Presented in a giltwood frame. [500/800] Illustrated

32 Continental School (20th Century), “Still Life with Vegetables and Games”, oil on canvas, signed lower right “A. Sibari”, 29” x 39‑1/8”. Presented in a giltwood frame. [800/1200] Illustrated 33 Continental School (19th Century), “Chicken Barnyard”, oil on canvas, unsigned, 12” x 10”. Presented in a giltwood frame. [500/800] Illustrated

34 Cornelius Van Leemputten (Belgian, 1841‑1902), “Chickens and Hay Stacks”, 1864, oil on board, signed on label en verso, 8‑1/2” x 12”. Presented in a giltwood frame. [500/800]

35 American School (19th/20th Century), “Hog in a Field”, watercolor on paper, monogrammed and dated lower left,17‑1/8” x 13”. Glazed and framed. Provenance: The Flatt Collection. [300/500] 36 Provincial Pine and Polychrome Center Table, the oval top raised on turned circular legs joined by a shaped X-form stretcher and ending in bun feet, h. 31”, w. 62”, d. 47”. [400/700] Illustrated

37 Provincial Polychrome Pine Drop-Leaf Table, the narrow rectangular top with two drop leaves, raised on tapering square legs, h. 28‑1/2”, w. 49”, l. 19”, extended l. 70”. [600/900] Illustrated

38 one of four

38 two of four

38 Group of Four Contemporary Leaf Pressings, including two elephant ears and two ferns, all signed and stamped lower right, sight approximately 18‑1/2” x 13‑1/2”. All attractively glazed, matted and framed alike. [400/700] Illustrated 39 Pair of Directoire Polychrome Twin Beds, early 20th century, each headboard with a pyramidal crest over a paneled back, flanked to either side by a fluted and ribbed upright, joined by rails to the fluted footboard, raised on tapering circular feet, h. 45”, inside, w. 41”, l. 79”, outside, w. 44”, l. 82”. [600/900] Illustrated

40 Pair of Antique French Blown Glass and Metal Cloche Hall Lanterns, the inverted bell shades mounted with three electric candle sockets supported on a hanging rod suspended from the hook-mounted ring, h. 37‑3/4”, dia. 18‑1/2”. [800/1200] Illustrated 41 Pair of Provincial Louis XV-Style Fruitwood Sidechairs, early 19th century, each with a rounded padded back surmounted by a floral crest, the padded seat raised on molded cabriole legs ending in foliate peg toes, h. 37‑1/2”. [300/500]

40 one of a pair

42 Provincial Louis XV-Style Oak Stool, the padded rectangular top above a shell-carved frieze, raised on cabriole legs ending in scrolled toes, h. 20”, w. 21‑1/2”, d. 17”. Provenance: Charles Ringling Estate, Sarasota, Florida. [300/500] 43 Transitional Louis XV-into-Louis XVI-Style Mahogany Bergere Avec Orielles, late 19th century, the slightly domed and padded back joined by shaped and padded sides to the cushioned seat, raised above a shaped foliate-carved apron, on molded cabriole legs ending in foliate toes, h. 43‑1/2”. [400/700] 44 Provincial Empire Fruitwood Armoire, mid-19th century, the molded and domed cornice with projecting corners, above a conforming case fitted with a paneled frieze over two long paneled doors, flanked to either side by an ormolu-mounted pilaster, raised on turreted feet, h. 91”, w. 61‑1/2”, d. 30”. [800/1200] Illustrated

44 46 Provincial Louis-Philippe Fruitwood Vitrine, mid-19th century, the rounded rectangular ogee-molded frieze fitted with a single drawer, above a case fitted with a single glazed door, raised on shaped bracket feet, h. 60”, w. 37‑1/2”, d. 21‑1/2”. [400/700] 47 Restauration Fruitwood Settee, early 19th century, of diminutive proportions, the paneled rectangular back surmounted by a plain crest rail, joined by closed arms on shaped uprights to the padded seat, raised on tapering square legs, h. 34‑1/4”, w. 61”, d. 19”. [400/700] Illustrated 45

45 Contemporary Mahogany Sleigh Bed, of traditional form, in the Restauration style, the headboard and footboard joined by shaped rails and raised on molded block feet, h. 45”, inside, w. 80”, l. 84”, outside, w. 86”, l. 86”. [500/800] Illustrated

54 48 Pair of Argand-Style Tole-Peinte Sconces, 20th century, in the Directoire taste, h. 19”, w. 18”, d. 11”. [400/700] 49 Pair of Green Tole-Peinte Table Lamps, mid-20th century, probably French, decorated with cityscapes transfer-printed in black, mounted with parchment shades, h. 21‑1/2”, dia. 14”. Provenance: Royal Antiques, New Orleans, Louisiana. [300/500] 50 Pair of Louis-Philippe Walnut Fauteuils, mid-19th century, each with a rounded crest above a padded rectangular back, joined by flat arms to the padded seat, raised on tapering square legs, h. 35‑1/2”. [700/1000] Illustrated

51 French Provincial Fruitwood Games Table, late 19th century, the square canted top above a frieze fitted with a small drawer to each side, raised on cabriole legs, with a conforming crewelwork topper with cards and gaming motifs, h. 27‑1/2”, w. 26‑1/4”, d. 26‑1/4”. [500/800]

52 Dutch School (First Quarter 19th Century), “Still Life of Peonies, Roses and Tulips in a Carved Stone Urn, with Insects and a Bird’s Nest”, oil on canvas, unsigned, 32” x 25‑3/4”. Framed. [1500/2500] Illustrated 53 Continental School (19th Century), “Still Life of an Urn with Flowers”, oil on canvas, unsigned, 35” x 24‑1/4”. Presented in a giltwood frame. [400/700] Illustrated 54 Jan Den Hengst (Dutch, 1904‑1983), “Still Life of Wild Flowers in Vase”, oil on canvas, signed lower left, 23‑5/8” x 20”. Attractively framed. [700/1000] Illustrated 55 Provincial Directoire Fruitwood Linen Cabinet, 19th century, the deep rectangular top above a conforming case fitted with two cupboard doors, each inset with a diamond-patterned panel and opening to three pullout shelves, raised on block feet, h. 39”, w. 56”, d. 34”. [1000/1500] Illustrated

57 56 French Tole-Peinte Foot Bath, fourth quarter 19th century, now decoupaged with neoclassical decoration, h. 13”, w. 32‑1/2”, d. 21‑3/4”. [300/500] Illustrated 57 Italian School (19th Century), “Casa del Questone”, watercolor and gouache on paper, unsigned, titled in pencil lower margin, 5‑1/2” x 7‑3/4”. Glazed and float framed. [450/700] Illustrated

58 Provincial Louis XV-Style Fruitwood Fauteuil, early 19th century, the shaped and padded back surmounted by a foliate shell crest and joined by padded arms to the like seat, raised on cabriole legs ending in shaped toes, h. 37‑1/2”. [400/700]

63 59

62 59 Louis XVI-Style Mahogany Bergere, early 20th century, of barrel form, the rounded back and downswept sides padded and within a molded frame, joined to the cushioned seat by fluted uprights, raised on stopfluted tapering circular legs ending in toupie feet, h. 44‑1/2”. [800/1200] Illustrated

64 French School (20th Century), Portrait of Three Australian Terriers”, oil on canvas, signed lower left “R. LeBlanche”, 23‑1/2” x 35‑1/4”. Framed. [500/800] 65 French Provincial-Style Fruitwood Buffet, the shaped rectangular top above a case fitted with two drawers over two cupboards, raised on scrolled toes, h. 40‑3/4”, w. 63”, d. 21”. [700/1000] Illustrated

60 Provincial Pine Side Table, 19th century, the planked rectangular top with a hinged center section, opening to a storage interior, above a plain frieze, raised on turned and bulbous legs ending in tall toupie feet, h. 29”, w. 48”, d. 26”. [400/700] 61 French Provincial Fruitwood Armoire, mid-19th century, the domed and molded cornice above two arched doors, each tri-paneled and raised on tapering circular legs, h. 88”, w. 54”, d. 25‑1/2”. [700/1000] Illustrated 62 French Provincial-Style Fruitwood Mirror, in the 18th-century style, the arched mirror with floral carving above and brass candleholders on each side, h. 50”, w. 50‑1/2”. [700/1000] Illustrated 63 Janine Van Doorn (Dutch, b. 1916), “Together”, oil on board, signed lower right “J. V. Doorn”, title on label en verso, 6‑3/4” x 9‑1/2”. Framed. [400/700] Illustrated 12

66 Louis XVI-Style Parcel-Gilt Mirror, mid-20th century, on pinecone-carved gilt rests, with a beaded inner liner on an ivory ground, the pierced crest decorated with crossed garden trophies on a spray of wheat, and the sides with trailing leaves, h. 47‑1/2”, w. 27”. [400/700] Illustrated 67 Pair of Painted-Metal Two-Light Sconces, 20th century, with sheaf-of-wheat backplates, h. 30‑1/2”, w. 13”, d. 8‑1/4”. [400/700] Illustrated

68 Large French Iron and Brass-Mounted Baker’s Rack, 20th century, the top adorned with scrolled ironwork and brass-mounted shafts of wheat, the various shelves with brass-banded fronts, h. 84”, w. 85”, d. 19”. [1200/1800] Illustrated

69 Pair of Seafood Feast Prints, each with an “Allart Gallery, Houston, TX” label en verso, each sight 4‑1/2” x 7”. Glazed, handsomely French matted and presented in burlwood frames. [300/500] Illustrated

70 Four-Piece Collection of Copperware, including a foot bath, h. 10‑3/4”, w. 18”, d. 15‑1/2”, and three graduated shallow kettles, h. 5” to 6”, dia. 14” to 16‑1/2”. [300/500]

69 one of two

72 Eight-Piece Collection of French Iron and Copper Cookware, 19th/20th century, including an oversized skillet with an iron handle, dia. 19‑1/2”, a hammered copper roasting pan, w. 18‑1/4”, d. 14‑3/4”, a collection of sauce and saute pans, one dovetailed, h. 3‑1/4” to 5‑1/2”, dia. 6‑3/4” to 8‑1/4”, and a long ladle, l. 18”. [300/500] Illustrated

69 two of two 71 Seventeen-Piece Collection of Copper Cookware, 20th century, American and European,^ including an oval gratin dish, w. 17‑3/4”, three Revere Ware oval skillets, w. 12‑1/2”, two vintage skillets with wooden handles, dia. 8” and 10‑1/4”, a round saute pan, dia. 8‑1/4”, two ladles, l. 14” and 22‑3/4”, six sauce pans, dia. 5” to 8”, and a pair of coal tongs on a copper ring, l. 16”. [300/500] Illustrated

73 Four Pieces of French Copper Cookware, 20th century, including two graduated bowls, a low bowl and a colander, h. 3‑1/2” to 6‑1/2”, dia. 9” to 12‑1/4”. [300/500] Illustrated

79 75 Collection of Copper Cookware, 20th century, including a stockpot with cover, a bain-marie with porcelain insert and lid, and two asparagus pots, one with cover, h. 6‑1/2” to 8‑1/2”, dia. 5‑3/4” to 8‑1/2”. [400/700]

74 Thirteen-Piece Collection of Copper Cookware, 19th/20th century, including a Turk’s-head mold and two smaller molds, h. 4‑1/4” to 7‑3/4”, dia. 4‑1/4” to 10”, six graduated sauce pans, h. 2” to 4”, dia. 4” to 8”, two graduated bowls, h. 3‑1/2” to 6”, dia. 8‑3/4” to 10‑3/4”, and a sauce pan with cover, h. 4‑1/4”, dia. 9‑1/2”. [300/500]

76 French Provincial Fruitwood Buffet, mid-19th century, the rounded rectangular top above a conforming case fitted with two paneled drawers over two cupboard doors, each inset with a shaped panel above a shaped apron, raised on molded block legs, h. 49‑1/2”, w. 52‑1/2”, d. 26”. [600/900] Illustrated 77 Monumental Antique Wrought-Iron SingleLight Chandelier, the banded basket-form chandelier with a central socket and ball finial ring, h. 47”, dia. 29”. [600/900] Illustrated

78 French Sheet Iron Cruciform Ornament, of monstrance design and decorated with angels and a heart, h. 36”, w. 18”. [500/800] Illustrated

79 Francois Gall (French, 1912‑1987), “Vue du Port de Dieppe”, oil on board, signed and inscribed lower right, 15” x 18”. Framed. [2500/4000] Illustrated

81 82 Adrien Dauzats (French, 1804‑1868), “Riverscape with Docked Boat”, 1865, oil on wood panel, signed, dated, and inscribed “Blaye” en verso, 5‑1/4” x 6‑3/4”. Framed and with brass artist plaque. [400/700]

80 80 Jon Corbino (American, 1905‑1964), “The Dance Class”, oil on panel, signed lower left, a “The Galleries of Frank J. Oehlschlaeger/Sarasota, FL.” label en verso, 12” x 5”. Framed. [600/900] Illustrated 83

81 Umberto Vittorini (Italian, 1890‑1979), “Portrait of a Lady”, oil on panel, signed en verso, 9‑3/8” x 7‑3/8”. Framed. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [400/700] Illustrated

83 Victorian Metal Strapwork Double-Decker Planter, ca. 1900, the scrolled base supporting a large planter basket, with a smaller basket above, h. 57”, dia. 33‑1/2”. [400/700] Illustrated 84 Unusual Art Deco Brass and Metal Planter, second quarter 20th century, probably French, the oblong planter with rounded corners and decorated with pierced ovals with Art Deco brass leaves and scrolls, flanking a center panel with a pierced and draped urn, with a metal insert, h. 17‑1/2”, w. 48”, d. 11‑1/2”. [500/800] Illustrated

85 Cast Stone Garden Statue of the Virgin Mary, early 20th century, h. 24‑3/4”, w. 10”, d. 5‑1/2”. [400/700] Illustrated 86 Pair of Charming Lead Garden Figures, early 20th century, depicting a young Cupid and Psyche, each, h. 22‑1/2”, w. 9”, d. 6‑1/2”. [700/1000] Illustrated

87 Three-Piece Iron Garden Suite in the “Versailles” Pattern, third quarter 20th century, comprised of a settee, h. 30”, w. 15”, and a pair of sidechairs, h. 31‑1/4”, each with foliate- and scrollmolded backs, pierced seats and cabriole legs. [500/800] Illustrated 87

88 NeoclassicallyInspired Cast Iron Garden Table, early 20th century, the circular stone top on a lyre-form foliatemolded support centered by a finial and joined to a tripodal base, now fitted with a beige and black mottled granite top, h. 30‑1/4”, dia. 18”. [400/700] Illustrated 89 Two-Piece VictorianStyle Cast Aluminum Garden Suite in the “Renaissance Scroll” Pattern, comprised of a settee and an armchair, each modeled with an open scroll back centered by a female masque, reputedly depicting Betsy Ross, bench, h. 30‑3/4”, w. 42”, d. 14‑1/2”, chair, h. 31‑3/4”. [450/700] Illustrated

90 Victorian-Style Polychrome Metal and Marble-Top Side Table, the long marble top with a shaped front, above a conforming foliate frieze, raised on scrolling legs with applied foliate designs and joined by floralvase-centered stretchers, h. 33‑1/2”, w. 86”, d. 25”. [700/1000] Illustrated 91 Continental Verdigris Patinated Bronze of a Greyhound at Attention, 20th century, h. 33”, w. 10”, d. 10‑1/2”, presented on a carved square plinth, overall, h. 42‑1/2”. [800/1200] Illustrated

89 90

92 Pair of Kingwood and Brass Jardinieres, 20th century, of square form, the sides with lozenge inlay, raised on ball feet, h. 8”, w. 7”, d. 7”. [300/500] Illustrated

93 Impressive Pair of Continental Iron and Parcel-Gilt Gates and Three Fence Panels, 20th century, the ornate gates with a central panel of scrolled details with gilt laurel and berry swags, the outer ends curved and ornamented with scrolls and gilded foliate motifs, the three panels each with vertical bars and circular borders along the top and bottom, each gate, h. 81‑1/2”, w. 58”, each panel, h. 74”, w. 25‑1/2”. [2000/4000] Illustrated 94 Two Continental Silver Plates, second half 19th century, of serpentine lobed hexagonal form, including an 1855 Mayerhofer & Klinkosch, Vienna, 13 lot (.812) silver example, monogrammed “EM”, and an 1894 Christofle, Paris silverplate example, monogrammed “CNB”, dia. 9‑3/4”. [400/700] Illustrated

93 part of a five-piece suite 95 Good Napoleon III Christofle Silverplate Chauffe-Plat, 1867‑1869, Paris, the oval frame with rocaille armorial cartouches, robust acanthus feet and fitted conforming platter, the burner lacking, h. 4‑1/2”, l. 17‑1/4”, w. 11‑1/2”. [400/700] Illustrated

96 Continental Bronze Argente Plateau, ca. 1900, oval with pierced “vintage” gallery and raised on floral-mantled lion’s paw feet, fitted with a conforming mirrored plate, 24” x 16‑3/4”. [600/900] 97 French Bronze Argente and Cut Glass Centerpiece, ca. 1900, retailed by H. Voisenet, Paris, in the Louis XVI taste, with a reed-and-ribbon knop above a steeply domed fluted and laurel-banded base with plinth feet, and surmounted by an acanthus banded capital fitted with a diamond-cut glass bowl with scalloped rim, h. 9”, dia. 9‑1/2”. [400/700] Illustrated 95

102 100

100 Continental Silver-Clad Vanity Mirror, first quarter 20th century, the easel-supported wooden backing of shaped rectangular form, clad in a conforming embossed rococostyle silver frame and fitted with a conforming beveled mirror, h. 15”, w. 13‑1/4”. [500/800] Illustrated 101 Eight Pieces of Silver Judaica, 20th century, including a sterling silver presentation etrog box, oval with repousse scrolls and Hebrew inscription, with engraved presentation inscription on the rim and base, l. 5‑3/4”, four sterling silver thistle-form kiddush cups, h. 4‑3/4” to 5‑1/2”, a Zadok sterling silver goblet-form kiddush cup with hardstone cabochons and wirework scrolls, h. 4”, a German .835 silver wine beaker, h. 2‑3/4”, and a Russian .875 silver wine beaker, 1908‑1926, by Israel E. Zakhoder, Kiev, h. 2‑3/4”, 28.03 total t. oz. [500/800] Illustrated

99 98 French First Standard (.950) Silver Vegetable Bowl, first quarter 20th century, by Henri Freres for Bointaburet, Paris, circular, serpentine lobed with laurel-and-ribbon edging, dia. 9‑1/4”, 22.18 t. oz. [400/700] Illustrated 99 Pair of Jugendstil Silverplate Candlesticks, first quarter 20th century, German, of square section, with openwork “whiplash” decoration, h. 10‑7/8”, w. 3‑3/4”. [300/500] Illustrated

102 Good Cased Set of Twelve French First Standard (.950) Silver and Gilt-Metal Melon Forks, first quarter 20th century, by Tetard Freres, Paris, retailed by Beaumont et Cie., Lyon, the silver handles in the traditional “shell-and-thread” pattern, with gilt-metal blades, l. 6‑5/8”, presented in the original fitted, cream satin- and velveteen-lined “ministerial red” leather case, 10‑3/4” x 8”. [400/700] Illustrated

101

103

104 104 Austrian Three-Piece 13 Lot (.813) Silver Coffee Set, marked Vienna, 1865, by Mayerhofer & Klinkosch, comprising a coffeepot, h. 8‑1/4”, dia. 5”, an open sugar bowl, h. 3‑1/4”, dia. 6”, and a cream jug, h. 7”, dia. 4‑1/4”, each with a pear-shaped body and raised on four mascaroncrested paw feet, the pot and jug with carved crested ivory handle, the sugar bowl with silver stirrup handles, each engraved with a pair of crowned armorials, 35.43 total. t. oz. [800/1200] Illustrated

103 Collection of Sixteen A. Michelsen and Other Sterling Silver Gilt and Enamel Annual Christmas Spoons and Forks, Copenhagen, comprising eight spoon and fork sets, with Michelsen sets for 1920, “The Dybbol Mill”, designed by Harald Slott-Moller (1864‑1937); 1925, “Poinsettia”, designed by Ellen Michelsen (1864‑1945); 1927, “Spire of Our Saviour’s Church, Copenhagen”, designed by Hans Tegner (1853‑1932); 1952, “Santa and the Reindeer”, designed by Arne Ungermann (1902‑1981); 1961, “Organ Pipes”, designed by Arne L. Hansen (1921‑2009); 1972, “Herald”, designed by Bjorn Wiinblad (1918‑2006); and 1976, “Snow Crystal”, designed by Gudmund Olsen (1913‑1985); and a Worcester set for 1965 by Sorenco, l. 6‑1/4” to 6‑1/2”, 24.36 total t. oz., the Worcester and last three Michelsen sets accompanied by the original boxes. [400/700] Illustrated 105

105 Set of Six Christofle Silverplate Nesting Platters from the Trianon Palace Hotel, Versailles, 1933‑1935, Paris, each of rounded rectangular form with lobe-sided plateau engraved with the hotel arms, in three sizes, 13” x 10‑7/8” (3); 15‑3/4” x 12” (1) and 17‑3/4” x 13‑1/2” (2). [300/500] Illustrated The Trianon Palace Hotel was built in 1903 and is best known for serving Allied Headquarters during both world wars. The hotel was bought by the Westin Group in 1993, who completely restored the property in 2001; it is now part of their Waldorf Astoria chain.

106

106 Unusual Pair of English Silvered Bronze and Cut Glass Banquet Lamps, fourth quarter 19th century, the acanthus-molded bases holding “rustic” twig-molded standards, the bodies with molded bas-relief hunt scenes and mounted with boar’s heads and pierced “C” scrolls, h. 24‑1/2”, dia. 7”. [800/1200] Illustrated

107 Reuven Rubin (Romanian/Israeli, 1893‑1974), group of four lithographs in color from the “King David Suite”, including “Saul Anointing David”, “David Interceding with the Angel”, “King David”, and “David Playing Before King Saul”, each pencil-signed lower right, all numbered “91/250”, each 25‑1/2” x 19‑5/8”. Two unframed, two framed alike. [500/800] Illustrated

107 one of four

107 two of four

107 three of four

107 four of four

114

115 22

111

109 Turkish Angora Oushak Carpet, 6’ 1” x 8’ 9”. [500/800] Illustrated 110 Caucasian Kazak Carpet, 6’ 3” x 8’ 2”. [500/800] 111 Heriz-Style Carpet, 8’ 11” x 11’ 7”. [400/700] Illustrated 112 Turkish Angora Oushak Carpet, 6’ 2” x 9’. [500/800] 113 Turkish Angora Oushak Carpet, 8’ 3” x 10’. [600/900] 114 Agra Sultanabad Carpet, 9’ x 11’ 7”. [800/1200] Illustrated 115 Turkish Angora Oushak Runner, 2’ 5” x 19’ 6”. [500/800] Illustrated 116 Persian Medallion Carpet, 5’ 4” x 7’ 7”. [500/800] 117 Chinese Art Deco Carpet, 8’ x 10’. [700/1000]

109

108

108 Gilt-Bronze Seven-Light Menorah, third quarter 20th century, Salvador Dali (Spanish, 1904‑1989), the tree branch form centered by a head of Moses over the Star of David, the candle cups with Hebrew inscriptions, mounted on a stone plinth, cast signature, numbered “19/450” and stamped “c. VAP/2000” on tree base, h. 14”, w. 9”, d. 3‑3/4”. Literature: Descharnes, Robert and Nicholas. Dali: The Hard and the Soft, Spells for the Magic of Form, Sculpture and Objects. Azay-le-Rideau: Eccart, 2004. p. 268. [800/1200] Illustrated

118 Chinese Pottery Granary Tower, Han Dynasty (206 BC-220 AD), the earthenware tripodal vessel with a green glaze, h. 13‑3/4”, dia. 8”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [600/900] Illustrated A tower similar to this one was acquired by the Metropolitan Museum of Art, New York, New York, in 1913, where it is on view.

118

119 119 Chinese Porcelain Dish, Ming Dynasty (1368‑1644), 16th/17th century, the shallow dish with a ribbed edge, decorated in underglaze blue with a qilin, h. 1‑1/2”, dia. 8”. Provenance: Ex-collection E. B. Allison. [600/900] Illustrated 120 Chinese Longquan Celadon Charger, Ming Dynasty (1368‑1644), with a fluted and scalloped rim and lotus decoration on the center, dia. 12‑3/4”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [600/900] Illustrated 121 Pair of Chinese Pottery Roof Tiles, possibly Ming Dynasty (1368‑1644), the koi-form tiles with yellow and green glaze, each with a carved wooden stand, tile, h. 10‑1/2”, w. 6‑1/2”, d. 4‑3/4”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [400/700] Illustrated

120 122 Chinese Wucai Porcelain Vase, Qing Dynasty (1644‑1911), probably Kangxi reign (1662‑1722), the meiping-form vessel with a small removable lip, the body of the vase decorated with a pair of phoenixes and flaming pearls set among wispy ruyi clouds, the underside marked with two Kangxi concentric circles in underglaze blue, h. 6‑1/2”, w. 4‑1/4”. Provenance: Collection of Henry Stern, New Orleans, Louisiana, to his grandson Paul Rosenthal, Baton Rouge Louisiana. [500/800] Illustrated 123 Chinese Geyao Hu-Form Vase, Qing Dynasty (1644‑1911), in the Song style, the vessel with elephant-shaped lugs covered with a milky bluishgray glaze, the underside with an unglazed stamp indiscernible mark, h. 8‑3/8”, w. 5”. Provenance: The estate collection of Judge and Mrs. Everett Dudley, Massachusetts. [400/700] 124 Chinese Blue and White Porcelain Lidded Jar, Qing Dynasty (1644‑1911), the thickly potted vessel decorated with dragons and clouds, h. 11‑1/2”, dia. 11”. [300/500] 125 Chinese Porcelain Bottle Vase, Qing Dynasty (1644‑1911), 19th century, now mounted as a lamp, the yellow-ground vase with a long neck and round body, decorated with an incised pattern of foo dogs and peonies in green, brown and blue, with two taotie lugs on each side of the vase, not drilled, vase, h. 10‑3/4”, overall, h. 28‑1/2”, w. 7”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [500/800] Illustrated

121

122

125

126 Pair of Chinese Famille Rose Porcelain Vases, Republic period (1912‑1949), now mounted as lamps, each of the two rectangular vases decorated with bird and flower images and inscribed with poetic lines, base, h. 11”, overall, h. 22‑1/2”, w. 4‑1/8”. [400/700] Illustrated 127 Pair of Chinese Rose Medallion Porcelain Vases, Qing Dynasty (1644‑1911), 19th century, now mounted as lamps on wood bases, the baluster-form vases each with a petaled lip and neck decorated with raised salamanders and foo dogs, the reserves depicting arrangements of flowers and idyllic palace scenes, vase, h. 14‑1/2”, overall, h. 32‑1/2”, dia. 8”. [500/800] Illustrated

128 Chinese Sang-de-Boeuf-Glazed Bottle Vase, late Qing (1644‑1911)/early Republic period (1912‑1949), late 19th/20th century, the pear-shaped vessel with a dark red glaze and white-glazed mouth and base, with a carved and pierced wooden stand, vase, h. 10”, dia. 3‑1/2”. [400/700] 129

127

126

129 Two Chinese Purple-Glazed Porcelain Figures, first quarter 20th century, one depicting a foo dog, h. 8”, and the other a qilin, h. 16‑1/2”. Provenance: Yue Po Chai Antique Company, Hong Kong, China, 1985. [600/900] Illustrated 130 Chinese Famille Rose Porcelain Bowl, Qing Dynasty (1644‑1911), decorated with a dragon and phoenix chasing a flaming pearl over cresting waves, the underside with an iron-red Guangxu reign (1875‑1908) mark, h. 2”, dia. 4‑1/2”. [400/700]

131

132 Two Chinese Porcelain Plaques, Republic period (1912‑1949), one framed and depicting a warrior on horseback, dia. 9”, and the other unframed with a bird and flower scene, inscribed and marked with a red seal, dia. 7‑1/4”. [400/700] 133 Pair of Chinese Famille Verte Nanking Ware Vases, late Qing (1644‑1911)/Republican period (1912‑1949), late 19th/early 20th century, each decorated with scenes of warriors in battle, with brown bisque foo dog and salamander decoration on the neck of each vase, the underside bearing a four-character mark, h. 10”, dia. 3‑1/2”. [400/700] 134 Pair of Chinese Famille Rose Porcelain Covered Ginger Jars, 20th century, each jar depicting an auspicious procession, h. 14”, dia. 8‑1/4”. [400/700]

131 Chinese Export Porcelain Figure of Shou Xing, Early Republic period (1911‑1949), the finely rendered figure of the god of longevity holding a branch of peaches, with his left hand resting atop a long staff, with a wax export seal, h. 15‑3/4”, w. 7”. [400/700] Illustrated

138

139

135A

136 Chinese Famille Rose Porcelain Libation Lotus Cup, Qing Dynasty (1644‑1911), ca. 1908, with brightly enameled pink petals, yellow stamen and green stem, inscribed and dated the 34th year (1908) of the Guangxu reign (1874‑1908), h. 2‑1/2”, w. 4‑7/8”, l. 7‑3/8”. [400/700] 137 Chinese Famille Jaune Porcelain Vase, the globular body decorated with a motif of foo dogs, a deer-head lug on either side of the vase’s neck, h. 12‑3/4”, dia. 9”. [400/700] 138 Chinese Famille Rose Porcelain Jardiniere on Stand, 20th century, the large jardiniere with a globular form, enameled in a famille rose palette with reserves depicting dragons and phoenixes, with a carved wooden stand, jardiniere, h. 18”, dia. 20‑1/8”. [400/700] Illustrated

140 135 Pair of Chinese Porcelain Book-Form Vases, Qing Dynasty (1644‑1911), enameled in a famille rose palette, decorated with scenes of figures in a garden, each rectangular vessel with a narrow round opening at the top and an inscription down the side, signed “Gao Xintian”, h. 7‑3/4”, w. 5‑3/4”, d. 1‑1/2”. [500/800] 135A Pair of Chinese Export Porcelain Baluster Vases, ca. 1900, now mounted as lamps, decorated with sepia trees, pink peonies and orange pierced handles, base, h. 19‑1/2”, overall, h. 34‑1/2”, dia. 8”. [500/800] Illustrated

141

139 Three-Piece Chinese Porcelain Garniture, Qing Dynasty (1644‑1911), including a pair of vases, each with a globular body and petaled lip, h. 15‑1/3”, dia. 8‑1/2”, together with a matching bowl, h. 6‑3/4”, dia. 14‑3/8”, all decorated with butterflies and flowers on a yellow ground, the interiors all glazed white and with Qianlong reign (1736‑1795) and Tang Ying (1682‑1756) marks in underglaze blue on the undersides. [1200/1800] Illustrated 140 Unusual Continental Giltwood Cushion Mirror, ca. 1900, the surround with egg-and-dart molding and acanthus leaves, the corners molded with crests and each side with a cabochon, the mirrored side panels accented with cut stars, h. 51‑1/2”, w. 39‑1/2”. [500/800] Illustrated 141 Continental Fruitwood Stool, 20th century, the padded rectangular top raised on four cabriole legs, each headed by a carved lion’s masque with acanthine “mane” and ending in hairy paw feet, h. 23”, w. 48”, d. 30”. [1200/1800] Illustrated 142 Contemporary Dutch Baroque-Style Brass TwelveLight Chandelier, the fabric rope chain suspended by a carved sunburst canopy, over a bulbous-form baluster stem issuing two tiers of scrolling arms, h. 73”, dia. 24‑1/2”. [400/700]

143

146 143 Dutch Walnut Bookcase, late 18th century, the canted, domed and molded cornice above a case fitted with two astragal-glazed doors, the upper panels with etched accents, the sides canted and glazed, the lower section of kettle form and fitted with three long drawers, the canted sides each fitted with a cupboard door, raised on paw feet, h. 87”, w. 57”, d. 16”. [1000/1500] Illustrated 144 Neoclassically Inspired Walnut Sofa, 20th century, probably Italian, the heavily carved frame with floral and ribbon decor throughout, the crest with lovebirds and trophies, the closed arms terminating in ram’s heads, with a bowed seat rail and cabriole legs, now upholstered in ivory and crimson striped brocade, h. 41”, w. 79”, d. 28”. [400/700] 148

145 144A Neoclassically Inspired Walnut Armchair, early 20th century, probably Italian, with a lovebird- and trophycarved crest, ram's-head arms and a bowed seat rail, upholstered in striped brocade, h. 37" 145 Dutch Mahogany and Marquetry Pedestal Desk, mid19th century, of Georgian form, the rectangular top with a three-quarter gallery above a frieze with three drawers, raised on two pedestals, each fitted with a paneled cupboard door, one opening to four short drawers, the other to shelves, raised on plinth bases, the whole inlaid throughout with marquetry scrolling foliate and floral urn panels, h. 35”, w. 55‑1/2”, d. 33”. [500/800] Illustrated

151 146 After Paulus Moreelse (Dutch, 1571‑1638), “The Little Princess”, early 20th century, oil on canvas, unsigned, 32” x 25”. Framed. [900/1200] Illustrated 147 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”. Framed. [200/400] 148 Pair of Louis XIII-Style Mahogany Fauteuils a la Reine, mid-19th century, each with a domed and padded back over a shield-carved and foliate-pierced panel, joined by molded downswept foliate-carved arms to the padded seat, above a pendant pierced foliate carving, raised on scrolling acanthine legs joined by an H-form stretcher and ending in bulbous feet, h. 45‑1/2”. [500/800] Illustrated

149

149 Baroque-Style Gilt and Patinated Bronze and Marble Urn, fourth quarter 19th century, now mounted as a lamp, the urn with reliefs of diaphanously-clad dancing beauties, raised on a marble base with applied beading, medallions and tapered feet, mounted with a shade, urn, h. 25‑1/2”, overall, h. 16‑3/4”, w. 15‑1/4”, d. 10‑3/4”. Provenance: The Flatt Collection. [400/700] Illustrated

154 150 Pair of Continental Walnut Console Tables, partially composed of antique elements, each with a rounded rectangular top, above a conforming floral pateracarved frieze, raised on ribbed baluster-form supports to runner feet ending in scrolled feet on molded blocks, h. 33”, w. 46‑1/2”, d. 23‑1/2”. [700/1000] 151 Lucas van Leyden (Dutch, 1494‑1533), “The Adoration of the Magi”, fourth quarter 19th century, copper engraving on laid Van Gelder paper, monogrammed and dated 1513 in plate, “Amand-Durand” ink stamp (Lugt 2934) en verso, sheet 13” x 17‑3/4”. Unframed. [400/700] Illustrated 152 Lucas van Leyden (Dutch, 1494‑1533), “The Conversion of St. Paul,” fourth quarter 19th century, copper engraving on laid paper, monogrammed and dated 1509 in plate, “Amand-Durand” ink stamp (Lugt 2934) en verso, sheet 12‑1/8” x 16‑5/8”. Unframed. [400/700]

157 153 Lucas van Leyden (Dutch, 1494‑1533), “The Triumph of Mordecai”, copper engraving on paper, fourth quarter 19th century, sheet 12‑3/4” x 17‑3/4”. Unframed. [400/700] 154 Lucas van Leyden (Dutch, 1494‑1533), “Samson and Delilah”, fourth quarter 19th century, copper engraving on laid paper, monogrammed in plate, “AmandDurand” ink stamp (Lugt 2934) en verso, sheet 12‑3/4” x 8‑1/2”. Unframed. [400/700] Illustrated 155 Lucas van Leyden (Dutch, 1494‑1533), “Golgotha”, fourth quarter 19th century, copper engraving on laid paper, monogrammed and dated 1517 in plate, “Amand-Durand” ink stamp (Lugt 2934) en verso, sheet 12‑3/8” x 16‑3/4”. Unframed. [400/700]

156 156 Lucas van Leyden (Dutch, 1494‑1533), “Susanna and the Elders”, fourth quarter 19th century, copper engraving on laid paper, monogrammed in plate, “Amand-Durand” ink stamp (Lugt 2934) en verso, sight 7‑1/2” x 5‑1/2”. Glazed, matted and framed. [400/700] Illustrated 157 Pair of Faux Bois-Decorated Mirrors in the Baroque Taste, 20th century, the molded frames painted to resemble burl walnut, the corners with carved leaves, h. 45‑1/2”, w. 36”. [1000/1500] Illustrated 158 Provincial Polychrome Cabinet, 19th century and later, fitted with two cupboards, each painted to simulate paneling, the sides en suite, raised on square legs, h. 37‑1/4”, w. 47”, d. 17‑1/2”. [400/700] 159 Dutch Brass Twelve-Light Chandelier, first quarter 20th century, in the Baroque Taste, the turned standard terminating in a large ball finial, the scrolled arms set with turned candle cups and tiered drip pans, h. 27”, dia. 34‑1/2”. [500/800]

160

160 Continental Mahogany and Fruitwood Server, the rectangular top above two drawers over two cupboard doors, each with a star inlay, raised on bracket feet, h. 42”, w. 82”, d. 20”. [1200/1800] Illustrated

165 one of two 163

161 Suite of Six Carolean-Style Fruitwood Sidechairs, 19th century, each with a tall, padded rectangular back above a padded seat, raised on turned and block legs joined by a like H-form stretcher and ending in toupie feet, h. 43‑1/2”. [1000/1500] Illustrated 162 Pair of Continental Brass-Mounted Fruitwood “Bustle” Chairs, fourth quarter 19th century, in the Louis XVI taste, the back frames carved in a laurel leaf pattern and with downswept carved hip-rests, raised on trumpet-form turned and carved legs, h. 28”. [600/900]

165 Collection of Two 17th-Century Works on Paper, including School of Barbieri, Giovanni Francesco (Italian, 1591‑1666), a sanguine drawing of an elderly, bearded man on paper, label en verso, sight 7‑1/4” x 6”, and School of Rubens, J. Thane (Italian, 1748‑1818), black chalk on paper drawing of Jesus and John the Baptist with a Lamb, label en verso, signed lower left “J. Th.”, sight 7” x 8‑3/8”. Both glazed, matted and framed. [400/700] Illustrated

161

163 Pair of Giltwood Mirrors in the Northern Italian Baroque Taste, mid-20th century, with delicately carved and pierced scrollwork, with shell-form and floral motifs, h. 37”, w. 23”. [900/1200] Illustrated 164 Continental Carved Giltwood Architectural Element in the Form of a Bat, 19th century, h. 12”, w. 18‑1/2”, d. 3”. [300/500]

167

166 Flemish-Style Mahogany Stool, early 20th century, the padded square top raised on cup-and-cover legs, joined by an X-form stretcher and ending in bun feet, h. 21”, w. 28”, d. 28”. [400/700] Illustrated 167 Neoclassical-Style Metal Four-Light Lantern, in the form of an old carriage lantern, decorated with swags and scrollwork, with leaf finials, h. 73”, w. 24”, d. 24”. [700/1000] Illustrated 168 Continental Metal and Porcelain TwoLight Lantern, second quarter 20th century, of pentagonal shape and rococo-molded with applied metal vines and porcelain flowers, h. 20‑1/2”, dia. 9‑1/2”. [300/500] 173

172 pair

169 Louis XV-Style Chinoiserie-Decorated and MarbleTop Commode, late 19th century, the front fitted with two drawers and tall cabriole legs bearing bronze mounts and ending in paw feet, h. 35”, w. 34‑1/2”, d. 17”. [500/800] 170 Pair of Giltwood Fauteuils, early 20th century, in the Baroque taste, each with a padded rounded back surmounted by a pierced crest, joined by padded arms to the like seat, raised on a foliate-carved frieze on shaped legs ending in foliate scrolled toes, h. 43”. [600/900] 171

175

176

174

174 Three Italian Pietra Dura Plaques, 20th century, with mosaics of birds and flowers, the largest plaque with an envelope attached to the back with a description from “Societa Civile-Arte del Mosaico” in Firenze, h. 3‑1/2” to 10‑1/4”, w. 5‑1/2” to 13‑1/4”. [500/800] Illustrated 171 Pair of Giltwood Fauteuils, early 20th century, in the Baroque taste, each with a padded rounded back surmounted by a pierced crest, joined by padded arms to the like seat, raised on a foliate-carved frieze on shaped legs ending in foliate scrolled toes, h. 43”. [600/900] Illustrated 172 Pair of Italian Painted Wood and Metal Three-Light Chandeliers, fourth quarter 18th century and later, in the Baroque taste, composed of early architectural element, the vase-turned standard mounted with pierced scrolls terminating in winged angel heads, the scrolled candle arms with leaf-molded sockets of later date, h. 46‑1/2”, dia. 24‑1/2”. [4000/7000] Illustrated 173 Continental Three-Fold Canvas Screen, early 20th century, in the chinoiserie taste, with a central cockerel surrounded by floral patterns, within a frame band depicting various Asian figures with corner dragon accents, the sides with decorative brass tacks, h. 82‑1/2”, w. 72”. [800/1200] Illustrated

175 Pair of Italian Pietra Dura Plaques, 20th century, the first with a musketeer drinking from a wine bottle; the second with a barmaid with a tankard and a glass of beer, framed alike, h. 12”, w. 7”. [400/700] Illustrated 176 Pair of Italian Pietra Dura Obelisks, fourth quarter 19th century, inlaid with meandering flowering vines including malachite leaves, raised on stepped bases, h. 18‑1/4”, w. 4‑3/4”, d. 4‑3/4”. [400/700] Illustrated

166

177

179 Italian Carved, Polychromed and Silver-Leafed Baroque-Style Mirror, early 20th century, in the Florentine taste, the crest and frame with leaf and scroll motifs, the lower cartouche with a shell, h. 32”, w. 23”. [400/700] Illustrated

179 177 Three Italian Pietra Dura Plaques, 20th century, with mosaics of a bouquet of flowers, h. 7‑1/4”, w. 7‑3/4”, the angel Gabriel, h. 8‑3/4”, w. 4‑1/4”, and a rose with a butterfly, h. 4‑1/4”, w. 6”, all framed. [400/700] Illustrated 178 Louis XV-Style Wrought Iron and Red Griotte MarbleTop Console Table, 19th century, the serpentine-form marble top above an open C-scroll-patterned frieze centered by a gilt foliate mount, raised on scrolling legs headed by foliate capitals and ending in upturned toes, h. 33”, w. 41‑1/2”, d. 16”. [600/900] Illustrated

180 Bohemian .800 Silver-Mounted Cut Glass Fruit Stand, first quarter 20th century, the silver with import marks for Zagreb, Yugoslavia, 1919‑1933, the squat thistleform bowl of amethyst-cut-to-amber glass with floraland oculus-cut decoration, raised above a silver frame supported by four displayed eagles on a gadrooned circular plinth, h. 7‑1/4”, dia. 9”, 12.72 t. oz. (stand only). [400/700] 181 Pair of Carved and Polychromed Wood Lamps, 20th century, in the form of inverted Corinthian capitals on shaped molded plinths, with shades, h. 36‑1/2”, w. 17”. [500/800] Illustrated 182 Follower of Guido Reni (Italian, 1575‑1642), “Portrait of a Woman with a Rose”, oil on canvas, 25‑1/4” x 20‑5/8”. Presented in an antique, 18th-century-style giltwood and gesso frame. [1500/2500] Illustrated

181

178

183

182 183 Italian Metal and Alabaster Seven-Light Chandelier in the Baronial Taste, first quarter 20th century, the alabaster bowl concealing a single light socket, the pierced, scrolled frame holding the bowl and set with six leaf-molded candle arms, the chains held from a second graduated frame, molded to match, h. 52‑3/4”, dia. 31”. [800/1200] Illustrated

184 Pair of Antique Italian Silvered and Carved Giltwood Sconces, in the baronial taste, with crowned escutcheon backplates flanked by acanthus leaves over patinated metal tulip-form candle cups, h. 21”, w. 13”. [1200/1800] Illustrated 185 Two Large Continental Armchairs, 19th century, one in the Italian Baroque style with boldly carved scrolling details and exhibiting traces of old polychrome and gilt highlights, h. 45”, w. 29”, d. 25”, and the other in walnut and having barley-twist motifs and covered in period needlework fabric, h. 45”, w. 26”, d. 24”. [500/800] Illustrated 185

184

189

190

188

195

191 Guatemalan Carved Wood Console in the 19th-Century Style, the single-plank top over a bank of four drawers decorated with a carved floral motif, above a frieze with like decoration, flanking stylized quadrupeds, all raised by whimsically shaped front legs and turned back legs, h. 25‑3/4”, w. 63‑3/4”, d. 17‑1/2”. Provenance: From the personal collection of Mario Villa, New Orleans, Louisiana. [400/700] Illustrated

192 186 Interesting Continental Carved Walnut and Parcel-Gilt Music Stand, late 19th century, of easel form with an in-carved lyre, the crest with a portrait of Chopin, h. 17”, w. 19‑1/2”, d. 13”. [400/700] Illustrated 187 Pair of Continental Giltwood Altar Sticks, fourth quarter 19th century, the turned baluster-form standards fitted with inverted rim drip pans with metal sockets and raised on circular bases with ball feet, h. 44‑1/2”, dia. 8‑1/2”. [500/800] 188 Continental School (19th Century), “Madonna and Child”, oil on canvas, unsigned, 8” x 6‑1/2”. Presented in a giltwood frame. [500/800] Illustrated 189 After Raphael (Italian, 1483‑1520), 19th century, “Madonna of the Grand Duke”, oil on canvas, signed “Papi” lower right, 17‑3/4” x 16‑3/4”. Presented in a decorative, pierced giltwood frame. [500/800] Illustrated 190 Cuzco School (South American, Late 19th Century), “Saint James the Moor-Slayer”, oil on canvas, unsigned, 28” x 21”. Framed. [500/800] Illustrated

194

192 Continental School (17th/18th Century), “Italianate Landscape with Peasants Resting by a River”, oil on canvas, 28‑5/8” x 38”. Unframed. Provenance: Florian Papp Antiques and Art Gallery, New York, New York. [500/800] Illustrated

193 Continental Embroidery of “Wise Counsel”, 19th century, wool and silk thread on linen, needlepoint and petitpoint, sight 33‑1/2” x 28”. Glazed and framed. [400/700] 194 Eastern Orthodox Icon of Christ Pantocrator, ca. 1900, possibly Greek, the face and hands tempera on wood panel, with an elaborate gilt acanthus and berry motif riza, now presented in a painted period shadowbox frame, h. 17‑1/2”, w. 15‑1/2”, d. 4”. [800/1200] Illustrated 195 Russian Orthodox Icon of the Virgin, 19th century, tempera and gold paint on wood panel, depicting the Virgin Mary pierced with swords, referencing the Prophecy of Simeon from the Gospel of Luke, the Virgin in her role as the softener of evil hearts, inscriptions in Cyrillic, h. 10‑1/2”, w. 8‑3/4”. [400/700] Illustrated 186

191

197 one of four

198 196 Russian Orthodox Icon of God the Father, first quarter 19th century, tempera on wood panel with slats en verso, the Holy Spirit as a dove, inscription in Cyrillic at upper edge, the figure surrounded by angelic beings in their role as Thrones, h. 24”, w. 21‑1/2”. [600/900] Illustrated 197 Group of Four Continental Carved Oak Biblical Scenes, probably 18th century, each plaque centering a roundel with a figurative scene, framed alike, overall, 22‑1/8” x 15‑3/4”. Provenance: The Flatt Collection. [400/700] Illustrated

197 two of four

198 Russian Icon of The Virgin of Hodegetria, ca. 1892, depicting Mary and the Infant Jesus, with a silver riza marked St. Petersburg, 1892, assayer Alexander Tomas Sevier (active 1892‑1897), maker Moicye Ivanov (1816‑1893; master 1849), h. 8‑3/4”, w. 7”. with Russian Orthodox Bronze and Enamel Coptic Cross,^ 19th century, h. 8‑3/4”, w. 5‑1/2”. [800/1200] Illustrated 199

199 Italian Carrara Marble Pedestal, late 19th century, of tapering form and mounted to a molded marble base, the front engraved, h. 43‑1/2”, top, w. 11‑1/4”, d. 11‑1/4”, base, w. 14‑1/4”, d. 14‑1/4”. Provenance: Deaccessioned from St. Anthony’s Seminary, Santa Barbara, California. [500/800] Illustrated

200 Antonio Giovanni Lanzirotti (Italian, 1839‑1921), “Bust of Madonna - Pieta”, carved marble, depicting a tearful, draped Mary at the time of Christ’s death, signed “G. A.” (Giovanni Antonio) and “Lanzirotti 1870”, h. 26”, w. 13‑3/4”, d. 9‑1/2”. [1200/1800] Illustrated 201 Carved, Polychrome and Giltwood Blackamoor Pedestal, 19th century, the scalloped top with lamb’s tongue molding inset with a mirror, over a Bacchic figure terminating in tripartite acanthine legs, h. 30‑1/2”, dia. 16”. [1400/1800] Illustrated 202 Dutch Baroque-Style Bronze Sixteen-Light Chandelier, mid-20th century, the scrolled candle arms set on two tiers and the standard terminating in a large spherical finial, electrified, h. 50”, dia. 48”. [700/1000] 196 38

203

200

203 Italian-Style Polychrome Canopy King-Size Bed, in the Renaissance taste, the full canopy within a molded and ribbed frame, supported by block and barley-twist uprights, the lower frame carved en suite and raised on large bun feet, the whole richly dressed with silk drapery with fringe and pom-pom accents, h. 98”, inside, w. 81‑3/4”, l. 88‑1/4”, outside, w. 87‑1/2”, l. 97‑1/2”. [2500/4000] Illustrated

204 Pair of Spanish Mahogany and Leather-Upholstered Armchairs, mid-20th century, each with sandcolored leather and large gilt-metal tacks, the legs and arm posts spoolturned and having similar turned H-form stretchers, h. 37”, w. 25‑1/2”, d. 18”. Provenance: The Spanish Executive Offices, World Trade Center, New Orleans, Louisiana. [250/400]

201

205 205 Portuguese Second Standard (.833) Silver Parcel-Gilt Filigree Presentation Model of a Carrack, dated 1956, by Mario Martins da Rocha, fl. Gondomar, 1949‑1972, the silver hull and deck fitted with realistic masts and rigging, with gilt filigree sails, pennants and “seas”, the sails with enameled Portuguese crosses, presented on an ebonized wood base with silver plaque engraved with presentation to Major-General Willard K. Liebel (1901‑1961), h. 13‑1/2”, l. 10‑1/2”. [600/900] Illustrated Kentucky native William K. Liebel enlisted in the army at the age of 15, and was thus a veteran with three battle stars and a wound stripe as infantryman when he attended West Point as a member of the class of 1924. He served as Chief of Staff and Assistant Commander of the 17th Airborne Division during World War II, and served as Provost Marshal of Austria during the Allied Occupation. He served as Chief of the Military Assistance Advisory Group in Lisbon from 1954 to 1956, during which time he was presented with this handsome piece. He retired with the rank of MajorGeneral - to which he had been promoted during his tenure in Portugal - in 1957. He died on August 1, 1961 in Fort Sam Houston, Texas, and is interred in the National Cemetery there.

