Cakebread: August 23-24, 2014

cakebread d eco r ati v e

a r t s

&

AUGUST 23-24, 2014

de s ig n

Featuring an Impressive C ollection of Vi n t a g e D e s i g n e r Ha t s f r o m t h e E s t a t e o f M i c k e y E a s t e r l i n g

cakebread decorative arts

&

design

Presented by New Orleans Auction Galleries

Cakebreadauction.com | Info@CakebreadAuction.com 510 Julia Street, New Orleans, Louisiana 70130 | 504-566-1849 | (Fax) 504-566-1851

Exhibition Au g u s t 1 6 - 2 2 , 2 0 1 4 9:00 am - 5:00 pm daily (Excluding Sunday)

Evening Reception Au g u s t 2 1 , 2 0 1 4 5:00 - 7:00 pm S aturd ay, Au g u st 2 3 , 2 01 4

Sund ay, Aug ust 2 4 , 2 0 1 4

L ots 1- 700

L ot s 68 0 - 1 1 4 0

10: 00 - 11:00

1 - 100

10:00 - 11:00

701 - 760

11: 00 - 12:00

101 - 20 0

11:00 - 12:00

761- 820

12 :00 - 1:00

201 - 30 0

12:00 - 1:00

821 - 900

1 :00 - 2:00

301 - 40 0

1:00 - 2:00

901 - 1000

2 :00 - 3:00

401 - 50 0

2:00 - 3:00

1001 - 1100

3 :00 - 4:00

501 - 60 0

3:00 - 4:00

1101 - 1200

4 :00 - 5:00

601 - 70 0

4:00 - 4:45

1201 - 1273

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

Session I

6

Saturday, August 23, 2014 10:00 a.m. CDT Lots 1-700 1 Chinese Longquan Plate, probably Ming Dynasty (1368‑1644), the plate with a green-glazed and incised floral motif, unmarked, h. 3”, dia. 13‑1/4”. [300/500] 4

6 Chinese Ceramic Sculpture of Laozi Astride an Ox, with Ming Xuande mark (1426‑1435), 19th/20th century, with blue and white glaze, presented on a later painted and inlaid wooden stand, overall, h. 29”, w. 12”, l. 20”. [400/700] Illustrated

2 Chinese Ming-Style Green Longquan Plate, 19th century or earlier, the dish with a reserve in the center with a dragon among clouds, indiscernible inscribed text and patterns underneath the glaze around the center and along the upper rim, h. 3”, dia. 16‑1/2”.

[250/400]

9

3 Chinese Roof Tile, Ming Dynasty (1368‑1644), the pottery roof tile with a figure of an official in a green, brown and amber sancai glaze, h. 16‑1/2”. [300/500] 4 Pair of Chinese Terracotta Foo Dogs, 20th century, each sancai-glazed figure depicted on a tree trunkshaped pedestal, h. 14”, w. 7”. [400/700] Illustrated 5 Two Pairs of Chinese Porcelain Foo Dogs, 19th/20th century, including one pair in the famille verte palette and the other in blue on purple, the tallest, h. 8‑1/2”. [200/400]

2

7 Pair of Chinese Monochrome Vases, 20th century, the blue porcelain vases adorned with dragon and frond motifs, each with a flaring neck encircled with a meander and apocryphal Qianlong reign mark over a scrolling lotus-covered center bulb, the underside unmarked, h. 9‑3/4”, w. 5‑3/4”. [250/400] 8 Chinese Blue Monochrome Pottery Moon Flask, 20th century, h. 12‑1/4”. [400/700]

9 Pair of Chinese Glazed Pottery Parrots, 20th century, the figures modeled perched on rocks, h. 11‑3/4”. [400/700] Illustrated

14 Chinese Porcelain Vase, Republican Period (1911‑1949), the front of the tapering vase depicting a family of chickens against a lush garden landscape, and the back inscribed with a poem, the mark on the bottom associates the vase with the atelier of Liu Yucen, h. 11‑3/4”, dia. 3”. [250/400]

13 16

10 Chinese Flambe Glaze Purple Vase, 19th/20th century, the vessel with a bulbous body, long neck and flared lip, with two molded lion-head-form lugs, each with a fully attached ring in its mouth, unmarked, h. 13”, w. 9”. [250/400] 11 Chinese Oxblood-Glazed Vessel, with a white interior and underside, unmarked, h. 14‑1/4”, w. 9”.

[200/400] 12 Pair of Chinese Coral-Ground Vases, 20th century, the vases decorated with blue and yellow flowers against a red ground, the reverse inscribed with poetry and seal marks, the underside with a blue four-character Yongzheng reign mark, h. 8”, dia. 4”.

[300/500] 13 Pair of Chinese Porcelain Bird and Flower Vases, Republican Period (1911‑1949), the front of each vase depicting a bird flying over a cluster of lotus leaves and blossoms, the back inscribed with a verse, the marks on the underside are associated with the manufacturer Cheng Yiting, h. 9”, w. 4”. [300/500] Illustrated

15 Chinese Porcelain Vase with Imperial Beauties, ca. 1925, the white porcelain vase with a thin silver edge along the lip, the front of the vase depicting beautiful court ladies, and the back with a poetic verse, marked on the underside “Yuyuansheng Yin”, h. 9‑1/2”, w. 5”.

[250/400] 16 Chinese Hand-Painted Porcelain Garniture Vase, first quarter 20th century, h. 22‑1/4”. [300/500] Illustrated

3

17 Four Chinese Export Porcelain Buddha Figures, 20th century, each with a brightly colored famille rose palette, the largest, h. 10‑1/2”, w. 8”. [350/500] Illustrated

17

18 Three Chinese Export Porcelain Buddha Figures, 20th century, each depicted with children, in bright enamels, the largest, h. 11”, w. 6‑1/2”. [300/500]

19

21 Chinese Porcelain Wucai Brush Pot, 19th/20th century, the concave vessel in a famille verte palette, depicting a member of the literati seated at a desk in a garden surrounded by young male attendants, unmarked, h. 5‑1/2”, dia. 5‑1/4”. [350/500] 22

22 Pair of Chinese Porcelain Ginger Jars, 20th century, the rounded jars displayed on wooden stands, h. 11”, w. 9”, without stands. [250/400] Illustrated 23 Chinese Painted Porcelain Plaque, 19th/20th century, depicting nine beauties and a handsome young scholar in an idyllic garden, dia. 13”. [400/700]

24

19 Chinese Doucai Dragon Bowl, 19th/20th century, the bowl with an image of a dragon running through a ground of scrolling vines and flowers, the underside marked with a Ming period Jiajing mark, h. 3‑3/4”, dia. 8‑1/8”. [500/800] Illustrated 20 Two Chinese Doucai Bowls, 19th/20th century, one bowl with a lid and covered with a motif of rocks and flowers, Qing Kangxi marks on the lid and underside, and one bowl with a motif of frolicking children, the bottom marked with a Ming Chenghua inscription, the tallest, h. 5”, dia. 6”. [250/400] 4

24 Pair of Chinese Porcelain Baluster Vases, 20th century, the vases depicting court scenes in a famille rose palette on a white ground, the underside bearing a red-painted six-character Qianlong mark, h. 22‑5/8”, dia. 9”. [600/900] Illustrated

29

26

26 Pair of Chinese Porcelain Hexagonal Hat Stands, late Qing Dynasty, late 19th/early 20th century, each hat stand with quadrilobe gilded cut-outs, and an archaic vessel and flower motif in a famille rose palette, h. 11”, w. 5”. [300/500] Illustrated

25 Chinese Porcelain Baluster Vase, 19th/20th century, the vase in a famille rose palette, with a yellow foliated motif on the lip and a yellow mille fleur border at the foot, the underside marked with a red Jiaqing mark, h. 14‑1/2”, w. 7‑1/2”. [400/700]

27 Chinese Porcelain Basin, 19th/20th century, the white exterior with a red bamboo motif, the interior with a turquoise and white floral scroll on a deep blue ground with reserves depicting the “hundred antiques”, h. 4‑1/2”, dia. 13”. [600/900] 28 Pair of Gilt-Decorated Mazarin Blue Ginger Jars, 20th century, in the K’ang Xi style, h. 16‑3/4”, dia. 6‑3/4”. [300/500] Illustrated 30

28

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

[400/700] Illustrated 30 Two Chinese Famille Rose Petal Bowls, 20th century, with turquoise grounds and undersides, stamped with apocryphal Daoguang marks, the largest, h. 5‑1/4”, dia. 9‑5/8”. [250/400] Illustrated 5

31 Pair of Blackamoor-Form Bronze Candleholders, mid-20th century, probably Italian, h. 16‑1/4”.

[300/500] Illustrated

33

32 Continental Neoclassical-Style Library Table on Tuscan Column Supports, the top veneered in parquetry-work, h. 30”, w. 54”, d. 27”. [500/800]

31

33 Pair of Italian Baroque-Style Silver-Gilt Altar Sticks, ca. 1800, now mounted as lamps, base, h. 25”, overall, h. 37”, dia. 9”. [900/1200] Illustrated

38 Italian Polychrome and Marble-Top Credenza, late 18th century and later, the thick shaped and bowed marble top above a conforming case fitted with two cupboard doors, the front and sides with decorative polychrome panels, raised on cabriole legs ending in scrolled toes, h. 37‑1/2”, w. 76”, d. 19‑1/2”. [1500/2500]

34 Neoclassical-Style Parcel-Gilt and Metal EightLight Sconce, h. 46‑1/2”, w. 23‑1/2”, d. 9‑3/4”.

[200/400] 35 Louis XVI-Style Gilt Composition Mirror, h. 30”, w. 19‑3/4”. [300/500] Illustrated 36 Rosenthal Porcelain Plaque Depicting “The Mona Lisa”, ca. 1925‑1941, German, h. 20”, w. 17”.

[700/1000] Illustrated 37 Louis XVI-Style Parcel-Gilt Composition Mirror, h. 31‑1/2”, w. 19‑3/4”. [300/500]

6

35

42 German Capodimonte-Style Covered Tankard, fourth quarter 19th century, depicting a battle between Middle Eastern and European troops, with an unidentified mark, h. 8”, dia. 4”. [400/700] Illustrated 42

36 39 Italian Oak, Fruitwood and Marble-Top Console Table in the Neoclassical Taste, 18th century and later, the shaped marble top above a conforming frieze centered by floral carving, raised on fluted tapering square legs ending in spade feet, h. 33‑1/2”, w. 45”, d. 19”.

[500/800] 40 40 Italian FlorentineStyle Giltwood Mirror, ca. 1900, the oval mirror framed in pierced scrollwork, with an overhanging leaf crest, h. 27”, w. 18‑1/4”. [300/500] Illustrated

43 Pair of Neoclassical-Style Giltwood Altar Sticks, first quarter 19th century, each with a tole pricketform socket and raised on scrolled feet, h. 17‑1/2”, dia. 4‑1/4”. [300/500] Illustrated 43

41 Twenty-Piece Capodimonte-Style Porcelain Tea Set, 20th century, Italian, including a teapot, h. 8‑1/4”, sugar bowl, h. 5”, cream jug, h. 4‑1/4”, five cups with six saucers, dia. 6‑1/2”, and six plates, dia. 9”. [250/400]

7

46 Pair of Italian Marble Composition Plaques, mid-20th century, depicting children in neoclassical dress, in giltwood rococo frames, h. 12‑1/4”, w. 12‑1/4”. [300/500] 47 Italian Marble Composition Plaque, mid-20th century, depicting putti playing instruments, signed “E. Braga, Roma, 1841”, in a gilt rococo frame, h. 10”, w. 10”. [250/400]

49 44 Italian Marble Composition Plaque After Bertaux, mid-20th century, depicting putti with trophies, in a rococo gilt frame, h. 20‑1/2”, w. 16‑3/4”. [250/400] Illustrated

48 Italian Marble Composition Plaque, mid-20th century, depicting the allegory of music, in a gilt rococostyle frame, h. 11”, w. 11”. [250/400] 49 Italian Neoclassical-Style Painted and Parcel-Gilt TwoDrawer Commode, h. 36”, w. 49”, d. 21‑3/4”. [300/500] Illustrated 50 Venetian BaroqueStyle Painted Mirror, ca. 1900, decorated with gilt trim, h. 31‑1/2”, w. 18”. [600/900] Illustrated 51 Pair of Italian Alabaster Busts of Dante, ca. 1900, one depicting Dante as a young man, and the other as an old man with a beard, on column-form standards, h. 11‑3/4”, w. 5”, d. 3‑1/4”. [400/700]

44 45 Italian Marble Composition Plaque, mid-20th century, depicting three putti riding a dolphin, in a rococo-style giltwood frame, h. 12‑1/2”, w. 12‑1/4”.

[250/400]

88

50

52 Italian Neoclassical-Style Parcel-Gilt and Marble-Top Console Table, 20th century, h. 32‑1/2”, w. 56‑1/2”, d. 18”.

[400/700] 53 Set of Four Italian Inlaid Marble Intaglios, third quarter 19th century, in contemporary silver-gilt frames, overall, h. 15‑1/2”, w. 13‑1/2”. [500/800]

58

54 54 Capodimonte-Style Molded Pottery Jardiniere, 20th century, Italian, marked “R. Capodimonte, Italy”, h. 12”, dia. 10‑3/4”. [250/400] Illustrated 55 Capodimonte-Style Pottery Jewel Casket, 20th century, with hinged cover and spurious Capodimonte marks, h. 6”, w. 9‑3/4”, d. 6‑1/2”. [200/400]

56

57 Impressive Pair of George II-Style Carved and Silver-Highlighted Hall Chairs, early 20th century, with pierced and carved crests and lion heads on the knees, h. 49”, w. 24”, d. 23”. [400/700] Illustrated 58 Gilt Mirror in the Italian Baroque Style, decorated with bold, pierced scroll moldings and shells, with a masque-molded crest, h. 79‑1/2”, w. 45‑1/2”. [300/500] Illustrated 57

56 Pair of Continental Bronze Six-Light Candelabra, ca. 1900, the Renaissance Revival-style bases supporting molded lilies interspersed with candle sockets, h. 29‑1/2”, w. 19‑3/4”, d. 11”. [200/400] Illustrated

9

59 Pair of Italian Giltwood Wall Hangings, 20th century, depicting putti on a scrolled ground, h. 11‑1/4”, w. 17‑3/4”. [250/400]

61 Rorstrand Majolica Renaissance Revival-Style Urn, ca. 1884‑1891, with the impressed and printed three crown marks, h. 15‑3/4”, w. 14‑1/4”. [200/400]

64 62 Large Brass Pricket Candlestick in the Grotto Taste, 19th century, modeled with spires, trefoils, arches and crockets, h. 58”. [250/400] Illustrated

60

60 Pair of Deruta Lustre Majolica Vases, first quarter 20th century, in the Renaissance style, marked “Deruta”, h. 19‑1/2”, dia. 5”. [400/700] Illustrated

63 Danish School (Fourth Quarter 19th Century), “Fisherman Resting on a Cliff”, oil on canvas, unsigned, 10” x 14”. Framed. [300/500]

62

65 64 Continental School (Fourth Quarter 19th/First Quarter 20th Century), “Beach at Low Tide, With a Docked Boat”, oil on canvas, unsigned, 8‑3/4” x 13”. Presented in a period giltwood and gesso frame.

[250/400] Illustrated 10

65 French School (Fourth Quarter 19th Century), “The Stormy Sea”, oil on canvas, unsigned, 9” x 13”.

Framed. [300/500] Illustrated

69 French School (First Quarter 20th Century), “Harvest Time”, oil on board, signed lower left “Villon”, 10” x 14”. Presented in a giltwood and gesso frame. [450/700] Illustrated 70 Continental School (Second Quarter 20th Century), “Landscape with Cottage”, oil on canvas, signed “Major”, 12” x 24”. Framed. [200/400] Illustrated

67 66 Rene Beaudart (French, 20th Century), “Le BeauxPorte” and “Lighthouse in Campagne”, two oils on canvas, both signed lower right, 18” x 15” and 13” x 18”.

Both framed. [500/800] 67 George Majewicz (German, 1897‑1965), “Three Deer”, oil on canvas, signed lower right, 24” x 36”.

Framed. [600/900] Illustrated

69 68 Attributed to Leandro Garrido (Spanish, 1868‑1909), “The Garden at Ford’s Croft”, oil on canvas, unsigned, 17” x 12‑3/4”. Framed. [300/500]

70 71 French School (Fourth Quarter 19th/First Quarter 20th Century), “Bucolic Landscapes with Figures”, pair of oils on board, 8” x 10”. Presented in matching period giltwood and gesso frames. [500/800] Illustrated

71

11

72 Italian School (Late 19th/Early 20th Century) “View of Lake Garda with Cows and Peasant Women in the Foreground”, oil on canvas, 14” x 22‑1/4”, signed lower left “H. Karins”, stretcher inscribed “No. 48 / H. Karins / Lake of Garda”. Presented in a period giltwood frame. [500/800] 77

74 Guillaume Rodrigues (French, 20th Century), “At the Harbor”, 1915, oil on canvas, signed and dated lower left, 18‑1/4” x 24‑1/4”. Framed.

[300/500]

79

75 Francesco Gibelli (Italian, 1890‑1978), “Village Path, Winter Evening”, oil on board, signed lower left, 7‑1/2” x 6‑1/4”. Handsomely framed. [300/500] 76 Continental School (First Quarter 20th Century), “Mountainous Landscape with a Mill”, oil on canvas, 36” x 51”. Presented in a handsome, period giltwood and gesso frame. [300/500] 77 Louis XV-Style Bronze-Mounted, Kingwood-Veneered and Marble-Top Occasional Table, first quarter 20th century, h. 28‑1/2”, dia. 31”. [300/500] Illustrated 73 Fred Arends (Dutch, b. 1949), “Hunter and His Dog in the Woods”, oil on board, signed lower right, 9” x 7”.

Framed. [400/700]

78 Pair of Louis XIV-Style Bronze Two-Light Sconces, with colorless and pink drops, h. 13‑1/2”, w. 7‑1/4”, d. 7‑1/2”. [200/400]

81

79 Louis XIV-Style Patinated Metal and Prism-Hung Two-Light Candelabrum, first quarter 20th century, on a wooden base, h. 15‑1/2”, w. 9‑1/2”, d. 4‑1/4”. [250/400] Illustrated 80 Suite of Four Louis XVI Fruitwood Fauteuils, late 18th century, each with a tapering padded rectangular back surmounted by a molded crest and foliate finials, joined by scrolling padded arms to the like seat, raised on stopfluted tapering circular legs ending in toupie feet, h. 34‑1/2”. [800/1200]

12

81 Louis XVI-Style Mahogany and Bronze-Mounted Settee, early 20th century, h. 43”, w. 70”, d. 29”.

[300/500] Illustrated

84

84 French Patinated Bronze of a Horse and Rider, first quarter 20th century, after Alfred Pierre Richard (French, 1844‑1884), on a gilt-painted base, cast signature at edge of base, h. 16‑1/4”, w. 15”, d. 6”.

[1200/1800] Illustrated 82 82 Louis XVI Mahogany and Marble-Top Bureau Cylindre, 18th century, the variegated marble top with a threequarter pierced brass gallery and above a paneled cylinder opening to a pullout leather-inset writing surface and four small drawers, over two paneled cupboard doors opening to two 83 small drawers over a single drawer, raised on tapering circular legs ending in brass caps, h. 42”, w. 33‑1/2”, d. 15”. [500/800] Illustrated 83 Pair of Neoclassical-Style Bronze Wall Sconces, h. 15‑1/2”, w. 4‑1/4”. [200/400] Illustrated

85 French Vincenti et Cie Crystal Regulator, first quarter 20th century, the front corners and dial bezel with enamel trim, fitted with a mercury pendulum and appearing to retain its original gilt surface, marked by both maker and “Made in France”, h. 10‑1/2”, w. 7‑3/4”, d. 5‑1/4”. [500/800]

86 86 French Bronze-Mounted Amboyna Wood and Marble-Top Sideboard, early 20th century, h. 40”, w. 59”, d. 24”. [400/700] Illustrated

13

88

90

89 Three-Piece Louis XVI-Style Pickled Mahogany, Caned and Upholstered Salon Suite, 20th century, including a settee, h. 38”, w. 55”, d. 26”, and two armchairs, h. 39”, w. 26”, d. 23”. [500/800] Illustrated

87 Pair of Cut Glass Nine-Light Candelabra, mid20th century, probably French, h. 23‑3/4”, dia. 16”.

[400/700] 88 French Bronze-Trimmed Mahogany Oval Side Table, 20th century, with inset “Egyptian” marble top, h. 25‑1/2”, w. 21‑1/2”, d. 15‑1/2”. [200/400] Illustrated

91

89

90 Handsome Set of Six Sevres Napoleon III Tasse Litrons, with cobalt grounds, the blanks produced in 1857 and the decoration in 1870, h. 2‑1/2”, dia. 5”.

[200/400] Illustrated 91 Belle Epoque GiltBrass-Mounted Cobalt Glass Centerpiece Bowl, first quarter 20th century, h. 6”, dia. 10”.

[400/700] Illustrated

14

92 Set of Eight Minton Aesthetic Cobalt-Ground Porcelain Dinner Plates, ca. 1890, English, dia. 9”.

[200/400] Illustrated 92

95 Unusual French Hand-Painted Porcelain FanForm Box, first quarter 20th century, probably Limoges, decorated with panels of flowers on a yellow ground, the hinged cover mounts on a brass bezel, unmarked, h. 4‑3/4”, w. 14‑1/2”, d. 13”. [400/700] Illustrated 95

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

[250/400] 94 Pair of Louis XVI-Style Hand-Painted Oil-onCanvas Panels, first quarter 20th century, h. 43‑3/4”, w. 11‑3/4”. [400/700] Illustrated

94

96 Continental Windmill-Form Enamel Music Box, second quarter 20th century, decorated with couples in 18th-century dress in Arcadian landscapes, a shallow jewel box concealed in the domed cover, h. 8‑1/2”, dia. 7”. [1000/1500] Illustrated

96

15

97

98 Two French Marble-Top Side Tables, including a Louis XV-style bronze-trimmed parquetry-work table, first quarter 20th century, h. 28‑1/2”, w. 21”, d. 14‑3/4”, and a Louis XVI-style mahogany table with bronze trim, ca. 1900, h. 30”, w. 19”, d. 14”. [600/900] Illustrated

99

97 Royal Vienna-Style Hand-Painted Neoclassical Urn, ca. 1900, German, with Flora and Janx, with raised gilt on a cobalt ground, h. 18”, dia. 5‑3/4”.

[400/700] Illustrated

98

99 Pair of Italian Neoclassical Parcel-Gilt and Metal Three-Light Sconces, mid-20th century, h. 31‑1/2”, w. 11‑3/4”, d. 6”. [300/500] Illustrated 100 Rococo Revival-Style Giltwood Oval Mirror, 20th century, h. 24‑1/2”, w. 20‑1/2”. [300/500] Illustrated 101 Transitional Louis XV-into-Louis XVI-Style Kingwood and Marble-Top Cabinet, late 19th century, the rectangular marble top within a threequarter brass gallery, above a case fitted with two tambour doors opening to various cubbyholes and four small drawers, with a single long drawer and two like tambour cupboards below, opening to a compartmented interior, the whole with decorative chevron veneers and raised on shaped legs to sabots, h. 47‑1/4”, w. 40”, d. 16‑1/2”. [1500/2500] Illustrated

16

102 Transitional Louis XV-into-Louis XVI-Style Kingwood Occasional Table, late 19th century, the kidney-form top banded and with a lattice-pattern parquetry inlay, above a conforming frieze fitted with a single drawer, joined to a like inlaid lower shelf by shaped supports terminating in sabots, h. 28”, w. 26”, d. 17”. [500/800]

104 Louis XVI-Style Fruitwood and Bronze-Mounted Circular Side Table, mid-20th century, with a leather top, h. 30”, dia. 20”. [300/500] Illustrated

100

103 Pair of Napoleon III Brass-Mounted and Marquetry-Inlaid Three-Tier Stands, fourth quarter 19th century, each shelf with floral marquetry surrounded by a border, the top with a brass gallery, h. 28”, w. 16”, d. 12”. [300/500]

104

105 Pair of French Neoclassical-Style Bronze and Onyx Boudoir Lamps, first quarter 20th century, base, h. 10”, overall, h. 20‑1/2”. [300/500] Illustrated

105

101

17

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

108 French Champleve Enamel Wall Plaque, second quarter 20th century, the circular plaque depicting a courting couple within a lattice and floral band, fixed to a gilt-bronze “ribbon” mount, marked “Made in France”, h. 15‑1/4”, w. 7”. [600/900] Illustrated

106 108

107 French Hand-Painted Porcelain Box, first quarter 20th century, probably Limoges, marked with spurious Sevres crossed L’s, h. 4‑3/4”, w. 9‑1/2”, d. 6‑1/2”.

[450/700] Illustrated

107

18

109 French Art Nouveau Gilt-Bronze Letter Opener and Seal, ca. 1900, signed “G. A. Chenus”, molded with roses, in a fitted case, h. 1‑1/4”, w. 9”, d. 33‑1/2”.

[400/700] Illustrated 109

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

[500/800] Illustrated

110

113

110 Set of Twelve French Sevres Dinner Plates, decorated with intertwined monograms, both blanks and decoration marked “1872”, dia. 9‑1/2”. [800/1200] Illustrated

111

114 Louis XVI-Style Giltwood and Onyx-Top Oval Center Table, early 20th century, h. 31”, w. 35”, d. 24”.

[300/500] Illustrated

114

111 Louis XVI-Style Giltwood Fauteuil, early 20th century, upholstered in floral Aubusson, h. 37”, w. 24”, d. 21”. [300/500] Illustrated 112 Set of Eighteen Hand-Painted Chamberlain’s Worcester Luncheon Plates, ca. 1810‑1815, with gadrooned borders on an apple green field, with a printed “New Bond Street” mark, dia. 8‑1/2”.

[250/400]

19

118 Louis XVI-Style Pickled Fruitwood and Caned Window Bench, second quarter 20th century, h. 26”, w. 45”, d. 16”. [500/800] Illustrated 119 Follower of Gerrit Dou (Dutch, 1613‑1675), “The Cook and His Wife”, oil on board, late 19th/early 20th century, 8” x 9”. Presented in a giltwood frame. [300/500] Illustrated

118

116 115 Pair of Louis XVI-Style Fruitwood Fauteuils, mid20th century, h. 41”, w. 24”, d. 21”. [400/700] 116 Neoclassical-Style Miniature Painting, first quarter 20th century, probably French, depicting a Sapphic embrace, in a gilt-bronze frame, h. 7‑3/4”, w. 7‑1/4”. [300/500] Illustrated 117 Suite of Eight Louis XVI-Style Polychromed Dining Chairs, 20th century, h. 39”, w. 20”, d. 20”.

[500/800] Illustrated

120 After Bartolome Esteban Murillo (Spanish, 1617‑1682), “Beggar Boys Eating Grapes and Melons”, oil on copper, 10‑1/4” x 8‑1/4”. Handsomely framed. [300/500]

117

121 Pair of Painted Wooden Floor Standing Pricket Sticks, of Renaissance inspiration, painted with distressed skulls and crossbones on tapered wooden standards, h. 40”, w. 9‑1/4”, d. 9‑1/4”.

[300/500] 122 Provincial Louis XV Walnut Armoire, ca. 1800, with molded cornice over a pair of doors with shaped panels, scalloped apron and cabriole legs, h. 85”, w. 55”, d. 23”. [800/1200] Illustrated

20

123 Provincial Louis XV-Style Fruitwood Commode Chair, mid-19th century, the caned seat hinged and above a deep apron, raised on cabriole legs ending in scrolled toes, h. 37”. [100/200]

119 124 Regence-Style Walnut Fauteuil a la Reine, early 19th century, the padded rectangular back joined by padded scrolling arms to the like seat, above a shaped shell-carved apron, raised on cabriole legs joined by a shaped X-form stretcher and ending in bun feet, h. 47”.

[500/800] Illustrated

122 125 Pair of Enameled Satin Glass Vases, third quarter 19th century, probably Bohemian, now mounted as lamps, decorated with hand-painted trailing morning glory flowers and vines, h. 18‑1/2” (31” to finial), dia. 5‑1/2”. [400/700] Illustrated 124

125

21

129

129 Italian Painted Metal Eight-Light Chandelier, mid-20th century, decorated with flowers, h. 18‑1/2”, dia. 33‑3/4”. [300/500] Illustrated 130 Suite of Four Continental Mahogany Sidechairs, 19th century, with arched and padded backs, and cabriole legs ending in hooved feet, with pegged construction, h. 38”, w. 20” ,d. 20”. [300/500]

126 Pair of Molded and Enameled Fiery Opalescent Glass Vases, third quarter 19th century, probably French, now mounted as lamps, base, h. 14‑1/2”, overall, h. 26‑1/2”, dia. 7”. [400/700] 127 Suite of Five Louis XV Fruitwood Fauteuils, late 18th century, each with a padded rounded 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 peg toes, h. 35”. [800/1200] 128 Louis XV-Style Fruitwood Fauteuil, early 20th century, h. 37”, w. 28”, d. 24”.

[250/400]

131 Porcelain Plaque Signed by Jenny Rosauer (German), ca. 1900, in an ebonized labeled frame, h. 19‑1/2”, w. 13‑1/2”. [500/800]

135

132 Provincial Louis XV-Style Walnut Sofa, with scroll arms, scalloped apron and cabriole legs, finished with French toes, h. 34‑1/2”, d. 24”, l. 88”. [500/800] 133 Allan T. Bernaldo (Australian, 1900‑1988), “Still Life with Watermelon, Grapes, Peppers and Walnuts”, watercolor on board, signed lower left, 20‑1/2” x 25”.

Framed. [700/1000] Illustrated 134 Two Contemporary Decorative Paintings, including “Still Life with Two Pears and an Apple”, oil on canvas, illegibly signed lower right, and “Still Life with Limes in a Delft Bowl”, oil on panel, illegibly signed lower right, 9” x 12” and 7‑1/4” x 10”. Both framed. [600/900]

133

22

135 Eleven-Piece Limoges Hand-Painted Game Set, ca. 1891‑1914, decorated with game birds, artist signed “G. Saquel”, and marked by retailer Lazarus Strauss and the maker Coiffe, including ten plates, dia. 9‑1/2”, and a platter, l. 18‑3/4”. [600/900] Illustrated

140

136

138 Pair of Continental Bronze Swan-Drawn Chariot Garnitures, early 20th century, cast with intricate details including nosegays and articulated wheels, h. 7‑1/2”, w. 4‑3/4”, l. 14”. [250/400] Illustrated

138

136 Jose Pinal (Mexican, 1913‑1983), “Gallo”, a life-sized, well-carved mahogany figure of a rooster, modeled standing on an integral base, mounted on a rectangular plinth inscribed “J. Pinal”, h. 18”, w. 4‑3/4”, l. 12‑1/2”. [250/400] Illustrated 137 Pair of Cold-Painted Bronze Pheasants, ca. 1900, probably Vienna, h. 7‑3/4”, l. 19‑1/2”. [700/1000]

139

139 Suite of Six Continental Mahogany Sidechairs, early 19th century, in the rococo taste, each with a padded back surmounted by a floral crest, the padded seat raised above a like-carved apron on cabriole legs ending in pointed toes, h. 40”.

[600/900] Illustrated 140 Carved and Polychromed Figural Pedestal in the Baroque Style, set with a conforming brass tray, h. 35‑1/2”, w. 14‑1/2”, d. 11‑3/4”. [1400/1800] Illustrated

23

143 Pair of French Partially Glazed Pottery Confit Jars, fourth quarter 19th century, from the Provence region, h. 11‑3/4”, dia. 11”. [300/500] Illustrated

143

144

141 Pair of French High-Glazed Pottery Tree Tubs, h. 22‑1/2”, dia. 17”. [300/500] Illustrated 142 Two Large Chinese Martaban-Style Storage Jars, 20th century, h. 34”, w. 26”. [500/800] Illustrated

144 Provincial Louis XVI-Style Fruitwood Fauteuil, early 19th century, the rectangular back with a lyre-form splat, joined to the rush seat by downswept arms, raised on stopfluted tapering circular legs ending in toupie feet, h. 33‑1/2”.

[250/400] Illustrated 145 French Provincial-Style Fruitwood Tray-Top Side Table, fitted with a drawer and raised on cabriole legs, h. 24”, w. 17”, d. 23”. [350/500]

142

146 Louis XVI-Style Inlaid Mahogany Bedside Table, fourth quarter 19th century, h. 30”, w. 19‑3/4”, d. 12‑3/4”. [400/700] 147 Zsigmond Palnagy (Hungarian, 1896‑1959), “The Harvest”, oil on canvas, signed lower left, 39” x 55‑1/4”. In an attractive covemolded lacquered wood frame.

[3000/5000] Illustrated

24

148 Hilaire Bals (Belgian, b. 1940), “Chickens in the Barn”, oil on canvas, signed lower right, 16‑3/4” x 19‑3/4”. Framed. [400/700] Illustrated

147

149 Collection of Six Italian Faience Cockerels, mid-20th century, including four poised to fight, with Capodimonte-style marks, the tallest, h. 6‑1/4”.

[250/400]

141

148 25

150 Collection of Six Unusual Painted and Gilt ToleCovered and Pierced Sconces, 20th century, probably Continental, h. 12‑1/2” to 14”, w. 3‑3/4” to 4”.

[500/800]

153 Provincial Louis XV-Style Mahogany Occasional Table, 19th century and later, the banded rectangular top above a frieze fitted with a single drawer, raised on cabriole legs ending in scrolled toes, h. 28”, w. 29”, d. 22”. [400/700]

156

152

151 Arnaldo de Lisio (Italian, 1869‑1949), “Neapolitan Girl Carrying Jugs of Water”, watercolor on paper, signed lower right, sight 23” x 13‑3/4”. Glazed and framed. [400/700] 152 French Carved Fruitwood Single-Door Armoire, fourth quarter 18th century, in the Louis XV taste, h. 80‑1/2”, w. 34‑1/2”, d. 26”. [500/800] Illustrated

26

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

[400/700] 155 French Handwoven Floral Tapestry, depicting two robust floral bouquets, h. 122”, w. 92”. [300/500] 156 American Pine Ladder, ca. 1900, with reeded steps, h. 49‑1/2”, w. 32‑1/4”, d. 14‑1/2”. [300/500] Illustrated 157 Pair of Renaissance-Style Brass and Wood FourLight Candelabra, h. 26‑3/4”, dia. 12”. [400/700] Illustrated

157

160

158 Wrought-Iron Fire Fender, ca. 1900, possibly American, trimmed with gilt, h. 8”, w. 48‑1/2”, d. 11‑1/2”. [250/400]

161 Louis XIV-Style Pierced Faux Bois Mirror, first quarter 20th century, set with a beveled plate, h. 17‑3/4”, w. 14‑3/4”. [250/400]

159 French Verdure Tapestry, mid-20th century, depicting a lush landscape with a chateau in the distance, with a scrolling floral vine border, h. 63”, w. 132”. [400/700] Illustrated

162 Louis XV-Style Carved Wooden Urn, second quarter 20th century, now mounted as a lamp, base, h. 16‑1/2”, overall, h. 29”, dia. 6‑1/4”. [300/500]

160 Unique Continental Carved and Polychromed Wood and Wire-Mounted Birdcage, now converted to a chandelier, the interior with a suspended brass rod with four electric sockets, h. 36”, dia. 22”. [600/900] Illustrated

163 Pair of Continental Terracotta Figures of Children, fourth quarter 19th century, symbolizing “Summer” and “Winter”, now mounted as lamps, base, h. 19”, overall, h. 28‑1/2”. [300/500]

159 27

164

167 Scavo Glass Amphora-Form Vase, 20th century, probably by Seguso, Murano, Italy, made in the ancient style with applied prunts and handles, h. 12”, dia. 3‑1/2”.

[350/500] Illustrated 168 Flower-Molded Opalescent Glass Vase, second quarter 20th century, probably Phoenix Glass, Pennsylvania, h. 9‑1/4”, dia. 7”.

[400/700]

164 Twenty-Six-Piece Partial Dessert Service Attributed to Limoges, with twig and ivy decoration, hand-painted with geishas carrying umbrellas and sprays of flowers, some pieces impressed “GD”, possibly for Gustave Demartial, the set comprised of a teapot, h. 9‑3/4”, a sugar bowl, h. 8”, a cream jug, h. 5”, two oval handled trays, l. 12‑3/4”, six dessert plates, dia. 7‑1/2”, six custard dishes, dia. 5”, six saucers, dia. 5‑1/2”, and three cups, h. 2‑1/2”. [250/400] Illustrated

169 Continental Green Iridescent Art Glass Trumpet Vase, first quarter 19th century, probably decorated with pulled feather-type decoration, now bearing a spurious Tiffany Favrile mark, h. 10‑1/2”, dia. 5‑1/4”.

[500/800] Illustrated 166

165

165 Latin American Carved Pine Chest, 19th century, decorated with lion’s supporting a shield, h. 47”, w. 24‑1/2”, d. 23‑1/2”. [350/500] Illustrated 166 Enameled Opaline Glass Aesthetic Bottle Vase, fourth quarter 19th century, probably Bristol, England, decorated with raised platinum and gilt flowers and insects on a coppercolored ground, marked with a pattern number, h. 10‑3/4”, dia. 3‑3/4”. [250/400] Illustrated

28

170 French Cut, Gilt and Enameled Glass Covered Punch Pot, third quarter 19th century, h. 18‑3/4”, dia. 9‑3/4”. [400/700]

171 Four-Piece Collection of Galle Faience Pottery, fourth quarter 19th century, Nancy, France, consisting of a blue and white sunflower-form wall pocket, decorated with crosses of Lorraine and flower sprigs, h. 9”, w. 9”, a blue and white sauceboat signed “E. Galle, Nancy”, h. 3‑1/4”, w. 6‑3/4”, a shellform wall plaque marked “dipose Emile Galle”, h. 8‑3/4”, w. 10‑1/4”, and a plate with a pierced rim, reading “forget me not”, dia. 9‑1/2”. [200/400]

167

172

172 Pair of Cut, Enameled and Gilded Amber Glass Decanters, mid-20th century, in the “Hollywood Regency” style, the enamel decoration depicting a couple in 18th-century costume in an Arcadian landscape, h. 31”, dia. 6”. [1000/1500] Illustrated

169

173 Amber Blown Art Glass Vase, fourth quarter 19th century, probably Bohemian, h. 20‑1/2”, dia. 8‑1/4”.

[200/400] 174 Blown and Cut Amber Glass Scent Bottle, third quarter 19th century, probably French, h. 8‑3/4”.

[400/700] 175 Regency-Style Amber Cut Glass Centerpiece Bowl, first quarter 20th century, possibly Waterford, h. 9‑1/4”, dia. 9”. [300/500]

176

176 Legras Enameled Scenic Art Glass Bud Vase, first quarter 20th century, h. 13‑1/2”, w. 2‑3/4”.

[500/800] Illustrated

29

177 Pair of Blown and Enameled Crystal Vases in the Japonesque Taste, ca. 1900, possibly Galle, decorated with raised enamel fans, heron rondels and plum branches, the pontil-marked bases with an enameled “2” with an arrow, h. 8”, w. 4”, d. 2‑3/4”. [350/500]

179 Pair of Enameled Vaseline Glass “Jack-in-thePulpit” Vases, ca. 1900, probably Bohemian, trimmed with aubergine opalescent necks, h. 6‑1/2”, dia. 6”.