207

206 Baroque-Style Patinated Bronze Six-Light Chandelier, second half 20th century, the segmented stem joined to a dodecagonal bowl supporting S-scroll arms with lobed bobeches and candles, electrified, h. 22‑1/2”, dia. 30”. [300/500] 207 Pewter-Tone Metal Eighteen-Light Chandelier in the Dutch Baroque Taste, 20th century, set with arms on two levels, h. 42”, dia. 40”. [800/1200] Illustrated 212

208 Pair of English Oak Student’s Chairs, late 17th century and later, each with a deep angled crest, with bar for holding books, joined by downswept arms to the narrow seat, raised on turned circular legs to runner feet, h. 35”. [800/1200]

209 Elizabethan Revival Walnut Armchair, third quarter 19th century, the foliate-carved crest centered by a cabochon, raised on twist-turned stiles and centered by an upholstered cushion, the bobbin-turned and padded arms on twist-turned supports, the legs joined by an H-form stretcher, retaining its period worn leather upholstery and original under-upholstery, h. 48‑1/2”. [400/600] 210 Mounted Impala Skull, with its distinctive black segmented horns, presented on an oak backplate, h. 22‑3/4”, w. 10‑1/2”, d. 10‑1/2”. [400/700] Illustrated

210 211 Group of Four British Salt and Candle Boxes, 18th century and later, including a salt box with dovetailed construction, composed of mixed woods, h. 12”, w. 10‑1/2”, d. 6”, an oak candle box with nailed construction, h. 18‑1/2”, w. 6‑3/4”, d. 3‑3/4”, a mahogany candle box with dovetailed construction, h. 16‑3/4”, w. 5”, d. 4”, and an oak salt box with nailed construction, h. 14‑3/4”, w. 8‑1/2”, d. 7”. [400/700] 212 Chinese Export Mazarin Blue Vase, ca. 1900, now mounted as a lamp, decorated with panels of peonies, base, h. 17”, overall, h. 24”, dia. 8”. [400/700] Illustrated

215

213 Chinese Porcelain Jardiniere, Qing Dynasty (1644‑1911), the blue and white vessel with bird and flower decoration, unmarked, h. 14”, dia. 16‑1/4”. [300/500]

214 Near Pair of William and Mary-Style Oak Stools, each with a padded top raised on turned legs joined by an H-form stretcher, one example of earlier pegged construction, the other appears to be a replica h. 17‑1/2”, w. 18‑3/4”, d. 14”. [300/500]

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215 Queen Anne Oak Lowboy, late 18th century, the top with canted front corners and a molded edge, over a frieze fitted with three side-by-side drawers, raised on cabriole legs ending in pad feet, h. 28”, w. 32”, d. 18‑1/2”. [400/700] Illustrated

216 English Oak Side Table, 20th century, the rounded rectangular top above a frieze fitted with a single side drawer, raised on turned and bulbous legs joined by an H-form stretcher and ending in block-and-ball feet, h. 28‑1/2”, w. 35”, d. 23‑1/2”. [500/800] Illustrated

223

217 Pair of French Majolica Wall Pockets in the Form of Game Baskets, fourth quarter 19th century, molded with leather straps on the backplate, a rabbit to one side and a clutch of game birds on the bottom, impressed “1501” on the back, h. 14‑1/2”, w. 8”, d. 3‑3/4”. [400/700]

218 Three Pieces of Majolica, including a heart-shaped nut dish attributed to George Jones, fourth quarter 19th century, English, decorated with leaves on a cobalt ground and with a squirrel-form handle, h. 5‑1/4”, w. 10”, and a pair of polychrome-decorated figures attributed to the Brothers Urbach, fourth quarter 19th century, Austrian, one depicting a boy and a goat and the other a girl and a goat, each marked “594” on the bottom, h. 7‑3/4”, w. 5‑3/4”. [400/700] Illustrated

219 Six-Piece Collection of Etruscan Majolica, ca. 1879‑1892, Phoenixville, Pennsylvania, decorated with shells and coral in pink, green and brown glazes, each signed with the exception of the cup, made by Griffen Smith & Co, Griffen, Love & Co. or Griffen China Co., the collection including a teapot, h. 6”, a jug, h. 5‑3/4”, a covered sugar bowl, h. 4‑1/4”, a waste bowl, h. 2‑1/2”, a cream jug, h. 3‑3/4”, and a cup, h. 2”. [400/700] Illustrated 220 Victorian Majolica Cheese Dish, Attributed to George Jones, fourth quarter 19th century, the twig-molded stand holding the turquoise-ground dome decorated with raspberries, a molded cow knop on the top, h. 13‑1/4”, dia. 11‑1/2”. [400/700] Illustrated

216

221 Pair of English Majolica Wall Brackets, fourth quarter 19th century, possibly George Jones, the brackets molded with putti on a cobalt ground, stamped “putti” indistinctly on the interior, h. 5‑1/4”, w. 8”, d. 5‑1/2”. [400/700]

222 Collection of Brass and Steel Fire Tools in Various Styles, fourth quarter 19th century, including two pairs of tongs, a poker and two shovels, with a brass tool holder, h. 33‑3/4”, dia. 8‑1/4”, together with a four-panel brass fire screen with cubic finials and pair of pivoting handles, h. 25”, w. 51”. [300/500] 223 Pair of English Brass Andirons, first quarter 20th century, the baluster-form andirons with finials and raised on scrolled legs with ball feet, h. 25‑1/2”, w. 12”, d. 27”. [300/500] Illustrated 219

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224 English Oak Chest, 18th century, the rectangular top with a molded edge, above a conforming case fitted with two small drawers over three graduated long drawers, each with a molded paneled front, raised on shaped bracket feet, h. 35‑1/4”, w. 35‑1/2”, d. 21‑1/2”. [500/800] Illustrated 225 George II-Style Mahogany Wing Chair, 20th century, the padded rounded rectangular back joined by shaped sides and outscrolled arms to the cushioned seat, raised on cabriole legs headed by shell carving and ending in balland-claw feet, h. 45”. [400/700] Illustrated

226 Eleven-Piece Collection of Antique Brass and Copperware, 19th century, primarily British, including a hot water urn, h. 19”, dia. 9”, a brass oil lamp, h. 15‑1/2”, dia. 5”, an unusual copper half pot, h. 7”, w. 11”, six copper kettles, three with dovetailed construction, h. 7” to 11”, w. 6‑1/4” to 7‑1/4”, a Middle Eastern covered jug, h. 10”, and two teapots, h. 6‑1/2”, dia. 5” and h. 7”, dia. 6”. [400/700] Illustrated

224 229 George III Mahogany Wing Chair, late 18th century, the padded back and sides joined to the padded seat by outscrolled arms, raised on square legs ending in casters, h. 47”. [400/700] Illustrated 230 Group of Four English Mahogany Candle Stands, consisting of a pair of Victorian examples, mid-19th century, each with a circular top with a dished edge, supported by a bobbin-turned standard to three splayed legs, h. 40”, dia. 8”, a George III-style stand of similar date, with a dished circular top raised on a turned and ribbed tapering paneled standard to three splayed acanthine-carved legs ending in ball-and-claw feet, h. 38”, dia. 12‑1/2”, and another Victorian example with a piecrust-form top raised on a paneled and bulbous standard to three splayed supports ending in shaped feet, h. 36”, dia. 10”. [400/700]

227 Thirteen-Piece Collection of Antique British Copper, 18th/19th century, including five tea kettles, two with dovetailed construction, h. 6” to 10‑1/2”, a Georgian brandy warmer, h. 3‑3/4”, dia. 4‑1/2”, a Georgian chocolate pot, h. 9”, dia. 5”, a Georgian covered sauce pan, h. 5‑1/2”, dia. 4‑1/4”, a sugar bowl, h. 6”, a covered jug, h. 7”, a sauce pan, h. 2‑1/2”, dia. 5‑1/4”, a covered tankard, h. 5‑1/4”, and a half gill measure, h. 3”, dia. 2‑1/2”. [400/700] Illustrated 228 Regency Mahogany Cellarette, first quarter 19th century, the hinged rectangular top with breadboard ends opening to a zinc-lined and fitted interior, raised on slender turned legs ending in brass casters, h. 24”, w. 17”, d. 13”. [400/700]

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231 Queen Anne-Style Mahogany Drop-Leaf Table, 19th century, the top with two ovoid drop leaves, raised on tapering circular legs ending in pad feet, h. 28”, w. 36”, d. 13”, extended l. 41”. [400/700] Illustrated 232 Pair of Chinese Export Porcelain Baluster Vases and a Cachepot, the pre-1920 vases now mounted as lamps and decorated with panels of flowers and birds, overall, h. 19‑1/2”, dia. 7‑1/4”, and the cachepot with an undertray with a gilt “cracked ice” ground and panels of Mandarin decoration, h. 8‑3/4”, w. 8”, d. 8”. [400/700] Illustrated 233 George III Fruitwood Chest, late 18th century, the top with a cross-banded perimeter, the case with a bank of four drawers with banded edges, raised on bracket feet, h. 37”, w. 41”, d. 18”. [800/1200] Illustrated

231

234 Large English Brass Covered Chestnut Basket, first quarter 20th century,of Adam Inspiration, the molded legs supporting the ovoid body, set with ring pulls, the pierced rim with rosettes, the cover with a laurelmolded ring handle, with an interior removable liner, h. 22‑3/4”, dia. 11‑1/2”. [400/700] 235 George III Mahogany Tea Table, late 18th century, the rounded rectangular top with a dished edge, above a conforming shaped frieze, raised on cabriole legs headed by acanthine carving and ending in paneled pad feet, h. 28‑1/4”, w. 29‑1/2”, d. 20”. [400/700] Illustrated 236 Pair of Victorian Walnut Candle Stands, third quarter 19th century, each with a square top with bowed sides and a molded edge, and raised on a turned and bulbous standard on a tapering paneled circular support to three splayed cabriole legs ending in paw feet, h. 36”, dia. 10‑1/2”. [400/700]

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237 Three Pieces of Japanese Imari Porcelain, fourth quarter 19th century, including a square dish decorated with a basket of flowers, w. 12‑1/2”, d. 12‑1/2”, and a pair of similar round scalloped dishes decorated with flowers and cranes, dia. 8‑1/4”. Provenance: Collection of Richard Vernon and Bettie Long Rickenbach, Ocala, Florida. [300/500] Illustrated

238

238 Japanese Imari Porcelain Charger, ca. 1900, decorated with panels of cranes alternating with panels of foo dogs, dia. 18”. Provenance: Collection of Richard Vernon and Bettie Long Rickenbach, Ocala, Florida. [300/500] Illustrated

239 Assembled Pair of Japanese Ribbed Ginger Jars and a Lamp, all in the Imari palette, the small ginger jars decorated with flowers and trees in panels, h. 5‑3/4”, dia. 3‑1/2”, and the large ginger jar decorated with pots of flowers, and now mounted as a lamp, h. 21”, dia. 9‑1/2”. [600/900]

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240 Three Pieces of Japanese Imari Porcelain, ca. 1900, including a square scalloped dish, w. 10‑1/2”, a round dish with an “Arita” mark, dia. 8‑3/4”, and a vase, h. 5‑3/4”. [400/700]

241 Derby-Style Porcelain Tureen, decorated with a “Japan” pattern in the Imari palette, with spurious Chinese character “signatures”, h. 13”, w. 14”, d. 8‑1/4”. [400/700] Illustrated 242 Pottery Garden Seat, decorated with raspberry scenes in the Chinese export style, h. 18”, dia. 12‑1/2”. [400/700] Illustrated

242

243 Chinese Export-Style Pottery Monteith, decorated with raspberry scenes, h. 8‑1/4”, w. 17‑1/2”, d. 12‑1/2”. [400/700]

244 Chinese Export Platter in the Famille Rose Palette, ca. 1800, the notched corner platter with a border of mauve diapering framed with puce scrollwork, the center panel decorated with a cornucopia of handpainted flowers, w. 14‑1/4”, d. 11‑1/4”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [500/800] Illustrated 245 George III Mahogany and Oak Secretary Bookcase, early 19th century, the molded and dentillated cornice above a blind fret-carved frieze, over two paneled cupboard doors, the lower section fitted with an inset baize surface and a variety of drawers and cubbyholes flanking a central cupboard, over two short drawers and three graduated long drawers, raised on shaped bracket feet, h. 78”, w. 40‑1/2”, d. 22”. [700/1000] Illustrated

246

246 Scottish Oak Tall Case Clock, first quarter 19th century, the hood with a swan’s-neck pediment trimmed with brass medallions, the engraved brass dial decorated with spandrels in the corners, signed “George Dunbar, Turriff”, h. 82‑1/4”, w. 19‑1/2”, d. 10‑3/4”. [800/1200] Illustrated

249 Two Nineteenth-Century Continental Watercolor Portrait Miniatures, the first after Sir Joshua Reynolds (1723‑1792), “Lady Smith with Her Children”, signed “Nodirt”, 5‑5/8” x 4”, and the second after Elisabeth Louise Vigee Le Brun (1755‑1842), “Marie-Antoinette a La Rose”, 6‑1/2” x 4‑1/2”, each presented in a brass rocaille easel frame. [600/900] 248

247 Early Georgian-Style Burl Wood Armchair, the shaped cornice above a pierced splat, joined by outscrolled arms to the padded seat, raised on cabriole legs ending in pad feet, h. 40”. [400/700] Illustrated 248 George III Mahogany Drop-Leaf Table, late 18th century, the rectangular top with bowed ends and ovoid drop leaves, raised on tapering circular legs ending in pad feet, h. 28”, w. 47”, d. 21‑1/2”, extended l. 63‑1/2”. [500/800] Illustrated

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250 English Giltwood Mirror in the Chinese Chippendale Taste, 20th century, the pierced surround decorated with grapes, rocaille work and pagodas, with a leafcarved finial, h. 42‑1/2”, w. 24”. [400/700] Illustrated 251 Waterford-Style Glass and Crystal Twelve-Light Chandelier, second half 20th century, with a foliate corona over a fluted and diamond-pattern glass stem, the scalloped bowl flanked by conforming reverse dishes, issuing tiered twisted crystal arms with scalloped bobeches, the dishes, bowl and bobeches hung with prisms, the chandelier adorned with strings of crystal beads, h. 37”, dia. 37”. [600/900] Illustrated 252 Georgian-Style Mahogany Armchair, 20th century, the pagoda-form crest above a pierced back, the padded seat raised on cabriole legs ending in scrolled toes, h. 39”. [400/700] Illustrated

258

250 253 Collection of Two George III Reverse Paintings on Glass, one depicting the HMS Marlborough, the other Admiral Nelson’s flagship Victory, the largest 15” x 19”. Both handsomely framed. Provenance: Christie’s, New York: 19 January 1999 sale, lot 350; The Flatt Collection. [1000/1500] Illustrated

258 detail

254 Large GeorgianStyle Eglomise Panel, depicting the clipper ship “Airey” out of Liverpool, first quarter 19th century, 20” x 28”. Presented in a period gilt-edged bird’s-eye maple veneered frame in the neoclassical taste. [500/800] Illustrated

254

253 one of two 255 Regency-Style Anglo-Indian Bone and Wood Sewing Chest, 19th century, the sarcophagus-form box decorated with ink-stained bone inlay and tropical hardwood panels, and raised on paw feet, the fitted interior set with covered compartments, needle cases and thread holders, h. 4‑1/4”, w. 11‑3/4”, d. 7‑1/2”. [400/700] 256 Stained Wood Model of a Spiral Staircase, with turned balusters, h. 22‑1/2”, dia. 13‑3/4”. [300/500]

252

257 Three Carriage Clocks, fourth quarter 19th century, French and American, including a large marked Ansonia clock with a nickel finish, the fret-molded case set with a scrolled handle, h. 6”, w. 4‑3/4”, d. 3‑1/4”, a French bronze carriage clock with a chapter ring with Roman numerals, the case set with beveled glass, h. 4‑1/2”, w. 3”, d. 2‑3/4”, and a clock with a bronze case set with beveled glass, with a raised enamel Arabic chapter ring, h. 4”, w. 3”, d. 2‑1/2”. [400/700]

258 Nineteenth-Century English Tortoiseshell Sewing Box, the hinged case with boxwood and ebony dovetail banding, opening to a pull-out tray fitted with conforming lidded compartments, some inlaid with bone, h. 4‑5/8”, w. 12‑1/2”, d. 8‑1/2”. [600/900] Illustrated 259 George III-Style Mahogany Pedestal Desk, late 19th century, the rectangular top with a molded edge and an inset leather writing surface, above a frieze fitted with a single long drawer, faced as three, raised on two pedestals, each fitted with three graduated drawers, raised on plinth bases on casters, h. 31”, w. 51”, d. 30”. [700/1000] Illustrated

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260 Victorian Zebrawood Bezique Box, fourth quarter 19th century, designed to hold cards for playing Bezique, the cover opening to reveal two Bezique markers under the cover, one on either side of an English registry mark for 1871, the hinged front opening to reveal two stacks of cards, labeled by retailer, “W. Rodrigues, 42 Piccadilly W.”, on the brass plate between the hinges, h. 3‑1/2”, w. 8‑1/4”, d. 4‑3/4”. Provenance: The Flatt Collection. [300/500] Illustrated 261 Two William IV Casket-Form Tea Caddies, second quarter 19th century, comprising a large mahogany example with wooden ring handles, the threesection interior set with a pair of hinged lidded compartments flanking a 19th-century pillarmolded blown glass mixing bowl, h. 8‑3/4”, w. 14”, d. 6‑3/4”, and a rosewood example inlaid with mother-of-pearl flowering vines, the interior with two compartments with inlaid covers flanking a mixing bowl compartment, h. 7‑1/4”, w. 12”, d. 6”. [400/700] Illustrated 262 Collection of Five Wooden Canes, 20th century, probably Italian, with resin animal head handles, l. 36”. [300/500] Illustrated 263

263 Vintage English Fencing Epee and Mask, the sword with blunted tip and rope-braided grip, the blade marked “Made in England”, l. 42”; the mask with mesh wire, fabric trim and neck padding, labeled “Leon Paul/ London”, face, h. 10”, w. 6‑1/2”. Provenance: The Flatt Collection. [300/500] Illustrated

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264 Rudyard Kipling (1865‑1936), Works, New York: Charles Scribner’s Sons, 1910, complete in twenty-five volumes, octavo, in black half morocco with embossed fillet and marbled boards, the spines with raised bands with gilt lettering and “lotus” decoration, with marbled endpapers, the top edges cut and gilt, 8‑5/8” x 5‑7/8”. [300/500] Illustrated 265 Three Eighteenth-Century Folio-Size Books, including Pierre Bayle (1647‑1706), Dictionnaire Historique et Critique (Rotterdam: Michel Bohm, 1720), vol. 1 (A-C), 3rd ed., full leather, 16” x 10‑3/4”, Dictionnaire de l’Academie Francaise (Paris, Ve de Bernard Brunet, 1762), vol. I (A-K), 4th ed., full leather, 16” x 11”, and Journal of the House of Commons [London: H.M. Printing Office, n.d.], vol. 26 (1750‑1754), quarter leather on marbled boards, 16‑1/2” x 10‑1/4”. [300/500] 266 Charles Dickens (1812‑1870), Works, Edinburgh: Macdonald & Sons, nd, for The Edinburgh Society, Clements Inn, London, 39 volumes (of 40), textured black cloth boards, the spines with gilt lettering and banding, 9” x 6‑1/4”. [1000/1500] Illustrated 267 Important Reference Work on Pre-Elizabethan Silver, George E. P. How and Jane B. How, English and Scottish Silver Spoons, Mediaeval to Late Stuart, and Pre-Elizabethan Hallmarks on English Plate, London: the author, 1952‑1957, limited edition 230 of 550, complete in three volumes, folio, in blue cloth, the spines with red label with gilt lettering and rule, the edges cut, the top edges gilt, presented in the original buff paper wrappers with black lettering, 16‑1/4” x 12‑5/8”. Ex libris: Ruth Wilkins Sullivan, Fort Worth, Texas. [700/1000]

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268 American Silvered Bronze Six-Light Chandelier, second quarter 20th century, in the E. F. Caldwell taste, the standard in the form of fluted mirrored vases decorated with leaf molding, set with six scrolled leaf-molded arms set with reeded drip pans and fluted candle cups, h. 30”, dia. 23”. [800/1200] Illustrated 269 Polished Sea Turtle Shell, mounted for wall hanging, h. 16”, w. 13”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [400/700] Illustrated

262

270 Collection of Four European Pipes, ca. 1900, including an Art Nouveau nude femme fatale, h. 4‑3/4”, w. 7‑3/4”, a dog’s head, h. 3”, w. 5‑3/4”, and a hunter with a retriever carrying a bird, h. 2‑1/4”, w. 6”, all Meerschaum and with amber pipes, together with a briar root pipe with an ebony stem, h. 2”, w. 7‑1/2”. [400/700]

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271 George II-Style Giltwood Looking Glass, the shaped beveled mirror plate in a frame with a gadrooned perimeter around the plate and a carved crest centered by Prince of Wales plumes, h. 49”, w. 26”. [500/800] Illustrated

273

272 Pair of Polychrome Armchairs in the Sheraton Taste, each with a rounded crest above a pierced splat, joined by padded arms to the like seat, raised on fluted tapering circular legs ending in toupie feet, h. 39”. [400/700] Illustrated 273 Pair of George III Inlaid Mahogany Knife Boxes, ca. 1800, of traditional form, outlined in inlay with rosewood crossbanding, and matching silverplate escutcheons and ring pulls, the fitted interior outlined with inlay, h. 14‑1/4”, w. 9”, d. 10”. [1200/1800] Illustrated 274 Suite of Ten George III Mahogany Dining Chairs, 18th century and later, comprised of six period sidechairs, a pair of later bench-made armchairs and a pair of later bench-made sidechairs to match, each with a pierced back splat and shaped crest rail, raised on Marlborough legs, armchairs, h. 39”, sidechairs, h. 37‑1/2”. [2500/4000] Illustrated

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275 George III-Style Mahogany Linen Press, mid-19th century, the molded cornice above two paneled doors, the lower section fitted with three long drawers, raised on splayed bracket feet, h. 68”, w. 43”, d. 20”. [500/800] Illustrated 276 Pair of Chinese Rose Medallion Porcelain Vases, 20th century, the ornately gilded and enameled baluster vases with panels decorated with birds, flowers and insects, with salamanders and foo dogs adorning the neck and shoulder of each vessel, h. 25”, w. 11‑3/4”. [400/700] Illustrated 277 Five-Piece Collection of Chinese Export Rose Medallion Porcelain, including a pair of garniture vases, third quarter 19th century, h. 14”, dia. 6‑3/4”, and three plates, fourth quarter 19th century, dia. 8‑3/4”. [600/900] Illustrated 278 Chinese Export Rose Medallion Porcelain Fish Bowl on Stand, with panels depicting figures accented with floral bands, on a carved wooden stand, overall, h. 23‑1/4”, dia. 20‑1/2”. [300/500]

275

279 Edwardian MarquetryInlaid Mahogany Trumeau Mirror in the Adamesque Taste, ca. 1900, the rectilinear looking glass in a conforming frame with an inlaid upper panel depicting a floral urn and flanked by inlaid classical columns with Corinthian capitals, the lower panel with an inlaid shell, h. 63”, w. 25‑1/2”. [300/500]

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280 George III-Style Mahogany Bench, in the Chinese Chippendale style, the padded seat raised on blindfret-carved square legs, h. 20”, w. 36‑1/2”, d. 19‑1/4”. [300/500] 281 George III-Style Mahogany Sofa, late 19th century, the padded and slightly domed back joined by downswept sides on acanthine-molded uprights to the cushioned seat, raised on paneled, bellflower-carved tapering square legs headed by floral patera block capitals and ending in casters, h. 37”, w. 67‑1/2”, d. 28”. [400/700] 282 Regency Mahogany Cellarette/Planter, first quarter 19th century, of rounded rectangular form with four concave sides, raised on turned circular legs ending in brass caps and casters, h. 19”, w. 24”, d. 16”, together with an Early Victorian Mahogany Canterbury, second quarter 19th century, fitted with four spindled compartments over a single drawer to one side and a faux drawer to the other, raised on turned legs to brass caps and casters, h. 20”, w. 23”, d. 14” (two total pieces). [600/900] 272

283 Edwardian Mahogany Sideboard, 20th century, the slightly bowed top banded and centered by an inlaid patera, above a conforming case fitted with three central banded drawers flanked to either side by a cupboard door, flanked and divided by projecting bellflower-inlaid uprights, raised on tapering square legs ending in spade feet, h. 39”, w. 62”, d. 26‑1/2”. [600/900] Illustrated 284 Pair of Hepplewhite-Style Mahogany Sidechairs, late 19th century, each with an inlaid shield-form back above the padded seat, raised on like-inlaid tapering square legs ending in spade feet, h. 38‑1/2”. [400/700] Illustrated 284

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285 Edwardian Mahogany and Satinwood Side Table, late 19th century, the rectangular top banded, quarter-veneered and with a central oval panel, above a conforming frieze fitted with a single banded drawer, raised on slender tapering square legs ending in brass caps and casters, h. 28‑1/4”, w. 23‑3/4”, d. 15‑3/4”. [500/800] 294

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288

293

286 Six Georgian Sterling Silver Serving Pieces, including fourth quarter 18th century pieces (none with legible date letter): a Walter Tweedie, London, “Bright-Cut Old English” straining platter spoon, l. 11‑3/4”, Hester Bateman, London, “Bright Cut” sugar tongs, l. 5‑1/2”, William Sumner, London, “Beaded” sugar tongs, l. 5‑3/8”, and an unmarked baleen-handled toddy ladle, l. 14‑1/4”, together with a pair of George IV “Old English” berry spoons, hallmarked Edinburgh, 1828‑1829, by James Howden & Co. for Andrew Wilkie, with late Victorian decoration, l. 9”, some monograms, 10.24 total t. oz. (weighable silver). [500/800] 291

292

287 Thirty-Five-Piece Collection of Silver Teaware, 18th to 20th century, including Georgian cast sterling sugar tongs, London, ca. 1770, by Benjamin Mountigue, l. 5‑1/4”, George IV sterling “fiddle” sugar tongs, Exeter, 1824‑1825, by “HD”, l. 5‑5/8”, a Victorian sterling tea ball, London, 1883‑1884, by William Summers, h. 2‑1/4”, a set of ten “Old English” sterling teaspoons with matching sugar tongs, London, 1911‑1913, by Josiah Williams & Co., l. 5‑1/4”, a German parcel-gilt .800 silver cup strainer, ca. 1920, by Bruckmann & Sohne, Heilbron, l. 5‑1/8”, a sterling cup strainer, Sheffield, 1938‑1939, by Viner’s Ltd., l. 5‑3/8”, a sterling cup strainer, Birmingham, 1962‑1963, by Suckling, Ltd., l. 5‑5/8”, sterling sugar tongs, Sheffield, 1968‑1969, by Cooper Brothers & Sons, l. 3‑3/4”, a Christofle silverplate spout strainer, dia. 2‑3/8”, and sixteen American sterling silver iced tea sippers, four with heart-shaped bowl, l. 8”, six with coquille-shaped bowl, l. 8”, and six with leaf-shaped bowl, l. 8‑3/8”, 22.20 total t. oz. (excluding silverplate piece). Provenance: The Flatt Collection; the tea ball and teaspoon/tong set purchased from A. Bloom, the Silver Vaults, London. [400/700] Illustrated 288 Early George III Scottish Sterling Silver Ladle, hallmarked Edinburgh, 1765‑1766, by Robert Clark, in the traditional “Old English” pattern, with hemispherical bowl, monogrammed “H”, l. 14”, 5.99 t. oz. Provenance: Christie’s, South Kensington, January 22, 1991, lot 73; The Flatt Collection. [300/500] Illustrated 289 Pair of Matthew Boulton Gilt Old Sheffield Plate Candlesticks, first quarter 19th century, the tapering standard with gadroon, acanthus and rocaille decoration, each with detachable bobeche, h. 14”, dia. 6‑1/4”. [400/700] Illustrated

290

290 Late Georgian Old Sheffield Plate Hot Water Urn, first quarter 19th century, the urn-form body with engraved rocaille banding, ringed lion’s masque handles, gadrooned flat-column legs with paw feet, and reeded tap, with concave and canted square plinth base and banded spherical feet, h. 16‑3/4”, dia. 10”, d. 12”. [600/900] Illustrated

291 Five Regency and William IV Old Sheffield Plate Covered Dishes, first half 19th century, including two Regency cheese dishes, one with gadrooned decoration and lion’s paw feet, 12‑1/2” x 6‑3/4”, the other with rocaille decoration and button feet, 10‑3/4” x 7‑3/4”, a pair of William IV lobed rectangular entree dishes-on-stand with robust acanthus decoration (one warming plate lacking), 13‑3/4” x 9‑1/4”, and a single William IV lobed oval entree dish with rocaille decoration, 13‑1/4” x 10‑1/2”. [600/900] Illustrated 292 Assembled Pair of Victorian Elkington Silverplate Figures of Spring and Winter, 1849 and 1864, Birmingham, Spring depicted as a young maiden with flowers, Winter as an old man, robed and warming himself with a small cauldron fire, both figures presented on a gauffered base and surmounted by a threaded nozzle, h. 14‑1/2”, dia. 6‑1/2”. [600/900] Illustrated 293 Early Victorian Silverplate Meat Dome and Platter, second quarter 19th century, retailed by William Burton & Co., London, oval with insulated well-and-tree platter and conforming quarter-lobed dome, with robust acanthus handles and feet, overall, h. 14”, l. 24‑1/2”, w. 17‑1/2”. [800/1200] Illustrated 294 Set of Four William IV Old Sheffield Plate Candlesticks, second quarter 19th century, of baluster form with banded rocaille decoration, h. 10‑1/2”, dia. 5‑1/4”. [500/800] Illustrated 295 Victorian Silverplate Cruet Frame, third quarter 19th century, of oval form, with bulbous lattice-reticulated sides and robust grapevine banding, with a central baluster standard with ring handle and four feet, all en suite with the banding, fitted with seven cut and wheel-engraved glass condiment bottles, overall, h. 13‑1/2”, l. 9‑1/4”, w. 8”. [300/500]

296

297

296 Thirteen-Piece Victorian Sterling Silver Teatime Flatware Service, hallmarked London, 1894‑1895, by Charles Boyton, in the traditional “Queen’s” pattern, comprising sugar tongs, l. 5‑1/2”, and twelve teaspoons, l. 5‑1/4”, monogrammed “JLP”, 12.29 total t. oz. [300/500] Illustrated 297 Pair of Victorian Silverplate Candelabra, fourth quarter 19th century, of squared baluster form, with four scrolling arms and central standard, decorated with acanthus and rocaille banding, with detachable bobeches, h. 19‑1/2”, w. 16‑1/4”. [400/700] Illustrated

298

299

298 Victorian Silverplate Hot Water Urn, mid-19th century, of rounded rectangular section, with gadrooned banding, stirrup-ringed lion’s masque handles, masque-and-paw flat column uprights and reeded tap, with concave plinth base and spherical feet, h. 17‑1/2”, w. 10‑3/4”, d. 11‑3/4”. [400/700] Illustrated

302

301 303 299 Three Pieces of Victorian Silverplate Tableware, second half 19th century, including a Wilson & Davis nautilus-form spoon warmer with dolphin support, l. 5‑3/4”, an unmarked gadrooned oval covered tureen with acanthus feet and turned wooden handles, l. 12”, and a Marin, Hall & Co. oval presentation tea tray with inscription dated 1891 surrounded by a band of engraved neoclassical figures, 29‑1/2” x 19”. [500/800] Illustrated 300 Pair of Victorian Silverplate Candlesticks, fourth quarter 19th century, by James Pinder & Co., Sheffield, with spiral standard, stepped square base, Corinthian capital and beaded banding, with detachable bobeches, h. 13”. [300/500] Illustrated

300

301 Pair of Matthew Boulton Old Sheffield Plate Candelabra, first quarter 19th century, each with a tapering standard surmounted by an urn-form socket fitted with a detachable superstructure of a short standard surmounted by a vasiform nozzle and flanked by scrolling reeded arms, each terminating in a circular drip-pan and urn-form nozzle, the whole raised above a circular base and decorated with gadrooned banding, h. 20‑3/4”, w. 18‑3/4”, base dia. 5‑7/8”. [800/1200] Illustrated 302 Set of Four Victorian Silverplate Candlesticks, third quarter 19th century, in the Adam taste, of square section, with fluted, Greek-key, laurel, leaf-and-dart and ram’s masque decoration, with detachable bobeches, h. 11‑1/2”, w. 5”. [400/700] Illustrated 303 Victorian Silverplate Meat Dome and Associated Welland-Tree Platter, third quarter 19th century, the dome by Atkin Brothers, Sheffield, with gadrooned edge and acanthus-mounted ring handle, the oval platter unmarked, with reeded rim, robust acanthus handles and feet and hot water reservoir, overall, h. 16”, l. 24”, w. 17‑1/2”. [600/900] Illustrated

309

304

304 Two Pieces of English Silverplate Tableware, ca. 1900, including a fine rounded rectangular sardine dish-onstand, with figural dolphin finial, engraved fish and pierced gallery, with fitted glass liner, w. 7”, and an oval biscuit barrel with figural horse finial and banded with rococo cartouches of John the Baptist as a child, w. 8‑1/4”. [300/500] Illustrated 305 Six Assorted Silver and Silverplate Serving Pieces, including a ca. 1880 Jules Guetin, Paris, .950 silver guilloche pastry server, l. 12”, an Edwardian Adkin Brothers silverplate and faux-ivory-handled crumber, l. 13”, a George V Daniel & Arter silverplate “Fiddle” fish server, l. 11‑3/4”, S. Kirk “Old Maryland” sterling silver ice tongs, l. 6‑3/8”, Argentine .900 silver “acanthus” ice tongs, l. 6‑1/4”, and contemporary Continental .950 silver asparagus tongs, l. 7‑1/4”, 12.16 total t. oz. [300/500]

306 Five Pieces of English and American Silverplate Tableware, 19th and 20th centuries, including two Victorian pieces: a wine coaster with floral band, dia. 6‑1/2”, and a lobed circular salver with beaded rim and guilloche decoration, dia. 10‑1/4”, and three mid20th century pieces: a Barker Brothers cobalt glass lined everted and reticulated open sugar bowl, dia. 6”, a Continental Silver Co. three-partition rectangular vegetable dish in the Regency taste, l. 11‑1/2”, and a Crescent Silverware rectangular covered entree dish in the Regency taste, l. 11‑5/8”. [300/500] 307 Cased Edwardian Three-Piece Sterling SilverMounted Antler Carving Set, the mounts hallmarked Sheffield, 1905‑1906, by Henry Greave, assembled and retailed by Alexander Clark, London & Sheffield, including a carving fork, l. 11‑1/2”, l. 15‑1/4”, knife and sharpening steel, l. 14”, with steel fittings, antler handles and sterling fluted “pistol grip” mounts, presented in the original indigo velvet- and satin- lined case, 17‑1/2” x 6”. Provenance: The Flatt Collection. [200/400] Illustrated 308 Cased Edwardian Twenty-Four-Piece Silverplate and Mother-of-Pearl Fruit Set, first quarter 20th century, by Mappin & Webb, London, comprising twelve threetined forks, l. 5‑7/8”, and twelve fruit knives, l. 6‑3/4”, all with mother-of-pearl handles, presented in the original fitted and chamois-lined oak case with liftout tray, 2‑1/2” x 12” x 8‑3/4”. Provenance: The Flatt Collection. [300/500] Illustrated

307

308 309 Late Victorian Four-Piece Sterling Silver Coffee and Tea Set, hallmarked London, 1898‑1899, by Elkington & Co., comprising a coffeepot, h. 8‑1/2”, l. 9‑1/4”, a teapot, h. 5‑1/2”, l. 11‑1/4”, an open sugar bowl, h. 4‑1/2”, l. 8‑1/4”, and a cream jug, h. 4‑1/2”, l. 6”, each of bulbous oval form, the lower half gadrooned, the upper half with repousse floral-scroll band, with everted shell-and-gadrooned rim and raised on four spherical feet, the pots with wooden crested handles and gadrooned finials, the bowl and jug with arched silver acanthus handle(s), each monogrammed “PSD” (conjoined), 63.72 total t. oz. [700/1000] Illustrated

310

310 Pair of Early Victorian West Country Sterling Silver Platter Spoons, hallmarked Exeter, 1838‑1839, by William Rawlings Sobey (1811‑1852), in the traditional “Fiddle” pattern, with squared shoulders, no monograms, l. 12‑1/4”, 9.37 total t. oz. Provenance: The Flatt Collection. [300/500] Illustrated

311 Pair of Louis XVIStyle Bronze TwoLight Sconces, the beribboned backplates surmounted by paterae and fitted with ribbon-bound reeded candle arms supporting fluted candle sockets, h. 21‑1/2”, w. 9‑3/4”, d. 3‑3/4”. [600/900] Illustrated

311

312 Louis XVI-Style Parcel-Gilt Pier Mirror, 20th century, the ivory-ground mirror with a gilt egg-and-dart surround with a pierced bowknot crest, h. 57‑3/4”, w. 31‑1/2”. [400/700] Illustrated 313

312

313 Louis XV-Style Brass and Crystal Chandelier, first quarter 20th century, the flowering corona festooned in beadwork, over a faceted baluster stem with a bellflower ball finial, issuing scrolled arms hung with swags of beads and pendant prisms, h, 31”, dia. 21”. [400/700] Illustrated

314 314 Pair of French Neoclassical-Style Brass and Crystal Three-Light Girandoles, second quarter 20th century, each pole standard mounted with graduated tiers of crystal drops, fleurettes and leaves, issuing branches with leaf-form candle cups and prism rings, raised on stepped circular base, electrified, h . 25‑1/4”, w. 14”, d. 11‑1/2”. [400/700] Illustrated 58

317 French Giltwood Mirror, second quarter 20th century, the surround decorated with ribbon wrapping the upper tablet, set with an oval painting of two women in a landscape, under a crest of a wreath framed with fruit, set with a beveled mirror plate, h. 87‑1/2”, w. 32‑1/2”. [700/1000] 318 Suite of Six Louis XVI-Style Polychrome Sidechairs, 20th century, each with a padded tapering rectangular back above a like seat, raised on fluted tapering circular legs ending in toupie feet, h. 38”. [400/700] Illustrated

316 315 Three Nineteenth-Century Continental Portrait Miniatures, including a watercolor of a beauty in pearls by Franz Xaver Winterhalter (German, 1805‑1873), signed, 3‑1/4” x 2‑1/2”, framed; a watercolor of a maiden in a floral hat, signed “Daisy”, dia. 1/2”, in a brass easel frame; and a painted porcelain bust of a French lady, 3‑3/8” x 2‑5/8”, in a brass easel frame. [300/500] 316 French School (Contemporary), “Figures by the Fountain”, oil on canvas, signed lower right “DuBOIS”, 24” x 36”. Presented in a giltwood frame. [300/500] Illustrated

319 Louis XVI-Style Polychrome and Marble-Top Side Table, the demi-lune marble top with projecting edges, above a conforming pierced guilloche frieze, raised on fluted tapering circular legs headed by bellflower carving, joined by a shaped stretcher and ending in toupie feet, h. 33‑1/4”, w. 44”, d. 18‑1/2”. [500/800] Illustrated 319

318

320 Pair of Louis XVIStyle Gilt-Brass Four-Light Sconces, 20th century, each with a quiverform backplate terminating in a flamed urn finial, the acanthine candle branches with drip pans and matching candle cups, h. 17‑3/4”, w. 12‑1/2”, d. 8”. [300/500] Illustrated

320

321 Pair of Meissen-Style Porcelain Lamps, ca. 1900, on pierced giltwood stands, the “Dresden” bases decorated with cherubs and sculpted flowers on one and a pair of figures with sculpted flowers on the other, mounted with shades, electrified, base, h. 15‑1/2”, overall, h. 34‑1/2”, dia. 18”. [300/500]

322

322 Louis XVI-Style Parcel-Gilt Mirror, first quarter 20th century, French, decorated with giltwood leaf-molded surrounds around the lower mirror and upper painting depicting a couple in 18th-century costume in a bucolic landscape on a pale gray ground, h. 78‑1/2”, w. 37‑1/2”. [800/1200] Illustrated 323 Pair of Louis XVI-Style Polychrome Sidechairs, mid-19th century, each with a padded rectangular back within a molded frame, joined to the padded seat by molded arms, raised on paneled tapering square legs, upholstered in period tapestry depicting peasants and various animals, h. 36”. [1000/1500] Illustrated 324 Pair of Louis XVI-Style Polychrome Sidechairs, mid19th century, each with a padded rectangular back within a molded frame, joined to the padded seat by molded arms, raised on paneled tapering square legs, upholstered in period tapestry depicting peasants and various animals, h. 36”. [1000/1500]

323

325 Pair of Bohemian Carefully Detailed Tinted Biscuit Figures, ca. 1849‑1860, made by Johann Moehling, comprising a gesturing woman holding flowers in one hand and a man presenting a “nest” containing a pair of cherubim, each in lavish gilt-trimmed polychrome costume, impressed “AM” on the base of each, h. 22”, dia. 7‑1/2”. [400/700] Illustrated

329 Transitional Louis XV-intoLouis XVI-Style Kingwood and Marble-Top Commode, early 20th century, fitted with three long drawers, all with decorative banding and inlay, raised on cabriole legs ending in sabots, h. 35”, w. 39‑1/2”, d. 19”. [800/1200] Illustrated 325

326 Semi-Antique French Aubusson Panel, 100” x 49”. [500/800] Illustrated 327 Semi-Antique French Aubusson Panel, 100” x 49”. [500/800] 328 Semi-Antique French Aubusson Panel, 100” x 49”. [500/800]

329

330 Gilt-Bronze and Cut Glass Centerpiece, 19th century, in the Louis XVI taste, the twisted 326 scrolling legs on a molded X-form base with bun feet now fitted with an Anglo-Irish cut glass bowl decorated with bands of reeding and leaves, overall, h. 12”, dia. 9”. [500/800] 331 Regence-Style Kingwood and Marble-Top Commode, 19th century, the shaped Breche d’Alep marble top with a molded edge, above a conforming bombe case fitted with three long drawers, each with decorative banding, raised on splayed legs ending in sabots, h. 33‑1/2”, w. 54”, d. 23”. [1200/1800] Illustrated

331

332 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] 333 Pair of Louis XV/XVI-Style Gilt- and Patinated Bronze Lamps, second half 20th century, each standard modeled as a patinated bronze Bacchic putto seated on rockwork and holding aloft a gilt-bronze acanthusform single-light candle branch, raised on gilt-bronze rocaille bases centering cartouches, with impressed crown marks on the bases, electrified, with fitted shades, h. 33”, w. 10”. [600/900] Illustrated 336

336 Pair of Continental Porcelain and Mirrored Sconces in the Meissen Style, ca. 1900, the oval, cove-molded frames trimmed with painted and sculpted flowers, the crests with molded seated cherubs and the lower portions with molded cavorting cherubs flanked by a pair of porcelain candle arms, h. 22”, w. 13”, d. 6‑3/4”. [600/900] Illustrated

333

334 Regence-Style Kingwood Vitrine, the stepped and molded top above a rounded rectangular case fitted with two doors, each inset with an upper arched glazed panel and a lower quarter-veneered panel, the sides en suite, opening to a mirrored interior and a lower storage space, raised on bracket feet, the whole richly ornamented with ormolu mounts, h. 63‑1/2”, w. 52”, d. 19”. [1500/2500] Illustrated 335 Pair of Meissen-Style Porcelain Figural Four-Light Candelabra, ca. 1900, made by Voigt Brothers, Sitzendorf, Germany, decorated in pink and white with realistically rendered flesh tones, the standards decorated with sculpted roses, and holding a man and woman in 18th-century costume, the upper sections comprised of candle branches supporting leaf-molded drip pans and candle cups, decorated to match with pink sculpted roses, marked in underglaze blue with Voigt’s symbol, h. 21”, dia. 10‑1/4”. [400/700]

334

337 Pair of Polychrome-Decorated Four-Light Candelabra in the Meissen Style, 20th century, the base molded with female sphinxes, the standard depicting The Three Graces, and the candle arms decorated with “goats” heads and applied flowers, h. 24‑3/4”, dia. 11”. [700/1000] 338 Collection of Three Continental Porcelain Figural Groups, including two dancers with a violinist, decorated with polychrome enameling, marked with a version of crossed swords used by Edme Samson, Paris, after 1905, h. 9”, w. 7‑1/4”, a group of gardeners and a host of characters in 18th-century costume, with a man presenting a flower to a woman in the center, marked with an “R” over “1962”, h. 8‑1/2”, dia. 8‑1/4”, and a group decorated with the lace-trimmed figures in 18th-century costume, the seated figure with an open account book, with an undocumented version of crossed swords, h. 9‑1/2”, w. 8‑3/4”. [400/700] 339 Louis XV-Style Mahogany and Fruitwood Occasional Table, 20th century, the shaped ovoid top within a brass banding and with an inlaid lattice parquetry panel, above a conforming ormolu-applied frieze, raised on molded cabriole legs ending in sabots, h. 30”, w. 32”, d. 20‑1/2”. [400/700]

340

341 Five-Piece Louis XVI-Style Polychromed Salon Suite, mid-20th century, comprised of a settee, h. 35”, w. 61”, d. 24”, a pair of barrel-back bergeres, h. 33”, w. 33”, d. 24”, and a pair of sidechairs, h. 37”, w. 18”, d. 18”, all with floral-carved crests and rope- and floralcarved frames, and raised on turned and fluted legs. [800/1200] Illustrated

340 French School (18th Century), “Oval Portrait of a Woman in Blue”, oil on canvas, laid on board, 27‑1/4” x 24‑1/4”. Presented in an antique oval giltwood and gesso frame. [1000/1500] Illustrated

341

342 Louis XVI-Style Polychromed and Parcel-Gilt Trumeau Mirror, early 20th century, with an inset oval oil on panel depicting figures in a lush garden, h. 59‑1/2”, w. 48”. [2000/4000] Illustrated

342

344 Louis XV-Style Carved, Polychrome and Marble-Top Table, late 19th century, the square top with the original conforming variegated marble top over a carved apron, raised on cabriole legs headed by acanthine carving and ending in scrolled toes, h. 29”, w. 31‑1/2”, d. 31‑1/2”. [3000/5000] Illustrated

345

345 Champleve Enamel and Green Onyx Crystal Regulator, first quarter 20th century, probably French, the serpentine onyx base and top with enamel trim on the side columns and bezel, the cream-colored dial with swags of hand-painted roses and an enamel center medallion, unmarked, with the exception of the stamped numbers, h. 13‑1/4”, w. 8‑1/2”, d. 5‑3/4”. [400/700] Illustrated

343 Pair of Louis XV-Style Ivory-Painted Bergeres, with upholstered seats and backs, molded arm supports, carved aprons on cabriole legs with French toes, and upholstered in cut plush with loose seat and back cushions, h. 35”. [600/900] Illustrated

344

346 Louis XVI-Style Polychrome Bed, 20th century, the padded and domed headboard within a guillochecarved frame and flanked to either side by foliatecarved fluted uprights, the lower footboard en suite, raised on fluted tapering circular legs ending in casters, upholstered in Fortuny-style fabric, h. 54”, inside, w. 56”, l. 71”, outside, w. 58‑1/2”, l. 74”. [700/1000] Illustrated 343

64 8

347 347 French Gilt-Bronze and Pate-sur-Pate Porcelain Moderator Lamp, third quarter 19th century, the base and handles of Louis XIV inspiration, the bottle-form vase body composed of celadon-ground Pate-sur-Pate decorated with carefully detailed vines, h. 28‑3/4”, dia. 9”. [400/700] Illustrated

348

348 Empire-Style Polychrome Pier Table, the rectangular top above a fluted frieze, joined by a mirrored back and scrolling supports to a shaped plinth shelf on low bun feet, h. 36‑1/2”, w. 49‑1/2”, d. 24”. [1000/1500] Illustrated

346

349 Restauration Creme Peinte Mirror, early 19th century, the rectangular plate within a molded frame with carved foliate shield and floral garland accents, h. 27”, w. 22‑1/2”. [300/500] Illustrated 350 Set of Four Painted Metal Sconces, each having a rectangular mirrored backplate with a tulip-form candle cup flanked by tassel finials and surmounted by a pagoda-form crest with a tulip-form finial, h. 20‑1/2”, w. 9”, d. 5‑1/2”. [400/700]

351 one of four 349

351 one of four

351 Collection of Four German Prints, 18th century, depicting various equestrian scenes, each sight 8‑1/2” x 14”. Glazed, matted and framed alike. [300/500] Illustrated 352 Transitional Louis XV-into-Louis XIV-Style Kingwood and Marble-Top Cabinet, early 20th century, the rounded rectangular Breche d’Alep marble top above a case fitted with two cupboard doors, each inset with a fabric-lined arched glazed panel, raised on shaped legs ending in sabots, h. 47”, w. 33”, d. 14”. [1000/1500] Illustrated

353 French Two-Part Figural “Old Paris” Porcelain Clock, mid-19th century, in the Jacob Petit style, on scrolled feet, with a gilt-decorated bleu de roi ground and a panel of hand-painted flowers under the dial, the top of the clock with a lounging Turk, wearing a turban, a scimitar at his side, marked with a hand-painted overglaze “5153” under both pieces, and a spurious “J.P.” under the base, h. 17‑3/4”, w. 9‑3/4”, d. 4‑3/4”. [400/700] Illustrated 354 Pair of French Hand-Painted Porcelain Garniture Vases, third quarter 19th century, Paris or Limoges, one depicting neoclassical figures watering young plants and the other pressing grapes, one retaining a partial paper label which is likely original, h. 12‑1/4”, dia. 5”. [300/500]

355 Louis XV-Style Fruitwood Games Table, the shaped rectangular top with a central removable panel, one side a chessboard and the other a backgammon board, above a frieze fitted with two short drawers, raised on cabriole legs ending in sabots, h. 30”, w. 41”, d. 26”. [400/700] Illustrated

352

355

356 Pair of Brass Bouillotte Three-Light Lamps, first half 20th century, with scrolled acanthine arms issuing from turned baluster standards, set in reticulated dishes on ball feet, with a neoclassical guilloche design throughout, h. 26‑1/2”, dia. 11‑1/2”. [600/900] Illustrated

353

357 Louis XV-Style Elm Poudreuse, 19th century, the trisected top with a central section opening to a mirrored and fabric-lined interior, flanked to one side by a hinged section opening outward to a fabric-lined storage space, the other side opening outward to a space fitted with three metal-topped glass vessels, two scent bottles and two porcelain boxes, over a frieze fitted with a single central drawer, raised on cabriole legs ending in sabots, h. 28”, w. 33‑1/2”, d. 20‑1/4”. [1000/1500]

356

359 Napoleon III Gilt-Bronze Mantel Clock, third quarter 19th century, the base of the clock on leaf-molded feet, and with a porcelain plaque decorated with hand-painted flowers, the clock decorated with a classical figure of a woman, cupid and a love bird, and mounted with Marti et Cie works, h. 15”, w. 16‑1/4”, d. 5‑1/4”. [400/700] Illustrated

358

362 one of two

358 Napoleon III-Style Giltwood Looking Glass, with a shell-form cartouche above a floral-molded frame, the mirror plate broadly beveled, h. 63”, w. 42”. [1000/1500] Illustrated

359

362 two of two

360 Unusual French Brass and Porcelain Bouillotte-Style Lamp, first quarter 20th century, the pierced tulip-form candle cups with porcelain flowers over a circular base mounted with a bed of intertwined leaves, the tole shade decorated with white leaves and scrolls on a blue ground, h. 26”, dia. 13‑3/4”. [400/700] 361 Rare 18th-Century First Edition of Volume I of Heideloff’s “Gallery of Fashion”, Nicolaus Wilhelm von Heideloff (1761‑1839), publisher, April 1794‑March 1795 [London], with twenty-four hand-colored engraved fashion plates of forty-six figures, some with metallic tints, quarto, in brown marbleized full calf with gilt-tooled fillet, decorative banding and dentelle, the spine with green panel and gilt lettering, ruling and paterae, 11‑5/8” x 9‑1/2”. [400/700] Illustrated This rare and important work was among the earliest of fashion magazines, and certainly the most prestigious and ambitious of its time. Only 167 copies were subscribed to this first volume (at a rate of three guineas, equivalent to about $350 today), suggesting that less than 200 were produced; probably at no time during the magazine’s run was the issue more than about 450 copies. Publication continued until March of 1803, although Heideloff’s name no longer appears on the imprint after April 1802. For more information on this seminal work, see Hand Coloured Fashion Plates, 1770 to 1899 (London: Batsford, 1955), pp. 46‑51, by Vyvyan Holland (whose expertise in the subject came legitimately, being the only surviving son of Oscar Wilde).

364 361

361 detail

362 Pair of Italian Engravings, including “Ascensione di L. Piana Roma 27‑11‑1853” and “Ascensione Compiuta dall’ Arban Verona 27‑11‑1846”, each signed “V. Ciongi” lower left, 18‑1/8” x 15‑1/4”. Handsomely glazed and framed alike. [300/500] Illustrated 363 Pair of French Belle Epoque Red Griotte Marble, Gilt-Bronze and Patinated Metal Garnitures, fourth quarter 19th century, now mounted as lamps, with bronze scrolled feet supporting the marble bases, the patinated standards decorated with fairies framed with scrollwork, base, h. 20”, overall, h. 32”, w. 8‑1/2”, d. 5‑3/4”. [600/900] Illustrated

363

364 French School (Late 18th Century), “Portrait of a Lady”, oil on copper, unsigned, sight 2‑1/2” x 1‑3/4”. Glazed, matted and framed. [800/1200] Illustrated

365 French Gilt Bronze of “Le Triomphe de Bacchus”, fourth quarter 19th century, after Clodion (Claude Michel, French, 1738‑1814), cast signature at base, h. 15‑1/2”, w. 9”, d. 8”. Provenance: A New Orleans, Louisiana estate. [1000/1500] Illustrated

366

369 French Belle Epoque Silvered Brass Half-Tester Bedstead, ca. 1900, of neoclassical inspiration, bearing the label “Grands Magasins Cicurel 3 Avenue De Boulac Le Caire-Paris”, h. 108”, inside w. 47”, l. 79”, outside, w. 50”, l. 83”. [1000/1500] Illustrated 365

366 Pair of French Belle Epoque Gilt-Bronze Five-Light Candelabra, fourth quarter 19th century, in the Louis-Philippe taste, the putti-form standards issuing cornucopias with candle arms hung in morning glories, raised on conforming floriform tripartite bases, h. 24‑1/2”, dia. 15”. [300/500] Illustrated 367 Continental School (20th/21st Century), “Bedtime Prayer”, oil on canvas, signed lower right “Frank Leoni”, 48” x 36”. Presented in a polychrome, carved wood frame. [400/700] 368 Large Belle Epoque Peindre sur Dore Cushion Mirror, first quarter 20th century, set with an antique beveled mirror glass, the surround carved with egg-and-dart molding, the pierced corners decorated with shells on a latticed ground and pierced scrollwork, h. 72‑1/2”, w. 62”. [800/1200] Illustrated

368

370 Italian Argente Looking Glass in the Rococo Taste, the rectangular plate surmounted by an urn-form crest issuing foliate and floral garlands, surrounded by a bellflower-carved frame with pendant floral garlands, h. 87”, w. 41”. [600/900] Illustrated

370

371 Louis XIV-Style Chrome-Plated and Crystal Six-Light Chandelier, the stem in the form of molded glass finials, issuing scrolled candle branches in tiers embellished with various crystal drops, h. 31‑1/2”, dia. 23‑1/2”. [600/900] Illustrated

371

372

372 Unusual Three-Piece Clock Set in the Louis XIV Style, fourth quarter 19th century, composed of silvered bronze and gray marble with works by Japy Freres, the clock flanked by a pair of two-light candelabra, clock, h. 15”, w. 9‑1/2”, d. 4‑1/4”, candelabra, h. 13‑1/2”, w. 8‑3/4”, d. 3”. [300/500] Illustrated

369

374 Pair of French Giltwood and Gilt-Metal Sconces, first quarter 20th century, in the Neoclassical taste, with paterae-form backplate holding scrolled arms decorated with acanthus leaves, bellflowers and swags of flowers, electrified, with pleated shades, h. 20”, w. 6‑3/4”, d. 7‑1/4”. [700/1000] Illustrated

375

374

373 Louis XV-Style Argente and Marble-Top Side Table, the shaped marble top above a conforming paneled frieze with lattice-incised patterns and a pendant shell and foliate carving, raised on cabriole legs joined by an urncentered X-form stretcher and ending in Flemish toes, h. 32”, w. 55‑1/2”, d. 19”. [600/900] Illustrated

373

378 Two Southeast Asian .900 Silver Bowls, 20th century, including a small circular bowl with lobed, rim, embossed floral decoration, gilt interior and three leaf feet, h. 2‑3/4”, dia. 4‑3/4”, and a lobed oval bowl with applied figural poppy crest and three spherical feet, h. 3‑1/2”, l. 10‑3/4”, 21.73 total t. oz. [400/700]

376

375 Persian Silver Box, ca. 1900, square with hinged lid, decorated with a central panel of repousse birds and flowers on a chased ground of floral arabesques, the interior gilt, 6‑1/2” x 6‑1/2”, 20.41 t. oz. [300/500] Illustrated

377 379 376 Southeast Asian .900 Silver Gilt “Turkish” Mirror, 20th century, of lobed oval form, decorated with embossed gilt floral arabesques on a floral ground, complete with chain and nail cover, 10” x 14”. [300/500] Illustrated 377 Southeast Asian .900 Silver Betel Box, 20th century, of oval form, decorated with repousse floral arabesques on a diapered ground, the hinged lid with a pair of figural birds finial, h. 5‑1/2”, w. 6‑1/2”, d. 5‑1/4”, 22.27 t. oz. [400/700] Illustrated

379 Turkish .800 Silver Vase, 20th century, of tall, tapering cylindrical form, decorated with elaborate rococo scrolls on a lattice ground and centering a cartouche of dancing villagers, h. 24”, dia. 5‑1/4”, 21.52 t. oz. [350/500] Illustrated

380 Semi-Antique Soumak Runner, 5’ x 18’ 5”. [400/700] Illustrated 381 Semi-Antique Kilim Carpet, 3’ 4” x 4’. [300/500] 382 Semi-Antique Shiraz Carpet, 8’ x 10’ 3”. [400/700]

383

380 74

385

386 383 Sultanabad Carpet, 8’ 11” x 11’ 7”. [4000/7000] Illustrated

387

384 Tabriz Pictorial Carpet, 8’ x 11’ 6”. [600/900] 385 Tabriz Carpet, 11’ 2” x 10’ 8”. [400/700] Illustrated 386 Angora Oushak Carpet, 10’ 1” x 13’ 8”. [1500/2500] Illustrated 387 Aubusson-Style Needlepoint Carpet, 9’ 6” x 13’ 9”. [400/700] Illustrated 388 Kilim Carpet, 9’ 5” x 12’ 8”. [500/800] 389 Kashan Carpet, 4’ 4” x 6’ 7”. [500/800] 390 Bidjar Malayer Runner, 3’ x 9’. [400/700] 391 Semi-Antique Bokhara Carpet, 4’ 5” x 6’ 6”. [400/700] Illustrated

391 75

392 Neoclassical-Style Bronze and Glass Four-Light Hall Lantern, the smoke bell over a conforming bell jarbody mounted with pierced swags of laurel and ram’s head hooks, pine cone ball finial, h. 30”, dia. 11‑1/2”. [600/900] Illustrated 393 Patinated Metal Figure of “Orphee”, ca. 1900, after Emile Bruchon (French, 1806‑1895), mounted as a lamp, the classically-inspired figure of a man holding a lyre, on a verde antique marble base, now on a metal plinth, mounted with a fringed silk shade, h. 19‑1/4”, overall, h. 31”, dia. 6‑3/4”. [400/700]

394 Continental Grand Tour Patinated Bronze of “Narcissus”, first quarter 20th century, after the original from Pompeii, now in the Museo Nationale, Naples, Italy, h. 23‑1/2”, w. 9‑1/4”, d. 9‑1/4”. [600/900] 395 Italian Patinated Bronze of Mercury, 392 fourth quarter 19th century, after the ca. 1550 sculpture by Benvenuto Cellini (Italian, 1500‑1571), cast inscription “B. Cellini” at edge of base, h. 25‑1/2”, w. 7”, d. 5”. [400/700] 396 Continental Bronze of a Recumbent Classical Beauty, ca. 1900, on a stepped marble base, figure, h. 10‑1/4”, overall, h. 14”, w. 18‑1/2”. [900/1200] Illustrated

397

396

398

397 Baltic Neoclassical-Style Brass-Mounted Mahogany Pier Mirror, mid-19th century, with brass bandings and moldings with inset brass linings in the fluted areas, the ends of the base depicting lyres, h. 124”, w. 39”, d. 18‑1/2”. [1000/1500] Illustrated

402 400 Empire-Style Mahogany Settee, late 19th century, the padded backswept rectangular back joined by outscrolled padded arms to the padded seat, raised on tapering circular legs ending in peg feet, the whole accented with ormolu mounts, h. 36”, w. 59”, d. 28”. [700/1000] Illustrated 399 398 Empire-Style Mahogany and Marble-Top Gueridon, late 19th century, the circular dished charcoal marble top above a conforming ormolu-applied frieze, joined by scrolling supports to a concave tripartite base, h. 31”, dia. 38‑1/2”. [1200/1800] Illustrated 399 Russian Neoclassical-Style Mahogany and MarbleTop Commode, early 20th century, the rectangular marble top with a three-quarter pierced brass gallery and canted corners, above a conforming case fitted with two drawers, each with brass banding, raised on tapering square legs ending in tall brass caps, h. 33”, w. 31”, d. 16‑1/2”. [1800/2500] Illustrated

401 Louis XVI-Style Oak and Fruitwood Bed, late 19th century and later, the headboard and footboard each with a fluted crest with end finials, above a paneled back flanked by turned pilasters, raised on tapering circular legs ending in casters, h. 51‑1/2”, inside, w. 55”, l. 80”, outside, w. 58‑1/2”, l. 83”. Provenance: Henry Stern Antiques, New Orleans, Louisiana. [600/900] 402 Pair of Restauration Fruitwood Fauteuils, early 19th century, with concave crest rail, reeded carving at the juncture of the arms and stiles, arms raised on C-form supports, bowed seat and tapering legs, h. 36‑3/8”. [400/700] Illustrated 403 Antique French Gilt403 and Patinated Bronze Figure of a Classical Maiden, seated on a block and reading, mounted on a variegated marble plinth, h. 5”, w. 6”. Provenance: Estate of Josette Cornu, Paris, France and Ocala, Florida. [300/500] Illustrated

400

404 Pair of French Gilt-Bronze and Marble Figural FiveLight Candelabra, fourth quarter 19th century, the figural standards in the form of putti holding trees, surmounted by canopies of foliate candle arms with conforming bobeches, raised on trumpet-form marble bases, h. 18‑1/4”, dia. 9‑3/4”. [500/800] Illustrated

408 Napoleon III Polished Bronze Encrier, third quarter 19th century, the inkpots encircled by a pierced gallery surmounted by an elaborate crest decorated with a pair of putti holding an escutcheon engraved with the initials “BC”, h. 9‑1/2”, w. 13”, d. 7”. [300/500]

404

406

405 405 Two Similar Louis XV Giltwood Frames, third quarter 18th century, now mounted with mirror glass, h. 17‑1/2”, w. 14‑1/2” and h. 20‑1/2”, w. 16‑1/2”. [500/800] Illustrated

409 Pair of Napoleon III-Style Bronze, Marble and Cut Glass Candlesticks, third quarter 19th century, the standards in the form of putti holding candle cups adorned with looped sprays of prisms, h. 13‑1/2”, dia. 4”. [400/700] Illustrated

406 French Gilt-Bronze Mantel Clock of Louis XIV Inspiration, fourth quarter 19th century, the crest with a finial urn flanked by female terms over a domed top, the case with bas-relief scrolls on paw feet, the dial framed with cartouches, the sides with lion head supports, h. 17‑3/4”, w. 11‑1/4”, d. 8‑1/4”. [400/700] Illustrated 407 Pair of Malachite and Gilt-Bronze Five-Light Candelabra, ca. 1900, probably French, the scrollwork arms supported by tapered column-form standards, on paw-footed bases mounted on conforming plinths, h. 15‑3/4”, dia. 7‑3/4”. [400/700] Illustrated 407

410 French Bronze Assembled Chenets and Fire Tool Set, second quarter 20th century, in the rococo taste, including a pair of chenets with flaming urn-form finials, h. 19”, w. 11‑3/4”, d. 2”, and a fire tool set with a stand, tongs, poker and shovel, all with draped urn-form finials, h. 29‑1/2”, w. 9”, d. 10”. [600/900] Illustrated

410

411 Large Louis XVI-Inspired Bronze-Mounted and Inlaid Double-Pedestal Desk, 20th century, the top with a tripartite inset leather blotter, the front fitted with three side-by-side drawers, and mounted to two banks with cabinets and interior shelves, h. 32”, w. 83”, d. 44”. [800/1200] Illustrated

412 Pair of Empire-Style Gilt-Bronze SingleLight Sconces, 20th century, the backplates with anthemion-mounted spears centering swans, electrified, h. 20”, w. 10‑3/4”, d. 20”. [300/500] Illustrated

409

413 Pair of Louis XVI-Style GiltBronze Sconces, first quarter 20th century, each with a tapered backplate terminating in a ram’s head and set with an urn finial, the scrolled, fluted and leaf-molded candle arms holding molded drip pans and candle cups, h. 18‑1/4”, w. 12‑3/4”, d. 5‑1/4”. [400/700] 412

411

414

416 French School (20th Century), “Parisian Street Scene”, oil on canvas, illegibly signed lower left, 20” x 24”. Framed. [400/700] Illustrated 417 Suite of Two Empire-Style Mahogany Tub Chairs, early 20th century, one example with a rounded crest and downswept arms above an ormolu wreath applied splat, the padded seat raised on tapering square legs ending in gilt paws, h. 32”, and the other example with a flat crest and arms above an ormolu maiden applied splat, the padded seat raised on tapering square legs, h. 28”. [400/700]

414 Empire-Inspired Prism-Hung Six-Light Chandelier of Basket Form, the lights mounted at the base of the stem, dressed with faceted cut glass prisms and beads in amethyst and colorless glass, h. 19”, dia. 20”. [500/800] Illustrated 418 418 Paul Renard (French, 1871‑1920), “Parisian Street Scene”, gouache on paper, signed “P. Renard” lower left, 10‑5/8” x 18”. Glazed, matted and framed. [1500/2500] Illustrated

416 415 Empire-Style Mahogany and Marble-Top Center Table, 20th century, the canted rectangular top with an inset marble, raised on tapering square legs joined by a shaped stretcher and ending in ormolu paw feet, h. 29”, w. 35‑1/2”, d. 24”. [500/800]

419 French Bronze Symbolic Clock, fourth quarter 19th century, the base with a central cabochon decorated with flanking angels, one holding an anchor and the other a cross, symbolizing hope in Christ, the dial set with a marked Japy Freres movement, the top with a figure of an angel welcoming a child with open arms, h. 20‑3/4”, w. 14‑3/4”, d. 6”. [500/800] Illustrated

419

420 Empire-Style Burl Wood and Marble-Top Occasional Table, the circular marble top with a molded edge, above an ormolu-applied frieze joined by three supports, headed by an ormolu maiden’s head and joined by a concave tripartite frieze, ending on anthropomorphic feet, h. 29”, dia. 21”. [400/700]

425

422

421 Pair of French Restauration Bronze Dore et Patine SixLight Candelabra, second quarter 19th century, now mounted as lamps, the tapered column standards with leafy capitals wrapped in snakes, issuing conforming scrolled arms, the tripartite bases supporting paw feet , base, h. 22‑1/2”, overall, h. 35”, dia. 10”. [1200/1800] Illustrated

422 Pair of French Empire-Style Bronze Two-Light Sconces, 20th century, the backplates depicting Athena, her owl perched on her helmet, the swan-molded candle arms supporting the candle cups and sockets, electrified, h. 13”, w. 11‑1/2”, d. 7”. [500/800] Illustrated 423 Set of Six French Empire-Style Patinated Metal TwoLight Sconces, 20th century, the round back plates with winged female figures supporting pairs of candle arms, electrified, h. 10‑1/2”, w. 9‑1/4”, d. 4”. [700/1000] 424 Louis XVI-Style Mahogany and Burl Wood Bed, early 20th century, the headboard with a molded cornice above a shaped panel, the lower footboard paneled en suite, raised on ring-turned tapering circular feet, the whole with ormolu accents, h. 58‑1/2”, inside, w. 57”, l. 78”, outside, w. 63”, l. 83”. [500/800] 425 French Neoclassical-Style Patinated Brass Five-Light Chandelier, first quarter 20th century, the acanthusand anthemion-decorated urn-form stem with conforming scrolled arms, and dressed with crystal strands and colored glass fruit of a later period, h. 25”, dia. 25”. [400/700] Illustrated

421

427 Empire-Style Mahogany Lit du Jour, late 19th century, both ends paneled and with a front freestanding fluted Ionic column surmounted by a turned ormolu-banded finial and ending in a bulbous foliate ormolu-applied base, raised on paneled block feet joined by paneled rails, h. 55”, inside, w. 41”, l. 73”, outside, w. 45”, l. 80”. [500/800] 428 Restauration Mahogany Armchair, early 19th century, with elegantly carved and scrolled arms, downswept legs and padded seat and back, h. 38‑1/2”. Provenance: Henry Stern Antiques, New Orleans, Louisiana. [400/700] Illustrated

429 426 French Restauration Chenets and Integral Adjustable Fire Fender, second quarter 19th century, the rod-form fender held by plinths decorated with scrolled mounts and figural dog-form finials, h. 8”, w. 41”, d. 2‑1/2”. [400/700]

428

429 Exceptional Pair of Napoleon III Gilt-Bronze Candlesticks, third quarter 19th century, in the Regence taste, on ogee-form bases, leaf-molded and trimmed with beading, the standards molded with monopodia draped with flowers, the candle sockets in the form of paw-footed ribbed vases trimmed with lion’s heads, h. 12‑3/4”, dia. 5‑3/4”. Provenance: The Flatt Collection. [500/800] Illustrated 430 French Rosewood and Metal Circular Cigar Compendium, post-1844, with an acorn-shaped plunger in the covered cup on the cover, depressed for the cigar holder to rise, the interior holder rising on a fluted columnform standard surrounded by twelve leafmolded cigar holders, all retaining original 430 gilt lacquer in a superb state of preservation, branded “Brevette S6D6”, a French patent law enacted in 1844, h. 10‑1/4”, dia. 4‑3/4”. Provenance: Sotheby’s, New York, October 23, 1998, lot 205; The Flatt Collection. [400/700] Illustrated

431 Louis-Philippe Mahogany Side Table, mid-19th century, the rectangular highly figured top above a conforming frieze fitted with two drawers, joined by a mirrored back and scrolling supports to a plinth shelf base, the whole accented with line inlay and ormolu mounts, h. 36”, w. 40‑1/2”, d. 17”. [1200/1800] Illustrated

434

431

432 Pair of French Empire-Style Brass and Patinated Metal Three-Light Candelabra, 20th century, the standards in the form of “Winged Victory” holding scrolled arms with removable flame finials, standing on orbs supported by fluted pedestals with acanthus, h. 26‑1/2”, w. 8‑3/4”, d. 4‑1/2”. [400/700] Illustrated

434 Pair of French Mirrored and Gilt-Bronze Two-Light Sconces, ca. 1900, in the Renaissance Revival taste, with oval beveled backplates trimmed with bellflowers, the pierced crest with a flame finialed urn on scrollwork, the spiral reeded arms holding the candle sockets and drip pans, h. 23‑1/2”, w. 8‑3/4”, d. 5‑1/4”. Provenance: The Flatt Collection. [300/500] Illustrated

433 French Patinated Bronze of a Recumbent Lion, 20th century, cast signature “Mercier” along edge of selfbase, on a red marble plinth, h. 6‑1/2”, w. 12”, d. 7”. [500/800] Illustrated

433

432

435 one of three

435 two of three

435 three of three

435 Three Continental Lithographs of Classical Scenes, including “Bacchus”, “Bacchanales” and “Cleopatra, et Testes de Femmes”, 14‑3/4” x 10”. All attractively glazed, matted and framed alike. [700/1000] Illustrated 436 Handsome Barbedienne Patinated Bronze and Red Griotte Marble Tazza, third quarter 19th century, French, in the Neo-Grec taste, the kylix-form tazza raised on a fluted pedestal, the base of the cup marked “F. Barbedienne” with foundry seal, h. 10‑1/4”, w. 10‑3/4”, d. 6‑3/4”. [400/700] Illustrated

438

436

437 Suite of Four French Lithographs of Villas, after Cesar Daly (1811‑1894), each “Villa Suburbaine” from L’Architecture privee au XIXe Siecle, each sight 9‑3/4” x 12‑1/4”. All attractively glazed, matted and presented in burlwood laminated frames. [800/1200] Illustrated

439

437 one of four

440 Pair of Louis XV-Style Bronze-Mounted Porcelain Lamps, first quarter 20th century, the cobalt ground urn-forms with horned satyr handles and floral swags, raised on a base molded with laurel leaves, base, h. 17”, overall, h. 32”, dia. 8‑1/4”. [1500/2500] Illustrated 441 French Luneville Faience Cachepot on a Gilt-Bronze Stand, post-1880, the cobaltground pot decorated with white enamel fleurs-de-lis and gilt “Croix de Lorraine”, marked on the base, h. 13‑1/4”, dia. 7‑3/4”. [300/500] Illustrated

441

437 two of four 438 French Gilt-Bronze-Mounted Porcelain Garniture Vase, fourth quarter 19th century, in the Louis XV taste, of inverted pear form and mounted with bronze handles and swags of flowers, the cover with a bronze pineapple-form finial and a Sevres-style mark, h. 27‑3/4”, w. 15”, dia. 10‑3/4”. [2000/4000] Illustrated 439 Louis-Philippe Gilt-Brass and Enamel Desk Set, second quarter 19th century, with gilt-brass fittings and blue enamel with silver-gilt scrollwork, the set comprised of a letter knife with a damascene blade, a seal, a pen knife and a pen, in its original fitted case with stamped decoration on the cover, w. 8‑1/4”, d. 3‑1/2”. [300/500] Illustrated

440

442 Cobalt-Glazed Porcelain Campana-Form Urn, first quarter 20th century, on a bronze base, h. 13‑1/4”, dia. 9‑3/4”. [400/700] 443 Mixed Metal Seal and Pencil, ca. 1900, designed and retailed by Rene Wiener, Nancy, France, decorated with “Croix de Lorraine” and a bust of a woman, in their original gilt-stamped case, marked “Rene Wiener, Nancy” on the inside and “PB” on the cover, the seal also marked, w. 3‑1/2”, d. 2‑1/2”. [300/500] PB Wiener (French, 1855‑1939) was a noted designer and retailer of book bindings and a designer of monograms.

446

444 444 John Clymer (American/British, b. 1932), “Busy Harbor Scene”, oil on canvas, signed lower right, 12” x 16”. Framed. [600/900] Illustrated

447 445 Robert Camp (American, 20th Century), “In Summer Rain”, oil on canvas, signed lower right “R. Camp”, titled en verso on artist label, an additional label with “#14 View of Ocala” en verso, 27‑3/4” x 39‑3/4”. Framed. [400/700] Illustrated 445 86

450 Andre Chalet (French, b. 1954), “Children on the Beach”, oil on canvas board, signed lower right “A. Chalet”, 9‑3/8” x 11‑3/4”. Framed. [800/1200] Illustrated

449

451 451 Jean Lefort (French, b. 1948), “Mother and Children on the Beach”, oil on wood panel, signed lower right “J. Lefort”, 7‑1/4” x 13”. Presented in a handsome frame. [800/1200] Illustrated 452 Niek Van der Plas, (Dutch, b. 1954), “View of Venice”, oil on wood panel, signed lower right “Van Der Plas” and en verso, 6” x 8”. Framed. [700/1000] Illustrated 450 446 Ginette Rapp (American, 1928‑1998), “Sailboats in the Marina”, oil on canvas, signed lower left, 45‑1/2” x 35”. Framed. [800/1200] Illustrated 447 Australian School (20th Century), “Desert Trees”, oil on “Anco Bilt” canvas, signed “Beth Campbell” lower left, 22” x 22”. Presented in a Heydenryk frame. [400/700] Illustrated 448 Robert Camp (American, 20th Century), “Daytona Beach Near the Pier”, oil on canvas, signed lower left “R. Camp”, 20‑1/4” x 30‑1/8”, titled en verso. Framed. [300/500] 449 Claude-Marie Buford (French, b. 1946), “Children on the Beach”, oil on board, signed “Buford” lower right, 19‑1/2” x 24”. Presented in a handsome frame. [800/1200] Illustrated 452 87

453 Continental School Painted Panel, 19th century, oil on canvas, with an acanthine and floral posy motif, 38” x 59”. Framed. [500/800] Illustrated

456 456 Giovanni Battista Piranesi (Italian, 1720‑1778), “Veduta degli avanzi della Sepolcro della Famiglia Plauzia sulla via Tiburtina vicino al ponte Lugano”, black and white engraving from Le Vedute di Roma, first quarter 19th century, sheet 19‑3/4” x 30”. Glazed, float mounted and framed. [400/700] Illustrated

453 454 Pair of Meissen-Style Porcelain Bottle Vases, ca. 1900, German, decorated with encrusted flowers framing transfer-printed portraits of couples in bucolic landscapes, h. 6”, dia. 3”. [400/700] Illustrated

454

455 Italian Neoclassical Polychrome and Marble-Top Pier Table, the inset bowed marble top with projecting corners, above a conforming frieze with guilloche carving, raised on fluted tapering circular legs headed by swag-applied capitals and ending in toupie feet, h. 34‑1/2”, w. 51‑1/2”, d. 20‑1/2”. [700/1000] Illustrated

460

455

457 Louis XV-Style Crystal and Brass Six-Light Chandelier, first half 20th century, the reeded baluster-form stem surmounted by flowering branches of crystals, the scrolled arms festooned with conforming swags terminating in a ball finial, h. 20‑1/2”, dia. 12”. [300/500] Illustrated

459 Collection of Four Santos Cage Dolls, in the European/ Latin American style, with open cage skirts and articulated arms, the carved faces realistically painted, h. 28‑1/2” to 31‑1/4”, dia. 7‑3/4”. [300/500]

457 462 458 Claude Lorrain (French, 1600‑1682), “Le Depart pour Le Champs”, fourth quarter 19th century, etching on laid paper, pencil titled lower margin of matte board, “Amand-Durand” ink stamp (Lugt 2934) en verso, sheet 5‑1/2” x 7‑1/4”. Unframed. [400/700]

460 Continental Polychrome Cabinet, the narrow shaped top above a conforming case fitted with a single central frieze drawer over a paneled cupboard door, flanked to either side by a rounded paneled cupboard, raised on shaped block feet, h. 36”, w. 40”, d. 12‑1/2”. [800/1200] Illustrated 461 Group of Three Italian Painted and Silver-Gilt Lamps, including a pair of altar-style candlesticks and a wooden urn, all trimmed in midnight blue and mounted as lamps, the candlesticks h. 27”, overall, h. 31”, dia. 7‑1/4”, and the urn, h. 14”, overall, h. 26”, dia. 6‑1/2”. [500/800] Illustrated 462 Continental School (20th Century), “Reclining Nude”, in the 16th-century style, sight 3‑7/8” x 5‑3/8”. Glazed, linen matted and presented in a floral-molded giltwood and gesso frame. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [700/1000] Illustrated

461

463 Venetian-Style Etched and Beveled Glass Mirror, with a foliate-modeled crest and cushionform looking glass, h. 47‑1/4”, w. 24‑1/2”. [500/800] Illustrated 464 Pair of Venetian Shield-Form Mirrors, early 20th century, 463 the outer frames trimmed in glass beaded roping, the central mirror plates depicting, respectively, a reverse-etched male figure beneath a canopy and an applied reverse-etched female figure, h. 46”, w. 22”. [1400/1800] Illustrated 465 Warren W. Sheppard (American, 1858‑1937), “Venetian Shores”, oil on canvas, signed “Warren Sheppard” lower right, 18” x 24”. Matted and framed. [600/900] Illustrated 466 Italian Carved Giltwood Musical Wall Plaque, 20th century, depicting a bugle, violin, flute and various other musical motifs, h. 42”, w. 15”. [500/800] Illustrated

465

464

467 Italian Polychrome Commode, 19th century and later, in the neoclassical taste, the faux-marbre top above a case fitted with two short drawers over two long drawers, all with pastoral scenes, raised on tall tapering square legs, h. 36‑1/2”, w. 46”, d. 22”. [2000/4000] Illustrated 468 Contemporary Lacquered Brass and Prism-Hung Six-Light Chandelier, the stem of cage form and supporting S-form arms with cast candle cups and electric “candles”, adorned with faceted and cut colorless and amethyst glass pendants, h. 26‑1/2”, dia. 26”. [500/800] Illustrated

466

469 Unusual Pair of Glass Table Lamps, the bodies reverse decoupaged with engraved seashells and coral against a silver foil backing, with carved wooden feet and caps, h. 27”, dia. 7”. [400/700]

468

470 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”. [300/500] Illustrated

469

470

467

471 Italian Polychrome and Marble-Top Side Table, early 20th century, in the rococo taste, the large, shaped verde antico marble top with a molded edge, above a conforming frieze centered by a pierced foliate design, raised on cabriole legs headed by foliate carving and ending in scrolled toes, h. 33”, w. 44‑1/2”, d. 16‑1/2”. [600/900] Illustrated 472 Pair of Italian Polychrome Bedside Commodes, early 20th century, each with a shaped top centered by a floral spray and with a molded edge, above a conforming case fitted with two drawers, the drawers and sides all with similar sprays, raised on cabriole legs ending in peg feet, h. 29‑1/2”, w. 22‑1/2”, d. 11‑1/2”. [500/800]

471

474 Assembled Pair of Hand-Painted Porcelain Wall Pockets, fourth quarter 19th century, in the rococo taste, by the Royal Porcelain Manufactory, Berlin, one with a hand-painted cupid with a bow quiver and lovebird, and the other with a portrait of a nymph, each with a KPM crossed orb red decorating mark, h. 13‑3/4”, w. 6‑3/4”, d. 1‑3/4”. [700/1000] 475 Italian-Style Polychrome and Marble-Top Low Console, the shaped marble top with turreted corners, above a guilloche frieze with a pendant foliate garland, raised on molded legs joined by an urn-centered stretcher and ending in foliate feet, h. 25‑1/2”, w. 53”, d. 17”. [800/1200] Illustrated

473

473 Opaline Glass and Gilt-Metal Six-Light Chandelier, second half 20th century, the tiered sprays hung with pendants and beaded strings over S-scrolled arms, with a conforming ball finial and bobeches, h. 28”, dia. 20”. [1400/1800] Illustrated

476 Italian Rococo Polychrome and Parcel-Gilt Mirrored Vitrine, late 19th century, the mirror with a scrolling foliate-carved crest centered by a lattice-pierced shield above a trisected mirrored panel frieze, the long plate below flanked to either side by a narrow plate with smaller pendant panels, all within a notched frame with applied scrolling designs, the vitrine with a molded central crest over an astragal-glazed cupboard door, flanked to either side by a small drawer over two open shelves, the whole accented with gilt scrolling foliate moldings and raised on scrolled toes, h. 145”, w. 62”, d. 19”. [2000/4000] Illustrated

475

476

477

478

477 Italian Rococo-Style Polychromed Baldachin, with a foliate- and scroll-carved crest and scalloped apron, the base with access to support bed hangings, h. 39”, w. 71”, d. 25”. [1500/2500] Illustrated 478 Italian Polychrome and Marble-Top Table and Pier Mirror, late 19th century, in the rococo taste, the inset shaped marble top above a deep shaped frieze centered by a pierced shell carving and surrounded by foliate patterns, raised on molded C-scroll legs joined by a floral-carved stretcher and ending in scrolled toes and pegs, and having an elaborate mirror above, h. 147”, w. 58”, d. 20‑1/2”. [2500/4000] Illustrated

479 Three-Piece Italian Rococo Giltwood Parlor Suite, 19th century, comprised of a settee and two sidechairs, each with a padded back surmounted by a foliate crest, with shaped padded seats above floral- and foliate-carved aprons, raised on cabriole legs ending in scrolled toes on pegs, now upholstered in Fortuny fabric, settee, h. 47”, w. 85”, d. 25”, sidechairs, h. 37”. [1500/2500] Illustrated

480

479 three piece suite

480 Louis XIV-Style Bronze Five-Light Chandelier, the fluted vasiform standard with leaf decoration supporting scrolled arms terminating in brackets mounted with classical busts, h. 22”, dia. 24‑1/2”. [600/900] Illustrated 481 Andre Chalet (French, b. 1954), “A Game of Badminton”, oil on canvas, signed “A. Chalet” lower right, 7‑1/8” x 9‑1/4”. Presented in a handsome giltwood frame. [500/800] Illustrated

479 three piece suite

482 Gerald Sargent Foster (American, 1900‑1987), “Carcassonne Street”, oil on wood, signed lower right, 6‑1/2” x 8‑1/2”. Framed. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [500/800] Illustrated 483 Continental School (Second/Third Quarter 20th Century), “Market Scene” and “Pic-Nic”, a pair of watercolors on paper, each signed “Lazetzky” lower right, sight 9‑1/4” x 13‑3/4”, each with a “Carel Gallery/Miami Beach, Fl.” stamp. Attractively glazed, matted and framed. [500/800] Illustrated