[300/500]

186

188

178 Three Pieces of Bohemian Enameled Art Glass, fourth quarter 19th century, consisting of a smokecolored vase attributed to Harrach, h. 7‑3/4”, a colorless pitcher attributed to Rossler, h. 8‑1/2”, and a ribbed decanter signed “Moser” and formerly fitted with a stopper, h. 8‑1/2”. [200/400]

30

180 Unusual Jugendstil Copper-Mounted Art Glass Vase, first quarter 20th century, the conforming ribbed copper case mount set with bosses matching the base, h. 10”, dia. 4‑1/4”. [400/700]

187 3 of 12

190

181 Ancient-Style Glass Ewer, 20th century, possibly Scavo, h. 10”, dia. 4‑3/4”. [300/500] 182 Three Pieces of Glass and Pewter Drinkware, ca. 1900, probably Bohemian, comprising an ale bottle with a pewter handle and a porcelain cap, h. 11‑1/4”, and two blown glass punch cups with polished pontils, set in pewter holders, h. 3”. [200/400] 183 Napoleon III Green Cut Glass Covered Punch Bowl, third quarter 19th century, h. 11”, dia. 7”.

[300/500] 184 Bohemian Cut and Enameled Glass Mug, third quarter 19th century, h. 6‑3/4”. [300/500] 185 Paul Hoff for Kosta Cameo Glass Bowl, Swedish, decorated with cherries, engraved: “Kosta 57517 Hoff”, h. 5‑1/4”, dia. 8‑3/4”. [350/500] 186 Three-Piece Group of Cameo Glass, including a French vase depicting trumpet vines and flowers, first quarter 19th century, signed in the lower field, h. 8”, a bud vase, late 20th century, signed “de Nanne”, h. 11”, and a vase depicting thistles, 20th century, h. 9‑3/4”.

[400/700] Illustrated

187 Collection of Twelve Beatrix Sherman (American, 1894‑1975) Silhouettes, depicting standing gentlemen, ca. 1915, sitters identified lower margins, sheet sizes range from 10‑1/2” x 5‑1/2” to 11‑1/4” x 6‑5/8”. All glazed and presented in contemporary ebonized gallery frames. [500/800] Illustrated 188 Pair of Painted Metal and Marble-Top Tabourets, the bases in the form of seated whippets, h. 31”, dia. 15”. [500/800] Illustrated 189 Pair of Seashell Garnitures, on ebonized stands, h. 19”, dia. 6‑1/4”. [350/500] 190 One Hundred and Eleven-Piece Royal Doulton “Strathmore” Pattern Dinner Service, including sixteen dinner plates, dia. 10‑1/4”, sixteen luncheon/ salad plates, dia. 8‑1/4”, fourteen double-handled bouillon cups and sixteen saucers, fourteen butter plates, dia. 6‑1/4”, fourteen vegetable bowls, dia. 5”, five coffee cups and fourteen saucers, and two square serving plates, w. 9”, d. 9”. [350/500] Illustrated

31

191 Herend Hand-Painted Porcelain Elephant, 20th century, Hungary, h. 10”. [250/400] Illustrated 191

194 Five-Piece Collection of Herend Porcelain Figures, 20th century, Hungary, including a pair of kangaroos, a seated elephant, a circus elephant, a unicorn and a ram, the tallest, h. 5‑3/4”. [250/400] 199

192 Four-Piece Collection of Herend Porcelain Rabbits, 20th century, Hungary, the tallest, h. 6‑1/4”. [250/400] 193 Five-Piece Collection of Herend Porcelain Figures, 20th century, Hungary, including a foo dog, two teddy bears, and two shells, the tallest, h. 6”. [250/400]

197 195 Six-Piece Collection of Herend Porcelain Figures, 20th century, Hungary, including an owl, a seahorse, a porpoise, a standing duck, a swimming duck and a cricket, the tallest, h. 4‑3/4”. [250/400] 196 Pair of Edwardian Brass, Copper, Tole and Glass Carriage Lamps, first quarter 20th century, set with beveled glass panels, and finished with upper brass and lower copper finials, h. 10‑1/2”, dia. 3‑3/4”. [300/500] 197 French Art Deco Spelter and Opalescent Glass Pendant Light, ca. 1930, the metal casing molded with scallop shells, foliate scrolls and bellflowers, the glass shade molded in a geometric pattern, fitted with a patterned hanging chain, lantern, h. 19”, dia. 12”, overall with chain, h. 52”. [300/500] Illustrated 32

198 English Mahogany-Cased Bracket Clock, first quarter 20th century, the tombstone-form clock with an integral bracket and pierced decoration on the door, signed “Bevan & Theare, Birkenhead” on the dial, h. 26‑3/4”, w. 13”, d. 8‑1/2”. [500/800] 203

199 English Arts and Crafts Oak Cabinet, early 20th century, with paned glass doors above and carved doors below, bearing an engraved silver plaque of dedication and dated Aug. 1, 1905, h. 91”, w. 48”, d. 20”.

[800/1200] Illustrated

201 Pair of Arts and Crafts Brass Andirons, first quarter 20th century, probably American, h. 17”, with a matching tool set, h. 28‑1/4”. [250/400] 202 Edwardian Mahogany Music Cabinet, ca. 1900, h. 51”, w. 18‑1/2”, d. 15”. [250/400]

205 203 Pair of English Mahogany Windsor Captain’s Chairs, each with a rounded crest and outscrolled arms above a spindled barrel back, the molded wooden seat raised on cabriole legs joined by an H-form stretcher and ending in pad feet, h. 31”. [500/800] Illustrated 204 Jordi Bonas (French, b. 1937), “Still Life with Red and Yellow Flowers”, oil on canvas, signed lower right, 24” x 20”. Framed. [400/700] Illustrated 205 Continental School (Fourth Quarter 19th/First Quarter 20th Century), “Floral Still Life in a Baroque Urn”, oil on canvas, unsigned, 22” x 28”. Framed.

[300/500] Illustrated 206 French School (Early 20th Century), “Gerbera Daisies in a Blue Vase”, oil on panel, signed indistinctly lower right (M. Lipy?), 9” x 12”. In a carved giltwood frame. [250/400]

204

200 Heavy Arts and Crafts-Style Copper Tray, with brass trim and a wall hanger on the back, dia. 37”.

[200/400]

207 Continental School (Fourth Quarter 20th Century), “Autumnal Still Life” and “Still Life with Strawberries, Flowers and Wine Bottle”, both oils on canvas, the former signed lower right “Tasse”, former 7‑3/4” x 9”, latter 11” x 14”. Both framed. [450/700] 33

208 Set of Eight Minton Porcelain Dinner Plates, ca. 1902, English, with raised gilt on a burgundy ground, dia. 8‑3/4”. [300/500] Illustrated

208

211 Set of Twelve Bavarian Raised Gilt Service Plates, first quarter 20th century, signed “Heinrich & Co.”, dia. 11”. [150/300] Illustrated 212 Unusual Edwardian Mahogany Desk/Collector’s Cabinet, early 20th century, h. 30”, w. 50‑1/2”, d. 32”.

[350/500] 211

209 Forty-Two-Piece “Dresden” Raised Gilt Partial Dinner Service, ca. 1890, German, made by Ambrosius Lamm, including fourteen dinner plates, dia. 9‑1/4”, fourteen luncheon plates, dia. 8‑3/4”, and fourteen bread and butter plates, dia. 5‑3/4”. [500/800] Illustrated

209

213 Edwardian-Style Inlaid Mahogany Open Bookcase, mid-20th century, h. 71”, w. 44”, d. 12”.

[300/500]

216

210 Vienna-Style Hand-Painted Porcelain Portrait Plate, ca. 1883‑1906, probably Carl Knoll, Fischern, Bavaria, the elaborately decorated raised gilt claretground border framing a hand-painted portrait of a Renaissance lady, marked with an underglaze blue “beehive”, dia. 9‑1/2”. [400/700]

34

217

214 Edwardian Mahogany Cheval Mirror, ca. 1900, the rectangular plate within a molded and banded frame, raised on square supports to splayed feet, h. 72”, w. 27”. [400/800]

220

217 Extensive Collection of Tiffany-Retailed Raised Gilt Porcelain, early 20th century, including twelve Lenox luncheon plates, dia. 8‑1/2”, twelve Minton salad/dessert plates, dia. 7‑1/2”, eight Cauldon cream soup bowls, h. 2‑3/4”, with nine underplates, dia. 6”, and six Minton demitasse cups, h. 2‑1/2”, with six saucers, dia. 4‑3/4”. [500/800] Illustrated

218 Set of Seven Raised Gilt Porcelain Service Plates, first quarter 20th century, probably German, retailed

by Loesser, New York, dia. 10‑1/2”. [250/400] Illustrated 219 Set of Six Hutschenreuther Art Deco Porcelain Service Plates, ca. 1920‑1967, German, the richly detailed plates with raised gilt borders framing the shagreen ground, marked, dia. 11”. [250/400]

218

215 Ebonized Wood Flatware Chest, ca. 1900, with brass carrying handles, fitted with four felt-lined silver trays, h. 12”, w. 22”, d. 18‑3/4”. [200/400] 216 Tiffany-Retailed Minton Bronze and Raised-Gilt Porcelain Tazza, first quarter 20th century, English, the date letter observed on the base, h. 3‑1/4”, dia. 9”. [200/400] Illustrated

220 Set of Eight Christofle Porcelain Service Plates, with lattice-molded gilt borders, dia. 12‑3/4”.

[200/400] Illustrated

35

221 British School (First Quarter 20th Century), “Figure on a Country Path, Village in the Distance”, oil on board, signed lower left “Walter Banks”, 12‑1/4” x 20‑3/4”. Presented in a giltwood and gesso exhibition frame. [400/700] Illustrated

223 Harriette Anne Seymour (British, 1830‑1901), “Ruins by the Lake”, oil on board, monogrammed lower right, “Winsor and Newton” label en verso board, 12” x 10”. Framed. [400/700] 224 Elma Taylor (American/Hawaii, 20th Century), “Kahakai Beach, Hilo, Hawaii”, 1968, oil on canvas, signed lower right, titled en verso, 20” x 24”. Framed.

[300/500]

221 222 British School (Fourth Quarter 19th Century), “Wooded Landscape”, oil on canvas, illegibly signed lower left, 9” x 12”. Presented in a giltwood and gesso frame. [200/400]

226

227 225 Diminutive Edwardian Inlaid Mahogany Side Cabinet, ca. 1900, h. 32”, w. 29”, d. 14‑1/2”. [400/700] 226 Edwardian Marquetry-Inlaid Rosewood Petite Cylinder Desk, early 20th century, with inlaid cylinder, a segmented interior with pull-out writing surface, and tapering legs joined by a shelf, h. 38”, w. 25”, d. 18”. [500/800] Illustrated 227 Willem Elisa Roelofs (Dutch, 1874‑1940), “Still Life with Pansies”, oil on canvas, signed upper right and lower left, 18” x 17‑3/4”. Framed. [500/800] Illustrated 228 Romek Arpad (Hungarian, 1883‑1960), “Still Life of Glass and Copper Vessels”, oil on canvas, signed lower right, 24” x 30”. Framed. Provenance: Estate of Lillian Pulitzer Smith, New Orleans, Louisiana.

[350/500]

36

229 Evelyn M. Baxter (Australian, 1925‑1979), “Yellow Roses”, oil on board, signed lower right, 24” x 26”.

Attractively framed. [700/1000]

230

230 Dutch-Style Inlaid Mahogany and BronzeMounted Corner Cabinet, early 20th century, h. 33”, w. 26”, d. 15”. [300/500] Illustrated

233 232 Marc Chagall (Russian/French, 1887‑1985), “Le Cirque”, color lithograph, unsigned, Mourlot, 1960, 12‑1/2” x 9‑1/2”. Glazed and framed. [350/500] 233 Graciela Rodo Boulanger (Bolivian, b. 1935), “Boy with Bird”, lithograph in color, sight 26” x 20”.

Matted, glazed and framed. [300/500] Illustrated

231 231 Joan Miro (Spanish/French, 1893‑1983), “Composition”, lithograph on Arches paper, sight 15‑1/8” x 28”. Glazed, matted and framed. [300/500] Illustrated

234 Ben Shahn (American, 1898‑1969), “McCarthy Peace”, lithographic poster, signed in pencil mid-left, with the 234 chop mark in red, sight 37‑1/2” x 24‑1/4”. Framed. [400/700] Illustrated

37

236 Henri Guedon (French/Martinique, 1944‑2006), “Tamtam Drums”, marker on paper, signed lower right, sight 25” x 19”. Glazed and framed. [400/700] Illustrated

239

236 235 Jack Levine (American, 1915‑2010), “Top Hat”, lithograph, artist’s proof, signed lower right, marked “AP” lower left, sight 37” x 24”. Glazed, matted and framed. [400/700] 238

237 Jacques Villon (French, 1875‑1963), “Portrait of a Man”, 1928, color etching with aquatint, after Jean Crotti (French, 1878‑1958), pencil-signed and numbered “66/200” lower left, sight 19‑3/4” x 14”.

Glazed, matted and framed. [400/700] 238 Joey Bonhage (American/New Orleans, 1941‑2008), “Cleome”, painted metal sculpture, h. 27”, w. 12”. [300/500] Illustrated

241

38

243

241 Joey Bonhage (American/New Orleans, 1941‑2008), a pair of painted metal flower sculptures, including “Narcissus”, 14” x 6‑1/2”, and “Wildflowers”, 12” x 7”. [300/500] Illustrated 242 Joey Bonhage (American/New Orleans, 1941‑2008), “Orchid”, painted metal sculpture, h. 15”, w. 32”. [300/500] 243 Barcelona-Style Chrome and White Leather Chair, 20th century, h. 31”, w. 31”, d. 35”. [300/500] Illustrated 244 Mid-Century Modern DenimUpholstered Tufted Sofa, ca. 1960’s, of box form, h. 28”, w. 98”, d. 34”. [300/500] Illustrated

245 Gray-Painted Metal Queen-Size Canopy Bed, decorated with a basket of fruit with two birds, h. 78”, w. 60”, l. 81”. [400/700]

239 Joey Bonhage (American/New Orleans, 1941‑2008), a pair of painted metal flower sculptures, including “Narcissus”, 14” x 6‑1/2”, and “Wildflower”, 12” x 7”. [300/500] Illustrated

246 Vintage Casella Brass Adjustable Floor Lamp, 1970’s, bearing the original Casella, San Francisco, California, paper label, h. 31‑1/2”, extended h. 48”, w. 6‑1/4”, d. 13”. [250/400]

240 Joey Bonhage (American/New Orleans, 1941‑2008), “Wildflowers”, painted metal sculpture, 16” x 17”. [300/500]

244

39

247

248 Jean Cocteau (French, 1889‑1963) Designed Face Vase, third quarter 20th century, made by Rosenthal, the design signed “Jean Cocteau 1952”, h. 8‑1/2”, dia. 4‑3/4”. [250/400] Illustrated 249 Pair of Mid-Century Modern Brass, Wood and Glass Figural Hurricane Lamps, of neoclassical inspiration, h. 22‑1/4”, dia. 6‑3/4”. [200/400]

247 Charles and Ray Eames for Herman Miller Lounge Chair, model 670, the laminated and ivory leather lounge chair and ottoman each retaining a Herman Miller label, chair, h. 31”, w. 34”, d. 34”, ottoman, h. 14‑1/4”, w. 25‑1/2”, d. 21”. [1500/2500] Illustrated

250 Pair of Italian Ceramic Blackamoor Figural Candleholders, 20th century, h. 25”. [500/800] 251

248

251 Interesting Burl Cypress Cross-Cut Tree Trunk, now mounted as a coffee table, h. 16”, w. 74”, d. 36”. [400/700] Illustrated 252 Pottery Sculpture in the Form of an Intertwined Root Ball, 20th century, h. 24”, w. 11”. [300/500] 253 A Decorative Carved Stone Sculpture, 20th century, h. 13‑1/2”, w. 8‑1/2”, d. 8‑1/2”. [500/800] Illustrated

40

253

256 Isaac Maimon (Israeli, b. 1951), “Portrait of a Brunette in a White Hat” and “Portrait of a Red-Head in a White Hat”, pair of acrylics on canvas, both signed lower right, each 16” x 12”. Both framed alike. [900/1200] Illustrated

255

254 Amy Archinal (New Orleans, b. 1960), contemporary marble sculpture, h. 11‑1/4”, w. 17”, d. 4”. Provenance: Gift of the Artist to the Consignor.

[300/500] Illustrated 255 Collection of Four Assorted Steer Horn Objects, including a large magnifying glass, l. 17”, dia. 6”, and three graduated horns mounted to stepped and ebonized platform bases, h. 10” to 16”. [200/400] Illustrated

257 Continental School (20th Century), “The Fruit Pickers”, pastel on paper, unsigned, sight 25” x 32”.

Glazed and framed. [300/500]

254

256 41

258 Charles Levier (French, 1920‑2003), “Solitude”, oil on canvas, signed lower right, signed and titled en verso, 40” x 30”. Unframed. [700/1000] Illustrated

261 Charles Bisschops (Belgian, 1895‑1975), “The Spanish Beauty”, oil on board, signed lower left, 12” x 10”. Framed.

[500/800] 262 Robert Kinsell (American, Contemporary), “Regulated”, 1997, oil and acrylic on canvas, signed and dated lower left and en verso canvas, titled on a gallery label en verso stretcher, 40” x 40”. Framed.

[400/700] 260 263 Unusual Faux Enamel Globe on Metal Stand, the various countries and states picked out in specimen stone and mother-of-pearl, the base set with a compass, h. 34”, dia. 19”. [300/500]

258 259 Charles Levier (French, 1920‑2003), “Harbor Scene”, oil on canvas, signed lower right, 15” x 30”.

Framed. [700/1000] Illustrated

259 260 Charles Levier (French, 1920‑2003), “Clown in a Yellow Jacket”, oil on board, signed lower right, 30” x 15”. Framed. [500/800] Illustrated

42

264 Contemporary Acrylic Boudoir Stool, with a needlepoint cover, h. 16‑1/2”, dia. 14”.

[250/400] 265 Contemporary Louis XVI-Style Ebonized Cocktail Table, the large rectangular top above a paneled frieze, raised on paneled tapering square legs, the whole with gilt accents, h. 18‑1/2”, w. 72”, d. 31”.

[350/500] 266 266 Carved African Wall Plaque, early 20th century, depicting various figures and crocodiles, formerly a door to a cabinet, h. 49”, w. 25”.

[200/400] Illustrated

267 Indo-Persian Mace and Shield/Buckler, mid19th century, the mace with a pyriform head chiseled with twelve panels and topped by a small turned finial, separated by a simple knop from the similarly paneled shaft, the grip drilled for a lanyard, l. 25‑1/2”, the circular shield of domed form and pressed and lacquered construction, retaining four circular pierced bosses attached with wrought iron hardware, with remnants of the leather grip, dia. 26‑1/2”. [400/700]

270 Chinese ChippendaleStyle Settee, upholstered in red chinoiserie cotton damask, h. 33”, w. 64”, d. 31”. [300/500]

274

271 Contemporary Red Leather Ottoman, the tufted red leather cushion supported on an ebonized base, h. 16‑1/2”, w. 48”, d. 48”. [500/800] 272 Contemporary Tufted Burlap Ottoman, on tapered feet, h. 17”, w. 36”, d. 24‑1/2”. [300/500] Illustrated

272 268 Ten-Piece Collection of African Carved Figures, 20th century, h. 12” to 20”. [400/700] 269 Large Mid-Century-Style Fruitwood Sofa, of box form and raised on short tapering legs, h. 35”, w. 88”, d. 38”. [400/700] Illustrated

273 Pair of Contemporary Tole Mirrors, of Anglo-Indian inspiration, each with a beveled rectangular plate with canted upper corners and a graduated base, with a gilt tole faux bamboo frame, h. 42”, w. 29”. [500/800] 274 Contemporary Red-Cased-Over-Yellow Blown Glass Vase, probably Murano, with abstract designs, h. 6‑3/4”, w. 11‑1/4”. [300/500] Illustrated 275 Signed Gino Cenedese Contemporary Glass Vase, 20th century, Murano, h. 8‑3/4”, dia. 9‑3/4”. [300/500] 269

43

276 Adam Homan (American/Arizona, Contemporary), “Claws”, welded and patinated steel sculpture depicting a gargoyle breaking through a framed canvas, signed bottom right, h. 16”, w. 16‑1/2”, d. 9”, fitted for hanging. [250/400] Illustrated

279 Contemporary Teak Breakfast Table, ca. 2000, attributed to De La Espada and so marked, with circular top and square legs, h. 29‑1/2”, dia. 48”.

[300/500]

282

276 277 Pair of Danish Modern Caned and Upholstered Mahogany Armchairs, mid-20th century, h. 42‑1/2”, w. 23”, d. 22”. [300/500]

280 Contemporary Brushed Metal and Marble-Top Console Table, the long Rouge Royale marble top with a molded edge and raised on three S-scroll metal supports, h. 36”, w. 80”, d. 20‑1/2”. [1000/1500] 281 Spanish-Style Iron King-Size Headboard, with brass finials, h. 63”, w. 76”. [100/200]

278

284

282 Contemporary Anodized and Brushed Steel Circular Coffee Table, h. 20”, dia. 42”. [300/500] Illustrated 278 Suite of Four Contemporary Suede and Teakwood Dining Armchairs, by De La Espada and so marked, h. 32”. [400/700] Illustrated

44

283 Contemporary Gold-Painted Iron Console Table, with a glass top, h. 37”, w. 56”, d. 14”. [300/500]

284 Gilt-Metal and Beveled Glass-Topped Coffee Table, with molded and pierced neoclassical decoration, h. 21”, w. 42”, d. 19”. [300/500] Illustrated

287 Pair of Gold-Leafed Blesbok Skulls, the goldleafed skulls mounted with their natural horns, h. 24”, w. 9”. [350/500] Illustrated 287

285 285 Cast Bronze and Plate Glass Coffee Table, bearing the engraved maker’s mark “P. E. Guerin, Inc., New York”, h. 16”, w. 48”, d. 48”. [250/400] Illustrated 286 Curtis Jere Gilt- and Patinated Metal Pelican Sculpture, 1970, American, modeled with a pair of pelicans perched on dock posts set within a quartz base, signed and dated, h. 19”, w. 7‑1/2”, d. 7”. [250/400] Illustrated 286

288 Gold-Leafed Impala Skull with Horns, the goldleafed skull mounted with its natural horns, h. 23”, w. 18”. [200/400] 289 Impressive Gold-Leafed Kudo Skull with Horns, the gold-leafed skull mounted with its natural horns, h. 34”, w. 27”. [250/400] Illustrated

289

45

290 Impressive Gold-Leafed Kudo Skull with Horns, the gold-leafed skull mounted with its natural horns, h. 34”, w. 28”. [250/400]

292 Aubusson Needlepoint Carpet, 9’ x 12’ 3”.

[400/700] Illustrated 293 Heriz Runner, 13’ 6” x 4’ 2”. [400/700] 294 Agra Serapi Runner, 2’ 7” x 17’ 3”. [400/700] 295 Kashan Carpet, 9’ 4” x 12’ 8”. [500/800] 296 Tabriz Carpet, 9’ 10” x 16’ 6”. [600/900] Illustrated 297 Peshawar Mahal Carpet, 8’ x 10’. [450/700] 298 Eight Chinese Carved Soapstone Figures, 20th century, the black-colored stone depicting the eight immortals, h. 5‑1/2”. [200/400]

292 291 Shiraz Carpet, 4’ x 6’ 10”. [300/500]

299 Group of Nine Carved Malachite and Lapis Lazuli Animals, including a malachite rhinoceros, lion, turtle, elephant, monkey and hippopotamus, and three lapis lazuli rabbits, the largest, l. 9”. [300/500]

301

300 Chinese Carved Lapis Lazuli Foo Dogs on Stands, 19th/20th century, the mottled blue and gray lapis lazuli carved and depicting two foo dogs playing with a ball and a fabric streamer, h. 3‑1/2”, l. 3”, including stand. [400/700] 296 46

301 Four Chinese Jade and Hardstone Carvings, 19th/20th century, the largest, h. 1‑3/8”, l. 2‑5/8”.

[300/500] Illustrated

303

308 Group of Five Hardstone Bowls, 20th century, including two pairs of spinach-colored bowls on stands, and a brown and white hardstone bowl with four dragons on the sides, the largest, h. 2”, dia. 5”, without stands. [300/500] 309 Chinese Carved Hardstone Censer, 19th/20th century, the green three-legged censer having a lid with a dragon head knob, h. 6”, w. 6‑1/4”. [300/500] 310 Chinese Fluorite Carving, 19th/20th century, now mounted as a lamp, with a wooden stand and patinated brass fittings, base, h. 11”, overall, h. 25”. [300/500] Illustrated

302 Chinese Carved Hardstone Buddha, 20th century, the deep green figure of Budai seated, with an affixed wooden stand, h. 6”, w. 6”. [250/400]

310

303 Three Chinese Hardstone Buddha Figures, 20th century, the largest, h. 3”, l. 3‑1/2”. [250/400] Illustrated 304 Chinese Carved Hardstone Belt Buckle, 19th/20th century, the light stone in the form of a ruyi scepter, l. 4”. [300/500] 305 Three Chinese Belt Buckles, Together with a Snuff Bottle, 19th/20th century, the two jade and one green hardstone buckle carved in an archaistic style, the longest, l. 4‑1/4”, together with a jade snuff bottle carved with a sunflower motif, h. 2‑5/8”. [400/700] 306 Two Chinese Carved Amethyst Snuff Bottles, the larger carved with monkeys in trees, h. 2‑1/2”, and the smaller carved with boats and trees on a shoreline, h. 2”. [200/400]

311 Pair of Chinese Fluorite Carvings, 20th century, the fang hu-shaped vessels now mounted as lamps with brass and wood fittings, base, h. 10‑1/2”, overall, h. 24‑1/2”, w. 4”. [400/700]

307 Four Chinese Carved Stone Snuff Bottles, 19th/20th century, including two quartz bottles, one white agate bottle and one pierced amethyst bottle, the tallest, h. 3”. [600/900]

312 Chinese Hardstone Carving, early 20th century, the brown and celadon-colored stone depicting the standing figure of the goddess of mercy Kuan Yin holding a vase, h. 12”. [200/400]

47

313 Chinese Hardstone Carving of a Mythical Animal, first half 20th century, the pale celadon stone carved in the form of a mythical animal, on a wooden stand, l. 7‑1/2”. [200/400] 317

316 Chinese Green Hardstone Fish Carving, 19th/20th century, the carving depicting three fish swimming among long strands of seaweed, set on an oval wooden stand, h. 14”, including base. [200/400]

323

314 Pair of Chinese Carved Hardstone Foo Dogs, 20th century, on pierced wooden stands, h. 7”, w. 2‑3/4”, d. 3‑3/4”. [200/400]

321

317 Two Chinese Hardstone Carvings of a Peacock and Qilin, 19th/20th century, the carving of a peacock and blossoming peonies with birds, affixed to a pierced and carved wooden stand, and the carving of the qilin surrounded by auspicious objects, on a carved wooden stand, h. 12”. [400/700] Illustrated 318 Chinese Hardstone Carving of a Peacock, 20th century, depicted with his peahen, unmarked, h. 8‑1/2”, w. 4”. [200/400] 319 Chinese Lidded Vessel, 19th/20th century, bowenite lidded bottle carved with roses, on a wooden stand, h. 9‑1/2”, w. 5”, including stand. [200/400]

315 Chinese Soapstone Carving, 20th century, the yellow and orange stone carved in the form of a cockerel with flowering plum branch, h. 18”. [200/400]

48

320 Two Chinese “Jade Trees”, 20th century, composed of quartz, agate and various hardstones, h. 9”.

[200/400]

321 Chinese Soapstone Carving, 20th century, the large black and brown carving of vessels and flowers, h. 7‑1/8”, w. 9”. [250/400] Illustrated

325 Four George III Hester Bateman Sterling Silver Spoons, hallmarked London, including a 1778‑1779 “Old English Feather-Edge” tablespoon, l. 8‑1/2”, a 1787‑1788 “Old English” teaspoon, monogrammed “HS”, l. 5”, a 1789‑1790 “Old English” teaspoon, l. 4‑3/4”, and an undated “Hanoverian” teaspoon, l. 4‑3/4”, 3.47 total t. oz. [250/400] Illustrated

322 Chinese Soapstone Screen, 20th century, the pierced and carved soapstone screen with a motif of birds and prunus limbs, on a fitted wood stand, h. 9‑1/4”, w. 9‑1/2”. [300/500] 323 Early George III Sterling Silver Caster, hallmarked London, 1764‑1765, by Richard Palmer I, of traditional baluster form with flammiform finial, h. 7”, 6.17 t. oz.

[250/400] Illustrated

329 (detail) 329

325

326 Eight Late Georgian Sterling Silver “Fiddle” Spoons, hallmarked London, 1802‑1805, four

by Urquhart & Hart, four by Joseph Barnard, including a tablespoon, l. 8‑3/4”, four dessert spoons, l. 7‑3/8”, and three teaspoons, l. 5‑3/8”, each engraved with a crest of a lion rampant regardant sable (Jenkins et al.), 10.41 total t. oz. [300/500] 327 Set of Four George III “Old English” Sterling Silver Tablespoons, hallmarked London, 1783‑1784, by George Smith III, each engraved with the crest of a dove close, in the beak an olive branch, l. 8‑1/2”, 8.48 total t. oz. [250/400]

324 Three Early 18th-Century Hanoverian Silver Dessert Spoons, London, including two Queen Anne Britannia (.958) silver rat-tail examples, one hallmarked 1712‑1713, but otherwise the marks on both rubbed, l. 7‑5/8” and 7‑3/8”, and a George II sterling (.925) silver plain drop example, hallmarked 1731‑1732,

by John Gorham or Jeffrey Griffith, l. 7‑7/8”, all with triangular spousal monograms, 5.53 total t. oz.

[300/500]

328 Cased Pair of Regency Sterling Silver Berry Spoons, hallmarked London, 1806‑1807 by “TE” and 1818‑1819

by Josiah & George Piercy, with later Victorian repousse decoration and parcel gilding, l. 8‑3/4”, 3.21 total t. oz., presented in a fitted satin- and velvet-lined case, 10‑1/4” x 4‑3/4”. [250/400] 329 Paul Storr (1771‑1844) Regency Sterling Silver Tablespoon, hallmarked London, 1813‑1814, in the traditional “Fiddle” pattern, engraved with the crest (a demi-stork, wings expanded, in the beak a cross pattee fitched) and motto (In Deo Spes Mea) of Conran, l. 8‑5/8”, 2.57 t. oz. [250/400] Illustrated

49

330 William IV Old Sheffield Plate Entree Dish, second quarter 19th century, marked “W.A.”, in three parts (base, dish and lid) of elongated lobed octagonal form, with robust rocaille banding, handles and feet, engraved with the crest and motto of Elliott of Minto, co. Roxburgh, h. 8‑1/4”, l. 14‑3/4”, w. 10‑1/8”.

[300/500]

331

335 Victorian Cased Silverplate and Faux Ivory Fish Serving Set, the design registered January 17, 1883, including a fish serving knife with scimitar-shaped blade, l. 12‑3/4”, and a four-tined fork, l. 9‑1/2”, the blade and heel with foliate engraving, with silverplatecapped, spiral-carved faux ivory handles, presented in the original claret velvet- and ruched satin-lined case, 14” x 4‑1/2”. [200/400] 336 Two Pieces of Victorian Silverplate, fourth quarter 19th century, Sheffield, including a Culf & Kay, swing-handle footed cake basket, design registered August 4, 1876, decorated with embossed and acidengraved flowers and scrolls, h. 9‑3/4” (with handle), dia. 11‑1/8”, and a Philip Ashberry & Sons Neo-Grec tea caddy, of flat-sided circular form, with ringed maiden’s-masque handles and acanthus crested feet, h. 8‑1/4”, w. 8‑1/2”. [200/400]

337 331 William IV Old Sheffield Plate Tureen, second quarter 19th century, of oval form, with gadrooned rim and robust acanthus feet and handles, h. 9‑3/4”, l. 15‑1/2”, w. 9‑3/4”. [400/700] Illustrated 332 Two Pairs of Victorian Silverplate Candlesticks, fourth quarter 19th century, one of cluster-column form with stepped and beaded square base with “Corinthian” capital socket, h. 12‑1/4”, and an Adamstyle pair with fluted standard, oval base and urn-form socket, h. 11‑1/4”, l. 5‑3/4”. [250/400] 333 Victorian Silverplate Punchbowl, ca. 1900, of hemispherical form, decorated with embossed laurel swags and acanthus-and-dart banding, with applied gadrooned rim, h. 6‑3/4”, dia. 11‑1/4”. [300/500] 334 Victorian Cased Three-Piece Silverplate, Steel and Antler Carving Set, ca. 1900, by Sprock’s, Birmingham, including a knife, l. 16”, fork, l. 12”, and sharpening steel, l. 13‑1/2”, each with antler handle and scrolling “pistol grip” caps, presented in the original green velvet- and ruched satin-lined case, 17‑1/4” x 5‑1/8”. [200/400]

50

337 Victorian Silverplate Figural Hot Water Urn, third quarter 19th century, the spherical urn supported by a kneeling figure of Atlas, above a square plinth on oblate spherical feet, with ring handles and spherical finial, h. 17‑3/4”, w. 11‑1/4”. [250/400] Illustrated

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

[300/500]

340 Large Victorian Silverplate Tray, third quarter 19th century, with reeded rim and acanthus handles and feet, engraved with floral banding and a crest of a stag’s head and monogram “G” (presumably for Godard), l. 35‑1/2”, w. 23‑3/4”. [300/500] Illustrated

343 340

339 Three Pieces of English Silverplate Tableware, first half 20th century, including a Sturges, Bladon & Middleton pear-shaped repousse hot milk jug, h. 9‑1/4”, a B. Worth & Sons shell-form card receiver/ vase, h. 10‑1/2”, and an unmarked folding shell-form biscuit box, h. 10‑1/2”, l. (open) 13‑5/8”. [300/500]

341

341 Large Pair of Edwardian Silverplate Candlesticks, first quarter 20th century, by Ellis-Barker, Birmingham, in the William IV taste with acanthus baluster standard and lobed square foot, h. 19‑1/2”.

[250/400] Illustrated 342 Victorian Cased Twenty-Four-Piece Silverplate Dessert Set, ca. 1900, by James Dixon & Sons, Sheffield, including twelve forks, l. 6‑7/8”, and twelve knives, l. 8‑1/2”, presented in the original fitted, indigo baize-lined mahogany case with lift-out tray, 2‑1/8” x 11‑3/8” x 10‑1/4”. [300/500] 343 Fine Victorian Cased Twenty-Four-Piece Silverplate Fish Set, fourth quarter 19th century, by Daniel & Arter, Birmingham, including twelve forks, l. 7‑1/8”, and twelve knives, l. 8‑1/4”, the handles in a pointed and threaded pattern with maple leaf motifs, the fork heels and scimitar-shaped blades engraved, presented in the original blue velvet and ruched satinlined fitted case, inset with Daniel & Arter label, 2‑1/2” x 14‑1/4” x 10‑5/8”. [400/700] Illustrated

51

344 Three English Silverplate Covered Entree Dishes, 20th century, including a Harrison Brothers & Howson Regency-style rectangular example with gadrooned rim, l. 11‑1/2”, a Fairfax & Roberts example with beaded rim and rocaille banding, l. 10‑5/8”, and a Joseph Sankey & Son oval example with quatrefoil banding and rocaille rim, l. 12‑1/4”. [300/500]

347 George V Silverplate Inkstand, first quarter 20th century, by Atkin Brothers, Sheffield, of oval form with molded “Chippendale” rim, fitted with a pair of paneled and reeded oval glass inkwells with flat, hinged silverplate lids and vasiform finials, overall, h. 3‑1/2”, l. 10”, w. 5‑5/8”. [200/400]

346

345 Set of Four Edwardian Silverplate Candlesticks, first quarter 20th century, each with a standard of tapering lobed oval section, with base, knop and vasiform finial en suite, fitted with a conforming detachable bobeche, h. 12‑1/4”, l. 6‑1/4”. [200/400]

352

346 Three Silverplate Wine Coolers, 20th century, including a Derby Silver Co. rococo-engraved octagonal example, h. 9‑1/4”, and two unmarked urnform English examples, one with rococo banding and presentation inscription dated 1958, h. 10”, the other gadrooned in the Regency taste, with collar and liner, h. 9‑1/2”. [300/500] Illustrated

52

353 348 George V Silverplate and Glass Whiskey Barrel, first quarter 20th century, by John Grinsell & Sons, Birmingham, the diamond- and ridge-cut barrel with silverplate bands, frame and spigot, h. 10‑1/4”, l. 10”, w. 5‑5/8”. [600/900] 349 Edwardian Silverplate Biscuit Barrel, ca. 1900, by Mappin Brothers, Sheffield, of oval section with ringed lion’s masque handles and greyhound finial, h. 8‑1/4”, l. 7‑3/4”, w. 6‑1/4”. [250/400] 350 Rare Set of Six George V Silverplate Table Garnitures, first quarter 20th century, by John Turton & Co., Sheffield, retailed by James Inglis & Sons, York, each in the form of a tazza fruit dish centered by a trumpet vase, with gauffered rims, h. 14‑1/4”, dia. 11‑1/2”. [400/700] 351 English Silverplate Double Sauce Tureen, contemporary, of double oval form, with lion’s paw feet, gadrooned rim and handle, the fitted lid with ring handle en suite, h. 5‑3/4”, w. 9”, l. 8‑1/2”. [200/400]

352 Good Set of Three English Art Deco Sterling Silver Sweetmeat Dishes, hallmarked London, 1938‑1939,

by Robert Edgar Stone (1903‑1990), each of bateau form, with geometric decoration and gallery, l. 5‑5/8”, w. 2‑3/4”, 11.70 total t. oz. [300/500] Illustrated

355 Miniature Baroque-Style Bureau/Commode, third quarter 19th century, possibly Portuguese, the Jacaranda wood commode resting on attenuated cabriole legs with a bold scrollwork base under stepped serpentine bead molding, the lid opening to reveal a matching interior, h. 23”, w. 21”, d. 14”. [600/900]

354

353 English Oak Barley-Twist Gate-Leg Table, ca. 1900, h. 29”, w. 14‑1/2”, d. 29‑1/2”, extended l. 41”.

[200/400] Illustrated 354 Baronial-Style Carved Mahogany Armchair, early 20th century, h. 52”, w. 29”, d. 28”. [300/500] Illustrated 356

357 356 Spanish Provincial Oak Side Table, early 19th century, the rectangular top with a raised edge and central inlay of twenty blue-and-white tiles, above a frieze fitted with a single side drawer, raised on bobbinturned legs joined by a box stretcher and ending in rounded feet, h. 27”, w. 31‑1/2”, d. 27”. [300/500] Illustrated 357 Manner of Sir Anthony Van Dyck (Flemish/ British, 1599‑1641), “Portrait of a Man Wearing a Ruff”, 19th century, oil on board, unsigned, 11” x 8”.