484

481

482

484 details

483 one of two

484 Assembled Twenty-Piece Collection of Sevres White and Gold Porcelain, including eight dinner plates decorated with Louis-Philippe’s initials and an ivy border, the blanks dated 1849, with “Chateau de St. Cloud” decorator’s marks, dia. 9”, a teapot with Napoleon III’s crest, with a blank mark for 1853 and a decorator’s mark for 1855, five coffee cups and six saucers with delicately molded ribbing and gilt initials, the blank marks dated 1886 and the decorator’s marks for 1889, h. 2‑1/4”, dia. 4‑1/4”. [300/500] Illustrated 95

485 Suite of Ten Continental Late Regency Polychrome and Gold-Leaf Chairs, second quarter 19th century and later, comprised of two armchairs and eight sidechairs, each with a scrolling relief-carved back and cloven hoof feet, the armchairs with winged caryatid supports, all in later polychromy, one sidechair a later bench-made copy, armchair, h. 35”, sidechair, h. 34”. [1500/2500] Illustrated 486 Louis XVI-Style Polychromed and Parcel-Gilt Trumeau Mirror, 20th century, the upper panel with applied musical motifs and a mirror below, featured in a cream-painted ground, h. 63‑1/2”, w. 28”. [600/900] Illustrated 487 Louis XVI-Style Ormolu-Mounted, Marquetry-Inlaid and Granite-Top Commode, second half 20th century, the mottled gray granite top with canted corners over a conforming case with a bank of three drawers, the upper drawer with inlaid banding, the lower pair with trophy inlay, raised on cabriole legs, h. 20‑1/4”, w. 38”, d. 21”. [500/800] Illustrated

488 Three-Piece Louis XV-Style Giltwood Parlor Suite, early 20th century, consisting of a settee and a pair of fauteuils, each with a domed and padded back surmounted by a shell and foliate crest, joined by padded scrolling arms to the like seat, over a shaped apron, raised on molded cabriole legs headed by shell carving and ending in scrolled toes, settee, h. 41‑1/2”, w. 64”, d. 27”, fauteuils, h. 40”. [500/800]

486

489 Impressive French GiltBronze Twenty-Four-Light Chandelier, ca. 1900, an aggregate of interwined flowers and leaves suspended from a floriform stem, issuing tiered arms with foliate candle cups, now electrified, h. 33”, dia. 31‑1/2”. [1200/1800] Illustrated

485

489

490 Pair of French Porcelain Fan Vases with Biscuit Figures, mid19th century, Limoges, the vases hand-painted with flowers, rising from molded gilt foliage, beside tinted biscuit figures of, respectively, a man and woman in 18th-century costume, incised “JP” on the bottom, h. 12‑1/2”, w. 7”. [500/800] Illustrated

492 Exceptional Enamel Table Clock, fourth quarter 18th century, the case in the form of a wine cask and decorated with various classical figures and mythological scenes, the domed base set with enameled dolphin-form supports, the French works signed “Berthoud a Paris”, the movement with a pierced and engraved balance cock, and the opening at the top formerly fitted for a finial, h. 4‑1/4”, dia. 3‑1/2”. [2000/4000] Illustrated

490

492

493 French School (Fourth Quarter 19th Century), “Putti in the Clouds”, oil on canvas, signed and dated lower right “H. Lechoux Aout 1873”, 44‑1/2” x 57‑1/8”. Presented in a decorative frame. [5000/8000] Illustrated

487

491 Pair of Franco Bohemian Porcelain Baluster-Form Vases, mid-19th century, in the Rococo Revival style, decorated with hand-painted panels of a young woman with flowers representing spring and a young woman with wheat representing fall, with pierced gilt morning glories framing the panels, h. 14”, dia. 9‑1/4”. [400/700]

493

494 Charming MeissenStyle Porcelain Tobacco Jar, Made by Sluzier, Fontainebleau, fourth quarter 19th century, French, designed to resemble a Dionysian feast and depicting a wine barrel and four putti, one standing atop the barrel among encrusted grapes and serving as the knop, one gesturing, one climbing a ladder into the barrel, and one lounging while holding a wine cup, marked with underglaze blue crossed swords in the Meissen style, h. 13‑1/2”, w. 9‑1/2”, d. 6‑1/4”. [500/800]

499 Pair of Meissen Porcelain Bowls, ca. 1947‑1973, German, with gilt morning glory decoration, the matte flowers and leaves with burnished details, with a crossed sword underglaze blue mark, with double cancellation lines, dia. 11‑1/4”. [300/500]

495

495 Louis XV-Style Giltwood Mirror, late 19th century, the bottom with pierced scrollwork decoration, each side with a frolicking putto holding garlands, the crest comprised of rocaille and scrollwork, executed in contrasting burnished and matte gilt, h. 48‑1/2”, w. 25”. [1000/1500] Illustrated 496 Pair of Louis XV Style Gilt Bronze Chenets, fourth quarter 19th century, each with a rocaille pedestal colonnade on tapered feet, issuing a scrolling bouquet of acanthus and bellfowers, h. 18‑1/4”, w. 13”, d. 5‑1/4”. [400/700] 497 Louis XV-Style Giltwood Pier Mirror and Console, late 19th century, the rectilinear looking glass with rounded corners and a broken-arch crest centered by a pair of carved putti, h. 83”, w. 37”, d. 7”, together with a console with a faux-marbre top over a scalloped foliate-carved apron and cabriole legs, h. 25”, w. 35”, d. 13”. [1500/2500] Illustrated 498 Louis XV Style Bronze Three-Piece Clock Set, fourth quarter 19th century, the pierced clock case decorated with rocaille and shell work, the crest decorated with an overturned water pot sitting amongst leaves, set with marked Mougin works, the whole resting on cabriole legs, h. 21‑3/4”, w. 11”, d. 5‑1/2”; the five-light candelabra with standards in the form of overturned urns, supporting leaf-molded candle arms, h. 21‑1/4”, dia. 8”. [500/800] Illustrated

497

498 500 Louis XV-Style Giltwood and Onyx-Top Center Table, early 20th century, the inset turtle-form onyx top above a conforming shaped frieze centered by a foliate shell carving, raised on cabriole legs headed by a foliate shield, joined by a shaped X-form stretcher and ending in foliate scrolled toes, h. 30”, w. 40”, d. 24”. [400/700] Illustrated 501 Jean-Sebastien Rouillard (French, 1789‑1852), “Portrait of a Court Lady in 18th-Century Costume”, oil on canvas laid on board, signed lower right “S. Rouillard”, 39” x 32”. Presented in a handsome, antique giltwood and gesso frame. Provenance: St. Charles Antiques, New Orleans, Louisiana; Private collection. [1200/1800] Illustrated 502 Five-Piece Louis XV-Style Giltwood Salon Suite, third quarter 19th century, comprised of a sofa, h. 44”, w. 68”, d. 25”, and four sidechairs, h. 37”, with floralcarved crests and retaining their original Aubusson upholstery. [500/800] Illustrated

500

501 502 five-piece suite

503

503 Pair of Louis XV-Style Giltwood Fauteuils, third quarter 19th century, with floral carved crests and retaining their original Aubusson upholstery, h. 40‑1/2”. [500/800] Illustrated

504 Pair of Louis XV-Style Giltwood Fauteuils, third quarter 19th century, with floral-carved crests and retaining their original Aubusson upholstery, h. 40‑1/2”. [500/800] 505 Pair of Italian Rococo-Style Giltwood Wall Brackets, mid-20th century, with beaded edged top over scrolled acanthine bases, h. 12”, w. 11”, d. 6”. [300/500]

510 507 Set of Four Louis XVI-Style Gilt-Bronze Tie Backs, fourth quarter 19th century, with quiver-form backplates, the arms terminating in acorn finials, h. 6‑1/4”, w. 1‑1/4”, d. 5‑1/2”. [300/500]

508

506 Small Louis XV-Style Gilt-Bronze-Mounted Parquetry Walnut Lady’s Desk, ca. 1900, the slant lid opening to reveal a fitted segmented interior, over a pair of drawers and a full-width drawer, raised on cabriole legs, h. 36”, w. 24‑1/4”, d. 16‑1/2”. [700/1000] Illustrated

512 508 Rockingham Works Hand-Painted Porcelain Punch Bowl, ca. 1830‑1841, English, the fluted bowl decorated with hand-painted baskets of flowers framed with gilt scrollwork on an unusual pistachio green ground, with a printed sepia Griffin/Rockingham Works mark, h. 5‑1/2”, dia. 11”. [400/700] Illustrated 509 Pair of Paris Porcelain Figures in the Jacob Petit Style, mid-19th century, the polychrome-painted figures depicting a man and woman attired in 18th-century Spanish costume, formerly fitted with brass candle branches, h. 16‑1/2”, w. 6‑1/2” and h. 17‑1/2”, w. 6‑1/2”. [200/400] 506

100

515 Louis Kley (French, 1833‑1911), “Pair of Young Posturing Musketeers”, silvered bronzes, each with cast signature on selfbase and raised on a marble pedestal, overall, h. 9‑1/2”, dia. 3‑3/4”. [600/900] Illustrated

515

516 Louis XV-Style Fruitwood Settee, late 19th century, the padded back and arms surmounted by a foliate crest, raised on cabriole legs to scrolled toes on pegs, h. 35”, w. 61”, d. 26”. [400/700] 511

510 Pair of Paris Porcelain Campana-Form Urns, second quarter 19th century, each decorated with handpainted medieval tavern scenes on the obverse and tooled gilt floral roundels on a framboise ground on the reverse, h. 10‑1/4”, dia. 7”. [400/700] Illustrated 511 Beaux-Arts Gilt-Bronze Eight-Light Chandelier, early 20th century, of cage form, the bowl cast as rope and foliate swags hanging from curved arms and terminating in a pineapple ball finial, electrified and now fitted with frosted glass floriform shades after the period fashion, h. 38”, dia. 30”. [1000/1500] Illustrated

517 Pair of Louis XV-Style Brass Three-Light Sconces, third quarter 20th century, the rocaille backplates issuing conforming candle arms and cups, hung with cut glass prisms, h. 28‑1/2”, w. 15”, d. 6”. [300/500] 518 Pair of KPM-Style Hand-Painted Porcelain Plaques, ca. 1900, by Laure Levy (French, 1866‑1954), each signed and inscribed “D. Santpierre”, one of a woman with a water jug, the other of a woman gathering roses, each 9” x 7”. In matching giltwood frames. [400/700] Illustrated

512 Joseph Quinaux (Belgian, 1822‑1895), “Landscape with Cattle and Figures, Mountain in the Background”, oil on wood panel, signed lower right, 21‑1/4” x 31”. Framed. [600/900] Illustrated 513 Continental School (Fourth Quarter 19th Century), “An Entertaining Read”, oil on wood panel, signed “John Lomax” lower right, 11‑3/4” x 14‑3/4”. Framed. [800/1200] 514 Napoleon III Carved Mahogany Bench in the Rococo Revival Taste, third quarter 19th century, with possibly original needlepoint cover, h. 16‑1/2”, w. 53”, d. 24‑1/2”. [400/700]

518 one of a pair 101

521 Pair of Giltwood Bergeres Marquise, early 20th century, each with a shaped and padded back surmounted by a floral crest, joined to the cushioned seat by padded closed arms, raised on molded cabriole legs headed by floral carving and ending in scrolled toes, h. 30‑1/4”. [300/500]

519

519 French Bronze and Crystal Six-Light Chandelier, first quarter 20th century, in the Louis XIV taste, with a molded glass-clad standard, the bronze arms and matching candle cups hung with strands of alternating pink and yellow drops, the corona decorated with matching swags of drops, h. 27”, dia. 20”. [600/900] Illustrated

524

522 Pair of Louis XVI-Style Polychrome Fauteuils, late 19th century, each with a padded oval back joined by scrolling arms to the padded seat, raised on stop-fluted tapering circular legs ending in toupie feet, h. 37”. [1200/1800] Illustrated 523 Good Pair of French Porcelain Figures, third quarter 19th century, Paris or Limoges, depicting a couple in 18th-century costume, well-modeled and handpainted, the gentleman’s coat richly decorated with raised gilt, h. 14”, w. 5”, d. 6‑3/4”. [300/500]

522 520 Two German Porcelain Satirical Figures of “Count Bruhl’s Tailor”, first quarter 20th century, after the Meissen original, depicting a tailor riding a billy goat, each wearing sunglass spectacles, one marked “Saxonia Porcelain, Potschappel, Dresden”, h. 9”, w. 6‑1/2” and h. 10‑3/4”, w. 6‑3/4”. [600/900]

102

524 Pair of French Baccarat Style Glass Four-Light Candelabra, second quarter 20th century, the finialed baluster-form standard cut in the diamond pattern, issuing alternating twisted arms and scrolls, the bobeches fitted with prisms, electrified, h. 31‑1/2”, dia. 17”. [600/900] Illustrated 525 Louis XV-Style Polychrome Bergere Marquise, the low domed and padded back surmounted by a floral crest and within a molded frame, joined by padded downswept arms to the cushioned seat, raised above a floral-carved frieze on cabriole legs ending in foliate toes, h. 32”. [300/500]

527 Louis XVI-Style Polychrome Bed, early 20th century, the tall headboard of paneled construction and surmounted by a gilt portrait medallion crest, the back centered by an oval floral panel, joined by rails to the like-decorated lower footboard, the whole raised on tapering circular feet, h. 55”, inside, w. 31”, l. 78”, outside, w. 36”, l. 81”. [400/700] Illustrated

526 526 Jacques Petit (French, b. 1925), “Garden Scene”, oil on canvas, signed lower right, 31” x 51”. Framed. [700/1000] Illustrated

528 528 Continental Empire Mahogany Commode, early 19th century, the rectangular case fitted with a single long frieze drawer over three long recessed drawers, flanked to either side by an engaged pilaster headed by a maiden’s head capital, raised on tapering square legs, h. 37”, w. 50‑1/2”, d. 24‑1/2”. [1200/1800] Illustrated

527

529 Baltic Neoclassical Mahogany Chaise Lounge, early 19th century, the padded barrel-form back within a molded frame, joined to the long padded seat by shaped sides and padded arms to ball-carved uprights, the lower out-swept end padded, raised on sabre legs, the whole with decorative ormolu mounts, h. 40‑1/2”, w. 28‑1/2”, l. 62”. [700/1000] Illustrated 530 Pair of Baltic Empire-Style Mahogany Bergeres, late 19th century, each with a padded back surmounted by a flat crest, joined to the padded seat by downswept arms raised on tapering columnar uprights headed by a foliate capital and ending in foliate caps, h. 36”. [700/1000]

529

531 Baltic Neoclassical-Style Sidechair, early 20th century, the padded back surmounted by a paneled backswept crest with an ormolu masque and anthemion mount, the padded seat raised on tapering circular legs ending in lotus-form ormolu caps, h. 34”. [400/700]

103

532 Continental Mahogany and Burl Bed, late 19th century, the headboard with a ribbed crest rail with ormolu banding, above a burl panel with side wreath mounts joined by banded rails to the like lower footboard, centered by an applied ormolu urn and butterfly within an ebonized laurel leaf frame, raised on tapering square legs ending in peg feet, h. 67‑1/2”, inside, w. 33”, l. 85”, outside, w. 35”, l. 88”. [800/1200] Illustrated

532 533 533 Biedermeier Mahogany and Fruitwood Cabinet, mid-19th century, the stepped top above a serpentine case fitted with a single drawer over a long cupboard door, inset with a shaped panel and opening to a shelved interior over a deeper lower drawer, raised on bun feet, h. 62”, w. 29”, d. 17”. [400/700] Illustrated 534 Biedermeier Mahogany Pier Mirror, second quarter 19th century, the triangular crest above a frieze with a recessed domed panel with applied ormolu griffins flanking a flaming urn, the beveled rectangular plate within a plain frame with molded base, h. 90‑1/2”, w. 36‑1/2”. [1200/1800] Illustrated

537 Pair of French Marble and Bronze Urn-Form Garnitures, first quarter 20th century, in the Louis XVI style, the mottled pink marble and bronze garnitures with elongated bodies set with scrolled bronze handles, and domed “covers”, with bands of arabesque-molded decoration, h. 16‑1/2”, dia. 4‑1/4”. Provenance: The Flatt Collection. [400/700] Illustrated

535 Pair of Renaissance Revival-Style Bronze Sconces, the Eastlake backplates supporting figures of winged nereids holding torches set with electric sockets, mounted with pierced brass shades, h. 17‑1/4”, w. 6‑1/2”, d. 6‑3/4”. [400/700] 536 Neoclassical-Style Brass Six-Light Chandelier, fourth quarter 20th century, the covered urn-form stem mounted with bucrania and chain swags, over a gadrooned bowl with a ball finialed reverse dish, issuing arms with beaded candlecups and bobeches, h. 40”, dia. 25”. [500/800] Illustrated 104

540

538 Italian Neoclassical Faux-Bois and Parcel-Gilt Bed, 19th century, the headboard with a raised center section surmounted by a torchere and ribbon-shield crest flanked to either side by lower flowering urn mounts over a molded Greek-key pattern, joined by paneled rails to a like foot rail with fluted posts, the whole raised on tapering circular legs ending in toupie feet, h. 64”, w. 71”, l. 74”. [400/700] 539 Continental Neoclassical-Style Alabaster and GiltBronze Figure of a Maiden, ca. 1900, the seated figure leaning over beside a gilt-bronze trimmed urn, the urn formerly mounted as a lamp, h. 17‑3/4”, w. 10‑3/4”, d. 9‑3/4”. [1200/1800] Illustrated

536

534

540 Neoclassical-Style Line-Strung and Marquetry-Inlaid Mahogany Commode, the top with canted corners, over a conforming case with a pair of drawers inlaid with a classical scene depicting a horse pulling a chariot with a winged figure, raised on tapering legs, h. 30‑1/4”, w. 38‑1/2”, d. 16‑1/2”. [1000/1500] Illustrated

539

541 Suite of Four Continental Neoclassical Sidechairs, early 19th century, each with a curved crest above an arched and pierced splat, the padded seat raised on tapering square legs ending in splayed feet, h. 36‑1/4”. [600/900] Illustrated 537

541

105

542 Unusual Biedermeier Fruitwood Mirror in the Egyptian Revival Taste, second quarter 19th century, Germano-Austrian, boldly designed with cove-molded sides supporting an Egyptian cornice, styled after abstract lotus leaves, h. 57‑1/2”, w. 39‑1/2”. [500/800] Illustrated

542A Neoclassical Fruitwood and Walnut Partner’s Writing Table, early 19th century, the square top banded and centered by a heraldic emblem, above a conforming frieze fitted to either end with a writing slide over three drawers, all banded, the sides banded en suite, raised on tapering square legs, h. 32”, w. 45”, d. 45‑1/4”. [1500/2500] Illustrated 543 Continental Neoclassical Walnut and Mahogany Commode, late 18th century, the rectangular doublebanded top centered by a circular foliate medallion, above a conforming case fitted with three long drawers, all banded, the lower two centered by a similar foliate medallion, raised on tapering square legs, h. 36”, w. 50”, d. 22‑1/4”. [2500/4000] Illustrated

542

543

542A

106

544

544 Suite of Four Baltic Neoclassical Mahogany and Oak Sidechairs, early 19th century, each with a scrolling crest above a paneled back with shaped pendant, the padded seat raised on sabre legs, h. 35”. [500/800] Illustrated

547

545

545 Continental Gilt-Bronze-Mounted and ParquetryInlaid Mahogany Tilt-Top Table, late 19th century, the circular top with mixed wood block inlay centered by an inlaid ten-point star, above a hexagonal column on a tripodal base with bronze floral mounts and parquetry, h. 29”, dia. 29”. [1400/1800] Illustrated

546

548 546 Baltic Neoclassical Mahogany Sofa of Biedermeier Inspiration, second quarter 19th century, with an arched and boldly reeded back rail, the arm fronts with spiral-reeded and foliate decor, raised on carved paw feet, h. 45”, w. 88”, d. 28”. [700/1000] Illustrated 547 David van der Kellen (Dutch, 1827‑1895), “Girl with a Doll”, oil on board, signed along left edge, sight 17” x 13”. Presented in a giltwood frame with an oval liner. [800/1200] Illustrated 548 Rudolf Jelinek (Austrian, 1886‑1950), “Oval Portrait of a Girl with a Basket of Flowers”, 1919, oil on canvas board, signed and dated lower right, 30” x 22‑3/8”. Framed. [800/1200] Illustrated

107

549 Continental Walnut Extension Table, mid-20th century, the circular banded top opening to accommodate two 16” leaves, and supported by a base depicting four dolphins, h. 30”, dia. 46‑1/2”, extended l. 78‑1/2”. [600/900] Illustrated

554

549

552 Two Classical Plaster Busts, 20th century, one of the Roman Emperor Marcus Aurelius, impressed stamp “Orlandi Statuary Co., 459 Milwaukee Ave. (Chicago)” on reverse truncation, h. 24‑1/2”, w. 15‑1/2”; the other of Ajax, the Greek Warrior from the Iliad, h. 23‑1/2”, w. 14”. [700/1000]

550 Suite of Four Neoclassical Mahogany Sidechairs, mid19th century, each with a shaped string-inlaid crest above a foliate lyre-form splat, the padded seat raised on sabre legs, h. 33”. [400/700] Illustrated

550 555 551 Continental Bisque Figure of an Athlete, first quarter 20th century, after the Antique, the figure depicted holding a baton, with an unidentified mark, h. 22”, dia. 5‑1/2”. [300/500]

108

556

553 Neoclassical Polychrome Pedestal, early 20th century, the square top raised on a fluted Ionic standard to a socle base, h. 45”, w. 11”, d. 11”. [300/500] 554 Suite of Eight Parcel-Gilt and Polychromed Dining Chairs, of Italian neoclassical inspiration, comprised of a pair of armchairs and six sidechairs, each with a molded framed back with vertical slats, bowed seat and tapering fluted legs, h. 43”. [700/1000] Illustrated

557

555 Italian Neoclassical Parcel-Gilt Mirror, fourth quarter 18th century, on pine-cone-carved supports, the surround carved with ribbon, the crest decorated with a cornucopia of flowers and swags of beading on a green ground, h. 40‑1/2”, w. 21‑1/2”. [500/800] Illustrated 556 Italian Specimen Marble Table Top, of rectangular form, with a central oval panel surrounded by a decorative floral and geometric banding, w. 59‑1/2”, d. 36”. [1200/1800] Illustrated 557 Semi-Antique Tabriz Carpet, 4’ 6” x 7’. [300/500] Illustrated 558 Antique Persian Kashan Carpet, first quarter 20th century, 4’ 5” x 6’ 8”. Provenance: The Flatt Collection. [1500/2500] Illustrated

558 109

559 Chinese Savonnerie Carpet, 12’ 2” x 18’. [400/700] 560 Peking Chinese Carpet, 8’ 4” x 11’ 9”. [500/800] Illustrated 561 Bokhara Carpet, 8’ x 10’. [300/500] 562 Kerman Carpet, 8’ 6” x 12’ 2”. [500/800] 563 Louis XVI-Style Needlepoint Carpet, 8’ 5” x 12’. [400/700] Illustrated 564 Semi-Antique Hamadan Carpet, 4’ 2” x 6’ 8”. [300/500] 565 Adam-Style Giltwood Looking Glass, ca. 1900, the oval mirror plate in a conforming frame with an urn- and griffin-carved crest, h. 41‑1/2”, w. 25‑1/2”. [1200/1800] Illustrated 563

566 560 110

567 Edwardian Walnut Tiered Table, early 20th century, both ovoid tiers with central intricately inlaid oval panels, the upper tier with end pierced brass galleries, raised on square supports ending in splayed legs, h. 29‑1/2”, w. 24‑1/2”, d. 16‑3/4”. [400/700] 568 Edwardian Paint-Decorated Satinwood Desk, ca. 1925, the rectilinear top with an inset tooled leather writing surface, the perimeter with painted flora and vines, the frieze with a central drawer flanked by deeper drawers, raised on tapering square legs and adorned with painted flora and swags throughout, h. 30”, w. 51”, d. 27”. [800/1200]

565

569 Two Jade Hardstone and Gilt-Metal Boxes and a Picture Frame, 20th century, including a pierced jade panel picture frame with an easel back, h. 11”, w. 9‑3/4”, and two trinket boxes, one with an embossed metal surround and hinged, two-panel pierced jade lid, h. 1‑1/4”, w. 3‑1/4”, and the other with a patterned surround and inset smooth serpentine lid, and raised on ballform feet, h. 2”, w. 4‑3/8”. [500/800] Illustrated

566 Edwardian-Style Mahogany and Satinwood Cabinet, 20th century, the domed cornice above a floral garland-inlaid frieze with two doors below, each banded and quarter-veneered and centered by an inlaid oval floral panel, the conforming lower section fitted with a single drawer, raised on tapering square legs, the back bearing the label “B. Altman & Co. New York”, the inside of the drawer labeled “Royal Furniture Robert W. Irwin Co.”, h. 74‑1/2”, w. 39”, d. 17‑1/2”. [600/900] Illustrated 571 569

571 570 Georgian-Style Polychrome Cabinet, 19th century and later, the shaped top above a conforming case fitted with two cabinet doors, raised on bracket feet, the whole with floral accents, h. 32”, w. 36”, d. 19‑1/2”. [600/900] 571 G. W. Baldry (British, 19th/20th Century), “Portraits of a Girl and Boy”, pair of oils on canvas, both signed lower left, each 22” x 15”. Framed alike. [800/1200] Illustrated

111

572 British School (Third Quarter 19th Century), Portrait of Two Girls”, 1858, oil on canvas, signed “Histch G. Smith” and dated “1858” lower right, 24” x 20”. Presented in a decorative frame. Provenance: Personal collection of Daniel Tenenbaum, San Francisco, California and Houston, Texas. [600/900] Illustrated

574 574 Alexander Carse (Scottish, 1770‑1843), “The Uprising”, early 19th century, oil on canvas, affixed with an artist’s plaque, 28” x 36”. Matted and Framed. [500/800] Illustrated

572 573 After Sir Luke Fildes (1843‑1927), “The Doctor”, miniature oil on wood panel, signed lower left “T. Carr”, possibly Thomas Carr (1909‑1999), 3‑1/2” x 9”. Presented in a decorative giltwood frame. [600/900] Illustrated

575 575 Attributed to John Linnell, R.A. (British, 1792‑1882), “On the River Ouse, Yorkshire”, oil on wood panel, titled and signed en verso panel, 5‑3/4” x 10‑3/4”. Unframed. [600/900] Illustrated 576 British School (Third Quarter 19th Century), “After the Hunt”, oil on canvas, illegibly signed lower right, further pencil inscribed en verso stretcher, 25‑1/2” x 35”. Presented in a giltwood frame. Provenance: By repute, purchased at the 1947 sale at Lowther Castle, Cumberland, England, prior to the estate’s partial demolition; Rothschild’s Antiques, Royal Street, New Orleans, Louisiana; Private collection. [1000/1500]

573 112

577 William IV Polychromed and Ebonized PapierMache and Wood Pole Screen, second quarter 19th century, the shaped screen centered by a painted genre scene amidst gilt decor, the base in foliate polychrome with scroll feet, the back of the stand exhibiting a handwritten note asserting the piece’s provenance as the descendents of Pennsylvania’s William Penn, h. 54‑1/2”, w. 16”, d. 16”. [400/700] Illustrated

577

579 George I-Style Giltwood and Polychrome Sidechair, early 20th century, the shaped crest centered by a shell carving and above a vasiform splat centered by an ebonized plaque featuring a cherub, the padded saddle-form seat raised on shaped legs headed by relief-carved heads and ending in paw feet, the whole retaining polychrome embossed patterns, similar to pieces by Lenygon and Company, h. 43”. [600/900] Illustrated 580 Victorian Japanned and Ebonized Desk, late 19th century, the rectangular top with a molded gilt edge, above a conforming case fitted with a central drawer flanked to either side by a small deep drawer, all with gilt and gesso chinoiserie designs, raised on tapering square legs, h. 31‑1/2”, w. 41‑1/2”, d. 23‑1/2”. [600/900]

578 Victorian Ormolu-Mounted and Ebonized Work Table, third quarter 19th century, the rectilinear top with projecting rounded corners, the perimeter with brass beads and ivory stringing over a drawer with a compartmentalized maple interior, and an ormolumounted yarn drawer below, on tapering inlaid legs joined by turned stretchers centered by a finial, h. 28‑1/4”, w. 26”, d. 19”. [700/1000]

579

581 Ebonized American Late Victorian Library Table in the Rococo Taste, ca. 1900, the serpentine top over a conforming carved frieze, each end fitted with a drawer, on cabriole legs joined by a shelf stretcher, h. 28‑1/2”, w. 42‑1/4”, d. 27‑3/4”. [400/700] 582 Late Victorian Giltwood Beveled Mirror, ca. 1900, with applied, carved ornamentation and a broad beveled plate glass mirror, the oak frame now with a patinated gold wash, h. 71”, w. 35”. [400/700] 583 Victorian Giltwood and Marble-Top Occasional Table, mid-19th century, the circular Carrara marble top above a conforming rose garland-carved frieze, raised on an acanthine-carved bulbous standard to three scrolling legs ending in foliate toes, h. 30”, dia. 19”. [300/500] 584 Unusual Victorian Lidded Pottery Jar, fourth quarter 19th century, the body with applied sunflowers and vines, mounted to a leaf-and-vine base, the underside bearing the registration and kitemarks of May 29, 1879, h. 12”, dia. 13”. [500/800] Illustrated

584

113

585 Edwardian Brass Fireside Fender/Seat, first quarter 20th century, h. 17‑1/2”, w. 53”, d. 15”. [400/700]

591 588

586 Pair of Neoclassical-Style Jasperware Candlesticks Mounted as Lamps, 20th century, decorated with neoclassical medallions and gilt trim on an olive ground, raised on paw feet, fitted with tan shades, h. 20‑1/2”, dia. 8”. [300/500]

590 114

593

587 George III-Style Giltwood Looking Glass in the Rococo Taste, fourth quarter 19th century, the shaped mirror in a frame with a scrolling broken-arch crest with foliate and floral carving, the shaped sides and base in like decor, the mirror segmented by foliate and scroll mullions and tracery, h. 61”, w. 31”, d. 6”. [1000/1500] 588 Suite of Three Edwardian Mahogany Nesting Tables, early 20th century, each with a rectangular top with a beaded edge, raised on ring-turned circular legs joined by a bulbous stretcher and ending in splayed feet, the largest, h. 30‑1/4”, w. 18‑1/2”, d. 12‑1/2”. Provenance: Christie’s East, New York, European and Asian Decorative Arts, September 22, 1998; The Flatt Collection. [500/800] Illustrated 589 Adam-Style Mahogany Center Table, 20th century, the rectangular top with rounded ends, above a garlandcarved frieze fitted with a single drawer, raised on tapering square legs joined by a stretcher and ending in waisted feet, h. 30”, w. 50”, d. 25‑1/2”. [400/700]

594 593 Malcolm Myers (American, 1917‑2002), “The Gay Cavalier”, intaglio, titled, numbered 12/20, and signed in pencil lower margin, image 35‑7/8” x 23‑2/3”. Glazed, matted and framed. Provenance: Purchased from the artist. [700/1000] Illustrated

590 Itzchak Tarkay (Israeli, 1935‑2012), “Metro Cafe”, mixed media on paper, signed lower right, a “Robyn Bowman Consulting” label en verso, sight 15‑1/4” x 19‑3/8”. Glazed, matted and framed. [700/1000] Illustrated 591 Forrest Moses (American, b. 1934), “Purple Iris”, monotype, pencil signed lower right, plate 19‑1/2” x 15‑1/2”, sheet 26” x 22‑1/4”. Glazed and framed. [500/800] Illustrated 592 Carol Anthony (American, b. 1943), “Beautiful Bowl: Pear and Lemon Celebration”, 1996, mixed media on paper, pencil signed, titled and dated lower margin, sight 17” x 15”. Framed. Provenance: Private Collection, Santa Fe, New Mexico. [700/1000] Illustrated

595 594 LeRoy Neiman (American, 1921‑2012), “Hunter Trials”, 1972, color serigraph, pencil-marked “A/P” lower left and signed lower right, sight 28‑1/2” x 40‑1/2”. Glazed, matted and framed. [800/1200] Illustrated 595 Malcolm Myers (American, 1917‑2002), “Animals Crossing the Bridge”, 1962, intaglio, titled, dated, numbered 14/30, and signed in pencil lower margin, image 23‑1/2” x 35‑7/8”. Glazed, matted and framed. Provenance: Purchased from the artist. [700/1000] Illustrated 592

115

596 Malcolm Myers (American, 1917‑2002), “The Horseman”, 1961, intaglio, titled, dated, and signed in pencil lower margin, image 5‑7/8” x 11‑3/4”. Glazed, matted and framed. Provenance: Purchased from the artist. [500/800] Illustrated

598

596 597 Malcolm Myers (American, 1917‑2002), “Musician’s Dream”, intaglio, titled, numbered 7/20, and signed in pencil lower margin, image 11” x 13‑5/8”. Glazed, matted and framed. Provenance: Purchased from the artist. [600/900] Illustrated

599

597

599 John R. Brunsdon (British, 1933‑2014), “Turning Wheel”, 1962, etching, signed in pencil lower right, titled and numbered “10/50” lower left, sight 27‑3/4” x 21‑1/4”. Glazed and framed. Provenance: The Flatt Collection. [400/700] Illustrated

598 Malcolm Myers (American, 1917‑2002), “Artist in the Studio”, intaglio, titled, numbered 10/25, and signed in pencil lower margin, image 17‑7/8” x 23‑3/4”. Glazed, matted and framed. Provenance: Purchased from the artist. [600/900] Illustrated

600 Julian Trevelyan, R.A. (British, 1910‑1988), “Villa Gamberaia”, 1966, etching in colors, signed lower right, titled bottom center, and numbered “70/100” lower left, sight 20‑1/2” x 15‑1/2”. Glazed, matted and framed. [300/500] Illustrated

116

601 Stanley William Hayter (British, 1901‑1988), two untitled etchings, 1932, from Ombres Portees, by Georges Hugnet, Editions de la Montagne, Paris, both pencil signed and dated lower right, one numbered “55/90” on old label en verso, each sight 7” x 4‑5/8”. Glazed, matted and framed alike. [500/800] 602 Charles Levier (French, 1920‑2003), “Femmes”, group of four inks on paper, each signed lower right, three sight 13‑3/4” x 10‑1/2” and one sight 8‑1/4” x 5‑3/4”. All matted, glazed and framed alike. Provenance: Cornelis L. J. Damme, Los Angeles, 1965; The Flatt Collection. [1000/1500] Illustrated

600

603

603 Maurice Utrillo (French, 1883‑1955), “Parisian Street Scene”, lithograph, signed in print in reverse in lower left, image 8” x 6‑3/4”. Glazed, matted and framed. [500/800] Illustrated

602 one of four

117

604 James Surls (American, b. 1943), “Faces”, 1999, chine-colle and varnished soft-ground etching, titled, signed, dated and numbered “19/21” lower margin, a “Flatbread, Austin TX” gallery invoice en verso, image 12” x 12”. Glazed, matted and framed. Provenance: Private Collection, Santa Fe, New Mexico. [600/900] Illustrated

607

604 605 After Pablo Picasso (Spanish/French, 1881‑1973), “Danseuse et Femmes”, collotype, signed and dated in plate upper right, pencil numbered “145/500” lower left, sight 16‑1/4” x 20‑3/4”. Glazed, matted and framed. Provenance: The Flatt Collection. [400/700] Illustrated

611 606 After Pablo Picasso (Spanish/French, 1881‑1973), “Fille Nue et Vieille Femme”, collotype, signed and dated in plate upper right, pencil numbered “145/500” lower left, sight 16‑1/4” x 20‑3/4”. Glazed, matted and framed. Provenance: The Flatt Collection. [400/700] Illustrated

605

606

118

609 Brad Tucker (American/California, b. 1965), “Bosses Losses”, cyanotype, unsigned, titled en verso, a “Diverse Works/Houston, TX” gallery label en verso, 8‑3/4” x 6‑7/8”. Glazed, matted and framed. [300/500] 610 Victor Vasarely (Hungarian/French, 1906‑1997), “Nebulus”, serigraph, dated 1979 on Certificate of Authenticity en verso, signed lower right, numbered “178/250” lower left, sight 27” x 26‑1/2”. Glazed with plexiglass, matted and framed. [400/700] 611 Sam Francis (American, 1923‑1994), “Hurrah for the Red, White and Blue, Variant”, lithograph in colors, signed in pencil lower right, numbered “27/45” lower left, sheet 20” x 25‑1/2”. Glazed, float mounted and framed. [1000/1500] Illustrated

613 607 Friedensreich Hundertwasser (Austrian, 1928‑2000), “Citta nella Citta”, 1979, color silkscreen, stamped signature in print, inscribed and numbered “304/350” lower margin, and with a Japanese stamp, sheet 22” x 30”. Glazed and framed. [1500/2500] Illustrated

612 Kenneth Price (American/California, 1935‑2012), “French Figurine Cup”, 1971, color lithograph, titled, signed and dated in pencil lower right, sight 37” x 27”. Glazed, matted and framed. [400/700] 613 Hugh Kepets (American, b. 1946), “West 74th Street”, color screenprint, titled, numbered “66/100”, and signed “Kepets 76” lower right, sight 37” x 30‑3/4”. Glazed, matted and framed. [500/800] Illustrated 614 Rufino Tamayo (Mexican, 1899‑1991), “Watermelons”, color lithograph on “Rives” paper, signed lower right, sight 21‑3/4” x 29‑1/4”. Glazed, matted and framed. [800/1200] Illustrated

608 608 Scott Kennedy (American, Contemporary), “The Newport Harbor Yacht Club”, 1987, color lithograph, pencil signed lower right, signed, titled and dated in print at bottom, sight 18‑1/2” x 36‑3/4”. Framed. [1000/1500] Illustrated 614

119

615 April Gornik (American, b. 1953), “Storm Light”, 2000, etching and soft-ground aquatint, signed and dated lower right, title and Artist Proof 4/10 lower left, edition of 50 on label en verso, 24” x 27”. Framed. Provenance: Published by Pace Editions, New York. [500/800] Illustrated

616

615

618 Chinese Export Reverse Painting on Glass, Qing Dynasty (1644‑1911), 19th century, the eglomise work of a beautiful lady seated at a table with flowers, in a giltwood frame, sight, h. 23”, w. 15‑3/4”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [500/800] Illustrated

616 Astrid Kirchherr (German, b. 1938), “George Harrison in a Fun Fur”, 1960, contact sheet lithograph, signed and numbered 6/500 lower right, sight 13‑1/8” x 16‑3/4”. Glazed, matted and framed. [500/800] Illustrated

617 617 Chinese School (Late 19th/Early 20th Century), “Flowering Plum Blossoms”, fan painting, ink and color on paper, inscribed on left with two seals in lower left and one in the lower right corner, image 9” x 19‑1/4”. [400/700] Illustrated

120

618

619 Chinese Jade-Mounted Paktong Three-Piece Tea Service, Qing Dynasty (1644‑1911), 19th century, all of demi-lune form, engraved with landscape scenes and archaic characters, the handles with jade insets, the teapot with a peach-form finial, h. 3‑1/4” to 4‑3/4”, w. 5‑1/4” to 8‑3/8”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [500/800] Illustrated

621 Chinese Giltwood Figure of a Seated Immortal, Qing Dynasty (1644‑1911), probably 19th century, in a black, red and gilt lacquer throne, flanked by a pair of foo dogs, h. 16‑3/8”, w. 8‑1/2”. [300/500] Illustrated 622 Two Chinese Archaic-Style Bronzes, 20th century, now mounted as lamps on wooden bases, each with taotie decoration, bronze, h. 14”, overall, h. 32‑3/4”, w. 13‑1/2”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [600/900] Illustrated

619

620 Chinese Bronze Hand of the Buddha, Qing Dynasty (1644‑1911), the figure of Budai draped in jewels, reclining in the palm of a large patinated bronze hand, the fingers of the hand positioned in Apana Mudra and the figure resting on a lotus base, inscribed in sanskrit, h. 13‑1/8”, w. 8”, l. 10”. [500/800]

622 623 Chinese Carved Cinnabar Box, Qing Dynasty (1644‑1911), 19th/20th century, the carved lidded and lacquered box with painted metal liner, with reserves on the lid depicting three sages and a young attendant surrounded with a key-fret border and floral scroll decoration, the underside inscribed with a sixcharacter Qianlong reign mark, h. 2‑1/4”, w. 5‑3/4”, d. 4”. [300/500] Illustrated

621

623

121

624 Unusual Chinese Carved Boxwood Figure of Guanyin, Qing Dynasty (1644‑1911), the reclining figure of the bodhisattva of mercy carved in the round holding a basket of flowers, wearing long feathered earrings and her hair rising above her crown in a high chignon, the scene and benevolent face of the figure highlighted with a pair of inlaid eyes, with a reticulated wooden stand decorated with pine branches and rockwork, h. 4‑5/8”, w. 2‑1/4”, l. 8‑1/2”, without stand. Provenance: Collection of Richard Vernon and Bettie Long Rickenbach, Ocala, Florida. [300/500] Illustrated 625 Chinese Four-Panel Coromandel Screen, Qing Dynasty (1644‑1911), the four panels each depicting a beautiful maiden on a white ground, the lower section decorated with mythical creatures and the top sections featuring an arrangement of scholarly accoutrements and archaic vessels, the reverse of the screen depicting a garden scene on a black field, h. 81”, overall, w. 88”. Provenance: A. Hartman, Rare Art, New York, New York, 1981. [400/700]

624

627 Shanxi Red-Lacquered Elm Cabinet, mid-19th century, the rectangular top above a case fitted with two doors featuring traditional hardware and a figural scene, above a deep shaped apron centered by a flowering vase, raised on square legs, h. 43”, w. 37‑1/4”, d. 20‑1/4”. [400/700] Illustrated

626 Shanxi Red-Lacquered Elm Cabinet, mid-19th century, the rectangular top above a case fitted with two doors featuring traditional hardware and a figural scene, above a deep shaped apron centered by a flowering vase, raised on square legs, h. 43”, w. 37‑1/4”, d. 20‑1/4”. [400/700] Illustrated

628

628 Chinese Eight-Panel Coromandel Screen, Qing Dynasty (1644‑1911), late 19th/early 20th century, the large black lacquer folding screen with a kui dragon and roundel border around a palace scene with courtiers, guards and elegant ladies, with fan-shaped gilded reserves with landscapes at the top of each panel and a series of arrangements of flowers in archaic vessels along the sides of the screen, the reverse of the screen decorated with fruit, flowers and scholar’s rocks, overall, h. 96‑1/4”, w. 144”. [800/1200] Illustrated 626

122

629 Pair of Chinese Carved Camphor Chests, Republic period (1912‑1949), 20th century, the two ornately carved chests with gilt-metal fittings, each decorated with scenes of immortals and with four scroll feet, h. 22”, w. 36”, d. 19”. Provenance: Patrician Antiques, Shreveport, Louisiana. [400/700] 630 Chinese Rosewood Low Table, early 20th century, of rectangular form, the top with a molded overhanging edge and scroll-carved aprons, raised on short cabriole legs ending in carved paw feet, h. 12”, w. 22”, l. 55”. [600/900] Illustrated 631

630

635 Chinese Hardwood Altar Coffer, Liansanchu, Qing Dynasty (1644‑1911), late 19th century, the coffer with three drawers, each with a swing handle, the carved apron with reticulated scrolling sides, decorated with dragons, h. 33”, w. 67‑1/2”, d. 18‑1/4”. [500/800] Illustrated

631 Chinese Carved Red Lacquer Tea Table, Qing Dynasty/ Early Republic period (1644‑1949), late 19th/early 20th century, the carved and painted red lacquer table with reserves depicting sages in a garden surrounded with a floral border, h. 15”, w. 33‑3/4”, d. 21‑1/2”. [400/700] Illustrated 632 Handsome Pair of Chinese Polychrome Wood TwoTiered Plant Stands, 20th century, each with a green dragon and lotus roundel, and decoration of scrolling vines down the legs and stretchers of each stand, h. 29‑3/4”, l. 35”. [500/800] Illustrated

632

633 Pair of Chinese Black-Lacquered and Parcel-Gilt Side Tables, each with a rectangular dished top decorated with a standing, multi-panel screen, raised on square legs joined by a shelf stretcher, h. 17‑3/4”, w. 11‑1/2”, d. 14‑1/2”. [300/500] 634 Chinese Lacquer Cabinet, the red lacquer cabinet decorated with one hundred boys surrounded with a decorative floral border, fitted for an electronic entertainment system, h. 61‑1/2”, w. 43‑1/4”, d. 21‑5/8”. [800/1200] 635

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Session II

Sunday, January 24, 2016 10:00 a.m. CST Lots 636-1175

638

636 Classic Chanel Faux Pearl, Black Bead and Crystal Necklace, composed of faux pearls in various sizes interspersed with black beads, a gold-tone quatrefoil charm composed of black beads and crystals, and two classic gold-tone Chanel logos encrusted with faux pearls and black beads, l. 46”. [500/800] Illustrated

636

638 Chanel Double-Strand Faux Pearl Necklace with Crystal “CC” Charms, ca. 2010, the necklace composed of two graduated strands of faux pearls, with the classic “CC” gold-tone and crystal charms in graduating sizes, l. 34”, together with a velvet Chanel case. [600/900] Illustrated

637 Dolce & Gabbana White Textured Leather Handbag, having two rolled handles, with top-stitching, gold stud and d-ring trim, resting on conical gold feet, lined in cream logo fabric with a zippered pocket labeled “Dolce & Gabbana/Made in Italy” on a white leather patch, h. 6‑1/2”, w. 11‑1/2”, d. 5”, handle drop: 4”. [400/700] Illustrated

639

637

639 Four-Piece Ranjana Khan Jewelry Suite, including a resin cuff bracelet mounted with leather, crystal and metal beads, inside circumference, 6‑1/2”, a leather, metal and crystal necklace with a ribbon tie closure, adjustable l. 16” to 48”, a necklace composed of a leather, metal and crystal pendant suspended from a large link chain, chain, l. 24”, pendant, l. 7‑1/2”, and a pair of leather, metal and crystal drop clip earrings, l. 2‑1/2”. [200/400] Illustrated

124

640

640 Two Edwardian Sterling Silver-Mounted Green Alligator Skin Cases, both Birmingham, including an 1898‑1899 Mappin & Webb coin purse, the kidskin interior with five accordion compartments, the central one with locking bar, 4” x 2”, and a 1902‑1903 Charles Penny Brown wallet, the kidskin interior with two accordion pouches and two coin slots, 5‑1/4” x 4”. [350/500] Illustrated

642 Two Miriam Haskell 642 Necklaces, one necklace composed of a rhinestoneencrusted U-shaped bar suspended on each side by ten strands of metal chain and finished with a toggle clasp, l. 18”, and the other necklace composed of gold-tone chain, “pearl” seed beads, and faceted crystal interlocking links, suspended from a gold chain and finished with a toggle clasp, l. 24”, both pieces marked “Miriam Haskell, 2011”. [200/400] Illustrated

641 Erickson Beamon Necklace and Anton Heunis Necklace, the Erickson Beamon necklace composed of chains in various styles and colors, with rhinestoneencrusted charms interspersed throughout, marked “Erickson Beamon”, adjustable l. 15” to 16”, and the Anton Heunis necklace with a single pear-shaped faceted crystal pendant suspended from clusters of clear-, smoky- and olive-colored crystals, the whole suspended from a gold-tone curb link chain, marked “Anton Heunis”, adjustable l. 14” to 16”. [200/400] Illustrated

641 643

643 MCM Cognac Textured Leather Shoulder Bag, with an adjustable shoulder strap, drawstring closure and logo-stamped and buckled side detail, with gold metal logo and hardware, the cognac pigskin-lined interior with two open pockets, a flap pocket fronting a slip pocket and a zippered pocket bearing a logo-stamped leather patch, h. 11”, w. 14”, d. 6‑1/2”, strap drop: 10”. [300/500] Illustrated

125

646

644

644 Six Assorted Sterling Silver Cases, first half 20th century, including American pieces: a William B. Kerr mad money compact with chain, l. 3‑1/2”, a Thomae Co. mad money compact with chain, l. 3‑3/8”, a Woods & Chatellier kid-lined coin purse with chain, l. 3‑3/8”, and a Reed & Barton openwork New Testament cover with chain, l. 4” (all lengths excluding chain), with two Japanese .950 silver foliateengraved cigarette cases, l. 4” and 6‑1/2”, variously monogrammed, 20.36 total t. oz. (weighable silver). [300/500] Illustrated

646 Two Vintage Louis Vuitton “Alzer” Hard-Shell Suitcases, each with brass trim, rivets and marked locks, the interiors fitted with removable cloth trays and straps, and with embossed Louis Vuitton labels numbered 993026 and 796163 respectively, the latter of which is monogrammed “C.C.C.” in red paint on its case, each, h. 8‑1/2”, l. 27‑3/4”, d. 17”. Provenance: The Flatt Collection. [600/900] Illustrated

647

645 645 Louis Vuitton Suit Carrier, monogrammed canvas with leather handle, straps and trim, the inside fitted with hanging hooks and small zippered pocket, the top with brass “Neiman Marcus” retail plaque, w. 23”, l. 51”. Provenance: The Flatt Collection. [300/500] Illustrated

126

648

647 Ten Assorted Sterling Silver Cases, first half 20th century, including four English Art Deco guilloche cigarette cases, one London, 1934‑1935, by Alfred Dunhill & Sons, with charming inscription “To an Old Love in New Delhi”, l. 6”, one London, 1935‑1936 by W. H. Monton, l. 5”, one Birmingham, 1946‑1947, by Smith & Bartlam, l. 3‑7/8”, and one Birmingham, 1946‑1947, by Robert Pringle & Sons, l. 4”, an American Watrous ribbon-engraved and gold inlaid cigarette case, l. 3‑3/8”, an English guilloche, ribbonengraved and gold inlaid cigarette case, Birmingham, 1949‑1950, by Abrahams Brothers, l. 3‑1/8”, an American ribbon-engraved curved card case, l. 3‑5/8”, an American E. Bliss mad money purse with chain, hammered finish and inlaid gold ribbons, l. 3”, and a Continental gilt and faux-tortoiseshell snuffbox-form compact, l. 3”, some monograms, 36.09 total t. oz. (weighable silver). [300/500] Illustrated

649 Five-Piece Rhinestone Jewelry Suite, including a necklace composed of square rhinestone links, l. 16”, a pair of drop earrings, l. 1‑1/2”, a stretch bracelet composed of square- and baguette-cut rhinestones, adjustable l. 5” to 7”, a wide stretch bracelet composed of three rows of round-cut rhinestones, adjustable l. 6” to 8”, and a wide stretch bracelet composed of long rhinestone-studded links separated by round rhinestones on the top and bottom, adjustable l. 6” to 8”. [300/500] Illustrated

648 Two Ranjana Khan Bib Necklaces, one necklace composed of black beads on black tulle with a wide ribbon tie closure, adjustable l. 14” to 30”, pendant, l. 4”, and the other necklace composed of crystal beads mounted on an organza back with an organza bow and a thick organza tie closure, adjustable l. 14” to 30”, pendant, l. 3”. [200/400] Illustrated 651 649 650 Six Assorted Small Silver Boxes, third quarter 19th century and later, including two Dutch .833 silver sweetmeat boxes, one 1870, l. 5‑1/4”, the other 1898, l. 2‑5/8”, two American Art Nouveau sterling pieces including a Watson match safe dated 1911, l. 2‑1/2”, an unmarked curved cigarette case, l. 3‑1/2”, and two English George V glass dresser jars with sterling silver lids, hallmarked London, 1934‑1935 by Charles Boyton & Son, one 3‑5/8” x 1‑1/2”, the other 3‑1/4” x 2‑1/8”, 17.16 total t. oz. (weighable silver). [300/500] Illustrated 651 Fourteen-Karat White Gold and Diamond Ring, the bypass design ring set with a round brilliant-cut diamond, with an approximate weight of 0.20 carats, flanked by four leaves each set with a round brilliantcut diamond, with an approximate total weight of 0.33 carats, size 7‑3/4, 3.7 grams total weight. [300/500] Illustrated 650

127

654 Pair of FourteenKarat White Gold and Diamond Hoop Earrings, the oval hinged hoop earrings each set with nine round brilliant-cut diamonds on the outside and six diamonds on the inside, with an approximate total weight of 1.00 carat for the pair, l. 7/8”, 4.3 grams total weight. [900/1200] Illustrated

654

652

652 Fourteen-Karat Yellow Gold and Amethyst Necklace, composed of faceted amethyst beads, with an approximate total weight of 920.0 carats, finished with a fourteen-karat yellow gold clasp, l. 19”, 180.1 grams total weight. [300/500] Illustrated

655

653

653 Fourteen-Karat White Gold, Kunzite and Diamond Ring, mounted with an oval faceted kunzite, with an approximate weight of 2.59 carats, and flanked by four round brilliant-cut diamonds, and four tapered baguettes, with an approximate total diamond weight of 0.60 carats, size 7‑3/4, 4.9 grams total weight. [900/1200] Illustrated

128

655 Fourteen-Karat White Gold, Ruby and Diamond Ring, composed of an oval-shaped treated ruby, with an approximate weight of 5.09 carats, surrounded by 128 single-cut diamonds, with an approximate total weight of 0.55 carats, approximate color F-G and clarity SI2‑I1, size 7, 5.0 grams total weight. [900/1200] Illustrated 656 Ten-Karat White Gold and Diamond Cross Pendant with Chain, the cross set with fifteen round brilliant-cut diamonds, with an approximate total weight of 1.00 carat, suspended from an 18” box-link chain, 2.8 grams total weight. [400/700] Illustrated

659 Eighteen-Karat White Gold, Diamond and Black Pearl Pendant with Chain, the 9.2 mm round baroque black pearl with a bail set with fifteen full-cut diamonds, with an approximate total weight of 0.16 carats, suspended from a double row 16” cable-link chain, 6.2 grams total weight. [300/500] Illustrated

656

659

660 Eighteen-Karat White Gold and Diamond Ring, the rectangular cluster ring with a double halo and set with 114 round brilliant-cut diamonds, with an approximate total weight of 1.20 carats, size 8, 5.2 grams total weight. [1200/1800] Illustrated

657 Two Pairs of Fourteen-Karat White Gold/Platinum, Diamond and Pearl Earrings, the first pair of earrings composed of fourteen-karat white gold, with screwback ear clips, each set with thirteen round brilliantcut diamonds, l. 1”, and the second pair composed of platinum and fourteen-karat white gold omega clip backs, each set with nine single-cut, six baguette-cut, and one marquise-cut diamond and three 8.0 mm pearls, with an approximate total diamond weight of 2.00 carats for both pairs, l. 3/4”, 16.0 grams total weight. [600/900] Illustrated

660

657

658 Fourteen-Karat White Gold, Pearl, Diamond and Sapphire Ring, set with a creamy-white-colored 10.0 mm cultured pearl with a good luster, surrounded by a halo of twenty round brilliant-cut diamonds, with an approximate total weight of 0.20 carats, and fourteen round faceted sapphires, with an approximate total weight of 0.28 carats, size 7, 5.3 grams total weight. [400/700]

661 Fourteen-Karat White Gold, Sterling Silver and Diamond Lock Pendant with Chain, the pendant in the shape of a lock and set with rosecut diamonds, with an approximate total weight of 1.22 carats, suspended from a double-strand 18” fourteen-karat white gold chain, pendant, l. 1‑3/4”, 9.8 grams total weight. [300/500] Illustrated

661

129

664 Fourteen-Karat White Gold, Tanzanite and Diamond Ring, mounted with a triangle-cut treated tanzanite, with an approximate weight of 3.56 carats, surrounded by eighteen round brilliant-cut diamonds, with an approximate total weight of 0.49 carats, approximate color H-I and clarity SI1‑SI2, size 7‑1/2, 5.0 grams total weight. [1800/2500] Illustrated

663

662 Eighteen-Karat White Gold and Diamond Pendant with Chain, the articulated pendant composed of three graduated sections, mounted with forty-three roundcut diamonds, with an approximate total weight of .20 carats, suspended from a three-strand white gold chain, chain, l. 16”, pendant, l. 1”, 8.1 grams total weight. [300/500]

664

663 Fourteen-Karat White Gold, Tanzanite and Diamond Pendant with Chain, the pendant mounted with a triangle-cut treated tanzanite, with an approximate weight of 4.86 carats, and 100 single-cut diamonds surrounding the tanzanite and on the bail, with an approximate total weight of 0.64 carats, approximate color G-I and clarity VS1‑SI1, l. 1‑1/4”, suspended from an 18” fourteen-karat chain, 10.0 grams total weight. [3500/5000] Illustrated

130 8

666

665 Fourteen-Karat Yellow Gold, Tanzanite and Diamond Jewelry Suite, including a ring set with an oval faceted tanzanite, with an approximate weight of 0.50 carats, and eight round brilliant-cut diamonds, with an approximate total weight of 0.10 carats, stamped “Le Vian”, size 7, a pair of earrings, each set with four oval faceted tanzanites, with an approximate total weight of 1.20 carats for the pair, and fourteen round brilliantcut diamonds, with an approximate total weight of 0.25 carats for the pair, stamped “Le Vian”, l. 3/4”, an associated pendant set with an oval faceted tanzanite, with an approximate weight of 1.50 carats, and six single-cut diamonds, with an approximate total weight of 0.05 carats, suspended from a 16” fourteen-karat yellow gold chain, and a pair of associated earrings, each set with four oval faceted tanzanites, with an approximate total weight of 1.00 carat for the pair, and six round brilliant-cut diamonds, with an approximate total weight of 0.10 carats for the pair, l. 1/2”, 19.0 grams total weight. [500/800] 666 Fourteen-Karat Yellow Gold, Vermeil/Sterling Silver and Diamond Ring, the wide band set with seven rows of approximately 230 rose-cut diamonds, with an approximate total weight of 1.00 carat, size 7‑1/2, 10.4 grams total weight. [300/500] Illustrated

667 Eighteen-Karat Yellow Gold, Baroque Pearl and Diamond Pendant, the irregular-shaped silvercolored baroque pearl pendant with a good luster, measuring approximately 25.0 mm x 15.0 mm, and suspended from an eighteen-karat gold bail mounted with a bezelset diamond, with an approximate weight of 0.25 carats, approximate color I and clarity VS2, l. 1‑1/2”, 15.0 grams total weight. [900/1200] Illustrated

667

669

670 Eighteen-Karat Yellow Gold, Diamond and Pearl Ring, the unusual ring set with a 12.2 mm round pearl with a golden luster, and twenty round brilliantcut diamonds, with an approximate total weight of 0.30 carats, size 7‑3/4, 7.0 grams total weight. [700/1000] Illustrated 668

668 Pair of Eighteen-Karat Yellow Gold and Mabe Pearl Earrings, the Italian earrings each set with a 15.5 mm round mabe pearl, dia. 1”, 25.6 grams total weight. [300/500] Illustrated 669 Twenty-Two-Karat Yellow Gold and Enamel Indian Bangle Bracelet, the 1‑1/4” wide bangle decorated with delicate enameled filigree, in six sections, three with a flower pattern accented with ruby-, emerald-, sapphire- and citrine-colored enamels, the center of the flowers raised, alternating with three sections decorated with two semi-circles accented with ruby-, emerald- and sapphire-colored enamels, inside circumference, 7”, 60.8 grams total weight. [2000/4000] Illustrated

670

671 Two Pairs of Fourteen-Karat Yellow Gold, Diamond and Pearl Earrings, including a pair of earrings in a ribbon design, each set with seven 4.3 mm cultured pearls, l. 1”, and a pair of screw-back ear clips, each set with nine round brilliant-cut diamonds, with an approximate total weight of 0.75 carats for the pair, l. 1”, 25.4 grams total weight. [400/700] Illustrated

671

131

674 Fourteen-Karat Yellow Gold and Diamond Ring, the wide tapering band set with thirty-eight round brilliantcut diamonds, with an approximate total weight of 1.90 carats, size 7, 7.4 grams total weight. [600/900] Illustrated

672

672 Collection of Three Fourteen/Ten-Karat Yellow Gold Rings, including a ten-karat yellow gold filigree tapered band set with nine round brilliant-cut diamonds, size 8, a fourteen-karat yellow gold ring set with eighteen single-cut diamonds, one round brilliant-cut diamond and six tapered baguette-cut diamonds, size 4‑1/2, and a fourteen-karat yellow gold ring set with a 9.0 mm round gray cultured pearl, six black and fifty white round brilliant-cut diamonds, size 7, with an approximate total diamond weight of 1.00 carat for all three, 14.6 grams total weight. [400/700] Illustrated 673 Fourteen-Karat Yellow Gold and Diamond Heart Pendant, set with a mix of nine baguette-cut and tapered baguette-cut diamonds, and twenty-seven round full-cut diamonds, with an approximate total diamond weight of 2.00 carats, h. 1‑1/8”, w. 15/16”, 5.4 grams total weight. [600/900] Illustrated

677

673

674

132

675 Three-Piece Fourteen-Karat Yellow Gold and Diamond Jewelry Suite, including a serpentine link chain with a bypass design pendant set with seventeen round brilliant-cut diamonds, with an approximate total weight of 1.00 carat, stamped “Jose Hess, 14K”, l. 18”, a flexible “X” link design bracelet set with fortyfive round brilliant-cut diamonds, with an approximate total weight of 0.50 carats, l. 7”, and a pair of earrings set with twenty-two round brilliant-cut diamonds, with an approximate total weight of 1.00 carat for the pair, l. 7/8”, 38.0 grams total weight. [900/1200]

676 Fourteen-Karat Yellow Gold and Diamond Ring, mounted with a central round brilliant-cut diamond, with an approximate weight of 0.82 carats, approximate color G and clarity VS1, surrounded by fourteen round brilliant-cut diamonds, with an approximate total weight of 1.52 carats, approximate color G-I and clarity VS1‑VS2, size 8, 5.0 grams total weight. [2000/4000] Illustrated

676

677 Three-Piece Fourteen-Karat Yellow Gold and Diamond Jewelry Suite, including a pair of diamond studs, each set with a round brilliant-cut diamond, with an approximate total weight of 0.66 carats for the pair, a pair of diamond studs, each set with a princess-cut diamond, with an approximate total weight of 0.50 carats for the pair, and a navette-shaped pendant set with twenty-nine round brilliant-cut diamonds, ten tapered baguettes and one marquise-cut diamond, with an approximate total weight of 0.90 carats, l. 1”, including bail, 8.1 grams total weight. [500/800] Illustrated

680

680 Fourteen-Karat Yellow Gold, Diamond, Sapphire and Ruby Brooch, designed as two nesting songbirds and set with twelve single-cut diamonds, with an approximate total weight of 0.25 carats, the nest set with four round faceted rubies, with an approximate total weight of 0.13 carats, and three round faceted sapphires, with an approximate total weight of 0.09 carats, size, 2” x 1”, 8.3 grams total weight. [400/700] Illustrated

678

678 Le Vian Fourteen-Karat Yellow Gold and Diamond Ring, set with twenty-two round brilliant-cut diamonds and five baguette-cut diamonds, with an approximate total weight of 1.00 carat, stamped “Le Vian”, size 7‑1/4, 4.7 grams total weight. [300/500] Illustrated 679 Three-Piece Fourteen/Eighteen/Ten-Karat Yellow Gold, Ruby, Tourmaline and Diamond Jewelry Suite, including an eighteen-karat yellow gold ring set with an oval faceted tourmaline, with an approximate weight of 3.00 carats, and sixteen round brilliant-cut diamonds, with an approximate total weight of 0.25 carats, stamped “Le Vian, 18K”, size 7, a fourteenkarat yellow gold pendant set with an oval faceted tourmaline, with an approximate weight of 0.75 carats, surrounded by eighteen round brilliant-cut diamonds, with an approximate total weight of 0.15 carats, stamped with the Le Vian logo, suspended on a fourteen-karat yellow gold chain, l. 16”, and a ten-karat yellow gold bracelet set with ten faceted cushionshaped synthetic pink sapphires, l. 7‑1/4”, 21.0 grams total weight. [400/700]

681

681 Fourteen-Karat Yellow Gold and Pearl Brooch and Earring Suite, the brooch in a pine cone and branch design and set with six cultured pearls, together with a matching pair of ear clips, each set with two cultured pearls, the pearls ranging in size from 3.6 mm to 4.6 mm, brooch, size 1‑1/2” x 2‑1/8”, ear clip, size 7/8” x 1”, 29.2 grams total weight. [400/700] Illustrated

133

682 Fourteen-Karat Yellow Gold and Multi-Stone Bird Brooch with Ear Clips, the brooch set with three mabe pearls, thirty-six turquoise cabochons, an oval faceted amethyst, an oval faceted peridot, an oval faceted citrine and three round faceted garnets, size 1‑1/2” x 1‑3/4”, together with a matching pair of ear clips set with twenty turquoise cabochons, four mabe pearls, two oval faceted garnets and four round faceted garnets, size 5/8” x 1‑1/4”, 24.0 grams total weight. [400/700] Illustrated

684

682

684 Pair of Fourteen-Karat Yellow Gold, Turquoise and Diamond Ear Clips, each ear clip set with a 13.5 mm cushion-shaped blue/green turquoise cabochon surrounded by a halo of thirty-two round brilliant-cut diamonds, with an approximate total weight of 0.64 carats for the pair, l. 11/16”, 7.7 grams total weight. [1000/1500] Illustrated

683 Fourteen-Karat Yellow Gold and Arizona Turquoise Necklace, composed of Arizona turquoise pear-shaped beads, ranging in size from 15.0 mm to 25.0 mm in length, separated by fluted gold tubes and finished with a fourteen-karat yellow gold clasp, l. 17”, 63.1 grams total weight. [300/500] Illustrated

685

683

134

685 Fourteen-Karat Yellow Gold, Opal and Diamond Ring, the oval Ethiopian opal cabochon, with an approximate weight of 4.00 carats, surrounded by a double halo of diamonds, with an approximate total weight of 0.60 carats, size 8, 7.6 grams total weight. [900/1200] Illustrated

686 688 686 Fourteen-Karat Yellow Gold and Opal Pendant, the oval pendant designed as a flower and mounted with an oval opal cabochon, with an approximate total weight of 8.50 carats, h. 1‑1/2”, w. 1”, 8.3 grams total weight. [500/800] Illustrated

688 Stunning Custom-Made Platinum, Aquamarine and Diamond Ring, the large emerald-cut aquamarine, with an approximate weight of 60.58 carats, flanked by fourteen baguette-cut diamonds, with an approximate total weight of 1.12 carats, approximate color E-F and clarity VVS2‑VS1, size 7‑3/4, 37.0 grams total weight. [6000/9000] Illustrated 689 Le Vian Fourteen/Ten-Karat Yellow/White Gold, Diamond and Blue Quartz Jewelry Suite, including a ring set with a triangular-cut blue/green quartz, with an approximate weight of 7.16 carats, and eight roundcut diamonds, with an approximate total weight of 0.03 carats, size 5‑1/4, and a pendant set with an ovalshaped blue/green quartz, with an approximate weight of 11.23 carats, suspended from a fourteen-karat yellow gold box chain, l. 16”, 12.0 grams total weight. [500/800] Illustrated

687

687 Fourteen-Karat White Gold, Aquamarine and Diamond Ring, the blue emerald-cut aquamarine, with an approximate weight of 3.80 carats, flanked by six princess-cut diamonds and six baguette-cut diamonds, with an approximate total weight of 0.50 carats, size 7‑3/4, 5.7 grams total weight. [900/1200] Illustrated

689

135

692 Fourteen-Karat Yellow Gold, Emerald and Diamond Ring, mounted with a treated green faceted oval emerald, with an approximate weight of 20.15 carats, surrounded by a halo of twenty-four round brilliantcut diamonds, with an approximate total weight of 0.65 carats, size 7, 7.6 grams total weight. [400/700] Illustrated

690

690 Fourteen-Karat Yellow Gold and Emerald Frog Pendant with Chain, the frog mounted with two round emerald cabochons for the eyes, suspended from a serpentine link chain, l. 16”, 11.4 grams total weight. [300/500] Illustrated

693

693 Fourteen-Karat White Gold, Sterling Silver, Emerald and Diamond Necklace, composed of oval polished treated emeralds, with an approximate total weight of 610.0 carats, accented with five diamond roundels, with an approximate total diamond weight of 0.68 carats, and finished with a fourteen-karat white gold clasp, l. 18”, 145.5 grams total weight. [300/500] Illustrated

691

691 Eighteen-Karat Yellow Gold, Diamond and Malachite “Universal, Geneve” Wristwatch, the oval watch with a mesh band and an oval malachite dial surrounded by a bezel set with twenty-six round brilliant-cut diamonds, with an approximate total weight of 1.25 carats, the watch with a seventeen jewels manual wind mechanical movement, the case, dial and movement signed by Universal, l. 5‑3/4”, 44.8 grams total weight. [600/900] Illustrated

136

692

696 Sterling Silver and Emerald Necklace, the bibdesigned necklace set with twenty-eight mixed-cut treated emeralds, with an approximate total weight of 312.98 carats, l. 20‑1/2”, 114.8 grams total weight. [400/700] Illustrated

694

694 Eighteen-Karat White Gold, Emerald and Diamond Ring, the oval faceted emerald, with an approximate weight of 1.79 carats, surrounded by round brilliantcut diamonds, with an approximate total weight of 0.90 carats, size 7‑3/4, 6.6 grams total weight. [1800/2500] Illustrated

696

695

695 Fourteen-Karat Yellow Gold and Emerald Necklace, composed of graduated treated emerald beads, with an approximate total weight of 633.0 carats, finished with a fourteen-karat yellow gold clasp, l. 19”, 168.5 grams total weight. [300/500] Illustrated

697 Four-Piece Jewelry Lot, including a fourteen-karat yellow gold lady’s watch with a seventeen jewels manual wind mechanical movement, the dial signed “Baylor”, l. 6‑3/4”, a fourteen-karat yellow gold watch with a seventeen jewels manual wind mechanical movement, the case set with twenty single-cut diamonds, with an approximate total weight of 0.05 carats, the case, dial and movement signed “Bulova” and the band gold-filled, l. 5‑1/2”, a ten-karat yellow gold princess-design ring set with twenty-five round faceted sapphires, with an approximate total weight of 2.00 carats, size 8‑3/4, and a fourteen-karat yellow gold and green enamel four-leaf clover brooch set with thirty seed pearls and one round brilliant-cut diamond, with an approximate weight of 0.15 carats, l. 1‑1/8”. [300/500]

137

699

700 Fourteen-Karat Yellow Gold, Sapphire and Diamond Pendant with Chain, the pendant channel-set with a round brilliant-cut diamond, with an approximate weight of 0.10 carats, and two faceted sapphires, with an approximate total weight of 0.20 carats, suspended from an 18” chain, 5.1 grams total weight. [200/400] Illustrated

698 Fourteen-Karat Yellow Gold, Diamond and Sapphire Ring, set with thirteen single-cut diamonds, with an approximate total weight of 0.07 carats, and eleven faceted navette sapphires, with an approximate total weight of 1.00 carat, size 8‑1/2, 4.1 grams total weight. [400/700]

701

701 Fourteen-Karat Yellow Gold, Sapphire and Diamond Ring, set with an oval faceted sapphire, with an approximate weight of 1.00 carat, set in a double quatrefoil-designed mounting set with thirty-two round brilliant-cut diamonds, with an approximate total weight of 0.25 carats, size 7, 4.1 grams total weight. [400/700] Illustrated

700

699 Collection of Six/Fourteen/Eighteen-Karat Yellow Gold, Diamond and Sapphire Jewelry, including four rings set with diamonds and sapphires, a pair of fourteen-karat yellow gold, diamond and sapphire earrings, and a fourteen-karat yellow gold, diamond and sapphire cross pendant with a 16” rope chain, with an total approximate diamond weight of 1.50 carats and sapphire weight of 2.64 carats for the lot, ring sizes 6‑3/4, 7, 7‑3/4 and 8, 28.6 grams total weight. [500/800] Illustrated

138

702 Fourteen-Karat Yellow Gold and Lapis Lazuli Necklace, the hand-knotted necklace composed of 10.0 mm round lapis lazuli beads and fourteen reeded fourteen-karat yellow gold beads, l. 31”, 96.3 grams total weight. [400/700] Illustrated

702

704 Pair of Fourteen/Eighteen-Karat White Gold, Diamond and Sapphire Earrings, the Art Deco-style pendant earrings each set with nine table-cut sapphires, with an approximate total weight of 0.20 carats for the pair, and seventy pave-set single-cut diamonds, with an approximate total weight of 0.50 carats for the pair, l. 1‑1/8”, 5.8 grams total weight. [400/700] Illustrated

703

703 Fourteen-Karat Yellow Gold and Lapis Lazuli Necklace, composed of polished lapis lazuli beads, with an approximate total weight of 980.0 carats, separated by gold roundels and finished with a fourteen-karat yellow gold toggle clasp, l. 21”, 257.1 grams total weight. [300/500] Illustrated

706

705 Fourteen-Karat White Gold, Diamond and Sapphire Ring, set with twenty round brilliant-cut diamonds, with an approximate total weight of 0.20 carats, and three oval faceted sapphires, with an approximate total weight of 0.50 carats, size 7, 5.9 grams total weight. [300/500] 706 Eighteen-Karat White Gold, Padparadscha Sapphire and Diamond Ring, the oval faceted padparadscha sapphire, with an approximate weight of 0.50 carats, set in an oval tapering mounting set with sixty-six round brilliant-cut diamonds and two trillion-cut diamonds, with an approximate total diamond weight of 0.95 carats, size 7‑3/4, 4.0 grams total weight. [1800/2500] Illustrated 704

139

708 Eighteen-Karat White Gold, Ruby and White and Yellow Diamond Ring, set with an oval faceted treated ruby, with an approximate weight of 1.56 carats, flanked by two oval light yellow diamonds and twelve round brilliant-cut diamonds, with an approximate total diamond weight of 0.58 carats, size 8, 4.1 grams total weight. [1800/2500] Illustrated 709 Le Vian Eighteen-Karat Rose Gold, Diamond and Ruby Ring, the wide rose gold band set with thirty-two round brilliant-cut diamonds, with an approximate total weight of 0.10 carats, and forty-one round faceted rubies, with an approximate total weight of 0.13 carats, stamped “Le Vian”, size 7‑1/2, 9.9 grams total weight. [300/500]

707

707 Beautiful Fourteen-Karat White Gold, Morganite and Diamond Ring, composed with a large cushioncut morganite, with an approximate weight of 19.17 carats, surrounded by a double halo of sixty-four round brilliant-cut diamonds, with an approximate total weight of 2.04 carats, approximate color E-F and clarity SI1‑SI2, size 7‑1/2, 15.0 grams total weight. [2500/4000] Illustrated

710

710 Fourteen-Karat Yellow Gold and Garnet Bracelet, the bangle bracelet set with seventeen round faceted garnets in a single row ranging from 2.8 mm to 3.9 mm, with an approximate total weight of 2.50 carats, inside circumference, 7”, 7.0 grams total weight. [200/400] Illustrated

708

140

711 Le Vian Fourteen-Karat Rose Gold, Garnet and Chocolate Diamond Necklace, together with a fourteen-karat rose gold, garnet and chocolate/white diamond ring, the Le Vian rose gold pendant set with a cushion faceted garnet, with an approximate weight of 1.00 carat, and two round brilliant-cut chocolate diamonds, suspended from a fourteen-karat rose gold chain, l. 18”, and the ring set with a cushion faceted garnet, with an approximate weight of 2.00 carats, thirty-six round brilliant-cut white diamonds and 112 round brilliant-cut chocolate diamonds, with an approximate total diamond weight of 2.00 carats for both, size 7, 9.5 grams total weight. [500/800]

712

712 Pair of Fourteen-Karat Yellow Gold and Garnet OperaLength Necklaces, composed of 5.8 mm garnet beads separated by fourteen-karat yellow gold beads, each, l. 38”, 123.5 grams total weight. [300/500] Illustrated 714

715 Two Yellow Gold, Diamond and Ruby Rings, the first, an eighteen-karat two-tone ring set with a faceted navette ruby, with an approximate weight of 0.15 carats, and forty-seven round brilliant-cut diamonds, with an approximate total weight of 0.25 carats, size 6‑1/2, and the second, a fourteen-karat yellow gold ring set with five oval faceted rubies, with an approximate total weight of 0.60 carats, and fifty round brilliant-cut diamonds, with an approximate total weight of 0.16 carats, size 7, 13.8 grams total weight. [400/700] Illustrated 713

713 Fourteen-Karat Yellow Gold, Ruby and Diamond Ring, the wide tapered band set with forty-two invisible-set treated table-cut rubies, with an approximate total weight of 2.50 carats, and forty round brilliant-cut diamonds, with an approximate total weight of 0.45 carats, size 8, 9.5 grams total weight. [1200/1800] Illustrated 714 Fourteen-Karat Yellow Gold and Ruby Necklace, composed of treated teardrop-shaped rubies, with an approximate total weight of 628.0 carats, separated by gold tubes and finished with a fourteen-karat yellow gold clasp, l. 18”, 91.3 grams total weight. [300/500] Illustrated

715 716 Fourteen-Karat Yellow Gold, Diamond and Ruby Ring, set with fourteen round brilliant-cut diamonds, with an approximate total weight of 0.33 carats, and eight faceted navette rubies, with an approximate total weight of 0.66 carats, size 6‑1/4, 4.6 grams total weight. [500/800]

141

719 Fourteen-Karat Yellow Gold, Diamond and Ruby Bracelet, with nine links, each set with four fullcut diamonds, with an approximate total weight of 0.12 carats, and nine oval faceted rubies, with an approximate total weight of 3.00 carats, l. 7‑1/2”, 8.1 grams total weight. [400/700] Illustrated

719 717

717 Fourteen-Karat Yellow Gold and Carved Ruby Necklace, composed of carved treated rubies, with an approximate total weight of 523.0 carats, separated by fluted gold roundels and finished with a fourteen-karat yellow gold clasp, l. 19”, 129.2 grams total weight. [300/500] Illustrated

720 Unusual Eighteen-Karat Rose Gold, Diamond and Ruby Ring, the off-centered ring with concentric circles comprised of bands of diamonds and rubies, with an approximate total diamond weight of 1.80 carats and an approximate total ruby weight of 2.80 carats, size 8, 17.4 grams total weight. [2500/4000] Illustrated 721 Eighteen-Karat Rose Gold, Chocolate and White Diamond and Ruby Ring, in a flower design and pave set with 120 round faceted treated rubies, with an approximate total weight of 1.50 carats, forty-nine round brilliant-cut chocolate diamonds and thirtyseven white diamonds, with an approximate total weight of 0.95 carats, size 7‑3/4, 8.1 grams total weight. [1200/1800] Illustrated

718

718 Fourteen-Karat Yellow Gold, Ruby and Diamond Ring, the mounting set with a square step-cut treated ruby, with an approximate weight of 3.40 carats, the shank set with sixteen full-cut diamonds, with an approximate total weight of 0.10 carats, size 7, 4.5 grams total weight. [300/500] Illustrated

142

720

723 Fourteen-Karat Yellow Gold, Diamond and Sapphire Ring and Necklace, the ring with a brick-work design, set with thirty round brilliant-cut diamonds, and eighteen round faceted sapphires, size 8, and the pendant set with twenty round brilliant-cut diamonds and nine round faceted sapphires, suspended from a 16â&#x20AC;? fourteen-karat white gold chain, with an approximate total diamond weight of 0.30 carats and sapphire weight of 0.27 carats for both items, 21.6 grams total weight. [400/700] Illustrated

721

722 Eighteen-Karat Rose Gold, Black and White Diamond and Ruby Ring, the dome-shaped ring mounted with eight ruby and diamond flowers floating in a sea of 127 pave-set full-cut black diamonds, with an approximate total weight of 2.40 carats, and an approximate total ruby weight of 0.95 carats, size 8, 9.8 grams total weight. [1800/2500] Illustrated

722

723

724 Unusual Fourteen-Karat White Gold, Diamond and Black Onyx Ring, the rectangular domed onyx ring with a pave-set round brilliant-cut diamond panel with oval cut-outs, with an approximate total weight of 0.85 carats, size 7â&#x20AC;&#x2018;3/4, 14.8 grams total weight. [1200/1800] Illustrated

724

143

725 Fourteen-Karat White Gold, Diamond and Black Onyx Pendant with Chain, the drop pendant set with a faceted pear-shaped black onyx and fifty round brilliant-cut diamonds, with an approximate total weight of 0.33 carats, suspended from a fourteenkarat white gold chain, l. 18”, 7.0 grams total weight. [500/800] Illustrated

726

725

726 Alessandro Fanfani Eighteen-Karat Yellow Gold/ Sterling Silver, Diamond and Enamel Ring, the large dome mounting with a black enamel field with two white enamel flowers, and set with forty-seven round brilliant-cut diamonds, with an approximate total weight of 0.25 carats, stamped “Alessandro Fanfani, 750, 925”, size 10, 26.2 grams total weight. [600/900] Illustrated 727 Pair of Alessandro Fanfani Eighteen-Karat Yellow Gold, Sterling Silver, Diamond and Enamel Convertible Earrings, each earring set with five round brilliant-cut diamonds and an eighteen-karat/sterling silver disc painted with black and white enamel flowers, each free spinning removable disc measuring 1‑3/8” in diameter, the pair with an approximate total diamond weight of 0.16 carats, stamped “Alessandro Fanfani, 750, 925”, 28.6 grams total weight. [600/900] Illustrated

144

727

728 Fourteen-Karat Yellow Gold and Black Onyx Pendant with Chain, the teardrop pendant set with a conforming black onyx cabochon measuring 15.8 mm x 28.0 mm, suspended from a 16” chain in a cable link design, 5.4 grams total weight. [300/500] 729 La Nouvelle Bague Eighteen-Karat White Gold and Diamond Ring, the wide tapered band with an applied yellow gold square plate set with seven round brilliantcut diamonds, with an approximate total weight of 0.40 carats, and a worn engraving reading “Letters to a Woman”, size 10, 17.8 grams total weight. [300/500]

730 David Yurman Sterling Silver Necklace, with alternating smooth and cabled oval links, with a sterling silver “DY” hang tag, l. 18”, 95.0 grams total weight. [600/900] Illustrated

730

732 David Yurman Eighteen-Karat Yellow Gold/Sterling Silver Bracelet and John Hardy Sterling Silver Pendant, the bracelet with alternating smooth eighteen-karat yellow gold links and sterling silver 732 oval cable links, the toggle clasp marked with the David Yurman logo, l. 7‑1/2”, the reversible Kali design John Hardy sterling silver pendant with a dragonfly on the reverse, dia. 1‑1/4”, 28.4 grams total weight. [300/500] Illustrated 733 Georg Jensen Sterling Silver Choker and Bracelet Suite, Copenhagen, Denmark, with the post-1945 Jensen mark, model numbers 1 and 3, designed by Georg Jensen (1866‑1935) in his “Leaf and Seed” pattern, choker, l. 16‑1/2”, bracelet, l. 7‑1/4”, 2.58 total t. oz. [300/500] Illustrated

731 Two-Piece Eighteen-Karat Yellow Gold, Sapphire and Diamond Jewelry Lot, including a Le Vian eighteenkarat white gold ring with blue, pink and yellow sapphires and tsavorite garnets, stamped “18K, Le Vian”, size 7‑1/4, and a pair of eighteen-karat white gold ear clips, each pave-set with white/black brilliantcut diamonds and pink sapphires, with an approximate total diamond weight of 0.50 carats for the pair, l. 3/4”, 9.0 grams total weight. [400/700]

734

733

734 Four Pieces of Georg Jensen Sterling Silver Jewelry, mid-20th century, Copenhagen, Denmark, including a model 320 bird brooch designed by Arno Malinowski (1899‑1976), w. 1‑11/16”, a model 94/8 “Cactus” bracelet designed by Gundorph Albertus (1887‑1970), l. 7”, and two “Snowdrop” stickpins, l. 3‑1/8”, 2.0 total t. oz. [300/500] Illustrated

145

737 Three-Piece Collection of Fourteen-Karat Rose, White and Yellow Gold and Diamond Jewelry, including a fourteen-karat yellow gold ring set with sixty-seven single-cut diamonds, size 6‑1/2, a pair of fourteen-karat tri-colored gold earrings, each set with twenty-nine round brilliant-cut diamonds, l. 3/4”, and a fourteenkarat tri-colored gold pendant set with fifty-two round brilliant-cut diamonds, suspended from a 16” yellow gold chain, with an approximate total diamond weight of 1.00 carat for all three pieces, 12.2 grams total weight. [500/800] Illustrated

735

735 Two Pieces of Guglielmo Cini (1903‑1979) Sterling Silver Jewelry, active Boston, Massachusetts, 1922‑1956 and Laguna Beach, California, 1956‑ca. 1970, including a brooch with cavorting putti joined by scrolls and surrounding a sphere, dia. 1‑5/8”, and a long rope-chain necklace accented with spheres and figural Italian attributes, e.g., the Captioline wolf, the lion of St. Mark, the Pisan cross, the papal tiara and keys, the Florentine fleur-de-lys, the Genovese arms, a della Robbia “bambino” from the Ospedale degli Innocenti, etc., l. 60”, 3.29 total t. oz. [300/500] Illustrated

737

736

736 Ten-Karat Yellow Gold and Diamond Earrings, each pear-shaped earring set with approximately sixtynine single-cut diamonds and thirty-nine baguettecut diamonds, with an approximate total weight of 1.00 carat for the pair, l. 3/4”, 4.3 grams total weight. [300/500] Illustrated

146

738

738 Fourteen-Karat Yellow Gold, Sterling Silver and Diamond Crescent Pendant with Chain, the pendant mounted with approximately 0.27 carats of rose-cut diamonds, suspended from a fourteen-karat yellow gold chain, pendant, l. 3”, 3.2 grams total weight. [300/500] Illustrated

743

740

739 Two Pairs of Fourteen/Ten-Karat Gold and Diamond Earrings, the fourteen-karat yellow, rose and white gold earrings each set with 136 single-cut diamonds, with an approximate total weight of 1.00 carat for the pair, l. 5/8”, and the ten-karat yellow gold earrings each set with twenty-six single-cut diamonds, with an approximate total weight of 0.20 carats for the pair, l. 1”, 8.3 grams total weight. [400/700]

740 Fourteen-Karat Yellow Gold, Sterling Silver, Diamond and Ruby Snake Earrings, the unusual earrings set with rose cut diamonds, with an approximate total weight of .47 carats for the pair, and with faceted round rubies for the eyes, l. 2”, 20.1 grams total weight. [300/500] Illustrated 741 Fourteen-Karat Rose/Yellow Gold and Diamond Jewelry Suite, including a rose gold ring set with sixtytwo single-cut diamonds and thirty-two round brilliantcut diamonds, and a pair of yellow gold earrings set with thirty white single-cut diamonds and ten chocolate round brilliant-cut diamonds, l. 1/2”, with an approximate total diamond weight of 1.00 carat for all pieces, 8.3 grams total weight. [500/800] Illustrated 742 Fourteen-Karat Yellow Gold and Chocolate/White Diamond Earrings, each ear clip set with ten round brilliant-cut chocolate diamonds, eight white diamond baguettes and four white brilliant-cut diamonds, with an approximate total diamond weight of 1.00 carat for the pair, l. 1/2”, 5.4 grams total weight. [300/500]

741

743 Fourteen-Karat Yellow Gold and Diamond Pendant with Chain, the circular pendant pave-set with approximately 103 single-cut diamonds, with an approximate total weight of 1.00 carat, suspended from a fourteen-karat yellow gold box-link chain, l. 16”, 6.3 grams total weight. [300/500] Illustrated

147

746 Eighteen-Karat White Gold and Fancy Yellow Diamond Ring, mounted with a pear-shaped fancy yellow diamond, with an approximate weight of 0.40 carats, surrounded by a double halo of fancy yellow and white round brilliant-cut diamonds, flanked by two fancy yellow round brilliant-cut diamonds, with an approximate total diamond weight of 1.02 carats, size 8, 4.8 grams total weight. [1800/2500] Illustrated

745

744 Ten-Karat Yellow Gold and Diamond Ring, set with a round brilliant-cut diamond and fourteen single-cut diamonds, with an approximate total weight of 0.20 carats, size 7‑3/4, 4.2 grams total weight. [300/500]

747

747 Fourteen-Karat Yellow Gold and Diamond Jewelry Suite, including a fold-over design ring set with a mix of eighteen tapered diamond baguettes and straight baguettes, size 7, and a pair of earrings each set with a mix of seventeen tapered diamond baguettes and straight baguettes, l. 5/8”, with an approximate total diamond weight of 1.75 carats for the suite, 9.3 grams total weight. [300/500] Illustrated 748 Fourteen-Karat White/Yellow Gold and Moissanite Ring, the custom-designed, two-tone ring channel-set with a round faceted moissanite with an approximate weight of 1.00 carat, size 7, 15.8 grams total weight. [300/500] Illustrated

746

745 Eighteen-Karat Yellow Gold and Diamond Ring, the petal-designed flower ring set with approximately 116 round brilliant-cut diamonds, with an approximate total weight of 1.40 carats, size 8, 14.4 grams total weight. [2000/4000] Illustrated

148

748

749 Fourteen-Karat White/Yellow Gold Diamond Ring, the customized ring set with one round brilliant-cut diamond, with an approximate weight of 1.00 carat, approximate color H and clarity I3, and seven round brilliant-cut diamonds, with an approximate total weight of 0.50 carats, approximate color H-I and clarity I2‑I3, size 7‑1/2, 10.8 grams total weight. [800/1200] Illustrated 750 Collection of FourteenKarat Yellow Gold Jewelry, including a hollow flexible link bracelet set with fourteen singlecut diamonds, with an approximate total weight of 0.17 carats, l. 7‑3/4”, and four pairs of hoop earrings, l. 1”, 20.8 grams total weight. [300/500]

751 Three Fourteen-Karat Yellow Gold and Diamond Crosses with Chains, the first example set with seventeen round brilliant-cut diamonds, with an 18” box-link chain, the second example set with three round brilliant-cut diamonds, with an 18” box-link chain, and the third example set with eleven round brilliant-cut diamonds and eleven tapered diamond baguettes, with a 15‑3/4” rope chain, with an approximate total diamond weight of 0.80 carats for the trio, 10.2 grams total weight. [500/800] 752 Two Fourteen-Karat Yellow Gold Bracelets, the two hinged bangle bracelets accompanied by a flexible vermeil bracelet, bangles, inside circumference, 6‑5/8” and 6‑3/4”, vermeil bracelet, l. 7‑1/4”, 28.2 grams total weight. [300/500] 753 Pair of Eighteen-Karat Yellow Gold Ear Clips, the large ear clips designed with a domed swirling pattern, h. 1‑1/4”, 24.0 grams total weight. [300/500] Illustrated

749

754 Fourteen-Karat Yellow Gold Pendant, the rectangular molten bar pendant stamped “14k”, l. 1‑1/2”, including bail, 15.8 grams total weight. [300/500] 755 Fourteen-Karat Yellow Gold Cufflinks, the rectangular cufflinks with a rippled surface design, h. 3/4”, 16.2 grams total weight. [300/500] Illustrated

755

756 Gentleman’s TenKarat Yellow Gold and Carnelian Seal Ring, the large oval intaglio carnelian measuring 20.4 mm x 24.8 mm and engraved with a “Coat-of-Arms”, size 9, 14.2 grams total weight. [400/700] Illustrated