Handsomely framed. [400/700] Illustrated 358 European Carved and Painted Wolf’s Head, 19th century, now mounted in a circular walnut frame, d. 9”, dia. 15”. [250/400]

53

359 Two Scandinavian Carved Wooden Tankards, ca. 1900, in the medieval style, h. 9”. [250/400] 362

362 Danish Oak and Ash Cupboard, late 17th century, the flattened triangular molded cornice above a case fitted with two paneled doors opening to a shelved interior fitted with three drawers and a central paneled cupboard, raised on a scroll-carved stand on cabriole legs, h. 72”, w. 57”, d. 22”. [1500/2500] Illustrated 368

360 Brass Six-Light Chandelier, in the Dutch 17th-century style, h. 20”, dia. 22”. [300/500]

364

363 Set of Four Continental Baroque-Style Carved Oak and Caned Sidechairs, fourth quarter 19th century, h. 48”, w. 18”, d. 19”. [300/500] 364 Set of Four Baroque-Style White Metal Oversized Candlesticks, 20th century, with mid drips and bellform bases, h. 25”, dia. 9‑1/2”. [300/500] Illustrated 365 Pair of Overscale Baroque-Style Brass Candlesticks, 20th century, on bell-form bases, h. 27‑3/4”, dia. 11”. [300/500]

361 Bronze Six-Arm Chandelier in the Dutch Baroque Taste, mid-20th century, h. 21‑3/4”, dia. 28‑1/2”.

[300/500]

54

366 Pair of Overscale Baroque-Style Brass Candlesticks, 20th century, with mid-drips, h. 26”, dia. 12”. [250/400] 367 Baroque-Style Pierced Brass Book Stand, marked “Made in Hong Kong”, h. 10”, w. 10”, d. 9”. [250/400]

368 Chinese Mille Fleur Porcelain Vase, Qing Dynasty, probably 19th century, the uncut porcelain vase now mounted as a lamp, with a motif of blooms including peonies and chrysanthemums, vase, h. 17‑1/2”, overall, h. 36‑1/4”, dia. 8‑1/2”. Provenance: Estate of Lillian Pulitzer Smith, New Orleans, Louisiana. [400/700] Illustrated

372 Pair of Georgian-Style Carved Walnut Armchairs, h. 40”, w. 21‑1/2”, d. 18‑1/2”. Provenance: The Renaissance Shop, New Orleans, Louisiana. [250/400]

373

369

369 Four-Piece Group of Chinese Porcelain, early 20th century, including two vases and two plates, each with a bird and butterfly motif on a light turquoise ground, the plates with a blue square mark, vases, h. 8‑1/4”, plate, dia. 7‑3/4”. [300/500] Illustrated 371

373 George II-Style Mahogany Armchair, ca. 1900, on cabriole legs, h. 47‑1/2”. [250/400] Illustrated 374 Irish Mahogany Hunt Table, the top with rounded ends of two ovoid drop leaves, raised on six chamfered square legs, h. 29‑1/2”, w. 70”, d. 16”, extended d. 46”.

[500/800] Illustrated

370 Five Pieces of Chinese Export Rose Medallion Porcelain, fourth quarter 19th century, including a platter, w. 16”, three cylindrical boxes, the largest, h. 3‑1/4”, and a spoon. [300/500]

374

371 George III-Style Mahogany Double Pedestal Partners Desk, 20th century, the top with an inset leather blotter mounted to twin pedestals, each with drawers on one side and a cabinet on the other side, h. 32”, w. 67”, d. 40”. [1500/2500] Illustrated

55

375

377 Queen Anne-Style Mahogany Bench, with pierced corner brackets, h. 20‑1/2”, w. 64”, d. 18‑1/2”.

[300/500] Illustrated 378 Two Russian Polished Brass Samovars, fourth quarter 19th century, now mounted as lamps, the first, h. 18”, dia. 10‑1/2”, and the second, base, h. 20‑1/2”, overall, h. 35‑1/2”, dia. 10‑1/2”. [300/500] 379 Pair of Art Deco Renaissance Revival-Style Brass Ewers, ca. 1900, h. 13‑1/2”, w. 6‑1/4”. [200/400]

375 Queen Anne Oak Highboy, 18th century, the molded cornice above a case fitted with two short drawers over three graduated long drawers, the lower section fitted with a small central drawer flanked to either side by a short deep drawer, raised on cabriole legs ending in paw feet, h. 61‑3/4”, w. 39‑3/4”, d. 20‑1/2”. [800/1200] Illustrated

380

377

376 George III Mahogany Drop-Leaf Table, 18th century, the rectangular top with rounded ends and two ovoid drop leaves, raised on cabriole legs ending in slipper feet, h. 28”, w. 40‑1/4”, d. 17”, extended l. 49”.

[700/1000]

56

380 George II Giltwood Mirror, second quarter 18th century, with a pitch pediment top mounted with a crest of crossed eagle’s heads, h. 51‑1/2”, w. 29”.

Provenance: Waldhorn Company, Inc., New Orleans, Louisiana. [400/700] Illustrated 381 Two Georgian-Style Mahogany Torchere/Plant Stands, 20th century, h. 50‑1/2”, dia. 10‑3/4”, and h. 55, dia. 15”. [300/500]

383

384 382 George III Mahogany Tilt-Top Stand, fourth quarter 18th century, in the Chippendale taste, with a single-board top and tripodal base with cabriole legs, h. 27‑3/4”, w. 20”, d. 16”. [250/400]

384 Anglo-Indian-Style Cut Glass Bell-Form Hall Lantern, 20th century, h. 17”, dia. 9‑1/4”. [400/700] Illustrated 385 English Cherry Drop-Leaf Wake Table, the long rectangular top with rounded ends and two ovoid drop leaves, raised on tapering circular legs ending in pad feet, h. 30‑1/2”, w. 82”, d. 23‑1/2”, extended l. 63‑1/2”.

[800/1200] Illustrated 386 British School (First Quarter 18th Century), “Portrait of a Gentleman in a Blue Coat”, oil on canvas, unsigned, 50‑1/2” x 40‑1/2”. Framed. [600/900] Illustrated

385

386 383 Queen Anne Walnut Tea Table, 18th century, the dished rectangular top above a frieze fitted with a drawer to either end, raised on cabriole legs ending in pad feet, h. 28”, w. 30‑1/2”, d. 18‑1/4”. [800/1200] Illustrated

57

387 Pair of Chippendale-Style Mahogany and LeatherUpholstered Wing Chairs, mid-20th century, h. 40”, w. 31”, d. 33”. [700/1000] Illustrated

387 388 Suite of Twelve George III-Style Mahogany Dining Chairs, 20th century, with pierced and carved backs, slip seats and cabriole legs ending in ball-and-claw feet, comprised of two armchairs, h. 42”, w. 24”, d. 22”, and ten sidechairs, h. 42”, w. 22”, d. 22”.

[1500/2500] Illustrated

390 391 Collection of Chinese Export Blue-and-White Porcelain, including a Nanking basin, first quarter 19th century, a coffeepot with an associated cover, three ginger jars, one with a cover, five cups and a waste bowl, all Canton, mid-19th century, largest, dia. 12‑3/4”.

[300/500]

389 Pair of George IIIStyle Mahogany Armchairs, early 20th century, in the Chinese Chippendale taste, with open arms, carved legs joined by H-stretchers and worn leather upholstery, h. 38‑1/2”.

[500/800] 390 Chinese Blue and White Porcelain Tree Tub on Stand, decorated with foo dogs and deer on a ground of clouds, on a hardwood stand, h. 28‑1/2”, dia. 20”, including stand. [500/800] Illustrated

58

388

392 Chinese Export Blue and White Covered Ginger Jar on Stand, fourth quarter 19th century, h. 10‑1/2”, dia. 7”. [350/500] Illustrated

396

392

393 Fitzhugh Blue and White Platter, late 18th/early 19th century, unmarked, l. 16”. [200/400] 394 Handsome Chinese Export Mandarin Pattern Ch’ien Lung Tankard, fourth quarter 18th century, h. 5”, dia. 4‑1/2”. [250/400]

395 Two Chinese Blue and White Porcelain Vases, late 19th/early 20th century, now mounted as lamps, base, h. 18‑3/4”, overall, h. 23‑1/2”, w. 7‑1/2”. [400/700] 396 Anglo-Irish Cut Glass Twelve-Light Chandelier, 20th century, in the Waterford style, the faceted cut glass arms emanating from the lower cut bowl, terminating in a ball finial, the standard clad with vasiform cut glass and prism hung, h. 50‑1/2”, dia. 32‑3/4”. [400/700] Illustrated 397 Continental Nickel-Plated Two-Light Sconce, decorated with flowers and hung with prisms, h. 11”, w. 12‑1/2”, d. 7”. [200/400] 398 Pair of Anglo-Irish Cut Glass Candle Holders, 19th century, now mounted as lamps, electrified, h. 11‑3/4”, dia. 4‑1/2”. [300/500] 399 Manner of Angelika Kauffmann (Swiss/British, 1741‑1807), “Portrait of Mrs Clayton”, oil on canvas, unsigned, old handwritten inscription en verso stretcher, 30” x 25”. In an antique frame. [700/1000] Illustrated

399 59

400 Pair of George III-Style Mahogany Armchairs, in the Chippendale style, each with a shaped crest over a ribbon-carved pierced splat, joined to a padded seat by shaped arms, raised on cabriole legs headed by acanthine carving and ending in ball-and-claw feet, h. 41”. [500/800]

404 Three English Strapwork Jacobean Revival Walnut Boxes, mid-19th century, the smallest box fitted for playing cards and the others fitted as tea caddies, the largest, h. 5”, w. 8‑3/4”. [250/400] Illustrated

403

405 Collection of Seven English and Continental Wooden Boxes, 19th/20th century, including a brassinlaid calamander lap desk, a brass and mahogany campaign-style lap desk, a mahogany writing slope with leather insert, a brass-inlaid rosewood jewel box, a Tunbridge pen box, and two inlaid boxes, the largest, h. 2‑3/4”, w. 12‑3/4”, d. 10‑3/4”. [250/400] 401 404 401 George III Mahogany Cabinet-on-Stand, composed of antique elements, the molded and dentillated cornice above two astragal-glazed doors, raised on a base of shield-carved cabriole legs ending in ball-and-claw feet, h. 77”, w. 49‑1/4”, d. 15”. [700/1000] Illustrated 402 Victorian Silver-Mounted Tortoiseshell Calling Card Case, late 19th century, with inlaid silver filigree and plaque, the interior with silver quill and bone divider, h. 4”, w. 2‑1/2”. [450/700] 403 Large Group of Snapping Turtle Shells, including seven shells in various colors and sizes, h. 9”, w. 10” to h. 12”, w. 11”. [250/400] Illustrated

60

406 Group of Three English Boxes, including a parquetry-work box with silk lining, mid-19th century, an oak tea caddy with silverplate trim, in the manner of Christopher Dresser, fourth quarter 19th century, and a 20th-century card box with an inset leather top, the largest, h. 6”, w. 9‑3/4”, d. 7”. [200/400] Illustrated 407 Group of Four English Boxes, including a George III mahogany tea caddy, a Regency rosewood tea caddy, a George III-style mahogany tea caddy and a star-inlaid walnut box, ca. 1900, the largest, h. 5‑3/4”, w. 10”.

[200/400]

406

410

411 Large William IV-Style Mahogany and Satinwood Banded Breakfront, 20th century, in two parts, with the upper case having four astragal-glazed doors, and the base with four raised panel doors, h. 107”, w. 80”, d. 29”. [2000/4000] Illustrated 408 Three Georgian-Style Shell-Inlaid Mahogany Gallery Trays, 20th century, l. 21‑1/2” to 36‑1/2”. [300/500] Illustrated

411

409 English Mahogany and Brass Plate Holder, fourth quarter 19th century, h. 22‑1/2”, dia. 14‑1/4”. [200/400]

408

410 Group of Two Humidors, including a French burlwood example, 20th century, signed “Lemaire Paris” on the lip of the base, with temperature and humidity gauges, h. 7”, w. 15‑3/4”, d. 10‑3/4”, and a Nat Sherman, New York, calamander-veneered cigar humidor, with a thermometer and humidity control inside the cover, h. 4‑1/2”, w. 11‑1/4”, d. 9”. [450/700] Illustrated

61

412 Pair of Chippendale-Style Mahogany Lolling Chairs, mid-20th century, h. 43”, w. 27”, d. 25”.

[400/700] Illustrated

415 George III-Style Mahogany Partner’s Desk, mid19th century, the rectangular top with an inset leather writing surface above a frieze fitted with three drawers to either side, one side also with a pull-out central slide, raised on two pedestals, one fitted with a paneled cabinet door opening to three drawers to either side, the other fitted with a paneled cabinet door opening to three drawers to one side and a slotted interior to the other, raised on plinth bases, h. 30‑1/2”, w. 54”, d. 35‑1/2”. [500/800] 414

412 413 Irish George III-Style Mahogany Settee, early 19th century, the double-chairback back with two shaped crests over a shell- and foliate-carved splat, joined by eagle-carved arms to the padded seat, raised on cabriole legs headed by double eagle’s heads and ending in paw feet, h. 38”, w. 63”, d. 22”. [2500/4000] Illustrated 413

416 George III Mahogany Partner’s Desk, early 20th century, the rectangular top with an inset leather writing surface, above a frieze fitted with three drawers to either side, raised on two pedestals, each fitted with three graduated drawers to one side and a paneled cupboard door to the other, raised on plinth bases, h. 31”, w. 69‑1/2”, d. 46”. [500/800] 417 Chippendale-Style Mahogany Triple Seat, with a pierced back, h. 40‑1/2”, w. 58‑1/2”, d. 24‑1/2”.

[300/500] Illustrated

414 George III-Style Mahogany Writing Desk, early 20th century, branded on the back “Mackenzie & Mitchell, Edinburgh 7529”, h. 30‑1/2”, w. 42”, d. 25”.

[300/500] Illustrated

62

418 George III-Style Banded Mahogany Table, the interior with a self-storing leaf, h. 30”, w. 34‑1/2”, d. 34‑1/2”, extended l. 54‑1/2”. [300/500]

417 419 George III Mahogany and Mixed Woods Inlaid Tall Case Clock, first quarter 19th century, with later works, the case with inlaid and banded borders and a broken-arch pediment hood, the later two-weight movement bearing the label of “Bailey, Banks & Biddle Co. Philadelphia”, h. 93”, w. 20”, d. 11”. [1000/1500] Illustrated 420 George III Mahogany and Banded Inlaid Tall Case Clock, early 19th century, having a time-and-strike eightday movement with a painted metal dial, h. 94”, w. 29”, d. 12”.

[600/900] Illustrated 421 George IIIStyle Mahogany Breakfront Bookcase, by Drexel, the arched pediment above a case fitted with four glazed doors, the lower case fitted with three drawers, flanked to either side by a paneled door, raised on a plinth base, h. 82”, w. 64”, d. 16”.

[500/800]

419

422 George III-Style Mahogany Dining Table, the rounded rectangular top raised on three pedestals, each with a turned columnar standard to four splayed and reeded legs ending in brass paws on casters, h. 29”, w. 48”, l. 121”, extended l. 169”.

[1000/1500]

420

423 Assembled Suite of Eight George III Mahogany Dining Chairs, early 19th century, in the manner of George Hepplewhite, consisting of three armchairs and five sidechairs, each with a shaped crest above a pierced splat with carved swag patterns, the padded seat raised on paneled tapering square legs joined by an H-form stretcher and ending in spade feet, h. 36‑1/2”. [1000/1500] Illustrated 423

63

424 Five Chinese Porcelain Plates, 19th century, decorated with a motif of birds, flowers and butterflies, dia. 10‑3/8”. [200/400] Illustrated

427 Pair of Chinese Export-Style Armorial Cachepots and Saucers, in the famille rose palette, h. 9‑1/2”, dia. 12”. [300/500] Illustrated

424

425 Three-Piece Collection of Chinese Famille Rose Tea Ware, fourth quarter 18th century, including a cream jug decorated with a basket of flowers, h. 5‑3/4”, dia. 4‑3/4”, a dessert plate with a central flower panel, dia. 9”, and a waste bowl decorated with panels of flowers, on a carved wooden stand, h. 3‑1/4”, dia. 7‑3/4”. Provenance: Estate of Lillian Pulitzer Smith, New Orleans, Louisiana. [350/500] 426

426 French Porcelain Charger, fourth quarter 19th century, possibly Samson, in the Chinese export taste for the American market, decorated with an eagle and famille rose-type flowers, in a gilt lancet edge and ribbon border, dia. 14‑3/4”. [250/400] Illustrated

64

427

428 Seven Pieces of Rose Medallion Porcelain, probably 19th century, including a large baluster vase, a punch bowl, a small vase and four plates, the tallest vase, h. 24”, plate, dia. 14‑1/2”. [300/500] Illustrated

428

429 Japanese Export Imari Oval Covered Vegetable Dish, fourth quarter 19th century, h. 4‑1/4”, w. 10‑1/2”, d. 9”. [400/700] Illustrated

430 Collection of English and Chinese Export Blueand-White Ceramics, including a Nanking punch jug with a make-do tin handle and spout, ca. 1800, h. 9”, a Canton guglet, second quarter 19th century, h. 16”, two Canton platters, w. 11‑3/4” and 12‑1/2”, a pair of pierced pearlware basket stands, second quarter 19th century, w. 9‑3/4”, a willow pattern graniteware platter, w. 18”, and a graniteware hand-painted platter in Pratt colors, both second quarter 19th century. [250/400]

433 Georgian-Style Pine Corner Cabinet, late 20th century, with dentilled cornice, arched opening with shaped shelves and a paneled door at the base, h. 79‑1/2”, w. 35”, d. 13”. [400/700] Illustrated 433

429

431 Baker Inlaid Mahogany Gallery Tray Coffee Table, 20th century, American, h. 24”, w. 31‑1/2”, d. 22”. [200/400] Illustrated 432 Continental Mahogany Demi-lune Games Table, late 18th century, in the Hepplewhite taste, the fold-over top supported by a fly leg, the extending leg providing access to a later concealed drawer, conforming reeded apron and tapering legs, h. 29‑3/4”, w. 33”, d. 17‑1/2”. [500/800] 431

434 Pair of Empire-Style Polychrome Stools, each with a tasseled cushioned top raised on X-form end supports headed by carved lion’s masques, joined by stretchers and ending in paw feet, h. 19”, w. 22”, d. 19”. [200/400] Illustrated 434

65

435

435 Distress-Painted Pine Sideboard in the Directoire Taste, h. 33”, w. 99”, d. 24”. [800/1200] Illustrated

437 American Late Victorian Polychromed Mirror, ca. 1890, h. 46‑1/2”, w. 45”. [300/500] Illustrated 438 Continental Distress-Painted Cabinet, early 20th century, with a central open shelved section flanked by a pair of relief-carved doors and raised on large turned legs, h. 57‑1/2”, w. 86”, d. 18”. [300/500] Illustrated

437 439

436 Baronial-Style Wrought Iron Floor Lamp, with scrolled feet, h. 74”, dia. 17‑1/2”. [200/400]

66

439 Large Pair of Patinated Bronze Figural Giraffes, realistically modeled, one with a canted head, h. 50‑1/2”, w. 50‑1/2”, d. 7”. [1200/1800] Illustrated

442

438 440 Continental Bronze Bird, 20th century, initialed “P.B” at base, h. 4”, w. 2‑1/2”, d. 3‑1/2”. [400/700]

443

441 A Continental Bronze of "The Rape of the Sabine Woman", early 20th century, after Giambologna (Italian, 1529‑1608), h. 17”, dia. 6‑1/2”. [300/500] Illustrated 441

442 DirectoireStyle Fruitwood and MarbleTop Bouillotte Table, mid20th century, h. 27”, dia. 19”.

[500/800] Illustrated 443 Classical-Style Verdigris Marble SpiralTwist Pedestal, 20th century, in five sections, h. 39”, w. 14”, d. 14”. [300/500] Illustrated

67

444 Pair of French Bronze Garniture Urns in the NeoGrec Taste, third quarter 19th century, designed and marked by Henry Cahieux, the urns depicting couples in classical dress, the handles molded with masques, on a stepped marble base, h. 25”, w. 7”, d. 7”. [3000/5000] Illustrated This model was exhibited by Barbedienne at the 1855 Exposition Universelle in Paris.

444

446

448 Directoire-Style Mahogany and Brass-Mounted Writing Table, mid-20th century, with inset leather blotter, h. 28‑1/2”, w. 42‑1/2”, d. 23‑1/2”. [400/700] Illustrated 445 Classical-Style Black Marble Pedestal, h. 43‑1/2”, dia. 14”. [250/400] 446 Italian Neo-Classical-Style Parcel-Gilt and Mahogany Mirror, first quarter 20th century, the mahogany-veneered frame set with a crest of pierced scrollwork and an urn-form finial, with bellflowers on each side, h. 57”, w. 28”. Provenance: Royal Antiques, New Orleans, Louisiana. [600/900] Illustrated 447 Pair of Empire-Style Carved and Parcel-Gilt Corinthian Columnar Lamps, second quarter 20th century, base, h. 21‑1/2”, overall, h. 32”, w. 6”, d. 6”.

[400/700] Illustrated

68

447

449 Contemporary Directoire-Style Burl WalnutVeneered Wine Cabinet, h. 37”, w. 28”, d. 17”.

[250/400]

451 Pair of Empire-Style Mahogany Floor Lamps, each with a fluted standard with foliate-carved vasiform capital and bottom, on a tripodal base with carved paw feet, h. 70”. [700/1000] Illustrated

448 452

450 French Empire-Style Mahogany and Bronze Mirror, first quarter 20th century, set with a beveled mirror plate flanked by pilasters, the tablet decorated with bronze neoclassical-style mounts, h. 42”, w. 32‑3/4”. [300/500] Illustrated

451 450

452 Continental NeoclassicalStyle GiltBronze Five-Light Chandelier, 20th century, with frosted glass “flame” shades, h. 38‑1/2”, dia. 24‑1/2”.

[800/1200] Illustrated

69

453 Empire-Style Mahogany Tub Chair, early 20th century, the rounded downswept crest above a shaped splat and joined to the padded seat by ormolu maiden’s head uprights, raised on tapering square legs ending in paw feet, the whole with ormolu mounts in the Empire taste, h. 30”. [400/700] Illustrated

455 Neoclassical-Style Polychrome Window Seat, 20th century, with paw feet, h. 22‑1/2”, w. 31”, d. 19”.

[200/400] Illustrated

455

453

454 Napoleon III-Style Patinated and Gilt-BronzeMounted Marble-Top Gueridon, early 20th century, h. 27”, dia. 20”. [900/1200] Illustrated

454

70

456 Empire-Style Fruitwood and Marble-Top Gueridon, early 20th century, the circular marble top within an ormolu banding, joined by ormolu swan supports to two lower concave tripartite shelves, the whole raised on paw feet, h. 32”, dia. 23”. [1500/2500] Illustrated 456

457 Paris Porcelain Garniture Urn, ca. 1800, decorated en grisaille with figures in a stormy landscape, now mounted as a lamp, base, h. 12”, overall, h. 24”.

[400/700] Illustrated

459 Thirty-Five-Piece Anneau d’Or Porcelain Partial Tea Set, mid-19th century, Paris or Limoges, including a faceted coffeepot, h. 10”, a sugar bowl, h. 8‑1/2”, eight cafe-au-lait cups, dia. 4”, and nine saucers, dia. 6”, together with sixteen unusual English gold and white dessert dishes, ca. 1800, dia. 5‑1/4”. [250/400] Illustrated

457 461

460 Paris Porcelain Anneau d’Or Campana-Form Garniture Urn of Palace Scale, on an integral plinth, and set with biscuit ram’s heads terminating in gilt scroll handles, overall, h. 30”. [500/800] 458 Two Gilt-Decorated Paris Porcelain Veilleuses, mid-19th century, one decorated with the cypher of Louis-Philippe, h. 9”, and the other with scrolls, h. 10”.

[300/400]

461 Pair of Hand-Painted Paris Porcelain Urns Depicting Ophelia, second quarter 19th century, now mounted as lamps, the carefully rendered painted panels depicting Ophelia with flowers beside a brook, the urns with molded handles, the reverse panels decorated with tooled gilt trophies framed in wreaths, urn, h. 15‑1/2”, overall, h. 27‑3/4”, w. 8”, d. 5‑1/4”.

[1000/1500] Illustrated

459 462 Pair of Franco-Bohemian Hand-Painted Porcelain Garniture Vases, third quarter 19th century, now mounted as lamps, decorated with gilt scrollwork and ram’s head handles, the reserve panels decorated with hand-painted flowers, vase, h. 14”, overall, h. 26‑1/4”, dia. 6”. [400/700]

71

463 Rare Paris Porcelain and Bronze Garniture Urn, mid-19th century, now mounted as a lamp, with pierced bronze base supports, the pink-ground urn with a leafmolded bronze mount and hand-painted polychrome reserve panels depicting “Paul et Virginie”, framed in richly detailed scrolled gilt with red tooling, the unusual handles in the form of dragon-headed serpents grasping melons, urn, h. 23‑1/4”, overall, h. 29‑1/4”, dia. 7”. [800/1200] Illustrated 464 German “Royal Vienna”-Style Raised Gilt Tray, ca. 1883‑1906, probably by Carl Knoll, Fischern, decorated with raised gilt silhouettes of carriages pulled by various animals and borders of delicate scrollwork, marked with an underglaze 463 blue bindenschild, or beehive, h. 11”, w. 13”. [400/700] Illustrated 465 Three-Piece Collection of Continental Parcel-Gilt Porcelain, consisting of a circular reticulated corbeille, marked “VA Portugal / Made in Portugal”, h. 9‑1/4”, dia. 9‑1/4”; a German leaf-form sweetmeat dish with hand-painted flowers and a relief vine handle, marked with the Nymphenburg crown and shield, fourth quarter 19th century, w. 10‑1/4”, l. 12”; and an opulently gilded sweetmeat dish, marked “Paris / France / Decor Main”, w. 8‑3/4”, l. 13‑1/2”. [350/500] 466 Two Restauration Mahogany Armchairs, 19th century, comprised of a bergere with a gently arched top rail and turned legs, h. 36‑1/2”, and an open arm example with gilt ormolu mounts and saber legs, h. 36”.

[450/700]

72

467 Pair of Restauration Mahogany Fauteuils, mid19th century, each with a padded rectangular back, joined by ribbed downswept arms to the padded seat, raised on sabre legs, h. 36‑1/4”. [500/800] Illustrated 464

468 Two Restauration Mahogany Fauteuils, each with dolphin-carved arm supports and open arms, one example 19th century, h. 36‑1/2”, and the other with ornate mounts and faux leopard-skin upholstery, ca. 1900, h. 34‑3/4”. [450/700]

467

469 Empire-Style Mahogany Settee, late 19th century, the padded rectangular back surmounted by a shell and foliate gilt crest, joined by downswept arms headed by gilt swan’s heads and ending in scrolled uprights at the padded seat, raised on sabre legs, h. 39”, w. 54‑1/2”, d. 24”. [400/700] Illustrated

470 Pair of Restauration Gilt-Bronze and Cut Glass Garniture Vases, second quarter 19th century, the diamond-cut vases resting on a gilt-bronze foot, with cornucopia-form gilt-bronze handles and finished with an engine-turned bezel trim at the top, h. 10‑1/4”, dia. 3‑1/2”, w. 5‑1/4”. [400/700] Illustrated

473 French Empire-Style Bronze Rhyton-Form Vase, h. 9‑1/2”, w. 9”, d. 4‑1/2”. [350/500] Illustrated 471

469

474 Swedish Classical Revival Mahogany Center Table, early 20th century, with an oval top mounted to a faceted vasiform pedestal and platform base ending in scroll feet, h. 29”, w. 51”, d. 37”. [400/700] 471 Pair of Neoclassical-Style Parcel-Gilt Two-Light Sconces, 20th century, h. 14”, w. 17”, d. 8‑1/4”.

[800/1200] Illustrated

470 472 French Empire-Style Cut Glass and Gilt-Metal Urn-Form Lamp, third quarter 20th century, base, h. 18‑3/4”, overall, h. 34‑1/2”, dia. 8”. [200/400]

473

475 Restauration Mahogany Tub Chair, second quarter 19th century, the rounded back with a backscrolled crest, joined to the padded seat by downswept rails, raised on sabre legs headed by scroll carving, h. 30‑1/2”. [450/700]

73

476 Mahogany Sofa and Armchair, late 19th century, comprising a Late Classical Revival ebony line-strung sofa, the back cushion flanked by turreted inlaid styles, joined to shaped open arms on inlaid scroll supports, h. 37‑3/4”, w. 82‑1/2”, d. 30”, and a Continental armchair, in the Biedermeier taste, with a padded and curved trisected back joined by padded arms and shaped uprights to the like seat, raised on sabre legs, h. 37”. [500/800]

478 Unusual Pair of Louis-Philippe Iron Chenets, mid-19th century, decorated with figural wolves and applied brass cartouches, h. 7‑3/4”, w. 7‑3/4”, d. 3‑1/2”.

[250/400] Illustrated 483

478

477 Louis-Philippe Mahogany Writing Table, second quarter 19th century, the rectangular top with an inset leather writing surface, above a frieze fitted with a central drawer flanked to either side by two small drawers, each side fitted with a leather-inset slide, raised on turned and bulbous legs ending in casters, h. 31”, w. 51”, d. 25‑1/2”. [500/800]

479 Egyptian-Style Gilt Panel, after the Antique, on a linen back in an acrylic display box, issued by the Metropolitan Museum of Art, New York, h. 14”, w. 14”, d. 2”. [200/400]

480

484 1 of 2 74

480 Louis-Philippe Bronze Patine et Dore Jewel Casket, second quarter 19th century, the patinated engine-turned ground set with gilt swags and a crestform clasp, lined in velvet, h. 2‑3/4”, w. 5”, d. 3”.

[400/700] Illustrated

483 Impressive Amphora Works Riessner Figure with Vases, ca. 1918‑1939, Czechoslovakian, depicting two putti on a camel with basket “vases” on each side, marked with both impressed and underglaze green marks, h. 19‑3/4”, w. 16”, d. 13‑3/4”. [800/1200] Illustrated 484 Pair of Silver Electroplated and Embossed Orientalist Plaques, early 20th century, one depicting a rider on a camel and the other a rider on an elephant, both in tropical settings, overall, h. 21”, w. 17”.

[500/800] Illustrated

485

485 Middle Eastern Heavy, Silverplated Oval Tray, the handles molded as pairs of fish, w. 28‑1/2”, d. 20‑1/2”.

[350/500] Illustrated

481 Pair of French Empire-Style Bronze and Marble Candelabra, ca. 1900, now mounted as lamps, base, h. 25”, overall, h. 38”. [500/800]

486 Four Asian Silver Table Articles, 20th century, including a pair of Chinese Export .900 silver scent bottles with bird and flower decoration, h. 2‑3/8”, 4.27 total t. oz., a Japanese .950 silver-clad glass “pinch” scent bottle with bamboo decoration, h. 4‑1/4”, and a Japanese .950 silver-clad liqueur bottle with prunus flower decoration, h. 12‑1/4”. [300/500] 488

487

482 Pair of French Gilt-Bronze Three-Light Scones in the Empire Taste, decorated with molded leaves and pierced scrolls, h. 8”, w. 10‑1/2”, d. 7‑1/2”. [400/700]

487 Good Indian Colonial Sterling Silver Bowl, fourth quarter 19th century, by Hamilton & Co., Calcutta, of cylindrical form with rounded bottom, decorated with a wide band of repousse panels depicting signs of the zodiac, between chased and engraved foliate bands, engraved on the base “S. E. Parsons”, h. 3‑5/8”, dia. 4‑1/2”, 7.76 t. oz. [300/500] Illustrated 488 Unusual Middle Eastern Parcel-Gilt Cutlery Set, with a fan-form holder, three knives, three forks and a carving knife and fork, overall, h. 10‑1/2”, w. 12”.

[300/500] Illustrated 75

489 Two Caucasian Kindjal Short Swords, early 19th century, one example mounted with white brass inlaid with niello initials and decoration, the cloth-covered scabbard with tin mounts, the traditional-form grip with three large transverse rivets securing the horn scales, the 13‑1/2” blade with multiple fullers, overall, l. 20‑1/2”; the second example with a 17‑1/2” blade etched with crescents and a two-headed snake, with two large domed transverse rivets securing the traditional-form horn grip, the leather-covered scabbard with a single iron mount, overall, l. 22‑1/2”.

[400/700]

491 Colorful Middle Eastern Crewelwork Bed Cover/ Hanging, worked on a linen or cotton three-part backing, w. 61‑1/2”, l. 81”. [450/700] Illustrated

495 1 of 2

491 490 Classical-Style Bronze Ewer and Pottery Amphora, 20th century, each after the Antique, the largest, h. 8‑3/4”. [300/500]

492 Collection of Two Continental Decorative HandColored Lithographs, one depicting the “Emperor of Germany”, the other the “King of England”, sight 12” x 10”. Both glazed, attractively matted and presented in giltwood frames. [200/400] Illustrated 493 William IV Bronze Seven-Light Candelabrum, second quarter 19th century, h. 37‑1/2”, dia. 14‑3/4”.

[200/400] 494 French Equestrian Bronze of Napoleon and His Horse Marengo, 20th century, on a black marble base, h. 6‑1/4”, w. 5‑1/2”, d. 3‑1/2”. [400/700] 495 Pair of Monumental Neoclassical Polychrome Composite Pedestals, of square form, the stepped top above a base with intertwined dolphins applied to one side, raised on a molded square base, h. 54”, w. 36‑1/2”, d. 36‑1/2”. [500/800] Illustrated

492 1 of 2 76

496 Patricia Robles Gil (Mexican, b. 1955), “Woman Wrapped in Blanket” and “Fruit Seller”, two charcoal and pastels on paper, each signed and one dated “87” and the other “84”, sheet size 27” x 19‑1/2” and 14‑3/4” x 22”. Both glazed and framed. [500/800] Illustrated

496 1 of 2

497 Roman Andrade Llaguno (Mexican. b. 1959), “Gato Sobre Los Tejados Rojos”, watercolor on paper, signed and dated “91” lower right, sight 27‑1/2” x 20”.

Glazed, matted and framed. [400/700] Illustrated

497 501 Oswaldo Guayasamin (Ecuadorian/Maryland, 1919‑1999), pair of works on paper, including “Soldier”, embossed etching, pencil-signed lower right and numbered “5/20” lower left, 26‑1/2” x 20”, and “Profile”, lithograph, pencil-signed lower right and numbered “29/50” lower left, 21” x 16”. One glazed, matted and framed, the other unframed. [450/700]

498 Jose Luis Cuevas (Mexican, b. 1934), “Quevedo # 3”, screenprint on silver paper, sheet 22‑1/2” x 30”.

Unframed. [400/700] Illustrated 499 Nicolas Garcia Uriburu (Argentine, b. 1937), “Untitled Woman with a Cat”, silkscreen, signed in pencil lower right, numbered lower left “173/200”, sheet 30” x 22”. Unframed. [400/700] 500 Alejandro Otero (Venezuelan, 1921‑1990), “Untitled”, 1971, embossed print, signed and dated lower right, numbered lower left “1/3”, sheet 22” x 15”.

Unframed. [400/700]

498 502 Arthur Luiz Piza (Brazilian, b. 1928), “Abstract Compositions”, collection of two embossed etchings, both signed in pencil lower left, numbered lower right, sight 17” x 11”. Each glazed, matted and framed.

[400/700]

77

505 Luis Ricardo Amendolla Gasparo (Mexican, 1928‑2000), “Rhodos”, 1983, watercolor on paper, titled, signed and dated lower right, sight 11‑1/2” x 8‑1/4”. Matted, glazed and framed. Provenance: Estates of David and Eula Wintermann, Eagle Lake, Texas; accompanied with a copy of their receipt.

[300/500]

506

503 503 Agustin Fernandez (Cuban, 1928‑2006), “Untitled”, 1971, embossed etching, signed, dated and numbered “53/75” in pencil, sight 18” x 14”. Glazed, matted and framed. [400/700] Illustrated 504 Julien Porisse (French, b. 1927), “Toro”, oil on canvas, signed lower right, 46” x 36”. Framed.

[500/800] Illustrated

506 Middle Eastern Blue and White Pottery Charger, dia. 14‑3/4”. [400/700] Illustrated

507

504 78

507 Middle-Eastern Pottery Bottle Vase in the Iznik Style, decorated with swirling poppies and tendrils of leaves in a traditional blue and green color scheme, drilled for use as a lamp, h. 14‑1/2”, dia. 7‑1/4”.

[300/500] Illustrated

512 Ceylonese Covered Quillwork Box, first quarter 20th century, marked “Matara” on the inside cover, h. 3‑1/2”, w. 8‑1/2”. [250/400]

511 508

513 Indian Inlaid Bone Box, 20th century, h. 6”, l. 26‑1/4”. [500/800] Illustrated

513

508 Middle Eastern Pottery Ginger Jar in the Iznik Style, decorated with swirling poppies, leaves and tendrils, h. 15‑1/2”, dia. 7”. [400/700] Illustrated 509 Pair of Middle Eastern Mirrors, with carved and pierced hardwood frames, h. 9”, w. 10”. [300/500] 510 Himalayan Wood and Paktong Bowl, 19th/20th century, with molded forms of Buddhist relics, h. 2‑1/8”, dia. 4‑1/4”. [250/400] 511 Set of Four Metal-Mounted Tusk Candlesticks, first quarter 20th century, h. 7‑1/2”, w. 4‑3/4”, together with a Middle Eastern metal-mounted shell box on a chain, dia. 6”, and another tusk lacking its candle sleeve and bobeche, h. 6‑1/4” (six total pieces). [300/500] Illustrated

514 Unusual Continental Porcelain Plaque, ca. 1900, the plaque depicting a scene from the Indian epic the “Mahabharata” of Krishna, Radha and Balaram with a peacock on the riverbank, impressed “311”, in an Arts and Crafts-style giltwood frame, h. 9‑1/2”, w. 6‑3/4”. [400/700] Illustrated 514 515 Indian Carved and Polychrome Wooden Head of a Lady, probably 19th century, h. 9‑1/2”, w. 7‑1/4”.

[300/500] 79

516 Cast Bronze Figure of a Ceremonial Cloaked Indian Elephant, late 20th century, h. 22”, l. 31”.

[400/700] Illustrated

519 Pair of Chinese Carved Wooden Foo Dogs with Stands, 19th century, the whole finished in red paint, dog, h. 37”, w. 25‑1/2”, l. 37”, overall, h. 61‑1/2”.