756

757 Fourteen-Karat Yellow Gold and Diamond Vintage Cufflinks, ca. 1960, with a Masonic design, each mounted with seven single-cut diamonds, with an approximate total weight of 0.34 carats for the pair, dia. 3/4”, 10.7 grams total weight. [400/700]

753

758 Fourteen-Karat Yellow Gold and Carnelian Intaglio Ring, mounted with a carved carnelian intaglio measuring approximately 20.0 mm x 30.0 mm, size 4‑1/2, 10.3 grams total weight. [400/700]

149

759 Vintage Gentleman’s Fourteen-Karat Yellow Gold and Diamond Owl Cufflinks, ca. 1960, each cufflink set with two round brilliant-cut diamonds for the eyes, with an approximate total weight of 0.33 carats for the pair, 13.6 grams total weight. [500/700] Illustrated

759

762 Fourteen-Karat Yellow Gold and Smoky Quartz Pendant, the large pendant set with two round faceted smoky quartz gems, one with an approximate weight of 39.65 carats and the other with an approximate weight of 109.65 carats, l. 2‑3/4”, w. 1‑1/4”, 32.2 grams total weight. [500/800] 763 Collection of Ten/Fourteen-Karat Yellow Gold Jewelry, including five pairs of hoop earrings, l. 1”, and a tenkarat yellow and rose gold bracelet with a fourteenkarat gold clasp, l. 7”, 32.6 grams total weight. [300/500] 764 Pair of Fourteen-Karat Yellow Gold Earrings and a Citrine and Diamond Pendant, the fourteen-karat yellow gold wide hexagonal-shaped hoop earrings with a hammered finish, dia. 1”, together with a pearshaped pendant set with five full-cut diamonds, with an approximate total weight of 0.03 carats, and a faceted pear-shaped citrine, with an approximate weight of 17.90 carats, size 1” x 2‑1/8”, 19.0 grams total weight. [500/800]

760 Fourteen-Karat Yellow Gold, Cameo and Pearl Brooch/Pendant, the gold frame set with a carved cameo of the goddess Diana, accented with eleven seed pearls and four 4.0 mm round pearls, h. 2‑1/4”, 16.2 grams total weight. [300/500]

765

765 Eighteen-Karat Yellow/White Gold Gucci Bracelet, with a padlock-link design, stamped “Gucci, 750, Made in Italy”, l. 7”, 18.8 grams total weight. [600/900] Illustrated 766 Collection of Fourteen/Ten-Karat Yellow/White Gold Jewelry, including a fourteen-karat yellow gold Mignon Faget “Twig” ring, size 6, two pairs of fourteen-karat yellow gold hoop earrings, l. 1/2” and 1”, a fourteen-karat yellow gold butterfly pendant, l. 3/4”, suspended from a ten-karat white/yellow gold reversible necklace, l. 17”, and a fourteen-karat yellow gold anklet with six heart pendants, l. 9”, 24.4 grams total weight. [400/700] 767 Carol Mothner (American, b. 1943), “Netherlandish Bouquet”, 1995, oil on panel, signed lower right, titled and dated en verso, a “Gerald Peters Gallery/Santa Fe, NM” label en verso, 18‑3/4” x 19‑7/8”. Framed. Provenance: Private Collection, Santa Fe, New Mexico. [2000/4000] Illustrated

761 Fourteen-Karat Yellow Gold and Diamond Bracelet, the antique bracelet with a curb link and a clasp mounted with six round brilliant-cut diamonds, with an approximate total weight of 0.29 carats, l. 6”, 22.2 grams total weight. [400/700]

150

768 Kimberly Gremillion (American/Houston, b. 1955), “Dance 20”, digital color photograph, signed, titled and numbered “1/10” lower margin, sight 15‑1/4” x 22‑1/2”. Framed. [400/700] Illustrated

769 Jesus Lewis (Mexican, 20th Century), “Mexican Family”, 1962, oil on masonite, signed, dated, and localized “Mexico” lower right, a “House of Heydenryk, New York” label en verso, 17‑1/2” x 11‑3/4”. Framed. [400/700] Illustrated 770 Juan Ezcurdia, (Mexican, b. 1962), “Swept Off Her Feet”, acrylic on canvas, signed lower left “Ezcurdia”, 71” x 71”. Unframed. [1000/1500] Illustrated

767

771 771 Juan Ezcurdia (Mexican, b. 1962), “Bride”, acrylic on canvas, signed lower right, canvas size 79‑3/4” x 108”. Unframed and unstretched. [600/900] Illustrated

768

770

769 151

775 773 772 Mexican Bronzed Terracotta Sculpture, 20th century, consisting of interlocking spherical forms, h. 26”, w. 18”, d. 13”. [300/500]

776 David Ligare (American, b. 1945), “Still Life Before the Sea”, 2008, oil on canvas, monogrammed lower right, signed and dated en verso, 20” x 24”. Framed. Provenance: Private Collection, Santa Fe, New Mexico. [3000/5000] Illustrated

774 773 Susan Contreras (Mexican/Santa Fe, Contemporary), “On the Prowl”, oil on linen, signed lower right, titled on artist’s label en verso, 50” x 50”. Framed. Provenance: Private Collection, Santa Fe, New Mexico. [1500/2500] Illustrated 774 Holly Lane (American, b. 1954), “The Laughing Place”, 1999, mixed media construction, signed and dated lower right, signed, dated, and titled en verso in two places, overall, 8‑1/4” x 18‑7/8”. [500/800] Illustrated 775 Tom Palmore (American, b. 1945), “Big Fat Billy”, oil and acrylic on canvas, signed lower right and titled on “Betts Gallery, Santa Fe, NM” label en verso, 24” x 30”. Framed. Provenance: Private Collection, Santa Fe, New Mexico. [4000/7000] Illustrated 152

776 777 Charles Brown (American, Contemporary), “Swimming Koi in the Temple Ruins”, 1991, oil on canvas, signed and dated lower right, 48” x 60”. Unframed. Provenance: Private Collection, Santa Fe, New Mexico. [1000/1500] Illustrated 778 Richard Bassett (American, 1900‑1995), “Ruins”, oil on canvas, signed lower right, 26‑1/4” x 28”. Framed. [500/800] Illustrated

779

777

780 778 779 Mahal Round Carpet, dia. 8’. [300/500] Illustrated 780 Semi-Antique Tabriz Silk Carpet, 6’ 6” x 9’ 3”. [1200/1800] Illustrated 781 Louis XVI-Style Needlepoint Carpet, 7’ 9” x 9’ 10”. [400/700] 782 Turkish Angora Oushak Carpet, 10’ 1” x 13’ 9”. [1200/1800] 783 Agra Carpet, 9’ 10” x 14’ 4”. [600/900] Illustrated

783

153

784 Aubusson Needlepoint Carpet, 9’ x 12’. [700/1000] 785 Semi-Antique Tabriz Carpet, 9’ 10” x 13’ 3”. [600/900] Illustrated 786 Turkish Angora Oushak Carpet, 6’ 1” x 9’. [500/800] Illustrated

787

785

787 Pair of Contemporary Marble and Chromed Steel Side Tables of Directoire Inspiration, each with a rectilinear marble top raised on tapering legs joined by a shaped stretcher with central finial, retaining a “Global Views” label, h. 23”, w. 19”, d. 15”. [500/800] Illustrated

788

788 Contemporary Marble and Chromed Steel Cocktail Table of Directoire Inspiration, the rectilinear inset marble top raised on tapering legs joined by stretchers centered by a finial, h. 21”, w. 36”, d. 22”. [500/800] Illustrated

786 154

789 Milk Glass Floor Vase, 20th century, of Asian inspiration, h. 31”, dia. 13‑1/2”. [400/700] 790 Milk Glass Floor Vase, 20th century, of Asian Inspiration, h. 30‑1/2”, dia. 15‑1/2”. [400/700] 791 Set of Eight Contemporary Acrylic Wall Brackets, the shelves with raised lip surrounds, h. 9‑3/4”, w. 12‑1/2”, d. 12”. [300/500]

792

794 Suite of Eight Contemporary Polychromed Steel Armchairs of Neoclassical Inspiration, each with a scroll top rail over a “bow-tie” splat, scroll arms and woven strapwork seat, h. 38‑3/8”. [500/800] Illustrated

793

795 Pair of Contemporary Polished and Patinated Steel and Faux Granite Occasional Tables, each composition stone top on a tapering steel base ornamented in swirl decor, h. 20‑1/4”, w. 19”, d. 19”. [500/800]

792 Haziza Lucite Chaise Lounge, fourth quarter 20th century, after a design by Gary Gutterman, the shaped Lucite frame fitted with a removable tufted taupe ultrasuede cushion, labeled “Haziza”, h. 21‑1/2”, w. 24‑1/4”, l. 62”. [500/800] Illustrated 793 Contemporary Silver-Leafed and Plate Glass Coffee Table, in the mid-century modern style, the shaped and beveled glass top resting on a triangular silverleafed wooden base with slightly curved legs, h. 19”, w. 32”, d. 48”. [300/500] Illustrated

794

155

796 Four-Piece Modular Sectional Sofa and End Table Ensemble, comprised of a curved sofa, h. 31‑1/2”, w. 42”, d. 42”, and two side tables, h. 23”, w. 29‑1/2”, d. 21”, all covered in a soft cream leather. [1000/1500] Illustrated

796

797

797 Pair of Zinc Architectural Flame Finials, fourth quarter 19th century, now mounted as lamps, on contemporary ebonized bases, base, h. 16‑1/2”, overall, h. 27‑1/2”, dia. 7‑1/4”. [400/700] Illustrated 798 Pair of Art Deco-Style Argente-Painted and Mirrored Glass Commodes, each with a pair of doors framed with beveled panels and touch-release hardware, raised on tapering square legs, h. 32”, w. 39‑1/4”, d. 20”. [1500/2500] Illustrated 798

156

799 Vintage Italian Chrome and Black-Painted Metal Telescoping Floor Lamp, mid-20th century, the cone-form shade on an adjustable pole standard, terminating in a ball where it joins the circular base, stamped “Made in Italy”, h. 32‑1/2” to 57‑1/4” fully extended, base dia. 7‑1/4”. Provenance: Estate of designer Benjamin Baldwin, Sarasota, Florida and East Hampton, Long Island, New York. Illustrated: Benjamin Baldwin: An Autobiography in Design (New York: W. W. Norton, 1995), p. 84. [300/500] Illustrated

799

800 Pair of Contemporary Pierre Deux Galvanized Metal Sleigh Beds, of traditional form, the headboards and footboards joined by molded metal rails and raised on tubular legs to ball feet, h. 40”, inside w. 54”, l. 77‑1/4”, outside w. 57”, l. 85”. [800/1200] Illustrated

800

803

801

801 Pair of Contemporary Neoclassical Polychrome Sidechairs, each with a swagcarved crest above a padded back, joined by outscrolled arms to the padded seat, raised on sabre legs headed by foliate carving, each featuring a painted portrait medallion of a classical figure on the back and seat, h. 39”. [1000/1500] Illustrated 802 Contemporary Mirror and Glass Side Table, the thick rectangular glass top raised on stepped mirrored end supports joined by a stretcher shelf, h. 31”, w. 60”, d. 16”. [600/900] Illustrated

802

803 Pair of Continental Stone and Metal Temple-Form Garnitures, 20th century, in the neoclassical style, the temple-form bases composed of metal and stone, and fitted with Corinthian columns, the tops supporting mottled stone spheres, marked and labeled “Loyd-Paxton, Dallas”, h. 18‑3/4”, dia. 6‑3/4”. Provenance: Christie’s, April 18, 2000, lot 22; The Flatt Collection. [500/800] Illustrated

157

804 Pair of Contemporary Rectangular Mirrors, the beveled plates “framed” with graduated black molded convex indentations and ebony trim, h. 36”, w. 24”. [500/800] Illustrated

804 pair

805 Pair of Lalique Crystal “Festons” Chemins de Table Jardinieres, post1945, French, each of circular, four-section form, each piece marked “Lalique France”, with an engraved signature, the edges decorated with frosted gadrooning, h. 2”, dia. 11‑1/2”. [400/700]

808

807

806 Unusual Post-Modern-Style Single-Light Chandelier, the smoked and mirrored prisms with orbs of “diamonds” suspended from a central ring, h. 11‑1/4”, dia. 9‑1/2”. [300/500] 807 Art Deco-Style Chrome, Maple and Plate Glass Coffee Table, with two tiers, the top of rectangular form with a clear plate glass, and the shelf below of frosted glass, h. 18”, w. 47”, d. 25‑1/2”. [400/700] Illustrated 808 Pair of Gold-Leafed Blesbok Skulls, each retaining their natural horns, h. 24”, w. 8‑1/2”. [300/500] Illustrated 809 Pair of Gold-Leafed Kudo Skulls, each retaining their natural horns, h. 36”, w. 27”. [400/700] Illustrated

158

809

810 Contemporary Gilt-Decorated Leather, Glass, Brass and Faux Tusk Cocktail Table, the glass top raised on curved faux tusk supports with brass tops and bases, on a parcel-gilt and leather plinth base, h. 18”, w. 50”, d. 40”. [400/700] 811 Mark Hopkins (American, b. 1953), “The Elephant Families”, 1993‑1994, two patinated bronze animalier groups, each cast signed, dated and numbered, respectively, “302/750” and “65/750”, h. 16‑1/4”, w. 11‑3/4” and h. 11”, w. 21‑1/2”. [400/700] Illustrated

811

817

815

813 Loet Vanderveen (Dutch, 1921‑2015), “Lion Pair”, patinated bronze, incised signature, copyright marked, and numbered “36/750” at underside of belly, h. 7”, w. 15‑1/4”, d. 9”. [1000/1500] 814 Loet Vanderveen (Dutch, 1921‑2015), “Gerenuk and Tree”, patinated bronze, incised signature, copyright marked, and numbered “35/750” along lower edge of branch, h. 16‑7/8”, w. 9”, d. 6”. [800/1200] 815 Loet Vanderveen (Dutch, 1921‑2015), “Rhino”, patinated bronze, incised signature, copyright marked, and numbered “277/500” at underside of belly, h. 5‑1/2”, w. 10‑3/4”, d. 4”. [800/1200] Illustrated

812

812 Loet Vanderveen (Dutch, 1921‑2015), “Bull Elephant”, patinated bronze, incised signature, copyright marked, and numbered “250/250” at underside of belly, h. 10”, w. 11‑3/4”, d. 10‑3/4”. [1000/1500] Illustrated

816 Loet Vanderveen (Dutch, 1921‑2015), “Cheetah Pair”, patinated bronze, incised signature, copyright marked, and numbered “187/750” at underside of belly, h. 5‑3/2”, w. 13‑3/4”, d. 6‑3/4”. [800/1200] 817 Deroy Sharp Deacon (American, Contemporary), “Owl”, 1990, patinated bronze, cast signature, copyright marked, dated, titled, and numbered “16/36” along bottom edge, h. 9”, w. 8”, d. 6‑3/4”. [500/800] Illustrated

159

820 Pair of Hollywood Regency Mirrors of Venetian Inspiration, second quarter 20th century, American, with serpentine tops and bottoms, framed with beveled mirror segments with back-cut decoration, h. 41”, w. 31‑1/2”. [700/1000] Illustrated

820 pair

818

818 Pair of African Iron Currency Blades, Lokele and Turumbu peoples, Lomani and Lualaba Rivers, Democratic Republic of Congo, h. 57” and 60‑1/2”. [800/1200] Illustrated

821

819 819 Pair of Art Deco-Style Metal Whippets, one depicted seated and the other standing, h. 9‑3/4”, w. 10‑3/4” and h. 11‑3/4”, w. 12‑3/4”. [300/500] Illustrated

160

821 Hollywood Regency Silver-Gilt Mirror, Designed by Phyllis Morris, 20th century, American, from the “designer to the stars”, with beveled mirror panels framing the primary plate, the corners with elaborate pierced foliate scrolls, the serpentine crest surmounted by a masque with a feathered headdress and scrollwork, and incorporating a trailing floral swag over the mirror plate, h. 73‑3/4”, w. 58‑1/2”. [1800/2500] Illustrated 822 Contemporary Convex Mirror, the round central plate framing the segmented mirror, set with smaller convex backplates and ebony trim, dia. 35‑1/2”. [300/500] 823 Baccarat Crystal Articulated Architectural Vase, 20th century, the base acid-stamped and signed, h. 9‑1/2”, w. 5”, d. 5”. [400/700] Illustrated

826

824 Pair of Contemporary 823 Chrome and LeatherCovered Swivel Armchairs, with adjustable seats and covered in soft cream leather, h. 41”, w. 24‑1/2”, d. 23”. [500/800] Illustrated

827 Baccarat Molded Crystal Horse Head, 20th century, marked with the decanter mark, h. 4‑1/2”, w. 5‑1/2”, d. 1‑1/4”. [300/500] Illustrated

827

828 Collection of Three Signed Glass Desk Objects, 20th century, including a labeled Val St. Lambert paperweight decorated with a frosted, intaglio Taurus sign, h. 2‑1/4”, w. 3‑1/2”, d. 3‑3/4”, a signed Steuben pen holder, h. 3”, w. 3”, d. 4”, and a signed Baccarat leopard head, h. 4‑3/4”, w. 3‑1/2”, d. 4‑1/2”. Provenance: The Flatt Collection. [300/500] Illustrated 824 825 Pair of Contemporary Chrome and Leather-Covered Swivel Armchairs, with adjustable seats and covered in soft cream leather, h. 41”, w. 24‑1/2”, d. 23”. [500/800] 826 Industrial Design-Inspired Telescoping Brass and Mirrored Glass Occasional Table, the circular top with an inset beveled mirror, raised on an adjustable column pedestal with a square base, h. 29‑1/4”, dia. 18”. [500/800] Illustrated

828

161

829 Seven-Piece Collection of Crystal Bibelots, 20th century, French and American, including an opalescent Elton John angel, signed “Lalique”, h. 3‑1/4”, w. 2”, a signed Baccarat cut crystal cylindrical bud vase, h. 6‑3/4”, a signed seated cherub holding a heart, h. 4‑1/4”, w. 2‑1/2”, a pair of signed Baccarat rabbits, h. 3‑1/4”, w. 1‑3/4”, a signed Steuben vase, h. 5”, and a signed Cartier apple, h. 4‑1/4”, dia. 3‑1/4”. [400/700]

830

830 Lalique Frosted Crystal “Sylvie” Vase, 20th century, French, depicting two intertwined lovebirds, marked “Lalique, France”, h. 8”, w. 7”, d. 4”. [300/500] Illustrated

833

834

831 Swedish Contemporary Blown and Molded Glass Bowl, ca. 2001, Studio Glashyttan i Ahus AB, decorated with a cobalt rim and a series of sunken roundels, signed “Studio Ahus Sweden 2001, BW 42‑10/61”, h. 9”, dia. 9”. [300/500]

832

162

832 Contemporary Hand-Blown Colored Glass Sculptural Bowl, modeled in the form of a Venus Fly Trap, h. 33‑5/8”, w. 24”, d. 16”, raised on a faux travertine pedestal, h. 43”, w. 16”, d. 16". [800/1200] Illustrated

833 Contemporary Upholstered Sofa, the tricushioned back and seat above a molded wooden apron, raised on ring-turned tapering circular legs, h. 33”, w. 98”, d. 37”. [800/1200] Illustrated 834 Contemporary Upholstered Sofa, the padded rectangular back joined by downswept sides to the tri-cushioned seat, above a skirted front, raised on square legs, h. 35”, w. 95”, d. 41”. [700/1000] Illustrated

838

836

835 Contemporary Mahogany Cocktail Table, the banded rectangular top above a molded frieze, raised on large bulbous tapering legs ending in turned feet, h. 22”, w. 58‑1/2”, d. 39”. [600/900]

839

839 Pair of Regency-Style Ebonized Armchairs, each with a curved crest rail above an X-form splat centered by a gilt patera, joined by scrolling arms to the padded seat, raised on sabre legs, h. 34”. [600/900] Illustrated

836 Contemporary Slate and Polychrome Low Console, in the neoclassical taste, the long rectangular slate top raised on ring-turned tapering circular legs joined by stretchers, h. 24”, w. 15”, l. 84‑1/4”. [1200/1800] Illustrated 837 Regency-Style Ebonized Cabinet, the rectangular top fitted with two cabinet doors, each inset with a metal grille, raised on short, fluted tapering circular legs, the whole with gilt accents, h. 35”, w. 35‑1/2”, d. 10”. [600/900] Illustrated 838 Pair of Polychrome Chests, each fitted with three long drawers and having extensive applied faux bamboo banding, raised on ring-turned circular legs, h. 31‑1/2”, w. 36‑1/2”, d. 19‑1/4”. [800/1200] Illustrated

837

163

840 Pair of Italian Elephant-Head Pottery Lamps, fourth quarter 20th century, each on a demi-lune self-base and raised on a plexiglass plinth, h. 23‑1/2”, w. 19”, d. 7‑1/2”. [400/700] Illustrated

840

841 Pair of Polychrome Sidechairs in the Directoire Manner, each with a tall padded rectangular back above a cushioned seat, raised on paneled sabre legs ending in ball feet, h. 37”. [400/700]

843

842 Contemporary Button-Tufted Upholstered Ottoman of Trefoil Form, upholstered in animal-print plush fabric, h. 16‑1/2”, w. 40‑1/2”, d. 40‑1/2”. [400/700] 843 Nepal Modern Carpet, 8’ 2” x 10’ 2”. [300/500] Illustrated 844 Hand-Painted Sisal Rug, designed by Group L’Artisan, New York, 12’ x 18’. [1000/1500] Illustrated 845 Pair of Mid-Century Modern Oak Armchairs, third quarter 20th century, possibly Danish, each with a slat back, canted arms, sprung and cushioned seat and tapering legs, h. 31”, w. 25”, d. 20”. [400/700] Illustrated 846 Industrial Design Cast Iron and Glass Occasional Table, the circular pulley-style top with inset glass, and raised on a tripodal base fitted with a crank, h. 33”, dia. 24”. [500/800]

164

844 847 Contemporary Oak and Iron Side Table, the long rectangular oak top banded and raised on four ribbed scrolling supports ending in bun feet, h. 27‑1/2”, w. 22‑1/2”, l. 90”. [700/1000]

848 Mid-Century Modern Glass and Brass Console/Sofa Table, ca. 1975, attributed to Mastercraft, the beveled glass top set in a brass frame with rounded corners, the legs joined by box stretchers, h. 26”, w. 60”, d. 16”. [500/800] Illustrated 849 Raphaelle Goethals (Belgian, b. 1958), “Shifting Gravity”, 2009, wax and resin on wood panel, signed, titled and dated en verso and on “Gerald Peters Gallery, Santa Fe, NM” label on frame backing, 40” x 37”. Framed. Provenance: Private Collection, Santa Fe, New Mexico. [800/1200] Illustrated

845

850 Tod Bailey (American/Texas, b. 1970), “Swimming Pool-High Dive, Houston, TX”, 2012, oil on canvas, signed and dated lower right, signed, dated, titled and localized en verso, 16” x 20”. Unframed. Provenance: Private Collection, Santa Fe, New Mexico. [600/900] Illustrated 848

850 851 Tod Bailey (American/Texas, b. 1970), “Abstract Figures”, 2013, acrylic on canvas, signed lower left, dated lower right, 12” x 24”. Unframed. Provenance: Private Collection, Santa Fe, New Mexico. [500/800]

849 165

852 Regina Foster (South African/ Santa Fe, Contemporary), “Lemon”, 2012, oil on canvas, signed and dated lower right, titled on artist label on frame backing, 35” x 24”. Framed. [800/1200] Illustrated 853 Dick Wray (American, 1933‑2011), “Composition in Black and Yellow”, 2009, mixed media collage on canvas, signed and dated en verso, 24” x 18”. Unframed. [1000/1500] Illustrated 854 Nancy Youngblood (American/ Santa Fe, b. 1955), “Untitled - Swirled Melon Bowl”, 2002, carved black clay, incised signature and dated at bottom, h. 4‑1/2”, dia. at widest 6‑3/4”. Provenance: Private Collection, Santa Fe, New Mexico. [5000/8000] Illustrated

854

854 detail

852

853

855 Florence Pierce (American, 1918‑2007), “Untitled #84, BLK”, 1995, resin on mirrored plexiglass, signed, titled and dated on reverse on a “Charlotte Jackson Fine Art, Inc./New Mexico” label, 16” x 16”. Provenance: Private Collection, Santa Fe, New Mexico. [3000/5000] Illustrated 856 Dick Wray (American/Houston, 1933‑2011), “House Warming”, 2007, mixed media on canvas, signed lower right, signed, titled, inscribed “To Wade” and dated en verso, 17‑3/4” x 24”. Unframed. Provenance: Private Collection, Santa Fe, New Mexico. [1000/1500] Illustrated 166

857 Joseph Marioni (American/New York, b. 1943), “Black Painting”, 2003, acrylic on Belgian linen, signed, titled and dated en verso, 24” x 20”. Unframed. Provenance: Private Collection, Santa Fe, New Mexico. [10000/15000] Illustrated

855 858 Dan Gorski (American, b. 1939), “Sisters”, sumi ink and acrylic on incised wood, signed and titled en verso, 10‑1/4” x 14‑1/2”. Provenance: Private Collection, Santa Fe, New Mexico. [2000/4000] Illustrated

857 859 Gail Rieke (American, Contemporary), “Untitled Abstract”, mixed media collage, signed en verso, sight approximately 20‑1/2” x 15‑1/2”. Glazed, linen-matted and framed. [500/800] Illustrated

856

859

858

167

860 Jill Moser (American, b. 1956), “Untitled”, 2008, gouache on paper, unsigned, from the “Sixteen Street” painting series, 30” x 32”. Glazed and float framed. Provenance: Private Collection, Santa Fe, New Mexico. [1200/1800] Illustrated

861 862 Patricia Whitty Johnson (American/Louisiana, Contemporary), “Still Life with Drops”, 1978, colored pencil on paper, unsigned, “Galerie Simonne Stern” label en verso, 5” x 7”. Glazed, matted and framed. [400/700] Illustrated

860 861 Tod Bailey (American/Texas, b. 1970), “Figurative Abstraction”, 2012, oil and ink on canvas, signed and dated lower right and en verso, 38” x 38”. Provenance: Private Collection, Santa Fe, New Mexico. Unframed. [500/800] Illustrated

863 863 Janice Sachse (American/Louisiana, 1908‑1998), “Nocturne”, acrylic on paper, signed “J. R. Sachse”, dated “1969”, and titled lower right, sight 13‑3/4” x 2‑1/8”. Glazed, matted and framed. [500/800] Illustrated

862 168

864 864 Aaron Fink (American, b. 1955), “Green Pepper”, 1995, oil on linen, signed and dated with “Ingrid Magidson Fine Art” label en verso, 40” x 60”. Unframed. [700/1000] Illustrated

867

865 865 Aaron Fink (American, b. 1955), “Abstract Red Pepper”, 1992, oil on linen, signed and dated with “Ingrid Magidson Fine Art” label en verso, 30” x 72”. Unframed. [700/1000] Illustrated 866 Shawn Wallis (American/Texas, Contemporary), “Composition in Red”, 2006, gesso on paper, mounted on “Arches” watercolor paper, minutely pencil signed and dated lower margin of paper mount, overall, 30” x 22”. Glazed and float framed. [300/500] 867 American School (20th Century), “Checkered Abstract “, illegibly signed lower right, dated “89’” en verso, 47” x 31‑1/2”. Framed. [400/700] Illustrated 868 Dick Wray (American/Houston, 1933‑2011), “Untitled”, 2002, mixed media on canvas, signed and dated en verso, 24” x 18”. Framed. Provenance: Private Collection, Santa Fe, New Mexico. [1000/1500] Illustrated

868 169

871 Howard Chandler Christy (American, 1873‑1952), Portrait of a Lady”, 1933, pencil on paper, signed and dated middle left, Aaron Brothers Art and Framing label en verso, sight 15‑3/4” x 13”. Attractively glazed, matted and framed. [500/800] Illustrated

869 869 Thomas Berg (American, b. 1943), “Folding Chair: Steel/Canvas/Tape”, 1980, oil on canvas, signed lower center, signed, titled and dated en verso, a “Heydt/ Bair Gallery/Santa Fe, NM” label en verso, 48” x 36”. Framed. Provenance: Private Collection, Santa Fe, New Mexico. [1500/2500] Illustrated 870 Contemporary Argente Bombe Commode of Louis XV Inspiration, the rectangular top with canted corners, above a bombe case fitted with three long drawers, with incised spiraling patterns, raised on splayed molded feet ending in scrolled toes, h. 34”, w. 49‑1/2”, d. 21‑1/2”. [1200/1800] Illustrated

871 872 A Group of Six Figure Drawings, charcoal on paper, five out of six signed, all sight 23‑1/2” x 18”. Matted and framed. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [400/700] Illustrated

872 one of five

872 two of five

873 Unusual Pair of Mercury Glass Table Lamps, 20th century, the vasiform standards decorated with overlaid gilt composition palmettes and leaves, h. 34‑1/4”, dia. 5‑3/4”. [400/700] 870 170

874 Unusual French Art Nouveau Cast Iron Sink/Vanity, early 20th century, the upper section with a beveled mirror and two electric lights above, the base section fitted with a porcelain sink, the backside stamped “A. Martin”, h. 76”, w. 28”, d. 20”. [700/1000] Illustrated

876

877 French Patinated Metal of “Reine des Pres”, first quarter 20th century, after Auguste Mathurin Moreau (French, 1834‑1917), cast signature and a “Fabrication Francaise/ Made in France” stamp at back, h. 39‑1/2”, w. 17”, d. 12”. [700/1000] Illustrated

874

875 Pair of Continental Art Deco Gilt-Metal Bookends, second quarter 20th century, depicting seated harlequins playing lutes, h. 7‑3/4”, w. 5‑1/4”, d. 4”. [300/500] 876 Fine Neoclassically-Inspired Wrought-Iron, ParcelGilt and Marble-Top Console Table, early 20th century, the rectangular thick verdigris marble top raised on a base with large tapering scrolled front legs, with neoclassical motifs throughout, h. 35‑1/2”, w. 54”, d. 15”. [1500/2500] Illustrated

878 French Patinated Bronze of “La Grenouille”, ca. 1900, after the slightly larger scale bronze by Emmanuel Fremiet (French, 1824‑1910), now at the Musee des BeauxArts, Dijon, France, cast signature along edge, illegible monogram, h. 4‑1/2”. [500/800] Illustrated

877

878

879 Continental Art Nouveau/Deco Brass Vase, first quarter 20th century, the “morning glory and vine” vase with flared rim over a pierced foliate bed of branches, the base marked with an “X”, h. 7‑1/2”, dia. 9”. [300/500] 880 Two Antique Patinated Spelter Figural Groups, including “Amour et Printemps”, after Auguste Moreau, cast signature on self-base, brass artist plaque on conforming socle, h. 31‑1/2”, dia. 11”; and a polychrome water carrier with her attendant sheep, h. 21‑1/2”, dia. 7‑3/4”. [500/800]

171

881

881 French Patinated Bronze of “Danseuse au Masque”, 20th century, after Joe Descomps (French, 1869‑1950), cast signature on selfbase, on a round green marble plinth, overall, h. 13”, w. 5‑1/4”, d. 5‑1/4”. [400/700] Illustrated

882 Art Nouveau-Style Cast and Enameled Bronze Tray, after Alphonse Mucha (Czechoslovakian, 1860‑1939), cast as a woman in profile framed by swirling irises, an incised mark on the back, “A. Mucha”, dia. 12‑1/2”. [300/500] 883 Art Nouveau Patinated Metal Vase, ca. 1900, decorated with a young male en dishabille swinging on a morning glory vine, with a gilt-metal insert, signed “L. Moreau”, for Louis Moreau (French, 1855‑1919), h. 18‑3/4”, dia. 8‑1/4”. [400/700]

887 one of two

886 884 Continental Patinated and Cold-Painted Bronze of a Flapper, 20th century, inscribed “ETAS” at edge of selfbase and “Icart” along hem of dress, on a varicolored marble stepped plinth, overall, h. 37‑5/8”, w. 14”, d. 14”. [500/800] 885 Antoine Calbet (French, 1860‑1944), “Woman in a Garden”, oil on canvas, signed “A. Calbet” lower left, 20” x 24”. Framed. [1200/1800] 886 Francois Nicolas Augustin Feyen-Perrin (French, 1826‑1888), “Nude Under a Tree”, oil on panel, signed upper center, 15” x 6”. Presented in a handsome, period giltwood and gesso frame. [500/800] Illustrated

172

887 two of two 887 Jean Nevitt Flanigen (American, 1898‑1994), two female nude portraits, including “Female Nude Model, AA Class” and “Portrait of a Lady”, both oils on canvas, signed with “Geary Gallery” and “V. Aline & Company” labels en verso, 18” x 16”. Framed alike. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [1000/1500] Illustrated

892

891

888 Louis Prost (French, 1876‑1935), “Pastorale”, 1920, patinated bronze, signed and dated at right edge of boulder, with a “Meroni Radice / Cire Perdue / Paris” foundry mark at back edge of sculpture, on a marble base, h. 16‑1/2”, w. 21”, d. 11‑1/2”. [1200/1800] 889 Rachel Marshall Hawks (American, b. 1879), “Dancer”, patinated bronze, cast signature, “Roman Bronze Works Inc, N.Y.” foundry mark along edge of base, h. 20”, w. 9‑1/2”, d. 7‑1/2”. [700/1000] 890 Monumental Royal Dux Figural Porcelain Vase, ca. 1919‑1943, Czechoslovakian, decorated in matte gilt with some pink trim, the vase depicting a Moorish figure playing a lute, in front of the leaf-molded vase, marked with the pink glazed triangle with an “E” in the center and a green-painted “Royal Dux, Made in Czechoslovakia”, h. 38”, w. 14‑1/4”. [400/700] 891 Continental Mahogany Cabinet, ca. 1900, in the Art Nouveau taste, the upper section fitted with two doors, each paneled, the upper portion with stained glass and the lower portion with floral carving, the lower section fitted with a brushing slide over two drawers and two cupboards, raised on bun feet, h. 76”, w. 50‑1/2”, d. 25‑1/2”. [500/800] Illustrated

893

892 Two Pieces of French Galle Cameo Glass, first quarter 20th century, consisting of a tapered vase decorated with wetland flora, signed “Galle” in cameo on a lily pad, h. 6”, w. 4”, and a flattened bottle vase decorated with cherries, signed “Galle” in cameo on the lower portion of the back, h. 6”, w. 3‑1/4”. [500/800] Illustrated 893 Galle Art Glass Vase in the Aesthetic Taste, fourth quarter 19th century, French, composed of amber glass applied with an aubergine salamander and side ruffles, enameled with flowers, with a ground pontil mark on the bottom and engraved “E. Galle” at the edge, h. 11”, dia. 6”. [400/700] Illustrated

173

897

895

894 Galle-Style Cameo Glass Vase, the mauve vase decorated with irises, with a spurious Galle signature, h. 3‑3/4”, dia. 2‑3/4”. [300/500]

896 one of six

896 two of six

895 Pair of Murano Colored Glass and Silvered Metal Cockatiels, the curvilinear tapered bodies with loop handle wings, mounted with heads and legs, h. 6”, w. 4”, d. 2”. [400/700] Illustrated 896 Group of Six Deco Panels, including “The Sculptor”, “The Readers”, The Musician”, “The Athlete”, “The Actor”, and “The Architect”, 67” x 43”. Unframed. [1500/2500] Illustrated 897 Two Art Deco-Style Patinated Bronze Plaques, 1986, marked “McClleland Barclay”, the spherical forms centering nude “beauties” in low relief against gold grounds, dia. 8‑3/4”. [700/1000] Illustrated

174

898 Wolf Reuther (German, b. 1917), “Return from Market”, oil on canvas, signed lower right, “Reofect” label en verso, 30” x 30”. Matted and framed. [800/1200] Illustrated

898 899 Andre Bauchant (French, 1873‑1958), “Violettes et Muguets”, ca. 1943, oil on canvas, signed lower right, verso with “Perls Galleries, New York, N.Y.” label, 8” x 10”. Presented in a giltwood frame with a linen liner. Provenance: Perls Galleries, New York, N.Y.; Sotheby’s Arcade, February 14, 1989, Modern and Contemporary Paintings, Drawings and Sculpture sale, lot 27; The Flatt Collection. [600/900] Illustrated

899 900 Max Gunther (Swiss/ Italian/New York, 1934‑1974), group of three oils, including “Marina”, 1967, oil on wood block, 2‑1/2” x 1‑3/4”, “MiniTown”, 1962, oil on board, sight 3‑1/2” x 3”, and “Piccolo Mondo”, 1960, oil on board, sight 5‑3/4” x 3‑5/8”, each signed lower right, each signed, titled and dated en verso. All framed, two with matting. Provenance: Private Collection, Santa Fe, New Mexico. [600/900] Illustrated

900 two of three

900 one of three

901 902 Eva Koves (Russian, b. 1965), “Untitled Abstract”, oil on canvas, signed en verso canvas, 35‑1/2” x 35‑1/2”. Framed. [400/700] Illustrated

900 three of three

901 Charles Candler (American, 20th Century), “Rooftop View”, oil on canvas, signed lower right “Candler”, 27‑1/4” x 17‑1/2”. Framed. [300/500] Illustrated

902 175

905 Terziano (Italian, 20th Century), “Boy Floating Away”, oil on board, signed lower right “Terziano”, 19‑1/2” x 11‑3/4”. Framed. [300/500] Illustrated 906 Tjalf Sparnaay (Dutch, b. 1954), “Hamburger Fries”, 2005, oil on canvas, signed and dated lower right, signed, dated and titled en verso, an “OK Harris/New York, NY” gallery label en verso, 19‑1/2” x 29‑1/2”. Framed. Provenance: Private Collection, Santa Fe, New Mexico. [600/900] Illustrated

903 903 Charles Candler (American, 20th Century), “Schism: Surrealist Landscape”, oil on canvas, signed lower right “Candler”, 8” x 10”. Framed. [300/500] Illustrated

906 907

907 American Patinated Bronze Figural Group, probably fourth quarter 20th century, cast as Venus chastising Cupid, h. 18‑3/4”, w. 15”, d. 10”. [400/700] Illustrated 904 one of two

904 two of two

904 James Coignard (French, 1928‑2008), two color etching collages on paper, including “Mr.”, pencil numbered “3/75” lower left and pencil signed lower right, and “Point A to B”, pencil numbered “13/60” and pencil signed lower right, each sight 24” x 19‑1/2” and 26‑3/4” x 21”. Both matted and framed alike. [600/900] Illustrated

909 Frank Fleming (American/Alabama, b. 1940), “Untitled: Chair Dialogue”, patinated bronze, unsigned/not marked, h. 24”, w. 9‑1/2”, d. 9”. Provenance: Private Collection, Santa Fe, New Mexico. [1500/2500] Illustrated

905 176

908 Patinated Bronze Figure, 20th century, in the erect form of a somnambulist, raised on a variegated marble base, h. 8‑1/2”, w. 15‑1/2”, d. 5‑1/2”. [400/700]

910 Joaquin Rubio Camin (Spanish, 1929‑2007), “A Qui”, abstract steel sculpture, cast signature and numbered “1.9” at back, on a square white marble plinth, titled in ink at bottom of marble, overall, h. 4‑5/8”, w. 8‑3/8”, d. 2”. [500/800] Illustrated

909

910

912 Lachlan McLean (Scottish, 20th Century), “Head of a Man”, patinated metal, incised signature at back, on a carved wood plinth, h. 13‑1/4”, w. 7‑1/4”, d. 8”. [500/800] Illustrated

915

912

913

913 Charles Fritchie (American/ New Orleans, 1936‑2013), “Torso of a Woman”, 2000, bronze, signed and dated at neck truncation, h. 15‑1/2”, w. 9‑1/2”, d. 4‑3/4”. [400/700] Illustrated 914 Chaim Gross (Austrian/American, 1904‑1991), “Mother and Child, Seated”, patinated bronze, incised signature, numbered “34/47”, and with foundry mark for Joel Meisner & Co., New York, at back, on a carved wood plinth, overall, h. 10‑1/4”, w. 5‑1/2”, d. 5‑1/2”. [500/800]

911 Charles Fritchie (American/New Orleans, 1936‑2013), “Nude Standing”, painted plaster, h. 66”, w. 24”, d. 19‑1/2”. [500/800]

915 Rococo Revival Mahogany Vitrine, first quarter 20th century, possibly Austrian, in two parts, the upper section with a carved crest over an arched glazed door, the interior fitted with a pair of shelves, the sides with glazed panels, on a base with projecting corners over a glazed door, raised on cabriole legs, adorned throughout with floral and foliate carving, h. 86‑1/2”, w. 43”, d. 22‑1/2”. [1000/1500] Illustrated 177

916 Victorian Rosewood and Mahogany Metamorphic Firescreen, third quarter 19th century, the rectangular needlework screen within a shaped and pierced frame, the angle adjustable from flat to vertical, supported by a brass rod of adjustable height, raised on a paneled bulbous standard to three scrolling supports ending in upturned toes, h. 35” to 54”, w. 20”, d. 15‑1/2”. [300/500] Illustrated

918 American Rococo Revival Walnut Etagere, third quarter 19th century, the crest with a broken arch centered by a cabochon-carved cartouche, over an arched mirror plate flanked by shelves and shaped mirrors, the lower marble-top cabinet flanked by shelves, h. 88”, w. 51‑1/2”, d. 16”. [500/800] Illustrated

916

919

918 917 Pair of American Renaissance Revival-Style Burled Walnut and Walnut Night Stands, ca. 1900, each with a white marble top with canted corners, above a conforming case with a projecting drawer over a pair of drawers, with burled ovoid panels and carved pulls, h. 30”, w. 20‑1/2”, d. 18”. [300/500]

178

919 American Rococo Revival Walnut Cabinet-Base Etagere, third quarter 19th century, the upper section with a carved crest over a pair of graduated serpentine shelves on carved brackets and backed by mirrors, the base with a serpentine gadrooned top over a conforming drawer and a pair of drawers fitted with mirrored panels, h. 73”, w. 45”, d. 20”. [1000/1500] Illustrated 920 Continental Mahogany Music Stool, mid-19th century, in the rococo taste, the circular seat of adjustable height and with a needlework scene of a country maiden, raised on three scrolling foliate-carved legs ending in foliate toes, h. 20”, dia. 14‑1/2”. [300/500]

921 American Rococo Revival Walnut Dining Table, third quarter 19th century, the circular top opening to accommodate three leaves, raised on cabriole legs with a cabochon- and fruit-carved cartouche and leafcarved feet, h. 29‑1/2”, dia. 52”, extended l. 101‑1/2”. [700/1000]

925

922 Extensive Villeroy and Boch Partial Dinner Service, ca. 1983‑2001, German, in the “Basket” pattern, decorated with polychrome baskets of fruit with green trellised borders, the set including twelve chop plates, dia. 12‑3/4”, twelve dinner plates, dia. 10‑1/4”, thirteen salad plates, dia. 8‑1/2”, eleven cream soup bowls, dia. 4”, thirteen cream soup underplates, dia. 7”, eight soup plates, dia. 9”, four flat cups with matching saucers, dia. 4”, twelve demitasse cups, h. 2‑1/4”, eleven saucers, dia. 5”, a mug, h. 3‑1/2”, a pair of round vegetable bowls, dia. 6‑1/2”, a soup tureen, h. 9‑3/4”, a butter dish, w. 8”, six egg cups, h. 1‑1/2”, a pair of sandwich trays, w. 13”, a pitcher, h. 6‑1/2”, a coffeepot, h. 8‑1/2”, two sugar bowls, h. 4‑3/4”, a small sugar bowl, h. 4”, and a matching cream jug, h. 3‑1/4”. [800/1200] 923 Suite of Four Rococo Revival Rosewood Dining Chairs, third quarter 19th century, each with a rose- and foliate-carved crest hollow back, serpentine seat and cabriole legs, now upholstered in tufted floral brocade on a deep green ground, h. 38‑1/4”. [400/700] 924 Austrian Rococo Revival Walnut Armchair, third quarter 19th century, with an asymmetrically carved foliate, floral and scroll crest, open arms, serpentine seat and cabriole legs, h. 44”. [200/400] 925 American Renaissance Revival Walnut Bookcase, third quarter 19th century, the molded cornice over a pair of glazed doors, on a projecting base with a pair of drawers adorned with raised panels, h. 89‑1/2”, w. 54”, d. 24”. [300/500] Illustrated 926 New Orleans Market Rococo Revival Mahogany Armoire, mid-19th century, probably retailed by the McCracken firm, the carved crest over a bonnet top with beading beneath the molding, the pair of doors with figured panels on a base with a pair of doors and bracket feet, losses to the wings of the original crest, h. 101‑1/2”, w. 66‑1/2”, d. 25”. [900/1200] Illustrated

926

179

927 American Rococo Revival Giltwood Pier Mirror, mid-19th century, with a rope-twist trim framing the mirror plate, and scroll moldings on each side of the base, the pierced, scrollmolded crest depicting a basket of flowers and decorated with grapes and grape leaves, h. 89”, w. 37‑1/2”, on a serpentine marble-top shelf with giltmetal supports decorated with phoenix birds and pierced rocaille work, h. 13‑1/2”, w. 36‑1/2”, d. 14‑1/2”. [300/500] Illustrated 928 Monumental American Rococo Revival Giltwood Pier Mirror, mid-19th century, with a complex bolection surround and an arched crest, the mirror decorated with pierced scrollwork flanking the sides at the base, the crest decorated with an unusual fan of molded leaves and scrollwork, h. 113”, w. 60”, now on an architectural base after a design by Minard, h. 16”, w. 62”, d. 9”. [1200/1800] Illustrated

927

931 931 Pair of English Monks Chesterfield Leather Armchairs, each with a ruched top rail and stiles, with tufted backs and scrolled arms, adorned with brass tacks and fitted with a loose seat cushion, h. 37‑1/2”. [800/1200] Illustrated

928

932

929 Victorian-Style Draperies from “The Curious Case of Benjamin Button”, window treatments made for the New Orleans Garden District movie set by Paramount Pictures, including two opposing panels with coordinating tiebacks and trim, each, l. 125”, w. 57”. [400/700] 930 Victorian-Style Draperies from “The Curious Case of Benjamin Button”, window treatments made for the New Orleans Garden District movie set by Paramount Pictures, including two valances and two pairs of drapery panels with coordinating tiebacks and trim, each, l. 125”, w. 57”. [600/900] Illustrated

180

932 English Monks Chesterfield Leather Sofa, with a ruched top rail and stile, tufted back and scroll arms, the seat fitted with three loose cushions, h. 37”, w. 90‑1/2”, d. 39‑1/2”. [600/900] Illustrated

930

933

933 French Patinated Metal and Black Marble ThreePiece Clock Set, fourth quarter 19th century, the clock with a black marble base decorated with gilt incising, the figural top with a woman and child in classical dress, on either side of the clock, set with Vincenti et Cie works, h. 17‑1/2”, w. 15‑3/4”, d. 7”, and the side garnitures on matching bases, with classical figures of “spring” and “autumn”, carrying baskets of flowers and fruits, h. 15”, w. 4‑3/4”, d. 4‑1/4”. [600/900] Illustrated

934 one of two

934 two of two

934 Joseph Woodson “Pops” Whitesell (American/ Louisiana, 1876‑1958), collection of two black and white photographic prints, sight 10” x 8” and sight 7‑1/2” x 9‑1/2”. Both glazed, matted and framed. [400/700] Illustrated 935 William Woodward (American/New Orleans, 1859‑1939), “Portrait of Ethel, probably Mary ‘Ethel’ Dismukes”, 1919, pastel on paper, signed and dated mid-right, titled lower center, 26‑1/4” x 10‑1/2”. Glazed, matted and framed. [1200/1800] Illustrated

936 937 Arnold E. Turtle (British/Louisiana, 1892‑1954), “815 St. Louis St.”, pencil on paper, titled lower right, artist biography label en verso, sight 10‑1/8” x 7‑3/4”. Glazed, matted and framed. [300/500] Illustrated 937

The title “Ethel” suggests that the pastel offered here 935 is a portrait of Mary “Ethel” Dismukes, a Biloxi artist and teacher, active in the New Orleans Arts Association, who later help William Woodward found the Mississippi Gulf Coast Art Association.