[300/500] Illustrated

519

516

517 Two Vietnamese Bronze Busts of Young Women, 20th century, each figure with delicately rendered features and hair coiffed into an elegant chignon, each with a maker’s mark stamped at the base of the neck, overall, h. 10‑3/4”, w. 4‑1/2”. [300/500]

518

520 Chinese Camphor Wood Figure on a Massive Tree Root Display Stand, 20th century, the carved wood figure depicting a man resting in a treetop, an inquisitive water buffalo beneath him, presented on a large tree root stand, figure, h. 21‑3/4”, overall with stand, h. 34”, w. 13‑1/2”, l. 48‑1/2”. [350/500] Illustrated

520

518 Bronze Bust of an Elderly Man, 20th century, probably Vietnamese, h. 9‑1/4”, w. 9‑1/2”. [250/400] Illustrated

80

521 Chinese Rosewood Snuff Bottle Display Case, 20th century, carved with archaic scrolling, h. 32”, w. 21‑1/2”. [200/400] 523

525 Chinese Display Cabinet, 20th century, the blacklacquered surface decorated with floral scrolling, brocade patterns and birds with flowers, with engraved brass mounts, h. 68”, w. 39‑1/2”, d. 16”. [200/400] Illustrated 525

522 Chinese Rosewood Snuff Bottle Display Case, 20th century, carved with archaic scrolling, h. 32‑1/2”,

526 Pair of Chinese Lacquered Altar Cabinets, 19th/20th century, each two-door cabinet with a bolt closure and a pull drawer below, covered with a painted image of children in a garden on a red ground, h. 18”, w. 15”, d. 7”. [400/700] Illustrated 524

526

w. 19”. [200/400] 523 Chinese Carved Display Cabinet, 19th century, the columns carved with swirling dragons, the surface inlaid with bone in the form of peaches, with four shelves, h. 53”, w. 43”, d. 21”. [200/400] Illustrated 524 Chinese Export Coromandel Cocktail Table, h. 17”, w. 40”, d. 29”. [250/400] Illustrated 81

527 Two Chinese Bamboo Lacquer Brush Pots, 19th/20th century, one incised with a landscape and the other with two characters, “bi” and “tong”, the largest, h. 12‑3/4”. [400/700]

530 Chinese Ebonized Wood Stand, 20th century, the round stand with pierced and carved decoration, h. 27‑3/8”, dia. 17”. [200/400] 534

528

531 Pair of Chinese Carved and Pierced Marble-Top Jardiniere Stands, h. 18‑1/2”, dia. 10‑1/2”. [200/400] 528 Chinese Lacquer Lamp, 20th century, the painted lacquer-bodied lamp with dragon and phoenix motif, base, h. 16‑1/2”, overall, h. 29”, w. 12”. [250/400] Illustrated 529

529 Pair of Chinese Lacquer Stools, 20th century, the two black and polychrome drum-shaped stools with scrolling floral motifs, h. 17‑1/4”, w. 10”. [250/400] Illustrated

82

532 Chinese Carved Rosewood and Marble-Top Stand, early 20th century, h. 36”, dia. 15”. [300/500] 535

533 Pair of Chinese Rosewood Stands, with inset marble tops, h. 36‑1/2”, dia. 13”. [200/400] 539

536 Pair of Chinese Huali Chairs, 20th century, the back splats carved with peony flowers, with hat chair crests, h. 41”, w. 20‑1/2”, d. 16‑1/2”. [400/700] 537 Chinese Carved Hardwood Armchair, late 19th/ early 20th century, h. 39‑1/2”, w. 21‑1/2”. [300/500] 538 Chinese Carved, Painted and Gilded Wood Ceremonial Chair, late 19th century, with latticework decoration on the back and legs, and carved reserves on the back of the chair depicting courtly scenes, the seat caned, h. 41”. [300/500] 539 Chinese Carved Wood Child’s Bed, Qing Dynasty (1644‑1911), the red, black and gold bed with carved relief panels on the front, depicting figures, phoenixes and antiques, h. 63‑5/8”, d. 18‑3/4”, l. 42‑1/2”.

[300/500] Illustrated

534 Chinese Hongmu and Marble-Top Demi-lune Table, 19th/20th century, the semicircular hall table with a pink marble top, carved dragon and phoenix motif, and a paneled sawtooth shelf on the bottom, h. 31‑1/2”, w. 33”. [300/500] Illustrated

540 Eight Chinese Gilt Wood Carvings, probably 19th century, the eight architectural elements carved and rendered in black, red and gilt lacquer, h. 16”, w. 11‑1/4”. [350/500] 541 Eight Chinese Carved Wooden Panels, probably 19th century, the eight architectural elements with red and gilt lacquer, h. 22‑1/2”, w. 18”. [350/500] 542 Chinese Gilded Wood Carving, 19th/20th century, in the form of a peacock and peony, in red lacquer with gilt, now mounted as a lamp on a black paneled wood base, base, h. 12”, overall, h. 23‑1/8”. [300/500]

544 535 Chinese Hardwood Sidechair, early 20th century, the shaped, pierced and dragon-carved crest above a like-carved paneled back, the seat raised above a cloudcarved frieze on dragon-form legs, h. 42”. [300/500] Illustrated

543 Three Chinese Inlaid Hardstone Plaques, 19th/20th century, the wood panels each containing a single standing figure rendered in inlaid stones and polychrome lacquer, each panel, h. 13”, w. 8”. [250/400] 544 Asian-Style Four-Part Wall Panels, with polychrome decoration of a family fishing, each panel, h. 49”, w. 17”. [350/500] Illustrated

83

545 Chinese Inlaid Hardstone Plaque, 20th century, the plaque depicting birds flying over a stream amidst branches and vines, against a black ground with a floral border, h. 44‑1/2”, w. 22”. [200/400]

549 Fifteen-Piece English Hand-Painted Partial Dessert Service, second quarter 19th century, with identified topographical scenes and claret borders, including twelve plates, dia. 8‑1/2”, and three comports, dia. 8‑3/4”. [300/500]

547 550

550 Pair of Porcelain Platters, first quarter 19th century, attributed to Chamberlain’s Worcester, unsigned, w. 11‑3/4”, l. 14”. [300/500] Illustrated 551 Set of Six Royal Crown Derby Bone China “Royal Pinxton Roses” Plates, 20th century, English, dia. 9‑3/4”. [200/400] 548

546 Chinese Inlaid Lacquer Four-Panel Table Screen, probably late 19th century, lacquer-inlaid with motherof-pearl and bone, each panel, h. 37”, w. 10‑3/4”.

[200/400] 547 Chinese Four-Panel Coromandel Screen, 20th century, lacquered, carved and painted, one side with figures in a garden setting and the other with an arrangement of birds and flowers, each panel, h. 72‑3/4”, w. 15‑3/4”. [300/500] Illustrated 548 Chinese Polychrome Wood and Lacquer FourPanel Screen, 19th/20th century, one side depicting court beauties in an idyllic garden, the other a landscape, each panel, h. 72”, w. 19”. [250/400] Illustrated

84

552 Two Decorative Beveled Mirrors, one ebonized and parcel-gilt in the rococo style, h. 44”, w. 32”, and the other of molded shadow-box form, h. 50”, w. 40”.

[250/400]

553 Bronze Figure of the Sphinx of Thebes, 20th century, after the Antique, h. 14‑1/2”, w. 6‑3/4”, d. 18‑1/2”. [200/400] Illustrated

556 Pair of Regency Ebonized Armchairs, early 19th century, each with a caned crest above an X-form splat centered by an oval panel with a painted classical scene, h. 32‑1/2”. [200/400]

553

557

554 French Argente Figural Group of Hippocampi and a Putto, first quarter 20th century, the winged putto perched atop a shell, on a plinth base supported by webbed feet, h. 15‑1/2”, w. 37‑1/4”, d. 15‑1/2”.

[2000/4000]

557 Regency-Style Parcel-Gilt and Ebonized Convex Mirror, in the Egyptian Revival taste, h. 53”, w. 37”.

[1000/1500] Illustrated 558 Suite of Four Chinese Ebonized Nesting Tables, early 20th century, each with a shaped rectangular top featuring a gilt and polychrome oriental landscape, raised on bulbous turned legs to runner feet ending in gilt dragon’s heads, h. 28‑1/2”, w. 24”, d. 14‑3/4”.

[500/800] Illustrated 558

555 555 J. O. Turner (British, 19th Century), “The Jovial Huntsmen”, 1822, oil on board, signed and dated lower left, old partial label from “Thomas Wood and Sons/ Darlington” en verso, 18” x 24”. Framed. [900/1200] Illustrated

85

559 Sheraton-Style Mahogany Canterbury, mid-20th century, with bamboo turnings on brass casters, h. 20‑3/4”, w. 20”, d. 14”. [200/400]

562

561

562 Suite of Seven Regency-Style Mahogany Dining Chairs, each with a scrolled crest above a carved splat, over a padded seat, raised on sabre legs, h. 35”, w. 18”, d. 17”.

[250/400] Illustrated

560 Regency Mahogany and Banded Inlaid DropLeaf Sofa Table, first quarter 19th century, h. 28‑1/2”, w. 35”, d. 24”, extended l. 58”. [500/800] 561 Diminutive Pair of “Hollywood Regency” Carved Giltwood Mirrors, second quarter 20th century, h. 23‑1/2”, w. 13‑1/2”. [500/800] Illustrated

563 Regency-Style Mahogany Scroll-Arm Chair, 20th century, h. 35”, w. 22”, d. 23”. [300/500] 564 Impressive William IV-Style Mahogany Banquet Table, 20th century, the figured mahogany top supported by turned and reeded legs, with two additional 18” leaves, h. 30‑1/2”, w. 50”, l. 81”, extended l. 117”. [1500/2500] Illustrated

564

86

567

569 Collection of Twenty-Three Staffordshire Cottage-Form Pastille Burners, second half 19th century, English, with applied bocage decoration, h. 4” to 8‑3/4”.

[600/900] 570 Ten-Piece Collection of English Staffordshire Figures, including a pair of gardeners, ca. 1800, h. 6”, a Regency couple, first quarter 19th century, h. 7‑1/4”, and seven smaller figures, fourth quarter 19th century, h. 3‑3/4” to 5‑1/2”. [500/800]

565 Neoclassical-Style Mahogany Chest, late 19th century, the rectangular top above a conforming case fitted with five drawers, all paneled and with inlaid brass stringing, raised on low block feet, h. 39‑1/2”, w. 35‑1/2”, d. 14‑1/2”. [400/700] 571

571 Pair of Staffordshire Spaniels, fourth quarter 19th century, English, now mounted as lamps with custom lamp shades, base, h. 11‑3/4”, overall, h. 26”, w. 14”.

[300/500] Illustrated 573

566 Campaign-Form Brass-Bound Mahogany Bedside Table, mid-20th century, American, h. 23‑1/2”, w. 22”, d. 16”. [300/500] 567 Large William IV-Style Mahogany Console Table, 20th century, with a molded top supported by large tapered legs joined by a lower shelf, finished on all sides, h. 33‑1/2”, w. 102”, d. 24”. [600/900] Illustrated 568 Ten-Piece Collection of English Staffordshire Figures, including a pearlware “Hope”, ca. 1800, h. 7”, a hunter and dog, second quarter 19th century, h. 10”, and eight flat-back figures, fourth quarter 19th century, h. 6‑1/2” to 15”. [500/800]

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

[600/900] 573 Large Japanese Imari Porcelain Charger, the underside with two blue rings, dia. 18‑1/2”, on a carved wooden stand. [200/400] Illustrated

87

574 Near Pair of English Regency-Style Yew Wood Side Tables, one mid-19th century, h. 23‑1/2”, w. 12”, d. 22”, and the other late 20th century, h. 24”, w. 11‑1/2”, d. 17‑1/2”. [300/500]

576 Pair of Anglo-Irish Cut Glass Mantel Lustres, second quarter 19th century, panel-cut and pontil marked, with spear-point prisms, h. 11”, dia. 5‑3/4”.

[300/500] Illustrated

576

575 Unusual Regency Rosewood Writing Desk, early 19th century, the superstructure fitted with a domed backpiece over a projecting center drawer flanked to either side by tapering pedestals fitted with five small drawers each, the banded rectangular top above a case fitted with a single drawer opening to an inset leather writing surface, hinged and opening to a storage space, raised on tapering square legs ending in block feet, h. 46‑1/2”, w. 31‑1/2”, d. 17‑1/2”. [800/1200]

581 577 After Luigi Rossini (Italian, 1790‑1850), a collection of four black and white engravings depicting Roman architecture, sight 22” x 17”. All glazed, matted, and framed. [450/700] Illustrated 578 Pair of Continental Engravings of Architectural Views, 20th century, sight 20‑1/4” x 26”. Matted and framed alike. [450/700] 579 Group of Seven German Political Cartoons, ca. 1910, including an additional expository page, each sheet 20‑1/2” x 18”. [400/700] 580 Jose Royo (Spanish, b. 1945), “Recuerdo”, serigraph on board, signed lower right, numbered “98/160” lower left, 36” x 28”. Framed. [300/500]

577 (1 of 4) 88

581 Russian School (Fourth Quarter 20th Century), “Ballerina”, oil on canvas, signed lower left, signed and titled en verso canvas, 20” x 16”. Framed. [800/1200] Illustrated

582 George Vuillard (French, b. 1956), “Ballerina Tying Her Shoes”, oil on panel, signed lower right, 36” x 24”.

Framed. [450/700] Illustrated

584 French Bronze and Rouge Marble NeoclassicalStyle Urn, 20th century, with lion-form handles, h. 17‑3/4”, w. 13‑1/2”. [250/400] Illustrated 584

585 Royal Copenhagen Hand-Painted Jardiniere, ca. 1893‑1928, depicting sailboats on a lake, h. 8‑3/4”, dia. 11”. [300/500]

582 583 Pair of Mottahedeh Seated Lions, 20th century, Italian, on faux marble bases, h. 11”, w. 4‑1/2”, d. 4‑3/4”. [400/700] Illustrated

586 Tiffany Studios Bronze Dore Low Ribbed Bowl, first quarter 20th century, New York, marked “Tiffany Studios, New York, 1718”, h. 2”, dia. 8”. [350/500] Illustrated 586

583

587 Two French Art Deco Glass Vases, including a flared straw-colored glass vase cut with facets, second quarter 20th century, h. 7‑1/2”, and an Etling opalescent glass bowl on a turtle-molded standard, preWorld War II, h. 7‑1/2”. [300/500]

89

588 Pair of Lalique Molded and Frosted Crystal “Chrysis” Bookends, 20th century, French, h. 5‑1/2”, w. 5‑3/4”, d. 7‑1/2”. [400/700] Illustrated

593 Seven-Piece Collection of Modern Cut Crystal Decanters, two signed “Baccarat”, h. 9‑1/2” to 16”.

[250/400] Illustrated 593

588

589 French Molded Glass Dome-Top Casket, 20th century, with hinged cover, h. 5‑1/2”, w. 7‑1/2”, d. 4‑3/4”. [200/400] 590 Baccarat Faceted Crystal Ice Bucket with Tongs, 20th century, French, signed “Baccarat”, h. 6”, dia. 5‑3/4”. [300/500] Illustrated

594 Twenty-Nine-Piece Collection of Waterford “Kildare” Cut Crystal Barware, 20th century, Irish, including eight double old-fashioned glasses, h. 4‑1/2”, eight highball glasses, h. 5‑1/2”, eight old fashioned glasses, h. 3‑1/4”, three shot glasses, h. 2‑1/4”, a vodka cup, h. 3‑1/2”, and a barrel-form decanter, h. 10‑1/2”.

[250/400]

590 597

591 Pair of Cut and Frosted Crystal Compotes, fourth quarter 19th century, possibly Dorflinger, Wayne Co., Pennsylvania, or Boston and Sandwich, decorated with a star-cut foot, the frosted bowls with an outer band of fine diamond cutting, h. 7”, dia. 11”. [250/400] 592 Goldberg Art Deco Cut Glass Vase, first quarter 20th century, the Bohemian vase with a gold frieze of classical inspiration, h. 5‑3/8”, dia. 4‑3/4”. [350/500]

90

595 Twenty-Six Pieces of Contemporary Gilt-Rimmed Stemware, comprised of six red wine glasses, h. 7”, eight water glasses, h. 6‑1/2”, five white wine glasses, h. 6‑1/4”, six champagne coupes, h. 5”, and an operitif glass, h. 6”. [300/500] 596 Continental Art Deco Silver-Rimmed Cut and Frosted Glass Bowl, second quarter 20th century, the paneled sides overlaid with cut and frosted deco designs, the upper rim marked “800”, h. 3‑3/4”, dia. 7‑3/4”. [300/500]

597 Three Graduated Pairs of Tiffany & Co. Molded Crystal Candlesticks, marked, h. 5” to 11”. [300/500] Illustrated

601 Interesting Art Deco Rosewood Dressing Table, second quarter 20th century, with an in-curved front with a central drawer and a pair of drawers to each side, h. 32”, w. 50”, d. 20”. [700/1000] Illustrated

598

598 Lalique Crystal Vase, ca. 1893‑1928, with opalescent mauve molded handles, h. 6‑3/4”, w. 6‑1/2”. [500/800] Illustrated

601

602 Pair of Art Deco-Style Bentwood Armchairs in the Manner of Thonet, mid-20th century, h. 32”, w. 27”, d. 34”. [400/700] Illustrated 603 French Art Deco Molded, Cut and Frosted Glass Vase, second quarter 20th century, in the Lalique style, h. 9‑3/4”, dia. 5‑1/2”.

[400/700] Illustrated

603

602 599 599 Set of Four Contemporary Convex Mirrors, with smoked, segmented surrounds, h. 15‑1/2”, w. 15‑1/2”.

[400/700] Illustrated 600 Glazed Ceramic Hanging Sculpture, 20th century, l. 54”. [500/800] 91

604 Two Pieces of Lalique Figural Glass, 20th century, French, including a “dove” vase with a removable flower holder, h. 8‑1/4”, and an apple figure, h. 5‑3/4”, each signed “Lalique France”. [200/400] 607

610 Art Deco-Style Maple-Veneered and Inlaid Side Table, h. 32”, w. 14‑1/2”. [350/500] 611 Pair of Polychromed Pyramidal-Form Cabinets, 20th century, each fitted with nine conforming graduated drawers, h. 62”, w. 22”, d. 10”. [300/500] Illustrated 612 Monumental Italian Glazed Porcelain TwoHandled Kylix, 20th century, in the “Grand Tour” style, the tondo depicting Etruscan warriors on horseback, the borders and sides with Greek-key and palmette designs, the underside with a factory mark above “Made in Italy”, h. 9”, dia. 18‑1/2”, w. 22”.

[250/400]

608

605 Modern Frosted Glass Sculpture, third quarter 20th century, depicting the Madonna and Child, h. 12‑3/4”, w. 7‑1/4”. [400/700] 606 Art Deco Silverplated Figure of a Woman Holding a Mirror, second quarter 20th century, on an Egyptian marble base, h. 9‑1/4”, w. 16‑1/2”, d. 4”. [400/700] 607 Pair of Unusual French Art Deco Nickel Silver Prism-Hung Sconces, second quarter 20th century, of Louis XVI inspiration, h. 17‑1/2”, w. 6‑3/4”, d. 3‑1/4”. [450/700] Illustrated 608 Contemporary Art Deco-Style Mirrored Lingerie Chest, h. 50‑1/2”, w. 20”, d. 15”. [200/400] Illustrated 609 Set of Four Art Deco-Style Brass and Plate Glass Ceiling Lights, h. 7‑1/4”, dia. 10”. [400/700] Illustrated

92

613 Ancient-Style Frosted Glass Vessel, 20th century, possibly Scavo, h. 9‑1/2”, dia. 9”. [300/500]

614 Pati Bannister (British/Mississippi, 1929‑2013), “Ballet Slipper”, 1986, patinated and cold-painted bronze, signed and dated, h. 21”, w. 11”, d. 11”.

[4000/7000] Illustrated

618 William Wood Deane (British, 1825‑1873), “Interior Cathedral Scene”, 1871, watercolor on paper, signed and dated lower left, sight 14‑3/4” x 23”.

Matted, glazed and framed. [400/700] 619 James Burrell Smith (British, 1822‑1897), “Arundel Castle”, watercolor and gouache on paper, signed and dated lower left, 15‑3/4” x 29‑1/2”. Matted, glazed and framed. Provenance: Sotheby’s Belgravia, May 13, 1980 as lot 81. Exhibited: Mississippi Museum of Art, “Georgian Grace and Victorian Splendor”, 1987.

[400/700]

611

615 Two Pairs of Art Deco Patinated Metal Bookends, second quarter 20th century, the larger pair depicting Pan, on marble bases, h. 9‑1/2”, and the smaller pair each modeled with a nude female dancer, h. 5‑3/4”.

[300/500] 616 Art Nouveau-Style Patinated Metal Figure, depicting a little girl standing on a chair, a rat sitting underneath, h. 13‑3/4”.

[200/400]

614 617

617 British School (Fourth Quarter 19th Century), “Valley View” and “French Street Scene”, two watercolors on paper, both unsigned, sights 13” x 9‑3/8” and 9‑1/4” x 13‑1/4”. Both matted, glazed and framed. [450/700] Illustrated 617 93

620 James Malcolm Stewart (British, 1829‑1916), “Morning Chorus”, watercolor on paper, signed lower left, sight 10” x 8”. Glazed and framed. [500/800] Illustrated

623 British School (Early 19th Century), “Figures on a Path, St. Nicholas of Myra Churchyard, Brighton, England”, pencil and gray wash on irregular wove paper, indistinctly inscribed (Saint N M Memorials?) and initialed bottom left, verso inscribed “E8390”, sight 8‑3/8” x 12‑1/2”. In a float-mount frame.

[250/400] 635

620 621 Julian E. Drummond (British, Late 19th/Early 20th Century), “Whitby”, 1900, watercolor on paper, signed and dated lower right, sight 19‑1/2” x 13‑1/2”.

Matted and framed. [200/400]

624 John Louis Petit (British, 1801‑1868), “Ragland Castle”, watercolor on paper, sight 8‑3/4” x 7‑1/4”.

Matted, glazed and framed. [300/500] 625 Toshi Yoshida (Japanese, 1911‑1995), “Plum Tree and Blue Magpie”, 1951, color woodblock on Kozo paper, first edition, titled in Japanese and English and dated lower left, signed and with seal lower right, 10” x 15‑1/8”. Matted, glazed and framed. Provenance: Ferdinand Roten Galleries, Baltimore, Maryland; private collection. [300/500] Illustrated

634

625 622 Edward Duncan, R.W.S. (British, 1803‑1882), “Looking Out to a Stormy Sea”, watercolor on paper, signed lower right, sight 8” x 13”. Glazed and presented in a giltwood frame. [450/700]

94

631

626 Pair of Japanese Paintings on Silk, 20th century, ink and color on silk, depicting tigers, each shown standing beside a waterfall, each piece with a seal and signature, framed, overall, h. 13”, w. 14‑1/4”. [250/400]

631 Three Kimonos, 20th century, one in a very lightweight blue silk with gold thread accenting a crane and prunus motif, one in a heavier orange silk with floral roundels, and one in a pale blue light silk with floral motif and embroidered doves, l. 62”. [300/500] Illustrated

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

[200/400]

632 Japanese Yellow Silk Kimono, early 20th century, the yellow chrysanthemum-patterned silk kimono embroidered with flowers in colorful and metallic thread, l. 65‑1/2”. [250/400]

628 Three Japanese Lacquer Stacking Tables, 19th/20th century, the three shelves in red and black lacquer with ornate gilding, the tallest, h. 9‑1/2”, w. 15‑3/4”. [200/400]

633 Japanese Ceramic Sake Jug, late Meiji period (1868‑1912)/early Showa period (1926‑1989), the “commuter bottle” with two side indentations and three figures in relief, h. 6‑1/2”, w. 6‑1/2”. [400/700]

629 Japanese Gold and Silver Embroidered Obi, 19th/20th century, w. 12”, l. 162”. [400/700]

634 Japanese Kutani Bowl, ca. 1900, the red and gilt porcelain bowl depicting a procession of figures on the exterior and the interior, the underside unmarked, h. 3‑1/4”, dia. 9‑1/2”. [300/500] Illustrated

630 Japanese Black Silk Kimono, possibly late Meiji period (1868‑1912), the lightweight black silk kimono heavily embroidered with gold and silver thread, l. 64”.

[350/500]

635 Japanese Imari Porcelain Dish, early 20th century, the scalloped-edge plate with a motif of overlapping cranes, dragons on the reverse, dia. 12”. [250/400] Illustrated 95

636 Two Japanese Satsuma Plates, 19th/20th century, the plates depicting a heroic figure set against a rocky landscape, dia. 8‑1/2”. [400/700]

639

640 Three Pieces of Japanese Satsuma Ware, 20th century, including two vases and a rounded lidded jar, the largest, h. 12”, w. 5‑1/2”. [250/400] 641 Four-Piece Lot of Japanese Satsuma Ware, 19th/20th century, including two bucket-form vessels and two miniature vases, each with a carved wooden stand, the tallest, h. 7‑3/4”, without stands. [400/700] Illustrated

646

637 Pair of Japanese Satsuma Vases, 19th/20th century, the vases with figures and a gilt edge and foot, the undersides signed, h. 8‑3/4”, dia. 5”. [200/400]

641

642 Pair of Japanese Satsuma Plates, late 19th/early 20th century, the two dishes depicting a large group of seated figures surrounded by a flowered border, each with maker’s marks and signatures, dia. 7‑3/4”.

[350/500] 638 Large Japanese Blue and White Charger, late 19th/ early 20th century, the charger depicting a bird in a lush garden setting, the underside decorated and marked, dia. 22‑1/4”. [250/400]

643 Pair of Japanese Mixed Metal Vases, Meiji (1868‑1912) or Taisho (1912‑1926) Period, depicting cranes, flowers and trees, h. 7‑1/4”, w. 3‑1/8”.

[200/400]

639 Japanese Porcelain Lidded Jar, 20th century, with chrysanthemum and branch decoration, the underside and under-lid with a maker’s mark, h. 14‑1/2”, w. 12”.

[500/800] Illustrated

644 Pair of Japanese Bronze and Cloisonne Censers, 19th century, the censers with tripodal bases with cloisonne inserts and vented lids, cast in an archaistic style, h. 9‑3‑/4”, dia. 6‑1/2”. [200/400]

96

645 Japanese Bronze Vessel, 19th/20th century, with two peacocks at the neck and three tortoise legs, now mounted as a lamp and fitted with a shade, base, h. 14”, overall, h. 27‑1/4”. [250/400]

649 Japanese Boxwood Carving of a Buddha, 19th/20th century, the figure reclining among lotus flowers, l. 16”. [400/700] Illustrated 650 Six Chinese Seal-Type Soapstone Foo Dogs on Pedestals, 20th century, the tallest, h. 7‑1/2”.

[200/400]

649

653

646 Pair of Japanese Bronze Usubata, Meiji Period (1868‑1912), molded with geishas on the obverse and frogs on lily pads on the reverse, the details picked out in gold and silver wash, h. 25”, dia. 12‑3/4”.

[1000/1500] Illustrated 651

647 Patinated Brass Hotei/Budai, 19th/20th century, probably Japanese, the standing figure with arms outstretched, standing on a petaled base and displayed on a scrolled wooden stand, hollow, h. 12‑3/4”, dia. 10‑1/2”, including stand. [300/500] 648 Japanese Bronze Censer and Figure of a Tiger, probably Meiji period (1868‑1912), the four-legged censer with a reserve depicting a tortoise, a mythical creature on the lid, h. 9‑1/2”, w. 9‑1/4”, and the twotone bronze of a roaring tiger with maker’s mark stamped on the underside, largest, h. 9‑1/2”, w. 9‑1/4”.

[200/400]

651 Three Chinese Carved Red Soapstone Seals, 20th century, the largest, h. 5‑3/4”, dia. 3‑1/4”. [400/700] Illustrated 652 Chinese Soapstone Seal, 20th century, the wide square seal with two carved foo dog pups playing with a pierced ball on top, h. 3‑3/4”, w. 2‑7/8”. [400/700] 653 Chinese Carved Soapstone Seal, 20th century, the mythical turtle carving with a ball on an inscribed seal, h. 5‑1/4”, w. 2‑1/2”. [400/700] Illustrated

97

654 Chinese Carved Soapstone Seal, 19th/20th century, the square soapstone seal with a carved foo dog and her pup playing with a ball, the side inscribed with an official’s title from the Han Dynasty, h. 4‑3/4”, w. 2‑3/8”. [300/500] 655

659 Four-Piece Collection of Chinese Carved Soapstone Monkeys, 20th century, the largest, h. 4”, l. 6‑1/2”. [200/400] 660 Four Chinese Soapstone Carvings, 20th century, including a large carving of a Buddha’s hand plant and three smaller carvings of plants and vessel forms, the tallest, h. 9‑1/4”. [200/400] 661 Nine Chinese Ceramic Brush Pots, 19th/20th century, each depicting a blue and white image on the side, the tallest, h. 5”. [300/500] 662 Chinese Carved Bamboo Brush Pot, depicting sages in a pine forest, an inscription at the top, the underside unmarked, h. 7”, dia. 6‑1/4”. [300/500] Illustrated 663 Chinese Carved Bamboo Brush Pot, 19th/20th century, the cylindrical pot with a motif of bamboo leaves, a praying mantis sitting on one of the leaves, h. 5‑1/2”, dia. 5”. [300/500]

655 Chinese Carved Soapstone Seal, probably 19th century, the caramel-colored seal with a gui xian, text on two sides and underneath, h. 5‑1/2”. [300/500] Illustrated

662

656 Chinese Chicken Blood Stone Seal, the rectangular polished red and white stone seal with a four-character inscription on the side, with carved archaic script on the underside, h. 3‑5/8”, w. 7/8”. [400/700] 657 Chinese Carved Soapstone Seal, 19th/20th century, the orange and red carved seal with two phoenixes and a peony on a square column, incised script on the underside, h. 3‑1/8”, w. 5/8”. [300/500] 658 Four Chinese Carved Soapstone Figures, 20th century, including a large vessel surrounded by flowering branches, an ox and two small carved seals, the largest, h. 3‑3/4”, l. 8‑1/2”. [200/400]

98

664 Chinese Carved Bamboo Brush Pot, 19th century, the cylindrical pot depicting sages in a rocky landscape, raised on three short legs, h. 5”, w. 3‑1/2”. [300/500]

665 Chinese Carved Bamboo Brush Pot, 19th century, the cylindrical pot depicting the eight immortals in a mountain pine forest, h. 7‑1/4”, dia. 6”. [300/500] Illustrated

665

668 Group of Seven Chinese Snuff Bottles, 19th/20th century, including Peking glass and carved agate examples, one with paktong dragon ornamentation, the tallest, h. 3‑1/4”. [500/800] 667

669 Two Chinese Carved Agate Snuff Bottles, 20th century, one with a gourd and butterfly motif and the other with bird and prunus decoration, each displayed on a carved wooden stand, h. 2” and 2‑1/2”, without stands. [250/400] 666 Two Pieces of Chinese Cloisonne, 19th century, including a teapot with a gilt handle and a ram’s head libation cup on a carved wooden stand, the tallest, h. 8”, l. 5‑1/4”. [400/700] Illustrated

671

666

670 Eight Antique Gilt-Brass Buddha Figures, 20th century, including a large censer and seven smaller figures, all depicting Budai, the tallest, h. 7‑1/2”.

[200/400] 667 Five Pieces of Cloisonne, 19th/20th century, including a Japanese champleve vase and two pairs of Chinese lidded jars with wooden stands, the tallest, h. 9”. [250/400] Illustrated

671 Six Metal Buddha Figures, 19th/20th century, each depicted in a state of tranquil meditation, mostly bronze, the tallest, h. 8‑1/2”. [200/400] Illustrated

99

672 Sino-Tibetan Bronze Incense Burner, 19th/20th century, the long casket-form box with pierced lid, the underside inscribed and with a Qing mark, h. 3‑5/8”, l. 8‑1/2”. [300/500]

673

674 Antique Chinese Silver and Enamel Cigarette Box and Ashtray, early 20th century, the cylindrical cigarette case with a delicate crane knob attached to a dragon-shaped ashtray, the underside stamped “Silver”, the interior of the ashtray with a gilt finish, h. 9‑1/2”, w. 6‑1/2”. [400/700] Illustrated 675 Three Pieces of Chinese Peking Glass, 20th century, including two vases, h. 6‑1/4”, and a bowl, dia. 6‑1/8”, with a wooden stand. [500/800] 676 Chinese Peking Glass Bowl with Stand, 20th century, the blue lobated oval bowl marked “China” on the underside, displayed on a carved wooden stand, h. 4‑1/2”, l. 11‑3/4”, without stand. [300/500] Illustrated

673 Two Similar Chinese Engraved Silver Opium Pipes, first quarter 20th century, on black stands, the tallest, h. 9‑3/4”, w. 8‑3/4”, d. 3‑1/4”. [250/400] Illustrated

674

676 677 Asian-Style Gilt-Trimmed Faux Rock Crystal Pomegranate, dia. 7‑1/2”. [450/700] 678 Five Composition Figures of Budai, 20th century, probably Chinese, the tallest, h. 10”. [200/400] 679 Two Chinese Export Paintings, 19th century, watercolor on pith paper, depicting scenes of officials mediating trials, matted and framed, sight, h. 6”, w. 9”.

[400/700] Illustrated 680 Pair of Chinese Ancestor Portraits, 20th century, depicting a mandarin and his consort in winter attire, each presented in a carved rosewood frame below reverse-glass painting of “the hundred forms of the character shou”, overall, h. 63”, w. 23”. [300/500] Illustrated

100

684 Two Chinese Embroidered Kesi Panels, Qing Dynasty (1644‑1911), the brown silk panels, possibly from the robe of a prince, each depicting a pair of dragons flying over a rolling wave motif set among curling ruyi clouds, six dragon roundels appear above the clouds on each panel, w. 24”, l. 53‑1/2”, each panel.

[400/700] 685 Manchu Silk Skirt, late Qing Dynasty (1644‑1917), the pleated skirt with embroidered peony and butterfly motifs, w. 41‑1/2”, l. 39”. [300/500] 679 (pair)

681 After Feng Chaoren (1882‑1954), 20th century, ink and color on silk, depicting a beautiful lady in a vibrant green cape, her attendant standing beneath a prunus branch, inscribed, with two seals, h. 68‑1/2”, w. 21”, including mount, h. 33‑3/4”, w. 12‑1/2”, excluding mount. [300/500] 682 Pair of Chinese Embroidered Lotus Shoes, Qing Dynasty (1644‑1911), the black silk embroidered boots with scrolling floral motif, h. 5”. [250/400] Illustrated 683 Two Chinese Kesi Panels, probably 19th century, each panel in shades of blue, green and purple, each strip depicting peacocks and insects among flowers, scholar’s rocks and gourds, a small embroidered butterfly with war marks on its wings displayed beneath them, h. 18”, w. 3‑1/2”. Provenance: Michael Teller, T K Oriental Antiques, Williamsburg, Virginia.

[350/500]

680 (pair) 686 Manchu Embroidered Skirt, 20th century, the light blue silk wrap skirt with embroidered butterfly and peony panels, the peonies rendered in forbidden stitch, w. 42”, l. 75”. [300/500] 682

101

687 Manchu Woman’s Informal Robe, probably Qing Dynasty (1644‑1911), the red silk coat with blue and gold cuffs with dragon and phoenix embroidery, adorned with butterflies and flowers, pale green lining, w. 66”, l. 40”. [400/700] Illustrated

687

694 Peshawar Sultanabad Carpet, 12’ 2” x 17’ 9”.

Provenance: Jacqueline Vance, New Orleans, Louisiana. [700/1000] Illustrated 695 Agra Carpet, 4’ x 9’. [400/700] 696 Turkish Angora Oushak Carpet, 8’ 10” x 12’.

[1000/1500] 697 Safavieh Sultanabad Carpet, 9’ 6” x 13’ 6”. [450/700] Illustrated 698 Agra Carpet, 4’ 2” x 6’ 1”. [400/700]

688

688 Manchu Embroidered Blue Silk Informal Long Vest, late 19th/early 20th century, the navy blue silk robe covered with gold embroidered auspicious symbols, w. 23”, l. 58‑1/2”. [400/700] Illustrated 689 Scandinavian Modern Design Runner, 2’ 10” x 17’ 7”. [600/900] Illustrated 690 Edward Fields Modern Carpet, 10’ x 13’. [300/500] 691 Shiraz Carpet, 5’ 4” x 7’ 2”. [300/500] 692 Peshawar Sultanabad Carpet, 6’ x 8’ 8”. [1000/1500] Illustrated 693 Shiraz Runner, 3’ 5” x 9’ 10”. [300/500]

102

699 Aubusson Needlepoint Carpet, 9’ x 12’. [400/700] 700 Hamadan Carpet, 3’ 3” x 7’ 2”. [200/400]

697

692

689

694 103

Session II Sunday, August 24, 2014 10:00 a.m. CDT Lots 701-1273

702

703 Russian Icon of the Mother of Unexpected Joy, ca. 1900, with a brass oklad engraved with a star, an angel looking down from the top, h. 8‑3/4”, w. 7”.

[400/700] 704 Continental Decorative Church Panel, 19th century, oil on panel, depicting Christ enthroned, St. Peter with the keys of heaven at his feet, h. 30”, w. 61”.

[300/500] Illustrated

701

705 Continental School (19th Century), “Ecce Homo”, oil on canvas, 29” x 24”. In an antique frame.

[1000/1500] Illustrated

701 Gilt-Brass Processional Cross, 20th century, h. 27”, w. 16‑3/4”. [400/700] Illustrated 702 Russian Painted Wooden Icon, ca. 1900, depicting Noah receiving a message from a dove on Mount Ararat, the dove engraved on the brass oklad, h. 7‑3/4”, w. 7”.

[400/700] Illustrated 704 104

709 Four-Piece Group of Silver Jewelry, consisting of two sterling silver necklaces, one composed of round beads, l. 18”, and the other as a tapered rope, l. 16”, an .835 silver tapered rope necklace, l. 18”, and a Mexican sterling silver brooch set with two obsidian nuggets, h. 2‑1/2”. [250/400] 710 Mignon Faget Sterling Silver and Hematite Triple-Strand Necklace, l. 22”, with a matching pair of earrings, l. 1”. [300/500] Illustrated 711 Two Sterling Silver Bracelets, one manufactured by “Danecraft” and the other by “Beau”, l. 7”, 40.2 grams total weight. [250/400] 705 706 Continental School (First Quarter 19th Century), “Madonna and Child with John the Baptist”, oil on canvas, unsigned, 25‑3/4” x 19”. Framed. [450/700] 707 Two South American Silver Flexible Link Bracelets, of ethnic design, l. 6‑1/2”, 60.5 grams total weight. [250/400] 708 Gentleman’s Girard-Perregaux Stainless Steel Vintage 1945 Automatic Watch with Rainbow Dial, reference # 25830, 34 mm x 48 mm, without crown. [300/500]

710

712 Mexican Sterling Silver Necklace, l. 14”, 165.2 grams. [300/500] Illustrated 713 Five-Piece Group of Sterling Silver Jewelry, including two pairs of earrings, l. 1‑1/2” and 2”, a pair of frog pendants, l. 1‑3/4”, and a pair of cufflinks, l. 1/2”, 99.5 grams total weight. [250/400] 714 Platinum and Black Onyx Straight Line Bracelet, the flexible engraved bracelet set with forty-two rectangular faceted black onyx stones, l. 7”, 22.0 grams total weight. [300/500]

712

105

719 Two Fourteen-Karat Yellow Gold Pendants, one cast as a “1 oz.” nugget and the other in a Middle Eastern design, h. 1‑1/2”, 36.8 grams total weight.