938 Alexander John Drysdale (American/New Orleans, 1870‑1934), “The Marshes Near Pearl River”, oil and wash on paper, signed lower right, sight 29” x 9‑1/4”. Glazed, matted and framed. [800/1200] Illustrated

936 Ellsworth Woodward (American/New Orleans, 1861‑1939), “Munich”, 1892, watercolor on paper, signed, dated, and localized lower right, sight 13‑3/4” x 9‑1/2”. Glazed, matted and framed. Provenance: New Orleans, Louisiana collection. [1000/1500] Illustrated 938

181

941 Michael Ledet (American/Louisiana, b. 1941), “Proto Toufanic No. 1”, acrylic on canvas, signed and dated “’70” mid-right, titled on “The Glade Gallery, New Orleans” label en verso, 16” x 16”. Presented in a thin gallery frame. Provenance: Private collection, New Orleans, Louisiana; The Glade Gallery, New Orleans, Louisiana. [300/500]

939 939 Alexander John Drysdale (American/New Orleans, 1870‑1934), “Marsh Landscape”, 1916, oil and wash on paper, signed lower right, sight 6” x 19”. Glazed, matted and framed. [600/900] Illustrated

942 Carolyn Wogan Durieux (American/Louisiana, 1896‑1989), “New Orleans Jazz”, cliche verre, artist proof, titled in pencil lower left, signed lower right, sheet 19‑3/8” x 15‑3/4”. Unframed. [700/1000] Illustrated

940 Caroline Wogan Durieux (American/ Louisiana, 1896‑1989), “Under Water”, color lithograph, 1957, printed on “B.F.K Rives” paper, signed lower right, edition 7/15, and titled lower left, sight 20” x 16‑1/2”. Glazed, matted and framed. [400/700] Illustrated 940 943

942 182

944

943 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997), “Romantic Triple Decker”, 1973, color lithograph collage on paper, signed, titled, dated and numbered “48/75” lower margin, sight 22” x 25”. Glazed, matted and framed. [400/700] Illustrated 944 Colette Pope Heldner (American/New Orleans, 1902‑1990), “Marchand’s Tin Shop - Rue Royale, New Orleans”, 1944, oil on canvas board, signed lower right, signed, dated, titled and inscribed en verso, 19‑3/4” x 15‑3/4”. Framed. [700/1000] Illustrated

948 American School (Contemporary), “Musician’s Studio”, oil on wood panel, illegibly signed lower right, 9‑1/4” x 11‑3/4”. Presented in a handsome frame. [400/700] 949 Louisiana School (Contemporary), 950 “Saxaphone Player on a Balcony”, oil on canvas, signed lower left “S Stehl.”, 29‑3/8” x 15‑1/2”. Framed. [300/500] 950 George Rodrigue (American/Louisiana, 1944‑2013), “The Class of Marie Courrege”, poster, signed lower right, ca. 1975, created to commemorate artists exhibition award at the Paris Salon, sight 27” x 18”, glazed, matted and framed; accompanied by The Cajuns of George Rodrigue, special signed edition for Louisiana Bicentennial, Oxmoor House, Inc., Birmingham, 1976. [700/1000] Illustrated

945 945 James Louis Steg (American/Louisiana, 1922‑2001), “Picnic Scene”, etching and aquatint on paper, “A/P 9”, signed lower right, titled lower left, sight 24‑1/2” x 35”. Glazed, matted and framed. [500/800] Illustrated 946 George Valentine Dureau (American/New Orleans, 1930‑2014), “Mardi Gras New Orleans, A Carnival Bestiary”, hand-augmented silkscreen from the artist’s proof, signed lower center, titled lower left “A Carnival Bestiary” and further inscribed lower right, accompanied with a personalized note from the artist, sight 35” x 23”. Glazed, matted and framed. [800/1200] 947 Robert Wadsworth Grafton (American/ English, 1876‑1936), “Portrait of a Gentleman with His German Shepherd”, 1921, oil on canvas, signed and dated lower right, 44” x 33”. Framed. [800/1200] Illustrated

951 951 George Rodrigue (American/Louisiana 1944‑2013), “By the Light of the Journey”, 1997, silkscreen print on matte board, signed lower left “Rodrigue” and numbered lower right “515/800”, sight 23” x 31”. Unframed. [1000/1500] Illustrated

947 183

953 George Rodrigue (American/Louisiana, 1944‑2010), “The Blues Are Pulling Me Down with Moon”, 1992, silkscreen, signed “George Rodrigue” and numbered 45/90 lower right, sight 14‑1/2” x 22‑1/2”. Glazed, matted and framed. [1000/1500] Illustrated 954 George Rodrigue (American/Louisiana, 1944‑2010), “Home on The Moon”, 1991, lithograph, signed “G. Rodrigue” lower right, sight 10‑5/8” x 22”. Glazed, matted and framed. [1000/1500] Illustrated

952 952 George Rodrigue (American/Louisiana, 1944‑2010), “Rodrigue at McLean County Art Center Exhibition Print”, 1993, silkscreen, signed lower center “Rodrigue”, numbered 88/110 lower left, sight 23” x 33‑1/2”. Glazed, matted and framed. [800/1200] Illustrated 955

956

955 George Bauer Dunbar (American/Louisiana, b. 1927), “Heart”, platinum leaf over red and black clay, signed lower center, 13‑7/8” x 12”. Framed. [2500/4000] Illustrated 956 George Bauer Dunbar (American/Louisiana, b. 1927), “Heart”, platinum leaf over black clay, signed lower center, 13‑1/4” x 12”. Framed. [2500/4000] Illustrated

953

957 957 Paul Michael Wright (American/New Orleans, b. 1993), “Massive Leak of Horror”, oil pastel on paper, signed lower right on mat, signed en verso, sight 10” x 30”. Attractively glazed, matted and framed. [700/1000] Illustrated 954

184

958 958 Collection of Three Pieces of Aesthetic Period “Greyhound” Silverplate, fourth quarter 19th century, including a Reed & Barton fruit stand, h. 7‑1/4”, dia. 9‑1/8”, and sweetmeat basket, h. 11” (with handle), l. 9‑1/2”, and an English centerpiece with glass tiered dish and central trumpet vase, h. 18‑1/2”, dia. 7”, all decorated with figural greyhounds. [500/800] Illustrated

960

961 Three S. Kirk & Son Lady’s Silver Dresser Articles, fourth quarter 19th century and later, Baltimore, Maryland, including a Baltimore standard (.917) silver cologne bottle, h. 6‑1/4”, and a sterling silver powder jar retaining the original silver-handled marabou puff, dia. 4‑1/4”, both monogrammed on the underside, together with a mid-20th-century open cuff bracelet, w. 2‑1/2”, inside circumference 6‑1/2”, each decorated all over with floral repousse in the traditional Baltimore manner, 12.21 total t. oz. [300/500] Illustrated

959 959 Three Pieces of Silver and Silverplate Tableware, second half 19th century, including a Dutch footed oculus-cut glass cake basket with .833 silver swing handle, hallmarked Amsterdam, 1865, by Jan Arend van Maarseveen, dia. 11”, an American silverplate pear-shaped insulated pitcher with guilloche decoration, and pear finial, h. 9‑3/4”, and an English silverplate revolving vegetable dish with reeded handles and feet, w. 15‑1/4”. [300/500] Illustrated 960 American Neo-Grec Silverplate Footed Platter, fourth quarter 19th century, oval with reticulated rim and beaded edge, the plateau engraved with a band of large palmettes, raised on four ball-and-claw feet, monogrammed “MWB”, l. 21”, w. 16”. [400/700] Illustrated

961

962 Three Baltimore Sterling Silver Dishes, first quarter 20th century, by Jenkins & Jenkins, comprising two small wine coasters, dia. 5‑7/8”, and an oval bread tray, l. 11‑1/2”, decorated all over with floral repousse in the traditional Baltimore manner, variously monogrammed, 20.61 total t. oz. [300/500] Illustrated

185

966 Two Tiffany & Co. Sterling Silver Bowls, first quarter 20th century, New York, New York, including an oval bonbon dish with pierced lattice rim with shaped rocaille edge, monogrammed “MLL”, l. 7”, and a circular fruit/vegetable bowl with reticulated rim, monogrammed “MK”, dia. 8‑1/2”, 16.27 total t. oz. [400/700] Illustrated 962 963 South American .900 Silver Plateau, 20th century, circular and decorated with repousse grape clusters on a hammered ground, with “Chippendale”-shaped inner rim fitted with a conforming beveled mirrored plate, dia. 18”. [400/700] Illustrated 964 Peruvian .900 Silver Platter, 20th century, in the Spanish Colonial taste, oval with conforming well and shaped and applied scrolling rim, 18” x 12”, 24.27 t. oz. [400/700]

966

963

967 American Silverplate “Vintage” Tray, mid-20th century, oval with reticulated rim, decorated with cast and applied “vintage” rim, handles and feet, the plateau engraved with a rococo scroll band centering a cartouche monogrammed “EPR”, 27‑3/4” x 19‑1/4”. [350/500] Illustrated

967

965 965 American Sterling Silver Flower Basket, ca. 1900, oval with lobed rim and swing handle, decorated with paterae and pieced gallery and flower basket rim, monogrammed “H”, h. 8‑3/4” (15‑3/4” with handle), l. 12”, w. 8‑5/8”, 25.51 t. oz. [500/800] Illustrated 968 186

968 Two American Silverplate Center Bowls, third quarter 20th century, by Webster/Wilcox, Meriden, Connecticut, circular with everted wavy rim decorated with pierced gallery and applied rococo banding, one footed, the other monogrammed “ELE”, dia. 13”. [300/500] Illustrated

971 Tiffany & Co. “Vine” Pattern Sterling Silver Bonbon Spoon, the pattern designed in 1871 by Edward C. Moore (1827‑1891), New York, in the “daisy motif”, monogrammed “HWMcN”, l. 5‑1/4”, 1.31 t. oz. [300/500] Illustrated

971

969 972 969 Wallace “Rose Point” Sterling Silver Center Bowl, the pattern designed in 1934 by William S. Warren (1888‑1965), Wallingford, Connecticut, dia. 11‑3/4”, 16.86 t. oz. [350/500] Illustrated

970

970 American Sterling Silver Platter, mid-20th century, by International Silver, Meriden, Connecticut, circular with narrow floral scroll edge, dia. 14”, 20.81 t. oz. [350/500] Illustrated

972 Eighty-One-Piece Set of Tiffany & Co. “Castilian” Sterling Silver Flatware, the pattern designed in 1929 by Arthur LeRoy Barney (1884‑1955), comprising eight nine-piece place settings (two iced tea spoons lacking), with eleven additional place pieces and four serving pieces, no monograms, 101.04 total t. oz., presented in a fitted Hagerty cloth-covered drawer insert with zippered closure, 12‑1/2” x 19‑1/2”. Detailed list of pieces available on request. [3000/5000] Illustrated 973 Pair of Cartier Modernist Sterling Silver Candlestands, third quarter 20th century, New York, each of hemispherical form with recessed candlesocket, h. 1‑1/4”, dia. 4‑1/2”, 7.54 total t. oz. [300/500] Illustrated 973 187

978 Arthur Togyessy (Hungarian, 1853‑1920), “A Lady Admiring a Painting”, oil on wood panel, signed lower right, 6” x 4‑1/4”. Framed. [450/700] Illustrated

974 974 American Federal Mahogany D-End Dining Table, ca. 1800, the aprons with string-inlaid details, consisting of a pair of demi-lune swing-leg end tables, h. 31”, w. 54”, d. 28”, and a central drop-leaf table, h. 31”, w. 54”, closed l. 23”, open l. 69‑1/2”, and an extra leaf, w. 54”, l. 20‑3/4”, total extended l. 146‑1/4”. [1200/1800] Illustrated 975 American Federal-Style Mahogany and Parcel-Gilt Looking Glass, early 20th century, with a brokenarch pediment with gilt urn finial, the sides dressed with gilded bellflowers, h. 60”, w. 28”. [400/700] Illustrated

975

976 Federal-Style Mahogany and Parcel-Gilt Mirror, 20th century, the bracketed mahogany veneer frame trimmed with gilt acanthus and floral carving, the broken-pediment top framing an upwardreaching gilt eagle, h. 58‑1/2”, w. 31‑3/4”. [500/800] Illustrated 977 Diminutive FederalStyle Gilt and Mahogany Mirror, fourth quarter 19th century, the urn-form flame finial above a mahogany body with a central oval floral decoration, flanked by a pair of like-carved bellflowers, h. 23‑1/2”, w. 14‑3/4”. [400/700] Illustrated

188

979 Continental School (Fourth Quarter 19th Century), “Feeding Dolly”, oil on copper, signed “M. Montane” lower right, 8‑3/8” x 6‑5/8”. Framed. [300/500]

977

980 After Frederic Remington (American, 1861‑1909), “Cowboy”, 20th century, “@H” stamped on self-base, raised on a stepped granite plinth with brass artist plaque, overall, h. 9‑5/8”, w. 12‑1/2”, d. 6‑1/2”. [400/700] Illustrated 978

980

976

981 Pair of Hammered Aluminum-Clad Wood Horses, first quarter 20th century, the prancing steeds carved in carousel style and mounted on shaped plinths with wheels, h. 52”, l. 55‑1/2”. [800/1200] Illustrated 982 Colonial Revival Bronze Lantern, third quarter 20th century, stamped “Atlas Sound Corp., Brooklyn, NY”, of octahedron form, the top fitted with an electrical socket, the glass panels and speakers now lacking, h. 28”, w. 17”, d. 17”. [500/800] Illustrated

987 Large Cypress Wall Mirror, the deeply molded shadowbox frame with a large overhanging cornice molding, the frame composed of salvaged antique building materials, h. 98”, w. 65”, d. 5‑1/2”. [500/800] Illustrated

987

988 Continental School (20th Century), “Alpine Village Scene”, oil on board, signed “M. Gasser” lower right, 22” x 26‑1/2”. Framed. [600/900]

981

986

982

983 Colonial Revival Mahogany Four-Post Bed, 20th century, the headboard with a swan’s neck pediment, and finialed and turned baluster posts carved with be-ribboned swags and sheaves of wheat, h. 80‑1/2”, inside, w. 60‑1/2”, l. 82”, outside, w. 65‑1/2”, l. 88‑1/2”. [300/500]

989 Laszlo Neogrady (Hungarian, 1896‑1962), “Winter Landscape”, oil on canvas, signed “Neogrady Laszlo” lower right, 24‑1/8” x 30”. Framed. [2000/4000] Illustrated

989 990 American Late Victorian Quarter-Sawn Oak Server, fourth quarter 19th century, in the manner of R. J. Horner, New York, and bearing a celluloid label inside the right drawer: “J. B. Van Sciver Co., Camden, N.J.”, the top with a gadrooned edge and fitted with two sideby-side drawers and supported by female caryatids, joined by a medial shelf and another shelf below, raised on heavy carved paw feet, h. 43‑1/2”, w. 50”, d. 22‑1/2”. [600/900] Illustrated

984 Pair of Colonial Revival Brass and Iron Andirons, 20th century, with pineapple finials on reeded urns supported by paw feet, h. 21‑1/2”, w. 10‑1/2”, d. 20”. [300/500] 985 Colonial Revival Blown Glass Hurricane Shade, mid20th century, with a folded foot rim, h. 17”, dia. 6‑1/4”. [200/400] 986 Arts and Crafts Hand-Hammered Silvered Iron SixLight Chandelier, early 20th century, the suspended ring fitted with six torcheres, electrified, h. 31”, dia. 29‑1/4”. [400/700] Illustrated 990

189

991 American Brass, GiltMetal and Onyx Piano Lamp, fourth quarter 19th century, on cabriole legs, h. 52”, w. 12”, d. 12”. [200/400] Illustrated 992 American Brass, GiltMetal and Onyx Piano Lamp, fourth quarter 19th century, on cabriole legs, h. 46‑1/2”, w. 15”, d. 15”. [200/400]

997 Rare Set of American Brilliant Period Cut Glass, ca. 1900, including twelve finger bowls and underplates cut with hobstars and fans, h. 3”, dia. 6‑1/2”, and a pedestal stand in Hawkes “Cobweb” pattern, h. 1‑1/2”, dia. 10” (25 total pieces). [300/500] 998 Three-Piece Collection of American Brilliant Period Cut Glass, ca. 1900, including a hobstar-cut jelly compote with a stepped base, h. 6‑1/4”, an unusual baluster vase, h. 11”, and a hobstar-cut pitcher, h. 10‑1/4”. [300/500] 991

999 Signed Hawkes American Brilliant Period Water Set, ca. 1900, including a pitcher, h. 8‑1/2”, and six tumblers, h. 4”, with engraved signature. [300/500]

993

993 Eleven-Piece Set of Moser-Style Raised Gilt and Colored Glass Stemware, the tulip-form vessels decorated with alternating cartouches of grapes and roses, the gilt-rimmed bases with fleurs-de-lis, h. 7‑3/8”. [900/1200] Illustrated 994 Set of Four Quezal Gold Aurene Glass Electric Shades, of bell form and etched “Quezal” along the inner lip, h. 5”, dia. 4‑1/4”. [400/700] 995 Art Nouveau-Style Pairpoint Patinated Metal Lamp Base, first quarter 20th century, set with a Tiffin glass shade of later origin, a Pairpoint label in the interior, h. 15”, dia. 9”. [400/700] 996 Two-Piece American Late Victorian Walnut Bedroom Suite, fourth quarter 19th century, comprised of an armoire and dressing bureau, each with beveled mirrors, the double-door armoire with a foliate-carved crest, h. 104”, w. 64‑1/2”, d. 24”, and the dresser with a Tennessee brown marble top, h. 82‑3/4”, w. 50‑1/4”, d. 22‑1/2”. [800/1200]

190

1000 1000 Four-Piece Collection of American Brilliant Period Cut Glass, ca. 1900, including a tray richly cut with hobstars and pinwheels, w. 14”, d. 7‑3/4”, a celery dish cut with hobstars and palm fronds, w. 11‑1/4”, d. 4‑1/2”, an oval dish cut with hobstars, w. 7”, d. 5‑1/4”, and a small round bowl with ogival sides, h. 2”, dia. 5‑1/2”. [300/500] Illustrated 1001 American Late Victorian Mahogany Four-Door Bookcase, ca. 1900, with a molded overhanging cornice and four glazed doors below, the corners with blind fretwork pilasters and Ionic capitals at the top, h. 56‑1/2”, w. 96”, d. 15”. [500/800] 1002 Extensive Collection of European Ruby and Cranberry Glass, fourth quarter 19th century, including a pokal, h. 18‑1/4”, a vase, h. 12”, an engraved cruet, h. 13‑1/4”, two decanters, h. 9‑1/4”, a bowl, dia. 5”, a stick vase, h. 7‑1/4”, a set of four dishes, w. 4”, a pair of vases, h, 4‑3/4”, five faceted salts, dia. 1‑1/2”, six salts in silverplated holders, dia. 1‑1/2”, a vase with a paperweight base, h. 10‑3/4”, and a contemporary pillar-molded vase, h. 9”. [400/700]

1003 American Mahogany Dental Cabinet, early 20th century, the interior fittings labeled “The American Cabinet Co. Two Rivers, Wis. USA”, the recessed upper section with etched pressed glass doors and a fitted milk glass interior, the top in like glass, the case with two banks of six shallow drawers over a deep drawer, with milk glass interior fittings, the knobs with motherof-pearl ornament, raised on fluted and tapering legs, h. 58‑1/4”, w. 40‑1/2”, d. 14‑1/2”. [800/1200] Illustrated

1006 1007 Victor Casenelli (American/Ohio, 1868‑1961), “Native American Chief”, watercolor on paper, signed lower left, 20” x 12‑1/4”. Glazed and framed. [600/900] Illustrated 1007 1003 1004 Near Pair of American Renaissance Revival Ebonized Sidechairs, third quarter 19th century and later, each with an oval padded back and foliate-carved crest, raised on turned legs, h. 39”, w. 22”, d. 21” and h. 38”, w. 19”, d. 18”. [500/800] 1005 Continental Brass and Glass Hanging Kerosene Light, fourth quarter 19th century, the scroll-decorated brass harp holding a milk glass font with blue Greek-key decoration, under a milk glass shade, now electrified, h. 24‑1/2”, dia. 14‑1/2”. [300/500] 1006 American/French School (19th Century), “Landscape with Figures/Basket Carriers”, oil on wood panel, signed lower right “J. Corrise”, possibly for Jean Corrise (b. 1833), 5‑1/2” x 10‑3/8”. Presented in a period giltwood frame. [600/900] Illustrated

1008 1008 Peter Alfred Gross (American, 1849‑1914), “Ducks Beside a Waterway, Probably the Harbor Inlets of St. James, New York “, signed and localized “St. James” lower left, 19” x 26‑1/2”. Framed [1500/2500] Illustrated

191

1009 A. L. Barnes (Late 19th Century/Early 20th Century), “Forest Path Outside the Castle Walls”, gouache on card stock, signed lower right, sight 13‑1/2” x 17‑5/8”. Glazed and presented in a period giltwood and gesso frame. [800/1200] Illustrated

1012 1012 American School (20th Century), “Seascape”, oil on board, signed lower right “A. Burnham”, 4‑7/8” x 9‑5/8”. Framed. [400/700] Illustrated

1009 1010 A. D. Greer (American, 1904‑1998), “Autumnal Landscape”, oil on masonite board, signed lower left, 27‑3/4” x 35‑3/4”. Presented in a frame affixed with artist plaque. [400/700] Illustrated

1013 1013 American School (20th Century), “California Landscape”, oil on canvas, signed lower left, 19‑5/8” x 24‑3/8”. Framed. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [400/700] Illustrated 1014 Dutch/American School (Late 19th Century), “Winter Skating Landscape”, oil on board, signed “Simons” lower right, 12” x 16”. Framed. [400/700] 1010 1011 American School (20th Century), “Rocky Outcrop”, oil on canvas, in the style of Charles Gruppe (American, 1860‑1940), signed lower left, 10” x 13‑1/2”. Framed. [300/500]

192

1015 Don Trumball (American, 20th Century), “Damariscotta, Maine”, oil on canvas, monogrammed and dated lower right “12/88”, 30” x 40”. Framed. [400/700]

1016 John Fincher (American, b. 1941), “October 5 #2”, 1995, and “Danube”, 2007, oils on wood panel, the first signed and dated lower left, the second signed and dated lower right, each signed, titled and dated on “LewAllen Galleries, Santa Fe” labels en verso, each 15‑3/4” x 23‑3/4”. Unframed. Provenance: Private Collection, Santa Fe, New Mexico. [1500/2500] Illustrated 1017 American Classical Mahogany Tester Bed, ca. 1825, Philadelphia, the rare original tester supported by turned and foliate-carved posts, the paneled headboard with a cornucopia-, scroll- and foliatecarved crest, h. 101”, inside, w. 54‑1/4”, l. 77”, outside, w. 61”, l. 82”. [1500/2500] Illustrated

1016 one of two

1016 two of two

1018

1017

1018 American Classical Mahogany Dressing Table, second quarter 19th century, the rectilinear mirror plate in a molded frame supported by turned columns joined to a recessed band of drawers, the base with a marble top and two-over-one drawers, on a tapering columnar pedestal with a concave base and carved paw feet, h. 75”, w. 37”, d. 20‑1/4”. [400/700] Illustrated

193

1022 American School (Second Quarter 19th Century), “Pair of Portraits”, oil on canvas, both unsigned, 30” x 25‑1/8”. Framed alike. [600/900]

1023 1019

1019 American Classical Mahogany Chest, second quarter 19th century, the case with a pair of projecting drawers and a deep drawer with cross-banded perimeter, over a bank of three graduated drawers, flanked by foliate-carved pilasters, raised on carved and turned feet, the drawers with pressed glass pulls, h. 49‑1/2”, w. 46‑3/4”, d. 22”. [400/700] Illustrated

1024

1023 American School (Fourth Quarter 19th Century), “Portrait of a Man”, oil on board, possibly signed “Buritk” lower right, 21‑3/8” x 17‑1/2”. Framed. [500/800] Illustrated

1027 1020

1021

1020 American School (19th Century), “Portrait of a Gentleman”, oil on canvas, unsigned, 30” x 25”. Framed. [500/800] Illustrated

1024 American School (19th Century), “Portrait of a Gentleman”, oil on canvas, unsigned, 29‑3/4” x 24‑3/4”. Framed. [400/700] Illustrated

1021 Augustus Vincent Tack (American, 1870‑1949), “Portrait of a Lady in a Green Gown, Possibly the Daughter of the Artist”, oil on canvas, unsigned, old label en verso with artist, title and provenance, 40” x 29”. Framed. Provenance: Estate of Agnes Gordon Tack; Private collection. [600/900] Illustrated

1025 American Classical Mahogany Drop-Leaf Table, ca. 1825, the single-board top flanked by like-shaped drop leaves, raised on acanthus-carved legs on brass cup casters, h. 29”, w. 39”, d. 26‑1/2”, extended l. 55”. [400/700]

194

1026 Two American Painted Cast Iron Door Stops, first quarter 20th century, in the form of Boston terriers, h. 9”, w. 7” and h. 10”, w. 7‑1/4”. [300/500] 1027 American Classical Mahogany Games Table, ca. 1825, Philadelphia, the fold-over top over a molded apron with foliate-carved corner blocks, on a column with like carving, joined to a concave platform on foliatecarved paw feet, h. 29‑1/2”, w. 35‑1/2”, d. 17‑1/2”. [300/500] Illustrated 1028 American Classical Mahogany Games Table, first quarter 19th century, the fold-over top with a bowed front over a conforming apron, on a lyre-form pedestal with brass strings and molded saber legs ending in brass paw casters, h. 28”, w. 35‑1/2”, d. 19‑1/4”, extended l. 38‑1/2”. [400/700] 1029 American Late Classical Mahogany Looking Glass, second quarter 19th century, the rectilinear beveled mirror plate in a conforming molded figured frame, h. 36‑3/4”, w. 25‑3/8”. [400/700] Illustrated

1029

1030 American Late Classical Mahogany Secretary Bookcase, second quarter 19th century, in two parts, the upper section with a molded cornice over a pair of paneled doors on a cylinder base, the roll top opening to reveal a fitted interior, over a pair of molded drawers and recessed drawers below, the upper and lower case with octagonal columns, h. 93‑1/2”, w. 47‑1/2”, d. 27”. Provenance: By oral tradition, originally part of the furnishings of Selma plantation, home of Gerard Brandon, the 4th Governor of Mississippi, then later moved to his son’s house, Brandon Hall, in the early 1850s, both in Natchez/Washington Mississippi, descended to the current owner. [800/1200] Illustrated 1031 American Late Classical-Style Carved Mahogany Four-Post Bed, from the Ralph Lauren Polo Collection, with acanthus-carved posts in the traditional style and three large turned and carved bars for the headboard, accommodating a standard queen-size box-spring and mattress, h. 89”, inside, w. 61”, l. 81”, outside, w. 71”, l. 91”. [1000/1500] Illustrated

1030

1031

195

1033 1032 American Late Classical Mahogany Pier Mirror, 19th century, the rectilinear mirror plate in a canted and molded figured mahogany frame, now on turned feet, h. 60”, w. 36”. [500/800]

1035 1034 American Late Classical Mahogany Wash Stand, second quarter 19th century, the shaped top fitted with a scroll splash supported by scroll columns joined to a base with a single drawer and turned legs, h. 33‑3/4”, w. 20‑1/2”, d. 18‑1/4”. [400/700] Illustrated 1035 American Late Classical Mahogany Tester Bed, 19th century and later, the canted tester frame on deeply acanthus- and grape-carved posts, the paneled headboard with a cylindrical top rail ending in foliatecarved balls, the antique bed artfully altered by Bruno, New Orleans, to accommodate a near king-size mattress, h. 102”, inside, w. 74”, l. 86”, outside, w. 78”, l. 91‑1/2”. [1800/2500] Illustrated 1036 American Late Classical Mahogany and Cherry Butler’s Chest, second quarter 19th century, the projecting upper drawer opening to reveal a fitted interior, over a bank of three drawers, flanked by scroll pilasters and scroll feet, h. 50‑1/8”, w. 42‑3/4”, d. 22”. [400/700]

1034

1033 American Late Classical Mahogany and Cherry Server or “Jackson Press”, second quarter 19th century, the arched backboard over a case with two banks of tiered drawers over a pair of flush-panel doors, flanked by foliate-carved columns and raised on carved paw feet, h. 57‑1/4”, w. 48”, d. 22”. [400/700] Illustrated

196

1037 American Late Classical Mahogany and Cherry Work Table, second quarter 19th century, the top with shaped drop leaves over a molded and beaded drawer, raised on segmented spiral-reeded legs, h. 29”, w. 18‑1/2”, d. 20‑1/2”, extended l. 33”. [300/500] Illustrated

1037

1040 American Late Classical Mahogany Sideboard, second quarter 19th century, the pedestal ends joined by a lower bowfront center, each section with a molded drawer over a paneled door, flanked by foliate-carved columns and raised on carved paw feet, fitted with cut glass knobs, h. 39”, w. 72‑1/2”, d. 23‑1/2”. [500/800] 1041 American Late Classical Mahogany Bookcase, second quarter 19th century, the highly figured molded and beaded cornice over a pair of glazed doors, on a projecting base with a marble top, raised on bracket feet, h. 87‑1/2”, w. 52”, d. 18”. [600/900] Illustrated 1042 American Late Classical Mahogany Center Table, second quarter 19th century, the figured octagonal top over a cyma-molded apron, raised on an octagonal pedestal joined to a concave platform base with scroll feet, h. 30”, w. 38‑1/2”, d. 38‑1/2”. [500/800]

1041

1043 American Late Classical Mahogany Armoire, second quarter 19th century, the cove-molded cornice over a pair of doors, each with a single figured panel, the base with ogee bracket feet, h. 86‑1/4”, w. 64”, d. 24”. [600/900] 1044 American Late Classical Mahogany Bench, second quarter 19th century, with an upholstered seat and back, the molded top rail on vasiform stiles, molded apron and ogee bracket feet, h. 28‑1/2”, w. 53”, d. 23”. [300/500]

1045

1038 Italian Carved Alabaster Bust of a Child, ca. 1900, the child dressed in a gown with a quiver over one shoulder and feeding a bird resting on one finger, raised on a turned socle, h. 15‑1/2”, w. 8‑1/4”, d. 6”. [500/800] 1039 Antique Italian Composite Marble of a Seated Child, raised on a self-base inscribed at rear “Bicci Fausto Carrara”, h. 25”, w. 10”, d. 14”. [500/800]

1045 American Late Classical Figured Maple and Cherry Slant-Lid Desk, second quarter 19th century, the highly-figured lid with contrasting maple banding, and opening to reveal an interior fitted with a central door and banks of cock-beaded drawers, the case with a projecting drawer over a pair of drawers, all with like contrasting banding and flanked by spiral-reeded pilasters fitted with bone escutcheons, h. 42‑3/4”, w. 40‑1/2”, d. 21‑1/2”. [500/800] Illustrated 1046 Unusual Italian White Marble Bust of a Jolly Violinist, fourth quarter 19th century, on a marble socle, h. 20‑1/2”, w. 9‑1/2”, d. 11‑1/2”. [800/1200] 1047 Italian White Alabaster Pedestal, ca. 1900, of Doric form, on a hexagonal base, h. 40”, w. 10‑1/2”, d. 10‑1/2”. [400/700]

197

1050 Lorenzo de Nevers (Canadian/American, 1877‑1967), “The Fallen Soldiers”, 1898, oil on canvas, signed, dated, and illegibly inscribed lower right, label en verso, 48” x 32”. Framed. [1500/2500] Illustrated

1049

1051 1051 Continental School (20th Century), “Battle Scene”, oil on canvas, unsigned, 28” x 36”. Framed. [500/800] Illustrated 1052 Thai Gilt-Bronze Figure of an Archer, 20th century, the elegant figure ornately dressed, affixed to an ebonized wood base, overall, h. 30”, w. 22‑3/4”. [500/800] Illustrated

1050 1048 Continental Alabaster Bust of a Young Woman, ca. 1900, depicted with downcast eyes and wearing a hat, with beads in her hair, resting on a flat base, h. 10‑1/4”, w. 8‑1/2”, d. 4‑1/4”. [300/500] 1049 Noel Douglas Sickles (American/New York, 1910‑1982), “Illustration from the French and Indian War”, mixed media on paper, signed lower right, sight 10‑1/4” x 14”. Glazed, matted and framed. [300/500] Illustrated

198

1052

1053 Two Bakelite Necklaces, the first necklace composed of round graduated drum-shaped beads with a butterscotch amber color, measuring 13.5 mm to 29.0 mm in diameter, and the second necklace composed of round and oblong graduated drum-shaped beads with a butterscotch and cherry amber color, measuring 12.0 mm to 37.0 mm in diameter, l. 33” and 24”. [400/700] 1054 “Ronjon” Fourteen-Karat Yellow Gold, Sterling Silver and Tusk Necklace and Earring Suite, the boar’s tusk necklace composed of six strands of silver and anodized silver with fourteen-karat yellow gold beads and stamped “Ronjon, Boar’s Tusk, Silver & 14K”, l. 14”, the ear clips composed of tusk and silver, dia. 1‑1/2”, 193.9 grams total weight. [400/700]

1055 Two Ethnic Tribal Amber Necklaces, the first a chainlink dark amber bead necklace with twenty-seven round amber beads measuring 9.0 mm to 28.0 mm in diameter, l. 30”, and the second composed of twentyeight dark amber beads measuring 11.0 mm to 28.0 mm in diameter, separated by brass roundels, two brass pendants, two bear claws, a coin and opposing pendant, and with a large round pendant with chainlink tassels, l. 32”, with pendant, 38”. [500/800]

1056 Thai Shadow Puppet, 19th/20th century, the pigment on carved and pierced leather, surrounded by a dark blue border, framed, sight, h. 50”, w. 41‑1/4”. [600/900] Illustrated 1057 1057 Pair of Thai Singha Painted Wood Carvings, 19th/20th century, the elaborately carved figures inlaid with mirror glass with traces of red and black pigment, h. 61”, w. 20”. [500/800] Illustrated 1058 Whimsical Figural Mahogany and Marble Occasional Table, the shaped inset salmon marble top raised on legs shaped in the form of elephant heads and trunks, the apron mounted with a full-figured turtle, h. 29”, w. 22”, d. 19”. [500/800] 1059 Large Anglo-Indian Mahogany and Cane Sofa in the Neoclassical Taste, the crest rail centered by shell carving flanked by scrolls, with rosette-carved scroll arms and raised on boldly reeded legs, the cane seat and back together with loose seat and back cushions upholstered in silk brocade, h. 37‑1/2”, w. 99”, d. 31”. [400/700]

1056

1060 Anglo-Indian Bamboo and Lacquered Occasional Table, late 19th century, the square top with a lacquer panel of a bird among foliage, and joined to a lower embossed paper shelf by bamboo supports, h. 28”, w. 19‑3/4”, d. 19‑3/4”. [400/700] Illustrated 1061 Chinese Inside-Painted Glass Snuff Bottle on Stand, late 19th/early 20th century, depicting a pair of boys in a landscape on either side, on a pierced and carved wooden stand, bottle, h. 3”, w. 2”. [400/700] 1062 Chinese Carved Shoushan Stone Seal and Brush Washer, Qing Dynasty (1644‑1691), the seal carved from yellow Tianhuang Shoushan stone, inscribed along the side and carved on the underside, with a foo dog on top, h. 2‑5/8”, w. 1‑3/8”, and the brush washer carved from red Tianhong Shoushan stone, the sides decorated with a depiction of three sages in a landscape, with an archaistic mark on the underside, h. 1‑3/8”, dia. 3‑3/4”. [500/800]

1060

199

1063 Chinese Carved Agate Brush Washer and Two Snuff Bottles, Qing Dynasty (1644‑1911), all carved from a vibrant carnelian agate, the brush washer decorated with a motif of flowering vines, h. 1‑1/2”, w. 3‑1/4”, and the snuff bottles covered with prunus limbs, h. 3”, w. 1‑7/8”. [400/700] 1064 Chinese Antique White Jade Plaque, Qing Dynasty (1644‑1911), the fine white jade reticulated carving with reserves depicting a landscape and an inscription in archaistic script, with a wooden stand, jade, h. 2”, w. 3”, overall, h. 6”, w. 4”. [400/700] 1065 Fourteen-Karat Yellow Gold and Jade Pendant, the carved lavender jade pendant suspended from a fourteen-karat gold bail, size 3/4” x 2‑1/2”, 12.8 grams total weight. [300/500]

1069

1069 Chinese Carved Jade Box, Qing Dynasty (1644‑1911), the mottled green and white jade box in the shape of a large peach set among branches, heavy with leaves and ripe fruit, the lid topped with a finial in the form of a bird carrying a peach in its beak, h. 4‑1/2”, w. 5‑1/8”, d. 5‑1/2”. Provenance: Private collection, San Antonio, Texas. [700/1000] Illustrated

1068

1066 Three Small Chinese Antique Carvings, including a lapis lazuli bottle in the shape of a monkey, large peach and a bat, h. 1‑1/4”, w. 2‑1/4”, an angel skin coral carving of a seated monkey, h. 2”, w. 1‑1/2”, and an agate toggle in the form of a peach, l. 2”, w. 1‑3/4”. [400/700] 1067 Chinese Carved Celadon Jade Group of a Monkey and Peaches, Qing Dynasty (1644‑1911), probably 18th century, the very fine celadon jade carving of a monkey clinging to the side of a couple of large peaches, a bat in its right hand, with a carved wooden stand, jade, h. 1‑1/2”, w. 2‑3/8”, d. 1‑1/4”. [400/700] 1068 Chinese Carved Jade Belt Buckle, Qing Dynasty (1644‑1911), probably 18th century, the finely rendered reticulated carving of a dragon and qilin in a pale celadon jade, the figures set among ruyi clouds and the qilin carrying a scepter in its mouth, w. 1/2”, l. 3‑1/4”. [400/700] Illustrated

200

1070

1070 Chinese Carved Jade Brush Washer, Qing Dynasty (1644‑1911), the pale celadon jade finely carved in the form of a blooming prunus blossom surrounded with flowering branches, h. 1‑7/8”, w. 3‑1/2”. Provenance: The estate collection of Judge and Mrs. Everett Dudley, Massachusetts. [400/700] Illustrated 1071 Chinese Antique Carved Jade Urn, Qing Dynasty (1644‑1911), 19th/20th century, the green mottled stone carving of an archaic urn decorated with a taotie motif, and kui dragon handles on the vessel and lid, each with a suspended ring, h. 6‑3/4”, w. 4”. [400/700] Illustrated

1071

1072 Chinese Antique Carved Jade Foo Dog on Stand, the green jade carving of a foo dog standing with his head and tail raised, on a carved wooden stand, jade, h. 4”, w. 5‑1/2”. [400/700]

1075 Chinese Carved Chicken Blood Stone Censer, Qing Dynasty (1644‑1911), 19th century, the carved mottled red and gray stone censer with two chambers, the lid topped with the form of a recumbent dragon, the coiled dragon motif extending across the body of the censer to the three lionform lugs, h. 17‑1/2”, w. 8‑3/4”. [1000/1500] Illustrated

1075

1076 Chinese Carved Jade Figure of Guanyin, Qing Dynasty (1644‑1911), 19th century, the exquisitely rendered figure depicting the goddess of mercy with a young female musician attending her, standing on a lotus base beside a carp and a peacock, with a carved and reticulated wooden stand, jade, h. 13”, w. 8”. [1000/1500] Illustrated

1074

1073 Chinese Soapstone Carving of a Horse, 20th century, the mottled grayish-colored stone of a horse standing beside a tree stump, h. 10‑1/4”, l. 11”. [200/400] 1074 Chinese Antique Carved Jade Horse, the figure of a saddled horse on a base with a key-fret border, with a carved wood stand, jade, h. 4‑1/8”, w. 3‑3/4”. [500/800] Illustrated

1076

201

1078 Fine Chinese Carved Jade Bird Ewer, Qing Dynasty (1644‑1911), the bird-form vessel decorated in shallow relief with a scrolling pattern, carved of pale green stone, resting on four feet, each with three spread toes, suspended rings beneath the beak and tail, the whole on a carved wooden stand, ewer, h. 7”, w. 10”, d. 4”. [1500/2500] Illustrated

1077 1079

1079 Chinese Exquisitely Carved Jade Figure of a Female Immortal, Qing Dynasty (1644‑1911), the finely rendered figure in flowing robes and holding a fly whisk and a tray of peaches, pomegranates and Buddha’s hands, carved in the round of pale green and lavender jadeite, the figure with a reticulated ruyi scepter, on a wooden stand, figure, h. 8‑3/4”, w. 6”, d. 2‑3/4”. [1200/1800] Illustrated

1078

1077 Chinese Jade Carving, Qing Dynasty (1644‑1911), 19th century, carved with eight birds perched on the limbs of a flowering prunus tree in pale green jade, with a carved and reticulated wooden stand, jade, h. 16”, w. 9”. [1000/1500] Illustrated

202

1080 English-Style Gilded Composition Oval Mirror, 20th century, in the Adam taste, the mirror with a segmented surround lined with beading, the exterior surround with a carved bellflower edge, h. 37‑1/4”, w. 27‑1/2”. [400/700] Illustrated

1080

1082 Pair of Handsome English Porcelain Amphora Vases, fourth quarter 19th century, possibly Royal Worcester, the tripartite gold and white “stands” supporting the cobalt vases, decorated with a border of tooled bellflowers, h. 7‑3/4”, dia. 6”. [300/500] 1083 William IV Mahogany Sideboard, second quarter 19th century, the recessed central section with a paneled backpiece and fitted with three paneled and banded drawers, raised on two pedestals, each fitted with a banded drawer over a cupboard door, inset with an arched panel and opening to shelves and drawers, raised on bun feet, h. 46”, w. 88”, d. 28”. [600/900] Illustrated 1084 William IV Giltwood Sofa, second quarter 19th century, the padded rectangular back joined by downswept acanthine-carved sides and padded outscrolled arms to the padded seat, the arms fronted by acanthine-carved scrolling uprights, the whole raised on large feet headed by acanthine capitals and ending in casters, h. 36‑1/2”, w. 90”, d. 29‑1/2”. [1000/1500] Illustrated 1081

1083

1085 William IV Fruitwood and Oak Library Chair, mid-19th century, the padded back joined by like arms on lionmasque uprights to the padded seat, raised on turned toupie legs, h. 35”. [500/800] Illustrated

1085

1081 William IV Mahogany Linen Press, second quarter 19th century, the molded cornice above a case fitted with two paneled cupboard doors, flanked to either side by a columnar upright and opening to a shelved interior, the lower section fitted with two short drawers over two graduated long drawers, raised on ribbed and splayed feet, h. 89‑1/4”, w. 54”, w. 24‑1/2”. [800/1200] Illustrated 1084

203

1086 William IV Mahogany Sideboard, mid-19th century, the mirrored backpiece surmounted by a molded cornice, the rectangular top with a heavily molded edge and raised on two pedestals, each with a paneled cupboard door, one opening to a drawer and two pull-out shelves, the other to shelves and a metallined cellarette drawer, raised on a plinth base, h. 62”, w. 81”, d. 25”. [900/1200] Illustrated

1090 Pair of NeoclassicalStyle Brass-Plated Four-Light Lamps, first quarter 20th century, on Doric-style column-form standards with acanthine arms, the sockets set with molded glass shades, h. 21‑1/2”, dia. 14‑1/2”. [350/500]

1088

1086 1087 Victorian Rosewood Banjo Thermometer, post-1868, with scrolled trim, the thermometer above the barometer, marked “O. Owen, Liverpool” on the dial, h. 39‑1/2”, w. 11‑1/2”. [400/700] Illustrated 1088 William IV Giltwood Tabernacle Mirror, second quarter 19th century, decorated with bundles of reeds framing the mirror on three sides, with black lion’s heads decorating the corner blocks, under an ogee-molded cornice, h. 40”, w. 28‑1/2”. [600/900] Illustrated

1091

1087

1089 William IV Mahogany Child’s Armchair, second quarter 19th century, the shaped crest rail with foliate and anthemion carving, the open arms with scroll ends and on scroll supports, with leaf-carved seat rail and spiral-reeded legs, the seat now in suede upholstery, h. 30‑1/2”. [700/1000]

1093 204

1093 Anglo-Irish School (Late 19th/Early 20th Century), “Portrait of Lieutenant General Sir Thomas Molyneux (1767‑1841)”, after the portrait by an unknown artist in the collection of the Armagh County Museum, County Armagh, Northern Ireland, unsigned, the sitter identified in handwritten inscription en verso canvas, a “Meinhard Galleries” label en verso, 30” x 25”. Framed. [700/1000] Illustrated 1094 British School (First Quarter 19th Century), “A Portrait of Mrs. Goldsmid”, oil on canvas, unsigned, titled and “Mrs. Goldsmid Wife of Mr. A. Goldsmid of Merton Grove Surrey” on canvas en verso, 30” x 25”. Framed. [400/700]

1095 one of four

1095 Collection of Four British Victorian Watercolors, of views of various English country scenes, two by James Morris (19th Century), “The Waterhead... Windermere”, 1894, watercolor on paper, signed lower right, titled en verso, 11” x 18‑1/2”, and “Thalmere...From Witherburn”, watercolor on paper, signed lower left, titled en verso, 11‑1/2” x 18”, each framed; and two signed “Harrison”, “Water Wheel in the Country”, watercolor on paper, signed lower left, 12‑1/2” x 8”, and “Bridge Over the River”, watercolor on paper, signed lower left, 13‑3/4” x 9‑3/4”, each framed. [500/800] Illustrated 1096 Suite of Four William IV Mahogany Sidechairs, mid19th century, each with a rounded open back with a horizontal splat, the padded seat raised on bulbous turned legs ending in peg feet, h. 33‑3/4”. [400/700] Illustrated

1095 two of four 1091 Fine William IV Rosewood Etagere Bookcase, second quarter 19th century, with three shelves raised on turned columns, the upper pair with segmented niches, and a drawer below, raised on trumpet feet, h. 37‑1/8”, w. 18”, d. 14‑3/4”. [400/700] Illustrated 1092 George III Style Cut Glass Five-Light Chandelier, first quarter 20th century, the ball-and-vase stem issuing s-shaped arms alternating with swags of cut glass drops, h. 26”, dia. 24‑1/2”. [400/700]

1096

205

1097 Victorian Rosewood Pier Table in the Rococo Taste, third quarter 19th century, the molded serpentine marble top over a conforming frieze, raised on foliatecarved cabriole legs joined to a serpentine platform base, the back fitted with a mirror plate, h. 37”, w. 42”, d. 17‑1/2”. [500/800] Illustrated

1100 Pair of Regency-Style Cut Glass Hurricane Lamps, 20th century, the elongated shades cut with thumbprints, the interiors fitted with candle sockets, on stepped bases, h. 18‑1/4”, dia. 6‑3/4”. [300/500]

1099

1104

1097

1098 Regency-Style Mahogany Sofa Table, 20th century, the rectangular top with two drop end leaves, over a frieze fitted with two drawers, raised on double ribbed columnar end supports to ribbed splayed legs to ormolu paw feet, h. 29‑3/4”, w. 40‑1/2”, d. 21”, extended l. 58‑1/2”. [400/700] Illustrated

1101 Assembled Three-Piece Regency-Style Cut Crystal Garniture Set, comprised of a bateau-form compote on pedestal, h. 9‑1/4”, w. 12‑1/4”, and a pair of covered sweetmeat urns, h. 18”, dia. 5‑1/2”. [300/500] 1102 Collection of Six Glass Decanters, 20th century, in the Continental and Georgian styles, h. 9‑1/2” to 11‑1/2”, w. 3‑1/2” to 4”. [400/700] 1103 Partial Service of Waterford “Templemore” Cut Crystal Stemware, ca. 1968, Irish, including four water goblets, h. 7”, four hock wine glasses, h. 7‑3/8”, four champagne flutes, h. 7”, four claret glasses, h. 6‑1/2”, three port glasses, h. 4‑1/2”, four 5‑ounce flat tumblers, h. 3‑1/2”, four 10‑ounce flat tumblers, h. 5”, and four juice glasses, h. 5”; together with a Waterford “Kylemore” decanter, h. 10‑3/4”. [400/700]

1098

1099 Pair of Regency-Style Blown Glass Urn-Form Punch Fountains, the sides cut in a lattice pattern with leaf flourishes, the tapered covers with acorn-form knops, h. 25‑3/4”, dia. 7‑1/2”. [300/500] Illustrated

206

1104 Pair of Regency-Style Ebonized and Marble-Top Side Tables, 20th century, each with a demi-lune variegated marble top above a conforming frieze featuring a polychrome scene of various birds and mythical animals amidst delicate scrolling patterns, raised on fluted tapering circular legs with gilt accents, ending in ribbed bulbous feet, h. 33”, w. 49”, d. 21‑1/2”. [1200/1800] Illustrated

1105 English Regency-Style Mahogany Banjo Barometer, mid-19th century, signed by J & N Aprile, Sudbury, set with a level, thermometer and hydrometer, along with a small bull’seye mirror, h. 39‑1/2”, dia. 9‑3/4”. [400/700] Illustrated

1107 Regency Revival Giltwood Three-Part Overmantel Mirror, fourth quarter 19th century, English, set with beveled mirror plates in ebonized, reeded liners, with Corinthian columns flanking each side, the molded table depicting the goddess Cybele in her lion-drawn chariot, h. 35‑3/4”, w. 57‑1/2 . [800/1200] Illustrated

1106 Pair of Neoclassical-Style Candlesticks and a Portrait Bust, including a pair of Ashford Derbyshire black marble candlesticks, mid-19th century, English, on square bases with fluted columnar standards, h. 10‑1/4”, w. 4”, together with a Napoleon III bronze and marble bust of Socrates, third quarter 19th century, French, marked “Socrates”, on a black and variegated marble socle, h. 8‑1/4”, dia. 3‑1/2”. [400/700] Illustrated 1105

1109

1106

1107

1108 Regency-Style Gilt-Tooled Black Leather-Clad Tole Tray on Stand, the oval tray having raised ends with integral handles, raised on a conforming parcel-gilt and ebonized wood stand, h. 23”, w. 26”, d. 15”. Illustrated: Phillips, Betty Lou. Villa Decor. Layton, UT: Gibbs Smith, 2000, p. 107. [300/500] 1109 Regency-Style Brass-Inlaid and -Strung Rosewood and Faux Rosewood Chiffonier, ca. 1900, in two parts, the upper section with a pair of graduated stepped shelves on brass columns, the base with a concave brass-inlaid door over a pair of conforming doors fitted with brass grillwork and pleated silk panels, h. 62”, w. 44‑1/2”, d. 18‑1/4”. [800/1200] Illustrated

207

1113 Pair of English Cut Glass Covered Sweetmeat Jars, 20th century, in the Georgian style, cut in the “Strawberry” pattern, on stepped bases, h. 13‑3/4”, dia. 6‑1/4”. [500/800] Illustrated

1110 1113

1114 Partial Service of Waterford-Style Molded Stemware, including seventeen red wine goblets, h. 7”, sixteen white wine goblets, h. 6‑1/2”, seventeen champagne flutes, h. 7‑1/2”, and seventeen liqueur glasses, h. 4‑1/2”. [500/800] Illustrated 1111

1114 partial

1110 Late Regency Mahogany Work Table, second quarter 19th century, the top fitted with a pierced brass gallery, over a pair of paneled drawers, on a trestle base with turned stretchers and saber-form legs ending with brass paw cups, h. 29”, w. 24”, d. 16”. [700/1000] Illustrated 1111 Late Regency-Style Fruitwood Sofa, mid-19th century, the shaped and padded back surmounted by a curving frame centered by a foliate-applied carving, above a padded and bolstered seat flanked to either end by padded outscrolled arms, raised above a molded frame on splayed legs ending in block feet, h. 37”, w. 85”, d. 27”. [800/1200] Illustrated 1112 Pair of Jasperware Candlestick Lamps, fitted with glass bobeches hung with crystal prisms, on circular molded bases, electrified, with fringe-trimmed shades, base, dia. 7”, overall, h. 22”. [300/500]

208

1115 Anglo-Indian Rosewood Secretary Cabinet, mid-19th century, the molded cornice above a scrolling foliatecarved frieze over two cupboard doors, each inset with a shaped glazed panel, above a paneled fall front opening to a baize-lined writing surface and a variety of drawers and cubbyholes, with two paneled cupboard doors below, the whole flanked to either side by foliatecarved reeded pilasters and raised on stylized paw feet, h. 89‑1/2”, w. 60”, d. 25”. [1200/1800] Illustrated

1118 After Alexander Phimister Proctor (American, 1860‑1950), “Arabian Stallion”, cast signature and copyright date “1895” inscribed on self-base, h. 12”, l. 18”, d. 4”. [300/500] Illustrated

1117 1115

1118

1116

1116 Pair of Anglo-Japonesque Bamboo Fern Stands, 20th century, each with a circular polychrome top mounted to a hexagonal bamboo base with splayed legs, h. 48”, dia. 15‑1/2”. [400/700] Illustrated 1117 Continental Patinated Bronze of a Horse, early 20th century, on a rectangular marble plinth, h. 12‑5/8”, w. 12”, d. 5”. [500/800] Illustrated

1119 Antique French Gilt-Bronze Animalier Figure of a Mule’s Head, mounted on a variegated marble pedestal, cast monogram “F.A.M.” with Siot-Paris foundry seal on rear truncation and socle, h. 4‑1/2”, w. 2”. [300/500] Illustrated

1119

209

1121

1120 Three-Piece Group of Antique Equestrian Art, including Alfred de Dreux (French, 1810‑1860), “Quoniam”, color lithograph, signed and titled in plate, published by Rittner et Goupil, Paris, 1839‑1840, sight 13” x 16‑1/2”, glazed, matted and framed; together with two brass reliefs of thoroughbred horses in opposing stances, 3‑1/8” x 3‑1/2”, glazed and in matching presentation case frames, overall, 11” x 12‑1/2”. [400/700] 1121 Continental Patinated Bronze of a Horse, 20th century, on a rectangular self-base, h. 29‑1/2”, w. 33”, d. 9”. [1500/2500] Illustrated 1122 After Henry Alken (English, 1785‑1851), group of four hand-colored Leicestershire hunting etchings, 1827, including “The Meeting”, “Getting Away”, “Full Cry” and “The Death”, all (Published by J. Watson, 7 Vere Street, London, Jan. 7, 1827), each with “T. Fielding Sculp.” lower right, “Station’s Galleries Rare Etchings and Engravings” label en verso, sight 13” x 19‑7/8”. All glazed, eglomise-matted and framed. [400/700] Illustrated 1123 Nineteenth-Century English Color Engraving After a Painting by John Frederick Herring (1795‑1865), engraved and colored by Richard H. Woodman, published London, Oct. 1842, pencil signed “Chris Wilson” lower margin, sight 23” x 20”. In an elaborate giltwood frame surmounted by a gilt-metal horse inscribed “The Colonel, 1828.” [400/700]

1122 one of four

1122 two of four

210

This engraving was issued as a commemorative work in honor of the late Christopher Wilson, Esquire (1763‑1842). Mr. Wilson, affectionately known as “Father of the Turf”, was a horse owner and key figure in English horse racing. After the thoroughbred “The Colonel” won the St. Leger’s Stakes at Doncaster, Herring did a picture/sketch of the horse with Mr. Wilson astride him. King George IV was so impressed with Herring’s sketches of The Colonel that, according to the Druid, the King said, “Buy, Buy” and “never rested till he had bought the horse” when he was offered at auction that same year. References: “Obituaries”. The Sporting Magazine 25:2 (1842): 150; Erigero, Patricia. “Thoroughbred Heritage Portraits”. 2005. web.: tbheritage.com/Portraits/Whisker.html#TheColonel 1124 Set of Eight English Hand-Painted Dessert Plates, decorated with topographical scenes, the melon and green borders with gilt tracery, marked “4” over “3498”, dia. 9”. [300/500]

1125 Six-Piece George III-Style Mahogany Parlor Suite, early 20th century, consisting of a settee, three armchairs and a pair of sidechairs, all with rectangular backs over interlacing arch pierced splats, the padded seats raised on tapering square legs joined by H-form stretchers, settee, h. 36‑1/4”, w. 40‑1/2”, d. 21‑1/2”, chairs, h. 38”. [1200/1800] Illustrated 1126 Group of Six British HandColored Engravings of Military Scenes, 19th century, including “The Recruit”, The Soldier’s Life #1; “The Bivouac”, The Soldier’s Life #3; “The Assault”, The Soldier’s Life #4; “The Return Home”, The Soldier’s Life #5; “The Halt” and “The Chelsea Pensioner” (London, published by William Spooner, 377 Strand, printed by W Kohler 22 Denmark), The Soldier’s Life #6; sight 12‑7/8” x 10”. All attractively glazed, matted and framed alike. Provenance: The Flatt Collection. [400/700] Illustrated

1125

1126 one of six

1127 Group of Eight British and American Steel Plate Engravings of New York and New England, 19th century, including “Sing Sing Prison and Tappan Sea”, after Thomas Creswick (British, 1811‑1869), engraved by Henry Adland (British, 19th Century), published London 1839; “Hartford, Connecticut”, engraved by Timothy Cole (American, 1852‑1931), published by J & F Tallis, London & New York; “State Street Boston”, engraved by Samuel Lacey (British 1787‑1859), published London, 1837; “Village of Sing Sing”, engraved by Robert Wallis (British, 1794‑1878), published London, 1837; two copies of “Village of Catskill”, engraved by J. C. Bentley (British, 19th Century), published London, 1839; “Eastport and Passamaquoddy Bay”, engraved for The Ladies Wreath; and “Park Fountain, New York”; sights 5” x 7‑1/4” to 7” x 8‑1/4”. All glazed, matted and framed alike. [400/700]

1126 two of six

1128 Group of Six British and American Historical Engravings, 19th century, including “Map of The United States of America and Nova Scotia”, engraved by Fenner, Sears and Company, published by T. Hinton and Simpkin, London; “The Coronation of Charlemagne”, after Friedrich August von Kaulbach (German, 1850‑1920); “Hon. Anne Damer”, after Angelica Kauffman (Austrian/British, 1741‑1807); “Lamps”, after John Farey (British, 1766‑1826), engraved by Wilson Lowry (British, 1762‑1824); “Marg”, and “Bertie Brown”, sights 5‑1/4” x 7” to 10‑1/2” x 14‑1/4”. All glazed, matted and framed alike. [300/500]

211

1129 Group of Seven British and American Steel Plate Engravings of New York and Pennsylvania, 19th century, including “View of The Erie Canal Near Little Falls”, engraved by J. T. Willmore (British, 19th Century), “The Catterskill Fall”, engraved by E. Benjamin (British, 19th Century), “The Indian Falls Near Cold Springs”, engraved by E. Benjamin (British, 19th Century), “Entrance to The Hudson Highlands, Near Newburgh”, engraved by Robert Wallis, (British 1794‑1878), all four after William Henry Bartlett (British, 1809‑1854); “Head Waters of the Juniata Allegheny Mountains, Pennsylvania”, after Thomas Cole (American, 1801‑1848), engraved by Dennison Kimberly (American, 1814‑1863); “The Erie Canal” and “Bowling Green Fountain”; sights 3‑1/2” x 3‑3/4” to 10” x 7‑1/4”. All glazed, matted and framed alike. [400/700] Illustrated

1129 one of seven

1130 Group of Five British and American Copperplate Engravings of Southern Scenes, third quarter 19th century, including “The Valley of The Shenandoah”, after William Henry Bartlett (British, 1809‑1854), engraved by James Tibbits Wilmore (British, 1800‑1863); “Kosciusko Monument”, after William Henry Bartlett (British, 1809‑1854), engraved by Robert Wallis (British, 1794‑1878); “Prairie Near The Arkansas River”, published by Hermann J. Meyer, New York; “Confederate Generals”, engraved by John Chester Buttre (American, 1821‑1893); and “View of Charleston in 1743”; sights 4‑3/4” x 7‑1/4” to 8‑3/4” x 5‑3/4”. All glazed, matted and framed alike. [500/800] Illustrated 1131 Suite of Five British Copperplate Engravings from “Finden’s Beauties of Moore”, 1845, published by Chapman and Hall, London, including “St. Jerome’s Love”, after Henry O’Neill (Irish, 1798‑1880); “Love’s Young Dream”, after Alfred Thomas Derby (British, 1821‑1873); “The Casket”, after William Maddox (British, 1813‑1853), all three engraved by Edward Francis Fender (British, 1791‑1857); “Black and Blue Eyes”, after William Powell Firth (British, 1819‑1909), engraved by William Camden Edwards (Welsh, 1777‑1855); and “Lesba”, after William Powell Firth (British, 1819‑1909), engraved by William Holl The Younger (British, 1807‑1871); all depicting scenes from Irish Melodies by Thomas Moore (Irish, 1779‑1852), sights 13‑1/2” x 10‑1/2”. All glazed, matted and framed alike. [300/500]

1133

1132 Victorian Mixed Hardwood Cabinet, fourth quarter 19th century, the molded cornice over a case fitted with a pair of doors, above a lower projecting, single-drawer case, on a plinth base, ending in block feet, h. 79”, w. 33”, d. 17”. [300/500] 1133 Victorian Mahogany Sling Chair, third quarter 19th century, the downswept back supported by open scrolled arms and raised on turned legs, h. 39”, w. 27”, d. 34”. [400/700] Illustrated 1130 one of five 212

1134 Victorian-Style Brass and Wood Hat and Coat Tree, 20th century, the barley-sugar-turned wooden standard with four scrolled coat arms and four hat arms, and raised on brass paw-footed cabriole legs, h. 68‑1/2”, dia. 16‑1/2”. [400/700] 1135 Pair of English Staffordshire Pottery Spaniels, fourth quarter 19th century, h. 13”, w. 9‑1/4”; together with a Spaniel Head Bank, h. 4‑3/4”, w. 4‑1/2” (three total pieces). [300/500] Illustrated 1135

1136 Victorian Mahogany Console Cabinet, third quarter 19th century, the top edge with a complex molded frieze with a pair of side-by-side drawers fitted along the front and above a pair of paneled doors, h. 36”, w. 53‑1/2”, d. 19‑1/2”. [400/700]

1138

1137

1137 Victorian Rosewood and Inlaid Tilt-Top Table, third quarter 19th century, the rectangular top with mixed woods and mother-of-pearl inlay depicting flowers, butterflies and ribbons, supported by a solid rosewood standard with four outscrolled legs, h. 29”, w. 19”, l. 24”. [500/800] Illustrated 1138 Group of Two Victorian Mahogany Canterburies, mid-19th century, one with four slatted compartments above a single side drawer and raised on tapering square legs, h. 20”, w. 19”, d. 12‑1/2”, and the other with three slotted compartments and a shaped front rail above a single end drawer, and raised on turned circular legs ending in casters, h. 22”, w. 20”, d. 15”. [500/800] Illustrated

1137 detail 213

1139 Silverplate Bouillotte Lamp, contemporary, by Royal Castle, Sheffield, in the Empire taste, with four scrolling arms, conical shade, and raised on three haunched paw feet, not electrified, h. 23‑1/2” (extending to 29‑1/2”), dia. 15”. [600/900] Illustrated

1140 Two American Silverplate Buffet Dishes, mid-20th century, by the Continental Silver Company, Brooklyn, New York, including a large casserole dish, oval with gadrooned rocaille rim, fitted with Pyrex dish, 24” x 12‑1/2”, and a covered entree dish, lobed oval with rocaille banding and ring finial, 20” x 14‑3/4”, both with gadroon-mounted faux ivory handles. [300/500] Illustrated

1139

1140

1141 Pair of Silverplate Wine Coolers with Four Wine Coasters, contemporary, by Royal Castle, Sheffield, in the Georgian taste, the campana-form coolers with acanthus-mounted handles and narrow gadrooned edging, h. 11‑3/4”, dia. 9‑1/4”, the coasters of everted cylindrical form, with wooden base and shell-andscroll rim, h. 2‑1/4”, dia. 7”. [1200/1800] Illustrated 1142 Three American Silverplate Trays, second half 20th century, in the rococo taste, including an English Silver Mfg. Co. circular platter, dia. 16‑1/4”, a Reed & Barton “Sulgrave Manor” tea tray, 26‑1/2” x 17”, and an unmarked lobed rectangular tea tray, 30” x 18”. [300/500]

1141 1144

1143 Large Pair of English Silverplate Candelabra, contemporary, by Royal Castle, Sheffield, with a central fluted standard and four scrolling branches, decorated with floral acanthus banding, h. 28”, w. 19”. [1500/2500] Illustrated 1144 Pair of English Silverplate Wine Trolleys, contemporary, by Royal Castle, Sheffield, of chariot form with beaded and acanthus decoration, h. 8‑1/4”, l. 11‑1/2”. [700/1000] Illustrated 1143

214

1145

1145 Pair of English Silverplate Wine Coolers, contemporary, Royal Castle, Sheffield, each of tapering cylindrical form, with opposing stag’s-head handles and decorated with Greek-key banding, with detachable conforming liner, h. 10‑3/4”, dia. 8‑1/4”, w. 11‑3/4”. [1000/1500] Illustrated

1147

1149 Set of Twelve Silverplate Service Plates, contemporary, by Royal Castle, Sheffield, each of hexagonally serpentine-lobed circular form, with gadrooned rim, dia. 12‑1/4”. [700/1000] Illustrated

1146 1146 Three American Silverplate Trays, second half 20th century, including a Wallace “Chippendale” circular platter, dia. 16‑1/2”, an unmarked oval tea tray with “vintage” rim and rocaille handles, 25‑1/2” x 16”, and a similar unmarked footed tea tray, 27” x 17”. [300/500] Illustrated 1147 Silverplate Four-Bottle Wine Cooler, contemporary, Royal Castle, Sheffield, of tapering section, with stirrup handles, central ice reservoir and circular molded base, h. 10‑1/4”, w. 13‑1/4”. [600/900] Illustrated 1148 Victorian-Style Silverplate and Glass Centerpiece and Plateau, contemporary, Royal Castle, Sheffield, the centerpiece with navette base with reclining Bacchic figures, with gadrooned knopped standard and “vintage”-banded capital, fitted with a cut glass bowl, h. 15”, w. 15‑1/4”, bowl, dia. 13‑1/2”, the plateau of oval form with robust acanthus feet, ivy banding and conforming mirrored plate, 29‑1/2” x 22‑1/2”. [5000/8000] Illustrated

1148

1149

215

1151 Pair of American Silverplate Buffet Stands, third quarter 20th century, by the Continental Silver Company, Brooklyn, New York, each of lobed rectangular form with acanthus decoration, and comprising a warming stand with burner, entree dish and lid, overall, h. 11‑1/2”, l. 16‑1/2”, w. 10‑1/2”. [300/500] Illustrated

1150 1150 Reed & Barton Six-Piece “Renaissance” Silverplate Tea Set, mid-20th century, Taunton, Massachusetts, comprising a coffeepot, h 11‑1/2”, a teapot, h. 8‑3/4”, a covered sugar bowl, h. 6‑3/4”, a cream jug, h. 5‑1/2”, a waste bowl, h. 4‑1/2”, and a tray, 30” x 21‑1/2”. [300/500] Illustrated

1151

1153

1152 Pair of Large Silverplate and Emerald Glass Vases, contemporary, of tapering cylindrical form, each with a pierced silverplate casing with floral swag decoration and fitted with an emerald glass liner, h. 16‑1/4”, dia. 7‑1/4”. [500/800] Illustrated 1153 Reproduction “Boston Lighthouse” Silverplate Cocktail Shaker, contemporary, Sheffield, England, after the 1927 original by International Silver Co. of Meriden, Connecticut, a model of the 1783 Boston Light, the second oldest lighthouse in the United States, h. 14”, dia. 5‑1/4”. [500/800] Illustrated 1152

216

1154 Louis XVI-Style Oak and Silverplate-Mounted Drinks Trolley, the galleried silverplate top with a covered ice bowl and nine bottle holders, h. 35”, w. 22”, l. 38”. [1500/2500] Illustrated

1156 Utagawa Kunisada (Toyokuni III) (Japanese, 1786‑1864), three color woodblock prints on paper (vertical chuban), including: No. 30 “View of Hamamatsu”, 1838, publisher Sanoya Kihei (Kikakudo) and No. 52 “View of Ishibe”, 1838, publisher Moriya Jihei (Kinshodo), from the series “Fifty-three Stations of the Tokaido Road”, provenance: Uchida Art Co. LTD., Kyoto, Japan, and “Chapter 27, Kagaribi”, 1853, from the series “The Color print Contest of a Modern Genji”, publisher Sanoya Kihei (Kikakudo), the first two 9‑1/8” x 6‑3/4”, the last 9‑1/2” x 6‑3/4”. [500/800] Illustrated

1154

1155 Utagawa Hiroshige (Japanese, 1797‑1858), four prints (horizontal chuban) from the series “The Tokaido Road” (1850‑1851), color woodblocks on paper, framed together, published by Tsutaya Kichizo, including: No. 42 “Kuwana: The Sevenri Crossing”; No 30 1156 “Maisaka: Imagiri in one of three Totomi Province”; no. 38 “Okazaki: Yahagi Bridge”, and one unidentified, each 3‑3/8” x 5‑1/2”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [500/800] The Tokaido road from Kyoto to Edo (present-day Tokyo) was one of the most famous and heavily traveled routes during the Edo period (1615‑1868) and the inspiration for many important artists including Utagawa Hiroshige (1797‑1858), Katsushika Hokusai (1760‑1849) and the poet Matsuo Basho (1644‑1694).

1157 one of three

1157 Three Japanese Woodblock Prints on Paper, (vertical chuban) including “Shirokiya Okoma and Obana Saizaburo” from the series “True Feelings Compared: The Founts of Love”, 1788‑1789, Kitagawa Utamaro (Japanese, 1750‑1806), publisher Nishimurayecho; 1157 “Ichikawa Danjuro one of three VII as Fukuoka Mitsugi”, 1852, Utagawa Kuniyoshi (Japanese, 1797‑1861), publisher Kakumotoya Kinjiro; and “Bando Hokosaburo IV as Otomo Keibu Soren and Ichikawa Dannosuke V as Kagesawa Natsunojo”, 1853, Utagawa Kuniyoshi (Japanese, 1797‑1861), publisher Mitaya Kihachi, each sight 14‑1/2” x 9‑1/2”. Glazed, matted and framed. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [400/700] Illustrated

217

1159 1158 Japanese School (Edo Period, 1615‑1868), collection of three Shunga color woodblock prints, 19th century, illegibly inscribed, sight 7‑1/4” x 10”. Each glazed, matted and framed. Provenance: Christie’s, New York, February 5, 2003, lot 30; The Flatt Collection. [500/800] 1161

1159 Japanese School (Meji Period, 1868‑1912), a pair of woodblock print triptychs, ink and color on paper, each triptych framed together, each sight 13” x 25‑3/4”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [400/700] Illustrated

1160

1162

1160 Japanese Wooden Hibachi, Meiji period (1868‑1912)/ Taisho period (1912‑1926), the fireplace with a glass cover surrounded by a wooden hearth on a base with three drawers, h. 15‑1/2”, w. 43‑5/8”, d. 32‑3/4”. [400/700] Illustrated 1161 Japanese Imari Porcelain Jar, Meiji period (1868‑1912), the ovoid-form jar decorated with rocks, bamboo and pine trees, h. 16‑1/2”, w. 11‑1/4”. [400/700] Illustrated 1164

218

1164 Set of Three Japanese Kutani Graduated Bowls, probably Meiji/Taisho period (1868‑1926), early 20th century, each with an ornately gilded and painted border with a center depicting an eagle on a pine branch overlooking a mountain landscape, each bowl’s underside inscribed with a three-character mark, dia. 9‑1/4” to 11‑3/4”. Provenance: Private collection, San Antonio, Texas. [400/700] Illustrated

1165

1162 Japanese Kutani Plate, Meiji period (1868‑1912), late 19th/early 20th century, with pierced and lobated borders, a finely articulated pair of dragon writhes against a sky adorned with ruyi clouds and pearls, the underside with a red cartouche mark, w. 11‑1/4”. [400/700] Illustrated

1168 1165 Japanese Cloisonne Bowl, early Meiji period (1868‑1912), the interior sides covered with a pattern of peonies and central reserves depicting a parrot perched on a pine branch, the exterior sides depicting flowering vines, h. 4‑1/2”, dia. 13‑1/8”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [500/800] Illustrated 1166 Antique Japanese Cloisonne Ewer, Meiji period (1868‑1912), the lidded vessel with a scalloped foot rim, molded handle and spout, with green enameled interior and underside, h. 7‑1/8”, w. 4‑1/4”. [600/900] Illustrated

1166

1163 Monumental Japanese Satsuma Floor Vase and Egg, 20th century, both the egg and vase lavishly decorated and gilded, with reserves on both portraying opulent scenes of beautiful maidens, the base of each piece decorated with a petaled border, the neck of the vase bearing a pair of foo dog pups on either side and salamanders adorning the shoulders, a Royal Satsuma mark on the underside of each, vase, h. 47‑1/2”, dia. 17”, egg, h. 16”, dia. 10”. [400/700]

1167 Chinese Carved Rosewood Figure of a Warrior, Qing Dynasty (1644‑1911), 19th century, with inlaid eyes and holding a sword, the figure wearing a hat adorned with auspicious characters, standing on a pierced and carved base in the form of rocks and pine branches, h. 17”, w. 7‑1/2”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [500/800] 1168 Suite of Four Chinese Rosewood Nesting Tables, mid-20th century, the rectangular tops with framed inset panels and raised on carved square legs, h. 20” to 27‑1/2”, w. 11‑3/4” to 19”, d. 10” to 14”. [500/800] Illustrated

219

1169 Japanese Bronze Candlesticks (Shokudai), Meiji period (1868‑1912), now mounted as lamps on ebonized wooden bases, each with five openwork sections over a molded tripodal foot decorated with lotus flowers, base, h. 24”, overall, h. 33”, w. 8”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [400/700]

1174

1171

1170 Japanese Bronze Floor Lamp, Meiji period (1868‑1912), the solid cast bronze lamp with allover chased and relief-rendered bird and dragon decoration, h. 66‑1/2”, dia. 13”. [700/1000] 1171 Japanese Bronze Censer, Koro, Meiji period (1868‑1912), the tripod censer with a round body and mask handles, with reserves depicting dragons, the lid with a foo dog finial, affixed to a bronze base, h. 11‑1/8”, w. 6”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [600/900] Illustrated

1174 Japanese Bronze Usubata, Meiji period (1868‑1912), the antique bronze vessel decorated with two swirling dragons in pursuit of a sacred pearl, h. 20‑1/4”, dia. 9”. [400/700] Illustrated 1175 Japanese Bronze Censer, Meiji period (1868‑1912), the lidded vessel in the shape of a melon with insects, birds and flowering branches along the sides, with a pierced lid and lobated base, unmarked, h. 16”, w. 13”. [1000/1500] Illustrated

1172 Japanese Bronze Cachepot, Meiji period (1868‑1912), the tripod vessel with phoenix decoration in relief throughout, against incised leaves, h. 6‑5/8”, w. 8”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [600/900] 1173 Japanese Bronze Usubata, late Edo (1615‑1868)/ Meiji (1868‑1912) period, the bronze Ikebana vessel atop a base of crashing waves, h. 7‑1/2”, dia. 11‑3/4”. Provenance: Personal collection of Paul Rosenthal, Baton Rouge, Louisiana. [400/700]

220

1175

221

I N D E X O F A R T I S T S

JANUARY 23-24, 2016

American School 35, 867, 872, 896, 948, 1011, 1012, 1013, 1020, 1022, 1023, 1024 American/French School 1006 Anglo-Irish School 1093 Anthony, Carol 592 Australian School 447 Bailey, Tod 850, 851, 861 Baldry, G. W. 571 Barnes, A. L. 1009 Bassett, Richard 778 Bauchant, Andre 899 Berg, Thomas 869 Bohlman, Edgar 17 British School 576, 1094, 1095 Brown, Charles 777 Brunsdon, John R. 599 Buford, Claude-Marie 449 Calbet, Antoine 885 Camin, Joaquin Rubio 910 Camp, Robert 445, 448 Campbell, Beth 447 Carr, Thomas 573 Carse, Alexander 574 Casenelli, Victor 1007 Chalet, Andre 450, 481 Chinese School 617 Christy, Howard Chandler 871 Ciceri, Eugene 7 Clodion (after) 365 Clymer, John 444 Coignard, James 904 Continental School 18, 32, 33, 53, 165, 188, 192, 254, 367, 462, 483, 513, 572, 901, 903, 979, 988, 1051 Contreras, Susan 773

Corbino, Jon 80 Cuzco School 190 Dali, Salvador 108 Daly, Cesar (after) 437 Dauzats, Adrien 82 De Nevers, Lorenzo 1050 Deacon, Deroy Sharp 817 Descomps, Joe (after) 881 Drysdale, Alexander John 938, 939 Dumaige, Etienne-Henri (after) 26 Dunbar, George Bauer 955, 956 Dureau, George Valentine 946 Durieux, Caroline Wogan 940, 942 Dutch School 52 Dutch/American School 1014 English School 1122, 1126 Ezcurdia, Juan 770, 771 Feyen-Perrin, Francois Nicolas Augustin 886 Fincher, John 1016 Fink, Aaron 864, 865 Flanigen, Jean Nevitt 887 Fleming, Frank 909 Foster, Gerald Sargent 482 Foster, Regina 852 Francis, Sam 611 Fremiet, Emmanuel (after) 878 French School 64, 316, 340, 364, 416, 493 Fritchie, Charles 911, 913 Gall, Francois 10, 79 German School 351 Goethals, Raphaelle 849 Gornik, April 615 Gorski, Dan 858

I N D E X O F A R T I S T S

JANUARY 23-24, 2016

Grafton, Robert Wadsworth 947

Ligare, David 776

Greer, A. D. 1010

Linnell, John (attributed) 575

Gremillion, Kimberly 768

Lorrain, Claude 458

Gross, Chaim 914

Louisiana School 949

Gross, Peter Alfred 1008

Lucas, Friedrich Wilhelm (attributed) 25

Gruppe, Charles (style of) 1011

Makovsky, Konstantin 147

Gunther, Max 900

Malacrea, Francesco 31

Hawks, Rachel Marshall 889

Marioni, Joseph 857

Hayter, Stanley William 601

McLean, Lachlan 912

Heldner, Colette Pope 944

Moreau, Auguste Mathurin (after) 877

Hengst, Jan Den 54

Moreelse, Paulus (after) 146

Hildebrandt, Howard Logan (attributed) 8

Moser, Jill 860

Hiroshige, Utagawa 1155

Moses, Forrest 591

Hopkins, Mark 811

Mothner, Carol 767

Hundertwasser, Friedensreich 607

Myers, Malcolm 593, 595, 596, 597, 598

Italian School 57, 362

Neiman, LeRoy 594

Japanese School 1158, 1159

Neogrady, Laszlo 989

Jelinek, Rudolf 548

Palmore, Tom 775

Johnson, Patricia Whitty 862

Perrin, Dennis 9

Kennedy, Scott 608

Petit, Jacques 526

Kepets, Hugh 613

Picasso, Pablo (after) 605, 606

Kirchherr, Astrid 616

Pierce, Florence 855

Kitagawa, Utamaro 1157

Piranesi, Giovanni Battista 456

Kley, Louis 515

Price, Kenneth 612

Kohlmeyer, Ida Rittenberg 943

Proctor, Alexander Phimister (after) 1118

Koves, Eva 902

Quinaux, Joseph 512

Lane, Holly 774

Raphael (after) 189

Lanzirotti, Antonio Giovanni 200

Rapp, Ginette 446

Ledet, Michael 941

Regional Art 69

Leemputten, Cornelius Van 34

Remington, Frederic (after) 980

Lefort, Jean 451

Renard, Paul 418

Levier, Charles 602

Reni, Guido (follower) 182

Levy, Laure 518

Reuther, Wolf 898

Lewis, Jesus 769

Rieke, Gail 859

I N D E X O F A R T I S T S

JANUARY 23-24, 2016

Rodrigue, George 950, 951, 952, 953, 954

Wray, Dick 853, 856, 868

Rouillard, Jean-Sebastien 501

Wright, Paul Michael 957

Rubin, Reuven 107

Youngblood, Nancy 854

Sachse, Janice 863 Schouten, Henry 19 Shaw, Lois Hogue 16 Sheppard, Warren W. 465 Sickles, Noel Douglas 1049 Sparnaay, Tjalf 906 Steg, James Louis 945 Surls, James 604 Tack, Augustus Vincent 1021

Glossary New Orleans Auction Galleries does not make any express or implied warranty as to the authorship of works of art and fine art. Please note that all of the terms and descriptions used in this catalogue are intended as our qualified opinions only and are subject to the Conditions of Sale set forth elsewhere. The Artistâ&#x20AC;&#x2122;s Name: In our qualified opinion, a work by the artist. Attributed to: In our qualified opinion, a work of the period of the artist that may be in whole or in part the work of the artist. School of: In our qualified opinion, a work by a follower of the artist.

Tamayo, Rufino 614

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

Tarkay, Itzchak 590

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

Terziano 905 Togyessy, Arthur 978 Trevelyan, Julian 600 Trumball, Don 1015 Tucker, Brad 609 Turtle, Arnold 937 Utrillo, Maurice 603 Utagawa, Kunisada (Toyokuni III) 1156 Utagawa, Kuniyoshi 1157 Van der Kellen, David 547 Van der Plas, Niek 452 Van Doorn, Janine 63 Van Leyden, Lucas 151, 152, 153, 154, 155, 156 Vanderveen, Loet 812, 813, 814, 815, 816 Vasarely, Victor 610 Vittorini, Umberto 81 Wallis, Shawn 866 Whitesell, Joseph Woodson 934 Woodward, Ellsworth 936 Woodward, William 935

After: In our qualified opinion, a copy of a known work by the artist. Signed: In our qualified opinion, has the signature which is that of the artist. Bears Signature: In our qualified opinion, has a signature which may be the signature of the artist. Dated: In our qualified opinion, is so dated and was executed on or around that date. Bears Date: In our qualified opinion, is so dated and may have been executed at about that date.

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

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

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

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

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

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

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

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

4. After the Auction (a). In order to consummate and complete the Sale, the Buyer must tender payment in full of all of the following amounts (all such amounts together being the “Purchase Price”) to NOAG: (i) the Hammer Price; and (ii) the “Buyer’s Premium” consisting of a premium of 25% of the Hammer Price (discounted to 22% if the method of payment is by check, cash, or wire transfer by the end of the day on the fifteenth calendar day following the conclusion of the Auction) up to and including a Hammer Price of $200,000 and 10% of the amount by which the Lot’s Hammer Price exceeds $200,000; and (iii) Any applicable Louisiana, state, local, and federal or other taxes, calculated as required by law. Any documentation of tax exemption must be provided by the Bidder contemporaneously with the execution of the attached registration form. (b). Payment and passing of title. The Buyer and any other Bidders are responsible for contacting NOAG for Auction results during the week after the conclusion of the Auction. Subject to the provisions of Section 4(i) below which may require earlier payment, the Buyer must pay the full Purchase Price no later than 4:30 pm central time on the fifteenth calendar day following the conclusion of the Auction. Payments may be submitted during business hours to: New Orleans Auction Galleries, 333 St. Joseph Street, New Orleans, Louisiana 70130, Telephone number: 504-566-1849. Payments may be made by certified check, cash, wire transfer, or credit card (Visa, Mastercard, and American Express). Payments will be accepted by non-certified check only in NOAG’s sole discretion, from Buyers that have been qualified by NOAG in NOAG’s sole discretion. Title to the Lot does not pass to the Buyer until the full amount of the Purchase Price has been tendered and received by NOAG in good cleared funds, even in circumstances where the Lot has been released to the Buyer. (c). Credit Cards. Your signature on this form constitutes permission to charge the full amount of the Purchase Price on your credit card, if you are the Buyer on a Lot and payment is not received within five business days of the close of the Auction. Your signature on this form also constitutes permission to charge the full amount of Storage Charges (defined below), if and when accrued, on a periodic basis on your credit card. (d). Release of Lot to Buyer. No Lot will be released to the Buyer unless and until NOAG receives full payment of the Purchase Price, and such payment has cleared and NOAG has received confirmation of all funds owed. At its sole discretion, NOAG may release a specific Lot at any time, notwithstanding the foregoing provision. In addition, NOAG may require that Lots not be released until the Buyer has cleared additional checks in NOAG’s sole discretion, including without limitation, any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction. In the event that a Buyer fails to complete any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction, NOAG shall be entitled to cancel the Sale and take any other action permitted or required under applicable law. In addition, notwithstanding the foregoing, Lots cannot be released until after the conclusion of the Auction. (e). Export/Import license and Dealers. It is the Buyer’s sole responsibility to obtain any relevant export or import license. The denial of any license or any delay in obtaining licenses shall not justify the rescission of any sale nor any delay in making bill payment for the Lot; and shall not limit or alter any of the obligations of the Buyer herein. Dealers purchasing for resale must enter appropriate their Dealer Resale Number on the attached registration form and provide NOAG with proper documentation.

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

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

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

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

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

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

New Orleans Auction Galleries 333 St. Joseph Street • New Orleans, LA 70130 • 800-501-0277 • 504-566-1849 Fax: 504-566-1851 • Email: Info@NewOrleansAuction.com

Absentee / Telephone Bid Form Name (Please Print): ______________________________________________

Date: ____________________

Business Name: ______________________________________________________________________________ Dealer Resale # (Dealers must also sign official State of Louisiana document): _________________________ Address: ____________________________________________________________________________________ City: _____________________________________________

State: ____________ ZIP: _________________

Telephones: Work (_____)_____________ Home (______)______________ Fax (______)_____________ E-mail Address: ______________________________________________________________________________ Conditions of Sale: Conditions of sale are as set forth in the applicable New Orleans Auction Galleries catalogue. Placing a telephone bid and/or absentee bid in the auction constitutes acceptance of all Conditions of Sale posted by NOAG as amended by any posted notices or oral announcements during the sale.

Lot #

Bid Amount (not including buyer’s premium) OR Telephone Number to Call:

$ $ $ $ $ $ $ $ $ VISA / MasterCard #: ____________________________________________

Expiration Date: __________

CVV #: _______________ I have read and agree to the Conditions of Sale. I agree that a buyer’s premium will be charged on each lot purchased at 25% up to and including $200,000 plus 10% of the hammer price greater than $200,000. For purchases made by cash, check or wire transfer, the buyer’s premium shall be discounted 3% of this 25%. Your signature on this form constitutes permission to charge successful bids to your credit card, including the 25% buyer’s premium, if payment is not received within five days of the auction.

Signature (Required): __________________________________________________________________________

Please fax this form by 5:00 p.m. the day before the auction to 504-566-1851 or scan and email to info@neworleansauction.com

absentee/telephone bid form (continued) Name (Please Print):

Lot #

______________________________________

Bid Amount (not including buyerâ&#x20AC;&#x2122;s premium) OR Telephone Number to Call:

$ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $

New Orleans Auction Galleries Susan D. Sarofim CEO

Tessa Steinkamp Director of Auctions

Ashton Thomas President

Consignments FINE ARTS: Jelena Restovic James

FURNITURE: Ireys Bowman

ASIAN FINE & DECORATIVE ARTS:

Continental and American; Prints and Maps

Continental and English

Felicia S. Yao

Michele M. Carolla

American, Continental and English

Greg S. Kowles

BOOKS, MANUSCRIPTS & EPHEMERA:

Thomas Halverson

Charles C. Cage

British and American; Sculpture

DECORATIVE ARTS:

American

Ireys Bowman

Josh Broussard

Nicole Casi, PhD

SILVER:

Continental and English American, Continental and English

Southern Regional

Charles C. Cage

Jewelry: Kim Lemon FINE CARPETS & TEXTILES: Sean Ranson

Administration Burke

Colleen Ryan

Designer

Director of Human Resources

Charles C. Cage

Nicole Casi, PhD

Office Manager

Research

Denise Haik

Gary Michael Gittelson Photographer

Alexis Kopituk

Cord McPhail Photographer

Office Administration Administrative Assistant

Greg Kowles

Taylor Eichenwald

Marketing & Public Relations

Christa Ougel

Graphic Designer

Justin Gray

Graphic Designer

Grace Connors

Assistant Manager of Cakebread Auctions

Manager of Cakebread Auctions

Auctioneers Tessa Steinkamp #1265 Ashton Thomas #1833 Robin Ruiz #1114

Consultants

Operations

Ellen McKenzie

Cedric Roberts | Sean Ranson

English and Continental Furniture

Bennie Amos | Eddie Daigrepont

Ira Savoie

Emmitt Kendrick, Jr. | David Smith

Michael DeGeorge #1774

Independent Certified Gemologist Appraiser

Taylor Eichenwald #1922

James Callahan Asian Arts

Gerald Hampton | Juanita Bazile Sol Carter | Thomas Johnson David Abney | James Collins