[300/500] 720 Two Pairs of Fourteen-Karat Yellow Gold Earrings, one pair pierced, l. 1‑3/4”, and the other pierce/clip, l. 1”, 24.2 grams total weight. [250/400] Illustrated

715

715 Mignon Faget Sterling Silver, Lapis Lazuli and Hematite Triple-Strand Necklace, l. 19”. [250/400] Illustrated

721 Fourteen-Karat and Eighteen-Karat Yellow Gold Wedding Bands, the fourteen-karat yellow gold band size 7‑3/4, and the eighteen-karat yellow gold band size 8‑3/4, approximately 8.0 grams total weight. [225/400]

720

716 Pair of Fourteen-Karat Yellow Gold, Lapis Lazuli and Diamond Earrings, l. 3/4”, together with a fourteen-karat yellow gold, diamond and blue enamel ring with a coat of arms, size 7‑3/4, 21.0 grams total weight. [250/400] Illustrated 717 Pair of Fourteen-Karat Yellow Gold, Diamond and Blue Sapphire Clip Earrings, l. 3/4”, 7.1 grams total weight. [300/500] 718 Eighteen-Karat Yellow Gold, Diamond and Black Onyx Clip Earrings, h. 3/4”, together with an eighteen-karat yellow gold and black onyx necklace, l. 15”, 24.0 grams total weight. [300/500] 716

722 Three American Gold-Filled Pocket Watches, including a Ball open face, 16 size, porcelain dial, lever set, nineteen jewels movement, the case, dial and movement signed by “Ball”; an open face, 10 size, stem set, “Waltham” seventeen jewels movement watch in an enamel “Wadsworth” case; and an “American Waltham” hunter case 3/0 size porcelain dial, stem set, seven jewels movement in a “Fahys” gold-filled case with a gold-filled chain. [300/500] 723 Fourteen-Karat Yellow Gold and Red Coral Branch Necklace, composed of red coral branches separated by gold beads and finished with a fourteenkarat yellow gold toggle clasp, l. 16”. [200/400] Illustrated

106

724 Two Victorian Yellow Gold-Filled Looping Brooches, one set with a red coral branch and the other hand-chased, the largest, l. 2”. [250/400]

726

725 Gentleman’s Pair of Fourteen-Karat Yellow Gold Cuff Links, set with agate, h. 3/4”, 15.0 grams total weight. [300/500] Illustrated

725

726 Eighteenth-Century Silver Orthodox Reliquary Crucifix Pendant with Chain, the pierced doublesided cross containing a bone or wood fragment and fitted with three dangling charms, cross alone, 2‑1/2” x 1‑3/4”, suspended from a 30” rolo chain. [350/500] Illustrated 727 Fourteen-Karat Yellow Gold Bracelet and TenKarat Yellow Gold Chain, the Victorian-inspired bracelet accompanied with a ten-karat gold chain with a pendant fashioned in the form of the bracelet link, bracelet, l. 8”, chain, l. 13‑1/2”, 31.0 grams total weight for both. [300/500]

723

728 Three American Gold and Gold Plate Gentleman’s Accessories, first half 20th century, including a fourteen-karat gold cased pocketknife, l. 3‑1/4”, a gold-filled knob-style cane handle, floral carved with bamboo shaft, l. 8‑1/2”, and a gold-filled cropstyle umbrella handle, floral carved with mahogany shaft, complete with umbrella, overall, l. 36‑1/4”, each monogrammed “MWB” or engraved “Milton W. Boylan”. Provenance: Milton Westerfield Boylan (1879‑1950), New Orleans, Louisiana, by descent through the family. [250/400] 729 Eighteen-Karat Yellow Gold Ribbed Dome Ring, size 6‑1/2, approximately 12.0 grams total weight.

[300/500] Illustrated 730 Four-Piece Group of Cocktail Society Bibelots, including a fourteen-karat yellow gold retractable cocktail stirrer, l. 2‑3/4”, a fourteen-karat yellow gold charm of a wine bottle, l. 7/8”, a silverplate perfume bottle with a gold-plated top, h. 2‑7/8”, and an English nine-karat rose gold and Bakelite cigarette holder and case, l. 5”, without case. [250/400]

107

731 Two FourteenKarat Yellow Gold Chains, l. 24” and 32”, together with an eighteen-karat yellow gold hollow rope chain, l. 24”, 58.5 grams total weight. [250/400] 732 Twenty-FourKarat Yellow Gold-Dipped Skull Pendant on Chain, the skull accented 729 with twenty-fourkarat yellow gold, suspended from a fourteen-karat yellow gold chain, chain, l. 18”, pendant, w. 1‑3/4”, l. 2”. [200/400] Illustrated 733 Two Pairs of Fourteen-Karat Yellow Gold Earrings, l. 1” and 1‑1/2”, 12.6 grams total weight. [250/400] 734 Eighteen-Karat Yellow Gold and Diamond H. Stern Double-Band Ring, set with eight round brilliant-cut diamonds, stamped “S” for H. Stern, size 4‑1/2, 4.0 grams total weight. [200/400] 735 Fourteen-Karat Yellow Gold and Diamond Tennis Bracelet, the flexible link bracelet set with forty-seven round brilliant-cut diamonds, with an approximate total weight of 2.00 carats, l. 7”, 10.0 grams total weight.

[600/900] Illustrated 736 Fourteen-Karat Yellow Gold and Diamond Brooch and Ring Set, the brooch set with eleven round brilliantcut diamonds and twenty-three single-cut diamonds, with an approximate total diamond weight of 1.00 carat, h. 1‑1/2”, and the ring in the shape of a wishbone, with an approximate total diamond weight of 0.18 carats, size 7‑1/4, 12.6 grams total weight. [300/500] Illustrated 737 Fourteen-Karat Yellow Gold and Diamond Solitaire Ring, set with a European-cut diamond, with an approximate weight of 0.47 carats, color I and clarity VS1, size 7‑1/4, 2.0 grams total weight. [300/500] Illustrated

108

732

738 Pair of Fourteen-Karat Yellow Gold, Emerald, Ruby and Blue Sapphire Earrings, l. 3/4”, 6.6 grams total weight. [200/400] 739 Fourteen-Karat Yellow Gold and Green Tourmaline Ring, the large tourmaline cabochon measuring approximately 21.0 mm x 26.0 mm, size 7, 18.4 grams total weight. [400/700] 740 Fourteen-Karat Yellow Gold and Aquamarine Necklace, composed of faceted tubular aquamarine links separated by fourteen-karat yellow gold beads and finished with a fourteen-karat yellow gold clasp, l. 16”.

[250/400] Illustrated

735

741 Fourteen-Karat Yellow Gold, Jade and Diamond Brooch and Earring Suite, including a pair of gold jade clip earrings, l. 3/4”, and a gold and diamond jade brooch, l. 2”, 15.8 grams total weight. [250/400]

736

737

743 Fourteen-Karat White Gold and Natural African Turquoise Necklace, composed of button-shaped turquoise beads separated by fourteen-karat white gold beads and finished with a fourteen-karat white gold clasp, l. 17”. [200/400] Illustrated

742 Pair of Fourteen-Karat Yellow Gold, Emerald and Enamel Earrings, the nomadic-designed earrings highlighted with black enamel, each set with an emerald-cut emerald, with an approximate weight of 1.00 carat, 7.5 grams total weight. [200/400]

743

740

744 Five Pieces of Mexican Sterling Silver Jewelry, second half 20th century, including a necklace marked “GII”, comprising thirteen crescent-shaped links bezel set with alternating onyx and tiger-eye cabochons, l. 17‑3/4”, a circular Scorpio zodiacal pendant marked “JV”, pierced and under-laid with orange feathers, dia. 1‑1/8”, an unmarked “button” signet ring, monogrammed “AMD”, dia. 7/8”, size 10, and a PlatMex perfume bottle, dia. 1‑1/8”, and funnel, l. 1‑1/4”, 81.6 gr. total weight [200/400] Illustrated on next page

109

748 Collection of Sterling Silver, Silverplated and Bone Jewelry, including a pair of fourteen-karat yellow gold and bone earrings, l. 1‑1/8”, a pair of sterling and bone earrings, l. 2‑1/2”, a pair of silverplate and bone earrings, l. 1‑1/4”, a bone and silver bracelet, dia. 2‑3/8”, a silverplate and bone bracelet, dia. 2‑3/4”, a sterling and bone choker, l. 15”, pendant drop: 4”, and a silverplate choker, l. 13”. [300/500]

744 745 Two Fourteen-Karat and Eighteen-Karat Citrine Rings, the eighteen-karat yellow/white gold ring set with a citrine, size 7‑1/2, and the fourteen-karat yellow gold ring set with a citrine accented on the corners with blue sapphires, size 8, 21.6 grams total weight.

[400/700] Illustrated 746 749 Two Freshwater Pearl Necklaces, one a triplestrand necklace with an eighteen-karat white gold, diamond and ruby clasp, l. 28”, and the other a long single strand of gray baroque pearls with a silver clasp, l. 65”. [250/400]

745

746 Group of Sterling Silver and Amber Jewelry, including a ring, size 8‑1/2, a pendant, l. 3‑3/4”, a pair of earrings, l. 2‑1/4”, and a necklace, l. 36”. [300/500] Illustrated 747 Two Sterling Silver and Mother-of-Pearl Necklaces, including a mother-of-pearl spike necklace, l. 17”, and a mother-of-pearl and freshwater pearl necklace, l. 16”. [200/400]

8 110

750 Silver and Multi-Stone Bracelet and Necklace Suite, both pieces set with oval faceted semi-precious gems, including prasiolite, citrine, garnet and smoky quartz, bracelet, l. 6‑1/2”, necklace, l. 19”. [250/400] Illustrated 751 Fourteen-Karat Yellow Gold and Garnet Ring, set with an oval faceted garnet, size 7‑1/2, 3.6 grams total weight. [250/400] 752 Fourteen-Karat Yellow Gold, Amethyst, Garnet and Rock Crystal Necklace, composed of five strands of 3.0 mm amethyst and gold beads, four strands of garnets and gold beads, and three strands of rock crystal and gold beads, finished with a fourteenkarat yellow gold clasp, l. 31‑1/2”. [300/500]

753

750

753 Two Pairs of Fourteen-Karat Yellow Gold and Amethyst Earrings, one pair accented with pearls, l. 1‑3/4”, and the other accented with a diamond, l. 7/8”, 25.2 grams total weight. [300/500] Illustrated

756 Vintage Seed Pearl Handbag, labeled: “Ed B. Robinson”, h. 6”, w. 9”, handle drop: 3‑3/4”. [200/400]

754 Two Fourteen-Karat White Gold and Cultured Pearl Necklaces, the first strand of opera-length 9.0 mm cultured silver-white pearls, with a good luster, l. 32‑1/4”, and the second strand of 9.5 mm cultured black pearls, with a good luster, l. 18”, each finished with a fourteen-karat white gold clasp. [200/400]

757 Two Ecru Hats, including a ribbon and pearltrimmed straw hat, and a veiled lace with pearl and feather trim hat. [200/400] Illustrated

755 Single Strand of Baroque Freshwater Pearls, the oval-shaped gray/rose-colored pearls with a good luster and measuring approximately 9.3 mm to 10.1 mm in diameter, l. 34”. [200/400]

758 Two Taupe Fox Items, comprised of a capelet with two angled interior pockets, labeled: “Godchaux’s”, l. 12‑1/2”, and a collar, l. 44”. [200/400]

757

759 Two Jack McConnell, New York, Hats, both with grosgrain and rhinestone-trimmed bows and veiled.

[200/400] 760 Vintage Fleur de Paris, New Orleans, Pearl-Draped Black Satin Cocktail Hat. [200/400] Illustrated on next page

111

760

762 Two Hats, including a Frederick Fox, London, silver and black net swirl hat, and a Rochelle Originals black and silver sequined, veiled hat. [200/400] Illustrated 763 Spanish Silverplate Caviar Dish, contemporary, by Platero Valenti, of cylindrical form, with domed lid and interior glass liner, h. 6‑3/4”, dia. 7‑1/4”. [250/400]

761 Three Hats, including a black feather topper, a black fur beanie, and an asymmetrical tasseled disc.

[200/400] Illustrated

761

762

764 Champagne Salon Promotional Silverplate Seau a Champagne, fourth quarter 20th century, of hemispherical form, with molded ring and circular foot, engraved with the Champagne Salon Le Mesnil “S” logo, h. 10”, dia. 15”. [200/400] Illustrated

764

112

766 Twenty-Four Galatoire’s Wine Glasses, decorated with their 100 year logo, made by Riedel, h. 8‑1/2”.

[200/400] Illustrated 767 Three Crinoline Hats, two trimmed with black velvet and one in white. [200/400] Illustrated 768 Dramatic Steel-Gray Panne Velvet Cocktail Hat, with elaborate feathers and beading. [200/400] Illustrated 768

765 Sixteen Pieces of New Orleans Hotel and Restaurant Silverplate Flatware, 20th century, Oneida Silversmiths, including eight forks from Galatoire’s in the “Clairhill” pattern, l. 7‑1/4”, and four forks, l. 7‑3/4”, and four knives, l. 9”, from the Fairmont in the “Ballad” pattern. Provenance: The Estate of Mickey Easterling, New Orleans, Louisiana.

[200/400]

766

767

113

769

771

769 Three Cocktail Hats, including a black feathered felt hat, a gray felt hat with gunmetal sequins, and a hot pink hat with black sequins. [200/400] Illustrated 770

773 Elegant Daniella Midnight Blue Satin Evening Bag, with flip-over closure encrusted with Austrian crystals, having a gold drop-in handle and chain, the interior lined with black suede and labeled: “Daniella”, includes a small gold swing mirror, a dust bag and the original box, bag h. 4”, w. 5‑3/4”, d. 2‑1/2”, chain drop: 21‑1/2”. [200/400] 774 Two Velvet Hats, including a Frederick Fox, London, black stitched brim, featherand ribbon-trimmed hat, and an Eric Javits midnight blue, ribbon-trimmed hat. [200/400]

770 Two Iridescent Black Feather Evening Accessories, one a chiffon-backed capelet, l. 18”, the other a boa/shawl, interior dia. 16”. [250/400] Illustrated 771 Black Felt Cocktail Hat, with a spray of jeweled pheasant feathers. [200/400] Illustrated 772 Two Jack McConnell, New York, Pleated and Veiled Straw Hats, one black and the other navy, together with a Jack McConnell Boutique, black straw hat (three total). [200/400] Illustrated

114

772

777

778

776

775 Four Hats, including an Evelyn Varon black ribbontrimmed straw hat, an Yvonne LaFleur blue veiled and ribbon-trimmed white felt boater hat, a black flowertrimmed straw hat, and a hot pink straw hat with ribbon trim. [200/400] 776 Vintage Ivory Mongolian Lamb and Lambskin Cape, one size, labeled: “Bergdorf Goodman/ On the Plaza/ New York”, l. 42”. [250/400] Illustrated

779 Three Cocktail Hats, including a “Black Widow” topper, a beaded “Roaring 20’s” headband with a feather crest, and a silver topper. [200/400] Illustrated

779

777 Three Straw Hats, including a red and natural straw hat labeled Laurel Fenenga, San Francisco, and a black straw hat by Mr. John Young Elegants. [200/400] Illustrated 778 Black Beaded and Sequined Cocktail Hat, trimmed with pheasant and ostrich feathers. [200/400] Illustrated

115

782

781

780 Two Handbags, including a vintage silver leather clutch, h. 5”, w. 11‑1/2”, d. 2”, and a black “cigar box”style handbag by Liz Gini, bag h. 6‑1/4”, w. 9”, d 2‑1/4”, handle drop: 3‑1/2”. [200/400] 781 Four Black and Gold Hats, including a sequined Zandra Rhodes torse, and a Jean Barthet Paris handpainted screen oversized beret, Go Saints! [200/400] Illustrated

783

782 Collection of Two Vintage Zandra Rhodes, London, Hats. [200/400] Illustrated 783 Vintage Black Broadtail Lamb and Mink Jacket, with three-quarter sleeves having rolled cuffs, with two welt pockets, one button closure, the sculpted neckline black mink-trimmed around the shoulders, labeled: “Gus Mayer” and “Lammoire/Hammer Brand Herman Basch & Co., Ltd.”, lined with embroidered black satin, l. 24”. [200/400] Illustrated 784 Three Mink Hats. [200/400] 785 Three Vintage Felt Hats. [200/400] Illustrated

786

116

786 Two Vintage Zandra Rhodes, London, Torses, including a bead and pearl-trimmed twisted painted chiffon hat, and a black satin hat, one labeled. [200/400] Illustrated 787 Vintage Zandra Rhodes, London, Printed Velvet, Veiled Tiny Top Hat. [200/400] Illustrated

787

788 Collection of Four Vintage Purses, one an Indian silver-plated copper “pillow” inset with cabochon faux amethysts, labeled: “Vanglo” and stamped: “65”, bag h. 5”, w. 7‑1/4”, d. 2‑1/2”, another a heliotrope snake Judith Leiber frame bag with gold trim and matching kiss clasp, the interior lined with heliotrope satin having two slip pockets and bearing the gold Judith Leiber label, with a removable snake strap, bag h. 6‑1/4”, w. 9”, d.3”, strap drop: 19‑1/2”, a shirred metal cloth frame bag, the Edwardian pierced sterling silver frame hallmarked London, 1900‑1901, by William Comyns & Son, with a doubled passementerie strap, lined with oyster satin and labeled: “Revivals”, bag h. 6”, w. 7‑1/2”, d. 3”, strap drop: 20‑3/4”, and a limited edition ostrich egg minaudiere, enameled and trimmed with heliotrope suede and taupe snake accented with cabochon stones, the snake strap with a jade ring, the exterior body signed: “L. Szilvasy 12/82”, the interior lined with heliotrope suede and taupe snake, labeled: “Linda Szilvasy Exclusive Designs”, bag h. 6‑1/2”, w. 6”, d. 4‑1/4”, strap drop: 10‑1/2”. [200/400] 789 Two Blond Mink Items. [200/400] 790 Three “Mardi Gras” Hats. [200/400] Illustrated on next page

785

117

791

794 Collection of Six Turbans, including two by Fedoria in navy and black jersey. [200/400] 795 Three Large Luggage Hat Boxes, including a vintage wooden example with a leather strap h. 13‑1/2”, dia. 21‑3/4”, another of vintage black fiberboard labeled: “Fiber Products Mfg. Co./Famous Perfect Made Cases/New York” with a webbing strap, handle and a chrome yellow stripe, and a contemporary example of black fiberboard with a handle, h. 17‑1/4”, dia. 18‑1/2”, two zippered vinyl covers included.

[200/400]

801

791 Jack McConnell, New York, Heliotrope Felt Cocktail Hat, trimmed with jeweled and dyed pheasant feathers. [200/400] Illustrated 792 Two Vintage Zandra Rhodes Hats. [200/400] 793 Two Jack McConnell, New York, Hats, including an elaborately feathered cocktail hat, and a royal blue felt hat with a feather-trimmed bow and band. [200/400]

790

796 Three Adolfo II, New York and Paris, Hats, including a straw hat trimmed with basalt-style medallions. [200/400] 797 Two Jack McConnell Hats, including one light tan hat with feather trim, and one “camouflage”-feathered hat. [200/400] 798 Vintage Ivory Mongolian Lamb and HandPainted Chamois Vest, size 4‑6, lined with Mongolian lamb, l. 20”. [200/400] Illustrated 799 Four Hats, including a Gwenn Pennington bottle green felt and fur hat, a black felt with feathers hat, a gray felt hat, and a camel felt hat. [200/400]

118

804

798

804 Two Jack McConnell, New York, Hats, one hat pink and flower trimmed, the other flower-covered and labeled, together with a floral topper (three total).

[200/400] Illustrated

800 Two Vintage Toppers, including a Lilly Dache, ParisNew York, aqua satin hat, and a Christian Dior, Paris, black satin hat. [200/400] 801 Enormous Baby Blue “Mad Hatter” Top Hat, sequin and rhinestone trimmed. [200/400] Illustrated 802 Collection of Six Hat Boxes, including a vintage Holmes Millinery, a Hattie Carnegie, Fisk Hats and others. [200/400] 803 Three Flower-Trimmed Straw Hats, by Eric Javits, Ann Marie and Raymond Hudd. [200/400]

806

805

805 Three Hats, including a Zandra Rhodes “Coral Reef” topper, a Jack McConnell lavender straw hat with purple irises, and a gold lame and flower bud topper.

[200/400] Illustrated 806 Two Jack McConnell, New York, Floral Hats, including a lavender flower-covered hat and a white orchid-trimmed straw hat. [200/400] Illustrated 807 Three “Green” Hats, including a Mara, Rome, chartreuse mink hat, a cabbage crown signed “NL/88”, and a straw hat with flowers and a VW bus.

[200/400] 119

813

810 Two Hats, including a handmade gray wool felt hat trimmed with pheasant feathers, and a black wool felt hat trimmed with gathered rust velvet. [200/400] 811 Chocolate Brown Fox-Trimmed Sueded-Pigskin Vest, size 4‑6, labeled: “Stephen Yearick”, lined in cafe-au-lait satin, l. 32‑1/2”. [200/400] Illustrated

811

812 Brown Mink Angled End Stole, chocolate brown velvet-lined and labeled: “Zuki”, l. 50”, w. 12”.

[200/400] 813 Two Fur-Trimmed Hats. [200/400] Illustrated

808 Three Hats, including a tan wool hat, a black jersey hat, and a rust cut-velvet hat. [200/400] 809 Vintage Goyard, Paris, Small Trunk, bearing the brass Malles Goyard label at one side, covered in signature Goyardine canvas trimmed with lozine and brass hardware, with a single brass closure stamped: “Goyard / Aine” and “177” below the lock, with a leather carrying handle, the lower front monogrammed: “H. N. O”, the interior with a removable tray and lined with caramel coated-linen canvas throughout, the tray with two leather handles stamped: “Goyard”, the top with remnants of a paper sticker for the North Eastern Railway from York to King’s Cross, resting on brass half-ball feet (one lacking), h. 12‑1/4”, w. 18”, d. 15‑3/4”. [200/400] Illustrated

120

814 Two Jack McConnell, New York, FeatherTrimmed Hats, one in white felt and the other in chocolate brown felt. [200/400]

809

818

815

815 Three Hats, including black and burgundy feather-trimmed felt J. McConnell, New York, hats, and a black straw Gwenn Pennington, New York & Paris, hat. [200/400] Illustrated 816 Two Black Hats, including a B. Michel felt hat with silver studs and stones, and a Gerald Brook pleated felt hat with a velvet crown. [200/400] Illustrated 817 Vintage Lin Bren Vanity Purse, covered with black faille with a self handle, opening on two sides, the interior with a coin purse, comb slot with comb, an open slot and strap holding the original signed compact, bag h. 4”, w. 6‑1/2”, d. 1‑3/4”, handle drop: 4”. [200/400] 818 Three Cocktail Hats, including an Eric Javits bronze sequined, veiled and feather-trimmed pillbox, a Don Anderson gold lame skull cap, and a feather-trimmed tricorn.

[200/400] Illustrated 819 Three Vintage Evening Purses, one a “gathered” gold metal minaudiere with an enameled flip-over clasp with a gold rope chain, the interior lined with gold velvet, bag h. 5‑1/4”, w. 6”, d. 3”, chain drop: 11”, another of gathered black satin garnished with a black frog brooch, with a drop-in self strap and snap closure, labeled: “Caovilla/ Lavorazione Artigiana”, bag h. 6‑3/4”, w. 8‑1/2”, d. 3‑1/2”, strap drop: 24”, and a Judith Leiber gathered gold thread embroidered and rhinestone accented “Fireworks” design, edged with gold kidskin, with two exterior slip pockets, the center section with a grooved flip clasp ended on both sides with cabochon jade, the interior lined with pale gold satin bearing the gold metal Judith Leiber label, with a removable doubled woven gold passementerie strap, bag h. 5‑3/4”, w. 8”, d. 2‑1/4”, strap drop: 21‑1/2”. [200/400]

816

121

820 Two Jack McConnell, New York, Hats, comprising a black felt cap with three ostrich feather tassels, and a ruby felt Jack McConnell Boutique feather and rhinestone-trimmed hat. [200/400] Illustrated

820

821 Fleur de Paris, New Orleans, Pheasant Feather Cocktail Hat. [200/400] Illustrated 822 Collection of Five Toppers, including a crinoline topper, a tasseled velvet and red satin topper, a veiled black rose topper by Eric Javits, a red tulle with beads topper, and a black topper with ribboned fronted feathers. [200/400] 823 “Riding Side-Saddle to the Hounds” Hat, composed of black wool and velvet-trimmed net.

[200/400] Illustrated 824 Four Assorted Leopard Print Hats. [200/400] Illustrated

825 Vintage Leopard Skin Fitted Coat, size 6, with a notched collar, inset sleeves and two deep on-seam pockets, three hook closures, lined with black silk and labeled: “Tailored Woman/ 655 Madison Avenue/ at 60th Street”, l. 44”.

[400/700] Illustrated 826 Vintage Brown Alligator Frame Handbag, trimmed with gold tone metal, the frame stamped: “R R”, the front paneled, the kelly-green kidskin-lined interior with two slip pockets, bag h. 5‑3/4”, w. 9”, d. 3”, handle drop: 5‑3/4”.

[250/400] 827 Three Vintage Broad Brim Hats, including a black velvet-trimmed felt example labeled Frederick Fox, London.

[200/400] 823

821

122

828 Vintage Maude Frizon AnimalPrinted-Cowhide Boxy Jacket, 1980’s, size 8‑10, comprised of assorted animal prints on a taupe ground, lined with chocolate brown sheared fur and labeled: “Maude Frizon/Paris”, l. 20‑1/2”. [250/400]

824

829 Three Hats, including a Jose Antonio jeweled and tasseled fez, a jeweltrimmed Claude Petin for Diamant Noir, Paris, hat, and a black velvet fez with a hat box. [200/400] 830 Three Hats, including two straw cloches and a black faux patinated leather hat. [200/400]

825

831 Three Hats, including a black fur hat with faux leather trim, a pleated black felt hat, and a sherbet straw hat with violets. [200/400] 832 Vintage Frame Handbag, covered with Persianpatterned cotton, the front textured gold frame and flip clasp inset with turquoise beads, with a short dropin snake link handle, the interior lined with caramel satin and labeled: “After Five/L.and M./USA”, bag h. 6‑3/4”, w. 9‑3/4”, d. 1‑1/4”, handle drop: 3‑3/4”.

[250/400] 833 Vintage Dusty Rose Mongolian Lamb Stole, l. 100”. [250/400] 834 Two Yves St. Laurent Hats, including a black whipsnake and velvet hat, and a pink and celery green straw hat. [200/400] 835 Three Hats, including a black and white straw hat with net trim, a black felt hat, and a hot pink and black straw hat. [200/400] Illustrated on next page 836 Three Hats, including a Zapf, original Lanz dark green Tyrolean, a black ribbed velvet hat, Gelot, Paris, and a Pith helmet-style straw hat. [200/400]

123

837 Vivian Alexander “Jeweled” Egg Purse of Faberge Inspiration, in its original box, h. 6”, dia. 3‑1/2”.

[250/400] Illustrated

842

837

840 Two Fox Stoles, one black with bead trim and three extra tails, l. 86”, the other silver with the traditional mouth clasp and paws, overall, l. 64”. [250/400] 841 Three Hats, including a burgundy velvet hat, a dusty rose embroidered satin hat, and a navy straw hat.

[200/400] 838 Three Broad Brim Straw Hats, including two black hats and one natural hat. [200/400] 839 Three Minaudieres, one example a Judith Leiberstyle jeweled gold cat with a drop-in gold rope chain, bag h. 2‑3/4”, w. 5‑3/8”, d. 4‑1/4”, chain drop: 18”, another of woven gunmetal-tone metal with beading at the flip clasp, with a drop-in chain, lined with silver leather, stamped: “Rodo”, bag h. 5”, w. 7‑1/2”, d. 1‑3/4”, chain drop: 20”, and a Judith Leiber rhinestone-encrusted rectangle with canted corners, with a cabochon garnet-topped clasp, the interior lined with gold kidskin, bearing the gold metal Judith Leiber label, with a drop-in gold chain, bag h. 4‑1/4”, w. 6”, d. 1‑3/4”, chain drop: 19‑1/4”. [200/400] Illustrated

842 Three Hats, including a vintage Dachettes by Lilly Dache black felt hat, a Frank Olive natural and black straw hat, and a Jack McConnell, New York, feathertrimmed black straw hat. [200/400] Illustrated 843 Three Hats, including a black felt ribboned and veiled, a gray felt with ostrich feathers, and a natural ribbontrimmed straw hat. [200/400] 844 Three Felt Hats, in camel, black and fuschia.

[200/400] 845 Three Roll Brim Hats, including a striped straw hat

by Eric Javits, a black stitched burgundy hat, and a purple felt and fur hat. [200/400]

835 848

124

839

847 Three Vintage Peaked Torses, including a Zandra Rhodes red and coral twisted satin hat trimmed with painted chiffon and pearls, and two beaded black examples, not labeled.

[200/400] Illustrated 848 Three Hats, including a black straw hat, a red felt hat, and a red satin, straw and crinoline hat. [200/400] Illustrated

846 Three Cocktail Hats, including a Vincent de Koven feathered hat, a B. Michel black felt veil-tied hat, and an Eric Javits hot pink beaded and veiled hat. [200/400] Illustrated

846

849 Debbie J. Palmer Gold Metal Disco Bag, the surface in an alligator design, with a tasseled hinged top and chain strap, the black leather-lined interior with the gold Debbie J. Palmer label, includes a dust bag, bag h. 3‑3/4”, w. 4‑1/4”, d. 2‑1/4”, chain drop: 22‑3/4”. [200/400]

850

847

850 Luscious Silver Fox Jacket, size 6, with a broad shawl collar, inset sleeves and two on-seam side pockets, two hook closure, silver satin-lined and labeled: “Godchaux’s”.

[300/500] Illustrated

125

851 Collection of Three Fox Stoles with Tails, silver, blue, l. 100”, and black, l. 104”. [350/500]

857

852

852 Three Summer Hats, including a multicolored flower-printed cotton hat, a black straw hat labeled Eric Javits, and a yellow straw hat with black roses.

[200/400] Illustrated 853 Collection of Five Assorted Straw Hats. [200/400] 854 Collection of Six Assorted Natural Straw Hats, for gardening and the beach. [150/300]

859 Four Hats, including a black hat by Peter Bentley, London, a light brown with cinnamon ostrich feather and jeweled brooch hat, and two Frank Olive three-tone felt with feather trim hats. [200/400] 860 Three Hats, including a black straw hat, a ruby-colored velvet hat, and a blue silk and wool pillbox hat. [200/400] 861 Collection of Fedoras and Homburgs, including two Miller, Houston, three Dobbs, New York, as well as two Shantung panamas, one Bailey, and two Biltmore Imperial Homburgs. [200/400] Illustrated

855 Collection of Six Assorted Straw Hats. [200/400] 856 Collection of Six Roll Brim Straw Hats. [200/400] 857 Four Hats, including a black hat, a rust hat, a black hat with silk bows, and a red-trimmed hat with rope and feathers. [200/400] Illustrated 858 Collection of Eight Assorted Hats. [200/400]

126

861

865 Two Pieces of Gucci Leather-Trimmed Luggage, including a duffel bag, l. 20”, and a zippered tote, h. 21”, l. 20”. [200/400] 866 Large Louis Vuitton Damier Canvas Strap Metal-Bound Steamer Trunk, early 20th century, h. 28”, w. 44”, d. 24”. [400/700] Illustrated

862

867 After John James Audubon (American, 1785‑1851), “Common American Swan”, offset lithograph, 20th century, sight 23‑1/2” x 37”.

Glazed, matted and framed. [450/700]

862 Ten-Piece Collection of Louis Vuitton Luggage, 20th century, including a zippered soft side suitcase, h. 14”, w. 22”, a hanging suit bag, h. 44”, w. 24”, three flat pouches, h. 14”, w. 20”, a tote bag, h. 13”, w. 20”, two duffel bags, h. 10”, w. 21”, and h. 10”, w. 20”, and two purses, h. 11”, w. 18” and h. 7”, w. 15”. [400/700] Illustrated 863 Four Pieces of Louis Vuitton Luggage, including two which open to reveal garment bags, h. 23‑1/2”, w. 23‑1/2” and h. 20”, w. 23‑1/2”, and two pieces with zippered openings, one with vintage travel labels, h. 19”, w. 22‑3/4” and h. 14‑1/2”, w. 21”.

[300/500] 864

864 Two Louis Vuitton Hard-Sided Suitcases, h. 20‑3/4”, w. 31‑3/4”, d. 7” and h. 17‑1/2”, w. 25‑3/4”, d. 8‑1/2”. [400/700] Illustrated

868 John Gould and H. C. Richter (British, 19th Century), suite of five hand-colored lithographs of birds, each sight 20” x 13”. All attractively matted, glazed and framed. [800/1200] Illustrated on next page

866

869 After John James Audubon (American, 1785‑1851), suite of six hand-colored lithographs, from Birds of America, printed and hand-colored by John T. Bowen, Philadelphia, Pennsylvania, 1840, sight 10” x 6”. All glazed, handsomely matted and framed. [500/800] Illustrated on next page

127

868 (1 of 5)

869 (1 of 6)

870 After John James Audubon (American, 1785‑1851), “Great American Cock Male/Wild Turkey”, offset lithograph, 20th century, 38‑1/2” x 25”. Matted, glazed and framed. [200/400]

871 After John James Audubon (American, 1785‑1851), suite of twelve lithographs from Birds of America, printed and colored by John T. Bowen, Philadelphia, Pennsylvania, 1840, each sight 10” x 6”. Handsomely matted, glazed and framed. [800/1200] Illustrated

128

871 (1 of 12)

873 (1 of 2)

872 After John James Audubon (American, 1785‑1851), “Canvas Backed Duck”, offset lithograph, 20th century, 24” x 37”. Matted, glazed and framed.

[200/400] 873 William Cecil Robinson (British, Active 1870‑1910), “Orang-Outang” and “Chimpanzee”, a pair of watercolors and pencil on paper, unsigned, sights 7‑1/2” x 6‑3/4” to 9‑1/2” x 6‑1/2”. Both matted, glazed and framed alike. [400/700] Illustrated

876 Group of Three American Canine Portraits, third quarter 20th century, each pastel on paper, consisting of “Boston Terrier”, signed “Jayne Neuenfeldt (and with a paw print)” lower right, sight 17‑1/4” x 13‑1/4”; “Gordon Setter”, signed “J. Stickbury” and dated 1963 lower left, sight 18” x 14”; and “Collie”, signed “Winona Arent” lower left, sight 11‑1/4” x 14”. All glazed and framed, two examples matted.

[500/800] Illustrated 877 American Chippendale-Style Mahogany Bonnet-Top Highboy, 18th century and later, h. 80”, w. 43”, d. 31”.

[1000/1500] Illustrated 878 Pair of American Chippendale-Style Mahogany Footstools, mid-20th century, labeled by E. P. Wilkerson Co., Atlanta, very carefully constructed in the period manner, h. 17‑1/2”, w. 22”, d. 17”. [300/500]

877

876 (1 of 3)

874 McKenney and Hall, “Asseola, A Seminole Leader”, hand-colored lithograph, colored by J. T. Bowen, Daniel Rice and James Clark, Philadelphia, 1842, from “Indian Tribes of North America”, sheet 19‑3/4” x 14”, with original text sheets. Glazed, handsomely matted and framed. [300/500] 875 John Cheng (Active New York, 20th Century), “Black-Capped Chickadees” and “American Goldfinches”, a pair of paintings on silk, both signed and stamped with red seal marks, aperture, dia. 8”, overall dia. 13”. Matted, glazed and presented in octagonal faux bamboo giltwood frames. [250/400]

129

879 Pair of American Chippendale-Style Mahogany Armchairs, mid-20th century, of New York style, the chairs with pegged construction, a vasiform splat, shellcarved crest and ball-and-claw feet, h. 40”.

[400/700] Illustrated 880 American Bannister-Back Sidechair, 18th century, Hudson River Valley, New York, with a molded back, rush seat, sausage-turned legs and a robustly modeled stretcher, with traces of old paint, h. 39‑1/4”.

[200/400]

883 883 Three French Belle Epoque Portrait Miniatures on Ivory, first quarter 20th century, in a bronze and mahogany frame, depicting Louis XVI, flanked by Madame du Barry and Marie Antoinette, h. 8‑1/4”, w. 15‑1/2”. [300/500] Illustrated 884 Pair of Continental Miniature Portraits on Ivory, fourth quarter 19th century, in gilt-brass frames, the woman’s portrait labeled “S. Eleonora Abatissa”, signed “A. Nachetti”, h. 7”, w. 4‑1/4”. [300/500]

879

881 Pair of Colonial Revival Oak Armchairs, ca. 1900, of Pilgrim-century inspiration, each with turned stiles, ladder backs, shaped arms, rush seats and turned legs joined by box stretchers, h. 46”.

[300/500]

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

[300/500] 886 Three Watercolor-on-Ivory Miniature Folk Portraits, second quarter 19th century, probably American, in period frames, h. 5”, w. 4‑1/2”.

[200/400]

882 American Naval Officer’s Collection, ca. 1914‑1918, including a bicorne hat retailed by Jacob Reed’s Sons, Philadelphia, h. 5‑1/4”, w. 17”, d. 6‑1/4”, a pair of epaulettes marked “Joseph Starkey, 23 Conduit St. London”, an unmarked brass telescope, l. 17‑3/4”, and uniform strapping, all in a period hat box on a custom stand, with a good luck horseshoe in a leather scabbard, h. 25‑1/4”, w. 17‑1/2”, d. 8‑3/4”. [250/400] 887

130

887 Sheraton-Style Mahogany “Mount Vernon” Executive Desk, mid-20th century, the tapering reeded legs ending in turned brass feet, h. 35”, w. 65”, d. 32”. [500/800] Illustrated 888 American Colonial Revival Giltwood Convex Mirror, h. 25‑1/4”, dia. 22”. [250/400] 889 American Colonial Revival Banjo Clock, ca. 1900, in a mahogany case, h. 33‑1/2”, w. 10‑1/2”, d. 4”.

[200/400] 890 American Restauration Giltwood Mirror, second quarter 19th century, probably Mid-Atlantic, h. 63”, w. 35‑1/2”. [200/400] 891 Federal-Style Inlaid Mahogany Candle Stand, mid-20th century, h. 41”, w. 15”. [300/500] 892 Baltimore-Style Bellflower-Inlaid Mahogany Sideboard, 20th century, in the Hepplewhite taste, h. 38”, w. 64‑1/2”, d. 21”. [400/700] Illustrated 893 American Federal Mahogany Tilt-Top Stand, first quarter 19th century, the figured single-board circular top on a segmented and ring-turned tripodal base, h. 30”, dia. 19”. [250/400]

894

894 American Colonial Revival Mahogany Bonnet-Top High Boy, 20th century, in two parts and with deeply carved fans on the top and bottom drawers, h. 92”, w. 39‑1/2”, d. 22”. [700/1000] Illustrated 895 American Federal-Style Inlaid Mahogany Tambour Secretary, early 20th century, h. 78”, w. 36”, d. 19”. [300/500]

892

896 Kohlmaier & Kohlmaier, New Orleans, Louisiana Sheraton-Style Tester Bed, third quarter 19th century, the canopy now upholstered in whimsical faux alligator print, with turned footposts and arched headboard, h. 80‑1/2”, inside, w. 55”, l. 75”, outside, w. 58”, l. 78”. [500/800] Illustrated on next page 131

897 Chippendale-Style Mahogany Camel-Back Settee, mid-20th century, h. 38”, w. 58”, d. 33”. [300/500] 898 Chippendale-Style Mahogany Camel-Back Settee, mid-20th century, h. 38”, w. 58”, d. 33”. [300/500] 899 Collection of Eight Crystal Decanters, including two American Brilliant period examples, ca. 1900, a Regency-style handled claret jug, a cut and engraved example, ca. 1900, a French engraved globular decanter marked Baccarat, second quarter 20th century, a French mallet-form cognac bottle, and a pair of English cut glass whiskey decanters, each hung with bottle tickets, either Stieff American sterling or English silverplate, the tallest, h. 14‑1/2”. [300/500] Illustrated 900 Collection of Irish Waterford Crystal, 20th century, including an “Aralin” carafe, h. 8‑3/4”, three tumblers, h. 3‑1/2”, and one old fashioned, h. 3‑1/2”, a “Castle Maine” vase, h. 6”, two old fashioneds, h. 3‑1/2”, and a tumbler, h. 3‑1/2”, and a “Carina” tumbler, h. 3‑1/2” (ten total pieces). [400/700]

911 901 Regency-Style Waterford Crystal “Kings Bowl”, 20th century, designed by John Connolly, h. 7”, dia. 10”, together with a similar Waterford vase, h. 12”, dia. 5” (two total pieces). [400/700] 902 American Brilliant Period Cut Glass Pitcher, first quarter 20th century, decorated with pinwheels, h. 13‑3/4”. [200/400] 903 Pair of Unusual English Molded Glass AmphoraForm Decanters, 20th century, h. 8‑3/4”, l. 7‑3/4”, together with a cut glass footed bowl, h. 7‑1/4”, dia. 11” (three total pieces). [250/400] 904 Set of Eight Wheel Engraved Dessert/Finger Bowls on Stands, first quarter 20th century, probably American, h. 2‑1/2”, dia. 6‑1/4” (sixteen total pieces).

[200/400]

899

896

132

906 Louisiana School (Fourth Quarter 20th Century), “Superdome Construction”, watercolor and gouache on paper, signed “Richard Hearly” lower right, sight 12‑3/4” x 17‑3/4”. Matted, glazed and framed.

[350/500] Illustrated 907 Rolland Harve Golden (American/Louisiana, b. 1931), a collection of five works on paper, depicting New Orleans scenes, includes one pen and ink, two drawing and two prints, all signed, smallest sight 7‑1/2” x 9”, largest sight 8‑3/4” x 10‑3/4”. All glazed and framed. [250/400] 906 905 Three American Brilliant Period Cut Glass Pitchers with a Brilliant-Style Vase, the three pitchers, ca. 1900, cut with pinwheels and hobstars, h. 8‑3/4” to 10‑1/4”, and the Brilliant-style vase cut with pinwheels, h. 11‑3/4”. [200/400]

916

908 Gregory C. Palmer (American/Texas, 20th Century), “Memories of 1917”, 1970, oil on canvas, signed, titled and dated on reverse stretcher, 60” x 40”.

Presented in a thin gallery frame. [800/1200] Illustrated 909 George Rodrigue (American/Louisiana, 1944‑2013), “Morning Glory”, lithograph in colors, signed lower right, inscribed “Artist Proof”, numbered, and with small landscape drawing lower left, 40” x 30”.

Attractively matted, glazed and framed. [800/1200] 910 Maria Scotti (American, 1942‑2012), “Florence Flood of 1966”, four oils on wood panels, 1989, all signed and dated, sizes 5” x 6‑1/8” to 6‑1/8” x 9‑1/2”.

[300/500]

908 133

915 Carol Leake (American/Louisiana, Contemporary), a pair of watercolors on paper including “Seated Nude”, signed lower left, 15” x 13”, and “Prone Nude”, signed lower right, 14” x 22”.

Glazed, matted and framed alike. [200/400] 916 William “Bill” Baggett (American/ Contemporary), “Breeze”, 1986, egg tempera on panel, signed lower right, 21” x 31‑1/4”. Glazed and framed. [500/800] Illustrated on previous page 917 Brad Wreyford (American/Louisiana, Contemporary), “Here & Now”, acrylic on shaped panel, signed, titled and dated en verso, 16‑1/2” x 12‑1/2”. Provenance: Cole Pratt Gallery, New Orleans, Louisiana. [400/700] 918 A. Dalrymple (American/Louisiana, 20th Century), “Portrait of a Man in Contemplation”, mixed media on canvas, signed lower left, 36” x 23”.

Framed. Provenance: Estate of Lillian Pulitzer Smith, New Orleans, Louisiana. [350/500] Illustrated

918 911 Louisiana School (20th Century), “Black Line”, sixpanel screen, oil on canvas, unsigned, overall 50” x 70”.

Unframed. [800/1200] Illustrated on previous page

919 Peter Briant (American/Louisiana, 20th Century), “Blue and Orange Squares”, watercolor on Arches paper, signed and dated “09/01” lower right, sheet 22” x 26‑1/2”. Glazed, matted and framed. [300/500]

912 Tore Wallin (American/Louisiana, 20th Century), “Untitled Abstract”, 1983, gouache and crayon on paper, signed and dated lower right, sight 21” x 27‑5/8”.

Matted, glazed and framed. [300/500] 913 Tore Wallin (American/Louisiana, 20th Century), “Untitled Abstract”, 1984, mixed media on canvas, signed and dated lower right, 40” x 48”. Unframed.

[500/800] 914 Beth Lambert (American/New Orleans, Contemporary), “Untitled”, oil on canvas, signed lower right, signed verso canvas, 24” x 30”. Unframed.

[500/800] 134

922

920 American School (Third Quarter 20th Century), “Texas II”, color lithograph, illegibly signed in pencil lower right, pencil-inscribed lower left “Texas II, 10/20”, verso with a “Gallery of Graphic Arts, N.Y., N.Y.” label, sight 23‑1/2” x 35‑1/2”. Glazed and framed. [400/700] 921 Wiley Churchill (American/Louisiana, 1900‑1987), “Old French Opera House, New Orleans”, watercolor on paper, faintly signed lower right, sight 12‑1/2” x 16”. Glazed, matted and framed.

[500/800]

926

924 Set of Twelve Philadelphia Coin (.900) Silver Dinner Forks, third quarter 19th century, by James Watts, retailed by Robert C. Green, Pottsville, Pennsylvania, in the traditional “Fiddle Tipt” pattern, monogrammed “G”, l. 7‑1/8”, 17.42 total t. oz.

[350/500] 925 Set of Twelve Tiffany “Persian” Sterling Silver Demitasse Spoons, the pattern designed in 1872 by Edward C. Moore (1827‑1891), New York, New York, monogrammed “B” l. 4‑1/8”, 3.86 total t. oz. [250/400]

923

926 Set of Six Tiffany & Co. Sterling Silver Salt Cellars and Spoons, fourth quarter 19th century, including six salts of rounded square form with spherical feet and gilt interior, w. 4‑1/8”, with six pointed-handle salt spoons with gilt hemispherical bowls, l. 2‑1/8”, each piece monogrammed “MLS”, 2.92 total t. oz. [200/400] Illustrated

922 Robert Gordy (American/Louisiana, 1933‑1986), “Study for River Bathers I”, color silkscreen, signed lower left “R. Gordy”, numbered lower right “54/65”, sight 20‑3/4” x 20‑3/4”. Glazed and framed. [300/500] Illustrated

927 Gorham Sterling Silver Arts & Crafts Cake Plate, 1913, Providence, Rhode Island, circular with hammered finish, engraved with a foliate band centering the initial “G”, dia. 11‑1/2”, 15.45 t. oz.

[250/400]

923 George Valentine Dureau (American/New Orleans, b. 1930), “Trinity”, graphite on paper, signed bottom center, sheet 19‑1/2” x 14‑1/4”. Float mounted, glazed and framed. [500/800] Illustrated

928 S. Kirk & Son Sterling Silver Fruit Bowl, mid-20th century, Baltimore, Maryland, circular with floral repousse rim, dia. 10”, 13.63 t. oz. [300/500]

135

929 Eleven Whiting “Imperial Queen” Seafood/ Cocktail Forks, the pattern designed in 1893 by Charles Osborne (1847‑1920), Providence, Rhode Island, monogrammed “H”, l. 5‑1/2”, 5.64 total t. oz.

[200/400]

936

930

930 Twelve Alvin “Old Orange Blossom” Strawberry Forks, the pattern designed in 1905 by Frederick Habensack, Sag Harbor, New York, monogrammed “W”, l. 4‑3/4”, 5.06 total t. oz. [200/400] Illustrated 931 Reed & Barton “Love Disarmed” Sterling Silver Cold Meat Fork, the pattern designed in 1899

by Charles A. Bennett, Taunton, Massachusetts, l. 10‑1/2”, 6.49 t. oz. [250/400] 932 Sixteen Pieces of International “Mille Fleurs” Sterling Silver Flatware, the pattern designed in 1904

by Emil Heinrich Goetz (1860‑aft. 1930), Meriden Connecticut, including five dinner knives with “Old French”-shaped steel blades, l. 9‑3/4”, five tablespoons, l. 6”, and six forks, l. 7‑3/8”, all monogrammed “F.A.VP”, 20.38 total t. oz. (excluding knives).

[300/500] 933 Porter Blanchard “Fiddle” Sterling Silver Platter Spoon, second quarter 20th century, by Richard Bogardus Blanchard (1893‑1976), Burbank, California, no monograms, l. 12‑1/2”, 3.87 t. oz. [200/400]

136

934 American Arts and Crafts Sterling Silver Oyster Spoon, by David Carlson (1891‑1931), Gardner, Massachusetts, with “Fiddle Handle”, l. 12‑5/8”, 2.43 t. oz. [250/400] David Carlson was born on October 2, 1891 in Sweden, the son of Lars Carlson (1860‑1904) and his wife Christina Johnson Nelson (1849‑1925). The family emigrated to the United States in 1896, settling in Gardner, Massachusetts. Carlson studied at the Boston Society of Arts where he became a Master Craftsman, soon thereafter joining the workshop of Arthur Stone in 1909. He left in 1919 to work for Porter Blanchard and, when Blanchard moved to California in 1923, Carlson bought the remains of his Gardner workshop which he ran under his own name until his untimely death from tuberculosis at the age of 40 on December 30, 1931. He is buried in the Carlson family plot in Crystal Lake Cemetery, Gardner, Massachusetts.

935 American Sterling Silver and Oak Magnum-Sized Wine Coaster, first half 20th century, by Redlich & Co., New York, New York, of circular form, with pierced floral lattice-and-scroll rim and inset oak plateau, monogrammed “JG”, dia. 11‑1/2”. [300/500] 936 Wood & Hughes Sterling Silver Oyster-Shaped Condiment Dish, fourth quarter 19th century, New York, with “napkin fold” handle monogrammed “M”, l. 6‑1/2”, 2.92 t. oz. [300/500] Illustrated 941

937 Forty-Eight Pieces of Reed & Barton “Francis I” Sterling Silver Flatware, the pattern designed in 1907

by Ernest Meyer, Taunton, Massachusetts, comprising twelve luncheon place settings of four pieces each, monogrammed on the reverse “ESF”, l. 5‑7/8” to 9‑1/8”, 51.38 total t. oz. Detailed list available on request.

[1200/1800]

943

941 Pair of Sterling Silver Footed Bonbon Dishes, first quarter 20th century, by Dominick & Haff, New York, New York, retailed by Galt & Brother, Washington, D.C., each of saucer form with pierced gallery, dia. 5‑1/4”, 8.17 total t. oz. [250/400] Illustrated 942 Three Pieces of American Sterling Silver Tableware, late 19th to early 20th century, including a Whiting oval lobed condiment dish, inscribed and dated 1883, l. 7‑1/8”, a small Fisher Silversmiths lobed compote, h. 4”, dia. 5‑7/8”, and an Alvin “Hampton” jelly spoon, l. 5‑1/2”, 3.78 total t. oz. (excluding weighted compote). [250/400] 943 Three Large American Sterling Silver Serving Pieces, 20th century, including a Wallace “Corinthian” punch/soup ladle, l. 12”, a Gorham “Villa Norfolk” punch/soup ladle, l. 11‑1/8”, and a Reed & Barton “Elegante” platter spoon, l. 13‑3/4”, no monograms, 16.33 total t. oz. [350/500] Illustrated

938 Twenty-Three Assorted American Sterling Silver Serving Pieces, 20th century, including five pieces of Gorham “Lancaster”, almond scoops in Watson “Princess” and “Old Victoria”, a Watson “Bunker Hill” lettuce fork, an Alvin “Old Orange Blossom”, a Dominick & Haff “Charles II” ice cream slice and thirteen others, fifteen pieces monogrammed, l. 5‑3/4” to 10‑7/8”, 37.71 total t. oz. (weighable silver). Detailed list available on request. [600/900]

944 Two Pieces of American Silverplate Tableware, first quarter 20th century, including an E. G. Webster & Son covered and triple-partitioned vegetable dish in the Spanish Colonial taste, dia. 12‑3/4”, and a Forbes Silver Co. pierced and serpentine-lobed fan vase, h. 11‑3/4”. [200/400]

945

939 Seventeen Assorted Small Sterling Silver Ladles, 20th century, including two Gorham “Villa Norfolk”, two Watson “Dorchester”, one Newell Matson coin silver, and twelve others, eleven variously monogrammed, l. 4‑1/4” to 6‑5/8”, 13.95 total t. oz.

Detailed list available on request. [250/400] 940 Set of Twelve American Sterling Silver Butter Pats, first quarter 20th century, by Woodside Sterling, New York, New York, with embossed “vintage” rim, dia. 3‑1/2”, 8.75 total t. oz. [250/400]

137

945 Pair of Gorham Sterling Silver Candlesticks, first quarter 20th century, Providence, Rhode Island, retailed by Black, Starr and Frost, New York, New York, each in the form of a Corinthian column with detachable bobeche, h. 8‑1/4”, w. 4‑1/8”, weighted.

[300/500] Illustrated on previous page

955

946 Reed & Barton Sterling Silver Bread Tray, second quarter 20th century, of navette form with acanthus scroll rim, monogrammed “R”, l. 14‑1/4”, w. 9‑1/4”, 15.45 t. oz. [350/500] 947 Gorham Sterling Silver Footed Vegetable Bowl, 1899, Providence, Rhode Island, of oval form with floral scroll rim, monogrammed “HMS”, h. 3‑1/4”, l. 11‑3/8”, w. 8‑3/4”, 17.76 t. oz. [350/500] 948 Nine Pieces of Assorted Sterling Silver and Silverplate Tableware, 20th century, including sterling silver pieces: a Whiting Art Nouveau chrysanthemum bonbon dish, monogrammed “ELS”, dia. 5‑1/2”, a 1909 Gorham pierced oval sweetmeat basket, l. 6‑1/4”, a Manchester “Mary Warren” cream ladle, l. 4‑7/8”, a Dominick & Haff “Pointed Antique” sauce ladle, l. 6‑1/2”, a Frank M. Whiting “Puritan” serving fork and two serving spoons, l. 8‑3/4”, 18.35 total t. oz.; and silverplate pieces: an English pierced bonbon dish, l. 8‑1/2”, and a Canfield Brother & Co. engraved spatulate cream ladle, monogrammed “S”, l. 5‑3/4”. [200/400] 949 Two Pairs of American Sterling Silver Candlesticks, first quarter 20th century, one by Webster Co., of tapering octagonal section, with stepped base and Adamesque engraving, h. 10”, the other unmarked, of tapering hexagonal section, with domed base, rococo engraving and detachable bobeches, h. 10‑1/4”, weighted. [200/400] 950 Two Pieces of Silverplate Hollowware, including a Victorian Martin & Hall salver with beaded rim and ball-and-claw feet, monogrammed and dated “RJE / March 5th 1863”, dia. 14‑1/4”, and a 1910 Gorham covered vegetable dish of “turtleback” form with rococo rim, monogrammed “EW”, l. 11‑1/4”, w. 8‑3/8”. [250/400]

138

951 Sixteen Assorted American Sterling and Other Silver Tablespoons, mostly 20th century, including three International “Winchester” examples, three Gorham “Villa Norfolk” examples, a Wood & Hughes “Zephyr” example, a London Regency, 1816‑1817, Solomon Hughes example, a German 13 lot example, and seven others, nine variously monogrammed, 28.75 total t. oz. Detailed list available on request. [400/700] 952 Good Collection of Eleven New Orleans Sterling Silver Souvenir Spoons, late 19th-early 20th century, including a fine Shepard Mfg. Co. example with enameled scene of Jackson Square, an example in George Emmett Nerney’s famous 1913 pierced design, examples from New Orleans retailers A. B. Griswold and Coleman E. Adler, an example of the 1891 patented design by New Orleans jeweler Alvan Meredith Hill, and six others, l. 3‑3/4” to 5‑7/8”, 7.00 total t. oz.

[400/700] 953 Fourteen Pieces of Shiebler “Louvre” Sterling Silver Flatware, designed in 1888 by George W. Shiebler (ca. 1845‑1920), New York, New York, dated 1898, including six dinner forks, l. 8‑1/8”, two place spoons, l. 8”, and six dinner knives with “Blunt”shaped steel blades, l. 10”, the knives monogrammed “W”, the rest monogrammed “VH”, 21.20 total t. oz. (weighable silver). [400/700]

954 Twenty-Four Pieces of Assorted Small American Sterling Silver Flatware, including six Wallace “Madison” bouillon spoons, an Old Newbury Crafters “Old Newbury” bonbon spoon, a Manchester “Pierced Handle” almond scoop, a Saart Brothers “Rosemary” petit fours server and fifteen other pieces, l. 3‑3/8” to 5‑3/4”, 14.17 total t. oz. [300/500]

960 English Silverplate Honey Pot and American Sterling Silver Bonbon Dish, mid-20th century, the honey pot by Mappin & Webb, in the form of a bee, the hinged wings rising to reveal the glass thorax pot, complete with wooden honey dipper, l. 6‑1/2”, the Reed & Barton sterling dish in the form of three conjoined lily pads, dia. 6‑3/4”, 5.80 t. oz. [200/400]

955 Pair of Gorham Sterling Silver “Strasbourg” Convertible Candelabra, third quarter 20th century, Providence, Rhode Island, each pair in four parts base, standard, four-armed branch and finial socket - permitting them to be arranged as candlestands, h. 4‑3/4”, candlesticks, h. 9”, or four heights of candelabra, 7”, 9‑3/4”, 11‑1/2” and 14‑1/4”, w. 12”, weighted. [400/700] Illustrated

961 One Hundred and Two-Piece Set of Alvin “Chapel Bells” Sterling Silver Flatware, the pattern designed in 1939 by James Russell Price (1907‑1974), Providence, Rhode Island, including eight nine-piece place settings, with twenty-seven additional place pieces and three serving pieces, monogrammed “P”, 93.73 total t. oz. (weighable silver). Detailed list available on request [1800/2500]

956 Ten Pieces of American Sterling Silver Hollowware, 20th century, including five M. Fred Hirsch sherbet cups, dia. 3‑5/8”, an Alvin condiment bowl, dia. 4‑1/8”, a Mueck-Cary “Royal Rose” compote, dia. 6‑1/2”, a Gorham “ChantillyDuchess” bonbon bowl, dia. 6‑1/8”, a Reed & Barton “Burgundy” bonbon bowl, dia. 6”, and a Gorham oval bread tray, l. 11‑3/4”, 15.08 total t. oz. (weighable silver).

[250/400]

962 Pair of Gorham Sterling Silver “Cambridge” Convertible Candelabra, third quarter 20th century, Providence, Rhode Island, each pair in four parts base, standard, arms and finial socket - permitting them to be arranged as candlestands, h. 4‑1/2”, candlesticks, h. 8‑3/4”, or four heights of candelabra, 4‑3/4”, 7‑1/4”, 8‑3/4” and 11‑1/2”, w. 10‑1/4”, weighted. [300/500]

957 Towle “Silver Flutes” Sterling Silver Medium Vegetable Bowl, the pattern designed in 1941

by Harold Edward Nock (1875‑1952), Taunton, Massachusetts, dia. 10”, 13.63 t. oz. [250/400] 958 Thirty Pieces of Reed & Barton “Burgundy” Sterling Silver Flatware, the pattern introduced in 1949, Taunton, Massachusetts, including six each luncheon forks, salad forks, luncheon knives and soup/ dessert spoons, and six other pieces, monogrammed “C”, l. 5‑7/8” to 9”, 41.92 total t. oz. Detailed list available on request. [500/800]

963 Pair of Gorham Sterling Silver “Cambridge” Convertible Candelabra, third quarter 20th century, Providence, Rhode Island, each pair in four parts base, standard, arms and finial socket - permitting them to be arranged as candlestands, h. 4‑1/2”, candlesticks, h. 8‑3/4”, or four heights of candelabra, 7”, 9‑1/2”, 11‑1/2” and 15‑1/4”, w. 13‑3/4”, weighted.

[400/700] Illustrated

963

959 Three Pieces of American Sterling Silver Hollowware, 20th century, including a Shreve & Co. bread tray with molded rim, l. 11‑1/8”, an International Silver bread tray with bead-and-bobbin rim, l. 11”, both monogrammed, and an International Silver covered vegetable dish with molded rim, l. 10”, 27.10 total t. oz.

[500/800]

139

964 Set of Five Mexican Sterling Silver Butter Shells, 20th century, l. 2‑3/4”, 4.02 total t. oz. [200/400] 965 South American Silver Ladle, 20th century, in the Spanish Colonial taste, with spherical bowl and flat handle, the latter engraved with trailing flowers, l. 13‑1/4”, 9.30 t. oz. [200/400] 966 Spanish Colonial-Style Silverplate Tureen, 20th century, of oblate spherical form, decorated with repousse fruit and raised on three ball-and-claw feet, the fitted lid with applied fruit cluster finial, h. 11‑1/2”, dia. 10‑1/2”, w. 14‑1/2”. [250/400] Illustrated

966

967

969 Classical-Style Giltwood Convex Mirror, ca. 1900, the crest with an eagle with spread wings over foliate carving, with a convex circular mirror plate and foliatecarved base, h. 46‑3/4”, w. 26”, d. 3‑1/2”. [400/700] Illustrated 970 New England Classical Parcel-Gilt Tabernacle Mirror, the top panel with a Hudson River Valley type oil on canvas, with stamped brass corner medallions, h. 29‑3/4”, w. 13‑3/4”. [300/500] 968

967 Pair of Spanish Colonial-Style Silver Sahumadoras, 20th century, each in the form of a peacock, with a hinged spherical body, the tail set with simulated gemstones, h. 9‑1/2”, dia. 6”, 47.43 total t. oz.

[250/400] Illustrated 968 American Late Classical Mahogany Tester Bed, second quarter 19th century, the cyma- and covemolded tester supported by pineapple- and acanthuscarved posts, the paneled headboard with a shell and scroll crest, h. 107”, inside, w. 54”, l. 76”, outside, w. 60”, l. 83‑1/2”. [3000/5000] Illustrated

140

973 Rare Three-Piece Signed Cornelius Girandole Set, mid-19th century, Philadelphia, in the “Leather Stocking Tales” pattern, comprised of a five-light centerpiece, h. 21”, and a pair of three-light candelabra, h. 16‑1/2”. [400/700] Illustrated

969

974 Four-Piece Collection of American Brass and Marble Solar Lamps, mid-19th century, including a double stepped base lamp retaining original gilt, h. 14‑1/2”, a single step lamp, h. 13‑1/2”, both probably Dietz, New York, and a pair of Boston lamps, h. 9‑1/2”.

[400/700] 975 Pair of American Late Classical Mahogany Console Tables, second quarter 19th century, New York, each with a fully-developed acanthus-carved pedestal and outstretched legs ending in paw feet, the tops with highly figured grain and form a small dining table when joined together, h. 28”, w. 46”, d. 24‑1/2”.

[1800/2500] Illustrated

975

971 Pair of Philadelphia-Style Brass Fire Tools, 20th century, American, with acorn finials, l. 25‑1/4”. [200/400] 972 American Classical Triple-Decker Mantel Clock, second quarter 19th century, labeled “C & L. C. Ives, Bristol, Ct.” (1810‑1862), mounted with eight-day weight-driven brass works, in a mahogany-veneered and parcel-gilt case, h. 35‑1/2”, w. 17‑1/2”, d. 5‑3/4”. [250/400]

973

976 Regency Mahogany Shaving Stand, first quarter 19th century, the period rectilinear mirror plate in a molded frame supported by scroll and post brackets on a base with a band of drawers, h. 21”, w. 30”, d. 8”.

[250/400] 977 American Classical Mahogany and Cherry Work Table, second quarter 19th century, in the Sheraton taste, with a pair of figured drawers, on turned legs with ball feet, h. 29”, w. 21”, d. 17‑1/2”. [250/400]

141

978 American Empire Revival Mahogany SplitPedestal Dining Table, first quarter 20th century, h. 29‑1/4”, dia. 53”. [400/700]

981 American Late Classical Mahogany Secretary, second quarter 19th century, h. 75”, w. 46”, d. 21”.

[500/800] 982 Suite of Six American Late Classical Revival Mahogany Dining Chairs, ca. 1900, now upholstered in faux leopard print, h. 34”. [200/400] 983 American Late Classical Mahogany Four-Post Bed, second quarter 19th century, probably Baltimore, with boldly reeded posts and acanthus-carved details, h. 92”, inside, w. 54”, l. 75”, outside, w. 61”, l. 81”.

[700/1000] Illustrated

979

979 Suite of Eight American Classical Revival Mahogany Dining Chairs, ca. 1900, comprised of two armchairs, h. 39‑1/2”, and six sidechairs, h. 36”, after a design by John Hull of Baltimore, Maryland.

[500/800] Illustrated 980 American Late Classical Mahogany Double-Door Armoire, second quarter 19th century, Probably Louisiana, with a flared cornice and the front legs with brass ball feet, h. 89”, w. 64”, d. 25”. [1500/2500] Illustrated

980

142

984 American Classical Revival Giltwood Looking Glass, ca. 1900, with a beveled mirror plate flanked by fluted pilasters, beneath a beaded cornice, h. 37”, w. 42”, d. 5”. [250/400] 985 American Transitional Late Classical into Rococo Revival Walnut Four-Post Canopy Bed, mid-19th century, probably manufactured by C. Lee, Manchester, Massachusetts, and made for the Southern Market, with tapering cluster columns and a fruit-carved headboard, the tester present but disassembled h. 112”, inside, w. 59”, l. 77”, outside, w. 73”, l. 88”. [3000/5000] Illustrated

986

987 Vernacular American Walnut “Plantation” Desk, third quarter 19th century, in two parts, the molded cornice over a paneled fall front opening to reveal a compartmentalized interior, the base with a molded drawer over a pair of paneled doors, h. 58”, w. 39”, d. 18”. [400/700] 988 American Late Classical Mahogany Armoire, mid-19th century, the cyma-molded cornice over a pair of doors, each with an arched panel, on bracket feet, h. 97”, w. 69‑3/4”, d. 27”. [800/1200] Illustrated

983 986 American Late Classical Walnut Armoire, ca. 1850, with an ogee-molded cornice over a pair of doors with arched panels, raised on ogee bracket feet, h. 96”, w. 66”, d. 23”. [600/600] Illustrated

988

989 British School (20th/21st Century), “Greyhound in a Landscape”, oil on canvas, signed lower left “Shipley”, 8” x 10”. Framed. Provenance: Estate of John Arthur Meade, New Orleans, Louisiana.

[500/800] Illustrated on next page 990 Continental Engraved Silvered Metal Plaque, fourth quarter 19th century, the plaque depicting a pair of caribou on a mountainside, in a Louis XV-style giltwood frame, h. 19”, w. 22”. [700/1000]

985

143

991 Alfred Seifert (Czech, 1850‑1901), “Madchen”, oil on wood panel, signed mid-right, 8‑1/2” x 6‑1/4”.

Framed. [500/800] Illustrated

994

993 British School (First Quarter 19th Century), “Three Portraits”, suite of three oval oils on board, unsigned, each sight 7‑1/4” x 5‑1/4”. Each glazed, matted and framed. [250/400]

989 992 Attributed to James Sharples, Sr. (British/ American, 1751/52‑1811), “Portrait of a Gentleman”, pastel on paper, unsigned, verso with a handwritten attribution label, sight 10” x 8‑1/2”. Glazed and framed. [400/700]

994 Pair of Glazed Bisque Figures, fourth quarter 19th century, after Christian Warth, the allegorical figures representing youth and adulthood, each impressed “C Warth”, h. 12‑1/4”, w. 10‑1/2”, d. 5‑1/4”. [400/700] Illustrated 995 Copeland Parian Bust of “Clytie”, ca. 1861, after the Antique, stamped by Copeland and the distributor, “The Art Union of London, 1861”, h. 13‑1/2”, w. 9‑3/4”, d. 6”. [600/900] Illustrated

995

991 144

999

996 Continental Carved Alabaster Bust of a Lady, ca. 1900, depicted with a lace and flower-trimmed chapeau, h. 18‑1/2”, w. 17”, d. 8”. [400/700]

1002

997 Unusual Continental Marble Bust/Lamp, first quarter 20th century, depicting a smiling young woman in a fur hood, a lamp mounted in the hollow interior, with apertures on the back, h. 19‑1/4”, w. 10‑3/4”, d. 6”. [400/700] 998 Late Victorian Marble Pedestal, fourth quarter 19th century, the top with canted corners, on a columnar standard with an octagonal base, h. 39‑1/2”, w. 11”, d. 11”. [300/500] 999 Group of Fourteen Cobalt-Bordered Porcelain Plates, consisting of two similar Russian chargers, ca. 1900, produced by M. C. Kutzenov, Moscow, dia. 14‑1/4”, and twelve French hand-painted dessert plates, ca. 1891‑1932, by William Guerin, Limoges, dia. 7‑1/4”. [250/400] Illustrated

1001

1000 Eight-Piece Limoges Fish Set, ca. 1891‑1914, French, decorated with raised gilt on borders, including seven plates, dia. 8‑1/2”, and a fish plate, l. 24”, marked with Coiffe’s star and the retailer. [300/500] Illustrated 1001 Set of Ten Cauldon Cobalt and Gilt Broth Bowls, ca. 1905‑1920, England, the scalloped cobalt-ground borders decorated in raised gilt, marked “Cauldon England” in underglaze blue and “Gilman Collamore & Co., Fifth Avenue & 30th St., New York”, dia. 7”.

[200/400] Illustrated

1000

1002 Extensive Lenox Gilt-Trimmed Ivory Porcelain Partial Dinner Service, ca. 1929‑1982, including twenty-three dinner plates, dia. 10‑1/2”, eight soup plates, dia. 8‑1/4”, thirty-two salad/dessert plates, dia. 8‑1/4”, twenty-two bread and butter plates, dia. 6‑1/4”, twenty-four cups, dia. 4”, eleven saucers, dia. 5‑3/4”, and an oval open vegetable dish, l. 9‑1/2”.

[300/500] Illustrated

145

1003 Set of Six French Raised Gilt Porcelain Dinner Plates, fourth quarter 19th century, Paris, decorated by Mansard, dia. 9‑1/2”. [200/400] Illustrated

1006

1004 Three-Piece Collection of Wedgwood Basalt Wares, including a bough pot, ca. 1800, marked “WEDGWOOD”, h. 9‑1/4”, a polished basalt bough pot, h. 8”, and a low bowl, dia. 11‑3/4”, the latter two marked “Wedgwood, Made in England”, made post1914. [400/700]

1003

1006 Three Pieces of Gien Pottery, French, including a dinner plate, dia. 12‑1/4”, a soup plate, dia. 12‑1/4”, and a salad plate, dia. 9”. [250/400] Illustrated 1007 Five-Piece Group of English Porcelain, consisting of a pair of “Asiatic Pheasants” platters, marked by Burgess & Leigh, mid-19th century, l. 19‑1/4”, and three plates, one mid-19th century, marked “Burleigh”, dia. 9‑1/2”.

[300/500] 1008 Victorian Mahogany Armchair, third quarter 19th century, with a shaped back, open arms on a spindle gallery and turned legs, now with a loose leather seat and back cushions, h. 36‑1/2”. [450/700] Illustrated 1009 Early Victorian Fruitwood Armchair, ca. 1850, with a concave foliate-carved crest rail, closed scroll arms and reeded legs, h. 41‑1/4”. [500/800]

1005 Seven-Piece Transfer-Printed Pottery Fish Set, ca. 1900, including a platter, l. 14‑1/2”, and six plates, dia. 8”. [250/400] Illustrated

1005

1010 Three Painted Pottery Pugs with Glass Eyes, first quarter 20th century, probably English, h. 10‑1/2” to 15”. [600/900] 1011 Nine-Piece Collection of Painted Metal Pugs, ca. 1900, w. 1” to 5‑1/4”. [200/400] 1012 Continental Renaissance Revival Gilt-Bronze Firescreen, fourth quarter 19th century, the screen insert of a later date, h. 40”, w. 54”. [500/800] 1013 Pair of Molded Cast Iron Plaques of Horse’s Heads, h. 16‑1/2”, w. 7”, d. 10‑1/2”. [450/700] Illustrated

146

1014 Pair of Patinated Metal Equestrian Bookends, second quarter 20th century, possibly American, now mounted as lamps, depicting horse heads on a ropetrimmed horseshoe-shaped base, base, h. 10‑1/4”, overall, h. 24‑1/2”. [450/700] 1015 Collection of Five Handsome Hand-Painted Porcelain Pugs, first quarter 19th century, two marked “Carl Thieme, Potschappel”, h. 3‑1/2” to 5‑1/4”. [200/400] 1016 Three Cast Iron Animal Figures, including a painted cat, h. 9”, a pig-form bank, w. 12”, and a Scottie doorstop, h. 16‑3/4”. [250/400] 1017 Victorian-Style Mahogany Desk and Chair, the desk with a rounded rectangular top inset with three leather panels above two pedestals, each fitted with three graduated drawers, the central section fitted with a pull-out keyboard shelf, the sides and rear paneled, raised on plinth bases, h. 30‑1/2”, w. 79”, d. 38”, the chair with a back and cushioned seat, raised on a rotating base to casters, h. 47‑1/2”. Provenance: Marla Maples and Tiffany Trump. [1500/2500]

1013

1018 Pair of Chippendale-Style Composition Giltwood Brackets, mid-20th century, probably Italian, decorated with ho-ho birds, h. 16‑1/2”, w. 13”, d. 7‑1/2”. [200/400] Illustrated 1019 Pair of Chippendale-Style Composition Giltwood Brackets, mid-20th century, probably Italian, decorated with ho-ho birds, h. 16‑1/2”, w. 13”, d. 7‑1/2”. [300/500]

1008

1018

147

1020 Continental School (First Quarter 20th Century), “Portrait of a Bearded Man with a Pipe”, oil on canvas, signed lower right “Novelle”, 11” x 7”. Framed.

[300/500] Illustrated 1021 Painted Victorian Pedestal, ca. 1900, decorated with brass roping, h. 38”, w. 12”. [200/400] 1022 English Mahogany Chest on Stand, second quarter 19th century, h. 61”, w. 48”, d. 23”. [300/500] Illustrated 1023 English Mahogany and Marble-Top Bedside Commode, third quarter 19th century, h. 37‑1/2”, w. 16”, d. 15‑1/2”. [250/400] 1024 Chinoiserie Gilt-Bamboo Mirror, with a midnight blue and gilt eglomise matte, h. 46‑1/2”, w. 39”.

[350/500] 1025 Japanese Export Bamboo and Lacquer Side Table, ca. 1900, h. 28‑1/2”, w. 22”, d. 15‑1/2”. [250/400] 1026 Pair of Chinese Lacquer Vases, with silver-gilt scenes on a chocolate ground, now mounted as lamps, overall, h. 21”, dia. 6‑1/2”. [400/700]

1020 1027 Pair of Edwardian Mirrored Sconces in the Queen Anne Style, with chinoiserie decoration, the ebonized tombstone backplates set with mirror plates enameled with Chinese figures and set with bronze double candle arms, h. 19‑3/4”, w. 6”, d. 6‑3/4”. [600/900] Illustrated 1028 Chinese Lacquered Chest, mid-20th century, on a custom stand in the Chinese taste, h. 20‑3/4”, w. 32”, d. 23‑3/4”. [200/400] Illustrated

1022 1029 Edwardian Blue-Ground Chinoiserie Bracket Clock, first quarter 20th century, h. 10”, w. 5‑1/2”.

[200/400] Illustrated 1028

148

1029

1027

1030 Black Japanned Mirror, second half 20th century, the bolection-molded frame decorated with oriental figures, pagodas, flora and fauna on a black ground, h. 42”, w. 35”.

[350/500] 1031 Chinese Export Lacquer Sewing Box, probably 19th century, the black lacquer box with gilt and red accents, the lid depicting a small village nestled in a tranquil valley, and the sides adorned with a lightly rendered motif of scrolling vines and grasses, h. 6‑1/4”, w. 16”. [250/400]

1033 Pair of Chinoiserie-Decorated Caned Armchairs, early 20th century, h. 31”, w. 30”, d. 31”. [700/1000] Illustrated on next page

1032

1032 Chinese Export Black and Gilt Lacquer Writing Desk, first quarter 19th century, the three-piece writing desk with claw feet and covered with a motif of figures in an idyllic garden setting, with a pair of doors opening horizontally to reveal a removable tray with thirteen sections, four with lids and ivory knobs, a drawer beneath the cabinet opens to reveal three compartments over six small drawers and a cabinet with a mercury glass mirror, the whole accented with a floral, scholar’s rock and figure motif, h. 54‑1/2”, w. 29”.

[600/900] Illustrated

149

1033

1034 Chinese Export Gilt-Decorated Black Lacquer Tea Chest, second quarter 19th century, with original pewter insert, on a custom stand, h. 24”, w. 14”, d. 11”.

[400/700] 1035 British School (19th Century), “Memento Mori; Richard Hughes and Sarah Hughes”, oil on canvas, signed “Edward Lloyd Ellesmore”, dated “July 22, 1845” lower left, explanatory inscription at bottom edge of frame, 20” x 20”. Framed. [1000/1500] Illustrated

1035 1037 Pair of Continental Renaissance Revival Brass and Mirrored Two-Light Sconces, ca. 1900, the rectangular pierced backplates with molded dolphins flanking urn-form finials, and holding a pair of scrolled candle arms, with beveled mirror plates, h. 22‑3/4”, w. 6‑1/4”, d. 3‑1/4”. [200/400] 1038 Collection of Six Walking Canes, 19th/20th century, h. 34‑1/2” to 37‑1/2”. [200/400] 1039 Collection of Six English Oak Biscuit Barrels, first quarter 20th century, with silverplate trim and porcelain liners, h. 7‑3/4” to 10‑3/4”. [300/500] Illustrated

1039 1042 1036 Matched Pair of French Cast and Stamped Brass Hall Lights, late 19th century, each with three angels mounted along their rims and suspended with cast brass chains, formerly designed for oil, now electrified and fitted with later carnival glass flame shades, h. 27”, dia. 13”. [500/800] Illustrated

150

1044 Belle Epoque Patinated Metal, Pottery and Art Glass Compote, fourth quarter 19th century, the standard depicting Psyche on a pottery spherule, supporting the iridescent art glass ruffled bowl, which is probably Loetz, h. 19‑1/2”, dia. 9”. [250/400] 1045 Hinks & Sons, England, Gilt-Bronze, Cut Glass and Porcelain Banquet Lamp, fourth quarter 19th century, the guilloche-molded bronze base supporting a vasiform standard decorated with hand-painted flowers and mounted with a strawberry-cut glass font, now electrified and fitted with a shade, base, h. 23‑1/2”, overall, h. 38”, dia. 18”. [300/500]

1036 (Pair)

1040 Collection of Four English Oak Punch Bowls, first quarter 20th century, with porcelain liners and silverplate trim, the largest, h. 6‑3/4”, dia. 9‑1/4”.

[300/500]

1046 Hand-Painted Paris Porcelain Centerpiece, third quarter 19th century, now mounted as a lamp, the hand-painted bowl decorated with water birds and raised on biscuit sphinxes, finished with a custom shade, base, h. 10”, overall, h. 29”, dia. 9”. [300/500] 1047 Bohemian Glass Claret Jug and a Pair of Tumblers, third quarter 19th century, the white-plated cut-tocranberry jug and tumblers, in a similar pattern, all with ground pontil marks, jug, h. 11”, tumbler, h. 5”.

[400/700] Illustrated on next page

1043 1041 “Modern Gothic”-Style Brass-Mounted Walnut Coal Hod, fourth quarter 19th century, probably English, h. 12‑1/2”, w. 15‑1/2”, d. 18”. [200/400] 1042 Dorofield Hardy (British, 1882‑1920), “The Voice Lesson”, 1885, watercolor on paper, signed and dated lower right, sight 10‑1/2” x 13”. Glazed, matted and framed. [400/700] Illustrated 1043 Pair of Unusual Hand-Painted Porcelain Oil Lamps, first quarter 20th century, possibly Japanese, decorated with trails of flowers and gilt, set with matching ball shades and having Continental burners, h. 18”, dia. 4‑3/4”. [400/700] Illustrated

151

1048 Bohemian Enameled Overlay Glass Claret Jug, fourth quarter 19th century, the opaline panel decorated with scrollwork overlay, the ruby body decorated with gilt trim, h. 13‑1/4”, dia. 5‑1/4”. [350/500]

1055

1049 Two Bohemian Glass Vases, comprising an overlay example decorated with enameled flowers, h. 11‑1/2”, and an emerald green cut and gilt vase, h. 12‑1/4”. [600/900] 1050 Pair of Bohemian-Style Cased and Enameled Cranberry Glass Mantel Lustres, 20th century, h. 10‑1/4”, dia. 5‑1/2”. [200/400]

1047

1053 Pair of Continental Glass and Silverplate Cruet Stands, third quarter 19th century, the stands in the neoclassical style and holding Bohemian blown cobalt bottles, decorated with intersecting gilt swags, and set with faceted cone-form stoppers, h. 11‑1/2”, w. 7‑1/2”, d. 2‑1/2”. [250/400] 1054 Franco-Japanese Aesthetic Tazza, fourth quarter 19th century, the French tazza composed of Japanese bronze retaining original mixed metal-type lacquers, signed, h. 5”, dia. 10‑1/2”. [300/500]

1057

1051 Pair of Bohemian Camphor Glass Mantel Lustres, third quarter 19th century, h. 10‑1/2”, dia. 4‑3/4”.

[400/700] 1052 Georgian-Style Gilt-Plated Waiter, Salt Dishes and Spoons, fourth quarter 2th century, Corbell & Co., Paradise Valley, Arizona, the waiter, dia. 10‑1/2”, and the four salt dishes, dia. 2”, with cobalt glass liners and matching gilt-plated spoons. [200/400]

152

1058

1058 Paris Porcelain Hand-Painted Platinum-Ground Charger, fourth quarter 19th century, hand-painted with roses and a mill scene, framed with a tooled gilt outer border and an elaborate raised gilt frame around the center scenic view, a rouge-de-fer mark on the back, the undocumented “PHL/AL” mark in the style of other Paris marks of the period, dia. 13‑1/4”. [700/1000] Illustrated 1059 Furnivals Pottery Punch Bowl, ca. 1890‑1895, English, with neoclassical decoration, marked “Furnivals”, h. 9”, dia. 18”. [400/700] 1060 Victorian Carved Mahogany Sideboard, fourth quarter 19th century, with a mirrored upper structure and fitted with drawers and cabinets below, h. 80”, w. 60”, d. 23”.

[500/800] Illustrated

1055 Rare Thirteen-Piece Haviland Limoges Impressionist Hand-Painted Partial Dessert Service, fourth quarter 19th century, French, comprised of a footed tazza, h. 5‑1/4”, a comport, dia. 9”, and eleven dessert plates, dia. 8‑1/4”, each decorated with different polychrome flowers, marked with both Haviland’s blank and decorator marks.

[300/500] Illustrated

1061 Anglo-Indian Carved and Pickled Wood Mirror, h. 40”, w. 37”. [400/700]

1056 Collection of Sixteen Porcelain Fruit Plates, 20th century, including eight larger hand-painted plates marked “M&S, Made in France”, dia. 9‑1/4”, and eight smaller transfer-printed plates marked “Tirschenreuth, Bavaria”, dia. 8”. [250/400] 1057 Paris Porcelain Hand-Painted Platinum-Ground Potpourri Vase, fourth quarter 19th century, with a pierced foot and cover, tooled in Moorish patterns and decorated with black tracery, the body handpainted with vivid roses and pansies, marked “Escalier de Cristal, Paris” in gilt script, h. 14”, dia. 5‑1/2”.

[500/800] Illustrated 1060

153

1062 Continental School (First Quarter 20th Century), “The Bear Hunt”, oil on canvas, unsigned, 18” x 22”. Presented in a contemporary frame. [450/700] Illustrated 1063 Continental School (Fourth Quarter 19th Century), “Portrait of an Elderly Bavarian Man Holding a Glass”, oil on board, illegibly signed lower left, 10” x 7”. Attractively framed. [300/500] Illustrated

1062 1067 Rare German Porcelain Half-Doll Feather Duster, early 20th century, modeled as Marie Antoinette, with open arms and wearing a gown with a satin and lace bodice above an exotic feathered skirt, overall, h. 28”.

Provenance: Harley Antiques, Corsham, England.

[250/400] 1068 American Rococo Revival Rosewood Secretary Bookcase, third quarter 19th century, New York, attributed to Thomas Brooks, in two parts, the upper section with a cabochon, foliate- and scroll-carved crest over a shelf with a mirrored back, above a pair of mirrored doors, the base with a slant lid opening to reveal a fitted interior with line-strung drawers, scalloped apron and cabriole legs, h. 75”, w. 38”, d. 18‑1/2”. [1200/1800] Illustrated 1063 1064 Continental School (Fourth Quarter 19th/First Quarter 20th Century), “Portrait of a Man Playing an Accordion”, oil on canvas, illegibly signed lower left, 13” x 11”. Handsomely framed. [300/500] Illustrated 1065 Molded and Painted Pottery Relief Rondel, fourth quarter 19th century, depicting an Arab on horseback, impressed “Musterschutz”, dia. 15‑1/2”. [400/700] Illustrated 1066 Pair of Jugendstil Green Pottery Vases, first quarter 20th century, enameled with Moors on horseback, marked with impressed numbers, h. 9‑3/4”. [300/500]

154

1064

1069 American Rococo Revival Rosewood and Egyptian Marble-Top Center Table, third quarter 19th century, h. 30”, w. 39”, d. 27”. [400/700]

1070

1070 Pair of Hand-Painted Porcelain Fan Vases, mid19th century, Paris or Limoges, h. 13”, w. 7‑3/4”.

[400/700] Illustrated

1065 1072 Melodeon in Classical Rosewood Case, labeled “Ira Rose, Akron, OH, 1856‑61”, h. 32‑1/2”, w. 66‑1/2”, d. 26”. [300/500] 1073 Napoleon III Rosewood Lady’s Secretary, third quarter 19th century, in two parts, the upper with a carved crest and two banks of two drawers, the base with fold-out writing surface with fitted interior and paneled doors below with interior drawers, h. 52‑1/2”, w. 41”, d. 19”. [500/800] Illustrated 1071 Suite of Four American Renaissance Revival Rosewood Chairs, third quarter 19th century, h. 40”, w. 21”, d. 20”. [300/500]

1073

1068

155

1074 Suite of Six Napoleon III Faux Rosewood Sidechairs, third quarter 19th century, in the rococo taste, each with a balloon back with a carved cabochoncentered cartouche, cabriole legs and needlepoint seat, h. 38”. [350/500] 1075 American School (First Quarter 20th Century), “Landscape with a Pond”, oil on canvas, signed lower left “Foster”, 12” x 18”. Presented in a contemporary frame. [500/800] Illustrated 1076 Douglas Conway (American, 20th Century), “Mountain View”, oil on canvas, signed lower left, 24” x 36”. Framed. [300/500] Illustrated

1075 1080 Luigi Kasimir (Austrian/American, 1881‑1962), “Princeton, Nassau Hall”, etching, signed in pencil lower center, sight 16” x 11‑1/2”. Matted, glazed and presented in a water-gilt frame with gilt fillet.

Provenance: Estates of David and Eula Wintermann, Eagle Lake, Texas. [250/400]

1076

1081 Napoleon III Rosewood Tortoise-Top Center Table in the Rococo Taste, third quarter 19th century, the shaped top over a conforming serpentine apron fitted with a single drawer, raised on cabriole legs joined by serpentine stretchers centered by a finial, h. 28”, w. 31”, d. 30‑1/2”. [700/1000] Illustrated

1077 John Edmund Califano (American, 1862‑1946), “Bay of Naples”, oil on canvas, signed lower right, titled en verso canvas, 24” x 36”. Framed. [400/700] 1078 George William Dinckel (American/ Ohio, 1891‑1976), “Sea and Rocks, Rockpoint, Massachusetts”, ca. 1935, gouache and watercolor on paper, unsigned, sight 10‑1/4” x 14‑1/4”. Matted, glazed and framed. [250/400] Illustrated 1079 American School (First Quarter 20th Century), “Mountainous Western Landscape with a Cabin”, oil on canvas, unsigned, 36” x 60”. In a period giltwood and gesso frame. [200/400]

156

1078

1082

1083

1082 After Frederic Remington (American, 1861‑1909), “The Cowboy”, 20th century, bronze on a marble base, marked on the base, h. 24”, w. 22‑3/4”, d. 9‑3/4”.

[700/1000] Illustrated

1085 Julius Paul Schmidt-Felling (German, 1835‑1920), “The Tiller”, patinated bronze, cast signature at edge of self-base, on a stepped plinth of onyx marble and variegated white and rose marble, h. 22‑1/2”, w. 10‑1/2”, d. 9‑1/2”. [300/500] 1086 American Rococo Revival Mahogany Games Table, third quarter 19th century, h. 30”, w. 35‑1/2”, d. 17‑3/4”. [300/500] 1087 American Gothic Revival Elizabethan Walnut Armchair, mid-19th century, h. 48”, w. 25”, d. 22”.

[500/800]

1081

1083 Victorian-Style Painted Iron Figure of an Eagle, on a rocky summit, h. 14‑1/2”, w. 16‑1/4”, d. 9‑1/4”.

[400/700] Illustrated

1088 Pair of Bohemian Blue Opaline Glass Mantel Lustres, third quarter 19th century, with spear-point prisms, h. 13”, dia. 5‑3/4”. [300/500]

1084

1084 French Patinated Copper-Plated Composition Sculpture of a Greyhound, 20th century, after Jean Francois Theodore Gechter (1797‑1844), cast signature on self-base, set atop a marble plinth, overall, h. 13”, w. 14‑1/4”, d. 9‑1/2”. [300/500] Illustrated

157

1089 Rupert Conrad (American, 1904‑1979), “Untitled”, oil and mixed media on canvas, signed lower right, signed and titled en verso canvas, 19‑1/2” x 25‑1/4”.

Framed. [400/700]

1090 1090 Carolyn Hancock (American/Texas, 20th/21st Century), “Bazaar Damas” and “Veiled Woman”, two pastels on paper, both signed lower right, sight 9” x 11” and 15” x 19‑3/4”. Both glazed and framed. [500/800] Illustrated

1094

1092 American School (Fourth Quarter 20th Century), “Still Life of Green Apples on a Native American Blanket”, oil on canvas, signed lower left “Presley”, 20” x 24”. Framed. [400/700] Illustrated 1093 Willem Van Hasselt (Dutch, 1882‑1963), “Nature Morte”, oil on canvas, signed lower right, “Galerie Berri-Raspail/Paris” label en verso stretcher, 21” x 25‑1/2”. Framed. [1000/1500] 1094 Champleve-Style Enamel Clock, h. 9‑1/4”, w. 6”, d. 4‑1/4”. [400/700] Illustrated 1095 American Egyptian Revival Ebonized and Polychrome Mirror, third quarter 19th century, probably New York, the shaped crest decorated with a winged solar disc and supported on pilasters decorated with incised Egyptian hieroglyphs, h. 54‑1/2”, w. 35”.

[2000/4000] Illustrated 1096 Alexander John Drysdale (American/New Orleans, 1870‑1934), “Morning at City Park”, 1932, oil wash on paper, signed and dated lower right, 19” x 30”.

Matted, glazed and framed. [2500/4000] Illustrated

1092 1091 American School (20th/21st Century), “Busy Venetian Scene”, oil on board, 8” x 12”. Framed.

[300/500]

158

1097 Alexander John Drysdale (American/New Orleans, 1870‑1934), “Bayou Spring”, oil wash on paper, signed lower right, 18‑3/4” x 26”. Matted, glazed and framed. [2000/4000] Illustrated

1095

1100 1098 Southern School (20th Century), a collection of two works on paper, including “Elephant Ears”, pastel on paper, unsigned, sight 26” x 18”, and “Bayou Scene”, watercolor on paper by Jean Williams (American/ Louisiana, 20th Century), signed lower right, 19” x 24”.

Both glazed and framed. [300/500]

1100 Photographic Print Portrait of Judge George H. Braughn of New Orleans, early 20th century, sight 28” x 20”. Presented in a fine Aesthetic giltwood and gesso frame with an oval liner. [250/400] Illustrated

1096 1099 Louisiana School (Second Quarter 20th Century), “Pine Forest Interior”,oil on board, signed lower right “Saxon”, 36” x 31”. Framed. [500/800] 1097 159

1101 1101 Louisiana School (Second Quarter 20th Century), “Fishermen on the Bayou”, oil on board, 24‑3/4” x 31”.

Framed. [300/500] Illustrated 1102 Southern School (Third Quarter 20th Century), “Bayou Scene”, 1965, oil on canvas, signed “B. B. Saxon” lower right, 20” x 48”. Framed. [400/700]

1103 1104 Richard Burrell Brough (American, 1920‑1996), “The Gathering”, watercolor on paper, signed lower right, sight 13” x 12”. Glazed, matted and framed.

[250/400] 1105 Louisiana School (20th Century), “Old Absinthe House, Vieux Carre”, oil on panel, signed “Ray Hoover” lower right, verso inscribed “2nd New Orleans #201”, 16” x 20”. Framed. [300/500] Illustrated 1106 Southern School (Third Quarter 20th Century), “Rural Life”, oil on canvas, unsigned, 16” x 20”.

Unframed [300/500] 1107 Caucasian Soumak Cargo Bag, h. 21”, w. 19”, l. 41”.

[500/800] 1108 Flat-Weave Runner, 3’ 4” x 18’ 8”. [300/500] Illustrated 1109 Kazak Carpet, 4’ 9” x 2’ 9”. [300/500]

1105 1103 Southern School (Third Quarter 20th Century), “Back Bay”, 1962, oil on canvas, signed “Saxon” and dated lower right, 22” x 28”. Framed. [500/800] Illustrated

1110 Antique Bidjar Carpet, 12’ 3” x 15’ 2”. [1200/1800] Illustrated 1111 Heriz Runner, 3’ 4” x 10’ 2”. [400/700] 1112 Semi-Antique Tabriz Carpet, 8’ 6” x 10’ 8”.

[300/500] Illustrated

160

1113 Shiraz Carpet, 3’ 6” x 7’ 4”. [300/500] 1114 Savonnerie Carpet, 13’ 10” x 21’ 11”. [400/700] 1115 Louis-Philippe Needlepoint Carpet, 8’ 8” x 12’ 4”.

[400/700] Illustrated on next page

1110

1108

1112 161

1120 Agra Zeiglar Mahal Carpet, 9’ x 11’ 9”. [800/1200]

1116 Agra Runner, 2’ 7” x 10’ 2”. [400/700]

1122

1117 Agra Serapi Carpet, 10’ x 14’. [700/1000] Illustrated 1118 Heriz Runner, 12’ x 3’ 9”. [400/700] 1119 Semi-Antique Bokhara Carpet, 8’ 2” x 10’ 2”.

[500/800]

1115 162

1121 Eight Miscellaneous American Sterling Silver Serving Pieces, second quarter 20th century, including Gorham pieces: an “Edgeworth” serving fork and spoon, l. 8‑5/8”, a “Portsmouth” pea spoon, l. 8‑5/8”, and an “Etruscan” cold meat fork, l. 7”, with a Wallace “Juliet” tomato server, l. 7”, a Wood & Hughes “Daisy” tomato server, monogrammed, l. 7‑3/8”, a Frank M. Whiting joint fork, l. 9‑1/4”, and an unmarked cake break, l. 11”, the latter two with steel fittings, variously monogrammed, 12.47 total t. oz. (weighable silver). [250/400] 1122 Five Silverplate Wine Accessories, 20th century, including three bottle coasters, dia. 3‑1/8” to 5‑1/4”, a “Persian Tassels” repousse wine cooler, h. 10‑1/4”, dia. 10‑1/4”, and a “vintage” bottle stopper, l. 3‑1/2”.

[250/400] Illustrated 1123 Five Pieces of American Silverplate Hollowware, 20th century, including a pair of Corbell & Co. “vintage”-banded goblets, h. 5”, a Reed & Barton “Bel Air” sandwich plate, dia. 10‑1/2”, an International/ Wilcox salver with acanthus-and-egg rim, dia. 10‑3/4”, and an unmarked oval entree dish, with beaded rim, l. 10‑3/4”, w. 8‑3/8”. [250/400]

1117

1126

1124 Two Pieces of American Silverplate Hollowware, 20th century, including a Van Bergh Co. elongated hexagonal covered entree dish, l. 11‑3/4”, w. 8‑1/2”, and an unidentified pierced gallery oval tray, monogrammed “EMT”, l. 21‑1/4”, w. 13‑1/8”.

[250/400]

1127 Thirty-One-Piece Set of Silverplate Service Settings, 20th century, octagonal with rope-twist rim, including seven service plates, w. 11‑5/8”, twelve bread-and-butter plates, w. 6‑1/4”, and twelve condiment plates, w. 5‑1/4”. [300/500] 1128 Large Pair of Silverplate Candelabra, second quarter 20th century, Goldfelder Silver Co., Yalesville, Connecticut, each with tapering baluster standard and a central nozzle with flanking reeded scroll arms and detachable bobeches, decorated throughout with gadrooned banding, h. 18‑3/4”, w. 17”, the branches detaching to permit the standards to be used as candlesticks, h. 12‑1/8”. [250/400] Illustrated

1125 Set of Sixteen “Baroque Charger” Silverplate Service Plates, contemporary, by Godinger Silver Arts Co., New York, dia. 11‑5/8”. [300/500]

1128

1130

1129 Three Anglo-American Rococo-Style Silverplate Salvers, 20th century, including two footed examples, one by Barker Bros., the other unmarked, dia. 12‑3/4”, and a non-footed example by Friedman Silver Co., dia. 12”. [250/400]

1126 Eighteen American Silverplate Service Plates, 20th century, including a set of eight in Rogers Bros.

“Anniversary” pattern, monogrammed “M”, w. 10”, and a set of ten in Goldfelder’s “Reed-and-Ribbon” pattern, no monograms, dia. 12‑1/4”. [250/400] Illustrated

1130 Three Pieces of American Gadrooned-Edge Silverplate Hollowware, 20th century, including a Friedman Silver Co. rectangular covered entree dish, l. 12”, w. 9”, a Gorham oval platter, l. 21”, w. 14‑1/2”, and an R. Wallace rectangular tray, l. 22”, w. 13‑1/4”.

[250/400] Illustrated 1131 Two American Silverplate Rococo-Style Trays, mid-20th century, including an International/Wilcox oval example, l. 26”, w. 17‑1/4”, and a English Mfg. Co. rectangular example, l. 29‑1/4”, w. 18”, both with rocaille rim, handles and feet. [300/500]

163

1132 Six Silverplate Salvers, Trays and Platters, 20th century, including an Argentine circular salver with rocaille “Chippendale” rim, dia. 14‑1/2”, an English circular platter with molded serpentine rim, dia. 15‑3/4”, an unmarked oval platter with floral and foliate scroll rim, l. 19”, a Continental Silverplate Co. square salver with gadrooned rim, w. 15‑1/4”, an unmarked rectangular tray with rocaille rim, l. 23‑3/4”, and an Excelsior oval tray with “vintage” rim, l. 23‑1/2”, the latter monogrammed “de L”. [300/500] 1133 Two American Silverplate Trays, mid 20th century, including a 1930 Reed & Barton oval example with serpentine-lobed and molded rim, monogrammed “HHH”, l. 29‑1/2”, w. 21”, and a Birmingham Silver Co., rectangular example with “vintage” rim and handles, l. 30‑3/8”, w. 18‑3/4”. [300/500] 1134 Two American Silverplate Rococo-Style Circular Platters, mid-20th century, one by F. B Rogers, dia. 14‑1/4”, the other by International/Wilcox, dia. 16”, both with floral rocaille engraving and rim.

[250/400] Illustrated

1136

1136 International Silver Wilcox “Chased Du Barry” Silverplate Coffee and Tea Set, 20th century, Meriden, Connecticut, including a coffeepot, teapot, cream jug, covered sugar bowl and waste bowl, h. 3‑1/4” to 10”. [300/500] Illustrated 1137 American Quarter-Sawn Oak Graduated FourStack Bookcase, ca. 1900, h. 70”, w. 34”, d. 12‑1/2”.

[250/400] Illustrated 1138 Globe Wernicke, Cincinnati, Ohio, Mahoganized Birch Four-Stack Bookcase, ca. 1900, on an Arts and Crafts-inspired base, h. 61‑1/4”, w. 34”, d. 12”.

[350/500]

1137 1134

1135 Eighteen American Silverplate Bread and Butter Plates, 20th century, with serpentine-lobed edge, including a Sheffield Silver Co. set of four with threaded rim, dia. 6‑1/4”, a Crown Silver Co. set of eight with gadrooned rim and lion’s head “crest”, dia. 16‑3/4”, and an unmarked set of six with molded rim and rampant lion “crest”, dia. 6”. [200/400]

164

1149

1147 1139 American Late Victorian Oak Tambour-Roll Spool Cabinet, ca. 1900, bearing the stenciled label “J.&P. Coats Spool Cotton”, h. 24”, w. 31”, d. 11”.

[500/800]

1146 American School (Fourth Quarter 19th Century), “Portrait of a Man in a Brown Vest”, 26” x 20”.

Presented in a giltwood frame. [400/700]

1140 American Giltwood Framed Mirror, fourth quarter 19th century, decorated with ribbon-bound roses, h. 42”, w. 36”. [300/500] 1141 American Mahogany Curved Glass China Cabinet, ca. 1900, on paw feet, h. 62”, w. 43”, d. 16”.

[250/400] 1142 American Oak Curved Glass China Cabinet, fourth quarter 19th century, carved with lion’s heads and paw feet, h. 64‑1/4”, w. 40‑1/4”, d. 18‑1/2”.

[300/500] 1143 American Oak Curved Glass China Cabinet, ca. 1900, h. 63‑1/2”, w. 40”, d. 16”. [250/400] 1144 American School (Fourth Quarter 19th Century), “Portrait of a Captain”, oil on canvas, 24” x 18”.

Presented in a period frame. [500/800] Illustrated 1145 American School (Fourth Quarter 19th Century), “Portrait of a Gentleman”, oil on board, unsigned, 18” x 12”. Framed. [500/800]

1144 1147 American School (First Quarter 20th Century), “Portrait of a Distinguished Gentleman”, oil on canvas, illegibly signed lower right, 24” x 20”.

Handsomely framed. [300/500] Illustrated

165

1148 Pair of Hand-Painted “Gone with the Wind” Lamps, late 19th century, set with Bradley and Hubbard fonts, h. 27‑3/4”, dia. 8‑3/4”. [500/800] 1149 American Cast Brass Eight-Light Chandelier, ca. 1900, decorated with molded leaves and terminating in a tassel finial, h. 24”, dia. 20”. [400/700] Illustrated on previous page 1150 Arts and Crafts-Style Brass Jardiniere on Stand, of shaped octagonal form, on a graduated pedestal, adorned with “hand-hammered” panels, h. 31”, w. 16‑1/2”, d. 16‑1/2”. [250/400]

1151

1159

1152 Shearwater Pottery Camellia Bowl, Ocean Springs, Mississippi, with an impressed mark, h. 2‑3/4”, dia. 10‑1/4”. [250/400] 1153 Three-Piece Collection of Shearwater Pottery, Ocean Springs, Mississippi, including a low mottled green bowl, dia. 9”, a mottled green/brown beaker, h. 6‑1/4”, and a mottled blue/tan figure of a mother and child, h. 6”, the bowl and beaker impressed “Shearwater”. [300/500] 1154 Continental Polychrome and Pine Coffer, early 19th century, the rectangular top opening to an interior fitted with a small lidded end compartment, the front with painted panels of floral arrangements, on a plinth base, the face with the painted date “1838”, h. 24‑1/2”, w. 46‑1/2”, d. 18”. [250/400] Illustrated

1151 Three-Piece Collection of Shearwater Pottery, Ocean Springs, Mississippi, mid-20th century, including a mottled blue/green vase, h. 9”, a smaller vase, h. 6‑3/4”, and a beaker, h. 4”, each impressed “Shearwater”. [300/500] Illustrated

1154

1163

1155 Rock Maple Butcher Block/Center Island Counter, early 20th century, bearing a stenciled label “Schorer Store Fixture Co., Springfield, Mass.”, h. 33”, w. 72”, d. 22”. [500/800] 1156 American Southern Vernacular Polychrome Cypress Work Table, early 20th century, h. 30”, w. 48”, d. 28”. [200/400]

166

1161 1157 Chitimacha Indian Double Woven Basket, 20th century, attributed to Ada Thomas, Louisiana, in the “Teche” design, h. 5”, w. 3”, d. 3”. [350/500] 1158 Collection of Five American Carved and Painted Duck Decoys, including three working decoys, the longest, 14”, and two Big Sky Carvers ducks signed by Craig Fellows, l. 11”. [450/700] 1159 Pair of Grice, London, Queen Anne Pistols, second quarter 18th century, of traditional form, the wood grips retain the brass repousse butt caps and carved design previously inlaid with wire, the 9” barrels integrated with the foliage-engraved frames having “Grice” and “London” on opposite sides, overall, l. 16”. [400/700] Illustrated 1160 French Cavalry Pistol, second quarter 19th century, Model 1822, arsenal-converted from a flintlock, this model in service until the 1870’s, the wooden stock stamped: “344”, “TILLAC” and “V”, along with a smaller “V” within an oval, l. 14”. [400/700]

1161 Collection of Four Pistols and Four Gun-Related Accessories, mostly mid-19th century, comprising a Turkish .60 caliber flintlock blunderbuss with traces of gold inlay at the breech, checkered wrist, carved stock and brass butt plate, overall, l. 16‑5/8”, a Turkish iron-mounted flintlock pistol, in the mid-18th-century style, .56 caliber, barrel and lock lightly engraved, stock formerly inlaid with wire, the butt cap retains the star and crescent inlay, overall, l. 13”, an over-and-under two barreled .38 caliber pistol of crude manufacture, possibly made in the Southern United States, the number “70” is struck once on each barrel and on the frame, the percussion box lock vestigial shell-carved on each side of the stock behind the frame, square butt with no plate, overall, l. 11”, a brass cannon-barrel pistol of a later date, bearing a Belgian mark on the frame and “2138(6)”, the flared bore of undetermined caliber, the grip bag-shaped, an English or American copper-plated pressed brass powder flask, with an adjustable spout with foliate decoration, an iron singlecavity bullet mold, approximately .38 caliber, with sprue cutter, l. 4‑5/8”, a Turkish white brass powder measure, 18th/19th century, of octagonal section with a decoratively filed spout and hinged bail suspender, l. 4‑1/2”, and a diminutive white brass flint/tinder shot container, the pear-shaped body chased and engraved, l. 2‑1/4”. [400/700] Illustrated 1162 Nineteenth-Century-Style Tole Tray, decorated with an impressionist swamp scene, h. 21”, w. 32”.

[200/400] 1163 Five-Piece Collection of Cast Iron Banks, including a “Tammany Hall” mechanical bank by J. & E. Stevens, Cromwell, Connecticut, fourth quarter 19th century, h. 5‑3/4”, a Tammany Hall-style bank, h. 5‑3/4”, two “Mulligan the Cop” banks by A. C. Williams, Ravenna, Ohio, h. 5‑3/4”, and a painted iron seated spaniel, h. 6”.

[300/500] Illustrated 1164 Fifteen-Piece Suite of Victorian-Style Polychromed Wicker Furniture, comprised of a chaise longue, h. 38”, w. 34”, l. 65”, three nesting tables, a settee, h. 34”, w. 75”, a pair of armchairs, a breakfast table, h. 29”, w. 35”, d. 35”, four sidechairs, two short end tables and an oval coffee table. [500/800] Illustrated

1164 (Fifteen Piece Suite)

167

1165

1168 1168 Edna Hibel (American, b. 1917), “Japanese Women”, mixed media on a fan, signed. Glazed, float mounted and presented in a shadowbox frame, overall size 20” x 26”. [400/700] Illustrated 1169 Scing Randle Parker (American/Texas, 1873‑1959), “Vivian, Mardi Gras New Orleans”, ca. 1900, oil on canvas, 28” x 21”. Framed.

Provenance: Clarksville, Arkansas estate. [700/1000] 1165 Italian Painted Metal and Parcel-Gilt Five-Light Sconce, mid-20th century, marked “Palladio, Made in Italy”, h. 45‑1/2”, w. 32”, d. 8‑3/4”. [500/800] Illustrated 1166 Cast Iron Garden Urn of Chalice Form, early 20th century, h. 21”, dia. 20”. [200/400]

1170 Arthur R. Momand (American, 1886‑1987), “Woman in Floral-Sprigged Sundress”, 1943, oil on canvas, signed and dated upper left, 46” x 36”. Framed.

[500/800] Illustrated

1167 Victorian-Style Wirework Jardiniere, mid-20th century, h. 38”, w. 28”, d. 13”. [250/400]

1175 168

1170

1171 American School (Second Quarter 20th Century), “Study of Two Nudes”, oil on canvas, unsigned, 28” x 20”. Framed. [600/900] 1172 Charles Malcolm Campbell (American, 1905‑1985), “Untitled Nude”, oil on canvas, signed lower right “Charles Campbell”, 28” x 37”. Presented in a carved hardwood frame. [500/800]

1176 1174 Continental School (20th Century), “Winter Scene with Figures”, oil on canvas, unsigned, 11” x 9”.

Framed. [500/800] Illustrated 1175 Continental School (20th Century), “Canal Scene”, oil on wood panel, illegibly signed lower left, 10” x 14”.

Framed. [400/700] Illustrated 1176 Continental School (20th century), “Parisian Belle Epoque Street Scene”, oil on canvas, unsigned, attractively framed, h. 24”, w. 36”. [500/800] Illustrated 1177 French School (Mid-20th Century), “Boulevard Malesherbes”, oil on canvas, unsigned, 24” x 32”.

Framed. [450/700]

1174 1173 Steven Forster (American/New Orleans, b. 1957), “Ella Fitzgerald”, photographic print, signed in pencil lower right margin, image 39‑1/2” x 25‑3/4”. Glazed, matted and framed. [400/700] 1178

1178 Louis XV-Style Pickled Wood Sofa, mid-20th century, h. 33”, w. 74”, d. 30”. [300/500] Illustrated

1179

169

1179 Louis XV-Style Pickled Mahogany Card Table, early 20th century, with a drawer on one side and each apron with a carved shell, h. 29‑1/2”, w. 34”, d. 34”.

[900/1200] Illustrated on previous page

1182

1180 Diminutive Louis XV-Style Polychromed and Caned Marble-Top Vanity, early 20th century, h. 51”, w. 36”, d. 19”. [700/1000] Illustrated

1183

1183 Meissen Porcelain “Blue Onion” Tray, ca. 1860‑1924, German, with a molded border, w. 17‑3/4”, l. 17‑3/4”. [250/400] Illustrated 1184 Pair of Portuguese Porcelain Candlesticks, 20th century, decorated in the Majolica manner, marked, drilled for lamps, h. 9‑1/4”. [250/400] 1181 Continental Pickled and White-Washed MarbleTop Demi-lune Cabinet, in the Louis XV style, h. 31”, w. 36‑1/2”, d. 18”. [300/500] Illustrated 1182 Louis XIV-Style Brass and Crystal Twelve-Light Chandelier, h. 31”, dia. 29”. [400/700] Illustrated

1185 Louis XV-Style Polychrome Sofa, early 20th century, the shaped, padded and curved back within a molded frame surmounted by a floral crest, joined by scrolling arms to the concave padded seat, raised on cabriole legs ending in scrolled toes, h. 40”, w. 59”, d. 27”. [450/700] Illustrated 1180

1181

170

1188

1187 1188 Louis-Philippe Giltwood Overmantel Mirror, mid19th century, the ogee-molded frame decorated with delicate incised scrollwork, the pierced crest molded with flowers, scrollwork and a central shell, h. 76”, w. 47‑3/4”. [600/900] Illustrated

1186 French-Style Polychromed Bombe-Form Grandmother Clock, early 20th century, the movement signed “Marti”, h. 68‑1/4”, w. 17”, d. 8”.

[450/700] Illustrated 1187 French School (First Quarter 20th Century), “Cherub with a Basket of Oranges”, oil on shaped panel, signed lower right “D. Miguel”, overall, 28” x 32”. Presented in a conforming acanthine-molded giltwood and gesso frame, centered by a cartouche.

[300/500] Illustrated

1186 1185

171

1189 Louis XV-Style Gilt-Bronze Dressing Mirror, decorated with putti, h. 19”, w. 10”, d. 12”. [250/400] Illustrated

1193 Pair of Louis XIV-Style Bronze and Crystal TwoLight Sconces, mid-20th century, h. 12‑1/2”, w. 11”, d. 6‑1/2”. [300/500] 1194 Sevres-Style Porcelain and Bronze Centerpiece Bowl, ca. 1900, the bronze foot supporting the bleu celeste base, decorated with raised gilt, the handpainted scenic oval bowl set with ring handles and a beaded rim, the Sevres-style printed mark including “France”, h. 12”, w. 19”, d. 9‑3/4”. [700/1000] Illustrated

1190

1198 1190 Louis XV-Style Pierced Bronze Chenet/Fender Set, 20th century, h. 15‑1/2”, w. 32‑1/2”, d. 10‑1/2”.

[200/400] Illustrated 1191 Louis XV-Style Bronze Firescreen, early 20th century, h. 31”, w. 25”. [300/500] Illustrated 1192 Pair of Louis XV-Style Brass-Plated Two-Light Sconces, h. 17”, w. 18‑3/4”, d. 6‑3/4”. [300/500] Illustrated

1197

1195 Famille Noire-Style Porcelain Cachepot, in a giltbronze rococo-style stand, h. 11‑1/2”, dia. 12‑3/4”.

[200/400] Illustrated

1195

172

1192

1189

1196 Le Tallec Hand-Painted Porcelain Seau a Bouteille, ca. 1946, Paris, in the traditional Louis XV shape, decorated with gilt scrollwork on a cobalt ground, fully marked with a date letter and decorator’s initials, h. 7‑1/4”, dia. 7‑1/4”. [300/500] 1197 Louis XV-Style Bronze and Marble Five-Light Candelabra, mid-20th century, now mounted as a lamp, base, h. 21‑3/4”, overall, h. 34‑1/2”. [500/800] Illustrated 1198 Pair of French Bronze Two-Light Sconces, first quarter 20th century, in the Louis XV style, h. 25”, w. 14”. [300/500] Illustrated 1199 Near Pair of Neoclassical-Style Ebonized and Giltwood Mirrors, 20th century, each with a beveled mirror plate in a carved surround surmounted by a crest with cherubs holding a flaming urn, with slight variations in size and weight, one, h. 35”, w. 19‑1/2”, d. 2”, the other, h. 36”, w. 20”, d. 2”. [300/500] Illustrated on next page

1200 Pair of French Gilt-Bronze Two-Light Sconces, mid-20th century, in the Louis XVI style, h. 11‑3/4”, d. 4‑3/4”. [400/700] Illustrated on next page 1201 Two French Bronze Table Lamps, in the Louis XV taste, including a five-light candelabrum, first quarter 20th century, and a bronze and marble two-light “putto” candelabrum, fourth quarter 19th century, the tallest, h. 17”, w. 9‑1/4”. [300/500]

1194

1191

173

1202 Louis XV-Style Kingwood and Ormolu-Mounted Lady’s Desk, early 20th century, h. 34”, w. 36”, d. 19”.

[400/700] Illustrated

1200

1203 Louis XV-Style Mahogany, Kingwood and Marquetry Bureau de Dame, 19th century, the slant-front opening to a leather-lined writing surface and a variety of drawers and cubbyholes, raised on cabriole legs ending in sabots, the whole inlaid in floral marquetry patterns, h. 34”, w. 30”, d. 21”. [1800/2500] Illustrated

1206

1199 (1 of 2)

1204 Exceptional Pair of French Mother-of-Pearl and Enamel Opera Glasses, ca. 1900, signed “Lemaire Fabricant Paris”, the guilloche enamel tubes decorated with hand-painted flowers on a field of gilt stars, the remaining mother-of-pearl elements with gilt-bronze trim, with the original case, h. 4‑1/4”, w. 4‑1/4”, d. 2”.

[300/500] Illustrated

174

1203

1205 Louis XV-Style Bronze-Mounted Porcelain Garniture Urn, fourth quarter 19th century, Paris, marked indistinctly, decorated with a hand-painted panel of a romantic couple on one side and a windmill on the other, h. 20‑3/4”, dia. 7‑1/2”. [300/500] Illustrated

1207 French Hand-Painted Enamel Jewel Casket, fourth quarter 19th century, lined with silk, h. 3‑1/2”, w. 7‑3/4”, d. 4‑1/4”. [300/500] 1208 Louis XV-Style Mahogany and Marble-Top Commode, early 20th century, the shaped marble top above a conforming case fitted with three drawers, all with ormolu mounts, raised on splayed legs ending in sabots, h. 31‑1/4”, w. 27‑1/2”, d. 15‑1/2”. [250/400] 1209 Louis XV-Style Marquetry-Inlaid Bombe Side Cabinet, mid-20th century, h. 29‑1/2”, w. 26‑1/2”, d. 14”. [400/700] Illustrated

1204

1209

1206 Pair of Louis XV-Style Hand-Painted Porcelain Covered Urns, first quarter 20th century, probably Limoges, retailed by John G. Matthews, h. 14”, dia. 7‑3/4”. [250/400] Illustrated

1202

1205

175

1210 Wrought-Iron, Prism- and Crystal-Hung SixLight Chandelier, early 20th century, h. 33”, dia. 21”.

[300/500]

1211 1211 Italian Bronze-Trimmed and Inlaid Wood Serpentine Cocktail Table, second quarter 20th century, with an inset travertine top, h. 20”, w. 29‑1/2”, d. 20‑1/2”. [300/500] Illustrated 1212 Napoleon III Rosewood Armchair and Matching Sidechair, third quarter 19th century, with floralcarved crests and raised on cabriole legs, armchair, h. 36”, w. 26”, d. 22”, sidechair, h. 35”, w. 19”, d. 20”.

[350/500] 1213 French School (Fourth Quarter 17th Century), “Portrait of a Gentleman, In a Lace Cravat, Within a Painted Oval”, oil on canvas, unsigned, 26” x 36”.

Framed. [500/800] Illustrated

1213 1214 Circle of Pierre Mignard the Elder (French, 1612‑1695), “Portrait of a Gentleman Holding a Gold Box”, oil on canvas, unsigned, 28” x 22‑1/2”.

Presented in an ebonized frame. [1000/1500] 1215 Franz Quaglio (German, 1844‑1920), “Cavalier Flirting with Young Maid”, oil on board, 12‑3/4” x 9‑1/2”, signed lower right “Franz Quaglio”. Presented in a giltwood exhibition frame. [700/900]

1221

1216 176

1217

1222 Five-Piece Napoleon III Fruitwood Parlor Suite, third quarter 19th century, in the Louis XV taste, consisting of a settee, h. 35‑1/2”, w. 47”, d. 25”, a pair of fauteuils, h. 35‑1/2”, and a pair of sidechairs, h. 36‑1/2”, all with gilt foliate-modeled crests and padded seats raised on molded cabriole legs ending in scrolled toes. [500/800] 1223

1216 David W. Haddon (British, fl. 1884‑1914), “Portrait of a Cavalier”, oil on canvas, signed lower left, 14” x 10”. Presented in a giltwood frame. [300/500] 1217 Pair of French Sevres-Style Hand-Painted Portrait Plates, ca. 1900, decorated with raised gilt on a green ground, the portraits signed “Rochech”, depicting Napoleonic General Marechal Duroc and Madame de Marechal Foix, marked with spurious Imp. de Sevres marks and gilt eagles, dia. 9‑1/2”. [300/500] Illustrated 1218 German Porcelain Figural Centerpiece, first quarter 20th century, in the Meissen style, marked “Carl Thieme, Potschappel”, h. 14”. [250/400] 1219 Meissen-Style Porcelain Figural Candlestick, ca. 1900, depicting a woman gathering flowers, marked

by Voigt Bros., Sitzendorf, Germany, h. 14‑1/2”, dia. 6‑1/2”. [200/400] 1220 Four-Piece Louis XVI-Style Stained Mahogany Salon Suite, mid-20th century, comprised of a settee, h. 42”, w. 54”, d. 31”, and three armchairs, h. 40”, w. 27”, d. 28”. [500/800]

1223 Louis XV-Style Ebonized and Marble-Top Commode, early 20th century, in the chinoiserie taste, the shaped marble top above a conforming bombe case fitted with two drawers, each with a gilt figural landscape scene, raised on splayed legs ending in sabots, h. 32”, w. 46”, d. 19‑1/2”. [2000/4000] Illustrated 1224 Contemporary Metamorphic “R. Jones”, Dallas, Over-Stuffed Sofa and Pillows, converts to a queensize bed, h. 33”, w. 78”, d. 42”. [300/500] Illustrated

1224

1221 Pair of Louis XV-Style Giltwood Salon Chairs, early 20th century, h. 38”.

[300/500] Illustrated

177

1225 Louis XV-Style Fruitwood “Barrel-Back” Settee, early 20th century, h. 34”, w. 60”, d. 30”. [300/500] 1225

1229 Louis XV-Style Giltwood and Marble-Top Occasional Table, the circular inset verde antico marble top within a carved foliate-pierced frieze, raised on acanthine-molded legs joined by an X-form stretcher and ending in scrolled toes, h. 22‑1/2”, dia. 18”. [200/400]

1233

1226 Group of Louis XV- and XVI-Style Brass-Plated Powder Room Hardware, including a Louis XVIstyle brass-plated toilet roll insert, switch plate and four medallion pulls, with Louis XV-style bronze escutcheons and a set of brass-plated pulls. [200/400] 1232

1230 Louis XV-Style Fruitwood Bedstead and MarbleTop Side Table, 20th century, the bedstead of cartouche form, bed, h. 65”, inside w. 52”, l. 75”, side table, h. 46”, w. 16”, d. 16”. [400/700] 1231 Louis XV-Style Walnut Semanier, 19th century, the rounded rectangular top with molded edge and above a conforming case fitted with seven drawers, raised on shaped cabriole legs, h. 58‑1/2”, w. 26”, d. 16‑1/2”.

[500/800] 1232 Pair of Kingwood and Marquetry-Inlaid Side Cabinets, second quarter 20th century, with dramatic serpentine fronts and pierced carved aprons, h. 31”, w. 28”, d. 20”. [800/1200] Illustrated

1227 Eight Louis XV-Style Bronze Door Handles, together with a Louis XVI-style brass-plated towel bar holder and paper roll holder. [200/400] 1228 Brass Plated and Cut Glass Bathroom Faucet Set and Switch Plate, of Louis XVI inspiration.

[200/400]

178

1233 Two Glass and Silverplate Wine Jugs, 20th century, including a flared cylindrical example with block-cut banding and “vintage” collar, h. 12‑1/2”, dia. 5‑3/4”, and an anatine-form example with lobed body, collar and “tail” and a hinged lid, l. 11”, w. 4‑3/4”. [250/400] Illustrated

1234 Pair of Continental Silverplate and Glass Claret Jugs, fourth quarter 19th century, each with a glass body of ovoid form decorated with wheel-cut vertical panels flanked by lattice-and-star banding, with starcut foot ring, the neck mounted with a silverplate collar with integral spout, hinged lid and acanthus-crested double-scroll handle, h. 9‑3/4”, dia. 4”. [400/700]

1236

1236 Continental Silverplate-Mounted Glass Vase, contemporary, in the Empire taste, the tall, cylindrical glass body with flared base and mounted with openwork laurel banding centering a Maenad within an eagle-crested cartouche, h. 15‑3/4”, dia. 4‑3/4”.

[200/400] Illustrated 1237 Collection of Five Chalices, 19th and 20th century, including an Italian gilt and silvered copper example, engraved “Della Uffiziatura di Ste. Caterina Delle Ruote”, h. 5‑3/4”, a Continental brass example, h. 10”, an Italian .800 silver and brass example, h. 8‑3/4”, a German silver and gilt copper example, h. 9”, and a Ballena Bay Pewter, Tucson, Arizona example, with parcel-gilt and rhinestone-set figure of a mythical king with staff and greyhound, signed and numbered 180/250, h. 9‑1/2”. [300/500] 1238 Three Pairs of Continental Candlesticks, first quarter 20th century, including a French Charles X-style guilloche brass pair, h. 8‑1/2”, and two identical Fraget, Warsaw silverplate repousse baluster pairs, one well-worn, the other lacking bobeches, h. 12‑1/2”.

[450/700] Illustrated

1238

1235 Six Pieces of Assorted Continental Silver Flatware, including two Russian 84 zolotnik (.875) “Fiddle” tablespoons, both Moscow, one 1857, by Fyedor Ivanov, the other 1857, by “E.Ya.”, three Parisian first standard (.950) pieces, a “Fiddle Thread” potato fork, 1819‑1838, by Francois-Dominique Naudin, a “Filet” sugar sifter, ca. 1860, by Lambert & Vve. Jozan, and a “Shell” tablespoon, ca. 1875, the maker’s mark rubbed, and an Italian sterling “Louis XV” dinner fork, ca. 1975, Palermo, by Stancampiano, variously monogrammed, 11.18 total t. oz. [200/400]

1239 Two Pieces of Silver Judaica, first half 20th century, including a sterling American kiddush cup, of traditional form with wrigglework decoration, h. 5‑3/4”, and an unmarked Continental Hanukkah menorah, with filigree backplate and figural ziz feet, the shamash lacking, h. 4‑3/4”, w. 9‑1/2”, 15.62 total t. oz. [400/700]

179

1240

1240 Nineteenth-Century Russian Assembled 84 Zolotnik (.875) Silver Cream and Sugar Set, 1865‑1866, including a covered sugar bowl, marked St. Petersburg, 1865, by Carl Adolf Seipel (1820‑1891; master 1846), assay master Alexander Mitin (or Moor), h. 5‑1/2”, and a cream jug, marked Riga (now Latvia), 1866, by Carl Ludwig Perseling (master 1854, d. 1865), h. 4‑3/8”, both of squat serpentine-lobed pear form, 22.31 total t. oz. [300/500] Illustrated 1241 Two Pieces of Danish .830 Silver, Copenhagen, including a fruit dish, 1855, the maker’s mark obliterated but probably Ferdinand Dahl (1814‑1879; Master 1849), of shaped rectangular form with upswept ends, the molded rim with applied acanthus scrolls, raised on four feet en suite, monogrammed “IT” and with later date “18 Mai 1885”, l. 13‑1/4”, w. 8‑1/2”, and a large platter spoon, 1910, by J. Paulsen (active 1893‑1957), in the traditional “Pointed Bright-Cut” pattern, monogrammed “JR”, l. 15‑1/2”, 26.81 total t. oz. [300/500] 1242 Assembled Four-Piece Danish .830 Silver Coffee and Tea Set, 1934‑1941, including a coffeepot by Hugo Grun, Copenhagen, h. 6‑3/4”, a teapot and footed dish

by Carl M. Cohr, Fredericia, h. 6‑3/4” and dia. 7‑3/4”, and an unmarked hot milk jug, h. 6‑1/2”, the pots/jug with pear-shaped bodies, all decorated with serpentine lobes, 62.56 total t. oz. [800/1200] 1244

1243 Norwegian .830 Silver Hot Milk Jug, first quarter 20th century, of lobed pear-shaped form with four pad feet and crested wooden handle, h. 6‑1/2”, dia. 4‑1/4”, 12.73 t. oz. (including wooden handle). [250/400] 1244 1247 Five-Piece Italian .800 Silver Coffee and Tea Set, 1934‑1944, by A. Cesa 1882, Alessandria, in the Settecento taste, including a coffeepot, teapot, covered sugar bowl and cream jug, with crested handles and conforming domes and feet, h. 4‑3/4” to 10”, and an oval tray en suite with molded rim and handles, l. 23‑3/8”, w. 14‑1/2”, 125.45 total t. oz. [1800/2500] Illustrated

1245

1245 Pair of Italian .800 Silver Candelabra, 1934‑1944, by A. Cesa 1882, Alessandria, in the Settecento taste, each with a serpentine-gadrooned baluster standard and waisted domed foot, with four scrolling arms, the standard and arm each terminating in a circular drip pan and vasiform nozzle, h. 14‑3/4”, w. 16‑1/4”, weighted. [300/500] Illustrated 1246 Italian .800 Silver Pitcher, third quarter 20th century,

by Fratelli Calegaro, Teolo, Padua, in the Settecento taste, with lobed ovoid body, h. 7‑1/2”, dia. 4‑3/4”, 12.99 t. oz.

[250/400]

180

1247 Italian .800 Silver Vase, third quarter 20th century, in the Ottocento taste, of ovoid form with repousse imbricate and floral decoration, with scalloped rim and cast and applied handles, h. 11‑1/4”, w. 7‑3/8”, dia. 5‑3/8”, 19.74 t. oz. [350/500] Illustrated

1253

1248 Assembled Six-Piece Dutch Second (.833) Standard Silver Tea Set, first quarter 20th century, including a 1916 H. Hooijkaas, Schoonhoven, threepiece tea set (teapot, creamer and covered sugar), h. 3‑1/4” to 5”, a 1921 Dal & Schoorl, Amsterdam, waste bowl, h. 2‑1/4”, a 1917 Dirk & Schoorl, Amsterdam, tea strainer, l. 5‑3/4”, and a Zaanlandse Zilversmederij, Amsterdam, caddy spoon, l. 4‑3/4”, all with embossed rural Dutch scenes, the strainer and caddy with figural windmill finials, 33.50 total t. oz.

[400/700] 1249 Twenty-Two Pieces of Dutch Second (.833) Standard Silver Smallware, first quarter 20th century, including pieces by Zaanlandse Zilversmederij, Amsterdam: two 1920 dresser boxes, l. 6‑1/8” and 3‑1/4”, a full set of twelve “maand lepels” [“month spoons”], l. 4”, and a pair of civic armorial souvenir spoons, l. 4‑3/8”, with a 1921 J. P. de Vries reticulated sweetmeat dish, l. 5‑1/4”, two P. van Erp souvenir caddy spoons, l. 4‑3/4” and 5”, a B. Dijksta figural caddy spoon, l. 2‑3/4”, and two unmarked maand lepels, l. 4” and 4‑1/4”, 21.92 total t. oz.

[350/500] 1250 Five Pieces of Continental Table Silver, mid-20th century, including an English sterling silver coininset ashtray, w. 3‑3/4”, a French first standard (.950) tastevin, l. 4‑1/4”, a Spanish first standard (.917) coinand gemstone-set tastevin, l. 5”, a Colonial-style coininset tastevin, l. 6‑3/4”, and a figure of a fish, l. 6‑1/2”, 15.36 total t. oz. [300/500]

1251 Forty-One Pieces of Continental Silverplate Flatware, including six dinner forks and six tablespoons in Christofle’s “Peau de Lion” pattern, designed by Charles Rossigneux (1818‑1909) for the 1867 Paris Exposition, monogrammed “PS”, l. 8‑3/8”, six Societe Parisienne Art Deco soup spoons, l. 5”, a two-piece Leontine, Veuve Compere (active 1888‑1919) “Louis XV” fish serving set with .950 silver handles, l. 10” and 12”, ten Art Krupp Berndorf “Augsberger Faden” eel forks, l. 7‑1/4”, and eleven John Sherwood & Sons, Birmingham “Old English Beaded” teaspoons, monogrammed “JMK”, l. 5‑3/4”.

[200/400] 1252 Three Unusual Pieces of German Sterling Silver Tableware, 20th century, including a pair of Ludwig Neresheimer, Hanau, parcel-gilt figural wager/ marriage cups, h. 4‑1/4”, 4.56 total t. oz., and an Alfred Bodemer, Ellmendingen-Keltern, Renaissance-style corkscrew with stainless steel fitting, l. 5‑1/2”. The corkscrew is illustrated in Donald A. Bull, The Ultimate Corkscrew Book (Atglen, PA: Schiffer Pub. Co., 1999).

[200/400] 1253 French First Standard (.950) Silver Three-Piece Coffee and Tea Set, first quarter 20th century, by Gustave Martin, Paris, including a coffeepot, h. 9‑3/4”, a teapot, h. 8”, and a covered sugar bowl, h. 7”, each of baluster form with laurel banding, the pots with wooden handle, 59.13 total t. oz. (including wooden handles), with an associated silverplate cream jug en suite, h. 5‑1/2” (four total pieces). [300/500] Illustrated 1254

1254 Small Continental Silverplate Plateau, fourth quarter 19th century, of circular form, the pierced foliate scroll rim with four feet and centering a conforming beveled mirrored plate, dia. 13‑1/2”.

[250/400] Illustrated

181

1255 Near Pair of Contemporary Silverplate Bouillotte Lamps, in the Charles X taste, each with treble haunched paw and anthemion base, and five scrolled arms and pierced conical shade, one with engraved standard and finial, neither electrified, h. 23‑3/4” to 26” (adjustable), shade, dia. 15”. [1000/1500] Illustrated 1255

1260 Italian Sterling Silver-Mounted Agate and Citrine Dish, fourth quarter 20th century, by Franchi Argentieri, Rome, the bowl carved of a single slice of agate geode set in a hand-crafted silver frame, the thumb-ring handle set with a faceted oval pale yellow citrine measuring 18.4 x 25.5 x 1.2 mm and weighing approximately 29.00 carats, l. 7‑1/8”, w. 4‑1/2”.

[250/400]

1262

1256 Georg Jensen Sterling Silver “Acanthus” Cake Knife, the pattern designed in 1917 by Johan Rohde (1856‑1935), Copenhagen, with stainless steel blade, l. 10‑3/8”. [200/400] 1257 Four Danish Modern Sterling Silver Ornamental Serving Pieces, mid-20th century, including a Georg Jensen, Copenhagen, pattern #80 olive spoon, l. 7‑1/4”, an Orla Vagn Mogensen pattern #35 sugar spoon, l. 5‑1/4”, and a pair of W. & S. Sorensen “blossom”-style sauce ladles, l. 5‑5/8”, 5.20 total t. oz.

[350/500]

1261 Pair of Continental Silverplate Wine Rinsers, contemporary, each of oval form with “Monteith” rim and stirrup handles, l. 13‑3/4”, w. 8”. [250/400] 1263

1258 Three Pieces of Georg Jensen “Acorn” Sterling Silver Flatware, the pattern designed in 1915 by Johan Rohde (1856‑1935), including a serving spade, l. 10‑1/2”, a serving spoon, l. 9‑1/2”, and a cheese plane with steel blade, l. 8‑1/4”, 7.71 total t. oz. (excluding cheese plane). [400/700] 1259 Sixty-Four Pieces of Norwegian Modernist .830 Silver Flatware, in the “Hamret Skjell” (“Hammered Shell”) pattern introduced in 1919 by J. Tostrup, Oslo, Norway, including fifty-one place pieces and thirteen serving pieces, no monograms, l. 4‑5/8” to 10‑1/4”, 76.52 total t. oz. Detailed list available on request.

[1000/1500]

182

1262 Pair of Contemporary Continental Ostrich Egg Candlesticks, in the manner of Maison Charles, with nickel-plated metal nozzle, band and base, h. 11‑1/4”, dia. 5”. [200/400] Illustrated

1263 Set of Sixteen Mexican Cast Aluminum Service Plates, contemporary, with wide molded spirals rim, dia. 12”. [200/400] Illustrated

1265 Natalia Dumitresco (Romanian/French, 1915‑1997), “Untitled”, 1953, lithograph, pencil-signed, marked “epreuve d’artiste” lower left, printed by Jean Pons, Paris, sight 12‑1/2” x 14”. Matted, glazed and framed.

Provenance: William Weston Gallery, London, England.

[400/700] Illustrated 1266 Norval Morrisseau (Canadian, 1932‑2007), “Metamorphosis - Man Into Fish”, silkscreen in colors, signed, titled and numbered “97‑99” in pencil, sight 24” x 19‑1/2”. Matted, glazed and framed. [400/700] Illustrated

1264 (1 of 4) 1264 Esther Gonzales (American, 20th Century), “Abstract Compositions”, collection of four embossed etchings, edition of 30, all pencil-signed and numbered lower center, sight sizes, from 17” x 17” to 23” x 18”.

All glazed and framed. [800/1200] Illustrated

1266 1267 Kevin Red Star (American, b. 1943), “Crow Family”, 1980, silkscreen, pencil-signed and dated lower right, pencil-numbered “51/60” lower left, sight 11” x 19”.

Matted and framed. [400/700]

1265

183

1268 After Louis Icart (French, 1888‑1950), a collection of five offset prints, all signed in plate, sight 19‑1/4” x 14‑3/4” to 17‑1/4” x 26”. All handsomely matted, glazed and framed. [300/500] Illustrated

1272 Fritz Scholder (American, 1937‑2005), “Portrait of a Dream”, lithograph, signed and numbered “35/120”, 30” x 22”. Glazed, matted and framed. [400/700] Illustrated

1268 (1 of 5) 1273 Jack Levine (American, 1915‑2010), “Blue Angel”, lithograph in colors, signed in pencil lower right, numbered “56/120” lower left, sight 19‑3/4” x 26”.

Glazed, matted and framed. [300/500] 1272 1269 Luis Royo (Spanish, b. 1954), “Soul”, 2002, serigraph, pencil-signed lower right and numbered “39/50”, sheet 40‑1/2” x 29‑1/2”. Glazed and framed.

[200/400] 1270 Leonor Fini (Argentinian/Paris, 1907‑1996), “Dancer”, lithograph in color, pencil-signed lower right and numbered “3/100” lower left, 14” x 11”.

Glazed and framed. [400/700] 1271 Veloy Vigil (American, 1931‑1997), “Ella”, lithograph in colors, signed, titled and numbered in pencil “1/38”, sheet 29” x 43”. Glazed and framed.

[450/700] Illustrated

184

1271

Index

of

Artists

and

Printmakers

August 23-24, 2014

Amendolla Gasparo, Luis Ricardo 505

Dinckel, George William 1078

American School 876, 920, 1075, 1079, 1091, 1092, 1144, 1145, 1146, 1147, 1171

Dou, Gerrit (follower) 119

Archinal, Amy 254 Arends, Fred 73 Arpad, Romek 228 Audubon, John James (after) 867, 869, 870, 871, 872 Baggett, William “Bill� 916 Bals, Hilaire 148 Bannister, Pati 614 Baxter, Evelyn M. 229 Beaudart, Rene 66 Bernaldo, Allan 133 Bisschops, Charles 261 Bonas, Jordi 204 Bonhage, Joey 238, 239, 240, 241, 242 Boulanger, Graciela Rodo 233 Briant, Peter 919 British School 221, 222, 386, 492, 617, 623, 989, 993, 1035 Brough, Richard Burrell 1104 Califano, John Edmund 1077 Campbell, Charles Malcolm 1172 Chagall, Marc 232 Chaoren, Feng (after) 681 Cheng, John 875 Churchill, Wiley 921 Conrad, Rupert 1089 Continental School 64, 70, 76, 205, 207, 257, 705, 706, 1062, 1063, 1064, 1174, 1175

Drummond, Julian 621 Drysdale, Alexander John 1096, 1097 Dumitresco, Natalia 1265 Duncan, Edward 622 Dureau, George Valentine 923 Fernandez, Agustin 503 Fini, Leonor 1270 Forster, Steven 1173 French School 65, 69, 71, 206, 1177, 1187, 1213 Garrido, Leandro (attributed) 68 Gechter, Jean Francois Theodore (after) 1084 Giambologna (after) 441 Gibelli, Francesco 75 Gil, Patricia Robles 496 Golden, Rolland 907 Gonzales, Esther 1264 Gordy, Robert 922 Gould, John 868 Guayasamin, Oswaldo 501 Guedon, Henri 236 Haddon, David W. 1216 Hancock, Carolyn 1090 Hardy, Dorofield 1042 Hibel, Edna 1168 Homan, Adam 276 Icart, Louis (after) 1268

Conway, Douglas 1076

Italian School 72

Cuevas, Jose Luis 498

Kasimir, Luigi 1080

Dalrymple, Alexander 918

Kauffmann, Angelika (manner) 399

Danish School 63

Kinsell, Robert 262

De Lisio, Arnaldo 151

Kunichika, Toyohara 627

Deane, William Wood 618

Lambert, Beth 914

Index

of

Artists

and

Printmakers

August 23-24, 2014

Leake, Carol 915

Schmidt-Felling, Julius Paul 1085

Uriburu, Nicolas Garcia 499

Levier, Charles 258, 259, 260

Scholder, Fritz 1272

Van Dyck, Anthony (manner) 357

Levine, Jack 235, 1273

Scotti, Maria 910

Van Hasselt, Willem 1093

Llaguno, Roman Andrade 497

Seifert, Alfred 991

Vigil, Veloy 1271

Louisiana School 906, 911, 1099, 1101, 1105

Seymour, Harriette Anne 223

Villon, Jacques 237

Maimon, Isaac 256

Shahn, Ben 234

Wallin, Tore 912, 913

Majewicz, George 67

Sharples, James Sr. (attributed) 992

Wreyford, Brad 917

McKenney and Hall 874

Sherman, Beatrix 187

Yoshida, Toshi 625

Mignard, Pierre, the Elder (circle) 1214

Smith, James Burrell 619

Miro, Joan 231

Southern School 1102, 1103, 1106

Momand, Arthur R. 1170

Stewart, James Malcolm 620

Morrisseau, Norval 1266

Taylor, Elma 224

Murillo, Bartolome Esteban (after) 120

Turner, J. O. 555

Otero, Alejandro 500 Palmer, Gregory 908 Palnagy, Zsigmond 147

Glossary

Parker, Scing Randle 1169 Petit, John Louis 624 Pinal, Jose 136 Piza, Arthur Luiz 502 Porisse, Julien 504 Quaglio, Franz 1215 Frederic Remington (after) 1082 Red Star, Kevin 1267 Richard, Alfred Pierre (after) 84 Richter, H. C. 868 Robinson, William Cecil 873 Rodrigue, George (after) 909 Rodrigues, Guillaume 74

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 Artist’s Name: In our qualified opinion, a work by the artist.

Attributed to: In our qualified opinion, a work of the period of the artist that may be in whole or in part the work of the artist.

School of: In our qualified opinion, a work by a follower of the artist.

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

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

After: In our qualified opinion, a copy of a known work by the artist.

Signed: In our qualified opinion, has the signature which is that of the artist.

Roelofs, Willem Elisa 227

Bears Signature: In our qualified opinion, has a signature which may be the signature of the artist.

Rossini, Luigi (after) 577

Dated: In our qualified opinion, is so dated and was executed on or around that date.

Royo, Jose 580 Royo, Luis 1269 Russian School 581

Bears Date: In our qualified opinion, is so dated andmay have been executed at about that date.

New Orleans Auction Galleries

(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.

Paddle Number:

2. BEFORE THE AUCTION

Conditions of Sale:

(a). ALL SALES ARE “AS IS, WHERE IS” WITH NO EXPRESS OR IMPLIED WARRANTIES WHATSOEVER.

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.

(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.

Rev. 10/2013

(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).

Rev. 10/2013

(iii) If a Telephone Bid is submitted and accepted, at the time of the auction of the affected Lot, NOAG staff shall attempt to contact the Bidder using the telephone number provided. If successfully contacted, the Bidder shall then be afforded the opportunity to place a Bid on the Lot by telephone. Telephone Bids may be recorded. By submitting a Telephone Bid, the Bidder consents to the recording of the conversation and the placing of the Bid. (iv) Execution of Absentee Bids and Telephone Bids is a free service undertaken subject to other commitments at the time of the Auction and neither NOAG nor the Auctioneer shall have any liability for failing to execute an Absentee Bid or Telephone Bid or for errors and omissions in connection therewith. (d). Video or digital images. At some Auctions there may be a video or digital screen. Errors may occur in its operation and in the quality of the image and we do not accept liability for such errors. NOAG reserves the right to video tape and record proceedings at any Auctions. Any personal information obtained will be held in confidence

by NOAG but may be used or shared with our affiliates and marketing partners for customer analysis purposes and to help us to tailor our services to buyer requirements. Any Bidder attending an Auction in person who does not wish to be video-taped may make arrangements to make a Telephone Bid in accordance with Section 3(c) above. (e). Reserves. All Lots are offered subject to a reserve, which is the confidential minimum price below which the Lot will not be sold (the “Reserve”). The Reserve for a Lot will not exceed the low Estimate for that Lot. The Auctioneer may open the bidding on any Lot below the Reserve by placing a bid on behalf of the Seller. The Auctioneer may continue to bid on behalf of the Seller up to the amount of the Reserve, either by placing consecutive bids or by placing bids in response to other bidders.

Notwithstanding the foregoing, a Lot may be sold at a Hammer Price below the Reserve, at the discretion of the Auctioneer and NOAG, in any manner consistent with the agreement between NOAG and the Seller. (f). No bidding by Seller. Under no circumstances shall Seller (as agent or principal), whether by itself or through its representatives, employees or agents (except as through the Auctioneer as set forth in Section 3(e) above), enter or cause to be entered a Bid on Seller’s Lot. (g). Auctioneer’s discretion. The Auctioneer has the right at his or her absolute and sole discretion to refuse any Bid, to advance the bidding in such a manner as he or she may decide, to withdraw or divide any Lot, to combine any two or more Lots, and in the event of any error or dispute, to determine the Winning Bid, to continue the bidding, to cancel the Sale or to reoffer and resell the Lot or item in dispute. If any dispute arises after the Sale, NOAG’s sale record is conclusive. Unless otherwise announced by the Auctioneer at the time of Sale, all Bids are per Lot as numbered in the Catalogue and no Lot shall be divided for Sale. NOAG and/or the Auctioneer may withdraw any Lot at any time before such Lot is offered at Auction, for any reason and in their sole and absolute discretion. (h). Successful bid and passing of risk. The Auctioneer shall have absolute discretion in determining the Winning Bid and the striking of the Auctioneer’s hammer marks the acceptance of the highest and best bid as the Winning Bid and the conclusion of a contract for sale between the Seller and the Buyer. Risk and responsibility for the Lot but not its title passes to the Buyer immediately upon announcement of the Winning Bid at the Auction. (i). Post-auction sale. In the event that there is no Winning Bid at Auction for a Lot, or the Lot is withdrawn from the Auction, or the Sale is cancelled for non-payment pursuant to Section 4(g) below, NOAG may sell the Lot at public or private sale at any time thereafter, in a manner consistent with the agreement between Seller and NOAG. (j). NOAG assumes no responsibility for failure to execute Bids for any reason whatsoever.

4. AFTER THE AUCTION (a). In order to consummate and complete the Sale, the Buyer must tender payment in full of all of the following amounts (all such amounts together being the “Purchase Price”) to NOAG: (i) the Hammer Price; and (ii) the “Buyer’s Premium” consisting of a premium of 23% of the Hammer Price (discounted to 20% if the method of payment is by check, cash, or wire transfer by the end of the day on the fifteenth calendar day following the conclusion of the Auction) up to and including a Hammer Price of $200,000 and 10% of the amount by which the Lot’s Hammer Price exceeds $200,000; and (iii) Any applicable Louisiana, state, local, and federal or other taxes, calculated as required by law. Any documentation of tax exemption must be provided by the Bidder contemporaneously with the execution of the attached registration form. (b). Payment and passing of title. The Buyer and any other Bidders are responsible for contacting NOAG for Auction results during the week after the conclusion of the Auction. Subject to the provisions of Section 4(i) below which may require earlier payment, the Buyer must pay the full Purchase Price no later than 4:30 pm central time on the fifteenth calendar day following the conclusion of the Auction. Payments may be submitted during business hours to: New Orleans Auction Galleries, 801 Magazine Street, New Orleans, Louisiana 70130, Telephone number: 504-566-1849. Payments may be made by certified check, cash, wire transfer, or credit card (Visa, Mastercard, and American Express).

Payments will be accepted by non-certified check only in NOAG’s sole discretion, from Buyers that have been qualified by NOAG in NOAG’s sole discretion. Title to the Lot does not pass to the Buyer until the full amount of the Purchase Price has been tendered and received by NOAG in good cleared funds, even in circumstances where the Lot has been released to the Buyer. (c). Credit Cards. Your signature on this form constitutes permission to charge the full amount of the Purchase Price on your credit card, if you are the Buyer on a Lot and payment is not received within five business days of the close of the Auction. Your signature on this form also constitutes permission to charge the full amount of Storage Charges (defined below), if and when accrued, on a periodic basis on your credit card. (d). Release of Lot to Buyer. No Lot will be released to the Buyer unless and until NOAG receives full payment of the Purchase Price, and such payment has cleared and NOAG has received confirmation of all funds owed. At its sole discretion, NOAG may release a specific Lot at any time, notwithstanding the foregoing provision. In addition, NOAG may require that Lots not be released until the Buyer has cleared additional checks in NOAG’s sole discretion, including without limitation, any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction. In the event that a Buyer fails to complete any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction, NOAG shall be entitled to cancel the Sale and take any other action permitted or required under applicable law. In addition, notwithstanding the foregoing, Lots cannot be released until after the conclusion of the Auction. (e). Export/Import license and Dealers. It is the Buyer’s sole responsibility to obtain any relevant export or import license. The denial of any license or any delay in obtaining licenses shall not justify the rescission of any sale nor any delay in making bill payment for the Lot; and shall not limit or alter any of the obligations of the Buyer herein. Dealers purchasing for resale must enter appropriate their Dealer Resale Number on the attached registration form and provide NOAG with proper documentation.

Rev. 10/2013

(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;

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.

(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

AGREED AND ACCEPTED: __________________________________________ PRINTED NAME: ___________________________________ I have read and agree to the Conditions of Sale, including without limitation all of the waivers of warranties set forth in Section 2.

Rev. 10/2013

New Orleans Auction Galleries 801 Magazine Street • New Orleans, LA 70130 • 800-501-0277 • 504-566-1849 Fax: 504-566-1851 • Email: info@neworleansauction.com

Absentee / Telephone Bid Form Name (Please Print): ______________________________________________ Date: ____________________ Business Name: ______________________________________________________________________________ Dealer Resale # (Dealers must also sign official State of Louisiana document): _________________________ Address: ____________________________________________________________________________________ City: _____________________________________________ State: ____________ ZIP: _________________ Telephones: Work (_____)_____________ Home (______)______________ Fax (______)_____________ E-mail Address: _____________________________________________________________________________ Conditions of Sale: Conditions of sale are as set forth in the applicable New Orleans Auction Galleries catalogue. Placing a telephone bid and/or absentee bid in the auction constitutes acceptance of all Conditions of Sale posted by NOAG as amended by any posted notices or oral announcements during the sale.

Lot #

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

$ $ $ $ $ $ $ $ $ VISA / MasterCard #: ____________________________________________ CVV #: _______________

Expiration Date: __________

I have read and agree to the Conditions of Sale. I agree that a buyer’s premium will be charged on each lot purchased at 23% up to and including $200,000 plus 10% of the hammer price greater than $200,000. For purchases made by cash, check or wire transfer, the buyer’s premium shall be discounted 3% of this 23%. Your signature on this form constitutes permission to charge successful bids to your credit card, including the 23% buyer’s premium, if payment is not received within five days of the auction.

Signature (Required): __________________________________________________________________________

*Please fax this form by 5:00 p.m. the Thursday before auction weekend to 504-566-1851 or scan and email to info@neworleansauction.com 2

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

Lot #

______________________________________

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

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

3

New Orleans Auction Galleries 801 Magazine Street • New Orleans, LA 70130 • 800-501-0277 • 504-566-1849 Fax: 504-566-1851 • Email: info@neworleansauction.com

REQUEST FOR CONDITION REPORTS Condition reports are completed in the order in which they are received. Please allow ample time for large requests.

Condition reports will not be given verbally. Photo requests will only be processed for items not illustrated in our catalog or website (www.neworleansauction.com). Detail photographs will be provided at our discretion.

Name (Please Print): ___________________________________________ Date: __________________ Telephone: ____________________________ Work: (_______)____________ Home: (_______)____________________ Fax: (_______)______________ Email Address: _____________________ Please Circle Preference: M e t h o d o f R e c e ivin g R ep o r ts: Fax / Mail / Em ail M e t h o d o f R e c e ivin g P h o to grap h s: Mail / Em ail Lot # Description Special Requests _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________

Please 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

New Orleans Auction Galleries Susan D. Krohn

Tessa Steinkamp

CEO

Director of Auctions

Ashton Thomas President

consignments FINE ARTS:

DECORATIVE ARTS:

Jelena Restovic James

ASIAN FINE & DECORATIVE ARTS:

Ireys Bowman

Continental and American; Prints and Maps

Continental and English

Felicia Sailey Yao

British and American; Sculpture

American, Continental and English

Greg S. Kowles

BOOKS, MANUSCRIPTS & EPHEMERA:

FURNITURE:

Thomas Halverson

Charles C. Cage

Michele M. Carolla

American

Ireys Bowman

Jewelry:

Continental and English

SILVER:

Greg S. Kowles

Charles C. Cage

American, Continental and English

Kim Lemon

FINE CARPETS & TEXTILES:

Thomas Halverson

MUSEUM & NON-PROFIT SERVICES:

Sean Ranson

American

Jelena Restovic James

administration Burke

Gary Michael Gittelson

Kim Lemon

ReneĂŠ Gautreaux

Designer

Customer Service Manager

auctioneers Tessa Steinkamp Ashton Thomas Michael DeGeorge Robin Ruiz

Photographer

Colleen Ryan

Director of Human Resources

Denise Haik

Photographer

Office Administration

consultants Ellen McKenzie

English and Continental Furniture

Ira Savoie

Independent Certified Gemologist Appraiser

Bryce Reveley

Textiles; Vintage Couture

James Callahan Asian Arts

Christa Ougel

Graphic Designer; Marketing

Taylor Eichenwald

Marketing & Public Relations

ope r at ion s Cedric Roberts | Sean Ranson Bennie Amos | Emmitt Kendrick, Jr. Eddie Daigrepont | Gerald Hampton Juanita Bazile | Sol Carter Thomas Johnson

cakebread d e corati v e

a r t s

&

AUGUST 23-24, 2014

de s ig n

Cakebreadauction.com | Info@CakebreadAuction.com | 510 Julia Street, New Orleans, Louisiana 70130 | 1-800-501-0277 | 504-566-1849 | (FAX) 504-566-1851 LA Auction License AB-363, Steinka mp #1265, Thom as #1833/23% Buyer’s Premium (3% Discount for Payments M ade by Cash, Check, or Wire)